April 23-24, 2016 Cakebread Decorative Arts & Design Auction by New Orleans Auction Galleries

cakebread decorative arts

APRIL 23-24, 2016

design

Cover: Lot 1071 Back Cover: Lot 787 Above: Lot 1017 (left) & 1016 (right)

cakebread decorative arts

design

Presented by New Orleans Auction Galleries

Exhibition:

April 11-22, 2016

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

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

Session I

Session II

Saturday, April 23, 2016

Sunday, April 24, 2016

Lots 1 - 605

Lots 606 - 1138

10 0

1 0 : 0 0 - 11 : 0 0

606

674

20 0

11 : 0 0 - 1 2 : 0 0

675

741

201

30 0

12:00 - 1:00

742

841

1:00 - 2:00

301

40 0

1:00 - 2:00

842

941

2:00 - 3:00

401

50 0

2:00 - 3:00

9 4 2 - 1041

3:00 - 4:00

501

60 5

3:00 - 4:00

1 0 4 2 - 1138

10:00 - 11:00

11:00 - 12:00

101

12:00 - 1:00

LA Auction License AB-363, Steinkamp #1265, Thomas #1833, EICHENWALD #1922

25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

Letter from the President Spring might be my favorite time to be in New Orleans. The weather is perfect, flowers are blooming, and festival season is kicking into high gear. Often, this fine weather and longer days are motivation for many to freshen their home or redecorate, which makes it the perfect time to take a break from the festivals and head to an auction. Cakebread Decorative Arts & Design Auction offers so many unique items and such an expansive array of styles that we are confident you will find something that will be perfect for your home that you just can’t live without.

This particular sale is also a fantastic opportunity for beginning collectors to start or expand their collection. We are pleased to be hosting the Ogden Museum’s Kohlmeyer Circle, a member group for young art patrons and collectors, ages 21-45, for a special reception where we will be sharing many of the great pieces coming up at auction. New Orleans Auction Galleries proudly supports the Ogden’s mission and dedication to engaging the community and are excited to have been selected as a location for one of their member events. We hope to see you during our two-week exhibition on our third floor gallery starting on April 11. As always, we will be having an evening reception with light refreshments on Thursday, April 21 from 5-7 p.m. The auction sessions begin at 10 a.m. on Saturday and Sunday, April 23-24.

See you at the auction, 3

Ashton Thomas President

Evening Reception | January 21, 2016 5

1. Joe Pacetti, Susan D. Sarofim & Sarah Dunbar 2. Sandra Dallas, Dana Atchison, Burke and Alina Garcia 3. George Polito and Sara Warren 4. Victoria Lacayo and Natalie Domingue 5. Blake Boyd and Ginette Bone 6. Evie Clinton and Sam Mercer 7. Charlene Esteves, Wyatt Esteves, Grace Connors, Grace Rennie

Session I (Lots 1-605) | Saturday, April 23, 2016 | 10:00 a.m. CDT

1 George II-Style Japanned Mirror, fourth quarter 19th century, English, set with upper and lower beveled mirror plates, the surround with a shaped upper portion, the Japanned decoration with panels of birds and butterflies on an ivory ground, h. 66”, w. 30”. [500/800] Illustrated 2 Pair of Chinese Export-Style Porcelain Beaker Vases, fourth quarter 19th century, made by Edme Samson, Paris, decorated with armorial devices, raised white scrollwork and polychrome sprigs of flowers, trimmed with cobalt-ground borders highlighted with gilt, marked with faux Chinese rouge-de-fer script in the typical Samson manner, h. 9‑1/2”, dia. 4‑1/4”. [300/500] Illustrated 3 Pair of George III Mahogany Sidechairs, late 18th century, each with a curved crest above a baluster-form splat, the padded seat above a deep apron and raised on cabriole legs ending in pad feet, h. 39‑1/2”. [200/400]

4 George III Figured Mahogany Tall Case Clock, first quarter 19th century, the brass face engraved “Adam Pringle, Edinburgh”, with a brokenarch pediment with brass eagle finial, and time and strike movement, h. 83”, w. 17‑1/2”, d. 9”. [700/1000] Illustrated 5 George III Banded Mahogany and Oak Tall Case Clock, early 19th century, the hood with a broken-arch pediment and brass steeple finial, h. 97”, w. 24”, d. 10”. [400/700] Illustrated

6 George III Brass-Mounted Oak and Mahogany Tall Case Clock, late 18th century, the hood with a swan’s-neck pediment, brass rosettes and stringinlaid details, the painted face with floral corners, h. 87”, w. 24”, d. 10”. [500/800] 7 English Colonial Revival Mahogany and Parcel-Gilt Mirror, first quarter 20th century, in the Chippendale style, with gilt bellflower festoons on each side and a gilt-trimmed swan’s neck pediment with a flower basket finial, h. 47”, w. 20”. [400/700] Illustrated

8 Georgian-Style Mahogany Dining Table, the rounded rectangular top with a reeded edge and above three pedestals, each with a turned columnar support to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, w. 45”, l. 104”. [1400/1800] Illustrated 9 George III Mahogany Tripod Table, fourth quarter 18th century, the tilting circular top raised on a turned and spiral-fluted standard to three splayed legs ending in pad feet, h. 28‑1/2”, dia. 36”. [300/500] 10 George III-Style Mahogany Armchair in the Chippendale Taste, 19th century, with a shaped foliate-carved crest rail over a pierced splat, the arms with scroll ends, raised on cabriole legs with balland-claw feet, h. 40‑1/4”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [500/800] Illustrated

11 George III Line-Strung Mahogany Demi-lune Hanging Corner Cabinet, ca. 1800, the pair of doors with figured central panels with cross-banded perimeters, h. 40‑1/2”, w. 26”, d. 16”. [400/700] 12 Five Japanese Imari Porcelain Graduated Scalloped Dishes, ca. 1900, decorated in traditional iron-red and cobalt, each with various related decorations, including cranes and gilt foo dogs, dia. 8‑1/4” to 11‑3/4”. [400/700] Illustrated

13 George III-Style Mahogany Three-Tier Dumbwaiter, ca. 1900 with graduated single-board dished tops on vasiform columns, the tripodal base on cabriole legs, h. 48‑3/4”, dia. 29”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [400/700] Illustrated 14 George III-Style Mahogany Chest in the Hepplewhite Taste, 19th century, with two-over-three graduated, beaded drawers, raised on splay feet, h. 41‑1/4”, w. 39”, d. 19‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [600/900] Illustrated 17

15 George III Mahogany Slant Lid Desk, fourth quarter 18th century, the rectangular top above a slant front opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and three graduated long drawers, raised on shaped bracket feet, h. 45”, w. 39‑1/4”, d. 21‑1/4”. [600/900] 16 After Sir Peter Lely (Dutch/British, 1618‑1680), “Lady Feeding Her Sheep”, oil on canvas, unsigned, a “Chapman’s Brothers” label en verso, 18” x 14‑1/8”. Framed. [800/1200] Illustrated 17 Chippendale-Style Giltwood Mirror, 20th century, with a rocaille- and vine-carved pierced rococo surround, h. 42‑1/2”, w. 26‑1/2”. [700/1000] Illustrated

18 Victorian Carved Mahogany Armchair, third quarter 19th century, in the Irish Georgian taste, the shaped eagle-carved crest above an oval paneled splat with side eagle’s claw carving, joined by shaped arms on eagle-head uprights to the padded scalloped seat, raised on cabriole legs headed by foliate mask carving and ending in ball-and-claw feet, h. 39‑1/2”. [600/900] Illustrated

19 Georgian-Style Figured Mahogany Cocktail Table, in the Chippendale taste, the figured and banded top raised on cabriole legs with ball-and-claw feet, h. 17‑1/4”, w. 48”, d. 36”. [400/700] Illustrated 20 Pair of George III-Style Mahogany Gainsborough Chairs, each with a scalloped top rail, open arms and cabriole legs with ball-andclaw feet, h. 42‑1/2”. [400/700] Illustrated

21 Chinese Export Blue and White Porcelain Punch Bowl, fourth quarter 18th century, decorated with Mandarin figures in a garden, the upper rim trimmed in brown, h. 4‑1/4”, dia. 10‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 22 Chinese Porcelain Ginger Jar, 19th century, mounted as a lamp, decorated with figures in a pine forest, base, now fitted with an ecru shade, h. 9”, overall, h. 22”, dia. 7”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500]

23 Handsome Chinese Export Imari Punch Bowl, mid-18th century, decorated with gilt-trimmed pots of flowers in iron-red and cobalt, against a cobalt ground with gilt flowers, the interior decorated with vines and leaves, on a contemporary hardwood stand, h. 7‑1/4”, dia. 12”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 24 Assembled Pair of Japanese Ribbed Ginger Jars and a Lamp, all in the Imari palette, the small ginger jars decorated with flowers and trees in panels, h. 5‑3/4”, dia. 3‑1/2”, and the large ginger jar decorated with pots of flowers, and now mounted as a lamp, h. 21”, dia. 9‑1/2”. [400/700] 25 Forty-One-Piece Collection of Chinese Export Blue and White Tableware, including nine soup plates, dia. 9”, two dinner plates, dia. 9” and 10”, nine bread and butter plates, dia. 7‑1/2”, a scalloped bowl, dia. 9‑1/2”, a coffeepot, h. 7”, six tea bowls, dia. 3‑1/2” to 4”, and seven saucers, dia. 4‑3/4” to 5‑1/4”, all mid19th century, Canton, together with four Nanking dinner plates, ca. 1800, dia. 9‑3/4”, a blue and white leaf dish, fourth quarter 18th century, h. 7‑3/4”, w. 5‑1/2”, and a Nanking helmet-form cream jug, h. 4‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

26 Pair of Chinese Blue and White Porcelain Garden Seats, 19th/20th century, the octagonal seats each decorated with birds and flowers, the tops and sides of each stool with pierced coin symbols, h. 17‑1/2”, w. 12‑1/2”. [400/700] Illustrated

27 Near Pair of Chinese Blue and White Porcelain Moon Flasks, Qing Dynasty (1644‑1911), 19th century, the two flattened vessels with slightly domed sides, each decorated with a motif of birds and flowers in white raised slip against a blue ground, the shoulders each adorned with carved bats, with white interiors and undersides, h. 14‑1/4”, w. 9‑3/4”. [2000/4000] Illustrated 28 George III Mahogany Tilt-Top Tripod Table, late 18th century, the tilting canted rectangular top raised on a turned vasiform standard to three splayed legs ending in pad feet, h. 29”, w. 20‑1/2”, d. 18”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

29 George III Mahogany Tea Table, late 18th century, the rounded rectangular top with a dished edge, above a conforming shaped frieze, raised on cabriole legs headed by acanthine carving and ending in paneled pad feet, h. 28‑1/4”, w. 29‑1/2”, d. 20”. [300/500] Illustrated

29 28

30 George III Mahogany Tall Case Clock, ca. 1800, with a swan’s-neck pediment with brass rosettes and an eagle finial, the painted face featuring a cottage and river, time and strike movement with calendar hand, h. 87”, w. 21”, d. 11”. [500/800] Illustrated 31 George III Mahogany Bureau, late 18th century, the rectangular top above a banded slant front opening to a variety of drawers and cubbyholes flanking a central cupboard, over four graduated long drawers, raised on shaped bracket feet, h. 42”, w. 40‑1/4”, d. 20‑1/2”. [300/500] Illustrated 32 Collection of Four British Victorian Watercolors, of various English country scenes, two by James Morris (19th Century), “The Waterhead...Windermere”, 1894, watercolor on paper, signed lower right, titled en verso, 11” x 18‑1/2”, and “Thalmere...From Witherburn”, watercolor on paper, signed lower left, titled en verso, 11‑1/2” x 18”, each framed; and two signed “Harrison”, “Water Wheel in the Country”, watercolor on paper, signed lower left, 12‑1/2” x 8”, and “Bridge Over the River”, watercolor on paper, signed lower left, 13‑3/4” x 9‑3/4”, each framed. [200/400]

33 Scottish Oak Tall Case Clock, first quarter 19th century, the hood with a swan’s-neck pediment trimmed with brass medallions, the engraved brass dial decorated with spandrels in the corners, signed “George Dunbar, Turriff”, h. 82‑1/4”, w. 19‑1/2”, d. 10‑3/4”. [500/800] Illustrated 34 Edwardian Oak Architect’s Cabinet in the Georgian Taste, ca. 1900, the top with a removable pencil stop, above a case with six beaded drawers, the sides paneled, raised on bracket feet, h. 45”, w. 26‑1/2”, d. 33”. [1000/1500] Illustrated

35 Federal-Style Mahogany Cellarette on Stand, the lift-top upper box with a fitted interior and dovetailed construction, on a base with a single drawer and raised on tapering Hepplewhite legs, h. 43”, w. 20‑1/2”, d. 19‑1/4”. [500/800] Illustrated 36 George II-Style Elm Armchair, 19th century, with an arched crest rail, shaped splat, open arms and a rush slip seat, the legs joined by box stretchers, h. 39”. Provenance: The Estate of Harold Judell, New Orleans, Louisiana. [400/700] Illustrated 37 Georgian Fruitwood Squash-Form Tea Caddy, ca. 1800, with an aperture in the base and carved ribs in the sides, the burl caddy with a good patina, h. 4‑1/2”, dia. 4‑1/2”. [500/800] Illustrated 38 Group of Four British Salt and Candle Boxes, 18th century and later, including a salt box with dovetailed construction, composed of mixed woods, h. 12”, w. 10‑1/2”, d. 6”, an oak candle box with nailed construction, h. 18‑1/2”, w. 6‑3/4”, d. 3‑3/4”, a mahogany candle box with dovetailed construction, h. 16‑3/4”, w. 5”, d. 4”, and an oak salt box with nailed construction, h. 14‑3/4”, w. 8‑1/2”, d. 7”. [200/400]

39 Two George III Sidechairs, second half 18th century, one example in walnut and the other in oak, both of pegged construction with shaped crest rails and splats, the former with a slip seat in crewel-like upholstery and the latter with a plank seat, h. 37‑1/4” and 36‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [300/500] 40 Collection of Twelve Assorted Hand-Painted Fish Plates, ca. 1900, English/French, including two artistsigned Royal Doulton plates, two Haviland examples and various Limoges makers, dia. 9‑1/4” to 9‑1/2”. [600/900] 41 Pair of Victorian Pottery Barrel-Form Spirits Kegs, third quarter 19th century, now mounted as lamps, each hand-painted with a stag, under gilt letters declaring the name of the contents, “Strawberry” and “Currant”, base, h. 13‑3/4”, overall, h. 27‑3/4”, w. 10‑1/2”, d. 9‑1/4”. [400/700] 42 Spode “New Stone” Platter, ca. 1822‑1833, English, with printed floral patterns clobbered with hand-painted polychrome enamels, impressed “Spode New Stone” on the back, w. 17”, l. 22‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] Illustrated

43 Four Staffordshire Pottery Watch Holders, third quarter 19th century, English, two depicting Scottish dancers, each hand-decorated with polychrome enamels, h. 8” to 11”, w. 5‑3/4” to 7‑1/2”. [400/700] 44 Collection of Eight Staffordshire Pottery Dogs, 19th/20th century, including two pairs, six of the dogs representing spaniels and two representing poodles, h. 9‑1/4” to 11‑1/4”, w. 7‑1/4” to 9‑1/4”. [500/800] Illustrated 45 George III Sterling Silver Teapot and Associated Stand, hallmarked London, 1793‑1799, by Solomon Hougham (ca. 1746‑1818; free 1786), the teapot of “turtleback” section and quartered with fluting, with “gooseneck” spout and ebony finial and crested handle, with period inscription on the underside “S+R to Eleanor Courtis” and later monograms “CF” and “KAK” on the body, presented on an associated conforming stand, overall, h. 6‑3/8”, l. 11”, w. 4‑5/8”, 18.04 total t. oz. (including wooden fittings). [400/700] Illustrated

46 George III Sterling Silver Tankard, hallmarked London, 1783‑1784, the maker’s mark overstruck, of traditional tapering cylindrical form, with later presentation inscription dated 1885, h. 6‑1/4”, dia. 5”, l. 7‑1/4”, 19.17 t. oz. [400/700] Illustrated 47 George IV Sterling Silver Goblet, hallmarked London, 1820‑1821, probably John Harris IV, ovoid body and waisted circular foot, decorated with repousse floral scrolls, h. 5‑1/4”, dia. 3‑1/4”, 7.40 t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] Illustrated 48 William IV Sterling Silver Gilt Inkwell, hallmarked London, 1836‑1837, by Benjamin Smith III, of baluster form, decorated with repousse rococo scrolls and chased rocaille banding, with figural crest finial of an eagle displayed out of a ducal coronet, h. 6”, dia. 3‑1/2”, 9.89 t. oz. [400/700] Illustrated

50 49

49 George IV Old Sheffield Plate Wine Cooler, first quarter 19th century, of campana form, with leaf-and-dart rim and elaborated reeded handles extending to form grapevine banding, engraved with the arms of Anstey impaling Filmer, h. 10‑3/4”, dia. 9‑1/4”, w. 12‑1/4”. [300/500] Illustrated The arms here are those of John Thomas Anstey (1795‑1885) of the East India Company Civil Service and his wife Charlotte Filmer (1799‑1865); the couple were married on July 23, 1823 in Bath, Somerset. 51

50 Two Pieces of Gadroon-Edge Silverplate Tableware, including a George IV Old Sheffield Plate cake basket, ca. 1820, rounded rectangular with conforming rocaille swing handle and boar’s head crest, h. 4‑1/4” (9‑3/4” with handle), l. 12‑1/4”, w. 9‑1/4”, and an American electroplate casserole dish, ca. 1950, rounded rectangular with stirrup handles, l. 19‑1/4”, w. 10‑3/8”. [600/900] Illustrated 51 Early Victorian Silverplate Meat Dome and Platter, second quarter 19th century, retailed by William Burton & Co., London, oval with insulated well-and-tree platter and conforming quarter-lobed dome, with robust acanthus handles and feet, overall, h. 14”, l. 24‑1/2”, w. 17‑1/2”. [500/800] Illustrated

52 Pair of Victorian Silverplate Candlesticks, fourth quarter 19th century, by James Pinder & Co., Sheffield, with spiral standard, stepped square base, Corinthian capital and beaded banding, with detachable bobeches, h. 13”. [200/400] Illustrated

53 54

53 Victorian Silverplate Cruet Frame, third quarter 19th century, by Henry Wilkinson & Co., in the Georgian taste, of navette form, with reticulated and “bright-cut” banding and beaded edges, with a central baluster standard and beaded ring handle, raised on four acanthus feet and fitted with seven cut glass condiment bottles (some damaged), overall, h. 10‑1/4”, l. 8‑7/8”, w. 6‑1/4”. [300/500] Illustrated 54 Victorian Sterling Silver Tray, hallmarked Sheffield, 1898‑1899, by Mark Willis (1842‑1915), of rounded rectangular form, with gadrooned rim and handles accents by shell-and-scroll motifs, the plateau engraved with a wide conforming band of floral and foliate scrolls and dolphin-mantled cartouches, the whole raised on gadrooned spade feet, l. 27‑3/4”, w. 17‑3/4”, 136.00 t. oz. [4000/7000] Illustrated

55 Silverplate Victorian Elkington Meat Dome and Later Tiffany Well-and-Tree Platter, the meat dome 1884, with beaded rim and figural crest finial of a demi-griffin rampant , h. 11‑3/4”, l. 20”, w. 15‑7/8”, the well-and-tree platter first quarter 20th century, of scalloped oval form with molded rim and four acanthus-scroll feet, h. 2‑3/4”, l. 22”, w. 16”. [700/1000] Illustrated 56 Pair of Victorian Silverplate Candelabra, fourth quarter 19th century, of squared baluster form, with four scrolling arms and central standard, decorated with acanthus and rocaille banding, with detachable bobeches, h. 19‑1/2”, w. 16‑1/4”. [200/400] Illustrated

57 George V Silverplate Waiter, first quarter 20th century, by Ellis-Barker, Birmingham, retailed by W. K. Cowan & Co., Chicago, circular, with rocaille “Chippendale” rim and floral scroll-engraved plateau, raised on three acanthus scroll feet, monogrammed “B”, dia. 13”. [350/500] Illustrated 58 Pair of Contemporary Silverplate Wine Coolers, each of bucket form, with gilt interior and arched “oak branch” handles, h. 7‑1/2”, dia. 6‑7/8”, w. 11‑1/2”. [500/800] Illustrated 59 Silverplate Bouillotte Lamp, contemporary, by Royal Castle, Sheffield, in the Second Empire taste, with acanthus scroll decoration and conical shade, h. 25”, dia. 11”. [500/800] Illustrated

60 Italian Silver-Leafed Pierced and Carved Oval Mirror, fourth quarter 19th century, in the rococo taste, h. 32‑1/2”, w. 20‑1/2”. [400/700] Illustrated

61 Set of Three Italian Silver-Gilt Carved Wooden Altar Sticks, ca. 1800, decorated with gilt crests, h. 10‑1/2”, w. 5‑1/2”, d. 5‑1/2”. [500/800] Illustrated 62 Pair of Contemporary Silver-Gilt and Mirror-Plate Two-Light Sconces, each mirror back in the form of a shell, h. 19‑1/2”, w. 14”, d. 6‑1/2”. [500/800] Illustrated 63 Contemporary Mirror in the Venetian Style, set with a beveled plate, the segmented mirror surround and matching crest with engraved flowers, h. 50‑1/2”, w. 31”. [500/800] Illustrated 64 Silver-Gilt Wooden Six-Light Chandelier, 20th century, with a turned and carved standard and candle cups, hung with sprays of prisms alternating with mother-of-pearl elements, h. 42”, dia. 27‑1/2”. [1200/1800] Illustrated

66 Italian Rococo-Style Polychromed Bed Canopy, with a foliate- and scroll-carved crest and scalloped apron, the base with access to support bed hangings, h. 39”, w. 71”, d. 25”. [800/1200] Illustrated

65 Italian-Style Polychrome and Marble-Top Low Console, the shaped marble top with turreted corners, above a guilloche frieze with a pendant foliate garland, raised on molded legs joined by an urn-centered stretcher and ending in foliate feet, h. 25‑1/2”, w. 53”, d. 17”. [500/800] Illustrated

67 Pair of Continental Bronzed Metal Figural Candlesticks, first quarter 20th century, the male and female musicians raised on foliate urns, above reticulated tripartite bases with scrollwork and masques, h. 14‑3/4”, w. 7‑1/8”. [400/700] Illustrated 68 Italian Argente Looking Glass in the Rococo Taste, the rectangular plate surmounted by an urn-form crest issuing foliate and floral garlands, surrounded by a bellflower-carved frame with pendant floral garlands, h. 87”, w. 41”. [400/700] Illustrated

68A

71 68A Pair of Tole-Peinte Two-Light Sconces, second quarter 20th century, the beribboned backplates issuing foliate arms with porcelain flowers and tulip-form candle cups, with later fabric shades, h. 37”, w. 12”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [500/800] Illustrated 69 Large Silvered Brass Brewer’s Presentation Covered Standing Cup, fourth quarter 19th century, with maker’s plaque “J. Weaver & Brother / Makers / N: 77 Duane St. / New York”, with thistle-form body and waisted, domed foot, and fitted, dentillated lid, decorated with repousse grapevines, hops and oak branches, with figural finial of and scenes from the life of King Gambrinus, engraved with the German text of Martin Luther’s famous “He that love not wine, women and song” quotation and several names about the perimeter of the foot, h. 22‑3/4”, dia. 8‑1/4”. [400/700] Illustrated

70 Pair of Continental Georgian-Style Gilt- and Silvered Bronze Figural Candlesticks, contemporary, 20th century, each in the form of a putto astride a crocodile and holding aloft a cornucopia-form candle nozzle, h. 8‑1/4”, l. 5‑1/4”. [400/700] Illustrated 71 Victorian Silverplate Electrotype Copper “Temperantia” Charger, fourth quarter 19th century, after the late 16th-century pewter original by Francois Briot (1545‑1620), dia. 17‑3/4”. [400/700] Illustrated

The “Temperantia” Charger, one of the most celebrated pieces of Mannerist pewter, is conserved at the Victoria and Albert Museum in London. The piece features a center plaque of Temperance surrounded by the four elements on the inner circle and the seven liberal arts and their patron, Minerva, on the outer. It was copied even in its day - most notably by Nuremberg pewtersmith Caspar Enderlein (1560‑1633) - and in later centuries versions appeared in palissyware and (as here) metal electrotype. The piece is most famous today as the Wimbledon Women’s Singles trophy, a sterling silver copy being presented to the winner.

72 A. Belardinelli (Italian, 20th Century), “Piazza San Marco”, oil on canvas, signed lower left, 39” x 27”. Framed. [500/800] Illustrated 73 Manner of Francesco Guardi (Italian/Venice, 1712‑1793), “View of San Giorgio Maggiore”, oil on canvas, unsigned, 22‑1/2” x 19”. Framed. [400/700] Illustrated 74 After Arthur de Tivoli (British, 1891‑1961), “Venice Canal”, oil on canvas on panel, signed lower right, 20” x 24”. Framed. [500/800] Illustrated

75 Venetian-Style Cut and Engraved ShieldForm Mirror, framed with a segmented mirror plate with cut edges and back-engraved with sprays of leaves, the crest decorated to match the surround, h. 47‑1/4”, w. 21‑1/4”. [400/700] Illustrated 76 Italian-Style Kingwood, Mahogany and Marble-Top Commode, in the Baroque taste, the shaped verde antico marble top above a conforming bombe case fitted with three drawers, paneled and with a central floral inlay, raised on splayed legs ending in sabots, h. 36‑1/2”, w. 40‑1/2”, d. 23‑1/2”. [400/700]

77 Italian Bronze of “Winged Victory”, fourth quarter 19th century, possibly cast by Chiurazzi & Fils, Naples, the goddess Nike with one foot balanced on a portor marble sphere, all set on a Siena marble plinth, overall, h. 27‑5/8”, w. 19‑1/4”, d. 8‑1/2”. [1000/1500] Illustrated 78 Pair of Capodimonte-Style Molded Polychrome Pottery Vases, 20th century, Italian, marked in the Capodimonte style, h. 31”, dia. 9‑3/4”. [500/800] Illustrated 77

79 Three Italian .800 Silver Gilt and Enamel Dresser Articles, second half 20th century, Florence, in the 18th-century “galants” style, including two compacts, one oval, w. 3‑3//4”, the other shield-shaped, w. 3‑1/4”, and a cased comb, l. 4‑3/8”, all decorated with Swiss enameled scenes of courting lovers surrounded by enameled faux-malachite panels, all on an ornately engraved rococo ground. [400/700] 80 Italian Polychrome Commode, 19th century and later, in the neoclassical taste, the faux-marbre top above a case fitted with two short drawers over two long drawers, all with pastoral scenes, raised on tall tapering square legs, h. 36‑1/2”, w. 46”, d. 22”. [1500/2500] Illustrated

81 Three-Piece Italian Rococo Giltwood Parlor Suite, 19th century, comprised of a settee and two sidechairs, each with a padded back surmounted by a foliate crest, with shaped padded seats above floral- and foliate-carved aprons, raised on cabriole legs ending in scrolled toes on pegs, now upholstered in Fortuny fabric, settee, h. 47”, w. 85”, d. 25”, sidechairs, h. 37”. [1000/1500] Illustrated 82 Giltwood Mirror in the Italian Baroque Taste, the segmented surround with scrolled medallions, the serpentine crest with a shell finial framed with a pair of fruit baskets, h. 75‑1/2”, w. 31‑1/2”. [700/1000] Illustrated 83 Continental School (19th Century), “Arcadian View”, oil on canvas, 32” x 26”. Presented in a period frame. [500/800] Illustrated 84 Italian School (18th Century), “Capriccio with Fishermen Bringing in the Catch” and “Capriccio with the Arrival of the Wine Merchants”, pair of oils on canvas, unsigned, each 19‑1/2” x 24‑1/2”. Both framed alike. [500/800] Illustrated

84 one of two

81 part of a three-piece suite

88 86

85 After Michele Marieschi (Italian, 1710‑1743), “Italian Town Square with Obelisk and Ruins” oil on canvas, unsigned, 16” x 23”. Presented in a decorative frame. [800/1200] Illustrated 86 Latin American Giltwood Mirror in the Baroque Taste, the surround with carved scrollwork, the serpentine top decorated with a winged bust, set with a beveled mirror plate, h. 48”, w. 53‑1/2”. [500/800] Illustrated 87 Pair of Italian Carved Giltwood Finials, 20th century, in the baroque taste, now mounted as lamps and fitted with silk barrel shades, overall, h. 27‑3/4”, dia. 14”. [500/800] Illustrated

88 Italian Silver-Gilt Carved Wood Baroque Altar Stick, second half 19th century, now mounted as a lamp, of tripartite form, with a fluted and carved standard, mounted with a shade, base, h. 35‑1/2”, overall, h. 49‑3/4”, dia. 18”. [600/900] Illustrated

91 one of a pair

89 Pair of Italian Rococo-Style Painted Mirrors and Brackets, first quarter 20th century, each mirror with a swan’s neck crest and a pair of small shelves below the mirror plate, h. 36”, w. 19”, the brackets with pierced scrollwork, h. 26”, w. 20‑1/2”, d. 11”. [1200/1800] Illustrated 90 Italian Mahogany Armchair, early 20th century, in the Renaissance taste, the padded rectangular back surmounted by lion’s masque finials, joined by scrolling arms and ram’s head handles to the padded seat, raised on a masque-carved apron and turned legs joined by a box-form stretcher, h. 42‑1/2”. [200/400] Illustrated

91 Pair of Large Gilt-Brass and Ebonized Wood Cushion Mirrors in the Baroque Taste, ca. 1900, Dutch or Flemish, the frames outlined with ebonized moldings with a wave edge and trimmed in gilt-brass decorated with flowers, and with pierced gilt-brass corners, the pediment crests decorated with flowers, military trophies and pierced intertwined initials in the central roundels, set with beveled mirror plates, one h. 65”, w. 41”, the other h. 66”, w. 40”. [3000/5000] Illustrated

92 Italian School (Late 17th/Early 18th Century), “Adoration of the Magi”, unsigned, oil on canvas, in the manner of Luca Giordano (Italian, 1634‑1705), stretcher faintly inscribed in old penmanship “G. Pirrani”, 36‑1/2” x 26‑1/2”. Framed. [1500/2500] Illustrated 93 Pair of French Paintings on Tin, 19th century, including “Madonna and Child with St. Anne and St. John the Baptist”, after Raphael (1483‑1520), and “Portrait of a Fashionable Lady”, each unsigned but with old handwritten inscriptions en verso, each 11‑1/4” x 9‑1/2”. In matching gesso and giltwood frames. [800/1200] Illustrated

94 Manner of Tiziano Vecelli, called Titian (Italian, ca. 1485‑1576), “Woman at Toilette”, 19th century, oil on canvas, 11‑3/8” x 8‑1/4”. Presented in a giltwood frame. [1800/2500] Illustrated

93 one of two

95 Filipino Santos Figure of San Isidro Labrador, second quarter 19th century, the patron saint of farmers on a contemporary base, presented in his boots and wearing a tunic, the figure retaining some of its painted surface, h. 21‑3/4”, w. 6”. [400/700] Illustrated 96 Russian Icon Depicting the Resurrection and Twelve Feasts, fourth quarter 19th century, oil on panel, polychrome-painted and gilt-trimmed, with slats inserted into the top and bottom, h. 20‑3/4”, w. 17‑1/2”. [400/700] Illustrated

97 Five Pieces of Judaica, first half 20th century, including three olivewood-bound Bezalel, Jerusalem books, the covers painted with scenes of the holy land, including two siddurim and Flowers and Views of the Holy Land with pressed flowers, the smallest 3‑3/8” x 2‑5/8”, the largest 4‑1/8” x 6‑3/4”, another siddur with wood, celluloid and embossed brass cover of the tablets of stone, 5‑3/8” x 4‑1/2”, and an unmarked silver floriform spice tower, h. 4‑3/4”, 1.47 t. oz. [300/500] Illustrated 98 Spanish-Style Wrought Iron Six-Light Chandelier, mid-20th century, the hexagonal frame with scrolled and hammered ornaments mounted to each side, electrified, h. 19”, dia. 28”. [300/500] Illustrated

101

99 Spanish-Style Stamped-Metal Six-Light Chandelier, mid-20th century, of cage form with applied leaf decor, retaining a dark bronzed patinated surface, electrified, h. 21”, dia. 26”. [200/400] Illustrated

102

100

100 Parcel-Gilt Cushion Mirror in the Italian Style, the rectangular frame with carved pine edges and alternating pierced ebonized and gilt scrollwork over a segmented mirror in the two-part frame, the pierced crest with a pair of gilt rampant lions standing on ebonized scrollwork, a gilt flower in the center, h. 62‑1/2”, w. 44”. [700/1000] Illustrated 101 Capodimonte-Style Polychrome Porcelain Dionysian Figure, 20th century, Italian, the figure on a wine casket, wearing a wreath of grapes, made by Villari and marked with a Villari impressed mark and a spurious Capodimonte mark, h. 28”, w. 14”, d. 10‑1/2”. [500/800] Illustrated 102 Charming Meissen-Style Porcelain Tobacco Jar, Made by Sluzier, Fontainebleau, fourth quarter 19th century, French, designed to resemble a Dionysian feast and depicting a wine barrel and four putti, one standing atop the barrel among encrusted grapes and serving as the knop, one gesturing, one climbing a ladder into the barrel, and one lounging while holding a wine cup, marked with underglaze blue crossed swords in the Meissen style, h. 13‑1/2”, w. 9‑1/2”, d. 6‑1/4”. [300/500] Illustrated

103

107

104

106

103 Pair of Continental Polychrome Porcelain Figures, second half 19th century, in the form of putti decorated with applied flowers, one putto holding grapes and the other with wheat, marked with a gold anchor on the back, h. 5‑3/4”, w. 4‑1/2”, d. 3”. [600/900] Illustrated 104 Italian Specimen Marble and Hardstone Side Table, the rectangular specimen top centered by a fruit spray and surrounded by a band of flowering and fruit-filled branches, raised on two supports, each in the form of a griffin on a molded base, h. 30‑1/2”, w. 86‑1/2”, d. 39”. [2000/4000] Illustrated

105 Suite of Four Neoclassical Mahogany Sidechairs, mid-19th century, each with a shaped string-inlaid crest above a foliate lyre-form splat, the padded seat raised on sabre legs, h. 33”. [300/500] 106 Pair of Alabaster Pietra-Dura Covered Jars, first half 20th century, probably Indian, inset with brass liners drilled for lamps, the jars inlaid with flower forms in various shades of brown, h. 13‑3/4”, dia. 8”. [500/800] Illustrated 107 Italian Specimen Marble Table Top, of rectangular form, with a central oval panel surrounded by a decorative floral and geometric banding, w. 59‑1/2”, d. 36”. [800/1200] Illustrated

110

109

108 108 Emilio P. Fiaschi (Italian, 1858‑1941), “Victorian Bathing Beauty”, a white marble statue depicting a demure young woman dressed only in her “combination”, preparing to enter the water down a flight of steps, her arms held across her chest, signed en verso, sculpture, h. 47‑1/2”, on a conforming verdigris marble pedestal, overall, h. 88”, dia. 19”. [5000/8000] Illustrated Fiaschi was a native of the Tuscan town of Volterra, and attended the prestigious Accademia di Belle Arti in Florence from 1883‑1885. An accomplished sculptor of marble and alabaster, he gained a reputation in the competitive Florentine art community for his technical skill and mastery of sculptural composition, following in the grand tradition of such masters as Donatello (1386‑1466), Benvenuto Cellini (1500‑1571), and Giambologna (1529‑1608). Fiaschi was adept at depicting a range of textures, not an easy task in the unforgiving and rigid medium of marble; this is evident in the example presented here with the juxtaposition of the smoothness of the figure’s flesh with the roughness of the steps. Specializing in classical and genre scenes and portraits of women, Fiaschi completed numerous private and public commissions, and was awarded the medal at the annual art competition of his hometown in 1890.

109 French Gilt-Bronze Figure of “Venus de Milo”, ca. 1900, modeled after the Antique, h. 22‑1/4”, w. 6‑1/2”, d. 5‑1/4”. [400/700] Illustrated 110 Pair of Classical-Style Brass-Clad Wooden Lamps, the urn-form standards with scrolled handles and friezes of bacchantes in relief, on stem feet raised on agate bases, fitted with fabric shades, overall, h. 35”, w. 8”. [500/800] Illustrated 111 Continental Bronze Dore Globe-Form Covered Bowl, fourth quarter 19th century, on griffin-form supports, the globe incised with a map of the world, hinged at the equator to open, h. 9‑1/2”, w. 16‑1/4”, d. 6‑3/4”. [800/1200] Illustrated

111

112 113

112 Pair of Continental Gilt-Bronze Candlesticks in the Aesthetic Taste, 20th century, in the form of cranes with frogs atop tortoises, h. 9”, w. 6”. [300/500] Illustrated 113 Two Pairs of French Gilt-Bronze Candlesticks, 20th century, the larger pair in the form of swans, overall, h. 7‑1/2”, w. 6‑1/2”, d. 4”, and the smaller pair in the NeoGrec taste with standards in the form of hippocampi, overall, h. 6”, w. 4‑1/4”, d. 2‑3/4”. [400/700] Illustrated

116

114 Pair of Faux Marble and Parcel-Gilt Pedestals, in the Italian Baroque taste, each with a circular granite-inset top above scroll-formed legs headed by bearded masques and ending in acanthine feet, h. 31”, dia. 17‑1/2”. [400/700] Illustrated 115 Pair of Polychrome Metal Busts, in the Orientalist style, cast as male and female Bedouins, on stepped resin and metal pedestals, h. 17‑1/2”, w. 6‑1/4”. [400/700] 116 Pair of Carved Mahogany Blackamoor Pedestals, 20th century, the crouching female figures with motherof-pearl eyes and supporting turned tops, h. 21”, dia. 10‑1/4”. [600/900] Illustrated 117 Continental Polychrome Spelter Figure of a Female Gypsy, standing on a footstool playing the lute, h. 33”, w. 10‑1/2”. [500/800]

114

122 Handsome Pair of French Opaline Glass Vases, mid-19th century, the molded design of flowering vines and insects decorated with enameling, with ground pontils, h. 12‑1/4”, dia. 5‑1/4”. [400/700] Illustrated

122

123 Louis XVI-Style Cane and Stained Hardwood Settee, the arched caned back extending to open arms with foliate-carved ends and supports, a serpentine seat and fluted legs, retaining the label of “Furniture Classics Ltd. Norfolk VA”, h. 41‑3/4”, w. 47”, d. 24”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

119 118 Continental Giltwood Six-Light Chandelier, the bowl carved in the form of a fruit basket, the S-shaped arms with scalloped bobeches, h. 20‑1/2”, dia. 23”. [400/700]

120

119 Continental Decorative Painted Panel of a Tree in Bloom with Birds and Dragonflies, first quarter 20th century, oil on wood panel, framed, overall, 87” x 40”. [400/700] Illustrated 120 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded oval back joined by scrolling arms to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 37”. [800/1200] Illustrated 121 Glass and Patinated Metal Cage-Form FourLight Chandelier, the oval cage hung with alternating strings of beads, the scrolled corona and curved arms festooned with glass flowers and crystal beads and prisms, h. 25”, w. 19”. [400/700]

123

124 Hand-Painted Paris Porcelain Urn, now mounted as a lamp, with birds and flowers on a salmon ground, the blank attributed to Jacob Petit, overall, h. 36‑1/4”, w. 12‑1/4”. [400/700] Illustrated 125 Louis XVI-Style Mahogany and Polychromed Serpentine Chest, the linestrung and cross-banded top above a case with a bank of three drawers flanked by canted and fluted columns on tapering legs, h. 34‑3/4”, w. 48”, d. 22”. [1500/2500] Illustrated 126 Pair of Giltwood Mirrors of French Inspiration, each with a molded frame decorated with grapes and supporting a pierced crest decorated with a basket of flowers, h. 32”, w. 31”. [600/900] Illustrated 127 French Embroidery of a Courtly Scene, fourth quarter 19th century, needlepoint and petit point in wool threads, with a central motif of three figures in 18th-century dress in a lush park setting, overall floral and banner border, now edged in linen and with metal hoops for hanging, 51‑1/2” x 54”. [600/900] Illustrated

127

124

126 one of a pair

125

130

128

128 Louis XV Polychrome and Parcel-Gilt Trumeau, 18th century, the molded frame with a green background surrounding a canvas of “Rebecca and Eliezer at the Well”, the back wall with the Hebraic inscription “For Jacob Son of Isaac”, the painting signed “R. Lanten In et Fec 1773”, over a trisected mirror within foliate scroll frames, h. 79‑1/2”, w. 52”. [1500/2500] Illustrated 129 Directoire Giltwood Pier Mirror, ca. 1800, of small size, with a leaf-carved surround and corner blocks, the pierced crest with carved instruments and sprays of leaves, set with an antique mirror plate, h. 50”, w. 17”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [400/700] Illustrated 130 Pair of Louis XV-Style Gilt-Metal Figural Lamps, fourth quarter 20th century, cast as seated Bacchic infants, on shaped bases with laurel swags centering roundels of maidens, with fabric shades, overall, h. 22”, w. 8”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

129

132

131 French Gilt-Bronze Mantel Clock of Louis XIV Inspiration, fourth quarter 19th century, the crest with a finial urn flanked by female terms over a domed top, the case with basrelief scrolls on paw feet, the dial framed with cartouches, the sides with lion head supports, h. 17‑3/4”, w. 11‑1/4”, d. 8‑1/4”. [300/500] Illustrated

134

132 Louis XV-Style Gilt-Brass Six-Light Chandelier, early 20th century, in the rococo taste, electrified, h. 20”, dia. 27”. [300/500] Illustrated

131

133 Louis XVI-Style Polychrome Bed, early 20th century, the tall headboard of paneled construction and surmounted by a gilt portrait medallion crest, the back centered by an oval floral panel, joined by rails to the like-decorated lower footboard, the whole raised on tapering circular feet, h. 55”, inside, w. 31”, l. 78”, outside, w. 36”, l. 81”. [300/500] Illustrated 134 Continental School (19th Century), “Portrait of a Lady in a Green Silk Gown”, oil on canvas, unsigned, 46” x 35”. In a giltwood frame. [2000/4000] Illustrated

