Spring Estates Auction: March 20-22, 2015

New Orleans Auction galleries

Dme acre c mh b e2r0 -62-27, , 22001154

Lot 411

Cover: Lot 1360

Back Cover: Lot 1081

E xhibition: M arch 9 - M arch 19 9:00 a.m. - 5:00 p.m. (E xcluding Sunday )

E vening Pre vie w Reception: Thursday, M arch 19, 2015 5:00 - 8:00 p.m.

Session I: Friday, M arch 20, 2015 1:00 p.m. CDT, Lots 1 - 329

Session II: Saturday, M arch 21, 2015 10:00 a.m. CDT, Lots 330 - 929

Session III: Sunday, M arch 22, 2015 10:00 a.m. CDT, Lots 930 - 1390

Featuring Propert y From: Glenridge Hall Sandy Springs, Georgia

The Collection of Naomi Da monte M arshall Ne w Orleans, Louisiana

The Estate of E velyn & T. L. Wilson Houston, Te xas

The Library of Willia m Pfaff Ne w Orleans, Louisiana

The Personal Collection and Estate of Reuben L. “Buzz” Harper Natchez, Mississippi

New Orleans Auction Galleries 504-566-1849 | 333 St. Joseph Street, New Orleans, Louisiana 70130 | NewOrleansAuction.com | Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833/23% Buyer’s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

E s tat e s A u c t i on E v e n i n g R e c e p t i on H i g h l i g h t s D e c e m b e r

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(L-R) Adam Fenasci, Jeanette Lynch and Burke; Andrew Hopkins, Tommy Nocera and Brian Sands; David and Lynn Adams; Yvette Semmes and Virginia Ernst; Sharon Snowdy, Melissa Bonin, Allan Pizzato (WYES President and General Manager), Peggy Scott Laborde, Richard Swenson and Vivien Swenson, Kathryn Scurlock, Marc Leunissen (WYES Board), Robin Cooper and Dana Hansel

Letter from the CEO

What a difference a year makes. 2014 was a year of change and growth for me personally and for the auction. I married the most wonderful man, sold my house and moved into my new home.

Meanwhile at the auction, we completed renovations on our new building, a late 19th-century warehouse and former event space, located at 333 St. Joseph Street. While there were some challenging and trying moments along the way, I am so proud of all that we have accomplished and am looking forward to a fantastic year.

I would like to dedicate this editorial to the people who have made New Orleans Auction Galleries and Cakebread Auction not only possible, but also tremendously successful.

First, I would like to thank our former landlady, Gretchen Sehrt, and leasing agent, Hayden Wren. They were great friends of New Orleans Auction through the years and it was with some Susan D. Sarofim and Janet Tallerine nostalgia that we said our final goodbyes, bringing a decades-long tenure to an end. I also want to thank Jackie McPherson, who was instrumental in securing our new location.

I would like to extend a huge thank you to Ashton Thomas, President of New Orleans Auction Galleries, who headed up the renovation, and the move. Tessa Steinkamp, Director of Auctions, and all of our Consignment Agents: Ireys Bowman, Greg Kowles, Manager of Cakebread Auction, Jelena Restovic James, Michele Carolla, Felicia Yao, and Thomas Halverson worked tirelessly through–and despite–the move to produce a successful January Cakebread Auction and assemble a blockbuster March Estates Auction.

Charles Cage, Silver Specialist, Kim Lemon, Jewelry Specialist and Customer Service Manager, along with Denise Haik and Alexis Kopituk, all made sure that the office ran smoothly and business was taken care of during the last two months. Thank you.

What do you think of our catalogues? I will let you in on a secret. Taylor Eichenwald, head of our Marketing and Public Relations Department, who is also working toward earning his auctioneer’s license, and Christa Ougel, our Graphic Designer, had no prior catalogue production experience before they came to New Orleans Auction Galleries. It just goes to show what talent, ambition and self-confidence can produce. Thank you as well to all of our specialists who work tirelessly to write beautiful catalogue descriptions for each and every lot.

I also want to commend our incredible Operations team: Sean Ranson, Cedric Roberts, Bennie Amos, Eddie Daigrepont, Emmitt Kendrick, Jr., Gerald Hampton, Sol Carter, Thomas Johnson and David Abney. Thank you for working days and many nights, moving, picking up, arranging and doing whatever needed to be done to ensure that the move went as smoothly as possible.

Our photographer, Gary Gittelson, performed miracles setting up wherever and whenever he could to photograph the March auction amidst all of the chaos. You would never guess by the quality of the pictures how challenging that was!

And then we have Juanita Brazile, who in addition to keeping the Operations team on their toes, is in charge of our janitorial services and auction day food and drink with Colleen Ryan, who also heads up Human Resources, and performs countless miracles daily. Thank you to you both.

Our newest addition to the staff, Josh Broussard, with years of art and design experience under his belt, jumped right in like he’d always been a part of the team. I would also like to recognize Cord McPhail, the newest addition to our photography team, for all of his hard work.

And last but not least, thank you to Burke, our designer, who found our new building and worked with Ashton in the design and renovation of 333 St. Joseph.

You guys, all of you, rock. Thank you for all of your hard work.

I would like to invite you to come and see our stunning new location at our Grand Opening Evening Reception, on March 19 from 5-8 p.m. As you can see from our hefty catalogue, our furniture, fine art, and jewelry offerings are in a word, fabulous. The auction will begin at 1 p.m. on Friday, March 20 and at 10 a.m. on Saturday and Sunday, March 21-22.

As always, we promise a good time will be had by all! See you at the auction!

Susan D. Sarofim CEO, New Orleans Auction Galleries

Glenridge Hall Sandy Springs, Georgia

Thomas K. Glenn, a prominent Atlanta area businessman, banker and philanthropist, and his second wife, Elizabeth Ewing, built Glenridge Hall in 1929. The couple commissioned architect Samuel Inman Cooper to design a Jacobean English Tudor style country house for the 400-acre Sandy Springs property that Glenn had purchased in 1915. Glenridge Hall is sited on a high ridge overlooking the Chattahoochee Valley with a panoramic vista of Kennesaw, Sweat and Blackjack Mountains and includes a main house that is over 14,000 square feet and features five bedrooms and ten fireplaces, as well as several other structures including a stable, smokehouse, barns and residences for the staff.

Thomas Glenn was a founder and President and Chairman of the Board of the Trust Company of Georgia, now SunTrust Bank, and was also involved with the Atlanta Electric Streetcar Company (Georgia Power), Atlantic Steel, the Rabun Gap-Nacoochee School, the Fulton-Dekalb Hospital Authority (Grady Hospital), as well as numerous other business and philanthropic interests throughout the Southeast.

While designing Glenridge Hall, Samuel Inman Cooper created a fictitious history that suggested the estate had been founded in 1482 by royal decree. The Glenns used Cooper’s story as inspiration for curating their home, making several steamship voyages to Europe in the late 1920s and early 1930s to purchase fine art and furniture.

Thomas and Elizabeth used Glenridge Hall as a quiet rural weekend retreat and as a setting for lavish social and corporate entertaining until Thomas Glenn’s death in 1946. After the death of her husband, Elizabeth moved to Manhattan where she died in 1970. Glenridge Hall is still owned by one of Thomas Glenn’s descendants. In recent years, the home has been prominently featured in movies and television, including “Driving Miss Daisy” and “The Vampire Diaries.”

New Orleans Auction Galleries is pleased to offer many of the original purchases made by the Glenns during their buying trips to Europe, as well as later additions to the home by descendants of Thomas Glenn.

The Collection of Naomi Da monte M arshall Ne w Orleans, Louisiana

A lifelong resident of New Orleans, Naomi Damonte Marshall was a beloved champion of local artists and an astute businesswoman. After attending Sophie B. Wright High School, Marshall opened Dixie Art Supplies in 1934, a successful company where she became acquainted with many local young artists. Realizing these talented men and women had few options available for exhibiting their work, Marshall soon began to hold small art shows. In 1956 she opened the Downtown Gallery where she represented Regionalist painter John McCrady, Modernist artist Paul Ninas and Mexican-American sculptor Enrique Alferez -- and introduced George Dureau and Noel Rockmore to the public. As the artist George Schmidt once said, “She was the mother of the arts here.” She was one of the first major collectors of the work of Clementine Hunter and published illustrated biographical monographs and prints by the Cane River artist.

She went to Natchitoches several times each year to visit the artist and François Mignon, Clementine Hunter’s greatest booster.

Marshall was one of the first women on the New Orleans Board of Trade, was a member of the Louisiana State Arts Council, and was integral to the formation of a local chapter of Altrusa International, which recognizes the accomplishments of women in business. She received a lifetime achievement award from the Arts Council of New Orleans and was appointed by President Richard Nixon to the President’s Advisory Committee of the Arts.

The items included in this sale were exhibited in her Downtown Gallery, and many were featured in the Gallery’s 1973 exhibition, “Divergent Delicacies,” the first collection of Art Deco shown in New Orleans.

Naomi Damonte Marshall spent the last several years of her life at Madewood Plantation House, the National Historic Landmark property she purchased in 1964 and lovingly restored.

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The Estate of E velyn & T. L. Wilson Houston, Te xas

Evelyn Wilson worked in Houston as an antiques dealer and interior designer for over 45 years. Her career began in the mid-1950’s when a furniture store owner, impressed by how she had decorated her home, offered her a job; she was to serve as president of the company for 17 years.

In the late 1950’s, Evelyn and her husband, T. L. Wilson, purchased the Isabella Courts building, located at 3917 Main Street in Houston, Texas. The landmark building held 16 apartments and several businesses.

Evelyn Wilson ultimately opened her own business, Evelyn Wilson Fine Furniture, which specialized in fine antiques and highend reproduction furniture. Evelyn was fond of combining the new with the antique; as she once explained “When you mix them together it works. It gives a warmth to a room you just can’t achieve with only the new.”

While her own home contained a few select contemporary pieces, most were carefully chosen antiques.

When T. L. Wilson retired from Shell Oil, he decided to join Evelyn in the furniture business and the couple took over all of the commercial spaces at the Isabella Courts building. Evelyn was involved in all of the buying and offered design services to clients, while her husband focused on managing the business operations. T. L. also developed a love of antiques and fine art through his work at the couple’s shop. He became an avid collector of Texana and both he and Evelyn served on the board of the Heritage Society in Houston.

After 33 years, Evelyn decided to close the store to focus on her interior design career. She soon realized that the high demand for quality furnishings was too great to exit the market and made plans to open a new furniture store with her son, Lee. The couple sold the Isabella Courts building on Main Street, and Evelyn and her son took over their former warehouse on Fannin to open a new shop. While still involved in the furniture business, Evelyn was also able to focus on her design work.

Design and the furniture business were lifelong passions for Evelyn, who took great pride in both her businesses and her immaculately decorated home. New Orleans Auction Galleries is pleased to offer fine art and furniture from the Estate of Evelyn and T. L. Wilson.

The Library of Willia m Pfaff Ne w Orleans, Louisiana

It is no coincidence, perhaps, that the life of William Pfaff mirrors that of his hero, Benjamin Franklin. Both were the son of immigrants, apprenticed as printers in their teens, and grew to be accomplished polymaths and earnest civic-minded men.

William Pfaff was born in New Orleans on November 24, 1871, the son of William Pfaff (a notary public and employee of the Customs House) and his wife, the former Sidonie Gansz. His father died in the yellow fever epidemic of 1878 and – as one of ten children – he was sent to live for four years at the Seventh Street Orphan’s Home, where he received a basic grade school education. In order to support his widowed mother, he began working, at the age of 11, at the print shop of Bennett & Patterson alongside his brother-in-law David J. Searcy (1852-1901), where he received $1.00 a week washing the print roller, sweeping the floors (taking care to pick out the leads and type from the sweepings). He progressed to sorting and later setting type. He completed his apprenticeship at the New Orleans printing firms of L. Graham & Son and Palfrey & O’Donnell before forming with his brother-in-law in November 1890, at age 18, the firm of Searcy & Pfaff.

The printers began in a very small room on the third floor of a building on St. Charles Avenue near Gravier, gradually taking over an additional room and eventually two full floors. After Searcy’s death in 1901, the firm was incorporated and soon thereafter moved into its own building at 724-728 Perdido. They grew to be the largest printers in New Orleans, producing everything from Carnival tableaux to handsomely bound books. The firm moved to Lafayette and Dryades in 1924.

Pfaff was president and manager of the Magic-Keller Soap Works (manufacturers of laundry soaps), Director of the Louisiana Investment Company, and Vice-President of the American Railway Mail Device Company. Strongly civic-minded, his memberships included the Prison Reform Association of Louisiana, the Y.M.C.A, the Louisiana Historical Society, the Louisiana Horticultural Society, the German Protestant Orphan Society, the Southern Yacht Club, and many more.

Despite his business and civic responsibilities, Pfaff found time to indulge in his passion for books. As early as 1912 the Printing Trade News noted that “a lover of books, he has accumulated a large library, which includes a number of rare and historical and reference volumes.” Pfaff’s admiration for Benjamin Franklin is well-represented here, including five works printed by Franklin himself, 18th and early 19th century works by and about Franklin, and an impressive collection of later histories, bibliographies and other references about the great man. (Pfaff himself edited and printed a collection of Franklin’s letters in 1927: The Pith of Franklin’s Letters). Also represented are numerous volumes reflecting Pfaff’s love of Louisiana including first editions of George Washington Cable, Lafcadio Hearn, and Huey P. Long, 18th and 19th century histories of the state and of New Orleans, and a large and rare collection of 19th century New Orleans City Directories. Other highlights of the collection include period collections of Georgian plays, fine leather-bound sets and – perhaps in homage to his humble beginnings – two Charles Dickens’ first editions.

New Orleans Auction Galleries is proud to present items from the personal library of William Pfaff, which has remained in the family since Pfaff’s death on January 28, 1940.

The Personal Collection and Estate of Reuben L. “Buzz” Harper Natchez, Mississippi

Too much is a great place to start. -Buzz Harper Reuben “Buzz” Harper was known for his eccentricities, his over-the-top taste and impeccable attire. Described

by Southern Living as a “distinguished gentleman,” Buzz Harper was easily recognizable in his three-piece suits and large jewels. Born in Newport, Arkansas, Buzz graduated from Newport High School in 1955 and later attended the University of Arkansas.

Buzz worked as a teacher in Grubbs and Tuckerman, Arkansas for several years before entering into politics. He served for a term as Jackson County Clerk and two terms as County Judge.

At the time, Buzz was the youngest County Judge in the history of Arkansas. After serving as County Judge, he left politics to pursue a career as an antiques dealer and interior designer.

Buzz and his wife at the time, Bobbie, opened Harper Antiques in Newport, Arkansas and later moved the business to Natchez, Mississippi. While maintaining various historic homes in Natchez for over 40 years, including Ravennaside, he also lived in New Orleans, Savannah, Georgia, Charleston, South Carolina and New York City. His interior design work was featured in Architectural Digest, Southern Living, Veranda and The New Orleans Times-Picayune, as well as on HGTV, CNN and A&E. New Orleans Auction Galleries is pleased to offer items form the personal collection and Estate of Reuben L. “Buzz” Harper, including property from Ravennaside.

Fr iday, M a rc h 20, 2015 Lots 1 - 329 1 : 0 0 - 2 :0 0

1 - 99

2 : 0 0 - 3 :0 0

100 - 199

3 : 0 0 - 4 :0 0

200 - 299

4 : 0 0 - 4 :3 0

300 - 329

S at urday, M arch 21, 2015

S un day, M a rc h 22, 2015

Lots 330 - 929

Lots 930 - 1390

10: 00 - 11: 0 0

330 - 429

1 0 :0 0 - 1 1 :0 0

930 - 988

11: 00 - 12: 0 0

430 - 529

1 1 :0 0 - 1 2 :0 0

989 - 1047

12: 00 - 1 : 0 0

530 - 629

1 2 :0 0 - 1 :0 0

1048 - 1147

1: 00 - 2 : 0 0

630 - 729

1 :0 0 - 2 :0 0

1148 - 1247

2: 00 - 3 : 0 0

730 - 829

2 :0 0 - 3 :0 0

1248 - 1347

3: 00 - 4 : 0 0

830 - 929

3 :0 0 - 3 :3 0

1348 - 1390

Se ssion I Fr i day, M a rc h 20, 2015, 1 : 0 0 p. m .

Lot s 1 - 3 2 9

Lot 85

2 Chinese Export Eglomise Painting, late 19th/early 20th century, depicting a mother and her son, the mother depicted in a recumbent pose and the child seated upright, the mother’s robes and curtains with a pattern of “Wan” characters, framed, image, 17‑3/4” x 25‑1/2”, framed, 21” x 28‑5/8”. [600/900] 3 Chinese Ancestor Portrait, Qing Dynasty (1644‑1911), ink and color on paper, depicting a Qing official seated beside an older female figure in red robes, each inscribed with gold ink, and two additional female figures, one in a green robe and the other a blue robe, framed, image, 42‑1/4” x 36”, framed, 45‑1/4” x 38‑3/4”. [500/800] Illustrated

1 1 Chinese Eglomise Painting, 19th century, the reverse painting on glass depicting a noble lady and her infant son in a curtained interior, in a pierced and carved wooden frame with a motif of bats, ruyi mushrooms and auspicious characters, overall, h. 27”, w. 19”. [800/1200] Illustrated

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4 Man’s Silk Jifu, ca. 1785, the dark blue silk with gold embroidery of dragons with flaming pearls, bats and ruyi clouds over a pattern of waves, the neck and cuffs trimmed with threads of gold-leaf over lacquered-paper-stripwrapped silk couched with silk, lined with a lighter blue silk, l. 54‑1/2”, w, 82”, sleeve to sleeve. [800/1200] Illustrated Similar examples can be found in the permanent collections of the Art Institute of Chicago, Chicago, Illinois and the Denver Art Museum, Denver, Colorado.

5 Chinese Kesi Panel, Qing Dynasty (1644‑1911), the embroidered silk panel, once the back of a Manchu robe, depicting four dragons amidst ruyi clouds and peonies over a motif of crashing waves, framed and mounted, overall, h. 44‑3/4”, w. 31‑3/4”. [700/1000] 6 Chinese Kesi Panel, Qing Dynasty (1644‑1911), the large embroidery on gold silk, depicting a pair of warriors on horseback as they entertain the emperor, set in a palace garden surrounded by mountains, a troupe of musicians play as the seated emperor and his highest ranking officials watch from a shaded pavilion, unframed, h. 69”, w. 33‑1/2”. [800/1200] Illustrated

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7 After Zhao Mengfu (Chinese, 1254‑1322), “Groom with Three Horses”, probably Ming Dynasty (1368‑1644), ink and color on silk, inscribed “Third Month of Yuan Dade Year by Zi Ang”, image 21” x 39”, framed 27‑7/8” x 46”.

Mounted and framed. [1000/1500] Illustrated This painting is a study of the famous Yuan Dynasty artist, Zhao Mengfu’s equestrian works. The figure is dressed in the Mongol fashion. The horse, long a subject in Chinese art, represents military power, as well as grace, refinement and beauty.

8 Attributed to Zhang Jun (Chinese, 1881‑1943), ca. 1942, ink on paper, mounted as a hanging scroll, the two figures, a sage and his young attendant, in a mountain landscape, inscribed and marked with a seal, an inscription on the exterior of the scroll, overall, h. 85”, w. 20”. [700/1000] Illustrated

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9 Chinese Twelve-Panel Coromandel Screen, Qing Dynasty (1644‑1911), the brightly painted black lacquer folding screen depicting an elaborately rendered village scene with numerous figures engaged in many pursuits, including greeting one another, weaving, boating, farming and fishing on one side, with smaller reserves at the top and bottom of each panel with vignettes of beautiful ladies, as well as bird and flower arrangements, the other side with eight cranes in a forest surrounded by prunus limbs, pine trees, bamboo and lingzhi, inscribed in the upper right corner, overall, h. 106‑3/4”, w. 216”. [2500/4000] Illustrated

11 Shanxi Red-Lacquered Elm Cabinet, mid-19th century, the rectangular top above a case fitted with two doors featuring traditional hardware and a figural scene, above a deep shaped apron centered by a flowering vase, raised on square legs, h. 43”, w. 37‑1/4”, d. 20‑1/4”. [600/900] Illustrated

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12 Shanxi Red-Lacquered Elm Cabinet, mid-19th century, the rectangular top above a case fitted with two doors featuring traditional hardware and a figural scene, above a deep shaped apron centered by a flowering vase, raised on square legs, h. 43”, w. 37‑1/4”, d. 20‑1/4”. [600/900] Illustrated

10 Korean Six-Panel Folding Screen, Joseon Dynasty (1392‑1897), the six-panel screen in ink and color on paper, mounted with an ebonized wood frame, each panel of the scholar’s screen with an arrangement of pink, red and yellow peonies and zoomorphic rocks, overall, h. 64”, w. 110‑1/4”. [1000/1500] Illustrated

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13 Chinese Softwood Cabinet, 20th century, with four painted and gilded doors, each bearing a bird and flower motif, with two interior drawers, h. 63‑1/2”, w. 54”, d. 21‑1/8”. [600/900] Illustrated

15 Chinese Giltwood Wall Case, 20th century, silk-lined with a glass front, the pierced and carved frame with decoration of birds, flowers and peaches, the interior fitted for shelves, h. 60‑5/8”, w. 45”, d. 8‑1/4”. [500/800] Illustrated

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14 Chinese Cabinet on Stand, 20th century, incorporating an antique wooden panel inlaid with hardstone, depicting peonies and rocks, h. 61”, w. 32‑1/2”, d. 15”. [700/1000] Illustrated

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16 Chinese Export Lacquered Quartetto Tables, 19th century, the nesting tables with harp-form legs, with various decorations of chrysanthemums, bamboo, prunus blossoms and lotus blooms, each with gilded dragon feet, h. 25‑3/8” to 27‑1/2”, w. 10‑1/4” to 11‑3/4”, l. 14‑1/2” to 20‑5/8”. [700/1000] Illustrated

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17 Pair of Chinese Hongmu Armchairs, 20th century, the two carved chairs with scrolling ruyi clouds on the arms and backs, h. 38‑1/4”. [800/1200] Illustrated 18 Antique Bidjar Runner, 3’ 11” x 16’ 2”. [500/800] 19 Reduced Antique Serapi Carpet, 9’ 5” x 18’.

[4000/7000] Illustrated 20 Antique Persian Sarouk Carpet, 5’ x 7’ 5”. [1000/1500] Illustrated

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22 Silk Tabriz Carpet, 5’ x 7’.

[1000/1500] 23 Semi-Antique Sparta Carpet, 9’ 7” x 13’ 9”.

[1000/1500] Illustrated 24 Turkish Angora Oushak Carpet, 6’ 6” x 9’ 9”.

[1000/1500] 25 Turkish Angora Oushak Carpet, 9’ x 12’.

[1200/1800] 26 Semi-Antique Persian Serab Carpet, 5’ 2” x 9’ 5”.

[800/1200] 27 Antique Serapi Carpet, ca. 1880, 8’ 9” x 10’ 8”.

[1500/2500] Illustrated 21 21 Semi-Antique Sarouk Carpet, 12’ 5” x 20’ 2”. [600/900] Illustrated

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Collection of Works from the Library of William Pfaff (1870-1940)

New Orleans, Louisiana

28 Benjamin Franklin (1706‑1790) Imprint, Charters of the Province of Pennsylvania and the City of Philadelphia and Collection of all the Laws of the Province of Pennsylvania Philadelphia: Benjamin Franklin, 1742, 4to., in full brown calf, the boards laid with the original sheep with rolled decoration and fillet, attributed to bookbinder Charles Harrison (Boston, fl. 1736‑1746), the spine with raised bands and gilt-lettered label, also cut and laid from the earlier binding, 11‑3/4” x 7‑1/2”, presented in a black half leather and pebbled cloth book-form case with raised bands and gilt lettering, 12‑1/4” x 9” x 2‑5/8” [Miller 288; Curtis 75 & 76; Tower 670; Hildeburn 755 & 757] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [4000/7000] Illustrated

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29 Benjamin Franklin (1706‑1790) Imprint, Abel Morgan, Jr. (1713‑1785) Anti - Paedo - Rantism Defended: A Reply to Mr. Samuel Finley’s Vindication of the Charitable Plea for the Speechless Wherein His Repeated Objections Against the Baptism of Believers Only, and the Mode of It by Immersion, Are Again Examined and Refuted Philadelphia: Benjamin Franklin and David Hall, 1750, large 16mo, in full tan calf, the boards with tooled fillet, the spine with raised bands, 6‑5/8” x 4‑1/2”. [Miller 508; Curtis 106; Hildeburn 1186] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [800/1200] Illustrated William Campbell notes, in his Collection of Franklin Imprints in the Museum of the Curtis Publishing Company that this “was the last of four pamphlets of the controversy of Baptism between Samuel Finley of Nottingham, Md., and Rev. Abel Morgan of Middletown, N.J. Finley wrote in 1746 on infant baptism by sprinkling. Morgan, in 1747, wrote a reply maintaining baptism of believers by immersion. Finley wrote a Vindication in 1748, and Morgan replied with this Defence. Finley’s pamphlets were published by William Bradford, and Morgan’s by Franklin and Hall.”

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30 Benjamin Franklin (1706‑1790) Imprint, Johann Arndt, (1555‑1621), Samtliche Sechs Geistreiche Bucher Bom Wahren Christenthum [Six Books of True Christianity], Philadelphia: Benjamin Franklin & Johann Boehm, 1751, 8vo, in [original?] full brown leather, the boards with brass corners and medallion, the spine with raised bands and later handwritten in yellow ink “Franklin Press / 1751”, 7‑3/4” x 5‑3/4” x 3‑3/4”. [Miller 520; Curtis 108; Hildeburn 1204; Boston p. 29] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [1000/1500] Illustrated At 1,356 pages, the lengthiest book printed by Franklin.

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31 Benjamin Franklin (1706‑1790), Poor Richard's Almanac for 1756, Richard Saunders [sic: Benjamin Franklin] Poor Richard Improved, Being An Almanack and Ephemeris of the Motions of the Sun and the Moon, The True Places and Aspects of the Planets; The Rising and Setting of the Sun; and the Rising, Setting and Southing of the Moon, for the Year of Our Lord 1756: Being Bissextile or Leap - Year, Philadelphia: Benjamin Franklin and David Hall, [1755], first edition, small octavo printed paper pamphlet, stitched edge, presented in a floating glass frame edged in archival tape, sight 6‑1/4” x 4”. [Miller 608; Curtis 128; Ford 102; Hildeburn 1436; Stevens 15] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [3000/5000] Illustrated

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33 Rare Staffordshire Pottery Figure of Benjamin Franklin, mid-19th century, English, the figure depicted in a flowered waistcoat and navy blue jacket, holding a document in one hand and a tricorn hat in the other, the base with the legend “Franklin”, h. 14‑1/4”, w. 5‑3/4”, d. 4”. Provenance: William Pfaff, New Orleans, Louisiana.

[600/900] Illustrated

31 32 Benjamin Franklin (1706‑1790) Imprint, William Law (1686‑1761), Extract from a Treatise by William Law, M.A., Called The Spirit of Prayer, Philadelphia: Benjamin Franklin & Richard Hall, 1760, 8vo., in later brown half leather with marbleized board, the spine with vertical gilt title and date, 7‑5/8” x 4‑7/8”. [Miller 731; Curtis 146; Hildeburn 1681] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [600/900] Illustrated

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This lot is accompanied by some associated ephemera from the Pfaff collection, including a four-color print (with the original separations) of the figure as contributed by Pfaff to the American Printer magazine, a copy of the October 1925 issue of Antiques magazine, where an identical figure is illustrated on page 219, and a program from the dedication of the statue of Benjamin Franklin at Lafayette Square in New Orleans on October 20, 1926.

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34 Benjamin Franklin (1706‑1790), Works, Two Early Editions, Benjamin Vaughan, ed. , including Political, Miscellaneous, and Philosophical Pieces London: J. Johnson, 1779, first edition thus, 8vo., in full brown leather, the spine with raised bands and gilt lettering, 9” x 7‑3/8” [Ford 342], and Works of the Late Dr. Benjamin Franklin, London :G.G. J. & J. Robinson, 1793, 2nd ed., complete in two volumes, 12mo., in publisher’s blue paperboard with printed paper spine, 7‑3/4” x 5‑1/4” [Ford 438]. [3 books total] Provenance: The Collection of William Pfaff, New Orleans, Louisiana.

The 1779 text is the only edition of Franklin’s nonscientific collected works issued during his lifetime with his knowledge and consent, and containing an errata page complied by him. Vaughan was a long-time friend and correspondent of Franklinís. [800/1200] Illustrated

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35 Benjamin Franklin (1706‑1790), Two Early English Volumes, including William Temple Franklin, ed. The Private Correspondence of Benjamin Franklin London: Henry Colburn, 1817, first edition, 4to., printed by A.J. Valpy, London, in full tan calf with gilt fillet, the spine with raised bands and brown panels with gilt lettering and decoration, with cut and tinted edges, 11‑1/4” x 8‑3/4” [Ford 555]; and The Way to Wealth, Written by the late Dr. Franklin, Extracted From His Political Works Nottingham: C. Sutton, n.d. [ca. 1800], 12mo. pamphlet, the cover with a charming woodcut of Franklin, 6‑3/4” x 3‑5/8” [Stevens 135; Ford 142]. Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [600/900] Illustrated The Correspondence is the first edition of Franklin's private letters. It was intended to be the third volume of Franklin's writings edited by his grandson, William Temple Franklin (1760‑1823), but the delayed production of the first two volumes occasioned that this was the first issued, sold separately.

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36 Benjamin Franklin (1706‑1790), Works, Three Early English Editions, including [?Richard Price, ed.] The Works of Dr. Benjamin Franklin, London: J. F. Dove, n.d. [ca. 1816], 32mo, in black full leather, the spine with gilt bands and lettering, 5” x 3‑1/8” [Stevens 153; Ford 482]; [Mr. Marshall, ed.] The Complete Works in Philosophy, Politics and Morals of the late Dr. Benjamin Franklin, London: Longman, Rees, Hurst & Orme, 1806, 2 volumes (of 3; lacking v. III), printed by James Cundee, London, 12mo, in tan full calf, the boards with blind-stamped and gilt decoration and dentelle, with marbled endpapers and edges, 8‑1/2” x 5‑3/8”. [Ford 550]; and Richard Price, ed., Works of Dr. Benjamin Franklin, Consisting of Essays, Humorous, Moral, and Literary with His Life, Written By Himself, Chiswick: Thomas Tegg, 1824, printed by C. Whittingham, Chiswick, 32mo., in full brown calf with gilt fillet, the spine with gilt bands and lettering, 5‑1/8” x 3‑1/2” [Ford 497]. [4 books total.] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [500/800] Illustrated

35

12

36

37

37 Benjamin Franklin (1706‑1790), Autobiography and Essays, Three Early American Editions, including Life of Dr. Benjamin Franklin, Written by Himself Philadelphia: Benjamin Johnson, 1794, 2nd American ed., 12mo., in full green leather with gilt and embossed fillet, the spine with raised bands, black panels and gilt lettering, 6‑5/8” x 4‑1/8”.

[Ford 387]; Essays, Humourous, Moral and Literary, of The Late Dr. Benjamin Franklin Boston: John West & Co., 1811, printed by E. G. House, 12mo, in full brown leather, the spine with gilt bands and panels, 6‑1/2” x 4‑1/4” [Ford 552]; and Jared Sparks, ed. Life of Benjamin Franklin, Containing the Autobiography with Notes and a Continuation Boston: Tappan & Dennet, 1844, first edition thus, printed by Metcalf & Co., Cambridge, MA, 8vo., in later full tan leather, the spine with gilt bands and lettering, cut and marbleized edges and marbleized endpapers, bookplate, 9” x 6” [Ford 409].

Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [600/900] Illustrated

36 Title Page

13

38 Benjamin Franklin (1706‑1790), Autobiography and Works, Two Early American Editions, Works of the Late Dr. Benjamin Franklin; Consisting of His Life Written by Himself, together with Humourous, Moral and Literary Essays, New York: E. Duyckinck, 1807, printed by J. C. Totten, 12mo., in full tan leather, the spine with gilt bands, red label and gilt lettering, 6‑1/2” x 4‑1/4” [Ford 465]; Memoirs of Benjamin Franklin Written by Himself and Continued by His Grandson and Others; Augmented by Much Matter Not Contained in any Former Edition with Postliminious Preface. Philadelphia: McCarty & Davis, 1837, 2nd ed., complete in two volumes, printed by I. Ashmead & Co., 8vo., in full tan leather, the spines with gilt bands, brown panels and gilt lettering, with cut and marbleized edges, 9” x 6” [Rinderknecht 44355; 2nd ed. of Stevens 178]. [3 books total.] Provenance: The Collection of William Pfaff, New Orleans, Louisiana.

[600/900] Illustrated

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39 Two Rare, Early Anonymous Biographies of Benjamin Franklin (1706‑1790), including [James Jones Wilmer], Memoirs of the Late Dr. Benjamin Franklin: With a Review of His Pamphlet, Entitled ‘Information to Those Who Would Wish to Remove to America’, London: A. Grant, 1790, first edition, 8vo., in later black half leather with marbled boards and gilt fillet, the spine with raised bands, gilt panels and lettering, 7‑1/2” x 4‑3/4”. [Ford 998; Stevens 112; Buxbaum 1790:37]; and [Leonard Woods], Life of Benjamin Franklin, Including a Sketch of the Rise and Progress of the War of Independence and of the Various Negotiations at Paris for Peace with the History of His Political and Other Writings, London: Hunt & Clarke, 1826, first edition, printed by William Close, London, 12mo., in publisher’s blue paperboard with paper spine, 7‑1/2” x 4‑3/4” [Ford 1002; Buxbaum 1826:3] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [500/800] Illustrated The first title, an unfriendly account, was referred to as “Wilmer’s Memoirs” by the Rev. Jonathan Boucher (1738‑1804) - himself no admirer of Franklin’s . Its author was thus identified as James Jones Wilmer (1750‑1814), who was, like Boucher, a Maryland Loyalist. This second anonymous account of Franklin’s life was an attempt to strip away the mythology and mystique that had already surrounded him. As such, the author renewed the charge that Franklin had plagiarized his “Parable Against Persecution”. This led William Duane (1808‑1882) to defend Franklin against the charge in his 1834 re-issue of Franklin’s works, which in turn was rebutted in a letter to “The Literary and Theological Review” of March 1836 by the editor of the anonymous biography. The editor of “The Literary and Theological Review” was Leonard Woods (1774‑1854), and the style and substance of the letter suggest strongly that Woods was the author of both the letter and anonymous biography.

40

41 Benjamin Franklin (1706‑1790), Works, John Bigelow, ed. The Complete Work of Benjamin Franklin, New York & London: G. P. Putnam’s Sons, 1887‑1889, first edition, limited Y/600 (lettered “Presentation Copy”), complete in ten volumes, printed by the Knickerbocker Press, New York, 8vo., in red half calf with marbleized boards and gilt fillet, the spines with raised bands and gilt lettering decoration, the top edge cut and gilt, with marbleized endpapers, 9” x 6‑1/2” [Ford 600] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [800/1200] Illustrated A very handsomely bound copy of the first major revision to Franklinís collected works since the Jared Sparks edition of 1836.

41

42 Six Nineteenth Century Schoolboy Works About Benjamin Franklin, including an early copy of The Franklin Family Primer (1807); an early spurious “Parley’s” Life of Benjamin Franklin (1836); a first edition of Samuel Hutchins, Benjamin Franklin: A Book for the Young and Old (1852); John Stevens Cabot Abbott, Benjamin Franklin: A Picture of the Struggles of Our Infant Nation(1876); and two collections of Franklin’s writing (1888 & 1898), the former stamped ex libris “Home Institute / Sophie B.Wright, Prin. / New Orleans, LA”.

Provenance: The Collection of William Pfaff, New Orleans, Louisiana. Detailed listing of all titles available on request.

[500/800] Illustrated

42

40 Benjamin Franklin (1706‑1790), Works, Jared Sparks, ed., The Works of Benjamin Franklin, Boston: Tappan & Whittemore, 1844‑1856, 2nd ed., complete in ten volumes, printed by George C. Rand, Boston, 8vo., in tan half calf with marbleized boards, the spines with black panels and gilt lettering and decoration, with cut and marbleized edges, with marbleized endpapers, 9‑1/8” x 6‑1/4”. [Sabin 25606.2; see Ford 588 for first edition] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [600/900] Illustrated

15

43

43 Collection of Twenty-One Benjamin Franklin Bicentennial and Other Commemorative Volumes, including John Bigelow, ed., the limited “Federal Edition” of Franklin's Works (1904, in 12 vols.); The Grand Lodge of Pennsylvania's Celebration of the Bi-Centenary of the Birth of Past Grand Master Brother Benjamin Franklin (1906); I. Minis Hays, ed.

Calendar of the Papers of Benjamin Franklin in the Library of the American Philosophical Society (1908; in 6 vols.); American Printer: Business Paper of the American Printing Industry, “The Franklin Bicentennial Number; v. 76, #2, January 20, 1923; and Lindsay Swift, Souvenir of the Seventh Annual Meeting of the International Benjamin Franklin Society (1930). Provenance: The Collection of William Pfaff, New Orleans, Louisiana. Detailed listing of all titles available on request. [500/800] Illustrated

44

44 Twenty-Seven Reference and Other Books on Benjamin Franklin, including first editions of important bibliographic references Henry Stevens, Franklin: A Bibliographical Essay on the Stevens Collection of Books and Manuscripts Relating to Dr.Franklin (1881); Paul Leicester Ford, Franklin Bibliography: A List of Books Written by or Relating to Benjamin Franklin (1889); Worthington Chauncey Ford, List of the Benjamin Franklin Papers in the Library of Congress (1905); Randoph Greedfield Adams, Franklin Passports: Passports Printed by Benjamin Franklin at his Passy Press (1925); first editions on works about Franklinís image and appearance, Albert De Groot, The Franklin Statue, The Record of the Proceedings and Ceremonies Pertaining to the Erection of the Franklin Statue In Printing House-Square (1872); Louis Arthur Holman, Scenes From The Life Of Benjamin Franklin: Reproductions of Paintings by Charles B. Mills In the Franklin Union, Boston (1916); John Clyde Oswald, Benjamin Franklin in Oil and Bronze (1926; two copies); first editions about Franklin as a printer, John Clyde Oswald, Benjamin Franklin: Printer (1917); Brad Stephens, Pictorial Life of Benjamin Franklin, Printer (1923); William Webb Clary, B. Franklin: Printer and Publisher (1935); a first edition of Carl van Dorenís Pulitzer-Prize winning biography Benjamin Franklin (1938); monographs on singular aspects of Franklins life, Curious and Facetious Letters of Benjamin Franklin, Hitherto Unpublished (1898); James Madison Stifler, The Religion of Benjamin Franklin (1925); Lewis James Carey, Franklin’s Economic Views (1928); Paul Leicester Ford, Who Was the Mother of Franklin’s Son? (1932); and eleven others. Provenance: The Collection of William Pfaff, New Orleans, Louisiana. Detailed listing of all titles available on request. [600/900] Illustrated 45 John Ker (1673‑1726), The Memoirs of John Ker, of Kersland in North Britain, Containing His Secret Transactions and Negotiations in Scotland, England, the Courts of Vienna, Hanover, and other Foreign Parts, London : the author, 1726, first edition, in two volumes, printed by Edmund Curll, London, 8vo., in full tan calf, the front board with stamped decorative border, the spine with raised bands and gilt numeration, 7‑7/8” x 5‑1/8”.

[Sabin 37600] [700/1000] Illustrated The second volume of this important work contains an early account of the French possessions in America and their commercial impact, and it includes a fold-out map of the Louisiana Territories. A third volume, also from the notorious Curll (he and Ker met while incarcerated together) was printed posthumously.

46 Acts Passed at the First Session of the Legislative Council of the Territory of Orleans, New Orleans: James M. Bradford, Printer to the Territory, “Published by Authority”, 1805, first edition, 8vo., in full tan calf with embossed fillet, the spine with red and black labels with gilt lettering, also “Culbertson 1804” in ink, 7‑1/4” x 5”. [Jumonville NO 121] Provenance: The Collection of william Pfaff, New Orleans, Lousisana. [500/800] Illustrated A handsome first edition of the first laws enacted in the Orleans Territory after its division from the District of Louisiana in March 1804.

16

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46 47 Charles Gayarre (1805-1895), History of Louisiana, New Orleans: Hansell & Bro. Ltd., 1903, fourth edition; complete in four volumes, printed by L. Graham Co. Ltd., New Orleans, LA, in tan half calf with stamped fillet and marbleized boards, the spines with raised bands and red and black panels with gilt lettering, decoration and rule, the top edges cut and tinted , bookplate of William Pfaff, 8‑1/2” x 6”. [Jumonville LA 6702.4] [500/800] Illustrated

47

45 detail

17

48 Alcee Fortier (1856‑1914), Two Multi-Volume Histories of Louisiana, including History of Louisiana Paris: Goupil and New York: Manzi, Joyant & Co., Successors, 1904, first edition, the limited “edition de luxe” [erased]/1000, complete in four volumes, in red half leather with gilt fillet and marbleized boards, the spine with raised bands and gilt lettering, rule and decoration, 10‑1/4” x 7‑3/8”. [Jumonville LA: 6700]; and Louisiana [n.p.]: Century Historical Assoc., 1914, second edition, complete in three volumes, in black half leather with pebbled black cloth, the spines with gilt lettering, rule and decoration, with cut and marbleized edges, 10‑3/8” x 8‑1/8”. [reprint of Jumonville LA:6701], both bookplate of William Pfaff. [7 books total.] [500/800] Illustrated

48

50

50 George Washington Cable (1844‑1925) and Lafcadio Hearn (1850‑1904), Eleven First Editions and Others, including Cable first editions Old Creole Days (1879), The Grandissimes (1880), Madame Delphine (1881), The Silent South (1885), Strange True Stories of Louisiana (1889), Strong Hearts (1899), Lovers of Louisiana (1918) and Bylow Hill (1902, with decorative binding designed by Margaret Neilson Armstrong), with five later Cable editions ( two also with Armstrong bindings); and Hearn first editions Some Chinese Ghosts (1887), Chita: A Memory of Last Island (1889), and Essays in European and Oriental Literature (1923), with three later Hearn editions. Provenance: Collection of William Pfaff, New Orleans, Louisiana. Detailed bibliographic listing of all titles available on request. [19 books total.]

[500/800] Illustrated

51 49 Three Multiple-Volume Sets on Louisiana History, including, Memoirs of Louisiana: Biographical and Historical Memoirs of Louisiana Chicago: Goodspeed Pub. Co., 1892, first edition, complete in two volumes, printed

by John D. Morris & Co., Philadelphia, PA, in red half calf with marbleized boards, the spines with gilt lettering, decoration and rule, the edges cut and gilt, 11‑1/4” x 9‑1/2”. [Jumonville LA 6687]; James William Buel (1849‑1920), ed., Louisiana and the Fair: An Exposition of the World Its People and Their Achievements St. Louis: World’s Progress Publishing Co. , 1904, complete in ten volumes, in light blue cloth, the spine with paper label printed in black and red ink, the top edges cut and gilt, 9‑1/2” x 6‑5/8” (a comprehensive survey of the 1904 St. Louis Louisiana Purchase Exposition, edited by the colorful J.W. Buel, former cellmate of the outlaw Cole Younger and (inaccurate) biographer of Wild Bill Hickock); and Henry Edward Chambers (1860‑1829), A History of Louisiana, Chicago & New York: American Historical Society, Inc. , 1925, first edition, complete in three volumes, in textured black cloth, the boards with stamped fillet, the spine with stamped bands and gilt letters, with cut and marbleized edges and endpapers, 10‑7/8” x 8‑1/4”. [Jumonville LA 6688], all with bookplate of William Pfaff. [15 books total.]

[500/800]

18

51 Eleven Books on Louisiana History, including a second edition of William Darby, A Geographical Description of the State of Louisiana, etc. (1817), retaining the fold-out map of the Gulf South, a first English edition of François, Marquis de Barbé-Marbois, The History of Louisiana, Particularly of the Cession of That Colony to The United States of America (1830), two copies of the first edition of B. F. French, Historical Collections of Louisiana, Part 2 (1850), a first edition of Henry E. Chambers, Louisiana: A Sketch in Outline of its Past and Present, (1897), and six others. Provenance: Collection of William Pfaff, New Orleans, Louisiana. Detailed bibliographic listing of all titles available on request. [500/800] Illustrated

52 Huey Pierce Long (1893‑1935) Autobiography, Autographed First Edition, Every Man A King: the Autobiography of Huey P.Long, New Orleans: National Book Co., 1933, first edition, 8vo in yellow cloth, the front board with red crown and red and black lettering, the spine with red lettering, autographed on the flyleaf in blue ink “My best wishes, Huey P. Long” and inscribed in pencil “Also my best wishes [indecipherable]”, bookplate of William Pfaff, 8‑1/8” x 5‑3/4”. [Jumonville LA 2059] [500/800] Illustrated

53

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53 Eleven Antebellum New Orleans City Directories, 1823‑1858, including editions of 1823, 1838, 1841, 1842, 1852 to 1855 (inclusive), 1857, and different directories for 1858. Provenance: The Collection of William Pfaff, New Orleans, Louisiana. Detailed bibliographic listing available on request. [600/900] Illustrated 54 Sixteen Reconstruction Era and Later New Orleans City Directories, including editions of 1866, 1867 (two different editions), 1868, 1869, 1870 (two different editions), 1872‑1879 (inclusive) and 1882. Provenance: The Collection of William Pfaff, New Orleans, Louisiana.

Detailed bibliographic listing available on request.

[600/900]

52 detail

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55 Seventeen Books on New Orleans History, including first editions of Benjamin Moore Norman, Norman’s New Orleans and Environs (1845), Robert Gibbes Barnwell, The NewOrleans Book (1851), Edwin L. Jewell Jewell's Crescent City Illustrated (1873), Will H. Coleman, Historical Sketch Book and Guide to New Orleans (1885; three copies), James S. Zacharie, New Orleans Guide: Official Exposition Guide (1885), Henry C. Castellanos, New Orleans as It Was: Episodes of Louisiana Life (1895; three copies), The Times-Picayune, New Orleans Louisiana: The Cresent City (1903/04), George A. Simms, Notable Men of New Orleans (1905), Arnold Genthe, Impressions of Old New Orleans (1926), William Woodward, French Quarter Etchings of Old New Orleans (1938) and three others. Provenance: The Collection of William Pfaff, New Orleans, Louisiana. Detailed listing of all titles available on request. [500/800] Illustrated 56 Angelus de Clavasio (1411‑1495) Incunabulum, Summa Angelica, Venice: Georgius Arrivabene [n.d., ca. 1492], crown octavo, in half vellum with white paper boards, the spine with red leather panel with gilt lettering, bookplate of William Pfaff, 7‑1/4” x 5‑1/4”. [700/1000] Illustrated A nice unrubricated copy of the Blessed Angelo's dictionary of moral theology.

58

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57 Two Early Eighteenth Century English Translations of Interesting French Works, including Francois, Duc de la Rochefoucauld (1613‑1680), Moral Reflections and Maxims, London: D. Leach, 1706, “1st English” [sic], edition, 16mo, in full brown leather, the spine with raised bands, 6” x 3‑1/2” [Hutt p. 122], and Melchisedech Thevenot (ca 1620‑1692) [sic: Everard Digby], The Art of Swimming, With Advice For Bathing, London: John Lever, 1764, the 2nd English edition thus, 16mo, in brown half leather with marbleized boards and endpapers, the spine with raised bands and black labels with gilt lettering, the top edges cut and gilt, 6‑1/4” x 3‑7/8” [Thomas, p.184] [500/800] Illustrated Although the Rouchefoucauld claims to be the first English edition, it is very probably the fourth. See A. Granger Hutt, “La Rochefoucauld and his English Translators”, in the November 1882 issue of The Bibliographer, p. 167. As for the The Art of Swimming The complete history of this charming small book may be found in Ralph Thomas’ 1904 bibliography Swimming. The book - with original Latin text - was written by Everard Digby (ca. 1578‑1606) and published by Thomas Dawson in England in 1587. Although there were two English translations (in 1595 and 1658), it was the 1696 French translation by scientist, cartographer and diplomat Melchisedech Thevenot that would became the most well-known, going through six French and three English editions. By the time of this second English translation of Thevenot, his French text was so popular that he was assumed to be the author and Digby forgotten.

Equally interesting is the history of the illustrations, as noted in Thomas: Thevenot’s artist copied Digby’s plates as he saw them, so that when printed they came out reversed. The English copyist in 1699 did the same from Thevenot, so that they came out reversed again, being in the same position as Digby’s. Then the copyist for the 1764 edition did the same, so that they came out once more reversed.

56

58 Theatrical Magazine, 1777‑1779, London: Joseph Wenman & Joseph Harrison , 1777‑1779, various authors, being the texts of plays performed at Royal Drury Lane & Covent Garden Theaters, in four volumes, 8vo., in full brown leather, the spine with raised bands and red label with gilt lettering and decoration, bookplate of William Pfaff, 8‑1/4” x 5‑3/4”. [Jowers 2499] The titles of the plays in each volume have been written in ink on the flyleaf, but see also William James Cameron's Bibliography in Short Title Catalogue Form of the Individual Plays included in J. Wenanís and J. Harrisonís Theatrical Magazine, ([London, Ontario: n.p.], 1984).

[500/800] Illustrated

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59 Charles Dickens (1812‑1870) A Christmas Carol First American and Three Other Editions, including Philadelphia: Carey & Hart, 1844, first American edition, printed by C. Sherman & Son, Philadelphia, PA 16mo., in black ribbed cloth,the boards with blindstamped fillet and decoration, the spine with gilt lettering and “holly” decoration, 6‑3/8” x 4‑1/4” [Glancy: 54; Wilkins 82; Gimbel A80:2]; London: Chapman & Hall, 1845, 11th English edition, printed by Bradbury & Evans, London, 16mo., in green cloth, the boards with gilt fillet and interior and edge dentelle, with marbleized endpapers, the spine with red panels with gilt lettering and decoration, the edges cut and gilt, 6‑1/2” x 4‑1/4”.

[Gimbel A79:36]; East Aurora, NY: The Roycroft Shop, 1922, reprint of the 1902 edition, 8vo., in black quarter leather with green paper boards, the boards with giltstamped lettering, the leather with green-stamped decoration, the spine with gilt lettering and decoration en suite, the top edge cut and gilt, 9” x 6”; [Pfaff #160‑161] and Mount Vernon, N.Y.: W. E. Rudge, 1930 complete in two volumes, 16mo., in full red leather, the boards with gilt-stamped decorative border and medallion, the spine with gilt lettering and ruled panels, presented in a green pasteboard slipcase, 6‑3/4” x 4‑3/8”. Provenance: The Collection of William Pfaff, New Orleans, Louisiana.

[1800/2500] Illustrated

59

In addition to a very nice copy of the scarce first American edition (published in defiance of Dickens' plea that his works not be subject to unauthorized publication) and a handsomely bound copy of the eleventh English edition, this lot includes a very fine copy privately published in 1930 by noted printer William Edwin Rudge (1876‑1931).

It is significant not only for its classic and festive binding by the great book designer Frederic Warde (1894‑1939), but as the first work printed in Linotype Baskerville, a hot type version of the classic Georgian font designed and cut by British typographer George William Jones (1860‑1942). The original presentation card, signed in pencil by Rudge, accompanies this lot, which was presumably a gift to William Pfaff.

59 Title Page

22

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60 Charles Dickens (1812‑1870), The Posthumous Papers of the Pickwick Club First Edition, London: Chapman & Hall, 1837, first edition in book form, printed

by Bradbury & Evans, Whitefriars, London, 8vo., in later blue half leather with textured blue cloth, the spine with raised bands and gilt lettering and decorative rule, the edges cut and gilt, with marbleized endpapers, presented in a folding case and slipcase en suite with the binding, 8‑1/2” x 5‑5/8”. [Smith I: 3; Eckel pp.23‑50; Engel 20; Vanderpool B16] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [500/800]

61 61 Charles Dickens (1812‑1870), A Tale of Two Cities, First Edition, London: Chapman & Hall, 1859, first edition in book form, first state (e.g., p. 213 misnumbered "113"; p. (vii) with "Monsieur"; p. 134 with misprinted "affetcionately", etc.), printed by C. Whiting, London, 8vo., in brown half leather with textured brown cloth, the spine with raised bands and gilt lettering and decorative rule, with trimmed marbleized edges and endpapers, the front board detached, 8‑3/4” x 5‑3/4”, accompanied by the bill of sale to W.S. Pfaff from R. Atkinson, Bookseller, London, dated 10 Dec 1923 [Smith I: 13; Eckel pp. 87‑90; Glancy 22; Gimbel A143] Provenance: The Collection of William Pfaff, New Orleans, Louisiana. [800/1200] Illustrated

62

62 Ralph Waldo Emerson (1803‑1882), Works, Boston: Houghton, Mifflin & Co., 1883, the Standard Library edition, complete in fourteen volumes, printed

by Riverside Press, Cambridge, MA, 8vo., in brown half leather with marbleized boards and endpapers, the spine with raised bands with gilt lettering and rule, the top edges cut and gilt, 8‑1/4” x 6‑5/8”. [500/800] Illustrated 60 Title Page

23

63 J. H. Leigh Hunt (1784‑1859), The Old Court Suburb, Piccadilly: Freemantle & Co., 1902, limited edition no. 41 of 150, complete in two vols., with photogravure illustrations by Claude A. Shepperson, Herbert Railton and Edmund J. Sullivan and autographed by each on the limitation page, square octavo, in full white vellum with gilt-decorated boards and spines, lithographed endpapers with the author’s portrait, the top edges cut and gilt, 8‑7/8” x 7‑1/4”. [500/800] Illustrated

66

65 William Henry Smith (1833‑1896), Political History of Slavery, first edition, New York: G. P. Putnam’s Sons, Knickerbocker Press, 1903, complete in two volumes, octavo, in green cloth with gilt lettering on the spines, the top edges cut and gilt, 9” x 6‑1/4”. [500/800] Illustrated A nice first edition copy of the important postReconstruction history of slavery by Ohio politician and Associated Press manager William H. Smith. This work along with his biography of his close friend President Hayes - was unfinished at the time of his death, and completed by his son-in-law Charles R. Williams.

63

64 Henryk Sienkiewicz (1846‑1916), Quo Vadis, Boston: Little Brown & Co., 1897, limited edition no. 102 of 250, complete in two vols., translated by Jeremiah Curtain, octavo, in full white vellum, the front boards with applied gilt-stamped medallion within a gilt-stamped frame, the spines with gilt lettering and decoration, illustrated, the top edges cut and gilt, 8‑1/2” x 5‑3/4”. [500/800]

67

66 All The Extant Works of Francois Rabelais, New York: Covici Friede, 1929, limited subscription edition no. 497 of 1000, complete in three volumes, translated by Samuel Putnam (American, 1892‑1950), full color illustrations by Jean de Bosschere (Belgian, 1881‑1953), large quarto, in quarter blue buckram with paper boards, the spine with applied paper label, the top edges cut and gilt, 13‑1/4” x 10‑3/4”. [500/800] Illustrated

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24

This edition of Rabelais is noted not only for de Bosschere’s colorful Dali-esque illustrations, but for Putnam’s lively and meticulously annotated translation, which brings the earthy vernacular of Rabelais to modern readers.

69

68 One Hundred and Forty-Piece Gorham “Roanoke” Sterling Silver Flatware Set, the pattern designed in 1913 by William Hancock Wilke (1879‑1958), Providence, Rhode Island, comprising a dozen twelve-piece place settings (four pieces lacking), each piece with lozengeshaped monogram “ESW”, 108.01 total t. oz. (weighable silver). Detailed list of pieces available on request.

[1500/2500] This American Colonial-inspired pattern is unusual in being the only flatware pattern designed by Berkeley, California artist William H. Wilke. Wilke studied at the Mark Hopkins Art Institute in San Francisco and the Academie Julien in Paris before settling in the Bay Area where he became a prominent gold and silver designer for Shreve & Co. He was awarded a gold medal at the Panama-Pacific International Exposition in 1915 for silver vase design for Shreve. Wilke was also an accomplished painter, printmaker, illustrator and miniaturist, noted for his bookplate designs and watercolors and etchings of the San Francisco area. His archive is conserved at the University of California, Santa Barbara.

69 Large Tiffany & Co. Sterling Silver Trumpet Vase, the pattern introduced in 1924, New York, of traditional form, the rim with a chased oak twig and square paterae paneled band above incised threading, squared knop and domed foot banded en suite, monogrammed on the body “McP”, h. 14‑7/8”, dia. 8‑3/8”, 107.38 t. oz. [10000/15000] Illustrated

67 Three-Piece Gorham Sterling Silver Table Set, first quarter 20th century, Providence, Rhode Island, including a pair of candlesticks, h. 9‑3/4”, w. 3‑3/4”, and a tray, l. 15”, w. 9‑7/8”, the candlesticks of rounded square section with vasiform nozzle, flared base, circular bobeche and reeded edges, the tray of cavetto-canted rectangular form with rounded narrow ends, all pieces monogrammed “BS”, the candlesticks weighted, the tray 24.48 t. oz.

[600/900] Illustrated

70 Six-Piece Gorham “Stafford” Sterling Silver Coffee and Tea Set, 1905, Providence, Rhode Island, retailed by Bigelow, Kennard & Co., Boston, Massachusetts, including a kettle-on-stand, h. 11‑1/2”, l. 10”, a coffeepot, h. 9‑3/4”, l. 10‑1/4”, a teapot, h. 6”, l. 11‑1/4”, a covered sugar bowl, h. 6”, l. 8‑1/2”, a cream jug, h. 5‑1/2”, l. 6”, and a waste bowl, h. 3‑1/2”, l. 4‑7/8”, with addorsed scroll handles and gadrooned decoration, each piece monogrammed on the body “AH” and dated on the underside “1906”, one piece later inscribed on the underside “AHR to ARB 1956”, 161.62 total t. oz. [3500/5000] Illustrated

70

25

71 Pair of Sterling Silver “Lotus” Compotes, first quarter 20th century, by the Barbour Silver Co., Hartford, Connecticut, each of circular form with serpentine-lobed and fluted rim, raised on a waisted stem with cavettodomed foot, the bowl with blind-hatched lozenge-shaped monogram “BWS”, h. 3‑7/8”, dia. 10”, 36.60 total t. oz.

[600/900] Illustrated

75

71

74 S. Kirk & Son Sterling Silver Salver, mid-20th century, Baltimore, Maryland, of circular form, the rim decorated with deep repousse flowers in the traditional Baltimore taste, with molded edge, dia. 12‑1/4”, 23.77 t. oz.

[500/800]

72 Large Pair of Sterling Silver Trumpet Vases, first quarter 20th century, by Wallace & Sons, Wallingford, Connecticut, of traditional form, with reeded rims, h. 14”, dia. 4‑3/4”, 52.21 total t. oz. [1000/1500] Illustrated

76

72

75 Pair of Reed & Barton “Francis I” Sterling Silver Candlestands, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, h. 4‑1/4”, dia. 5‑1/8”, weighted. [500/800] Illustrated 76 Pair of Reed & Barton “Francis I” Sterling Silver Sandwich Plates, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 34.17 total t. oz. [800/1200] Illustrated

73 Set of Eight American Sterling Silver Coquille-Form Dishes, mid-20th century, by Currier & Roby, New York, each of traditional form with three spherical feet, l. 4‑3/8”, w. 4‑3/4”, 41.31 total t. oz. [1200/1800]

26

77 One Hundred Thirty-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, including a dozen eight-piece place settings, with a half-dozen iced tea spoons, an additional dozen teaspoons, and sixteen serving pieces, presented in a Pacific cloth-lined, fitted wooden case, 3‑1/4” x 15‑1/4” x 11”, 141.92 total t. oz. (weighable silver). Detailed listing of pieces available on request.

[5000/8000] Illustrated

77

78 American Six-Piece Sterling Silver Coffee and Tea Set, first quarter 20th century, by the Barbour and Meriden divisions of the International Silver Co., Meriden, Connecticut, in the American Colonial taste, including a coffeepot, h. 9‑3/4”, l. 9‑1/4”, a teapot, h. 9‑1/4”, l. 9‑1/4”, a covered sugar bowl, h. 6”, w. 5‑1/4”, a cream jug, h. 5”, l. 4‑3/4”, and a waste bowl, h. 3‑1/8”, dia. 4‑1/4”, each with a pear-shaped body and serpentine-lobed rim, and an oval tray with molded rim and integral handles, l. 23‑1/2”, w. 16‑1/4”, each piece with blind-hatched lozenge-shaped monogram “BWS”, 144.47 total t. oz. [3000/5000] Illustrated

78

79

79 Impressive One Hundred and Twenty-Piece Set of Reed & Barton “Spanish Baroque” Sterling Silver Gilt Flatware, the pattern introduced in 1965, Taunton, Massachusetts, comprising twelve each dinner forks, luncheon forks, salad forks, seafood/cocktail forks, fish forks, place/dessert spoons, cream soup spoons, dinner knives, luncheon knives and fish knives, the latter three with stainless steel blades, no monograms, l. 5‑1/2” to 9”, 131.59 total t. oz. (excluding knives), presented in a fitted, Pacific cloth-lined, faux alligator zipper-top storage case, 3‑1/4” x 21‑1/2” x 13”. [2000/4000] Illustrated 79 detail

80

80 Five-Piece International “Royal Danish” Sterling Silver Tea Set, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including a coffeepot, h. 9”, a teapot, h. 7‑1/2”, a covered sugar bowl, h. 5‑3/4”, a cream jug, h. 5‑3/8”, and a waste bowl, h. 2‑3/4”, no monograms, 77.07 total t. oz.

