January 28-29, 2017 Cakebread Decorative Arts & Design by New Orleans Auction Galleries

cakebread decorative arts

design

JANUARY 28-29, 2017

cakebread decorative arts

design

A u c t i o n : J A NU A R Y 2 8 - 2 9 , 2 0 1 7 Exhibition January 16 - 27, 2017 O p e n M o n d a y - S a t u r d a y, 9 a . m . - 5 p . m . Closed Sunday

Evening Reception: T h u r s d a y, J a n u a r y 2 6 , 5 - 7 p . m .

S e ss i o n I

S aturd ay, J anuar y 28, 2017 Lots 1 - 635 10:00 - 11: 00

100

11:00 - 12: 00

101

200

12:00 - 1: 00

201

300

1:00

2: 00

301

400

2:00

3: 00

401

500

3:00

4: 15

501

635

S e ss i o n II

S und ay, Januar y 29, 2017 Lots 636 - 1 192 10:00 - 11:00

636

700

11:00 - 12:00

701

770

12:00 - 1:00

771

870

1:00

2:00

871

970

2:00

3:00

971 - 1070

3:00

4:15

1071 - 1192

New Orleans Auction Galleries 333 St. Joseph Street, New Orleans, Louisiana 70130 NewOrleansAuction.com | Tel: 504.566.1849 | Fax: 504.566.1851 | Email: Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount For Prompt Payments Made By Cash or Check)

l e t t e r f r o m t h e P RE S I D E N T

2016 was quite a year! Reflecting back on one of our most successful years to date, we added more auctions, achieved record sales and had the opportunity to offer some incredible items from estates and collections from throughout the country. 2017 is already shaping up to be an amazing year with some exciting surprises in store. As we continue to expand our offerings in the new year, we are adding an exclusive Fine Art sale on April 22 and bringing back our Jewelry, Furs & Accessories auction on November 18 in addition to our Estates Auctions and, of course, our Cakebread Decorative Arts & Design sales. Stay tuned throughout the year for more surprises. To start the year off, we have put together a wonderful Cakebread Auction that includes a selection of paintings and prints, sculpture, Danish modern silver, designer furs and handbags, jewelry and much more. The sale also features Shearwater pottery and paintings from the Succession of George â&#x20AC;&#x153;Dodâ&#x20AC;? Stewart, an artist, musician, art collector, pottery collector and scholar. We hope to see you during our two-week exhibition in our third-floor gallery starting on Monday, January 16. As always, make sure to mark your calendars for the evening reception on Thursday, January 26 from 5-7 p.m. The auction sessions begin at 10 a.m. on Saturday and Sunday, January 28-29.

See you at the auction,

Ashton Thomas President, New Orleans Auction Galleries

AUGUST 27-28, 2016 E v e ning r e c e p t i o n h ig h lig h t s 1. Steve Psarellis, Lauren Labostrie, Julia Cass & Weezie de la Vergne 2. Augie & Mirell Gallo 3. Maury Herman, Cristina Wysocki; John Ernst, & Marigny Ernst 4. Louis & Adrienne McFaul; Burke 5. Gilber t Riveiras & Gerard McGovern 6. Stephen Emling & Kevin Hemenger 7. Brenda & Michael Moffitt; Nancy Click & Jeanette Lynch

Session I (Lots 1-1635) | Saturday, January 28, 2017 | 10:00 a.m. CST

3 Pair of Continental Cast Stone Garden Figures of Putti, mid-20th century, one example carrying wheat, personifying autumn, and the other with flowers, representing spring, h. 32‑1/2”, w. 10” to 12‑1/4”, d. 10”. [400/700] Illustrated

1 Suite of Six Louis XVI-Style Polychromed and ParcelGilt Armchairs, each with paneled vertical splats, scroll arm supports and fluted legs, h. 43‑1/2”. [400/700] Illustrated 2 Directoire Polychrome Three-Drawer Chest, 19th century, the molded overhanging top above a case fitted with three long drawers and flanked by fluted pilasters, raised on tapered legs, pegged construction, h. 38”, w. 46”, d. 20‑1/2”. [500/800] Illustrated

4 Two Continental Polychrome Tables, 19th century, comprising a demi-lune console with a gadroon-carved apron, shaped legs and stretchers, h. 29‑1/2”, w. 45‑1/2”, d. 22‑1/2”, and a provincial side table with shaped top and fitted aprons, with a single drawer and raised on cabriole legs, h. 26”, w. 26”, d. 19”. [400/700]

5 one of three

5 two of three

5 three of three

5 Collection of Three Oological Color Lithographs, from Arthur G. Butler, British Birds with Their Nests and Eggs, illustrated by F. W. Frohawk, London, Brumby and Clarke, 1896‑1898, including plates XVI, XVII and XXIV, each sight 11” x 8”. Glazed, matted and framed alike. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated 6 Swedish Polychromed Six-Panel Folding Screen, early 19th century, in the provincial taste, each panel with an arched top and cross bar, the joints mortised and pegged, h. 68”, l. 135”. [400/700] Illustrated 7 Provincial Polychrome and Scrubbed Pine Farm Table, 20th century, the rectangular top with a molded edge and mounted to a base with block and turned fluted legs joined by stretchers, h. 30”, w. 34‑1/2”, l. 90”. [1000/1500] Illustrated

8 Painted and Parcel-Gilt Mirror in the Continental Neoclassical Taste, 20th century, with molded sides and a cove-molded cornice, the cut-corner plate trimmed with gilt, and carved, gilded corner medallions, h. 53‑3/4”, w. 42‑1/2”. [400/700] Illustrated 9 Painted and Parcel-Gilt Mirror in the Continental Neoclassical Taste, 20th century, with molded sides and a cove-molded cornice, the cut-corner plate trimmed with gilt, and carved, gilded corner medallions, h. 53‑3/4”, w. 42‑1/2”. [400/700] Illustrated 10 French School (21st Century), “Floral Still Life in a Confit Jar”, decorative oil on canvas, unsigned, 16” x 12”. Presented in a contemporary silvered frame. [300/500] Illustrated 11 Provincial Louis-Philippe Polychromed Cabinet, second quarter 19th century and later, the case with a pair of doors flanked by columnar pilasters, raised on block feet, h. 33”, w. 45‑1/4”, d. 18”. [400/700] Illustrated

12 Suite of Four Louis XV-Style Polychrome Sidechairs, second quarter 20th century, each with a padded rectangular back surmounted by a floral and foliate crest, the padded seat raised on cabriole legs headed by foliate carving and ending in scrolled toes, upholstered in bold, trapunto-stitched tropical cotton, h. 37‑1/2”. [700/1000] Illustrated

13 Mary Kirk Kelly (American/Alabama, 1918‑2013), six ceramic vegetables, including three ears of corn, l. 8‑1/4” to 11‑1/4”, two potatoes, l. 5‑1/2” to 5‑3/4”, and a yam, l. 6‑1/2”, each signed, one potato dated 1993. [300/500] Illustrated 14 Mary Kirk Kelly (American/Alabama, 1918‑2013), six ceramic vegetables, including a cauliflower, h. 5”, dia. 6‑3/4”, a head of lettuce, h. 4”, dia. 5‑3/4”, a cabbage, h. 5‑1/2”, dia. 5‑1/2”, and three molded beakers, h. 2” to 4‑1/2”, signed, one beaker dated 1978. [500/800] Illustrated 15 Mary Kirk Kelly (American/Alabama, 1918‑2013), three ceramic melons, including a watermelon tureen with a blossom on the handle and a watermeloncolored interior, h. 9‑1/2”, w. 14”, d. 6‑1/4”, and two watermelons, h. 6”, dia. 5” and h. 8‑1/4”, dia. 7‑3/4”, signed. [400/700] Illustrated

16 Louis XV-Style Mahogany Bergere, early 20th century, the shaped and domed padded back within a molded frame, joined by closed arms to the cushioned seat, raised on cabriole legs ending in scrolled toes, upholstered in Lee Jofa fabric, h. 33”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated 17 French Provincial-Style Walnut Bombe Commode, 20th century, the conforming top with a molded edge, above a pair of drawers with brass mounts, the apron with an in-carved shell, h. 27”, w. 34”, d. 21”. [500/800] Illustrated

18 Continental Pressed Brass Wall Clock in the Renaissance Revival Style, fourth quarter 19th century, decorated with scrollwork, satyr’s masques and guilloche trim, the central clock with a chapter ring of enameled numerals and a sunburst pendulum with a masque, h. 20‑3/4”, w. 15‑3/4”. [300/500] Illustrated 19 Louis XV-Style Mahogany Chest, 19th century, the rounded rectangular top above a conforming case fitted with six drawers, raised on shaped toes, h. 58”, w. 24”, d. 18‑1/2”. [900/1200] Illustrated

17 19

20 Continental Walnut and Fruitwood Commode, late 18th century, the banded and bowed top above a conforming case fitted with two short drawers over two long drawers, all banded, raised on cabriole legs, h. 35”, w. 51”, d. 24”. [1000/1500] Illustrated

21 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”. [500/800] Illustrated 22 Victorian-Style Wrought Iron and Marble-Top Conservatory Table, the rectangular Portoro marble top above a conforming pierced palmetto frieze, raised on scrolling supports joined by stretchers and ending in casters, h. 31‑1/2”, w. 42‑1/2”, d. 26”. [500/800] Illustrated 22

23 Provincial Louis XV-Style Fruitwood Vasselier, the molded and rounded rectangular cornice above a central open section with three back rack shelves, flanked to either side by a tall bi-paneled cupboard, the lower section fitted with three drawers over three paneled cupboards, raised on scrolled toes, h. 86”, w. 67”, d. 20”. [700/1000] Illustrated 24 Provincial Louis XVI-Style Fruitwood Cabinet, mid-19th century, the rectangular top with turreted corners, above a conforming case fitted with two drawers over two paneled cupboard doors, raised on tapering circular legs, h. 45‑1/2”, w. 51”, d. 21‑1/2”. [400/700] Illustrated 25 Pair of Provincial-Style Polychromed Maple Sidechairs, each painted with floral and foliate decor, with rush seats and turned legs, h. 42”. [600/900] Illustrated 26 British School (19th Century), “Cows and Sheep at Rest”, oil on canvas, unsigned, 18” x 24”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated

27 Unusual Pair of Cast Metal Charging Bulls, second quarter 20th century, probably Continental, h. 18”, w. 28‑1/2”, d. 9”. [400/700] Illustrated 28 American School (19th/20th Century), “Hog in a Field”, watercolor on paper, monogrammed and dated lower left, 17‑1/8” x 13”. Glazed and framed. Provenance: The Flatt Collection. [300/500] Illustrated 29 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”. [300/500] Illustrated

30 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”. [400/700] 31 French Provincial-Style Carved Walnut Salt Box, 20th century, of traditional form, with a panel over the drawer carved with a wreath of hearts pierced with arrows, the back of tombstone form, h. 16‑1/4”, w. 7‑1/4”, d. 5”. [400/700]

33 32 one of four

32 Vittorio Splendore (Italian, Contemporary), “Les Champignons”, suite of four decorative oil paintings on canvas, signed lower right, each 24” x 18”. Unframed. [400/700] Illustrated 33 Continental Oak Refectory Table, the thick rectangular top raised on shaped end supports centered by a stylized shell and joined by a shaped stretcher, ending in molded bases, h. 30‑1/2”, w. 42”, l. 108”. [1000/1500] Illustrated 34 Pair of Continental Mahogany Jardinieres, early 20th century, each of hexagonal form and with a conforming metal liner, each side paneled and centered by a carved plaque, raised on cabriole legs ending in upturned toes, h. 17”, dia. 17‑1/2”. [700/1000] Illustrated

35 Two Continental Provincial Wood Carvings, 19th century, one depicting Salvator Mundi (Savior of the World), as a child, dressed in a skirt and sitting upon rocks, holding an orb, h. 20”, w. 6‑1/2”, d. 6‑1/2”, and the other a seated hen, h. 8‑1/4”, w. 8‑1/2”, d. 11‑1/2”. [300/500] 36 British School (19th Century), “Chickens Grazing in a Field”, oil on board, signed “C. L. Rhodes” and dated “1811” lower right, 8‑1/4” x 10”. Framed. [500/800] Illustrated

37 Provincial Louis XV-Style Fruitwood Duchesse Brisee, the chair with a molded crest rail, stile and apron, the ottoman with like molding, both on cabriole legs, the chair with loose seat and back cushions, chair, h. 36”, ottoman, h. 17‑1/2”, w. 33‑1/2”, d. 20‑1/2”. [600/900] Illustrated

38 French Provincial Fruitwood Armoire, early 19th century, the rounded molded cornice above a paneled and floral-carved frieze, over a case fitted with two long doors, each inset with two shaped panels within carved borders, raised above a scalloped apron on pointed toes, h. 87‑1/2”, w. 57”, d. 24”. [1000/1500] Illustrated 39 Unusual Continental Mirror, fourth quarter 19th century, decorated with silver gilt gadrooning and ivory paint, trimmed with silver-gilt beading, h. 41”, w. 33‑1/4”. [300/500] Illustrated

40 French Provincial Oak Side Table, late 18th/early 19th century, the rectangular top with a molded edge and rounded corners, above a frame with scalloped aprons and two sides fitted with drawers, raised on shapely cabriole legs, h. 30”, w. 34‑1/2”, d. 32‑1/2”. [600/900] Illustrated 41 Dutch School (Fourth Quarter 19th/First Quarter 20th Century), “The Knitter”, oil on canvas, signed S. F. Wouter” lower right, 26” x 18‑3/4”. Framed. [700/1000] Illustrated

42 Jozef Israels (Dutch, 1824‑1911), “Old Woman Reading”, watercolor on paper, signed lower left, sight 13‑1/4” x 10‑1/4”. Matted, glazed and framed. [500/800] Illustrated 43 Eduardo Pascual Monturiol (Spanish, 1882‑1933), “Wash Day”, 1909, pastel on paper, signed and dated lower right, sight 18” x 14‑3/4”. Glazed, matted and framed. [900/1200] Illustrated

44 Enrico Henri Coleman (Italian, 1846‑1911), “Buttero E Suoi Cavalli della Maremma Toscana”, watercolor on paper, signed lower right, sight 18” x 30”. Glazed, matted and framed. [2000/4000] Illustrated

45 Suite of Four Jacobean-Style Walnut Chairs, 18th/19th century, with turned legs and stretchers, with mortise and peg construction throughout, the back with later alterations from square to arched tops, h. 44”. [400/700] Illustrated

46 Unusual English Oak Settee, partially composed of antique elements, the back with a shaped crest over five banded panels, joined by out-scrolled leatherupholstered arms to the cushioned seat, raised on cabriole legs ending in pad feet, h. 42”, w. 81”, d. 26”. [500/800] Illustrated

47 Associated Pair of Chinese Ginger Jars with Covers, 20th century, the whiteglazed jars of tapering baluster form, with a domed cover centered by a metal ring handle, neck and base, unglazed, the tallest, h. 12”, dia. 8”. [300/500] Illustrated 48 Pair of Chinese Blue and White Ginger Jars with Covers, 20th century, each of squat, baluster form, with shallow, circular covers, the bodies decorated with three figures being approached by Shoulao in a garden terrace setting, the cover centered by a floral motif, unmarked, h. 9”, dia. 8‑1/2”. [300/500] Illustrated 49 Group of Three Chinese Blue and White Items, 20th century, comprised of a large charger with a pinched rim, decorated with a border of alternating floral and scholarly motifs, the center with a group of auspicious objects, the reverse with an apocryphal six-character Kangxi mark and three ruyi bats, dia. 18”, together with a basin with flared sides, the exterior with distinctive orange glaze, the interior base decorated with ducks and lilies, dia. 6‑1/2”, and a bowl decorated with a dragon chasing the flaming pearl, the base unglazed, dia. 16”. [300/500] Illustrated

50 Suite of Eight English Ash Dining Chairs, early 19th century, consisting of two armchairs and six sidechairs, each with a spindled back above a wooden seat, raised on circular legs joined by stretchers and ending in tapering feet, h. 42”. [500/800] Illustrated

51 George III Mahogany Tea Table, late 18th century, the oval top with a full spindled gallery, raised on a turned baluster-form standard to three splayed legs ending in pad feet, h. 26”, w. 27”, d. 20‑3/4”. [400/700] Illustrated 52 C. Weston (British, 19th Century), “A Welcome Drink”, oil on canvas, signed lower right, 32” x 40”. Framed. [500/800] Illustrated 52

53 Dutch Baroque-Style Brass Fifteen-Light Chandelier, second/third quarter 20th century, the baluster-form stem with a large ball finial and issuing two tiers of scrolled arms, h. 23”, dia. 32”. [300/500] Illustrated 54 George III-Style Mahogany Gainsborough Chair of Diminutive Proportions, early 20th century, the domed and padded back joined by downswept arms to the padded seat, raised on chamfered legs joined by an H-form stretcher, upholstered in needlework depicting “The Hunt of the Unicorn”, h. 39”. [300/500] Illustrated

55 Queen Anne Oak Lowboy, 18th century, the rectangular top above a case fitted with a central drawer flanked to either side by a short deep drawer, all banded, raised on cabriole legs ending in pad feet, h. 30”, w. 34”, d. 20”. [500/800] Illustrated 56 Near Suite of Eight Queen Anne-Style Mahogany Sidechairs, each with a slightly concave crest above a vasiform splat, the padded seat raised on cabriole legs ending in pad feet, the suite with two sets of four identical chairs, with slight variations of the splat and height between the sets, h. 40” to 42”. [500/800] Illustrated

57 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] Illustrated

58 Queen Anne-Style Mahogany Side Table, the rectangular top with a molded edge, above a case fitted with a single frieze drawer, raised on cabriole legs ending in pad feet, h. 28”, w. 33‑1/2”, d. 19‑1/4”. [500/800] Illustrated 59 Suite of Four Queen Anne-Style Burlwood Dining Chairs, comprised of two armchairs and two sidechairs, each with a domed crest above a baluster-form splat, the padded seat raised on cabriole legs ending in pad feet, h. 42”. [400/700] Illustrated 60 British School (First Quarter 19th Century), “Portrait of Dorothy, Lady Knatchbull, nee Honywood”, oil on canvas, unsigned, likely after a painting by Cornelius Johnson (Cornelis Janssens van Ceulen, Dutch/British, 1593‑1661, active England 1618‑1643), expository inscription along upper edge revealing sitter’s name and lineage, 30” x 24‑3/4”. Framed. [700/1000] Illustrated

The sitter of this painting was born in 1611 to Sir Robert Honywood and Alice Barnham (erroneously transcribed as Bunham on the inscription). She was married firstly to Sir Edward Steward of Essex and secondly to Sir Norton Knatchbull, 1st Baronet of Marsham Hatch, Kent. A portrait of her sister Judith, Lady Pelham was completed in 1635 by Cornelius Johnson, then the official painter of the Court of Charles I. That portrait is very similar in size, composition and the placement and wording of the inscription to the work presented here, suggesting that this painting of Lady Knatchbull is possibly a copy of an earlier work (now location unknown) by Johnson. References: Finberg, A. J., A Chronological List of Portraits by Cornelius Johnson or Jonson. The Tenth Volume of the Walpole Society 1921‑1922. Oxford: Frederick Hall at the University Press, 1922. pp. 1‑37.

61 George II-Style Mahogany Stool, early 20th century, the padded rectangular top above a shell-carved frieze, raised on cabriole legs headed by bellflower carving and ending in hairy hoof feet, upholstered in rose silk damask, h. 20‑1/2”, w. 24”, d. 18‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700]

62 Queen Anne Walnut Lowboy, 18th century, the rounded rectangular top with an inset leather surface, above a case fitted with a single long drawer over a central arched opening flanked to either side by a short drawer, all banded, raised on cabriole legs ending in pad feet, h. 28”, w. 30‑1/2”, d. 20”. [300/500] Illustrated 63 Pair of Chinese Powder Blue Vases, 20th century, now mounted as lamps, each in the Kangxi style, with balusterform bodies and mounted dome-form covers with giltmetal rims, the exterior decorated with panels of figures on terraces and in gardens, and floral and rockwork motifs, each mounted with a gilt-metal two-light fixture, overall, h. 35‑1/2”, [400/700] Illustrated

64 Queen Anne-Style Walnut Secretary, the domed and molded cornice above two doors, each inset with a beveled glass panel, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes, over three long bowed drawers, raised on bracket feet, h. 88‑1/2”, w. 38”, d. 21”. [500/800] Illustrated

65 American Queen Anne Walnut Dressing Table, second quarter 18th century, New England, the lowboy with a band of three drawers, the central drawer fan-carved, raised on cabriole legs on pad feet, h. 30‑1/2”, w. 38”, d. 22”. [400/700] Illustrated 66 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. [300/500] Illustrated

67 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”. [300/500] Illustrated 68 British School (19th Century), “Portrait of a Woman in Pink Silk”, oil on canvas, unsigned, 30” x 25”. Framed. [600/900] Illustrated

69 British School (Fourth Quarter 18th Century), “Portrait of a Lady in a Blue Silk Gown”, oil on canvas, unsigned, old handwritten label en verso, 29‑3/4” x 24‑7/8”. Framed. [800/1200] Illustrated 70 Suite of Four Queen Anne-Style Walnut Sidechairs, each with a back-curved and foliatecarved crest above a shaped splat, the padded saddle seat raised on cabriole legs headed by foliate shell carving and ending in hairy paw feet, h. 40”. [300/500] Illustrated 71 Henry Brittan Willis (British, 1810‑1884), “Woodcocks”, 1874, oil on canvas, faintly signed and dated lower right, 12” x 20”. Framed. [800/1200] Illustrated

72 British School (Fourth Quarter 19th Century), “River Landscape with Figure and Cows”, oil on wood panel, unsigned, 10‑1/2” x 15‑1/4”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

73 one of two

73 British School (20th Century), “The Hunting Dogs”, pair of oils on board, each 10” x 14”. Framed alike. [600/900] Illustrated

73 two of two

74 Anton Karssen (Dutch, b. 1945), “The New Pet”, oil on board, signed lower left, 10‑5/8” x 8‑3/4”. Framed. [800/1200] Illustrated 75 Continental School (19th Century), “Dogs Frolicking in the Stable Yard”, oil on wood panel, signed illegibly lower right. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

76 American School (20th Century), “Pointers in an Autumn Landscape”, oil on canvas board, signed lower left, 23‑3/4” x 29‑3/4”. Framed. [600/900] Illustrated 77 Two British Paintings of Dogs, one oil on wood panel, signed “D. Gilpin” and dated 1924, 9” x 7”, the other oil on canvas, signed “EM Nelson” and dated 1926, with an “Aldridge Bros/ Worthing” label en verso, 8‑3/8” x 10‑1/4”. Both in giltwood frames. [800/1200] Illustrated

78 American School (20th Century), “Horse in the Stable”, oil on canvas, signed “Haaz N.Y. 15” lower right, 10” x 8”. Framed. [400/700] Illustrated 79 Kamillo Kolosvary (Hungarian, 1936‑2008), “Wild Horses”, 1973, oil on canvas, signed and dated lower right, 24” x 36”. Framed. [700/1000] Illustrated

77 one of two

80 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”. [500/800] Illustrated

83 Six-Piece Collection of Rose Canton and Rose Medallion Porcelain, second half 19th century, including a cylindrical vase, h. 9‑1/4”, dia. 3‑1/2”, a short jug, h. 4‑1/4”, two punch bowls, h. 3”, dia. 8”, and h. 4‑1/4”, dia. 10‑1/4”, a reticulated plate, dia. 8‑1/2”, and a plate with a Mandarin scene, dia. 8”. [300/500] Illustrated

81 Chinese Export Porcelain Baluster-Form Vase in the Famille Verte 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”. [300/500]

84 Twenty-Eight-Piece Collection of Chinese Export Rose Medallion Porcelain, primarily 20th century, including a soup tureen, h. 9”, w. 10‑1/2”, a nest of three platters, w. 8” to 14‑1/2”, a bronze-trimmed dish, h. 3‑1/4”, w. 15‑1/2”, a pair of candlesticks, h. 9‑1/2”, a pair of small bowls on stands, h. 5”, dia. 4‑1/4”, nine various small plates and dishes, dia. 5‑1/4” to 6‑3/4”, two cups, h. 2”, two plates, dia. 10” and 11‑1/2”, two covered jars, h. 2‑3/4” and 5”, a sugar bowl, h. 4”, dia. 4”, two spoons, l. 5‑1/2”, and a planter section, h. 2”, w. 7‑3/4”. [400/700] Illustrated

82 Three-Piece Collection of Chinese Export Porcelain Plates, first quarter 19th century, all trimmed in gilt and decorated with floral sprigs, mounted on a cloth-covered display board, w. 25”, d. 25”. [300/500]

88 Pair of George III Mahogany Sidechairs, 18th century, with pierced and carved back splats and crest rails, raised on Marlborough legs, h. 38”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [300/500]

85 George III-Style Mahogany Breakfront, early 20th century, the molded cornice above a case fitted with four astragalglazed doors, the lower section fitted with two paneled cupboard doors flanked to either side by two short deep drawers, raised on a plinth base, h. 82‑1/2”, w. 70‑1/2”, d. 19‑1/4”. [600/900] Illustrated

86 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 87 Suite of Six George III Mahogany Dining Chairs, late 18th century, comprised of one armchair and five sidechairs, each with a pierced and carved splat, leaf-carved crest rail and raised on Marlborough legs, h. 38”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [600/900] Illustrated

89 After Sir Joshua Reynolds (British, 1723‑1792), “The Calling of Samuel”, 19th century, oil on canvas, unsigned, 36” x 27‑1/2”. Framed. [500/800] Illustrated 90 George III-Style Faux Marbre and Polychrome Side Table, the rectangular top above a plain frieze and a pendant scrolling foliate apron, raised on cabriole legs headed by acanthine carving and ending in hairy paw feet, h. 33”, w. 38”, d. 23”. [500/800] Illustrated 91 Pair of Gilt Plaster Brackets in the Chippendale Taste, mid20th century, each pierced rocaille-work bracket decorated with flowers and a small pagoda, h. 13‑1/2”, w. 8‑1/2”, d. 6”. [300/500] Illustrated

92 Pair of Herend Porcelain “Chinese Bouquet” Covered Bean Pots, post-2012, Hungarian, decorated with sprigs and garlands of rust-colored flowers, gilt-trimmed and signed on the bottom, h. 7”, dia. 7‑1/2”. [400/700] Illustrated 92

93 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”. [400/700] Illustrated 94 Suite of Four George III-Style Carved Mahogany Sidechairs, early 20th century, with pierced and carved splats, slip seats, and raised on acanthine-carved cabriole legs ending in ball-and-claw feet, h. 39‑1/2”. [400/700] 95 George III Mahogany Slant Lid Desk, fourth quarter 18th century, the rectangular top above a slant front, opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and three graduated long drawers, raised on shaped bracket feet, h. 45”, w. 39‑1/4”, d. 21‑1/4”. [400/700] Illustrated

96 Collection of Seven Minton’s Blue “Indian Tree” Soup Plates, ca. 1891‑1912, decorated in the chinoiserie style, with both the blue printed and impressed marks, dia. 10”. [300/500] Illustrated

97 George III-Style Mahogany Settee, 19th century, the tripledomed back with floral crests and pierced splats, and joined to the padded seat by shaped arms, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 38‑1/2”, w. 74”, d. 22”. [1500/2500] Illustrated

98 George III-Style Walnut and Burl Elm Extension Dining Table, first quarter 20th century, the shaped rectangular top with a banded edge and burl veneer central ground, and raised on carved cabriole legs, lacking leaves, h. 30”, w. 45”, l. 71‑1/2”. [500/800] Illustrated 99 Adam-Style Mahogany and Faux Marbre Side Table, early 19th century, the rectangular faux marbre top with a bowed center section and canted corners, above a conforming frieze featuring a central polychrome patera flanked by bellflower garlands, raised on tapering square legs ending in spade feet, h. 29‑1/2”, w. 51‑1/2”, d. 21‑1/2”. Provenance: The Flatt Collection. [400/700]

101 one of two

100

102

100 George III Mahogany Bureau, fourth quarter 18th century, the rectangular top above a drop front, opening to an inset leather surface and a variety of drawers and cubbyholes flanking a central cupboard, over four graduated long drawers, raised on bracket feet, h. 40‑1/2”, w. 39‑1/4”, d. 20”. [300/500] Illustrated 101 Collection of Two George III Reverse Paintings on Glass, one depicting the HMS Marlborough, the other Admiral Nelson’s flagship Victory, the largest 15” x 19”. Both handsomely framed. Provenance: Christie’s, New York: 19 January 1999 sale, lot 350; The Flatt Collection. [500/800] Illustrated

102 Pair of American Copper Three-Light Architectural Lanterns, 20th century, of carriage lamp form, supported on painted and scrolled metal brackets, h. 58”, w. 17”, d. 17‑1/2”. [800/1200] Illustrated

103 George III Brass-Mounted Oak and Mahogany Tall Case Clock, late 18th century, the hood with a swan’sneck pediment, brass rosettes and string-inlaid details, the painted face with floral corners, h. 87”, w. 24”, d. 10”. [400/700] Illustrated 104 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”. [300/500] 105 English Victorian Burl Walnut Writing Slope, mid-19th century and later, with a brass inscription plaque on the top, the inside lined with a red leather writing surface, fitted with compartments and inkpots, on a custom base, h. 33‑1/2”, w. 16”, d. 20‑1/2”. [400/700] Illustrated

105

106

106 Stained Wood Model of a Spiral Staircase, with turned balusters, h. 22‑1/2”, dia. 13‑3/4”. [200/400] Illustrated 103

107 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] Illustrated 108 Georgian-Style Leather, Hide and Faux Grained Wood Office Chair, with open arms and a swivel and tilt mechanism, the leather seat and back with embossed law enforcement badges, h. 44‑1/4”. [300/500] 109 Suite of Seven British Engravings, after William Hogarth (British, 1697‑1764), including “Simon Lord Lovat”, “Credulity, Superstition and Fanaticism”, “The Bruiser, C. Churchill”, “Bambridge on Trial for Murder”, “The Politician”, “The Good Samaritan” and “The Invasion: England”, sight 19” x 23” to 20” x 16‑3/4”. All matted, glazed and attractively framed alike. [500/800] Illustrated

109 one of seven

110 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”. [200/400] Illustrated 111 Pair of Unusual French Crystal Three-Light Sconces, second quarter 20th century, on mirrored backplates trimmed with prisms, with twisted arms and glass bobeches hung with prisms, h. 8”, w. 18”, d. 12”. [400/700]

109 two of seven

107

110

112 Georgian-Style Polychrome Server, 20th century, the top with a dentil-carved edge above a straight apron, and raised on fluted tapering square legs, h. 36”, w. 72”, d. 22”. [500/800] Illustrated 113 Giltwood Mirror in the Adam Taste, the rectangular mirror with a lotus-leaf-carved surround, the central urn-form finial on a swag-carved table and set with a spray of flowers, swags and bowknots on each side, h. 58‑1/2”, dia. 28‑3/4”. [700/1000] Illustrated 114 George III-Style Mahogany Games Table, late 19th century, the banded demi-lune top with a central inlaid patera, the top hinged and opening to a gaming space, above a conforming frieze with Prince of Wales inlaid cartouches, raised on molded tapering square legs, h. 28‑1/2”, w. 34‑1/2”, closed d. 17‑1/4”. [1000/1500] Illustrated

113

115 Continental Walnut Tilt-Top Candle Stand, first quarter 19th century, the elongated octagonal top with canted corners and a banded edge, and mounted to a turned pedestal with three down-curved legs, h. 26‑1/2”, w. 21”, d. 19”. [400/700] Illustrated

114

112 115

117 116

116 Harold Lawes (British, 1865‑1940), “Barnham, West Sussex”, watercolor on paper, signed lower left, sight 10‑1/2” x 15‑1/2”. Glazed and framed. [300/500] Illustrated 117 Tom Lloyd (British, 1849‑1910), “Teatime with the Cats”, 1904, watercolor, signed and dated lower right, 12” x 28”. Glazed, matted and framed. [700/1000] Illustrated 118 Myles Birket Foster (British, 1825‑1899), “Child and Sheep by the Brook”, watercolor on paper, monogrammed lower left, sight 4‑7/8” x 7‑3/8”. Glazed, matted and framed. [700/1000] Illustrated 119 Frederick T. W. Cook (British, 1907‑1982), “Port Scenes”, pair of watercolors and ink on paper, each signed lower right, each 10” x 13‑1/4”. Matted, glazed and framed. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated

119 one of two

118

119 two of two

120

122

120 Oliver Clare (British, 1853‑1927), “Still Life of Stone Fruits and a Strawberry”, oil on canvas, signed and illegibly dated lower right, 9‑1/8” x 6‑1/8”. Framed. Provenance: Chosen by interior designer Sister Parish of Parish-Hadley, New York, New York, for a South Hampton estate. [800/1200] Illustrated 121 British School (First Quarter 20th Century), “The Breakers”, 1918, watercolor on paper, initialed and dated lower right, sight 7” x 5”. Matted, glazed and framed. [700/1000] Illustrated 122 Edmund John Niemann (British, 1813‑1876), “Yorkshire Landscape with Richmond Castle in the Distance”, oil on canvas, signed lower right, 30” x 50”. Presented in an antique gesso and giltwood frame. [800/1200] Illustrated

121

123

123 Henry Gastineau (British, 1791‑1876), “Roman Street Scene”, oil on beveled wood panel, signed, localized, and dated “18...” lower left, 19‑3/4” x 14‑3/8”. Framed. [500/800] Illustrated 124 Attributed to Henry Morley (British/Scottish, 1869‑1937), “Scottish Mountain View”, oil on canvas, unsigned, old label en verso attributing painting to Morley, 20” x 25”. Framed. [500/800] Illustrated

124

125

127

126

128

125 Henry Ward Ranger (American, 1858‑1916), “Farmstead”, oil on board, signed lower left and stamped “N.A.D. Ranger” (National Academy of Design, Ranger Fund), 12” x 16”. Framed. [700/1000] Illustrated 126 British School (Late 19th Century), “River Valley Scene with Ruins in Background”, oil on canvas, unsigned, 15” x 20”. Framed. [500/800] Illustrated

127 British School (First Quarter 20th Century), “City in a Wooded Landscape”, oil on canvas, unsigned, 20” x 25”. Framed. [400/700] Illustrated 128 George Oyston (English, 1861‑1937), “Grazing Sheep at Sunrise”, 1908, watercolor on paper, signed and dated lower right, sight 13‑1/2” x 20‑1/2”. Framed. [200/400] Illustrated

129 G. Willis Price (British, 20th Century), “Chequers, Luncheon House”, oil on canvas, signed lower right, verso with “W. H. Batchellor, Ltd., Horley...” label, 20” x 34”. Framed. [500/800] Illustrated 130 British School (Third Quarter 19th Century), “Coastal Landscape with Fisherfolk on the Beach” and “Coastal Landscape with a Fisherman and His Wife”, pair of oils on oval canvases, both unsigned, each 22” x 27”. Both framed alike. [700/1000] Illustrated

129

131 British School (Third Quarter 19th Century), “Fishing at Sunrise”, oil on board, unsigned, verso with “Russell Hartley Fine Paintings, San Francisco, California” label, 22‑1/2” x 38‑1/2”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated

132

130 one of two

133

132 Two Georgian Sterling Silver Sideboard Plates, both hallmarked London, one 1783‑1784 by (probably) William Pitts, the other 1811‑1812 by Richard Cook, each of circular form with wavy rim, decorated with a flowering fruit-plant in the center and banding the rim, dia. 9‑1/4”, 23.94 total t. oz. [400/700] Illustrated

131

133 Late George III Sterling Silver Inkstand, hallmarked Sheffield, 1808‑1809, by Nathaniel Smith & Co., of rounded rectangular form, with gadrooned band, coquille feet and squared handles, fitted with a pair of pen trays and three receptacles for cylindrical molded gadrooned glass pounce pot and ink and water wells, with silver caps, the taperstand cap of later date (hallmarked London, 1835‑1836, by Charles Fox), the silver elements engraved with the crest of Wilson of Stowlangstoft Hall, Suffolk and monogrammed “KM”, overall, h. 5‑3/4”, l. 8‑1/2”, w. 6‑3/4”, 28.31 t. oz (excluding glass wells). [700/1000] Illustrated

134 William IV Old Sheffield Plate Condiment Frame, second quarter 19th century, of rounded triangular shape with floral gadrooning, ring handle and scroll-mantled lion’s paw feet, fitted with three later red-threaded flame molded glass condiment jars with silverplate caps and spoons, h. 9‑1/4”, w. 9‑1/2”. [300/500] Illustrated 135 William IV Old Sheffield Plate Fruit Stand, second quarter 19th century, with four laurel-crested, lion’s paw-footed flat column legs joined to a stretcher and receptacle, fitted with a later frosted and fan-cut glass fruit bowl, h. 9‑3/4”, dia. 9”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [300/500] Illustrated

136

134

136 Large Victorian Elkington & Co. Silverplate Candelabrum, 1865, Birmingham, with lobed, waisted standard between foliate calyces and surmounted by a vasiform foliate nozzle fitted with a central foliate standard surrounded by five scrolling arms en suite, the central nozzle fitted with a flammiform finial, the outer arms each terminating in a foliate drip-pan and nozzle en suite, each fitted with a detachable bobeche, the whole raised above a serpentine-lobed base with broad leaf decoration, engraved on the base with a conjoined monogram “WAS” surmounted by an earl’s crown, h. 25‑1/2”, dia. 15”. [400/700] Illustrated

135

138

137

137 Victorian Silverplate Centerpiece and Plateau, fourth quarter 19th century, the centerpiece by James Deakin & Sons, Sheffield, the triangular base crested by three hippocampi surrounding a paneled standard surmounted by a glass fruit stand and trumpet vase, both engraved with grapevines, h. 22‑1/2”, dia. 9”, the unmarked plateau circular with openwork acanthus scroll feet and fitted with a beveled mirrored plate, dia. 14‑1/2”. [500/800] Illustrated 138 Two English Sterling Silver Cream Jugs, one hallmarked London, 1869‑1870, by John Tucker, ovoid with beaded edges, h. 3‑5/8”, the other hallmarked London, 1913‑1914, by D. & J. Welby, ovoid with Georgian-style repousse decoration, h. 4‑3/4”, 8.85 total t. oz. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [300/500] Illustrated 139 Five Pieces of Victorian Silverplate, mid-19th century, including a fine 1860 Elkington tureen with engraved rococo scroll and applied rope-twist banding, engraved with the badge of Cameron, l. 16”, an 1854 Elkington wine funnel engraved with the badge of Oxford, l. 6”, a pair of Martin & Hall sauceboats of batteau form with rococo decoration and engraved armorial, l. 9”, and a Cresswick & Co. covered vegetable dish with turned wood handle and a detachable divider insert, dia. 12‑1/2”. [300/500] Illustrated

137 detail

139

140

143

140 Pair of Victorian Silverplate Candelabra, fourth quarter 19th century, by James Pinder & Co., Sheffield, in the neoclassical taste, the central columnar standard with four scrolling arms, decorated with ram’s masques and acanthus and laurel swags, with detachable bobeches, h. 16‑1/4”, w. 11‑1/2”. [400/700] Illustrated

141 partial

141 Assortment of Victorian and Later Silverplate Tableware, fourth quarter 19th century to mid-20th century, including a Victorian Richard Hodd & Son tureen with reeded handles and finial, h. 11‑1/4”, l. 15‑1/4”, a Victorian William Hutton & Sons circular vegetable dish with beaded rim, dia. 8‑1/4”, an Edward Garrard & Co. faux ivoryhandled fish set (twelve knives, l. 8‑1/4”, and eleven forks, l. 6‑3/4”, an Edwardian gilt and green-stained faux ivoryhandled dessert set (twelve knives, l. 6‑3/4”, and twelve forks, l. 6‑1/4”, and three later batteau-form sauceboats, l. 6‑1/4” to 8‑1/4” (28 total pieces). [300/500] Illustrated 142 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”. [200/400] Illustrated 143 Two Victorian Silverplate Bottle Frames, fourth quarter 19th century, including a trefoil spirits frame with toupie finials and beaded decoration, fitted with three cut glass bottles and later bottle tickets, overall, h. 16”, w. 8”, and a Hukin and Heath condiment frame with ram’s masque feet and leaf-and-dart banding, fitted with six cut glass bottles with silver caps or glass stoppers, overall, h. 11‑1/2”, l. 9”. [400/700] Illustrated

142

144 Unusual Early Victorian Sterling Silver Inkstand, hallmarked London, 1845‑1846, by Joseph Angell & Son, of Orientalist inspiration, rectangular with shaped “padoga” sides and Mandarin masque-crested feet, with tapering octagonal ink and water wells centered by a figural taperstand of a knight, h. 7”, l. 10‑1/2”, d. 7‑1/2”, 30.50 t. oz. [400/700] Illustrated

144

148

145 Victorian Silverplate Tray, fourth quarter 19th century, in the Orientalist taste, oval, decorated with flat-stamped triangular arabesques, with beaded handles and bead-and-bobbin rim, 29” x 18‑3/4”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [300/500] Illustrated

