August 27-28 Cakebread Decorative Arts & Design Auction Catalogue

cakebread decorative arts

&

design

AUGUST 27-28, 2016

APRIL 23-24, 2016

cakebread decorative arts

&

design

Presented by New Orleans Auction Galleries

Auction: August 27-28, 2016

Exhibition: August 15-26, 2016 9:00 a.m. - 5:00 p.m. Daily

Session I Saturday, August 27, 2016 Lots 1 - 635

(Closed Sunday)

Evening Reception: Thursday, August 25, 2016 5:00 - 7:00 p.m.

10:00 - 11:00

1

-

100

11:00 - 12:00

101

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200

12:00 - 1:00

201

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300

1:00 - 2:00

301

-

400

2:00 - 3:00

401

-

500

3:00 - 4:15

501

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635

Session II Sunday, August 28, 2016 Lots 636 - 1192 10:00 - 11:00

636

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700

11:00 - 12:00

701

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770

12:00 - 1:00

771

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870

1:00 - 2:00

871

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970

2:00 - 3:00

971 - 1070

3:00 - 4:15

1071 - 1192

LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyer’s Premium (3% Discount For Prompt Payments Made By Cash, Check, or Wire)

Letter From the President

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As we languish through the slog of New Orleans summer and dream of cooler months on the horizon, we take cover in the comfort of air conditioning and distant vacations. Escaping the oppressive heat, people squeeze in one more vacation, children dread (and parents rejoice) returning to school, and everyone hunkers down indoors.

We have put together a wonderful Cakebread Decorative Arts & Design sale to top off a successful summer auction season. This sale features the contents of the ultra modern Roitenberg House in Edina, Minnesota. Most of the furniture and sculpture that we are offering was original to the house when it was built. Aside from a large selection of modern design, we also have some fun jewelry, classic antique furniture and decorative arts, paintings of every size and much more. As always, there is something for everyone.

Our autumn and winter auction season is also looking to be quite exciting. We have some impressive estates lined up for October that we can’t wait to share with you, as well as our first annual Fine Jewelry, Furs and Accessories sale on November 12.

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We hope to see you during our two-week exhibition at our third floor gallery starting on Monday, August 15. We will be having an evening reception with light refreshments on Thursday, August 25 from 5-7 p.m.

The auction sessions begin at 10 a.m. on Saturday and Sunday, August 27-28.

See you at the auction, 5

Ashton Thomas President 5

Evening Reception | April 23-24, 2016

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1. Julianne Lansing, Katherine de Montluzin, and Bob Campo 2. Dot Isacks and Bee Fitzpatrick 3. Lisa Conrad and Tom Garbee 4. Dr. Mike, Grier Gardner, Anne Kane, and Stephen Hernandez 5. Marcelle Mouledoux and Cami Capodice 6. Angela Wingfield and Emily Burger 7. Burke, Linda Green, and Michael Brown

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The Roitenberg House Edina, Minnesota

New Orleans Auction Galleries is pleased to offer the contents of The Roitenberg House including a selection of the original furniture, fine art, sculpture, as well as later additions.

The Roitenberg House in Edina, Minnesota, a tony suburb of Minneapolis, was built for financier and businessman Harold Roitenberg in 1978 by local builder Carl Hansen. Hansen’s firm was well known in the area for developing Parkwood Knolls

in the 1940s, a self-described family friendly development in western Edina. The house was designed by James Callahan Lighting & Design, a Palm Springs based firm acclaimed for utilizing the interplay of space and light.

Roitenberg was reputedly one of the wealthiest men in Minnesota at the time of construction and, the house was said to be among the largest in the state when completed.

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Continental Provincial Polychrome Armoire, 19th century, the molded cornice above a case fitted with a single door inset with a shaped floral-decorated panel, raised on a plinth base, h. 72‑1/4”, w. 56‑1/2”, d. 22”. [300/500] Illustrated

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Session I | Saturday, August 27, 2016 | 10:00 a.m. CDT

Collection of Six Continental Glazed Faience Dishes, 19th/20th century, including a blue and yellow dish with classical figures, an Art Deco cobalt and white dish decorated with a deer, marked by the M. Mensaque Company, Seville, dia. 9‑3/4”, a pair of green and yellow bowls hand-painted with soldiers, h. 3”, dia. 13”, and two cabbage leaf bowls, signed indistinctly, h. 3”, w. 11‑1/4” to 14”, d. 11‑1/4” to 12‑1/2”. [300/500]

Andre Vignoles (French, b. 1920), “Forest Landscape”, 1959, oil on canvas, signed and dated lower right, 24” x 29”. Framed. [600/900] Illustrated

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Continental School (19th Century), group of four oils on canvas board, including “Washday by the Mill”, “Washday by the Mill with Willow Tree”, “The Travelers” and “Gathering Berries”, three signed “T. V. Patten”, each 11” x 16”.

Framed alike. [500/800] Illustrated

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American School (Mid-20th Century), “Blooming Cherry Trees” and “Resting Beneath the Trees”, a pair of oils on canvas boards, each unsigned, 20” x 24”. Framed similarly.

Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [700/1000]

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one of four 1

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Ezelino Briante (Italian, 1901‑1971), “Capri Farmhouse”, oil on canvas, signed lower right, verso stretcher with “A. W. Pottinger, Detroit” label, 17‑1/2” x 24”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [800/1200] Illustrated

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Continental School (20th Century), “La Ciotat: Bec de l’Aigle”, Fuveau, 1995, oil on canvas, signed lower right “Olzimina”, signed, dated and titled en verso canvas, 16” x 10‑1/2”. Framed. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [400/700]

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Provincial Louis XV Oak Writing Table, early 19th century, the rounded rectangular top above a frieze fitted with two short drawers and a single small drawer to one side, raised on cabriole legs, h. 29‑1/2”, w. 32‑1/2”, d. 24‑1/2”. [700/1000] Illustrated

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Provincial Louis XV-Style Oak Buffet, late 18th century, the rounded rectangular top above a conforming case fitted with two drawers over two paneled cupboard doors, with a scalloped apron below, raised on shaped toes, h. 38”, w. 55‑1/2”, d. 22‑1/2”. [600/900] Illustrated

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Continental Gilt-Metal Eight-Light Chandelier, mid-20th century, with a reeded lower portion and a vasiform frame, decorated with applied leaves, lilies and roses, h. 27”, dia. 22‑1/2”. [400/700] Illustrated

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Provincial Regence-Style Fruitwood Commode, 19th century, the rectangular top with a shaped front, above a conforming case fitted with two long drawers, raised on cabriole legs ending in gilt hoof feet, h. 31‑1/2”, w. 38”, d. 19”. [600/900] Illustrated

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French Provincial Pine Buffet a Deux Corps, mid19th century, the domed and molded cornice with scrolls, above a case fitted with two doors, each inset with two shaped glazed panels, the lower section fitted with two paneled cupboard doors, each inset with a shaped panel and above an apron, raised on scrolled toes, h. 96”, w. 56‑1/2”, d. 18‑1/2”. [600/900] Illustrated

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Near Pair of Provincial Louis XV-Style Mahogany Vitrines, each with a bonnet top over a shell-carved frieze, a pair of doors with glazed panels and carved panels below, on cabriole legs, h. 67‑3/4”, w. 28”, d. 12”.

[500/800] Illustrated

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French School (Fourth Quarter 19th/First Quarter 20th Century), “Poultry in the Barnyard”, two oils on panels, each indistinctly signed, 9‑1/2” x 6‑1/2” and 6‑1/4” x 8‑1/2”. Each framed. Provenance: The Estate of Alvin Richard Christovich, New Orleans, Louisiana.

[800/1200] Illustrated

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Continental School (19th Century), “Still Life with Fish and Artichoke”, oil on canvas, unsigned, 19‑1/4” x 24‑1/2”. Framed. [500/800]

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Collection of Five Nineteenth-Century Copper Tea Kettles, English and Continental, three examples with flaps on the spouts, all with dovetailed bases, h. 8” to 11‑3/4”, w. 9‑1/2” to 13‑3/4”, and two examples with dovetailed bases and sides, one with an acorn knop, h. 11‑3/4”, w. 10‑1/4” to 11”. Provenance: Personal collection of D. Didier, New Orleans, Louisiana. [400/700] Illustrated

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Six-Piece Collection of Copper Cookware, second half 19th century, English and French, including five saucepans, h. 4‑1/2” to 7‑1/4”, dia. 8‑3/4” to 12‑1/4”, and a saute pan, h. 3‑1/2”, dia. 9‑3/4”, three pieces with dovetailed construction. Provenance: Personal collection of D. Didier, New Orleans, Louisiana. [400/700] Illustrated

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Provincial Louis XV-Style Fruitwood Fauteuil, 19th century, the arched crest rail over a shaped splat, the arms adorned with foliate carving, the seat with a scalloped apron and raised on cabriole legs, h. 44‑1/2”.

[300/500] Illustrated

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Wrought Metal Six-Light Chandelier in the 18th-Century Provincial Manner, the spiral-reeded standard supporting the arms, set with electrified candlecups, h. 34”, dia. 15‑1/2”. [400/700] Illustrated

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French Provincial-Style Fruitwood Secretary, in two parts, the upper section with a bonnet top over a pair of doors fitted with wire mesh panels, the base with a slant lid over a bank of drawers, on cabriole legs, h. 8‑1/2”, w. 46”, d. 22”. [500/800] Illustrated

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Provincial Louis XV-Style Walnut Bombe-Form Nightstand, with a carved drawer over a door and cabriole legs, h. 32”, w. 18”, d. 17”. [400/700] Illustrated

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Continental School (First Quarter 20th Century), “Still Life with Fruits”, oil on artist board, signed “P. Krewer” lower right, 15” x 18‑1/2”. Framed.

[700/1000] Illustrated 22

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Diana Watson (Australian, Contemporary), “Still Life with Pears and Crockery”, 2004, oil on canvas, signed and dated lower right, 47‑1/2” x 72”.

Unframed. [600/900] Illustrated

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Pair of Provincial Louis XV-Style Beechwood Sidechairs, each with a molded and carved crest, serpentine seat and cabriole legs, h. 38”. [350/500] Illustrated

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French Provincial Cherrywood Desk, mid-19th century, the rectangular top with canted corners, above a frieze fitted with a kneehole flanked to each side by a deep drawer, the sides each fitted with a pull-out slide, raised on cabriole legs, h. 30‑1/4”, w. 73‑1/2”, d. 31”. [600/900] Illustrated

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French Provincial Fruitwood Armoire, late 18th century, the molded and domed cornice with canted corners, above a conforming case fitted with two long doors, each with two shaped brass escutcheons, over three small drawers and a shaped apron, raised on shaped toes, h. 96”, w. 66”, d. 26‑1/2”. [700/1000] Illustrated

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French Provincial-Style Mahogany and MarbleTop Low Table, the rectangular inset marble top within a plain frieze and raised on cabriole legs ending in scrolled toes, h. 16‑1/2”, w. 40”, d. 24”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi.

[400/700] Illustrated

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Edouard Sanchez (Continental, 19th/20th Century), “Shepherdess”, oil on canvas, signed lower right, 19‑1/2” x 25‑1/2”. Framed. [500/800] Illustrated

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Henry Schouten (Belgian, 1864‑1927), “Ewes and Lambs”, oil on canvas, signed lower left, 30‑1/4” x 43‑5/8”. Framed. [1000/1500] Illustrated

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Suite of Four Continental Neoclassical Beechwood and Mixed Woods Sidechairs, 19th century, each with a spindle back, rush seat and turned legs joined by box stretchers, h. 35‑3/4”.

[500/800] Illustrated

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Set of Four Tapered Metal Planters of Chinese Inspiration, the tapered sides set with ring pulls, the bottoms with drainage holes, h. 23‑1/4”, w. 22‑3/4”, d. 22‑3/4”. [400/700] Illustrated

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Pair of Cast Stone Recumbent Sheep, second quarter 20th century, possibly French, each with its head turned in the opposite direction, h. 18”, w. 23”, d. 13”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [400/700] Illustrated

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Provincial Louis-Philippe Cherrywood DropLeaf Table, the top flanked by demi-lune leaves, raised on tapering legs, h. 28”, w. 51”, l. 24”, extended l. 42”. [400/700]

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Louis-Philippe Fruitwood Armoire, first half 19th century, the ogee-molded cornice above two long inset panel doors, all above one long hidden drawer, the whole resting on scrolled feet, h. 93”, w. 55‑1/2”, d. 25”. [500/800] Illustrated

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Provincial Directoire Mahogany Games Table, late 19th century, the square top with an inset leather surface and turreted corners, above a conforming case fitted with a single side drawer, raised on ribbed tapering circular legs ending in bulbous toupie feet, h. 29”, w. 32”, d. 32”. [400/700]

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Louis XV-Style Fruitwood Sofa, mid-20th century, the arched and molded crest rail centered by floral carving, closed arms, serpentine seat and cabriole legs, fitted with a down seat cushion, h. 37”, w. 75”, d. 28‑1/2”. [500/800] Illustrated

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Michel Delacroix (French, b. 1933), “La Neige”, offset lithograph, pencil-signed lower right, numbered “11/150” lower left, sight 20‑1/2” x 24‑1/2”. Matted, glazed and framed. [600/900] Illustrated

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Michel Delacroix (French, b. 1933), “Souvenirs de Paris”, offset lithograph, pencil-signed lower right, numbered “189/500” lower left, sight 11‑1/2” x 14‑1/2”. Matted, glazed and framed. [400/600] Illustrated

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Michel Delacroix (French, b. 1933), “La Marche de Noel en Alsace”, offset lithograph, pencil-signed lower right, numbered “LXII/CL” lower left, sight 21‑1/2” x 25‑1/2”. Matted, glazed and framed.

[800/1200] Illustrated

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French Baroque-Style Bronze Six-Light Chandelier, the standard molded with a fluted urn with leaf-molded, scrolled brackets terminating in busts, and set with molded candle arms with bellflowers and terminating in beaded drip pans and fluted candle cups, the lower portion of the standard with scrolled brackets terminating in female heads, sitting on paw feet, h. 33‑1/2”, dia. 29‑1/2”.

[1000/1500] Illustrated

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Italian Baroque-Style Carved Giltwood Mirror, 18th century, the crest carved with flowers and a bowknot, and set with an oval hand-painted table depicting two figures in a landscape, h. 48”, w. 28”. [800/1200] Illustrated

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F. Castiglione (20th Century), “The Palm Reader”, oil on canvas, signed lower left, 30” x 40”. Presented in a period giltwood and gesso frame. [1200/1800] Illustrated

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Continental Walnut Vargueno in the Renaissance Style, ca. 1900, the desk carved with dragons, and mounted with iron strap hinges and carrying handles, sitting on a carved trestle base, h. 54”, w. 38”, d. 15”. [700/1000] Illustrated

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Carolean-Style Mahogany Sidechair, 19th century, the fruit basket crest above a scrolling floral lattice-carved frieze above a caned back, the padded seat raised on molded cabriole legs headed by acanthine carving joined by an X-form stretcher and ending in foliate toes, h. 50”. [400/700] Illustrated

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Continental School (19th Century), a pair of decorative oils on canvas depicting various wildflowers in a landscape, 15” x 19”. Both framed alike in rope-molded giltwood frames.

[300/500] Illustrated

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Continental School (18th Century), “Still Life of Flowers Including Tulips and Hyacinths”, oil on canvas, unsigned, 44‑1/8” x 31‑3/4”. Framed. [800/1200]

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Baroque-Style Brass-Mounted Faux Tortoiseshell Mirror, fourth quarter 19th century, Dutch or Flemish, the bolectionmolded surround trimmed with ribbon molding and mounted with brass panels of scrollwork and flowers, the molded crest decorated with scrollwork, flowers and berries, all on a faux tortoiseshell-painted ground, h. 48”, w. 31”.

[1400/1800] Illustrated

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Baroque Carved, Ebonized and Painted Tabletop Cabinet, ca. 1700 and later, Dutch or Flemish, trimmed with rippled molding on the base, doors and crest, and mounted with pierced and incised pewter hinges and escutcheons, the interior drawers painted with flowers and pomegranates, lively scallops and beading, h. 13”, w. 17”, d. 12‑1/2”.

[300/500]

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Pair of Italian Walnut Censers, fourth quarter 18th century and earlier, the covers pierced around the outer edge and mounted with polychrome figures of St. Michael, likely earlier than the bases, supported on hoof-footed cabriole legs, the legs and shelf skirt carved with raised anthemia, the lower portions of the amphora-form censers carved with gadrooning, h. 68‑1/2”, dia. 18”. [5000/8000] Illustrated

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Mexican Polychrome-Painted Carved Wood Tabernacle Door, 18th century, with a gadrooned base and cap, spiral carving framing the rounded door, decorated with a cross under a fan carving, h. 19”, w. 21”, d. 3‑1/2”. Provenance: Galleria Benin, Mexico City, Mexico. [1200/1800] Illustrated

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English Medieval Musical Manuscript on Vellum, one portion illuminated in polychrome on a gilt ground, in a contemporary wooden frame, sight, 24” x 15”. [500/800] Illustrated

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Continental School (First Quarter 19th Century), pair of oils on tin of “Allegorical Scenes”, unsigned, each 9‑7/8” x 8‑3/8”. Framed alike. [500/800] Illustrated

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Pair of Spanish Painted and Parcel-Gilt Carved Wood Saints in Niches, 18th century, the figures of St. John the Baptist, leaning on a cross, carrying a bible in one hand, and St. Bartholomew, carrying a large knife, a devil at his feet, each in a gilded niche framed by fluted pilasters, under panels of delicately painted angels and scrollwork on an ivory ground, h. 20‑3/4”, w. 14‑1/4”, d. 4‑3/4”.

Provenance: Blumka, New York, New York.

[2000/4000] Illustrated

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Continental School (19th Century), “Madonna and Child”, oil on canvas, unsigned, 29‑1/2” x 23‑3/4”. Framed. [500/800] Illustrated

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Italian School (18th Century), “The Revelation”, pencil and ink on paper heightened by charcoal, inscribed in Italian lower left, 11” x 16‑1/8”. Glazed, matted and framed. [700/1000] Illustrated

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Continental School (17th Century), “Christ Child with a Goldfinch and a Cherry”, oil on canvas, a fragment of a larger work, unsigned, 26‑1/2” x 42”. Unframed.

[800/1200] Illustrated

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Italian School (18th Century), “Madonna and Child with St. Charles Borromeo”, oil on canvas, unsigned, 36‑1/4” x 24‑5/8”. Framed. [800/1200] Illustrated

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Continental School (19th Century), “Christ Teaching in the Synagogue”, oil on canvas, unsigned, 28‑1/4” x 48‑3/4”. Framed. [1000/1500] Illustrated

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Continental School (20th Century), “Mary and Infant Jesus in Egypt”, oil on canvas, unsigned, 43” x 33”.

Framed. [1500/2500] Illustrated

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Continental School (19th Century), “Madonna”, black and white chalk on tan paper, sight 12” x 10”. Glazed and presented in a giltwood and gesso frame. [400/700] Illustrated

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Pair of Continental Giltwood and Faux-Marbre Pedestals, early 20th century, each with a stepped top above a giltwood paneled standard to a conforming base, h. 36”, w. 27”, d. 17‑1/2”.

[500/800] Illustrated

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Pair of Faux-Bois-Decorated Mirrors in the Baroque Taste, 20th century, the molded frames painted to resemble burl walnut, the corners with carved leaves, h. 45‑1/2”, w. 36”. [800/1200] Illustrated

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Carved Wood Filipino Santos Figure of San Isidro Labrador, second quarter 19th century, the patron saint of farmers on a contemporary base, presented in his boots and wearing a tunic, the figure retaining some of its painted surface, h. 21‑3/4”, w. 6”. [300/500] Illustrated

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Mexican School (19th Century), “St. Anthony of Padua”, oil on tin, unsigned, 14” x 10”.

Framed. [400/700] Illustrated

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Cuzco School (20th Century), “Archangel St. Michael”, oil on canvas, 50” x 34”.

Presented in a Baroque-style carved and pierced frame. [500/800] Illustrated

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Mexican School (19th Century), “San Miguel”, oil on tin, unsigned, 14” x 10”.

Framed. [400/700] Illustrated

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Mexican School (Circa 1900), “Bishop”, oil on tin, unsigned, 11‑1/4” x 8‑1/4”. Framed.

[400/700] Illustrated

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Continental-Style Oak Coffee Table, the rectangular top banded and with a molded edge, and raised on two turned bulbous pedestals to four flat runner feet with foliate carving, h. 21‑1/2”, w. 58”, d. 36”. [500/800] Illustrated

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Gilded Cast Iron Six-Light Lantern, third quarter 20th century, probably Italian, the tapered hexagonal lantern with leaf-molded dividers and scroll- and shell-carved crests, the domed pierced cap mounted with a leafmolded “roof”, the interior with a molded standard set with electrified candle sockets on two levels, h. 43‑1/2”, dia. 23”. [800/1200] Illustrated

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Spanish School (18th Century), “Mystical Marriage of St. Catherine”, oil on canvas, 59” x 43‑1/2”. Framed.

[4000/7000] Illustrated

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Suite of Six Spanish Colonial Hacienda-Style Mahogany Chairs, comprising two 18th-century examples and four fourth quarter 19th-century examples, the tall padded backs above like seats with tassel skirts, raised on molded scrolling legs joined by like H-form stretchers and ending in in-scrolled toes, h. 51”.

[1000/1500] Illustrated

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Continental Carved Mahogany Commode, mid19th century, with earlier elements, of monumental proportions, the rectangular top above a case fitted with two small drawers over two long drawers, the whole elaborately carved in scrolling foliate, avian and figural designs, the sides with shield-carved panels, raised on lion masques ending in paw feet, h. 44‑1/2”, w. 72”, d. 25‑1/2”. [1000/1500] Illustrated

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Five-Piece Collection of Continental Iron and Brass Fireplace Equipment, in the Baroque taste, comprising a pair of andirons with arched feet, and brass finials depicting Prometheus and Venus, h. 27‑3/4”, a fire tool stand with a ball top and scrolled feet, h. 35‑3/4”, w. 8‑3/4”, and a matching shovel and fork with brass putto head finials, l. 50”.

[300/500]

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Pair of Bronze Three-Light Sconces of Renaissance Inspiration, 20th century, the arms molded as dragons, electrified and mounted with shades, h. 17”, w. 10”, d. 13”. [300/500] Illustrated

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Patinated Metal Figure of “David”, after Gian Lorenzo Bernini (Italian, 1598‑1680), on a black marble base, h. 10‑3/4”, w. 4”, d. 5‑3/4”. [350/500] Illustrated

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Neoclassically Inspired Eglomise and Polychromed Cocktail Table, the circular glass top in foliate, gilt and argente decor, on a tripodal base with scroll feet, h. 18‑1/2”, dia. 43”. [400/700] Illustrated 76

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Italian School (18th Century), “Capriccio of Figures Amongst Classical Ruins”, oil on canvas, 43‑1/2” x 63”.

Framed. [1000/1500] Illustrated

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Italian Oak Music Cabinet, 18th century, the narrow superstructure fitted with two small drawers, each with a carved portrait medallion, above a slanted case fitted with a lift-up compartment centered by an inlaid sheet of music, over a pendant garland centered by a portrait medallion, raised on imbricate-carved scrolled legs joined by an urn-centered stretcher and ending in peg feet, h. 49”, w. 30”, d. 19‑1/2”. [800/1200] Illustrated

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Pair of Italian Boldly Carved Giltwood ThreeLight Sconces, first quarter 20th century, in the Baroque taste, on tapered backplates with leaf-carved lower finials, terminating in pagoda-form caps, with flame finials, the scroll-carved arms decorated with hanging tassels, mounted with egg-and-dart-carved candlecups, h. 34‑1/2”, w. 21”, d. 18‑1/2”. [1500/2500] Illustrated

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Italian School (18th Century), “Floral Still Life with a Yellow Bird” and “Floral Still Life with a Spaniel”, pair of oils on canvas, unsigned, each 19‑1/2” x 24‑5/8”.

Framed alike. [3000/5000] Illustrated

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Italian Baroque-Style Molded Bronze Pentagonal Lantern, second quarter 20th century, each panel with tombstone tops, the molded framed ornamented with cartouches and flowers, the corners set with pierced scrolls, the scroll-molded hangers attaching the lantern to the center standard, supporting a three-light interior, set with textured glass, h. 32”, dia. 12‑1/2”. [500/800] Illustrated

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Venetian Octagonal Mirror, first quarter 20th century, framed with beveled segmented mirror glass engraved with sprays of flowers, h. 34‑3/4”, w. 23”. [400/700] Illustrated

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Rene Rambert (French, 1901‑1991), “Venice, Grand Canal”, oil on canvas laid down on wood panel, signed lower right, 20‑1/4” x 24”.

Framed. [600/900] Illustrated

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George Vivian (British, 1798‑1873), “Venetian Canal”, oil on canvas, signed lower right, 20” x 30”. Presented in a giltwood frame affixed with artist plaque. [1000/1500] Illustrated

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Gerhard Walinsky (Danish, b. 1948), “Forum Romanum”, oil on canvas, signed lower right, a “Tartaglia Arte/Roma” label and stamp en verso canvas, several inscriptions en verso, 27‑3/4” x 39‑1/4”. Framed. [700/1000] Illustrated

86

Pair of Patinated Bronze and Polychromed Blackamoors in the Venetian Style, 20th century, on parcel-gilt elaborately molded scroll-footed bases, the male and female figures dressed in molded and painted sarongs and beads, carrying leaf-molded jardinieres on their turbaned heads, h. 57‑3/4”, w. 15”, d. 13‑1/2”. [1000/1500] Illustrated 22

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Venetian Carved and Painted Blackamoor Figure, ca. 1900, the figure dressed in a turban, jacket, fringed skirt and Middle Eastern-style pointed slippers, one arm with a bracelet and the other outstretched to hold a tray, probably for calling cards, h. 39”, w. 12”, d. 12‑3/4”. [500/800] Illustrated

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Pair of Italian Carved and Polychrome-Painted Blackamoors, mid-20th century, the bases on acanthuscarved scrolled feet, the male and female blackamoors dressed in silver gilt tunics and supporting gilt cornucopia with silver gilt fruit, h. 28‑1/4”, w. 17‑1/2”, d. 17‑1/2”. [1200/1800] Illustrated

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Northern Italian Walnut and Fruitwood Secretary, in the early 19th-century style, the broken serpentine crest above a deep starinlaid frieze over two arched doors, each inset with a glazed panel, the lower section fitted with a banded like-inlaid slant front opening to a variety of drawers and cubbyholes, over three long serpentine drawers, all banded and inlaid en suite, flanked to either side by shaped uprights and raised on block feet, h. 93”, w. 44”, d. 24”. [1000/1500] Illustrated

90

Pair of Italian Walnut and Fruitwood Bombe Commodes, late 18th century, each with a shaped, banded and quarter-veneered top above a conforming bombe case fitted with two drawers, each banded, the sides banded en suite, raised on molded cabriole legs headed by acanthine carving and ending in scrolled toes, h. 32‑1/2”, w. 39”, d. 18‑1/2”. [1800/2500] Illustrated

91

89

Italian Walnut Bombe Commode, early 19th century, the shaped top above a bombe case fitted with two drawers, raised on cabriole legs ending in sabots, h. 28”, w. 21”, d. 15”. [400/700] Illustrated

23

92

Italian Rococo-Style Giltwood Mirror, with an elaborate molded surround, the upper portion with a flower-basket finial and pierced flowers trailing down each side of the swan’s-neck pediment, and the lower portion with scrollwork and a pendant shell finial, h. 60”, w. 32‑1/2”. [600/900] Illustrated

93

Italian Polychrome, Parcel-Gilt and Marble-Top Console Table, late 18th century, in the rococo taste, the shaped marble top above a conforming paneled and scroll-carved frieze centered by a shell-form shield, and raised on shaped foliate-carved legs joined by a like stretcher and ending in ball-and-claw feet, h. 32‑1/2”, w. 32‑1/2”, d. 21”. [800/1200] Illustrated

94

Pair of Parcel-Gilt Wood and Metal Three-Light Sconces in the Italian Neoclassical Taste, 20th century, on turned and carved backplates decorated with spiral fluting, carved leaves and pierced anthemia, the metal arms set with leaf-carved candle cups, h. 30‑1/2”, w. 10‑1/4”, d. 7‑3/4”. [400/700] Illustrated

92

94

93 95 24

97

95

96

Pair of Italian Baroque-Style Polychrome and Parcel-Gilt Glass-Topped Consoles, partially constructed of antique elements, the beveled plate glass tops on antique figural- and foliate-carved standards, h. 24”, w. 25”, d. 18”. Provenance: Designed for the consignor by Holden and Dupuy, New Orleans, Louisiana. [700/1000] Illustrated

96

Venetian-Style Mirror in the Baroque Taste, 20th century, Italian, with a molded mirrored surround of beveled “antiqued” mirror plate, h. 55‑1/2”, w. 26‑1/2”. [600/900] Illustrated

97

Dutch Bronze Twelve-Light Chandelier in the Baroque Taste, third quarter 20th century, the ball-turned standard set with scrolled candle arms with drip pans and turned candle sockets on two tiers, h. 26”, dia. 26”. [500/800] Illustrated

98

Russian Brass Samovar, first quarter 20th century, marked “P. Gudkov, Tula”, of traditional standard “peasant barrel” form, with turned wood handles, strobile grips and branch finial, retaining the original drip bowl, h. 18‑1/2”, w. 10‑1/2”, d. 12”. [300/500] Illustrated

98

25

99

101 one of two

99

Pair of Blown and Enameled Green Glass Pokals, Bohemian or German, one dated 1658, each enameled in bright red and yellow Masonic decoration, the dated cup with three figures holding a shield with Masonic emblems, the other divided in a grid with Masonic arches and columns, each panel with a scene, h. 17”, dia. 6”. [500/800] Illustrated

100

J. Russell (Continental, 20th Century), “Canal Scene”, oil on canvas, signed lower right, 24” x 36”. Framed. [500/800] Illustrated

101

Manner of Adriaen Jansz van Ostade (Dutch, 1610‑1685), “Man in a Red Cap Smoking a Pipe” and “Man in a Fur Hat Holding a Pipe”, pair of oils on wood panel, each 8‑1/2” x 6‑3/4”. Framed alike. [500/800] Illustrated

102

100

Continental Mahogany and Marble-Top Server, 20th century, the shaped marble top with projecting corners and molded edge, above a conforming frieze fitted with three drawers, all paneled and carved with foliate scrolling patterns, raised on paneled scrolled legs joined by a stretcher and ending in carved toupie feet, h. 39‑1/4”, w. 83”, d. 24”.

[1000/1500] Illustrated

102

26

104 part of a three-piece suite 104 part of a three-piece suite

103

Continental Mahogany and Marble-Top Server, early 20th century, in the Henri II taste, the long marble top with a molded edge, above a frieze fitted with a central compartmented drawer flanked to either side by a short drawer, all quarter-veneered and with a central floralinlaid spray, raised on tapering circular legs headed by foliate capitals joined by a shaped stretcher and ending in ball feet, h. 39‑1/2”, w. 83‑1/2”, d. 23”. [800/1200] Illustrated

104 104 part of a three-piece suite

Monumental Three-Piece Continental NeoRenaissance Chestnut, Oak and ParcelEbonized Bedroom Suite, fourth quarter 19th century, comprised of a king-size bedstead, h. 74”, inside, w. 77”, l. 81”, outside, w. 83”, l. 91”, a large mirrored armoire, h. 107”, w. 96”, d. 29”, and a mirrored dresser with black granite top, h. 75”, w. 44”, d. 20‑1/2”, each with applied ebonized foliate carvings, the bed and armoire with female portraits in the crest.

[2500/4000] Illustrated

103 27

105

Three-Piece Black Forest Marquetry-Inlaid Parlor Group, late 19th century, comprised of a table, h. 30‑1/4”, dia. 25‑1/2”, and a pair of chairs, h. 37”, the tilt-top table centered by an inlaid panel depicting an eagle, and goats on a mountaintop, and the sidechairs each with a shaped and pierced foliate-carved back centered by an oval panel featuring inlaid game animals, the wooden seats with like inlay, raised on shaped legs headed by floral carving and ending in scrolled toes. [1000/1500] Illustrated

106

Spanish Lladro Porcelain Animalier Group, 20th century, in the form of three hounds hunting a stag, h. 19”, w. 19‑3/4”, d. 10”. [400/700] Illustrated

107

106

Three Continental Animalier Cabinet Bronzes, fourth quarter 19th/first quarter 20th century, including a dog playing with a turtle by Joseph Victor Chemin (French, 1825‑1901) on an integral base with cast signature, a sphinx on a marble base, and a bear on a faux malachite base, h. 3‑1/2” to 4”, w. 3‑1/2” to 5‑3/4”. [500/800] Illustrated

107

105 28

108

112

108

Erwin Kettemann (German, 1897‑1971), “Winter Morning in Reith, Germany”, oil on canvas, signed lower left, titled and inscribed in German en verso stretcher, 24” x 32”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [600/900] Illustrated

109

109

Holger H. Jerichau (Danish, 1861‑1900), “Fjord Shoreline with Sailboats”, oil on canvas, signed lower left, further inscribed in pencil en verso stretcher, 15‑1/2” x 24‑1/2”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [600/900] Illustrated

110

Danish School (19th Century), “Poor Jack”, oil on board, verso inscribed “Simon Ludvig Ditlev Simonsen”, and with “The Parker Gallery, London, UK” label, 8” x 6”. Presented in a frame affixed with a plaque attributing the painting to Simon Ludvig Ditlev Simonsen (Danish, 1841‑1928) and with the painting title. [500/800]

111

Carved and Pierced Fruitwood Mirror in the Continental Rococo Taste, the crest with an inlaid “flower and urn” oval tablet, h. 38”, w. 29‑1/4”. [300/500]

112

Dutch Bronze Eight-Light Chandelier in the Baroque Taste, 20th century, the reeded bowl with a turned pendant drop and set with scrolled candle arms terminating in drip pans and candlecups, and supported from the canopy by scroll-cut chains, electrified, h. 33”, dia. 30”. [400/700] Illustrated

29

114

113

116

115

113

115

114

116

German Polished Brass Automaton, 20th century, in the form of a caged bird, marked “Ken D” in an impressed lozenge, along with “Germany” and a symbol on the base, h. 12”, dia. 5‑1/2”. [400/700] Illustrated Set of Twelve Hutschenreuther Raised Gilt Service Plates, post-1928, Selb, Bavaria, decorated with printed flowers, marked on the back, dia. 10‑1/2”. [400/700] Illustrated

30

Louis-Philippe Marquetry-Inlaid Portico Clock, mid-19th century, with a marquetry-inlaid rosewood dome base and a glass dome, the clock with spiral-twist columns and gilt-bronze fittings, h. 23‑1/2”, w. 11”, d. 7”. [400/700] Illustrated Dutch Mahogany and Marquetry Secretaire a Abattant, late 19th century, the rectangular top above a single frieze drawer over a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with two cabinet doors below, raised on block feet, the whole richly inlaid in floral, scrolling foliate and avian patterns, h. 52‑1/2”, w. 35‑1/2”, d. 15‑1/2”. [800/1200] Illustrated

119 117

117

Dutch Mahogany and Marquetry Dressing Mirror, second quarter 19th century, the rectangular mirror supported by baluster-form uprights surmounted by ball finials, above a concave-form base fitted with a central drawer flanked to either side by two small bowed drawers, the whole with scrolling foliate inlays, h. 37”, w. 25”, d. 14‑1/4”. [200/400] Illustrated

118

Dutch Mahogany and Marquetry Silver Table, late 18th century, the rectangular top centered by an inlaid floral vase and with a full raised gallery, above a conforming frieze fitted with a single drawer, raised on slender cabriole legs ending in pad feet, h. 30‑1/2”, w. 37‑1/2”, d. 24‑1/2”.

[1000/1500] Illustrated

119

Italian Beaded, Metal and Crystal Fifteen-Light Chandelier, 20th century, in the Maria Theresa style, the glass bead-lined frame with candle arms set with molded bobeches on two tiers, and festoons of glass beads hung between the branches, further ornamented with aubergine drops, h. 37”, dia. 33”. [1800/2500] Illustrated 118

31

121

120

120

Capodimonte-Style Polychrome Porcelain Dionysian Figure, 20th century, Italian, the figure on a wine casket, wearing a wreath of grapes, made by Villari and marked with a Villari impressed mark and a spurious Capodimonte mark, h. 28”, w. 14”, d. 10‑1/2”. [400/700] Illustrated

121

Six-Piece “Bohemian Cristal” Decanter and Glasses Set, 20th century, Czechoslovakia, cut with hobstars and decorated with enamel on gilt banding, the set including a decanter, h. 10‑1/2”, w. 6”, and five tumblers, h. 3‑3/4”, dia. 3‑1/4”, with original labels. [300/500] Illustrated

122

Partial Service of Cut, Engraved and Gilt-Decorated Crystal Stemware of Georgian Inspiration, 20th century, probably Bohemian, decorated with engraving and gilt bellflowers, the set comprised of eleven large goblets, h. 6‑1/4”, eight small goblets, h. 5‑1/4”, and eight Rhine wines with green bowls, h. 7‑3/4” (twenty-seven total pieces). [400/700]

123

Austrian Burlwood and Fruitwood Center Table, second half 19th century, the figured top with crossbanded perimeters, raised on a turned pedestal joined to four molded and shaped legs, h. 30‑3/4”, w. 50”, d. 31‑1/2”.

[500/800] Illustrated

124

Continental Mahogany Music Stool, mid-19th century, in the rococo taste, the circular seat of adjustable height and with a needlework scene of a country maiden, raised on three scrolling foliate-carved legs ending in foliate toes, h. 20”, dia. 14‑1/2”. [200/400]

32

123

125

Pair of Continental Brass-Mounted Fruitwood “Bustle” Chairs, fourth quarter 19th century, in the Louis XVI taste, the back frames carved in a laurel leaf pattern and with downswept carved hip-rests, raised on trumpet-form turned and carved legs, h. 28”. [400/700]

126

Italian “Capodimonte” Molded and Hand-Painted Table Box, first quarter 20th century, in the Baroque style, the top and front decorated with polychrome cherubs, and the borders trimmed with flowers, with an underglaze blue crowned “N” mark, h. 3‑3/4”, w. 7”, d. 6”. [500/800]

128

129

130

127

127

Capodimonte-Style Molded and Polychrome-Painted Neoclassical Plaque, pre-1890, Italian, the colorful plaque depicting Prometheus in the sky, holding fire, the eagle pursuing him, the goddesses Ceres and Demeter and the gods Dionysus and Anemoi sitting below, in a shield-form painted wooden frame, marked with the blue crowned “N” used by Ginori, h. 23”, w. 19”. [300/500] Illustrated

128

Meissen-Style Figural Porcelain Corbeille, ca. 1900, made

by C. G. Schierholz, Plauen, Germany, the scroll-footed base with cupids and encrusted with flowers, and supporting the pierced, rose-decorated basket, marked in blue underglaze, with additional impressed numbers, h. 12‑1/4”, dia. 11‑3/4”.

[450/700] Illustrated

129

Pair of Giltwood Mirrors in the Northern Italian Baroque Style, 20th century, with bold, scrolled and pierced surrounds and a pediment-form crest decorated with flowerheads, h. 63‑1/2”, w. 55‑1/2”. [1000/1500] Illustrated

130

Continental Oak and Granite-Top Table in the Rococo Taste, third quarter 19th century, the ovoid granite top on an apron with a carved edge, above a vasiform carved pedestal on four fruit- and fox-head-carved legs ending in paw feet, h. 28‑1/2”, w. 57”, d. 50”. [500/800] Illustrated

33

132

133

134

132

Swiss Brass-Inlaid Rosewood “Reuge” Musical Jewelry Case, ca. 1900, in the Regency style, the box trimmed with ribbon molding, the cover and twodoor front trimmed with engraved brass and brass line inlay, the fitted velvet-lined interior concealing a music box in the base, the winding stem on the bottom marked “Reuge”, h. 4‑1/2”, w. 8‑1/2”, d. 5”. [400/700] Illustrated

133

Continental Patinated Metal Sculpture of a Young Boy, 20th century, on a cove-molded marble plinth, overall, h. 34”, w. 13‑1/2”, d. 11”. [500/800] Illustrated

134 135

131

Continental Marquetry-Inlaid Fruitwood Scent Bottle Case, third quarter 19th century, the cover depicting a woman and children in Tyrolean costume, the fitted interior set with a trio of gilt-trimmed cut glass scent bottles, h. 3‑3/4”, w. 5‑3/4”, d. 3‑1/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [400/700]

34

Unusual Pair of Continental Bronze Three-Light Sconces, second quarter 20th century, in the rococo taste, on flower-molded backplates with diapered panels, with flower-molded arms and leaf-molded candle cups, electrified, h. 16”, w. 13‑3/4”, d. 8”.

[300/500] Illustrated

135

Pair of Italian Giltwood and Alabaster Sconces in the Baroque Taste, first quarter 20th century, the shield-form backplates with winged angel-head finials and holding scroll-form arms wrapped in grapevines, each of the two alabaster shades bas-relief-carved with putti playing at Bacchanalian pursuits, and concealing electric sockets, h. 15‑3/4”, w. 8‑3/4”, d. 11”. [700/1000] Illustrated

136

Regence-Style Kingwood and Marble-Top Commode, late 19th century, the shaped marble top with a molded edge and bowed front, above a conforming bombe case fitted with two long drawers, quarter-veneered and with a central inlaid floral spray, the sides veneered en suite, raised on splayed legs ending in sabots, the whole accented with ormolu mounts, h. 35‑1/2”, w. 60‑1/2”, d. 25”. [1000/1500] Illustrated

137

Pair of Regence-Style Fruitwood Fauteuils, 20th century, each with a padded, slightly domed crest joined by ribbed downswept arms on lion’s head hand rests to the padded seat, raised on shaped ribbed legs joined by an H-form stretcher and ending in foliate scrolled toes, h. 45”. [300/500] Illustrated 137

138

French Gilt-Bronze and Lacquered Wood Encrier, first quarter 20th century, on a pierced base set with a carnelian-colored lacquered wood platform, an inkpot with a hinged cover, a pen holder and a figure of a young man in 17th-century costume, h. 5”, w. 5‑3/4”, d. 4‑3/4”. [500/800] Illustrated

139

Pair of Exceptional Paris Porcelain Garniture Urns, first quarter 19th century, French, each decorated with a Renaissance-style portrait of a man in a tavern, with faux-marbre bases, the handles molded with anthemia and terminating in medallionmolded scrolls, the obverse decorated in the style of Percier et Fontaine, with processions of putto under a border of medallions and scrollwork framing classical masques, h. 17‑3/4”, w. 9”, d. 5‑1/4”. [3000/5000] Illustrated 136

138

139

35

140 141

142

140

Pair of Louis XIV-Style Bronze and Crystal ThreeLight Sconces, second quarter 20th century, with molded backplates and scrolled candle arms set in two tiers, the top tier set with glass spires, hung with sprays of various crystal drops, h. 17”, w. 13‑3/4”, d. 6”. [400/700] Illustrated

141

French Bronze and Crystal Eight-Light Chandelier, 20th century, in the Louis XIV taste, the bronze frame with two tiers, the lower tier interspersed with crystal spires, the upper tier set with spires, hung with sprays of drops, h. 31”, dia. 15”.

[600/900] Illustrated

36

143

142

Regence-Style Kingwood and Marble-Top Commode, early 19th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with three drawers, each with chevron veneers and three shaped panels above a shaped apron, raised on splayed legs ending in sabots, h. 37‑1/2”, w. 46”, d. 21‑1/2”. [800/1200] Illustrated

143

French Rococo Revival Gilt-Bronze Figural Mantel Clock, mid-19th century, decorated with a Roman soldier on horseback, mounted with signed Marti works, h. 16”, w. 16‑1/2”, d. 4‑3/4”. [400/700] Illustrated

144

144

Continental School (20th Century), “The Sad News”, oil on canvasboard, signed lower left “Wallace”, 21” x 16‑1/2”.

Presented in a giltwood and gesso frame. [300/500] Illustrated

145

145

Louis XV-Style Giltwood Mirror, second quarter 20th century, the molded and scroll-carved giltwood frame with a mirror inset surround, carved leaves forming the lower finial and decorating each side, the pierced crest formed from a series of C-scrolls with a leaf-carved finial, h. 48”, w. 28‑3/4”.

Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [400/700] Illustrated

146

Louis XV Mahogany Fauteuil, late 18th century, the shaped and padded back surmounted by a foliate crest and joined by padded scrolled arms to the like seat, raised on molded cabriole legs ending in scrolled toes, the whole upholstered in figural and floral-patterned needlework, h. 39‑1/2”. [400/700] Illustrated

147

Italian Painted Metal and Porcelain Six-Light Chandelier, first quarter 20th century, decorated to resemble espaliered roses, and set with metal leaves and vines interspersed with white porcelain roses, the arms also set with metal leaves, h. 18‑1/2”, dia. 16”. [400/700]

148

French Gilt-Bronze and Porcelain Two-Light Bouillotte Lamp, first quarter 20th century, of rococo inspiration, the pierced base and standard decorated with bronze leaves interspersed with porcelain flowers, the candle sockets molded with gilt-bronze leaves, set with a parchment shade, h. 25”, dia. 13”. [400/700]

146

37

149

Louis XV-Style Walnut Sofa, late 19th century, the molded and carved top rail centered by a shell-, foliateand floral carved crest, joined to open arms on shaped supports, serpentine apron and cabriole legs, h. 42”, w. 60”, d. 26”. [300/500] Illustrated

150

Louis XV Kingwood and MarbleTop Commode, mid-18th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with two long banded drawers, both with an inlaid floral spray, the sides quarter-veneered, raised on sabre legs ending in sabots, h. 33”, w. 46‑1/2”, d. 19”. [1000/1500] Illustrated

151

151

Pair of Louis XV-Style Giltwood Bergeres, second half 20th century, each with a carved crest flanked by wings extending to closed arms, serpentine seat and cabriole legs, h. 49”. [700/1000] Illustrated

150

149 38

152 153

154 155

152

Louis XV Giltwood Firescreen, fourth quarter 18th century, the molded serpentine frame ornamented with carved rocaille work, flowerheads and tendrils of leaves, and raised on cabriole legs, the Aubusson tapestry cover richly decorated with a basket and flowers, a parrot and a monkey against an arabesque ground, h. 39‑1/2”, w. 27‑3/4”, d. 13‑3/4”. [600/900] Illustrated

153

French Aubusson Tapestry, depicting a streamside village, with villagers tending gardens and harvesting, h. 5’, w. 7’.

[400/700] Illustrated

154

Pair of German “KPM” Hand-Painted Porcelain Covered Vases, fourth quarter 19th century, in the neoclassical style, trimmed with gilt and featuring couples in 18th-century costume on the obverse and bouquets on the reverse, with a red orb overglaze mark and a blue scepter underglaze mark, h. 18”, w. 10‑1/4”, d. 7‑1/4”. [1000/1500] Illustrated

155

Two-Piece Louis XV-Style Giltwood Parlor Group, comprised of a giltwood settee, early 20th century, and a beechwood bergere, mid-20th century, both upholstered in fabric with a Far Eastern decor, and each with a loose down cushion, settee, h. 39‑1/2”, w. 58‑1/2”, d. 27‑1/2”, chair, h. 39”.

[600/900] Illustrated

39

159

156

158

156

Pair of Louis XV-Style Painted and Parcel-Gilt Pedestals, first quarter 20th century, French, with cane-inset lower shelves, h. 45‑1/2”, dia. 13”. [800/1200] Illustrated

157

Louis XV-Style Ormolu-Mounted Mahogany Vitrine, early 20th century, the stepped top with a serpentine front above a conforming case fitted with glazed sides and a single door, the upper section with a serpentine glazed panel, the lower with a floral-inlaid panel, raised on sabre feet ending in sabots, the whole with ormolu mounts and millwork, h. 65‑1/4”, w. 30”, d. 15‑1/2”. [800/1200] Illustrated

158

Louis XV-Style Kingwood Bureau Plat, mid-19th century, the rectangular top with a leather inset writing surface and brass edging, above a conforming frieze fitted with a central drawer flanked to either side by a deeper short drawer, all banded and quarterveneered, raised on cabriole legs ending in sabots, h. 30”, w. 48”, d. 31”. [700/1000] Illustrated

159

157

40

French Fin de Siecle Gilt-Bronze and Cobalt Porcelain Clock Set, fourth quarter 19th century, in the Baroque style, comprising a clock and a pair of garnitures, the bronze bases with toupie feet and supporting swirl-molded cone-shaped socles fitted with parcel-gilt porcelain urns with masque-molded bronze handles, the clock with a dome-form top and set with marked A. D. Mougin works and an enamel dial, clock, h. 21‑3/4”, w. 11‑1/4”, d. 8‑1/2”, urns, h. 15‑3/4”, w. 7‑1/4”, d. 4‑3/4”. [500/800] Illustrated

162 160

161

160

Continental Rococo-Style Brass and Porcelain EighteenLight Chandelier, the brass vasiform standard decorated with scrollwork and molded feathers, and set with cobalt-ground porcelain decorated with flowers and raised gilt, set with six scrolled arms, each with three cobalt and gilt candle sockets, h. 38”, dia. 30‑1/2”. [1200/1800] Illustrated

161

Regence-Style Line-Inlaid Kingwood and Mahogany Bombe Commode, second half 20th century, the marble top over a case with a bank of three drawers, with scalloped apron and ormolu-mounted cabriole legs, h. 33‑3/4”, w. 47‑1/2”, d. 22”. [600/900] Illustrated

163

162

Manner of Jean-Antoine Watteau (French, 1684‑1721), “Lovers in the Garden”, oil on canvas, 28‑1/2” x 26”. Framed.

[400/700] Illustrated

163

Pair of Louis XV-Style Mahogany Bergeres, each with a carved crest rail extending to shaped arms, bowed seat rail and cabriole legs, upholstered in gold and beige brocade on a luminescent pale blue ground, h. 31”. [400/700] Illustrated

41

165

164

166

164

Louis XV-Style Kingwood and Marble-Top Commode, 20th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with two long drawers, each drawer and the sides with lattice-patterned veneers, raised on sabre legs ending in sabots, h. 33‑1/2”, w. 43‑1/2”, d. 20‑1/2” [800/1200] Illustrated

165

Diminutive Cream-Painted Eight-Light Chandelier, mid20th century, of Maria Theresa inspiration, dressed with fauxcrystal chains and various shaped pendalogues, electrified, h. 21”, dia. 22”. [200/400] Illustrated

42

166

Louis XV-Style Kingwood Games Table, third quarter 19th century, the banded square top with a central parquetry inlay, above a conforming frieze fitted with a small central drawer to each side and a pull-out candle slide to each corner, raised on cabriole legs ending in sabots, h. 28”, w. 31”, d. 31”. [500/800] Illustrated

167

168

167

Louis XV-Style Polychrome Bergere, early 19th century, the tall padded back surmounted by a foliate crest, joined by padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 40‑1/2”. [600/900] Illustrated

168

Hand-Painted Paris Porcelain Urn, now mounted as a lamp, with birds and flowers on a salmon ground, the blank attributed to Jacob Petit, overall, h. 36‑1/4”, w. 12‑1/4”. [300/500] Illustrated

169

Sixteen-Piece Meissen “Indische Malerei” Pattern Coffee Set, 20th century, German, comprising a coffeepot, h. 9”, a cream jug, h. 3‑3/4”, a sugar bowl, h. 3”, dia. 3”, six demitasse cups, h. 2”, six saucers, dia. 2‑1/2”, and a handled cake plate, dia. 10‑1/2”, marked with underglaze blue crossed swords.

[500/800] Illustrated

169

170

Pair of Meissen-Style Porcelain Figural FourLight Candelabra, ca. 1900, made by Voigt Brothers, Sitzendorf, Germany, decorated in pink and white with realistically rendered flesh tones, the standards decorated with sculpted roses, and holding a man and woman in 18th-century costume, the upper sections comprised of candle branches supporting leaf-molded drip pans and candle cups, decorated to match with pink sculpted roses, marked in underglaze blue with Voigt’s symbol, h. 21”, dia. 10‑1/4”.

[300/500]

171

Pair of Louis XV-Style Ormolu-Mounted Birdseye Maple and Mahogany Occasional Tables, second half 20th century, of bombe form, each with a marble top, a bank of three drawers and cabriole legs, h. 28‑1/2”, w. 19‑1/4”, d. 13‑1/4”. [500/800] Illustrated

171

43

172

Louis XV-Style Fruitwood Armoire, late 19th century, the domed cornice with a carved foliate crest, above a case with two long doors, each inset with beveled mirror glass, above a shaped carved apron, raised on foliate scrolled toes, h. 103”, w. 54”, d. 20”. [500/800] Illustrated

173

Louis XV-Style Ormolu-Mounted Kingwood and Mahogany Center Table, the top of tortoise form, in foliate and scroll inlay, the apron with like inlay, on cabriole legs, h. 30”, w. 34‑1/2”, d. 23”. [400/700] Illustrated

174

173

174

French Gilt-Bronze Mantel Clock in the Louis XV Style, fourth quarter 19th century, the lower portion of the case almost entirely composed of pierced scroll and rocaille work, a putto playing a flute and a cupid flank the standard holding the works, the crest decorated with sprays of flowers and an urn finial, the works marked by the retailer, G. Philippe, Palais Royale, h. 20”, w. 22”, d. 6‑3/4”. [2000/4000] Illustrated 172

44

177

175

178

176

176

Pair of French Fin de Siecle Gilt-Bronze Four-Light Candelabra, fourth quarter 19th century, in the rococo taste, on shell-molded bases with scrolled feet, the pierced scrolled standards with seated satyrs playing pan pipes, and issuing scrolled candle arms set with leaf-molded drip pans and egg-and-dart-molded candle cups, h. 16‑3/4”, dia. 9‑3/4”.

[300/500] Illustrated

177 175

French Gilt-Bronze Twelve-Light Chandelier of Fin-deSiecle Inspiration, 20th century, the pierced latticework lower portion set with internal prisms, and concealing three interior lights sockets, and three pairs of rose leaf-molded horizontal sockets alternating with masque-molded vertical arms set with putti, supporting trumpet-form socket holders, suspended from a ribbon-molded canopy by leaf-molded upright standards, h. 40‑3/4”, dia. 16”. [1800/2000] Illustrated

Rococo Revival Gilt-Bronze Six-Light Girandole Mirror, mid-19th century, English, the circular mirror set into a carefully detailed frame of pierced scrollwork, rocaille work, flowers and latticework, retaining significant portions of original gilt lacquer, the mirror flanked by twig-molded arms with molded grapes and grape leaves, h. 27‑1/4”, w. 26‑1/2”, d. 9”. [600/900] Illustrated

178

Pair of Giltwood and Gilt-Metal Figural Cupid Sconces, ca. 1900, probably Italian, each cupid bearing two gilt-metal flowers set with candle sockets, h. 10‑1/2”, w. 15‑1/2”, d. 5‑1/2”. [400/700] Illustrated

45

179

181

180

182

179

181

180

182

Louis XV-Style Bronze and White Enamel Mantel Clock, second quarter 20th century, Swiss, resting on paw feet, the bronze base set with an enamel platform supporting the lyreform clock, with a dial marked “Imperial, Swiss Made”, and with white enamel backing the strings and accenting the urnform finial, h. 24‑1/2”, w. 12”, d. 7‑3/4”. [300/500] Illustrated Pair of French Marble and Gilt-Bronze Garniture Urns, ca. 1900, in the Louis XV taste, the serpentine bases set on paw feet, and supporting inverted pear-form bodies composed of mottled pink and gray marble, set with pierced rococo handles, and a pierced bronze rim securing the marble covers with feather-molded knops, h. 23‑1/2”, w. 11‑1/2”, d. 7‑1/4”.

[1000/1500] Illustrated

46

Regence-Style Kingwood and Marble-Top Commode, late 20th century, the shaped marble top above a conforming bombe case fitted with two long drawers, both with applied ormolu mounts and a central starburst inlay surrounded by parquetry inlay, raised on sabre legs, h. 33”, w. 48‑1/2”, d. 21‑1/4”. [300/500] Illustrated Louis XV-Style Kingwood and Exotic Woods Bureau Plat, early 20th century, the shaped rectangular top with an elaborate scroll inlay within a brass edging, above a conforming frieze fitted with a central drawer flanked to either side by a small drawer, raised on cabriole legs ending in sabots, h. 31”, w. 43”, d. 22”. [700/1000] Illustrated

185

183

187

185

184

Unusual Pair of Chinoiserie-Decorated Polychrome Vases, third quarter 19th century, probably French, inspired by earlier Chinese export vases, with flower-decorated bases on a cobalt ground with gilt vermicelli, the obverses with hand-painted panels of Mandarin figures and the reverses with vases of flowers, the covers set with Mandarin knops, h. 18”, w. 6‑1/4”, d. 4‑1/2”. [500/800] Illustrated

186 183

Pair of Louis XV-Style Brass Three-Light Sconces, third quarter 20th century, the rocaille backplates issuing conforming candle arms and cups, hung with cut glass prisms, h. 28‑1/2”, w. 15”, d. 6”. [200/400] Illustrated

184

Louis XV-Style Gilt and Polychrome Marble-Top Commode, mid-19th century, the bowed marble top with a molded edge, above a bombe case fitted with two drawers, decorated in Chinoiserie gilt and gesso patterns, raised on sabre legs ending in sabots, h. 33‑1/2”, w. 32”, d. 15‑1/2”.

[700/1000] Illustrated

Louis XV-Style Chinoiserie-Decorated Bombe Commode, early 20th century, the serpentine marble top on a case with a pair of drawers over a scalloped apron, raised on cabriole legs, decorated in the Japonesque taste on a brown ground, h. 32‑1/4”, w. 25‑1/2”, d. 15‑1/2”. [300/500]

187

Pair of Restauration Patinated Bronze Four-Light Candelabra, second quarter 19th century, in the chinoiserie taste, on tripartite bases molded as altars with pilasters flanking a seated figure under arches with temple bells, the figures dressed in clothing blending Western and Chinese tastes, the leaf-molded standards holding “wood”-molded candle cups under leaf-molded drip pans, h. 22‑3/4”, dia. 8”. [700/900] Illustrated

47

191

190

188

Louis XV-Style Ebonized and Marquetry-Inlaid Dining/ Conference Table, early 20th century, the top with a banded and inlaid perimeter, above a shaped apron and cabriole legs, with a conforming skirted leaf, h. 32”, w. 44‑1/2”, l. 64”, extended l. 81‑1/2”. [500/800]

189

Pair of Porcelain Garniture Vases with Chinoiserie Decoration, second quarter 19th century, probably English, now mounted as lamps, each decorated with a panel of Mandarin figures on a cobalt ground trimmed with gilt, on pierced wooden bases and fitted with shades, vase, h. 13‑1/2”, overall, h. 27‑1/2”, dia. 14‑1/2”.

Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [400/700]

190

Empress Dowager Cixi (Chinese, 1835‑1908), “Phoenix on a Rocky Outcrop”, gouache on paper, 33‑1/4” x 17”. In a contemporary giltwood frame.

[600/900] Illustrated

191

Japanese Meiji Period Bronze Floor Lamp, fourth quarter 19th century, on pierced bronze leaf-form feet, the boldly molded lamp decorated with dragons and birds in branches, and leaf-molded piercings, now mounted with an upper wooden standard and electrified, h. 54‑1/2”, dia. 11‑1/2”. [400/700] Illustrated

48

193

197

195

192

Five Chinese Lacquer and Giltwood Carvings, 19th/20th century, including four gilded red lacquer foo dogs and a rectangular frieze depicting foo dogs, h. 2” to 7”, w. 5‑1/2” to 13‑1/8”. [400/700]

193

196

Framed Tibetan Polychrome Thangka, 19th century or earlier, painted on silk, the lower portion painted with four imposing deities, a tara figure painted in the central medallion, with Buddhas floating on clouds in the upper portion, in a contemporary giltwood frame with a silk matte, h. 39”, w. 27‑3/4”. [1500/2500] Illustrated

194

Continental Leather Chinoiserie FourPanel Floor Screen, first quarter 20th century, the tobacco brown ground decorated with polychrome panels of Mandarin figures at pagodas, birds and moths on prunus branches, and pots of flowers, overall, h. 78‑1/2”, w. 80”.

[500/800] Illustrated

195

Japanese Satsuma Trumpet-Form Vase, fourth quarter 19th century, decorated with immortals, on a black composition stand, h. 8‑1/4”, dia. 4”. [500/800] Illustrated

196

Japanese Lacquered Box, ca. 1900, decorated with plum branches and mountains on a stippled ground, h. 5‑1/4”, w. 7‑3/4”, d. 5”.

[500/800] Illustrated

197

Pair of Chinese Hardstone Libation Cups, 19th century, set with rectangular handles with scrolled ends, h. 2”, w. 4‑1/4”, d. 2‑3/4”.

[500/800] Illustrated

194

49

200

201

198

Handsome Pair of Tiffany Studios “Buddha” Bronze Bookends, first quarter 20th century, New York, with a gold dore finish, marked “Tiffany Studios, New York, 1025” on the bottom, h. 6”, w. 4‑3/4”, d. 5‑1/2”. [400/700]

199

Fine and Large Japanese Couched Silk Embroidered Panel, Meiji period (1868‑1912), ca. 1900, depicting a peaceful springtime scene of ducks drifting across a tranquil temple pond, the lush landscape replete with tall pampas grasses, pine trees, willows, and flowering prunus boughs, backed with cream silk satin and edged with gold silk cord, h. 71‑1/4”, w. 63”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [400/700]

200

Chinese Patinated Bronze Buddha, 19th century, the seated figure elaborately garbed and with a rat on his knee, retains traces of old gilding, h. 13‑1/4”, w. 7‑3/4”, d. 6‑1/4”. [700/1000] Illustrated

201

Far Eastern Tropical Hardwood and Elm Chest, ca. 1900, the case with a pair of paneled doors over drawers, all with brass pulls and backplates, h. 5‑1/2”, w. 36”, d. 17‑1/8”. [400/700] Illustrated

202

Chinese Watercolor on Paper Scroll, late Imperial period, 18th century, decorated with a vertical mountainscape nestled with houses, bamboo and trees dotting the landscape, a figure with a staff standing in the foreground, on a later silk backing, h. 63‑1/2”, w. 19”. [500/800]

203

Chinese School (Late 19th/Early 20th Century), “Sages in a Landscape”, ink on paper, seal lower right, unsigned, 65‑1/4” x 21”. Unframed. [500/800] Illustrated 203 50

207 one of two

204

208

204

Chinese Carved Hardstone Figure of Two Mandarin Boys, second quarter 20th century, mounted as a lamp on a metal chinoiserie base, and fitted with a shade, base, h. 17‑1/2”, overall, h. 30”, w. 16‑1/2”, d. 13”.

[400/700] Illustrated

205

Chinese Six-Panel Coromandel Lacquer Folding Screen, Qing Dynasty (1644‑1911), probably 19th century, the black carved and painted lacquer folding screen depicting figures on an elegant terrace depicting the wedding party of scholar, Liu-Yi, the reverse with cranes and vine-wrapped pink limbs on a rocky outcrop, accompanied by a Certificate of Antiquity, Hong Kong, 1985, each panel, h. 84”, w. 16”, overall, w. 96”. [600/900] Illustrated

206

Pair of Chinese Reverse Paintings on Mirror Plates, ca. 1900, decorated with polychrome Chinese figures riding birds, leading an elephant, riding a donkey and riding a deer, in grain-painted frames, h. 47‑1/2”, w. 18‑1/4”. [500/800]

207

Pair of Japanese Needlework Pictures, second quarter 20th century, the images depicting fishermen carrying their baskets, one carrying a paper lantern, in lacquered frames, h. 16‑1/2”, w. 13‑1/2”. [500/800] Illustrated

208

Japanese Bronze Vase, Meiji period (1868‑1912), with a lobed body, the trumpet-form neck decorated with a dragon and fans around the upper rim, h. 18‑1/4”, dia. 10‑3/4”. Provenance: The Estate of Madeleine Lotterhos Atwell, Jackson, Mississippi. [300/500] Illustrated 205 51

210

212

211

209

211

210

212

Pair of English Painted Tole Tea Canisters, second half 19th century, now mounted as lamps, decorated with gilt and black Chinese characters framed with matching borders and the number “13”, overall, h. 24‑1/4”, dia. 9”. [300/500] Chinese Painted and Parcel-Gilt Miniature Temple, mid20th century, mounted as a lamp, the lozenge-form base painted with a landscape, and holding a pierced and carved parcel-gilt upper tier, base, h. 18”, overall, h. 38‑1/2”, w. 15”, d. 6‑1/4”. [400/700] Illustrated

52

Good Pair of Chinese Black-Lacquered Horseshoe-Form Armchairs, late 19th century, beautifully decorated with dragons, phoenix birds and gilt tracery simulating cloisonne enamel, h. 40”. [400/700] Illustrated Pair of Chinese Painted Terracotta Covered Ginger Jars, 20th century, the red-ground vessels with oval panels of European landscapes on the obverse, in a field of painted moths and flowers, the matching covers with chicken-form knops, h. 29‑1/2”, dia. 10”. [800/1200] Illustrated

213 one of four

213

215 eight of eighteen

Four French Enameled Copper Plates Depicting Chinese Figures, mid-20th century, made by Albert Gilles (French, 1895‑1979), the raised copper plaques decorated with polychrome enamel on a hammered copper ground, two marked “A. Gilles”, in beechwood frames, h. 26”, w. 19”. [1500/2000] Illustrated

214

Pair of Chinese Lacquered Bamboo Stacking Baskets, second quarter 20th century, lacquered in iron-red and black on the sides, the covers decorated with a pair of warriors on horseback on one, and Mandarin figures on the other, h. 22”, dia. 19‑1/4”. [400/700] Illustrated

215

Utagawa Kunisada (Toyokuni III) (Japanese, 1786‑1864), eighteen ukiyo-e color woodblocks from an untitled series of actors and kabuki scenes, pages inscribed and in loose single, diptych, and quadriptych oban format, 13‑7/8” x 9‑3/8”. [600/900] Illustrated

214

53

216

219

218

217

220

216

218

217

219

Pair of Blown Glass Vases, first quarter 20th century, probably Czech, mounted as lamps, composed of emerald green glass with colorless handles and decorated with gilt flowers, raised on reeded brass bases, h. 24”, dia. 5”. [300/500] Illustrated Chinese Carved Jade Figure of a Rabbit, 20th century, the dark green rabbit sitting on his haunches and clutching a peach, h. 3‑1/8”.

Provenance: The Estate of Alvin Richard Christovich, New Orleans, Louisiana. [500/800] Illustrated

Chinese Green and Brown Molded Vase, second quarter 20th century, now mounted as a lamp, and fixed with a shade, vase, h. 13‑1/5”, overall, h. 24‑1/4”, dia. 13”. [400/700] Illustrated Chinese Export Porcelain Baluster-Form Vase in the Famille Vert Palette, ca. 1900, now mounted as a lamp, decorated with Mandarin figures and mounted with a shade, on a wooden base, vase, h. 23”, overall, h. 35‑1/2”, dia. 14‑1/4”. [500/800] Illustrated

220

Chinese Cloisonne Hexagonal Covered Vase, first quarter 20th century, decorated with flowers, h. 5‑1/2”, dia. 3”.

[400/700] Illustrated

54

221

Suite of Four Chinese Export Paintings, 19th century, depicting “Mandarin Figures”, each gouache on paper, sight 11‑1/2” x 6‑3/4”. All glazed, handsomely matted and framed alike.

[500/800]

222

226

Utagawa Kunisada (Toyokuni III) (Japanese, 1786‑1864), three color woodblock prints, vertical, chuban, including: No. 30 “View of Hamamatsu”, 1838, publisher Sanoya Kihei (Kikakudo) and No. 52 “View of Ishibe”, 1838, publisher Moriya Jihei (Kinshodo), from the series “Fifty-three Stations of the Tokaido Road”, the first two 9‑1/8” x 6‑3/4”, the last 9‑1/2” x 6‑3/4”, each glazed, matted and framed.

Provenance: Uchida Art Co. LTD., Kyoto, Japan, and “Chapter 27, Kagaribi”, 1853, from the series “The Color Print Contest of a Modern Genji”, publisher Sanoya Kihei (Kikakudo).

[300/500]

223

Korean Metal-Mounted Elmwood Tansu Chest, 19th century, the highly figured elmwood case with dramatic metal mounts, the double cabinet doors over one short drawer, all resting on scroll-decorated rails, h. 30‑5/8”, w. 35‑5/8”, d. 17‑1/8”. [300/500] Illustrated

224

Pair of Chinese Hardwood Cabinets, Qing Dynasty (1644‑1911), 19th century, each fitted with a pair of paneled doors, above three drawers, fitted with pierced gilt-brass closures and a mottled green and white jade ornament, the shelved interior with two drawers. h. 71‑1/2”, w. 43‑1/2”, d. 21‑1/2”. [1000/1500] 225

225

Pair of Chinese Pottery Vases, 20th century, now mounted as lamps, with painted blue peonies and birds on a yellow ground, on black wooden bases and fitted with ecru silk shades, vase, h. 14”, overall, h. 28”, dia. 5‑1/2”.

Provenance: Merryl Israel Aron, New Orleans, Louisiana. [400/700] Illustrated

226

Hu Yongkai (Chinese, b. 1945), “The Art of Seduction”, gouache, watercolor and ink on paper, signed and inscribed, 28‑1/2” x 28‑3/4”.

Glazed, matted and framed. [1000/1500] Illustrated

223 55

227

Pair of Chinese Export Porcelain Two-Part Pierced Lanterns, first quarter 20th century, decorated with peonies and scrollwork on a turquoise, yellow and iron-red ground, h. 12‑1/4”, dia. 6”. [500/800] Illustrated

228

Pair of Chinese Porcelain Plaques, second quarter 20th century, the polychrome portraits of a seated man and woman, signed in characters and in black-lacquered frames, h. 13‑3/4”, w. 10”. [600/900] Illustrated

229

Pair of Chinese Export Porcelain Wall Pockets, first quarter 20th century, decorated with shrimp, seaweed and characters, h. 10‑3/4”, w. 3”, d. 1‑1/2”. [600/900] Illustrated

230

Pair of Chinese Hardstone Trees in Cloisonne Enamel Planters, 20th century, the petals of green, coral, white, purple and turquoise-colored hardstone, h. 10‑1/4”, w. 5”.

[400/700] Illustrated

227 228

229

56

230

232

234

231

Four Chinese Porcelain Plaques, 20th century, each of the finely painted porcelain panels depicting a scene of birds and flowers, each in a pierced and carved frame decorated with auspicious symbols, inscribed and marked “Liu Yucen” (1904‑1969), plaque, h. 28‑5/8”, w. 8‑1/4”, overall, h. 47”, w. 14”. [1200/1800]

232

Chinese Blue and White Vase, ca. 1900, decorated with bas-relief ducks and flowers, h. 15‑1/4”, dia. 7”. [700/1000] Illustrated

233

Chinese Watercolor “Ancestor” Portrait, mounted on a silk-edged scroll, the portrait of a male dressed in elaborate silk robes, h. 52‑1/2”, w. 22”. [300/500] Illustrated

234

Large Japanese Blue and White Ceramic Sake Cask, early 20th century, molded with simulated ropes and wrapping overall, the brewery logo and assorted decoration above the spigot orifice, “No. 2” painted on top and Japanese characters on the reverse, the corkwrapped top stopper molded as knotted rope, h. 19‑1/2”, dia. 16”. [400/700] Illustrated

233

57

235

English Japanned Dressing Mirror in the Queen Anne Style, 20th century, with a bolection front drawer under a slant lid interior, the mirror with a molded surround, decorated with raised gilt Mandarin figures on a Chinese red ground, h. 38‑1/2”, w. 17”, d. 12‑1/4”. [300/500] Illustrated

236

George II-Style Polychrome Cabinet-on-Stand, 19th century, in the oriental taste, the rectangular case fitted with two doors opening to a shelved interior and with etched brass hardware in the Asian taste, each door with polychrome scenes of figural cityscapes, raised on a stand of cabriole legs headed by foliate carving and ending in like feet, h. 60”, w. 40‑1/2”, d. 23”. [1000/1500] Illustrated

237

George III Ebonized Chinoiserie Cabinet, early 19th century, the broken molded cornice above a case fitted with two doors, the lower section fitted with two cabinet doors, raised on bun feet, the whole richly decorated with gilt and polychrome figural scenes in the chinoiserie taste, h. 88”, w. 39”, d. 20”. [1000/1500] Illustrated

235

236 237 58

240

Pair of Chinese Export Palace-Sized Vases, 20th century, on black-lacquered stands with pierced skirts and cabriole legs, vase, h. 38”, dia. 18”, overall, h. 77‑1/2”. [1500/2500] Illustrated

238

238

Regency-Style Side Table, in the chinoiserie taste, decorated with raised Mandarin figures on the top, with brass feet, h. 30‑1/2”, w. 28‑1/4”, d. 16”. [500/800] Illustrated

239

Pair of Mahogany, Faux-Bois and Ebonized Cabinets, early 20th century, in the Adam taste, each with a rectangular top with deeply canted corners and three ebonized panels with gilt floral accents, above a conforming case fitted with three drawers over four paneled cupboard doors, each inset with an ebonized panel with like accents, raised on toupie feet, the whole with gilt band accents, h. 32”, w. 56”, d. 25”. [1800/2500] Illustrated 240

239 pair

59

241

Chinese Export Lacquered Secretary Dressing Cabinet, early 19th century, the scrolling crest centered by a shell carving and above two doors opening to a variety of drawers and cupboards surrounded by a central mirrored cabinet, over a removable box section, the top bisected and opening to various storage compartments, two lidded, over a single long drawer, the box removing to a plain surface, raised on cabriole legs ending in paw feet, the whole richly decorated in delicate gilt patterns in the chinoiserie taste, h. 61‑1/2”, w. 26”, d. 25‑1/2”. [500/800] Illustrated

242

English Chippendale-Style Giltwood Pier Mirror, second quarter 20th century, the handsome pierced surround carved with rocaille work and flowerheads, the crest decorated with incised diapering and a shell finial, the upper plate set with an eglomise black- and gilt-painted Mandarin scene, h. 87‑1/2”, w. 39‑1/2”. [800/1200] Illustrated

243

Japanese Imari Small Punch Bowl, ca. 1900, the gilttrimmed bowl decorated with a bird in the center, and orange and blue peonies and various flowers on the sides, h. 3‑3/4”, dia. 10‑1/4”. [600/900] Illustrated

244

Chinese Export Gilt-Bronze-Mounted Porcelain Vase, the mid-18th-century vase decorated with hand-painted panels on a powder blue ground, featuring figures, grapes, peonies, bamboo and prunus, and set with French gilt-bronze mounts, first quarter 20th century, including an egg-and-dart-molded base, h. 27”, dia. 7”. [2000/4000] Illustrated

242

243

244

60

241

245

Pair of Chinese Export Gilt-BronzeMounted Vases, fourth quarter 19th century, the rococo-style porcelain vases decorated with panels of handpainted flowers in vases, with French gilt-bronze mounts, h. 9”, dia. 3‑3/4”.

[1000/1500]

246 246

Pair of Aesthetic Porcelain Vases, fourth quarter 19th century, English, attributed to Christopher Dresser, probably made by Minton, the turquoise blue ground vase “tied” with an obi, decorated to mimic cloisonne, the borders trimmed with Japanese meanders, unmarked, h. 6”, w. 5”, d. 4”.

[400/700] Illustrated

247

Group of Six Chinese Paintings, fourth quarter 19th century, inks and color on paper, including five palace interiors and garden court scenes, and an imperial boating party, sight 4‑1/4” to 6‑1/2” to 7‑1/4” to 9‑1/4”. Glazed, sight-matted and framed. [1000/1500] Illustrated

248

Pair of Queen Anne-Style Mahogany Armchairs, early 20th century, each with a shaped splat and arms, and cabriole legs joined by an H-form stretcher, h. 40‑3/4”. [400/700]

249 247 one of six

Unusual Pair of Queen Anne Mahogany Fold-Over Games Tables, 18th century, each with a scalloped top and tooled leather interior, and raised on slender cabriole legs ending in pad feet, h. 28‑1/2”, w. 37”, d. 18”, extended l. 36”.

[800/1200] Illustrated

250

Pair of Queen Anne-Style Walnut Sidechairs, each with a padded shaped back above the padded saddle seat, raised on cabriole legs ending in pad feet, h. 41‑1/2”. [300/500]

249

61

251

Suite of Four Queen Anne Oak Sidechairs, 18th century, each with a shaped and back-scrolled crest above a baluster-form splat, the padded seat raised on cabriole legs joined by a turned H-form stretcher and ending in pad feet, h. 41”.

[500/800] Illustrated

252

Four-Piece Collection of English Blue and White Porcelain, including a Worcester salad bowl, molded with scrollwork and basket-weave, printed with flowers and marked with a solid crescent, fourth quarter 18th century, h. 2”, dia. 9”, a shell dish attributed to Worcester, decorated with flowers and a bird, with a Worcester-type workman’s mark, fourth quarter 18th century, h. 4‑1/2”, w. 4‑1/2”, and a Booth’s “Old Pheasant” pattern tureen and ladle, ca. 1906‑1912, h. 8”, w. 14”, d. 8‑1/4”. [400/700] Illustrated

252

253

Chippendale-Style Painted and Distressed Console Table, with a carved backboard, shell-carved apron and cabriole legs on ball-and-claw feet, h. 38‑1/2”, w. 59‑1/4”, d. 25”. [500/800] Illustrated

253

251

62

256

254

254

Exceptional Pair of English Neoclassical Pearlware Footed Baskets and Underplates, fourth quarter 18th century, oval in form, the borders with pierced arcading and swag-molded over a border of acanthus leaves, the pateraform bases molded with basketweave centers, the “China blue” stands molded to match the baskets, h. 3‑1/2”, w. 12”, d. 10”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [500/800] Illustrated

255

255

Striking Maitland Smith Secretary of Queen Anne Inspiration, the surface brass inlaid and veneered in tessellated stone, the fitted bookcase top with an arched broken pediment, the desk interior fitted and labeled in the drawer, on bracket feet, h. 84‑1/2”, w. 35”, d. 21‑3/4”.

[3000/5000] Illustrated

255 detail

63

257

260

256

Pair of Georgian-Style Cut and Molded Glass ThreeLight Sconces, 20th century, on chromed backplates with gadrooned edges, each with three molded arms holding prism-hung bobeches and vasiform candle cups, strung with festoons of drops, electrified, h. 20‑1/2”, w. 17‑1/2”, d. 7‑1/2”.

[300/500] Illustrated

257

Pair of Queen Anne-Style Mahogany Wing Chairs, each with a barrel back, loose seat cushion and shell-carved cabriole legs on pad feet, h. 44”. [600/900] Illustrated

258

George III Mahogany Secretary Bookcase, fourth quarter 18th century, the dentillated and pierced broken swan’sneck pediment above two astragal-glazed doors, in Gothic patterns, the lower section fitted with a pull-out secretary drawer opening to a variety of drawers and cubbyholes, over a carved gadroon banding and two paneled cupboard doors opening to a compartmented folio holder to one side, raised on a plinth base, h. 99”, w. 47”, d. 21”. [1500/2500] Illustrated

259

George III-Style Mahogany Server, early 19th century, the rectangular top above a case fitted with a single long drawer over two short drawers, raised on tapering square legs, h. 30”, w. 36”, d. 22”. [400/700]

260

258

64

English Colonial Revival Mahogany and Parcel-Gilt Mirror, first quarter 20th century, in the Chippendale style, with gilt bellflower festoons on each side and a gilt-trimmed swan’s neck pediment with a flower basket finial, h. 47”, w. 20”. [300/500] Illustrated

261

George III-Style Mahogany Bachelor’s Chest, 19th century, the case with a slide over four graduated drawers, on bracket feet, h. 31‑3/4”, w. 36”, d. 18‑3/4”.

[500/800] Illustrated

262

261

George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with two 18” leaves, raised on two pedestals, each with a spiral-ribbed and turned standard to three splayed and reeded legs ending in brass paws on casters, h. 29”, w. 47”, l. 48”, extended l. 84”. [600/900]

263

Suite of Ten Georgian-Style Mahogany Armchairs, comprised of a pair of armchairs and eight sidechairs, each with a ribbon-carved back and Marlborough legs joined by stretchers, h. 37‑1/4”. [800/1200] Illustrated

264

George III-Style Mahogany Sideboard, 20th century, the shaped and bowed top banded and above a conforming case fitted with a central drawer flanked to each side by a cupboard, all banded and with inlaid line accents, raised on tapering square legs ending in spade feet, h. 36”, w. 64”, d. 24‑1/2”. [400/700] Illustrated

265 263

Pair of Chinese Export Baluster Vases, ca. 1900, decorated with polychrome Mandarin figures on the front and characters on the rear, h. 16‑3/4”, dia. 7”.

[400/700]

264

65

266

George III-Style Camelback Sofa, late 19th century, the domed and padded back joined by outscrolled arms to the cushioned seat, raised on chamfered square legs joined by H-form stretchers, upholstered in celadon ultrasuede, h. 34”, w. 84”, d. 31”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

267

George III Figured Mahogany Tall Case Clock, first quarter 19th century, the brass face engraved “Adam Pringle, Edinburgh”, with a broken-arch pediment with brass eagle finial, and time and strike movement, h. 83”, w. 17‑1/2”, d. 9”.

[500/800]

268

Pair of Anglo-Irish Panel-Cut Glass Sweetmeat Dishes, second quarter 19th century, on star-form bases with flaring bowls, the covers with spire-form finials, h. 19‑1/2”, dia. 7”.

Provenance: Merryl Israel Aron, New Orleans, Louisiana.

[400/700]

269

269

Pair of English Molded Glass and Metal Two-Light Candelabra, second quarter 20th century, in the Regency taste, with molded diamond-point bases, and rope-twist arms supporting molded prism-hung drip pans and candle cups, the central standards set with molded feathers in lieu of candles, electrified, h. 19‑1/2”, w. 13‑1/2”, dia. 4‑3/4”.

[400/700] Illustrated

270

George III-Style Mahogany Sideboard, early 19th century, the banded and bowed top above a conforming case fitted with a central drawer flanked to one side by two drawers and to the other by a single deep drawer, raised on tapering square legs ending in spade feet, h. 35‑1/2”, w. 60”, d. 28‑1/2”. [500/800] Illustrated 270

266 66

271

Pair of English Inlaid Mahogany Knife Boxes, ca. 1800, in the Hepplewhite style, the serpentine fronts with vertical line inlay and set with silverplated fittings, the slanted covers with like inlay and rosewood crossbanding, the interiors with fittings, h. 15‑1/4”, w. 9”, d. 12”. [1200/1800] Illustrated

272

Suite of Ten George III-Style Mahogany Dining Chairs, consisting of two armchairs and eight sidechairs, all with a shaped tassel-carved crest above a pierced and interlacing garlandcarved splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 39”. [800/1200] Illustrated

273

271

George III-Style Mahogany Dining Table, the rounded rectangular top banded and raised on three pedestals, each with a beehive-modeled standard to three splayed legs headed by foliate carving and ending in brass paws on casters, with two 17‑1/2” leaves, h. 30”, w. 48”, l. 104”, extended l. 136”. [1500/2000] Illustrated

272

273 67

277

278

274

Group of Two George III Mahogany Tripod Tables, fourth quarter 18th century, each with a tilting dished piecrust top raised on a turned and spiral-ribbed columnar standard to three splayed legs ending in pad feet, h. 30”, dia. 27” and h. 27”, dia. 29‑1/2”. [300/500] Illustrated 274

275

George III-Style Mahogany Tripod Table, 19th century, the tilting shaped piecrust-form top raised on a turned and graduated circular standard to three splayed legs ending in pad feet, h. 26‑1/2”, dia. 25‑1/2”. [300/500]

276

Large George III-Style Mahogany Armchair in the Chippendale Taste, ca. 1900, with a shell- and tassel-carved crest rail and pierced splat, the open arms with scroll ends and cabriole legs on ball-and-claw feet, h. 40”. [400/700] Illustrated

277

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

[500/800] Illustrated

278

Chippendale-Style Giltwood Mirror, 20th century, with a rocaille- and vine-carved pierced rococo surround, h. 42‑1/2”, w. 26‑1/2”. [500/800] Illustrated

276 68

279

Pair of Georgian-Style Mahogany and MarbleTop Side Tables, early 20th century, each with a long rectangular breakfront marble top above a conforming scalloped frieze fitted with three drawers, raised on molded tapering square legs headed by bellflower carving and ending in spade feet, h. 35”, w. 89”, d. 24‑1/2”. [1200/1800] Illustrated

280

Good Chippendale-Style Mahogany Secretary, first half 20th century, the foliatecarved broken swan’s neck pediment above a finely carved acanthine frieze, with two astragalglazed doors below, the lower section fitted with a slant front opening to an inset fabric writing surface and a variety of drawers and cubbyholes flanking a central cupboard, with two short drawers and three graduated long drawers below, raised on foliate-carved ogee-molded bracket feet, h. 92”, w. 38”, d. 22”. [600/900] Illustrated

281

George III Mahogany Side Table, fourth quarter 18th century, the bowed top above a conforming frieze fitted with a single drawer to either end, raised on chamfered square legs, h. 31‑1/2”, w. 56‑1/2”, d. 24”. [700/1000]

282

George III Inlaid Mahogany Oval Pembroke Table, ca. 1800, one bowed end with a hidden drawer lined with blue paper, h. 28”, d. 32‑1/2”, l. 20‑1/2”, extended l. 38‑3/4”. [400/700]

280

279 pair

69

284

285 283

283

After Thomas Phillips (British, 1770‑1845), “Portrait of William Battine (1765‑1836), Esquire, LL.D, Fellow of the Royal Society”, oil on canvas, unsigned, sitter identified in old lettering en verso canvas, after the 1803 portrait in the collection of the National Trust, England, 30” x 26”. In an antique gesso and giltwood frame. [700/1000] Illustrated

287

George III Mahogany Games Table, early 19th century, the D-form top hinged and opening to a larger surface, with an inlaid edging, above a conforming banded frieze, raised on tapering square legs, h. 29”, w. 39‑1/2”, d. 17‑1/4”. [300/500] Illustrated

284

Set of Nine Swedish Leather Decorative Bindings, Malmo: Baltiska Forlaget, 1925, including works by Ivan Turgenev, Karl Emil Franzos, Gustav Frenssen, Honore de Balzac and H. Rider Haggard, Swedish text, in uniform crown octavo bindings, tan half calf with embossed fillet on marbled boards, the spines with raised bands, brown panels and gilt lettering, rule and decoration, the edges cut, the top edge tinted, 7‑1/2” x 5‑1/4”.

[400/700] Illustrated

285

Albert Engstrom (1869‑1940), Works, a collection of the works of the noted Swedish author and artist, including his satirical cartoons, Stockholm: Albert Bonniers, 1939‑1950, compete in twenty-five volumes, crown octavo, in brown mottled half calf on marbled boards with embossed fillet, the spines with raised bands, brown panel, gilt rule and lettering and black decoration, the edges cut, the top edges gilt, 7‑1/2” x 5‑1/4”. [400/700] Illustrated

286

Five-Piece Collection of Shoe-Form Snuff Boxes, 18th century, English and Continental, including the largest, carved with a name on the bottom picked out in brass tacks, a wooden shoe with incised carving, initials on the lid picked out in brass tacks, a brass shoe with seamed construction with a hinged lid, and two papier-mache boxes with hinged lids, one with a portrait on the lid and the other decorated in the Asian fashion, the largest, h. 1‑3/4”, w. 6”. [400/700]

70

287

288

George III-Style Mahogany Breakfront Bookcase, mid-19th century, the molded cornice above a drop finial-carved frieze, over a case fitted with four astragal-glazed doors, the lower section with a banded top over three drawers and four cupboard doors, all inset with an oval panel, raised on a plinth base, h. 95‑1/2”, w. 65”, d. 19”.