[1400/1800] Illustrated

27

81 Pair of International “Royal Danish” Sterling Silver Convertible Candelabra, the pattern designed in 1939

by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, each candelabrum in four parts - base, standard, finial socket and branches - permitting them to be arranged as two heights of candlestands, 3‑1/2” and 5‑1/4”, candlesticks, 10‑1/4”, or four heights of candelabra, 8‑1/8”, 10‑1/4”, 13‑1/4” and 15‑1/4”, weighted.

[800/1200] Illustrated

81

83

84 Handsome English Papier-Mache Lady’s Work Box, mid-19th century, decorated with gilt trim in the Elizabethan Revival style, the molded and hinged cover decorated with a pair of hounds, and opening to reveal a fitted paper- and plush-lined tray, the pair of doors opening to reveal a set of drawers, lined in matching paper, h. 11‑1/2”, w. 9”, d. 9”. [900/1200] Illustrated 82 Pair of Mexican Woven Sterling Silver Fruit Baskets, fourth quarter 20th century, by Alfredo Villasana, Taxco, each with circular base, wire staves, flat wire weavers and twisted wire rim and foot ring, h. 2‑3/4”, dia. 8‑1/4”, 24.51 total t. oz. [700/1000] Illustrated

85 Johannes Henderikus Egenberger (Dutch, 1822‑1897), “Full-Length Portrait of Three Children”, oil on canvas, signed and dated lower left “J. H. Egenberger, 1886, 20 Oct.”, 49‑3/4” x 35”. Framed. [3500/5000] Illustrated

82

83 Handsome Regency Tole Tray in the Chinoiserie Taste, second quarter 19th century, decorated in black and gold with various vignettes, including a tiger hunt, w. 26”, l. 33”. [600/900] Illustrated

28

84

86 Impressive English Gothic Revival GiltBronze Thirty-Light Chandelier, third quarter 19th century, designed in the manner of A.W.N. Pugin (English, 1812‑1852), the hexagonal pierced standard terminating in a pierced Gothic finial, with six molded candle arms supporting clusters of candle sockets, the arms and upper portion of the standard decorated with molded leaves in the Gothic manner, along with bands of molded quatrefoils, h. 47”, dia. 38”. [4000/7000] Illustrated 87 Pair of Gothic-Style Oak Pedestals, late 19th century, each with an octagonal top with a molded edge, above an arched and quatrefoil-pierced frieze joined by molded supports to the pentagonal base, h. 28”, dia. 17‑1/2”. [700/1000] 88 Unusual Pair of English Bronze Chenets in the Neo-Grec Style, the design registered in 1886‑1887, molded with masques and scrollwork, the back impressed “Rd615143”, along with the model numbers, h. 13‑1/2”, w. 15‑1/2”, d. 12‑1/2”. [1000/1500] 89 Jenny Bernier-Happe (Belgian, 19th/20th Century), “Girl in Emerald Green with Her Borzoi”, oil on canvas, signed lower right, 59” x 39”. Framed. [1800/2500] Illustrated

85

86

89

29

90 Glazed Pottery Peacock and Peahen, 20th century, the pair of birds modeled sitting on rockwork adorned with a prunus sprig, in the Asian style, h. 20‑1/4”, w. 10”, l. 22”.

[600/900] Illustrated

90

92 Whimsical VictorianStyle Bronze, Gilt-Metal and Leather Umbrella Stand, in the form of three bronze high-top boots with leather laces, and a central gilt-metal standard hung with tassels, the top with an oval handle, h. 33‑1/4”, dia. 12‑1/2”. [500/800] Illustrated

92

93 Late Victorian Carved Mahogany Lounge Chair, early 20th century, with downswept arms with carved scrolls and swags on each end, covered in a soft faux leather and accompanied by a pillow, h. 34”, w. 30”, d. 38”.

[700/1000] Illustrated

91 Minton Molded Majolica Figural Spill Vase, ca. 1860‑1872, English, in the form of a girl with a basket, decorated in polychrome enamels, impressed “Minton” on the base, h. 8‑1/2”, w. 3‑1/4”, d. 6‑1/2”. [900/1200] Illustrated

94 Alfred Pollentine (British, 1836‑1910), “Coastal Scene with Figures”, signed lower right, sight 12‑1/4” x 11‑3/4”. Framed. [2000/4000] Illustrated

93

91

95 Edward Henry Holder (British, 1847‑1922), “Mountain Village Scene”, oil on canvas, signed lower left, 12” x 18‑1/4”. Framed. [1000/1500] Illustrated 96 Unusually Large English Enamel Box, fourth quarter 19th century, Battersea or Bilston, decorated with a handpainted port scene framed with raised scrollwork on the cover and floral-decorated panels on the sides, all on a pink ground, h. 3‑3/4”, w. 9‑1/4”, d. 6‑1/4”. [2000/4000] Illustrated

30

97 94

97 French Patinated Bronze of “On Veille”, ca. 1900, after Charles Anfrie (French, 1833‑1905), cast signature and titled at edges of base, h. 23‑1/2”, w. 7‑1/2”, d. 6”. [1200/1800] Illustrated

96 95 98 French Bronze of a Young Soldier, first quarter 20th century, after Max Claudet (French, 1840‑1893), the uniformed boy with one arm upraised to hold aloft a sword, now missing all but hilt, cast signature at base, h. 28‑1/2”, w. 8‑1/4”, d. 8‑1/4”. [500/800]

99

99 Victorian-Style Faux-Bois and Mahogany Banquet Table, the top with stenciled decor around the perimeter, the base of double pedestal form, each section with a vasiform pedestal joined to four scroll feet, the sections splitting to accommodate a large skirted leaf, h. 30”, w. 54”, l. 128‑1/2”, extended l. 183”.

[1200/1800] Illustrated

31

100

101

103

101 Continental Patinated Bronze of a “Marly Horse”, fourth quarter 19th century, after Guillaume Coustou the Elder (French, 1677‑1746), h. 23‑1/4”, w. 21”, d. 9”.

[900/1200] Illustrated 102 Pair of Continental Patinated Bronzes of the “Marly Horses”, fourth quarter 19th century, after Guillaume Coustou the Elder (French, 1677‑1746), each h. 18”, w. 13‑1/4”, d. 6”. [2000/4000] Illustrated

102

100 Set of Twelve Royal Worcester Hand-Painted Porcelain Cabinet Plates, ca. 1931, English, each with a faux stone ground and decorated with hand-painted panels of roses, the backs signed “A. Lorkyer”, along with the Worcester printed “1931” mark, dia. 10‑1/2”. [1200/1800] Illustrated

32

103 Handsome Taxidermy Sea Turtle, with a beautifully figured shell, complete with the head and appendages, mounted for hanging, l. 23‑1/2”, w. 19”.

[3000/5000] Illustrated

104

104 Minton Pate-sur-Pate Pottery Vase, fourth quarter 19th century, English, decorated with pate-sur-pate trailing vines and leaves and elephant handles, the base designed to mimic an oriental stand and bolted to the baluster vase, impressed “Mintons” on the bottom of the primary vase, h. 11‑1/4”, dia. 9”. [1000/1500] Illustrated 105 British School (Third Quarter 19th Century), “Chestnut Horse in the Stable”, oil on canvas, illegibly signed mid-left, 22‑1/2” x 19‑1/2”. Framed. Provenance: Collection of Ritz Carlton Jockey Club, New York, New York.

[3000/5000] Illustrated

107 105

108 106

106 British School (Second Quarter 20th Century), “Fox Hunt”, oil on board, unsigned, 16” x 20”. Presented in a handsome giltwood frame with a linen liner. Provenance: Collection of Ritz Carlton Jockey Club, New York, NY. [500/800] Illustrated 107 Louis van der Pol (Dutch, 1896‑1982), “Two Men on Horseback”, oil on canvas, signed lower right, 23‑1/2” x 32”. Framed. [1500/2500] Illustrated 108 Louis Basset (French, b. 1948), “Horse Race”, oil on canvas laid on panel, signed lower right, 17‑1/2” x 27”.

Framed. [1000/1500] Illustrated 109 Evelio Garcia Mata (Cuban/French, 1910‑1985), “Grey Beauty”, oil on board, signed lower right, 14” x 18”.

Handsomely framed. [900/1200] Illustrated

109

33

111

111 Set of Twelve English Hand-Painted Cabinet Plates, first quarter 20th century, retailed by Bailey, Banks and Biddle, with rocaille-molded gilt rims, hand-painted with sprays of flowers, signed with the artist’s initials, the retailer and “Made in England” on the rear, dia. 8‑3/4”. [500/800] Illustrated

116

110 Pair of Edwardian Leather-Upholstered and Oak Club Chairs, each with a padded and tufted outscrolled back and sides, the like seat raised on bun feet on casters, h. 26”. [1500/2500] Illustrated

112

112 Pair of George IIIStyle Mahogany and Upholstered Armchairs, early 20th century, each with a padded domed top joined by outscrolled padded arms to the deep cushioned seat, raised on cabriole legs headed by a foliate shield and ending in acanthine toes, h. 34”, w. 37”, d. 39”. [500/800] Illustrated 113 Pair of “Hollywood Regency” Molded Glass Table Lamps, second quarter 20th century, possibly American, decorated with molded plumes in chromeplated fittings, h. 18”, dia. 11”.

[500/800]

110

34

114 Thirty-Two-Piece Waterford “Comeragh” Partial Stemware Service, including twenty-four water goblets, h. 7”, two claret wines, h. 6‑5/8”, four white wines, h. 5‑3/4”, and two cordial glasses, h. 3‑7/8”. [500/800] 115 Twenty-Four-Piece Waterford “Lismore” Partial Stemware Service, 20th century, Irish, comprised of twelve water goblets, h. 6‑7/8”, and twelve claret wine glasses, h. 5‑7/8”. [500/800] 116 Tiffany-Retailed Assembled Mintons Raised Gilt Partial Dinner Service, ca. 1917 and later, English, including twelve dinner plates, dia. 10‑1/4”, twelve luncheon plates, dia. 9”, twelve soup plates, dia. 8‑1/4”, eleven salad plates, dia. 7‑3/4”, twelve bread and butter plates, dia. 6”, twelve coffee cups, h. 2”, fourteen saucers, dia. 4‑1/4”, eleven teacups, dia. 4”, eleven bouillon cups, dia. 4”, twenty saucers made for either tea or bouillon cups, dia. 5‑3/4”, eleven cream soup bowls, dia. 4‑1/2”, and twelve matching underplates, dia. 6‑1/2”. [700/1000] Illustrated

118

117 Suite of Eight Edwardian Satinwood Dining Chairs, early 20th century, in the Adam taste, consisting of two armchairs and six sidechairs, each with a shield-form back with polychrome lotus, foliate and swag accents, the padded seat raised on tapering square legs headed by bellflowers and ending in spade feet, h. 36”. [2000/4000] Illustrated

119

118 Georgian-Style Polychrome Cabinet, early/mid-20th century, the breakfront top above a conforming case fitted with a Greek-key-carved frieze over a single cupboard door, paneled and featuring a delicately rendered figural oriental scene, flanked to either side by like concave panels, raised on reeded shaped legs headed by scrolls and ending in block feet, h. 34”, w. 48”, d. 19‑1/2”.

[1000/1500] Illustrated 119 Pair of George III-Style Celadon Leather and Mahogany Armchairs, early 20th century, each with a padded rectangular back joined to the padded seat by exaggerated outscrolled arms, raised on cabriole legs ending in pad feet, the whole with brass tack accents, h. 34‑1/2”. [500/800] Illustrated

117

35

120 Unusual French Majolica Jardiniere on Stand, ca. 1900, with a lion’s head monopodia base with “France” painted on the bottom, and an Art Nouveau bowl, the whole decorated with a mottled oxblood and malachite glaze, h. 39‑3/4”, dia. 40”. [900/1200] Illustrated

122

120

122 Eighteen-Karat Yellow Gold, Emerald and Agate Table Box in the Grand Tour Style, first quarter 20th century, Italian, the oval cover set with an agate carving of Mars, Roman God of War, the sides trimmed with raised gold and inset with emerald cabochons, marked “18K” on the rim of the base, h. 1‑3/4”, w. 2‑1/2”, l. 3‑1/4”.

[12000/18000] Illustrated

123

121 Eighteen-Karat Yellow Gold, Blue Topaz, Tourmaline, Ruby and Diamond Bar Pin, the gold bar set with a cushion-shaped blue topaz cabochon, with an approximate weight of 4.50 carats, flanked on each side with a strip of six pink tourmalines, with an approximate total weight of 3.00 carats, the ends of the pin accented with six small round faceted rubies and two trillion-cut diamonds, with an approximate total weight of 0.15 carats, l. 2‑3/4”, 11.4 grams total weight. [3000/5000] Illustrated

121

123 Fourteen-Karat Yellow Gold and Enamel Bracelet, the wide Victorian-style flexible link bracelet attached to a pierced gold clasp decorated with blue enamel, the clasp creating the illusion of a belt buckle, the end of the bracelet with a blue enamel tassel belt tip, l. 7”, 64.5 grams total weight. [3000/5000] Illustrated 124 Fourteen-Karat Green Gold Griffin Watch Fob and Chatelaine, the Victorian green gold griffin seal fob engraved with the letter “E”, the fob attached to a matching five-link griffin chatelaine with a watch clasp, l. 7”, 41.4 grams total weight. [1400/1800] Illustrated

36

124

126

125 Fourteen-Karat Yellow Gold Victorian Coral Cameo and Pearl Brooch, the Etruscan Revival gold brooch set with an oval carved reddish-orange coral cameo of a woman, and four 3.0 mm mabe pearl accents, size 1‑5/8” x 2‑3/8”, 22.6 grams total weight. [800/1200] Illustrated

125 129 Pair of Vintage Fourteen-Karat Rose Gold, Diamond and Ruby Brooches, 1940s, each brooch in a retro sunburst design and set with six European-cut diamonds, with an approximate total weight of 0.50 carats for the pair, and two rows of twenty rectangular- and square-cut faceted rubies, with an approximate total weight of 0.80 carats, dia. 1‑3/4”, 32.8 grams total weight. [1800/2500]

127

126 Twenty-Karat Yellow Gold Victorian Bracelet, the flexible repousse link bracelet with a central medallion composed of blooming flowers and leaves, l. 6”, 19.6 grams total weight. [600/900] Illustrated 127 Fourteen-Karat Yellow Gold Victorian Coral Cameo Brooch, the Etruscan Revival gold brooch with dangling pendants and set with an oval carved reddish-orange coral cameo of a woman, size 1” x 3”, 14.4 grams total weight.

[800/1200] Illustrated 128 Fourteen-Karat Yellow Gold Victorian Cameo Brooch, set with a finely carved oval cameo of a woman with a flower in her hair, size 2‑1/2” x 1‑1/2”, 15.0 grams total weight. [500/800]

37

130

132 Group of Four Cast Aluminum Garden Urns, late 20th century, in the Renaissance taste, each with avian handles, the flaring body with classical female masques, on a stepped square base, h. 26‑1/2”, w. 24”, dia. 19”.

[500/800] Illustrated

132

130 Pair of Neoclassical-Style Cast Iron Garden Urns on Stands, second half 20th century, each of tazza form with egg-and-dart rim and ribbed body, on square pedestals adorned with laurel wreaths, h. 44”, dia. 32”. [500/800] Illustrated

131

133 Four-Piece Cast Metal “Gothic Arch and Rose” Pattern Garden Suite, 20th century, comprised of a large aluminum bench, h. 34”, w. 58”, d. 16, a cast iron settee, h. 35”, w. 44”, d. 16‑1/2”, and a pair of cast iron armchairs, h. 35”, w. 27”, d. 16”, each with a pierced seat and back, scalloped apron and cabriole legs. [700/1000] Illustrated Garden furniture in this pattern is featured in the White House Rose Garden, Washington, D.C. 134 Large Pair of Neoclassical-Style Cast Iron Garden Urns on Stands, second half 20th century, each of campana form, the rims with egg-and-dart molding, the bodies depicting allegorical classical figures, with leonine handles and lion- and wreath-decorated pedestals, h. 62‑3/4”, dia. 28”. [800/1200] Illustrated

134

131 Pair of Lead Garden Figures, late 19th/early 20th century, each modeled as a robed putto on a weathered cast stone columnar base, h. 44‑3/8”, dia. 15”. [600/900] Illustrated

38

136

135 Neoclassical-Style Marble Garden Bench, second half 20th century, of generous scale, the shaped back with foliate- and scroll-carved crest rail, the arms terminating in a carved female allegorical head, the thick slab seat on scroll supports, h. 38‑1/2”, w. 72”, d. 24”. [3000/5000] Illustrated 136 Pair of Regency-Style Marble Lions, second half 20th century, each modeled as a seated lion with a full mane, a cartouche with the shield of England at its front paws, h. 31”, w. 15”, d. 37”.

[2000/4000] Illustrated 137 Pair of Regency-Style Cast Iron Lions, each on a polychromed cast stone base, each lion with a full mane, raised on its haunches, its paws supporting an English armorial shield, on a fluted plinth base, h. 41”, w. 10‑1/2”, d. 10‑1/2”. [700/1000] Illustrated

133

137

135

39

138 Pair of Cast Stone Leonine Garden Figures, second half 20th century, each modeled as a seated lion with flowing mains, h. 28‑3/4”, w. 22”, d. 13”. [500/800] Illustrated

140

138

139 Renaissance-Style Painted Terracotta Figure of a Lion Holding a Crest, resting on an ogee-molded matching stand, h. 48”, w. 12”, d. 12”. [500/800] Illustrated 140 Large Pair of Neoclassical-Style Cast Aluminum Garden Urns, late 20th century, each of campana form, the bodies adorned with classical maidens in shallow relief, and each with a pair of attached maidens over floral and foliate swags, h. 62‑1/2”, w. 34”, dia. 32”.

[500/800] Illustrated

141

139

141 Large Pair of Cast Iron Garden Urns on Stands, second half 20th century, each of campana form, the rims with egg-and-dart molding, and the bodies with allegorical masques and leonine handles, raised on pedestals adorned with like masques and laurel leaves, h. 64”, dia. 27”.

[800/1200] Illustrated 142 Pair of Cast Iron Garden Urns, late 19th/early 20th century, each bowl with a pair of handles with masques, on a tapering reeded column with plinth bases, h. 22”, w. 25”, dia. 17”. [500/800] Illustrated

40

143 Pair of Neoclassical-Style Faux-Marbre Aluminum Garden Urns, late 20th century, each of campana form with fluted and lobed bodies, h. 32‑1/4”, dia. 26‑1/2”.

[500/800]

144 Neoclassical-Style Figural Bronze Garden Fountain, 20th century, modeled as a gowned maiden with a bird perched on one arm, the other supporting a tazza-form bowl with a water spout, h. 59”, dia. 17”. [700/1000] Illustrated 145 Suite of Four Regency-Style Cast Iron Jardinieres, 20th century, each of trefoil form, with leonine masques at the corners, h. 12”, w. 15”, d. 15”. [500/800] Illustrated

144

142

146

146 Large Cast Iron Garden Urn on Stand, late 19th/ early 20th century, the bowl of tazza form with floral and geometrically-modeled handles, the rim crisply molded with oak leaves, acanthus leaves and blooms, on a stepped square base in wreath and ribbon decor, h. 63‑1/2”, w. 45”, dia. 28”. [500/800] Illustrated

145

41

147 Pair of Cast Iron Garden Urns in the Neoclassical Taste, each of campana form with fluted bodies and bases, h. 26‑1/2”, dia. 22”. [500/800] Illustrated

149

147

151 Arrah Lee Gaul (American/Pennsylvania, 1883‑1980), “St. Mary Bay” and “Marine Gardens”, pair of oils on canvas board, both signed lower left, each with a label printed with title and name of the artist en verso, verso with a “Carol Robinson Gallery” label, each 8‑1/2” x 11‑1/2”. Both framed alike. [600/900] 148 Victorian Cast Iron “Oak and Ivy” Pattern Garden Bench, second half 19th century, the back with twining leaves and branches, the closed arms terminating in ram’s heads, the iron seat in the form of open scrollwork, retaining its apron, h. 34‑1/2”, w. 43‑1/2”, d. 21”.

[500/800] Illustrated

150

148

152 Michael D’Aguilar (British, 1924‑2011), “Les Nuages”, pair of oils on board, each signed lower left, each signed and titled en verso, 7” x 9”. Both framed alike in attractive giltwood frames. [500/800] Illustrated

149 Large Pair of Terracotta Garden Urns, each with a circular rim, the tapering body in basketweave decor, h. 30”, dia. 40”. [700/1000] Illustrated 150 Pair of Gothic Revival Cast Iron Garden Benches, each with backs modeled as joined quatrefoils, trefoils and crockets, the seat in the form of joined hexagons, shaped arms and legs joined by H-form stretchers, h. 34”, w. 55”, d. 18”. [1000/1500] Illustrated 152 1 of 2

42

153 Niek van der Plas (Dutch, b. 1954), “Beach Scene with Sailboats”, oil on panel, signed lower right, 12‑1/2” x 18‑1/2”.

Framed. [1800/2500] Illustrated 154 Niek van der Plas (Dutch, b. 1954), “Beach Scene”, oil on panel, signed lower right, 7” x 9‑1/2”. Framed. [1000/1500] 155 Jean Lefort (French, b. 1948), “Boat Race”, oil on panel, signed lower left, 14” x 21”. Presented in a giltwood and gesso frame. [1500/2500] Illustrated 156 John Edmund Califano (American, 1862‑1946), “By the Shore”, oil on canvas, signed lower right, sight 7‑3/4” x 10‑1/2”. Framed. [800/1200] Illustrated 153

157 French Provincial Oak Armoire/Vitrine, mid-19th century, the molded crest above a case fitted with three long doors, each inset with three shaped grilled panels, the lower two rows with fabric backing, opening to a shelved interior, raised on molded legs, h. 93”, w. 66”, d. 23”. [1200/1800] Illustrated

157

155

156

43

161

158 158 Francois Charles Cachoud (French, 1866‑1943), “La Maison sur la Route au Clair de Lune, Savoie, France”, oil on canvas, signed lower right, titled en verso stretcher, 26” x 32”. Presented in a polychrome exhibition frame.

[2500/4000] Illustrated

162 French Patinated Bronze of “Un Artiste au XVII Siecle”, first quarter 20th century, after Jean-Louis Gregoire (French, 1840‑1890), titled at front of base, cast signature along front of music stand, inscribed “Boyer Fres a Paris” along outer edge of base, h. 23”, w. 9‑1/2”, d. 7”.

[900/1200] Illustrated

162

159 159 Riko Mikeska (Czech, b. 1903), “Tuscan Village”, oil on canvas, signed lower center, 31” x 38”. Presented in a rustic-style hardwood frame. [1800/2500] Illustrated 160 Two Louis XV Fruitwood Fauteuils, late 18th century, each with a domed and padded back within a molded frame, joined by scrolling arms to the like seat, raised on cabriole legs, upholstered in needlework with a variety of figural, animal and floral patterns, h. 35” and 36‑1/2”.

[500/800] 161 French Cast and Patinated Iron Figural Group of Gypsy Lovers, ca. 1900, after Anatole Jean Guillot (French, 1865‑1911), cast signature and indecipherable foundry mark at self-base, h. 12”, w. 11‑1/2”, d. 6‑1/4”.

[700/1000] Illustrated

44

163 Machine-Woven Tapestry of a Fox Hunt, 20th century, in muted tones of creams, yellows and greens, with a Solomonic column border, 71” x 154”. [700/1000]

167 Pair of Charming German Porcelain Figures of Children with Pet Goats, ca. 1930‑1951, by R. & E. Pech, in the Meissen style, one depicting a little boy and the other a little girl with a flower basket, on bases with applied flowers, marked in underglaze blue, h. 8”, w. 5‑1/4”, d. 3‑3/4”. [600/900] Illustrated

167

165 164 Pair of French Aubusson Tapestry Pillows, ca. 1900, depicting male and female figures in 18th-century costume, trimmed in fringed braid, on a white shantung backing, h. 19”, w. 19”. [500/800]

166

168 Louis XVI Walnut Bergere, late 18th century, the padded tapering back within a molded frame with canted corners, joined by padded closed arms to the cushioned seat, raised on stop-fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 31‑1/2”.

[500/800] Illustrated

168

165 Hygino Mendonca (Portuguese, d. 1922), “The Laundresses”, oil on canvas, signed lower right, 18” x 13”.

Framed. [1000/1500] Illustrated 166 French Provincial Cherrywood Desk, mid-19th century, the rounded rectangular top banded and above a case fitted with two end drawers, raised on cabriole legs ending in pointed toes, h. 29‑1/2”, w. 67‑1/2”, d. 29‑1/2”.

[800/1200] Illustrated

45

169 French Provincial Pine Buffet a Deux Corps, mid-19th century, the ogee-molded and canted cornice above a conforming case fitted with a diamond-patterned frieze over two long paneled doors, the lower section fitted with two drawers over two paneled doors, raised on molded bracket feet, h. 96”, w. 62”, d. 23”. [500/800] Illustrated 170 Pair of Continental Floral Botanicals, ca. 1900, each with 36 pressed specimens and handwritten descriptions, overall, 44” x 32‑1/4”. Both glazed and in customdesigned carved wood frames. [600/900] Illustrated

171

170 1 of 2

171 Louis XVI-Style Polychromed Cabinet, second quarter 19th century, the rectangular variegated gray faux-marbre top with projecting canted corners, above a conforming case fitted with a small frieze drawer and a larger one faced as two small ones, over two paneled cupboard doors, flanked to either side by canted, fluted uprights, the whole raised on fluted tapering square legs, h. 34”, w. 34”, d. 16‑1/2”. [1200/1800] Illustrated

172

169

46

172 Large Pair of Majolica Aesthetic Vases, fourth quarter 19th century, probably French, decorated with molded cranes in front of bambooform vases with stalks, branches and leaves, h. 25‑1/2”, w. 9‑1/2”, d. 7”.

[700/1000] Illustrated

175

173

173 French Provincial Fruitwood Vasselier, mid-19th century, the molded cornice with canted corners above two open shelves and two paneled cupboard doors, the conforming lower section fitted with three drawers over two paneled cupboard doors, raised on shaped bracket feet, h. 79”, w. 51”, d. 18”. [1400/1800] Illustrated 174 Provincial Louis XV-Style Fruitwood and Marble-Top Buffet, early 20th century, the shaped rouge royale marble top with a molded edge and raised on a conforming case fitted with four drawers over four cupboard doors, each with a shaped panel within a molded foliate-carved frieze, raised on cabriole feet ending in scrolled toes, h. 40‑1/2”, w. 77‑1/2”, d. 22”. [800/1200] Illustrated 175 Faience Covered Ginger Jar in the Rouen Style, ca. 1900, decorated in cobalt, yellow and orange scrollwork and flowers, the domed cover with a sheep-form knob, the unidentified mark with an anchor between an “H” and a “D”, and “France”, h. 24‑1/2”, dia. 10‑1/2”. [500/800] Illustrated

174

47

176 Suite of Ten Provincial Louis XV-Style Mahogany Dining Chairs, each with a cane seat and back, molded and carved crest rail, serpentine seat and cabriole legs joined by “X” stretchers, now fitted with loose ivory seat cushions, h. 39‑1/2”.

[1500/2500] Illustrated

177

178 Arthur Fitzwilliam Tait (British/American, 1819‑1905), “Mallard Ducks, Chickens and a Rooster”, 1860, oil on wood panel, signed and dated lower right, 10” x 14”. Framed. To be sold for the benefit of the Samaritan Center, Mandeville, Louisiana. [4000/7000] Illustrated 179 Henry Schouten (Belgian, 1864‑1927), “Cattle in the Open Field”, oil on canvas, signed lower right, 40” x 32”.

Unframed. [2500/4000] Illustrated

177 French Patinated Bronze of Birds, first quarter 20th century, after Ferdinand Pautrot (French, 1832‑1874), cast signature, h. 18”, w. 8‑1/4”, d. 9”. [1000/1500] Illustrated

180 Henry Schouten (Belgian, 1864/67‑1927), “Farmer with Donkeys”, oil on canvas, signed lower right, 34” x 24”. Framed. [2000/4000] Illustrated

178

179

176

180

48

181 Unusual French Provincial Fruitwood Metamorphic Table/Desk, mid-19th century, the rectangular top with a full raised edge and banded, hinged and opening to a paneled writing surface and an arrangement of drawers and cubbyholes lifting out from the center, flanked to either side by a storage compartment, above a deep shaped apron on cabriole legs, h. 23‑1/2”, w. 28”, d. 14‑1/2”.

[700/1000] Illustrated

181

182 183 KPM Oval Portrait Plaque of “Ruth”, fourth quarter 19th century, Berlin, Germany, depicting the biblical character holding a sheaf of wheat in a field, after Charles Landelle (French, 1821‑1908), impressed with the scepter mark and “KPM”, and with old exhibition stickers on the back, h. 10”, w. 8”. [500/800] Illustrated

181 detail 183

182 Aubusson Tapestry Fragment of Classical Figures in a Wooded Landscape, first quarter 19th century, now backed in cream linen and edged in russet velvet, 28‑1/4” x 24‑3/4”. [500/800] Illustrated

49

186 Pair of Louis XV-Style Fruitwood Fauteuils, early 20th century, each with a shaped and padded back surmounted by a floral crest, joined by padded arms to the like seat, raised above a floral-carved apron on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [500/800]

185

184 184 School of William-Adolphe Bouguereau (French, 1825‑1905), “Motherhood”, oil on canvas, fourth quarter 19th century, unsigned, 35” x 27‑1/2”. Framed.

[1200/1800] Illustrated 185 Royal Vienna Portrait Plaque, “La Belle Chocolatiere”, fourth quarter 19th century, Austrian or German, signed “E. Wagner” on the back, after Jean-Etienne Liotard (Swiss/French, 1702-1789), as well as “Chocoladiere”, and with a bindenschild mark in overglaze black, h. 10‑3/4”, w. 7‑1/2”. [500/800] Illustrated

187 Provincial Louis XV-Style Oak Buffet, 19th century and later, the rounded rectangular top above a case fitted with a scrolling floral frieze over a central bank of three small drawers, flanked to either side by two cupboard doors, each opening to pull-out drawers, raised on shaped toes, h. 39”, w. 99”, d. 19‑1/2”. [1500/2500] Illustrated

187

50

188 Denis Diderot (French, 1713‑1784) and Jean Le Rond d’Alembert (French, 1717‑1783), a collection of eighty-one hand-colored copperplate engravings of various seashells and sea life from Encyclopedie, ou Dictionnaire raisonne des sciences, des arts et des metiers, par une Societe de Gens de lettres - Recueil de Planches sur les Sciences, les Arts Liberaux, et les Arts Mechaniques, avec leur Explication, published between 1751‑1772, engraved by Robert Benard (b. 1734), sheet sizes approximately 11‑1/2” x 8”. [1500/2500] Illustrated Diderot’s “Encyclopedie” profusely illustrated work of the French Enlightenment and contained 72,000 articles written by more than 140 contributors on the arts and sciences. The sea life prints are from the volume devoted to “The Three Realms of Natural History”.

190 191 Suite of Eight Provincial Louis XV-Style Fruitwood Armchairs, each with a domed and molded crest above a caned back, joined by shaped and scrolling arms to the padded seat, raised on cabriole legs ending in peg feet, h. 40”. [2000/4000] Illustrated

191

188

189 Pair of Louis XV-Style Fruitwood Fauteuils, late 19th century, each with a padded domed back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled legs, h. 41‑1/2”. [800/1200] Illustrated

189

192 Unusual Belgian Three-Piece Pottery Garniture, ca. 1900, in the Jugendstil style, consisting of a large central baluster-form vase, h. 15‑1/2”, dia. 7”, and a pair of long-necked vases, h. 15”, dia. 7”, decorated with mauve flowers and mustard leaves, with a raised edge, each with printed marks and numbers, marked by Faiencerie Onnaing. [800/1200] Illustrated

192

190 Anton Karssen (Dutch, b. 1945), “St. Bernard Puppies at Mealtime”, oil on canvas, signed lower left, 23‑1/2” x 36”. Framed. [3000/5000] Illustrated

51

193 Isaac Robert Cruikshank (British, 1789‑1856), “The Drinker”, ink and watercolor on paper, image 7‑1/2” x 9‑1/2”, together with a handwritten letter, sight 7” x 4‑3/4”, overall, sight 23” x 14”. Glazed, matted and framed. [600/900] Illustrated 194 Julien Leopold Boilly (French, 1796‑1874), “Portrait of George Gordon, Lord Byron”, graphite on paper, signed along right edge, sight 19” x 12‑1/2”. Glazed, matted and framed. [500/800] Illustrated 195 John Cart Burgess (British, 1798‑1863), “Le Havre, Normandy”, watercolor and gouache on paper, signed lower right, signed and titled en verso, sight 15‑1/2” x 12‑3/4”. Glazed, matted and framed. [500/800] Illustrated

193

195 196 Attributed to Auguste Rodin (French, 1840‑1917), “Study of a Reclining Nude”, graphite on paper, bearing initials lower right “A. R.”, sheet 7‑3/4” x 12‑1/8”. Glazed, French matted, mat bearing an inscription lower center “Aug. Rodin/1840‑1917”, and presented in a giltwood frame. Provenance: Private collection, New York, New York. [2000/4000] Illustrated 197 Charles Eugene Shannon (American/Alabama, 1914‑1995), “Young Boy Fishing”, watercolor on paper, signed lower right, 10‑1/2” x 12‑3/4”. Float-mounted, glazed, matted and framed. [3000/5000] Illustrated

194

52

198 March Avery (American, b. 1932), “Standing Nude”, 1981, monotype, signed and dated lower left, sight 21‑1/2” x 15”. Glazed, matted and framed. Provenance: Marguerite Oestreicher Fine Arts, New Orleans, Louisiana.

[600/900] Illustrated 199 March Avery (American, b. 1932), “Nude with Outstretched Leg”, 1978, monotype, signed and dated upper right, sight 15‑1/2” x 21”. Glazed, matted and framed. Provenance: Marguerite Oestreicher Fine Arts, New Orleans, Louisiana. [600/900] Illustrated

196

199

197

200 200 Ramon Pichot (Spanish, 1924‑1996), “Descanso de la Modelo”, oil on canvas, signed lower right, signed and titled en verso, 26” x 21”. Framed. [1000/1500] Illustrated 198

53

201

201 Antique Hassan Carpet, 13’ 8” x 16’ 9”. [2000/4000] Illustrated 202 Fine Kerman Carpet, 7’ 9” x 9’ 9”. [900/1200] 203 Peshawar Bakhtiari Carpet, 9’ 2” x 12’ 1”.

[1500/2500] Illustrated 204 Oushak Carpet, 12’ x 16’. [4000/7000] Illustrated 205 Silk Tabriz Carpet, 6’ x 9’. [800/1200] 206 Kashan Carpet, 9’ x 12’ 11”. [4000/7000] Illustrated 207 Turkish Angora Oushak Runner, 3’ 3” x 17’ 10”.

[1000/1500] Illustrated

203

54

206

207

204

55

208 Tribal Bakshaish Carpet, 9’ 3” x 12’. [2500/4000] Illustrated 209 Turkish Angora Oushak Carpet, 9’ x 11’ 10”.

[1200/1800] Illustrated 210 Karaja Runner, 3’ 11” x 17’ 4”. [500/800] 211 Turkish Angora Oushak Carpet, 7’ x 10’ 6”.

[1200/1800] 212 Antique Kermanshah Carpet, 8’ 5” x 12’ 1”. [700/1000] Illustrated

209

208

212

56

214

213

213 Anglo-Indian Ormolu-Mounted Marble Fireplace Surround, in the neoclassical taste, the rectilinear mantel above a face with foliate and swag mounts, the legs each with a figural mount, h. 59”, w. 80”, d. 14”. [700/1000] Illustrated 214 Anglo-Colonial Mahogany Linen Press, second quarter 19th century, the gadrooned crest above a ribbed frieze centered by a scrolling foliate panel over two paneled doors, opening to three slides over shelves, the lower section fitted with three graduated long drawers, raised on ribbed tapering feet, h. 84”, w. 49”, d. 19‑1/2”. [600/900] Illustrated

215

215 Campaign-Style Mahogany Desk, early 20th century, the rectangular top with an inset leather writing surface and brass bound corners, above a case fitted with two doors, each opening to a bank of three telescoping drawers opening outward, the sides each fitted with a hinged cupboard opening to a shelved interior, raised on bracket feet, the whole accented with brass hardware in the campaign taste, h. 31”, w. 39‑1/2”, d. 28‑1/4”.

[1000/1500] Illustrated

57

219

217

216

216 Anglo-Colonial Tropical Hardwood Linen Press, late 19th century, in three parts, the gadroon-carved crest above a foliate-carved frieze with two doors below, each paneled and with a large carved patera, over two short drawers and three long drawers, raised on bulbous feet, h. 74”, w. 37”, d. 16”. [700/1000] Illustrated 217 Ottoman Applique and Embroidery Mihrab Panel, fourth quarter 18th century, wool and silk on wool, all on a later linen backing, with floral and vine motifs in tan, blue, pink and green on a crimson ground, all surrounding a central prayer niche accented with green velvet, 71” x 49”.

Flout-mounted, glazed and framed. [800/1200] Illustrated

220

58

218

218 Whimsical “Persian”-Style Three-Piece Clock Set, fourth quarter 19th century, probably French, composed of bronze with some silvering, comprising a clock and a pair of garnitures, all decorated with onion domes and Islamic strapwork, the enamel chapter ring painted with Persian numerals, clock, h. 14‑1/2”, w. 5‑1/4”, d. 4‑3/4”, garnitures, h. 17”, w. 8”, d. 6”. [4000/7000] Illustrated

221

219 Continental Pierced Brass Eight-Arm Basket Chandelier, early 20th century, the paneled basket with elaborate pierced neoclassical ornamentation and fitted with a fleurs-de-lis crown and a drop finial, the arms with pierced and beaded bobeches and crenellated candle cups, suspended from a canopy issuing spiraled rods with pierced balls, the cage opening to an interior with four additional downlights, overall, h. 50”, dia. 25‑1/2”.

[1400/1800] Illustrated 220 Bone-Ended Jewish Scroll, the vellum hand-printed with Hebrew calligraphy, dia. 1‑1/2”, l. 11‑1/4”.

[1800/2500] Illustrated 221 Unusual Pair of Cast and Wrought Metal Torcheres, of Hispano-Moorish inspiration, the flat standards pierced with a grid of Moorish quatrefoils and supporting oval candle sockets decorated with a pierced gallery, raised on scrollwork-decorated trestle feet, electrified, h. 83”, w. 15”, d. 8‑1/2”. [500/800] Illustrated

59

227

222 222 Ottoman Embroidered Textile, 19th century, probably Turkish, of silk, gold and gold metallic-wrapped silk thread in reds, blues and browns on a dark cream linen backing, the central Tughra motif and abstract floral vine borders all delicately rendered in chain stitch, the edging in Oya needlelace, 72� x 158�. [800/1200] Illustrated

228

225

60

226

223 Art Deco Cold-Painted Bronze Bust of an Arab on an Onyx Base, second quarter 20th century, probably Vienna, the stepped base supporting the bust of a bearded Arab male wearing a turban, h. 12‑1/2”, w. 13‑1/2”, d. 9”.

[1000/1500]

226 Francesco Ballesio (Italian, 1860‑1923), “Reclining Nude in a Turkish Interior”, watercolor on paper, signed lower left “Ballesio/Roma”, sight 20” x 29”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [10000/15000] Illustrated

224 Royal Dux Camel and Arab Figure, pre-1919, matte glazed in pale pink and green, the pipe-wielding rider sitting above the attendant, marked with the matte-glazed pink triangle with an “E” in the center, h. 23‑1/2”, w. 17”, d. 10”. [500/800]

227 Enameled Metal Figure Depicting a Turkish Dancing Girl, ca. 1900, the figure modeled standing on a rugcovered stool and playing a lute, decorated with raised details and a Turkish tribal necklace, h. 33‑1/2”, w. 10”, d. 10”. [1500/2500] Illustrated

225 Carnig Eksergian (American/Armenian/Turkish, 1855‑1931), “Nymph by a Stream”, oil on canvas, signed along right edge, 41” x 27”. Presented in a period giltwood and gesso frame. [7000/10000] Illustrated

228 French Patinated Bronze of “The Water Carrier”, ca. 1900, after Anatole Jean Guillot (French, 1865‑1911), cast signature at edge of base, h. 28”, w. 9‑1/2”, d. 11”.

[1500/2500] Illustrated

61

229

62

229 Felix Baudin (French, 1848‑1909), “Danseuse au Harem”, oil on canvas, signed mid-left along edge of tambourine, inscribed “Salon 1901/F. Baudin” en verso canvas, 64” x 41”. Framed. Provenance: Gros-Delettrez, Paris, France; Opera Gallery, New York, New York.

[15000/25000] Illustrated

232

230 Bergman Cold-Painted Vienna Bronze, first quarter 20th century, Austrian, depicting a Moorish scribe sitting on an oriental carpet, marked with a “B” in a vase and “Geschutzt”, h. 3‑1/2”, w. 5‑1/2”, d. 4‑1/4”. [1000/1500] Illustrated

230

231 Franz Bergman Cold-Painted Vienna Bronze Inkwell, fourth quarter 19th century, modeled as an elephant climbing a draped stepped platform, a young mahout atop the hinged head with the trunk grasping the inkwell finial, the inkwell base with a frieze of seated Indian deities and marked on one lower side with a “B” within an urn and “Namgreb”, the elephant’s body stuffed with horse or elephant hair, h. 6‑1/2”, w. 6‑1/8”, d. 4‑5/8”. [1200/1800] Illustrated

231

232 Pair of Bronze Figures of Mongolian Warriors, depicted seated and dressed in loincloths and earrings, with the traditional “ponytail” and Fu Manchu moustaches, h. 35”, w. 15‑1/2”, d. 28‑1/2”. [1500/2500] Illustrated 233 Middle Eastern “Gladius” Sword, decorated with applied scrollwork and flowers on the handle, and continuing down the scabbard to the ball finial, the blade decorated with incising, l. 19‑1/2”. [500/800] Illustrated

233

234 Three Indo-Tibetan Bronzes, 19th century, including a seated Bhaisajyaguru with hands folded in dhyana mudra, the underside marked with a double vajra impression, h. 6‑1/8”, an eight-armed standing bronze shiva, the underside marked with a double vajra, h. 8‑1/2”, and a seated figure of Ganesh with four arms, the underside bearing a double vajra impression, h. 6‑3/8”. [500/800]

63

235

235 Thai Gilt-Bronze Seated Buddha, 19th century, seated in dhyanasana, the figure’s hands posed in bhumisparsha mudra, and seated on a royal three-tiered base, it was once attached to a halo or nimbus, h. 10”, w. 7‑1/2”.

[500/800] Illustrated

238

239

236 Chinese Export Porcelain Teapot, first quarter 19th century, made for the Persian market and decorated with lotus flowers and red and green medallions, with a salmonground handle and a spout with molded decoration, h. 6”, dia. 5‑1/2”. [500/800]

237

64

237 Persian Painting of Noblemen in a Garden, 19th/20th century, opaque watercolor and ink on silk, depicting courtiers and their attendants enjoying idyllic pursuits in a lush garden setting, with a floral border, unsigned, matted and framed, h. 41”, w. 28‑1/2”. [600/900] Illustrated

240 Middle Eastern Copper and Enamel Hanging Lantern, the hexagonal stepped-form lantern 244 enamel-decorated with alternating red, green and blue glass inserts, h. 21‑1/2”, dia. 9‑1/2”.

[700/1000] Illustrated

240

241 Indian Metal, Turquoise and Coral Ewer, 19th/20th century, the white metal ewer encrusted with coral and turquoise, a motif of Vishnu riding Garuda on each side of the vessel, the lid attached with a chain, unmarked, h. 9”, w. 6”.

[500/800] Illustrated

238 Persian Pottery Tile, late 19th/early 20th century, in the Iznik style, the white clay tile with a scrolling motif in blue, turquoise and black on white, w. 8‑5/8”, d. 8‑5/8”.

[500/800] Illustrated 239 Persian Pottery Tile, probably 18th century, Late Iznik, the white clay tile with a raised floral scroll motif and an eight-point star in blue, black and white, w. 10”, d. 10”.

[700/1000] Illustrated

241

243 242 Two Indo-Tibetan Thangkas, painted cloth mounted on silk, one depicting a Green Tara in a landscape with animals, bodhisattvas and other figures, with a silk veil-glazed liner, overall, h. 47”, w. 27”, and the other depicting a seated Buddha with hands folded in dhyana mudra, a gesture of meditation, overall, h. 39”, w. 26‑1/2”, Sanskrit markings on the reverse, unframed. [600/900] 243 Indo-Tibetan Thangka, 18th/19th century, distemper on cloth, depicting a seated Buddha surrounded by bodhisattvas and lamas, the protective deity Hevajra depicted embracing his consort Nairatmya in the lower left corner, framed, overall, h. 33”, w. 25‑1/2”. [500/800] Illustrated

65

244

244 Large Anglo-Indian-Style Silvered MetalClad Throne Chair, in the rococo taste, the back with elaborate metal cladding and centered by an upholstered panel, with serpentine seat rail and cabriole legs, the arms modeled as full-figured lions, h. 51‑1/2”. [3000/5000] Illustrated An 1860 sketch for a nearly identical chair from Northern India is illustrated in Furniture from British India and Ceylon, by Jaffer, p. 227.

245 Pair of Anglo-Indian Carved Blackwood Recamiers, mid-19th century, in the rococo taste, each intricately carved in vintage decor, h. 37‑1/2”, w. 27”, l. 59”. [1000/1500] Illustrated An armchair in the same pattern is in the Essex Institute in Salem, Massachusetts. Period invoices describe similar furniture patterns as “Oak Leaf”, “Vine Leaf”, “Wine Leaf” and “Fruit Leaf”.

246 Pair of Moroccan Lanterns, now mounted as carriage lamps, composed of pierced metal with turreted corners, a dome top and a pierced gallery, set with textured glass and mounted on poles with matching wall brackets, h. 88”, dia. 11”. [600/900] Illustrated

245

66

247 Indian Hardwood and Bone-Inlaid Cabinet, the heavily molded cornice above a case fitted with two cupboard doors over two cupboard doors, all inset with shaped and molded panels, with three small drawers below, raised on a molded plinth base, the whole with intricate inlay in various scrolling foliate and geometric patterns, h. 81”, w. 57‑1/2”, d. 27”.

[1200/1800] Illustrated 248 North African Inlaid Mahogany Games Table, early 20th century, the hinged and stepped rectangular top opening to a baize-lined gaming surface, and reversing to a chessboard and removing to reveal a sunken backgammon board, raised on shaped supports, joined by a stretcher shelf and ending in square legs, the whole intricately inlaid in geometric patterns with mother-of-pearl accents, h. 30‑1/2”, w. 28‑1/4”, d. 14‑1/4”. [1200/1800] Illustrated

249 Anglo-Indian-Style Bone-Clad Box, with a reeded cover, sides and lid, the borders decorated with incised, ink-stained paisleys, h. 6‑1/4”, w. 26‑1/4”, d. 10‑3/4”.

[500/800]

248

246

247

250 Moroccan Elaborately Inlaid Backgammon Board with Two Table Boxes, 20th century, each inlaid with bone, mother-of-pearl and tropical hardwoods in Islamic patterns, the game board closing to hold the game pieces and opening to reveal the interior board, h. 3”, w. 19‑3/4”, d. 10”, with some game pieces inlaid to match, the two accompanying boxes with beveled and hinged covers, h. 2‑1/4”, w. 8” and 9‑3/4”. [500/800] Illustrated

250

67

251 Pair of Moroccan Bone- and Marquetry-Inlaid Stands, each with a circular top centered by an inlaid star with a mother-of-pearl border, raised on curved supports joined to a hexagonal base, inlaid throughout, h. 20‑1/2”, dia. 16‑1/2”. [700/1000] Illustrated

255 Pair of Patinated Bronze Foo Dogs, late 19th/early 20th century, each foo dog seated on a pedestal, one with a ball and the other with a pup, one retaining a bell on its neck, h. 7”, w. 3‑7/8”, l. 5‑1/4”. [600/900] Illustrated

253 251

252 Bone-Inlaid Wooden Desk Box, first quarter 20th century, the exterior lushly inlaid with vines and scrollwork, the fitted interior with a lift-out tray, the cover fitted underneath and with a miniature print of the Three Wise Men behind beveled glass, h. 5‑1/2”, w. 13”, d. 9”.

[1200/1800] Illustrated

256 Chinese Bronze Buddha Shakyamuni, probably Ming Dynasty (1368‑1644), the gilt-bronze figure seated in dhyanasana position, and with a serene expression and faint smile, its hands arranged in dhyana and bhumisparsha mudras, the chest inscribed with a Wan character representing prosperity and its feet each marked with a dharmachakra, symbolizing the Buddha’s teachings, h. 19”, w. 12”. [4000/7000] Illustrated

252 255

253 Pair of Chinese Cloisonne Vases, late 19th/early 20th century, the two hexagonal-bodied cloisonne vases each with two gilt lions, one on either side of each vessel’s flared neck, the reserves depicting dragons and floral scrolling, the undersides marked with a gilt maker’s seal, h. 15‑1/4”, w. 7”. [500/800] Illustrated 254 Pair of Chinese Gilt Pewter Foo Dogs, 20th century, each mounted on a gilt rectangular double lotus base, one with a ball and one with a pup, unmarked, h. 18”, w. 8‑1/4”, l. 12‑1/4”. [500/800]

68

257 Sino-Tibetan Gilt-Bronze Figure of Bhaisajyaguru, 18th/19th century, seated in dhyanasana, the figure’s hands arranged in bhumisparsha mudra, a small round salve jar in its left hand, with elongated earlobes and a serene facial expression, the sanghati-clad figure sitting in a state of tranquil meditation, the leaf inscribed in copper plate on the underside of the sculpture, h. 7‑3/4”, w. 5‑3/4”. [1000/1500] Illustrated

256

259

258 Chinese Gilt and Polychrome Figure of Laozi, 20th century, the seated figure with a long beard and wearing flowing robes and a lotus crown, h. 33”, w. 20”. [500/800] 259 Chinese Polychrome Wood Figure of Guanyin, late Qing Dynasty (1644‑1911), the carved wood and polychrome figure of the Goddess of Mercy in the Ming style, wearing blue, green and reddish-brown robes, on a raised base, unmarked, h. 25‑3/4”, w. 7”. [500/800] Illustrated

257

260 Chinese Coral Carving, 20th century, the white coral figure of a warrior and a small boy, carved in the round, h. 6‑1/4”, w. 2‑3/4”. [500/800] Illustrated

260

69

261

263 Rock Crystal Pagoda-Form Ornament, on an ebonized stepped base, h. 16‑3/4”, dia. 6‑3/4”. [1800/2500] Illustrated

263

261 Chinese Coral Carving of a Horse on a Stand, late 19th century, the finely rendered figure of a recumbent horse carved of a deep pink coral with white areas throughout, carved in the round, displayed on a custom carved wooden stand, h. 1‑5/8”, l. 3‑1/4”, without stand. [500/800] Illustrated

262

264 Two Pieces of Chinese Carved Hardstone, 19th/20th century, including a wooden box with an inset carved lid depicting two figures beneath a lotus blossom, h. 2”, w. 5”, and a brush washer in the shape of an elongated peach, with a carved wooden stand, brush washer, h. 1/4”, w. 2‑7/8”, l. 4”. [500/800] 265 Chinese White Jade Carving, Qing Dynasty (1644‑1911), in the form of a Xuan Wu, the mythical creature depicted as a tortoise entwined with a snake, h. 2‑1/8”, w. 2‑1/8”. [600/900] Illustrated

265

262 Chinese Peking Glass Vase, late Qing Dynasty (1644‑1911), the cobalt blue and white vessel with a long neck and bulbous body, adorned with “Shou” characters symbolizing longevity, unmarked, on a carved round wooden stand, vase, h. 9‑3/4”, w. 5”. [600/900] Illustrated

70

266 Chinese White Jade Pendant, probably Qing Dynasty (1644‑1911)/early Republic period (1912‑1949), the carved stone with opaque white inclusions, one side depicting two figures in a palace garden, and the other inscribed with archaic script, h. 2‑1/2”, w. 1‑5/8”.

[500/800]

269

267

267 Three Chinese Jade Plaques, first half 20th century, two with carvings of bird and flower arrangements, and the other with bats and auspicious characters, h. 2‑1/8” to 2‑1/4”, w. 1‑1/2” to 1‑3/4”. [900/1200] Illustrated

268

270 Chinese Jade Carving of a Qilin, possibly Ming Dynasty (1368‑1644), the recumbent qilin carved from a green and brown matrix, h. 3‑1/2”, l. 4‑1/4”. [600/900] Illustrated

270

268 Two Chinese Carved Stone Water Pots, late Qing Dynasty (1644‑1911), one example carved in the round from spinach jade in the form of a leaf, w. 4”, l. 5”, and the other example carved from agate and decorated with leafshaped carvings, w. 2”, l. 3‑1/8”. [700/1000] Illustrated 269 Chinese Jade Carving, 19th/20th century, the spinach jade carving depicting an archaistic bronze vessel with a lid and foo dog finial, framed and mounted with embroidered silk and ornate paper, jade, h. 7‑5/8”, w. 5‑5/8”, overall, h. 14‑1/4”, w. 11‑3/8”. Provenance: The Randolph Norris Shreve Collection. [700/1000] Illustrated

71

271 Chinese Jade Covered Jar with Stand, 18th/19th century, the mottled green stone carved in the form of an archaic vessel set among ruyi mushrooms, prunus limbs and bamboo, the underside carved to resemble a scholar’s rock, resting on a pierced and silver-inlaid custom stand, jade, h. 4‑5/8”. [500/800] Illustrated

273 Pair of Chinese Jade Bowls, 20th century, the two light green and translucent oval-form petaled bowls each with a carved wooden stand, unmarked, bowl, h. 2‑1/2”, w. 3‑1/4”, l. 6”. [600/900] Illustrated

273 271

274 Chinese Carved Jade Pendant, late 19th/early 20th century, the green and white mottled stone carved on one side depicting a dragon with a flaming pearl set among clouds, and on the other side depicting a phoenix nestled among blooming peonies, each panel surrounded by a carved border, h. 2‑7/8”, w. 2‑1/4”. [500/800]

275

272 Chinese Carved Jade Censer, 19th/20th century, the light green jade tripod censer with taotie masks on each knee, and two dragon lugs, each with a ring in its mouth, the lid with an openwork dragon finial, displayed on a carved custom wood stand, censer, h. 8‑3/4”, w. 10”.

[1200/1800] Illustrated

272

275 Chinese White Jade Hairpin, probably Qing Dynasty (1644‑1911), the hairpin in the Ming Dynasty (1368‑1644) style with opaque white inclusions, the openwork carved image of a bird nestled among flowering branches, w. 1‑1/4”, l. 5”. [800/1200] Illustrated A piece similar in style is in the permanent collection of the Seattle Art Museum.

276 Chinese Jade Plaque, Qing Dynasty (1644‑1911), the light green stone with a few scattered inclusions along the bottom edge, one side with two figures in a pine forest, one figure raising a ruyi scepter over his head, the other side with a four-character mark in archaic script enclosed in a square cartouche scrolled by wispy ruyi clouds, h. 3”, w. 2‑1/4”. [600/900] 277 Chinese Jade Carving, Qing Dynasty (1644‑1911), the white stone carving of a large round bud surrounded by reticulated vines and ruyi mushrooms, a gray inclusion carved into the form of a bat sitting among the openwork vines, l. 3‑1/2”, w. 1‑1/2”. [600/900] Illustrated

72

278 Chinese Reticulated Jade Plaque, Qing Dynasty (1644‑1911), carved depicting a pair of phoenixes, prunus blossoms and ruyi forms rendered in a pale green jade, h. 2”, l. 2‑7/8”. [600/900] Illustrated

279

277

279 Chinese Jade Plaque, Qing Dynasty (1644‑1911), the pierced and carved oval-shaped carving of an elegant long-necked bird set among flowers and vines, h. 2‑1/2”, l. 2‑7/8”. [700/1000] Illustrated

280 Chinese Porcelain Water Pot, possibly 18th century, the peach bloom-glazed vessel in the beehive or taibo bun form, incised with three coiled kui dragons, the underside with a six-character Kangxi reign (1662‑1722) mark in underglaze blue, h. 3‑1/4”, dia. 5”. Comparable examples are published in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection; Hong Kong, 1989, p. 142, pl. 125. Provenance: Private collection, Massachusetts. [800/1200] Illustrated

278 280

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281 Two Chinese Porcelain Water Pots, 19th century, consisting of a deep red beehive-form pot with green mottling to the surface, the underside marked with two concentric circles in underglaze blue, h. 3‑5/8”, dia. 5‑1/4”, and an apple-shaped vessel with a six-character Kangxi reign (1662‑1822) mark, h. 3‑1/4”, dia. 4”. [1200/1800] Illustrated

284

281

284 detail 282 Chinese Peachbloom Beehive Water Pot, 19th century, the porcelain bottle with a mottled green and brownish-red glaze, a two-column six-character Yongzheng reign (1723‑1735) mark on the underside in underglaze blue, h. 3‑7/8”, dia. 5‑1/2”. [600/900]

283

284 Chinese Porcelain Dish, JiaJing reign (1521‑1567), the white “tian bai ci” (sweet white) shallow dish with a central reserve depicting an incised an-hua image of a dragon rising over waves surrounded by wispy clouds, the underside with a Jiajing reign (1521‑1567) mark in underglaze blue, dia. 10”. [900/1200] Illustrated

283 Chinese Peachbloom Beehive Water Pot, probably 19th century, the beehive-form glazed porcelain water pot with a red and green mottled surface, the curving sides incised with dragon roundels, the underside centered with a six-character Kangxi reign (1662‑1722) mark in two rows in underglaze blue, h. 3‑1/2”, dia. 5”. Provenance: Private collection, Massachusetts. [800/1200] Illustrated

74

285 Pair of Chinese Porcelain Palace Vases on Stands, 20th century, each monumental amphora-form vase with a landscape scene of a palace situated among mountains rendered in blue and white with red accents on flowering prunus trees, unmarked, on carved wooden stands, h. 53‑1/2”, dia. 15”, without stand. [700/1000] Illustrated 286 Chinese Blue and White Porcelain Censer, Qing Dynasty (1644‑1911), the bombe-form censer decorated with two dragons in pursuit of a flaming pearl, unmarked, h. 4‑1/2”, dia. 9‑1/2”. [700/1000] Illustrated

287 Two Chinese Porcelain Dishes, 17th century, the two blue and white porcelain Ming Tianqi transitional bowls, one depicting two rabbits beneath a pine tree on a moonlit night and the other depicting a pine tree with two birds, unmarked, dia. 6‑1/4” and 6‑7/8”. [600/900] Illustrated

289 Chinese Porcelain Bowl, probably 19th century, the blue and white bowl with a stylized six-point flower in the center surrounded by a lattice border, unmarked, h. 1‑3/4”, dia. 8‑3/4”. [500/800] Illustrated

287 285

288

288 Chinese Blue and White Porcelain Bowl, Qing Dynasty (1644‑1911), the side of the bowl with four scholars in a garden, the interior reserve depicting a landscape, the underside with a four-character inscription in underglaze blue, h. 3‑1/2”, dia. 8‑5/8”. [600/900] Illustrated

289

286

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290 Pair of Chinese Export Blue and White Porcelain Plates, probably 19th century, the borders covered with a stylized geometric pattern with cartouches, each containing a grouping of peaches, the central reserves with an elegant noblewoman and scholar seated together in a pavilion, the sides of each plate painted in a wash style with depictions of mountains, pagodas and boats, with apocryphal Ming Chenghua (1447‑1487) marks on the underside, dia. 11‑3/8”. [1500/2500] Illustrated

293

290

291 Pair of Chinese Blue Monochrome Bowls, late Qing Dynasty (1644‑1911), the two large monochrome cobaltglazed bowls with wide mouths and tapering to a flat underside, the undersides unmarked and unglazed, each with a carved wooden stand, bowl, h. 5”, overall, h . 7”, dia. 10”. [600/900]

292 Chinese Monochrome Porcelain Baluster Vase, 19th/20th century, with an incised floral scroll monochrome cobalt blue glaze, now mounted as a threesocket lamp with gilt-bronze mounts, base, h. 18‑3/4”, overall, h. 35”, dia. 9‑1/2”. [700/1000] Illustrated

294 292

293 Pair of Chinese Porcelain Lidded Vases, 19th century, the blue and white baluster-form lidded jars with panels depicting arrangements of trees and flowers, as well as scholarly porcelain vases, unmarked, h. 20‑1/2”, w. 8‑1/2”. [700/1000] Illustrated

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294 Pair of Chinese Porcelain Vases, 19th century, now mounted as lamps, the two famille verte rectangularbodied vessels with reserves depicting beauties in idyllic palace gardens, the panels surrounded with blue and white floral scrolls, vase, h. 11‑1/2”, overall, h. 29‑1/2”.