145

146 Victorian Silverplate Egg Stand, fourth quarter 19th century, by Charles James Allen, Sheffield, oval with reticulated scrolling sides and lion’s paw feet, l. 8”, fitted with four fluted egg cups, dia. 1‑3/4”, and four later spoons, l. 4‑1/2”. [300/500] Illustrated 147 Pair of Victorian Silverplate and Davenport Porcelain Imari Condiment Stands, fourth quarter 19th century, Goldsmiths and Silversmiths Co., Ltd., London, each stand of tube and sphere construction with central ring handle and fitted with a silverplatemounted porcelain mustard pot, pepperette and salt cellar, all in Davenport’s Imari pattern number 2614, 1870‑1886, complete with associated silverplate mustard and salt spoons, h. 4‑3/4”, l. 4‑1/2”, w. 4”. [200/400] 148 Two English Silverplate Tea Trays, including a handsome Victorian “Aesthetic” example by C. E. Nixon, fourth quarter 19th century, canted rectangular with reed and fan banding and Japonaise bands, 28” x 17‑3/4”, and a contemporary I. Freeman example, oval with reticulated wavy galleried rim, 24” x 18”, no monograms. [300/500] Illustrated

146

150 151

149 Victorian Silverplate “Aesthetic” Tray, fourth quarter 19th century, by George Bowen & Sons, Birmingham, of rectangular form, the plateau engraved with a central floral band within a broad foliatescroll, palmette and fan band, with a tubular gallery with shaped handles and sides and spherical connectors, raised on six flattened spherical feet, h. 3‑1/2”, w. 14‑5/8”, l. 20‑3/4”. [400/700] 150 Edwardian Silverplate Meat Dome, first quarter 20th century, Sheffield, by Atkin Brothers, of plain oval form with ring finial, h. 11‑1/4”, l. 19”, w. 14”. [300/500] Illustrated 151 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”. [200/400] Illustrated 152 Fine Victorian Elkington Silverplate and Mother-of-Pearl Cased Fish Set, 1857‑1858, Birmingham, comprising twelve fish forks, l. 7‑1/2”, and twelve fish knives, l. 8‑3/4”, each with a pointed mother-of-pearl handle carved in a diaper pattern, the scimitarshaped silverplate blades engraved with elaborate scrolls centering a lakeside scene of a fishing heron, the four-pronged forks scrollengraved en suite, presented in the original burl walnut case with rounded front opening to reveal the ruched bright blue satin interior and four dark blue velvet-lined fitted tiers, overall, h. 4‑3/4”, l. 10‑3/4”, w. 8‑3/8”. [400/700] Illustrated 152

153 Good Victorian Silverplate Cased Fish Set, fourth quarter 19th century, by Austin & Dodson, Sheffield, including twelve each fish forks, l. 7‑3/4”, and knives, l. 8‑1/2”, with “pommel” handles and engraved with floral scrolls, presented in the original purple velvet and ruched satin-lined mahogany case, 2‑1/2” x 10‑1/2” x 15”. [300/500] Illustrated

153

153 detail

154 Three English and American Silverplate Trays, including an Ellis-Barker rectangular Rococo-style tea tray, 2‑3/4” x 18‑1/4”, an unmarked circular serving tray with gadrooned rim, dia. 17‑3/4”, w. 21‑3/4”, and an unmarked circular Rococo-style platter, dia. 18‑1/2”, no monograms. [300/500] 155 Edwardian Silverplate Game Bird Dome, first quarter 20th century, by Atkin Brothers, Sheffield, of lobed oval form with beaded rim and ring finial, h. 8”, l. 12”, w. 9‑1/2”. [400/700] 156 Cased Edwardian Twenty-Four-Piece Silverplate and Mother-of-Pearl Fruit Set, first quarter 20th century, by Mappin & Webb, London, comprising twelve three-tined forks, l. 5‑7/8”, and twelve fruit knives, l. 6‑3/4”, all with mother-of-pearl handles, presented in the original fitted and chamois-lined oak case with lift-out tray, 2‑1/2” x 12” x 8‑3/4”. Provenance: The Flatt Collection. [300/500]

158

157 Edwardian Fifty-One-Piece Mother-of-Pearl and Silverplate Dessert Set, first quarter 20th century, including a dozen each dessert forks, l. 7‑3/8”, pastry forks, l. 6‑3/4”, dessert knives, l. 8‑1/2”, and cheese knives, l. 5‑1/4”, with a strawberry fork, l. 7‑3/4”, and later but similar cake server, l. 8‑3/4”, and berry spoon, l. 8‑3/4”. [500/800] 158 English Silverplate Epergne and Plateau, first half 20th century, the epergne in the William IV taste with four laurel-crested, lion’s paw-footed flat column legs joined to a stretcher with four scrolling acanthus arms, fitted with one large and four smaller frosted and cut glass bowls, h. 11‑3/4”, w. 22‑3/4”, the plateau by Fenton Brothers, Sheffield, circular with wavy banding and fitted with a detachable beveled and reverse-cut mirrored plate, dia. 17”. [400/700] Illustrated 159 Good English Eight-Piece Sterling Silver Sorbet Service, hallmarked Sheffield, 1951‑1967, by Mappin & Webb, with eight footed sorbet cups with openwork imbricate decoration, crested handles and fitted with a frosted glass liner, h. 3‑1/4”, dia. 4‑1/2”, and eight sorbet spoons decorated en suite, l. 5”, 39.17 total t. oz. (weighable silver). [600/900] Illustrated

159

160 partial

160 One Hundred and Seven Pieces of English Sterling Silver and Silverplate Hanoverian-Style Tableware, most pieces third quarter 20th century, with seventeen sterling pieces including three serving spoons, a serving fork and a set of four trencher salts, and ninety silverplate pieces, comprising two partial dinner/dessert services by W. Hutton & Sons and the Worcester Silver Co. and other pieces, 35.12 total t. oz. (sterling pieces only). Detailed list of pieces available on request. [600/900] Illustrated 161 Asprey & Co. Sterling Silver Cocktail Shaker, hallmarked London, 1959‑1960, of traditional three-piece “bullet” form, h. 8‑1/4”, dia. 3‑3/4”, 12.46 t. oz. [300/500] Illustrated

161

162 Persian Bakhtiari Carpet, 4’ 5” x 6’ 6”. [300/500] 163 Semi-Antique Bokhara Carpet, 10’ 8” x 15’ 4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [600/900] Illustrated 164 Kilim Carpet, 6’ 6” x 10’ 4”. [400/700]

163

166

165 Tabriz Silk Carpet, 4’ x 6’ 8”. [300/500] Illustrated 166 Bidjar Carpet, 10’ 3” x 13’ 8”. [1000/1500] Illustrated 167 Semi-Antique Bidjar Carpet, 6’ 8” x 8’. [400/700]

165

168

170

168 Persian Mahal Carpet, 4’ 4” x 6’ 5”. [400/700] Illustrated 169 Semi-Antique Kuba Carpet, 4’ x 5’ 4”. [400/700] 170 Turkish Angora Oushak Carpet, 8’ x 9’ 11”. [800/1200] Illustrated 171 Agra Serapi Carpet, 11’ 9” x 15’. [1400/1800] Illustrated 172 Agra Serapi Runner, 2’ 6” x 24’. [600/900] Illustrated 173 Antique Mahal Carpet, 3’ 6” x 6’ 2”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [400/700] Illustrated 174 Semi-Antique Senna Carpet, 4’ 4” x 6’ 4”. [400/700] Illustrated 175 Mir Sarouk Runner, 2’ 10” x 13’ 2”. [400/700] 176 Semi-Antique Turkoman Carpet, 2’ 7” x 6’. [400/700] 177 Semi-Antique Persian Heriz Carpet, 8’ 9” x 12’ 1”. [1000/1500] Illustrated 171

174

173

172

177

181 Continental Carved Mahogany Adjustable Swivel Desk Chair, 20th century, the frame, arms and base with deep foliate relief carving, covered in tan leather upholstery, h. 42”. [300/500]

178 one of two

180

182 Continental Hand-Painted Wooden Six-Panel Screen, first quarter 20th century, depicting a verdant riverscape with birds, each panel 84” x 20”, overall length 120”. [700/1000] Illustrated 179

178 Marc Selva (American/Canadian, b. 1919), pair of oils on canvas including “Boulevard”, signed lower right, 21” x 24‑1/2”, and “Barques dans Port”, signed lower left, 20‑3/4” x 25”. Framed alike. Provenance: Galerie L’Arc-en-Ciel, Vence, France, 1976; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated 179 John Clymer (American/British, b. 1932), “Sailing Away”, oil on canvas, signed lower right, 24” x 30”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 180 American School (First Quarter 20th Century), “Mid-Western Airfield Show”, oil on academy board, unsigned, 17‑3/4” x 21‑3/4”. Presented in a period floral-carved and molded giltwood and gesso frame. [600/900] Illustrated

182

186

183

185

183 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”. [300/500] Illustrated 184 Pair of Bristol Glass Hand-Painted Vases, now mounted as lamps, fourth quarter 19th century, English, made of ivory satin glass hand-painted with birds and flowers, on later bases decorated to match, fitted with cream silk shades, h. 21”, dia .6‑1/4”. [300/500]

185 Large Chesterfield Sofa, 20th century, covered in faux alligator black leather upholstery with tufted details and fitted with two reversible ultra-suede cushions, h. 31”, w. 106”, d. 43”. [800/1200] Illustrated 186 Pair of Royal Doulton Lambeth Art Nouveau Stoneware Vases, ca. 1902‑1922, English, of baluster form, with a cobalt glaze and raised flowers, the interior with an amber mottled glaze, impressed with a “1902‑22” mark and “7115”, h. 10‑1/4”, dia. 5‑1/4”. [250/400] Illustrated

190 George III-Style Carved Oak Corner Chair, 19th century, the back crest with a carved face and floral details, with pierced and carved splats, raised on three square legs and a cabriole front leg ending in a ball-and-claw foot, h. 31”, w. 28”, d. 26”. [400/700] Illustrated

189

187 Pair of Black Forest-Type Carved Wooden Lamps, first quarter 20th century, probably German, on pyramidal bases, the standards carved with irises, and flute-carved tops, h. 27‑1/2”, w. 5”. [300/500] 188 Edwardian-Style Mahogany Settee, the double-chairback back with a turned crest rail above a fluted and patera-carved frieze and pierced splat, joined by molded arms to the padded seat, raised on tapering circular legs ending in toupie feet, h. 33”, w. 48”, d. 20”. [300/500]

191

191 Victorian Oak Corner Chair, mid-19th century, the shaped crest with a carved masque, above two splats, each pierced and with floral carving, joined by scrolling arms to the padded seat, the foliate apron raised on cabriole legs ending in balland-claw feet, h. 31”. [300/500] Illustrated 192 Group of Six Minton “Shah Japan” Plates, ca. 1890s and later, each painted in the Imari palette, centered with a peony design within an alternating floral spray and geometric pattern borders, the reverse with Minton factory marks, dia. 10‑1/2”. [400/700] Illustrated

190

189 George III-Style Walnut and Mahogany Side Table, late 19th century and later, the rectangular banded and quarterveneered top above a gadroon- and scroll-carved frieze, raised on cabriole legs headed by acanthine capitals and ending in scrolled toes, h. 32”, w. 54‑1/4”, d. 29‑3/4”. [1500/2500] Illustrated 192

195 Large English Gothic Revival Pine Bookcase, fourth quarter 19th century, the upper case with six tall glazed doors, the base with three side-by-side drawers above six blind doors, each with in-carved Gothic motifs, h. 115‑1/2”, w. 94‑1/2”, d. 21‑1/2”. [1500/2500] Illustrated 196 Petite Pickled Maple Window Bench in the Sheraton Taste, early 20th century, the six-legged base joined by turned stretchers, fitted with a removable padded cushion, h. 19‑1/2”, w. 36”, d. 12”. Provenance: Chosen by interior designer Sister Parish of Parish-Hadley, New York, New York, for a South Hampton estate. [500/800] 194

193 Minton and Boyle Ironstone Covered Vegetable Tureen, ca. 1836‑1841, English, in the “Oriental Garden” pattern, decorated with flowers and butterflies, with a cobalt artichoke-form knop and scrolled handles, marked on the bottom, h. 7”, w. 10‑1/2”, d. 8‑1/2”. [300/500] 194 Pair of Minton’s Ironstone Luncheon Plates, fourth quarter 19th century, English, decorated with flowers in the Imari palette, with Minton’s globe mark on the bottom, dia. 9”. [300/500] Illustrated

198

197 British Painted Terracotta Bust of a Young Boy, fourth quarter 19th century, after George Halse (British, 1826‑1895), signed “G. Halse sc.” at back, on a turned socle, h. 21‑1/2”, w. 11‑3/4”, d. 7”. [300/500] 198 Painted Plaster Figure of a Sleeping Child, in the manner of Francois Duquesnoy (Flemish, 1597‑1643), ca. 1939, the figure depicted sleeping and holding an apple, dated on the bottom, h. 10”, w. 22‑1/2”, d. 9”. [300/500] Illustrated 199 Pair of Chinoiserie-Style Porcelain and Brass Two-Light Sconces, mid-20th century, Continental, the large porcelain backplates decorated with flowers in the famille rose palette, the tops with a molded Buddha on a lotus blossom, mounted with brass candle arms, h. 18”, w. 11”, d. 6”. [500/800]

195

200 Set of Ten Framboise on Rose Hand-Painted Minton’s Dinner Plates, ca. 1878, English, decorated with neoclassical scenes of cupids on a pink ground, retailed by John Mortlock, with impressed and transfer-printed retailer and date marks, dia. 9‑1/4”. [300/500] Illustrated

204

200

204 Set of Twelve Handsome English Turquoise and Gilt Dinner Plates, mid-19th century, each with a turquoise border and gilt center medallion, marked on the back by the retailer, “Daniell & Co., 129 New Bond St., London”, dia. 10”. [300/500] Illustrated

203

201 Pair of English Porcelain Wall Pocket Vases, third quarter 19th century, in the form of Cerith shells festooned in pink ribbons, both bearing 1874 registry marks for Thomas Ford, h. 11‑3/4”, w. 3‑1/4”. [500/800] 202 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”. [600/900] Illustrated 203 Set of Seventeen Hand-Painted “Black Knight” Dinner Plates, ca. 1925‑1941, Hohenberg, Germany, decorated with oval panels of baskets of flowers on a black ground and swags of flowers on a cerulean ground, framed with richly decorated raised gilt with “Black Knight” marks, the backs with an export mark from the C. M. Hutschenreuther company, dia. 9‑1/2”. [300/500] Illustrated

202

206 Queen Anne-Style Mahogany and Petit Point Pole Screen, 19th century, the adjustable oval petit point panel featuring a dog within a simplistic mahogany frame and mounted to a turned standard with outstretched legs ending in padded slipper feet, h. 53”, w. 17”, d. 17”. [300/500] 207 Victorian Walnut Pole Screen, third quarter 19th century, in the Rococo Revival taste, the shield-form screen set with a needlepoint panel depicting a King Charles Cavalier Spaniel, h. 59‑1/2”, w. 17”. [400/700] Illustrated

205

205 Edwardian Satinwood Work Table, early 20th century, the oval lift-top with a watercolor and graphite sketch under glass, over a conforming line-strung and cross-banded apron, raised on tapering legs joined by turned stretchers, fitted with a pleated yarn bag, h. 30”, w. 19”, d. 13”. [300/500] Illustrated

208

209 one of three

208 Two Parian Dog Figures, including “Imposing on Good Nature”, after Daniel Chester (American, 1850‑1931), depicting a small dog playing with a large dog, with a brass patent tag for Clark, Plympton & Co., a Boston retailer, dated 1871 and inscribed “DC French” on the side, together with an elegant whippet on a plinth, marked “Copeland”, English, post-1847, h. 7”, w. 11”. [500/800] Illustrated 209 Collection of Three 20th-Century Framed Works, including a “Terrier”, oil on fabric, unsigned, sight 5” x 4‑7/8”; Diane Ayres (American, b. 20th Century), “Poodle at Rest”, watercolor, signed lower left, sight 22” x 30”; and “The Allies”, color print, after the painting by Maud Earl, London News, June 12, 1915, sight 15” x 19‑3/4”. Each glazed, matted and framed. [500/800] Illustrated 207

212 Vintage English Fencing Epee and Mask, the sword with blunted tip and rope-braided grip, the blade marked “Made in England”, l. 42”; the mask with mesh wire, fabric trim and neck padding, labeled “Leon Paul/London”, face, h. 10”, w. 6‑1/2”. Provenance: The Flatt Collection. [300/500] 213 Group of Six British Hand-Colored Engravings of Military Scenes, 19th century, including “The Recruit”, The Soldier’s Life #1; “The Bivouac”, The Soldier’s Life #3; “The Assault”, The Soldier’s Life #4; “The Return Home”, The Soldier’s Life #5; “The Halt” and “The Chelsea Pensioner” (London, published by William Spooner, 377 Strand, printed by W Kohler 22 Denmark), The Soldier’s Life #6; sight 12‑7/8” x 10”. All attractively glazed, matted and framed alike. Provenance: The Flatt Collection. [300/500] Illustrated

210

213 one of six

214 Edwardian Mahogany Lady’s Desk, late 19th century, the shaped crest above a superstructure fitted with three central drawers flanked to either side by a cabinet door opening to two slatted compartments over two small drawers, the top hinged and opening out to an inset leather surface, above a single long drawer, raised on tapering square legs ending in spade feet, h. 50”, w. 31”, d. 15‑1/4”; together with an Anglo-Colonial Rosewood Armchair, mid-19th century, with a ribbed crest over a pierced scrolling splat, the caned seat raised over a ribbed curule-form base, h. 34” (two total pieces). [400/700] Illustrated

213 two of six

210 Pair of Wrought Iron and Brass Porch or Entry Rails, 20th century, with twisted banisters, brass caps and brass urn-form finials, each, h. 34”, w. 20‑1/2”, d. 20”. [300/500] Illustrated 211 Set of Victorian Cast Iron Platform Scales, fourth quarter 19th century, probably English, marked “Standard Brand” on the balance arm, with a red and parcel-gilt base, retaining a full set of weights, h. 10‑1/4”, w. 15”, d. 8‑3/4”. [500/800]

214

216 Edwardian Mahogany Occasional Table/Bookcase, early 20th century, the rounded rectangular top with raised corners, above a case with open shelved and slatted ends and a central tall cupboard, raised on chamfered legs to casters, h. 29”, w. 27‑1/4”, d. 18”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

215

217

215 Collection of Five Table Boxes, 19th/20th century, including a French bronze-mounted onyx box, w. 4‑3/4”, d. 4‑3/4”, an Asian jewel box with pierced jade panels, w. 10”, d. 4”, a stamped gilt-metal jewel box with a beveled glass cover, w. 6”, d. 4‑1/4”, a rosewood cigar box, w. 8‑1/4”, d. 4‑3/4”, and a Wavecrest-type dresser box with a portrait of Madame du Barry, h. 3‑3/4”, dia. 6‑1/2”. [300/500] Illustrated

220 partial

217 Unusual Victorian Inlaid Walnut Jewelry Case, fourth quarter 19th century, composed of walnut, the lightwood inlay accented with penwork, the front and sides inlaid with dragons, bellflowers and scrollwork, the cover with a goat cart driven by Eros, framed with bowknots, the cover opening to reveal a beveled oval mirror and two jewelry compartments, hinged and lifting to reveal a lower compartment, all lined with pink tufted fabric, h. 5”, w. 11‑1/4”, d. 6‑3/4”. [400/700] Illustrated 218 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”. [500/800] 219 Cut and Frosted Glass and Brass Hall Lantern, second quarter 19th century, American or English, the frosted shade cut with tendrils around the lower portion, the scroll-molded nozzle set with a removable candle socket, the matching upper rim decorated with matching scrollwork and set with three hooks holding the chains from the upper smoke bell, h. 25”, dia. 8”. [300/500] 220 Extensive Cut Glass Partial Stemware Service, mid-20th century, probably Czech, in the American Brilliant style, the set comprised of twenty-eight champagne coups, h. 4‑3/4”, seventeen red wine goblets, h. 6‑3/4”, eighteen Rhone/white wine goblets, h. 3‑3/4”, fourteen sherry glasses, h. 3‑3/4”, fifteen water glasses, h. 5‑1/2”, and twelve Old Fashioned glasses, h. 3‑1/2”. [400/700] Illustrated

216

221

222

225

221 Cartier Cut Glass Brandy Set, 20th century, French, comprised of a decanter, h. 7”, and four snifters, h. 3‑1/4”, each signed “Cartier” in engraved script on the bottom, in its original leatherette presentation case. [300/500] Illustrated 222 Group of Five Crystal Decanters, 20th century, some French, including a decanter with molded vertical decoration and a cylindrical stopper, signed Baccarat, a teardrop form and a mallet-form decanter with neck rings, signed “Val St. Lambert”, a ribbed decanter marked “AC”, and a square decanter with molded decoration, h. 9‑1/2” to 12”, dia. 4” to 5”. [300/500] Illustrated 223 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”. [300/500] 224 Two Handsome Victorian Glass and Brass Stairway Finials, third quarter 19th century, the faceted crystal knobs on turned brass bezels, h. 6‑1/2”, dia. 3‑1/2” and 3‑3/4”. [500/800] 225 Attributed to Charles Zacharie Landelle (French, 1812‑1908), “Les Femmes Algeriennes”, oil on thick composition panel, signed lower right, 51‑1/2” x 38‑1/2”. Accompanied by a frame. [6000/9000] Illustrated

226

226 French School (Third Quarter 19th Century), “Portrait of George Sand (1804‑1876) in a Camicie Rosse (Garibaldi Jacket)”, oil on canvas laid down on paperboard, unsigned, 29‑3/8” x 23‑3/4”. Framed. [400/700] Illustrated

229 227

228

227 British School (19th Century), “Portrait of Lady Jane St. JohnMildmay”, 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. [500/800] Illustrated 228 British School (19th Century), “Gossip”, oil on canvas, unsigned, old handwritten label en verso, 18” x 22”. Framed. [600/900] Illustrated

230

229 British School (19th Century), “Maternal Devotion”, oil on canvas, unsigned, 10‑1/2” x 8”. Presented in a giltwood frame. [500/800] Illustrated 230 British School (Fourth Quarter 19th Century), “Portrait of a Scottish Woman with a Fur Stole”, oil on canvas, unsigned, 31” x 25”. Framed. [700/1000] Illustrated

231 Victorian Ebonized, Parcel-Gilt and Mother-of-Pearl-Inlaid TiltTop Table, third quarter 19th century, the scalloped top with gilt trim and a central urn with flowers executed in mother-of-pearl inlay, mounted to an ornate cast iron base, h. 27”, dia. 24”. [500/800] Illustrated 232 Pair of Victorian Enamel-Mounted Ebonized Ballroom Chairs, third quarter 19th century, each with a balloon back with turned splats, incised carving and mounted with white enameled bosses, h. 33”. Provenance: Chosen by interior designer Sister Parish of Parish-Hadley, New York, New York, for a South Hampton estate. [500/800] Illustrated

232

231

233 Suite of Three Lacquered Nesting Tables in the 19th-Century Chinese Taste, made by Baker Furniture, each depicting Asian scenes and with lyre-form legs joined by a curved stretcher, the largest, h. 27‑1/2”, w. 19‑1/2”, d. 12‑1/2”. [300/500] Illustrated 234 Victorian Ebonized and Parcel-Gilt Tilt-Top Table, third quarter 19th century, the circular top with painted flowers and a stenciled border, and mounted to a turned standard with stenciled gilt decor and three shaped outstretched legs, h. 28‑1/2”, dia. 25‑1/2”. [300/500] Illustrated

233

234

236

235

237

238

235 English Gilt-Bronze and Silverplate Five-Light Candelabrum, fourth quarter 19th century, decorated with incised anthemia, and figures on the base, Britannia, a unicorn, the globe, and a rampant lion, representing the dominance of the world’s oceans by England and Scotland, h. 22‑1/2”, dia. 19‑1/2”. [300/500] Illustrated 236 Two Continental KPM-Style Hand-Painted Porcelain Plaques, fourth quarter 19th century, each in a pierced Italian giltwood frame, the larger depicting a Madonna and child, after Bartolome Esteban Murillo (Spanish, 1618‑1682), marked “Firenze” on the back under a printed fleur-de-lis, h. 5‑1/2”, w. 5”, and the smaller depicting the “Sistine Madonna”, after Raphael Sanzio (Italian, 1483‑1520), h. 7”, w. 6”. [400/700] Illustrated

237 Two German KPM-Style Hand-Painted Porcelain Portrait Plaques, fourth quarter 19th century, in similar pierced Italian giltwood frames of the period, one plaque depicting Marie Antoinette in her feathered hat, after Vigee Le Brun (French, 1755‑1842), and the other depicting Raphael, a portrait after himself, Raphael Sanzio (Italian, 1483‑1520), h. 5‑1/2” and 6‑1/4”, w. 4‑1/4” and 5”. [400/700] Illustrated 238 Continental School (Ca. 1900), “The Blue-Eyed Baby”, pastel on paper partially laid on cardstock, initialed “AIC” lower left, 6‑3/4” x 5‑3/8”. Glazed and in a carved giltwood frame. Provenance: Chosen by Interior Designer Sister Parish of Parish-Hadley, New York, New York, for a South Hampton Estate. [600/900] Illustrated

239 242

241 240

239 Elizabethan Revival Burr Walnut Domed Tea Caddy, third quarter 19th century, English, decorated with strapwork, the interior with two lidded compartments, h. 5‑1/2”, w. 6‑3/4”, d. 4‑1/4”. [200/400] Illustrated 240 Bronze Two-Handled Urn, 20th century, in the Renaissance taste, mounted with angel-form handles, the body molded with angels alternating with cabochons, h. 24‑1/2”, w. 25”, d. 13‑1/2”. [300/500] Illustrated

241 French Bronze Card Receiver in the Form of a Renaissance-Style Sleigh, fourth quarter 19th century, decorated with a winged dragon figurehead, the shell-form sleigh with a cherub alighting on the rear, h. 7‑3/4”, w. 13”, d. 7”. [400/700] Illustrated 242 Baldwin Brass Ten-Light Chandelier of Dutch Inspiration, 20th century, American, the turned standard set with complex scrolled and pierced candle arms terminating in reeded drip pans, h. 27‑1/2”, dia. 39”. [400/700] Illustrated

243 French Woven Tapestry of a Royal Hunt, 20th century, machine made, 76” x 47‑1/2”. [500/800] Illustrated 244 Pair of Continental Weighty Bronze Lamps in the Baroque Taste, first quarter 20th century, on tripartite bases decorated with applied shields, the bold faceted standards composed of vasiform and spherical elements, h. 34”, w. 8”, d. 8”. [500/800] Illustrated 245 Pair of Iberian-Style Polychrome and Parcel-Gilt Fauteuils, late 19th century, each with a padded square back joined by acanthine-scrolled arms to the padded seat, raised on block and reeded legs joined by a front pierced stretcher and ending in runner feet on scrolled toes, h. 48”. [300/500] Illustrated

243

245

244

246

248

249 Blown and Polished Trumpet Vase, Attributed to Julius Muhlhaus, “Haida” Glass, first quarter 20th century, Austrian, the cranberry-flashed vase gilt-trimmed with Persian- or Iznik-inspired decoration, h. 9‑1/4”, dia. 6”. [400/700] Illustrated

247

246 Spanish School (Fourth Quarter 19th Century), “Still Life with Fruit, Dead Game and a Rifle, in an Exotic Garden”, oil on canvas, signed lower right “R. Brugada”, 16” x 20”. Framed. [500/800] Illustrated 247 Continental School (First Quarter 19th Century), “Nature Morte with Game Fowl and Vegetables”, pair of oils on canvas, unsigned, each 23” x 30”. Both framed alike. [1500/2500] Illustrated 248 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. [400/700] Illustrated 249

250

253

251

250 Seven-Piece Collection of Ruby Flashed Bohemian Cut and Engraved Glass, 19th/20th century, including a vase, h. 10‑1/2”, a decanter decorated with identified castles, h. 10‑1/2”, a covered urn, h. 10‑1/2”, a footed tumbler, h. 5‑1/2”, a wine glass, h. 4‑1/4”, a covered sugar bowl, h. 7‑1/2”, and a cream jug, h. 3‑1/2”. [500/800] Illustrated 251 Set of Ten Italian Hand-Blown Glass Champagne Flutes, mid-20th century, with cranberry trim and twisted stems, h. 7‑1/2”, dia. 2‑1/4”. [300/500] Illustrated 252 Two Pieces of Bohemian Art Glass, 19th century, comprising an open bowl, green overlaid with opaline panels, cut and decorated with flowers and a child’s portrait, h. 3‑1/4”, dia. 4”, and a cranberry scent bottle decorated with gilt and enamel “jewels”, retaining an original partial paper label, h. 6‑1/4”, dia. 2”. [300/500]

253 Three-Piece Collection of German Blown and Enameled Glassware, 20th century, with armorial decoration, including an ale glass, h. 14‑1/4”, and a pair of rummers, h. 6”. [300/500] Illustrated 254 Four Pieces of Continental Cut and Engraved Glass, 19th century, including a French cut glass ceremonial goblet, h. 10‑1/4”, a ceremonial goblet engraved “toujours fidele”, and engraved with hearts and lovebirds, h. 9‑1/2”, a German cut and engraved colorless glass stein decorated with roundels depicting German landmarks, h. 6‑3/4”, and a German cut and engraved glass presentation tumbler, h. 3‑1/2”. [500/800]

255

255 Gilt- and Patinated Bronze Altar Crucifix, first quarter 20th century, on scrolled feet, the cross framed with pierced scrollwork and supporting a patinated bronze Christ, and decorated with inset “jewels” and celluloid medallions with various scenes of Christ’s life, h. 25‑1/2”, w. 15”. [300/500] Illustrated 256 Continental Giltwood Looking Glass in the Baroque Taste, mid-19th century, of rectangular form, with a deeply molded and carved outer edge, h. 37”, w. 32”. [300/500] Illustrated

257

258 German Needlepoint of the Holy Family, 1885, wool threads on canvas, dated and inscribed in German along lower right edge, sight 45” x 34”. Glazed and framed. [500/800] Illustrated

257 Continental Needlepoint of “Pilgrimage End”, fourth quarter 19th century, 49” x 43”. Glazed and framed. [400/700] Illustrated

256

258

259 261 260

264

262

263

259 Spanish Colonial School (Fourth Quarter 18th/First Quarter 19th Century), “Madonna and Child”, oil on tin, unsigned, sight 8” x 6‑1/4”. Presented in an ornamented frame. [400/700] Illustrated 260 Spanish Colonial School (19th Century), “Virgin with Christ Child”, oil on tin, unsigned, 15‑1/2” x 11‑1/2”. Framed. [400/700] Illustrated 261 Spanish Colonial School (First Quarter 19th Century), “St. Michael the Archangel”, oil on tin, unsigned, sight 13‑1/2” x 9‑1/2”. Framed. [400/700] Illustrated

262 Cuzco School (Fourth Quarter 18th/First Quarter 19th Century), “Madonna and Child”, oil on canvas, 21‑7/8” x 16”. Presented in a conforming, arched, pierced and carved frame. [700/1000] Illustrated 263 French School (Ca. 1900), “The Young Saint”, oil on canvas, unsigned, 32” x 25‑1/2”. Unframed. [700/1000] Illustrated 264 Continental School (19th Century), “Nun by the Churchyard”, oil on tin, monogrammed lower right, 7‑1/2” x 10‑1/4”. Framed. [600/900] Illustrated

265 Italian School (19th Century), “Portrait of a Classical Maiden”, oil on wood panel, unsigned, 8‑1/2” x 7”. Framed. [600/900] Illustrated 266 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. [300/500] Illustrated 267 Theodore Gerard (French, 1829‑1895), “The King’s Guard”, oil on panel, signed lower right, 16” x 8‑1/4”. Framed. [800/1200] Illustrated 268 Belgian School (Fourth Quarter 18th/First Quarter 19th Century), “Portrait of a Gentleman”, oil on canvas, unsigned, inscribed “D’apres Bol” lower left, in the style of Ferdinand Bol (Dutch, 1616‑1680), stretcher stamped “De Nobele”, 15‑3/4” x 12”. Framed. [500/800] Illustrated

268

266 one of two

265 267

270

269

269 Continental School (20th Century), “Portrait of a Spanish Soldier”, oil on board, signed lower left, 29‑1/4” x 23‑1/4”. Framed. [500/800] Illustrated 270 French School (19th Century), “Portrait of a Musketeer”, oil on board, unsigned, 9‑1/4” x 7‑1/2”. Framed. [500/800] Illustrated 271 Follower of Pieter de Hooch (Dutch, 1629‑1688), “Interior Scene with an Elegant Couple and a Servant”, oil on canvas, late 19th/early 20th century, unsigned, 24‑3/8” x 21‑1/2”. Presented in a Dutch Baroque-style frame. [700/1000] Illustrated 272 Bohemian Glass Decanters in a Britannia Metal Holder, late 19th century, the pair of Bohemian cased glass decanters plated white-over-blue and decorated with cut panels and grapes, and set with matching stoppers, in a Britannia pierced metal holder with a pierced flower-molded handle, h. 14‑1/2”, w. 8”, d. 3‑1/2”. [300/500]

271

273 Meissen-Style Blue and White Porcelain Twelve-Light Chandelier, 19th century, with four arms over eight, the central shaft with peacocks and flowers, the lower bowl with scenic decoration and adorned with grapes, now electrified, h. 33”, dia. 32”. [900/1200] Illustrated 274 Dutch School (21st Century), “Approaching Storm”, decorative oil on panel, unsigned, 12” x 16”. Framed. [300/500] Illustrated 275 Dutch School (21st Century), “Coastal Views with Fishing Boats”, pair of decorative oils on panel, unsigned, 12” x 16”. Framed alike. [300/500] Illustrated

273

276 Tortoiseshell-Inlaid Cabinet on Stand, fourth quarter 17th century and later, Antwerp School, the facade decorated with ebonized and molded drawer fronts with tortoiseshell panels outlined in stringing, the sides and top veneered with fruitwood, and pierced brass mounts decorating the corners, the velvet-lined drawers fitted for jewels, on a later inlaid mahogany stand, h. 45‑1/4”, w. 23‑1/4”, d. 12‑1/2”. [1200/1800] Illustrated

274

275 one of two

276

278

277

277 French Woven Tapestry of a Royal Hunt, 20th century, machine made, 79” x 82”. [400/700] Illustrated 278 French Printed Tapestry of a Village Fete, 20th century, 56‑1/2” x 75‑1/2”. [500/800] Illustrated 279 Baroque Ebonized and Carved Armchair, constructed of antique elements, with scroll- and foliate-carved crest and open arms on guilloche-carved supports, the legs joined by H-form stretchers, now in needlepoint upholstery, h. 47”. [500/800] Illustrated

279

280 Twelve Eighteenth- and Early Nineteenth-Century Books, including Baron de Sparre Code Militaire (1707), Buchanan History of Scotland (1728), Vosgien Dictionnaire Geographique (1749), four volumes of the Napoleonic Code Imperial (1810‑1811), and five others. Detailed list available on request. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [300/500] Illustrated

280

283

284

281

281 Spanish-Style Wrought Iron-Mounted Stained Maple Guardroom Table, 20th century, with a deep apron with applied block-and-carved panels, and splayed legs joined by an iron stretcher, h. 30”, w. 63”, d. 29”. [500/800] Illustrated

283 Antique Carved Fruitwood Milliner’s Head, probably German or English, with incised features, mounted on a metal pole on a bronze base, head, h. 9”, w. 5‑1/2”, d. 7”, overall, h. 24‑1/2”. Provenance: The Flatt Collection. [300/500] Illustrated

282 Antique Pine Marionette Lay Figure, of block form with nail and eye hook joints, lead soles and carved facial features, h. 20”, w. 5‑3/4”; together with a wooden ladder, h. 20”, w. 3‑3/4”. Provenance: The Flatt Collection. [200/400]

284 Antique Continental Carved Pine Artist’s Lay Figure, with rope articulated arms and torso, and remnants of a handpainted face, h. 15”, w. 3”. Provenance: The Flatt Collection. [300/500] Illustrated

285

285 Continental School (18th Century), “Italianate Landscape with Amorous Figures”, oil on canvas laid on board, 33‑3/4” x 52‑1/2”. Framed. [700/1000] Illustrated 286 Pair of Continental Patinated Metal Two-Light Sconces, first quarter 20th century, in the Baronial style, the backplates of fleur-de-lis form, pierced and hammered with molded leaves, and set with curved candle arms molded with vines, electrified, h. 17‑1/2”, w. 12”, d. 7‑1/4”. [400/700] Illustrated

286

287 Baroque Carved Walnut Casket, ca. 1700, on paw feet, the ogee sides carved with sprays of leaves on a stippled ground, the cover supported on cotter pin hinges, carved with a panel of carved scrollwork and flowers, bordered with acanthus leaves, the interior now lined with damask, formerly fitted with a till, h. 8‑1/4”, w. 17‑1/4”, d. 12‑3/4”. [300/500] 288 French Woven Tapestry of The Pressing of the Grapes, 20th century, machine made, 48” x 41”. [400/700] Illustrated 289 French Woven Tapestry of a Royal Procession, 20th century, machine made, backed in cream fabric, 58” x 60”. [400/700] Illustrated

288

289

290 Sixteen Decorative Illustrations in the Medieval Illuminated Manuscript Style, 19th/20th century, ink, watercolor and artist’s marker on paper, of various scenes, sheet size from 10” x 8‑1/2” to 12” x 10”. All matted, glazed and framed. [800/1200] Illustrated

291 Pair of Medieval-Style Carved Oak Brackets, fourth quarter 19th century, English, in the manner of classically scrolled brackets with the addition of angel heads, and scrolled bases, the shelf edges gadrooned and leafcarved, h. 18‑1/4”, w. 9‑1/2”, d. 8”. [300/500]

290 one of sixteen

290 two of sixteen

290 three of sixteen

290 four of sixteen

294 “Carte de l’Europe Suivant Les Plus Nouvelles Observations de Messieurs de L’Academic des Sciences Et des Princi...”, hand-colored engraved map of Europe from Henri Chatelain, Atlas Historique, London, 1705‑1739, plate 15‑1/2” x 18‑1/2”, sight 19‑3/4” x 24‑1/4”. Glazed, matted and framed. [300/500] Illustrated

294

292 Diminutive Italian Carved Mahogany Cassone, late 19th century, the front with a recessed relief-carved panel of a nude male figure and flanked by vertical panels with lion’s masques and fruit, raised on scroll-carved feet with mythological masques, h. 20‑1/2”, w. 36”, d. 18”. [300/500] Illustrated 293 Five Engravings of Baroque Architectural Elements, after Wendel Dietterlin, Architectura von Ausstheilung, Symmetria und Proportion der Funff Seulen, each plate 9‑3/4” to 10‑3/4” by 6‑1/2” to 7‑1/8”. Each glazed, matted and framed. [300/500] Illustrated

293 one of five

293 two of five 292

297

295

295 Turkish Angora Oushak Runner, 2’ 6” x 19’ 5”. [500/800] Illustrated 296 Mir Carpet, 4’ 3” x 6’. [300/500] 297 Antique Persian Kashan Carpet, first quarter 20th century, 4’ 5” x 6’ 8”. Provenance: The Flatt Collection. [500/800] Illustrated 298 Semi-Antique Mashad Carpet, 9’ 6” x 13’. [500/800] Illustrated

298

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299 Semi-Antique Kurdish Carpet, 3’ 10” x 6’. [400/700] 300 Peshawar Sultanabad Carpet, 8’ 10” x 13’. [500/800] Illustrated 301 Turkish Runner, 2’ 5” x 7’. [300/500] 302 Semi-Antique Tabriz Carpet, 9’ 8” x 13’ 2”. [500/800] 303 Semi-Antique Kerman Carpet, 11’ 9” x 15’ 6”. [1000/1500] Illustrated

304 Antique Caucasian Runner, 3’ 7” x 6’ 9”. [400/700] Illustrated 305 Persian Bakhtiari Carpet, 4’ 5” x 6’ 5”. [300/500] 306 Turkish Angora Oushak Carpet, 9’ 2” x 12’. [900/1200] Illustrated 307 Antique Persian Heriz Runner, 2’ 7” x 10’ 5”. [500/800] Illustrated 308 Semi-Antique Heriz Carpet, 3’ 10” x 6’ 4”. [300/500] 309 Turkish Oushak Carpet, 3’ 4” x 5’. [400/700] 310 Antique Kayseri Silk Prayer Rug, 2’ 9” x 4’ 8”. [400/700] Illustrated 306

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311 Unusual Louis-Philippe Bronze, Alabaster and Patinated Metal Clock Depicting Jean-Baptiste Oudry, mid-19th century, the rococo-style base set with alabaster panels and supporting a figure of Oudry, drawing book in hand, surrounded by animals, h. 17‑1/2”, w. 12‑1/4”, d. 4”. [500/800] Illustrated

313

312 Two French Tazzas, second half 19th century, consisting of a gilt-bronze example in the Rococo Revival taste, with a pierced scrolled base and a standard with goat’s heads holding a shell-form bowl, decorated with a masque and angel-form handles, h. 8‑1/4”, dia. 8”, and a larger example with a gilt- and patinated metal base on paw feet and a standard depicting a pair of putti supporting a molded glass dish, h. 12‑1/2”, dia. 10”. [400/700] Illustrated 313 Handsome French Gilded Age Gilt-Bronze and Marble Mantel Clock, fourth quarter 19th century, in the Louis XV taste, on a molded mauve and gray marble base, the integral pierced bronze stand supporting the inverted pear-form clock, decorated with scroll and rocaille work, a trophy of a bound quiver, arrows and laurel mounted below the enameled bronze dial, a putto inscribing a table serving as the finial, mounted with signed “Marti” works, h. 23‑1/2”, w. 15”, d. 10‑1/2”. [1400/1800] Illustrated

