Cakebread Auction | August 22-23, 2015 by New Orleans Auction Galleries

cakebread decorative arts au gust

22-23 2015

design

cakebread decorative arts

design

Exhibition:

August 10-21, 2015

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

Evening Preview Reception: Thursday, August 20, 2015 5:00 - 7:00 p.m.

Se s s i o n II

Session I

Saturday, August 22, 2015

S u n d a y, A u g u s t 2 3 , 2 0 15

Lots 1 - 649

L o t s 6 5 0 - 11 9 2

10 0

1 0 : 0 0 - 11 : 0 0

650

744

20 0

11 : 0 0 - 1 2 : 0 0

745

844

201

30 0

12:00 - 1:00

845

944

1:00 - 2:00

301

40 0

1:00 - 2:00

9 4 5 - 1044

2:00 - 3:00

401

50 0

2:00 - 3:00

1 0 4 5 - 1144

3:00 - 4:00

501

60 0

3:00 - 3:30

11 4 5 - 1192

4:00 - 4:30

601

64 9

10:00 - 11:00

11:00 - 12:00

101

12:00 - 1:00

LA Auction License AB-363, Steinkamp #1265, Thomas #1833, EICHENWALD #1922/23% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

Session I Saturday, August 22, 2015 10:00 a.m. Lots 1-649 1

Continental Neoclassical-Style Giltwood Looking Glass, the shaped mirror within a beaded and acanthine frame surmounted by an elaborate crest with a feathered arrow and a torch, and flanked on either side by flowerfilled baskets and urns, h. 79”, w. 40”. [400/700] Illustrated

Directoire-Style Marble-Top Side Table, the white marble top surrounded by a three-sided pierced brass gallery, over three drawers, above tapered legs with brass-capped feet and supporting a lower open shelf with a concave front, h. 31‑1/2”, w. 22”, d. 14‑1/4”. [350/500] Illustrated

Antique Empire-Style Gilt-Brass Bouillotte Lamp, 19th century, the adjustable pole with a wreath finial, the guilloche baluster-form standard issuing scrolled arms with serpent-head terminals, above a conforming patterned dish, with a tole shade, electrified, h. 21‑1/2”, w. 8‑1/2”, shade, dia. 13‑1/4”. [500/800] Illustrated

Pair of Directoire GiltBronze and Marble Two-Light Candelabra, ca. 1800, the standards in the form of draped neoclassical figures holding pairs of leafmolded candle arms set with candlecups trimmed with ram’s heads, raised on column-form marble bases trimmed with bronze beading, h. 11”, w . 9”, d. 3‑1/2”. [500/800]

Pair of EmpireStyle Mahogany and Gilt-Bronze Fauteuils, 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”. [600/900] Illustrated

Handsome Directoire Trumeau Mirror, fourth quarter 18th century, the ogee-molded giltwood frame with a leaf-molded inner liner, holding a gray-painted lower panel under the mirror, set with antique glass, the upper oil-oncanvas panel depicting a romantic couple in a verdant landscape, h. 65‑1/4”, w. 30‑1/2”. [2000/4000] Illustrated

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”. [600/900] Illustrated

Italian School (First Quarter 20th Century), “Music Hath No Charms”, oil on canvas, signed lower right “E. Frascati”, 39‑1/2” x 29”. Presented in a carved and pierced giltwood frame affixed with artist plaque. [2500/4000] Illustrated 3

French Empire-Style Gilt-Bronze and Verde Antique Marble Encrier, ca. 1900, of Napoleonic inspiration, the paw feet supporting the marble body, set with an inset pen tray and a central eagle finial, flanked by a pair of fluted bronze inkpots, h. 7‑1/2”, w. 10‑1/2”, d. 6”. [300/500]

8 6

Alain-Rene Lesage (1668‑1747), Histoire de Gil Blas de Santillane, Paris: T.-P. Bertin, an VI [1798], six volumes in three, with copperplate engravings by Bovinet and Copia after P. J. Chaillou and Angelica Kauffmann, French text, octodecimo, in a contemporaneous binding by F. Doll (fl. 1796‑1830), in full black goatskin, the boards with decorative banding and dentelle, the spines with raised bands and gilt lettering and decoration (the binder’s imprint in the lowermost panel of. vol. I/II), with speckled endpapers, the edges cut and gilt, bookplate of Thomas Clifford Allbutt, 6” x 3‑5/8”. [Cordier 257; Brunet III 1006:3] [300/500] Illustrated 10 detail

10 detail

The bookplate here is that of Sir Thomas Clifford 10 Allbutt (1836‑1925), physician, inventor of the clinical thermometer and fellow of the Royal Society. The mention of Carr Manor, Meanwood on the bookplate dates Allbutt’s acquisition of the set to 1881‑1895, his years in residence at Carr Manor. For additional information on Allbut, see Alexander G. Bearn, Sir Clifford Allbutt: Scholar and Physician Cambridge: Royal College of Physicians, 2007 (where the bookplate is illustrated on page 86). For more on the early 19th-century bookbinder F. Doll, see Julien Flety Dictionnaire des Reliures Francais Ayant Ecerce de 1800 a nos Jours (Paris: Technorama, 1988) and Charles Ramsden French Bookbinders 1789‑1848 (London: Lund Humphries, 1950.

Moliere [Jean-Baptiste Polequin] (1622‑1673), Plays, Edinburgh: John Grant, 1926, translated by A. R. Waller, with etchings after Leloir, complete in eight volumes, duodecimo, in light blue half calf with embossed fillet on blue cloth, the spines with raised bands and black and red panels, with gilt lettering and fleur-de-lis decoration, with marbled endpapers, the top edges cut and gilt, 7‑3/8” x 5‑1/4”. [400/700] Illustrated

Pair of Neoclassical-Style Patinated Bronze Five-Light Candelabra, on composite stone bases, h. 23‑3/4”, dia. 10”. [300/500] Illustrated

Pair of Continental Patinated Metal Sphinx Bookends, first or second quarter 20th century, each recumbent figure on a rectangular plinth, overall, h. 5‑1/2”, w. 2‑1/2”, l. 7‑1/2”. [250/400]

Pair of French Empire-Style Bronze Five-Light Candelabra, now mounted as lamps, on paw feet with applied masques on the bases and clustercolumn standards, the scrolled and pierced arms set with molded drip pans and candle cups, h. 34‑1/2”, dia. 11‑1/2”. [350/500]

Empire-Style Mahogany Center Table, 20th century, the circular top with an inset glass surface over five circular panels, each within an ormolu frame and depicting courting couples, raised on three supports headed by ormolu winged maiden’s heads, and joined by a stretcher centered by an ormolu figure of a child, raised on splayed legs ending in sabots, h. 31‑1/2”, dia. 28”. [500/800]

Pair of Hand-Painted Paris Porcelain Urns, second quarter 19th century, now mounted as lamps, the gilded urns 19 with carefully rendered one of a pair depictions of water nymphs in diaphanous gowns decorating the obverse, and panels with tooled gilt trophies framed with laurel wreaths decorating the reverse, the molded, scrolled handles terminating in matte gilt leopard-head finials, base, h. 16”, overall, h. 28”, w. 5‑1/4”. [800/1200] Illustrated

17 16

Empire-Style Inlaid and Bronze-Mounted Mahogany Desk, with roll-top compartments, on a stretcher base, the top with a leather insert, h. 47”, w. 60‑3/4”, d. 33”. [500/800]

Empire-Style Ormolu-Mounted Mahogany Dining Table, early 20th century, the rectangular top banded and quarter-veneered and within an ormolu gadroon banding, above a paneled frieze, raised on fluted tapering square 20 legs joined by a shaped and annulated stretcher and ending in foliate sabots, the top bisected to accommodate leaves (one leaf present), h. 30”, w. 55”, l. 75”, extended l. 94‑1/2”. [1000/1500] Illustrated

Italian Neoclassical-Style Wine Tasting Table, the limestone-clad top over a tubular, patinated metal base accented with a silvered foliate sunburst applique, all above like, stylized tassel24 shaped feet, the base fitted to hold twenty bottles, h. 34”, w. 58”, d. 19”. [600/900] Illustrated

Pair of Florentine Neoclassical-Style Giltwood Table Lamps, third quarter 20th century, in the form of urns on plinths, base, h. 13‑1/2”, overall, h. 23‑1/2”, dia. 4‑1/2”. [400/700] Illustrated

Pair of Painted Panels Depicting Classical Ruins, mid-20th century, in giltwood surrounds, h. 36‑1/2”, w. 15‑1/4”. [400/700] Illustrated

Pair of Venetian-Style Tapered Shield-Form Mirrors, the edges decorated with cut scalloping and engraved sprays of leaves, h. 47”, w. 22‑1/2”. [500/800] Illustrated

Continental Faux-Marbre Pedestal, early 20th century, of possible ecclesiastical origin, the square top above a conforming standard with four corner Corinthian columns, raised on a molded square base, h. 42”, w. 24”, d. 24”. [800/1200] Illustrated

Parcel-Gilt and Marble-Top Pedestal, the parcel-gilt and fluted column-form standard with an egg-and-dartmolded base, h. 37‑1/4”, dia. 11”. [300/500]

French Neoclassical-Style Painted Mirror, third quarter 19th century, molded with leaves in a coved frame, h. 39”, w. 24”. [300/500]

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 leafmolded arms on either side of the eagle finials, h. 25‑3/4”, w. 18‑1/4”, d. 8‑1/2”. [300/500]

Pair of Chinoiserie-Style Decorative Panels, each with a floral-decorated border and a central scene of “Lovers in a Garden, Under a Pagoda”, each 72” x 28”. [500/800] Illustrated

Pair of NeoclassicalStyle Faux-Marbre Wood Columns, h. 65‑3/4”, w. 12‑1/4”, d. 12‑1/4”. Provenance: Deaccessioned from the Aiken-Rhett House, Charleston, South Carolina. [600/900]

Neoclassical-Style Plaster Bust of Pauline Borghese, depicted as Venus, after the original attributed to Antonio Canova (Italian, 1757‑1822), h. 21”, w. 13‑3/4”, d. 7‑1/2”. [1000/1500]

Baltic Neoclassical Carved and Painted Wooden Mirror, first quarter 19th century, the floral bouquet urn crest over a lamb’s tongue and ribbon molding surround, with flower blocked corners and leaf and tapered acanthus terminals, h. 35”, w. 16‑1/4”. [500/800] Illustrated

Pair of NeoclassicalStyle Jasperware Candlesticks Mounted as Lamps, 20th century, decorated with neoclassical medallions and gilt trim on an olive ground, raised on paw feet, fitted with tan shades, h. 20‑1/2”, dia. 8”. [300/500] Illustrated

Biedermeier Giltwood Mirror, first quarter 19th century, Baltic, with a pediment top and cast neoclassical ornament, h. 34”, w. 14‑3/4”. [300/500] Illustrated

34 28

Pair of Emerald Green and Colorless Glass Hurricane Lamps, in the Regency style, the stepped colorless bases supporting emerald green cylindrical shades cut with Greek-key borders, h. 15‑3/4”, dia. 5‑3/4”. [500/800]

Suite of Four 33 Continental Neoclassical Sidechairs, early 19th century, each with a curved crest above an arched and pierced splat, the padded seat raised on tapering square legs ending in splayed feet, h. 36‑1/4”. [800/1200] Illustrated

Biedermeier Elm and Burl Elm Mirror, early 19th century, the triangular crest with ebonized molding, the rectangular plate within a plain frame with a molded base, h. 55”, w. 26”. [600/900]

Continental Bird’s-Eye Maple Bedside Commode, second quarter 19th century, the dished top over a pair of doors, on a plinth base, h. 32‑1/2”, w. 15‑1/4”, d. 14‑1/2”. [350/500]

Louis-Philippe Fruitwood Day Bed, mid-19th century, the removable slatted back joined by paneled outscrolled arms to the padded seat, the ogee-molded frame raised on shaped bracket feet, h. 34‑1/2”, w. 78‑1/2”, d. 29”. [800/1200] Illustrated

Pair of Louis-Philippe Walnut Fauteuils, mid-19th century, each with a rounded crest above a padded rectangular back, joined by flat arms to the padded seat, raised on tapering square legs, h. 35‑1/2”. [1000/1500] Illustrated

Exceptional Louis-Philippe Bronze Dore et Patine Chandelier, second quarter 19th century, the turned and leaf-molded standard base hanging from pierced scrolls, supported by the twisted, fluted upper standard, with scrolled leaf-molded arms supporting contrasting dore and patinated candle cups, drip pans and matching bobeches, not electrified, h. 33‑1/2”, dia. 27”. [2500/4000] Illustrated

French Marble and Bronze Figural Mantel Clock, third quarter 19th century, the bronze and marble case set with signed Marti works, and by the retailer, Baschet Baullier, Paris, the figure on the top depicting Charles Louis de Montesquieu, author of De l’Esprit des loix, a copy of the book leaning on one side, h. 21”, w. 12‑3/4”, d. 5‑3/4”. [350/500] Illustrated

French Belle Epoque Red Griotte Marble and Bronze Column, Mounted as a Lamp, fourth quarter 19th century, on a marble base, the column fitted with a laurel-molded bronze base and a Corinthian capital, base, h. 14‑1/2”, overall, h. 25”, w. 4‑3/4”, d. 4‑3/4”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 107. [300/500]

Three Continental Watercolor Portraits of Beauties on Ivory, first quarter 19th century, including a portrait of “Mme. Recamier”, signed “A. Callio”, in a boulle frame, h. 4‑5/8”, w. 4‑7/8”, another in an antique brass frame, h. 5”, w. 4”, and the third indistinctly monogrammed and inset on an ivory cosmetic case, dia. 2‑1/2”. [300/500]

Restauration-Style Three-Piece Mahogany Salon Suite, second half 20th century, consisting of a pair of fauteuils and a settee, all with padded backswept backs joined to the padded seat by downswept arms on carved dolphin uprights, raised on sabre legs, fauteuils, h. 35‑1/2”, settee, h. 35‑1/2”, w. 51‑1/2”, d. 25‑1/2”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [1000/1500] Illustrated

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”. [400/700] Illustrated

French Empire-Style Bronze-Mounted Mahogany Vitrine, composed of period elements, h. 62”, w. 27‑3/4”, d. 15”. [300/500]

43 46

Pair of French Gilt-Bronze Three-Light Candelabra, second quarter 19th century, in the Restauration taste, now mounted as lamps, the tapered reeded standards with molded capitals and candle cups, and set with leafmolded candle branches decorated with leaves, fluting and medallions, the bases molded with swans drinking from fountains, base, h. 15‑1/2”, overall, h. 28‑3/4”, dia. 6‑1/2”. [700/1000]

Restauration Creme Peinte Mirror, early 19th century, the rectangular plate within a molded frame with carved foliate shield and floral garland accents, h. 27”, w. 22‑1/2”. [400/700] Illustrated 48

Continental Neoclassical Mahogany and Marble-Top Cabinet, early 19th century, the rectangular marble top above a conforming case fitted with two drawers over two cupboard doors, raised on gilt paw feet, h. 58”, w. 37‑1/2”, d. 25”. [2000/4000] Illustrated

Louis-Philippe Argente Looking Glass, second quarter 19th century, the mirror plate in an arched, beaded and molded frame, h. 22”, w. 18‑1/4”. [300/500]

Restauration-Style Marble and Patinated Metal Candlestick, now mounted as a lamp, the tripartite base with paw feet, and supporting the verde et aubergine mottled marble standard set with a leaf-molded and fluted patinated metal candle cup, base, h. 24”, overall, h. 35‑1/2”, dia. 7‑3/4”. [350/500]

Louis-Philippe-Inspired Linen Press/Entertainment Center, 20th century, American, in two parts, with a projecting cornice over two paneled doors, the base with a pair of drawers, h. 85‑1/2”, w. 49‑1/2”, d. 25”. [800/1200] Illustrated

53 one of a pair

Continental School (19th Century), a pair of decorative oils on canvas depicting various wildflowers in a landscape, 15” x 19”. Both framed alike in rope-molded giltwood frames. [500/800] Illustrated

Pair of French Neoclassical-Style Tapered Pedestals, decorated in faux tortoiseshell and giltwood, h. 46”, w. 16”, d. 16”. [300/500]

Italian School (First Quarter 19th Century), “Floral Still Life in a Classical Urn, Inside an Arched Niche”, oil on canvas, unsigned, 36” x 10”. Presented in a fauxweathered polychrome frame. [300/500]

55 51

William Hughes (British, 1842‑1901), “Grape and Nectar Still Life”, oil on canvas, signed lower right “W. Hughes”, 9‑1/8” x 12”. Framed. [500/800] Illustrated

Pair of Continental Still Lifes, first quarter 20th century, pastels on paper, including “Fruit 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 matching “vintage”-carved and giltembellished oak frames, overall, dia. 20‑3/4”. [400/700] Illustrated

56 one of a pair

Two Pieces of 19th-Century Continental Silver, including a French first standard (.950) silver “tulip” beaker, 1819‑1838, Paris, by Theodore Tonnellier, with acid-engraved floral decoration and leaf-and-dartbanded foot ring, h. 4‑3/8”, dia. 3‑1/2”, and a Russian 84 zolotnik (.875) silver spoon, the date rubbed but ca. 1825, Moscow, by Ivan Semenovich Gubkin, with fig-shaped bowl and baluster finial, l. 6‑1/4”, 6.13 total t. oz. [300/500] Illustrated

Jean Carabain (French, 19th/20th Century), “Still Life with Red Wine and Sugar Cubes”, 1872, oil on panel, signed and dated upper right, 11‑1/2” x 8‑3/4”. Presented in a giltwood frame. [500/800] Illustrated

Vincent Clare (British, 1855‑1930), “Fruit and Flowers”, a pair of oils on canvasboard, each signed lower left, each 12” x 10”. Framed. [700/1000] Illustrated

Continental School (Fourth Quarter 19th Century), “Still Life in a Classical Urn”, oil on canvas, unsigned, 36” x 28”. Framed. [500/800] Illustrated

Contemporary Decorative Framed Print of a “Garden Urn” , 35” x 47‑1/2”. Presented in a composition frame. [200/400]

French Provincial Consular First Standard (.950) Silver Tastevin, marked 1798‑1809, the maker’s mark rubbed, of traditional form with plain saucer bowl and coiled serpent handle, inscribed “Francois Ageneau”, dia. 3”, 1.87 t. oz. [300/500] Illustrated

German Biedermeier 12 Lot (.750) Silver Beaker, second quarter 19th century, of tapering oval section, with milled palmette rim and gilt interior, monogrammed “MT”, h. 4‑1/8”, w. 2‑1/2”, l. 3‑3/4”, 6.90 t. oz. [400/700] Illustrated

German .750 Silver and Cobalt Glass Sugar Basin, first quarter 19th century, possibly Berlin, of hemispherical form, the wirework bowl with pierced banding and fitted with a cobalt glass liner, with thin reeded swing handle and domed foot reeded en suite, h. 4‑3/4” (7‑1/2” with handle), dia. 5‑3/4”, 8.41 t. oz. (excluding liner). [300/500] Illustrated

Set of Three Continental .900 Silver Coquille Dishes, 20th century, probably Turkish, of traditional form, with shaped and applied edging on the handles and pierced flat shell-andscroll feet, monogrammed “M”, h. 1‑1/2”, l. 5‑5/8”, w. 4‑3/8”, 12.68 total t. oz. [300/500] Illustrated

64 66

Middle Eastern Silverplate Table Box, first half 20th century, of rectangular form, decorated all over with finely engraved foliate scrolls within 65 wrigglework borders, delicately accented with brick red enamel, opening to reveal a cedar-lined interior, l. 5”, w. 3‑1/8”. [300/500] Illustrated

Large Indian Silverplate Hurricane Lamp, contemporary, with tripodal base and baluster standard, decorated with flowers and masques, with silverplate candle cap and thistle-form colored crackle-glass shade, h. 44‑1/2”, dia. 9‑1/2”. [200/400] Illustrated

Collection of Three Indian Silvered Brass Canes, 20th century, each embossed with spiraled floral scroll and single gadroon band, with rubber tip and separating into two parts, one with lion’s head crook handle, l. 34”, one with serpent crop handle, l. 33‑3/4”, and one with pommel handle, l. 36”, the latter two cut on the gadroon to reveal the brass and set on the ferrule with small glass cabochons. [300/500] Illustrated

Seven Continental Silver Revivalist Servers, late 19th/ early 20th century, including two Hanau, Germany .800 silver caddy spoons with embossed scenic bowls and figural handles, l. 4‑1/2” and 5‑1/4”, a Dutch .833 silver serving fork, marked Amsterdam, 1899, by Gerardus Schoorl, with elaborately pierced shoulder and figural finial, l. 9”, a Danish .826 silver gilt spoon, marked 1893 by A . Dragsted, Copenhagen, with spiral-twist stem and pommel finial, l. 6‑3/8”, an unmarked berry spoon with figural handle, l. 8”, an unmarked tomato server with pierced spade and “bamboo” handle, l. 9‑1/4”, a Dutch silverplate pastry spade with figural working windmill finial, l. 7‑3/4”, 11.83 total t. oz. (weighable silver). [300/500]

70 68

72 70

Dutch Second Standard (.833) Silver Two-Handled Brandy Bowl, hallmarked Leeuwarden, 1852, by Laurens van Manen (fl. 1844‑1871, Sneek), of oval form, repoussedecorated with cartouches of bucolic scenes on a lattice and scroll ground, with cast shell-crested and puttomantled mascaron handles, raised on a conforming foot, h. 3‑7/8”, l. 10”, w. 5”, 6.35 t. oz. [300/500] Illustrated

Pair of Continental Silverplate Copper Electrotype Plaques of Don Quixote, ca. 1900, depicting Part I, chapter 35, in which Don Quixote battles wineskins in his sleep, and Part II, chapter 10, in which Sancho deceives Don Quixote with the three peasant maids, each scene in an integral rinceau “frame”, 15‑3/4” x 21‑1/8”. [800/1200] Illustrated

German Sterling Silver Historizmus Wager Cup, first quarter 20th century, by Karl Kurz, Kesselstadt, with British import marks for Chester, 1908‑1909, sponsor Boaz Moses Landeck, in the form of an Elizabethan noblewoman, her skirt and the raised, hinged cup both decorated with embossed and chased rococo panels, h. 8‑1/2”, dia. 3‑5/8”, 12.78 t. oz. [300/500] Illustrated 72

Continental Sterling Silver and Cobalt Glass Sugar Basin, first quarter 20th century, in the Empire taste, of navette form, the body decorated with a wide openwork band of swans and peacocks with floral swags, with an ovolo rim and swan-crested handles, fitted with a conforming cobalt glass liner, h. 2‑3/4”, l. 7‑3/8”, w. 2‑7/8”, 4.33 t. oz. (excluding liner). [300/500] Illustrated

German .800 Silver Dresser Box, first quarter 20th century, by Georg Roth, Hanau, of oval form, the hinged lid embossed with a scene of Eros and Psyche in a putto-drawn chariot, opening to a gilt interior, l. 7‑3/4”, w. 4‑3/4”, 12.05 t. oz. [400/700] Illustrated

79 74

Continental Sterling Silver Toy Horse-Drawn Carriage, first quarter 20th century, Dutch or German, the Berlinstyle carriage with driver, footman, four horses, wirework rigging and working wheels, h. 2‑1/4”, l. 5‑5/8”, 3.89 t. oz. [300/500] Illustrated

Five Assorted Sterling Silver and Tortoiseshell Small Accessories, 19th and early 20th centuries, including a tortoiseshell etui retaining most of its fittings, h. 3‑1/8”, a cased Henri Lambin, Paris silver gilt sewing set, overall, l. 5‑1/4”, an American silver reticulated card case monogrammed “MPP”, l. 3‑1/8”, an Edwardian silver dresser box with reticulated lid, hallmarked London, 1909‑1910 by W. Comyns, dia. 2‑1/8”, and an Edwardian silver letter opener, hallmarked London, 1899‑1900 by A. Barrett & Sons, set with a 1797 British penny, l. 8”, 2.21 total t. oz. (weighable silver). [300/500] Illustrated

80 75

Two Italian .800 Silver Miniature Figures of Animals, contemporary, by Fratelli Peruzzi, Florence, including a seated boar, l. 3‑3/4”, and a stalking fox, l. 4‑1/2”, each realistically detailed, 7.45 total t. oz. [300/500] Illustrated

German .800 Silver Figure of a Cockatoo, first quarter 20th century, the realistically detailed bird with moveable wings and head, depicted perched on a tree trunk, h. 10‑3/4”, w. 3‑3/4”, 14.59 t. oz. [300/500] Illustrated

Comyns of London “Chimp Pair”, 2002, the Country Artists Collection, a pair of electroform sterling silver bonded porcelain-filled figures of realistically modeled young chimpanzees, one grooming the other, h. 5‑3/4” and 5‑1/2”. [300/500] Illustrated

Four European and American Silver Cigarette Cases, 77 first half 20th century, including an unmarked American sterling silver example, rectangular with spiral fluting, monogrammed “HED”, 3‑1/4” x 1‑3/4”, an Austrian .900 silver example dated 1929, rectangular with guilloche and engraved scroll decoration and inset gold panel, 4‑3/8” x 3”, another Austrian .900 silver example, marks of Alexander Sturm, Vienna, rectangular with blue champleve enamel threading, 3‑1/2” x 3‑1/2”, and an English sterling silver example, hallmarked Birmingham, 1924‑1925, by Joseph Gloster, Ltd., rectangular with curved body, monogrammed “CIP”, 4” x 3‑1/4”, 14.71 total t. oz. [500/800]

Two Continental 78 Gilt- and SilverplateMounted Glass Claret Jugs, ca. 1900, one with a bulbous-based cylindrical glass body acid-engraved with archangels and wriggled banding, with gilt-metal collar, handle and hinged lid, h. 11‑1/2”, dia. 4‑3/4”, and the other with a conical glass body cut with large lozenges, with silverplate collar, wave-scroll decorated handle and hinged lid, h. 10‑3/4”, dia. 4‑1/4”. [400/700] Illustrated

Pair of Venetian-Style Shield-Form Mirrors, engraved with sprays of flowers, and with beveled edges, h. 31”, w. 18‑1/2”. [600/900] Illustrated

84 79

Three English and American Sterling Silver Picture Frames, late 19th/early 20th century, including a small circular frame with rococo-scroll mounting, hallmarked London, 1892‑1893, by C. H. Dumneil, 4‑1/4” x 2‑7/8”, an oval example hallmarked Birmingham, 1914‑1915, by C. S. Green & Co., monogrammed “LC”, 7‑3/4” x 5‑1/8”, and a large rectangular example by the Webster Co., North Attleboro, Massachusetts, 14‑1/2” x 11‑3/4”, all with velvet-covered easel back, all but the oval example glazed. [400/700]

Rare Suite of French Belle Epoque Gilt-Brass and Opaline Glass Candelabra and Sconces, fourth quarter 19th century, all decorated with opaline glass lilies, and brass lilies interspersed with the candle cups, the suite comprised of a pair of eight-light candelabra, h. 43”, w. 18”, d. 14‑1/2”, a pair of seven-light candelabra, h. 20‑1/2”, w. 11”, d. 5”, and a pair of four-light sconces, h. 12”, w. 13”, d. 5‑3/4”. [400/700] Illustrated

84 four of six

Louis XV-Style Giltwood Canape, decorated with carved shells and flowers, and upholstered in cut velvet, h. 43”, w. 58”, d. 23”. [900/1200] Illustrated

Louis XV-Style Carved Fruitwood Commode, fitted with two drawers and a composite marble top, h. 33”, w. 37”, d. 16”. [400/700]

Pair of Louis XV-Style PaintDecorated Bergeres, first quarter 20th century, with thumb-molded carving and accented with gilt flowers, h. 34”. [800/1200] Illustrated

Pair of Hand-Painted Porcelain Sceaux a Bouteilles, second quarter 20th century, probably Limoges, h. 6‑1/4”, dia. 6‑3/4”. [300/500]

Pair of “Borghese” Giltwood Mirrors in the Italian Baroque Taste, first quarter 20th century, labeled on the rear, h. 22‑1/2”, w. 14‑1/4”. [400/700] Illustrated

Louis XV-Style Upholstered and Mahogany Bedstead, the headboard and footboard with serpentine top rail centered by floral carving, upholstered in ivory moire, manufactured to accommodate a contemporary king-size mattress, h. 46”, inside, w. 80”, l. 80”, outside, w. 82”, l. 86”. [500/800] Illustrated

Two Dresden Porcelain Figural Compotes, fourth quarter 19th century, the first with a navette-form scalloped dish supported by a crescent moon flanked by cherubs on a reticulated stem with scrolled feet, with rocaille decoration throughout, festooned with flowers, the base with Sitzendorf marks in underglaze blue, h. 15”, w. 11‑7/8”, and the second with dancing children centering a foliate “maypole” stem, on a stepped rocaille base with scrolled feet, now mounted as a lamp and lacking the dish, h. 24”, w. 8”. [300/500] Illustrated

Italian Polychrome, Silver-Leaf and 89 Rock Crystal Eight-Light Chandelier, the crown issuing eight foliatepatterned arms with a pendant crystal pendalogue suspended from a large free-form rock crystal stone, above a cage centered by an upright prism with eight foliate-modeled arms ending in cups, each richly dressed with double strands of rock crystal beads and with pendant faceted prisms and pendalogues, h. 43”, dia. 30”. [700/1000] Illustrated

