Oct 10-12 Estates Auction: New Orleans Auction Galleries by New Orleans Auction Galleries

New Orleans Auction galleries

October 10-12, 2014

Lot 1197 Cover Lot 1192

Exhibition September 29 - October 9, 2014 9:00 a.m. - 5:00 p.m. (E xcluding Sunday ) Evening Preview Reception Thursday, October 9, 2014 5:00 - 8:00 p.m. Session I Friday, October 10, 2014 12:00 p.m. CDT, Lots 1 - 369 Session II Saturday, October 11, 2014 10:00 a.m. CDT, Lots 370 - 925 Session III Sunday, October 12, 2014 10:00 a.m. CDT, Lots 926 - 1389

Featuring Property From: The Succession of Frances Thompson Kreihs Ne w Orleans, Louisiana

The Estate of Frances Wilson De vany Shackelford Montrose & Little Rock, Arkansas

The Estate of Susan Elizabeth Branch Ne w York, Ne w York

The Estate of Lane Meltzer Ne w Orleans, Louisiana

Chinese Porcelain & Te xtile Collection of Mr. & Mrs. Clarence E. Kendall, Jr. Houston, Te xas

The Schle y-Peabody-Warner House Columbus, Georgia

New Orleans Auction Galleries 504-566-1849 | 510 Julia Street, New Orleans, Louisiana 70130 | NewOrleansAuction.com | Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833/23% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

J u ly E s tat e s A u c t i on E v e n i n g R e c e p t i on H i g h l i g h t s J u l y

2 6 - 2 7 ,

2 0 1 4

(L-R) Richard and Sarah Freeman, Jelena James, William Andrews & Sarah Story; Deborah Hinson, Nancy DeMontluzin, Isabelle Dissard-Cooper & Burke; ReneĂŠ Gautreaux & Felicia Yao; Dana Hansel & Taylor Eichenwald; Aaron Reuter, Christina Graci, Chad Graci & Gary Solomon; Leigh Ann Bogran & Richard Haase

Letter from the President

Welcome to October! I feel fortunate that Susan has allowed me to take over this space for our October auction, as it’s an exciting time for all of us at New Orleans Auction Galleries. We bid a fond farwell to the oppressive Summer heat in New Orleans as autumn promises even more delights with our October 10-12 Estates Auction and the continued progress on our new gallery. Construction is moving along on schedule on the new building (pictured, right). It promises to be bigger, better and grander in every way. If you get a chance to drive by 333 St. Joseph, just around the corner from our present location, you will see the new columns of the third floor addition rising up. It changes daily, and we can’t wait to show it off to you in the New Year! If you weren’t with us in July, you missed another extraordinary sale, once again proving that an auction is a great way to beat the heat in New Orleans. It was highlighted by the sale of a painting by William Henry Buck that fetched an amazing $251,500 and a gorgeous collection of jewelry. It was an incredible $2.3 million sale! Coming off of such a fantastic sale, I am even more pleased to present our October catalogue to you. It features another dazzling array of items, including a broad collection of works by George Dunbar, in various mediums. We have an important collection of paintings by Ida Kohlmeyer, several Old Master paintings and prints, and some important 19th and 20th century Southern paintings, including works by Charles Giroux, John McCrady, Clarence Millet and others. We are offering an impressive selection of silver, one of the largest we have had in several sales. And if you thought the jewelry we had in July was fabulous, you will be excited to see pieces by David Webb, Buccellati, Bulgari, Tiffany, Cartier and others in this sale. I would also like to take a moment to highlight the estates that have given us the opportunity to offer property on their behalf: Susan Elizabeth Branch was a remarkable woman; in fact, she was one of the first women in New York City to get her auctioneers license. Her estate has brought us a lovely collection of Continental fine art, including a monumental pastel painting of a ballerina by Pierre Carrier-Belleuse, among many other items. The Estate of Lane Meltzer includes an important collection of post-war British art, featuring a Robert Adams brushed steel sculpture, and modern Southern regional paintings—a unique blend of the various strains of abstract expressionism. Much of the fabulous jewelry that I previously mentioned is from the Succession of Frances Thompson Kreihs. Her collection features all of the David Webb designs among many other fine pieces, and an excellent selection of Asian fine and decorative art. I would also be remiss if I didn’t mention the Estate of Frances Shackelford of Little Rock, Arkansas. Her estate includes more of the exquisite jewelry in this sale, as well as some fine art and antique furniture. As always, you can find more details on the featured estates that we are offering in the following pages. We will begin on Friday October 10th at 12 p.m. CDT, and continue Saturday (the 11th) and Sunday (the 12th) at 10 a.m. CDT. We will be open for exhibition from Monday, September 29th until Thursday, October 9th from 9 a.m. to 5 p.m. daily, excluding Sunday. Our evening reception is Thursday, October 9th from 5 p.m. to 8 p.m. The evening reception is a great time to preview the items that you are interested in, as well as get a bite to eat and something to drink! I hope you are as excited as I am about everything that we have going on at New Orleans Auction Galleries, and we can’t wait to see you for our October sale!

Ashton Thomas President, New Orleans Auction Galleries

The S ucc ession of

F r a nc e s Thom p son Kre ihs N e w Or l e a n s , L o u i s i a n a

Gracious, kind and chic, Frances Thompson Kreihs was considered to be the epitome of elegance by those who knew her. She was born in Galveston, Texas in 1925 and moved to Houston at a young age with her mother, Aileen, and brother, Jack. In 1940, Frances relocated with her family to New Orleans, finally settling in the place that she would call home for many years. Frances was married to Albert Kreihs, founder and owner of Buck Kreihs Marine Repair in New Orleans, for over 30 years. Albert and Frances enjoyed traveling the world together. She especially loved the people, the shopping and the innate beauty of Paris and Italy. An avid arts enthusiast, Frances enjoyed attending exhibits and the ballet both in New Orleans and abroad. New Orleans Auction Galleries is proud to offer a collection of fine jewelry and Asian art from the Succession of Frances Thompson Kreihs.

The Estate of

Su s a n E l i za be t h Br anch N e w Yo r k , N e w Yo r k

Born in Tifton, Georgia in 1950, Susan Elizabeth Branch was an accomplished and driven woman. Shortly after graduating from Tift County High School in 1968, Branch was crowned the “Georgia Peanut Princess” at the Georgia Peanut Festival. She attended Valdosta State University and later transferred to the University of Georgia, where she earned a Master’s degree in Journalism. Branch moved to New York City in 1985 to study interior design at New York University and gemology at the Gemological Institute of America. She developed a passion for antiques, jewelry and design, maintaining a booth in the diamond district for years and working as an auctioneer. In fact, Branch was one of the first women in New York City to become a licensed auctioneer. New Orleans Auction Galleries is pleased to offer items from the Estate of Susan Elizabeth Branch, including antique furniture, a collection of Continental fine art, silver and more.

The Estate of

Fr a nc e s W il son De va ny S ha cke lford M ontr o se & L i t tle R o ck , Arka nsa s

Frances Wilson Devany Shackelford was born in Dendron, Virginia in 1923. At only three years old, Shackelford went to southern Arkansas to live with her aunt and uncle, who later adopted her. A remarkable and intelligent woman, she attended Hockaday School in Dallas, Fairmont College in Washington, D.C. and the University of Arkansas. An avid supporter of the arts, she was involved with many local organizations and institutions, including the Arkansas Arts Center, the Arkansas Arts Council, the Mid-America Arts Alliance and the Museum of Women in the Arts. Shackelford also served on the Foundation board at the University of Arkansas for Medical Sciences. She taught her family, by vivid example, what to avoid in life and what to embrace. Known as the beloved â&#x20AC;&#x153;Tootsie-berryâ&#x20AC;? to her legions of friends, young and old, her death marked the end of an era in the Arkansas and Mississippi Delta. Those who knew her described her as generous and unforgettable. She was, by her own design, spectacular. New Orleans Auction Galleries is pleased to offer items from the Estate of Frances Wilson Devany Shackelford, including jewelry, fine art, silver and antique furniture.

The Estate of

L a ne M elt ze r N e w Orlea ns, Lo ui si a na

Born in New York City, Lane N. Meltzer moved to New Orleans as a young man to work for his uncle, Harry Latter, one of the founders of Latter & Blum Realtors. Meltzer started as a gofer, but on Sunday mornings, Latter would pick up Meltzer in his chauffeur-driven car to look at real estate, mentoring him along the way. After graduating from Isidore Newman School and attending a year of college, Meltzer left school to join the Air Force as war was erupting. He went on to fight in World War II as a glider pilot, carrying troops in the invasion over the Rhine and bravely landing his platoon in a wheat field amidst enemy fire. After returning to New Orleans from his tour of duty, Meltzer continued to work for his Uncle Harry at Latter & Blum, mastering the business and ultimately rising through the ranks to become Chairman of the Board. Meltzer had also partnered with his cousin, Shepherd Latter, to form Westminster Corporation, a commercial development firm based in New Orleans and operating throughout the South. Following his success at Westminster, Meltzer founded his own company, Meltzer Associates. Over the course of his successful career, Meltzer developed office buildings, shopping centers, and industrial and residential properties, including 1010 Common and Pan American Life Center in New Orleans and 111 Capitol Building in Jackson, Mississippi. Meltzer was also one of the founding members of Royale Airlines and the New Orleans Downtown Development District. Meltzer lived life with enthusiasm and a deep determination that encompassed everything he did. He had great love for his family. One of Meltzerâ&#x20AC;&#x2122;s great passions was flying, and it continued well into his seventies. He owned several airplanes, was a Quiet Birdmen, an exclusive invite-only club for WWII glider pilots, and set a speed record for a twin-engine aircraft between New Orleans and Atlanta in 1968. Meltzer was also an avid skier, traveling to Austria and Colorado to pursue his love of the sport. Travel and golf were also favorites of Meltzer. He was a lifelong member of Temple Sinai in New Orleans. One of the greatest joys in Meltzerâ&#x20AC;&#x2122;s life was building his extensive and eclectic collection of 20th and 21st century art. His relationship with Gimpel Fils gallery in London introduced him to prominent British contemporary artists, such as Albert Irvin, Robert Adams and Alan Davie. Meltzer also had a close friendship with Ida Kohlmeyer, collecting numerous important works from various periods in her career. His unusual, yet unified collection of Southern Contemporary and British Post-War art hinged on his appreciation of the various abstract expressionist movements, especially those that are imbued with symbolism. New Orleans Auction Galleries is pleased to offer art from the lifetime collection of Lane N. Meltzer.

The Sc hl e y- Pe abod y-Warne r Ho use Colum bus, G eor gi a

Adde d to the N ationa l Regi ster of H i storic Pl a ces in 1970.

The Schley-Peabody-Warner House was built ca. 1840 by Philip Thomas Schley (1798-1862), the younger brother of Georgia Governor William Schley (1786-1858), who had relocated to Columbus in 1836 after accepting a commission to command the local militia. In 1858, the lot on which the house was situated was purchased by the First Presbyterian Church. The present owner of the house, Colonel Seabury Jones, had the house painstakingly moved-piece by piece-to a new lot on the next street corner. In the years before the Civil War, the house was the domicile of the parents of philanthropist George Foster Peabody (1852-1938), who had moved from Connecticut to Columbus. The war financially devastated the Peabody’s, and they eventually sold the home to James H. Warner (ca. 1830-1866). Warner, nicknamed the “Major”, was the chief engineer of the Confederate Iron Works, overseeing the construction of the warships CSS Jackson and CSS Chattahoochee.

Fr iday, October 10, 2014 Lots 1 - 3 69 12:00 - 1:00

1 - 99

1:00 - 2:00

100 - 199

2:00 - 3:00

200 - 299

3:00 - 3:45

300 - 369

S at ur day, October 11, 2014 Lots 370 - 925 10:00 - 11:00

370 - 469

11:00 - 12:00

470 - 569

12:00 - 1:00

570 - 669

1:00 - 2:00

670 - 769

2:00 - 3:00

770 - 869

3:00 - 3:30

870 - 925

S u nday, October 12, 2014 Lots 926 - 1389

10:00 - 11:00

926 - 1000

11:00 - 12:00

1001 - 1060

12:00 - 1:00

1061 - 1160

1:00 - 2:00

1161 - 1260

2:00 - 3:00

1261 - 1360

3:00 - 3:15

1361 - 1389

Ses sion I F r iday, O ctobe r 1 0 , 2 0 1 4 Lots 1 - 3 6 9

3 Pair of Chinese Blue and White Porcelain Garden Seats, late 19th/ early 20th century, the two drumshaped seats depicting aquatic scenes, each top edge with a six-character Kangxi reign mark, h. 19”, dia. 14‑1/4”. [800/1200] 4 Two Chinese Blue and White Porcelain Covered Vases, 18th/19th century, the baluster vases with knobbed covers with lappets at the shoulder and panels, each containing a floral scroll, the body of each vessel featuring a delicately articulated image of ducks swimming among aquatic plants, the undersides marked with a six-character painted Kangxi reign mark, h. 13‑1/2”, w. 5”. [1800/2500] Illustrated

1 Two Pieces of Chinese Blue and White Porcelain, 18th century, comprising a mug with a globular body and floral motif throughout, the underside with a two-character mark in underglaze blue, h. 6”, and a bowl with a floral motif on the exterior and a floral reserve on the interior, the underside with two blue concentric circles and a square mark in underglaze blue, dia. 5‑3/4”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [500/800] Illustrated

5 Four Chinese Blue and White Porcelain Panels, probably 19th century, the porcelain tiles painted with scenes of figures in various settings, with black wooden frames, tile, h. 10‑1/2”, w. 9”, overall, h. 12‑1/4”, w. 11”. [600/900]

2 Chinese Blue and White Porcelain Congee Pot, third quarter 19th century, with floral sprays and scrolling vine motifs throughout, a foo dog knop on the lid, displayed on a wooden stand, h. 8”, overall, h. 9‑3/4”, dia. 5‑1/4”. Provenance: Purchased in Hong Kong in 1976. [500/800] Illustrated

6 Twelve Chinese Porcelain Zodiac Figures, 19th/20th century, each blue and white figure signed with a Xuande reign mark on the lower bottom edge, and with a character on its back, h. 13‑1/4”, w. 3‑7/8”. [600/900] Illustrated

7 Chinese Porcelain Bowl, 18th/19th century, the clear white porcelain bowl with enameled floral scroll motif, the underside unmarked, h. 2‑3/4”, dia. 5‑1/2”. [500/800] Illustrated

8 Chinese Dehua Blanc-de-Chine Dish on Stand, possibly late Ming Dynasty (1368‑1644), the round shallow dish with a creamy white glaze, unmarked, displayed on a carved wooden stand, dia. 11‑1/4”. [700/1000] Illustrated 7 8

9 Chinese Celadon Censer, probably Ming Dynasty (1368‑1644), the tripodal round-bodied censer with incised decoration on the body and rim, the underside unmarked, h. 6‑1/4”, dia. 11”. [900/1200] Illustrated

10 Chinese Yixing Zisha Teapot, Qing Dynasty (1644‑1911), the reddish-brown clay teapot decorated with a landscape motif incised on the sides of the trapezoidal body, the reverse with an inscription, signed “Chen Mingyuan”, h. 3‑7/8”, w. 5”. [800/1200] Illustrated

11 Chinese Yixing Teapot, probably 19th century, the purplishred clay flat-topped round teapot with recessed base and Chen Zi Qi seal mark, h. 3‑1/4”, w. 7‑1/2”. [600/900] 12 Chinese Peachbloom Amphora with Stand, Kangxi Reign (1662‑1722), the vessel with a slender, tapered body with a long neck and everted mouth, the lightly mottled peachbloom glaze stopping elegantly just above the foot of the vessel, the underside inscribed with a six-character Kangxi reign (1662‑1722) mark in underglaze blue, displayed on a carved and molded wooden stand, vessel, h. 5‑3/4”, overall, h. 7”, w. 1‑3/4”. Provenance: Private collection, New Orleans, Louisiana. [15000/25000] Illustrated Vessels of this form are included in the highly sought-after “Ba Da Ma”or “Eight Great Numbers”, a group of eight forms collected by the scholarly elite. This amphora, also called a liuye zun or willow leaf vase for its delicate form, is often referred to as a Guanyin vase because depictions of the goddess of mercy are often shown holding bottles of a similar form. A complete set of the “Ba Da Ma” has been published in Michel Beurdeley and Guy Raindre’s Qing Porcelain (New York: Rizzoli, 1986), p. 150, no. 12, as well as, Suzanne Valenstein’s A Handbook of Chinese Ceramics (New York: Metropolitan Museum of Art , 1989), p. 237. Illustrated examples can also be found in Ralph Chait’s article “The Eight Prescribed Peachbloom Shapes Bearing K’ang Hsi Marks” in Oriental Art Winter 1967, vol. III, no. 4, p. 130‑137 and J. Ayers’ article “The Baur Collection: The Peachbloom Wares of the Kangxi Period (1662‑1722)” in Transactions of the Oriental Ceramic Society 1999‑2000, vol. 64, pp. 31‑55. Kangzi peachbloom vessels of the form can be found in the collections of The National Palace Museum, Taipei, The Hong Kong Museum of Art, Hong Kong, The Metropolitan Museum of Art, New York, and The Museum of Fine Arts, Houston.

12 detail

15 Pair of Chinese Porcelain Court Ladies, 18th/19th century, the two colorfully enameled porcelain figures of ladies with movable hands and heads, each attached to a rectangular porcelain stand adorned with floral reserves, h. 16”, w. 4”. [800/1200]

16 Chinese Famille Noire Vase, 19th century, with scrolling flowers, vines and butterflies on a black ground, the interior white and the underside unmarked, h. 5‑1/4”. [900/1200] Illustrated

13 Chinese Famille Verte Circular Fish Bowl/Jardiniere on Stand, 19th/20th century, the heavily potted vessel with green enamels depicting figures engaged in battle, fish and aquatic plants on the interior, displayed on a carved wooden stand, bowl, h. 14”, overall, h. 25”, dia. 16”. [500/800] Illustrated

14 Pair of Chinese Porcelain Lidded Urns, 19th/20th century, the pair of jars with a motif of peonies on a white ground, the undersides unmarked, displayed on pierced and carved wooden stands, h. 18”, w. 9‑1/2”, without stand. [500/800] Illustrated

17 Chinese Famille Verte Ginger Jar with Lid, 19th century, depicting a figure riding a qilin, surrounded by an entourage of colorfully attired boys on a white ground, the underside unmarked, h. 12”, w. 9”. [800/1200] 18 Chinese Porcelain and Enamel Bowl, probably early 20th century, the lotusform polychrome enamel bowl with Sanskrit and Chinese characters, inscribed on the interior and exterior, the underside marked 19 with a six-character Wanli reign mark, h. 2‑7/8”, dia. 8‑3/4”. [600/900] 19 Chinese Porcelain Baluster Vase, probably 19th century, with reserves depicting arrangements of plants and archaic vessels on a blue ground, the interior white, the white underside bearing a fourcharacter Kangxi reign mark in blue underglaze, h. 14”, w. 6”. [500/800] Illustrated

20 Pair of Chinese Export Porcelain Roosters, late 19th/ early 20th century, the two roosters standing beside pierced and molded tree trunks, thickly potted and with incised feather detail, unmarked, h. 15‑3/4”, w. 9”. [2000/4000]

21 Pair of Chinese Export Porcelain Parrots, late 19th/early 20th century, the two brightly enameled birds depicted on black tree branches, the undersides unmarked, h. 10‑1/4”, w. 6‑1/2”. [600/900] Illustrated 22 Pair of Chinese Porcelain Dishes, 18th/19th century, each with incised borders with central reserves depicting a peacock and peahen set among flowers, a scholar’s rock and tree, the reverse with an apocryphal four-character Chenghua mark, dia. 12‑3/4”. [500/800] Illustrated 23 Pair of Chinese Famille Rose Porcelain Temple Jars, late 19th/early 20th century, the two large lidded jars with a scrolling floral motif on a green ground, with white-ground reserves with peony decoration, unmarked, displayed on two wooden stands, h. 24”, w. 11‑1/2”, without stand. [1800/2500] Illustrated

24 Pair of Chinese Mille-Fleur Bowls, Guangxu period (1875‑1908), each small, delicately flaring bowl with a mille-fleur pattern on a gilt ground, with a white interior and underside, the underside with a six-character red Guangxu reign mark and of the period, and displayed on a pierced wooden stand, h. 2‑1/2”, overall, h. 3‑1/2”, dia. 4”. [500/800] Illustrated

25 Pair of Chinese Porcelain Garden Seats, 19th/20th century, the two drum-shaped seats with gilt fish on a brown ground, unmarked, h. 19”, dia. 13”. [2500/4000] 26 Chinese Porcelain and Enamel Double-Gourd Vase, 20th century, the blue-ground vase with gilt reserves depicting auspicious plants and animals, four smaller gilded gourds around the center of the vessel, the underside with an apocryphal Yongzheng reign mark in blue underglaze, h. 15‑1/2”, w. 9‑1/4”. [900/1200] Illustrated 27 Chinese Porcelain Baluster Vase, 20th century, the gilt and enamel vase with reserves depicting beauties in idyllic garden settings, with a light turquoise interior and a white underside with an inscription in blue, commemorating the Yongzheng reign (1722‑1735), h. 18‑1/2”, w. 8”. [800/1200] Illustrated

28 Pair of Chinese Porcelain Vases, late 19th/early 20th century, the porcelain enameled vases with Kui dragons at the neck, the underside marked with a six-character Guangxu reign mark in underglaze blue, h. 22‑1/4”, w. 10‑3/4”. [2000/4000] Illustrated 29 Chinese Porcelain Baluster Vase, 20th century, with polychrome enamel on a white ground, depicting archaic vessels and peonies, inscribed text in red and black on the reverse, the underside unmarked, h. 17”, dia. 7‑1/4”. Provenance: Succession of Peggy Rae Rester Mayer, New Orleans, Louisiana. [600/900]

30 Chinese Porcelain Basin, probably 20th century, the turquoiseground basin with a motif of bats, butterflies and blossoms, the underside unmarked, h. 5”, dia. 15”. [500/800]

31 Chinese Porcelain Footed Dish, 20th century, with four molded feet, and a turquoise interior and underside, the exterior with a wave motif and a four-character apocryphal Xianfeng reign mark, h. 3‑1/2”, w. 6‑1/2”, l. 9‑7/8”. [600/900]

34 32

32 Chinese Embroidered Panel, probably fourth quarter 18th century, the Cantonese embroidered panel depicting nine birds and a butterfly in a landscape of flowers, matted with a gilt bamboo-style frame, panel, h. 20”, w. 16”, overall, h. 30‑3/8”, w. 26”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [700/1000] Illustrated

33 Chinese Export Plate, mid-18th century, the blue and white dish with a reserve depicting a rural landscape with figures, the underside unmarked, in a box frame, plate, dia. 12”, overall, h. 16‑3/8”, w. 16‑3/8”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [500/800]

34 Chinese Porcelain Plate, 18th century, the blue and white dish depicting the gods Fu, Lu and Shou in iron red enamel, figures of boys and flying bats surrounding them, framed with an opening in the back to reveal a Qianlong reign mark in underglaze blue, plate, dia. 9‑1/2”, overall, h. 16‑3/8”, w. 16‑3/8”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [600/900] Illustrated 35 Chinese Porcelain Bowl on Stand, probably late 19th/ early 20th century, the bowl with depictions of the eight immortals along the sides in a famille rose palette on a white sgraffito ground, the underside with a Jiaqing reign mark in red underglaze on turquoise, displayed on a carved and molded wooden stand, bowl, h. 3‑1/2”, dia. 5‑1/8”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [600/900] 36 Chinese Porcelain Charger, 19th/20th century, with a dragon and phoenix positioned around a sacred pearl against a yellow ground, with red floral and blue meander borders, the underside with a six-character Guangxu reign mark, dia. 18‑5/8”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [700/1000] Illustrated 37 Chinese Porcelain Ink Box, late 19th/early 20th century, the famille rose circular ink box with a blue phoenix and red dragon around a flaming pearl against a mille fleur ground, with a turquoise interior and a white underside with a red apocryphal Qianlong reign mark, and a few red numbers signed along the inner rim, h. 2‑1/8”, dia. 5”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [700/1000]

38 Chinese Porcelain Vase, probably 19th century, the vase with a yellow ground in the Qianlong style, with a red and gilt dragon curled around the neck of the vessel, with a turquoise interior and underside, marked with a red six-character Qianlong reign mark, h. 13‑1/2”, w. 7‑1/2”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [600/900] Illustrated 39 Chinese Wucai Beaker Vase, probably 19th century, the vase covered with floral scroll motifs, the center reserve depicting red and blue dragons and the lower panel depicting a bird and flower scene, the underside with a six-character Wanli reign mark, h. 9‑1/2”, dia. 5‑1/4”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [600/900] 40 Pair of Chinese Famille Rose Vases, 19th/20th century, the two baluster vases with elephant lugs on either side of the neck, with a floral motif on a white ground, the larger reserves depicting figures engaged in battle and the smaller reserves depicting sages, the undersides unmarked, h. 13”, w. 6”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [600/900] 41 Chinese Famille Verte Vase, late Qing Dynasty (1644‑1911)/ early Republic period (1911‑1949), the baluster-form vase with a famille verte palette, painted with Liu Hai, the He He Erxian twins, and Jin Chan, the three-legged toad of wealth, the underside marked with two concentric circles in blue underglaze, h. 10”, w. 4”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [800/1200] Illustrated This vase is comparable to a similar-looking Kangxi vase in the John D. Rockefeller, Jr. Collection at the Metropolitan Museum of Art and illustrated in A Handbook of Chinese Ceramics, by Suzanne G. Valenstein, New York, 1975, no. 132.

42 Chinese Famille Noire Porcelain Vase, probably 19th century, with tapering rectangular side panels painted in a famille verte palette, the whiteground reserves depicting figures in rural settings, with a white interior and underside, the underside marked with a six-character Kangxi reign mark in underglaze blue, h. 19‑1/8”, w. 5‑5/8”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [700/1000] Illustrated

43 Pair of Chinese Porcelain Vases, Qing period (1644‑1911)/Republican period (1911‑1949), the green craquelure vases with a white interior and underside, h. 9‑1/2”, w. 5”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [800/1200] 44 Chinese Celadon Vase, 18th/19th century, the cylindrical vase with a tapered neck and an incised lotus scroll motif, the underside with a six-character underglaze Yongzheng reign mark, h. 15‑1/8”, w. 7”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [700/1000] Illustrated

47 Chinese Blue and White Porcelain Vase, probably 18th/19th century, the vase with a dragon and bat motif, the underside with an apocryphal Chenghua reign mark in underglaze blue, h. 11‑1/2”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [600/900]

48 Chinese Blue and White Porcelain Lidded Jar, probably 19th century, decorated with the “Hundred Antiques” motif and a floral scroll, with a wooden lid and recessed foot, the underside with two blue underglaze concentric circles, h. 17”, w. 10”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [600/900]

45 Chinese Celadon Porcelain Vase, late Qing Dynasty (1644‑1911), the celadon and underglaze blue vase decorated with a dragon and a carp, the underside unmarked, h. 16‑1/2”, w. 10”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston Texas. [800/1200] Illustrated 46 Chinese Porcelain Vase, 19th century or earlier, the bottle-form vase covered with a deep blue cobalt glaze and adorned with a gilt motif of dragons around a flaming pearl surrounded by clouds, the underside unmarked, h. 15”. Provenance: The collection of Mr. and Mrs. Clarence E. Kendall, Jr., Houston, Texas. [800/1200] Illustrated

51 Chinese Tomb Figure, Ming Dynasty (1368‑1644), the figure in the form of an attendant to a higher ranking official, holding a bowl, his removable head painted with a shell dust, h. 18‑1/2”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [700/1000] Illustrated 52 Chinese Soapstone Carving of an Arhat, 19th century, now mounted as a lamp, the seated arhat finely rendered and carved from an orange and beige stone, fitted with a silk shade, base, h. 8”, overall, h. 19”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [700/1000]

49 Group of Four Chinese Sang de Boeuf Vases, 19th century, each of the thickly potted vessels with a deep red glaze, the tallest, h. 8‑1/2”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [700/1000] Illustrated 50 Chinese Ming Celadon Charger, Ming Dynasty (1368‑1644), the Longquan plate with a peony motif, the underside unmarked, dia. 14‑3/4”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [600/900]

53 Chinese Jade and Hardstone Inlaid Wooden Panel, early 20th century, in a dark wood frame, the inlaid stone panel depicting a Daoist sage astride a deer and another figure of a man looking into a gourd, h. 52”, w. 13”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [800/1200] 54 Pair of Chinese Cinnabar Lacquer Framed Panels, late 19th/early 20th century, depicting precious objects in jade and enamel, suspended on a black ground, a floral scrolling motif adorning the cinnabar frame of each panel, h. 42”, w. 12‑1/2”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [2000/4000] Illustrated

55 Chinese Cloisonne Box with Jade Ornament, late 19th/early 20th century, the lobated box with a red ground and a jade “double happiness” (Shuangxi) character on the lid, surrounded by archaic vessels and flowers, the turquoise enameled interior with blue and green lotus scrolling vines, the turquoise underside unmarked, h. 4”, w. 6”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [800/1200] Illustrated

56 Chinese Wood and Lacquered Scroll Box, 19th century, the carved sides depicting antiquities and arrangements of birds and flowers in gold, red and black lacquer, a commemorative inscription in red on the interior of the lid, h. 7‑1/2”, w. 14‑1/2”, d. 8”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [600/900] Illustrated 57 Chinese Lacquer Box, 18th/19th century, the cutcorner box with a motif of scrolling vines and flowers in red, greenish-yellow and white, with a black interior and underside, the underside marked with a six-character inscription, Wanli reign mark, h. 4”, w. 9‑3/4”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [600/900]

59 suite of eight

59 Group of Eight Chinese Export Paintings on Pith Paper, 19th century, including “Court Lady with Servant Girl”, “Soldier and Flag Boy”, “Seated Emperor with Servant Girl”, “Seated Sage with Attendant”, “Empress with a Female Attendant”, “High Ranking Lady with Child”, “Seated Official”, and “Seated Official with Bowman”, each 12” x 7‑1/2”. All framed. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [800/1200] Illustrated

60 Pair of Chinese Paintings on Porcelain Plaques, 19th century, each of the two enameled plaques framed and with three inset panels, the top panel with calligraphy, and the middle and bottom depicting an arrangement of flowers and birds, h. 33‑1/2”, w. 10”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [1500/2500] Illustrated 61 Pair of Chinese Rose Medallion Fish Bowls on Stands, 19th/20th century, the bowls with reserves depicting courtly scenes and arrangements of flowers surrounded by clusters of blooms, including speckled Buddha’s hand fruit, the insides decorated with goldfish and aquatic flora, the undersides marked with a four-character apocryphal Qianlong reign mark, bowl, h. 12”, overall, h. 21”, dia. 14‑1/4”. [600/900] Illustrated

58 Two Framed Chinese Embroidered Panels, 18th/19th century, each piece a fragment of what was a larger piece, with an arrangement of flowers and leaves on a light brown/ocre ground, h. 10”, w. 9‑1/2”. Provenance: Succession of Frances Thompson Kreihs, New Orleans, Louisiana. [600/900]

61 62 Chinese Peking Glass Brush Washer, 19th century, the green glass brush washer decorated with white and black hydra dragons and ruyi clouds, h. 3”, dia. 5”. [1500/2500] Illustrated 63 Chinese Peking Glass Vase, 20th century, the amber-colored vase with a long neck, h. 11”, w. 5‑1/2”. [1200/1800] 64 Chinese Peking Glass Beaker, first half 20th century, the yellow Peking glass vessel in the gu form, with a four-character incised mark on the underside, h. 10”, dia. 5‑3/4”. [600/900]

65 Chinese Carved Hardstone Vessel, probably 19th century, the pierced and carved censer with pierced lugs and rings, displayed on a pierced and molded wooden stand, h. 8‑5/8”, w. 6‑1/2”, without stand. [1000/1500] Illustrated

66 Chinese Coral Carving of Eight Immortals in a Boat, late 19th/early 20th century, the mottled pink and white coral affixed to a carved wooden stand, h. 3‑1/4”, l. 4”. [500/800] Illustrated 67 Chinese Fluorite Carving, 19th century, the carved lidded vessel in the form of an archaic bronze, the body with a motif of birds and plants on one side and mice and grapes on the other, the shoulders decorated with foo dog lugs, h. 15‑1/2”, w. 8‑1/2”. [500/800]

68 Two Chinese Carvings, 19th/20th century, consisting of a brown and yellow agate example depicting a bird with prunus limbs, and a malachite example depicting a Buddha’s hand, both with attached pierced and carved wooden stands, h. 6‑1/4”, including stands. [600/900] Illustrated

69 Pair of Chinese Carved Lapis Lazuli Horses, late 19th/early 20th century, the two recumbent horses with red and gilt wooden stands, h. 5”, l. 10”, without stands. [2000/4000] Illustrated 70 Chinese Opal Matrix Carving, 20th century, the stone carved in the shape of a tiger, h. 2‑3/4”, l. 3‑1/4”. [500/800] Illustrated

71 Chinese Carved Jade Cabbage, 19th/20th century, the auspicious symbol carved of white jade with pale green and purplish inclusions, including a custom-made carved wooden stand, h. 2‑3/4”, l. 5‑1/4”, without stand. [500/800]

73 Chinese Carved Jade Budai, 19th/20th century, the recumbent figure in an archway formed by coins, a peacock and a double gourd, mottled brown inclusions form the arch and dark celadon colored stone forms the Budai, affixed to a carved wooden stand, h. 6‑1/8”, w. 4‑1/2”, including stand. [500/800] Illustrated 74 Gilt-Bronze Figure of Seated Shakyamuni, 20th century, the Buddha seated in padmasana with hands folded in bhumisparsha mudra, on an attached lotus base with vishvavajra-marked underside plate, h. 14‑1/2”, w. 10”. [1800/2500] Illustrated

72 Two Chinese Jade Carvings, 19th/20th century, the two pale green carvings with green inclusions, one example depicting two foo dogs, h. 4‑3/4”, w. 5‑1/2”, and the other example depicting a seated Buddha, h. 4”, w. 2”, each figure attached to a molded wooden stand. [500/800]

75 Sino-Tibetan Gilt-Bronze Seated Buddha Manjusri, probably 19th century, the Buddha of wisdom seated in padmasana, his right hand raised and holding a flaming sword, his left hand positioned in vitarka mudra and holding the stem of a blooming lotus, a book at the center of the lotus, the underside marked with stamped/incised vishvavajra, h. 8‑3/4”, w. 7”. [1500/2500] Illustrated

78 Pair of Chinese Cloisonne Bottle Vases, probably 19th century, the two vessels with round bodies and long necks, covered with a green enamel scrolling motif, unmarked, h. 12‑1/4”. [900/1200] Illustrated

76 Thai Parcel-Gilt Bronze Figure of a Buddha, 20th century, the standing figure on a lotus base with his right hand raised in vitarka mudra, a gesture of education and the transmission of Buddhist teachings, h. 45‑1/2”. [500/800] Illustrated 77 Thai Bronze Temple Bell, 19th century, the large patinated bronze stupa-shaped bell with four reserves, each with a masque and floral spray, four pronged suspension cast at each side with an apsara, h. 28‑5/8”. [800/1200] Illustrated

79 Pair of Large Chinese Cloisonne Horses, 20th century, the horses with colored enamel on a red ground, with removable saddles and manes, h. 25‑1/2”, l. 27‑1/2”. [700/1000] Illustrated

80 Chinese Eighteen-Karat Yellow Gold, Enamel, and Blue Sapphire Bixi on a Hardwood Stand, the Bixi (dragon/turtle) and its young hand-fabricated in yellow gold, the eyes set with blue sapphire cabochons, the hardwood shell of the young bixi inlaid with gold wire and bordered with blue and green enamel set in gold, the sculpture with polychrome enamel highlights, h. 3‑1/2”, w. 5”, d. 3‑1/4”, total weight, 265.0 grams, presented on a gold wire-inlaid hardwood stand. [4000/7000] Illustrated

81 Chinese Carved and Polychromed Wood Figure of a Buddhist Monk, probably early/ mid-Qing Dynasty (1644‑1911), the standing figure with a serene expression, his hands folded in prayer, decorated throughout with polychrome pigments and gilt accents, h. 29‑3/4”, w. 13‑1/4”. Provenance: Estate of Frances Devany Shackelford, Little Rock, Arkansas. [500/800] Illustrated

A similar figure was in the Sarkisian Collection, Denver, Colorado, before being sold at Bonham’s San Francisco, California, in June 2013. 82 Four Chinese Roof Tile Figures, 19th century, each of the four glazed and painted terracotta figures affixed to a wooden stand, overall, h. 11‑1/2”. [500/800]

86 Chinese Carved Cinnabar Lacquer Plaque, probably 20th century, the round plaque depicting an elephant surrounded by a foliate border, the reverse with a four-character Kangxi reign mark, dia. 11”. [500/800] Illustrated

87 Chinese Rosewood Altar Table, probably 19th century, the rectangular table with pierced and carved ornamentation and scrolling lingzhi forms on the sides, h. 32‑1/2”, w. 15‑1/2”, l. 47”. [1200/1800] Illustrated

83 Chinese Composite Figure of Shou, 19th/20th century, the figure of Shou, Chinese folk god of longevity, holding a peach, a symbol of immortality, h. 11‑1/2”. [800/1200] 84 Pair of Chinese Cinnabar Vases, late 19th/early 20th century, now mounted as lamps, on carved wooden bases and finished with a carved round cinnabar finial, base, h. 14‑1/4”, overall, h. 32”. [500/800] Illustrated on previous page 85 Five Pieces of Chinese Cinnabar, first half 20th century, including two pairs of vases with floral scrolls and reserves depicting arrangements of peonies and rocks, with blue enamel interiors, h. 4” and 9‑1/4”, and an octagonal plate with peony and rock decoration, displayed on a pierced and carved wooden stand, l. 10”, the undersides unmarked. [600/900]

92 (pair)

92 Pair of Chinese Famille Rose Plaques, late 19th/early 20th century, the reserves depicting imperial court scenes painted on alabaster plaques, framed with ebonized wood, plaque, h. 14‑1/2”, w. 9‑5/8”, overall, h. 23‑1/2”, w. 17‑1/2”. [600/900] Illustrated 93 Four Framed Chinese Porcelain Plaques, 19th/20th century, the four plaques depicting mountain landscapes with boats, each inscribed and marked with a red painted seal, overall, h. 10‑7/8”, w. 6‑1/2”. [800/1200]

88 Pair of Chinese Inlaid Wooden Panels, 19th/20th century, the panels once part of a larger folding screen, each divided into two sections on each side, featuring inlaid hardstone and mother-of-pearl depicting figures in a landscape on the top and an arrangement of birds and flowers on the bottom, the reverse in carved and painted lacquer, the top depicting a palace scene and the bottom an arrangement of flowers and archaic vessels, each panel, h. 77‑3/4”, w. 22”. [500/800] 89 Chinese Coromandel Eight-Panel Screen, 19th/20th century, with inlaid wood, hardstone and mother-of-pearl, depicting courtly beauties in an idyllic palace garden setting, the lower portion depicting arrangements of archaic vessels, the reverse with carved bird and flower images, h. 84”, each panel, w. 16”, overall, w. 128”. [1800/2500] Illustrated

94 Chinese Reverse Painting on Glass, 19th century, depicting a scene from a scholar-beauty romance, surrounded by the accoutrements of the aspiring sage, a painting of bamboo, books and calligraphy, image, h. 19”, w. 13”, overall, h. 22”, w. 16‑1/4”. [600/900] Illustrated 95 Five Panels of Framed 95 Chinese Hand-Painted 1 of 5 Wallpaper, probably 19th century, decorated with Mandarin figures in gardens at plazas and a series of pagodas, in contemporary frames, each panel, h. 59”, w. 23”. [800/1200] Illustrated

90 Pair of Chinese Lacquered Wood Panels, Qing Dynasty (1644‑1911), the two carved panels in red, black and gilt lacquer, with three light reserves, each containing a painted landscape, unsigned, h. 47‑3/8”, w. 13‑1/2”. [500/800] Illustrated 91 Chinese Inlaid Wood and Stone Brush Pot, late 19th/early 20th century, decorated with a motif of scholar’s rocks and flowers on each side, the side with a four-character Guangxu reign mark, h. 5‑1/2”, w. 4‑3/4”. [900/1200]

99 Wook Kyung Choi (Korean, 1940‑1985), “Camel Sold Here”, ca. 1968, acrylic on canvas, 25‑1/2” x 25‑1/2”. Unframed. Provenance: Estate of the artist. [3000/5000] Illustrated 100 Wook Kyung Choi (Korean, 1940‑1985), “Untitled”, 1964‑1968, acrylic on canvas, 34” x 39‑5/8”. Unframed. Provenance: Estate of the artist. [4000/7000] Illustrated Created in the years following her study at the Cranbrook Academy of Art, this work demonstrates Choi’s attention to color and the influence that abstract expressionism had on the young artist. 101 Wook-Kyung Choi (Korean, 1940‑1985), “Mountains”, 1960’s-70’s, ink on paper, red seal marks and stamped signature, 23” x 28‑1/4”. Provenance: The collection of the artist’s family. [2000/4000] Illustrated

98 96 Group of Three Chinese Paintings, ca. 1900, inks and colors on paper, including a pair of ancestor paintings, each depicting four women and two men in Qing imperial robes, each 47‑1/2” x 20‑1/2”, mounted, and a painting of two carp and an arrangement of blooming flowers after Shen Shichong (Ming Dynasty, 1368‑1644), inscribed and marked with two seals upper left and seals upper right and lower left, 51‑3/4” x 13”, mounted. [600/900] 97 Two Chinese Kesi Panels, 17th/18th century, each panel of fabric with two sections, the top of one panel with a figure holding a jar and the top of the other panel with a figure holding a ruyi scepter, the lower section depicting garden settings, h. 23‑1/2”, w. 7‑1/2”. Provenance: Diane Genre, New York, New York and New Orleans, Louisiana. [800/1200] 98 Wook Kyung Choi (Korean, 1940‑1985), “Sunrise”, 1964, acrylic on canvas, signed and titled en verso canvas, 36” x 36”. Provenance: Estate of the artist. [4000/7000] Illustrated 99

103

100

102 Wook Kyung Choi (Korean, 1940‑1985), “Untitled”, 1970’s, acrylic on paper, 17‑1/4” x 23”. Unframed. Provenance: Estate of the artist. [600/900] Illustrated 103 Wook Kyung Choi (Korean, 1940‑1985), “One Sunny Afternoon on the Hill with Yellow Flowers, Sing for the Sun”, 1966, acrylic on wood, 73” x 17”. Provenance: From the estate of the artist. [800/1200] Illustrated This work, an abstract depiction of a girl with a bouquet of wildflowers, was painted as a gift from the artist to her niece.

101

102

106

109 104 Modern Carpet, 8’ x 9’ 9”. [1000/1500] 105 Persian Josheghan Carpet, 9’ 1” x 12’ 5”. [2500/4000] 106 Persian Heriz Carpet, 10’ x 13’ 4”. [4000/7000] Illustrated 107 Modern Transitional Carpet, 6’ x 9’4”. [1000/1500]

108

108 Semi-Antique Mashad Carpet, 10’ 3” x 13’ 4”. [1000/1500] Illustrated

109 Antique Persian Malayer Runner, 3’ 5” x 9’ 10”. [700/1000] Illustrated 110 Turkish Angora Oushak Carpet, 6’ x 9’. [600/900] 111 Oushak Carpet, 8’ x 10’ 8”. [2500/4000] Illustrated 112 Caucasian Throw Rug, 4’ 8” x 7’ 4”. [700/1000]

111

113 Turkish Angora Oushak Carpet, 9’ 10” x 14’ 1”. [1500/2500] Illustrated 114 Antique Persian Serab Runner, 3’ x 16’. [700/1000] Illustrated

114 113

115 Antique Suzani Tunic, the side and back plackets with an overall geometric pattern, w. 54”, l. 32‑1/2”. [500/800]

122

116 Two Middle Eastern Textiles, the yellow, red and black example block-printed with double-headed eagles, w. 47”, l. 72”, and the salmon shawl decorated with a gilt border, gilt flowers and gilt corner paisleys, w. 47”, l. 85”. [500/800] 117 Two Indian Sarees, the turquoise example with gilt floral decoration, w. 49”, l. 86”, and the saffron example decorated in silver with aubergine and green flourishes, w. 64”, l. 90”. [600/900] 118 Two Paisley Shawls, mid-19th century, Indian or Kashmiri, the striped example, w. 59”, l. 68”, and the other example, w. 66‑1/2”, l. 65‑1/2”. [600/900] 119 Two Paisley Shawls, the ivory-ground example, second quarter 19th century, w. 56”, l. 114”, and the other example, Indian or Kashmiri, mid-19th century, w. 57”, l. 115‑1/2”. [600/900] Illustrated

121 Pair of Middle Eastern Brass Compotes with Matching Chargers, with faceted and beaded rims, and incised flora and fauna on a stippled ground, compote, h. 8”, dia. 13‑1/4”, charger, dia. 16‑3/4”. [500/800]

120 Monumental Middle Eastern Brass Covered Bottle Vase, decorated with incised scrollwork and figures, the domed cover decorated with round masques and a figural knop, h. 45‑1/4”, w. 16”. [700/1000] Illustrated

120

119 122 Franz Xaver Bergman (Austrian, 1861‑1935), Vienna cold-painted bronze Orientalist dancer, ca. 1900, the square carpet impressed underneath “B” within an urn/”Geschutzt”, all within a circle, the dancer’s hem impressed underneath “B” within an urn/”Geschutzt” and “3 (or 5)260”, overall, h. 6‑1/2”, the carpet, w. 6‑1/2”, d. 6‑1/2”. [1500/2500] Illustrated

123

124 124 Circle of Theodore Gericault (French, 1791‑1824), “Algerian Pirates”, oil on canvas, unsigned, 12” x 16”. Presented in a handsome, antique giltwood and gesso frame. [800/1200] Illustrated 125 Moroccan Painted Chest, the hinged lid in the form of a tiled roof, with split balusters on the front and corners, h. 24‑1/2”, w. 34”, d. 16‑3/4”. [700/1000] Illustrated

123 Continental Neoclassical-Style Gilt-Bronze EightArm Chandelier, early 20th century, of conical basket form, the pierced and paneled basket decorated with dolphin-handled urns, griffins, drapery, bellflower swags and foliate scrolls, and fitted with a fleurs-de-lis crown and a drop finial, the arms supporting pierced and beaded bobeches and crenellated candle cups, the interior with four additional downlights, all suspended from a canopy issuing spiraled rods with pierced balls, overall, h. 50”, dia. 25‑1/2”. [1400/1800] Illustrated

126 Middle Eastern Bronze Astrolabe, the back decorated with incised Islamic characters, on a suspension ring, h. 6‑1/2”, dia. 4”. [600/900] Illustrated 127 Two Middle Eastern Tinned Copper Trays, decorated in the Persian style with scrollwork and birds on a stippled ground, dia. 15‑1/2” and 23”. [500/800]

126

125

131

129 Elkington & Co. Bronze Museum Reproduction Shou Vase, fourth quarter 19th century, the bottle-form vase with dragon’s head handles, and decorated with waves and geometric motifs, h. 8‑3/4”, dia. 5‑3/4”. [500/800] Illustrated 130 WMF Museum Reproduction Electrotype Silvered Copper Bowl, first quarter 20th century, Geislingen, Germany, after the 1st century B.C. Roman original in the James Loeb Collection, “Schale #76”, of ovoid form, decorated in the round with a scene of banqueting nobles, h. 3‑3/4”, dia. 6‑1/4”. [500/800]

128 Pair of Elkington Museum Reproduction Electrotype Gilt and Silvered Copper Bowls, third quarter 19th century, with applied “Department of Science and Art” label, after the 14th-century Saracenic originals, each of truncated conical form, engraved with medallions and Arabic inscriptions, h. 3”, dia. 7”, and h. 2‑3/4”, dia. 8”. [500/800] In 1868, following the 1867 Paris Exhibition, the rulers of Europe’s kingdoms entered into an agreement to use the new electrotyping and plating techniques to create precise reproductions of the antiquities housed in the great museums, making them available to the public and institutions alike. The South Kensington Museum’s Department of Science and Art contracted two companies Elkington and Franchi & Sons - to reproduce selections from their antiquities collection. The present lot appears on page of 5 of the first South Kensington Electrotype Reproduction catalogue (accession numbers 54‑26 and 57‑27), and are illustrated on page 36 of the 1873 catalogue.

129

133 131 Three Middle Eastern Tin-Plated Brass Graduated Teapots, with leaf-molded handles, two with bird-form knops, the tallest, h. 8”. [500/800] Illustrated 132 Middle Eastern Glazed Terracotta Architectural Tile, molded with Islamic script and glazed in blue and green, h. 8‑1/2”, w. 13”. [800/1200]

133 Persian Goldwork Textile, peacock and floral motif, gold bullion thread on a later cotton backing, w. 45”, l. 67”. [1000/1500] Illustrated

134

137 Middle Eastern Pottery Dish, decorated with swirling leaves and poppies in the Iznik style, dia. 12”. [1000/1500] Illustrated 138 Middle Eastern Blown and Swirl Molded Glass Dish, enameled with swirling plants in the Iznik style, dia. 9‑3/4”. [500/800] 139 Moroccan Hardwood and Bone Casket, the sides and domed top composed of pierced turning in contrasting wood, ebonizing and bone, h. 8‑1/4”, w. 12”, d. 8”. [600/900] Illustrated

139

134 Middle Eastern Enamel on Copper Tray and a Collection of Vessels with Related Decoration, including a tray, dia. 13”, two bowls with tapered sides, h. 4‑1/2”, dia. 6‑1/2” and h. 3‑1/2”, dia. 4‑3/4”, a low bowl, dia. 4‑3/4”, and a low pot, dia. 4‑1/2” (five total pieces). [600/900] Illustrated

137

140 Kilim-Upholstered Bench, 20th century, the padded rectangular top above a frieze with brass tack accents, raised on bulbous legs ending in casters, h. 18”, w. 30‑1/2”, l. 48‑1/2”. [500/800] Illustrated

140

135 Middle Eastern Enamel Bowl and Three Matching Egg Cups, the bowl decorated with a triple portrait in an eightpointed star, h. dia. 3‑1/2”, with three matching egg cups, h. 2”. [600/900] 136 Set of Four Matching Middle Eastern Bowls, composed of raised enamel on copper, h. 2”, dia. 5”. [400/700]

141 Exceptional Anglo-Indian Exotic Hardwood Carved Writing Box, second quarter 19th century, intricately carved with exceptional attention to detail, retaining a dry, untouched surface, the cover and sides almost completely covered in carving, the raised panel cover decorated with two birds and the sides decorated with bas-relief cabochons, the interior compartments with sandalwood covers with bone knobs, h. 6‑1/4”, w. 12‑3/4”, d. 7”. [500/800] Illustrated A removable letter accompanying the box, dated 1889, Edinburgh, documents the box as being given to a relative, and that it had been “sent home from Bombay fifty or more years ago by Dr. Moffatt, surgeon in the 20th Infantry, to his sister.”

141 144

143

145

142 Peruvian Bronze Bell, 16th century, marked by Johannes Fine and dated 1550, h. 5”, dia. 3”. A nearly identical example, dated 1553, is in the collection of the Parish Church of Pasco. [500/800] 143 Two Ottoman .900 Silver Cushion Mirrors, reign of Mehmed V (1909‑1918) or Mehmed VI (1918‑1922), both with sah and tughra marks, each of scalloped oval form, decorated with lobed repousse flowers and scrolls, one with baluster handle, the other with central figural bird handle, with fitted mirrored plate, w. 7‑1/4”, l. 9” and 13”. [800/1200] Illustrated 144 Ottoman Egyptian .800 Silver Platter, reign of Abdulmecid (1839‑1861) or Abdulaziz (1861‑1876), with tughra, purity and lion marks, of circular form with everted rim, decorated with a central palmette band and outer gadrooned band, dia. 12”, 17.03 t. oz. [600/900] Illustrated

146

147 Japanese Sterling Silver Presentation Trumpet Vase, inscribed 1903, by Arthur Bond & Co., Yokohama, of traditional form, with “Lotus” rim, the body decorated with applied relief decoration of a dragon among the clouds, the base with cresting waves en suite, engraved on the underside “First Prize / Putting the Shot / “The German Prize” / Yokohama May 30th 1903 / Won by Ernst Schluter”, h. 8‑3/8”, dia. 4‑3/4”, 17.73 t. oz. [3500/5000] Illustrated The English-language Yokohama Japan Weekly Mail of June 6, 1903, records the occasion of this vase’s presentation - the annual games of the Yokohama Cricket and Athletic Club - and notes Schluter’s winning put of 32 ft. 7 in.; impressive, but well shy of the club record of 36 ft. 8‑1/2” in. The Y.C. & A.C. was founded in 1868 by cricketer James P. Mollison, and survives today as the Yokohama Country and Athletic Club.

147

146 open

145 Ottoman .900 Silver Spoon Holder and Pair of Zarfs, reign of Mehmed V (1909‑1918) or Mehmed VI (1918‑1922), the spoon holder in .900 silver with sah and tughra marks, h. 5‑1/4”, the zarfs with sah mark only, h. 2‑1/4”, both with engine-turned decoration and shaped rim, the zarfs with gilt interiors and applied monogram “AL”, 12.29 total t.oz. [1000/1500] Illustrated 146 Japanese Sterling Silver Jewelry Box, first quarter 20th century, of rectangular form with trefoil finial handle and wooden base, the whole engraved with prunus, chrysanthemum, iris and bamboo, expanding by means of strap-locks and accordion-action bars to reveal three burgundy velvet-lined trays, h. 5‑1/4”, (7‑1/2” open), w. 5‑1/4”, d. 3‑7/8” (11‑3/4” open). [1200/1800] Illustrated

148 Japanese Imari Lantern, 19th/20th century, on a concave rectangular pillar, set on a rectangular base decorated with red, green and black enamels, h. 15”, w. 5”. [600/900] 149 Japanese Kutani Vase, 19th/20th century, the green, brown and yellow-glazed Kutani Yoshidaya ware vase drilled and mounted as a lamp, vase, h. 12”, overall, h. 24‑1/4”, w. 6”. [600/900] 150 Japanese Porcelain Vase, 19th/20th century, the long necked vase with a round body, with scrolling gilt design around reserves depicting birds and trees, a nine-character mark in Kanji on the underside in a gold cartouche, h. 26‑1/2”. [600/900]

154 Japanese Champleve Lidded Box, 19th/20th century, the footed box covered with an enamel decorative motif derived from Chinese taotie patterns on archaic bronzes, the underside with a maker’s mark in relief, h. 16”, w. 9‑1/4”, l. 16‑3/4”. [2000/4000]

151

152

151 Pair of Satsuma Ware Oil Lamp Bases, 19th century, each vessel with ornamentation at the top and raised on gilt-metal footed bases, h. 18‑1/4”. [600/900] Illustrated 152 Japanese Tile Cachepot, 19th/20th century, with four painted tiles in a bronze mount, resting on four tortoiseshaped feet, unmarked, h. 8‑3/4”, w. 9‑1/4”, d. 8”. [700/1000] Illustrated

155 Japanese Bronze Candelabrum, 20th century, with four legs and a round base, modeled in the form of an archaic Chinese bronze with six candle holders, drilled and mounted as a four-socket lamp, base, h. 24‑1/2”, overall, h. 42”. [500/800] 156 Japanese Bronze Jardiniere, Meiji period (1868‑1912), with three legs and reserves depicting birds and flowering trees, h. 12‑1/2”, w. 12”. [500/800] Illustrated

158

156

153 Japanese Mixed Metal Usubata Vase, late Meiji period (1868‑1912)/early Taisho period (1912‑1926), with a dragon motif on the concave cylindrical body and a compressed globular protruding lip, the underside drilled, h. 19‑1/2”, dia. 11”. [600/900]

165

161 Japanese Gilt- and Patinated Bronze Plate, Meiji period (1868‑1912), the underside unmarked, dia. 12”. [500/800] 162 Large Japanese Gilt-Bronze Charger, Meiji period (1868‑1912)/Taisho period (1912‑1926), depicting two birds in a landscape, dia. 21‑3/4”. [700/1000] 163 Rinpa School, Japanese, Edo Period (1615‑1868), ink and silver on paper, the fourpanel folding screen depicting chrysanthemums blooming on the banks of a stream, unsigned, together with a certificate from the Japan Antique Art Export Association, dated 1969, h. 36‑1/4”, w. 67‑3/4”. [900/1200] Illustrated The Rinpa School, which traces its roots to the work of the artist Ogata Korin (1658‑1716), was an important part of the revival of traditional Japanese themes in painting, textiles, lacquer and pottery during the Edo period (1615‑1868).

160

157 Japanese Bronze Jardiniere, Meiji period (1868‑1912), the outer surface depicting birds on prunus limbs, unmarked, displayed on a carved and molded wooden stand, h. 12”, dia. 12‑7/8”. [500/800]

163

158 Japanese Ando Moriage Enamel Baluster Vase, 20th century, the vase with enamel on patinated copper, impressed marks on the base, h. 11‑1/2”, w. 9‑3/4”. [2500/4000] Illustrated 159 Japanese Cloisonne Cachepot, with a colorfully enameled exterior and a turquoise interior, the underside unmarked, h. 11”, dia. 13‑1/4”. [500/800] 160 Japanese Cloisonne Charger, late 19th century, with a petaled border and decorated with an arrangement of flowers with a pair of birds on a pink ground, the reverse with blue scales, dia. 23‑3/4”. [1500/2500] Illustrated

164 Japanese Edo Period (1615‑1868) Kano School Six-Panel Folding Screen, 19th century, ink, colors and gold on paper, depicting cranes, pines and bamboo along a riverbank, signed and stamped with a red square seal at lower right, each panel 64‑1/4” x 22‑7/8”. [500/800]

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165 Japanese Gilt and Lacquer Butsudan, late 19th/early 20th century, the shrine with exterior lacquer cabinet doors and interior screen folding panels, opening to reveal a standing figure of Kamon and a small seated Buddha, with some ritual accoutrements of butsugu, h. 50‑1/4”, w. 19‑1/2”. [2000/4000] Illustrated previous page A comparable example can be found in the University of Pennsylvania Museum of Archaeology and Anthropology. 166 Japanese Lacquer Scroll Box, late Edo period (1615‑1868), the black, red and gold lacquer exterior with a Maki-e interior, with braided rope and tassels, h. 5‑1/2”, l. 15‑7/8”. [900/1200] Illustrated 167 Japanese Mother-of-Pearl-Inlaid Lacquer Table Screen, 20th century, with red and black lacquer slats, the four black slats each inscribed with red lacquer, the central red slat inlaid with mother-of-pearl characters, the screen mounted in a red, black and gilt lacquer frame with mother-of-pearl inlay, the bottom of the screen with a lotus motif and the sides decorated with scrolls, h. 16‑1/4”, w. 15‑3/4”. [700/1000]

168 Japanese Red Lacquer Box, Taisho period (1912‑1926)/ early Showa period (1926‑1989), the inlaid mother-of-pearl box with a motif of prunus limbs and blossoms, the interior gilded, h. 5‑3/4”, w. 10‑1/8”, l. 13”. [1500/2500] 168A Japanese Three-Panel Folding Screen, first quarter 20th century, each panel depicting an arrangement of birds and flowers of inlaid bone and mother-of-pearl, each panel with a bone seal accented with red ink, h. 71‑3/8”, w. 33‑3/8”, each panel, overall, w. 100‑1/8”. [1500/2500] Illustrated

168A

169

169 Japanese Wedding Kimono with Lacquer Kimono Box, 19th/20th century, the kimono with gold embroidered phoenixes on silver, lined with red silk, w. 50‑1/2”, l. 71”, together with a red lacquer box with a pine and prunus motif and three character Kanji inscription, with a black underside and interior, h. 4”, w. 7‑1/2”, l. 22‑1/8”. [700/1000] Illustrated

170

171 Japanese Export Silk Embroidery, Meiji period (1868‑1912) or earlier, the embroidered picture of a lion and lioness resting in tall grass with a brown phoenix border, unframed, h. 53”, w. 71‑3/4”. [800/1200] 172 Japanese Trapunto, 19th/20th century, depicting an oni eating an octopus against a gold ground, a red maker’s mark in a toad-form cartouche on the lower right corner, overall, h. 33‑5/8”, w. 27”. [600/900] Illustrated 173 Japanese Carved Wood Two-Panel Screen, 19th/20th century, with dragon motifs, with inlaid mother-ofpearl decorating the eyes, surrounding reserves with inlaid bone arrangements of flowers and birds, each panel, h. 79”, w. 35‑1/4”. [500/800] 174 Donegal Carpet, 8’ 10” x 11’ 8”. [1800/2500]

170 Two Japanese Wedding Kimonos, 20th century, the two quilted silk kimonos elaborately decorated, one with a crane, cloud and pine motif and the other with a peacock, pine and stream motif, both brightly colored and heavily embroidered with metallic thread, the interior with red lining, w. 52‑1/4”, l. 76‑1/2”. [700/1000] Illustrated

175 175 Turkish Angora Oushak Carpet, 9’ 1” x 12’ 10”. [1500/2500] Illustrated 172

176 176 Tabriz Mahi Carpet, 10’ x 14’. [3000/5000] Illustrated 177 Oushak Carpet, 8’ 3” x 9’ 9”. [2500/4000] 180

178 Persian Sultanabad Carpet, 13’ 8” x 19’ 9”. [12000/18000] Illustrated 179 Antique Persian Runner, 3’ 9” x 9’ 1”. [800/1200] 180 Semi-Antique Heriz Carpet, 6’ 6” x 18’ 5”. [2000/4000] Illustrated

178

182 Pair of Louis XIV-Style Mahogany Fauteuils a la Reine, late 19th century, each with a tall padded back joined by molded arms to the padded seat, raised on molded cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 45”. [1200/1800] Illustrated 183 Provincial Louis XV-Style Oak Parquetry Draw-End Table, the banded shaped top with parquetry inlay and with two like-inlaid draw ends, and raised above a shaped shell-carved apron on cabriole legs ending in scrolled toes, h. 29”, w. 47”, d. 35”. [500/800] Illustrated 184 183

184 Italian School (18th Century), “A Game of Bocce”, oil on canvas, mounted on board, 15” x 29”. Unframed but fitted for hanging. [1000/1500] Illustrated

181

181 French Provincial Fruitwood Buffet a Deux Corps, mid19th century, the molded cornice above a paneled foliatecarved frieze over two bi-paneled doors, the lower section fitted with two drawers over two paneled doors, raised on shaped toes, h. 96”, w. 63”, d. 23‑1/2”. [2000/4000] Illustrated 182

188

185 Assembled Suite of Eight French Provincial Fruitwood Dining Chairs, 20th century, comprised of two armchairs and six sidechairs, all with three shaped rails over a rush seat, the armchairs raised on turned circular legs, the sidechairs on shaped legs, h. 40”. [700/1000] Illustrated 186 Pair of Louis XIII-Style Oak Fauteuils a la Reine, late 19th century, each with a tall padded back joined by downswept scrolling arms to the padded seat, raised on turned and floral block legs joined by a pierced scrolling front stretcher and ending in peg feet, upholstered in bottle green ostrich skin, h. 46”. [1000/1500] 187 French Majolica “Four Fish in the Waves” Wall Plaque, fourth quarter 19th century, attributed to Choisy le Roi, with an unidentified impressed mark and integral wall hanging apertures, w. 16”, l. 24”. [1000/1500] Illustrated

188 Eugene Gonon (French, 1814‑1892), “Natural Enemies”, second or third quarter 19th century, bronze, depicting a bird protecting its nest from a fighting rat and snake, inscribed “modele, et fondu l’une seul jet, par les procedes” and signed “E. Gonon”, at edge of base, h. 17‑3/4”, w. 15‑1/2”, d. 12”. [5000/8000] Illustrated

Eugene Gonon was a sculptor and founder. He received his initial training with his father, Honore, a respected French founder, before entering the Ecole des Beaux-Arts in Paris in 1838, where he studied under the great sculptor Jean-Jacques Pradier. Upon completion of his studies, Eugene joined his father and brother Joseph in forming the Gonon family foundry. Eugene perfected the lost wax process, increasing the efficiency of this time-consuming and complex technique, and soon the Gonon foundry became one of the most popular, with such illustrious sculptors as Antoine-Louis Barye and Emmanuel Fremiet. Gonon consistently exhibited his work at the Paris Salon from 1853 through 1873, and in 1855 he showed three works at the Summer Exhibition of the Royal Academy of Arts. The unusual work offered here, with the painstakingly detailed leaves, vines and textures, reveals both the depth and precision of Gononís modeling and his mastery as a founder.