312

314 Monumental French Gilt-Bronze Hall Lantern of Rococo Inspiration, first quarter 20th century, the bronze frame with an open lower section set with molded shells, the upper section now with synthetic panels, molded with ribbon-bound leaves, hanging from gilt-scrolled arms and latticework panels, h. 58‑1/2”, dia. 32”. [3500/5000] Illustrated

317 315

318 316

315 Frank Lebrun Kirkpatrick (American, 1853‑1917), “Examining the Rhyton”, oil on board, signed lower left, verso frame with a “Robert Macindoe, Glasgow” frame maker label and remnants of a Glasgow gallery label, 16‑5/8” x 12‑5/8”. Presented in a period giltwood and gesso frame. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 316 German Gilt-Metal and Biscuit Porcelain Figural Clock, 20th century, in the rococo style, decorated with a figure of Czarina Elizabeth, after a Meissen original by J. J. Kandler, on paw feet with a biscuit neoclassical masque, marked “Haynes” on the dial, the key-wind works marked “Franz Haynes, Made in Germany”, h. 26‑1/2”, w. 21”, d. 9”. [300/500] Illustrated

317 Unusual Louis XV-Style Gilt-Bronze Seven-Light Chandelier, third quarter 20th century, the gilt-bronze scrollwork frame set with six flower-molded candle sockets and drip pans, electrified and mounted with shades, terminating in the center to a single unelectrified tulip-form candle socket, the arms and frame hung with various crystal drops, h. 24”, dia. 20‑1/2”. [500/800] Illustrated 318 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 Fortuny, h. 41”. [700/1000] Illustrated

319 Louis XV-Style Creme-Peinte and Parcel-Gilt Stool, 19th century, the padded square top above a shaped floral-carved frieze, raised on molded cabriole legs headed by floral carving and ending in foliate toes, h. 18”, w. 20‑1/2”, d. 20‑1/2”. [500/800] Illustrated 320 Continental Giltwood Frame Mounted with a Mirror, mid19th century, with serpentine sides, the outside edges lined with beading, the corners molded with scrollwork and cabochons, the swan’s-neck-molded sides decorated with applied scrollwork, set with an antique mirror plate, 41” x 34‑1/2”. [400/700] Illustrated 321 Continental Palace-Sized Urn in the Regency Style, 20th century, decorated with printed scenes of a family in 18th-century costume, playing music in a park, a Medici vase in the background, signed “Kandler”, on a pale teal ground, the vase set with vigorously scrolled gilded handles terminating in flowers, with a spurious Sevres mark, h. 33‑1/4”, w. 15”, dia. 9”. [300/500] Illustrated 322 French School (18th/19th Century), “Pastoral Courting Scenes”, pair of oils on canvas, unsigned, 77‑1/2” x 25‑1/2”. Both unframed. [1000/1500] Illustrated

320

321

322 one of two

322 two of two 319

323 Transitional Louis XV-into-Louis XVI-Style Kingwood and Exotic Woods Occasional Table, early 20th century, the shaped rectangular top banded and with parquetry inlay centered by an inlaid torchere, above a conforming frieze fitted with a single drawer, joined to a banded floral basket-inlaid lower shelf by cabriole supports terminating in splayed feet, h. 26”, w. 17‑3/4”, d. 14‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated

324 Fine Continental Silk-on-Silk Floral Embroidery, fourth quarter 18th century, depicting a vase overflowing with blooms within a vine wreath, delicately rendered in satin and chain stitch, initialed and dated “F.S.1787” at bottom center, 19” x 14‑3/4”. Glazed, floatmounted and framed. [300/500] 325 Louis XV-Style Carved and Ebonized Armchair, late 20th century, the arms with acanthine-carved details, raised on cabriole legs, h. 39”. [300/500] Illustrated 326 A. Sadeler (German, 18th Century), “Portrait of a Lady in Blue, Wearing a Lace Cap and Holding a Sprig of Flowers”, oil on canvas, signed and dated en verso “A. Sadeler pinxit 1754”, verso affixed with a 1944 letter describing the painting’s history and attributing the sitter to a member of the Gabel family of Aschaffenburg, Germany, 30” x 23”. Framed. [1000/1500] Illustrated

326

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323

327 Pair of Sevres-Style Gilt-Metal-Mounted Hand-Painted Porcelain Urns, ca. 1900, on square metal bases, the bleu celeste-ground urns painted with flowers and set with scrolled handles and matching covers, h. 14‑1/2”, dia. 6”. [400/700] Illustrated 328 French Bronze and Porcelain Two-Light Wall Sconce, fourth quarter 19th century, in the Baroque style, the backplate formed from a Sevres-style plaque with a hand-painted panel depicting a couple fishing, in 18th-century costume, and set into a cabochonmolded bronze frame with a scrolled crest and fitted with a pair of candle arms flanking a bacchanalian masque, h. 18‑1/4”, w. 8‑1/4”, d. 6‑3/4”. [400/700] Illustrated

329 Two Pairs of Porcelain Vases in the French Style, 20th century, consisting of a pair of pierced floral-decorated vases with encrusted flowers, marked in the Sevres style, h. 13‑3/4”, dia. 5‑3/4”, and a pair of covered urns with transfer-printed panels of a group in 18th-century costume, marked in the Dresden style, h. 14”, w. 8‑1/4”, d. 4‑3/4”. [400/700] Illustrated 330 Pair of Sevres-Style Covered Vases, first quarter 20th century, French, each with a bleu celeste ground decorated with a handpainted panel of courting couples in 18th-century costume on the obverse and a floral panel on the reverse, set with molded dolphin handles and with shell edge molding beneath the ogee-molded covers, h. 14‑1/2”, w. 7‑1/2”, d. 5”. [300/500] 331 Group of Three French Hand-Painted Porcelain Cabinet Plates, third quarter 19th century, painted on Sevres blanks, each with a bleu celeste ground, one dinner plate and matching soup plate decorated with pairs of cherubim on clouds, the third with a courting couple in 18th-century dress, the blanks dated 1859‑1872, two plates with spurious Sevres chateau marks, dia. 9‑1/2”. [300/500]

328

327

329

332 Sevres-Style Bronze-Mounted Hand-Painted Vase, fourth quarter 19th century, French, on pierced and molded bases, the bleu celeste-ground vase decorated with a landscape of three people with a cased bird in a garden on the obverse and a bouquet of flowers on the reverse, with elaborate tooled and raised gilt scrollwork framing the panels, now mounted as a lamp, vase, h. 18”, overall, h. 32‑1/2”, dia. 6‑1/2”. [400/700] Illustrated 333 Louis XVI-Style Looking Glass, 20th century, the carved crown molding with an applied ribbon above a small oil-on-canvas winged angel, the outer frame with applied foliate decor and reeded pilasters, the central mirror plate arched and beveled, h. 61”, w. 37”. [400/700] Illustrated

334 Regence-Style Kingwood and Marble-Top Cabinet, 20th century, the thick shaped marble top above a conforming case fitted with a single long drawer over two cupboard doors, each with banding and elaborate inlaid patterns, flanked to either side by a single quarter-veneered cupboard, the whole raised on splayed feet ending in sabots, h. 41”, w. 72”, d. 25”. [700/1000] Illustrated 335 Pair of Porcelain Covered Urns and Four-Light Candelabra, the Sevres-style covered urns, 20th century, French, decorated with panels depicting the Dancing Hours, framed with gilt-trimmed rope-molded handles, the covers with cone-form knops, with spurious Sevres marks, h. 16‑1/2”, dia. 6‑1/2”, and the pair of Meissen-style candelabra, 20th century, German, decorated with pierced panels, putti and encrusted flowers, the scrolled candle arms with encrusted flowers and terminating in leaf-molded candle cups and drip pans, h. 18‑1/2”, dia. 9”. [400/700]

332

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339 338

336 Pair of Belle Epoque Gilt-Bronze and Porcelain Five-Light Candelabra, fourth quarter 19th century, of Louis XV inspiration, the pierced bases molded with scrollwork and supporting bleu celeste-ground vasiform standards printed with flower decoration, the leaf-molded candle arms set with bronze drip pans and porcelain candle sockets, electrified, h. 28‑1/2”, dia. 9”. [300/500] Illustrated 337 Louis XV-Style Carved Giltwood Mirror, 20th century, with an open shell-carved cartouche with conjoining C-scrolls and foliate motifs, h. 56”, w. 29”. [400/700] Illustrated

338 Italian Rococo Revival Carved and Gold-Painted Sofa, early 20th century, the frame profusely carved with flowers and ribbons, raised on short cabriole legs ending in scrolled toes, h. 40”, w. 80”, d. 38”. [500/800] Illustrated 339 Pair of French Gilt-Bronze Six-Light Candelabra, fourth quarter 19th century, in the rococo taste, with pierced, scrolled bases and rocaille-molded standards decorated with putti enjoying a Bacchanalian feast, one with grapes and the other with a wine cup, with scrolled candle branches and matching candle cups, bobeches and drip pans, h. 21”, dia. 11”. [500/800] Illustrated

341 343

340 342

340 Louis XV-Style Giltwood and Onyx-Top Occasional Table, ca. 1900, the circular inset onyx top on a conforming apron, raised on cabriole legs, h. 29‑1/2”, dia. 24”. [400/700] Illustrated 341 French Rococo-Style Polished Brass Fender and Chenet Set, fourth quarter 20th century, with pierced ewer-form chenets and a pierced, scrollwork fender, h. 15”, w. 37‑1/2”, d. 8”. [300/500] Illustrated

342 Transitional Louis XV-into-Louis XVI-Style Giltwood Canape en Gondole, late 19th century, the padded back surmounted by a floral crest and joined by downswept arms to the cushioned seat, raised above a guilloche-carved frieze on cabriole legs headed by floral carving and ending in scrolled toes, h. 42”, w. 78”, d. 27”. [400/700] Illustrated 343 Pair of Transitional Louis XV-into-Louis XVI-Style Giltwood Fauteuils, late 19th century, each with a shaped and padded back surmounted by a floral crest and joined by padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [400/700] Illustrated

344 Pair of French Rococo-Style Mirrors with Sevres-Style Porcelain Plates, the mirror surround carved with leaves and flowers, and supporting pierced, arched crests decorated with scrollwork, the bleu celeste-ground plates with figures of Eros and Psyche and signed with spurious “beehives”, h. 54”, w. 18‑1/2”. [600/900] Illustrated 345 French Bronze and Hand-Painted Porcelain Card Tray, fourth quarter 19th century, the tray painted on a Sevres blank and decorated with a panel depicting a trio in 18th-century costume, playing a pipe and dancing, the border with panels of flowers framed with raised gilt scrollwork, the leaf-molded feet trimmed with bronze swags, and the tray trimmed with bronze beading and leafmolded handles, h. 5”, w. 10‑3/4”, d. 6”. [200/400] Illustrated

346 Suite of Four Louis XV-Style Polychrome Fauteuils, 20th century, each with a shaped and padded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on cabriole legs headed by floral capitals and ending in scrolled toes, h. 35”. [700/1000] Illustrated 347 Pair of Meissen-Style Porcelain Figural Two-Light Candelabra, ca. 1865‑1906, German, made by C. G. Schierholz & Son, Plaue, one candelabrum depicting Diana, goddess of the hunt, with her dog, and the other depicting Athena, goddess of war, both decorated with encrusted flowers, h. 7‑1/4”, w. 8‑3/4”, d. 5”. [300/500] 348 Pair of Meissen-Style Porcelain Vases, ca. 1870‑1890, made by C. G. Schierholz, German, the egg-form vases decorated with cobalt encrusted flowers and resting on molded, reclining putti, one marked in underglaze blue on the base, h. 6”, dia. 4‑1/4”. [200/400]

345 344

346

349 French Painted Tole and Crystal Eight-Light Chandelier, second quarter 20th century, on a metal balloon-form frame, the arms decorated with tole leaves and floriform drip pans, hung with various crystal drops, with two tiers of sprays of leaves and crystal drops embellishing the upper portion of the chandelier, h. 34”, dia. 21”. [500/800] Illustrated 350 Louis XV-Style Mahogany and Mixed Woods Inlaid Dining Table, second quarter 20th century, the serpentine top with a molded edge and inlaid border, raised on carved cabriole legs, opening to accommodate a 16” leaf, h. 30‑1/2”, w. 42”, l. 58”, extended l. 74”. [600/900] Illustrated

351 French Woven Tapestry of a Royal Park, 20th century, machine made, with black fabric backing, 64” x 76‑1/2”. [600/900] Illustrated 352 Suite of Six Louis XV-Style Stained Poplar Dining Chairs, each with a foliate-carved crest rail, serpentine seat and cabriole legs with French toes, in faux animal-skin upholstery, h. 36‑1/4”. [500/800] Illustrated

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353 French Patinated Metal Six-Light Chandelier in the Louis XIV Taste, second quarter 20th century, the pierced frame fitted with six candle arms, and hung with various crystal drops, including mauve and amber grapes and pears, h. 27”, dia. 22”. [500/800] Illustrated 354 Pair of Louis XV-Style Fruitwood Bergeres, 20th century, each with a domed and padded back surmounted by a gilt floral crest, joined by downswept padded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 36‑1/2”. [400/700] Illustrated

355 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”. [300/500] Illustrated 356 Transitional Louis XV-into-Louis XVI-Style Fruitwood and Marble-Top Secretaire a Abattant, mid-19th century, the rounded rectangular marble top above a conforming case fitted with an ogee-molded drawer over a quarter-veneered drop front, opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two banded and quarter-veneered cupboard doors, raised on cabriole feet ending in sabots, h. 52‑1/2”, w. 29”, d. 15”. [400/700] Illustrated

357 Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, the rounded rectangular Breche d’Alep marble top with a three-quarter pierced brass gallery, above a conforming case fitted with a single drawer over two cupboard doors, with ribbed fronts and opening to a slatted interior, raised on cabriole legs ending in sabots, h. 33‑1/4”, w. 24”, d. 14”. [400/700] Illustrated

359 Louis XIV-Style Giltwood Sofa, 19th century, the domed and shaped padded back surmounted by a floral and foliate crest, joined to the padded seat by like arms, raised above a shaped likecarved frieze on cabriole legs ending in scrolled toes, h, 46”, w. 76”, d. 28‑1/2”. [500/800] Illustrated

358 Continental School (Late 19th Century), “Portrait of a Gentleman in a Hunter Green Jacket” and “Portrait of a Lady in a Blue Gown”, two oils on canvas, unsigned, each with a “E. Renee Shourds/ Philadelphia, PA” label en verso, each 32‑1/2” x 26‑1/4”. Presented in matching antique giltwood frames. [500/800] Illustrated

358 one of two

357

358 two of two

359

360 Rosenthal Vienna-Style Partial Dessert Service, ca. 1949‑1954, German, hand-painted with neoclassical decorations, comprised of ten dessert plates, dia. 7‑1/2”, eleven cups, h. 1‑1/2”, twelve saucers, dia. 4‑1/2”, and a cigarette box, h. 1‑1/2”, w. 3‑1/4”, marked with spurious bleu “beehives” and the name of the retailer, Herzog Galleries, Houston, Texas. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [400/700] Illustrated

362 Louis XV-Style Mahogany Center Table, early 20th century, the banded and quarter-veneered shaped circular top within a brass edging, above a conforming frieze, raised on cabriole legs ending in sabots, h. 28”, dia. 27”. [300/500] Illustrated

361 Louis XV-Style Kingwood Vitrine, 20th century, the molded and slightly domed cornice centered by an ormolu shell and foliate crest, above a case fitted with two doors, each inset with an upper beveled glass panel over a starburst and foliate scrolling inlaid panel, raised on slightly splayed legs ending in sabots, h. 75”, w. 39”, d. 20”. [800/1200] Illustrated

362 361

360

363 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 pattern, and each with a loose down cushion, settee, h. 39‑1/2”, w. 58‑1/2”, d. 27‑1/2”, chair, h. 39”. [400/700] Illustrated

364 French School (First Quarter 20th Century), “Portrait of a Lady in a Floral-Embellished Silk Gown”, ca. 1900, oil on canvas, unsigned, 28‑1/2” x 22‑7/8”. Framed. [500/800] Illustrated 365 French School (Fourth Quarter 17th Century), “Portrait of a Gentleman, In a Lace Cravat, Within a Painted Oval”, oil on canvas, unsigned, 26” x 36”. Framed. [400/700] Illustrated

364

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369

366 Frederick Vezin (American, 1859‑1942), “Walk in the Garden”, 1887, oil on wood panel, signed and dated lower left, 5‑1/2” x 7”. Framed. [700/1000] Illustrated

368 Louis XV-Style Mahogany Vitrine, 20th century, the stepped rectangular top above a conforming case fitted with a single beveled glazed door, the sides with like glazing, the back mirrored, raised on cabriole legs ending in scrolled toes, h. 60‑1/2”, w. 34‑1/2”, d. 16”. [400/700] Illustrated

367 Italian School (First Quarter 20th Century), “The Music Lesson”, oil on canvas, signed “Borino” lower right, 18” x 12”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [800/1200] Illustrated

369 A. De Loisy (French, 19th Century), “Merry Cavaliers”, oil on canvas, signed lower right, 21‑3/8” x 25‑1/2”. Presented in a giltwood frame with a linen liner affixed with artist plaque. [500/800] Illustrated

370 371 one of two

373

370 Benjamin Eugene Fichel (French, 1826‑1895), “The Credentials”, 1861, oil on wood panel, signed and dated lower left, 8” x 10‑1/4”. Presented in a giltwood exhibition frame. [500/800] Illustrated 371 Continental School, Probably German (Second Half 19th Century), “The Visitation” and “The Mourning”, oils on wood panel, the former signed “A. Bertrand”, 9‑1/8” x 12‑1/2”. Each framed alike. [700/1000] Illustrated

372 one of two

372 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”. [1400/1800] Illustrated 373 Pair of Napoleon III Giltwood Fauteuils, third quarter 19th century, in the Louis XVI style, each with a padded shield-form back surmounted by a ribband crest and flanked to either side by spiral-fluted uprights, joined by padded arms to the like seat, raised on spiral-fluted tapering circular legs ending in toupie feet, h. 46”. [300/500] Illustrated

374 Louis XVI-Style Giltwood Mirror, late 19th century, the oval plate surmounted by a ribbon crest issuing bellflower garlands, surrounded by a molded annulated and guilloche-carved frame, h. 40‑1/2”, w. 34”. [400/700] Illustrated 375 Pair of French Polished Bronze Two-Light Sconces, mid-20th century, in the Louis XVI style, on tasseled ribbon-form backplates, the fluted cornucopia-form candle arms set with fruit-molded candlecups, h. 20‑1/2”, w. 10‑3/4”, d. 6”. [400/700] Illustrated

376 Louis XVI-Style Carved Walnut Settee, 19th century, the back frame carved in a laurel leaf pattern with a pierced ribbon crest, with scroll- and foliate-carved hand rests, raised on turned and fluted legs, pegged construction, h. 40”, w. 64”, d. 26”. [400/700] Illustrated 377 Two Louis XVI-Style Giltwood Bergeres avec Orielles, late 19th century, each with a trisected padded back surmounted by a carved crest and joined by padded arms to the cushioned seat, raised on fluted tapering circular legs ending in pad feet, one with a guillochecarved frame, h. 44‑1/2”, and the other with bellflower accents, h. 43”. [500/800] 378 Georg Thielen (German, 1853‑1901), “View of a Turreted Castle from a River”, watercolor on paper, signed and dated “24‑12‑83” lower left, sight 22” x 18‑3/4”. Glazed, matted and framed. [700/1000] Illustrated

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375

376

379 Louis XVI-Style Giltwood and Marble-Top Cocktail Table, the Brescia marble top with a molded edge, above a base with a carved apron and fluted legs joined by a molded H-form stretcher, h. 19”, w. 40”, d. 21”. [300/500] Illustrated 380 Pair of French Marble and Bronze Urn-Form Garnitures, first quarter 20th century, in the Louis XVI style, the mottled pink marble and bronze garnitures with elongated bodies set with scrolled bronze handles, and domed “covers”, with bands of arabesquemolded decoration, h. 16‑1/2”, dia. 4‑1/4”. Provenance: The Flatt Collection. [300/500] Illustrated

381 Sevres-Style Bronze-Mounted Hand-Painted Porcelain Covered Urn, ca. 1900, French, hand-painted with a panel depicting a classical figure showing a bird its reflection in a mirror, framed with raised gilt scrollwork and flowers against an emeraldgreen ground, with a bronze base, scrolled handles and pineapple finial on the cover, h. 15”, dia. 5”. [500/800] Illustrated 382 Eighty-Piece Mottahedeh “Lowestoft Rose” Partial Dinner Service, ca. 1985‑1993, Portugal, made by Vista Alegre, the set comprised of ten dinner plates, dia. 10”, ten rim soup plates, dia. 10”, thirteen salad/dessert plates, dia. 8‑1/2”, nine flat cups, h. 2‑1/4”, with twelve matching saucers, dia. 5‑3/4”, ten demitasse cups, h. 2”, with twelve matching saucers, dia. 4‑1/2”, a coffeepot, h. 9‑1/4”, a cream jug, h. 3‑1/4”, a covered sugar bowl, h. 4‑1/4”, dia. 6”, and a soup tureen on stand, h. 11‑1/2”, w. 15‑1/2”. [1400/1800] Illustrated

379 380

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385 384

383 Louis XVI-Style Giltwood Four-Fold Screen, early 20th century, each panel slightly arched and with a shell crest, with fabric on both sides within a molded frame, h. 61”, w. 94”. [500/800] Illustrated 384 Louis XVI-Style Polychrome Settee, 19th century, the curved frame with scrolled hand rests, raised on turned and fluted legs, pegged construction, h. 34”, w. 47”, d. 27”. [400/700] Illustrated

385 Louis XVI-Style Mahogany Tiered Table, early 20th century, the rectangular top with a full pierced brass gallery and joined by ormolu-mounted Corinthian supports to a like lower shelf, and joined by square supports to the lowest shelf, raised on tapering square legs ending in brass caps, h. 47”, w. 26”, d. 16‑3/4”. [400/700] Illustrated 386 Sevres-Style Porcelain Jardiniere on Stand, 20th century, French, the oval-form jardiniere decorated with black-ground panels with frolicking putti, flanked by panels of raised gilt and set with acanthus-molded gilt handles, with a pierced guilloche rim, signed with spurious Sevres marks, h. 9‑1/2”, w. 12‑3/4”, d. 9‑1/2”. [300/500] Illustrated

388

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391

387 Sevres-Style Hand-Painted Porcelain Box, second quarter 20th century, probably Limoges, decorated with 18th-century-style scenes on a cobalt ground, with a spurious Sevres mark on the bottom, h. 3‑1/2”, w. 7‑3/4”, d. 4‑1/4”. [300/500] 388 Pair of French Bronze-Mounted Porcelain Urn-Form Garnitures, first quarter 20th century, in the Sevres style, decorated with hand-painted 18th-century-style scenes, signed “Lysel” on a cobalt ground, with bronze fittings, h. 24‑1/2”, w. 8”, d. 6‑1/2”. [400/700] Illustrated

389 French Hand-Painted Porcelain Cabinet Plate, fourth quarter 19th century, depicting a courting couple with a bird in a cage, decorated with a gilt scrollwork border on a black ground, on a Sevres blank with the 1863 mark and a spurious crossed “L’s” mark, dia. 9‑3/4”. [300/500] 390 Louis XVI-Style Mahogany and Burlwood Armoire, early 20th century, the molded D-form crest surmounted by an ormoluribbon crest, above a case fitted with two long beveled mirrored doors, with a single long drawer below, raised on toupie feet, the whole accented with ormolu mounts, h. 91‑1/2”, w. 47‑1/2”, d. 16”. [400/700] Illustrated 391 Louis XVI-Style Ormolu-Mounted and Marquetry-Inlaid Mahogany and Brass Side Table, early 20th century, the inlaid top with a brass gallery, the frieze with a drawer and ormolu swags, raised on brass legs joined by a low shelf, h. 31‑7/8”, dia. 16”. [400/700] Illustrated

392 Carved and Figured Mahogany Queen-Size Bedstead, in the Louis XVI taste, with a pierced ribbon-carved crest above a broad figured mahogany panel, the corner posts adorned with turned finials, h. 68”, inside, w. 62”, l. 81”, outside, w. 68”, l. 86”. [600/900] Illustrated 393 French Giltwood Tri-Fold Dressing Mirror, ca. 1900, in the Louis XVI style, with a pierced wreath-carved crest, secured with bowknots and ribbons, h. 68‑1/2”, w. 66”. [500/800] Illustrated

394 Pair of French Neoclassical-Style Gilt-Bronze Sconces, second quarter 20th century, on backplates molded as tasseled swags with pierced bowknot finials, the reeded candle arms terminating in acanthus-molded drip pans and tulip-form molded candle cups, with grape-engraved glass hurricane shades, electrified, h. 21”, w. 10”, d . 5‑1/2”. [300/500] Illustrated 395 Louis XVI-Style Fruitwood and Needlepoint Firescreen, ca. 1900, the pierced ribbon-carved crest above a laurel leaf and ribbon frieze, a central needlework panel flanked by reeded columns and supported by down-curved and carved legs, h. 47‑1/2”, w. 29”, d. 21”. [300/500] Illustrated

394

393

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395

396 Louis XVI-Style Giltwood Vitrine, early 20th century, the ovolo corners extending to tapering turned legs, the case with shaped glazed panels on the top and each side, h. 34‑1/2”, w. 22‑1/2”, d. 16‑1/2”. [400/700] Illustrated 397 French Giltwood and Silk Three-Panel Folding Screen, ca. 1900, in the Louis XVI style, the frame carved with ribbon and bowknot trim, the inset silk panels decorated with baskets and wreaths of flowers, h. 43‑1/4”, w. 80‑1/2”. [500/800] Illustrated

398 Carl Thieme Meissen-Style Porcelain Urn-Form Two-Light Table Lamp, post-1901, made by Carl Thieme, Potschappel, Germany, on a yellow ground, the fluted base supporting the body, decorated with encrusted swags of flowers and masques with flowers in their hair, and with oval panels of framboise-painted putti in the center, marked with Thieme’s intertwined initials and a mark guaranteeing it was hand-painted, urn, h. 14”, overall, h. 22‑1/2”, w. 6‑3/4”, d. 5”. [300/500] Illustrated 399 Louis XVI-Style Polychrome Three-Drawer Side Table, the molded rectangular top above three side-by-side drawers, each with rope-twist-framed borders and raised on tall block-and-turned fluted legs joined by stretchers, h. 34‑1/2”, w. 59”, d. 16”. [500/800] Illustrated

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401

402 Transitional Louis XV-into-Louis XVI-Style Polychrome and Marble-Top Commode, the rectangular marble top with canted corners, above a conforming case fitted with five drawers, raised on cabriole legs, h. 48”, w. 31‑1/2”, d. 16”. [400/700]

400 Louis XVI-Style Carved and Polychromed Stool, 20th century, the padded seat upholstered to a square frame with relief-carved aprons and raised on turned and fluted legs, h. 20”, w. 19”, d. 19”. [400/700] Illustrated

403 Polychrome Adjustable Artist’s Easel of Classical Inspiration, the frame with carved conjoined scroll crests and an adjustable platform, the legs ending in scrolled toes, h. 69”, w. 24”, d. 24”. [400/700] Illustrated

401 Pair of Louis XVI-Style Silver-Leaf Ballroom Chairs, with deeply molded oval backs, serpentine seats and raised on turned and fluted legs, h. 38‑1/2”, w. 21”, d. 18”. [500/700] Illustrated

404 American Painted Bamboo Mirror of Regency Inspiration, mid-20th century, with a cut-corner tablet outlined with incising, h. 39‑1/4”, w. 24‑1/2”. [300/500] Illustrated

406 409

405

405 Continental School (21st Century), “Harbor Scene with Fishing Boats”, decorative oil on canvas, unsigned, 12” x 16”. Presented in a contemporary silvered frame. [300/500] Illustrated 406 Continental School (20th Century), “A Day by the Sea”, oil on canvas, illegibly signed lower left, a “Newman Galleries, Philadelphia, Pennsylvania” label en verso, 8” x 10”. Framed. [500/800] Illustrated 407 Tony Green (American/Louisiana, b. 1954), “Italian Hilltop Village”, watercolor on paper, monogrammed lower right, artist studio stamped en verso paper and backing, 6‑5/8” x 10‑1/4”. Glazed and framed. [300/500] Illustrated

407

408 Two Pairs of Molded Glass Candlesticks, contemporary, one pair in the Empire taste, of Corinthian column form, with glass standard and silverplate base and capital, h. 12”, the other attributed to Val St. Lambert, Belgium, of frosted baluster form with female masques, h. 8‑3/8”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [300/500] 409 Continental Gilt-Metal and Glass Eight-Light Chandelier of Baroque Inspiration, a scrolled gilt-metal frame forming the standard, with a spray of scrollwork hung with drops forming the canopy, with scrolled candle arms set with chinoiserie bobeches and hung with drops, electrified, h. 28”, dia. 22”. [300/500] Illustrated

410 Pair of Louis XVI-Style Bronze Chenets, first quarter 20th century, on tapered feet, decorated with pierced guilloche and set with cone-form finials, h. 8‑3/4”, w. 8‑1/2”, d. 10”. [300/500] 411 Louis XVI-Style Mahogany Cheval Mirror, 20th century, the rectangular plate within a plain frame and supported by fluted square uprights to splayed legs on casters, h. 70”, w. 32‑1/2”. [300/500] Illustrated 412 Louis XVI-Style Giltwood Settee, late 19th century, with an oval padded back with rope-twist and beaded carved frame, open arms and raised on stop-fluted legs, h. 39‑1/2”, w. 69”, d. 29”. [500/800] Illustrated

413 French Gilt-Bronze and Cut Glass Bateau-Form Centerpiece, fourth quarter 19th century, in the Empire style, on leaf-molded feet with swan’s-head handles, the bowl decorated with diamond-point cutting, h. 10”, w. 23”, d. 9‑3/4”. [700/1000] Illustrated 414 Four French Hand-Painted Portrait Miniatures on Bone, first quarter 20th century, all in bronze neoclassical frames, the largest depicting Mary, Queen of Scotts, dressed in a ruffled collar, another example with a child holding an apple, depicting Figlio di Carlo I. d’Inghilterra, after Anthony van Dyck (Flemish, 1599‑1641), and two examples with images depicting Marie Antoinette, h. 3‑1/4” to 6”, w. 2‑1/4” to 3”. [400/700] Illustrated

414

411

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413

415 Group of Three Porcelain Objects, ca. 1900, including a pair of Sevres-style plates, one hand-painted with a couple and the other transfer-printed with the Duc de Bourgogne, marked “France” along with various spurious Sevres marks, dia. 9‑1/2”, and a celluloid and bronze-framed miniature portrait depicting Lady Anne Bingham of Philadelphia, dia. 6‑1/2”. [400/700] 416 Two French Porcelain Vases, fourth quarter 19th century, now mounted as lamps, the smaller vase on scrolled feet and decorated with a platinum-ground panel of a couple in 18th-century costume picking fruit, vase, h. 15‑1/2”, overall, h. 30‑1/2”, dia. 5‑3/4”, and the larger decorated with panels of frolicking angels on the obverse and panels of flowers on the reverse, each framed with tooled gilt scrollwork, the sides mounted with bronze goat-head handles, vase, h. 16”, overall, h. 23”, dia. 7”. [400/700]

417 Large Paris Porcelain Hand-Painted Vase in the Rococo Revival Style, third quarter 19th century, on a bleu celeste ground, the obverse decorated with a panel depicting a courting couple in 18th-century costume framed with a gilt border picked out with iron-red detail, and the reverse decorated with flowers, the bold side handles molded with leaves and flowers, h. 21”, dia. 10‑1/2”. [300/500] Illustrated 418 Pair of Louis-Philippe Bronze and Porcelain Moderator Lamps, mid-19th century, in the Rococo Revival style, with scrollmolded bronze fittings, the bleu celeste-ground porcelain bases decorated with panels of hand-painted scenes of a young couple, probably Paul and Virginia, on the obverse, and panels of flowers on the reverse, the ground decorated with swirl-molded gilt fluting, base, h. 19”, overall, h. 34”, dia. 8‑1/2”. [400/700] Illustrated 419 Pair of Sevres-Style Porcelain Potpourri Vases, 20th century, French, of Louis XV inspiration, the gondola-form vases with scroll feet and painted panels of cupids and flowers, framed with rich gilt-work on a bleu celeste ground, elaborately pierced around the covered necks, each with a flower-molded cover, with spurious Sevres marks, h. 14”, w. 12‑1/2”, d. 9”. [500/800] Illustrated

418

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421 422

423

420

420 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, the shaped Breche d’Alep marble top within a three-quarter pierced brass gallery, above a conforming case fitted with three drawers, all banded and with inlaid swags, raised on tall, slender cabriole legs ending in sabots, h. 31‑1/2”, w. 24”, d. 12”. [400/700] Illustrated

422 Charles X Mahogany Recamier, second quarter 19th century, the long padded seat with one raised padded in-curved end, terminating in swan’s necks, above a plain frieze, raised on scrolled feet, h. 36”, w. 27”, l. 59”. [400/700] Illustrated

421 Nine-Piece Sevres-Style Hand-Painted Porcelain Partial Coffee Set, third quarter 19th century, French, decorated with panels of neoclassical scenes, trophies and couples in 18th-century costume on a bleu celeste ground, including a dessert stand decorated on a signed Sevres blank, ca. 1861, h. 10”, dia. 10‑1/2”, three coffee cups, h. 2‑1/4”, four saucers, dia. 4‑3/4”, decorated on Sevres blanks, and an unmarked cream jug, h. 4‑1/2”, dia. 3‑1/4”. [200/400] Illustrated

423 Charles X Mahogany Dressing Table, second quarter 19th century, the oval mirror within a banded frame and held by swan’s head supports, the lower section with a superstructure of three small drawers and a rectangular marble top above a conforming frieze fitted with a single frieze drawer, joined to a concave stretcher shelf on turned columnar uprights ending in block feet, h. 58”, w. 38”, d. 19”. [500/800] Illustrated

427

424 one of two

426

425

424 Pair of Louis-Philippe Giltwood Mirrors, mid-19th century, with beaded rims and flower-molded corners, each set with antique glass, h. 41‑1/4”, w. 28‑1/2”. [400/700] Illustrated 425 Louis-Philippe Burl Walnut and Marble-Top Commode, fourth quarter 19th century, the drop-in marble top above a case fitted with four graduated drawers and a scalloped base with molded feet, h. 37”, w. 41”, d. 20”. [400/700] Illustrated

426 Suite of Four Neoclassical Mahogany Sidechairs, 19th century, in the Jacob style, each with a rectangular back with X-form splats, the padded seat raised above a paneled frieze on ring-turned tapering circular legs ending in toupie feet, h. 36”. [600/900] Illustrated 427 Pair of Paris Porcelain-Style Urns, 20th century, mounted as lamps, of Directoire inspiration, with faux marbre bases, grisaille hand-painted panels of shipwreck scenes and winged classical figure handles, fitted with black shades, h. 28‑1/2”, dia. 14”. [800/1200] Illustrated

428 Paris Porcelain-Style Urn, 20th century, hand-painted with scenic decoration and fitted with sphinx-form handles, with spurious Sevres marks, h. 12”, w. 4‑3/4”, d. 3‑1/2”. [300/500] Illustrated 429 Neoclassical-Style Opaline Glass Jewel Casket, mid-20th century, Murano, Italy, decorated with gilt and black neoclassical scenes, the cover with brass hinges and trim, with a “Cenedese Glass Murano” paper label on the inside cover, h. 4”, w. 5‑1/4”, d. 3‑1/2”. [300/500]

430 Pair of French Empire-Style Bronze and Sienna Marble Candlesticks, ca. 1900, the marble standards with bronze Corinthian capitals and lotus-molded candle cups, and raised on bronze paw-footed bases on shaped plinths, h. 16‑1/2”, dia. 5”. [300/500] Illustrated 431 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

428

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431

432 Russian-Style Mahogany and Giltwood Mirror, second quarter 20th century, decorated with gilt fluting and square medallions along the base, and gilt fluting surrounding the beveled mirror plate, the crest formed of two gilt plinths on either side of a central plinth fitted with a biscuit roundel depicting a classical family after Bertel Thorvaldsen (Danish, 1770‑1844), h. 56”, w. 29‑1/2”. [700/1000] Illustrated 433 Four Pirkenhammer Porcelain Service Pieces, first quarter 20th century, Czech, decorated with raised gilt scrollwork on seafoam green borders, the set including a chop plate, dia. 12‑3/4”, two graduated lobed serving bowls, h. 3‑1/4”, w. 8” and h. 4”, w. 9”, and a gravy boat, h. 7‑1/4”, w. 8”, each with a green Pirkenhammer mark. [400/700] Illustrated

434 Empire-Style Ormolu-Mounted Mahogany and Marble-Top Center Table, the circular inset marble top encircled by a brass gallery, the legs with figural cast metal capitals, joined by a shelf stretcher, h. 31”, dia. 33‑1/4”. [700/1000] Illustrated 435 Pair of Empire Mahogany Fauteuils, early 19th century, each with a padded backswept back joined by flat arms on Egyptian maiden uprights to the padded seat, raised on sabre legs ending in paw feet, h. 34”. [1000/1500] Illustrated 436 Empire 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”. [600/900] Illustrated

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437 Empire-Style Brass-Mounted Mahogany and Marble-Top Pier Table, early 20th century, with a mirrored back and scrolled front legs ending in cast brass paw feet, the front frieze fitted with a drawer, h. 32‑1/4”, w. 42‑1/4”, d. 18‑1/2”. [300/500] Illustrated 438 Diminutive Empire Mahogany Gondola Chair, late 18th century, the padded back surmounted by a rounded crest and joined to the cushioned seat by downswept arms, raised on square legs, the whole accented with ormolu mounts and millwork, h. 33‑1/2”. [400/700] Illustrated

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439 Two French Lamps, including a bronze and marble three-light candelabrum, ca. 1900, the urn-form white marble base set with a bouquet of gilt-bronze lilies, three set with candle sockets, electrified, h. 40”, dia. 9‑1/2”, and a Louis-Philippe glass and silverplated lamp, mid-19th century, with a cranberry glass font, and a Rococo Revival silverplated base mounted with operatic figures, electrified, h. 27”, dia. 9”. [400/700] 440 Late Louis-Philippe Mahogany and Marble-Top Pier Table, mid19th century, with a later conforming verdigris marble top, the front legs carved in the form of ram’s heads and terminating in cloven hoof feet, mounted to a platform base raised on scroll feet, h. 37”, w. 52”, d. 23”. [700/1000] Illustrated 441 Pair of Unusual French Empire-Style Green Glass and GiltBronze Table Lamps, mid-20th century, with mounts on the base, the column-form standards terminating in engine-turned capitals, mounted with shades, h. 29‑1/2”, dia. 16”. [300/500]

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442 Four French Bronze and Marble Lamps, 19th/20th century, including a Beaux-Arts bronze lamp base in the form of an Egyptian column, h. 32”, dia. 8‑1/4”, a mottled brown marble two-light lamp in the form of a Tuscan column, h. 24‑3/4”, w. 5‑1/2”, a Restauration bronze dore et patine lamp standard, now mounted as a lamp, h. 31”, dia. 5‑3/4”, and a faceted black glass and brass table lamp, h. 31‑1/2”, dia. 5‑3/4”. [500/800] 443 Empire-Style Mahogany and Marble-Top Torchere, the circular marble top above a paneled ormolu-applied frieze, raised on four tapering square legs, each headed by an ormolu maiden and ending in brass paws, h. 45”, dia. 14”. [300/500] Illustrated 444 Pair of Empire-Style Burlwood Center Tables, early 20th century, each with a quarter-veneered circular top above a conforming frieze with a decorative garland of ivy, raised on ebonized supports headed by gilt Egyptian maiden’s heads, joined by a tripartite stretcher and ending in hoof feet, h. 28‑1/2”, dia. 30‑1/2”. [1500/2500] Illustrated

445 Two Early 19th-Century Mirrors, comprising a French Empire brass-mounted mirror with a curved pediment over ebonized Corinthian pilasters, centering repousse reliefs of classical images, h. 45‑3/4”, w. 20”, together with an American Late Classical mahogany mirror, in an ogee-molded frame, h. 34‑5/8”, w. 24‑5/8”. [400/700] 446 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. [300/500] 447 French Porcelain Tray with Napoleonic Decoration, 20th century, the gold and white tray decorated with an “N” in a wreath and bees, with an unidentified mark on the bottom, likely Limoges, dia. 12”. [300/500] Illustrated 448 Collection of Three French Napoleonic Objets d’Art, 19th/20th century, including a patinated bronze profile of Napoleon, mounted on fabric in a laurel-molded circular frame, dia. 7” (ex-collection Joan F. Seifer), a bronze figure of Napoleon standing on a mottled brown marble base, h. 8‑1/2”, w. 3‑1/4”, and a paperweight decorated with a white marble profile of Napoleon on a black marble base, h. 1‑1/2”, w. 4”. [500/800] Illustrated