91 90

94 92

French Ivoire Peinte Fan, fourth quarter 19th century, beautifully decorated with hunt scenes in the foreground and a shore in the background, with neoclassical trim, h. 8‑1/4”, w. 14”. [300/500]

French Belle Epoque Bronze Inkwell in the Baroque Taste, fourth quarter 19th century, set with three inkpots, h. 7‑3/4”, w. 18‑1/2”, d. 8”. [300/500]

Louis XV Polychrome and Parcel-Gilt Trumeau, 18th century, the molded frame with a green background surrounding a canvas of “Rebecca and Eliezer at the Well”, the back wall with the Hebraic inscription “For Jacob Son of Isaac”, the painting signed “R. Lanten In et Fec 1773”, over a trisected mirror within foliate scroll frames, h. 79‑1/2”, w. 52”. [3000/5000] Illustrated

Louis XV-Style Polychrome Fauteuil, mid-19th century, the padded and domed top surmounted by a floral crest, joined by scrolling arms to the like seat, raised on molded cabriole legs ending in scrolled toes, h. 34‑1/2”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [300/500]

Pair of Transitional Louis XV-into-Louis XVI-Style Side Tables, each with a kidney-shaped, galleried and marbleinset top over a frieze fitted with two short drawers flanking a plaque depicting “Venus with Putti”, above an open shelf, raised on cabriole legs, h. 28”, w. 21”, d. 13”. [500/800] Illustrated

Pair of Louis XV-Style GiltBronze TwoLight Sconces, fourth quarter 19th century, the acanthine backplates issuing conforming 104 scrolled branches terminating in twisted leaf bobeches and candlecups, now electrified, h. 20”, w. 14”, d. 4‑1/4”. [250/400]

100

103

Pair of Louis XVI-Style Brass Chenets, first quarter 20th century, with scrolled acanthine legs and reticulated crests, h. 8”, w. 12”, d. 15”. [400/700]

Louis XV-Style Brass Five-Light Chandelier, 20th century, with a finialed acanthine-cast vasiform standard and conforming scrolled arms hung with crystal prisms, h. 20‑1/2”, dia. 20‑1/2”. [300/500]

100

Continental School (First/Second Quarter 20th Century), “Pastoral”, oil on canvas, inscribed “A. P. Yates” en verso canvas, 27” x 40”. Framed. [500/800] Illustrated

101

Foliate-, Scroll- and Shell-Modeled Giltwood Frame, late 19th century, now fitted with a print depicting Louis XIV aristocracy, h. 30‑1/2”, w. 39”, d. 4”. [300/500] Illustrated

102

French Belle Epoque Gilt-Bronze-Mounted Clock, with a hand-painted plaque, dial and finial, h. 21”, w. 11‑1/2”, d. 6”. [300/500] 101

105

106

104

Pair of French Gilt-Bronze Figural Two-Light Sconces, mid-20th century, in the chinoiserie taste, h. 13‑1/2”, w. 8‑1/2”, d. 2‑3/4”. [400/700] Illustrated

105

French Bronze and Screen Wire Firescreen, in the Louis XV style, decorated with angels warming their hands at a firepot, h. 27‑1/2”, w. 29‑1/2”, d. 7‑1/4”. [300/500] Illustrated

106

Louis XV-Style Gilt-Bronze-Mounted Two-Drawer Commode, with a verde antico marble top, the case with parquetry-work, h. 33”, w. 45”, d. 20‑1/4”. [400/700] Illustrated

107

French RococoStyle Boulle and OrmoluMounted Bombe Tall Case Clock, early 19th century, the face with porcelain chapters, the time and strike movement with a spring chime, h. 91”, w. 32”, d. 15”. [4000/7000] Illustrated

108 107

109 Pair of Composition Plaques Depicting Cavorting Winged Putti, the figures bearing garlands of flowers, in parcel-gilt shadowbox frames, h. 21‑3/4”, w. 26‑1/4”. [300/500] Illustrated

108 one of two

109

French Art Moderne Patinated Iron and Crystal Eight-Light Chandelier, second quarter 20th century, in the style of Maison Jansen, the scrolling cage supports with flower- and pendanthung arms, enclosing a crystal baluster-form standard, h. 36”, dia. 22”. [1500/2500] Illustrated

110

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”. [400/700] Illustrated

110

113

Pair of French Bronze Two-Light Sconces, first quarter 20th century, in the Louis XV style, electrified, h. 14‑1/2”, w. 8‑1/4”, d. 5”. [400/700]

114

Louis XV-Style Wrought Iron and Griotte Rouge MarbleTop Console Table, 19th century, the serpentine-form marble top above an open C-scroll-patterned frieze centered by a gilt foliate mount, raised on scrolling legs headed by foliate capitals and ending in upturned toes, h. 33”, w. 41‑1/2”, d. 16”. [600/900]

115

111

Continental Serpentine Bracketed Metal Wall Shelf with Faux Marble Top, second quarter 20th century, the pierced, scrolled 111 shelf supports decorated with gilt leaves and flowers, h. 12”, w. 12‑1/4”, d. 7‑3/4”. [300/500] Illustrated

112

Pair of Louis XV-Style Armchairs, the hardwood frames adorned at the crest rail, knee and front of the apron with carved cartouches, upholstered in leopard print fabric with a coordinating gimp trim, h. 37”. [500/800]

115

Continental Rococo-Style Giltwood Fauteuil, mid19th century, upholstered in tapestry, h. 42”. [250/400] Illustrated

116

Louis XV-Style Giltwood Stool, mid-19th century, the padded square top above a shaped floral-carved apron, raised on cabriole legs headed by foliate carving and ending in scrolled toes, h. 13”, w. 14‑1/2”, d. 14‑1/2”. [200/400]

117

122

Thirty-Two-Piece Old Limoges Porcelain Partial Dinner Service, mid-19th century, French, hand-painted with birds and grapes, comprised of a soup tureen with ivy-molded handles and a fruit-form knop, h. 12”, w. 12”, d. 6‑3/4”, a pair of matching oval vegetable dishes, one with its cover, h. 5‑3/4”, w. 12‑1/2”, d. 8”, eighteen dinner plates, dia. 9‑1/2”, and eleven soup plates, dia. 9‑1/2”. [400/700]

118

Sino-German Porcelain and Bronze Banquet Lamp, fourth quarter 19th century, the pierced rocaille-molded base supporting the Chinese export porcelain lamp, decorated with panels of mandarin figures on a ground of flower sprigs, the font set with a burner marked “M.K. & Co., Berlin”, electrified, h. 11‑1/2”, dia. 9‑1/4”. [600/900]

119

Louis XV-Style Parcel-Gilt Mahogany and Upholstered Bed, ca. 1900, the shaped headboard and footboard centered by floral carving, each in beige and gold upholstery, h. 53”, inside, w. 53‑1/2”, l. 79”, outside, w. 58‑1/2”, l. 86”. [600/900]

120

Louis XV-Style Mahogany and Marble-Top Occasional Table, early 20th century, the circular marble top with a full pierced brass gallery, above an ormolu swag-applied frieze, raised on molded cabriole legs ending in sabots, h. 21”, dia. 18”. [300/500]

122

Continental School (First Quarter 20th Century), “Frolicking Cherubs”, a pair of oils on canvas, unsigned, 25” x 18”. Presented in matching giltwood and gesso frames. [600/900] Illustrated

123

Louis XV-Style Kidney-Form Side Table with Bronze Trim, decorated with hand-painted scenes of courting couples on a gold ground, h. 29”, w. 21‑1/2”, d. 13‑1/2”. [350/500] Illustrated

121

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”. [400/700] Illustrated

123 125

124

Group of Floral Brocade Draperies, comprised of four panels and six matching swags, the panels without hems on the bottoms, previously puddled and of varying lengths to that end, panels, h. 109” to 120” , w. 76” to 80”. [600/900]

125

Pair of Transitional Louis XV-into-Louis XVI-Style Faux Mahogany and Parquetry Side Tables, each with a shaped, brass-bound top over a conforming drawer, above an open shelf, raised on cabriole legs, h. 29”, w. 19”, d. 14”. [700/1000] Illustrated

128

126

Collection of Three Easel Frames, 20th century, decorated with encrusted “jewels” in the Renaissance style, h. 7‑1/4” to 8‑1/2”, w. 5” to 5‑3/4”. [300/500] Illustrated

Swedish/ Continental Neoclassical Rosewood and Mahogany Bureau, early 19th century, in the manner of George Haupt, the banded rectangular top above a slant 129 front, banded and centered by an inlaid laurel leaf garland with pendant wheat sheaf medallion, opening to a variety of drawers and cubbyholes, over two long drawers with floral inlays, raised on banded tapering square legs ending in caps, h. 40‑1/2”, w. 33”, d. 18”. [1500/2500] Illustrated

129

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”. [300/500] Illustrated

127

130

Dutch Mahogany and Marquetry Chest, fourth quarter 18th century, the top banded and with an elaborate scrolling foliate and floral marquetry inlay, and with a serpentine front, above a conforming case fitted with four graduated long drawers, the sides and drawers inlaid en suite, raised on block feet, h. 31”, w. 35‑1/2”, d. 20‑1/2”. [1200/1800] Illustrated

127

Pair of Louis XIV-Inspired Argente Armchairs, comprised of a wing chair and a bergere, each with a carved crest, scroll arms and cabriole legs, h. 45” and 32”. [400/700] Illustrated

128

131

Continental School (First Quarter 20th Century), “Drinking Game”, oil on canvas, signed lower right “E. Frozoh”, 20” x 14”. Presented in a period giltwood and gesso frame. [500/800] Illustrated

130

132

Dutch Mahogany and Marquetry Display Cabinet, late 18th century, the molded and domed cornice above a case fitted with two astragalglazed cupboard 133 doors opening to a shelved interior, the sides glazed en suite, the lower section fitted with two paneled cupboard doors, raised on bun feet, the whole richly inlaid in floral, avian and foliate marquetry patterns, h. 88‑1/2”, w. 67‑3/4”, d. 14‑1/2”. [1500/2500] Illustrated

131

134

133

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”. [500/800]

134

132

Continental Marquetry-Inlaid Mahogany “Beau Brummel” Dressing Table, ca. 1900, the rectangular top with beribboned patera inlays, and opening to a storage compartment and an adjustable mirror, over a pair of cupboard doors and a concealed drawer, raised on tapering square legs, the whole with floral inlays, h. 34‑1/2”, w. 20‑1/2”, d. 20”. [700/1000] Illustrated

135

French Bronze of a “Courting Couple”, first quarter 20th century, inscribed “Claudion” at edge, on a stepped black marble plinth, h. 14”, w. 16”, d. 7‑1/2”. [500/800] Illustrated

136

Continental Bronze of a Country Woman, on a round wooden plinth, h. 13‑1/2”, w. 5‑1/2”, d. 4‑1/2”. [500/800] Illustrated

136

137

Italian Alabaster Bust of a Belle Epoque Beauty, ca. 1900, in the fin-desiecle taste, the figure modeled with her hair up, a flower pinned to her bodice, on a cove-molded socle, h. 20‑3/4”, w. 12”, d. 5‑1/4”. [400/700]

138

139

140

Dutch Mahogany and Marquetry Corner Cabinet, mid-19th century, the molded cornice above a single glazed door, the lower serpentine section fitted with two cupboard doors, each with marquetry inlays of a flowering urn, raised on bracket feet, h. 81‑1/2”, w. 32‑1/2”, d. 18”. [400/700] Illustrated

141

Hand-Painted Porcelain Ginger Jar, post-1877, possibly Radler and Pilz, Vienna, decorated on the obverse with a polychrome port scene framed in gilt and orange scrollwork, the reverse decorated with scattered handpainted flowers, the cover decorated to match, marked with an underglaze blue “beehive” or bindenschild, h. 19‑1/2”, dia. 9”. [600/900] Illustrated

Dutch Mahogany and Marquetry Pedestal Desk, mid19th century, of Georgian form, the rectangular top with a three-quarter gallery above a frieze with three drawers, raised on two pedestals, each fitted with a paneled cupboard door, one opening to four short drawers, the other to shelves, raised on plinth bases, the whole inlaid throughout with marquetry scrolling foliate and floral urn panels, h. 35”, w. 55‑1/2”, d. 33”. [700/1000] Illustrated

139

Continental School (First Quarter 20th Century), “The Sad News”, oil on canvas, unsigned, 15‑3/4” x 11‑3/4”. Presented in a handsome giltwood frame. [500/800] Illustrated

138

142

Continental MarquetryInlaid Mahogany “Beau Brummel” Dressing Table, ca. 1900, the rectangular top with floral urn inlays, and opening to reveal a segmented storage compartment with an adjustable mirror, raised on tapering square legs joined by a shaped plinth stretcher, the whole with floral inlays, h. 34”, w. 20”, d. 17‑1/2”. [700/1000] Illustrated

141

143 142

140

Provincial Polychrome Cabinet in the Tuscan Style, the upper case with two shaped glazed doors flanked by columnar pilasters, over a projecting lower case with a single drawer over a pair of raised panel cupboard doors, h. 80”, w. 37”, d. 17”. [400/700] Illustrated

143

144

After Luigi Mayer (Italian/German, 1755‑1803), “Views of Ottoman Empire”, suite of six hand-colored engravings, published 1809, sight 10” x 13”. All glazed and framed alike. [400/700] Illustrated 146

144 one of six

147

Mottled Green Marble Sculpture of a Satyr with Cymbals and Kroupezion, first quarter 20th century, probably Italian, on a round plinth, after the Roman marble copy of a 1st century BC Greek sculpture in the National Gallery of Ancient Art, Rome, h. 18‑1/4”, dia. 5‑1/4”. [1800/2500] Illustrated

144 one of six

145

Floral-Decorated Oxbow Cabinet, 20th century, on bracket feet, h. 34‑1/2”, w. 41”, d. 13‑1/4”. [200/400]

146

Italian Baroque Carved and Pierced Giltwood Mirror, third quarter 18th century, with an egg-and-dart mirror plate surround, the frame decorated with robustly carved scrollwork and flowers, and a cabochon finial, h. 62‑1/2”, w. 39”. [800/1200] Illustrated

149

152

148

Continental Patinated Bronze of Fortuna, 20th century, after Edouard Drouot (French, 1859‑1945), the figure with one arm upraised and one foot balanced on a wheel, on a marble and bronze columnar plinth, h. 34‑1/2”, w. 7”, d. 9”. [400/700] Illustrated

Italian Polychrome and Faux-Marbre Cabinet, late 19th century and later, the rectangular faux-marbre top above a case fitted with two doors, each inset with a metal grille, raised on fluted tapering square legs, h. 43”, w. 52”, d. 22‑1/2”. [2000/4000]

153

149

Collection of Two Early 19th-Century Works on Paper, 147 including British School “Landscape with a Church” and “Mediterranean Seaside Town”, a pair of watercolors and pen on paper, both unsigned, former 8‑1/2” x 8”, latter 3‑7/8” x 6‑3/4”. Both glazed, matted and framed. [300/500] Illustrated

150

Italian School (First Quarter 19th Century), “Capriccio of Roman Ruins and a Harbor”, oil on canvas, 33” x 43”. Presented in a polychrome and parcel-gilt frame. [400/700]

154

148

Italian Baroque-Style Creme Peinte Cabinet, the molded cornice over a frieze with applied carved decoration, above a case fitted with two adjustable open shelves, the lower case with a deeply carved “frolicking cherubs” single door, ending in a stepped plinth base, h. 93‑1/2”, w. 54”, d. 19‑1/2”. [1200/1800] Illustrated

Neapolitan Silver-Mounted and Ormolu- and Motherof-Pearl-Inlaid Tortoiseshell Box, fourth quarter 18th century, the hinged lid inlaid with the “Judgement of Paris” scene, the interior void, h. 1‑1/8”, w. 3‑1/8”, d. 2‑3/8”. [500/800]

151

154

160

159

Italian Glazed and Decorated Ceramic Holy Water Font, late 20th century, inscribed on the lower right “F. Lli Monteforte/Grottaglie”, h. 22”, w. 16”, d. 4”. [300/500]

160

157

155

Venetian-Style Wire and Bead Work Lantern, of pentagonal form with an elaborate scrolling cage enclosing the central light fixture, with flower terminals hung with crystal prisms, h. 20‑1/4”, w. 13”. [300/500]

156

Faenza “Garofano” Pattern Partial Dinner Service, 20th century, made by CACF, Faenza, Italy, the set comprised of eight dinner plates, dia. 10‑1/2”, eight luncheon plates, dia. 9”, eight soup plates, dia. 9‑1/4”, two salad plates, dia. 7”, seven bread and butter plates, dia. 6‑1/4”, nine saucers, dia. 5‑3/4”, eight mugs, h. 3‑1/4”, two mugs, h. 4”, eight bowls, dia. 5”, a jam pot, cover and spoon, h. 6‑1/4”, an open sugar bowl, h. 3‑1/2”, a three-light candelabrum, h. 7‑3/4”, dia. 6‑1/4”, an open bowl, h. 4”, and a platter, w. 16‑1/2”, d. 14”. [300/500]

157

Pair of Italian Parcel-Gilt Altar Sticks in the Neoclassical Style, decorated with fluting and leaf carving on a silver gilt ground, on scrolled feet, h. 35”, dia. 7‑1/2”. [800/1200] Illustrated

158

Italian Alabaster Neo-Grec Urn-Form Lamp, first quarter 20th century, with incised decoration, h. 19‑1/2”, dia. 7‑3/4”. [450/700] Illustrated

Italian Giltwood Mirror in the Baroque Taste, with a surround of brightly gilded scrollwork and flower piercings, and an overhanging leafform crest, h. 40‑1/2”, w. 48”. [900/1200] Illustrated

161

Pair of Venetian-Style Plant Stands, the goldfinished bodies with formed round tops, above Corinthian capitals on reeded columns with acanthuscarved bulbous urn forms, all on decorated tripartite bases, h. 36”, dia. 11‑1/2”. [300/500] Illustrated

158

162

Continental School (First Quarter 20th Century), “Venetian Canal Scene”, oil on canvas, signed lower right, “L. A. Herzeg”, 29” x 40”. Presented in a period giltwood and gesso frame. [1000/1500] Illustrated

161

162

163

167

163

Italian School (Early 19th Century), “View of Florence from River Arno”, oil on canvas, 22” x 27”. Framed. [400/700] Illustrated

164

Italian Patinated Bronze of a Young Boy with a Ball, first quarter 20th century, cast signature “V. Vadursi” along back edge, h. 38‑1/2”, w. 13”, d. 12‑1/2”. [2000/4000] Illustrated

Continental Polychrome Occasional Table, early 19th century, in the neoclassical taste, the rounded rectangular top with a polychrome scene of courtiers at leisure, raised on a fluted standard with classical portrait medallions and accents, to three scrolling legs ending in rounded toes, h. 28‑1/2”, w. 23”, d. 17‑3/4”. [300/500] Illustrated

166

165

Juan Clara (Spanish, 1875‑1958), “Young Girl on Stool”, bronze, cast signature at back, foundry mark on bottom of stool, h. 5‑1/2”. [500/800]

166

Venetian Etched and Cut Glass Oval Looking Glass, the central beveled mirror plate framed by stylized foliate-cut plates, surmounted by a heart and foliate-cut crest, h. 61”, w. 35”. [400/700] Illustrated

164

167

168

Italian Neoclassical-Style Giltwood and Polychrome Demi-lune Cabinet, the gadrooned top over a case fitted with two drawers, raised on tapering square legs, the whole with Florentine-style decoration, h. 29”, w. 27”, d. 14‑1/2”. [300/500] Illustrated

173

174

168

Provincial Louis XV-Style Oak Double Chairback Settee, each crest rail with foliate and floral carving over serpentine splats, shaped open arms and turned legs joined by box stretchers, the seat in woven reed, h. 40‑1/2”, w. 43”, d. 21”. [300/500]

169

Continental Verdure Tapestry Depicting Nobles at the Hunt, 20th century, with an allover acanthine and floral motif border, tabs for hanging, 70” x 86”. [200/400]

170

Louis XIII-Style Oak Fauteuil a la Reine, early 20th century, the padded back joined by flat acanthine-carved arms to the padded seat, raised on turned and block legs joined by an H-form stretcher and ending in ball-and-claw feet, upholstered in foliate crewelwork fabric, h. 47”. [500/800]

171

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”. [300/500]

172

French Provincial Cherry Open Hutch, 18th century and later, on shoe feet, h. 71‑3/4”, w. 39”, d. 16”. [500/800]

173

Ira Monte (Spanish, b. 1918), “Still Life with a Glazed Covered Jar and a Platter of Oranges”, oil on canvas, signed lower right “Ira Monte”, 24‑1/4” x 30‑1/4”. Handsomely framed. [500/800] Illustrated

175

French Provincial Fruitwood Vasselier, mid-19th century, the molded cornice above three open plate shelves and two paneled end cupboards flanking a paneled backpiece, the lower section with a canted rectangular top above a conforming case fitted with three short drawers over two cupboard doors, each inset with a shaped panel, raised on splayed toes, h. 89”, w. 57”, d. 24”. [600/900] Illustrated

176

Louis XIII-Style Fruitwood Fauteuil, late 19th century, the slightly domed and padded back with brass tack accents, joined by tall downswept acanthine-carved arms, the padded seat raised on turned and block legs joined by a like stretcher and ending in toupie feet, h. 44”. [500/800] Illustrated

178

177

French Tole-Peinte Wirework Centerpiece, 20th century, now arranged with dried roses, h. 11‑1/2”, w. 11‑1/2”, d. 8‑3/4”. [300/500]

178

French Tole-Peinte and Brass Two-Light Bouillotte Lamp, first quarter 20th century, h. 20‑1/2”, w. 14‑1/2”, d. 7”. [400/700] Illustrated

179

180

179

Fritz Chwala (Austrian, 1872‑1936), “Off to the Market”, oil on canvas, signed lower left, 21‑3/4” x 27”. Framed. [1000/1500] Illustrated

180

French Provincial-Style Fruitwood Bench, the padded seat over a carved apron, raised on cabriole legs joined by an double X-form stretcher and ending in scroll feet, h. 17”, w. 47”, d. 15”. [500/800] Illustrated 176

181

Continental School (19th Century), “Sheep Resting”, oil on canvas, illegibly signed lower right, 16‑1/2” x 23‑3/4”. Presented in an antique giltwood frame. [400/700] Illustrated

184

Group of Three Directoire-Style Sidechairs, 19th century, consisting of a pair of oak and fruitwood chairs, each with a backscrolled crest over a diamond-pattern frieze and multiple X-form stretcher, the rush seat raised on tapering square legs, h. 33‑1/2”, 187 together with a similar oak child’s chair with a wooden seat, h. 28‑1/2”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [300/500]

185 181

182

Walter Biddlecombe (British, 1856‑1938), “Bulls in a Landscape”, oil on canvas, signed lower right “Walter Biddlecombe”, 10‑3/4” x 13‑5/8”. Presented in a handsome, period gesso frame. [300/500] Illustrated

Provincial Directoire Walnut Folio Cabinet, early 20th century, the deep rectangular top above a conforming case fitted with two cupboard doors, each inset with a diamond-patterned panel and opening to three pullout shelves, raised on block feet, h. 39”, w. 56”, d. 34”. [1500/2500] Illustrated

182

183

French Provincial Faux-Bois Buffet a Deux Corps, mid19th century, the molded cornice above a paneled frieze and two cupboard doors, each inset with a grilled panel, the lower section fitted with two drawers flanking a panel with the incised initials “M.C.”, over two paneled cupboard doors, raised on a plinth base, h. 86”, w. 54”, d. 20‑1/2”. [1000/1500] Illustrated

183

188

French Tole-Peinte Foot Bath, fourth quarter 19th century, now decoupaged with neoclassical decoration, h. 13”, w. 32‑1/2”, d. 21‑3/4”. [500/800]

192

189

185

186

Continental Fruitwood Tub Chair, 19th century, in the neoclassical taste, the padded back and downswept arms within a rounded frame, the shaped padded seat raised on bulbous tapering circular legs ending in toupie feet, h. 32‑1/2”. [300/500]

187

Arts and Crafts Hand-Painted Tole Two-Light Lamp, ca. 1900, the navette-form lamp on a stem foot and square plinth, painted with laurels and musical instruments, h. 13”, w. 9”. [300/500] Illustrated

Provincial Empire Fruitwood Armoire, mid-19th century, the molded and domed cornice with projecting corners, above a conforming case fitted with a paneled frieze over two long paneled doors, flanked to either side by an ormolu-mounted pilaster, raised on turreted feet, h. 91”, w. 61‑1/2”, d. 30”. [2000/4000] Illustrated

190

Louis XVI-Style Creme Peinte Bench, first quarter 20th century, the rectangular padded seat over a beaded apron, raised on tapering fluted legs ending in toupie feet, h. 19”, w. 35”, d. 17”. [300/500]

191

Provincial Polychrome and Marble-Top Dining Table, second quarter 20th century, the ebonized top now fitted with a rectangular marble slab with a molded edge, and raised above a shaped frieze on paneled cabriole legs, h. 30‑1/2”, w. 53‑1/2”, d. 33”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [400/700] Illustrated

192

Neoclassically Inspired Painted Metal Basket-Form FourLight Chandelier, decorated with gilt leaves and hung with swags of drops, h. 32”, dia. 23”. [300/500] Illustrated

189

191

193

French Painted Architectural Trumeau Mirror, fourth quarter 19th century, painted blue-gray and fitted with antique glass, the mirror plate framed by raised panels on three sides, h. 93‑1/2”, w. 46‑1/2”. [1500/2500] Illustrated

193

196

194

Collection of Six Eighteenth-Century Plates, including four French floral-decorated soft paste porcelain plates in the Mennecy style, third quarter 18th century, dia. 9”, a French faience plate decorated with an iris, fourth quarter 18th century, dia. 9‑1/4”, and a Furstenberg soup plate with ornithological decoration, marked “F” in underglaze blue, fourth quarter 18th century, dia. 9”. [300/500] Illustrated

Louis XVI-Style Polychromed Bed, the headboard with a scroll crest over a panel, and raised on fluted posts and feet, h. 47‑1/2”, inside, w. 38‑7/8”, l. 76”, outside, w. 42‑1/4”, l. 81”. [500/800]

195

Directoire-Style Polychrome Cabinet, early 20th century, the molded cornice above a case fitted with two paneled doors, each with an applied patera-centered “X” pattern, raised on block feet, h. 64‑3/4”, w. 47”, d. 18‑1/2”. [500/800] Illustrated

195

201

197

Louis XV Painted Provincial Tray-Top Tea Table, 18th century and later, the skirt set with a drawer, h. 28”, w. 27‑1/4”, d. 27‑1/4”. [800/1200]

199

Five-Piece Collection of Contemporary Cobalt Glass, including a labeled Blenko bowl, h. 4”, dia. 10‑1/2”, three graduated canisters with metal covers, h. 8” to 12”, w. 5‑1/2” to 6‑1/4”, and a blown bowl with a rooster-form cover, h. 15”, dia. 5”. [300/500] Illustrated

203

200

Hand-Blown Cobalt Glass Pitcher and Eleven Molded Goblets, 20th century, the pitcher with a pontil mark, h. 8‑1/2”, w. 8‑1/4”, the goblets molded in cobalt and colorless glass, h. 6‑1/4”. [300/500] 199

198

Provincial Louis XV-Style Ivory-Painted China Cabinet, the molded cornice above a basket- and foliate-carved frieze, the doors and sides fitted with beveled glass panels, raised on cabriole legs, h. 83”, w. 56‑1/2”, d. 21”. [1400/1800] Illustrated 202

201

Continental Provincial Polychrome Armoire, the projecting molded cornice over a pair of paneled doors painted with stylized sunflower medallions, raised on bracket feet, h. 72”, w. 38‑1/2”, d. 13”. [1000/1500] Illustrated

202

Provincial Louis XV-Style Oak and Ivory-Painted Farmhouse Table, the top with rounded ends, and supported by a trestle base, h. 30‑1/2”, w. 57”, l. 97”. [1800/2500] Illustrated

203

Two French Graduated Pottery Olive Jars, 20th century, each with a white-glazed interior and neck, the ovoid jar indistinctly signed, h. 24” to 33”, dia. 12” to 22”. [500/800] Illustrated

198

204

Provincial Painted Bread Cabinet on Stand, in the French country style, with a fall-front door adorned with floral carving, gardening motifs and musical reliefs, the cabinet resting on a stand with an open shelf and turned legs, h. 35”, w. 40”, d. 17‑1/2”. [600/900] Illustrated

208

Unusual Metal Strapwork and Wire Basket, 19th century, Provence, France, heavily constructed with tapered sides set with wire, the upper border attached with “rose head” bolts, the hanging base with a twisted hook, h. 13‑1/2”, dia. 17‑3/4”. [800/900]

205

206

205

Pair of French Patinated Bronze Fountains, 20th century, in the form of ducks in opposing stances, h. 15‑1/2”, w. 15‑1/2”, d. 6‑3/4”. [600/900] Illustrated

206

Continental School (19th Century), “Chickens and Roosters”, oil on canvas, illegibly signed lower right, 27” x 40”. Unframed. [500/800] Illustrated

209

Industrial Design Wood and Cast and Wrought Iron Cart, ca. 1900, the top of laminated narrow boards, now finished, on a base with iron wheels and handle, h. 16‑3/4”, w. 43‑1/2”, d. 30‑1/2”, excluding handle. [400/700]

207

Pair of French Hand-Painted Creamware Chargers, ca. 1882, painted in the Impressionist style, one depicting chickens and the other turkeys, signed “C. Angelo, 1882”, dia. 15”. [450/700]