189

189 Fourteen-Piece Aptware Scroddled Partial Dinner Service, 20th century, French, in the 18th-century style, marked indistinctly, including a tureen with a molded flower knop and twisted handles, h. 10”, a platter, l. 20”, and twelve dinner plates, dia. 10‑3/4”. [800/1200] Illustrated

185

190 Provincial Oak Refectory Table, 19th century, the planked top with banded ends, raised on turned columnar legs joined by an H-form plinth stretcher, h. 29”, w. 70”, d. 36”. [1000/1500] Illustrated 191 French Provincial Mahogany and Cherrywood Panettiere, early 19th century, the shaped crest with turned finials and above a foliate-carved frieze, the body of spindled construction and fitted with a central wheat sheaf-carved door over a shaped urn-carved apron, raised on scrolled toes, h. 32”, w. 29”, d. 15”. [1500/2500] Illustrated

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192 Five-Piece Collection of French Copperware, including a dovetailed lavabo, fourth quarter 18th century, decorated with a bird and scrolled leaves, h. 16‑1/2”, w. 9‑1/2”, d. 5‑1/2”, a single-handle baking pan, mid-19th century, h. 5”, dia. 9‑1/4”, a pair of molds, h. 3”, dia. 9‑1/2”, and a Turk’s head mold with a pear, 20th century, h. 4”, dia. 7”. [500/800] 193 Provincial Louis XV-Style Oak and Fruitwood Buffet, late 19th century, the rounded rectangular top with a molded edge, above a case fitted with three drawers over three cupboard doors, all inset with shaped panels, raised above a shaped apron on molded feet, h. 40”, w. 77”, d. 25‑1/2”. [1500/2500] Illustrated 194 French Provincial Carved Oak Tall Cock, early 19th century, the porcelain dial labeled “Roulle’ Jean, a Lamballe”, with a time-and-strike movement, h. 96”, w. 18”, d. 12”. [800/1200] Illustrated

195 197 Continental School (Second Quarter 19th Century), “Preparing for Battle” and “The Little Drummer Boy”, pair of oils on panel, each illegibly signed lower right, each 10” x 8‑1/2”. Presented in matching frames. [600/900]

194

195 Fritz Wagner (German, 1896‑1939), “Planning the Journey”, oil on canvas, signed lower left, 25‑3/4” x 31‑3/4”. Framed. [6000/9000] Illustrated 196 Addison Thomas Millar (American, 1860‑1913), “Woman with Children at Play”, oil on canvas, signed lower left, 24” x 18”. Presented in a handsome, period, giltwood and gesso frame. [1500/2500] Illustrated 193

198 French Bronze of “Le Ramoneur”, first quarter 20th century, after Nicolas Lecornet (French, b. 1825), cast signature on self-base, on a gilt-metal plinth, overall, h. 22”, w. 7‑1/4”, d. 7‑1/4”. [500/800] 199 Pair of Louis XV-Style Fruitwood Fauteuils, 19th century, each with a shaped and padded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs ending in scrolled toes, upholstered in period foliate and avian patterned tapestry, h. 35‑1/2”. [500/800] Illustrated

196 200 Verdure Tapestry, 18th century, depicting two hunters and a dog in a lush wooded landscape, w. 23‑1/2” x 80”. [1500/2500] Illustrated

199

200

201 Pair of Louis XV-Style Fruitwood Canapes, early 19th century, each with a padded double back within a molded frame, the cushioned seat raised on molded cabriole legs ending in scrolled toes, each branded "Allinges," h. 28", w. 40”, d. 20‑1/2”. [1000/1500] Illustrated 202 Pair of Louis XV-Style Fruitwood Fauteuils, late 19th century, each with a rounded foliate and floral crest above the padded back, joined by scrolling arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in foliate toes, h. 38”. [700/1000] 203 Italian Fruitwood Bureau, early 19th century, the slant front with a diamond inlay and central Maltese cross, opening to an interior fitted with a leather-inset writing surface and various drawers and cubbyholes, over two short drawers and one long drawer, raised on cabriole legs, h. 39‑1/2”, w. 37‑1/2”, d. 20”. [1500/2500] Illustrated

205 204 Provincial Fruitwood Writing Table and a Fauteuil, mid/late 19th century, the table with a rectangular top with scalloped edges and an inset leather writing surface, above a frieze fitted with a single drawer, raised on cabriole legs, h. 28‑1/2”, w. 33”, d. 27‑1/2”; together with a fauteuil with a curved crest above a shield-form crown and fleursde-lis-carved splat, joined by scrolling arms to the cushioned rush seat, raised on square legs joined by a box-form stretcher, h. 33‑1/2”. [500/800]

203

205 Zsigmond Palnagy (Hungarian, 1896‑1959), “Farmer’s Respite”, oil on canvas, signed lower right, 31‑1/2” x 23‑3/4”. Framed. [800/1200] Illustrated

201

206 French Bronze of “Un Volontaire de 1792”, second or third quarter 20th century, depicting a French Revolutionary about to storm the Tuileries Palace, after Paul-Francois Choppin (French, 1856‑1937), cast signature at base, h. 23‑3/4”, w. 12”, d. 12”. [1500/2500] Illustrated 207 Louis XVI-Style Fruitwood and Marble-Top Commode, late 19th century, the rectangular charcoal marble top above a conforming case fitted with six drawers, raised on tapering square legs, h. 46”, w. 25‑1/4”, d. 12‑3/4”. [700/1000] Illustrated

208 Large American Late Victorian Giltwood and Gesso Mirror, fourth quarter 19th century, the deeply molded shadowbox frame with beaded liner, the mirror plate beveled, h. 71”, w. 65”, d. 4”. [1000/1500] 209 Louis XVI-Style Mahogany and Marble-Top Commode, early 19th century, the rectangular charcoal marble top with turreted corners, above a conforming case fitted with three long drawers, all paneled and with brass banding, raised on turned tapering circular legs, h. 35”, w. 37”, d. 20”. [1200/1800] Illustrated

206

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210

210 Louis XVI-Style Mahogany Settee, late 19th century, of rectangular box form, the back and sides out-curved and within a ribbed frame, the front with foliate carving, the apron carved en suite and centered by a floral medallion, raised on circular foliate legs, h. 37”, w. 62”, d. 31‑1/2”. [1000/1500] Illustrated

211 Pair of Louis XV-Style Fruitwood Fauteuils, early 19th century, each with a floral-carved crest, molded stiles joined to open arms, a serpentine seat and cabriole legs, now upholstered in floral brocade on an ivory ground, h. 38”. [500/800] Illustrated

215 Louis XVI-Style Mahogany Fauteuil, early 20th century, the padded rectangular back within a molded frame, joined by padded arms on baluster-form uprights to the like seat, raised on ring-turned tapering circular legs, h. 39”. [700/1000]

211

212 Continental Neoclassical Fruitwood Commode, 19th century, the rounded rectangular top with a molded edge, above a case fitted with two long drawers over a Greek-key-carved frieze, raised on fluted tapering square legs ending in peg feet, h. 32”, w. 37”, d. 19”. [1200/1800] Illustrated

214 216 Pair of Louis XVI-Style Mahogany Bergeres, 20th century, each with a domed and padded back surmounted by a floral crest, joined to the cushioned seat by padded arms, raised on stop-fluted tapering circular legs ending in toupie feet, h. 39”. [600/900] Illustrated

212

213 Roger Lucien Candes (French, 1907‑1972), “Town of Mostar”, oil on canvas, signed lower right, 19‑3/4” x 25‑3/4”. Framed. [1000/1500] Illustrated 214 Attributed to Joseph Floch (American/Austrian, 1895‑1977), “Provencal Landscape” oil on canvas, inscribed en verso stretcher “Floch ‘26”, 23‑5/8” x 27‑5/8”. Framed. [2500/4000] Illustrated

213 217 Provincial Louis XV-Style Polychrome and FauxMarbre Cabinet, 19th century and later, the slightly bowed faux-marbre top above a conforming case fitted with two cupboard doors, each inset with a shaped panel, raised above an urn-carved frieze on scrolled toes, h. 33‑1/2”, w. 47”, d. 25‑1/2”. [1500/2500] Illustrated

216

219 Pair of Italian Faience Albarellos, first quarter 18th century, possibly Savona, decorated with views of building in a mountainous landscape, h. 9‑1/4”, dia. 5”. [600/900]

217

218 Unusual French Provincial Polychrome Table, the rounded rectangular top with a molded edge and D-ends, artfully covered in decoupage copies of various invoices, bills of sales and inventories, above a shaped shell-carved frieze, raised on cabriole legs joined by a shaped H-form stretcher and ending in scrolled toes, h. 31”, w. 45‑1/2”, l. 105”. [2000/4000] Illustrated

218

220 Transitional Louis XVI-into-Directoire Mahogany Meridienne, late 18th/early 19th century, h. 36”, w. 29”, l. 63”. [1500/2500] Illustrated 221 Louis XVI Polychrome Bergere, late 18th century, the domed molded crest with foliate finials above the padded back, joined by padded arms to the cushion seat, raised on stop-fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 37”. Provenance: Mac Maison, New Orleans, Louisiana. [700/1000] Illustrated

224 American School (Fourth Quarter 19th Century), “Nature Morte with Ducks, Grouse and Quail”, oil on canvas, illegibly signed lower left, 20” x 30”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated 225 Zacharias Noterman (Belgian, 1820‑1890), “Frenzy”, oil on wood panel, signed lower left, 14‑3/4” x 22‑1/4”. Framed. [2000/4000] Illustrated 226 Anton Karssen (Dutch, b. 1945), “Two Elegant Borzois”, oil on canvas, signed lower left, 23‑3/4” x 31”. Framed. [4000/7000] Illustrated

221

226 222 Extensive Herend “Rothschild Bird” Partial Dinner Service, ca. 1949‑1992, Hungarian, including twelve dinner plates, dia. 10”, twelve bread and butter plates, dia. 6”, twelve crescent salad plates, dia. 8”, twelve footed cups, h. 3”, with twelve saucers, dia. 6”, twelve flat bouillon cups, h. 3”, with twelve saucers, dia. 6‑1/4”, and twelve covered bouillon cups, h. 4‑3/4”, with twelve saucers, dia. 5‑3/4” (108 total pieces). [3000/5000] Illustrated 223 C. S. Dayton (British, 19th/20th Century), “Two Hunting Dogs with Prey”, oil on canvas, signed lower left, 34” x 44”. Framed. [3000/5000] Illustrated

222

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220

227 Anton Karssen (Dutch, b. 1945), “Meal-Time”, oil on canvas, unsigned, 15” x 17‑1/4”. Framed. [1200/1800] Illustrated 228 Jean-Louis Ernest Meissonier (French, 1815‑1891), “Cheval Alezan (Chestnut Horse)”, oil on panel, signed lower left “Meissonier”, 8‑3/4” x 10‑1/4”, with an antique typed paper label en verso. Presented in a period carved and giltwood frame with artist name plaque. [1500/2500] Illustrated 229 Henry Schouten (Belgian, 1864/67‑1927), “Cattle at Water’s Edge”, oil on canvas, signed lower left, 20” x 26”. Presented in a giltwood and gesso exhibition frame. [1000/1500] Illustrated

227 233 Collection of Four English Jacobean Revival Strapwork Boxes, third quarter 19th century, including a walnut collar box, a walnut dome top box, a mahogany dome top box, and a faux zebra wood dome top box, the largest, h. 6‑1/2”, w. 9‑1/4”. [500/800] 234 Inlaid Music Box, fourth quarter 19th century, probably Swiss, the rosewood-veneered case cross-banded in walnut and inlaid with nicely detailed musical trophies, and with a carved mother-of-pearl escutcheon, h. 7‑1/2”, w. 26‑1/4”, d. 10‑1/4”. [600/900]

228

235 English Tortoiseshell Picture Frame, fourth quarter 19th century, now with an early 19th-century engraved portrait of Admiral Horatio Nelson, h. 7‑1/2”, w. 6‑1/4”. [500/800]

230 L. Pernett (Continental, 19th Century), “The Seaweed Rakers”, oil on canvas, signed lower right, 19‑5/8” x 32‑1/8”. Framed. [500/800] 231 Suite of Eight Victorian Oak Sidechairs, third quarter 19th century, each with a padded and tufted over-upholstered back, the like seat raised on molded and bulbous legs ending in casters, h. 37”. [800/1200] Illustrated 232 English Passementerie Drum Banner, probably mid-19th century, employing the British crest on red silk, trimmed in fringe, the contemporary giltwood frame with a tag reading: “Drum Banner, Retired 1910”, h. 33‑1/2”, w. 57‑1/2”. [600/900] Illustrated

229

236 Jack Leigh Wardleworth (British, 1863‑1925), “The Archbishop of Canterbury, Thomas Cranmer, at the Traitor’s Gate”, oil on canvas, after the 1856 painting by Frederick Goodall (1822‑1904), now in a private collection, signed lower left, “Winsor and Newton/ London” stamp en verso canvas, 20” x 30”. Framed. [1200/1800] Illustrated Cranmer (1489‑1556) was the Archbishop of Canterbury during the reigns of Henry VIII and Edward VI, and was one of the leaders of the English Reformation. An outspoken and active religious leader, he strongly supported the notion of Royal Supremacy, the idea of the head of state as the sovereign leader of the church. After the accession of the ardent Catholic Mary I to the throne, Cranmer was tried, convicted and condemned to death by burning for heresy. 237 Victorian Burl Walnut Folio Stand, third quarter 19th century, the pierced folio holder hinged and adjustable, above four slotted compartments with shaped pierced dividers and two upper open shelves, raised on casters, the whole accented with ormolu mounts and millwork, h. 45”, w. 29‑1/2”, d. 15‑1/2”. [2000/4000] Illustrated

236

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238 Victorian Burl Walnut Davenport, third quarter 19th century, the sloped front hinged and opening to a pull-out leather writing surface and two small drawers, raised on a bank of four drawers to one side and four faux drawers to the other, with a paneled front and turned and block uprights, raised on casters, h. 35‑1/2”, w. 22‑1/2”, d. 22‑1/2”. [600/900] Illustrated

238

240

239 Victorian Walnut Pedestal Desk, mid-19th century, the triple-banded rounded rectangular top above a conforming frieze fitted with three frieze drawers, raised on two pedestals, each fitted with three graduated short drawers, above plinth bases, h. 29”, w. 42”, d. 25‑1/2”. [600/900] 240 Louis XVI-Style Oak and Silverplate-Mounted Drinks Trolley, the galleried silverplate top with a covered ice bowl and nine bottle holders, h. 35”, d. 22”, l. 38”. [1200/1800] Illustrated

241 Twenty-Piece English Hand-Painted Porcelain Tea Set, mid-19th century, decorated with hand-painted flowers and rich gilt borders on a dore gray ground, marked with pattern number 5490, including a teapot, h. 6‑3/4”, a cream jug, h. 5”, a sugar basin, h. 6”, a waste bowl, dia. 5‑1/2”, eight cups, h. 1‑3/4”, and eight saucers, dia. 5‑1/2”; together with twelve matching dessert plates, early 20th century, marked “Jackson & Gosling Grosvenor China”, dia. 6” (thirty-two total pieces). [700/1000] 242 Twenty-Five-Piece English Porcelain Partial Tea and Coffee Service, mid-19th century, decorated with gilt-trimmed cobalt scrollwork on a buff border, marked pattern number 3 over 2304, including a teapot, h. 7‑3/4”, a sugar bowl, h. 7”, a cream jug, h. 5‑1/4”, six teacups, dia. 3‑1/2”, six coffee cups, dia. 2‑3/4”, a waste bowl, dia. 6‑1/2”, a pair of cake dishes, w. 10‑1/2”, a round footed plate, dia. 8‑1/4”, and six saucers, dia. 5‑3/4”. [500/800] Illustrated

242

243 Two English Porcelain Garniture Vases, second half 19th century, comprising a large hand-painted example, decorated with raised gilt, made by Copeland, marked with a green transferprint mark, h. 16‑3/4”, dia. 5‑1/4”, and a Neo-Grec example, decorated with a hand-colored transfer image of the muses of music, marked “The HA & Co.”, h. 13”, dia. 5‑1/4”. [500/800]

246 English Bird’s-Eye Maple and Cut Glass Liquor Set, mid-19th century, the maple-veneered case with a lock marked “London”, the velvet-lined case with a set of four cut glass decanters with spouts and faceted stoppers, h. 9‑1/4”, w. 8‑1/2”, d. 8‑1/2”. [700/1000] 247 English Papier-Mache Tea Caddy and a Chinese Lacquer and Mother-of-Pearl-Inlaid Box, fourth quarter 19th century, the tea caddy decorated with gilt, blue and green strapwork, with two compartments, h. 5‑1/4”, w. 9”, and the Chinese hexagonal box inlaid with mother-of-pearl branches and flowers, h. 4”, w. 12‑1/2”. [800/1200] 248 Japanese Table-Top Cabinet, 19th/20th century, inlaid with mother-of-pearl and porcelain, h. 21‑1/4”, w. 13‑5/8”, w. 5‑7/8”. [500/800] 245 244 Victorian Mahogany Gaming Chair, third quarter 19th century, the back and upholstered cushion over a carved splat, the verso fitted with swing-out bins for chips, with a circular seat and raised on trumpet legs, upholstered in pale green needlepoint, h. 32”, w. 22‑1/2”, d. 28”, extended d. 34”. [500/800]

249 Suite of Four Victorian Ebonized Nesting Tables, mid-19th century, all with rectangular tops, three featuring scenes of horses and/or dogs, one featuring a gilt and mother-of-pearlinlaid chess board, all raised on modified bobbin-turned legs to shaped splayed feet, h. 28‑1/2”, w. 23”, d. 15‑1/2”. [1500/2500] Illustrated

245 British School (Third Quarter 19th Century), “The Turnip Seller”, oil on canvas, signed “Ward” lower right, 30” x 38”. Presented in a later giltwood frame. [1000/1500] Illustrated

249

250 250 Cottage-Style Polychrome Bowfront Chest, the bowed top with a reeded edge, above a conforming case fitted with three short drawers over three long drawers, the upper drawers with floral accents, raised on ring-turned tapering circular legs, h. 38”, w. 38‑1/2”, d. 22‑1/4”. [500/800] Illustrated

251 Victorian Ebonized Papier-Mache Tray, third quarter 19th century, the shaped tray with a raised rim and a central floral avian scene, now raised on a conforming ebonized stand with cabriole legs to pad feet, h. 26”, w. 32”, d. 25‑1/2”. [500/800]

256

252

252 English Victorian-Style Hand-Painted Tole-Peinte Tray, first quarter 20th century, in the “Gothic” shape, painted with scattered flowers and a bird perched on gilt scrollwork, w. 19”, l. 23”. [500/800] Illustrated

253 253 Abraham Hulk II (British, 1851‑1922), “Landscape with Two Girls Picking Flowers”, oil on canvas, signed lower right, inscribed verso stretcher “Abraham Hulk, R.A. 1876”, 12‑1/4” x 18”. Framed. [700/1000] Illustrated

254 Collection of Two 19th-Century British Oils on Board, one by Edmund Gill (1820‑1894), “Edge of a Lake”, 1850, signed lower left “E. Gill”, signed, titled and dated en verso label, 8” x 12”, and one by F. Smith (19th Century), “Fishermen on the Beach”, signed lower right, 8” x 12”. Both framed alike in handsome giltwood frames. [500/800]

255 255 Edwin Buttery (British, 19th Century), “Country Landscapes with Figures on a Path”, pair of oils on panel, both signed, one lower left, one lower right, 12” x 22”. Presented in period, matching giltwood and gesso frames, stenciled with the artist’s name. [700/1000] Illustrated

256 Charming Black Forest Carved Walnut Umbrella Stand, fourth quarter 19th century, depicting a terrier on his hind legs, his front paws on the umbrella holder, with a brass drip pan, h. 32”, w. 10”, d. 15‑3/4”. [2500/4000] Illustrated

258

260 Set of Eight Copeland Spode Dinner Plates and Eight Matching Soup Plates, ca. 1875‑1890, English, decorated with a cobalt-ground border with gilt gadrooning and intertwined initials, marked with a standard printed mark and the retailer, T. Goode & Co., London, dia. 10‑1/4”. [500/800] 261 Seventy-Piece Rosenthal Cobalt and Raised Gilt Partial Dinner Service in the “Eminence” Pattern, third quarter 19th century, German, including twelve dinner plates, dia. 10‑1/4”, eleven soup plates, dia. 8‑1/4”, eleven salad/dessert plates, dia. 7‑3/4”, twelve bread and butter plates, dia. 6”, and twelve cups, h. 2”, with twelve saucers, dia. 5‑3/4”. [550/800] Illustrated

257 257 Italian Grand Tour Patinated Bronze Warwick Vase, fourth quarter 19th century, with twisted handles, decorated with masques and grapevines, and trimmed with egg-and-dart molding, h. 15‑3/4”, w. 22‑3/4”, d. 15”. [500/800] Illustrated 258 Set of Six English Hand-Painted Cabinet Plates, fourth quarter 19th century, the plates with cobalt borders trimmed in raised gilt, the centers decorated with hand-painted topographical views, with a design registration mark for 1875, and marked with pattern number 4 over 9512, dia. 9”. [500/800] Illustrated 259 Set of Nine Minton’s Dinner Plates, each with a cobalt ground and raised gilt decoration, the blanks dated 1883, impressed “Mintons” and the date letter, dia. 10‑1/4”. [500/800]

261

262 Set of Ten Minton Porcelain Dinner Plates in the NeoGrec Style, ca. 1862, English, decorated with a gilt, black and terracotta guilloche border, and an armorial device reading “Fidelitee”, impressed “Minton” and the date letter, dia. 10‑1/4”. [500/800]

265

263 Georgian-Style Oak Bracket Clock with Gilt-Bronze Mounts, fourth quarter 19th century, German, the dome-top case mounted with gilt Corinthian columns and pinecone finials, the contrasting steel and gilt-bronze dial decorated with gilt spandrels and a sun, with a triple train fusee movement, marked “W&H” for Winterhalder & Hofmeier, h. 25‑1/4”, w. 14‑1/2”, d. 9‑1/4”. [1500/2500] Illustrated

263

264 Victorian-Style Polychrome Metal and Marble-Top Conservatory Table, the rectangular marble top above a palmetto-modeled frieze, raised on a scrolling base, h. 31”, w. 49”, d. 25”. [800/1200] 265 Louis XVI-Style Mahogany and Sheffield-Mounted Serving Trolley, with a roller dome in the center, the base with silver-gilt mounts, h. 44”, w. 35”, d. 26”. [2000/4000] Illustrated 266 Julius Joseph Gaspard Starck (Belgian, 1814‑1884), “Portrait of Philippe Dansaert”, 1884, oil on canvas, signed lower right, 42” x 34”. Presented in a handsome, period, giltwood and gesso frame affixed with an artist plaque. [1000/1500] Illustrated 266

268 English Handwritten Indenture, dated 1871, in a contemporary frame with a linen matte, h. 31‑1/2”, w. 36”. [500/800] 269 Victorian Rosewood Canterbury, third quarter 19th century, fitted with three compartments within a spindled gallery, above a single drawer, raised on bulbous toupie feet ending in casters, h. 20‑1/2”, w. 21‑1/2”, d. 15”. [600/900] 270 Mintons Aesthetic Pate-sur-Pate Covered Vase, fourth quarter 19th century, English, on a peacock blue ground, the decoration marked “TM”, the feet, neck and cover decorated in raised Chinese strapwork, marked “Mintons” in gilt transfer print, h. 10‑1/2”, w. 7”, d. 4‑1/4”. [1500/2500] Illustrated

270

267 267 Julius Joseph Gaspard Starck (Belgian, 1814‑1884), “Portrait of Chretien Dansaert”, 1884, oil on canvas, signed lower right, 42” x 34”. Presented in a handsome, period, giltwood and gesso frame affixed with an artist plaque. [1000/1500] Illustrated

271 English Enameled Art Glass Aesthetic Vase, fourth quarter 19th century, composed of mica-spangled blue glass cased with a white interior, and enameled with fanform panels with raised decoration, h. 7‑1/4”, w. 6‑3/4”, d. 4‑3/4”. [500/800] 272 English Aesthetic Walnut Secretaire a Abattant, third quarter 19th century, the stepped rectangular top with a molded edge, above a conforming case fitted with a frieze drawer over a drop-front opening to a central cupboard flanked to either side by a bank of four drawers, over three long drawers, raised on block feet, h. 56”, w. 40”, d. 20‑1/2”. [800/1200] Illustrated 272

275 Matching French Patinated Bronze Inkwell and Candlesticks in the Japonesque Taste, fourth quarter 19th century, the crane-form inkwell opening to reveal space for an inkpot, the articulated beak serving as a letter holder, h. 7‑1/4”, l. 8”, and the candlesticks in the form of lotus flowers, h. 8‑3/4”, dia. 5”, all three pieces on lily pad bases with small frogs. [1200/1800] Illustrated

274 (detail) 276 French Patinated and Cold-Painted Bronze and Metal Sculpture of “A Monkey Riding a Heron”, second quarter 20th century, after Henry Lechesne (French, 1811‑1888), cast signature and inscribed “L. Martin fondeur” at edge of base, h. 27”, w. 24”, d. 18”. [2500/4000] 275 274 suite of three

273 Antique Brass Fire Fender and an Associated Pair of Andirons, comprising an English Aesthetic Movement polished brass fire fender, fourth quarter 19th century, h. 11‑1/2”, w. 56”, d. 13‑3/4”, and a pair of American Classical Revival ball-top andirons, second quarter 20th century, h. 23‑1/2”, w. 11”, d. 20”. [600/900] 274 George Hayter (British, 1792‑1871), group of three oils on wood panel, including “Henry Richard Vassall-Fox, 3rd Baron Holland, Chancellor of the Duchy of Lancaster”, old handwritten inscription en verso panel with sitter’s name and stating, “Study for my great picture of The House of Commons, 1833, George Hayter, 1835”, a “Julian Adler Antiques/Capetown” label en verso; “Sir Peter Hesketh-Fleetwood, Esquire, Member of Parliament for Preston”, signed, inscribed “sketch” and dated “1834” along bottom edge, old handwritten inscription en verso panel with sitter’s name and stating, “...for my large picture of The House of Commons, George Hayter, 1834”; and “Unidentified Member of Parliament”, remnant of illegible old handwritten inscription en verso panel, each 13‑1/2” x 11‑1/2”. Framed alike. [1500/2500] Illustrated These three portraits were preliminary studies for Hayter’s monumental and ambitious painting, “The House of Commons, 1833”, now on permanent display at the Regency Galleries at the National Portrait Gallery, London. The large-scale work, including 375 of the then 658 members of Parliament, commemorates the passing of the Great Reform Act of 1832 (formally known as “ An Act to Amend the Representation of the People in England and Wales”), which enacted sweeping changes to the British electoral process. Undertaken by the artist without a financial commission, the painting took a decade to complete and another fifteen years to find a buyer. It was eventually purchased by the Tories (by then officially called the Conservative Party) and gifted to the National Portrait Gallery. Several of these small portrait studies are also in the collections of the Portrait Gallery.

277 Unusual Pair of Marble and Gilt-Bronze Seashell Garniture Vases, fourth quarter 19th century, each natural seashell supported by bronze vines and greentrimmed leaves, resting on a marble base and finished with a bird finial, h. 8‑1/2”, dia. 6‑3/4”. [800/1200] Illustrated 278 Early Victorian Silverplate Hot Water Urn, second quarter 19th century, the urn-form body decorated with embossed floral garlands and gadrooned calyx, with bird’s head-mounted arched handles, dolphin’s head tap and waisted collar, the whole raised on a waisted stem above a pierced frieze and four scroll-and-shell feet, surmounted by a steeply domed lid with pineapple finial, h. 23‑1/2”, dia. 8‑1/2”, w. 10”. [1200/1800] 279 Good Victorian Sterling Silver Fish Serving Set, hallmarked London, 1854‑1855, by George William Adams (1808‑1895; free 1829), of Chawner & Co., in their rare “Princess No. 2” pattern, comprising a fish slice, l. 12‑3/4”, and serving fork, l. 10‑3/8”, the scimitar-shaped blade and fork heel engraved and reticulated with a dolphin and flying fish among rococo scrolls, monogrammed “F”, presented in the original fitted purple velvet- and satin-lined leather case retailed by Spink & Son, London, 15‑1/2” x 5‑1/4”, 9.93 total t. oz. [500/800]

280 Pair of Late Victorian Sterling Silver Candelabra, hallmarked Sheffield, 1892‑1893, by James Kebberling Bembridge (ca. 1833‑1892) of Hawksworth, Eyre & Co., each with a tapering and fluted columnar standard of square section above a conforming cavetto-domed foot decorated with swag and gadrooned banding, surmounted by a vasiform nozzle en suite, with circular bobeche, fitted with a detachable superstructure of a central trumpet-form standard with four “S”-scroll reeded and knopped arms, the standard and arms all terminating in a beaded circular drip-pan and urn-form nozzle en suite, h. 19”, w. 14”, d. 10‑1/2”, weighted. [3000/5000] Illustrated

277

281 Good Victorian Twenty-Four-Piece Cased Sterling Silver and Mother-of-Pearl Dessert Service, hallmarked Sheffield, 1898‑1899, by Boardman, Glossop & Co. Ltd., including twelve forks, l. 6‑1/2”, and twelve knives, l. 7‑3/4”, the forks with three narrow tines, the knives with wrigglework engraved blades, all with spatulate mother-of-pearl handles engraved with beaded acanthus calyx finials, presented in the original green satin-lined mahogany case, h. 2‑1/2”, w. 12”, d. 9‑1/4”. [1200/1800]

282

280

285

282 Late Victorian Gilt Silverplate Marmalade Jar, fourth quarter 19th century, by Fenton Brothers, Sheffield, in the form of a stemmed orange, opening to reveal a fitted liner, the whole fixed to a circular saucer base with embossed acanthus banding and beaded rim, raised on three flattened spherical feet, h. 5‑1/2”, dia. 7‑1/4”. [500/800] Illustrated on previous page

286

283 Pair of George V Sterling Silver-Mounted Glass Claret Jugs, hallmarked Birmingham, 1918‑1919, by John Grinsell & Sons, each with a glass body of ovoid form with star-cut base, mounted with a silver cylindrical collar with flat hinged lid, shaped spout, squared handle and palmette boss, h. 7‑5/8”, dia. 4‑1/2”. [1800/2500] Illustrated

283

286 Edwardian Sterling Silver and Cut Glass Yachting Trophy Banquet Lamp, hallmarked Sheffield, 1902‑1903, by William Latham & Sons, the sterling “candlestick” standard in the form of a spiraled Corinthian column above a stepped and beaded base, surmounted by a flattened oval “Russian”-cut glass font, the base decorated with applied enamel yachting colors and inscription “First Prize for 25 Footers / Won by “Fodhla” His Excellency Lord Lieutenant / The Edward Yacht Club / 11th July 1903”, sterling base, h. 15‑1/2”, w. 5‑7/8”, overall, h. 24‑3/4”, dia. 6‑1/2”, weighted and electrified. [800/1200] Illustrated The Fodhla was built in 1903 by noted Irish boatwright James Edward Doyle (1848‑1910) for William Humble Ward, 2nd Earl of Dudley (1867‑1932) during the latter’s 1902‑1905 tenure as Lord Lieutenant of Ireland. The famous twenty-five footer was moored at the Dublin Bay Sailing Club. Upon his departure as Viceroy in Ireland in 1905, he made a present of the yacht to its crew.

287

284 Large Edwardian Silverplate Tray, first quarter 20th century, by Daniel & Arter, Birmingham, of oval form, with pierced gallery, plain handles and four oblate spherical feet, the plateau acid-engraved with a wide band of ribboned ferns, l. 28”, w. 17‑1/4”. [500/800] 285 Pair of Edwardian Sterling Silver Casters, hallmarked London, 1909‑1910, by Daniel & John Wellby, in the Queen Anne taste, of traditional “lighthouse” form, with annular banding and gadrooned base and crown, with pierced cap, vasiform finial and engraved on the body with fanciful armorial, h. 8‑1/2”, dia. 3‑3/8”, 27.01 total t. oz. [900/1200] Illustrated

287 Edwardian Silverplate Mirrored Plateau, first quarter 20th century, by T. Griffiths & Co., Birmingham, of circular form, the tall waisted frame decorated with applied floral banding, with beaded rim and raised on four rococo feet, fitted with a conforming mirrored plate, h. 7”, dia. 21”. [600/900] Illustrated

289

288 Three Pieces of George V Sterling Silver Tableware, first half 20th century, all Birmingham, including two sauceboats in the Georgian taste, one 1919‑1920 by Horace, Woodward & Co., the other 1934‑1935, by S. Blanckensee & Sons Ltd., l. 5‑1/2”, w. 3”, and a center vase, 1917‑1918, the maker’s mark rubbed, with a central spherical knop surmounted by one tall and three surrounding shorter detachable trumpet vases with gauffered rims, the whole raised on a circular ogee-domed foot, h. 12‑1/2”, w. 9‑1/2”, base, dia. 5‑1/4”, weighted, 7.98 total t. oz. (weighable silver). [500/800]

289 Fourteen Pieces of English, American and European Silverplate, mid-19th to mid-20th century, including a bread tray, two covered vegetable dishes, a covered punch pot, a tray, a covered tureen, an assembled teapot-on-stand, a biscuit barrel, a pair of telescopic candlesticks, a standish, a water pitcher, a wine cooler and a covered butter dish, l. 8‑1/4” to 24‑1/2”. Detailed list available on request. [500/800] Illustrated

290 Twenty-Eight Pieces of Assorted Silver and Silverplate Tableware, English and American, late 19th to mid-20th century, including an 1895 Gorham sterling silver sauceboat, a 1907 Whiting sterling silver condiment bowl, three sterling silver and glass small dresser jars, a Cartier sterling silver potpourri basket, an 1899‑1900 Walker & Hall sterling and mother-of-pearl partial dessert set, and four other pieces, and silverplate pieces: a Walker & Hall silverplate and mother-of-pearl fish serving set and a gilt silverplate “Gothic”-style bowl, the smallest dia. 1‑3/4”, the largest dia. 8‑3/4”, 26.21 total t. oz. (weighable silver). Detailed list available on request. [600/900] Illustrated

290

293

294 Pair of Antique Cast Stone Recumbent Whippets, early 20th century, h. 16”, w. 11”, l. 27”. [1200/1800] Illustrated 295 Anglo-Irish Cut Glass Pitcher, ca. 1900, in the Regency taste, the pitcher with strawberry and fan cuts, h. 12‑1/4”, dia. 4‑3/4”. [600/900] Illustrated

291

291 Unusual Pair of Cast Cement Seated Whippets, mid-20th century, h. 35”, w. 11”, l. 21”. [1200/1800] Illustrated 292 French Bronze Figure of a Whippet, 20th century, after Antoine-Louis Barye (French, 1796‑1875), cast signature on self-base, on a black marble plinth, overall, h. 7‑1/2”, w. 4‑1/4”, d. 4‑1/2”. [500/800] 293 Large Pair of Patinated Bronze Whippets, 20th century, each depicted with its head turned back and slightly in a crouched position, h. 38”, w. 18”, l. 45”. [800/1200] Illustrated

295 296 Extensive Waterford Cut Crystal “Lismore” Partial Stemware Service, 20th century, Irish, the service including twenty-one champagne flutes, h. 5‑1/4”, nineteen hock glasses, h. 7‑1/2”, twelve white wine goblets, h. 5‑1/2”, eighteen sherry glasses, h. 5‑1/8”, eight champagne coupes/sherbet glasses, h. 4‑1/4”, nineteen water goblets, h. 6‑7/8”, seven small liquor glasses, h. 3‑1/2”, and eight claret glasses, h. 5‑1/4” (112 total pieces). [700/1000]

294

298

299

297 Edwardian Satinwood Sidechair, ca. 1900, the backswept crest above a caned back centered by an oval floral plaque, the caned seat raised on tapering square legs headed by painted bellflowers and ending in spade feet, h. 34”. [500/800] Illustrated 298 Handsome Pair of Adam-Style Giltwood and PaintDecorated Mirrors, first quarter 20th century, English, the pierced crests with swags of bellflowers terminating in urn finials, decorated with painted neoclassical plaques depicting putti riding dolphins, h. 50”, w. 21”. [2000/4000] Illustrated

300 Seventeen-Piece Royal Crown Derby Partial Dessert Service, ca. 1887, English, decorated with raised gilt and gilt-trimmed mauve and green grapes and grape leaves, the set comprised of a pair of tazzas, h. 4‑1/2”, dia. 9”, four comports, h. 2‑1/2”, dia. 9”, and eleven dessert plates, dia. 8‑3/4”, each piece impressed Derby and with the transfer-printed mark, including the 1887 year cypher. [500/800] Illustrated

297

299 Edwardian Satinwood Center Table, ca. 1900, the banded ovoid top centered by a patera inlay with emanating bellflower swags, above a conforming frieze, raised on tapering circular legs joined by a small oval galleried stretcher shelf and ending in teardrop feet, h. 29”, w. 31”, d. 22”. [500/800] Illustrated

300

301 Set of Twelve Royal Doulton Raised Gilt Dinner Plates, ca. 1902‑1922, English, marked by both the maker and retailer, Marshall Field, Chicago, dia. 10‑1/4”. [700/1000]

303

302 Set of Eleven Heinrich and Company Service Plates, post-1939, decorated with elaborate raised gilt borders on an ivory ground, marked by both maker and retailer/ decorator, Ovington’s, New York, dia. 11”. [600/900]

303 Set of Twelve Minton Raised Gilt Service Plates, ca. 1916, English, the ivory borders decorated with hand-painted flowers punctuated with pink cartouches, marked, impressed with date marks, the original owner’s gilt initials and “1916” in gilt, dia. 11”. [4000/7000] Illustrated 304 Pair of Edwardian Painted and Parcel-Gilt Brackets, first quarter 20th century, in the Regency taste, with “Brighton Pavilion” supports terminating in gilt Prince-of-Wales feathers and carved bellflowers, h. 17‑1/2”, w. 12‑3/4”, d. 7‑1/4”. [500/800] 305 Manner of Jan van Kessel the Elder (Flemish, ca. 1626‑1679), “Insects, Butterflies and Flowers”, suite of five contemporary oils on canvas, 20” x 24”. All presented in matching frames. [700/1000] Illustrated

306

305 suite of five

306 Edwardian Mahogany and Satinwood-Banded FoldOpen Handkerchief Games Table, ca. 1900, each leaf with a circular recessed cup for playing chips, fitted with a drawer and the legs joined by a shelf-form stretcher, h. 28”, w. 22‑1/2”, extended w. 31”, d. 22‑1/2”, extended d. 31”. [500/800] Illustrated

305 suite of five

307 Pair of Edwardian Mahogany Jardinieres, early 20th century, each with a square top inset with a metal liner, the sides each inlaid with an oval panel, raised on slender legs joined by an X-form stretcher and ending in splayed feet, h. 38”, w. 14‑3/4”, d. 14‑3/4”. [600/900] 310

308

308 Pair of Edwardian Mahogany Cabinets, early 20th century, the molded cornice above a case fitted with an astragal-glazed door with fabric backing and inlaid corner floral accents, the lower section fitted with three graduated long drawers, raised on a plinth base, h. 84”, w. 32”, d. 15”. [2500/4000] Illustrated 309 Pair of Edwardian Mahogany Side Tables, early 20th century, in the Sheraton taste, each with a rectangular top with a laurel leaf-carved edge, above a fluted frame with carved patera accents, raised on stop-fluted tapering square legs ending in spade feet, the underside stamped “T. Owen & Sons”, h. 33”, w. 75”, d. 31”. [4000/7000] 310 English Amber Cased Intaglio-Cut Glass Vase, first quarter 20th century, of ovoid form, decorated with fruits and flowers, h. 15‑1/2”, dia. 6”. [900/1200] Illustrated 311 German Porcelain Plaque Depicting Sarah Bernhardt as “Gismonda”, first quarter 19th century, after a portrait by Theobald Chartran (French, 1849‑1907), marked “Made in Germany” and “Gismonda Nach Chartran” on the reverse, in a gilt-brass frame held by a larger ebonized shadowbox frame, h. 9‑1/2”, w. 8”. [1000/1500] Illustrated

311

312 Set of Twelve Copeland Spode Dinner Plates, ca. 1900, English, each decorated with a gilt floral wreath, marked “Spode Copeland’s China England” and pattern number 41125, dia. 10‑1/4”. [500/800] Illustrated

312

313 Unusual Edwardian Walnut Partner’s Desk, ca. 1900, the top of an unusual “bone” form and with an inset leather writing surface and scrolling brass galleries to either end, over a conforming case fitted with a central frieze drawer, flanked to either side by a bank of four banded graduated drawers, the other side fitted with a faux central drawer flanked to either side by a cupboard door, raised on toupie feet on casters, h. 32”, w. 65”, d. 33”. [2000/4000] Illustrated 314 Rudolf Blum (Austrian, 1895‑1973), “Portrait of a Man in a Hat”, oil on canvas, signed lower right, 18” x 13”. Presented in an ebonized frame. [1500/2500] Illustrated

318 Leonetto Cappiello (Italian, 1875‑1942), “Reglisse Sanguinede”, lithograph in colors, sight 50‑1/2” x 35‑1/2”, plate-signed lower left. Glazed, matted and framed. [700/1000] Illustrated

314 315 Kellogg Brass-Cased Boudoir Phone, second quarter 20th century, Chicago, decorated with molded flowers, the dial pad with carved coral flowers, h. 6‑3/4”, w. 10”, dia. 4‑3/4”. [1200/1800] 316 Peter Tereszczuk (Ukranian/Austrian, 1875‑1963), “Loie Fuller”, 20th century, bronze figural lamp, signed at edge of self-base, h. 14”, w. 5‑1/2”, d. 7”. [2000/4000] Illustrated 317 Continental Art Nouveau Gilt-Brass Centerpiece, fourth quarter 19th century, with leaf-form dishes and a central posy holder decorated with a bird on branches, raised on twig feet, h. 18‑1/2”, dia. 11”. [700/1000] Illustrated

319 319 Jules Cheret (French, 1836‑1932), “Exposition Universelle des Arts Incoherents”, lithograph in colors, sight 48” x 34”, plate-signed lower right, printed by Imp. Chaix, Paris. Glazed, matted and framed. Provenance: The Sheraton New Orleans Hotel, 500 Canal Street. [700/1000] Illustrated

316

318

317

313

323 Two Camille Faure (French, 1872‑1944) Art Deco Enamel Dishes, first quarter 20th century, Limoges, France, the larger example decorated with roses on an iridescent green ground, marked “Faure Limoges France”, dia. 8‑1/2”, and the smaller example decorated with violets on a bronze ground, marked “C. Faure”, dia. 4”. [1200/1800]

322

320

324

324 French Carpathian Elm and Eighteen-Karat Gold Box, ca. 1900, the gold mount by Adolphe Frontin (fl. 1888‑1920), Paris, of rectangular form, cut from beautifully figured Carpathian elm, with hinged lid and compartmented interior, the gold mount set with a simulated sapphire cabochon thumbpiece, h. 1‑1/2”, w. 10”, d. 4‑3/4”. [600/900] Illustrated

320 Georges Fay (French, d. 1916), “Le Quartier”, 1897, lithograph in colors, sight 43‑1/2” x 28‑1/2”, plate-signed and dated “Georges Fay 97”, printed by Imp P. Vercasson, Paris. Glazed, matted and framed. [700/1000] Illustrated 321 French Patinated Bronze of “Diana”, first quarter 20th century, after Pierre Roche (French, 1855‑1922), incised signature en verso, on a stepped black marble plinth, overall, h. 28”, w. 13”, d. 9‑1/2”. [500/800] 322 Rare French Art Glass Night Light, second quarter 20th century, depicting a wooden landscape, with gilt-bronze fittings, signed “Gauthier”, h. 5‑1/2”, dia. 3‑1/4”. [600/900] Illustrated

325

326 325 Continental Art Deco Calamander and Maple Cabinet, mid-20th century, the case with a gentle serpentine front with a pair of doors, the facade in maple veneer 329 with contrasting inlaid stringing, the side panels slightly concave, raised on calamander flared legs with bone tips, h. 33”, w. 51”, d. 14‑3/4”. [500/800] Illustrated 326 Pablo Picasso (Spanish/ French, 1881‑1973), “Musee Municipal d’Art Moderne Ceret”, 1958, color linoleum cut, full margins, signed in red crayon lower right, printed by Arnera, Vallauris, 24” x 17‑3/4”. Glazed and framed. [1500/2500] Illustrated

327 328 Pair of French Art Deco Burled Walnut Armchairs, second quarter 20th century, with upholstered seats and back cushions on a frame with carved arms, the arms supported by burlwood panels, the feet with foliate and scroll carving in shallow relief, h. 35‑1/2”, w. 28”, d. 33”. [1400/1800] Illustrated 329 Art Deco Enamel, Metal, Alabaster and Bronze Floor Lamp, first quarter 20th century, in the manner of Oscar Bach, New York, the alabaster base decorated with grapes and supporting the tapering standard, molded with laurel leaves, the finial depicting a pierced masque of Dionysus, God of Wine, h. 71”, w. 11”, d. 11”. [1500/2500] Illustrated

328

327 Georges Rouault (French, 1871‑1958), “Paysage a la Tour” (from “Les Fleurs du Mal”), color aquatint, initialed and dated “1938” in plate, sight 12‑5/8” x 8‑1/2”. Glazed, handsomely matted and framed. [800/1200] Illustrated

330 Oscar Bach, New York, Pierced Bronze Mirror in the Art Deco Style, early 20th century, the patinated frame with polished highlights and pierced scrollwork with stylized leaves and a “flapper”, the back with an Oscar Bach brass nameplate in script, h. 40‑1/4”, w. 22”. [700/1000] Illustrated

330

331 Mid-Century Modern SquareTube Aluminum Sofa, Attributed to Emeco, ca. 1948, with a shaped aluminum frame, now fitted with tripartite vinyl seat and back cushions after the original, h. 31‑1/2”, w. 72‑1/2”, d. 34”. [800/1200] Illustrated

332 Koch & Lowy, Avon, Massachusetts, Adjustable Tent-Shaded Floor Lamp, ca. 1960‑1970, the brass lamp marked “K&L69” on the weighted base, h. 39” (adjustable), w. 16‑1/2”, d. 6‑1/4”. [500/800] 333 Four Milo Baughman (1923‑2003), for Thayer Coggin, Lucite and Chromed Steel Dining Chairs, the pattern introduced in 1975, in continuing production, the shaped translucent black polycarbonate seat on a metal frame, h. 34”. [2000/4000] Illustrated 334 Italian Mid-Century Modern Chrome and Murano Glass Floor Lamp, ca. 1950’s, the three chromed steel standards of varying heights and fitted with Murano glass globes, all above a circular base, fitted with a push-button floor switch, h. 56‑1/2”, base, dia. 11‑5/8”. [500/800] Illustrated

333

In 1944, Wilton Carlyle Dinges and his firm Emeco were tasked with the design of a durable, corrosion-resistant, lightweight chair for the military. The result was the iconic Navy Chair made of shaped, brushed aluminum. As the firm adjusted to the post-war economy, the present sofa extends the design and manufacturing techniques of the seminal chair design.

331

335

335 Forty-Eight-Piece Rosenthal “Flash” Pattern Partial Dinner Service, ca. 1990‑2008, German, designed by Dorothy Hafner, including six dinner plates, dia. 10”, eight salad plates, dia. 8”, eight bread and butter plates, dia. 6‑1/2”, eight cups with eight saucers, dia. 6”, an oblong bowl, l. 12”, a round bowl, dia. 9‑1/2”, an oblong platter, l. 14”, a pair of covered oil and vinegar cruets, h. 7‑3/4”, a teapot, h. 7‑3/4”, a sugar bowl, h. 4”, a cream jug, h. 3‑3/4”, a pepper shaker, h. 3‑1/2”, and a fondue pot stand, h. 3‑1/2”. [2000/4000] Illustrated

337 Pep Canyelles (Spanish, Contemporary), “Sala Pelaires, Mallorca, 1982 Exhibition”, color silkscreen, sheet 27‑1/2” x 19”. Glazed, float-mounted and framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [500/800] Illustrated

334

336 Vintage Figural Pottery Compote by Bjorn Wiinblad (Danish, 1918‑2006), ca. 1979, in the form of a smiling figure holding a cone-shaped cup, marked, h. 11‑1/4”, dia. 12”. [500/800]

337

339 James DeWoody (American, b. 1945), “Untitled”, 1979, collage and mixed media on canvas, signed and dated en verso, 33” x 41”. Framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [500/800] Illustrated

339

338

342

338 James DeWoody (American, b. 1945), “Untitled”, mixed media on paper, sight 38” x 26”. Glazed, matted and framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [500/800] Illustrated

340 Alan J. Shields (American, 1944‑2005), “Untitled Diptych”, quilted and hand-painted fabric, crochet, and thread, mounted on board, fitted for hanging, overall, 19‑1/2” x 33‑3/4”. Provenance: Private collection, Houston, Texas. [1000/1500] Illustrated 341 Contemporary Marble Center Table, the rectangular top with canted corners and brass banding, raised on a single pedestal of canted rectangular form, h. 30”, w. 79”, d. 44”. [2500/4000] 340

346 Pair of Neoclassical-Style Rock Crystal Obelisks, on molded stepped plinths, h. 22”, w. 4‑1/4”, d. 4‑1/4”. [2000/4000] Illustrated 343

347 Pair of Large Mercury Glass Ginger Jars, on stands and with conical covers, h. 25‑3/4”, dia. 7‑3/4”. [800/1200]

346

342 Stylish Suite of Seven Italian Chrome-Plated Steel Wall Sconces, 20th century, each custom-designed, weighty sconce composed of a tall rectangular backplate with a projecting faux wax drip candle, each “drip” pattern varying slightly, electrified, accompanied with wooden cleat hangers, backplate, h. 14”, w. 4‑5/8”, d. 1”, overall, d. 2‑1/2”. [500/800] Illustrated 343 Arts and Crafts Iron and Glass Garden Lantern in the Japanese Style, first quarter 20th century, possibly American, the pagoda-form center with glass-backed pierced sides and set with four down-turned lights, h. 37”, dia. 24”. [700/1000] Illustrated

345

344 Zebra Rug, 85” x 127”. [800/1200] 345 Neoclassical-Style GiltBronze Cocktail Table, early 20th century, the inset mirrored top within a laurel leaf-modeled frame, raised on like-modeled legs joined by an X-form stretcher and ending in scrolled toes, h. 17‑1/2”, w. 52”, d. 22”. [500/800] Illustrated

351

348 Pair of Contemporary Wrought-Iron and Marble-Top Console Tables, in the neoclassical taste, each with a rectangular marble top raised on square legs with twisted accents, the front centered by a large plaque, one featuring a bearded classical male bust, the other a classical female bust, h. 41‑1/2”, w. 42‑1/2”, d. 16‑1/4”. [1000/1500] Illustrated 349 Carved Stone and Glass Coffee Table, fourth quarter 19th century, the table composed of a pair of carved stone architectural fragments mounted with glass, the masque-carved fragments in the BeauxArts style, h. 17‑1/2”, w. 23”, l. 40”. [500/800]

352

348

358 350 German Bronze of “Gleichgewicht (Balance)”, 20th century, depicting a classical athlete balancing an agate ball on his extended arm, after Ph. E. Hamburger (German, 1890‑1930), cast signature with cypher on self-base, on a black marble plinth, overall, h. 17‑1/4”, w. 11”, d. 8”. [2000/4000] Illustrated 351 Charles Henri Molins (French, Early to Mid-20th Century), “The Bear Hunt”, Art Deco patinated bronze, on a gold-striated black marble base, overall, h. 16”, w. 31”, d. 5‑1/2”. [1500/2500] Illustrated

352 Pair of “Hollywood Regency” Ebonized Sidechairs, 20th century, the padded over-upholstered crest above a shaped ormolu-mounted horizontal splat, the padded seat raised on a modified curule-form base, h. 34”. [700/1000] Illustrated

353

353 Pair of Marbro “Hollywood Regency” Carved Alabaster Lamps, mid-20th century, in the neoclassical taste, on giltwood plinths, now fitted with ecru silk shades, one standard bearing the Marbro label, h. (to top of finial) 43‑1/4”, dia. 15‑1/4”. [1000/1500] Illustrated 354 Large Patinated Metal Figure of Jesus, 20th century, h. 62”, w. 20”, d. 18”. [700/1000] 355 Continental Verdigris-Patinated Bronze Figure of a Woman at Prayer, 20th century, h. 40”, w. 14”, l. 24”. [700/1000]

358 Raymond Douillet (French, b. 1947), “L’Androgyne et Soname”, pencil on paper, signed and titled lower left, sight 27” x 20‑1/2”. Glazed, matted and framed. Provenance: Purchased from the artist and illustrated on page 7 of the exhibition catalogue. [1500/2500] Illustrated 359 Brian Borrello (American, Contemporary), “Silhouette I” and “Silhouette II”, 1997, a pair of oils on paper, each signed and dated lower left, signed and dated en verso, 16” x 20”. Glazed and framed alike. Provenance: Heriard-Cimino Gallery, New Orleans, Louisiana. [800/1200] Illustrated

350

359 1 of 2

356 Pair of Mario Villa, New Orleans, Verdigris-Patinated Iron and Brass Shelf Stands, 1985, of obelisk form, each fitted with a black plexiglass shelf, a leaf-form finial and X-stretchers at the base, h. 80”, w. 19”, d. 13‑1/2”. Provenance: Purchased directly from the artist by the consignor. [700/1000] 357 Large Amethyst Geode, with a hollow interior, h. 12”, w. 9‑3/4”, d. 12”. [600/900]

363 360 Betsy Eby (American/Oregon, b. 1967), “Ceonothus”, 2003, encaustic on panel, signed and titled en verso, 24” x 18”. Unframed. Provenance: Andrea Schwartz Gallery, San Francisco, California, private commission. [1500/2500] Illustrated Employing a difficult and time-consuming technique of multiple layers of melted beeswax and resin, pigments, and heat - what the artist refers to as “adulterated encaustic” - Eby creates evocative paintings inspired by the natural world. It is a precise process which requires great skill and control, but, as the artist herself says “I’m not following recipes. I’m following intuition. I’m pushing, but my experience gives me a strong prediction rate for what’s going to happen”. 361 Betsy Eby (American/Oregon, b. 1967), “Untitled - Small Square #12”, 2006, encaustic on panel, 15” x 15”. Unframed. Provenance: Winston Wachter Mayer Fine Art, Seattle, Washington. [1500/2500] Illustrated

361

362

360 362 Betsy Eby (American/Oregon, b. 1967), “Untitled - Small Square #8”, 2006, encaustic on panel, signed and titled en verso, 15” x 15”. Unframed. Provenance: Winston Wachter Mayer Fine Art, Seattle, Washington. [1500/2500] Illustrated

365

363 Betsy Eby (American/Oregon, b. 1967), “Distillation: Ostanes Ebbing”, 2003, encaustic on panel, signed, titled and dated en verso, 24” x 48”. Unframed. Includes exhibition catalogue. Provenance: Winston Wachter Mayer Fine Art, Seattle, Washington. Literature: Pictured in “Betsy Eby, Distillations” exhibition catalogue from Winston Wachter Mayer Fine Art, Seattle, Washington. [4500/7000] Illustrated 364 Jaq Chartier (American/Washington, Contemporary), “4‑Blues/Reactions”, 2003, mixed media on wood panel, signed and dated en verso, 7” x 7”. Provenance: William Traver Gallery, Seattle, Washington. [500/800] 365 Susanne McDougall Carmack (American/ South Carolina, Contemporary), “Muse II”, mixed media on heavy paper, signed lower right., 42” x 30”. Unframed. Provenance: Andrea Schwartz Gallery, San Francisco, California. [1200/1800] Illustrated 366 Jonathan Borofsky (American, b. 1942), “Pied Piper”, 1990, color lithograph, pencil-signed lower right and numbered “51/100” lower left, sheet 25” x 17‑3/4”. Floatmounted, glazed and framed. [1200/1800] Illustrated

366

367 Audra Kohout (American, Contemporary), “The Beekeepers”, 2001, shadowbox assemblage of antique doll parts, industrial refuse and marbles, signed, dated and titled en verso, h. 12”, w. 10‑1/4”, d. 8”. Provenance: Heriard-Cimino Gallery, New Orleans, Louisiana. [800/1200] Illustrated 368 Peter Mars (American, b. 1959), “Robot Boy”, silkscreen, acrylic and collage on plywood, signed lower right, titled en verso, 21” x 24‑3/4”. [1500/2500] Illustrated 369 Sara Rossberg (German/British, b. 1952), “Last Light”, 1986, acrylic on canvas, monogrammed and dated lower left, titled, dated and signed verso stretcher, 78” x 60”. Framed. Exhibited: Rosenberg & Stiebel, NYC, “Sara Rossberg: Figuratively Speaking”, 1990. [1500/2500] Illustrated 368