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449 French Porcelain Apothecary Jar, mid-20th century, probably made in Limoges, decorated with a hand-painted panel of Napoleon crossing the Alps, artist-signed “J. Porte” and trimmed in gilt, marked “Rue de Cheramaine” in blue script, h. 10‑1/2”, dia. 4‑1/2”. [300/500] Illustrated 450 Sevres-Style Hand-Painted Porcelain Cabinet Plate, first quarter 20th century, French, decorated with a hand-painted polychrome classical scene signed “Donatos”, with a gilt and cobalt border and spurious Sevres marks on the back, dia. 10”. [500/800] Illustrated

450

451 Pair of Empire-Style Mahogany Sidechairs, late 19th century, each with a padded back surmounted by a scrolling triangular crest, the padded seat raised on molded legs ending in paw feet, h. 34‑1/2”. [500/800] Illustrated 452 Pair of Empire-Style Mahogany and Ebonized Pedestals, the stepped top above an ormolu-applied frieze, joined by four ebonized columnar uprights to a paneled and molded base, h. 38”, w. 12”, d. 10”. [400/700] Illustrated

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453 Suite of Six Continental Empire-Style Mahogany Sidechairs, 20th century, each with an ormolu-mounted crest over a tapering padded back, the padded seat raised on tapering square legs, h. 37”. [400/700] Illustrated

455 French Brass and Gilt-Bronze Two-Light Bouillotte Lamp, mid-20th century, the engine-turned base supporting a pair of gilt and painted candlesticks mounted with sockets, fitted with a brass shade, h. 23”, w. 11‑1/2”, d. 9”. [300/500] Illustrated

454 Empire-Style Burlwood Writing Table, early 20th century, the canted rectangular top with an inset leather surface, above a conforming case fitted with a central drawer flanked to either side by a deeper short drawer, raised on tapering square legs headed by ormolu urn mounts and ending in caps, h. 29‑1/2”, w. 59”, d. 32”. [500/800] Illustrated

456 French Gilt-Bronze and Tole Bouillotte Lamp, second half 20th century, on an engine-turned base set with a fluted columnform standard and three engine-turned candle sockets on scrolldecorated supports, with two electric candle sockets set behind the black-painted tole shade, h. 36”, dia. 15‑1/2”. [300/500] Illustrated

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457 Damascene Heraldry Charger, centering a double-headed eagle coat of arms, on toupie feet, dia. 7‑7/8”. [200/400] Illustrated 458 Pair of French Gilt- and Patinated Bronze Two-Light Sconces, 20th century, in the neoclassical taste, on quiver-form backplates terminating in artichoke finials, the molded candle arms set with ram’s heads, h. 25‑3/4”, w. 12‑1/2”, d. 6‑3/4”. [400/700] Illustrated 459 French Empire Bronze Dore et Patine Four-Light Candelabra, first quarter 19th century, now mounted as a lamp, on a base decorated with anthemion-molded lotus leaves, the figure of Eros perched on a gilt spherule and holding aloft pierced scrolled candle branches set with medallions and a center branch terminating in a reeded candle cup, overall, h. 25‑1/2”, dia. 6‑1/4”. [500/800] Illustrated

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460 Charles X Mahogany and Slate-Top Center Table, second quarter 19th century, the circular top supported by a large tapering standard and mounted to a platform base with three extended scrolled feet, h. 28”, dia. 37”. [500/800] Illustrated

462

461 463

461 Pair of Empire-Style Patinated Table Lamps, 20th century, on paw feet, made of metal-covered resin, h. 37‑1/2”, dia. 8”. [200/400] Illustrated 462 Pair of French Green-Glazed Terracotta Planters, 20th century, in the neoclassical taste, molded with acanthus leaves and set with ram’s head handles, h. 33”, w. 27”, d. 21”. [600/900] Illustrated 463 French Marble and Bronze Temple-Form Sphere or Specimen Stand, fourth quarter 19th century, the marble base with bronze monopodia supports with paw feet, under Corinthian columns, the circular frieze top set with a semi-spherical indentation, h. 9”, dia. 6”. [400/700] Illustrated 464 Pair of Continental Neoclassical-Style Parcel-Giltwood Plant Stands, second quarter 20th century, in the form of censers, supported on three monopodia terminating in lion’s heads and a central vase-shaped standard, the bowl sides decorated with eggand-dart carving, h. 34”, dia. 19‑1/2”. [300/500] Illustrated

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465 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”. [350/500] Illustrated 466 Continental School (20th Century), “Architectural Capriccio”, oil on canvas, signed lower right “N. Bertin”, 36” x 48”. Framed. [700/1000] Illustrated

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467 Continental School (20th Century), “The Parthenon”, oil on canvas, signed illegibly lower right, 19‑3/4” x 39”. Framed. [500/800] Illustrated 468 Pair of Faux Marble Pedestals in the Neoclassical Taste, each of columnar form, decorated to simulate incarnat turquin marble, h. 48”, w. 13‑1/2”, d. 13‑1/2”, top dia. 10”. [400/700] Illustrated

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465

469 Continental Patinated Bronze Bust of Homer, first quarter 20th century, after the Imperial Roman copy of a 2nd century BCE Greek sculpture now at the Musee du Louvre, Paris, on a marble socle base inscribed with the poet’s name in Greek, overall, h. 10‑1/4”, w. 4”, d. 4‑1/2”. [400/700] Illustrated

471 Continental Patinated Bronze of a Greek Warrior, 20th century, after the ca. 100 BCE sculpture excavated in the 17th century at the ruins of Nero’s palace at Antium and now housed in the Musee du Louvre, Paris, mounted on a molded brown marble plinth, h. 14”, w. 16”, d. 5‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

470 Two Neoclassical Patinated Busts, one a French patinated bronze bust of Homer on a variegated marble socle, third quarter 19th century, and the other a patinated brass bust of Athena, 20th century, h. 15‑3/4”, w. 9”, d. 5‑3/4” and h. 15‑3/4”, w. 8”, d. 3‑3/4”. [300/500] Illustrated

472 Detailed Architectural Engraving of a Loggia in the Vatican Palazzo, fourth quarter 18th century, depicts the first level arcade of the “Loggia della Cortile” after Raphael’s design, plate 64” x 14”, sight 65‑1/2” x 17‑1/2”. Glazed and framed. [300/500] Illustrated

472

470 471

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477 suite of four

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473

473 Handsome Italian Mottled Marble Kylix-Form Urn, first quarter 20th century, composed of black, brown and red marble, the inverted base holding the bowl, decorated with bold reeding, h. 15”, w. 19‑1/2”. [400/700] Illustrated 474 Pair of Italian Marble Obelisks, 20th century, the mauve and gray mottled marble obelisks on rectangular plinths with block trim, h. 19”, w. 4‑1/4”, d. 4‑1/4”. [300/500] Illustrated 475 Seven-Piece Collection of Continental Malachite and Malachite-Clad Objets d’Art, 20th century, including a bird’s nest with three eggs, h. 2”, w. 3‑1/4”, d. 3”, a brass-inlaid table box, h. 1‑1/4”, dia. 4‑1/2”, a pyramid, h. 5‑1/2”, w. 4”, and an ashtray, w. 5”, d. 3‑1/2”. [300/500] 476 Pair of Unusual Molded Composition Columns, with flowermolded bases, reeded standards and leaf-molded capitals with bead trim, h. 87‑1/2”, w. 14”, d. 14”. [300/500] Illustrated

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477 Four Engravings of Classical Busts, from Pierre Bouillon, “Musee des antiques dessine et grave par P. Bouillon...” Paris: Didot, l’aine, 1811‑1827, each sight 12” x 15‑3/4”. Glazed, matted and framed alike. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

478

480

478 Assembled Pair of Bisque Figures of Apollo and Diana, fourth quarter 19th century, probably English, after the Antique, on integral socles, stamped with numbers, h. 11”, w. 5‑3/4” and 7‑1/2”, d. 3‑1/2” and 4”. [400/700] Illustrated 479 Handsome Vista Alegre for Mottahedeh Blanc-de-Chine Campana-Form Neoclassical Urn, 20th century, Portuguese, with a fluted base, the glazed urn decorated with a frieze of Grecian dancers left in biscuit porcelain, with egg-and-dart upper borders, the handles terminating in molded masques, with both Vista Alegre and Mottahedeh marks, h. 16‑3/4”, dia. 14”. [600/900] Illustrated 480 French Neoclassical Bronze-Mounted Pottery Vase, first quarter 20th century, now mounted as a lamp, on bronze paw feet, the lamp with a cyan ground and decorated with classical figures and urns, with gilt porcelain goat-head handles on each side, vase, h. 12‑3/4”, overall, h. 27”, dia. 5‑1/2”. [300/500] Illustrated 479

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481 Pair of Italian Molded Cameo Plaques of Classical Maidens, mid-20th century, one with a duo fishing and the other shooting a bow and arrow, in contemporary giltwood porthole frames, h. 13‑1/2”, w. 10‑3/4”. [400/700] Illustrated 482 Italian Neoclassical-Style Ebonized and Parcel-Gilt Console Table, the rectilinear portoro marble top on a base with tapering paneled legs, h. 31‑3/4”, w. 28‑1/2”, d. 14‑1/4”. [400/700] Illustrated

483 Continental School (19th Century), “Plaza Scene”, oil on wood panel, unsigned, with an illegible label en verso, 43” x 31‑1/8”. Unframed. [500/800] Illustrated 484 Pair of Italian Giltwood Looking Glasses, mid-20th century, in the rococo taste, one retaining the paper label of “Palladio, Italy”, h. 23‑1/4”, w. 13”. [400/700] Illustrated

484

481 one of two

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485 Pair of Italian Gilt-Metal and Giltwood “Sheaf of Wheat” Lamps, third quarter 20th century, on Baroque-style bases with fluted, vasiform standards, h. 27‑1/4”, dia. 10‑1/4”. [400/700] Illustrated 486 Pair of Italian Polychrome and Parcel-Gilt Mirrored Two-Arm Appliques, 20th century, each with a shell-carved cartouche and bellflower motifs, the body fitted with inset mirrored panels and two candle arms, h. 34”, w. 15”. [300/500] Illustrated

487 Italian Polychrome and Parcel-Gilt Mirror, in the 18th-century style, with applied foliate decor, a central urn and floral medallions at the corners, h. 53”, w. 38”. [400/700] Illustrated 488 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

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489 Piero Fornasetti (Italian, 1913‑1988) Tole Tray, 20th century, decorated with a wine goddess, labeled “Fornasetti-Milano, Made in Italy”, h. 1‑1/2”, w. 18‑1/2”, d. 14‑1/4”. [400/700] Illustrated 490 John Devich (American, 20th Century), “Venice Harbor Scene”, oil on canvas, signed “J. Devich” lower right, 26” x 44”. Framed. [600/900] Illustrated 491 After Giovanni Paolo Panini (1691‑1765), “The Collector’s Gallery”, 20th century, oil on canvas, signed “Chenwei”, lower right, 48” x 72”. Framed. [1200/1800] Illustrated

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492 Italian Fruitwood and Marble-Inlaid Slate-Top Center Table, the circular slate top with decorative foliate banding and a central anthemion-patterned medallion, and raised above a pierced apron on molded acanthine supports joined by a foliate finial and continuing to scrolled toes, h. 29”, dia. 32”. [400/700] Illustrated

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493 Italian Carved and Painted Blackamoor Wall Bracket, second quarter 20th century, the figure wearing silver-gilt clothing with polychrome scrollwork and flowers, against a swagged and tasseled red-painted backplate supporting a black-painted serpentine shelf with carved gilt trim, stamped “Made in Italy”, h. 13‑1/2”, w. 12”, d. 6‑3/4”. [400/700] Illustrated 494 Venetian Polychrome and Parcel-Gilt Jardiniere-on-Stand, early 20th century, the jardiniere of scrolling cradle form and fitted with a conforming metal liner, raised on a stand with an exaggerated ogee-molded frieze to scrolling toes ending in foliatecarved toes, h. 29”, w. 27”, d. 15‑1/2”. [200/400] Illustrated

495 Small Venetian-Style Mirror, 20th century, with a scalloped crest, the mirrored surround engraved with sprays of flowers and leaves, and trimmed with blown glass flowers and beading, h. 27‑3/4”, w. 19”. [300/500] Illustrated 496 Italian School (19th Century), “Venice Canal”, oil on canvas, signed “O. Brombo” lower right, “Findlay Galleries, Inc., New York, Chicago, Kansas City” label en verso of frame, 23‑1/4” x 31‑1/4”. Framed. [800/1200] Illustrated

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497 Continental School (Fourth Quarter 19th Century/20th Century), group of three watercolor scenes, including Gino de Colle (Italian, active 1890‑1920), “Venetian Canal”, 1897, 15‑1/2” x 8‑5/8”; a Naples market view, signed “C. Robida” and localized lower right, 11‑1/2” x 5‑1/4”; and a Dutch Village scene, indistinctly signed “Deekorps?”, 13‑1/2” x 10‑1/2”. The first framed, the others glazed, matted and framed. [500/800] Illustrated 498 Italian Rococo Polychrome and Marble-Top Console Table, late 18th century, the shaped marble top above a frieze with a central floral shield flanked to either side by a pendant floral swag, raised on paneled shaped legs with acanthine carving, joined by a foliate-centered stretcher and ending in foliate bulb feet, h. 42”, w. 53”, d. 24”. [1000/1500] Illustrated

499 Continental Patinated Metal and Crystal Six-Arm Chandelier, 20th century, the pierced and scroll-molded frame set with continuous rows of prisms, two scrolled sprays of prisms decorating the interior and drops hung from each candle arm, set with foliate drip pans, h. 31”, dia. 27”. [500/800] Illustrated 500 Pair of Continental Three-Light Sconces in the Maria Theresa Style, 20th century, each with a silver-gilt metal frame with glass beading and hung with swags of beads and drops, fitted with glass drip pans, electrified, h. 23‑1/4”, w. 13‑1/2”, d. 7‑1/4”. [700/1000] Illustrated

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501 Continental School (First Quarter 20th Century), “Landscape with Figures by a Forest”, oil on canvas, illegibly signed lower right, 25” x 30”. Framed. [500/800] Illustrated 502 Manner of Jean-Baptiste-Camille Corot (French, 1796‑1875), “Landscape Beside a River and Bridge, Near Mantes”, oil on canvas, bears signature “Corot” lower left, “D. J. Healy Shops (Detroit, Michigan)” label en verso, 12‑1/4” x 13‑7/8”. Framed. [700/1000] Illustrated D. J. Healy Shops was a high-end department store, headquartered in Detroit, Michigan from 1882‑1962. Though no identifiable art department was known to exist in it, D. J. Healy Shops did sell and frame original artwork, such as Eastman Johnson. D. J. Healy, himself, had an impressive art collection, and was known to gift paintings to museums, like the John Singleton Copley portrait of Mrs. Clark Gayton he gave to the Detroit Institute of Art in 1927.

503 one of two

503 Karl Kaufmann (as B. Lambert) (Austrian, 1843‑ca. 1901), “Riverscapes”, pair of oils on wood panel, each signed “B. Lambert”, one lower left, one lower right, 7” to 10” x 12‑1/4” x 15‑1/4”. Glazed and framed alike. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [600/900] Illustrated 504 Karl Kaufmann (Austrian, 1843‑ca. 1901), “Mountainous Landscape with a Boater”, oil on canvas, signed lower left, 27” x 41‑1/2”. Framed. [800/1200] Illustrated

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505 Continental School (19th Century), “Stream Between the Mountains”, oil on canvas, unsigned, 10‑3/4” x 17”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 506 Georg Sommer (German, 1848‑1917), “Mountain River Valley”, oil on canvas, signed and illegibly dated lower right, 23‑3/4” x 31‑5/8”. Framed. [300/500] Illustrated 507 Continental School (Fourth Quarter 19th Century), “Landscape with Figure”, oil on canvas, illegibly signed lower left, 24” x 18”. Framed. [500/800] Illustrated 508 Pierre LeBoeuff (French, Active 1899‑1920), “Probably SaintPere sous Vezelay”, watercolor, signed lower left and localized lower right, 29‑3/8” x 19‑3/8”. Glazed, matted and framed. [600/900] Illustrated

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509 J. L. Kleyn (Dutch, 20th Century), “Sailboats on the River”, oil on canvas, signed lower right, 16” x 23‑3/4”. In a giltwood frame. [500/800] Illustrated 510 French School (19th Century), “Riverscapes”, pair of oils on canvas, unsigned, each 12” x 20”. Framed. [500/800] Illustrated

510 two of two

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511 Guy Cambier (French, 1923‑2008), “A Gypsy Camp”, oil on canvas, signed lower right, 26” x 32”. Framed. Provenance: Galerie D’Art de la Place Beauvau, Paris, France, 1976; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [800/1200] Illustrated

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512 Chinese Export Sterling Silver-Clad Glass Four-Chamber Decanter, Hong Kong, late 19th/early 20th century, the pearshaped glass body with tall cylindrical neck, clad in openwork silver decorated with dragons in clouds, bamboo, prunus and pagodas, with void cartouches, the collar with annular bands, the four spouts fitted with four claw-shaped corked stoppers, h. 12‑1/2”, dia. 5‑1/2”. [300/500] Illustrated 513 Persian .875 Silver Cocktail Shaker, third quarter 20th century, probably Isfahan, the traditional-form three-piece shaker beautifully chased and engraved with birds, flowers and pomegranates, h. 8”, dia. 3‑1/2”, 14.49 t. oz. [300/500] Illustrated 514 Continental Silverplate Picture Frame, first quarter 20th century, in the Restauration taste, rectangular, crested by the French Restauration mantled with staves of Asclepius and Caduceus, with floral swags and leaf-and-dart banding, with easel back, h. 20‑3/4”, w. 14‑1/2”. [300/500] Illustrated 515 Continental Silver-Gilt Bronze Figure of “Salvator Mundi”, first quarter 20th century, the Christ Child with one hand raised in blessing, the other holding a globe as symbol of the Earth, cast signature “R. Cower”, h. 10‑1/4”, w. 4‑1/4”, d. 3‑1/4”. [500/800] Illustrated

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516 Four French Silver Tastevins, mid-20th century, including two first standard (.950) silver examples, one by Marc Parrod, Dijon, with snake handle and grape decoration, dia. 3‑1/8”, the other with medallion handle, fluted decoration and “coin” bottom”, dia. 3‑1/2”, a second standard (.800) silver example with snake handle, grape and flower decoration and “coin” bottom, dia. 2‑3/4”, and an unmarked example with snake handle and gadroon decoration, dia. 2‑7/8”, 10.42 total t. oz. (excluding unmarked example). [300/500] Illustrated 517 Set of Four Continental .800 Silver Figural Swan Salts and Spoons, first half 20th century, each salt in the form of a swimming swan, h. 1‑3/4”, l. 2‑1/2”, the matching spoons in the form of a feather, l. 2‑3/4”, 4.79 total t. oz. [300/500] Illustrated 518 German .800 Silver Coquille Dish, the pattern introduced in 1886 by M. W. Wilkens & Soehne, Bremen, retailed by J. Schumacher, Krefeld, well-chased with “seashell” scroll crest and four scroll feet, w. 14‑1/2”, 25.52 t. oz. [400/700] Illustrated 518

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519 Continental Silverplate Center Bowl, first quarter 20th century, in the rococo taste, of batteau form, decorated with rococo cartouches, flowers and crested by a figure of Diana, h. 10‑3/4”, l. 14”, w. 6”. [600/900] Illustrated

521 Italian .800 Silver Five-Light Candelabrum, third quarter 20th century, by Castaudi & Gautero, Vercelli, in the rococo taste, with putto-crested plinth base and scrolling arms, h. 15‑3/4”, w. 7‑3/4”, weighted. [400/700] Illustrated

520 Set of Six German .800 Silver Condiment Baskets, first quarter 20th century, by Storck & Sinsheimer, Hanau, each in the form of a deep, oval openwork flower basket decorated with embossed floral swags and cabochon cartouches, with scroll-edged rim and fixed handle, raised on four openwork feet, fitted with a conforming colorless glass liner, h. 5”, l. 3‑3/4”, w. 3”, 18.27 total t. oz. (excluding glass liners). [300/500] Illustrated

522 German Art Nouveau Silverplate Jardiniere, first quarter 20th century, navette-shaped, cast with elaborate “whiplash” rim and handles, female busts, and scrolling flowers, fitted with a conforming liner, h. 7”, l. 19”, w. 6‑1/2”. [400/700] Illustrated

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523 Set of Four French First Standard (.950) Silver Salt Cellars and Spoons, first quarter 20th century, by Gabert & Conreau, Paris, in the Rococo Revival taste, the salts of bulbous oval cauldron form with conforming glass inserts, w. 2‑1/4”, the spoons with coquille bowls and fleur-de-lis finials, l. 2‑1/2”, 1.93 total t. oz. (excluding liners). [400/700] Illustrated 524 French First Standard (.950) Silver-Mounted Glass Six-Piece Cordial Set, fourth quarter 19th century, by Maison Odiot, Paris, comprising a decanter, h. 7”, dia. 3‑3/4”, and five cordials, h. 2‑1/4”, dia. 1‑1/2”, the decanter with spherical glass body with tall slender neck, mounted with a finely chased silver rocaille collar and foot joined by an acanthus-scroll handle, with fitted gadrooned cap, the cordials en suite. [300/500] 525 Pair of French First Standard (.950) Silver-Clad Cut Glass Whiskey Decanters, first quarter 20th century, by Andre Roberge, Paris, the glass bottle with jar-shaped base cut with panels and foliate banding, the tall neck clad in silver with reed-and-laurel banding, with stopper en suite, h. 10‑1/2”, dia. 4‑1/2”. [400/700] Illustrated

526 Ten English Sterling Silver and French Silverplate Novelty Salt and Pepper Shakers, 20th century, including sterling pieces: a 1964 R. Comyns, London, figural owl pair, h. 2‑3/8”, and a 1940 Barker Brothers, Birmingham cann-form salt cellar, h. 1‑1/2”, and silverplate pieces: a six-piece Roux-Marquiand, Paris, watering and milk can set, h. 2‑3/4”, and a ca. 1872 English shaker in the form of a salt barrel, wooden with silverplate bands, h. 2‑5/8”, 5.36 total t. oz. (sterling examples only). [400/700] Illustrated 527 Rare Christofle Silverplate Lemon Squeezer, first quarter 20th century, Paris, the spatulate-handled scissor-action squeezer with a pierced straining screen, l. 8”. [300/500] Illustrated Christofle introduced this lemon squeezer in 1896, when it sold for 20 francs; by 1926 the price had risen to 177 francs. It was sold primarily to nightclubs and bars, and was discontinued sometime in the 1930s. An identical example was sold at New Orleans Auction Galleries in March 2010, lot 520.

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528 Eight Pieces of Danish Modern Sterling Silver, mid-20th century, Copenhagen, including an Axel Salomonsen threepiece tete-a-tete, with coffeepot, h. 7‑1/4”, covered sugar bowl, dia. 3‑1/2”, and creamer, dia. 3‑1/2”, with crown finial and macassar handles, an Einar Dragsted “Grapes” bowl, dia. 6‑1/2”, a Sven Toxvaerd “Blossom” sauce ladle, l. 6‑1/2”, a pair of Grann & Laglye “Cardinal” salt spoons, l. 2‑1/2”, and a Jensen & Wendel “Acorn” salt spoon, l. 2‑1/4”, 40.17 total t. oz. (including wooden handles). [500/800] Illustrated

530 Georg Jensen Sterling Silver Bowl #620C, with the post-1945 mark, Copenhagen, designed by Harald Nielsen (1892‑1977), dia. 9‑1/2”, 15.55 t. oz. [300/500] Illustrated

529 Georg Jensen Sterling Silver Medium “Grapes” Cup, designed in 1928 by Georg Jensen (1866‑1935), this example 1945‑1951 by Jensen & Wendel, Copenhagen, pattern number 296A, h. 3‑7/8”, dia. 3”, 4.27 t. oz. [600/900] Illustrated

532 Gucci Silverplate Compote, fourth quarter 20th century, in the Art Deco taste, with stepped and reeded “skyscraper” standard, spherical green resin knop, and shallow saucer bowl, h. 9”, dia. 11‑3/4”. [300/500] Illustrated

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531 Six-Piece Georg Jensen Sterling Silver Salt and Pepper Set #627A, Copenhagen, designed by Ove Brobeck (d. 1971), with the post-1945 Jensen mark, h. 1‑1/2”, 4.40 total t. oz. [300/500] Illustrated

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533 Three Pieces of Christofle Silverplate “Laque de Chine” Hollowware, second half 20th century, Paris, including a cream and sugar set, dia. 2‑1/8” and 2‑5/8”, and a tea tray, 18‑3/4” x 12‑3/8”. [300/500] Illustrated 534 Tiffany & Co. Sterling Silver Sweetmeat Dish, third quarter 20th century, in the form of three stylized ivy leaves joined at the stem around a heart-shaped ring handle, h. 2‑1/4”, w. 10‑1/4”, 11.35 t. oz. [400/700] Illustrated 535 French Art Deco Opaline Glass and Nickel-Plated Four-Light Chandelier, second quarter 20th century, with stalactite-molded matching shades, signed “Ezan”, and stalactite appliques to the upper rim and drops on the arms, the metal elements all in the Art Moderne manner, h. 23‑1/2”, w. 31”. [500/800] Illustrated

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536 Stylish Giltwood Roll-Arm Bench in the Regency Taste, the flared and gilded legs supporting the seat frame with large bolster arm rests, and covered in paisley velvet, h. 24”, w. 72”, d. 22”. [300/500] Illustrated 537 Art Deco “KPM” Porcelain Figure of a Sad Clown, second quarter 20th century, portrayed holding a guitar, marked with an underglaze blue sceptre, an overglaze orb with “KPM” and “Made in Germany”, along with decorator’s numbers, h. 14”, w. 7‑3/4”. [600/900] 538 Unusual Hollywood Regency Bronze and Crystal Two-Light Wall Sconce, mid-20th century, American, with graduated hemispherical tiers, the lower one molded with scrollwork, on a leaf-molded and scrolled support, the upper tiers molded as icicles and hung with icicle-form prisms, h. 27‑1/2”, w. 20”, d. 6”. [300/500] Illustrated

539 Contemporary Gilt-Metal and Glass Cocktail Table, the rectilinear glass top on a frame with modeled legs and stretcher, h. 18‑1/4”, w. 39‑1/2”, d. 27‑3/4”. [400/700] Illustrated 540 French Art Deco Cameo Glass Vase, second quarter 20th century, of small size and decorated with orange flowers on a frosted ground, h. 3‑1/4”, dia. 3”. [300/500] 541 Legras Enamel Art Glass Winter Scene Bowl and a Pair of Vases, first quarter 20th century, French, decorated with snow and bare trees against an orange sky, both the bowl, h. 3‑1/4”, dia. 7”, and the pair of vases, h. 10‑3/4”, dia. 3‑3/4”, with pinched necks, signed “Legras” in enamel. [400/700] Illustrated

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542 Galle Cameo Glass Stick Vase, first quarter 20th century, Nancy, France, decorated with mauve cut vines over a yellow shaded base, signed “Galle” in cameo near the base, h. 17‑1/2”, dia. 5”. [800/1200] Illustrated 543 Daum Nancy Etched and Gilt-Trimmed Glass Toothpick Holder, first quarter 20th century, French, the pink holder decorated with cut, raised flowers and leaves against an etched ground, signed “Daum Nancy” with a Croix de Lorraine in gilt on the base, h. 2”, dia. 1‑1/4”. [300/500] Illustrated

544 Pair of Baccarat Molded and Frosted Crystal Candlesticks, ca. 1900, now mounted as lamps, the candlesticks with a ribbed base, drip pan and candle cup, with a putti-form standard, hung with prisms, marked “Baccarat” in raised letters on the base, fitted with shades, h. 24‑1/2”, dia. 4‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [400/700] Illustrated 545 Collection of Four Baccarat Swirl-Molded Crystal Candlesticks, second quarter 20th century, French, including three identical sticks, h. 9”, dia. 4‑1/2”, and a lower stick set with a nozzle, h. 6‑1/2”, dia. 4‑3/4”, signed with an etched mark. [300/500] 546 Two Pieces of Lalique Molded and Frosted Crystal, post-1978, French, including a “Nogent” compote decorated with sparrows, h. 3”, dia. 5‑1/2”, and an “Acanthus” vase, h. 4‑1/2”, dia. 3‑1/2”. [300/500] Illustrated

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547 Six Pieces of Lalique Molded and Frosted Crystal, 20th century, French, including a timori elephant, h. 6‑1/4”, a gregoire toad, h. 3”, a swan ring tray, h. 3‑3/4”, an anemone candle holder, h. 3”, a figure of two female nudes, h. 5‑1/2”, and a “dampiere” footed bowl with birds, pre-1975, dia. 4‑1/2”, all marked. [300/500] Illustrated 548 Six Pieces of Continental Glass, 20th century, including a signed Baccarat rearing horse, h. 5‑3/4”, w. 8”, a signed Baccarat stork, h. 6‑1/2”, w. 3‑1/4”, a signed Val St. Lambert bowl with molded ribs, h. 1‑1/2”, dia. 5”, a signed Orrefors floriform bowl, h. 3”, dia. 6‑1/4”, a decanter with an unidentified mark, h. 8‑1/4”, dia. 4”, and a colorless vase with green leaves, h. 6”, dia. 4‑3/4”. [600/900] Illustrated

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549 Group of Three Robert Kaindl Hand-Blown Glass Bowls, 2005, in graduated sizes from the “Seashape Series”, the largest signed and dated, h. 4‑1/2”, w. 5”, h. 4”, w. 10‑1/2”, and h. 4‑1/2”, w. 12‑1/2” respectively. [300/500] Illustrated 550 Seven-Piece Collection of American Contemporary Art Glass, the largest item a red, green and blue vase employing duck-billed characters, signed by Tadashi Toni, two smaller vases with duck-billed characters in amber and mauve, two vases with frosted heads, and one predominately amber-colored vase, all likely Tadashi Toni, and a mauve and yellow compote signed by Michael G. Muls and dated 1998, h. 11‑1/2” to 24”, dia. 3” to 7‑1/4”. [400/700] Illustrated

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551 Unusual Venetian-Style Mirror of Art Deco Inspiration, 20th century, with a scalloped crest evoking the sun’s rays, over a fleurde-lis with swags, each side decorated with engraved bellflowers hung from bowknots, h. 57”, w. 30‑3/4”. [500/800] Illustrated

554 Wilhelm Schiller and Son Majolica Jardiniere, ca. 1900, with gilt trim, decorated with molded neoclassical scenes on a matte green ground, impressed “WS&S” on the bottom, h. 9‑1/2”, dia. 11‑3/4”. [300/500]

552 Vintage Pair of Venini-Style Lucite Sconces, each with two rows of shaped lucite prisms suspended from a metal frame and a single socket inside, h. 8”, w. 9”, d. 5”. [400/700] Illustrated

555 Art Deco-Style Palisander and Brass Occasional Table, third quarter 20th century, the circular top on a pedestal with brass columns joined to an X-form frame, on a circular base, h. 31”, dia. 23‑1/4”. [500/800] Illustrated

553 Vintage Venini-Style Lucite and Gilt-Metal Twelve-Light Chandelier, 20th century, the hexagonal-shaped chandelier hung with U-shaped lucite “prisms”, h. 18”, dia. 20”. [400/700] Illustrated

556 Unusual Swiss Art Deco Onyx Clock, second quarter 20th century, retailed by A. L’Emeraude, Lausanne, signed on the dial, with a matching onyx and black marble stand, h. 41‑1/4”, dia. 12”. [300/500] Illustrated

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557 Art Deco Marquetry-Inlaid Macassar Ebony and Acajou Cabinet, second quarter 20th century, the case with a pair of doors, each with a floral and foliate inlay, over a bank of three drawers, retaining their bone pulls, on shaped legs, h. 59‑1/4”, w. 39‑1/4”, d. 14‑3/4”. [1000/1500] Illustrated 558 French Art Deco Occasional Table, third quarter 20th century, the oval top on a pair of curule uprights, joined to a shaped plinth, h. 24”, w. 34‑1/2”, d. 19‑3/4”. [500/800] Illustrated

559 Art Deco-Style Mahogany Occasional Table, 20th century, the circular top on three shaped supports, joined to a base of like shape, h. 23”, dia. 23‑1/4”. [500/800] Illustrated 560 Continental Patinated Bronze of an Ostrich, 20th century, in the style of Diego Giacometti (Swiss, 1902‑1985), the body a blown ostrich egg, cast signature, h. 20‑1/8”, w. 5‑5/8”, d. 7”. [1000/1500] Illustrated

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561 Continental Patinated Bronze of a Stylized Recumbent Ram, 1980, incised signature “Santi’s”, numbered “22/5,000”, dated, and copyright marked, h. 14‑1/2”, w. 18”, d. 9‑1/2”. [700/1000] Illustrated

563 American Black-Patinated Plaster Figure of “Sultry Awakening”, 1979, after Klara Sever (Czech/American, b. 1935), inscribed “Austin Prod. Inc., 1979” and with copyright mark along edge of self-base, on an oval wood plinth, overall, h. 21‑3/4”, w. 16”, d. 6‑1/4”. [300/500] Illustrated

562 Loet Vanderveen (Dutch, 1921‑2015), “Kudu”, patinated bronze, incised signature, copyright marked, and numbered “12/750” on belly, h. 11‑1/4” , w. 14‑1/2”, d. 9”. [500/800] Illustrated

564 Giltwood Scrollwork Mirror in the Hollywood Regency Taste, second quarter 20th century, American, in the form of three overlapping ovals, with marbleized glass in the shared areas, the crest with pierced scrollwork, h. 46‑1/2”, w. 84‑1/2”. [1000/1500] Illustrated

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565 Pair of French Art Nouveau Bronze-Mounted Pottery Vases, fourth quarter 19th century, with gilt-edged flowers and leaves, and mounted with flower-decorated pierced paw-footed bases, handles and rims, h. 13”, w. 7‑1/4”, d. 4‑1/2”. [200/400] Illustrated

567 Pair of French Patinated Bronzes of a Flautist and a Piper, 20th century, after Eugene D. Piron (French, 1875‑1928), each with cast signature at edge of self-base, and on a green marble plinth, the tallest, h. 11‑1/2”, w. 4”, d. 7”. [300/500] Illustrated

566 Gerda Gerdago-Style Patinated Bronze and Marble Table Lamp, ca. 1940, cast in the form of a dancer with a millefiori glass shade, h. 8‑1/2”, w. 8‑1/2”, d. 5”. [400/700] Illustrated

568 Contemporary Iron and Gilt-Metal Side Table, of French baker’s table form, with a marble-clad top and lower shelf, both with a deeply molded edge and mounted to a scrolled iron base, h. 31”, w. 63”, d. 20”. [400/700] Illustrated

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569 Continental Art Deco Patinated Brass and Bronze Four-Light Floor Lamp, second quarter 20th century, with a hammered standard and candle cups, with dunce cap-form shades, terminating in a gazelle-form finial, h. 61”, dia. 13”. [500/800] Illustrated 570 Neoclassical-Style Wrought Iron and Brass Stool, third quarter 20th century, the curule base extending to brass swan-head arm rests and joined to a strapwork lattice seat, h. 23”, w. 25‑1/2”, d. 19”. [300/500] Illustrated

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571 Interesting Gilt-Metal Branch-Form Four-Post Bed, with an arched headboard with a central lyre-and-branch and leaf decor, the posts in the form of clustered branches, h. 98”, inside, w. 60”, l. 80”, outside, w. 62”, l. 82”. [500/800] Illustrated 572 John Widdicomb Company Inlaid Mahogany Sideboard, of neoclassical inspiration, with a bowfront banded top and parcelgilt molded edge, above four drawers and a pair of concave inlaid cabinets flanked by curved cabinets on each side, h. 37”, w. 78”, d. 20”. [400/700] Illustrated

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573 Neoclassically Inspired Mahogany and Ebonized Seven-Piece Dining Set, attributed to Nancy Corzine, comprised of a circular table supported by a large, tapering reeded pedestal and mounted to a shaped and molded base, h. 30”, dia. 60”, and six ebonized sidechairs with curved backs and metal ram’s heads at each end, raised on sabre legs, h. 37”. [600/900] Illustrated 574 Group of Three Mounted Silver-Gilt Skulls with Horns, including two deer horns and one antelope horn, the natural horns on silver-gilt skulls, mounted to a wood backplate, h. 8‑3/4” to 13‑1/4”, w. 4‑3/4” to 7‑3/4”. [300/500] Illustrated

575 Pair of English Leather-Covered Stools, in the English club style, on bun feet, with inverted sides, trimmed with brass nailheads, h. 19”, w. 16”, d. 16”. [400/700] Illustrated 576 John Widdicomb Company, Grand Rapids, Burl Elm and Figured Maple Writing Desk, 20th century, the framed top with a banded and string-inlaid border surrounding an inset burgundy leather blotter, the front fitted with two drawers, h. 30”, w. 64”, d. 32”. [400/700] Illustrated

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577 Interesting John Widdicomb Birdseye Maple, Rosewood and Ebonized Console Table, of neoclassical inspiration, bearing the label of John Widdicomb Co., Grand Rapids, with an inset faux marble top, the front fitted with two drawers and raised on square reeded legs, h. 31‑1/2”, w. 61‑1/2”, d. 34”. [400/700] Illustrated 578 Suite of Eight Chinoiserie Ebonized Faux Bamboo Dining Chairs, in the Regency taste, comprised of three armchairs and five sidechairs, each with a pierced back, the legs and stretchers modeled as bamboo, h. 36”. Provenance: Chosen by interior designer Sister Parish of Parish-Hadley, New York, New York, for a South Hampton estate. [1000/1500] Illustrated

579 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”. [300/500] Illustrated 580 Contemporary Brass, Chrome and Lucite Console, the brass tubular frame with down-curved ends, the central panel in black lucite, h. 27”, w. 62”, d. 17”. [300/500] Illustrated 581 Interesting Pair of French Art Deco Chrome and Tubular Glass Sconces, second quarter 20th century, each with a semicircular chrome-framed shade fitted with slender colorless glass bars, the interior with two sockets, h. 16”, w. 6‑1/2”, d. 4”. [400/700] Illustrated

581

578

579

580

577

135

583

587

584

589

582 Semi-Antique Shirvan Carpet, 3’ 6” x 6’ 3”. [400/700]

586 Bidjar Carpet, 7’ 10” x 10’ 4”. [600/900]

583 Semi-Antique Karaja Carpet, 3’ x 4’ 10”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [300/500] Illustrated

587 Persian Tabriz Runner, 2’ 9” x 12’ 7”. [500/800] Illustrated

584 Peshawar Sultanabad Runner, 2’ 7” x 18’ 1”. [500/800] Illustrated 585 Semi-Antique Mir Sarouk Carpet, 5’ 9” x 8’. [500/800]

136

588 Semi-Antique Caucasian Kazak Carpet, 4’ 8” x 7’ 8”. [300/500] 589 Semi-Antique Oushak Carpet, 8’ 6” x 11’ 1”. [800/1200] Illustrated

596

594

592

597

590 Persian Carpet, 4’ x 6’. [400/700] 591 Kerman Carpet, 11’ x 22’ 10”. [1000/1500] 592 Semi-Antique Mahal Runner, 5’ x 16’. [500/800] Illustrated 593 Tabriz Silk Carpet, 4’ 2” x 6’ 3”. [400/700]

594 Turkish Angora Oushak Carpet, 11’ 10” x 15’. [1400/1800] Illustrated 595 Semi-Antique Karaja Runner, 2’ 11” x 11’ 5”. [400/700] 596 Persian Bakhtiari Carpet, 4’ 5” x 6’ 7”. [400/700] Illustrated 597 Antique Sarouk Carpet, 17’ 9” x 10’ 2”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [500/800] Illustrated

137

598 Chinese Jade Carving, early 20th century, the stone of a pale green color with apple green markings, the carving of a winged mythical pi-hsieh animal, with a carved, fitted hardwood stand, h. 5”, l. 14”. [500/800] Illustrated

600 Chinese Jade Carving on Stand, 20th century, the stone carving of varying shades of green with brown markings, the seated figure of Milofo, with playing children, on a silver-inlaid fitted stand, h. 10”, w. 9”. [400/700] Illustrated

599 Chinese Jade Covered Jar on Stand, ca. 1950, the gray-green stone with apple green markings and areas of spinach green, carved with dragons, pearls and clouds in high relief, on a fitted hardwood stand, h. 6”, l. 7‑1/2”. [300/500] Illustrated

601 Chinese Jade Carving, early 20th century, the large jade boulder of lavender and bright apple green color, carved with a monk in a mountain grotto, a Tao Kuang mark on the base with two seals, grotto-marked with three seal characters, on a carved wooden stand, h. 12‑1/4”, w. 8‑1/4”. [1000/1500] Illustrated

598

601

600 599

138

602 Chinese Carved Jade Scent Bottle, in the form of a rose, the stopper carved as a butterfly, h. 3‑1/2”, w. 2‑1/2”, d. 1‑3/4”. [600/900] Illustrated

604 Two Small Chinese Polychrome “Cizhou”-Style Dishes, each of circular form, the interior painted with a floral motif in iron-red and green with concentric bands, h. 1”, dia. 3‑1/4”. [500/800]

603 Small Chinese Tripod Censer in the “Jun” Ware Style, likely 20th century, of globular form with a flat, flared rim, and a traditional all-over blue glaze with a distinctive lavender splash to one side, raised on three neat, tapering feet, h. 2”, dia. 2‑1/4”. [500/800] Illustrated