211

210

French Iron Work Table, first quarter 20th century, the rectangular top inset with cork writing surfaces, over a rouge polychrome cast iron base, the inner supports marked “Bouvot-Lyon”, h. 28”, w. 41”, d. 25”. [400/700] 204

211

French Hand-Woven Tapestry of Courtly Couples in a Park, 19th century, the vibrantly hued wool threads now backed in tan cotton, with an overall floral vine border, 47‑1/4” x 58‑1/2”. [300/500] Illustrated

213

Pair of Regence-Style Polychrome Fauteuils a la Reine, early 19th century, each with a tall padded rectangular back joined by downswept ribbed acanthine-carved arms to the padded seat, raised on shaped foliate-carved legs joined by a molded X-form stretcher and ending in ribbed feet on recessed casters, h. 47”. [600/900] Illustrated 213

216

214

212

Two French Holy Water Fonts, ca. 1900, one example composed of gilt-bronze on a velvet-lined back, h. 12‑1/4”, w. 7”, and the other composed of champleve enamel, inset with a porcelain miniature of Raphael’s Madonna della Sedia, mounted on an onyx back, h. 8”, w. 4‑1/2”, d. 1‑1/2”. [400-700]

French Carved Walnut Cigar Case, fourth quarter 19th century, the sides and cover decorated with stippling and incised leaves, the facade with applied carved leaves and vines, the interior fitted with three trays of molded cigar trays, h. 5‑1/2”, w. 9”, d. 8”. [400/700]

215

French Polychromed Mobilier Tall Case Clock, second quarter 19th century, the porcelain dial inscribed “Louis a Craou”, h. 91”, w. 20”, d. 9”. [450/700] Illustrated

216

Baroque-Style Brass, Tortoiseshell and Ebonized Wood Mirror, fourth quarter 19th century, Flemish or Dutch, the beveled mirror plate framed in brass, boldly molded with flowers, raised on bolection-form tortoiseshell trimmed with floral-molded brass, the pediment-form brass crest decorated with a molded masque, h. 33‑1/4”, w. 22‑1/2”. [500/800] Illustrated

217

Louis XIV-Style Fruitwood Fauteuil a la Reine, early 20th century, the slightly domed and padded rectangular back joined by acanthinecarved downswept arms to the padded seat, raised above a foliatecarved apron on cabriole legs ending in foliate scrolled toes, h. 46‑1/2”. [500/800] Illustrated

215

218

Continental Stained Fruitwood Box, fourth quarter 19th century, lushly carved with fruit, flowers and scrollwork, the lid interior carved with the name “Janine” and a flower, h. 6‑3/4”, w. 8‑1/2”, d. 5”. [500/800] Illustrated

219

French Provincial Oak and Fruitwood Bookcase/ Cupboard, late 19th century, in the Louis XV taste, the molded and rounded cornice above a case fitted with a bisected open section fitted for adjustable shelves, over a single long drawer, flanked to either side by a long tripaneled cupboard door, raised above a shaped apron on scrolled toes, h. 81”, w. 102”, d. 22‑1/2”. [500/800] Illustrated

223

220

French Provincial Walnut Panetiere, 18th century and later, with double doors and a scalloped skirt, h. 32‑3/4”, w. 63”, d. 17‑1/2”. [800/1200] Illustrated

223 French Hand-Woven Verdure Tapestry of Two Egrets in a Wooded Landscape, 19th century, the wool threads in various shades of green, yellow and ochre, now backed in cream linen, with a floral vine border, 43‑1/2” x 64”. [600/900] Illustrated

220 218

221

Suite of Four Regence-Style Fruitwood Sidechairs, each with a tall domed and padded back above a padded seat, raised on shaped and molded legs joined by an H-form stretcher and ending in foliate scroll feet, h. 45”. [300/500]

222

Provincial Louis XV-Style Mahogany Dining Table, fitted with draw leaves at each end, with a scalloped apron and cabriole legs, h. 32”, w. 39‑1/4”, l. 60‑3/4”, extended l. 87‑3/4”. [400/700]

224

Provincial Louis XV-Style Fruitwood and Marble-Top Console, the demi-lune marble top above a conforming carved and scalloped apron, raised on cabriole legs, h. 35‑1/4”, w. 24‑3/4”, d. 13‑1/4”. [400/700] Illustrated

225

French Provincial Fruitwood and Caned Corner Bergere, in the Louis XV style, the curved back above a cushioned serpentine seat, raised on cabriole legs, h. 35”, seat h. 21”. [300/500] Illustrated 219

225

226

French Provincial Fruitwood Armoire, mid19th century, the domed and molded cornice with projecting canted corners, above a conforming case fitted with a paneled frieze over two long doors, each inset with a shaped burled panel, over a shaped apron, raised on scrolled toes, h. 103”, w. 63”, d. 29”. [700/1000] Illustrated

228

Pair of Louis XV Walnut and Oak Fauteuils, late 18th century, each with a padded rounded back surmounted by a floral crest, joined by molded arms to the padded seat, raised above a floral-carved apron on cabriole legs ending in pointed toes, h. 35‑1/2”. [500/800] Illustrated

229

Louis XV Walnut and Oak Fauteuil, late 18th century, with a padded rounded back surmounted by a floral crest, joined by molded arms to the padded seat, raised above a floral-carved apron on cabriole legs ending in pointed toes, h. 35‑1/2”. [400/700] 224

230

Continental Neoclassical-Style Faux-Bois Stool, the padded top within a shaped frame, raised on cabriole legs ending in peg feet, h. 20”, w. 24‑1/2”, d. 17”. [300/500]

231

227

French Provincial-Style Stained Fruitwood Blanket Chest, the top with rounded corners and lifting to reveal a storage compartment, the case with three shaped panels, raised on carved feet, h. 17‑1/2”, w. 39”, d. 14”. [300/500]

Pair of Louis XV-Style Fruitwood and Upholstered Headboards, each with a floral-carved serpentine frame above a conforming padded back, h. 43”, w. 53”. [600/900]

228

232

French Provincial Faux-Bois Morbier Tall Case Clock, early 19th century, the porcelain dial signed “Bonhomme a Flers”, h. 87”, w. 21”, d. 91”. [800/1200]

233

Continental Fruitwood Stool, early 19th century, the rectangular padded needlework seat above a molded and shaped frieze, raised on bellflower-carved cabriole legs ending in pad feet, h. 17”, w. 21”, d. 17”. [300/500] 226

235

Provincial Louis XV-Style Fruitwood Chaise Longue, mid-19th century, the domed and padded back joined by shaped downswept and padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 38”, w. 31”, l. 82”. [700/1000] Illustrated

236

French Empire-Style Tole-Peinte Two-Light Bouillotte Lamp, second quarter 20th century, decorated in Chinese red and black, the oil lamp-style base set with two “candles” and a shade decorated with cornucopias of flowers, h. 22‑1/2”, w. 11”, d. 8‑3/4”. [300/500] Illustrated 235

234

Provincial Louis XV-Style Oak Secretary Cabinet, mid-19th century, the molded and rounded cornice above a case fitted with two paneled doors over a drop front, opening to a storage space and an inset leather writing surface, over two paneled cupboard doors, raised on scrolled toes, h. 90‑1/2”, w. 56”, d. 24”. [2000/4000] Illustrated

237

Continental School (19th Century), “Pilgrims en Route to Santiago de Compostela”, oil on canvas, unsigned, 18‑3/4” x 14‑3/4”. In an antique carved wood frame. [1000/1500] Illustrated

238

Provincial Louis XV-Style Pine Buffet a Deux Corps, mid19th century, the C-scroll-molded and domed cornice above a case fitted with a circular paneled frieze over two glazed doors, each with two glazed panels, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised above a shaped apron on scrolled toes, h. 93”, w. 52”, d. 20”. [1000/1500] Illustrated 234

239

Transitional Louis XV-into-Louis XVI-Style Mahogany Bergere Avec Orielles, late 19th century, the slightly domed and padded back joined by shaped and padded sides to the cushioned seat, raised above a shaped foliatecarved apron, on molded cabriole legs ending in foliate toes, h. 43‑1/2”. [600/900]

236

240

Heriz Runner, 2’ 7” x 12’. [400/700]

241

Turkish Angora Oushak Runner, 3’ 3” x 29’. [700/1000] Illustrated

242

Group of Two Baluchi Carpets, 3’ 7” x 5’ 11” and 3’ 1” x 5’. [300/500]

238 241

244

246

243

Antique Malayer Carpet, 3’ 8” x 5’ 8”. [500/800]

244

Mahal Carpet, 7’ 8” x 10’. [700/1000] Illustrated

245

Turkish Angora Oushak Carpet, 6’ 3” x 9’. [500/800]

246

Semi-Antique Agra Carpet, 9’ 8” x 13’ 2”. [500/800] Illustrated

247

Peshawar Sultanabad Carpet, 11’ 10” x 16’ 7”. [500/800]

248

Turkish Angora Oushak Carpet, 8’ 10” x 12’. [1200/1800] Illustrated

249

Pair of Chinese Porcelain Ginger Jars, probably Republic period (1912‑1949), each decorated with a scene of a court lady and her handmaiden in a garden, the reverses inscribed, each with a carved wooden stand, vase, h. 8”, dia. 8”. [400/700] Illustrated

250

Chinese Rose Medallion Vase on Stand, 20th century, the large baluster-form vase with heavy gilding and reserves depicting imperial court scenes, displayed on a wooden stand, vase, h. 36‑1/2”, overall, h. 46‑1/2”, dia. 16”. [300/500] Illustrated

248

251

249 Three Chinese Famille Rose Porcelain Vases, 20th century, one decorated with arrangements of flowers, one with beautiful ladies in a garden and the third with playing children, h. 11” to 13‑1/4”, dia. 5” to 9‑1/2”. [300/500]

255

Chinese Hand-Painted Porcelain Garniture Vase, first quarter 20th century, presented on a wooden stand, vase, h. 22‑1/4”, overall, h. 30‑1/4”. [200/400]

256

Chinese Porcelain Jardiniere, 20th century, decorated in enamel over a blue ground with brightly colored birds and peony and prunus blossoms, h. 11‑3/4”, dia. 14‑1/4”. [400/700]

252

Monumental Chinese Palace Vase, 20th century, the baluster-form vase with a long neck and flared lip, in a famille rose palette with reserves depicting scenes of the imperial court, h. 61‑1/2”, dia. 18”. [500/800]

253

Large Chinese Porcelain Fishbowl, 20th century, re-purposed with a round glass top as a coffee table, the bowl enameled with a motif of floral scrolls at the rim, fish and aquatic flora inside and a depiction of a lotus pond on the exterior, unmarked, h. 16‑3/4”, dia. 19”. [200/400]

254

Chinese Export Porcelain Punch Bowl, with a moth decoration on a turquoise ground, h. 4‑3/4”, dia. 10”. [300/500] Illustrated

254

257

Chinese Porcelain Fishbowl, Republic period (1912‑1949), the vessel with famille rose reserves depicting peacocks in lush garden settings, the interior painted with fish and aquatic plants, h. 13‑1/2”, dia. 15‑1/2”. [300/500]

258

Chinese Porcelain Floor Vase, 20th century, the balusterform vase with gilded handles, enameled in a famille rose palette on a blue ground, the reserves depicting sages and court officials, h. 54”, w. 18‑1/2”. [500/800]

259

Pair of Large Chinese Porcelain Vases, 20th century, the bottle-form vases with reserve panels of flowers in famille rose enamels on a lime green ground with stylized lotus scrolls, h. 25”. [500/800] Illustrated

250

259

265

260

Chinese Famille Noir Vase, with a motif of children, gourds and butterflies, with applied branches, blossoms and peaches in high relief, stamped with a red Guangxu reign (1875‑1908) mark on the underside, h. 15‑1/4”, w. 14”. [300/500]

Pair of Chinese Porcelain Vases on Stands, 19th century, the two balusterform vases with sang de boeuf glaze, each with a pierced and carved wooden stand, vase, h. 9”, dia. 3‑1/2”. [400/700] Illustrated

266

261

261 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] Illustrated

Two Chinese Porcelain Water Pots, 19th century, consisting of a deep 267 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”. [800/1200] Illustrated

267

Chinese Celadon Vase, late Qing Dynasty, Guangxu or Tongzhi reign (1862‑1908), the vase in the Ming style with a craquelure celadon glaze, decorated with a motif of floral sprays, the underside unmarked, h. 7”, w. 3‑1/4”. [400/700] Illustrated

268

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 266

262

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”. [500/800]

263

Set of Four Doucai Wine Cups, late Qing Dynasty (1644‑1911), decorated in the doucai style with green, yellow and red overglaze and underglaze blue, covered with a motif of floral sprays, the underside marked “Horseshoe Kiln”, h. 2”, dia. 2‑1/2”. [300/500]

264

Red Pottery Faux Cinnabar Vase, 20th century, h. 30”, dia. 9”. [300/500]

265

271

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”. [200/400]

272 268

269

Chinese Porcelain Jar, 20th century, the thickly potted blue and white vessel with dragon handles, inscribed across the front, the underside unglazed and unmarked, h. 17”, dia. 13”. [300/500]

270

Pair of Chinese Blue and White Porcelain Plaques, early Republican period (1912‑1949), the two three-part panels each depicting a sage and student in a garden setting, each inscribed with three lines, framed and fitted for hanging, h. 26‑1/2”, w. 11‑1/4”. [400/700] Illustrated

After Zhang Xiong (1803‑1886), “Boating Along a Mountain River”, ink and color on silk, inscription upper right including artist’s name and a red seal, 31‑1/2” x 12”. Matted and unframed. [300/500] Illustrated

273

Chinese School (19th/20th Century), 272 “Sage Beneath a Pine Tree”, ink and color on paper fan-shaped painting, inscribed “written by Dong Renqin” and marked with seal upper right, 9‑1/2” x 20‑1/3”. Framed. [300/500]

274

Chinese School (19th/20th Century), a pair of ink and color fan-shaped paintings of plants and flowers, one inscribed seal upper left, 9” x 19” and 9‑1/4” x 19‑3/4”. Both mounted and framed. [400/700] Illustrated

270

275

Korean School (20th Century), “Spring Landscape”, ink and color on paper, vertical scroll, cut and mounted in frame, 38‑1/8” x 13”. [400/700] Illustrated

276

Chinese Export School (19th Century), “Two Genre Scenes”, a pair of watercolors on pith paper, unsigned, each sight 7” x 11‑3/4”. Glazed, matted and framed alike. [400/700] Illustrated

280

Giuseppe Rossi (Italian, b. 1876), “The Breakers”, oil on canvas, signed lower right, 23‑1/2” x 47”. Framed. [400/700] Illustrated

281

277

George III-Style Mahogany Side Table, early 20th century, the rectangular top with a molded blind fret-carved edge, over a conforming like-carved frieze, raised on cabriole legs headed by scrolling foliate carving and ending in ball-and-claw feet, h. 30”, w. 42”, d. 22‑1/2”. [700/1000]

278

English Carved Mahogany Library Chair, first quarter 20th century, in the Georgian style, with a pierced skirt and fretcarved legs, h. 39”. [250/400] Illustrated

279

Chippendale-Style Oak Desk, the rectangular top inset with tooled leather writing surfaces, above a central drawer flanked to both sides by a bank of two short drawers, raised on cabriole legs ending in ball-and-claw feet, the interior of one drawer marked “Hekman, Grand Rapids, MI”, h. 30”, w. 57”, d. 28”. [300/500] Illustrated

Charles Drew Cahoon (American/ Massachusetts, 1861‑1951), “Crashing of the Waves, Cape Cod”, oil on canvas, signed lower right, 14” x 21”. Handsomely framed. [900/1200]

282

George III Mahogany Candle Stand, late 18th century and later, the piecrust top raised on a foliatecarved baluster 275 standard to three pierced and splayed legs ending in scrolled toes, the underside bearing the label “Frank Partridge Works of Art, 26 King St., St. James & New York”, h. 25”, dia. 19”. [700/1000]

278 276 one of two

283

280

284

Suite of Eleven George III-Style Mahogany Dining Chairs, in the Chippendale taste, consisting of two armchairs and nine sidechairs, each with a shaped crest above an interlacing pierced foliate-carved splat, the padded seat raised on cabriole legs ending in ball-and-claw feet, h. 40”. [1500/2500] Illustrated

285

William IV Mahogany-Veneered Tallcase Clock, first quarter 19th century, with rope-turned quarter columns and a leaf-carved swan’s-neck pediment, h. 94‑3/4”, w. 22”, d. 10”. [500/800] 284

283

George III-Style Mahogany Double-Pedestal Banquet Table, the figured and banded top raised on a pair of tripodal pedestals, each with a carved vasiform column on cabriole legs with balland-claw feet, including two 22” leaves, h. 30”, w. 48”, l. 74”, extended l. 118”. [800/1200] Illustrated

279

286

George III Mahogany Tripod Table, 18th century, the circular tilting top with a dished edge and raised on a baluster-form standard to three splayed legs headed by foliate carving and ending in pad feet, h. 29”, dia. 35”. [1000/1500] Illustrated

286

287

Georgian-Style Mahogany Veneer and Parcel-Gilt Mirror, first quarter 20th century, the mahogany veneer frame trimmed with gilt scrollwork and a cabochon-form crest, h. 48‑3/4”, w. 29”. [700/1000] Illustrated

287 288

290

Pair of Chinese Rose Medallion Vases, Qing Dynasty (1644‑1911), now mounted as lamps, the baluster-form vases with reserves depicting court scenes and bird and flower arrangements, vase, h. 13‑3/4”, overall, h. 30”, w. 7”. [300/500] Illustrated

288

George II Line-Strung Walnut and Oak Dressing Table, 18th century, with a shallow drawer flanked by deeper drawers, raised on cabriole legs with pad feet, h. 28‑1/2”, w. 32‑1/2”, d. 19”. [400/700] Illustrated

289

Queen Anne Walnut Cabinet-on-Stand, late 18th century and later, the molded and domed cornice above two glazed cupboard doors over two small drawers, the lower section with turreted corners and fitted with a single long drawer, raised on cabriole legs ending in pad feet, h. 62”, w. 30”, d. 18”. [500/800] Illustrated 289

291

Georgian-Style Mahogany-Stained Desk, the shaped and faux-banded top above a conforming frieze fitted with a central drawer flanked on both sides by a bank of two short 290 drawers, raised on cabriole legs ending in paw feet, h. 30”, w. 57”, d. 33‑1/2”. [300/500] Illustrated

292

Suite of Eight George II-Style Mahogany Dining Chairs, late 19th century, consisting of two armchairs and six sidechairs, all with shaped foliate-carved crests above a pierced splat, the over-upholstered seat raised on cabriole legs headed by foliate carving and ending in pad feet, the seats upholstered in “Verdure” tapestry fabric, h. 39”. Provenance: Fetzer’s Interiors and Antiques, Baton Rouge, Louisiana. [1400/1800] Illustrated

297

294

Cut Crystal, Brass and Marble Table Lamp, 20th century, probably Waterford, mounted with a shade, h. 34‑1/2”, w. 19”, d. 19”. [300/500]

295

Two Cut and Molded Crystal Vases, including a vasiform example, h. 12”, dia. 6‑1/4”, and a cylindrical example, h. 9‑3/4”, dia. 9‑3/4”. [300/500]

296

Partial Service of Waterford-Style Molded Crystal Glassware, including four highball glasses, h. 5‑1/2”, thirteen white wine glasses, h. 7‑1/2”, twenty-three Old Fashioned glasses, h. 3‑3/4”, seven red wine glasses, h. 7”, and eight brandy snifters in a similar pattern, h. 5‑1/4”. [300/500]

297

Partial Service of Waterford “Lismore” Stemware, 20th century, Irish, including twelve water goblets, h. 7”, eight champagne flutes, h. 7‑1/4”, twelve white wine glasses, h. 5‑1/2”, twelve claret wine glasses, h. 5‑3/4”, and six port glasses, h. 4‑1/4”. [400/700] Illustrated

291

293

Queen Anne-Style Mahogany Silver Table, 19th century, the rounded rectangular top with a dished edge, above a frieze fitted to each end with a candle slide over a drawer, raised on cabriole legs ending in pointed toes on pegs, h. 29”, w. 30‑1/2”, d. 19‑1/4”. [1000/1500] Illustrated

292

293

301

298

Assortment of Crystal and Glass Champagne Flutes, including four marked Waterford flared flutes, three tulip-form crystal flutes, and eight molded glass flutes in palmette and diamond patterns, h. 7‑3/4” to 9‑1/4”. [200/400]

Pair of Chinese Mille Fleur Vases, 20th century, now mounted as lamps with carved wooden bases, vase, h. 18”, overall, h. 39‑1/2”, w. 8”. [400/700] Illustrated

302

299

301 Regency-Style Mahogany Dining Table, the rounded rectangular top with a reeded edge and raised on two pedestals, each with a ringturned graduated standard to three splayed legs ending in brass caps and casters, h. 29”, w. 42”, l. 66”, extended l. 83‑1/2”. [600/900]

300

George III Mahogany Games Table, fourth quarter 18th century, the hinged rectangular top with a serpentine front opening to a larger surface, above a conforming frieze with a rope-twist edge, raised on chamfered square legs, h. 28‑1/2”, w. 36”, d. 18”. [400/700]

Georgian-Style Mahogany Serpentine Sideboard, the top and drawer fronts inset with tooled leather, h. 35”, w. 62‑1/2”, d. 20”. [350/500] Illustrated

303

Pair of George III Mahogany Sidechairs, fourth quarter 18th century, each with an earred and foliatecarved crest above a pierced splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 37”. [400/700]

306

302

304

308

304

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”. [400/700] Illustrated

308

George III-Style Mahogany Linen Press in the Hepplewhite Taste, mid-19th century, in two parts, the upper section with a pair of paneled doors and molded cornice, the base with two over three drawers on splayed feet, h. 83”, w. 48”, d. 22”. [1000/1500] Illustrated

305

George III-Style Mahogany Pembroke Table, early 20th century, the rectangular top banded and with bowed ends, and with two shaped banded leaves, above a frieze fitted with a drawer to 307 each end, raised on tapering square legs, the whole accented with satinwood stringing, h. 28‑1/4”, w. 19‑1/4”, d. 29‑1/2”, extended l. 39‑1/4”. [300/500]

306

Franco-Japanese Metal and Porcelain Floor Lamp, fourth quarter 19th century, the scrolled metal feet supporting the Japanese vase decorated in the Imari palette with a willow tree and peonies, fitted with a scroll-decorated metal cap and an adjustable lamp standard set with two sockets, h. 54”, dia. 15‑1/2”. [600/900] Illustrated

307

Unusual Japanese Porcelain and Wood Table Lamp, second quarter 20th century, composed of various blue, white and tan rice bowls, tea cups, wine cups and covers, with turned wood fittings, base, h. 17‑1/2”, overall, h. 29‑1/2”, dia. 4‑1/2”. [400/700] Illustrated

311

309

English Mahogany Rococo-Style Shaving Stand, mid-19th century, together with a 19th-century shaving strap, stand, h. 68‑1/2”, dia. 21”. [300/500]

310

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 312 uprights, both opening to a void interior, raised on paw feet, h. 36‑1/2”, w. 24”, d. 26”. [200/400] Illustrated

311

Continental School (First Quarter 20th Century), “Pulling Away from the Shore”, oil on canvas, illegibly signed lower right, 22” x 29”. Framed. [400/700] Illustrated

312

English Hepplewhite Inlaid Mahogany Wheel Barometer, ca. 1800, the dial signed “J. Giobbi, Stockport”, h. 39”, w. 10‑1/4”. [300/500] Illustrated 310

313

320

314

Baker Regency-Style Mahogany Side Table, the rounded rectangular top above a conforming paneled frieze fitted with a single drawer, raised on lyre-form end supports joined by a shaped finial-centered stretcher and ending in splayed legs to upturned toes on casters, the underside bearing the label “Baker Furniture”, h. 29‑1/4”, w. 42”, d. 21‑1/2”. [300/500]

Rare Agate, Sterling Silver and Malacca Tippler’s Walking Stick, first quarter 20th century, the finial comprising a single piece of banded agate, bored and polished to form a receptacle 315 for a small flask (now lacking), fitted with a sterling silver ferrule and hinged cap inset with agate, the malacca shaft unscrewing into five sections, with horn tip, l. 38”. [600/900]

315

321

Benson and Hedges George V Inlaid Mahogany Humidor, first quarter 20th century, in the Hepplewhite style, the mahogany-veneered humidor inlaid with paterae and bellflower swags in cut-corner panels, the interior tinlined and labeled, h. 10‑3/4”, w. 16‑1/2”, d. 12‑3/4”. [300/500]

Pair of Chinese Export-Style Armorial Ginger Jars, ca. 1900, decorated in the famille rose palette, attributed to Edme Samson, Paris, now mounted as lamps with shades, base, h. 11”, overall, h. 24”, dia. 14”. [300/500] Illustrated

Continental Fruitwood Fold-Over Desk, the top opening to reveal a tooled leather writing surface and a variety of cubbyholes, raised on tapering square legs joined by a shaped stretcher and ending in peg feet, h. 31”, w. 28”, d. 17”. [300/500]

322

English Oak Desk Chair, late 19th century, the padded and rounded crest raised on fluted scrolling uprights, the padded seat raised on fluted, turned and tapering circular legs ending in toupie feet, upholstered in cognac leather, h. 33”. [400/700] Illustrated 322

316

Chinese Export Famille Rose Armorial Sauceboat, late 18th century, in a famille rose palette with gilded rim and chain link pattern along the interior rim, h. 3‑3/4”, w. 4‑1/8”, d. 2‑1/2”, l. 8‑3/5”. [400/700]

317

Chinese Export Porcelain Platter, 19th century, with a blue border and a draped shield center ornament with initials, w. 11‑1/2”, l. 14‑1/4”. [600/900]

318

George III-Style Mahogany Gainsborough Chair, late 19th century, the padded rectangular back joined by like arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher, h. 38”. [400/700]

319

Pair of English Staffordshire Whippet-Form Pen Holders, third quarter 19th century, the gilt-trimmed cobalt bases molded with a pen aperture, h. 5‑1/4”, w. 7‑1/4”, d. 2”. [200/400] 324

323

George III Mahogany Three-Drawer Side Chest, late 18th century, h. 30‑1/2”, w. 22”, d. 22”. [500/800]

324

George III-Style Mahogany Secretary Bookcase, mid19th century, the molded cornice above two astragalglazed doors, the lower section fitted with a drop-front secretary drawer opening to an inset leather writing surface and a variety of drawers and cubbyholes, over three graduated long drawers, raised on bracket feet, h. 85‑1/2”, w. 43‑1/4”, d. 23”. [700/1000] Illustrated

325

American School (20th Century), “Equestrians on Horseback”, a pair of oils on canvas, unsigned, both 12” x 16”. Both framed. [400/700] Illustrated

326

Group of Three British Hand-Colored Engravings of Racing Scenes, 19th century, including “The Winner of the Derby Race”, The Coming In”, and “Newmarket Races”, after James Pollard (British, 1792‑1867), one sight 19” x 14”, the others sight 15” x 12‑1/2”. All attractively matted, glazed and framed alike. [400/700] Illustrated 325

327

French Hand-Colored Engraving of “Inauguration des Courses du bois de Boulogne”, from Le Monde Illustre, n. 3, 2 May 1857, after G. Guerinot Andrieux (French, 19th Century), sight 7‑3/4” x 12‑1/4”. Glazed, matted and framed. [300/500] Illustrated

328

Pair of Cast Iron Wall-Mounted Horse Heads, 20th century, with rounded rectangular backplates, h. 29‑1/4”, w. 14‑1/4”, d. 21‑1/4”. [800/1200]

329

English Cast Iron Seated Spaniel Door Porter, third quarter 19th century, now mounted as a lamp, base, h. 15‑1/2”, overall, h. 25‑1/2”, w. 10”, d. 4‑3/4”. [400/700] Illustrated

326 one of three

329

327

330

George III Banded Mahogany and Oak Tall Case Clock, early 19th century, the hood with a broken-arch pediment and brass steeple finial, h. 97”, w. 24”, d. 10”. [600/900] Illustrated

331

333

George III-Style Mahogany Breakfast Table, late 19th century, the tilting rectangular top with a reeded edge and supported by a columnar standard to four fluted splayed legs ending in brass caps and casters, h. 29‑1/2”, w. 39‑1/2”, l. 62”. [500/800] Illustrated

George III-Style Mahogany Sideboard, 19th century and later, the serpentine top with an inlaid decorative banding, above a conforming case fitted with a central cutlery drawer flanked to one side by a single cupboard and to the other by a deep drawer, raised on tapering square legs ending in spade feet, h. 37‑1/2”, w. 72”, d. 25‑1/2”. [1500/2500] Illustrated

332

Pair of Georgian-Style Carved Mahogany Armchairs, first quarter 20th century, with tapestry seat covers, h. 38‑1/2”. [400/700] Illustrated

332

334

Regency Mahogany and Satinwood Scroll-Arm Settee, mid-19th century, the classical-form settee with a tablet crest and sleigh-shaped frame, all fronted by ribbon satinwood veneers in mahogany, each scroll arm ending in a veneered blooming floral motif, above saber legs terminating in cast brass furry lion paw feet on casters, h. 32‑1/2”, w. 55”, d. 22‑1/4”. [400/700] Illustrated