[1500/2500] Illustrated 289

289

Georgian-Style Mahogany Sideboard in the Hepplewhite Taste, with a serpentine top case, the top, drawers and doors edged with contrasting crossbanded veneers, h. 36”, w. 64”, d. 20”. [400/700] Illustrated

290

George III-Style Mahogany Dining Table, the rounded rectangular banded top supported by two pedestals, each with a turned columnar standard to four splayed legs ending in brass caps on casters, h. 30”, w. 48”, l. 82”. [700/1000]

291

Pair of George III-Style Marquetry-Inlaid Mahogany Pembroke Tables in the Hepplewhite Taste, fourth quarter 20th century, each with an inset tooled leather top flanked by like demi-lune drop leaves, a frieze drawer and bellflower-inlaid legs, h. 28”, d. 25”, l. 19‑1/2”, extended l. 39‑1/2”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [500/800]

288 71

292

Pair of Chinese Export Porcelain Cylindrical Vases, ca. 1900, decorated in orange and green with a lotus pond, inhabited with cranes and ducks, marked on the base, h. 12”, dia. 7”. [400/700] Illustrated

293

Pair of Charming Chinese Export Miniature Famille Rose Vases, ca. 1800, with applied rats and grapes at the neck, on faux-bois stands, h. 4‑1/4”, w. 1‑3/4”. [800/1200]

294

292

Chinese Export Porcelain Baluster-Form Vase, 20th century, now mounted as a lamp, decorated with iron-red figures and scrollwork, and mounted with a shade, on an ebonized base, vase, h. 17‑1/4”, overall, h. 32”, dia. 13‑1/2”. [400/700]

295

Pair of Chinese Export Rose Medallion Porcelain Covered Garniture Vases, 20th century, decorated with Mandarin scenes and peonies, with foo dog knops and handles, h. 21”, dia. 7”. [700/1000] Illustrated

296

George III-Style Baker Furniture Mahogany Side Table, the banded rectangular top hinged and opening to a larger surface, above a conforming frieze fitted with three short drawers, raised on chamfered square legs headed by inlaid patera, h. 30”, w. 72”, d. 19”. [700/1000] Illustrated

295

296 72

298

297

297

George III Brass-Mounted Oak and Mahogany Tall Case Clock, late 18th century, the hood with a swan’s-neck pediment, brass rosettes and string-inlaid details, the painted face with floral corners, h. 87”, w. 24”, d. 10”. [400/700] Illustrated

298

George III Banded Mahogany Server in the Hepplewhite Taste, ca. 1800, the serpentine front with a single drawer in the center and flanked by a deep in-curved drawer on the left and a cabinet on the right, the brass lock engraved “I. BramahPatent”, h. 36”, w. 53”, d. 25”. [700/1000] Illustrated

299

299

Two George III Mahogany Tripod Tables, fourth quarter 18th century, the smaller table with a tilting circular top with a molded raised edge, and supported by a turned spiral-ribbed columnar standard to three splayed legs headed by acanthine carving and ending in pad feet, h. 27”, dia. 20”, and the larger table with a tilting circular top raised on a ring-turned and spiral-fluted standard to three splayed legs headed by foliate carving and ending in ball-and-claw feet, h. 30”, dia. 29”.

[300/500] Illustrated

73

300

George III Mahogany Tilt-Top Tea Table, third quarter 19th century, with a dish top, spiral-reeded pedestal and pad feet, h. 27‑1/2”, dia. 24‑1/2”. Provenance: Stair & Co., New York. [400/700] Illustrated

301

George II-Style Parcel-Gilt Mirror, 20th century, the leaf-carved surround with gray-painted inset panels and gilt medallions, set with a beveled mirror plate, the crest carved with a central shell and sprays of laurel leaves, h. 36‑1/2”, w. 24‑1/2”. [400/700] Illustrated

302

George II-Style Giltwood Torchere, ca. 1900, English or Continental, the bombe base resting on paw feet and ornamented with angel’s heads, the tapered pedestal with fluting and carved laurel swags under Ionic capitals, the top in the form of a reeded urn trimmed with carved leaves, h. 61‑1/2”, dia. 11”. [500/800] Illustrated

300

301

302 74

308

307

303

Chippendale-Style Mahogany and Marble-Top Console Table, the rectangular white marble top over a shell-carved frieze, raised on shaped reeded legs, h. 35”, w. 41”, d. 22”. [400/700] Illustrated

304

George III-Style Mahogany Stool, the padded rectangular top raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 20”, w. 24”, d. 18”. [300/500]

305

Tabriz Silk Carpet, 5’ 2” x 7’ 5”. [800/1200]

306

Turkish Angora Oushak Carpet, 7’ 9” x 10’ 1”.

[700/1000]

307

Laristan Sultanabad Carpet, 8’ x 10’. [800/1200] Illustrated

308

Bamboo Silk Carpet, 8’ x 9’ 8”. [1200/1800] Illustrated 303

75

309

311

76

312

313

309

Semi-Antique Mashad Carpet, 9’ 4” x 12’ 9”. [500/800] Illustrated

310

Turkish Angora Oushak Carpet, 5’ 9” x 8’ 4”. [400/700]

311

Semi-Antique Kerman Carpet, 11’ 8” x 17’ 4”. [800/1200] Illustrated

312

Turkish Angora Oushak Runner, 2’ 7” x 28’ 10”. [600/900] Illustrated

313

English Needlepoint Carpet in the Neoclassical Taste, 13’ 11” x 23’ 3”. [700/1000] Illustrated

314

Fine Agra Sultanabad Carpet, 9’ 2” x 11’ 9”. [1800/2500] Illustrated

315

Tabriz Runner, 2’ 2” x 6’ 9”. [700/1000]

314

77

316

Peshawar Sultanabad Carpet, 8’ 8” x 11’ 8”. [400/700] Illustrated

317

Tabriz Carpet, 7’ 10” x 11’ 6”. [400/700]

318

Persian Bidjar Runner, 2’ 9” x 16’ 9”. [1000/1500] Illustrated

319

Turkish Angora Oushak Carpet, 10’ x 13’ 10”. [1200/1800] Illustrated

320

Antique Kurd Carpet, 3’ 5” x 5’ 9”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [400/700] Illustrated

321

Uzbek Kazak Carpet, 4’ 11” x 6’ 9”. [500/800] Illustrated

322

Peshawar Sultanabad Carpet, 6’ 10” x 8’ 4”. [600/900] Illustrated

318

316

78

319

321

320

322

79

326

323

324

325

325

323

George II Sterling Silver Tankard, hallmarked London, 1738‑1739, by Richard Bayley (1683‑1754; free 1706), of traditional slightly tapering cylindrical form with annular band, step-domed hinged lid, “Onslow”-scroll billet and “S”-scroll handle with heart terminal, the underside with a later presentation inscription dated 1941, h. 6‑7/8”, l. 7”, dia. 5”, 23.19 t. oz. [1500/2500] Illustrated

324

Late Georgian Old Sheffield Plate Dish Cross, first quarter 19th century, of traditional form, with coquille-form supports and feet, l. 14”. [300/500] Illustrated

80

Good Late Georgian Sterling Silver Epergne, hallmarked London, 1808‑1809, by Benjamin & James Smith (active 1809‑1812), with a circular receptacle with openwork Vitruvian scroll banding and gadrooned rim, raised on reeded flatcolumn legs with neoclassical maiden masque capitals joined by realistically detailed grapevine swags, joined by a central concave and canted lozenge-shaped stretcher centering a leaf-and-dart-banded foliate spray from which emanates four scrolling arms terminating in flowers fitted with an acanthusbanded receptacle, the columns ending in integral pad feet, the receptacles fitted with one large and four smaller cut glass bowls of later date, overall, h. 9‑1/2”, l. 17”, w. 15‑3/4”, 100.78 total t. oz. (excluding glass elements). [5000/8000] Illustrated

326

Late George III Sterling Silver Tankard, hallmarked London, 1795‑1796, by Walter Brind I (1722‑1796; free 1743), of traditional slightly tapering cylindrical form with reeded bands, flat hinged lid, openwork billet and squared cavetto-crested handle, h. 7‑1/2”, l. 7”, dia. 4‑3/8”, 26.88 t. oz. [1500/2500] Illustrated

329

327

330

328

detail

327

Late George III Sterling Silver Tankard, hallmarked London, 1807‑1808, by William Burwash and Richard Sibley (fl. 1805‑1812), of traditional slightly tapering cylindrical form with reeded bands, slightly domed hinged lid, openwork billet and squared cavetto-crested handle, the underside with a later presentation inscription dated 1964, h. 7‑3/4”, l. 7‑1/8”, dia. 5”, 35.29 t. oz. [1500/2500] Illustrated

328

Early Victorian Sterling Silver Inkstand, hallmarked London, 1841‑1842, by Edward Barnard & Sons, of oval form with acanthus scroll rim, fitted with silver-capped cut glass inkwell and pounce pot centering a nibs container with taperstand cap, h. 4‑1/2”, l. 10‑1/2”, w. 6‑1/2”, 15.40 total t. oz. (weighable silver). [300/500] Illustrated

329

Pair of Victorian Sterling Silver Deep Bowls, hallmarked London, 1895‑1896, by John and Frank Pairpoint (active 1879‑1909), each of inverted bell form, embossed with an acanthus calyx and wide scrolling grapevine band, with applied scroll-crested female masque handles, raised on a domed foot banded en suite, h. 4‑1/4”, dia. 4‑7/8”, w. 5‑3/4”, 19.59 total t. oz. [400/700] Illustrated

330

Leonard Morel-Ladeuil (French, 1820‑1888), “A Pompeian Lady at Her Toilette”, 1877, Elkington & Co., Birmingham, England, a silvered copper electrotype charger after the 1876 model designed for the Philadelphia Exposition, dia. 20‑1/2”.

[300/500] Illustrated

81

335

331

332

334

331

Silverplate Victorian Elkington Meat Dome and Later Tiffany Well-and-Tree Platter, the meat dome 1884, with beaded rim and figural crest finial of a demi-griffin rampant , h. 11‑3/4”, l. 20”, w. 15‑7/8”, the well-and-tree platter first quarter 20th century, of scalloped oval form with molded rim and four acanthus-scroll feet, h. 2‑3/4”, l. 22”, w. 16”. [400/700] Illustrated

333

332

Victorian Silverplate Standish, third quarter 19th century,

by W. & S. Ward, Manchester, of shaped rectangular form with gadrooned rim and acanthus-and-shell corners, fitted with a pair of silverplate-capped cut glass inkwells between a pair of pen trays, the whole raised on four lion’s paw feet, h. 3‑3/4”, l. 11‑3/4”, d. 9‑1/4”. [300/500] Illustrated

333

Victorian Silverplate Cruet Frame, third quarter 19th century, of oval form, with bulbous lattice-reticulated sides and robust grapevine banding, with a central baluster standard with ring handle and four feet, all en suite with the banding, fitted with seven cut and wheel-engraved glass condiment bottles, overall, h. 13‑1/2”, l. 9‑1/4”, w. 8”. [200/400] Illustrated

82

334

Good Victorian Silverplate Well-and-Tree Venison Platter, fourth quarter 19th century by Maple & Co., London, oval with molded rim and stirrup handles, the platter above a hot water reservoir and raised on four shell-crested flat-plinth feet, h. 6‑1/4”, l. 25‑3/4”, w. 17‑7/8”. [300/500] Illustrated

335

Set of Twelve English Silverplate Mugs, fourth quarter 20th century, each of baluster form, embossed with a floral-mantled circular cartouche, with a crested double “C”-scroll handle and molded rim and foot, h. 4‑3/4”, l. 5‑1/2”, dia. 3‑3/4”. [400/700] Illustrated

336

339

344

340

336

Five American and English Silverplate Trays, Waiters and Platters, late 19th century through third quarter 20th century, including a Victorian Martin & Hall circular waiter with reticulated rim, dia. 14‑1/4”, a William Rogers circular platter with reticulated rim, dia. 15‑1/8”, an Ellis-Barker circular platter with reticulated gallery, dia. 15‑1/2”, a Rogers & Brother oval tray with floral rim, 20‑3/4” x 13‑3/4”, and an unmarked shaped oval footed well-andtree platter with beaded rim, 16‑1/4” x 11‑1/4”. [300/500] Illustrated

337

Lady’s Nineteen-Piece Sterling Silver-Mounted Necessaire de Voyage, the silver mounts hallmarked London, 1924‑1926, by Corke Brothers, retailed by Alexander and Oviatt, Los Angeles, California, including a soap case, two cologne bottles, a powder jar, a toothpaste jar, a toothbrush jar, a clothes brush, a hat brush, a comb, a shoehorn, a buttonhook, a hand mirror, a notebook, a sachet and a five-piece manicure set, the silver elements inscribed “Julie”, presented in an indigo silk moire-lined, fitted black leather case, 12” x 6” x 16”. Provenance: Julie Duke, San Salvador, El Salvador (a member of one of the “fourteen families”). [500/800] Illustrated

337

338

George III Giltwood Mirror, first quarter 19th century, with an inner liner of molded lotus leaves, retaining its rare shallow beveled mirror plate, h. 28‑1/2”, w. 16‑3/4”. [400/700]

339

Antique British Hand-Painted and Embroidered Church Scene, sight 5‑3/4” x 8”. Glazed, matted and framed. [300/500] Illustrated

340

English Oak Refectory Table, late 17th century, the rectangular top with a molded edge, and raised on turned and bulbous legs joined by a box stretcher and ending in bun feet, h. 28‑1/2”, w. 31”, l. 77”. [1000/1500] Illustrated

83

341

Regency-Style Painted and Parcel-Gilt Composition Eight-Light Chandelier, the tapered standard decorated with molded leaves alternating with scrolled arms set with molded sockets, supported on rope-turned arms from a leaf-molded corona, h. 23”, dia. 28”.

[400/700]

342

Pair of English Oak Student’s Chairs, late 17th century and later, each with a deep angled crest, with bar for holding books, joined by downswept arms to the narrow seat, raised on turned circular legs to runner feet, h. 35”. [700/1000]

343

Queen Anne Oak Lowboy and Stool, the 18th-century table with a rectangular top above a frieze fitted with a single drawer, and raised on tapering circular legs ending in pad feet, h. 29”, w. 31‑1/2”, d. 19‑1/2”, and the early 20th-century stool with an inset padded rectangular top above a plain frieze, and raised on cabriole legs ending in pad feet, h. 20‑1/2”, w. 16”, d. 12”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [400/700]

346

Collection of Six Royal Doulton Polychrome Pottery Character Jugs, 20th century, English, including the Falconer, Viking, Porthos, Smuggler, The Lumberjack and Sairey Gamp, h. 6‑1/4” to 7‑1/2”, w. 6‑1/4” to 8”. [300/500]

347

British School (Fourth Quarter 18th/First Quarter 19th Century), “The Weaver’s Wares”, oil on canvas, unsigned, a “T. H. Gladwell/Gracechurch Street, London” label en verso stretcher, 25” x 30”. In an antique frame. Provenance: Thomas H. Gladwell Gallery, London, England. The Gladwell Gallery was located at the address listed on the label only between the years of 1836 and 1878. [600/900] Illustrated

348

Attributed to Paul Falconer Poole (British, 1807‑1879), “Young Girl in a Bonnet”, oil on canvas, unsigned, dated “1832” lower right, 11‑1/4” x 9”. Presented in a giltwood frame with artist’s name stenciled lower center. [400/700]

344

349

345

350

Franz Bergman (Austrian, ca. 1838‑1894), cold-painted Vienna bronze figure of a Great Dane, late 19th century, wearing a studded collar, the belly stamped “Geschutzt” and a faint “B” within an urn, h. 5‑1/2”, w. 8‑3/8”. [400/700] Illustrated English Oak Two-Part Dresser, late 18th century, the upper section with three through-mortised shelves and plate grooves, the base fitted with various drawers and cabinets, with pegged construction, h. 79”, w. 62”, d. 20”. [600/900] Illustrated

Four Staffordshire Pottery Watch Holders, third quarter 19th century, English, two depicting Scottish dancers, each hand-decorated with polychrome enamels, h. 8” to 11”, w. 5‑3/4” to 7‑1/2”. [300/500] Pair of Staffordshire Pottery Figures of a Cow and Calf, ca. 1900, each marked on the base “Old Staffordshire Ware England”, h. 4‑1/2”, w. 5‑1/2”, d. 3”. [300/500] Illustrated

347

345 350

84

351

English Oak Gate-Leg Table, 20th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on a turned baluster-form gate-leg support and ending in blockand-ball feet, h. 30”, w. 59”, l. 29”, extended l. 74”. [500/800] Illustrated

352

Anglo-Colonial Rosewood Settee, mid-19th century, the tripartite back with three curved rails above a ribbed and X-form pierced splat, joined by downswept arms on urn-form uprights to the caned seat, raised on ribbed tapering circular legs ending in toupie feet, h. 32‑1/2”, w. 64”, d. 21‑1/2”.

[600/900] Illustrated

353

Thomas Faed (Scottish, 1826‑1900), “Gleaner Resting”, oil on millboard, signed lower right, titled en verso with “Winsor & Newton” art supply label, 11‑3/4” x 10‑1/4”. In a giltwood frame with an effaced brass artist plaque. [800/1200] Illustrated

353

352

354

Frederick James Boston (American, 1855‑1932), “Girl Peeling Apples”, oil on canvas, signed lower left, 18” x 14”.

Framed. [800/1200] Illustrated

355

British School (Mid-19th Century), “Song Bird Interlude”, oil on canvas, unsigned, 16” x 12‑3/4”. In an elaborate giltwood oval frame. [500/800]

356

Arthur Glennie (British, 1803‑1890), “Venice”, watercolor on paper, signed, titled and illegibly dated lower left, sight 9” x 6‑5/8”. Glazed, matted and framed. [400/700]

357

Arthur C. Payne (British, Late 19th/Early 20th Century), “A North Devon Lane”, watercolor on paper, signed lower right, titled lower center, sight 14‑1/2” x 11‑1/4”. Matted, glazed and framed. [400/700]

354

351

85

360

364

363

358

British School (19th Century), pair of watercolors on paper, including “The Haystacks”, unsigned, sight 6‑1/2” x 8‑5/8”, and “Figures by a Cottage Road”, faintly initialed lower right, sight 6‑3/4” x 9‑7/8”. Each matted, glazed and framed alike.

[400/700]

359

British School (Third Quarter 19th Century), “The Young Musician”, watercolor on paper, unsigned, sight 14‑3/4” x 18‑1/4”. Glazed, matted and framed. [500/800]

360

Handsome English Creamware Tureen, ca. 1800, decorated with hand-painted sheaves of wheat on a yellow ground, the handles and artichoke finial trimmed in black, the base marked with a “202” pattern number, h. 11”, w. 15”, d. 9‑3/4”.

Provenance: Merryl Israel Aron, New Orleans, Louisiana.

[400/700] Illustrated

361

Late Regency Mahogany Work Table, second quarter 19th century, the top fitted with a pierced brass gallery, over a pair of paneled drawers, on a trestle base with turned stretchers and saber-form legs ending in brass paw cups, h. 29”, w. 24”, d. 16”. [500/800] Illustrated

362

Nineteenth-Century English Tortoiseshell Sewing Box, the hinged case with boxwood and ebony dovetail banding, opening to a pull-out tray fitted with conforming lidded compartments, some inlaid with bone, h. 4‑5/8”, w. 12‑1/2”, d. 8‑1/2”. [500/800]

86

361

363

Impressive Regency Brass-Inlaid Calamander Wood Lap Desk, first quarter 19th century, edged with brass and inlaid with brass cut-corner stringing, set with campaign-style carrying handles, opening to reveal a leather-lined writing slope, compartments for stamps and pens and a pair of cut glass inkpots with brass caps, h. 10”, w. 25‑1/4”, d. 12”.

[400/700] Illustrated

364

Circle of Sir William Beechey (British, 1753‑1859), “Portrait of a Lady with a Pendant Watch Fob and Coral Bead Necklace”, oil on canvas, unsigned, 23” x 19”. Framed.

[600/900] Illustrated

367

368

365 two of three

365

Three-Piece Regency-Style Parcel-Gilt, Polychromed and Ebonized Salon Suite, comprised of a sofa and a pair of armchairs, each with a back in Japonesque decor, open arms and shaped spiral-reeded legs, sofa, h. 31‑3/4”, w. 74‑1/2”, d. 22‑1/2”, chairs, h. 31‑3/4”. [500/800] Illustrated

366

Italian Neoclassical Fruitwood Sidechair, second quarter 19th century, with a bronze mount on the crest and a carved giltwood splat decorated with arrows, h. 34‑1/2”. [300/500] Illustrated

367

William IV Giltwood Convex Mirror, second quarter 19th century, the cove-molded frame lined with gilt spherules, a reeded ebonized liner framing the mirror plate, dia. 24‑1/2”.

[300/500] Illustrated

366

368

Regency Mahogany Banjo Barometer, second quarter 19th century, with a swan’s neck pediment, and set with a level, barometer, thermometer and hydrometer, h. 45‑1/2”, dia. 12‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [400/700] Illustrated

369

Regency-Style Mahogany Bench of Demi-lune Form, with a bipartite back and reeded legs, on brass cup casters, h. 30”, w. 48‑1/2”, d. 27”. [400/700]

87

370

372

371

373

William IV Mahogany Linen Press, second quarter 19th century, the molded cornice above two paneled doors, opening to pull-out shelves, the lower section fitted with two short drawers over two graduated long drawers, raised on large bulbous feet, h. 82”, w. 48‑1/2”, d. 21”. [600/900] Illustrated Pair of William IV Mahogany Hall Chairs, second quarter 19th century, each with an ovoid back centered by a painted heraldic shield, the deep shaped wooden seat raised on pierced and shaped supports, joined by a stretcher, h. 37”.

[500/800] Illustrated

William IV Mahogany Child’s Armchair, second quarter 19th century, the shaped crest rail with foliate and anthemion carving, the open arms with scroll ends and on scroll supports, with leaf-carved seat rail and spiral-reeded legs, the seat now in suede upholstery, h. 30‑1/2”. [500/800] English Regency-Style Two-Pedestal Dining Table, third quarter 20th century, the painted pedestals trimmed with parcel gilt, the walnut-veneered top with two leaves, h. 30”, w. 47‑1/2”, l. 43”, extended l. 73”. [800/1200] Illustrated

374

Collection of English Mid-19th-Century Porcelain Serving Pieces, marked with pattern number “1657” and trimmed with cobalt and gilt, comprising a pair of covered round vegetable dishes, h. 6”, dia. 10‑3/4”, a well-and-tree platter, w. 20”, d. 16”, two graduated platters, w. 14‑1/2”, d. 11‑1/2” and w. 16”, d. 13”, and a round tureen stand, dia. 12‑1/2” (six total pieces).

[400/700] Illustrated

374

371

373 370

88

375

Pair of Regency-Style Stenciled and Parcel-Gilt Mahoganized Armchairs, h. 33”. [300/500] Illustrated

376

Pair of Regency-Style Stenciled and Parcel-Gilt Mahoganized Armchairs, h. 33”. [300/500]

377

Pair of William IV Patinated and Gilt-Bronze Candlesticks, second quarter 19th century, on tripartite bases, the gilt scrollwork supporting the patinated tapered standards set with shell-molded candle cups and gilt-bronze scroll-molded bobeches, h. 10‑1/2”, dia. 5”. [400/700]

378

William IV Mahogany Dressing Glass, second quarter 19th century, set with a bowfront drawer in the base, the mirror supports carved with lotus leaves and termating in eagle heads, the mirror with a bolection-molded frame, h. 24”, w. 30‑1/2”, d. 14”. [500/800] Illustrated

379

William IV Tortoiseshell Work Table, second quarter 19th century, the octagonal top opening to a lift-out compartmented tray, lifting to a pleated fabric storage well, raised on a paneled standard to a molded octagonal base raised on casters, h. 29‑1/2”, dia. 15”. [2500/4000] Illustrated

380

British School (19th Century), “Portrait of Lady Jane St. John-Mildmay”, oil on canvas, unsigned, 29‑1/2” x 23‑1/2”.

Framed and with plaque identifying sitter and partial provenance. Provenance: Collection of Arthur Tooth, London, England; Private collection. [800/1200] Illustrated

378

380

375 379

89

386

381

385

382

381

British School (Mid-19th Century), “Portrait of a Young Girl”, oil on board, unsigned, 39‑1/2” x 26‑1/2”. Presented in a giltwood frame. [1000/1500] Illustrated

382

William IV Oak Library Table, second quarter 19th century, the rounded rectangular top with an inset leather surface, above a conforming frieze fitted with two drawers to one side and two faux drawers to the other side, raised on pierced and shaped end supports to reeded ball feet on casters, h. 28‑1/4”, w. 50‑1/2”, d. 28”. [800/1200] Illustrated

383

Two Pairs of Staffordshire Pottery Seated Spaniels, English, consisting of a large pair, fourth quarter 19th century, h. 13”, w. 10”, and a smaller pair, 20th century, h. 8‑1/4”, w. 5‑1/4”. [300/500] Illustrated

90

383

384

Pair of Gilt-Trimmed Staffordshire Pottery Spaniels, fourth quarter 19th century, English, h. 12‑1/2”, w. 12”, d. 4‑1/4”.

[300/500]

385

Jean Louis Lefort (French, 1875‑1954), “Barnyard Puppies”, oil on canvas laid on wood panel, signed lower right, 13‑7/8” x 21‑1/2”. Framed. [700/900] Illustrated

386

Daniel Fox (American, 20th Century), “Hunting Dogs”, oil on canvas laid on wood panel, signed lower right, 36” x 24”.

Framed. [500/800] Illustrated

389

390

388

389

391

Frederick Marryat (1792‑1848), Novels, London: J. M. Dent and Boston: Little, Brown, 1896, complete in twenty-two volumes, edited by R. Brimley Johnson, duodecimo, in red half leather on marbled boards, the spines with gilt lettering, date and Tudor rose decoration, the top edges cut and gilt, with marbled endpapers, 7‑5/8” x 5‑1/4”. [600/900] Illustrated

390 387

Set of William IV Mahogany Bed Steps, second quarter 19th century, on bun feet, the tops inset with gilt-stamped leather, h. 24”, w. 19‑3/4”, d. 34‑1/2”. [400/700]

388

Regency-Style Rosewood Canterbury, first quarter 20th century, on turned legs and with a drawer on the bottom, marked “Made in England”, h. 18”, w. 19”, d. 14”. [400/700] Illustrated

William IV-Style Leather and Mahogany Ottoman, with the brass label “Handcrafted by Craftsman George Smith Newcastle England”, the tufted cushion edged with brass tacks, on turned legs with brass cup casters, h. 16‑1/2”, w. 37”, d. 29”. [500/800] Illustrated

391

Regency String-Inlaid Mahogany Drum Table, first quarter 19th century, the circular top with inset tooled green leather, the rim fitted with four drawers alternating with four faux drawers, raised on a turned standard with four out-curved legs, h. 28”, dia. 35‑1/2”. [1200/1800] Illustrated

91

392

Set of Eight Regency-Style Mahogany Sidechairs, 20th century, English, with sabre legs, h. 34‑3/4”. [500/800] Illustrated

393

397

Francois Duyk (Belgian, 19th/20th Century), “Horses Watering with Children at Play”, 1875, oil on canvas, signed and dated lower right, 39‑1/2” x 30”. Framed. [2000/4000] Illustrated

Copeland Spode Creamware Hunt Scene Partial Dinner Service, 20th century, decorated with polychrome transferprinted hunt scenes after J. F. Herring, each piece marked with the maker and title of the various views, the assembled service including twelve dinner plates, dia. 10‑1/4”, twelve salad/dessert plates, dia. 7‑1/4”, twelve cups, h. 3”, and twelve saucers, dia. 5‑1/2”. [400/700] Illustrated

394

Jules Bennes (French, 19th/Early 20th Century), “Chien a L’Arret”, patinated bronze, cast signature on base, h. 8”, w. 13”.

Provenance: Merryl Israel Aron, New Orleans, Louisiana.

[400/700] Illustrated

395

Unusual Leather-Covered Wooden Model of a Horse, second quarter 20th century, with remnants of a leather harness and saddle, h. 28”, w. 30”, d. 7‑1/2”. [600/900]

396

British School (19th Century), “Horses Pasturing with Barnyard Animals”, oil on wood panel, signed “W. Morinex” lower right, “Carver’s and Gilder’s Framers” label en verso, 8” x 12‑1/2”. In a period giltwood frame. Provenance: Doyle, New York, October 14, 2015, lot 139. [500/800] Illustrated

397

393 396

394

92

392

398

404

399

405

Laristan Sultanabad Carpet, 9’ x 12’. [1000/1500]

Semi-Antique Heriz Carpet, 9’ 9” x 12’ 11”. [1000/1500]

Tabriz Silk Carpet, 4’ 1” x 6’ 8”. [800/1200] Illustrated

Turkish Angora Oushak Carpet, 7’ 8” x 9’ 10”. [800/1200] Illustrated

400

406

Agra Carpet 9’ 11” x 10’ 3”. [900/1200] Illustrated

Antique Sarouk Carpet, 17’ 9” x 10’ 2”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [500/800]

401

Semi-Antique Persian Isphahan Carpet, 8’ 4” x 12’ 10”.

[1500/2500] Illustrated

407

402

Turkish Angora Oushak Carpet, 8’ 9” x 11’ 9”. [900/1200]

Semi-Antique Sarouk Carpet, 5’ 1” x 7’ 6”. [400/700]

408

403

Semi-Antique Kashan Carpet, 9’ 4” x 13’ 10”. [900/1200] Illustrated

Bamboo Silk Carpet, 7’ 9” x 9’ 8”. [1000/1500] Illustrated

405

400

401

399

403

408

93

412

410

413

409

409

Seraband Carpet, 3’ 6 x 10’ 7. [700/1000] Illustrated

410

Edwardian Satinwood Corner Cabinet, early 20th century, the broken swan’s neck pediment and molded canted crest above a conforming case fitted with a frieze with inlaid oval floral panels, over two astragal-glazed doors, each centered by a polychrome panel of a classical maiden, the lower section fitted with two paneled cupboard doors, each with an urn-inlaid oval panel, raised on splayed block feet, h. 87”, w. 41‑1/2”, d. 22”. [1000/1500] Illustrated

411

Two Pieces of Wedgwood Jasper Ware, each piece with a celadon ground, including a biscuit barrel with silverplate fittings, fourth quarter 19th century, h. 8”, dia. 5”, and a jug, mid-20th century, h. 5‑3/4”, dia. 6‑3/4”. [300/500]

94

412

Edwardian Marquetry-Inlaid Mahogany Octagonal Center Table, ca. 1900, adorned in the Adamesque taste, the top with a central inlaid panel, raised on bellflower-inlaid Hepplewhite legs joined by X-form stretchers, the underside of the top retaining a paper label “John Reid & Sons Cabinet Makers Meadows Road Leeds, No 11995”, h. 28‑1/2”, dia. 36”.

[300/500] Illustrated

413

Edwardian Inlaid Mahogany Tray Table of Campaign Form, first quarter 20th century, inlaid with a patera and quarter fans, on folding legs, h. 23‑1/2”, w. 31‑1/4”, d. 17‑1/4”. [400/700] Illustrated

418 414

415

416

416

414

Edwardian Giltwood Overmantel Mirror in the Adam Taste, first quarter 20th century, divided by pilasters set with Corinthian capitals, the mirror plates decorated with overhanging festoons of acanthus leaves, and the frieze with carved medallions and leaves, supporting a pierced crest decorated with delicate pierced scrollwork, draped urns and pierced anthemia, h. 59‑1/2”, w. 66‑1/2”.

[800/1200] Illustrated

415

Pair of English Regency-Style Painted Metal Chestnut Urns, ca. 1900, decorated with hand-painted flowers in an oval panel on a black ground, and festoons of hand-painted flowers, set with lion’s head ring pulls, h. 12”, w. 6‑1/2”, d. 4‑1/2”. [300/500] Illustrated

Edwardian Fancifully Paint-Decorated Hall Stand, first quarter 20th century, with polychrome urns of flowers on a black-trimmed ivory ground, mounted with coat hooks and mirrors, with a central umbrella rack, h. 88‑3/4”, w. 56”, d. 10”.

[800/1200] Illustrated

417

Georgian-Style Polychrome Cabinet, 18th century and later, the shaped top above a conforming case fitted with two cabinet doors, raised on bracket feet, the whole with floral accents, h. 32”, w. 36”, d. 19‑1/2”. [500/800]

418

Waterford-Style Molded and Cut Glass Six-Light Chandelier, third quarter 20th century, the glass-clad vasiform standard supporting six molded candle arms terminating in scalloped bobeches, swags of drops hung between the branches and from the upper portion of the standard to the bobeches, h. 36”, dia. 24‑1/2”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [400/700] Illustrated

95

419

Victorian Mahogany Center Table, third quarter 19th century, the circular top with rosewood banding and raised on a large bulbous standard to four splayed legs headed by stylized foliate carving and ending in carved paw feet on casters, h. 29‑1/2”, dia. 61”. [700/1000] Illustrated

420

Late Victorian Mahogany and Rosewood Work and Games Table, third quarter 19th century, the rectangular top with decorative brass inlay, reversing to an inlaid chess board and removing to a well for storage, with two D-end drop leaves, each with a full pierced brass gallery, above a pull-out leatherinset writing surface with a pull-out storage well below, raised on four scrolling supports, all with inlaid brass accents and ending in brass caps on casters, h. 29‑1/4”, w. 23”, d. 21‑1/2”, extended l. 45”. [1800/2500] Illustrated

421

Pair of Victorian Walnut and Fruitwood Etageres, late 19th century, each with a rectangular burled top with a three-quarter pierced brass gallery, joined by paneled bulbous supports to two lower shelves and a single paneled drawer, raised on waisted square feet to brass caps on casters, h. 39”, w. 21”, d. 15”. [500/800] Illustrated

422

Pair of Victorian Elm Work Tables, third quarter 19th century, each square top with rounded drop leaves, above a frieze fitted with a compartmented drawer over a pull-out fabric storage well, raised on a waisted support to a circular plinth on four splayed legs ending in casters, h. 28‑1/2”, w. 17”, d. 16”, extended w. 29”. [1000/1500] Illustrated

422 421

419

96

420

423

Early Victorian Satinwood and Mahogany Drop-Leaf Table, third quarter 19th century, the banded top with bowed ends and two ovoid drop leaves with like banding, above a frieze fitted with a single end drawer and a faux end drawer, raised on a bulbous turned standard to four splayed legs ending in acanthine-carved feet on casters, h. 28‑1/4”, w. 18”, d. 30”, extended w. 38”. [500/800]

424

Attributed to Thomas Faed, R.S.A. (Scottish, 1826‑1900), “Fair Warbler, Sings’t Thou Thus by Break of Day”, oil on canvas, faint and partial signature lower right, 36” x 28”.

Framed. [2500/4000] Illustrated

425

Signed Minton Parian “Babes in the Wood”, after John Bell, mid-19th century, English, based on the 1842 marble original, stamped “Minton” on the surface, h. 5”, w. 6”, d. 10‑1/2”.

Illustrated in Richard Dennis’s The Parian Phenomenon, pp. 63, 65 and 75. [500/800] Illustrated

426

Victorian Mahogany Tripod Table, late 19th century, the piecrust top with a raised edge and supported by a bulbous foliate-carved pierced standard to three splayed legs ending in up-scrolled toes, h. 25‑1/4”, dia. 19”. [300/500]

427

Edwardian Tortoiseshell Cigar Case, first quarter 20th century, mounted with a carved post and bail handle, h. 2”, w. 8”, d. 6”. [400/700] Illustrated

428

Two Victorian Card Cases, fourth quarter 19th century, one veneered with mother-of-pearl in a checked pattern, and the other tortoiseshell-inlaid with mother-of-pearl flowers, h. 4”, w. 2‑3/4” and 3‑1/4”. [400/700]

429

English Mother-of-Pearl Two-Compartment Tea Caddy, fourth quarter 19th century, with a partial Liverpool label on the bottom, h. 4‑1/2”, w. 5‑3/4”, d. 3”. [500/800]

430

Victorian Mahogany Lectern, third quarter 19th century, the top with a leather-inset slanted surface opening to a compartmented interior, each side fitted with a small rectangular drop leaf, the front fitted with seven paneled drawers, with side locking mechanism, raised on toupie feet on casters, h. 51”, w. 28‑1/2”, d. 18‑1/4”. [1000/1500] Illustrated

424

425

427

430

97

435

431

434

433

431

Architectural Wooden Model Staircase, 20th century, of spiral form with baluster spindles, on a circular base, h. 24”, w. 14”. [300/500] Illustrated

432

Victorian Burr Walnut and Brass Lap Desk, ca. 1872 and later, the fitted interior with a gilt-stamped writing slope and inkpots, the top with a presentation plaque dated Christmas, 1872, on a later custom-made stand, overall, h. 22‑1/2”, w. 19‑1/2”, d. 10”. [400/700]

98

433

Pair of English Steel and Walnut Derringers, fourth quarter 18th century, signed “Edge Manchester”, with carved walnut handles and engraved scrollwork on steel, in an oak presentation case made for former owner, Nancy Dupont Reynolds (Cooch) of Greenville, Delaware, with her nameplate on the cover of the box, h. 5”, w. 13‑1/4”, d. 10”. [1500/2500] Illustrated

434

Pair of English Modern Gothic Fruitwood Armchairs, ca. 1900, each of generous proportions, the stiles capped by inset circular panels, the open arms with fluted supports, now upholstered in tufted light brown leather, h. 39”. [400/700] Illustrated

435

Victorian Oak Partner’s Desk, third quarter 19th century, with an inset leather top, each end fitted with a pair of drawers, raised on turned legs with brass cup casters, h. 32‑1/4”, w. 59‑3/4”, d. 55‑1/2”. [1000/1500] Illustrated

437

440

438 441

436

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

[400/700]

437

439

Victorian Mahogany Tripod Table, late 18th century, in the Georgian taste, the tilting circular top with a full raised edge and four recessed ovoid compartments for gaming pierces, and raised on a turned and spiral-fluted columnar standard to three splayed legs ending in ball-and-claw feet, h. 28”, dia. 30”.

[700/1000]

Victorian-Style Mahogany Banquet Table, the top with a molded edge and raised on turned legs, extending to accommodate three leaves with a crank mechanism, h. 29‑1/2”, w. 48”, l. 60”, extended l. 104‑1/4”. [700/1000] Illustrated

440

438

441

William IV-Style Mahogany Coffee Table, 19th century and later, the rounded rectangular top with a full raised edge, and raised on columnar supports joined by a like stretcher and ending in splayed cabriole legs to casters, h. 26‑1/2”, w. 36”, d. 20”. [400/700] Illustrated

Ansonia Patinated Metal Figural “Shakespeare” Mantel Clock, fourth quarter 19th century, New York, the works signed, including the 1882 patent date, h. 13‑3/4”, w. 17‑1/4”, d. 7‑1/4”. [300/500] Illustrated English Mahogany-Cased Bracket Clock, fourth quarter 19th century, the dial signed “Wm. Chaps, London”, with silvered chapter rings and gilt spandrels trimming the dial, h. 23‑1/2”, w. 10‑3/4”, d. 6”. [300/500] Illustrated

99

443

442

444

445

444

442

Edwardian Giltwood Mirror in the Adam Taste, first quarter 20th century, the circular plate with a gadrooned surround and a flower-form finial supporting festoons, h. 37‑1/2”, w. 23‑1/2”.

[300/500] Illustrated

443

Good English Victorian Papier-Mache Serpentine Tray on Stand, mid-19th century and later, the tray decorated with a mother-of-pearl and painted bouquet of flowers, framed in a carefully detailed gilt scrolled border, on a custom bamboo turned stand, h. 18‑1/2”, w. 34”, d. 24‑1/2”. [400/700] Illustrated

100

English Tole-Peinte Tray on a Later Custom Bamboo Stand, mid-19th century and later, decorated with handpainted flowers on a black ground, overall, h. 19‑1/2”, w. 35‑1/2”, d. 26‑1/2”. [400/700] Illustrated

445

Seven-Piece Collection of Herend “Victoria” Pattern Porcelain, 20th century, Hungary, including a crescentshaped salad plate, w. 7‑1/2”, two small, deep leaf dishes, l. 4”, a shell dish, l. 9”, a pair of coasters, dia. 4‑3/4”, and a triple serving dish, dia. 12”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [400/700] Illustrated

446

Late Victorian Giltwood Beveled Mirror, ca. 1900, with applied, carved ornamentation and a broad beveled plate glass mirror, the oak frame now with a patinated gold wash, h. 71”, w. 35”. [300/500]

449

453

450

451

452

449

Continental Silverplate Tureen, second quarter 19th century, oval with reeded rim and bifurcated handles, the domed lid with large acanthus bud finial, the whole raised on a conforming ovolo-banded foot, h. 11‑3/4”, l. 15‑1/2”, w. 9”. [300/500] Illustrated

450

Charles X Silverplate Coffeepot, second quarter 19th century, with ovoid body, waisted neck, wooden handle, horse head spout and acorn finial, all raised on thee palmettecrested flat-column legs with lion’s paw feet, h. 12”, l. 9‑1/2”, dia. 4‑1/2”. [300/500] Illustrated

451 447

447

Edwardian Rosewood Etagere, ca. 1900, the broken swan’sneck pediment above a frieze with two beveled mirror panels flanking an inlaid urn panel, over a central beveled mirror flanked to either side by two shaped shelves, the lower bowed section fitted with an open central spindled gallery with a mirrored back, flanked to either side by an urn-inlaid paneled cupboard, joined to a lower shelf by turned uprights, raised on toupie feet, h. 101‑1/2”, w. 55”, d. 18”. [1000/1500] Illustrated

448

Victorian Iron and Marble-Top Conservatory Table, late 19th century, the rectangular top raised on shaped iron end supports joined by a stretcher and ending in splayed legs, h. 30”, w. 41”, d. 23”. [400/700]

Good Swiss Restoration .900 Silver Casserole, first quarter 19th century, by Rehfues & Cie., Bern, squat cylindrical with paneled ebony handle, the fitted domed lid with ebonyinsulated floral finial, h. 6‑1/4”, l. 14”, dia. 8”, 40.24 t. oz. (including ebony elements). [1000/1500] Illustrated

452

Alexander II Russian 84 Zolotnik (.875) Silver Teapot, marked Moscow, 1856, unidentified maker “IFG” [Cyrillic], assay master Andrei Antonovich Kovalsky of lobed pear shape, with fitted lid, gooseneck spout and crested handle, h. 5‑3/4”, l. 7‑1/4”, dia. 4‑1/4”, 10.84 t. oz. [300/500] Illustrated

453

Large Continental Silverplate Urn, first quarter 20th century, ovoid with waisted collar and foot, decorated with ribbonand-laurel banding and two large opposing acanthus-crested handles, h. 21‑3/4”, w. 15”, dia. 10‑3/4”. [400/700] Illustrated

101

454

Continental Silverplate Wine Trolley, first half 20th century, in the form of an ornate openwork Tilbury carriage decorated with rococo scrolls and floral latticework, with large working spoked wheels and a figural Bacchic bust crest, the bottle fitting into an acanthus scroll frame, its angle adjustable by means of a pyr-centered wheel at the front, h. 7‑1/4”, l. 16”.

[800/1200] Illustrated

455

Two Pieces of Silver Judaica, including an Austro-Hungarian third standard (.800) silver kiddush cup, first quarter 20th century, Budapest, of traditional form with embossed foliate banding and engraved Hebrew inscription, h. 7‑1/2”, dia. 3‑3/8”, and a Hazorfim sterling silver menorah, fourth quarter 20th century, Israel, with scrolled uprights, conical nozzles and oval base, h. 5‑1/4”, l. 13‑1/4”, 11.28 total t. oz.

[400/700]

456

Jugendstil Silverplate-Mounted Engraved Glass Claret Jug, first quarter 20th century, probably German, the glass body of tapering lozenge section and wheel engraved with flowers, the conforming silverplate mount decorated with grape clusters and whiplash lines, h. 13‑3/4”, l. 6”, w. 4‑1/4”.

[300/500] Illustrated

457

Italian .800 Silver Table Box, third quarter 20th century, of rectangular form with applied rococo scrolls on the sides, the hinged, domed lid with flat-chased matted ground with engraved rococo scroll spandrels and centering a carnelian cabochon, the whole raised on four rococo scroll feet, h. 2‑3/4”, w. 5‑1/4”, d. 3‑1/4”, 10.26 t. oz. [400/700] Illustrated

458

Italian Sterling Silver Teapot, third quarter 20th century, by Eugenio Stancamiano, Palermo, in their “Impero” pattern, with flattened oval body, leaf-and-dart banding, eagle’s head spout, arched handle and pyr finial, h. 7”, l. 11”, dia. 5‑3/4”, 17.70 t. oz.

[400/700] Illustrated

459

Swedish .830 Silver and Cut Glass Flagon, marked Stockholm, 1880, by C. G. Hallberg, the narrow conical glass body with flared base and cut vertical flutes separated by stacked narrow horizontal ones, with down-pulled handle, the hinged silver cap with beaded edge and joined, by means of a mascaron billet, to the handle, h. 8‑3/4”, dia. 3‑7/8”, l. 5”.

[400/700]

460

Japanese Jungin Silver Box, probably Taisho period (1912‑1926), squat cylindrical form, the fitted lid engraved with central mon surrounded by four characters, h. 3”, dia. 5‑1/2”, 13.42 t. oz. [300/500] Illustrated

458 456

457

454

102

460

461

463

462

464

Three Southeast Asian Silver Boxes, 20th century, probably Cambodian, one circular with repousse floral-andscroll decoration, dia. 6”, and two canted rectangular with repousse elephant decoration, l. 2‑3/4” and 3”, 19.79 total t. oz.