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S es sion I I S u nday, July 27, 2014 Lots 680-1140

Session II S at ur day, O ctobe r 1 1 , 2 0 1 4 Lots 3 7 0 - 9 2 5

370 Four Pairs of Italian Scarlet and Gold Silk Draperies in the Baroque Style, with elaborate gold-lined cornice decorated with lambrequins, swags, cascades and tiebacks, h. 109”, w. 65”, composed of Coraggio silk with hand-tied silk fringe, the draperies accompanied by a king-size bedcover, 115” x 99”, a pair of matching round bolsters, l. 3”, dia. 9”, and a cornice with matching swags and cascades, h. 43”, w. 47”. [1000/1500] Illustrated

370 (1 of 4)

371 Two Sets of Elaborate Yellow Draperies with Cornice Boards and Swags, composed of Scalamandre silk in the Directoire style, trimmed with fringe and fabric-covered bobbins and tassels, h. 130”, w. 64‑1/2”. [800/1200]

372 (1 of 6)

374 French Giltwood Mirror in the Rococo Taste, fourth quarter 19th century, molded with scrolls and flowers on a lattice ground, h. 52‑1/2”, w. 41”. [700/1000] 375 Pair of Louis XV-Style Mahogany and Exotic Woods End Tables, early 20th century, each with a shaped brassbound and banded top featuring a floral lattice pattern parquetry, above a conforming like-inlaid frieze fitted with a single drawer, raised on cabriole legs ending in sabots, h. 26”, w. 19”, d. 15‑1/2”. [500/800] Illustrated

372 Six Sets of Gold Damask Draperies Overhung with Scroll-Patterned Sheer Organza, with matching serpentine cornice boards, the baroque-patterned damask made by Stroheim and Romann, h. 131”, w. 65”. [1000/1500] Illustrated 373 Napoleon III-Style Mahogany and Marble-Top Cabinet, the rectangular marble top with canted corners, above a conforming case fitted with a cabinet door fronted by two tiers of leather spines behind glass, over two drawers and two tambour cupboard doors, raised on ormolu-mounted toupie feet, h. 55”, w. 24”, d. 14”. [1500/2500] Illustrated

375

379 Louis XV-Style Kingwood Desk, mid19th century, the triplebanded rounded rectangular top with an inset leather writing surface, above 380 a conforming frieze fitted with a central drawer, flanked by two drawers to one side and a single deep drawer to the other, opening to a pullout compartmented tray and a concealed lidded storage space, raised on cabriole legs ending in sabots, h. 30”, w. 58‑1/2”, d. 31‑1/2”. [2500/4000] Illustrated

378 376 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, mid-19th century, the shaped Rouge Royale marble top with a threequarter pierced brass gallery, above a conforming case fitted with two drawers, raised on slender cabriole legs, h. 30”, w. 14”, d. 11”. [500/800]

380 Handsome Pair of Napoleon III Gilt-Bronze Seven-Light Candelabra, in the Regence taste, now mounted as lamps, the oval bases on toupie feet, with vasiform standards hung with garlands of flowers and having leaf-scrolled candle arms set with flower-molded candle sockets, base, h. 24”, overall, h. 35”, dia. 10‑1/2”. [1000/1500] Illustrated

381

377 Dutch School (Second Quarter 20th Century), “Dutch Canal Scene in Snow”, oil on board, 13” x 17‑1/2”. Framed. [500/800] 378 Continental School (Second Quarter 20th Century), “Paris at Dusk”, oil on board, signed lower right “A. Lorenz”, 12” x 16”. Framed. [500/800] Illustrated

373 379

381 Three Miniature Portraits, 19th century, including a pair of portraits on slate, each subject seated in a red chair, probably English, h. 8”, w. 6‑3/4”, and a portrait of a Zouave on panel, French, h. 7‑3/4”, w. 6‑1/2”. [500/800] Illustrated on previous page

382

382 Pair of Belle Epoque Bronze Chenets in the Louis XV Style, ca. 1900, the pierced and scrolled bases supporting patinated bronze urn-form reeded and fluted finials, decorated with gilt-bronze garlands, h. 16‑1/2”, w. 13”, d. 8‑1/2”. [1500/2500] Illustrated 383 Louis XVI-Style Mahogany and Marble-Top Cabinet, late 19th century, the rectangular marble top with canted corners, above a conforming case fitted with two long doors, each with chevron-inlaid panels, raised on tapering square legs ending in brass caps, h. 57”, w. 36‑1/2”, d. 17”. [600/900] Illustrated

383

384 Louis XV-Style Giltwood Mirror, the oval mirror decorated with a pierced scrollwork surround with a shellform finial, h. 47‑1/2”, w. 27”. [500/800] Illustrated 385 Pair of French Belle Epoque Gilt-Bronze and Red Griotte Marble Lamps, fourth quarter 19th century, 384 signed "Boyer Fres. Paris", in the Louis XV taste, the leaf-molded bases supporting marble urns hung with laurel swags supported by lion’s heads, the scrolled bronze handles terminating with masques, base, h. 22”, overall, h. 38”, dia. 8‑3/4”. [7000/10000] Illustrated 386 Napoleon III Boulle-Work, Crystal and Bronze Liquor Set, third quarter 19th century, the lift-top serpentine case opening to reveal a lift-out rosewood tray, with grape-impressed gilt-bronze fittings, the fitted tray with four gilt-trimmed crystal liquor bottles and sixteen matching glasses, all mold-blown with ground pontils, h. 10‑1/4”, w. 13”, d. 10”. [1500/2500] Illustrated 387 Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Shelf, early 20th century, the rounded rectangular marble top within a brass banding and above a conforming case fitted with four open shelves, raised on cabriole feet ending in sabots, h. 38”, w. 14‑1/2”, d. 8‑1/2”. [500/800]

392

390 French Rococo-Style Tortoiseshell and Bronze Jewel Coffer, third quarter 19th century, the bombe-form box veneered in tortoiseshell and mounted with gilt389 bronze fittings, including scrolled corners decorated with anthemia and masques, the interior cloth-lined, h. 6”, w. 9‑1/4”, d. 6‑3/4”. [3000/5000] Illustrated

386

388 Louis XV-Style Mahogany Bureau Cylindre, late 19th century, the banded and quarter-veneered top above a roll top centered by a floral spray, and opening to a pullout leather writing surface and a variety of drawers and cubbyholes, over three small drawers over two drawers, all banded, raised on cabriole legs ending in sabots, h. 41”, w. 36‑1/4”, d. 18‑1/4”. [500/800] Illustrated 389 Napoleon III Boulle-Work and Crystal Encrier, third quarter 19th century, decorated with brass scrollwork set in a tortoise ground, the encrier with a pen tray, a pair of cut glass covered ink pots flanking a stamp box and a serpentine-covered letter/paper box, h. 7‑1/2”, w. 13”, d. 9‑1/4”. [500/800] Illustrated

391 Louis XV-Style Gilt-Bronze Four-Light Hall Lantern, second quarter 20th century, the hexagonal lantern framed with leaf- and scroll-molded gilt-brass, securing the glass sides, the interior with four scrolled candle arms, electrified, h. 45”, dia. 26‑1/2”. [2000/4000] 392 Pair of Louis XVIStyle Mahogany and Marble-Top Commodes, early 20th century, each with a bowed marble top, above a conforming case fitted with three drawers, all 390 with decorative geometric banding and chevron veneers, the sides banded and veneered en suite, raised on tapering square legs ending in brass caps, h. 31‑1/4”, w. 28”, d. 14”. [700/1000] Illustrated

388 385

393 German Bronze-Trimmed Boulle-Work Bracket Clock and Bracket, in the Louis XIV style, with a bronze Angel Gabriel finial, marked “Hoehler”, h. 32‑1/4”, w. 12‑1/2”, d. 5‑3/4”. [700/1000] Illustrated

394

397 Pair of French Bronze Two-Light Sconces, first quarter 20th century, in the Louis XVI style, decorated with quiverform backplates holding bunches of flowers suspended from bowknots, h. 22”, w. 10‑3/4”. [600/900] Illustrated 393

394 French Boulle-Work Bracket Clock in the Louis XIV Style, fourth quarter 19th century, with gilt-bronze fittings, Cupid and Psyche depicted on the door, the marked Marti works set with a porcelain bronze dial, h. 18‑1/4”, w. 10‑3/4”, d. 5‑1/2”. [500/800] Illustrated

398 Napoleon III Ebonized and Boulle-Work Table, third quarter 19th century, the hinged turtle-form top with a threequarter pierced brass gallery and a leather inset surface, opening to a mirrored and compartmented interior, joined by shaped ormolu-mounted supports to two like-shaped lower shelves with inlaid Boulle panels, raised on cabriole legs ending in sabots, h. 31‑1/2”, w. 18”, d. 14”. [500/800] Illustrated

395 Napoleon III Walnut Occasional Table, third quarter 19th century, in the Louis XV taste, the stepped rectangular top with a molded edge and raised pierced brass gallery centering a removable surface centered by a central inlaid floral panel, above a shaped frame, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts, h. 30‑1/2”, w. 29”, d. 18‑1/2”. [700/1000] 396 Louis XV-Style Rosewood, Kingwood and MarbleTop Bombe Commode, 19th century, the shaped marble top with a molded edge, above a bombe case fitted with two long drawers, each with a lattice pattern parquetry inlay, raised on splayed legs ending in sabots, h. 35”, w. 47”, d. 20”. [800/1200] Illustrated

396

397

399 399 Attributed to Frederik de Moucheron (Dutch, 1633‑1686), “Palace Gardens with a Fountain”, oil on canvas, 33” x 48”. Framed. Provenance: Stockholms Auktionsverk, Stockholm, Sweden, May 30, 2007, lot 2406. [10000/15000] Illustrated

401 Francois-Raoul Larche (French, 1860‑1912), “Deux Faunes a la Source”, bronze, ca. 1900, signed at edge of self-base, a “Siot Decauville Fondeurs/Paris” stamp and numbered “8729” at back, on a rotating circular socle base, overall, h. 21”, w. 13‑1/2”, d. 12‑1/2”. [3000/5000] Illustrated on next page

400 Napoleon III Patinated Bronze “Amour Musicien”, 19th century, after Claude Michel Clodion (French, 1738‑1814), the putto playing a drum, mounted on a red griotte marble base, h. 9”, w. 3‑1/4”, d. 3‑1/4”. [800/1200] Illustrated

398

400

402 Patinated Bronze Group, After Claude Michel Clodion (French, 1738‑1814), fourth quarter 19th century, depicting a satyr mother and two satyr children, one with a tambourine and the other with pan pipes, now on a green marble base, h. 13‑3/4”, w. 10‑1/4”, d. 6‑1/2”. [500/800] Illustrated 403 Regence-Style Giltwood Stool, early 20th century, with a padded rectangular top, raised on fluted tapering square legs headed by ribbed capitals, joined by a foliate X-form stretcher and ending in bun feet, upholstered in Janet Yonaty silk jacquard, h. 20”, w. 35”, d. 29‑1/2”. [800/1200] Illustrated

401

407 Transitional Louis XV-into-Louis XVI-Style Mahogany Side Table, ca. 1900, the rectangular top banded and quarter-veneered and with a brass garland banding, above a conforming case fitted with three drawers, all with decorative banding, raised on splayed legs ending in sabots, h. 31”, w. 16”, d. 13”. [800/1200]

402

404 Regence-Style Giltwood Stool, early 20th century, with a padded rectangular top, raised on fluted tapering square legs headed by ribbed capitals, joined by a foliate X-form stretcher and ending in bun feet, upholstered in Janet Yonaty silk jacquard, h. 20”, w. 35”, d. 29‑1/2”. [800/1200] 405 Monumental Letts and Son Map of Paris, fourth quarter 19th century, English, in a contemporary gilt frame, the map including a key to public buildings, h. 60‑1/2”, w. 84”. [700/1000]

408 Napoleon III Ebonized Jardiniere Table, third quarter 19th century, the ovoid top with a removable lid revealing a removable metal liner, above a conforming frieze, raised on shaped legs joined by a shaped stretcher shelf and ending in sabots, the whole with lattice pattern brass-inlaid panels, h. 31‑1/2”, w. 21‑1/2”, d. 14‑1/2”. [700/1000] Illustrated 409 Louis XV-Style Ebonized and Ormolu-Mounted Fauteuil, early 20th century, the curved and shaped padded back surmounted by an ormolu shell crest, joined to the padded seat by like arms, raised on cabriole legs ending in ormolu paw feet, h. 39”. [500/800]

406 Napoleon III Mahogany and Ebonized Tiered Table, late 19th century, the upper shaped oval tier with an inset marble surface within a brass banding, joined by shaped supports to a larger quarter-veneered tier, with end brass handles, raised on cabriole legs headed by ormolu mounts and ending in sabots, h. 33‑3/4”, w. 29”, d. 18‑1/2”. [600/900] Illustrated

403

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411

410

410 Impressive Pair of Napoleon III Bronze Seven-Light Candelabra, mid-19th century, composed of patinated and gilt bronze, the scrolled base supporting spiral-reeded column standards with angel “capitals”, and scrolldecorated candle arms and cups, h. 31‑3/4”, dia. 11‑3/4”. [2000/4000] Illustrated

406

411 French Patinated Bronze and Crystal Eighteen-Light Chandelier, mid-20th century, in the Louis XIV taste, the basket-form chandelier with cut glass spires alternating with the candle branches, hung with strings and festoons of crystal drops, h. 48‑1/2”, dia. 35”. [2500/4000] Illustrated 412 Continental School (Second Quarter 19th Century), “Floral Still Life with a Butterfly and a Bumble Bee, in a Turquoise Vase”, oil on canvas, signed and dated “Huchenreiter fecit, 1851” lower right, 36” x 27”. Presented in a handsome giltwood and gesso frame. [1000/1500] Illustrated on next page

408

415 Pair of French Japonesque Lacquered Bronze Wall Plaques, fourth quarter 19th century, lacquered in a mixed metal style, retaining most of its original surfaces, one depicting hunting dogs in a forest and the other with birds on branches, dia. 11‑1/2”. [1200/1800] Illustrated 416 Pair of Louis XVI-Style Giltwood Fauteuils, third quarter 19th century, each with a padded slightly domed back within a molded frame, joined by padded arms to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 37‑1/2”. [500/800] Illustrated

412 416 413 Napoleon III Kingwood and Exotic Woods Bureau, third quarter 19th century, in the Louis XV style, the rectangular top with a three-quarter pierced brass gallery, above a slant front opening to an inset leather writing surface and three small drawers, above a shaped apron, raised on cabriole legs ending in sabots, the whole with intricate inlays in floral and scrolling patterns, h. 38”, w. 29”, d. 19”. [600/900] 414 Napoleon III Kingwood and Exotic Woods Games Table, third quarter 19th century, the shaped top with elaborate scrolling foliate and floral inlays and brass-band edge, hinged and opening to a baize-lined gaming surface, above a conforming like-inlaid frieze, raised on cabriole legs headed by ormolu maiden’s heads and ending in sabots, h. 30”, w. 35”, d. 17‑1/2”. [2500/4000] Illustrated

417

417 Empire-Style Mahogany and Ormolu-Mounted Desk, early 20th century, the rectangular top with an inset leather surface and a molded ormolu banding, above a case fitted with a central drawer flanked to either side by three drawers, raised on tapering square legs ending in brass caps, the whole richly ornamented with ormolu mounts and millwork, h. 31‑1/2”, w. 72”, d. 34‑1/2”. [1000/1500] Illustrated 418 Pair of French Gilt-Bronze Four-Light Sconces, first quarter 20th century, in the Louis XV style, with pierced, scrolled and flower-molded backplates, electrified, h. 21‑1/4”, w. 12‑3/4”, d. 10”. [600/900]

414

422 Empire-Style Bronze-Mounted Mahogany Baldachin, the bed crown, w. 17‑1/2”, d. 14”, with gold curtains woven in a lattice pattern and trimmed in braid, l. 124”, together with a pair of Louis XVI-style gilt-bronze tiebacks, h. 10”, w. 2‑3/4”, d. 6‑1/2”. [500/800] 423 French Bronze, Mahogany and Glass Collector’s Cabinet, fourth quarter 19th century, the mahogany and bronze wall cabinet mirror-backed with glass shelves, labeled on the back by Edouard Imbert, Versailles, h. 43‑1/4”, w. 25‑3/4”, d. 4‑1/2”. [1800/2500] 415

419

419 Louis-Philippe Giltwood Oval Mirror, third quarter 19th century, the bolection-molded frame decorated with pierced scrollwork and a putto-form finial, h. 70”, w. 53”. [1800/2500] Illustrated 420 Louis XV-Style Mahogany Armoire, ca. 1900, the arched top with a carved cartouche over a pair of beveled mirrored doors, h. 105”, w. 58”, d. 25”. [600/900] Illustrated 421 Pair of Gold Silk Draperies and Associated Hardware, the draperies with a center swag and trimmed in roping, on a Louis XVI-style gilt-bronze curtain rod with a central gilt-bronze medallion and giltwood pinecone finials, h. 103”, w. 133”, together with a pair of French Art Nouveau-style gilt-bronze tiebacks, h. 10”, w. 3‑1/4”, d. 5‑1/2”. [500/800]

424 Louis XVI-Style Ormolu-Mounted Mahogany and Mixed Woods Parquetry-Inlaid Bedstead, early 20th century, h. 60”, inside, w. 55”, l. 74”, outside, w. 62”, l. 78”. [500/800] Illustrated

420

424

425 French Mahogany Triple-Top Games Table, early 20th century, the rectangular top with a reeded edge, hinged and opening to a baize-lined gaming surface and corner pockets, further opening to a roulette wheel and inset baize roulette board, the whole raised on fluted tapering circular legs headed by ribbed capitals and ending in casters, h. 31”, w. 37”, d. 22” (closed). [2500/4000] Illustrated

427 427 Pal Fried (Hungarian/American, 1893‑1976), “Maxine”, oil on canvas, signed lower right, titled en verso, 24” x 30”. Framed. Provenance: Private collection, Canada; Levis Auctions, 2004, lot 209; James Art Studio, Saskatoon, Saskatchewan. [2000/4000] Illustrated 428 Continental Silver Snuffbox, dated 1807, possibly Swiss, of cartouche form, the lid finely engraved with a scene of putti at harvest, “La Recolte”, with pricked monogram on the underside, “FMER” and “Cl. Hr. 1804”, l. 3‑1/4”, w. 2‑1/2”, 2.98 t. oz. [700/1000]

426 426 Robert Brackman (American, 1898‑1980), “E. Grant as a Clown”, oil on canvas, signed en verso “E. Grant Brackman A.M.”, 28” x 24”. Presented in a carved and polychrome frame. [600/900] Illustrated

425

429 Dutch Silver and Tortoiseshell Pique Box, late 18th/ early 19th century, of oval form, with silver body and tortoiseshell lid and bottom, the lid inset with gold, silver and mother-of-pearl pique-work of a troubadour, the interior bottom with a paper label from the collection of Prince Albert of Prussia (1837‑1906), Regent of the Duchy of Brunswick, l. 3”, w. 2”. [700/1000]

431

432

433 German .800 Silver Platter, mid-20th century, of oval form with shaped and molded “Chippendale” rim, the center engraved with a fanciful armorial, l. 19‑3/4”, w. 14‑3/4”, 43.71 t. oz. [700/1000] 434 German Sterling Silver Salad Serving Set, probably Hanau, with British import marks 1897‑1898, agent William Moering, in the Historismus taste, each with a large medallion finial of Diana flanked by lion masques, the “twist” stem with addorsed putti knop, the bowl/tines decorated on the heel with the old arms of the PolishLithuanian Commonwealth, l. 11‑3/4”, 14.88 total t. oz. [700/1000]

430 Central European 12 Lot (.750) Silver Sugar Box, second quarter 19th century, probably Polish, marked “Eliasz Tenenholtz”, of bulbous oval form, quartered by broad gadroons, the hinged lid with stirrup handle and hasp lock, h. 3‑3/8”, w. 5‑1/4”, d. 4‑1/4”, 6.39 t. oz. [2000/4000]

436

435

431 French Restauration First Standard (.950) Silver Coffeepot, marked 1819‑1838, Paris, by Louis Filette (fl. 1818‑1829), the ovoid body with waisted collar and palmette-mounted curved horse-head spout, with pateramounted arched wooden handle and hinged domed lid with acanthus bud finial, the whole raised on three palmettemounted sabre legs with lion’s paw feet, h. 12‑1/2”, l. 9”, dia. 4‑3/4”, 32.46 t. oz. (including wooden handle). [1200/1800] Illustrated 432 Continental Sterling Silver and Glass Art NouveauStyle Center Bowl, 20th century, of oval section, the embossed and reticulated frame centering on each side the bust of a young woman with poppies in her hair framed by “whiplash” lines and foliate garlands, the narrow ends with handles en suite, fitted with a conforming fan-cut glass liner, h. 7”, l. 14‑3/8”, w. 6‑1/4”, 17.69 t. oz. (excluding glass liner). [1500/2500] Illustrated

435 Northern Dutch Silver Gilt Teapot, fourth quarter 19th century, probably Sneek, in the mid-18th-century Frisian taste, the squat pear-shaped body decorated with repousse acanthus-and-dart and ovolo banding separated by gadrooning, with “bird’s neck” spout, hinged domed lid and double-scroll stirrup swing handle, h. 5‑1/2” (6‑1/2” with handle), dia. 5‑3/4”, l. 7”, 16.22 t. oz. [700/1000] Illustrated 436 Two Dutch Silver Casters, late 19th/early 20th century, one marked Leeuwarden, 1896, by Gebr. Reitsma, Sneek, second (.833) standard silver, in the Louis XV taste, of baluster form, decorated with spiral gadroons and floral garlands, h. 7‑3/4”, the other unmarked, in the Louis XVI taste, of urn form, decorated with lion’s masque-crested garlands, leaf-and-dart banding and acanthus calyx, h. 7‑5/8”, 17.79 total t. oz. [700/1000] Illustrated

437

437 (detail)

437 Twenty-Four-Piece Belle Epoque French First Standard (.950) Silver Couvert Set, ca. 1900, by Henri Soufflot (fl. 1884‑1910), including twelve table forks, l. 8‑1/2”, and twelve table spoons, l. 8‑3/8”, in the traditional “Louis Quinze” pattern, the reverse with applied monogram “BG”, 70.27 total t. oz., along with twelve dessert forks with steel blades and spatulate mother-of-pearl handles, the handles with engraved and stained monogram “PB”, l. 8” (36 total pieces). [1200/1800] Illustrated

437 (detail)

440

440 Portuguese Sterling Silver Center Bowl, fourth quarter 20th century, by Ferreira Marques & Irmao, Porto, part of their “Topazio” line, of lobed oval form, with embossed floral band and arched “stalk” handles, raised on a gadrooned foot en suite, h. 6”, w. 9”, l. 18‑3/4”, 38.23 t. oz. [500/800] Illustrated 438 Russian Nicholas I Five-Piece 84 Zolotnik (.875) Silver Coffee and Tea Set, marked St. Petersburg, 1837, by Adolf Sper and Svend Petter Lindman, assayers Dmitry Tverskoy & Mokhail Karpinsky, including a coffeepot, h. 7‑1/2”, l. 9‑3/4”, a teapot, h. 8‑1/2”, l. 10‑1/2”, a covered sugar bowl, h. 5‑1/4”, w. 8‑1/2”, a cream jug, h. 5‑1/4”, l. 5‑1/2”, and a waste/fruit bowl, h. 4”, dia. 8‑1/4”, each with a melon-lobed body decorated with repousse acanthus fronds, with milled rocaille rims, crested acanthus handles and gadrooned finials, raised on a conforming foot, the interiors gilt, 99.20 total t. oz. (including handles). [5000/8000] Illustrated 439 Russian Nicholas II 84 Zolotnik (.875) Silver Presentation Podstakannik, dated 1916‑1917, by the 5th Moscow Artel, of traditional cylindrical form with molded base, with applied foliate-scroll mantled cartouche and crested handle en suite, engraved on the body with presentation inscription to Stepan Antonovich Surova, 1916‑1917, with the names of nine presenters, h. 5”, dia. 3‑3/8”, l. 5”, 5.67 t. oz. [500/800] Illustrated

441 Good Danish Modern .826 Silver Standish, 1919, by Thorvald Nielsen Meier, fl. 1917‑1948, Copenhagen, of shaped oval form, with beaded rim and acanthus scroll feet, with integral pen tray and raised inkwell, the hinged and domed lid with “blossom” finial lifting to reveal a glass liner, monogrammed on the pen tray “MR”, h. 4‑1/2”, w. 12‑3/4”, d. 8‑3/4”, 24.06 t. oz. (excluding glass liner). [1400/1800] Illustrated 442 Three Georg Jensen “Bernadotte” Sterling Silver Serving Pieces, the pattern designed in 1939 by Sigvard Bernadotte (1907‑2002), Copenhagen, with the Jensen post-1945 mark, including a two-piece salad serving set, l. 9‑3/8”, and a sauce ladle, l. 7‑1/4”, 11.25 total t. oz. [500/800] Illustrated on next page

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443 Thirty-Six-Piece Set of Rino Greggio “Impero” .800 Silver Flatware, contemporary, Padua, including twelve each place forks, l. 8”, place spoons, l. 8”, and place knives with stainless steel “Pointed” blades, l. 9‑1/2”, 53.00 total t. oz. (excluding knives). [900/1200] Illustrated 444 Large Italian Sterling Silver Cafe au Lait Set, fourth quarter 20th century, by Fratelli Cassetti, 442 Florence, in the Louis XV taste, including a coffeepot and a hot milk pot, each of baluster form with chased spiral gadrooning, with right-angle beaked lion’s head spouts and waisted hinged and domed lids with scroll finial, with right-angle detachable turned wooden handles, h. 9‑1/2”, dia. 4‑3/4”, l. 10”, 51.87 total t. oz. [1500/2500] Illustrated 445 Good Set of Twelve Italian Figural Sterling Silver and Cobalt Glass Salt Cellars, contemporary, Argenteria Sacchi, Florence, each in the form of a classical dolphin supported by a sphere above a whelk shell, with a squat cylindrical receptacle fitted with a cobalt glass liner, each with a leaf-finial salt spoon en suite, h. 2‑3/4”, l. 2‑3/4”, 23.22 total t. oz. (excluding liners). [600/900] Illustrated

444

446 Buccellati Sterling Silver “Poppy” Salt and Pepper Shakers, fourth quarter 20th century, by Ilario Pradella, Milan, the realistically detailed plant on a rocky base, each poppy pod detaching for use, the shorter salt thistle gilded, overall, h. 7‑1/2”, w. 5‑1/4”, base, w. 3”, 9.17 total t. oz. [1200/1800] Illustrated 447 Nine Contemporary Sterling and Other SilverMounted Picture Frames, of various shapes, including five Italian sterling silver examples, two English examples (one sterling and one Britannia silver) and an unusual Russian-style silverplate oak garland example, the smallest 4‑1/2” x 3‑5/8”, the largest 5‑1/4” x 6‑1/4”. Detailed list available on request. [500/800]

443

448 Seven Contemporary Sterling Silver-Mounted Picture Frames, of rectangular form, including six Italian and one English examples, the smallest 3‑3/8” x 2‑1/4”, the largest 12‑1/2” x 10‑1/2”. Detailed list available on request. [500/800] Illustrated

448

445 (detail)

446

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454

449 Alois Hans Schram (Azerbaijani/Austrian, 1864‑1919), “Madonna and Child Enthroned”, oil on canvas, stamped on stretcher, signed en verso canvas, 49” x 22”. Presented in a carved giltwood and gesso frame. [5000/8000] Illustrated 450 Continental Polychrome Cassone, 18th century, of possible ecclesiastical origins, the hinged lid tri-paneled and within a lattice-carved border, opening to a void interior, the front tri-paneled and featuring painted religious scenes, the sides with heraldic designs, raised on scroll-carved bracket feet, h. 35”, w. 74‑1/2”, d. 27‑3/4”. [1500/2500] Illustrated

449

451 Italian Giltwood Mirror in the Renaissance Taste, mid-19th century, in the form of an altar surround, the lunette-form top molded with winged angel heads, and the cove-molded base supporting rope-twist Corinthian pilaster sides, h. 41‑3/4”, w. 29‑1/2”. [700/1000] 452 Near Pair of Early Castilian Spanish Mahogany Armchairs, 17th century, each with embroidered back rails, scrolled arms and box stretchers, with pegged throughout, h. 40”, w. 26”, d. 21”. [1200/1800] Illustrated

450

453 Carlo Schwicker (German, Late 19th Century), “Rest on the Flight into Egypt”, oil on canvas, after the ca. 1630 painting by Sir Anthony van Dyck (Flemish/British, 1599‑1641), now at the Palazzo Pitti, Florence, 52” x 62”. Framed. [9000/12000] Illustrated

452

453 454 Italian School (18th Century), “Rest on the Flight into Egypt with Archangel Gabriel”, oil on canvas, 28‑1/8” x 34‑3/8”. Presented in a carved and pierced giltwood frame. Provenance: Private collection, Canada; Waddington’s Auction, December 13, 2011, lot 239. [2000/4000] Illustrated

456 Continental Carved Wooden Figure of Christ, fourth quarter 18th century, with traces of paint, on a contemporary rosewood base, h. 17”, w. 5‑1/2”, d. 3‑1/4”. [500/800] Illustrated 457 Continental Carved Wooden Figure Depicting St. Catherine of Alexandria, first quarter 19th century, h. 17”, w. 5‑1/2”, d. 2‑1/2”. [500/800] Illustrated on next page

455 Italian Mahogany and Mixed Woods Desk, 19th century, the superstructure fitted with a central open double-arched cupboard flanked to either side by two small drawers, the lower section with a rectangular top with a molded edge, over a single long frieze drawer over a central kneehole, flanked to either side by two small drawers, raised on tapering square legs, the whole elaborately inlaid in bone and wood in patterns featuring putti engaged in a variety of activities, h. 44‑1/2”, w. 43‑1/2”, d. 21‑1/2”. [1200/1800] Illustrated

455

456

457 459 458 Latin American Carved, Painted and Parcel-Gilt Carved Wood Santos Figure, fourth quarter 19th century, depicting St. John the Baptist with a follower, h. 13”, w. 7”, d. 4‑1/4”. [600/900] Illustrated 459 Circle of Charles Le Brun (French, 1619‑1690), “Moses with Hebrews Gathering Manna in the Desert”, oil on canvas, 21” x 12”. Framed. [2000/4000] Illustrated

464 Suite of Four Spanish Mahogany and LeatherUpholstered Sidechairs, early 20th century, each with a tall domed back with embossed scrolling foliate patterns and decorative brass tack accents, the like-embossed seat raised on block and turned legs joined by a shaped front stretcher and ending in bun feet, h. 46‑3/4”. [600/900] Illustrated

460 Continental School (19th Century), “Jacob Blessing the Sons of Joseph”, oil on paperboard, signed “J. Pinhas” lower right, after the 1656 work by Rembrandt van Rijn (1606‑1669), 7‑3/4” x 10‑3/4”. In a cove-molded giltwood frame. [600/900] 461 Continental Carved Wood Figure of Saint Anthony of Padua, first quarter 19th century, h. 40‑1/2”, w. 18”. [1800/2500] 462 Continental Carved and Painted Wood Figure of St. Francis, ca. 1800, possibly Italian, depicted in flowing robes, with glass eyes and a removable head, h. 28”, w. 9‑1/2”, d. 12”. [500/800] Illustrated 463 Continental Provincial Oak Table, 19th century, the rectangular top above a frieze fitted with a single side drawer, raised on turned bulbous legs joined by an H-form stretcher and ending in ball feet, now cut down to coffee table height, h. 24”, w. 51”, d. 30”. [800/1200]

458

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465

468 Continental Cast Bronze and Glazed Lantern, fourth quarter 19th century, in the Renaissance Revival style, set with heavy beveled glass, the pitched and pierced roof terminating with a gargoyle-molded chain hanger, raised on scrolled feet, h. 9‑1/2”, w. 5”, d. 5”. [500/800]

465 French School (Fourth Quarter 19th Century), “Head of a Penitent”, 1881, oil on canvas, signed “Lebrun” and dated lower right, old label en verso reading: “tete d’etude”, 21” x 17‑1/2”. Framed. [600/900] Illustrated 466 Continental Iron Eight-Light Chandelier in the Spanish Colonial Style, first quarter 20th century, the octagonal frame trimmed with rope-twist iron and molded leaves, with vertical fleurs-de-lis finials, h. 43‑1/2”, w. 31”, l. 38”. [800/1200] Illustrated 467 Italian Block and Turned Marble Holy Water Fountain, early 20th century, h. 36‑1/2”, w. 8”, d. 8”. [500/800] Illustrated on next page

464

462

469 Rembrandt van Rijn (Dutch, 1606‑1669), “Christ Healing the Sick” (Hundred Guilder Print), etching, ca. 1649, Bjorklund’s second state (of 2); Usticke’s fifth state (of 5), before the Baillie rework; White and Boon’s second state (of 2), 11‑1/4” x 15‑3/4”, 284 mm x 400 mm. Provenance: Ex-collection of Theodor Falkeisen (1768‑1814) and Johann Friedrich Huber (1766‑1832), engravers who operated a print-selling business in Basel during the late 18th/early 19th century, ink stamp verso (Lugt 1008). [8000/12000] Illustrated 470 OPEN LOT 471 Pair of Italian Creme-Peinte and ParcelGilt Altar Sticks, 19th century, now mounted as floor lamps, each with a fluted and foliatecarved standard to a ribbed base above a tripartite platform on paw feet, h. 61‑1/2”. [800/1200] Illustrated

469

472 Russian Painted and Gilt Wood Icon Depicting Saint James and Saint Nicholas, late 19th century, on a gilt and incised Susalka ground, with Jesus and God above, h. 19‑1/4”, w. 15‑1/2”. [2000/4000] Illustrated

467

473 Russian Painted and Gilt Wood Icon Depicting Saint George Slaying the Aragon, ca. 1800, the figure depicted with gilt face surrounds in a naively rendered landscape, with an angel poised to crown him, h. 15‑1/2”, w. 13”. [1000/1500] Illustrated

471

472

474 Russian Painted and Gilt Wood Icon Depicting Saint Nicholas, ca. 1800, the portrait framed with images depicting important moments in his life, from birth to death, h. 20‑3/4”, w. 16‑1/4”. [3000/5000] Illustrated 475 Large Russian Painted and Gilt Wood Oval Icon Depicting Saint John and Saint Philip, early 19th century, carefully rendered, the figures identified in the gilt face surrounds, h. 34”, w. 26”. [3000/5000] Illustrated

473

474

476 Pair of Russian Hand-Painted Porcelain Tazzas, 20th century, after Czar Nicholas II’s royal service, unmarked, h. 3‑1/2”, dia. 8‑3/4”. [900/1200] 477 Pair of Continental Gothic Oak Architectural Elements, Now Adapted as Pedestals, second half 19th century, each with a shelf bisected by a carved upright with pierced arches, oak leaves and spires, h. 96”, w. 24‑1/2”, d. 17‑1/2”. [1800/2500] Illustrated on next page

475

478 Large Gothic Revival Carved Oak Architectural Element/Cornice, mid-19th century, English or American, the elaborately carved and pierced antique Gothic facade now mounted with later pierced and stained pine brackets to form a cornice, overall, h. 17‑1/2”, w. 78”, d. 9‑1/2”. [500/800] Illustrated

478

479 French Gilt-Bronze and Enamel Plaque Depicting St. Joseph, mid-20th century, h. 10‑1/2”, w. 7‑1/4”. [600/900] Illustrated 480 Joseph Josiah Dodd (British, 1809‑1894), “Rouen Cathedral” and “Toledo Cathedral”, 1868, pair of watercolors on paper, each signed, dated and titled lower right, each 12‑1/2” x 9‑1/2”. Glazed, matted and framed. Exhibited: “Rouen Cathedral” at Mississippi Museum of Art, “Georgian Grace and Victorian Splendor”, 1987. [600/900] Illustrated

482 Italian Walnut Savonarola-Form Armchair, early 20th century, the frame carved in the form of ribbon-bound legs and the arm fronts carved with ram’s heads, ending in cloven hoof feet, the back with carved flower basket finials, h. 39”, w. 25”, d. 24”. [900/1200] Illustrated

481 Pair of Italian Carved, Parcel-Gilt and PaintDecorated Finials, third quarter 18th century, the leaf- and egg-and-dart-carved urn-form finials with gilt moldings on a green ground, h. 13‑1/2”, dia. 7”. [500/800] Illustrated

479

483 Pair of Continental Mahogany and Marble-Top Center Tables, early 20th century, each with a circular marble top within a full pierced brass gallery, raised on a baluster-form standard to three splayed legs ending in paw feet, h. 29”, dia. 31‑1/2”. [800/1200] 477

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480 (1 of 2)

486

484 Continental Molded and Engraved Glass Pen and Pencil Case, first quarter 20th century, with gilt-bronze mounts, h. 2‑1/4”, w. 6‑1/2”, d. 3‑1/2”. [500/800] 485 Bohemian Amber Cased Cut Glass Covered Beaker, ca. 1900, cut in Russian and strawberry patterns, the beaker with a silverplated domed cover with a cut glass knop and a finial in the form of a classical warrior, h. 12‑1/2”, dia. 4‑1/2”. [500/800]

482

486 Continental School (First Quarter 19th Century), “Portrait of a Man with a Fur Muff, Wearing a FurLined Hat”, oil on canvas, 17‑1/4” x 13‑3/4”. Framed. [700/1000] Illustrated 487 French School (First Quarter 19th Century), “Portrait of a Fashionable Young Gentleman”, oil on canvas, 20” x 16”. Presented in a Charles X giltwood and gesso frame. [500/800] Illustrated on next page

481

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487 488 Franz von Defregger (German, 1835‑1921), “Portrait of a Young Girl”, oil on panel, signed and dated upper left “Defregger 89”, 10” x 7‑3/4”. Presented in a handsome, period giltwood and gesso frame. [4000/7000] 489 Continental Fruitwood Spice Chest, ca. 1700, the drawer fronts and case sides with applied molding, and with secondary pine wood, h. 11‑1/4”, w. 16‑1/2”, d. 5‑1/2”. [1000/1500] Illustrated 490 Pair of Italian Baroque Wood and Tole Garnitures, mid-18th century and later, the leaf-carved urn-form bases retaining traces of silver gilt, and set with sprays of painted tole and wirework flowers, h. 25‑3/4”, w. 8”, d. 5‑3/4”. [1000/1500] Illustrated

491 Pair of Italian Tole, Bronze and Porcelain Figural Three-Light Sconces, second quarter 20th century, the wirework branches with painted tin leaves interspersed with white porcelain flowers, set with three tulip-form candle sockets, the central ones supported by bronze monkeys, h. 19”, w. 14”, d. 6‑1/4”. [500/800] 492 Italian Giltwood and Marble-Top Side Table, 19th century, the rectangular verde antico marble top with a molded edge, above a conforming shaped frame centered by a foliate shell carving, raised on cabriole legs headed by bellflower carving and ending in molded toes, h. 35‑1/2”, w. 55‑1/2”, d. 27”. [1500/2500] 493 Two Similar Italian Baroque-Style Floor Lamps, mounted with shades set with cut-velvet panels and fringed trim, h. 74”, dia. 19‑1/2”. [1200/1800] Illustrated 494 Italian Polychrome Bureau, late 18th century, the slanted paneled front opening to a central arched cupboard, flanked to either side by two small drawers, above a single long drawer, raised on tapering square legs, the whole with painted accents in scrolling foliate patterns, h. 45‑1/2”, w. 53”, d. 26‑1/4”. [1500/2500] Illustrated

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495 Two Baroque-Style Giltwood Elements, now mounted as lamps, comprising an urn carved with Greek-key meanders and acanthus, mounted on a faux-marbre base, third quarter 19th century, urn, h. 23‑1/2”, overall, h. 31”, w. 12‑1/4”, and an Italian giltwood candlestick decorated with winged angel heads, mid-20th century, base, h. 21”, overall, h. 31”, dia. 8‑1/2”. [500/800]

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490

496 Unusual Venetian Cut Glass and Eglomise Gilt Mirror, early 20th century, the outer frame of cushion form with diamond-cut border and foliate gilt decor, the inner plate beveled, h. 40”, w. 32”. [1500/2500] Illustrated 497 Enamel, Brass and Metal Eight-Light Chandelier in the Manner of E. F. Caldwell & Co., first quarter 20th century, New York, the baroque-style frame decorated with gilt leaves and enameled berries, and holding four enameled brass phoenix birds perched in glass spheres, each flanked by a pair of leaf-molded light sockets, h. 41‑1/2”, dia. 23”. [4000/7000] Illustrated 498 Unusual Pair of Art Deco Bronze, Metal and Glass Two-Light Sconces, first quarter 20th century, in the manner of E. F. Caldwell & Co., the metal frame decorated with leaves and enameled vines, and mounted with an enameled bronze phoenix bird finial sitting atop a glass sphere, h. 26”, w. 12‑1/2”, d. 8”. [1500/2500] Illustrated on next page

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499 Louis XIV-Style Carved Mahogany and Marble-Top Console Table, the rectangular marble top above a boldly pierced and carved base featuring a female masque centered in the front apron, the legs joined by a flowing stretcher with a central flower basket finial, h. 35‑1/2”, w. 58”, d. 19”. [3000/5000] Illustrated 500 Italian Carved Walnut Jardiniere/Planter, early 20th century, in the Renaissance taste, of tapering and canted square form, two sides fitted with carved protruding male head handles, the other two sides with applied shield carving, raised on paw feet, h. 20”, w. 19”, d. 19”. [500/800] Illustrated

503 Italian Carved Walnut Wine-Tasting Table, third quarter 19th century, the top opening and extending to accommodate two 24” skirted leaves, the base with two reclining putti and dragons, h. 33”, w. 47”, l. 47”, extended l. 95”. [3000/5000] Illustrated 504 Large Baroque Carved, Painted and Gilded AngelForm Pediment, ca. 1800, probably Italian, the polychrome-painted angel’s head flanked by carved giltwood wings, h. 16‑3/4”, w. 63‑1/2”. [1200/1800] Illustrated

501 Pair of Venetian-Style Composition Wall Brackets, decorated with polychrome Blackamoor backplates supporting serpentine shelves, h. 16”, w. 14”, d. 4”. [500/800] Illustrated 502 Italian Patinated Bronze Figure of Narcissus, fourth quarter 19th century, after the original discovered in Pompeii in 1862, marked “W. W. Annette” in script under the base, h. 24‑1/4”, dia. 10”. [1200/1800]

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505 Large-Scale Painted Tin Urn-Form Cooler, fourth quarter 19th century, probably American, set with ring handles and painted with a Maltese cross, a symbol of fire fighting, h. 33”, dia. 12‑1/2”. [600/900] Illustrated 506 Continental Patinated Bronze Figural Smoking Set, first quarter 20th century, after Friedrich Gornik (Austrian, 1877‑1943), decorated with a boar and a match box holder in the rear, h. 3‑3/4”, w. 7‑1/2”, d. 4‑3/4”. [500/800]

501

507 Black Forest Carved Walnut Mirror, fourth quarter 19th century, German, vigorously carved and pierced, the pediment set with a carved dog’s head rondel, with a beveled mirror plate, h. 85‑1/2”, w. 44‑1/2”. [2500/4000] Illustrated on next page 508 Continental Carved Oak Buffet a Deux Corps, late 19th century, the pierced crest centered by a shield and above a masque-carved frieze over two glazed doors flanked to either side by barley-twist uprights, joined by griffin supports to a lower section fitted with two drawers over two cupboard doors, each with a fowl-carved oval panel, flanked en suite, raised on block feet, h. 98”, w. 55”, d. 21‑1/2”. [500/800] Illustrated on next page

500

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513

509 Carl Frederic Aagaard (Danish, 1833‑1895), “Fishing from the Dock”, oil on canvas, signed and dated lower left, 21” x 32”. Presented in a giltwood exhibition frame. Provenance: Private collection, Canada; Hodgins Art Auctions Ltd., Nov. 17, 2003, lot 44. [2000/4000] Illustrated 510 Continental School (20th Century), “Fishing Shack in Winter”, oil on canvas, illegibly signed lower right, 26” x 42”. Framed. [1200/1800] Illustrated

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513 Pair of Empire-Style Marble and Ormolu Occasional Tables, late 19th century, each with a thick circular verde antico marble top with canted edge, supported by three ormolu standards in the form of winged bearded men terminating in paw feet, above a molded concave tripartite marble base, h. 30”, dia. 30”. [3000/5000] Illustrated

510

514 French Gilt-Bronze and Tole Bouillotte Lamp, ca. 1900, the tapering tole shade above hunting horn candle arms and a giltbronze figure of a seated young girl mounted to an engine-turned base, h. 24‑1/2”, dia. 12‑3/4”. [500/800]

511 Louis-Philippe Giltwood Mirror, mid-19th century, the bolection-molded frame decorated with incised flowers with tooled gilt highlights, the scrolled pierced crest decorated with a molded shell, h. 61”, w. 38‑1/2”. [1000/1500] Illustrated 512 Pair of Empire-Style Polychrome and Gilt-Metal Jardiniere Pedestals, 20th century, each with an open circular top with removable metal liner, raised on three shaped winged swan’s neck supports to a concave tripartite base on bun feet, h. 45‑3/4”, dia. 17”. [2500/4000]

511

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515 Classical-Style Patinated Bronze Pedestal, early 20th century, h. 48”, top dia. 9”, bottom dia. 13”. [600/900] 516 Circle of Marco Ricci (Italian, 1676‑1730), “Capriccio Ruins” and “Seaport with Ruins and Figures”, two gouaches on paperboard, the latter signed with monogram and dated “1762” lower right, 19‑1/2” x 25‑1/2”. Each glazed and presented in matching giltwood frames. [7000/10000] Illustrated 517 After Giovanni Panini (Italian, ca. 1692‑1765), “Architectural Capriccio with Statues of Marcus Aurelius and Silenus with the Infant Dionysos”, oil on canvas, unsigned, 39” x 48”. Presented in a later giltwood exhibition frame. [3000/5000] Illustrated

516

518 Manner of Giovanni Panini (Italian, 1691‑1765), “Peasants in the Roman Ruins”, 19th century, watercolor on paper, dia. 9”. Glazed and presented in an antique giltwood and gesso frame. [600/900] Illustrated 519 Restauration Mahogany Tub Chair, mid-19th century, the curved and back-sloped crest continuing to downswept scrolling arms, the padded seat raised on turned bulbous legs, now ending in casters, h. 34”. [500/800] 520 Biedermeier Mahogany Bureau a Cylindre, mid-19th century, the stepped rectangular top above a roll top opening to a pull-out writing surface and a central cupboard flanked to either side by three small drawers, over three long drawers, the upper two with recessed panels, raised on bracket feet, h. 47‑1/2”, w. 39‑1/2”, d. 23‑1/2”. [700/1000] Illustrated

516 521 Restauration Mahogany Child’s Fauteuil, second quarter 19th century, the domed crest above a padded back, joined by downswept arms on scrolling uprights to the padded seat, raised on line-inlaid bulbous legs ending in pad feet, upholstered in needlework depicting a variety of animals, h. 31‑1/2”. [800/1200] Illustrated

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520 522 Pair of Empire-Style Mahogany and Parcel-Gilt Pedestal Tables, late 19th century, each with a circular top above a deep frieze, raised on three supports terminating in three gilt sphinx figures above a molded circular base, h. 38‑1/2”, dia. 17‑3/4”. [3000/5000] Illustrated 523 Neoclassical-Style Mahogany Window Seat, mid-19th century, the padded seat with outscrolled turned armrests to either side, raised on a klismos-form crossover base, h. 29”, w. 26‑1/2”, d. 15”. [500/800]

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524 Biedermeier Mahogany Secretaire a Abattant, mid19th century, the superstructure with a triangular crest, above a cupboard door inset with an arched panel, flanked to either side by a small deep drawer, the lower section fitted with a frieze drawer over a drop-front opening to a variety of drawers surrounding a central cupboard with arched burl panel, over three long drawers, raised on block feet, h. 82‑1/2”, w. 41‑3/4”, d. 19‑1/2”. [800/1200] Illustrated 525 Suite of Three Continental Neoclassical Mahogany Sidechairs, mid-19th century, each with a curved, floralcarved crest above a dolphin lyre-form splat, the padded circular seat raised on splayed legs ending in paw feet, h. 34”. [1200/1800] 526 German Mahogany Cylinder Bureau, late 18th century, the rectangular top above a roll-top opening to a pull-out writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, above a bombe body fitted with three long drawers over a shaped apron, raised on splayed legs, h. 45‑1/2”, w. 50”, d. 24”. [1200/1800]

529

527 Continental Bronze of the “Venus de Milo”, 20th century, after the antique Greek marble, now at the Louvre, Paris, h. 41”, w. 10”, d. 9”. [500/800] 528 Grand Tour Bronze Figure of Hermes, after Praxiteles (Greek, 4th century BC), with an amber patina, depicted devoid of infant Dionysus, h. 30”, w. 16‑1/4”, d. 8‑1/2”. [800/1200] Illustrated

529 Pair of Bronze Grand Tour Figures of Hercules and Nike, second quarter 19th century, probably Italian, on rosso antico and black marble bases, h. 9”, w. 3‑1/2”, d. 3‑1/2”. [500/800] Illustrated 530 Restauration Mahogany and Marble-Top Side Table, mid19th century, the rectangular marble top with a molded edge, above a conforming frieze fitted with a single drawer, joined by shaped supports ending in paw feet on a plinth shelf, h. 32”, w. 46‑1/4”, d. 19‑1/2”. [1000/1500] Illustrated

528

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532 Italian Patinated Bronze Figure of a Charioteer, fourth quarter 19th century, the figure modeled standing in a chariot driven by a pair of horses, above a red granite and black marble base raised on paw feet, h. 9‑3/4”, w. 16”, d. 9”. [3000/5000] Illustrated

534

533 French Gilt-Bronze and Tole Bouillotte Lamp in the Restauration Style, second quarter 20th century, the leaf-molded three-light bronze base set with a red tole shade decorated with gilt anthemia, h. 29‑3/4”, dia. 13‑3/4”. [500/800] 534 Restauration Walnut and Marble-Top Commode, mid-19th century, the rounded rectangular top above a conforming case fitted with an ogee-molded frieze drawer over three long drawers, all with finely figured veneers, raised above a concealed plinth drawer, h. 37‑1/2”, w. 51”, d. 23”. [1200/1800] Illustrated

532

531 Pair of Napoleon III Patinated Bronze Moderator Lamps in the Neo-Grec Style, third quarter 19th century, the urn-form lamps decorated in the round with bas-relief panels of classical allegories depicting music and drama, the egg-and-dart-molded fonts mounted with leaf-molded handles, electrified, base, h. 17”, overall, h. 24‑1/4”, dia. 5‑3/4”. [600/900] Illustrated

524

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538 Pair of Restauration Bronze Dore et Patine Six-Light Candelabra, second quarter 19th century, now mounted as lamps, the candelabra with leaf-molded, pierced and floral swag-decorated bases, supporting column-form standards with Egyptian Revival capitals and matching candlecups, on ebonized wood bases and fitted with cream pleated silk shades, base, h. 27‑3/4”, overall, h. 36‑1/4”, dia. 10”. [1000/1500] Illustrated

536

535 Charles X Gilt-Bronze-Mounted Mahogany and Marble-Top Gueridon, second quarter 19th century, the circular table with an inset white marble top mounted to a tapered standard with a finely cast and chased bronze collar, h. 28‑1/2”, dia. 26”. [800/1200] 536 Handsome French Empire Bronze Dore et Patine Fire Fender, first quarter 19th century, the patinated bronze fender decorated with bronze dore mounts, with Medici lions flanking the center, h. 15‑1/2”, w. 52‑1/2”. [2500/4000] Illustrated 537 Pair of Empire-Style Patinated Metal and Gilt-Bronze Kylix-Form Mantel Garnitures, ca. 1900, mounted on bases decorated with lyres and floral wreaths, h. 8‑1/2”, dia. 7”. [600/900]

539

539 Restauration Gilt-Bronze Candle Holder/Potpourri Vase, second quarter 19th century, the molded and pierced base supporting winged caryatid monopodia supports, crowned with a pierced cover, h. 7‑3/4”, dia. 3‑1/2”. [500/800] Illustrated 540 Impressive French Gilt-Bronze-Mounted Tole Moderator Lamp, second quarter 19th century, the vasiform base set with scrolled handles terminating in masques, now electrified, base, h. 23‑1/2”, overall, h. 32‑1/2”, w. 5‑3/4”, d. 5‑3/4”. [700/1000] 541 French Empire Bronze and Marble Mantel Clock, first quarter 19th century, the black marble base holding two griffins on plinths decorated with stars, and supporting the silk string suspension movement, set with an enamel dial marked “a Paris”, h. 14”, w. 8‑1/2”, d. 3‑3/4”. [600/900] Illustrated 542 Empire-Style Polychrome Center Table, early 20th century, the circular top with an inset leather surface, above a conforming frieze fitted with four drawers and four faux drawers, raised on a central ribbed columnar standard to three uprights, to a concave triangular base on splayed hoof feet, the whole with gilt accents, h. 30‑1/2”, dia. 43”. [3500/5000] Illustrated

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541

543 Set of Four Napoleon III-Style Cast Iron Planters, the square planters with ogee ribbed sides, h. 19‑1/2”, w. 17‑3/4”, d. 17‑3/4”. [500/800] 544 Pair of Cast Iron Campana-Form Garden Urns on Stands, late 19th/early 20th century, h. 62”, dia. 23”. [600/900] 545 French Patinated Bronze Figure of Boreas, Greek God of Winter, ca.1900, marked “Musee du Louvre”, h. 13”, w. 5‑1/2”, d. 5‑1/2”. [700/1000] 546 Grand Tour Spelter Figure of Mercury, fourth quarter 19th century, the wing-footed figure seated on a boulder, h. 20‑1/2”, w. 18”, d. 11”. [600/900] Illustrated 547 French Bronze Figure of “Terpsichore”, fourth quarter 19th century, the muse of dance with her usual attribute of a lyre, after Jean-Louis Gregoire (French, 1840‑1890), cast signature and stamped “Societe des bronzes” at back, h. 12”, w. 11‑1/2”, d. 4”. [700/1000]

548 Georg Hans Mueller (German, 1880‑1952), “Maenad”, second quarter 20th century, patinated bronze, the naked female follower of Dionysus depicted with a bunch of grapes in one hand and a goat by her side, signed at base, h. 22‑1/4”, w. 8‑1/2”, d. 9”. [1000/1500] Illustrated A native of Germany, Mueller spent several years in the United States studying in Chicago with the Vienneseborn Max von Mauch (1864‑1905). He later attended the Munich Academy of Art.