335

George III Mahogany Secretary Bookcase, fourth quarter 18th century, the broken swan’s neck pediment above a fluted and dentillated frieze above two astragal-glazed doors, the lower section fitted with a drop-front drawer, opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central banded cupboard, over two paneled cupboard doors, raised on block feet, h. 98”, w. 45‑1/2”, d. 24‑1/2”. [1500/2500] Illustrated

330

331

336

Colonial Revival Mahogany Four-Post Bed, 20th century, the headboard with a swan’s neck pediment, and finialed and turned baluster posts carved with be-ribboned swags and sheaves of wheat, h. 80‑1/2”, inside, w. 60‑1/2”, l. 82”, outside, w. 65‑1/2”, l. 88‑1/2”. [300/500]

334

337

337 Chinese Carved Fluorite Vase, 20th century, lidded and mounted as a lamp with brass fittings and a silk shade, base, h. 18‑1/2”, overall, h. 32”, w. 7‑1/2”. [300/500] Illustrated

338

Pair of English Brass Andirons, first quarter 20th century, the baluster-form andirons with finials and raised on scrolled legs with ball feet, h. 25‑1/2”, w. 12”, d. 27”. [500/800] Illustrated

339

Collection of Brass and Steel Fire Tools in Various Styles, fourth quarter 19th century, including two pairs of tongs, a poker and two shovels, with a brass tool holder, h. 33‑3/4”, dia. 8‑1/4”. [500/800]

338

335

333

340

Pair of Regency-Style Mahogany and Leather Tub Chairs, each with a curved, caned back and arms above a padded seat, raised on tapering square legs, h. 31”, w. 26”, d. 20”. [300/500] Illustrated

341

British School (19th Century), “Thatched Cottages and Figures”, oil on canvas, unsigned, 16” x 21‑1/2”. Presented in a giltwood and gesso frame. [400/700] Illustrated

342

British School (Fourth Quarter 19th Century), “Hay Time, Essex”, oil on canvas, monogrammed with conjoined “EL” lower right, 14” x 20”. Presented in a period giltwood and gesso frame. [300/500] 341

347

Chinese Export Rose Mandarin Helmet-Form Cream Jug, second quarter 19th century, the interior border handsomely decorated with birds and butterflies, h. 4”, w. 6‑1/2”. [300/500]

340

343

British School (Fourth Quarter 19th Century), “Cattle in a Field Overlooking a Coastal Village”, oil on canvas, unsigned, 13‑1/2” x 17”. Framed. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [300/500]

344

George Thompson Pritchard (British, 1879‑1962), “Village by the River”, watercolor on paper, signed lower right, sight 13” x 19”. Framed. [200/400]

345

Walter Boodle (British, 1859‑1914), “The Silver Birches”, oil on canvas, signed lower left, sight 24” x 13‑3/4”. Framed. [600/900] Illustrated

346

Victorian Polychrome Papier-Mache Tray, third quarter 19th century, the rounded rectangular tray with a full raised edge and decorated in foliate and butterfly patterns, now raised on a stand of tapering square splayed legs, h. 20‑1/4”, w. 29‑1/2”, d. 22”. [300/500] 345

348

Unusual Chinese Export Famille Verte Barrel-Form Tankard, fourth quarter 18th century, with twisted handles and decorated with medallions of gilt sprigging, h. 6‑1/4”, dia. 4‑3/4”. [400/700] Illustrated

349

Pair of Sino-French Carcel Lamps, third quarter 19th century, the Chinese export rose mandarin vases now mounted with French bronze fittings, electrified, base, h. 14”, overall, h. 23‑1/2”, w. 5‑3/4”. [300/500] Illustrated

350

Suite of Six Georgian Polychrome Armchairs in the Sheraton taste, comprised of one period chair, ca. 1790, and five bench-made copies, each with a floralpainted crest above a double X-form splat, joined by downswept arms on baluster348 form uprights to the cushioned seat, raised on tapering circular legs ending in toupie feet, h. 35”. [1000/1500] Illustrated

352

Pair of Edwardian Painted Fruitwood Mirrors in the Adam Taste, first quarter 20th century, the arched tops with crests painted with flowers and pierced ribbons, h. 35‑1/4”, w. 20”. [300/500] Illustrated

352

351

Edwardian Satinwood Tiered Table, early 20th century, the oval top tier centered by a polychrome oval medallion of classical ladies, joined by downswept supports to the like-shaped lower tier, centered by a floral spray, raised on slender tapering square legs joined by an H-form stretcher, h. 30‑1/2”, w. 35”, d. 22”. [800/1200] Illustrated

349

351

353

Hepplewhite-Style Mahogany Triple Seat, mid-20th century, with Prince-of-Wales feathers on the back splat, h. 36”, w. 53‑1/2”, d. 18”. [300/500]

354

Pair of MeissenStyle Porcelain Potpourri Urns with Covers, 20th century, decorated with flowers and a Greek-key border, retailed by Chelsea House, h. 17”, w. 8‑3/4”. [500/800] Illustrated

354

355

Pair of Bavarian Pierced Porcelain Tazzas, first quarter 20th century, decorated with flowers, marked by Schumann, Arzberg, Bavaria, 1881‑1991, h. 4‑1/2”, dia. 7‑1/2”. [300/500]

356

Pair of Edwardian Satinwood Pedestal Cabinets, each with a rectangular top with projecting front corners, over a case fitted with a drawer over a cupboard door, flanked by columnar pilasters, ending in turned feet, h. 43”, w. 16‑1/2”, d. 13”. [400/700] Illustrated

357

George III Mahogany Side Table, early 19th century, the rectangular top above a dentillated frieze centered by a swag-carved drawer, raised on fluted tapering square legs ending in block feet, h. 30‑1/2”, w. 60”, d. 23‑1/2”. [800/1200] Illustrated

359

358

Regency-Style Mahogany Banquet Table, second half 19th century, the reeded top supported by turned columns on reeded saber legs, ending in bass paw cup casters, the top opening at the center to accommodate leaves, each end with additional fold-down legs, accompanied by a contemporaneous rack with eight 12” wide leaves, h. 28”, w. 45”, l. 55‑3/4”, extended l. 163”. [700/1000]

357

356

360

359

364

Adam-Style Tapered Giltwood Mirror, with a reeded urn finial and pierced and scrolled crest, h. 50”, w. 33‑1/2”. [400/700] Illustrated

360

Regency Papier-Mache Tray on Stand, first quarter 19th century and later, the ovoid tray with a full raised edge and elaborately patterned gilt border, raised on a later ebonized faux bamboo stand with gilt accents, h. 22”, w. 31‑1/2”, d. 23‑1/2”. [400/700] Illustrated

361

Chinese Export-Style Porcelain PistolHandled Urn, made by Mottahedeh, Portugese, 20th century, decorated with an American eagle in the partiotic manner, now mounted as a lamp, h. 17‑3/4”, w. 9‑1/4”, d. 6‑1/2”. [300/500] Illustrated

365

German Sterling Silver and Enamel Box, first quarter 20th century, by Martin Maier, Mainz, the hexagonal-form box with a hinged lid, and a rose border centering a floral bouquet, h. 1‑7/8”, w. 3‑1/8”, d. 2‑1/2”. [400/700]

366

Enameled Bronze Blackamoor Lamp, the figure depicted in a green vest and red turban, and holding a torch set with an electric lamp socket, above a circular base, mounted with a striped, fringed shade, h. 40”, w. 13”. [400/700]

361

362

Baronial-Style Brass-Clad Wooden Umbrella Stand, first quarter 20th century, probably English, the tapered stand decorated with raised shields and raised on paw feet, h. 24‑1/2”, w. 15”, d. 15”. [500/800] Illustrated

363

George III Mahogany Tall Case Clock, ca. 1800, with a swan’s-neck pediment with brass rosettes and an eagle finial, the painted face featuring a cottage and river, time and strike movement with calendar hand, h. 87”, w. 21”, d. 11”. [700/1000] Illustrated

364

Three Pairs of Glass Vases, including a pair of trumpet-form vases engraved with flowers and trailing leaves, h. 16‑3/4”, dia. 8‑3/4”, a pair with engraved decoration, h. 14‑1/2”, dia. 9”, and a pair with stepped bases and cut ribs, h. 11‑1/4”, w. 6‑1/2”, d. 6‑1/2”. [450/700] Illustrated

363 362

367

Continental School (First Quarter 20th Century), “Portrait of a Turbaned Scholar”, watercolor and gouache on paper, unsigned, sight 11‑1/2” x 7‑1/4”. Matted, glazed and framed. [400/700] Illustrated

370

Anglo-Indian Bone-Inlaid Sidechair, the Regency-style chair with vine and floral bone inlay on a dark ground, the crest rail terminating in rams’ heads, upholstered in black velvet, h. 35”. [500/800] Illustrated

371

Anglo-Colonial Tea Caddy, fourth quarter 19th century, composed of tropical hardwood, bone and glass, with ebony trim and decorated with strapwork lozenges and glass bosses, the interior divided into two foil-lined compartments, h. 6”, w. 12‑3/4”, d. 7‑1/4”. [300/500]

372

Russian Silver and Enamel Plate, decorated in repeating floral and quatrefoil patterns, stamped indistinctly on the reverse, dia. 4‑3/4”. [300/500] Illustrated

373

Russian Enamel, Glass and Gilt-Metal Covered Bowl, h. 5”, dia. 7‑1/2”, together with a closely related box with a hinged cover, h. 1‑1/4”, w. 5‑1/2”, d. 5‑1/2” (two total pieces). [1000/1500] Illustrated

374

367

368

Bronze, Glass and Bamboo Table in the Chinese Taste, composed of a pair of patinated bronze mandarin figures holding bamboo stalks supporting the glass top, h. 35”, w. 68‑1/2”, d. 13‑3/4”. [1000/1500] Illustrated

Russian Enamel and Gilt-Metal Tea Service, comprised of six teacups with engraved glass inserts, h. 3”, dia. 2‑1/4”, a covered sugar bowl, h. 3”, dia. 4”, sugar tongs, l. 5”, six spoons, l. 3‑3/4”, and a tray, w. 10”, l. 13‑3/4”. [2500/4000] Illustrated 370

369

Anglo-Indian Bone-Inlaid Four-Drawer Chest, with vine and floral bone inlay on a dark ground, the four drawers with floral-shaped bone-covered knobs, h. 30”, w. 39‑1/2”, d. 16”. [700/1000] Illustrated

368

369

376

Continental Box with Complex Parquetry Work Cover, inlaid with contrasting optical inlays, the interior with fabric-lined compartments, h. 4‑1/4”, w. 18”, d. 12”. [600/900]

377

North African-Inspired Hardwood Cocktail Table, 20th century, the circular top with a central inlaid starburst pattern surrounded by scrolling foliate and geometric bands, raised on bulbous legs to peg feet, h. 12”, dia. 38‑1/2”. [800/1200] Illustrated

372

375

French Orientalist-Style Champleve Enamel and GiltBronze Inkwell, with a crenellated and everted rim tray surmounted by two domed inkpots on stem feet and a quill holder for two, decorated with arabesque scrolls and flowers, h. 3‑3/4”, w. 9‑3/4”, d. 6‑3/4”. [400/700] 377 373

378

Pair of Anglo-Colonial Argente Metal-Clad Armchairs, early 20th century, of Regency form, each with a curved crest rail terminating in ram’s heads, joined by downswept arms to the padded seat, raised on sabre legs, the whole with intricate incised floral and foliate patterns, h. 36”. [700/1000]

379

“Gladius” Sword, a Roman Legionnaire Gladius-style dagger, l. 19‑1/2”. [500/800] Illustrated 374

384

Japanese Export Bamboo and Lacquer Magazine Stand, first quarter 20th century, h. 32‑1/2”, w. 16”, d. 11‑3/4”. [400/700] Illustrated

380

Indian Brass-Decorated Wooden Coffer, with a brassbound hinged cover, the top, sides and front decorated with a brass grid, set with peacocks, brass bosses and a tree on the facade, h. 14‑1/2”, w. 19‑1/2”, d. 11‑1/2”. [300/500] Illustrated

387

381

Indian Brass-Bound Rosewood Coffer, with the front laid out in a brass grid decorated with peacocks, brass bosses and pierced strapwork, the lower section fitted with three drawers, the top decorated with brass bosses, h. 11‑1/2”, w. 18”, d. 14‑1/4”. [300/500] Illustrated

385

Franco-Japonesque Bamboo and Lacquer Work Table, ca. 1900, the top and shelf decorated with birds and butterflies, the top opening to reveal a lined compartment, h. 30”, w. 17‑1/2”, d. 10‑1/2”. [400/700]

382

Indian Gilt-Brass Figure of a Dancing Parvati, 20th century, on a double lotus base, unmarked, h. 14‑1/2”, w. 7‑1/2”. [300/500]

383

South Asian Polychrome Carved Wood Architectural Frieze, 19th century, with depictions of various Hindu gods and minor deities, h. 11”, w. 53‑7/8”. [400/700]

381

384

391

386 388

Japanese Export Bamboo and Lacquer Occasional Table, first quarter 20th century, the rectangular top decorated with the “birds amongst flowering branches” motif, above a galleried shelf, raised on splayed feet joined by an X-form stretcher, h. 39”, w. 24”, d. 16”. [400/700]

387

Continental School (20th Century), “Arab Horsemen”, oil on canvas, signed lower right “Bofsky”, 25” x 30”. Presented in a handsome giltwood and gesso frame. [500/800] Illustrated

388

Continental School (First Quarter 20th Century), “North African Man with Pipe”, oil on canvas, signed and dated upper right “M. Correa, 1902”, 28” x 19‑1/2”. Framed. [1200/1800] Illustrated

389

Luigi Fabron (Italian, 1855‑1905), “Bashi Bazouk”, oil on board, 13‑1/2” x 8‑1/4”, signed lower right. Presented in an exhibition frame. [400/700] Illustrated

390

Leon Vuilleminot Erpikum (French, 19th Century), “Portrait of a Neapolitan Girl”, oil on canvas, signed and dated lower right, 12” x 10”. In a giltwood frame. [500/800]

391

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”. [400/700] Illustrated 389

392

German School (Fourth Quarter 18th/First Quarter 19th Century), “The Card Players”, oil on canvas now laid down on wood panel, unsigned, old handwritten inscription in German en verso, 10‑1/4” x 12”. In an antique carved and polychromed wood frame. [500/800] Illustrated

393

392

393

Filipino Carved Wooden Santos Figure of an Angelica, fourth quarter 19th century, depicted holding a scroll, formerly fitted with wings, h. 24”, w. 8‑1/2”, d. 6‑1/2”. [600/900] Illustrated

395

394

Macedonian Icon of The Madonna and Child, on a cradled wood panel, bearing an inscription in Cyrillic on the reverse and dated “1886”, 21” x 15”. Framed. [500/800]

401

400

Group of Four Brass Objects, 19th/20th century, including an English brass water jug, signed “J. Giguel Grasville”, h. 13”, dia. 11”, a Regency pierced coal hod, h. 12”, w. 14‑1/2”, an Italian copper and brass cooking pot, marked “Ruffoni, Italy”, h. 7‑1/2”, dia. 9‑3/4”, and an American five-piece fireplace set, h. 29”, w. 7‑1/4”. [300/500]

398

396

395

Spanish Colonial Iron-Bound Walnut Box, 18th century, of rectangular form, the box with strapwork and decorative corner and escutcheon mounts, raised on a later metal stand, h. 24”, w. 15”, d. 10”. [500/800] Illustrated

396

Continental School (18th Century), “Horseman Preparing for Battle”, 51” x 34”. Framed. [1000/1500] Illustrated

397

After Titian (Italian, ca. 1488/1490‑1576), “Young Girl Holding Fruit Tray”, oil on canvas, unsigned, 25” x 20”. Presented in a carved giltwood frame. [300/500]

398

Flemish Baroque-Style Pressed Brass and Mirrored Brush Cabinet, with a pair of matching brushes hanging in the brass-lined interior, h. 25”, w. 13‑1/2”, d. 3‑1/2”. [300/500] Illustrated

402

401

Spanish Colonial Walnut and Oak Vargueno, 17th/18th century, of rectangular form, the front paneled and with two heraldic carvings flanking a shield-form escutcheon, opening to an interior fitted with nine drawers of various sizes, all with tortoiseshell paneling, and with three deep drawers, all with a portico-modeled front with ivory columns and paneling, raised on a conforming stand of turned and block legs joined by a like box stretcher and ending in bun feet, h. 55”, w. 43‑1/2”, d. 17‑1/2”. [2500/4000] Illustrated

402

Continental School (Fourth Quarter 17th Century), “The Rape of the Sabines”, oil on canvas, 37” x 58”. Unframed. [300/500] Illustrated

399

Baroque-Style Brass Adjustable Book Stand, supported on an easel and pierced with a design of hearts, raised, h. 10‑1/4”, lowered, h. 6”, w. 13‑1/2”, d. 11‑1/2”. [250/400]

407

403

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”. [200/400] Illustrated

Attributed to Egbert van Heemskerck the Younger (Dutch, 1676‑1744), “Tavern Scene with Men Smoking Pipes”, oil on canvas, faintly initialed lower left, 27” x 21‑3/4”. Presented in a frame affixed with artist’s plaque. [800/1200] Illustrated

403

408

Italian Giltwood Mirror in the Baroque Taste, decorated with pierced scrollwork and a leaf-carved overhanging finial, h. 19‑1/2”, w. 15”. [300/500] Illustrated

404

After Ferdinand Leeke (German, 1859‑1923), “Siegmund, Hunding, and Sieglinde: Act I, Die Walkure (The Valkyrie)”, 1927, oil on canvas, erroneously signed “Leeke”, localized “Munchen”, and dated lower left, 39‑1/2” x 47‑1/2”. Framed. [1500/2500] Illustrated

405

Pair of Bronze Figural Andirons, in the Renaissance style, French, fourth quarter 19th century, decorated with pierced bases on paw feet with satyrs supporting large finials depicting cupids holding kindling, with cast iron billet bars, h. 36”, w. 20”, d. 26”. [1800/2500] Illustrated

406

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”. [300/500] Illustrated

404

409

Pair of Italian Wrought Iron Two-Light Sconces, 19th century, each adorned with graduated wrought curlicues joined in the traditional manner with iron straps, and each with a pair of arms now set with candles, previously electrified, h. 15”, w. 11”, d. 5‑1/2”. [300/500] Illustrated

405

406

411

407

410

Rococo-Style Stained Hardwood Four-Poster Bed, with a cartouche- and foliate-carved headboard and barley-twist posts, h. 92”, inside, w. 61”, l. 80”, outside, w. 65”, l. 86”. [700/1000] Illustrated

411

Medieval-Style Wrought Iron NineLight Chandelier, early 20th century, the crown-form top with a circular frame suspended from chains and fitted with six candle lights and three dragons holding downwardfacing lanterns, h. 50”, dia. 33”. [800/1200] Illustrated

408

412

410

Victorian Walnut Armchair, late 19th century, the triangular back pierced and joined by shepherd’s crook arms to the cushioned caned seat, raised on cabriole legs ending in scrolled toes, h. 35”. [300/500]

409

414

Large Dutch Baroque-Style Brass Sixteen-Light Chandelier, 20th century, the finialed, baluster-form standard issuing tiered S-shaped arms, h. 37”, dia. 31”. [500/800] Illustrated

414

415

Continental Three-Fold Screen, late 19th century, each slightly domed panel with needlework floral and foliate patterns depicting fanciful figures in Eastern costumes, the back upholstered in velvet with brass tack borders, h. 62”, w. 66”. [400/700] Illustrated

416

Spanish Walnut and Leather Armchair, late 18th century, the leather back with earred finials and brass tack accents, joined by flat arms to the padded leather seat, above a patera-patterned front stretcher, raised on square legs to runner feet with foliate toes, h. 49”. [350/500] Illustrated

417

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”. [400/700] Illustrated

418

413

Flemish-Style Mahogany Bench, early 20th century, the padded rectangular top raised on turned and block legs, joined by scrolling end stretchers and plain side stretchers ending in fluted Flemish toes, h. 18”, w. 37”, d. 18‑1/2”. [300/500]

415

Pair of Chinese Blue and White Celadon Porcelain Ginger Jars, Qing Dynasty (1644‑1911), the bodies decorated with figures in a garden setting in blue against a celadon ground, with carved and lacquered wooden lids, h. 9”, dia. 9”. [300/500]

416

420

German School (Fourth Quarter 19th Century), “Practicing the Clarinet”, oil on canvas, unsigned, 14” x 13”. Presented in a period giltwood and gesso frame. [400/700] Illustrated

421

417

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”. [800/1200] Illustrated

422 420

419

Continental Oak and Metal Dome-Top Trunk, mid-18th century, decorated with incised and pierced strapwork, stars and bosses, of pegged construction, the side handles attached with cotter pins, h. 31”, w. 57‑1/2”, d. 28”. [350/500]

422

Baroque-Style Stained Fruitwood Four-Poster Bed With Full Tester, the rectangular panels mounted between blocked and barley-twist turned posts, h. 87”, inside, w. 60”, l. 80”, outside, w. 67”, l. 87”. [700/1000] Illustrated

421

428

423

Two Carved and Polychrome-Painted Figures of Pilgrims, 18th century, probably Neapolitan, one figure depicted standing, h. 11‑1/2”, w. 4”, and the other resting on a rock, h. 8”, w. 3‑1/4”, each carrying a staff. [500/800] Illustrated

Italian School (19th Century), “The News”, oil on canvas, signed lower right “R. Ticcino”, 15‑5/8” x 19‑5/8”. Framed. [500/800] Illustrated

429

Attributed to John Watkins Chapman (British, 1832‑1903), “Cavalier in a Tavern”, oil on wood panel, unsigned, 9” x 7”. Attractively framed. [600/900]

424

430

Painted Turned Console Table/Island, with a slate top, h. 30‑1/2”, w. 20”, l. 80‑1/2”. [200/400]

424

431

Florentine Parcel-Gilt and Polychrome-Painted Mirror, in the Baroque taste, the tapered mirror framed with pierced scrolled carving and carved and painted pink flowers, h. 32‑1/2”, w. 17”. [300/500] Illustrated

Baroque-Style Pierced Silver Gilt Mirror, h. 47”, w. 35‑1/2”. [200/400]

432

Pair of Italian ParcelGilt Metal and Crystal Six-Light Candelabra, mid-20th century, in the Baroque style, h. 25‑1/2”, dia. 14”. [400/700] Illustrated

426

423

425

Continental School (20th Century), “The Sad News”, oil on canvasboard, signed lower left “Wallace”, 21” x 16‑1/2”. Presented in a giltwood and gesso frame. [600/900] Illustrated

426

Pair of Italian Baroque-Style Brass and Mirrored Sconces, first quarter 20th century, electrified, h. 17”, w. 10‑1/2”, d. 6‑1/4”. [400/700] Illustrated

427

Continental Painted Leather Four-Panel Screen, fourth quarter 19th century, embossed with rocaille work and phoenix birds, gilt-decorated on a jade, celadon and ivory ground, h. 79‑1/2”, w. 96”. [800/1200] Illustrated

425

433

Continental Oak 432 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”. [300/500] Illustrated

434

Baroque-Style Stamped Brass and Beveled Glass Mirror, fourth quarter 19th century, Dutch or Flemish, h. 22‑3/4”, w. 12‑3/4”. [300/500] Illustrated 434 Italian BaroqueStyle Walnut and Bone-Inlaid Miniature Chest, first quarter 20th century, the serpentine-form and conforming top inlaid with rosettes, scrollwork and a star, on delicately carved cabriole legs, h. 10‑1/4”, w. 12‑1/2”, d. 10‑1/4”. [400/700]

435

428

427

433

436

Pair of Faux Marble and Parcel-Gilt Pedestals, in the Italian Baroque taste, each with a circular granite-inset top above scroll-formed legs headed by bearded masques and ending in acanthine feet, h. 31”, dia. 17‑1/2”. [500/800] Illustrated

437

Pair of Large Burgundy Floral Silk Brocade Draperies, comprised of two pairs of panels, each, h. 180”, w. 72”, together with two matching valances trimmed with fringe. [500/800]

442

French GiltBronze and Cut Crystal Tazza, second quarter 20th century, the bowl cut with fluting and trimmed with a bronze edge depicting swags of ribbons and flowers, and raised on a tripartite base with ram’s head-molded legs, h. 5‑1/2”, dia. 9‑1/2”. [400/700]

439

443

Louis XVI-Style Giltwood Oval Center Table, with an inset variegated rouge marble top, raised on fluted legs joined by an X-form stretcher and ending in toupie feet, h. 32”, w. 34‑1/2”, d. 22‑1/2”. [400/700] Illustrated

444

436

438

Group of Four Crimson Brocade Draperies, each comprised of a pair of panels with matching fringed valances mounted on a wooden frame, panels, h. 89‑1/2”, w. 54”, d. 24”. [500/800]

439

Continental Gilt Composition Bas-Relief of Bacchantes, 20th century, set within a glazed shadowbox frame, overall dimensions, 36” x 30”. [500/800] Illustrated

440

Empire-Style Ormolu-Mounted Mahogany and MarbleTop Pedestal Table, early 20th century, the circular marble top within an ormolu banding and above a conforming frieze fitted with a single small drawer, joined by reeded supports to a lower caned shelf, raised on splayed legs, h. 32‑1/4”, dia. 15‑1/2”. [400/700]

441

French Brass and Cut Glass Centerpiece, first quarter 20th century, the Regence-style oval pierced brass stand holding an oval bowl with a flute-cut rim, h. 3‑3/4”, w. 9‑3/4”, d. 6‑1/2”. [500/800]

Louis XVI-Style Oak and Fruitwood Bed, late 19th century and later, the headboard and footboard each with a fluted crest with end finials, above a paneled back flanked by turned pilasters, raised on tapering circular legs ending in casters, h. 51‑1/2”, inside, w. 55”, l. 80”, outside, w. 58‑1/2”, l. 83”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [1200/1800] Illustrated

445

Louis XVI-Style Polychrome and Marble-Top Commode, early 19th century and later, the rectangular breakfront marble top above a conforming case fitted with three long drawers, all with painted faux-marbre panels, raised on tapering square legs, h. 47‑1/2”, w. 34‑1/2”, d. 20”. [400/700]

446

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”. [400/700]

443

447

Suite of Italian Baroque-Style Blue and Cream Draperies and Bed Covers, made by Old World Weavers for Stark, including four cornice boards, h. 24”, w. 66”, d. 8”, eight drapery panels, h. 108”, w. 91”, eight tiebacks, five pillow covers, h. 21”, w. 21”, a king-size bed cover, w. 98”, l. 116”, and a bed skirt, w. 97”, l. 84”. [1500/2500] Illustrated

448

Louis XVI-Style Polychrome Window Bench, the custom cushion over a caned seat, above a carved apron, raised on tapering fluted legs headed by acanthine carving and ending in toupie feet, h. 21”, w. 35”, d. 13”. [300/500]

449

Louis XVI-Style Polychrome Bed, 20th century, the padded and domed headboard within a guilloche-carved frame and flanked to either side by foliate-carved fluted uprights, the lower footboard en suite, raised on fluted tapering circular legs ending in casters, upholstered in Fortuny-style fabric, h. 54”, inside, w. 56”, l. 71”, outside, w. 58‑1/2”, l. 74”. [1800/2500] Illustrated 447

450

Continental School (First Quarter 20th Century), a pair of decorative oval oils on board depicting putti in romantic and pastoral settings, presented in conforming ribbon-carved and molded giltwood frames, overall, 30” x 22‑1/2”. [800/1200] Illustrated

444

449 450 one of a pair

451

Charming Louis XVI-Style Polychrome Child’s Bergere avec Orielles, 19th century, the caned rectangular back and like downswept sides within a molded frame and joined to the cushioned caned seat by scrolling arms on vasiform uprights, raised on fluted tapering circular legs ending in toupie feet, h. 29‑1/4”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2002, p. 106. [450/700] Illustrated

452

Group of Eight Assorted Pillows, covered in toile and silk, the largest, h. 15‑1/2”, w. 15‑1/2”. [200/400]

453

Pair of Louis XVI-Style Creme Peinte and Giltwood Trumeau Mirrors, 19th century, each with a molded cornice above a ribbon crest and rectangular canvas of scenes of children at play, the lower rectangular plate surmounted by a floral basket crest, the whole flanked by applied giltwood foliate vines, h. 62‑1/2”, w. 34”. [6000/9000] Illustrated

454

Pair of Classical-Style Gilt-Bronze and Marble TwoLight Lamps, 20th century, with reticulated dome tops and vasiform bodies with applied garland bucrania and acanthus, with stem feet on square plinths, h. 32”, w. 9‑1/2”. [300/500] 454 Illustrated

453

455

Empire-Style Polychrome and Marble-Top Cabinet, 20th century, the thick verde antico marble top with turreted corners, above a conforming case fitted with two drawers over two cupboard doors, with a scrolling foliate gilt metal overlay centered by a figural medallion, raised on fluted tapering legs ending in caps, h. 44”, w. 59”, d. 20‑1/2”. [1200/1800] Illustrated

456

French Gilt-Bronze and Glass Thermometer, ca. 1900, in the Louis XVI style, the oval bronze frame decorated with pierced crests of floral wreaths crossed with torches and quivers and sprays of laurel, set with a glass alcohol-filled tube and marked “Opticien du roi”, h. 13‑1/2”, w. 6‑1/4”. [400/700] Illustrated

457

Group of Eight French Engravings, late 18th and 19th centuries, depicting courtly scenes including “La Soiree”, “Le Deux Amis”, and “C’Est un Fils, Monsieur” among others, sights 13‑3/4” x 9‑3/4” to 13‑1/2” x 19”. All matted, glazed and framed. [500/800] Illustrated