133

135 Two Nineteenth-Century French Portrait Miniatures, after Jean-Baptiste Greuze’s (1725‑1805) “La Petite Laitiere”, 5‑3/4” x 4‑1/8”, and “Jeune Fille et Ses Colombes”, 5” x 3‑3/4”, each indistinctly signed and framed in neoclassical-style frames. [300/500]

137

136

138 136 Louis XVI-Style Painted Trumeau Mirror, second quarter 20th century, the upper tablet set with an oil-oncanvas depiction of a courting couple in 18th-century costume, h. 70‑3/4”, w. 41”. [600/900] Illustrated 137 Pair of French Gilt-Bronze and Porcelain FiveLight Candelabra, fourth quarter 19th century, of baroque inspiration, the landscape panels with a pink ground, the porcelain standards decorated with figures in landscapes, h. 18”, w. 9‑1/2”, d. 10”. [1500/2500] Illustrated

138 Bronze-Mounted Hand-Painted Porcelain Urn in the Sevres Style, fourth quarter 19th century, the bronzemounted base with gilt rocaille work and festoons of hand-painted flowers, the ovoid vase set with bronze handles on holders with leaf molding and swags of laurel leaves, the obverse panel signed “E. LeRoy” and decorated with a couple in 18th-century costume in an Arcadian landscape, the reverse depicting a lady in a landscape, the bottom marked with a Sevres-type “S.87” mark, “1887” in overglaze green, a Louis-Philippe mark and a Chateau mark, all spurious, h. 30”, w. 14”. [1800/2500] Illustrated

141

142 140 139 Pair of Continental Porcelain Figures of Courting Couples, fourth quarter 19th century, in 18th-century costume, marked on the bottom with a gilt anchor in the Chelsea style, h. 8‑1/4”, w. 5”. [300/500] 140 Capodimonte-Style Polychrome Porcelain Figure of a Courting Couple, 20th century, Italian, the couple in 18th-century costume, made by Villari and marked with Villari’s transfer-printed mark on the base, and a spurious Capodimonte mark, h. 11”, w. 12”, d. 6‑3/4”. [400/700] Illustrated 141 Manner of Francois Boucher (French, 1703‑1770), “Lovers”, a pair of graphite and watercolors on paper, monogrammed lower right “F.B.”, each sight 9” x 7”. Both glazed, matted and attractively framed alike. [1000/1500] Illustrated 142 Jean-Sebastien Rouillard (French, 1789‑1852), “Portrait of a Court Lady in 18th-Century Costume”, oil on canvas laid on board, signed lower right “S. Rouillard”, 39” x 32”. Presented in a handsome, antique giltwood and gesso frame. Provenance: St. Charles Antiques, New Orleans, Louisiana; Private collection. [600/900] Illustrated 143 Louis XVI-Style Polychromed and Parcel-Gilt Trumeau Mirror, 20th century, the upper panel with applied musical motifs and a mirror below, featured in a cream-painted ground, h. 63‑1/2”, w. 28”. [400/700] Illustrated

143

144 Custom Louis XVI-Style Parcel-Gilt Padded Bedstead, the guilloche-carved frame decorated with fluted posts and a basket-of-fruit headboard, upholstered with Stark silk brocade depicting garlands of pink roses on an ivory ground, h. 62”, outside, w. 83”, l. 93‑1/2”. [700/1000] Illustrated 146 one of a pair

145 Pair of Louis XV-Style Paint-Decorated Bergeres, first quarter 20th century, with thumb-molded carving and accented with gilt flowers, h. 34”. [700/1000] Illustrated 146 Pair of Louis XVI-Style Cream-Painted and Parcel-Gilt Trumeau Mirrors, mid-20th century, each with applied foliate and urn decor above a large mirror below, h. 54”, w. 38”. [700/1000] Illustrated

144

145

148

151

152

147 Louis XVI-Style Parcel-Gilt and Polychromed Chest, the faux marble top with projecting ormolu corners, above a conforming case with a bank of three drawers adorned with ribbons and swags, the side panels mounted with lyres, h. 39‑1/2”, w. 48‑3/4”, d. 22‑1/2”. [1200/1800] Illustrated 148 Near Pair of Florentine Neoclassical-Style ParcelGilt and Ivory-Painted Pedestals/Stands, each with a square top on a fluted column with a foliate-carved capital, h. 37‑3/4”, w. 10”, d. 10”. [400/700] Illustrated 149 Contemporary Lacquered Brass and Prism-Hung SixLight Chandelier, the stem of cage form and supporting S-form arms with cast candle cups and electric “candles”, adorned with faceted and cut colorless and amethyst glass pendants, h. 26‑1/2”, dia. 26”. [300/500] 150 Pair of Empire-Style Polychromed and Parcel-Gilt Fauteuils, of klismos form, each with a shaped back with floral roundels at the corners, a concave seat rail and sabre-form legs, h. 37”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

150

151 Louis XVI-Style Polychromed and Marble-Top Occasional Table, the circular verde marble top above a conforming carved apron and raised on tapering paneled legs, h. 28‑3/4”, dia. 20”. [450/700] Illustrated 152 Louis XVI-Style Polychromed Occasional Table, the rectilinear top with a molded edge, over a frieze drawer and raised on fluted trumpet legs joined by a shaped stretcher, h. 29‑1/2”, w. 27‑1/2”, d. 19‑1/2”. [400/700] Illustrated

147

153 Louis XV-Style Polychrome Fauteuil, late 18th century, the padded and rounded back surmounted by a floral crest, joined by padded molded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 38”. [500/800] 154 Italian Giltwood Mirror in the Rococo Taste, fourth quarter 18th century, the cove-molded and gadrooned surround decorated with sprigs of flowers, with flowers and scrollwork forming the crest, h. 41‑1/2”, w. 23”. [400/700] Illustrated 155 French School (Late 18th Century), “Portrait of a Lady”, oil on copper, unsigned, sight 2‑1/2” x 1‑3/4”. Glazed, matted and framed. [400/700] 156 Louis XV-Style Faux Marble and Polychromed Side Table, the serpentine top in faux marble decor, over a molded scalloped apron and raised on cabriole legs, h. 29‑1/4”, w. 31‑1/2”, d. 19‑3/4”. [400/700] Illustrated 157 Pair of Unusual Molded Composition Columns, with flower-molded bases, reeded standards and leaf-molded capitals with bead trim, h. 87‑1/2”, w. 14”, d. 14”. [500/800] Illustrated

157

154

158 Continental School (First Quarter 20th Century), “Landscape with Figures by a Forest”, oil on canvas, illegibly signed lower right, 25” x 30”. Framed. [700/1000] Illustrated

158

156

162

160

163

159 Pair of Louis XV-Style Argente Hardwood Fauteuils, early 20th century, each with a molded and foliate-carved crest rail, shaped open arms, serpentine seat and cabriole legs, h. 37‑1/2”. [1000/1500] Illustrated 160 Louis XV-Style Parcel-Gilt Trumeau Mirror, the gray-painted surround with raised gilt flowers flanking the mirror plate and a pair of putti holding aloft a rococo scroll cartouche on the upper tablet, h. 92”, w. 45”. [1500/2500] Illustrated 161 Louis XV-Style Polychrome Fauteuil, early 20th century, the shaped and padded back surmounted by a foliate crest, joined by padded scrolled arms to the padded seat, raised on molded cabriole legs ending in scrolled toes on casters, h. 40”. [300/500]

164

162 Louis-Philippe Silver-Gilt Mirror, second quarter 19th century, with a beaded inner liner, the ogeemolded frame decorated with incised flowers and trailing leaves, h. 46‑1/2”, w. 28‑1/2”. [400/700] Illustrated 163 Diminutive Crystal and Cream-Painted EightLight Chandelier, mid-20th century, of Maria Theresa inspiration, dressed with crystal chains and various shaped pendalogues, electrified, h. 21”, dia. 22”. [400/700] Illustrated

159

164 Louis XV-Style Gilt and Painted Marble-Top Table, early 20th century, the figured rouge and gray marble top with projecting corners and molded edges, above a shaped frieze with a single drawer with shell carving, raised on foliate-carved cabriole legs, h. 30‑1/2”, w. 35”, d. 24‑3/4”. [1200/1800] Illustrated

165 Meissen-Style Porcelain Figure of Maia, Mother of Hermes, 19th century, probably Samson, Paris, modeled wearing a crown, the baby Hermes at her feet, holding a caduceus, h. 7‑1/4”, dia. 2‑1/2”. [300/500]

166

166 Meissen-Style Porcelain Oval Mirror and Bracket, 20th century, German, both pieces decorated with polychrome putti and encrusted flowers, mirror, h. 28”, w. 21”, bracket, h. 11‑3/4”, w. 18”, d. 7”. [700/1000] Illustrated

167 167 Pair of Dresden Porcelain Figural Three-Light Candelabra, first half 20th century, with courting couples seated beneath trees issuing flower-laden branches with foliate candle cups, h. 15”, w. 11”. [600/900] Illustrated

170

168 Pair of Continental Blanc de Chine Soft Paste Porcelain Figures, 18th century, on pierced rococo bases, each depicting a couple, one with flowers representing spring and the other with grapes representing autumn, h. 10‑3/4”, w. 9”, d. 5‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] 169 Pair of Meissen Dot Period Blanc de Chine Figures of Flower Sellers, 18th century, on pierced bases, modeled as, respectively, a girl and boy, the girl with carefully sculpted flowers in her apron, each with woven flower baskets with removable flower-encrusted covers, h. 8‑3/4”, w. 6‑1/4”, d. 3‑1/2”. [300/500] 170 Henri Lechoux (Belgian, b. 1868), “Putti in the Clouds”, oil on canvas, signed and dated lower right “H. Lechoux Aout 1873”, 44‑1/2” x 57‑1/8”. Presented in a decorative frame. [2000/4000] Illustrated

171

171 Jules Lessore (French/British, 1849‑1892), “Cathedrale Saint-Maurice de Vienne, France”, watercolor on paper, signed lower right, sight 26‑3/8” x 20‑1/2”. Glazed and framed. [900/1200] Illustrated

176

173

174

173 Napoleon III Onyx and Gilt-Metal Figural Mantel Clock, third quarter 19th century, the onyx base decorated with enameled brass details, the figure of a young male adjacent to the clock, marked by Parisian retailer Godeau, h. 14”, w. 12‑1/4”, d. 5‑1/4”. [400/700] Illustrated 174 Pair of Unusual French Gilt-Bronze and Porcelain Garniture Vases, fourth quarter 19th century, now mounted as lamps, the rectangular architectonic bases mounted with porcelain panels decorated with Norman castles, the ivory bodies decorated with polychrome portraits of a man and woman in 17th-century costume, framed by raised gilt bamboo, with bronze handles and pagoda-form caps, finished in dore, patine and silver gilt, on contemporary giltwood bases, vase, h. 15‑3/4”, overall, h. 29‑1/2”, w. 6”, d. 5”. [500/800] Illustrated 175 Eight-Piece Collection of Tiffany Bronze Objects, first quarter 20th century, New York, most in a gold dore finish, including an “abalone” pattern compote (attributed), h. 4‑3/4”, dia. 9”, five trays, including two with unidentified molded edges and one with initials, each marked, dia. 9” to 14‑1/2”, and two dishes, dia. 9”. [1000/1500] 176 French Carved Mahogany Mirror of Baroque Inspiration, fourth quarter 19th century, carefully carved with a laurel leaf outer edge, square corner blocks with square medallions, and bas-relief scrollwork on the inset panels, a scrollwork crest supporting three-dimensional carved flowers, trimmed with gilt edges, h. 62”, w. 39”. [500/800] Illustrated

178 172 Pair of French Gilt-Bronze Three-Light Sconces of Baroque Inspiration, ca.1900, the leaf-molded backplates terminating in swags and supporting leaf-molded candle arms, h. 11”, w. 11”, d. 9”. [500/800]

177 French Walnut Wall Clock and Barometer, fourth quarter 19th century, in the Renaissance Revival taste, decorated with spindles and carved corner blocks, the clock with an enameled chapter ring, the barometer signed by “Au Chalet”, h. 34”, w. 17‑1/4”. [400/700] 178 Napoleon III Rosewood Bonnet-Top Armoire, third quarter 19th century, in the rococo taste, with an asymmetrical foliatecarved crest over a pair of doors with mirrored panels, opening to reveal a bird’s-eye maple interior with a medial belt of drawers, scalloped apron and cabriole legs, with herringbone parquetry veneers throughout, h. 99‑1/2”, w. 56”, d. 20‑1/2”. [400/700] Illustrated

179

181

182

179 Swiss Single-Cylinder Music Box, fourth quarter 19th century, the music box retaining its original air card listing eight tunes, in an inlaid rosewood crossbanded case, the cover decorated with a bouquet of flowers on a black ground, h. 6‑1/4”, w. 23‑1/2”, d. 9‑1/2”. [500/800] Illustrated 180 Napoleon III Mahogany Sidechair, third quarter 19th century, in the Louis XVI taste, the padded oval back surmounted by a giltwood ribbon crest, the padded seat above a paneled and annulated frame, raised on paneled tapering square legs ending in peg feet, h. 41”. [300/500] Illustrated 181 French Beaux Arts Bronze and Marble Lamp, second quarter 20th century, on an Egyptian marble base, the standard molded as three patinated and gilt male monopodia, their backs to the center, supporting the oval harp with applied scrolls, a tag just under the finial reading “Sher & Col, 246, P.O.” and the bottom marked “Made in France”, h. 10”, dia. 7”. [1800/2500] Illustrated

183

182 Napoleon III Gilt-Bronze-Mounted Figured Mahogany Jardiniere, third quarter 19th century, of serpentine form, on scroll feet, with side mounts and a pierced gallery, the interior retaining the conforming tole liner, h. 6”, w. 14”, d. 9”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [500/800] Illustrated 183 Two Decanter Cases with Decanters, second quarter 19th century, including a zebrawood example with a brass-trimmed case, set with four cut glass decanters with ground pontils, h. 9‑1/2”, w. 8”, d. 8”, and a larger example composed of brass-inlaid rosewood, the cover and front lifting to reveal a removable tray set with four period blown and molded glass decanters and ten matching glasses marked “Baccarat”, with space for six more, h. 10‑1/2”, w. 13”, d. 10”. [600/900] Illustrated 180

185

186

184 French Gilt-Bronze Eight-Light Chandelier, early 20th century, of Art Nouveau inspiration, the bowl designed as a web with faceted crystal beads, the arms fitted with etched glass shades, h. 40”, including chain, dia. 28”. [1200/1500] 185 French Red Griotte Marble and Gilt-Metal Figural Mantel Clock, fourth quarter 19th century, the figure depicting “Science des Arts”, after Auguste Moreau (French, 1860‑1910), h. 26”, w. 13‑1/4”, d. 6‑1/2”. [500/800] Illustrated

189

188

186 Pair of French Fin de Siecle Patinated Metal and Marble Mantel Garnitures, fourth quarter 19th century, the red griotte marble bases on brass feet and supporting vasiform garnitures molded with flowers and leaves, h. 17”, w. 5‑1/4”, d. 5‑1/4”. [450/700] Illustrated 187 Belle Epoque-Style Bronze Double TrumpetForm Vase, on dolphin-form feet, a winged sprite sitting astride the scroll-decorated vases, h. 15‑1/4”, w. 28‑1/4”, d. 6‑1/2”. [400/700] 188 French Bronze Bacchanalian Figural Group, first half 20th century, after Jean-Jacques Pradier, cast signature and “Vavasseur Editeur” inscribed on self-base, mounted on a marble plinth, overall, h. 15”, w. 37”, d. 10”. [400/700] Illustrated 189 Art Nouveau Patinated Bronze of a Nude, ca. 1900, illegibly inscribed and numbered at bottom of feet, on a columnar marble plinth, overall, h. 16‑3/4”, w. 6”, d. 3‑1/2”. [700/1000] Illustrated 191

190 Beaux-Arts Gilt-Bronze Eight-Light Chandelier, early 20th century, of cage form, the bowl cast as rope and foliate swags hanging from curved arms and terminating in a pineapple ball finial, electrified and now fitted with frosted glass floriform shades after the period fashion, h. 38”, dia. 30”. [700/1000] 191 Louis XV-Style Kingwood Armoire, late 19th century, the heavily molded and domed cornice centered by a large pierced foliate crest, above a case fitted with two long doors, each inset with a beveled mirror panel, and above a shaped floral-carved apron, raised on foliate scrolled toes, h. 107”, w. 63”, d. 24”. [1000/1500] Illustrated 192 Sevres-Style Biscuit Porcelain Figural Group, ca. 1900, French, modeled as nymphs cavorting with the infant god Dionysus, and holding him up to reach a bunch of grapes, the base trimmed with pierced bronze leaf molding, the bottom impressed with a spurious double “L” mark, h. 13‑3/4”, w. 15”, d. 5‑3/4”. [400/700] Illustrated 193 Napoleon III Ebonized and Burl Parlor Cabinet/Desk, third quarter 19th century, the central section with a three-quarter pierced brass gallery above an open mirrored compartment, flanked to either side by a lower cupboard, centered by a Sevres-style portrait plaque, the lower section banded and having a drawer fitted with a desk above, with a frieze of inset ormolu guilloche mounts centered by floral porcelain medallions joined by a mirrored back and shaped shelf on fluted and block supports to a plinth shelf on toupie feet, the whole with decorative inlaid banding and ormolu mounts and millwork, h. 59‑1/2”, w. 53‑1/2”, d. 21‑1/2”. [1500/2500] Illustrated

194

192

194 French Patinated Bronze of “Casse-Cou”, ca. 1900, after Etienne-Henri Dumaige (French, 1830‑1888), cast signature along side of self-base, h. 18‑3/4”, w. 8‑1/2”, d. 7‑1/2”. [400/700] Illustrated

193

196

201

199

200

195

197 195 Erwin Hubert (Austrian, 1883‑1963), “Alexandria”, watercolor on paper, signed and titled lower right, sight 11‑3/8” x 8‑3/8”. Glazed and framed. Provenance: Private collection, Mobile, Alabama. [800/1200] Illustrated 196 Pair of Chinese Famille Rose Porcelain Lamps, 20th century, the pink-ground lamps each composed of a base with pierced decoration and a separate ovoid top section with reticulated panels, the undersides unmarked, each on a carved wooden base, base, h. 15‑1/2”, overall, h. 18”, dia. 9‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 197 Pair of Large Chinese Porcelain Vases, 20th century, each vessel with a cylindrical neck and splayed lip over a globular body, covered with a hundred cranes and prunus blossoms against a lime-green ground, an apocryphal Qianlong mark on the underside in underglaze blue, h. 21”, dia. 13”. [500/800] Illustrated

198 Chinese Pottery Vase, 20th century, of sack form, with two handles, the front decorated with a red panel and auspicious character “Fu”, h. 12‑7/8”, w. 12‑1/2”. [300/500] 199 Massive Chinese Famille Noire Jardiniere/Fish Bowl, 20th century, the exterior decorated with bird and flower reserves, the interior with gold fish and aquatic plants, h. 21”, dia. 24‑1/2”. [500/800] Illustrated 200 Chinese Porcelain Vase, 20th century, depicting the Seven Sages of the Bamboo Grove, an apocryphal Kangxi reign mark on the underside, h. 15‑1/2”, dia. 7‑1/2”. [500/800] Illustrated 201 Chinese Turquoise-Ground Porcelain Hat Stand, 20th century, the cylindrical vessel decorated with cranes and lotuses in relief, h. 11‑1/8”, dia. 4‑3/4”. [400/700] Illustrated

202 Chinese Porcelain Vase, late Qing Dynasty (1644‑1911)/early Republic period (1912‑1949), late 19th/early 20th century, the square-sided vase decorated with birds, flowers and rocks against a yellow ground, with foo dog lugs on each side of the neck, the interior and underside with a turquoise glaze, h. 15”, w. 7‑1/2”. [400/700] Illustrated

204

202

203 Two Chinese Purple-Glazed Porcelain Figures, first quarter 20th century, one depicting a foo dog, h. 8”, and the other a qilin, h. 16‑1/2”. Provenance: Yue Po Chai Antique Company, Hong Kong, China, 1985. [400/700] Illustrated 204 Chinese Flambe-Glazed Garlic-Head Vase, Qing Dynasty (1644‑1911), 19th century, the vase with a dark red glaze with slight variegation, a white glaze at the mouth and underside, h. 11‑1/2”, dia. 6”. [400/700] Illustrated 205 Chinese Porcelain Vase, probably Republic period (1912‑1949), decorated with peacocks, peonies and poetry, with peach bough-form handles, h. 22‑3/4”, dia. 11”. [400/700] Illustrated 206 Chinese Porcelain Vase, first half 20th century, the rectangular-bodied vase decorated with calligraphy on two sides, five foo dogs on one side and lotuses on the other, a foo dog lug on either side, h. 22”, w. 7‑1/4”. [500/800] Illustrated

203

207 Pair of Chinese Porcelain Bowls, possibly Republic period (1912‑1949), the two conical bowls each decorated with a nine peaches motif on the exterior and three peaches on the interior, inscribed and marked with a seal, the underside bearing an apocryphal Yongzheng (1723‑1735) mark in underglaze blue, h. 1‑3/4”, dia. 4”. [600/900] 205

206

208 Four Chinese Export Porcelain Ginger Jars, 19th/20th century, now mounted as lamps, on wooden bases, one famille noir jar with a decoration of fish, cranes, insects and aquatic plants, two famille rose jars depicting an arrangement of flowers, and one famille rose jar with a scene of women and children in a garden, jar, h. 10” to 11‑1/2”, dia. 7‑1/2” to 9‑1/4”, overall, h. 14‑3/4” to 28”. [400/700] Illustrated 209 Chinese Famille Rose Porcelain Vase, 20th century, mounted as a lamp, decorated with figures in a garden against a white ground, on a wooden base, vase, h. 10‑1/2”, overall, h. 24‑1/2”, dia. 5”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700]

208

212 Chinese Porcelain Oblong Dish, 18th/19th century, with floral decoration across the exterior in a famille rose palette, on a white ground, the interior bearing a depiction of a goldfish set among aquatic plants, the underside with a mark of Jiaquing (1796‑1820), h. 2‑3/4”, w. 5‑1/8”, d. 8”. [500/800] Illustrated

211

213 Chinese Pottery Roof Tile, possibly Ming Dynasty (1368‑1644) or Qing Dynasty (1644‑1911), depicting an immortal on the back of a foo dog, the tile mounted on an ebonized wood plaque, overall, h. 16‑1/2”, w. 13‑1/4”. [400/700] Illustrated 214 Chinese Yuan Jun Yao Vase, Yuan Dynasty (1271‑1368), the tapered grayish-blue vessel with a splash of magenta along the lower edge, h. 4‑1/2”, dia. 3‑1/4”. [600/900] Illustrated

212

215 Chinese Song Ding Yao Bowl Stand, Song Dynasty (960‑1279), the ivory-white glazed vessel with scalloped edges, the interior with incised lotus decoration, h. 2”, dia. 5‑1/2”. [600/900] Illustrated 216 Chinese Song Longquan Jar, Song Dynasty (960‑1279), the lidded jar with carved lotus petal decoration on the body and the lid, h. 3‑1/2”, dia. 4‑1/4”. [500/800] Illustrated 216

214

215 210 Five Pieces of Chinese Porcelain, 20th century and earlier, including two famille verte vases, a blue and white dish, a famille verte bowl and a famille rose plate, h. 1‑3/4” to 9‑1/2”, w. 4” to 10”. [500/800] 211 Pair of Chinese Porcelain Oblong Bowls, 18th/19th century, one bowl decorated with bamboo, lingzhi mushrooms and scholar’s rocks, and the other with lotus flowers and peonies, h. 2‑3/4”, w. 5‑1/2”, l. 8”. [500/800] Illustrated 213

219

217

218

217 Chinese Painted Pottery Figure of an Immortal, Tang Dynasty (618‑907), the standing figure with serene countenance, folded hands holding a plaque, and dressed in flowing robes decorated with swirling ruyi clouds, with an ornate headdress, traces of green, black and red pigment, with a wooden stand, figure, h. 19”, w. 9‑1/2”, d. 6‑3/4”. [1500/2500] Illustrated 218 George III-Style Line-Strung Mahogany Serpentine Sideboard, late 20th century, in the Hepplewhite taste, with bowfront center drawers flanked by concave drawers, each with inlaid stringing, raised on tapering legs in like decor, h. 39‑1/4”, w. 56”, d. 23”. [400/700] Illustrated 219 George II-Style Giltwood Looking Glass, the shaped beveled mirror plate in a frame with a gadrooned perimeter around the plate and a carved crest centered by Prince of Wales plumes, h. 49”, w. 26”. [300/500] Illustrated

220

220 Pair of George III-Style Mahogany Occasional Tables, in the Chinese Chippendale taste, each with a dished top with canted corners, the legs joined by X-form stretchers, h. 26‑1/4”, w. 20”, d. 16”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

222

225 221

221 Pair of George III-Style Parcel-Gilt and Polychromed Wheel-Back Sidechairs, in the Adamesque taste, each adorned with foliate-carved roundels, bowed front seat rail and tapering paneled legs with spade feet, h. 37‑1/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

226

222 Chinese Export Punch Bowl in the Famille Rose Palette, fourth quarter 18th century, the interior with a lancet border, the exterior with panels of Mandarin decoration alternating with panels of flowers, all framed with gilt scrollwork, on a hardwood stand, bowl, h. 4‑1/2”, dia. 10”. [500/800] Illustrated 223 Pair of Chinese Export Porcelain Baluster Vases, ca. 1900, now mounted as lamps, decorated with sepia trees, pink peonies and orange pierced handles, base, h. 19‑1/2”, overall, h. 34‑1/2”, dia. 8”. [300/500] 224 Regency Mahogany Bowfront Chest, first quarter 19th century, the bowed and banded top above a conforming case fitted with two short drawers over two graduated long drawers, over a shaped apron, raised on splayed bracket feet, h. 34”, w. 36”, d. 18‑1/2”. [500/800] Illustrated 225 British School (19th Century), “The Retriever”, oil on canvas, unsigned, 17” x 21”. Framed. [600/900] Illustrated

224

226 Richard Beavis (British, 1824‑1896), “Rams and Ewe”, 1864, watercolor and gouache on paper, signed and dated lower right, sight 6‑5/8” x 9‑3/4”. Glazed, matted and framed. [400/700] Illustrated

229

230

231

227 George III-Style Mahogany Pedestal Desk, late 19th century, the rectangular top with a molded edge and an inset leather writing surface, above a frieze fitted with a single long drawer, faced as three, raised on two pedestals, each fitted with three graduated drawers, raised on plinth bases on casters, h. 31”, w. 51”, d. 30”. [500/800] 228 George II-Style Walnut Dining Table, late 19th century, the rounded top with a molded edge, bisected and opening by crank action to accommodate two leaves, above a paneled frieze, raised on cabriole legs headed by shell carving and ending in padded feet, h. 29‑1/2”, w. 50”, l. 60”, extended l. 96”. [700/1000] 229 Collection of Five English Wooden Boxes, 18th/19th century, including a Hepplewhite mahogany chest with the original brass pull, a period Hepplewhite satinwood tea caddy inlaid with paterae, a rosewood dome-top box inlaid with mother-of-pearl, and a late Victorian inlaid box, h. 4‑1/4” to 7”, w. 4” to 10”, d. 4‑1/2” to 6”. [600/900] Illustrated

230 Two William IV Casket-Form Tea Caddies, second quarter 19th century, comprising a large mahogany example with wooden ring handles, the three-section interior set with a pair of hinged lidded compartments flanking a 19th-century pillar-molded blown glass mixing bowl, h. 8‑3/4”, w. 14”, d. 6‑3/4”, and a rosewood example inlaid with mother-of-pearl flowering vines, the interior with two compartments with inlaid covers flanking a mixing bowl compartment, h. 7‑1/4”, w. 12”, d. 6”. [200/400] Illustrated 231 Good Collection of Fourteen American Sterling Silver, Glass and Other Hip Flasks, fourth quarter 19th to second quarter 20th centuries, including examples by Tiffany, Gorham, Napier Co., Unger Brothers and others, most with detachable cups, the largest, h. 8‑1/4”, w. 5”, the smallest, h. 4”, w. 2‑1/4”, 28.65 total t. oz. (weighable silver). Detailed list of pieces available on request. [1000/1500] Illustrated

234

233

232 Handsome English Tole-Peinte Tea Canister, fourth quarter 19th century, with a black ground, the oval front panel with carefully rendered Chinese figures framed with gilt scrollwork, the canted door inscribed “Oolong”, for the tea variety held within, h. 16‑1/2”, w. 12‑1/4”, d. 15‑1/2”. [300/500] 233 Unusual English Tortoiseshell and Eglomise Tea Caddy, second quarter 19th century, with serpentine tortoiseshell sides, the top set with an eglomise tablet depicting a man leading his horse through an autumnal landscape, h. 6”, w. 7‑1/4”, d. 6”. [500/800] Illustrated 234 English Burr Walnut Fitted Bottle Case, mid-19th century, decorated with gilt-brass Elizabethan Revival strapwork, the aubergine velvet-lined interior with fittings for glasses, some included, and three cut and engraved liqueur bottles, two with matching tumblers, h. 11‑1/2”, w. 13‑1/4”, d. 9”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] Illustrated

236

235

235 English Zebrawood Perfume Case, third quarter 19th century, mounted with a Jasperware plaque depicting “The Cupid Seller”, the case mounted with Jacobean-style brass strapwork, the velvet-lined compartmentalized interior with four cut crystal bottles, with brass caps and interior glass stoppers, which are likely original, h. 4‑3/4”, w. 5‑3/4”, d. 5‑3/4”. [400/700] Illustrated 236 Adam-Style Giltwood Mirror Two-Light Sconce, second quarter 20th century, English, the lower section holding the candle arms and fitted with a pair of dolphins supporting the gadrooned oval mirror, decorated with an urn finial and festoons of bellflower drops, h. 39‑1/4”, w. 18”, d. 3‑1/4”. [800/1200] Illustrated 237 British School (First or Second Quarter 19th Century), “Portrait of a Gentleman”, oil on artist’s board, unsigned, 8‑7/8” x 7‑3/4”. Framed. [600/900] Illustrated

237

238 British School (19th Century), “Portrait of a Gentleman in a White Cravat”, oil on canvas, unsigned, 25” x 20”. Framed. [400/700] Illustrated 239 American School (Fourth Quarter 19th Century), “Portrait of a Man”, oil on board, possibly signed “Buritk” lower right, 21‑3/8” x 17‑1/2”. Framed. [300/500] 240 British School (First Quarter 19th Century), “A Portrait of Mrs. Goldsmid”, oil on canvas, unsigned, titled and “Mrs. Goldsmid Wife of Mr. A. Goldsmid of Merton Grove Surrey” on canvas en verso, 30” x 25”. Framed. [200/400] 241 Regency-Style Brass-Inlaid and -Strung Rosewood and Faux Rosewood Chiffonier, ca. 1900, in two parts, the upper section with a pair of graduated stepped shelves on brass columns, the base with a concave brass-inlaid door over a pair of conforming doors fitted with brass grillwork and pleated silk panels, h. 62”, w. 44‑1/2”, d. 18‑1/4”. [500/800] Illustrated

238

242 George III Mahogany Bookcase, early 19th century, the molded and dentillated cornice above two astragalglazed doors, now with pleated fabric lining, the lower section fitted with two paneled cupboard doors, the whole raised on a plinth base, h. 93”, w. 39‑1/2”, d. 11”. [1000/1500] Illustrated

241

242

248

246 247

244

243 Contemporary Mahogany Cocktail Table in the Chippendale Taste, the rectangular top with a full pierced gallery, above a plain frieze, raised on fretpierced legs ending in pad feet, h. 20‑1/2”, w. 42‑3/4”, d. 22‑1/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] 244 George III-Style Camelback Sofa, late 19th century, the domed and padded back joined by outscrolled arms to the cushioned seat, raised on chamfered square legs joined by H-form stretchers, upholstered in celadon ultrasuede, h. 34”, w. 84”, d. 31”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [500/800] Illustrated 245 Chinese Export Rose Medallion Vase, third quarter 19th century, with molded sides and a pair of gilt dragons applied to the neck, displayed on a contemporary wooden base, vase, h. 12‑1/2”, dia. 4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700]

246 Chinese Export Rose Medallion Porcelain Punch Bowl, third quarter 19th century, the gilt-ground border with butterflies, gourds and panels of peonies, the larger panels with like decoration and phoenix birds, h. 6‑1/2”, dia. 16”. [600/900] Illustrated 247 Pair of Chinese Export Mandarin Pattern Porcelain Vases, fourth quarter 19th century, now mounted as lamps, trimmed in turquoise and depicting an outdoor banquet scene with plum branches hung with paper lanterns, base, h. 15”, overall, h. 28‑1/2”, dia. 7‑1/2”. [400/700] Illustrated 248 Chinese Export Rose Medallion Porcelain Punch Bowl, third quarter 19th century, decorated with panels of Mandarin figures alternating with panels of peonies and ho ho birds on a gilt ground, h. 6‑1/2”, dia. 14”. [300/500] Illustrated

251

249

249 Edwardian Giltwood Mirror in the Adam Taste, first quarter 20th century, the circular plate with a gadrooned surround and a flower-form finial supporting festoons, h. 37‑1/2”, w. 23‑1/2”. [400/600] Illustrated 250 George III Mahogany Side Table, early 19th century, in the Adam taste, the banded rectangular top with a wavecarved edge, above a conforming fluted frieze fitted with a single drawer centered by a garland-carved panel, raised on fluted tapering square legs ending in spade feet, h. 36‑1/2”, w. 55”, d. 17‑1/4”. [600/900] Illustrated

250

251 Suite of Eight George III-Style Mahogany Dining Chairs, 18th century, in the Hepplewhite taste, consisting of two armchairs and six sidechairs, each with a shield-form back with a pierced splat above the padded seat, raised on tapering square legs joined by an H-form stretcher, h. 38”. [1500/2500] Illustrated 252 Pair of Regency-Style Marble, Bronze and Crystal Two-Light Candelabra, 20th century, on marble bases trimmed with gilt roping, the patinated bronze standard in the form of Mandarin figures, supporting pairs of leafmolded candle arms, each with a spray of drops under the molded candle cups, a cut crystal vertical spear forming the central finial, h. 14”, w. 11‑1/2”, d. 3‑1/2”. [300/500] 253 Regency Rosewood Credenza, early 19th century, the double-tiered superstructure with a mirrored back and three-quarter pierced brass gallery, the lower section with a recessed center section over a conforming case fitted with two cupboards, each with an inset brass grille, flanked to either side by a paneled door, raised on a molded plinth base, the whole accented with brass banding, h. 61‑1/4”, w. 72”, d. 15‑3/4”. [500/800] Illustrated

253

257 255 254 Late Regency-Style Fruitwood Sofa, mid-19th century, the shaped and padded back surmounted by a curving frame centered by a foliate-applied carving, above a padded and bolstered seat flanked to either end by padded outscrolled arms, raised above a molded frame on splayed legs ending in block feet, h. 37”, w. 85”, d. 27”. [400/700] 255 Suite of Six William IV Mahogany Dining Chairs, second quarter 19th century, each with a turned top rail over horizontal slats, shaped seat and turned legs, h. 31”. [500/800] Illustrated 256 Regency-Inspired Brass-Mounted Mahogany Metamorphic Table and Bar, the glazed bisected top hinged at the sides, the exterior raising as the top opens to provide a mixing table fitted with niches and retaining liqueur glasses, h. 32”, w. 23”, d. 19”, extended l. 46”. [500/800] Illustrated

258

257 Partial Service of Waterford “Templemore” Cut Crystal Stemware, ca. 1968, Irish, including four water goblets, h. 7”, four hock wine glasses, h. 7‑3/8”, four champagne flutes, h. 7”, four claret glasses, h. 6‑1/2”, three port glasses, h. 4‑1/2”, four 5‑ounce flat tumblers, h. 3‑1/2”, four 10‑ounce flat tumblers, h. 5”, and four juice glasses, h. 5”; together with a Waterford “Kylemore” decanter, h. 10‑3/4”. [300/500] Illustrated 258 Wedgwood Porcelain “Florentine” Dinnerware for Twelve, fourth quarter 20th century, including twelve bread and butter, salad and dinner plates, dia. 6” to 10‑3/4”, and twelve demitasse cups and saucers, cup h. 2‑1/8” (sixty total pieces). Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 256

259 Early Victorian Mahogany Bowfront Chest in the Regency Taste, third quarter 19th century, the banded and bowed top above a conforming case fitted with two short drawers over three graduated long drawers, raised on shaped bracket feet, h. 44‑1/4”, w. 47”, d. 22”. [500/800]

260 Regency-Style Mahogany Sofa Table, early 20th century, the banded rectangular top with two rounded drop leaves, above a frieze fitted with two drawers, raised on a carved lyre-form standard to a concave base on four splayed and ribbed legs ending in brass paws on casters, h. 28”, w. 34”, d. 27”, extended l. 60”. [300/500] Illustrated 261 Edwardian Mahogany Sideboard, 20th century, the slightly bowed top banded and centered by an inlaid patera, above a conforming case fitted with three central banded drawers flanked to either side by a cupboard door, flanked and divided by projecting bellflower-inlaid uprights, raised on tapering square legs ending in spade feet, h. 39”, w. 62”, d. 26‑1/2”. [400/700] Illustrated 262 Handsome George III Inlaid Mahogany Shaving Mirror, fourth quarter 18th century, the shield-form mirror above a serpentine-form base inlaid with a conch shell, the drawers inlaid with checkered boxes, raised on ogee bracket feet, h. 27‑1/4”, w. 20‑1/2”, d. 8‑3/4”. [500/800]

266

263

263 Edwardian Mahogany and Satinwood Tiered Occasional Table, early 20th century, the banded oval top within a full shaped gallery and centered by a shell inlay, joined by square supports to a like lower shelf, raised on splayed square legs, h. 29‑1/2”, w. 26‑1/2”, d. 18”. [400/700] Illustrated 264 Good Victorian Mahogany Stick Barometer, fourth quarter 19th century, with a thermometer in the middle of the case, under the barometer, labeled “J. H. Steward, 106 The Strand and 54 Cornhill, London”, h. 36‑3/4”, w. 4‑1/2”. [400/700] 265 English Carved Mahogany Novelty Pipe, late 19th century, the covered bowl with a tapered stem and set on a molded rectangular base fitted with a five-holder pipe rack, h. 7‑1/4”, w. 15‑1/2”, d. 6”. Provenance: Christie’s, New York, sale 3797, December 15, 2015, lot 51. [400/700]

261

266 English Mahogany-Cased Bracket Clock, fourth quarter 19th century, the dial signed “Wm. Chaps, London”, with silvered chapter rings and gilt spandrels trimming the dial, h. 23‑1/2”, w. 10‑3/4”, d. 6”. [400/700] Illustrated

260

267

269

267 After John Berney Ladbrooke (British, 1803‑1879), “Norwich Landscape with Figures”, oil on canvas, unsigned, 28” x 34”. Presented in a giltwood frame with “Nr. Norwich J.B Ladbrooke 1857” stenciled on the frame. [500/800] Illustrated 268 British School (Third Quarter 19th Century), “The Young Musician”, watercolor on paper, unsigned, sight 14‑3/4” x 18‑1/4”. Glazed, matted and framed. [700/1000] Illustrated 268

269 Attributed to Paul Falconer Poole (British, 1807‑1879), “Young Girl in a Bonnet”, oil on canvas, unsigned, dated “1832” lower right, 11‑1/4” x 9”. Presented in a giltwood frame with artist’s name stenciled lower center. [500/800] Illustrated 270 British School (19th Century), pair of watercolors on paper, including “The Haystacks”, unsigned, sight 6‑1/2” x 8‑5/8”, and “Figures by a Cottage Road”, faintly initialed lower right, sight 6‑3/4” x 9‑7/8”. Each matted, glazed and framed alike. [500/800] Illustrated

270

271 Arthur Glennie (British, 1803‑1890), “Venice”, watercolor on paper, signed, titled and illegibly dated lower left, sight 9” x 6‑5/8”. Glazed, matted and framed. [500/800] Illustrated 272 Cyril Hardy (British, 1889‑1951), “Algiers”, watercolor on paper, signed lower left, sight 7‑1/4” x 10‑5/8”. Glazed, matted and framed. [400/700] Illustrated 273 Anglo-Indian Rosewood Secretary Cabinet, mid-19th century, the molded cornice above a scrolling foliatecarved frieze over two cupboard doors, each inset with a shaped glazed panel, above a paneled fall front opening to a baize-lined writing surface and a variety of drawers and cubbyholes, with two paneled cupboard doors below, the whole flanked to either side by foliatecarved reeded pilasters and raised on stylized paw feet, h. 89‑1/2”, w. 60”, d. 25”. [800/1200] Illustrated

271

274 Victorian Mahogany Sling Chair, third quarter 19th century, the downswept back supported by open scrolled arms and raised on turned legs, h. 39”, w. 27”, d. 34”. [300/500]

272

273

275 Impressive William IV-Style Mahogany Banquet Table, 20th century, the figured mahogany top supported by turned and reeded legs, with two additional 18” leaves, h. 30‑1/2”, w. 50”, l. 81”, extended l. 117”. [1000/1500] Illustrated

279 278

276 Victorian-Style Carved Mahogany Library Steps, in the rococo taste, with three treads with gadrooned edges, the sides with foliate-carved scrolls, h. 59‑1/2”, w. 21‑1/2”, d. 27‑1/2”. [500/800] Illustrated 277 Pair of Continental Glass Lustres, second half 20th century, the scalloped bobeches hung with crystal prisms, over baluster-form standards on hexagonal bases, the hurricane shades etched with horsetails, h. 24‑1/4”, w. 7‑3/8”. [600/900] Illustrated 278 Set of Four E. F. Caldwell Silvered-Copper TwoLight Sconces, second quarter 20th century, New York, in the Baroque taste, the vertical backplates with scrolled edges terminating in shell-form crests, the scrolled candle arms holding “drip pans” with rope-twist edging set with candle cups and electrified candles, marked with an impressed lozenge with a “C” on the back, h. 18‑1/4”, w. 11”, d. 5”. [1500/1800] Illustrated

277

276

275

279 Wedgwood Porcelain Dinner Service for Twelve, fourth quarter 20th century, in the “Runnymede” pattern, including thirteen dinner plates, dia. 10‑3/4”, twenty-five salad/dessert plates, dia. 8‑1/4”, twelve bread and butter plates, dia. 8”, twelve tea cups, h. 2‑5/8”, with twelve saucers, dia. 5‑3/4”, twelve cream soup bowls with twelve stands, dia. 6‑1/4”, two sugar bowls, h. 3‑3/4” and 6”, a cream jug, h. 2‑1/2”, an oval vegetable platter, l. 11”, an oval platter, l. 15‑1/4”, a covered tureen and undertray, h. 10‑1/4”, and a round open bowl, dia. 10”. [400/700] Illustrated 280 Oak and Silverplate Double Serving Trolley, contemporary, Royal Castle, Sheffield, in the Napoleon III taste, the intricately carved oak base of rectangular form with rounded ends, above a conforming frieze raised on four toupie legs joined by curved stretchers to a vasiform finial, fitted with a pair of hemispherical silverplate revolving serving domes, each opening to a removable platter above a hot water reservoir and burner, with silverplate gallery, handles and detachable plate rings, the whole raised on casters, cart, h. 32” (overall 41”), l. 55”, w. 25‑1/2”. [3000/5000] Illustrated

281 Victorian Mahogany Center Table, third quarter 19th century, the circular top with rosewood banding and raised on a large bulbous standard to four splayed legs headed by stylized foliate carving and ending in carved paw feet on casters, h. 29‑1/2”, dia. 61”. [1000/1500] 282 Pair of Early Victorian Mahogany Games Tables, mid19th century, each with a banded and rounded rectangular top hinged and opening to a baize-lined surface, above a conforming frieze centered by an inlaid burl panel, raised on a ribbed and turned vasiform standard to four splayed legs ending in brass paws on casters, h. 29”, w. 36”, d. 18”, extended l. 36”. [1000/1500] Illustrated 283 Set of Twelve Royal Worcester Bone China Dinner Plates, second quarter 20th century, English, with printed designs clobbered with polychrome colors, marked on the back, dia. 10‑1/4”. [400/700] Illustrated

283

284 282

284 William IV Mahogany Sideboard, second quarter 19th century, the recessed central section with a paneled backpiece and fitted with three paneled and banded drawers, raised on two pedestals, each fitted with a banded drawer over a cupboard door, inset with an arched panel and opening to shelves and drawers, raised on bun feet, h. 46”, w. 88”, d. 28”. [400/700] Illustrated 285 Edwardian Line-Strung Mahogany Desk in the Regency Taste, early 20th century, with an inset leather top over a kneehole case, the drawers with inlaid banding, raised on line-strung tapering legs, h. 30‑1/2”, w. 47‑3/4”, d. 24”. [500/800]

280

287

289

288

286 Regency Mahogany Cellarette/Planter, first quarter 19th century, of rounded rectangular form with four concave sides, raised on turned circular legs ending in brass caps and casters, h. 19”, w. 24”, d. 16”, together with an Early Victorian Mahogany Canterbury, second quarter 19th century, fitted with four spindled compartments over a single drawer to one side and a faux drawer to the other, raised on turned legs to brass caps and casters, h. 20”, w. 23”, d. 14” (two total pieces). [300/500] 287 John Torrey Morse (1840‑1937), ed., American Statesmen, New York and Boston: Houghton-Mifflin, 1899, thirty-one volumes (of thirty-two), the “Standard Library” edition, duodecimo, in red half leather on marbled boards, the spines with gilt lettering, rule and decoration, the top edges cut and gilt, with marbled endpapers, the inside front board with bookplate of Marburg, engraved 1902 by William Fowler Hopson (1849‑1935), 7‑5/8” x 5‑1/4”. [900/1200] Illustrated

288 Frederick Marryat (1792‑1848), Novels, London: J. M. Dent and Boston: Little, Brown, 1896, complete in twenty-two volumes, edited by R. Brimley Johnson, duodecimo, in red half leather on marbled boards, the spines with gilt lettering, date and Tudor rose decoration, the top edges cut and gilt, with marbled endpapers, 7‑5/8” x 5‑1/4”. [1000/1500] Illustrated 289 Lewis Carroll (Charles Lutwidge Dodgson, 1832‑1898), two slipcased miniature books, Alice in Wonderland and Alice Through the Looking Glass, Paris: Edmund S. Wood, 1950, complete with the Tenniel illustrations, in green half leather on “fern”-mottled boards, the spines with raised bands and gilt lettering and dotted rule, the edges cut, the top edges gilt, with marbled endpapers, 3‑1/4” x 2‑1/4”, presented in a buff pasteboard slipcase. [Welsh 2507 & 2709] [350/500] Illustrated

292

290

290 William Logsdail (British, 1859‑1944), “Study of a Washwoman, Probably for the ‘St. Anne’s Almshouses, Antwerp’”, 1880, oil on wood panel, signed and dated lower left, 9‑1/4” x 5‑1/2”. Framed. [500/800] Illustrated William Logsdail, a prolific portrait, landscape and genre painter, is best known for his realistic rendering of everyday figurative “scenes” in markets, squares (piazzas) and church courtyards. Logsdail studied architecture at the Lincoln School of Art and Design, before attending the Academy Royale des Beaux-Arts in Antwerp, where he was exposed to naturalism - the art of painting real things in natural, as opposed to staged, settings. While in Belgium, Logsdail painted the peasantry, proletariat and indigent in sweeping cityscapes that later defined his famed Italian scenes. The painting offered here belongs to this tradition, and may represent a pivotal study in the formation of Logsdail’s mature works. The open neckline and smock-style chemise that the sitter wears is indicative of a working-class girl, and closely resembles the two central washwomen in his painting of the courtyard at “St. Anne’s Almshouses, Antwerp”. The hat is all the more telling as it is neither the fashionable poke bonnet nor the typical Dutch/Flemish “hovetcleet” - the white hood seen in Logsdail’s 1879‑1880 painting of washwomen in the “Fish Market”. The headdress anomalies in these works, painted scarely a year apart, strongly suggest that this study and the “St. Anne’s Almshouses” influenced his Italian scenes as they were painted around the time Logsdail moved to Venice in the fall of 1880. This reading is all the more plausible since these distinctive cloche-style (Flapper) hats reappear in the crowds of Logsdail’s most famous Venetian painting, “The Piazza of St. Mark,” which he began sketching upon his arrival in the city.