[600/900] Illustrated

297 Pair of Chinese Porcelain Temple Jars, 19th/20th century, each vessel covered with an aquatic scene and a lid with a red foo dog knob, enameled in a famille verte palette, with a six-character Xuande reign (1425‑1435) mark on the side, h. 22”, w. 11”. [1000/1500] Illustrated

297 295

295 Six Chinese Roof Tile Figures, ca. 1920’s, the glazed pottery depicting warriors astride tigers and mythical animals, in the Ming style, h. 9” to 14‑1/4”, w. 9‑3/4” to 13‑1/4”. [700/1000] Illustrated

298 Four Chinese Porcelain Tiles, Qing Dynasty (1644‑1911), the four famille rose enameled tiles depicting a scene of Qing Dynasty court life, unmarked and unframed, h. 5‑1/4”, w. 5‑1/4”. Provenance: Adrian’s Oriental Arts and Antiques, New Orleans, Louisiana.

[500/800]

296 299

296 Chinese Porcelain Ginger Jar, late 19th/early 20th century, enameled in a famille verte palette on a white ground, depicting immortals and small boys in procession, unmarked, h. 12”, w. 10”. [800/1200] Illustrated

299 Chinese Porcelain Beehive Water Pot, 18th/19th century, the beehive-form water pot in a famille rose palette depicting the immortals crossing the sea, each by his or her own special method, a six-character red Jiaqing reign (1796‑1820) mark on the underside, h. 4‑1/2”, dia. 5‑1/2”. Provenance: Private collection, Massachusetts. [700/1000] Illustrated

77

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303 Five-Piece Chinese Porcelain Garniture Set, 19th century, the famille jaune set comprised of two candlesticks, h. 8‑3/4”, w. 3‑1/2”, two zun-form vases, h. 8‑3/4”, w. 3‑1/4”, and a censer-shaped vessel with a lid on a raised base, finished with a foo dog finial on the lid, h. 11‑1/2”, w. 6‑3/4”. [700/1000] Illustrated

305

304

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

[500/800] 301 Chinese Porcelain Bowl on Stand, 20th century, very finely potted with intertwined phoenix and dragon on a center yellow-ground reserve, a motif of peonies and butterflies on a white ground surrounding the yellow reserve, the sides of the bowl with a turquoise ground with reserves depicting cranes, pine and prunus limbs, butterflies, entwined dragons and phoenixes adorning the sides around the panels, the underside marked with a fourcharacter red and gilt Qianlong reign (1736‑1795) mark, displayed on a carved wooden stand, bowl, h. 5‑3/8”, overall, h. 9‑5/8”, dia. 12”. [500/800] 302 Pair of Chinese Porcelain Jardinieres and Underplates, late Qing Dynasty (1644‑1911), the two pots enameled in a famille rose palette, three sides with arrangements of birds and flowers, wisteria, peonies and prunus blossoms, and the other three sides with inscriptions, each in a different type of script, running seal and standard, h. 7‑3/4”, w. 10‑5/8”. [600/900]

78

304 Pair of Chinese Porcelain Famille Jaune Moon Flasks, 19th century, the two yellow-ground vessels with roundels of scenes of small boys playing in an idyllic garden setting, with bats and floral sprays surrounding the reserves and a molded dragon adorning each shoulder of the vessel, unmarked, h. 15”, dia. 10”. [1000/1500] Illustrated

306

308 Pair of Chinese Gilt-Bronze-Mounted Porcelain Vases, 19th century, the two baluster-form gilt and enameled vases each with a hundred antiques motif applied on a white ground and French gilt-bronze ormolu mounts, the underside with a blue six-character Kangxi reign (1662‑1722) mark in two concentric circles, h. 19‑1/2”, w. 8”. [4000/7000] Illustrated

307

308

305 Pair of Chinese Porcelain Vases, Qing Dynasty (1644‑1911), now mounted as lamps, decorated in gilt and a famille rose palette with a motif of peaches, bats, ribbons and auspicious characters, vase, h. 15‑1/2”, overall, h. 29”, w. 9‑3/4”. [1000/1500] Illustrated 306 Pair of Chinese Porcelain Temple Jars, 19th century, the two large vessels enameled in a famille rose palette, the reserves with arrangements of birds and flowers, the undersides marked with an underglaze blue six-character Kangxi reign (1662‑1722) mark, h. 22‑1/2”, w. 11”.

[1800/2500] Illustrated 307 Pair of Chinese Porcelain Vases, late 19th/early 20th century, the two gu-form vases each with a flared mouth, splayed foot and tapered body, both enameled in a famille rose palette with a motif of peonies, the underside of each marked with a six-character maker’s mark in red, h. 15‑1/2”, dia. 8‑1/4”. [1000/1500] Illustrated

309 Pair of Chinese Export Porcelain Demi-lune Dishes, 18th/19th century, the dishes with floral decoration on the sides against a white ground, an arrangement containing a peach, pomegranate and a Buddha’s hand adorning the interior of each bowl, the undersides unmarked, each displayed on a custom wooden stand, dish, h. 2‑1/2”, w. 8‑1/4”. [800/1200] Illustrated

309

309

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311 1 of 4

310 Pair of Chinese Porcelain Lidded Vases, probably Tongzhi period (1862‑1874), the two rectangular baluster-form vases each with a seated Buddha finial on the lid, the sides decorated with two sculpted figures of beautiful ladies, the reserves depicting idyllic scenes of palace life, unmarked, h. 21‑1/2”, w. 5‑3/4”.

[12000/18000] Illustrated

314

311 Four Japanese Silk Kimonos, probably Taisho period (1912‑1926), composed of a summer weight silk, including one gray pinstripe with silver roundels and a white lining, one red with a yellow, gray, peach and black floral pattern and a red lining, one black with a decoration of flowers, fans, books and a three-leaved mon with a red lining, and one black with a paulownia flower mon in white and a floral decoration and a white lining, h. 58‑3/4” to 64”, w. 48”. [500/800] Illustrated 312 Three Japanese Silk Kimonos, probably Taisho period (1912‑1926), composed of a summer weight silk, one blue with a white and yellow motif and red lining, one blue with an arrangement of books and blossoms with a red and yellow lining, and one black with a two-feather mon in white with a white lining, h. 61‑1/2”, w. 48”.

[500/800] 313 Japanese Porcelain Dish, second half 19th century, the blue and white shallow dish with a central reserve of blue underglaze surrounded by a motif of bats and ruyi clouds, a six-character maker’s mark on the underside in underglaze blue, dia. 6‑7/16”. [500/800] 314 Japanese Hirado Vase, 19th century, the blue and white vessel with a motif of flowers across the body, an applied dragon encircling the vessel and a dragon roundel adorning the center interior of the piece, unmarked, h. 10”, dia. 11”. [700/1000] Illustrated Manufactured near the Korean peninsula, the Hirado kilns produced porcelains exclusively for the wealthy and powerful Matsura clan before becoming a renowned export porcelain manufacturer in the 19th century.

80

316

318

315 Japanese Porcelain Bowl, Edo period (1615‑1868), the central reserve depicting a foreign figure with a satchel of lingzhi mushrooms on its back and curled hair, the figure standing beside a deer, the sides adorned with a motif of pine branches, prunus limbs and peaches, a four-character mark on the underside, h. 4”, dia. 8‑3/4”. [600/900]

317

319 Japanese Bronze Dragon-Handled Vase, Meiji period (1868‑1912), in the archaistic Chinese style, now mounted as a lamp, base, h. 15‑1/2”, overall, h. 31”, w. 10”.

[700/1000] Illustrated

319

316 Set of Five Japanese Porcelain Plates, late Edo period (1615‑1868)/early Meiji period (1868‑1912), the red reserve with a blue-and-white qilin on each plate, the roundel surrounded by cranes and sacred objects, each plate inscribed with a Chinese Ming Jiajing reign (1522‑1566) mark, dia. 7”. [600/900] Illustrated 317 Four Pieces of Japanese Porcelain, probably Meiji period (1868‑1912), including two delicately potted bottles, h. 6‑1/4”, w. 2‑1/2”, and two covered cups, h. 3‑3/4”, dia. 2‑7/8”, all ornately gilded and enameled, the cups with reserves depicting a sage seated beside a crane, and the bottles with panels depicting a sage astride a mule, the undersides of each piece marked in red.

[600/900] Illustrated 318 Japanese Porcelain Kakiemon Dish, late Edo period (1615‑1868)/early Meiji period (1868‑1912), the shallow footed bowl with a central reserve depicting a branch of flowering chrysanthemums, the central panel surrounded by a motif of deer and maple leaves, unmarked, dia. 5‑7/8”. [500/800] Illustrated

81

321 320

323 After Suzuki Shonen (Japanese, 1848‑1918), “Wren”, hanging scroll, ink on paper, mounted on silk, with interior and exterior wooden scroll boxes, the painting of a wren in flight, with an inscription and seal on the lower right corner, overall, h. 82”, w. 18‑1/2”. Provenance: Collection of Benjamin Wren, New Orleans, Louisiana. [600/900] Illustrated

320 Monumental Japanese Cloisonne Vase, Meiji period (1868‑1912), the rounded hexagonal-form vase with an elaborately decorated neck and foot, an arrangement of flowers, including wisteria, chrysanthemums and lilies on a black ground, the underside incised with the mark of Hayashi Kihyoe of Nagoya, displayed on an ebonized wooden stand, h. 43‑1/2”, w. 14”, without stand.

[800/1200] Illustrated 321 Pair of Cloisonne Vases, Attributed to Kumeno Teitaro (Japanese, 1865‑1939), with a turquoise interior and underside, the body covered with an arrangement of birds and flowers on a pink ground, the reserves on the neck depicting a dragon and carp, h. 14‑3//4”, w. 6”. [700/1000] Illustrated 322 Japanese Lacquer Coffee Table, 20th century, incorporating a Chinese painting on silk depicting an arrangement of flowers and scholar’s rocks, the painting bearing an inscription and seal in the lower left corner, h. 16”, w. 35‑1/4”, l. 55‑3/4”. [500/800] Illustrated

82

324 Japanese Painting, probably mid-Edo period (1615‑1868), ink and color on paper, hand scroll format with wood and gilt-metal rollers, depicting an imperial hunt, the emperor and his high ranking officials appearing on horseback, while other members of his entourage run alongside on foot, hunting an array of animals in a hilly wooded landscape, unsigned, overall, l. 245”, w. 20”.

[600/900] Illustrated Comparable examples can be found in the Honolulu Museum of Art and the British Museum.

322

324

325

326 Japanese Inlaid Panel Mounted as a Coffee Table, the late 19th-/early 20th-century panel from a multi-panel screen depicting birds flying among maple branches, now mounted as a coffee table, the ebonized wood with a glass top, one side bearing a pierced and carved arrangement of birds and prunus limbs, the other a group of chrysanthemums, 20th century, h. 17”, w. 31”, l. 46”. [500/800] Illustrated

326 323

325 Yamagata (Daini) Masasada (1725‑1767), “Shuzu goketsuki” (Plans of Castles of the Tokugawa Period), 19th century edition, with notes on their history and their possessors, eleven paper-bound volumes with painted text and images, h. 11”, w. 8”.

[1200/1800] Illustrated

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327

327 detail

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328

327 Remarkable Japanese Export Lacquer Ware Aesthetic Movement Lap Desk, fourth quarter 19th century, lushly decorated and highlighted with motherof-pearl inlay, depicting a crane standing among aquatic plants, initialed “E.D.” for “E. DeLame”, the original owner, the interior writing slope lined with embossed aubergine velvet, likely original, and with many original DeLame belongings under the slope, including a bank book, a watercolor card and pen points, h. 4‑1/2”, w. 10”, d. 8‑1/4”. [1000/1500] Illustrated

329

327 detail

328 Japanese Mother-of-Pearl-Inlaid Lacquer Table Screen, 20th century, with red and black lacquer slats, the four black slats each inscribed with red lacquer, the central red slat inlaid with mother-of-pearl characters, the screen mounted in a red, black and gilt lacquer frame with mother-of-pearl inlay, the bottom of the screen with a lotus motif and the sides decorated with scrolls, h. 16‑1/4”, w. 15‑3/4”. [600/900] Illustrated 329 Japanese Gilt and Lacquer Butsudan, late 19th/early 20th century, the shrine with exterior lacquer cabinet doors and interior screen folding panels, opening to reveal a standing figure of Kamon and a small seated Buddha, with some ritual accoutrements of butsugu, h. 50‑1/4”, w. 19‑1/2”. A comparable example can be found in the University of Pennsylvania Museum of Archaeology and Anthropology. [1000/1500] Illustrated

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Session I I S atur day, M a rc h 21, 2015, 1 0 : 0 0 a . m .

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330 Transitional Louis XV-into-Louis XVI Kingwood and OrmoluMounted Music Cabinet Stamped “F. REIZELL”, late 18th century, in two parts, the shaped cornice above a case fitted with two glazed doors, the lower section fitted with two long bi-paneled quarterveneered drawers opening to shelves and vertically slotted storage, raised on splayed feet to sabots, the whole richly appointed with ormolu mounts and millwork in foliate vine and masque patterns, h. 80”, w. 37”, d. 16‑1/2”. [7000/10000] Illustrated

331 Open Lot 332 Regence-Style Kingwood, Rosewood and Marble-Top Commode, mid-19th century, the thick shaped marble top above a conforming bombe case fitted with two short drawers over two long drawers, all banded and quarterveneered and with finely modeled veneers, raised on splayed legs ending in sabots, h. 37”, w. 55”, d. 24”. [1500/2500] Illustrated

330

335

333 Follower of Pierre Mignard the Elder (French, 1612‑1695), “Bust-Length Portrait of Louis XIV within a Painted Oval”, oil on canvas, unsigned, 14‑1/2” x 11‑1/2”. Presented in an antique giltwood and gesso frame.

[1800/2500] Illustrated 334 Follower of Pierre Mignard the Elder (French, 1612‑1695), “Bust-Length Portrait of a Lady, Possibly Marie Angelique de Scorailles, Duchess of Fontanges”, oil on canvas, unsigned, 14‑1/2” x 11‑1/2”. Presented in an antique giltwood and gesso frame. [1800/2500] Illustrated 335 Pair of French Gilt-Bronze and Metal Four-Light Candelabra, fourth quarter 19th century, in the rococo taste, the vasiform standards molded with shells and scrollwork, the drip pans and candlecups molded to match, raised on scrolled feet, with pierced trim on the base, h. 16”, dia. 7‑1/2”. [500/800] Illustrated

88

334

333

332

89

336 French Giltwood Trumeau Mirror, fourth quarter 19th century, in the Louis XVI style, decorated with an oil on canvas depicting an allegory of music, a muse with a lyre and a cupid floating in the clouds, with a banner reading “Brevi Complector Singula Canto” [I tell of the unique in a short song], h. 57‑3/4”, w. 32”.

[1200/1800] Illustrated

336

338

339 Pair of Louis XV-Style Polychrome and Parcel-Gilt Fauteuils, each with a padded domed back surmounted by a shell and foliate crest, joined by padded arms to the like seat, raised on molded cabriole legs ending in scroll toes on pegs, h. 41”. [500/800] Illustrated

337 Pair of Regence-Style Mahogany and Exotic Woods Commodes, early 20th century, each with a shaped and banded top with an elaborate starpattern inlay, above a conforming case fitted with two short drawers over two long drawers, all banded and paneled, raised on ormolu-mounted bracket feet, h. 32”, w. 42‑1/2”, d. 24”. [1800/2500] Illustrated 338 French Twelve-Light Basket-Form Bronze and Crystal Chandelier of Louis XVI Inspiration, with tiered drops on the lower portion, and trimmed with two tiers of drops on the upper portion, the ring set with twelve candle sockets, draped with strands of prisms, h. 49”, dia. 21”. [1000/1500] Illustrated 339

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341 Impressive French Gilt-Bronze Eight-Light Chandelier, first quarter 20th century, in the Regence style, the bold, fluted vasiform standard decorated with scrolled monopodia terminating in Bacchanalian heads, the scrolled arms decorated with molded leaves and masques, supporting wide reeded drip pans holding the molded candlecups, h. 34”, dia. 35”. [3000/5000] Illustrated 342 French Parcel-Gilt Barometer, fourth quarter 19th century, in the Louis XIV taste, the lower portion decorated with a swag-hung Ionic capital supporting the dial, carved with laurel leaves and an urn finial, h. 46”, w. 14”. [500/800] Illustrated 341

342

337 Detail

340 Louis XV-Style Mahogany and Kingwood Writing Table, early 20th century, the shaped rectangular top banded, quarter-veneered and with a central inlaid floral spray, above a conforming frieze fitted with a single drawer, raised on cabriole legs, h. 29‑1/2”, w. 40”, d. 24”. [500/800]

337

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343 Unusual French Bronze and Faux Shagreen Mantel Clock, fourth quarter 19th century, in the Louis XV style, the case decorated with gilt-bronze rocaille and scrollwork, clad in painted faux shagreen, the fabric-backed latticed grillwork panels set into the sides, front and under the steel dial, a gilt-bronze figure of Artemis with a dog serving as the finial, set with Japy Fils marked works, h. 25‑1/2”, w. 11‑3/4”, d. 8”. [1500/2500] Illustrated

344 French Hand-Painted Garniture Vase, first quarter 20th century, probably Limoges, depicting Lord Horatio Nelson at the Battle of Waterloo, trimmed with raised gilt on an apple green ground, the whole resting on a bronze base, h. 21‑1/4”, w. 8”, d. 8”.

[1500/2500] Illustrated

344

345 Pair of Belle EpoqueStyle Onyx and Bronze Pedestals, the standards set with Corinthian capitals under octagonal tops, on stepped bases trimmed with molded bronze laurel leaves, h. 44‑1/4”, dia. 14‑1/4”.

[1200/1800] Illustrated 346 Opulent Continental Giltwood Pet’s Bed, 20th century, in the grotto taste, the crown cornice issuing elaborate drapery continuing to the beaded shell-form bed, each end with elaborate foliate carving, the seat cushioned, raised on scrolled toes, h. 50”, w. 36”, d. 22”.

[1000/1500] Illustrated 343 346

345

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350 347 French Patinated Bronze Chandelier, second quarter 20th century, in the Louis XV style, the fluted and leafmolded standard decorated with seated putti, the leafand scroll-molded lower tier set with scrolled, molded candle arms interspersed with seated putti, h. 25”, dia. 26‑1/2”. [500/800]

351

348 Hardman, New York, Polychromed Baby Grand Piano and Bench, early 20th century, with floral decoration in the Louis XV taste and raised on cabriole legs, h. 41”, w. 56”, l. 64”. [1500/2500] Illustrated 349 Louis XVI Giltwood Firescreen, late 18th century, the removable screen with a classical still life reversing to damask, surmounted by a foliate crest and pineapple finials, within a foliate-carved frame, raised on splayed and scrolling acanthine feet, h. 42‑1/2”, w. 26”. [500/800] 350 French Belle Epoque Bronze, Glass and Fabric Jewel Casket, ca. 1900, in the Renaissance taste, decorated with bas-relief sphinxes on the front and putti holding a masque on the cover, the lid opening to reveal an interior with a beveled glass plate covering the tufted storage compartment, h. 5‑1/2”, w. 13‑1/4”, d. 4‑3/4”.

[600/900] Illustrated 351 Pair of Louis XV-Style Contrasting Bronze SixLight Candelabra, mounted as lamps, with angel-form standards supporting flower-molded candle arms interspersed with molded flowers, on scrolled bases, h. 30”, dia. 14”. [1800/2500] Illustrated

348

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352 Louis XV-Style Giltwood Duchesse Brisee, late 19th century, the slightly domed padded back joined to the cushioned seat by shaped sides, h. 38”, and the conforming ottoman also cushioned, h. 23”, l. 31”, both pieces raised above a shell-carved apron on cabriole legs ending in scrolled toes, upholstered in red and tan leopard chenille. [700/1000] Illustrated

354

352

358

353 Louis XVI-Style Giltwood and Creme-Peinte Bed, the padded rectangular headboard surmounted by a floral and ribband torchere crest, joined by rails to the paneled footboard, all raised on fluted tapering circular legs ending in toupie feet, h. 64”, inside, w. 76”, l. 84”, outside, w. 83”, l. 91”. [1000/1500] Illustrated 354 Rococo-Style Brass Eighteen-Light Chandelier, the pierced standard with molded leaves and holding leaf-molded candle branches on two levels, set with matching drip pans, candle cups and bobeches, a pierced molded canopy decorating the top, h. 36”, dia. 35”. [700/1000] Illustrated

353

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357

355 Louis XVI-Style Mahogany and Marble-Top Server, early 20th century, the thick bowed verde antico marble top above a conforming frieze with elaborate scrolling foliate ormolu mounts and fitted with a single drawer, joined by a paneled back and ormolu-mounted uprights to a conforming lower shelf, raised on tapering square legs, the whole richly accented with ormolu mounts and millwork, h. 40”, w. 61”, d. 20”. [2000/4000] Illustrated

359

357 Pair of Louis XV-Style Mahogany and Marble-Top Lamp Tables, early 20th century, each with a shaped square marble top within a brass banding, above a paneled scalloped frieze, fitted with a single drawer, raised on cabriole legs ending in sabots, h. 31”, w. 20‑1/4”.

[500/800] Illustrated 358 Unusual Pair of French Bronze and Marble Garnitures, second quarter 20th century, in the Louis XIV style, the carefully molded bronze bases supporting the Chinese-form verde antico marble bases, set with wreathed lion’s head handles and pierced, molded covers, h. 15‑1/2”, dia. 6‑1/4”. [6000/9000] Illustrated 359 Pair of Louis XIV-Style Gilt-Bronze and Cut Glass Seven-Light Candelabra, ca. 1900, now mounted as lamps, on tripartite bases, with hoof-footed monopodia terminating in goat’s heads holding the cut glass fittings, mounted with scrolled candle branches hung with swags of flowers, h. 32”, dia. 10‑1/4”. [1500/2500] Illustrated

356 French Ormolu-Mounted Mahogany Open-Well Tall Case Clock, mid-18th century, the face inscribed “Balthagard, Paris” and surrounded by porcelain chapters, the center section with a porcelain plaque bearing the date 1745, the base of bombe form and featuring more ormolu mounts, h. 84”, w. 24”, d. 16”. [1000/1500] Illustrated

355

356

95

360 Pair of French Bronze Figural Chenets in the Rococo Taste, fourth quarter 19th century, decorated with male and female figures holding parrots and sitting on pierced rocaille work, with cast iron billet bars, h. 12‑1/4”, w. 11‑1/2”, d. 30‑1/2”. [500/800]

363

361 Louis XV-Style Mahogany Bureau, mid-19th century, the banded and quarter-veneered top above a likeveneered and ormolu-banded slant front, opening to an inset leather writing surface and a variety of drawers and cubbyholes, over three small drawers, raised on cabriole legs ending in sabots, the whole richly accented with ormolu mounts and millwork, h. 24”, w. 51‑1/2”, d. 23”.

[4500/7000] Illustrated 362 Pair of French Gilt-Metal Candlesticks of Louis XIV Inspiration, fourth quarter 19th century, now mounted as lamps with fringed shades, base, h. 17”, overall, h. 31‑1/4”, dia. 15”. [500/800] Illustrated

362

361

96

363 French Patinated Bronze of a Lioness, ca. 1900, after Antoine-Louis Barye (French, 1796‑1875), cast signature at edge of self-base, h. 7‑1/4”, w. 15‑1/2”, d. 3‑3/4”.

[1000/1500] Illustrated 364 French Bronze Bust of Voltaire, first quarter 20th century, after Jean-Antoine Houdon (French, 1741‑1828), inscribed “F. Barbedienne Fondeur” at back, h. 10‑1/2”, w. 4‑3/4”, d. 4‑1/4”. [600/900] Illustrated

365

364 365 French Bronze Cartel Clock in the Regence Style, fourth quarter 19th century, the lower portion pierced with a scrollwork panel and framed in molded laurel leaves supporting the works, with a molded wreath of roses supporting the finial, depicting a pair of love birds perched on a dying torch, h. 34‑1/2”, w. 17‑1/4”. [700/1000] Illustrated 366 French Belle Epoque Gilt-Bronze, Crystal and Fabric Jewel Casket, ca. 1900, elaborately decorated with putti and wreathes, the beveled glass sides showcasing the tufted fabric interior, raised on pierced paw feet, h. 4‑3/4”, w. 5‑1/4”, d. 5‑1/4”. [500/800]

367

367 Napoleon III Tortoiseshell and Gilt-Bronze Bombe Jewel Chest, third quarter 19th century, in the Louis XIV taste, the chest with masque-molded bronze corners and rococo-style bronze fittings, and a plush-lined interior, h. 5‑3/4”, w. 9‑1/4”, d. 7”. [1000/1500] Illustrated

97

368 Rare Signed Napoleon III Walnut Mirror Made by Gueret Freres, Paris, third quarter 19th century, the oval mirror in the Louis XIV taste, lushly carved with the lower edge carved with a swag of bound laurel over scrollwork and bowknots, the crest carved with a pair of cupids supporting a heraldic shield with a crown finial, framed with carved flowers, branded on the back “GUERETE FRERES, BLVD DE MADELEINE, PARIS”, h. 39‑1/2”, w. 26‑1/2”. [1200/1800] Illustrated

370

The company had an international reputation for their carved work and did the iconic Herter Brother’s Lodge, Menlo Park, Ca., now in the collection of the de Young Museum in San Francisco, Ca.

368

370 Monumental Baronial-Style Bronze Andirons and Iron Fireplace Tools and Fittings, second quarter 20th century, composed of a large pair of andiron faces, each capped by an eagle with wings spread and grasping an heraldic shield, over allegorical masks and figures, h. 46”, w. 25”, d. 7”, together with billet bars, h. 25”, w. 13‑3/4”, d. 36”, a three-piece iron log platform, h. 7‑3/4”, w. 21” to 24”, d. 24”, and a four-piece wrought-iron tool set, including a shovel, fork and two prods, h. 46”. [3000/5000] Illustrated 371 Whimsical Eight-Light Antler Chandelier, late 20th century, the woven and interlocking horns supporting eight candle sockets, electrified, h. 18”, w. 60”, d. 30”.

[1000/1500] Illustrated

369

369 Continental Oak Firescreen, 19th century, in the Baronial taste, the rounded rectangular screen of embossed polychrome leather and depicting a heraldic shield amidst scrolling and floral patterns, surmounted by a masque crest with side mythical beasts, the reverse with a scrolling foliate pattern embossed leather design, all raised on splayed legs ending in animal’s head feet, h. 58‑1/2”, w. 38‑1/2”.

[1200/1800] Illustrated

98

372 Black Forest-Style Faux Antler Five-Light Chandelier, with candlecups molded to match, h. 17”, dia. 21”. [1000/1500] Illustrated 373 Iberian Fruitwood and Oak Table, 18th century, the large rectangular top above a dentillated frieze, raised on a trough-form base with shield carving and indented accents, one end fitted with a small cupboard door opening to two small deep drawers, the whole raised on runner feet ending in carved paws, h. 30‑1/4”, w. 96”, d. 44”. [7000/10000] Illustrated

371

374 Suite of Fourteen Spanish-Style Mahogany Dining Chairs, each with a shaped and paneled two-part back surmounted by finials, the cushioned wooden seat raised on square legs joined by a like-shaped front stretcher, h. 54”.

[1200/1800] Illustrated

374

372

373

99

375 Pair of Continental Gothic Revival Carved Oak Bookcases, third quarter 19th century, each with a castellated cornice over two pairs of glazed doors, flanked on each end with carved masques over floral and fruit carving, the center with a leonine masque over like carving, on a projecting base with three raised panel doors, each with a carved cartouche, the interior of the upper section retaining its period faux-grained surface, h. 105‑1/2”, w. 75‑1/2”, d. 19‑1/4”. [5000/8000] Illustrated

376

376 Adolf (Constantin) BaumgartnerStoiloff (German/Austrian, 1850‑1924), “Siberian Treasure Train”, oil on canvas, signed lower right, 32” x 51”. Framed. Provenance: Private collection, Canada; Waddington’s Auctions, June 12, 2007, lot 31; Ex-collection of Col. Sam McLaughlin, Oshawa; Gifted to C. H. Carlisle, Toronto, in 1920; By descent.

[8000/12000] Illustrated

377

375 one of a pair

100

377 Unusual, Monumental Gilt-Bronze Six-Light Sconce in the Baronial Style, second quarter 20th century, with a Gothic backplate pierced with an image of a conquistador and the date “1572”, possibly commemorating the St. Bartholomew’s Day massacre, and a gilt lion’s head holding a baton set with scrolled candle arms and pierced sockets with matching bobeches, h. 35”, w. 17”, d. 8”. [700/1000] Illustrated

378 Three Spanish Swords, 20th century, steel and gold plate, each with damascene decoration on the blade, the two largest in the style of the Crusades, one a “Knights of Malta” sword and the other decorated with the Arms of France, Germany, and England, l. 44‑1/2”, and the short sword with Celtic decoration, l. 38”. [500/800] Illustrated 379 Italian Walnut Hall Settee, early 18th century, the heavily molded and dentillated cornice above a frieze with inlaid masques, above two arched panels, each with an inlaid shield, above the bisected seat, each wooden seat hinged, flanked and divided by applied scroll armrests, raised on a paneled back and shaped supports to molded plinth feet, h. 76‑1/2”, w. 64‑1/2”, d. 16”. [1500/2500] Illustrated 380 Bronze and Brass Hall Light in the Form of a Knight Holding a Spear, ca. 1900, probably English, the bronze knight decorated with bas-relief strapwork and modeled holding a gilt-bronze spear set with an electric light, raised on a cylindrical base composed of velvet-covered wood and trimmed in brass, h. 83”, w. 15”, d. 8‑1/2”. [3500/5000] Illustrated

378

379

380

101

383 Italian Miniature Cassone, 17th century and later, the inlaid walnut, pine, ebonized and parcel-gilt cassone with a paneled base, trimmed with ebonizing and decorated with heraldic shields supporting the marquetry-work walnut top, the inside cover with an old tag reading, “From the Estate of Arndt & Krupp Von Bohlen, und Halbach, Removed from the Palm Beach Residence”, h. 13”, w. 27”, d. 10”. [1200/1800] Illustrated 384 Baroque-Style Mahogany Refectory Table, the long rectangular top above a guilloche-carved frieze, raised on three turned vasiform supports headed by Ionic capitals, joined by a shaped stretcher and ending in acanthine-carved splayed feet, h. 31‑1/2”, w. 28”, l. 96”. [500/800]

381 381 French School (Fourth Quarter 17th Century), “Portrait of a Man in Knight’s Armour”, oil on canvas, 22” x 18‑1/2”. Framed. [800/1200] Illustrated 382 Continental Antique Bronze, Chestnut and Metal Signal Cannon, 19th century, in the 17th-century style, the carefully detailed chestnut carriage supporting the bronze cannon, molded with an heraldic shield, and baroque scrollwork trim, h. 9”, w. 9”, l. 29”. [1500/2500] Illustrated

387

383

102

385 Unusual Pair of Turned and Veneered Wall Brackets, decorated with alternating “stripes” of kingwood and fruitwood, h. 12‑1/2”, w. 25‑1/2”, d. 11”. [500/800]

388

386 Continental Patinated Bronze Figure of “Lorenzo de Medici, Duke of Urbino”, fourth quarter 19th century, after the ca. 1530 marble tomb sculpture by Michelangelo (1475‑1564) in the Medici Chapels, San Lorenzo, Florence, marked “Reduction Sauvage” at edge of self-base, on a black and white fluted marble plinth, overall, h. 16”, w. 5”, d. 5”.

[800/1200] Illustrated 387 Pair of Spanish Walnut Sidechairs, 19th century, each with a domed leather back with brass tack accents and embossed masque and foliate patterns, the like seat raised on block and turned legs joined by a foliate shaped front stretcher and ending in ball feet, h. 46‑1/4”. [500/800] Illustrated

386

388 Set of Five Continental Cast Metal Two-Light Sconces, first quarter 20th century, in the “Baronial” taste, the pierced backplates decorated with knights and a crown finial, the twisted arms mounted with “hammered” candle cups, electrified, h. 17‑1/4”, w. 11‑3/4”, d. 4”. [500/800] Illustrated

382

103

389

390

389 Spanish School (18th Century), “Portrait of a Spanish Gentleman, Probably Augustus de Ruis”, oil on canvas, unsigned, 72” x 40”. Framed. [1500/2500] Illustrated 390 Spanish School (18th Century), “Portrait of a Spanish Gentleman, Probably Pedro de Nuerias”, oil on canvas, unsigned, 72” x 40”. Framed. [1500/2500] Illustrated 391 Contemporary Fruitwood and Leather-Upholstered Bench, the tufted square top raised on turned bulbous legs joined by a shaped X-form stretcher and ending in bun feet, h. 22”, w. 40”, d. 40”. [500/800] 392 Spanish Oak and Leather-Upholstered Armchair, 19th century, the padded rectangular back joined by flat arms to the padded seat, raised on turned and block legs joined by a bobbin-turned stretcher and ending in peg feet, h. 36‑1/2”. [500/800] Illustrated

104

393

394

392 393 Italian Baroque Miniature Walnut Cassone, partially composed of 17th-century elements, the facade decorated with a pair of carved monopodia flanking a leaf-carved central panel, the lid with carved dentilation, the interior fitted with a till, raised on paw feet, h. 12‑1/4”, w. 20‑1/2”, d. 12‑1/2”. [500/800] Illustrated 394 Monumental Continental Rococo Revival Carved Oak Mantel Mirror, third quarter 19th century, the crest featuring a large carved plume above a pierced and foliate-carved frieze with figural busts on each side, the mirror plate broadly beveled, h. 101”, w. 72”. [2500/4000] Illustrated

395 Pair of Italian Mahogany Side Tables, 19th century, each with a rectangular top above a laurel-leaf-carved frieze raised on shaped end supports with addorsed female figures and a central carved masque over a shield, joined by a shaped stretcher with central sunburst medallion, raised on paw feet, h. 28”, w. 39”, d. 22”. [500/800] Illustrated

395

105

397

396 Continental Oak Buffet a Deux Corps, early 20th century, in the Henri II taste, the domed and molded central cornice above a foliate frieze and a single cupboard with an inset stained glass panel, flanked to either side by double columns and a like-inset cupboard door, and another pair of columns, joined by a paneled back with spindled shelf and vasiform uprights to a lower section fitted with two rounded drawers over two recessed paneled cupboard doors, the whole raised on bun feet, h. 102”, w. 55‑1/2”, d. 22”. [500/800]

398

397 Continental Oak Buffet a Deux Corps, late 19th century, the acanthine-carved molded cornice over a shield and foliate frieze, with two glazed doors below, the lower section fitted with two drawers with carved grapevine pulls over two paneled cupboard doors, each with heavily carved hunt patterns, raised on a foliate-carved plinth base, h. 95‑1/2”, w. 59”, d. 22‑1/2”. [1000/1500] Illustrated 398 Impressive Italian Baroque-Style Mirror, fourth quarter 19th century, sitting on leaf-carved feet, framed with bold, mirror-backed carvings of grapes and grape leaves, the arched crest decorated with a scroll-framed, mirror-backed basket of flowers, h. 81”, w. 44‑1/2”.

[4500/7000] Illustrated

399

106

401

400

402

400 Pierced Giltwood Mirror in the Florentine Baroque Style, the beaded mirror plate liner set into a bold scroll-carved surround decorated with leaves, the crest decorated with a masque in a scrolled escutcheon and an overhanging leaf carving, h. 79‑1/2”, w. 47‑1/2”.

[700/1000] Illustrated 401 Italian Walnut Settee, late 18th century, the paneled back surmounted by a large shield-form crest issuing acanthine scrolls, the long wooden seat raised above a shaped shell-carved apron on shaped foliatemodeled end supports, h. 59”, w. 77‑1/2”, d. 15”.

Provenance: The Pierpont Morgan Library, New York, New York. [2000/4000] Illustrated

399 Italian Walnut and Oak Refectory Table, early 17th century and later, the long rectangular top above a carved, ribbed and annulated frieze, raised on scrolling shaped end supports joined by a stretcher ending in paw feet, h. 34”, w. 36‑1/2”, l. 92”. [6000/9000] Illustrated

402 Italian Walnut Settee, late 18th century, the paneled back surmounted by a shield-form crest issuing acanthine scrolls, the wooden seat hinged and opening to a storage space, raised above a shell-carved apron on shaped foliateand shell-carved end supports, h. 58”, w. 81”, d. 15”.

Provenance: The Pierpont Morgan Library, New York, New York. [2000/4000] Illustrated

107

403 French School (18th Century), “Portrait of a Lady of Means in Elaborate Dress”, oil on canvas, unsigned, 48” x 36”.

Framed. [2000/4000] Illustrated

405

404 Italian School (18th Century), “Portrait of a Lady in Turkish Costume, Holding a Masque”, oil on canvas, unsigned, 48” x 36”. Framed. [2000/4000] Illustrated

403

404

405 Pair of Unusual Italian Giltwood Sconces in the Baroque Style, ca. 1900, in the form of scroll-molded escutcheons on paw feet with bell-form finials, the gilt-metal candle arms set into a panel of incised latticework, h. 13‑1/4”, w. 15‑1/2”.

[1800/2500] Illustrated

408 Continental .800 Silver Viennese Enamel GemEncrusted Music Box with Enclosed Watch, the three-lid box set with eight amethyst cabochons, with an approximate total weight of 40.0 carats, and forty-eight freshwater pearls, the center lid mounted with a hand-painted enamel scene of a young courting couple, another lid activates the cylinder music box and the third lid opens to reveal the mechanical watch, h. 2‑1/2”, w. 4”, l. 7‑3/4”. [600/900] Illustrated

406 Pair of Continental Giltwood Armchairs, 20th century, in the Baronial taste, each with a padded rectangular back surmounted by a deep crest of a crowned heraldic shield flanked by two griffins, joined by imbricate-carved arms on lion masque uprights to the padded seat, raised on a curule-form base with grapevine carving and centered by a lion’s masque, h. 49”. [1500/2500] Illustrated 407 Continental Giltwood Armchair, 20th century, in the Baronial taste, the padded rectangular back surmounted by a deep crest of a crowned heraldic shield flanked by two griffins, joined by imbricate-carved arms on lion masque uprights to the padded seat, raised on a curule-form base with grapevine carving and centered by a lion’s masque, h. 49”. [700/1000] Illustrated

108

408

409 406

409 Pair of Italian Baroque Giltwood Finials, mid-18th century and later, now mounted as lamps, the pierced finials carved with leaves and scrollwork, on later parcelgilt bases, base, h. 15”, overall, h. 27‑1/2”, dia. 6‑1/2”.

[500/800] Illustrated 410 Continental Bronze of “Fete au Village”, first or second quarter 20th century, after Giuseppe D’Aste (Italian, fl. 1905‑1935), cast signature at edge of self-base, h. 15‑1/2”, w. 20”, d. 7”. [1400/1800] Illustrated 411 Follower of Marinus van Reymerswaele (Dutch, ca. 1490‑ ca.1546), “The Money Lenders”, oil on canvas, 47” x 39‑1/2”. Presented in a 19th-century giltwood and gesso frame. [5000/8000] Illustrated

410

407

411

109

412 Polish School (18th Century), “Portrait of Jan III Sobieski, King of Poland and Grand Duke of Lithuania”, oil on canvas, inscribed in Latin “Joannes Sobieski/Rex Polonia”, 32” x 24”. Presented in an attractive antique gessoed and giltwood frame. [800/1200] Illustrated

417

412

416

110

418

413 Pair of Continental Neoclassical Bronze Candelabra, second quarter 19th century, on round standards decorated with flame-capped columns, each candelabrum with leaf-molded arms, set with smaller leaf-molded arms on either side of the eagle finials, h. 25‑3/4”, w. 18‑1/4”, d. 8‑1/2”.

[500/800]

419

414 Regence-Style Giltwood Stool, early 20th century, with a padded rectangular top, raised on fluted tapering square legs headed by ribbed capitals, joined by a foliate X-form stretcher and ending in bun feet, upholstered in Janet Yonaty silk jacquard, h. 20”, w. 35”, d. 29‑1/2”. [600/900] 415 Regence-Style Giltwood Stool, early 20th century, with a padded rectangular top, raised on fluted tapering square legs headed by ribbed capitals, joined by a foliate X-form stretcher and ending in bun feet, upholstered in Janet Yonaty silk jacquard, h. 20”, w. 35”, d. 29‑1/2”. [600/900]

421

416 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 boxform stretcher, h. 42‑1/2”. [500/800] Illustrated 417 Set of Four Italian Neoclassical-Style Bronze Three-Light Sconces, mid-20th century, decorated with a patinated masque on the backplate, with a spray of drops serving as a finial, with prism-hung arms and reeded candlecups, h. 18‑3/4”, w. 13”, d. 9”. [1000/1500] Illustrated 418 Continental Fruitwood Bookcase, early 20th century, the molded cornice with projecting corners and a dentillated frieze, above a conforming case fitted with two doors, each inset with a quatrefoil-pierced metal grate, flanked to either side by fluted Corinthian uprights, over two small central drawers and two narrow end drawers, raised on paw feet, h. 69”, w. 51‑1/2”, d. 16‑1/4”.

[600/900] Illustrated 419 Giltwood Mirror in the Spanish Baroque Taste, decorated with pierced scrollwork and a leaf-carved overhanging finial, h. 19‑1/2”, w. 15”. [500/800] Illustrated 420 Italian Oak Armchair, early 20th century, the padded rectangular back joined by barley-twist arms on lion hand rests to the padded seat, raised on block and barley-twist legs, joined by an H-form stretcher and ending in blockand-ball feet, h. 35‑1/2”. [500/800] Illustrated

420

421 Italian Walnut Center Table, mid-19th century, the octagonal top with a molded edge, above a conforming stop-fluted curved frieze fitted with a single drawer, raised on four solid shaped supports with swag accents and ending in paw feet, h. 28”, dia. 37”. [2000/4000] Illustrated

111

422 Italian Baroque Paint-Decorated Mirror, fourth quarter 17th century, the cove-molded frame trimmed in worn parcel gilt and decorated with raised scrollwork corners, framing an inner coved liner, set with an antique mirror plate, h. 37”, w. 26‑3/4”. [1200/1800] Illustrated

422

425

424 Continental Patinated Bronze Figure of a Lion, first or second quarter 20th century, illegible signature at base, h. 6‑3/4”, w. 11”, d. 5”. [500/800] Illustrated 425 Pair of Bronze Andirons in the Renaissance Taste, fourth quarter 19th century, probably Continental, lushly decorated with masques of devils and putti, and standing lions grasping a heraldic shield as the finial, h. 36”, w. 23”, d. 14‑1/2”. [1500/2500] Illustrated 426 Flemish-Style Mahogany Bench, early 20th century, the padded rectangular over-upholstered seat raised on turned and tapering circular legs joined by shaped and molded X-form stretchers and ending in scrolled Flemish toes, h. 19”, w. 44‑1/2”, d. 18”. [800/1200] Illustrated

423 Continental Patinated Bronze of a Lion Battling a Bird, first quarter 20th century, after Antonio Amorgasti (Italian, 1880‑1942), cast signature at edge of self-base, h. 13”, w. 20”, d. 10”. [500/800]

426

427 Unusual Pair of French Renaissance Revival-Style Moderator Lamps, third quarter 19th century, the pierced bases decorated with molded scrollwork and supporting the turned lamps, ornamented with beading, now mounted as electric lamps, base, h. 20‑1/2”, overall, h. 27‑3/4”, w. 9‑3/4”, dia. 6”. [500/800] 424

112

429 428 Continental Oak Table, late 19th century, in the Baronial style, the rectangular top banded and with a patera-carved edge, opening to accommodate three 18‑1/2” leaves, above an ogee-molded reeded frieze, raised on large winged scroll-form end supports and a central masque support, with four acanthine-carved tapering square supports down the interior, raised on a molded plinth base, h. 27‑1/2”, w. 49‑1/2”, l. 65”, extended l. 120‑1/2”. [1800/2500] Illustrated 429 F. Kreisinger (Austrian, 20th Century), “Soldiers of the Russian Army”, 1917, oil on canvas, signed and dated lower right, 44” x 71‑3/4”. Framed. [8000/12000] Illustrated

428

113

430 English Oak Settee, late 19th century, in the Carolean manner, the pierced crest with a carved shield flanked by rampant lions and ball finials, above a paneled trisected back with shield carving, joined by flat arms to the cushioned seat, hinged and opening to a storage space, the front and sides paneled, raised on bun feet, h. 71”, w. 54”, d. 20”.

[800/1200] Illustrated

431

430 431 Architectural Cast Iron Armorial Crest of the Royal Coat of Arms of the United Kingdom, ca. 1816‑1837, English, molded in the traditional fashion, flanked by a rampant lion and a unicorn, the crest changed to this version in 1816, after Hanover was declared a kingdom and remained in use until Queen Victoria ascended the throne in 1837, h. 48”, w. 39”. [1200/1800] Illustrated

433 The “Glenridge Hall” Tudor-Style Carved Oak Tester Bed, executed 2003‑2004 by members of the Crown Guild of Master Woodcarvers, Bridgwater, Somerset, England, and partially constructed of antique elements, h. 107”, inside, w. 84”, l. 80”, outside, w. 94”, l. 90”. [5000/8000] Illustrated The design was based on the “Tudor Arch Full Tester Bed”, ca. 1600, combined with design elements from other carvings and furniture pieces throughout Glenridge Hall.

432 English Oak Refectory Table, 17th century, in the Elizabethan taste, the long planked top above a plain frieze, raised on six ribbed cup and cover supports joined by a box stretcher and ending in block feet, h. 30‑1/2”, w. 34‑1/2”, l. 135”. [4000/7000] Illustrated

434

114

437

434 Group of Three English Oak Joint Stools, 18th century, of traditional form, all with rectangular tops over an arch-carved frieze, raised on barley-twist, fluted and turned legs joined by box stretchers and ending in block feet, the largest, h. 17”, w. 18‑1/2”, d. 11‑1/2”. [500/800] Illustrated 435 Pair of English Oak Joint Stools, 19th century, of traditional form, each with a rectangular top over a pateracarved frieze, raised on turned bulbous legs joined by a box stretcher and ending in block feet, h. 19‑1/2”, w. 17”, d. 11”.

[500/800] 436 Pair of English Oak Joint Stools, of traditional form, each with a rectangular top over a plain frieze, raised on turned circular legs joined by a box stretcher and ending in block feet, h. 17‑1/4”, w. 18”, d. 11”. [500/800]

433

437 English Embroidered and Appliqued Heraldic Banner and Two Spears, 19th century, banner, h. 40”, w. 25”, spears, l. 82” and 84”. [500/800] Illustrated

432

115

438 William and Mary Fruitwood Drop-Leaf Table, early 18th century, with long drop leaves and a drawer at each end, the stretchers and legs mortised and pegged throughout, h. 29‑1/2”, d. 39‑1/2”, extended l. 65”. [2500/4000] Illustrated

438

439 Carolean Walnut Chaise Longue, late 17th century, one end with an arched caned panel within a molded frame, constructed to have an adjustable angle, above a long caned seat, raised on block and turned legs joined by shaped and pierced stretchers and ending in peg feet, h. 39”, w. 21”, l. 65”. [1500/2500] Illustrated 440 Aubusson Verdure Tapestry of Playful Deer Within a Lush Forest, in deep tones of ochre, green and gold, 85” x 113”.

[5000/8000] Illustrated 441 Pair of Continental Decorative Still Lifes, first quarter 20th century, including “Grapes and Oysters”, signed “D. Arnold” along lower edge, and “Grapes, Apples and an Orange”, unsigned, each sight dia. 13‑1/4”. Glazed and presented in attractive, matching gilt-embellished frames. [800/1200] Illustrated

440 442 School of Carducius Plantagenet Ream (American, 1837‑1917), “Three Apples on a White Dish”, oil on canvas, unsigned, 12” x 14”. Framed. [600/900] 443 English Oak Center Table, 18th century and later, the circular top raised on a large fluted cup and cover standard with foliate carving, to four splayed runner feet, h. 43”, dia. 29‑1/2”. [500/800]

439

441 1 of 2

116

446 English Oak Center Table, 20th century, the circular top supported by four turned vasiform standards to a central foliate-carved cup and cover standard, to a molded and cross-form base, h. 30‑1/2”, dia. 61”. [500/800]

447 444

444 English Oak Court Cupboard, early 20th century, the molded cornice above a relief-carved frieze, joined by acanthine-carved cup and cover supports and a central paneled floral-inlaid cupboard to the lower section, fitted with two drawers over two cupboards, each with an upper foliate fan-carved panel over two diamond-inlaid panels, raised on block legs, h. 60”, w. 50”, d. 20‑1/2”. [700/1000] Illustrated

447 Pair of English Painted Canvas Shield-Form Heraldic Crests, second quarter 19th century, painted on stretched canvas, one decorated with red doves on a gilt ground and the other with gilt crosses on a red ground, h. 39‑1/2”, w. 39”. [800/1200] Illustrated 448 English Oak Coffer, late 17th century, the rectangular planked top hinged and opening to a void interior, the front with a relief-carved floral foliate band over three likecarved panels, raised on plank feet, h. 34‑1/2”, w. 65”, d. 26”. [800/1200] Illustrated

445

445 Jacobean-Style Oak Table, early 20th century, the rectangular top above an acanthine-carved frieze, raised on carved cup and cover legs, joined by a box stretcher and ending in block feet, h. 30”, w. 60”, d. 30”. [500/800] Illustrated

448

117

449 Pair of English Eighteen-Karat Yellow Gold Framed Miniature Portraits Depicting Two of Charles II’s Courtesans, second quarter 19th century, one a pastel and gouache portrait depicting Eleanor “Nell” Gwynn (1650‑1687), nicknamed “pretty, witty Nell” by Samuel Pepys, a well-known actress and a longtime mistress to the king, she is pictured with a sheep, the steel back on the frame engraved “Eleanor Gwynn”, and the other portrait depicting the first Duchess of Cleveland, Lady Castlemaine (1640‑1709), by whom Charles II fathered five children, engraved “Duchess of Cleveland” on the back, h. 6‑1/4”, w. 5”. [4000/7000] Illustrated

450 Carolean-Style Oak and Fruitwood Sidechair, 19th century, the shaped foliate-carved crest above a pierced splat flanked to either side by uprights and foliate finials, the padded seat raised on turned tapering legs joined by a shaped front stretcher and ending in ball feet, h. 56”. [500/800] Illustrated 451 Suite of Two Carolean-Style Mahogany Settees, early 20th century, one a double-back and the other a triple-back, each with urn-form crests flanked by putti, over caned oval backs, joined by scrolling acanthine arms to the caned seat, raised above a pierced urn- and putti-carved stretcher on barley-twist and block legs ending in ball feet, double-back, h. 50‑1/2”, w. 42”, d. 23‑1/2”, triple-back, h. 50‑1/2”, w. 54‑1/2”, d. 23‑1/2”. [600/900] Illustrated

449 451

452 Carolean-Style Mahogany Bench, the long padded rectangular top raised on eight turned and bulbous legs joined by scrolling pierced X-form stretchers centered by a delicate finial, raised on bulbous feet, h. 18‑1/2”, w. 57”, d. 14”.

[500/800] 453 English Oak Gateleg Table, early 20th century, the rounded rectangular top with two ovoid leaves, raised on a gateleg support of barley-twist and block legs ending in ball feet, h. 30”, w. 60‑1/2”, l. 24”, extended l. 70”. [900/1200] Illustrated

450

118

453

454 454 Seventeen-Piece Ironstone Partial Dinner Service in the Imari Palette, ca. 1860‑1880, Ashworth, England, including two platters, w. 13‑1/2”, l. 17” and w. 12”, l. 15”, a covered vegetable dish, h. 7‑1/4”, w. 9”, l. 13”, twelve dinner plates, dia. 10‑3/4”, and a pair of luncheon plates, dia. 9”. [500/800] Illustrated 455 Pair of Spode “New Stone” Sauce Tureens and Underplates, first quarter 19th century, English, decorated in the Imari palette with dolphin-molded handles and a gilt pinecone knop, the under trays impressed “Spode New Stone”, the bases of the tureens marked with the pattern number 3690, h. 4‑1/2”, w. 7‑1/4”, d. 5‑1/4”. [600/900]

458

456

458 Pair of English Oak Benches in the Carolean Taste, each with a long top with a molded edge, above a conforming guilloche-carved frieze, raised on foliatecarved cup and cover legs, joined by a box stretcher and ending in block feet, h. 19”, w. 72”, d. 13”. [500/800] Illustrated 459 Two English Oak Benches, one a late 19th-century example with a long rectangular top with a molded edge, above a scroll-carved frieze, raised on guilloche-carved cup and cover legs joined by a box stretcher and ending in block feet, h. 18‑1/2”, w. 59‑1/2”, d. 12‑1/2”, and the other example of similar form and later manufacture, h. 19”, w. 72”, d. 13”. [500/800] Illustrated 460 English Oak Draw-End Table, 19th century, the rectangular top with two draw-ends, above a conforming frieze with geometric foliate carving, raised on turned baluster-form legs joined by an H-form stretcher and ending in block feet, h. 30”, w. 52”, d. 29‑1/2”. [700/1000] Illustrated

459

456 Pair of English Ironstone Garniture Vases in the Imari Taste, mid-19th century, of vasiform shape with molded handles and scattered orange and blue peonies, h. 19”, dia. 9”.

[1200/1800] Illustrated 457 English Oak Gateleg Table, late 19th century, the top with slightly bowed ends and two deep ovoid leaves, and raised above a frieze fitted with a single end drawer, on a gateleg support of turned and bulbous legs joined by box stretchers and ending in turned bun feet, h. 29”, w. 33”, l. 13”, extended l. 53”.

[500/800]

460

119

461 Chinese Export Painting (First Quarter 19th Century), depicting “Guangzhou Harbor with Western Merchant Ships”, oil on canvas, indiscernibly inscribed upper right, 33” x 43‑1/4”. Framed. [600/900] 462 Chinese Export Porcelain Tureen and Underplate, 19th century, the blue and white porcelain tureen and underplate in the Canton pattern, the sides and top of the lid depicting idyllic mountain landscapes with pagodas and pavilions, the tureen with boar’s head lugs on each side, unmarked, tureen, h. 7”, w. 9”, l. 11”, underplate, w. 11”, l. 13‑1/2”. [1800/2500] Illustrated

465

465 Pair of Chinese Export Porcelain Blue and White Sauce Tureens on Stands, fourth quarter 18th century, richly decorated with scenes including two figures crossing a bridge, the cover notched for sauce ladles and finished with foo dog knops, h. 6”, w. 7‑1/4”, d. 5‑1/2”, including stands. [2000/4000] Illustrated 466 Queen Anne-Style Mahogany Tea Table, the demilune top hinged and opening to a serving space, above a conforming frieze fitted with two small drawers, raised on cabriole legs ending in padded feet, h. 30‑1/2”, w. 30”, d. 15”. [500/800] 462

463 Handsome Pair of Chinese Export Nanking Dishes, first quarter 19th century, the central panel with a willow tree and two love birds, the border with lancet trim, dia. 9”.

[800/1200] 464 Chinese Export Porcelain Platter and Mazarin Insert, ca. 1800, decorated with blue and gilt meandering vines and sprigs of flowers, w. 15‑1/2”, d. 13‑1/4”. [1200/1800] Illustrated

467

464

120

467 Attributed to Frederick Kerseboom (British, 1632‑1690), “Portrait of a Lady in Blue, Seated in a Landscape, Holding an Orange Blossom”, oil on canvas, 55‑1/2” x 41”. Framed. Provenance: Estate of Evelyn and T. L. Wilson, Houston, TX; William Bedford Antiques, London, UK. [5000/8000] Illustrated

468

469 George III-Style Ebonized and Japanned Breakfront Bookcase, early 20th century, the pierced broken swan’sneck pediment with urn finials above above a finialated frieze, with four astragal-glazed doors below, the lower section fitted with four paneled cupboard doors, all with polychrome and gilt scenes of oriental landscapes, raised on a plinth base, h. 91”, w. 84‑1/2”, d. 20”. [1800/2500] Illustrated

470

470 Set of Eleven Chinese Export Porcelain Soup Plates, ca. 1800, decorated with a border of peonies and butterflies on a gilt ground, the center with the initials “TP”, framed in gilt and red, dia. 9‑3/4”. [700/1000] Illustrated

468 English Ebonized and Polychrome Chest-on-Stand, 18th century and later, in the chinoiserie manner, the molded cornice above a case fitted with an arrangement of ten drawers, all with gilt and polychrome chinoiserie scenes, raised on a like-painted square leg stand, h. 67”, w. 40‑1/2”, d. 18”. [1200/1800] Illustrated

471 Georgian-Style Lacquered and Polychrome Corner Cabinet, 19th century, the pierced fretwork crest above a bowed case fitted with two doors opening to a shelved interior, raised on block feet, the whole with gilt, polychrome and gesso accents in the chinoiserie taste, h. 43”, w. 27‑1/2”, d. 19”. [500/800] Illustrated

471 469

121

472 Manner of Narcisse-Virgil Diaz de la Pena (French, 1807‑1876), “Forrest Interior With Figure”, second quarter 19th century, oil on wood panel, unsigned, 21‑1/2” x 36”.

Framed. [1500/2500] Illustrated

475

472 473 Julius Zopf (Austrian, 1838‑1897), “Austrian Landscape at Sunset, with View of a Castle”, oil on canvas, signed lower left, 27” x 41”. Framed. [1000/1500] Illustrated

476 Five Charming Chinese Export Porcelain Teapots in the Rose Medallion Pattern, fourth quarter 19th century, all similarly decorated with mandarin scenes and peonies, h. 3” to 4‑3/4”, dia. 2‑3/4” to 3‑1/4”. [800/1200] 477 George III-style Mahogany Sidechair, fourth quarter 19th century, in the Chippendale taste, the molded and shaped shell-carved crest above an elaborately pierced and interlacing foliate-carved splat, the slip-in seat raised on cabriole legs headed by scrolling foliate patterns and ending in ball-and-claw feet, h. 39”. [500/800] 478 Regency-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with a reeded edge and supported by two pedestals, each with a turned vasiform support to three splayed and reeded legs ending in brass paws on casters, h. 30‑1/2”, w. 47”, l. 68”.

[500/800]

473 474 George III-Style Mahogany Silver Table, 19th century, the rectangular top with a full raised edge, above a conforming blind-fret-carved frieze fitted with a single end drawer, raised on cabriole legs headed by shield carving and ending in ball-andclaw feet, h. 29”, w. 46‑1/2”, d. 26‑1/2”. [1000/1500] Illustrated 475 Pair of Chinese Export Baluster Vases in the Rose Medallion Pattern, fourth quarter 19th century, with gilt foo dog head handles, decorated with mandarin scene panels alternating with peonies and ho-ho birds, h. 14”, dia. 6‑3/4”.

[1500/2500] Illustrated

122

474

481

480 479 Suite of Eight George III-Style Mahogany Dining Chairs, early 20th century, consisting of two armchairs and six sidechairs, each with a shaped and earred foliatecarved crest above a pierced like-carved frieze, the padded seat raised on cabriole legs ending in ball-and-claw feet, h. 40”. [3000/5000] Illustrated

480 School of Sir Godfrey Kneller (18th Century), “Portrait of a Sea Captain, Ship in Background”, oil on canvas, unsigned, 48” x 44”. Framed. [2000/4000] Illustrated 481 Handsome Model of a Clipper Ship, ca. 1900, possibly the Dutch East India Company, composed of mahogany with string rigging, with a gilt rampant lion figurehead, lion’s heads along the sides and an elaborate stern set with windows and gilt carving, flying the French flag, h. 37‑1/2”, w. 38”, d. 10‑1/2”. [500/800] Illustrated

479

123

482 George III-Style Mahogany and Parcel-Gilt Looking Glass, mid-20th century, with a broken-arch pediment with a central cartouche and a beveled mirror plate, retaining a paper label en verso, reading “Colonial Williamsburg Reproduction”, h. 58”, w. 29”. [700/1000] Illustrated

483

482

484 George III Mahogany Wine Cupboard, fourth quarter 18th century and later, the canted square top hinged and opening to a storage space now lined in felt, over a single cupboard, the whole of square form and paneled, with side carrying handles, raised on a plinth base, h. 29‑1/2”, w. 16”, d. 15‑1/2”. [900/1200] Illustrated 485 George III Mahogany Cellarette, fourth quarter 18th century, of circular form, the brass-bound body with ring handles and fitted with a metal liner, raised on a later stand of tapering square legs ending in brass caps and casters, h. 21”, dia. 23”. [500/800]

483 Pair of Carved and Stained Wood Four-Light Sconces, in the Adam taste, the roundel-form backplates depicting scenes with a mother and children on a painted ground, held by a carved bowknot mounted with a patera, the reeded candle arms decorated with carved leaves, h. 43”, w. 21‑1/4”, d. 10”. [2000/4000] Illustrated 484

124

487 George III Mahogany Tall Case Clock, fourth quarter 18th century, the hood with a broken-arch pediment and fan-inlaid rosettes, the painted face featuring a moon dial and floral-decorated corners, and flanked by double-fluted columns, the case with full fluted columns flanking the door, the base with fan-inlaid corners and raised on ogee bracket feet, the movement featuring time, strike and calendar date, h. 90”, w. 22”, d. 10”. [800/1200] Illustrated 488 Chinese Rose Medallion Porcelain Vase, 20th century, the reserves depicting court scenes and arrangements of birds and flowers, with foo dog handles and gilded salamanders on the shoulders of each vase, unmarked, h. 23‑3/4”, dia. 9‑1/2”. [500/800] Illustrated

486

486 English Cut Glass Ten-Light Chandelier, in the Georgian style, the glass-clad standard holding rope-twist glass candle arms on two tiers, hung with prisms and festoons of crystal drops, h. 36”, dia. 28”. [2000/4000] Illustrated

488

487

125

489 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the domed cornice with ebonized faux dentilation, above a conforming case fitted with two small drawers over four graduated long drawers, flanked to either side by canted line-incised uprights, the lower section fitted with four graduated long drawers, raised on splayed bracket feet, h. 89‑1/2”, w. 44”, d. 21”.