451

455

458

Pair of Louis XVI-Style Polychrome Bergeres, 20th century, each with a padded trisected back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, upholstered in Fortuny-style fabric, h. 40‑1/2”. [1000/1500] Illustrated

459

Pair of Louis XVI-Style Gilt-Bronze Six-Arm Candelabra, late 19th century, now mounted as lamps, each standard 456 with profile busts and applied floral garlands and six acanthus scrolled arms, the central nozzle drilled for wiring, mounted to a rectangular base with classical reliefs, h. 25”, dia. 12”. [1500/2500] Illustrated

457 one of eight

460

Louis XVI-Style Giltwood and MarbleTop Center Table, of generous proportions, the figured deep green marble top with projecting corners, above a conforming base with a foliate- and masquemolded apron, raised on beribboned and fluted 459 tapering legs joined by shaped stretchers, h. 35”, w. 74”, d. 43”. [1800/2500] Illustrated 457 one of eight

458

460

461

Continental Crystal and Gilt-Metal Sixteen-Light Chandelier, 20th century, the glassclad arms set with lights on two levels, the arms and candle cups hung with prisms, h. 23”, dia. 26‑1/2”. [700/1000] Illustrated

462

Two Louis XVIStyle Polychrome Bergeres, each with a padded back joined by closed arms to the cushioned seat, raised on tapering circular legs, one fluted, the other ringturned, upholstered in Scalamandre silk damask, a roll of extra fabric included, h 37”. [800/1200] Illustrated

461

466

468

463

Nancy Corzine Designed Painted King-Sized Headboard, of Louis XVI inspiration, h. 68”, w. 82”. [500/800]

464

Austrian Neoclassical Cut Glass and Gilt-Bronze Jewel Casket, after 1915, in the Baccarat taste, raised on bronze dolphin feet, the diamond-cut glass box with a leaf-molded bezel, marked “Austria”, h. 5”, w. 5‑3/4”, d. 3‑3/4”. [600/900]

465

Pair of French Bronze and Cut Glass Table Lamps in the Baccarat Manner, 20th century, the bronze bases supporting glass plinths cut with sunbursts, mounted with bronze trophies and supporting cut glass column standards with molded bronze fittings, h. 36‑1/2”, w. 5”, d. 5”. [600/900]

466

Pair of Italian Gilt-Bronze Three-Light Sconces, third quarter 20th century, with circular molded backplates issuing finialed acanthine branches surmounted by ribbons, h. 22‑1/4”, w. 12‑3/4”, d. 10”. [250/400] Illustrated

467

468

462

Pair of Rare FrancoBohemian Porcelain and Gilt-Bronze Convertible Garnitures/ Lamps, mid-19th century, handpainted with panels of roses on a marbleized cobalt ground, h. 21”, w. 8”. [800/1200] Illustrated

469

Empire-Style Mahogany and Marble-Top Gueridon, early 20th century, the circular marble top within an ormolu banding, above a conforming paneled frieze fitted with a single drawer, raised on tapering square legs joined by a concave galleried shelf and ending in ormolu peg feet, h. 30‑1/2”, dia. 28”. [800/1200] Illustrated

474

477

473

Two French Limoges Enamel and Gilt-Brass Boxes, first quarter 20th century, with guilloche hinged tops inset with roundels of beauties, the cases with repeating foliate repousse enclosing velvet-lined interiors, one box with bracket feet, labeled “France” on the bottoms, h. 2‑1/4” to 3”, w. 4‑3/4” to 5”. [400/700]

474

470

Louis XVI-Style Ormolu-Mounted Mahogany and Marble-Top Pedestal Table, early 20th century, the square marble top within a full pierced brass gallery, joined by bulbous fluted uprights to a lower square shelf, raised on splayed legs, h. 32‑3/4”, w. 12”, d. 12”. [400/700]

471

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”. [300/500]

472

Transitional Louis XV-into-Louis XVIStyle Marble-Top Plant Stand, first half 20th century, the serpentine brass-bound top over a like apron, raised on cabriole legs, headed by gilt-brass floral swags, joined by a shelf stretcher and ending in sabot feet, h. 38‑1/2”, w. 12”, d. 12”. [300/500] Illustrated

Italian Giltwood Mirror in the Baroque Taste, ca. 1900, elaborately molded with a segmented mirror surround, with turned and carved colonnettes on the sides, the crest decorated with an engraved hemispherical mirror, depicting a pair of Pan figures, butterflies and flowers under a pierced scrollwork set with a porcelain cabochon depicting a pair of putti, h. 72‑1/2”, w. 43‑1/2”. [1200/1800] Illustrated

475

Transitional Louis XV-into-Louis XVI Fruitwood and Oak Poudreuse, early 19th century, the trisected top banded and quarter-veneered, the center section opening to a mirrored interior and lidded storage compartments, the sides opening outward to storage wells, one lidded, the front with two small faux drawers over a long faux drawer and one long drawer, the sides chevron veneered, raised on cabriole legs, h. 30”, w. 20”, d. 13”. [600/900]

476

Pair of Contemporary Ormolu-Mounted and PaintDecorated Side Cabinets, of Louis XVI inspiration, each with a composition marble-style top with canted corners, the case with a drawer over a door, the drawer with ormolu mounts and the door in simulated inlay decor, h. 25”, w. 22‑1/2”, d. 14”. [500/800]

477

Pair of Louis XVI-Style Gilt-Bronze Chenets, third quarter 19th century, on acorn-form feet, the bases decorated with panels of bas-relief scrollwork, the flame-pot finials supported on either side by fruit-filled cornucopia, h. 11‑3/4”, w. 12‑1/2”, d. 18‑1/4”. [300/500] Illustrated 472

478

Louis XVI-Style Mahogany Tall Chest, mid-20th century, designed by Ralph H. Widdicomb and bearing the label of John Widdicomb, Grand Rapids, Michigan, with six drawers framed by fluted columnar supports over toupie feet, h. 56”, w. 37”, d. 21‑1/2”. [900/1200] Illustrated

479

Continental Giltwood Cushion Mirror, ca. 1900, the beveled mirror plates within a foliate-molded frame surmounted by an acanthine and floral pierced and carved crest, h. 55”, w. 36”. [1500/2500] Illustrated

480

Louis XVI-Style Mahogany Desk, late 18th century and later, the rectangular top with an inset leather writing surface, above a frieze fitted with a central drawer flanked to either side by a bank of three small drawers, all with decorative geometric banding, the sides and verso quarter-veneered and banded, raised on tapering circular legs, h. 29‑1/2”, w. 45‑1/2”, d. 26”. [800/1200] Illustrated

481

Pair of Sevres-Style Porcelain Garniture Urns, second quarter 20th century, probably Limoges, decorated with panels of hand-painted angels on a bleu celeste ground, h. 18‑3/4”, dia. 5‑3/4”. [300/500] Illustrated

482

Pair of Louis XVI-Style Polychrome Fauteuils, early 19th century, each with a padded tapering rectangular back joined by padded arms on spiral-fluted uprights to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 34”. [600/900] Illustrated

478

483

Louis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, the rectangular marble top with a molded edge, above a conforming case fitted with two drawers over two paneled cabinet doors, all with brass banding, flanked to either side by a flute upright, raised on brass-accented toupie feet, h. 37‑1/2”, w. 47‑1/2”, d. 24”. [1200/1800] Illustrated

482

485

480

484

Set of Twelve French Porcelain Cabinet Plates, decorated with portraits of French nobility, the ca. 1846 Sevres blanks transferprinted at the turn of the century, with gilt-rocaille borders, marked with an underglaze “S46”, the Louis-Philippe Sevres blue medallion mark, the Chateau de St. Cloud medallion mark, “France” in rouge-de-fer script, and the identity of the subjects, dia. 9‑1/2”. [300/500] Illustrated

L. Zorra Enamel and Gilt-Bronze Letter Opener, ca. 1900, the tapered-form opener surmounted by a block relief modeled after Donatello’s “Musical Angels” on the doors of Sant’Antonio Basilica in Padua, inscribed “D’Apres Donatello/L. Zorra”, l. 10‑3/4”. [300/500]

481

486

Pair of Louis XVI-Style Polychrome Sidechairs, early 20th century, each with a padded medallion back surmounted by a ribband crest, the padded seat raised on fluted tapering circular legs ending in toupie feet, upholstered in Thibault cotton toile, h. 39”. [400/700] Illustrated

487

Louis XVI-Style Polychrome Sidechair, the carved and pierced back over a padded seat, raised on tapering reeded legs ending in toupie feet, h. 38”, seat h. 18”. [300/500]

488

Victorian Brass and Onyx Etagere, fourth quarter 19th century/first quarter 20th century, the galleried, onyx top over two small glass-inset shelves over a long glass shelf, raised on scrolled feet, h. 53‑1/2”, w. 21”, d. 12”. [400/700] 484

483

486

489

Five-Piece Collection of Majolica, 19th century and later, including a French box with a cockerel handle, marked “Luneville”, h. 7‑1/4”, dia. 5‑1/2”, an English plate molded with a spaniel, dia. 11”, an oval leaf-molded dish, w. 12‑1/4”, a basketweave-molded bread tray, w. 12‑1/2”, and a round plate marked “Germany”, dia. 11‑1/4”. [400/700]

491

Victorian Brass and Patinated Iron Bed, ca. 1900, of tubular form, h. 58”, w. 52”, l. 72”. [400/700]

492

Pair of Napoleon III Gilt- and Patinated Bronze Candelabra, third quarter 19th century, after a design by Clodion, each with a central socket surmounted by five candle arms issuing from a patinated urn decorated with Bacchic putti in relief, h. 25”, dia. 12‑1/2”. [1500/2500] Illustrated

494

493

Edwardian Brass and Leather-Covered Fire Fender/ Seat, late 19th century, h. 15”, w. 50”, d. 14”. [400/700] Illustrated 492

490

494

Bronze-Mounted Limoges Porcelain Vase, late 19th/early 20th century, the cobalt ground with raised gilt rocaille centering a painted reserve depicting young maidens gathering flowers, marked “Wm. Guerin and Co. / Limoges / France”, h. 27”, w. 13”. [700/1000] Illustrated

Victorian Ebonized Papier-Mache Tray, third quarter 19th century, the shaped tray with a full raised edge, and with gilt and polychrome avian and foliate patterns in the chinoiserie taste, the back stamped “Jennens & Bettridges Maker, London”, now raised on an ebonized faux bamboo stand with gilt accents, h. 20‑1/2”, w. 31”, d. 23‑1/2”. [400/700] Illustrated

493

495

Pair of Napoleon III Ebonized Tole Hanging Vitrines, third quarter 19th century, each with a domed crest above a case fitted with a single glazed door, opening to an interior fitted with glass shelves, the sides also glazed, h. 40”, w. 15‑1/2”, d. 8”. [400/700]

496

490

Napoleon III Inlaid Ebony and Glass Liqueur Set, third quarter 19th century, the box decorated with boulle inlay, with a folding cover opening to reveal four decanters and eight glasses in fitted compartments, closed, h. 10‑1/2”, w. 12”, d. 8‑3/4”. [400/700] Illustrated

500

Seventeen Assembled Porcelain Demitasse Cups, first quarter 20th century, Limoges and Czech, decorated in cobalt with raised gilt, h. 2”, dia. 2‑1/4”. [300/500] 496

497

Napoleon III Ebonized Writing Table, third quarter 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a single drawer with an ormolu guilloche inset, the frieze with applied porcelain plaques depicting various butterflies and moths, raised on tapering square legs headed by a molded ormolu capital and ending in caps, the bottom bearing the label “Frederick Litchfield, The Sinclair Galleries 555 759 Shaftesbury Avenue London, W.”, h. 27‑1/2”, w. 49‑1/4”, d. 27”. [2000/4000] Illustrated

498

Belle Epoque Marble and Bronze Four-Light Candelabrum, now mounted as a lamp, the black marble base raised on gilt-bronze paw feet, trimmed with verde antique marble, supporting a bronze angel holding a bouquet of gilt-bronze flowers interspersed with candle cups, h. 39”, w. 12”, d. 7”. [350/500]

501

English Burr WalnutVeneered Inlaid Cabinet, with bronze trim and a Sevres-style neoclassical oval plaque, the side doors set with glass, h. 42”, w. 58‑3/4”, d. 17”. [500/800] Illustrated

502

Continental Bentwood and Brass Umbrella Stand, fourth quarter 19th century, the base set with a molded brass drip pan, h. 27‑1/2”, w. 10‑1/2”, d. 10‑1/2”. [500/800] Illustrated

499

Two Antique Opera Glasses, one with brass and mother-of-pearl, w. 2”, l. 5‑3/4”, and one with brass and floral-painted pink enamel, labeled “W. Ecker/Lucern”, w. 2‑1/4”, l. 5”. [400/700]

501

503

English Blue and White Jasperware Cheese Dish, fourth quarter 19th century, attributed to Dudson, the exterior decorated with classical figures, anthemia, oak leaves and acorns, h. 9‑3/4”, dia. 9‑1/4”. [300/500] 497

504

Victorian Ebonized and Thuya Parlor Cabinet, third quarter 19th century, the stepped center section banded and with a three-quarter pierced brass gallery, above a frieze with inset Jasperware plaques above an arch paneled cupboard door centered by a like larger oval plaque, flanked to either side by rounded cupboards inset with glazed panels, raised on toupie feet, the whole accented with ormolu millwork, h. 46”, w. 58”, d. 17‑1/2”. [1500/2500] Illustrated

509

French Gilt-Bronze and “Egyptian” Marble Encrier, decorated with the bust of Domingo Faustino Sarmiento (1811‑1888), president of Argentina, the marble base with an inset pen trough in front of a bronze bust of Sarmiento, flanked by molded bronze ink pots with leaf-molded hinged covers, h. 8‑1/2”, w. 17”, d. 10”. [400/700]

510

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. [2500/4000] Illustrated

506

505

Napoleon III Marquetry-Inlaid and Porcelain-Mounted Ebonized and Amboyna Cabinet, ca. 1875, the upper section with a broken-arch pediment over a pair of doors, each with a panel centered by a porcelain plaque in the Sevres style, and flanked by shelves, the shaped base with a frieze drawer with like decor over a pair of shelves supported by segmented columns, h. 70”, w. 64”, d. 19”. [1000/1500] Illustrated

504

506

Large Ebony and Marble-Top Center Table, third quarter 19th century, probably Anglo-Colonial, with a leaf-carved skirt and cabriole legs terminating in ball-and-claw feet, h. 30”, dia. 46‑1/2”. [900/1200] Illustrated

507

Edwardian-Style Tooled Leather-Clad Tole Tray on Stand, the tray with raised ends fitted with handles and resting upon a parcel-gilt and ebonized stand, h. 23”, w. 26”, d. 15”. Illustrated: Phillips, Betty Lou. Villa Decor. Layton, UT: Gibbs Smith, 2000, p. 107. [400/700]

508

Chinese Export Lacquered Game Case, second quarter 19th century, the cover decorated with well-executed scenes of daily life, h. 2‑3/4”, w. 18‑1/2”, d. 18‑1/4”. [300/500]

505

511

Continental School (20th Century), “The Terrace”, oil on canvas, signed “W. Vinello” lower left, 30‑1/4” x 40”. Framed. [400/700]

512

Good Collection of Eight Privately Printed Books, first half 20th century, including the Trianon Press facsimile of Blake’s Songs of Innocence, the Grabhorn Press edition of Shakespeare’s Richard III and Hawthorne’s Golden Touch, and the Gold Cockerel Press edition of Burns’ Songs, et al. Detailed list available on request. [300/500] Illustrated

513

Twenty-Nine Decorative Bindings, 19th and 20th centuries, including leather-bound volumes of Johnson’s English Poets, Scott’s Waverly Novels and the Ludgate Monthly, together with a collection of fifteen Beatrix Potter books in printed paper wrappers. Detailed list available on request. [250/400] Illustrated

510

514

Forty-One Decorative Bindings, 19th and 20th centuries, in leather and cloth, including seven single volumes by Thomas a Kempis, Thomas Gray, Lord Byron and Gilbert & Sullivan, et al., and four multi-volume sets, including Gibbon’s Rome and the Bronte Sister’s Novels, et al. Detailed list available on request. [300/500] Illustrated

515

William Shakespeare (1564‑1616), Plays and Poems, A. J. Valpy, ed., London: Henry G. Bohn, 1848, complete in fifteen volumes, sextodecimo, in half red leather with gilt fillet on marbled paper, the spines with raised bands and gilt lettering, with marbled endpapers, the top edges cut and gilt, 6‑3/4” x 4‑1/2”. [300/500]

512 512 detail

513

514

520

516

Russian Iron Figure of a Czar, third quarter 19th century, mounted on an “Egyptian” marble base with rosso antico trim, the “romanticist on the throne” depicted standing with a sword at his side, h. 15”, w. 4‑1/4”, d. 4‑1/4”. [1200/1800] Illustrated

Set of Eight Queen Anne-Style Black-Lacquered Dining Chairs, comprised of two armchairs and six sidechairs, h. 37”. [200/400]

517

Chinese Export Lacquered Panel, 19th century, of rectangular form, depicting various figures engaged in aquatic activities, now raised on an ebonized 516 base of turned, paneled and tapering circular legs ending in peg feet, h. 24‑1/2”, w. 40”, d. 20”. [600/900] Illustrated

518

Victorian Japanned and Ebonized Desk, late 19th century, the rectangular top with a molded gilt edge, above a conforming case fitted with a central drawer flanked to either side by a small deep drawer, all with gilt and gesso chinoiserie designs, raised on tapering square legs, h. 31‑1/2”, w. 41‑1/2”, d. 23‑1/2”. [800/1200] Illustrated

519

Victorian Ebonized Tole Tray, third quarter 19th century, of oval form, the full raised edge with a gilt anthemionpatterned border centering a polychrome scene of oriental figures in a garden scape, the underside stamped “Griffiths and Browett Ltd. Makers Birmingham”, now raised on an ebonized stand with gilt accents, h. 18”, w. 30”, d. 23‑1/2”. [300/500]

517

521

Polychromed and Japanned Breakfront Bookcase, the upper case with a molded cornice above glazed doors, each door above a short drawer, the lower conforming case with cupboard doors decorated with idyllic Japanese landscape scenes, h. 84‑1/2”, w. 78”, d. 14”. [800/1200] Illustrated

522

Georgian-Style Molded and Cut Crystal Five-Light Chandelier, 20th century, h. 19‑1/2”, dia. 18‑1/2”. [500/800] Illustrated

518

525

Five-Piece Collection of European Crystal, 20th century, including a large vase, h. 9”, dia. 8‑1/4”, a ship’s decanter, h. 11‑1/4”, dia. 6‑1/4”, a Waterford “Ballymore” decanter, signed, h. 13‑1/4”, dia. 4‑1/4”, a ribbed vase, h. 7”, dia. 4”, and a bowl, h. 3‑3/4”, dia. 5”. [300/500]

526

Six-Piece Collection of Continental Crystal Covered Jars, 20th century, decorated with buzz stars and geometric patterns, h. 6” to 8‑3/4”, dia. 3‑3/4” to 6”. [300/500] Illustrated

527 522

523

Pair of Waterford “Inishmore” Cut Crystal Lamps, 20th century, Irish, h. 18‑3/4”, dia. 7‑3/4”. [700/1000]

Partial Assembled Service of European Molded and Cut Brilliant-Style Glass Stemware and Plates, 20th century, the Brilliant-style stemware cut with buzz stars in similar patterns, including thirteen champagne coupes, h. 5‑1/2”, eleven highball glasses, h. 5‑1/4”, thirteen wine goblets, h. 7‑1/4”, thirteen port glasses, h. 5‑1/2”, seventeen liqueur glasses, h. 4‑3/4”, and a single champagne coupe, h. 4‑3/4”, together with thirteen molded and cut Brilliantstyle plates, dia. 7‑1/2”. [400/700]

528 524

Two Blue Glass Table Lamps, including a German blue opaline table lamp,each fourth quarter 19th century, base, h. 12‑1/2”, overall, h. 21”, dia. 4‑1/2”, and an English blue Bristol glass vase, now mounted as a lamp, base, h. 15”, overall, h. 25‑1/2”, dia. 5”. [250/400]

524

Four-Piece Collection of European Cut Crystal, 20th century, including a Regency-style boat-form centerpiece, h. 9‑1/2”, w. 13”, d. 6‑1/2”, a compote, h. 8‑1/4”, dia. 10”, a ginger jar, h. 10‑1/2”, dia. 7‑3/4”, and a vase cut with buzz stars, h. 9‑3/4”, dia. 7‑1/4”. [300/500] Illustrated 529

526

529

William IV Mahogany Sideboard, mid-19th century, the mirrored backpiece surmounted by a molded cornice, the rectangular top with a heavily molded edge and raised on two pedestals, each with a paneled cupboard door, one opening to a drawer and two pull-out shelves, the other to shelves and a metal-lined cellarette drawer, raised on a plinth base, h. 62”, w. 81”, d. 25”. [1200/1800] Illustrated

530

535

Set of Twelve Minton’s Dinner Plates, ca. 1923, English, decorated with blue, mauve and yellow scrollwork borders on an ivory ground, dia. 10‑1/4”. [400/700] Illustrated

530

536

531

Pair of Royal Vienna-Style Porcelain Charges, decorated with transfer-printed scenes of couples in Arcadian landscapes, both with spurious blue “beehive” marks, overglaze, dia. 12‑1/4”. [200/400]

Young Buck Head Mounted on a Trophee-Form Wooden Backplate, h. 23”, w. 14”, d. 22”. [300/500]

537

Two Taxidermy Mounted Ducks in Flight, one a green winged teal, h. 14”, w. 16”, d. 15”, and the other a hen mallard, h. 22”, w. 16”, d. 15”. [300/500] Illustrated

538 534

532

Taxidermy Mounted Wild Foul Nature Morte, including a pheasant and a drake and hen mallard, h. 30”, w. 15”, d. 13”. [300/500] Illustrated 537

538

Impressive William IV-Style Mahogany Banquet Table, 20th century, the figured mahogany top supported by turned and reeded legs, with two additional 18” leaves, h. 30‑1/2”, w. 50”, l. 81”, extended l. 117”. [1200/1800] Illustrated

533

Large Contemporary Mahogany-Stained and DiamondTufted Ottoman, h. 19”, w. 36”, d. 36”. [300/500]

534

Continental Gilt-Silver Centerpiece, fourth quarter 19th century, the urn-form centerpiece with alternating lion masques and pierced scrollwork, and conforming handles with dolphin terminals, on a reticulated stem foot flanked by winged termes with paw feet, h. 13”, w. 16‑1/4”. [600/900] Illustrated

535

Howard Chandler Christy (American, 1872‑1952), “Meeting Before the Hunt”, 1902, pastel and gouache on paper, signed and dated lower right, sheet 11‑1/2” x 15‑3/4”. Unframed. [1000/1500] Illustrated

532

543

539

French Silver-Gilt Bronze of an Eagle About to Take Flight, 20th century, after Jules Moigniez (French, 1835‑1894), cast signature at self-base, on a black marble plinth, h. 47”, w. 20”, d. 23”. [2000/4000] Illustrated

540

Veryl Goodnight (American, b. 1947), 539 “Preening”, 1978, bronze, signed, dated, and numbered “19/50” at underside of branch, on a shaped wood base, h. 8‑1/2”, w. 8”, d. 9”. [200/400]

541

Three-Piece Collection of Bohemian Cobalt Cut-to-Clear Overlay Glass, 20th century, including a compote, h. 13‑3/4”, dia. 9‑1/2”, a cylindrical vase, h. 11‑3/4”, dia. 4‑1/2”, and a trumpet vase, h. 13‑1/2”, dia. 7”. [300/500] Illustrated

Twenty-EightPiece Collection of Cobalt and Clear Glassware, including eight Bohemian overlay Old Fashioned glasses, h. 4”, four highball glasses in various patterns, h. 5‑1/2”, ten molded cobalt and colorless goblets, h. 8”, and six engraved cobalt and clear champagne flutes, h. 9‑1/4”. [400/700]

545

544

Continental Cobalt Overlay Cut Glass Punch Bowl and Twelve Cups, 20th century, in the Brilliant style, punch bowl, h. 6”, dia. 10‑3/4”, cups, h. 2‑3/4”. [400/700] Illustrated

541

544

542

Nine-Piece Collection of Bohemian Cobalt Cut-to-Clear Overlay Glass, 20th century, including a low bowl, h. 3‑3/4”, dia. 8‑3/4”, two rose bowls, h. 5”, dia. 5‑3/4” and h. 6”, dia. 6‑1/2”, an ashtray, h. 3”, dia. 7‑1/2”, a cylindrical vase, h. 4‑3/4”, dia. 4‑1/4”, a wine bucket, h. 8‑1/4”, dia. 7”, and three covered bowls, h. 5‑1/4” to 6‑3/4”, dia. 5‑1/4” to 6‑1/2”. [400/700] Illustrated

542

545

Collection of HandCrafted Ajka Crystal Stemware, cut in the “Marsala” pattern, including twelve red wine goblets, h. 7‑5/8”, eleven white wine goblets, h. 7‑3/8”, and twelve aperitif glasses, h. 5‑1/8”. [300/500] Illustrated

546

547

Cranberry Cut-to-Clear Overlay Glass Vases, mid-20th century, engraved “Made in Brazil”, h. 11‑1/2”, dia. 6”. [300/500]

547

Chinese Blue and White Porcelain Garden Seat, 19th/20th century, with white flower and butterfly decoration on a blue-glazed ground, the drum-shaped seat with bead and reticulated coin ornamentation, h. 18‑1/2”, dia. 13”. [500/800] Illustrated

548

German School (Fourth Quarter 19th Century), “Alpine Landscape”, oil on board, signed lower left “Meissner”, 43” x 33”. Presented in a handsome, period giltwood and gesso frame. [2500/4000] Illustrated

549

Continental School (Third Quarter 19th Century), “Mountainous Landscape with a Caravan Crossing a Bridge”, oil on canvas, signed illegibly lower right, 22” x 36‑1/8”. Presented in a period giltwood and gesso frame. [300/500]

550

553

551

Pair of English Oak Jacobean-Style Armchairs, first quarter 20th century, with barley-sugar turnings, h. 45”. [400/700] Illustrated

554

548

550

English Oak Court Cupboard, late 19th century, of diminutive and traditional form, the guilloche-carved frieze above a central cupboard with canted sides, joined by cup and cover supports to two cupboard doors, all cupboards with a carved floriform medallion, raised on cup and cover legs joined by a box stretcher, h. 41”, w. 27‑1/2”, d. 14‑1/2”. [500/800] Illustrated

F. Van Vreeland (Dutch, 20th Century), “Autumn Landscape”, oil on canvas, signed lower right, 16‑1/2” x 24”. Framed. [400/700] Illustrated

551

Continental School (19th Century), “Mountainous Landscape”, a pair of oils on board, each monogrammed “C.M”, one lower left and the other lower right, each 9” x 19”. Each glazed and framed. [700/1000] Illustrated

552

French School (Fourth Quarter 19th Century), “Cattle at a Watering Hole”, oil on canvas, signed lower right “Jules Dupre”, 15‑3/4” x 12‑3/4”. Presented in a giltwood frame affixed with an artist plaque. [500/800] Illustrated 553

556

Pair of Pottery Bulldogs, decorated with mottled brown and tan glaze, molded with a delineated color, h. 20‑1/2”, w. 9‑1/4”, l. 22‑1/2”. [800/1200] Illustrated

555

557

552

555

Pair of Meissen Cobalt-Ground and Parcel-Gilt Porcelain Urns, late 19th century, of baluster form, each with a pair of applied foliate handles, and egg-anddart-molded borders and acanthus details, raised on a waisted socle and circular base with crossed marks and “27” in underglaze blue along with an incised “D153”, h. 24‑1/4”, w. 13‑1/2”. [1500/2500] Illustrated

554

French Henri II-Style Walnut Court Cupboard, first quarter 20th century, the back with the label of Bedel & Cie, the upper section with projecting corners 556 over a pair of carved and paneled doors on turned supports backed by a fretwork gallery, the base with a pair of drawers over similarly modeled doors, flanked by fluted columns, h. 90‑1/2”, w. 56‑1/2”, d. 22‑1/2”. [400/700] Illustrated

557

558

Jacobean-Style Oak Stretcher Table, with two drawers in the skirt, h. 33‑3/4”, w. 55”, d. 23”. [200/400]

559

Jacobean-Style Mixed Woods Stretcher Table, with two drawers in the skirt, h. 33‑3/4”, w. 55”, d. 23”. [200/400]

562

Mrs. H. Champion (British, 19th Century), “Portrait of Catherine Layton”, watercolor on paper, signed lower right, sight 14‑1/4” x 10‑1/4”. Matted, glazed and framed. [200/400]

563

560

Pair of Doulton 560 Slaters Patent Pottery Vases, ca. 1882‑1901, English, made by impressing lace into the wet clay, the vases decorated with turquoise flowers and white enameled flowers, h. 11‑1/2”, dia. 4‑1/2”. [300/500] Illustrated

561

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 diamondinlaid panels, raised on block legs, h. 60”, w. 50”, d. 20‑1/2”. [200/400] Illustrated

561

Dorofield Hardy (British, 1882‑1920), “The Voice Lesson”, 1885, watercolor on paper, signed and dated lower right, sight 10‑1/2” x 13”. Glazed, matted and framed. [200/400]