294

291 William IV Fruitwood and Oak Library Chair, mid-19th century, the padded back joined by like arms on lionmasque uprights to the padded seat, raised on turned toupie legs, h. 35”. [300/500] 292 Rare Derby Soft Paste Porcelain Bowl, third quarter 18th century, English, with applied flowers and leaves on a basketweave ground, the flowers enameled with polychrome colors, the interior decorated with sprigs of flowers, and the bottom with three patch marks, h. 4”, dia. 7‑3/4”. [700/1000] Illustrated 293 Victorian Ebonized and Papier-Mache Occasional Table, third quarter 19th century, the tilting star-form top with a raised molded edge and centered by a polychrome floral spray, above a baluster-form standard to three splayed shaped legs, h. 25‑1/2”, dia. 32”. [400/700] 294 Victorian Japanned and Ebonized Desk, late 19th century, the rectangular top with a molded gilt edge, above a conforming case fitted with a central drawer flanked to either side by a small deep drawer, all with gilt and gesso chinoiserie designs, raised on tapering square legs, h. 31‑1/2”, w. 41‑1/2”, d. 23‑1/2”. [400/700] Illustrated

295

298

297

295 French Bronze Covered Dish in the Orientalist Taste, fourth quarter 19th century, on elephant-head feet, the domed top with an elephant knop, the dish with damascene decoration executed in silver, brass and black, h. 7‑3/4”, dia. 6”. [500/800] Illustrated 296 Pair of Unusual Pottery Urns on Wooden Stands, second quarter 20th century, the vases decorated with birds and flowers of Chinese export inspiration, with upper and lower trim matching the stands, the tapered wooden stands with painted decoration in the Moorish style, overall, h. 61‑3/4”, w. 17‑1/2”, d. 17‑1/2”. [3000/5000] Illustrated 297 Pair of Wedgwood Fairyland Lustre Baluster Vases, ca. 1915‑1929, English, with mottled orange interiors, the exteriors decorated with polychrome hummingbirds with a gilt outline, the upper edge with gilt cranes, marked “Wedgwood, Made in England, 11, Z5294”, h. 5”, dia. 5‑1/2”. [400/700] Illustrated 298 Victorian Rosewood and Inlaid Tilt-Top Table, third quarter 19th century, the rectangular top with mixed woods and mother-of-pearl inlay depicting flowers, butterflies and ribbons, supported by a solid rosewood standard with four outscrolled legs, h. 29”, w. 19”, l. 24”. [300/500] Illustrated

296

299

302

300

299 Victorian Rosewood Lift-Top Sewing Stand/Work Table, third quarter 19th century, in the rococo taste, the hinged top opening to a compartmentalized, fitted interior and mounted to a tapering faceted standard with three carved outstretched legs, h. 31”, dia. 17”. [400/700] Illustrated 300 English Parian Covered Urn, third quarter 19th century, decorated with scenes from the Feast of Dionysus, the pierced base with intertwined grape vines, the handles and pierced covers with like decoration, and finished with a pair of putti for the knop, h. 18‑1/2”, dia. 11‑1/4”. [400/700] Illustrated 301 Pair of Late George III Mahogany Sidechairs in the Sheraton Taste, ca. 1800, each with a shaped bellflowerand foliate-carved top rail and splat, serpentine seat rail, and turned legs joined by H-form stretchers, h. 37‑1/4”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [500/800]

302 Mechi, London, Outfitted Rosewood Lady’s Toilette and Work Box on Stand, ca. 1850, the box lined with claret leather, satin and velvet, with a segmented lift-out tray containing six silverplate lidded glass boxes, four stoppered bottles and a covered compartment exhibiting remnants of the original paktong lining, the tray above a leather-lined void compartment, the gilt-tooled leather and ruched velvet top opening to a spring-operated mirror and a gusseted leather pocket labeled “Made by Mechi, 4 Leaderhall St., London”, the lower right exterior side fitted with a hidden jewelry tray, the box raised on a later rosewood-grained mahogany stand, overall, h. 24”, w. 13”, d. 9‑1/2”, box, h. 6‑3/4”, w. 12‑1/2”, d. 9”. [400/700] Illustrated 303 Victorian Mahogany-Cased Drop-Dial Wall Clock, fourth quarter 19th century, Welsh, with an octagonal door covering the painted metal dial, marked “Cardiff” and with an indistinct maker’s name, h. 47”, w. 15‑3/4”, d. 7”. [300/500]

305

304 304 Antique Hamadan Runner, 2’ 5” x 9’ 4”. [600/900] Illustrated 305 Semi-Antique Turkoman Carpet, 3’ 6” x 6’ 8”. [400/700] Illustrated 306 Semi-Antique Shiraz Carpet, 8’ x 10’ 3”. [300/500] Illustrated

306

308

307 307 Ardabil Carpet, 6’ 9” x 9’ 8”. Provenance: Jacqueline Vance Rugs, New Orleans, Louisiana. [600/900] Illustrated 308 Antique Prayer Rug, 2’ 11” x 4’ 10”. [400/700] Illustrated 309 Semi-Antique Heriz Carpet, 10’ x 15’. [1500/2500] Illustrated

310

311 310 Uzbek Kazak Carpet, 3’ 5” x 5’ 2”. [300/500] Illustrated 311 Semi-Antique Caucasian Carpet, 4’ 2” x 9’ 6”. [300/500] Illustrated

309

3 6

314

313

312

315

312 Turkish Angora Oushak Carpet, 7’ 9” x 9’ 9”. [700/1000] Illustrated

314 Turkish Angora Oushak Carpet, 8’ x 10’. [700/1000] Illustrated

313 Turkish Angora Oushak Carpet, 6’ 1” x 9’ 3”. [400/700] Illustrated

315 Turkish Angora Oushak Carpet, 5’ 11” x 8’ 11”. [400/700] Illustrated

316 Baltic Neoclassical-Style Brass-Mounted Mahogany Pier Mirror, mid-19th century, with brass bandings and moldings with inset brass linings in the fluted areas, the ends of the base depicting lyres, h. 124”, w. 39”, d. 18‑1/2”. [700/1000] 317 Baltic Neoclassical Mahogany Chaise Lounge, early 19th century, the padded barrel-form back within a molded frame, joined to the long padded seat by shaped sides and padded arms to ball-carved uprights, the lower out-swept end padded, raised on sabre legs, the whole with decorative ormolu mounts, h. 40‑1/2”, w. 28‑1/2”, l. 62”. [500/800] Illustrated

321

318 Continental Mahogany and Burl Bed, late 19th century, the headboard with a ribbed crest rail with ormolu banding, above a burl panel with side wreath mounts joined by banded rails to the like lower footboard, centered by an applied ormolu urn and butterfly within an ebonized laurel leaf frame, raised on tapering square legs ending in peg feet, h. 67‑1/2”, inside, w. 59”, l. 85”, outside, w. 61”, l. 88”. [500/800] Illustrated 319 Pair of Baltic Empire-Style Mahogany Bergeres, late 19th century, each with a padded back surmounted by a flat crest, joined to the padded seat by downswept arms raised on tapering columnar uprights headed by a foliate capital and ending in foliate caps, h. 36”. [500/800] Illustrated

320

320 Karl Thylmann (German, 1888‑1916), “Erato”, patinated bronze, ca. 1900, cast signature along back edge of self-base, on a columnar bronze and marble base, h. 15”, w. 7‑1/2”, d. 4‑1/2”. [800/1200] Illustrated 321 Continental Patinated Bronze of Theseus and the Bull of Marathon, fourth quarter 19th century, h. 20‑1/4”, w. 17‑3/8”, d. 16‑1/2”. [3000/5000] Illustrated

318

319

317

327 324 322 Continental Bronze of “Adam”, 20th century, after Auguste Rodin (French, 1840‑1917), cast signature at self-base, on a black marble plinth, overall, h. 22”, w. 10‑3/4”, d. 9‑1/2”. [400/700] Illustrated

322

323 Baltic Neoclassical-Style Sidechair, early 20th century, the padded back surmounted by a paneled backswept crest with an ormolu masque and anthemion mount, the padded seat raised on tapering circular legs ending in lotus-form ormolu caps, h. 34”. [300/500] 324 Damascene Heraldry Charger, centering a doubleheaded eagle coat of arms, on toupie feet, dia. 7‑7/8”. [400/700] Illustrated 325 Biedermeier Mahogany Pier Mirror, second quarter 19th century, the triangular crest above a frieze with a recessed domed panel with applied ormolu griffins flanking a flaming urn, the beveled rectangular plate within a plain frame with molded base, h. 90‑1/2”, w. 36‑1/2”. [700/1000] Illustrated 326 Pair of Continental Gilt-Brass and Enameled Tazzas, mid-19th century, with grapevine-molded bases and handles, the tops decorated with enamel, h. 3”, dia. 4‑1/2”. [400/700] Illustrated 325

326

327 Assembled Bronze and Velvet Writing Pad and Stationery Case, the similar pieces each attributed to E. F. Caldwell, New York, second quarter 20th century, including a rolled top stationery case with rococo-style pierced bronze-work, the center of the case decorated with cupids holding a crowned shield, all set in looped scrollwork with fruit and flowers, the front lifting to reveal slots for letters and envelopes, h. 12”, w. 13”, d. 9‑1/2”, and the folding writing pad with Florentine-style pierced bronze-work, utilizing Renaissance-style scrollwork, angels and flowers, the front covers with distinctive lozenge-form mounts with rope-twist edges, pierced masques, scrollwork and medallions with Renaissance figures, h. 18”, closed w. 26‑1/2”, open w. 50‑1/2”. [1400/1800] Illustrated

328 Biedermeier Fruitwood and Mahogany TabernacleForm Mirror, second quarter 19th century, Baltic, with colonettes flanking the mirror plate, and a lunetteform recess in the upper tablet set with a reeded fan, h. 47‑1/2”, w. 24”. [500/800]

334 Continental Giltwood Mirror in the Neoclassical Taste, ca. 1800, the bellflower-molded surround with corner medallion supports, a pierced crest decorated with a central quiver and scrollwork on each side, h. 51‑1/2”, w. 22‑1/4”. [500/800] Illustrated

329 Continental Mixed Woods Side Table in the Regency Taste, the circular top with an inlaid star pattern in the center, the apron frieze fitted with a drawer, raised on tapered legs joined by a stretcher, h. 29‑1/2”, dia. 22‑1/2”. [600/900] Illustrated 330 Two Baltic Neoclassical Italian Fruitwood Fauteuils, early 19th century, the first with a domed and molded crest above a padded and curved back, joined by paneled rounded arms to the like seat, raised on spiralfluted tapering circular legs ending in toupie feet, the second a similar example on square legs, h. 35‑1/2”. [500/800] Illustrated 331 Suite of Four Baltic Neoclassical Mahogany and Oak Sidechairs, early 19th century, each with a scrolling crest above a paneled back with shaped pendant, the padded seat raised on sabre legs, h. 35”. [400/700] 332 Biedermeier Mahogany and Fruitwood Cabinet, mid-19th century, the stepped top above a serpentine case fitted with a single drawer over a long cupboard door, inset with a shaped panel and opening to a shelved interior over a deeper lower drawer, raised on bun feet, h. 62”, w. 29”, d. 17”. [200/400]

334

333 Baltic Neoclassical Mahogany Sofa of Biedermeier Inspiration, second quarter 19th century, with an arched and boldly reeded back rail, the arm fronts with spiralreeded and foliate decor, raised on carved paw feet, h. 45”, w. 88”, d. 28”. [500/800] Illustrated

329

330

333

335 336

335 Dutch Bronze Eight-Light Chandelier in the Baroque Taste, 20th century, the reeded bowl with a turned pendant drop and set with scrolled candle arms terminating in drip pans and candlecups, and supported from the canopy by scroll-cut chains, electrified, h. 33”, dia. 30”. [600/900] Illustrated 336 Dutch Mahogany and Marquetry Dressing Mirror, second quarter 19th century, the rectangular mirror supported by baluster-form uprights surmounted by ball finials, above a concave-form base fitted with a central drawer flanked to either side by two small bowed drawers, the whole with scrolling foliate inlays, h. 37”, w. 25”, d. 14‑1/4”. [400/700] Illustrated

8 68

338

337 337 Dutch Mahogany and Marquetry Center Table, mid19th century, in the neoclassical taste, the oval top with an elaborate scrolling foliate inlay and raised on a likeinlaid lyre-form support to a shaped base to turreted feet, h. 35‑1/2”, w. 31”, d. 23‑1/2”. [700/1000] Illustrated 338 Pair of Continental Burled Walnut and Walnut Night Stands, third quarter 19th century, each with a shaped top and figured drawer over a door with a central burled panel framed by parquetry veneers, h. 31‑1/4”, w. 17”, d. 14”. [500/800] Illustrated

340

339

342 339 Continental Parcel-Gilt Tombstone-Form Mirror, 20th century, set with a two-part beveled mirror plate, the upper section with cut decoration and the surround with gilt leaves on a painted scale-carved ground, h. 67‑1/2”, w. 33”. [800/1200] Illustrated 340 American School (20th Century), “Still Life of Peonies”, oil on canvas, signed “Josephine” lower right, 20” x 24”. Framed. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [500/800] Illustrated 341 Continental School (20th/21st Century), “Still Life of Roses, Peonies and Tulips on a Ledge”, oil on canvas, signed “Vogel” lower left, 24” x 20”. Framed. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

343

342 Frans Mortelmans (Belgian, 1865‑ca. 1936), “Still Life of Roses and a Delftware Jug”, oil on canvas, signed lower right, 24” x 32”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated 343 Rococo-Style Fete Galante Floral Still Life, 20th century, with amorous putti and classical ruins, oil on masonite, unsigned, 40” x 24”. Framed. [400/700] Illustrated

341

346

345

355

345 Pair of Continental Parcel-Gilt and Paint-Decorated Mirrors, third quarter 18th century, the lower edge with sprays of pierced foliage, around a block with a candle branch bracket, the ogee-molded surround with gilt edges and a gray center, the crest with pierced gilt leaves framing a central cabochon, h. 32”, w. 16‑1/2”. [800/1200] Illustrated 346 Continental Patinated Bronze Twelve-Light Chandelier, second quarter 20th century, in the rococo taste, the leaf-molded stem with tiered sprays of scrolls issuing conforming arms with swirled candle cups, electrified, h. 26‑1/2”, dia. 31‑1/2”. [500/800] Illustrated 347 Continental School (19th Century), “Portrait of a Woman in a Lace Cap and Ruff”, oil on canvas, unsigned, 25” x 20”. Framed. [400/700] Illustrated 348 Continental School (18th/19th Century), possibly Flemish or Dutch, “Portrait of Two Young Children in a Landscape”, oil on canvas, unsigned, 30” x 36‑1/4”. Framed. [3000/5000] Illustrated

344 344 Continental Carved Mahogany and Marble-Top Three-Drawer Silver Chest, early 20th century, in the Louis XV taste, with shaped block-front drawers and a conforming Egyptian marble top, raised on tall cabriole legs with foliate-carved knees, h. 40”, w. 24‑1/2”. [1200/1800] Illustrated

349 Baroque-Style Patinated Bronze Six-Light Chandelier, second half 20th century, the segmented stem joined to a dodecagonal bowl supporting S-scroll arms with lobed bobeches and candles, electrified, h. 22‑1/2”, dia. 30”. [300/500]

350 Two Large Continental Armchairs, 19th century, one in the Italian Baroque style with boldly carved scrolling details and exhibiting traces of old polychrome and gilt highlights, h. 45”, w. 29”, d. 25”, and the other in walnut and having barley-twist motifs and covered in period needlework fabric, h. 45”, w. 26”, d. 24”. [300/500] Illustrated 351 Flemish Fruitwood and Oak Fauteuil, late 18th century, the padded and slightly domed back surmounted by a foliate shell crest and with two padded shaped pieces to each side, joined by scrolled arms to the padded seat, above a shaped foliate shell apron, raised on cabriole legs ending in scrolled toes, h. 50”. [300/500] 352 Continental Henri II-Style Oak Desk, late 19th century, the rectangular top with an inset leather surface and gadroon-carved edge, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, all with scrolling foliate carving, raised on heavily carved circular legs joined by an H-form stretcher and ending in floral blocks on bun feet, h. 31”, w. 58‑3/4”, d. 31‑1/2”. [800/1200] Illustrated

347

353 Carolean-Style Rosewood Stool, 19th century, the padded rectangular top raised on four barley-twists legs joined by an H-form stretcher and ending in carved blocks on squat bun feet, h. 18”, w. 18”, d. 16‑1/2”. [300/500] 354 Dutch Brass Twelve-Light Chandelier, first quarter 20th century, in the Baroque Taste, the turned standard terminating in a large ball finial, the scrolled arms set with turned candle cups and tiered drip pans, h. 27”, dia. 34‑1/2”. [300/500] 355 Continental Patinated Bronze of a Horse, 20th century, on a rectangular self-base, h. 29‑1/2”, w. 33”, d. 9”. [1000/1500] Illustrated

348

352 350

356 Continental Polychrome Pine Hall Bench, mid-19th century, the shaped crest rail with a floral-painted motif, with open supports and a seat lifting to reveal a storage bin, the painted base with like floral sprays and birds, h. 41”, w. 76‑1/2”, d. 22”. [400/700] Illustrated 357 Continental Polychromed Pine Domed-Top Immigrant’s Trunk, ca. 1800, with iron strapwork and adorned with floral paint on a forest-green ground, h. 31”, w. 44”, d. 23‑3/4”. [500/800] Illustrated 358 Berlin Woolwork of a Roman Sacrificial Scene, Possibly Suovetaurilia, , ca. 1900, 27‑1/4” x 33‑3/8”. Framed. [700/1000] Illustrated 358

359 Attributed to Hendrik van Minderhout (Dutch, 1632‑1696), “A Mediterranean Harbor Scene”, oil on canvas, 32‑1/2” x 47‑1/4”. Framed. [1000/1500] Illustrated 360 Continental School (20th Century), “Battle Scene”, oil on canvas, unsigned, 28” x 36”. Framed. [300/500]

359

357

356 361

361 Pair of Portuguese Walnut Armchairs, 18th century, in the rococo taste, each with a medallion back with foliate and scroll carving, a seat rail with like carving, and raised on cabriole legs, now upholstered in crimson and beige brocade, h. 48”. [200/400] Illustrated

365 Austrian Walnut Vienna Regulator, fourth quarter 19th century, decorated with bronze mounts, the pendulum in an open area framed by a pair of spindles under the clockworks, a chalet-style roof forming the top, h. 33”, w. 10”, d. 8”. [400/700] Illustrated

362 Large Neo-Renaissance Carved Fruitwood Court Cupboard, ca. 1900, in two parts, the upper section with a broken-arch crest centered by a cabochon over a central turquoise-glass door with carved tracery, flanked by shelves and doors, the base with a pair of tall doors with carved panels flanked by caryatids and fluted columns, h. 115‑3/4”, w. 71”, d. 21‑1/2”. [1800/2500] Illustrated

366 Continental Ebonized Low Cabinet, early 19th century and later, the stepped rectangular top above a case fitted with two cupboard doors, each paneled and with a polychrome landscape scene, the whole accented with polychrome banded accents, raised on large bulbous toupie feet, h. 35”, w. 53‑3/4”, d. 16‑1/2”. [400/700] Illustrated

363 German or Austrian Double Fusee Repeater Bracket Clock with Ebonized Case, ca. 1800, with an enamel dial and pierced spandrels, framed with a fluted giltwood liner, the top with an enamel roundel decorated with a landscape, flanked on one side by a roundel with a hand to turn the repeater on to “night” and on the other side to “strike” or “night”, h. 17‑1/2”, w. 13‑1/2”, d. 8‑1/4”. [700/1000] 364 Black Forest Walnut Cuckoo Clock, fourth quarter 19th century, in a church-form case with spiral-twisted columns on each side and a bell tower at the top, striking when a painted wooden priest emerges from a lower door and pulls the cord to activate the cuckoo, which emerges from the window in the crest, the clock with cone-form charms, h. 27‑3/4”, w. 12”, d. 7”. [500/800] Illustrated

365

364

362

366

373

370

372 367 Carl Hauser (German, 19th Century), “ A Bit Too Much to Drink”, oil on panel, signed upper right, 4‑1/8” x 3”. Handsomely framed. [500/800] Illustrated 368 Dutch Baroque-Style Brass Fifteen-Light Chandelier, second/third quarter 20th century, the baluster-form stem with a large ball finial and issuing two tiers of scrolled arms, h. 23”, dia. 32”. [500/800]

371

369 Carl Pritschenfried (Austrian, 19th Century), “Cardinal Reading”, oil on panel, signed upper right, 4‑3/8” x 3‑3/4”. Handsomely framed. [400/700] Illustrated

367

369

370 Continental School (First Quarter 20th Century), “Father Seated with His Children”, oil on canvas, illegibly signed lower right, “J. Assenheim & Son” label en verso, 26‑7/8” x 21‑5/8”. Framed. [500/800] Illustrated

374

375

377

376

371 Henri Charles Desire Bossuwe (Belgian, b. 1860), “De Verloren Zoon”, 1887, oil on canvas, signed and dated lower right, 33‑1/4” x 45‑1/2”. Framed. [800/1200] Illustrated 372 Jozef Israels (Dutch, 1824‑1911), “Old Woman Reading”, watercolor on paper, signed lower left, sight 13‑1/4” x 10‑1/4”. Matted, glazed and framed. [1000/1500] Illustrated 373 Cornelius Van Leemputten (Belgian, 1841‑1902), “Chickens and Hay Stacks”, 1864, oil on board, signed on label en verso, 8‑1/2” x 12”. Presented in a giltwood frame. [400/700] Illustrated

374 Henry Schouten (Belgian, 1864/1867‑1927), “Cattle in the Field”, oil on canvas, signed lower left, 23‑3/4” x 35‑1/2”. Framed. [700/1000] Illustrated 375 Henry Schouten (Belgian, 1864/1867‑1927), “Shepherd in a Field, a Farmhouse in the Distance”, oil on canvas, signed lower left, 24” x 32”. Presented in a handsome, period frame. [1500/2500] Illustrated 376 Texas Ranch-Style Mirror, the fruitwood surround mounted with molded horn decoration, h. 82”, w. 73”. [800/1200] Illustrated 377 Continental Oak and Granite-Top Table in the Rococo Taste, third quarter 19th century, the ovoid granite top on an apron with a carved edge, above a vasiform carved pedestal on four fruit- and fox-head-carved legs ending in paw feet, h. 28‑1/2”, w. 57”, d. 50”. [700/1000] Illustrated

381 380 378 Rudolf Jelinek (Austrian, 1886‑1950), “Oval Portrait of a Girl with a Basket of Flowers”, 1919, oil on canvas board, signed and dated lower right, 30” x 22‑3/8”. Framed. [400/700] 379 David van der Kellen (Dutch, 1827‑1895), “Girl with a Doll”, oil on board, signed along left edge, sight 17” x 13”. Presented in a giltwood frame with an oval liner. [500/800] 380 Set of Three Bohemian Ruby Cut to Clear Glass Pokals, the finialed covers over tapered bodies etched with deer in woodland landscape, on panel-cut and faceted stem feet, h. 10‑3/4” to 11”, w. 3‑3/8” to 3‑7/8”. [600/900] Illustrated 381 Pair of Bohemian Cobalt Blue Cut to Clear Glass Vases, the trumpet-form bodies etched with deer in woodland landscapes, on faceted and panel-cut stem feet, h. 8‑3/4”, dia. 5‑5/8”. [500/800] Illustrated

385

387 382 Pair of Bohemian Overlay Glass Decanters, ca. 1900, the white cut-to-emerald green decanters with strawberry-cut bodies and acorn-form stoppers, h. 16‑1/4”, dia. 3‑1/4”. [400/700] 383 Continental Mahogany Cabinet, ca. 1900, in the Art Nouveau taste, the upper section fitted with two doors, each paneled, the upper portion with stained glass and the lower portion with floral carving, the lower section fitted with a brushing slide over two drawers and two cupboards, raised on bun feet, h. 76”, w. 50‑1/2”, d. 25‑1/2”. [300/500] Illustrated 384 Two Antique Patinated Spelter Figural Groups, including “Amour et Printemps”, after Auguste Moreau, cast signature on self-base, brass artist plaque on conforming socle, h. 31‑1/2”, dia. 11”; and a polychrome water carrier with her attendant sheep, h. 21‑1/2”, dia. 7‑3/4”. [300/500] 385 Continental Bronze of a Girl Seated on a Box, second half 20th century, after Franz Kucharzyk (Austrian, 1860‑1930), cast signature, monogram, and “Austria” marked on base, h. 8‑5/8”, w. 3‑7/8”. [600/900] Illustrated

383

386 German Patinated Bronze of a Young Girl Seated, 20th century, after Ferdinand Preiss (German, 1882‑1943), cast signature at side of base, h. 9‑7/8”, w. 7‑1/4”, d. 6”. [400/700]

393 395

389

390

387 French Bronze and Tole-Peinte Bouillotte Lamp, second quarter 20th century, the engine-turned base supporting a leaf-molded standard with rope-twist candle arms set with swag-molded candle cups and leaf-molded drip pans, the tole shade concealing three electric sockets, h. 23”, dia. 13‑1/2”. [300/500] Illustrated 388 Neoclassical-Style Three-Light Bouillotte Lamp, fourth quarter 20th century, the urn-form standard issuing anthemion arms centered by a dish with conforming guilloche decoration, the tole shade on an adjustable pole with a wreath finial, h. 24‑3/4”, dia. 13‑1/8”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] 389 Giltwood Mirror in the Northern Italian Neoclassical Taste, first quarter 20th century, with an acanthus-carved surround, the crest decorated with a carved basket of flowers flanked by trailing vines of pierced flowers, h. 60”, w. 34”. [1000/1500] Illustrated 390 Louis XVI-Style Kingwood Dressing Table, early 19th century, the rectangular trisected top with a hinged central mirrored section and two side sections, each hinged and opening outwards to reveal a storage well, above a frieze fitted with a central drawer flanked to either side by two short drawers, the upper ones false, raised on tapering circular legs ending in brass caps, h. 29”, w. 39”, d. 22”. [600/900] Illustrated

394

391 French Gilt-Bronze Carriage Clock, marked by the maker, Charles Hour, Paris, as well as the retailer, J. E. Caldwell, Philadelphia, h. 7‑1/8”, w. 3‑3/4”, d. 3‑1/4”. [500/800] 392 Louis XVI-Style Mahogany Bergere, early 20th century, of barrel form, the rounded back and downswept sides padded and within a molded frame, joined to the cushioned seat by fluted uprights, raised on stop-fluted tapering circular legs ending in toupie feet, h. 44‑1/2”. [500/800] 393 Rare Louis XVI Miniature Commode, fourth quarter 18th century, cherry with pine secondary, on tapering fluted legs with matching canted corners, the drawers with ebonized trim, period ring pulls and lozenge-form faux escutcheons, the top molded, h. 12”, w. 16‑1/2”, d. 10”. [600/900] Illustrated 394 French Kingwood Parquetry Jewel Case, fourth quarter 19th century, with a gilt-bronze escutcheon in the Empire taste, the interior lined with quilted satin, h. 3”, w. 9‑1/2”, d. 6‑1/4”. [400/700] Illustrated 395 Louis-Philippe Gilt-Bronze and Porcelain Mantel Clock, mid-19th century, on pierced scrollwork feet, the base decorated with cattails and rocaille work, the enamel dial marked “Blaquart, a Boulogne, 5/4”, and flanked by hand-painted porcelain panels decorated with roses and bleu celeste borders, the top with an allegorical figure of Victory and a tablet marked “Lois Romaines”, set with Marti works, h. 16‑1/4”, w. 17‑1/2”, d. 3”. [400/700] Illustrated

396 Pair of French Gilt-Trimmed Blue Opaline Glass Vases, third quarter 19th century, with ruffled edges, the bottoms with ground pontils, h. 9‑3/4”, dia. 4‑1/4”. [350/500] Illustrated 397 Suite of Six Biedermeier-Style Birch Dining Chairs, consisting of two armchairs and four sidechairs, each with a paneled crest with painted designs above a lyre-painted splat, the padded seat raised on sabre legs, h. 34‑1/2” and 33”. [1800/2500] Illustrated 398 Louis-Philippe Marquetry-Inlaid Portico Clock, mid-19th century, with a marquetry-inlaid rosewood dome base and a glass dome, the clock with spiral-twist columns and gilt-bronze fittings, h. 23‑1/2”, w. 11”, d. 7”. [700/1000] Illustrated 398

399 Baker Furniture Brass-Mounted Rosewood Commode in the Empire Taste, the upper drawer retaining a Baker label, with a brass gallery and banded top, the drawers with brass moldings, h. 32‑1/4”, w. 35”, d. 18”. [1400/1800] Illustrated 400 French Bronze of a Classical Maiden, ca. 1900, after Paul Emile Machault (French, 1800‑1866), cast signature on selfbase, h. 16”, w. 9”, d. 8”. [500/800] Illustrated

400 397

396 399

401 Three European Snuffboxes With Medallic Cliche Covers, 19th century, including a rectangular burlwood example with glazed gilt cliche of Morel’s “Aneas Recounting His Adventures to Dido”, 2‑1/2” x 4”, a circular gutta percha example, both sides with a cliche of the 1851 Crystal Palace Exhibition medals by Wyon and Adams, dia. 2‑7/8”, and a circular gutta percha example with glazed gilt cliche of the Napoleonic “Battle of the Pyramids”, dia. 3‑3/8”. [700/1000] Illustrated 402 Twenty-Two Napoleonic and Other Copper and Bronze Medals, 19th century, most French copper, including fifteen examples relating to Napoleon, two relating to Louis-Philippe, one each regarding Louis XIV, le Duc d’Angouleme, A. Lavoisier, J.-B. Colbert, the Bastille and Donjon de Vincennes, and the New Orleans 1884‑1885 Cotton Centennial, the smallest 26 mm, the largest 88 mm. Detailed list available on request [600/900] Illustrated 403 Restauration Mahogany Fauteuil, second quarter 19th century, the padded square back joined by padded arms on vasiform uprights to the cushioned seat, raised on tapering circular legs ending in brass caps and casters, h. 33”. Provenance: The Estate of Harold Judell, New Orleans, Louisiana. [400/700] Illustrated

401

404 Pair of French Figural Bronze and Marble Two-Light Candelabra, 20th century, in the Directoire style, on green mottled marble tripartite bases with gilt mounts, the standards in the form of patinated bronze classical maidens, smoking a pair of pipes, each terminating in a gilt-bronze candle nozzle, h. 20‑1/2”, w. 11‑3/4”, d. 5‑3/4”. [700/1000] Illustrated 405 Set of Six French Empire-Style Patinated Metal Two-Light Sconces, 20th century, the round back plates with winged female figures supporting pairs of candle arms, electrified, h. 10‑1/2”, w. 9‑1/4”, d. 4”. [500/800] 406 Unusual Louis-Philippe Mahogany Chaise Longue, mid19th century, in two parts, the low padded barrel-back end above a cushioned seat, the other section with a demi-lune cushion on a conforming base, each section raised on bulbous legs to brass caps and casters, overall, h. 24‑1/2”, w. 32‑1/2”, l. 67‑1/2”. [500/800] 407 Louis-Philippe Gilt-Bronze and Marquetry-Work Portico Clock, mid-19th century, under a glass dome with a period line-inlaid rosewood-veneered base, the clock with a marquetry-inlaid rosewood case with gilt-bronze fittings, h. 24”, w. 12”, d. 8”. [700/1000] Illustrated

402

407

404

403

408

409

410 408 Louis-Philippe Mahogany Side Table, mid-19th century, the rectangular highly figured top above a conforming frieze fitted with two drawers, joined by a mirrored back and scrolling supports to a plinth shelf base, the whole accented with line inlay and ormolu mounts, h. 36”, w. 40‑1/2”, d. 17”. [700/1000] Illustrated

413

409 Two Grand Tour Table Ornaments, early 20th century, including a polished bronze model of the Vendome Column mounted on a white marble plinth, h. 11”, w. 3‑1/2”, d. 3‑1/2”, together with a cast bronze sphinx mounted on a variegated alabaster plinth, h. 3‑3/4”, w. 4‑3/4”, d. 1‑3/4”. [400/700] Illustrated 410 Assembled Sevres and Lerosey Gold and White Partial Dinner and Dessert Service, the Sevres pieces comprised of eleven dinner plates, dia. 9‑1/4”, and six soup plates, dia. 9”, decorated with the crest of Louis-Philippe, the blanks with various dates in the 1830s and 1840s, some in Cyrillic and Chateau de Tuileries decorating stamps, and the Lerosey dessert pieces signed in script and decorated with gilt crests, comprised of a square dessert dish, w. 8‑1/2”, d. 8‑1/2”, six dessert plates, dia. 7‑1/2”, eight teacups, dia. 3‑1/4”, five demitasse cups, dia. 2‑1/2”, and fourteen assorted saucers. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 411

415 416 412 Pair of French Bronze Four-Light Candelabra, in the Restauration taste, the tapered reeded standard with candle branches molded with pierced anthemia, and raised on molded tripartite bases, h. 20‑3/4”, dia. 8‑1/2”. [200/400] 413 Louis XVI-Style Ormolu-Mounted Mahogany Commode, early 20th century, with an inset rouge royale marble top over a drawer and paneled door, the cupboard lined in marble, raised on fluted legs joined to a low shelf, h. 33‑1/2”, w. 15‑3/4”, d. 15‑3/4”. [500/800] Illustrated 414 Pair of Empire-Style Ormolu-Mounted and BrassStrung Mahoganized Sidechairs, first half 20th century, h. 34‑3/4”. [300/500] Illustrated

414

411 Empire-Style Mahogany Bibliotheque, early 20th century, the molded cornice above a frieze with three affronted ormolu swan mounts, over three doors, the upper part glazed, the lower section with diamond panels, divided by and flanked by engaged pilasters headed by ormolu maiden’s heads, raised on a plinth base, h. 78”, w. 88”, d. 18‑1/2”. [2000/4000] Illustrated

415 Empire-Style Gilt-Brass and Enamel Eight-Light Chandelier, second quarter 20th century, the crownform corona over a navy enameled and guilloched bowl with a pinecone ball finial, centered by reeded curvilinear arms, h. 21”, w. 24”. [500/800] Illustrated 416 Pair of French Marble and Patinated Bronze Mantel Garnitures, fourth quarter 19th century, now mounted as lamps, the urn-form lamps decorated with Egyptianform columns trimmed in gilt, base, h. 11”, overall, h. 23”, dia. 5‑1/2”. [450/700] Illustrated

417 Empire-Style Mahogany-Veneered and Gilt-BrassMounted Secretaire a Abattant, the arched pediment above a paneled fall-front door, opening to a desk interior, over two drawers and a concealed plinth, h. 63”, w. 43”, d. 23”. [600/900] Illustrated

419 Empire-Style Ormolu-Mounted Figured Walnut and Marble-Top Chest, 20th century, the marble top over a case with a projecting top drawer over a bank of drawers, flanked by ebonized pilasters with gilt figural mounts, h. 34”, w. 44‑1/2”, d. 20”. [800/1200] Illustrated

418 Empire-Style Mahogany and Bronze-Mounted Cheval Mirror, ca. 1900, the tilting mirror mounted to turned and fluted standards and raised on saber legs ending in cast bronze paw feet, h. 72”, w. 34”, d. 26”. [300/500]

420 French Empire-Style Mahogany Portico Clock, first quarter 20th century, set with signed Vincenti works, decorated with gilt-bronze fittings and mounts, the rear of the clockworks stamped “Made in France”, h. 17‑1/2”, w. 9‑1/4”, d. 5”. [400/700] Illustrated 421 Empire-Style Mahogany and Marble-Top Coffee Table, early 20th century, the circular black marble top over a conforming rim, over three columnar supports with cast bronze collars and capitals, h. 20”, dia. 29”. [400/700] Illustrated 422 Pair of French Empire-Style Brass and Patinated Metal Three-Light Candelabra, 20th century, the standards in the form of “Winged Victory” holding scrolled arms with removable flame finials, standing on orbs supported by fluted pedestals with acanthus, h. 26‑1/2”, w. 8‑3/4”, d. 4‑1/2”. [400/700] Illustrated