[2000/4000] Illustrated

489

492

490

126

490 George III-Style Mahogany Camelback Sofa, early 20th century, the padded triple-domed back joined by outscrolled arms to the padded seat, raised above a latticeincised shaped apron on cabriole legs headed by acanthine carving and ending in scrolled toes, h. 36”, w. 80”, d. 29”.

[700/1000] Illustrated 491 George III Mahogany Chest, early 19th century, the rectangular top with a molded edge, above a conforming case fitted with two short drawers over three graduated long drawers, raised on shaped bracket feet, h. 43”, w. 46‑1/4”, d. 23‑3/4”. [1000/1500]

493 Pair of Large Chinese Export Rose Medallion Baluster Vases, ca. 1900, fitted with gilt foo dog handles and molded gilt salamanders on the shoulders, h. 25”, dia. 9”.

[1500/2500] Illustrated 495

494 George III Oak Tall Case Clock, fourth quarter 19th century, the brass face engraved “Christopher Goddard, London”, having a bonnet-top hood with brass eagle and ball finial, featuring time and strike movement with a second hand and calendar dials, h. 88”, w. 20”, d. 9”.

[700/1000] Illustrated 495 Unusual English Calamander Wood and Gilt-Brass Tea Caddy, third quarter 19th century, the dome-top chest decorated with strapwork, cabochons, and an anchor suspended from a giltbrass “rope” sailor’s knot, the escutcheon framed with “rope”, the velvet-lined interior holding two giltglass tea compartments and a glass flask, h. 6‑3/4”, w. 9‑1/4”, d. 5‑1/2”.

[500/800] Illustrated

493

492 Irish Chippendale-Style Mahogany Tester Bed, third quarter 19th century, the gently arched and gadrooned tester frame centered in front by a full figured carved fox and flanked by similarly-carved cocks at both sides, supported by reeded posts joined to bases with urn-carved panels, h. 88‑1/2”, inside l. 74‑1/2”, w. 39‑1/2”, outside l. 80”, w. 48‑1/4”. [700/1000] Illustrated

496 Pair of George III-Style Mahogany Armchairs, late 19th century, each with a shaped and domed padded back joined by padded arms on acanthine out-scrolled arm rests to the padded seat, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 38‑1/2”. [500/800] Illustrated

496 494

127

497 Attributed to Alfred Edward Chalon (British, 1780‑1860), “Sophia Lovesick”, illustration from Book 7, Chapter 9 of the Henry Fielding novel The History of Tom Jones, a Foundling, oil on canvas, unsigned, verso affixed with fragment of a record of original sale and subject matter, 24‑1/2” x 30”. Framed. [2500/4000] Illustrated

506

500 George III-Style Mahogany Tripod Table, 19th century, the tilting circular top with a dished piecrust edge, and raised on a turned baluster-form standard to three splayed cabriole legs headed by acanthine carving and ending in scrolled toes, h. 28”, dia. 28”. [1500/2500] Illustrated 501 Set of Three Chinese Export Porcelain Armorial Dinner Plates, mid-18th century, made during the Ch’ien Lung period, with famille rose borders, the arms possibly those of Downes of Cheshire and Essex, recorded in David Howard’s Chinese Armorial Porcelain, p. 457, dia. 9‑1/2”.

[600/900] Illustrated

497

498 Pair of George III-Style Mahogany Armchairs, in the Adam taste, each with a padded medallion back surmounted by a floral crest, joined to the padded seat by scrolling arms, raised on fluted tapering square legs ending in molded feet, h. 34”. [500/800]

502 English “Yellow Tiger” Soup Plate, Attributed to Caughley, fourth quarter 18th century, decorated in the Kakiemon style, the body molded with fluting and basketweave, unmarked, dia. 9‑1/2”. [500/800]

499 Qianlong Chinese Export Armorial Punch Bowl, fourth quarter 18th century, decorated with the arms of Grierson impaling another, and a border of famille rose scrollwork hung with garlands of roses, recorded in David Howard’s Chinese Armorial Porcelain, p. 637, h. 6”, dia. 14”. [1500/2500] Illustrated

499

128

500

501

503 George III Mahogany Tall Case Clock, fourth quarter 19th century, the face engraved “John Monkhouse, London”, having a time and strike movement with a calendar dial, h. 93”, w. 20”, d. 10”. [1200/1800] Illustrated

508

504 George III-Style Mahogany Side Table, 19th century, the rectangular top with a bowed front and projecting canted corners, above a conforming fluted frieze, raised on stopfluted tapering square legs ending in paneled block feet, h. 34”, w. 62”, d. 24”. [2000/4000]

505 George III-Style Mahogany Partner’s Desk, early 20th century, the rounded rectangular top with an inset leather writing surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with three drawers to one side and a cupboard door faced as three drawers to the other, each raised on a plinth base and casters, h. 31”, w. 63”, d. 47‑1/2”.

[800/1200] Illustrated 506 Collection of Five Oval Painted Miniatures of Regency Gentlemen, including four 19th-century examples and one 20th-century example, signed “C. B. Pereira”, one monogrammed “E.M.” and one dated “1800”, sight varies from 2‑1/2” x 1‑5/8” to 3‑5/8” x 2‑3/4”. All glazed and framed.

[800/1200] Illustrated 507 Four European Miniature Oval Portraits, including a porcelain plaque depicting Josephine Bonaparte, ca. 1900, h. 4‑3/4”, w. 4‑1/4”, a French porcelain plaque depicting a young woman in Elizabethan costume, with a rope-twist frame, ca. 1900, h. 4‑1/2”, w. 3‑1/4”, a portrait of Mary, Queen of Scots, executed in enamel, in a bronze frame, ca. 1900, and a porcelain plaque depicting Elizabeth II, in a ca. 1900 gilt-bronze frame, h. 2‑3/4”, w. 2‑1/4”. [500/800]

503

508 Collection of Five Painted Miniatures of Gentlemen, 19th century, including an early 19th-century Continental School “Portrait of a Gentleman in a Yellow Vest”, illegibly signed mid-left, a Continental School “Portrait of a Man in Military Uniform”, signed upper left “J. Bossa”, a “Portrait of the Duke of Wellington” on board, signed, dated and inscribed “L. Mansion 1845, from Claudens Daguerreotype”, and a British School “Portrait of a Young Officer”, sight sizes from 2” x 1‑3/4” to 5” x 4”. All glazed and framed.

[600/900] Illustrated 505

129

509 Pair of Georgian-Style Carved Giltwood Wall Brackets, 20th century, English, decorated with carved phoenix birds perched on pierced rocaille work and supporting scalloped shelves, h. 17‑1/2”, w. 13”, d. 8”.

[500/800] Illustrated

512

509

510 George III-Style Polychrome Chinoiserie Corner Cabinet, 19th century, the triangular cornice with corner finials and canted sides, above a conforming case fitted with two long paneled doors, the lower section fitted with two paneled cupboard doors, raised on bracket feet, the whole with gilt and polychrome accents in the chinoiserie taste, h. 93”, w. 47”, d. 25‑1/2”. [1500/2500] Illustrated

511 Fine Edwardian Chinoiserie-Decorated Satinwood Breakfront, ca. 1900, in two parts, the upper section with a fretwork gallery, the doors with glazed panels and pagoda-form mullions, on a conforming base, raised on square legs joined by shaped stretchers, the whole on an ebonized platform base, adorned throughout with parcelgilt and polychromed decoration in the Chinese taste, h. 81”, w. 69‑1/2”, d. 24”. [3000/5000] Illustrated

510

513

130

514

514 George III-Style Mahogany Bowfront Sideboard, the bowed top above a conforming case fitted with a central cutlery drawer flanked to either side by a short drawer over a deeper drawer and further flanked by a cupboard centered by an inlaid patera, raised on tapering square legs ending in spade feet, h. 36”, w. 72”, d. 31”.

[1500/2500] Illustrated

511

512 Suite of Ten George III-Style Mahogany Dining Chairs, in the manner of Thomas Chippendale, consisting of two armchairs and eight sidechairs, all with an earred and shaped foliate-carved crest above a pierced and interlacing splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, the whole with gilt accents, h. 39‑1/2”. [2500/4000] Illustrated 513 Gerardina Jacoba van de Sande Bakhuyzen (Dutch, 1826‑1895), “Hay Wagon”, oil on canvas, signed lower right, 20” x 12”. Framed. [800/1200] Illustrated

515

515 Derby Porcelain Covered Ecuelle and Stand, fourth quarter 18th century, English, decorated with carefully detailed lozenges, trailing ivy and ferns, with raised berries, the stand marked with a gilt crown usually associated with 1780‑1784, h. 7‑1/2”, dia. 7”. [1500/2500] Illustrated

516

516 George III-Style Mahogany Dining Table, the rounded rectangular top with satinwood banding and raised on two pedestals, each with a reeded vasiform standard to four splayed reeded legs ending in foliate brass caps on casters, h. 29‑1/2”, w. 60”, l. 108”, extended l. 132‑1/2”. [2000/4000] Illustrated

131

517 Chinese Export Mandarin Pattern Punch Bowl on Stand, ca. 1800, the bowl with a blue and white border and polychrome Mandarin panels alternating with flowers, framed in a blue border, the bottom with an orange and blue medallion with a lancet border, on a hardwood base with a pierced cover of later origin, h. 7‑1/2”, dia. 9”. [600/900] Illustrated

517

519

518 George III-Style Mahogany Dumbwaiter, early 20th century, fitted with two tiers, each circular and with a dished edge, raised on a turned bulbous standard to four splayed legs ending in brass caps and casters, h. 31‑1/2”, dia. 27‑1/4”.

[800/1200] Illustrated 519 Pair of Chinese Turquoise-Glazed Pottery Parrots, late 19th/early 20th century, the blue-green monochrome glazed birds, each perched on pierced rockwork, unmarked, displayed on carved wooden bases, parrot, h. 11”. [2000/4000] Illustrated 520 Pair of George II Sterling Silver Candlesticks, hallmarked London, 1759‑1760, by Emick Romer (1724‑1799), each in the form of a Corinthian column above a gadroon-banded and cavetto-domed square base, with pierced capital and detachable square bobeche en suite with the base, engraved on the base with a crest of a catamount statant, h. 12‑3/4”, w. 5‑1/4”, weighted. [1200/1800] Illustrated

518

132

521 George III Sterling Silver Coffeepot, hallmarked London, 1777‑1778, by Walter Brind (1722‑1796; free 1743), the pear-shaped body with “gooseneck” spout, hinged domed lid with toupie finial, and crested-double scroll wooden handle, decorated with later repousse flowers and latticed rococo cartouches, engraved, on the body, with the crest and motto of Long, h. 10‑1/2”, dia. 4‑3/4”, l. 8‑1/2”, 25.92 t. oz. (including wooden handle). [1000/1500] Illustrated 522 George III Sterling Silver Waiter, hallmarked London, 1779‑1780, by Daniel Smith and Robert Sharp, of circular form, with beaded rim and three fluted feet, engraved with the arms of Honeywood of Mark’s Hall, Coggeshall, Essex; Evington, Elmested and Sibton near Folkestone, Kentshire, dia. 13”, 31.45 t. oz. [3000/5000]

520

521 524

523 George III Sterling Silver Waiter, hallmarked London, 1783‑1874, by Daniel Smith and Robert Sharp, of circular form, with beaded rim and three fluted feet, engraved with the arms of Earl Fortescue, the underside with later 25th anniversary inscription with the names of fourteen couples arranged in concentric rings centering the date “1912 - January 17th - 1937”, dia. 10”, 19.25 t. oz. [1800/2500] Illustrated The arms here are probably those of Hugh Fortescue (1753‑1841) who was created Earl Fortescue in 1789. As this piece pre-dates his elevation to the peerage, it lacks the comital crown.

523

524 Small George III Sterling Silver Hot Water Urn, hallmarked London, 1782‑1783, by John Wakelin & William Taylor (fl. 1776‑ca. 1792), the ovoid body with fluted lower half and beaded rim, with oval laurel cartouche and arched stirrup handles, the tall cavetto-domed lid with acorn finial, the spigot with reeded branch, ram’s head spout and T-form key, the whole raised on a trumpeting stem with beaded circular foot on a square plinth base, h. 12‑1/2”, w. 8”, d. 4‑1/4”, 39.37 t. oz. [4000/7000] Illustrated

523 (detail)

133

525 George III Sterling Silver Waiter, hallmarked London, 1784‑1785, by John Crouch & Thomas Hannam (fl. ca. 1779‑1799), of circular form with reeded edge and three spatulate feet en suite, engraved with the arms of Seton impaling Graham, dia. 8‑1/8”, 12.60 t. oz.

[1500/2500] Illustrated 526 Fine George III Sterling Silver Cased Tea Caddy, hallmarked London, 1784‑1785, by John Crouch & Thomas Hannam (fl. ca. 1779‑1799), of navette form, decorated with wrigglework banding, engraved foliate swags and shield-shaped bright-cut cartouches, the hinged lid with swing stirrup handle, h. 3”, l. 6”, w. 2‑7/8”, 9.20 t. oz.., complete with the original fitted, kid-lined satinwood and macassar-edged fitted case, h. 3‑5/8”, w. 3‑1/2”, l. 7”.

[6000/9000] Illustrated

134

526

525

527

525 (detail)

527 (detail)

527 George III Sterling Silver Salver, hallmarked London, 1786‑1787, by John Crouch and Thomas Hannam (fl. ca. 1779‑1799), of circular form, with beaded rim and three spatulate feet, the plateau engraved with a wide oak leaf and acorn band centering the leafy-mantled arms of Blachford impaling another (sable, a chevron engrailed or between three horse’s heads argent), dia. 16”, 59.13 t. oz.

[10000/15000] Illustrated

530

528 George III Sterling Silver Cake Basket, hallmarked London, 1799‑1800,

by Robert & David Hennell, of navette form with upswept ends, with conforming foot ring and swing handle, decorated with engraved leaf-and-dart banding and reeded edging, monogrammed on the body “EC” and (later) “MHMcL”, h. 3‑3/4” (9‑1/2” with handle), l. 12‑3/4”, w. 8‑3/4”, 17.73 t. oz. [1800/2500] 529 Set of Six George III Sterling Silver Bateman Family Tablespoons, hallmarked London, 1792‑1793, by Peter & Ann Bateman, in the traditional “Old English” pattern, with bright-cut decoration, monogrammed “IN”, l. 8‑3/4”, 12.71 total t. oz. [800/1200] 530 Pair of George III Sterling Silver Chambersticks, hallmarked London, 1793‑1794, by Joseph Dodds, each with a vasiform nozzle, conical snuffer, circular base and detachable bobeche, with beaded edging, one snuff a replacement of like date, overall, h. 3‑1/2”, dia. 5‑1/4”, 16.29 total t. oz. [4000/7000] Illustrated 531 Set of Four George III Sterling Silver Salt Cellars, hallmarked London, 1792‑1793, by John Denziloe (1750‑1820; free 1772), each of hemispherical form and raised on a flared circular foot, with reeded edges, h. 2‑1/4”, dia. 3‑1/4”, 12.68 total t. oz. [1400/1800]

532

532 George III Sterling Silver TwoHandled Covered Cup, hallmarked London, 1799‑1800, by William Fearn (1748‑1829; free 1770), of ovoid form, with acanthus calyx and scrolling foliate band, with goat’s masque-mounted, acanthus-crested and beaded “S”-scroll handles, the waisted lid en suite with figural crest finial of a demi-eagle displayed, raised on a waisted stem and domed foot decorated en suite, engraved on the body with the crest of Lowle impaling Huckel, h. 18‑1/4”, dia. 7”, w. 12‑1/2”, 103.37 t. oz. [15000/25000] Illustrated

135

533 Set of Four George III Sterling Silver Entree Dishes, hallmarked London, 1799‑1804, by Richard Cook, each of rounded rectangular form with gadrooned rim and reeded ring handle, engraved on the lid with the arms of Sennock/Sevenocke of Layston, co. Hertfordshire, h. 5‑1/4”, w. 8‑1/4”, l. 11‑1/2”, 247.02 total t. oz.

[10000/15000] Illustrated 534 Empire Polychrome Settee, 19th century, the cushioned trisected back joined by padded outswept arms to the padded seat, the front with applied giltwood designs in the Empire taste, raised on paw feet, h. 36”, w. 88”, d. 29‑1/2”. [1200/1800] Illustrated 535 Neoclassical-Style Polychrome Supra Porta Panel, 19th century, the molded frame around an applied ribboned foliate swag, h. 32”, w. 52‑1/2”. [500/800] Illustrated

534

536 German Parian Figure of “Napoleon Crossing the Alps”, 20th century, the figure inspired by the Jacques-Louis David painting depicting him charging on horseback, over a broken and disabled cannon, raised on an oval paneled base, h. 29”, w. 17”, d. 14”.

[1200/1800] Illustrated 537 French Empire-Style Gilt-Bronze and Marble Napoleonic Wall Plaque, the engine-turned frame with a crown finial and set with a bas-relief of Napoleon crossing the Alps, on a verde antico marble ground, signed “Napoleon, Hannibal, Karolus Magnus”, dia. 10‑1/2”. [700/1000] Illustrated 535

533

136

538

536

538 Superbly Decorated Biedermeier-Style Pier Mirror, fourth quarter 19th century, Vienna, labeled by Sandor Jaray, with fluted pilasters decorated with lion’s heads terminating in composite capitals, the arched top plate terminating in a bellflower-molded frieze under a pediment crest decorated with pierced scrollwork, flanked by pierced anthemia, h. 80”, w. 36”. [2500/4000] Illustrated

537

Sandor Jaray (1845‑1916) was a noted gilder and tapestry maker for the Imperial Palace of the Kaiser, who showed a room of “Old Viennese Interiors” at the World Exhibition of Furniture in London, 1902.

539 Italian Polychrome Side Table, late 19th century, in the neoclassical taste, the faux-marbre rectangular top above a conforming frieze centered by a portrait medallion, raised on paneled tapering square legs ending in tall peg feet, h. 35‑1/4”, w. 48”, d. 17‑1/4”. [1000/1500] Illustrated

539

137

540 Warren W. Sheppard (American, 1858‑1937), “Venetian Canal Scene”, oil on canvas, signed lower right, 16” x 19‑3/4”. Presented in a giltwood and gesso frame.

[2000/4000] Illustrated

540

542

541 Pair of French Cut Glass and Gilt-Bronze Lamps, mid20th century, in the Empire style, possibly Baccarat, the strawberry-cut glass column-form standards mounted with engine-turned bronze fittings, base, h. 25‑1/2”, overall, h. 41”, w. 6‑1/2”, d. 6‑1/2”. [1200/1800] Illustrated 542 Swedish-Style Brass and Crystal Nine-Light Chandelier, 20th century, in the neoclassical taste, the basket-form chandelier set with eight candle arms and one interior candle socket, the leaf-shaped prism sprays decorating the body and an unusual crown-form corona set with sprays of drops, not electrified, h. 36”, dia. 22‑1/2”.

[1000/1500] Illustrated

541

138

543

544

543 French Silvered Bronze and Crystal Champagne Bucket, mid-20th century, in the Empire taste, the Baccarat-style diamond-point-cut glass bucket on an engine-turned base with a reeded standard, h. 31”, dia. 7‑1/2”. [700/1000] Illustrated

549

544 Set of Twelve New Orleans-Retailed Raised Gilt Limoges Dinner Plates, first quarter 20th century, decorated with a border of raised gilt acanthus leaves framed by laurel leaves, marked by the maker, Charles Ahrenfeldt of Limoges, in underglaze green, and the retailer, “E. Offner New Orleans Patented”, in overglaze gilt, dia. 10‑1/4”. [500/800] Illustrated 545 Pair of Empire-Style Giltwood Benches, of curule form, each with a cushioned rectangular top raised on an X-form base with lotus and foliate carving, ending in balland-claw feet, h. 21”, w. 23‑1/2”, d. 15‑1/4”. [500/800] 550 546 Hand-Painted KPM Plaque, “Waking Bacchante”, ca. 1900, Berlin, Germany, depicting a young woman reclining near a pool of water, impressed with “KPM” and the scepter, and “A” and “F”, in a contemporary frame, h. 11”, w. 13‑1/4”. [1500/2500] Illustrated 547 Louis-Philippe Ormolu-Mounted Mahogany Pier Table, second quarter 19th century, the rectilinear marble top over a frieze fitted with a single drawer, on classical columns with a brass capital and base, joined to a low concave shelf on ball feet, h. 36”, w. 44”, d. 18‑3/4”.

[600/900] 546

548 Continental School (First Quarter 19th Century), “Architectural Capriccio with Fountain and Figures”, oil on canvas, unsigned, 37” x 59”. Framed. [1500/2500] Illustrated 549 Italian School (First Quarter 19th Century), “Architectural Capriccio With Peasants”, oil on canvas, unsigned, 27” x 44‑5/8”. Framed. [1000/1500] Illustrated

548

550 Follower of Giovanni Paolo Panini (Italian, 1691‑1765), “Capriccio with Figures in Classical Ruins”, first quarter 19th century, oil on canvas, unsigned, 32” x 42”. Framed. [1000/1500] Illustrated

139

551 Carved Alabaster Figure of Venus de Milo, fourth quarter 19th century, after the Antique, h. 24‑1/2”, w. 5‑1/2”, d. 6”.

[500/800] Illustrated 552 Continental Neoclassical-Style Alabaster and GiltBronze Figure of a Maiden, ca. 1900, the white alabaster figure of a woman in neoclassical dress, a gilt-bronze and alabaster urn to one side, above a mottled base, formerly mounted as a lamp, h. 17‑3/4”, w. 10‑3/4”, d. 9‑3/4”.

[2000/4000] Illustrated 553 Italian Carved Alabaster Figure of the “Winged Victory of Samothrace”, fourth quarter 19th century, after the Antique, h. 25‑1/4”, w. 16‑1/2”, d. 19‑1/2”. [500/800] Illustrated 554 Pair of Gilt-Metal and Marble-Top Occasional Tables, late 19th century, in the Empire taste, the circular marble top with deep molded edges, supported by three legs headed by female masques, joined by a patterned circular stretcher and ending in hoof feet, h. 28”, dia. 28”. [500/800]

553

551

140

552

555 Pair of French Crystal, Bronze and Porcelain Lamps, mid-20th century, in the neoclassical taste, the bronze and biscuit porcelain bases supporting swirlmolded crystal vases, possibly Baccarat, base, h. 18‑1/2”, overall, h. 37‑3/4”, dia. 8‑1/4”.

[1000/1500] Illustrated

555

556 Unusual Louis XVIStyle Bronze and Crystal Basket-Form Six-Light Chandelier, second quarter 20th century, with strings of drops set in the lower portion and lattice-form prisms in the upper portion, set with candle arms mounted with faux candles and faux shades, h. 32”, dia. 23‑1/2”. [500/800] 557 Biedermeier-Style Burl Wood Vitrine, the triangular pediment above a case fitted with two long doors, each inset with two glazed panels and opening to a shelved and electrified interior, flanked to either side by an ebonized column and over two drawers, raised on block feet, the whole with inlaid and ebonized accents, h. 89”, w. 65‑1/2”, d. 19‑1/2”. [2000/4000] Illustrated

558

558 Pair of French Bronze and Sienna Marble Candlesticks, fourth quarter 19th century, in the Restauration style, the marble standards capped with Corinthian capitals and lotus-molded candlecups, and raised on paw-footed patinated bronze bases, h. 16‑1/2”, dia. 4‑3/4”. [500/800] Illustrated 559 Restauration Mahogany and Marble-Top Side Table, mid-19th century, the rectangular white marble top above a conforming frieze fitted with a single drawer, joined by a mirrored back and scrolling dolphin-carved supports to a concave stretcher shelf, raised on bun feet, h. 35”, w. 43”, d. 19‑1/2”.

[1000/1500] Illustrated

557

559

141

560 Pair of Framed Collections of Italian Grand Tour Plaster Roundels, third quarter 19th century, the souvenir roundels decorated with familiar classical and Renaissance artworks after the Antiques, presented in contemporary giltwood shadowbox frames, h. 15”, w. 10‑1/4”. [700/1000] Illustrated

560 561 Empire-Style Bronze Pedestal, early 20th century, the circular top above an imbricate-carved frieze raised on a central oak-leaf-entwined standard and three supports, each headed by a ram’s head and ending in acanthinemodeled hoof feet, h. 36‑1/4”, dia. 13”. [500/800] Illustrated

562

562 Pair of French Gilt-Bronze and Cut Crystal Vases in the Empire Style, second quarter 20th century, with bronze winged paw feet supporting the strawberry-cut crystal vases with molded bronze rims, possibly Baccarat, h. 12‑1/2”, w. 7‑1/2”, d. 7‑1/2”. [500/800] Illustrated 563 French Porcelain Figural Corbeille in the Sevres Style, first quarter 20th century, with parcel-gilt caryatids supporting the pierced bateau-form basket, raised on paw feet, marked with a spurious “Imp. de Sevres” signature, h. 18‑1/4”, w. 13”, d. 9‑1/2”. [1800/2500] Illustrated 564 Continental Gilt-Bronze of Venus and Frolicking Putti, first quarter 20th century, h. 14”, w. 18”, d. 8‑3/4”.

[500/800] Illustrated

561

142

563

566 Empire-Style Fruitwood Vitrine, 20th century, the rectangular top with convex sides and projecting corners, above a conforming case fitted with two glazed doors opening to a tufted and fabric-lined interior, the four corners with applied verde antico marble columns with ormolu maiden’s head capitals, joined to a lower shelf by a mirrored back and square columns headed by winged maiden’s, the whole raised on paw feet, h. 61”, w. 40”, d. 18‑1/2”. [800/1200] Illustrated

565

564

565 French Belle Epoque Giltwood Overmantel Mirror in the Empire Taste, fourth quarter 19th century, with an egg-and-dart molding surround, the crest decorated with a tablet depicting raised swagging flanked by bas-relief-molded scrollwork and flowers, set with a beveled mirror plate, h. 61”, w. 55‑1/2”. [500/800] Illustrated

567 Pair of Beaux-Arts Bronze Andirons, ca. 1900, probably Italian, on anthemia-molded bases with Corinthian column standards, with spherical finials, set with iron billet bars, h. 29‑1/2”, w. 9”, d. 24”. [1500/2500] Illustrated

567

566

143

568 Pair of Empire-Style Mahogany and Marble-Top Gueridons, 20th century, each with a circular marble top above a conforming ormolu-mounted frieze, raised on four tapering square supports headed by ormolu maiden’s heads and ending in like feet on a concave base to ormolu paws, h. 32”, dia. 20‑1/2”. [800/1200] Illustrated

569

568

570

569 Pair of Restauration Bronze Dore et Patine Eagles on Standards, second quarter 19th century, the square plinths molded with gilt-bronze fittings, and topped with fluted columns set with leaf-molded capitals and finials of bronze displayed eagles, h. 24‑3/4”, w. 5‑1/2”, d. 5‑1/2”.

[1500/2500] Illustrated 570 Gilt-Bronze Figure of “La Femme au Perroquet”, fourth quarter 19th century, after Louis Sauvageau (French, 1822‑ca. 1874), cast signature at edge, on a green marble base, h. 24”, w. 10‑1/2”, d. 10‑1/2”.

[2500/4000] Illustrated 571 Continental Patinated and Gilt-Painted Bronze of “Pauline Bonaparte as Venus Victrix”, first quarter 20th century, after Antonio Canova (Italian, 1757‑1822), on a black marble plinth, overall, h. 13‑1/4”, w. 22”, d. 7‑3/4”. [800/1200] Illustrated

571

144

573

574 Empire-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top above a conforming case fitted with a frieze drawer over two long drawers, flanked to either side by an engaged ormolumounted column, raised on ebonized paw feet, h. 38”, w. 53”, d. 27”. [1200/1800] Illustrated

575 572

572 French Bronze and Cut Glass Figural Centerpiece, ca. 1900, in the Empire style, the flared and cut glass bowl supported by a three-part gilt- and patinated bronze caryatid standard, above a molded bronze base decorated with gilt swags on a patinated ground, h. 15‑3/4”, dia. 7‑3/4”. [900/1200] Illustrated 573 Near Pair of French Bronze Three-Light Chandeliers, second quarter 20th century, in the neoclassical taste, inspired by ancient oil lamps, the font with molded masques, the standard decorated with a fluted urn and terminating in classical draped figures, h. 22‑1/2”, dia. 15”. [1000/1500] Illustrated

575 Unusual Pair of French Gilt- and Patinated Bronze Two-Light Sconces, second quarter 20th century, in the Empire style, with angel-form backplates holding sprays of crystal drops, perched on spheres mounted with molded candle arms terminating in swan’s heads, electrified, h. 19‑1/2”, w. 10‑1/2”, d. 7‑3/4”. [600/900] Illustrated

574

576 German Patinated Bronze Humorous Wall Hook of a Satyr and a Horseshoe, first quarter 20th century, numbered “53165” and inscribed “Geschutzt” along interior edge of clippers, as mounted, h. 6‑1/2”, w. 6”, d. 5‑1/2”. [500/800]

145

577 Continental Patinated Bronze of Spartacus, 20th century, the figure depicted holding his broken chains, a variant of the 1830 sculpture by Denis Foyatier (French, 1793‑1863), now at the Louvre, Paris, on a black marble plinth, overall, h. 18”, w. 9”, d. 5”. [500/800] Illustrated

578

577

579 French Empire-Style Gilt-Bronze and Patinated Metal Nine-Light Chandelier, second quarter 20th century, the patinated body set with molded and gilt candle arms and patera-form mounts in two tiers, and a pine cone drop finial, the corona decorated with gilt anthemia, h. 19”, dia. 21”. [1500/2500] Illustrated

578 Pair of French Empire-Style Bronze Two-Light Sconces, 20th century, each with a leaf-molded backplate holding a pair of swan-molded candle arms, h. 16”, w. 8‑1/4”, d. 7”. [900/1200] Illustrated

579

146

580

580 Pair of Directoire Bronze Dore et Patine Two-Light Candelabra, ca. 1800, the patinated bases decorated with gilt trophies and supporting patinated figures in neoclassical dress, holding pairs of molded and engineturned candle branches, h. 17‑1/2”, w. 7‑1/2”, base dia. 4‑1/4”. [700/1000] Illustrated 581 Empire-Style Mahogany Kneehole Desk, early 20th century, the rectangular top with an inset leather surface, above a single long frieze drawer faced as three, raised on two side banks, one fitted with a cupboard door, the other with three short drawers, flanking a central kneehole cupboard, raised on tapering square legs, h. 31‑1/2”, w. 51‑1/2”, d. 33”. [800/1200] Illustrated 582 French Empire-Style Bronze Candelabrum, first quarter 20th century, mounted as a lamp, on a round patinated base decorated with mounts of trophies, the standard in the form of three caryatids supporting the molded candle arms and candle sockets trimmed with engine turning, base, h. 21”, overall, h. 35‑1/2”, dia. 7‑1/2”.

[800/1200] Illustrated 582

581

147

583 Pair of Restauration Mahogany Bergeres, mid-19th century, each with a padded rectangular back surmounted by an inlaid ebonized diamond, joined by padded arms on lion’s masque hand rests to the cushioned seat, raised on balustershaped legs, h. 36‑1/2”. [6000/9000] Illustrated 584 Neoclassical Kingwood Center Table, mid-19th century, the rectangular top banded and with decorative inlay, above a frame fitted with a single drawer, raised on tapering square legs headed by decorative and ebonized banding, h. 29‑1/2”, w. 34”, d. 29”. [1000/1500] Illustrated 585 French Bronze of “Diane Chasseresse”, fourth quarter 19th century, after Jules Clement Levasseur (French, 1831‑1888), cast signature at self-base, h. 36‑3/4”, w. 13‑1/2”, d. 9‑1/2”.

[3000/5000] Illustrated 586 Continental Patinated Bronze of “Aura”, the Personification of the Breeze, the figure with garment billowing around and above her, on a black marble plinth, overall, h. 32‑3/4”, w. 7”, d. 10‑1/2”. [1200/1800] Illustrated 587 Italian Grand Tour Patinated Bronze of a Satyr with Cymbal and Kroupezion, 19th century, after the Roman marble copy of a 1st century BCE Greek sculpture, now at the National Gallery of Ancient Art, Rome, h. 29”, w. 12”, d. 9”.

[1800/2500] Illustrated

584

588 Pair of Empire-Style Mahogany Fauteuils, 20th century, each with a backswept crest above a padded rectangular back, joined by sloping arms to the padded seat, raised on tapering square legs ending in gilt paw feet, h. 43”. [1800/2500] Illustrated

583

148

585

587

586

589 Enamel Plaque of Psyche, ca. 1900, probably Limoges, the goddess depicted in a gold and turquoise gown, against a black ground, artist-signed “AC Jean”, the old leather frame from the Municipal School Society in Paris’ 19th arrondissement, the property of M. Despagne, h. 8‑3/4”, w. 7‑1/2”. [500/800] Illustrated 590 KPM Porcelain Covered Garniture Urn, first quarter 20th century, Berlin, Germany, the urn molded with ribbons on a greenglazed ground, hand-painted with flowers in a medallion, the domed cover with a bowknot knop, marked with an underglaze blue scepter and the red orb “KPM” mark, h. 10‑3/4”, dia. 7‑1/4”. [800/1200]

588

589

149

591 Well-Executed Austrian Hand-Painted Charger in the Royal Vienna Style, fourth quarter 19th century, depicting Mary Magdalene after Guido Reni (1575‑1642), the gilt-ground border decorated with delicate blue and pink scrollwork, punctuated by lunette-form panels, dia. 14‑1/2”. [600/900] Illustrated

591

592 Eight-Piece Collection of French Brass Candlesticks, comprising a pair of Louis XV-style molded candlesticks, fourth quarter 19th century, h. 9”, an assembled pair of Louis XV brass candlesticks, fourth quarter 18th century, h. 9‑1/2”, and two pairs of Restauration candlesticks, second quarter 19th century, including an engine-turned pair, h. 8‑1/2”, and a molded pair, h. 10‑1/4”. [500/800] 593 French Gilt-Bronze and Glass Eight-Light Hall Lantern, in the neoclassical taste, the inverted bell-form lantern with a glass-set gilt-bronze frame pierced with oak leaves and acorns on the upper and lower edges, the interior fitted with fluted bronze candle sockets and drip pans, h. 54”, w. 23‑1/2”. [2500/4000] Illustrated

594

150

593

594 Miniature Empire-Style Mahogany and Marble-Top Commode, mid-19th century, the rectangular Sainte Anne des Pyrenees marble top above a conforming case fitted with a single frieze drawer over three recessed drawers, flanked to either side by freestanding ormolumounted columns, raised on turreted feet, h. 20”, w. 20”, d. 12‑1/2”. [600/900] Illustrated

595

596

595 Pair of French Bronze and Marble Bacchanalian Busts, second quarter 19th century, the contrasting black and white marble bases trimmed in engine-turned bronze and supporting patinated bronze busts of figures wearing grapes in their hair, h. 12‑1/2”, w. 4‑1/2”, d. 4”.

[1500/2500] Illustrated 596 Handsome Italian Alabaster Bust of a Young Boy, fourth quarter 19th century, in the neoclassical style, probably after the Antique, modeled with a toga tied on one shoulder, h. 16”, w. 9‑1/2”, d. 6‑1/4”. [500/800] Illustrated

598

597 Suite of Eight Neoclassical-Style Fruitwood Sidechairs, early 20th century, each with a flared rectangular back with an interlacing arched splat, the padded seat raised on fluted tapering square legs ending in peg feet, h. 35”. [800/1200] Illustrated 598 Pair of English Agateware Doric Pedestals, third quarter 19th century, h. 45‑3/4”, w. 16‑1/2”, d. 16‑1/2”.

[1500/2500] Illustrated

597

151

599 Pair of William IV Cast Iron Griffins on Granite Plinths, second quarter 19th century, the winged seated griffins with well-molded details to the head, wings and tails, and raised on pink and gray mottled granite plinths, h. 26‑1/2”, w. 11‑1/2”, l. 31”. [2500/4000] Illustrated

599

600 Continental Gilt-Brass and Patinated Metal Four-Light Chandelier, second quarter 19th century, in the Restauration taste, the patinated metal standard set with gilt flower mounts and an engineturned finial, the chain holders with matching flowers and scrollwork, the dolphin-form candle arms holding the turned sockets, h. 14”, dia. 16‑1/2”.

[500/800] Illustrated 601 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”. [500/800] Illustrated

604 Continental Bronze of Attis, the Consort of Cybele, first quarter 20th century, after Jean-Baptiste Clesinger (French, 1814‑1883), a “Barbedienne/Fondeur” inscription and “Reduction Mecanique/A. Collas” mark at edge of base, inscribed “J. Clesinger/Rome/1860” on figure’s sash, h. 10‑1/2”, w. 4‑1/2”, d. 4”. [500/800]

601

600

602 French Neo-Grec Bronze and Marble Tazza, third quarter 19th century, with anthemion-molded pierced handles, a central roundel decorated with a bas-relief of two figures in classical dress, and borders of reliefmolded tigers and anthemia, on a black marble base, h. 5”, dia. 10‑1/4”. [600/900] 603 Neoclassical-Style Bronze Jardiniere, the bowl set with classical masques, on a tripodal base joined by a central ring, each leg on paw feet, h. 34‑1/4”, dia. 17”.

[2500/4000] Illustrated

152

605

605 French Patinated Bronze of Urania, the Muse of Astronomy, fourth quarter 19th century, the muse depicted with her usual attributes of globe and pointing rod, an “F. Barbedienne, Fondeur” inscription and foundry mark at back of base, h. 14‑1/2”, w. 6‑3/4”, d. 8‑3/4”.

[900/1200] Illustrated

603

606

606 Pair of Belle Epoque-Style Patinated Metal Figures of Cupids, mounted as lamps, each figure holding aloft a torch mounted with a lamp socket, on leaf-trimmed cylindrical bases, h. 20”, dia. 6”. [700/1000] Illustrated 607 French Patinated Bronze of “Le Triomphe de Bacchus”, fourth quarter 19th century, after Claude Michel Clodion (French, 1738‑1814), cast signature at edge of self-base, on a red marble plinth, overall, h. 18‑1/2”, w. 10”, d. 9‑1/2”. [1500/2500] Illustrated

607

153

608 Continental Mahogany Neoclassical Games Table, mid-19th century, the hinged demi-lune top opening to an inset surface, raised above a plain frieze on incised cabriole legs, h. 28”, w. 42‑1/2”, d. 21”. [900/1200]

611 Austrian School (18th Century), “Portrait of a Dignitary”, oil on canvas laid down on board, heraldic symbol of a wolf with a ribbon in its mouth, unsigned, 53” x 39”. Framed [1000/1500] Illustrated

609

609 Pair of Biedermeier Mahogany Cellarette Pedestals, early 19th century and later, each with a square top, above a conforming case fitted with a single drawer over a cupboard opening to a metal-lined interior, raised on a tapering standard to a molded square base, h. 43‑3/4”, w. 18”, w. 17‑1/4”. [500/800] Illustrated 610 Pair of Restauration Bronze and Marble Urns, second quarter 19th century, now mounted as lamps, the patinated bronze kylix-form urns raised on rosso antico marble bases mounted with gilt-bronze wreaths, h. 10‑1/2”, overall, h. 24‑1/2”, dia. 5‑1/2”. [1000/1500] Illustrated

610

154

611 612 Pair of Neoclassical-Style Pewter Table Lamps, in the form of urns, decorated with bas-relief depictions of helmeted warriors, base, h. 19”, overall, h. 30”, dia. 9”.

[800/1200] Illustrated

612

613

613 Striking Neoclassical-Style Basket-Form Eight-Light Coral Chandelier, of Louis XVI inspiration, hung with carefully graduated polished coral, with small strands on the lower portion, medium strands on the upper portion and bold clusters on the central ring and corona, the interior with eight light sockets, h. 57”, dia. 41”. [5000/8000] Illustrated

155

614 Handsome Pair of French Tole Planters, in the Directoire style, decorated in faux porphyry and trimmed with a gilt Greek-key, the paw-footed flaring planters set on square plinth bases, h. 11”, w. 13”, d. 8‑1/2”. [500/800] 615 Pair of Neoclassical-Style Rouge Griotte FauxMarbre Pedestal Cabinets, each with a rectangular faux slate top above a conforming fluted faux-marbre body fitted with a single door opening to a shelved interior, raised on a molded ebonized base, h. 39”, w. 17”, d. 18‑3/4”. [800/1200] 616 Edmund Henry Garrett (American, 1853‑1929), “Triumphus”, oil on canvasboard, signed lower right, 15‑3/4” x 10‑1/4”. Framed. [600/900] Illustrated This scene of a triumphant General returning to Rome with the spoils of war may be from Garrett’s commission to illustrate the popular novel “Quo Vadis”.

617 Mixed Marble Bust of Hadrian, Emperor of Rome, after the Antique, the mottled mauve and white draped torso supporting the white marble head, on a gray stone socle, h. 27‑1/2”, w. 18‑1/2”, d. 8‑3/4”. [800/1200] Illustrated 618 Mixed Marble Bust of Apollo Belvedere, after the Antique, the tan and black mottled torso supporting the white marble head, on a gray stone socle, h. 25‑1/2”, w. 19”, d. 8”. [800/1200] Illustrated

617

618

616

156

619

619 Fine Early Louis XV Old Standard (.958) Silver Cafetiere Marabout, marked Paris, 1732, by Guillaume Ledoux (Master 1705; died 1751), the pear-shaped body with spiral-fluting with chased and pricked wave-banding at the top and base, the front decorated with a fine repousse rococo cartouche with shells, waves, bulrushes, flowers, prawns, fish, dolphins and putti fishing with tridents all centering ducal arms, with molded rim and “duck’s beak” spout, the hinged domed lid with flower bud finial and rocaille billet, with crested ebony handle, h. 8‑1/4”, dia. 6”, l. 7‑3/4”, 33.11 t. oz.. [18000/25000] Illustrated A very similar 1747 coffeepot by the same maker is in the collection of the Metropolitan Museum of Art in New York; see also Christie’s Paris, Sale 5622, April 13, 2010, lot 96, for another near-identical 1732 piece by Ledoux.

157

620 Pair of Austrian Empire 13 Lot (.813) Silver Candlesticks, 1816, Prague, by Tomas Hopfel (1793‑1847; Master 1815), each with a tapering standard of octagonal section, surmounted by a cylindrical nozzle with beaded edges and raised on a trumpeting foot, the whole decorated with narrow guilloche bands, h. 11‑1/8”, dia. 4‑3/8”, 20.49 total t. oz. [1400/1800] Illustrated

622

620

621 Pair of German 12 Lot (.750) Silver Candlesticks, first quarter 19th century, Hanover, by Christian Ludewig Busch (1773‑1872; Master 1803), each with a tapering standard with applied garland capital, surmounted by a vasiform nozzle with engraved leaf calyx and detachable circular bobeche, the whole raised on a trumpeting foot with laurel banding above a square plinth base raised on four spherical feet, monogrammed on the basal edge “HC”, h. 1‑1/4”, w. 4‑1/8”, 27.16 total t. oz. [1200/1800] 622 Pair of German 12 Lot (.750) Silver Candlesticks, second quarter 19th century, Hanover, by Georg Julius Friedrich Knauer (1790‑1855; Master 1816), each with a tapering standard with annular capital and acanthus frond calyx, surmounted by an inverted bell-form nozzle with gadrooned drip-pan and detachable nozzle, the whole above an ogee-domed circular base with leaf-and-dart banding, h. 9‑3/4”, dia. 4‑1/8”, 20.93 total t. oz. [900/1200] Illustrated

158

623 Two Pieces of Continental Silver-Mounted Bohemian Cobalt-Cut-to-Clear Overlay Glass Tableware, third quarter 19th century, including a French first standard (.950) cruet frame by Emile Hugo (fl. Paris, 1853‑1880), of rounded navette form, with scrolled rim and central standard with ring handle flanked by openwork “lattice” receptacles, with cobalt-cut-to-clear bottles with stoppers en suite, overall, h. 10‑1/4”, w. 5‑5/8”, l. 10‑3/4”, and an Austrian compote with cobalt-cut-to-clear floriform bowl and third standard (.800) silver base, the base with gadrooned knop and domed foot decorated with embossed acanthus fronds and applied lion’s masques, with gadrooned rim, h. 6‑3/4”, dia. 7‑3/4”, 21.95 total t. oz. (excluding glass elements). [500/800] Illustrated

623

624 624 Continental Silver and Cut Glass Figural Centerpiece, fourth quarter 19th century, the standard in the form of a doe standing beside an oak tree, both realistically detailed, the tree fitted with an openwork ovolo-banded receptacle fitted with a “strawberry and diamond fan” cut glass dish, the whole above a paneled and waisted base with three scrolling acanthus feet, h. 19”, dia. 14‑1/4”, 42.53 t. oz. (base only). [2500/4000] Illustrated 625 Fourteen-Piece Western Asian 84 Zolotnik (.875) Silver Cordial Set, fourth quarter 19th century, probably Armenian, with Imperial Russian import marks, comprising a bottle, h. 9‑1/2”, dia. 4‑1/4”, twelve cups, h. 3‑3/8”, dia. 1‑7/8”, and a circular tray, dia. 13‑3/8”, all pieces decorated with pointed lobed panels decorated with repousse flowers alternating with grape clusters, the cup feet and bottle collar decorated with engraved grapevine banding, 55.87 total t. oz. [3000/5000] Illustrated

625

159

626 Large Continental Silverplate Jardiniere, fourth quarter 19th century, of navette form, the slightly waisted sides decorated with openwork cartouches of frolicking putti separated by imbricate panels, the elaborately figured rim crested by rococo cartouches on the sides and scrolling mascaron handles on the ends, the whole raised on four shell and scroll feet and fitted with a tin liner, h. 8”, l. 19”, w. 9‑1/2”.

[1800/2500] Illustrated 627 Austrian Third Standard (.800) Silver Figural Compote, first quarter 20th century, by Abraham Metzger, Vienna, the figural standard in the form of two putti, one seated playing a horn, the other standing by a foliate stalk, surmounted by a large, well-detailed rocaille shell, the whole raised on a domed base embossed with rococo flowers and scrolls centering a cartouche, waisted and supported by four rococo scroll feet, h. 13‑1/4”, w. 12”, 50.70 t. oz. [6000/9000] Illustrated

3

628 Unusual Set of Four German .800 Silver Gilt Candlesticks, first quarter 20th century, probably Hanau, in the Historizmus taste, each with an openwork baluster standard, the central knop with eight small figures of musicians, the capital with four maiden’s heads, the base with four putti, the ovolo and beaded-banded nozzle supported by four wolves’ heads joined by floral garland held in their mouths, the whole on a base with four rococo cartouches with allegorical figures of the hunt and the harvest, raised on four scrolling feet, h. 11”, dia. 6‑3/4”, 104.72 total t. oz. [10000/15000] Illustrated

627 628

629 Continental Silver Wine Cooler, fourth quarter 19th century, probably Hanau, Germany, in the classical taste, with bulbous serpentine-lobed body and tall cylindrical collar, the body decorated with opposing embossed panels of Pluto and Neptune, the collar embossed in the round with a bacchanal, with embossed reed-and-ribbon rim and figural handles of a male and female melusine, each with a dolphin in each hand, the whole above a conforming foot with ovolo banding, the interior gilt, h. 11‑1/2”, dia. 8‑1/2”, w. 10‑1/2”, 80.98 t. oz. [7000/10000] Illustrated 630 Set of Twelve Continental Silver Ice Cream Spoons, ca. 1900, probably Italian, in the rococo taste, with rocaille and mascaron decoration, l. 4‑1/8”, 6.69 total t. oz.

[500/800] 629

160

631 631 Large Pair of German .800 Silver Figural Candelabra, first quarter 20th century, by the Vereinigte Silberwarenfabriken Hanau, the standards in the form of male and female water-bearers, each balancing a palmette-banded urn on his/her head, the urn fitted with a detachable superstructure of six scrolling acanthus arms each terminating in a campana-form palmette-banded nozzle with leaf-and-dart banded drip pan and detachable bobeche, centering an addorsed cornucopia and lyre finial, the whole raised on a leaf-and-dart and laurel-banded plinth base above four displayed eagle feet, h. 26‑1/2”, dia. 16‑1/4”, 341.46 total t. oz. [25000/40000] Illustrated 632 Set of Ten German .800 Silver Dessert Bowls with Underplates, first quarter 20th century, by Georg Roth, Hanau, in the rococo taste, the footed bowls and underplates decorated with embossed “S”-scroll cartouches of flowers and putti on an openwork lattice ground, the bowls fitted with a textured glass liner, overall, h. 3‑1/4”, dia. 7”, 112.60 total t. oz. (excluding glass liners). [5000/8000] Illustrated

632

161

633 Pair of Continental Silverplate and Faux Tortoiseshell Jewel Boxes, first quarter 20th century, in the Louis XVI taste, each of oval form, the fitted lid with domed faux tortoiseshell panel inlaid with decorative cartouche and lifting to reveal the padded kidskin-lined interior, the whole raised on four thin cabriole legs, h. 2‑3/4”, l. 5‑1/4”, w. 4‑3/8”. [800/1200]

635

636 Four-Piece Christofle First Standard (.950) Silver Coffee and Tea Service, mid-20th century, Paris, including a coffeepot, h. 10”, l. 7”, a teapot, h. 8‑1/4”, l. 9‑1/4”, a covered sugar bowl, h. 6‑7/8”, w. 4‑1/4”, and a cream jug, h. 5”, l. 3‑1/8”, each with a serpentine-paneled pear-shaped body, the lids en suite with a modernist bud finial, the sugar bowl with opposing stirrup handles, the rest with crested ebony handles, all raised on conforming step-domed feet, 88.87 total t. oz. (including wooden handles). [4000/7000] Illustrated

634

634 French First Standard (.950) Silver Vase, fourth quarter 19th century, by Ernest Cardeilhac (1851‑1904), Paris, the spherical body with tall waisted neck and flared rim, decorated with repousse peonies, the rim with applied rococo scrolls, the whole raised on a flat circular foot, h. 14”, dia. 6‑1/4”, 24.94 t. oz. [2500/4000] Illustrated

636

635 German .800 Silver and Cut Glass Punch Pot, first quarter 20th century, comprising an ovoid lead crystal punch pot cut with laurel-mantled stars, with a silver collar and domed lid with pointed and fluted finial, presented on a silver stand with four stepped feet and two outscrolled handles, h. 14‑1/4”, dia. 9‑1/4”, w. 14‑1/4”, 29.28 total t. oz. (silver stand and lid only). [1800/2500] Illustrated

638

162

637

640

637 Two French Parcel-Gilt First Standard (.950) Silver Beakers, first quarter 20th century, by Henin & Cie., Paris, in the Louis XVI taste, each of traditional form with engraved shell and scroll banding, one with ovolo banded foot, the other with engraved panel lower half and gadrooned foot, h. 3‑3/4”, dia. 2‑5/8”, 9.33 total t. oz. [500/800] Illustrated

640 Mario Buccellati Sterling Silver Figure of a Gannet Chick, 20th century, Milan, realistically modeled with wirework feathers, the feet and beak gilt, signed under the foot “Mario Buccellati”, h. 5‑1/2”, l. 6‑1/4”, 6.94 t. oz.

[1500/2500] Illustrated

638 Pair of Spanish Parcel-Gilt Sterling Silver Fighting Cockerel Table Garnitures, mid-20th century, by Plateria Espunes, Madrid, the combatant birds realistically detailed with gilt combs, beaks and wing and tail feathers, h. 7‑1/2” and 5‑1/4”, l. 8‑1/4”, 20.51 total t. oz. [600/900] Illustrated 639 Four-Piece Buccellati Sterling Silver Coffee and Tea Service,, fourth quarter 20th century, handcrafted by Buccellati

by Bruno Vitali e figli, Padua, including a coffeepot, h. 11‑1/4”, l. 8‑1/8”, a teapot, h. 10‑1/4”, w. 10‑3/8”, a covered sugar bowl, h. 7‑1/2”, l. 5‑1/4”, and a cream jug, h. 5‑7/8”, l. 6‑1/8”, each with an octagonally-paneled pear-shaped body, with stepdomed lids and feet en suite, with palisander wood handles, the sugar bowl with opposing turned handles, the rest with handles of square section, 77.28 total t. oz. (including wooden handles).

[4000/7000] Illustrated 641

641 Chinese Export Silver Hand Mirror, first quarter 20th century, by Zee Sung, Shanghai, of oval form with pointed spatulate handle decorated with an embossed scrolling dragon centering a cartouche monogrammed “C”, the other side fitted with a conforming beveled mirror, l. 10‑3/4”, w. 7”. [800/1200] Illustrated 639

163

642 Chinese Export Silver-Mounted Rosewood Tray, first quarter 20th century, by Tuck Chang, Shanghai, the rectangular tray with carved and pierced foliate gallery, the narrow ends fitted with silver “bamboo” handles, the plateau with applied rectangular silver cartouche, h. 2‑3/8”, l. 22‑1/2”, w. 12‑1/4”. [900/1200] Illustrated

642

643 Japanese Twenty-Four-Piece .900 Silver Fish Service, second quarter 20th century, by Asahi Shoten, Tokyo, including twelve fish forks, l. 6‑3/4”, and twelve knives, l. 7‑1/2”, modeled after Tiffany’s “Wave Edge” pattern, each piece engraved on the filled handle with a crest of Camfield et al., the whole presented in the two-tiered, indigo velvet- and cream satin-lined blue pasteboard case, h. 3‑1/4”, w. 11”, d. 9”. [800/1200] 644 Southeast Asian Silver Bowl, second quarter 20th century, probably Balinese, of circular form with repousse scrolling band at the rim and foot, with applied bossmounted ring handle, h. 2‑3/4”, dia. 11”, 28.83 t. oz.

[700/1000] Illustrated

645

646 Regence-Style Ebonized and Marble-Top Commode, 19th century, the shaped breche d’Alep marble top above a conforming case fitted with two long drawers, both with an incised and polychrome scene of birds in a flowering landscape, raised on splayed legs ending in sabots, h. 36‑1/4”, w. 58”, d. 21”. [1000/1500] Illustrated 647 Chinese-Style Chinoiserie Panels, 20th century, lacquered canvas on board, depicting figures set in a landscape replete with rocks, bridges and pavilions, framed and mounted, overall, h. 60‑1/2”, w. 29‑1/2”.

[1500/2500] Illustrated

644

645 Continental Chinoiserie Leather Four-Panel Screen, 19th century, decorated with figures flying kites in a landscape with pine trees and gilt butterflies on a Chinese red ground, h. 72‑1/2”, w. 80”. [1200/1800] Illustrated

164

646

649

649 Pair of French Alabaster, Bronze and Enamel Garniture Urns, ca. 1900, the alabaster urns fitted with enamel-trimmed bronze fittings and lion’s head handles, both with chinoiserie covers, h. 15‑1/2”, dia. 5”.

[1000/1500] Illustrated

648 648 Evelio Garcia Mata (Cuban/French, 1910‑1985), “Chinoiserie-Style Wallpaper Panel” depicting figures in a garden, oil on paper laid on board, signed lower left, 47” x 31”.

Framed. [1200/1800] Illustrated

647

165

650 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. [3000/5000] Illustrated

652 650 651 Franco-Japanese Gilt-Bronze and Porcelain Tazza, fourth quarter 19th century, the French scrolled bronze stand set with a Japanese export pierced porcelain dish decorated with plum branches on a cerulean ground and trimmed with a gilt-bronze edge, h. 6”, w. 10”, d. 9”.

[1800/2500] Illustrated

653 Italian Pottery Figure, seated atop a cushion on a pedestal, the pedestal decorated with panels of lattice and molded leaves, set with the “cushion” and the seated Japonesque figure, h. 54”, w. 17”, d. 17”. [800/1200] Illustrated

651

652 Pair of Italian White-Glazed Terracotta Chinoiserie Figures, third quarter 20th century, made for Mottahedeh, one figure depicting a male playing a stringed instrument and the other a female figure holding a parrot, marked “Made in Italy” and with a paper label, “A Mottahedeh Design”, h. 34”, w. 13‑1/2”, d. 8‑3/4”.

[1200/1800] Illustrated

166

653

654

656

654 Royal Copenhagen “Juliane Marie” Figure, Depicting a Woman with a Child, ca. 1926, Danish, marked with an underglaze blue crown, the decorator’s initials “EH”, and the date “29‑11‑26”, h. 9”, w. 4‑1/2”, d. 5”. [1400/1800] Illustrated 655 Thirteen-Piece Napoleon III Giltwood Parlor Suite, third quarter 19th century, consisting of a settee, a pair of armchairs, eight sidechairs and two ballroom chairs, all with a floral torchere crest above a padded and tufted tapering back flanked to either side by a foliate, fluted upright, the ballroom chairs with an open trefoil splat, all with padded and tufted seats, raised on fluted tapering circular legs ending in bulbous toupie feet on casters, settee, h. 42”, w. 72‑1/2”, d. 29”, armchairs, h. 45”, sidechairs, h. 43”, ballroom chairs, h. 37”. [8000/12000] Illustrated 656 Pair of Belle Epoque Bronze and Marble Four-Light Candelabra, fourth quarter 19th century, in the Louis XV style, the mauve and aubergine mottled marble urn-form bases set with ram’s head handles supporting swags of flowers, the urns holding bronze flowers and leaves interspersed with candle sockets, h. 25”, dia. 11‑3/4”. [2000/4000] Illustrated

655

167

657 Louis XV-Style Giltwood and MarbleTop Console Table, early 20th century, the shaped marble top with a molded edge, above a conforming pierced shellcarved frieze, raised on molded shaped legs joined by a shell-form stretcher and ending in foliate scroll toes, h. 32”.

[700/1000] Illustrated 658 Bronze and Glass Eight-Light Chandelier in the Fin-de-Siecle Taste, the scroll-molded standard with pierced molded candle arms, each set with a pair of light sockets, set with frosted floriform shades, h. 24”, dia. 29”.

[600/900] 659 Pair of French Bronze Five-Light Sconces, of Louis XIV inspiration, with bowknots supporting the tapered backplates, terminating in leaf-molded finials, the leafmolded downturned arms mounted with ruffled, frosted shades, h. 37”, w. 14‑1/2”, d. 8”. [500/800] 660 Max Friedrich Rabes (German, 1868‑1944), “The Costume Ball”, oil on canvas, signed lower right, 46‑3/4” x 61”. Presented in an ebonized exhibition frame.

[20000/40000] Illustrated

660

661 Julio Vila y Prades (Spanish, 1873‑1930), “The Fortune Teller”, 1895, oil on wood panel, inscribed “A mi amigo Walter”, dated and signed lower right, 11‑3/4” x 7‑3/4”. Framed. [600/900]

664

663

168

662 Transitional Louis XV-into-Louis XVI-Style Birdseye Mahogany Bureau Cylindre, fourth quarter 19th century, the rectangular top with projecting corners and a three-quarter pierced brass gallery, above three frieze drawers, all with annulated banding, over two shutter tambours opening to various compartments and a pull-out inset leather writing surface, over a central drawer, flanked by two small drawers to either side, the upper drawers and lower center drawer mechanized to lock when the tambour is closed, the sides each fitted with a leather-inset slide, the back paneled, raised on molded cabriole legs headed by finely figured ormolu mounts and ending in ormolu paws, the whole richly accented with ormolu mounts and millwork of high quality, h. 47‑1/2”, w. 60”, d. 32”. [5000/8000] Illustrated After an 18th-century model by Jean-Henri Riesener (French, 1734‑1806), in the collection of the Louvre, Paris.

663 After Francesco Beda (Italian, 1840‑1900), “A Game of Billiards”, 20th century, signed “Chapman” lower right, 48” x 72”. Presented in an elaborate giltwood frame. [3000/5000] Illustrated 664 French Bronze Twelve-Light Chandelier, in the rococo taste, the pierced leaf-molded standard set with matching arms holding candle sockets on two tiers, each with molded drip pans and matching pierced candlecups, h. 36”, dia. 21”. [1000/1500] Illustrated

657

662

169

665 Belle Epoque Gilt-Bronze Mantel Clock, fourth quarter 19th century, in the Regence taste, the base decorated with molded scrollwork, swags of laurel leaves and a cartouche of leaves on a lattice ground, the scrolled side arms support the clock, set with marked Vincenti et Cie works, and a fluted urn with lion’s head handles serves as the finial, h. 22”, w. 19‑1/4”, d. 6”. [1200/1800] Illustrated

667

665

666

170

666 Louis XV-Style Mahogany Writing Table, 20th century, the shaped ovoid top with an inset gilt-tooled leather surface and ormolu banding, above a shaped frieze fitted with a single central drawer, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts and millwork, h. 30”, w. 55”, d. 29”. [1000/1500] Illustrated

667 Napoleon III Bronze Dore et Patine Five-Light Candelabrum, in the Louis XV taste, the patinated bronze putto standard supporting scrolled candle arms hung with garlands of bronze roses, above a serpentine base with foliate-form feet, now mounted as a lamp with a custom fringed shade, base, h. 24”, overall, h. 41”, w. 10‑1/2”, d. 15”. [500/800] Illustrated

668 (detail)

670

668 Neoclassical-Style Bronze and Porcelain Gueridon, on a tripartite base with an urn-molded central standard, an egg-and-dart bronze surround framing the Viennastyle top, the central panel hand-painted with Dionysian dancers, raised gilt decorating the magenta and green border, h. 34”, dia. 20‑1/2”. [1500/2500] Illustrated 669 Louis XIV-Style Giltwood Stool, the padded rounded rectangular top above a shaped foliate-carved frieze, raised on shaped paneled legs headed by bellflower carving and ending in spade feet, h. 19”, w. 34”, d. 23‑1/2”.