564

British School (19th Century), group of three lithographs, including “The Drawing Room, Castleton” and “Long Gallery, Haddon Hall”, both 11” x 16”, and “The Arrest”, 21‑5/8” x 37”. All framed. [200/400]

568

565

George III Oak Bachelor’s Chest, first quarter 19th century, the case fitted with a central brushing slide, over two short drawers, above two graduated long drawers, raised on bracket feet, h. 34”, w. 47”, d. 22‑3/8”. [600/900]

566

George III Oak Tall Case Clock, fourth quarter 18th century, the door with an inlaid star, the clock with an engraved brass face with rotating calendar dial and engraved inscription “Geo White, Bristole”, h. 78”, w. 21”, d. 12”. [450/700] Illustrated

566

567

English Oak Hepplewhite Pembroke Table, 19th century, the drop-leaf top over a single cockbeaded drawer, retaining its original hardware, the graduated Hepplewhite legs with an angular exterior and a chamfered side facing inward, the top raised on double swing-out wooden hinged supports on each side, h. 28‑1/4”, w. 18‑1/2”, d. 30”, extended l. 36‑1/2”. [300/500]

568

George III Mahogany Pembroke Table, late 18th century, the rectangular top with two like-shaped drop leaves, above a frieze fitted with a single drawer, raised on chamfered square legs, h. 27”, w. 25‑1/2”, l. 24”, extended l. 42”. [400/700] Illustrated

569

Scottish School (Fourth Quarter 19th Century), “Resting After the Hunt”, watercolor on paper, unsigned, sight 13” x 21‑1/2”. Glazed, matted and framed. [200/400]

570

John Louis Petit (British, 1801‑1868), “Ragland Castle”, watercolor on paper, sight 8‑3/4” x 7‑1/4”. Matted, glazed and framed. [200/400]

571

William and Mary Mahogany and Fruitwood Highboy, 18th century, of diminutive proportions, the molded cornice above a case fitted with three graduated long drawers, the associated lower section fitted with a single drawer, raised on barley-twist legs joined by an X-form stretcher and ending in bun feet, h. 54‑1/2”, w. 30‑1/2”, d. 21”. [600/900] Illustrated

572

Queen Anne-Style Walnut Highboy, 19th century, the molded and domed broken pediment above a case fitted with three small drawers, the center one with shell carving, over two short drawers over three graduated long drawers, the lower section fitted with a brushing slide over two short drawers and three small drawers, the center one with shell carving, all banded, raised on cabriole legs ending in pad feet, h. 94-1/2”, w. 45-1/2”, d. 21”. [2000/4000] Illustrated

573

Royal Doulton Dickensware Pottery Character Jug, ca. 1901‑1922, English, polychrome-decorated and including a list of characters on the jug, marked, h. 10‑1/4”, w. 9‑3/4”. [300/500]

574

English Oak Gateleg Table, mid-18th century, the rounded rectangular top with two ovoid drop leaves above a frame fitted with a single drawer, raised on a gateleg support of turned circular legs ending in shaped feet, h. 27”, w. 39”, l. 16”, extended l. 48”. [300/500]

572

575

Waxed Pine Welsh Dresser, 19th century, the upper section with three shelves and the base fitted with three drawers above an open shelf, h. 85”, w. 63‑1/2”, d. 17‑1/2”. [1200/1800] Illustrated

577

576

Pair of William and Mary-Style Oak Stools, each with a padded top raised on turned legs joined by an H-form stretcher, h. 17‑1/2”, w. 18‑3/4”, d. 14”. [500/800]

577

579

Mason’s-Style Porcelain Pitcher, decorated in the Imari palette, h. 8‑3/4”, w. 10”. [300/500] Illustrated

579

578

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”. [1000/1500] Illustrated

575

William and Mary Japanned Dressing Mirror, first quarter 18th century and later, with a blocked base and a slant lid case supporting the tombstone-form mirror set between turned supports, the red ground decorated in the Chinoiserie manner, and gilt-trimmed with the fall board panel contained in a painted ivory scrollwork frame, h. 37‑1/2”, w. 25”, d. 19”. [700/1000] Illustrated

578

580

George III Walnut and Burl Bureau, fourth quarter 18th century, the banded rectangular top above a like slant front opening to an inset leather writing surface, a lidded storage well and a variety of drawers and cubbyholes flanking a central arched panel cupboard opening to three drawers, over two short drawers and two graduated long drawers, all banded, raised on bracket feet, h. 40”, w. 36‑1/2”, d. 20‑1/2”. Provenance: Royal Antiques, New Orleans, Louisiana. [600/900] Illustrated

584

Queen Anne-Style Stand, 20th century, English, with a burr walnut top, a single drawer and a dressing slide, over carved cabriole legs, h. 27”, w. 16”, d. 13‑1/2”. [200/400]

585

Group of Six British Miniature Books, third quarter 19th century, including three copies of “The Book of Common Prayer”, two published by G. E. Eyre and W. Spottiswoode, London, 1865, and one published by University Press, Oxford, 1864, together with two blank page notebooks with styluses, and one diminutive 1/12 scale prayer book (probably for a dollhouse), sizes 583 1‑1/4” x 1” to 4” x 2‑1/4”. [300/500]

586

Eleven Pieces of Carved Antique Ivory, 19th century, in varying sizes, including one in the form of a game board with a plexiglass mount, and ten page turners, the longest, h. 9‑1/4”. [300/500]

580

581

George III-Style Pine Cabinet, the foliate carved cornice with projecting corners above two paneled cupboard doors, flanked to either side by an engaged Corinthian column, the lower section fitted with two pull-out slides over two paneled cupboard doors, raised on a plinth base, the whole with foliate- and gadrooned-carved accents, the interior fitted out to be an entertainment center, h. 91‑1/2”, w. 60”, d. 28‑1/2”. [1000/1500] Illustrated

582

English Oak Writing Case, fourth quarter 19th century, the case opening to reveal fitted compartments and a leather-lined writing slope, h. 11‑1/4”, w. 15”, d. 9‑1/2”. [250/400]

583

Chinese Porcelain Garden Seat, late 19th century, the green-glazed drum-shaped seat with reticulated coin and bead decoration, h. 17‑1/4”, dia. 12”. [400/700] Illustrated

581

590

587

American or British Carved and Varnished Wood Church, first quarter 20th century, inscribed “Paul Pollet - 259 Pieces - 1908‑09” along edge of base, h. 17‑1/2”, w. 9‑1/4”, l. 19”. [300/500] Illustrated

Two Georgian Sterling Silver Cream Jugs, second half 18th century, London, including a baluster-form example hallmarked 1773‑1774, with repousse laurel swag decoration and later presentation monograms dated 1812 and 1887, h. 4‑1/4”, l. 4‑1/4”, and a helmet-form example hallmarked 1798‑1799, with pricked, bright-cut and wrigglework decoration, no monograms, h. 5‑1/4”, l. 4”, the maker’s mark on both rubbed, 5.85 total t. oz. [300/500] Illustrated 587

588

Swedish Polychrome Secretary Bookcase, 19th century, the molded and domed cornice above two arched paneled doors, opening to a shelved interior, the lower section fitted with a slant front opening to an assortment of drawers and storage spaces, over two cupboard doors, each inset with a panel, raised on bracket feet, h. 83”, w. 44‑1/2”, d. 18”. [1000/1500] Illustrated

589

Victorian-Style Woven Wirework Four-Tier Plant Stand, with graduated shelves, h. 42”, w. 36”, d. 15”. [500/800] Illustrated

591

Large George III Sterling Silver Snuffbox, hallmarked Birmingham, 1794‑1795, by Matthew Linwood (1753‑1826), of rectangular form, the hinged 590 lid with double compartments, decorated with guilloche engraving and a pair of crests, l. 4‑5/8”, w. 3‑1/4”, 7.35 t. oz. [300/500] Illustrated

592

George III Small Sterling Silver Inkstand, hallmarked London, 1777‑1778, by Samuel Meriton I (1714‑1797; free 1738), of oval form, with stirrup thumb handle, four acanthus-crested lion’s paw feet and beaded edge decoration, fitted with a pair of glass inkwells, two pen holders and a taperstick socket, h. 2‑1/4”, l. 4”, w. 4”, 3.85 t. oz. (weighable silver). [300/500] Illustrated

588

589

595

George III Sterling Silver Pap Boat, hallmarked London, 1794‑1795, the maker’s mark rubbed but probably Charles Fox I, of traditional batteau form, with in-peaked end and beaded edge, l. 4‑3/4”, w. 2‑3/4”, 1.94 t. oz. [300/500] Illustrated

591

594

596

George III Sterling Silver Pap Boat, hallmarked London, 1790‑1791, by Charles Hougham (1748‑1793), of traditional batteau form, with out-peaked end and molded edge, l. 4‑3/4”, w. 2‑5/8”, 1.52 t. oz. [300/500] Illustrated 592

593

595

593

George III Sterling Silver Wick Cutter Tray, hallmarked London, 1788‑1789, by Henry Green, of navette form, with reeded rim and narrow out-scrolled ends, the plateau with engraved armorial, l. 10‑1/2”, w. 4”, 3.51 t. oz. [500/800] Illustrated

594

Pair of George III Sterling Silver Salt Cellars, hallmarked London 1784‑1786, by Charles Hougham (1748‑1793), each of oval form with pierced, bright -cut and wrigglework gallery, beaded rim and four claw-and-ball feet, fitted with a conforming cobalt glass liner, h. 2”, l. 3‑1/8”, w. 2‑1/4”, 3.33 total t. oz. (excluding liners). [400/700] Illustrated

596

597

Late George III Sterling Silver Wine Coaster, hallmarked London, 1806‑1807, by Robert & Samuel Hennell, of circular form, the reeded rim quartered by leaf-and-scroll motifs, the plateau engraved with a crest of a nesting swan above the laurel branch-mantled monogram “B/W+D”, with an inset turned wooden base, dia. 6”. [400/700] Illustrated

599

597

600

598

George III Irish Sterling Silver Ladle, hallmarked Dublin, 1802, by “JS”, in the traditional “Old English” pattern, with bright-cut and star decoration, engraved with the arms of Middleton of co. Cambridge and Stockeld, co. York, l. 13‑1/4”, 5.65 t. oz. [400/700]

599

Regency Sterling Silver Inkstand, hallmarked Sheffield, 1816‑1817, by Samuel and Charles Younge & Co., of rectangular form, with gadrooned rim and crested at the sides with acanthus-mantled shells, fitted with two pens trays, two receptacles with cut glass ink and water wells, and a central hemispherical nibs bowl, the whole raised on four acanthus feet, engraved on the pen trays with the crest of Dewes of Warwickshire, h. 3‑1/4”, l. 11”, w. 7‑1/4”, 22.84 total t. oz. (excluding glass wells). [1000/1500] Illustrated

601

George IV Sterling Silver Fish Slice, hallmarked London, 1828‑1829, by William Eaton (1788‑1845; free 1810), in the traditional “Fiddle” pattern, the scimitar-shaped blade threaded and pierced in a scrolling fern design, l. 10”, 4.71 t. oz. [300/500]

600

Six Pieces of Regency Sterling Silver Tableware, early 19th century, London, including a covered sugar bowl, hallmarked 1805‑1806, the maker’s mark rubbed, in the Huguenot taste with embossed spiral gadroons, h. 4‑1/2”, dia. 5‑1/2”, w. 7‑1/2”, and five “Fiddle Thread” tablespoons, hallmarked 1815‑1816, by Josiah & George Piercy, with ducal monogram “HSA”, l. 8‑3/4”, 26.00 total t. oz.. [400/700] Illustrated

602

604

603

602

Early Victorian Sterling Silver Toast Rack, hallmarked London, 1847‑1848, by John Evans II, of canted rectangular form, the six-slot rack with seven wirework trefoil dividers (one lacking), with finial handle en suite and four acanthus scroll feet, h. 5‑3/8”, l. 6‑1/8”, w. 3‑3/4”, 7.42 t. oz. [400/700] Illustrated

Near-Pair of Edwardian Sterling Silver-Mounted Cut Glass Cologne Bottles, hallmarked Chester, 1899‑1900, the maker’s mark rubbed, and Birmingham, 1900‑1901, by Mitchell Bosley 605 & Co., each with a spherical canecut glass body with pierced rococo collar embossed with flowers and putti, with a hinged, flattened spherical cap en suite, monogrammed “GS”, h. 4”, dia. 3”. [400/700] Illustrated

605

Edwardian Sterling Silver-Mounted Molded and Engraved Glass Biscuit Barrel, hallmarked London, 1900‑1901, by William Comyns & Sons, the molded glass body of rounded square section engraved with rococo cartouches and fans, the top clad in an openwork floral-scroll silver collar, with domed lid and swing handle en suite, h. 7‑3/4” (9” with handle), w. 5‑1/4”. [300/500] Illustrated

606

English Silverplate and Glass Epergne, second half 20th century, by Royal Castle, Sheffield, in the Victorian taste, with a central waisted standard with squared knop and spherical finial, the finial with four scrolling arms separated by uprights en suite, with a large circular receptacle supported by the uprights and a small one at the end of each arm, holding one large and four small scalloped, hemispherical frosted and cut glass bowls, the whole raised on an ogee-domed base above four acanthus feet and decorated with rococo scroll banding, h. 13‑1/2”, w. 22”, d. 17‑1/4”. [1000/1500] Illustrated

604

603

Victorian Sterling Silver Mustard Pot, hallmarked Sheffield, 1852‑1853, by Henry Wilkinson & Co., of hexagonal form, the pierced sides decorated with entwined scrolls and beaded edges, the domed lid with fleur-de-lis billet, with double-scroll handle, fitted with a cobalt glass liner, h. 2‑3/4”, w. 2‑3/4”, l. 3‑3/4”, 3.67 t. oz. (excluding liner). [300/500] Illustrated 606

607

Pair of Matthew Boulton Old Sheffield Plate Wine Coolers, second quarter 19th century, each of campana form, the serpentine-lobed upper half with rocaille rim and acanthus-mounted handles, the domed foot lobed and banded en suite, with a detachable collar and liner, h. 10‑1/4”, dia. 9‑1/2”. [600/900] Illustrated

610

Pair of GeorgianStyle Sterling Silver Sauceboats and Ladles, hallmarked Sheffield, 1950‑1953, by Emile Viner Ltd., the sauceboats of traditional batteau form with shaped rim, pad feet and arched handle, decorated 609 with engraved laurel banding, l. 6”, w. 3‑1/2”, with a pair of “Old English” sauce ladles en suite, l. 5”, 8.60 total t. oz. [500/800] Illustrated

607

608

George VI Sterling Silver Inkstand, hallmarked London, 1937‑1938, by S. Blanckensee & Sons, Ltd., of canted and serpentine-sided rectangular form, with gadrooned rim and four lion’s paw feet, fitted with a pen tray and a pair of block glass inkwells with silver caps en suite, overall, h. 2‑1/4”, l. 10‑1/4”, w. 7‑1/4”, 28.43 total t. oz. (excluding glass inkwells). [700/1000] Illustrated

610

608

609

Pair of George V Sterling Silver Casters, hallmarked Birmingham, 1932‑1933, by A. Marston & Co., each with a pear-shaped body and cylindrical collar, the pierced, domed top with acorn finial, h. 8”, dia. 2‑3/4”, 12.55 total t. oz. [400/700] Illustrated 611

611

Chinese Rosewood and Marble Taboret Table, 19th century, the eight-lobed carved and molded table with an inset pink marble top, above carved legs and sides decorated with a scrolling floral motif, h. 32”, w. 24”. [800/1200] Illustrated

612

Pair of Chinese Export Rosewood Sidechairs, ca. 1890, with Queen Anne cabriole legs and a scrolling back and seat inlaid with mother-of-pearl flower decoration, h. 40‑1/8”. [350/500]

614

Chinese Rosewood Conjoined Stand, Qing Dynasty (1644‑1911), the stand with a shelf, h. 29‑1/2”, w. 13‑1/4”, l. 25”. [400/700]

615

Chinese Export Lacquered Box on a Later Stand, second quarter 19th century, the cover decorated with a teapot and a box of scrolls flanking a vase of flowers, h. 16‑1/2”, w. 15”, d. 15”. [300/500] Illustrated

616

Chinese Lacquer Box, 19th/20th century, with silver fittings, five large drawers, two shallow drawers and one with a built-in ink stone, h. 11”, w. 7‑7/8”, l. 13‑3/8”. [300/500]

617

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”. [500/800] Illustrated

618 613

613

Pair of Chinese Polychrome Wooden Stands, late 19th/ early 20th century, with cabriole legs, each table top decorated with a charming rendering of a pair of quail in a garden, h. 20”, w. 16‑1/2”, d. 16‑1/2”. [300/500] Illustrated

615

619

Chinese Red Lacquer and Hardwood Cabinet, fitted with a pair of doors decorated with a “Mountainous Landscape” scene, h. 70”, w. 49‑1/2”, d. 16”. [500/800]

617

620

623

621

624

Chinese Hardwood and Lacquer Cabinet, the case fitted with a pair of cupboard doors decorated with “Figures in a Garden” scenes, raised on block feet, h. 32”, w. 25‑1/2”, d. 13‑1/2”. [400/700] Illustrated Chinese Carved and Lacquered Credenza, the case fitted with three elaborately carved and giltaccented doors, raised on block feet, h. 36‑1/2”, w. 61”, d. 22”. [700/1000] Illustrated

Three Pieces of Chinese Carved Cinnabar, late 19th/ early 20th century, including a pair of small lidded ginger jars and a vase, all enameled with blue interiors, h. 5‑1/4” to 9”. [500/800]

622

Chinese Cinnabar Vase, 19th century, the dark red carved meiping vase depicting immortals in a garden, with a lacquered wood interior and underside, h. 21‑1/4”, dia. 8”. [300/500] Illustrated

Three Chinese Cinnabar Vases, 20th century, including a pair of red cinnabar lacquer vases depicting an arrangement of rocks and flowers across the body of each vessel, on carved and pierced wooden stands, and one smaller vessel, unmarked, h. 5‑1/4” and 10”, dia. 3” and 5”. [200/400]

627

625 626

Chinese Painted Canton Enamel Box, first quarter 20th century, decorated with a pattern of fruit, flowers and leaves, with a white enamel interior and small latched drawer, h. 1‑1/2”, w. 3‑1/8”, l. 5‑1/2”. [400/700]

626

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”. [400/700] Illustrated

620

100

621

629

627

Chinese Archaistic Bronze Vessel, Qing Dynasty (1644‑1911), the rectangular-bodied bronze with a flared lip, the underside with a sixcharacter mark, h. 21‑3/4”, w. 7”, l. 7”. [400/700] Illustrated

631

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

630

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”. [400/700]

628

Chinese Four-Panel Screen, 20th century, each panel of shadowbox form, and having carved hardstone inlaid scenes of birds and flowers, h. 72”, w. 72”. [250/400] Illustrated

629

631

Chinese Rose Quartz Figure of Guanyin, second quarter 20th century, on a molded brass base, now mounted as a lamp, base, h. 14”, overall, h. 24”, w. 6”, d. 4‑1/4”. [300/500] Illustrated 633

632

Chinese Carved Jade Figure of Guanyin, late 19th/early 20th century, the figure of a small child standing beside the Bodhisattva of Mercy, Guanyin holding a bottle while her young companion carries a pigeon, affixed to a carved wooden stand, overall, h. 7”, w. 3‑3/4”, d. 1‑3/4”. [300/500]

633

Pair of Chinese Fluorite Carvings, ca. 1900, depicting dragon fish rising from the cresting waves, each on a carved and pierced wooden stand, carving, h. 5‑3/4”, w. 6‑3/4”. [500/800] Illustrated

634

Pair of Cast Stone Foo Dogs, late 20th century, each snarling figure with its head turned in opposing directions, on a plinth base, h. 24”, w. 16”, d. 10‑1/2”. [200/400]

635

Pair of Chinese Antique Ivory Vases, Qing Dynasty (1644‑1911), the two round-bodied vessels each with a flared neck decorated with ruyi clouds and floral scrolls, and reserves depicting figures in a palace garden, h. 9‑1/4”, w. 4‑1/2”. [500/800] 628

101

636

Pair of Antique Ivory Figures, Qing Dynasty (1644‑1911), depicting an emperor and empress, each on horseback and holding a sword, unmarked, each with a carved wooden stand, h. 7‑3/8”, with stand 8‑3/4”, w. 2” to 2‑1/2”, l. 4‑5/8”, with stand 5”. [600/900]

637

Chinese Carved Antique Ivory Figure of a Musician, Qing Dynasty (1644‑1911), the elegant lady holding a stringed instrument, with an attached wood base, together with a fabriccovered box, overall, h. 10‑3/4”, w. 2‑1/2”. [500/800]

638

Chinese Carved Antique Ivory Group, Qing Dynasty (1644‑1911), the carriage with a canopy conveying an empress, with a seated coachman and two horses, displayed on a custom-fitted carved wooden stand, ivory, h. 10‑3/8”, l. 12‑3/4”, overall, h. 11‑3/4”. [1000/1500]

640

639

Antique Caucasian Carpet, 5’ x 9’. [800/1200]

640

Tabriz Carpet, 9’ 3” x 12’ 1”. [700/1000] Illustrated

641

Chinese Needlepoint Carpet, 9’ 10” x 13’ 3”. [400/700]

642

Turkish Angora Oushak Carpet, 8’ 1” x 10’. [700/100] Illustrated

643

Bokhara Carpet, 9’ 4” x 11’ 5”. [400/700]

644

Turkish Angora Oushak Runner, 2’ 8” x 29’ 7”. [700/1000] Illustrated

645

Semi-Antique Karaja Runner, 2’ 6” x 12’ 8”. [200/400]

642

102

647

644

649

646

Turkish Angora Oushak Carpet, 8’ 1” x 10’. [700/1000]

647

Wool and Silk Sarouk Carpet Fragment, ca. 1890, 10’ x 12’. [900/1200] Illustrated By oral tradition, this is a fragment of a palace-size rug that originally shipped to America on the RMS Lusitania.

648

Kilim Carpet, 3’ 3” x 6’ 5”. [400/700]

649

Semi-Antique Kerman Carpet, 11’ 8” x 16’ 1”. [400/700] Illustrated

103

Session II Sunday, August 24, 2015 10:00 a.m. Lots 1-649

653

Fourteen-Karat Yellow Gold Piano Charm Pendant with Chain, the piano charm with a hinged lid and suspended from a 3.0 mm rope chain, l. 25”, 34.8 grams total weight. [400/700]

654

Eighteen-Karat Yellow Gold, Opal and Diamond Pendant, the oval gold pendant with a large opal cabochon, with an approximate weight of 21.50 carats, surrounded by 139 pave-set cognac-colored round brilliant-cut diamonds, with an approximate total weight of 3.00 carats, finished with a fourteen-karat yellow gold bail, w. 1‑5/8”, 21.2 grams total weight. [350/500]

655

650

Group of Fourteen/Ten-Karat Yellow Gold, Diamond and Pearl Jewelry, including a flexible bypass ten-karat yellow gold bracelet set with six single-cut diamonds and two 7.0 mm pearls, with an approximate total diamond weight of 0.05 carats, a 7.0 mm pearl choker, l. 16”, a pair of fourteen-karat yellow gold and 8.0 mm pearl stud earrings, and a pair of fourteen-karat yellow gold and baroque pearl pendant earrings, 33.8 grams total weight. [300/500]

650

Collection of Fourteen-Karat Yellow Gold Jewelry, including a hollow flexible link bracelet set with fourteen single-cut diamonds, with an approximate total weight of 0.17 carats, l. 7‑3/4”, and four pairs of hoop earrings, l. 1”, 20.8 grams total weight. [400/700] Illustrated

651

Four Eighteen/Fourteen/Ten-Karat White/Yellow Gold and Diamond Crosses with Chains, including an eighteen-karat yellow gold cross with an eighteen-karat yellow gold chain, l. 17‑1/2”, a ten-karat yellow gold cross set with sixty-five single-cut diamonds, with an approximate total weight of 0.20 carats, with a fourteenkarat yellow gold rope chain, l. 15‑1/2”, a fourteen-karat white gold cross set with ten round brilliant-cut diamonds and sixteen diamond baguettes, with an approximate total weight of 0.25 carats, with a box-link chain, l. 16”, and a fourteen-karat yellow gold crucifix with a box chain, l. 16”, 18.8 grams total weight. [600/900]

652

Two Fourteen-Karat Yellow Gold Bracelets, the two hinged bangle bracelets accompanied by a flexible vermeil bracelet, bangles, inside circumference, 6‑5/8” and 6‑3/4”, vermeil bracelet, l. 7‑1/4”, 28.2 grams total weight. [400/700]

104

657

656

Fourteen-Karat Yellow Gold, Baroque Pearl and Rock Crystal Necklace, composed of cream/white pearls separated by gold roundels and faceted rock crystal beads, finished with a fourteen-karat yellow gold clasp, l. 28”. [300/500]

657

Fourteen-Karat Yellow Gold and Pearl Brooch with Stud Earrings, the brooch designed as a cluster of grapes and set with twenty round cultured pearls ranging in size from 6.3 mm to 7.8 mm, l. 2‑3/4”, together with a pair of screw clip pearl studs measuring 8.5 mm, 20.6 grams total weight. [300/500] Illustrated

658

Fourteen-Karat Yellow Gold and White Coral Necklace and Ear Clips, the hand-knotted necklace composed of sixty-seven 10.5 mm white coral beads and eight gold beads with a swirled design, finished with a fourteen-karat gold clasp, l. 32‑1/2”, and the ear clips bezel-set with an oval white coral cabochon measuring 16.0 mm x 21.0 mm, l. 7/8”. [400/700] Illustrated

659

658

659

Two Ethnic Tribal Amber Necklaces, the first a chain-link dark amber bead necklace with twenty-seven round amber beads measuring 9.0 mm to 28.0 mm in diameter, l. 30”, and the second composed of twenty-eight dark amber beads measuring 11.0 mm to 28.0 mm in diameter, separated by brass roundels, two brass pendants, two bear claws, a coin and opposing pendant, and with a large round pendant with chain-link tassels, l. 32”, with pendant, 38”. [600/900] Illustrated

660

Two Bakelite Necklaces, the first necklace composed of round graduated drum-shaped beads with a butterscotch amber color, measuring 13.5 mm to 29.0 mm in diameter, and the second necklace composed of round and oblong graduated drum-shaped beads with a butterscotch and cherry amber color, measuring 12.0 mm to 37.0 mm in diameter, l. 33” and 24”. [500/800]

661

Eighteen-Karat Yellow Gold, Coral and Diamond Ring, mounted with a bezel-set coral cabochon, with an approximate measurement of 19.0 mm x 25.0 mm, a heart set with single-cut diamonds on one side of the cabochon and two small tear-drops on the other side, one set with single-cut diamonds and one set with a small coral cabochon, with an approximate total diamond weight of 0.50 carats, size 8, 24.8 grams total weight. [400/700] Illustrated

5 0 1

662

Fourteen-Karat Yellow Gold and Red Coral Branch Necklace, composed of red coral branches separated by gold roundels and finished with a fourteen-karat yellow gold clasp, l. 18”. [300/500] Illustrated

664

662

Beautiful Fourteen-Karat Yellow Gold and Polished Tiger Eye Necklace, composed of 22.0 mm round, highly polished tiger eye beads separated by round gold beads and finished with a fourteen-karat gold hook clasp, l. 19”. [300/500] Illustrated

663

Le Vian Fourteen-Karat Rose Gold, Chocolate/White Diamond and Fire Opal Ring, the oval faceted fire opal, with an approximate weight of 1.00 carat, surrounded by a halo of fourteen white round brilliant-cut diamonds, and the mounting set with twenty chocolate round brilliantcut diamonds, with an approximate total diamond weight of 0.40 carats, size 7‑3/4, 5.6 grams total weight. [300/500] Illustrated

667

665

663

106

Two Vintage Judith Leiber Karung Bags, comprised of a shirred oxblood gate-frame handbag with bone decor, the interior with a zippered pocket and an opposing pair of slip pockets with a drop-in gold chain, the gold metal label stamped “Judith Leiber” in script, and a dust bag with “Judith Leiber New York” printed on the side, h. 8‑1/2”, w. 12‑1/2”, d. 4”, together with a chocolate fold-over clutch adorned with two semi-precious scarabs, opening to reveal a gold interior with a fold-over flap with zippered compartment and a larger compartment with a clip pocket and matching gold coin purse, removable snake strap and a gold metal label stamped “Judith Leiber” in script, h. 6”, w. 9‑1/4”, d. 2”, both retaining “Elizabeth Arden, New York Paris” labels. [400/700]

666

Collection of Five Lady’s Coach Quartz Wrist Watches, including a rectangular stainless steel watch with a black leather band, a round stainless steel watch engraved with a “C” logo in the bezel with a black leather band, a goldtone rectangular case watch with a “C” logo engraved in the bezel with a black leather band, a gold-tone round case watch with a gold-tone band, and a gold-tone rectangular watch and band, l. 6” to 7‑1/2”. [400/700]

667

Group of Four Vintage Leather Designer Handbags, comprised of a Lanvin convertible shoulder bag/clutch in faux crocodile with calfskin interior, the chain with a central plate marked “Lanvin” and the interior with a gold Lanvin plaque, h. 7‑1/2”, l. 12‑1/2”, a Bally quilted aqua handbag adorned with a gilt-metal elephant with a pearl at its trunk, h. 6‑1/4”, l. 10”, a Bally quilted ivory bag with a gilt-metal hasp centered by a “B”, h. 5‑3/4”, l. 9‑1/2”, and a Didier Lamarthe black snakeskin-embossed clutch with a labeled gilt-metal armorial clasp, h. 5‑1/8”, l. 7”. [300/500] Illustrated