[400/700] Illustrated Empire-Style Gilt- and Patinated Metal Chandelier, 20th century, the lower bowl decorated with alternating torches and leaves, and set with a pinecone finial, the arms molded as pairs of cornucopias, molded chains hanging from the anthemiadecorated canopy, h. 31‑3/4”, dia. 30”. [400/700] Illustrated

Pair of French Marble and Patinated Bronze Mantel Garnitures, fourth quarter 19th century, now mounted as lamps, the urn-form lamps decorated with Egyptian-form columns trimmed in gilt, base, h. 11”, overall, h. 23”, dia. 5‑1/2”.

[400/700] Illustrated Empire-Style Mahogany and Ebonized Center Table, 19th century, the rectangular top with shaped corners and raised on four large supports in the form of winged lions on an X-form stretcher base, h. 31”, w. 52”, d. 29”. [1200/1800] Illustrated

463 462

461 464

103

465

466

468

467

465

469

Pair of French Gilt-Bronze, Marble and Patinated Metal Ewer-Form Garnitures, ca. 1900, in the neoclassical taste, on marble bases, the ewer bases with gilt-bronze laurel leaves, and the gilt-bronze scrolled handles set with griffin’s heads and molded leaves, the bases of the handles on molded masques, h. 19”, w. 7”, dia. 37‑1/2”. [600/800] Illustrated

466

French Empire-Style Mahogany Portico Clock, first quarter 20th century, set with signed Vincenti works, decorated with gilt-bronze fittings and mounts, the rear of the clockworks stamped “Made in France”, h. 17‑1/2”, w. 9‑1/4”, d. 5”.

[300/500] Illustrated

467

Empire-Style Mahogany and Marble-Top Server, 20th century, the long rectangular marble top above a conforming frieze with carved giltwood swags and floral patera, raised on fluted tapering square legs with waisted foliate capitals and bulb feet, h. 33”, w. 72”, d. 26”. [800/1200] Illustrated

104

468

French Empire-Style Giltwood Torchere, first quarter 20th century, the tapered leaf-molded standard resting on a tripartite base, h. 58”, dia. 12”. [400/700] Illustrated

469

Pair of French Empire-Style Bronze Three-Light Sconces, 20th century, with urn backplates and swan-molded arms, set with frosted flower-form shades, h. 27‑1/2”, w. 16‑1/2”, d. 8”.

[400/700] Illustrated

474

471

473

470

French Empire-Style Gilt-Bronze-Mounted Mahogany Mirror, ca. 1900, the arched and beveled mirror plate flanked by pilasters with bronze mounts and capitals, and trumpeting angels holding wreaths, the frieze with a pierced bronze lozenge flanked with stars, h. 80‑1/2”, w. 52”. Formerly used in the French Embassy, Washington, D.C., and later in the collection of pop star Michael Jackson, Los Olivos, California.

[1200/1800] Illustrated

471

Empire Mahogany Breakfront Cabinet, second quarter 19th century, the molded cornice above a case fitted with a central cabinet door with an applied ormolu wreath mount, flanked to either side by a slender concealed cupboard, fronted by two square uprights, the lower conforming section with a white marble top over a central frieze drawer, joined by square supports to a plinth shelf base, the whole richly accented with ormolu mounts in the Empire taste, h. 74‑1/2”, w. 37‑1/4”, d. 19”. [2000/4000] Illustrated

470

472

Etienne Thien (French, 1870‑1937), “Emperor Napoleon I with His Infant Son, The King of Rome”, pastel on paper, signed lower left, sight 23‑1/4” x 18‑1/2”. Glazed, matted and framed. [400/700]

473

Handsome French Bronze and Siena Marble Napoleonic Encrier, fourth quarter 19th century, on scrolled feet, the marble base with an inset pen tray, with a bronze bust of Napoleon in the center, on a marble base with a bronze wreath, flanked by engine-turned inkpots with eagle finials, h. 11‑1/2”, w. 18‑1/2”, d. 12”. [1200/1800] Illustrated

474

French Patinated Bronze of Napoleon, 20th century, after Emile Guillemin (French, 1841‑1907), inscribed “Il sut vivre en heros et mourir en grand homme/5 Mai 1821”, h. 11‑1/4”, w. 3‑3/8”, d. 3‑3/4”. [300/500] Illustrated

105

475

French Patinated Bronze of “Le Commandant”, first or second quarter 20th century, after Vital-Gabriel Dubray (French, 1832‑1892), cast signature at edge of self-base, h. 17”, w. 6‑3/4”, d. 5‑1/2”. [400/700] Illustrated

476

After Francois Flameng (French, 1856‑1923), “Malmaison”, engraving from Les Etapes de Napoleon, copyright 1898 by Jean Boussod, Manzi, Joyant & Cie, printed in Paris, sight 27” x 36”. Glazed, matted and presented in an Empire-style gilt-brassmounted mahogany frame. [800/1200] Illustrated

477

After Francois Flameng (French, 1856‑1923), “Fountainbleu”, engraving from Les Etapes de Napoleon, copyright 1898 by Jean Boussod, Manzi, Joyant & Cie, printed in Paris, sight 27” x 36”. Glazed, matted and presented in an Empire-style gilt-brassmounted mahogany frame. [800/1200] Illustrated

478

Empire-Style Mahogany Bibliotheque, early 20th century, the molded cornice above a frieze with three affronted ormolu swan mounts, over three doors, the upper part glazed, the lower section with diamond panels, divided by and flanked by engaged pilasters headed by ormolu maiden’s heads, raised on a plinth base, h. 78”, w. 88”, d. 18‑1/2”. [1200/1800] Illustrated

479

French Empire-Style Brass and Patinated Metal Six-Light Chandelier, mid-20th century, the black metal pan decorated with brass star mounts and a pierced medallion center, and set with a molded brass trim and six black metal arms terminating in brass eagle heads, brass and black metal heads of Psyche supporting beaded drip pans and turned candle cups with molded rims, electrified, h. 44‑1/2”, dia. 26‑1/2”. [1500/2000] Illustrated

476

479

477

475 478 106

480

Empire-Style Mahogany and Marble-Top Center Table, mid-19th century, the circular gray marble top above a conforming frieze, raised on a concave tripartite base ending in cast bronze palmetto-form feet, h. 28”, dia. 34”. [1000/1500] Illustrated

481

Pair of Bronze and Marble Table Lamps in the Grand Tour Style, 20th century, after the Antiques, the marble bases supporting paw-footed, tapered, pierced lamp standards decorated with ram’s heads and swags of leaves around flower-molded fire pots, overall, h. 35‑1/2”, w. 7‑1/4”, d. 7‑1/4”.

[600/900] Illustrated

483

Three French Engravings of Classical Scenes, 18th century, from Bernard de Montfaucon’s “Supplement au Livre de L’Antiquite Expliquee et Representee en Figures (Supplement to the Book of Antiquity Explained and Represented in Figures)”, vol. 5, Paris, 1724, including plates 54 and 55, the Etruscan sepulchers, and 60, the apotheosis of Faustina, each sight 11‑3/4” x 7‑1/2”. Glazed, matted and framed alike. [1000/1500] Illustrated

482

Set of Six French Empire-Style Patinated Metal Two-Light Sconces, 20th century, the round back plates with winged female figures supporting pairs of candle arms, electrified, h. 10‑1/2”, w. 9‑1/4”, d. 4”. [300/500] Illustrated

483 one of three

481

482

480

107

485 one of five

485 two of five

488

484 one of two

487

484

Two French Engravings of Classical Scenes, 18th century, from Bernard de Montefaucon’s “Supplement au Livre de L’Antiquite Expliquee et Representee en Figures (Supplement to the Book of Antiquity Explained and Represented in Figures)”, vol. 5, Paris, 1724, including plates 14 and 26 on tombs and sepulchers, sight 13” x 16‑3/4”. Glazed, matted and framed alike. [1000/1500] Illustrated

485

Collection of Five Architectural Engravings of Significant Buildings in France, from Nicolas de Fer’s L’Atlas curieux ou le monde represente dans des cartes generales..., Paris, ca. 1705, including the Royal Hotel of the Invalides, the Chateau du Louvre, the Place de Louis Le Grand, the Maison de Chambord, and the King’s Stables at Versailles, each sight 10” x 14”. Each glazed, matted and framed alike. [400/700] Illustrated

108

486

486

Directoire-Style Satinwood-Inlaid Mahogany and Marble-Top Commode, 19th century, the white marble top above a conforming case fitted with three long drawers with brass handles and raised on tapering square legs, h. 34”, w. 44‑1/2”, d. 19”. [600/900] Illustrated

487

Empire-Style Mahogany and Marble-Top Gueridon, late 19th century, the circular dished charcoal marble top above a conforming ormolu-applied frieze, joined by scrolling supports to a concave tripartite base, h. 31”, dia. 38‑1/2”. [500/800] Illustrated

488

French Brass and Tole Four-Light Chandelier, early 20th century, in the Empire style, the black tole base with a cone-form finial and gilt-brass mounts, with four pierced bronze candle arms set around the edges, alternating with pierced anthemia, supported on molded brass chains, electrified, h. 21”, dia. 22”. [500/800] Illustrated

492

489

490

489

Pair of Napoleon III Patinated and Gilt-Bronze and Alabaster Five-Light Candelabra, third quarter 19th century, on turned alabaster bases, the patinated bronze figures of neoclassical bacchantes holding gilt-bronze pots on their heads, set with leaf-molded candle branches terminating in flower-molded candle cups, formerly mounted as lamps, h. 23‑3/4”, w. 9”, d. 6”. [1100/1500] Illustrated

490

Pair of French Alabaster and Gilt-Metal Urn-Form Lamps, second quarter 20th century, the bases molded in the form of partial columns supporting alabaster urns, set with scrolled gilt-metal arms, overall, h. 29‑1/2”, w. 7‑3/4”, d. 7‑3/4”.

[400/700] Illustrated

491

French Empire-Style Mahogany Three-Drawer Bedside Table, second quarter 20th century, with a tray top and block feet, h. 31‑1/2”, w. 17”, d. 13‑3/4”. [400/700]

493

492

Paris Porcelain Pierced Corbeille, first quarter 19th century, French, with rope-twist handles, the lower portion trimmed with a claret border and the initial “D” in an oval cartouche, h. 5”, dia. 9”. [400/700] Illustrated

493

Empire-Style Mahogany Dressing Table, mid-19th century, of diminutive proportions, the arched mirror plate supported by ormolu-mounted uprights, the rectangular top with a recessed oval marble surface, over a frieze fitted with a single drawer, raised on ring-turned columnar uprights to a concave stretcher, raised on block feet, h. 44”, w. 17”, d. 11‑1/2”.

[600/900] Illustrated

109

496

494

495

495

Louis-Philippe Mahogany and Marble-Top Pier Table, second quarter 19th century, the period white marble top over a cove-molded frieze, raised on dolphin-carved supports on a low shelf, the back fitted with a mirror plate, h. 36‑1/2”, w. 52”, d. 21”. [500/800] Illustrated

496

497

494

Empire-Style Gilt-Bronze-Mounted Mahogany Cheval Mirror, second quarter 19th century, the tilting mirror mounted to turned columns with gilt-bronze capitals and raised on tapering down-curved legs, h. 74”, w. 38”, d. 24”. [700/1000] Illustrated

110

Pair of Neo-Grec-Style Campana-Form Urns, third quarter 19th century, probably English, each decorated with a polychrome scene of the Goddess Aurora driving her chariot on the obverse, and a roundel depicting a classical soldier on the reverse, on a bleu de France ground, mounted with scrolled handles terminating in swan’s heads, formerly mounted as lamps, h. 21”, dia. 6‑3/4”. [500/700] Illustrated

497

Empire-Style Mahogany Chest, late 19th century, the rectangular top above a case fitted with a frieze drawer over five recessed long drawers, raised on sabre feet headed by ormolu palmetto mounts, h. 62”, w. 41‑1/2”, d. 21‑1/2”.

[500/800] Illustrated

500

498

501

502

500 499

498

French Empire-Style Bronze Dore et Patine Six-Light Chandelier, mid-20th century, with a lower pinecone finial, the candle sockets around a flame finial, on molded chains, h. 24‑1/2”, dia. 18‑1/2”. [400/700] Illustrated

499

Handsome Pair of French Restauration Bronze Dore et Patine Four-Light Candelabra, now mounted as lamps, on tripartite bases set with scroll feet, the conforming tapering standards decorated with molded leaves and scrollwork, the upper standards above the molded arms, supporting the upper candle sockets, now mounted with electrical fittings, h. 34‑1/2”, dia. 10”. [500/800] Illustrated

Pair of French Bronze Dore et Patine Chenets, fourth quarter 19th century, in the Directoire style, the oval-shaped chenets resting on toupie feet, flanking the bodies with pierced laurel leaves and patinated neoclassical oval roundels held with bowknots, with urn-form finials on scrolled feet, decorated with patinated bronze swags and flame-form finials, h. 15‑1/4”, w. 11‑3/4”, d. 4”. [600/800] Illustrated

501

Damascene Heraldry Charger, centering a double-headed eagle coat of arms, on toupie feet, dia. 7‑7/8”. [300/500] Illustrated

502

Louis-Philippe Gilt-Bronze and Marquetry-Work Portico Clock, mid-19th century, under a glass dome with a period line-inlaid rosewood-veneered base, the clock with a marquetry-inlaid rosewood case with gilt-bronze fittings, h. 24”, w. 12”, d. 8”. [400/700] Illustrated

111

503

Handsome Biedermeier Mahogany-Veneered Pier Mirror, first quarter 19th century, German or Austrian, the mahogany surround trimmed with ebonized beading and a lozenge-form inset lower panel with a pierced gilt-bronze mount, ebonized corner blocks set with gilt-bronze metals delineating the upper portion of the mirror, with an ebonized lozenge-form panel against a burl-veneered panel, under a pitch pediment, h. 80‑1/2”, w. 32‑1/2”. [600/900] Illustrated

504

Biedermeier Fruitwood Cabinet, second quarter 19th century, the rectangular top above a conforming case fitted with a single drawer over a recessed cupboard, flanked to either side by ebonized columns, raised on block feet, h. 31‑1/2”, w. 18”, d. 14”. [300/500]

505

Baltic Neoclassical-Style Brass-Mounted Mahogany Pier Mirror, mid-19th century, with brass bandings and moldings with inset brass linings in the fluted areas, the ends of the base depicting lyres, h. 124”, w. 39”, d. 18‑1/2”. [400/700] Illustrated

506

Pair of French Gilt-Bronze Three-Light Sconces of Baroque Inspiration, ca.1900, the leaf-molded backplates terminating in swags and supporting leaf-molded candle arms, h. 11”, w. 11”, d. 9”. [300/500] Illustrated

507

Two Grand Tour Table Ornaments, early 20th century, including a polished bronze model of the Vendome Column mounted on a white marble plinth, h. 11”, w. 3‑1/2”, d. 3‑1/2”, together with a cast bronze sphinx mounted on a variegated alabaster plinth, h. 3‑3/4”, w. 4‑3/4”, d. 1‑3/4”. [300/500] Illustrated

508

French Patinated Bronze of a Recumbent Lion, 20th century, cast signature “Mercier” along edge of selfbase, on a red marble plinth, h. 6‑1/2”, w. 12”, d. 7”. [400/700]

503

507

506 505

112

509

Classical-Style Marble Columnar Pedestal, early 20th century, with a tall square plinth-form base, cylindrical standard and square top, h. 44”, w. 10”, d. 10”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [400/700] Illustrated

510

Empire-Style Mahogany Lit du Jour, mid-19th century, the long cushioned seat flanked to either end by padded outswept arms, raised on ring-turned tapering circular legs, h. 30‑1/2”, w. 27”, l. 81”. Provenance: The Estate of John Murray Forbes, Boston, Massachusetts and Montecito, California. [600/900] Illustrated

511

Regency-Style Parcel-Ebonized and Mahogany Stool, with the branded stamp “Edward Garrett XVIII & XIX Century Reproductions”, the suede cushion supported by a curule base, h. 19”, w. 18‑3/4”, d. 16”. [300/500]

513

Italian Neoclassical Provincial Fruitwood Games Table, mid-19th century, the parquetry paneled top hinged and opening to a like bi-paneled surface, above a frieze with pendant-carved wreaths, raised on fluted tapering circular legs ending in toupie feet, h. 30‑1/4”, w. 32”, d. 17‑1/4”. [500/800] Illustrated

514

Royal Vienna Hand-Painted Soup Tureen, ca. 1805, Austrian, painted with meanders of leaves and sprigs of cornflowers, the handles terminating in molded leaves, the cover set with a gilt-bronze cone-form knop over molded leaves, marked with a blue underglaze bindenschild, with a gilt “109”, and an impressed “805” date mark, h. 14”, w. 15”, d. 10‑3/4”. [700/1000] Illustrated

512

Pair of Continental Decorative Paintings in the Classical Style, 20th century, each of a classically draped man set within an architectural roundel, each 26” x 26”. Framed alike.

[600/900] Illustrated

512 one of two

514

509

510 513

113

519

516

520

517

515

Italian Neoclassical-Style Brass-Mounted Mahogany and Marble Low Table, the ovoid marble top above a conforming base raised on tapering legs, h. 16”, w. 35‑1/2”, d. 24‑3/4”.

[400/700]

518

515

Neoclassical-Style Mahogany and Granite Pedestal, the square granite top over a tapering standard adorned with swags and torches, h. 48‑1/2”, w. 12”, d. 12”. [300/500]

Swedish Gustavian Giltwood Mirror in the Empire Taste, first quarter 19th century, resting on pierced swan-molded feet, the surround molded with acanthus leaves, the pierced crest molded with a pair of eagles supporting a bouquet of flowers, h. 55”, w. 36”. [400/700] Illustrated

519

516

520

Neoclassically Inspired Bronze Eight-Light Chandelier, dressed with faceted teardrop prisms and leaf-molded arms, with a vase-shaped standard, h. 29‑1/2”, dia. 25”. [500/800] Illustrated

114

Pair of French Brass Three-Light Sconces, 20th century, in the Louis XVI style, with fluted quiver-form backplates set with urn finials and leaf-molded arms, electrified, h. 19”, w. 13‑3/4”, d. 7‑1/2”. [300/500] Illustrated Pair of French Marble and Gilt-Bronze Urn-Form Garnitures, first quarter 20th century, in the neoclassical style, h. 8”, w. 6‑3/4”, d. 4‑3/4”. [300/500] Illustrated

522

525

526

524

521

524

522

525

523

526

French Restauration Gilt-Bronze and Glass Dessert Stand, second quarter 19th century, the grape-molded inverted vasiform base above a stepped plinth and set with a fluted standard supporting two cut glass plates, the upper ring handle set in an Ionic capital-form holder, h. 17‑1/2”, dia. 9‑1/2”. [1500/2500] Suite of Four Neoclassical Mahogany Sidechairs, mid-19th century, each with a shaped string-inlaid crest above a foliate lyre-form splat, the padded seat raised on sabre legs, h. 33”.

[300/500] Illustrated Neoclassical-Style Silvered Bronze Six-Light Chandelier, second quarter 20th century, possibly American, the urn-form molded standard decorated with incised cartouches and bellflowers, the faceted, scrolled arms supporting molded drip pans set with light sockets, h. 20”, dia. 18‑1/2”. [300/500]

Continental Neoclassical Walnut and Fruitwood Commode, late 18th century, the banded rectangular top with a molded edge, above a conforming case fitted with a long narrow frieze drawer over three long drawers, all with decorative banding, raised on bracket feet, h. 38”, w. 57‑1/2”, d. 25‑1/4”. [3000/5000] Illustrated Continental Mixed Woods Side Table in the Regency Taste, the circular top with an inlaid star pattern in the center, the apron frieze fitted with a drawer, raised on tapered legs joined by a stretcher, h. 29‑1/2”, dia. 22‑1/2”. [500/700] Illustrated Italian Neoclassical-Style Marble-Top Cocktail Table, the rectangular ochre marble top with an ebonized red figure band and like center panel depicting classical figures, raised on a later ebonized base with a paneled frieze and square legs ending in gilt molded feet, h. 17”, w. 60”, d. 24”. [1500/2500] Illustrated

115

528 531

529

529

530

527

Italian Pietra Dura Obelisk, 20th century, composed of white and green marble inlaid with various stones, h. 19‑1/4”, w. 3‑3/4”, d. 3‑3/4”. [400/700]

528

Pair of French Carved, Painted and Parcel-Gilt Sconces of Empire Inspiration, composed of antique elements, on cut-cornered mirrored backs, the corbel-carved brackets supporting leaf-carved monopodia terminating in classical women, the baskets on their heads mounted with candles, electrified, h. 37‑1/4”, w. 10‑1/4”, d. 9‑3/4”. [1000/1500] Illustrated

116

Pair of Large Bronze Figural Andirons in the Baroque Style, 20th century, on scrolled bases decorated with putti, one tapered standard with a bust of Ampelos, a satyr wearing a leopard skin, and the other a bust of a bacchante, h. 36”, w. 16”, d. 10”. [1500/2000] Illustrated

530

Composite Marble Figure of “Venus Italica”, after Antonio Canova (Italian, 1757‑1822), one of several Venus sculptures

by Canova, she is depicted standing and draped, marked “Del Torrione” on the base, h. 49”, dia. 12‑1/2”. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [800/1200] Illustrated

531

Continental School (18th Century), “Leda and the Swan”, oil on canvas, unsigned, 24‑3/4” x 29‑7/8”. Unframed.

[1000/1500] Illustrated

537 533

535

532

532

British School (First Half 20th Century), “Venus and Cupid”, after William Etty (British, 1787‑1849), oil on canvas, unsigned, 21” x 25‑1/8”. Framed. [700/1000] Illustrated

533

Continental School (Fourth Quarter 19th/First Quarter 20th Century), “The Coup”, oil on wood panel, unsigned, 9‑7/8” x 14”. Framed. [500/800] Illustrated

534

Continental School (First Quarter 20th Century), “Frolicking Cherubs”, a pair of oils on canvas, unsigned, 25” x 18”. Presented in matching giltwood and gesso frames.

[400/700]

535

French Rococo Revival Inlaid Kingwood Serpentine Center Table, fourth quarter 19th century, on cabriole legs, with molded bronze trim, the marquetry-inlaid top decorated with flowers and mother-of-pearl accents, h. 30‑1/2”, w. 43‑1/2”, d. 27‑1/2”. [600/900] Illustrated

536

Napoleon III Brass-Mounted, Ebonized, Parcel-Gilt and Faux Marble Three-Tier Table, second half 19th century, the shaped top and shelves on baluster and reeded columns, h. 29‑3/4”, w. 41”, d. 25”. [400/700]

537

Pair of Napoleon III Bronze Dore et Patine Candlesticks, third quarter 19th century, the standards molded as putti, on marble bases, h. 11”, dia. 4‑1/2”. Provenance: The Estate of Alvin Richard Christovich, New Orleans, Louisiana. [400/700] Illustrated

117

538

Pair of Napoleon III Patinated Bronze Covered Urns, third quarter 19th century, on anthemion pierced feet, the base decorated with an incised Greek fret and molded neoclassical profiles, the kylix-form upper portion molded with flowers, and the covers with matching flowers, signed “Cain” on the covers, for Auguste Nicolas Cain (French, 1821‑1894), h. 10‑1/2”, w. 9”, d. 7‑1/2”. [500/800] Illustrated

539

Pair of French Fin de Siecle Patinated and Parcel-Gilt Metal Ewer-Form Garnitures, fourth quarter 19th century, the patinated bodies incised with Art Nouveau flowers and butterflies, and decorated with cupids clinging to their sides, with gilt-metal handles, feet and upper rims, h. 19‑3/4”, dia. 6”.

[800/1200] Illustrated

540

French Patinated Bronze of “Il Bat”, ca. 1900, a mischievously smiling Cupid holding a beating heart to his ear, after Henri Giraud (French/Belgian, 1805‑1895), cast signature at edge of base, title plaque at front, overall, h. 20‑1/2”, w. 11”, d. 8‑1/4”. [900/1200] Illustrated

541

Large German Silver Gilt and Carved Agate Table Salt, first quarter 20th century, probably Hanau, in the Mannerist taste, comprising an oval bowl carved from a single piece of orangebrown banded agate, supported by a silver gilt figural standard of a melusine above a domed base with Mannerist banding and raised on three cast turtle feet, h. 6‑1/4”, l. 7‑1/4”, w. 4‑1/2”, 8.55 t. oz. (base only). [1500/2500] Illustrated

538 540

541

118

539

542

Napoleon III Mahogany Vitrine Cabinet, late 19th century, the rectangular top hinged and inset with a beveled glazed plate, opening to a mirrored interior, above a glazed door, also opening to a mirrored interior, the sides glazed, raised on cabriole legs ending in sabots, h. 46”, w. 29”, d. 14‑1/2”.

[500/800] Illustrated

543

Napoleon III Bronze and Rosso Antico Marble Garniture Urn, third quarter 19th century, cast by Ferdinand Barbedienne, now mounted as a lamp, from a design after Claude Michel, known as Clodion (French, 1738‑1814), the neoclassical urn marked “F. Barbedienne” and raised on a fluted rosso antico marble base with bronze fittings, urn, h. 20‑1/2”, overall, h. 26‑3/4”, w. 9‑1/2”, d. 9‑1/2”. [800/1200] Illustrated

547

French Brass-Inlaid Parquetry Work Presentation Cave a Liqueur, ca. 1893, the serpentine front inlaid with a cartouche matching the engraved dated presentation cartouche on the cover, the lift-out fitted interior tray complete with decanters and glasses, h. 10‑3/4”, w. 13”, d. 9‑1/2”. [400/700]

548

Pair of French Aesthetic Bronze and Marble Four-Light Candelabra, third quarter 19th century, on marble bases, supported on paw feet decorated with anthemia, the standards molded and incised, as are the candle cups, the central cups fitted with removable crane-molded finials, h. 29”, dia. 10‑1/4”.

Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [400/700] Illustrated

544

Mathurin Moreau (French, 1822‑1912), “Flora”, silvered and gilt bronze, cast signature and “E. Colin & Cie/Paris” foundry mark along bottom edge, on a rouge marble base, overall, h. 21‑1/4”, w. 8”, d. 4‑3/4”. [800/1200]

545

Neoclassically Inspired Bronze and Stone Occasional Table, the oval stone top over a frieze molded as swags and tassels, the base adorned with putti, h. 28”, w. 28‑1/2”, d. 21‑1/4”. [500/800] Illustrated

546

Pair of Unusual Paris Porcelain Cachepots, third quarter 19th century, decorated with black silhouette figures of children playing in costumes of clowns, pirates and soldiers, on an ivory ground, h. 6‑3/4”, w. 7”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [400/700]

548

543

542

545

119

550 552

553

551

549

French Patinated Bronze of “Le Grenadier”, 20th century, after Emmanuel Fremiet (French, 1824‑1910), cast signature on self-base, on a green marble base, overall, h. 15‑5/8”, w. 13”, d. 5‑1/2”. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500]

550

French Patinated Bronze Figure of a Whippet, 20th century, mounted as a lamp on a slice of burled wood, the standing whippet modeled with one paw raised, and her head turned, mounted with a shade, h. 27‑3/4”, w. 13‑1/2”, d. 8”. [300/500] Illustrated

551

Napoleon III Ebonized and Slate-Top Cabinet, third quarter 19th century, the canted rectangular slate top above a conforming case fitted with a frieze centered by an avian pietra dura panel above a single cupboard door with a like panel, raised on bracket feet, the whole richly mounted with ormolu mounts and millwork, h. 42”, w. 30”, d. 15‑1/2”. [1500/2500] Illustrated

120

552

Pair of Napoleon III Gilt-Bronze and Marble Five-Light Candelabra, third quarter 19th century, in the Aesthetic taste, the marble bases with fluting and gilt incising, the urn-form standards decorated with molded leaves and scrolled handles with masque bases, molded pierced candle branches set with leaf-molded candle cups, each center cup with a removable flame finial, h. 26”, w. 8”, d. 8”. [300/500] Illustrated

553

Very Unusual Paris Porcelain and Bronze Temple, second half 19th century, French, on a bleu celeste et bleu mazarin base decorated with gilt dolphins in panels, with beaded corner corbels, under an open section set with bronze columns, based on the Temple of the Winds, the domed roof set with patinated bronze scrollwork and a pineapple finial, marked “E.B. Paris” on the base, h. 18”, w. 6”, d. 6”. [600/900] Illustrated

555

556

557

559 558

554

Pair of French Gilt-Trimmed Blue Opaline Glass Vases, third quarter 19th century, with ruffled edges, the bottoms with ground pontils, h. 9‑3/4”, dia. 4‑1/4”. [300/500]

555

557

French Bronze-Patinated Cast Metal Sculpture of a Nymph, ca. 1900, after Emmanuel Villanis (French, 1858‑1914), cast signature at self-base, h. 23‑1/2”, w. 13”, d. 12”. [800/1200] Illustrated

After Edouard Drouot (French, 1859‑1945), “Les Bacchantes”, first quarter 20th century, patinated bronze, cast signature on self-base, on a black marble socle raised on bronze paw feet, overall, h. 31‑1/2”, w. 14”. [500/800] Illustrated

558

556

American School (20th Century), “Odalisque”, oil on canvas, signed lower right “J. Harrison”, 24” x 36”. Framed. [800/1200] Illustrated

Patinated Bronze Figure of “La Muse des Flots”, after Emile Bruchon (French, 1806‑1895), h. 28”, dia. 8‑1/2”.

[300/500] Illustrated

Continental School (First Quarter 20th Century), “Standing Female Nude”, oil on canvas, 25‑1/2” x 15‑3/8”. Framed.

[800/1200] Illustrated

559

121

560

561

565

563

560

Mari-Pierre Rousseau (French, b. 1946), “Young Girl in a Field of Flowers”, oil on wood panel, signed lower right, 19‑1/2” x 15‑5/8”. Framed. [600/800] Illustrated

561

Henry Forain (French, b. 1947), “Afternoon Stroll”, oil on wood panel, signed lower left, 19‑1/2” x 15‑1/2”. Framed.

[600/800] Illustrated

562

Continental School (Fourth Quarter 19th/First Quarter 20th Century), “Paris Street Scene”, oil on canvas, indistinctly signed “PP. Vied” lower right, indistinctly signed “Proprip.

Vied”, dated and titled in German en verso, 23” x 31”. Framed.

[400/700]

122

563

Bonnie Walson (American, 20th Century), “Market Scene”, oil on canvas board, signed lower right, board stamped “C. W. Keenan, Brooklyn, NY, Artists’ Materials”, 8” x 10”. Presented in a period frame. [800/1200] Illustrated

564

Galina Gladkaia (Russian, 20th Century), “Jeune Fille au Lapin”, 1963, oil on canvas board, signed lower right, titled, signed and dated en verso, 13‑3/4” x 9‑5/8”. Framed.

[500/700]

565

Continental School (Third Quarter 20th Century), “A Game of Dice”, oil on board, illegibly signed and dated “60” lower left, 12‑1/4” x 16‑1/4”. Framed. [400/700] Illustrated

570 568

569

566

566

569

567

570

Max Carlier (Belgian, 1872‑1932), “The Darling’s Treat”, oil on wood panel, signed lower right, 14‑3/8” x 20‑1/2”. Framed.

[2000/4000] Illustrated George Vuillard (French, b. 1956), “Ode to a Rose”, oil on canvas laid down on board, signed lower right, 32‑5/8” x 22‑3/4”. Framed. [700/1000]

568

American School (20th Century), “Cabaret Karaoke”, oil on canvas, monogrammed “M” lower right, 42‑1/4” x 35”. Framed.

[1000/1500] Illustrated

Paul Renard (French, 1941‑1997), “Paris at Dusk”, oil on wood panel, signed lower left, 8‑1/2” x 10‑1/4”. Framed.

[500/700] Illustrated Giovanni Grande (Italian, 1887‑1937), “Paris 1910”, oil on canvas, 22” x 28”. Framed. [1400/1800] Illustrated

571

French School (20th Century), “Woman in a Green Feather Boa”, oil on canvas, signed “G. Seradour” lower right, 15‑3/4” x 12”. Framed. [500/700]

123

574

572

Patinated Metal and Opaline Glass Six-Light “Hot Air Balloon” Chandelier, 20th century, the “balloon” strung with blue and white opaline beading, the arms hung with like opaline swags and drops, and set with white opaline drip pans, h. 45”, dia. 18‑1/4”. [500/800] Illustrated

573

Pair of Louis XV-Style Ivory-Painted and Parcel-Gilt Armchairs, each with a molded crest rail and stiles, open arms, serpentine seat and cabriole legs, upholstered in Lee Jofa “Althea” fabric, h. 34”. [500/800] Illustrated

572

Regence-Style Painted Two-Drawer Commode, decorated with cartouches and a faux marble top, h. 33”, w. 46”, d. 19”.

[500/800] Illustrated

575

Regence-Style Painted Two-Drawer Commode, decorated with cartouches and a faux marble top, h. 33”, w. 46”, d. 19”.

[500/800]

576

Harry Hesser (American/California, 20th Century), “California River Landscape”, 1904, oil on canvas, signed and dated lower left, 25‑3/8” x 17‑1/8”. Presented in a polychrome, carved frame. Provenance: Ann Koerner Antiques, New Orleans, Louisiana. [300/500] Illustrated

576

573 574

124

579 577

Louis XV-Style Polychrome, Parcel-Gilt and Marble-Top Commode, 20th century, the original black marble top above an apron with foliate carving and crosshatch line details, raised on slender cabriole legs, h. 31‑1/2”, w. 58”, d. 18”. [500/800] Illustrated

578

Louis XV-Style Polychrome Fauteuil, late 18th century, the padded and rounded back surmounted by a floral crest, joined by padded molded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 38”.

[400/700]

Unusual Contemporary Polychrome and Marble-Top Dining Table, in the Georgian taste, comprised of a center section and two independent D-end console tables, with a trisected marble top above a plain frieze, raised on turned urn-form pedestals to splayed reeded legs on brass caps, h. 30‑1/2”, w. 36”, l. 95”. [500/800] Illustrated

580

Niek van der Plas (Dutch, b. 1954), “Beach Umbrellas”, oil on wood panel, signed lower right, 12” x 19‑1/2”. Framed. [2000/4000] Illustrated

581

Niek van der Plas (Dutch, b. 1954), “The Beach”, oil on wood panel, signed lower right, signed en verso, 4‑1/4” x 6”. Framed. Pictured on cover and on page 123 of Theo Sanders’ catalogue of the artist.

[600/900] Illustrated

577 580

581 579

125

583

582

584 586

582

Rare French Gold and White Porcelain Pedestal, 19th century, probably Paris and likely made during the Restauration period, the pedestal exhibiting outstanding modeling and gilding, the foot in the form of an inverted Corinthian column capital, and holding the tapered pedestal with reeded panels of acanthus leaves alternating with anthemia and laurel leaves, the compote-form top also reeded, formerly mounted as a lamp, possibly intended as a torchere stand, h. 47”, w. 14”, d. 14”. [700/1000] Illustrated

585

Unusual Niderviller White Faience Figural Group, fourth quarter 19th century, decorated with a peasant girl washing her feet after harvesting wheat, a group of young hunters peering at her, all in 18th-century costume, impressed “Niderviller” and an interlaced “CC” under a crown, h. 18‑1/2”, dia. 7”. [300/500]

586

Pair of Polychrome Fauteuils in the Louis XV Taste, each with open arms, serpentine scalloped seat rail and cabriole legs, sumptuously upholstered in silver and beige brocade, h. 41”. [700/1000] Illustrated

Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded domed back surmounted by a floral crest, joined by padded scrolling arms to the cushioned seat, raised on stop-fluted tapering circular legs headed by floral capitals and ending in toupie feet, h. 40”. [500/800] Illustrated

584

587

583

Pair of Empire-Style Polychrome and Marble-Top Side Tables, early 20th century, each with an inset deeply canted marble within a molded and reeded frieze, joined to a lower shelf by paneled reeded uprights headed by Egyptian maiden head capitals and raised on a plinth shelf, h. 44”, w. 43‑1/2”, d. 17‑1/2”. [2000/4000] Illustrated

126

Pair of Louis XVI-Style Parcel-Gilt Twin Beds, second quarter 20th century, French, with upholstered headboards, the carved frames decorated with green paint and gilding, h. 46‑1/2”, w. 39”, l. 85‑3/4”. [400/700]

590

588

591 589

588

French Parcel-Gilt Trumeau Mirror in the Neoclassical Taste, first quarter 20th century, decorated with parcel gilt on a buff ground, each side with inset panels of trailing roses over bas-relief vases of flowers, the lower mirror with a ribboncarved surround, the upper panel with an oil-on-canvas urn of flowers surrounded by beading, beneath an egg-and-dart crest, h. 68‑3/4”, w. 45‑1/2”. [1000/1500] Illustrated

589

Continental Polychrome Cabinet, late 18th century, the faux-marbre top banded and with projecting canted corners and concave sides, above a conforming case fitted with two central cupboard doors flanked to either side by a curved cupboard door, all paneled and featuring an elaborate floral arrangement, raised on bulbous feet, h. 39”, w. 68”, d. 24”.

[1500/2500] Illustrated

590

Rare Napoleon III Porcelain Coffee Set in its Original Traveling Case, third quarter 19th century, probably Paris, hand-painted with scenes from the Renaissance on a vert pale ground with bamboo-decorated borders, the set comprised of an oval tray featuring a scene of a concert, w. 20‑1/2”, d. 16‑1/2”, a coffeepot, h. 8‑1/4”, w. 7‑3/4”, a covered hot milk jug, h. 6‑1/4”, w. 5‑3/4”, a sugar bowl, h. 5‑3/4”, w. 6”, seven of the original nine coffee cups decorated with hand-painted panels of Renaissance genre scenes, h. 2‑1/2”, and nine saucers, dia. 2‑1/2”, in its original silk-lined fitted traveling case, covered in stamped leatherette. [2500/5000] Illustrated

591

Pair of Louis XV-Style Polychrome Fauteuils, mid-19th century, each with a padded shaped back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral capitals and ending in acanthine toes, upholstered in period tapestry in figural, animal and foliate patterns, h. 38”. [400/700] Illustrated

127

592

Group of Two French Polychrome Fauteuils, comprising a Louis XV-style example, mid-19th century, h. 33”, and a Directoire-style example with a curule-form base, h. 37‑1/2”.

[400/700]

593

Dutch School (First Quarter 19th Century), “Still Life of Peonies, Roses and Tulips in a Carved Stone Urn, with Insects and a Bird’s Nest”, oil on canvas, unsigned, 32” x 25‑3/4”.

Framed. [800/1200] Illustrated

594

Frank C. Kirk (American, 1889‑1963), “Still Life with Ginger Jar”, oil on canvas, signed lower right, signed and localized en verso along with a floral sketch, 30‑1/2” x 25”. Framed.

[400/700]

595

Lizzie Edna Martin (American, 1856‑1922), “Still Life with Flowers and Grapes”, oil on canvas, signed lower left, 30” x 24”. Framed. [400/700]

596

Italian Neoclassical-Style Polychromed and ParcelGilt Cabinet, with a pair of doors with shaped polychromed panels depicting a vase and flora, h. 40”, w. 46”, d. 21‑1/2”.

[1000/1500] Illustrated

597

Italian Neoclassical-Style Polychromed and ParcelGilt Cabinet, with a pair of doors with shaped polychromed panels depicting a vase and flora, h. 40”, w. 46”, d. 21‑1/2”.

[1000/1500]

598

Important Chinese Longquan Celadon Mallet-Form Vase, Song Dynasty (960‑1279), the fine vessel with a dish mouth rim over a cylindrical neck decorated on either side with a phoenix-form handle, the vase with angled shoulders covered with a soft greenish glaze, and a burnt-orange underglaze foot, h. 7‑1/4”, w. 3‑1/2”. A vase resembling this one sold at Christie’s, Hong Kong, on October 30, 2001, lot 777.

[1000/1500] Illustrated

599

Chinese Longquan Celadon Vase, Qing Dynasty (1644‑1911), probably 18th century, the finely molded vase with a splayed lip and sloped form with molded floral-spray decoration, two elephant-head lugs, each with a mock loosering, and an unglazed foot, h. 12”, w. 8”. Provenance: Austin Auction Gallery, Austin, Texas, February 21, 2016, lot 706, Vermeer and Griggs Collection. [1500/2500] Illustrated

593

598

596

128

599

600

603

Chinese Celadon Porcelain Double Gourd Vase, 17th/18th century, possibly Longquan, incised with tendrils, with a molded rope at the waist, h. 6‑1/4”, dia. 5‑1/4”. [400/700] Illustrated

Chinese Celadon Porcelain Tripod Censer, 17th century, molded with phoenix birds, on foo dog feet, h. 2”, dia. 8”.

[500/800] Illustrated

604

601

Chinese Soapstone Figure of Foo Dogs, 20th century, the dogs modeled playing with a ball, on a wooden base, h. 5‑1/2”, w. 12”, d. 3”. [500/800] Illustrated

Chinese Dehua Vase, 17th/18th century, with a trumpet-form neck and incised scrollwork, h. 11‑1/2”, dia. 4‑3/4”. [600/900] Illustrated

605

602

Chinese Carved Jade Figure of a Recumbent Goat, ca. 1900, modeled with a branch in its mouth and resting on a conforming rosewood footed base, overall, h. 3‑7/8”, w. 4”, d. 2”. Provenance: The Estate of Alvin Richard Christovich, New Orleans, Louisiana. [500/800] Illustrated

Chinese Celadon Porcelain “Chicken” Water Dropper, possibly Ming Dynasty (1368‑1644), 17th century, molded and incised, h. 6‑1/4”, dia. 5”. [500/800] Illustrated

602 600 603

604

605

601

129

609

610

611

607

609 606

Unusual South Asian Jade Elephant, 20th century, the elephant mounted with “jewels” and gilded wire, sitting on a matching stand, h. 5‑3/4”, w. 5‑1/2”, d. 3‑1/4”. [700/1000]

607

Large Chinese Polychromed Apothecary Cabinet, 19th century, the case fitted with five rows of five drawers over a row of three drawers, many with Chinese calligraphy, h. 56‑1/2”, w. 60”, d. 20‑1/2”. [1000/1500] Illustrated

608

Carved Ding Lotus Bowl, Northern Song Dynasty (960‑1279), with delicately incised flowers, h. 2”, dia. 5”.

[700/1000]

130

Chinese Jun Ware Bowl, probably Northern Song Dynasty (960‑1126)/Jin Dynasty (1115‑1234), the rimmed blue bowl with red streaking, h. 3”, dia. 7‑1/2”. [600/900] Illustrated

610

Cizhou Ware Bowl, Song Dynasty (960‑1126 ) or Yuan Dynasty (1271‑1368 ), 11th/12th century, the bowl with a black glaze, h. 2‑1/4”, dia. 4‑1/2”. [600/900] Illustrated

611

Two Yixing Stoneware Teapots, first quarter 20th century, one with a dark brown glaze decorated with characters, h. 3‑1/4”, w. 6‑1/4”, and the other with a red glaze and metal and hardstone spout, handle and knop, h. 3‑3/4”, w. 6‑1/4”.