[500/800]

668

670 French Patinated Bronze and Marble Mirror, ca. 1900, comprised of a cherub holding aloft a gilt-metal-backed and -framed mirror, after Auguste Moreau (French, 1834‑1917), cast signature at back edge of self-base, atop a red griotte marble plinth, overall, h. 19”, w. 6”, d. 4‑3/4”.

[1500/2500] Illustrated

171

671

673 671 French Belle Epoque Figural Patinated Metal and Rouge Griotte Marble Clock, fourth quarter 19th century, the figure after Albert Ernest Carrier-Belleuse (French, 1824‑1887) and depicting two putti holding aloft a sphere, the sphere set with clockworks with a marble face, raised on a fluted marble base, impressed “A. Carrier” on the base of the figure, h. 27‑1/2”, dia. 10‑1/4”.

[2000/4000] Illustrated

672

172

672 Louis XVI-Style Mahogany and Marble-Top Center Table, late 19th century, the circular marble top within a brass banding and above a conforming paneled frieze fitted with a single drawer, joined to a galleried concave lower shelf by tapering square legs headed by an ormolu ribbon garland and ending in toupie feet, h. 30‑1/2”, dia. 28”. [1000/1500] Illustrated

674

675 Pair of French Bronze and Porcelain Garniture Urns, first quarter 20th century, of Louis XIV inspiration, the bronze hoof-footed monopodia terminating in ram’s heads, and supporting the cerise-ground urns decorated with hand-painted panels of flowers and crests trimmed in raised gilt scrollwork, h. 17”, dia. 6”. [1500/2500] Illustrated 676 Henri Victor Lesur (French, 1863‑1900), “A Stroll in the Park”, oil on cradled wood panel, signed lower right, 22” x 14‑1/2”. Presented in a Louis XV-style giltwood and gesso frame. [4000/7000] Illustrated

675 673 French Polychrome Leather Three-Fold Screen, late 19th century, each panel slightly arched and with brass tack accents, with a central floral arrangement surrounded by scrolling foliate patterns, h. 72”, w. 66”. [700/1000] Illustrated 674 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, early 20th century, the shaped marble top above a conforming case fitted with a frieze drawer with ormolu banding over two drawers, inlaid with a floral spray and banded en suite, raised on slightly splayed legs ending in sabots, h. 32”, w. 21‑3/4”, d. 14‑1/4”. [2500/4000] Illustrated

678

677 Louis XV Carved Giltwood Barometer, ca. 1768, Paris, of “banjo” form, the lower section leaf-carved with a pineapple finial supporting the rocaille-carved dial surround, surmounted with a thermometer and a flaming urn finial, the dial signed “L. Coquentiiz, a Paris, 1768”, h. 45‑1/2”, w. 16”. [500/800] 678 French Belle Epoque Gilt-Bronze Four-Light Candelabrum, fourth quarter 19th century, in the Louis XV style, the standard depicting a putto holding a branch set with molded bronze flowers interspersed with candlecups, on a column-form base decorated with a border of laurel leaves and swags of flowers, h. 26‑1/2”, dia. 15”. [1000/1500] Illustrated

676

173

679 Set of Thirteen Royal Copenhagen Hand-Painted Dinner Plates, ca. 1960, Danish, decorated with gilt borders tooled with a lattice pattern, and hand-painted flower bouquets, marked with an underglaze blue and overglaze green “1960” mark, dia. 10‑3/4”. [700/1000] Illustrated

679

680 Pair of French Gilt-Bronze Two-Light Sconces, 20th century, in the Louis XIV taste, the inverted urnform backplates decorated with leaf molding and holding scrolled candle arms with molded drip pans and candlecups, h. 10‑1/4”, w. 12‑1/2”, d. 6”. [500/800] Illustrated

682 683 French Patinated Bronze of “Deux Oiseaux”, fourth quarter 19th century, after Ferdinand Pautrot (French, 1832‑1874), cast signature and date “1864” at edge of rock, h. 9‑1/4”, w. 4”, d. 9”. [1000/1500] Illustrated 684 Two Framed Panels of Rococo-Style Wallpaper, each decorated with a vase of flowers, a panel of love birds and musical trophies suspended from a bowknot, framed with a bower of flowers, h. 48”, w. 19‑1/2”. [500/800] Illustrated

680

681 Vernis Martin-Style Mahogany and Polychrome Cabinet, early 20th century, in the Louis XVI taste, the demi-lune top with a three-quarter pierced brass gallery, above a conforming case fitted with five drawers, all with polychrome putti and floral accents, flanked to either side by a tall paneled cupboard door featuring a classical maiden, raised on ormolu-mounted toupie feet, h. 51‑1/2”, w. 40”, d. 19”. [4000/7000] Illustrated 682 Follower of Margherita Caffi (Italian, 1650‑1710), “Exuberant Floral Still Life in an Urn, on a Ledge”, 19th century, oil on canvas, unsigned, 54” x 48”. Framed.

[1500/2500] Illustrated

174

681

683

685 Evelio Garcia Mata (Cuban/French, 1910‑1985), “Floral Still Life With Bird Pecking at the Ripe Pomegranate” and “Floral Still Life in a Glass Vase”, pair of oils on board, each signed lower left, each 26” x 20”. Framed alike.

[1000/1500] Illustrated 686 Continental School (Fourth Quarter 19th Century), “Still Life in a Classical Urn”, oil on canvas, unsigned, 36” x 28”. Framed. [600/900]

685

687 Transitional Louis XV-into-Louis XVI Kingwood and Marble-Top Bedside Table, late 18th century, the shaped rectangular breche d’Alep marble top with a threequarter shaped gallery and pull-up mirror, and a bowed front above a conforming case fitted with two quarterveneered drawers, raised on cabriole legs ending in sabots, h. 31‑1/2”, w. 15”, d. 11‑1/2”. [500/800] Illustrated

687

684

175

688 Pair of French Gilt-Bronze Three-Light Sconces, 20th century, in the Louis XIV taste, the urn-form backplates decorated with putti heads and flame finials, and supporting scrolled candle arms accented with incised decorations, h. 17‑1/2”, w. 17‑1/4”, d. 17‑1/4”. [2500/4000] Illustrated 689 Antique Kashan Carpet, 10’ 8” x 15’ 2”.

[5000/8000] Illustrated 690 Turkish Angora Oushak Carpet, 7’ 10” x 10’ 7”.

[1200/1800] Illustrated

689

176

688

690

693

691 Turkish Angora Oushak Runner, 3’ 1” x 29’ 7”.

[1000/1500] 692 Turkish Angora Oushak Carpet, 10’ 2” x 13’ 10”.

[1500/2500] Illustrated 693 Agra Tabriz Carpet, 9’ 11” x 13’ 5”. [1000/1500] Illustrated 694 Turkish Angora Oushak Runner, 3’ x 19’ 4”.

[700/1000]

692

177

696

695

178

697

698

699

700 701 695 Angora Oushak Runner, 3’ x 10’. [2000/4000] Illustrated 696 Turkish Angora Oushak Carpet, 8’ 4” x 10’ 7”.

[1200/1800] Illustrated 697 Angora Oushak Carpet, 10’ x 14’. [5000/8000] Illustrated

698 Agra Sultanabad Carpet, 11’ 10” x 14’ 10”. [1500/2500] Illustrated 699 Angora Oushak Carpet, 10’ x 13’. [5000/8000] Illustrated 700 Oushak Carpet, 12’ x 18’. [5000/8000] Illustrated 701 Fine Heriz Carpet, 8’ x 10’ 4”. [1500/2500] Illustrated

179

702

702 Pair of George III Irish Sterling Silver Goblets, hallmarked Dublin, 1808, by Gustavus Byrne (ca. 1757‑1812), retailed by William Law, each of ovoid form, decorated with a wide pricked wrigglework ovolo band, with opposing shaped ovolo cartouches, raised on a waisted stem above a cavetto-domed reeded foot, engraved with a crest of a dove or, close with an olive branch in its beak, h. 6‑1/2”, dia. 4‑1/2”, 19.90 total t. oz.

[3500/5000] Illustrated

704

703

703 Unusual Large Pair of George III Irish Sterling Silver Goblets, hallmarked Dublin, 1809, by Gustavus Byrne (ca. 1757‑1812), retailed by William Law, each of ovoid form, decorated with a wide pricked, wrigglework and engraved band of seashells on a matte and lattice ground, with opposing laurel wreath cartouches, raised on a waisted stem above a cavetto-domed reeded foot, h. 8”, dia. 5”, 29.72 total t. oz. [15000/25000] Illustrated 704 Fine Regency Sterling Silver Gilt Cup, hallmarked London, 1815‑1816,

by Samuel Hennell and John Terry, of campana form, the body decorated with intricately detailed and overlaid scrolling grapevines with integral handles, raised on a waisted stem with gadrooned capital and squared knop, the foot with gadrooned and vintage banding, h. 8”, dia. 5‑7/8”, 36.40 t. oz.

[3000/5000] Illustrated

180

705 Pair of Paul Storr (1771‑1844) Sterling Silver Ice Cream Servers, hallmarked London, 1818‑1819, in the traditional “Fiddle Husk” pattern, engraved with a crest of a griffin’s head erased, l. 8‑1/4”, 6.42 total t. oz.

[1200/1800]

706

706 detail

706 One Hundred and Thirty-Nine-Piece George IV Paul Storr (1771‑1844) and Later “Coburg” Sterling Silver Flatware Set, eighty pieces hallmarked London ,1816‑1819, by Paul Storr, two London, 1823‑1824, by Eley & Fearn, and 61 pieces London & Sheffield, 1980‑1981, by C. J. Vander, the Storr pieces comprising a dinner service for twelve, with the knives and fish forks being later replacements/additions by Vander, with fourteen Storr serving pieces (including two plain and one straining platter spoon), and a cheese scoop and mustard spoon by Eley & Fearn, the Storr piece engraved with a double crest of a cubit arm and a demi-griffin, the whole presented in a custom fitted, baize-lined mahogany case with hinged lid and three drawers, 15‑1/4” x 21” x 15”. [80000/120000] Illustrated

706 detail

181

707 Important Paul Storr (1771‑1844) “Ashburnham” Pattern Sterling Silver Tureen-on-Stand, hallmarked London, 1836‑1838, part of the service made for Bertram, 4th Earl of Ashburnham (1797‑1878), of bulbous oval form with shaped rim, chased with honeycomb pattern centering small blossoms on a matte ground, with outscrolled handles and four scrolling feet, the fitted, domed lid with knop finial and decorated en suite, lifting to reveal the fitted detachable liner, the whole presented on a conforming stand with bellflower banding, the body and lid with the chased arms of the Earl of Ashburnham, overall, h. 10‑1/4”, l. 15”, w. 11‑1/2”, 186.78 t. oz. [50000/80000] Illustrated This tureen, with its Persian-inspired pattern, was one part of one of the last major commissions of Paul Storr before his retirement in 1839. The full extent of the set of not known, but the number and scale of known pieces suggest it was an immense service. The pattern was widely copied well into the Victorian era.

182

707 Details

183

708 Pair of George IV Sterling Silver Sauceboats, hallmarked London, 1820‑1821,

by William Eaton (1788‑1845; free 1810), each of bateau form, the body serpentinelobed with rim en suite, with everted spout, with cast dolphin handle and three lion masque-crested lion’s paw feet, engraved on the body with an engraved rococo cartouche centering a crest of a cubit arm holding a scimitar, h. 5‑1/2”, l. 8”, w. 4‑5/8”, 30.57 total t. oz. [3500/5000]

709

709 Good George IV Sterling Silver Tureen, hallmarked London, 1824‑1825, by William Elliott, of bulbous oval form, decorated with repousse flowers and fruit on a matte ground, with gadrooned shell-and-scroll rim and acanthus-mounted reeded handles and four scroll feet, the fitted, ogee-domed lid decorated en suite and lifting to reveal the detachable liner, the lid engraved twice with the arms of Ellison quartering Isaacson with Ibbetson in pretence, the figural Ellison crest finial, the crest engraved on the body, h. 11‑1/2”, l. 16”, w. 11‑1/2”, 167.64 t. oz.

[14000/18000] Illustrated The arms here are those of Cuthbert Ellison (1783‑1860) of Hebburn Hall, co. Durham, son of Henry Ellison (1734‑1795) and Henrietta Isaacson (1750‑1805), and his wife Isabella Grace Ibbetson (1785‑1860), daughter and heir of Sir Henry Ibbetson; the couple were married on July 21, 1804.

711

710 Fine Pair of William IV Sterling Silver Wine Coolers, hallmarked London, 1837, by Benjamin Smith III (1793‑1850; free 1821), each of broadly gadrooned bucket form, flaring to form a fluted and scalloped rim, with robust bifurcated acanthus scroll handles, with chased calyx en suite above a foot comprising four fluted and scalloped overlapping “leaves”, with fitted detachable liners, h. 10”, dia. 9”, 234.28 total t. oz. [40000/70000] Illustrated 711 Large Pair of William IV Old Sheffield Plate Candelabra, second quarter 19th century, each with a quarter-fluted baluster standard surmounted by a vasiform nozzle fitted with a detachable superstructure of a central foliate stalk standard flanked by scrolling arms, each terminating in a vasiform nozzle with drip-pan and detachable bobeche, all above a waisted and convex-domed foot, the whole decorated with robust acanthus fronds and “C”-scrolls, h. 20‑1/2”, w. 17‑1/2”, base dia. 6‑3/4”. [600/900] Illustrated

712

184

713

712 Good William IV Old Sheffield Plate Tureen, second quarter 19th century, of Warwick Vase form, the body with acanthus frond calyx, the entwined reeded handles continuing at the top to form a grapevine band around the body, with everted egg-and-dart rim, the domed lid with grape cluster finial, the whole raised on a gadroon-knopped stem above a plinth base, h. 14‑1/4”, dia. 12‑1/2”, w. 14‑3/4”. [500/800] Illustrated 713 William IV Old Sheffield Plate Hot Water Urn, second quarter 19th century, the serpentine-lobed ovoid body with deeply everted acanthus rim and open arched handles, the tap en suite with rocaille “C”-scroll stirrup key, the fitted domed lid with floriform finial, the whole raised on a waisted stem and shaped plinth with acanthus banding and feet, h. 21‑1/2”, w. 15‑3/4”, d. 13‑1/4”. [500/800] Illustrated 714 Pair of Victorian Silverplate Wine Coolers, fourth quarter 19th century, each of bucket form with embossed spiral gadrooning below a foliate band, with robust acanthusmounted handles and gadrooned edges, fitted with the original detachable liner and collar, h. 7‑3/4”, dia. 8‑1/8”, w. 10‑1/4”. [900/1200]

710

185

715

715 Fine Victorian Thirteen-Piece Sterling Silver Basketweave Egg Set, hallmarked London, 1853‑1854,

by Robert Hennell III (1794‑1868); free 1834 and Francis Higgins II (1791‑1880); free 1814, the shallow frame of oval form and waisted, with intertwined “rope” swing handle, fitted with six egg cups and six “King’s”-shape egg spoons (one a later recast), all decorated with intricately detailed basketweave design, overall, h. 2” (6‑1/4” with handle), l. 8‑7/8”, w. 6”, the spoons, l. 4‑1/2”, 35.75 total t. oz.

[5000/8000] Illustrated

716 Fine Victorian Five-Piece Sterling Silver Basketweave Pattern Coffee and Tea Set, hallmarked London, 1860‑1866, by Robert Hennell III (1794‑1868); free 1834, including a coffeepot, h. 10”, w. 9‑1/4”, a teapot, h. 8‑3/4”, w. 9‑1/2”, an open sugar bowl, h. 5”, w. 7‑1/2”, a cream jug, h. 5‑1/2”, w. 4‑3/4”, and a waste bowl (the latter hallmarked 1865‑1866), h. 3‑1/4”, w. 4‑7/8”, the pearshaped bodies in an intricately detailed basketweave design with elaborately interwoven arched serpentine handles and applied oval cartouche, all but the waste bowl engraved thereon with a crest of a wolf’s head erased, 89.92 total t. oz.

[12000/18000] Illustrated

716

186

717 Impressive Victorian Sterling Silver Presentation Beer Jug, hallmarked London, 1860‑1861, by Daniel & Charles Houle (fl. 1842‑1884), of tapering cylindrical form, decorated all over with deep and intricately detailed floral and foliate rococo scrolls centering a plain cartouche, with beaked spout en suite, the acanthus-scroll handle with bifurcated upper mount and gadrooned lower third, the hinged and domed lid and bulbous torus base both decorated en suite, the lid with a figural horse finial, engraved on the cartouche “Rugby Hunt / Cup / won by Hon.ble W. North’s / Antelope / March 1863”, h. 13‑1/2”, l. 9‑3/4”, dia. 7‑1/2”, 63.62 t. oz.

[10000/15000] Illustrated

717

718 Assembled Five-Piece Edwardian and Later Sterling Silver Tea and Coffee Set, hallmarked London, 1902‑1903, by Reid & Sons, including a teapot, h. 4‑1/2”, l. 10‑3/4”, an open sugar bowl, h. 4‑1/8”, w. 8‑1/2”, and a cream jug, h. 3‑3/4”, l. 6‑3/4”, with a coffeepot hallmarked London, 1900‑1901,

by Edward Barnard & Sons, h. 8‑3/4”, l. 10”, and a hot milk jug hallmarked London, 1934‑1935, by John Marshall Spink & Son, h. 8”, l. 8‑3/4”, each with a squat ovoid body decorated with a band of rocaille scrolls on a matte ground, with leafy-mantled classical maiden’s masques on the rims, the pots with crested wooden handles, 108.22 total t. oz. (including wooden handles). Provenance: Purchased in 1967 at the auction of the Jamaica Old House of Major Baur of Nova Scotia. [1800/2500]

717 detail

717 detail

187

719

719 English Silverplate and Glass Epergne, third quarter 20th century, by Israel Freeman and Son, in the Regency taste, with a central baluster standard with knopped capital and fitted with four scrolling arms supporting a central circular frame and separated by scrolling arms, each terminating in an acanthus leaf-supported smaller frame, the frames fitted with one large and four small diamond and fan molded glass bowls, the whole raised on a rounded concave square plinth above four scrolling feet, the whole decorated with acanthus scrolls and gadroons, h. 12‑3/4”, w. 12”, d. 17”. [500/800] Illustrated

721

720 Pair of Regency Mahogany Torchere Stands, second quarter 19th century, each with a turned dished top mounted to a slender standard, the carved base with three outstretched legs, h. 50”, dia. 9‑3/4”. [600/900] Illustrated

724

720

721 Two Large Pieces of Japanese Imari, fourth quarter 19th century, consisting of an unusual fluted and richly decorated jardiniere with gilt tracery, h. 14”, dia. 14‑1/2”, and a punch bowl decorated with alternating panels of peonies and ho-ho birds, h. 7”, dia. 11”. [500/800] Illustrated 722 Six Japanese Imari Plates, early 19th century, the scalloped plates each depicting a landscape with a mountain lake, cranes flying overhead, unmarked, dia. 9‑1/2”. [500/800] 723 Regency Rosewood Work Table, second quarter 19th century, the rounded rectangular top above a conforming frieze fitted with a single frieze drawer, over a pull-out fabric storage well, raised on shaped supports joined by a turned stretcher and ending in turreted feet, h. 28‑1/2”, w. 22‑1/4”, d. 16”. [500/800]

188

725

725 Regency-Style Mahogany Window Seat, 20th century, the padded rectangular seat flanked to either end by outscrolled padded sides with gilt lion’s head accents, raised on splayed legs headed by gilt foliate carving and ending in paw feet, h. 32”, w. 56”, d. 19”. [1200/1800] Illustrated 726 Pair of Regency-Style Fruitwood Occasional Tables, early 20th century, each with a rectangular top raised on end supports headed by a gilded winged eagle and ending in runner feet joined by a plinth stretcher, h. 24”, w. 19‑3/4”, d. 12”. [600/900] 727 British School (19th Century), “Portrait of the Duke of Wellington”, oil on canvas, after the painting by Alfred Grimod d’Orsay (French, 1801‑1852), 53” x 39”. Framed.

[1500/2500] Illustrated 728 Late Regency Mahogany Tea Poi, second quarter 19th century, the sarcophagus-form box opening to a compartmented interior with one lidded compartment, raised on a turned and reeded standard to four splayed legs ending in up-scrolled toes on casters, h. 29”, w. 20”, d. 13‑1/2”. [600/900] Illustrated

728

727 724 Pair of Japanese Imari Chargers, ca. 1900, with fluted rims, the central panel decorated with pots of flowers, dia. 18”. [500/800] Illustrated

189

730 Pair of Japanese Imari Vases on Stands, late 19th century, the two densely potted baluster-form vases in the Imari palette with reserves depicting arrangements of birds and flowers, the undersides unmarked, each with a carved wooden stand, vase, h. 20‑1/4”, w. 10”. [600/900] Illustrated

729

731

729 English Regency Brass-Trimmed Mahogany Apothecary Box, first quarter 19th century, the rose velvet-lined upper portion fitted with thirteen compartments holding stoppered glass bottles of two sizes, the larger bottles all bearing Timmis and Richards Pharmacists, Chelsea labels for hartshorn and oil, camphorated chalk, lime water and other ingredients, the brass pin-secured lower pull-out drawer with slatted compartments containing a row of five small stoppered glass bottles, a stoneware mortar and pestle and three glass mixing vessels, with a rose velvet-lined lift-out tray containing a brass and steel scale with four circular brass troy ounce weights, box, h. 8‑1/2”, w. 8‑1/2”, d. 6‑3/4”, the box presented on a later custom mahogany stand, overall, h. 26‑1/4”, w. 8‑3/4”, d. 9”. [700/1000] Illustrated

731 Set of Ten Japanese Imari Plates, Meiji period (1868‑1912), the dishes with floral panels, the sides decorated in underglaze blue, unmarked, w. 5‑1/8”, l. 6‑1/2”. [700/1000] Illustrated 732 Pair of Neoclassical Mahogany Games Tables, mid19th century, each with a banded rounded rectangular top, hinged and opening to an inset leather surface, above a banded frieze, raised on four out-scrolled supports with inlaid stringing designs and ending in toupie feet on brass balls, h. 28‑1/2”, w. 36”, d. 18”. [2000/4000] Illustrated

734 730

733 Regency-Style Mahogany Occasional Table, early 20th century, the oval top above a conforming frieze with ebonized banding and fitted with a single drawer, raised on shaped legs joined by a concave stretcher and ending in ebonized toes, h. 30”, w. 28‑3/4”, d. 22”. [500/800]

190

734 Collection of Two 19th-Century Miniatures, including a watercolor on paper attributed to George Baxter (British, 1804‑1867), of “Llangollen, Wales”, sight 2‑3/8” x 5‑3/8”, and a miniature on ivory in the manner of Claude Joseph Vernet (French, 1714‑1789), depicting a “Busy Harbor Scene”, dia. 3‑1/8”. Both glazed and framed. [600/900] Illustrated 735 Regency-Style Mahogany Sofa, early 20th century, the padded rectangular back and padded slanted sides within a molded dentillated frame with foliate urn finials, above a cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 33‑1/2”, w. 80‑1/2”, d. 30‑1/4”.

[600/900] Illustrated

736

736 Japanese Imari Lidded Jar, 19th century, the body of the vessel adorned with patterned bands, the reserves depicting arrangements of flowers, the lid with a gilded finial bearing a phoenix motif, a four-character mark on the underside in underglaze blue, h. 21”, dia. 11‑3/4”.

[500/800] Illustrated 737 Pair of Rare Labeled Regency Mahogany and Bronze Brackets, ca. 1820‑1837, London, of lunette form, decorated with tapered, carefully carved leaves and terminating in pineapple finials, a single gilt-bronze reed applied to both the top and bottom, stamped “Vokins Makers London” on the reverse, h. 9‑1/2”, w. 11‑1/2”, d. 5‑1/2”. [900/1200] Illustrated

735

732

191

741 Regency Mahogany Cellarette, first quarter 19th century, of sarcophagus form, the hinged lid centered by a panel and opening to a metal-lined interior, the tapering body raised on a molded rectangular base, h. 20‑1/2”, w. 28‑1/4”, d. 22‑3/4”. [800/1200] Illustrated 742 Pair of Regency Anglo-Irish Cut Glass Mantel Lustres, first quarter 19th century, the trumpetform vases prism-hung and cut with a combination of thumbprint and lattice designs, h. 14”, dia. 7‑1/4”.

[500/800] Illustrated 737 741 738 English Papier-Mache “Gothick” Tea Tray, second quarter 19th century, decorated with hand-painted roses, gilt rocaille trailing delicate tendrils and a phoenix on a bronze-colored ground, w. 23‑1/2”, l. 31”. [500/800] 739 Suite of Eight Late Regency Mahogany Dining Chairs, first quarter 19th century, consisting of two armchairs and six sidechairs, all with a curved crest rail with scrolling ends, the padded seats raised on paneled tapering circular legs ending in toupie feet, h. 34”. [1200/1800] Illustrated 740 Continental School, Probably Swedish (Fourth Quarter 18th Century), “Siblings”, oil on canvas, 58” x 46”. Presented in an antique giltwood and gesso frame.

[5000/8000] Illustrated

739

192

743 Three-Piece Lead Crystal Cut Glass Garniture, including a compote cut in a swirled thumbprint, h. 10‑1/2”, dia. 14”, and a pair of hurricane lamps cut with bull’s eyes, with integral candle sockets, h. 14‑3/4”, dia. 5‑3/4”, both on stepped bases. [800/1200] Illustrated 744 Two Pairs of Glass Lighting Devices, including a pair of Regency-style cut glass hurricane lamps with stepped bases and thumbprint-cut shades, fitted with integral candlecups, h. 16‑1/2”, dia. 7”, together with a pair of bobbin-form candlesticks cut with fluting, h. 19‑1/4”, dia. 6‑3/4”. [500/800]

740

742

743

193

745 Pair of Late Regency Mahogany Cabinets, first quarter 19th century, each with a deep rectangular top above a cupboard door, with reeded banding and tapering paneled uprights, both opening to a void interior, raised on paw feet, h. 36‑1/2”, w. 24”, d. 26”. [700/1000] Illustrated 746 Pair of William IV Mahogany Window Seats, mid-19th century, each with a padded tufted seat flanked to either side by an out-scrolled padded tufted side, the fronts with scrolling foliate carving, raised on lotus-carved legs ending in brass toupie feet on casters, h. 32”, w. 61”, d. 16”.

[2000/4000] Illustrated

747

747 John Bentham Dinsdale (British, 1927‑2008), “The Clipper Ship Mermerus”, oil on canvas, signed lower left, 30” x 40”. Framed. [2500/4000] Illustrated Mermerus, a well-known ship of Carmichael’s Golden Fleece Line was launched in May 1872 and registered 1,671 tons. She was designed for the wool run between London and Melbourne, Australia.

748 William IV-Style Mahogany and Marble-Top Side Table, the rectangular white marble top above a conforming gadroon-carved paneled frieze, joined by a mirrored back and large giltwood scrolling acanthine supports ending in paw feet to the concave stretcher base, h. 35‑1/4”, w. 56”, d. 17‑1/4”. [2500/4000] Illustrated

745

749 William IV Mahogany Writing Chair, second quarter 19th century, the tufted padded rectangular back surmounted by a scrolling incised pattern, joined to the like padded seat by flat arms, one fitted with an adjustable brass rod holding a paneled mahogany writing surface, raised on large turned circular legs to casters, h. 42”.

[1500/2500] Illustrated 750 William IV Mahogany Adjustable Lectern Table, mid-19th century, the rounded rectangular top of adjustable height and adjustable center-to-side, one end bisected with each part lifting to an easeled back, raised on a paneled graduated standard to a concave base to ball feet on casters, h. 29” to 37”, w. 33‑1/2”, d. 18‑3/4”. [500/800] Illustrated

746

194

751 Good William IV Sterling Silver Gilt and Aragonite Box, part-marked [London], 1835‑1836, the maker’s mark rubbed but possibly Philip Venner Firmin (1797‑1874), of rectangular form, the silver gilt frame with chased floral banding inset with aragonite panels, the hinged lid inset with a painting of a combatant crusader, h. 1‑1/4”, w. 3‑5/8”, d. 2‑3/8”. [1800/2500] Illustrated Aragonite, also called tufa and sometimes travertine, is a species of calcium carbonate formed as a deposit of hot springs stalactites mined primarily in Karlsbad (Karlovy Vary) in the Bohemian region of the Czech Republic.

752 Pair of William IV Gilt-Bronze and Patinated Metal Four-Light Candelabra, second quarter 19th century, now mounted as lamps, the pierced leaf-molded bases supporting patinated cluster-column standards set with scrolled candle arms, h. 20”, dia. 6‑1/4”. [500/800] Illustrated

751

752

749

750

748

195

753 William IV Mahogany Dining Table, second quarter 19th century, the circular top supported by a reeded baluster-form pedestal with scroll supports at each corner, on a concave base on carved paw feet, the top opening to accommodate leaves, h. 28‑1/2”, dia. 53‑1/2”. [800/1200] Illustrated 754 Near Pair of Flemish Fruitwood Armchairs, 18th century, each with a tall rectangular back and narrow projecting sides, joined by molded out-scrolled arms to the padded seat, raised on shaped circular legs joined by a scrolling front stretcher and ending in rounded toes, h. 50‑1/2”. [500/800] Illustrated 755 English Oak Draw-End Refectory Table in the Carolean Style, early 20th century, the planked rectangular top with banded ends and two draw-ends, over a grape cluster- and scroll-carved frieze, raised on like-carved cylindrical legs joined by a stretcher and ending in block feet, h. 34”, w. 36”, l. 78”, extended l. 120”.

[800/1200] Illustrated

756 Dutch School (19th Century), “Floral and Fruit Still Life with View of a Bucolic Landscape in the Background”, oil on canvas, illegibly signed lower left, 28” x 38”. Framed.

[1000/1500] Illustrated 757 English Fruitwood and Upholstered Knole Sofa, early 20th century, of traditional form, the trisected back joined to the hinged padded sides by tasseled cords, the tri-cushioned seat raised on casters, the whole richly appointed with ribbon-trimmed and fringe-edged rose and tan floral silk damask, with six conforming accent pillows, h. 42”, w. 86”, d. 36‑1/2”. [800/1200] Illustrated 758 English Oak Carolean-Style Server, early 20th century, the rectangular top with a molded edge, above a case fitted with three drawers, each with carved and molded geometric patterns, raised on turned graduated supports joined by a box stretcher and ending in bun feet, h. 35”, w. 84”, d. 21”. [600/900] Illustrated

754

756

753

759 English Oak Carolean-Style Server, early 20th century, the rectangular top with a molded edge, above a case fitted with three drawers, each with carved and molded geometric patterns, raised on turned graduated supports joined by a box stretcher and ending in bun feet, h. 35”, w. 84”, d. 21”. [500/800] Illustrated

755

196

758

759

757

197

760 Attributed to Philipp Peter Roos, called Rosa da Tivoli, (German, 1657‑1706), “Italian Landscape with Peasant by a Stream”, oil on canvas, 13” x 19”.

Presented in a burlwood frame affixed with artist plaque.

[1000/1500] Illustrated

760 761 William-and-Mary-Style Oak Chest, partially composed of antique elements, the rectangular top with a molded edge, above a case fitted with two long drawers, each faced as two small paneled drawers, raised on turned bulbous legs joined by a shaped box stretcher and ending in bun feet, h. 32‑1/2”, w. 29”, d. 19‑1/4”. [500/800] Illustrated 762 Pair of Flemish-Style Fruitwood Armchairs, 19th century, each with a padded rectangular back with narrow padded sides, joined by like arms on heavily scrolled uprights to the cushioned seat, raised on scrolling legs joined by a pierced foliate shell stretcher ending in scrolled toes, h. 45”. [700/1000] Illustrated

761

198

762

763 KPM Porcelain Plaque, 19th century, “Musizierendes Paar” after Caspar Netscher (Dutch, 1639‑1684), signed “L. Sturm”, the reverse with the impressed scepter, “KPM” and “H”, presented in a giltwood frame, plaque, h. 13‑1/4”, w. 11‑1/4”, overall, h. 21‑1/4”, w. 18‑1/2”. Provenance: The collection of prominent New Orleanian, Charles Robb (1814‑1881). [3500/5000] Illustrated In 1859, after experiencing several personal and financial reversals, Robb decided to sell his New Orleans property and a great portion of his art collection. The sale of his art was handled by Charles Galvani, a local art dealer.

This plaque was listed among the twenty-three vouchers included in the Robb Papers. It was purchased by (Dr.) J. T. (actually P.) R. Stone, the co-founder of Belle Grove Plantation in Iberville Parish, Louisiana. See Patricia Brady Schmidt, “The Robb Papers Discovered” in The Historic New Orleans Collection Newsletter (New Orleans: HNOC, 1986), volume IV, number 1, Winter 1986.

765

763 764 Set of Four Continental Bronze Five-Light Sconces, second quarter 20th century, in the Dutch Baroque taste, the flattened baluster backplates supporting scrolled candle arms, h. 24”, w. 20”, d. 11”. [500/800]

765 Northern Italian Walnut Bureau, 19th century, the shaped and banded top above an undulate-form slant front opening to a variety of drawers and flanking a central cubbyhole, above three long serpentine drawers, all banded, raised on block feet, h. 38”, w. 48”, d. 21”.

[1000/1500] Illustrated

199

766 Jean Arnould Heyermans (Belgian, 1837‑1892), “The Visit”, oil on canvas, signed lower left, 36” x 44”.

Framed. [5000/8000] Illustrated

768 Provincial-Style Walnut Tall Case Clock with Etagere Wings, 17th century and later, the projecting center fitted with a clock in a carved frame, flanked by carved panels front by demi-lune shelves with conforming spindle galleries, h. 87”, w. 45‑1/4”, d. 10‑1/2”. [700/1000] Illustrated 769 Bronze Twelve-Light Chandelier in the Dutch Baroque Taste, the turned standard with a bold ballform finial, and holding scrolled candle arms set with wide drip pans and turned candle sockets in two tiers, h. 36”, dia. 34”. [700/1000] Illustrated

768

766 767 Adrien Joseph Verhoeven-Ball (Belgian, 1824‑1882), “Woman Embroidering at a Window”, oil on canvas, signed lower left, 21‑1/4” x 18”. Framed.

[2000/4000] Illustrated

767

200

772 Flemish Mahogany Chest, early 19th century, the rectangular top banded and with inlaid satinwood stringing, above a conforming case fitted with two like-inlaid drawers, raised on paneled tapering legs joined by a shaped X-form stretcher and ending in bun feet, h. 31”, w. 30”, d. 17‑1/2”. [500/800] Illustrated

771

769

770 Two Pieces of Dutch-Decorated Polychrome Creamware, fourth quarter 18th century, probably English, consisting of a plate depicting a scene in a church in Amsterdam, the lower facade marked “T. Vormsel”, dia. 10‑1/4”, and a cream jug with strapwork handles, decorated with Our Lady of Kevelaer, named for a miracle in the German village of the same name, h. 5”, dia. 3”.

[600/900] Illustrated

770 772

771 Pair of Flemish Oak Wing Chairs, one late 18th century, the other late 19th century, the tall, domed, padded backslanted back joined to the padded seat by shaped sides and out-scrolled arms with brass tack accents, raised on tapering square legs joined by a turned and block H-form stretcher and ending in pad feet, h. 53‑1/2”. [600/900] Illustrated

201

773

775

773 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”. [500/800] Illustrated

776

774 Suite of Eleven Queen Anne-Style Mahogany Dining Chairs, consisting of one armchair and ten sidechairs, each with a shaped crest above a vasiform splat, the padded seat above a shaped apron, raised on cabriole legs joined by an H-form stretcher and ending in pointed toes, h. 45‑1/2”. [1500/2500] Illustrated

774

202

775 Baroque-Style Dutch Delft Clock, fourth quarter 19th century, the bombe case outlined with scrollwork and decorated with hand-painted scenes, and set with clockworks of the period, the base marked with a spurious Adrianus Kocx mark, h. 22‑1/4”, w. 7”, d. 4”. [900/1200] Illustrated

777 Meissen-Style Pierced Porcelain Corbeille, ca. 1887‑1900, Sitzendorf, Germany, the blue and white standard decorated with applied flowers and two polychrome frolicking cupids with blue wings, and supporting a like-decorated pierced basket-weavemolded bowl, marked with an underglaze blue signature “Bros. Voight” and “VEB, Sitzendorfer Porcelain Manufactory”, h. 13‑1/2”, dia. 8‑3/4”. [500/800]

779

776 Continental Pottery Centerpiece in the Renaissance Style, fourth quarter 19th century, the rococo base supporting the standard, in the form of two dolphin-tailed creatures with bird-like heads, the bateau-form bowl pierced with rococo-framed diapered panels, terminating in a molded dragon handle, signed indistinctly, h. 20”, w. 14‑3/4”, d. 8‑1/2”. [600/900] Illustrated

778 780 778 German Porcelain Portrait Plaque of a Violinist in Renaissance Costume, fourth quarter 19th century, possibly KPM, artist-signed left center, “Maria”, and signed “Geiger” on the back, probably the artist after whom it is painted, h. 9”, w. 6‑3/4”. [500/800] Illustrated 779 Pair of Dutch Brass Two-Light Sconces in the Baroque Style, fourth quarter 19th century, the molded adjustable candle arms decorated with dolphins, in front of the mirrored backplates, molded with a pair of angels and winged putti heads, h. 27”, w. 17‑3/4”, d. 6‑3/4”.

[500/800] Illustrated 780 Follower of Rembrandt van Rijn (Dutch, 1606‑1669), “Portrait of a Bearded Man Wearing a Fur Hat”, oil on paper mounted on wood panel, 4‑3/4” x 3‑3/4”. Presented in an antique, deeply carved and pierced polychrome oak frame. [900/1200] Illustrated 781 Follower of Ferdinand Bol (Dutch, 1616‑1680), “Portrait of a Man in a Black Hat”, oil on canvas, 15” x 11”.

Framed. [700/1000]

203

782 Dutch Mahogany and Marquetry Bureau, late 18th century, of kettle form, the rectangular top above a slant front, opening to a storage well and a variety of drawers and cubbyholes flanking a central cupboard, over three long drawers, raised on paw feet, the whole richly inlaid in scrolling foliate, floral and avian marquetry patterns, h. 45”, w. 47”, d. 26”. [1000/1500] Illustrated

782

783 Petrus Gerardus Vertin (Dutch/Belgian, 1819‑1893), “Woman and Child on Cobblestone Street”, oil on board, signed lower right, 9‑1/4” x 7”. Framed.

[1000/1500] Illustrated

783

204

784

784

785 Dutch Baroque-Style Bronze Sixteen-Light Chandelier, first quarter 20th century, with a turned, tapering standard terminating in a fringed tassel, hung with scrolled candle arms in two tiers, and suspended from a baroque pierced chain plate, h. 98”, dia. 48”.

[1500/2500] Illustrated

785

788 784 Pierre Le Boeuff (French, 1899‑1920), a pair of watercolors on paper, including “Vezelay Abbey, France”, signed and titled lower right, and “Cathedral Square”, signed lower left, each sight 28‑1/2” x 19”. Glazed and framed alike. [800/1200] Illustrated

787

786 Dutch Baroque-Style Bronze Sixteen-Light Chandelier, first quarter 20th century, with a turned, tapering standard terminating in a fringed tassel, hung with scrolled candle arms in two tiers, h. 80”, dia. 48”.

[1500/2500] 787 Dutch Mahogany Settee, 19th century, the triple back with three shaped bow-inlaid crests above shaped splats inlaid with an urn panel, joined by scrolling arms to the padded serpentine seat, raised on cabriole legs, headed by ribband carving and ending in ball-and-claw feet, h. 44”, w. 61”, d. 18‑1/2”. [1000/1500] Illustrated 788 Attributed to Sergei Arsenevich Vinogradov (Russian, 1869‑1938), “Countryside with Windmill”, oil on canvas, bears signature lower left Serge Vinogradoff”, 26” x 21‑1/2”. Framed. [4000/7000] Illustrated 789 Pair of Framed Rozenburg Pottery Impressionist Tiles, ca. 1900, Dutch, one example depicting a windmill, and the other depicting people trudging home in the snow, marked with molded “Rozenburg den Haag” on the reverse, as well as a painted mark including a “bee” used in 1900, h. 10‑1/4”, w. 10‑1/4”. [600/900]

205

791 Dutch Mahogany and Marquetry Secretaire Abattant, late 19th century, the rectangular top above a single frieze drawer over a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with two cabinet doors below, raised on block feet, the whole richly inlaid in floral, scrolling foliate and avian patterns, h. 52‑1/2”, w. 35‑1/2”, d. 15‑1/2”.

[1500/2500] Illustrated

792 790 Dutch Mahogany and Marquetry Tall Chest, mid-19th century, the rectangular top above an inlaid dentillated frieze, over a conforming case fitted with a single frieze drawer over five long drawers, flanked to either side by freestanding ormolu-mounted columns, raised on block feet, the whole with elaborate scrolling foliate marquetry patterns, h. 59‑1/2”, w. 41”, d. 20‑1/2”. [1000/1500] Illustrated

793 792 Hermann Kern (Hungarian, 1839‑1912), “Tomato Seller”, oil on panel, signed lower left, sight 13” x 8‑1/2”.

Glazed and framed. [800/1200] Illustrated

791 790

206

793 Hugo Kotschenreiter (German, 1854‑1908), “A Horrible Tale”, oil on panel, signed upper right, verso with a partial label, 8‑5/8” x 12‑5/8”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated 794 Fritz Wagner (German, 1896‑1939), “A Merry Gathering”, oil on canvas, signed lower left, 20” x 24”.

Presented in an attractive giltwood and gesso frame.

[4000/7000] Illustrated

794 795 German School (Fourth Quarter 19th Century), “Practicing the Clarinet”, oil on canvas, unsigned, 14” x 13”. Presented in a period giltwood and gesso frame.

[500/800] Illustrated 796 Louis XV-Style Giltwood Settee, early 20th century, the rounded rectangular padded back surmounted by a foliate crest, joined by molded and scrolling arms to the shaped padded seat, raised on cabriole legs headed by foliate carving and ending in like scrolled toes, h. 48”, w. 73”, d. 25”. [500/800] Illustrated 797 Pair of Louis XV-Style Giltwood Fauteuils, early 20th century, each with a slightly arched and padded back surmounted by a foliate crest, joined by molded and scrolling arms to the padded seat, raised on cabriole legs headed by acanthine carving and ending in foliate scroll toes, h. 45”. [500/800] Illustrated

795

796

797

207

799 Max Albert Carlier (Belgian, 1872‑1938), “Still Life with Flowers in a Blue and White Vase”, oil on canvas, signed lower right, 36” x 23‑1/2”. Framed. [2500/4000] Illustrated

802

799 798 Pair of Louis XV-Style Giltwood Fauteuils, early 20th century, each with a slightly arched and padded back surmounted by a foliate crest, joined by molded and scrolling arms to the padded seat, raised on cabriole legs headed by acanthine carving and ending in foliate scroll toes, h. 45”. [500/800]

800 Louis XVI-Style Polychrome and Marble-Top Side Table, the bowed marble top with projecting corners, above a conforming paneled and guilloche-carved frame, raised on fluted tapering circular legs headed by acanthine capitals and ending in block and peg feet, h. 34”, w. 75”, d. 17”. [1500/2500] Illustrated

800

208

803

805 801 Louis XVI-Style Polychrome and Marble-Top Side Table, the bowed marble top with projecting corners, above a conforming paneled and guilloche-carved frame, raised on fluted tapering circular legs headed by acanthine capitals and ending in block and peg feet, h. 34”, w. 75”, d. 17”. [1500/2500]

804

803 Parian and Gilt-Bronze Bust of Marie Antoinette, ca. 1900, after Felix Lecomte (French, 1737‑1817), the figure wearing a locket with the face of Louis XVI, on a bronze base, the socle decorated with applied roses, h. 21”, w. 11”, d. 6‑1/4”. [800/1200] Illustrated 804 Pair of Louis XVI-Style Baccarat Crystal and Bronze Five-Light Candelabra, fourth quarter 19th century, with fluted and leaf-molded gilt-bronze standards and unusual notch-cut prisms, the bobeches marked “Baccarat” in a molded signature, h. 17‑1/2”, dia. 11‑1/2”. [2000/4000] Illustrated 802 Pair of French Belle Epoque Gilt-Bronze Five-Light Candelabra, fourth quarter 19th century, now mounted as lamps, on paw feet, the square bases set with masques, the urn-form standards supporting the scrolled candle arms, h. 36”, dia. 12”. [500/800] Illustrated

805 Continental Jasperware Lavabo, ca. 1900, decorated with “Dancing Hours” on both the bowl and vasiform covered cistern, marked with Meissen-style crossed swords, h. 20”, w. 9”, d. 4‑1/2”. [500/800] Illustrated

209

806 French Belle Epoque Bronze and Glass Centerpiece, fourth quarter 19th century, the molded bronze stand with swan’s head handles holding the cut and engraved glass bowl, decorated with “satin stripes” and engraved flowers, with oval panels of engraved initials on the obverse and flowers on the reverse, h. 11”, w. 22”, d. 9‑3/4”.

[1000/1500] Illustrated

808 Neoclassical-Style Polychromed, Parcel-Gilt and Marble-Top Coffee Table, early 20th century, the white marble top over a frame with applied swags and raised on tapered legs, h. 19”, w. 22”, l. 47”. [800/1200] Illustrated

807 806

807 Set of Twelve French Hand-Painted and Lushly Gilded Dinner Plates, ca. 1876, on Sevres blanks dated 1868‑1876, the Elizabethan Revival-style giltwork accented with painted bouquets, dia. 9‑1/2”. [600/900] Illustrated

808

210

809 Pair of KPM Hand-Painted Porcelain Covered Garniture Urns, ca. 1900, Berlin, in the neoclassical style, decorated with courting couples on one side and spring flowers on the other side, the tops molded with a guilloche egg-and-dart, the leaf-molded covers terminating in gilt-bronze flame finials, raised on molded bases trimmed in gilt, marked with an underglaze blue scepter and the overglaze red “KPM” or “b”, h. 12‑3/4”, w. 10‑1/2”. [1800/2500] Illustrated

809

811 French Porcelain Plaque Depicting a Young Woman with a Basket of Flowers, ca. 1879, after Charles Joshua Chaplin (French, 1825‑1891), signed on the side “1879 G. lil de Crain, d’apres Chaplin”, h. 13”, w. 9‑3/4”. [500/800] Illustrated

814

810 Fifteen Pieces of KPM Floral-Decorated Dinnerware, ca. 1913, Berlin, Germany, each piece molded in a swirled, basket-weave pattern, and hand-painted with bouquets of flowers, the collection comprised of a pair of covered footed vegetable dishes, h. 6‑3/4”, dia. 11”, a pair of square dishes, h. 2”, w. 9‑1/4”, d. 9‑1/4”, seven soup plates, dia. 9”, a chop plate, dia. 11‑3/4”, a large platter, w. 14‑1/2”, l. 20”, and a pair of smaller platters, w. 11‑1/2”, l. 15‑1/2”, each piece marked with an underglaze blue scepter, the overglaze rouge-de-fer KPM orb and a mark commemorating the factories 150th anniversary, 1763‑1913. [500/800]

811

812 Two French Quartz, Crystal and Bronze Bird Sculptures, ca. 1900 and later, including a duck sculpture composed of a rock crystal body with a rose quartz head and contrasting stone details, h. 3‑3/4”, w. 6‑1/2”, and a sculpture composed of a quartz “rock” holding an agate bird perched on a gilt-bronze branch, h. 6”, w. 3‑1/4”.

[500/800] 813 Pair of Paris Porcelain Garniture Urns in the Etruscan Style, first quarter 19th century, decorated with leaves and bellflowers on a pink ground, the gilt handles with biscuit flourishes, above black bases mimicking marble, h. 10‑1/4”, w. 5‑1/2”. [800/1200] 814 Paris Porcelain Platinum-Ground Potpourri Urn, fourth quarter 19th century, decorated with handpainted roses in the style of Vivienne, the pierced cover and foot decorated with black tracery, marked by the retailer, “Escalier de Cristal, Paris”, h. 13‑1/2”, dia. 6‑1/4”.

[600/900] Illustrated

211

816 Pair of French Belle Epoque Bronze Three-Light Sconces, ca. 1900, the swag-form backplate held with a bowknot and decorated with roses, the three candle arms in the form of bound laurel branches decorated with leaves and berries, the candle cups and drip pans decorated to match, h. 21”, w. 11‑1/4”, d. 6‑1/2”. [700/1000] Illustrated 815 818

815 French Belle Epoque Giltwood Overmantel Mirror, fourth quarter 19th century, of Louis XIV inspiration, the egg-and-dart-molded frame set with pierced leaves on each side of the base, the lushly decorated crest pierced with a pair of putti holding a scroll-molded crest, decorated with swags of fruit, carved swags of flowers decorate the upper edge of the beveled plate, h. 64”, w. 49”.

[1500/2500] Illustrated

817 Louis XVI-Style Polychrome Box Settee, mid-19th century, the padded rectangular back and sides within a molded frame with foliate acorn finials and vine-entwined uprights, above the breakfront cushioned seat, raised on tapering spiral-fluted legs headed by foliate capitals and ending in toupie feet, h. 36”, w. 65‑1/2”, d. 26”.

[1800/2500] Illustrated

819

816

212

820

818 Pair of Louis XVI-Style Rock Crystal and Gilt-Bronze Candlesticks, the rock crystal elements mounted with leaf-molded gilt-bronze fittings, the laurel-molded candlecups with matching bobeches, h. 7‑1/2”, dia. 3‑3/4”.

[900/1200] Illustrated 819 English Mahogany and Burl Wood Cabinet, early 20th century, the breakfront top with an inset white marble surface, above a conforming case fitted with a paneled sloped frieze above a central cupboard door with a large ormolu acanthine mount, flanked to either side by panels, raised on ormolu paw feet, the whole accented with ormolu mounts and millwork, h. 42”, w. 51‑1/2”, d. 21”. [500/800] Illustrated 820 Collection of Five French Gilt-Bronze Table Frames, first quarter 20th century, all in the Louis XVI taste, comprising a small frame with crossed ribbons and flowers, h. 5”, w. 4‑3/4”, a larger frame with a crest of cupids holding floral swags, h. 10‑1/2”, w. 8‑3/4”, a vertical frame with bowknot finial and lower bronze-argente neoclassical tablet, h. 12”, w. 5‑1/4”, an engine-turned frame with flower basket and floral swag crest having an oval aperture surrounded by paste gems, h. 9‑1/4”, w. 6‑3/8”, and a small frame with bowknot crest, h. 5‑1/4”, w. 3”.

[500/800] Illustrated 821 Auguste Serrure (Belgian, 1825‑1903), “Watering”, oil on canvas, signed lower right, 17‑1/4” x 12‑1/4”.

Framed. [1000/1500] Illustrated

821

817

213

822

822 Suite of Twelve Louis XVI-Style Polychrome Dining Chairs, consisting of two armchairs and ten sidechairs, each with a padded oval back within a molded frame, the padded seat raised on fluted tapering circular legs ending in toupie feet, the whole with gilt accents, h. 41”. [1500/2500] Illustrated 823 Suite of Twelve Louis XVI-Style Polychrome Dining Chairs, all sidechairs, each with a padded oval back within a molded frame, the padded seat raised on fluted tapering circular legs ending in toupie feet, the whole with gilt accents, h. 41”.

[1200/1800]

824

826

829

824 Unusual Belle Epoque Onyx and Bronze Mantel Clock, fourth quarter 19th century, in the Louis XIV style, the onyx case facade set with a pierced shell and trailing sprigs of flowers, the case edges with bronze fittings, the pierced gilt-bronze dial set with an enamel chapter ring, under a mansard top with a leaf-molded finial, raised on scrolled feet, h. 23‑3/4”, w. 14‑1/4”, d. 6‑1/4”. [2000/4000] Illustrated 825 Pair of Chinese Export-Style Table Lamps, Attributed to Samson, first quarter 20th century, French, the porcelain urn-form bases decorated with faux heraldic crests and raised white scrollwork, raised on footed bronze bases and mounted with shades, base, h. 17”, overall, h. 31”, dia. 15”.

[500/800] Illustrated 826 Pair of Louis XV-Style Polychrome Bergeres avec Orielles, each with a padded trisected back surmounted by a floral crest, joined to the cushioned seat by padded arms, raised on molded cabriole legs ending in scrolled toes, h. 39‑1/2”. [800/1200] Illustrated

214

830

828

827 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Vitrine, the shaped and bowed marble top with a molded edge, above a conforming case fitted with an ormolu-mounted frieze, over a single door, the upper two-thirds glazed, the lower third paneled, opening to a shelved and fabric-lined interior, raised on slight cabriole legs ending in sabots, h. 65‑1/4”, w. 36”, d. 17”. [500/800]

825

829 Good Pair of Directoire Polychromed Sidechairs, 18th century, the backs with a turned crest rail above a wide slat with circular carved motifs and above a plume-carved splat, the front legs turned with reeded knees, h. 34”, w. 19”, d. 19”. [700/1000] Illustrated 830 Continental Bisque Porcelain Bust of “MarieAdelaide of Sardinia, Duchesse de Bourgogne”, ca. 1900, after Charles Antoine Coysevox (French, 1640‑1720), signed “A. COYZVOX” and dated 1710 in Roman and Arabic numerals at back, on a moss green marble columnar plinth, overall, h. 21‑1/2”, w. 9‑1/4”, d. 8‑1/2”.

831 [2000/4000] Illustrated

828 Louis XIV-Style Bronze and Crystal Ten-Light Chandelier, the bronze frame with ten scrolled candle arms interspersed with sprays of prisms, and an upper tier set with more prisms, a molded crystal finial decorating the center, h. 37‑1/2”, dia. 25”. [1200/1800] Illustrated

831 Italian WhiteGlazed Figure of Two Young Lovers Embracing, 20th century, in the neoclassical taste, decorated with sculpted flowers, and marked in the Capodimonte style with an underglaze blue crown, h. 19”, w. 9‑1/2”, d. 6”.

[500/800] Illustrated

215

832 French Belle Epoque Gilt-Bronze and Cut Crystal Centerpiece Bowl, fourth quarter 19th century, the rococo-style pierced bronze base decorated with molded leaves and scrollwork, and holding an oblong crystal bowl segmented with cut fluting and a lobed edge, h. 9”, w. 14”, d. 9‑1/4”. [800/1200] Illustrated

834 Pair of Franco-Bohemian Hand-Painted Baluster Vases, mid-19th century, decorated with hand-painted angels holding cornucopias of roses, in tooled gilt frames on an apple-green ground, h. 13‑3/4”, dia. 6”. [500/800]

835

832

833 Handsome Pair of French Well-Cast Gilt-Bronze Sconces, mid-20th century, in the Louis XVI style, the quiver-form backplates decorated with molded acanthus leaves and terminating in flame finials, the twisted arms decorated with acanthus leaves and terminating in eagle heads, the drip pans leaf-molded and the candle cups reeded, h. 19‑3/4”, w. 14‑1/4”, d. 7‑1/2”. [1200/1800] Illustrated

833

216

835 Pair of Meissen-Style Porcelain Covered Ginger Jars, fourth quarter 19th century, Potschappel, Germany, decorated with applied flowers and birds and marked

by Carl Thieme with an underglaze blue fish over a “T”, h. 16‑1/2”, dia. 7‑1/4”. [800/1200] Illustrated

836

837

836 Impressive French Hand-Painted Pottery Covered Vase, fourth quarter 19th century, in the neoclassical taste, the base and cover decorated with raised gilt and hand-painted swags of flowers, the body decorated with parrots among orchids, painted in the Impressionist style, the top with a dramatic gilt pinecone knop finial, h. 43‑3/4”, dia. 11‑1/2”. [3000/5000] Illustrated

839 839 Paul Jean Gervais (French, 1859‑1936), “On the Terrace”, oil on canvas, signed lower right, 29” x 23‑1/2”.

Framed. [3000/5000] Illustrated

838 837 Royal Copenhagen “Juliane Marie” Figure, Depicting Leda and the Swan, ca. 1946, Danish, designed by Gerhard Henning and marked with an overglaze black crown, the decorator’s initials “6 fx”, and the date “1946”, h. 7”, w. 7‑1/2”, d. 5‑3/8”. [600/900] Illustrated 838 Lucien Henri Grandgerard (French, 1880‑1970), “Reclining Nude”, oil on wood panel, signed lower right, 18” x 25”. Presented in a giltwood and stenciled frame.

[1800/2500] Illustrated

840 840 John Morris (American/California, 1920‑1991), “Promenade”, oil on canvas, signed and dated lower right, a “Wally Findlay Galleries/New York, New York” label en verso, 15” x 19‑1/2”. Framed. [700/1000] Illustrated

217

841 Niek van der Plas (Dutch, b. 1954), “Cafe de Flore”, oil on panel, signed lower right, lower left inscribed “Paris”, 18” x 23‑1/2”. Framed. [2000/4000] Illustrated

844

841 842 Rene Rambert (French, 20th Century), “Street Scene with Horse-Drawn Wagons”, oil on panel, signed lower right, 20” x 24”. Framed. [1000/1500] Illustrated

845 French Porcelain and Bronze Oval Centerpiece, ca. 1900, in the Louis XIV taste, the porcelain bowl and standard decorated with raised gilt on a cobalt ground, and hand-painted Bucolic scenes in the panels and sides, mounted with bronze fittings, h. 10‑1/2”, w. 11‑1/2”, d. 6‑1/4”. [700/1000] Illustrated

845 842 843 Paul Renard (French/Dutch, 1941‑1997), “Parisian Street Scene”, watercolor on paper, signed lower left, sight 11” x 18”. Glazed, handsomely matted and framed.

[1500/2500] 844 Sevres-Style Porcelain and Bronze Garniture Vase, fourth quarter 19th century, decorated with a gilt-bronze foot and masque-molded handles, the cobalt ground with raised gilt scrollwork, with an unusual depiction of a mosaic depicting Ceres with cupids on the obverse and an Impressionist-style landscape on the reverse, marked in the Sevres style, h. 30‑1/2”, w. 10‑1/2”. [2500/4000] Illustrated

218

846

847 Pair of Louis XV-Style Gilt-Bronze Three-Light Sconces, early 20th century, each with wheat and acanthine motifs and a ribbon with bowknot backplate, h. 23‑1/2”, w. 15”, d. 9‑1/2”. [1200/1800] Illustrated

848 848 Jules Cambier (Belgian, 20th Century), “Exuberant Floral and Fruit Still Life with Pottery”, oil on canvas, signed lower right, 32” x 47”. Presented in a Louis XV-style giltwood and gesso frame. [2000/4000] Illustrated 846 French Gilt-Bronze and Lapis-Colored Enamel SixLight Chandelier, in the Louis XV style, the enamel standard with a flame-form finial holding ram’s head-form brackets supporting leaf-molded candle arms, with a matching canopy, h. 27”, dia. 16”. [1200/1800] Illustrated

849 Louis XV-Style Kingwood Writing Desk, early 20th century, the shaped rectangular top with an inset leather writing surface, above a shaped frieze fitted with three drawers, raised on cabriole legs headed by espagnolettes and ending in sabots, h. 32”, w. 47‑1/2”, d. 24”.

[700/1000] Illustrated

849

847

219

850

850 Rare Paris Porcelain Empire Tea Set, first quarter 19th century, decorated with vertical gilt lines under gilt “mounts”, comprised of a teapot, h. 8”, a sugar bowl, h. 7”, a cream jug, h. 8‑1/4”, a waste bowl, dia. 5”, six cups, h. 4”, and six saucers, dia. 5‑1/4”, the vasiform teapot with a horse head spout with contrasting matte decoration, the sugar bowl and cream jug with exceptional masquemolded handles, marked with a green underglaze fish symbol of the Perche Factory, who produced the bodies used by porcelain decorating firms including Schoelcher and Le Petit Carrousel. [1500/2500] Illustrated

852

851 French Gilt-Bronze-Mounted Porcelain Garniture Vase, fourth quarter 19th century, in the Louis XV taste, of inverted pear form and mounted with bronze handles and swags of flowers, the cover with a bronze pineappleform finial and a Sevres-style mark, h. 27‑3/4”, w. 15”, dia. 10‑3/4”. [2500/4000] Illustrated 852 Pair of Sevres-Style Porcelain and Bronze Dore Garniture Urns, in the Louis XV taste, the pierced bronze bases holding the inverted pear-form bodies, handpainted with courting couples in Arcadian landscapes on a cobalt ground, trimmed in raised gilt scrollwork, the bold bronze handles terminating in busts, the domed covers set with flame-form knops, h. 25‑1/2”, dia. 13”. [2000/4000] Illustrated 853 Pair of French Porcelain Busts of Louis XVI and Marie Antoinette, fourth quarter 19th century, presented on matching cobalt-glazed gilt-trimmed pedestals, one marked “MA” in a wreath and the other “LL”, the biscuit busts marked in the Sevres style, h. 12”, w. 6”, d. 4” and h. 13‑1/2”, w. 6‑1/4”, d. 4”. [1000/1500] Illustrated

220

854

854 Five-Piece Franco-Bohemian Porcelain Desk Set, third quarter 19th century, in the rococo taste, decorated with hand-painted game birds and flowers framed with delicate raised gilt sprigs and rocaille, the molded undertray set with a pair of inkpots, a taper stick and a trumpet vase in indentions, h. 4”, w. 17‑1/4”, d. 11”.