668

Fourteen-Karat White Gold and Carved Aquamarine Necklace, composed of carved aquamarine beads separated by curved white gold tubes and finished with a white gold clasp, l. 16‑1/2”, 6.1 grams total weight. [300/500] Illustrated

669

670

669

Armenta Teal Caiman Envelope Clutch, fronted with a jeweled medallion, opening to an unlined interior with a half-gusseted slip pocket and zippered pocket, the flap with the gilt-brass “Armenta” label, h. 6‑1/4”, w. 12‑1/4”, d. 1”. [400/700] Illustrated

670

Fourteen-Karat White Gold and Green Amethyst Necklace, composed of graduated, faceted leaf-shaped beads, finished with a fourteen-karat white gold clasp, l. 17”. [300/500] Illustrated

668

107

671

Fourteen-Karat Yellow Gold, Sterling Silver and Seafoam Green Quartz Jewelry Suite, including a two-tone ring set with a faceted cushion-shaped quartz, with an approximate weight of 12.0 carats, size 6‑3/4, a two-tone pendant set with a faceted cushion-shaped quartz, with an approximate total weight of 9.00 carats, and six singlecut diamonds, with an approximate total weight of 0.02 carats, suspended from an 18” sterling silver chain, and a pair of pendant earrings each with a faceted pear-shaped quartz, with an approximate weight of 8.00 carats each, l. 5/8”, 31.2 grams total weight. [300/500] Illustrated

671

675

Fourteen-Karat White Gold and Diamond Necklace, the pendant with a cluster of seven round brilliant-cut diamonds, with an approximate total weight of 0.40 carats, suspended from a 16” chain, 2.5 grams total weight. [400/700] Illustrated

672

Le Vian Fourteen-Karat White Gold and Diamond Ring with a Pair of Eighteen-Karat White Gold and Diamond Ear Clips, the ring set with thirty-seven round brilliant-cut diamonds and twenty-one diamond baguettes, size 6‑3/4, together with a pair of button domed ear clips, each set with four princess-cut diamonds and twenty-four round brilliant-cut diamonds, l. 3/8”, with an approximate total diamond weight of 1.75 carats for all items, 14.6 grams total weight. [600/900]

673

Sterling Silver and Diamond Dangle Earrings, ca. 1840’s, the earrings set with rose-cut diamond slices, with an approximate total weight of 2.00 carats for the pair, l. 3”, 21.0 grams total weight. [1800/2500]

674

Pair of Fourteen-Karat White Gold and Diamond Stud Earrings, each earring with an open basket mounting, and set with a round brilliant-cut diamond weighing approximately 0.50 carats, with an approximate total diamond weight of 1.00 carat for the pair, approximate color H and clarity I2, 0.8 grams total weight. [500/800]

108

678

676

Pair of Fourteen-Karat White Gold and Diamond Hoop Earrings, each hinged hoop earring set with eleven round brilliant-cut diamonds on the outside half of the loop and nine diamonds on the inside half of the loop, with an approximate total diamond weight of 1.00 carat for the pair, l. 1”, 3.2 grams total weight. [300/500]

677

680

677

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. [3000/5000] Illustrated

678

Platinum and Diamond Brooch, the circular-designed brooch set with thirty-two round brilliant-cut diamonds, with an approximate total weight of 1.60 carats, dia. 1‑1/4”, 4.5 grams total weight. [800/1200] Illustrated

Fourteen-Karat White Gold, Diamond and Sapphire Ring, set with twenty round brilliantcut diamonds, with an approximate total weight of 0.20 carats, and three oval faceted sapphires, with an approximate total weight of 0.50 carats, size 7, 5.9 grams total weight. [400/700] Illustrated

680

681

Platinum, Diamond and Sapphire Art Deco Ring, set with a European-cut diamond, with an approximate weight of 0.20 carats, a round brilliant-cut diamond, nine single-cut diamonds and four faceted lozenge-shaped sapphires, with an approximate total diamond weight of 0.35 carats, size 6‑3/4, 3.9 grams total weight. [400/700] Illustrated

679

Pair of Fourteen-Karat White Gold, Diamond and Black Onyx Earrings, each stirrup-designed earring set with four round brilliant-cut diamonds and two round 3.0 mm black onyx cabochons, with an approximate total weight of 0.10 carats for the pair, l. 1‑1/4”, 7.8 grams total weight. [300/500] Illustrated

681

109

682

Dunhill Art Deco Sterling Silver Alarm Clock, in a molded case with guilloche trim, surmounted by a looped stopper, the dial signed, and marked “925” on the reverse, h. 4”, dia. 3‑1/4”. [400/700]

685

683

684

Vintage Cartier Gilt-Brass and Enamel Travel Clock, with a hinged top and signed dial, manual wind, h. 2‑1/2”, w. 2‑1/4”. [500/800] Illustrated

683

Eighteen-Karat Yellow Gold, Blue Enamel and Diamond Flower Pin, the blue and green enameled pin set with twelve round-cut diamonds, with an approximate total weight of 0.70 carats, approximate color H-I and clarity VS2‑SI1, stamped “Coleman Adler”, l. 1‑1/2”, 28.0 grams total weight. [400/700] Illustrated

687

685

Unusual Fourteen-Karat White Gold and Bi-Color Polished Stalactite Slice Necklace, composed of graduated polished slices of dyed bi-color stalactites, finished with a fourteen-karat white gold clasp, l. 15”. [300/500] Illustrated 684

110 8

686

Vintage Verdura Faux Marble Travel Clock, on ball feet, manual wind, the dial signed, h. 2”, w. 2‑1/4”. [400/700]

687

Pair of Fourteen-Karat Yellow Gold, Peridot and Diamond Earrings, each earring set with a faceted cushion-shaped peridot, with an approximate total weight of 1.50 carats, and two single-cut diamonds, with an approximate total weight of 0.01 carat for the pair, l. 1/2”, 3.6 grams total weight. [300/500] Illustrated

688

Pair of “Esteram” Fourteen-Karat Yellow Gold and Peridot Ear Clips, the round yellow gold discs with applied gold beads and twisted wire rope, each set with an approximate 1.50‑carat peridot with a cabochon crown and faceted pavilion, dia. 3‑1/4”, 10.2 grams total weight. [200/400] Illustrated

690

691

Fourteen-Karat Yellow Gold and Lavender Jade Ring, the free-flowing mounting set with a large oval lavender jade cabochon measuring 21.0 mm x 29.5 mm, size 5, 28.8 grams total weight. [1200/1800]

688

689

Eighteen-Karat White Gold, Citrine, Diamond, Garnet and Ruby Ring, composed of a square-cut citrine, with an approximate weight of 11.90 carats, flanked on either side by a dragonfly mounted with seventy-three green garnets, with an approximate weight of 0.373 carats, seventy-seven round-cut diamonds, with an approximate total weight of 1.09 carats, color G-I and clarity SI1‑SI2, and fifty-five rubies, with an approximate total weight of 0.55 carats, size 7‑1/4, 22.0 grams total weight. [300/500] Illustrated

690 689

Black, Starr and Frost Sterling Silver Travel Clock, second quarter 20th century, the dial and case signed, marked “Sterling”, the case chased with arabesque scrolls centering an engraved monogram, raised on a braided foot rim, manual wind with an easel back, h. 2‑3/4”, w. 3‑1/4”. [500/800] Illustrated

692

Fourteen-Karat Yellow Gold and Ametrine Necklace, composed of polished leaf-shaped ametrine beads, ranging in length from 22.0 mm to 34.0 mm, separated by gold tube beads and finished with a fourteen-karat gold clasp, l. 16”. [300/500] Illustrated

111

693

Pair of EighteenKarat Yellow Gold and Amethyst Pendant Earrings, the open gold hoop earrings each with a large Jacobean-style pendant terminating in a pear-shaped amethyst cabochon, l. 2‑1/2”, 12.4 grams total weight. [200/400] Illustrated

693

694

Striking FourteenKarat Yellow Gold and Amethyst Necklace, composed of 1400.0 carats of faceted free-form amethyst beads, finished with a fourteen-karat yellow gold toggle clasp, l. 17”, 287.4 grams total weight. [300/500] Illustrated

695

697

Pair of Fourteen-Karat Yellow Gold, Garnet, Peridot and Blue Topaz Ear Clips, each ear clip set with four round faceted blue topazes, two round faceted garnets and two round faceted peridots, l. 1”, 9.9 grams total weight. [300/500] Illustrated

694 697

695

Victorian Fourteen-Karat Yellow/Green Gold, Garnet and Pearl Brooch, the two-tone gold brooch with a drop pendant with applied green gold leaves, and set with two seed pearls and three square table-cut garnets, with an approximate total weight of 1.80 carats, the drop set with a square table-cut garnet, with an approximate weight of 0.75 carats, h. 2‑1/4”, w. 1‑1/2”, 9.2 grams total weight. [300/500] Illustrated

696

Vintage Fourteen-Karat Yellow Gold, Carved Ruby, Carved Sapphire and Diamond Ring, ca. 1950, set with a central carved treated ruby cabochon, surrounded by leaf-carved and faceted sapphires and fifteen single-cut diamonds, with an approximate total weight of 0.19 carats, size 8, 17.0 grams total weight. [1500/2500]

112

698

Le Vian Fourteen-Karat Yellow Gold and Multi-Colored Sapphire and Ruby Bracelet, set with eighteen round faceted blue sapphires, seventeen round faceted rubies and seventeen round faceted yellow sapphires, with an approximate total weight of 2.00 carats, l. 7‑3/4”, stamped with the Le Vian logo, 7.4 grams total weight. [300/500]

699

Fourteen-Karat Yellow Gold and Diamond Necklace, the serpentine link chain with a bypass design pendant set with seventeen round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, stamped “Jose Hess, 14K”, l. 18”, 11.8 grams total weight. [900/1200] Illustrated

701 699

702 700

Pair of Fourteen-Karat Yellow Gold and Diamond Earrings, each earring set with twenty-two round brilliantcut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 7/8”, 7.4 grams total weight. [400/700] Illustrated

Two Pairs of Fourteen-Karat Yellow Gold and Diamond Earrings, comprising one pair of hinged hoop earrings, each set with thirty-one single-cut diamonds, with an approximate total diamond weight of 0.20 carats for the pair, and a pair of hinged hoop two-tone earrings, l. 1/2”, 4.7 grams total weight. [300/500]

703

700

701

Le Vian Fourteen-Karat Yellow Gold and Diamond Ring, set with twenty-two round brilliant-cut diamonds and five baguette-cut diamonds, with an approximate total weight of 1.00 carat, stamped “Le Vian”, size 7‑1/4, 4.7 grams total weight. [400/700] Illustrated

703

Eighteen-Karat Yellow Gold and Diamond Pendant with Chain, the fleur-de-lis pendant pave-set with thirty-three round brilliant-cut diamonds, with an approximate total weight of 0.12 carats, suspended on a 16” chain, 4.2 grams total weight. [300/500] Illustrated

113

706

705

704

Fourteen-Karat Yellow Gold and Diamond Ring, the ribbon-designed ring set with approximately eighty-four single-cut diamonds and fifty-six diamond baguettes, with an approximate total weight of 1.25 carats, size 7, 4.9 grams total weight. [600/900] Illustrated

707

Fourteen-Karat Yellow Gold and Diamond Jewelry Suite, including a fold-over design ring set with a mix of eighteen tapered diamond baguettes and straight baguettes, size 7, and a pair of earrings each set with a mix of seventeen tapered diamond baguettes and straight baguettes, l. 5/8”, with an approximate total diamond weight of 1.75 carats for the suite, 9.3 grams total weight. [400/700] Illustrated

704 707

705

Fourteen-Karat Yellow Gold and Chocolate/White Diamond Earrings, each ear clip set with ten round brilliant-cut chocolate diamonds, eight white diamond baguettes and four white brilliant-cut diamonds, with an approximate total diamond weight of 1.00 carat for the pair, l. 1/2”, 5.4 grams total weight. [500/800] Illustrated

706

Fourteen-Karat White/Yellow Gold and Moissanite Ring, the custom-designed, two-tone ring channel-set with a round faceted moissanite with an approximate weight of 1.00 carat, size 7, 15.8 grams total weight. [600/900] Illustrated

114

708

Fourteen-Karat Yellow Gold and Diamond Bracelet, the flexible “X” link design bracelet set with forty-five round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, l. 7”, 18.8 grams total weight. [400/700]

709

Fourteen-Karat Yellow Gold and Citrine Necklace, composed of large polished citrine stones separated by round gold beads and finished with a fourteen-karat yellow gold clasp, l. 19”. [300/500] Illustrated

712

Ten-Karat Yellow Gold and Diamond Bracelet with a Fourteen-Karat Yellow Gold and Diamond Ring, the flexible bracelet set with 123 single-cut diamonds, l. 7‑1/8”, and the ring set with eighteen single-cut diamonds and six round brilliant-cut diamonds, size 8‑1/4, with an approximate total diamond weight of 1.25 carats for both, 13.8 grams total weight. [400/700]

709

710

Steuben “Bubble” Glass Strawberry Necklace, 20th century, American, on a 24” braided gold chain, in its original stamped Morocco presentation case, pendant, h. 1‑3/4”, dia. 1‑1/4”. [500/800] Illustrated 713

713

Fourteen-Karat Yellow Gold and Diamond Ring, set with seven marquise-cut diamonds, with an approximate total weight of 0.75 carats, size 7‑1/2, 3.6 grams total weight. [500/800] Illustrated

710

711

Ten-Karat Yellow Gold and Diamond Ring, set with a round brilliant-cut diamond and fourteen single-cut diamonds, with an approximate total weight of 0.20 carats, size 7‑3/4, 4.2 grams total weight. [500/800] Illustrated

711

115

714

Pair of Fourteen-Karat Yellow Gold and Diamond Earrings, the hinged hoop earrings each set with seven round brilliant-cut diamonds, with an approximate total weight of 0.15 carats for the pair, l. 5/8”, 9.1 grams total weight. [300/500] Illustrated

716

714

715

Fourteen-Karat White/Yellow Gold and Diamond Bracelet, the spring-loaded flexible bracelet set with eight round brilliant-cut diamonds, with an approximate total weight of 0.08 carats, 16.4 grams total weight. [400/700] Illustrated

Three Fourteen-Karat Yellow Gold and Diamond Crosses with Chains, the first example set with seventeen round brilliant-cut diamonds, with an 18” box-link chain, the second example set with three round brilliant-cut diamonds, with an 18” box-link chain, and the third example set with eleven round brilliant-cut diamonds and eleven tapered diamond baguettes, with a 15‑3/4” rope chain, with an approximate total diamond weight of 0.80 carats for the trio, 10.2 grams total weight. [800/1200] Illustrated

717

715

116

Le Vian Eighteen-Karat Rose Gold, Diamond and Ruby Ring, the wide rose gold band set with thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, and forty-one round faceted rubies, with an approximate total weight of 0.13 carats, stamped “Le Vian”, size 7‑1/2, 9.9 grams total weight. [600/900] Illustrated

718

Le Vian Fourteen-Karat Rose Gold, Diamond and Pink Sapphire Brooch/Pendant with Chain, the brooch/ pendant set with a .02‑carat round brilliant-cut diamond and six round faceted pink sapphires, with an approximate total weight of 0.35 carats, stamped with the Le Vian logo, suspended on a fourteen-karat yellow gold box-link chain, l. 17‑1/2”, 4.5 grams total weight. [300/500]

721

719

Fourteen-Karat Rose Gold, Raspberry Garnet and Diamond Ring, the mounting set with a cushion faceted garnet, with an approximate weight of 2.00 carats, and sixty-eight round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, size 7‑3/4, 5.1 grams total weight. [600/900]

722

Seven-Piece Collection of Fourteen/Ten-Karat Yellow Gold Jewelry, including four pairs of fourteen-karat gold hoop earrings, l. 1/2”, a hollow fourteen-karat gold band, size 8, a hollow ten-karat gold bracelet, l. 7‑1/2”, and a pair of ten-karat gold hoop earrings, l. 3/4”, 19.8 grams total weight. [300/500]

720

723

720

Fourteen-Karat White Gold, Diamond and Ruby Pendant with Chain, the leaf-designed pendant set with twentyeight round brilliant-cut diamonds, with an approximate total weight of 0.10 carats, and thirty-eight round faceted rubies, with an approximate total weight of 0.70 carats, suspended from a 16” chain, 4.5 grams total weight. [300/500] Illustrated

721

Frey Wille Eighteen-Karat Yellow Gold Plate and Enamel Bracelet and Matching Ear Clips, the wide hinged cuff bracelet with the “Spiral of Life” design in colored fire enamel, inside circumference, 6‑3/4”, with matching ear clips, l. 3/4”, all stamped “Frey Wille” and with their original boxes. [500/800] Illustrated

723

Phillip Gavriel Sterling Silver, Eighteen-Karat Yellow Gold, Diamond and Sapphire Ring and Necklace, the fleur-de-lis-designed ring set with twenty-one round brilliant-cut diamonds and thirty-one round faceted black sapphires, size 7, with a matching pendant suspended from an 18” chain, and set with twenty-one round brilliant-cut diamonds and thirty black sapphires, with an approximate total diamond weight of 0.20 carats and black sapphire weight of 0.28 carats for both pieces, 11.4 grams total weight. [300/500] Illustrated

117

724

Fourteen/Eighteen-Karat Yellow Gold, Black Onyx and Diamond Pendant, the oval-shaped pendant composed of black onyx and pave-set with sixty single-cut diamonds, with an approximate total weight of 1.19 carats, approximate color E-F and clarity VVS2‑VS1, l. 3”, 20.0 grams total weight. [800/1200]

728 726

727

725

Pair of Eighteen-Karat Yellow Gold, Sterling Silver, Black Onyx and Mabe Pearl Konstantino Earrings, each pendant earring set with a 10.0 mm x 15.0 mm pear-shaped faceted black onyx stone and a round 5.0 mm mabe pearl, stamped “Konstantino, 750, 925”, l. 1‑1/2”, 10.8 grams total weight. [300/500]

Vacheron Eighteen-Karat Yellow Gold, Enamel and Diamond Pocket Watch Case, the black enamel hunter case set with seventeen rose-cut diamonds, with an approximate total weight of 0.25 carats, the inside curvette marked “Vacheron, Geneve, N-49868, Patent Lever, Thirteen Jewels”, dia. 39.00 mm, 22.4 grams total weight. [400/700] Illustrated

728 727

Fourteen-Karat Yellow Gold and Chocolate/White Diamond Pendant with Chain, the double row teardropshaped pendant set with approximately thirty-eight single-cut diamonds and nineteen chocolate round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, suspended from a 16” box-link chain, 5.3 grams total weight. [400/700] Illustrated

729

726

Three Fourteen-Karat Yellow Gold Bracelets, the three hollow link bracelets all made in Italy, l. 7‑1/2”, 8” and 8‑1/2”, 24.8 grams total weight. [500/800] Illustrated

118

Pair of FourteenKarat Rose Gold and Champagne/White Diamond Earrings, each pendantdesigned earring set with thirty-two champagne-colored round brilliant-cut diamonds and thirtyseven white round brilliant-cut diamonds, with an approximate total diamond weight of 1.00 carat for the pair, l. 1‑1/4”, 8.0 grams total weight. [300/500] Illustrated

729

730

Le Vian Fourteen-Karat Yellow Gold and White/ Chocolate Diamond Pendant with Chain, the “kitty”-designed pendant pave-set with sixty-six chocolate round brilliant-cut diamonds and five white brilliant-cut diamonds, 731 suspended from a 16” chain segmented by ten round brilliant-cut diamonds, with an approximate total diamond weight of 0.75 carats for both pieces, stamped “Le Vian”, 4.5 grams total weight. [400/700]

731

Gentleman’s Ten-Karat Yellow Gold and Cognac/White Diamond Ring, the mounting set with twenty-two cognaccolored round brilliant-cut diamonds surrounded by a halo of thirty-two white round brilliant-cut diamonds, with an approximate total diamond weight of 0.75 carats, size 10‑1/2, 7.1 grams total weight. [600/900] Illustrated

732

734

Fourteen-Karat Rose/Yellow Gold and Diamond Jewelry Suite, including a rose gold ring set with sixty-two single-cut diamonds and thirty-two round brilliant-cut diamonds, and a pair of yellow gold earrings set with thirty white single-cut diamonds and ten chocolate round brilliant-cut diamonds, l. 1/2”, with an approximate total diamond weight of 1.00 carat for all pieces, 8.3 grams total weight. [800/1200] Illustrated

733

Ten-Karat Yellow Gold and Diamond Earrings, each pearshaped earring set with approximately sixty-nine singlecut diamonds and thirty-nine baguette-cut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 3/4”, 4.3 grams total weight. [400/700]

734

Fourteen-Karat White Gold and White/Champagne Diamond Jewelry Suite, including a pair of hinged hoop earrings, each set with twenty-four white single-cut diamonds and seven champagne round brilliant-cut diamonds, l. 1/2”, and a pendant set with twenty-four white round brilliant-cut diamonds and seven champagne round brilliant-cut diamonds, suspended from a 16” chain, with an approximate total diamond weight of 1.00 carat for all pieces, 8.9 grams total weight. [600/900] Illustrated

735

Sterling Silver and Eighteen-Karat Gold and Diamond Jewelry Suite, including a pair of domed button earrings set with twenty-five single-cut diamonds, signed “EFFY”, l. 5/8”, and a necklace with a heart pendant set with twenty-two round brilliant-cut diamonds, l. 18”, with an approximate total diamond weight of 0.50 carats for both, 66.5 grams total weight. [300/500] Illustrated

119

736

Two Bixby Sterling Silver and Eighteen-Karat Yellow Gold and Diamond Bracelets, including a cable bracelet with a round brilliant-cut diamond set in the clasp, l. 7‑3/4”, and a bracelet with a toggle clasp set with nine round brilliantcut diamonds, with an approximate total diamond weight of 0.08 carats for both, l. 8‑1/4”, stamped “Bixby”, 77.5 grams total weight. [300/500]

737

Three-Piece Italian Eighteen-Karat Yellow Gold Jewelry Suite, including two pairs of huggie hoop earrings, l. 3/4”, and a hollow link bracelet, l. 7‑3/4”, 18.2 grams total weight. [400/700]

738

Collection of Ten/Fourteen-Karat Yellow Gold Jewelry, including five pairs of hoop earrings, l. 1”, and a ten-karat yellow and rose gold bracelet with a fourteen-karat gold clasp, l. 7”, 32.6 grams total weight. [500/800]

739

Three-Piece FourteenKarat Yellow Gold Jewelry Suite, including a fleurde-lis pendant suspended from a 20” chain, a “tree of life” pendant suspended from an 18” box-link chain, and a pair of twotone reversible hoop earrings, l. 1/2”,16.0 grams total weight. [300/500]

740

Sterling Silver and Fourteen-Karat Yellow 745 Gold Bracelet, the David Yurman-inspired cable-designed cuff bracelet marked “925, 585”, inside circumference, 6‑1/2”, 27.0 grams total weight. [300/500]

741

John Hardy Sterling Silver and Eighteen/Twenty-TwoKarat Yellow Gold Jewelry Suite, including a pair of sterling and twenty-two-karat hammered gold earrings, l. 3/4”, a sterling and eighteen-karat gold “dot”-designed bracelet, and a cross with a 20” chain, all marked “John Hardy”, 58.0 grams total weight. [300/500]

742

Eighteen-Karat Yellow Gold, Sterling Silver and Diamond Ring and Earrings, the ring pave-set with twenty-one single-cut diamonds, with an approximate total weight of 0.07 carats, signed “EFFY”, size 7‑1/2, and each hinged hoop earring set with seven single-cut diamonds, with an approximate total weight of 0.05 carats for the pair, l. 7/8”, 20.0 grams total weight. [400/700]

120

746

743

Group of Fourteen-Karat White Gold Jewelry, including two pairs of hoop earrings, l. 7/8”, a bracelet, l. 7‑1/4”, and a chain, l. 17”, 15.2 grams total weight. [300/500]

744

Collection of Sterling Silver and Marcasite Jewelry, including a large silver and marcasite eagle brooch set with a garnet eye, 2‑5/8” x 3‑1/2”, a silver leaf brooch set with marcasite, 2‑1/8” x 2‑1/4”, a large silver floral marcasite brooch, 3‑1/2” x 4”, a large silver dragonfly marcasite brooch with moveable wings, 3‑1/4” x 2‑3/4”, a silver beetle brooch set with carnelian, black onyx, green quartz, mother-of-pearl and marcasite, 2‑1/4” x 2‑1/4”, a pair of silver and marcasite ribbon-designed ear clips, l. 1”, and a large silver, amethyst and marcasite locket necklace, l. 30”, 260.6 grams total weight. [300/500]

745

Mexican Retablo of “Our Lady of Guadalupe”, fourth quarter 19th century, oil on tin, 7” x 5”. Unframed. [400/700] Illustrated

746

South American School (20th Century), “Warrior Saint on Horseback”, oil on canvas, 25‑1/2” x 17‑3/4”. Framed. [600/900] Illustrated

749

Continental School (19th Century), “Madonna and Child”, in the Italian Renaissance style, oil on canvas, unsigned, 30‑1/4” x 22‑1/4”. Framed. [700/1000] Illustrated

747

Italian School (Fourth Quarter 18th Century), “Descent from the Cross”, oil on canvas, unsigned, 34” x 40‑1/4”. Framed. [800/1200] Illustrated

749

750

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”. [400/700] Illustrated 748

748

Follower of Pietro da Cortona (Italian, 1596/7‑1669), “Mystic Marriage of St. Catherine”, oil on canvas, illegibly signed and further inscribed “d’apres da Cortona”, 32” x 24”. Framed. [600/900] Illustrated

750

751

Continental Needlework Roundel Depicting Jesus Christ, 17th/18th century, mounted on a red velvet back with silver passementerie trim, and mounted in a leaf-carved giltwood frame, h. 14‑3/4”, w. 18‑1/4”. [300/500]

121

752

American Turned Giltwood Ballroom Armchair, fourth quarter 19th century, h. 33‑3/4”, w. 17‑1/2”, d. 15‑1/2”. [250/400] Illustrated

755

752

753

Bohemian Cranberry-Plated Glass Bowl, fourth quarter 19th century, with a cut crenellated rim and decorated with enameled birds and butterflies, h. 3‑1/4”, dia. 8‑3/4”. [300/500] Illustrated

755

American Walnut-Stained Drop-Front Secretary Bookcase in the Modern Gothic Taste, fourth quarter 19th century, the upper section with a pair of paned doors above the fall-front desk with a fitted interior, the lower portion with a pair of drawers above paneled doors, h. 94”, w. 39”, d. 23”. [800/1200] Illustrated

756

Group of Four Matching Giltwood Frames, in the aesthetic taste, h. 26”, w. 21”. [300/500]

757 753

754

Fourteen-Piece Carlsbad, Austria, Transfer-Printed Fish Set, ca. 1900, including a platter, l. 20‑1/4”, twelve plates, dia. 8‑1/4”, and a sauceboat with an integral stand, h. 4‑1/2”, l. 8‑1/4”. [300/500]

122

Tiffany-Retailed Bronze and Marble Clock in the Persian Taste, fourth quarter 19th century, French, the architectural clock resembling a portion of a mosque with a marble base set with slender columns supporting the clockworks, below a bronze parapet around an Islamic dome decorated with flowers and scrollwork and roundels of figures, the enamel dial marked “Tiffany & Co., New York”, h. 20”, w. 7‑1/2”, d. 6‑1/4”. [1500/2500] Illustrated

761

758

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. [1400/1800] Illustrated

757

Fifteen-Piece Group of American Brilliant-Cut Glass, including a bowl, five small trays and an assortment of dishes, all cut in various diamond and star patterns with sawtooth rims, l. 4‑1/2” to 11‑3/4”. [600/900] Illustrated

761

759

Pair of American Elizabethan Revival Walnut Armchairs, third quarter 19th century, probably Philadelphia, each with a foliate-carved crest centered by a cartouche, the open arms terminating with shell-carved spheres on twist-turned supports, the legs and stretchers with like barley-twist turnings, the rear side adorned with ebonized incising, h. 40‑3/4”. [400/700]

762

Set of Eight Hawkes Barcroft Cut Crystal Dessert Bowls, 20th century, American, with the engraved Hawkes mark, h. 2‑1/4”, dia. 4‑1/2”. [300/500]

763

American Molded Glass Punch Bowl, Tray and Punch Cups, 20th century, in the “St. Genevieve” pattern, the punch bowl on a matching tray, together with twelve punch cups in various patterns, bowl, h. 8”, dia. 22‑1/2”. [300/500]

764

Assembled American Pressed Glass Punch Set, first quarter 20th century, the bowl and matching stand on a tray with twelve cups of various patterns, h. 15‑1/2”, dia. 23”. [300/500] Illustrated

765

American Blown Glass Apothecary Display Bottle, 19th century, composed of two tiers with a stopper, with applied rings and a pontil mark on the base, h. 34‑1/2”, dia. 8”. [800/1200] Illustrated

764

758

760

Unusual American Horn and Armadillo Lamp, 20th century, the fur-trimmed horn frame set with an armadillo shell shade concealing the light socket, h. 22”, w. 16‑1/2”, d. 12‑1/2”. [300/500] Illustrated