[500/800] Illustrated

612

Yixing Glazed Stoneware Teapot, ca. 1900, decorated with characters, h. 4‑1/4”, w. 6‑1/2”. [300/500]

617 615

618

616

613

Chinese Peachbloom Porcelain Vase, 20th century, with deer-head handles, h. 10‑1/2”, dia. 7”. [600/900]

617

614

Chinese Peach Blossom Vase, 20th century, the rectangular vase with a peach blossom glaze, h. 8”, w. 3”, d. 3”. [400/700]

Two Chinese Cloisonne Bowls, ca. 1900, both with scalloped rims, one decorated with plum branches on a black ground and the other with peonies and various plants on a brown ground, marked “China” on the bottom, h. 2‑1/2”, dia. 6‑3/4”. [400/700] Illustrated

615

618

Chinese Miniature Iron-Red Teapot, ca. 1900, decorated with phoenix birds, h. 5‑1/2”, w. 3‑1/2”. [600/900] Illustrated

616

Pair of Japanese Cloisonne Vases, Showa period (1926‑1989), each employing goldstone and speckled enamels, h. 7‑1/4”. [500/800] Illustrated

English Pine Thirty-Five Drawer Apothecary Chest, fourth quarter 19th century, h. 57”, w. 56‑1/2”, d. 15‑1/2”. [800/1200] Illustrated

131

622 621

620

619

Pair of Unusual Japanese Cloisonne Vases, Meiji period (1868‑1912), probably 1880s, the two globular vessels each with a splayed moth rim, cloud decoration at the neck and covered with a dragon and phoenix motif against a red ground, h. 6”, dia. 4‑1/4”. [400/700] Illustrated

620

Pair of Ginbari Cloisonne Vases, Showa period (1926‑1989), each in floral decor on a pigeon-blood ground, h. 7”. [500/800] Illustrated

132

619

621

Two Japanese Ginbari Cloisonne Vases, late Meiji period (1868‑1912)/Taisho period (1912‑1926), each depicting hanging blooms, one with a sky-blue ground, h. 12‑1/4” and 19‑1/2”. [300/500] Illustrated

622

Group of Four Japanese Cloisonne Vases, late Meiji period (1868‑1912), comprised of a pair of mottled and brocade enamel vases, h. 12”, and a pair of vases in brocade and foil enamels adorned with roundels, h. 8‑3/4”. [600/900] Illustrated

623

624

626 627

623

Two Cloisonne Boxes, late 19th/early 20th century, including a Japanese small, round box decorated with colorful blooms on a white ground, and a larger Chinese melon-form lidded cloisonne box covered with vibrant foliage over a blue ground, h. 2‑1/4” to 5”, dia. 3‑3/4” to 8”. [700/1000] Illustrated

624

Group of Three Large Japanese Cloisonne Vases, late Meiji period (1868‑1912)/Taisho period (1912‑1926), comprised of a wireless vase depicting cranes, h. 23‑1/2”, a vase depicting a bird perched on a tree, h. 17‑1/2”, and a vase depicting birds in flight, h. 12‑1/4”. [700/1000] Illustrated

625

Group of Three Japanese Cloisonne Vases, one in brocade decor on a pale rose ground, Meiji period (1868‑1912), h. 9‑3/4”, one in chrysanthemum decor, late Meiji period (1868‑1912)/Taisho period (1912‑1926), h. 12‑1/4”, and one depicting flowers and reeds, Showa period (1926‑1989), h. 8‑1/2”. [500/800]

626

Continental Alabaster Figure of a Water Carrier, first quarter 20th century, on a stepped onyx plinth, overall, h. 27‑1/8”, w. 9‑3/4”, d. 8”. [600/900] Illustrated

627

Contemporary Egyptian Gilt and Polychrome Throne Chair, of traditional form, the back featuring polychrome Egyptian figures, joined by pierced falcon-form arms to the lattice seat, raised on shaped legs headed by lion’s masques and ending in paw feet, the reverse with hieroglyphic patterns and cobra figures, h. 42”. [1200/1500] Illustrated

133

631 632

629

630

628

Middle Eastern Copper Circular Tray, molded with Islamic patterns, with a silver center medallion and some silver accents in one area, all in the form of script, dia. 30‑1/2”.

[400/700]

629

Pair of Carved Hardwood Armchairs, second half 20th century, purportedly African, each with a medallion back in foliate and floral carving, shaped arms and twining root legs ending in pad feet, h. 37‑1/2”. [400/700] Illustrated

630

Marble and Mixed Stone Bust of an Odalisque, in the late 19th century style, h. 25‑1/2”, w. 21”, d. 5”. [700/1000] Illustrated

134

631

Rare Chinese Export Waste Bowl for the Middle Eastern Market, early 19th century, decorated with a gilt and cobalt border, both sides with an oval claret-trimmed medallion having gilt Farsi/Dari inscriptions, the lower interior with a like medallion, h. 3‑1/4”, dia. 6‑3/4”. [400/700] Illustrated

632

Rare Chinese Export Dish for the Persian Market, mid-19th century, in the rose medallion pattern, with carefully detailed butterflies and flowers on a gilt ground, the center medallion with gilt Persian calligraphy, dia. 10‑3/4”. [400/700] Illustrated

634

633 635

633

Parquetry-Inlaid Coffee Table, mid-20th century, with geometric inlay in various patterns and mixed exotic hardwoods, on a curule base and having a removable framed glass tray top, h. 21”, w. 38‑1/4”, d. 19”. [400/700] Illustrated

634

Middle Eastern Zardozi Embroidery, 20th century, intricately and densely worked in gold bullion and gold and silver threads, inset with semi-precious stones, on burgundy velvet, backed in burgundy silk, 39” x 49”. [1000/1500] Illustrated

635

Pair of Middle Eastern Blown, Cut and Gilded Glass Decanters, with spire-form stoppers, the bases cut with sprigs and diapering, decorated with gilding and white enamel accents, h. 22‑3/4”, dia. 6‑1/4”. [400/700] Illustrated

135

636

642

Hermes Sterling Silver Buckle Ring, in the “Debridee” pattern, together with the Hermes box, size 5‑1/4, 9.4 grams total weight. [300/500] Illustrated

Gentleman’s Ten-Karat Yellow Gold and Black Onyx Ring, mounted with a square black onyx insert with a yellow gold profile of a horse head, size 8‑1/4, 5.1 grams total weight. [300/500]

637

643

Hermes Enamel Bangle Bracelet, the narrow bracelet in the “Brazil” pattern, together with the Hermes box, inside circumference 8”, 22.4 grams total weight. [300/500] Illustrated

Unusual Snake Vertebrae and Alloy Cross Necklace, the copper-nickel alloy cut-out and chased cross of African origin, and suspended from a necklace composed of a snake vertebrae, cross size, 4” x 5‑1/4”, necklace, l. 17”. [400/700] Illustrated

Session 2 | Sunday, August 28, 2016 | 10:00 a.m. CDT

638

Fourteen-Karat Yellow Gold and Red Coral Ring, the domed mounting with thirty-two coral beads, ranging in size from 3.0 mm to 5.0 mm, attached to the dome, size 7, 12.2 grams total weight. [300/500] Illustrated

644

Sterling Silver Alligator Belt Buckle and Fleur-de-Lis Brooch, the heavy cast buckle stamped “Hans” and made for a belt measuring 1‑1/4” wide, size 2” x 2‑1/4”, and the fleur-de-lis brooch with a floral design, stamped “Hans”, size 1‑3/8” x 1‑1/2”, 61.5 grams total weight. [300/500]

639

Eighteen-Karat Yellow Gold and Lapis Lazuli Ring, mounted with an oval cabochon-cut lapis lazuli, with an approximate weight of 13.80 carats, size 8, 6.0 grams total weight. [300/500] Illustrated

645

640

Four-Piece Group of Assorted Native American and Middle Eastern Jewelry, including a sterling silver cuff bracelet set with black onyx, tiger eye and jasper, signed “P. A. Smith”, inside circumference, 6‑1/2”, a sterling silver brooch set with turquoise, red and angel-skin coral and lapis lazuli, signed “L. Feeney”, l. 1‑1/4”, a sterling silver necklace composed of 10.0 mm round brushed beads, l. 16”, and a Middle Eastern dagger brooch set with faceted amber-colored glass, l. 3‑1/2”, 91.5 grams total weight. [500/800] Illustrated

641

Gentleman’s Fourteen-Karat Yellow Gold and Smoky Quartz Ring, in a nugget design, mounted with a cushionshaped smoky quartz with an intaglio of a Roman soldier, size 8, 7.9 grams total weight. [400/700] Illustrated

636

136

Gentleman’s Ten-Karat White Gold, Black Onyx and Diamond Ring, the mounting set with a rectangular black onyx insert surrounded by twenty-four single-cut diamonds, with an approximate total weight of 0.20 carats, size 10, 5.9 grams total weight. [300/500] Illustrated

646

Zuni Silver Inlaid Necklace and Earrings, the necklace signed by “Marietta Soseeah”, featuring the “Sun God”, inlaid with coral, black onyx, abalone and turquoise, l. 29”, the earrings en suite, 6.5 troy ounces total weight. [500/800] Illustrated

647

Pair of Gold Vermeil Turquoise Ear Clips, each Native American ear clip set with a turquoise nugget, each stamped “H.K., silver”, approximate dia. 1”, 20.4 grams total weight.

[300/500] Illustrated

637

641 638

647

646 639

645

640

643

656

648

650

652

651 655

654 138

653

648

Pair of Sterling Silver, Diamond, Ruby and Turquoise Pendant Earrings, each anodized earring set with rose-cut diamonds, with an approximate total weight of 0.35 carats for the pair, four faceted pear-shaped rubies, with an approximate total weight of 1.00 carat for the pair, and a round 3.0 mm turquoise cabochon, l. 1‑1/4”, 14.8 grams total weight.

[300/500] Illustrated

649

Two-Piece Eighteen-Karat Yellow Gold, Sapphire and Diamond Jewelry Lot, including a Le Vian eighteen-karat white gold ring with blue, pink and yellow sapphires and tsavorite garnets, stamped “18K, Le Vian”, size 7‑1/4, and a pair of eighteen-karat white gold ear clips, each pave-set with white/black brilliant-cut diamonds and pink sapphires, with an approximate total diamond weight of 0.50 carats for the pair, l. 3/4”, 9.0 grams total weight. [300/500]

650

Fourteen-Karat Yellow Gold and Carved Amethyst Necklace, composed of carved amethyst beads interspersed with corrugated gold roundels, finished with a fourteen-karat yellow gold clasp, l. 19”, 57.5 grams total weight. [300/500] Illustrated

657

651

Eighteen-Karat White Gold, Pink Spinel and Diamond Ring, mounted with an oval-cut pink spinel, with an approximate weight of 5.85 carats, flanked on each side by nine round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, approximate color E-G and clarity VS1‑VS2, size 7, 15.0 grams total weight. [2000/4000] Illustrated

652

Collection of Fourteen/Ten-Karat Yellow Gold and MultiStone Jewelry, including a pair of ten-karat yellow gold earrings, each mounted with an oval faceted amethyst, with an approximate weight of 1.00 carat, surrounded by ten semi-precious gems, including citrine, amethyst, peridot and topaz, with an approximate weight of 0.05 carats each, l. 5/8”, a fourteen-karat yellow gold brooch designed as a caterpillar, mounted with six oval faceted semi-precious gems, including garnet, amethyst, topaz, citrine, peridot and tourmaline, with an approximate weight of 0.40 carats each, and two round brilliant-cut diamonds, with an approximate total weight of 0.02 carats, l. 1‑3/4”, and a pendant mounted with a 7.0 mm cultured pearl surrounded by ten navette-shaped semiprecious gems, including peridot, amethyst, garnet, citrine and topaz, with an approximate weight of 0.05 carats each, l. 3/4”, 9.8 grams total weight. [500/800] Illustrated

653

Fourteen-Karat Rose Gold and Amethyst Necklace, composed of 13.5 mm faceted amethyst beads, separated by rose-gold roundels and finished with a fourteen-karat rose gold clasp, l. 19”, 124.1 grams total weight. [300/500] Illustrated

654

Sterling Silver, Ametrine and Diamond Necklace, composed of graduated, polished ametrine beads, l. 1‑3/4” to 2”, separated by silver beads and finished with a hook clasp mounted with ten rose-cut diamonds, with an approximate total weight of 0.10 carats, l. 18”, 270.4 grams total weight.

[300/500] Illustrated

655

Gold Vermeil and Sterling Silver, Diamond, Emerald and Tanzanite Bracelet, the wide cuff bracelet set with approximately 410 rose-cut diamonds, with an approximate total weight of 4.00 carats, thirty round faceted treated emeralds, with an approximate total weight of 3.00 carats, eight trillion-cut and one marquise-cut tanzanite, with an approximate total weight of 6.75 carats, inside circumference, 6‑1/2”, w. 1‑1/4”, 36.4 grams total weight. [400/700] Illustrated

656

Pair of Gold Vermeil and Sterling Silver, Diamond, Emerald, Amethyst, Peridot and Tourmaline Earrings, each earring set with rose-cut diamonds, with an approximate total weight of 0.42 carats for the pair, eleven round faceted emeralds, with an approximate total weight of 2.00 carats for the pair, eight oval faceted amethysts, with an approximate total weight of 3.80 carats for the pair, an oval faceted peridot, with an approximate total weight of 0.50 carats for the pair, and an oval faceted tourmaline, with an approximate total weight of 0.30 carats for the pair, l. 2‑1/4”, 13.8 grams total weight.

[300/500] Illustrated

657

Fourteen-Karat Yellow Gold, Emerald and Diamond Necklace, set with five faceted pear-shaped treated emeralds, with an approximate total weight of 2.00 carats, and twelve fullcut diamonds, with an approximate total weight of 0.06 carats, l. 17”, 6.2 grams total weight. [400/700] Illustrated

658

Fourteen-Karat Yellow Gold, Emerald and Diamond Pendant with Chain, the pendant mounted with a pearcut treated emerald, with an approximate weight of 6.86 carats, accented by thirty-two round-cut diamonds, with an approximate total weight of 0.42 carats, l. 1‑1/2”, suspended from a fourteen-karat yellow gold chain, l. 20”, 8.0 grams total weight. [500/800]

139

664

Fourteen-Karat White Gold, Tourmaline and Diamond Bracelet, mounted with sixteen emerald-cut green tourmalines, with an approximate total weight of 19.67 carats, alternating with thirty-two round-cut diamonds, with an approximate total weight of 0.98 carats, l. 7”, 13.9 grams total weight. [4000/7000] Illustrated

665

Fourteen-Karat White Gold, Green Tourmaline and Diamond Ring, mounted with an emerald-cut green tourmaline, with an approximate weight of 4.91 carats, flanked on either side by two princess-cut diamonds and twelve baguette-cut diamonds, with an approximate total diamond weight of 0.58 carats, size 7, 4.2 grams total weight. [1400/1800]

666

659

659

Fourteen-Karat Yellow Gold and Carved Jade Brooch, the jade with splashes of green and carved with three oriental figures, set in a rectangular fourteen-karat gold frame, size 1‑3/8” x 1‑3/4”, 13.8 grams total weight. [400/700] Illustrated

660

Pair of Eighteen-Karat White Gold, Emerald and Diamond Earrings, each earring mounted with a round-cut treated emerald, with an approximate total weight of 4.79 carats for the pair, and a halo of round-cut diamonds, with an approximate total weight of 0.81 carats for the pair, dia. 1/2”, 4.0 grams total weight. [2000/4000] Illustrated

661

Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 14.50 carats, surrounded by twentythree round-cut diamonds, with an approximate total weight of 1.25 carats, size 7, 14.7 grams total weight. [4000/7000] Illustrated

662

Eighteen-Karat White Gold, Emerald and Diamond Pendant with Chain, the pendant mounted with a pearshaped treated emerald, with an approximate weight of 11.62 carats, surrounded by a halo of round-cut diamonds and accenting the attached chain, with an approximate total weight of 1.42 carats, pendant, l. 1”, chain, l. 18”, 10.8 grams total weight. [3000/5000] Illustrated

663

Fourteen-Karat White Gold, Tourmaline and Diamond Ring, mounted with a long green tourmaline, with an approximate weight of 3.00 carats, and accented on the overlapping ring shank by round-cut diamonds, with an approximate total weight of 0.43 carats, size 7, 4.3 grams total weight. [1200/1800] Illustrated

140

Fourteen-Karat Yellow Gold, Bi-Color Tourmaline and Diamond Ring, mounted with an emerald-cut bi-color or “watermelon” tourmaline, with an approximate weight of 5.82 carats, flanked on either side by a princess-cut pink tourmaline, with an approximate total weight of 0.32 carats, and accented by forty-four round-cut diamonds, with an approximate total weight of 0.39 carats, size 7, 5.7 grams total weight. [1200/1800] Illustrated

667

Fourteen-Karat Rose Gold, Bi-Color Tourmaline, Tsavorite Garnet and Diamond Pendant with Chain, the pendant mounted with an emerald-cut bi-color or “watermelon” tourmaline, with an approximate weight of 4.45 carats, accented by a cluster of three round-cut tsavorite garnets at the tops and sides, with an approximate total weight of 0.35 carats, and bordered by a row of roundcut diamonds, with an approximate total weight of 0.21 carats, l. 1”, suspended from a rose gold chain, l. 18”, 3.7 grams total weight. [800/1200] Illustrated

668

Le Vian Fourteen-Karat Rose Gold, Chocolate/White Diamond and Garnet Ring, set with a cushion-shaped checkerboard-faceted garnet, with an approximate weight of 1.00 carat, forty round brilliant-cut chocolate diamonds and thirty-eight round white diamonds, with an approximate total diamond weight of 1.00 carat, marked “14k” with the Le Vian logo, size 7, 6.4 grams total weight. [400/700] Illustrated

669

Pair of Gold Vermeil, Diamond and Multicolored Tourmaline Pendant Earrings, each earring set with approximately 111 rose-cut diamonds, with an approximate total weight of 0.55 carats for the pair, five faceted pink tourmalines and three faceted green tourmalines, with an approximate total weight of 1.50 carats for the pair, l. 2‑5/8”, 11.4 grams total weight. [300/500] Illustrated

670

Le Vian Fourteen-Karat Rose Gold, Chocolate/White Diamond and Garnet Ring, set with an oval checkerboardfaceted garnet, with an approximate weight of 1.25 carats, thirty-eight round brilliant-cut chocolate diamonds and forty-two round white diamonds, with an approximate total weight of 0.65 carats, marked “14k” with the Le Vian logo, size 7, 5.2 grams total weight. [600/900]

662

661

667

660

664 666

669

663 668

141

676

674

673

672

678

682 679

680 681 677 142

671

Fourteen-Karat Rose Gold, Bi-Color Tourmaline and Diamond Pendant with Chain, the pendant mounted with an emerald-cut bi-color or “watermelon” tourmaline, with an approximate weight of 2.81 carats, accented by four round-cut diamonds, with an approximate total weight of 0.13 carats, l. 1”, suspended from a fourteen-karat rose gold chain, l. 17”, 2.6 grams total weight. [500/800]

672

Unusual Fourteen-Karat Yellow Gold, Garnet and Resin Flower Necklace, composed of handmade wire-wrapped translucent resin flowers, clustered and hanging from a necklace composed of faceted garnet beads, finished with a fourteen-karat yellow gold clasp, l. 18‑1/2”, 30.4 grams total weight. [300/500] Illustrated

673

Fourteen-Karat Rose Gold, Rubellite and Diamond Bracelet, mounted with twenty oval-cut rubellites, with an approximate total weight of 15.34 carats, and forty round-cut diamonds, with an approximate total weight of 0.54 carats, l. 7”, 15.5 grams total weight. [2000/4000] Illustrated

674

675

Eighteen-Karat White Gold, Rubellite and Diamond Ring, mounted with an oval-cut rubellite, with an approximate weight of 1.64 carats, flanked on either side by three round-cut diamonds, with an approximate total weight of 0.31 carats, size 7, 3.8 grams total weight. [800/1200] Illustrated

675

Platinum, Ruby and Diamond Pendant with Chain, the pendant mounted with an oval cabochon-cut treated ruby, with an approximate total weight of 0.84 carats, two marquise-cut, six baguette-cut, eleven round-cut and fourteen single-cut diamonds, with an approximate total weight of 1.52 carats, approximate color E-F and clarity VVS2‑VS2, l. 1‑1/2”, suspended from a fourteen-karat white gold chain, l. 15”, 9.0 grams total weight. [700/1000] Illustrated

676

Le Vian Eighteen-Karat White Gold, Diamond and Ruby Ring, the open flower design ring set with fifty-three round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, the three flowers set with eighteen round faceted rubies, stamped “Le Vian, 18k”, size 6‑3/4, 9.0 grams total weight. [400/700] Illustrated

677

Fourteen-Karat Yellow Gold and Carved Ruby Necklace, the two-strand necklace composed of graduated carved teardrop-shaped treated rubies, with an approximate total weight of 1200.0 carats, separated by yellow gold roundels and finished with a fourteen-karat yellow gold hook clasp, longest l. 21”, 215.3 grams total weight. [300/500] Illustrated

678

Gold Vermeil and Sterling Silver, Multicolored Sapphire and Diamond Bangle Bracelet, the hinged bracelet mounted with seven faceted multicolored treated sapphires, in an openwork design mounted with rose-cut diamonds, with an approximate total weight of 72.0 carats, inside circumference, 7”, 51.9 grams total weight. [400/700] Illustrated

679

Pair of Gold Vermeil, Diamond and Ruby Pendant Earrings, each dangling pendant mounted with approximately 224 rose-cut diamonds, with an approximate total weight of 1.25 carats for the pair, and eight faceted pear-shaped treated rubies, with an approximate total weight of 4.00 carats for the pair, l. 2‑5/8”, 14.4 grams total weight. [300/500] Illustrated

680

Pair of Eighteen-Karat Rose Gold, Ruby and Diamond Dangle Earrings, comprised of a larger hoop suspended from a smaller hoop, mounted with approximately 494 roundcut rubies, with an approximate total weight of 2.83 carats, the larger hoop with recessed circular areas mounted with approximately 238 round-cut diamonds, with an approximate total weight of 0.97 carats for the pair, l. 1‑1/2”, 13.1 grams total weight. [2500/4000] Illustrated

681

Gold Vermeil and Sterling Silver, Pink Sapphire and Diamond Ring, mounted with a central oval treated pink sapphire cabochon, with an approximate weight of 4.50 carats, surrounded by 244 rose-cut diamonds, with an approximate total weight of 0.60 carats, size 9‑1/2, h. 1‑1/2”, w. 1‑1/4”, 23.4 grams total weight. [300/500] Illustrated

682

Unusual Eighteen-Karat White Gold, Ruby and Diamond Snake Earrings, the snakes’ bodies coiled at the bottom, their heads fitted with the post and their hinged jaws forming the lever behind the ear, mounted with 248 round-cut treated rubies, with an approximate total weight of 2.94 carats, and 174 brown round-cut diamonds, with an approximate total weight of 1.87 carats, l. 1‑3/4”, 13.5 grams total weight.

[2500/4000] Illustrated

143

683

Gold Vermeil/Sterling Silver, Diamond and Ruby Seahorse Bangle Bracelet and Ring, the spring-loaded hinged bangle bracelet designed as a seahorse set with rose-cut diamonds and a ruby for the eye, together with a matching ring set with rose-cut diamonds and a ruby for the eye, with an approximate total diamond weight of 0.60 carats for both pieces, bracelet, inside circumference, 6‑1/2”, ring size 8, 21.4 grams total weight. [300/500] Illustrated

684

Fourteen-Karat Yellow Gold, Diamond and Ruby Earrings, each huggie ear clip set with eight round brilliant-cut diamonds, with an approximate total weight of 0.20 carats for the pair, and eight full-cut rubies, with an approximate total weight of 0.25 carats for the pair, l. 3/4”, 8.4 grams total weight.

[400/700] Illustrated

685

Victorian Gold-Filled Ruby and Pearl Bracelet, the hinged cuff bracelet with applied floral decoration, set with twentyeight irregular faceted rubies, with an approximate total weight of 1.00 carat, and one 3.0 mm round pearl, inside circumference, 6‑1/2”, 29.0 grams total weight. [300/500] Illustrated

686

Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, each earring mounted with a cabochon-cut treated ruby, with an approximate total weight of 2.96 carats for the pair, and fiftyeight round-cut diamonds, with an approximate total weight of 0.96 carats for the pair, approximate color D-E and clarity I1‑I2, l. 1‑1/2”, 12.0 grams total weight. [600/900] Illustrated

687

Two Fourteen-Karat Yellow Gold, Ruby and Diamond and Emerald Bracelets, comprising one hinged bangle bracelet mounted with twenty-three round faceted rubies, with an approximate total weight of 0.25 carats, inside circumference, 6‑1/2”, and a spring bangle set with four round faceted emeralds, with an approximate total weight of 0.40 carats, accented with three single-cut diamonds, with an approximate total weight of .05 carats, inside circumference, 7”, 12.2 grams total weight. [500/800]

688

689

Fourteen-Karat Multicolored Gold and Diamond Waltham Pocket Watch, the yellow gold case with a bouquet of flowers on the back lid composed of green, rose, white and yellow gold, with a row of five single-cut diamonds, with an approximate total weight of 0.07 carats, the sixteen jewels nickel-plated damascene-decorated movement signed “A.W.W., Col, Lady Waltham”, serial #15,084,XXX, 56.0 grams total weight.

[500/800] Illustrated

689

Ten-Karat Yellow Gold-Filled Victorian-Style Cuff Bracelet, the hinged bracelet engraved with a floral motif and stamped “1/20 10K Gold Filled, Dunn Bros.”, inside circumference, 6‑1/2”, 25.2 grams total weight. [300/500] Illustrated

690

Fourteen-Karat Yellow Gold “Dos Pesos” Coin Pendant with Chain, the round open wired design pendant set with a 1945 “Dos Pesos” Mexican coin, dia. 1‑1/4”, suspended from a rope chain, l. 16”, 9.3 grams total weight. [500/800] Illustrated

691

Eighteen-Karat Yellow/White Gold and Diamond Brooch and Ring, the two-tone brooch designed as three leaves, mounted with eleven single-cut diamonds, with an approximate total weight of 0.20 carats, size 1‑5/8” x 2”, and the ring with a cascading design, mounted with eleven round brilliant-cut diamonds, with an approximate total weight of 0.60 carats, size 5‑1/2, 26.8 grams total weight. [500/800] Illustrated

692

Fourteen-Karat Yellow Gold Bracelet, the Italian stylized bracelet with hollow links, w. 3/8”, l. 7”, 10.4 grams total weight.

[400/700]

693 688

144

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

684 683

690

693 685

686

691

145

705 700

695

694

696

701 146

704

702

694

Pair of Eighteen-Karat Yellow Gold Ear Clips, the stylized seashell-designed ear clips with omega backs, size, 1” x 1‑1/4”, 18.4 grams total weight. [400/700] Illustrated

695

Unusual Fourteen-Karat Yellow Gold and Diamond Skull Ring, the ring fashioned with a skull on one side and a roundcut diamond on the other, facing the skull, the diamond with an approximate weight of 0.10 carats, size 7‑1/2, 1.9 grams total weight. [300/500] Illustrated

696

Fourteen-Karat Yellow Gold and Citrine Necklace, composed of faceted citrine beads in a variety of shapes and sizes, separated by round gold beads and can be worn as a single-, double- or triple-strand necklace, finished with a fourteen-karat yellow gold ball clasp, l. 48”, 134.2 grams total weight. [300/500] Illustrated

697

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]

698

Eighteen-Karat Yellow Gold and Multicolored Diamond Ring, the large dome ring mounted with a center row of eleven multicolored diamonds in a variety of cuts, with an approximate total weight of 1.46 carats, flanked on either side by three rows of brown round-cut diamonds, separated by two rows of yellow round-cut diamonds and white round-cut diamonds, with an approximate total weight of 2.57 carats, size 7‑1/4, 14.6 grams total weight. [3000/5000]

703

703

Fourteen-Karat Yellow Gold and Diamond New Orleans Saints Pendant, in the shape of the State of Louisiana, set with a round brilliant-cut diamond, with an approximate weight of 0.08 carats, size 1” x 1‑1/8”, 6.5 grams total weight.

[500/800] Illustrated

Eighteen-Karat Yellow Gold, Sapphire and Diamond Pendant with Chain, the pendant raised and open with a stylized design, mounted with eighty-six round-cut treated sapphires, with an approximate total weight of 1.01 carats, and 244 round-cut diamonds, with an approximate total weight of 1.51 carats, l. 2”, suspended from a fourteen-karat gold chain, l. 18”, 10.6 grams total weight. [1800/2500] Illustrated

700

704

699

Eighteen-Karat Yellow Gold, Sapphire and Diamond Dangle Earrings, mounted with seventy-two round-cut treated sapphires, with an approximate total weight of 0.64 carats for the pair, 136 round-cut treated yellow diamonds, with an approximate total weight of 1.18 carats for the pair, and ninety-eight round-cut white diamonds, with an approximate total weight of 0.72 carats for the pair, l. 1‑3/4”, 8.1 grams total weight. [1500/2500] Illustrated

701

Fourteen-Karat Yellow Gold, Sapphire and Diamond Bee Pin, set with eight round brilliant-cut diamonds, with an approximate total weight of 0.12 carats, and fourteen round faceted treated sapphires, with an approximate total weight of 0.20 carats, size, 3/4” x 3/4”, 3.5 grams total weight. [300/500] Illustrated

702

Eighteen-Karat Yellow Gold, Sapphire and Diamond Dangle Earrings, each earring mounted with ten pear-shaped treated sapphires, with an approximate total weight of 6.99 carats for the pair, and thirty-two round-cut diamonds, with an approximate total weight of 1.85 carats for the pair, l. 1‑3/4”, 13.5 grams total weight. [2500/4000] Illustrated

Pair of Fourteen-Karat Yellow Gold, Diamond and Blue Sapphire Clip Earrings, l. 3/4”, 7.1 grams total weight.

[300/500] Illustrated

705

Fourteen-Karat Yellow Gold, Sapphire and Diamond Ring and Pendant, the ring set with a row of nine round faceted treated sapphires, with an approximate total weight of 0.12 carats, flanked by two rows of round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 4, and the pendant set with sixteen single-cut diamonds, with an approximate total weight of 0.08 carats, and sixteen table-cut treated sapphires and one oval faceted treated sapphire, with an approximate total weight of 0.25 carats, l. including bail, 1‑1/4”, 5.7 grams total weight. [500/800] Illustrated

706

Gentleman’s Fourteen-Karat White Gold and Star Sapphire Ring, the heavy mounting set with a blue star sapphire cabochon, with an approximate weight of 2.50 carats, size 7‑3/4, 13.6 grams total weight. [600/900]

147

710

Fourteen-Karat Yellow Gold, Pink Sapphire and Diamond Ring, mounted with an oval-cut treated pink sapphire, with an approximate weight of 1.30 carats, flanked on either side by three round brilliant-cut diamonds, with an approximate total weight of 0.19 carats, approximate color F-G and clarity SI1‑SI2, size 6‑1/2, 3.0 grams total weight. [400/700] Illustrated

711

Fourteen-Karat White Gold, Kunzite and Diamond Ring, mounted with an oval-cut kunzite, with an approximate total weight of 18.0 carats, and accented on the ring shank by fortyfour round-cut diamonds, with an approximate total weight of 0.48 carats, size 7, 10.0 grams total weight. [700/1000] Illustrated

712

711

Fourteen-Karat Yellow Gold, Citrine, Tsavorite Garnet and Multicolored Sapphire Earrings, each earring mounted with an oval-cut citrine, with an approximate total weight of 16.25 carats for the pair, surrounded by a double halo of round-cut tsavorite garnets, with an approximate total weight of 0.69 carats for the pair, and round-cut yellow, pink and blue sapphires, with an approximate total weight of 1.85 carats for the pair, l. 1”, 11.6 grams total weight. [900/1200] Illustrated

713

707

Eighteen-Karat Yellow Gold, Sapphire and Diamond Earrings, the drop dangle earrings each mounted with an oval-cut and pear-cut treated sapphire, with an approximate total weight of 19.61 carats for the pair, and a square-cut diamond, with an approximate total weight of 0.28 carats, l. 1‑1/2”, 18.0 grams total weight. [600/900] Illustrated

708

Four-Piece Collection of Eighteen/Fourteen-Karat Yellow Gold, Sapphire and Diamond Jewelry, including an eighteen-karat yellow gold ring set with an oval faceted sapphire, with an approximate weight of 0.30 carats, and nine full-cut diamonds, with an approximate total weight of 0.20 carats, size 8, an eighteen-karat yellow gold ring set with a round sapphire cabochon, with an approximate weight of 0.20 carats, and sixteen round full-cut diamonds, with an approximate total weight of 0.25 carats, size 7‑3/4, a fourteenkarat yellow gold ring set with an oval faceted sapphire, with an approximate weight of 0.50 carats, and ten round full-cut diamonds, with an approximate total weight of 0.40 carats, size 7‑1/2, and a fourteen-karat yellow gold heart pendant set with eight round faceted sapphires, with an approximate total weight of 0.25 carats, and eight round full-cut diamonds, with an approximate total weight of 0.25 carats, suspended on an 18” chain, 23.2 grams total weight. [300/500] Illustrated

Unusual Eighteen-Karat White Gold, Citrine and Diamond Ring, the twisted mounting set with a large oval faceted citrine, with an approximate weight of 18.25 carats, the mounting ending in prongs with five-pointed stars and talons, pave-set with approximately 282 single- and full-cut diamonds, with an approximate total weight of 2.00 carats, size 8‑1/2, 19.0 grams total weight. [300/500] Illustrated

714

Two Citrine Necklaces and a Rock Crystal Necklace, the single-strand citrine necklace composed of large tumbled citrine stones, with a gold-tone hook clasp, l. 16”, the twostrand citrine necklace composed of polished citrine “sticks”, with a gold-tone toggle clasp, l. 16‑1/2”, and the two-strand rock crystal necklace composed of irregular polished crystal beads, interspersed with faceted oval-shaped crystal beads, finished with a silver-tone toggle clasp, l. 17”, 568.7 grams total weight. [300/500]

709

Fourteen-Karat Yellow Gold, Diamond, Emerald and Sapphire Brooch, designed as a chrysanthemum, set with a 0.15 carat round brilliant-cut diamond, accented with five round faceted treated emeralds, with an approximate total weight of 0.20 carats and fourteen round faceted treated sapphires, with an approximate total weight of 0.50 carats, size 1‑5/8” x 2”, 19.4 grams total weight. [500/800] Illustrated

148

712

707

708

713 detail

713

710 709

149

716

720

718

723

721

722

726

724

725 708

150

715

Fourteen/Ten-Karat Yellow Gold and Citrine Ring and Brooch, the fourteen-karat yellow gold ring mounted with a faceted navette citrine, with an approximate weight of 4.25 carats, size 7‑3/4, and the oval brooch set with an oval faceted citrine, with an approximate weight of 8.75 carats, four round faceted sapphires, with an approximate total weight of 0.10 carats, and four 2.0 mm round pearls, size, 1‑1/8” x 7/8”, 11.0 grams total weight. [400/700] Illustrated

716

Fourteen-Karat Yellow Gold, London Blue Topaz and Diamond Ring, mounted with a cushion-cut London blue topaz, with an approximate weight of 8.78 carats, accented by thirty round-cut diamonds, with an approximate total weight of 0.20 carats, size 7, 6.4 grams total weight. [600/900] Illustrated

717

Fourteen-Karat Yellow Gold, Sterling Silver and Opal Earrings, the rounded corner triangular-shaped opal doublets, measuring approximately 11.0 mm x 17.0 mm, mounted as earrings with a fourteen-karat gold frame with silver backs, 5.0 grams total weight.

[400/700]

718

Fourteen-Karat Yellow Gold, Ethiopian Opal, Ruby and Diamond Ring, mounted with an Ethiopian opal cabochon, with an approximate weight of 3.05 carats, accented on each side by a pearcut ruby and on the top and bottom by a cluster of three round-cut rubies, with an approximate total ruby weight of 0.21 carats, size 7, 5.1 grams total weight. [500/800] Illustrated

719

Eight-Karat Yellow Gold and Opal Ring and Earrings, the princess-designed ring set with eight oval opal cabochons and nine round faceted garnets, with an approximate total weight of 0.75 carats, size 7, and the earrings each set with six oval and one round opal cabochons and twelve round faceted blue sapphires, each earring with a silver wire back, dia. 7/8”, and with an approximate total opal weight of 11.00 carats for the suite, 15.8 grams total weight. [400/700]

723

Eighteen-Karat Yellow Gold, Ammolite and Diamond Pendant, the ammolite cabochon triplet measuring 14.7 mm x 20.12 mm, and surrounded by a mixture of fifty diamond baguettes and tapered diamond baguettes, with an approximate total weight of 1.00 carat, size 7/8” x 1‑1/4”, 10.0 grams total weight. [600/900] Illustrated

724

Fourteen-Karat Yellow Gold, Peridot, Tsavorite Garnet and Diamond Ring, mounted with a central ovalcut peridot, with an approximate weight of 5.08 carats, accented on each side by an oval-cut tsavorite garnet, with an approximate total weight of 0.36 carats, and twenty-six round-cut diamonds, with an approximate total weight of 0.18 carats, size 7‑1/2, 7.3 grams total weight.

[1000/1500] Illustrated

725

Le Vian Fourteen-Karat Rose Gold, Diamond, Demantoid Garnet and Peridot Ring, the pear-shaped ring set with a conforming faceted pear-shaped applegreen peridot, with an approximate weight of 2.00 carats, surrounded by twenty-three round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, and eighty-seven pave-set round faceted demantoid garnets, with an approximate total weight of 1.00 carat, stamped “Le Vian, 14K, CN”, size 6‑3/4, 6.4 grams total weight.

[700/1000] Illustrated

726

Two Fourteen/Ten-Karat Yellow Gold and Peridot Rings, the fourteen-karat yellow gold ring mounted with an emerald-cut peridot, with an approximate weight of 2.50 carats, size 7, and the ten-karat yellow gold ring mounted with a central emerald-cut peridot, with an approximate weight of 1.25 carats, flanked by four emerald-cut peridots, with an approximate total weight of 2.50 carats, size 7, 7.8 grams total weight. [400/700] Illustrated

720

Eighteen-Karat White Gold, Opal and Diamond Ring, mounted with an oval cabochon-cut opal, with an approximate weight of 1.90 carats, surrounded by thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.86 carats, size 5‑1/2, 7.0 grams total weight. [500/800] Illustrated

727

721

Fourteen-Karat Yellow Gold, Opal and Diamond Ring, mounted with an oval-shaped Ethiopian opal, with an approximate weight of 15.39 carats, surrounded by two rows of round brilliant-cut diamonds, with an approximate total weight of 1.53 carats, approximate color E-F and clarity VS1‑SI1, size 7‑1/2, 13.0 grams total weight. [1500/2500] Illustrated

722

Fourteen-Karat Rose Gold, Ethiopian Opal, Tsavorite Garnet, Ruby and Diamond Ring, mounted with an oval Ethiopian opal cabochon, with an approximate weight of 11.69 carats, with an alternating border of round-cut tsavorite garnets, with an approximate total weight of 0.50 carats, and round-cut treated rubies, with an approximate total weight of 0.56 carats, with white round-cut diamonds separating the sections and down the sides of the split shank, with an approximate total weight of 0.45 carats, and accented between the split shank on either side with three brown round-cut diamonds, with an approximate total weight of 0.19 carats, size 7, 12.1 grams total weight. [1800/2500] Illustrated

727

Three-Piece Ten/Fourteen-Karat Yellow Gold and Enamel and Pearl Four-Leaf Clover Suite, including a ten-karat and fourteen-karat yellow gold brooch, each set with a 3.0 mm round freshwater pearl, size, 1” x 1”, and a fourteen-karat yellow gold enamel pendant set with a fourteen-karat gold bead, size, 3/4” x 1”, 9.5 grams total weight. [600/900] Illustrated

151

732

Fourteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with an oval-cut aquamarine, with an approximate weight of 2.35 carats, surrounded by a halo of round-cut diamonds, with an approximate total weight of 0.49 carats, size 7‑1/4, 3.5 grams total weight. [900/1200] Illustrated

733

Le Vian Fourteen/Ten-Karat Yellow/White Gold, Diamond and Blue Quartz Jewelry Suite, including a ring set with a triangular-cut blue/green quartz, with an approximate weight of 7.16 carats, and eight round-cut diamonds, with an approximate total weight of 0.03 carats, size 5‑1/4, and a pendant set with an oval-shaped blue/ green quartz, with an approximate weight of 11.23 carats, suspended from a fourteen-karat yellow gold box chain, l. 16”, 12.0 grams total weight. [300/500]

734

728

Fourteen-Karat White/Yellow Gold and Diamond Bracelet, the thin line bracelet composed of alternating white and yellow gold links, set with seven round brilliantcut diamonds, with an approximate total weight of 0.35 carats, l. 7/8”, 13.6 grams total weight. [500/800] Illustrated

735 728

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

[300/500] Illustrated

729

Fourteen-Karat Gold and Gold Vermeil, Diamond and Crystal Jewelry Suite, comprising a pendant composed of a faceted tabernacle-shaped rock crystal, surrounded by a border of rose-cut diamonds, with an approximate total weight of 0.04 carats, l. 1‑1/4” including bail, suspended from a fourteen-karat 18” yellow gold chain, together with a pair of earrings en suite, with an approximate total diamond weight of 0.09 carats, l. 1‑1/4”, 12.0 grams total weight. [300/500] Illustrated

730

Pair of Fourteen-Karat Yellow Gold and Fancy Light Brown Diamond Ear Studs, each stud set with a diamond, with an approximate weight of 1.00 carat, approximate clarity I1, 1.0 grams total weight. [500/800] Illustrated

736

Fourteen-Karat White/Yellow Gold and Diamond Jewelry Suite, including a two-tone flexible link bracelet, channel set with fifty round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, approximate color D-E and clarity I1‑I2, l. 7”, a pair of two-tone earrings, each channel-set with sixteen diamond baguettes, with an approximate total weight of 0.65 carats for the pair, approximate color F-G and clarity SI2‑I1, l. 3/4”, and a ring mounted with a central round brilliant-cut diamond, with an approximate weight of 0.33 carats, approximate color G and clarity I1, flanked to either side by a round brilliant-cut diamond, with an approximate total weight of 0.24 carats, approximate color H-I and clarity SI1‑SI2, size 7‑3/4, 17.7 grams total weight. [700/1000] Illustrated

737

Pair of Gold Vermeil and Sterling Silver, Diamond, Aquamarine and Tanzanite Pendant Earrings, each earring set with rose-cut diamonds, with an approximate total weight of 0.15 carats for the pair, one emerald-cut aquamarine, with an approximate total weight of 5.00 carats for the pair, and eight oval faceted tanzanites, with an approximate total weight of 2.00 carats for the pair, l. 2”, 15.8 grams total weight. [300/500] Illustrated

Fourteen-Karat White Gold and Brown and White Diamond Ring, set with a central round-cut brown diamond, with an approximate weight of 0.35 carats, clarity SI1, flanked on either side by two round-cut diamonds, with an approximate total weight of 0.31 carats, color G-I and clarity VS1‑SI1, and fifty-nine round-cut light brown diamonds, with an approximate total weight of 0.34 carats, size 6‑1/2, 4.0 grams total weight. [500/800] Illustrated

731

738

Fourteen-Karat White Gold, Aquamarine and Diamond Pendant with Chain, the cushion-cut aquamarine, with an approximate weight of 1.00 carat, accented with four singlecut diamonds on the bail, with an approximate total weight of 0.02 carats, suspended from a fourteen-karat white gold chain, l. 18”, 1.6 grams total weight. [300/500] Illustrated

152

Sterling Silver and Diamond Dangle Earrings, the front of the hoop mounted with rose-cut diamonds, and the ball mounted with rose-cut diamonds in the round, with an approximate total weight of 6.80 carats for the pair, l. 1‑1/2”, 20.5 grams total weight. [400/700] Illustrated

729 731

735 730

732

738

737

734

736

153

741

743

746 745

739

747 748

154

749

739

Eighteen-Karat White Gold and Diamond Ring, mounted with a central trillion-cut diamond, with an approximate weight of 0.34 carats, with seventy-three round-cut diamonds in a double halo around the stone and down the sides of the shank, with an approximate total weight of 0.36 carats, size 7, 5.2 grams total weight. [1500/2500] Illustrated

740

Eighteen-Karat White Gold and Diamond Ring, mounted with 135 round-cut diamonds, with an approximate total weight of 1.79 carats, size 7‑3/4, 5.8 grams total weight. [2000/4000]

741

Fourteen-Karat White Gold and Black and White Diamond Pendant with Chain, the pendant in a free-flowing stylized design, mounted with 113 round-cut black diamonds, with an approximate total weight of 0.51 carats, and 200 round-cut white diamonds, with an approximate total weight of 0.93 carats, l. 2”, suspended from a fourteen-karat white gold chain, l. 18”, 10.9 grams total weight. [1400/1800] Illustrated

742

Fourteen-Karat White Gold and Diamond Ring, the navetteshaped mounting set with three round brilliant-cut diamonds, surrounded by a halo of fourteen single-cut diamonds, with an approximate total weight of 0.35 carats, size 7‑1/4, 3.0 grams total weight. [300/500]

743

Vintage Fourteen-Karat White Gold and Diamond Portrait Necklace with Chain, the necklace with a Swiss portrait miniature marked “Plojoux, Geneve”, mounted in a frame set with 111 rose- and European-cut diamonds, with an approximate total weight of 0.90 carats, and a pearshaped diamond drop, with an approximate weight of 0.18 carats, pendant, l. 2”, chain, l. 22”, 11.0 grams total weight.