605 Chinese Blanc-de-Chine Wine Cup, 19th century, Te-hua ware, of libation cup form, the surface decorated in relief with a tiger, crane, deer and prunus flowers, h. 2”, w. 4”. [300/500] Illustrated 606 Carved Marble Buddha Head in the Shan Style, 20th century, with painted detail to the face, mounted on a simple black stand, h. 11‑1/2”, w. 4‑1/2”, d. 4‑1/2”. Provenance: Chosen by interior designer Sister Parish of Parish-Hadley, New York, New York, for a South Hampton estate. [500/800] Illustrated

602

606

605

603

139

610 one of eight

608 one of two

607

611

607 Chinese Bronze Censer, 19th century, on scrolled feet, the sides decorated with lotus leaves, a horse, a crab, a duck and a carp, trimmed with a Chinese fret border, the handles molded as salamanders, h. 8‑1/4”, w. 6‑3/4”, d. 5‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 608 Xu Beihong (Hsu Pei Hung, 1895‑1953), Two Printed Works on Paper, one depicting two horses galloping together with a branch overhead and the other showing three horses in a pasture, each with inscriptions to the top left-hand corner, framed and mounted, sight 26‑1/2” x 13‑1/2”, overall, 32‑1/4” x 18‑1/4”. [500/800] Illustrated

140

609 Small Chinese “Ding” Ware Dish in the Song Style, likely second half 20th century, of circular form, the interior carved with a design depicting two fish, the cavetto with a stylized cloud design, all within geometric scroll borders and with a metal-mounted rim, together with a presentation box, h. 1”, dia. 4‑1/2”. [500/800] 610 Collection of Eight Framed Japanese Woodblock Prints, second half 20th century, ink and color on paper, depicting various scenes of figures, landscapes and animals, some with artist and studio seal marks, h. 18‑1/2”, w. 14”, without frame. [400/700] Illustrated 611 Chinese Export Famille Noir Covered Ginger Jar, first quarter 20th century, decorated with phoenix birds, cranes, peonies, prunus and bamboo on a black ground, marked on the bottom, h. 15”, dia. 12”. [400/700] Illustrated

614

615

612

612 Japanese Bronze Jardiniere, Meiji period (1868‑1912), with lobed sides, decorated with birds and bamboo, h. 13”, dia. 14‑1/2”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated 613 Two Japanese Bottle Vases, mid-20th century, one example with a shallow, compressed body below an elongated neck, the exterior decorated with a raised floral design with gilt highlights, a two-character maker’s mark on the base, and the other example of traditional form, decorated with birds and floral sprays, a maker’s mark on the base, h. 12”, dia. 6”. [300/500] 614 Unusual Pair of Chinese Export Garniture Vases, 20th century, painted with mandarin scenes on a black ground, with applied flowers, figural handles and foo dog knops, h. 26”, w. 9”, d. 6‑1/2”. [400/700] Illustrated

616

615 Chinese Silk Embroidered Panel, early 20th century, depicting eight cranes beside a riverbank, amidst flowering foliage, with an inscription to the top left corner, framed, h. 38”, w. 27”. [300/500] Illustrated 616 Pair of Chinese Export Hexagonal Reticulated Wedding Lanterns with Stands, second half 20th century, each painted with a floral design in the Straits palette of turquoise, pink and yellow, drilled to convert to lamps and glued to hardwood stands, h. 12”, dia. 6‑1/2”. [400/700] Illustrated

141

617 Pair of Chinese Cloisonne Vases, 20th century, the baluster-form vases decorated with stylized lotus scrolls on a turquoise ground, with phoenix-form handles, and lion-mask jump rings in gilt, h. 25‑1/2”, dia. 12”. [700/1000] Illustrated 618 Chinese Hardwood and Cloisonne Scepter, early 20th century, the hardwood carved with archaic scrolling and brocade patterns, and set with cloisonne panels of lotus flowers and the emblems of the immortals on a green ground, l. 21‑3/4”. [300/500] Illustrated

617

619 Japanese Brass Floor Lamp, early 20th century, the champleve enamel lamp decorated with Tao Tich masks on a brocaded ground, h. 62”, dia. 11‑1/2”. [400/700] Illustrated 620 Japanese Cloisonne Bowl, Meiji period (1868‑1912), the standard cloisonne decorated with a duck and flowers on a black ground, with French ormolu mounts, h. 4”, dia. 13”. [300/500] Illustrated

620

618

619

142

621 Chinese Embroidery, 19th century, with chain-stitch decoration of flowers and butterflies in two shades of blue, gold, yellow and green on a brocaded dark green ground, framed and glazed, h. 11”, w. 8‑1/4”. [300/500] Illustrated 622 Japanese Heavily Carved Mahogany Occasional Table, Meiji period (1868‑1912), surface-carved with dragons, birds and chrysanthemums, and raised on cabriole legs, h. 32”, dia. 37”. [800/1200] Illustrated 623 Two Chinese Porcelain Covered Jars, 19th century, of, respectively, oval and globular form, with famille rose decoration of children playing on one example and a pair of phoenixes, magpies, cranes, butterflies and flowers on the other, h. 9”, dia. 9”, and h. 13”, dia. 8”. [600/900]

624 Chinese Famille Verte Square-Sided Vase, late 19th/early 20th century, the slightly tapering body painted with panels depicting floral scenes, below a trumpet neck similarly decorated to the exterior, with an apocryphal six-character Kangxi mark to the base within a glazed reserve, h. 14‑1/2”, w. 4‑1/2”. [1000/1500] Illustrated 625 Pair of Chinese Eggshell Porcelain Bowls on Stands, 20th century, in famille rose decoration, with women in a garden and poems, Ch’ien Lung marks on the base, displayed on fitted wood stands, h. 2‑1/2”, dia. 6”. [300/500] Illustrated 626 Collection of Five Chinese Ceramic Lamps, 20th century, including a blanc-de-chine foo dog, h. 26”, w. 9”, a ginger jar with iron-red decoration, h. 23‑1/2”, dia. 7‑1/2”, a famille jaune ginger jar, h. 21‑3/4”, dia. 6‑3/4”, a blue hat stand, h. 24‑1/2”, dia. 5”, and a famille vert vase, h. 23‑1/2”, dia. 4‑1/4”. [500/800]

624 621

625

622

143

629

627

631 630

627 Large Chinese Ancestor Portrait Scroll, Qing Dynasty (1644‑1911), probably second half 18th century, ink and color on paper mounted on silk, depicting an official in cap and flowing robes bearing an embroidered pattern denoting rank, right side marked with red seal, roller ends capped with blue and white porcelain caps painted with dragons, 35‑1/4” x 41”, overall, 92” x 67”. [400/700] Illustrated 628 Chinese Art Deco Carpet, 5’ 7” x 7’ 6”. [600/900]

144

629 Chinese Embroidered Robe, 20th century, the blue silk with borders embroidered with flowers and the eight precious emblems, w. 50”, l. 29”. [500/800] Illustrated 630 Chinese Enameled Censer, 20th century, the plique-a-jour work decorated with flowers on a blue fish-scale ground, with lion-mask handles and gilt-metal feet, h. 3‑3/4”, w. 6”. [300/500] Illustrated 631 Chinese Porcelain Vase, 20th century, the moon flask-form vase with underglaze blue and red decoration of the sun rising above the waves, Hsuan Te mark on the base, h. 12”, dia. 9‑1/2”. [400/700] Illustrated

632 Chinese Embroidered Panel, late 19th/early 20th century, depicting the figure of the god of longevity, Shao Lao, with a child and a deer on a scarlet ground, framed and glazed, h. 59”, w. 23‑1/4”. [700/1000] Illustrated 633 Pair of Burmese Polychrome and Carved Wood Marionettes, second half 19th century, the male and female figures with handpainted features and fine, impressive period costumes, h. 26”, presented in an ebonized shadowbox with gilt and floral trim, h. 47”, w. 42”, d. 8”. [700/1000] Illustrated 634 Collection of Six Thai Giltwood Dancers, 20th century, in various acrobatic poses, in elaborate costumes including two with wings on their arms, and one utilizing a bamboo pole, on custom stands, h. 23” to 28”, w. 9” to 20”. [400/700] Illustrated 635 Nepalese Bronze Figure of the Buddha, 20th century, the seated figure of Shadakshari Lokeshvara, h. 14”. [300/500] Illustrated

632

633

635

634

145

637

636

Session II (Lots 636-1192) | Sunday, January 29, 2017 | 10:00 a.m. CST

636 Silver-Plated and Snakeskin Cuff Bracelet, the wide cuff bracelet with natural red, black and ivory snakeskin, w. 2”, adjustable dia. 5” to 8”, 76.3 grams total weight. [300/500] Illustrated

638

637 Christian Dior Black “Hardcore” Convertible Handbag, ca. 2003, the jersey exterior with logo webbing d-ring and magnetic front closure having a pocket under the front flap, the reverse with a long slip pocket, the logo jacquard interior with an open compartment and zippered side pocket fronted with a leather tab labeled “Christian Dior/Paris”, with a silver tone “ID” chain strap with pierced “DIOR” on the plate and ending in a crystal-encrusted lanyard lobster claw hook, chain drop: 4‑3/4”, an adjustable logo d-ring webbing strap encircles bag, strap drop: 9‑1/4” to 22‑3/4”, the bag resting on 14 conical feet, h. 5‑1/2”, w. 12‑1/4”, d. 4”, all hardware marked. [400/700] Illustrated 638 Vintage French Deep Rose Caviar-Beaded Frame Evening Bag, the hinged gilt-brass bar closure inset with faux pearls and faux rubies, the candlelight silk satin-lined interior with three open pockets and a small mirror, labeled “Made in France”, with a rolled self-beaded handle strap, h. 5”, w. 10‑1/2”, d. 1‑3/4”. [250/400] Illustrated

639

639 Yves Saint Laurent, Paris, Black Crinkle Patent Leather “Y Mail” Wallet, with a front flap coin pocket, opening to black nappa bill and credit card slots, embossed in gold to resemble a stamped letter, h. 4‑1/2”, w. 4‑3/4”, d. 1/2”. [250/400] Illustrated 640 Two Silver-Gilt Snakeskin and Ostrich Skin Buckle Bracelets, one covered in gray ostrich skin and the other in ivory snakeskin, both with an adjustable buckle closure, inside circumference 6‑3/4” to 7‑1/4”, 72.7 grams total weight. [300/500] Illustrated

146

640

642

644

641

641 Louis Vuitton Logo Canvas “Excentri-Cite” Handbag, the canvas piped in vachetta, with two front flap pockets and one side pocket, all with magnetic closures and alcantara-lined, the top with a brass double zip closure with logo tabs, the red alcantaralined interior having one side patch pocket and labeled “Louis Vuitton/Paris/Made in France” on a vachetta patch, with two stitched vachetta handles, handle drop: 5”, h. 10”, w. 10‑3/4”, d. 5”. [400/700] Illustrated 642 Bottega Veneta Taupe Intrecciato Nappa Shoulder Bag, the frame top with flip clasp, the slouchy body self-banded around the lower edge, the chocolate kidskin-lined interior labeled with a brass tag stamped “Bottega Veneta/Made in Italy” above a deep zippered side pocket, with a nappa self strap, h. 7‑1/2”, w. 9‑1/2”, d. 5”, strap drop: 21‑1/2”. [500/800] Illustrated

643

643 Silvery Brown Lunaraine Mink Coat, with notched collar and on-seam pockets, collar hook and one front hook closure, with raglan sleeves and ribbon-trimmed chocolate satin-lined interior, monogrammed, accompanied by a copy of the 1990 appraisal, size 10‑12, l. 48”. [500/800] Illustrated 644 Raccoon and Chocolate Brown Buckskin Jacket, size 6, labeled “Willmann’s/Furriers/Oklahoma City”, the raccoon pelts interspersed with buckskin trim, with stand-up collar, snap front and cuffs, on-seam pockets, the chocolate brown interior with a forward glove pocket, l. 29”. [300/500] Illustrated

147

645

648

646

645 Vintage Reversible Mink, Mongolian Lamb and Leather Jacket, early 1990s, a custom Sakowitz design, the elements assembled with crocheted dark taupe silk cord, one side of chocolate brown ranch mink with two angled slip pockets, the neck, front and cuffs trimmed with chocolate brown Mongolian lamb, the opposite side of scored dark taupe leather with no pockets, both sides decorated with long, matching crocheted taupe silk cords trimmed with metal cones and discs, wooden beads and ending in sable tails, size 8‑10, l. 29”. [700/1000] Illustrated 646 Collection of Three Cognac Handbags, mid-20th century and later, comprising a vintage lizard frame handbag, the ecru plasticlined interior with a zipper pocket fronting a larger slip pocket, h. 7”, w. 10‑1/4”, d. 3‑3/4”, handle drop: 5‑1/4”, a diminutive vintage alligator frame handbag with a brass slide clasp and woven leather handle, h. 5‑1/2”, w. 6‑3/4”, d. 1”, handle drop: 5‑1/2”, and an American West tooled leather segmented pouch with concho-style decoration and magnetized tasseled flap closure, the reverse with a snap band over a zippered pocket, with a removable cross-body strap, h. 5”, w. 7”, d. 2‑1/2”, strap drop: 20‑1/2” to 23‑1/2”. [250/400] Illustrated

148

647

647 Vintage Raccoon Coat, 1960s, with notched collar, raglan sleeves, four hook closure and on-seam pockets, the chocolate brown satin interior with self-tie and forward glove pocket, labeled “Albert Gompertz/New York”, monogrammed, size 6 , l. 44”. [400/700] Illustrated 648 Chestnut Mink Coat, size 10, with stand-up collar, horn collar button and three hook closure, on-seam pockets, the full inset sleeves with elasticized cuffs, the chocolate brown fabric-lined interior with a forward glove pocket and self ties, monogrammed, l. 47‑1/2”. [600/900] Illustrated

649 Prada Olive Green Cervo “Easy Bag”, with fold-over flaps having labeled snaps at each interior side and a silver tone textured push lock closure stamped “Prada”, the reverse side with a long zipper pocket, both sides with adjustable gathers, one end bearing the triangular olive-green enameled label, the shoulder straps on both sides attached to D-rings and stitched down on the body, the black logo fabric-lined interior with one zipper pocket faced with the black-enameled metal label, includes a dust bag, h. 7”, w. 13”, d. 3‑1/2”, handle drop: 8‑1/4”. [400/700] Illustrated 650 Canadian Coyote and White Fox Full-Length Coat, size 10, with a broad notched collar, a leather collar button and four hook closure, with on-seam side pockets and inset straight sleeves, the champagne embroidered satin interior with a forward glove pocket and self ties, monogrammed, l. 48”. [400/700] Illustrated 651 Christian Dior, Paris, Gray Satin and Pearlized Lambskin “Charming Tote”, the rolled handles partially leather wrapped, the internally gathered “cannage” satin body leather-trimmed and centered with a gunmetal Diorstamped plaque and “charms”, the open top with magnetized closure, the black fabric-lined interior with a leather-labeled side zipper pocket, includes a dust bag, h. 8‑1/2”, w. 12‑1/2”, d. 4‑1/4”, handle drop: 5‑1/2”. [400/700] Illustrated

649

652 Vintage Dark Chocolate Brown Mink Stroller, 1960s, with shawl collar, banded front, three hook closure and on-seam pockets, the full raglan sleeves with self-banded cuffs, the chocolate brown fabric interior with a forward glove pocket, labeled “Albert Gompertz/New York”, monogrammed, size 10‑12, l. 32”. [400/700] Illustrated 652A Dark Chocolate Brown Mink Full-Length Coat, size 8, labeled "Reiss & Fabrizio", with stand-up notched collar, collar button and three hook closure, on-seam pockets and straight raglan sleeves, the taupe silk-lined interior with forward glove pocket, l. 46". Provenance: The Succession of Merryl Israel Aron, New Orleans, Louisiana. [500/800] Illustrated

651

652 650

652A

149

653 654

653 Two Vintage Needlework Frame Handbags, the first example with overall black caviar beading and delicate floral tambour embroidery, the gilt-brass frame and tab elaborately beaded and interspersed with pierced enamel flowers, with a self handle strap, the black satin-lined interior with two slip pockets, one labeled “Hand Made in France/Paris”, h. 5‑1/2”, w. 8‑1/2”, d. 1‑1/2”, strap drop: 5”, the other example with overall floral petit point needlework with a gilt-brass frame, pierced flip closure and chain strap, the white kidskin-lined interior with two small slip pockets, one holding a small mirror, the other holding a small flap coin purse, labeled “Hand Made/Genuine Petit Point/Made in Austria”, h. 6‑1/2”, w. 8”, d. 1”, strap drop: 4‑3/4”. [300/500] Illustrated 654 Two Fur Hats, one of silver fox, the other of deep chocolate mink, size extra small. [300/500] Illustrated 655 Elegant Dark Chocolate Brown Mink Coat, with stand-up collar and on-seam pockets, the self-banded front with three hook closure, the full inset sleeves with lightly padded shoulders and self-banded cuffs, the black Bemberg-lined interior with a buttoned chest pocket, the perimeter self-trimmed with chevrons ending in rosettes, monogrammed, size 8‑10, l. 48”. The proceeds from the sale of this item will benefit WYES, New Orleans public television. [500/800] Illustrated 656 Lady’s Raymond Weil Eighteen-Karat Yellow Gold Wrist Watch, the case with a textured white dial with applied gold Roman numerals and a quartz movement, model 3575, serial #10,XXX, case, 22.5 mm without the crown, 16.8 grams total weight. [300/500] Illustrated 657 Fourteen-Karat Yellow Gold, Enamel and Pearl Bracelet and Diamond and Pearl Brooch, the Victorian black enamel hinged bracelet set with a 3.0 mm mabe pearl, inside circumference 6”, and the fourteen-karat yellow gold brooch set with a 0.01 carat mine-cut diamond, surrounded by three baroque pearls, l. 2‑1/8”, 24.2 grams total weight. [300/500] Illustrated 658 Fourteen-Karat Yellow Gold and Diamond Motion Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 0.10 carats, rotating around the outer border, on a black onyx ground, size 5‑1/2, 11.0 grams total weight. [500/800] Illustrated

150

655

659 Lady’s Baume and Mercier Eighteen-Karat Yellow Gold Wristwatch, the oblong cushion-shaped case measuring 30.0 mm x 27.0 mm without the crown, with a black dial and manual wind mechanical movement, serial #911020, 37, XXX, 31.4 grams total weight. [400/700] Illustrated 660 Three Pieces of Yellow Gold Jewelry, including a Victorian-style fourteen-karat yellow gold hinged bangle bracelet with an oval opal cabochon, inside circumference 6‑1/4”, a fifteen-karat yellow gold buckle brooch, l. 1‑1/8”, and a nine-karat yellow gold bar pin set with three faux rubies and a seed pearl, l. 1‑5/8”, 18.0 grams total weight. [300/500] Illustrated

656

658

657

660

659

151

662

661

663

664 Three-Piece Suite

152

666

661 Antique Fourteen/Ten-Karat Yellow Gold and Gold-Filled Slide Bracelet, the assembled bracelet composed of fourteen Victorian slides set with various gems, including emeralds, opals, seed pearls, rubies, garnets, turquoise and glass, l. 7‑1/2”, 24.8 grams total weight. [300/500] Illustrated 662 Two Fifteen-Karat Yellow Gold Victorian Brooches, including an Etruscan Revival brooch decorated with a bead and wirework design, set with three single-cut diamonds, with an approximate total weight of 0.10 carats, l. 1‑5/8”, and a brooch set with a round faceted aquamarine, with an approximate weight of 0.20 carats, and two 2.0 mm round pearls, l. 1‑7/8”, 5.9 grams total weight. [300/500] Illustrated 663 Fourteen-Karat Yellow Gold and Coral Cameo Brooch, the oval “Etruscan Revival”-style open wirework and bead brooch set with an oval coral cameo of a maiden, size 1‑1/16” x 1‑1/4”, 7.8 grams total weight. [300/500] Illustrated

667

664 Contemporary Indian Twenty-One-Karat Gold and Gemstone “Moghul”-Style Three-Piece Jewelry Suite, comprising a necklace composed of nine articulated openwork floral plaques, each set with split pearls and various colored gemstone melee including sapphire, ruby, emerald, coral, turquoise and garnet, the center with a triangular pendant drop en suite, the whole with freshwater pearl fringe, all to a curb-link chain and fishhook clasp, l. 15”, together with a pair of chandelier earrings, l. 2‑1/4”, and a ring, size 6, 39.6 grams total weight. [900/1200] Illustrated

668

665

665 Audemars Piguet Ladies Eighteen-Karat Yellow Gold and Diamond Royal Oak Wristwatch, the tonneau-shaped, water resistant watch with a screw-down crown, a champagne-colored dial with diamond markers, and an eighteen-karat Audemars Piguet bracelet with a deployment clasp, the watch with a quartz movement, marked “Royal Oak, Quartz, No 566”, inside circumference 5‑1/2”, 88.0 grams total weight. Provenance: The Flatt Collection. [2000/4000] Illustrated

666 Two Fourteen-Karat Yellow Gold and Gemstone Bracelets, including a bracelet set with round-cut treated sapphires, with an approximate total weight of 1.00 carat, and a bracelet set with round-cut treated rubies, with an approximate total weight of 1.00 carat, inside circumference 6‑1/4”, 23.2 grams total weight. [400/700] Illustrated 667 Fourteen-Karat Yellow Gold and Pink Sapphire Ring, the scrolling relief-carved mounting set with a round faceted pink sapphire, with an approximate weight of 0.33 carats, size 8‑3/4, 4.2 grams total weight. [400/700] Illustrated 668 Pair of Fourteen-Karat Rose/Yellow Gold and Ruby Ear Clips, the floral-designed ear clips with rose and yellow gold petals and set with round-cut treated rubies, with an approximate total weight of 0.40 carats for the pair, dia. 7/8”, 14.4 grams total weight. [400/700] Illustrated

153

669 Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, with a waterfall design and mounted with five round-cut rubies, with an approximate total weight of 0.60 carats, and round brilliant-cut diamonds, with an approximate total weight of 1.20 carats, size 6, 8.6 grams total weight. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [800/1200] Illustrated 670 Fourteen-Karat Yellow Gold and Almandine Garnet Ring, mounted with an almandine garnet in a basket setting, with an approximate weight of 28.13 carats, size 6‑3/4, 10.0 grams total weight. [1200/1800] Illustrated 671 Sterling Silver, Ruby and Diamond Pendant Necklace, the pendant with an open freeform design and mounted with rose-cut diamonds and a central treated oval-cut ruby, with an approximate weight of 0.85 carats, l. 1‑3/4”, suspended from a necklace composed of carved oval-shaped treated rubies, accented by roundels mounted with rose-cut diamonds, and finished with a sterling silver clasp mounted with rose-cut diamonds, with an approximate total diamond weight for the necklace and pendant of 1.20 carats, l. 18”, 67.4 grams total weight. [300/500] Illustrated 672 Fourteen-Karat White Gold, Opal, Diamond and Ruby Ring, mounted with an oval opal cabochon, measuring approximately 11.5 mm x 16.9 mm, surrounded by a halo composed of roundcut diamonds, with an approximate total weight of 0.24 carats, alternating with round-cut treated rubies, with an approximate total weight of 0.24 carats, size 6, 5.6 grams total weight. [600/900] Illustrated

670

673 Beautiful Sterling Silver, Opal and Diamond Wide Bangle Bracelet, the 30.0 mm wide bracelet with three rows of round opal cabochons, with an approximate total weight of 22.84 carats, and eight rows of rose-cut diamonds, with an approximate total weight of 7.20 carats, inside circumference 7”, 64.5 grams total weight. [700/1000] Illustrated 674 Eighteen/Twenty-Two-Karat White/Yellow Gold, Opal and Diamond Pendant, mounted with an oval-shaped opal, with an approximate weight of 1.50 carats, accented by twenty-three round-cut diamonds, with an approximate total weight of 0.28 carats, suspended from an 18” sterling silver chain, 10.0 grams total weight. [400/700] Illustrated 675 Custom-Made Sterling Silver, Opal and Diamond Bracelet, mounted with a central cabochon-cut opal, with an approximate weight of 9.61 carats, and a cabochon-cut opal on the clasp, with an approximate weight of 0.65 carats, the whole accented with seventeen round-cut diamonds, with an approximate total weight of 0.54 carats, l. 7”, 30.0 grams total weight. [300/500] Illustrated 676 Custom-Made Sterling Silver, Opal and Diamond Pendant/ Pin Necklace and Earring Suite, the necklace with a pendant/ pin mounted with two elongated cabochon-cut opals, with an approximate total weight of 13.78 carats, accented on the pendant and the necklace with ten round-cut diamonds, with an approximate total weight of 0.81 carats, pendant l. 1‑1/2”, chain l. 17‑1/2”; together with a pair of earrings, each mounted with an oval cabochon-cut opal, with an approximate total weight of 2.20 carats for the pair, and a bezel-set round-cut diamond, with an approximate total weight of 0.04 carats for the pair, l. 1/2”, 3.0 grams total weight. [500/800] Illustrated

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677 Pair of Eight-Karat Yellow Gold and Opal Earrings and a Matching Ring, 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. [300/500] Illustrated

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681 Fourteen-Karat Yellow Gold, Gold Vermeil, Tanzanite, Citrine and Diamond Pendant on Chain, the stylized sunburst pendant set with a central oval-cut tanzanite, with an approximate weight of 0.25 carats, fifteen round citrine cabochons, with an approximate total weight of 1.40 carats, and eighty-eight rose-cut diamonds, with an approximate total weight of 0.25 carats, l. 2‑1/4”, suspended from a four-strand necklace composed of three fourteen-karat yellow gold strands and one sterling silver strand, l. 18”, 12.4 grams total weight. [300/500] Illustrated

680 679

678 Sterling Silver, Moonstone and Diamond Bracelet, composed of twenty-three sections, each mounted with an emerald-cut moonstone, with an approximate total weight of 6.00 carats, each surrounded by rose-cut diamonds, with an approximate total weight of 2.80 carats, l. 7‑1/2”, 19.6 grams total weight. [300/500] Illustrated 679 Sterling Silver, Labradorite and Diamond Tassel Necklace, the tassel composed of labradorite strands hanging from an open “cage” with a bird atop, all mounted with rose-cut diamonds, with an approximate total weight of 1.65 carats, and two small round faceted sapphires for the eyes, suspended from a two-strand labradorite necklace finished with a clasp mounted with rosecut diamonds, with an approximate total weight of 0.32 carats, necklace l. 26”, tassel l. 4”, 31.7 grams total weight. [300/500] Illustrated 680 Pair of Fourteen-Karat White Gold, Tanzanite and Diamond Earrings, the pear-shaped earrings each set with a pear-cut tanzanite, with an approximate total weight of 0.30 carats for the pair, each with a double halo of single-cut diamonds, with an approximate total weight of 0.20 carats for the pair, l. 1/2”, 2.0 grams total weight. [200/400] Illustrated

682 Fourteen-Karat Yellow Gold, Turquoise and Pearl Bib Necklace, the fine circular link necklace composed of five oval turquoise cabochons, ranging in size from 7.2 mm x 4.8 mm to 9.0 mm x 6.1 mm, the six wirework pendulettes each set with a pearshaped turquoise cabochon, ranging in size from 6.5 mm x 9.9 mm to 7.0 mm x 10.9 mm, the bib accented by five freshwater pearls, l. 15”, 20.8 grams total weight. [700/1000] Illustrated 683 Pair of Silver-Gilt, Turquoise and Diamond Earrings and a Bracelet, the bracelet mounted with turquoise cabochons, measuring approximately 5.43 mm x 7.38 mm, accented with rose-cut diamonds, with an approximate total weight of 1.92 carats, w. 1”, l. 7”, and the earrings each mounted with two turquoise cabochons, measuring approximately 9.48 mm x 3.75 mm and 1.28 mm x 2.62 mm, accented by rose-cut diamonds, with an approximate total weight of 0.49 carats for the pair, l. 1‑1/2”, 65.4 grams total weight. [400/700] Illustrated 684 Fourteen-Karat White Gold and Aquamarine Ring, the Art Deco-style filigree ring set with an oval faceted aquamarine, with an approximate weight of 2.50 carats, size 9‑1/4, 2.8 grams total weight. [400/700] Illustrated

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685 Sterling Silver/Eighteen-Karat Yellow Gold “Lagos Caviar” Jewelry Suite, including a sterling silver beaded necklace, l. 16”, with two sterling silver/eighteen-karat yellow gold enhancers, one set with an emerald-cut blue topaz, with an approximate weight of 14.0 carats, and the other set with an emerald-cut white topaz, with an approximate weight of 13.0 carats, flanked on either side by four round-cut garnets, with an approximate total weight of 0.60 carats, together with a pair of earrings, each set with an emerald-cut white topaz, with an approximate total weight of 10.0 carats for the pair, and accented by twelve round-cut garnets, with an approximate total weight of 0.48 carats for the pair, 138.8 grams total weight. [600/900] Illustrated 686 Fourteen-Karat White Gold, Emerald and Diamond Ring, designed as a long “flower”, the center mounted with four sections, each with three round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, surrounded by fifteen marquise-cut treated emeralds, with an approximate total weight of 1.47 carats, size 5‑1/2, 6.0 grams total weight. [400/700] Illustrated 687 Ten-Karat White/Yellow Gold, Emerald and Diamond Ring, the white gold mounting with applied yellow gold beads and set with a faceted rectangular treated emerald, with an approximate weight of 0.50 carats, accented by single-cut diamonds, with an approximate total weight of 0.08 carats, size 7‑3/4, 6.6 grams total weight. [400/700] Illustrated 691

690 Sterling Silver and Gold, Emerald and Diamond Bangle Bracelet, mounted with eighteen round and oval treated emeralds, with an approximate total weight of 4.50 carats, bordered on each side by a band of rose-cut diamonds, with an approximate total weight of 2.67 carats, inside circumference 7‑1/4”, 26.9 grams total weight. [300/500] Illustrated

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691 Fourteen-Karat Yellow Gold and Emerald Necklace, the pendant mounted with a pear-cut treated emerald, with an approximate weight of 5.63 carats, suspended from a 16” serpentine fourteen-karat yellow gold chain, 5.0 grams total weight. [400/700] Illustrated

688 Sterling Silver, Carved Emerald and Diamond Necklace, composed of carved treated emerald roundels, accented with five two-row rose-cut diamond roundels, and finished with a rose-cut diamond clasp, with an approximate total diamond weight of 1.20 carats, l. 19”, 182.5 grams total weight. [300/500] Illustrated 689 Pair of Sterling Silver, Baroque Pearl, Emerald and Diamond Earrings, the pair of dangling snake pendant earrings pave-set with rose-cut diamonds, with an approximate total weight of 0.80 carats for the pair, and a 15.0 mm baroque pearl, suspended from a mounting set with a round-cut treated emerald, with an approximate total weight of 0.90 carats for the pair, l. 2‑3/8”, 20.2 grams total weight. [300/500] Illustrated

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692 Fourteen-Karat Yellow Gold and Emerald Ring, with a scrolling design and set with a mix of sizes of treated emerald cabochons, with an approximate total weight of 2.70 carats, size 6‑1/4, 7.1 grams total weight. [400/700] Illustrated 693 Fourteen-Karat Yellow Gold, Diamond and Emerald Bracelet, the curved link bracelet with a central diamond cluster, with an approximate total weight of 0.07 carats, and four treated emerald cabochons, with an approximate total weight of 1.25 carats, l. 6‑1/2”, 15.6 grams total weight. [400/700] Illustrated 694 Ten-Karat Yellow Gold/Gold-Filled and Faux Black Opal Jewelry Suite, including a ring with a grape-motif mounting set with a simulated black opal cabochon, measuring 10.0 mm x 13.0 mm, size 7‑3/4, 7.9 grams total weight, a gold-filled bee brooch set with a round simulated black opal cabochon, l. 1‑1/2”, a pair of gold-filled dangling pendant earrings, each set with a simulated black opal double cabochon, l. 2‑3/4”, and an assembled gold-filled necklace composed of simulated black opals, l. 17‑1/2”. [300/500] Illustrated 698

696 Fourteen-Karat Yellow Gold, Emerald and Diamond Pendant with Chain, the pendant mounted with a pear-cut treated emerald, with an approximate weight of 0.51 carats, surrounded by ten round-cut diamonds, hanging from a round brilliant-cut diamond, with an approximate total weight of 0.64 carats, the whole suspended from an 18” chain, 4.0 grams total weight. [600/900] Illustrated

695

695 Eighteen-Karat Yellow Gold, Diamond and Emerald Brooch, with a retro foliate design and set with single-cut diamonds, with an approximate total weight of 0.28 carats, and round faceted treated emeralds, with an approximate total weight of 0.15 carats, size 1” x 1‑7/8”, 14.6 grams total weight. [400/700] Illustrated

697 Three-Piece Jade and Diamond Jewelry Suite, including a platinum ring set with a carved green jade measuring approximately 17.5 mm x 13.0 mm, accented with four round brilliant-cut diamonds, size 5‑1/2, a silver link bracelet with eight round jade disks measuring 8.6 mm in diameter, accented with round brilliant-cut diamonds, inside circumference 6‑5/8”, and a pair of silver earrings, each set with an oblong carved green jade measuring approximately 13.6 mm x 9.5 mm, accented with round brilliant-cut diamonds, l. 1/2”, the suite with an approximate total diamond weight of 1.20 carats, 27.8 grams total weight. [500/800] Illustrated 698 Unusual Fourteen-Karat Yellow Gold, Amethyst, Jade and Diamond Ring, the mounting set with a large light lavender jadeite cabochon measuring 15.0 mm x 20.0 mm, three olive green nephrites measuring approximately 10.5 mm x 13.3 mm, four round faceted amethysts, with an approximate total weight of 0.25 carats, and two round brilliant-cut diamonds, with an approximate total weight of 0.66 carats, size 7‑1/4, 19.8 grams total weight. [400/700] Illustrated

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699 Fourteen-Karat Yellow Gold and Carved Amethyst Necklace, composed of graduated carved amethyst beads, ranging in size from approximately 17.5 mm to 28.5 mm in diameter, accented by yellow gold corrugated roundels and finished with a fourteen-karat yellow gold toggle clasp, l. 21”, 241.8 grams total weight. [300/500] Illustrated 700 Fourteen-Karat Yellow Gold, Pink Tourmaline and Yellow Sapphire Ring, mounted with a round-cut pink tourmaline, with an approximate weight of 9.04 carats, surrounded by a halo of roundcut yellow sapphires, with an approximate total weight of 1.92 carats, size 7‑1/4, 10.0 grams total weight. [1800/2500] Illustrated 701 Pair of Rose Gold Vermeil, Morganite and Diamond Earrings, each dangling pendant earring set with an oval-cut morganite, with an approximate total weight of 1.50 carats for the pair, accented by round-cut diamonds, with an approximate total weight of 0.20 carats for the pair, l. 1”, 2.2 grams total weight. [300/500] Illustrated 702 Eighteen-Karat Yellow Gold, Kunzite and Diamond Pendant, the pendant/enhancer mounted with an oval-cut kunzite, with an approximate weight of 9.94 carats, and a pear-cut kunzite, with an approximate weight of 41.29 carats, accented by eleven single-cut diamonds, with an approximate total weight of 0.28 carats, l. 2‑1/2”, 24.0 grams total weight. [800/1200] Illustrated 703 Fourteen-Karat Yellow Gold, Diamond and Pearl Ring, with a bypass design and mounted with two 7.0 mm round rose-colored pearls and accented by round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, size 6‑1/4, 6.1 grams total weight. [300/500] Illustrated 704 Unusual Fourteen-Karat Yellow Gold, Diamond, Emerald and Ruby Ring, designed as a flickering flame and mounted with rosecut and single-cut diamonds, with an approximate total weight of 0.06 carats, two round-cut treated emeralds, with an approximate total weight of 0.08 carats, and two round-cut treated rubies, with an approximate total weight of 0.08 carats, size 6, 11.8 grams total weight. [400/700] Illustrated

704

705 Fourteen-Karat Yellow Gold and Diamond Ring, with a freeform ribbon design and mounted with round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, size 6‑3/4, 6.2 grams total weight. [300/500] Illustrated 706 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with five mine-cut diamonds, with an approximate total weight of 0.22 carats, size 10‑1/2, 1.3 grams total weight. [300/500] Illustrated 707 Two Fourteen-Karat Yellow Gold Bracelets, including a woven open link bracelet, l. 7‑1/4”, and a flexible straight line bracelet with herringbone borders, l. 6‑1/2”, 33.2 grams total weight. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [500/800] Illustrated 708 Fourteen-Karat Yellow Gold and Diamond Ring, with a cluster design and set with round brilliant-cut diamonds, with an approximate total weight of 0.65 carats, size 8, 4.0 grams total weight. [300/500] Illustrated 709 Fourteen-Karat Yellow Gold and Diamond Ring, the openwork ring with a quatrefoil design and mounted with round single-cut diamonds, with an approximate total weight of 1.65 carats, size 7, w. 17.63 mm, 4.9 grams total weight. [300/500] Illustrated

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162

710 Fourteen-Karat Yellow Gold and Diamond Pendant with Chain, the spike pendant mounted with rose-cut diamonds, with an approximate total weight of 1.30 carats, l. 1‑1/4”, suspended from a fourteen-karat yellow gold chain, l. 16”, 2.0 grams total weight. [300/500] Illustrated

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701

699

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705

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711

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711 Fourteen-Karat Yellow Gold and Diamond Necklace, the circlelink chain segmented by seven round brilliant-cut diamonds, with an approximate total weight of 0.70 carats, l. 28‑1/2”, 5.7 grams total weight. [400/700] Illustrated 712 Fourteen-Karat Yellow Gold, Enamel, Diamond and Pearl Brooch, the Victorian-style blue enamel brooch with an applied crown set with four diamonds, with an approximate total weight of 0.10 carats, and a baroque pearl pendant, size 1‑1/8” x 1‑7/8”, 13.2 grams total weight. [300/500] Illustrated 713 Fourteen-Karat Yellow Gold, Enamel, Diamond and Sapphire Ring, the Victorian-style ring with a blue enamel mounting set with a central cushion faceted treated sapphire, with an approximate weight of 2.65 carats, surrounded by round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, size 7‑1/2, 10.6 grams total weight. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated

715

717 Eighteen-Karat White Gold, Diamond and Faux Sapphire Bar Pin, designed as a bow and mounted with calibre-cut faux blue sapphires, accented with round brilliant-cut diamonds, with an approximate total weight of 0.18 carats, l. 2‑1/4”, 5.5 grams total weight. [300/500] Illustrated

714

714 Pair of Sterling Silver, Sapphire and Diamond Earrings, each earring mounted with a swag of baguette-cut diamonds, with an approximate total weight of 0.70 carats for the pair, under an oval-cut treated sapphire, with an approximate total weight of 4.00 carats for the pair, l. 7/8”, 6.0 grams total weight. [300/500] Illustrated 715 Pair of Sterling Silver, Sapphire and Diamond Dangle Earrings, each earring mounted with two oval-cut treated sapphires, with an approximate total weight of 4.37 carats for the pair, surrounded by rose-cut diamonds, with an approximate total weight of 0.54 carats for the pair, l. 1‑5/8”, 5.0 grams total weight. [300/500] Illustrated 716 Platinum, Iolite and Diamond Ring, mounted with a long hexagonal-cut iolite, with an approximate weight of 2.00 carats, flanked by two marquise-cut diamonds, with an approximate total weight of 0.18 carats, size 6, 5.2 grams total weight. [300/500] Illustrated

718 Pair of Fourteen-Karat White Gold and Diamond Earrings, the dangling pendant earrings set with round brilliant-cut diamonds, with an approximate total weight of 0.66 carats for the pair, l. 1”, 3.1 grams total weight. [300/500] Illustrated 719 Fourteen-Karat White Gold and Diamond Ring, mounted with a central round brilliant-cut diamond and five single-cut diamonds, with an approximate total weight of 0.35 carats, size 6‑1/2, 2.6 grams total weight. [400/700] Illustrated 720 Fourteen-Karat White Gold and Diamond Bracelet, the rigid rectangular hinged bracelet mounted with thirty-one round brilliantcut diamonds, with an approximate total weight of 0.31 carats, size 1‑3/4” x 2‑1/4”, 12.0 grams total weight. [400/700] Illustrated

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165

724

725

166

721 Eighteen-Karat White Gold and Diamond Ring, the Art Decostyle ring set with a round-cut diamond, with an approximate weight of 0.08 carats, size 6‑1/2, 2.3 grams total weight. [300/500] Illustrated 722 Fourteen-Karat White Gold and Diamond Cross, the cross and bail set with round brilliant-cut diamonds, with an approximate total weight of 0.35 carats, size 3/4” x 1‑3/8”, 4.3 grams total weight. [400/700] Illustrated 723 Fourteen-Karat White Gold, Coral and Diamond Ring, the openwork nugget-textured mounting set with a 15.8 mm round white coral cabochon surrounded by twelve single-cut diamonds, with an approximate total weight of 0.25 carats, size 5‑1/4, 15.2 grams total weight. [300/500] Illustrated

723

721

724 Native American Sterling Silver Squash Blossom Necklace, the hand-made necklace composed of fourteen stamp-work squash blossoms, l. 24”, 115.5 grams total weight. [400/700] Illustrated 725 “Jackson Navajo” Sterling Silver and Coral Cuff Bracelet , the stamp-work cuff bracelet set with a red coral nugget, inside circumference 6‑3/8”, together with a sterling silver stampwork bead necklace, l. 24”, 125.0 grams total weight. [400/700] Illustrated