421

420

417

422

419

424 426

423 Empire-Style Mahogany Commode, mid-19th century, the rectangular top above a conforming case fitted with a frieze drawer over two recessed drawers, flanked to either side by an engaged ebonized upright, raised on tall block feet, h. 34”, w. 22‑3/4”, d. 15‑1/4”. [300/500] Illustrated 424 Handsome Pair of French Restauration Bronze Dore et Patine Three-Light Candelabra, second quarter 19th century, the tripartite bases supporting molded cabriole legs terminating in paw feet, the leaf-molded and reeded standards with gilt lotus leaves, and the candle socket holders in the form of classical oil lamps set with flamemolded candle sockets surrounding the central finial, h. 21‑3/4”, dia. 7”. [1500/2500] Illustrated 425 Pair of Napoleon III Polished Bronze Tazzas, third quarter 19th century, on Neo-Grec paw-footed bases, the bowls sculpted with game in bas relief, one signed “Cain”, for Auguste Nicolas Cain (French, 1822‑1894), h. 5‑1/2”, dia. 6‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [300/500]

423

426 Silvered Brass Prism-Hung Four-Light Waterfall Chandelier, early 20th century, the upper portion with graduated strands of crystal beads above five concentric rows of spear prisms, electrified with four internal sockets, h. 40”, dia. 15”. [300/500] Illustrated

427 427 Unusual Pair of French Belle Epoque BronzeMounted and Hand-Painted Earthenware Urns, ca. 1900, now mounted as lamps, each with a cobaltground foot and neck, with raised gilt decoration, the white-ground bodies decorated with putti and classical female figures, with unusual enamel highlights, signed “Darthug”, urn, h. 13‑1/2”, overall, h. 25”, dia. 5‑3/4”. [300/500] Illustrated 428 Empire-Style Mahogany and Marble-Top Gueridon, late 19th century, the circular dished charcoal marble top above a conforming ormolu-applied frieze, joined by scrolling supports to a concave tripartite base, h. 31”, dia. 38‑1/2”. [700/1000] Illustrated

430

429 429 French Empire-Style Gilt- and Patinated Bronze Portico Clock, first quarter 20th century, set with marked Marti works stamped “Made in France”, h. 16‑1/4”, w. 8”, d. 4‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [500/800] Illustrated 430 Suite of Two Empire-Style Mahogany Tub Chairs, early 20th century, one example with a rounded crest and downswept arms above an ormolu wreath applied splat, the padded seat raised on tapering square legs ending in gilt paws, h. 32”, and the other example with a flat crest and arms above an ormolu maiden applied splat, the padded seat raised on tapering square legs, h. 28”. [400/700] Illustrated

428

431 Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu-applied frieze, over a case fitted with two doors, each inset with two quarter-veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [600/900] Illustrated 432 Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu-applied frieze, over a case fitted with two doors, each inset with two quarter-veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [600/900] 433 Empire-Style Patinated Brass and Cut Glass Eight-Light Chandelier, the central shaft in the form of a cluster of arrows and fitted with six looped arms with strapwork, electrified, h. 22”, dia. 21”. [300/500] Illustrated 434 French Patinated and Cold-Painted Bronze of a Woman and Child with Flute, first quarter 20th century, erroneous incised signature “A. Moreau” at back edge of stool, h. 10‑3/4”, w. 6”, d. 11‑1/4”. [500/800] Illustrated 433

435 Pair of French Restauration Patinated Bronze Six-Light Candelabra, second quarter 19th century, now mounted as lamps, on gilt paw feet, the bases molded with putti supporting the Corinthian column standards, with oil lamp-form candle holders hung with chains, overall, h. 38‑3/4”, dia. 8‑1/4”. [500/800] Illustrated

435

431

434

437

439 436 Empire-Style Mahogany Lit du Jour, late 19th century, both ends paneled and with a front freestanding fluted Ionic column surmounted by a turned ormolu-banded finial and ending in a bulbous foliate ormolu-applied base, raised on paneled block feet joined by paneled rails, h. 55”, inside, w. 41”, l. 73”, outside, w. 45”, l. 80”. [400/700] Illustrated 437 French Patinated Bronze of “Le Commandant”, first or second quarter 20th century, after Vital-Gabriel Dubray (French, 1832‑1892), cast signature at edge of self-base, h. 17”, w. 6‑3/4”, d. 5‑1/2”. [800/1200] Illustrated

440

438 Empire-Style Mahogany Settee, late 19th century, the padded backswept rectangular back joined by outscrolled padded arms to the padded seat, raised on tapering circular legs ending in peg feet, the whole accented with ormolu mounts, h. 36”, w. 59”, d. 28”. [400/700] 439 French Gilt-Brass and Cut Glass Six-Light Chandelier, second quarter 20th century, of balloon form in the Louis XV style, richly dressed with amethyst and colorless cut glass bead chains, panel-cut spears, pendalogues in four sizes and short prism pendants from square jewels, electrified, h. 27”, dia. 25”. [400/700] Illustrated

436

440 Regence-Style Polychrome and Marble-Top Commode, late 19th century, the shaped marble top with a molded edge, above a conforming bombe case fitted with two drawers, featuring a colorful chinoiserie figural landscape, raised on splayed legs ending in sabots, h. 35”, w. 48”, d. 21‑1/2”. [1500/2500] Illustrated

444 Louis XV-Style Fruitwood Armoire, late 19th century, the domed cornice with a carved foliate crest, above a case with two long doors, each inset with beveled mirror glass, above a shaped carved apron, raised on foliate scrolled toes, h. 103”, w. 54”, d. 20”. [700/1000] Illustrated

441 French Patinated Bronze Figure of Cupid Riding Astride a Conch, fourth quarter 19th century, Cupid encouraging the animal forward with a baton, on a red griotte marble base, h. 4‑1/2”, w. 5‑1/2”, d. 3‑1/4”. [400/700] 442 Unusual French Belle Epoque Parcel-Gilt Pier Mirror, early 20th century, the tilting upper section over a lower section mounted with a Louis XIV-style bronze three-light sconce hung with swags of drops, the surround framed with ribbon-bound giltwood trim, the oval tilting mirror decorated with swags of flowers and a gilt flower basket crest, the sconce electrified, h. 93‑1/2”, w. 29‑1/2”. [1000/1500] Illustrated

445 Transitional Louis XV-into-Louis XVI-Style Kingwood, Exotic Woods and Marble-Top Commode, late 19th century, the canted rectangular marble top with a three-quarter pierced brass gallery, above a conforming case fitted with two drawers, both inlaid in a lattice floral-marquetry pattern, the sides en suite, raised on cabriole legs ending in sabots, h. 32‑1/2”, w. 25‑1/2”, d. 15‑3/4”. [400/700] Illustrated

443 Pair of French Belle Epoque Gilt-Bronze FiveLight Candelabra, fourth quarter 19th century, in the Louis-Philippe taste, the putti-form standards issuing cornucopias with candle arms hung in morning glories, raised on conforming floriform tripartite bases, h. 24‑1/2”, dia. 15”. [300/500] Illustrated

443

442

444

445

446 Louis XVI-Style Kingwood and Mahogany Occasional Table, third quarter 19th century, the oval top with an inset glass panel over a patterned fabric, within a three-quarter pierced brass gallery, above a conforming case fitted with three drawers, the sides and backs quarter-veneered and with inlaid floral and musical designs, joined by block supports to a like-veneered concave shelf, raised on tapering circular legs, h. 28‑1/2”, w. 19”, d. 14”. [300/500] Illustrated 447 Diminutive Louis XV-Style Line-Strung, Birdseye Maple and Mahogany Stand, early 20th century, the breche d’Alep marble top with a brass gallery, over three drawers with maple centers, banded perimeters and bone pulls, raised on slender cabriole legs, h. 30‑3/4”, w. 10‑1/4”, d. 10”. [400/700] Illustrated 447

448 Three-Piece Louis XV-Style Mahogany Bedroom Suite, early 20th century, comprised of a single-door armoire with a shaped beveled mirror, h. 96”, w. 42”, d. 21”, and a pair of twin beds, h. 62‑1/2”, inside w. 37”, l. 76”, outside w. 43”, l. 81”, all the pieces with exuberant scroll-carved cartouches. [600/900] Illustrated 449 Louis XVI-Style Brass Five-Light Gasolier, ca. 1900, the twisted serpentine stem over an acanthine dish with conforming scrolled arms and ball finial, with glass shades, electrified, h. 33‑1/2”, dia. 27”. [400/700] 450 Italian Giltwood Mirror in the Rococo Taste, mid-19th century, decorated with contrasting matte and burnished gilt, the rectangular frame with pierced scroll and rocaille work accented with flowers, set with an antique mirror plate, h. 48‑3/4”, w. 29‑1/2”. [900/1200] Illustrated

446

448 Three-Piece Suite

450

454

455

451 Pair of French Gilt-Bronze and Marble Figural Five-Light Candelabra, fourth quarter 19th century, the figural standards in the form of putti holding trees, surmounted by canopies of foliate candle arms with conforming bobeches, raised on trumpet-form marble bases, h. 18‑1/4”, dia. 9‑3/4”. [400/700] Illustrated

451

452 Louis XV-Style Ormolu-Mounted Mahogany and Marble-Top Commode, of bombe form, the verde marble top above a case with two short drawers over two long drawers, each with line stringing and parquetry veneers, the ends with figural mounts, h. 34”, w. 45”, d. 22”. [800/1200] Illustrated 453 Antique French Patinated Bronze Bust of a Boy, on a rouge marble base mounted with a heraldic crest, indistinct cast signature on lower left truncation, h. 26”, w. 15”. [700/1000] Illustrated

453

454 Louis XVI-Style Cast and Patinated Brass and Cut Glass Ten-Light Chandelier, early 20th century, dressed with faceted teardrop pendalogues and fitted with faux dripped wax candle sleeves, electrified, h. 27”, dia. 24”. [200/400] Illustrated

452

455 Louis XV-Style Bronze Three-Piece Clock Set, fourth quarter 19th century, the pierced clock case decorated with rocaille and shell work, the crest decorated with an overturned water pot sitting amongst leaves, set with marked Mougin works, the whole resting on cabriole legs, h. 21‑3/4”, w. 11”, d. 5‑1/2”; the five-light candelabra with standards in the form of overturned urns, supporting leaf-molded candle arms, h. 21‑1/4”, dia. 8”. [400/700] Illustrated

459

458

456 Louis XV-Style Giltwood Pier Mirror and Console, late 19th century, the rectilinear looking glass with rounded corners and a broken-arch crest centered by a pair of carved putti, h. 83”, w. 37”, d. 7”, together with a console with a faux-marbre top over a scalloped foliate-carved apron and cabriole legs, h. 25”, w. 35”, d. 13”. [1000/1500] 457 Louis-Philippe Giltwood Bed or Window Cornice, mid-19th century, the ogee-molded cornice with an arched front carved with a rococostyle crest, retaining much of the original curtain hardware, h. 6”, w. 64‑1/2”, d. 17‑1/2”. [500/800] 458 Regence-Style Ormolu-Mounted and Parquetry-Inlaid Bombe Commode, the serpentine verde antico marble top over a conforming case with a pair of drawers, scalloped apron and cabriole legs, the front corners with ormolu figural mounts, h. 32”, w. 48”, d. 17”. [600/900] Illustrated 459 Pair of Louis XV-Style Gilt-Bronze Candelabra, 20th century, French, with twisted acanthine arms on reticulated rocaille bases, h. 6‑1/2”, w. 9”. [500/800] Illustrated

456

460 Pair of French Gilt-Bronze Three-Light Candelabra, fourth quarter 19th century, in the Louis XIV taste, on leaf-molded bases, the pierced standards decorated with scrollwork, h. 13”, w. 8‑1/2”, d. 3‑1/2”. [300/500] Illustrated 461 Transitional Louis XV-into-Louis XVI-Style Mahogany and Mixed Woods Center Table, the circular top with foliate banding and sunburst inlay within a full pierced brass gallery, above a conforming frieze with floral garland inlays and a single drawer, raised on molded slight cabriole legs headed by ormolu mounts and ending in sabots, h. 29‑1/2”, dia. 23‑1/2”. [400/700] Illustrated

460

462 Transitional Louis XV-into-Louis XVI Kingwood, Rosewood and Marble-Top Commode, late 18th century, the breakfront rounded rectangular marble top above a conforming case fitted with three short drawers over two long drawers, each tri-paneled, raised on molded legs ending in sabots, h. 24”, w. 38‑1/2”, d. 33‑1/2”. [700/1000] Illustrated 463 Louis XV-Style Marquetry-Inlaid, Ormolu-Mounted and Marble-Top Demi-lune Commode, early 20th century, the brescia marble top over a pair of bowfront drawers with inlaid banding, the side panels with urn and flower inlay, h. 30”, w. 26”, d. 14”. [400/700] Illustrated 464 Louis XV-Style Brass-Mounted Mahogany and Marble-Top Occasional Table, early 20th century, of small size, the variegated gray marble top with a brass gallery, above a case fitted with a drawer over an open shelf, raised on cabriole legs, h. 29‑1/8”, w. 15‑1/4”, d. 9‑3/4”. [400/700]

462

461

463

466

465

469 465 Northern Italian Giltwood Mirror in the Baroque Taste, fourth quarter 19th century, the surround with leaf-carved corners, bold pierced scrollwork and grape leaves, the crest formed by opposing pairs of upper and lower overhanging scrolls, h. 78”, w. 44”. [2500/4000] Illustrated 466 Pair of Louis XVI-Style Gilt-Brass Four-Light Sconces, 20th century, each with a quiver-form backplate terminating in a flamed urn finial, the acanthine candle branches with drip pans and matching candle cups, h. 17‑3/4”, w. 12‑1/2”, d. 8”. [200/400] Illustrated 467 Pair of French Brass Three-Light Sconces, 20th century, in the Louis XVI style, with fluted quiver-form backplates set with urn finials and leaf-molded arms, electrified, h. 19”, w. 13‑3/4”, d. 7‑1/2”. [400/700]

468 468 Louis XVI-Style Kingwood Occasional Table, early 20th century, the quarter-veneered circular top centered by an inlaid floral basket, above a conforming frieze fitted with a single drawer, raised on tapering square legs, h. 29‑3/4”, dia. 17‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated 469 Louis XVI-Style Ormolu-Mounted, Marquetry-Inlaid and Granite-Top Commode, second half 20th century, the mottled gray granite top with canted corners over a conforming case with a bank of three drawers, the upper drawer with inlaid banding, the lower pair with trophy inlay, raised on cabriole legs, h. 20‑1/4”, w. 38”, d. 21”. [300/500] Illustrated

472

473

474

470 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Vitrine Cabinet, late 19th century, the rounded rectangular marble top above a conforming case fitted with two doors, each with a shaped glazed panel with pleated fabric backing, the sides quarter-veneered, raised on shaped toes to sabots, h. 52”, w. 39”, d. 11‑1/2”. [700/1000] Illustrated 471 Large Pair of Paris Porcelain Vases, fourth quarter 19th century, the scalloped and everted rims on cylindrical bodies painted with cranes in tropical landscapes, mounted with scrolled foliate handles, the bases impressed “1666/3”, h. 19‑3/4”, w. 11”. [500/800] Illustrated

471

472 Pair of Sevres-Style Bisque Porcelain Busts on GiltTrimmed Cobalt Socles, mid-20th century, modeled as a young man and young woman of the 18th century, marked “Limoges, France” and “Genre Sevres”, h. 14‑3/4”, w. 7‑1/2”, d. 6‑3/4”. [400/700] Illustrated 473 Pair of Franco-Bohemian Porcelain Garniture Vases, mid-19th century, decorated with figures of Paul and Virginia, the oval panels hand-painted with the couple against a cobalt ground with gilt scrollwork, now drilled for use as lamps, h. 19”, dia. 7”. [500/800] Illustrated 474 Pair of Sevres-Style Hand-Painted Porcelain and Bronze Covered Garniture Urns, ca. 1900, French, on bronze bases, the cobalt-ground urns decorated with cupids and young women on the obverse panels, and landscapes on the reverse panels, each framed in tooled gilt-work, mounted with bronze satyr-head handles, the domed porcelain covers resting on pierced fittings and with gilt-framed landscapes, h. 20‑1/2”, w. 5‑1/2”. [800/1200] Illustrated 470

478

475 French Giltwood Pier Mirror in the Louis XIV Style, second quarter 20th century, the guilloche- and leafcarved surround set with a pierced crest of oak leaves and scrollwork with a pair of lovebirds, h. 66”, w. 28‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 476 Weighty French Gilt-Bronze and Metal Covered Cup in the Louis XIV Style, fourth quarter 19th century, decorated in the Bacchanalian taste, with frolicking putti in bas relief, h. 14‑1/4”, w. 8”, d. 5”. [400/700] Illustrated 477 French Gilt-Metal Card Receiver, ca. 1900, in the form of two Louis XV-style putti holding a shell, h. 10”, w. 7”, d. 7‑1/4”. [400/700] Illustrated

475

478 Louis XVI-Style Bronze and Crystal Eight-Light Chandelier, early 20th century, of cage form and dressed with crystal chains and pendalogues, electrified, h. 32”, dia. 26”. [400/700] Illustrated 479 Louis XV-Style Ormolu-Mounted Mahogany Tabletop Vitrine, the lifting top and frieze fitted with glass panels, raised on cabriole legs, h. 30”, w. 43”, d. 23”. [500/800] Illustrated 480 Contemporary Decorative Painting, of “A Rococo Street Scene”, in the 19th-century style, illegibly signed lower left, 48” x 36”. Presented in an ornate composition frame. [200/400]

476

477

482

481

481 Louis XV-Style Trumeau Mirror, first quarter 20th century, of small scale, with molded giltwood panels on a tan-painted ground, the upper tablet with oil-on-canvas figures in 18th-century costume, h. 41‑1/4”, w. 22‑1/2”. [500/800] Illustrated

483

482 Charming Pair of Bohemian Opaline Glass Vases, third quarter 19th century, decorated with panels depicting children in Arcadian landscapes, the panels framed with gilt scrollwork, the necks with graduated gilding, h. 11‑1/2”, dia. 3‑1/2”. [500/800] Illustrated

479

483 Pair of Louis XVI-Style Giltwood Fauteuils, mid-19th century, each with a padded medallion back surmounted by a floral crest, joined by foliate-carved padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [500/800] Illustrated

484

487

488

484 Two French Pierced Bronze Fan-Form Firescreens, mid-20th century, h. 29‑1/4”, w. 43‑1/2” and h. 23‑1/2”, w. 39”. [300/500] Illustrated 485 Louis XVI-Style Mahogany Cabinet, early 20th century, the molded cornice above a paneled frieze and three long doors, each with a two-third fabric-lined glazed panel over a brass-banded panel, raised on toupie feet, h. 86”, w. 76”, d. 18”. [1000/1500] Illustrated 486 Pair of Neoclassical-Style Gilt Composition Brackets, mid-20th century, probably Italian, decorated with sheaves of wheat, h. 11‑1/2”, w. 10‑1/4”, d. 5”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] 487 Louis XV-Inspired Ormolu-Mounted Mahogany Vitrine, the top with a brass gallery, the case with serpentine glass side panels and a bowed glass door, over a conforming shelf below, raised on cabriole legs, h. 53‑1/2”, w. 27‑1/2”, d. 13‑1/2”. [500/800] Illustrated 485

492

490 491 488 Louis XV-Style Oak Armoire, 19th century, the arched top with a deeply molded cornice, the doors with shaped beveled mirrors and carved floral sprays, raised on cabriole legs, h. 97”, w. 64”, d. 23”. [1000/1500] Illustrated 489 Suite of Four Louis XV-Style Fruitwood Sidechairs, mid-19th century, each with a shaped, padded and slightly domed back above the padded seat, raised on molded cabriole legs ending in toupie feet, h. 36”. [200/400] 490 French Polychromed Mobilier Tall Case Clock, second quarter 19th century, the porcelain dial inscribed “Louis a Craou”, h. 91”, w. 20”, d. 9”. [400/700] Illustrated

491 French Provincial Fruitwood Settee, late 19th century, the shaped and padded back surmounted by a molded floral- and foliate-carved crest, joined by padded scrolling arms to the cushioned serpentine seat, raised above a floral-carved apron on cabriole legs ending in foliate toes, h. 39‑1/2”, w. 77”, d. 28”. [500/800] Illustrated 492 Italian Baroque Giltwood and Silver-Gilt Mirror, fourth quarter 18th century, probably Venetian, the molded frame wrapped with garlands of flowers terminating in a carved basket of flowers, the crest in the form of graduated shells under a carved bowknot, with carved garlands on each side, set with an antique mirror plate, h. 35”, w. 20‑1/2”. [400/700] Illustrated

494

497

498 494 French Provincial Walnut Pannetiere, late 18th century, of traditional form, the tall domed cornice with finial accents, above a spindled case fitted with a single front center door, over a shaped apron with incised designs, raised on cabriole feet ending in scrolled toes, h. 46”, w. 32”, d. 18”. [800/1200] Illustrated 493 493 French Provincial Oak Armoire, mid-19th century, the molded rounded rectangular top above a deeply carved floral basket frieze with two long doors below, each inset with two shaped panels surmounted by floral carving and divided by a small like-carved oval panel, above a shaped frieze, raised on foliate scrolled toes, h. 98”, w. 64”, d. 25”. [700/1000] Illustrated

495 Continental Provincial Fruitwood Occasional Table, mid-19th century, the quarter-veneered rectangular top with an inlaid central geometric pattern, above a scalloped apron, raised on cabriole legs ending in hoof feet, h. 25‑1/2”, w. 32‑3/4”, d. 21‑1/4”. [200/400] 496 French Provincial Fruitwood Games Table, late 19th century, the square canted top above a frieze fitted with a small drawer to each side, raised on cabriole legs, with a conforming crewelwork topper with cards and gaming motifs, h. 27‑1/2”, w. 26‑1/4”, d. 26‑1/4”. [300/500]

502

499 497 Maurice Jean Lefebvre (Belgian, 1873‑1954), “Gathering in the Field”, oil on artist board, signed lower left, 11‑1/2” x 14‑1/4”. Framed. [400/700] Illustrated 498 Maurice Jean Lefebvre (Belgian, 1873‑1954), “Sustenance” and “The Harvest”, two oils on artist board, latter signed lower right, former unsigned, 11” x 15‑1/4” and 11‑1/2” x 16”. Both framed. [500/800] Illustrated 499 Alexander Pavlovich Sukhov (Russian, 1921‑1991), “From the Front”, oil on canvas, signed lower right in Cyrillic, signed and titled en verso, 70‑1/2” x 39”. Framed. [3000/5000] Illustrated 500 Maurice Jean Lefebvre (Belgian, 1873‑1954), “Study of Two Nudes” and “Nude Seated in a Landscape”, oil and pencil on wood panel, oil on artist board, 13‑7/8” x 9‑7/8”, 9‑1/2” x 11‑3/4”, latter signed lower left, former unsigned. Both framed. [500/800] Illustrated

500 one of a pair 501 Pair of Continental Giltwood Altar Sticks, fourth quarter 19th century, the turned baluster-form standards fitted with inverted rim drip pans with metal sockets and raised on circular bases with ball feet, h. 44‑1/2”, dia. 8‑1/2”. [300/500] 502 French Provincial-Style Polychrome-Metal NineLight Chandelier, the baluster stem with a foliate crown and issuing tiered scrolled arms in the form of climbing morning glories, h. 31”, dia. 35”. Provenance: Private collection, Baton Rouge, Louisiana. [400/700] Illustrated

505

506

503 Pair of Louis XVI Polychrome Fauteuils, late 18th century, each with a padded tufted back surmounted by a floral crest, joined to the cushioned rush seat by padded arms on fluted uprights, raised on stop-fluted tapering circular legs joined by an X-form stretcher and ending in toupie feet, h. 36”. [1000/1500] Illustrated

504

504 French Provincial Polychrome Occasional Table, 19th century, the rounded rectangular top above a conforming frieze fitted with a single side drawer, raised on cabriole legs ending in foliate toes, h. 27”, w. 34‑1/2”, d. 21”. [500/800] Illustrated 505 Set of Thirty-Six German Hand-Painted Dinner Plates in the Meissen Style, fourth quarter 19th century, decorated with sprays of flowers on a molded ground, with an underglaze green “Nymphenburg” mark and a decorator’s mark, dia. 9‑3/4”. [400/700] Illustrated

503

100

506 Continental Painted Metal Lantern, mid20th century, in the Baronial Taste, the hexagonal lantern with rope-twist supports terminating in spikes, the panels with fleursde-lis designs, h. 26”, dia. 22‑1/2”. [400/700] Illustrated

507

508

509

507 Paul Gagni (French, 1893‑1962), “Place du Carrousel”, oil on canvas, signed lower left, titled on artist plaque, 15” x 18”. Framed. [500/800] Illustrated 508 Paul Gagni (French, 1893‑1962), “L’Arc de Triomphe”, oil on canvas, signed lower left, titled on artist plaque, 15” x 18”. Framed. [500/800] Illustrated 509 Andre Gisson (American/French, 1921‑2003), “Promenade Along the Seine”, oil on canvas, signed lower left, 9” x 12”. Framed. [400/700] Illustrated

511

510 French Provincial Faux-Bois Buffet a Deux Corps, mid-19th century, the molded cornice above a paneled frieze and two cupboard doors, each inset with a grilled panel, the lower section fitted with two drawers flanking a panel with the incised initials “M.C.”, over two paneled cupboard doors, raised on a plinth base, h. 86”, w. 54”, d. 20‑1/2”. [400/700] Illustrated 511 Provincial Louis XIV-Style Fruitwood Bench, the back of tripartite form with a spindle gallery, open arms and woven cane seat, h. 34”, w. 72”, d. 19”. [500/800] Illustrated 512 Provincial Louis-Philippe Fruitwood Vitrine, mid-19th century, the rounded rectangular ogee-molded frieze fitted with a single drawer, above a case fitted with a single glazed door, raised on shaped bracket feet, h. 60”, w. 37‑1/2”, d. 21‑1/2”. [200/400] 513 Provincial Directoire Fruitwood and Marble-Top Bedside Commode, early 19th century, the rectangular marble top with a three-quarter raised gallery, above a case fitted with a single cupboard door, the back faced as three faux drawers, raised on tapering square legs, h. 28‑1/4”, w. 17”, d. 12‑1/2”. [400/700] 510

101

514 Provincial Louis-Philippe-Style Mahogany and Cherry Nightstand, the case with a drawer over a cupboard with a tambour door, raised on tapering flare legs, h. 29”, w. 18‑1/4”, d. 18‑1/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

515 Louis-Philippe Fruitwood Armoire, first half 19th century, the ogee-molded cornice above two long inset panel doors, all above one long hidden drawer, the whole resting on scrolled feet, h. 93”, w. 55‑1/2”, d. 25”. [700/1000] Illustrated 516 French School (20th Century), “At the Seaside”, oil on canvas, signed lower left “Camille”, 20” x 24”. Handsomely framed. [500/800] Illustrated 517 French Patinated Bronze Figure of a Young Boy, fourth quarter 19th century, the boy, said to represent Prince Albert, modeled standing, his hands in his pockets and wearing a sailor-type shirt, a dagger hanging from his waist, signed “G. Gueyton”, h. 20”, w. 6‑3/4”, d. 3‑1/2”. [1800/2500] Illustrated

516

517

515

102

514

520

518

521 518 Monumental Glazed Terracotta Garden Planter, probably Italian, decorated with a cabochon framed with a wreath of laurel, the mustard-glazed pot with a ropetrimmed upper rim, h. 29”, dia. 29”. [500/800] Illustrated 519 Provincial Louis XV-Style Fruitwood Fauteuil, 19th century, the arched crest rail over a shaped splat, the arms adorned with foliate carving, the seat with a scalloped apron and raised on cabriole legs, h. 44‑1/2”. [400/700] 520 Set of Three Cast Iron Planters, mid-20th century, in the neoclassical taste, of oval form, the lower sections reeded, with double scrolled handles, h. 17‑1/2”, w. 36‑1/2”, d. 18”. [500/800] Illustrated

522 521 Set of Three Graduated Wood and Metal Tuteurs, 20th century, with wood and metal bases concealing flower pots, the obelisk tops decorated with wooden lattice, h. 36‑1/2” to 59‑1/2”, w. 9” to 14‑1/2”. [400/700] Illustrated 522 Continental Carved Limestone Mourning Figure, ca. 1900, the figure of an angel clinging to a cross and holding a bouquet of lilies, symbolizing the restored innocence of the departed soul, h. 38‑1/2”, w. 8‑1/2”, d. 7‑3/4”. [400/700] Illustrated

103

526

525

527

528 one of a pair 523

523 Provincial-Style Wrought and Cast Iron Baker’s Rack, with an arched crest rail over a pair of open shelves, above a base with a marble-clad top, raised on cabriole legs joined by a low shelf, h. 79‑1/2”, w. 19”, d. 39”. [400/700] Illustrated 524 Pair of New Orleans Cast Iron Window Guards, 20th century, in the French Directoire taste, with lozenges set with pairs of cherubim supporting a column, in a field of pierced neoclassical decoration, h. 37‑3/4”, w. 58‑1/4”, d. 12‑3/4”. [1500/2500] Illustrated 525 French Patinated Bronze of “Forgeron”, first quarter 20th century, cast signature “T Bocox” along edge of self-base, on a stepped columnar marble plinth, overall, h. 28‑1/2”, w. 8”, d. 11”. [700/1000] Illustrated

524 one of a pair

104

526 Continental Bronze of a Country Woman, on a round wooden plinth, h. 13‑1/2”, w. 5‑1/2”, d. 4‑1/2”. [400/700] Illustrated 527 French Needlepoint Tapestry of “La Dame a la Licorne”, ca. 1900, wool thread on canvas, now backed in linen, with a central scene of a lady and her handmaiden flanked by a pennant bearing a lion and unicorn, overall millefleurs background and floral-motif border, 38” x 55‑1/2”. [400/700] Illustrated

529

528 Pair of Belgian Medieval-Style Tapestries of “La Dame a la Licorne”, 20th century, including “Taste” and “Mon Seul Desir”, after the 16th-century Flemish tapestry series now in the Musee National du Moyen Age, Paris, and widely interpreted as allegorical depictions of the senses, each 45” x 72”. [500/800] Illustrated 529 Spanish-Style Wrought Iron Six-Light Chandelier, early 20th century, of scrolled form and retaining an old greenpatinated finish, electrified, h. 22”, dia. 29”. [300/500] Illustrated 530 Provincial Louis XV-Style Oak Buffet, 19th century, the case with a pair of drawers over a pair of shaped paneled doors, with a scalloped apron and cabriole legs, h. 36”, w. 50‑3/4”, d. 22”. [700/1000] Illustrated

530

531 Suite of Eight Provincial-Style Beech and Fruitwood Dining Chairs, each with a scalloped top rail and splats and a rush seat, the legs joined by box stretchers, h. 36”. [500/800] Illustrated 532 Provincial Louis XV-Style Oak Sideboard of Breakfront Form, 20th century, the upper section with open shelving flanked by cupboards, the base with a band of drawers over cupboard doors, on cabriole legs, h. 97”, w. 72‑1/2”, d. 22”. [800/1200] Illustrated

531

532

105

533 Pair of French Glass Apothecary Jars, third quarter 19th century, now mounted as lamps, the black glass with metal tags, one reading “T. Sienn eac” and “Acid Oxalic”, and the other reading “Plaister Paris” and “Vin: I Pecac”, the metal caps and tags retaining their original surface, fitted with ecru silk shades, base, h. 16‑3/4”, overall, h. 30”, dia. 6‑1/2”. Provenance: The Estate of Harold Judell, New Orleans, Louisiana. [400/700] Illustrated 534 Provincial-Style Fruitwood Night Stand, with an open shelf over a single drawer, the sides with quatrefoil cutouts, raised on tapering legs, h. 29”, w. 16”, d. 12‑3/4”. [400/700] 535 Chinese Green-Glazed Pottery Jar, possibly Ming Dynasty (1368‑1644), the two-handled jar with incised floral decoration over a band with a square pattern above a motif of semi-spheres, over an unadorned foot, h. 9‑1/2”, dia. 10”. [400/700] 533

536 French Provincial Fruitwood Vasselier, early 19th century, the molded rectangular cornice above three open shelves, the lower section with a rounded rectangular top above a conforming case fitted with two short drawers over two cupboard doors, each inset with a shaped star-inlaid panel and flanked to either side by stylized floral-carved uprights, raised on block feet, the whole with brass tack accents, h. 80”, w. 53”, d. 24‑1/4”. [400/700] Illustrated 537 Louis XV-Style Beechwood Fauteuil, with a molded floraland leaf-carved top rail, open arms, serpentine seat and cabriole legs, now upholstered in contemporary gold-striped ivory fabric with leaf and ribbon decor, h. 37‑1/2”. [400/700] Illustrated

536

106

537

540 Louis Basset (French, 20th Century), “Parisian Street Scene”, oil on canvas, signed lower right, 24” x 48”. Framed. [500/800]

538 Louis XVI-Style Beechwood Bergere, the molded and carved stiles extending to closed arms with scroll ends, the arm supports with foliate carving, bowed seat and fluted tapering legs, fitted with a loose seat cushion and upholstered in contemporary gold-striped ivory fabric with leaf and ribbon decor, h. 37”. [400/700] Illustrated

541 Paul Renard (French, 1941‑1997), “Winter Evening”, oil on canvas, signed lower right, 19‑3/4” x 23‑3/4”. Framed. [800/1200] Illustrated

539 Two Pairs of Louis XV Fruitwood Sidechairs, late 18th century, one pair with a padded shaped back surmounted by a floral and foliate crest, above the padded seat, raised above a floral-carved apron on molded cabriole legs joined by an X-form stretcher and ending in foliate toes, h. 37”, and the other slightly larger pair with floralcarved shoulders and no stretchers, h. 38”. [200/400] Illustrated

541 538

539

107

542 Rene Rambert (French, 1909‑1991), “Parisian Street Scene”, oil on beveled wood panel, signed lower right, 11‑3/4” x 23‑3/4”. Framed. [800/1200] Illustrated 543 Continental School (20th Century), “Mexican Street Market”, oil on canvas, signed lower left “A. Dubois”, 30” x 36”. Framed. [500/800] Illustrated

542

546

543

545 544

108

547

552 547 Niek van der Plas (Dutch, b. 1954), “Cafe Le Bonaparte, Paris”, oil on wood panel, signed lower right, titled en verso, 15‑1/2” x 19‑1/2”. Framed. [1500/2500] Illustrated 548 Jacques Petit (French, b. 1925), “Garden Scene”, oil on canvas, signed lower right, 31” x 51”. Framed. [500/800] 549 Group of Four Decorative Giltwood Frames, dimensions from 26‑3/8” x 30‑1/4” to 18‑1/4” x 16‑1/4”. [300/500] 550 544 Continental Provincial Polychrome Armoire, 19th century, the molded cornice above a case fitted with a single door inset with a shaped floral-decorated panel, raised on a plinth base, h. 72‑1/4”, w. 56‑1/2”, d. 22”. [400/700] Illustrated 545 Continental School, Probably Eastern European (Mid-20th Century), “Hilltop View of a Village”, oil on canvas, indistinctly signed “Mino” and dated “56” lower right, 24” x 27‑1/2”. Framed. [500/800] Illustrated 546 Rene Rambert (French, 1901‑1991), “View of Venice”, oil on canvas on panel, signed lower right, 20” x 24”. Framed. [500/800] Illustrated

550 Marc Chagall (Russian/French, 1887‑1985), “La Ruche et Montparnasse”, 1978, color lithograph for an exhibition at the Musee Jacquemart-Andre, printed by Mourlot, Paris, signed in plate and in lower right margin, 29” x 21‑5/8”. Framed. [800/1200] Illustrated 551 Hugh Kepets (American, b. 1946), “West 74th Street”, color screenprint, titled, numbered “66/100”, and signed “Kepets 76” lower right, sight 37” x 30‑3/4”. Glazed, matted and framed. [400/700] 552 Jonathan Borofsky (American, b. 1942), “Pied Piper”, 1990, color lithograph, pencil signed lower right, numbered “50/100” lower left, sheet 25” x 17‑3/4”. Float-mounted, glazed and framed. [1000/1500] Illustrated

109

554

553 553 George Valentine Dureau (American/New Orleans, 1930‑2014), “Mardi Gras New Orleans, A Carnival Bestiary”, hand-augmented silkscreen from the artist’s proof, signed lower center, titled lower left “A Carnival Bestiary” and further inscribed lower right, accompanied with a personalized note from the artist, sight 35” x 23”. Glazed, matted and framed. [700/1000] Illustrated

557

554 Yaacov Agam (Israeli/French/American, b. 1928), “Untitled 23”, ca. 1980, serigraph, signed in pencil lower right “Agam”, numbered in pencil lower left “118/300”, sheet 20‑5/8” x 26‑5/8”. Glazed, float-mounted and framed. [500/800] Illustrated 555 Malcolm Myers (American/Minnesota, 1917‑2002), “Miles Mood”, 1959, intaglio print, pencil signed and dated lower right, titled lower left, and numbered “15/30” at lower center, sight 24‑1/4” x 34‑1/4”. Glazed, matted and framed. [800/1200] Illustrated 556 Malcolm Myers (American/Minnesota, 1917‑2002), “Bewitched Cow”, intaglio print, pencil signed lower right, titled lower left, numbered “10/35” lower center, sight 24‑1/4” x 36‑1/2”. Glazed, matted and framed. [800/1200]

110

555

558 557 Benito Montresor (Italian, 1926‑2001), “L”, proof from A for Angel (New York: Alfred A. Knopf, 1969), watercolor, pencil signed and titled lower margin, titled on “Marisa del Re Gallery Inc., New York, NY” label en verso, sight 23” x 10‑1/2”. Glazed, matted and framed. [500/800] Illustrated

559

558 Malcolm Myers (American/Minnesota, 1917‑2002), “Jazz Musicians”, 1951, intaglio print, pencil signed lower right, titled lower left, dated lower right, sight 20” x 16”. Glazed, matted and framed. [700/1000] Illustrated 559 Malcolm Myers (American/Minnesota, 1917‑2002), “Minnesota Rabbit”, 1971, intaglio print, pencil signed and dated lower right, titled lower left, numbered “8/25” lower center, 38” x 25”. Glazed and framed. [700/1000] Illustrated 560 William Gropper (American, 1897‑1977), “Dream”, 1965, etching, pencil signed lower right, signed in plate lower left, numbered “36/100” lower left, sight 13‑1/4” x 16‑3/8”. Glazed, matted and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [300/500] 561 Ben Shahn (American/New York, 1898‑1969), “Blind Botanist”, lithograph, signed in plate lower right, printed by A. Manaranche, Paris, sheet 26‑1/2” x 20‑1/2”. Glazed, float-mounted and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [400/700] Illustrated

561

111

562

564 562 Alice Neel (American, 1900‑1984), “Portrait of Judith Solodkin”, 1978, lithograph, pencil signed, dated, and numbered “2/15” lower left, 30” x 22‑1/4”. Glazed, matted and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [800/1200] Illustrated 563 Sergio Gonzales Tornero (Chilean, b. 1929), “Harvest Moon”, 1976, etching in color, pencil signed and dated lower right, titled lower center, and numbered “16/195” lower left, sight 21‑1/4” x 16‑3/8”. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [500/800] Illustrated

563

112

564 Will Barnet (American, 1911‑2012), “The Doorway”, color lithograph, pencil signed lower right, numbered “76/150”, sight 31‑1/4” x 18‑5/8”. Glazed, matted and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [700/1000] Illustrated

568

566

565 Joel Meyerowitz (American, b. 1938), “Strawberry Seller, France”, 1968, dye-transfer photographic print, signed along lower left edge, numbered “8/96” at upper left corner, later pencil inscription lower right, sheet 20” x 16”. Matted. [500/800] Illustrated Considered one of the pre-eminent contemporary American street photographers, Meyerowitz was inspired by the works of Henri Cartier-Bresson (French, 1908‑2004) and Eugene Atget (French, 1857‑1927), two of the pioneering street and documentary photographers of the first half of the 20th century. Initially working exclusively in black and white - which at the time was considered the only true art photography - Meyerowitz began to experiment with color in the late 60s/ early 70s. His atmospheric photographs are admired for their sense of intimacy and feeling of spontaneity. He was the first instructor in color photography at the School of Art of the prestigious Cooper Union, New York, where he inspired many students to pursue color photography. 566 Margaret Sartor (American/Louisiana, b. 1960), “Katherine and the Playhouse Built for Her by Her Father, Monroe, Louisiana”, 1989, silver gelatin print, unsigned, sheet 19‑3/8” x 17”. Matted. Illustrated: Cover for A New Life: Stories and Photographs from the Suburban South, eds. Alex Harris and Alice George, New York: W.W. Norton and Co., 1998. [400/700] Illustrated 567 Astrid Kirchherr (German, b. 1938), “George Harrison in a Fun Fur”, 1960, contact sheet lithograph, signed and numbered 6/500 lower right, sight 13‑1/8” x 16‑3/4”. Glazed, matted and framed. [400/700]

565

568 William Lamson (American, b. 1977), “Dandelion Clothesline, Santiago, Chile”, color photograph, unsigned, sheet 16” x 20”. Unframed. [400/700] Illustrated

113

571

569

573 570 Chinese Lacquer Cabinet, the red lacquer cabinet decorated with one hundred boys surrounded with a decorative floral border, fitted for an electronic entertainment system, h. 61‑1/2”, w. 43‑1/4”, d. 21‑5/8”. [500/800] Illustrated 570 569 Chinese Six-Panel Coromandel Screen, 20th century, the black lacquer folding screen with one side depicting courtly beauties on a palace terrace engaged in leisurely pursuits, with incised arrangements of flowers on the reverse of each panel, overall, h. 72‑1/4”, w. 81”. [500/800] Illustrated

114

571 Chinese Rosewood Low Table, early 20th century, of rectangular form, the top with a molded overhanging edge and scroll-carved aprons, raised on short cabriole legs ending in carved paw feet, h. 12”, w. 22”, l. 55”. [400/700] Illustrated