[1000/1500] Illustrated

744

Art Deco Fourteen-Karat White Gold, Diamond and Sapphire Pin, the pin with a filigree design and set with a round brilliant-cut diamond, with an approximate weight of 0.15 carats, flanked on either side by French-cut sapphires, with an approximate total weight of 0.20 carats, l. 2‑3/8”, 4.5 grams total weight. [400/700] Illustrated

750

745

Fourteen-Karat White Gold and Diamond Ring, the crossover design ring set with 180 round single-cut diamonds, with an approximate total weight of 0.50 carats, size 7, 5.0 grams total weight. [400/700] Illustrated

746

Sterling Silver and Diamond Earrings, each earring mounted with thirty-four baguette-cut diamonds in a random pattern, with an approximate total weight of 0.85 carats for the pair, dia. 1/2”, 2.5 grams total weight. [300/500] Illustrated

747

Eighteen-Karat White Gold and Diamond Ring, mounted with a central pear-cut diamond, with an approximate total weight of 0.28 carats, and 120 round-cut diamonds in a double halo around the stone and down the shank of the ring in an openwork woven pattern, with an approximate total weight of 0.51 carats, size 7, 7.3 grams total weight. [1800/2500] Illustrated

748

Sterling Silver and Diamond Hinged Bracelet, in the style of a nail, with the point on one end and the head of the nail on the other end wrapping around the top of the point, mounted with rose-cut diamonds, with an approximate total weight of 1.34 carats, inside circumference, 6‑1/2”, 16.7 grams total weight.

[300/500] Illustrated

749

Le Vian Fourteen-Karat White Gold and Diamond Ring, composed of twenty-six round-cut diamonds, four baguettecut diamonds and twenty princess-cut diamonds, with an approximate total diamond weight of 1.17 carats, approximate color E-I and clarity VVS2‑SI1, size 6‑3/4, 6.0 grams total weight. [600/900] Illustrated

750

744

Sterling Silver, Diamond, Sapphire and Leather Tie Bracelet, the adjustable leather tie strap featuring a curved plate mounted with approximately 180 rose-cut diamonds on the border, with an approximate total weight of 1.68 carats, and approximately 240 round faceted treated sapphires, with an approximate total weight of 5.1 carats, plate, h. 1”, w. 2‑1/4”, 20.7 grams total weight. [300/500] Illustrated

155

751

Fourteen-Karat White Gold and Diamond Ring, mounted with fifty round-cut diamonds and seventy-seven baguette-cut diamonds, with an approximate total weight of 1.95 carats, size 6, 6.0 grams total weight. [600/900] Illustrated

752

Fourteen-Karat White Gold, Moonstone and Sapphire Ring, mounted with a moonstone cabochon, with an approximate weight of 6.71 carats, surrounded by a halo of round-cut sapphires, with an approximate total weight of 0.47 carats, size 7, 5.9 grams total weight. [700/1000] Illustrated

753

Fourteen-Karat White Gold and Diamond Engagement Ring, set with a center round-cut diamond, with an approximate weight of 0.91 carats, approximate color D and clarity I1, and four round-cut diamonds mounted on the side of the ring, with an approximate total weight of 0.10 carats, approximate color G-I and clarity SI2‑I1, size 6‑3/4, 4.0 grams total weight. [700/1000] Illustrated 756

756

Pair of Gold Vermeil, Diamond, Sapphire, Ruby and Pearl Pendant Earrings, each dangling pendant earring set with rose-cut diamonds, with an approximate total weight of 1.00 carat for the pair, a round faceted treated sapphire, with an approximate total weight of 1.00 carat for the pair, two faceted treated rubies, with an approximate total weight of 0.16 carats for the pair, and an 8.0 mm baroque pearl, l. 3‑1/2”, 29.2 grams total weight. [300/500] Illustrated

757

755

Sterling Silver, Seed Pearl, Diamond and Ruby Bracelet, the unusual bracelet composed of braided seed pearls, with two applied elephants and a horse, pave-set with rose-cut diamonds, with an approximate total weight of 0.60 carats, and with rubies for the eyes, with an approximate total weight of .03 carats, finished with a diamond clasp, l. 6‑3/4”, 15.8 grams total weight. [300/500] Illustrated

758 754

Platinum, Fourteen-Karat White/Yellow Gold, Sapphire and Diamond Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 1.94 carats, accented by forty European-cut diamonds, with an approximate total weight of 1.43 carats, approximate color E-G and clarity VS2‑SI2, size 6‑1/4, 7.0 grams total weight. [1000/1500] Illustrated

755

Fourteen-Karat White/Yellow Gold, Sapphire and Diamond Ballerina Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 3.62 carats, surrounded by twenty round brilliant-cut and forty-four baguette-cut diamonds, with an approximate total weight of 1.30 carats, size 6, 14.0 grams total weight. [1000/1500] Illustrated

156

Fourteen-Karat Yellow Gold and Rutilated Quartz ThreeStrand Necklace, composed of three graduated strands of navette-shaped and faceted rutilated quartz beads separated by gold tubes, finished with a fourteen-karat yellow gold clasp, l. 17” to 20”, 72.1 grams total weight. [300/500] Illustrated

759

Fourteen-Karat Yellow Gold and Chocolate and White Diamond Ring, the buckle-designed ring set with thirty-four round brilliant-cut chocolate diamonds and seven single-cut white diamonds, with an approximate total diamond weight of 0.33 carats, size 7, 4.4 grams total weight. [300/500] Illustrated

760

Eighteen-Karat Rose Gold and Fancy Brown Diamond Bangle Bracelet, mounted with eighty round-cut diamonds, with an approximate total weight of 3.51 carats, inside circumference, 7”, 10.4 grams total weight. [2000/4000] Illustrated

751 754

752

753

758

759

760 757

157

763

761

762 766

767

158

764

768

765

Fourteen-Karat Rose Gold and Diamond Full Finger Ring, segmented in three sections and mounted with approximately 372 round-cut diamonds, with an approximate total weight of 1.45 carats, bottom ring size, 7‑1/4, 11.9 grams total weight.

[2000/4000] Illustrated

766

Fourteen-Karat Yellow/Rose Gold and Diamond Jewelry Suite, including a ring pave-set with approximately ninetythree single-cut diamonds, size 7‑3/4, with matching earrings set with approximately 168 single-cut diamonds, l. 5/8”, with an approximate total weight of 2.00 carats for the trio, 13.2 grams total weight. [400/700] Illustrated

767

Le Vian Fourteen-Karat Yellow Gold, Chocolate/White Diamond and Smoky Topaz Ring, the yellow gold mounting set with a cushion-shaped checkerboard faceted smoky topaz, with an approximate weight of 5.00 carats, and two pear-shaped checkerboard faceted smoky topazes, with an approximate total weight of 0.80 carats, twenty-four round brilliant-cut chocolate diamonds and twenty round white diamonds, with an approximate total diamond weight of 0.50 carats, stamped “14k, CN, Le Vian”, size 7, 7.8 grams total weight. [400/700] Illustrated 765

761

Fourteen-Karat Yellow Gold and Tiger Eye Necklace, composed of 16.5 mm round polished tiger eye beads, finished with a fourteen-karat yellow gold toggle clasp, l. 17”, 155.2 grams total weight. [300/500] Illustrated

762

Le Vian Fourteen-Karat Rose Gold, Chocolate and White Diamond Ring, the bypass-designed ring set with fortysix round brilliant-cut chocolate diamonds and thirty-two round brilliant-cut white diamonds, with an approximate total diamond weight of 1.25 carats, stamped “Le Vian, SI2‑3, 14k”, size 7, 6.8 grams total weight. [500/800] Illustrated

768

Fourteen-Karat Yellow Gold and Chocolate and White Diamond Ring, set with twelve princess-cut chocolate diamonds and thirty-six round brilliant-cut white diamonds, with an approximate total weight of 1.25 carats, stamped “R. Klein”, size 7, 4.8 grams total weight. [300/500] Illustrated

769

Unusual Fourteen-Karat Yellow Gold, Pearl and Diamond Necklace, the pendant set with two 7.0 mm cultured pearls, accented by six single-cut diamonds, with an approximate total weight of 0.03 carats, and attached to a fourteen-karat yellow gold herringbone chain, l. 18”, 9.5 grams total weight.

[300/500] Illustrated

763

Eighteen-Karat Yellow Gold and Multicolored Diamond Pendant/Pin with Chain, the pendant/pin mounted with five multicolored diamonds, ranging in color from yellow to yellowbrown and brown, with an approximate total weight of 1.23 carats, accented by 136 round-cut white diamonds, with an approximate total weight of 0.54 carats, l. 1‑3/4”, suspended from a fourteen-karat yellow gold chain, l. 18”, 8.8 grams total weight. [1800/2500] Illustrated

764

Eighteen-Karat White Gold and Multicolored Diamond Ring, in a crossover design, one end mounted with thirteen treated pink diamonds, with an approximate total weight of 0.19 carats, and the other end mounted with thirteen treated yellow diamonds, with an approximate total weight of 0.19 carats, each end and the ring shank mounted with forty-six round-cut white diamonds, with an approximate total weight of 0.42 carats, size 7, 4.4 grams total weight. [1800/2500] Illustrated

769

159

771

770

Fourteen-Karat Yellow Gold Mabe Pearl Ring and Pendant, the ring with a heart-shaped mounting, with a bezel-set heartshaped mabe pearl measuring 14.5 mm x 14.5 mm, size 5‑1/2, and the matching pendant set with a heart-shaped mabe pearl measuring 19.4 mm x 16.5 mm, 10.6 grams total weight.

[300/500] Illustrated

774

771

Fourteen-Karat Yellow Gold and Mabe Pearl Necklace with Ear Clips, the round blister mabe pearl measuring 23.00 mm in diameter and set in a fourteen-karat gold bezel, suspended from a fourteen-karat gold chain, l. 18”, and the open wirework pinwheel-designed ear clips each set with a 6.5 mm cultured pearl, dia. 1”, 25.6 grams total weight. [300/500] Illustrated

772

Fourteen-Karat Yellow Gold and Pearl Bracelet with Earrings, the three-strand cultured pearl bracelet segmented by two fourteen-karat yellow gold twisted bars, composed of ninety 6.0 mm pearls, l. 7‑1/2”, and the earrings in a pinwheel design, each set with a 6.0 mm pearl, dia. 5/8”, 21.9 grams total weight. [400/700] Illustrated

773

Eighteen-Karat Yellow Gold and Baroque Pearl MultiStrand Necklace, the ten-strand necklace with twelve multicolored baroque pearls, ranging from 11.0 mm to 13.5 mm in diameter, in a staggered design, together with an I. Massi box, l. 16‑1/2”, 77.0 grams total weight. [1800/2500] Illustrated

774

Fourteen/Ten-Karat Yellow Gold Cameo Necklace, the fourteen-karat yellow gold and carved hardstone cameo of a woman surrounded by two rows of mabe pearls, the first row with fifty-nine pearls measuring approximately 1.75 mm and the second row with forty-eight pearls measuring approximately 2.75 mm, size, 1‑1/4” x 1‑3/4”, suspended from a 14” ten-karat yellow gold chain, 22.6 grams total weight.

[400/700] Illustrated

160

770

775

Gilt and Parcel Argente Metal Chatelaine, 20th century, in the rococo taste, comprising a central plaque with a small oval portrait miniature of an 18th-century nobleman, suspending three link pendants, the center with a similar portrait miniature of a noblewoman and all terminating in keys, the whole decorated with rococo scrolls, putti, dolphins and parcel argente flowers, the reverse with a belt hook, l. 9‑1/2”.

[400/700] Illustrated

772

775

773 161

779

777

776

776

Andy Warhol (American, 1928‑1987), “Cow, Poster for the Musee d’Art Moderne de la Ville de Paris”, 1970, offset lithograph in colors, signed, 25‑5/8” x 23‑3/8”. Glazed and framed. [700/1000] Illustrated

777

Andy Warhol (American, 1928‑1987), “S & H Green Stamps, Mailer”, 1965, offset lithograph in colors, 23” x 23”.

Unframed. Illustrated: Feldman, Fraya and Jorg Schellmann. Andy Warhol Prints: A Catalogue Raisonne, 1962‑1987, 4th ed. New York: D.A.P., 2003, II.9, p. 61.

[800/1200] Illustrated

162

778

780

778

Alexander Calder (American, 1898‑1976), “’Constellations”, from the Magie Eolienne series, ca. 1972, color lithograph, pencil-signed and inscribed “E.A. (artist’s proof)” lower margin, sight 25” x 19”. Glazed, matted and framed. [1000/1500] Illustrated

779

Andy Warhol (American, 1928‑1987), “Flowers, Leo Castelli Mailer”, 1964, offset lithograph in colors, 22” x 22”. Illustrated: Feldman, Fraya and Jorg Schellmann.

Andy Warhol Prints: A Catalogue Raisonne, 1962‑1987, 4th ed. New York: D.A.P., 2003, II.6, p. 60. [1000/1500] Illustrated

780

Andy Warhol (American, 1928‑1987), “Flowers, Galerie Sonnabend Invitation”, 1970, offset lithograph in colors, signed, 7” x 7”. Unframed. Illustrated: Feldman, Fraya and Jorg Schellmann. Andy Warhol Prints: A Catalogue Raisonne, 1962‑1987, 4th ed. New York: D.A.P., 2003, II.67, p. 76. [1000/1500] Illustrated

781

Roy Lichtenstein (American, 1923‑1997), “Crying Girl, Leo Castelli Mailer”, 1963, offset lithograph in colors, 17” x 23”.

Unframed. [800/1200] Illustrated

782

Andy Warhol (American, 1928‑1987), “Marilyn, Castelli Graphics Invitation”, 1981, offset lithograph in colors, signed, printed by Colour Editions, Inc., 7” x 7”. Unframed.

[2500/5000] Illustrated

783

Andy Warhol (American, 1928‑1987), “Mao Tse-Tung, Castelli Graphics Invitation” 1972, offset lithograph in colors, 7” x 7”. Unframed. [800/1200] Illustrated

784

Hasmig Vartanian (Israeli/Louisiana, b. 1946), “Painting for Lunette with Moveable Parts I”, mixed media on paper, signed lower right, sheet 37‑3/4” x 47‑5/8”. Glazed, float-mounted and framed. [800/1200] Illustrated

782

785

Grover Mouton (American/Louisiana, b. 1946), “Wall Street in Space”, mixed media on paper, sight 39” x 28‑1/2”. Glazed, matted and framed. [600/900] Illustrated

783

781

784

785 163

787

791

788

790 one of two

786

Graciela Rodo Boulanger (Bolivian, b. 1935), “Cher Elephant”, lithograph, pencil-signed lower right and marked “H. C. 15/25” lower left, sight 24” x 35”. Glazed and framed. [500/800]

787

Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Layered Landscape”, 1973, color lithograph, pencil-signed, dated, titled, and numbered “61/100” lower right, sight 44” x 29‑3/4”.

Glazed and framed. [800/1200] Illustrated

788

Andre Minaux (French, 1923‑1986), “Nude and Squares”, color lithograph, pencil-signed lower right, numbered “20/40” lower left, sight 20” x 16‑1/2”. Glazed, matted and framed. [400/700] Illustrated

789

Ann Hornback (American, Contemporary), “Dreamboat”, watercolor on paper, signed lower right, 27‑1/2” x 39”. Matted, glazed and framed. [500/800]

164

792

793

790

Pair of Decorative Floral Panels, 20th century, embossed plastic/composition, each signed “Brioni” (possibly for Eugenio Brioni) lower right, one dated “78”, each sheet 37‑1/2” x 29”. Float-mounted, glazed and framed. [400/700] Illustrated

791

Joy Jerviss (American, Contemporary), “Early Evening”, etching, pencil-signed lower left, numbered “95/250” lower center, titled lower left, sight 23‑1/2” x 20‑3/4”. Matted, glazed and framed. [400/700] Illustrated

792

Bram Bogart (Belgian, 1921‑2012), “Composition”, 2004, carborundum etching in colors on heavy handmade paper, pencil-signed and dated lower right, numbered “12/33” lower left, sheet 17‑1/2” x 12”.

Glazed, float-mounted and framed. [400/700] Illustrated

793

Kikuo Saito (Japanese/New York, b. 1939), “Untitled”, 1985, hand-made paper, signed and dated lower right, sheet 30” x 30”. Float-mounted and in a shadowbox frame.

[1000/1500] Illustrated

794

Ellsworth Woodward (American/New Orleans, 1861‑1939), “Marie”, etching, monogrammed, titled, and inscribed “first state” lower margin, sight 10‑1/4” x 8”.

Glazed, matted and framed. Provenance: The Estate of Madeleine Lotterhos Atwell, Jackson, Mississippi. [300/500] Illustrated

795

Rolland Golden (American/New Orleans, b. 1931), “The Complete Collection of Civil War Lithographs”, 1970, each of the ten are signed in plate and pencil-signed and numbered 78 of an edition of 200, each sheet 15” x 11‑7/8”, five of the lithographs are glazed, matted and framed alike, the other five are unframed in a folio sleeve. [700/1000] Illustrated

796

Paulette Tokar Whiteman (American, b. 1950), “Lady Royal”, 1998, mixed media on paper, signed and dated lower right, titled lower left, sight 8‑1/8” x 8”. Matted, glazed and framed. [800/1200] Illustrated

794

797

Claude Weisbuch (French, b. 1927), “La Compagne”, offset lithograph, pencil-signed lower right, numbered “100/160” lower left, 21‑3/4” x 30”. Glazed and framed.

[500/800] Illustrated

795 one of ten

796

797 165

800

798

801

799

800 Humbert Albrizio (American, 1901‑1970), “Three Standing Figures”, lithograph, unsigned, titled on “Kraushaar Galleries, New York” label on mat backing, 13” x 10‑1/8”. Matted.

[700/1000] Illustrated

Pair of Pierre Paulin (1927‑2009) for Artifort Ribbon Chairs, France, Netherlands, each in beige upholstery, joined to a shaped beechwood base, and each retaining the retailer’s printed label “James Callahan Interiors, Palm Springs, California”, h. 28‑1/2”, w. 40‑1/2”, d. 26”. [1500/2500] Illustrated

799

801

798

James Abbott McNeill Whistler (American, 1834‑1903), “The Tiny Pool”, 1879, etching and drypoint, faintly signed with the “butterfly” in print, 3‑7/8” x 2‑5/8”. Glazed, matted and framed. [600/900] Illustrated

166

Pair of Pierre Paulin (1927‑2009) for Artifort Ribbon Chairs, France, Netherlands, each in beige upholstery, joined to a shaped beechwood base, and each retaining the retailer’s printed label “James Callahan Interiors, Palm Springs, California”, h. 28‑1/2”, w. 40‑1/2”, d. 26”. [1500/2500] Illustrated

802

Pair of Italian Mid-Century Modern Glass Lamps, the amber glass standards decorated with white swagging, on giltwood bases, h. 37‑1/2”, dia. 7‑1/4”. [400/700] Illustrated

803

Ten-Piece Brown Leather Sectional Seating Group, made for James Callahan Interiors, Palm Springs, California, comprised of three corner sections, h. 25”, w. 37”, d. 38”, five armless sections, h. 25”, w. 32”, d. 38”, and two ottoman sections, h. 13”, w. 32”, d. 22”. [1500/2500] Illustrated

804

804

Cowhide Throw Rug, in shades of brown and white, w. 75”, l. 92”. [300/500] Illustrated

805

Large Contemporary Circular Game or Conference Table, with an inset tooled leather top on a laminated columnar pedestal with a brass ring foot, h. 28‑1/2”, dia. 63”. [700/1000] Illustrated

806

Mid-Century Modern Stainless Steel and Burl Elm “Pace” Model Pool Table, third quarter 20th century, handcrafted by Blatt Billiards, New York, with hand-sewn leather pockets and automatic ball return, h. 32‑1/2”, w. 60‑1/2”, l. 111”, together with a stainless steel pool cue rack, h. 48”, w. 28”, d. 4”, and a stainless steel billiards chair, h. 37”, w. 20”, d. 21”. [1500/2500] Illustrated

805

806 802

803

167

807

Arthur Silverman (American/New Orleans, b. 1923), “Untitled”, painted board sculpture, on a black rectangular base, presented on a white-painted metal base, sculpture, h. 42‑1/2”, w. 25‑5/8”, d. 12‑3/8”, base, h. 48”. Provenance: Collection of the artist.

[800/1200] Illustrated

808

Arthur Silverman (American/New Orleans, b. 1923), “Untitled”, painted board sculpture, on a black rectangular base, presented on a white-painted metal base, sculpture, h. 36”, w. 22‑5/8”, d. 12”, base, h. 48”. Provenance: Collection of the artist. [800/1200] Illustrated

809

Arthur Silverman (American/New Orleans, b. 1923), group of six geometric sculptures, painted board, h. from 9‑1/2” to 20‑1/4”.

Provenance: Collection of the artist. [700/1000] Illustrated

810

Arthur Silverman (American/New Orleans, b. 1923), group of six geometric sculptures, painted board, h. from 10‑1/2” to 22‑1/4”. Provenance: Collection of the artist. [700/1000]

811

Arthur Silverman (American/New Orleans, b. 1923), group of seven geometric sculptures, painted board, h. from 9‑1/2” to 22‑1/2”. Provenance: Collection of the artist. [700/1000] Illustrated

812

Arthur Silverman (American/New Orleans, b. 1923), group of seven geometric sculptures, painted board, h. from 10” to 25‑1/4”.

Provenance: Collection of the artist. [700/1000]

807

809

811 168

808

813

Contemporary Mirror Glass, Chrome and White Enamel Queen-Size Platform Bed, after a design by Pierre Cardin for Dillingham, the bed with cabinets and lighting, and bearing the Pierre Cardin label, h. 80”, w. 113‑1/2”, l. 96‑1/2”. [700/1000] Illustrated

814

Contemporary Chrome-Clad Sculptural Side Table, pierced with cylindrical openings, h. 20‑1/4”, w. 20”, d. 20”. [400/700] Illustrated

814

815

Contemporary Chromed Steel and Glass Side Table, the circular glass top on a standard comprised of stacked tubular rings, h. 28”, dia. 48”. [500/800] Illustrated

816

Max Papart (French, 1911‑1994), “Keyhole in Time”, mixed media/collage on paper, signed lower right, 15‑3/8” x 18‑3/8”, and “Signs of the Time”, mixed media on paper, signed lower right, 13‑3/4” x 22‑7/8”. Both glazed, matted and framed.

[500/800] Illustrated

815

816

813 169

819

820

817

Charles Huntington (American, b. 1925), “Untitled”, 1980, brushed steel sculpture, signed and dated on base, h. 84”, w. 22”, d. 15”. [4000/7000] Illustrated Charles Huntington, an American Indian artist of Ojibwe descent, was born in Niagara, Wisconsin, and moved to the MinneapolisSt. Paul area as a small child. After serving during World War II in the U.S. Navy as a steam engineer, Huntington turned to automotive repairs, where he began making sculpture out of found car parts. In 1959 he left the auto industry to study at the Minneapolis College of Art and Design, where he finetuned his skills and learned metal casting under Paul Granlund (1925‑2003), another well-known Minnesota sculptor. In an interview with the Hibbing Daily Tribune, he characterized the change as “hard financially, but emotionally it was pretty damn easy... I donít believe I make sculpture. I believe sculpture made me.” Given Huntington’s medium and perspective, his large scale sculptures, typically made of steel, are most commonly seen in public spaces. Accessible to all, they are designed to engage viewers both physically and metaphysically through geometric abstractions (notably helixes and lemniscates - symbols of infinity) that fold back on themselves creating aesthetic balance and reflexivity. In addition to the two works offered here and in lot 819, other examples of Huntington’s work can be found throughout Midwestern universities, hospitals and businesses, such as Western Michigan University, the Mayo Clinic, and General Mills. Reference: Kurth, Anna. “Video Sculptor Inspires Students”. Hibbing Daily Tribune, Dec. 9, 2012.

170

817

818

Contemporary Metal and Lucite Sculpture, 1978, in the form of chevrons, indistinctly signed “Yann Gross?” at the edge of self-base, dated and titled “La Virtu della Giustizia” on metal artist plaque, h. 30”, w. 24”, d. 9‑1/4”. [350/500]

819

Charles Huntington (American, b. 1925), “Untitled”, 1979, chrome sculpture of a fish, on a white marble plinth, signed and dated on self-base, h. 56‑3/4”, w. 5”, d. 7‑1/4”. [700/1000] Illustrated

827

825

823 824

824

Jack Frankfurter (American/New York, 20th Century), “Occupazione: Aspettare”, oil on canvas, signed and monogrammed lower right and en verso, verso canvas and stretcher stamped “Galleria L’88, Roma”, 19‑3/4” x 27‑1/2”. Framed. [800/1200] Illustrated

825 826

820

Pino Signoretto (Italian, b. 1944), “Serpentine Abstraction”, glass, signed on base, h. 46‑1/2”, w. 12”. [500/800] Illustrated

821

Group of Three Modern Chrome and Glass Occasional Tables, each with an inset circular glass top on three shaped supports joined to a ring base, h. 20‑1/4”, dia. 20”. [400/700]

822

Contemporary Brushed Steel and White Glass Circular Cocktail Table, the table with a lower shelf, and on casters, h. 16”, dia. 29‑1/2”.

[300/500]

823

Contemporary Glass Cocktail Table, the edge beveled, and the ends wrapping to form the legs, h. 10‑3/4”, w. 27‑1/4”, d. 44”. [400/700] Illustrated

Contemporary Silver Gilt-Metal Six-Light Chandelier, with vertical lights mounted on pierced brackets, supported on a scrolled base, h. 23”, dia. 27”. [1200/1800] Illustrated

826

Contemporary Acrylic and Glass Oval Dining Table, the oval glass top resting on reversible acrylic C-form supports, h. 28‑1/2”, w. 42”, l. 84”.

Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [500/800] Illustrated

827

George Rodrigue (American/Louisiana, 1944‑2013), 2010, a signed and dated paper palette with the original signed brush adhered to the paint, accompanied by a photograph of George Rodrigue holding the palette and brush having just executed the “Blue Dog” painting in the background, palette, including the brush, w. 20‑1/2”, d. 12”, the color photo, overall h. 8‑1/2”, w. 11”. Provenance: The Louisiana Art Education Association Annual Conference, October 22 and 23, 2010, with George Rodrigue as an honored guest presenter. [500/800] Illustrated

171

830

833

831 832

828

Five Pieces of Contemporary Lucite Sculpture, including a rectangle with fluting, h. 15‑1/2”, w. 8”, d. 2‑1/2”, a pair of intersecting cubes, h. 5‑1/2”, w. 5‑1/2”, a square prism on a stand, h. 14‑3/4”, w. 11‑1/2”, d. 4‑1/2”, a spire intersecting a quadrangle, h. 21”, w. 8‑1/2”, d. 5”, and a covered box, h. 7‑3/4”, w. 7‑1/2”, d. 7‑1/2”. [300/500]

829

Modern Lucite Stool, late 20th century, of inverted U-form with a padded top, h. 18‑1/2”, w. 14‑1/2”, d. 12‑1/2”. [300/500]

830

Suite of Four Vintage Lucite Armchairs, 1970s, three retaining a tag indicating production by Hill Manufacturing Corp, Newburgh, New York, and each with continuous hoopform front legs joined to a shaped panel forming the backrest and leg, with blue velvet-upholstered demi-lune seats, h. 29”.

[400/700] Illustrated

172

831

Pair of Vintage Lucite, Glass and Aluminum Tiered Side Tables, 1970s, attributed to Charles Hollis Jones, h. 21‑1/2”, w. 30”, d. 30”. [600/900] Illustrated

832

Gyuri Hollosy (Hungarian/American, b. 1946), “Figurative Abstraction”, 1990, patinated bronze, cast signature, dated and numbered “9/20” on block, mounted on a black metal base, h. 16‑3/8”, w. 16‑3/8”, d. 6”. [400/700] Illustrated

833

Classic Warren Platner for Knoll Patinated Steel Wire and Glass Coffee Table, designed 1960s, the base with bronze patination and a clear plastic extrusion ring underneath the bottom, the circular glass top with bevel on the underside, h. 15”, glass dia. 48”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [500/800] Illustrated

834

837

835

838

839

834

837

835

838

836

839

Pair of Mid-Century Modern-Style Chromed Steel and Upholstered Armchairs, late 20th century, each with closed arms and loose seat and back cushions, h. 32‑1/2”. [300/500] Illustrated Mid-Century Modern-Style Upholstered Sofa, late 20th century, with closed arms, loose cushions and blonde wooden legs, h. 31‑1/2”, w. 66”, d. 55”. [300/500] Illustrated Suite of Three Modern Tessellated Occasional Tables, each circular top in a tortoiseshell pallet, raised on three straight legs, h. 18”, dia. 17‑3/4”. [400/700]

Contemporary Enameled Metal Mobile, mid-20th century, of Alexander Calder (American, 1898‑1976) inspiration, mounted on gilt metal with circles in various colors, h. 15”, w. 21”, d. 23”.

[300/500] Illustrated Giovanni Schoeman (South African/London, 1940‑1981), “Sunflower”, 20th century, mixed metal sculpture, unsigned, 38‑1/2” x 28‑1/2”. Framed. [500/800] Illustrated Modern Leather and Chromed Steel Settee, the ivory cushions on a shaped frame in contrasting brown leather, on chromed metal front legs, h. 36”, w. 60”, d. 35”. [500/800] Illustrated

173

840

842

841

840

Rolland Harve Golden (American/Louisiana, b. 1931), “Out of the Past”, 1971, acrylic on canvas, signed and dated lower right, titled on stretcher, 30” x 40”. Framed. [800/1200] Illustrated

841

Vernon Reinike (American/Mississippi, b. 1942), “Pine Shadows”, oil on paper laid down on board, signed lower right and titled on brass artist plaque, 16” x 22‑3/4”. Framed.

[300/500] Illustrated

842

Lisette Normann (American, Contemporary), “Spiral Blooms”, from the Bloom series, acrylic and mixed media on canvas, signed lower right, 48” x 24”. Unframed. [500/800] Illustrated

174

844

843

843

Allison Stewart (American/New Orleans, b. 1941), “Urban Wall”, lithogrpah, pencil-signed lower right, titled lower center, numbered “91/350” lower left, sheet 24” x 18‑1/2”. Unframed.

[500/800] Illustrated

844

Tom Berg (American, b. 1943), “Folding Chair: Steel/ Canvas/Tape”, 1980, oil on canvas, signed lower center, signed, titled and dated en verso, a “Heydt/Bair Gallery/Santa Fe, NM” label en verso, 48” x 36”. Framed. Private collection, Santa Fe, New Mexico. [1200/1800] Illustrated

845

Sue Duerr Robertson (American, Contemporary), “Turning Page”, 2003, oil on wood panel, monogrammed and dated lower right, titled en verso, 15‑1/2” x 11”. Framed. [400/700] Illustrated

846

845

852

846

Margaret Petterson (American/Charleston, b. 1948), “The Flower Seller Beside the Church”, watercolor, signed lower right, sight 20‑1/2” x 12‑1/2”. Glazed, matted and framed.

[800/1200] Illustrated

847

Joel Meyerowitz (American, b. 1938), “Strawberry Seller, France”, 1968, dye-transfer photographic print, signed along lower left edge, numbered “8/96” at upper left corner, later pencil inscription lower right, sheet 20” x 16”. Matted.

[400/700] Considered one of the pre-eminent contemporary American street photographers, Meyerowitz was inspired by the works of Henri Cartier-Bresson (French, 1908‑2004) and Eugene Atget (French, 1857‑1927), two of the pioneering street and documentary photographers of the first half of the 20th century. Initially working exclusively in black and white - which at the time was considered the only true art photography Meyerowitz began to experiment with color in the late 60s/ early 70s. His atmospheric photographs are admired for their sense of intimacy and feeling of spontaneity. He was the first instructor in color photography at the School of Art of the prestigious Cooper Union, New York, where he inspired many students to pursue color photography.

848

Raoul Henseval (French, 20th Century), “La Spectre de la Jalousie”, oil on canvas, signed lower right, titled on front plaque, 40” x 31”. Framed. [500/800]

849

French School (Fourth Quarter 19th Century), “Arranging Flowers”, oil on canvas, 32‑3/8” x 24”. Unframed. [500/800]

850

Robert Harvey (American, b. 1924), “Visiting Maud on Memorial Day”, 1965, oil on canvas, signed and dated lower right, titled on stretcher, verso with “The North Carolina Museum of Art, Raleigh, N.C.” exhibition label, 48” x 36”.

Framed. [2000/4000] Illustrated

850

851

Mariano Soyer de la Puente (American, 20th Century), “Portrait of Merryl Israel Aron”, 1970, pastel on paper, signed and dated lower right, sight 39” x 28‑3/4”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [400/700]

852

Karen Stastny (American/New Orleans), “Nude”, 1992, charcoal and pastel on paper, signed and dated lower right, sight 23‑5/8” x 17‑5/8”. Glazed, matted and framed.

[700/1000] Illustrated

175

853

856

Charles Alton Pfahl (American, b. 1946), “Portrait of the Artist’s Wife”, pastel on paper, signed mid-left, sight 17” x 14”.

Glazed, matted and framed. [500/800]

Lalique-Style Molded and Frosted Glass Vase, French, decorated with bacchanalian figures picking grapes, with a spurious “R. Lalique” signature engraved on the base, h. 11‑1/2”, w. 7‑1/4”, d. 6”. [500/800] Illustrated

854

857

Hancock and Moore Club-Style Leather Sofa, 20th century, American, the cordovan-colored leather trimmed with brass nailheads, h. 35”, w. 82”, d. 43”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [600/900] Illustrated

R. Lalique “Epis” Vase, ca. 1931, of clear and frosted glass with a light green patina, engraved mark on the pontil: “R. Lalique, France”, h. 6‑1/2”, dia. 6‑3/8”. [300/500] Illustrated

855

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

857

856

854

176

858

862 pair

859 860

860 Unusual Contemporary Brown Leather Settee, on tapered legs, the back covered in cowhide, labeled by Halo Asia Ltd., Hong Kong, h. 39”, w. 50‑1/2”, d. 29”. [700/1000] Illustrated

French Patinated and Cold-Painted Bronze of a Dancer, 20th century, after Joe Descomps (French, 1869‑1950), cast signature at edge of self-base, on a columnar carved marble plinth, overall, h. 13‑3/4”, w. 4‑1/2”, d. 5‑1/2”. [600/800] Illustrated

859

861

858

Pair of Unusual Contemporary Brown Leather Chairs, with tapered legs, the backs covered in cowhide, labeled by Halo Art Ltd., Hong Kong, h. 38‑1/2”, w. 31”, d. 38”. [1000/1500] Illustrated

Art Deco-Style Mahogany Card/Center Table, the square top supported by a trio of shaped supports on cyma-molded feet, h. 27‑1/2”, w. 32”, d. 32”. [500/800]

862

Pair of Art Deco-Style Hammered Metal Circular Mirrors, the surrounds decorated with pierced scrollwork and various other Art Deco patterns, dia. 30”. [500/800] Illustrated

177

863

867

868

863

Margarete Markiewicz Turgel (German/France, 20th Century), 1930s, pair of patinated bronzes including “Deer”, signed at bottom of belly, on a thin wooden base, overall, h. 7‑1/2”, w. 5”, d. 3‑1/2”, and “Hedgehog at Rest”, signed at bottom and with a Berlin mark, h. 4‑5/8”, w. 5‑1/2”, d. 3‑1/4”. [300/500] Illustrated A native of Berlin, Turgel and her husband Siegfried were closely associated with the artistic community which flourished in that city in the 20s and early 30s. In 1933, concerned with the political situation in Germany, the couple fled to France where they lived for the remainder of their lives. A painter and sculptor, Turgel produced silver foil animals which were the prototypes for her cast bronze figures. An early photograph shows the foil figures set against a plain backdrop which slightly distorts their shadows, creating an almost surreal circus. The works presented here, one of which is stamped Berlin, can be dated to before she left Germany. A friend of many of the influential artists of the time, Turgel was often the subject of their work. The great Expressionist Emil Nolde (1867‑1956) painted several portraits of her, including one dated 1930 which he inscribed “Strangely Beautiful Woman”. The 1931 photo of Turgel by Alfred Eisenstaedt (1898‑1995) reveals a woman with an intense, penetrating gaze. Little is known of Turgel once she left Germany.

178

865

864

Molded Polyresin Figure of a White Leopard, 20th century, the “big cat” modeled crouching on a rocky outcrop, h. 10‑1/2”, w. 8‑1/4”, d. 4‑3/4”. [400/700]

865

Contemporary Kittinger Argente and Ebonized Tall Chest, branded “Kittinger Buffalo”, the case with a bank of four drawers framed by cyma molding, the drawer faces in silver-leaf with shaped ebonized pulls, h. 48‑1/2”, w. 36”, d. 21”. [800/1200] Illustrated

866

Pair of Kittinger Argente and Ebonized Night Stands, second half 20th century, each with the maker’s brands, and each with a drawer over a pair of open shelves, h. 29‑7/8”, w. 16‑1/2”, d. 14”. [400/700]

867

George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over black clay on wood panel, signed lower center, 15‑7/8” x 11‑7/8”. Framed. [2000/4000] Illustrated

868

Set of Six French Art Deco Lacquered Hardwood Dining Chairs, second quarter 20th century, of highly polished European hardwood, possibly by Dominique, Paris, h. 43”. Provenance: Jon Vaccari Design, New Orleans, Louisiana. [1400/1800] Illustrated

869

872

870

873

Contemporary Cut Crystal Table Lamp, 20th century, on a faceted stepped base with a tapered, faceted column-form standard, h. 31‑3/4”, dia. 9”. [400/700]

Large Fortuny-Upholstered Lounge Chair, 20th century, with an arched back and rolled armrests, h. 37”. [500/800] Illustrated

Vintage Hollywood Regency Carved and Tan-Painted Armchair, 1950s, in the manner of Grosfeld House, h. 42‑1/2”.

[300/500] Illustrated

James Coignard (French, 1925‑2008), “Abstract Relief”, the reverse with cast signature, Guyot foundry stamp and number “1/8”, mounted on a wood base, overall, h. 5‑5/8”, w. 10‑3/4”.

[400/700] Illustrated

871

874

Contemporary Bronze and Enamel Sculpture, ca. 1978, made for the del Campo Atelier, Turin, Italy, the pierced cylindrical sculpture contrasting rough and smooth casting, and decorated with an area of tortoiseshell enamel, signed “EC del Campo 78”, h. 21”, w. 11‑1/2”, d. 6”. [500/800] Illustrated

James Coignard (French, 1925‑2008), “Abstract Stela”, the reverse with cast signature, Guyot foundry stamp and number “2/8”, mounted on a wooden base, overall, h. 13‑3/4”, w. 7‑1/2”.

[500/800] Illustrated

871

874

873

870

872

179

877

875

878

876

879

875

Contemporary Mohair-Covered Chaise Longue by Alabama Architect Bobby McAlpine, 20th century, with an overstuffed pillow-form backrest and armrest, h. 33”, w. 55”, d. 35”. [800/1200] Illustrated

876

Contemporary Desk by Alabama Architect Bobby McAlpine, covered in faux snakeskin and decorated with brass nailheads, h. 30‑1/2”, w. 72‑1/2”, d. 30”. [1000/1500] Illustrated

877

Contemporary Oval Eleven-Light Chandelier, the candle sockets concealed with acrylic prisms, h. 24”, w. 21‑1/2”, d. 15‑1/2”. [800/1200] Illustrated

180

878

Mid-Century Modern-Style Brushed Steel and MarbleTop Side Table, the rectangular variegated black and rouge marble top above a shaped frieze, raised on pierced tapering square legs joined by an X-form stretcher and ending in ball feet, h. 37‑1/2”, w. 47”, d. 19”. [800/1200] Illustrated

879

French Mid-Century Vintage Gilt-Metal and Verre Eglomise Cocktail Table of Classical Inspiration, the X-form gilt-metal legs mounted with ring pulls supporting the reverse-painted glass top decorated with a gilt sunburst on a black ground, signed Larco, h. 16”, w. 43‑1/2”, d. 18”. [400/700] Illustrated

880

American Mid-Century Modern Brass Pharmacy Floor Lamp, 20th century, in the manner of Cedric Hartman, with adjustable height and swivel shade, h. 39”, w. 20‑1/2”, d. 7”.

[300/500] Illustrated

881

883

884

880

881

Contemporary Glass and Polished Brass Cocktail Table, the mirrored glass top over a frieze adorned with knobs affixed to plates, the ends with handles, raised on shaped legs with pad feet, h. 16”, w. 39‑1/4”, d. 14‑1/4”. [400/700] Illustrated

882

Lee Industries Wing-Back Settee, ca. 2008, American, after a design by Alabama architect Bobby McAlpine, with a wool and mohair pillow, h. 44‑1/2”, w. 65”, d. 26‑1/2”. [700/1000]

883

Pair of Gold-Leafed Gemsbok Skulls, each retaining their original horns, h. 48”, w. 10”, d. 8”. [400/700] Illustrated

884

Modern Aluminum, Brass and Glass Cocktail Table, the rectilinear glass top on cylindrical brass and polished aluminum legs, h. 17”, w. 54‑1/2”, d. 26”. [600/900] Illustrated

181

885

890

887

888

889

885

Modern Stainless Steel, Brass, Glass and Lucite Table, ca. 1970, attributed to Romeo Rega, the circular glass top on brass and chromed rings joined to a Lucite column, on a brass and stainless ring base, h. 28‑1/2”, dia. 48”. [400/700] Illustrated

886

Collection of Four Fine Crystal Animals, fourth quarter 20th century, including a Waterford owl, a Baccarat bird, a Steuben snail, and an Atlantis duck, all marked on bases, h. 1‑1/2” to 3‑1/4”, w. 2‑1/4” to 4”. [400/700]

887

Louis Von Koelnau (American, 1924‑2015), “Untitled”, polyresin sculpture, ca. 1981, marked on the bottom “1901, Louis Von Koelnau, No. 15 of 24”, h. 7‑1/2”, w. 11”, d. 9‑1/2”.

[700/1000] Illustrated

182

888

Monumental Brass-Mounted Lucite Cocktail Table, in the manner of Evalyn, with rounded corners and a glass top, h. 19”, w. 57”, d. 57”. [500/800] Illustrated

889

Ellsworth Woodward (American/New Orleans, 1861‑1939), “End of the Work Day”, watercolor and graphite on paper, signed lower left, sight 15‑3/4” x 12”. Glazed, matted and framed. [800/1200] Illustrated

890

Marie Laurencin (French, 1883‑1956), “Vase de Fleurs”, ca. 1928, color lithograph, signed in plate and pencil-signed and numbered “e.a.” lower margin, sight 13‑1/8” x 9‑5/8”.

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

891

892

894

895

891

Salvador Dali (Spanish, 1904‑1989), “Iris”, 1972, heliography, pencil-signed and numbered “105/305”, plate 22‑7/8” x 15‑7/8”. Glazed, matted and framed. [300/500] Illustrated

892

After Marc Chagall (French/Russian, 1887‑1985), “Le Coq”, ca. 1967, color lithograph on Arches paper, printed by Charles Sorlier, pencil-signed and numbered “H.C.” lower margin, verso with paper in French certifying that the lithograph was produced under the direction of Marc Chagall by Charles Sorlier, sight 12” x 9”. Glazed, matted and framed. [700/1000] Illustrated In the 1950s, Marc Chagall turned to lithography. With the growing demand for “original” works at affordable prices, he consulted Charles Sorlier, a master lithographer trained in the studio of Fernand Mourlot. Over the next few decades Sorlier worked in concert with Chagall, helping him to achieve the color and clarity of his vision in the print medium. The work offered here was created in honor of Chagall’s eightieth birthday.

896

893

Paul Cezanne (French, 1839‑1906), “Tete de Jeune Fille”, 1873, etching, signed in plate, plate size 5” x 4‑1/4”. Glazed, matted and framed. Literature: Cherpin, Jean. Paul Cezanne: L’ Oeuvre grave. Marseille: Arts et Livres de Provence, 1973, no. 4. [300/500]

894

Jacques Villon (French, 1875‑1963), “Le Manege (from Regards sur Paris)”, 1962, color lithograph, pencil-signed and numbered state 2 lower margin, sight 16” x 12‑1/2”. Glazed, matted and framed. [600/900] Illustrated

895

Mary Helen Seago (American/Louisiana, 20th Century), “Purple Pansies”, oil on canvas, signed lower right, signed and titled en verso, 35” x 39‑3/4”. Framed. [500/800] Illustrated

896

Louise Guidry (American/Louisiana, b. 1930), “Floral Still Life”, oil on canvas, signed lower right, 30” x 24”. Framed.