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553 549 Italian Grand Tour Patinated Bronze Figure of an Athlete, fourth quarter 19th century, the seminude male figure holding a spear, mounted on a rouge marble base, h. 16‑1/2”, w. 10‑1/2”, l. 11‑3/4”. [700/1000] 550 Continental Patinated Bronze of “Spinario”, 20th century, after the Hellenistic bronze now at the Palazzo dei Coneservatori, Rome, h. 28”, w. 19”, d. 25”. [1500/2500] 551 Three-Piece Biedermeier Walnut Parlor Suite, mid19th century, including a sofa and two fauteuils, the sofa with a rounded crest rail and earred ends, above a padded back joined by flat arms to the like seat, raised on banded scrolling legs, h. 42”, w. 66”, d. 25‑1/2”, the fauteuils each with a padded domed back joined by padded outscrolled arms to the like seat, raised on outscrolled legs, h. 39‑1/2”. [2500/4000] Illustrated

553 Adolf (Constantin) Baumgartner-Stoiloff (German/ Austrian, 1850‑1924), “Siberian Treasure Train”, oil on canvas, signed lower right, 32” x 51”. Framed. Provenance: Private collection, Canada; Waddington’s Auctions, June 12, 2007, lot 31; Ex-collection of Col. Sam McLaughlin, Oshawa; Gifted to C. H. Carlisle, Toronto, in 1920; By descent. [10000/15000] Illustrated 554 Pair of Restauration Bronze Six-Light Candelabra, second quarter 19th century, now mounted as lamps, with leaf-molded and reeded column-form standards terminating in Corinthian capitals, the molded candle arms surrounding a quiver-form finial, raised on paw feet, base, h. 29‑1/2”, overall, h. 42”, dia. 12‑3/4”. [700/1000] Illustrated

552 Empire-Style Burl Wood Secretary Bookcase, the molded cornice with projecting ends, above a conforming case fitted with two beveled glazed doors flanked to either side by engaged ormolu-mounted pilasters, the lower section fitted with a paneled drop front opening to an inset leather surface and drawers and cubbyholes, over three long paneled drawers flanked by freestanding uprights, raised on a plinth base, h. 79”, w. 34”, d. 18”. [700/1000] 551 (1 of 3 pieces)

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557 Pair of Louis-Philippe-Style Amaranth-Inlaid Burr Elm Consoles in the Gothic Taste, ca. 1900, each with a granite top over a case with a single frieze drawer, each with inlaid stringing, terminating with acorn drops, raised on similarly modeled columns joined to a shaped base, h. 35”, w. 42‑1/2”, d. 16”. [2500/4000] Illustrated 558 Handsome Continental Enameled Lunette-Form Clock, ca. 1900, trimmed in bronze and decorated with an image of Aurora, h. 5‑1/4”, w. 9”, d. 2‑3/4”. [800/1200] Illustrated 559 Set of Fourteen “Dresden” Raised Gilt Soup Plates, post-1887, German, decorated by A. Lamm, with raised gilt on cobalt borders, framing the ivory-ground field decorated with intertwined initials, dia. 9‑1/2”. [500/800] 554

560 555 Italian Beaux-Arts Marble and Bronze Pedestal, first quarter 19th century, the sienna marble base supporting the mottled brown marble standard, with neoclassical bronze fittings, h. 37”, w. 7”, d. 7”. [500/800] 556 OPEN LOT

558

560 Set of Twelve Faberge Porcelain Cabinet Plates, 20th century, each decorated with carefully detailed depictions of Faberge enamel eggs, dia. 7‑3/4”. [500/800] Illustrated

561

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561 Louis-Philippe Mahogany Dressing Table, mid19th century, the oval mirror within a molded frame and supported by swan’s neck uprights, the rectangular top with a molded edge, above a single frieze drawer with ormolu mounts and Jasperware plaques, joined by a mirrored back and swan’s neck supports to a shaped lower shelf, raised on block feet, h. 48”, w. 32‑1/4”, d. 16‑1/2”. [700/1000] Illustrated on previous page 562 Turkish Angora Oushak Carpet, 8’ x 9’ 8”. [800/1200] Illustrated 563 Turkish Angora Oushak Runner, 2’ 7” x 19’ 7”. [600/900] 564 Semi-Antique Heriz Carpet, 7’ 4” x 14’ 3”. [1200/1800] Illustrated 565 Turkish Angora Oushak Carpet, 6’ 2” x 9’ 2”. [600/900] 566 Turkish Angora Oushak Carpet, 9’ x 11’ 8”. [1200/1800] Illustrated

566 567 Persian Tabriz Carpet, 8’ x 11’. [3000/5000] 568 Turkish Angora Oushak Carpet, 10’ x 13’ 10”. [1500/2500] Illustrated

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571 Pair of Louis XIII Mahogany Sidechairs, 18th century, each with an arched and padded back, the legs and stretchers of block and turned form, with pegged throughout, h. 42”, w. 21”, d. 18”. [1000/1500] 572 Suite of Eight Jacobean-Style Oak Dining Chairs, late 19th century, consisting of two armchairs and six sidechairs, each with a padded rectangular back above the padded seat, raised on barley-twist and block legs joined by like stretchers and ending in ball feet, h. 38”. [1000/1500] Illustrated 573 William and Mary Mixed Woods and Oyster Burl Library Table, early 18th century, the front frieze fitted with a drawer, raised on spiral-turned legs joined by a swirling X-form stretcher, h. 29‑1/2”, w. 37”, d. 24”. [2500/4000] Illustrated

568 569 Antique Sarouk Carpet, 9’ x 11’. [1500/2500] Illustrated 570 Turkish Angora Oushak Carpet, 8’ 2” x 9’ 10”. [800/1200] 572

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578 Dutch Baroque-Style Ebonized Wood and GiltBrass Mirror, ca. 1900, the pierced scrollwork corners terminating in molded cartouches, the handsomely detailed brass retaining its gilt-lacquer finish, set with a beveled mirror plate, h. 40‑1/2”, w. 34”. [700/1000] Illustrated 579 Six-Piece Collection of Louis XV Brass Candlesticks, second half 18th century, including a pair with molded beading, leaves and swirled gadrooning, and with seamed construction, h. 7‑1/2”, two similar candlesticks fitted with double candle arms, with seamed construction, h. 13” and 14”, and a near pair, formerly silvered, h. 9”. [1400/1800]

574 574 Circle of Johann Christian Vollerdt (Dutch/German, 1708‑1769), “Figures in a Mountainous River Landscape with a Town Beyond”, oil on canvas, 17‑1/4” x 21‑1/4”. Framed. Provenance: Sold at Christie’s New York, “Important Old Master Paintings”, May 21, 1992 sale. [2000/4000] Illustrated

584

577 575 William and Mary Walnut Highboy, 18th century and later, the molded cornice above a case fitted with two short drawers over three graduated long drawers, the lower section fitted with a central drawer flanked to either side by a short deep drawer, raised on tapering circular legs joined by a box stretcher and ending in bun feet, h. 57”, w. 41‑1/2”, d. 24‑1/4”. [500/800] Illustrated 576 Continental Inlaid Valuables Chest in the William and Mary Taste, ca. 1800, the marquetry-inlaid chest with sand-shaded birds in front of a medieval cityscape, fitted with a series of drawers around a cupboard, on bun feet, h. 20”, w. 30”, d. 13‑1/2”. [2000/4000] 577 Jan Evert Morel II (Dutch, 1835‑1905), “Shepherdess Resting on a Wooded Path”, oil on canvas, signed lower center, inscribed and dated “1882” en verso canvas, 11” x 14‑1/2”. Framed. [900/1200] Illustrated

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583 Silverplated Model of a Barque, first quarter 20th century, with a lion figurehead and the Dutch coat of arms on the stern, on a rosewood base, h. 9‑1/4”, w. 9”, d. 3‑1/4”. [500/800]

580 Bronze and Cranberry Glass Eight-Light Shabbat Chandelier, first quarter 19th century, in the Dutch Baroque taste, each arm with a cranberry glass oil holder, h. 32”, dia. 20‑1/2”. [2000/4000] Illustrated 581 Dutch Mahogany and Marquetry-Inlaid Cabinet, mid-19th century, the molded and double-domed cornice with canted corners, above a conforming case fitted with two arched doors, each paneled and with delicate floral, foliate and avian marquetry inlays, with bone and motherof-pearl accents, the sides inlaid en suite, the lower section fitted with two short drawers over three graduated long drawers, with like inlays, raised on block feet, h. 96”, w. 74”, d. 24‑1/2”. [5000/8000] Illustrated

584 Johan Hendrik Boshamer (Dordrecht, 1775‑after 1859), “Sailing Vessels on a Cloudy Day”, oil on oak panel, signed lower right, verso frame with a “W.R.E. Horscht, Haag, Holland” label, 13” x 19”. Presented in a giltwood exhibition frame. [2000/4000] Illustrated 585 Dutch Mahogany and Marquetry Tea Table, late 18th century, the rectangular top with a dished edge and crimped corners, with elaborately inlaid scrolling foliate patterns, above a frieze fitted with a single drawer, raised on cabriole legs ending in pad feet, the frieze and legs inlaid en suite, h. 28‑1/2”, w. 31”, d. 20”. [1500/2500] Illustrated 581

582 George III Silk Needlework Picture, ca. 1800, depicting a woman sitting in a garden, with a later frame and eglomise matte, h. 20‑3/4”, w. 20‑3/4”. [1000/1500]

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588 Fifty-Nine Pieces of “Blue Onion” Porcelain, 19th century, by Meissen and other makers, including four Ernst Teichert dinner plates, dia. 9‑1/2”, two Meissen dinner plates, dia. 10”, two Meissen soup plates, dia. 9‑1/4”, one Meissen Ernst Teichert soup plate, post-1900, dia. 9‑3/4”, three Meissen salad/dessert plates, dia. 8‑1/2”, two Brown-Westhead, Moore & Co., England, earthenware salad/dessert plates, dia. 8”, a pair of B. Bloch chargers, dia. 11‑3/4”, two similar unmarked rolling pins, l. 15”, an unmarked grater, h. 8‑3/4”, a B. Bloch cake stand, h. 5”, dia. 14”, an unmarked mortar and pestle, h. 7‑1/2”, three B. Bloch graduated oval platters, the longest, l. 16‑1/2”, a Meissen divided round dish, dia. 13‑3/4”, an Ernst Teichert divided round dish, dia. 12‑1/4”, three Meissen graduated shell dishes, the largest, w. 8‑3/4”, a pair of Teichert leaf dishes, l. 6”, a Meissen leaf dish, l. 7‑1/2”, a Meissen rectangular tray, l. 12”, two Meissen graduated pickle leaves, w. 5”, a Meissen trivet, w. 6”, a pair of Meissen coasters, dia. 4‑1/4”, four Meissen bread and butter plates, dia. 6‑1/2”, a Meissen handless cup, h. 3” , and saucer, dia. 6‑1/4”, seven assembled Meissen custard dishes, dia. 4‑1/4”, four B. Bloch assembled saucers, dia. 5‑1/4” to 6”, and three Meissen assembled saucers, dia. 5‑1/2”. [600/900] Illustrated

586 586 Petrus Gerardus Vertin (Dutch/Belgian, 1819‑1893), “Busy Dutch Street Scene”, oil on panel, signed lower right, 9‑5/8” x 7”. Framed. [800/1200] Illustrated 587 Dutch Mahogany and Marquetry Silver Table, early 19th century, the rectangular top with a raised edge and an elaborately inlaid floral basket surrounded by scrolling foliate and avian patterns, above a conforming ogeemolded frieze fitted with a single long drawer, raised on cabriole legs ending in pad feet, h. 29”, w. 43”, d. 29”. [3000/5000] Illustrated

589

589 Dutch Mahogany and Marquetry Settee, mid-19th century, the shaped and padded back surmounted by a conforming crest, joined by outswept arms to the padded seat, raised on outswept scrolled feet, the whole with foliate and floral scrolling marquetry inlays, h. 36”, w. 76”, d. 26”. [800/1200] Illustrated 590 Dutch School (Fourth Quarter 19th/First Quarter 20th Century), “After the Catch”, oil on canvas, 16” x 23‑1/2”. Presented in a handsome, period, giltwood and gesso frame. [600/900] Illustrated

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591 Continental School (Fourth Quarter 19th Century), “Landscape with a Figure in Front of a Chalet, SnowCapped Mountains in the Distance”, oil on board, signed lower right “Martin”, 10‑1/2” x 15”. Presented in a handsome giltwood and gesso frame. [700/1000] Illustrated

588

592 Queen Anne Walnut Side Table, 18th century, the rectangular top banded and quarter-veneered and above a frieze fitted with a single long drawer, raised on cabriole legs ending in pad feet, h. 30”, w. 42‑1/2”, d. 23”. [800/1200] 593 Pair of Queen Anne-Style Leather Wing Chairs, early 20th century, each with dramatic rolled wings and arms, and raised on short carved cabriole legs joined by a stretcher, h. 49”, w. 31”, d. 33”. [3000/5000] Illustrated 594 Queen Anne Giltwood Pier Mirror, mid-18th century, English, the swan’s-neck crest carved with bas-relief scrollwork and diapering, h. 57”, w. 22”. [1500/2500] Illustrated on next page 595 Georgian-Style Giltwood Mirror, the rectangular plate surmounted by a pierced foliate-carved crest and within a molded frame with pendant foliate patterns, h. 54”, w. 33‑1/2”. [800/1200]

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597 George II Carved Giltwood Eagle Console Table, 18th century, the Egyptian marble top, of later date, supported by an eagle with spread wings and perched on a carved rock-form outcrop, h. 34‑1/2”, w. 55‑1/2”, d. 20”. [3000/5000] Illustrated

594 597

598 George III-Style Carved Pine “Eagle” Console Table Base, early 20th century, bearing the carved inscription “Ann Haven”, h. 27‑1/2”, w. 28”, d. 22”. [1800/2500] 599 Pair of Qianlong Chinese Export Armorial Sauce Boats, third quarter 18th century, decorated in the famille rose palette, the ribbed and scalloped sauce boats decorated with the arms of Dickson impaling another coat, h. 3‑1/4”, w. 4”, l. 7‑1/4”. [800/1200] Illustrated The service is thought to have been made for James Dickson of Ednam, Scotland. The arms are illustrated in Chinese Armorial Porcelain, by David Sanctuary Howard, p. 964. 600 Pair of Chinese Export Porcelain and EnamelDecorated Platters, early 19th century, each with an armorial in the central field depicting unicorns and lions, the border in floral sprays, w. 10”, l. 13”. [500/800] Illustrated 601 Pair of Chinese Export Famille Rose Plates, mid18th century, each with a serpentine-shaped edge and decorated with well-executed scattered flowers and scrollwork, dia. 9”. [500/800]

596 Antique George II-Style Mahogany Silver Table, in the Irish manner, the rectangular dished top above a conforming frieze with incised lattice-pattern and foliate carving around a central shell, raised on cabriole legs ending in paw feet, h. 30”, w. 36”, d. 23”. [8000/12000] Illustrated 596

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607 George III Oak and Fruitwood Chest, fourth quarter 18th century, the banded rectangular top above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on shaped bracket feet, h. 37‑1/2”, w. 37‑1/2”, d. 21‑3/4”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [900/1200]

599 602 Chinese Export Mandarin-Decorated Soup Tureen and Platter, fourth quarter 18th century, with boar’s head handles, decorated in the famille rose palette, platter, w. 12‑1/4”, l. 15”, tureen, h. 7‑1/2”, w. 9‑1/2”, l. 12‑1/2”. [2500/4000] 603 Chinese Export Porcelain Lidded Tureen, mid-18th century, the tureen with a white ground and a motif of lingzhi, fungus, pine, peonies, bamboo and scholar’s rocks, the lid surrounded with a gilt lancet border, the underside unmarked, h. 5‑1/2”, w. 8‑1/2”. [1200/1800]

608 George III Mahogany Lowboy, fourth quarter 19th century, the rectangular top with a molded edge, above a case fitted with a short drawer to either end, over a shaped apron, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 28‑1/2”, w. 40”, d. 22‑1/2”. [500/800] 609 Chinese Export Porcelain Spout Cup, mid-18th century, the ribbed body decorated in the famille rose palette with raised enamel flowers, h. 4”. [600/900] Illustrated

600

604 Two Pieces of Chinese Export Famille Rose Porcelain, fourth quarter 18th century, comprising a round dish decorated with a peony bush, fence and cockerels, dia. 10”, and a floral plate with scalloped borders, dia. 9‑1/4”. [500/800] 605 George III Mahogany Tripod Table, fourth quarter 18th century, the tilting piecrust-form top with a full raised edge, above a birdcage support, to three splayed cabriole legs ending in pad feet, h. 29”, dia. 36‑1/2”. [700/1000] Illustrated 606 Queen Anne Oak Lowboy, 18th century, the rectangular top above a conforming frieze fitted with a central drawer flanked to either side by a small deeper drawer, raised on cabriole legs ending in pad feet, h. 28”, w. 30”, d. 17‑1/2”. [600/900]

610 Pair of Chinese Export “Tobacco Leaf” Platters, fourth quarter 18th century, decorated with pheasants and squirrels, with raised enameled famille rose flowers, w. 10‑3/4”, l. 12‑3/4”. [500/800] 611 Pair of Chinese Export Marine View Plates, mid18th century, painted in the famille rose palette, the port view likely representing a Dutch canal view and figures in European dress, the borders with related views, dia. 9‑1/4”. [900/1200]

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612 George III-Style Mahogany Jardiniere, early 20th century, possibly Irish, the open rectangular top with an inset metal liner within a gadroon-carved border, raised on cabriole legs headed by carved masques and ending in hairy-paw feet, h. 33”, w. 31”, d. 19”. [1000/1500] Illustrated 613 George III-Style Mahogany Side Table, early 20th century, the rectangular top with a foliate-carved edge, above a frieze fitted with a single frieze drawer with applied scrolls, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 34‑1/2”, w. 37‑1/2”, d. 21‑3/4”. [800/1200] 614 Taxidermied Sea Turtle, in a lifelike pose, w. 14‑1/2”, l. 20‑1/2”. [500/800] Illustrated 615 Pair of Contemporary Turtle-Shell Lamps, the shell shades supported by a metal standard above a square base, h. 19‑3/4”, w. 9‑1/4”, d. 5”. [600/900]

614

618 George III Mahogany Chest-on-Chest, late 18th century, the fret-pierced gallery centered by a shell carving over a monogram-inlaid panel, and with urn finials with three short drawers over three long drawers, all flanked to either side by a canted blind fret pilaster, the lower section fitted with a brushing slide over three long drawers, raised on bracket feet, h. 75‑1/2”, w. 44‑1/2”, d. 21‑1/2”. Provenance: H.R.H. Princess Julianne Marie of Denmark, presented as a christening gift to Julius Nielson, thence by descent to Mogens H. Strigel. [5000/8000] Illustrated 619 Country English Pine Linen Press, 19th century, in the George III style, the molded cornice above two paneled doors, the lower section fitted with two short drawers over three graduated long drawers, raised on bracket feet, retains traces of polychrome accents, h. 80”, w. 48”, d. 22”. [600/900] 620 Edmund John Niemann (British, 1813‑1876), “Near Penn, Buckinghamshire”, oil on canvas, signed and titled lower right, 19‑3/4” x 24”. Presented in a giltwood and gesso exhibition frame. [900/1200] Illustrated

612

616 George III-Style Mahogany Linen Press, 19th century, the molded cornice above two banded and paneled doors opening to pull-out shelves, the lower section fitted with two short drawers over two graduated long drawers, all banded, raised on bracket feet, h. 83”, w. 49‑1/2”, d. 24‑1/2”. [1000/1500] 617 English Chippendale-Style Parcel-Gilt and Mahogany-Veneered Mirror, second quarter 20th century, edged in gilt trim, with a swan’s neck pediment and a phoenix bird finial, the sides trimmed in bellflower drops, h. 61‑1/2”, w. 29‑1/2”. [700/1000] Illustrated

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622 Suite of Eight Chippendale-Style Mahogany “Ribbon-Back” Dining Chairs, mid-20th century, including two armchairs, h. 42”, w. 25”, and six sidechairs, h. 40”, w. 24”. [700/1000] Illustrated 623 Suite of Eight Chippendale-Style Mahogany Dining Chairs, mid-20th century, with pierce-carved splats and cabriole legs ending in ball-and-claw feet, including two armchairs, h. 41”, w. 25”, and six sidechairs, h. 41”, w. 22”. [700/1000] 624 George III Mahogany Breakfront Bookcase, early 19th century and later, with a molded cornice above four astragal-glazed doors, the lower section fitted with a butler’s desk featuring a satinwood interior and leather writing surface, h. 96‑1/2”, w. 84”, d. 22”. [1500/2500]

621 George III Mahogany Chest, early 19th century, the double-banded serpentine top above a conforming case fitted with three graduated long drawers, raised on splayed bracket feet, h. 36‑1/2”, w. 45”, d. 24”. [800/1200] Illustrated

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625 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top raised on three pedestals, each with a turned columnar standard to four splayed legs ending in brass caps and casters, h. 30”, w. 48”, l. 90”, extended l. 134”. [1500/2500] Illustrated

627

626 George III-Style Mahogany Butler’s Tray on Stand, 19th century, the tray with fold-down sides and recessed brass hinges, and resting on a folding stand of X-form, h. 29”, w. 19”, extended w. 28”, l. 29”, extended l. 37”. [500/800] 627 Pair of Chinese Export Famille Rose Plates, fourth quarter 18th century, decorated in the famille rose palette with flowers in the center panel and diapered borders, dia. 8‑3/4”. [500/800] Illustrated 628 George III Mahogany Sideboard, late 18th century, the shaped and bowed top banded and above a conforming case fitted with a central cutlery drawer, flanked to either side by a cupboard door, all with corner patera inlaid accents, raised on tapering square legs ending in spade feet, h. 36”, w. 71‑1/2”, d. 25”. [1500/2500] Illustrated

631 Good George III Inlaid Mahogany Tall Case Clock, fourth quarter 18th century, the face finely engraved and bearing the name John Lees, Middleton (1745‑1804), h. 94”, w. 25”, d. 12”. [2500/4000] Illustrated 632 Georgian-Style Mahogany Bottle Case, the fitted interior with a pair of cut glass decanters, h. 7”, dia. 3‑1/2”, a pair of brandy snifters, h. 4‑3/4”, dia. 3”, and a pair of sherry glasses, h. 3”, dia. 1‑1/2”, the glass signed “Tudor England”. [500/800] 633 George III-Style Mahogany Demi-lune Cabinet, the triple-banded top with a central half-patera medallion, above a conforming case fitted with a single cupboard door, inlaid with an urn-centered banded oval panel, flanked to either side by a like-inlaid panel, raised on tapering square legs, the back bearing a brass plaque reading: “Handmade by Trosby Furniture of Sussex England”, h. 37”, w. 48”, d. 19”. [600/900] Illustrated

628

629 George III Mahogany Serpentine Knife Box with Urn-Inlaid Cover, ca. 1800, the interior now fitted as a letter box, h. 14”, w. 8‑3/4”, d. 9‑3/4”. [700/1000] Illustrated 630 John Linnell (British, 1792‑1892), “The Evening Light”, oil on canvas, monogrammed lower left, 29” x 39”. Presented in a giltwood and gesso exhibition frame. [2000/4000] Illustrated

625

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634 George III-Style Polychrome Settee, late 19th century, in the Adam taste, with four shield-form backs, each with a pierced fan design, joined by downswept arms to the padded seat, raised on tapering square legs ending in peg feet, the whole with delicate painted accents, h. 35‑1/2”, w. 72”, d. 22‑1/2”. [1000/1500] Illustrated 635 George III-Style Mahogany Sofa Table, early 20th century, the banded rectangular top with two rounded drop ends, above a frieze fitted with two drawers to one side and two faux drawers to the other, raised on end supports joined by a stretcher and ending in splayed legs on casters, h. 29”, w. 39”, d. 24”, extended w. 62”. [500/800]

630 631

636 Italian Neoclassical-Style Polychrome and ParcelGilt Mirror, decorated with a pierced scrollwork crest terminating in an urn finial, a carved swag at the top, and set with a beveled mirror plate, h. 47, w. 23”. [600/900]

634

637 George III-Style Mahogany Games Table, early 20th century, the hinged top with a shaped bowed front and centered by a vessel-inlaid oval medallion, above a conforming urn-inlaid frieze, raised on tapering square legs, h. 30”, w. 36”, d. 18” (closed). [800/1200]

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638 George III-Style Mahogany Partner’s Desk, early 20th century, the square top with an inset leather surface above a conforming frieze, fitted with a central drawer flanked to either side by a bank of four short graduated drawers, to both sides, raised on plinth bases, h. 29‑1/2”, w. 59‑1/2”, d. 54”. [1500/2500] 639 George III-Style Mahogany Writing Table, early 20th century, the rectangular top with inlaid banding and an inset leather writing surface, above a conforming frieze fitted with two drawers, raised on tapering square legs ending in brass caps and casters, h. 30”, w. 44‑1/2”, d. 26‑1/2”. [500/800]

643

640

640 Assembled Pair of Early Hanoverian London Silver Trencher Salts, one Britannia (.958) silver, hallmarked 1721‑1722, by James Rood (free 1710, d. 1721), the other sterling (.925) silver, hallmarked 1737‑1738, by Edward Wood (free 1722, d. 1752), of traditional elongated octagonal form, monogrammed “AB”, l. 3‑1/8”, w. 2‑1/2”, 4.53 total t. oz. [600/900] Illustrated

643 George III Sterling Silver Waiter, hallmarked London, 1786‑1787, by Henry Chawner (1764‑1851; free 1785), of circular form, with beaded rim and three spade feet, engraved with a circular bead and bellflower cartouche centering the arms of MacDonald of East Sheen, co. Surrey, dia. 10”, 19.33 t. oz. [1400/1800] Illustrated 644 George III Sterling Silver Salver, hallmarked London, 1786‑1787, by Elizabeth Jones, of circular form, with beaded, serpentine-lobed rim, raised on four ball-andclaw feet, engraved with the crest and motto of Houston of Avesford Place, Sussex (an hourglass proper between two wings elevated, argent; “In Time”), dia. 15”, 46.96 t. oz. [3000/5000] Illustrated

It is little surprise that these two salts, made fifteen years apart by two different men, should form such a perfect pair: not only were both smiths specialist salt makers, but Wood was apprenticed to Rood on July 6, 1715 and assumed his master’s workshop upon the latter’s death. 641 Pair of George II Sterling Silver Candlesticks, hallmarked London, 1759‑1760, by Emick Romer (1724‑1799), each in the form of a Corinthian column above a gadroon-banded and cavetto-domed square base, with pierced capital and detachable square bobeche en suite with the base, engraved on the base with a crest of a catamount statant, h. 12‑3/4”, w. 5‑1/4”, weighted. [2000/4000] Illustrated 642 Pair of George III Hester Bateman Sterling Silver Salt Cellars, hallmarked London, 1780‑1782, each of oval form, decorated with openwork banding centering an urn on one side and a square cartouche on the other, with beaded rim and raised on four ball-and-claw feet, fitted with a conforming cobalt glass liner, engraved on the cartouche with a crest of a dragon’s head erased, charged on the neck with a cross, h. 2‑1/8”, l. 3‑1/8”, w. 2‑1/2”, 3.01 total t. oz. (excluding liners). [900/1200]

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644 645 Pair of George III Sterling Silver Candlesticks, hallmarked Sheffield, 1794‑1795, by John Green & Co., each with a tapering gadrooned standard above a cavettodomed and reed-banded circular base and surmounted by a bell-form nozzle, engraved, on the base, with a crest “out of a mural coronet a demi-lion rampant, in the paws a banner tasseled”, h. 11‑1/2”, dia. 5‑1/4”, weighted. [1200/1800] Illustrated 646 Fine George III Sterling Silver Two-Handled Covered Cup, hallmarked London, 1787‑1788, by Daniel Smith (free 1753) and Robert Sharp (free 1757), fl. 1780‑1788, of urn form, decorated with applied swags draped from classical ringed masques, with acanthus frond calyx, with acanthus-mounted arched reed-and-ribbon handles and raised on a waisted, bead- and acanthusbanded foot above a square plinth, the fitted and waisted lid en suite with acanthus bud finial, the interior gilt, inscribed on the underside of the lid with later presentation inscription “Astor Cup for Schooners / Presented by Vice Commodore Vincent Astor / New York Yacht Club / Won by / “Vanitie” / Newport, August 18th 1927”, h. 18”, w. 11‑1/2”, dia. 7”, 123.13 t. oz. [14000/18000] Illustrated

647 Grand Pair of George III Sterling Silver Banquet Candelabra, hallmarked London, 1797‑1798, by Robert Hennell I (1741‑1811; free 1763), each with a tapering standard below an ovolo-banded knop, above a gadrooned circular base and surmounted by a thistle-form nozzle en suite, the nozzle fitted with a superstructure centering a shorter standard surmounted by a vasiform nozzle and surrounded by three scrolling reeded arms, each terminating in a circular drip pan and thistle-form nozzle, all fitted with detachable bobeches, engraved on the base with the cape-mantled arms of Loveday of Williamscote, co. Oxford, h. 24‑1/2”, w. 17‑1/4”, base, dia. 6‑1/4”, weighted. [20000/40000] Illustrated

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648 Large George III Sterling Silver Armorial Tray, hallmarked London, 1799‑1800, by Thomas Hannam and John Crouch, of oval form, with reeded rim and handles, the plateau engraved with a perimeter band of leaf-anddiaper ribbon, the center with a laurel cartouche with the arms of Bewes impaling Culme, l. 36‑3/4”, w. 24”, 201.26 t. oz. [18000/25000] Illustrated The arms here are those of Thomas Bewes (1777‑1857) of Beaumont House, Plymouth, High Sheriff of Devon (1824), M.P. for Plymouth (1832‑1841), and his wife Frances Culme (1774‑1809), daughter of John and Grace Culme, who were married August 17, 1799, Plymouth, Devonshire. 649 Large George III Sterling Silver Salver with Comital Armorial, hallmarked London, 1798‑1799, by William Fountain (ca. 1763‑1838; free 1785), of circular form, with gadrooned rim and reeded edge, raised on four gadrooned feet, the plateau engraved with the arms of Vane, Earl of Darlington, with Powlett in pretence, dia, 23‑1/2”, 133.10 t. oz. [12000/18000] Illustrated The arms here are those of William Harry Vane (1766‑1842), 3rd Earl of Darlington (later 1st Duke of Cleveland) and his wife Lady Catherine Powlett (1766‑1807), daughter of Harry Powlett, 6th Duke of Bolton, who were married on September 17, 1787.

651

648

650 Five Good Pieces of English and French Silver Tableware, mid-18th to mid-19th century, including a George II sterling silver waiter, hallmarked London, 1757‑1758, by James Morrison, with “Chippendale” rim and three scroll-and-pad feet, monogrammed “TR”, dia. 7‑1/4”, a Consular French first standard (.950) silver covered jam jar, marked 1798‑1809, Paris, by Marc Jacquert, of Roman brazier form, with squared legs and hooved feet, the fitted domed lid with bird finial, the liner lacking, h. 4‑3/4”, dia. 3‑1/2”, a Regency sterling silver mustard pot, hallmarked London, 1812‑1813, the maker’s mark rubbed, of bulbous oval form with gadrooned rim and reeded banding, with Bristol glass liner and later American mustard spoon, l. 4‑1/2”, William IV sterling silver gilt grape shears, hallmarked London, 1835‑1836, by Robert Hennell III, with elaborate shellcrested handles, grape cluster and lion masque, handles l. 6‑3/4”,and a Victorian sterling silver “Queen’s” pattern fish slice, hallmarked London, 1855‑1856 by Chawner & Co., with pierced scimitar-shaped blade, engraved on the handle with a crest of a demi-griffin rampant, l. 12‑3/4”, 30.06 total t. oz. [800/1200] 651 Set of Four George III Sterling Silver Gilt Salt Cellars, hallmarked London, 1797‑1798, by Henry Chawner (1764‑1851; free 1785) & John Emes (1762‑1810; free 1786), fl. 1796‑1798, in the neoclassical taste, each of batteau form with upswept ends, reeded rim and squared handles, raised above an oval foot reeded en suite, h. 3”, l. 5”, w. 2‑1/8”, 12.69 total t. oz. [1200/1800] Illustrated 652 Collection of Thirteen Sterling Silver Decanter Labels, late 18th to late 19th century, five hallmarked London, 1793‑1825, one London, 1896‑1897, one Birmingham, 1829‑1830, two part-marked and four unmarked, including “Brandy”, “Whiskey”, “Gin”, “Rum”, “Old Rye”, “Sherry”, “Port”, “Claret” and “Cayenne”, w. 1‑1/4” to 2‑1/2”, 3.96 total t. oz. Detailed list available on request. [700/1000] Illustrated

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653 Pair of Late George III Sterling Silver Toast Racks, hallmarked London, 1809‑1810, by William Burwash and Richard Sibley (fl. 1805‑1812), each of rectangular form with gadrooned rim and rocaille corners, each with seven double-arched partitions, the center with a reeded ring handle en suite, the whole raised on scroll-crested lion’s paw feet, engraved on the rim with the crest and motto of Campbell of Lawres et al., h. 6”, l. 7‑1/2”, w. 5”, 31.87 total t. oz. [2000/4000] 654 Regency Sterling Silver Pap Boat, hallmarked London, 1817‑1818, by Samuel Knight, of traditional bulbous oval form with everted spout, with gadrooned rim and applied leaf-and-shell handle, the interior gilt, h. 1‑1/4”, w. 2‑7/8”, l. 5‑1/2”, 2.06 t. oz. [600/900] 655 Good Regency Sterling Silver Wine Funnel, hallmarked London, 1817‑1818, by Solomon Hougham (1746‑1818; free 1786), of thistle form with reeded banding, retaining the original straining bowl and muslin ring, engraved on the body with a crest “out of a ducal coronet, a swan’s head”, and the monogram “HPB”, l. 6‑3/8”, dia. 3‑1/8”, 6.76 t. oz. [800/1200] Illustrated

656

656 Thirty-Two Pieces of Regency and Later Sterling Silver “Hourglass” Pattern Flatware, London, first quarter 19th century, including twelve table forks, l. 8”, ten tablespoons, l. 8‑1/2”, two tea forks, l. 6‑1/2”, and two teaspoons, l. 5‑1/2”, all hallmarked 1813‑1814 by Thomas William Streetin (1769‑1842) and engraved with the crest of Marjoribanks, two dessert spoons, l. 7”, hallmarked 1818‑1819 by Thomas William Barker and monogrammed “RES”, and four master salt spoons, l. 4‑1/2”, hallmarked 1826‑1827 by William Chawner and engraved with a crest of a demi-griffin rampant. [1800/2500] Illustrated 657 George IV Sterling Silver Asparagus Server, hallmarked London, 1821‑1822, by William Eley (1756‑1824; free 1778) and William Fearn (free 1770), fl. 1797‑1824, the bow-style “Fiddle” tongs with starand foliate-pierced rectangular blades, l. 10”, 8.37 t. oz. [700/1000] 658 Fine Regency Sterling Silver Tureen, hallmarked London, 1816‑1817, by Benjamin Smith, Sr. & Jr., of bulbous oval form, with reeded rim and bifurcated acanthus-scroll-crested reeded handles, the fitted cavetto-domed lid with ring handle en suite, the whole raised on four robust acanthus-scroll feet, engraved on the body with the arms and the lid with the crest and motto of Menzies impaling Norton, h. 11‑1/4”, l. 15‑1/2”, w. 8‑1/2”, 122.81 t. oz. [18000/25000] Illustrated on next page The arms here are those of Lt. Col. Sir Neil Menzies (1780‑1844), 6th Baronet Menzies, of Castle Menzies and Rannoch Lodge, Pitlochrie, Scotland, and his second wife, the Hon. Grace Charlotte Conyers-Norton (1795‑1877), daughter of Fletcher and Caroline Elizabeth Balmain Norton. Much information about the couple, and the “hard-tempered Scotswoman” Lady Menzies in particular, can be found in the biography of her sister-in-law Caroline Sheridan Norton: Diane Atkinson’s The Criminal Conversation of Mrs. Norton (Chicago: Chicago Review Press, 2013). Caroline Norton - wife of Lady Menzies’ brother George Chapple Norton - was at the center of the scandalous “criminal conversation” (adultery) trial involving Prime Minster Melbourne, which was later fictionalized in Charles Dickens’ Pickwick Papers.

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660 George III Paul Storr (1771‑1844) Sterling Silver Cake Basket, hallmarked London, 1805‑1806, of circular form, with gadrooned rim and edge, with acanthus-mounted reeded swing handle and raised on a circular foot, h. 4‑1/2” (11” with handle), dia. 12‑3/4”, 40.12 t. oz. [10000/15000] Illustrated 661 Pair of George IV Paul Storr (1771‑1844) Sterling Silver Master Salt Cellars, hallmarked London, 1820‑1821, each of cauldron form, with shaped gadrooned rim and raised on four elaborate rococo scroll crested feet, engraved with a crest of a demi-lion rampant holding an unfeathered arrow (Wyatt of Suffolk?), h. 2‑3/8”, dia. 3‑1/2”, 12.85 total t. oz. [4000/7000] Illustrated

659 Fine George III Paul Storr (1771‑1844) Hot Water Jug-onStand, hallmarked London, 1803‑1804, in the neoclassical taste, the jug with bowl-shaped body and tall waisted collar, with palmettemounted beaked spout and hinge, flat lid with acorn finial, decorated with laurel and guilloche banding, the crested wooden handle with classical maiden mount and spiral scroll patera boss, raised on a laurel banded frame with three ring- and acanthus-crested lion’s paw feet joined by a circular stretcher en suite fitted with a spirit burner, engraved on the body with the ermine-mantled arms of Charlton impaling Grierson, with the Charlton crest repeated on the burner cap and body, h. 12‑1/2”, dia. 6‑1/2”, 48.61 t. oz. [12000/18000] Illustrated The arms here are those of Lt.-Col. William Charlton (1761‑1838) of Apley Castle, co. Salop and his wife Catherine Grierson (ca. 1765‑1839), daughter of James and Elizabeth Grierson of Manchester. Catherine, in her youth, had been at the center of a notorious abduction scandal. Her father had died while she was a child, and she became a ward of the court with her mother, Elizabeth, as guardian, who enrolled her in boarding school at Battersea. There, at the age of 16, she ran off with Army Captain Dr. Thomas Thomasson and the two were wed in Gretna Green, Scotland in the early summer of 1781. Her mother objected to the marriage and Thomasson - unaware of his bride’s status as a ward of the court and therefore subject to its approval - was arrested for contempt and jailed in Fleet prison. Catherine was inconsolable at this turn of events: “[she] was so much afflicted that she fell into a fit before she left the court, and continued in a succession of fits for several hours” reports a contemporary newspaper account of the events. Catherine remained so griefstricken that her mother relented and gave her approval to the union, provided the couple were properly married under her supervision, which they were on November 5, 1781. The couple had at least one daughter - also called Catherine - before Thomasson’s death and Catherine’s second marriage to Charlton on April 20, 1796. He died on January 14, 1838 and she little over a year later on February 12, 1839.

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662 Rare Set of Four Early Victorian Eighteen-Karat Gold Salt Spoons, hallmarked London, 1840‑1841, by Mortimer & Hunt (successors to Paul Storr), each in a “King’s”-shape pattern with rococo scrolls on a matte ground, the bowl in the form of a realistic grape leaf, engraved in the bowl with a crest of a demi-talbot rampant holding an Eastern crown, l. 3‑1/2”, total weight, 70.9 grams. [1500/2500] Illustrated 661

659

Property accumulated in a family collection throughout the West Indies from 1932-1975, ultimately residing at Villa Verde, Stony Hill, Jamaica. (Lots 663-673) 665 Rare Set of Three Early Victorian Old Sheffield Plate Graduated Meat Domes, second quarter 19th century, by T. J. & N. Cresswick, Birmingham, each of oval form, the ogee-domed lid quarter-lobed, with molded rim and robust acanthus-mounted ring handle, the rubbed in cartouche engraved with the crest of Blagrove of Cardiff Hall, Orange Valley, Jamaica, 8‑1/2” x 14‑1/4” x 10‑1/2”, 11‑1/4” x 18‑1/4” x 13‑1/2” and 12‑1/4” x 19” x 16”. [1200/1800] Illustrated on next page

660

662

663 Four Pairs of Old Sheffield Plate Candlesticks, first quarter 19th century, including a Matthew Boulton pair with foliate banding and detachable bobeche, h. 9‑3/4”, a Roberts, Smith & Co. pair with acanthus banding and detachable bobeche, h. 10‑3/4”, another Matthew Boulton pair with gadrooned banding and glass hurricane shades (one with fluted calyx, the other with reeded band and gadrooned calyx), h. 20‑1/4”, and an unmarked pair with robust acanthus banding and glass hurricane shades, h. 21‑3/4”. [700/1000] Illustrated 664 Old Sheffield Plate Hollowware, first quarter 19th century, Birmingham, including a pair of soup tureens, h. 11‑1/2”, l. 14‑1/2”, w. 9”, a pair of sauce tureens, h, 6‑1/4”, l. 8‑3/4”, w. 5”, and a pair of meat domes and platters, overall, h. 10”, l. 18”, w. 14‑1/8”, the tureens each of bulbous oval form, with gadrooned rim, addorsed acanthus handles and raised on four shell-and-scrollcrested lion’s paw feet, with fitted and cavetto domed lid with gadroon banding, the domes and platters each of oval form with gadrooned rim and banding, all with robust acanthus ring handles en suite. Provenance: Purchased by the consignor in 1967 from the chauffeur of an old Jamaica Great House owner, who was given the set by his master for faithful service. [3000/5000] Illustrated on next page

663

666 William IV Old Sheffield Plate Epergne, second quarter 19th century, by William Hutton & Sons, Sheffield with a central annular knopped standard with floral banding, above a cavetto-canted square plinth decorated with gadrooned edges and rocaille crests and surmounted by a flammiform finial, the finial surrounded by four rocaille double-scroll arms supporting a gadroon- and foliatebanded receptacle and fitted with a pair of detachable reeded scroll branches, each terminating at each end in strapwork and foliate banded receptacles, the receptacles fitted with one large and four small cut glass liners, overall, h. 16‑1/2”, w. 27‑1/4”, d. 18”. Provenance: Purchased by the consignor at auction in 1943 from the oldest Great House in Barbados. [1000/1500] Illustrated on next page

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667 Victorian Silverplate Meat Dome and Platter, fourth quarter 19th century, of oval form, with gadrooned rims and ring handle, overall, h. 10‑1/2”, l. 18”, w. 13‑1/2”. Provenance: The Farquharson family Great House, Jamaica, to the consignor’s family. [700/1000] Illustrated

669 Assembled Pair of Anglo-American Blown Glass Hurricane Shades, first quarter 19th century, each with a folded foot rim, h. 21”, dia. 7”. Provenance: Purchased by the consignor’s forebears in Jamaica, third quarter 20th century. [700/1000] 670 Anglo-American Blown Glass Hurricane Shade, first quarter 19th century, with an engraved rim and a folded foot, h. 22”, dia. 7‑1/4”. Provenance: Purchased in Kingston, Jamaica, 1969, and accompanied by a bill of sale. [500/800] Illustrated 671 Assembled Pair of Anglo-American Blown Glass Hurricane Shades, first quarter 19th century, each with a folded foot, h. 22”, dia. 6‑3/4”. Provenance: Purchased by the consignor’s forebears in the Caribbean in the 1960’s. [600/900]

665

668 West Indies Mahogany Serving Table, early 19th century, the rectilinear top over a band of three drawers, the wide central drawer flanked by bowed drawers, raised on ring-turned Sheraton legs, h. 36‑1/8”, w. 40‑1/2”, d. 19‑1/4”. Provenance: Acquired by the consignor’s family from the Colonel Roscoe Clayton Sale, conducted by the C. D. Alexander Company at the Sheraton Kingston Hotel, May 1966, Kingston, Jamaica. [1200/1800] Illustrated 667

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673 672 West Indies Tilt-Top Breakfast or Loo Table in the Late Regency Taste, 19th century, constructed of a dense tropical hardwood, the top with a reeded edge, supported by a ring-turned tripodal pedestal with brass paw cup casters, h. 29”, w. 38”, d. 48”. [600/900] Illustrated The present table is identified as from a Tobago Plantation in the consignor’s family household inventory from the 1960’s.

668

673 Assembled Five-Piece Edwardian and Later Sterling Silver Tea and Coffee Set, hallmarked London, 1902‑1903, by Reid & Sons, including a teapot, h. 4‑1/2”, l. 10‑3/4”, an open sugar bowl, h. 4‑1/8”, w. 8‑1/2”, and a cream jug, h. 3‑3/4”, l. 6‑3/4”, with a coffeepot hallmarked London, 1900‑1901, by Edward Barnard & Sons, h. 8‑3/4”, l. 10”, and a hot milk jug hallmarked London, 1934‑1935, by John Marshall Spink & Son, h. 8”, l. 8‑3/4”, each with a squat ovoid body decorated with a band of rocaille scrolls on a matte ground, with leafy-mantled classical maiden’s masques on the rims, the pots with crested wooden handles, 108.22 total t. oz. (including wooden handles). Provenance: Purchased in 1967 at the auction of the Jamaica Old House of Major Baur of Nova Scotia. [1800/2500]

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676 Regency-Style Ebonized Settee, early 20th century, the rectangular back with four double-X backs surmounted by floral garlandpainted crests, joined by pierced arms to the cushioned caned seat, raised on ring-turned tapering circular legs ending in brass caps and casters, h. 34”, w. 68”, d. 25‑1/2”. [800/1200] Illustrated 677 Royal Crown Derby “Red Aves” Punch Bowl and Candlesticks, ca. 1968‑1969, English, decorated with long-tailed pheasants in vines, each marked, including date cypher, bowl, h. 3‑3/4”, dia. 9‑3/4”, candlesticks, h. 10‑1/2”, dia. 5‑1/4”. [500/800] 675

678 Fifteen-Piece English Partial Dessert Service in the Imari Palette, ca. 1880‑1881, by W. T. Copeland & Son, including a pair of tazzas, h. 4”, dia. 9”, a comport, h. 2‑1/4”, dia. 9”, and twelve dessert plates, dia. 9”, with printed marks and the retailer mark “John Rose & Co., Manchester, England”. [500/800] Illustrated 679 Set of Ten English Porcelain Dinner Plates in the Imari Palette, ca. 1879‑1880, by W. T. Copeland & Sons, with fluted borders, marked pattern no. 2170, dia. 10”. [500/800]

678

680 Good Regency Japanned Chinoiserie Console, first quarter 19th century, the rectangular top of breakfront form, above a conforming frieze with a pendant-pierced fret-carved apron, joined by a paneled back and four graduated columnar supports to a conforming lower shelf, raised on ball feet, the whole richly decorated with polychrome and gesso scenes of figures engaging in activities and lush landscapes in the chinoiserie taste, h. 37”, w. 60”, d. 17‑1/2”. [4500/7000] Illustrated Furniture of this style and quality is similar to pieces found at The Brighton Pavilion.

674 Pair of Regency-Style Cut Glass Hurricane Lamps, cut with pineapples and interlocking latticed rondels, on stepped bases, h. 11‑1/2”, dia. 7‑1/4”. [800/1200] 675 William IV Giltwood Overmantel Mirror, second quarter 19th century, decorated with lotus leaf-molded pilasters terminating with lion’s headmolded corner blocks, the cornice decorated with gilt spherules, h. 42”, w. 87‑1/4”. [1200/1800] Illustrated

680

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681 William IV Chinoiserie-Painted Tole Wine Carriage, second quarter 19th century, on cast iron wheels, the sarcophagus-form wine cooler with scroll-molded handles and a hinged cover, all painted in Chinese patterns and trimmed in gilt, h. 13‑1/2”, w. 24‑1/2”, d. 16‑3/4”. [500/800] Illustrated

682

683 English Regency Painted Tole Helmet-Form Coal Scuttle, first quarter 19th century, painted red and mounted with lion’s head ring pulls, the upper gallery with pierced decoration, h. 17‑1/4”, w. 14”, d. 10”. [500/800] 684 Sheraton-Style Chinoiserie Pembroke Table, mid19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer and one faux drawer, raised on ring-turned tapering circular legs ending in casters, the whole elaborately decorated with gilt and polychrome scenes in the Chinoiserie taste, h. 27”, w. 33”, d. 21”, extended l. 41”. [800/1200] Illustrated

685

682 Pair of English Regency White-Painted Tole Chestnut Urns, first quarter 19th century, with lion’s head ring handles and acorn-form knops, h. 13‑1/2”, w. 6‑1/2”, d. 4‑1/2”. [600/900] Illustrated

684

685 Pair of Derby Porcelain Potpourri Urns, ca. 1805‑1825, English, the gilt-trimmed urns with pierced rims, molded masques and resting on paw feet, the covers set with exuberantly modeled grape and grapevine knops, h. 5‑1/4”, dia. 5‑1/4”. [600/900] Illustrated 686 English Hand-Painted Porcelain Covered Vegetable Dish, first quarter 19th century, decorated with floral panels on a cobalt diapered ground, trimmed in gilt, unmarked, h. 5‑1/2”, w. 9‑1/2”, d. 8‑1/2”. [500/800]

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687 Regency Satinwood and Mahogany Linen Press, early 19th century, the molded cornice above a case fitted with two doors, each with an inlaid rosewood-banded panel, the lower section fitted with two short drawers over two graduated long drawers with original brasses, raised on bracket feet, the inside of one upper drawer stamped “From Williamson & Sons Guildford”, h. 83‑1/2”, w. 48‑1/4”, d. 21‑1/2”. [1500/2500] Illustrated 688 British School (Second Quarter 19th Century), “Fox Hunt”, oil on canvas, mounted on board, 7‑3/4” x 10‑1/2”. Framed. [500/800] Illustrated 689 Regency Ebonized and Bird’s-Eye Maple Games Table, ca. 1825, the fold-over top over a molded frieze, the splay legs joined by a shelf stretcher, the legs terminating in brass paw cap casters, h. 29”, w. 38”, d. 18‑1/2”, extended l. 37”. [1000/1500] Illustrated 690 Rare English Regency Mahogany Campaign Bed, first quarter 19th century, having carved and reeded posts and designed to disassemble with threaded brass fittings at the joints, h. 78‑1/4”, inside, w. 43”, l. 71”, outside, w. 47‑3/4”, l. 75‑3/4”. [1500/2500] Illustrated

691 Campaign-Style Mahogany Secretary, late 19th century, the superstructure fitted with two cupboard doors, each paneled and with applied decorative banding, the lower section fitted with a secretary drawer opening to a leather-inset writing surface and a variety of drawers and cubbyholes, above three long drawers, all with like-applied banding, raised on bracket feet, h. 61”, w. 44”, d. 21”. [1500/2500] Illustrated 692 Handsome English Regency Figured Mahogany Workbox, ca. 1815‑1825, the brass693 bound box with campaignstyle handles, the cover engraved with a coat of arms, the fitted interior with velvet lining, the cylinder lock plate marked “Wells & Lambe”, along with an impressed crown, h. 7‑1/4”, w. 15”, d. 11”. [500/800]

688

687

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689

693 Regency Mahogany and Rosewood Torchere Jardiniere, first quarter 19th century, the octagonal open top with an inset conforming metal tray, raised on a bulbous ribbed standard with brass accents to a 695 tripartite pedestal with lion masque ring accents and brass inlays, to a concave base to ormolu feet, h. 44‑3/4”, dia. 19”. [500/800] Illustrated 694 Regency Mahogany Cellarette, early 19th century, the banded and hinged rectangular top with canted corners, and opening to a metal-lined interior, the body with brass banding and lion’s masque handles, raised on tapering square legs ending in casters, h. 26”, w. 26‑1/2”, d. 18‑1/2”. [900/1200] Illustrated 695 Chinese Export Imari Porcelain Barber’s Bowl, second quarter 18th century, decorated in a floral motif with a palette of red and blue, h. 2‑1/2”, dia. 10‑5/8”. Provenance: The J. Louis Binder Collection of Chinese Export. [900/1200] Illustrated

690

694 696 Twelve Pieces of Japanese Imari Porcelain, fourth quarter 19th century, the collection including a charger, dia. 18”, seven similar scalloped dishes, dia. 8‑1/2”, three similar round bowls, dia. 6”, and a low rectangular dish, l. 8‑1/4”. [500/800] 697 Seven Pieces of English Pottery in the Imari Palette, primarily Derby, including a Royal Crown Derby platter, ca. 1900, w. 13”, l. 17”, an unmarked King’s Pattern platter, ca. 1890, w. 11‑1/4”, l. 15‑1/2”, a matching Derby shell dish, w. 9”, a pair of dessert plates, dia. 9”, an unmarked King’s Pattern shell dish, ca. 1890, w. 8”, and a Derby “Blue Panels” dessert dish, dia. 8”. [500/800] Illustrated on next page

691

139

702 Regency-Style Mahogany Library Table, early 20th century, the rectangular top with an inset leather surface above a conforming frieze fitted with three drawers to one side and three faux drawers to the other side, raised on end supports to splayed reeded legs ending in brass paws on casters, h. 30”, w. 60”, d. 33”. [1000/1500]

697

698 Chinese Imari Porcelain Plate, 19th century, the round dish with a central reserve depicting a painting of two ducks amidst floral scrolls, the underside unmarked, dia. 12‑5/8”. [1500/2500]

703 Regency-Style Giltwood and Marble-Top Side Table, 19th century, the rectangular Carrara marble top with a molded edge, above a conforming undulate-carved frieze, raised on fluted tapering circular legs ending in petaled lotus feet, h. 32‑1/2”, w. 46”, d. 25”. [1500/2500] 704 British School (Second Quarter 19th Century), “Portrait of a Lady Enwreathed in Blooms”, oil on canvas, unsigned, sitter identified as “Elizabeth Llewellyn”, 36” x 29”. Presented in a handsome giltwood and gesso frame. [800/1200] Illustrated

699 William IV Mahogany Pedestal Sideboard, second quarter 19th century, the dropped center section with a paneled backpiece and bowed top, above a conforming frieze fitted with two cutlery drawers supported by two pedestals, each with a stepped top, above a case fitted with a bowed cupboard door flanked by ribbed and spiral-ribbed uprights, one opening to a shelved interior, the other to shelves and a deep cellarette drawer, raised on bulbous ribbed feet, h. 45”, w. 94”, d. 25”. [600/900] Illustrated 700 Regency-Style Mahogany and Burl Wood Breakfast Table, 19th century, the tilting rectangular top triplebanded and with canted corners, centered by a banded burled panel, raised on a spiral-reeded columnar standard to four splayed legs ending in brass caps and casters, h. 29”, w. 48”, d. 36‑1/2”. [1800/2500] Illustrated 700

701 Thirty-Piece English Hand-Painted Partial Dessert Service, second quarter 19th century, decorated with well-executed hand-painted floral panels and a claretground gilt-trimmed border, marked with pattern number 229, including a comport, h. 5‑1/2”, a pair of sauce tureens on stands, h. 8”, four shell-shaped dishes, dia. 9‑3/4”, a pair of oval dishes, w. 9‑3/4”, a pair of rectangular dishes, w. 10”, and seventeen dessert plates, dia. 9”. [500/800] Illustrated

699

140

709 Tortoiseshell Letter Opener, the rope-twist handle terminating in a ball finial, l. 10‑1/2”. [500/800] 710 English Tortoiseshell and Bronze Dore Neoclassical Dressing Box, first quarter 19th century, the oval box decorated with Ionic pilasters wrapped in garlands, the interior fitted with tortoise-lidded compartments, with key h. 2‑3/4”, w. 9”, d. 6‑3/4”. [2000/4000]

701

704

705 British School (Fourth Quarter 19th Century), “Portrait of a Seated Man”, oil on canvas, 34” x 26”. Framed. [600/900] 706 Late Regency Rosewood Recamier, second quarter 19th century, the trisected cushioned seat flanked to one end by a padded outscrolled armrest and tufted and shaped partial back, to the other by a padded in-scrolled end, fronted by foliate carving, raised on ribbed circular legs ending in brass caps and casters, h. 34”, w. 27”, l. 81”. [800/1200] Illustrated

708

707 William IV Rosewood-Veneered Lap Desk, second quarter 19th century, with a molded top and a fitted interior with a writing slope, h. 6‑3/4”, w. 20‑1/4”, d. 10”. [500/800] 708 English Tortoiseshell Tea Caddy, second quarter 19th century, the bowfront inlaid with delicately incised mother-of-pearl scrolling flowers, the pagoda-form cover resting over the two interior lidded compartments, raised on ball feet, h. 5‑1/2”, w. 7‑1/4”, d. 5”. [1000/1500] Illustrated 706

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711 William IV Mother-of-Pearl-Inlaid Rosewood Sarcophagus-Form Work Box, second quarter 19th century, the front door opening to reveal jewelry compartments and a writing slope with inkpots, the lid lifting to reveal sewing compartments lined in blue paper, raised on reeded bun feet, h. 12”, w. 11‑1/2”, d. 9‑1/2”. [800/1200] Illustrated

719

711

712 British School (Second Quarter 19th Century), “Portrait of a Naval Officer”, oil on canvas, 29” x 23‑3/4”. Framed. [800/1200] Illustrated 713 Regency Mahogany Library Table, second quarter 19th century, the rectangular top with a tooled inset leather blotter, one side fitted with a drawer and raised on a trestle-form base with a turned stretcher, h. 30”, w. 48”, d. 24”. [500/800] Illustrated

714 Late Regency Mahogany Library Table, second quarter 19th century, the rounded rectangular top with brass stringing and rosewood banding, above a like-banded frieze, raised on scrolling, like-banded curule-form end supports joined by a turned stretcher and ending in casters, h. 29”, w. 72”, d. 34”. [1000/1500] 715 William IV Mahogany Bench, second quarter 19th century, the long padded rectangular top above an ogeemolded frieze, raised on large ribbed toupie feet ending in casters, h. 18”, w. 67”, d. 23‑1/2”. [1500/2500]

717 712

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718

716 Four Continental Decorative Wall Shelves, fourth quarter 19th century, comprising a walnut-veneered example with bronze mounts, h. 9‑3/4”, w. 10‑1/2”, d. 6”, a shell-decorated bracket in the Georgian taste, h. 10‑1/2”, w. 13‑1/4”, d. 7”, a pierced and gilded terracotta example, in the Louis XV style, h. 13”, w. 9‑1/4”, d. 7‑3/4”, and a faux painted example in the neoclassical style, h. 28”, w. 8‑1/2”, d. 7‑1/4”. [500/800] 717 Empire-Style Mahogany Display Cabinet, late 19th century, the slightly domed and molded cornice with projecting corners, over a conforming case fitted with a beveled glazed door, flanked to either side by columnar uprights, over two cupboard doors, each paneled and centered by an ormolu-applied winged maiden, flanked en suite, raised on block feet to ormolu paws, the whole richly accented with ormolu mounts and millwork, h. 77”, w. 39”, d. 20”. [2500/4000] Illustrated

721

721 French Bronze Figure of a Gallant, fourth quarter 19th/first quarter 20th century, after Vital Gabriel Dubray (French, 1813‑1892), cast signature on base, h. 17”, w. 6‑1/2”, d. 6”. [1500/2500] Illustrated

718 Empire-Style Mahogany Bergere, early 20th century, the shaped and curved padded back joined by downswept arms on ormolu griffin supports to the cushioned seat, raised on shaped legs headed by winged lion’s masques and ending in ormolu paw feet, h. 41”. [1500/2500] Illustrated 719 Watercolor and Silk Embroidery View of Napoleon and Two Officers, second quarter 19th century, in a period Restauration walnut-veneered ogee frame, initialed in passementerie: “G.M.”, h. 20”, w. 23‑1/2”. [2500/4000] Illustrated 720 French Patinated Bronze Bust of Napoleon, ca. 1900, on a verde antico marble base mounted with a bronze eagle, h. 7‑1/4”, w. 3”, d. 3”. [700/1000]

713

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722

722 Empire-Style Giltwood Fauteuil, 20th century, the padded square back within a laurel-carved frame, joined by flat arms on sphinx uprights to the padded seat, raised on tapering square legs ending in paw feet, h. 37”. [700/1000] Illustrated 723 Neo-Grec Patinated Bronze Sphinx on a Marble Base, third quarter 19th century, the Grecian-style sphinx on a mottled brown marble base decorated with incised gilt anthemia, h. 6‑1/2”, w. 13‑1/4”, d. 4‑1/4”. [1000/1500]

726 Two Italian Grand Tour Obelisks, fourth quarter 19th century, comprising a bronze example depicting “Cleopatra’s Needle”, on a marble base with a bronze fence, h. 10‑1/2”, w. 3‑3/4”, d. 3‑3/4”, and a pietra dura example inlaid with malachite and a flower in the base, h. 10”, w. 3”, d. 3”. [500/800] 727 Pair of French Empire-Style Bronze and Marble Lamps, mid-20th century, the bronze masque-molded bases supporting mottled black marble obelisk-form standards, mounted with barrel shades, base, h. 24‑3/4”, overall, h. 34‑3/4”, w. 6‑1/4”, d. 6‑1/4”. [700/1000]

724 Collection of Three Bronze Inkwells, late 19th/early 20th century, including a Tiffany Aztec double inkwell, set with two molded glass inkpots, marked “Tiffany Studios, New York, 1763”, h. 2‑1/2”, w. 5‑1/2”, a pharaoh-form inkwell, probably French, h. 4‑1/4”, l. 6‑1/4”, and a Continental sleigh- and skater-form inkwell, h. 4‑1/2”, l. 6‑3/4”. [500/800] 725 Pair of French Bronze and Marble Egyptian Revival Garnitures, third quarter 19th century, the pylon-form marble bases incised with lotuses and supporting the bronze dore et patine canopic jar-form garnitures, each with Horas-head covers and winged scarabs decorating the bodies, h. 17”, w. 6‑1/2”, d. 5”. [2000/4000] Illustrated

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729

730 Pair of French Belle Epoque Gilt-Bronze Chenets, fourth quarter 19th century, in the Louis XV style, each decorated with a fire pot and a pierced gallery terminating in a seated griffin, h. 12‑1/2”, w. 14”, d. 4‑1/4”. [1000/1500] Illustrated

730

731 Empire-Style Mahogany and Ormolu Stool, early 20th century, the padded square top raised on shaped legs headed by finely figured ormolu winged eagles and ending in claw feet, h. 19”, w. 20”, d. 20”. [500/800] Illustrated 728 Pair of Biedermeier Mahogany Cellarette Pedestals, early 19th century and later, each with a square top, above a conforming case fitted with a single drawer over a cupboard opening to a metal-lined interior, raised on a tapering standard to a molded square base, h. 43‑3/4”, w. 18”, w. 17‑1/4”. [500/800] 729 Empire-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular charcoal marble top above a conforming case fitted with a long frieze drawer over two recessed long drawers, flanked to either side by engaged pilasters headed by ormolu maiden’s heads, raised on ebonized paw feet, h. 35”, w. 51‑1/4”, d. 21”. [1800/2500] Illustrated

732 English Giltwood Tabernacle Mirror in the Neoclassical Taste, ca. 1900, the painted tablet decorated with classical figures and flanked by fluted pilasters terminating in composite capitals, h. 42”, w. 24‑1/2”. [500/800] Illustrated 733 Pair of Empire-Style Mahogany Bergeres, early 20th century, each with an ormolu-mounted crest above a padded back, joined by downswept arms on ormolu maiden’s head uprights to the padded seat, raised on tapering square legs, h. 38”. [700/1000] Illustrated

732

733

731

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735

734 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”. [500/800] 735 Fernand Cian (Italian, 1889‑1954), “The Crab Hunt”, terracotta figural group depicting children escaping crabs, on a beaded giltwood base, signed “Fernando Cian, Paris”, h. 15‑1/2”, w. 13”, d. 6‑3/4”. [1800/2500] Illustrated

737 739 Pair of Continental Mercury-Gilded and Gilt-Bronze Figures of Saints Peter and Paul, 19th century, Saint Peter holding a key and Saint Paul holding a sword, each carefully detailed and resting on painted and parcel-gilt wooden bases, figure, h. 7‑3/4”, overall, h. 12”, w. 4”, d. 4”. [800/1200] Illustrated

736 Mark S. Joffe (Russian/ American, 1864‑1941), “The Freeing of Andromeda”, 1889, oil on canvas, signed and dated lower right in Russian, 39‑1/4” x 54”. Presented in a giltwood frame. [4000/7000] Illustrated 737 Continental School (18th Century), “Bacchanal with Satyrs”, oil on canvas, 10‑1/2” x 8‑1/2”. Presented in a Baroquestyle pierced and carved giltwood and gesso frame. [550/800] Illustrated 738 Continental School (18th Century), “Infant St. John the Baptist in the Wilderness”, oil on tin, 8‑1/4” x 6‑1/2”. Presented in a handsome Baroque-style giltwood and gesso frame. [550/800] Illustrated

736

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741 Restauration Gilt-Bronze Fire Fender, second quarter 19th century, lushly decorated with carefully cast mounts, the end plinths with cornucopia over molded wreaths and the central rod with a lion’s head masque, h. 10‑1/2”, w. 41‑1/2”, d. 3‑3/4”. [600/900] Illustrated 742 Restauration Gilt-Bronze Planter, second quarter 19th century, with a copper insert, formerly a clock base, h. 9‑3/4”, w. 18‑1/2”, d. 6‑1/4”. [600/900]

741

738 740 French Neoclassical Gilt-Bronze Figural Mantel Clock, first quarter 19th century, decorated with a figure of a satyr holding a flute, his stein of wine atop the clock, which rests on toupie feet decorated with neoclassical mounts, the clock with silk string suspension works, the dial marked “Rieussec Jne a Paris”, for Nicolas Mathieu Rieussec, h. 11‑1/4”, w. 7‑1/2”, d. 3‑1/2”. [1000/1500] Illustrated

743 Empire Mahogany and Marble-Top Commode, early 19th century, the rectangular charcoal marble top above a conforming case fitted with a single frieze drawer over two recessed drawers, flanked to either side by an ebonized pilaster, all drawers with inlaid scrolling brass accents, the whole raised on ebonized ball feet, h. 30‑1/4”, w. 34‑1/2”, d. 18‑1/2”. [1400/1800] Illustrated on next page

740

739

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749 Good Pair of Directoire Polychromed Sidechairs, 18th century, the backs with a turned crest rail above a wide slat with circular carved motifs and above a plumecarved splat, the front legs turned with reeded knees, h. 34”, w. 19”, d. 19”. [800/1200] Illustrated