575

576

577

574 572 Suite of Four Chinese Rosewood Nesting Tables, mid-20th century, the rectangular tops with framed inset panels and raised on carved square legs, h. 20” to 27‑1/2”, w. 11‑3/4” to 19”, d. 10” to 14”. [300/500] 573 Chinese Rosewood Plant Stand, Qing Dynasty (1644‑1911), 19th century, the octagonal stand with an inset marble top and carved decoration on the apron and legs, h. 35‑1/4”, dia. 12”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 574 Pair of Chinese Mother-of-Pearl-Inlaid Mahogany Roundabout Chairs, 20th century, each adorned with avian, floral, leaf and vine inlays throughout, each with open arms, serpentine seat and turned legs joined by X-form stretchers, h. 33‑3/4”. [500/800] Illustrated 575 Five Chinese Lacquer and Giltwood Carvings, 19th/20th century, including four gilded red lacquer foo dogs and a rectangular frieze depicting foo dogs, h. 2” to 7”, w. 5‑1/2” to 13‑1/8”. [500/800] Illustrated

578

576 Two Chinese Carved Bamboo Brush Pots, late 19th/ early 20th century, each with lotus decoration in relief, h. 7‑1/8” and 8”, dia. 4‑1/4”. [400/700] Illustrated 577 Chinese Carved Mahogany Ruyi Scepter, late 19th/ early 20th century, decorated with a peach and bat motif, an auspicious carved “Shou” character on the top, w. 4‑1/4”, l. 15‑1/2”. [400/700] Illustrated 578 Chinese Carved Rosewood Box, 19th/20th century, in the form of a Buddha’s hand fruit, h. 3”, w. 4”, l. 6‑3/4”. [400/700] Illustrated

115

581 580

583

579

579 Pair of Chinese Carved Horn Goldfish, Qing Dynasty (1644‑1911), 19th century, each reddish fish on a pierced and carved wooden stand, fish, h. 1‑1/8”, l. 3‑1/2”. [400/700] Illustrated 580 Chinese Carved Lapis Lazuli Censer, probably Qing Dynasty (1644‑1911), decorated with swirling dragons, on a carved wooden stand, censer, h. 5‑7/8”, overall, h. 7”, w. 4”. [500/800] Illustrated 581 Chinese Agate Carving, 19th century, the figure of a man with a paintbrush, his left hand raised, the russet inclusions carved to form flowers along the back and a bat on the side, displayed on a carved wooden stand, agate, h. 3”, w. 2”. [500/800] Illustrated 582 Pair of Chinese Jade Bowls and Agate Cups, the spinach jade bowls and russet-colored agate cups each displayed on a pierced and carved wooden stand, h. 1‑3/8” to 2”, w. 1‑3/4” to 4”, without stands. [400/700] Illustrated

116

582

583 Chinese Carved Jade Group, Qing Dynasty (1644‑1911), 19th/20th century, depicting a vase of flowering prunus limbs beside a small bird perched on a jagged low scholar’s rock, on a pierced and carved wooden stand, jade, h. 8‑3/4”, w. 5”. [400/700] Illustrated 584 Chinese Celadon Jade Belt Buckle, composed of two gray/green jade interlocking pieces, each with a carved and pierced kui dragon roundel decoration, w. 2”, l. 6”. Provenance: Shanghai Auction, Co., Ltd., Shanghai, China, December 23, 2012, lot 956. [600/900] Illustrated 585 Chinese Peking Glass Brush Washer, Qing Dynasty (1644‑1911), probably 19th century, dark red on a white ground, decorated with a hundred antiques motif, the underside with a four-character Qianlong mark, h. 2”, dia. 3‑1/4”. [400/700] Illustrated

584

585 586

586 Two Chinese Cloisonne Figures of Immortals, 20th century, including a male figure in blue robes and cap, carrying a sword, and a female in floral robes in white and blue, wearing an ornate phoenix hairpiece, holding a fan and a bouquet of flowers, each affixed to a wooden stand, overall, h. 11‑1/4”, w. 2” and 3”. [600/900] Illustrated 587 Chinese Cloisonne Plate, late 19th/early 20th century, with scalloped, ribbed edges, decorated with a basket of flowers, and floral decoration on the reverse, dia. 9”. [300/500]

588

588 Pair of Chinese Cloisonne Jardinieres, late 19th/early 20th century, each decorated with a scene of butterflies, scholar’s rocks and flowers on a blue ground, h. 8”, dia. 9‑1/2”. [400/700] Illustrated 589 Good Chinese Bronze Altar Food Vessel and Cover (Dou), Qianlong mark and period (1736‑1795), the circular bowl raised on a flared base cast with archaicstyle decoration and having a conforming domed cover with twisted loop handles, the base with a cast six-character Qianlong reign mark in a line on the foot, the interior of the domed cover with a cast sixcharacter Qianlong seal, the interior of the base with a pasted paper label with calligraphy, h. 10”, dia. 6‑1/4”. [800/1200] Illustrated 589

117

590 Pair of Chinese Painted Enamel Vases, late Qing Dynasty (1644‑1911)/early Republic period (1912‑1949), late 19th/early 20th century, the baluster-form vases with a mille fleur decoration, the mouth and foot rim with a blue and pink lappet pattern, h. 10‑1/2”, dia. 4‑1/2”. [400/700] Illustrated 591 Chinese Gilt-Brass-Mounted Porcelain Bowl, 20th century, in the Louis XVI taste, the bowl with a blue ground and Mandarin reserves, h. 10‑1/2”, dia. 19”. [400/700] Illustrated

592

592 Pair of Chinese Export Canton Enamel Vases, Qing Dynasty (1644‑1912)/Republic period (1912‑1949), late 19th/early 20th century, mounted as lamps with carved wood bases and shades, base, h. 12‑1/2”, overall, h. 24‑1/2”, dia. 6”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

591

590

118

593

594

593 Semi-Antique Bidjar Carpet, 6’ 6” x 9’ 3”. [400/700] Illustrated 594 Antique Turkoman Carpet, 5’ 10” x 10’ 10”. [500/800] Illustrated 595 Group of Two Semi-Antique Carpets, including a Sarouk carpet, 5’ x 6’ 4”, and a Hamadan carpet, 4’ 2” x 6’ 8”. [400/700] 596 Semi-Antique Bidjar Carpet, 3’ 5” x 4’ 10”. [400/700] Illustrated 597 Semi-Antique Hamadan Carpet, 4’ 3” x 7’ 4”. [400/700]

596

119

599

598 598 Antique Caucasian Runner, 3’ 5” x 16’ 6”. [400/700] Illustrated 599 Oushak Carpet, 7’ 9” x 9’ 8”. [400/700] Illustrated 600 Peshawar Sultanabad Carpet, 3’ 3” x 5’. Provenance: The Sarouk Shop, New Orleans, Louisiana. [400/700]

120

601

602

605

601 Peshawar Sultanabad Carpet, 7’ 10” x 9’ 7”. [600/900] Illustrated 602 Turkish Angora Oushak Carpet, 8’ x 10’. [800/1200] Illustrated 603 Semi-Antique Turkoman Carpet, 3’ 4” x 5’ 2”. [400/700] 604 Agra Mahal Carpet, 8’ 5” x 12’. [900/1200] Illustrated 605 Semi-Antique Kashan Carpet, 6’ 6” x 9’ 7”. [500/800] Illustrated

604

121

Session II (Lots 606-1138) | Sunday, April 24, 2016 | 10:00 a.m. CDT

606 Fourteen-Karat Yellow Gold Necklace, the hollow link necklace designed in Italy, l. 17”, w. 3/8”, 21.2 grams total weight. [400/700] Illustrated 607 Eighteen-Karat Yellow/White Gold Gucci Bracelet, with a padlock-link design, stamped “Gucci, 750, Made in Italy”, l. 7”, 18.8 grams total weight. [500/800] Illustrated

614 Fourteen-Karat Yellow Gold and Diamond Dome Ring, in a floral motif and mounted with round- and baguette-cut diamonds, with an approximate total weight of 2.06 carats, size 7‑3/4, 8.1 grams total weight. [1400/1800] Illustrated

614

608 Collection of Ten/Fourteen-Karat Yellow Gold Jewelry, including five pairs of hoop earrings, l. 1”, and a ten-karat yellow and rose gold bracelet with a fourteen-karat gold clasp, l. 7”, 32.6 grams total weight. [300/500] Illustrated 609 Fourteen-Karat Yellow Gold Equestrian Ring, with a prancing horse in raised relief, size 8‑1/2, 13.8 grams total weight. [300/500] Illustrated 610 Fourteen-Karat Yellow Gold Charm Bracelet, the charms with an equestrian theme, including three racing horses accented with enamel, a riverboat, a hot air balloon, a horseshoe, a charm with a horse head and star in raised relief and stamped “Frankfort Kentucky”, a charm depicting a mint julep cut with green enameling and stamped “KY Derby”, a Pegasus, a charm depicting Churchill Downs and stamped “Churchill Downs” on the underside, a stirrup, and a trophy, l. 7‑1/2”, 46.5 grams total weight. [800/1200] Illustrated 611 Eighteen-Karat Yellow Gold, Enamel and Pearl Hinged Amulet Charm, decorated with black enamel and set with eleven mabe seed pearls, opening to reveal a secret compartment, size 11/16” x 1‑5/16”, 12.4 grams total weight. [300/500] Illustrated 612 Collection of Fourteen-Karat Yellow Gold Jewelry, including a hollow flexible link bracelet set with fourteen single-cut diamonds, with an approximate total weight of 0.17 carats, l. 7‑3/4”, and four pairs of hoop earrings, l. 1”, 20.8 grams total weight. [300/500] Illustrated 613 Two-Piece Fourteen-Karat Yellow Gold and Rock Crystal Jewelry Set, including a necklace composed of a fourteen-karat yellow gold chain, with five faceted rock crystal beads, l. 19”, together with a matching pair of earrings, l. 3”, 56.3 grams total weight. [300/500] Illustrated

122

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

615

607

606

609

611

610 608

612

613

3 2 1

616

617

619

618

620

621

623 622

625

624 626

124

627

616 Fourteen-Karat Yellow Gold and Diamond Ring and Earrings, the ring with a double row design and set with fourteen graduating round brilliant-cut diamonds, with an approximate total weight of 0.85 carats, size 8‑1/2, and the earrings with a huggie design, channel-set with twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, l. 5/8”, 6.6 grams total weight. [400/700] Illustrated 617 Three Fourteen-Karat Yellow Gold and Diamond Crosses with Chains, the first example set with seventeen round brilliant-cut diamonds, with an 18” box-link chain, the second example set with three round brilliant-cut diamonds, with an 18” box-link chain, and the third example set with eleven round brilliant-cut diamonds and eleven tapered diamond baguettes, with a 15‑3/4” rope chain, with an approximate total diamond weight of 0.80 carats for the trio, 10.2 grams total weight. [500/800] Illustrated 618 Fourteen-Karat White/Yellow Gold, Emerald and Ruby Bracelet, the flexible link bracelet designed with two leopards and set with fifty round faceted emeralds, with an approximate total weight of 1.00 carat, and four round faceted rubies set as the eyes, l. 7‑1/4”, 9.9 grams total weight. [300/500] Illustrated 619 Men’s Ten-Karat Yellow Gold Nugget Ring, the large ring with a textured face and sides, size 11, 40.9 grams total weight. [400/700] Illustrated 620 Men’s Turler Eighteen-Karat Yellow Gold, Diamond and Black Onyx Wristwatch, the square case set with twenty single-cut diamonds, with an approximate total weight of 0.20 carats, and inlaid with black onyx conforming to the curves of the case, the seventeen jewels mechanical movement signed “Ebel” on the winding wheel, the black dial signed by the retailer, “Turler”, the textured open weave band stamped “750, Leder”, l. 8”, 83.5 grams total weight. [1500/2500] Illustrated 621 Fourteen-Karat Yellow Gold, Black Onyx and Seed Pearl Ring, the large 30.0 mm round ring composed of graduated and stacked onyx, ending with a center point mounted with a faceted onyx stone surrounded by six freshwater seed pearls, size 8‑1/4, 22.9 grams total weight. [400/700] Illustrated 622 Unusual Fourteen-Karat White Gold, Diamond and Black Onyx Ring, the rectangular domed onyx ring with a pave-set round brilliant-cut diamond panel with oval cut-outs, with an approximate total weight of 0.85 carats, size 7‑3/4, 14.8 grams total weight. [1000/1500] Illustrated

623 Fourteen-Karat White Gold and Diamond Ring and Earrings, the ring set with forty-one round brilliant-cut diamonds and seven baguette-cut diamonds, with an approximate total weight of 1.45 carats, approximate color D-H and clarity VVS2‑SI2, size 7, and the large hoop earrings with two pairs of removable fourteenkarat white gold and diamond pendants, one set with an approximate .10‑carat marquise-cut diamond, surrounded by four diamond baguettes, and the other set with nine princess-cut diamonds, eleven full-cut diamonds and three baguette-cut diamonds, with an approximate total diamond weight of 0.65 carats for the pair, hoop, dia. 1‑5/8”, 13.0 grams total weight. [1000/1500] Illustrated 624 Fourteen-Karat White Gold, Natural Color-Change Sapphire and Diamond Ring, mounted with a bezelset GIA certified rectangular cushion-cut natural colorchange sapphire, with a color change from blue to violet, with a weight of 6.03 carats, GIA report #2171452441, surrounded by a halo of twelve European-cut diamonds, with an approximate total weight of 1.35 carats, approximate color H-J and clarity VS2‑SI2, and with ten prong-set transitional-cut diamonds on the shank of the ring, with an approximate total weight of 0.20 carats, approximate color H-J and clarity SI2‑I2, size 6, 6.0 grams total weight. [5000/8000] Illustrated 625 Ten-Karat White Gold and Diamond Ring, with a bypass design and set with approximately fifty-two diamond baguettes and forty-five round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, size 8, 4.8 grams total weight. [400/700] Illustrated 626 Eighteen-Karat White Gold and Blue and White Diamond Engagement Ring with Band, the floraldesigned mounting set with a round brilliant-cut treated blue diamond, with an approximate weight of .70 carats, the “petals” and the ring shank pave-set with approximately 110 round brilliant-cut diamonds, with an additional twenty-two on the separate band, with an approximate total weight of 1.25 carats, stamped “H. Emperor, 18k, 750”, size 7‑1/2, 4.7 grams total weight. [1000/1500] Illustrated 627 Beautiful Platinum and Diamond Ring, mounted with a prong-set round brilliant-cut diamond, with an approximate weight of 1.75 carats, approximate color F and clarity SI3, and fifty-six prong- and channel-set round brilliant-cut and baguette-cut diamonds, in a halo and down the shank of the ring, with an approximate total weight of 0.63 carats, approximate color D-E and clarity VS1‑VS2, size 7‑3/4, 5.3 grams total weight. [7000/10000] Illustrated

125

628 Stunning Eighteen-Karat White Gold and Diamond Ring, the ring in a cluster design and mounted with eighteen marquise-cut diamonds, with an approximate total weight of 2.34 carats, approximate color E-F and clarity VS2‑SI2, and twelve round brilliant-cut diamonds, with an approximate total weight of 3.86 carats, approximate color E-F and clarity SI1‑I1, size 5, 10.0 grams total weight. [1800/2500] Illustrated 629 Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 1.47 carats, accented by 100 round brilliant-cut diamonds, with an approximate total weight of 0.54 carats, approximate color I-K and clarity I2‑I2, size 7‑3/4, 3.2 grams total weight. [900/1200] Illustrated 630 Eighteen-Karat White Gold and Diamond Ring, mounted with a marquise-cut diamond, with an approximate weight of 0.50 carats, approximate color D and clarity SI2, accented by thirty-four round brilliantcut diamonds, with an approximate total weight of 0.27 carats, approximate color G-I and clarity SI2‑I2, size 7‑1/4, 3.2 grams total weight. [1800/2500] Illustrated 631 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with a triangle-cut treated tanzanite, with an approximate weight of 3.56 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 0.49 carats, approximate color H-I and clarity SI1‑SI2, size 7‑1/2, 5.0 grams total weight. [1400/1800] Illustrated 632 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant mounted with a triangle-cut treated tanzanite, with an approximate weight of 4.86 carats, and 100 single-cut diamonds surrounding the tanzanite and on the bail, with an approximate total weight of 0.64 carats, approximate color G-I and clarity VS1‑SI1, l. 1‑1/4”, suspended from an 18” fourteen-karat chain, 10.0 grams total weight. [2000/4000] Illustrated 633 Platinum, Tanzanite and Diamond Ring, mounted with a GIA certified oval-cut tanzanite, with a weight of 6.62 carats, GIA report #2171379189, accented by thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.38 carats, approximate color D-E and clarity VS1‑VS2, size 7‑3/4, 8.4 grams total weight. [3500/5000] Illustrated

126

634 Fourteen-Karat White Gold, Tanzanite and Diamond Necklace, composed of forty-two sections, each set with an oval-cut tanzanite, with an approximate total weight of 29.13 carats, surrounded by eighteen round brilliantcut diamonds, with an approximate total weight of 5.62 carats, approximate color G-I and clarity I2‑I3, l. 17”, 29.3 grams total weight. [5000/8000] Illustrated 635 Interesting Sterling Silver and Diamond Tassel Earrings, the earring tops in a swirling design, mounted with rose-cut diamonds, with an approximate total weight of 2.70 carats for the pair, the tassels composed of sterling silver ball chains, l. 3‑1/2”, 29.5 grams total weight. [300/500] Illustrated 636 Sterling Silver and Diamond Ring, the stylized ring in a freeform design and mounted with single-cut diamonds, with an approximate total weight of 1.45 carats, size 7‑1/2, 6.2 grams total weight. [300/500] Illustrated 637 Sterling Silver and Diamond Necklace, composed of thirteen bar links, each mounted with rose-cut diamonds, with an approximate total diamond weight of 8.70 carats, approximate color light brown and clarity I2‑I3, suspended from an oxidized sterling silver chain, adjustable l. 17” to 18”, 33.0 grams total weight. [350/500] Illustrated 638 Sterling Silver, Diamond and Ruby Snake Ring, mounted with approximately 300 round-cut diamonds, with an approximate total weight of 1.50 carats, and two faceted round rubies for the eyes, with an approximate total weight of 0.05 carats, size 7‑1/2, 14.0 grams total weight. [300/500] Illustrated

634 632

629

628

638 633

630

631

637 636

635

127

639

640

641

648 642

643

646

645 644

649 650

647 8 128

651

639 Two Eighteen-Karat Yellow Gold, Diamond and Enamel Rings, including a polychrome enamel Mughal ring set with twenty irregular faceted/shaped foil-back slab diamonds and one 8.0 mm x 14.0 mm oval faceted foil-back garnet, size 8, and an adjustable polychrome enamel Mughal ring set with a central emerald-green paste cabochon surrounded by eight irregular faceted/shaped foil-back slab diamonds, size 7 to 10, with an approximate total diamond weight of 3.00 carats for both, 28.2 grams total weight. [300/500] Illustrated 640 Sterling Silver, Emerald, Diamond and Paste Ring, the triangular-shaped ring set with sixtythree rose-cut diamonds, with an approximate total weight of 0.25 carats, six oval faceted emeralds, with an approximate total weight of 1.20 carats, and a triangular-shaped red paste cabochon, with an approximate weight of 5.00 carats, size 9, 13.8 grams total weight. [400/700] Illustrated 641 Sterling Silver, Carved Ruby and Diamond Necklace, composed of graduated carved treated ruby beads, with an approximate total weight of 540.0 carats, with five diamond roundels and finished with a diamond clasp, with an approximate total weight of .076 carats, l. 19‑1/2”, 156.6 grams total weight. [400/700] Illustrated 642 Fourteen-Karat White Gold, Star Ruby and Diamond Ring, mounted with a star ruby cabochon, with an approximate weight of 5.47 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.44 carats, size 7‑3/4, 5.5 grams total weight. [1200/1800] Illustrated 643 Fourteen-Karat White Gold, Rubellite Tourmaline and Diamond Ring, mounted with a central ovalcut rubellite, with an approximate weight of 1.48 carats, accented by four round brilliant-cut and four baguette-cut diamonds, with an approximate total weight of 0.28 carats, size 7‑1/2, 3.1 grams total weight. [600/900] Illustrated 644 Unusual Eighteen-Karat Rose Gold, Diamond and Ruby Ring, the off-centered ring with concentric circles comprised of bands of diamonds and rubies, with an approximate total diamond weight of 1.80 carats and an approximate total ruby weight of 2.80 carats, size 8, 17.4 grams total weight. [2000/4000] Illustrated

645 Eighteen-Karat Rose Gold, Black and White Diamond and Ruby Ring, the dome-shaped ring mounted with eight ruby and diamond flowers floating in a sea of 127 pave-set full-cut black diamonds, with an approximate total weight of 2.40 carats, and an approximate total ruby weight of 0.95 carats, size 8, 9.8 grams total weight. [1500/2500] Illustrated 646 Three Fourteen-Karat Yellow Gold and Garnet Necklaces, each necklace composed of polished garnets measuring 3.0 mm to 4.5 mm in diameter, interspersed with gold beads, l. 34”, 106.4 grams total weight. Provenance: The Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [500/800] Illustrated 647 Eighteen-Karat Rose Gold, Chocolate and White Diamond and Ruby Ring, in a flower design and pave set with 120 round faceted treated rubies, with an approximate total weight of 1.50 carats, forty-nine round brilliant-cut chocolate diamonds and thirty-seven white diamonds, with an approximate total weight of 0.95 carats, size 7‑3/4, 8.1 grams total weight. [1000/1500] Illustrated 648 Fourteen-Karat Yellow Gold, Aquamarine and Garnet Ring, mounted with an oval faceted aquamarine, with an approximate weight of 6.00 carats, flanked by two oval faceted garnets, with an approximate total weight of 0.70 carats, size 8, 6.4 grams total weight. [400/700] Illustrated 649 Two Fourteen/Eighteen-Karat Yellow Gold and Beryl Rings, including an eighteen-karat yellow gold ring band with a flexible rice-link design and set with an emerald-cut aquamarine, with an approximate weight of 2.65 carats, size 7‑3/4, and a fourteen-karat yellow gold Art Moderne-style ring mounted with a domed trapezoid-shaped beryl, with an approximate weight of 8.00 carats, size 8‑1/2, 20.2 grams total weight. [400/700] Illustrated 650 Unusual Eighteen-Karat Yellow Gold and Multicolor Chalcedony Necklace, composed of various shapes of green, aqua blue and rose-colored chalcedony slab beads edged in eighteen-karat gold, l. 34”, 104.8 grams total weight. [300/500] Illustrated 651 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with an elongated emeraldcut aquamarine, with an approximate weight of 2.97 carats, set on a split-shank accented with round brilliant-cut diamonds, with an approximate total weight of 0.32 carats, size 7‑3/4, 4.4 grams total weight. [900/1200] Illustrated

129

653 652

660 655 657

658 659

130

654

652 Sterling Silver and Turquoise Necklace, the long necklace with stations of bezel-set faceted turquoise, l. 46”, 39.1 grams total weight. [300/500] Illustrated 653 Fourteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with an emerald-cut aquamarine, with an approximate weight of 3.18 carats, and with approximately 0.38 carats of round brilliant-cut diamonds bordering the stone and on the ring shank, size 7‑3/4, 4.1 grams total weight. [1000/1500] Illustrated 654 Unusual Fourteen-Karat White Gold and Blue Kyanite Necklace, composed of blue kyanite slices, ranging in size from 25.0 mm to 45.0 mm, finished with a fourteen-karat white gold toggle clasp, l. 16‑1/2”, 330.7 grams total weight. [300/500] Illustrated 655 Fourteen-Karat Yellow Gold, Platinum, Aquamarine and Diamond Ring, set with a faceted emerald-cut aquamarine, with an approximate weight of 8.85 carats, accented by four single-cut diamonds set in platinum, with an approximate total diamond weight of 0.06 carats, size 11, 7.5 grams total weight. [500/800] Illustrated 656 Fourteen-Karat Yellow Gold and Amazonite Necklace, composed of graduated egg-shaped amazonite slabs, ranging in size from 20.0 mm to 35.0 mm, finished with a fourteen-karat yellow gold clasp, l. 17”, 133.8 grams total weight. [300/500] Illustrated

656

657 Fourteen-Karat Yellow/Green Gold and Quartz Bracelet, set with five cushion-shaped green quartz cabochons between the five rectangular gold links, l. 8”, 38.4 grams total weight. [400/700] Illustrated 658 Fourteen-Karat Yellow Gold and Amazonite Necklace, composed of graduated amazonite beads, ranging in size from 20.0 mm to 60.0 mm, separated by gold beads and finished with a fourteen-karat yellow gold clasp, l. 17‑1/2”, 149.1 grams total weight. [300/500] Illustrated 659 Eighteen-Karat Yellow Gold and Carved Turquoise Necklace, composed of nine carved oval turquoise plaques of flowers, one measuring 35.0 mm x 21.0 mm and eight measuring 21.0 mm x 12.0 mm, each plaque separated by a twisted filigree gold link, l. 16‑1/2”, 27.4 grams total weight. [400/700] Illustrated 660 Fourteen-Karat Yellow Gold Wrist Watch, the oval watch with a textured meshed link band and a quartz movement, the white dial with gold markers and signed “Continental, Geneve, Quartz”, l. 6‑1/2”, 33.4 grams. [500/800] Illustrated

131

661 Fourteen-Karat Yellow Gold and Solar Quartz Necklace, composed of graduated solar quartz slices edged in gold, ranging in size from 15.0 mm to 28.0 mm, finished with a fourteen-karat yellow gold toggle clasp, l. 19”, 96.8 grams total weight. [400/700] Illustrated 662 Fourteen-Karat White Gold, Tourmaline and Diamond Ring, mounted with an elongated emeraldcut green tourmaline, with an approximate weight of 1.85 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.46 carats, size 7‑3/4, 3.5 grams total weight. [800/1200] Illustrated 663 Eighteen-Karat White Gold, Emerald and Diamond Ring, set with a central emerald-cut treated emerald, with an approximate weight of 4.09 carats, and seventy round brilliant-cut diamonds, with an approximate total weight of 0.78 carats, color G-I and clarity VS2‑SI1, size 6‑3/4, 6.0 grams total weight. [500/800] Illustrated 664 Sterling Silver, Diamond and Green Onyx Earrings, the dangle earrings with a polished green onyx drop surrounded with a band of silver mounted with rosecut diamonds, suspended from a fleur-de-lis set with rose-cut diamonds, with an approximate total diamond weight of 0.60 carats for the pair, l. 2‑1/2”, 15.3 grams total weight. [300/500] Illustrated 665 Beautiful Fourteen-Karat White Gold, Emerald and Diamond Ring, mounted with a GIA certified octagonal step-cut treated emerald, with a weight of 11.48 carats, GIA report #2161547144, surrounded by twenty-eight round brilliant-cut diamonds, with an approximate total weight of 1.85 carats, approximate color G-I and clarity I1‑I2, size 7‑3/4, 10.6 grams total weight. [4000/7000] Illustrated 666 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with a round treated emerald, with an approximate weight of 1.57 carats, and with approximately 0.26 carats of round brilliant-cut diamonds in a halo around the stone and on the ring shank, size 7‑3/4, 3.7 grams total weight. [1800/2500] Illustrated 667 Eighteen-Karat Yellow Gold, Diamond and Malachite “Universal, Geneve” Wristwatch, the oval watch with a mesh band and an oval malachite dial surrounded by a bezel set with twenty-six round brilliant-cut diamonds, with an approximate total weight of 1.25 carats, the watch with a seventeen jewels manual wind mechanical movement, the case, dial and movement signed by Universal, l. 5‑3/4”, 44.8 grams total weight. [600/900] Illustrated

132

668

668 Fourteen-Karat Yellow Gold and Emerald Necklace, composed of faceted, treated emerald beads, with an approximate total weight of 350.0 carats, separated by gold roundels and finished with a gold clasp, l. 18”, 113.1 grams total weight. [300/500] Illustrated 669 Men’s Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, mounted with a central oval-cut treated emerald, with an approximate weight of 1.56 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.15 carats, and flanked on each side by a square-cut emerald, with an approximate total weight of 0.15 carats, size 11, 13.0 grams total weight. [1400/1800] Illustrated 670 Eighteen-Karat Yellow Gold, Green Quartz and Turquoise Crown Charm, the large heavy crown set with five oval green quartz cabochons, one measuring 18.0 mm x 13.5 mm and four measuring 13.8 mm x 11.8 mm, and fourteen round turquoise cabochons, four measuring 4.8 mm in diameter and ten measuring 3.0 mm in diameter, size 1‑1/4” x 1‑5/8”, 21.4 grams total weight. [400/700] Illustrated 671 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, the dome ring with a vine design and set with five round brilliant-cut diamonds, with an approximate total weight of 0.30 carats, and eight emerald-cut emeralds, with an approximate total weight of 4.25 carats, size 8‑1/2, 12.4 grams total weight. [600/900] Illustrated

663

661 662

665 666 664

669

670

667 671

133

675

674

677

676

678

679

134

680

674 Fourteen-Karat Yellow Gold and Diamond Bracelet, the antique bracelet with a curb link and a clasp mounted with six round brilliant-cut diamonds, with an approximate total weight of 0.29 carats, l. 6”, 22.2 grams total weight. [400/700] Illustrated 675 Fourteen-Karat Yellow Gold and Smoky Quartz Pendant, the large pendant set with two round faceted smoky quartz gems, one with an approximate weight of 39.65 carats and the other with an approximate weight of 109.65 carats, l. 2‑3/4”, w. 1‑1/4”, 32.2 grams total weight. [300/500] Illustrated

672

676 Two Eighteen/Fourteen-Karat Gold Rings, including an eighteen-karat yellow gold ring, ca. 1918‑1919, London, in the shape of a buckle, mounted with two minecut diamonds, with an approximate total weight of 0.06 carats, size 8, and a fourteen-karat yellow/white/rosegold trinity ring, size 7, 16.5 grams total weight. [300/500] Illustrated 677 Fourteen-Karat Yellow Gold Slide Bracelet, composed of one ten-karat yellow gold slide set with seven round faceted sapphires, and four fourteen-karat yellow gold slides, one set with a round diamond melee, one set with a round faceted sapphire, one set with a small mabe pearl and one set with four round faceted synthetic emeralds, l. 7”, 19.6 grams total weight. [400/700] Illustrated

673

672 Fourteen-Karat Yellow Gold and Ethiopian Black Opal Necklace, composed of graduated opal briolettes with a good play of color, ranging in size from 4.0 mm to 9.0 mm, separated by round gold tubes and finished with a fourteen-karat yellow gold clasp, l. 19”, 4.9 grams total weight. [400/700] Illustrated 673 Fourteen-Karat Yellow Gold and Opal Pendant, the oval pendant designed as a flower and mounted with an oval opal cabochon, with an approximate total weight of 8.50 carats, h. 1‑1/2”, w. 1”, 8.3 grams total weight. [300/500] Illustrated

678 Victorian Fourteen-Karat Yellow Gold, Diamond and Enamel Brooch/Pendant, the round concave brooch with polychrome enamel of a “Man on the Moon” design, set with twenty rose-cut diamonds, with an approximate total weight of 0.10 carats, dia. 1‑1/8”, 7.3 grams total weight. [300/500] Illustrated 679 Victorian-Style Sixteen-Karat Yellow Gold, Enamel and Paste Bracelet, the hand-engraved and fabricated bead-link bracelet decorated with black and white enamel and set with a simulated emerald and ruby paste, l. 6‑7/8”, 44.2 grams total weight. [400/700] Illustrated 680 Two Victorian Fourteen/Eighteen-Karat Yellow Gold Carved Carnelian Rings, including an eighteen-karat yellow gold ring mounted with an oval carnelian intaglio of a woman’s head, size 12‑1/4, and a fourteen-karat yellow gold ring mounted with an oval concave carnelian with a woman’s head in relief, size 9‑1/4, 14.6 grams total weight. [400/700] Illustrated

135

681

686 683

684

682

688 690 687

691

136

689

685 Fourteen-Karat Rose Gold and Picasso Jasper Necklace, composed of graduated jasper sticks, ranging in size from 15.0 mm to 45.0 mm, separated by rose gold roundels and finished with a fourteenkarat rose gold clasp, l. 18”, 152.3 grams total weight. [300/500] Illustrated 686 Fourteen/Ten-Karat Yellow Gold and Coral Jewelry Suite, including a fourteen-karat yellow gold eightstrand coral necklace, interspersed with yellow gold beads, l. 17”, a ten-karat yellow gold pin, featuring a wrapped coral branch, dia. 1”, and a pair of coral dangle earrings, l. 1”, 76.4 grams total weight. Provenance: The Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [400/700] Illustrated

685

681 Eighteen-Karat Yellow Gold and Diamond Ring, the oval mounting with a red and black lacquered concave interior with a lozenge-shaped diamond cluster, set with nine single-cut diamonds, surrounded by a border of eighteen single-cut diamonds, with an approximate total diamond weight of 0.55 carats, size 6‑3/4, 8.3 grams total weight. [300/500] Illustrated 682 Fourteen-Karat Yellow Gold Victorian “Grand Tour” Cameo Brooch, the large detailed mythological-carved cameo mounted in an oval frame, size 2” x 2‑3/8”, 23.2 grams total weight. [500/800] Illustrated 683 Fourteen-Karat Yellow Gold and Carnelian Intaglio Ring, mounted with a carved carnelian intaglio measuring approximately 20.0 mm x 30.0 mm, size 4‑1/2, 10.3 grams total weight. [300/500] Illustrated 684 Fourteen-Karat Yellow Gold and Citrine Ring, composed with an oval faceted citrine, with an approximate weight of 7.62 carats, set in an elaborate mounting of overlapping “twigs”, size 9, 15.9 grams total weight. [400/700] Illustrated

687 Fourteen-Karat Yellow Gold, Coral and Diamond Ring, mounted with a cabochon-cut coral, with an approximate weight of 3.80 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.27 carats, size 7‑3/4, 4.6 grams total weight. [600/900] Illustrated 688 Fourteen-Karat Yellow Gold and Italian Coral Branch Necklace, composed of graduated red coral branches, ranging in size from 15.0 mm to 45.0 mm, finished with a fourteen-karat yellow gold clasp, l. 17‑1/2”, 65.1 grams total weight. [300/500] Illustrated 689 Fourteen-Karat Yellow Gold and Red Coral Necklace, composed of bamboo-shaped red coral beads separated by gold beads and finished with a fourteen-karat yellow gold clasp, l. 40”, 27.8 grams total weight. [300/500] Illustrated 690 Eighteen-Karat Yellow Gold, Coral and Ruby Brooch, designed with three chirping birds, the heads and bodies composed of angel-skin coral cabochons, the eyes set with a round faceted ruby, stamped “18K, Com, Italy”, size 1‑1/2” x 1”, 8.0 grams total weight. [400/700] Illustrated 691 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with a central faceted rectangular-cut morganite, with an approximate weight of 1.97 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, size 7‑3/4, 3.5 grams total weight. [700/1000] Illustrated

137

692 Pair of Fourteen-Karat Rose Gold, Morganite and Diamond Earrings, each dangle earring mounted with an emerald-cut morganite, with an approximate total weight of 2.74 carats for the pair, accented by round brilliant-cut diamonds, with an approximate total weight of 0.76 carats for the pair, l. 1‑1/8”, 4.3 grams total weight. [900/1200] Illustrated 693 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with a large oval faceted morganite, with an approximate weight of 10.26 carats, surrounded by a halo of round brilliant-cut diamonds, with additional round brilliant-cut diamonds on the ring shank, with an approximate total weight of 0.75 carats, stamped “M.Christoff, 14K”, size 7‑3/4, 7.0 grams total weight. [1200/1800] Illustrated 694 Fourteen-Karat Rose Gold, Morganite and Diamond Pendant with Chain, the pendant set with a faceted rectangular-cut morganite, with an approximate weight of 1.91 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, l. 5/8”, suspended from a fourteen-karat rose gold box-link chain, l. 17”, 3.0 grams total weight. [400/700] Illustrated 695 Fourteen-Karat White Gold, Tourmaline and Diamond Ring, the large oval faceted tourmaline, with an approximate weight of 4.80 carats, surrounded by sixteen round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 8, 5.9 grams total weight. [400/700] Illustrated 696 Three Le Vian Fourteen-Karat Yellow/White/Rose Gold, Chocolate and White Diamond Rings, each ring set with a 0.25‑carat round brilliant-cut chocolate diamond, surrounded by a halo of eighteen round brilliant-cut white diamonds and twenty-four round brilliant-cut white diamonds on the shank, with an approximate total diamond weight of 1.50 carats for the trio, stamped “Le Vian, 585”, size 7, 4.7 grams total weight. [1500/2500] Illustrated 697 Ten-Karat Yellow Gold and Ruby Ring, with a princess design, mounted with thirty-nine round faceted rubies, with an approximate total weight of 1.35 carats, size 9‑1/4, 6.6 grams total weight. [400/700] Illustrated

138

698 Three Antique Fourteen/Eighteen-Karat Rose/Yellow Gold Rings, including a fourteen-karat rose and yellow gold ring set with five round faceted rubies and eight table-cut rubies, size 10‑1/4, an eighteen-karat yellow gold ring set with a 2.5 mm mabe pearl flanked by two table-cut rubies, size 7, and an eighteen-karat yellow gold ring set with six oval faceted rubies and six mabe pearls, size 8‑1/2, 20.2 grams total weight. [400/700] Illustrated 699 Eighteen-Karat White Gold, Ruby and White and Yellow Diamond Ring, set with an oval faceted treated ruby, with an approximate weight of 1.56 carats, flanked by two oval light yellow diamonds and twelve round brilliant-cut diamonds, with an approximate total diamond weight of 0.58 carats, size 8, 4.1 grams total weight. [1500/2500] Illustrated 700 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, the wide tapered band set with forty-two invisibleset treated table-cut rubies, with an approximate total weight of 2.50 carats, and forty round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, size 8, 9.5 grams total weight. [1000/1500] Illustrated 701 Fourteen-Karat Yellow Gold, Diamond, Sapphire and Ruby Brooch, designed as two nesting songbirds and set with twelve single-cut diamonds, with an approximate total weight of 0.25 carats, the nest set with four round faceted rubies, with an approximate total weight of 0.13 carats, and three round faceted sapphires, with an approximate total weight of 0.09 carats, size 2” x 1”, 8.3 grams total weight. [300/500] Illustrated 702 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, invisible-set with square-cut treated rubies, with an approximate total weight of 2.37 carats, and accented with round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, size 7‑1/2, 5.2 grams total weight. [700/1000] Illustrated 703 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 6.59 carats, accented by thirtyfour round brilliant-cut diamonds, with an approximate total weight of 0.65 carats, approximate color I-K and clarity I1‑I2, size 7‑3/4, 3.5 grams total weight. [600/900] Illustrated

692

693 694

695 696

700

698 697 699

701

702

703

139

710

708

711

705

712 714

709

707

706

140

713

704

704 Two Pairs of Retro Modern Earrings, including a pair of fourteen-karat yellow gold and pearl earrings, each mounted with four 4.4 mm cultured pearls, l. 1‑1/8”, and a pair of ten-karat yellow gold, ruby and diamond earrings, each mounted with a single-cut diamond, with an approximate total weight of 0.08 carats for the pair, and six round faceted rubies, with an approximate total weight of 0.36 carats for the pair, l. 1”. [400/700] Illustrated 705 Mikimoto Fourteen-Karat Yellow Gold and Cultured Pearl Brooch, the “tree of life” brooch accented with thirteen cultured cream/white pearls with a good luster, ranging in size from 4.2 mm to 6.3 mm, l. 2‑1/8”, 10.6 grams total weight. [400/700] Illustrated 706 Eighteen-Karat Yellow Gold, Diamond and Pearl Ring, the unusual ring set with a 12.2 mm round pearl with a golden luster, and twenty round brilliant-cut diamonds, with an approximate total weight of 0.30 carats, size 7‑3/4, 7.0 grams total weight. [600/900] Illustrated 707 Tiffany & Company Eighteen-Karat Yellow Gold and Pearl Ear Clips, each ear clip designed as a flowing blossom and set with an 8.5 mm cultured pearl, stamped “Tiffany & Co., 18K”, l. 1”, 21.8 grams total weight. [700/1000] Illustrated 708 Eighteen-Karat Yellow Gold/Platinum, Pearl and Diamond Ring, mounted with a large baroque freshwater pearl, measuring approximately 17.0 mm x 17.0 mm, highlighted by ten round brilliant-cut diamonds and four marquise-cut diamonds, all set in platinum, with an approximate total weight of 0.66 carats, size 5‑3/4, 12.2 grams total weight. [400/700] Illustrated

709 Four-Piece Eighteen/Fourteen-Karat Yellow/White Gold and Pearl Earring Group, including a pair of eighteen-karat white gold and coin pearl earrings, each mounted with two round single-cut diamonds, with an approximate total weight of 0.02 carats, size 12.4 mm, a pair of fourteen-karat white gold screw-back single-pearl earrings, size 7.30 mm, a pair of fourteen-karat white gold screw-back two-pearl dangle earrings, size 6.6 mm, and a pair of fourteen-karat yellow gold and mabe pearl earrings, dia. 1”, 22.0 grams total weight. Provenance: The Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [300/500] Illustrated 710 Platinum, Pearl and Diamond Ring, set with a large baroque freshwater pearl, measuring approximately 15.0 mm in diameter, accented with eight mine-cut diamonds, with an approximate total weight of 0.10 carats, size 7, 7.7 grams total weight. [400/700] Illustrated 711 Fourteen-Karat White Gold, Tahitian Pearl and Diamond Necklace, the stylized necklace set with ten dark silver Tahitian cultured pearls, ranging in size from 11.0 mm to 13.0 mm, with a very good luster, and 649 round brilliant-cut diamonds, with an approximate total weight of 5.68 carats, approximate color G-I and clarity I1‑I2, l. 17”, 51.9 grams total weight. [7000/10000] Illustrated 712 Fourteen-Karat White Gold, Tahitian Pearl and Diamond Ring, mounted with a dark silver Tahitian pearl, measuring approximately 12.0 mm in diameter, with a very good luster, surrounded by twenty-four round brilliant-cut diamonds, with an approximate total weight of 1.23 carats, approximate color F-H and clarity I1‑I2, size 8‑1/2, 8.4 grams total weight. [1500/2500] Illustrated 713 Sterling Silver, Tourmaline and Diamond Necklace, composed of bezel-set tourmalines in a variety of shades, carved with a leaf design, interspersed with quatrefoil-mounted table-cut diamonds, with an approximate total weight of 0.75 carats, l. 48”. [400/700] Illustrated 714 Sterling Silver and Fourteen-Karat Yellow Gold Bracelet and Ring, both pieces composed of three rows of sterling silver and accented with fourteen-karat yellow gold X’s, bracelet, l. 7”, ring, size 5‑3/4, 38.7 grams total weight. Provenance: The Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [300/500] Illustrated