[800/1200] Illustrated

183

897

898

901 900

899

897

Allison B. Cooke (American/Oklahoma, Contemporary), “Galleggione II”, 2013, oil and cold wax/mixed media on panel, signed and dated en verso, 12” x 12”. Provenance: Atelier Gallery, Charleston, South Carolina. [500/800] Illustrated

898

Frances Dodd (American, 20th Century), “Cloistered Inlet”, pastel on paper, signed lower right, verso with “Degas Pastel Society” exhibition label, 14” x 11”. Glazed and framed. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [400/700] Illustrated

899

Mary Proctor (American/Florida, b. 1960), “The Heavenly Choir”, 1996, house paint on a wooden cabinet door, titled on top, signed and dated on bottom, 30‑1/4” x 15”. Unframed.

[500/800] Illustrated

184

900

Jeanie Tomanek (American/Contemporary), “If There Were Bees”, 2010, oil on canvas, signed, dated and titled en verso canvas, 24” x 24”. Handsomely framed. Provenance: Atelier Gallery, Charleston, South Carolina. [800/1200] Illustrated

901

Philip (Chief) Wiley (American/Louisiana, 1887‑1980), “Passing By”, 1976, oil on canvas board, signed and dated lower right, 18” x 25‑5/8”. Framed. [400/700] Illustrated

904 two of five

902

903 905

902

Philip (Chief) Wiley (American/Louisiana, 1887‑1980), “In the Barnyard”, 1970, pencil and crayon on paper, signed and dated lower right, a “Vis a Vis, New Orleans” label en verso, 12” x 16”. Framed. [400/700] Illustrated

903

Robert Gordy (American/Louisiana, 1933‑1986), “Gray Dog”, color silkscreen, signed and numbered “6/65” lower margin, sight 26” x 37‑3/4”. Glazed, matted and framed.

[500/800] Illustrated

904

Suite of Five Mid-Century Modern Burlwood Cabinets, consisting of a pair of three-drawer chests, h. 30”, w. 36”, d. 20”, a double-door cabinet, h. 30”, w. 36”, d. 20”, and a pair of diminutive three-drawer chests, h. 24‑1/2”, w. 26”, d. 17”, all of cube form and raised on a recessed plinth base, one drawer interior banded “West Michigan Furniture Co”. [600/900] Illustrated

905

Suite of Six Modern Upholstered Leather Armchairs, each fully upholstered with straight sides and rear frame supporting a ribbed seat and back cushion, five of the chairs retaining the retailer’s label “James Callahan Interiors, Palm Springs, California”, h. 32‑1/4”. [700/1000] Illustrated

185

908 Six-Piece Suite

908 Six-Piece Suite

907

906

909

906

French Modern Oak Executive Desk, the shaped top on a pair of asymmetrically modeled pedestals, one with a pair of drawers, the other with a tambour door opening to reveal an interior fitted with open-face drawers, and with a concealed waste bin, h. 29”, w. 74”, d. 65”. [500/800] Illustrated

907

Suite of Four Modern Upholstered Armchairs, all fully upholstered with straight sides and backs supporting ribbed seats and back cushions, three of the chairs retaining the label of “James Callahan Interiors, Palm Springs, California, h. 32‑1/4”. [500/800] Illustrated

186

908

Six-Piece Mid-Century Modern Birdseye Maple and Mirrored Bedroom Suite, third quarter 20th century, comprised of a bedstead with upholstered headboard, h. 46”, inside, w. 61”, l. 80”, outside, w. 65”, l. 84”, three cabinets, each with a pair of long doors above a pair of short doors, h. 75‑3/4”, w. 31‑1/8”, d. 18”, and a pair of bedside cabinets, each with a pair of doors and raised on an ebonized plinth base, h. 24”, w. 31‑1/2”, d. 18”. [800/1200] Illustrated

909

Pair of Contemporary Copper and Chrome and Rosewood Tables, the tops with handsome bookmatched parquetry work, h. 17”, w. 15”, d. 15”. [300/500] Illustrated

910

Suite of Five Italian Mid-Century Modern Wrought Iron Garden Armchairs, in the manner of Mario Papperzini for John Salterini, each with a woven strapwork seat and back on a wrought iron frame, h. 37‑1/2”. [500/800]

911

Nickel-Plated Steel and Cast BrassMounted Campaign-Style Bed, mid-20th century, attributed to Maison Jansen, France, the headboard and footboard of sleigh form with metal rails all adorned with cast brass rosettes, h. 40”, w. 37”, l. 76”.

[300/500] Illustrated

912

Suite of Six Modern Tubular Steel and Leather Armchairs, each with a cantilevered frame supporting a tufted seat and back cushion joined by leather straps, h. 32‑1/4”. [500/800] Illustrated

912

913

911

913

Angelica Verkeenko (Russian/New Orleans, Contemporary), “Red Garter”, 2009, mixed media with metallic leaf on paperboard, initialed and dated lower right, sight 27” x 19‑3/4”. Matted, glazed and framed. [500/800] Illustrated

914

Suite of Four Modern Chromed Steel and Leather Armchairs, each with a curved backrest extending to join open arms, the seat with an upholstered cushion, the demi-lune base echoing the lines of the seat and back, h. 30‑3/4”.

[700/1000] Illustrated 914

187

916

918

915

917

919

915

Group of Three Contemporary Table Lamps, 20th century, including a pair of composite stone pyramidal-form lamps with brass fittings and conforming shades, h. 24‑1/2”, w. 19‑3/4”, d. 19‑3/4”, and a chrome and composite stone example with a “suede” shade, h. 28”, w. 21”, d. 13”.

[300/500] Illustrated

916

Pair of Contemporary Chrome and White Leather Upholstered Armchairs, of Bauhaus inspiration, h. 31”. [400/700] Illustrated

917

David Schneuer (Israeli, 1905‑1988), “At the Opera”, “Pink Banister” and “In the Pink”, suite of three serigraphs, dimensions from 11‑1/2” x 9‑1/2” to 25” x 19‑1/2”. All glazed, matted and framed. Provenance: Elliott Gallery, New Orleans, Louisiana. [500/800] Illustrated

188

918

Collection of Three Bleached and Dried Turtle Shells, mounted for wall hanging, h. 10” to 11”, w. 6” to 7”. [400/700] Illustrated

919

Modern Enameled and Mirrored Glass Desk in the Manner of Pierre Cardin, ca. 1975, the top sumptuously curving to shaped legs, the frieze fitted with mirrored panels and a single drawer, h. 29”, w. 60”, d. 24‑1/4”; together with a painted reed and bamboo sidechair, h. 36” (two total pieces). [400/700] Illustrated

920

Contemporary Marble Dining Table, executed in white marble with gray veins, the oval top on an ovoid paneled pedestal, h. 29”, w. 39‑1/4”, l. 78”. [600/900] Illustrated

921

Pair of Contemporary Marble Low Tables, each with a square top with round corners, on a square pedestal base, h. 13‑1/2”, w. 23‑1/4”, d. 23‑1/4”. [300/500]

922

G. H. Rothe (American, 1935‑2007), “Dance Bejart II”, lithograph in colors, signed in plate lower right, titled lower center, and marked “AP” lower left, sheet 33” x 23”. Float-mounted, glazed and framed.

[500/800] Illustrated

923

Four-Piece Asian-Inspired Contemporary Bamboo-Trimmed Bedroom Suite, each piece in a white-painted surface, including a queen-size poster bed, h. 84”, w. 67”, l. 89”, a dresser, h. 30”, w. 62”, d. 19‑1/2”, and a pair of bedside tables, h. 24”, w. 26‑1/2”, d. 19‑1/2”.

[700/1000] Illustrated

924

Pair of Asian-Inspired White-Painted Bamboo and Rattan Armchairs, each with a floral-decorated cushion and pillow, h. 33”, w. 37‑3/4”, d. 34”. [300/500] Illustrated

925

Pair of Contemporary White-Painted Bamboo and Wood Armchairs, each of barrel form and retaining a label indicating manufacture by La Cor Wicker, California, h. 28‑3/4”. [400/700]

926

Pair of Vintage White Plaster Classical-Style Torcheres, 1980s, each modeled as a ruin of a fluted column, electrified, h. 75”, w. 15”, d. 15”. [400/700] Illustrated

920 924

922

923 Four-Piece Suite

926 189

928

927

933 one of two

933 two of two 934

927

Mary Warner (American, b. 1948), “Coming Home”, 1981, oil on paper, signed lower right, verso with “Louis K. Meisel Gallery, New York, NY” label, 30” x 42”. Glazed, float-mounted and framed. [600/900] Illustrated

928

Bud Breen (American/Texas, 1927‑2005), “One Owner Horse”, oil on canvas, signed lower right, signed and titled en verso canvas, 24” x 36”. Framed. [800/1200] Illustrated

929

Russell Ricks (American, b. 1958), “American Indian Camp”, 1982, gouache on illustration board, signed and dated lower right, verso with “May Gallery, Scottsdale, Arizona” label, 8” x 11‑1/2”. Framed. [400/700]

930

Ken Fiery (American, 20th/21st Century), “Woodland Abstraction”, acrylic on masonite, signed lower right, 24” x 18”.

Framed. [300/500]

190

931

Danish Modern Teak Drop-Leaf Desk, third quarter 20th century, h. 29”, w. 25”, l. 48”, extended l. 66‑3/4”. [500/800]

932

Contemporary Brown Leather Chair and Ottoman, chair, h. 21”, w. 40”, d. 33”, ottoman, h. 14”, w. 25”, d. 24”. [500/800]

933

Knud Horup (Danish, 1926‑1973), “Abstract Landscapes”, pair of oils on linen, each signed “Horup” lower right, each 23‑3/4” x 27‑3/4”. Framed alike. [500/800] Illustrated

934

Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Layered Landscape”, 1973, color lithograph, pencil-signed, dated, titled and numbered “12/100”, sheet 45” x 30”. Glazed, float-mounted and framed. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana.

[800/1200] Illustrated

935

939

941

942

936

935

Louise Guidry (American/Louisiana, b. 1930), “Studio”, oil on gallery-wrapped canvas, signed en verso canvas, 36‑1/4” x 36‑1/4”. Unframed. [1500/2500] Illustrated

936

Sandy Chism (American/Louisiana, 1957‑2013), “Double Trouble”, 2004, acrylic on panel, signed, titled and dated en verso, 48” x 32”. Unframed. [4500/7000] Illustrated

937

Attributed to Josephine Crawford (American/New Orleans, 1878‑1952), “Still Life”, oil on board, unsigned, 16” x 24”. Framed. Provenance: Private collection, New Orleans, Louisiana. [700/1000]

938

Scott Gordon (American/Texas, b. 1959), “The Blue in Byzantium”, 2008, mixed media collage, signed and dated en verso, titled on “Hooks-Epstein Galleries, Houston, TX” label on frame backing, 25” x 20‑3/4”. Glazed in a float-mount frame. Provenance: Hooks-Epstein Galleries, Houston, Texas. [500/800]

939

Louise Guidry (American/Louisiana, b. 1930), “Untitled”, oil on gallery-wrapped canvas, signed lower right, 30‑1/4” x 30‑1/4”. Unframed. [1000/1500] Illustrated

940

Charles Reinike (American, 1909‑1983), “New Orleans Architecture in Blues”, watercolor, signed lower right, sight 9‑1/2” x 6‑5/8”. Glazed, matted and framed. [400/700]

941

Louise Guidry (American/Louisiana, b. 1930), “Bridge with Orange Piece”, oil on gallery-wrapped canvas, signed lower right, 36‑1/4” x 36‑1/4”. Unframed. [1500/2500] Illustrated

942

Evelyn Menge (American/Louisiana, b. 1947), “Marsh Rhythm”, gouache on paper, signed lower right, sight 19” x 59”.

Glazed, matted and framed. [700/1000] Illustrated

191

944 943

946 945

948

943

946

944

947

945

948

Calman Shemi (Israeli/Argentinian, b. 1939), “Flat Impressions #3”, hand-dyed fiber and fabric, signed and titled on reverse corner, 100” x 66”. Unframed. [800/1200] Illustrated Evelyn Menge (American/Louisiana, b. 1947), “Gulf Sweep”, 1985, gouache on paper, signed and dated lower right, sight 16” x 58”. Glazed, matted and framed. [700/1000] Illustrated Nancy Pruett Rucker (American/New Orleans, 20th Century), “Pantry in Pink and Green”, 1983, acrylic on paper, signed and dated lower right, sheet 30” x 22‑1/2”. Floatmounted, glazed and framed. [500/800] Illustrated

192

Steve Shepard (American/Mississippi, Contemporary), “Grand Bay”, 1997, mixed media on paper, signed and dated lower right, sheet 15‑3/4” x 16‑1/2”. Glazed, float-mounted and framed. [500/800] Illustrated Jonathan Borofsky (American, b. 1942), “Pied Piper”, 1990, color lithograph, pencil-signed lower right, numbered “50/100” lower left, sheet 25” x 17‑3/4”. Float-mounted, glazed and framed. [800/1200] Steve Martin (American/New Orleans, Contemporary), “She Said”, 2014, oil on gallery-wrapped canvas, signed lower right, signed, dated and titled en verso, 48” x 36”. Unframed.

[1500/2500] Illustrated

953 949

951

952 950

949

Steve Martin (American/New Orleans, Contemporary), “He Said”, 2014, oil on gallery-wrapped canvas, signed lower right, signed, dated and titled en verso, 48” x 36”. Unframed.

[1500/2500] Illustrated

950

Kelly Moore (American/New Mexico, Contemporary), “The Flea”, mixed media on wood panel, signed lower left, signed and titled en verso, 32‑1/4” x 24”. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [500/800] Illustrated

951

Yossi Stern (Hungarian/Israeli, 1923‑1992), “Simchat Torah”, oil on canvas, signed lower left, “Safari Art Gallery, Jerusalem, Israel” label en verso, 20‑1/4” x 16‑1/4”. Framed.

[400/700] Illustrated

952

Fred Trenchard (American/Louisiana, b. 1941), “The Odd Men”, 1967, oil on canvas, signed, dated and inscribed “To My Friend Donald” en verso, 36” x 36”. Unframed. [700/1000] Illustrated

953

Michael Meads (American/Alabama, b. 1966), “Frat Party: Waiting for the Little Sisters”, 1990, oil on canvas, signed and dated lower left, signed, titled and dated en verso, 56” x 80”.

Unframed. [1000/1500] Illustrated

193

957

954 956

958 959

955

954

Linda Dautreuil (American/Louisiana, Contemporary), “Untitled”, oil on gallery-wrapped canvas, signed en verso canvas, 46‑1/4” x 50”. Unframed. [1000/1500] Illustrated

955

Richard Johnson (American/Louisiana, b. 1942), “Three Stems”, 1999, acrylic and ink on paper laid on plexiglass, signed and dated lower right, verso with “Galerie Simonne Stern” label, 43‑5/8” x 31‑1/2”. Framed. Provenance: Collection of Arthur Silverman, New Orleans, Louisiana.

[800/1200] Illustrated

956

Leonardo Nierman (Mexican, b. 1932), “Birds of Paradise”, oil on masonite, signed lower left, titled en verso, 31‑1/2” x 23‑1/2”. Framed. [1500/2500] Illustrated

194

957

Ruth Goliwas (American/Louisiana, 20th Century), “Open Seas”, oil on canvas, signed lower left, 36” x 40”. Unframed.

[600/900] Illustrated

958

Dustin Cassidy (American, Contemporary), “Landscape in Oranges and Golds”, acrylic on wood board, signed lower right, 44” x 86”. Unframed. [500/800] Illustrated

959

David Higgins (American, b. 1961), “The Purple House at Nightfall”, oil on wood panel, unsigned, 14” x 12”. Framed.

[400/700] Illustrated

960

Edward Yashin (Ukrainian, b. 1960), “Full Moon”, 2002, oil on canvas, signed, titled and dated en verso canvas, 27” x 43”.

Framed. [400/700]

962

961

967

965 963

961

Antique Sarouk Carpet, 10’ 4” x 14’. [500/800] Illustrated

962

965

Antique Sarouk Carpet, 3’ 4” x 4’ 8”. [400/700] Illustrated

Turkish Angora Oushak Carpet, 8’ 1” x 10’. [700/1000] Illustrated

966

963

967

Semi-Antique Kerman Palace Carpet, 11’ 9” x 16’ 8”.

[3000/5000] Illustrated

964

Persian Bidjar Carpet, 8’ 1” x 10’ 5”. [700/1000]

Semi-Antique Mashad Carpet, 8’ x 12’ 5”. [800/1200] Antique Kerman Carpet, 9’ 9” x 13’ 9”. [1500/2500] Illustrated

968

Kurd Carpet, 4’ x 5’ 7”. [600/900]

195

969

972

Turkish Angora Oushak Carpet, 12’ 1” x 16’ 3”. [2500/4000] Illustrated

Semi-Antique Tabriz Carpet, 9’ 8” x 13’ 2”. [800/1200]

973

970

Tabriz Carpet, 9’ 4” x 12’ 4”. [400/700] Illustrated

Semi-Antique Bidjar Carpet, 7’ x 10’ 5”. [600/900] Illustrated

974

971

Heriz Carpet, 4’ 9” x 6’ 5”. [400/700] Illustrated

Turkish Angora Oushak Carpet, 8’ 10” x 12’. [1000/1500] Illustrated

974

970

973

196

971

969

975

Turkish Angora Oushak Carpet, 9’ 3” x 12’.

[1000/1500]

976

Ardabil Carpet, 6’ 9” x 9’ 8”. Provenance: Jacqueline Vance Rugs, New Orleans, Louisiana. [500/800] Illustrated

977

Semi-Antique Mahal Runner, 5’ x 16’. [700/1000] Illustrated

978

Semi-Antique Silk Prayer Carpet, 2’ 10” x 4’ 7”.

Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana.

[400/700] Illustrated

976

978 977

197

982

983

981

984

980

982 979

American Queen Anne Walnut Drop-Leaf Table, mid18th century, the single-board top and leaves with rounded corners supported by dovetailed swing-out legs, of pegged construction, h. 29”, w. 44”, l. 13‑1/2”, extended l. 43‑1/2”.

[400/700]

980

Set of Eight Early American-Style Ladderback Chairs, mid20th century, the black-painted and stenciled chairs with rush seats, h. 41”. [300/500] Illustrated

981

Two Handsome, Matching Chinese Export Porcelain Blue Nanking Platters, first quarter 19th century, decorated in the typical fashion with pagodas on islands and boats in the water, one a well-and-tree platter, the largest, w. 19”, d. 16”.

[1800/2500] Illustrated

198

Two Chinese Export Celadon and Cobalt Porcelain Ginger Jars, the taller example decorated with a vase of flowers, h. 11‑3/4”, dia. 8”, the shorter jar with a hardwood lid, and decorated with flowers and birds, h. 8‑1/2”, dia. 7”. [500/800] Illustrated

983

American Cherry Slant-Lid Desk in the Chippendale Taste, late 18th/early 19th century, the case of exposed dovetailed construction, the lid opening to reveal a fitted interior with a shell-carved central door, over a bank of four graduated beaded drawers, now on a base with cabriole legs and pad feet, h. 45‑1/2”, w. 39‑1/8”, d. 19‑1/4”. [1000/1500] Illustrated

984

American Chippendale Cherrywood Oxbow Chest of Drawers, third quarter 18th century, with four graduated reverse serpentine drawers fitted with brass bale handles, raised on ogee bracket feet, h. 31‑1/2”, w. 39‑1/2”, d. 20”.

[2400/4000] Illustrated

985

987 one of three

989

986 990

985

American Queen Anne Maple Roundabout Chair, mid-18th century, with a curved crest rail and twin splats, raised on turned legs joined by an X-form stretcher, with mortise and pegged construction, h. 31‑1/2”, w. 24‑1/2”, d. 25”. [500/800] Illustrated

986

American Polychrome Pine Tall Case Clock, first quarter 19th century, by Silas Hoadley, Plymouth, Connecticut, the arched hood with three turned finials and with a time and strike movement, retaining its original red-painted surface, h. 92”, w. 19”, d. 10”.

Hoadley began his clock-making career in partnership with Eli Terry and Seth Thomas. [600/900] Illustrated

987

Three Vintage Wooden Models of Important British and American Yachts, including the 1920 gaff-rigged racer “Terpsichore”, and the 1920 and 1934 American Cup winners “Resolute” and “Endeavor”, each model mounted on a wooden board inscribed with the yacht name, dates and builders, and presented in shadowboxes, sizes of boxes, respectively, 28” x 30”, 29‑1/2” x 21‑1/2”, 29‑5/8” x 21‑5/8”. [500/800] Illustrated

988

Three Pieces of English Porcelain, ca. 1800, consisting of a “New Hall” pattern 195 teapot, h. 6‑1/4”, w. 8‑1/2”, a compatible floral-decorated tea caddy, h. 5”, w. 3‑1/4”, and a saucer dish, dia. 5”. [300/500]

989

Early American-Style Chestnut, Pine and Poplar Hutch Table, early 20th century, with a lift top concealing a storage area, h. 30‑3/4”, w. 55”, d. 32”.

[400/700] Illustrated

990

Early American-Style Maple Tilt-Top Table with Birdcage, mid-20th century, the dish top painted with a 19th -entury coaching scene, h. 25‑1/2”, dia. 24”.

[400/700] Illustrated

199

997

991 996

992

995

991

Federal-Style Mahogany Cellarette on Stand, the lift-top upper box with a fitted interior and dovetailed construction, on a base with a single drawer and raised on tapering Hepplewhite legs, h. 43”, w. 20‑1/2”, d. 19‑1/4”. [350/500] Illustrated

992

Eight Piece Collection of Imari-Palette Porcelain and Pottery, including an unusual plaque, possibly Japanese, with a porcelain panel divided between a panel of flowers and a European portrait, in an inlaid walnut frame, 19th century, English, a Davenport soup plate, dia. 9‑3/4”, a Mason’s-type plate, dia. 10”, a pair of Ridgway-type small plates, dia. 7‑1/4”, a pair of Amherst saucers, dia. 5‑3/4”, and an oblong pottery dish, w. 10‑1/4”, d. 8”. [300/500] Illustrated

993

Pair of Chinese Export Baluster Vases, ca. 1900, now mounted as lamps, decorated with polychrome figures of women carrying baskets of flowers and black characters on the reverse, on wooden bases and mounted with shades, h. 35‑1/2”, dia. 17‑3/4”. [400/700]

200

994

American Cherry and Poplar Sheraton Blanket Chest, first quarter 19th century, with turned legs and a panel front over a shaped skirt, the interior with a till, h. 26‑1/2”, w. 43‑1/2”, d. 20”.

[400/700]

995

American Federal Cherry Tall Case Clock, first quarter 19th century, the swan’s-neck pediment centered by a brass finial, the polychromed wooden dial flanked by turned columns, the waisted door with beaded edges and flanked by chamfered corners terminating in lamb’s tongues, the base with a figured panel and shaped apron, raised on splay feet, the poplar back comprised of stacked horizontal boards, h. 106‑1/4”, w. 20”, d. 10‑1/2”.

Provenance: The personal collection of Don Didier, New Orleans, Louisiana. [2000/4000] Illustrated

996

Pair of Chinese Blue and White Covered Jars, 20th century, decorated with foo dogs playing with dogs in a decorated field, with matching covers, h. 19”, dia. 11”. [500/800] Illustrated

997

Chinese Porcelain Garden Seat, 20th century, the blue and white drum-shaped seat with reserves depicting Fu, Lu and Shou, the gods of luck, wealth and longevity, standing with their attendants among ruyi clouds and pine trees, h. 18‑1/8”, dia. 12‑1/4”. [400/700] Illustrated

1001 1000

998

999

1000 998

American Federal Mahogany Chest in the Hepplewhite Taste, ca. 1800, the rectangular top above a case fitted with four graduated beaded drawers with pierced brass bail pulls, a shaped apron and flare feet, h. 36‑1/2”, w. 39‑3/4”, d. 21‑1/4”. [500/800] Illustrated

999

Suite of Eight Federal-Style Mahogany Dining Chairs in the Hepplewhite Taste, seven sidechairs and a similar armchair, each with a shell-form back with fan inlay at the base, serpentine seat, and tapered legs joined by box stretchers, h. 38‑3/4”. [700/1000] Illustrated These are bench-made copies of original chairs by Stone & Alexander, Boston, ca. 1790‑1795, see Montgomery, American Furniture of the Federal Period, plate 31, pp. 86‑87.

American Federal Marquetry-Inlaid and Line-Strung Cherry Tambour Secretary, first quarter 19th century, the upper section with a line-strung door over a pair of tambour doors opening to reveal a fitted and compartmentalized interior, the sides of the upper case each with an inlaid tulip, the base with a slant lid with barber-pole and string inlay, and two-over-two drawers flanked by stiles and rails with tiger maple veneer, raised on tapering legs, with poplar secondary woods throughout, h. 47‑3/4”, w. 37‑1/2”, d. 20”. [800/1200] Illustrated This form is most often associated with New England. Similar desks were made in such diverse places as Garrand County, Kentucky and coastal North Carolina.

1001

American Federal Line-Strung and Lozenge-Inlaid Mahogany Ovolo Games Table, ca. 1800, New England, supported by a fly leg and edged with a pair of inlaid lines, the apron centered by an inlaid oval, the corners with contrasting dark wood lozenges, raised on line-strung tapering legs with lozenge and teardrop inlay, with inlaid dart banding at the base, h. 28‑1/4”, w. 35‑1/4”, d. 17‑1/2”, extended d. 35”. [500/800] Illustrated

201

1002

1004

1005

1002

Pair of American Classical Mahogany D-End Tables, first quarter 19th century, probably Baltimore, the tops with beaded edges, and supported by bold ring-turned standards with four down-curved hipped and reeded legs ending in cast brass paw feet, h. 28‑1/2”, w. 53‑1/2”, d. 22‑1/2”. [1500/2500] Illustrated

1003

American Classical Mahogany Drop-Leaf Table, ca. 1820, school of Duncan Phyfe, New York, the single-board top flanked by like drop leaves with canted corners, and raised on a pedestal with a rounded urn joined to reeded saber legs with carved paw feet, h. 28‑3/4”, w. 24”, d. 35‑3/4”, extended l. 44‑3/8”. A Duncan Phyfe table with a base similar to the present example is illustrated in Duncan Phyfe: Master Cabinetmaker in New York, p. 171. [600/900]

1004

Pair of Continental Glass Lustres, second half 20th century, the scalloped bobeches hung with crystal prisms, over baluster-form standards on hexagonal bases, the hurricane shades etched with horsetails, h. 24‑1/4”, w. 7‑3/8”. [400/700] Illustrated

202

1007

1005

American Classical Mahogany Sideboard, first quarter 19th century, school of Joseph Barry, Philadelphia, the projecting ends with a drawer over a door with a Gothic arch, and flanked by herms with carved, bearded Turk’s heads on reeded columns with paw feet, joined by canted sections with arched and quatrefoil panels centered by bowed doors with like panels, raised on beehive feet, h. 50‑1/4”, w. 92‑1/4”, d. 27‑1/2”. [1500/2500] Illustrated

1006

American Classical Mahogany Drop-Leaf Breakfast Table, ca. 1825, with a single-board top and like deep drop leaves, on ring-turned and foliate-carved legs ending in brass cap casters, each leaf supported by a fly leg, h. 29”, w. 47‑1/4”, l. 20‑1/4”, extended l. 58”. [300/500]

1007

American Classical Mahogany Game Table, ca. 1825, New York, the D-form fold-over top with a crossbanded perimeter over a conforming figured frieze, on a foliate-carved pedestal joined to hairy paw feet, h. 30‑1/2”, w. 34‑3/4”, d. 17‑1/4”, extended l. 34‑1/2”. [400/700] Illustrated

1012

1008 1009

1013 1011

1008

American Classical Mahogany Commode, ca. 1825, Baltimore, of a form made by John Needles to his cross-town contemporaries, the marble top surrounded by a reeded gallery, the case with a pair of drawers over a narrower deep drawer, formerly fitted with a chamber pot, and fitted with turned legs with brass cup casters, the drawers flanked by reeded pilasters, the whole on Sheraton legs, h. 33”, w. 26”, d. 22”. [400/700] Illustrated

1009

American Giltwood Tabernacle Mirror, second quarter 19th century, probably New England, framed with half spindles, the tablet decorated with molded wheat and laurel, h. 41‑1/2”, w. 23‑3/4”. [300/500] Illustrated

1010

American Late Classical Mahogany Etagere, second quarter 19th century, with four shelves on ring-turned and baluster-form columns, on a case with a pair of drawers, raised on ribbed bun feet, h. 63‑1/2”, w. 24”, d. 24”. [500/800]

1011

American Late Classical Secretary Bookcase, second quarter 19th century, with a projecting cornice over a pair of glazed doors, a fold-out writing surface and a molded drawer over a pair of paneled doors, h. 81”, w. 48”, d. 20‑1/2”.

[300/500] Illustrated

1012

Collection of Seven American Bird Carvings, 20th century, primarily shorebirds, the painted shorebird with its neck turned signed by Harry Monk and the cardinal signed by Miles Greer, h. 4‑3/4” to 12‑3/4”, w. 5‑1/4” to 15”. [400/700] Illustrated

1013

American Late Classical Mahogany Server/Sideboard, second quarter 19th century, with a projecting serpentine drawer over paneled doors, flanked by scroll pilasters and raised on scroll feet, h. 44‑1/8”, w. 43”, d. 24”. [300/500] Illustrated

203

1014

Pair of American Late Classical Mahogany Game Tables, ca. 1900, with serpentine fold-over tops, over conforming friezes, on scrolled bases with like feet, h. 28‑1/2”, w. 33‑1/2”, l. 16‑1/2”, extended l. 33”. [500/800]

1015

Copper Slave Hire Tag, ca. 1835, Charleston, South Carolina, the obverse engraved “City of Charleston, Fisherman, 1835”, within a border, the reverse “no. 51”, h. 1‑7/8”, w. 1‑1/8”; together with a bronze slave token, 19th century, probably English or Continental, h. 2‑1/4”, w. 2‑1/4”. Provenance: By repute, salvaged from English schooner “Duoro”, which sank off Isles of Sicily in 1843. [300/500] The city of Charleston, like many Southern cities, permitted slave owners to rent out their slaves for a fee that was based on their skill sets. Charleston was unique, however, in that it made revenue through its registration mandate that required owners to purchase an annual bronze tag like the one offered here. This tag licensed the owner to hire out a slave as a fisherman for the year. The bracelet-shaped token, which accompanies this lot, was based on African currency, which would have been used to purchase slaves in Africa.

1017

American Late Classical Revival Mahogany Banquet Table, fourth quarter 19th century, the circular top with a gadrooned edge supported by a complex pedestal with scrolled brackets and mounted to a platform base with carved paw feet, retaining two 17” and one 24” skirted leaves, h. 30”, dia. 60”, extended l. 118”. [1000/1500] Illustrated

1018

Neoclassically Inspired Painted Pine Cabinet, late 20th century, the cyma-molded cornice over an open niche fitted for shelves, the lower part with a pair of paneled doors, h. 82”, w. 41”, d. 16‑1/4”. Provenance: Handmade especially for Sue Spaht’s Old Homestead, Baton Rouge, Louisiana, by a Louisiana country craftsman. [600/900] Illustrated

1019

Elva Malin (American, b. 1933), “Signs of Spring”, oil on panel, signed lower right, titled and signed en verso, 16” x 24”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [400/700] Illustrated

1016

American Classical Revival Mahogany Sunderland Table, ca. 1900, the reeded drop leaves supported by reeded and shaped fly legs on paw feet, the trestle base with like legs and stretcher, the frieze fitted with a drawer with a lion’s head ring pull, h. 26‑1/4”, d. 40”, l. 26‑3/4”, (center section l. 8‑1/2”).

[600/900] Illustrated

1019

1016

1017 1018 204

1021

1022

1023

1024

1022

Henry A. Duessel (German/American, 1858‑1919), “Springtime, Fishing on the Lake”, oil on canvas, signed lower right, 16” x 24”. Framed. [500/800] Illustrated

1023

1025

Charles Paul Gruppe (American, 1860‑1940), “Kirkwood Lake”, oil on canvas, signed lower right, 17‑3/4” x 28”.

Presented in a polychrome frame with artist plaque. [800/1200] Illustrated

1024 1020

Elizabeth Sandia (American, b. 1946), “Our Lady of Light, Canoncito, New Mexico”, from the New Mexico Church Series, pastel on paper, signed lower center, titled on frame backing, 12” x 15”. Glazed, matted and framed. Provenance: Canyon Road Fine Art, Santa Fe, New Mexico; The Estate of Mark Chapman, Cat Spring, Texas. [400/700]

1021

Bernard E. Peters (American, 1893‑1949), “River Landing”, oil on artist board, signed lower right, 8” x 10”. Framed.

Provenance: The Estate of Mark Chapman, Cat Spring, Texas.

[500/800] Illustrated

Alexander Helwig Wyant (American, 1836‑1892), “Landscape”, pastel on paper, signed lower right, sight 11‑1/2” x 8‑1/2”. Glazed, matted and framed. [800/1200] Illustrated

1025

Harry Allen Davis (American, 1914‑2006), “The Wharfs, Gloucester”, oil on board, signed lower right, “M. F. Berner, NYC” label en verso, 16” x 20”. Framed. [600/900] Illustrated

1026

Mario Bacchelli (American/Italian/Argentinian, 1893‑1951), “Boat Houses”, oil on canvas, signed and further inscribed en verso, 16‑1/4” x 20‑1/2”. Framed. [400/700]

205

1033

1027

1034

1028

1030

1027

Marcelle Martinet Peret (American/New Orleans, 1898‑1973), “Shrimp Boats”, oil on canvas board, signed lower right, a “Taylor Clark/Baton Rouge” label en verso, 8” x 10”.

Provenance: Taylor Clark Gallery, Baton Rouge, Louisiana; Private collection. [600/900] Illustrated

1028

Emanuele Costa (Italian, 1875‑1959), “Quiet Harbor Scene”, oil on wood panel, signed lower right, 9‑1/2” x 13‑1/2”.

Framed. [500/800] Illustrated

1029

1029

1031

William Forsyth (American/Indiana, 1854‑1935), “Cottage Roofs”, watercolor on paper, signed lower right, sight 14” x 21”.

Glazed, matted and framed. [500/800]

1032

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

[400/700]

1033

J. Ambrose Pritchard (American, 1858‑1905), “Autumn Day”, oil on canvas, signed lower left, 25” x 30”. Framed.

[500/800] Illustrated

Edmund Darch Lewis (American/ Pennsylvania, 1835‑1910), “Sailboats in the Bay”, 1881, watercolor on paper, signed and dated lower right, sight 16‑3/4” x 27”. Glazed, matted and framed. [800/1200] Illustrated

1030

1034

Ella Miriam Wood (American/Louisiana, 1888‑1976), “Homestead”, oil on canvas, signed lower right, 16‑1/2” x 26‑1/2”. Framed. [600/900] Illustrated

206

American School (20th Century), “The Breakers”, oil on board, illegibly signed lower left, 15” x 30”. Framed. [400/700] Illustrated

1038 1035

1039

1040 1037

1038 1035

Joseph A. Wilhelm (American/Louisiana, 1923‑2003), “Bodo, Stuck on the Mud, New Orleans,” 1989, oil on linen, signed lower right, signed, titled and dated en verso with an attached handwritten letter from the artist, 18” x 24”. Framed.

[800/1200] Illustrated

1036

Hugh G. Voorhies (American, 1871‑1954), “Robert E. Lee Steamboat by Night”, oil on canvas, signed lower right and inscribed en verso, 20” x 25”. Framed. [500/800]

1037

Baltimore Standard (.917) Silver Waiter, second quarter 19th century, by Andrew Ellicott Warner (1786‑1870), Baltimore, Maryland, circular with chased floral rim and applied central cartouche, dia. 7”, 8.57 t. oz. [300/500] Illustrated

Good Seven-Piece American Aesthetic Silverplate Tea Set, fourth quarter 19th century, by the Meriden Britannia Company, Meriden, Connecticut, including two teapots, h. 6‑1/4”, a coffeepot, h. 7”, a covered sugar bowl, h. 5‑1/2”, a cream jug, h. 3‑3/4”, a waste bowl, h. 3‑1/2”, and a tray, 24‑5/8” x 16‑3/4”, the hollowware of ovoid form with paneled band of birds and flowers, the tray rounded rectangular with broad gadrooned rim, all monogrammed “M”. [400/700] Illustrated

1039

Good American Sterling Silver Footed Center Bowl, first quarter 20th century, by Galt & Brother, Washington, D.C., hemispherical with domed foot, engraved with floral-draped wrigglework banding centering the monogram “JEM”, h. 5‑1/4”, dia. 9‑7/8”, 30.24 t. oz. [400/700] Illustrated

1040

Thirteen-Piece American Sterling Silver Butter Set, first quarter 20th century, by Woodside Sterling, New York, New York, including a butter dish with pierced grille, dia. 7”, and twelve individual butter pats, dia. 3‑1/2”, all decorated with intricately embossed “vintage” rim, the pats monogrammed “MGR”, 15.67 total t. oz. [300/500] Illustrated

207

1041

Sixty-Two-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising eight seven-piece place settings (one teaspoon lacking) and seven serving pieces, no monograms, 59.18 total t. oz. (weighable silver), presented in a fitted zippered-closure case, 3‑1/4” x 21‑1/2” x 12‑3/4”. Detailed list of pieces available on request. [1500/2500] Illustrated

1041

1042

Good American Sterling Silver Fruit Bowl, 1906, by the Whiting Mfg. Co., Providence, Rhode Island, shaped and lobed circular form, with embossed rococo rim and incised and reticulated sides, monogrammed “FGK”, h. 3”, dia. 12”, 22.61 t. oz.

[500/800] Illustrated

1043

Tiffany & Co. Sterling Silver “Clover” Fruit Bowl, the pattern introduced in 1898, New York, this example before 1902, monogrammed “EL”, dia. 10‑1/4”, 18.22 t. oz [400/700] Illustrated

1041 detail

1044

Tiffany & Co. Sterling Silver Bread Tray, the pattern introduced in 1893, New York, New York, this example before 1903, oval with reticulated floral lattice rim and elaborate shell-and-scroll edge, l. 10‑3/4”, w. 8‑3/4”, 16.37 t. oz. [500/800] Illustrated

1045

Thirty-Four Pieces of Gorham “Strasbourg” Sterling Silver Flatware, the pattern designed in 1897 by William Christmas Codman (1839‑1923), including six five-piece place settings and four additional place pieces, most monogrammed, 34.37 total t. oz. (weighable silver). Detailed list of pieces available on request. [600/900] Illustrated

1045

1043

208

1044

1042

1047

1046

1050

1049 1049

1046

Two Pieces of Chicago Arts & Crafts Sterling Silver, first quarter 20th century, including a J. Myer Lebolt quatrefoil cake basket with reeded handle, h. 6‑3/4”, w. 7‑1/4”, and a Marshall Field & Company Craft Shop “Colonial” bread-and-butter plate, dia. 6”, 13.86 total t. oz. [500/800] Illustrated

1047

American Sterling Silver and Enamel Letter Rack, mid20th century, by the Thomae Co., Attleboro, Massachusetts, graduated cenotaph form with central divider, the front with pink guilloche enamel, h. 4‑5/8”, w. 4‑3/4”, d. 1‑5/8”, 10.96 t. oz. [400/700] Illustrated

1048

Thirty-Seven Pieces of Assorted American Silver and Silverplate Flatware, mid-19th to early 20th century, including ten coin silver “Fiddle Tipt” teaspoons by Daniel Gillis Leonard, Newburgh, New York, engraved “H. Jenkins”, l. 6”, five Tiffany “Faneuil” sterling silver teaspoons, monogrammed “E”, l. 5‑7/8”, eight Watson “Lotus” sterling silver gumbo spoons, monogrammed “A”, l. 6‑1/2”, five Towle “Paul Revere” sterling silver iced teaspoons, monogrammed “U”, l. 7‑1/4”, four Wallace “Georgian Colonial” sterling silver iced teaspoons, l. 7‑1/2”, and five Rogers & Brother “Mystic” silverplate citrus spoons, l. 5‑3/4”, 32.79 total t. oz. (excluding silverplate pieces). [300/500]

American Silverplate Revolving Supper Service, mid-20th century, probably Glastonbury Silver Co., Chicago, Illinois, of circular form, fitted with three covered entree dishes, a pepper caster, a salt cellar, a mustard pot and a central bowl, all above a hot water reservoir raised on a large foot-ring, decorated with applied rocaille molding and applied scroll-mounted turned bakelite handles, overall, h. 14‑1/2”, dia. 22‑3/4”. [600/500] Illustrated

1050

Four Pieces of American Sterling Silver Tableware, first half 20th century, including a Woodside batteau-form sauceboat , l. 8”, and stand, l. 8‑3/4”, a Reed & Barton “Hibiscus” bonbon dish, dia. 6”, and a Wilcox & Wagoner silver-mounted glass wine coaster, dia. 6‑1/2”, 14.34 total t. oz. (weighable silver).

[300/500] Illustrated

1051

American Sterling Silver Fruit Bowl, mid-20th century, by Fischer Silversmiths, Jersey City, New Jersey, circular with gadrooned rim and molded foot ring, h. 3”, dia. 12”, 14.28 t. oz.

[300/500]

1052

Thirty-One Pieces of Silver Small Tableware, mid- 20th century, including American sterling pieces: five Watson reticulated ramekin holders with Continental white vitreous porcelain liners, l. 5‑3/4”, dia. 3”, an assembled set of fourteen Frank M. Whiting (one Redlich) reticulated demitasse cups and saucers with Lenox porcelain liners (one extra liner), overall, h. 2‑3/4”, dia. 3‑7/8”, together with a dozen Norwegian .830 silver Magnus Aase, Bergen demitasse spoons, l. 4‑1/2”, variously monogrammed, 34.02 total t. oz. (weighable silver).

[65 individual pieces total.] [300/500]

209

1053

Three Pieces of American Sterling Silver Tableware, mid-20th century, including a Gorham 1941 “Marie Antoinette” vegetable bowl, dia. 8‑7/8”, and a Randahl matching vegetable bowl, dia. 9‑1/4”, and sandwich plate, dia. 10‑5/8”, with narrow foliate border, 29.15 total t. oz. Provenance: The Estate of Alvin Richard Christovich, New Orleans, Louisiana.

[300/500] Illustrated

1054

American Sterling Silver Covered Entree Dish and Platter, mid-20th century, by International Silver, Meriden, Connecticut, both Colonial Revival and shaped oval with reeded serpentine rim, the dish l. 13”, w. 20”, monogrammed “JMS”, the handle lacking, the platter l. 16”, w. 10‑3/4”, 55.18 total t. oz.

[900/1200] Illustrated

1053

1055

Set of Eight Sterling Silver Water Goblets, mid20th century, by Fischer Silversmiths, Jersey City, New Jersey, each of inverted bell form with waisted stem and domed circular foot, no monograms, h. 6‑3/4”, dia. 3‑1/2”, 43.35 total t. oz. [600/900] Illustrated

1056

1054

Good Sterling Silver, Silverplate, Lapis Lazuli and Diamond Chalice, contemporary, by Gilles Beauregard, Montreal, Canada, the sterling silver bowl of bucket form with gilt interior and an engraved band “Hic Est Enim Calix Sanguinis Mei”, above a hexagonal lapis lazuli knop to a conforming silverplate trumpeting stem and base, the base with an applied crucifix opposing a square cross set with a central brilliant-cut diamond and a smaller single-cut diamond at each terminus (five diamonds totaling approximately 0.25 carats), h. 8”, w. 6”, 7.46 t. oz. (sterling bowl only). [1400/1800] Illustrated

1055

1057 1056

210

1058

1061

1059

1063

1060 1062

1057

Tiffany & Co. Sterling Silver “Pear” Trinket Box, third quarter 20th century, New York, New York, with fitted lid, h. 5‑1/2”, dia. 3‑1/4”, 6.74 t. oz. [400/700] Illustrated

1058

Mexican Sterling Silver “Gourd” Trinket Box, third quarter 20th century, by Tane Orfebres, Mexico City, h. 6”, dia. 4‑1/2”, 18.05 t. oz. [600/900] Illustrated

1059

Tiffany-Retailed Sterling Silver Gilt Model of a Potted Rose, third quarter 20th century, Mexico, the realistically detailed flower with stem and leaves, fitted in a silver gilt woven wire basket with applied sand for the humus, h. 6‑3/4”, dia. 2‑1/4”, 4.52 t. oz. (including sand). [300/500] Illustrated

1060

Mexican Sterling Silver Tray, third quarter 20th century,

by Gonzalo W. Moreno, Mexico City, of rectangular form with applied foliate scroll rim and stirrup handles en suite, 26‑1/4” x 15‑3/4”, 87.80 t. oz. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [1000/1500] Illustrated

1061

Peruvian Sterling Silver Platter, contemporary, by del Pilar, Brena, in their “Sevilla” pattern, of circular form, dia. 13‑3/4”, 24.04 t. oz. [300/500] Illustrated

1062

American Rococo Revival Figured Walnut Work Table, third quarter 19th century, attributed to John Henry Belter, New York, the lift top with a segmented interior, a looking glass fitted in the top interior, and a hidden compartment with a drawer and bag table below, the latter with shell and foliate carving, raised on cabriole legs joined by serpentine stretchers and a central shelf, h. 31‑1/2”, w. 21”, d. 16‑1/2”. A similar table is illustrated in Schwartz, Stanek and True, The Furniture of J. H. Belter and the Rococo Revival, page 83, item 61. [400/700] Illustrated

1063

American School (Mid-19th Century), “Portrait of a Gentleman”, oil on canvas, unsigned, 30” x 25”. Framed.