745

744 Restauration Gilt-Bronze Potpourri Urn, second quarter 19th century, decorated with engine turning, a pierced cover and a pineapple finial, retaining its gilt surface, h. 6‑1/4”, dia. 3‑1/2”. [500/800] Illustrated 745 French First Empire Bronze Dore Mantel Clock, ca. 1800, featuring a child dressed in a classical robe and reading a book, above a base decorated with a pair of figures reading, flanking a globe, the dial signed by the retailer or possibly the case bronzier, Raol a Lyon, set with later works, h. 12‑1/2”, w. 9‑3/4”, d. 3‑1/2”. [600/900] Illustrated

750 Set of Eleven Restauration Paris Porcelain 744 Luncheon Plates, ca. 1802‑1829, each decorated with a central shield and border of tooled gilt rhytons and scrollwork, on a Paris green ground, retailed by Madame Desarnaud, l’Escalier de Cristal, and marked in rouge-de-fer script, dia. 8‑3/4”. [500/800] 751 Pair of Russian Bronze, Marble and Crystal Six-Light Candelabra, mid-20th century, in the neoclassical taste, each with a white marble plinth supporting a bronzemounted verde antique column-form standard, hung with loops, swags and sprays of crystal drops in the Russian taste, h. 31”, dia. 17‑1/4”. [1400/1800] Illustrated

746 Directoire-Style Fruitwood Window Seat, late 19th century, the long padded rectangular seat flanked to either side by padded scrolling ends, raised on tapering circular legs ending in toupie feet, h. 35”, w. 67”, d. 25”. [700/1000] 747 Pair of French Gilt-Bronze Two-Light Wall Sconces, in the Louis XVI style, decorated with torch-form backplates, and arrow-form candle arms crossed and held with bowknots, electrified, h. 20”, w. 12”, d. 2‑1/2”. [500/800] 748 Pair of Directoire Polychrome Bergeres, early 19th century, each with a back-sloped spindled crest above a fluted and patera-carved frieze over a padded back, joined by padded arms and baluster uprights to the cushioned seat, raised on tapering ring-turned legs, h. 35”. [3000/5000] Illustrated

148

743

748

753 752 Baccarat-Style Crystal and Brass-Plated Double Condiment Dish, mid-20th century, French, the diamond point cut dishes with bronze engine-turned bezels and supported by a dolphin-form handle, h. 7”, w. 12‑3/4”, d. 5‑3/4”. [500/800]

751

749

753 Continental Art Nouveau Carved Alabaster Figure of a Woman, ca. 1900, depicted holding a bouquet of flowers, h. 28‑1/4”, w. 10‑1/2”, d. 9‑3/4”. [500/800] Illustrated 754 French Gilt-Bronze and White Marble Crystal Regulator, first quarter 20th century, New York, retailed by Theodore Starr, with a white marble base and top, the gilt-bronze neoclassical-style case set with beveled glass, the works signed “A. D. Mougin”, and “Made in France”, set with a hand-painted enamel dial marked “Theodore B. Starr, New York”, h. 20‑1/4”, w. 11‑1/2”, d. 8‑1/4”. [2500/4000] Illustrated on next page 755 French Onyx and Gilt-Bronze Beaux-Arts Lamp, first quarter 20th century, the column-form standard raised on a stepped base and set with a gilt-bronze base cap and a composite gilt-bronze capital, fitted with a shade, base, h. 28”, overall, h. 40‑3/4”, w. 7‑1/2”. [700/1000]

149

756 Pair of French Empire-Style Gilt-Bronze and Cut Glass Lamps, third quarter 20th century, in the Baccarat manner, the urn-form bodies mounted with swan’s head handles, base, h. 17‑1/2”, overall, h. 33‑1/2”, dia. 6”. [1500/2500] Illustrated

765 761 Two Neoclassical-Style Female Busts, consisting of a marble example depicting a female head on a contemporary stand, h. 8‑1/4”, w. 3”, and an alabaster example depicting a young woman in Turkish costume, fourth quarter 19th century, Italian, h. 7”, w. 5”. [1800/2500] 762 Italian Marble Bust of David, second quarter 20th century, an Art Deco interpretation of the original after Michelangelo Buonarroti (Italian, 1475‑1565), h. 31‑3/4”, w. 17‑3/4”, d. 14‑1/4”. [3500/5000] Illustrated 754

757 Empire Polychrome Settee, 19th century, the cushioned trisected back joined by padded outswept arms to the padded seat, the front with applied giltwood designs in the Empire taste, raised on paw feet, h. 36”, w. 88”, d. 29‑1/2”. [1500/2500] Illustrated 758 Large Classical-Style Pickled Mahogany Pedestal, early 20th century, the square top with an acanthuscarved frieze supported by a wide, slightly tapered and fluted standard, h. 48”, w. 16”, d. 16”. [700/1000] 759 Continental of the Marble “Winged Victory of Samothrace”, first quarter 20th century, probably Italian, after the 2nd century B.C. Greek marble now at the Louvre, Paris. h. 28‑1/2”, w. 22”, d. 16‑1/2”. [2000/4000] 760 Italian Carved Alabaster Figure of Venus de Milo, ca. 1900, after the Greek original, h. 21‑1/2”, dia. 5‑3/4”. [500/800] 756

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762

763 French Lacquered Bronze Art Deco Pedestal, second quarter 20th century, in the neoclassical style, h. 48‑1/4”, w. 17‑1/4”, d. 17‑1/4”. [1500/2500] 764 Neoclassical Giltwood Wall Clock, second quarter 19th century, probably German, with a shadowbox case decorated with eggand-dart molding and an eagle surround on the pendulum aperture, the silk string suspension works marked “Th Pemsel”, and set with an enamel dial and an engine-turned bronze bezel, h. 16‑3/4”, w. 14”, d. 5”. [600/900] Illustrated 765 Heinz Pinggera (Italian/German, b. ca. 1900), “The Music Salon”, oil on canvas, signed lower left, 25” x 33”. Presented in a rococo-style giltwood and gesso frame. [2000/4000] Illustrated

766 Pair of French Aubusson-Type Tapestries, ca. 1900, of tall, rectangular form, with floral borders and swags of flowers supporting small bouquets on one end and larger bouquets on the other, h. 113‑1/2”, w. 48‑1/2”. [1800/2500] 767 Pair of French Gilt-Bronze Altar Sticks, now mounted as lamps, the tapering fluted standards above urns with grapevine handles and raised on scroll-footed tripartite bases decorated with applied flowers, base, h. 30”, overall, h. 44”, dia. 8”. [500/800] Illustrated on nex page

757

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768 Louis XVI-Style Giltwood Settee, early 20th century, the padded rectangular back within an eggand-dart-molded frame, joined by padded arms to the like seat, raised on tapering circular legs headed by ribbed capitals and ending in toupie feet, h. 39‑1/2”, w. 72”, d. 25”. [1000/1500] Illustrated 769 Suite of Six Louis XVI-Style Giltwood Sidechairs, early 20th century, each with a padded graduated rectangular back flanked to either side by fluted uprights, the padded seat raised on fluted tapering circular legs headed by floral block capitals and ending in brass caps, h. 38‑1/2”. [800/1200] Illustrated 770 Andre (Gittelson) Gisson (American/French, 1921‑2003), “Busy Evening in Front of the Madeleine, Paris”, oil on canvas, signed lower right, a partial “The Fine Art Galleries” label en verso, 24” x 30”. Framed. Provenance: Private collection, Canada; Waddington’s Auctions, Dec. 31, 2011, lot 12; The Fine Art Galleries, The T. Eaton Co. Ltd., Canada. [2000/4000] Illustrated

769

771 Pair of Louis XVI-Style Polychrome Fauteuils, mid19th century, each with a padded tapering rectangular back within a molded frame, joined by padded arms to the like seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 34‑1/2”. [700/1000] 772 Petite French Gilt-Bronze and Crystal Six-Light Basket Chandelier, first quarter 20th century, in the Louis XVI taste, hung with strands of prisms, and having bowknots supporting the three double-socket candle arms with leaf-molded cups, h. 26”, dia. 18‑1/2”. [500/800] Illustrated 773 Louis XVI-Style Giltwood Looking Glass, late 19th century, the rectangular plate surmounted by a pierced torchere- and wreath-carved crest, surrounded by an annulated and floral ribbon-carved frame with pendant floral side carvings, h. 69”, w. 40‑1/2”. [800/1200] Illustrated

770

774 Louis XVI Polychrome Bergere, late 18th century, the padded domed back within a molded frame, joined by scrolling arms to the cushioned seat, raised on fluted tapering circular legs ending in peg feet, h. 37‑1/2”. [700/1000] Illustrated 775 Jean Alfred Marioton (French, 1863/64‑1903), “The Temple of Love, Bois de Vincennes, Paris”, August 1892, watercolor on paper, signed and dated “Marioton / S aout 92” lower left, sight 10‑1/2” x 7‑3/4”. Matted, glazed and framed. [500/800] Illustrated on next page

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772

767

776 Pair of Louis XVI-Style Baccarat Crystal and Bronze Five-Light Candelabra, fourth quarter 19th century, with fluted and leaf-molded gilt-bronze standards and unusual notch-cut prisms, the bobeches marked “Baccarat” in a molded signature, h. 17‑1/2”, dia. 11‑1/2”. [2000/4000] Illustrated on next page 777 Royal Copenhagen, Denmark, “Flora Danica” Charger, ca. 1950‑1960, decorated with hand-painted “Orobus niger”, identified on the rear, and a pierced gilt border, marked on the rear, dia. 13”. [500/800] Illustrated on next page

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777

779 French Neoclassical Biscuit Figural Group, fourth quarter 19th century, depicting offerings to cupid, with bronze base trim, with an impressed Sevres-style mark, h. 13‑3/4”, w. 8‑3/4”, d. 5‑3/4”. [900/1200] Illustrated 775 778 Louis XVI-Style Polychrome Commode, the rectangular top with canted corners, above a conforming case fitted with two long drawers, each centered by a laurel wreath carving and flanked by canted fluted uprights, raised on fluted tapering square legs, h. 28”, w. 35‑1/2”, d. 17”. [1400/1800] Illustrated

780 Set of Four French Brass and Crystal Two-Light Sconces, first quarter 20th century, in the Louis XVI style, with putti playing pan pipes serving as finials on the pierced backplates, the scrolled arms terminating with diamond-molded crystal bobeches hung with crystal drops, h. 21”, w. 10‑1/2”, d. 5‑1/2”. [1500/2500] Illustrated

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781 Pair of Louis XVI-Style Polychrome Benches, early 20th century, the long padded rectangular seat above a molded frieze and raised on stop-fluted tapering circular legs ending in toupie feet, h. 17”, w. 53”, d. 18”. [700/1000] Illustrated 782 Unusual Pair of Continental Porcelain Garniture Urns, second quarter 19th century, now mounted as lamps, the vasiform urns, possibly Meissen, set with griffin head handles and decorated with swags of hand-painted ivy, urn, h. 11‑3/4”, overall, h. 22‑1/4”, dia. 5‑3/4”. [800/1200] Illustrated 783 French Glass-Embellished Six-Light Chandelier, second quarter 20th century, in the Louis XV taste, the glass bead-lined frame set with candle arms terminating in molded glass bobeches, and hung with strands of prisms and green glass fruit-form drops, h. 34‑1/2”, dia. 23‑1/2”. [600/900] Illustrated

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778

155

784 French Bronze and Porcelain Table Lamp in the Chinoiserie Style, second quarter 20th century, in the form of a covered urn decorated with Chinese vases and scrollwork, with gilt-bronze fittings, base, h. 19”, overall, h. 26‑3/4”, dia. 5”. [1000/1500] Illustrated

785 787 Pair of Louis XVI-Style Gilt-Bronze Two-Light Sconces, second quarter 20th century, the pierced backplates in the form of tassels supported by bowknots, electrified, h. 23‑1/2”, w. 10‑1/4”. [600/900] Illustrated 788 Royal Berlin Porcelain and Bronze Three-Piece Clock Set, post-1884, German, in the Louis XV style, with handpainted flowers and trimmed with applied gilt, including unusual piercings on both the four-light candelabra and clock, the clock support marked with an underglaze blue scepter, candelabra, h. 19”, dia. 11‑1/4”, clock, h. 20”, w. 12”, d. 7‑1/2”. [3000/5000] Illustrated 784

785 Arts and Crafts Porcelain Plaque of Classical Inspiration, first quarter 19th century, probably German, depicting a female with a winged head directing music held by a cupid, unsigned, in an Arts and Crafts giltwood frame, h. 18‑3/4”, w. 15‑3/4”. [1000/1500] Illustrated 786 Set of Twelve Spode “Stafford Flowers” Bone China Dinner Plates, 20th century, English, with hand-painted irises, dia. 11”. [600/900] Illustrated

156

789 Louis-Philippe Giltwood Mirror in the Rococo Taste, mid-19th century, the bolection-molded frame with a pierced crest decorated with scrollwork and flowers, h. 79‑1/2”, w. 46‑1/2”. [1200/1800]

786

790 Suite of Four French Gilt-Bronze Two-Light Wall Sconces, the shell-molded backplates set with pairs of adjustable leafmolded candle arms with matching bobeches and candle cups, electrified, h. 15‑1/2”, w. 20”, d. 3‑1/2”. [900/1200] 791 Pair of Louis XVI-Style Giltwood and Marble-Top Console Tables, late 19th century, each with a shaped marble top above a conforming frieze centered by floral carving, raised on scrolled legs with a floral garland carving, joined by an urncentered finial and ending in scrolled toes, h. 33”, w. 50”, d. 15‑1/2”. [2000/4000] Illustrated

787

791 (1 of a pair)

788

157

792 792 Pierre Carrier-Belleuse (French, 1851‑1932), “Ballerina with a Black Cat”, 1897, pastel on canvas, signed and dated lower left, 63” x 43”. Glazed and framed. [15000/24000] Illustrated

158

795 (1 of 2)

793

793 Camille Pissarro (French, 1830‑1903), “Femme Assise”, pencil on paper, stamped with the artist’s initials lower right, verso with “Norton Gallery & School of Art, West Palm Beach, FL” label, “Schoneman Galleries, Inc., New York, NY” label, “Christie’s, May 5, 2010, lot 207” label and “Doyle, New York” label, 6‑1/4” x 3‑1/2”. Glazed, matted and framed. Provenance: Purchased from Doyle New York, Oct. 9, 2013, Lot 40. [2000/4000] Illustrated

794 Circle of Eugene Boudin (French, 1824‑1898), “Woman on the Beach”, oil on board, unsigned, 4‑3/4” x 6‑3/8”. Framed. [500/800] Illustrated 795 Collection of Two Early 20th-Century Works on Paper, including one by Alfred Palmer (British, 1877‑1951), “Standing Nude”, 1901, graphite on paper, signed and dated lower right, sight 23‑5/8” x 13”, and one by Jan De Ruth (American/Czech, 1922‑1991), “Nude”, white and red chalk on paper, signed lower left, sight 8‑3/4” x 5‑1/8”. Both glazed, matted and framed. [500/800] Illustrated 796 Theophile Alexandre Steinlen (Swiss/ French, 1859‑1923), “Startled by a Troll in a Snow-Covered Field”, charcoal on paper, signed lower right, sight 17‑1/2” x 15‑1/2”. Matted, glazed and framed. [600/900] Illustrated on next page

794

This drawing illustrates a scene from “The Snow Queen” by Hans Christian Andersen (Danish, 1805‑1875).

159

797 Fine Pair of Signed LouisPhilippe Bronze Dore Four-Light Candelabra, second quarter 19th century, in the rococo taste, both stamped on the underside “DUB”, the tapering triangular standards raised on tripodal foliate paw feet above conforming plinths, now mounted as lamps and fitted 796 with custom silk shades and bronze flame-form finials (formerly the original snuffers), candelabrum, h. 22”, overall, h. 37”, dia. 19”. [1400/1800] Illustrated 798 French Belle Epoque Gilt-Bronze Twenty-Four-Light Chandelier, ca. 1900, in the Louis XV taste, the vasiform rocaille-molded standard decorated with putti playing pan pipes, and set with scrolled candle branches on three tiers, h. 48‑1/2”, w. 36”. [8000/12000] Illustrated 799 Pair of Louis XVI-Style Carved and Pierced Wooden Plaques, depicting trophies of musical instruments suspended from a bowknot in a laurel wreath, h. 49”, w. 59”. [1200/1800] Illustrated 800 Pair of Louis XVI-Style Mahogany Bergeres, 20th century, each with a square back within an annulated frame, joined by fluted arms on bulbous uprights to the deep cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 36”. [700/1000]

799 pair

801 Louis XVI-Style Mahogany Center Table, 19th century, the circular top within a brass banding, above a conforming frieze fitted with four drawers, raised on fluted tapering circular legs headed by reeded ormolu panels and ending in ormolu toupie feet, h. 30”, dia. 41‑1/2”. [1000/1500] 802 French Gilt-Metal and White Marble Bust of a Jeune Fille, first quarter 20th century, after Affortunato Gory (French/ Italian, 1895‑1925), on a green marble base, marked “A. Gory, Paris”, h. 10‑3/4”, w. 6‑1/2”, d. 4”. [1500/2500]

803

803 Pair of Louis XVI Polychrome Fauteuils, late 18th century, each with a padded trapezoidal back within a molded frame, joined by padded arms on baluster-form uprights to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 34‑1/4”. [600/900] Illustrated

797

160

804 Two French Miniature Portraits in Gilt-Bronze Neoclassical-Style Frames, ca. 1900, the larger depicting Madame Pompadour, h. 8”, w. 5‑1/2”, and the smaller depicting Juliette Recamier, h. 5‑1/2”, w. 3‑3/4”. [500/800]

798

806 805 Louis XVI-Style Giltwood, Polychrome and Marble-Top Side Table, 19th century, the breakfront rectangular marble top above a conforming frieze centered by a carved musical plaque flanked by acanthine accents to either side, raised on stop-fluted tapering circular legs headed by foliate capitals and ending in toupie feet, h. 35”, w. 59‑1/2”, d. 23‑1/4”. [2500/4000] Illustrated

806 Francois Reynaud (French, 1825‑1909), “Young Girl at Work, a Dog at Her Side”, oil on canvas, signed lower right, 17” x 12”. Framed. [900/1200] Illustrated

805

161

807 Pair of French Gilt-Bronze-Mounted Chinese Pottery Table Lamps, first quarter 20th century, the lamps composed of two Qing dynasty cut celadon porcelain Bangchuiping Roleau vases with craquelure, mounted with gilt-bronze fittings of Franco/Asian inspiration, base, h. 23‑3/4”, overall, h. 36”, dia. 7”. Provenance: Selected by Mark Hampton for the living room of the New Orleans, Louisiana, home of Mr. and Mrs. William H. Henderson. [3000/5000] Illustrated

807

Mark Hampton and Mrs. William H. Henderson

808 Pair of Louis XVI-Style Polychrome Fauteuils, each with a padded back within a molded frame, joined by padded scrolling arms to the like seat, raised on stop-fluted tapering circular legs ending in bulbous toupie feet, h. 34‑1/4”. [700/1000] 809 Pair of French Belle Epoque Gilt-Bronze ThreeLight Sconces, ca. 1900, in the Louis XV style, with scrolled backplates, h. 17‑1/2”, w. 12‑1/4”. [600/900] 810 French Gilt-Bronze and Crystal Six-Arm Basket Chandelier, first quarter 20th century, in the Louis XVI style, the bronze frame molded in the form of ribbonbound reeds terminating in bowknots, strung with drops and beads, the basket concealing six additional light sockets, h. 42”, dia. 28”. [1800/2500] Illustrated

813 Louis XVI-Style Mahogany and Onyx Occasional Table, the inset onyx kidney-form top within a three-quarter pierced brass gallery, above a conforming frieze fitted with a single drawer, joined by fluted uprights to a like-shaped lower shelf, raised on ormolu-mounted shaped legs ending in sabots, h. 32‑1/2”, w. 21‑1/2”, d. 13”. [700/1000] 814 French Bronze Beaux-Arts Mirror, first quarter 20th century, framed in bound reeds, with a bowknot finial, the lower portion marked by the foundry, H. Au Meunier Bronzes, 21 R. Beranger, h. 46‑1/4”, dia. 24‑3/4”. [800/1200]

811 Pair of Louis XVI-Style Giltwood Armchairs, 20th century, each with a floral crest above a padded rectangular back, joined by padded scrolling arms to the padded seat, raised on tapering circular legs ending in toupie feet, h. 38‑1/2”. [700/1000] Illustrated 812 Pair of Italian Giltwood Three-Light Sconces, mid-20th century, in the Louis XV taste, the leaf- and ribbon-carved backplates set with horn-form candle arms terminating in arrowheads and hung with tassels, h. 37”, w. 16‑1/2”, d. 9‑1/2”. [500/800] 811

162

818 810

815 Pair of Louis XVI-Style Polychrome Bergeres avec Orielles, early 20th century, each with a slightly domed trisected back surmounted by a ribbon-carved frame and finials, joined by downswept arms to the padded seat, raised on fluted tapering circular legs ending in foliate toupie feet, h. 36‑1/2”. [800/1200] 816 Set of Twenty-Four Limoges Raised Gilt Luncheon Plates, ca. 1891‑1932, French, made by William Guerin and retailed by Bailey, Banks and Biddle, dia. 8‑1/2”. [500/800]

817

817 Tiffany-Retailed Gilt-Bronze and Steel Carriage Clock, fourth quarter 19th century, French, with a minute and hour repeater movement, the case set with spiral-reeded columns, the steel chapter ring marked “Tiffany, New York”, surrounding a gilt-bronze beaver in scrollwork, the case alternating gilt-bronze and polished steel throughout, marked “GL” for Guy Lamaille, h. 5‑3/4”, w. 4‑1/4”, d. 3‑1/2”. [2000/4000] Illustrated 818 Andre Beronneau (French, 1886‑1973), “Carqueiranne”, oil on canvas, signed lower right, titled and signed en verso, 24” x 30”. Framed. [800/1200] Illustrated 819 Louis XVI-Style Polychrome Bench, 20th century, the padded rectangular top raised on ribbed tapering circular legs ending in toupie feet, h. 20”, w. 29”, d. 17”. [500/800] Illustrated

819

163

822

823

820 Two French Biscuit Portrait Busts, fourth quarter 19th century, including a Sevres example depicting French revolutionary army hero, General Lazare Hoche, impressed “SEVRES”, h. 15‑1/2”, w. 17‑3/4”, d. 7”, and a Sevres-style example depicting French politician and historian, Adolphe Thiers, after Albert Carrier-Belleuse (French, 1824‑1887), incised “A. Carrier Belleuse”, h. 15‑1/2”, w. 9‑1/4”, d. 6‑1/4”. [1400/1800] 821 Pair of Louis XVI-Style Polychrome and ParcelGilt Fauteuils, late 19th century, each with a padded oval back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 37‑1/2”. [700/1000] Illustrated

822 Pair of Louis XV-Style Gilt-Bronze Wall Sconces, first quarter 20th century, French, h. 17‑1/2”, w. 11‑3/4”. [500/800] Illustrated 823 Louis XV-Style Gilt-Bronze Cartel Clock, fourth quarter 19th century, decorated with scrollwork and swags of flowers, mounted with an urn-form finial, the marked Mougin works set with an enamel dial, marked by the retailer Renaissance, 8 rue d’Angouleme, Paris, h. 26‑1/4”, w. 9”, d. 5‑1/4”. [700/1000] Illustrated 824 Pair of Cut Glass and Silverplate Five-Light Candelabra, second quarter 20th century, probably French, with vasiform cut glass standards and silverplate fittings, electrified, h. 30”, dia. 13”. [1500/2500] Illustrated

824

821

164

825 Louis XVI-Style Giltwood Bergere avec Orielles, 20th century, the padded domed back within a laurelcarved frame, joined by shaped sides and padded arms to the cushioned seat, raised on fluted circular tapering legs ending in toupie feet, h. 43”. [600/900] 826 Eight Pieces of Chinese-Style Porcelain, 19th century, four with Samson’s “Chinese” marks, including a Sevres-style cachepot on stand, h. 8‑1/4”, a double gourd-style vase, h. 8‑3/4”, a serpentine tea caddy, h. 5”, a cylindrical armorial box, h. 2”, dia. 4”, a covered garniture vase, marked “M” and “Paris” in a lozenge, h. 9‑1/2”, an unmarked incurvate armorial box, h. 2”, w. 3”, a floral-painted spoon tray, w. 7”, and a square dish decorated with the Irish Coat of Arms, w. 7”. [600/900] 827 Continental Medieval-Style Tapestry, first quarter 20th century, depicting a group of nobility in the foreground, with an apple orchard and a castle in the rear, the elaborate border worked with phoenix birds and griffins, h. 61”, w. 42”. [500/800] Illustrated 828 Pair of Italian Chinoiserie Wood, Porcelain and Bronze Two-Light Sconces, ca. 1900, the coromandelstyle backplates set with bronze candle arms and tole vines with porcelain flowers, h. 12”, w. 10‑1/4”, d. 4‑3/4”. [1000/1500] Illustrated 829 Pair of Louis XV-Style Bronze and Crystal Three-Light Candelabra, second quarter 20th century, hung with sprays of crystals interpersed with glass fruit, electrified, h. 17‑1/2”, dia. 11”. [500/800] Illustrated

828

827

829

165

830 Italian Creme-Peinte and Parcel-Gilt Cabinet, early 20th century, the shaped crest with palmetto finials flanking a central masque-carved shield, above a case fitted with two astragal-glazed doors over two paneled cupboard doors, all doors with applied foliate giltwood accents, raised on a molded plinth, h. 89”, w. 46‑1/2”, d. 16‑1/2”. [2500/4000] Illustrated 831 Pair of Italian Creme-Peinte and Parcel-Gilt Fauteuils, early 20th century, each with a curved, shaped and padded back surmounted by a foliate crest, joined by molded arms to the cushioned seat, raised on cabriole legs ending in foliate toes, h. 43”. [1200/1800] 832 Pair of Silvered Bronze Rondel Plaques, decorated with Renaissance-style masques representing spring and autumn, dia. 12‑1/2”. [700/1000] 833 Italian Baroque-Style Bronze and Crystal Candlestick-Form Table Lamp, second quarter 20th century, composed of crystal with gilt-bronze fittings, the turned standard with a drip pan and raised on a tripartite base with paw feet, h. 29‑3/4”, w. 8‑1/2”. [500/800]

835

834 Pair of Italian Creme-Peinte and Parcel-Gilt Fauteuils, early 20th century, probably Venetian, each with a padded and domed back surmounted by a scrolling shell crest, joined by scrolling foliate-carved arms to the padded seat, raised on molded cabriole legs ending in foliate toes, h. 46‑1/2”. [1500/2500] Illustrated 835 Pair of Italian Altar Textiles, early 19th century, with delicately worked petit point images of Mary and Jesus with floral surrounds, trimmed with passementerie, h. 11‑1/2”, w. 10‑1/4”. [500/800] Illustrated

838

830

166

834

842

839 Interesting Hand-Painted Porcelain Tray, mid-19th century, probably German, depicting blacksmiths at work, bordered by painted flowers and insects in the Meissen manner, unmarked, dia. 12‑1/4”. [700/1000] 840 Pair of Neoclassical-Style Paint-Decorated Occasional Tables, decorated with bronze paw feet and mounts, the porcelain tops in the Chinese style, h. 30‑1/4”, dia. 24”. [1200/1800] 841 Continental Gilt-Bronze and Enamel Rococo-Style Miniature Settee, ca. 1900, possibly Viennes, the enamels depicting figures in 18th-century costume, h. 3”, w. 3‑1/2”, d. 1‑3/4”. [500/800] Illustrated 841

836 Venetian Rococo-Style Parcel-Gilt and Faux-Bois Mirror, second quarter 19th century, decorated with gilt scrollwork on a faux rosewood ground, h. 43‑1/2”, w. 30‑3/4”. [1200/1800]

842 Serpentine Enamel Box, third quarter 18th century, probably English, the cover depicting dock workers unloading hog’s heads from a ship adjacent to a city gate, the sides and back decorated with flower sprigs, h. 2‑1/4”, w. 5‑1/4”, d. 5”. [1400/1800] Illustrated

837 Good Italian Rococo-Style Giltwood and Marble-Top Console Table, 19th century, the shaped rosso antico marble top over a pierced foliate- and shellcarved frame, the cabriole legs with vine carvings joined by an elaborate stretcher with a foliate central panel, h. 34”, w. 56”, d. 23”. [3000/5000] Illustrated 838 Pair of Baroque-Style Bronze Candlesticks, ca. 1900, probably Italian, depicting half putti and half dolphins riding turtles, impressed “MDCCXX (1720)” on the base, fitted with shade holders and rose shades, h. 10‑1/2”, w. 5‑1/4”, d. 4”. [500/800] Illustrated

837

167

844

843

843 Miniature Gilt-Bronze and Enamel Harp, ca. 1900, probably Viennes, the enamel decorated with polychrome troubadours and putti, h. 5”, w. 2‑3/4”. [500/800] Illustrated 844 Pair of French Belle Epoque Bronze Dore Easel Frames, fourth quarter 19th century, in the Renaissance taste, now mounted with mirror plates, the surrounds molded with pierced scrollwork terminating with anthemion-backed masques, h. 16”, w. 13”. [500/800] Illustrated

846

845 Italian Olivewood Bombe Commode, 20th century, with a dramatic serpentine front, fitted with three long drawers and raised on cabriole legs, h. 38”, w. 47”, d. 24”. [2000/4000] Illustrated 846 Rare Empire-Style Giltwood Canterbury/Book Holder, fourth quarter 19th century, probably Italian, with lyre sides decorated with applied masques, resting on paw feet, with carved cupid’s bow-shaped dividers, the pierced lower edge decorated with a crest-type device, h. 17”, w. 13‑3/4”, l. 19‑3/4”. [800/1200] Illustrated 847 Pair of Italian Rococo Revival Giltwood Wall Brackets, fourth quarter 19th century, the pierced scrollwork backplates supporting serpentine shelves, h. 13‑3/4”, w. 13‑3/4”, d. 8”. [500/800] Illustrated 845

168

847

848 Italian Baroque-Style Giltwood Barometer, mid-20th century, framed with a cornucopia of fruits and swags of flowers, with a fluted vase of of flowers serving as the finial, set with German works, h. 39‑1/2”, w. 20‑1/4”. [600/900] Illustrated

848

849 Two Aneroid Barometers, one Dutch, 1894, by D. W. Van Rennes, brass with .833 silver frame by C. J. Beeger, Utrecht, the rococo chased frame with retirement presentation inscription, dia. 5‑1/4”, frame, h. 9”, w. 7‑1/2”, the other American, 1965, by Taylor Instruments, Rochester, New York, brass, with Navy Department plaque, dia. 6‑3/4”. [500/800]

850

850 Unusual Italian Giltwood and Painted Mirror in the Baroque Taste, fourth quarter 19th century, the crest with two putti frolicking on a bed of flowers, above a pierced swag of flowers, the lower edge decorated with a hippocampus, h. 60”, w. 39‑1/2”. [3500/5000] Illustrated 851 Pair of Italian Finely Carved Alabaster Ewers, early 20th century, in the neoclassical taste, the true pair of ewers relief-carved in the round with acanthus-footed urns issuing ribbons and fruit-and-floral garlands, and having coiled wyvern handles, raised on socle bases above square plinths, the plinths numbered and inscribed “Made in Italy”, now mounted as lamps and fitted with custom linen shades, ewer, h. 18”, w. 8”, overall, h. 30‑3/4”, dia. 16”. [600/900] Illustrated on next page

169

852

851

852 Italian Alabaster Rhyton-Form Garniture Vase, second quarter 19th century, in the form of a leaf- and scroll-carved rhyton terminating in a griffin, on a base carved with floral swags and tassels, h. 13‑3/4”, w. 12”, d. 8‑1/2”. [500/800] Illustrated

855 Continental School (Second Quarter 19th Century), “Mountainous Landscape with Figures and a Manor”, oil on canvas laid on board, 20” x 24”. Presented in a giltwood and gesso frame. [500/800] 856 Henri Mosny (French, 19th Century), “Mountainous Landscape with Figure of a Man and Child on a Path”, oil on canvas, signed and dated “1885” lower left, 25‑1/2” x 21”. Presented in a giltwood and gesso frame. [700/1000] Illustrated 857 Circle of Bernardo Bellotto (Italian, 1721‑1780), “Venetian Canal Scene”, oil on canvas, verso with a later inscription “B. Bellotto”, 21” x 27‑1/2”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated

859

857 853 Italian Baroque Giltwood Mirror, third quarter 18th century, the ribbon-carved crest terminating in carved flowers, the lower edge in the form of an inverted crest, h. 33‑1/2”, w. 19”. [500/900] 854 Follower of Salvator Rosa (Italian, 1615‑1673), “Figures in a Landscape with a River and Ruins of a Gothic Church”, oil on canvas, unsigned, 21” x 23”. Presented in a Louis XV-style giltwood and gesso frame. [1800/2500] Illustrated

170

854 858 Italian Walnut Commode, early 19th century, in the neoclassical style, the graduated rectangular top banded, quarter-veneered and centered by a fanciful creature inlay, above a conforming case fitted with three long drawers, all banded, veneered and inlaid en suite, raised on cabriole legs, h. 32”, w. 43”, d. 21”. [800/1200] Illustrated 859 Good Pair of Early Victorian Gilt-Bronze Candlesticks, design registered November 22, 1847, by Mason, Elkington & Co., in the Gothic Revival taste, each with a tapering paneled standard above a lobed foot and surmounted by a paneled nozzle with detachable bobeche, the whole decorated with scrolls and bellflowers on a matte ground, h. 10”, dia. 5‑3/8”. [700/1000] Illustrated

858

856 860 Continental Mahogany and Exotic Woods Center Table, mid-19th century, the circular top with an elaborate star-patterned inlay, above a plain frieze, raised on a bulbous baluster-form standard to three shaped legs ending in in-scrolled toes, h. 30”, dia. 27‑1/2”. [600/900] 861 Napoleon III Gilt-Bronze Jewel Casket, third quarter 19th century, molded with fighting stags on the cover, the sides molded with stags and birds, the interior lined with tufted blue satin, h. 5‑1/2”, w. 8”, d. 6‑3/4”. [500/800] Illustrated

861

171

862 Pair of Italian Grand Tour Bronze Figures of Gladiators, fourth quarter 19th century, on tripartite pierced bases decorated with satyrs depicted in battle regalia, h. 16”, dia. 7”. [1800/2500] Illustrated

863

862

863 Pair of Italian Bronze Four-Light Candelabra in the Neo-Grec Style, the Corinthian column standards supporting candleholders in the form of classical oil lamps, and raised on paw feet with bold anthemia, h. 27”, dia. 9”. [600/900] Illustrated 864 Continental Neoclassical Fruitwood Commode, early 19th century, the rectangular top with turreted corners, above a case fitted with two short drawers over a single long drawer, raised on paneled tapering square legs, h. 36”, w. 43”, d. 23”. [1000/1500] Illustrated

864

172

865 Continental Patinated Bronze Bust of the Emperor Augustus on a Bronze and Marble Pedestal, 20th century, the life-sized bust modeled with an applied laurel diadem and raised on a bronze socle base, presented on a patinated bronze and spiraled Rouge Griotte marble pedestal, bust, h. 21”, w. 15”, d. 12”, pedestal, h. 41”, w. 14”, d. 14”, overall, h. 62”. [700/1000] Illustrated 866 Good Gorham Patinated Bronze Rhyton-Form Vase, fourth quarter 19th century, Providence, Rhode Island, with bicolor patination, decorated with a chased band of sejant griffins and an anthemion and scroll finial, supported by a displayed griffin, its front feet splayed and bound, its rear feet haunched, h. 9‑3/4”, w. 7‑1/2”, l. 13‑1/2”. [1400/1800] Illustrated

865

867 Renaissance Revival Patinated Bronze Boudoir Mirror Frame, fourth quarter 19th century, decorated with a lion and griffin, each poised with daggers ready for battle, resting on scrolled pierced feet, h. 18”, w. 16‑3/4”. [500/800]

869

866

868 Provincial Regence-Style Fruitwood Commode, 19th century, the rounded rectangular top above a bombe case fitted with two long drawers, each paneled and with decorative hardware, raised above a shell-carved frieze on cabriole legs, h. 33”, w. 48‑1/2”, d. 25‑1/2”. [1500/2500] Illustrated

868

870 Pair of Continental Fruitwood and Mahogany Cabinets, each with a molded cornice above two doors, each inset with three ebonized panels, opening to a shelved interior, flanked to either side by ribbed uprights with ebonized capital and base, raised on a plinth base with bracket feet, h. 71”, w. 32”, d. 20”. [1500/2500] 871 Florentine Mid-Century Pietra Dura Plaque, depicting a woman dressed for carnival, with a gondola and canal in the background, in a giltwood frame, labeled by G. Ugolini, h. 11‑3/4”, w. 9”. [800/1200] 872 Niek van der Plas (Dutch, b. 1954), “Venice”, oil on wood panel, signed lower left, signed and titled en verso, 18‑1/4” x 24”. Framed. [1500/2500] Illustrated

869 Carved Wood Mirror in the Italian Baroque Style, the pierced scrollwork crest decorated with a vase of acanthus leaves, set with a beveled mirror plate, h. 59”, w. 40‑1/2”. [1200/1800] Illustrated 872

173

873 Continental School (20th Century), “Venetian Canal”, oil on board, unsigned, sight 20‑1/4” x 25‑3/4”. In a silvered gilt frame. [800/1200] Illustrated

877 George III-Style Mahogany Console Table, late 20th century, in the Chinese Chippendale taste, with a rectangular top and square legs, blind fretwork decor and pierced corner brackets, h. 32”, w. 54”, d. 22”. [500/800] 878 Twenty-Four Pieces of Anglo-Japonesque Export Lacquer Ware, first quarter 20th century, the collection including an oval tray, l. 20”, two graduated rectangular trays, l. 12” and 12‑3/4”, a round tray, dia. 10”, two pairs of round dishes, dia. 6‑3/4”, a scalloped dish, dia. 7‑1/2”, a pair of folding bracket shelves, h. 9”, two single and one double match safes, h. 8‑1/4”, a pen box, l. 8‑1/2”, three graduated cylindrical boxes, dia. 2‑3/4” to 3”, a pair of crumb trays, w. 8‑3/4”, three beaker-form match holders, h. 3”, and a New England-style tabernacle mirror with a lacquer tablet, h. 13‑3/4”, w. 7‑1/4”. [500/800] Illustrated

875

873 874 Italian School (20th Century), “The Amalfi Coast”, oil on canvas, illegibly signed lower left, 24” x 36”. Framed. [800/1200] Illustrated

879 Fifteen-Piece Collection of Anglo-Japonesque Export Lacquer Ware, first quarter 20th century, including four round trays, dia. 10” to 13‑3/4”, a rectangular tray, w. 12”, two graduated scalloped dishes, dia. 9‑1/4” and 11”, a pair of scalloped dishes, dia. 6‑1/2”, two rectangular covered boxes, w. 7” and 10‑3/4”, a crumb tray, w. 10‑1/2”, a pair of scalloped bread trays, w. 13‑3/4”, and a shell dish, w. 12”. [500/800]

876

874 875 Pair of George III Mahogany Games Tables, late 18th century, in the Chinese Chippendale taste, each with a rectangular hinged top with floral gadroon-carved edge, opening to a leather-lined surface, above a blind fret-carved frieze, raised on square legs, h. 29”, w. 33‑1/4”, d. 17” (closed). [1500/2500] Illustrated 876 George III-Style Figured Mahogany Serpentine Chest of Drawers, 19th century, the top with a gadrooned edge, the front corners with blind fretwork and the base with floralcarved details, h. 38”, w. 51”, d. 24”. [2500/4000] Illustrated

174

878

880 Twelve Pieces of Anglo-Japonesque Export Lacquer Ware, first quarter 20th century, including four rectangular trays, l. 10” to 20”, a bowl, dia. 8”, a folding mirrored wall shelf, h. 17”, a pair of shell dishes, w. 12”, two round trays, dia. 13‑3/4” and 11‑3/4”, and two graduated trays with scalloped edges, l. 11” and 15‑1/4”. [500/800]

883 Manner of Thomas Gainsborough (British, 1727‑1788), “Stormy Landscape with Figures”, fourth quarter 18th century, unsigned, partial label en verso, 25” x 29‑3/4”. Framed. [2500/4000] Illustrated 884 British School (First Quarter 19th Century), “River Landscape with Figures Fishing, Women Doing Laundry and a Mill on a Hilltop”, oil on canvas, 17” x 21”. Framed. [600/900] 885 George III Mahogany Tea Table, fourth quarter 18th century, the rectangular top with a full shaped gallery above a conforming pierced frieze, raised on pierced legs joined by a like X-form stretcher and ending in casters, h. 30”, w. 30”, d. 19”. [1800/2500] Illustrated

883 881 Japanese Export Black-Lacquered Tray-on-Stand, mid-19th century, the rectangular tray with a full raised edge and with an elaborate gilt and polychrome figural landscape, raised on a later custom ebonized stand of gilt ring-turned accented tapering legs, h. 27”, w. 18‑1/2”, d. 15”. [500/800] 882 Victorian Ebonized Tray-on-Stand, mid-19th century, the oval tray with full raised edge with two pierced handles, featuring a scene of peasants at an inn, in the manner of George Morland, raised on a later ebonized stand of splayed legs with gilt accents, h. 18‑1/2”, w. 24”, d. 19‑1/2”. [700/1000]

885

175

888 Pair of Japanese Porcelain Vases, 19th/20th century, now mounted as lamps, with French gilt-bronze mounts, base, h. 11‑7/8”, overall, h. 21”, w. 6‑3/4”. [600/900] Illustrated

886

896

886 George III Mahogany Games Table, fourth quarter 18th century, the hinged rectangular top above a frieze fitted with a single small drawer, raised on molded tapering legs, h. 28‑1/2”, w. 35‑1/2”, d. 16‑1/2” (closed). [700/1000] Illustrated

888

889 Chinese Export Garniture Urn, fourth quarter 18th century, now mounted as a lamp, decorated with sepia panels of European landscapes and trimmed with famille rose floral decoration, urn, h. 10‑1/2”, overall, h. 21”, dia. 4‑1/4”. [500/800]

895

887 George III Mahogany Side Table, early 19th century, the rectangular top with a molded edge and shaped corners, above a frieze fitted with a central drawer flanked to either side by a small deep drawer, raised on chamfered square legs, h. 30”, w. 34‑1/2”, d. 19”. [500/800]

176

890 Collection of Three Japanese Imari Ginger Jars, fourth quarter 19th century, now mounted as lamps, on pierced wooden bases and mounted with shades, h. 7” to 8‑3/4”, dia. 14” to 17”. [500/800]

893

894 Suite of Six George III-Style Mahogany Armchairs, each with a padded and tufted circular back within a molded frame, joined by padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 39”. [500/800] 895 George III Mahogany Sideboard, fourth quarter 18th century, in the Sheraton taste, the banded serpentine top above a conforming case fitted with a central cutlery drawer flanked to one side by a cupboard and to the other by a deep drawer, all inset with circular panels, raised on tapering square legs ending in spade feet, h. 36‑1/4”, w. 60‑1/4”, d. 24”. [1000/1500] Illustrated

891 George IIIStyle Mahogany Henredon Dining Table, the banded rounded rectangular top raised on two pedestals, each with a turned balusterform standard, to three splayed and molded legs ending in brass caps and casters, the underside signed “Henredon”, h. 29”, w. 45”, l. 72”. [1000/1500] Illustrated

896 Chinese Rose Medallion Vase, 19th century, the shouldered vase with reserves depicting figures and arrangements of birds and flowers, the underside unmarked, h. 25‑1/4”, w. 8”. [900/1200] Illustrated

892 Regency Banded Mahogany Triple-Pedestal Dining Table, 19th century, the oval top in three sections, mounted to turned pedestals with outstretched reeded legs ending in cast brass paw feet and casters, accompanied by two 14‑1/2” leaves, h. 30”, w. 39”, l. 102”, extended l. 131”. [700/1000]

897 Three Chinese Export Graduated Punch Bowls, fourth quarter 18th century, with blue panels framing vases of flowers in the famille rose palette, h. 3‑1/4” to 4‑1/2”, dia. 7‑3/4” to 10‑1/4”. [3000/5000]

893 Suite of Ten George III-Style Mahogany Dining Chairs, 19th century, consisting of two armchairs and eight sidechairs, each with a shaped foliate-carved crest above three like-shaped pierced horizontal splats, the padded seats raised on square legs joined by an H-form stretcher, h. 37”. [1500/2500] Illustrated

891

177

898

899 George III Mahogany Secretary Bookcase, early 19th century, the molded and dentillated cornice above two astragal-glazed doors and the interior fitted with shelves, the lower section fitted with a slant front opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central shell-inlaid cupboard, over four graduated long drawers, raised on bracket feet, h. 93”, w. 47‑1/2”, d. 21‑1/4”. [2000/4000] Illustrated

900

898 Pair of Chinese Rose Medallion Vases, late 19th/ early 20th century, the two zun-shaped vases in a rose medallion palette, the undersides unmarked, h. 14”, dia. 8‑3/4”. [1500/2500] Illustrated

899

900 George III Mahogany Linen Press, early 19th century, the top with an overhanging dentillated molding and a pair of doors opening to sliding shelves, the base with a pair of side-by-side drawers over two long drawers, h. 76”, w. 50”, d. 23”. [1200/1800] Illustrated

902

178

901 George III Inlaid Mahogany Linen Press, late 18th century and later, in two parts, the upper section with a projecting cornice over a frieze with a six-point star inlay, the doors with similar inlay on each panel, and opening to reveal linen drawers, on a base with two over two drawers and bracket feet, the upper section 18th century, h. 72‑3/4”, w. 47‑1/2”, d. 21‑1/2”. [1000/1500]

904 902 Henry H. Parker (British, 1858‑1930), “A Backwater, The Thames Near Great Marlow”, oil on canvas, signed lower left, signed and titled on the reverse, verso with “The Cooling Galleries, Ltd., London, UK” label, 16” x 24”. Framed. [1500/2500] Illustrated

905 British School (Third Quarter 19th Century), “Landscape with Figures Walking on a Wooded Path, a Village in the Distance”, oil on canvas, 21” x 28”. Presented in a handsome, grapevine-molded, giltwood and gesso frame. [800/1200] Illustrated 906

906 Collection of Boxes and an Antique Scale, including a Chippendale mahogany tea caddy with a pierced escutcheon and bail handle, second quarter 18th century, h. 5‑3/4”, w. 9‑1/2”, a William IV rosewood sarcophagusform tea caddy, h. 6”, w. 8”, a Biedermeier-style oval work box, fourth quarter 19th century, h. 5”, w. 8”, two Chinese gilt and black lacquer boxes, comprising an example with bombe sides, second quarter 19th century, h. 4‑1/2”, w. 6‑1/2”, and an oval example, ca. 1900, a pair of English burl walnut pedestals, fourth quarter 19th century, decorated with brass and mother-of-pearl Elizabethan Revival strapwork, h. 4”, w. 5”, d. 4‑3/4”, and a mahogany and brass scale made by Daube and Hopken, Jersey City, New Jersey, second quarter 20th century, h. 14‑1/4”, w. 13‑1/4”, d. 7‑1/4” (eight total pieces). [500/800] Illustrated 907 Architectural Model of a Spiral Staircase, the mahogany staircase with turned balusters and raised on a circular platform, h. 41‑1/2”. [1200/1800] Illustrated

907

905 903 British School (Fourth Quarter 19th Century), “Hay Harvest”, oil on canvas, signed lower left “Took”, 16‑1/2” x 26”. Presented in a giltwood and gesso frame. [500/800] 904 British School (Fourth Quarter 19th/First Quarter 20th Century), “Bridge Over the Seine”, oil on canvas, illegibly signed lower right, 34” x 44”. Presented in an attractive giltwood and gesso frame. [700/1000] Illustrated

179

908 George III Mahogany Credenza, 19th century, the rectangular top with a molded edge, above a conforming case fitted with a central drawer over two cabinet doors, each paneled and with patera corner accents, flanked to either side by a bank of three graduated short drawers, raised on ogee-molded bracket feet, h. 34‑1/2”, w. 81‑1/2”, d. 22”. [1500/2500]

909

910 Pair of Chinese Export Famille Rose Octagonal Plates, ca. 1800, decorated with vases of flowers, with raised enamel highlights, dia. 9”. [500/800] 911 Georgian-Style Mahogany and Marble-Top Side Table, the verde antico marble top of breakfront form, above a conforming frieze fitted with three acanthinecarved drawers, raised on paneled tapering square supports, headed by acanthine scrolls with bellflower carving and ending in molded feet, h. 36”, w. 77”, d. 31”. [1800/2500] Illustrated 912 Georgian-Style Mahogany Side Table, early 20th century, in the Irish taste, the rectangular top with a gadrooned edge, above a shaped apron heavily carved in shell and foliage patterns and fitted with two drawers, raised on six cabriole legs headed by shield carving and ending in scrolled toes, h. 31”, w. 71”, d. 37”. [1500/2500] 913 George III Mahogany Tripod Table, fourth quarter 19th century, the tilting circular top above a birdcage support raised on a columnar stop-fluted standard to three splayed supports with scroll carving and ending in pad feet on casters, h. 29”, dia. 32‑1/2”. [500/800] Illustrated

909 Chinese Export Porcelain Mandarin Punch Bowl, fourth quarter 18th century, with a continuous Mandarin scene around the exterior of the bowl, the interior with a central reserve depicting a genre scene, displayed on a molded wooden stand, h. 4‑1/2”, dia. 11‑1/2”. [500/800] Illustrated

914 George III-Style Mahogany Serving Table, early 20th century, the breakfront top with a gadrooned edge, above a conforming frieze fitted with a long central drawer flanked to either side by a smaller drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 34‑1/2”, w. 72”, d. 21‑1/2”. [800/1200]

911

180

916 George II-Style His and Hers Mahogany Armchairs, early 20th century, his chair of wing chair form, hers an armchair, both with a heavily carved and shaped apron centered by a masque, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 42” and 34”. [1500/2500] 917 Turkish Angora Oushak Carpet, 8’ x 11’ 8”. [1400/1800] Illustrated

913

915 Pair of George III-Style Mahogany Wing Chairs, early 20th century, each with a tall domed and padded back joined by shaped sides and outscrolled arms to the padded seat, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 48”. [800/1200]

918

918 Persian Serapi Carpet, 9’ 6” x 12’ 9”. [4000/7000] Illustrated 919 Turkestan Hotan Carpet, 10’ x 13’ 10”. [2500/4000]

917

181

920 Agra Serapi Carpet, 9’ x 12’ 1”. [1200/1800] Illustrated 921 Persian Serapi Carpet, 13’ 3” x 16’. [7000/10000] Illustrated 922 Turkish Angora Oushak Carpet, 7’ 4” x 10’ 1”. [1000/1500] 923 Semi-Antique Heriz Carpet, 10’ x 13’ 1”. [2000/4000] Illustrated 924 Turkish Angora Oushak Carpet, 12’ x 15’ 2”. [3000/5000] Illustrated 925 Semi-Antique Heriz Runner, 2’ 10” x 23’ 8”. [500/800]

923

920

924

182

921

183

Fe at u ri n g a C o llection of Fine Jewel ry from Th e S ucce s s io n o f

Frances Thompson Kreihs New Orle ans , Lo uis iana (Lots 9 2 6 - 9 5 0 ) 928 Two Fourteen-Karat Yellow Gold United States FiveDollar Indian Head Gold Coin Cufflinks, the two 1909 gold coins set in a smooth fourteen-karat yellow gold bezel with a twisted rope border, dia. 25.0 mm, total weight, 28.8 grams. [1200/1800] Illustrated

926

926 Fourteen-Karat Yellow Gold Cuff Bracelet, the springloaded bracelet in a bypass design, with a combination of Florentine and polished surfaces, inside circumference, 6”, total weight, 57.5 grams. [1400/1800] Illustrated 928

927

927 Fourteen-Karat Yellow Gold-Mounted Mexican FiftyPeso Gold Coin with Chain, the 1924 gold coin mounted in a smooth gold frame and attached to a snake link chain, l. 15”, total weight, 83.5 grams. [1800/2500] Illustrated

186

929 Fourteen-Karat Yellow Gold and Diamond United States Twenty-Dollar Gold Coin Pendant, the 1876 Liberty gold coin mounted in a smooth fourteen-karat yellow gold bezel with a twisted rope border, set with four round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, dia. 42.0 mm, total weight, 41.4 grams. [1200/1800] Illustrated

929 931 930 Two Fourteen-Karat Yellow Gold-Mounted Mexican Ten-Peso Gold Coin Ear Clips, the two 1906 gold coins mounted in a smooth gold fourteen-karat yellow gold frame, dia. 7/8”, total weight, 21.6 grams. [600/900] Illustrated

930

931 Pair of David Webb Eighteen-Karat Yellow Gold, Emerald and Enamel Leopard Cufflinks, the leopard head barbell-designed cufflinks painted with black enamel and set with four round emerald cabochons for the eyes, marked “WEBB, 18K”, together with a David Webb box, total weight, 21.6 grams. [1500/2500] Illustrated

932 David Webb Eighteen-Karat Yellow Gold Cuff Bracelet, the heavy hinged cuff bracelet designed with a male lion in relief, marked “WEBB, 18K”, inside circumference, 6”, total weight, 94.5 grams. [6000/9000] Illustrated

932

7 8 1

935 David Webb Eighteen-Karat Yellow Gold Necklace/Bracelet Suite, the convertible necklace in a heavy twisted rope design with a hammered finish, with two detachable extenders that can be worn as bracelets, marked “WEBB, 18K”, total length, 32”, total weight, 185.8 grams. [10000/15000] Illustrated

933

933 Pair of David Webb Eighteen-Karat Yellow Gold, Diamond and Pearl Door Knocker Ear Clips, each ear clip set with a single 12.0 mm silver/white cultured pearl and twelve round brilliant-cut diamonds, with an approximate total weight of 1.00 carat for the pair, marked “WEBB, 18K”, together with a David Webb ear clip box, l. 1‑3/8”, total weight, 40.2 grams. [3500/5000] Illustrated

934

934 David Webb Eighteen-Karat Yellow Gold, Platinum and Diamond Sagittarius Pendant/Brooch, the pendant in high relief and depicting the zodiacal sign of Sagittarius, with thirty-nine round brilliant-cut diamonds set in platinum, with an approximate total weight of 2.00 carats, the pendant with a retractable bale, marked “WEBB, 18K, PLAT”, together with a David Webb box, h. 2‑1/4”, total weight, 48.6 grams. [5000/8000] Illustrated

188

935

936 David Webb Eighteen-Karat Yellow Gold Zodiac Pendant/Brooch, the round textured pendant depicting the zodiac symbol for Sagittarius, with a retractable bale, to be worn as a brooch, marked “WEBB, 18K”, together with a David Webb leather pouch, h. 1‑3/4”, total weight, 36.6 grams. [1400/1800] Illustrated

937 Pair of David Webb Eighteen-Karat Yellow Gold, Platinum and Diamond Ear Clips, each ear clip composed of five rows of twisted rope with a hammered finish, with five round brilliant-cut diamonds set in platinum, with an approximate total weight of 0.50 carats for the pair, marked “18K, PLAT, WEBB”, l. 1‑3/4”, total weight, 40.4 grams. [3000/5000] Illustrated

938

937

938 David Webb Eighteen-Karat Yellow Gold, Platinum and Diamond Choker, divided into four segments of seven yellow gold bars, separated by three platinum links set with three round brilliant-cut diamonds, with an approximate total diamond weight of 0.66 carats, marked “WEBB, 18K, PLAT”, l. 15‑1/2”, total weight, 9.5 grams. [800/1200] Illustrated

939 David Webb Eighteen-Karat Yellow Gold, Platinum and Diamond Ring, the 12.0 mm wide band designed with three platinum diagonal stripes, each set with twelve round brilliant-cut diamonds, with an approximate total diamond weight of 1.50 carats, separated by several rows of diagonal twisted rope, marked “WEBB, PLAT, 18K”, size 8‑1/4, total weight, 10.6 grams. [1500/2500] Illustrated

939

936

189

940 Eighteen-Karat Yellow Gold, Platinum, Diamond, Blue Sapphire and Ruby Brooch, in a retro design and mounted with forty-nine round brilliant-cut diamonds set in platinum, with an approximate total weight of 5.00 carats, color G-I and clarity VS1‑VS2, twelve oval heat-treated ruby cabochons, with an approximate total weight of 9.00 carats, and ten oval faceted heat-treated blue sapphires, with an approximate total weight of 7.00 carats, size 61.0 mm x 57.0 mm, total weight, 50.5 grams. [4000/7000] Illustrated 941 Pair of Fourteen-Karat Yellow Gold, Platinum, Diamond, Blue Sapphire and Ruby Ear Clips, each pear-shaped ear clip set with a mix of twenty old mine-cut, single-cut and round brilliant-cut diamonds, with an approximate total weight of 2.75 carats for the pair, fifteen oval and round pink sapphire cabochons, with an approximate total weight of 10.0 carats for the pair, an oval and round faceted blue sapphire, with an approximate total weight of 0.75 carats for the pair, and an oval faceted ruby, with an approximate total weight of 0.30 carats for the pair, l. 1‑3/4”, total weight, 22.8 grams. [1500/2500] Illustrated

940

943 Art Deco Platinum, Eighteen-Karat White Gold and Diamond Brooch/Dress Clips, the platinum clips set with sixteen marquise-cut diamonds, eighteen baguette-cut diamonds, and seventy-four round brilliant-cut diamonds, with an approximate total weight of 8.75 carats, color G-I and clarity VVS2‑SI1, the clips set to an eighteen-karat white gold frame, w. 2‑3/4”, total weight, 25.2 grams. [6000/9000] Illustrated

941

942 Stunning Platinum and Diamond Ring, set with a round brilliant-cut diamond, with an approximate weight of 2.48 carats, color I and clarity SI2, surrounded by twelve baguette-cut and four round brilliant-cut diamonds, with an approximate total weight of 0.70 carats, color E-F and clarity VVS2‑VS1, size 6, total weight, 9.1 grams. [10000/15000] Illustrated

190

942

945 Pair of David Webb Eighteen-Karat Yellow Gold, Platinum, Diamond and Turquoise Ear Clips, each ear clip set with an oval turquoise cabochon measuring approximately 10.0 mm x 12.0 mm, and twelve pearshaped turquoise cabochons measuring approximately 5.0 mm x 6.0 mm, surrounded by a halo of sixteen round brilliant-cut diamonds set in platinum, with an approximate total weight of 2.25 carats for the pair, color E-G and clarity VS1‑VS2, marked “18K, PLAT, WEBB”, l. 1‑1/4”, total weight, 32.4 grams. [3500/5000] Illustrated

943

944 David Webb Eighteen-Karat Yellow Gold, Platinum, Diamond and Turquoise Ring, with a twisted rope mounting set with an oval turquoise cabochon measuring approximately 11.0 mm x 14.0 mm and twelve pearshaped turquoise cabochons measuring approximately 5.0 mm x 7.0 mm, surrounded by eighteen round brilliantcut diamonds set in platinum, with an approximate total weight of 1.25 carats, color E-G and clarity VS1‑VS2, marked “18K, PLAT, WEBB”, size 7‑3/4, together with a David Webb ring box, total weight 21.4 grams. [3500/5000] Illustrated

945

946 Omega Eighteen-Karat Yellow Gold Wristwatch, the square watch case with an attached adjustable bar link band with a Florentine finish, the manual wind mechanical seventeen jewels copper gilt movement, dial and case marked “Omega”, l. 7‑1/4”, total weight, 50.5 grams. [1200/1800] Illustrated

944

946

191

949 Four-Piece Group of Fourteen- and Eighteen-Karat Yellow Gold Jewelry, including an eighteen-karat yellow gold box link chain, l. 23‑1/2”, a fourteen-karat yellow gold dome ring, size 5‑1/2, a working whistle charm, and an anchor link chain, l. 24”, total weight, 52.0 grams. [800/1200]

947

947 Pair of David Webb Eighteen-Karat Yellow Gold, Ruby and Enamel Horse Cufflinks, the white enamel seesaw post cufflinks each designed as the head of a horse, set with four round ruby cabochons for the eyes, marked “WEBB, 18K”, together with a David Webb box, total weight, 24.6 grams. [2000/4000] Illustrated 951

950 Fourteen-Karat Yellow Gold Tutti Frutti Ear Clips, the heart-shaped gold ear clips set with a combination of precious and semi-precious gems in mixed cuts and shapes, including amethyst, blue sapphire, aquamarine, blue topaz, citrine, emerald, ruby, spinel and tourmaline, l. 1”, total weight, 14.4 grams. [500/800] Illustrated

950

948 Group of Gentleman’s Fourteen-Karat Yellow Gold and Gold-Filled Jewelry, including a fourteen-karat yellow gold cigar cutter, a key chain with penknife, a pair of gold cufflinks set with rose gold and tortoiseshell buttons, and a yellow gold-filled penknife, total weight, 75.0 grams. [500/800]