722

167

726 Sterling Silver “Zuni” Turquoise Squash Blossom Necklace, the thunderbird-designed necklace set with a mix of turquoise cabochons, engraved “UZEX, #47”, l. 26”, 111.6 grams total weight. [400/700] Illustrated 727 Native American Sterling Silver and Multi-Stone Bracelet and Ring, the heavy bracelet set with turquoise, black onyx, coral, azurite, petrified bone and wood, inside circumference 6‑1/4”, and the ring set with coral, turquoise and wood, size 7‑1/4, both items stamped “K”, 175.7 grams total weight. [400/700] Illustrated 728 Orville Tsinnie Navajo Sterling Silver and Turquoise Necklace, the heavy two-strand beaded necklace set with five polished turquoise cabochons, stamped “Sterling, Orville Tsinnie of New Mexico”, l. 29”, 270.5 grams total weight. [300/500] Illustrated 729 Two Pocket Watches, including an English gold-filled demi hunter pocket watch, the 19 lignes, seven-jewel gilt movement is stem wind and set, the dial marked “Coventry Made, Lever”, dia. 2”, together with a Swiss enamel pendant watch, with an open face polychrome enamel case with a portrait of a woman, the 11‑1/2 lignes nickel finish cylinder movement is stem wind and set, accompanied by a box, dia. 1‑1/4”, 128.8 grams total weight. [200/400] Illustrated

729

730 Gentleman’s Fourteen-Karat Yellow Gold and Lapis Lazuli Ring, the ribbed oblong mounting set with a conforming lapis lazuli, measuring approximately 15.0 mm x 11.2 mm, size 10‑3/4, 13.3 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated 731 Pair of Fourteen-Karat Yellow Gold and Bloodstone Cufflinks and Studs, the pair of oval cufflinks each set with two flat oval bezel-edge bloodstones, with a twisted rope edge border, with two round 10.5 mm bloodstone studs and one smaller associated 10.0 mm bloodstone stud, 12.8 grams total weight. Provenance: The Flatt Collection. [300/500] Illustrated

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168

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728

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732 Gentleman’s Cartier Gold Vermeil Tank Wristwatch, the classic tank watch with a quartz movement, with an unusual two-tone deep burgundy and gold overlay dial marked “Must de Cartier”, the gold vermeil sterling silver case marked “Cartier, Paris, 925, Quartz, Argent, Plaque or G20M, Swiss Made, 6 81006, 32, XXX”, case, 24.0 mm x 31.0 mm, accompanied with a Cartier box, 24.4 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

735

735 Gentleman’s Ten-Karat Yellow Gold and Tiger Eye Cameo Ring, the rectangular mounting set with a conforming tiger eye cameo of a Greek soldier overlapping a Greek woman, size 10‑3/4, 11.2 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [300/500] Illustrated

733

733 Gentleman’s Fourteen-Karat Yellow Gold and Carnelian Ring, mounted with a large oval carnelian cabochon, with an approximate measurement of 16.0 mm x 23.5 mm, size 9‑3/4, 15.6 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated 734 Gentleman’s Ebel Eighteen-Karat Yellow Gold Wristwatch, with a champagne dial with stick markers and a quartz movement, reference #881927, case, 30.0 mm x 35.0 mm without crown, 32.0 grams total weight. [400/700] Illustrated

736 Three Gentleman’s Gold Accessories, including an antique Continental eighteen-karat yellow gold stickpin with gadrooned navette centering a collet-set cat’s eye measuring 6.9 mm x 5.8 mm, l. 2‑1/2”, a Victorian fifteen-karat yellow gold stick pin in the form of a rapier, the grip enameled in white and pale blue, the pommel set with an old mine-cut diamond weighing approximately 0.10 carats, l. 3”, presented in a tan leather box with retailer’s stamp “A. Lacchini/Roma”, together with a pair of English nine-karat yellow gold chain-link cufflinks, by Deakin & Francis, Birmingham, with canted rectangular faces decorated with guilloche engraving, presented in the original case as retailed by Longmire of London, 5/8” x 3/8”, 12.5 grams total weight. [300/500] Illustrated 737 Gentleman’s Fourteen-Karat Yellow Gold Signet Ring, the oval mounting engraved with a coat-of-arms/family crest, size 10‑1/4, 21.8 grams total weight. [400/700] Illustrated 738 Gentleman’s Baume & Mercier Eighteen-Karat Yellow Gold Wristwatch, the round watch with a quartz movement and a champagne dial marked “Baume & Mercier, Geneve” and “Saudia”, with a Saudia Arabia emblem and Arabic writing, the case marked “18k, 15146, 1, 532, XXX”, case, 32.0 mm without crown, 28.8 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

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739 Two Pairs of Cufflinks, including a pair of English eighteen-karat yellow gold cufflinks stamped “Laure”, and a pair of sterling silver cufflinks with enamel balloon decoration, 28.4 grams total weight. [300/500] Illustrated 740 Gentleman’s Two-Tone Longines La Grande Classique Wristwatch, the round gold-plated watch with a white dial with black Roman numerals and a quartz movement, the flexible stainless steel and gold-plated band with a double deployment clasp, model #L4.709.2, serial #30,095,XXX, case, 33.0 mm without crown, inside circumference 6‑1/8”, 55.3 grams total weight. [400/700] Illustrated

739

741 Gentleman’s Fourteen-Karat Yellow Gold Intaglio Ring, the cushion-shaped ring set with a carnelian engraved with “St. George Slaying the Dragon”, size 9‑1/4, 13.8 grams total weight. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [300/500] Illustrated 742 Pair of Antique Eighteen-Karat Gold and Cat’s Eye Cufflinks, first quarter 20th century, each with two faces with a bezel-set cabochon cat’s-eye measuring approximately 9.5 mm x 13.5 mm and joined by a short chain, l. 1”, 9.6 grams total weight. Provenance: The Flatt Collection. [400/700] Illustrated 743 Gentleman’s Raymond Weil Eighteen-Karat Yellow Gold Wristwatch, with a textured white dial with applied gold Roman numerals and a quartz movement, model #5104, serial #10,XXX, case, 31.0 mm without crown, 27.2 grams total weight. [400/700] Illustrated

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744 Two Pieces of 19th-Century American Silverplate, third quarter 19th century, including a Rogers, Smith & Co., Hartford, Connecticut, ovoid water pitcher with repousse grape clusters, engraved and dated “Alice from Annie 1866”, h. 10”, and an R. Gleason & Sons, Dorchester, Massachusetts, cake basket, lobed and embossed with thistles, deer and personification of abundance, with calla lily edge, dia. 12‑1/4”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [300/500] Illustrated 745 Gorham Sterling Silver Inkstand and Pen, 1892, Providence, Rhode Island, of cartouche form in the rococo style, with hinged ink and water wells, w. 8”, d. 6”, together with an associated sterling silver pen, l. 6‑1/4” (excluding nib), 7.44 t. oz. (weighable silver). Provenance: Estate of Alice Evans Pratt, Houston, Texas. [300/500] Illustrated

747

746 Gorham Sterling Silver-Mounted Cut Glass Claret Jug, 20th century, Providence Rhode Island, the ovoid glass body cut with hobstar and fan navettes, the silver collar with hinged lid and laurel banding, h. 11‑1/2”, dia. 4”. [400/700] Illustrated 747 Alvin Silver Deposit Glass Whiskey Decanter, ca. 1900, Providence, Rhode Island, of jug form with scrolling irises and fluted shoulder and stopper, h. 8‑3/4”, dia. 5‑1/4”. [300/500] Illustrated

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752

748 Eight Pieces of American and German Sterling Silver Tableware, first half 20th century, including a pair of Frank W. Smith gadrooned salt cellars, dia. 2‑3/4”, an unmarked four-piece “lion’s masque” salt and pepper set with two casters, h. 6”, and two cellars, dia. 2‑1/2”, Towle “Georgian” Ice tongs, monogrammed “PSS”, l. 8”, and a German wheel-engraved glass decanter, h. 9‑1/2”, w. 5”, 23.69 total t. oz. (weighable silver). [300/500] Illustrated 749 Three Pieces of American Sterling Silver Tableware, late 19th/ early 20th century, including a Tiffany gilt bonbon dish, 1892‑1902, rococo style with openwork lattice cartouches, l. 6‑1/2”, w. 5”, a Watson butter tub, tub form with reticulated sides and reeded handles, fitted with a glass liner, h. 3‑1/2”, dia. 6‑1/2”, and a Gorham fruit bowl, 1926, Arts & Crafts style, lobed with hammered finish, h. 2‑1/2”, dia. 9”, 30.73 total t. oz. (weighable silver). Provenance: Christie’s East, New York, January 19, 1999, lot 11 (the Tiffany dish); The Flatt Collection. [300/500] 750 Fifty-Nine Pieces of American and Continental Sterling and Other Flatware, 1840‑1940, including eleven Reed & Barton “Love Disarmed” sterling demitasse spoons, l. 4‑1/8”, twelve Watson “Violet” sterling seafood/cocktail forks, l. 5‑3/4”, twelve French .950 “Empire” teaspoons, l. 5‑5/8”, six rare Gorham/Greenleaf & Crosby St. Augustine, Florida souvenir citrus knives, German .800 silver “Palmette” sugar tongs, l. 6‑1/4”, a Dutch .833 silver reticulated cake server, l. 13‑3/4”, with twelve other sterling and four silverplate pieces, with a fitted, Pacific cloth-lined wooden case, 30.67 total t. oz. (weighable silver). Detailed list of pieces available on request. [1000/1500]

174

753

751 Two American Georgian-Style Sterling Silver Sugar Baskets, first quarter 20th century, one by Tiffany & Co., monogrammed “LJC”, dia. 3‑5/8”, the other by Wilcox & Wagoner, dia. 4‑1/2”, both reticulated with swing handle and conforming cobalt glass liner, 7.56 total t. oz. (excluding liners). [300/500] Illustrated 752 Set of Four Gorham Silverplate Candlesticks, 1901, Providence, Rhode Island, of Corinthian columnar form, with detachable bobeche, h. 12‑1/2”, w. 4‑3/4”. [300/500] Illustrated 753 Seven Pieces of Gadroon-Edged Silverplate Tableware, mid20th century, American and English, including an oval platter, 20” x 15‑3/4”, a footed bowl, h. 4‑1/8”, dia. 7”, and a pair of vegetable bowls, h. 3”, l. 8‑1/2”, w. 5‑1/2”, all in a matching pattern and retailed by Herzog Galleries, Houston, Texas, with an E. G. Webster covered double vegetable dish and an Ellis-Barker baluster-form salt and pepper set, h. 3‑3/4”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [300/500] Illustrated

754 Pair of Kentucky Sterling Silver Mint Julep Cups, mid20th century, by William Kendrick Sons, Louisville, Kentucky, monogrammed “MSS”, h. 3‑3/4”, dia. 3”, 7.78 total t. oz. [500/800] Illustrated 755 Gorham Sterling Silver Entree Dish, 1906, Providence, Rhode Island, of oval form, with applied floral rococo scroll rim, with detachable ring handle en suite, engraved “Cocke”, h. 5”, l. 11‑3/4”, w. 8‑3/4”, 29.94 t. oz. [300/500] 756 Pair of Cartier-Retailed Sterling Silver and Glass Hurricane Candlesticks, mid-20th century, by Redlich & Co., New York, New York, of baluster form with waisted, wheel-engraved glass shades, overall, h. 14‑3/4”, dia. 4‑3/4”, weighted. [300/500] Illustrated

757 American Sterling Silver Covered Entree Dish and Platter, mid20th 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. [500/800] 758 Gorham Four-Piece “Kensington” Sterling Silver Tea Set, mid-20th century, Providence, Rhode Island, comprising a teapot, h. 9‑3/4”, l. 8”, a covered sugar bowl, h. 6”, w. 6‑1/2”, a cream jug, h. 4‑3/4”, l. 4‑1/2”, and a waste bowl, h. 3‑5/8”, dia. 4‑1/2”, no monograms, 61.17 total t. oz. [600/900] Illustrated 759 Five American Sterling Silver Bowls, first half 20th century, including a 1906 Whiting vegetable bowl with embossed “poppy” rim, monogrammed “EMC”, dia. 8‑3/4”, a 1914 Gorham vegetable bowl with pierced scroll and flower basket rim, dia. 11‑1/2”, a Towle condiment dish with reticulated rim and shell-and-scroll edge, monogrammed “LF”, dia. 6”, a Kerr condiment dish with embossed floral Art Nouveau rim, dia. 6”, and a Rogers condiment dish with embossed gadrooned rim, dia. 5‑1/2”, 38.13 total t. oz. [500/800] Illustrated

754

759

756

758

175

760 Gorham Sterling Silver Water Pitcher, 1953, Providence, Rhode Island, ovoid with crested handle, monogrammed “HDM”, h. 8‑3/4”, l. 8‑3/4”, dia. 5‑1/2”, 19.03 t. oz. [300/500] Illustrated 761 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] 762 Two American Silverplate Trays with “Vintage” Border, first half 20th century, including a Farber square salver with “Aesthetic” design, w. 12‑1/2”, and an unidentified oval footed platter with openwork trellis rim, 12‑1/2” x 29‑1/4”, no monograms. [300/500]

763 Two Pieces of American Fruit-Decorated Silverplate, mid-20th century, including a Kirk-Stieff fruit bowl with ball feet, dia. 9‑1/2”, and an unmarked biscuit barrel with fitted lid, h. 8‑1/2”. [300/500] Illustrated 764 South American Silver Candlestick, late 19th century, unmarked, in the colonial taste, with tall socket and beaded circular saucer base, h. 9‑3/4”, dia. 6”. [400/700] Illustrated 765 Large Mexican Sterling Silver Platter, mid-20th century, by Sanborn Hermanos, Mexico City, of oblong form with “Chippendale” rim, l. 22‑3/4”, w. 16”, 68.80 t. oz. [700/1000] Illustrated 766 Four American Sterling Silver Fruit or Vegetable Bowls, mid20th century, including a Tiffany & Co. reticulated edge example, dia. 8‑7/8”, a Gorham “Marie Antoinette” example, dia. 9”, a Reed & Barton “Dancing Flowers” example, dia. 9‑1/4”, and a Gorham floral lobed example, dia. 9‑3/4”, 38.13 total t. oz. [600/900]

760

763

764 765

176

767 American Sterling Silver Water Pitcher, mid-20th century, by Schofield Co. Inc., Baltimore, Maryland, ovoid with crested handle, monogrammed “S”, h. 9‑1/4”, l. 8‑3/4”, dia. 5‑3/4”, 20.63 t. oz. [300/500] Illustrated

771 Gorham Sterling Silver Water Pitcher, mid-20th century, Providence, Rhode Island, ovoid with crested handle, h. 8‑3/4”, l. 9”, dia. 6”, 20.25 t. oz. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [400/700] Illustrated

768 Four American Rococo-Style Silverplate Trays, mid-20th century, including a Blackinton rectangular footed drinks tray, 26” x 11‑1/4”, an unidentified rectangular footed drinks tray, 32‑1/2” x 12”, an oval footed tea tray, 25‑1/4” x 16”, and an International “King Edward” tea tray, 25‑1/4” x 14‑1/2”, no monograms. [400/700] Illustrated

772 Set of Twenty Gorham “Chantilly” Sterling Silver Breadand-Butter Plates, mid-20th century, the pattern designed in 1895 by William Christmas Codman, (1839‑1923), Providence, Rhode Island, monogrammed “JJH”, dia. 6‑1/4”, 64.45 total t. oz. [700/1000] Illustrated

769 Eleven Pieces of Sterling and Silverplate Smallware, 20th century including sterling pieces: a 1925 Docker & Burn toast rack, l. 5‑1/4”, a Baldwin, Miller, four-piece salt cellar, dia. 2”, and pepperette, h. 4‑5/8”, set, a Webster & Co. reticulated sugar cube rack, l. 6”, a Gorham navette butter pat, l. 5”, a Foster & Bailey purse-form stamp case, l. 1‑1/4”, an Amcraft teapot-form tea ball, dia. 1‑1/8”, and an unmarked spherical tea ball, dia. 1‑1/4”, together with a Christofle silverplate tea strainer, dia. 2‑1/2”, 3.80 total t. oz. (excluding silverplate strainer). [400/700] Illustrated 770 Three American Sterling Silver Dishes, mid-20th century, including a Wallace “Grande Baroque” vegetable bowl, dia. 10”, a Frank M. Whiting “Rose of Sharon” sandwich plate, dia. 9‑1/2”, and a Frank M. Whiting gadrooned bread tray, l. 10”, 26.03 total t. oz. [400/700] 772

767

769

768

771

177

773

775

774

777 778

773 Set of Eight Silverplate Candlesticks, second half 20th century, Sheffield Silver Co., Brooklyn, New York, in the William IV taste, each with a baluster standard surmounted by an inverted bellform nozzle and raised above a shaped, domed foot, the whole decorated with rocaille floral scrolls, h. 11”, dia. 5‑3/4”. [400/700] Illustrated 774 Two American Rococo-Style Silverplate Footed Tea Trays, mid-20th century, both rounded rectangular, one with waisted sides, 30” x 18”, the other 23‑3/4” x 18‑3/4”, no monograms. [400/700] Illustrated 775 Four Tiffany & Co. Sterling Silver Serving Pieces, including a “Broom Corn” sugar sifter (designed by John T. Curran, 1890), monogrammed “LH”, l. 5‑3/4”, a “Hampton” cheese knife (designed by Charles B. Blake, 1934) with stainless steel blade, l. 7”, and an “Exposition” salad serving set (designed by Olaf Wilford, 1938), with gilt bowls, l. 9‑3/4”, 10.07 total t. oz. (excluding cheese knife). [300/500] Illustrated

178

776 Five Jensen and Tiffany Sterling Silver Serving Pieces, including Georg Jensen “Acorn” scissor-style sugar tongs, l. 5‑5/8”, and Tiffany pieces, plain grape shears, l. 7‑1/4”, a “Shell-andThread” pate knife, l. 6‑1/8”, and a “Lotus” cake knife, l. 12‑3/8”, and pate knife, l. 6”, the latter three with stainless steel blades, 5.15 total t. oz. (weighable silver). Provenance: The Flatt Collection. [300/500] 777 American Silverplate Standing Wine Cooler, mid-20th century, the double cooler with conforming swing handle and raised on a knopped waisted standard, h. 28‑1/2”, base dia. 9‑1/4”, w. 12‑1/4”. [300/500] Illustrated 778 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”. [300/500] Illustrated

779 Louis XV-Style Needlepoint Carpet, 10’ 9” x 15’ 6”. [600/900]

783 Bokhara Carpet, 3’ 1” x 5’ 2”. [400/700] Illustrated

780 Semi-Antique Hamadan Carpet, 6’ x 9’. [600/900] Illustrated

784 Indian Kashmir Silk Carpet, 3’ x 5’ 6”. [1000/1500] Illustrated

781 English Needlepoint Carpet, 9’ 10” x 12’ 5”. [500/800]

785 Persian Tabriz Runner, 2’ 7” x 5’ 9”. [300/500]

782 Bamboo Silk Carpet, 8’ 8” x 11’ 10”. [1400/1800] Illustrated

786 Turkish Angora Oushak Runner, 2’ 7” x 15’ 8”. [400/700] Illustrated

780 782

786 784

783

179

787 Near Pair of Semi-Antique Sarouk Carpets, 3’ x 4’ 8” and 3’ x 4’ 10”. [400/700]

790 Antique Lilihan Carpet, 6’ 6” x 13’ 1”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [600/900] Illustrated

788 Semi-Antique Kerman Palace Carpet, 11’ 9” x 16’ 8”. [2000/4000] Illustrated

791 Turkish Oushak Carpet, 8’ x 10’ 5”. [500/800] Illustrated 792 Turkish Oushak Carpet, 10’ 1” x 13’ 9”. [1200/1800] Illustrated

789 Peshawar Sultanabad Runner, 3’ 1” x 12’ 7”. [300/500] Illustrated

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

790

788

789

791

180

792

794 Semi-Antique Kashan Carpet, 4’ 3” x 6’ 5”. [400/700] Illustrated

799 Three Semi-Antique Sarouk Carpets, 3’ 4” x 5’, 3’ 1” x 4’ 8” and 3’ x 5’. [600/900]

795 Semi-Antique Sarouk Carpet, 3’ 6” x 5’. [400/700]

800 Semi-Antique Turkish Silk Carpet, 3’ 5” x 5’ 2”. [600/900] Illustrated

796 Turkish Angora Oushak Carpet, 8’ 2” x 9’ 9”. [600/900] Illustrated

801 Semi-Antique Shirvan Carpet, 3’ 6” x 6’. [300/500]

797 Tabriz Silk Carpet, 3’ 5” x 5’ 8”. [500/800] Illustrated

802 Antique Persian Kerman Carpet, 8’ 9” x 12’ 2”. [2500/4000] Illustrated

798 Semi-Antique Dergazine Carpet, 2’ 8” x 6’ 8”. [400/700] Illustrated

797 794

796

802

800 798

181

803 Turkish Angora Oushak Carpet, 9’ 2” x 11’ 10”. [800/1200] Illustrated 804 Semi-Antique Qashqai Tribal Carpet, 3’ 10” x 4’ 11”. [400/700] Illustrated 805 Andre Chalet (French, b. 1954), “Children on the Beach”, oil on wood panel, signed lower right, 8‑7/8” x 12”. Framed. [500/800] Illustrated 806 Juan Soler (Spanish, 1941‑1984), “Waiting for the Tide”, oil on canvas, signed lower left, 13” x 16‑1/8”. Framed. [500/800] Illustrated

805

803

804

182

806

807

807 Juan Soler (Spanish, 1941‑1984), “The White Parasol”, oil on canvas, signed lower right, 13” x 16”. Framed. [500/800] Illustrated 808 Jean Lefort (French, b. 1948), “Toy Sailboats”, oil on wood panel, signed lower right, 12” x 16”. Framed. [700/1000] Illustrated 809 Willem Heytman (Dutch, b. 1950), “The 1926 Bentley”, oil on canvas, signed lower left, initialed and inscribed en verso canvas, 15‑3/4” x 19‑3/4”. Framed. [700/1000] Illustrated 810 French School (21st Century), “Parisian Street Scenes”, suite of three decorative oils on panel, all unsigned, 11‑1/2” x 14”. Framed alike. [300/500] Illustrated

810 one of three

808

809

810 two of three

810 three of three

183

811

813

811 Jean Lefort (French, b. 1948), “The Pink Dress”, oil on wood panel, signed lower right, 21‑1/4” x 26”. Framed. [700/1000] Illustrated

812

812 George Vuillard (French, b. 1956), “At the Opera”, oil on wood panel, signed lower left, 19” x 25”. Framed. [900/1200] Illustrated 813 French School (20th Century), “Woman in a Green Feather Boa”, oil on canvas, signed “G. Seradour” lower right, 15‑3/4” x 12”. Framed. [300/500] Illustrated 814 Andre Chalet (French, b. 1954), “Children at the Beach”, oil on wood panel, signed lower right, 9‑1/2” x 11‑3/4”. Framed. [500/700] Illustrated

814

184

815 Antoinette Schulte (American/New York, 1897‑1981), “Girl with Book” and “Girl with Bouquet”, pair of oils on canvas, latter signed lower right, each 21‑3/4” x 15”. Framed alike. [600/900] Illustrated

818 Charles Ernest Smets (Belgian, b. 1909), “Belle in a Beret”, oil on canvas, signed lower left, 36” x 26‑3/4”. Framed. [600/900] Illustrated

816 J. Smits (Dutch, 20th Century), “The Young Equestrian”, oil on wood panel, signed lower right, 33‑1/4” x 24”. Framed. [400/700] Illustrated

818A Harry Farlow (American, 1882‑1956), “Young Girl Seated on a Floral Sofa”, oil on canvas, signed lower left “H. Farlow”, verso with a 1934 “Ontario Society of Artists” exhibition label, 36” x 30”. Framed. [1400/1800] Illustrated

817 Antoinette Schulte (American/New York, 1897‑1981), “Siblings”, oil on canvas, signed upper left, 55‑1/2” x 34”. In a polychrome and incised carved giltwood frame. [900/1200] Illustrated

815 one of two

816

815 two of two

818

817

818A

185

819

821

820

819 Antoinette Schulte (American/New York, 1897‑1981), “Voices Raised in Praise”, 1927, oil on canvas, signed and dated lower right, 34” x 56”. In a polychrome and incised carved giltwood frame. [500/800] Illustrated

822

820 Maurice Jean Lefebvre (Belgian, 1873‑1954), “The Betrothal”, oil on board, signed lower left, 9‑7/8” x 14‑7/8”. Framed. [500/800] Illustrated 821 Jacques Maes (Belgian, 1905‑1968), “Le Fauteuil Rouge”, 1946, oil on board, signed lower left, titled and dated on “Galerie Brueghel, Bruxelles” label on frame backing, 18‑5/8” x 15”. Framed. [300/500] Illustrated 822 George Schmidt (American/Louisiana, b. 1944), “Cabaret Singer”, 1987, oil over a print, pencil-signed and dated lower right, sight 6‑1/8” x 8‑7/8”. Glazed, matted and framed. [400/700] Illustrated 823 August Becker (American, b. 1933), “Horse Rider”, oil on canvas, signed lower right, 40” x 30”. In a “Heydenryk/New York” giltwood frame. [900/1200] Illustrated

823

186

824 Rolland Harve 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. [500/800] Illustrated

827 William Ousley (American/Louisiana, 1866‑1953), “The Goos Ferry, Lake Charles, Louisiana at the Calcasieu River”, oil on canvas, signed lower right, localized lower left, 11‑1/2” x 20”. Framed. [400/700] Illustrated

825 Colette Pope Heldner (American/Louisiana, 1902‑1990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left and signed and titled en verso, 36” x 20”. Framed. [800/1200] Illustrated 826 Rhoda Brady Stokes (American/Louisiana, 1901‑1988), “The Cypress Swamp”, oil on canvas board, signed lower right, 25” x 19‑1/4”. Framed. [400/700] Illustrated

824 one of ten 825 824 two of ten

826

827

187

828 American School (20th Century), “Bright Pathway in the Forest”, oil on canvas, signed lower right, 30” x 24”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [700/1000] Illustrated 829 Rolland Harve Golden (American/New Orleans, b. 1931), “Bayou Scene” and “Architectural Sketch”, double-sided watercolors on paper, former signed and dated “1959” lower right, 20” x 28”. Glazed on one side, matted and framed. Provenance: A gift from A. Hays Town, Baton Rouge, Louisiana, descended in the family of the consignor; Private collection. [500/800] Illustrated 830 Louise Woodward (American/New Orleans, 1862‑1937), “Louisiana Bayou Scene with Cabin, Live Oaks and Spanish Moss”, watercolor on paper, signed lower left, sight 11‑1/2” x 17‑1/2”. Matted, glazed and framed. [400/700] Illustrated 831 David Hagerbaumer (American/California, 1921‑2014), “Mallards Coming In” and “Quail”, pair of oval watercolors, each signed and dated 1968, each sight “4” x 5”. Glazed, matted and framed alike. Provenance: Long & Company, Houston Galleries, Houston, Texas, 1968; The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [500/800] Illustrated

830

829 double-sided

831 one of two

831 two of two

188

828

832 After Frederic Remington (American, 1861‑1909), “Cowboy”, 20th century, “@H” stamped on self-base, raised on a stepped granite plinth with brass artist plaque, overall, h. 9‑5/8”, w. 12‑1/2”, d. 6‑1/2”. [200/400] Illustrated

834 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. [400/700] Illustrated

833 American School (Fourth Quarter 19th Century), “Native American Camp”, oil on canvas, unsigned, 16” x 24”. Framed. [1000/1500] Illustrated

835 William Tolliver (American/Mississippi, 1951‑2000), “Lunch Breaks”, etching, pencil-signed lower right, titled lower center, marked “A/P” lower right, sight 10‑3/4” x 7”. Matted, glazed and framed. [400/700] Illustrated

832

833

835 834

189

836 Frank M. Gregory (American/New York, b. 1848), “The Reapers”, fourth quarter 19th century, etching, pencil-signed lower right, signed in plate lower left, copyrighted 1888, printed by C. Klackner/New York, sight 18” x 28”. Glazed, matted and framed. [300/500] Illustrated 837 Augustus Koopman (American, 1869‑1914), “Women in Marketplace, Etaples, France”, oil on canvas, signed lower left, 18” x 15”. Framed. Exhibited: Isaac Delgado Museum of Art, New Orleans, Louisiana, May 1‑30, 1912. [600/900] Illustrated

838 Elijah Baxter (American, 1849‑1939), “Noonday Reprieve”, oil on canvas, signed lower left, a “Nunnery’s Gallery/Jackson, Mississippi” label en verso, 13‑3/4” x 11‑1/2”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

836

838

837

190

839 Conrad Albrizio (American/Louisiana, 1894‑1973), “Italian Street Scenes”, two charcoals on paper, each signed, sight 24” x 17” and 24‑1/2” x 18”. Both glazed, matted and framed. [800/1200] Illustrated

841 Labeled American Oak Hanging Pool Cue Rack, ca. 1900, set with four pivoting racks attached to the glass doors, the cabinet trimmed with egg-and-dart molding, labeled by “A. N. Russell & Sons, Ilion, NY”, h. 28‑1/2”, w. 27‑1/2”, d. 6‑1/4”. [400/700]

840 American Arts and Crafts Quarter-Sawn Oak Circular Center Table, ca. 1900, probably by Gustav Herter, the square legs mortised through the top and joined by shaped stretchers, pegged and through-mortise construction, h. 29‑1/2”, dia. 30”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [300/500] Illustrated

842 Two Pieces of Metal Work, first quarter 20th century, including a Jugendstil-style brass tray with an incised central medallion and cut-out handles, on an organic molded ground, w. 21”, d. 10‑1/2”, and a Tiffany Studios, New York, bronze bowl, marked on the edge with a “1703” registration number, dia. 9”. [400/700] Illustrated

839 one of two

840

842

839 two of two

191

843 American Late Victorian Patinated Metal Lamp, first quarter 20th century, the reeded baluster-form standard on a conforming circular foot, the base marked “Handel”, h. 21‑1/2”, dia. 7‑1/2”, the leaded glass shade in the Art Deco taste, h. 21‑1/2”, dia. 18‑1/2”. [500/800] Illustrated 844 Arts and Crafts-Style Mahogany Coffee Table, the square top pierced by the legs, the legs joined by a latticework low shelf, h. 20”, w. 37‑1/2”, d. 37‑1/2”. [300/500] Illustrated 845 Group of Three American Arts and Crafts Furniture Items, comprised of a library table, a bookcase and a small side table/stool, early 20th century, the oak library table with a single drawer, the legs joined by a pair of shelves, h. 29‑1/2”, w. 42‑1/2”, d. 26‑1/4”, the oak low table with an X-form bracing beneath the top and a low shelf, h. 19”, w. 16”, d. 16”, and the pine bookcase with a top gallery over a single glazed door, h. 59‑1/4”, w. 32”, d. 15‑3/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [500/800] Illustrated

843

844

845 Group of Three

192

846 Shearwater Cast Pottery “Tern”, designed by Walter Inglis Anderson and glazed by Peter Anderson, marked, h. 5‑3/4”, l. 10‑3/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) for similar examples of this type of decoration. [300/500] Illustrated 847 Shearwater Cast Pottery “Cubist Cat”, mid-20th century, designed by Walter Inglis Anderson and glazed by Peter Anderson, fully marked, h. 11‑1/2”, w. 8‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 212 for an identical example. [300/500] Illustrated 848 Shearwater Cast Pottery “Seated Cat”, 1990s, decorated by Patricia Anderson Findeisen and designed by Walter Inglis Anderson, fully marked, h. 12”, w. 11‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) pp. 127, 138 and 142 for similar examples. [500/800] Illustrated

846

849 Shearwater Cast Pottery “Chesty Horse”, designed by Walter Inglis Anderson, fully marked, h. 12‑5/8”, w. 12‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) for examples throughout. [500/800] Illustrated

848

847

849

193

850 Shearwater Cast Pottery “Chesty Horse”, 1990s, decorated by Patricia Anderson Findeisen, designed by Walter Inglis Anderson, fully marked, h. 12‑3/4”, w. 12‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 148 for a similar example. [1800/2500] Illustrated 851 Shearwater Cast Pottery “Horse and Rider” Lamp Base, designed by Walter Inglis Anderson and glazed by Peter Anderson, marked, h. 10‑1/2”, w. 9‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 289 for similar examples. [400/700] Illustrated

851

852 Shearwater Pottery “Flying Fish” Footed Bowl, ca. 1953, decorated by James McConnell “Mac” Anderson, thrown by Peter Anderson, fully marked, h. 3‑3/4”, dia. 4‑3/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 108 for the identical example. [400/700] Illustrated

852 850

194

853 Shearwater Pottery “Spirit” Bud Vase, ca. 1950, painted by Walter Inglis Anderson, cast and glazed by Peter Anderson, fully marked, accompanied by a document of certification from the Anderson family, h. 6”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [500/800] Illustrated 854 Shearwater Cast Pottery “Stalking Lion”, ca. 1940, designed by Walter Inglis Anderson and bronze-glazed by Peter Anderson, fully marked, h. 6”, w. 14‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. See Dod Stewart, M. A. Ashley, et al., Shearwater Pottery (Slidell, Louisiana: Bristol Publishing, 2005) p. 193 for the identical example. [500/800] Illustrated

854

855 Christopher Inglis Stebly (American/Mississippi, b. 1967), “Still Life with Jack-in-the-Pulpits”, 2004, watercolor on paper, signed and dated lower right, sight 19‑1/8” x 8‑1/2”. Glazed, matted and framed. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [700/1000] Illustrated

853

855

195

856 Southern Regional School (20th Century), “Texas Landscape with Bluebonnets”, oil on canvas, illegibly signed lower left, a “Nunnery’s Gallery, Jackson, Mississippi” label en verso, 9” x 12”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated 857 Sam Vinikoff (British/American/Florida, 1919‑2010), “The Fishing Folk, Probably at Big Cypress National Preserve”, oil on canvas, signed and dated “79” lower left, signed and titled en verso, 9” x 12”. Framed. [500/800] Illustrated

858 Diego Larguia (American/New Orleans, Contemporary), “McGehee School”, oil on canvas, signed and dated “09” lower right, 18” x 18”. Framed. [600/900] Illustrated 859 Phoenix Sculptured Artware Umbrella Vase in the “Thistle” Pattern, second quarter 20th century, Monaca, Pennsylvania, decorated in white on Wedgwood blue, unmarked, h. 17‑1/2”, dia. 8‑1/4”. [700/1000] Illustrated

Sam Vinikoff, known as “Artist of the Everglades”, moved to Miami, Florida, with his family in 1957 after serving in the British Army during World War II. Vinikoff initially drew caricatures at Miami Beach hotels and weddings, until he discovered the Everglades, and devoted the last thirty years of his life to capturing the flora, fauna and inhabitants of the Florida wetlands. The majority of his paintings were executed in Big Cypress National Preserve. Accordingly, the Preserve’s rangers frequently took him into the swamps in the morning to paint and picked him up in the evening. Vinikoff also painted in the Fakahatchee Strand and Everglades National Park. “It was all so beautiful to him”, his daughter stated in his obituary, fondly recalling her father’s words, “Where there’s water there’s fish, and where there’s fish there are birds.” Reference: “Sam Vinikoff: British Army Veteran Known as Artist of the Everglades.” Miami-Herald,5 Oct. 2010. Web. 3 Jan. 2016.