141

720 Fourteen-Karat White/Yellow Gold Diamond Ring, the customized ring set with one round brilliant-cut diamond, with an approximate weight of 1.00 carat, approximate color H and clarity I3, and seven round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, approximate color H-I and clarity I2‑I3, size 7‑1/2, 10.8 grams total weight. [500/800] Illustrated 715

715 Two Adler’s Streetcar Pins, including a sterling silver streetcar pin, stamped “Adler”, and a fourteen-karat yellow gold streetcar pin mounted with two round brilliant-cut diamonds, with an approximate total weight of 0.04 carats, stamped “Adler”, l. 1‑1/2”, 25.3 grams total weight. [400/700] Illustrated 716 Eighteen-Karat Yellow Gold and Diamond Ring, crafted in a half dome design and pave-set with nineteen round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, stamped “18K, Cellino”, size 6‑1/2, 6.2 grams total weight. Provenance: The Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [900/1200] Illustrated 717 Fourteen-Karat Yellow Gold Graduated Link Necklace, the links ranging in size from 1/4” to 11/16”, l. 17”, 27.2 grams total weight. [400/700] Illustrated 718 Eighteen-Karat Yellow Gold Bracelet, composed of a heavy cable link chain, l. 8”, 15.2 grams total weight. [400/700] Illustrated 719 Fourteen-Karat White/Yellow Gold and White/Yellow Diamond Ring, set with an oval fancy yellow diamond, with an approximate weight of 0.24 carats, flanked by two pear-shaped fancy yellow diamonds, with an approximate total weight of 0.28 carats, all surrounded by halos of round brilliant-cut fancy yellow diamonds, with an approximate total weight of 0.73 carats, trimmed with round brilliant-cut white diamonds, with an approximate total weight of 0.18 carats, size 7‑3/4, 5.0 grams total weight. [1400/1800] Illustrated

142

721 Two Fourteen-Karat Yellow/Rose/White Gold Rings, including a six-band trinity rolling ring, size 5‑1/4, and a three-tiered ring mounted with five round brilliant-cut diamonds, with an approximate total weight of 0.05 carats, size 4‑1/2, 17.1 grams total weight. Provenance: The Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [300/500] Illustrated 722 Collection of Seven Fourteen-Karat Yellow Gold Charms, including a Tiffany & Co. enamel charm commemorating the “Illinois Masonic Medical Center” and the “First Moon Landing”; a charm with an Indian goddess, set with one round faceted ruby, six round faceted sapphires and a 6.0 mm pearl; a peacock charm set with nine round faceted pink sapphires and eight round faceted blue sapphires; a sphere set with ten 4.0 mm round green tourmaline cabochons and fifteen 4.0 mm round pink tourmaline cabochons; and three enamel charms comprised of a Christmas tree, a sweet pea and a round stained glass window, dia. 3/4” to 1‑3/4”, 64.0 grams total weight. [500/800] Illustrated 723 Fourteen-Karat Yellow Gold and Lapis Lazuli Bracelet, composed of lapis lazuli curved bar links separated by lapis lazuli squares overlaid with gold dragon heads, l. 7”, w. 5/8”, 14.0 grams total weight. [300/500] 724 Six-Piece Collection of Fourteen/Eighteen-Karat Yellow Gold, Diamond and Sapphire Jewelry, including four rings set with diamonds and sapphires, a pair of fourteen-karat yellow gold, diamond and sapphire earrings, and a fourteen-karat yellow gold, diamond and sapphire cross pendant with a 16” rope chain, with an total approximate diamond weight of 1.50 carats and sapphire weight of 2.64 carats for the lot, ring sizes 6‑3/4, 7, 7‑3/4 and 8, 28.6 grams total weight. [500/800] Illustrated 725 Gold Vermeil, Sapphire and Ruby Turtle Ring, mounted with nineteen sapphire cabochons, measuring approximately 4.0 mm to 5.0 mm, with an approximate total weight of 0.76 carats, and two faceted round rubies for the eyes, with an approximate total weight of 0.05 carats, size 8, 10.2 grams total weight. [300/500]

Illustrated 724

721

722

717

725 718

720

719

716

143

726 730

728 729

733

731

727

144

732

726 Two Fourteen-Karat Yellow Gold Bracelets, the two hinged bangle bracelets accompanied by a flexible vermeil bracelet, bangles, inside circumference, 6‑5/8” and 6‑3/4”, vermeil bracelet, l. 7‑1/4”, 28.2 grams total weight. [300/500] Illustrated 727 Three Fourteen-Karat Yellow Gold Necklaces, including a 3.3 mm rope necklace, l. 18”, a 4.0 mm rope necklace, l. 30”, and an Italian necklace with a filigree link, l. 18‑1/2”, 26.8 grams total weight. [400/700] Illustrated 728 Fourteen-Karat Yellow Gold Pendant, the rectangular molten bar pendant stamped “14k”, l. 1‑1/2”, including bail, 15.8 grams total weight. [300/500] Illustrated

734 Dolce & Gabbana White Textured Leather Handbag, having two rolled handles, with top-stitching, gold stud and d-ring trim, resting on conical gold feet, lined in cream logo fabric with a zippered pocket labeled “Dolce & Gabbana/Made in Italy” on a white leather patch, h. 6‑1/2”, w. 11‑1/2”, d. 5”, handle drop: 4”. [300/500] Illustrated 735 Louis Vuitton Monogram Canvas and Leather Rolling Softsided Suitcase, 20th century, with a rolled leather handle and zippered opening, the zipper ending with a combination lock, one side with two small metal D-rings attached, raised on four casters, overall, h. 25‑1/2”, w. 25‑3/4”, d. 9‑1/2”. [300/500] Illustrated

729 Three Pairs of Fourteen-Karat Gold Earrings, including a fourteen-karat yellow gold triangular-shaped pair, each mounted with a pear-shaped garnet, with an approximate total weight of 1.00 carat for the pair, l. 1‑1/2”, a pair of fourteen-karat yellow gold openwork hoop earrings, l. 7/8”, and a pair of fourteen-karat yellow/ rose/white gold twisted hoop earrings, l. 1‑1/2”, 19.2 grams total weight. [400/700] Illustrated 730 Eighteen-Karat Yellow Gold “Judaica” Pendant, hand-engraved with the “Ten Commandments” on stone tablets, size 1‑1/8” x 1‑3/4”, 9.7 grams total weight. [400/700] Illustrated 731 Eighteen-Karat Yellow Gold and Amethyst Ring, the retro design ring mounted with a rectangular faceted amethyst, with an approximate weight of 23.0 carats, size 8‑1/2, 14.8 grams total weight. [500/800] Illustrated

734

732 Fourteen-Karat Rose Gold, Ametrine and Diamond Ring, mounted with a central emerald-cut ametrine, with an approximate weight of 7.75 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.53 carats, size 7‑3/4, 7.2 grams total weight. [900/1200] Illustrated 733 Fourteen-Karat White Gold, Kunzite and Diamond Ring, mounted with an oval faceted kunzite, with an approximate weight of 2.59 carats, and flanked by four round brilliant-cut diamonds, and four tapered baguettes, with an approximate total diamond weight of 0.60 carats, size 7‑3/4, 4.9 grams total weight. [700/1000] Illustrated

735

145

736 Three-Piece Louis Vuitton Graduated Set of Softsided Luggage, 20th century., monogram canvas trimmed with top-stitched leather, each having a zippered entry opening to a chocolate brown cotton-lined interior with two herringbone cotton straps and two elasticized pockets, the smallest example with a “special license” tag attached below one pocket, the largest example with a buckled leather strap encircling the bag and a leather-trimmed “special license” tag on the interior floor, all with various Talon zippers and resting on four semi-rounded metal feet, largest overall h. 24”, w. 31‑1/2”, d. 12”, mid-size overall h. 21‑1/2”, w. 25‑1/2”, d. 9‑1/4”, smallest overall h. 20”, w. 23‑1/4”, d. 8”. [500/800] Illustrated 737 William Spratling Sterling Silver and Rosewood Bracelet, the retro cuff bracelet with a step design, stamped “Spratling Silver” in an oval cartouche and “Spratling made in Mexico” in a circle with the Spratling logo at the center, inside circumference, 6‑3/4”, w. 1‑1/2”, 72.5 grams total weight. [600/900] Illustrated

737

738

738 Georg Jensen Sterling Silver and Moonstone Bracelet, the flexible open-link bracelet set with seven round moonstone cabochons measuring 7.0 mm in diameter, the clasp stamped “Georg Jensen, GI, 925 Sterling, Denmark, 13” and one of the links stamped “VW, sterling, 9255”, l. 8‑1/2”, 33.8 grams total weight. [400/700] Illustrated 739 Sterling Silver and Enamel David Andersen Bracelet and Brooch, the bracelet with twelve charms representing the zodiac signs, l. 8”, and the brooch in the form of a seahorse, l. 2”, all stamped “David Andersen Norway” and “Sterling”. [500/800] Illustrated

739

736

146

740 Three-Piece Group of Sterling Silver Jewelry, including a Mignon Faget “Oyster” slide pendant, with a freshwater pearl, l. 1‑1/2”, a sterling silver clam shell pendant, l. 2‑1/4”, and a sterling silver three-quarter hoop necklace with a chain back, inside circumference, 15‑1/2”, 55.6 grams total weight. [400/700] Illustrated 741 Sterling Silver Necklace, composed of bicone-shaped beads, measuring approximately 17.0 mm x 24.0 mm, l. 19”, 100.6 grams total weight. [300/500] Illustrated 742 Set of Six Cased Tiffany-Retailed Italian Sterling Silver Placecard Holders, fourth quarter 20th century, Milan, each in the form of a realistically detailed fruit or nut, including a strawberry, cherry cluster, grape cluster, acorn cluster, walnut or hazelnut, each approximately l. 1‑1/2”, 2.31 total t. oz., presented in a fitted brown satin- and velvet-lined case, 7‑3/4” x 5‑1/4”. [400/700] Illustrated

740

743 Collection of Five Continental Silverplate Small Animal Figurines, contemporary, including three Christofle “Lumiere d’Argent” examples (a chickadee, a duckling and an elephant) and two Marcello Giorgio examples (a rabbit and a squirrel), the smallest, h. 1‑1/4”, the largest, h. 3‑1/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] Illustrated 744 Italian Silver Figure of a Tiger, contemporary, by Fratelli Magrino, Florence, the bonded porcelain-filled sterling figure depicted reclining and presented on a verdigris marble plinth base, h. 6‑1/2”, l. 13‑3/8”, d. 6‑5/8”. [700/1000] Illustrated

741

743

742

744

147

745 American Colonial Revival Mahogany BlockFront Chest, 20th century, bench made in the Newport style with a triple shell-carved drawer above three additional drawers and raised on ogee bracket feet, h. 35”, w. 37”, d. 20”. [600/900] Illustrated 746 Pair of Boston-Style Brass and Wrought Andirons, ca. 1900, constructed using period billet bars and uprights, with brass paw feet and twisted molded standards, h. 24‑3/4”, w. 13‑1/4”, d. 21‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. Exhibited: Louisiana State Museum, Friends of the Cabildo, 250 Years of Life in New Orleans, The Rosemonde E. and Emile Kuntz Collection and the Felix H. Kuntz Collection, Exhibition Part I, May 21‑June 23, 1965, #17. [300/500] Illustrated 747 Colonial Revival Mahogany and Parcel-Gilt Mirror in the Chippendale Style, second quarter 20th century, the mahogany surround with giltwood molded leaves, under a swan’s-neck pediment with giltwood trim and a gilt-trimmed mahogany urn-form finial terminating in a spray of flowers, a trail of gilt oak leaves and acorns on each side, h. 48‑1/2”, w. 23”. [500/800] Illustrated 748 American Federal String-Inlaid Mahogany Sideboard, first quarter 19th century, with a complex shaped front with a central drawer above a pair of recessed curved cabinet doors and flanked by curved ends, each with a drawer above a cabinet and raised on slender tapered legs, h. 42”, w. 69”, d. 26”. [300/500] Illustrated

745

148

746

747

748

749 Pair of Federal-Style Colonial Revival “Double Lemon Top” Andirons, second quarter 20th century, American, h. 20”, w. 9‑1/4”, d. 18”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] Illustrated

752

750 American Federal Band-Inlaid and Birdseye Maple and Mahogany Dressing Table, ca. 1805, attributed to the shop of John and Thomas Seymour, Boston, the top with geometric inlaid banding on its edge, the case with two over a single drawer, the drawers each with birdseye maple panels edged with line stringing and rosewood crossbanding, flanked by like vertical panels, the legs with fluting over similar inlaid maple panels, the lower legs with inlaid cuffs and square panel therm feet, h. 35‑3/8”, w. 35‑1/2”, d. 20‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, by descent from the Felix, Rosemonde and Emile Kuntz collection, New Orleans, Louisiana. [1200/1800] Illustrated One of the iconic pieces of American Federal furniture, a dressing table with a nearly identical base, is illustrated as the cover item in Mussey, The Furniture Masterworks of John and Thomas Seymour, 2003, pp. 254‑255. 751 Colonial Revival Bronze Lantern, third quarter 20th century, stamped “Atlas Sound Corp., Brooklyn, NY”, of octahedron form, the top fitted with an electrical socket, the glass panels and speakers now lacking, h. 28”, w. 17”, d. 17”. [300/500] 752 Vernacular Louisiana-Style Cypress Desk/Farmhouse Table, the rectilinear top over a frieze with a pair of drawers, raised on tapering square legs, of pegged construction crafted using re-purposed wood, h. 31”, w. 60”, d. 42”. [800/1200] Illustrated

750

753 Antique Sugar Cone Tray, 19th century, probably Louisiana, carved from a single piece of pine, h. 2‑1/2”, w. 71‑1/2”, d. 7‑3/4”. [300/500] 754 American Southern Walnut Farmhouse Table, late 19th century, the broad plank top with breadboard ends and raised on tapered legs, h. 29”, w. 39‑1/2”, l. 66‑1/2”. [500/800] Illustrated

749

754

149

757

756

755

759

755 Philadelphia Expansionist-Era Five-Piece Coin (.900) Silver Coffee and Tea Set, first quarter 19th century, by Edward Lownes (1792‑1834), including a coffeepot, h. 10”, l. 10‑3/4”, a teapot, h. 10”, l. 11”, a covered sugar urn, h. 9‑1/4”, w. 7‑1/2”, a cream jug, h. 7‑1/8”, w. 6‑1/4”, and a waste bowl, h. 5”, dia. 8”, each with a pear-shaped body and ogee-domed foot decorated with narrow milled annulated banding, with acanthus-mounted “gooseneck” spouts, acanthus-crested “s”-scrolled handles, and domed lids with acanthus-mounted acorn finials, 160.05 total t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [1200/1800] Illustrated 756 New Orleans-Retailed Sterling Silver Wood & Hughes “Angelo” Ladle, the pattern designed in 1875 by Charles F. Richers, New York, retailed by A. B. Griswold, New Orleans, monogrammed “MH”, l. 13‑3/4”, 8.13 t. oz. [300/500] Illustrated 757 Tiffany & Co. Sterling Silver “Blackberry” Berry Spoon, 1902‑1907, New York, the bowl gilded, l. 9‑1/2”, 6.32 t. oz. [400/700] Illustrated

150

758

758 Six-Piece Shreve & Co. Sterling Silver Coffee and Tea Set, first quarter 20th century, San Francisco, including a kettle-on-stand, h. 13”, l. 9”, a coffeepot, h. 8”, l. 9‑1/4”, a teapot, h. 6”, l. 9‑3/4”, a covered sugar bowl, h. 4‑3/4”, w. 7”, a cream jug, h. 4”, l. 5‑5/8” and a waste bowl, h. 3”, dia. 4‑3/4”, each of flattened spherical form with waisted collar, decorated with a band of embossed and applied chrysanthemums, with crested handles, “gooseneck” spouts and domed lids with toupie finials, monogrammed “MNE”, 96.25 total t. oz. [1200/1800] Illustrated 759 Four American Sterling Silver Serving Pieces, early 20th century, including a Tiffany “Broom Corn” egg server, monogrammed “EU”, l. 9‑1/4”, a Durgin “Louis XV” casserole spoon, l. 9”, a Whiting “Duke of York” berry spoon, monogrammed “F”, l. 9”, and a Reed & Barton “Marlborough” casserole spoon, l. 8‑3/4”, 14.76 total t. oz. [400/700] Illustrated

760

762

761

760 Gorham Sterling Silver-Mounted Engraved Glass Vase, first quarter 20th century, Providence, Rhode Island, the colorless glass body of slender ovoid form, wheel-engraved with daylilies and raised on a circular foot, the flaring neck mounted with a deeply everted silver collar with engraved leaves and reedand-ribbon rim, h. 16‑1/2”, dia. 7”. [400/700] Illustrated 761 Good Pair of American Sterling Silver Fruit Stands, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, each of lobed circular form decorated with embossed and pierced realistically detailed grapevines among arched trellises, raised above a waisted stem and domed foot en suite, monogrammed “ALW”, h. 4‑3/4”, dia. 9”, 25.01 total t. oz. [800/1200] Illustrated

763

764

762 S. Kirk & Son Baltimore Standard (.917) Silver Waiter, mid-19th century, with repousse acanthus rim and diapered plateau, raised on three ball-and-claw feet, monogrammed “ALE”, dia. 7‑1/2”, 7.45 t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500] Illustrated 763 Three-Piece Baltimore Sterling Silver Tea Set, dated 1928, by Jacobi and Jenkins, including a “Turkish”-style teapot, h. 8”, a cream jug, h. 2‑1/2”, and a turned wood handle tea strainer, l. 8‑1/4”, each decorated all over with repousse flowers in the traditional Baltimore manner, monogrammed on the underside “AAK/MDR” (the strainer “AKP”), 18.78 total t. oz. (including wooden handle). [400/700] Illustrated

764 Four Good Pieces of American Sterling Silver Tableware, fourth quarter 19th century and later, including a Tiffany “Wave Edge” cylindrical tea canister, monogrammed “EHSE”, h. 4‑1/4”, dia. 3‑1/2”, a fancy Gorham bonbon server with scrolling acanthus decoration, monogrammed “MB”, l. 7”, a Revere Reproduction caster, h. 7”, and Cartier accordion-action ice tongs, l. 7‑1/4” (extended), 19.92 total t. oz. [500/700] Illustrated

151

765 Tiffany & Co. Sterling Silver Vegetable Bowl, the pattern introduced in 1942, this example before 1947, New York, New York, of circular form with four openwork floral scroll spandrels, h. 2‑1/4”, w. 8‑1/4”, 18.25 t. oz. [400/700] Illustrated

765

766 Thirty-Seven Pieces of Assorted American Silver and Silverplate Flatware, mid-19th to early 20th century, including ten coin silver “Fiddle Tipt” teaspoons by Daniel Gillis Leonard, Newburgh, New York, engraved “H. Jenkins”, l. 6”, five Tiffany “Faneuil” sterling silver teaspoons, monogrammed “E”, l. 5‑7/8”, eight Watson “Lotus” sterling silver gumbo spoons, monogrammed “A”, l. 6‑1/2”, five Towle “Paul Revere” sterling silver iced teaspoons, monogrammed “U”, l. 7‑1/4”, four Wallace “Georgian Colonial” sterling silver iced teaspoons, l. 7‑1/2”, and five Rogers & Brother “Mystic” silverplate citrus spoons, l. 5‑3/4”, 32.79 total t. oz. (excluding silverplate pieces). [500/700] 767 Reed & Barton “Francis I” Sterling Silver Medium Bowl, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 9.54 t. oz. [300/500] Illustrated 768 American Silverplate “Vintage” Tray, mid-20th century, oval with reticulated rim, decorated with cast and applied “vintage” rim, handles and feet, the plateau engraved with a rococo scroll band centering a cartouche monogrammed “EPR”, 27‑3/4” x 19‑1/4”. [300/500] Illustrated 769 American Sterling Silver Platter, mid-20th century, of circular form, with reed-and-acanthus rim, dia. 19‑1/2”, 101.27 t. oz. [1200/1800] Illustrated

767

768

152

769

775

770

772

774

776

771

770 Tiffany & Co. Sterling Silver “Queen Anne” Teapot, the pattern introduced in 1937, New York, New York, the pear-shaped body with domed lid, “gooseneck” spout and crested ebony handle, h. 8”, l. 8‑3/4”, dia. 4‑3/4”, 22.73 t. oz. [400/700] Illustrated 771 American Sterling Silver “Revere” Bowl, second quarter 20th century, by Watson Co., Attleboro, Massachusetts, of traditional form, monogrammed “ECF”, h. 5”, dia. 9‑3/4”, 30.40 t, oz. [400/700] Illustrated 772 Towle “Paul Revere” Sterling Silver Water Pitcher, the pattern introduced in 1906, Newburyport, Massachusetts, retailed by C. C. Peacock, Chicago, Illinois, monogrammed “GC”, the underside with presentation inscription dated 1915, h. 10‑3/4”, l. 9‑5/8”, w. 4‑1/2”, 25.32 t. oz. [500/800] Illustrated 773 Thirty-One Pieces of Silver Small Tableware, mid20th century, including American sterling pieces: five Watson reticulated ramekin holders with Continental white vitreous porcelain liners, l. 5‑3/4”, dia. 3”, an assembled set of fourteen Frank M. Whiting (one Redlich) reticulated demitasse cups and saucers with Lenox porcelain liners (one extra liner), overall, h. 2‑3/4”, dia. 3‑7/8”, together with a dozen Norwegian .830 silver Magnus Aase, Bergen demitasse spoons, l. 4‑1/2”, variously monogrammed, 34.02 total t. oz. (weighable silver). [65 individual pieces total.] [500/800] Illustrated

773 774 Cartier “Chippendale” Sterling Silver Platter, 20th century, New York, of circular form with “Chippendale” rim, dia. 16”, 43.57 t. oz. [1000/1500] Illustrated 775 Eighty-Seven-Piece Set of Reed & Barton “Star” Sterling Silver Flatware, the pattern designed in 1960 by John Prip (1922‑2009), Taunton, Massachusetts, comprising a dozen seven-piece place settings (one butter spreader lacking) and four serving pieces, no monograms, 76.66 total t. oz. (weighable silver), presented in a fitted, Pacific cloth-lined wooden case, 3” x 14‑3/4” x 11‑1/4”. Detailed list of pieces available on request. [1000/1500] Illustrated 776 Sterling Silver Water Pitcher, second quarter 20th century, by the Watson Co., Attleboro, Massachusetts, bucket form with waisted collar and crested scroll handle, h. 8‑3/4”, l. 9”, dia. 6‑1/2”, 20.23 t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

153

778 Pair of American Gothic Revival Rosewood Sidechairs, mid-19th century, each with an open back adorned with arches, crockets and a quatrefoil, raised on tapering legs, h. 48”. [400/700] Illustrated 777 Pair of Gothic-Style Gilt-Bronze and Enamel Pricket Candlesticks, fourth quarter 19th century, probably French, resting on gargoyle-molded feet, the spherical bases set with enameled roundels, the standards with enamel panels terminating in Corinthian capitals, the large drip pans with molded vines and leaves, h. 29‑1/4”, dia. 9”. [2000/4000] Illustrated

154

779 Pair of French Gilt-Bronze Gothic Revival Altar Sticks, fourth quarter 19th century, molded in the architectural fashion with Gothic elements and gargoyles, the exteriors retaining much of their original gilding, h. 42”, dia. 10‑1/4”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [500/800] Illustrated

783 780

784

781

781 William Anzalone (American/Texas, b. 1935), “Early Morning”, Cummins Creek Bridge, 2002, oil on canvas, signed lower right, signed, titled and dated en verso stretcher, 18” x 24”. Framed. Provenance: Corporate collection, Houston, Texas. [800/1200] Illustrated 782 William Anzalone (American/Texas, b. 1935), “Very Cold”, 2002, oil on canvas, signed lower left, signed, titled and dated en verso stretcher, 18” x 24”. Framed. Provenance: Corporate collection, Houston, Texas. [800/1200] Illustrated

782 780 William Anzalone (American/Texas, b. 1935), “Edge”, Fuch’s Field, 2001, oil on canvas, signed lower left, signed, titled and dated en verso stretcher, “Meredith Long & Company, Houston, Texas” label en verso, 20” x 24”. Framed. Provenance: Corporate collection, Houston, Texas. [900/1200] Illustrated

783 William Anzalone (American/Texas, b. 1935), “Untitled Landscape”, 2001, pastel on paper, signed lower right, verso with “Meredith Long & Company, Houston, Texas” label, 11” x 15”. Glazed, matted and framed. Provenance: Corporate collection, Houston, Texas. [500/800] Illustrated 784 William Anzalone (American/Texas, b. 1935), “Untitled Landscape”, 2001, pastel on paper, signed lower right, verso with “Meredith Long & Company, Houston, Texas” label, 11” x 15”. Glazed, matted and framed. Provenance: Corporate collection, Houston, Texas. [500/800] Illustrated

155

785 Terry Fenton (Canadian, b. 1940), “Last Look”, “Implication” and “Breezeway”, three oils on paper, each with a “Meredith Long & Company, Houston, Texas” label en verso, 6” x 18”. Each glazed, matted and framed alike. Provenance: Corporate collection, Houston, Texas. [1000/1500] Illustrated 786 Southern School (20th Century), “Low Country Landscape”, oil on masonite, unsigned, 20” x 20”. Presented in a thin gallery frame. [700/1000] Illustrated 787 Sandy Chism (American/New Orleans, 1957‑2013), “Blue River”, acrylic on panel, unsigned, a Jonathan Ferrara Gallery label en verso, 24” x 40”. Framed. [3000/5000] Illustrated

785

786

787

156

788 Steve Parker (American/Texas, 20th/21st Century), “Cottage in the Woods”, oil on canvas, signed lower left, verso with “Jack Meier Gallery, Houston, Texas” label, 36” x 36”. Framed. Provenance: Corporate collection, Houston, Texas. [800/1200] Illustrated 789 William Anzalone (American/Texas, b. 1935), “Untitled Landscape”, 2002, pastel on paper, signed lower right, verso with “Meredith Long & Company, Houston, Texas” label, 11” x 15”. Glazed, matted and framed. Provenance: Corporate collection, Houston, Texas. [500/800] Illustrated 790 William Anzalone (American/Texas, b. 1935), “Golden Still Life”, oil on canvas, signed lower right, 16” x 27‑3/4”. Presented in a giltwood frame. [800/1200] Illustrated

789

790

792

791 791 William Anzalone (American/Texas, b. 1935), “Untitled Landscape”, 2002, pastel on paper, signed lower right, verso with “Meredith Long & Company, Houston, Texas” label, 11” x 15”. Glazed, matted and framed. Provenance: Corporate collection, Houston, Texas. [500/800] Illustrated 792 William Anzalone (American/Texas, b. 1935), “In Transit”, pastel on paper, signed lower left, “Meredith Long & Co.” label on frame backing, 20” x 24”. Framed. Provenance: Meredith Long & Co., Houston, Texas. [600/900] Illustrated 788

157

793 William Anzalone (American/Texas, b. 1935), “Untitled Landscape”, 2002, pastel on paper, signed lower left, verso with “Meredith Long & Company, Houston, Texas” label, 11” x 15”. Glazed, matted and framed. Provenance: Corporate collection, Houston, Texas. [500/800] Illustrated 794 Carol Gibson Sayle (American/Texas, 20th Century), “A Spring Morning”, oil on canvas, signed and titled en verso, 12” x 20”. Framed. [700/1000] Illustrated 795 David M. Band (American/Texas, b. 1947), “The Sentinel”, from the Sanctuary Series, acrylic and watercolor on panel, unsigned, a “Cole Pratt Gallery/ New Orleans, Louisiana” label en verso, 6” x 8”. Framed. Exhibited: 66th National Midyear Exhibition, The Butler Institute of American Art, Youngstown, Ohio, July 6‑August 18, 2002. [400/700] Illustrated 796 Early American Hitchcock-Style Polychromed and Stenciled Bench, first quarter 19th century, with a broad scooped plank seat, the back with a shaped crest rail supported by turned spindles, h. 35”, w. 72”, d. 17”. [400/700] Illustrated

793

794

797 American Classical Mahogany Server, first quarter 19th century, New York, the case with a pair of figured drawers with beaded edges, flanked by reeded pilasters, raised on turned columns joined to a serpentine low shelf, on vasiform brass ball feet, h. 38”, w. 42”, d. 21‑1/4”. [1000/1500] Illustrated

795

797

158

796

798 American Classical Mahogany Commode, ca. 1825, Baltimore, of a form made by John Needles to his cross-town contemporaries, the marble top surrounded by a reeded gallery, the case with a pair of drawers over a narrower deep drawer, formerly fitted with a chamber pot, and fitted with turned legs with brass cup casters, the drawers flanked by reeded pilasters, the whole on Sheraton legs, h. 33”, w. 26”, d. 22”. [700/1000]

800

799

782

799 American Federal Mahogany Sidechair in the Hepplewhite Taste, ca. 1800, New York, the pierced shield-form back with carved lotus accents above the generous padded seat, raised on ribbed tapering square legs ending in spade feet, now upholstered after the period fashion in patterned horsehair adorned with brass tacks, h. 39‑1/2”. [400/700] Illustrated 800 American Classical-Style Parcel-Gilt and Eglomise Mirror, framed with turned and leafmolded pilasters with Corinthian capitals, the gilt and black tablet decorated with a roundel of crossed trophies under a lattice-molded giltwood panel, the cove-molded crest set with giltwood spherules, h. 49‑1/4”, w. 31”. [400/700] Illustrated 801 American Late Classical Mahogany Tester Bed, second quarter 19th century, the molded tester raised on foliate- and pineapple-carved posts supporting a bisected paneled headboard with a molded and paneled carved crest, joined by unusual reeded rails, h. 103”, inside, w. 49”, l. 75”, outside, w. 63‑3/4”, l. 84‑1/2”. [1400/1800] Illustrated

804

802 American Classical Mahogany Drop-Leaf Breakfast Table, ca. 1825, with a single-board top and like deep drop leaves, on ring-turned and foliatecarved legs ending in brass cap casters, each leaf supported by a fly leg, h. 29”, w. 47‑1/4”, l. 20‑1/4”, extended l. 58”. [500/800] 803* American School (Second Quarter 19th Century), “Portrait of a Man and Woman”, pair of oils on canvas, unsigned, each 27” x 22”. Each presented in a handsome, period, mahogany frame. [600/900] 804 Campeche-Style Armchair and Ottoman, the hardwood sling-form body with scroll arms, above a curule base with a matching ottoman, upholstered in panels joined by stitch accenting and nailhead trim, chair, h. 35”, w. 23‑3/4”, d. 37‑1/4”, ottoman, h. 14”, w. 23‑3/4”, d. 18‑1/2”. [400/700] Illustrated 801

159

805 American School (Second Quarter 19th Century), “Pair of Portraits”, oil on canvas, both unsigned, 30” x 25‑1/8”. Framed alike. [400/700] 806 American Late Classical Mahogany and Marble-Top Pier Table, second quarter 19th century, with large scroll-form supports and raised on ball feet, h. 36‑1/2”, w. 39‑1/4”, d. 19‑1/2”. [500/800] Illustrated 807 American Late Classical Mahogany Games Table, second quarter 19th century, the fold-over top over a cove-molded frieze, supported by an octagonal column joined to a concave base on foliate- and volute-carved feet, h. 30”, w. 37‑1/2”, d. 18‑3/4”, extended l. 37‑1/2”. [200/400] Illustrated

807

808 American Late Classical Secretary Bookcase, second quarter 19th century, with a projecting cornice over a pair of glazed doors, a fold-out writing surface and a molded drawer over a pair of paneled doors, h. 81”, w. 48”, d. 20‑1/2”. [500/800] Illustrated 809 American Late Classical Mahogany and Cherry Butler’s Desk, second quarter 19th century, the foldout projecting upper drawer opening to reveal a fitted interior, over a bank of three graduated drawers flanked by shaped pilasters, raised on bun feet, h. 44‑3/4”, w. 43‑1/4”, d. 21”. [500/800] Illustrated 809

806 808

160

810 American Late Classical Revival Mahogany Banquet Table, fourth quarter 19th century, the circular top with a gadrooned edge supported by a complex pedestal with scrolled brackets and mounted to a platform base with carved paw feet, retaining two 17” and one 24” skirted leaves, h. 30”, dia. 60”, extended l. 118”. [1500/2500] Illustrated 811 American Late Classical Mahogany Armoire, attributed to J. & J. W. Meeks, New York, the projecting cornice over a pair of doors, each with a panel with a Gothic arch and affixed figural, tapering column, on a conforming base with molded feet, h. 105‑1/2”, w. 72‑1/4”, d. 33‑1/2”. [500/800] Illustrated

814

812 American Late Classical Mahogany Sideboard, mid-19th century, the scroll backboard centered by a finial, the case with a pair of cyma-molded drawers over a pair of paneled doors centered by a bank of drawers, with pineapple- and foliatecarved pilasters and carved paw feet, h. 56”, w. 53”, d. 23”. [700/1000] Illustrated 813 American Late Classical Revival Mahogany Settee, fourth quarter 19th century, with cornucopia-carved arm fronts, the legs with winged returns and carved paw feet, h. 36”, w. 66”, d. 24”. [300/500] Illustrated

810

814 Twelve-Piece Limoges, France, Porcelain Fish Service, ca. 1900, including a platter and eleven plates, with ruffled and scalloped gilt rims issuing flowering plants, the center reserves each exhibiting a single hand-painted fish, signed “Tehan”, all bearing the green L. & E. Coiffe and red Lazarus Straus & Sons marks, plate, dia. 9‑3/8”, platter, w. 10‑1/2”, l. 24”. [700/1000] Illustrated

813

811

812

161

815

816

818

819

817

820

815 Ellsworth Woodward (American/New Orleans, 1861‑1939), “Munich”, 1892, watercolor on paper, signed, dated, and localized lower right, sight 13‑3/4” x 9‑1/2”. Glazed, matted and framed. Provenance: New Orleans, Louisiana collection. [700/1000] Illustrated

818 Charles Richards (American/New Orleans, 1906‑1992), “Portrait of a Young Woman”, oil on canvas, signed upper left, 14” x 17”. Framed. [400/700] Illustrated

816 Alberta Kinsey (American/Louisiana, 1875‑1952), “French Quarter Courtyard”, oil on wood panel, signed lower left, 18” x 14”. Presented in a later Arts and Craftsstyle frame. [800/1200] Illustrated

819 Colette Pope Heldner (American/Louisiana, 1902‑1990), “Swamp Idyll”, oil on canvas, signed lower left, signed and titled en verso, 24” x 30”. Framed. [1500/2500] Illustrated

817 Angela Bres Gregory (American/Louisiana, 1903‑1990), “Still Life with a White Teacup”, oil on board, monogrammed lower left, 15” x 9‑1/2”. Presented in a molded giltwood frame. [600/900] Illustrated

820 Robert Rucker (American/Louisiana, 1932‑2001), “Nocturnal Landscape with a Boathouse”, oil on canvas, signed lower right, 24” x 30”. Framed. [2000/4000] Illustrated

162

822

824 821 Noel Rockmore (American/New Orleans, 1928‑1995), “Mary May and Others”, 1985, oil on canvas, signed, titled and dated lower right, 48” x 36”. Framed. Illustrated/Exhibited: “The Noel Rockmore Gallery”, July 25, 2010. web. www.rightwaywrongway.com. accessed March 15, 2016. [600/900] In 1985, Noel Rockmore met Mary May Impastato, a young woman from the French Quarter. From 1985‑1988, she was his muse; she modeled and inspired many of his paintings of voluptuous beauties. Impastato had a lasting influence on Rockmore. Not only was she his last significant relationship, but she also continues to support the artist’s legacy with her involvement with the “Noel Rockmore Project.” 822 Michael Meads (American/Alabama, b. 1966), “Frat Party: Waiting for the Little Sisters”, 1990, oil on canvas, signed and dated lower left, signed, titled and dated en verso, 56” x 80”. Unframed. [2000/4000] Illustrated

823

823 Carol Peebles (American/New Orleans, Contemporary), “When No One’s Home”, 1998, oil on canvas, monogrammed and dated lower right, 24” x 48”. Framed. Together with the original receipt from New Orleans Academy of Fine Arts, New Orleans, Louisiana. [500/800] Illustrated 824 Janice Sachse (American/Louisiana, 1908‑1998), “Fruit”, acrylic on paper, signed “J. R. Sachse”, a Goudeau Antiques label en verso, sight 21” x 29”. Glazed, matted and framed. [400/700] Illustrated 825 Kelly Moore (American/New Mexico, Contemporary), “Untitled”, oil on canvas, signed lower right and en verso, 23” x 77‑1/2”. Unframed. [700/1000]

163

829

827

826

834 831 826 Semi-Antique Family Prayer Rug, 3’ 2” x 6’ 11”. [500/800] Illustrated 827 Semi-Antique Persian Carpet, 4’ 3” x 5’ 11”. [400/700] Illustrated

164

828 828 Sultanabad Carpet, 8’ 11” x 11’ 7”. [3000/5000] Illustrated 829 Antique Prayer Rug, 3’ 10” x 8’ 6”. [400/700] Illustrated

830 Chinese Art Deco Runner, 2’ 7” x 13’. [400/700] 831 Turkish Angora Oushak Carpet, 6’ x 8’ 10”. [500/800] Illustrated

832 Tabriz Carpet, 11’ 2” x 10’ 8”. [300/500] 833 Persian Bidjar Carpet, 4’ 8” x 7’ 1”. [400/700] 834 Semi-Antique Oushak Carpet, 8’ 7” x 8’ 8”. [400/700] Illustrated

836

837

835

838 835 Antique Kurd Runner, 2’ 11” x 10’ 9”. [500/800] Illustrated

837 Semi-Antique Sarouk Carpet, 8’ x 11’. [800/1200] Illustrated

836 Semi-Antique Persian Heriz Carpet, 7’ 6” x 11’. [800/1200] Illustrated

838 Semi-Antique Bidjar Carpet, 4’ 4” x 6’ 7”. [400/700] Illustrated

839

839 Semi-Antique Kilim Carpet, 5’ 6” x 9’ 2”. [500/800] Illustrated

165

840 Two Chinese Embroidered Silk Jackets, 20th century, each decorated with flowers and a toggle closure, neck to hem 35”-42”. [500/800] Illustrated

840

841 Six Chinese Embroidered Silk Panels, Qing Dynasty (1644‑1911), first quarter 20th century and earlier, all mounted on brocade fabric, dimensions 7” x 7” to 2” x 14‑1/2”. All framed. [600/900] 842 Chinese Embroidered Silk Panel of a Female Immortal, Qing Dynasty (1644‑1911), 19th century, the figure seated in a garden, playing the flute, sight 35‑3/4” x 16”. [600/900] Illustrated 843 Qian Huian (Chinese, 1833‑1911), “A Teacher and Two Young Students, With a Water Buffalo”, ink and color on paper mounted as a hanging scroll, inscribed and signed with two seals of the artist on the upper right side, image 51‑1/2” x 25‑1/2”, mounted 82‑1/2” x 32‑1/4”. [1000/1500] 844 Attributed to Fei Danxu (Chinese, 1801‑1850), four scenes from “Dream of the Red Chamber”, inks and colors on silk, one inscribed and marked with two seals, each sight 16” x 13”. Each framed. [3500/5000] Illustrated 845 Wang Mingfang (Chinese, b. 1957), “Cockerel” and “Pumpkin on a Vine”, two watercolors on paper, each inscribed and stamped with seal, each 13” x 13”. Framed together. [600/900]

844

842

846 After Zhao Zhongmu (Chinese, 1289‑1352), “Sages in a Mountain Landscape”, ink and color on paper, inscribed upper right corner with two seals, mounted as a scroll, 68” x 18‑1/4”. Provenance: From the Estate of Alan Priest, New York, New York. [1000/1500] 847 Ma Wanli (Chinese, 1904‑1979), “Flowers and Persimmons”, ink and color on paper, inscribed upper left with two artist seals, mounted as a scroll, 40‑1/4” x 13‑1/4”. [800/1200] Illustrated 848 After Wu Changshuo (Chinese, 1844‑1927), “Peonies, Rocks and Daffodils”, ink and color on paper, inscribed and signed with three artist seals, mounted as a scroll, 53” x 26‑1/2”. [600/900] 849 Chinese Ancestor Portrait, 19th century, ink and colors on paper, mounted as a scroll, 63‑3/4” x 36‑1/3”. [600/900] Illustrated 849

166

847

855

857

851 850

856 852 850 Unusual Korean Buddhist Painting, Joseon Dynasty (1392‑1910), 17th/18th century, ink and color on cloth, probably hemp cloth, depicting the historical Buddha Shakyamuni enthroned on a pedestal under an ornate canopy, two smaller figures flank the base of the pedestal, 56” x 20‑7/8”. Framed. [600/900] Illustrated A Korean Buddhist painting with features similar to this can be found in the Cleveland Museum of Art, Cleveland, Ohio. 851 Chinese Reverse Painting on Glass, Qing Dynasty (1644‑1911), 18th/19th century, the painting of a seated empress on a phoenix throne in blue and gold robes decorated with dragons, her crown decorated with phoenix ornamentation, inscribed “Yongzheng reign” across the top, h. 19”, w. 12”. [400/700] Illustrated

852 Chinese Reverse Painting on Glass, Qing Dynasty (1648‑1911), probably 19th century, depicting three boys, each holding an auspicious object, sight 13‑1/2” x 19”. [500/800] Illustrated

855 Two South Asian Giltwood and Lacquer Figures, 19th/20th century, each affixed to a wooden base, h. 26”, w. 10‑1/2” and h. 31‑1/2”, w. 14‑1/2”. [400/700] Illustrated

853 Asian-Style Silver and Bone Gong, 20th century, the gong with Japanese-inspired red floral and crane decoration, on a floral scrolled silver base, with a wooden mallet, h. 17‑3/4”, w. 16‑1/4”. [600/900]

856 Pair of South Asian Polychrome Wooden Peacocks, 20th century, h. 52”, l. 40”. [800/1200] Illustrated

854 Thai Bronze Seated Buddha, 19th/20th century, seated in padmasana, on a lotus base, the figure dressed in flowing robes and wearing a serene countenance, its right hand raised in Abhaya mudra, its left hand resting in its lap, h. 20”, w. 11‑1/2”, l. 14”. [400/700]