8 192

951 Custom-Made Eighteen-Karat Yellow Gold, Amethyst and Diamond Ring, set with a large marquise-cut amethyst, with an approximate weight of 29.74 carats, and 157 round-cut diamonds in a halo and under the bridge of the ring, with an approximate total weight of 1.38 carats, color E-F and clarity VS1‑SI1, size 6‑1/2, total weight, 31.0 grams. [4500/7000] Illustrated 952 Stunning Fourteen-Karat White Gold, Sterling Silver and Ametrine Necklace, composed of large faceted Ametrine gemstones separated by sterling silver Tibetan tube beads, and finished with a fourteen-karat white gold clasp, l. 18”. [500/800] Illustrated

953

953 Eighteen-Karat Yellow Gold, Amethyst, Blue Quartz and Diamond Earrings, set with an elongated amethyst, with an approximate total weight of 41.31 carats for the pair, and blue quartz, with an approximate total weight of 19.54 carats for the pair, surrounded by 416 round-cut diamonds, with an approximate weight of 1.56 carats for the pair, l. 2‑1/4”, total weight, 22.0 grams. [4000/7000] Illustrated

952

954 Beautiful Eighteen- and Fourteen-Karat Yellow Gold and Multi-Gemstone Necklace, set with gemstones ranging in size from 3.63 carats to 28.00 carats, with an approximate total gemstone weight of over 800.00 carats, including emeralds, blue topazes, amethysts, green tourmalines, peridots, citrines, garnets, blue spinels, and various shades of quartz, l. 58”. [15000/25000] Illustrated

954

193

956 Gentleman’s Eighteen-Karat Yellow Gold Rolex Day-Date President Wristwatch, ca. 1977, the Rolex case with a fluted bezel and attached to a president hidden clasp Rolex band, the non-quick thirty jewels automatic movement set with a bronze-colored dial, the case, dial, movement and band signed “Rolex”, reference #1803, serial #5,045,XXX, case dimension without crown, 36.0 mm x 44.0 mm, inside circumference, 7”, total weight, 121.3 grams. [5000/8000] Illustrated

955

955 Eighteen-Karat Yellow Gold, Blue Topaz and Black Enamel Ring, the rich blue emerald-cut topaz, measuring approximately 23.9 mm x 17.0 mm x 14.0 mm, with an approximate total weight of 40.0 carats, set in a mounting decorated in a stylized geometric design, the ring with two small gold sizing beads inside the shank, size 5‑3/4, total weight, 55.5 grams. [900/1200] Illustrated

957

957 Eighteen-Karat White Gold and White and Yellow Diamond Ring, set with a central marquise-cut diamond, with an approximate weight of 1.04 carats, color J and clarity I1, surrounded by eighteen round brilliant-cut treated fancy yellow diamonds, with an approximate total weight of 0.22 carats, and seventy-two round brilliantcut white diamonds, with an approximate total weight of 0.79 carats, size 7, total weight, 6.1 grams. [5000/8000] Illustrated

956

958

194

958 Stunning Platinum, Eighteen-Karat Yellow Gold, Light Yellow and White Diamond Ring, set with three emerald-cut light yellow diamonds, with an approximate total weight of 5.72 carats, clarity VS1‑VS2, and thirty-six round-cut white diamonds, with an approximate total weight of 0.70 carats, color G-I and clarity VS1‑VS2, size 7‑1/2, total weight, 9.0 grams. [30000/50000] Illustrated 959 Stunning Buccellati Eighteen-Karat Yellow Gold, Emerald and Sapphire Hinged Bangle Bracelet, set with five oval emerald cabochons, with an approximate total weight of 10.31 carats, and ten round-cut sapphires, with an approximate total weight of 1.10 carats, circumference, 7‑1/4”, total weight, 59.0 grams. [25000/40000] Illustrated 960 Eighteen- and Fourteen-Karat Yellow/White Gold, Emerald and Diamond Pendant with Necklace, the pendant with a bezel-set treated emerald cabochon, with an approximate weight of 7.05 carats, surrounded by sixty-two bead-set round brilliant-cut diamonds and twenty channel-set baguette-cut diamonds, with an approximate total diamond weight of 1.69 carats, and two rubies on each end of the hinged snap locking bail, the pendant supported on a fourteen-karat white and yellow gold beaded chain, l. 20”, pendant, l. 1‑3/8”, total weight, 44.1 grams. [6000/9000]

961

961 Henry Dunay EighteenKarat Yellow Gold and Diamond Sabi Wristwatch, the yellow gold case set with approximately 188 round brilliant-cut diamonds, the dial pave-set with approximately 154 single-cut diamonds, and the eighteen-karat yellow gold and stainless steel adjustable deployant buckle set with twenty-six round brilliant-cut diamonds, with an approximate total diamond weight of 2.50 carats, the watch with a quartz movement, the case and crystal signed “Henry Dunay”, case dimension, 21.0 mm x 28.0 mm, total weight, 42.4 grams. [1500/2500] Illustrated

959

962

962 Fourteen-Karat White Gold, Emerald and Diamond Necklace, composed of eighty-nine oval mixed-cut treated emeralds, with an approximate total weight of 38.27 carats, and 488 bead-set round brilliant-cut diamonds, with an approximate total weight of 2.71 carats, l. 17”, total weight, 43.3 grams. [7000/10000] Illustrated

195

964 Beautiful Fourteen-Karat Yellow Gold and Rock Crystal Necklace, composed of faceted rock crystal drops and finished with a fourteen-karat yellow gold clasp, l. 16”. [500/800] Illustrated 965 Gentleman’s Platinum and Diamond Band, the heavy comfort fit band set with a square mixed-cut faceted diamond, with an approximate total weight of 0.30 carats, size 9, total weight, 23.0 grams. [1000/1500]

964

967

963 Lady’s Platinum and Diamond Croton Wristwatch, the platinum rectangular case and links set with eighty-six single-cut diamonds, two round brilliant-cut diamonds and eight diamond baguettes, with an approximate total weight of .75 carats, the manual wind seventeen jewels movement and dial signed “Croton”, the watch finished with a black cord band, l. 6‑1/2”, total weight, 16.6 grams. [1200/1800]

966

196

966 Henry Dunay Platinum and Diamond Enhancer, pave-set with sixty-one round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, signed “Dunay Platinum”, size 3/4” x 3/4”, total weight, 14.8 grams. [1200/1800] Illustrated

968

969 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a rectangular cushion-cut treated heattreated tanzanite, with an approximate weight of 12.26 carats, surrounded by twenty prong-set round brilliant-cut diamonds, with an approximate total weight of 1.65 carats, color G to I and clarity SI1 to I1, size 7, total weight, 12.1 grams. [8000/12000] Illustrated

969

967 Gentleman’s Eighteen-Karat White Gold Cartier Ring, the wide heavy band designed as Cartier “Tank Francaise” watch links, stamped “Cartier 750, DW8411”, size 10‑3/4, total weight, 16.4 grams. [1800/2500] Illustrated 968 Lady’s Cartier Tank Francaise Stainless Steel and Diamond Watch, set with twenty-four round-cut diamonds, with an approximate total weight of 0.36 carats, stamped “Cartier”, serial number 2384, CC741129, inside circumference, 6”. [3500/5000] Illustrated

970

971

970 Pair of Eighteen-Karat White Gold and Diamond Bangle Bracelets, each hinged bangle bracelet set with sixty round brilliant-cut diamonds, with an approximate total weight of 6.0 carats, with an approximate total diamond weight of 12.0 carats for the pair, color H-I and clarity VS1‑SI, inside circumference 7”, total weight, 28.8 grams. [2000/4000] Illustrated

971 Fourteen-Karat White Gold and Diamond Ballerina Ring, set with a central marquise-cut diamond, with an approximate weight of 1.06 carats, color F and clarity VVS2, surrounded by twenty-four baguette-cut diamonds, with an approximate total weight of 1.44 carats, color F-G and clarity VVS1‑VVS2, and twenty-two round-cut diamonds, with an approximate total weight of 1.00 carat, color F-G and clarity VVS1‑VVS2, size 7, total weight, 9.0 grams. [1500/2500] Illustrated

197

973 Fourteen-Karat White Gold, Sapphire and Diamond Ring, the stylized bypass mounting with an oval faceted sapphire, with an approximate weight of 2.00 carats, surrounded by eighteen baguette- and tapered baguette-cut diamonds, and twenty-four round brilliant-cut diamonds, with an approximate total diamond weight of 1.25 carats, color E-G and clarity VS1‑VS2, size 10‑1/4, total weight, 6.8 grams. [800/1200] Illustrated 974 Pair of Platinum and Diamond Earrings, with post clip backs and set with thirty-eight round-cut diamonds, with an approximate total weight of 0.42 carats for the pair, l. 1/2”, total weight, 8.0 grams. [2500/4000]

972

972 Stunning Fourteen- and Eighteen-Karat White Gold and Diamond Link Necklace, set with 450 round-cut diamonds, with an approximate total weight of 15.00 carats, color E-G and clarity SI1‑I1, l. 17”, total weight, 78.0 grams. [15000/25000] Illustrated 976

975 Platinum and Diamond Art Deco Ring, the pierced platinum mounting set with a marquise-cut diamond, with an approximate weight of 0.20 carats, surrounded by a platinum navette set with fifteen single-cut diamonds, with an approximate total diamond weight of 0.35 carats, size 6‑1/2, total weight, 3.7 grams. [600/900] 976 Pair of Platinum and Diamond Earrings, in a swirled design, with eighteen-karat white gold backs, set with 222 round-cut diamonds, with an approximate total weight of 5.59 carats, color G-I and clarity VS1‑SI1, l. 1”, total weight, 24.0 grams. [7000/10000] Illustrated

973

198

977 Eighteen-Karat White Gold, Diamond and Faux Sapphire Ring, set with an emerald-cut faux blue sapphire, with an approximate weight of 14.0 carats, surrounded by fourteen diamond baguettes and twentyeight marquise-cut diamonds arranged in a juxtaposing design, with an approximate total diamond weight of 1.60 carats, color E-F and clarity VVS2‑VS1, the ring with an adjustable spring gold insert for adjusting the size, size 4‑3/4, total weight, 14.8 grams. [600/900]

978

978 Eighteen-Karat White Gold and Diamond Bracelet, set with 238 round-cut diamonds, with an approximate total weight of 1.90 carats, l. 7”, total weight, 15.0 grams. [2000/4000] Illustrated

979

980 Piaget Eighteen-Karat White Gold, Diamond and Sapphire Wristwatch with Lapis Lazuli Dial, the textured brick link band attached to the round case with a diamond and sapphire bezel, the bezel set with thirtytwo round brilliant-cut diamonds, with an approximate total weight of .33 carats, and four round faceted sapphires marking the quarter chapters, the watch with an eighteen jewels mechanical manual wind movement with a lapis lazuli dial, the case, dial and movement signed “Piaget”, l. 5‑3/4”, total weight, 56.0 grams. [1500/2500] Illustrated

980

979 Men’s Platinum, Diamond and Sapphire Ring, set with a central oval-cut diamond, with an approximate weight of 0.80 carats, color E and clarity SI1, flanked on either side by four square-cut heat-treated sapphires, size 9‑3/4, total weight, 11.4 grams. [2500/4000] Illustrated

981

981 Bulgari Platinum and Diamond “Nuvole Collection” Ring, the highly polished organic design pave-set with twenty-five round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, marked “BVLGARI”, together with the inner and outer Bulgari boxes, size 6‑1/2, total weight, 14.2 grams. [1200/1800] Illustrated

199

982 Fourteen-Karat White Gold and Diamond Ring, invisible-set with fourteen baguette-cut diamonds, with an approximate total weight of 1.50 carats, color E-F and clarity VVS1‑VVS2, and fifty-six princess-cut diamonds, with an approximate total weight of 2.80 carats, color E-F and clarity VVS2‑VS1, size 8‑3/4, total weight, 8.0 grams. [2500/4000] Illustrated

983

982

985 Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, set with twenty-four invisible-set square-cut treated rubies, with an approximate total weight of 3.84 carats, and twenty invisible-set baguette-cut diamonds, with an approximate total weight of 1.00 carat, color E-F and clarity SI1‑SI2, size 8, total weight, 20.0 grams. [2500/4000] Illustrated

983 Eighteen-Karat White Gold, Ruby and Diamond Flower Brooch, the petals set with approximately 150 square mine-cut, treated rubies, with an approximate total weight of 7.00 carats, the stem set with twenty-one diamond baguettes, the leaves set with approximately sixty-six round brilliant-cut diamonds and the flower set with eight round brilliant-cut diamonds, with an approximate total diamond weight of 2.00 carats, color H-I and clarity VS1‑SI1, with a later fourteen-karat white gold stem clasp on the reverse, size 2‑3/8” x 1‑1/2”, total weight, 14.8 grams. [3000/5000] Illustrated 984 Fourteen-Karat White Gold, Diamond and Ruby Bracelet, composed of eight strands of faceted cushion treated ruby beads, tapering down to six strands at the clasp, with an approximate total weight of 156.0 carats, designed with a buckle closure, set with approximately 269 round brilliant-cut diamonds and six baguettes, with an approximate total weight of 3.00 carats, color E-G and clarity SI1‑I1, l. 9”, total weight, 59.0 grams. [1200/1800] Illustrated

200

984

986 Fourteen- and Eighteen-Karat Yellow Gold, Ruby and Diamond Slide Pendant, invisible-set with twentyfour square-cut treated rubies, with an approximate total weight of 3.48 carats, and twenty-five channel-set roundcut diamonds, with an approximate total weight of 1.14 carats, color E-F and clarity SI1‑I1, l. 1”, total weight, 20.0 grams. [1800/2500]

989 985

987 Pair of Eighteen-Karat Yellow Gold, Diamond and Ruby Bangle Bracelets, each hinged bangle bracelet set with twenty-one treated oval faceted rubies, with an approximate total weight of 8.40 carats for the pair, and 108 round brilliant-cut diamonds, with an approximate total weight of 2.00 carats for the pair, inside circumference, 7”, total weight, 41.0 grams. [1000/1500] 988 Eighteen-Karat Yellow Gold, Pearl, Ruby and Diamond Bracelet, with four strands of 7.00 mm pink-rose-colored pearls with a very high luster, finished with an eighteen-karat yellow gold clasp mounted with eight round-cut treated rubies, with an approximate total weight of 0.27 carats, and a round-cut diamond, with an approximate weight of 0.06 carats, l. 6‑1/2”, w. 3/4”, total weight, 12.0 grams. [2500/4000] Illustrated

989 Eighteen-Karat Yellow Gold, South Sea Pearl and Diamond Ring, set with a central white-rosecolored South Sea pearl measuring approximately 14.00 mm and with a high luster, and seventyeight round-cut diamonds mounted on the “petals” surrounding the pearl, with an approximate total weight of 1.39 carats, size 8, total weight, 17.0 grams. [4500/7000] Illustrated

988

201

992

990 Eighteen-Karat Yellow Gold Nuovi Gioielli Necklace, in a large knotted woven design with a hammered finish, signed “Nuovi Gioielli”, l. 16”, total weight, 143.4 grams. [3000/5000] Illustrated

991 Fourteen-Karat Yellow Gold and Diamond Bracelet, composed of links with a combination of smooth and Florentine textures, each link set with seven single-cut diamonds, with an approximate total diamond weight of 0.50 carats, l. 6‑3/4”, total weight including extra link, 46.2 grams. [800/1200] Illustrated

992 Eighteen-Karat Yellow Gold and Diamond Choker, composed of graduated spearheads with a gold nugget texture, twenty-five spearheads set with ninety-two round brilliant-cut diamonds, with an approximate total diamond weight of 4.50 carats, color E-G and clarity VVS2‑VS1, l. 14”, total weight, 135.2 grams. [4500/7000] Illustrated

990

202

993 Eighteen-Karat Yellow and White Gold and Diamond Band Ring, with an interwoven design and set with 146 round-cut diamonds, with an approximate total weight of 2.21 carats, color E-F and clarity VS1‑SI1, size 7, total weight, 10.0 grams. [4500/7000] Illustrated

991

994 Platinum and Fourteen-Karat Yellow Gold Diamond Cuff Bracelet, the wide gold bracelet with an Art Deco platinum filigree setting with nine European-cut diamonds ranging in size from 0.10 to 0.25 carats, color E-G and clarity VVS2‑VS1, and fifty-six European- and single-cut diamonds, with an approximate total diamond weight of 2.25 carats, inside circumference, 7”, total weight, 65.0 grams. [1800/2500] Illustrated

996 Fourteen-Karat Yellow Gold Victorian-Style Watch Bracelet, the geometric woven bracelet designed as a belt with tassels and a solid buckle that hides the watch, with a quartz replacement movement, l. 7”, total weight, 70.0 grams. [1000/1500]

995

997 Fourteen-Karat Yellow Gold and Diamond Tennis Bracelet, the flexible link bracelet set with forty-seven round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, l. 7”, 10.0 grams total weight. [500/800]

993

995 Eighteen-Karat Yellow Gold and Diamond Cocktail Ring, the heavy dome ring with layered foliage set with two round European-cut diamonds, the larger weighing approximately 1.20 carats, color H and clarity SI1, and the smaller weighing approximately 0.50 carats, color E and clarity I1, and eleven round brilliant-cut diamonds, color E-F and clarity VS1‑SI1, the ring with an approximate total diamond weight of 2.00 carats, and set with an adjustable spring gold insert for adjusting the size, size 6‑1/2, total weight, 19.9 grams. [2500/4000] Illustrated

994

203

1001 Pair of Fourteen-Karat Yellow Gold Hinged Bracelets, the domed bracelets cast in gold with a ribbed design, inside circumference, 6‑3/4”, total weight, 109.1 grams. [2000/4000] Illustrated 1002 Asch Grossbardt Eighteen-Karat Yellow Gold, Diamond, Coral, Black Onyx, Malachite, Lapis Lazuli and Mother-of-Pearl Ring, with a high dome, set with eight round brilliant-cut diamonds, with an approximate total weight of .012 carats, inlaid with multicolored stones in a geometric pattern, signed “Asch Grossbardt”, size 7, total weight, 13.6 grams. [500/800] Illustrated

998

998 Fourteen-Karat Yellow Gold and Diamond Ring, the heavy mounting with four channel-set emerald-cut diamonds, with an approximate total weight of 1.00 carat, size 10, total weight, 9.4 grams. [600/900] Illustrated 999 Fourteen-Karat Yellow Gold, Tanzanite and Diamond Ring, set with a central triangle mixed-cut heat-treated tanzanite, with an approximate weight of 7.66 carats, surrounded by 233 bead-set round brilliantcut diamonds, bordering the tanzanite and down the ring shank, with an approximate total weight of 1.86 carats, size 7‑1/2, total weight, 12.6 grams. [6000/9000]

1000

1000 Eighteen-Karat Yellow Gold and Diamond Choker, the double twisted yellow gold rope wrapped around a steel spring, finished with a clasp pave-set with fifty-five round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, l. 13”, total weight, 99.5 grams. [1000/1500] Illustrated 1003 Asch Grossbardt Eighteen-Karat Yellow Gold, Diamond, Black Onyx, Coral, Malachite and Motherof-Pearl Bracelet, with a high dome, set with nine round brilliant-cut diamonds, with an approximate total weight of .20 carats, inlaid with multicolored stones in a geometric pattern, signed “Asch Grossbardt”, inside circumference, 6”, total weight, 64.5 grams. [800/1200] Illustrated

1001

204

1004 Pair of Fourteen-Karat Yellow Gold, Diamond, Black Onyx, Coral, Lapis Lazuli, Malachite and Motherof-Pearl Ear Clips, each large disc set with ten round brilliant-cut diamonds, with an approximate total weight of .20 carats for both, inlaid with multicolored stones in a geometric pattern, attributed to “Asch Grossbardt”, dia. 34.0 mm, total weight, 27.0 grams. [500/800] Illustrated

1002

1005

1004

1005 Eighteen-Karat Yellow Gold, Diamond and Lapis Lazuli Ring, the heavily textured ring set with a round 23.0 mm ribbed lapis lazuli cabochon, in a mounting set with fifty-five round brilliant-cut diamonds, with an approximate total weight of 3.00 carats, with two fourteen-karat yellow gold bands soldered to the shank for a smaller size, size 4‑1/2, total weight, 42.8 grams. Provenance: Estate of Ann B. Sakowitz, Houston, Texas. [800/1200] Illustrated

1006 Pair of Eighteen-Karat Yellow Gold, Diamond and Lapis Lazuli Ear Clips with Removable Pendants, the pendant ear clips in a foliage design, each set with two round brilliant-cut diamonds, with an approximate total weight of 0.60 carats for both earrings, each earring clip set with an oval lapis lazuli cabochon, measuring approximately 9.9 mm x 11.5 mm, and a removable pendant set with a lapis lazuli cabochon, measuring approximately 12.3 mm x 21.0 mm, l. 2”, total weight, 28.6 grams. Provenance: Estate of Ann B. Sakowitz, Houston, Texas. [700/1000] Illustrated

1003

1006

205

1007

1007 Fourteen-Karat Yellow Gold Bracelet, composed of intertwined links, stamped “Italy”, w. 5/8”, l. 7”, total weight, 21.2 grams. [500/800] Illustrated

1009

1009 Eighteen-Karat Yellow Gold and Enamel Hinged Snake Bracelet, the heavy cast gold serpent decorated with blue and green enamel along the center back, circumference, 6”, total weight, 62.0 grams. [1000/1500] Illustrated

1010

1008

1008 Eighteen-Karat Yellow Gold, Diamond, Ruby and Plique-a-Jour Enamel “Bird of Paradise” Brooch, the multicolored brooch set with thirty-eight single-cut diamonds, with an approximate total weight of 0.25 carats, the eye set with a navette faceted ruby, l. 2‑1/8”, total weight, 11.6 grams. [800/1200] Illustrated

206

1010 Eighteen-Karat Yellow Gold, Coral and Diamond Necklace and Earring Suite, the necklace designed by Vittorio Valobra, Italy, composed of graduated pumpkin-carved coral and eighteen-karat yellow gold beads, measuring approximately 2.5 mm to 5.5 mm, separated by interspersed gold rondels set with 120 round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, l. 19”, together with a pair of eighteen-karat yellow gold pierced clip back coral earrings, set on two sides with thirty-six round brilliant-cut diamonds, with an approximate total weight of 2.00 carats for the pair, l. 3/4”, total weight, 122.3 grams. [3000/5000] Illustrated

1012

1011

1011 Eighteen-Karat Yellow Gold, Diamond and Angel Skin Coral Ring, set with an oval coral cabochon, measuring approximately 16.0 mm x 12.0 mm, surrounded by twenty round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, color H-I and clarity VS1‑SI1, size 5, total weight, 8.3 grams. [500/800] Illustrated 1012 Unusual Fourteen-Karat Yellow Gold and Imperial Jasper Necklace, composed of polished Imperial Jasper in various shapes and sizes, separated by gold beads and finished with a fourteen-karat yellow gold toggle clasp, l. 17”. [500/800] Illustrated 1013 Eighteen-Karat Yellow Gold, Smoky Quartz and Diamond Ring, bezel-set with a large faceted oval-cut smoky quartz, with an approximate weight of 26.5 carats, bordered by three rows of seventy-eight round brilliantcut diamonds, with an approximate total weight of 2.25 carats, size 5‑3/4, total weight, 18.8 grams. [900/1200] Illustrated

1013

207

1014 Fourteen-Karat Yellow Gold Elgin Hunter Case Pocket Watch, the fifteen jewels damask nickel-plated pendant-set movement marked “Elgin Nat’l Watch Co. USA”, the white porcelain double sunk dial marked “Elgin”, the fourteen-karat yellow gold case engraved with a songbird on both sides, the case marked “Warranted, 14K, To Assay, B.w.C. Co.”, dia. 1‑3/4”, total weight, 87.5 grams. [900/1200] Illustrated

1017

1014

1016 Fourteen-Karat Yellow Gold Victorian-Style Slide Bracelet, composed of eight slides separated by gold quilted beads, the slides mounted with amethyst, coral, garnet, opal, cultured pearls, turquoise and a hand-painted miniature, l. 7”, total weight, 46.4 grams. [1000/1500]

1015 Gentleman’s Eighteen-Karat Yellow Gold and Malachite Ring, the flat bezel-set malachite, measuring approximately 13.0 mm x 15.0 mm, in a bold and heavy mounting, size 12‑1/4, total weight, 19.6 grams. [1800/2500] Illustrated

1020

1017 Victorian Fourteen-Karat Yellow Gold and Jasper Brooch, set with a round 22.0 mm jasper disc, faceted into quarters, flanked by two 15.0 mm matching faceted jasper discs, the brooch attached to a stickpin with an anchor-link chain, w. 2‑1/2”, total weight, 26.4 grams. [1000/1500] Illustrated

1015

208

1018 Gentleman’s Eight-Karat Gold and Carnelian Seal Ring, the carnelian seal intaglio-engraved with the arms of Baronet Ramsey of Balmain, bezel-set in a yellow gold mounting, size 7‑3/4, total weight, 10.6 grams. [1200/1800] Illustrated

1019 Fourteen-Karat and Ten-Karat Yellow Gold Victorian Brooch, the fourteen-karat yellow gold brooch composed of two oval garnet cabochons, measuring approximately 19.0 mm x 15.0 mm and an oval faceted garnet pendant set with a rose-cut diamond, size 1‑1/2” x 3/4”, and the ten-karat yellow gold brooch designed as a cluster of leaves and five acorns set with five elk’s teeth, size 2” x 1‑1/4”, total weight, 11.9 grams. [600/900]

1024

1018

1020 Eighteen-Karat Yellow Gold, Diamond and Garnet Ring, the emerald-cut rhodolite garnet, with an approximate weight of 2.25 carats, bezel-set and flanked by two rows of diamond baguettes, with an approximate total weight of 0.66 carats, size 5‑1/2, total weight, 13.8 grams. [500/800] Illustrated

1023 Fine Austrian Art Deco Fourteen-Karat Gold and Onyx Box, first quarter 20th century, Vienna, by Carl Mayr & Co., of short cylindrical form, the body carved from a single piece of black onyx, with narrow engraved gold rim, the hinged lid with a single piece of onyx, the thumbpiece channel set with five calibre-cut onyx, h. 1”, dia. 2‑1/4”. [500/800]

1021 Renaissance Revival Silver, Smoky Quartz, Baroque Pearl and Ruby Seal Paperweight, the hand-chased seal cast with a mermaid holding a hinged nautilus shell atop a foliage-designed base, the base subdivided by two bands of forty-five oval faceted rubies with fourteen pearls in two bands, the seal composed of a large faceted smoky quartz, measuring approximately 32.0 mm x 41.0 mm, h. 4‑1/4”, total weight, 195.3 grams. [1400/1800] 1022 Two Fourteen-Karat Yellow Gold Hardstone Victorian Brooches, the first with a carved hardstone cameo of a classical maiden, set in an oval engraved frame with four seed pearl accents, 1‑1/4” x 1‑1/16”, and the second with an intaglio-engraved black onyx of a classical maiden, set in a square twisted frame, size 1‑1/4” x 1‑1/4”, total weight, 21.4 grams. [900/1200] Illustrated

1022

1024 Eighteen-Karat Yellow Gold, Diamond, Black Onyx and Pearl Blackamoor Brooch, the carved coral and onyx brooch set with forty-seven round brilliant-cut diamonds, with an approximate total weight of 0.65 carats, the turban set with an 8.0 mm cultured pearl, engraved on the back and signed “S. Nardi 750”, size 1‑1/4” x 3‑1/2”, total weight, 39.2 grams. [1500/2500] Illustrated

209

1025 Fine Victorian Fifteen-Karat Yellow Gold Etruscan Revival Collier, third quarter 19th century, comprising a fine hook chain, each link faced with a patera and flanked by small beads, suspending a graduated row of tubular drops alternately terminating in trefoils and fixed hemispheres, the larger tubes banded, the whole decorated with wire and beadwork, with a hidden pawl clasp and pendant loop, l. 17‑1/4”, total weight, 41.6 grams. [2000/4000] Illustrated 1026 Collection of Three Antique FourteenKarat Gold Brooches and a Ten-Karat Yellow Gold Antique Diamond Brooch, including a small Etruscan Revival oblong brooch set with a mine-cut diamond, an Etruscan Revival brooch set with six turquoise cabochons and a seed pearl, a brooch set with a 3.00 mm pearl, and a tenkarat sunburst brooch set with a .13‑carat mine-cut diamond, total weight, 21.8 grams. [600/900] Illustrated 1027 Fourteen-Karat Yellow Gold, Enamel and Seed Pearl Brooch and Pendant, the brooch with an oval hand-painted enamel courting scene set with seventeen seed pearls, size 24.0 mm x 33.0 mm, and the filigree trapezium pendant set with a miniature of two putti surrounded by a halo of seed pearls, size 21.0 mm x 38.0 mm, total weight,10.0 grams. [900/1200] Illustrated 1028 Gentleman’s Silver and Carnelian Seal Ring, the bezel-set oval carnelian, measuring approximately 22.0 mm x 30.0 mm, intaglioengraved with a rearing stallion holding a crown, size 9, total weight, 14.6 grams. [500/800]

1026

210

1025

1029 Gentleman’s Cartier Eighteen-Karat Yellow Gold Santos Dumont Wristwatch, the elegant and unusually thin square case “Santos Dumont” with a manual wind mechanical movement, the classic white dial with black Roman numerals and secret signature in Roman numeral VII, the case and dial marked “Cartier”, case dimension without crown 27.0 mm x 36.0 mm, with a Cartier box, total weight, 30.0 grams. [2500/4000] Illustrated

1027

1029 1030 1031 Tiffany and Company Eighteen-Karat Yellow Gold Schlumberger Knot Cufflinks and Studs, the classic Schlumberger cufflinks in a double knot design, together with four shirt studs, all marked “Tiffany & Co.”, together with the original Tiffany box, total weight, 39.0 grams. [1500/2500] Illustrated

1030 Vintage Tiffany and Company Bronze Gold-Tone Swiss EightDay Alarm Clock, 1960s, the Art Deco-style rectangular case and dial with gadroon lines, the clock with a mechanical manual wind movement, the case and crystal marked “Swiss”, the dial marked “Tiffany and Co.”, with a fitted box, size 52.0 mm x 62.0 mm. [550/800] Illustrated

1032 Tiffany and Company Gentleman’s EighteenKarat Yellow Gold Atlas Automatic Wristwatch, the classic watch with a Swiss mechanical automatic movement with sweep second and calendar, the case, dial, alligator band and eighteen-karat yellow gold buckle marked “Tiffany & Co.”, serial #0D0850117, together with the inner and outer boxes, booklet and blank warranty card, case dimension without crown, 38.0 mm x 46.0 mm, total weight, 96.5 grams. [2500/4000] Illustrated

1032

1031

211

1033 Group of Tiffany & Company Fourteen-Karat Yellow Gold, Sterling Silver, Black Onyx and Diamond Cufflinks and Studs, including fourteen-karat yellow gold and black onyx “barbell” cufflinks, accompanied by three shirt studs, each set with black onyx and a round brilliant-cut diamond, together with a pair of sterling silver and black onyx “column bar” cufflinks, all marked “Tiffany & Co.”, total weight, 22.8 grams. [600/900] Illustrated

1036

1033

1034 Tiffany and Company Gentleman’s Eighteen-Karat Yellow Gold Mark Coupe Moon Phase Triple Calendar Wristwatch, the classic watch with a Swiss mechanical movement, with windows to display the day, month, moon phase and calendar hand for date, the case with an exhibition back to view the movement, the case, dial, alligator band and eighteen-karat yellow gold buckle marked “Tiffany & Co.”, serial #0N0222XXX, together with the inner and outer boxes, booklet and blank warranty card, case dimension without crown, 34.0 mm x 48.0 mm, total weight, 109.1 grams. [3000/5000] Illustrated 1035 Three Pairs of Fourteen-Karat Yellow Gold and Semi-Precious Gem Cufflinks, including a pair designed as eagle heads of Art Nouveau inspiration, each set with a round amethyst cabochon measuring approximately 6.1 mm, a pair set with an oval opal cabochon measuring approximately 6.2 mm x 8.6 mm, and a pair set with two oval white marble cabochons measuring approximately 9.4 mm x 13.5 mm, total weight, 20.4 grams. [800/1200] 1036 Gentleman’s Tiffany Sterling Silver Atlas Automatic Calendar Wristwatch, the classic watch with a Swiss automatic movement with sweep second and calendar, the case, dial, band and buckle marked by Tiffany, model #M06940, serial #84‑XXX, case dimension without crown, 36.0 mm x 41.0 mm, total weight, 59.5 grams. [700/1000] Illustrated 1037 Fourteen-Karat White Gold and Tibetan Quartz Necklace, composed of faceted Tibetan quartz beads separated by round white gold beads, and finished with a fourteen-karat white gold clasp, l. 16”. [500/800]

212

1034

1040 Vintage Dark Chocolate Brown Mink Stroller, 1980’s, size 8‑10, with notched collar, set-in sleeves, two on-seam pockets, a removable black leather tie and button and two hook closure, labeled: “Goudchaux/Maison Blanche, l. 32”. [600/900] Illustrated 1041 Vintage Robert Courtney Black Wool Crepe Sheath and Associated Mink-Trimmed Black Knit Jacket, 1970’s, the sleeveless sheath with a long row of faceted “jet” buttons from the neck opening to a long front slit, black silk-lined, labeled: “Robert Courtney”, size 8‑10, l. 53‑1/2”, the cropped jacket trimmed with chocolate brown mink, with set-in sleeves, lined with white silk satin, labeled: “Godchaux’s”, size 4, l. 19‑1/2”. [500/800] 1042 Vintage Stephen Yearick Black Beaded Silk and Fox FivePiece Evening Ensemble, 1980’s, all black bugle-beaded silk, comprising a fox-trimmed cocoon coat, size 10‑12, l. 40”, a long sleeve column dress with zippered back and 9” back slit, size 12, l. 42”, a long sleeve over-blouse with set-in sleeves and keyhole back closure, size 10‑12, l. 26”, a skirt, size 10‑12, l. 38”, with a 16” back slit, and a pair of cropped pants, size 10‑12, l. 36, all pieces labeled: “Stephen Yearick”. [500/800]

1045

1038

1038 Vintage Full Length Black Mink Coat, 1980’s, size 10, with small wing lapels, two on-seam pockets, two hook closure and set-in sleeves with self-banded cuffs, labeled: “Maison Blanche”, l. 50”. [700/1000] Illustrated

1043

1044

1039 Vintage Jean Claude Jitrois, Paris, Black FoxTrimmed Kidskin Cocoon Coat, 1980’s, one size, the body in a self-patchwork design, with a bold notched collar, dolman sleeves and two slash pockets, trimmed overall with black fox, labeled: “Jean Claude Jitrois/Paris” and “made in France”, l. 40”. [500/800]

1040

1043 Judith Leiber Faceted Multi-Metallic Crystal Minaudiere, 1990’s, with a flush clasp, the front and back designed as two different gem cuts, with drop-in gold chain, the interior lined in gold kidskin bearing the gold label stamped: “Judith Leiber/New York”, includes a zippered dust bag, h. 3‑1/2”, w. 4‑1/2”, d. 2‑1/2”, chain drop: 24”. [700/1000] Illustrated 1044 Judith Leiber Silver and Crystal Minaudiere, 1990’s, the pushclasp and body covered with clear crystals and edged in silver, with drop-in silver chain, the interior lined in silver kidskin bearing the silver label stamped: “Judith Leiber/New York”, includes a pink dust bag, h. 3”, w. 5”, d. 1‑3/4”, chain drop: 19‑3/4”. [700/1000] Illustrated 1045 Judith Leiber Crystal and Carnelian Oblong Geometric Minaudiere, 1970’s, with a cabochon carnelian push clasp, the body covered in clear and gold crystals edged in silver and gold, the ends each set with a large cabochon carnelian, with drop-in gold chain, the interior lined in gold kidskin bearing the gold label stamped: “Judith Leiber”, includes the gold kidskin coin purse, tasseled comb and swing mirror with pouch along with a dust bag, h. 3‑1/4”, w. 6‑1/2”, d. 1‑3/4”, chain drop: 19‑1/2”. [700/1000] Illustrated

213

1046 Silver Mink and Taupe Suede Stroller, size 6, with bold notch collar and single hook front closure, the shaped body composed of vertical pelts alternating with narrow taupe suede segments, with two on-seam pockets, the sleeves inset with a sleeve loop at the wrist, lined in pale taupe satin, labeled: “Saks Fifth Avenue”, retains the “Koslowized” paper label, l. 32”. [500/800] Illustrated

1046

1048 Silver Gilt, Blue Sapphire, Citrine and Garnet Handbag, the Indian Mughal design hand-fabricated and set with approximately 2,269 round faceted blue sapphires, with an approximate total weight of 128.0 carats, approximately 543 oval faceted citrines, with an approximate total weight of 187.15 carats, and approximately 889 oval and round faceted garnets, with an approximate total weight of 166.0 carats, h. 5‑1/4”, w. 5‑3/8”, overall total weight, 753.0 grams. [600/900] Illustrated

1050

1047 Vintage Blue Fox Stroller, 1980’s, size 10, with wing lapel, flared set-in sleeves, two on-seam pockets and three hook closure, labeled: “Saga/Fox” and “Goudchaux/ Maison Blanche”, l. 32”. [500/800]

1048 1049 Vintage White Mink Stroller, 1980’s, size 8, with a broad wing collar, flared raglan sleeves, two hook closures, two on-seam pockets and a removable white leather tie, labeled: “Goudchaux’s”, l. 32”. [600/900] 1050 Glamorous Ermine and Sable Coat, with vertical pelts throughout, a wide brown sable collar, lapels and cuffs, lined with ecru satin throughout, with floral embroidery on the interior front panels, with inside pockets, labeled “Furs by Mannis, Beverly Hills, Las Vegas & New York”, size 4‑6, l. 43‑1/2”. [1000/1500] Illustrated 1051 Vintage Yvonne LaFleur Nutmeg Sheared Beaver Oversized Long Coat, 1980’s, size M, in a patchwork design, with a notched collar, three hook closures and two on-seam pockets, lined in black “silk”, labeled: “Yvonne LaFleur/New Orleans”, l. 52”. [600/900]

214

1052

1053 Vintage Mink-Trimmed Leopard Skin Coat, size 6‑8, with notched collar and set-in sleeves, the cuffs and hem trimmed with black mink, lined with black silk and having one interior front pocket and two black jersey ties, labeled: “H. M Rosoff Originals”, l. 45”. [500/800] Illustrated

1054

1052 Vintage Valentino Boutique Fox-Trimmed Leopard-Patterned Cashmere Knit Swing Coat, 1980’s, size M, gathered below the yoke in front and back, with padded shoulders, set-in sleeves and two on-seam pockets, trimmed overall with hombre’d brown fox, the interior unlined, labeled: “Valentino Boutique” and “Made in Italy”, l. 34”. [500/800] Illustrated

1053

1054 Luscious Chocolate Brown Silk Velvet-Lined Sable Throw, l. 72”, w. 48”. [500/800] Illustrated 1055 Vintage Lynx Stroller, 1980’s, size 10, with shawl collar, set-in sleeves, two on-seam pockets, one hook closure and a removable bone leather tie, labeled: “Goudchaux/Maison Blanche”, l. 32‑1/2”. [500/800] Illustrated

1055

215

1056 Three Fox Stoles, the first a black velvet-lined silver fox tapered-end stole labeled: “Zuki”, l.100”, w. 12”, together with a black velvet-lined silver fox stole comprising two pelts with traditional heads, paws and feet, labeled: “Holmes” and embroidered: “JDT”, l. 98”, w. 6”, and a cognac silk-lined red fox stole with tails, l. 94”, w. 6”. [500/800] Illustrated

1059

1056

1058 Two Hermes, Paris, Silk Scarves, the first a tomato red, black and mauve “Grand Largue”, designed by Pierre Peron in 1979, h. 35”, w. 35”, and the other a dark navy with broken white circles, h. 26”, w. 26”, both signed “HermesParis”. [500/800] 1059 Two Hermes, Paris, Silk Scarves, the first a royal blue and parchment “Farandole”, designed in 1985 by Caty Latham and signed “Caty” and “Hermes-Paris”, h. 35”, w. 35”, and the second a blue and olive green “Perspective”, designed in 1968 by A. M. Cassandre and signed at one corner: “A. M./Cassandre/Pour/Hermes/ Paris”, h. 35”, w. 35”. [500/800] Illustrated 1057 Two Vintage Hermes, Paris, Silk Scarves, the first a pale blue and olive green “Alsace”, designed in 1960 by Francoise de la Perriere, signed in one corner: “F. de LA PERRIERE” and “Hermes-Paris”, h. 35”, w. 34”, the other a pleated claret and cognac “Les Tuileries”, designed by Joachim Metz in 1990, signed within a scroll: “J. Metz” and “Hermes-Paris”, h. 34”, w. 34”, and presented in a circular, ribboned Hermes box. [500/800] Illustrated

1057

1061

216

1061 American Late Chippendale Cherrywood Tall Chest, ca. 1800, Pennsylvania, with a row of three side-by-side drawers over six graduated long drawers and raised on splayed bracket feet, h. 64”, w. 42”, d. 22”. [1200/1800] Illustrated 1062 American Federal Mahogany Butler’s Secretary, early 19th century, School of Michael Allison, New York, the rectangular top above a conforming case fitted with a drop-front secretary drawer opening to a baize-lined writing surface and a variety of drawers and cubbyholes flanking a central cupboard, over three graduated long drawers, raised on bracket feet, h. 43”, w. 43‑1/2”, d. 23‑1/2”. [600/900] Illustrated 1063 Pennsylvania 1791 Indenture, Documenting a Land Transaction, handwritten and between Ann Webster and John Clayton, documenting a land transfer in Abington, Pennsylvania, Montgomery Co., in a double-sided acrylic frame, h. 17”, w. 30‑1/4”. [600/900] 1062 1060 Two Vintage Hermes, Paris, Silk Scarves, the first an emerald green, steel gray and hot pink “Folklore”, designed by Henri d’Origny, probably 1980’s, signed: H. d’Origny within the ground and “Hermes-Paris”, h. 35‑1/2”, w. 34‑1/2”, the second a pleated turquoise, red and purple “Chapeau!”, designed by Annie Faivre in 1990, signed “Hermes” and “Paris”, h. 34”, w. 34”, and presented in a circular, ribboned Hermes box. [500/800]

1064 Rare American Federal, New York, Small-Size Inlaid Serpentine Sideboard, ca. 1800, composed of mahogany with line inlay and inlaid bookends, three sides with inlaid cuffs, with pine and poplar secondary wood, the escutcheons appear to be original, h. 39”, w. 56‑1/2”, d. 28”. [2000/4000] Illustrated 1065 American Colonial Revival Mahogany Camelback Sofa in the Philadelphia Chippendale Style, first quarter 20th century, with shell-carved cabriole legs terminating in ball-andclaw feet, h. 36‑1/2”, w. 75‑1/2”, d. 27‑1/2”. [800/1200]

1064

217

1066 Rare Baltimore Tiger Maple Knife Box, first quarter 19th century, school of John Needles, on brass ball feet, with a reeded lower edge and a shaped front, and a fitted interior, h. 16”, w. 10”, d. 11‑3/4”. [500/800] Illustrated A related example in mahogany is illustrated in Classical Maryland, by Gregory R. Weidman, p. 137.

1066

1068 Pair of Unusual Chinese Export Fitzhugh Plates, first quarter 19th century, for the American market, dia. 8”. [500/800] Illustrated Herbert, Peter and Nancy Schiffer’s China for America: Export Porcelain of the 18th and 19th Centuries (Atglen, PA: Schiffer, 1997), p. 63, illustrates a syllabub cup with the same border and Fitzhugh decoration, descended in the Pingree family of New England and now in the Peabody Essex Museum, Salem, Massachusetts.

1068

1069 American Mid-Atlantic Mahogany Bowfront Chest, early 19th century, the bowed top with a line-inlaid edge, above a conforming case fitted with four graduated long drawers, raised on bracket feet, h. 35‑1/2”, w. 40”, d. 22‑1/4”. [800/1200] Illustrated

1067 American Federal Inlaid Cherry and Figured Maple Chest, ca. 1800, probably Rhode Island, the case with four graduated banded and line-strung drawers, the stiles with inlaid urns above tapering reeded feet, h. 36‑1/2”, w. 47”, d. 19‑1/2”. [600/900] Illustrated

1067

218

1070 American Mahogany and String-Inlaid Fold-Over Games Table, first quarter 19th century, of Southern origin, having tapered legs ending in spade feet and the front apron fitted with a drawer, h. 30”, w. 40”, d. 19‑1/2”, extended d. 39”. [1500/2500]

1069

1071 Remarkable Rosewood-Cased Set of 1839 New York Household Inventories, of French manufacture, second quarter 19th century, with a handwritten household inventory of Susan (Mrs. Henry) Parish (1805‑1861), 49 Barclay Street, New York, dated 1839‑1857, comprising four duodecimo ruled journals, full black leather, with brown spine with red panel and gilt lettering and decoration, presented in a rosewood-veneered and marquetry-inlaid case with spring-mounted catch which partially ejects the volumes when unlocked, overall, h. 8‑3/4”, w. 3‑3/8”, d. 5‑1/2”. [500/800] Illustrated Susan Maria Delafield, daughter of John and Ann Hallett Delafield, was married on October 7, 1829 to New York merchant Henry Parish (1788‑1856), whose business interests included the firm of Gasquet, Parish & Co. in New Orleans. These journals record, in Mrs. Parish’s hand, the inventory of their Barclay street home beginning in 1839 and with entries up through 1857, documenting the household goods of a member of New York’s merchant class of the antebellum period. They present a remarkable array of porcelain, glass, silver, linens, all recorded with great attention to detail. The household goods are presented in one volume, and another records the “List of S.M.P. (Susan Maria Parish) Jewels”, with the place and/or circumstances of acquisition for each item, such as the “pink-white topaz bg’t in New Orleans, 1839” and other items bought in London, Paris, Geneva, Philadelphia and Naples. Mrs. Parish is perhaps best remembered for the acrimonious and protracted contestation of her husband’s will. Soon after writing a will in 1842 leaving his considerable $898,000 estate (equivalent to about $25 million today) divided among his wife, siblings and namesakes, Parish began to suffer a series of apoplectic strokes, culminating in one in 1849 which left him permanently physically and mentally disabled. During this time, he executed three codicils to his will leaving the bulk of his estate to his wife. After his death in 1856, Parish’s siblings challenged the codicils in a court case which lasted for six years and was not resolved until after Mrs. Parish’s death on June 16, 1861. The final adjudication in May 1862 recognized the first of the three codicils, which left the bulk of Parish’s real estate and business holding to his wife; according to her terms of her will, the estate was divided among her surviving brothers. The facts - and no little amount of arch and salacious testimony in which the complainants depict Mrs. Parish as an avaricious schemer manipulating her incapacitated husband - can be found in the 1862 publication The Parish Will Case (New York: D. Appleton, 1862). Additional information may be found in the Delafield family papers, conserved at Princeton University, which contain some poems by Mrs. Parish.

1064

1072

1072 American Late Classical Mahogany and Parcel-Gilt Drop-Leaf Breakfast Table, first quarter 19th century, New York, h. 29‑1/2”, w. 26”, d. 40”, extended w. 56”. Provenance: The Towers Plantation, Natchez, Mississippi. [600/900] Illustrated

219

1074 Colonial Revival Giltwood Convex Mirror, fourth quarter 19th century, probably American, the covemolded mirror decorated with a spread-wing eagle finial on a rocky outcropping, h. 40”, w. 24”. [800/1200] 1075 American Late Classical Flame Mahogany Sideboard, second quarter 19th century, the case with a wide banded drawer above a pair of bottle drawers with cabinets on each side, raised on paw feet, h. 60”, w. 53”, d. 24”. [1000/1500]

1073

1077

1073 English Neoclassical Giltwood Girandole Mirror, second quarter 19th century, the circular frame mounted with gilt spherules and molded laurel leaves, with an eagle on a rocky outcropping forming the finial, and fitted with a pair of twisted candle arms, h. 31‑1/2”, w. 22‑1/2”. [1000/1500] Illustrated

1076

1076 Restauration Gilt-Bronze Figural Mantel Clock, second quarter 19th century, with a figure depicting Bonnie Prince Charlie, holding the symbolic bird, with Betty Burke, escaping through the Scottish Highlands after the failed Jacobite uprising, mounted with a silk string suspension movement, h. 16”, w. 12‑1/2”, d. 4”. [800/1200] Illustrated 1077 Neoclassical Giltwood Tabernacle Mirror, ca. 1800, probably Boston or New York, the molded tablet depicting Mark Antony in his lion-drawn chariot with an entourage, an angel trumpeting his arrival, h. 42‑1/2”, w. 25”. [700/1000] Illustrated

220

1078

1078 Southern Classical Mahogany and Cherrywood FourPost Bedstead, second quarter 19th century, the carved and reeded posts ending in brass ball feet, the shaped headboard with a large “rolling pin” crest rail, h. 94”, inside, w. 56”, l. 76”, outside, w. 60”, l. 80”. Provenance: From a French Quarter, New Orleans, estate. [2000/4000] Illustrated

1080 1079 American Late Classical Mahogany Four-Post Bedstead, second quarter 19th century and later, the foot posts with spiraling acanthus leaf carving, the headposts uncarved, modified to accommodate a standard queensize box spring and mattress, h. 88”, inside, w. 61”, l. 81”, outside, w. 68”, l. 89”. [600/900] Illustrated 1080 Circle of Gilbert Stuart (American, 1755‑1828), “Portrait of a Lady Wearing a Turban”, oil on canvas, first quarter 19th century, unsigned, 29‑1/4” x 24‑1/2”. Presented in a 19th-century giltwood and gesso frame. [900/1200] Illustrated

1079

1081 1081 American School (Second Quarter 19th Century), “Portrait of a Gentleman”, oil on canvas, 35‑1/2” x 29”. Presented in a giltwood frame. [700/1000] Illustrated

221

1083

1082 American Late Classical Mahogany Chest of Drawers, second quarter 19th century, with a central bank of five drawers flanked by spiral-twist columns and raised on carved paw feet, h. 40”, w. 43”, d. 23”. [500/800]

1084

1083 Three-Piece Federalist New York Coin (.892) Silver Tea Set, ca. 1790, by John Vernon (fl. 1785‑1817), New York City, including a teapot with oval body, conical spout and crested wooden handle, l. 12‑3/4”, a helmet-form cream jug with arched handle and oval foot, h. 7‑1/4”, and a sugar urn with oval body, conforming foot and fitted cavetto-domed lid with spherical finial, l. 6‑3/4”, the edges decorated with reeding and wrigglework, the bodies decorated with bright-cut foliatemantled cartouches monogrammed “AVDV”, 46.82 total t. oz. (including wooden handle). [4500/7000] Illustrated

1085

222

1086

1084 Nineteenth-Century American Sterling Silver “Medallion” Pattern Ladle, the pattern designed in 1862 by John Rudolph Wendt (1826‑1907), New York City, the pointed bowl with everted rim, monogrammed on the underside “ELR”, l. 13‑1/4”, 4.89 t. oz. [600/900] Illustrated

1087 Twenty-Two Pieces of Civil War-Era “Italian” Pattern Sterling Silver Flatware, designed in 1860 by Alonzo Hebbard (1827‑1887) for Gale & Willis, New York City, retailed by Edward J. Johnston & Co., Macon, Georgia, including twelve place forks, l. 8”, and ten place spoons, l. 8‑1/2”, no monograms, 41.17 total t. oz. [700/1000]

1088 Six American and French Silver and Silverplate Serving Pieces, 19th century and later, including American sterling silver pieces: a Wood & Hughes “Angelo” jelly server, l. 9”, a Gorham “Byzantine” ladle, monogrammed “S & PJ”, l. 11‑3/4”, a Tiffany & Co. “Shell and Thread” sauce ladle, l. 7‑1/4”, and a Whiting “Princess Ingrid” cake server with stainless steel blade, l. 9‑3/4”, and French pieces: a Restauration first standard (.950) silver fish slice with turned wooden handle, monogrammed “MF”, l. 15”, and a silverplate meat skewer, l. 11‑3/4”, 7.19 total t. oz. (weighable silver). [700/1000]

1089

1085 Gorham Neo-Grec Coin (.900) Silver Bud Vase, inscribed 1865, Providence, Rhode Island, of trumpet form, the steeply raised rim joined to arched handles crested by putti, decorated with engine-turned banding, all above a circular base, engraved, on the body “1840‑1865 / P / Silver Wedding” opposing “From / HDS & JMcW”, h. 8‑3/4”, w. 4”, 7.33 t. oz. [600/900] Illustrated

1091 1089 Good Set of Eight American Sterling Silver Salt Cellars, fourth quarter 19th century, by the Whiting Mfg. Co., Providence, Rhode Island, each in the form of a small cylindrical basket with slightly inverted rim, the “weave” realistically detailed, the interior gilt, h, 3‑1/4”, dia. 1‑1/2”, 5.29 total t. oz. [600/900] Illustrated 1090 American Arts & Crafts Sterling Silver Cream and Sugar Set, first quarter 20th century, by Whiting Mfg. Co., Providence, Rhode Island, each with a bucket-shaped body with gauffered rim, decorated with acid-engraved trailing morning glories centering an engraved monogram “CL”, with arched spiral-twist handle(s) and gilt interior, w. 3‑1/4” and 4”, 5.33 total t. oz. [600/900] 1086 Eight Gorham “Luxembourg” Sterling Silver Serving Pieces, the pattern designed in 1893 by George Wilkinson (1819‑1894), Providence, Rhode Island, including a crumber, l. 11‑1/2”, a two-piece salad serving set, l. 10‑1/8”, a macaroni server, l. 8‑1/8”, a berry spoon, l. 8‑3/4”, a mayonnaise ladle, l. 5‑1/4”, a sugar spoon, l. 5‑7/8”, and a sugar sifter, l. 5‑1/2”, five pieces variously monogrammed, 19.72 total t. oz. [500/800] Illustrated

1091 Four-Piece Gorham Arts & Crafts Sterling Silver Demitasse Set, 1925, Providence, Rhode Island, including a pear-shaped demitasse coffeepot with ebonized handle and finial, h. 8‑1/4”, a bulbous open sugar bowl and creamer, dia. 3‑1/4”, and a circular salver, dia. 12”, all with hammered finish and monogrammed “ELP”, 38.99 total t. oz. (including wooden elements). [1400/1800] Illustrated

223

1092 Good American Arts & Crafts Sterling Silver Waiter, 1882, by Dominick & Haff, New York, New York, for J. E. Caldwell & Co., Philadelphia, Pennsylvania, of rounded square form, with repousse oak and ivy branches on a hammered ground, raised on four ball-and-claw feet, monogrammed on the underside “S/RB”, w. 10”, 19.86 t. oz. [1500/2500] Illustrated

1096

1092

1093 Twenty Sterling Silver Place Dishes, first quarter 20th century, including a set of ten Gorham rectangular nut dishes, the wavy rim embossed with realistic poppies, monogrammed “GR”, l. 3‑3/4”, w. 3”, and a set of ten Howard & Co. square condiment dishes, the shaped wavy rim with applied cherry blossoms, no monograms, w, 5”, 50.18 total t. oz. [800/1200]

1094

1094 S. Kirk & Son Old Baltimore Standard (.917) Silver Salver, fourth quarter 19th century, Baltimore, Maryland, of rectangular form, with repousse floral rim and chased “quilted” plateau centering a laurel cartouche, raised on four ball-and-claw feet, l. 16”, w. 11‑1/2”, 36.02 t. oz. [600/900] Illustrated

224

1095 S. Kirk & Son Old Baltimore Standard (.917) Silver Waiter, fourth quarter 19th century, Baltimore, Maryland, of circular form, with repousse floral rim and chased “quilted” plateau centering a cartouche, raised on three ball-and-claw feet, engraved on the cartouche with a crest of a dexter arm embowed vested in mail, holding in the hand a banner, dia. 6‑1/2”, 6.70 t. oz. [600/900] 1096 S. Kirk & Son Sterling Silver Fruit Bowl, second quarter 20th century, Baltimore, Maryland, of circular form, the wavy lobed rim decorated with realistic flowers in the traditional Baltimore manner, monogrammed “SGH”, h. 2”, dia. 10‑1/8”, 13.30 t. oz. [500/800] Illustrated

1098

1097 S. Kirk & Son Sterling Silver Serving Platter, mid20th century, Baltimore, Maryland, of oval form, the rim decorated with chased repousse flowers in the traditional Baltimore manner, l. 18”, w. 12‑3/4”, 44.44 t. oz. [2500/4000]

1102

1099

1098 Good 19th-Century American Sterling Silver Petite Flask, inscribed 1884, by Junius H. Davis & Co., fl. 1882‑1887, Philadelphia, Pennsylvania, of traditional form, beautifully decorated all over with repousse flowers on a matte ground, the lower third detaching to serve as a gilt-lined shot cup, engraved on the underside “E.A. Markle / from / C. & J. / June 1884”, h. 4‑7/8”, w. 2‑1/2”, 6.21 t. oz. [800/1200] Illustrated

1100

1100 American Sterling Silver Fruit Stand, fourth quarter 19th century, by the Meriden Britannia Co., Meriden, Connecticut, of circular form, the lobed rim intricately decorated with applied rococo scrolls and shells with pierced latticework and embossed roses, raised on a domed foot, monogrammed “McB”, h. 3”, dia. 12‑1/2”, 25.52 t. oz. [550/800] Illustrated 1101 Gorham Sterling Silver Center Bowl, 1892, Providence, Rhode Island, special order code 3662, of serpentine-lobed oval form, the shaped rim with applied rococo scrolls, raised on a conforming foot, the interior gilt, monogrammed “JAT”, h. 5”, l. 12‑3/4”, w. 9‑1/2”, 31.81 t. oz. 1103 [600/900] 1102 American Sterling Silver Punch Bowl, fourth quarter 19th century, by Frank W. Smith, Gardner, Massachusetts, of bulbous circular form, decorated with repousse daisies and peonies, the shaped everted rim with applied rococo-scroll edge, the domed foot en suite, monogrammed “H”, h. 7‑1/2”, dia. 11‑1/2”, 51.32 t. oz. [900/1200] Illustrated

1099 Set of Four Gorham “Narragansett”-Style Sterling Silver Dishes, first quarter 20th century, Providence, Rhode Island, each in the form of a realistically detailed oyster shell with “barnacle” decoration and clamshell foot, the interior gilt, monogrammed on the rim “LRC”, l. 4‑3/4”, w. 2‑1/2”, 9.54 total t. oz. [1200/1800] Illustrated

1103 George W. Shiebler Sterling Silver Trumpet Vase, ca. 1900, New York, New York, of traditional form with shaped and everted rim, banded and edged with embossed and applied floral bouquets, above a flattened spherical knop en suite and a lobed circular foot, monogrammed “JEL”, h. 16‑1/4”, dia. 5‑3/4”, weighted. [500/800] Illustrated

225

1106

1107 Three Reed & Barton “Love Disarmed” Sterling Silver Serving Pieces, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, including a waffle server, l. 10‑3/4”, an asparagus server, l. 11”, and a macaroni server, l. 11‑1/2”, no monograms, 23.09 total t. oz. [700/1000] Illustrated 1108 Two-Piece Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, no monograms, l. 10‑5/8”, 14.88 total t. oz. [600/900] 1109 Nine Pieces of Reed & Barton “Les Cinq Fleurs” Sterling Silver Flatware, the pattern designed in 1900 by Joseph Smith, Taunton, Massachusetts, including five teaspoons, l. 5‑3/4”, a youth fork, l. 5‑7/8”, a lettuce fork, l. 8‑1/2”, and two tablespoons, l. 8‑1/4”, the tablespoons monogrammed “T”, 12.40 total t. oz. [500/800] Illustrated

1104 Four American Sterling Silver Serving Dishes, 1918‑1919, Providence, Rhode Island, including a pair of Whiting convex rectangular vegetable dishes with flower-and-scroll border, l. 11”, w. 7‑3/4”, and a pair of Gorham navette-shaped bonbon dishes with embossed floral scroll border, each with Art Nouveau monogram “GRK”, l. 8‑1/2”, w. 5‑1/2”, 34.91 total t. oz. [600/900]

1109

1105 Two-Piece Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, no monograms, l. 10‑5/8”, 15.72 total t. oz. [800/1200]

1110 Two-Piece Reed & Barton “Les Six Fleurs” Sterling Silver Salad Serving Set, the pattern designed in 1901 by Charles A. Bennett, Taunton, Massachusetts, no monograms, l. 9‑1/2”, 11.73 total t. oz. [500/800]

1107

1106 One Hundred and Seventeen-Piece Set of Reed & Barton “Love Disarmed” Sterling Silver Flatware, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, comprising twelve nine-piece place settings and nine serving pieces, no monograms, 175.51 total t. oz. (weighable silver). [5000/8000] Illustrated

226

1111 Seventeen Pieces of Whiting “Lily” Sterling Silver Flatware, the pattern designed in 1902 by Charles Osborne (1847‑1920), Providence, Rhode Island, including twelve ice cream spoons, l. 8‑1/8”, a sugar spoon, l. 5‑7/8”, a two-piece salad serving set, l. 11‑1/4”, a tablespoon, l. 8”, and a punch/soup ladle, l. 12”, the latter two monogrammed, 30.44 total t. oz. [800/1200] Illustrated 1112 Six Pieces of Reed & Barton “Francis I” Sterling Silver Hollowware, 1948‑1949, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a round vegetable bowl, dia. 11‑1/2”, and five nut dishes, dia. 3‑1/4”, no monograms, 27.78 total t. oz. [500/800] Illustrated

1111

1113

1114 Reed & Barton “Francis I” Sterling Silver Oval Vegetable Dish, 1954, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, no monograms, l. 12‑1/2”, w. 10”, 20.36 t. oz. [900/1200]

1115

1113 One Hundred and Thirty-One-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including six thirteen-piece place settings (one dinner fork lacking but including rare pieces such as steak knives, ice cream forks and citrus spoons), with thirty-eight additional place pieces and sixteen serving pieces, no monograms, 135.10 total t. oz. (weighable silver), presented in a zippered-top, fitted, Pacific cloth-lined cutlery tray, 3” x 21‑1/2” x 12‑3/4”. Detailed list available on request. [2500/4000] Illustrated

1112

1115 Pair of Reed & Barton “Francis I” Sterling Silver Medium Compotes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, no monograms, h. 4‑3/4”, dia. 8”, 28.20 total t. oz. [900/1200] Illustrated

1116

1116 Tiffany Blue Favrile Glass Candle Lamp, first quarter 20th century, New York, set with a pulled feather electrified “candle”, the blue base with a ground pontil and signed “L.C.T. Favrile”, the iridescent art glass shade unmarked, h. 12‑1/2”, dia. 6‑3/4”. [1500/2500] Illustrated

227

1117 Tiffany Iridescent Blue Favrile Glass Trumpet Vase, ca. 1900, New York, marked “952IN.1548, L.C. TiffanyFavrile”, the pontil unpolished, h. 8‑1/2”, dia. 4‑1/4”. [1000/1500] Illustrated

1117

1118 Reverse-Painted “Chipped Ice” Lamp, first quarter 20th century, attributed to Pittsburgh Lamp, Brass and Glass Co, with tropical landscape decoration, on a thistlemolded metal base, h. 20”, dia. 13‑3/4”. [500/800]

1119

1120 Impressive Victorian Burl-Inlaid, Ebonized and Bronze-Mounted Sideboard, fourth quarter 19th century, in the Aesthetic taste, the upper half with a tripartite mirror, featuring a central arched mirror flanked by vertical rectangular mirrors separated by fluted columns with gilt-bronze capitals, the base with a central glazed door and flanked by an open shelf section and paneled doors below with Wedgwood plaques, h. 106‑1/2”, w. 74”, d. 19”. [1000/1500] Illustrated

1122 1121 Handsome Collection of Eight Cut Glass Decanters, including a pair of strawberry-cut decanters, second quarter 19th century, possibly Pittsburg, h. 10‑1/2”, a pair of English cut and engraved claret jugs, fourth quarter 19th century, h. 11‑3/4”, a French cut glass decanter in a sunburst pattern, second quarter 19th century, h. 8‑1/4”, and three cut glass decanters, h. 9‑1/4” to 10‑1/2”; together with three 19th-century English enamel bottle tickets and three 20th-century shell-form silverplate bottle tickets. [500/800]

1127

1119 Tiffany Furnaces Gilt-Bronze and Favrile Glass Basket, ca. 1920‑1924, New York, the pulled feather glass insert retaining a paper label, the bronze stand marked “Tiffany Furnaces Inc, Favrile, 516”, h. 6‑1/2”, dia. 6”. [1500/2500] Illustrated

228

1120 1126 Pair of Pairpoint Silverplate, Glass and Agate Candlesticks, fourth quarter 19th century, New Bedford, Massachusetts, each in the form of a putto atop a pedestal, above a square greenish-gray agate plinth base and surmounted by a candle nozzle with glass drip pan, h. 10‑1/4”, dia. 3‑1/4”. [500/800] 1127 Set of Twelve Artist-Signed Limoges Fish Plates, ca. 1900, the plates with luminous views of fish contained in a raised gilt border, marked by Mark Demartine et cie, signed “M. Lalane”, dia. 8‑1/2”. [800/1200] Illustrated 1128 Rare American Aesthetic Movement Brassand Mixed Woods-Inlaid Rosewood Sofa, fourth quarter 19th century, attributed to Charles Tisch, New York, the back of tripartite form with a broken-arch crest and inlaid frieze above the center section, the arms with carved lion masques with open mouths, the front with four turned and carved legs, h. 53”, w. 72”, d. 27‑1/2”. [800/1200] Illustrated Charles Tisch made an interesting Aesthetic cabinet which received first prize at the New Orleans Exposition of 1884‑1885. Tisch donated that cabinet to the Metropolitan Museum of Art in 1889, where it remains today.