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856 857

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862 Continental School (20th Century), “Still Life with Tea Set”, oil on masonite board, signed “Karga” lower right, 9‑5/8” x 17‑7/8”. Framed. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated 863 American School (20th Century), “Southwestern Landscape with Cabin”, oil on canvas, a “Concepts Gallery and Framing/Lafayette, Louisiana” label en verso, unsigned, 14” x 11”. Framed. [400/700] Illustrated 864 Alan Campbell (American/Georgia, b. 1950), “Iceberg - Cape Hallet”, 1992, oil on canvas, signed lower left, verso with “Blount Collection, Montgomery, Alabama” label, 19‑1/2” x 39”. Framed. [600/900] Illustrated

860

864

861

862

860 Antoinette Schulte (American/New York, 1897‑1981), “Still Life with Blue Vase”, oil on canvas, signed lower right, 25‑1/2” x 32”. Unframed. [600/900] Illustrated 861 Antoinette Schulte (American/New York, 1897‑1981), “View of Paris”, oil on canvas, signed lower left, 34‑1/2” x 50”. Framed. [500/800] Illustrated 863

197

865 Norio Azuma (Japanese/New York, 1928‑2004), “Nude, Standing”, oil on canvas, signed lower right, an “Azuma Gallery/ New York, New York” label en verso, 36” x 26”. In a thin gallery frame. [700/1000] Illustrated

867 Leonel Gongora (Columbian, 1932‑1999), “The Curly Girl”, ink and gouache on paper, unsigned, artist identified on “Lerner-Heller Gallery, New York” label on frame backing, 24‑5/8” x 19‑3/4”. Glazed, matted and framed. [700/1000] Illustrated

866 Charles Levier (French, 1920‑2003), “Femmes”, group of four inks on paper, each signed lower right, three sight 13‑3/4” x 10‑1/2” and one sight 8‑1/4” x 5‑3/4”. All matted, glazed and framed alike. Provenance: Cornelis L. J. Damme, Los Angeles, 1965; The Flatt Collection. [500/800] Illustrated

868 Ruth Schloss (German, 1922‑2013), “Mother and Child”, ink and gouache on paper, signed lower left, sight 13” x 9”. Glazed, matted and framed. [600/900] Illustrated

866 one of four 865

868

198

867

869 Frederick Gill (American, 1906‑1974), “Musical Mural”, 1962, mixed media on masonite, signed and dated lower left and en verso with a “Cheltenham Township Art Center, PA” label, 24” x 44”. Framed. [500/800] Illustrated 870 Georges Aglane (Belgian, 1912‑1994), “Printemps”, oil on masonite, signed “Aglane” lower right, “The Vincent Price Collection” label en verso, 20‑1/2” x 24”. Framed. [700/1000] Illustrated 871 Carol Mason West (American, 20th Century), “Young Girl Reading Beneath a Tree” and “Children Under a Gazebo”, two ink and watercolors, each signed lower right, 8‑7/8” x 7‑3/4” and 10‑5/8” x 7‑3/8”. Glazed, matted and framed alike. [600/900] Illustrated 872 Elizabeth (LIZO) Shahenian (American, b. 1950), “Garden at Giverny, France”, 2008, oil on canvas, signed lower left, signed, dated, titled, and localized “France” en verso canvas, 40” x 40”. Framed. [1200/1800] Illustrated

873

873 Elizabeth (LIZO) Shahenian (American, b. 1950), “Still Life with Flowers, Fruits and Watermelon”, oil on canvas, signed lower left, 36” x 48”. Framed. [800/1200] Illustrated

870

869

871 one of two

871 two of two

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874 French School (21st Century), “Floral Still Lifes”, pair of decorative oils on canvas, unsigned, 14” x 12”. Presented in matching contemporary giltwood frames. [300/500] Illustrated 875 George Buckner (American, 1942‑2002), “Florida Landscape”, oil on board, signed and dated “G. Buckner” lower right, 9” x 12”. Framed. [500/800] Illustrated

874 one of two

874 two of two

875

876

876 Jeromy Young (American/Louisiana, b. 1977), “Chardin Reminiscence”, 2013, oil on masonite, signed and dated lower right, 16” x 20”. Framed. [600/900] Illustrated 877 Jeromy Young (American/Louisiana, b. 1977), “A Small Feast”, 2016, oil on oak panel, signed and dated lower right, 21‑1/2” x 29‑3/4”. Framed. [700/1000] Illustrated 877

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200

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878

881

878 American School (Late 19th Century), “Portrait of a Child with Berries”, oil on canvas, unsigned, 36‑1/2” x 25‑1/2”. Framed. [500/800] Illustrated 879 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”. [300/500] 880 American Birch Drop-Leaf Pembroke Table, first quarter 19th century, New England, each leaf with shaped corners, one end fitted with a drawer, raised on splayed and tapered legs, h. 28‑1/2”, w. 19”, d. 36”, extended w. 37”. Provenance: From the collection of Mr. and Mrs. James Britton, Houston, Texas, descended within the family. [500/800] Illustrated

880

880A American Federal-Style Polychrome Fireplace Surround, early 20th century, the frieze panel decorated with urns, floral swags and a dentil molding border along the top edge, overall, h. 53", d. 7", opening, h. 38-1/2", w. 48". [500/800] Illustrated 881 American Hepplewhite-Style Cherrywood Dining Table, early 20th century, of swing-leg form, having two drop leaves and the center section opening to accommodate three 12” leaves, h. 29‑1/2”, w. 42”, l. 65”, extended l. 101”. [500/800] Illustrated

201

882 American Federal-Style Mahogany Birch and Pine Tester Bed, with arched canopy, reeded and foliate-carved footposts, tapering turned posts and arched single-board headboard, h. 83”, inside, w. 53‑3/4”, l. 77‑1/4”, outside, w. 60”, l. 81”. Provenance: Acquired by the consignor from Didier Inc., New Orleans, Louisiana. [600/900] Illustrated

885 American Federal Mahogany D-End Dining Table, first quarter 19th century, probably Baltimore, in the Sheraton taste, the top with a reeded edge and raised on boldly reeded legs with brass cup casters, accompanied by two leaves, h. 29”, w. 54”, l. 52‑1/2”, extended l. 105‑3/4”. [1500/2500] Illustrated

883 Pair of American Colonial Revival Brass Andirons, 20th century, the ball-top andirons on hexagonal plinths with brass log stops on the billet bars, h. 18‑1/2”, w. 11‑3/4”, d. 17”. [300/500]

886 Two American Federal Line-Strung and Cross-Banded Figured Birch Card Tables, in the Hepplewhite taste, one ca. 1800, New England, the other a 20th-century reproduction, the former table with a gently bowed front fold-over top, supported by a fly leg, the conforming apron with inlaid stringing and banded perimeter, raised on line-inlaid tapered legs, the latter table carved to match, branded “J. Edward Elliston Builder”, h. 28‑1/4”, w. 35‑7/8”, l. 16‑5/8”, extended l. 33‑1/4”. [500/800] Illustrated

884 Continental Giltwood Mirror, fourth quarter 19th century, covemolded and decorated with Dutch-style ripple molding, set with a contemporary beveled mirror plate, 69‑1/2” x 49”. [400/700]

885

886

882

202

887 American Federal Cherry and Feathered Walnut Dining Table, first quarter 19th century, comprised of a pair of D-end tables, each with a drop leaf and raised on tapering square legs, h. 29”, w. 43‑1/2”, l. 80”. [700/1000] Illustrated 888 American School (19th Century), “Theorem Still Life of Peaches, Grapes and Berries”, pastel on paper, unsigned, sight 22‑1/2” x 28”. Glazed and framed. [500/800] Illustrated 889 American School (Fourth Quarter 19th Century), “Tibbits Farm, Stowe, Vermont”, oil on canvas, unsigned, "Clarke Galleries American Paintings, Stowe, Vermont" label en verso, 18‑5/8” x 31‑1/6”. Framed. [500/800] Illustrated 890 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. [400/700] Illustrated 891 American Federal Inlaid Cherry Games Table, ca. 1800, New England, in the Hepplewhite taste, the gently bowed fold-over top supported by a fly leg, the conforming frieze with inlaid figural mahogany panels on inlaid tapering square legs, h. 28”, w. 35‑3/8”, d. 17‑1/4”, extended l. 34‑1/2”. [300/500] Illustrated

891

888

887

890

889

203

893

894

892 895

892 American Queen Anne Figured Walnut Drop-Leaf Table, mid18th century, mid-Atlantic area, with scalloped aprons on the ends and raised on cabriole legs ending in trifid feet, the top associated, h. 29”, w. 46”, extended l. 56”. [700/1000] Illustrated

894 Manner of Joseph Goodhue Chandler (American, 1813‑1884), “Portrait of a Young Boy Feeding His Dog”, ca. 1840s, oil on canvas, unsigned, 36” x 27”. Presented in an attractive covemolded maple frame. [1000/1500] Illustrated

893 American Federal Mahogany Sideboard, ca. 1800, the shaped top with a string-inlaid leading edge, the front fitted with various flatware and bottle drawers and cabinets, raised on tapered legs with line-inlaid cuffs, h. 41”, w. 69”, d. 23”. [300/500] Illustrated

895 American School (19th Century), “Portrait of a Lady with a Gold Chain”, oil on canvas, unsigned, 30‑1/2” x 26‑3/4”. Framed. [400/700] Illustrated

204

896 American School (Fourth Quarter 19th Century), “Portrait of a Young Child”, oil on canvas, unsigned, 24‑1/8” x 20”. Presented in an oval giltwood frame. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [700/1000] Illustrated 897 American Classical Revival Stained Mahogany Recamier, ca. 1900, the scrolled and reeded arm and frame with rare, identically finished backside, raised on turned and reeded legs, h. 31”, w. 28”, l. 84”. [500/800] Illustrated

898 Spanish School (Second Quarter 19th Century), “Portrait of a Lady in Mourning, Holding a Prayer Book and an Embroidered Handkerchief”, oil on canvas, signed mid-left “Migl Povig”, 34‑1/4” x 4‑1/2”. Framed. [700/1000] Illustrated 899 American School (First Half 19th Century), “Portrait of a Gentleman in a White Necktie”, oil on linen, unsigned, 30” x 25”. Framed. [800/1200] Illustrated

897

896

898

899

205

900

904

902

900 American School (Second Quarter 19th Century), “Portrait of a Gentleman”, oil on canvas, unsigned, 35‑1/4” x 30‑1/4”. In a giltwood frame. [600/900] Illustrated 901 American Giltwood Mirror, fourth quarter 19th century, the covemolded inner edge with reed turning, the cove decorated with molded acanthus and the outside edge with molded roses and leaves on a stippled ground, 58‑1/4” x 42”. [400/700] 902 American Classical Mahogany Work Table, second quarter 19th century, the top flanked by drop leaves, over a pair of drawers, raised on twist reeded legs, h. 30”, w. 17‑3/4”, d. 17‑1/4”, extended l. 30‑3/4”. [400/700] Illustrated 903 Unusual American Mahogany Mirror in the Classical Taste, second quarter 19th century, the beaded surround set with corner blocks carved with rosettes, h. 48‑1/2”, w. 26”. Provenance: Don Didier, New Orleans, Louisiana. [400/700]

206

904 American Late Classical Figured Maple and Mahogany Work Table, second quarter 19th century, the figured maple drawers on a turned pedestal, with beehive turned feet, h. 31‑1/2”, w. 21‑1/2”, d. 18‑1/2”. [400/700] Illustrated 905 American Late Classical Mahogany and Cherry Butler’s Desk, second quarter 19th century, the fold-out projecting upper drawer opening to reveal a fitted interior, over a bank of three graduated drawers flanked by shaped pilasters, raised on bun feet, h. 44‑3/4”, w. 43‑1/4”, d. 21”. [300/500] 906 American Late Classical Walnut, Feathered Walnut-Veneered and Marble-Top Washstand, second quarter 19th century, with a conforming marble top with elaborate shaped backsplash, above a cabinet with a central drawer above an arched open cove with a marble shelf and flanked by bowfront cabinets to each side, h. 40‑1/2”, w. 37‑1/2”, d. 21”. [400/700]

908 907

909

907 American Late Classical Mahogany and Marble-Top Commode, second quarter 19th century, mid-Atlantic states, the marble top over a case with a pair of drawers over a recessed drawer, with pull-out commode below, flanked by tapering pilasters on turned feet, h. 28‑1/2”, w. 28‑1/4”, d. 22‑1/2”. [300/500] Illustrated 908 Pair of American Late Classical Mahogany and Marble-Top Demi-lune Console Tables, second quarter 19th century, the later conforming verdigris marble tops and flame mahogany aprons below supported by scrolled legs joined by a curved stretcher, formerly a dining table, h. 31”, w. 54”, d. 24”. [300/500] Illustrated

910

909 American Sheraton Mahogany Sideboard, first quarter 19th century, probably Virginia, the top with a shaped backboard and gallery, the bowed central drawer over a pair of doors with Gothic arched panels, flanked by a drawer over a like drawer, with reeded pilasters and legs, h. 53”, w. 67”, d. 28”. [500/800] Illustrated 910 American Classical Mahogany Work Table, first quarter 19th century, the top flanked by drop leaves, the frieze with a pair of drawers over a yarn drawer upholstered in yellow silk sunburst, on reeded saber legs with brass paw cup casters, h. 30‑1/4”, w. 18‑1/2”, d. 21”, extended w. 35”. Provenance: Acquired by the consignor from Don Didier, New Orleans. [600/900] Illustrated

207

911 Pair of Paris Porcelain Urns, second quarter 19th century, with hand-painted peasant scenes on the obverse and flowers on the reverse, trimmed in raised gilt and set with swan-molded handles and chinoiserie necks, h. 11”, w. 5‑1/4”, d. 2‑3/4”. [300/500] 912 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”. [400/700] Illustrated 913 Pair of Paris Porcelain Gothic Revival Urns, second quarter 19th century, now mounted as two-light lamps, with well-painted obverse panels depicting scenes of figures in Elizabethan costume, possibly theatrical, on matte blue grounds, the reverse with gilt Gothic arches, mounted with tooled- and bright-gilt handles with heads of Psyche, now on giltwood bases, urn, h. 17”, overall, h. 33”, dia. 5”. [500/800] Illustrated

914 American Rococo Revival Giltwood Overmantel Mirror, mid-19th century, the convex-molded frame with an arched top set with a pierced, scrolled crest, with a center shell finial, on a panel-framed ground decorated with trailing flowers, with a scrollmolded base and scroll molding on either lower side, h. 86”, w. 68”. [600/900] Illustrated 915 Antebellum New Orleans Market Rosewood Tester Bed, mid-19th century, attributed to the warerooms of the McCracken Firm, New Orleans, the beaded and molded arched tester frame supported by tapering cluster-column posts, the headboard with a floral-carved crest over a characteristic convex oval panel, the shaped rails with like beading, the tester now upholstered in a sunburst silk and brocade bed hanging, after the period fashion, h. 118”, inside, w. 61”, l. 75”, outside, w. 69”, l. 85”. Provenance: By family repute acquired from Pembroke Estate, Washington, Georgia; Private Collection, Birmingham, Alabama. [7000/10000] Illustrated “Pembroke,” a magnificent Greek Revival Antebellum estate built in 1818, has descended in the Pope family since1820.

912

914

915

208

913

916 Suite of Six Neoclassical-Style Cast Aluminum Garden Armchairs, each with a swag and roundel-modeled back, dolphin arm supports and pierced seat, now in a sandblasted natural finish, h. 30‑1/4”. [600/900] Illustrated 917 Pair of Neoclassical-Style Cast Aluminum Garden Benches, each settee of double chairback form, with dolphin support arms, now in a sandblasted raw finish, h. 30‑3/4”, w. 42”, d. 21”. [600/900] Illustrated

916

918 American Renaissance Revival Walnut and Burl Walnut Kneehole Desk, third quarter 19th century, the left side fitted with a bank of four drawers and the right side with a single drawer above a cabinet door, the top with a leather blotter, h. 30”, w. 45”, d. 31”. [800/1200] Illustrated 919 American Renaissance Revival Burled Walnut and Walnut Cabinet, ca. 1870, the raised center with an arched backboard, the tops with inset Tennessee brown marble, the central section with a bowed drawer over a door with a burled and carved panel, flanked by recessed ends with burled panel doors, h. 55‑3/4”, w. 53‑1/2”, d. 18”. [800/1200] Illustrated

917

918

919

209

924

923 920

922

920 American Life-Size Marble Bust of a Lady, fourth quarter 19th century, modeled in a scallop-neck chemise, h. 22‑1/2”, w. 17‑1/2”, d. 11”. [400/700] Illustrated

921

921 Victorian Cast and Stamped Metal and Onyx-Top Pedestal, fourth quarter 19th century, in the Renaissance taste, the sides with embossed pictorial panels and profusely ornamented with scrollwork and anthemion drops, h. 41”, w. 13”, d. 13”. [300/500] Illustrated

923 American Giltwood Mirror, ca. 1900, the ogee-molded frame decorated with inner and outer bands of matte gilded scrollwork flanking a bright gilded center section, set with a beveled mirror plate, h. 53‑1/2”, w. 36”. Provenance: Estate of Jean M. Diaz. [400/700] Illustrated

922 American Renaissance Revival Walnut Bookcase, Philadelphia, third quarter 19th century, the broken-arch pediment crest centered by a carved bust of Shakespeare, the cove-molded cornice over three doors, each with arched colorless and stained glass panels, flanked by carved full-figured allegorical maidens, h. 84‑1/2”, w. 78‑1/2”, d. 20‑3/4”. [2500/4000] Illustrated

924 Pair of Rare, Monumental Neo-Grec Bronze Gas Wall Sconces, third quarter 19th century, the pierced scrolled brackets decorated with pinecones, molded shells, anthemia and pierced gas keys, mounted with appropriate frosted and cut glass scalloped shells, h. 14”, w. 6”, d. 18”. [700/1000] Illustrated

210

925 Pair of Germanic Bronze and Bone Drinking Horns, fourth quarter 19th century, each with a molded, footed base supporting a putto holding aloft a drinking horn fitted with molded bronze trim, h. 16”, w. 8”, d. 4‑1/2”. [500/800] Illustrated 926 American Aesthetic Movement Carved Walnut Settee, third quarter 19th century, New York or Philadelphia, the crest rail with a central panel depicting leaves and berries on a stippled ground, the tufted backrest flanked by paired columns centered by similarly carved panels, the open arms raised on pierced supports terminating in winged paw feet, the seat apron with a trio of floral-carved panels, raised on turned legs, h. 38‑1/4”, w. 63”, d. 28”. [500/800] Illustrated 927 Pair of Napoleon III Patinated Bronze and Marble Garnitures, third quarter 19th century, in the Neo-Grec style, on black marble bases, the reeded bodies and handles decorated with anthemia and scrollwork, the upper caps cast with Greek-key borders, h. 17‑1/2”, dia. 5‑3/4”. [300/500] Illustrated

927

928 Pair of Monumental French Bronze Eight-Light Sconces in the Aesthetic Taste, fourth quarter 19th century, on scrolled backplates decorated with incising, set with figures of winged Nike, supported by scrollwork and set with leaf-molded candle branches terminating with drip pans pierced in a fan pattern and pierced candle cups with reeded bases, h. 28‑3/4”, w. 26‑1/2”, d. 20”. [1000/1500] Illustrated

928

926

925

211

929

930

931

929 Tiffany-Retailed Gilded Age French Bronze Table Clock of Regence Inspiration, fourth quarter 19th century, the base resting on scrolled feet and molded with a masque, and supporting the circular clock decorated with laurel swags bound with ribbon and held with a bowknot, a carrying handle serving as the finial, the dial marked “Tiffany & Co., New York” and the works signed by the maker, Marti of Paris, h. 14”, w. 6‑3/4”, 5‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [400/700] Illustrated 930 American Late Victorian Giltwood and Gesso Looking Glass, fourth quarter 19th century, the deeply molded frame with embossed floral and cattail decor, h. 37”, w. 29‑1/2”. [300/500] Illustrated 931 Pair of Franco-Bohemian Hand-Painted Porcelain Garniture Vases, mid-19th century, now mounted as lamps, with handpainted Moorish panels of well-rendered views of young women in Elizabethan costume in a flower garden, with pierced handles on a cobalt ground, now raised on wooden bases, vase, h. 17”, overall, h. 32”, w. 6‑1/4”, d. 4”. [300/500] Illustrated

212

933

932 American Rococo Revival Rosewood Armchair, third quarter 19th century, the pierced foliate-carved crest above a peaked back of Gothic inspiration, raised on cabriole legs, upholstered in navy needlepoint with central floral sprays, h. 47”. [400/700] 933 Impressive 19th-Century Feather Floral Garland, pinned to a cloth backing and presented in a shadowbox, the reverse labeled “Miss Catherine Freyermuth/Meadeville, PA, 1875”, overall, h. 37”, w. 33”. [300/500] Illustrated

934 Victorian Carved Mahogany Prie-Dieu, third quarter 19th century, the elaborate pierced and carved back with a central oval medallion and a cross, covered in floral needlepoint with a cross in the elbow rest and the seat, raised on cabriole legs, h. 37”, w. 21”, d. 20”. [300/500] Illustrated

936 Continental School (First Quarter 20th Century), “English Setters”, oil on wood panel, indistinctly signed “V Vaziger?”, 6‑3/8” x 8‑5/8”. In a “W. E. Seebold, New Orleans” giltwood frame, presented in a shadowbox, overall, 13‑1/4” x 15‑1/2”. [500/800] Illustrated

935 American Rococo Revival Giltwood Mirror, mid-19th century, with a cove-molded surround, the tablet with a scrolled cabochon, beneath a crest with molded scroll- and shellwork, h. 50‑1/2”, w. 28”. [300/500] Illustrated

937 Collection of Three Antique Muses, chromolithographs on canvas enhanced with oil, including two merry-making scenes with Venus and Cupid, and the third with two beauties in repose, each 8” x 10” and framed alike, two frames with “A. Marx Picture Frame Co., New Orleans” label on backing. Presented in matching period shadowboxes, overall, 15” x 15”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [600/900] Illustrated

934

935

936

937 one of three

213

938 Continental School (20th Century), group of two “Dutch Seascapes”, oils on wood panel, unsigned, each 3‑3/4” x 5‑1/2”. In matching giltwood frames and shadowboxes, 10‑7/8” x 12‑1/2”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [400/700] Illustrated 939 American School (First Quarter 20th Century), pair of oils on canvas of bucolic scenes, including “Cows Resting”, sight 8” x 10”, and “Swans”, sight 8” x 10”, each in a rococo-style giltwood frame within a shadowbox, one ebonized and the other walnut, overall, h. 17”, w. 19” and h. 17‑1/2”, w. 19‑1/4”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [500/800] Illustrated

940 J. Smits (Dutch, 20th Century), “In the Greenhouse”, oil on wood panel, signed lower right, 35‑3/4” x 24”. Framed. [400/700] Illustrated 941 American School (19th Century), “Portrait of a Lady in a White Lace Dress”, oil on canvas, unsigned, handwritten inscription “Theodore Kelley, Artist’s Color Man, No. 172 Gremont (9), Street, N.Y.”, 26‑1/2” x 21‑3/4”. Framed. [500/800] Illustrated

938 one of two

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941

214

939 one of two

943

942

945 one of four

944 one of five

942 Southern Regional School (Third Quarter 19th Century), “Portrait of a Confederate Officer”, 1871, oil on canvas, signed and dated lower right “Coso (?) Fecit/1871”, 27” x 22”. Presented in an oval giltwood frame. [500/800] Illustrated 943 Photographic Plates and Album Books of Three Related Families from Louisiana, the Carolinas and Massachusetts, ca. 1845‑1945, the first book chronicles the family and descendents of Colonel James Hamilton Beard, C.S.A. (1833‑1864) and his wife Catherine Hoyle (1835‑1917) from North Carolina to the Lusk and Folger families of New Orleans, w. 5”, l, 6”, d. 5”; the second book traces the descendents from the American Revolution Patriot Ephraim Briggs (1736‑1799) and his son-in-law Colonel Charles Holmes in Massachusetts to the Holmes-ReilleyWilkes families of South Carolina, w. 4‑1/2”, l. 5”, d. 2”; and two album-bound daguerreotypes, one of Captain Samuel Marion Wilkes, C.S.A. (1821‑1861), w. 3‑3/4”, l. 4‑3/4”, d. 3/4”, and the other of unidentified Reilley-Wilkes family members, w. 3‑1/4”, l. 3‑3/4”, d. 1/2”. [500/800]

945 two of four

944 Collection of John James Audubon Memorabilia, 19th century, including the cover from the 1868 edition of Audubon’s Life and Adventures, sight 7‑3/4” x 4‑1/2”, two engravings after Syme’s and Chapelle’s portraits of Audubon, sight 4‑3/4” x 3‑1/2” and 10‑1/2” x 7‑1/2”, and two color newsprints, sight 9‑3/4” x 14‑1/2” and 6” x 5‑1/2”. Each glazed, matted and framed. [400/700] Illustrated 945 After John James Audubon (American, 1785‑1851), collection of four color lithographs from The Quadrupeds of North America, Octavo Edition, printed by J. T. Bowen, Philadelphia, 1849‑1854, including “Cotton Rat”, “Pl. XXX”, “Brown or Norway Rat”, “Pl. LIV”, “Little Harvest Mouse”, “Pl. LXV”, “Common Mouse”, “Pl. XC”, 6” to 6‑1/4” x 9‑1/2”. All matted, glazed and framed alike. [500/800] Illustrated

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946 two of four

947

948

946 After John James Audubon (American, 1785‑1851), collection of four color lithographs from the Quadrupeds of North America (1849‑1871), including one printed by Nagel & Weingaertner, “Marsh Hare” (no. 4, pl. XVIII), and three printed by J. T. Bowen, “American Beaver” (no. 10, pl. ILXI), “Worm-Wood Hare” (no. 18, pl. LXXXVIII) and “Mountain Brook Mink” (no. 125, pl. LXXXIX), sight 5‑3/4” to 6” by 9‑1/4” to 9‑3/4”. Each glazed, matted and framed. [400/700] Illustrated

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947 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. [500/800] Illustrated 948 “Plan of the City and Suburbs of New Orleans; from An Actual Survey Made in 1815”, by Jacques Tanesse, engraved map, published by Charles del Vecchio of New York and Pierre Maspero of New Orleans, 29 April 1817, sight 19‑3/4” x 31‑1/2”. Glazed, matted and framed. [400/700] Illustrated

949 Map of Louisiana, 1838, Thomas Gamaliel Bradford, handcolored by Parishes, illustrates towns, forts, waterways and some of the very earliest railroad lines in the South, sight 12” x 15”. Glazed, matted and framed. [300/500] Illustrated 950 “A Steamboat Race on the Mississippi (Between the Baltic and Diana)”, hand-colored lithograph after George Fuller, published by M. Knoedler, New York, and Goupil & Co., London and Paris, 1859, sight 20” x 27”. Glazed and framed. [300/500] Illustrated

951 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Steamboat Capitol”, silver gelatin print, signed and dated “1950” lower right, 8” x 10”. Matted. [800/1200] Illustrated 952 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “Lafitte’s Blacksmith Shop”, silver gelatin print, signed and dated “1939” lower right, 8” x 10”. Matted. [800/1200] Illustrated

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950

952

217

953 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “The Olde Absinthe House, Corner of Dauphine and Bourbon Streets, French Quarter”, 1938, silver gelatin print, signed and dated lower right, 10” x 8”. Matted. [800/1200] Illustrated

955 Vernacular American Stained Poplar Work Table, 19th century, the rectilinear top over a single frieze drawer, raised on naive flat cabriole legs, h. 28‑1/2”, w. 22”, d. 16‑3/4”. Provenance: Purchased by the consignor from Didier Inc, New Orleans, Louisiana. [300/500] Illustrated

954 Theodore Fonville Winans (American/Louisiana, 1911‑1992), “St. Roch’s Cemetery”, silver gelatin print mounted on board, signed and dated “1939” lower right, 14” x 11”. Matted. [800/1200] Illustrated

Similar cabriole legs appear on a number of pieces of Texas manufacture, including a sofa, illustrated in Taylor and Warren’s, Texas Furniture, The Cabinet Makers and Their Work, 1840‑1880, vol. 1, p. 168, and tables illustrated in vol. 2, pp. 172‑73.

956 Vernacular American Cherry Corner Cupboard, second quarter 19th century, in two parts, the upper section with a cyma-molded cornice over a pair of arched mullioned doors, the base with a pair of drawers, over a pair of paneled doors, with scalloped apron and bracket feet, h. 85”, w. 56”, d. 20‑1/2”. [1000/1500] Illustrated

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953

954

218

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957 Vernacular American Cherrywood Chest, second quarter 19th century, the drop bonnet drawer over a bank of three graduated drawers, each with beaded perimeter molding, raised on bracket feet, h. 46‑3/4”, w. 42‑3/4”, d. 19‑3/4”. [300/500] Illustrated 958 Two Southern Vernacular Work Tables, mid-19th century, one cherry and stained poplar with a tapering turned leg and fitted with a drawer, h. 28”, w. 29‑1/2”, d. 21”, and the other in walnut with a turned leg and fitted with a drawer, h. 29”, w. 26”, d. 16”. [300/500] Illustrated

959 Vernacular American Walnut Blanket Chest, 19th century, of pegged construction with lift-top and turned legs, h. 22‑1/2”, w. 39”, d. 18‑1/2”. [300/500] Illustrated 960 Antique American Patchwork Crazy Quilt, with extensive gold and glass beadwork and embroidery on silk and fine cotton, all backed in black cotton, w. 79”, l. 101”. [500/800] Illustrated

958

960

959

957

219

961 Howard Finster (American/Georgia, 1916‑2001), “Leopard”, 1996, painted wood, signed lower center, dated and with lengthy inscription en verso, “The News Cast Today is Terrible...”, 14‑1/2” x 22”. [500/800] Illustrated 962 Howard Finster (American/Georgia, 1916‑2001), “The Angels”, 1994, painted wood, signed and dated lower center, lengthy inscription at bottom and en verso, “When Angels All Get Home...”, 7‑5/8” x 10‑1/4”. [400/700] Illustrated 963 Mary Proctor (American, b. 1960), “My Grandma Old Button”, mixed media on wood door, signed and illegibly dated lower center, 30” x 13‑1/2”. [500/800] Illustrated

962 front

963

962 back

961 back

220

961 front

964

966

964 Pair of Russian Brass Candlesticks Fitted with Blown Glass Shades, post-1888, the turned sticks labeled (in Cyrillic) “Sysoev of Moscow”, one centering the warrant of Nicholas I, and the other a building and “founded 1888”, mounted with blue-trimmed grapeengraved glass hurricane shades, h. 21‑3/4”, dia. 6”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [300/500] Illustrated 965 Set of Twelve George Jones Enameled Dinner Plates, ca. 1891‑1920, English, each with a wide teal-blue border decorated with panels of raised enamel fruit against delicate gilt vines and flowers, and a center panel with a raised enamel basket of fruit, marked on the back, dia. 10‑1/4”. [300/500] Illustrated

965

967

966 Anglo-Colonial Indian Rosewood Sideboard, mid-19th century, the shaped backpiece centered by an anthemion flanked to either side by deeply carved scrolling foliate patterns, the rectangular top with a recessed center section above a conforming frieze fitted with three reeded drawers, raised on two pedestals, each fitted with a cupboard door faced with a graduated columnar pattern, on gadroon-carved bases to ribbed bun feet, h. 50”, w. 67”, d. 26”. [1800/2500] Illustrated 967 Late Regency Gilt-Bronze-Mounted Rosewood Occasional Table, first quarter 19th century, the circular top with a raised and ribbed edge and centered by a molded medallion, above a turned and bulbous standard to a concave tripartite base on annulated scrolling feet, the feet mounted with gilt-bronze scrolls and beading, h. 25‑3/4”, dia. 17”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

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972

969

973

971

968 Suite of Four William IV Mahogany Hall Chairs, second quarter 19th century, each with a rounded crest above a waisted back with scroll carvings, centering a shield panel with a polychrome rampant lion, the wooden seat raised on spiral-ribbed circular legs ending in peg feet, h. 33”. [800/1200] Illustrated

971 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”. [400/700] Illustrated

969 Fine Regency-Style Mahogany and Rosewood-Banded Double-Pedestal Dining Table, manufactured by the Widdicomb Furniture Company, Grand Rapids, Michigan, each pedestal with brass mounts and paw feet, the top with an inlaid border and rosewood banding, with two 20” skirted leaves, h. 29‑1/2”, w. 46”, l. 78”, extended l. 118”. [1500/2500] Illustrated

972 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 patera-form bases molded with basketweave centers, h. 3‑1/2”, w. 12”, d. 10”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [300/500] Illustrated

970 Colonial Revival Mahogany-Veneered and Giltwood ThreePart Overmantel Mirror, ca. 1900, the mahogany-veneered frame trimmed with carved giltwood lining, the giltwood crest comprised of a carved flaming urn finial draped with pierced laurel leaves terminating in medallions and cascading down each side, h. 42‑1/2”, w. 64”. [500/800] Illustrated

973 Seven-Piece English Ironstone Partial Dessert Service, ca. 1860‑1882, attributed to Anthony Shaw, decorated with oval yellow cabochons against an apple green border, the set comprised of a compote, h. 9‑3/4”, dia. 14”, and six plates, dia. 9‑1/4”, each impressed “Opaque Porcelain”. [300/500] Illustrated

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974 William IV Mahogany Sideboard, second quarter 19th century, the banded D-form top above a conforming case fitted with a central compartmented cutlery drawer flanked to one side by two short graduated drawers and to the other by a single cupboard, all with inlaid decorative banding, raised on ring-turned tapering circular legs ending in brass caps and casters, h. 36‑1/2”, w. 71”, d. 30”. [1200/1800] Illustrated 975 Pair of Anglo-Irish Cut Glass Hurricane Lamps, second half 19th century, with cut glass feet and a turned, cut standard, set with matching shade holders and prism rings cut with oval panels, the shades decorated with panels of diamond-point cutting, hung with spear-point prisms, h. 30‑1/4”, dia. 6”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [400/700] Illustrated

976 Impressive Molded and Engraved Colorless Glass Pokal, third quarter 19th century, probably Bohemian, with engraved initials on one roundel, the Gothic-trimmed cover set with a bold knop, h. 25”, dia. 8”. [600/900] Illustrated 977 Regency Mahogany Sofa Table, first quarter 19th century, the rectangular top with decorative banding and two rounded drop leaves, above a frieze fitted with two drawers to one side and two faux drawers to the other, raised on end supports to splayed legs ending in brass paws on casters, h. 28”, w. 36”, d. 25”, extended width 60”. [400/700] Illustrated 978 Late Regency Mahogany Drop-Leaf Table, first quarter 19th century, the rectangular top with two rounded leaves, above a single suspended drawer, raised on ribbed and bulbous turned legs joined by a platform stretcher to four splayed legs ending in brass paws on casters, h. 28”, w. 42”, l. 18”, extended l. 48”. [500/800] Illustrated 979 Set of Twelve Hand-Painted Minton’s Cabinet Plates, ca. 1934, English, each with a gadrooned border against a bleu royale field and decorated with a central hand-painted panel depicting street vendors in 18th-century costume, artist signed “F. Nabney”, and marked on the back with Minton’s “globe” mark and the retailer, “W. H. Plummer & Co, New York”, dia. 10‑1/4”. [600/900] Illustrated

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978

975

976

974

977

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983

980 Set of Twelve Hand-Painted George Jones Porcelain Dinner Plates, post-1921, English, retailed by Tiffany and Co., each with a cobalt and gilt-trimmed border with a ring of hand-painted flowers against a field of turquoise enamel “jewels”, with the George Jones printed mark, “Tiffany & Co., New York”, and the decorator’s handpainted number, dia. 10‑1/4”. [300/500] Illustrated 981 Regency Mahogany Cased Wheel Barometer, first quarter 19th century, with a swan’s neck pediment, decorated with line inlay, set with a hygrometer, thermometer, leveling dial, barometer and a convex mirror, h. 42‑1/4”, w. 11‑3/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [400/700] Illustrated

224

982

982 Regency Giltwood Convex Mirror, second quarter 19th century, set with a reeded ebonized liner, the bolection-molded surround decorated with lotus leaves, dia. 25‑1/2”. [300/500] Illustrated 983 Pair of Regency-Style Faux Tortoiseshell and Ebonized Armchairs, each with a domed ribbed crest above an X-form lotuscarved splat, joined by scrolling arms to the caned seat, raised on tapering circular legs ending in splayed feet, h. 35‑1/2”. [300/500] Illustrated

984 Italian Carved Giltwood and Ebonized Barometer, early 20th century, the top crested with an eagle perched on a fluted pilaster, the barometer surround with a carved ribbon and flower, now fitted with a later English “Grow & Cuttle” barometer, h. 38”, w. 14”. [500/800] Illustrated 985 Pair of Regency-Style Carved Giltwood Two-Light Sconces, mid-20th century, on tasseled ribbon backplates with bowknot crests, featuring eagles with chains and giltwood spherules on blocks with lion’s heads, the scrolled candle arms decorated with medallions and terminating in engine-turned bronze candle cups and matching drip pans, electrified, h. 36”, w. 16”, d. 6‑1/2”. [2000/4000] Illustrated 986 Pair of American Classical Stenciled Sidechairs, first quarter 19th century, Philadelphia or Baltimore, the curved back rest with a stylized Greek-key stenciled motif, the seats once caned and raised on Klismos-form legs, h. 33”. [300/500] 987 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

985

987

984

225

988 Bokhara Silk Carpet, 5’ 3” x 7’ 9”. [500/800] Illustrated

991 Chinese Needlepoint Carpet, 9’ x 12’ 6”. [600/900]

989 Turkish Carpet, 3’ 8” x 5’ 3”. [600/900]

992 Turkish Angora Oushak Carpet, 8’ 10” x 11’ 9”. [800/1200] Illustrated

990 Antique Anatolian Yahyali Pictorial Prayer Carpet, 3’ 6” x 6’ 6”. [600/900] Illustrated

993 Agra Serapi Runner, 2’ 6” x 18’ 2”. [400/700] Illustrated 994 Semi-Antique Kerman Silk Carpet, 4’ x 6’ 9”. [500/800] Illustrated

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992

990

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996

995

995 Semi-Antique Persian Bidjar Runner, 3’ 9” x 16’. [700/1000] Illustrated 996 Semi-Antique Hereke Silk Prayer Rug, 2’ x 3’ 5”. [400/700] Illustrated 997 Semi-Antique Shirvan Carpet, 3’ 6” x 5’. [300/500] 998 Tabriz Pictorial Carpet, 4’ 3” x 6’ 10”. [600/900] Illustrated 999 Antique Tabriz Carpet, 8’ 1” x 11’ 11”. [700/1000] Illustrated

999

227

1000 Agra Serapi Carpet, 12’ 1” x 15’ 3”. [1400/1800] Illustrated 1001 Bamboo Silk Carpet, 8’ x 9’ 8”. [1200/1800] Illustrated 1002 Antique Persian Kurdish Carpet, 3’ 6” x 13’ 11”. [300/500] 1003 Semi-Antique Turkmen Carpet, 3’ x 4’ 5”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [400/700] Illustrated 1004 Kilim Carpet, 4’ 6” x 7’ 5”. [300/500]

1001

1003

1000

228

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1008

1009 1010

1005 Monumental French Barbotine Polychrome Figural Vase, fourth quarter 19th century, depicting an African boy in Moorish costume, carrying a market basket and standing before two tulipshaped vases decorated with molded flowers, on a matching base, the bottom stamped “4979”, h. 31”, dia. 8”. [300/500] 1006 Two French Aesthetic Bronze-Mounted Pottery Vases, fourth quarter 19th century, attributed to Longwy, probably originally fitted with kerosene lamp fonts, decorated in traditional Longwy Asianinspired decoration, h. 10” and 11”, dia. 6”. [300/500] 1007 Viggo Langer (Danish, 1860‑1942), “A Mosque Courtyard”, oil on canvas, signed lower left, 26” x 33‑1/2”. Framed. [1000/1500] Illustrated

1008 Continental School (First Quarter 20th Century), “Odalisque with Falcon”, oil on wood panel, unsigned, 13‑3/8” x 9‑1/4”. Framed. [600/900] Illustrated 1009 Monumental Indian Cloisonne Teapot, second half 20th century, decorated with lotus fans on an ivory ground, marked “India” with a registration number on the base, h. 63‑1/2”, w. 32‑1/2”, d. 12‑1/2”. [400/700] Illustrated 1010 Middle Eastern Hammered Copper Cooking Vessel, mounted with two ring holders on leaf-incised scrolls, h. 14”, dia. 15”. [200/400] Illustrated

229

1011 Continental Parcel-Gilt Cast Iron Orientalist Wall Plaque, fourth quarter 19th century, depicting a Turkish harem girl in lush jewelry and an elaborate headdress, picked out in gilt and silver gilt, framed with a Moorish arch in the background, h. 26”, w. 15”. [700/1000] Illustrated 1012 Pair of Continental Patinated Metal Figures of Soldiers, first quarter 20th century, h. 15‑1/2”, w. 5‑1/2”, d. 6‑1/4” and h. 14‑1/2”, w. 9‑3/4”, d. 9”. [300/500] Illustrated

1014 English Patinated Bronze Camel and Palm Tree Candleholder, 20th century, manufactured and retailed by Maitland-Smith, London, h. 18‑3/4”, w. 12”, d. 8‑1/2”. [400/700] Illustrated 1015 Orientalist Cold-Painted Vienna Bronze Figure of an Arab Teacher, ca. 1900, the figure holding a book and pointer, and seated on a stool centered on a fringed oriental carpet, h. 3”, w. 3‑/1/2”, d. 3‑1/4”. [400/700] Illustrated 1016 Franz Bergman (Austria, ca. 1838‑1894), cold-painted Vienna bronze Orientalist figure of a seated Arab girl, her lower dress stamped “B” within an urn and an indistinct number within the fold above it, h. 2‑3/4”. Illustrated: Joseph Zobel, Antique Vienna Bronzes (Atglen, PA: Schiffer, 2008), p. 145. [400/700] Illustrated

1013 French Woven Tapestry of a Caparisoned Indian Elephant, 20th century, machine made, bearing a “Gobles/made in France” tag, backed in cream fabric, 36” x 42”. [400/700] Illustrated

1015

1014

1011

1016

1013

230

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1019

1017

1018 1020

1017 Large Ebonized Wall Mirror, fourth quarter 19th century, with rounded upper corners, giltwood trim and beading, labeled on reverse “Biggs & Sons/Carvers, Gilders/and/Picture Restorers/3L Conduit St Bond St./London”, h. 78‑1/2”, w. 55”. [700/1000] Illustrated 1018 Napoleon III Ebonized Cabinet, third quarter 19th century, the rectangular top with turreted corners, above a conforming case fitted with a single cupboard door, with a fabric-backed grille panel, raised on rounded feet, h. 41”, w. 32‑1/2”, d. 15‑1/4”. [300/500] Illustrated

1019 Napoleon III Ebonized and Marble-Top Cabinet, third quarter 19th century, the rectangular marble top above a conforming case fitted with an ormolu-applied frieze over two cupboard doors, each paneled and with ormolu banding, surrounding a polychrome floral urn, raised on a shaped plinth base, h. 42‑1/2”, w. 48‑1/2”, d. 18‑1/2”. [800/1200] Illustrated 1020 C. F. Sornin de St. Laurent (French, 19th Century), “Apres l’Orage”, oil on canvas, signed lower right, titled on artist plaque, 32” x 40”. Presented in a gesso and giltwood frame. [700/1000] Illustrated

231

1021

1022

1023

1026

1024

1021 French Gilt-Bronze and Red Griotte Marble Seven-Light Candelabrum, fourth quarter 19th century, the bronze vasiform standard decorated with bas-relief Dionysian dancers and fitted with elaborately leaf-molded and scrolled candle arms terminating in eagle heads or alternating boughs of flowers, and set with leafmolded drip pans and fluted candle sockets, the bronze-mounted marble base carved with cove molding, h. 30”, dia. 14‑1/2”. [300/500] Illustrated 1022 French Patinated Bronze of a Bacchanale, fourth quarter 19th century, after Claude Michel, known as Clodion (French, 1738‑1814), presented on a round molded marble plinth, h. 18”, w. 8”, d. 8”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

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1023 French Patinated Metal Sculpture of Christopher Columbus, first quarter 20th century, after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), cast signature at edge of base, inscribed “C. Colomb” at front, h. 31”, w. 12”, d. 11”. [300/500] Illustrated 1024 French Wool Embroidery of “La Toilette de Venus”, ca. 1900, petit-point and needlepoint, sight 53” x 76”. Framed. [400/700] Illustrated 1025 Two Continental Miniature Porcelain Portraits, 20th century, one depicting a Belle Epoque beauty, in a carved and pierced wooden frame, h. 13‑1/2”, w. 11‑1/2”, and the other a small oval portrait depicting Cecile Volage, after J. B. Greuze, in a carved and pierced wooden frame, h. 8”, w. 7”. [300/500] 1026 Victorian Gilt-Metal and Silk Bridal Tiara Under a Glass Dome, fourth quarter 19th century, the pierced gilt-metal tiara set with a tufted velvet cushion and ornamented with silk flowers, under a blown glass dome on a giltwood base, h. 16‑1/2”, w. 11”, d. 6‑3/4”. [300/500] Illustrated

1027 Set of Twelve Bavarian Raised Gilt Service Plates, ca. 1911‑1914, made by Heinrich & Co., with raised gilt borders, the ivory-ground centers with flat gilt, the backs with an underglaze green Heinrich mark, dia. 11”. [400/700] Illustrated

1030 Belle Epoque-Style Gilt-Metal and Pottery Centerpiece, in the form of Poseidon and two dolphins supporting a shell-form pottery bowl decorated with a nymph and putti, h. 14”, w. 12”, d. 5‑1/2”. [500/800] Illustrated

1028 Continental Polychrome Tiered Shelf, the shaped crest centered by a small bracket shelf over six graduated D-form open shelves, all with foliate-carved edging, joined and supported by paneled backs and raised on foliate-carved bun feet, h. 80”, w. 52‑1/2”, d. 19”. [500/800] Illustrated 1029 French Bronze and Marble Mantel Clock, fourth quarter 19th century, decorated with a figure of the Madonna and Child, after Raphael’s Colonna Madonna, the unusual trefoil-shaped marble base fluted and set with gilt-bronze pierced scrollwork, medallions and gilt-bronze swags of flowers, the dial marked “Marshall et Fils, Paris” and framed with a gilt-bronze door molded with bowknots and leaves, the bronze patine et dore Madonna sitting on top, h. 17‑1/4”, w. 9‑1/2”, d. 5‑1/4”. Provenance: The Estate of James C. Westerfield, Jackson, Mississippi. [500/800] Illustrated

1030

1027

1029

1028

233

1031 French Fin-de-Siecle Bronze Figural Vase, ca. 1900, on an oval patinated bronze base supporting a gilt-bronze shoe-form vase with a patinated bronze satyr, a cupid’s bow and arrow lay discarded beneath him, h. 8”, w. 6‑1/2”. [500/800] Illustrated

1033 Napoleon III Gilt-Metal Centerpiece, second/third quarter 19th century, of navette form and cast with scrolling acanthi centering bosses, with conforming handles and feet, the underside marked “VS” for Victor Saglier, h. 14”, w. 5”, d. 8‑1/2”. [400/700] Illustrated