[500/800] Illustrated

211

1064

1066 1067

1066

The Soldier in the Civil War, Paul Mottelay, ed., New York: J. H. Brown Publishing Co., 1884, complete in two volumes, with decorative gilt-stamped front boards, 16‑1/2” x 12‑1/4”.

[300/500] Illustrated

1067

1068

1064

Rococo Revival Patinated Metal and Brass Six-Light Gasolier, mid-19th century, attributed to Archer and Warner, Philadelphia, the brass baluster standards with applied patinated leaves and scrollwork and a matching finial, set with pierced, molded arms decorated with gargoyles and bowknots, the upper trumpet-form standard with applied patinated morning glories and rocaille work, h. 41”, dia. 41”. [3000/5000] Illustrated

1065

American School (Mid-19th Century), “Portrait of a Young Woman with a Rose”, oil on canvas, unsigned, partial label on frame backing, 30” x 25”. Framed. [400/700]

212

American Rococo Revival Rosewood Dressing Bureau, mid-19th century, probably New York, the shaped mirror in a conforming frame with a shell-carved crest, supported by foliate- and floral-carved scroll brackets on a serpentine case with a marble top, over a bank of four conforming drawers, raised on bracket feet, h. 78‑1/2”, w. 40”, d. 23”. [700/1000] Illustrated

1068

Pair of Paris Porcelain Pierced Fan Vases, mid-19th century, one decorated with biscuit flowers and a stag in a hunting horn, and the other with a crane and chicks, h. 16”, w. 11”, d. 5‑1/2”. [500/800] Illustrated

1069

Pair of “Old Paris” Porcelain Fan Vases, mid-19th century, decorated with hand-painted flowers, h. 14”, w. 12”. [400/700]

1070

Rococo Revival Mahogany Vitrine, first quarter 20th century, possibly Austrian, in two parts, the upper section with a carved crest over an arched glazed door, the interior fitted with a pair of shelves, the sides with glazed panels, on a base with projecting corners over a glazed door, raised on cabriole legs, adorned throughout with floral and foliate carving, h. 86‑1/2”, w. 43”, d. 22‑1/2”. [400/700] Illustrated

1071

American Rococo Revival Walnut Cabinet-Base Etagere, third quarter 19th century, the upper section with a carved crest over a pair of graduated serpentine shelves on carved brackets and backed by mirrors, the base with a serpentine gadrooned top over a conforming drawer and a pair of drawers fitted with mirrored panels, h. 73”, w. 45”, d. 20”. [300/500] Illustrated

1072

Pair of Gilt-Decorated Bohemian Ruby Glass Lustres, fourth quarter 19th century, hung with cut glass spear-point prisms, the upper portion decorated with raised gilt leaves with pink enamel centers on a ground of scattered fern fronds, h. 14‑1/4”, dia. 5‑3/4”. [300/500] Illustrated

1073

Pair of Bohemian Ruby Glass Mantel Lustres, the gilttrimmed lustres decorated with swags of white and pink flowers and hung with spear-point prisms, h. 14‑1/2”, dia. 7‑1/2”. [500/800]

1074

Rosewood Center Table in the Rococo Revival Taste, third quarter 19th century, the inset marble top set in a shaped frame, over a conforming apron with a molded button edge and drop beads, raised on turned columns joined to shaped scroll feet, h. 29”, w. 42‑1/2”, d. 36”. [500/800] Illustrated

1072

1074

1070

1071 213

1077

1075

1077

1081 1079

1078

Springfield Rifled Musket, 19th century, American, now mounted as a two-light lamp on a walnut base, the steel side plate engraved with an eagle and “The Springfield”, h. 58‑3/4”, w. 20”, d. 13‑3/4”. [300/500]

1079 1082

1075

Pair of Bohemian Enameled Ruby Glass Lustres, fourth quarter 19th century, hung with cut glass prisms, and decorated with gilt tracery and “jewels”, the upper portion with enameled flowers under the scalloped rim, h. 14‑1/4”, dia. 5‑1/2”. [300/500] Illustrated

1076

Pair of Bohemian Ruby-Stained Lustres, engraved with scrollwork and hung with spear-point prisms, h. 13‑1/2”, dia. 5‑1/2”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [400/700]

1077

American School (First Half 19th Century), “Pendant Portraits of a Married Couple,” pair of oils on canvas, the portrait of the female indistinctly signed/dated? lower right, each 30” x 25”. Framed alike. [500/800] Illustrated

214

American Rococo Revival Walnut Dining Table, third quarter 19th century, the circular top opening to accommodate three leaves, raised on cabriole legs with a cabochon- and fruitcarved cartouche and leaf-carved feet, h. 29‑1/2”, dia. 52”, extended l. 101‑1/2”. [300/500] Illustrated

1080

American Rococo Revival Mahogany Dining Table, mid19th century, on carved cabriole legs with a stretcher base, and a thumb-molded top, h. 30”, w. 50‑1/2”, l. 62”. [500/800]

1081

Thomas Dumont (American, 19th/20th Century), “Leading the Cattle Out to Pasture”, 1896, oil on canvas, signed and dated lower right, 20” x 30”. Framed. [600/900] Illustrated

1082

George Barrett (British, 1728‑1784), “Outside the Town Walls”, 1774, watercolor, signed and dated lower right, 15” x 21‑1/4”. Unframed. [500/800] Illustrated

1083

1085

1084 1086

1086 1083

Joshua Anderson Hague (British, 1850‑1916), “The Field”, oil on canvas, signed lower right, 16” x 20”. Framed. [400/700] Illustrated

1084

Continental School (19th Century), “Moonlit River Scene with Fishermen Bringing in the Catch”, oil on board, unsigned, 9‑1/4” x 12‑1/4”. Framed. Provenance: The Estate of Alvin Richard Christovich, New Orleans, Louisiana. [400/700] Illustrated

1085

Francis E. Jamieson (British, 1895‑1950), “Scottish Highlands Landscape”, oil on canvas, signed lower right, 19‑7/8” x 29‑7/8”. Framed. [500/800] Illustrated

American School (19th Century), “Mountainous Landscape, Possibly Austria”, oil on canvas, 24” x 20”. Presented in a period giltwood and gesso frame. [500/800] Illustrated

1087

W. Eddie (Chinese/American, b. 1955), “Woodlands and Water Near a Farm”, oil on canvas, signed lower left, 30” x 24”.

Framed. [400/700]

1088

W. Eddie (Chinese/American, b. 1955), “Farm at the Water’s Edge”, oil on canvas, signed lower right, 40” x 30”. Framed.

[400/700]

1089

L. Stephano (Korean, b. 1948), “Landscape Clearing Overlooking a Bridge”, oil on canvas, signed lower right, 30” x 24”. Framed. [300/500]

215

1092 1091

1090 1093

1090

American Renaissance Revival Walnut and Mixed-WoodsInlaid Partners Library Table, third quarter 19th century, probably Grand Rapids, Michigan, the top with a central inlaid reserve depicting musical instruments and the outer borders with floral reserves, the apron fitted with a working drawer along with a faux drawer along each long side, raised on trumpet turned legs, h. 30”, w. 48”, d. 27”. [1200/1800] Illustrated

1091

American Brass and Prism-Hung Six-Light Gasolier, fourth quarter 19th century and later, with reeded, leaf-molded arms, now with a glass-clad standard set with molded prism rings hung with long strands of drops, a spray of prisms on gilt-brass pierced holders at the top, the lower portion hung with swags of matching prisms, h. 57”, dia. 29”. [1000/1500] Illustrated

216

1092

American School (19th Century), “Portrait of a Member of the Piatt Family, Kentucky and Ohio”, oil on canvas, unsigned, 19‑3/4” x 15‑3/4” oval. In a period giltwood frame.

Provenance: Private collection, New Orleans, Louisiana.

[700/1000] Illustrated

1093

American Rococo Revival Rosewood Armchair, third quarter 19th century, probably by Alexander Roux, New York, or Elijah Galusha, Troy, New York, with a foliate-carved crest flanked by gadrooned moldings, fluted back posts and raised on block and turned legs joined by similar block and turned stretchers, h. 51”. [400/700] Illustrated

1094

American Patinated Bronze of a Cowboy, 20th century, after Frederic Remington (1861‑1909), cast signature on base, h. 23”, w. 9”, d. 14”. [300/500] Illustrated

1095

American Aesthetic Movement Parcel-Gilt Ebonized Library or Center Table, fourth quarter 19th century, probably New York, the rectilinear top over a frieze fitted with a central panel, joined by floral- and scroll-carved brackets to a trestle base with fluted columns and a carved stretcher, h. 31”, w. 40‑1/4”, d. 25”. [500/800] Illustrated By oral tradition the present table has a long history of ownership in New Orleans.

1096

1094

1097

1096

Modern Gothic Oak Metamorphic Library Ladder/Chair, late 19th century, adorned with quatrefoil cut-outs, extending to form a four-step ladder, h. 36”, w. 19”, d. 16”, extended h. 35‑1/2”. [400/700] Illustrated

1097

1095

Rare Set of Three United States Geological Survey (USGS) Copper Map Plates, each of the three engraved plates illustrating a topographical map of Madison Parish, Louisiana, including its plantations and the oldest Native American earthen mounds in the U.S., surveyed at the scale 1:24,000, each plate 17” x 20”, overall weight 37.5 lbs. [800/1200] Illustrated

217

1100

1099 1103

1101

1098

1098

1102

American Late Victorian Mahogany Bookcase of Classical Inspiration, fourth quarter 19th century, of tripartite form, the central glazed door flanked by reeded and foliate-carved pilasters and projecting ends, each fitted with a glazed door, raised on foliate- and shell-carved feet, the back stenciled “Mahogany 206” in the manner of R. J. Horner, h. 73‑1/2”, w. 78”, d. 16‑1/2”. [1000/1500] Illustrated

1101

1099

Commemorative Vanderbilt University Cast Iron Garden Armchair, early 20th century, the back with a top rail centered by a cast profile of Cornelius Vanderbilt, framed by a ring molded with “Vanderbilt University 1873”, with open arms, pierced seat and a curule base, h. 31”. Cornelius Vanderbilt provided the initial million dollar endorsement for the Nashville University, in an effort to facilitate the reunification of the country in the wake of the Civil War. [600/900] Illustrated

Charles Rising (American, 1859‑1920), “Two Landscape of Saranac, New York”, 1912, the first of Mountains Baker and Saddleback, oil on artist board, and the second of the mountain hollows, oil on cardboard, each signed and dated lower right, the latter titled in pencil on mat backing, each 9‑1/2” x 15‑1/4”. Matted alike. [700/1000] Illustrated

1100

Two Continental Patinated Figural Cabinet Bronzes, fourth quarter 19th century, the first cast as a trumpeter astride a dolphin, h. 3‑1/2”, w. 2‑1/4”, and the second as a Native American Indian combating a serpent, h. 5‑3/8”, w. 1‑1/2”.

Provenance: Merryl Israel Aron, New Orleans, Louisiana.

[400/700] Illustrated

218

After Gordon Phillips (American, b. 1927), “The Holdup of the Overland Stage”, the metal sculpture mounted on a wooden base with a tag marked “The Holdup of the Overland Stage, by Gordon Phillips, Created Especially for A. Lucas Cuccia”, h. 7‑3/4”, w. 25‑1/2”, d. 8”. [700/1000] Illustrated

1102

1103

Alberta Kinsey (American/Louisiana, 1875‑1952), two works including “New Orleans Courtyard”, oil on artist board, signed lower right, 11” x 13‑1/4”, and “Sailboats on a Bayou”, watercolor, signed lower right, 5‑3/4” x 11”. First framed, second glazed, matted and framed. [800/1200] Illustrated

1107

1105

1109

1107 1106

1104

William H. Vanderbilt (1821‑1885) and Edward Strahan (b. Earl Shinn, 1837‑1886), Mr. Vanderbilt’s House and Collection. The Japan Edition, New York, Boston and Philadelphia: George Barrie, 1883‑84, partial in four volumes, not intact with loose pages, numbered 100/1,000, bookplate from John Jay Young Memorial Library, three with blue silkcovered boards, 25‑3/4” x 18‑7/8”. [500/800]

1105

American Eastlake Victorian Burl Walnut Armoire, fourth quarter 19th century, with an elaborate carved cornice and facade above a pair of beveled mirror doors and two drawers in the base, h. 112”, w. 61”, d. 26”. [500/800] Illustrated

1106

Sheraton-Style Mahogany and Tole Umbrella Stand, fourth quarter 19th century, probably American, with a tole drip pan, the umbrella divider of the stick-and-ball pattern, frequently found in architecture of the period, h. 28”, w. 24‑1/4”, d. 9‑1/4”.

Provenance: Merryl Israel Aron, New Orleans, Louisiana.

[400/700] Illustrated

Extensive Lenox “Lowell” Gold Mark Partial Dinner Service, 20th century, American, the set with an ivory ground and gilt strapwork rims, including six dinner plates, dia. 10‑1/2”, six salad plates, dia. 8‑1/4”, six soup plates, dia. 8‑1/2”, eight bread-and-butter plates, dia. 6‑1/4”, thirteen teacups, h. 2”, twelve saucers, dia. 5‑1/2”, sixteen demitasse cups, h. 2‑1/4”, sixteen matching saucers, dia. 4‑3/4”, and three oval open vegetable bowls, w. 9‑1/2”. [400/700] Illustrated

1108

Collection of Three 19th-Century Giltwood Frames, including an American Renaissance Revival giltwood frame with an oval aperture set with a copy of “Pinkie”, third quarter 19th century, h. 18‑1/2”, w. 16‑1/4”; a Continental pierced and scrolled frame set with a mirror glass, fourth quarter 19th century, h. 16”, w. 13‑1/2”; and a handsome William IV portrait frame, second quarter 19th century, h. 13‑1/2”, w. 11”.

[300/500]

1109

Glass, Gilt-Metal and Marble “Directoire” Table Lamp, Attributed to Pairpoint, fourth quarter 20th century, Massachusetts, the standard with a marble base, scrolled supports and a cornucopia finial, mounted with a hexagonal, reverse-painted Arts and Crafts-style shade, the shade panels decorated with painted peonies and leaves alternating with panels of single flowers, h. 24‑1/2”, dia. 15”. [800/1200] Illustrated

219

1111

1113

1112 1114

1110

Emilie Sievert Weinberg (American, 1882‑1958), “Portrait of a Bearded Gentleman”, oil on canvas, signed lower right, signed en verso, 20‑1/4” x 15‑1/4”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [400/700]

1111

Krewe of Mystic Mardi Gras Sevres-Style Porcelain and Gilt-Brass Mirror, 1927, of octagonal form, the reverse with a hand-painted scene of rococo-style courting couples, signed “M. Carrie”, dated and inscribed “Mystic”, h. 16‑1/4”, w. 6; together with the original hand-painted box inscribed “fait a Paris pour le Mystic club (made in Paris for the Mystic club) 1927”, h. 17”, w. 6‑1/2”. [400/700] Illustrated

1112

American Art Deco Brass, Gilt-Metal, Marble and Glass Floor Lamp, second quarter 20th century, on a marble-inset gilt-metal base, the reeded standard resting on molded giltmetal feet, a patinated metal roundel supporting the bell-form shade holder set with an Aurene-style iridescent gold art glass shade, h. 59‑3/4”, w. 11”, d. 8‑1/4”. [500/800] Illustrated

1113

John Wesley Carroll (American, 1892‑1959), “Portrait of an Elegant Woman Wearing a Black Dress with a Ruff Collar”, 1936, oil on canvas, signed and dated lower right, 50” x 30”.

Framed. [2000/4000] Illustrated

220

1115

1114

American Obverse-Painted Chipped Ice Table Lamp, first quarter 20th century, possibly Pittsburg Lamp, Brass & Glass Co., with a patinated metal base, the glass body decorated with a brilliantly colored landscape design, the mushroom shade with a view of mountains and trees, unmarked, h. 23”, dia. 13‑1/2”. [1500/2500] Illustrated

1115

Stickley Brothers Arts and Crafts Oak Desk, early 20th century, the rectangular top above a single recessed frieze drawer, raised on square legs joined by a slatted stretcher, bearing a metal label "Quaint Furniture , Stickley Bros. Co., Grand Rapids, Mich.", h. 30”, w. 48”, d. 28‑1/2”. [300/500] Illustrated

1116

Harriet Rosendale (American, 20th Century), “Motherhood”, oil on canvas, signed lower right, 26” x 16”. Framed. [400/700]

1117

Lois Hogue Shaw (American, 1897‑2001), “Garden Seat”, oil on wood panel, signed lower left, 12” x 18”. Framed. [500/800]

1118

Leonard Brooks (Canadian, 1911‑2011), “Garden Window”, 1994, oil on canvas, signed lower right, titled and dated en verso canvas, accompanied with a photocopy of a letter of authenticity from the artist, 16” x 19‑5/8”. Framed. [500/800] Illustrated

1119

Leonard Brooks (Canadian, 1911‑2011), “Over My Garden Wall”, oil on canvas, signed lower right, verso with letter of authentication from the artist and framer’s label, 27” x 35”.

Framed. [500/800] Illustrated

1120

Leonard Brooks (Canadian, 1911‑2011), “San Francisco Street Across Jardin/Jardin Presidencia”, oil on Fredrix canvas board, signed lower right, titled en verso, accompanied with a photocopy of a letter of authenticity from the artist, 12” x 16”.

Framed. [500/800]

1125

1121

South American School (20th/21st Century), “San Miguel Flower Vendor”, oil on canvas, illegibly signed lower left, 17‑3/4” x 23‑5/8”. Framed. [400/700]

1122 1119

M. Laurent (French, 20th Century), “The Chill of Winter”, oil on canvas, signed lower right, an old “Bush Antiques” card en verso, 20” x 23‑3/4”. Framed. [400/700]

1123

David Higgins (American, b. 1961), “Road Block, A Contemporary Landscape”, oil on card stock, verso painted with a landscape of rocks in a stream, unsigned, 9” x 8”. Framed. [300/500]

1124

British School (20th Century), “Village Reflected in the Water”, oil on canvas, signed and dated lower right “J. P. Conran 65”, 18” x 21‑1/2”. Framed. [500/800]

1125

Transitional Louis XV-into-Louis XVI Kingwood and Fruitwood Commode, late 18th century, the canted rectangular top banded and with chevron veneers and panels, above a conforming case fitted with two drawers, each inset with three veneer panels, raised on cabriole legs ending in sabots, h. 30”, w. 24‑1/2”, d. 16”. [500/800] Illustrated

1118

221

1127

1126

1130 1129

1131

1126

Pair of French Bronze Three-Light Sconces, second quarter 20th century, in the Louis XVI taste, the ribbonform backplates supporting flower-molded standards with pierced, scrolled arms, electrified, h. 37‑1/4”, w. 13”, d. 9‑1/4”.

[400/700] Illustrated

1127

Louis XVI-Style Giltwood Mirror, decorated with molded tassels on each side and a pierced crest with musical trophies, h. 49”, w. 27‑1/2”. [400/700] Illustrated

1128

Louis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, the stepped rectangular marble top within a full pierced brass gallery, above a case fitted with a frieze drawer over a tambour cupboard with two cabinet doors below, each inset with a parquetry panel, raised on spiral-ribbed toupie feet, the back stamped “Cacaur Paris”, h. 59”, w. 28”, d. 14”.

[500/800]

222

1129

French Floral Still Life Wallpaper Panel, early 20th century, mounted on a panel, depicting a palmette-decorated terracotta vase filled with summer flowers and draped with a floral swag, on a celadon ground with a matching molded frame, overall, h. 38”, w. 27‑3/4”. [300/500] Illustrated

1130

Pair of Handsome Paris Porcelain Urns, second quarter 19th century, French, decorated with bouquets on one side and swags of flowers on the other, on unusual periwinkle blue grounds, the gilt bases mounted with handles terminating in classical masques, h. 13”, dia. 9”. [400/700] Illustrated

1131

Louis XVI-Style Giltwood Pier Mirror, ca. 1900, French, the tablet decorated with musical trophies, h. 71‑1/4”, w. 18‑1/4”.

[700/1000] Illustrated

1132

1136

1137

1134

1133

1135 1132

Pair of French Fin de Siecle Gilt-Metal and Rouge Marble Garniture Urns, ca. 1900, the urns decorated with swags of laurel and molded cartouches, and mounted with molded, scrolled handles, raised on marble bases, h. 17‑1/4”, w. 5‑1/2”, d. 5”. [400/700] Illustrated

1133

Louis XVI-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular white marble top with a three-quarter pierced brass gallery, above a case fitted with three drawers, all paneled and with brass banding, joined by bulbous supports to a lower shelf, raised on tapering circular legs to casters, h. 28‑1/2”, w. 19‑1/4”, d. 13”. [400/700]

1136

Louis XVI-Style Kingwood Vitrine, early 20th century, the canted ebonized top with brass edging, above a conforming case fitted with a floral inlaid frieze over two doors, each with an upper glazed section and a lower floral vase inlaid panel, raised on canted block feet, the whole with ormolu mounts and millwork, h. 60”, w. 35‑1/2”, d. 14”. [400/700] Illustrated

Louis XVI-Style Giltwood Bergere, mid-19th century, the padded domed back within a molded and annulated frame, joined by padded sides and scrolled arms to the cushioned seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 36”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [400/700] Illustrated

1134

1137

Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, each with a padded oval back within a rope- and foliate-carved frame with a ribbon crest, joined by rounded arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [700/1000] Illustrated

Unusual French Belle Epoque Parcel-Gilt Pier Mirror, early 20th century, the tilting upper section over a lower section mounted with a Louis XIV-style bronze three-light sconce hung with swags of drops, the surround framed with ribbon-bound giltwood trim, the oval tilting mirror decorated with swags of flowers and a gilt flower basket crest, the sconce electrified, h. 93‑1/2”, w. 29‑1/2”. [600/900] Illustrated

223

1143

1141

1138

1140

1138

Circle of Jean-Baptiste van Loo (French, 1684‑1745, active England, 1737‑1742), “Portrait of a Gentleman in an Embroidered Waistcoat, Possibly a Member of the Howard Family”, oil on canvas, unsigned, old handwritten inscription en verso “David Garrick par J.B. van Loo” erroneously identifying sitter, a “William Ware Gallery/Sloane Street” label en verso frame, 26‑3/4” x 21‑3/4”. Presented in a later giltwood and gesso frame. Provenance: William Ware Gallery, London, England, 1970s. [2500/4000] Illustrated

1139

1142

1141

Napoleon III Gilt-Bronze and Porcelain Mantel Clock on a Conforming Giltwood Base, the clock decorated with a standing putto “holding” hand-painted porcelain plaques of noblewomen in each hand, the dial signed “Lenoir a Paris”, framed with pierced laurel leaves and berries, h. 18”, w. 11‑1/2”, d. 4‑3/4”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [600/900] Illustrated

1142

Continental School (Fourth Quarter 19th Century), “Portrait of a Matador Playing a Guitar”, oil on canvas, signed and dated upper left “J. G. Pasqvet, Mai 1891”, 24” x 20”.

Framed. [400/700]

French Enamel Snuff Box, mid-18th century, the cover with the portrait of a lady in a stylish fur-trimmed gown, framed in raised gilt, the field with green swags of laurel on a red ground, and panels of raised gilt sprigs on the sides, h. 2”, w. 3‑1/4”, d. 2‑1/2”. [600/900] Illustrated

1140

1143

Pair of French Hand-Painted Sevres-Style Cabinet Plates, fourth quarter 19th century, decorated with portraits of “Princess de Lamballe” and “Marquise de Pompadour” on bleu celeste grounds, marked with spurious Sevres marks and the subject matter, dia. 10‑1/2”. [300/500] Illustrated

224

French Gilt-Brass and Beveled Glass Temple-Form Jewel Casket, 20th century, of octagonal shape, the roof forming the lid, sitting on ram’s head-molded hoof feet and a set of steps, the interior with a red velvet-lined floor, stamped “Drevete, French patent”, h. 10”, dia. 8”. [800/1200] Illustrated

1145

1146

1144 1148

1144

Suite of Six Louis XVI-Style Polychromed Dining Chairs, each with a molded crest rail and stiles, serpentine seat and tapered legs, h. 36‑1/4”. [500/800] Illustrated

1145

Louis XVI-Style Mahogany and Marble-Top Writing Table, late 19th century, the inset rectangular marble top above a conforming frieze fitted with a single side drawer, the frieze with applied ormolu plaques and guilloche patterns, raised on tapering square legs ending in brass caps, h. 30‑1/2”, w. 39‑3/4”, d. 24”. [1500/2000] Illustrated

1146

Unusual Louis XVI-Style Bronze and Crystal Twelve-Light Chandelier, second quarter 20th century, with a vasiform cut glass insert and bronze drapery hung from medallions supporting the arms, the lower tier with scrolled arms termating in sphinx heads holding the molded candle cups, the upper arms leaf-molded, h. 33”, dia. 35”. [800/1200] Illustrated

1147

Louis XVI-Style Mahogany Dining Table, 20th century, the ovoid top bisected and opening to accommodate six 9” leaves (five present), above a bellflower-carved frieze, raised on tapering circular legs ending in foliate-carved feet, h. 29”, w. 50‑1/2”, l. 44”, extended l. 89”. [700/1000]

1148

Antoinette Cecile Hortense (Victoire) Haudebourt-Lescot (French, 1784‑1845), “Coule D’Amoureux Italien”, oil on canvas, signed lower left “Haudebourt Lescot”, 18” x 14”.

Presented in a giltwood frame. [2000/4000] Illustrated One of the few professionally recognized women artists of the early 19th century, Haudebourt-Lescot was influenced by her extensive travels in Italy, where she became a keen observer of its costumes and customs. She exhibited at the Paris Salon and won a first class medal in 1828. Her work is in the collections of numerous French museums, including the Versailles, the Louvre and Musee des Beaux-Arts (Rouen).

225

1156

1149

1153

1152

1155

1149

Pair of French Marble and Gilt-Bronze Urns, ca. 1900, in the Directoire style, now mounted as lamps, on leaf-molded bronze bases, the red griotte marble vasiform bodies mounted with swan-form handles supporting swags of flowers, set with pleated shades, h. 34‑1/2”, dia. 18”. [800/1200] Illustrated

1150

Louis XVI Oak Fauteuil, late 18th century, the padded oval back within a molded frame, joined by padded scrolled arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 37‑1/2”. [400/700]

1151

Three Aubusson Tapestry Pillows, 19th century, each with a damask backing and trimmed with fringe, two woven with scenes of royalty, h. 20”, w. 20”, and one with birds and flowers, h. 18”, w. 22”. [500/800]

226

1152

Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular marble top with turreted ends, above a conforming case fitted with a single frieze drawer faced as three-over-two long drawers, all paneled and with brass banding, raised on tapering circular legs ending in brass caps, h. 34‑1/2”, w. 51”, d. 23‑1/2”. [1200/1800] Illustrated

1153

French Gilt-Bronze Cartel Clock in the Louis XIV Style, fourth quarter 19th century, with a masque at the base, grillwork panels and a bronze urn-form finial, swags of laurel decorating each side, set with enameled numbers on the chapter ring, now with contemporary battery-powered works, h. 24‑3/4”, w. 10‑3/4”. [300/500] Illustrated

1154

Group of Three Semi-Antique Beechwood Fauteuils, 20th century, comprised of a pair of Louis XVI-style chairs and a Louis XV-style example, each in needlepoint upholstery, h. 35‑5/8”. [400/700]

1159

1158

1161

1155

Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, each with a padded rectangular back surmounted by a floral ribbon crest, joined by padded acanthine-carved arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 39”. [500/800] Illustrated

1156

Pair of Louis XVI-Style Bronze Two-Light Sconces, 20th century, French, each with a flower-decorated bowknot and tassel-molded backplate issuing cornucopia-form arms molded with flowers and terminating in leaf-molded candle cups, electrified, h. 21”, w. 9‑1/2”, d. 4‑1/4”. [500/800] Illustrated

1157

Louis XVI-Style Giltwood Stand, early 20th century, the circular top on a fluted column, joined to a circular foliatecarved base, h. 58‑1/2”, top dia. 12”, overall, dia. 19”.

[400/700]

1158

Louis XVI-Style Ebonized, Polychrome and Marble-Top Secretaire a Abattant, third quarter 19th century, in the manner of Rene Dubois (French, 1737‑1799), the rectangular marble top with canted corners, above a conforming case fitted with a frieze drawer over a paneled drop front opening to an inset leather surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, raised on tapering square legs ending in brass caps, the cupboard and sides all with grisaille-painted panels of classical figures and motifs, h. 50‑1/2”, w. 28‑1/2”, d. 13”. [1500/2500] Illustrated

1159

French Bronze and Verde Antique Marble Urn-Form Lamp, first quarter 20th century, in the Louis XVI taste, the molded bronze base supporting a marble vasiform standard set with a pair of patinated bronze putti supporting a fringed swag decorated with flowers, set with a silk shade, h. 33‑3/4”, dia. 18”. [400/700] Illustrated

1160

French Restauration Bronze Dore et Patine Fire Fender, first quarter 19th century, decorated with patinated cupids holding bronze dore laurel wreaths, each kneeling on a plinth with mounts of pierced laurel leaves and scrollwork, on a base trimmed with molded leaves, with an adjustable center, h. 12‑1/2”, w. 42‑1/4” to 50‑1/4”, d. 5”. [800/1000]

1161

Pair of Louis XVI-Style Bronze Dore et Patine Chenets, fourth quarter 19th century, signed by Henri Vian (French, 1860‑1905), now mounted as lamps, on toupie feet, the bases molded with flames and branches of leaves holding patinated bronze figures of draped children warming their hands at braziers, h. 19‑1/4”, w. 11”, d. 5‑3/4”. [600/800] Illustrated

1162

Louis XVI-Style Mahogany Triple-Top Games Table, mid19th century, the D-form top with brass edging, hinged and opening to a larger surface and opening further to a baizelined gaming surface, above a conforming paneled frieze with brass banding, raised on brass-fluted tapering circular legs ending in brass caps and casters, h. 31”, w. 43”, d. 21‑1/2”.

[400/700]

227

1163

French Patinated Bronze and Crystal Chandelier, 20th century, in the Louis XIV style, the frame and scrolled candle arms hung with cut glass prisms on numerous levels, the molded crystal finials set on one level above the candles, but below sprays of crystal drops framing an upper molded glass standard, h. 30”, dia. 18”. [1200/1800] Illustrated

1164

Pair of Baccarat-Style Cut Glass and Gilt-Bronze Garniture Urns, second quarter 20th century, mounted as lamps, on bronze bases trimmed with molded lotus leaves, holding glass plinths, cut to match the urns they support, mounted with scrolled handles molded with leaves and medallions, h. 27‑3/4”, w. 8‑1/4”, d. 4‑3/4”.

[1800/2200] Illustrated

1165

Semi-Antique Sarouk Carpet, 4’ 1” x 6’ 3”. [300/500]

1166

Semi Antique Kashan Carpet, 5’ 10” x 10’ 8”. [600/900] Illustrated

1163

1164

1166

228

1167

1173

1168

1174

1169

1175

1170

1176

1171

1177

1172

1178

Tabriz Silk Carpet, 4’ x 6’ 8”. [500/800] Illustrated

Kashan Carpet, 6’ x 9’ 7”. [600/900]

Azeri Tribal Carpet, 8’ 4” x 9’ 9”. [1000/1500]

Turkish Angora Oushak Carpet, 9’ x 12’. [1000/1500]

Tabriz Silk Carpet, 4’ 2” x 6’ 6”. [600/900] Illustrated

Agra Serapi Runner, 2’ 6” x 30’ 4”. [600/900]

Agra Serapi Carpet, 10’ x 13’ 4”. [300/500]

Antique Isfahan Carpet, 9’ 5” x 12’ 4”. [500/800] Illustrated

Chinese Savonnerie Carpet, 12’ 2” x 18’. [300/500]

Persian Shiraz Carpet, 6’ 9” x 9’ 6”. [800/1200]

Turkish Angora Oushak Carpet, 10’ 3” x 14’ 3”. [1200/1800] Illustrated

1167

Semi-Antique Mashad Carpet, 9’ 6” x 13’. [600/900] Illustrated

1172

1169

1176

1178 229

1179

1183

Turkish Angora Oushak Carpet, 9’ 10” x 13’ 6”. [1200/1800] Illustrated

Zhang Jia Su (Chinese, 20th Century), “Portrait from the Minority Portrait Series”, ca. 1983‑1989, oil on canvas, signed and inscribed lower right, 36‑1/4” x 25‑1/4”. Unframed.

[800/1200] Illustrated

1180

Feraghan Sarouk Carpet, 4’ x 7’. [500/800] Illustrated

1184

1181

Zhang Jia Su (Chinese, 20th Century), “Portrait from the Minority Portrait Series”, ca. 1983‑1989, oil on canvas, signed and inscribed lower right, 36‑1/2” x 25‑1/4”. Unframed.

[800/1200] Illustrated

Two Chinese Peking Carpets, 3’ 3” x 4’ 8” and 2’ 8” x 4’ 4”.

[600/900]

1182

1185

Hand-Painted Sisal Rug, designed by Group L’Artisan, New York, 12’ x 18’. [500/800]

Jiang Jian Zhong (Chinese, b. 1957), “Still Life”, 1991, oil on canvas, signed and dated lower right, 25‑1/4” x 35”. Framed.

[800/1200] Illustrated

1179

1180

1185 1183 230

1184

1186

Jiang Jian Zhong (Chinese, b. 1957), “Still Life”, oil on canvas, unsigned, 28‑5/8” x 31‑3/4”. Framed. [600/900] Illustrated

1187

Trom “Yeu-Ma” (Vietnamese/Chinese, 19th/20th Century), “Landscape with Cattle Watering”, oil on canvas, unsigned, 28‑5/8” x 39‑1/4”. Unframed. By repute, the Montague Collection sold through the French Consulate in Shanghai, 1990; Private Collection, Louisiana. [600/900] Illustrated

1188

Trom “Yeu-Ma” (Vietnamese/Chinese, 19th/20th Century), “Figures on a Wooded Path Near a Church”, oil on canvas, unsigned, artist and provenance inscribed en verso, 35‑3/8” x 27‑1/2”. Framed. Provenance: By repute, the Montague Collection sold through the French Consulate in Shanghai, 1990; Private Collection, Louisiana. [700/1000] Illustrated

1189

Japanese School (Early 20th Century), “Triptych”, color woodblock, signed and inscribed with seals, each panel, sight 14” x 9‑1/2”, overall, sight 26‑1/2” x 14”. Glazed, matted and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [500/800] Illustrated

1189

1186

1187

1188

231

1190

Paul Jacoulet (French/Japanese, 1902‑1960), “Fleurs d’Hiver” and “Le Phare de Mikimoto Shimoda Izu”, two colors woodblocks, each signed, stamped and titled, each sight 16‑1/2” x 13”. Both matted, glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

1191

Paul Jacoulet (French/Japanese, 1902‑1960), “Les Enfants aux Yeux Jaunes - Ohlol, Est Carolines”, color woodblock, signed, stamped and titled, sight 18‑1/4” x 13‑3/4”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

1192

Mughal School (19th/ 20th Century), “Scene of Tribute”, gouache and gilt on paper, inscribed in Hindi top margin, sight 8‑7/8” x 10‑3/4”. Glazed, matted and framed. [300/500] Illustrated

1192

1190 one of two

1191

1190 two of two 232

233

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

AUGUST 27-28, 2016

Albrizio, Humbert 798

Dautreuil, Linda 954

American School 3, 559, 568, 1034, 1063, 1065, 1077, 1086,

Davis, Harry Allen 1025

1092

Delacroix, Michel 37, 38, 39

Bacchelli, Mario 1026

Descomps, Joe (after) 860

Barrett, George 1082

Dodd, Frances 898

Beechey, Sir William (circle) 364

Drouot, Edouard (after) 555

Bennes, Jules 394

Dubray, Vital-Gabriel (after) 475

Berg, Thomas 844

Duessel, Henry A. 1022

Bergman, Franz 344

Dumont, Thomas 1081

Bogart, Bram 792

Dunbar, George Bauer 867

Borofsky, Jonathan 947

Dutch School 593

Boston, Frederick James 354

Duyk, Francois 397

Boulanger, Graciela Rodo 786

Eddie, W. 1087, 1088

Breen, Bud 928

Etty, William (after) 532

Briante, Ezelino 6

Faed, Thomas 353

British School 347, 355, 358, 359, 380, 381, 396, 532, 1124

Faed, Thomas (attributed) 424

Brooks, Leonard 1118, 1119, 1120

Fiery, Ken 930

Cain, Auguste Nicolas 538

Flameng, Francois (after) 476, 477

Calder, Alexander 778

Forain, Henry 561

Canova, Antonio (after) 530

Forsyth, William 1031, 1032

Carlier, Max 566

Fox, Daniel 386

Carroll, John Wesley 1113

Frankfurter, Jack 824

Cassidy, Dustin 958

Fremiet, Emmanuel (after) 549

Castiglione, F. 42

French School 14, 849

Cezanne, Paul 893

Giraud, Henri (after) 540

Chagall, Marc (after) 892

Gladkaia, Galina 564

Chinese School 202, 203, 221, 247

Glennie, Arthur 356

Chism, Sandy 936

Golden, Rolland Harve 795, 840

Cixi, Empress Dowager 190

Goliwas, Ruth 957

Coignard, James 873, 874

Gordon, Scott 938

Continental School 5, 7, 15, 22, 45, 46, 50, 54, 56, 58, 59, 60,

Gordy, Robert 903

144, 531, 533, 534, 558, 562, 565, 1084, 1139

Grande, Giovanni 570

Cooke, Allison B. 897

Gruppe, Charles Paul 1023

Costa, Emanuele 1028

Guidry, Louise 896, 935, 939, 941

Crawford, Josephine (attributed) 937

Guillemin, Emile (after) 474

Cuzco School 65

Hague, Joshua Anderson 1083

Dali, Salvador 891

Harvey, Robert 850

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

AUGUST 27-28, 2016

Haudebourt-Lescot, Antoinette 1148

Morel-Ladeuil, Leonard 330

Henseval, Raoul 848

Mouton, Grover 785

Hesser, Harry 576

Mughal School 1192

Higgins, David 959, 1123

Nierman, Leonardo 956

Hollosy, Gyuri 832

Normann, Lisette 842

Hornback, Ann 789

Ostade, Adriaen Jansz van 101

Horup, Knud 933

Papart, Max 816

Huntington, Charles 817, 819

Payne, Arthur C. 357

Italian School 55, 57, 77, 80

Peret, Marcelle Martinet 1027

Jacoulet, Paul 1190, 1191

Peters, Bernard E. 1021

Jamieson, Francis E. 1085

Petterson, Margaret 846

Japanese School 1189

Pfahl, Charles Alton 853

Jerichau, Holger H. 109

Phillips, Gordon (after) 1101

Jerviss, Joy 791

Phillips, Thomas (after) 283

Johnson, Richard 955

Poole, Paul Falconer (attributed) 348

Kettemann, Erwin 108

Pritchard, J. Ambrose 1029

Kinsey, Alberta 1103

Proctor, Mary 899

Kirk, Frank C. 594

Rambert, Rene 83

Kohlmeyer, Ida Rittenberg 787, 934

Reinike, Charles 940

Kunisada, Utagawa 215

Reinike, Vernon 841

Kunisada, Utagawa (Toyokuni III) 222

Remington, Frederic (after) 1094

Laurencin, Marie 890

Renard, Paul 569

Laurent, M. 1122

Ricks, Russell 929

Lefort, Jean Louis 385

Rising, Charles 1099

Lewis, Edmund Darch 1033

Robertson, Sue Duerr 845

Lichtenstein, Roy 781

Rodrigue, George 827

Malin, Elva 1019

Rosendale, Harriet 1116

Martin, Lizzie Edna 595

Rothe, G. H. 922

Martin, Steve 948, 949

Rousseau, Mari-Pierre 560

Meads, Michael 953

Rucker, Nancy Pruett 945

Menge, Evelyn 942, 944

Russell, J. 100

Mexican School 64, 66, 67

Saito, Kikuo 793

Meyerowitz, Joel 847

Sanchez, Edouard 30

Minaux, Andre 788

Sandia, Elizabeth 1020

Moore, Kelly 950

Saradour, G. 571

Moreau, Mathurin 544

Schneuer, David 917

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

AUGUST 27-28, 2016

Schoeman, Giovanni 838

Watson, Diana 23

Schouten, Henry 31

Watteau, Jean-Antoine (manner) 162

Seago, Mary Helen 895

Weinberg, Emilie Sievert 1110

Shaw, Lois Hogue 1117

Weisbuch, Claude 797

Shemi, Calman 943

Whistler, James Abbott McNeill 799

Shepard, Steve 946

Whiteman, Paulette Tokar 796

Signoretto, Pino 820

Wiley, Philip (Chief) 901, 902

Silverman, Arthur 807, 808, 809, 810, 811, 812

Wilhelm, Joseph A. 1035

Simonsen, Simon Ludvig Ditlev 110

Wood, Ella Miriam 1030

South American School 1121

Woodward, Ellsworth 794, 889

Soyer, Mariano 851

Wyant, Alexander Helwig 1024

Spanish School 70

Yashin, Edward 960

Stastny, Karen 852

”Yeu-Ma”, Trom 1187, 1188

Stephano, L. 1089

Yongkai, Hu 226

Stern, Yossi 951

Zhong, Jiang Jian 1185, 1186

Stewart, Allison 843 Su, Zhang Jia 1183, 1184 Thien, Etienne 472 Tomanek, Jeanie 900 Trenchard, Fred 952 Turgel, Margarete Markiewicz 863 Van der Plas, Niek 580, 581 Van Loo, Jean-Baptiste (circle) 1138 Vartanian, Hasmig 784 Verkeenko, Angelica 913 Vignoles, Andre 4 Villanis, Emmanuel (after) 557 Villon, Jacques 894 Vivian, George 84

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The 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.

Von Koelnau, Louis 887

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

Voorhies, Hugh G. 1036

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

Vuillard, George 567

After: In our qualified opinion, a copy of a known work by the artist.

Walinsky, Gerhard 85

Signed: In our qualified opinion, has the signature which is that of the artist.

Walson, Bonnie 563 Warhol, Andy 776, 777, 779, 780, 782, 783 Warner, Mary 927

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

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

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

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

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

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art.

No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

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

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

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

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

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors.

NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive.

Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer.

Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j).

NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly.

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

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

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

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

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

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

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp

Ashton Thomas

Director of Auctions

President

FINE ARTS:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

American, Continental and English

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Charles C. Cage

consignments

Director of Fine Arts Continental and American; Prints and Maps

Michele M. Carolla

British and American; Sculpture

Nicole Casi, PhD

American, Continental and English

Continental and English

Ireys Bowman

Continental and English

Greg S. Kowles

Jewelry: Kim Lemon

American, Continental and English

Thomas Halverson American

FINE CARPETS & TEXTILES: Sean Ranson

a d m ini s t r at ion Burke

Colleen Ryan

Taylor Eichenwald

Charles C. Cage

Nicole Casi, PhD

Christa Ougel

Research

Graphic Designer

Denise Haik

Gary Michael Gittelson

Office Administration

Photographer

Justin Gray

Alexis Kopituk

Cord McPhail

Designer

Office Manager

Administrative Assistant

Director of Human Resources

Photographer

auctioneers

consultants

Tessa Steinkamp #1265

Ellen McKenzie

Ashton Thomas #1833 Michael DeGeorge #1774 Taylor Eichenwald #1922

English and Continental Furniture

Ira Savoie

Graphic Designer

Grace Connors

Manager of Cakebread Auctions

ope r at ion s Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont

Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

Felicia S. Yao Asian Arts

Gerald Hampton | Juanita Bazile

James Callahan Robin Ruiz #1114

Marketing & Public Relations

Asian Arts

Sol Carter | Thomas Johnson David Abney | James Collins