1122 Charles Martin Hardie (British, 1858‑1916), “Portrait of a Man in a Bowler Hat, Possibly Andrew Carnegie”, oil on canvas, monogrammed and dated “20‑4‑99” lower right, 16” x 12”. Glazed and framed. [900/1200] Illustrated

1128

1123 American School (Third Quarter 19th Century), “Portrait of a Young Gentleman”, oil on canvas laid on board, 30” x 25”. Presented in an ornate giltwood and gesso frame. [800/1200] 1124 Southern School (Fourth Quarter 19th Century), “Young Girl with a Muff, in a Moonlit Garden”, oil on canvas, 30” x 25”. Framed. [800/1200] 1125 Pair of Blown and Cut Crystal Garniture Urns, Attributed to Steuben, second quarter 20th century, Corning, New York, h. 12”, dia. 7‑1/2”. [500/800]

229

1129 French Marble and Porcelain Aesthetic Movement Clock, ca. 1879, retailed by J. E. Caldwell, the incised black marble case set with a porcelain front, carefully painted with Japanese fans, cattails, dragonflies and birds on an ivory ground, the black marble gilt-incised chapter ring marked “J. E. Caldwell, Philadelphia”, and the works marked by the maker, Marti, as well as J. E. Caldwell, 1879, h. 12‑3/4”, w. 9”, d. 6”. [1000/1500] Illustrated

1129

1130 Pair of English Earthenware Garden Seats in the Aesthetic Taste, fourth quarter 19th century, decorated with birds and plum branches on a yellow ground, trimmed in orange and black, h. 18”, dia. 14”. [1200/1800] 1131 Bradley and Hubbard Brass Stand, Set with Longwy-Style Pottery, fourth quarter 19th century, Meriden, Connecticut and France, resting on paw feet, the support set with a cylindrical Longwy standard and four brass supports wound with snakes and terminating in wings, the Longwy-style tile top, stamped “Glem”, framed in a pierced brass border decorated with raised scarabs at the corners, h. 32‑1/2”, w. 13”, d. 13”. [1200/1800] 1132 French Bronze and Pottery Moderator Lamp, fourth quarter 19th century, the bottle vase body mounted with bronze fittings in the Middle Eastern style, now electrified, vase, h. 17‑1/4”, overall, h. 22‑3/4”, dia. 5‑3/4”. [800/1200] 1133 American Aesthetic Movement Marquetry-Inlaid Walnut Fireplace Surround with Mirror in the Japonesque Taste, ca. 1876‑1881, attributed to Herter Brothers, New York, the beveled mirror in a frame with a fretwork gallery over a sunflower and vine marquetry panel, on a surround with a face with similar floral and vine marquetry bordered by a Moorish arch, the uprights with like marquetry panels, the firebox with a period lily-of-the-valley tile surround and cast iron fireback, the verso of the mirror with an illegible inscription in pencil, overall, h. 105”, w. 72”, d. 22”. [5000/8000] Illustrated The use of floral and vine marquetry bordered on one end by a horizontal Moorish arch appears in a number of other Herter Brothers pieces, including an armoire in the Metropolitan Museum of Art, illustrated in Howe, Frelinghuysen and Voorsanger, Herter Brothers: Furniture and Interiors for a Gilded Age, page 195; a dressing bureau crafted for one of the Vanderbilts sold in this salesroom, October 2013, lot 1278; and a bed made for Darius Ogden Mills is in the Foote collection. Each of these pieces utilizes a slightly different floral and vine marquetry pattern within the confines of the arched perimeter.

230

1133

1136

1135

1134 American Aesthetic Movement MarquetryInlaid Birdseye Maple and Maple Dressing Bureau, ca. 1875‑1880, the back of the case with the incised stamp “Herter Bros.”, the furniture design, manufacturing and decorating firm led by Christian Herter, New York City, the case with a pair of pedestal ends joined by a shelf fitted with a pair drawers supporting a tall beveled mirror in a fluted frame, the dentillated cornice with ribbon, bellflower and beaded swag inlays, the upper pedestal drawer with like inlay, h. 83”, w. 76‑3/4”, d. 20‑3/4”. [1500/2500] Illustrated

1134

1135 Satinwood and Mahogany Partners Desk in the Aesthetic Taste, late 19th/early 20th century, each side fitted with a broad central drawer flanked by a bank of three drawers, raised on twist-reeded legs ending in ball-and-claw feet, h. 30‑1/2”, w. 61‑1/2”, d. 44‑1/2”. [1200/1800] Illustrated 1136 Tiffany-Retailed Assembled Spode Bone China Partial Dinner Service, first quarter 20th century, English, with emerald green borders, some pieces with green floral sprigs and others with polychrome floral sprigs identified on the reverse, with various stamps, including a Tiffany retailer’s mark, including sixteen dinner plates, dia. 10‑1/4”, twelve salad/dessert plates with botanical decoration, dia. 7‑3/4”, sixteen salad/dessert plates with green sprig decoration, dia. 7‑3/4”, twelve cream soup bowls, dia. 5‑1/4”, twelve underplates, dia. 7”, twelve bread and butter plates, dia. 6”, twenty-four cups, dia. 4”, and twenty-four saucers, dia. 5‑3/4”. [1400/1800] Illustrated 1137 Unusual Copeland Porcelain Chocolate Pot, ca. 1900, retailed by Tiffany & Co., the eggshell-type porcelain carefully molded with raised gilt-trimmed scrollwork on a Wedgwood blue raised lattice ground, hand-painted with flowers and birds, marked “Copeland’s China England” over “Tiffany & Co., New York, Made in England”, h. 9‑1/2”, w. 5‑1/2”, d. 4‑1/4”. [500/800]

231

1138

1138 Impressive American Late Victorian Mahogany Dining Table and Twelve Chairs, ca. 1890, in the manner of R. J. Horner, comprised of an extension table with winged griffin legs, retaining two of seven 16‑1/2” leaves, h. 32”, w. 53‑1/2”, l. 102”, two armchairs, h. 55”, w. 26”, d. 26”, and ten sidechairs, h. 52”, w. 24”, d. 22” (thirteen total pieces). [4000/7000] Illustrated

1138

232

1138

1139 American Late Victorian Mahogany Armchair, fourth quarter 19th century, in the manner of R. J. Horner, New York, of large proportions, the arms depicting winged female busts, covered in woven leather upholstery, h. 47”, w. 34”, d. 33”. [1000/1500] Illustrated

1143

1139

1140 American Carved Marble Bust of “My First Smoke”, ca. 1900, depicting a young boy wearing a paper hat and smoking a pipe, raised on a socle base, h. 24‑1/2”, w. 12”, d. 9‑1/2”. [3500/5000] 1141 American Cast Iron Garden Planter, ca. 1900, in the form of a child carrying a basket atop his head, on a square base, h. 45”, w. 14‑1/2”, d. 12”. [800/1200] Illustrated

1141

1143 Shearwater Pottery “Bird and Wave” Cylindrical Vase, second quarter 20th century, Ocean Springs, Mississippi, thrown by Peter Anderson and decorated by Walter Anderson, depicting a bird in flight and stylized waves, impressed “Shearwater”, accompanied by a certificate of authenticity from the Anderson family, h. 11‑3/4”, dia. 4‑3/8”. [2500/4000] Illustrated 1144 Unusual Newcomb Pottery High-Glazed Covered Jar, early 1930’s New Orleans, Louisiana, attributed to Lota Lee Troy, head of the Newcomb Art Department from 1931, of baluster form and decorated with carved abstract pitcher plants, marked with an incised “T” and a triangle, h. 5‑3/4”, dia. 4‑1/2”. [800/1200] Illustrated A related form with similar decoration is illustrated in Jessie Poesch, Newcomb Pottery (Atglen, PA: Schiffer, 1984), p. 84.

1144

1142 American White Marble Figure of a Little Girl, fourth quarter 19th century, the child depicted holding a bouquet of flowers, a lamb at her side, h. 16‑1/4”, w. 6‑3/4”, d. 5‑1/2”. [500/800]

233

1145

1147 Newcomb College Matte-Glazed Pottery Vase by Anna Frances Simpson, ca. 1918, New Orleans, the vase with a matte glaze and carved with jonquils in low relief, marked “NC, AFS” and registration mark “J074” and “272”, h. 5‑1/4”, dia. 4‑1/4”. [800/1200] Illustrated 1148 George Ohr Brown-Glazed Puzzle Mug, ca. 1895‑1905, Biloxi, Mississippi, the mug with a rabbit’s head handle, impressed “Geo B Ohr, Biloxi, Miss” on the base, h. 3‑1/2”, w. 4‑3/4”, dia. 3”. [600/900] 1149 George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled Abstract Shapes”, collage and mixed media on canvas, signed and dated mid-right, “Dunbar 67”, signed en verso stretcher, 48” x 48”. Framed. [3000/5000] Illustrated 1150 George Bauer Dunbar (American/Louisiana, b.1927), “Untitled”, 1980, oil and mixed media on canvas laid on board, signed and dated lower right, 31” x 37‑1/2”. Presented in a plexiglass shadowbox. [3000/5000] Illustrated

1145 Shearwater Pottery “Sea, Earth and Sky” Cast Vase, third quarter 20th century, by Walter Inglis Anderson (1903‑1965), Ocean Springs, Mississippi, in a mottled turquoise and green glaze with an impressed crescent mark, h. 12”, dia. 6”. [1000/1500] Illustrated 1146 Two Pieces of Shearwater Pottery, second quarter 20th century, Ocean Springs, Mississippi, consisting of a “pelican” lamp base, designed by Walter Inglis Anderson (1903‑1965) and glazed by Peter Anderson (1901‑1984), with an impressed circular mark, h. 12”, w. 6‑3/4”, and a “fish” sculpture, probably by James McConnell “Mac” Anderson (1907‑1998), with impressed marks, h. 8”, w. 5”. [600/900]

1151 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, moongold over red and black clay, signed bottom center, 9‑1/2” x 8‑1/4”. [1000/1500] Illustrated 1152 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum over black and red clay, signed bottom center, 10‑7/8” x 8‑7/8”. [1500/2500] Illustrated 1153 George Bauer Dunbar (American/Louisiana, b. 1927), “Beige Lady”, 1991, clay/mixed media, signed lower right, verso with a “Galerie Simonne Stern” label, 16‑1/2” x 16‑1/2” x 3”. [3000/5000] Illustrated

1147

1153

234

1149

1150

1151

1152

235

1154

1155 George Bauer Dunbar (American/Louisiana, b. 1927), “Borgne”, moongold and platinum leaf over red, black and tan clay, signed lower center, 48” x 60”. Framed, [25000/40000] Illustrated

1154 George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled”, 1971, gold leaf over tan clay, signed and dated lower right, 48” x 73‑1/2”. [20000/40000] Illustrated

1155

236

1158 Ida Kohlmeyer (American/Louisiana, 1912‑1997), “Cluster Drawing 1‑3”, 1976, mixed media on fine linen, 34‑1/2” x 48” and accompanied by the exhibition catalogue Ida Kohlmeyer: Thirty Years, The Mint Museum of Art. Glazed, matted and framed. Exhibited: The Mint Museum of Art, Ida Kohlmeyer: Thirty Years, Sept. 15‑Dec. 1, 1985. Literature: The Mint Museum of Art, Ida Kohlmeyer: Thirty Years, 1983, p. 75. [6000/9000] Illustrated

1157 1156 George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled”, from the Flora Series, gold leaf over red, black and tan clay, signed en verso, 32” x 40”. Framed. [15000/25000] Illustrated 1157 George Valentine Dureau (American/ Louisiana, 1930‑2014), “Byron Robinson”, 1984, silver gelatin print, signed lower right, titled lower left, verso with an “Arthur Roger Gallery” label, 16” x 20”. Glazed, matted and framed. [800/1200] Illustrated

1156

1158

237

1159 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Synthesis H”, 1983, mixed media on canvas, signed and dated lower center, verso with “The Mint Museum of Art, Charlotte, NC, Ida Kohlmeyer: Thirty Years, exhibition label, 69” x 55‑1/2”. Framed. Provenance: Estate of Lane Meltzer, New Orleans, LA. Exhibited: The Mint Museum of Art, Charlotte, NC., illustrated page 95 of the exhibition catalog, Ida Kohlmeyer: Thirty Years. [30000/50000] Illustrated

238

1161 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Synthesis N”, 1982, oil and mixed media on canvas, signed and dated lower center, verso with “The Elaine Horwitch Galleries, Santa Fe, NM” label, 50” x 45‑1/2”. Framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [15000/25000] Illustrated

160 detail 1160

1160 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Abstract Composition”, 1987, mixed media on paper, signed and dated lower right, sight 28” x 40”. Glazed, matted and handsomely framed. [8000/12000] Illustrated

1161 detail

1161

239

1162 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Cluster #85”, 1974, oil on canvas, signed and dated lower right, hand-inscribed label en verso, 57” x 57”. Framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [18000/25000] Illustrated

240

1163 Good Late Classical New Orleans Coin (.900) Silver Water Pitcher, second quarter 19th century, Brower Brothers, the ovoid body with waisted collar and integral spout, with acanthus-mounted arched reeded handle and knopped circular foot, decorated with milled palmette and floral banding, monogrammed “VL”, h.13”, l. 9”, dia. 5‑3/4”, 39.95 t. oz. [4000/7000] Illustrated The firm of S. & B. Brower of Albany, New York, established their New Orleans branch at 17 Camp Street in 1833. Brothers Sidney (often erroneously given as Samuel) and Baldwin Brower were born in New York to Anthony Post Brower and his wife Louisa Gardiner on December 18, 1806 and December 25, 1810, respectively. There is no record of their apprenticeship or training, but it is to be noted that their maternal uncles were the talented silversmiths Sidney (1787‑1827) and Baldwin Gardiner (1791‑1868) of the celebrated Philadelphia firm of Fletcher & Gardiner. The Mid-Atlantic neoclassical influence is readily apparent in the present lot, which appealed to the “American” immigrants to New Orleans which arrived in great number between the Battle of New Orleans and the Civil War. Sidney Brower died on January 26, 1836, and the firm was reorganized in 1842 as B. Brower & Co. with another brother George Clinton Brower (1816‑1864), by which time the company was no longer a manufacturer, but primarily an importer and retailer of fancy goods. Baldwin Brower died (on a visit to Palermo, Sicily) on February 15, 1845, and his interest in the company was retained by his widow Elizabeth Barker Brower and (later) her second husband, William T. VanZandt until its dissolution in 1855. A pair of pitchers, each nearly identical to the present lot, was exhibited at the seminal 1980 “Crescent City Silver” exhibition at the Historic New Orleans Collection and LSU Anglo-American Art Museum, and again in 1997 at Longue Vue House and Gardens, New Orleans, Louisiana.

1163

1164

1164 Nineteenth-Century New Orleans Sterling Silver Water Pitcher, 1890‑1893, by Theresa Hausmann & Son, of ovoid form, decorated with deep repousse riverside village scenes with buildings, boats and an aqueduct, centering a floral and foliate-mantled convex cartouche, all above an acanthus calyx, the shaped spout with acanthus decoration en suite, with arched openwork “vintage” handle, h. 9‑3/4”, dia. 6‑3/4”, l. 9”, 32.90 t. oz. [1800/2500] Illustrated Theresa Rosenbush Hausmann (1847‑1924) was born in Baden, Germany, the daughter of Lazarus Rosenbush and his wife Theresa Karlidacher. She emigrated to New York with her family sometime in the 1860’s, and there, on October 27, 1867, married Henry Hausmann (1845‑1878), son of Isaac Hausmann and Theresa Tannhauser. They settled in New Orleans shortly thereafter, where Henry worked for the silver manufactory of Adolphe Himmel. After Himmel’s death in 1877, Henry assumed the company, thus founding the famous Hausmann’s of Baronne and later Canal Street, but himself died scarcely a year later in the yellow fever epidemic of 1878. Theresa, widowed with two small children, assumed control of the company, which she ran efficiently and industriously, becoming, by the turn of the century, the largest and best luxury goods purveyor in New Orleans. Her son Louis Hausmann (1868‑1948) joined the firm in 1890, when it became T. Hausmann & Son. This short-lived name (thus permitting the narrow date of the present lot) changed to T. Hausmann & Sons in 1894 with the addition of second son Gabriel “Gabe” Hausmann (1872‑1945). Shortly before her death on January 28, 1924, Hausmann’s (by which it was then known) purchased their chief competitor A. B. Griswold & Co., thus becoming the successor to historic 19th-century New Orleans silver dealers. She is buried in Hebrew Rest Cemetery #2 in New Orleans.

241

1165 Fine Pair of Tiffany & Co. Sterling Silver Tazze, the pattern designed ca. 1875, these examples 1892‑1902, New York, New York, each of lobed circular form with convex gilt plateau, the everted rim decorated with handsomely chased fruit baskets separated by rococo scrolls, above a plain waisted stem and steeply domed base chased en suite and with four lion’s paw feet, h. 5‑3/4”, dia. 9”, 47.00 total t. oz. [3500/5000] Illustrated The exuberant and meticulous rococo chasing here have all the hallmarks of a design by Charles T. Grosjean (1841‑1888), creator of Tiffany’s most renowned Gilded Age patterns, such as “Chrysanthemum”, “Lap Over Edge” and the W. L. Vanderbilt private pattern. 1165

1166 Tiffany & Co. Sterling Silver Gilt Desk Accessory, second quarter 20th century, New York, including a combination magnifying lens/ letter opener and a pair of scissors, presented in a conforming double scabbard, the whole decorated with engraved acanthus scrolls, monogrammed “JH”, l. 10”. [600/900] Illustrated

1166

242

1167 Magnificent Four Hundred and Forty-Five-Piece Cased Set of Tiffany & Co. “Renaissance” Sterling Silver Flatware, the pattern designed in 1904 by Paulding Farnham (1859‑1927), New York, New York, complete with fifteen-piece place settings for eighteen persons, with ten more place pieces (making twenty-fivepiece place settings) for twelve persons [six game knives lacking], with sixty-one serving pieces, each piece monogrammed “BFS”, 544.21 total t. oz. (weighable silver), presented in the original Tiffany oak, russet suede-lined fitted and labeled case, lidded with two drawers, with brass fittings and plaque with presentation inscription dated “Christmas 1944”, on a later wooden stand, overall, 35‑1/4” x 30‑3/8” x 24‑1/4”. [100000/150000] Illustrated Tiffany’s “Renaissance” pattern was patented in 1904, but did not begin production until 1905, and did not appear in Tiffany’s famous Blue Book until 1907. It may be considered Tiffany’s last Gilded Age pattern, and was the last design by the celebrated Paulding Farnham. Farnham had been director of jewelry design at Tiffany’s since 1891, and by 1900 was director of silver design as well. His star faded quickly, however, after the death of Charles Lewis Tiffany (1812‑1902), whose son Louis Comfort Tiffany (1848‑1933) assumed the directorship of the design department, displacing Farnham. The new president of the company Charles T. Cook (1837‑1907) - not coincidentally Farnham’s uncle - retained the young designer, and it was under Cook’s stewardship that the “Renaissance” pattern was introduced. It was, in keeping with the (albeit waning) fashion of the time, a “multi-motif” pattern, i.e., several different but complementary designs for different pieces. However, “Renaissance” was among the most subtle of multi-motif patterns, in that the variations are all among the minor details rather than the principal design of a neoclassical herm and bead-anddiamond border. The pattern was discontinued in 1942, available as “order only” until its obsolescence in the 1960’s. It was around the time of its continuation that the present set was purchased, which probably accounts for the fact that, while extraordinarily extensive, it contains only two of the five known variant motifs. The purchaser was Bertram Victor Sturdivant (1901‑1984), a native of tiny Gurdon, Arkansas, the son of hotelier Henry David Sturdivant and his wife Amanda Josephine Brock. Educated at Baylor University, Sturdivant (known professionally as B. Victor but nicknamed “Sturdy”) worked as a reporter and later editor for newspapers in Texas, Tennessee and Florida before becoming manager of the southern bureau of the International News Service in Atlanta. Around this time, in 1925, he married Frances Eugenia Alexander (1904‑1986), daughter of Henry Kelso Alexander and Eugenia Valentine Meriwether of Montgomery, Alabama. Sturdivant then worked briefly in advertising and public relations in the automobile industry before being hired in 1929 by Skouras Brothers, theater owners in Indianapolis, Indiana, and became General Manager of Skouras-Publix Theaters in 1930. Sturdivant would spend the rest of his life working in the motion picture theater and distribution industry. He joined Fox West Coast theaters in 1932, and became divisional manager for Northern California in 1942. He was a leading figure in the theater business during the war (when he presented this set to his wife), having founded the Los Angeles Theater Defense Bureau (responsible for maintaining theater safety during blackouts) and serving as director of the Motion Picture Industry Fourth War Loan and vice-president of the California War Chest. After the war he was president of the California Theaters Association and ran his own talent and film distribution agency in Brazil, later moving to Yuma, Arizona, where he owned and operated Silver Crest Entertainment and Sturdivant, Inc. His wife Francis assisted him in all these endeavors; the couple had no children and devoted themselves to their businesses and civic affairs in Yuma. He died on November 24, 1984, and Francis on January 30, 1986. The B. V. Sturdivant award given annually by the National Association of Theater Owners for excellence in film promotion and distribution is named in his honor.

1167

1161 detail

243

1168

1168 Tiffany & Co. Five-Piece “Hampton” Sterling Silver Coffee and Tea Set, the pattern introduced in 1912, New York, New York, including a coffeepot, h. 8‑3/4”, l. 8‑3/4”, a teapot, h. 5‑3/4”, l. 9‑3/4”, a covered sugar bowl, h. 4‑7/8”, w. 7”, a cream jug, h. 3”, l. 6”, and a waste bowl, h. 2‑1/2”, l. 4‑1/2”, monogrammed “SAG”, 82.25 total t. oz. [3000/5000] Illustrated 1169 Tiffany & Co. Sterling Silver Platter, the pattern introduced in 1923, New York, New York, of circular form with plain molded rim, monogrammed “SAG”, dia. 12”, 24.20 t. oz. [500/800]

1170 Tiffany & Co. Sterling Silver Tazza, the pattern introduced in 1927, New York, New York, of circular form with molded rim and knopped trumpet foot, decorated with an acid-engraved band of urns and rinceaux between dentilation in the Adam taste, monogrammed “SAG”, h. 3”, dia. 9”, 20.23 t. oz. [500/800] Illustrated

1171

1170

1171 Tiffany & Co. Sterling Silver Trumpet Vase, the pattern introduced in 1907, New York, New York, decorated at the rim and foot with incised reeding and acid-engraved palmette banding, h. 12”, dia. 4‑3/4”, 22.14 t. oz. [1400/1800] Illustrated

244

1172 Six Pieces of Tiffany & Co. Sterling Silver Tableware, late 19th to mid-20th century, New York and London, including a a twopiece “Japanese” pattern salad serving set with rose gilt bowl/tines, l. 9‑3/8”, a Louis XV-style reticulated bread tray engraved with the crest of Styleman, l. 11‑3/4”, w. 6‑1/2”, a hexagonal fruit bowl, dia. 9”, a candle snuffer, l. 12”, and an English caster, hallmarked London, 1942‑1943, by Tiffany & Co. , of traditional baluster form, h. 7‑3/4”, 50.94 total t. oz. [1000/1500] Illustrated

1172

1173 Ninety-One-Piece Set of Tiffany “Provence” Sterling Silver Flatware, the pattern designed in 1956 by Oscar Riedener (1901‑2000), New York, including six nine-piece place settings, with thirtyfour additional place pieces and three serving pieces, no monograms, 147.65 total t. oz. (weighable silver). Detailed list available on request. [2500/4000]

1174

1177 One Hundred and Sixteen-Piece Set of Gorham “Old English Tipt” Sterling Silver Flatware, the pattern introduced in 1870, Providence, Rhode Island, including twelve eight-piece place settings, with five additional place pieces and fourteen serving pieces, no monograms, 143.75 total t. oz. (weighable silver), presented in a lidded wooden case with one drawer, fitted and lined with indigo velvet, 5‑1/2” x 15” x 11‑1/2”. Detailed list available on request. [2500/4000] Illustrated

1175

1174 One Hundred and Forty-Five-Piece Set of Tiffany “English King” Sterling Silver Flatware, the pattern designed in 1885 by Charles T. Grosjean (1841‑1888), New York, including eight nine-piece place settings, with forty-nine additional place pieces and twenty-four serving pieces, twentyfour pieces monogrammed, 255.34 total t. oz. (weighable silver). Detailed list available on request. [5000/8000] Illustrated

1177

1175 American Sterling Silver “Lotus” Bowl and Salver, second quarter 20th century, the bowl 1928, by Reed & Barton, Taunton, Massachusetts, monogrammed “AAB”, h. 3”, dia. 9‑3/8”, the salver in Lunt’s “Early Dublin” pattern, no monogram, dia. 14”, 48.80 total t. oz. [800/1200] Illustrated 1176 Gorham Sterling Silver Platter and Bread Tray, 1925‑1928, Providence, Rhode Island, each oval with molded rim, including a 1925 Gorham/Whiting serving platter, no monogram, l. 16”, w. 11”, and a 1928 Gorham/Durgin bread tray, retailed by G. W. Fairchild, Bridgeport, Connecticut, monogrammed “SAG”, l. 13‑3/4”, w. 7”, 37.47 total t. oz. [700/1000]

245

1178 Stieff “Colonial Williamsburg” Sterling Silver Coffeepot, 1939‑1948, Baltimore, Maryland, of “lighthouse” form with domed lid, vasiform finial, crested ebonized wood handle and conical right-angle spout, h. 11‑1/2”, l. 7‑1/2”, dia. 4‑3/8”, 34.36 t. oz. (including wooden handle). [600/900] Illustrated

1178

1180

In 1939, Colonial Williamsburg contracted Stieff to make a line of high-quality reproduction American Colonial silverware. Introduced in a luxurious catalogue in 1940, this coffeepot appears on page ten, with a notation that it is after a 1715 piece by New York Silversmith Charles Le Roux (1689‑1763) - presumably the near-identical example conserved in the Yale University collection. The 1940 price was $90, equivalent to about $1,500 today. 1179 Three Small Sterling Silver and Silverplate Oval “Chippendale” Platters, mid-20th century, including an Alvin, Providence, Rhode Island, sterling example with reeded rim, monogrammed “RAK”, l. 13‑3/4”, w. 10”, a German Wilhelm Binder, Schwabish-Gmund, sterling example with molded rim, l. 12‑7/8”, w. 9‑3/4”, and a Sheffield Silver Co., Brooklyn, New York, silverplate example with molded rim, l. 15‑1/4”, w. 11”, 32.73 total t. oz. (sterling examples only). [500/800] 1180 American Sterling Silver Fruit Bowl and Water Pitcher, first half 20th century, the fruit bowl by Davis & Galt, Philadelphia, Pennsylvania, retailed by Gorham Mfg. Co., Providence, Rhode Island, of hemispherical form with molded rim and domed foot, decorated with incised floral scrolls centering a monogram “MRB”, h. 5‑1/4”, dia. 9‑3/4”, the water pitcher by the Ellmore Silver Co., Meriden, Connecticut, of baluster form, with crested double “C”-scroll handle, with gadrooned foot and integral spout, monogrammed “MLC”, h. 9‑1/4”, dia. 5‑1/4”, l. 9‑1/2”, 54.40 total t. oz. [900/1200] Illustrated 1181

246

1181 Seven American Sterling Silver “Revere” Bowls, mid20th century, all of traditional form, including examples by S. Kirk & Son, Georg Jensen USA, Gorham and others, no monograms, h. 2‑1/2” to 4‑1/2”, dia. 4‑1/2” to 9”, 57.37 total t. oz. Detailed list available on request. [1000/1500] Illustrated

1182 Set of Eight Cartier Sterling Silver Julep Cups, third quarter 20th century, New York, New York, of traditional form, with reeded rim and base, no monograms, h. 3‑3/4”, dia. 2‑3/4”, 31.67 total t. oz. [700/1000] Illustrated 1183 S. Kirk & Son Sterling Silver “Revere” Bowl and Salver, mid-20th century, Baltimore, Maryland, of traditional form with molded rim, the bowl, h. 4”, dia. 9‑1/8”, with no monograms, the salver, dia. 12”, monogrammed “FEM”, 47.15 total t. oz. [800/1200] Illustrated

1182

1184 Set of Six S. Kirk & Son Sterling Silver Julep Cups, third quarter 20th century, each of tradition form, with molded rim and reeded base, one with presentation inscription dated 1957, h. 3‑3/4”, dia. 3‑1/4”, 25.73 total t. oz. [500/800] Illustrated 1185 Three-Piece Gorham “Plymouth Engraved” Sterling Silver Demitasse Set with an Associated Tray, the pattern designed in 1911 by William Christmas Codman (1839‑1927), Providence, Rhode Island, the set datemarked 1917‑1926, including a demitasse coffeepot, h. 10‑3/4”, a covered sugar bowl, h. 5‑1/2”, and a cream jug, h. 6”, together with a Dominick & Haff, New York, New York, tray, date-marked 1910, of octagonal form, with reeded rim and engraved floral garland decoration, no monograms, w. 13”, 61.04 total t. oz. (four total pieces). [1000/1500] Illustrated

1184

1186 American Sterling Silver Water Pitcher, 1917, by the Whiting Mfg. Co., the bucket-shaped body decorated with embossed floral garlands, with waisted collar, integral spout and crested squared handle, h. 8‑3/4”, l. 9‑3/4”, dia. 6‑1/2”, 22.80 t. oz. [500/800]

1183

1188 1190 James C. Magee (American, 1846‑1924), “Texas Landscape with Bluebonnets”, oil on board, inscribed en verso “J. C. Magee, 1910”, 9” x 17‑3/4”. Framed. [500/800]

1187 Southern School (Late 19th/Early 20th Century), “Portrait of a Man”, oil on canvas, unsigned, 17” x 14”. Framed. [800/1200] Illustrated 1188 Charles Whitfield Richards (American/Louisiana, 1906‑1992), “Portrait of Rae Rae and Cherie”, oil on canvas, signed lower right, 16” x 20”. Framed. [500/800] Illustrated

1187

1189 Charles Whitfield Richards (American/Louisiana, 1906‑1992), “Portrait of the Artist”, oil on canvas, signed mid-right, 14” x 11”. Framed. [500/800] Illustrated

1185

1189

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1191 Kate Freeman Clark (American/Mississippi, 1875‑1957), “Summer Landscape”, ca. 1909, oil on canvas, signed en verso “Freeman Clark”, 26” x 30”. Framed. Provenance: Private collection, New Orleans, Louisiana; Kate Freeman Clark Gallery, Holly Springs, Mississippi. This work is to be sold for the benefit of the Ogden Museum of Southern Art, New Orleans, Louisiana. [40000/70000] Illustrated Kate Freeman Clark was one of the most successful students of the great American Impressionist William Merritt Chase with whom she studied at the Shinnecock Summer Art School on Long Island, New York. From 1904 to 1919, Clark exhibited widely under the name “Freeman Clark”, intentionally disguising her gender for fear of unfair judgment. The work offered here, “Summer Landscape”, is representative of the work exhibited during this period: the light-infused landscape with the loose brush strokes and dynamic composition. Although Clark’s career spanned several decades, she retired from painting in 1924, settling into a quiet, respectable life in her hometown of Holly Springs, Mississippi, leaving her talents largely unrecognized until after her death.

248

1192 John McCrady (American/Louisiana, 1911‑1968), “Seated Model with Still Life”, 1933, oil on canvas, monogrammed and dated lower right, 25” x 34”. Framed. Provenance: Downtown Gallery/Dixie Art Building, New Orleans, Louisiana. [10000/15000] Illustrated John McCrady was arguably the most successful Southern Regionalist artist of the 20th century. He had a great appreciation and deep respect for the people and landscape of rural America, and more than any other artist, he expertly depicted the spiritual and social life of his native South. His expressive and masterfully executed paintings earned him the admiration and respect of many in the artistic community. McCrady was the son of a minister and spent his childhood in rural towns in Mississippi and Louisiana. He enrolled in the University of Mississippi in 1930, where his father had recently been named the head of the Philosophy Department. During the summer break, he spent time with one of his siblings in Philadelphia, where he explored the museums and galleries and audited art classes at the Pennsylvania Academy of Fine Arts. The following academic year he left the University of Mississippi to attend the Arts and Crafts Club of New Orleans. Shortly after, McCrady was awarded a scholarship to the iconic Art Students League of New York. While in New York, he studied with Kenneth Hayes Miller (1876-1952) and briefly with Thomas Hart Benton (1889-1975). While at the league, McCrady honed his painting techniques, learning the rudiments of composition, organization, and layering of colors and pigments to create a deep, rich color palette. He became so adept in his multi-stage approach of using underpainting and color glazes that he was featured in a 1966 article in American Artist magazine describing him as one of the few contemporary masters of this technique. McCrady found little artistic inspiration in the North, and eventually returned to New Orleans to teach at the Arts and Crafts Club. The work presented here, "Seated Model with a Still Life", completed in 1933, was created after the artist’s return to his beloved South and reveals some of the masterful techniques McCrady was to later utilize in his large-scale murals; the layering of colors, the fluid yet distinct line, extreme care given to composition and organization of the various elements, and the use of a somewhat flattened chiaroscuro. Beginning in 1934, he produced numerous works under the auspices of the Works Progress Administration (WPA); his WPA work was continued through the war. In 1935, McCrady's work was included in the historically significant exhibition, "Thirty-Five Painters of the Deep South", at the Boyer Galleries in Philadelphia. The following year, Boyer Galleries in New York had a solo exhibition of McCrady’s work, prompting articles in Time and Life magazines. This catapulted McCrady into the national artistic spotlight, resulting in his receiving a prestigious Guggenheim Fellowship in 1939. In 1942, he and his wife, fellow artist Mary Basso McCrady, opened the John McCrady School of Art in New Orleans, where his students included Ida Kohlmeyer, Henry Casselli and Rolland Harve Golden. References: Kelly, Joyce, “The Painting Technique of John McCrady”, American Artist, February 1966.; Megraw, Richard, Confronting Modernity: Art and Society in Louisiana, University Press of Mississippi, 2008.; Pennington, Estill Curtis, A Southern Collection: Select Works from the Morris Museum of Art, Morris Communications Corporation, Georgia, 1992.; “Swing Low Sweet Chariot and other Paintings by John McCrady”, LIFE, October 18, 1937, pp 38-42.

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1195 1195 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Old Brulator Courtyard”, oil on canvasboard, signed lower left, signed and titled en verso, 16” x 20”. Framed. [1000/1500] Illustrated

1193 1193 Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Mississippi Woods”, watercolor and graphite on paper, a possible sketch for a mosaic, partially legible inscription lower left: “Purple, gold mosaic, set... cloisonne...”, stamped lower right, sheet 11” x 8‑1/4”. Glazed, matted and framed. [12000/18000] Illustrated

1196 Helen Maria Turner (American/Louisiana, 1858‑1958), “Early Morning”, oil on academy board, unsigned, inscribed “Early Morning, from State St. Drive-City in the Distance, 1917” en verso, with an “Akron Art Museum” exhibition label, 8‑1/2” x 10‑1/2”. Framed. Provenance: Estate of Patricia O’Brien Strigel and Mogens Strigel, Houston, Texas. Literature: Maia Jalenak, Helen M. Turner, American Impressionist, A Thesis at Louisiana State University, 2003, illustrated p. 114. [3000/5000] Illustrated

1194 Knute Heldner (Swedish/New Orleans, 1877‑1952), “Louisiana Bayou Landscape”, oil on canvas, signed lower right, 36” x 30”. Unframed. [4000/7000] Illustrated

1196

250

1194

1197

1197 detail 1197 Charles Giroux (French/Louisiana, 1828‑1885), “Early Morning on the Plantation”, oil on canvas, signed lower right, 12” x 20‑1/4”. Framed. [12000/18000] Illustrated 1198 Louisiana School (First Quarter 20th Century), “The Old Newcomb Chapel”, oil on canvasboard, 14” x 18”. Presented in a carved giltwood frame. [1400/1800] Illustrated The Old Newcomb Chapel, located in the New Orleans Garden District, was designed by American architect Wilson Eyre and built in 1894‑95. It was commissioned as a memorial to Harriot Sophie Newcomb (1855‑1870) by her mother, Josephine Louise Le Monnier Newcomb, founder of Newcomb College. The chapel’s Tiffany stained glass windows--shown in this painting--were removed in 1918 when the college vacated the building. The chapel was razed in 1954.

1198

251

1199 Clarence Millet (American/Louisiana, 1897‑1959), “Along Bayou St. John”, oil on board, signed lower right, titled on label en verso, 10‑1/2” x 12‑1/2”. Provenance: From the ex. collection of Mary Rollins, Gulfport, Mississippi, granddaughter of the artist Charles Hutson. [5000/8000] Illustrated

1199

1202 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Dusk in City Park”, oil wash on board, signed lower left, sight 19‑1/2” x 29‑1/2”. Glazed and framed. [2000/4000] Illustrated

1201 1203 Robert M. Rucker (American/New Orleans, 1932‑2001), “The Old Barn”, watercolor on paper, signed lower right, 11” x 14‑1/4”. Matted, glazed and framed. [1200/1800] Illustrated

1200 Southern School (Third Quarter 19th Century), “Mercury Steamboat”, watercolor on paper, sight 7‑1/2” x 9‑3/4”. Glazed and presented in a handsome Aesthetic faux-bois frame. [800/1200] Illustrated

1202 1204 Anstis Lundy (American, 20th Century), “Tropical Still Life”, 1990, watercolor on paper, signed and dated lower right, sheet 41” x 29”. Glazed, float-mounted and framed. [500/800] 1200

1201 Charles Woodward Hutson (American/Louisiana, 1840‑1936), “Louisiana Landscape, West Feliciana Parish”, oil on board, monogrammed lower right, partial label en verso, 12‑1/2” x 20”. Presented in a period polychrome frame. Provenance: From the ex. collection of Mary Rollins, Gulfport, Mississippi, the artist’s granddaughter. [1000/1500] Illustrated

252

1205 Elliott Seabrooke (British, 1886‑1950), “Cafe Interior View of Street with Fruit Stalls”, oil on paper, signed lower right, sight 15‑1/2” x 22‑3/4”. Framed. [800/1200] Illustrated

1206 Helen Forbes (American, 1891‑1945), “Banana Foliage”, 1934, oil on canvas, signed and inscribed lower center “Helen Forbes, Hawaii 34”, 40” x 20”. Framed. [700/1000] Illustrated 1207 American Renaissance Revival Marquetry-Inlaid and Gilt-Bronze-Mounted Rosewood Cabinet, ca. 1865, probably Alexander Roux, New York, the central door fitted with a bronze panel depicting doves, flanked by concave sides, the panels with gilt ormolu borders, the ebonized pilasters with bronze mounts, the bezel of the central plaque cast with the initials BF, the plaque electroformed h. 41‑1/2”, w. 87‑1/2”, d. 17‑1/4”. [2500/4000] Illustrated

1205

1203

1206 1207

253

1208 Copeland Tinted and Hand-Painted Parian Krater Urn, ca. 1867‑1875, based on John Keats’ drawing accompanying “Ode on a Grecian Urn”, now with a lamp base, the base impressed “Copeland”, h. 18‑1/2”, dia. 6‑3/4”. [1200/1800] Illustrated

1210

1208

1209 American Renaissance Revival Marquetry-Inlaid, Ormolu- and Porcelain-Mounted Rosewood Cabinet, ca. 1870, attributed to Alexander Roux, New York, the case with a raised center plinth over a small plaque depicting an allegorical female masque, over a pair of doors with foliate and floral inlay centered by circular plaques, one depicting Michelangelo, the other Raphael, the doors flanked by fluted columns with gilt-lacquered bronze capitals, the concave ends each with trophy inlay, h. 54‑1/2”, w. 70”, d. 18‑1/2”. [8000/12000] Illustrated 1210 Rare American Renaissance Revival Patinated Bronze Revolving Pedestal, third quarter 19th century, h. 34”, w. 23”, d. 23”. [800/1200] Illustrated 1211 Impressive Patinated Bronze Sundial by Louis F. Ragot, Milford, Pennsylvania, first quarter 20th century, decorated with a classical charioteer with three horses ushering in the rising sun, signed “Copyright by Louis F. Ragot, Sculptor, Milford, Pa.”, w. 16‑1/2”, l. 18”. [1500/2500] Illustrated

254

1212 American Renaissance Revival Burled Walnut and Walnut Banquet Table, third quarter 19th century, the circular top on a shaped split pedestal opening to accommodate five leaves, in the polished original finish, h. 29‑3/4”, dia. 52‑1/2”, extended l. 114‑1/2”. [2500/4000] Illustrated

1209

1213

1211 1216 American Cast Iron Gate in the Rococo Style, third quarter 19th century, personalized with a name plate, D. W. Morrison, and decorated with a willow tree, h. 38”, w. 30‑3/4”. [500/800]

1213

1213 American Renaissance Revival Walnut ThreePiece Bedroom Suite, third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, comprised of a high-back bedstead, h. 93”, inside, w. 58”, l. 77”, outside, w. 70”, l. 82”, a marble-top dresser accompanied by some parts and components to the mirror and frame, h. 32”, w. 48”, d. 22”, and a marble-top washstand, h. 28‑1/2”, w. 36”, d. 21‑1/2”. [1500/2500] Illustrated

1214

1212

1214 Suite of Six Cast Iron “Lyre and Rose” Pattern Garden Chairs, the pattern introduced in 1840, presented in a charcoal gray-painted surface, h. 32”, w. 21”, d. 24”. [1200/1800] Illustrated 1215 Pair of Cast Iron “Lyre and Rose” Pattern Garden Chairs, the pattern introduced in 1840, presented in a black-painted surface, h. 32”, w. 21”, d. 24”. [600/900]

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1219 Royal Vienna Hand-Painted Porcelain Plaque, fourth quarter 19th century, German, depicting two children reading, marked with an incised KPM and scepter, in an ebonized frame, h. 10‑1/4”, w. 12‑3/4”. [1500/2500] 1220 American Renaissance Revival Bronze-Mounted and Marquetry-Inlaid Walnut Cabinet, ca. 1865, the projecting center with a recessed pedestal top over a frieze with floral inlay flanked by bronze mounts, the central door with an inlaid musical trophy panel, and opening to expose a birdseye maple interior, flanked by detached columns and recessed cupboards, adorned with incised gilt decoration throughout, h. 57‑1/2”, w. 56”, d. 22‑1/2”. [1500/2500] Illustrated 1221 Pair of German Porcelain Garniture Urns, Attributed to Meissen, third quarter 19th century, now mounted as lamps, each decorated with a fluted gilt base and snake-form handles, urn, h. 20”, overall, h. 24”, dia. 11‑1/2”. [1500/2500] Illustrated

1218

1220 1218 detail 1217 Napoleon III Marquetry- and Parquetry-Inlaid Rosewood Writing Table, third quarter 19th century, the top with a central circular panel depicting a bird and moth, the perimeter with Greek-key inlay edged by parquetry banding, the top sliding to reveal an interior work surface flanked by drawers and with a fold-out front, raised on scroll-form legs joined to a platform base with a U-shaped void to accommodate the user’s legs, h. 30‑3/4”, w. 37‑1/2”, d. 29”. [600/900] Illustrated 1218 KPM Porcelain Portrait Plaque Depicting Philippine Welser, the wife of Ferdinand II, Archduke of Austria, the plaque impressed “KPM” and with the scepter mark on the back, signed “Edouard Bisson, 1891”, and painted in Bisson’s luminous style, in a giltwood Beaux-Artsstyle exhibition frame with a brass plaque reading: “Edouard Bisson, French: 1891”, h. 17‑3/4”, w. 15‑1/4”. [4000/7000] Illustrated

256

1222 Collection of Twelve Beatrix Sherman (American, 1894‑1975) Silhouettes, depicting standing gentlemen, the sitters identified lower margins, one dated “1924”, sheet sizes range from 12” x 6” to 10‑1/4” x 6‑3/4”. All glazed and presented in contemporary ebonized gallery frames. [500/800] Illustrated

1217

1222 (2 of 12) 1223 Andreas Roth (German/California, 1872‑1949), “Lake Louise, Alberta, Canada”, 1941, signed and dated lower right, signed, titled and dated en verso canvas, 19‑1/4” x 27‑1/4”. Framed. [600/900] Illustrated

1217 detail

1221

1223

257

1224 American School (Fourth Quarter 19th Century), “Marsh Landscape with Cattle Plowing, Haystacks and Trees in the Distance”, oil on canvas, indiscernibly signed lower right, 9” x 16‑3/4”. Presented in a giltwood and gesso frame. [800/1200] Illustrated

1226 Gordon Grant (American, 1875‑1962), “Rocky Coastline with Sailboats”, 1929, oil on board, signed and dated lower left, 37” x 54”. Framed. [3000/5000] Illustrated

The subject matter of this quiet, atmospheric landscape resembles the intimate depictions of New England salt marshes by Martin Johnson Heade (1819‑1904). The low horizon, clear use of light and dark, strong sense of depth, as well as the diminutive depictions of haystacks, cattle and figures, can all be seen in many of Heade’s examples.

1226 1227 Evelyn Faherty (American/Pennsylvania, b. 1919), “TreeTops, Buck’s County, Pennsylvania”, oil on canvasboard, signed lower right, titled en verso, 12” x 16”. Framed. [1200/1800] Illustrated 1224 1225 Marie Boening Kendall (American/California, 1885‑1953), “Mountain Lake Scene”, oil on canvas, signed lower right, 25” x 30”. Framed. [1500/2500] Illustrated A native of New York, Kendall studied briefly with the great American Impressionist William Merritt Chase (1849‑1916), before moving to California in 1903. Inspired by the variety of the terrain and the vibrant hues of the local landscape, she began to concentrate on her painting, taking classes with the German born Jean Mannheim (1863‑1945). Kendall became an active member of the thriving artistic community, and soon began teaching art classes of her own. She was a member of numerous art societies, including the National Association of Women Artists and the California Arts Club.

1225

258

A member of the “New Hope School”, Faherty was influenced by the American Impressionist painters active in her native Pennsylvania in the early to mid-20th century. She studied with John Fulton Folinsbee (1892‑1972) and Henry Leith-Ross (1886‑1973), both of whom emphasized the superiority of plein air over studio painting. Faherty works in a range of media, but consistently employs a cool color palette and loose brush strokes to depict the variations of light, the time of day, and the changing seasons of the local Bucks County landscape. 1228 Evelyn Faherty (American/Pennsylvania, b. 1919), “Yardley Commons”, watercolor on paper, signed lower right, sight 6” x 7‑5/8”. Matted, glazed and framed. [700/1000] Illustrated

1227

1229 Evelyn Faherty (American/Pennsylvania, b. 1919), “Yardley, Pennsylvania”, 1973, oil on board, signed lower left, titled and dated en verso, 7” x 9”. Framed. [1000/1500] Illustrated

1228 1230 Evelyn Faherty (American/Pennsylvania, b. 1919), “Delaware Canal, Yardley, Pennsylvania”, oil on canvas, signed lower right, titled en verso stretcher, 16” x 20”. Framed. [1500/2500] Illustrated

1230 1232 American Rococo Revival Rosewood Secretary Bookcase, third quarter 19th century, bearing the stenciled label of Thomas Brooks, Brooklyn, New York, on the back and between the sections, the upper section with a cabochon foliate- and scroll-carved crest over a shelf with mirrored back and above a pair of mirrored doors, the base with a slant lid opening to a fitted interior with linestrung drawers, h. 74‑1/2”, w. 37”, d. 20”. [2500/4000] Illustrated

1232

1231 Suite of Six Continental Rococo Revival Oak Chairs, third quarter 19th century, each with an elaborate pierce-carved crest with a central female masque, padded seat and back, carved apron and turned legs, h. 47”. [500/800]

1229

259

1233

1233 American Rococo Revival Laminated Rosewood Sofa in the “Rosalie Without Grapes” Pattern, third quarter 19th century, attributed to John Henry Belter, New York, the serpentine back centered by a floral-carved crest, the back extending to closed arms, with serpentine front seat rail and cabriole legs, h. 41‑1/4”, w. 72‑1/2”, d. 28”. [1000/1500] Illustrated 1234 KPM Lithophane of a Mother and Child, mid-19th century, German, impressed with the scepter mark, “KPM, 2, 268”, now with a leaded stained glass surround, h. 13”, w. 13”. [800/1200]

1235

1235 Bohemian WhiteCased Glass Vase, third quarter 19th century, the white vase cut-to-clear, trimmed with gilt and enameled with handpainted flowers, birds and butterflies, h. 17”, dia. 5”. [900/1200] Illustrated 1236 Pair of Bohemian Brilliant Period Cut Glass Decanters, 20th century, decorated with marquise-shaped ruby-stained panels with engraved flowers framed with scrollwork, h. 16”, dia. 4‑3/4”. [600/900] 1237 Pair of Exceptional English Cut and Frosted Glass Mantel Lustres, mid-19th century, the flaring vases decorated with painted frosted panels outlined in cutting, hung with spear-point prisms, h. 10‑1/2”, dia. 6”. [500/800]

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1240

1238 American Rococo Revival Rosewood Lift-Top Bench, third quarter 19th century, the upholstered cushion hinged to reveal a storage well, on a rectilinear frame with canted corners, each side and corner with a carved cabochon flanked by foliate carving, h. 19‑1/2”, w. 39”, d. 27”. [700/1000]

1239

1241

1239 Rare and Fine American Rococo Revival Rosewood and Petit-Point Firescreen, third quarter 19th century, New York, possibly from the workshop of John Henry Belter or a competitor of equal rank, the frame with sprays of flowers and cornucopia bound by ribbons, h. 66”, w. 43”. [10000/15000] Illustrated 1240 American Rococo Revival Laminated Rosewood and Marble-Top Center Table, third quarter 19th century, attributed to J. & J. W. Meeks, New York, with pierced and floral-carved aprons, the legs with clusters of flowers at the knees and the stretcher with a large fruit basket finial, h. 30‑1/2”, w. 46”, d. 30”. [12000/18000] Illustrated

1241 Exceptional Pair of Signed, Hand-Painted Jacob Petit Porcelain Potpourri Urns and Stands, mid-19th century, Paris, resting on stands set with gilt masquemolded feet, lushly decorated with hand-painted flowers, the urns decorated with flowers and tropical crested birds, trimmed with gilt and set with pierced covers, signed “J.P.” in underglaze blue, h. 16‑1/2”, w. 8”, dia. 5‑3/4”. Provenance: Mexican actress Maria Felix, sold at Christie’s, New York, July 17‑18, 2007, lot 576F. [2000/4000] Illustrated

261

1242

1243 Two Bohemian Ruby-Cased Glass Pokals, third quarter 19th century, both cut and engraved, one depicting the angel Gabriel on the obverse and water lilies framing a cornucopia on the reverse, h. 14‑3/4”, dia. 4‑3/4”, and the other depicting stags in a landscape, h. 15”, dia. 4‑3/4”. [600/900] Illustrated

1246

1242 Cornelius and Baker Lacquered Brass and Spelter Six-Arm Gasolier in the Rococo Taste, ca. 1851‑1861, Philadelphia, Pennsylvania, the segmented stem with a trio of putti, each playing a horn, the lower bowl with floral swags and decor, the cast arms with labeled keys, now fitted with late 19th-century shaped and etched glass shades, h. 73”, dia. 31”. [3000/5000] Illustrated

1242 detail

262

1244 Collection of Eight Bohemian Cut and Engraved Glass Goblets, third quarter 19th century, comprising ruby- and cranberry-stained goblets, some with gilt decoration and enameling, and one with amber-stained cabochons, the tallest, h. 5‑3/4”. [1000/1500]

1243

1245 Unusual Bohemian Colorless Glass Footed Punch Bowl, third quarter 19th century, panel-cut and engraved with stags in a landscape, h. 5‑3/4”, dia. 12‑3/4”. [500/800] 1246 Pair of Bohemian Ruby-Stained and Cut Glass RhytonForm Garniture Vases, third quarter 19th century, h. 11”, w. 6‑1/2”, d. 6‑1/2”. [1000/1500] Illustrated 1247 American Rococo Revival Figured Walnut Work Table, third quarter 19th century, attributed to John Henry Belter, New York, the lift top with a segmented interior, a looking glass fitted in the top interior, and a hidden compartment with a drawer and bag table below, the latter with shell and foliate carving, raised on cabriole legs joined by serpentine stretchers and a central shelf, h. 31‑1/2”, w. 21”, d. 16‑1/2”. [700/1000] A similar table is illustrated in Schwartz, Stanek and True, The Furniture of J. H. Belter and the Rococo Revival, page 83, item 61.

1249 American Rococo Revival Walnut and Figured Walnut Veneered Bedstead, ca. 1850, the paneled headboard with applied and pierce-carved elements, and supported by deeply fluted posts with turned finials, h. 90‑1/2”, inside, w. 58‑1/2”, l. 79‑1/2”, outside w. 68”, l. 87‑1/2”. [1200/1800] Illustrated 1250 Continental Rococo Carved Mahogany and MarbleTop Console and Mirror, third quarter 19th century, probably Austrian, the mirror frame with a floral-carved crest and swags of garlands, the base retaining its original white marble top, h. 99‑1/2”, w. 41”, d. 12”. [800/1200] Illustrated

1250

1248 Assembled Pair of Royal Berlin Hand-Painted Porcelain Wall Pockets, ca. 1849‑1870, German, one decorated with the portrait of a young woman, signed on the back with the artist’s initials “G.K.”, the other decorated with a cupid and flowers, h. 13‑1/2”, w. 8”. [1500/2500]

1249

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I m p o r t a n t P o s t Wa r B r i t i s h A r t f r o m Th e E s t a t e o f

L a n e M e lt z e r New Orleans, Louisiana

1251 Albert Irvin, OBE, RA (British, b. 1922), “Waverly”, 1981, acrylic on canvas, signed and dated on the reverse, verso with “Gimpel Fils Gallery, London, UK” label and “Museo Municipal, Madrid, Spain” exhibition label, 84” x 120”. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana; Gimpel Fils Gallery, London, UK. [12000/18000] Illustrated A native of London, Albert Irvin briefly attended the Northampton School of Art in 1940/41, before joining the Royal Air Force. At the end of the war he studied at Goldsmiths College, University of London, receiving his degree in 1950, the same year he took part in his first group exhibition. Irvin described his training at Goldsmiths as being very academic in its approach. Originally a figurative painter, Irvin, like many of his artistic contemporaries, was immensely affected and influenced by the 1956 exhibition, “Modern Art in the United States” held at the Tate. This was Irvin’s first exposure to abstract expressionism and the works of artists such as Mark Rothko and Jackson Pollock. Inspired by the works he saw, he slowly began to incorporate slightly abstracted figural elements into his paintings; soon he moved towards total abstraction. Employing a bright, vivid color palette and a very intense, physical brush stroke, Irvin creates paintings he feels allow for an immediate, visceral reaction by the viewer. According to Irvin, abstract art allows “you to move across a canvas in a way that you move through the spaces of the world...notions of space like proximity and distance could be revealed by moving across a canvas with a brush”. Irvin had his first solo exhibition in 1960, and in 1968 he was the recipient of a travel award by the Arts Council which afforded him the opportunity to travel to the United States. He was an instructor at Goldsmiths College from 1962‑1982. In 1998, he was elected a Royal Academician and was appointed an officer of the British Empire in 2013 in honor of his influence in the arts. He is represented by Gimpel Fils Gallery, London. References: Cornish, S. (2012, April 20), “In the Studio with Albert Irvin”, Abstract Critical; www.groveart.com; www.gimpelfils.com.