1032 French Belle Epoque Gilt-Metal Jardiniere, fourth quarter 19th century, the oval jardiniere with a removable liner, the body decorated with bacchanalian putti, and lion’s head handles on each end, h. 9‑1/2”, w. 16‑1/2”. [400/700] Illustrated

1034 French Patinated Bronze of a Nymph Carrying a Young Faun, ca. 1900, h. 24‑1/2”, w. 7‑1/2”, d. 10”. [400/700] Illustrated 1035 French Patinated Bronze of Eros, first quarter 20th century, after Louis-Ernest Barrias (French, 1841‑1905), h. 13‑1/4”, w. 6”, d. 7”. [400/700] Illustrated

1033

1032

1031

1034

234

1035

1036

1038

1037

1036 Continental Patinated Metal Figure of a Nymph, first quarter 20th century, after Auguste Moreau (French, 1834‑1917), cast signature along base, h. 28”, w. 17”, d. 11‑1/2”. [400/700] Illustrated 1037 French Painted Terracotta Figural Group, ca. 1900, with the figures of a satyr and bacchante feeding grapes to a child, after Claude Michel, known as Clodion (French, 1738‑1814), handsomely molded with the satyr wearing a wreath of grapes and the nude bacchante holding a dish down to a reaching child, impressed “Clodion” on the back, h. 21‑1/2”, dia. 9‑1/4”. [300/500] Illustrated

1038 Louis XV-Style Fruitwood Cabinet, early 20th century, the trisected molded and domed cornice centered by a foliate shell crest, above an astragal-glazed center cabinet flanked to either side by a tall paneled cabinet, with open storage spaces below, the lower section fitted with two drawers over two paneled cupboard doors, raised on scrolled toes, h. 106”, w. 70‑1/2”, d. 23”. [700/1000] Illustrated

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1039 Pair of French Patinated Metal and Marble Five-Light Candelabra, ca. 1900, the serpentine-sided rosso antico marble bases on scrolled metal feet and supporting the quiver-form standards, the pierced and scrolled arms with molded candle cups and matching drip pans, h. 30”, w. 16”, d. 16”. [300/500] Illustrated 1040 Napoleon III Ebonized and Inlaid Tiered Occasional Table, late 19th century, the turtle-form top banded and with a central floral inlay, above a conforming frieze fitted with a single drawer, joined to two like lower shelves by shaped supports, raised on shaped legs ending in sabots, h. 29‑1/2”, w. 22”, d. 16”. [300/500] Illustrated

1040A Monumental Three-Piece Continental Neo-Renaissance Chestnut, Oak and Parcel-Ebonized 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. [1500/2500] Illustrated

1040

1040A Part of a Three-Piece Suite

1039

1040A Part of a Three-Piece Suite

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1041 1042

1043 1044

1041 French Gilt and Patinated Metal Figural Clock, fourth quarter 19th century, on a Renaissance-style base, the patinated figure of a young girl reading a book, adjacent to a gilt-metal depiction of a neoclassical profile, probably the muse of literature, mounted with works marked “Veuf A.H. Molle, Paris”, h. 14”, w. 15‑1/2”, d. 4‑1/4”. [300/500] Illustrated 1042 Napoleon III-Style Marquetry-Inlaid, Ormolu-Mounted and Marble-Top Parlor Cabinet, late 20th century, with a conforming verdigris marble top above a case fitted with two side-by-side drawers, over a pair of cabinet doors, each with a central inlaid urn with flowers, h. 42”, w. 50”, d. 17”. [600/900] Illustrated

1043 Napoleon III-Style Marquetry-Inlaid, Ormolu-Mounted and Marble-Top Parlor Cabinet, late 20th century, with a conforming verdigris marble top above a case fitted with two side-by-side drawers, over a pair of cabinet doors, each with a central inlaid urn with flowers, h. 42”, w. 50”, d. 17”. [600/900] Illustrated 1044 Cynthia Montefiore (Continental, 20th Century), “Still Life of Lilies, Roses and Larkspur, Within an Architectural Alcove”, oil on canvas, signed lower right, 30” x 24”. In a carved wood frame. [500/800] Illustrated

237

1047 1048

1046

1045 French Mixed Woods Inlaid, Ormolu-Mounted and MarbleTop Sideboard, early 20th century, in the Louis XVI taste, the top section with three beveled glass doors and an ormolu-mounted crest, above a base fitted with a pair of drawers and three inlaid cabinets, h. 89”, w. 59”, d. 22‑1/2”. [500/800] Illustrated 1046 French Giltwood Oval Mirror in the Louis XV Taste, fourth quarter 19th century, the surround molded with scrollwork on a stippled ground, the crest decorated with a molded shell framed with pierced scrollwork, supported by acanthus leaves, a smaller version mounted on the base, set with a beveled mirror plate, h. 51”, w. 37”. [800/1200] Illustrated

238

1045

1047 Contemporary Gilt-Metal and Enamel Easter Egg-Form Box of Faberge Inspiration, decorated with “diamonds”, crowns and the Russian Imperial Coat of Arms, supported by rampant lions, h. 6”, w. 3‑1/2”. [300/500] Illustrated 1048 Unusual Molded Lilac Glass Eight-Light Chandelier in the French Taste, 20th century, the molded glass standard hung with three canopies of drops and set with rope-twist arms with molded candle cups and prism-hung drip pans, with swags of lilac drops hung between the arms, h. 34”, dia. 24”. [500/800] Illustrated

1049 Royal Vienna-Style Hand-Painted Plate, 20th century, decorated with a fin-de-siecle beauty, bordered by raised gilt, in a contemporary giltwood shadowbox frame, overall, h. 12‑3/4”, w. 12‑3/4”. [300/500] Illustrated 1050 KPM-Style Hand-Painted Porcelain Oval Plaque, fourth quarter 19th century, German, depicting “La Pensee”, after Angelo Asti (French, 1847‑1903), the fin-de-siecle beauty deep in thought, framed in a rococo-style giltwood frame within an ebonized shadowbox, h. 9‑1/4”, w. 8‑1/2”. [300/500] Illustrated

1051 Edmondo Pizzella (Italian/American, 1868‑1941), “Portrait of a Woman in a Lavender Dress”, pastel on paper, signed lower right “E. Pizzella”, sight 30” x 24”. Presented in a Belle Epoque oval laurel leaf-and-berries-carved giltwood and gesso frame surmounted by a pierced and carved bowknot crest. [700/1000] Illustrated 1052 Vienna-Style Hand-Painted Portrait Plate, ca. 1900, signed “O. Dresl”, mounted in a gilt rococo frame within an ebonized shadowbox, h. 18”, w. 18”. Provenance: Succession of George S. “Dod” Stewart, Slidell, Louisiana. [300/500] Illustrated

1049 1050

1052 1051

239

1054

1055

1056 1057

1053 Two Royal Bonn Hand-Painted Vases, ca. 1890‑1920, Bonn, Germany, each depicting an Art Nouveau beauty against a ground of flowers, artist signed, each with printed and impressed marks, as well as decorator’s marks, h. 7‑3/4”, dia. 4‑1/2” and h. 10‑1/2”, dia. 5”. [300/500] 1054 Set of Twelve Heinrich and Company Dinner Plates, ca. 1930‑1939, Selb, Bavaria, with raised gilt borders and decorated with transfer-printed flower bouquets in the center panel and along the border, framed with gilt scrollwork, with an underglaze green mark, dia. 10‑3/4”. [300/500] Illustrated 1055 Set of Twelve Hand-Painted Bohemia Royal Ivory “Symphony” Dinner Plates, ca. 1936‑1945, Czechoslovakian, in the “Windsor” shape, the plates decorated with hand-painted floral bouquets in the center panels, the borders with gilt scrollwork, all on an ivory ground, marked on the backs, dia. 10‑3/4”. [300/500] Illustrated

240

1056 Pair of French Gilt-Bronze and Porcelain Moderator Lamps, fourth quarter 19th century, on Louis XIV-style gilt-bronze bases, the vasiform porcelain bases decorated with pate-sur-pate flowers and leaves, on a putty ground, attributed to Sevres, now electrified and mounted with shades, h. 24‑1/2”, dia. 14‑1/4”. Provenance: The Estate of Elaine Smith Frost White, Houston, Texas and East Hampton, New York. [300/500] Illustrated 1057 Napoleon III Giltwood Looking Glass, third quarter 19th century, the floral-, foliate- and scroll-carved crest over a shaped mirror plate, h. 34”, w. 33‑3/4”, d. 6”. [400/700] Illustrated

1058 French Gilt-Bronze of “Petit Macon”, first quarter 20th century, after Louis Kley (French, 1833‑1911), cast signature and stamped “LZP” on self-base, on a rouge marble plinth, overall, h. 8‑3/8”, w. 3‑7/8”, d. 3‑7/8”. [400/700] Illustrated 1059 Napoleon III Rosewood and Marble-Top Rococo Revival Center Table, third quarter 19th century, the tortoise-form brescia marble top over a conforming paneled frieze with central floral carving, raised on cabriole legs joined by serpentine stretchers centered by a floral basket, h. 29‑1/4”, w. 45‑1/4”, d. 31”. [500/800] Illustrated

1058

1060 Group of Three Opaline Glass Vases, fourth quarter 19th century, including a pair decorated with cameos in gilt “jeweled” frames, h. 17‑1/2”, dia. 5‑1/2”, and a single vase with a Gothic edge, decorated with gilt beading, h. 14”, dia. 5‑1/2”. [700/1000] Illustrated 1061 Pair of French Porcelain Apothecary Jars, ca. 1900, probably Limoges, one labeled for Opium and the other for Rosarium, decorated with black and white profiles of Ambr. Pare and Hippocrates, h. 10‑3/4”, dia. 4‑3/4”. [300/500] 1062 Continental School (First Quarter 20th Century), “Portrait of a Military Officer”, 1905, oil on canvas, faintly signed “S. Lawrence (?)” and dated mid-left, 24” x 20”. Framed. [500/800] Illustrated

1060

1059 1062

241

1063 Small French Bronze Pocket Watch-Form Wall Clock, second quarter 19th century, trimmed with engine turning, the clock hanging from the top ring, h. 5‑3/4”, dia. 3‑1/2”. [400/700] 1064 Honore Daumier (French, 1808‑1879), collection of eight “Courtroom” lithographs, including two 19th-century prints, “Les Beaux Jours de la Vie, Un Triomphe d’Avocat” and “Les Gens de Justice”, each monogrammed in plate, pencil-signed and numbered in lower margin “218/500” and “91/100” respectively, sight 12” x 9” and 9” x 12”; and six 20th-century prints from the New York Graphic Society, “A Respected Citizen”, “Such a Devoted Husband”, “A Sure Case”, “Plead Not Guilty”, “So Goes His Story” and “The Saintly Woman”, each monogrammed in plate. All eight glazed, matted and framed. [600/900] Illustrated

1065 Ansonia Oak Regulator Wall Clock, ca. 1900, with a time and strike movement with a spring chime, the case ornamented with turned finials, h. 48‑1/2”, w. 15”, d. 7‑1/2”. [400/700] 1066 Continental Carved Oak Extension Dining Table in the Renaissance Taste, fourth quarter 19th century, the oval top with a gadrooned edge and mounted to a base with elaborately fruitcarved legs ending in scrolled toes, lacking leaves, h. 28”, w. 42”, d. 46”. [500/800] Illustrated 1067 Vienna Bronze Figure of a French Bulldog, first quarter 20th century, Austrian, signed by Franz Bergmann, on an alabaster base, h. 4‑3/4”, w. 3”, d. 4‑1/2”. [300/500] Illustrated

1067 1064 one of eight

1066 1064 two of eight

242

1068 French School (20th Century), “Singerie; Monkeys Playing Pool”, oil on canvas, signed illegibly lower left, 30” x 48”. Framed. [500/800] Illustrated 1069 Jean-Pierre J. Alfred Bellet du Poisat (French, 1823‑1883), “Deux Amateurs”, oil on wood panel, signed lower right and titled en verso, 3‑1/2” x 5‑1/8”. Framed. [700/1000] Illustrated 1070 Continental Gilt-Bronze Figure of a Bear, ca. 1900, probably Vienna, the bear holding a tasseled umbrella and a “jewel”mounted lantern, h. 5‑1/2”, dia. 2‑1/2”. [300/500] Illustrated 1071 Continental Tole Six-Light Chandelier in the Form of a Hot Air Balloon, mid-20th century, of Regency inspiration, decorated with swags and flowers, all with a yellow-painted ground, h. 38”, dia. 13”. [500/800] Illustrated

1071

1068

1070

1069

243

1072 Uzbek Shirvan Runner, 2’ 6” x 12’ 7”. [500/800] Illustrated 1073 Persian Nain Silk and Wool Carpet, 3’ 2” x 5’ 4”. [400/700] 1074 Louis XV-Style Needlepoint Carpet, 9’ 3” x 13’ 3”. [600/900] Illustrated 1075 Kilim Carpet, 4’ x 6’. [300/500] 1076 Turkish Kilim Carpet, 3’ 3” x 4’ 6”. [300/500] 1077 Signed Nain Carpet, 5’ 7” x 7’ 10”. [400/700] 1078 Turkish Angora Oushak Carpet, 8’ 2” x 9’ 9”. [600/900] Illustrated

1074 1072

1080

244

1078

1079 Bidjar Carpet, 2’ 4” x 3’ 10”. [300/500]

1084 Semi-Antique Yahyali Prayer Rug, 2’ 9” x 5’ 1”. [400/700]

1080 Turkish Oushak Carpet, 6’ x 9’. [700/1000] Illustrated

1085 Semi-Antique Kilim Carpet, 10’ 1” x 12’ 7”. [600/900] Illustrated

1081 Semi-Antique Caucasian Shirvan Carpet, 3’ x 5’ 3”. [500/800]

1086 Antique Bidjar Runner, 3’ 2” x 25’ 3”. [500/800]

1082 Antique Lilihan Carpet, 4’ 10” x 6’ 1”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [400/700] Illustrated

1087 Broken Design Agra Serapi Carpet, 9’ 8” x 13’ 6”. [1800/2500] Illustrated

1083 Kilim Carpet, 5’ 6” x 8’. [500/800] Illustrated

1088 Turkish Oushak Carpet, 3’ 5” x 5’. [400/700]

1082

1083

1085

1087

245

1089

1090

1089 Victor Vasarely (Hungarian/French, 1906‑1997), “Optical Cube”, silkscreen, pencil-signed lower right, inscribed “LA” lower left, sight 23‑3/4” x 21‑1/8”. Matted, glazed and framed. [250/400] Illustrated 1090 Victor Vasarely (Hungarian/French, 1906‑1997), “Beautiful Thez”, silkscreen, pencil-signed lower right, numbered “60/250” lower left, sight 31” x 29‑3/4”. Matted, glazed and framed. [600/900] Illustrated

246

1091

1091 Victor Vasarely (Hungarian/French, 1906‑1997), “Untitled”, silkscreen, pencil-signed lower right, numbered “40/55” lower left, sight 28‑3/4” x 28”. Glazed and framed. [400/700] Illustrated

1092 one of two

1093

1093 Alexander Calder (American, 1898‑1976), “Christmas Tree”, ca. 1970, color lithograph, pencil-signed lower right and numbered “60/100” lower left, sight 30” x 22‑1/4”, sheet 30‑1/2” x 22‑3/4”. Glazed, matted and framed. [600/900] Illustrated 1094 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. [300/500] Illustrated

1092 two of two

1092 Graciela Rodo Boulanger (Bolivian/French, b. 1935), “Les Balons” and “Garcon sur un Taureau”, two etchings with aquatint, both signed lower right and numbered lower left, sights 25‑1/2” x 18” and 25‑3/4” x 17‑3/4”. Both glazed, French matted and framed. [400/700] Illustrated 1094

247

1095 Yaacov Agam (Israeli, b. 1928), “Abstract in Color”, silkscreen, signed lower right and numbered “VII/ XVIII”, sight 23‑5/8” x 24‑3/4”. Glazed, matted and framed. [400/700] Illustrated 1096 After Salvador Dali (French/Spanish, 1904‑1989), “My Wife Nude Contemplating Her Own Flesh Becoming Stairs, Three Vertebrae of a Column, Sky and Architecture”, drypoint etching, signature stamped lower right, numbered “232/235”, sight 24” x 19‑1/2”. Glazed, matted and framed. [500/800] Illustrated 1097 Thomas McKnight (American, b. 1941), pair of serigraphs, including “Red Couch” and “Yellow Couch”, each pencil-signed lower right, one numbered “CLXXXXV/CC” and the other “87/200”, each sight 29‑1/2” x 32‑3/4”. Matted, glazed and framed alike. [500/800] Illustrated

1095

1097 one of two

1096

248

1097 two of two

1098 one of two

1100

1101

1098 two of two

1098 Thomas McKnight (American, b. 1941), pair of serigraphs, including “Boston Garden” and “Southwest Patio”, each pencil-signed lower right and numbered lower left, each sight 29‑1/2” x 32‑3/4”. Matted, glazed and framed alike. [500/800] Illustrated 1099 Theo Tobiasse (Israeli/American, 1927‑2012), “Fleurs Sechees Remonter L’autre Versant de Soi-Meme”, lithograph in colors, signed lower right, numbered “29/125” lower left, sight 21‑1/2” x 29”. Glazed, matted and framed. [400/700] Illustrated 1100 James Coignard (French, 1925‑2008), “Untitled”, mixed media print on handmade paper, signed lower right, numbered “100/100” lower left, sheet 9‑3/4” x 10”. Float-mounted, glazed and framed. [600/900] Illustrated

1099

1101 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. [300/500] Illustrated

249

1102

1104

1102 Jean Cocteau (French, 1889‑1963), “Le Coq”, color lithograph, signed and dated “1956” in plate, 18‑5/8” x 11‑7/8”. Glazed, matted and framed. [400/700] Illustrated 1103 Andre Brasilier (French, b. 1929), “Femme Avec Les Fleurs”, color lithograph, pencil-signed lower right margin, numbered “89/175” lower left, sight 26‑7/8” x 18‑7/8”. Glazed, matted and framed. [500/800] Illustrated

250

1103

1105

1104 Andre Brasilier (French, b. 1929), “Au Cirque”, color lithograph, pencil-signed lower right, artist proof lower left, “Summa Gallery of Brooklyn Heights Gallery” label on framed backing, sight 21‑1/4” x 26‑3/8”. Framed. [500/800] Illustrated 1105 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. [300/500] Illustrated

1109 Suite of Ten Upholstered Parson’s Chairs, comprised of two armchairs and eight sidechairs, each fully upholstered in white, h. 39‑3/4”. [800/1200] Illustrated 1110 Four-Piece Asian-Inspired Contemporary BambooTrimmed 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”. [400/700] Illustrated

1107

1109

1108

1106 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. [400/700] 1107 Thomas Kinkade (American, 1958‑2012), “Bloomsbury Cafe”, giclee with acrylic, signed lower right, affixed with artist plaque, 16” x 12”. Framed. [500/800] Illustrated 1108 Mid-Century Modern Chrome and Smoked Glass Drinks Trolley, each shelf comprised of thick smoked plate glass and a short raised gallery, the legs mounted on rollers, h. 32”, w. 33”, d. 15‑1/2”. Provenance: Estate of Alice Evans Pratt, Houston, Texas. [400/700] Illustrated 1110 three-piece suite

251

1111

1112

1111 Susan Hall (American/New York/California, b. 1943), “The Interior”, 1978, acrylic on paper laid down on wood board, signed, dated and titled en verso along with a “Neil G. Ovsey Gallery/Los Angeles” label en verso, 30” x 25”. In a thin gallery frame. [600/900] Illustrated 1112 Remo Farruggio (American, 1904‑1981), “Through a Window”, oil on canvas, signed lower left, 20” x 24”. Presented in a mid-century, wide, hardwood frame. [700/1000] Illustrated

252

1113

1114

1113 Heshi Yu (Chinese, b. 1935), “Village Scene with Church”, oil on canvas board, signed lower left, 20” x 16”. Framed. [500/800] Illustrated 1114 Ann Hornback (American, Contemporary), “Dreamboat”, watercolor on paper, signed lower right, 27‑1/2” x 39”. Matted, glazed and framed. [400/700] Illustrated

1116

1117

1118

1115 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”. [300/500] 1116 Boch Freres La Louviere Pottery Vase, ca. 1920, Belgian, with a celadon interior, the exterior streaked with a cobalt over celadon glaze, possibly a design after Charles Catteau, h. 12”, dia. 5‑1/4”. [300/500] Illustrated

1117 Unusual English Art Deco-Style Three-Part Overmantel Mirror, second quarter 20th century, with a cobalt glass bolection-molded surround, set with three beveled panels, the end panels decorated with cut stars, h. 18”, w. 55‑1/4”. [600/900] Illustrated 1118 Contemporary Chrome and Lapis Enamel Writing Desk, with a rectangular top, the front edge fitted with three side-by-side drawers, supported by a tubular chrome base, h. 29”, w. 72”, d. 36”. [300/500] Illustrated

253

1119 Mid-Century Modern Chrome and Walnut Serving Trolley, with a central shelf and fold-open work surface, h. 32”, w. 19”, l. 30‑1/2”, extended l. 48”. [300/500] Illustrated

1121 Contemporary Italian White Leather and Chrome Bench, fitted with two raised cushions and overstuffed arms, raised on a brushed chrome base, h. 19”, w. 58”, d. 27”. [500/800] Illustrated

1120 Italian Three-Piece White Leather Sectional Sofa Suite, comprised of a left and right arm section, h. 26”, w. 62”, d. 32”, and a double-arm section, h. 26”, w. 66”, d. 32”, each with removable seat and back cushions. [1000/1500] Illustrated

1122 Contemporary Chrome and Smoky Plate Glass Table, the square chrome frame with square straight legs, the plate glass top with a dark smoked finish, h. 30”, w. 36”, d. 36”. [300/500]

1121

1119

1120 two of three

254

1123 Mid-Century Modern Chrome and Plate Glass Library Steps, second half 20th century, possibly by the Pace Furniture Collection, New York City, with three stair treads, with 5/8” plate glass inserts and a handrail along the right side and top, h. 52”, w. 18”, d. 31”. [700/1000] Illustrated 1124 Terry Weldon (American/Louisiana, b. 1947), “Study for Fragmented Stele Disc”, 1982, oil on paper construction, mounted on linen board, signed lower left, signed and dated en verso, verso with artist label, overall, 23‑1/2” x 23‑1/4”. Presented in a plexiglass shadowbox frame. Provenance: New Orleans Academy of Fine Arts, Academy Gallery, New Orleans, Louisiana. [600/900] Illustrated 1125 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. [400/700] Illustrated

1123

1126 Nicaraguan Multicolor Pottery Vase, by Enmanuel Maldonado (b. 1977), San Juan de Oriente, of slightly flattened spherical form and decorated with incised geometric patterns in black, red, speckled tan and speckled blue, signed and localized “San Juan de Oriente” on the underside, h. 8”, dia. 8‑1/2”. [300/500] 1127 Pair of Contemporary Chrome Three-Light Floor Lamps, third quarter 20th century, on rectangular bases and mounted with chrome shades, each base with an unknown maker’s mark, h. 59‑1/4”, w. 13‑1/2”, d. 10‑1/4”. [300/500] Illustrated

1124

1125

1127

255

1128 Vintage Venini-Style Lucite Hall Lantern, 20th century, hung from a hexagonal gilt-metal frame, set with looped lucite bands, h. 51‑1/2”, dia. 14”. [400/700] Illustrated 1129 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

1128

1130

1130 LContemporary Bronze and Glass Figural Center Table, the circular glass top with a beveled edge and supported by three cherub figures modeled standing on a concave molded tripartite base, h. 31”, dia. 53‑1/2”. [500/800] Illustrated 1131 Two Continental Rock Crystal Spheres on Stands, 20th century, the larger sphere on a brass stand with roping, h. 7‑3/4”, dia. 5‑1/4”, and the smaller sphere on a metal stand, h. 7‑1/4”, dia. 4‑1/2”. [300/500]

1129

256

1132 Contemporary Italian Glass Footed Bowl, post-1960, Murano, decorated with bubbles, signed on the black glass base “Pino Signoretto, A. Canali”, h. 15‑1/2”, dia. 11”. [400/700] Illustrated 1133 Tiffany Contemporary Crystal Centerpiece Bowl, 20th century, decorated with intaglio circles in various sizes, signed “Tiffany and Co.” in an etched mark, h. 3‑1/2”, dia. 13‑1/2”. [300/500] Illustrated

1132

1134 Lalique Molded and Frosted Crystal “Thistle” Pattern Bowl, pre-1978, French, decorated with frosted thistles, with an engraved “Lalique, France” mark on the base, h. 11‑1/2”, dia. 10”. [400/700] Illustrated 1135 Three Pieces of Signed Steuben Glass, mid-20th century, Corning, New York, the collection including a flaring centerpiece bowl on a ball-form pedestal, h. 9‑1/4”, dia. 11‑3/4”, a small flaring bowl, h. 2‑1/2”, dia. 7‑1/2”, and a decanter with an interior teardrop bubble in the stopper, h. 10‑3/4”, dia. 3‑3/4”, each engraved “Steuben” on the base. [400/700] Illustrated

1133

1136 Pair of Whimsical Reed and Rattan Accent Chairs, each with an arched back, joined loop splat and circular upholstered seat, h. 34‑1/2”. Provenance: Chosen by interior designer Sister Parish of Parish-Hadley, New York, New York, for a South Hampton estate. [500/800] Illustrated

1134

1135

1136

257

1137 one of two

1139 one of two

1138 one of two

1140 one of three

1137 Paul Jacoulet (French/Japanese, 1902‑1960), “Les Belles de Yap et Orchidees - Ouest Carolines” and “Un Homme de Yap - Ouest Carolines”, two color woodblocks, each signed, stamped and titled, each sight 17‑1/2” x 13‑1/2”. Both glazed and framed alike. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated

1139 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. [500/800] Illustrated

1138 Paul Jacoulet (French/Japanese, 1902‑1960), “Les Bons Piments Rouges!” and “La Perruche Morte Celebes”, two colors woodblocks, each signed, stamped and titled, sight 18” x 13‑3/4”. Both glazed and framed alike. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated

1140 Paul Jacoulet (French/Japanese, 1902‑1960), “L’Attente”, “Calme Truck” and “Untitled - Pair of Portraits”, three color woodblocks, the first two signed, stamped and titled, the last signed in plate and stamped, sights 16‑1/2” x 13”, 12‑3/4” x 16” and sheets 6” x 4”, respectively. All glazed, matted and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated

258

1141 one of two

1142

1141 Paul Jacoulet (French/Japanese, 1902‑1960), “Retour de la Jungle - Tondano, Celebes” and “La Nouvelle Robe Metalanim, Penabe”, two color woodblocks, each signed, stamped and titled, sights 16‑3/4” x 12” and 17‑1/4” x 14‑1/2” respectively. Each glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [500/800] Illustrated

1143 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”. [400/700] 1144 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”. [500/800] Illustrated

1142 Paul Jacoulet (French/Japanese, 1902‑1960), “Le Priere de Minuit - Lama Mongol”, color woodblock, signed, stamped and titled, sight 18‑1/2” x 14”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [500/800] Illustrated

1144

259

1148

1145

1145 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 1146 Pair of Maitland-Smith Mixed Woods Inlaid and Parcel-Gilt Oval Side Chests, the banded tops with a central inlaid fan, the cases fitted with three drawers, h. 31”, w. 31”, d. 22”. [600/900] Illustrated 1146

1147 Pair of Ralph Lauren Distressed Leather Wing Chairs and Ottomans, manufactured by Henredon and bearing the Registry Label, the wing chairs with tall backs, removable cushions and raised on cabriole legs, h. 49”, w. 33”, d. 31”, and the ottomans with a raised cushion and supported by turned bun feet, h. 18”, w. 33”, d. 21”. [700/1000] Illustrated 1148 Two Continental Patinated Bronze Busts, mid-20th century, one of a gentleman with a dramatic handlebar mustache and the other of an elderly woman wrapped in a shawl with an embroidered edge, h. 17‑3/4”, w. 13‑1/4”, d. 11” and h. 19‑1/2”, w. 15”, d. 11‑1/2”. [500/800] Illustrated

1147

260

1149 Alvin Hollingsworth (American, 1928‑2000), “Tilling the Fields”, oil and acrylic on canvas board, signed lower right, 18” x 24”. Framed. [1200/1800] Illustrated 1150 Alvin Hollingsworth (American, 1928‑2000), “We the People”, oil and acrylic on wood panel, signed lower left, 7‑1/2” x 46”. Framed. [600/900] Illustrated

1149

1150

1151 Alvin Hollingsworth (American, 1928‑2000), “Prophet Amarillo”, oil and acrylic on canvas, signed lower left, titled en verso, 24” x 36”. Framed. [1500/2500] Illustrated

1151

261

1152 Three-Piece Suite of Percival Lafer Furniture, comprised of a sofa in quilted suede on a solid rosewood frame, h. 28”, w. 84”, d. 35‑1/2”, a cocktail table, h. 12‑1/2”, w. 48‑1/4”, d. 23‑1/4”, and an occasional table, h. 13‑1/4”, w. 22”, d. 23‑1/4”, the tables with smoked glass tops on like frames, retaining a label “Design by Lafer MP Made in Brazil”. [400/700] Illustrated

1152

1153 Three-Piece Suite of Percival Lafer Rosewood and Suede Furniture, ca. 1970, comprised of two lounge chairs, h. 28‑1/2” and 36”, and an ottoman, h. 17”, w. 24”, d. 25”, each in quilted leather on a solid rosewood frame, one chair retaining a label “Manufactured by Brazil Industries Corp.”. [700/1000] Illustrated

1153

1154 Joe Sternberg (American, Contemporary), “Untitled”, mixed media sculptural side table, mirrored metal and stone inlay, signed at base “Joe Sternberg”, h. 24‑1/4”, w. 12‑1/4”, d. 12‑1/4”. [400/700] Illustrated

1154

262

1156 Large Modern Walnut, Tiger Maple and Maple Bench in the Manner of George Nakashima, the back supported by a spindle gallery joined to an extending plank seat, raised on line-strung walnut octagonal legs, h. 41‑1/2”, w. 96”, d. 45”. [1500/2500] Illustrated 1157 Decorative Mixed Media and Metal Sculpture of the Moon and Horizon, 20th century, 24” x 32”. [300/500] Illustrated

1155

1155 George Valentine Dureau (American/New Orleans, 1930‑2014), “Mardi Gras New Orleans, A Carnival Bestiary”, hand-augmented silkscreen from the artist’s proof, signed lower center, titled lower left “A Carnival Bestiary” and further inscribed lower right, accompanied with a personalized note from the artist, sight 35” x 23”. Glazed, matted and framed. [500/800] Illustrated

1157

1156

263

1158 Clyde Connell (American/Louisiana, 1901‑1998), “Bistineau Sentinel No. 1”, 1992, mixed media on wood, signed, titled and dated, h. 84”, w. 11‑1/4”, d. 11‑1/4”. Provenance: Descended in the family of the artist. [3000/5000] Illustrated 1159 Clyde Connell (American/Louisiana, 1901‑1998), “Tripod No. 1”, 1993, mixed media on wood, signed, numbered and dated, h. 38”, w. 13”, d. 13”. Provenance: Descended in the family of the artist. [1500/2500] Illustrated 1160 Art Deco-Style Marble and Glass Occasional Table, the circular beveled glass top on a shaped marble-clad column joined to a like-stepped base, h. 22‑1/2”, dia. 16”. [300/500] Illustrated 1161 Contemporary Overstuffed Barrel-Back Wing Chair, of large scale, with a button-tufted back, reversible cushion and raised on square tapered legs, h. 44”, w. 36”, d. 30”. [600/900] Illustrated

1159

1158

1160

264

1161

1162

1163

1162 Contemporary Padded and Upholstered Arched Headboard, the border with a corded edge and trimmed with a row of silver tacks, king size, h. 55”, w. 78”. [600/900] Illustrated 1163 Pair of Contemporary Amethyst Geode Lamps, mounted on lucite bases, with chrome-plated fittings, mounted with shades, h. 22‑1/2”, dia. 13”. [500/800] Illustrated 1164 Four-Piece Louis XVI-Inspired Fruitwood Salon Suite, 20th century, comprised of a curved settee, h. 30”, w. 55”, d. 30”, a pair of barrel-back armchairs, h. 29‑1/2”, and an associated ottoman, h. 17”, dia. 23”. [600/900] Illustrated

1164

1165 Contemporary Lucite and Beveled Glass Dining Table, the square glass top on a butterfly-form pedestal, h. 27”, w. 42”, d. 42”. [400/700] Illustrated

1165

265

1166

1168

1166 Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Untitled”, painted wood sculpture, now presented in a rotating acrylic shadowbox, h. 12”, w. 9”, d. 6”. [1200/1800] Illustrated 1167 Steve Martin (American/New Orleans, Contemporary), “She Said” and “He Said, 2014, pair of oils on gallerywrapped canvas, each signed lower right, signed, dated and titled en verso, each 48” x 36”. Unframed. [1200/1800] Illustrated

1169

1168 Louise Guidry (American/Louisiana, b. 1930), “Homage to Klimt”, acrylic on board, signed lower right, 14” x 14”. [500/800] Illustrated 1169 Marion Riseman (American, 1928‑2010), “Abstract”, oil on canvas, signed and dated “74”, lower right, 24” x 18”. Framed. [800/1200] Illustrated

266

1167 one of two

1170 Louise Guidry (American/Louisiana, b. 1930), “Crimson, Copper, and Gold Cycle”, group of three encaustics on paper, each mat-signed lower right, sights 5” x 5”, 9‑1/2” x 7‑1/2”, and 13‑1/4” x 10‑1/2”. Each matted, glazed and framed. [800/1200] Illustrated 1171 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

1172

1170 one of three

1173

1172 Sandy Chism (American/Louisiana, 1957‑2013), “Double Trouble”, 2004, acrylic on panel, signed, titled and dated en verso, 48” x 32”. Unframed. [2000/4000] Illustrated

1171

1173 Sammy Peters (American/Arkansas, b. 1939), “Clarity”, 2002, oil on gallery-wrapped canvas, signed, dated and titled en verso, 40” x 30”. [600/900] Illustrated

267

1174

1177

1174 American School (20th Century), “Cliff Palace”, 2001, oil on canvas, illegibly signed, dated and titled en verso, 48” x 60”. Unframed. [500/800] Illustrated 1175 Allison Stewart (American/New Orleans, b. 1941), “Urban Wall”, lithograph, pencil-signed lower right, titled lower center, numbered “91/350” lower left, sheet 24” x 18‑1/2”. Unframed. [300/500] Illustrated 1176 David McCullough (American/Texas, b. 1945), “#2 Quanta, Ice Pick’ N”, 1980, from the series Mysterious Traveller Cosmological Cycle, sand and mixed media on canvas, signed, dated and titled en verso, 40‑1/2” x 53”. Unframed. [500/800] Illustrated

1175

268

1176

1177 American School (20th Century), “Abstract with Red”, oil on board, unsigned, 11‑1/2” x 14‑1/8”. Framed. [400/700] Illustrated

1178

1180

1182

1179

1178 Yuri Martinez Ramos (Cuban/American, b. 1964), “Siesta”, 1998, oil on paper, signed and dated lower left, titled en verso on label, sight 13‑1/4” x 14‑1/2”. Glazed, matted and framed. [500/800] Illustrated 1179 Malcolm Edgar Case (American/ New York, 20th Century), “Young Men Gathered in Conversation”, ink drawing and watercolor on paper, signed lower left, 17‑3/8” x 31‑3/8”. Glazed and framed. [800/1200] Illustrated

1181 Dean Richardson (American, b. 1931), “Worm” (Father Crazy Horse), 1986, oil on canvas, monogrammed and dated lower right, signed, titled and dated en verso canvas, verso with two gallery labels, 20” x 16”. Framed. Collection of Virginia Lynch, Tiverton, Rhode Island, by descent to the present consignor. [700/1000] 1182 Louise Guidry (American/Louisiana, b. 1930), “Blue and Gold”, encaustic on paper, signed lower right, sight 16‑1/4” x 13‑1/2”. Matted, glazed and framed. [500/800] Illustrated

1180 Kelly Moore (American, Contemporary), “Untitled”, mixed media on canvas, signed lower right, 24” x 18”. Unframed. [400/700] Illustrated

269

1183

1186

1184 one of two

1183 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. [400/700] Illustrated 1184 Lucille Reed (American/Louisiana, 1921‑2014), “Time Suite”, 1982, acrylic on gallery-wrapped canvas, a diptych, signed, titled and dated en verso, with “Longview Museum and Arts Center, Longview, TX” exhibition label, each panel 72” x 48”, total 72” x 96”. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [300/500] Illustrated 1185 American School (20th Century), “Untitled”, oil on canvas, 60” x 36”. Unframed. [300/500] Illustrated 1186 Calman Shemi (Israeli/Argentinian, b. 1939), “Flat Impressions #3”, hand-dyed fiber and fabric, signed and titled on reverse corner, 100” x 66”. Unframed. [400/700] Illustrated 1185

270

1189 Sherle Wagner Gilt Italian Porcelain Basin and Gilt-Bronze Faucet, the scalloped-form basin marked “Sherle Wagner” on stopper and “SW” on base, fitted with a cut crystal lift rod knob, basin, h. 9‑1/2”, w. 19‑1/2, d. 15‑1/2”. Provenance: Le Pavillon Hotel, New Orleans, Louisiana. [400/700] 1190 Sherle Wagner Vanity and Fixtures, the black and white marble front over gilt-bronze tapered, reeded legs with toupie feet, h. 33‑1/2”, w. 25‑1/2”, d. 22‑1/2, and the Italian porcelain bowl fitted with gold-plated and faceted crystal handles and lift rod knob, together with a matching gilt-bronze medicine cabinet, h. 27”, w. 21‑1/4”. Provenance: Le Pavillon Hotel, New Orleans, Louisiana. [700/1000] Illustrated

1187

1187 Linda Dautreuil (American/Louisiana, Contemporary), “Untitled”, oil on gallery-wrapped canvas, signed en verso canvas, 46‑1/4” x 50”. Unframed. [500/800] Illustrated 1188 Sherle Wagner Marble Water Closet Casing, carved in the “scroll and flourish” form, with giltwood cover and gold-plated and crystal handle, h. 23”, w. 23”, d. 32”. Provenance: Le Pavillon Hotel, New Orleans, Louisiana. [900/1200] Illustrated

1191 Two Monumental Sherle Wagner Gold-Plated Bronze Showerheads, with lamb’s tongue molding, foliate-mounted rings and pinecone finials, h. 6‑1/2”, dia. 11‑1/2”. Provenance: Le Pavillon Hotel, New Orleans, Louisiana. [800/1200] 1192 Group of Six Sherle Wagner Gold-Plated Bronze Fixtures, including a monumental bronze showerhead, l. 6‑1/2”, dia. 11‑1/2”, two towel hooks, l. 3”, dia. 2‑1/2”, two towel bars with twisted crystal rods, l. 26”, dia. 4‑1/2”, and a hand towel bar, l. 21‑1/2”, dia 3‑1/2”. Provenance: Le Pavillon Hotel, New Orleans, Louisiana. [500/800] Illustrated

1188

1192

1190

271

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. Rev. 01/04/17

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

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

Rev. 01/04/17

(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.

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

(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.

(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 [subject to a $30 fee for domestic wires and a $60 fee for international wires] 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

(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.

(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.

(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.

(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. Rev. 01/04/17

(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.

Rev. 01/04/17

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

R E Q U E S T F O R C O N D I T I O N R E P O RT S Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally.

Name (Please Print): _____________________________________________ Date: ____________ Email Address: _______________________________ Phone: (_______)______________

Fax: (_______)_______________

Lot # Description Special Requests ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

Please submit this form by 5:00 p.m. two days prior to the first day of the auction.

Rev. 01/04/17

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

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

Date: ____________________

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

State: ____________ ZIP: _________________

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

Lot #

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

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

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com Rev. 01/04/17

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

Lot #

______________________________________

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

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

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

BOOKS, MANUSCRIPTS & EPHEMERA:

Director of Fine Arts Continental and American; Prints and Maps

Continental and English

American, Continental and English

Michele M. Carolla British and American; Sculpture

FURNITURE:

Nicole Casi, PhD

Ireys Bowman

American, Continental and English

Charles C. Cage Jewelry:

Continental and English

Kim Lemon

Greg S. Kowles

FINE CARPETS & TEXTILES:

Asian Arts:

American, Continental and English

Rebecca Moss

Thomas Halverson

Sean Ranson

American

a d m ini s t r at ion Charles C. Cage

Grace Connors

Burke

Colleen Ryan

Nicole Casi, PhD

Director of Human Resources

Research

Taylor Eichenwald

Denise Haik

Gary Michael Gittelson

Office Manager

Office Administration

Alexis Kopituk

Manager of Cakebread Auctions

Photographer

Cord McPhail

Designer

Marketing & Public Relations

Christa Ougel

Graphic Designer

Photographer

Justin Gray

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie English and Continental Furniture

Cedric Roberts | Sean Ranson

Ira Savoie Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

James Callahan Asian Arts

Sol Carter | Thomas Johnson

Administrative Assistant

Ashton Thomas #1833 Michael DeGeorge #1774 Taylor Eichenwald #1922

Graphic Designer

Bennie Amos | Eddie Daigrepont

Gerald Hampton | Juanita Bazile

David Abney | James Collins