857 Southeast Asian Bronze Singha Mask, 20th century, probably Cambodian, the guardian lion mask mounted on a wood base, mask, h. 17”, w. 16‑1/2”. [500/800] Illustrated 858 Thai Inlaid Giltwood Chest, 20th century, the ornately carved footed box inlaid with red, green and white glass, decorated with scrollwork throughout and with applied figures of apsaras, h. 18‑1/2”, w. 33”, d. 25”. [400/700]

167

861

859

859 Napoleon III Marble and Patinated Metal Mantel Clock, third quarter 19th century, the black and verde antique marble base supporting a female figure, an allegory of “Music”, leaning against the clock case, set with Japy Freres works, h. 16‑3/4”, w. 20‑1/2”, d. 7”. [500/800] Illustrated

863

860 American Renaissance Revival Marquetry-Inlaid, Parcel-Gilt and Ebonized Walnut Center Table, ca. 1875, with a central floral- and foliate-inlaid panel framed by banding and stringing, raised on a trestle-form base adorned with incised carving, turnings, quatrefoils and roundels, on India Comb Rubber Co. casters, h. 29‑3/8”, w. 38”, d. 22”. [800/1200] Illustrated India Comb Rubber casters, made in New York, were utilized by the first makers of the period including Herter Brothers and Pottier and Stymus. 861 French Three-Piece Clock Set in the Aesthetic Style, fourth quarter 19th century, trimmed with gilt incising and roundels of red griotte marble, the clock with bracketform sides and a pyramidal finial, h. 20‑1/2”, w. 20”, d. 5‑1/2”, the accompanying tazzas decorated en suite, h. 10‑1/2”, dia. 5‑1/2”. [500/800] Illustrated 862 Napoleon III Black Marble and Gilt-Metal Figural Mantel Clock, third quarter 19th century, the figure representing “Ceres”, goddess of agriculture, h. 18‑1/2”, w. 14‑3/4”, d. 8‑1/2”. [400/700]

860

168

863 American Renaissance Revival Walnut and ParcelGilt Overmantel Mirror, third quarter 19th century, with a large shield-form crest, the frame with incised and gilt decor, h. 82”, w. 65”. [400/700] Illustrated

865

864 866 864 American School (Third Quarter 19th Century), “Portrait of a Lady in a White Silk Gown”, oil on canvas, unsigned, 36” x 28‑1/4”. Framed. [800/1200] Illustrated 865 Victor David Brenner (American, 1871‑1924), “Abraham Lincoln in Profile”, 1907, bronze relief, copyright mark, dated, foundry mark and cast signature along right edge, h. 9”, w. 6‑3/4”. [600/900] Illustrated

868 one of two

866 Pair of Napoleon III Bronze Caryatids on Marble Bases, third quarter 19th century, the tapered and molded red griotte marble bases set with bronze trim, and supporting caryatids balancing water pots on their heads, signed “L.V.E. Robert”, for Louis Valentin Elias Robert (French, 1821‑1874), h. 17‑3/4”, w. 5‑1/2”, d. 5‑1/2”. [800/1200] Illustrated 867 American Renaissance Revival Burled Walnut and Walnut Armoire, third quarter 19th century, Philadelphia, the bonnet top with a frieze with applied cartouche and foliate carving, over a single door with an arched mirrored panel, the curved sides with arched wood panels, h. 93”, w. 70”, d. 23‑1/2”. [200/400] Illustrated 868 German School (First Quarter 20th Century), a pair of “Autumnal Landscapes”, oils on panel, each signed “R Werner”, 12‑1/2” x 6‑1/4”. Presented in matching giltwood and gesso frames. [500/800] Illustrated 867

169

872 869 869 Berlin KPM Hand-Painted Porcelain Urn, fourth quarter 19th century, decorated with putti and lovebirds, the handles molded as snakes, marked with an underglaze blue scepter, formerly mounted as a lamp, h. 16‑1/2”, w. 9”, d. 6‑1/4”. [500/800] Illustrated 870 Continental KPM-Style Porcelain Plaque, first half 20th century, probably Krautzberger, Mayer & Purkert of Wistritz, Bohemia (now Czech Republic), the plaque painted after Emil Teschendorff’s (German, 1833‑1894) “Oedipus and Antigone,” marked with a palette-form decorator’s mark and titled on the reverse, 7” x 5”, presented in a giltwood frame with a velvet matte, overall, h. 14‑1/2”, w. 12”. [400/700] Illustrated 871 German KPM-Style Porcelain Oval Plaque, fourth quarter 19th century, the plaque depicting a gypsy musician with a harp and tambourine, sight 5” x 3‑3/4”, framed, overall, 10‑3/4” x 8‑1/4”. [300/500] 872 Louis XV/XVI-Style Gilt-Bronze Five-Light Chandelier, third quarter 19th century, the reticulated canopy over double scrolled anthemion arms centering a light fixture suspended above a frosted and cut triple lobed glass bowl, with floral glass shades, electrified, h. 41”, dia. 36”. [800/1200] Illustrated

870

873 American Gilt-Brass and Engraved Glass Hall Lantern, fourth quarter 19th century, the globe decorated with engraved sprays of leaves and mounted with a pierced trim and canopy, now electrified with a three-light socket, h. 31‑1/4”, dia. 10”. [400/700] 874 Berlin KPM Porcelain Oval Plaque, fourth quarter 19th century, marked “KPM” with incised scepter, the plaque depicting two boys looking at a picture book, sight 5‑1/4” x 7‑1/4”, framed, overall, 10‑1/2” x 12‑1/2”. [600/900] Illustrated 874

170

875 875 Rare Antique Set of Three United States Geological Survey (USGS) Copper Map Plates, each of the three engraved plates illustrating a topographical map of Continental, Ohio, 4100 N latitude and 8415 W longitude, surveyed in 1908 at the scale 1:24,000, each plate 17” x 20”, overall weight 37.5 lbs. Additional information online. [1000/1500] Illustrated

877

876 Rare Vintage Set of Three United States Geological Survey (USGS) Copper Map Plates, each of the three engraved plates illustrating a topographical map of Holston Valley, the tri-city region of Kingsport, Johnson City, and Bristol in Northeast Tennessee and Southwest Virginia, 3630 N latitude and 8200 W longitude, surveyed at the scale 1:24,000, each plate 20” x 23”, overall weight 50 lbs. Additional information online. [1500/2500] 877 French Patinated Metal and Black Marble Three-Piece Clock Set, fourth quarter 19th century, the clock with a black marble base decorated with gilt incising, the figural top with a woman and child in classical dress, on either side of the clock, set with Vincenti et Cie works, h. 17‑1/2”, w. 15‑3/4”, d. 7”, and the side garnitures on matching bases, with classical figures of “spring” and “autumn”, carrying baskets of flowers and fruits, h. 15”, w. 4‑3/4”, d. 4‑1/4”. [400/700] Illustrated 878 French Black Marble Mantel Clock, fourth quarter 19th century, the case with gilt incising and mounted with marked Vincenti works, h. 18”, w. 16”, d. 6‑1/4”. [400/700] 879 American Eastlake Victorian Burl Walnut Armoire, fourth quarter 19th century, with an elaborate carved cornice and facade above a pair of beveled mirror doors and two drawers in the base, h. 112”, w. 61”, d. 26”. [800/1200] Illustrated 880 Pair of American Sabre-Leg Boudoir Chairs, second quarter 20th century, covered in tufted brocade and trimmed in fringe, h. 34”, w. 25”, d. 26”. [200/400] 879

171

881

882 881 Bold American Giltwood and Silver-Gilt Mirror, fourth quarter 19th century, the complex ogee molding decorated with scrollwork and flowers, h. 42”, w. 61”. [400/700] Illustrated 882 Impressive Pair of French Gilt-Bronze Aesthetic Movement Wall Plaques, fourth quarter 19th century, the octagonal-shaped plaques with borders decorated with griffins and scrollwork, the center panels finished in faux mixed metals, one depicting two hunting dogs in a forest and the other a pair of birds on flowering plum branches, each with an integral original wall hanger, dia. 11‑3/4”. [600/900] Illustrated 883 Chinese Gilt-Bronze and Champleve-Style Mantel Clock, 20th century, trimmed with turquoise and dark blue enamel, with beveled glass sides and enamel-decorated finials, resting on toupie feet, the works marked “Made in China”, h. 19”, w. 10”, d. 7‑1/4”. [500/800] Illustrated 884 American Late Victorian Carved Oak and Quarter-Sawn Oak China Cabinet, late 19th/early 20th century, possibly by R.J. Horner, New York, with a foliate- and griffin-carved frieze, the pilasters with figural supports and curved glass sides, h. 72‑1/4”, w. 46”, d. 17”. [1000/1500] Illustrated

883

887

885 American Late Victorian Quarter-Sawn Oak Server, fourth quarter 19th century, in the manner of R. J. Horner, New York, and bearing a celluloid label inside the right drawer: “J. B. Van Sciver Co., Camden, N.J.”, the top with a gadrooned edge and fitted with two side-by-side drawers and supported by female caryatids, joined by a medial shelf and another shelf below, raised on heavy carved paw feet, h. 43‑1/2”, w. 50”, d. 22‑1/2”. [400/700] 886 American Silvered Bronze Six-Light Chandelier, second quarter 20th century, in the E. F. Caldwell taste, the standard in the form of fluted mirrored vases decorated with leaf molding, set with six scrolled leaf-molded arms set with reeded drip pans and fluted candle cups, h. 30”, dia. 23”. [600/900] 887 Pair of American Cranberry Glass Oil Lamps, ca. 1900, with diamond quilted cranberry glass fonts and columnar milk glass footed stems, fitted with etched and frosted glass ball shades, now electrified, h. 27”. [400/700] Illustrated 884

172

892 888 Set of Four Quezal Gold Aurene Glass Electric Shades, of bell form and etched “Quezal” along the inner lip, h. 5”, dia. 4‑1/4”. [400/700] 889

889 Victor Casenelli (American/Ohio, 1868‑1961), “Native American Chief”, watercolor on paper, signed lower left, 20” x 12‑1/4”. Glazed and framed. [300/500] Illustrated 890 Large Silvered Etching Plate of Caribou in a Woodland Landscape, fourth quarter 20th century, signed “D. Walter” in plate, 17” x 14”. Framed. [400/700] Illustrated 891 American Patinated Bronze of a Native American Archer, 20th century, on a rectangular black base, h. 32‑3/4”, w. 23”, d. 6‑1/2”. [700/1000] Illustrated 892 After Frederic Remington (American, 1861‑1909), “Cowboy”, 20th century, “@H” stamped on self-base, raised on a stepped granite plinth with brass artist plaque, overall, h. 9‑5/8”, w. 12‑1/2”, d. 6‑1/2”. [300/500] Illustrated

890

893 Newcomb College Brass Mailbox, first quarter 20th century, the hand-wrought brass sheeting with an “M” monogram cut-out on a roundel flanked by scrolls, h. 11‑3/4”, w. 10‑1/4”, d. 3”. [600/900] Illustrated

891

893

173

894 Pair of Hammered Aluminum-Clad Wood Horses, first quarter 20th century, the prancing steeds carved in carousel style and mounted on shaped plinths with wheels, h. 52”, l. 55‑1/2”. [500/800] Illustrated 895 Decorative Print of “Woodpeckers” After John James Audubon (American, 1785‑1851), sight 37‑3/4” x 25”. Glazed, double matted and framed. [400/700] Illustrated 896 Decorative Print of “Summer or Wood Duck” After John James Audubon (American, 1785‑1851), sight 37‑3/4” x 25”. Glazed, double matted and framed. [400/700] Illustrated

897 one of three

897 two of three

897 Lois J. Lester (American, 20th Century), a group of three natural history watercolors on paper, including “Cardinal”, “White-Throated Sparrow” and “Fork-Tailed Flycatcher”, each signed, titled and inscribed bottom center, after John James Audubon (American, 1785‑1851), each sight 21” x 14”. Matted, glazed and framed alike. [800/1200] Illustrated 898 Art LaMay (American/ Florida, Contemporary), “Blue Herons”, print, ink signed lower left, numbered “2205/2500” lower left, sight 27‑1/2” x 44‑1/2”. Glazed, double matted and framed. [400/700]

895

894

174

896

899 one of six

904 899 two of six

899 Collection of Six Natural History Hand-Colored Engravings of Fish, fourth quarter 18th century, from Ichthyology, or Natural History, General and Particular with Illuminated Plates, Drawn after Nature, printed by Marcus Elieser Bloch, Berlin, 1785‑1797, five of the fish are engraved by J. F. Hennig, the other by G. Bodenehr, plate size 7‑3/4” x 14‑1/2”, sight 8‑1/2” x 16”. Each glazed, matted and framed alike. [600/900] Illustrated 900 Group of Four British Color Engravings, first half 18th century, each depicting a hunting scene, from various engravers and publishers, 17‑1/2” to 18‑1/2” x 22‑1/2” to 27”. Each similarly glazed, matted and framed. [800/1200] Illustrated 901 Scott Kennedy (American, Contemporary), “The Newport Harbor Yacht Club”, 1987, color lithograph, pencil signed lower right, signed, titled and dated in print at bottom, sight 18‑1/2” x 36‑3/4”. Framed. [500/800]

905 902 “The Great Mississippi Steamboat Race from New Orleans to St. Louis, 1870”, hand-colored lithograph, Currier and Ives Publishers, New York, 1870, sight 9‑3/4” x 13”. Glazed, matted and framed. [300/500] 903 Three Continental Lithographs of Classical Scenes, including “Bacchus”, “Bacchanales” and “Cleopatra, et Tetes de Femmes”, 14‑3/4” x 10”. All attractively glazed, matted and framed alike. [400/700] 904 William Forsyth (American/Indiana, 1854‑1935), “Cottage Roofs”, watercolor on paper, signed lower right, sight 14” x 21”. Glazed, matted and framed. [700/1000] Illustrated 905 William Forsyth (American/Indiana, 1854‑1935), “Canal, Cathedral Spire in Background”, watercolor on paper, signed lower right, sight 11” x 17”. Glazed, matted and framed. [600/900] Illustrated

900 one of four

175

906

906 American School (20th Century), “Seascape”, oil on board, signed lower left “A. Burnham”, 4‑7/8” x 9‑5/8”. Framed. [300/500] Illustrated

908

907 Charles Bridgeman Vickery (American/Illinois, 1913‑1998), “Waves”, oil on board, signed lower right, 9” x 12”. Framed. [400/700] 908 Larry Horrowitz (American/New Jersey, b. 1956), “Hilltop Farm”, watercolor on paper, signed lower right, verso with “Meredith Long & Company, Houston, Texas” label, 22” x 30”. Glazed, matted and framed. Provenance: Corporate collection, Houston, Texas. [400/700] Illustrated 909 Harry Hesser (American/California, 20th Century), “California River Landscape”, 1904, oil on canvas, signed and dated lower left, 25‑3/8” x 17‑1/8”. Presented in a polychrome, carved frame. Provenance: Ann Koerner Antiques, New Orleans, Louisiana. [400/700]

911

910 American School (Fourth Quarter 19th Century), “Landscape with Lakeside Cabin and a Figure in a Boat”, 1899, oil on canvas, signed and dated lower right, 20” x 30”. Handsomely framed. [400/700] 911 William McGregor Paxton (American, 1869‑1941), “Reflections in the Stream”, watercolor on paper, signed lower left, sight 14‑1/4” x 20‑3/8”. Glazed, matted and framed. [400/700] Illustrated 912 J. Ambrose Pritchard (American, 1858‑1905), “ Autumn Day”, oil on canvas, signed lower left, 25” x 30”. Framed. [800/1200] Illustrated

912

176

913

917

914

918

916

913 Mario Bacchelli (American/Italian/Argentinian, 1893‑1951), “Boat Houses”, oil on canvas, signed and further inscribed en verso, 16‑1/4” x 20‑1/2”. Framed. [500/800] Illustrated

916 Harry Allen Davis (American, 1914‑2006), “The Wharfs, Gloucester”, oil on board, signed lower right, “M. F. Berner, NYC” label en verso, 16” x 20”. Framed. [900/1200] Illustrated

914 Harry Simpson (British, Late 19th/Early 20th Century), “The Foot of the Highlands”, 1908, oil on canvas, signed and dated lower left, titled lower center of frame, 20‑1/4” x 31‑1/2”. Framed. [600/900] Illustrated

917 Leonard Brooks (Canadian, 1911‑2011), “Garden Window”, 1994, oil on canvas, signed lower right, titled and dated en verso canvas, 16” x 19‑5/8”. Framed. [1000/1500] Illustrated

915 Louis C. Girault (American/New Orleans, active 1970‑1892), “Mountainous Landscape with Bridge Over a River”, pastel on paper, initialed lower left “L. C. G.”, 8‑3/4” x 12”. Glazed and presented in a attractive period giltwood and gesso frame. [600/900]

918 Leonard Brooks (Canadian, 1911‑2011), “San Francisco Street Across Jardin/Jardin Presidencia”, oil on Fredrix canvas board, signed lower right, titled en verso, 12” x 16”. Framed. [1000/1500] Illustrated

177

920 922 pair

922 pair

919 Leonard Brooks (Canadian, 1911‑2011), “Over My Garden Wall”, oil on canvas, signed lower right, verso with “Sarah Balinskas, Houston, TX” label, 27” x 35”. Framed. [1000/1500] Illustrated 920 Dorsey McHugh (American, 20th/21st Century), “To Choose Kindness”, oil on masonite board, signed lower left, titled en verso, 8” x 8”. Framed. [500/800] Illustrated 921 Napoleon III Mahogany Desk in the Rococo Revival Taste, third quarter 19th century, with a pierced foliate-, floral- and mask-carved crest over a serpentine shelf atop a recessed band of two drawers, the shaped fold-out drawer opening to reveal a fitted interior with parquetry veneers, and a pair of drawers below, raised on cabriole legs with floral and leaf carving at the knees, h. 57‑1/4”, w. 36”, d. 23”. [1500/2500] Illustrated

919

922 American School, Possibly Zedekiah Belknap (First Quarter 19th Century), “Portraits of Samuel Poor (1797‑1853) and His Wife Lydia Sprague Poor (1793‑1871), ca. 1817‑1820, oils on canvas, unsigned, sitters identified on handwritten note affixed to the stretcher of the female portrait, “Gerald Kornblau Gallery” inscribed en verso of both, each 36‑1/4” x 28‑1/2”. Framed. Provenance: Gerald Kornblau Gallery, New York, New York; Christie’s, New York, August 25‑26, 2015, lot 68. [1500/2500] Illustrated Both Samuel and Lydia Poor were from Middlesex County in Massachusetts. They met and married in Malden in 1817, and had a son named George in 1820. Shortly after, they moved to Charleston, Suffolk, where Mr. Poor made a respectable income as a manufacturer and retailer of boots and shoes. His son followed him in the industry, establishing Poor’s Shoe Store in 1846 with Elisha Knight on Main Street. The store remained in business until 1893, when George Poor sold it on his retirement. Reference: Souvenir of the 50th Anniversary of the Dedication of Bunker Hill Monument, 1843‑1893. Bunker Hill Times: Boston, 1893, pp. 56‑57.

178

921

923 American Rococo Revival Walnut Cabinet-Base Etagere, third quarter 19th century, the upper section with a carved crest over a pair of graduated serpentine shelves on carved brackets and backed by mirrors, the base with a serpentine gadrooned top over a conforming drawer and a pair of drawers fitted with mirrored panels, h. 73”, w. 45”, d. 20”. [700/1000] Illustrated

927 Rococo Revival Mahogany Vitrine, first quarter 20th century, possibly Austrian, in two parts, the upper section with a carved crest over an arched glazed door, the interior fitted with a pair of shelves, the sides with glazed panels, on a base with projecting corners over a glazed door, raised on cabriole legs, adorned throughout with floral and foliate carving, h. 86‑1/2”, w. 43”, d. 22‑1/2”. [700/1000] Illustrated

924 American School (Mid-19th Century), “Folk Art Portrait of a Young Girl with Her Dog”, oil on canvas, unsigned, “Newman Galleries, Philadelphia” label on frame backing, 36” x 29”. Framed. Provenance: Newman Galleries, Philadelphia, Pennsylvania; Mount Vernon, New York collector; Clarke Auction Gallery, Westchester, New York, Jan. 6, 2013, lot 30. [1500/2500] Illustrated 925 Large Paris Porcelain Vase, fourth quarter 19th century, in the Orientalist style, the lobed, tapered body with a flared neck and elaborate hanging floral handles decorated with gilt, the reserves painted with courting Ottomans and a panoply of music, the base impressed “PL”, h. 28”, w. 9‑1/2”. [400/700] Illustrated 926 Pair of Paris Porcelain Hand-Painted Figural Scent Bottles, now mounted as lamps, the figures holding tablets, fitted with shades, overall, h. 21‑1/4”, w. 11”, d. 6‑3/4”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500]

923

924

925

927

179

932

928 Louis-Philippe-Style Mahogany Dressing Table, ca. 1900, the oval looking glass in a conforming molded frame with foliate-carved crest and scroll supports, the base with a dished marble top over a single drawer, raised on cabriole legs, h. 58‑3/4”, w. 34”, d. 18‑3/4”. [600/900] Illustrated

929

929 Victorian Mahogany Shaving Mirror, second half 19th century, the adjustable oval mirror plate in a shaped frame, mounted on a foliate- and floral-carved base, h. 37‑1/2”, w. 27”, d. 15”. [500/800] Illustrated 930 Three American Flint Glass Compotes, mid-19th century, attributed to McKee and Brothers, Pittsburgh, Pennsylvania, each top and base joined with wafers, the largest in the “honeycomb” pattern, h. 11‑1/2”, dia. 12”, and the other two in the “open leaf” pattern, h. 5‑3/4” and 6‑1/2”, dia. 8” and 9”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [300/500]

928

931 Pair of Bohemian Colorless Glass Covered Compotes, third quarter 19th century, the bowls cut with thumbprints and fitted with matching covers, on panelcut pedestals, h. 12”, dia. 6‑1/2”. [400/700] 932 Rare Confederate Naval Cutlass, Attributed to Thomas Griswold, New Orleans, ca. 1861, with brass d-guard, embossed eagle pommel and fish skin pattern grip, w. 4‑1/2”, l. 26‑1/4”. Provenance: Gary Hendershott, Little Rock, Arkansas. [2000/4000] Illustrated This cutlass follows the pattern of U.S. model 1831/41 Ames. The distinctive concave steel fuller and absence of rivets connecting the hilt to the blade is characteristic of Griswold cutlasses. 933 New Orleans Market Rococo Revival Mahogany Armoire, mid-19th century, probably retailed by the McCracken firm, the carved crest over a bonnet top with beading beneath the molding, the pair of doors with figured panels on a base with a pair of doors and bracket feet, losses to the wings of the original crest, h. 101‑1/2”, w. 66‑1/2”, d. 25”. [500/800] Illustrated

933

180

934 American Late Classical Mahogany Armoire, mid19th century, the cyma-molded cornice over a pair of paneled doors, raised on bracket feet, h. 89‑1/2”, w. 59”, d. 21‑1/2”. [600/900] Illustrated 935 Pair of French Opaline Satin Glass Vases, third quarter 19th century, decorated with hand-painted flowers, now drilled for lamps, h. 15‑3/4”, dia. 5”. [400/700] Illustrated 936 J. W. King (American/Connecticut, Active 1855‑1865), “Portrait of a Young Girl in a Checkered Dress”, oil on canvas, unsigned, inscribed “Gerald Kornblau” and stamped “Painting Conservation Studio/ Bernard Rabin/Newark, NJ”, 44‑1/4” x 34”. Framed. Provenance: Gerald Kornblau Gallery, New York, New York. [1500/2500] Illustrated

939 Collection of Six French Glass Mantelpiece Domes, three with their original ebonized bases, h. 11‑1/2” to 19‑1/4”, w. 7‑1/4” to 17”, d. 4‑1/4” to 9‑3/4”. [400/700] 940 American Rococo Revival Walnut Dining Table, third quarter 19th century, the circular top opening to accommodate three leaves, raised on cabriole legs with a cabochon- and fruit-carved cartouche and leaf-carved feet, h. 29‑1/2”, dia. 52”, extended l. 101‑1/2”. [400/700]

937 Pair of Molded Glass and Brass Kerosene Lamps, fourth quarter 19th century, on prism-hung polished brass wall brackets, mounted with period shades engraved with grapes and ferns, overall, h. 16‑1/4”, w. 19‑1/4”. [400/700] 938 Collection of Four French Glass Display Domes, mid19th century, on ebonized bases, one with a grouping of stuffed birds, h. 12” to 19”, w. 9” to 13”, d. 7” to 9‑1/2”. [500/800] 935

936 934

181

941

943

941 French Restauration First Standard (.950) Silver Chamberstick, 1819‑1838, Paris, no maker’s mark, with circular base, urn-form nozzle, and circular thumb-ring with oval boss, complete with the original detachable circular bobeche and conical snuffer, the boss and snuffer engraved with a laurel-manteled shieldshaped monogram cartouche, h, 3”, dia. 5‑1/4”, 8.83 total t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. Exhibited: Louisiana State Museum, Friends of the Cabildo, 250 Years of Life in New Orleans, The Rosemonde E. and Emile Kuntz Collection and the Felix H. Kuntz Collection, Exhibition Part I, May 21‑June 23, 1965, #59. [300/500] Illustrated

942

942 French First Standard (.950) Silver and Molded Glass Claret Jug, fourth quarter 19th century, by Edouard Ernie (1851‑1912), Paris, the spiral-gadrooned “onion”-shaped body with tall neck, with spiral-fluted collar and acanthus scroll hinged lid, arched handle and circular foot, h. 11”, dia. 4‑3/4”. [600/900] Illustrated 943 Nicholas II 84 Zolotnik (.875) Silver Ice Bucket, marked 1896‑1908, Moscow, probably Adrian Ivanov, of tapering cylindrical form with annular bands, engraved rococo scroll cartouche, “D”-section swing handle and gilt interior, h. 6‑3/4” (8‑3/4” with handle), dia. 5‑5/8”, 20.37 t. oz. [400/700] Illustrated

944

944 Good German .830 Silver and Ebony Arts & Crafts Cake Basket, first quarter 20th century, by Lazarus Posen Witwe, Berlin and Frankfurt, of shaped and lobed oval form, with foliate-mounted fixed ebony handle and turned feet en suite, the whole with hammered finish, h. 9‑3/4”, l. 13”, w. 8‑1/2”, 19.64 t. oz. (including ebony fittings). [900/1200] Illustrated 945 German .800 Silver Fruit Bowl, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, in the Louis XVI taste, oval with pierced lattice sides decorated with reed-and-laurel swags and cartouches, with ringed lion’s masque handles and raised on four fleur-de-lys feet, h. 3‑1/2”, l. 11‑3/4”, w. 7‑3/4”, 16.64 t. oz. [500/800] Illustrated

182

945

946 Austrian First Standard (.935) Silver and Enamel Table Box, first quarter 20th century, by Anton Jakobi, Vienna, of rectangular form, the hinged lid with a cobalt guilloche enamel center and plique-a-nuit butterfly corners, banded with opaque white enamel, the sides with guilloche enamel en suite, the whole raised on four ram’s-masque feet, 4‑1/2” x 3‑5/8”, 11.36 t. oz. [500/800] Illustrated

948

947 Contemporary Art Nouveau-Style Sterling Silver Bottle Holder, the figural handle in the form of a nude female within a trailing grapevine, with circular plinth base and hinged collar, h. 10‑1/4”, dia. 4‑1/2”, 19.04 t. oz. [400/700] Illustrated 948 German .800 Silver-Mounted Cranberry Glass Decanter, first quarter 20th century, retailed by Buchholz & Zelt, New York, the flat pear-shaped cranberry glass body clad in silver grapevine swags and Bacchante caryatids, with laurel-banded foot and collar and figural putto stopper, h. 12‑3/4”, w. 5‑3/4”. [400/700] Illustrated

947

949 Three Silver Besamim Towers, 20th century, including an American sterling example, hexagonal with two bells, h. 7”, a (probably) Israeli sterling example, square with scroll legs, h. 5‑1/2”, and an .800 silver example with spurious Russian marks, square with bells and flags, h. 8‑3/4”, 12.04 total t. oz. [300/500] Illustrated 950 Colombian .900 Silver Platter, mid-20th century, by Arturo Medina, Bogota, of circular form, the serpentine-lobed edge with applied openwork banding of leonine-mantled arms of the Republic of Colombia and eleven of its cities (Bogota, Medellin, Cali, Barranquilla, Tunja, Manizales, Santa Cruz de Mompox, San Juan de Pasto, Cartagena, San Gil and Sonson), monogrammed “GR”, dia. 20‑1/4”, 69.96 t. oz. [800/1200] Illustrated

949

951 Twelve Pieces of Mexican Sterling Silver Tableware, second half 20th century, including a Sanborn’s Hermanos, Mexico City, cream and sugar set with bead-and-scroll banding, h. 3‑1/2”, dia. 3‑1/4” and 3‑3/4”, and ten Maricela, Taxco, foliate scroll place card/menu holders, h. 2‑1/8”, w. 2‑3/8”, 24.62 total t. oz. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [350/500] Illustrated 950

946

951

183

955

957 one of three

956

958 952 Three Pieces of Japanese Satsuma Porcelain, Meiji period (1868‑1912)/Taisho period (1912‑1926), including a pair of vases, each with a blue ground and decorated with a sparrow among lush blossoms, h. 13‑3/8”, dia. 8”, and an ornate censer with wave-form handles, each topped with a crouching rabbit, and a foo dog finial on the lid, h. 13‑1/4”, dia. 9”. [500/800] 953 Sixteen-Piece Collection of Japanese Porcelain, 20th century and earlier, including an Imari bowl, three vases, a globular jar, a small Satsuma cup, a pair of shallow dishes, a blue and white saucer, three Imari plates, a Kakiemon dish and a Satsuma plate, tallest, h. 9‑3/4”, largest, dia. 10”. [500/800] 954 Ten Pieces of Japanese Porcelain, 20th century and earlier, including three bottle vases, one with handles, a Satsuma baluster vase with a scalloped lip, two Satsuma teacups and saucers, a Satsuma bowl with pinched sides and a footed rice bowl, tallest, 9‑1/4”, widest, 6”. [500/800]

184

955 Japanese Imari Porcelain Jar, Meiji period (1868‑1912), the ovoid-form jar decorated with rocks, bamboo and pine trees, h. 16‑1/2”, w. 11‑1/4”. [200/400] Illustrated 956 Japanese Mingei Plate, 20th century, decorated with flowers including prunus blossoms and peonies, dia. 13‑1/2”. [400/700] Illustrated 957 Attributed to Kitagawa Utamaro (Japanese, 1753‑1806), three bijin-ga prints, color woodblocks on paper, each signed and marked with a red seal, each sight 18‑1/2” x 9‑1/2”. Framed alike. [600/900] Illustrated 958 Utagawa Kunisada (Japanese, 1786‑1864), “Uto Jito”, 1859, color woodblock on paper, triptych framed together, sight each print 13” x 9”. [500/800] Illustrated

964

959

960 961 963

959 Japanese Four-Panel Folding Screen, Byobu, Edo period (1615‑1868), ca. 1850s, ink, color and silver on paper mounted on folding panels, depicting three rabbits amidst reeds and marsh grasses along a riverbank, against a silver ground, overall, h. 30‑3/8”, w. 60”. [400/700] Illustrated 960 Two Exceptional Japanese Carved Wood Netsuke, probably Meiji period (1868‑1912), one in the form of a foo dog and one in the form of a qilin, the foo dog signed on the underside, h. 2”, w. 1‑3/4”. [400/700] Illustrated 961 Japanese Lacquer Cricket Cage, Meiji period (1868‑1912), the black and gilt cage in the form of a norimono with sliding doors and scrolling vine, the sides and top of the cage decorated with family crests, the interior padded with sliding doors, each with a slatted window, h. 9‑1/4”, w. 6‑7/8”, l. 9‑1/2”. [400/700] Illustrated

962 Japanese Silver-Plated Pouring Vessel, Meiji period (1868‑1912), the miniature melon-form vessel with a branch-shaped handle and curved spout, the lid with a finial in the form of a stem and two leaves, an illegible mark on the underside, h. 6‑3/4”, w. 3‑1/2”. [400/700] 963 Japanese Bronze Model of a Tiger, Meiji period (1868‑1912), late 19th century, the naturalistically cast bronze depicting a roaring tiger, with a carved wood base, signed “Gyouko Saku” in a rectangular cartouche on the underside, bronze, h. 6”, l. 13”. A nearly identical piece sold at Christie’s, New York, on March 23, 2011. [500/800] Illustrated 964 Chinese School (Late 19th/Early 20th Century), “Flowering Plum Blossoms”, fan painting, ink and color on paper, inscribed on left with two seals in lower left and one in the lower right corner, image 9” x 19‑1/4”. [300/500] Illustrated

185

969

965 965 Pair of Japanese Bronze Vases, probably Meiji period (1868‑1912), decorated with dragons and reserves depicting mythical creatures, h. 18”, dia. 7”. [500/800] Illustrated 966 Japanese Champleve Censer, Meiji period (1868‑1912), the lidded bronze and enamel vessel decorated with dragon and taotie masks, with four rectangular legs and a dragon handle on each side, a seven-character mark on the underside, h. 16‑1/4”, w. 14”, d. 9‑1/4”. [400/700]

967

967 Japanese Cloisonne Dish, Meiji period (1868‑1912)/early Showa period (1926‑1989), the rose-colored shallow bowl with scalloped edges and decorated with fans on the interior and cranes on the exterior, over a floral background, h. 2‑1/4”, dia. 7‑1/2”. [300/500] Illustrated 968 Two Pieces of Japanese Cloisonne, Meiji period (1868‑1912), ca. 1895‑1910, comprising one bottle vase with a long neck and flared lip, h. 7‑1/8”, dia. 4”, and a small tripodal lidded jar with a chrysanthemum finial, h. 3‑3/4”, dia. 3‑1/8”, both Kyoto Jippo cloisonne with tight gilt copper scrollwork and floral roundels. [300/500] Illustrated

970

969 Three Pieces of Japanese Cloisonne Enamelware, Meiji period (1868‑1912)/Taisho period (1912‑1926), including a vase with kinseki decoration, a round censer with kinseki decoration and a lidded urn with two handles, h. 4‑3/4” to 7‑1/4”, w. 3‑1/2” to 6”. [500/800] Illustrated 970 Japanese Cloisonne Vase, Meiji period (1868‑1912), depicting irises against a pale blue ground, with floral decoration at the mouth and a petaled pattern at the foot rim, h. 15”, dia. 6”. [400/700] Illustrated 968

186

975

973

971

972

971 Pair of Japanese Cloisonne Vases, Meiji period (1868‑1912), mounted as lamps and decorated with peonies and chrysanthemums on a blue ground, vase, h. 14”, overall, h. 25‑1/4”, dia. 7‑1/4”. [400/700] Illustrated 972 Japanese Cloisonne Vase, late Taisho period (1912‑1926)/mid-Showa period (1926‑1989), decorated with a pair of cranes assembled as a tazza with a cut glass tray bearing a spurious Tiffany mark and frosted floral decoration, h. 8”, dia. 10‑1/8”. [300/500] Illustrated 973 Three Japanese Cloisonne Vases, Meiji period (1868‑1912)/Taisho period (1912‑1926), including a small vase decorated with a female deity, a balusterform vessel depicting a seascape, and a large bottle vase decorated with chrysanthemums, h. 5” to 24‑1/4”, dia. 2‑1/2” to 7”. [400/700] Illustrated

974

974 Four Pieces of Japanese Cloisonne, 20th century, including a pair of vases depicting pigeons and red flowers on a yellow ground, a larger vessel decorated with roses on a yellow ground and the largest vase decorated with doves and morning glories, h. 10” to 18‑1/2”, dia. 3‑1/2” to 6‑1/2”. [400/700] Illustrated 975 Large Japanese Cloisonne Vase, Meiji period (1868‑1912), the mouth and foot rim decorated with floral patterns, the body depicting a pair of quail in a garden setting replete with an array of flowers, h. 24‑1/4”, dia. 9‑1/2”. [500/800] Illustrated

187

976

977

978

976 American Patinated Bronze Figural Group, 20th century, cast as Venus chastising Cupid, h. 18‑3/4”, w. 15”, d. 10”. [200/400] Illustrated 977 Patinated Bronze Figure, 20th century, in the erect form of a somnambulist, raised on a variegated marble base, h. 8‑1/2”, w. 15‑1/2”, d. 5‑1/2”. [200/400] Illustrated 978* Charles Fritchie (American/New Orleans, 1936‑2013), “Nude Standing”, painted plaster, h. 66”, w. 24”, d. 19‑1/2”. [300/500] Illustrated 979 Pair of Tommy Mitchell Contemporary Butterfly Sconces, 20th century, American, each in the form of an acrylic box with a single-light sconce concealed by a “flock” of gilt-metal butterflies, h. 13”, w. 8‑1/4”, d. 4‑1/4”. [800/1200] Illustrated

188

979

981

984

980 Industrial Design-Inspired Brass and Mirrored Glass Telescoping Occasional Table, the circular top with an inset beveled mirror and raised on an adjustable columnar pedestal with a square base, h. 29‑1/4”, dia. 18”. [500/800] 981 Lachlan McLean (Scottish, 20th Century), “Head of a Man”, patinated metal, incised signature at back, on a carved wood plinth, h. 13‑1/4”, w. 7‑1/4”, d. 8”. [300/500] Illustrated

983

982 Pair of Kisabeth “Caitlin” Club Chairs, upholstered in beige chenille trimmed with terracotta grosgrain, h. 35‑1/2”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 983 Yigal Ozeri (Israeli, b. 1958), “Priscilla with Vines”, 2009, watercolor, gouache and pencil on paper, from the Priscilla series, signed and dated lower left, a “Wade Wilson Art/Houston, TX” label en verso, sheet 22” x 29”. Glazed, floatmounted and framed. Provenance: Wade Wilson Art, Houston, Texas; Private collection, Santa Fe, New Mexico. [2000/4000] Illustrated 984 Swiss Lapis Lazuli and Gilt-Brass Boudoir Clock, 20th century, h. 4‑1/2”, w. 3”, d. 1‑1/2”. [500/800] Illustrated

982

189

985 Contemporary Oval Eleven-Light Chandelier, the candle sockets concealed with acrylic prisms, h. 24”, w. 21‑1/2”, d. 15‑1/2”. [1200/1800] Illustrated 986 Nine-Piece Contemporary Ebonized Dining Suite, comprised of an extending dining table with two 12” skirted leaves, a pair of armchairs and six sidechairs, the chairs with cane backs and upholstered seats, h. 44‑1/2”, table, h. 29‑1/2”, w. 40‑3/4”, l. 61”, extended l. 85‑3/4”. [500/800] Illustrated

985

987 Mid-Century Modern-Style Brass and Glass Table Lamp, the glass standard decorated with gilt and white leaves on a black ground, h. 32‑1/2”, w. 6”, d. 6”. [300/500] Illustrated 988 Vintage Italian Chrome and Black-Painted Metal Telescoping Floor Lamp, mid-20th century, the cone-form shade on an adjustable pole standard, terminating in a ball where it joins the circular base, stamped “Made in Italy”, h. 32‑1/2” to 57‑1/4” fully extended, base dia. 7‑1/4”. Provenance: Estate of designer Benjamin Baldwin, Sarasota, Florida and East Hampton, Long Island, New York. Illustrated: Benjamin Baldwin: An Autobiography in Design (New York: W. W. Norton, 1995), p. 84. [500/800] Illustrated

987

989 Large Steuben Glass “Peony Bowl”, 20th century, designed by Donald Pollard in 1960, signed underneath “Steuben” in engraved script, h. 6”, dia. 12‑5/8”. [300/500] Illustrated

988 989

986

190

990 Collection of Three Steuben Glass Table Accessories, 20th century, all signed underneath “Steuben” in engraved script, including a vase designed by George Thompson in 1942, h. 8‑3/4”, dia. 4‑3/4”, a “Floret” bowl designed by Donald Pollard in 1954, h. 3‑3/8”, dia. 7‑3/4”, and a “Flared Teardrop” candlestick designed by Donald Pollard in 1952, h. 4‑7/8”, dia. 4‑7/8”. [300/500] 991 Pair of Vintage Brass and Acrylic Two-Light Table Lamps, the tapered standard and pole centered by a circular table, on a cruciform base, h. 49”, dia. 14‑1/2”. [400/700] Illustrated 992 Julian Martinez (American/New Mexico, 1885‑1943), “Deer Dancer”, pencil, watercolor and gouache on paper, signed lower right, sight 10‑1/2” x 13”. Glazed, matted and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [500/800] Illustrated

992

993 Vintage Mid-Century Modern Gray Leather ThreeCushion Sofa, mid-20th century, raised on short tapering square legs, h. 32”, w. 60”, d. 33”. [700/1000] Illustrated 994 Keith Carter (American, b. 1948), “Sky and Water”, 1996, silver gelatin print, signed, titled, dated and numbered in pencil “39/50” en verso, sheet 20” x 16”. Unframed. [500/800] Illustrated 995 Keith Carter (American, b. 1948), “Cosmos”, 1995, silver gelatin print, signed, titled, dated and numbered in pencil “37/50” en verso, sheet 20” x 16”. Unframed. [500/800] 996 Keith Carter (American, b. 1948), “Zeppelin”, 1997, silver gelatin print, signed, titled, dated and numbered in pencil “7/50” en verso, sheet 20” x 16”. Unframed. [500/800] 994

993

991

191

999 998

997

1000 997 Maurice Loewy and Pierre Henri Puiseux (French, 1833‑1907 and 1855‑1928 Respectively), “Photographie Lunaire...”, 1897, the plate from Atlas Photographie de la Lune, 1896‑1910, printed Loewy et Puiseux/Observatoire de Paris, titled and dated in plate, sight 26‑1/2” x 20‑1/4”. Glazed, matted and framed. [400/700] Illustrated

1002

1001 Jorge Leyva (American/Peruvian, b. 1958), “The Patriarch”, 1994, mixed media on canvas, unsigned, 74” x 58”. Unframed. [400/700]

Frances Swigart Steg attended the Academy of the Sacred Heart in New Orleans and is a third generation alumnae of Newcomb Art School. The lot offered here was influenced by Sadie Irvine (American/New Orleans, 1885‑1970), Steg’s instructor during her years at Newcomb.