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1252 Albert Irvin, OBE, RA (British, b. 1922), “Untitled”, 1983, watercolor on paper, signed and dated lower center, sheet 61” x 51”. Glazed, float-mounted and framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [2000/4000] Illustrated

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canvases, the result of an improvisatory process that the artist relates to his love of jazz, form a complex web of imagery that evoke a magical world of imagination and personal mythology.” His unusual technique had him placing the canvas or paper on the floor and painting from above, often incorporating a form of dynamic dance in the process. The spontaneous nature of his method owed much to his appreciation of Zen Buddhism, and he saw himself as a medium who conducted the images of the collective unconscious onto the canvas. As the artist himself once stated, “Although every work of mine must inevitably bear the stamp of my own personality, I feel that each one must, to be satisfactory, be a new revelation of something hitherto unknown to me, and I consider this evocation of the unknown to be the true function of any art”. Although Davie faded into obscurity by the 1970’s, there has been a renewed appreciation of his work in recent years. He was represented by the esteemed London Gallery of Gimpel Fils for over sixty years. References: Hudson, M. (2014, April 6), “The Artist that Time Forgot”. The Telegraph.; “Davie, Alan” A Dictionary of Modern and Contemporary Art, by Ian Chilvers and John Glaves-Smith. Oxford University Press Inc.; Weber, B. (2014, April 16), “Alan Davie, Painter With a Global Bent , Dies at 93”. New York Times; McNay, M. (2014, April 7), “Alan Davie - Obituary”. The Guardian.; www. groveart.com.

1253 Alan Davie (British, 1920‑2014), “Scape Goat No. 1” and “Cliff Diver No. 1”, 1981, two oils on board, former signed and dated upper left, titled lower left, latter signed, dated and titled lower left, verso with “Gimpel Fils Gallery, London, U.K.” label, each 18-1/2" x 15". Both glazed and elaborately framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana; Gimpel Fils Gallery, London, UK. Exhibited: Galerie d’Eendt, Amsterdam, May 83‑February 1984. [7000/10000] Illustrated Alan Davie was one of the most acclaimed and accomplished British artists working in the abstract expressionist style. The son of a print-maker, the Scottish-born Davie was exposed to art at a young age and showed an eager appreciation of both art and music. Davie studied at Edinburgh College of Art before entering military service during WWII. In 1948, he traveled to Europe on a travel stipend, exhibiting in Florence and Venice where his work caught the attention of the art collector Peggy Guggenheim, who purchased several of his paintings. Influenced by post-war American artists such as Jackson Pollock, Mark Rothko and Willem de Kooning, all of whom he met on his first trip to New York in 1956, Davie had his own personal approach to abstract expressionism, layering the surfaces with mythical and mystical symbols, some of Celtic, Caribbean or African origin, others of his own invention. According to Tate Britain, Davie “was one of the first British artists after the war to develop an expressive form of abstraction. His kaleidoscopic

266

1254 Alan Davie (British, 1920‑2014), “Homage to Homo Australis No 2” and “Study for Elizabethan Spirit No 1”, two oils on board, former signed, dated and titled lower left, latter signed, dated and titled upper right, former with “Gimpel Fils Gallery, London, UK” label, 18” x 14‑3/4”. Both glazed and elaborately framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana; Gimpel Fils Gallery, London, UK. [7000/10000] Illustrated

267

One of the most significant sculptors of postwar Britain, Adams was primarily a self-taught artist, though he attended night courses at the Northampton School of Art. A conscientious objector, he spent the war as an engineer; it was during this time that he began to experiment with sculpting in wood, creating vaguely abstracted organic figures. Adams had his first solo exhibition at the Gimpel Fils Gallery in London in 1947. From 1951‑1956 he exhibited regularly with the influential abstract artist Victor Pasmore (1908‑1998), and his coterie of artistic friends; they became the force behind Constructivism in post-war Britain. Like Pasmore and the others, Adams was interested in the link between art and architecture, but he strayed from the group in their insistence of utilizing mathematic formulae; he preferred a more organically based approach. While teaching at the Central School of Art and Design in London in the mid-50’s, Adams taught himself welding and he began to produce the series of sheet and rod sculptures for which he would become so well known. His work became more abstracted and geometric in form, often employing perforations to allow light to filter around and through the sculpture. There was a new emphasis on shape and silhouette, on smooth, often curvilinear lines. Adams was the recipient of the prestigious Rockefeller Award in 1950 from the Institute of International Education; this afforded him the opportunity to visit the United States, where he exhibited at the Passedoit Gallery in New York. Adams' works are in the permanent collections of the Tate Gallery, London; the Museum of Modern Art, New York; Courtauld Institute of Art, London; Hirshhorn Museum and Sculpture Gallery, Washington, D.C.; and he completed numerous public commissions in England and Germany. References: Grieve, A. “Adams, Robert”, Oxford Dictionary of National Biography, Oxford University Press, 2004; www.groveart.com.

1255 Robert Adams (British, 1917‑1984), “Crescent Edge”, 1972, brushed steel sculpture, signed, dated, and numbered “3/6” lower left, attached to a black rectangular plinth, h. 49‑1/2”, w. 31”, d. 18”, overall, h. 74”. Provenance: The Estate of Lane Meltzer, New Orleans, Louisiana. Purchased from Gimpel Fils, London, 1976. Literature: Included in the catalogue raisonne, 'The Sculpture of Robert Adams' by Alastair Grieve; London, Lund Humphries 1992, illustrated p. 127, opus 344, no. 611 in the catalogue. [20000/40000] Illustrated

268

1256 Alan Davie (British, 1920‑2014), “Zurich Improvisation XXVII”, lithograph, signed and dated “69” lower right, numbered “24/25” lower left, sight 23” x 31‑1/2”. Glazed, matted and framed. Provenance: The Estate of Lane Meltzer, New Orleans, Louisiana. [600/900] Illustrated

1256 1257 Alan Davie (British, 1920‑2014), “Flag, Clock and Motifs”, 1977, lithograph in colors, signed and dated lower right, numbered lower left “396/500”, sheet 22‑1/4” x 30‑1/4”. Glazed, matted and framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [500/800] 1258 Robert Motherwell (American, 1915‑1991), “Red Sea III”, etching, signed and numbered “37/70” lower right, sight 32‑1/4” x 15”. Glazed, matted and framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [10000/15000] Illustrated

1258

1259 1259 Fernand Leger (French, 1881‑1955), “La Grande Parade”, lithograph in colors, signed in pencil lower right, and stamped “Musee Fernand Leger”, sight 21” x 28”. Glazed, matted and framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [800/1200] Illustrated

1258 detail

269

1261 James Brown (American, b. 1951), “Moroccan Man”, color screenprint, signed lower right, numbered “23/75” lower left, sheet 41” x 32”. Glazed, float-mounted and handsomely framed. [700/1000] Illustrated 1262 Cased Two Hundred and Ninety-Piece Set of Watson “Wild Rose” Sterling Silver Flatware and a Seven-Piece Tea Set, the flatware pattern designed in 1902 by Charles Smith Court (1871‑1955) and Eustace Crees (1865‑1947), Attleboro, Massachusetts, complete with twenty-piece place settings for twelve persons and fifty serving pieces, with a seven-piece sterling silver tea set by R. Wallingford & Sons, Attleboro, Massachusetts, and an associated Barbour Silver Co. silverplate tray, the flatware and tray monogrammed “R”, the hollowware monogrammed “JDR”, 338.72 total t. oz. (weighable silver), all presented in an oak campaign-style lidded three-drawer fitted case, lined in dark green velvet and fitted with brass caps and escutcheon on a later gold-painted metal stand, overall, 35” x 27‑3/4” x 22” (298 total pieces plus case and stand). Detailed list available on request. [7000/10000] Illustrated

1260

1260 Michael Vollbracht (American, b. 1947), “The Discus Thrower”, gouache on paper, signed upper center, sight 59” x 39”. Glazed and framed. [700/1000] Illustrated

1261

270

Charles Smith Court and Eustace Crees were both natives of Birmingham, England, born at a time when it was an industrial powerhouse and center of silver and flatware production; indeed, Court was the son of George Henry Court (1845‑1917), a die sinker. They were undoubtedly trained in the U.K., and emigrated to the United States in 1889 and 1890 respectively. They settled in Providence, Rhode Island, and by 1896 appear to have been exclusive designers for the flatware division of Watson & Newell: the Mechanics Silver Co. of Attleboro, Massachusetts. Between 1896 and 1905 they patented over fifty flatware designs, including four different series of floral and foliate designs. This motif - “Wild Rose” - was part of the second series and was patented on August 12, 1902, number D35994. (Two other motifs - “Water Lily” and “Poppy” - were patented on the same day.) However, of the twenty-five different motifs in this series, only “Wild Rose” and two others (“Lily” and “Orchid”) were available as full-line patterns. The present lot represents a notably extensive set, by tradition having belonged to an estate near Greenville, Mississippi. It is presented in a contemporaneous chest made not for just the set, but for an associated tea service belonging to the same family. Also included with the set is a facsimile copy of the Watson September/October 1903 “Orchid/Wild Rose” catalogue. Court and Crees remained in partnership until their retirement in the 1940’s. Although Crees retired to Sarasota, Florida, both men are buried in the Swan Point Cemetery in Providence, Rhode Island, Crees having died on August 10, 1947, and Court on April 14, 1955.

1262 detail

1262

1262 detail

271

1263 Pair of Gorham Sterling Silver Candlesticks, 1915, Providence, Rhode Island, each in the form of a Corinthian column, with a detachable conforming bobeche with a beaded edge and raised above a stepped square base en suite, monogrammed on the basal edge “MBR”, h. 8‑1/4”, w. 4‑1/8”, weighted. [500/800] Illustrated

1267 Gorham Sterling Silver Platter, 1907, Providence, Rhode Island, of oval form, with shaped rococo-scroll rim, l. 16‑1/2”, w. 12‑1/4”, 26.69 t. oz. [500/800] 1266

1263

1268 Set of Four American Sterling Silver Candlesticks, first quarter 20th century, by Davis & Galt, Philadelphia, Pennsylvania, each with a tapering standard of serpentinelobed rectangular section, raised above a domed, shaped square foot with scrolled edge and surmounted by a thistle-form nozzle, the whole decorated with engraved rococo scrolls, h. 9‑3/4”, w. 4‑1/2”, weighted. [1200/1800] Illustrated 1268

1264 Reed & Barton Sterling Silver “Hanover” Platter, first quarter 20th century, Taunton, Massachusetts, monogrammed “MCP”, l. 18‑1/4”, w. 12‑3/4”, 43.86 t. oz. [700/1000] Illustrated 1265 Three American Sterling Silver Plates and Platters, mid- 20th century, including a 1955 Gorham serpentinecanted square sandwich plate, w. 9‑1/2”, a 1957 Reed & Barton ribbed sandwich platter, monogrammed “E”, l. 11”, w. 8‑1/2”, and a Reed & Barton “Chippendale” small platter, l. 15”, w. 10‑1/4”, 57.89 total t. oz. [1000/1500] 1264

1269 Gorham “Strasbourg” Sterling Silver Tray, 1961, Providence, Rhode Island, the pattern designed in 1897 by William Christmas Codman (1839‑1923), of oval form with integral handles, 22” x 15‑3/4”, 64.25 t. oz. [1400/1800] Illustrated 1269

1266 Good Set of Eight American Sterling Silver Coquille Dishes, second quarter 20th century, Currier & Roby, New York, New York, of traditional form, l. 4‑3/8”, w. 4‑3/4”, 41.32 total t. oz. [1400/1800] Illustrated

272

1271 detail

1270 Four American Sterling Silver Bowls, 20th century, including a Durgin shallow hemispherical footed fruit bowl with beaded banding, monogrammed “KHM” and dated “1917”, dia. 9”, a Frank M. Whiting circular vegetable bowl with embossed floral garland banding, monogrammed “AWO’S”, dia. 9‑3/4”, a Baldwin, Miller Co., footed “Revere” bowl with presentation inscription dated “1962”, dia. 6”, and an unmarked circular vegetable bowl with gadrooned rim, dia. 9‑1/4”, 48.73 total t. oz. [800/1200] 1271 Cased Two Hundred and Ten-Piece Set of Gorham “Landsdowne” Parcel-Gilt Sterling Silver Flatware, the pattern designed in 1917 by Barton Pickering Jenks (1870‑1941), Providence, Rhode Island, including twelve-piece place settings for sixteen persons (one demitasse spoon lacking) and nineteen serving pieces, monogrammed “W”, 201.24 total t. oz. (weighable silver), presented in a Henkel-Harris, Winchester, Virginia, mahogany caseon-stand with lidded top and fall front concealing three drawers, 40‑1/4” x 21” x 15‑1/2”. Detailed list available on request. [3500/5000] Illustrated

1271 detail

1271

1271 detail 1272 Three American and German Silver Bread Trays, first quarter 20th century, including two American sterling oval examples, one by Mount Vernon Co., Mount Vernon, New York, with baluster-reticulated rim quartered by embossed scrolling cartouches, l. 12‑3/8”, w. 6‑3/4”, the other by Wilcox & Wagoner, New York, New York, with beaded rim, monogrammed “HEL”, l. 11‑3/8”, w. 6‑3/4”, and a German .800 silver example by Vereinigte Silberwarenfabrik, Dusseldorf, retailed by F. R. Tittel, Halle a.d.S., of elongated decagonal form with “reedand-ribbon” rim, l. 12‑5/8”, w. 7”, 26.83 total t. oz. [500/800]

273

1273

1274 detail

1274

1274 One Hundred and Eighty-Seven-Piece Set of Towle “El Grandee” Sterling Silver Flatware, the pattern introduced in 1964, Newburyport, Massachusetts, including eleven twelve-piece place settings, with an additional thirty-six place pieces and nineteen serving pieces, no monograms, presented in a lidded, fitted, Pacific cloth-lined wooden case with two drawers, 9‑1/4” x 17” x 11‑1/2”, with an additional four serving pieces in Wallace’s similar “Grand Baroque” pattern, 254.16 total t. oz. (weighable silver) (191 total pieces). Detailed list available on request. [4500/7000] Illustrated

1274 detail

1273 Five-Piece International “Prelude” Sterling Silver Tea and Coffee Set with Silverplate Tray, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including a coffeepot, h. 10‑1/2”, a teapot, h. 9‑1/2”, a covered sugar bowl, h. 6”, a cream jug, h. 5”, and a waste bowl, h. 3‑1/2”, 81.50 total t. oz., with an International E. G. Webster & Son silverplate tray, rectangular with gadrooned rim and rocaille handles and plateau, l. 27”, w. 16‑1/4”, no monograms (six total pieces). [1400/1800] Illustrated

274

1275 Five-Piece Reed & Barton “Hampton Court Shield” Sterling Silver Coffee and Tea Set with Associated Silverplate Tray, 1948, Taunton, Massachusetts, including a coffeepot, h. 8‑3/4”, l. 10‑1/2”, a teapot, h. 7‑1/4”, l. 11”, a covered sugar bowl, h. 5‑3/4”, l. 7‑3/4”, a cream jug, h. 5”, l. 5‑1/4”, and a waste bowl, h. 4”, l. 4‑3/4”, no monograms, 86.09 total t. oz., the silverplate tray by Barker Brothers, New York City, of oval form with rocaille banding and handles and rococo engraved ground, no monograms, l. 27‑3/4”, w. l. 19‑1/2” (six total pieces). [1800/2500] Illustrated

1276 Seven Pieces of American Sterling Silver Tableware, mid-20th century, including a 1901 Dominick & Haff fruit bowl with shaped rococo rim, dia. 8‑3/4”, a 1912 Gorham fruit bowl with lobed “Chippendale” rim, dia. 8‑3/4”, a Birks small sandwich plate with reticulated rim, dia. 7‑1/2”, an Easterling sandwich plate with applied scroll rim, dia. 9‑1/2”, an unmarked small sandwich plate with reticulated rim, dia. 8‑1/4”, a small Gorham compote with serpentine gadrooned rim, h. 3‑1/4”, dia. 6”, weighted, no monograms, and an Amston condiment dish, with wavy ovolo rim, dia. 6‑1/2”, 37.56 total t. oz. (excluding weighted compote). [600/900]

1277

1278

1278 Assembled Twenty-Three-Piece Sterling Silver and Porcelain Bouillon Set, first quarter 20th century, including twelve International Silver “Pantheon” bouillon cups with Lenox porcelain liners (three lacking), monogrammed “GKR”, overall, h. 2‑1/4”, dia. 4‑1/2”, w. 5‑1/4”, and eleven National Silver “Adam” bouillon spoons, no monograms l. 5‑1/8”, 53.31 total t. oz. (excluding porcelain liners). [900/1200] Illustrated

1279

1277 Fifty-Two American Sterling Silver Service Dishes, mid-20th century, including an assembled set of twentyeight bread and butter plates with molded or reeded rims, by various manufacturers (Gorham, Durgin, International and A. G. Schultz), eight monogrammed “W”, dia. 6”, a set of twelve Woodside salad service plates, with bright cut scroll decoration, monogrammed “S”, dia. 4‑1/4”, a set of six condiment/dessert dishes with molded rims, dia. 5‑3/8”, and a set of six R. Wallace & Sons service plates with molded rims, monogrammed “MLC”, dia. 10”, 191.81 total t. oz. [3000/5000] Illustrated

1275

1279 Seventy-Two-Piece Set of Frank W. Smith “Fiddle Thread” Sterling Silver Flatware, the pattern introduced in 1901, Gardner, Massachusetts, including twelve five-piece place settings and twelve serving pieces, no monograms, presented in a fitted, Pacific cloth-lined cutlery drawer insert, 13” x 17”, 99.23 total t. oz. (weighable silver). Detailed list available on request. [1500/2500] Illustrated

275

1280 Eight Pieces of American Sterling Silver Tableware, mid-20th century, including a 1951 Reed & Barton “Mayflower” sauceboat and stand, overall, l. 7‑3/4”, a Watson Cream jug, monogrammed “B”, h. 3”, a Fred M. Hirsch cream jug, h. 3‑1/2”, a Poole “Paul Revere” cream jug, h. 4‑1/4”, a Hunt rectangular waiter, l. 9”, a Galt & Bro. footed waiter, monogrammed “BNA”, l. 7”, and an unmarked presentation dish, inscribed and dated 1944, dia. 6‑1/2”, 36.96 total t. oz. [600/900]

1281

1283 One Hundred and Fifty-One Pieces of Assorted Sterling Silver Place Pieces, 20th century, American, in fifteen different patterns (Watson “George II”, Lunt “Mount Vernon”, Gorham “Maryland”, Towle “Lady Mary”, etc.) including, butter spreaders, seafood/cocktail forks, ramekin forks, gumbo spoons, teaspoons, dessert spoons and dessert forks, ninety-seven pieces variously monogrammed, 129.85 total t. oz., presented in a wooden lidded case with single drawer, 6‑1/4” x 17” x 11‑1/2”. Detailed list available on request. [1500/2500] 1284 Four Pieces of Silverplate Tableware, 20th century, including three American drinks trays, one by Friedman Silver Co., with gallery and gadrooned handles, 17” x 9‑1/2”, one by Sheffield Silver Co., with gadrooned rim and handles, 16” x 9‑5/8”, and one by Crescent Silverware Mfg. Co., with gallery and flat handles, 11” x 4‑3/4”, and an English “DP & Sons” biscuit barrel-on-stand, oval with flat lid, beaded edging and pinecone finial, h. 7‑1/2”, l. 9‑3/4”, w. 7‑7/8”. [700/1000]

1285

1281 Thirty-Four Pieces of Sterling Silver and Silverplate Bar and Party Ware, including sterling pieces: a Tiffany & Co. Elsa Peretti “Padova” cake knife, l. 11‑1/2”, Tiffany & Co. shell-grip ice tongs, l. 6‑1/2”, a cased Tiffany & Co. “Audubon” cheese and pate knife set, case, w. 8‑1/8”, a Danish Modern cheese knife, l. 7‑1/2”, and bottle opener, l. 6‑1/2”, a Black, Starr and Gorham olive spoon, l. 11”, a rococo pistol-handled cocktail spoon, l. 12‑3/4”, a Watson “Meadow Rose” caviar spoon with shell bowl, l. 5‑1/2”, a corkscrew with water buffalo finial, l. 6‑1/4”, eight Garden Silversmiths shot cups, h. 1‑5/8”, six unmarked embossed shot cups, h. 1‑5/8”, and seven Lunt cann-form shot cups, h. 1‑3/4”, and silverplate pieces: a spiral-twist stem and mother-of-pearl bladed caviar knife, l. 9‑1/2”, a pair of Victorian silverplate wirework wine coasters, dia. 6‑1/2”, and an American silverplate tantalus, h. 12‑1/2”, 15.59 total t. oz. (weighable silver). [500/800] Illustrated 1282 Fifty-Three Pieces of Assorted Sterling and Other Silver Small Tableware, including a pair of American Colonial coin silver cauldron salts by Daniel Boyer (1725‑1799), Boston, Massachusetts, with later replacement feet, dia. 2‑1/2”, two pairs of English and one set of six American sterling salt cellars, l. 2‑1/8” to 2‑1/4”, three cased sets of four Empire sterling individual salt & pepper shakers, h. 1‑1/2” each, a cased set of eight Cartier sterling individual salt & pepper shakers, h. 1‑3/8” each, six heavy contemporary English sterling napkin rings, dia. 1‑3/4”, six Edwardian sterling “Hanoverian” silver teaspoons, l. 4‑3/4”, six American sterling butter pats, dia. 2‑5/8”, plus nineteen other pieces, 37.04 total t. oz. (weighable silver). Detailed list available on request. [600/900] Illustrated

276

1285 Large Mexican Sterling Silver Center Bowl, second quarter 20th century, by Salvador de la Serna, Mexico City, in the Spanish Colonial taste, of lobed hemispherical form, with applied wavy rococo scroll rim and raised on four addorsed acanthus-scroll feet, h. 5‑1/2”, dia. 12‑1/2”, 52.16 t. oz. [900/1200] Illustrated

1282

1286 William Spratling (1900‑1967) Sterling Silver Fruit Bowl, ca. 1940‑1946, Taxco, Mexico, of hemispherical form with everted rim, raised on three nautilus scroll feet, h. 4‑1/4”, dia. 7‑5/8”, 16.97 t. oz. [500/800] Illustrated

1286

1287 Fifty-Six-Piece Set of Emilia Castillo “Plata Pura” Leopard and Other Dinnerware, late 1990’s, Taxco, Mexico, black pottery with sterling silver overlay, including in the “Leopard” pattern: ten dinner plates, dia. 11‑1/2”, ten salad plates, dia. 9‑1/4”, ten cups, h. 3”, dia. 3‑3/4”, ten bowls, dia. 6‑7/8”, and eleven saucers, dia. 7”, the plates and cups decorated with a slumbering leopard, the bowl with leopard spot banding, all with scattered tiny dragonflies, along with two whimsical nesting “cat and mouse” salt and pepper shakers, overall, h. 3”, l. 4”, and a “Desert Nights” fruit bowl decorated with owls, a hare, a cactus and trees all in a starry nightscape, h. 3‑1/2”, dia. 9‑3/4”, all signed on the underside. [700/1000] Illustrated Emilia Castillo is the daughter of famous Taxco silversmith Antonio Castillo, who trained under William Spratling and, with Emilia’s uncles, founded the famous Los Castillo workshop. Emilia began her own jewelry and home decor design business in 1986, and her whimsical designs of animals, insects, birds and flowers in mixed media of silver, silverplate, and hardstone quickly attracted the attention of Neiman Marcus, who began retailing her designs in 1989 and who continues to do so today. Her works are also available in her own boutique in La Jolla, California, as well as the Hotel Emilia Castillo in Taxco.

1287 detail

1287

277

1288 1288 Eric Abrecht (American, Contemporary), “Landscape”, oil on canvas, signed lower left, 12” x 48”. In a thin gallery frame. Provenance: Soren Christensen Gallery, New Orleans, Louisiana. [1000/1500] Illustrated

1290 Deborah Pelias (American/New Orleans, Contemporary), “Tear Drops”, 2003, acrylic and mixed media on canvas, unsigned, 45” x 75”. Unframed. Provenance: Heriard-Cimino Gallery, New Orleans, Louisiana. [3000/5000] Illustrated

1292 1291 Robert Gordy (American/Louisiana, 1933‑1986), “Light Figures #2”, 1972, acrylic on canvas, initialed and dated lower left, signed, dated and titled lower en verso stretcher, 71” x 66‑1/2”. Presented in a thin gallery frame. [4000/7000] Illustrated

1289 (1 of 2) 1289 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”. [1000/1500] Illustrated

1293

278

1290 1293 Nicole Charbonnet (American/Louisiana, b. 1966), “Like Something in a Circle”, mixed media on canvas, titled en verso, 40” x 40”. Unframed. Provenance: Winston Wachter Mayer Fine Art, Inc., New York, New York. [2000/4000] Illustrated 1294 Nicole Charbonnet (American/Louisiana, b. 1966), “Untitled”, mixed media on canvas, unsigned, 20” x 16”. Unframed. Provenance: Winston Wachter Mayer Fine Art, Inc., New York, New York. [1500/2500] Illustrated

1291 1292 Jacqueline Bishop (American/Louisiana, b. 1955), “Hurricane Brunch”, mixed media on paper, signed lower right, verso with an “Arthur Roger Gallery” label, 9‑1/2” x 22‑1/2”. Glazed, matted and framed. [600/900] Illustrated 1294

279

1295 Pedro Friedeberg (Mexican, b. 1936), “Hand”, gilt wood, signed at foot on the reverse, h. 5‑3/4”. [1000/1500] Illustrated

1295

1297

1298 Joanne Miller Rafferty (American/ Contemporary), “Unchanging Forms”, mixed media with collage, signed lower right, numbered “1/1” lower left, sight 39‑1/2” x 31”. Glazed and framed. [600/900] Illustrated 1299 Randy Asprodites (American/ New Orleans, Contemporary), “Untitled”, 2002, oil on canvas, signed and dated en verso, 24” x 18”. In a thin gallery frame. [700/1000] Illustrated

1296 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Abelardo Y Manuel (Pajaros Mecanicos)”, 1965, oil on board, signed and dated lower right, inscribed lower and upper margins, verso with an “Orleans Gallery” label, 9” x 18”. Framed. [1200/1800] Illustrated

1302

1296 1297 W. Steve Rucker (American/New Orleans, b. 1954), “Untitled”, 1996, ceramic and coiled steel spring, signed and dated on bottom, h. 48‑1/2”. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. [700/1000] Illustrated

1303

280

1300 William Anzalone (American/Texas, b. 1935), “Seated Nude in a Dressing Gown”, oil on canvas, signed lower right, 30” x 24”. Presented in a contemporary giltwood frame. [900/1200] Illustrated 1301 Allison Stewart (American/New Orleans, b. 1941), “Sage Trail #21”, 2002, mixed media on paper, signed lower right, 22” x 22”. Float-mounted, matted, glazed and framed. Provenance: Albers Art, Memphis, Tennessee. [1500/2500] Illustrated 1302 Jacob Vincent Manguno (American/New Orleans, b. 1925), “Cityscape”, oil on coarsely woven linen, signed upper right, 17” x 22”. Framed. [800/1200] Illustrated A native New Orleanian and longtime gallery owner, Manguno was awarded the prestigious Ordre des Arts et des Lettres by the French Government.

1298

1303 Kazaan Viveiros (American, b. 1969), “Bounty V”, 2004, acrylic and conte crayon on panel, signed, dated and titled en verso, 24” x 30”. Unframed. Provenance: Kathryn Markel Fine Arts, New York, New York. [2000/4000] Illustrated

1300

1299 1301

281

1304 Robin Levy (American/New Orleans, Contemporary), “Untitled”, wax, oil and plaster composition, from the “Take it or Leave it Series No. 8”, h. 4”, w. 4”, d. 6”. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. Exhibited: Contemporary Arts Center, New Orleans, Louisiana, October, 2004. [600/900]

1310 Pair of French Orientalist Movement Gilt-Bronze Six-Light Candelabra, fourth quarter 19th century, now mounted as lamps, decorated with champleve enamel plaques of Islamic stars on the bases, porcelain plaques of Neo-Grec cameos on the lower portion, and porcelain plaques of men in Renaissance costume on the standards, base, h. 21”, overall, h. 33‑1/2”, w. 10”. [500/800] Illustrated 1311 French Champleve Enamel Candlestick in the Middle Eastern Style, first quarter 20th century, now mounted as a lamp, possibly retailed by Caldwell, base, h. 7”, overall, h. 15‑3/4”, dia. 4‑1/4”. [500/800]

1305

1308

1305 George Valentine Dureau (American/New Orleans, 1930‑2014), “Cherub”, 1984, gilt-painted papier-mache figure, inscribed and dated at back, h. 44”, w. 20”, d. 22”. [1200/1800] Illustrated This figure was originally commissioned for the World’s Fair held in New Orleans in 1984. It was a part of the Wonderwall, the half-mile long, art-filled, architectural structure which framed the edges of the fair. 1306 Ed Dwight (American, b. 1933), “Miles Davis”, patinated and cold-painted bronze, signed and numbered “38/75” at edge of trumpet, on a black marble base, overall, h. 21”, w. 9”, d. 12”. [4000/7000] 1307 Frederick Warren Freer (American, 1849‑1908), “Portrait of an Elegant Woman in Black”, oil on canvas, signed lower right, 30” x 25”. Framed. [700/1000] 1308 Napoleon III Giltwood Overmantel Mirror, fourth quarter 19th century, with a simplistic, deeply molded frame with an arched top, h. 68”, w. 48”. [600/900] Illustrated 1309 Pair of Regence-Style Polychrome Stools, each with a cowhide-covered shaped square top above a shell- and foliate-carved apron, raised on shaped legs joined by an X-form stretcher and ending in acanthine scrolled toes, h. 17”, w. 21”, d. 21”. [800/1200]

282

1312 French NeoGrec Pottery and Bronze Jardiniere on Stand, third quarter 19th century, the bronze stand resting on hoof feet and ornamented with goat’s head ring handles, the jardiniere with a handpainted polychrome scene of hunting dogs pursuing game birds, h. 37‑3/4”, w. 19”, d. 12‑1/2”. [1800/2500] Illustrated

1310

1313 French Gilt-Bronze and Chinese Porcelain Table Lamp, first quarter 20th century, mounted on a bronze base, the Chinese porcelain immortal standing under a bronze Fatsia tree, forming the lamp standard, base, h. 13”, overall, h. 22”, w. 9‑1/2”, d. 5‑3/4”. [1000/1500]

1315 Belle Epoque Porcelain and Gilt-Bronze Mantel Clock, fourth quarter 19th century, the rococo-style gilt-bronze base supporting a pair of Chinese turquoise foo dogs, flanking the clock, set in a turquoise porcelain case, decorated with gilt-bronze stems and leaves set with turquoise flowers, h. 14”, w. 12”, d. 4”. [2500/4000] Illustrated

1312 1315

1314 Pair of French Porcelain and Gilt-Bronze Garnitures, ca. 1900, the ribbed garnitures vases, probably Samson, decorated in the Chinese style, with molded bronze bases decorated with acanthus leaves and bronze caps fitted with molded knops, h. 9‑1/2”, w. 4‑1/2”, d. 2‑1/4”. [2000/4000] Illustrated

1316 Pair of Franco-Chinese Bronze and Porcelain ThreeLight Candelabra, fourth quarter 19th century, in the rococo taste, the gilt-bronze fittings supporting Chinese turquoise parrots on pierced bases, the molded bronze candle arms decorated with porcelain flowers and bronze leaves, h. 15‑1/2”, w. 11‑3/4”, d. 4‑1/2”. [2500/4000] Illustrated

1314 1316

283

1317 Pair of French Gilt-Bronze and Chinese Pottery Candlesticks, fourth quarter 19th century and earlier, the bronze stands and candlecups mounted with Chinese turquoise pottery qilin-form incense burners, the giltbronze stems mounted with lapis lazuli berries, h. 5”, w. 2‑3/4”, d. 2‑1/4”. [1400/1800] Illustrated

1320 Empire-Style Mahogany and Ormolu-Mounted Desk, the rectangular top banded and with an ormolu edging, inset with a leather writing surface, over a frieze fitted with a single central drawer, flanked to either side by a bank of three drawers, the sides and verso paneled, raised on tapering square legs ending in brass caps, the whole richly ornamented with ormolu mounts and millwork, h. 32”, w. 71‑1/2”, d. 34”. [1800/2500] Illustrated

1317

1324

1318 French Blue Opaline Glass and Bronze Jewel Casket, third quarter 19th century, set with a molded bronze bezel and hinge, the box cut in a lattice pattern and enameled with flowers, leaves and gilt scrollwork, h. 5‑1/4”, w. 8‑3/4”, d. 5‑1/2”. [700/1000] 1319 Pair of French Belle Epoque Bronze-Mounted Opaline Glass Candelabra, first quarter 20th century, in the neoclassical taste, now mounted as lamps, the vasiform blue opaline bases decorated with molded and pierced mounts supporting scrolled candle arms and a central lamp standard, base, h. 23”, overall, h. 28‑1/4”, dia. 9‑3/4”. [500/800]

1321 Guilloche Enamel and Gilt-Metal Umbrella Set, ca. 1900, probably French, the enameled handle decorated with raised bowknots and swags of roses, includes eight gilt-metal rib tips, presented in the original fitted box, handle l. 2‑1/2”, box, w. 4”, d. 4‑1/4”. [500/800]

1320

284

1322 Collection of Eight English and Continental Boxes, 18th century and later, including three English enameled patch boxes: an octagonal example, dia. 1‑3/4”, an oval example, w. 1‑3/4”, and a round example, dia. 1‑1/2”, a horn snuff box with an inset image of putti, with gilt bezel, possibly English, w. 3‑1/4”, a Continental agate and gilt-bronze box, w. 2‑3/4”, an unusual hand-painted pencil box decorated with green putti in a pink ground, with goldfilled mounts, l. 5‑1/4”, an 18th-century-style enamel box, w. 1‑3/4”, and an oval porcelain box with a Sevres-style mark, w. 2‑1/2”. [500/800]

1325

1327 Pair of Louis XVI-Style Giltwood Bergeres, early 20th century, each with a padded back surmounted by a ribbon-carved crest and finials, joined to the cushioned seat by closed arms to fluted uprights, raised on stopfluted tapering circular legs ending in toupie feet, h. 38”. [1500/2500] Illustrated

1329

1323 Collection of Eight French and English Small Boxes, 20th century, including a green floral-decorated box, possibly Limoges, w. 5‑1/2”, a claret ribbed round box with grisaille cover, dia. 3”, a Le Tallec cobalt box decorated with an owl, Paris, ca. 1969, dia. 2‑1/4”, a Dutch green floral box, w. 2”, a Continental emerald glass ointment jar, dia. 1‑3/4”, two Halcyon Days enamel boxes, one decorated with an owl, dia. 1‑3/4”, and the other decorated with a fisherman, w. 2”, and an oval box with a pig cover, l. 3‑3/4”. [500/800]

1327

1324 French Giltwood Rectangular Mirror, fourth quarter 19th century, in the rococo taste, the deeply molded frame decorated with shells and rocaille ornament, h. 37‑1/2”, w. 31”. [600/900] Illustrated 1325 French Belle Epoque Assembled Three-Piece Clock Set, fourth quarter 19th century, in the Louis XIV style, comprising a pair of gilt-bronze seven-light candelabra with vasiform standards, h. 28‑3/4”, dia. 12‑1/4”, flanking a gilt-metal clock, mounted with lion’s head handles grasping rings and a vasiform finial, h. 22‑3/4”, w. 15”, d. 7‑3/4”. [2000/4000] Illustrated 1326 Pair of Louis-Philippe Giltwood Wall Brackets in the Rococo Revival Taste, mid-19th century, decorated with acanthus leaves and molded grapes supporting serpentine shelves, h. 10‑1/4”, w. 13”, d. 6‑1/4”. [600/900]

1328 Louis XVI-Style Giltwood Low Seat, early 20th century, of box form, the padded rectangular back joined by like sides and spiral-fluted uprights to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 24”. [500/800] 1329 French Belle Epoque Carved Walnut Barometer, fourth quarter 19th century, decorated with gilt-accented fruit, scrollwork and anthemia, the dial and works secured behind beveled glass, h. 37‑3/4”, w. 14”. [500/800] Illustrated 1330 Pair of Louis XV-Style Gilt-Bronze Two-Light Figural Sconces, each with a molded backplate issuing two foliate-molded sockets centered by a partially draped putto and fitted with frosted flame shades, h. 17”, w. 15”, d. 9”. [1000/1500]

285

1331 Alexandre Sacha Garbell (Latvian, 1903‑1970), “Les Falaises (The Cliffs)”, oil on canvas, signed lower right, verso with a “David Findlay Galleries, New York, NY” label, 7” x 9”. Presented in a giltwood frame with a linen liner. [600/900] Illustrated

1331

1334

1332 Remar (Continental, 20th Century), “The Toreador”, oil on canvas, signed lower right, 20” x 30‑1/4”. Unframed. [500/800]

1335 Pair of Patinated Bronze Figures of Foxes, fourth quarter 19th century, now mounted as lamps, the foxes depicted eyeing birds on branches, on polished brass chinoiserie bases, base, h. 17”, overall, h. 30‑1/2”, w. 9”, d. 8‑1/2”. [4000/7000] Illustrated

1333 Pair of Unusual French Bronze and Alabaster Chenets, fourth quarter 19th century, in the Neo-Grec style, the pierced standards set with alabaster ball finials and fire tool holders, all terminating with griffin-form monopodia, h. 21‑1/2”, w. 15‑1/2”, d. 6‑1/2”. [1500/2500] Illustrated

1336 Charming French Bronze Bouillotte Lamp, first quarter 20th century, decorated with two patinated bronze dogs sitting at the foot of a patinated bronze parrot on a perch, mounted with shades, h. 22”, dia. 9”. [700/1000] Illustrated

1333 1335

1334 Louis XVI-Style Kingwood, Mahogany and MarbleTop Commode, the breakfront marble top above a conforming case fitted with two long drawers, each banded and with lattice-pattern parquetry inlay, raised on tapering square legs ending in brass caps, h. 33”, w. 35‑1/2”, d. 17”. [500/800] Illustrated

286

1338

1337 Pair of German Porcelain Figural Card Receivers, post-1878, by Ernst Bohne & Sons, Rudolstadt, depicting monkeys in uniforms, marked with an underglaze blue anchor and impressed “EBS”, h. 12‑1/2”, w. 5‑3/4”, d. 6”. [800/1200] Illustrated

1336

1338 Assembled Porcelain Monkey Band, 18th/19th century, primarily Meissen, after models by Johann Kandler and Peter Reinicke, German and English, including the band leader, mid-18th century, no mold numbers, h. 7‑3/4”, the violinist in a floral-sprigged shirt, h. 5‑1/2”, and the female singer, h. 5‑1/4”, late 18th century, both with mold numbers, the horn player in the yellow jacket, 18th century, with a later overglaze importer’s mark “Germany”, h. 5”, the French horn player, h. 6‑1/4”, the bassoon player, h. 5‑3/4”, the bass violin player, h. 5”, and the music stand, h. 3‑3/4”, all from the 1824‑1850 period, the mandolin player, h. 5‑3/4”, and the drummer in the blue shirt, h. 6”, both from the Pommel end period, 1860‑1924, the oboe player in the green shirt, h. 5‑3/4”, and the drummer in the lavender shirt, h. 5‑3/4”, both made by Ruskin Pottery, West Southwick, England, 1899‑1935, after the Meissen originals, and the trumpet player in the lavender jacket, h. 4‑1/4”, made by Bros. Voight, Sitzendorf, Germany, 1880‑1906. [5000/8000] Illustrated

1337

287

1339 Good Louis XVI Carved Fruitwood and Marble-Top Console Table, 18th century, the thick verdigris marble top over a laurel leaf and berry-carved frieze, raised on turned and carved legs, h. 34”, w. 44”, d. 21‑1/2”. [2000/4000] Illustrated

1341

1339

1340 Pair of French Belle Epoque Gilt-Bronze Three-Light Sconces, ca. 1900, in the Rococo Revival taste, the backplates molded with flower bouquet finials, the scrolled arms supporting fluted candle sockets, electrified, h. 14”, w. 9‑1/4”. [600/900] Illustrated

1340

1342 Louis XV-Style Mahogany and Marble-Top Occasional Table, early 20th century, the circular marble top within a pierced brass gallery, joined by angled tapering square legs to a circular banded sunburst-inlaid lower shelf, raised on hoof feet, h. 30”, dia. 20”. [500/800]

1345

1341 Impressive Pair of Belle Epoque Carved and FauxMarbre-Decorated Urns on Pedestals, ca. 1900, probably French, the krater-form urns with carved lotus leaves above fluted pedestals with carved swags of flowers, h. 72‑1/2”, dia. 14‑1/2”. [2500/4000] Illustrated

288

1343 Louis XV Giltwood Trumeau Mirror, fourth quarter 18th century, the carved giltwood rocaille and scrollwork surround on a matte-painted ground and set with two-part glass, possibly original, the outside edge molding of a later date, h. 66”, w. 43‑1/2”. [1400/1800] Illustrated

1347 Baccarat Crystal Eighteen-Arm Chandelier, early 20th century, the silver frame with two tiers of alternating cut glass candle arms, bobeches and prisms, h. 36” (without chain), dia. 33”. [5000/8000] Illustrated 1343

By family tradition, this chandelier was one of two installed in the residence of the Russian Ambassador to the United States, at 1125 16th Street, Washington, D.C. in 1910. It was later purchased by the family of the consignor in the 1950’s when the embassy was undergoing remodeling and redecorating. Mamie Eisenhower purportedly purchased the other one.

1347

1344 Pair of Louis XVIStyle Fruitwood Fauteuils, of generous proportions, each with a padded rectangular back within a molded frame, joined by padded and fluted arms to the cushioned seat, raised on stopfluted tapering circular legs ending in toupie feet, h. 34”. [700/1000] 1345 Louis XVI-Style Mahogany and Marble-Top Occasional Table, early 20th century, the marbleinset rectangular top within an ormolu banding, above a conforming frieze with applied ormolu mounts and swags, joined to a lower brass galleried shelf by tapering square legs terminating in foliate brass caps, h. 29‑1/2”, w. 25‑1/2”, d. 14”. [700/1000] Illustrated

1348 Continental Ormolu-Mounted Kingwood and Exotic Mixed Woods Marble-Top Commode, mid-20th century, the rectangular marble top with canted corners and a molded edge, above a conforming case fitted with three drawers, the lower two with a central inlaid floral medallion and parquetry surround, raised on cast brass paw feet, h. 38”, w. 58”, d. 22”. [1000/1500]

1346

1348

1346 Pair of French Gilt-Bronze Candlesticks, fourth quarter 19th century, in the Louis XV style, each matte gilded with tooled highlights and molded with scrollwork leaves and shells, with matching bobeches, h. 12‑1/4”, dia. 5‑3/4”. [500/800] Illustrated

289

1349 Pair of Sevres Hand-Painted Porcelain Cabinet Plates, 19th century, French, each with an apple greenground border and decorated with a crest of Napoleon III flanked by putti, the blank dated 1846, the gilding dated 1868, marked “France”, dia. 9‑1/2”. [500/800]

1351 Impressive Pair of Paris Porcelain Hand-Painted Neoclassical Krater Urns, first quarter 19th century, set with winged putti head handles and decorated with delicately rendered swags of polychrome flowers under tooled gilt lyres with crossed palmettes, h. 14”, dia. 9‑1/2”. [500/800] Illustrated

1352

1350

1352 Jacob Petit Porcelain Cushion-Form Scent Bottle, hand-painted on a white ground and trimmed with green and aubergine, raised on sphinx-form feet, h. 5‑3/4”, w. 5”, d. 5”. [500/800] Illustrated 1350 Pair of Paris Porcelain Chinoiserie Inspired HandPainted Vases, now mounted as lamps, the double gourd-form vases with “temple bells” on the neck, base, h. 20”, overall, h. 32‑3/4”, dia. 6”. [1200/1800] Illustrated

1353 English Enamel and Bronze Necessaire, fourth quarter 18th century, the case trimmed in gilt-bronze rocaille ornament, the enamel panels decorated with landscapes or flowers and trimmed in raised gilt ornamentation, the interior divided, h. 3‑1/4”, w. 2‑1/2”. [500/800] Illustrated

1351 1353

290

1357 Louis XV-Style Bronze Cartel Clock, fourth quarter 19th century, French, the rocaille-molded clock case decorated with oak leaves and acorns and set with a porcelain dial, covered by a beveled convex glass door, h. 25”, w. 13‑1/4”, d. 4‑1/4”. [600/900] Illustrated

1354

1354 Belle Epoque Gilt-Bronze Sixteen-Light Chandelier, ca. 1900, in the Louis XVI taste, the quiver-form standard set with a pinecone finial, terminating with a pierced dome hung with swags and tassels, the leaf-molded and scrolled arms arranged in three tiers, h. 36”, dia. 34‑1/2”. [5000/8000] Illustrated 1355 Pair of French Gilt-Bronze Candlesticks, second quarter 19th century, now electrified, each with a leaf-molded and reeded tapering standard above a base decorated with scrolled feet and anthemia, base, h. 17”, overall, h. 24”, dia. 6‑1/2”. [700/1000]

1357

1358 Handsome Pair of Sevres-Style Porcelain Palace Urns, fourth quarter 19th century, in the Louis XVI taste, hand-painted and with ormolu mounts, the obverses painted with courting couples attended by cupids, and the reverses decorated with luminous landscapes with distant castles, mounted with gilt-bronze bases, ring pulls and pinecone knops, h. 36‑1/4”, dia. 12‑3/4”. [18000/25000] Illustrated

1358 1356

1356 Louis XVI-Style Mahogany Games Table, mid-19th century, the rectangular top with a central recessed panel flanked to either side by an arrangement of ten inset chip cups, above a paneled frieze over a pull-out surface to all four sides, raised on fluted tapering circular legs ending in brass toupie feet, h. 28‑3/4”, w. 29”, d. 21”. [500/800] Illustrated

291

1359 French Belle Epoque Gilt-Bronze Chandelier, fourth quarter 19th century, the caryatid-molded standard hung with floral swags, the scrolled candle arms molded with sphinx heads supporting the molded candle cups, electrified, h. 16”, dia. 12‑1/4”. [500/800] Illustrated

1363

1363 Pair of Meissen Hand-Painted Porcelain Garniture Urns, ca. 1860‑1922, German, decorated with double snake handles, each side with hand-painted hunting scenes, formerly mounted as lamps, h. 14‑3/4”, w. 9”, dia. 5‑1/2”. [2000/4000] Illustrated

1359

1360 Suite of Four Louis XVI-Style Giltwood Slipper Chairs, early 20th century, each with a padded oval back surmounted by a foliate wreath crest, the padded seat raised on stop-fluted tapering circular legs ending in toupie feet, h. 29‑1/2”. [1000/1500] Illustrated

1367

1361 Pair of Meissen-Style Potpourri Urns, ca. 1900, decorated en grisaille with bunches of flowers, the pierced covers and bases with green ribbon trim, marked with spurious Augustus Rex “AR” signatures in underglaze blue, h. 10‑3/4”, w. 6‑1/2”. [500/800] 1362 Pair of Furstenberg Reticulated Porcelain Fruit Baskets, ca. 1797‑1828, German, the interiors decorated with hand-painted views of people in landscapes, the reticulated sides trimmed in mauve, blue and green, marked in underglaze blue, h. 2‑1/2”, dia. 8”. Provenance: Shreve, Crump & Low, Boston, Massachusetts. [1000/1500]

1360

1364 Napoleon III Mahogany and Walnut Occasional Table, third quarter 19th century, the bowed and banded rectangular top with a three-quarter pierced brass gallery, above a conforming case fitted with a banded cupboard, each centered by a porcelain plaque featuring a scene of courtiers, raised on cabriole legs ending in sabots, h. 31”, w. 19”, d. 14”. [500/800] 1365 Suite of Six Louis XVI-Style Creme-Peinte and Parcel-Gilt Sidechairs, mid-20th century, each with a padded medallion back surmounted by a fleur-de-lis crest, the padded seat raised on fluted tapering circular legs headed by foliate carving and ending in toupie feet, h. 39‑1/2”. [700/1000]

292

1366 Louis XV-Style Walnut Dining Table, mid-20th century, the oval top banded and bisected, and opening to a pull-up leaf above a shaped floral-carved apron, raised on cabriole legs ending in scrolled toes, h. 30‑1/2”, w. 43”, l. 79”, extended l. 98‑1/2”. [800/1200]

1372

1368

1371 Continental Giltwood Cushion Mirror, ca. 1900, the egg-and-dart-molded frame crowned with a pierced scrollwork crest and ornamented on the four corners with molded shells, h. 72”, w. 45‑1/2”. [1000/1500] Illustrated

1367 Pair of Brass Andirons, ca. 1900, probably English, on ball feet, each molded with Pegasus figures and applied fleurs-de-lis on the ball standard and finial, raised on ball feet, h. 20‑1/2”, w. 12”. [1500/2500] Illustrated 1368 Louis XVI-Style Rosewood, Parquetry and Marble-Top Commode, late 19th century, the breakfront breche marble top above a conforming case fitted with a frieze drawer over two long drawers, centered by a floral basket and with parquetry inlaid panels, raised on short cabriole legs to sabots, h. 36”, w. 44‑1/2”, d. 21”. [700/1000] Illustrated

1372 Pair of French Bronze Candlesticks, second quarter 20th century, in the Louis XV taste, molded with putti and armorial devices, h. 11‑3/4”, dia. 6”. [700/1000] Illustrated

1373

1371

1369 Pair of French Patinated Bronze Busts, second quarter 19th century, depicting Raphael and Poussin, on sienna marble bases, h. 14”, w. 6”, d. 5”. [2000/4000] 1370 French Brass-Clad Barometer in the Renaissance Revival Style, fourth quarter 19th century, the woodenbacked molded metal case holding works with enameled weather variables on a gilt-bronze dial, with a beveled glass cover, h. 20”, w. 15”. [500/800]

1373 Pair of French Belle Epoque Bronze Two-Light Candelabra, first quarter 20th century, in the Louis XV style, with putti supporting the flower- and leaf-molded candle arms, h. 16‑1/4”, w. 8‑1/4”, d. 5”. [800/1200] Illustrated

293

1376 1374

1374 Belle Epoque Bronze Dore et Patine Figural Clock, fourth quarter 19th century, after Albert-Ernest CarrierBelleuse (French, 1824‑1887), in the form of a putto astride a bronze hydria, which holds the clock, marked “A. Carrier” on the side, h. 17”, w. 13”, d. 9”. [2500/4000] Illustrated

1376 Pair of Worcester-Style Porcelain Covered Garniture Vases, fourth quarter 19th century, possibly Samson, Paris, of octagonal urn form, decorated with hand-painted birds in gilt-trimmed panels on a field of cobalt diapering, with matching covers, marked with an overglaze blue pseudo Chinese mark, h. 10‑3/4”, dia. 5‑3/4”. [700/1000] Illustrated

1375

1375 Louis XVI-Style Giltwood and Marble-Top Console Table, mid-19th century, the rectangular marble top with a molded edge and canted corners, above a conforming paneled and laurel-carved frieze with a pendant foliate garland, raised on fluted acanthine-carved supports, joined by a floral urn-carved stretcher and ending in spiralfluted toupie feet, h. 32‑1/2”, w. 33‑1/4”, d. 16‑3/4”. [700/1000] Illustrated 1377

294

1379 1377 Turkish Angora Oushak Carpet, 6’ 3” x 17’ 4”. [1200/1800] Illustrated 1378 Agra Serapi Carpet, 9’ x 12’. [1200/1800]

1381

1379 Antique Sarouk Carpet, 8’ 8” x 11’ 10”. [500/800] Illustrated 1380 Antique Turkish Carpet, 12’ x 14’ 4”. [500/800] Illustrated 1381 Semi-Antique Mahal Carpet, 8’ 6” x 11’ 7”. [1000/1500] Illustrated 1382 Turkish Angora Oushak Carpet, 9’ x 12’ 3”. [1200/1800]

1380

295

1387 Turkish Angora Oushak Carpet, 4’ x 19’ 8”. [800/1200] Illustrated 1388 Semi-Antique Tabriz Carpet, 10’ 1” x 13’ 8”. [2000/4000] 1389 Antique Tabriz Carpet, 9’ 3” x 13’ 10”. [500/800] Illustrated

1383

1383 Oushak Carpet, 8’ 2” x 9’ 10”. [2500/4000] Illustrated 1384 Turkish Angora Oushak Carpet, 6’ 4” x 10’. [1000/1500] 1385 Oushak Carpet, 10’ x 13’. [2000/4000] Illustrated 1386 Turkish Angora Oushak Carpet, 8’ 1” x 10’. [800/1200] Illustrated

1386

296

1389

1387 1385

297

I nd e x of A rt i s t s

O c tobe r 1 0 - 1 2 , 2 0 1 4

Aagaard, Carl Frederic 509

Continental School 197, 378, 412, 460, 486, 510, 591, 737, 738, 855, 873

Abrecht, Eric 1288

Cundin, Jose Maria 1296

Adams, Robert 1255

Davie, Alan 1253, 1254, 1256, 1257

American School 224, 1081, 1123, 1224

Dayton, C.S. 223

Anderson, Walter Inglis 1193

De Moucheron, Frederik (attributed) 399

Anzalone, William 1300

De Ruth, Jan 795

Asprodites, Randy 1299

DeWoody, James 338, 339

Barye, Antoine-Louis (after) 292

Dodd, Joseph Josiah 480

Baumgartner-Stoiloff, Adolf (Constantin) 553

Douillet, Raymond 358

Bellotto, Bernardo (circle) 857

Drysdale, Alexander John 1202

Beronneau, Andre 818

Dubray, Vital Gabriel (after) 721

Bishop, Jacqueline 1292

Dunbar, George Bauer 1149, 1150, 1151, 1152, 1153, 1154, 1155, 1156

Blum, Rudolf 314

Dureau, George Valentine 1157, 1305

Borofsky, Jonathan 366

Dutch School 377, 590

Borrello, Brian 359

Dwight, Ed 1306

Boshamer, Johan Hendrik 584

Eby, Betsy 360, 361, 362, 363

Boudin, Eugene (circle) 794

Faherty, Evelyn 1227, 1228, 1229, 1230

Brackman, Robert 426

Fay, Georges 320

British School 245, 688, 704, 705, 712, 884, 903, 904, 905

Floch, Joseph (attributed) 214

Brown, James 1261

Forbes, Helen 1206

Buttery, Edwin 255

Freer, Frederick Warren 1307

Candes, Roger Lucien 213

French School 465, 487

Canyelles, Pep 337

Fried, Pal 427

Cappiello, Leonetto 318

Friedeberg, Pedro 1295

Carmack, Susanne McDougall 365

Gainsborough, Thomas (manner) 883

Carrier-Belleuse, Pierre 792

Garbell, Alexandre Sacha 1331

Charbonnet, Nicole 1293, 1294

Gericault, Theodore (circle) 124

Chartier, Jaq 364

Gill, Edmund 254

Cheret, Jules 319

Giroux, Charles 1197

Chinese School 96

Gisson, Andre 770

Choi, Wook Kyung 98, 99, 100, 101, 102, 103

Gonon, Eugene 188

Choppin, Paul-Francois (after) 206

Goodall, Frederick (after) 236

Cian, Fernand 735

Gordy, Robert 1291

Clark, Kate Freeman 1191

Grant, Gordon 1226

Clodion, Claude Michel (after) 400

Gregoire, Jean-Louis (after) 547

I nd e x of A rt i s t s

O c tobe r 1 0 - 1 2 , 2 0 1 4

Hamburger, Ph. E. (after) 350

Niemann, Edmund John 620

Hardie, Charles Martin 1122

Noterman, Zacharias 225

Hayter, George 274

Palmer, Alfred 795

Heldner, Colette Pope 1195

Palnagy, Zsigmond 205

Heldner, Knute 1194

Panini, Giovanni 1691-1765 (after) 517

Hulk II, Abraham 253

Panini, Giovanni 1691-1765 (manner) 518

Hutson, Charles Woodward 1201

Parker, Henry H. 902

Irvin, Albert 1251, 1252

Pelias, Deborah 1290

Italian School 184, 454, 874

Pernett, L. 230

Joffe, Mark S. 736

Picasso, Pablo 326

Karssen, Anton 227

Pinggera, Heinz 765

Kendall, Marie Boening 1225

Pissarro, Camille 793

Kohlmeyer, Ida Rittenberg 1158, 1159, 1160, 1161, 1162

Rafferty, Joanne Miller 1298

Kohout, Audra 367

Reed, Lucille 1289

Larche, Francois-Raoul 401

Remar 1332

Le Brun, Charles (circle) 459

Reynaud, Francois 806

Lechesne, Henry (after) 276

Ricci, Marco (circle) 516

Lecornet, Nicolas (after) 198

Richards, Charles Whitfield 1188, 1189

Leger, Fernand 1259

Roche, Pierre (after) 321

Levy, Robin 1304

Rosa, Salvator (follower) 854

Linnell, John 630

Rossberg, Sara 369

Louisiana School 1198

Roth, Andreas 1223

Lundy, Anstis 1204

Rucker, Robert M. 1203

Magee, James C. 1190

Rucker, W. Steve 1297

Manguno, Jacob Vincent 1302

Schouten, Henry 229

Marioton, Jean Alfred 775

Schram, Alois Hans 449

Mars, Peter 368

Schwicker, Carlo 453

McCrady, John 1192

Seabrooke, Elliott 1205

Meissonier, Jean-Louis Ernest 228

Sherman, Beatrix 1222

Millar, Addison Thomas 196

Shields, Alan J. 340

Millet, Clarence 1199

Smith, F. 254

Molins, Charles Henri 351

Southern School 1124, 1187, 1200

Morel II, Jan Evert 577

Starck, Julius Joseph Gaspard 266, 267

Mosny, Henri 856

Steinlen, Theophile Alexandre 796

Motherwell, Robert 1258

Stewart, Allison 1301

Mueller, Georg Hans 548

Stuart, Gilbert (circle) 1080

I nd e x of A rt i s t s

O c tobe r 1 0 - 1 2 , 2 0 1 4

Tereszczuk, Peter 316 Turner, Helen Maria 1196 Van der Plas, Niek 872

Glossary

Van Dyck, Sir Anthony (after) 453 Van Kessel, Jan the Elder (manner) 305 Van Rijn, Rembrandt 469

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

Vertin, Petrus Gerardus 586 Viveiros, Kazaan 1303 Vollbracht, Michael 1260 Vollerdt, Johann Christian (circle) 574 Von Defregger, Franz 488 Wagner, Fritz 195 Wardleworth, Jack Leigh 236

The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist. Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence. Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period. After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

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(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

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

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

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

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

Rev. 10/2013

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

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

Rev. 10/2013

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

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

Rev. 10/2013

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs;

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

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

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

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

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

(x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both

AGREED AND ACCEPTED: __________________________________________ PRINTED NAME: ___________________________________ I have read and agree to the Conditions of Sale, including without limitation all of the waivers of warranties set forth in Section 2.

Rev. 10/2013

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

REQUEST FOR CONDITION REPORTS Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion.

Name (Please Print): ___________________________________________ Date: __________________ Telephone: ____________________________ Work: (_______)____________ Home: (_______)____________________ Fax: (_______)______________ Email Address: _____________________ PLEASE C IR C LE P REFEREN C E: M e th od o f Rece iving Repor ts: Fax / M ai l / E mail M e th od o f Rece ivi ng P hoto grap hs: Mail / Email Lot # Description Special Requests _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________

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

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________ Date: ____________________ Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: _________________ Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: _____________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

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

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ CVV #: _______________

Expiration Date: __________

I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

*Please fax this form by 5:00 p.m. the Thursday before auction weekend to 504-566-1851 or scan and email to info@neworleansauction.com 2

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

Lot #

______________________________________

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

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

New Orleans Auction Galleries Susan D. Krohn

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

ASIAN FINE & DECORATIVE ARTS:

DECORATIVE ARTS:

Jelena Restovic James

Continental and American; Prints and Maps

Ireys Bowman

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Thomas Halverson

Charles C. Cage

Michele M. Carolla

American

Ireys Bowman

Jewelry:

SILVER:

Continental and English

Kim Lemon

Charles C. Cage

Greg S. Kowles

American, Continental and English

Thomas Halverson

FINE CARPETS & TEXTILES:

MUSEUM & NON-PROFIT SERVICES:

Sean Ranson

American

Jelena Restovic James

administration Kim Lemon

Gary Michael Gittelson

Charles C. Cage

ReneĂŠ Gautreaux

Customer Service Manager

Office Manager

Burke

Designer

auctioneers Tessa Steinkamp Ashton Thomas Robin Ruiz Michael DeGeorge

Photographer

Colleen Ryan

Director of Human Resources

Denise Haik

Office Administration

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

Bryce Reveley

Textiles; Vintage Couture

James Callahan Asian Arts

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