[2500/4000] Illustrated

855 Unusual Pair of Austrian Bronze and Enamel Campana-Form Urns, ca. 1900, in the Empire style, composed of engine-turned bronze and enamel, the upper portion decorated with hand-painted flowers in gilt-trimmed panels on a cobalt ground, marked “Austria”, h. 8‑1/4”, dia. 4‑3/4”. [1800/2500] Illustrated

855 851

856 Signed French Polished Steel Jardiniere, fourth quarter 19th century, made by Corneau Alfred, of Charleville, the vasiform jardiniere decorated with a scrolled escutcheon and pierced handles, on a scrolled foot, signed “Corneau Alfred a Charleville” on the inside of the lip, h. 23”, w. 28”, dia. 13‑1/2”. [1500/2500] Illustrated 853

856

221

857 pair

857 Pair of French Gilt-Bronze Five-Light Chandeliers, first quarter 20th century, in the Louis XV style, the beaded and leaf-molded vasiform standards set with scrolled candle arms decorated with applied leaves and terminating in leaf-molded candle cups, h. 11”, dia. 16”.

[500/800] Illustrated 858 Louis XV-Style Mahogany and Marble-Top Occasional Table, 20th century, the turtle-form marble top within an ormolu banding, above a shaped frieze inset with panels and fitted with a single drawer, joined to a likeshaped lower shelf by cabriole supports ending in sabots, h. 29”, w. 26”, d. 18‑1/2”. [500/800] Illustrated

859

859 French Bronze and Crystal Eight-Light Chandelier, second quarter 20th century, in the Louis XV style, the glass-clad standard holding eight leaf-molded bronze arms, each strung with cascades of prisms, the upper portion of the standard set with a spray of crystal drops, the lower portion decorated with swags of drops, h. 26”, dia. 24”. [700/1000] Illustrated

861

858

860 Set of Twelve Hand-Painted Limoges Fish Plates, ca. 1900, French, decorated with gilt laurel leaves on a green ground framing the artist-signed fish, marked with Bawo & Dotter’s Elite signature, 1896‑1900, dia. 9”.

[500/800]

222

861 Pair of French Belle Epoque Bronze Two-Light Candelabra, fourth quarter 19th century, composed of contrasting gilt and patinated bronze, the fluted bases supporting, respectively, a putto and satyr figure holding a molded candle branch in each arm, h. 15‑1/2”, w. 8‑3/4”, d. 5‑1/4”. [1800/2500] Illustrated

864 862

862 Belle Epoque Enamel and Gilt-Bronze Encrier and Pen Stand, fourth quarter 19th century, the lapis-ground tray and encrier richly decorated with gilt flourishes and turquoise “jewels”, trimmed with gilt fittings, including pen rests, the inkwell retaining the glass liner, h. 4”, w. 5‑1/2”, d. 4‑3/4”. [700/1000] Illustrated

863 Louis XVI-Style Mahogany Bureau Cylindre, early 20th century, the rectangular rouge royale marble top with a three-quarter pierced brass gallery, above a roll-top opening to a pull-out leather-inset writing surface and a variety of drawers and cubbyholes over two frieze drawers, raised on fluted circular legs ending in toupie feet, the whole accented with brass banding, h. 43”, w. 36‑1/2”, d. 20‑1/2”. [700/1000] Illustrated 864 Napoleon III Giltwood Arched Pier Mirror in the Rococo Revival Taste, third quarter 19th century, cove-molded and decorated with inset bands of rocaille ornament, with egg-and-dart molding framing the mirror plate, the molded crest comprised of an oval beaded cabochon framed with sprays of oak leaves and acorns, h. 80”, w. 40‑3/4”. [800/1200] Illustrated 863

223

865

868 Pair of French Belle Epoque Gilt-Bronze Jardinieres on Stands, fourth quarter 19th century, the figural supports depicting classical maidens with water jars, holding the flat planters decorated with scrollwork on a stippled ground, above square bases with leaf-molded scrolled feet, h. 31”, dia. 14”. [1500/2500] Illustrated

867

865 French Bronze Five-Light Chandelier, in the Louis XIV style, the vasiform standard decorated with fluting and leaf molding, and supporting molded scrolled arms terminating in brackets mounted with classical busts, h. 22”, dia. 24‑1/2”. [1000/1500] Illustrated

869 French Kingwood, Bronze and Porcelain Napoleonic Table, fourth quarter 19th century, the bronze-mounted veneered top set with glass over five porcelain roundels, with Napoleon in the center surrounded by ladies of the French court, raised on bronze eagle-form legs, h. 28”, dia. 26‑1/2”. [800/1200] Illustrated 870 Louis XV-Style Fruitwood and Burlwood Commode, early 20th century, the shaped rectangular top banded and within ormolu millwork, above a conforming case fitted with three drawers, all with inset Sevres-style porcelain plaques, raised on cabriole legs ending in sabots, h. 31”, w. 19‑1/2”, d. 14‑1/2”. [500/800] Illustrated

866 868

866 Louis XV-Style Giltwood and Marble-Top Console Table, early 20th century, the rouge royale marble top with a shaped front, above a conforming paneled frieze centered by a carved shell, raised on cabriole legs headed by acanthine carving and ending in hoof feet, h. 32”, w. 56”, d. 16”. [500/800] Illustrated 867 Louis Prost (French, 1876‑1935), “Pastorale”, 1920, patinated bronze, signed and dated at right edge of boulder, with a “Meroni Radice / Cire Perdue / Paris” foundry mark at back edge of sculpture, on a marble base, h. 16‑1/2”, w. 21”, d. 11‑1/2”. [2000/4000] Illustrated

224

869

871 French Porcelain Figure of a Courting Couple, post-1876, the polychrome figure depicting a couple in 18th-century costume with bread, fruit and jugs for wine, signed with the underglaze blue mark of “J. Vialatte”, h. 9‑3/4”, w. 8”, d. 7‑1/4”.

[500/800] 872 Louis XIV-Style Bronze and Crystal Ten-Light Chandelier, the bronze frame with ten scrolled candle arms interspersed with sprays of prisms, and an upper tier set with more prisms, a molded crystal finial decorating the center, h. 37‑1/2”, dia. 25”.

[1200/1800] 873 German Rococo Revival Hand-Painted Porcelain Centerpiece, third quarter 19th century, in the Meissen style, the oval bowl pierced and set with scrollwork handles, and decorated with oval framed panels with bowknot crests on the front and back, the interior and exterior surfaces with a profusion of hand-painted floral sprigs, raised on scroll feet, with a Meissen-style underglaze blue crossed swords mark, h. 7‑3/4”, w. 18‑1/2”, d. 9‑3/4”. [700/1000] Illustrated

873

874

874 Louis XV-Style Kingwood Bureau, early 19th century, the rectangular top with inlaid and banded patterns, above a slant front with like patterns and three inset Sevres-style porcelain plaques, opening to an inset leather surface, a storage well and a variety of drawers and cubbyholes, over two large porcelain panels featuring cherubs flanked to either side by two small drawers, raised on cabriole legs, the whole accented with ormolu mounts and millwork, h. 36‑3/4”, w. 35‑1/2”, d. 20‑1/2”.

[2500/4000] Illustrated

870

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876

226

877

875 Sevres-Style Gilt-Bronze-Mounted Porcelain Centerpiece, third quarter 19th century, the pierced bronze base and frame decorated with rocaille work and ivy, and supporting a bombe-form bowl decorated with a group in an Arcadian landscape on the obverse and hand-painted flowers on the reverse, each in tooled gilt framework on a celeste bleu ground, h. 14”, w. 22‑1/2”, d. 11‑1/2”. [1500/2500] Illustrated 876 Continental Mahogany Wardrobe, late 19th century, the molded overhanging cornice with projecting ends, above a case fitted with two long paneled doors, flanked to either side by an engaged pilaster headed by a carved telamon, raised on molded block feet, h. 81”, w. 54”, d. 32‑1/2”. [700/1000] Illustrated 877 Continental Mahogany Wardrobe, late 19th century, the molded overhanging cornice with projecting ends, above a case fitted with two long paneled doors, flanked to either side by an engaged pilaster headed by a carved telamon, raised on molded block feet, h. 81”, w. 54”, d. 32‑1/2”. [700/1000] Illustrated

879 Continental Walnut Cheval Mirror, mid-19th century, the domed mirror within a molded frame surmounted by a shield carving, supported by turned and block uprights joined by a like stretcher and ending in splayed end feet to scrolled toes on casters, h. 78”, w. 43‑1/2”. [700/1000] Illustrated 880 Franz Kruger (German, 1797‑1857), a pair of portrait miniatures of “Husband and Wife”, gouache and watercolor on ivory, both signed “F. Kruger” mid-right, dia. 2‑5/8”. Both glazed and presented in garnet velvet frames. [1000/1500] Illustrated

880

878 Austrian Walnut and Burled Walnut Secretary Abattant, third quarter 19th century, in two parts, the recessed upper section with an arched fruit- and foliatecarved crest over cupboard doors, joined with carved brackets to a tall base with a fall front, opening to expose a fitted interior with figured drawers, and three drawers below, h. 89”, w. 42‑1/4”, d. 23‑3/8”. [1200/1800] Illustrated

878

879

227

881 Collection of Six Painted Portrait Miniatures, 19th century, including a “Tudor Lady”, a “Dark-Haired Beauty in Turkish Costume”, signed “Bencini”, a “Young Woman in Yellow Dress and Long Pearls”, signed “Sylv”, a “Neoclassical Lady Seated with Harp, a Mountainous Lake Landscape In the Distance”, signed illegibly along right edge, a mid-19th-century German School watercolor on paper of a “Golden Haired Beauty”, illegibly signed lower center, and a “Madonna and Child”, faintly signed along right edge, sight sizes from 2” x 1‑5/8” to 6‑1/4” x 5”. All except one glazed and framed. [700/1000] Illustrated

882 Well-Painted KPM Portrait Plaque of a Luminous Beauty, fourth quarter 19th century, Berlin, Germany, the dewy-eyed young woman depicted with flowing hair decorated with a blossom, impressed with “Sabre” and “KPM” on the back, in an ebonized porthole frame, h. 10”, w. 7”. [500/800] Illustrated

883

882

883 Three Continental Oval Portrait Plaques, fourth quarter 19th century, one depicting a youth in Tyrolean costume, holding a flute, in a contemporary giltwood frame, h. 6”, w. 4‑1/4”, one depicting a portrait of Lillian Russell, in a chain-link frame, mounted as a picture in an oval ebonized frame, h. 7‑1/4”, w. 5‑3/4”, and one depicting a gentleman in late 19th-century dress, signed indistinctly, h. 5‑1/4”, w. 4‑1/4”. [500/800] Illustrated

881

228

884

885 1 of 6

886

885 1 of 6 884 Carved Giltwood Overmantel Mirror, mid-20th century, in the Italian rococo taste, the serpentine frame ornamented with carved rocaille work and terminating in a pierced finial decorated with a basket of flowers, h. 42‑3/4”, w. 49”. [500/800] Illustrated 885 John Heaviside Clark (Scottish, ca. 1770‑1836), “Spanish Bull Fighting”, suite of six hand-colored aquatints from Foreign Field Sport, Fisheries, Sporting Anecdotes, published London, ca. 1819, sight approximately 7” x 11”. All glazed, handsomely matted and framed en suite.

[1000/1500] Illustrated 886 Continental Walnut Cabinet, early 19th century, the molded and broken cornice centered by a shield-form carving, above a case fitted with two doors, each inset with a fabric panel and a wooden latticework grille, flanked to either side by turned and bulbous applied uprights, joined by toupie supports to a lower section fitted with two like cupboard doors, raised on toupie feet, h. 93”, w. 49”, d. 18”. [1500/2500] Illustrated

229

888 Unusual Carved Giltwood Bracket, ca. 1900, decorated with a pair of angel’s heads against outstretched wings holding a serpentine shelf with a leaf-carved edge, h. 19‑1/2”, w. 44‑1/2”, d. 12”. [700/1000] Illustrated 889 French Painted Terracotta Figural Group, fourth quarter 19th century, depicting putti dancing at the feast of Dionysus, signed “L. Livi”, h. 23”, w. 15‑1/2”, d. 7”.

[1200/1800] Illustrated

889

887

887 Unusual Pair of Venetian Giltwood Lantern-Form Appliques, mid-20th century, the tapered lanterns set with mirror plates and framed with bellflower drops, emanating from anthemion-form finials, with leaf-carved bases, h. 32‑1/2”, w. 8”, d. 3‑3/4”. [600/900] Illustrated

890 G. Cholin (French, 19th Century), “Allegorical Depiction of Plenty”, fourth quarter 19th century, terracotta figural group of two putti with a cornucopia, inscribed “G.C.” in interior, signed verso base, h. 11”, w. 16”, d. 6”. [1000/1500] Illustrated

888

230

890

892

891

891 Unusual Italian Baroque-Style Giltwood Dressing Mirror, fourth quarter 19th century, the oval pierced scroll-carved mirror supported by a putto on one side and a leaf-carved baluster terminating with a flame finial on the other, on a serpentine base, h. 34‑1/2”, w. 37”, d. 7‑3/4”. [1200/1800] Illustrated

893

892 Italian Neoclassical Giltwood Mirror, fourth quarter 18th century, the rectangular frame with a beaded liner, decorated with a pierced crest of arrows, wheat, flowers and laurel leaves with tassels framing the crest, set with an antique mirror plate, h. 32‑3/4”, w. 16‑3/4”. [500/800] Illustrated 893 Italian Giltwood and MarbleTop Console Table, 19th century, the shaped rouge royale marble top above a conforming pierced scrolling foliate-carved frieze, raised on C-scroll legs joined by a pierced X-form stretcher and ending in scrolled toes on pegs, h. 35‑1/2”, w. 50”, d. 15”. [1200/1800] Illustrated

231

895

894

898 Unusual Italian Parcel-Gilt and Mahogany-Veneered Mirror, second quarter 19th century, in the neoclassical taste, the mahogany-veneered sides mounted with Blackamoor figures supporting baskets of wheat, the cove-molded crest decorated with molded gilt acanthus leaves, and the base with molded gilt leaves, h. 42‑3/4”, w. 55”. [700/1000] Illustrated 894 Italian Giltwood Mirror in the Rococo Taste, the molded frame decorated with pierced rocaille, flowers and reeded urns, and set with a beveled mirror plate, h. 63”, w. 39”. [1000/1500] Illustrated 895 Pair of Italian Parcel-Gilt Altar Sticks in the Neoclassical Style, first quarter 19th century, the fluted tapering standards carved with lotus leaves and reeding, and raised on toupie feet and tripartite bases, h. 29”, dia. 9”. [1000/1500] Illustrated 896 After Ignaz Stern (German, 1679‑1748), “Allegory of Autumn”, 19th century, oil on canvas, unsigned, 29” x 24”.

Framed. [800/1200] Illustrated 897 Northern Italian Walnut Bureau, early 19th century, the banded and paneled rectangular top with a threequarter gallery centered by a sunburst-carved circle, above a paneled and guilloche-inlaid roll-top opening to a pull-out writing surface and a variety of drawers, over two long drawers, both paneled and with like inlay, raised on toupie feet, h. 52”, w. 52‑1/2”, d. 27”. [1000/1500] Illustrated

896

232

899 Pair of Italian Carved and Parcel-Gilt Three-Light Sconces, mid-20th century, in the neoclassical taste, the pierced backplates decorated with metal and wood arrows bound with bowknots, the metal candle arms set with leafcarved drip pans and candle sockets, marked “Made in Italy”, h. 35”, w. 12‑1/2”, d. 8‑1/2”. [500/800] Illustrated

898

899

897

233

901 Pair of Italian Giltwood Two-Light Sconces in the Neoclassical Taste, the ribbon-form backplates mounted with sprays of wheat and supporting scrolled candle arms, electrified, h. 27‑1/4”, w. 11”, d. 8‑3/4”.

[500/800] Illustrated 902 Frederick Goodall, R.A. (British, 1822‑1904), “A Bazaar in Cairo”, oil on canvas, monogrammed lower left, 53‑1/4” x 36”. Presented in a period, deeply molded giltwood and gesso exhibition frame. [15000/24000] Illustrated 903 Carved Marble Bust of “Odalisque”, a Turkish Harem Girl, fourth quarter 19th century, dressed in traditional Turkish costume and jewelry, signed illegibly on the rear, h. 20‑1/4”, w. 18”, d. 10”. [1800/2500]

900

900 Pair of Venetian Carved and Parcel-Gilt Blackamoor Figures, 19th century, mounted as lamps, the male and female figures dressed in bas-relief-carved and polychromed painted tunics, and posed on rocky landscapes, figure, h. 30‑1/2”, dia. 7‑1/4”. [1000/1500] Illustrated

901

904

234

902 904 Pair of Continental Giltwood Armchairs, early 20th century, of Baltic inspiration, each with an elaborately interlacing back centered by a carved masque and with an addorsed eagle head crest, joined by shaped arms on eagles’ leg uprights to the padded seat above a Greek-key frieze, raised on reeded circular legs headed by a bulbous acanthine capital and ending in peg feet, h. 39”. [1200/1800] Illustrated

235

905 Italian Giltwood Display Case, early 20th century, the rectangular top above a slanted and hinged glazed door, opening to a display interior fitted with shelves, the front and sides all with glazed panels within scrolling foliate borders, raised on a stand of cabriole legs, h. 56‑1/2”, w. 47”, d. 24”. [2500/4000] Illustrated 906 Italian Giltwood Pier Mirror in the Neoclassical Style, first quarter 20th century, the crest decorated with a pair of fluted, covered vases centered by a pierced bowknot, the base with pierced and scrolled carving, h. 54‑1/2”, w. 19”. [700/1000] Illustrated 907 Pair of Italian Gilt-Bronze and Porcelain ThreeLight Sconces, mid-20th century, in the rococo style, the molded backplates holding matching arms decorated with interspersed porcelain flowers, h. 20”, w. 12”, d. 8”.

[500/800] 908 Leopold Schmutzler (German, 1864‑1941), “Young Woman with Daisies”, oil on panel, signed lower right, 40” x 28‑3/4”. Presented in a handsome, period Austrian frame with an oval liner. [7000/10000] Illustrated

908

905

906

236

910

909 Six Italian Micro-Mosaic Picture Frames and a Boudoir Clock, ca. 1900, each lushly decorated with carefully detailed flowers, the collection including two serpentine frames, h. 5‑1/2” and 9”, two dome-top frames, h. 5”, a shield-form frame, h. 5‑1/4”, and a turtleshaped frame, h. 3‑1/2”, together with a Gothic-form clock with works by the British United Clock Co., Birmingham, 1885‑1909, h. 5‑1/2” (seven total pieces). [500/800] 912

910 Collection of Seven Italian Micro-Mosaic Boudoir Picture Frames, ca. 1900, each lushly decorated with carefully detailed flowers, including a square frame, h. 8‑1/2”, two dome-top frames, h. 3‑1/2” and 8‑1/4”, three serpentine frames, h. 3‑3/4” to 8‑1/2”, and a horseshoe-shaped frame, h. 5‑1/4”. [500/800] Illustrated 911 Italian Painted Metal Eight-Light Chandelier, mid20th century, in the Baroque taste, the scrolled frame decorated with applied, molded metal leaves, and having scrolled arms supporting notched drip pans, an inverted dome decorated with applied flowers serving as the lower finial, h. 45”, dia. 29”. [500/800] 912 Pair of Italian Polychrome Torcheres, late 19th century, each with a circular top supported by a fluted and foliate-carved standard raised on a patera-modeled circular base to paw feet, h. 48‑1/4”, dia. 18”. [1000/1500] Illustrated

237

913 Italian Baroque Parcel-Gilt Mirror, fourth quarter 17th century, decorated with panels of carved scrollwork on a painted blue ground, the mirror glass of a later date, h. 59‑1/2”, w. 45‑1/2”. [700/1000] Illustrated

914 Italian Baroque Parcel-Gilt Mirror, fourth quarter 17th century, decorated with panels of carved scrollwork on a painted blue ground, the mirror glass of a later date, h. 59‑1/2”, w. 45‑1/2”. [700/1000] Illustrated 915 Pair of Italian Gilt-Metal and Glass Three-Light Basket Sconces, mid-20th century, in the Louis XV taste, with mirrored backplates, the arms hung with swags and sprays of drops, marked “Made in Italy” on a brass tag, h. 13”, w. 14”, d. 8”. [500/800]

913

916 Italian Polychromed Wooden Commode, second quarter 19th century and later, in the neoclassical taste, the canted rectangular faux-marbre top above a conforming case fitted with three long drawers, all decorated with polychrome scrolling foliate patterns, raised on tapering square legs, h. 34‑1/2”, w. 38”, d. 20‑1/4”. [1500/2500] Illustrated

918

917 Baroque-Style Bronze and Pottery Centerpiece, the bronze base decorated with molded leaves and raised escutcheons, and supporting the inverted base and bowl, decorated in the Italian manner with shields, putti and dragons on a black ground, the bronze handles terminating in maiden’s heads and attached to the pierced bronze trim ring, h. 17‑3/4”, dia. 19”. [600/900] 918 Italian Marble Figure of a Child Writing, ca. 1900, after Antonio Canova (Italian, 19th century), the seated figure holding a stylus and tablet inscribed “Canova”, h. 17”, w. 7‑1/2”, d. 8‑1/2”. [500/800] Illustrated

914 916

238

919

919

921 Set of Six Venetian-Style Two-Light Sconces, the mirrored backplates engraved with baskets of flowers and set with pairs of patinated bronze candle arms, electrified, h. 15‑1/2”, w. 11‑1/2”, d. 6‑3/4”. [500/800] 922 Italian-Style Wrought Iron and Marble-Top Side Table, the rectangular green marble top with rounded corners, above a conforming pierced scrolling foliate frieze, raised on caryatid supports joined by a pierced scrolling stretcher and ending in claw feet, h. 33”, w. 48‑1/2”, d. 12”.

[500/800] Illustrated

919 Continental Rococo Paint-Decorated Pier Mirror, third quarter 18th century, the carved frame decorated with rocaille ornament and pierced leaves, the volute-carved crest decorated with a metal sheaf of wheat and pierced roses, set with an antique mirror plate, h. 73”, w. 34‑1/2”. [1500/2500] Illustrated 920 Pair of Italian Polychrome Pedestal Tables, late 19th century, in the rococo taste, each with a circular top with a molded edge and pendant foliate accents, above a circular standard with applied scrolling designs, raised on three splayed legs headed by floral carving and ending in scrolled toes, the whole accented with gilt accents, h. 37‑1/2”, dia. 15‑1/2”. [1000/1500] Illustrated

922

239

923 Pietra Dura Plaque, 20th century, probably Middle Eastern, decorated with flowers, strapwork and hearts, in polychrome stone on a black ground, h. 12”, w. 12”.

[600/900] Illustrated

927

924 Pietra Dura Dish on Lapis Lazuli, decorated with flowers in a geometric border, h. 3”, dia. 14‑1/4”.

[900/1200] 925 Italian Pietra Dura and Iron Conservatory Table, the banded and rectangular pietra dura top with an elaborate scrolling floral and foliate pattern, and raised on two scrolling end supports joined by a like stretcher and ending in in-scrolled toes to gilt balls, h. 32”, w. 78”, d. 38”.

[1000/1500] Illustrated

923

928

929

240

926 Ebonized Adjustable Folio Rack, ca. 1900, with the incised stamp “Chapman Made in Spain”, the two gridded ends each with six positions from vertical to horizontal, on a cheval base, h. 44‑1/4”, w. 28”, d. 26‑1/2”. [700/1000]

928 Rectangular Malachite Table Box, with a bronze bezel under the beveled cover, h. 4”, w. 7‑3/4”, d. 6”.

[700/1000] Illustrated 929 Neoclassically Inspired Walnut Fireplace Surround, late 20th century, the mantel with a molded edge joined to like returns, the molded face flanked by foliate-carved blocks over a fluted column firebox opening, h. 47‑1/4”, w. 77”, d. 31‑1/4”. [700/1000] Illustrated

927 Pair of Malachite-Clad Neoclassical-Style Obelisks, with stepped bases, the square plinths with raised panels, h. 20”, w. 5”, d. 5”. [4000/7000] Illustrated

925 detail

925

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932 931

933

930 Pair of Twenty-Two-Karat Yellow Gold, Enamel and Diamond Indian Mughal Parrot Figures, each polychrome enamel figure set with twenty-two irregular faceted diamond accents, with an approximate total weight of 0.50 carats for the pair, h. 2‑1/4”, 107.0 grams total weight. [1800/2500] Illustrated 931 Twenty-Two-Karat Yellow Gold, Diamond and Enamel Indian Mughal Box, the octagonal polychrome enamel box set with thirty-three irregular faceted diamonds, with an approximate total weight of 0.50 carats, h. 5/8”, w. 1‑3/8”, d. 1‑5/8”, 41.2 grams total weight. [1200/1800] Illustrated 932 Twenty-Two-Karat Yellow Gold, Diamond and Enamel Indian Mughal Box, the heavy oval polychrome enamel box set with eighty-four irregular faceted diamonds, with an approximate total weight of 2.00 carats, and an oval rock crystal cabochon, h. 1‑1/2”, w. 2‑3/8”, d. 2”, 156.2 grams total weight. [4000/7000] Illustrated

244

934

933 Eighteen-Karat Yellow Gold Cuff Bracelet, the heavy hinged bangle cuff bracelet designed as a wide dome composed of flowing leaves, inside circumference, 6‑1/4”, 105.0 grams total weight. [8000/12000] Illustrated 934 Lady’s Eighteen-Karat Yellow Gold and Diamond Piaget Wristwatch, the round black dial surrounded by a white gold bezel set with thirty-six round brilliantcut diamonds, with an approximate total weight of 0.66 carats, the round mechanical seventeen jewels movement signed by Piaget, the case, band and dial also signed by Piaget, l. 6‑3/4”, 62.0 grams total weight.

[1500/2500] Illustrated 935 Spectacular Eighteen-Karat Yellow Gold Bib Fringe Necklace, the twisted gold rope chain with graduating lengths of flat cable-designed chain forming the bib, chain, l. 17”, bib, l. 7”, 110.0 grams total weight.

[15000/25000] Illustrated

935

5 4 2

936 Stunning Fourteen-Karat Yellow/White Gold, Diamond and Multi-Stone Hinged Bangle Bracelet, with a floral arrangement, set with seventy-four European-, baguette-, and triangularcut diamonds, with an approximate total weight of 2.50 carats, color H-I and clarity VS2‑SI2, three cabochon-, emerald-, and round-cut emeralds, with an approximate total weight of 0.53 carats, thirtytwo round-, cabochon-, baguette- and triangular-cut rubies, with an approximate total weight of 3.23 carats, and sixteen oval-, baguette-, and cabochoncut sapphires, with an approximate total weight of 12.26 carats, the tapered bracelet 1‑3/4” at the widest point, inside circumference, 6‑3/4”, 103.0 grams total weight. [4000/7000] Illustrated

936

938

937

246

939

937 Tiffany and Company Eighteen-Karat Yellow Gold Schlumberger Bracelet, the vintage bracelet composed of twisted and textured open “X”-shaped links, the clasp marked “Made in France, Tiffany, Schlumberger”, together with the original black suede box and outer box marked “Tiffany & Co., designed by Schlumberger”, l. 6‑1/2”, 62.0 grams total weight. [2000/4000] Illustrated 938 Tiffany and Company Eighteen-Karat Yellow Gold and Diamond Schlumberger Ear Clips, each ear clip designed as an exploding firework, composed of twisted rope and set with ten round brilliant-cut diamonds, with an approximate total weight of 2.00 carats for the pair, color G-H and clarity VS, together with the original black suede box and outer box marked “Tiffany & Co. designed

by Schlumberger”, l. 1‑3/4”, 17.8 grams total weight.

[700/1000] Illustrated

941 Fourteen-Karat Yellow Gold and Diamond Ring, set with four round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, color G-H and clarity SI-I, size 7‑1/2, 2.9 grams total weight. [500/800]

940

939 Buccellati Eighteen-Karat Yellow Gold and Diamond Bangle Bracelet, the 8.00 mm-wide hinged bracelet with a Florentine finish and set with ten round brilliant-cut diamonds, with an approximate total weight of 0.49 carats, color E-F and clarity VVS2‑VS1, inside circumference, 6‑1/8”, 22.0 grams total weight. [12000/18000] Illustrated 940 Unusual Eighteen-Karat Yellow Gold and Diamond Globe Ring, the globe pave-set with approximately 360 round brilliant-cut diamonds, with an approximate total weight of 3.50 carats, color H-I and clarity SI1‑SI2, size 7‑1/4, 10.2 grams total weight. [2000/4000] Illustrated

247

942

943

943 Eighteen-Karat Yellow Gold and Diamond BuccellatiStyle Cuff Bracelet, the hinged bracelet with a satin Florentine finish and set with eighty-five round-cut diamonds, with an approximate total weight of 4.50 carats, color E-F and clarity VS1‑VS2, inside circumference, 6”, 57.0 grams total weight. [18000/25000] Illustrated 944 Vittorio Valobra Eighteen-Karat Yellow Gold, Diamond and Sapphire Necklace, composed of 416 round-cut diamonds, with an approximate total weight of 9.00 carats, color E-G and clarity VVS2‑VS1, and three oval-shaped sapphires, with an approximate total weight of 4.67 carats, l. 15‑1/2”, 46.0 grams total weight. [25000/40000] Illustrated 945 Eighteen-Karat Yellow Gold, Sapphire and Diamond Bracelet, set with 216 round-cut diamonds and twenty-four baguette-cut diamonds, with an approximate total diamond weight of 4.86 carats, color E-F and clarity SI1‑I1, and twelve oval heat-treated sapphires, each measuring approximately 6.00 mm x 4.00 mm, with an approximate total weight of 8.00 carats, l. 7”, 18.0 grams total weight. [9000/12000] Illustrated

942 Judith Leiber Swarovski Crystal and Onyx Cabochon Violin Minaudiere, with fold-in chain and push clasp, the gold kidskin-lined interior with a chain guard and gusseted open pocket, labeled: “Judith Leiber/ New York”, the framed stamped: “Judith Leiber”, includes the gold kidskin coin purse, tasseled comb and swing mirror, h. 3‑3/4”, w. 7‑3/4”, d. 2”.

[1000/1500] Illustrated

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945

944

249

946

948

947

947 Lady’s Eighteen-Karat Yellow Gold and Diamond Rolex Oyster Perpetual Datejust Wristwatch, ca. 1979, the watch with a lapis lazuli dial surrounded by a white gold bezel set with thirty-six round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, the mechanical automatic (self-winding) movement with a non quick change date, the case, dial and movement signed “Rolex”, reference #6917, serial #6, 102, XXX, size 32.0 mm x 25.5 mm, without crown. [1500/2500] Illustrated

950

946 Chanel, Paris, Black Quilted Lambskin Flap Bag, with slip pocket on the reverse and a lambskin-interwoven chain, the interior flap with trapunto “CC”, the burgundy lambskin-lined interior with a slip pocket and zippered pocket with a logo tab, gilt-stamped: “Chanel” and “Made in France”, the chain toggles and interior clasp stamped, the “CC” clasp with three slash marks, includes a dust bag, h. 5‑1/2”, w. 7‑1/2”, d. 2‑1/2”, chain drop: 21”.

[1000/1500] Illustrated

8 250

949

949 Stunning Eighteen-Karat White Gold, Sapphire and Diamond Ring, set with a central cushion-cut sapphire, with an approximate weight of 9.35 carats, surrounded by ten round-cut diamonds, two pear-shaped diamonds, four marquise-cut diamonds and sixteen round-cut diamonds on either side of the ring shank, with an approximate total diamond weight of 2.30 carats, color E-F and clarity VS1‑VS2, size 7, 11.0 grams total weight. [40000/70000] Illustrated

950 Platinum, Sapphire and Diamond Marcus and Company Brooch, with a filigree design and set with a central pear-shaped treated sapphire, with an approximate weight of 1.45 carats, and 104 round European-cut diamonds, with an approximate total weight of 1.14 carats, color G-I and clarity VS2‑SI1, l. 1‑1/4”, 7.0 grams total weight. [1500/2500] Illustrated

952

948 Platinum, Fourteen-Karat Yellow/White Gold, Diamond and Sapphire Dangle Earrings, each earring set with sixteen oval-cut diamonds, with an approximate total weight of 6.96 carats for the pair, color F-G and clarity VVS2‑VS1, and three pear-shaped sapphires, with an approximate total weight of 5.28 carats for the pair, l. 1‑1/2”, 15.0 grams total weight.

[1400/1800] Illustrated

951

951 Chanel, Paris, Dark Navy Quilted Lambskin Handbag, with a lambskin-interwoven chain, the interior flap with trapunto “CC”, the burgundy lambskin-lined interior with an accordion slip pocket and zippered pocket with a logo tab, gilt-stamped: “Chanel” and “Made in France”, the chain toggles and interior clasp stamped, the “CC” clasp with three slash marks, retains the serial number sticker, h. 6”, w. 8‑1/4”, d. 2‑1/2”, chain drop: 20‑1/2”. [1000/1500] Illustrated 952 Eighteen-Karat White Gold, Sapphire and Diamond Ring, set with a natural cushion-brilliant-cut sapphire, measuring 10.69 mm x 7.68 mm x 4.89 mm and with an exact weight of 3.42 carats, GIA certification #1136081502, surrounded by fifty-six round brilliantcut diamonds and two prong-set baguette-cut tapered diamonds, with an approximate total weight of 0.61 carats, color G-I and clarity SI2‑I1, size 7‑1/2, 4.6 grams total weight. [7000/10000] Illustrated

251

953

954 953 Fourteen-Karat White Gold and Graduated Diamond Tennis Necklace, composed of 112 round brilliant-cut diamonds, with an approximate total weight of 7.50 carats, color H-I and clarity VS1‑SI1, l. 16”, 22.0 grams total weight. [8000/12000] Illustrated 954 Stunning Fourteen-Karat White Gold and Fancy Yellow and White Diamond Ring, composed of a central prong-set oval brilliant-cut diamond, with a total weight of 4.94 carats, color, fancy light brownishyellow and clarity SI1, GIA certificate #1162665849, surrounded by thirty-six baguette-cut tapered diamonds, with an approximate total weight of 4.22 carats, color E-F and clarity VVS1‑VVS2, and eighteen round brilliant-cut diamonds, with an approximate total weight of 0.58 carats, color E-F and clarity VVS1‑VVS2, size 8, 9.0 grams total weight. [30000/50000] Illustrated

252

955

955 Spectacular Custom-Made Eighteen-Karat White/Yellow Gold, Sterling Silver and Diamond Necklace, composed of forty European- and transitional-cut round graduated diamonds, with an approximate total weight of 32.00 carats, color H-J and clarity VS2‑SI2, l. 17”, 50.0 grams total weight. [120000/180000] Illustrated

253

958

956 Beautiful Eighteen-Karat White/Yellow Gold, Yellow Diamond and White Diamond Ring, set with a central oval-cut light yellow diamond, with an approximate weight of 1.84 carats, clarity SI2, surrounded by ninety-four oval-cut diamonds, with an approximate total weight of 1.73 carats, color E-F and clarity VS1‑SI1, 133 fancy yellow round-cut diamonds, with an approximate total weight of 0.64 carats, clarity VS1‑VS2, and 102 pink diamonds underneath the body, with an approximate total weight of 0.20 carats, size 7, 10.0 grams total weight.

[30000/50000] Illustrated

254

957 Beautiful Platinum and Diamond Engagement Ring and Wedding Band, the engagement ring set with an Asscher-cut diamond, with an approximate weight of 2.00 carats, color H and clarity VVS2, flanked on either side with a tapered baguette-cut diamond, with an approximate total weight of 0.70 carats, color H-I and clarity VVS1‑VVS2, size 6‑1/2, together with the wedding band set with eleven princess-cut and eleven baguette-cut diamonds, with an approximate total weight of 1.43 carats, color G-F and clarity VVS1‑VVS2, size 7, 11.0 grams total weight for the set. [12000/18000] Illustrated

956

959

960 Chanel, Paris, Small Diamond-Stitched Black Lambskin Handbag, 1990’s, with two contoured straps, the interior with a slip pocket and zippered pocket, gilt-stamped: “Chanel” and “Made in France”, the clasp stamped on both sides, with a logo zipper tab, includes an authenticity card and matching serial number sticker, h. 6”, w. 7‑1/2”, d 2‑3/4”, strap drop: 4‑3/4”. [1000/1500] Illustrated

957

960

958 Spectacular Eighteen-Karat White Gold and Diamond Necklace, composed of 878 round brilliant-cut diamonds and 617 baguette-cut diamonds, with an approximate total diamond weight of 20.62 carats, color E-G and clarity VS1‑SI1, l. 18”, 72.0 grams total weight. [40000/70000] Illustrated 959 Pair of Fourteen-Karat White Gold and Diamond Hoop Earrings, each hinged hoop earring set with nine round brilliantcut diamonds on the outside half of the hoop and five diamonds on the inside half of the hoop, with an approximate total weight of 2.00 carats for the pair, dia. 1”, 6.3 grams total weight.

[4000/7000] Illustrated

255

961

963

961 Fourteen-Karat White Gold and Diamond Ring, set with a central round brilliant-cut diamond, with an approximate weight of 2.14 carats, color F and clarity SI3, and thirty-eight prongand channel-set diamonds, with an approximate total weight of 1.98 carats, color G-I and clarity VS2‑I1, size 7‑3/4, 5.1 grams total weight. [9000/12000] Illustrated 962 Fourteen-Karat White Gold and Diamond Tennis Necklace, composed of 101 prong-set round brilliant-cut diamonds, with an approximate total weight of 15.93 carats, color G-J and clarity I1‑I2, l. 17”, 23.1 grams total weight.

[12000/18000]

256

966

963 Pair of Fourteen-Karat White Gold and Diamond Hoop Earrings, each hinged hoop earring set with twenty-four round brilliant-cut diamonds on the outside half of the hoop and sixteen diamonds on the inside half of the hoop, with an approximate total weight of 1.25 carats for the pair, dia. 1‑3/8”, 8.8 grams total weight. [3000/5000] Illustrated

964

964 Fourteen-Karat White Gold and Diamond Engagement Ring, set with a central round-cut diamond, with an approximate weight of 1.50 carats, color K and clarity I1, flanked on either side with fifty-four round-cut diamonds, with an approximate total weight of 0.80 carats, color G-I and clarity SI1‑I1, size 7‑1/2, 5.0 grams total weight. [5000/8000] Illustrated 965 Hamilton Platinum and Diamond Wristwatch, the retro cocktail case and band set with ninety round brilliant- and single-cut diamonds, with an approximate total weight of 1.75 carats, the watch with a seventeen jewels manual wind mechanical movement, the dial and movement signed “Hamilton”, l. 6”, 26.2 grams total weight. [900/1200]

967

966 Beautiful Fourteen- and Eighteen-Karat White Gold and Diamond Pendant and Necklace, the pendant set with 187 round brilliant-cut diamonds, together with a chain bezel-set with seven round brilliant-cut diamonds, with an approximate total weight of 8.50 carats, color E-G and clarity VS1‑VS2, pendant, h. 4”, w. 1‑1/2”, chain, l. 18‑1/2”, 22.0 grams total weight. [15000/25000] Illustrated 967 Stunning Pair of Tiffany Platinum, Fourteen-Karat White Gold, White South Sea Pearl and Diamond Earrings, each earring set with a 13.00 mm white South Sea pearl and a 1.22‑carat GIA certified transitionalcut diamond, one diamond, color D and clarity SI1, GIA certificate number 10657230, and the other, color E and clarity SI2, GIA certificate number 10657232, stamped “Tiffany” and “P186345”, l. 3/4”, 12.0 grams total weight.

[20000/40000] Illustrated 968 Graduated Strand of South Sea Cultured Pearls, the strand composed of forty-two silvery-colored pearls with a high luster, measuring from approximately 10.00 mm to 15.50 mm, no clasp, l. 21‑1/2”. [1800/2500] Illustrated

968

257

971 Eighteen-Karat White Gold, Pearl and Diamond Clip Earrings, in a flower design, each with sixty-seven paveset round brilliant-cut diamonds, with an approximate total weight of 1.22 carats for the pair, color G-I and clarity SI1‑I1, and two round golden South Sea pearls with a medium luster, measuring approximately 12.50 mm, l. 1”, 18.0 grams total weight. [4000/7000] Illustrated

971

969

969 Eighteen-Karat White/Yellow Gold, Baroque Pearl and Diamond Ring, the bypass-designed white gold ring with a yellow gold flower, set with a 0.03‑carat round brilliant-cut diamond, the 14.0 mm silver/white baroque pearl with a deep luster, size 7, 14.2 grams total weight.

[900/1200] Illustrated

970

972 Fourteen-Karat Yellow Gold, Ethiopian Black Opal and Diamond Pendant with Chain, the pendant set with an oval-shaped Ethiopian black opal cabochon, measuring approximately 15.00 mm x 9.50 mm x 7.62 mm and with an approximate weight of 6.77 carats, surrounded by numerous bead-set round brilliant-cut diamonds, with an approximate total weight of 2.36 carats, color F-H and clarity VS1‑SI1, chain, l. 17”, pendant, l. 2”, 36.09 grams total weight. [6000/9000] Illustrated 973 Pair of Eighteen-Karat Yellow Gold, Black Opal and Diamond Cufflinks, each cufflink set with a black opal, measuring approximately 13.00 mm x 11.00 mm, surrounded by seventeen single-cut diamonds, with an approximate total weight of 0.62 carats for the pair, color E-F and clarity VVS2‑VS1, l. 1”, 19.0 grams total weight.

[3000/5000] Illustrated

973

970 Eighteen-Karat Yellow Gold, Diamond and Pearl Ring, the open basketweave dome ring set with approximately eighty-nine round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, the open spaces of the basketweave set with seventeen cultured pearls, ranging in size from 3.0 mm to 5.2 mm, size 7‑1/4, 9.2 grams total weight. [500/800] Illustrated

258

972

259

974

976 Eighteen-Karat White/Yellow Gold, Emerald and Diamond Ring, set with a central oval-cut emerald, with an approximate weight of 1.32 carats, and sixty-eight round brilliant-cut diamonds bordering the emerald and down the ring shank, with an approximate total weight of 0.66 carats, color F-G and clarity VS1‑SI1, size 7‑1/4, 5.8 grams total weight. [2500/4000] Illustrated 977 Platinum, Fourteen-Karat White Gold, Emerald and Diamond Ear Clips, the earrings set with two pearshaped emeralds, with an approximate total weight of 2.26 carats for the pair, and two single-cut diamonds, eight marquise-cut diamonds and sixteen tapered baguette-cut diamonds, with an approximate total diamond weight of 2.7 carats, approximate color E-F and clarity VVS2‑VS2, l. 1”, 9.0 grams total weight. [700/1000] Illustrated

975

976

978 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. [1000/1500]

977 974 Fourteen-Karat Yellow Gold, Opal and Diamond Dangle Earrings, each earring set with a bluish-green oval opal, measuring approximately 1/2” x 3/4”, and sixty round single-cut diamonds, with an approximate total weight of 3.14 carats for the pair, l. 2”, 17.0 grams total weight. [1200/1800] Illustrated 975 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, composed of a central emerald-cut emerald, with an approximate weight of 6.70 carats, twenty-four roundcut diamonds, with an approximate total weight of 1.15 carats, color H-I and clarity VS2‑SI1, and ten baguette-cut diamonds, with an approximate total weight of 1.00 carat, color H-I and clarity VVS2‑VS1, size 5, 10.0 grams total weight. [1200/1800] Illustrated

260

979

979 Stunning Fourteen-Karat White/Yellow Gold, Emerald and Diamond Necklace, set with a central 10.0‑carat emeraldcut emerald, flanked by two emerald-cut emeralds, with an approximate total weight of 10.5 carats, the emeralds mounted in stepped settings and an openwork necklace, with approximately 599 princess-cut and round-cut diamonds, with an approximate total weight of 9.00 carats, l. 19”, 127.0 grams total weight. [20000/40000] Illustrated

261

980 Chanel, Paris, Bone Quilted Lambskin Flap Handbag, a quilted slip pocket on the reverse, with a lambskininterwoven chain, the interior flap with trapunto “CC”, the interior with a slip pocket and zippered pocket with a logo tab, gilt-stamped: “Chanel” and “Made in France”, the chain toggles and both sides of the clasp stamped, includes a dust bag, h. 5‑1/2”, w. 7‑1/2”, d. 2‑1/2”, chain drop: 8‑3/4”. [1000/1500] Illustrated

980

983

981 Eighteen-Karat Yellow Gold, Angel-Skin Coral and Diamond Necklace, composed of 7.00 mm coral beads and a pear-shaped coral drop, accented with approximately 300 round brilliant-cut diamonds, with an approximate total weight of 5.60 carats, color E-F and clarity VS1‑SI1, l. 18”, 150.0 grams total weight.

[2500/4000] Illustrated 982 Eighteen-Karat Yellow Gold, Angel-Skin Coral and Diamond Detachable Earrings, the drop earrings set with a pear-shaped angel-skin coral drop and 236 diamonds, with an approximate total weight of 3.97 carats, color E-F and clarity SI1‑I1, the tops of the earrings detach to be worn without the coral, l. 2‑3/4”, 50.0 grams total weight. [1800/2500] Illustrated 983 Eighteen-Karat Yellow Gold, Angel-Skin Coral and Diamond Ring, set with a pear-shaped domed coral, surrounded by seventy-two round brilliant-cut diamonds, with an approximate total weight of 2.10 carats, color E-F and clarity VS2‑SI1, size 5‑1/2, 38.0 grams total weight.

[1500/2500] Illustrated

262

982

981

263

984

984 Fourteen-Karat Yellow Gold and Pink Moonstone Necklace, composed of two strands of faceted pink moonstone teardropshaped beads, finished with a fourteenkarat yellow gold clasp, l. 16”, 116.4 grams total weight.

[500/800] Illustrated 985 Chanel, Paris, Lacquered Straw Shoulder Bag, with a leather-interwoven chain strap, the tan faille-lined interior with a slip pocket and zippered pocket, with a stitched leather label stamped: “Chanel/ Made in Italy”, the interior clasp and zipper tab stamped, the “CC” clasp stamped with three slash marks, includes a dust bag, h. 6”, w. 6‑1/2”, d. 2”, strap drop: 11‑1/2”. [1000/1500] Illustrated

985

991

264

986 Eighteen-Karat White/Yellow Gold and Diamond Bracelet with Matching Ring, the hinged cuff bracelet designed to appear as a flexible link bracelet with two white gold links pave-set with sixty-four round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, and four round sapphire cabochons set on the side of the bracelet, inside circumference, 6‑1/2”, and the matching ring set with twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, size 9‑1/2, 37.4 grams total weight. [800/1200]

992

994

990 Fourteen-Karat Yellow Gold and Diamond Earring Jackets, each earring set with sixteen round-cut diamonds, with an approximate total weight of 2.60 carats for the pair, color D-E and clarity SI2‑I1, l. 1”, 7.0 grams total weight. [1200/1800]

987 Eighteen-Karat Yellow Gold and Diamond Necklace, the heavy herringbone link necklace with a curved yellow gold bar set with twenty-seven round brilliant-cut diamonds in a zigzag pattern, with an approximate total weight of 1.00 carat, l. 15”, 78.0 grams total weight.

[4500/7000] 988 Fourteen-Karat Yellow/White Gold and Diamond Ring, set with twenty-four European-cut diamonds, with an approximate total weight of 2.50 carats, color F-H and clarity VS2‑SI2, size 7‑1/2, 12.0 grams total weight.

[2000/4000] 989 Lady’s Eighteen-Karat Yellow Gold Cartier “Ellipse” Wristwatch with Deployment Clasp, the classic black Roman numeral dial signed by Cartier, the watch with a Cartier blue sapphire crown, and a round seventeen jewels mechanical manual wind movement, the case, clasp, dial and movement signed “Cartier”, inside circumference, 6‑1/4”, case size, 23.0 mm x 26.0 mm, without crown.

[1800/2500]

991 Fourteen-Karat Rose Gold and Diamond Ring, set with fifteen European-cut diamonds, with an approximate total weight of 2.85 carats, color I-K and clarity VS2‑SI1, size 7‑1/2, 12.0 grams total weight. [3000/5000] Illustrated 992 Petite Judith Leiber Black-Trimmed Ivory Karung Evening Bag, the rigid handle ended with a crystalstudded fruit, the gusseted body with a long front flap, the ivory faille-lined interior with a scalloped slip pocket and zippered pocket having a gold “handbag” tab, labeled: “Judith Leiber/New York”, includes a dust bag, h. 5‑3/4”, w. 5‑1/2”, d. 2‑1/4”, handle drop: 3”. [500/800] Illustrated 993 Eighteen-Karat Yellow Gold and Diamond Bar Pin, set with twenty-four graduated round brilliant-cut diamonds, with an approximate total weight of 1.08 carats, color E-F and clarity VVS2‑VS1, l. 2‑1/2”, 5.0 grams total weight. [800/1200] 994 Fourteen-Karat Yellow Gold Geneve Wristwatch, the modern quartz watch designed in the style of a “Cartier Cougar” watch, the white dial with black Roman numerals and a date display, the fourteen-karat yellow gold bracelet with a double deployant clasp, l. 6‑3/4”, 57.5 grams total weight. [800/1200] Illustrated

265

995 Fourteen-Karat Yellow/White Gold and Diamond Ring, set with twelve European-cut diamonds, with an approximate total weight of 2.27 carats, color E-L and clarity SI1‑SI2, size 6‑3/4, 12.0 grams total weight.

[2000/4000] Illustrated 996 Lady’s Fourteen-Karat Yellow Gold and Diamond Concord Wristwatch, the textured case and mesh band with a pave diamond square dial with canted corners, the dial set with approximately 116 single-cut diamonds, with an approximate total weight of 1.00 carat, the watch with a seventeen jewels mechanical manual wind movement, the case, dial, movement and buckle signed by Concord, l. 6”, 44.2 grams total weight. [700/1000]

998

995

997 Eighteen-Karat Rose Gold and Diamond Bangle Bracelet, the hinged bracelet with an undulating design, pave-set with approximately 750 round brilliant-cut diamonds, with an approximate total weight of 7.50 carats, inside circumference, 6‑3/4”, 30.4 grams total weight.

[9000/12000] Illustrated

997

266

999

998 Pair of Eighteen-Karat Rose Gold, Amethyst and Diamond Dangle Earrings, each earring pave-set with approximately 398 round brilliantcut diamonds, with an approximate total weight of 4.00 carats for the pair, framing a faceted pear-shaped amethyst, with an approximate total weight of 40.0 carats for the pair, l. 2‑5/8”, 29.2 grams total weight. [8000/12000] Illustrated 999 Fourteen-Karat Yellow Gold and Carved Amethyst Necklace, composed of natural amethyst beads carved in a swirled pattern, separated by round gold beads and finished with a fourteen-karat yellow gold clasp, l. 18”, 78.5 grams total weight. [500/800] Illustrated

1000

1001

1000 Fourteen-Karat Yellow Gold, Star Ruby and Diamond Ring, composed with a central natural star ruby, measuring 4.46 mm x 11.99 mm x 6.89 mm and with an exact weight of 12.81 carats, GIA certification #2161719604, surrounded by twenty prong-set round brilliant-cut diamonds, with an approximate total weight of 0.81 carats, color G-I and clarity SI1‑I1, size 7‑3/4, 7.7 grams total weight. [1800/2500] Illustrated 1001 Beautiful Fourteen-Karat Yellow Gold and Multi-Strand Semi-Precious Stone Teardrop Necklace, composed of approximately 300 mixedcut faceted teardrop gems, with an approximate total weight of 550 carats, including aquamarine, amethyst, bi-color quartz, citrine, garnet, green beryl, prasiolite, rock crystal, rutilated quartz and iolite, finished with a fourteen-karat yellow gold clasp, l. 16”, 122.3 grams total weight. [500/800] Illustrated

267

1004

1002

1002 Pair of Eighteen-Karat White Gold, Diamond, Amethyst, Garnet, Kunzite and Rock Crystal Pendant Ear Clips, each ear clip set with a faceted navette amethyst, with an approximate total weight of 5.00 carats for the pair, an oval and round faceted garnet, with an approximate total weight of 6.00 carats for the pair, an oval faceted kunzite, with an approximate total weight of 3.50 carats for the pair, a pear-shaped rock crystal pendant, with an approximate total weight of 18.00 carats for the pair, and three round brilliant-cut diamonds, with an approximate total weight of 0.50 carats for the pair, color H-I and clarity SI-I, l. 2‑1/8”, 21.6 grams total weight.

[700/1000] Illustrated

1003

268

1003 Fourteen-Karat Yellow Gold and Amethyst Ring, the four-prong mounting set with a single oval faceted amethyst, with an approximate weight of 24.0 carats, size 8‑1/4, 14.8 grams total weight. [500/800] Illustrated

1005

1007

1008 Pair of Eighteen-Karat Yellow Gold, Diamond, Sapphire and Ruby Ear Clips, each designed as a ram’s head and set with a 0.50‑carat faceted pearshaped sapphire and two round sapphires for the eyes, the horns set with ten round brilliant-cut diamonds, with an approximate total weight of 0.50 carats for the pair, the forehead of each ram set with six round faceted rubies, l. 1‑1/4”, 45.2 grams total weight. [8000/12000] Illustrated 1009 Eighteen-Karat Yellow/White Gold, Diamond, Emerald and Enamel Leopard Pin, accented with black and green enamel, set with approximately 0.25 carats of European-, round- and single-cut diamonds, and two cabochon-cut emeralds accenting the eyes, l. 1‑3/4”, 21.0 grams total weight. [1500/2500]

1004 Fourteen-Karat Yellow Gold and Multi-Stone Turtle Pin, the custom-made pin set with one cabochon-cut amethyst, two calibrated-cut citrines, two calibrated-cut peridots, two calibrated-cut garnets, two calibrated-cut blue topazes and fifteen round-cut diamonds, and two small garnet cabochons for the eyes, size 2” x 1‑1/2”, 31.0 grams total weight. [1800/2500] Illustrated 1005 Fourteen/Eighteen-Karat Yellow Gold, Diamond, Opal and Multi-Stone Parrot Pin, the custom-made parrot with a black enamel beak, perched on a corrugated pearl, set with 127 round-cut diamonds, with an approximate total weight of 2.25 carats, color E-G and clarity VS2‑SI1, twenty-four square-cut emeralds, with an approximate total weight of 1.44 carats, twenty-eight square-cut blue sapphires, with an approximate total weight of 2.24 carats, forty square-cut rubies, with an approximate total weight of 2.80 carats, fifty-eight squarecut yellow sapphires, with an approximate total weight of 4.22 carats, and an oval cabochon-cut emerald accenting the eye, size 1‑1/2” x 3‑1/2”, 31.0 grams total weight.

[3000/5000] Illustrated

1010 Fourteen-Karat White Gold, Peridot and Diamond Ring, set with a single round faceted peridot, with an approximate weight of 6.00 carats, and with twenty-eight round brilliant-cut diamonds down the shank of the ring, with an approximate total weight of 0.25 carats, size 9, 6.7 grams total weight. [800/1200]

1008

1006 Vintage Fourteen-Karat Yellow Gold and MultiStone Bangle Bracelet, 1960s, the hinged bracelet with a Florentine finish and set with a round-cut green tourmaline, with an approximate weight of 1.47 carats, eight round-cut garnets, with an approximate total weight of 2.00 carats, and two round-cut pink sapphires, with an approximate total weight of 0.56 carats, circumference, 8”, 46.0 grams total weight. [2500/4000] 1007 Vintage Roberta di Camerino Leather-Trimmed Velvet Handbag, 1970’s, the body of moss green velvet, with a buckled strap handle, tiny buckle push closure and two decorative buckled straps running from back to front, the black kidskin-lined interior with two slip pockets and a zippered pocket, stamped in green: “Made in Italy/By Roberta/Di Camerino”, the interior brass frame stamped with the logo, includes a red dust bag, h. 6‑1/2”, w. 11‑1/4”, d. 5‑1/2”, handle drop: 4”. [500/800] Illustrated

1011 Eighteen-Karat White Gold, Peridot and Diamond Pendant with Chain, the oval faceted peridot, with an approximate weight of 4.00 carats, surrounded by a halo of twenty-eight round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, together with an eighteen-karat white gold chain, l. 16‑1/2”, 4.2 grams total weight. [800/1200]

269

1012

1012 Fourteen-Karat Yellow Gold and Enamel Frog Brooch, the large stylized green enamel happy frog brooch with a green enamel cabochon eye outlined in white enamel, size 1‑1/2” x 2”, 30.0 grams total weight.

[1800/2500] Illustrated

1014

1013 Eighteen-Karat Yellow Gold, Silver, Amethyst, Ruby, Diamond, Turquoise and Chrysoberyl Owl Brooch, the perched owl set with sixty-three singlecut diamonds, with an approximate total weight of 0.33 carats, an oval amethyst cabochon, with an approximate weight of 10.0 carats, twenty-five round faceted rubies, with an approximate total weight of 0.12 carats, thirty-six round turquoise cabochons and two round chrysoberyl cabochons for the eyes, size 1” x 2”, 21.8 grams total weight. [2500/4000] Illustrated

1016

1013

270

1014 Fourteen-Karat Yellow Gold and Arizona Sleeping Beauty Turquoise Necklace, composed of teardrop-shaped turquoise beads, finished with a fourteen-karat yellow gold toggle clasp, l. 15”, 115.6 grams total weight. [500/800] Illustrated

1015 Fourteen-Karat Yellow Gold, Diamond, Coral, Lapis Lazuli and Turquoise Chinese Princess Brooch, the carved angel skin coral princess with a necklace composed of three pear-shaped lapis lazuli cabochons and three navetteshaped turquoise cabochons, her cape with seven flowers, each composed of four round brilliant-cut diamonds, with an approximate total weight of 0.60 carats, signed “Larry”, size 1‑5/8” x 2‑1/8”, 24.6 grams total weight. [1800/2500] Illustrated 1016 Unusual Fourteen-Karat White Gold and Bi-Color Polished Stalactite Slice Necklace, composed of graduated polished slices of bi-color stalactites, finished with a fourteenkarat white gold clasp, l. 16”, 145.2 grams total weight.

[500/800] Illustrated 1017 Fourteen-Karat Yellow/White Gold, Blue Topaz and Citrine Ring, set with a central rectangular cushion-cut blue topaz, with an approximate weight of 17.00 carats, and thirty oval-cut citrines, with an approximate total weight of 28.50 carats, size 7, 42.0 grams total weight. [2000/4000] 1018 Eighteen-Karat Yellow Gold and Blue Topaz Michelle Krespi Pendant with Chain, the pendant designed in the style of “Elizabeth Locke” and set with a cushion-shaped blue topaz cabochon, with an approximate weight of 1.70 carats, together with a fourteen-karat yellow gold Italian chain, l. 16”, 20.4 grams total weight. [500/800]

1019

1015

1020

1019 Fourteen-Karat Yellow Gold, Aquamarine and Diamond Ring, set with a pear-cut natural aquamarine, with an approximate weight of 30.08 carats, surrounded by twentynine round brilliant-cut diamonds, with an approximate total weight of 2.12 carats, color H-K and clarity SI1‑I1, size 7‑3/4, 17.9 grams total weight. [3000/5000] Illustrated 1020 Fourteen-Karat Yellow Gold and Carved Natural Aquamarine Necklace, the delicate necklace composed of leaf-carved natural aquamarine beads, finished with a fourteen-karat yellow gold clasp, l. 15”, 40.2 grams total weight. [500/800] Illustrated

271

1021 Eighteen-Karat Yellow Gold, Blue Sapphire and Blue Topaz Michelle Krespi Pendant with Chain, the pendant designed in the style of “Elizabeth Locke”, set with three round faceted sapphires, with an approximate total weight of .06 carats, and an oval faceted blue topaz, with an approximate weight of 1.25 carats, together with an eighteen-karat yellow gold fivestrand cable link Italian chain, l. 16”, 14.6 grams total weight. [500/800] Illustrated 1022 Fourteen-Karat Yellow Gold Link Bracelet, the flexible oval link bracelet composed of two rows of twisted rope, creating a herringbone design, l. 7‑1/2”, 27.4 grams total weight. [500/800]

1021

1023 Fourteen-Karat Yellow Gold and Aqua Chalcedony Necklace, composed of two strands of faceted aqua chalcedony roundels, accented by aqua chalcedony long faceted teardrop-shaped beads, interspersed with gold beads, finished with a fourteen-karat yellow gold clasp, l. 15‑1/2”, 107.1 grams total weight. [500/800] Illustrated 1024 Fourteen-Karat Yellow Gold and MultiStone Necklace, the gold oval link chain divided by round faceted gemstones into six segments, including two faceted amethysts, one light blue topaz, one blue topaz, one citrine and one rock crystal, each gem with an approximate weight of 4.00 carats, l. 30”, 14.8 grams total weight. [1200/1800] Illustrated 1025 Pair of Eighteen-Karat Yellow Gold, Diamond, Citrine and Garnet Michelle Krespi Ear Clips, designed in the style of “Elizabeth Locke”, each ear clip set with three round brilliant-cut diamonds, with an approximate total weight of 0.10 carats for the pair, a cushion faceted citrine, with an approximate total weight of 3.50 carats for the pair, and an oval faceted garnet, with an approximate total weight of 0.85 carats for the pair, l. 1‑1/8”, 15.0 grams total weight.