Originally from Lima, Peru, Jorge Leyva has called Joplin, Missouri home for the last twenty-five years since he moved there after he finished his Masters of Fine Arts Degree from the California College of the Arts. The changing landscape of the Ozarks region is a continuing inspiration for Leyva to evolve as an artist. By pushing the boundaries of surface materials and media, his works examine greater metaphysical concerns of how to conceptualize nature and self within the confines of society. The concept of power is one such theme that early works, like the one offered here, explore. In an interview with Leyva, he explained that the recurring portraits that he made of this man, a fellow art student, stem from his fascination with his rugged features and massive physique. He tried to create mediums and textures like toy soldiers and collage made from burned pen and ink drawings to capture the omnipotence his colleague/friend possessed.

1000 James Louis Steg (American/Louisiana, 1922‑2001), “Picnic Scene”, etching and aquatint on paper, “A/P 9”, signed lower right, titled lower left, sight 24‑1/2” x 35”. Glazed, matted and framed. [300/500] Illustrated

1002 Pair of Contemporary Sunburst Mirrors, with silvergilt inner frames, the “rays” composed of beveled mirror segments of alternating lengths, dia. 38‑1/2”. [700/1000] Illustrated

998 Contemporary Pottery Table Lamp, of ginger jar form, the exterior covered in white-glazed and molded barnacles, h. 25”, dia. 9‑3/4”. [600/900] Illustrated 999 Frances Swigart (American/Louisiana, Contemporary), “Ginger Flower Diptych”, pair of oils and gilt-brass leaf on wood panel, one signed lower right and the other signed lower left, each 12” x 32”. Unframed. [800/1200] Illustrated

192

1003 Hugo Robus (American/Cleveland, 1885‑1964), “Seated Woman with Memories”, patinated bronze, on a rectangular carved and painted wood base, signed at front edge of base, a “Fonderia Artistica/Battaglia/Milano” foundry mark at back of base, overall, h. 20‑5/8”, w. 7‑1/2”, d. 9‑3/4”. [4000/7000] Illustrated Robus attended the National Academy of Design in New York and the Academie de la Grande Chaumiere in France. Influenced by the Cubist and Futurist movements, his abstracted figural sculptures, often of women and children, consist of smooth curves and gently rounded forms which suggest a sense of fluidity and movement. 1004 Pair of Contemporary Mirrored and Polychrome Benches, each with a padded rectangular top above a frieze composed of shaped beveled mirrored panels, raised on mirrorpaneled tapering square legs, h. 19”, w. 20‑1/2”, d. 15‑1/2”. [300/500] Illustrated

1003

1005 Edward Yashin (Ukrainian, b. 1960), “Full Moon”, 2002, oil on canvas, signed, titled and dated en verso canvas, 27” x 43”. Framed. [600/900] Illustrated 1006 Contemporary Faux Bamboo and Glass Dressing Table, the rectangular top with an inset beveled glass surface with a mottled gray pattern, above a like inset frieze fitted with a central drawer flanked to either side by a small deep drawer, raised on X-form end supports joined by a stretcher, h. 32”, w. 47‑1/2”, d. 19”. [300/500] Illustrated 1005

1004

1006

193

1007 Elaborate Seashell Centerpiece, composed of a variety of seashells in the round, displayed on a wood base, h. 10”, w. 12”, d. 10”. [300/500] Illustrated 1008 Pair of Polished Gemsbok Horns on Stands, the polished natural horns displayed on acrylic bases, overall, h. 24”, base, w. 4”, d. 4”. [300/500] Illustrated 1009 Contemporary White Leather Sofa in the Mid-Century Modern Style, with a button-tufted back, low out-curved arms and raised on short tapering splayed legs, h. 33”, w. 84”, d. 36”. [700/1000] Illustrated

1008

1010 Contemporary Murano Glass Two-Light Table Lamp, 20th century, with chrome-plated fittings, the blue glass standard decorated with bubbles under the lobed surface, all over a gilt-flecked blue glass cove, overall, h. 28‑1/2”, dia. 6‑1/2”. [400/700] Illustrated 1011 James Steg (American/Louisiana, 1922‑2001), “Walk of Five Men”, intaglio print together with original plate, signed lower right, titled and numbered “10/25” lower left, sight 24‑3/8” x 37‑3/8”. Glazed, matted and framed. [500/800] Illustrated Collagraphy is derived from the Greek word Koll or Kollo, meaning glue and refers to a print making process in which materials are glued to a rigid substrate to form the plate. James Steg was a pioneer in developing this technique. A professor of art at Newcomb College for 40 plus years, Steg was constantly pushing the boundaries of conventional techniques. The lot offered here is a rare combination of process (original plate) accompanied by the finished art work. The Complete Collagraph: The Art and Techniques of Printmaking from Collage Plates by Clare Romano and John Ross (1980) was written after an exhibition of Stegís innovative new technique at a New York City Gallery. His work is included in the permanent collections of more than sixty museums and institutions, including the Museum of Modern Art, the Library of Congress, and the Smithsonian Institution.

1011 one of two

1007

1010

1009

194

1013

1014

1012 Tapestry of Poppies, Dragonfly and Shells, 20th century, wool thread with metallic accents and a variety of textural stitches in cool tones of blue, cream and pale aqua, monogrammed “EN” lower right, 46” x 35”. [400/700] Illustrated 1013 Pair of Silver-Gilt Metal Four-Light Chandeliers, mid-20th century, in the Mediterranean taste, h. 26”, dia. 33‑3/4”. [600/900] Illustrated 1014 Pair of Contemporary Polished and Patinated Steel and Faux Granite Occasional Tables, each composition stone top on a tapering steel base ornamented in swirl decor, h. 20‑1/4”, w. 19”, d. 19”. [300/500] Illustrated

1012

195

1016

1015

1017

1015 Pedro Friedeberg (Mexican, b. 1937), “Hand and Foot”, carved giltwood, signed on base, h. 8‑1/4”, w. 2”. [1000/1500] Illustrated 1016 Pedro Friedeberg (Mexican, b. 1937), “Hand with Sun”, carved giltwood, signed on base, h. 8‑1/4”, w. 2”. [1000/1500] Illustrated 1017 Pedro Friedeberg (Mexican, b. 1937), “Hand with Moon”, carved silvered wood, signed on base, h. 8”, w. 3‑3/4”. [1000/1500] Illustrated

1018

1018 Aaronel deRoy Gruber (American/Pennsylvania, 1918‑2011), “Spinning”, 1969, acrylic and plexiglass, incised signature, dated, copyright marked, marked “A/P”, and inscribed “119‑I-N” along upper edge of cube, h. 6‑1/2”, w. 4‑1/4”, d. 3‑3/4”, now with a metal and marble presentation stand. [400/700] Illustrated 1019 Gene Koss (American/Louisiana, Contemporary), “Untitled”, 1993, glass sculpture, from the “Disc Series”, incised signature, h. 5”. [500/800] Illustrated 1020 Gene Koss (American/Louisiana, Contemporary), “Untitled”, glass sculpture, incised signature, h. 21”. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. [500/800] Illustrated

196

1020

1019

1021 Dan Gorski (American, b. 1939), “Sisters”, sumi ink and acrylic on incised wood, signed and titled en verso, 10‑1/4” x 14‑1/2”. Private collection, Santa Fe, New Mexico. [1000/1500] Illustrated 1022 Middle Eastern Cast and Turned Bronze Hanging Oil Lamp, supported on a baluster-turned standard with a turned drip pan hanging under the lamp, h. 30‑3/4”, dia. 12‑1/2”. [300/500] 1023 Anglo-Indian Bone-Inlaid Sidechair, the Regencystyle chair with vine and floral bone inlay on a dark ground, the crest rail terminating in rams’ heads, upholstered in black velvet, h. 35”. [300/500] Illustrated

1021

1024 Tony Fitzpatrick (American, b. 1958), “Angola Flower”, 1995, color etching, initialed, dated, titled and numbered “32/40” lower margin, sight 9” x 7”. Glazed, matted and framed. [500/800] Illustrated 1025 Tony Fitzpatrick (American, b. 1958), “Vegas Penny Flower”, 1995, color etching, initialed, dated, titled and numbered “19/40” lower margin, sight 9” x 7”. Glazed, matted and framed. [500/800] 1026 Tony Fitzpatrick (American, b. 1958), “Dandelion”, 1995, color etching, initialed, dated, titled and numbered “32/40” lower margin, sight 9” x 7”. Glazed, matted and framed. [500/800] 1027 Moorish-Style Enameled Cocktail Table in Mosaic Decor, the top adorned with alternating deep blue/green and white triangles, supported by panels at the ends in like decor, h. 17‑1/4”, w. 66”, d. 34”. [600/900] Illustrated

1024

1027

1023

197

1031 1029 1030

1032 1033

1028 Art Nouveau-Style Bronze Five-Light Chandelier, ca. 1900, the cylindrical stem issuing a central lower light, flanked by scrolled arms decorated with sprays of leaves, h. 33”, dia. 23‑1/2”. [500/800] 1029 R. Lalique “Epis” Vase, ca. 1931, of clear and frosted glass with a light green patina, engraved mark on the pontil: “R. Lalique, France”, h. 6‑1/2”, dia. 6‑3/8”. [400/700] Illustrated

1032 Three Pieces of Lalique Molded and Frosted Crystal, 20th century, French, including a “Dampierre” vase, a “Deux Tulipes” vase and a contemporary compote, each signed, h. 3” to 4‑3/4”, dia. 4” to 4‑3/4”. [400/700] Illustrated 1033 Lalique Frosted Crystal “Sylvie” Vase, 20th century, French, depicting two intertwined lovebirds, marked “Lalique, France”, h. 8”, w. 7”, d. 4”. [200/400] Illustrated

1030 Three Lalique Molded and Frosted Crystal Ashtrays, 20th century, French, including a “Nancy” ashtray, a “Tokyo” ashtray and a “Cannes” ashtray, w. 5‑1/4” to 8‑1/2”, d. 5‑1/4” to 6‑3/4”. [400/700] Illustrated

1034 Galle-Style Cameo Glass Punch Bowl, 20th century, decorated with green orchids on an amber ground, with a Galle-style signature in the upper field, h. 9”, dia. 16‑1/2”. [1000/1500]

1031 Lalique, France, Frosted and Clear Glass “Thistle” Bowl, signed in script underneath “Lalique France”, h. 4‑3/4”, dia. 10”. [300/500] Illustrated

1035 Whimsical Painted Leather Four-Panel Screen, in playing card decor, each adorned with brass tacks, each panel, h. 69”, w. 16‑1/2”. [400/700]

198

1037 1036 Egyptian Wall Hanging, first quarter 20th century, handpieced and stitched cotton on coarse natural linen, all edged in a finer brown linen, depicting figures in the Ancient Egyptian style, 52” x 17”. Float-mounted, glazed and framed. [400/700] 1037 Continental Art Deco Gilt-Metal and Onyx Mantel Clock, second quarter 20th century, decorated with a pair of gazelles, h. 10”, w. 24‑1/2”, d. 5”. [400/700] Illustrated 1038 Art Deco Bronze and Frosted Glass Hall Lantern, second quarter 19th century, the hexagonal paneled lantern decorated with Art Deco finials above the panels and molded decoration on the central standard, the panels fitted with frosted glass, h. 50‑1/2”, dia. 18”. [400/700]

1039

1039 Contemporary Ivory-Painted Bull’s-Eye Mirror, set with a beveled mirror plate, dia. 47”. [600/900] Illustrated 1040 Continental Art Nouveau Mahogany and Parcel-Gilt Mirror, second quarter 20th century, of rectangular form, set with a beveled mirror plate with cut corners, the corners with gilt panels of abstract roses, the upper tablet with a lozenge-form gilt panel of matching roses, h. 53‑3/4”, w. 31”. [400/700] Illustrated 1041 Pair of Art Deco Leather Pub Armchairs, early 20th century, each with a shaped back, closed arms and a loose seat cushion, upholstered in buff leather with black piping, h. 34”. [600/900] Illustrated

1040

1042 Art Deco-Style Mahogany Card/Center Table, the square top supported by a trio of shaped supports on cyma-molded feet, h. 27‑1/2”, w. 32”, d. 32”. [700/1000] Illustrated

1042

1041

199

1044 five of twenty 1045 pair

1046 1047 1043 French Art Deco Wrought Iron and Glass Bowl, first quarter 20th century, designed by Louis Majorelle for Daum Freres, Nancy, France, composed of gilt-flecked mauve glass blown into the cast iron outer frame, the bowl signed “L. Majorelle” and “Daum Nancy, France” with a Croix de Lorraine, h. 4‑3/4”, dia. 10‑3/4”. [500/800] 1044 Group of Twenty Sheet Music Covers, 20th century, including “Smoke Gets in Your Eyes” by Jerome Kern and Otto Harbach; “Me and My Shadow” by Al Jolson, Billy Rose and Dave Dreyer; and “My Old Kentucky Home”, by Stephen Collins Foster, among others, each sight 12‑3/8” x 9‑3/4”. All matted, glazed and framed. Complete list available upon request. [400/700] Illustrated

200

1045 Pair of Unusual Mirrors in the Venetian Art Moderne Style, with segmented mirror glass surrounds with cut edges, stepped in the Art Moderne manner, h. 55”, w. 31”. [500/800] Illustrated 1046 McClelland Barclay (American, 1891‑1943), “The Artist’s Wife”, patinated bronze, first quarter 20th century, cast signature and copyrighted along edge of self-base, h. 13‑1/4”, w. 7‑1/2”, d. 6”. [800/1200] Illustrated 1047 American Verdigris-Patinated Bronze of a Woman’s Torso, 20th century, cast monogram “MLo”and marked “10’5” at thigh truncation, presented on a metal plinth, overall, h. 26‑1/4”, w. 13”. [600/900] Illustrated

1048 Pair of French Baccarat Style Glass Four-Light Candelabra, second quarter 20th century, the finialed baluster-form standard cut in the diamond pattern, issuing alternating twisted arms and scrolls, the bobeches fitted with prisms, electrified, h. 31‑1/2”, dia. 17”. [400/700] 1049 Louis XV-Inspired Brass Tea Cart, in foliate decor with a smoked glass top and low shelf, the rear wheels with cab tires, h. 35”, w. 48”, d. 23”. [1000/1500] Illustrated 1050 Venetian Blown Glass Eight-Light Chandelier, with a vasiform central shaft, the lower bowl fitted with eight scrolled arms fitted with electric sockets and alternating blown glass streamers, h. 35”, dia. 39”. [1000/1500] Illustrated

1050

1051 Three-Part Giltwood Overmantel Mirror, first quarter 20th century, possibly American, the mirror with applied bosses, h. 32‑1/2”, w. 91‑1/4”. [500/800] 1052 Warner E. Baird (American/California, 20th Century), “Ballerina in a Field”, oil on board, signed lower left, 20‑1/2” x 26”. Framed. [700/1000] Illustrated 1054

1053 Pair of Faux Cast Stone Baluster-Form Lamps, 20th century, each decorated with a patinated metal snail, base, h. 26‑1/2”, overall, h. 40”, w. 7”, d. 7”. [400/700] Illustrated 1054 Contemporary Antelope Hide Stool, with a padded top and sides, raised on casters, h. 20‑1/4”, w. 18‑1/2”, d. 18”. [400/700] Illustrated

1053

1049

1052

201

1055 Cowhide Throw Rug, in shades of brown and white, w. 75”, l. 92”. [400/700] Illustrated 1056 Modern Carpet, 9’ x 12’. [500/800] Illustrated 1057 Modern Carpet, 8’ x 8’. [400/700] 1058 Metal-Trimmed Leather Golf Club Holder, 20th century, inscribed in gilt: “Oakfield Golf Club, Club Irons”, h. 25‑1/2”, dia. 17‑1/2”. [500/800]

1055

1059 Sue Duerr Robertson (American, Contemporary), “Turning Page”, 2003, oil on wood panel, monogrammed and dated lower right, titled en verso, 15‑1/2” x 11”. Framed. [700/1000] Illustrated 1060 Carol Anthony (American, b. 1943), “Beautiful Bowl: Pear and Lemon Celebration”, 1996, mixed media on paper, pencil signed, titled and dated lower margin, sight 17” x 15”. Framed. Provenance: Private collection, Santa Fe, New Mexico. [400/700] Illustrated 1061 Giltwood Mirror in the Queen Anne Taste, 20th century, the bolection-molded gilt surround set with a beveled mirror plate, h. 48”, w. 36”. [800/1200] Illustrated

1056

1061

1060

1059

202

1064

1068

1065

1066

1062 Pair of Polychrome Sidechairs in the Directoire Manner, each with a tall padded rectangular back above a cushioned seat, raised on paneled sabre legs ending in ball feet, h. 37”. [300/500] 1063 Pair of French Empire-Style Bronze Three-Light Sconces, 20th century, with urn backplates and swanmolded arms, set with frosted flower-form shades, h. 27‑1/2”, w. 16‑1/2”, d. 8”. [500/800] 1064 Patinated Metal Folding Screen/Room Divider, by Julia Yerkov Kline (Yugoslavia/New Orleans, Contemporary), the design comprised of stylized undulating tropical foliage elements with a gold and bronze-tone finish, each panel backed in gathered silver mesh, one panel on stationary feet, the remainder on casters, unsigned, overall, h. 74‑1/2”, w. 120”. [900/1200] Illustrated

1067

1065 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, gold leaf over black clay, signed lower center, 9‑3/4” x 8‑7/8”. Framed. [1000/1500] Illustrated 1066 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over yellow clay on board, signed lower center, 14” x 12”. Unframed. [2000/4000] Illustrated 1067 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over black clay on wood panel, signed lower center, 15‑7/8” x 11‑7/8”. Framed. [3000/5000] Illustrated 1068 Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Mythic Print”, 1985, color lithograph, pencil signed and dated lower right and numbered “WWP 3/4” lower left, sheet 48” x 36”. Unframed. [1200/1800] Illustrated

203

1071

1070

1069 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Smogged In”, 1993, serigraph, signed and dated lower right, titled and numbered “20/100” lower left, 18‑3/4” x 24‑3/4”. Glazed, float-mounted and framed. [800/1200] Illustrated 1070 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Layered Landscape”, 1973, color lithograph, pencil signed, titled, dated and numbered “89/100” lower right, 44‑1/2” x 30”. Framed [800/1200] Illustrated

1069

1071 Terry Weldon (American/Louisiana, b. 1947), “Untitled”, metal sculpture mounted on linen backing and presented in a plexiglass shadowbox frame, signed “T. Weldon”, h. 34”, w. 34”, d. 2‑1/2”. [700/1000] Illustrated 1072 George Rodrigue (American/Louisiana, 1944‑2013), “She Lives Across the Bayou”, silkscreen print, pencil signed lower right, numbered “20/350” lower left, sight 16” x 18‑1/2”. Glazed, matted and framed. [1200/1800] Illustrated

1072

204

1074 one of ten 1075

1073 Caroline Durieux (American/Louisiana, 1896‑1989), “Surprise” and “Senior”, 1975, two inks on paper, each pencil signed, titled, and dated lower margin, each 8” x 5”. Glazed, matted and framed alike. [700/1000] Illustrated 1074 Rolland Golden (American/New Orleans, b. 1931), “The Complete Collection of Civil War Lithographs”, 1970, each of the ten are signed in plate and pencil signed and numbered 78 of an edition of 200, each sheet 15” x 11‑7/8”, five of the lithographs are glazed, matted and framed alike, the other five are unframed in a folio sleeve. [1000/1500] Illustrated 1075 Jim Richard (American/Louisiana, b. 1943), “Lake Vista”, 1981, acrylic on Arches paper, signed and dated lower right, verso with “Galerie Simonne Stern, New Orleans, Louisiana” and “Watson/de Nagy & Company, Houston, Texas” labels, 20” x 25”. Glazed, matted and framed. [700/1000] Illustrated

1073 one of two

1076 Wook-Kyung Choi (Korean, 1940‑1985), “New Mexico Snow”, 1976, acrylic on paper, signed, dated “12/20/76” lower left, 27‑3/8” x 39”. Framed. Provenance: Estate of the artist. [1000/1500] Illustrated Painted during Choi’s residency at the Roswell Museum in New Mexico, this work exemplifies the artist’s experimentation with light and airy forms and colors inspired by the New Mexico landscape. 1076

205

1077 Modern Acrylic and Glass Occasional Table, possibly by H. Studio, Sun Valley, California, with a beveled glass top, shaped apron and square legs on like feet, h. 20‑1/4”, w. 24”, d. 24”. [700/1000] Illustrated 1078 Malcolm Myers (American/Minnesota, 1917‑2002), “Drummer”, 1956, mixed media on paper, pencil signed and dated lower right, sight 14” x 10‑3/8”. Glazed, matted and framed. [800/1200] Illustrated 1079 Pair of Contemporary Acrylic and Brushed Metal Two-Light Candelabra, the scrolled acrylic bodies mounted with brushed metal sockets, h. 9”, w. 11‑1/2”, d. 7‑3/4”. [400/700] Illustrated 1080 Modern Acrylic Cocktail Table, attributed to H. Studio, Sun Valley, California, the circular top raised on tapering legs, h. 16”, dia. 42”. [2000/4000] Illustrated

1081

1081 Pair of Gold-Leafed Eland Skulls, each retaining their natural horns, h. 41‑1/2” and 42”, w. 14‑1/2” and 15”. [400/700] Illustrated

1078

1082 Pair of Gold-Leafed Blesbok Skulls, each retaining their original horns, h. 25”, w. 10”. [300/500] Illustrated

1082

1079

1077

206

1080

1085 1086 one of two

1083

1084 1083 Modern Polycarbonate and Padded Vinyl Stool, possibly by H. Studio, Sun Valley, California, the ivory cushion on a shaped acrylic frame on casters, h. 19‑1/2”, w. 19‑1/2”, d. 12”. [400/700] Illustrated 1084 George Valentine Dureau (American/New Orleans, 1930‑2014), “Nude”, pencil and chalk on paper, signed along lower edge, sight 37‑1/4” x 26‑3/8”. Glazed, matted and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [1000/1500] Illustrated

1085 Arthur B. Davies (American, 1862‑1928), “Greek Athletes”, 1920, lithograph, edition of 35, pencil signed lower right, sight 12” x 10‑1/4”. Matted, glazed and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [600/900] Illustrated 1086 William (Bill) Kitchens (American, b. 1951), pair of prints, including “Autibodies#3”, pencil signed lower right, titled lower left, numbered “A/P” lower center, sight 18‑1/4” x 13‑1/2”, and “Evening Clothes”, pencil signed lower right, titled lower left and numbered “10/10” lower center, sight 10” x 6‑3/8”. Each matted, glazed and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [700/1000] Illustrated

207

1087 Robert Gordy (American/Louisiana, 1933‑1986), “Interior Scene with Nudes”, oil on canvas, initialed and dated lower right “R.G. ‘58”, 69” x 50”. Framed. Provenance: Gift from the artist to the consignor’s family. [400/700] Illustrated 1088 Modern Leather-Upholstered Acrylic Bench, retaining the label of “H. Studio by Shlomi Haziza”, h. 20”, w. 48‑1/4”, d. 19‑1/2”. [800/1200] Illustrated 1089 Modern White Suede and Acrylic Parson’s Chair, retaining the label of “H. Studio by Shlomi Haziza”, h. 48”. [400/700] Illustrated 1090 French Patinated Bronze of “Venus a la Girafe”, 20th century, after Salvador Dali (Spanish, 1904‑1989), cast signature and numbered “2/299” at back edge of self-base, on a black marble base, overall, h. 18‑1/2”, w. 10”, d. 6”. [500/800] Illustrated 1091 Pair of Contemporary Metal Floriform Three-Light Sconces, with scrolls and applied leaves, h. 24‑1/2”, w. 12‑1/4”, d. 11‑1/4”. [400/700] Illustrated 1087

1091

1090

1088

208

1089

1092 American Carved and Distressed Giltwood Sunburst Mirror, 20th century, the rays termating in an inner circle of cloud carvings, dia. 48‑1/2”. [800/1200] Illustrated 1093 Pair of Antique French Glass and Metal Cloche Hall Lanterns, the inverted blown glass cloche shades mounted with three metal candle sockets supported on a hanging rod suspended from a hook-mounted ring, h. 37‑3/4”, dia. 18‑1/2”. [800/1200] Illustrated 1094 Pair of African Iron Currency Blades, Lokele and Turumbu peoples, Lomani and Lualaba Rivers, Democratic Republic of Congo, h. 57” and 60‑1/2”. [500/800] Illustrated 1095 Suite of Eight Turtle Shells on Stands, each turned balustre-form wooden stand with a painted finish and displaying a variety of red-earred slider turtle shells, h. 10‑1/2” to 18”, w. 4‑1/2” to 6”. [300/500] Illustrated

1093 pair

1092

1094

1095

209

1096

1099

1096 Pamela Scholz (American, 20th Century), “A Place in the Sun”, oil on canvas, signed lower right, signed and titled en verso, 26” x 38”. Framed. [400/700] Illustrated 1097 South American School (20th/21st Century), “San Miguel Flower Vendor”, oil on canvas, illegibly signed lower left, 17‑3/4” x 23‑5/8”. Framed. [600/900] 1098 Holly Lane (American, b. 1954), “The Laughing Place”, 1999, mixed media construction, signed and dated lower right, signed, dated, and titled en verso in two places, overall, 8‑1/4” x 18‑7/8”. [500/800] Illustrated

210

1098

1100

1099 Swedish Contemporary Blown and Molded Glass Bowl, ca. 2001, Studio Glashyttan i Ahus AB, decorated with a cobalt rim and a series of sunken roundels, signed “Studio Ahus Sweden 2001, BW 42‑10/61”, h. 9”, dia. 9”. [200/400] Illustrated 1100 Partial Service of Continental Crystal Stemware, mid-20th century, the set including thirteen water goblets engraved with an “E”, h. 8‑1/2”, eleven red wine goblets, h. 7‑3/4”, twelve champagne flutes, h. 10‑1/4”, twelve white wine goblets, h. 7‑1/4”, and nine martini glasses, h. 6‑1/2”. [400/700] Illustrated

1101 1106 1101 Extensive Assembled Partial Service of Stemware, 20th century, French, primarily Baccarat, the service including sixteen “Directoire” iced tea glasses, h. 6‑1/2”, eighteen “Directoire” water goblets, h. 7‑1/2”, five “Directoire” claret glasses, h. 6‑1/2”, twenty-one “Directoire” champagne coupes, h. 5‑1/4”, four “Haut Brian” port glasses, h. 5”, two “Provence” water goblets, h. 6‑7/8”, five Baccarat Rhine wine glasses, h. 6‑3/4”, five mixed Baccarat glasses, fifteen gilt-decorated aperitif glasses by an unknown maker, h. 4‑3/4”, and four brandy snifters by an unknown maker, h. 5‑3/4”. [800/1200] Illustrated

1103

1102 Lalique “Roxanne” Molded and Frosted Goblet-Form Vase, 20th century, French, the stem molded with a pair of intertwined nudes, h. 15‑1/2”, dia. 6‑1/2”. [300/500] 1103 Two Signed Steuben Crystal Bowls, Corning, New York, including a “coronet” bowl, introduced in 1953, h. 4”, dia. 12‑3/4”, and a “low footed” bowl, introduced in 1949, h. 3”, dia. 7‑7/8”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated 1104 Partial Service of Rogaska “Gallia” Pattern Crystal Stemware, 20th century, Yugoslavian, including thirteen wine goblets, h. 7‑3/4”, thirteen champagne coupes, h. 7‑1/4”, and fourteen liqueur glasses, h. 5”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [400/700] Illustrated

1104

1105 Baccarat “Harmonie” Crystal Bar Set, fourth quarter 20th century, including a decanter, h. 13‑1/4”, and six rocks glasses, h. 3‑3/4”, each with an etched mark on the base. [400/700] Illustrated 1106 Unusual Post-Modern-Style Single-Light Chandelier, the smoked and mirrored prisms with orbs of “diamonds” suspended from a central ring, h. 11‑1/4”, dia. 9‑1/2”. [300/500] Illustrated 1105

211

1109

1107

1107 Susan Contreras (Mexican/Santa Fe, Contemporary), “On the Prowl”, oil on linen, signed lower right, titled on artist’s label en verso, 50” x 50”. Framed. Private collection, Santa Fe, New Mexico. [800/1200] Illustrated 1108 Venini Blown Amber Satin Glass Decanter with Matching Stopper, ca. 1946‑1965, Murano, Italy, with an etched mark reading “Venini Murano Italia” in the center of the ground pontil, h. 10‑3/4”, w. 4‑3/4”. [300/500]

1110

1109 Franklin Adams (American/New Orleans, 1933‑2008), “Untitled - Abstract”, pastel on paper, signed lower right, sight 24” x 26”. Float-mounted on linen, glazed and framed. [600/900] Illustrated 1110 Pat Trivigno (American/Louisiana, 1922‑2013), “Untitled”, oil on panel, signed lower left, verso with “The Glade Gallery, New Orleans, Louisiana” label, 13” x 15‑3/8”. Framed. [700/1000] Illustrated 1111 Randy Asprodites (American/Louisiana, Contemporary), “Untitled”, 1982, oil on masonite, signed and dated en verso, 26” x 20”. Unframed. [500/800] Illustrated

1111

212

1113

1112

1115 1112 Sam Gummelt (American/Texas, b. 1944), “Untitled, #18”, 1980, oil on glass, verso with “Seeman-Robinson, Inc., Houston, Texas” and “Jamie C. Lee Gallery, Houston, Texas” labels, 14‑1/2” x 13”. Glazed and framed. [700/1000] Illustrated 1113 Sam Gummelt (American/Texas, b. 1944), “Untitled, #19”, 1980, oil on glass, verso with “Seeman-Robinson, Inc., Houston, Texas” and “Jamie C. Lee Gallery, Houston, Texas” labels, 14‑1/2” x 13”. Glazed and framed. [700/1000] Illustrated 1114 Janice Sachse (American/Louisiana, 1908‑1998), “Night Scene”, watercolor on paper, signed lower right, sight 20‑1/4” x 28‑1/4”. Glazed, matted and framed. [500/800] Illustrated

1114

1116 1115 Louise Guidry (American/Louisiana, b. 1930), “When Whippoorwills Call and Evening is Nigh...”, acrylic on canvas, signed lower right, 36” x 36”. Unframed. [1500/2500] Illustrated 1116 Louise Guidry (American/Louisiana, b. 1930), “Three Jewels”, triptych, acrylic on canvas, one signed lower right, each panel 40‑1/2” x 16”. Unframed. [2000/4000] Illustrated The “Three Jewels” of Buddha, Dharma and Sangha lie at Buddhism’s core and are depicted in Buddhist iconography with the colors yellow, blue and red respectively. Buddha, which refers to the historical figure Shakyamuni, represents the ideal nature of all beings. Dharma is the collective teachings of the Buddha that lead to enlightenment and Sangha, the monks, nuns and laity that comprise the spiritual community.

213

1117 Louise Guidry (American/Louisiana, b. 1930), “Untitled - Red Painting”, acrylic on canvas, signed lower right, 36” x 36”. Unframed. [1500/2500] Illustrated 1118 Jacqueline Humphries (American/New Orleans, b. 1960), “Untitled”, 1999, mixed media on paper, pencil signed and dated lower right, sheet 17‑1/2” x 14”. Matted, glazed and framed. Provenance: Private collection, New Orleans, Louisiana. [800/1200] Illustrated 1119 Scott Gordon (American/Texas, b. 1959), “The Four Thieves”, 2007‑2008, mixed media collage, unsigned, titled and dated on “Hooks-Epstein Galleries, Houston, TX” label on frame backing, 17‑1/2” x 16‑3/4”. Glazed in a float-mount frame. Provenance: Hooks-Epstein Galleries, Houston, Texas. [500/800] Illustrated Scott Gordon, an accomplished contemporary collage artist, has exhibited widely. His work is in numerous public and private collections. Through the use of multiple layered grid-like structures and mixed media, Gordon explores the relationship between fragmentation and wholeness and between chance and order to create alternative realities and perspectives.

1117

1120 Scott Gordon (American/Texas, b. 1959), “All That Jazz 2”, 2008, mixed media collage on museum board, unsigned, titled and dated on “Hooks-Epstein Galleries, Houston, TX” label on frame backing, 16” x 15‑3/4”. Glazed in a float-mount frame. Provenance: HooksEpstein Galleries, Houston, Texas. [500/800] Illustrated

1118

1119

214

1120

1124

1122

1121 one of two 1121 Tod Bailey (American/Texas, b. 1970), pair paintings, “Figurative Abstraction”, 2012, oil and ink on canvas, signed and dated lower right and en verso, 38” x 38” and “Abstract Figures”, 2013, acrylic on canvas, signed lower left, dated lower right, 12” x 24”, Each unframed. Private collection, Santa Fe, New Mexico. [500/800] Illustrated 1122 Otis Huband (American/Texas, b. 1933), “Figural Abstraction”, 2011, oil and oil stick on canvas, pencil signed and dated lower right, 57‑1/2” x 42‑1/2”. Framed. [2000/4000] Illustrated 1123 Otis Huband (American/Texas, b. 1933), “Three Figures”, 2013, oil and oil stick on canvas, pencil signed and dated lower right, titled en verso, 57‑1/2” x 46”. Framed. [2000/4000] Illustrated 1124 Zvi Mairovich (Israeli/Polish, 1911‑1974), “Untitled”, oil on canvas, signed lower right, signed and further inscribed en verso, 18” x 15”. Framed. [500/800] Illustrated

1123

215

1125 Suzanne Roger (French, 1899‑1986), “Le Ronde”, 1951, oil on canvas, signed upper right, titled and dated en verso, a “Galerie Simon/Paris” label en verso, 13” x 16‑1/4”. Framed. [800/1200] Illustrated 1126 Monika Huber (German, b. 1959), “Untitled”, oil on canvas, signed lower right, 50” x 35‑3/4”. Framed. [800/1200] Illustrated

1127

1125

1128

1127 Pair of Peshawar Sultanabad Carpets, 3’ 5” x 5’ 1” and 3’ 6” x 5’. [400/700] Illustrated 1128 Louis XV-Style Carpet, 20th century, the cream ground with scattered floral motifs, with an acanthine and floral vine border, 14’ 9” x 21”. [1000/1500] Illustrated

1126

216

1131

1129 1132 1129 Turkish Angora Runner, 2’ 7” x 15’ 9”. [400/700] Illustrated 1130 Turkish Oushak Carpet, 6’ 2” x 8’. Provenance: The Sarouk Shop, New Orleans, Louisiana. [600/900] Illustrated 1131 Turkish Angora Oushak Carpet, 9’ 2” x 12’. [1000/1500] Illustrated 1132 Turkish Angora Oushak Carpet, 10’ 5” x 14’. [1200/1800] Illustrated 1130

217

1133 Silk Tabriz Carpet, 5’ x 7’. [300/500] Illustrated 1134 Uzbek Kazak Carpet, 3’ 7” x 5’ 10”. [300/500] Illustrated 1135 Soumak Carpet, 7’ x 9’. [500/800] Illustrated

1134

1133

218

1135

1136 Semi-Antique Turkoman Carpet, 4’ 2” x 6’ 2”. [400/700] Illustrated 1137 Semi-Antique Oushak Carpet, 8’ 10” x 11’ 2”. [500/800] Illustrated 1138 Semi-Antique Persian Josheghan Carpet, 8’ x 11’. [800/1200] Illustrated

1136

1137

1138

219

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

APRIL 23-24, 2016

Adams, Franklin 1109

Dali, Salvador (after) 1090

Agam, Yaacov 554

Davies, Arthur B. 1085

American School 239, 340, 803, 805, 864, 906, 910, 922, 924

Davis, Harry Allen 916

Anthony, Carol 1060

Dubray, Vital-Gabriel (after) 437

Anzalone, William 780, 781, 782, 783, 784, 789, 790, 791, 792,

Dumaige, Etienne-Henri (after) 194

793

Dunbar, George Bauer 1065, 1066, 1067

Asprodites, Randy 1111

Dureau, George Valentine 553, 1084

Audubon, John James (after) 895, 896, 897

Durieux, Caroline 1073

Bacchelli, Mario 913

Fei, Danxu (attributed) 844

Bailey, Tod 1121

Fenton, Terry 785

Baird, Warner E. 1052

Fiaschi, Emilio P. 108

Band, David M. 795

Fitzpatrick, Tony 1024, 1025, 1026

Barclay, McClelland 1046

Forsyth, William 904, 905

Barnet, Will 564

French School 155, 516

Basset, Louis 540

Friedeberg, Pedro 1015, 1016, 1017

Beavis, Richard 226

Fritchie, Charles 978

Belardinelli, A. 72

Gagni, Paul 507, 508

Borofsky, Jonathan 552

German School 868

Bossuwe, Henri Charles Desire 371

Girault, Louis C. 915

Boucher, Francois (manner) 141

Gisson, Andre 509

Brenner, Victor David 865

Glennie, Arthur 271

British School 32, 225, 237, 238, 240, 268, 270

Golden, Rolland 1074

Brooks, Leonard 917, 918, 919

Gordon, Scott 1119, 1120

Carter, Keith 994, 995, 996

Gordy, Robert 1087

Casenelli, Victor 889

Gorski, Dan 1021

Chagall, Marc 550

Gregory, Angela Bres 817

Chinese School 964

Gropper, William 560

Chism, Sandy 787

Gruber, Aaronel deRoy 1018

Choi, Wook-Kyung 1076

Guardi, Francesco (manner) 73

Continental School 83, 134, 158, 341, 347, 348, 360, 370, 480,

Guidry, Louise 1115, 1116, 1117

543, 545

Gummelt, Sam 1112, 1113

Contreras, Susan 1107

Hardy, Cyril 272

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

APRIL 23-24, 2016

Hauser, Carl 367

Loewy, Maurice 997

Heldner, Colette Pope 819

Logsdail, William 290

Hesser, Harry 909

Ma, Wanli 847

Horrowitz, Larry 908

Machault, Paul Emile 400

Huband, Otis 1122, 1123

Mairovich, Zvi 1124

Huber, Monika 1126

Marieschi, Michele (manner) 85

Hubert, Erwin 195

Martinez, Julian 992

Humphries, Jacqueline 1118

McHugh, Dorsey 920

Israels, Jozef 372

McLean, Lachlan 981

Italian School 84, 92

Meads, Michael 822

Jelinek, Rudolf 378

Meyerowitz, Joel 565

Kennedy, Scott 901

Montresor, Benito 557

Kepets, Hugh 551

Moore, Kelly 825

King, J. W. 936

Mortelmans, Frans 342

Kinsey, Alberta 816

Myers, Malcolm 555, 556, 558, 559, 1078

Kirchherr, Astrid 567

Neel, Alice 562

Kitagawa, Utamaro (attributed) 957

Ozeri, Yigal 983

Kitchens, William (Bill) 1086

Parker, Steve 788

Kline, Julia Yerkov 1064

Paxton, William McGregor 911

Kohlmeyer, Ida Rittenberg 1068, 1069, 1070

Peebles, Carol 823

Koss, Gene 1019, 1020

Petit, Jacques 548

Ladbrooke, John Berney (attributed) 267

Poole, Paul Falconer (attributed) 269

LaMay, Art 898

Preiss, Ferdinand (after) 386

Lamson, William 568

Pritchard, J. Ambrose 912

Lane, Holly 1098

Pritschenfried, Carl 369

Lechoux, Henri 170

Puiseux, Pierre Henri 997

Leemputten, Cornelius Van 373

Qian, Huian 843

Lefebvre, Maurice Jean 497, 498, 500

Rambert, Rene 542, 546

Lely, Sir Peter (after) 16

Remington, Frederic (after) 892

Lessore, Jules 171

Renard, Paul 541

Lester, Lois J. 897

Richard, Jim 1075

Leyva, Jorge 1001

Richards, Charles 818

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

APRIL 23-24, 2016

Robert, Louis Valentin Elias (after) 866

Weldon, Terry 1071

Robertson, Sue Duerr 1059

Woodward, Ellsworth 815

Robus, Hugo 1003

Wu, Changshuo (after) 848

Rockmore, Noel 821

Yashin, Edward 1005

Rodin, Auguste (after) 322

Zhao, Zhongmu (after) 846

Rodrigue, George 1072 Roger, Suzanne 1125 Rouillard, Jean-Sebastien 142 Rucker, Robert 820 Sachse, Janice 824, 1114 Sartor, Margaret 566 Sayle, Carol Gibson 794 Scholz, Pamela 1096 Schouten, Henry 374, 375 Shahn, Ben 561 Simpson, Harry 914 South American School 1097 Southern School 786 Steg, James Louis 1000, 1011 Sukhov, Alexander Pavlovich 499 Swigart, Frances 999 Thylmann, Karl 320 Tivoli, Arthur de (after) 74 Tornero, Sergio Gonzales 563 Trivigno, Pat 1110 Utagawa, Kunisada 958 Van der Kellen, David 379 Van der Plas, Niek 547 Van Minderhout, Hendrik (attributed) 359 Vecelli, Tiziano (manner) 94 Vickery, Charles Bridgeman 907 Wang, Mingfang 845

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

New Orleans Auction Galleries Susan D. Sarofim

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS: Jelena Restovic James

FURNITURE:

Director of Fine Arts Continental and American; Prints and Maps

Ireys Bowman

Michele M. Carolla

American, Continental and English

British and American; Sculpture

DECORATIVE ARTS: Ireys Bowman

Continental and English

Nicole Casi, PhD

American, Continental and English

Continental and English

Greg S. Kowles

Thomas Halverson

ASIAN FINE & DECORATIVE ARTS: Felicia S. Yao BOOKS, MANUSCRIPTS & EPHEMERA:

American

Charles C. Cage

Josh Broussard

Jewelry:

Southern Regional

SILVER: Charles C. Cage

Kim Lemon FINE CARPETS & TEXTILES: Sean Ranson

a d m ini s t r at ion Burke

Colleen Ryan

Taylor Eichenwald

Charles C. Cage

Nicole Casi, PhD

Christa Ougel

Research

Graphic Designer

Denise Haik

Gary Michael Gittelson

Office Administration

Photographer

Justin Gray

Alexis Kopituk

Cord McPhail

Grace Connors

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie

Cedric Roberts | Sean Ranson

Designer

Office Manager

Administrative Assistant

Ashton Thomas #1833 Michael DeGeorge #1774 Taylor Eichenwald #1922 Robin Ruiz #1114

Director of Human Resources

Photographer

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

James Callahan Asian Arts

Marketing & Public Relations

Graphic Designer

Manager of Cakebread Auctions

Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney | James Collins