[500/800] Illustrated

1023

272

1025

1024

1026

1026 Eighteen-Karat White Gold, Citrine and Diamond Bianco Pendant, set with a large pear-shaped citrine, with an approximate weight of 32.45 carats, and 102 round brilliant-cut diamonds, with an approximate total weight of 0.78 carats, color H-I and clarity VS1‑SI1, l. 2‑1/4”, 14.0 grams total weight. [800/1200] Illustrated 1027 Eighteen-Karat Yellow Gold, Diamond and Citrine Ring, the customdesigned ring set with twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, and an octagonal step-cut citrine, with an approximate weight of 5.00 carats, flanked by four custom-cut citrines, with an approximate total weight of 4.00 carats, size 8, 12.8 grams total weight. [1200/1800] Illustrated 1027

273

1028 Unusual Ten-Karat White Gold, Citrine, Diamond, Emerald and Ruby Snake Necklace, composed of thirty-eight round-cut citrines, with an approximate total weight of 236.0 carats, the snake’s head accented with fifteen rose-cut diamonds, four round-cut emeralds, and twenty-five rubies, l. 18”, 122.0 grams total weight.

[1800/2500] Illustrated 1029 Fourteen-Karat Yellow Gold, Silver, Diamond, Emerald and Garnet Snake Bracelet, the spring-loaded flexible serpent divided into twenty-eight segments with a scale texture, each set with a small round garnet cabochon, the gold and silver head set with twenty-four single-cut diamonds, with an approximate total weight of 0.75 carats, two small round emerald cabochons for the eyes, a 9.0 mm x 14.0 mm and 5.0 mm x 6.0 mm oval garnet cabochon set atop the head, and a 5.0 mm x 9.0 mm pear-shaped garnet cabochon pendant dangling from the mouth, inside circumference, 6‑1/2”, 47.8 grams total weight. [3000/5000] Illustrated 1030 Vintage Eighteen-Karat Yellow Gold, Pearl, Ruby and Diamond Brooch, 1960s, the gold brooch designed as an Indian prince smoking a pipe, the prince’s head composed of a mabe pearl with two marquise diamonds as eyes and a round brilliant-cut diamond set in his turban, with an approximate total weight of 0.12 carats, the torso set with approximately sixty-two round faceted rubies, with an approximate total weight of 2.00 carats, and the feet composed of two 11.0 mm pearls, signed “Dessin, Paris”, size 1‑1/4” x 2‑1/4”, 29.0 grams total weight.

[2500/4000] 1028

1031 Two Small Fendi Handbags, the first a burgundy signature cotton baguette with copper-toned hardware, the buckles, exterior and interior clasp stamped, the interior with a slip pocket labeled: “Fendi/Made in Italy” and having a copper-stamped thirteen-digit serial number inside, includes a dust bag, h. 4‑1/2”, w. 7‑1/2”, d. 1‑1/4”, the second a mini black bugle-beaded baguette with black leather trim, the buckles and interior clasp stamped, the interior labeled: “Fendi/Made in Italy” and having a silverstamped twelve-digit serial number inside, includes a dust bag, h. 3‑1/4”, w. 6”, d. 1‑1/2”, strap drop: 4”. [500/800] Illustrated

1031

1029

274

1033

1032 Eighteen-Karat White Gold, Diamond and Pink Tourmaline Bianco Pendant, set with a central ovalshaped pink tourmaline, with an approximate weight of 1.90 carats, and 113 round brilliant-cut diamonds, with an approximate total weight of 1.04 carats, color H-I and clarity SI1‑I1, l. 1‑3/4”, 12.0 grams total weight. [700/1000]

1033 Fourteen-Karat White Gold, Ruby and Diamond Necklace, composed of thirty-five oval-shaped treated rubies, with an approximate total weight of 42.00 carats, and 350 round brilliant-cut diamonds, with an approximate total weight of 4.90 carats, color J-K and clarity SI2‑I1, l. 16”, 54.0 grams total weight. [6000/9000] Illustrated

275

1034 Vittorio Valobra Eighteen/Fourteen-Karat White Gold, Ruby and Diamond Ring, set with a central oval-shaped ruby, with an approximate weight of 1.00 carat, surrounded by sixteen baguette-cut diamonds and sixty-two round-cut diamonds, with an approximate total diamond weight of 3.39 carats, color E-G and clarity VVS2‑VS2, size 8‑1/4, 14.0 grams total weight.

[12000/18000] Illustrated

1037

1037 Pair of John Landrum Bryant Fourteen-Karat White Gold, Diamond and Ruby Elephant Cufflinks, each cufflink blanket-set with twelve round brilliant-cut diamonds, with an approximate total weight of 1.20 carats for the pair, and a small round faceted ruby for the eyes, size 1‑1/8” x 3/4”, 21.6 grams total weight. Provenance: The personal collection of the designer. [3500/5000] Illustrated

1034

1038

1035 Pair of Eighteen-Karat White Gold, Ruby and Diamond Cufflinks, each cufflink invisibly set with one princess-cut diamond, with an approximate total weight of 0.20 carats for the pair, and eight square faceted rubies, 5.3 grams total weight. [1500/2500] Illustrated

1035

1036 Fourteen-Karat White Gold and Diamond Bracelet, the double row rope bracelet designed as a belt with a buckle, the buckle and tip set with sixteen round brilliantcut diamonds, with an approximate total weight of 0.25 carats, l. 8‑1/2”, 17.8 grams total weight. [600/900]

276

1038 Eighteen-Karat White Gold and Diamond Bracelet, the flexible link circular designed bracelet with seven sunflowers, each set with seven single-cut diamond clusters, separated by a bar set with five single-cut diamonds, with an approximate total weight of 1.25 carats, color G-H and clarity VS2, the bracelet with a gold-filled extender, l. 6‑1/4”, 27.8 grams total weight. [600/900] Illustrated 1039 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant set with a pear-cut natural tanzanite, with an approximate weight of 9.64 carats, surrounded by numerous prong-set round brilliantcut diamonds, with an approximate total weight of 3.20 carats, color G-I and clarity SI1‑I1, chain, l. 18”, pendant, l. 2”, 25.9 grams total weight. [8000/12000] Illustrated

1039

1041 Eighteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central round brilliantcut tanzanite, with a total weight of 7.73 carats, GIA certification #6167724519, and 258 prong-set round brilliant-cut diamonds around the center stone and down the shank of the ring, with an approximate total weight of 2.24 carats, color G-I and clarity I1‑I2, size 7‑1/4, 12.7 grams total weight. [6000/9000] Illustrated

1041

1042 M. Gerard Eighteen-Karat Yellow Gold Wristwatch, the French-hallmarked gold stepped octagonal case with a quartz movement, the dark blue dial with a Roman numeral chapter ring, the dial and case signed “M. Gerard”, reference #5B-792‑5, serial #17, XXX, size, 26.0 mm x 26.0 mm, without crown.

[900/1200] 1040 Pair of Eighteen-Karat White Gold and Diamond Hoop Earrings, each hoop set with approximately sixtytwo round brilliant-cut diamonds on the outside half of the hoop and approximately fifty diamonds on the inside half of the hoop, with an approximate total weight of 1.00 carat for the pair, l. 2‑1/4”, w. 1‑7/8”, 8.3 grams total weight.

[2000/4000]

1043 Pair of Eighteen-Karat White Gold and Diamond Cufflinks, each round cufflink in a button design and set with twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.24 carats for the pair, dia. 5/8”, 14.8 grams total weight. [1800/2500]

277

1044

1045 Yves Saint Laurent Rive Gauche and Calvin Klein Handbag, the small Saint Laurent “Mombasa” black sueded-cowhide hobo with a silvered-metal horn form handle, the black leather closure tab silver-stamped: “Yves Saint Laurent/Rive Gauche” on the front and “serial numbers/Made in Italy” on the reverse, h. 9”, w. 10‑1/2”, d. 1”, handle drop: 4”, the sleek Calvin Klein black box calf frame handbag with a half-inch strap and labeled silver tone push closure, the interior with a gusseted slip pocket and a half-gusseted zip pocket, the zipper tab and pocket labeled, h. 6‑3/4”, w. 9”, d. 2‑3/4”, strap drop: 4”. Dust bag for both included. [500/800] Illustrated

1045

1046 1046 Tiffany & Co., Elsa Peretti Sterling Silver, EighteenKarat Yellow Gold “Starfish” and Black Onyx Necklace, Brooch and Ear Clips, the double strand black onyx necklace composed of 8.2 mm beads, finished with the Elsa Peretti “Starfish” clasp, in its original Tiffany & Co. case, l. 31”, en suite with a matching “Starfish” brooch, l. 1‑3/4”, and pair of ear clips, all pieces marked “1991, Tiffany & Co., 925, 18K”. [800/1200] Illustrated 1047 Three Bottega Veneta Leather Handbags, the first a cognac, tan and copper intrecciato zippered shoulder bag with removable strap, the zipper with a gold metal tassel, the sand leather interior with a slip pocket and labeled: “Bottega Veneta/Made in Italy”, h. 5”, w. 8”, d. 2”, the next a mini camel intrecciato “Veneta” handbag with zippered top, overall, h. 8”, w. 9”, d. 1”, handle drop: 3”, and a vintage black kidskin fold-over bag with removable self strap, the interior with a zippered pocket and labeled: “Bottega Veneta/Made in Italy”, h. 5‑3/4”, w. 8”, d. 1‑1/4”, strap drop: 20”, all three include a dust bag. [500/800] 1044 Eighteen-Karat Yellow Gold, Diamond and Tanzanite Necklace and Earring Suite, the necklace set with a trillioncut tanzanite, with an approximate weight of 1.00 carat, surrounded by diamond baguettes, with an approximate total weight of 1.00 carat, l. 18”, together with a matching pair of earrings, each set with a trillion-cut tanzanite, with an approximate total weight of 1.00 carat, surrounded by diamond baguettes, with an approximate total weight of 1.00 carat, l. 1/2”, 15.8 grams total weight. [700/1000] Illustrated

278

1048 Continental Oak Settee in the Gothic Taste, early 20th century, the triangular crest with trefoil side finials, above a paneled back featuring four panels, each with a carved warrior in an arched niche, joined by flat arms on lion shield uprights to the hinged seat, opening to a void interior, the front and sides with linen-fold carved panels, raised on block feet, h. 61”, w. 62”, d. 19‑1/2”. [800/1200] Illustrated

1049 Continental Oak Cupboard in the Gothic Taste, early 20th century, the molded cornice above a case fitted with two cupboard doors and centered by a deeply carved figure of St. Michael the Archangel slaying the dragon, flanked to either side by arched panels with carved figures of St. Peter and St. Anthony, over two drawers separated by a monk figure, joined by a linen-fold paneled back and spiraling uprights to a stretcher shelf, h. 64‑1/2”, w. 46‑1/2”, d. 20‑1/2”. [700/1000] Illustrated 1050 Pair of Continental Gilt-Bronze Altar Sticks in the Gothic Taste, third quarter 19th century, now mounted as lamps, decorated with angels on tripartite bases, the standards with figures in Gothic niches, base, h. 24”, overall, h. 30”, dia. 13”. [500/800] Illustrated

1050

1051

1051 Pair of Italian Oak Armchairs, mid-19th century, of monumental proportions, each with a shaped crest and dolphin finials, above a four-paneled back with decorative and shield carving, joined by flat arms to the cushioned hinged seat, lifting to a storage interior, the paneled front with stylized foliate carving and raised on low bracket feet, h. 65”. [1000/1500] Illustrated

1048

1049

279

1052 Pair of French Carved Wooden Monks with Bone Faces and Details, ca. 1900, made to commemorate feast days, the “sad” monk carrying a cross, inscribed “14 Octobre” on the front of the base, the “happy” monk inscribed “16 Mai”, each signed “Cornuche” on the back, mounted on later marble bases, h. 9”, dia. 4‑1/4”.

[1500/2500] Illustrated

1054

1052

1053 German Oval Portrait Plaque, ca. 1900, in the Berlin style, depicting a monk with clasped hands, wearing a cassock and skullcap, presented in an Italian segmented bone frame with an oval liner, h. 10”, w. 8‑1/2”. [500/800] Illustrated

1054 Pair of Continental Art Deco Metal and Mica Torcheres, second quarter 20th century, the twisted standards supporting hexagonal lamps on scrolled arms, the lamps with amber mica panels in the sides, the domed tops decorated with scrollwork and molded leaves, raised on tripod bases decorated with bosses, electrified, h. 75”, dia. 19”. [600/900] Illustrated

1053

1055

280

1059

1060

1056

1055 Pair of Continental Oak Cupboards in the Gothic Taste, early 20th century, each with a molded cupboard over a single door with a carved arched panel and robed figure, opening to a shelved interior, joined by a linenfold paneled back and zigzag-carved uprights to a lower shelf, raised on block feet, h. 49‑1/2”, w. 18‑1/2”, d. 13”.

[500/800] Illustrated

1058 Continental Mahogany Lectern, late 19th century, the fabric surface slanted and supported by a shaped and pierced X-form back joined by turned stretchers and ending in block feet, h. 51”, w. 22”, d. 19”. [500/800] 1059 Pair of Italian Baroque Painted Altar Sticks, ca. 1800, now mounted as lamps, the turned and foliate-carved standards above tripartite bases decorated with carved leaves, base, h. 36”, overall, h. 50”, dia. 8‑1/2”. [1000/1500] Illustrated

1061

1062

1056 Pair of Continental Oak Cupboards in the Gothic Taste, early 20th century, each with a molded cupboard over a single door, paneled and with a carved arched panel and seated knight figure, joined by a linen-fold paneled back and zigzag-carved uprights to a lower shelf, raised on block feet, h. 52”, w. 18‑1/2”, d. 16”. [500/800] Illustrated 1057 Spanish Embroidered Silk and Metallic NeedleLace Chasuble Fragment, 18th century, the crimson silk center panel with navette cartouches of St. Peter, St. Paul and St. John the Greater, each finely shaded and detailed in stem stitch, and surrounded by embroidery and cording 1057 in a symmetrical baroque pattern, within wide borders of gold and silver gimp and bullion lace and narrower clinquant-woven silk bands, sight 47‑3/4” x 14‑1/4”, presented in a black- and goldpainted wooden frame, 53‑1/2” x 24‑1/4”. [500/800] Illustrated

1060 Italian Baroque Painted Altar Stick, ca. 1800, now mounted as a lamp, the turned standard decorated with leaf carving, above a tripartite base with carved leaves, base, h. 37”, overall, h. 50”, dia. 9”. [500/800] Illustrated 1061 Carved and Painted Wooden Figure of John the Baptist Holding the Lamb of God, 18th century or earlier, the figure depicted wearing a cloak and an animal hide tunic, h. 36”, w. 13‑3/4”, d. 8‑3/4”. [2000/4000] Illustrated 1062 Italian Carved Wooden Figure of Saint Anthony of Padua, ca. 1700, depicted in a serene pose, the figure retaining portions of its gauffered and gilded leather robe covering, h. 24‑1/2”, w. 7”, d. 6”. [500/800] Illustrated

281

1063 Latin American Carved Wood, Fabric and Plaster Figure Depicting Pope Saint Gregory VII, fourth quarter 18th century, depicted wearing his mitre, the figure retaining a large portion of his original “gown”, composed of gesso-coated linen decorated with gilt, and accented with black and red flourishes, h. 31”, w. 9‑1/4”. [500/800] Illustrated

1063

1064 Pair of Continental Mahogany Armchairs, 19th century, each with a padded slightly back-sloped back, joined by heavy scrolling ribbed arms to the padded seat, raised above a shaped stretcher on square legs joined by turned side stretchers and ending in bun feet, h. 46”. [500/800] Illustrated

1066

1064

1067 1066 Italian School (18th Century), “Rest on the Flight into Egypt with Archangel Gabriel”, oil on canvas, 28‑1/8” x 34‑3/8”. Presented in a carved and pierced giltwood frame. Provenance: Private collection, Canada; Waddington’s Auction, December 13, 2011, lot 239.

[1400/1800] Illustrated 1067 French School (First Quarter 19th Century), “Adam and Eve Mourning the Death of Abel”, oil on canvas, unsigned, 28” x 37”. Framed. [3500/5000] Illustrated

1065 1065 Dutch School (18th Century), “Esther Before Ahasueros (Esther V: 2‑34)”, oil on panel, unsigned, 28‑1/2” x 41‑3/4”. Framed. [1000/1500] Illustrated

282

1068 Pair of Italian Walnut Credenzas, 18th century and later, each with a narrow rectangular top above a conforming case fitted with three small drawers over three cupboard doors, each with a carved foliate wheat pattern, flanked and divided by shield-carved uprights, raised on swag-carved bracket feet, h. 31”, w. 54”, d. 14‑1/2”.

[800/1200] Illustrated

1071 Italian Renaissance-Style Giltwood Mirror, 17th century and later, the scroll-carved frame depicting flanking mermaids on each side, the serpentine crest carved with volutes and a winged angel’s head, set with an antique mirror plate, h. 28‑1/2”, w. 26‑1/2”. [500/800] Illustrated

1071

1070

1069 Italian Baroque-Style Parcel-Gilt Floor Lamp, first quarter 20th century, of tripartite form, the leaf-carved standard decorated with green and red accents against the parcel gilding, and terminating in a flame-carved upper portion, raised on scrolled feet, h. 64‑1/2”, dia. 11”.

[500/800] 1070 Pair of Italian Baroque Carved, Parcel-Gilt and Polychrome Pricket Candlesticks, first quarter 18th century, depicting the Angel Gabriel, with tripartite bases decorated with winged angel’s heads on a red ground, the figures of Gabriel holding torcheres set with tole pricket sticks, now mounted as lamps with shades, base, h. 26”, overall, h. 42‑3/4”, dia. 17”. [2000/4000] Illustrated

1072 Continental Provincial Oak Draw-End Table, early 20th century, the banded rectangular top with parquetry inlays, with two draw ends, raised on large scroll-form legs joined by an H-form stretcher and ending in paw feet, h. 29”, w. 39”, l. 70‑1/2”, extended l. 122‑1/2”.

[1200/1800]

1068

283

1073 Iberian Oak and Leather Armchair, late 19th century, the padded leather back with an incised colorful floral spray, joined by flat arms to the like upholstered seat, raised on imbricate-carved legs and bulbous legs to runner feet joined by a stretcher, h. 42”. [500/800] Illustrated

1075

1077

1073

1075 Italian Carved Wooden Figure of Mary, fourth quarter 18th century, depicted with a snake and crescent moon at her feet, retaining significant original paint, the hollowed back with original mounting hardware, h. 48”, w. 23”, d. 10‑1/2”. [2000/4000] Illustrated 1076 Flemish School (17th Century), “The Coronation of the Virgin”, oil on panel, 19” x 16”. Framed. [1000/1500] Illustrated 1074 Painted Wooden Reliquary Bust of a Companion of Saint Ursula, ca. 1700, Italian or Spanish, the painted and parcel-gilt bust with a red-painted relic compartment, above a rectangular base decorated with contrasting scrolled gilt-work, h. 10”, w. 9”, d. 5”. [500/800] Illustrated

1077 Continental Carved Wooden Figure of a Serene Madonna, 19th century, possibly of Flemish origin, on a later turned wooden stand, h. 9”, w. 2‑1/4”. [1000/1500] Illustrated

1074

1076

284

1078 Attributed to Daniel Seghers (Flemish, 1590‑1661) and Cornelis Schut (Flemish, 1597‑1655), “Virgin and Child in a Cartouche with Flowers and Butterflies”, ca. 1640, oil on canvas, 26” x 21”. Presented in a later, custom Baroque-style ebonized frame. This painting was attributed by Dr. Gertrude Wilmers, author of Cornelis Schut (1597‑1655): A Flemish Painter of the Baroque, Brepols, 1996. [15000/25000] Illustrated

285

1079 Pair of Continental Metal Floor Standing Five-Light Candelabra, in the Baronial style, each with a square standard holding pyramidal-form candle holders decorated with scrollwork and applied flowers, and raised on scrolled tripod bases, h. 84”, w. 24”, dia. 24”. [700/1000]

1081 Good Italian Polychrome and Parcel-Gilt Cabinet, 18th century, the heavily molded and dentillated cornice above a paneled frieze with applied medallions, above a case fitted with three arched doors, each inset with a pierced iron grille depicting a flowering urn, all flanked and divided by foliate and masque-applied Corinthian pilasters, the lower section fitted with three cupboard doors, all quarter-paneled and centered by a giltwood patera, flanked and divided by giltwood acanthine pilasters, raised on a hweavily molded base, h, 85‑1/2”, w. 89”, d. 21”.

[2500/4000] Illustrated

1080 Continental Painted Metal and Stained Glass Hall Lantern, ca. 1900, in the Gothic taste, the hexagonal lantern framed in rope twist and trimmed with scrollwork, set with green, gold and colorless Gothic-style leaded stained glass, concealing a three-socket light, h. 36”, dia. 18”. [800/1200] Illustrated

1081

286

1082 Carved Giltwood Floor Lamp in the Italian Taste, the spiralreeded and leaf-carved standard above a molded serpentine base with cabriole legs, h. 73‑3/4”, dia. 14‑1/2”. [500/800] 1083 KPM Porcelain Plaque, 19th century, “The Canigiani Holy Family of 1507” after Raphael (Italian, 1483‑1520), signed “Sturm”, the reverse with the impressed scepter, “KPM” and “O”, presented in a giltwood frame, plaque, h. 12‑1/2”, w. 10‑1/8”, overall, h. 19‑1/2”, w. 17”. Provenance: The collection of prominent and well-documented New Orleanian, Charles Robb (1814‑1881). In 1859, after experiencing several personal and financial reversals, Robb decided to sell his New Orleans property and a great portion of his art collection. The sale of his art was handled by Charles Galvani, a local art dealer. This plaque was listed among the twenty-three vouchers included in the Robb Papers. It was purchased by (Dr.) J. T. (actually P.) R. Stone, the co-founder of Belle Grove Plantation in Iberville Parish, Louisiana. See Patricia Brady Schmidt, “The Robb Papers Discovered” in The Historic New Orleans Collection Newsletter (New Orleans: HNOC, 1986), volume IV, number 1, Winter 1986. [3500/5000] Illustrated

1080

1084 Pair of English Metal and Bronze Aesthetic Torcheres, fourth quarter 19th century, on scrolled metal bases decorated with sunflowers, the turned metal standards interspersed with bronze ornaments and holding wide drip pans, electrified, h. 82”, dia. 19”. [600/900] Illustrated

1084

1083

287

1085 Continental Provincial Fruitwood Refectory Table, 18th century, the rectangular top raised on vasiform end supports joined by a shaped stretcher and ending in shaped splayed feet, h. 30”, w. 34”, l. 82”. [1500/2500] Illustrated

1085

1087 French Patinated Bronze of Raphael, fourth quarter 19th century, after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), cast signature and inscribed “Deniere” at edge of base, h. 26”, w. 8‑1/2”, d. 8”. [800/1200] Illustrated 1088 Italian Walnut Credenza, early 18th century and later, the rectangular top above a carved frame and over a case fitted with five short drawers over two cupboard doors, flanked and divided by geometrically-carved panels, raised on shaped bracket feet, h. 42‑1/2”, w. 71‑1/2”, d. 21‑1/2”.

[4000/7000] Illustrated

1088

1086 Pair of Italian Baroque Giltwood Altar Sticks, ca. 1800, now mounted as lamps, the turned and reeded standards above tripartite bases, mounted with shades, base, h. 26”, overall, h. 38”, dia. 18”. [500/800]

1087

1089 Italian Polychrome Majolica Pottery Jardiniere, fourth quarter 19th century, in the Renaissance taste, set with molded lion’s head handles, the obverse depicting Diana, Goddess of the Hunt, with a deer, and various unidentified marks, including “Diesinger”, “Toni”, “1870”, and interlaced initials, h. 12”, dia. 10‑1/2”. [500/800] Illustrated

1089

288

1094

1090

1091 American Mixed Woods ArrowBack Windsor Bench, second quarter 19th century, the top rail over raked arrow-back spindles, the arms on like supports, and the turned legs with box stretchers, h. 35”, w. 75”, d. 23”. [700/1000] 1092 American School (First Quarter 20th Century), “American Sailboat”, oil on academy board, unsigned, 17” x 23”. Framed.

[1000/1500] Illustrated

1090 Impressive Italian Renaissance-Style Majolica Covered Vase, fourth quarter 19th century, decorated with a polychrome tin glaze, depicting naiads on one side and sirens on the other, with vasiform putti-molded handles and a domed cover with a leaf-molded knop, h. 36‑1/2”, dia. 12‑1/2”. [1000/1500] Illustrated

1092

1093 American Chippendale Walnut Tall Case Clock, late 18th century, the hood with a swan’s neck bonnet top and central turned finial, the face with floral-painted motifs, time and strike movement, raised on ogee bracket feet, h. 95”, w. 20”, d. 12”. [800/1200] Illustrated 1094 American Hepplewhite Cherry Slant-Lid Desk, early 19th century, the lid opening to reveal an interior centered by a door flanked by drawers and niches, over a graduated set of four banded drawers, on splay feet, accompanying the piece is a note from the 1990’s identifying a Joseph Weygaudet as its initial owner, who procured it in Lancaster County, Pennsylvania, h. 44”, w. 43”, d. 22”. [800/1200] Illustrated 1093

289

1096

1096 Pair of Adam-Style Carved Mahogany Sideboard Urns, ca. 1900, possibly Baltimore, one fitted as a wine cooler, the other as a knife urn, both leaf-carved with pinecone finials on the covers, h. 30‑1/2”, w. 9‑1/2”, d. 9‑1/2”. [800/1200] Illustrated

1097

1095 American Federal-Style Inlaid, Eglomise and Mahogany Breakfront, early 20th century, after Seymour, the shaped cornice with urn-form finials and centered by a brass finial with an eagle over a line-strung panel, the doors with mullioned glazed panels beneath eglomise panels depicting urns and classical scenes, the base with inlaid banding on its top, a central drawer with fold-out desk, contrasting figural panels and tapering legs, h. 94‑1/2”, w. 66”, d. 20”. [2000/4000] Illustrated

1095 1097 Attributed to Nathaniel Rogers (American, 1787‑1844), watercolor, portrait miniature of a young lady, presented in an eighteen-karat yellow gold and silver oval pendant frame set with forty-five rose-cut diamonds surrounding the portrait and on the removable silver hinged clasp, with an approximate total weight of 2.00 carats, backed with mother-of-pearl, displayed in a giltbrass and glass jewel case, miniature, h. 1‑1/4”, w. 1‑1/4”, overall, h. 2‑1/8”, w. 1‑1/4”. [2000/4000] Illustrated 1098 Diminutive American Federal-Style Line-Strung Sideboard, early 20th century, the serpentine top over a conforming case with a bowed central door over a pair of doors, and flanked concave drawers over doors, on tapering line-inlaid Hepplewhite legs, h. 33‑1/2”, w. 43”, d. 18‑1/4”. [600/900] 1099 American Classical Mahogany Armchair, ca. 1825, Boston, with a concave top rail over a shaped back cushion, the stiles joined to open arms on foliate-carved scroll supports, a molded seat rail and turned and carved front legs, now upholstered after the period fashion in blue and cream brocade, h. 39‑1/4”. [1500/2500] Illustrated

290

1099

1101 Pair of Neoclassical Hand-Painted Porcelain Garniture Urns, second quarter 19th century, possibly Russian, the Medici-form urns decorated with floral panels against a tooled gilt ground, the molded handles decorated in contrasting matte and burnished gilt, and terminating in molded swan’s heads, h. 16‑1/2”, w. 9”, d. 6”. [3000/5000] Illustrated

1101

1100 American Late Classical Mahogany Secretary Abattant, ca. 1830, Boston, the arched cornice fitted with a drawer over a paneled fall front, opening to reveal an interior fitted with drawers, niches and columns, and a tooled leather writing surface over a pair of paneled doors, flanked by tapering columns with carved capitals, h. 58”, w. 39‑1/2”, d. 20”. [1800/2500] Illustrated

1100

1102 American Classical Mahogany Bookcase, first quarter 19th century, Boston, in two parts, the top with a covemolded cornice over a pair of mullioned doors, the base with a bank of three beaded drawers over paneled doors, raised on bun feet, h. 97‑1/2”, w. 50”, d. 20”. [700/1000] 1103 American Late Classical Drop-Leaf Breakfast Table, ca. 1825, school of Isaac Vose, the deep drop leaves with rounded corners, the frieze fitted with a single drawer, on a tapering pedestal above a concave base with characteristic scroll feet, h. 29”, d. 42”, l. 18‑1/4”, extended l. 51”.

[500/800]

1103

291

1104 American Classical Mahogany Secretary, ca. 1830, in two parts, the upper section with a projecting cornice over a pair of mirrored doors with a band of drawers below, the base with a molded drawer opening to reveal an adjustable writing surface with tooled leather top, and a pair of recessed paneled doors below, flanked by columns on carved paw feet, h. 66‑1/2”, w. 39‑1/2”, d. 22”. [1800/2500] Illustrated 1105 American Late Classical Mahogany Center Table, second quarter 19th century, the circular marble top over a conforming frieze, raised on a tapering octagonal column joined to a shaped base with scroll feet, h. 29”, dia. 37‑1/8”. [1500/2500] Illustrated

1105

1106

1107

1104

292

1108 1106 Elizabeth M. Stansbury Appliqued Baltimore Album Quilt, dated 1846, the two squares bearing penned inscriptions and one with a cross-stitched monogram “E.M.S.”, w. 101”, l. 101”. [7000/10000] Illustrated 1107 American Late Classical Mahogany Tester Bed, second quarter 19th century, the cyma- and covemolded tester supported by pineapple- and acanthuscarved posts, the paneled headboard with a shell and scroll crest, h. 107”, inside, w. 54”, l. 76”, outside, w. 60”, l. 83‑1/2”. [2500/4000] Illustrated

1108 Antique Kashan Carpet, late 19th century, yellow, blue, cream, and tan on a crimson ground, geometric central motif on navy, radiating encoincons, substantial floral vine border flanked by geometric band borders,10’ 2” x 14’. [20000/40000] Illustrated

293

1109 Antique Feraghan Sarouk Carpet, first half 19th century, 4’ 2” x 5’ 10”. [2000/4000] Illustrated 1110 Antique Sarouk Carpet, 11’ x 17’. [3000/5000] Illustrated 1111 Semi-Antique Heriz Carpet, 8’ x 12’. [500/800] 1112 Antique Tabriz Pictorial Carpet, late 19th century, 14’ x 20’ 5”. [3000/5000] Illustrated 1113 Semi-Antique Heriz Carpet, 6’ 6” x 18’ 5”. [1000/1500] 1114 Antique Serapi Carpet, late 19th century, 11’ 6” x 16’ 5”.

[5000/8000] Illustrated

1109

1110

294

1114

1112

295

1116

296

1117

1117 Antique Tribal Serab Runner, late 19th century, 3’ x 18’ 9”.

[700/1000] Illustrated 1118 Angora Oushak Carpet, 11’ 5” x 18’ 6”. [9000/12000] Illustrated

1115

1115 Angora Oushak Carpet, 12’ x 14’. [6000/9000] Illustrated 1116 Antique Tribal Serab Runner, late 19th century, 3’ x 18’ 7”. [700/1000] Illustrated

1118

297

1119 1120

1119 Antique Serapi Carpet, first half 19th century, 8’ 4” x 12’ 9”.

[7000/10000] Illustrated 1120 Antique Malayer Carpet, late 19th century, 8’ 10” x 12’ 3”. [3000/5000] Illustrated 1121 Antique Turkoman Tekke Carpet, 6’ x 10’ 8”. [800/1200] 1122 Semi-Antique Heriz Carpet, 11’ 6” x 15’ 1”. [2000/4000] Illustrated 1123 Oushak Carpet, 12’ x 16’.

[4000/7000] Illustrated 1124 Turkish Angora Oushak Carpet, 11’ 8” x 14’ 8”. [2000/4000] 1125 Semi-Antique Sarouk Carpet, 10’ x 15’ 2”. [1500/2500] Illustrated 1126 Antique Feraghan Sarouk Carpet, late 19th century, 8’ x 10’ 4”.

[3000/5000] Illustrated 1122

298

1126

1125

1123

299

1127

1128

300

1130

1127 Turkish Angora Oushak Carpet, 10’ 3” x 14’. [1500/2500] Illustrated 1128 Semi-Antique Silk Tabriz Pictorial Carpet, 4’ 5” x 5’ 10”. [1500/2500] Illustrated 1129 Angora Oushak Carpet, 10’ 1” x 14’ 2”.

[5000/8000] Illustrated 1130 Semi-Antique Persian Heriz Carpet, 6’ 5” x 8’. [1000/1500] Illustrated 1131 Antique Caucasian Shirvan Carpet, 4’ 4” x 6’ 2”. [800/1200] 1132 Angora Oushak Carpet, 9’ x 11’ 5”.

[4000/7000] Illustrated

1129

1132

301

1133

1135 Pair of Cast Iron Figures Modeled as Eagles, 19th century, each depicting a bird with wings spread, perched upon a domed base, h. 22‑3/8”, w. 35‑1/2”, d. 18”.

[700/1000] Illustrated Similar eagles were frequently used atop the pilot house of boats, and used as ornaments above spheres or rockwork bases.

1136 Pair of Large Cast Aluminum Garden Urns, mid-20th century/early 20th century, each bowl of tazza form with a shell- and leaf-modeled rim, above a triple crane pedestal and hexagonal base, h. 50”, dia. 44”. [500/800] Illustrated

1135

1133 Pair of Polychrome Cast Stone Lawn Jockeys, 20th century, each figure with an arm extended to grasp reigns, on pedestal bases, h. 43”, w. 24”, d. 11”. [500/800] Illustrated 1134 Pair of Cast Iron Garden Figures Depicting Newfoundland Dogs, 19th century, each modeled as a seated dog with a raised paw, the heads turned in opposing directions, h. 33”, w. 33”, d. 17‑1/2”. [2000/4000] Illustrated

1137 Cast Iron Garden Bench in the Rococo Taste, second half 19th century, the back with a serpentine crest rail over crossed branches, leaves and vines, the seat with a pierced grid and scalloped apron centered by a shell, h. 33‑1/2”, w. 42”, d. 19”. [500/800] Illustrated

1134

302

1136 1139

1138 Large American Cast Iron Three-Tier Garden Fountain, early 20th century, the base with an applied plaque “The J. L. Mott Iron Works, N.Y.”, each graduated bowl of tazza form with foliate-cast rim and ribbed body, h. 89”, dia. 35”. [700/1000] Illustrate

1138

1137

1139 Cast Iron “Passion Flower” Pattern Garden Bench, late 19th/early 20th century, the pierced back modeled as twining flowers, vines and leaves, the arm supports terminating in avian heads, on cabriole front legs, h. 32”, w. 38”, d. 21”. [500/800] Illustrated

303

1142

1141 Suite of Seven Cast Iron “Morning Glory” Pattern Garden Chairs, late 19th/early 20th century, each with an open foliate-modeled concave back, circular seat and three legs, h. 31‑3/4”. [700/1000] Illustrated

1148

1143

1142 Suite of Six American Cast Metal “Lyre and Rose” Pattern Garden Armchairs, a Philadelphia pattern in production from about 1840 into the 20th century, comprised of 5 cast iron chairs, and one cast aluminum chair, now painted black, h. 34‑3/8”. [800/1200] Illustrated 1140 Rare Cast Iron “Laurel and Berry” Pattern Garden Armchair, early 20th century, the back modeled as a row of laurel branches, with a concave seat and avian legs, h. 29”. [500/800]

1143 Suite of Four American Cast Iron Garden Armchairs, in the “Lyre and Rose” pattern, a Philadelphia pattern in production from about 1840 into the 20th century, now painted black, h. 34‑3/8”. [1500/2500] Illustrated

1141

304

1144 detail

1150

1146 Pair of Cast Iron “Fern” Pattern Garden Armchairs, late 19th/early 20th century, each back wrapping around to closed arms in fern decor, with dished seats, h. 33”.

[500/800]

1144 Fourteen Sections of American Gothic Revival Cast Iron Fencing, mid-19th century, measuring approximately 103’, including eleven 8’ sections, two 6’ sections and one 3’ section with a corner post attached, fence, h. 36”, post, h. 49”.

Provenance: The estate of Bernice Abby, Vicksburg, Mississippi.

[1500/2500] Illustrated

1145

1145 Pair of Cast Iron “Fern” Pattern Garden Benches, late 19th/early 20th century, each with a back modeled as joined fronds and with a dished pierced seat, h. 34”, w. 56”, d. 19”.

[500/800] Illustrated

1147

1147 Pair of Cast Iron “Fern” Pattern Garden Benches, late 19th/early 20th century, each with a back modeled as joined fronds and with a dished pierced seat, h. 34‑1/2”, w. 55‑1/2”, d. 16”. [500/800] Illustrated 1148 American Cast Iron “Fern” Pattern Garden Bench, second quarter 20th century, h. 33”, w. 31‑1/2”.

[800/1200] Illustrated 1149 Two Fine Cast Iron Garden Urns on Stands, including a J. L. Mott urn with swan-form handles and a “Queen” pattern urn with a swan base, each second half 19th century, both with similar bowls, one with swan floral and scroll handles on a tapering fluted column and stepped square base, labeled “J. L. Mott Iron Works NY”, h. 45”, w. 34”, dia. 18‑1/2”, and the other in the “Queen” pattern with swan-head handles and a base with a trio of swan supports, the handles now detached, h. 42‑1/4”, w. 27”, dia. 19”. [500/800] 1150 Pair of Cast Iron “Renaissance Scroll” Pattern Garden Benches and a Table, late 19th/early 20th century, the bench backs each modeled with a female masque overhanging ovals, with serpentine seat and cabriole legs, h. 32‑1/2”, w. 44‑1/2”, d. 15‑1/2”, the table with a circular pierced top with a central hole for an umbrella pole, h. 26”, dia. 27‑1/2”. [600/900] Illustrated Cast iron furniture was readily replete by American foundries using British and French patterns, the present pattern is one of the few believed to be an exclusively American form. A similar bench is in the collection of the Metropolitan Museum of Art, New York.

1151 Three-Piece Cast Iron Garden Group, comprised of a “Zodiac” pattern table, second half 19th century, with an intricately pierced top adorned with the twelve signs of the zodiac, h. 28‑1/2”, dia. 32”, and a pair of hall or piazza chairs, 20th century, with corset-form backs adorned with oak leaves on vertical slats, round seats and cabriole legs, h. 37‑1/2”. [500/800]

305

1152 Three-Piece Suite of Cast Iron “Vintage” Pattern Garden Furniture, comprised of a settee, mid-20th century, h. 28”, w. 38”, d. 16”, and a pair of sidechairs, late 19th/early 20th century, h. 31‑1/2”, each with a back modeled as twining grapes, leaves and vines. [500/800] Illustrated 1153 Four-Piece Suite of Cast Iron “Vintage” Pattern Garden Furniture, comprised of a long bench, h. 29‑1/2”, w. 59”, d. 27‑1/2”, a pair of armchairs, h. 26‑1/2”, and an occasional table, h. 14”, dia. 20‑1/2”, each with back and legs modeled as grapes, vines and leaves. [500/800] 1154 Four-Piece Cast Iron “Vintage” Pattern Garden Suite, mid20th century, comprised of a large bench, h. 25”, w. 57”, d. 22”, a pair of armchairs, h. 25‑1/2”, and a side table, h. 14”, dia. 20”, each back cast as turning leaves, grapes and vines, the seats, legs and tabletop similarly modeled. [500/800] 1155 American Cast Iron “Fern” Pattern Garden Bench, first quarter 20th century, h. 30‑1/2”, w. 43”. [800/1200]

1156 Suite of Eight Cast Iron Piazza Chairs, 20th century, each labeled by “Atlanta Stove Works”, Atlanta, Georgia, after a design offered in the 1850’s, each with a balloon back with foliate and scroll details, a dished circular seat and cabriole legs, the pattern referred to as “Versailles”, h. 31”. [800/1200] Illustrated 1157 William Aiken Walker (American/South Carolina, 1839‑1921), “Cotton Pickers in the Field”, oil on brass roundel, signed bottom edge, dia. 13‑3/4”. To be included in John Fowler’s upcoming catalogue raisonne of the artist.

[8000/12000] Illustrated 1158 William Aiken Walker (American/South Carolina, 1839‑1921), “Couple in Front of a Cotton Field”, oil on brass roundel, signed bottom edge, dia. 12”. To be included in John Fowler’s upcoming catalogue raisonne of the artist. [8000/12000] Illustrated 1159 William Aiken Walker (American/South Carolina, 1839‑1921), a pair of oils on Academy board of “ Cotton Pickers”, each signed lower left, each 8‑1/4” x 4‑1/4”.

Framed alike. To be included in John Fowler’s upcoming catalogue raisonne of the artist. [5000/8000] Illustrated 1160 Southern School (First Quarter 20th Century), “On the Farm”, oil on board, unsigned, 9” x 18”. Framed.

[2500/4000]

1152

1161 William Ousley (American/Louisiana, 1866‑1953), “The Old Cypress”, oil on board, signed lower right, expository letter in artist’s hand en verso backing board, 18‑1/4” x 11‑1/2”. Framed. [700/1000]

1156

306

1157

1159

1158

1159

307

1162 Joseph Jefferson (American/Louisiana, 1829‑1905), “Louisiana Landscape” and “Steamer Ship on the Mississippi”, two oils on board, the former signed, the latter unsigned, 10” x 12”. Both framed. [800/1200] Illustrated 1163 Colette Pope Heldner (American/New Orleans, 1902‑1990), “Swamp Idyll, Louisiana Bayou Country”, oil on canvas, signed lower left, signed and titled en verso, 36” x 48”. Framed. [1200/1800] Illustrated 1164 Colette Pope Heldner (American/ New Orleans, 1902‑1990), “Swamp Idyll”, oil on canvasboard, signed lower left, 19‑3/4” x 15‑1/2”. Framed. [800/1200]

1162

1165 1165 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Dusk on the Bayou”, oil wash on paper board, signed lower left, sight 19‑1/2” x 29‑1/2”. Glazed and framed. [1500/2500] Illustrated

1162

1166 Achille Perelli (Italian/New Orleans, 1822‑1891), “Nature Morte - Mallard”, watercolor on paper, signed “A. Perelli N.O.” lower left, sight 23‑3/4” x 17‑3/4”. Glazed, matted and framed. [8000/12000] Illustrated 1167 Achille Perelli (Italian/New Orleans, 1822‑1891), “Redfish”, watercolor on paper, signed lower left “A. Perelli N.O.”, sight 24” x 17‑3/4”. Glazed, matted and framed.

[8000/12000] Illustrated 1168 Ellsworth Woodward (American/New Orleans, 1861‑1939), “The Swimmers”, watercolor on paper, initialed lower left, a “Dixie Art/Downtown Gallery, New Orleans, Louisiana” label en verso, 18‑1/2” x 14”. Glazed, matted and framed. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

[2000/4000] Illustrated

1163

308

1169 Ellsworth Woodward (American/New Orleans, 1861‑1939), “The Sunny Entranceway”, watercolor on paper, signed lower left, inscribed “#6” lower right, a “Dixie Art/Downtown Gallery, New Orleans, Louisiana” label en verso, 19‑1/4” x 13”. Glazed, matted and framed.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [1500/2500] Illustrated

1166

1168

1167 1169

309

1171 Walter Inglis Anderson (American/Mississippi, 1903‑1965), “Mississippi Woods”, watercolor and graphite on paper, a possible sketch for a mosaic, partially legible inscription lower left: “Purple, gold mosaic, set... cloisonne...”, stamped lower right, sheet 11” x 8‑1/4”.

Glazed, matted and framed. [8000/12000] Illustrated 1172 Hattie Saussy (American/Georgia, 1890‑1978), “The Grand Estate”, oil on board, signed lower right, 14‑1/4” x 18‑1/4”. Framed. [700/1000]

1170 1170 Morris Henry Hobbs (American/New Orleans, 1892‑1967), “Mardi Gras on Royal Street, Old New Orleans”, etching, pencil-signed lower right, titled and numbered “ed/100” lower left, sight 12‑1/4” x 8‑3/4”.

Glazed, matted and framed. [1200/1800] Illustrated

1173 1173 Alberta Kinsey (American/New Orleans, 1875‑1952), “Still Life of Pink and Red Zinnias”, oil on canvas, signed lower left, a “Dixie Art Supplies” label en verso, 18‑1/2” x 16‑1/2”. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

[1500/2500] Illustrated 1174 Clementine Hunter (American/Louisiana, 1887‑1988), “Melrose Plantation”, hand-stitched pieced cotton quilt, retaining original tissue backing, monogrammed lower right, 71” x 53”. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [8000/12000] Illustrated 1175 Clementine Hunter (American/Louisiana, 1887‑1988), “Zinnias”, firescreen, oil on board with brass hardware, monogrammed lower right, overall, 27” x 20”.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [3000/5000] Illustrated 1176 Clementine Hunter (American/Louisiana, 1887‑1988), “Picking Cotton”, oil on canvasboard, monogrammed mid-right, 12” x 16”. Framed.

[3000/5000] Illustrated 1171

310

1178 John Lapsley (American/Alabama, 1915‑2005), “Foggy Morning, Selma, Alabama”, oil on canvas, signed lower left, 12” x 16”. Framed. [2000/4000] Illustrated

1176

1174 1177 Clementine Hunter (American/Louisiana, 1886‑1988), “Saturday Night”, oil on Fredrix canvas panel, monogrammed lower right, 18” x 24”. Framed, [4000/7000] Illustrated

1175

1177

1178

311

1179 George Hand Wright (American/Connecticut, 1872‑1951), “Marshes, South Carolina”, pastel on paper, signed lower right, sight 18‑3/4” x 25”. Glazed, matted and framed. [3000/5000] Illustrated

1179 1180 Crawford Gillis (American/Alabama, 1914‑2000), “The Blacksmith”, 1945, oil on canvas, signed and dated lower right, 20‑1/4” x 16”. Unframed. [3500/5000] Illustrated

1181 1181 William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944), “The Pencil Seller”, 1940, graphite on paper, signed and dated “2/7/40” lower right, titled lower left, 17” x 14”. Unframed. [2000/4000] Illustrated 1182 Pair of Bohemian Cased Glass Mantel Lustres, ca. 1900, composed of emerald green glass cased in white and enameled with flowers, and hung with spear-point prisms, h. 14‑1/4”, dia. 5‑3/4”. [600/900] Illustrated

1182

1180

312

1183 Pair of Bohemian Cased and Enameled Glass Mantel Lustres, third quarter 19th century, the prism-hung lustres composed of white-plated cut-to-clear glass accented in gilt and enameled with roses, h. 13‑3/4”, dia. 6‑3/4”. [1500/2500] Illustrated

1183

1186 1184 Four-Piece Cut and Engraved Glass Garniture and a Blown, Cut and Engraved Pitcher in the Manner of Christian Dorflinger, third quarter 19th century, New York, the garniture comprised of a large compote, h. 7‑3/4”, dia. 12”, and a matching pair of smaller compotes, h. 6”, dia. 8”, decorated with panels of cut stars and engraved grapes and grape leaves, and supported on inverted standards, the blown pitcher cut in the honeycomb pattern and engraved with sprigs of flowers and fruit, h. 10”, dia. 5‑1/4”. [900/1200]

1185 Impressive American Rococo Revival Carved Oak Sideboard, Attributed to Alexander Roux, New York, third quarter 19th century, with an elaborate carved crest above a paneled backboard with carved birds, the lower section with a row of three drawers above an open section flanked by two cabinets with carved birds and fish, h. 75”, w. 76”, d. 21”. [2000/4000] Illustrated A labeled sideboard of similar form is illustrated in Dubrow, American Furniture of the 19th Century, 1840‑1880, pg. 168.

1186 Continental Carved Walnut “Nature Morte” Wall Clock, fourth quarter 19th century, the clock set with a blue enameled chapter ring and surrounded by a string of seafood, a hare, a game bird and a boar’s head finial, h. 33‑1/2”, w. 20‑1/2”, d. 5‑1/4”. [800/1200] Illustrated

1187

1185

1187 American School (4th Quarter 19th Century), “Mountain Valley Landscape with River and Deer”, in the style of Albert Bierstadt (1830‑1902), oil on canvas, illegibly signed and dated “1882” lower right, 32” x 51‑1/2”. In an antique gesso and giltwood frame.

[3000/5000] Illustrated 1188 American Rococo Revival Rosewood and Mahogany Breakfront Bookcase, third quarter 19th century, the upper section in three parts with four glazed doors and an elaborate pierce-carved crest above, the base with an open section in the middle flanked by a paneled door to each side, h. 112‑1/2”, w. 89”, d. 21”. [2000/4000] 1189 American Rococo Revival Walnut and Marble-Top Center Table, third quarter 19th century, the inset oval marble top over a conforming frieze, raised on cabriole legs joined by serpentine stretchers with an urn-form finial, h. 28‑1/2”, w. 31‑1/2”, d. 28‑1/2”. [500/800]

313

1190 Pair of Bohemian White-Cased Cut-to-Cranberry Glass Lustres, ca. 1900, decorated with enameled flowers and hung with spear-point prisms, h. 13‑3/4”, dia. 6‑1/4”. [500/800] 1191 American Rococo Revival Laminated Rosewood Sofa in the “Rosalie Without Grapes” Pattern, third quarter 19th century, attributed to John Henry Belter, New York, the serpentine back centered by a floral-carved crest, the back extending to closed arms, with serpentine front seat rail and cabriole legs, h. 41‑1/4”, w. 72‑1/2”, d. 28”.

[1000/1500]

1192

1192 Suite of Six Laminated Oak Dining Chairs, Attributed to John Henry Belter, New York, comprised of an armchair and five sidechairs, each with a concave laminated back with open scrolls, serpentine seat and cabriole legs, now upholstered in floral needlepoint, h. 35”.

[2000/4000] Illustrated 1193 Pair of Paris Porcelain Figures of Dancers, mid-19th century, retailed by Prudent Mallard, New Orleans, comprising a male holding castanets, and a female holding a lyre and music, stamped by the maker, Chantilly, and marked “P Mallard New Orleans”, in rouge de fer on the base of each, h. 15‑1/2”, dia. 5‑1/2”.

[600/900] Illustrated

1193

1194 New Orleans Market Rococo Revival Rosewood Bookcase, mid-19th century, attributed to the warerooms of the McCracken firm, of generous scale, the bonnet top with a foliate-carved crest centered by a cabochon, each door with four old glazed panels, the doors on brass hinges, the base with a pair of drawers, the canted corners with foliate carving, h. 125”, w. 75”, d. 19”. [5000/8000] Illustrated 1194

1195 Pair of American Rococo Revival Rosewood Sofas, mid-19th century, each of double chairback form, the tall backs with pierced floral- and vine-carved crests, joined by an oval panel with a shell- and floral-carved crest, with open arms, serpentine seat and cabriole legs, now upholstered in yellow damask, h. 49‑3/4”, w. 67”, d. 34”.

[2000/4000] Illustrated 1196 American Rococo Revival Rosewood Center Table, third quarter 19th century, probably Alexander Roux, New York, the tortoise-form marble top over a conforming apron with a central carved cabochon, on cabriole legs joined by a serpentine stretcher with a fruit basket, h. 29‑1/2”, w. 45”, d. 28”. [800/1200] Illustrated

1195

314

1197 Pair of Paris Porcelain Rococo Revival Garniture Vases, mid-19th century, the scroll-decorated vases with panels of couples in 18th-century costume on the obverse and flowers on the reverse, on an apple green ground, h. 14”, w. 7‑3/4”. [700/1000] Illustrated

1199 Group of Four Ruby Cut Glass Decanters, including an American Brilliant period overlay decanter, ca. 1900, h. 11‑3/4”, dia. 5‑3/4”, two Bohemian ruby-stained tall decanters with engraved decoration, fourth quarter 19th century, h. 14‑3/4” and 16”, dia. 2‑1/2” and 3‑1/4”, and a mallet-form decanter with engraved decoration, marked “Czechoslovakia”, post-1918, h. 10‑1/2”, dia. 4‑1/4”.

[500/800]

1197

1200 Pair of Enameled Milk Glass Decanters, mid-20th century, probably Bohemian, the conical bottles decorated with borders of hand-painted roses, h. 9‑1/2”, dia. 5‑1/2”.

[500/800]

1201

1198 American Rococo Revival Burled Walnut and Walnut Secretary Abattant, third quarter 19th century, attributed to George Henkels, Philadelphia, the projecting carved cornice with ovolo corners over figural carved supports, the fall front with a shaped burled panel, opening to expose a fitted interior trimmed in maple and contrasting walnut, with a drawer below, on cabriole legs with carved paw feet, h. 58‑3/4”, w. 44”, d. 23‑3/4”.

[4000/7000] Illustrated

1201 Six Bohemian Cobalt Cut-to-Clear Overlay Glass Bottles, including three graduated conical scent bottles cut with bull’s eyes, h. 9‑3/4” to 12‑1/4”, dia. 4”, a single conical scent bottle with panel-cut sides, h. 10”, dia. 3‑1/2”, and a bull’s eye- and panel-cut decanter, h. 10‑3/4”, dia. 2‑3/4”, all third quarter 19th century, together with a square decanter, 20th century, h. 9”, w. 4‑1/4”. [600/900] Illustrated

1198

1196

315

1202 Three Bohemian Cobalt Cut-to-Clear Overlay Glass Scent Bottles, including a pair cut in the thumbprint pattern, with faceted colorless stoppers, fourth quarter 19th century, h. 7”, dia. 4‑1/2”, and a taller example cut with bull’s eyes, first quarter 20th century, h. 8‑3/4”, dia. 4”. [500/800]

1206

1203

1205 Exceptional Bohemian Overlay Glass and GiltBronze Fifteen-Light Chandelier, mid-19th century, composed of blue-plated glass cut to opaline, and decorated with gilt scrollwork, the scroll-molded bronze ring trim supporting scrolled candle arms on two levels, set with matching sockets, drip pans and bobeches, a molded gilt bronze finial trimming the lower glass pan, the upper portion of the standard decorated with a glass sphere matching the lower pan, h. 29”, dia. 39”. [2500/4000] Illustrated 1203 Pair of Bohemian Cobalt Cut-to-Clear Overlay Glass Garniture Vases, mid-19th century, decorated with gilt tracery on the lower portion, the necks cut with bull’s eyes, h. 10‑1/4”, dia. 5‑3/4”. [500/800] Illustrated

1207

1204

1204 Four Bohemian Cobalt Cut-to-Clear Overlay Glass Vases, including a trumpet-form garniture vase, third quarter 19th century, h. 9‑1/2”, dia. 5”, a pair of vases cut with bull’s eyes and quatrefoils, fourth quarter 19th century, h. 9”, dia. 4‑3/4”, and an ovoid vase, h. 7‑3/4”, dia. 3‑1/2”. [500/800] Illustrated

316

1206 Four Pieces of Bohemian Cobalt Cut-to-Clear Overlay Glass, including a bronze-mounted spherical jewel casket, decorated with thumbprints and stars, h. 10‑3/4”, dia. 7”, fourth quarter 19th century, a decanter cut with thumbprints and stars, third quarter 19th century, h. 17”, dia. 3‑1/4”, a carafe with a matching stopper, third quarter 19th century, h. 12‑1/2”, dia. 5”, and a strawberrycut decanter, 20th century, h. 14‑1/2”, dia. 5”. [500/800] Illustrated 1207 Rare Bohemian Cobalt Cut-to-Clear Overlay Glass Garniture Set, fourth quarter 19th century, comprised of a pair of covered bowls, h. 12‑3/4”, dia. 6”, and an open compote, h. 7‑1/2”, dia. 9”, each on feet with cut stems, the upper portions cut in a thumbprint pattern. [500/800] Illustrated

1205

1208 Eighteen Pieces of Bohemian Cobalt Cut-to-Clear Overlay Glass, including a bull’s eye- and panel-cut decanter, h. 11‑1/4”, a bull’s eye-cut conical scent bottle, h. 10”, and six bull’s eye liquor glasses, h. 3”, all fourth quarter 19th century, together with six bull’s eye liquor glasses, h. 5‑3/4”, and four panel-cut liquor glasses, h. 5‑3/4”, all second quarter 20th century. [500/800] Illustrated

1209

1209 Thirteen-Piece Bohemian Cobalt Overlay Glass Partial Stemware Service, 20th century, with cut and pressed designs, including eleven water goblets, h. 7‑3/4”, and two white wine goblets, h. 7”. [500/800] Illustrated

1208

1210 Thirteen Bohemian Cobalt Cut-to-Clear Overlay Glass Objets de Vertu, including four candlesticks cut with bull’s eyes, first quarter 20th century, h. 9‑1/2”, dia. 4‑1/4”, a cylindrical scent bottle with a silver cap, l. 6‑1/2”, and a pair of panel-cut shot glasses, h. 2‑1/4”, all fourth quarter 19th century, together with a cylindrical dresser box, h. 2”, dia. 2‑1/2”, two ashtrays, dia. 4‑3/4”, a pair of small rose bowls, dia. 4‑3/4”, and a bull’s eye paperweight, dia. 2‑3/4”, all 20th century. [500/800]

317

1211 Three Pieces of Bohemian Cobalt Cut-to-Clear Overlay Glass, third quarter 20th century, including a Brilliant-style cut vase, h. 10”, dia. 6‑1/4”, a molded and cut ice bucket, h. 8”, dia. 9‑1/2”, and a goblet-form vase, h. 11‑1/4”, dia. 5‑3/4”. [500/800]

1212

1213 Fine, Small American Rococo Revival Secretary, mid-19th century, with a scroll-cut gallery and single shelf over a slant lid, opening to reveal a figured maple interior, the frieze drawer with solid rosewood sides and rosewood-veneered bottom, raised on cabriole legs, h. 46”, w. 27‑1/2”, d. 19”. [1000/1500] Illustrated 1214 American Rococo Revival Rosewood and Marble-Top Night Stand, third quarter 19th century, the marble top with projecting corners, above a conforming block-front case with a drawer over a door, flanked by fluted columns with Corinthian capitals, h. 29”, w. 22”, d. 17”. [500/800] 1215 Transitional American Late Classical-into-Rococo Revival Mahogany Half-Tester Bed, third quarter 19th century, the serpentine tester supported by tapering octagonal posts, the arched and paneled headboard with applied fruit carving, the arched wrap footboard with a cabochon-carved cartouche, h. 106‑1/2”, inside, w. 59‑1/2”, l. 75‑1/2”, outside, w. 64”, l. 80‑1/2”. [2000/4000] Illustrated 1216 Antebellum New Orleans Market Mahogany Night Stand, mid-19th century, in the Late Classical taste, the thin dished marble top over a single frieze drawer with a paneled door below, the door framed by moldings in the Louis-Philippe style, h. 37‑1/2”, w. 19‑3/4”, d. 18”. [1000/1500]

1212 Three Pieces of Bohemian Cobalt Cut-to-Clear Overlay Glass, fourth quarter 19th century, including a spherical-cut bowl on a conical standard, decorated with bull’s eyes, h. 20‑1/4”, dia. 7‑1/2”, and a pair of trumpetform vases cut with quatrefoils on grape-molded pierced bronze standards, h. 12‑3/4”, dia. 5‑3/4”. [600/900] Illustrated

1217 American Rococo Revival Mahogany Dressing Table, of the type produced for the New Orleans market, the ovoid looking glass on a wishbone support, the serpentine marble top over a conforming drawer, raised on foliate-carved scroll legs on a shaped low base, h. 62‑1/2”, w. 41”, d. 22”. [700/1000]

1215 1213

318

1218 “Babes in the Wood” Parian Figure, after John Bell, Minton, English, ca. 1851, based on the old English ballad, “Babes in the Wood”, this example with Minton’s 1851 date mark on the base, on a contemporary wooden base, h. 7‑1/4”, w. 7”, l. 13”. [600/900] Illustrated

1221

1218

1219 English Minton “Mother and First-Born” Figure, After Albert Ernest Carrier-Belleuse, ca. 1851, depicting a young mother covering her sleeping infant son with a blanket, inscribed “A Carrier” on the back base, and with a Minton 1851 date stamped underneath, h. 12‑3/4”, w. 12”, d. 6‑1/2”. Illustrated in The Parian Phenomenon, by Richard Dennis, p. 63. [500/800] Illustrated

1221 Two English Parian Figures, including a Copeland example, “Studies from Life”, fourth quarter 19th century, after Owen Hale, depicting a semi-clad young woman resting on a step, picking flowers, inscribed “Owen Hale” on the back and impressed “Copyright reserved Copeland”, h. 20”, w. 6‑1/2”, d. 9‑3/4”, together with a smaller Parian figure of a nymph holding a seashell, third quarter 19th century, after the Antique in the Louvre, h. 11”, w. 11‑3/4”, d. 9‑1/2”. [600/900] Illustrated

1220

1219

1220 Monumental Vion et Baury Biscuit Porcelain Figure of a Classical Water Bearer, 1868‑1879, either the Paris or Choisy-le-Roi location, marked with the company’s distinctive “VB” lilac pad mark, h. 46‑1/2”, w. 14”, d. 16”.

[800/1200] Illustrated

319

1222 “Pallas Athena” Parian Bust, post 1858, made by William Henry Goss (British, 1833‑1906), impressed mark on the back, on a later fluted column-form ebonized wood base, h. 20‑1/4”, dia. 6‑1/2”. [600/900] Illustrated

1223

1222

1225 Large Pair of Victorian Mahogany Chairs in the Renaissance Taste, third quarter 19th century, comprised of an armchair and an armless chair, each with a fluted turned top rail, over incised and patera-carved rails, bowed seat rails and cabochon-carved and fluted front legs, h. 45” and 47”. [700/1000] Illustrated 1226 Dutch School (Fourth Quarter 19th Century), “Fishing Boats and Sailboats with a View of a Windmill in the Background”, oil on canvas, signed lower left “H. Ter Burgh”, 20” x 26”. Framed. [1000/1500] Illustrated

1224 1223 Two English Parian Busts Depicting Queen Victoria, fourth quarter 19th century, including a crowned example, after Queen Victoria’s Jubilee bust commemorating 50 years on the throne in 1885, by artist R. J. Morris (Scottish, 1842‑1898), made by Robinson & Leadbetter and stamped “R&L, Jubilee 1887”, and “R. J. Morris Sculpt”, on the back, h. 15”, w. 8‑1/2”, d. 4‑3/4”, and a Copeland example executed in 1887, after Owen Hale, marked “Victoria”, impressed “Copyright reserved Copeland, Owen Hale. SC, Pub., Feb 1887”, h. 14‑1/4”, w. 9”, di. 5‑1/4”. [500/800] Illustrated Each illustrated in The Parian Phenomenon, by Richard Dennis, pages 185 and 229.

1224 Pair of Signed Parian Figures, fourth quarter 19th century, “The Young Naturalists”, after sculptures by R. J. Morris (British, 1847‑1909), one depicting a young boy with a bird’s nest, and the other a young girl with a butterfly, impressed “Copyright reserved, Copeland”, h. 16”, dia. 5”. [500/800] Illustrated Illustrated in The Parian Phenomenon, by Richard Dennis, p. 42. These have been authenticated by British ceramics expert Geoffrey Bodden, and one has a tag from his research division.

320

1227 William Wilson Cowell (Nova Scotia/American, 1856‑after 1910), “Seascape with Sailboats”, oil on canvas, signed lower right, 12” x 21”. Presented in a giltwood and gesso exhibition frame. [700/1000] Illustrated

1225

1228 Ansonia Gilt-Metal and Wood Mantel Clock in the Renaissance Revival Taste, post-1882, Brooklyn, New York, the case molded with scrollwork and an Ionic capital holding the clockworks, set with gilt handles decorated with anthemia and raised on pierced feet, the clockworks signed, and including an 1882 patent date, h. 19‑1/2”, w. 8‑1/2”, d. 6‑1/4”. [500/800] Illustrated 1228 1229 Rare and Important American Burl Walnut, Ebonized and Gilt-Incised Wooten Extra Grade Cylinder Rotary Desk, ca. 1876, h. 64”, w. 56”, d. 30‑1/2”. [10000/15000] Illustrated

1226

An identical version of this desk is illustrated on the back cover of American Furniture of the 19th Century, 1840‑1880, by Eileen and Richard Dubrow.

1227

1229

1229 detail

321

1230 Pair of American Renaissance Revival Walnut Hall Chairs, third quarter 19th century, each of generous proportions, the arched crest capped by a lobed finial over a palmette, with a pierced splat flanked by segmented columns, lift seat and trumpet legs, h. 59‑1/2”.

[800/1200] Illustrated

1230

1232

1231 American Renaissance Revival Burled Walnut and Walnut Two-Piece Bedroom Suite, third quarter 19th century, comprised of a high-back bed and a deep-well dresser, the dresser and headboard each with an arched cornice centered by carved anthemion and cartouche, the headboard with a burled rectilinear panel flanked by columns, and larger panel below, the dresser with a pair of three drawers on pedestals, joined by a low dresser, each with a marble top, dresser, h. 95”, w. 53”, d. 20”, bed, h. 91”, inside, w. 56”, l. 76”, outside, w. 62”, l. 80”.

[2000/4000] Illustrated

1233

1231 1 of a 2-Piece Suite

322

1232 American Renaissance Revival Gilt-Incised Rosewood Occasional Table, third quarter 19th century, the circular top with an inset beadwork panel under glass, on a tapering column joined to a quadrupedal base, h. 30‑1/4”, dia. 21‑1/2”. [600/900] Illustrated 1233 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”. [500/800] Illustrated 1234 Norman Perceval Rockwell (American, 1894‑1978), figure study for “The Gossips”, for the Saturday Evening Post cover, March 6, 1948, gouache on paper, signed lower right, verso with a graphite study of a “Bespectacled Gentleman”, sight 9‑1/4” x 7‑5/8”. Glazed and framed.

[1500/2500] Illustrated 1235 Mather & Company, Chicago, Vintage Lithographic Poster, 1924, advertising Metropolitan Life Insurance Company and titled “How Do You Do It?”, sight 47‑3/4” x 35”. Glazed and framed. [1000/1500] Illustrated

1234

1236 Stella Rebecca Crofts (British, 1898‑1964), pottery sculpture of a Siamese cat, ca. 1920, signed “Stella R. Crofts, 1920” on the base, h. 7”, w. 11‑3/4”. [900/1200] Illustrated 1237 Jose Clemente Orozco (Mexican, 1883‑1949), “Figures”, 1945, lithograph, signed in plate lower left, 16” x 11‑1/2”. Glazed, matted and framed. [500/800] Illustrated

1235

1236

1237

323

1238 Art Deco Mougin Pottery Sculpture of a Mother Cat and Her Kittens, second quarter 20th century, Nancy, France, on the original chip-carved wooden base, the sculpture depicting a complacent mother with her kittens, executed with a high gray-green glaze, on a matte green ground, signed by the artist, Jean d’Arrit on the front, and stamped “Gres Mougin Nancy” on the back, incised “711” and marked indistinctly on the base, h. 14”, w. 14‑1/2”, d. 15‑1/2”. [2500/4000] Illustrated

1242

1238

1239 Juan Clara (Spanish, 1875‑1958), a pair of bronzes, including “Young Boy on Stool” and “Young Girl on Stool”, each signed, each h. 12‑1/4”, w. 4”, d. 4‑1/4”. [500/800] 1243

1241

324

1240 Juan Clara (Spanish, 1875‑1958), a pair of bronzes, including “Young Girl on a Stool”, cast signature at edge of self-base, marked “Goldscheider” at edge, on a black marble plinth, h. 5‑3/4”, w. 3‑3/4”, d. 3‑3/4”, and “Boy on Overturned Chair”, marked “Bronze/AG/Paris”, h. 5‑1/2”, w. 2‑1/2”, d. 5”.

[800/1200]

1244

1241 French Patinated Bronze of “La Peche”, first quarter 20th century, after Nicolas Lecorney (French, active 1880‑1900), cast signature at edge of self-base, h 18”, w. 6”, d. 6”.

[500/800] Illustrated 1242 Maurice Guiraud-Riviere (French, 1881‑1947), first quarter 20th century, “Tete de Bacchante”, patinated bronze, cast signature, marked “Cire Perdu/PARIS”, and numbered “4” at back edge of bronze, on a white-veined black marble plinth, h. 24”, w. 9‑1/4”, d. 10‑1/2”. [2000/4000] Illustrated 1243 French Bronze of “L’equilibriste”, first quarter 20th century, after Charles Anfrie (French, 1833‑1905), h. 13‑1/4”, w. 4‑3/4”, d. 4‑3/4”. [800/1200] Illustrated 1244 Libero Andreotti (Italian, 1875‑1933), “Laocoon”, 1908, bronze, signed, localized and dated at back edge of base, faint inscription at corner of base, h. 27‑1/2”, w. 14”, d. 13”.

Provenance: Private collection, Rancho Mirage, California.

[5000/8000] Illustrated A native of the Tuscan town of Pescia, Andreotti was a self-taught artist. Apprenticed at a young age to a local blacksmith, he learned the essentials of metalwork which were to prove crucial to his later artistic pursuits. His innate talent and ability caught the attention of several local artisans and businessmen, and Andreotti was offered a position as an illustrator. Eventually tiring of this, Andreotti moved to Milan where he first began sculpting. In 1907 he was honored by inclusion in the VII-International Art Exhibition/ Biennale di Venezia. Andreotti spent some time in Paris before moving to Florence, where he was to spend the remainder of his days, an active and beloved member of the city’s thriving artistic community. His sensuous yet earthy figural sculptures received much acclaim and attention, often drawing comparisons to the great French sculptor Auguste Rodin. Many of his works were inspired by classical myths and frequently incorporated antique motifs and symbols. The work presented here is a modern interpretation of the Greek story of Laocoon, the Trojan priest of Poseidon, who met his painful demise by a slither of snakes. Andreotti cleverly raises philosophical, emotional and psychological concerns here by suggesting that the deadly snake is not an outside force, but rather an extension of Laocoon himself.

1247 Pair of Art Deco Gilt-Bronze and Onyx Bookends, second quarter 20th century, each in the form of a dancing woman poised on one foot and holding grapes, raised on stepped onyx bases, h. 10‑3/4”, w. 4”, d. 2‑1/4”.

[700/1000] Illustrated

1247

1245 English Miniature Cameo Glass Vase, fourth quarter 19th century, attributed to Thomas Webb, cut with cranberryshaded flowers and a butterfly on the back, unsigned, h. 3”, dia. 3‑1/2”. [1000/1500] 1246 English Miniature Cameo Glass Vase, fourth quarter 19th century, attributed to Thomas Webb, cut with cranberryshaded flowers and a butterfly on the back, over a yellow body, unsigned, h. 3”, dia. 1‑1/4”. [600/900]

325

1248

1248 French Art Deco Pierced Metal Hexagonal SixLight Hall Lantern, second quarter 20th century, with rope-twist corners decorated with applied scrolls, the sides pierced with leaves and scrollwork, h. 40”, dia. 15”.

[800/1200] Illustrated

1249

1250 Art Deco-Style Galvanized Metal and Granite Console Table, the rectangular top raised on two scrolling supports ending in block feet, h. 33”, w. 55”, d. 14”.

[800/1200]

1253 1251 Shanghai Deco Three-Fold Screen, 20th century, the mahogany three-fold screen with pierced panels above mirrored panels, overall, h. 84‑1/4”, w. 66”. [900/1200] 1252 French Art Glass Vase in the Style of Andre Delatte, 20th century, mottled with aubergine, pink and yellow glass, and decorated with flourishes of interior silver leaf, h. 11”, dia. 11‑1/4”. [700/1000] 1253 Laurent Jimenez Balaguer (Spanish, b. 1938), “Abstract Composition”, mixed media on canvas, signed and dated “Paris 1962” en verso, 35‑1/2” x 28”. Framed.

Provenance: Galerie Saint-Germain, Paris; purchased in 1963. [1000/1500] Illustrated

1254

1249 G. Argy-Rousseau Art Deco Pate-de-Verre Vase, post-1913, French, decorated with symmetrical bunches of poppies, signed on the lower edge, h. 7‑3/4”, dia. 5‑1/2”.

[1000/1500] Illustrated

326

1254 Faux Horn and Iron Bench, the rectangular top with a lattice woven top of fur strips banded to each end by a scalloped wooden panel, raised on faux horn legs joined by an X-form iron stretcher and ending in metal toes, h. 21”, w. 51”, d. 23‑1/2”. [700/1000] Illustrated

1255 1256

1255 El Lissitzky (Russian, 1890‑1941), “Untitled”, one of a series of interior designs executed in the 1930’s for the Soviet Pavilion of Science and Technology, mixed media on board, signed lower left, verso inscribed in Russian, “....

Paris, 1937/ Pavillion of Science and Technology / Sketch N 4”, 10” x 11”. Glazed and framed. Provenance: Private collection, Houston, Texas; T.A.T. Galleries Inc., New York, New York. [15000/25000] Illustrated 1256 Signed Jarvil Art Deco Engraved Cerulean Blue Glass Vase, second quarter 20th century, Nancy, France, decorated with a frosted and engraved Art Deco stepped pattern, marked “Jarvil Nancy”, on a contemporary lighted stand, h. 11‑1/4”, dia. 9”. [600/900] Illustrated

327

1257 Nicaraguan Multicolor Pottery Vase, by Enmanuel Maldonado (b. 1977), San Juan de Oriente, of slightly flattened spherical form and decorated with incised geometric patterns in black, red, speckled tan and speckled blue, signed sgraffito on the underside, h. 8”, dia, 8‑1/2”. [500/800]

1260 Suite of Six Louis XVI-Style Ebonized Sidechairs, each with a padded medallion back within a molded frame, the padded seat raised on fluted tapering circular legs ending in toupie feet, with floral upholstery, each back centered by a different large bloom, h. 37”. [500/800] 1261 Pair of Contemporary Rectangular Mirrors, the beveled plates “framed” with graduated black molded convex indentations and ebony trim, h. 36”, w. 24”. [800/1200] Illustrated

1258 1258 H. Ledyard Towle (American, 1890‑1973), “Leda and the Swan”, oil on canvas, signed and dated “19??” lower left, 32” x 40”. Framed. [1000/1500] Illustrated 1259 Louis XVI-Style Ebonized Dining Table in the Style of Jansen, the rectangular top with a brass banding, above a conforming frieze with like banding, raised on tapering square legs ending in brass caps on casters, with two 18” leaves, h. 29‑1/2”, w. 43‑1/2”, l. 65‑1/2”, extended l. 101‑1/2”.

[2000/4000] Illustrated

1262

1262 Continental Patinated Bronze of “A Nude Holding a Flower”, 1979, dated and with cast signature “Zomo” at edge of self-base, on a carved wood plinth, overall, h. 23‑3/4”, w. 8‑1/4”, d. 7‑3/4”.

[1200/1800] Illustrated 1263 Andy Warhol (American, 1928‑1987), A Gold Book, the artist, New York, 1957, bound book of 19 offset lithographs comprised of thirteen on gold paper (including the original cover, now loose), five with watercolor on cream paper, and one monotone on cream paper, plus a title page on gold paper, covers 15” x 11‑1/4”, pages 14‑1/4” x 11‑1/4”. Provenance: The Estate of Clyde W. Grant, Montgomery, Alabama. [5500/8000] Illustrated

1259

1261 1 of 2

328

1263

1263 Title Page

1263 detail

1263 detail

329

1264 Set of Six Steuben Glass Teardrop Candlesticks, 20th century, Corning, New York, the turned standards inset with a teardrop, on capstan bases, engraved “Steuben” on the base, h. 8‑1/2” to 9”, dia. 4‑1/4”. [800/1200] Illustrated

1264

1269 Suite of Five Arne Jacobsen “Grand Prix” Laminated Teak Chairs, designed in 1957, each with the branded manufacturer’s mark of Fritz Hansen, and “Made by FH Denmark”, each on shaped legs, h. 30‑1/2”. [1500/2500] Illustrated 1270 Louis Vuitton Softsided Zippered Case, in classic brown patterned leather, with a rubberized canvas interior, h. 20‑1/2”, w. 26”. [500/800]

1269

1265 Partial Set of Lalique “Rambouillet” Crystal Stemware, ca. 1981‑1991, French, including seventeen water goblets, h. 5‑1/2”, twenty-two bordeaux wine glasses, h. 4‑1/4”, and twenty-one sherry glasses, h. 4” (sixty total pieces). [800/1200] 1271 Pino Signoretto (Italian, b. 1944), “Embrace”, smoked glass sculpture, signed at base, h. 21”. [1000/1500] Illustrated

1271

1272 Contemporary Convex Mirror, the round central plate framing the segmented mirror, set with smaller convex backplates and ebony trim, dia. 35‑1/2”.

[500/800] 1268 1266 Pair of Art Deco Glass and Giltwood Table Lamps, second quarter 20th century, the glass reeded standards mounted with giltwood bases and Corinthian capitals, base, h. 18‑1/2”, overall, h. 31‑1/2”, w. 5‑3/4”, d. 5‑3/4”.

[500/800] 1267 Pair of Contemporary Bronze-Plated Lamps, mounted with cylindrical shades, the square bases holding round standards on obelisk bases, h. 27”, dia. 11‑1/2”. [500/800] 1268 Rufino Tamayo (Mexican, 1899‑1991), “Figura de Hombre en Gris”, 1973, color lithograph, signed lower right, numbered lower left “32/75”, sheet 21‑3/4” x 29‑1/2”. Glazed, matted and framed. [1400/1800] Illustrated

330

1273 Stephen L. Huneck (American, 1948‑2010), the carved and polychromed folk art cabinet from the “Corporate Structure” series, the step-back cupboard with fortytwo niches mounted with a carved man in business attire, the crest with a single similar carved figure with his back turned to the viewer, facing a sunburst panel, the back of the cabinet with his carved signature and the date “1991”, h. 90”, w. 33”, d. 15”. [6000/9000] Illustrated

1274 Jose Llasera y Diaz (Spanish, 19th/20th Century), “Flamenco Dancer”, oil on canvas mounted on wood panel, signed and dated lower right “J. Llasera 1915”, 64” x 29‑3/4”. Unframed. [1800/2500] Illustrated 1275 Venetian Gilt and Painted Grotto Fantasy Table, early 20th century, the round center table composed of a gilt seahorse wrapped around a painted tree trunk emerging from a pool of water, the gilt and painted top designed as three scallop shells, h. 29”, dia. 30”. [1500/2500] Illustrated

1273

1274

1275

331

1276 George Rodrigue (American/Louisiana, 1944‑2013), “My Music”, 1980, oil on canvas, signed lower right, signed, titled and dated en verso, 24” x 18”. Framed. [25000/40000] Illustrated

332

1277 George Rodrigue (American/Louisiana, 1944‑2013), “Meditation Outside”, 1980, oil on canvas, signed lower left, signed, titled and dated en verso, 24” x 18”. Framed. [25000/40000] Illustrated

333

1278 1278 George Rodrigue (American/Louisiana, 1944‑2013), “Stella by the Starlight”, 1997, oil on linen, signed lower left, 20” x 24”. Framed. Provenance: The Rodrigue Gallery of New Orleans, Inc. [20000/40000] Illustrated 1279 George Rodrigue (American/Louisiana, 1944‑2013), “Baby Bear”, 1995, acrylic on canvas, signed lower right, 24” x 20”. Framed. [20000/40000] Illustrated 1280 Karen Stastny (American/New Orleans, Contemporary), “Summer Color”, mixed media on canvas, 48” x 54”. Provenance: Cole Pratt Gallery, Ltd., New Orleans, Louisiana. [1500/2500] Illustrated

1280

334

1281 Joseph Cibula (American, Contemporary), “Low Tide, Cape Cod”, 1989, oil and watercolor on board, signed and dated lower right, 23” x 25”. Presented in a contemporary gold leaf frame. [2000/4000] Illustrated 1282 Alexei Kazantsev (Russian/New Orleans, b. 1966), “Vertical Torso”, Carrara marble, h. 23‑3/4”, w. 6‑3/4”, d. 6”. [800/1200] Illustrated 1283 George Valentine Dureau (American/ Louisiana, 1930‑2014), “Study of a Male Nude, Stretching”, charcoal on paper, signed lower left, sheet 22‑1/2” x 14”. Glazed, float mounted and framed.

[600/900] Illustrated

1279 1282

1281

1283

335

1284 George Valentine Dureau (American/Louisiana, 1930‑2014), “Wrestlers”, charcoal on paper, signed lower right, sight 26” x 21”. Glazed, matted and presented in a silvered frame. [1000/1500] Illustrated

1285 George Valentine Dureau (American/Louisiana, 1930‑2014), “Wrestlers”, charcoal on paper, signed lower left, sight 26” x 21”. Glazed, matted and presented in a silvered frame. [1000/1500] Illustrated 1286 Mark Chatterley (American, Contemporary), “Free Form”, fired clay with crater glaze sculpture, h. 29‑3/4”, w. 4‑3/4”, d. 2”. [1000/1500] Illustrated

1286

1284

1287 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, gold leaf over red clay, signed lower center, 9‑3/4” x 8‑3/4”. [1000/1500] Illustrated

1285

336

1288 George Bauer Dunbar (American/Louisiana, b. 1927), “Heart”, platinum leaf over black and red clay, signed lower center, 9‑3/4” x 8‑3/4”. [1000/1500] Illustrated

1289

1287

1290

1288 1289 Lin Emery (American/New Orleans, b. 1928), "Zig Zag", 1995, polished aluminum kinetic sculpture, signed and numbered “13/18” at base, h. 12‑1/2”. [1400/1800] Illustrated 1290 Arthur Silverman (American/New Orleans, b. 1923), “Mirror Sculpture”, 1987, polished aluminum tabletop sculpture in the form of two graduated peaks, signed and dated at lower edge, h. 10”. [500/800] Illustrated

337

1292 Christian Eckart (Canadian/Houston, b. 1959), “Untitled II”, 2005, polished aluminum, from the Circuit Painting series, inscribed “Circuit Painting 2 of 6” and initialed en verso, 36” x 78”. [6000/9000] Illustrated 1293 Christian Eckart (Canadian/Houston, b. 1959), “Untitled I”, 2005, polished aluminum, from the Circuit Painting series, inscribed “Circuit Painting 1 of 6”, dated, and signed en verso, 36” x 78”. [6000/9000] Illustrated

1291

1291 Christian Eckart (Canadian/Houston, b. 1959), “Diptych”, acrylic urethane on aluminum plate, from the Circuit Painting series, 27” x 56” and 28” x 48”.

[9000/12000] Illustrated Eckart’s monumental amorphous structures are designed to fit within and around each other.

1292 1294 1294 Lee McCarty (American/Mississippi, Contemporary), “Miss Caroline’s Blue Fence”, mixed media on canvas, signed mid-bottom, 48” x 36”. In a thin gallery frame. [1000/1500] Illustrated

1293

A native of Merigold, Mississippi, Lee McCarty attended Ole Miss and Columbia University, before permanently settling in his hometown. Originally intending on a career in the sciences, McCarty was encouraged by his late wife “Pup” to attend pottery classes with her while they were living in Oxford, Mississippi. William Faulkner, a neighbor, gave them permission to utilize the clay from a ravine on his property. Upon returning to Merigold, the McCarty’s founded the popular and successful McCarty’s Pottery, which is still active today. A potter and painter, Mccarty is a recipient of the Lifetime Achievement Award from the Mississippi Institute of Arts and Letters. His works have been included in numerous individual and group exhibited across the United State and, recently, Japan.

1295 George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled Abstract”, 1963, collage and mixed media on panel, signed and dated “Dunbar 63”, 32” x 40”.

Framed. [3000/5000] Illustrated

338

1296 1296 Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Composition 96‑23”, 1996, mixed media on canvas, signed and dated lower left, verso with “Arthur Roger Gallery” label, 21‑3/4” x 33‑1/4”. In a thin gallery frame. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. [15000/25000] Illustrated

1295

1297 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Opus Barroca”, 1992, oil on board, signed and dated upper left, signed, dated and titled en verso, 8” x 10”.

Presented in an exhibition frame. Provenance: Academy Gallery, New Orleans Academy of Fine Arts, New Orleans, Louisiana. [800/1200] Illustrated

1297

339

1299 1298 Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), “Circlet #2”, double-sided mixed media on carved wood, signed lower right on one side, dia. 10”.

[3000/5000] Illustrated

1298 (double-sided)

340

1299 George Bauer Dunbar (American/Louisiana, b. 1927), “Coin du Lestin”, platinum and gold leaf on red clay, signed lower left and lower right, 48” x 80”. Framed.

[30000/50000] Illustrated

1298 (double-sided)

1300

1300 Pedro Friedeberg (Mexican, b. 1936), “Hand”, giltwood, signed at foot on the reverse, h. 7‑1/2”.

[1000/1500] Illustrated 1301 Karen Stastny (American/New Orleans, Contemporary), “Livingood”, 1997, mixed media on canvas, signed, titled and dated en verso, 48” x 24”.

Framed. Provenance: Academy Gallery, New Orleans Academy of Fine Art, New Orleans, Louisiana. [800/1200] Illustrated 1301 1302 Richard Johnson (American/Louisiana, b. 1942), “Untitled Abstract”, mixed media on paper, sight 12‑1/4” x 9‑1/4”. Glazed, matted and framed. [500/800] 1303 Jere Hardy Allen (American/Mississippi, b. 1944), “Figures in Bed”, oil on board, monogrammed middle right, 47” x 59”. Framed. Provenance: Carol Robinson Gallery, New Orleans, Louisiana. [1000/1500] Illustrated 1304 Elemore Morgan, Jr. (American/Louisiana, 1931‑2008), “Louisiana Landscape”, acrylic on masonite, 1990, signed and dated en verso, 4” x 9”. [500/800]

1303

341

1305 Good Boston Coin Silver Water Pitcher, second quarter 19th century, by John Belknap Jones (1782‑1854), the ovoid body decorated with milled floral bands, the waisted collar with shaped rim and spout with applied gadrooned edge, with a tall floral-crested “S”-scroll handle, raised on a waisted and domed foot, h. 13‑1/4”, dia. 5‑1/2”, l. 9”, 36.66 t. oz. [1200/1800] Illustrated

1305

1306 Gorham Sterling Silver “Medallion” Ladle, the pattern designed in 1864 by George Wilkinson (1819‑1894), Providence, Rhode Island, retailed by Harry R. Smith & Co., Cincinnati, Ohio, l. 12‑1/2”, 7.26 t. oz. [600/900]

1307 detail

1307

342

1307 Fine American Egyptian Revival Coin (.900) Silver Center Bowl, third quarter 19th century, by Wood & Hughes, New York, the bulbous oval body decorated with an engraved palmette-banded rim below an applied beaded edge, with opposing palmette-mounted pharaonic-masque handles, the center of the bowl with applied warrior medallion, raised on an annulated-banded waisted stem to an ogee-domed circular foot, all flanked by toupie-centered foliate bosses on a shaped plinth base, h. 9‑1/2”, w. 8‑1/2”, l. 16”, 43.09 t. oz.

[4000/7000] Illustrated

1308

1308 American .950 Silver Sugar Basket, third quarter 19th century, by Ball, Black & Co., New York, New York, of navette form with upswept ends and raised on a cavetto-domed oval foot, decorated with chased and engraved palmette banding and beaded edges, with conforming swing handle, h. 4‑3/4” (7” with handle), l. 6”, w. 3‑3/4”, 7.52 t. oz. [600/900] Illustrated

1309

1309 Good 19th-Century American Sterling Silver Two-Handled Vase, third quarter 19th century,

by Shreve, Crump & Low, Boston, the ovoid body decorated with repousse grape clusters forming opposing cartouches, the waisted collar with shaped rim joined, by two arched “grapevine” handles, to the body, the whole above an annular knop and domed foot decorated en suite, engraved on one cartouche with a detailed scene of a gentleman driving a horsedrawn Tilbury carriage, h. 17‑1/2”, dia. 7‑1/4”, w. 13‑1/4”, 74.87 t. oz.

[1800/2500] Illustrated

1309 detail

343

1310 Fine Reed & Barton Sterling Silver Art Nouveau ThreeHandled Vase, ca. 1900, Taunton, Massachusetts, the bulbous inverted ovoid body with everted wavy rim, decorated at the collar and base with a repousse band of realistically detailed poppies, with three “C”-scroll handles, each with a large poppy leaf mount at the vase and crested by a poppy bud and applied flower, the whole raised above an integrally knopped domed foot, shaped and decorated en suite, the interior gilt, h. 17‑3/4”, dia. 8‑3/4”, w. 12”, 111.24 t. oz. [18000/25000] Illustrated 1311 Tiffany & Co. “Chrysanthemum” Pattern Sterling Silver Soup Ladle, the pattern designed in 1880

by Charles Grosjean (1841‑1886), New York, monogrammed “DLC”, l. 12‑1/4”, 10.95 t. oz. [1400/1800]

1310

1312

344

1312 Five-Piece Gorham Sterling Silver Art Nouveau Desk Set, 1901‑1903, Providence, Rhode Island, including a letter rack, h. 5‑3/4”, a paper clip, l. 3”, a blotter, l. 5”, a desk calendar, h. 3‑1/4”, and a silver-cornered desk pad, 19‑1/2” x 16”, each with a sinuous shield shape embossed with scrolling flowers and foliage, monogrammed “EPA”, with the complete original set of celluloid calendar tickets, 11.31 total t. oz. (weighable silver).

[2500/4000] Illustrated 1313 Collection of Four American and Canadian Figural Silverplate Napkin Rings, fourth quarter 19th century, including Simpson, Hall and Miller model 051, depicting a cherub playing the pipes and bouquets of violets, h. 3‑3/4”, Hartford Silver Co. model 017, depicting a male classical figure holding aloft an urn (the glass bud vase lacking), h. 4‑3/4”, Acme Silver Co. model 741, depicting a hummingbird and a honeysuckle-form bud vase, h. 4‑1/4”, and Meriden Silverplate Co. model 270, depicting a sparrow with a leaf in its mouth, h. 3‑1/2”. All of these rings are illustrated in Gottschalk & Whitson’s Figural Napkin Rings (Paducah, KY: Collector Books, 1996), respectively: p. 180, plate 437; p. 131, plate 315; p. 129, plate 308; and p. 344, plate 822. [700/1000] Illustrated

1315 Tiffany & Co. Sterling Silver Center Bowl, the pattern introduced in 1887, this example 1902‑1907, New York, of circular form with straight side and convex base, decorated with wavy fluting separated by embossed floral bouquets, with an applied flower-and-fern rim and raised on four acanthus-crested lion’s paw feet, h. 3‑3/4”, dia. 9‑3/4”, 26.51 t. oz. [2500/4000] Illustrated

1313

1316 Good Tiffany & Co. Sterling Silver Dresser Mirror, the pattern introduced in 1909, New York, the circular frame engraved with flowers among rococo scrolls, crested by an oval cartouche monogrammed “MacK”, surrounding a conforming beveled plate, dia. 17”. [2500/4000]

1317

1315

1318

1317 Tiffany & Co. Sterling Silver Water Pitcher, the pattern introduced around 1873, this example before 1891, New York, with a spherical body, cylindrical collar, with everted spout and “C”-shaped handle, the whole with hand-hammered finish, h. 7‑1/4”, dia. 5‑3/4”, l. 7‑1/2”, 24.08 t. oz. [2000/4000] Illustrated

1314 Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, l. 10‑1/2”, 14.95 total t. oz. [800/1200]

1318 Five-Piece Chicago Arts & Crafts Sterling Silver Coffee and Tea Set, first quarter 20th century, by Lebolt & Co., including a coffeepot, h. 7”, l. 7‑1/2”, a teapot, h. 5”, l. 7‑3/4”, a cream jug, h. 3‑1/4”, l. 4‑1/2”, an open sugar bowl, h. 2‑3/4”, w. 5‑1/2”, and a tray, l. 18”, w. 13”, the hollowware with tapering cylindrical bodies, squared handles, spherical finials and reeded foot rings, the tray of oval form with canted ends, all with hand-hammered finish and monogrammed “H.M.S.”, 85.57 total t. oz.

[1000/1500] Illustrated

345

1319

1320

1321 1319 Forty-Eight Pieces of Chicago Arts & Crafts Sterling Silver Flatware, first quarter 20th century, probably Lebolt & Co., each hand-crafted with a pointed handle and hammered finish, with thirty-eight place pieces and ten serving pieces, 56.92 total t. oz. (weighable silver).

Detailed list of pieces available on request. [900/1200] Illustrated 1320 Pair of Exceptional French Marble, Gilt-Bronze and Cloisonne Enamel Garniture Urns, third quarter 19th century, in the Aesthetic taste, the marble urns with gilt fittings, including handles terminating in swan’s heads, above marble bases mounted with cloisonne plaques of mauve anthemions on a yellow ground, raised on bronze scroll feet, h. 19‑1/2”, w. 5‑1/2”, d. 5‑1/2”. [2500/4000] Illustrated 1321 American Aesthetic Movement Ebonized CabinetBased Etagere in the Japonesque Taste, fourth quarter 19th century, the upper section with a pagoda top over a pair of beveled mirrors flanked by shelves on foo dog-carved brackets, the base with a beveled glazed door, flanked by curved shelves, h. 80”, w. 49‑1/4”, d. 18”.

[500/900] Illustrated

346

1324 American Aesthetic Movement Ebonized Cylinder Desk, fourth quarter 19th century, the locks on the upper band of drawers stamped “Shannon Phila”, for Philadelphia, Pennsylvania, the foliate- and roundelcarved gallery centered by an onyx plaque, with a band of drawers over an incised cylinder roll opening to expose a fitted interior and tooled leather writing surface, over a pair of drawers and a pair of recessed doors flanked by columns, h. 51‑1/2”, w. 37‑1/2”, d. 21”. [500/800]

1326

1322 1322 Benjamin Rutherford Fitz (American/New York, 1855‑1891), “Two Pence Worth”, 1888, oil on canvas, signed and dated lower right, partial label en verso stretcher, 29” x 36”. Presented in a period giltwood exhibition frame. [3000/5000] Illustrated

1325

1325 American Modern Gothic Metal-Mounted Walnut Folio Stand, fourth quarter 19th century, the incisecarved and paneled fall front opening to create a flat viewing surface supported by folding twist-turned columns, the crest and returns folding to create a flat surface, h. 58”, w. 38”, d. 22”, extended l. 32”. [500/800] Illustrated 1326 Tiffany-Retailed Crystal Regulator, ca. 1900, probably French, in a Baroque-style silverplated case trimmed with gilt bronze, the crystal panels delicately engraved with fruit and meandering vines, the dial marked “Tiffany & Company, New York”, under the exposed escapement, and again on the clock works, h. 17”, w. 7‑1/4”, d. 6‑3/4”.

[1500/2500] Illustrated 1323 Small American Aesthetic Movement Ebonized Fall Front Desk, fourth quarter 19th century, the locks stamped “Shannon Phila”, for Philadelphia, Pennsylvania, with a brass foliate-modeled gallery, the fall front opening to expose a fitted interior and tooled leather writing surface, over a drawer and recessed doors flanked by columns, h. 43”, w. 28”, d. 17‑3/4”. [500/800]

1327 Tiffany-Retailed French Black Marble Mantel Clock, fourth quarter 19th century, the restrained case resting on a cove-molded base with reeded pilasters framing the enameled dial, marked “Tiffany & Co., New York”, the works stamped by the maker, Japy Freres, as well as Tiffany, h. 9”, w. 9”, d. 6”. [800/1200]

347

1330

1332 1328 Set of Five Exceptional Bronze and Steel Two-Light Sconces, second quarter 20th century, by Caldwell and Co., New York, in the Jacobean style, with bronze-trimmed engraved steel strapwork backplates, over oxblood enamel backs, with matching arms, marked “C” in a lozenge, h. 15”, w. 10‑3/4”, d. 4‑3/4”. [500/800]

1331

348

1331 Important American Late Victorian Walnut Writing Desk, fourth quarter 19th century, made from the historic “Washington Tree”, the top centered by crotch walnut panels and the ends bearing the carved inscription, “Relic of Washington Tree from the Estate of General P. Crooke...Oldest tree on Long Island Cut Flatbush, Nov., 1893”, with a central frieze drawer flanked by a bank of three drawers on each side, the upper corners of the legs with carved grotesque masques and raised on cabriole legs terminating in paw feet, h. 32”, w. 51”, d. 29”.

[3500/5000] Illustrated Philip S. Crooke served as Brigadier General, 5th Brigade, New York State Military.

1332 Sydney Richmond Burleigh (American, 1853‑1931), “Portrait of Arnold Green, Esquire, In His Study”, oil on canvas, signed lower right, 34” x 45”. Presented in a handsome, period exhibition frame. [3000/5000] Illustrated 1333 American School (Fourth Quarter 19th Century), “Full-Length Portrait of a Young Woman Removing Her Glove”, oil on canvas, unsigned, 71” x 50”. Presented in a spectacular, period giltwood and gesso frame.

[3000/5000] Illustrated 1334 Steinway and Sons, New York, Ribbon Mahogany Player Grand Piano, long “A” model, Capo d’Astro. Pat. Duplex Scale, serial #178885, now fitted with a CD player and accompanied by approximately seventy-two CD’s, h. 40”, w. 58”, l. 77”. [10000/15000] Illustrated

1333

1329 Set of Seven Metal Two-Light Sconces, second quarter 20th century, signed “E. F. Caldwell, New York”, the molded “hammered” backplates decorated with gilded hatchments consisting of a deer’s head over an armor helmet, the molded bases accented with enamel centers, the arms scroll-molded and gilt-accented, marked with an impressed “C” in a lozenge, h. 10‑3/4”, w. 12”, d. 7”.

[500/800]

1334

1330 French Gilt-Bronze Eight-Light Aesthetic Gasolier/Electrolier, fourth quarter 19th century, with a glass-clad standard decorated with three tiers of prisms, four gas arms decorated with pierced lotus blossoms terminating in glass spires, and four electric arms set with engraved trumpet shades, hung with festoons of drops and spear-point prisms, h. 43”, dia. 31‑1/2”.

[500/800] Illustrated

349

1335 Gold Iridescent Aurene Glass Bowl, first quarter 20th century, attributed to Steuben, Corning, New York, the flared, footed bowl unsigned, h. 4‑3/4”, dia. 11‑3/4”.

[1200/1800] Illustrated

1339

1335

1336 Tiffany Favrile Glass Bowl, first quarter 20th century, New York, the gold iridescent bowl with crimped edges, unsigned, with a paper label within the ground pontil, h. 2‑3/4”, dia. 7”. [1000/1500] Illustrated

1339 Large Bronze and Leaded Slag Glass Chandelier, early 20th century, with mottled gold and ivory glass panels in gilt lead cames, lion armorials and fitted with eight sockets, h. 22”, dia. 26”. [1000/1500] Illustrated

1337

1336

1337 Pair of “King Tut” Art Glass Trumpet-Form Lamps, attributed to Durand, Vineland, New Jersey, ca. 1924‑1931, the gold trumpet-form shades with green and gold iridescence, and resting in molded bronze bases set with leaf-molded shade holders, now electrified, h. 15‑1/2”, dia. 5‑1/4”. [700/1000] Illustrated 1338 Art Nouveau-Style Floor Lamp, , New England Lamp Company, the flower-decorated stained glass shade resting on a bronze base in the Tiffany manner, h. 83‑1/2”, dia. 22”. [2500/5000] Illustrated

350

1340 Bronze “Harvard” Student Lamp, fourth quarter 19th century, made by Plume and Atwood, Waterbury, Connecticut, molded in the Renaissance taste, with lion’s heads and scrollwork, the wick riser marked “Harvard”, the adjustable shade holder with a ribbed green plated brass umbrella shade of later origin, h. 20‑1/2”, w. 10”.

[500/800]

1341

1341 Art Nouveau-Style Pairpoint Patinated Metal Lamp Base, first quarter 20th century, set with a Tiffin “puffy” glass shade of later origin, h. 15”, dia. 9”. [1000/1500] Illustrated 1342 French Art Glass and Wrought-Iron Table Lamp, first quarter 20th century, the mushroom-form shade signed “Muller Freres, Luneville”, h. 16”, dia. 8”. [500/800] Illustrated 1343 American Burled Walnut and Walnut Roll-Top Desk, ca. 1900, the gallery with a raised burled panel over a tambour S-curve roll, opening to reveal an interior fitted with drawers, cubbyholes and a tooled leather work surface, on a double pedestal base with a slide over a bank of drawers and burled panels throughout, h. 62”, w. 34‑1/2”, d. 54”. [500/800]

1338

1342

351

1347

1345 1344 American Late Victorian Mahogany Extension Dining Table, ca. 1890, in the manner of R. J. Horner, with winged griffin legs and retaining two of seven 16‑1/2” leaves, h. 32”, w. 53‑1/2”, l. 102”. [1500/2500] Illustrated 1345 Spanish School (Fourth Quarter 19th Century), “Portrait of a Girl in a Pink Dress, Holding Roses”, oil on canvas, unsigned, 35” x 25‑1/2”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated

1346 American Late Victorian Walnut and Marble-Top Center Table, early 20th century, with an oval Egyptian marble inset top, the aprons with floral-pierced carving and the legs with carved putti, h. 31”, w. 34”, d. 23”.

[500/800]

1344

352

1351

1348

1348 American Patinated Bronze of a Native American on Horseback, 20th century, after Frederic Remington (American, 1861‑1909), cast signature at self-base, on a green marble plinth, overall, h. 12‑1/4”, w. 10”, d. 6”.

[1000/1500] Illustrated 1349 American Patinated Bronze of a Horse and Rider, 20th century, after Charles Marion Russell (American/ Montana, 1864‑1926), cast signature, on a green marble base, overall, h. 11‑3/4”, w. 13‑1/4”, d. 8”. [800/1200] 1350 American Patinated Bronze of a Horse and Jockey, 20th century, after Cyrus Edwin Dallin (American, 1861‑1944), cast signature at base, on a green marble plinth, overall, h. 14”, w. 16”, d. 8”. [800/1200]

1347 Buck McCain (American, b. 1943), “Prayer to the Great Spirit”, 1988, patinated bronze, cast signature at selfbase, h. 33”, w. 18”, d. 10”. [600/900] Illustrated

1351 Melvin Charles Warren (American/Texas, 1920‑1995), “Sam Bass Crossing the Bosque”, oil on canvas, 1969, signed and dated lower left, 24” x 36”. Framed. Provenance: Estate of Evelyn & T.L. Wilson, Houston, TX; purchased directly from the artist.

[18000/25000] Illustrated

353

1352 Charles Drew Cahoon (American/Massachusetts, 1861‑1951), “Crashing of the Waves, Cape Cod”, oil on canvas, signed lower right, 14” x 21”. Handsomely framed.

[1500/2500] Illustrated

1355 American Carved and Stained Baroque-Style Mirror, mid-20th century, with original tags identifying it as part of Vincent Price’s “National Treasure” series, h. 29‑1/2”, w. 25”. [500/800]

1353 American School (Third Quarter 19th Century), “Western Mountainous Landscape”, watercolor on paper, illegibly signed lower left, sight 32” x 22”. Glazed and framed. [1000/1500] Illustrated

1356 Steinway and Sons Satin Ebony Model B Piano with Matching Bench, 1982, known as the “Music Room Grand”, serial number 477799/L1266, l. 6’ 11”, w. 57‑1/2”, the bench, h. 19‑1/4”, w. 35”, d. 14‑1/2”. [10000/15000] Illustrated

1352 1354 Heinie Hartwig (American, b. 1937), “Plateau Home”, oil on canvas, signed lower right, titled en verso canvas, sight 5‑1/2” x 11‑3/4”. Framed. [500/800]

1357

1357 Dana Bartlett (American/California, 1882‑1957), “Moonlight Nocturne”, 1935, oil on board, signed lower right, signed, titled and dated on label en verso, 16” x 15”.

Framed. Provenance: Laguna Beach Gallery, California.

[2000/4000] Illustrated 1358 Dana Bartlett (American/California, 1882‑1957), “California Landscape with Trees”, oil on canvas, signed lower right, 20‑1/4” x 24”. Framed. [3000/5000] Illustrated 1359 Dana Bartlett (American/California, 1882‑1957), “California Canyon in Autumn”, oil on canvas, signed lower right, 20” x 24”. Framed. [2500/4000] Illustrated

1353

354

1358

1359

1356

355

1360 Dana Bartlett (American/California, 1882‑1957), “Tuileries Gardens, Paris”, oil on canvas, signed lower right, 26‑1/4” x 24”. Framed. [5000/8000] Illustrated 1361 Dana Bartlett (American/California, 1882‑1957), “Italian Coastal Scene”, oil on canvas, signed lower left, 20” x 24”. Framed. [2500/4000] Illustrated 1362 Dana Bartlett (American/California, 1882‑1957), “The Breakers”, watercolor on paper, signed lower right, sight 14‑1/4” x 19‑1/2”. Glazed, matted and framed.

[700/1000] 1363 Dana Bartlett (American/California, 1882‑1957), “Blue Mountains”, watercolor on paper, signed lower right, sight 11‑1/2” x 15‑1/4”. Glazed, matted and framed.

[800/1200] Illustrated

1360

1364 Paul Emile Berthon (French, 1872‑1909), “La Lyre”, 1901, color lithograph, from the “Musiciennes” series, a “Downtown Gallery/New Orleans, Louisiana” label en verso, 17” x 21‑1/4”. Glazed, matted and framed.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [800/1200] Illustrated

1361 1364

1363

356

1365

1368

1366

1369 1366 Paul Emile Berthon (French, 1872‑1909), “Notre Dame de Paris”, color lithograph, pencil-signed lower right, 21” x 15‑1/2”. Glazed, matted and framed. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [600/900] Illustrated 1367 Paul Emile Berthon (French, 1872‑1909), “Societe des Amis des Arts de la Manche”, color lithograph, inscribed “Atelier Berthon/37 Quai D’Anjou/Paris” and “Imp Chaix/Rue Bergere 20/Paris (ecreres Loeilleux)” at upper edge, 33‑3/4” x 24”. Glazed, matted and framed.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [800/1200] Illustrated

1367 1365 Paul Emile Berthon (French, 1872‑1909), “La Mandore”, 1901, color lithograph, from the “Musiciennes” series, 17” x 21‑1/2”. Glazed, matted and framed.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [800/1200] Illustrated

1368 Paul Emile Berthon (French, 1872‑1909), “Les Boules de Neiges”, color lithograph, 18” x 22‑1/2”. Glazed, matted and framed. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

[700/1000] Illustrated 1369 Paul Emile Berthon (French, 1872‑1909), “Tete de Femme”, color lithograph, 17” x 21‑1/2”. Glazed, matted and framed. Provenance: Naomi Damonte Marshall/ Downtown Gallery, New Orleans, Louisiana. [700/1000] Illustrated

357

1371 French School (First Quarter 20th Century), “Printemps”, watercolor, ink and colors on paper, unsigned, a “Dixie Art/Downtown Gallery/New Orleans, Louisiana” label en verso, sight 8” x 15‑1/2”. Glazed, matted and framed. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

[2000/4000] Illustrated

1371

1370

1372 Erte (Romain de Tirtoff, Russian/French, 1892‑1990), “Faust, Act III”, gouache and ink on paper, set design for the Monte Carlo Opera, signed lower right, a “Downtown Gallery/New Orleans, Louisiana” label en verso, 10” x 17”. Glazed, matted and framed.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [800/1200] Illustrated

1372

1370 1370 Paul Allier (French, 1883‑1967), a pair of color lithographs, including “Salut au Matin”, pencil-signed and inscribed “epreuve d’artiste” lower right, and “La Tempete”, pencil-signed and numbered “14/200” lower right, each sight 15” x 11”. Glazed, matted and framed.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [800/1200] Illustrated

358

1373 Paul Allier (French, 1883‑1967), a pair of color pochoirs of dancers, 1926, from the “Harem Series”, each pencil signed lower right, one numbered “191/200” the other “93/200” lower left, each 15” x 10‑3/4”. Each glazed, matted and framed. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

[800/1200] Illustrated

1373 1374

1373 1374 Paul Allier (French, 1883‑1967), a pair of color pochoirs of dancers, 1926, from the “Harem Series” , each pencil signed lower right, one numbered “161/200” the other “87/200” lower left, each 15” x 10‑3/4”. Attractively glazed, matted and framed. Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.

[800/1200] Illustrated

1374

359

1375 1375 Paul Allier (French, 1883‑1967), “Le Billet Doux”, color lithograph, pencil-signed and inscribed “epreuve d’artiste” lower right, 16” x 12‑3/4”. Glazed, matted and framed.

Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. [500/800] Illustrated

1378

1376 Semi-Antique Kerman Carpet, 9’ 6” x 21’ 3”. [3000/5000] Illustrated 1377 Semi-Antique Mashad Carpet, 10’ 6” x 15’ 7”. [1500/2500] Illustrated 1378 Sultanabad Carpet, 8’ 11” x 11’ 7”.

[4000/7000] Illustrated 1379 Angora Oushak Runner, 3’ x 14’.

[3000/5000] 1380 Antique Silk and Wool Tabriz Pictorial Carpet, 4’ 7” x 6’ 7”.

[1000/1500] Illustrated 1381 Antique Kerman Carpet, 7’ 2” x 10’ 3”. [1000/1500] Illustrated

360

1376

1377

1380

1381

361

1385

1384

1382 Antique Hamadan Runner, 3’ 6” x 13’ 2”. [500/800] Illustrated 1383 Antique Hamadan Runner, 3’ 6” x 13’ 8”. [500/800] Illustrated 1384 Tabriz Carpet, 8’ 10” x 12’ 2”.

[4000/7000] Illustrated 1385 Turkish Angora Oushak Carpet, 9’ 3” x 12’. [1200/1800] Illustrated 1386 Heriz Carpet, 10’ x 14’ 11”. [1500/2500] Illustrated

1386

362

1382

1383

363

1387 Semi-Antique Silk and Wool Tabriz Carpet, 8’ 6” x 12’ 6”. [3000/5000] Illustrated 1388 Laristan Sultanabad Carpet, 9’ 3” x 12’.

[2000/4000] Illustrated 1389 Antique Bidjar Runner, 3’ 10” x 10’.

[600/900] Illustrated 1390 Antique Bidjar Runner, 3’ 8” x 13’. [600/900] Illustrated

1387

1388

364

1389

1390

365

I n d e x of A rt i s t s M a r c h 2 0 - 2 2 , 2 0 1 5

Allen, Jere 1303

Califano, John Edmund 156

Allier, Paul 1370, 1373, 1374, 1375

Cambier, Jules 848

American School 1092, 1187, 1333, 1353

Canova, Antonio (after) 571, 918

Amorgasti, Antonio (after) 423

Carlier, Max A. 799

Anderson, Walter Inglis 1171

Carrier-Belleuse, Albert Ernest (after) 671, 1087

Andreotti, Libero 1244

Chalon, Alfred Edward (attributed) 497

Anfrie, Charles (after) 97, 1243

Chatterley, Mark 1286

Austrian School 611

Chinese Export School 461

Avery, March 198, 199

Cholin, G. 890

Bakhuyzen, Gerardina Jacoba Sande 513

Cibula, Joseph 1281

Balaguer, Laurent Jimenez 1253

Clara, Juan 1239, 1240

Ballesio, Francesco 226

Clark, John Heaviside 885

Bartlett, Dana 1357, 1358, 1359, 1360, 1361, 1362, 1363

Claudet, Max (after) 98

Barye, Antoine-Louis (after) 363

Clesinger, Jean Baptiste (after) 604

Basset, Louis 108

Clodion, Claude Michel (after) 607

Baudin, Felix 229

Continental School 390, 441, 508, 548, 686, 740, 881, 883

Baumgartner-Stoiloff, Adolf (Constantin) 376

Coustou, Guillaume (after) 101, 102

Baxter, George (attributed) 734

Cowell, William Wilson 1227

Beda, Francesco (after) 663

Coysevox, Charles Antoine (after) 830

Benard, Robert 188

Crofts, Stella Rebecca 1236

Bergman, Franz 231

Cruikshank, Isaac Robert 193

Bernier-Happe, Jenny 89

Cundin, Jose Maria 1297

Berthon, Paul Emile 1364, 1365, 1366, 1367, 1368, 1369

D’Aguilar, Michael 152

Boilly, Julian Leopold 194

D’Aste, Giuseppe (after) 410

Bol, Ferdinand (follower) 781

Dallin, Cyrus Edwin (after) 1350

Bossa, J. 508

De la Pena, Narcisse-Virgil D. (manner) 472

Bouguereau, William-Adolphe (school) 184

Diaz, Jose Llasera 1274

British School 105, 106, 508, 727

Dinsdale, John Bentham 747

Burgess, John Cart 195

Drysdale, Alexander John 1165

Burleigh, Sydney Richmond 1332

Dunbar, George Bauer 1287, 1288, 1295, 1299

Cachoud, Francois Charles 158

Dureau, George Valentine 1283, 1284, 1285

Caffi, Margherita (follower) 682

Dutch School 756, 1065, 1226

Cahoon, Charles Drew 1352

Eckart, Christian 1291, 1292, 1293

I n d e x of A rt i s t s M a r c h 2 0 - 2 2 , 2 0 1 5

Edo School 324

Karssen, Anton 190

Egenberger, Johannes Henderikus 85

Kazantsev, Alexei 1282

Eksergian, Carnig 225

Kern, Hermann 792

Emery, Lin 1289

Kerseboom, Frederick (attributed) 467

Erte (Romain de Tirtoff) 1372

Kinsey, Alberta 1173

Fitz, Benjamin Rutherford 1322

Kneller, Sir Godfrey (school of) 480

Flemish School 1076

Kohlmeyer, Ida Rittenberg 1296, 1298

Foyatier, Denis (after) 577

Kotschenreiter, Hugo 793

French School 381, 403, 1067, 1371

Kreisinger, F. 429

Friedeberg, Pedro 1300

Kruger, Franz 880

Garrett, Edmund Henry 616

Kumano, Teitaro (attributed) 321

Gaul, Arrah Lee 151

Lapsley, John 1178

German School 795

Le Boeuff, Pierre 784

Gervais, Paul Jean 839

Lecorney, Nicholas (after) 1241

Gillis, Crawford 1180

Lefort, Jean 155

Goodall, Frederick 902

Lesur, Henri Victor 676

Goss, William Henry 1222

Levasseur, Jules Clement (after) 585

Grandgerard, Lucien Henri 838

Lissitzky, El 1255

Gregoire, Jean-Louis (after) 162

Mata, Evelio Garcia 109, 648, 685

Guillot, Anatole Jean (after) 161, 228

McCain, Buck 1347

Guiraud-Riviere, Maurice 1242

McCarty, Lee 1294

Hartwig, Heinie 1354

Mendonca, Hygino 165

Hayashi, Kihyoe 320

Michelangelo (after) 386

Heldner, Colette Pope 1163, 1164

Mignard, Pierre the Elder (follower) 333, 334

Heyermans, Jean Arnould 766

Mikeska, Riko 159

Hobbs, Morris Henry 1170

Moreau, Auguste (after) 670

Holder, Edward Henry 95

Morgan, Elemore 1304

Hollingsworth, Jr. William R. 1181

Morris, John 840

Houdon, Jean-Antoine (after) 364

Mortelmans, Frans 650

Huneck, Stephen L. 1273

Orozco, Jose Clemente 1237

Hunter, Clementine 1174, 1175, 1176, 1177

Ousley, William 1161

Italian School 404, 549, 1066

Panini, Giovanni Paolo (follower) 550

Jefferson, Joseph 1162

Pautrot, Ferdinand (after) 177, 683

Johnson, Richard 1302

Perelli, Achille 1166, 1167

I n d e x of A rt i s t s M a r c h 2 0 - 2 2 , 2 0 1 5

Pichot, Ramon 200

Tamayo, Rufino 1268

Polish School 412

Towle, H. Ledyard 1258

Pollentine, Alfred 94

Van Reymerswaele, Marinus (follower) 411

Prades, Julio Vila 661

Van der Plas, Niek 153, 154, 841

Prost, Louis 867

Van der Pol, Louis 107

Rabes, Max Friedrich 660

Verhoeven-Ball, Adrien Joseph 767

Rambert, Rene 842

Vernet, Claude Joseph (manner) 734

Ream, Carducius Plantagenet (school) 442

Vertin, Petrus Gerardus 783

Rembrandt (follower) 780

Vinogradov, Sergei A. (attributed) 788

Remington, Frederic (after) 1348

Wagner, Fritz 794

Renard, Paul 843

Walker, William Aiken 1157, 1158, 1159

Rockwell, Norman 1234

Warhol, Andy 1263

Rodin, Auguste (attributed) 196

Warren, Melvin Charles 1351

Rodrigue, George 1276, 1277, 1278, 1279

Woodward, Ellsworth 1168, 1169

Rogers, Nathaniel (attributed) 1097

Wright, George Hand 1179

Roos, Philipp Peter (attributed) 760

Yamagata, (Daini) Masasada 325

Russell, Charles Marion (after) 1349

Zhang, Jun (attributed) 8

Saussy, Hattie 1172

Zhao, Mengfu (after) 7

Sauvageau, Louis (after) 570

Zopf, Julius 473

Schmutzler, Leopold 908 Schouten, Henry 179, 180 Schut, Cornelis (attributed) 1078 Seghers Daniel (attributed) 1078 Serrure, Auguste 821 Shannon, Charles Eugene 197 Sheppard, Warren W. 540 Suzuki, Shonen (after) 323 Signoretto, Pino 1271 Silverman, Arthur 1290 Southern School 1160 Spanish School 389, 1345 Stastny, Karen 1280, 1301 Stern, Ignaz (after) 896 Tait, Arthur Fitzwilliam 178

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of: In our qualified opinion, a work by a follower of the artist.

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 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 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 g a l l e r ie s

333 St. Joseph Street • New Orleans, LA 70130 • (504) 566-1849 • Fax (504) 566-1851 Info@NewOrleansAuction.com • www.NewOrleansAuction.com

Wire Transfer Information: Whitney Bank 228 St. Charles Avenue New Orleans, Louisiana 70130

ABA Routing Number . . . . . . . . . . . . . . . . . . . . . . . . . . . 065400153 Escrow Account Number. . . . . . . . . . . . . . . . . . . . . . . 047034504

International Wire SWIFT Code. . . . . . . . . . . . . . . . WHITUS44 Credit to: Cakebread Art Antiques Collectables Inc. 801 Magazine St. • New Orleans, Louisiana 70130 NEW ORLEANS AUCTION DOES NO SHIPPING OR PACKING Our clients have successfully used the following drayage companies:

Company

Telephone

Fax

E-mail

Bayou Movers. . . . . . . . . . . . 504-228-3827. . . . . . . . 504-324-9116. . . . . . . . . . . bayoumoversla@gmail.com Craters & Freighters . . . . 800-733-0310. . . . . . . . 504-733-3679. . . . . nola@cratersandfreighters.com Rancho Buck. . . . . . . . . . . . 404-441-4994. . . . . . . . 404-524-9129. . . . . . . . . . . . ranchobuck3@yahoo.com The Box. . . . . . . . . . . . . . . . . . 800-568-2699. . . . . . . . 504-568-0285. . . . . . . . . . . woodenbox@bellsouth.net The UPS Store #4539 . . . . . 504-523-3293. . . . . . . . 504-523-2406. . . . . . . . . . store4539@theupsstore.com Specialty Pack & Ship Co. 504-304-3969. . . . . . . . 504-304-4640. . . . loufou@specialtypackandship.com Vintage Transport Svcs. .800-333-0056. . . . . . . . 404-733-6220. . . . . . . . . . info@vintagetransport.com Wintersteen Trucking. . . 800-253-0617. . . . . . . . 785-543-6105. . . . wintersteentrucking@yahoo.com Pakmail. . . . . . . . . . . . . . . . . . 800-230-5229. . . . . . . . 504-393-1232. . . . . . . . . . . . . . . pakmail493@yahoo.com rev 02/02/15

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

Authorized Release Form / Waiver Name: _______________________________________________________________________ Business Name: _______________________________________________________________ Telephone(s): _________________________________________________________________ Email Address: ________________________________________________________________ I authorize: _____________________________________________________to pick up items New Orleans Auction No.:___________________________ Sale Date:__________________ Lot #(s): _____________________________________________________________________ _____________________________________________________________________________ Signature_____________________________________________Date____________________ Print name: ___________________________________________________________________

Please fax this form to 504-566-1851 or Email to Info@NewOrleansAuction.com Note: Items will not be released without a signed authorization.

New Orleans Auction Galleries is not responsible for damage to property during pickups and loading. We will assist clients with moving and loading items at the client’s own risk.

We are not responsible for any damage to items during moving, packing or unloading within or outside our premises.

I have read and understand the above statement: Signature: _____________________________________________

Date:_______________

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

R E Q U E S T F O R C O N D I T I O N R E P O RT S Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.NewOrleansAuction.com).

Detail photographs will be provided at our discretion.

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

Fax: (_______)_______________

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

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

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

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

Date: ____________________

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

State: ____________ ZIP: _________________

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

Lot #

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

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

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

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

New Orleans Auction Galleries Susan D. Krohn

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

ASIAN FINE & DECORATIVE ARTS:

DECORATIVE ARTS:

Jelena Restovic James

Continental and American; Prints and Maps

Ireys Bowman

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Thomas Halverson

Charles C. Cage

Michele M. Carolla

American

Ireys Bowman

Jewelry:

SILVER:

Continental and English

Kim Lemon

Charles C. Cage

Greg S. Kowles

American, Continental and English

Thomas Halverson American

FINE CARPETS & TEXTILES:

MUSEUM & NON-PROFIT SERVICES:

Sean Ranson

Jelena Restovic James

administration Kim Lemon

Gary Michael Gittelson

Charles C. Cage

Cord McPhail

Customer Service Manager

Office Manager

Denise Haik

Office Administration

Alexis Kopituk

Administrative Assistant

auctioneers Tessa Steinkamp Ashton Thomas Robin Ruiz Michael DeGeorge

Photographer

Photographer

Colleen Ryan

Director of Human Resources

Greg S. Kowles

Manager of Cakebread Auction

Burke

Designer

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

Josh Broussard

Auction Coordinator

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

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

James Callahan Asian Arts

David Abney