760

123

767

Exceptional Haviland Art Pottery Impressionist Jardiniere, fourth quarter 19th century, Limoges, France, possibly decorated by either Ernest Chaplet or Edouard Dammouse, the cobalt-ground pot decorated with luminous flowers and supported on an aesthetic gilt-brass base resting on feet in the form of mythological Japanese monsters, with prunus and peonies supporting the pot, the bottom with a mustard-yellow glazed and impressed: “Haviland and Co./Limoges/76/1”, purportedly displayed in William H. Vanderbilt’s “Japanese Room” in his New York mansion, h. 21‑1/2”, dia. 25”. [7000/10000] Illustrated

766 Part of a Ten-Piece Set

767 766 Part of a Ten-Piece Set

768

American Brass, Gilt-Metal and Onyx Piano Lamp, fourth quarter 19th century, on cabriole legs, h. 46‑1/2”, w. 15”, d. 15”. [300/500] Illustrated

769

American Brass, Gilt-Metal and Onyx Piano Lamp, fourth quarter 19th century, on cabriole legs, h. 52”, w. 12”, d. 12”. [300/500] Illustrated 766 Part of a Ten-Piece Set

766

Ten-Piece American Late Victorian Quarter-Sawn Oak Dining Set, fourth quarter 19th century, attributed to R. J. Horner Furniture Co., New York, comprised of a circular extension dining table with two 12” skirted leaves and seven 8‑1/2” non-skirted leaves, h. 30”, dia. 60”, a sideboard with beveled mirror, h. 59”, w. 72‑1/2”, d. 26‑1/2”, a china closet with a central curved glass door, h. 64‑1/2”, w. 52”, d. 17”, a server with a carved backsplash, h. 47‑1/2”, w. 48‑1/2”, d. 22”, four sidechairs, h. 39”, and two armchairs, h. 40‑1/2”. [2000/4000] Illustrated

124

768

769

770

Arts and Crafts Hand-Hammered Silvered Iron SixLight Chandelier, early 20th century, the suspended ring fitted with six torcheres, electrified, h. 31”, dia. 29‑1/4”. [600/900]

772

773

Thirty-Six Franklin Press Decorative Quarter Leather Bindings, Franklin Center, Pennsylvania, 1977‑1982, from their Heirloom Library series, in quarter leather on matching cloth, the spines with raised bands with gilt lettering and decoration, with marbled endpapers, the edges cut and gilt, various quarto sizes. Detailed list of authors and titles available on request. [350/500] Illustrated

775

771

Set of Four Arts and Crafts Parcel-Argente Iron Two-Light Sconces, second quarter 20th century, with “hammered” surfaces and rectangular backplates, previously electrified, h. 14”, w. 12‑3/4”, d. 8”. [350/500]

774

Late Victorian Leaded and Stained Glass Window, late 19th century, the swags adorned with faceted ruby glass jewels, h. 39‑1/2”, w. 39‑1/2”. [500/800] Illustrated

773

774

772

Fifty-Three Franklin Press Decorative Full Leather Bindings, Franklin Center, Pennsylvania, 1977‑1982, from their Collected Stories of the World’s Greatest Writers series, in full leather with gilt-stamped decoration, the spines with raised bands, with moire endpapers, the edges cut and gilt, various quarto sizes. Detailed list of authors available on request. [600/900] Illustrated

775

Polychrome Carved Carousel Horse, ca. 1900, the steed fitted with a hair tail, glass eyes and shaped saddle, on a later ebonized base, horse, h. 44‑1/2”, w. 43‑1/2”, d. 12”. [800/1200] Illustrated

125

776

John Edmund Califano (American, 1862‑1946), “By the Shore”, oil on canvas, signed lower right, sight 7‑3/4” x 10‑1/2”. Framed. [700/1000] Illustrated

782

780

American School (20th Century), “Rocky Outcrop”, oil on canvas, in the style of Charles Gruppe (American, 1860‑1940), signed lower left, 10” x 13‑1/2”. Framed. [500/800] 776

777

Herschede Mahogany Tall Case Clock, 20th century, American, with beveled glass doors and fluted corner columns, h. 86‑1/2”, w. 24”, d. 15‑1/2”. [500/800] Illustrated

777

784

778

Gilt-Metal Floor Lamp, with a stained glass shade, h. 72”, dia. 10‑3/4”. [200/400]

779

Patinated Metal and Stained Glass Lamp Depicting “The Peacock Complaining to Juno”, first or second quarter 20th century, with a lighted stained glass tail, h. 26‑1/2”, w. 8”, d. 7‑1/2”. [1200/1800]

780

American School (Fourth Quarter 19th Century), “Landscape with Lakeside Cabin and a Figure in a Boat”, 1899, oil on canvas, signed and dated lower right, 20” x 30”. Handsomely framed. [800/1200] Illustrated

781

American School (20th Century), “Sunset, Crashing Waves”, oil on canvas, in the style of Charles Gruppe (American, 1860‑1940), signed lower right, 10” x 13‑1/2”. Framed. [500/800]

126

783

Shearwater Pottery Melon-Form Vase, mid-20th century, Ocean Springs, Mississippi, glazed in an antique green, from a Peter Anderson design, impressed “Shearwater” on the base, h. 6‑3/4”, dia. 3‑3/4”. [400/700] Illustrated

784

Shearwater Art Pottery Rose Bowl, ca. 1942, with an alkaline blue glaze, thrown by Peter Anderson (1901‑1984), Shearwater mark at bottom, with letter from Shearwater Pottery, h. 4‑3/4”. [400/700] Illustrated

785

American Pierced-Metal Five-Light Chandelier, of Renaissance inspiration, decorated with polychrome paint on a copper ground, h. 25”, dia. 19”. [300/500] Illustrated

786

American Pierced-Metal Five-Light Chandelier, of Renaissance inspiration, decorated with polychrome paint on a copper ground, h. 25”, dia. 17‑1/2”. [300/500] Illustrated

785

786

789

787

Gilt-Metal and Pink Satin Glass FourLight Table Lamp, first quarter 20th century, attributed to Miller Lamp Co., Meriden, Connecticut, h. 19‑3/4”, dia. 15‑3/4”. [400/700] Illustrated

790

Pair of Cast Iron Jardinieres, 20th century, each with a scalloped rim and shaped body in foliate decor, raised on French toes, h. 13”, w. 10”, d. 10”. [300/500] 787

788

Jim Davidson (American, b. 1962), “Little Golfer”, patinated and cold-painted bronze, cast signature on base, h. 48”, w. 39”, d. 17”. [800/1200] Illustrated

788

791

Pair of Cast Stone Harvest Baskets, 20th century, modeled brimming with produce, h. 20”, dia. 18”. [400/700]

792

Pair of Patinated Cast Iron Egrets, 20th century, one modeled standing erect and the other with its neck turned, both on rockwork bases, the tallest, h. 29‑3/4”, w. 8‑3/4”, d. 14”. [300/500] Illustrated

793

Pair of Antique Cast Iron Planters, in the form of swans with void interiors, turned necks and splayed feathers, h. 19‑1/2”, w. 18”, d. 11”. [300/500]

792

789

Pair of Art Nouveau-Style Cast Iron Garden Tables, second half 20th century, each with intricately cast tops, shelf and apron in shallow relief, h. 24”, w. 18‑1/2”, d. 14‑1/2”. [400/700] Illustrated

127

797

794

798

794

Pair of Classical-Style Painted Cast Aluminum Urns, 20th century, with shell-form handles, scalloped everted rims and conforming fluted stem feet raised on plinths, h. 20‑1/4”, dia. 15‑1/4”. [300/500] Illustrated

795

New York Coin (.900) Silver Porringer, second quarter 19th century, by William Forbes (1798‑1888) for Ball, Tompkins & Black (fl. 1839‑1851), both New York City, of traditional form with pierced handle engraved “S. Adams”, h. 2”, l. 7‑5/8”, dia. 5‑1/2”, 1.54 t. oz. [400/700] Illustrated

799

Nineteenth-Century New York Coin Silver Mug, mid19th century, by John C. Moore & Son, New York City (fl. 1832‑1864), for Mulford, Wendell & Co., Albany (fl. 1842‑1860), of octagonally paneled form with circular collar, with guilloche engraving, milled Greekkey banding and wire-bound tubular handle, engraved “Alfred Wild Gardner”, h. 3‑3/4”, dia. 3‑1/4”, l. 4‑3/4”, 5.54 t. oz. [300/500] Illustrated

800

795

Pair of Patinated Cast Iron Flamingos, 20th century, one modeled bending down and the other with its neck turned, both standing on circular bases, the tallest, h. 24”, w. 7‑1/4”. [300/500] Illustrated

796

Good Gorham Silverplate Neo-Grec Hot Water Urn, third quarter 19th century, Providence, Rhode Island, the spherical body with grotesque-masque ringed handles, raised on a conforming base with four palmette-crested spade feet, with pointed finial and branch, monogrammed “A. and M. A.”, h. 15”, dia. 9‑3/4”. [350/500]

797

Good Gorham 19th-Century Neo-Grec Sterling Silver Cream and Sugar Set, 1874, Providence, Rhode Island, comprising an open sugar bowl, h. 4‑3/4”, dia. 4‑3/8”, and a cream jug, h. 4”, dia. 3‑7/8”, each of deep saucer form with applied palmette banding and steeply arched handle(s), monogrammed “MET”, 11.19 total t. oz. [400/700] Illustrated

128

Tiffany & Co. Sterling Silver “King” Ladle, the pattern designed in 1870 by Edward C. Moore (1827‑1891), New York, New York, also known as “Cook” and “Saratoga”, no monograms, l. 13‑1/2”, 8.17 t. oz. [300/500] Illustrated

799

798

804

801

American Coin (.900) Silver “Medallion” Serving Spade, third quarter 19th century, by Hotchkiss & Schreuder, Syracuse, New York, the blade with engraved arabesques, l. 9‑3/4”, 2.69 t. oz. [300/500]

800

802

Pair of New York Coin (.900) Silver Coquille Dishes, third quarter 19th century, by Francis W. Cooper (fl. 1842‑1890), New York City, each of traditional form, with milled laurel-edged handle and “C”-scroll feet, monogrammed “P”, l. 5‑5/8”, w. 4”, 6.51 total t. oz. [500/800] Illustrated

802

803

Rare Tennessee/Texas Coin (.900) Silver Mustard Spoon, mid-19th century, by Samuel Bell (1798‑1881), Knoxville, Tennessee, later San Antonio, Texas, with down-tipt “fiddle” handle, rounded, beveled shoulders and elliptical bowl, monogrammed “B”, l. 5‑1/8”, 0.33 t. oz. [300/500] Illustrated

Fine American Aesthetic 803 Silverplate Insulated Ice Water Pitcher, dated 1885, by the Meriden Britannia Company, Meriden, Connecticut, of ovoid form, elaborately decorated all over with embossed floral swags, parrots and ferns all on an imbricate ground, with crested palmette-decorated handle and mascaronmounted spout, the domed lid en suite with “chess piece” finial and opening to reveal the ironstone-lined interior; engraved on the base “Hon. I. H. French / from the / Teachers of San Antonio / 1885”, h. 13‑1/2”, dia. 7”, l. 12”. [300/500] Illustrated James Henry French (1835‑1893) was a native of Fauquier county Virginia, the son of James French, a planter and member of the Virginia House of Delegates. He attended Columbia College in Washington, D.C. before moving to San Antonio, Texas where he was engaged as a banker and merchant. He served in the adjutant general’s office and the commissary department of the Confederate Army during the Civil War, and afterwards as mayor of San Antonio from 1875‑1885. Among his accomplishments as mayor was an increased funding and regulation of the public schools, for which he was presumably honored with the present lot. He died on September 6, 1893, and is buried in the San Antonio City Cemetery.

804

Samuel Bell was born in Washington county Pennsylvania on July 15, 1798, where he was apprenticed as a sword maker. By 1819 he had moved to Knoxville, Tennessee, where he worked as a silversmith and cutler in various partnerships until around 1832, when he became the sole proprietor. He served two terms as mayor of Knoxville 1840‑1842 and 1844‑1846 - and was also the director of the Marine Fire Insurance Company. In 1852 he sold his business to David Hope, another Knoxville silversmith, and moved to San Antonio, Texas, where he continued to work as a silversmith and became a prominent maker of Bowiestyle knives. He died in San Antonio on March 2, 1881. For additional information, see Benjamin Hubbard Caldwell, Tennessee Silversmiths (Winston-Salem, NC: MESDA, 1988), pp. 32‑36, where a similar mustard spoon by Bell is illustrated on page 34.

129

805

Good Set of Twelve Reed & Barton “Harlequin” Sterling Silver Coffee Spoons, the pattern designed in 1891‑1892, by Austin F. Jackson, Taunton, Massachusetts, the multimotif set with handles of various finely detailed flowers and fruits (wild rose, orchid, hollyhock, magnolia, strawberry, orange, etc.), the bowls gilt, l. 5”, 9.16 total t. oz. [400/700] Illustrated

807

805

806

Four 19th-Century American “Twist” Handled Sterling Silver Serving Pieces, fourth quarter 19th century, including in Whiting’s pattern #5: a salad serving spoon, l. 9”, and two berry spoons with pointed and engraved shell bowls, l. 9‑1/4” and 7‑1/2”, and in Towle’s pattern #128: a salad serving fork, l. 10”, 8.33 total t. oz. [400/700] Illustrated

808

American Art Nouveau Sterling Silver Fruit Bowl, ca. 1900, by the Mauser Mfg. Co., New York, New York, of octagonally lobed form, the shaped rim decorated with embossed poppies joined by foliate scrolls, the bowl spiral-lobed en suite, monogrammed “AGN”, h. 3‑1/4”, dia. 11‑1/4”, 19.62 t. oz. [400/700] Illustrated

808

806

809 807

Pair of Gorham Sterling Silver Bonbon Spoons, first quarter 20th century, Providence, Rhode Island, in ornamental pattern H47, the heart-shaped bowls with pierced scrolls and shells, l. 5”, 2.99 total t. oz. [300/500] Illustrated

130

Three American Turn-of-the-Century Sterling Silver Bonbon Dishes, including an 1892 Gorham footed example of square form with gauffered rim, h. 2‑3/4”, w. 6”, a William B. Durgin oval example embossed with realistically detailed water lilies and openwork rim, l. 7‑1/2”, w. 5‑3/4”, and an Unger Brothers rounded navette example, embossed with realistically detailed irises, l. 7‑1/2”, w. 5‑3/4”, variously monogrammed, 13.92 total t. oz. [300/500] Illustrated

813

Thirteen Pieces of Whiting “Alhambra” Sterling Silver Flatware, the pattern designed in 1880, Providence, Rhode Island, including a berry spoon, l. 8‑3/4”, and twelve demitasse spoons, monogrammed “F”, l. 4‑1/4”, 5.76 total t. oz. [300/500] Illustrated

809

813

810

Gorham Sterling Silver Sweetmeat Bowl, first quarter 20th century, Providence, Rhode Island, of oval form, with shaped rococo-scroll rim and decorated with elaborately pierced and embossed scenes of love birds and flowers among scrolling foliage, monogrammed “JC”, h. 2”, l. 7‑1/2”, w. 6‑1/4”, 7.67 t. oz. [300/500] Illustrated

814 810

Twenty-Eight Pieces of Assorted American Sterling Silver Small Tableware, 19th and 20th centuries, including three pieces of John & James Cox flatware engraved with the crest of Livingston of Tivoli, New York, l. 3‑1/4” to 6‑1/4”, a good silver deposit glass honeypot, h. 3‑1/4”, dia. 3‑3/4”, eleven Gorham foliate-embossed butter pats monogrammed “S”, w. 3‑1/4”, nine Dominick & Haff “Rococo” demitasse spoons, l. 4‑1/4”, and four Gorham “Delhi” salt spoons monogrammed “MH”, l. 3‑1/2”, 15.01 total t. oz. (weighable silver). [300/500] Illustrated

814

811

Fifty Assorted Pieces of American Sterling Silver Flatware, 20th century, including a Whiting “Louis XV” soup ladle and a “Madame Jumel” pea server, six each Alvin “Suffolk” citrus spoons and gumbo spoons, six International “Napoleon” teaspoons, six Towle “Tipped” teaspoons, and twenty-four others, twelve pieces variously monogrammed, 43.52 total t. oz. Detailed list available on request. [600/900]

812

Thirty-Three Pieces of Gorham Sterling Silver Flatware, including, in their “Cambridge” pattern, eight salad forks, l. 5‑3/4”, monogrammed “T”, and in their “Norfolk” pattern, thirteen cocktail forks, l. 5‑1/4”, and twelve ice cream forks, l. 5‑1/4”, monogrammed “R”, 21.70 total t. oz. [300/500]

131

815

818

815

Set of Four Gorham Silverplate Candlesticks, 1898‑1899, Providence, Rhode Island, each of baluster form, with shaped shell-and-scroll rim, h. 9”, dia. 5”. [400/700] Illustrated

816

American Sterling Silver Asparagus Tongs, ca. 1900, by Rand & Crane, Boston, the bow-style tongs with flat “King’s” shape handle and blades, the upper half pierced with rococo scrolls, monogrammed “ACW”, l. 10”, 5.42 t. oz. [300/500]

817

819

American Sterling Silver-Mounted Molded Glass Inkwell, ca. 1900, by Dominick & Haff, New York, New York, the heavy, squat cylindrical body molded with gadroons and centering a silver collar and hinged cap, h. 3”, dia. 4‑1/2”. [400/700] Illustrated

819

817

Six Pieces of Assorted American Sterling Silver Tableware, including a set of four 19th-century napkin rings, cylindrical, each with variant engine-turned and engraved scenic decoration, engraved “Maria Walker Percy”, dia. 2”, a Gorham 1901 bread tray, oval with plain rim, monogrammed “MEM”, l. 11‑1/4”, and a Towle condiment bowl, circular lobed with beaded rim and ball feet, monogrammed “EM”, h. 3‑1/4”, dia. 5‑3/4”, 17.05 total t. oz. [300/500] Illustrated

818

American Silver Deposit Glass Claret Jug, ca. 1900, by La Pierre Mfg. Co., Newark, New Jersey, the glass body of flaring cylindrical form with bulbous base, with integral spout and up-pulled handle, cased in openwork silver deposit with grapevine motif, monogrammed “JLC”, h. 10‑7/8”, dia. 5‑1/2”. [300/500] Illustrated

132

820

American Arts and Crafts Sterling Silver Scent Bottle, ca. 1900, by the Whiting Manufacturing Company, New York, with French resale marks, of modified navette form with hammered finish and subtle scroll decoration, with a small screw-threaded cap, monogrammed on the body, “LSS”, l. 6”, 2.57 t. oz. [300/500] Illustrated

822

821

Impressive Set of ThirtySix American Silverplate Graduated Service Plates, first quarter 20th century, by E. G. Webster & Son, Brooklyn, New York, in the Renaissance taste, including twelve dinner service plates, dia. 11‑1/4”, twelve salad service plates, dia. 9”, and twelve bread-andbutter plates, dia. 6‑1/2”, each of circular form quartered by serpentine lobes separated by flutes, the broad rim decorated with raised flowerbasket and festoon medallions and leaf-and-dart edging, all separated by rinceax-engraved panels, monogrammed “ELS”. [600/900] Illustrated

820

American School (Contemporary), “Western Scene with a Native American Preparing a Meal”, oil on canvas, unsigned, 12” x 16”. Framed. [300/500] Illustrated

823

American School (Contemporary), “Native American on Horseback”, oil on canvas, illegibly signed lower left, 16” x 12”. Handsomely framed. [300/500]

824

Ned Jacob (American/ Colorado, b. 1938), “Shoshane”, charcoal on paper, signed and titled lower left, sight 26‑1/4” x 13‑1/2”. Glazed, matted and framed. [800/1200] Illustrated

824

825

Ned Jacob (American/Colorado, b. 1938), “Native American on Horseback”, sepia crayon on paper, signed lower right, sight 17‑1/2” x 13‑3/4”. Glazed, matted and framed. [700/1000] Illustrated

821

822

825

133

826

Ned Jacob (American/Colorado, b. 1938), “Peyote Man”, charcoal on paper, signed upper right, verso stamped with title, artist name and measurements, sight 22‑1/2” x 14‑1/2”. Glazed, matted and framed. [800/1200] Illustrated

827

Heinie Hartwig 826 (American, b. 1937), “Plateau Home”, oil on canvas, signed lower right, titled en verso canvas, sight 5‑1/2” x 11‑3/4”. Framed. [300/500]

830

828

American School (Fourth Quarter 19th Century), “Appalachian Cabin Scene”, oil on canvas, 12” x 24”. Presented in a handsome antique frame. [500/800] Illustrated

American Patinated Bronze of “The Trooper of the Plains”, 20th century, after Frederic Remington (American, 1861‑1909), cast signature on self-base, on a green marble base, overall, h. 27‑3/4”, w. 28‑3/4”, d. 10‑1/2”. [600/900] Illustrated

829

American Patinated Bronze of “The Stampede”, 20th century, after Frederic Remington (American, 1861‑1909), cast signature, inscribed “RCS” and numbered “104/115” on self-base, on a green marble base, overall, h. 16‑1/2”, w. 31”, d. 15”. [800/1200] Illustrated

831

Ned Jacob (American/Colorado, b. 1938), “Female Nude”, charcoal on paper, monogrammed lower right, sight 33‑3/8” x 18‑1/2”. Glazed, matted and framed. [500/800] Illustrated 828

134

835

United States Naval Officer’s Sword and Scabbard, late 19th/early 20th century, the blade etched with “USN” and the name “W. A. Spencer”, amid oak leaves and foliate scrolls centering an American eagle and a federal shield superimposed over a fouled anchor, the ricasso engraved with the retailer “Boston Uniform Co.”, a pierced cross piece and guard with oak leaves and dolphin, stingray grip, brass-mounted leather scabbard with nautical ropes and dolphin point, together with a USN issued leather carrying case, blade, l. 28”, overall, l. 33‑1/4”. [300/500] Illustrated

832

Group of the Confederate States of America Paper Currency, 1862‑1863, including a 25 cent, 50 cent, 2 dollar and 3 dollar note, matted and framed together, overall, 11‑3/4” x 18”. [300/500] Illustrated

834

833

835

Colored Lithograph of the “Confederate States of America / 22 February 1862”, ca. 1910‑1920, by Andrew Graham, published by Annie Payne Pillow, Washington, D.C., sight 22” x 22”. Framed. [600/900] Illustrated

834

Confederate States of America One Hundred Dollar Paper Bond, with seven percent interest rate schedule, 1863, framed, overall, h. 19‑3/4”, w. 16‑3/4”. [300/500] Illustrated

135

836

Monumental Lithograph of the Civil War Andersonville Prison Camp, New York: Henry Seibert & Bro., 1885, after an 1864 drawing by Thomas O’Dea (Pvt., Co. E, 16th Regt., USA), titled “Andersonville Prison, Camp Sumpter, Ga., as it appeared August 1st when it contained 35,000 prisoners of war”, sheet 39‑7/8” x 60‑1/4”, framed and glazed, overall, 37‑7/8” x 60‑1/4”. [400/700] Illustrated

839

Copies of this historic lithograph are conserved by the Mariner’s Museum, Newport News, Virginia, and the Library of Congress, where it was exhibited in “The Civil War in America”, 2012‑2013.

836

837

Hinderer’s Iron Works, New Orleans, Cast and Wrought Iron Gate and Posts, each post with a fluted finial on a stepped cap, over standards with raised panels, the gate with arched parallel rods joined by a wrought “X”, each post with a cast panel “Hinderer’s Iron Works New Orleans LA”, post, h. 70”, w. 9”, d. 9”, gate, h. 47‑1/2”, w. 33”, d. 1‑1/2”. [600/900]

838

Antique New Orleans Gas Copper Lantern, the lozengeform lantern surmounted by a domed ventilator, opening in the base for pole mounting, lacking burner parts, not electrified, h. 32”, w. 15”. [300/500]

839

Gothic Revival Walnut and Pine Hall Seat, 20th century, in two parts, the projecting fretwork cornice raised on carved gargoyle supports, over a tracery panel, on a base with foliate-carved arm supports and a lift seat, h. 83”, w. 37”, d. 21”. [700/1000] Illustrated

840

American Late Classical Mahogany “Wig” Dresser in the Gothic Taste, mid-19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the upper section with a molded cornice over a rectilinear looking glass, a cabinet supports the base with a marble top over a pair of drawers flanked by cupboard doors, h. 85”, w. 49”, d. 22”. [600/900] Illustrated

136

840

841

American Market Marble Fireplace Surround in the Rococo Taste, third quarter 19th century, the serpentine mantel over a keystone of cartouche form, with arched firebox opening, h. 39‑3/4”, w. 54”, d. 12”. Provenance: Didier, Inc., New Orleans, Louisiana. [500/800]

842

844

842 843

American Late Classical Mahogany Armoire, ca. 1850, with an ogee-molded cornice over a pair of doors with arched panels, raised on ogee bracket feet, h. 99”, w. 74”, d. 28”. [500/800] Illustrated

843

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”. [400/700] Illustrated

844

American Rococo Revival Gilt Brass Four-Light Gasolier, third quarter 19th century, probably Archer, Warner, Miskey and Co., Philadelphia, with an acanthine corona, conforming baluster stem and bowl mounted with Columbia masques and busts, scrolling arms adorned with serpent heads, fauna and climbing foliate vines, a ball finial and etched shades of a later period, decorated with alternating scenes of fauna and a shepherd tending his flock, h. 26”, w. 31”. [1000/1500] Illustrated

137

845

New Orleans Market 846 Rococo Revival Rosewood Bookcase, mid-19th century, attributed to the warerooms of the McCracken firm, of generous scale, the bonnet top with a foliatecarved 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”. [1400/1800] Illustrated

847

845

848

American Rococo Revival Giltwood Pier Mirror, third quarter 19th century, with a scrolled and shell-carved crest with foliate details, h. 118”, w. 42”. Provenance: A French Quarter, New Orleans, Louisiana estate. [800/1200] Illustrated

849

846

Pair of Paris Porcelain Figures in the Jacob Petit Style, mid-19th century, the polychrome-painted figures depicting a male and female attired in 18th-century Spanish costume, formerly fitted with brass candle branches, h. 16‑1/2”, w. 6‑1/2” and h. 17‑1/2”, w. 6‑1/2”. [200/400] Illustrated

847

Fine, Small American Rococo Revival Secretary, mid19th 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 rosewoodveneered bottom, raised on cabriole legs, h. 46”, w. 27‑1/2”, d. 19”. [600/900] Illustrated

138

Rococo Revival Oval Giltwood Framed Mirror, third quarter 19th century, in foliate decor and retaining elements of its period water gilding, h. 47‑1/2”, w. 42”. [400/700]

850

American Rococo Revival Rosewood Writing Table, third quarter 19th century, formerly a parlor grand piano, h. 31‑1/2”, w. 85‑1/2”, d. 44”. [700/1000] Illustrated

848

853 850

851

Adolphe D. Rinck (French/New Orleans, 1810‑ca. 1873), “Portrait of a Creole Lady in a Lace Collar”, 1847, oil on canvas, signed and dated lower right, 30” x 24”. Presented in a period carved wood frame. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [3000/5000] Illustrated

851

852

American School (Mid-19th Century), “Primitive Portrait of a Girl in a Black Dress Holding a White Rose, Mountains Visible in the Distance”, oil on canvas, 29” x 24”, unsigned. Framed. [300/500]

853

Napoleon III Carved Mahogany Bench in the Rococo Revival Taste, third quarter 19th century, with an old or original needlepoint cover, h. 16‑1/2”, w. 53”, d. 24‑1/2”. [700/1000] Illustrated

854

American Rococo Revival Walnut Cabinet-Base Etagere, third quarter 19th century, the upper section with three graduated serpentine shelves with scroll-sawn backs and turned supports, the base with a serpentine top over a pair of conforming drawers, the upper shallow drawer fitted with a writing board, and a pair of doors below, each with scroll-cut panels, h. 71”, w. 36‑1/4”, d. 18‑1/2”. [500/800] Illustrated

139

858

859

856

857

855

“Argus” Pattern Glass Compote, ca. 1850‑1870, attributed to Bakewell, Pears & Co., Pittsburgh, Pennsylvania, the stem and bowl connected with a glass wafer, h. 8‑3/4”, dia. 10”. [350/500]

American Rococo Revival Walnut Half-Tester Bed, third quarter 19th century, the serpentine tester raised on segmented turned posts, the headboard with a crest carved in the form of a cabochon flanked by foliate-carved scrolls, over a pair of shaped panels, the wrap footboard centered by an applied roundel, h. 97‑1/2”, inside, w. 59”, l. 80”, outside, w. 63‑1/2”, l. 83‑1/2”. [1000/1500] Illustrated

856

Large Rococo Revival Brass Twelve-Arm Gasolier, third quarter 19th century, possibly English, with scrolled and foliate-decorated arms, now converted to electricity, h. 42”, dia. 40”. [800/1200] Illustrated

860

857

858

Victorian Walnut Shaving Stand, the tilting oval framed mirror above a two-drawer stand with fold-open shaving storage compartment, the columnar-turned and carved base with three foliate-carved feet, h. 59‑1/2”, w. 16‑1/4”, d. 18”. [300/500] Illustrated

859

Austrian Rococo Revival Walnut Armchair, third quarter 19th century, with an asymmetrically carved foliate, floral and scroll crest, open arms, serpentine seat and cabriole legs, h. 44”. [300/500]

140

860 863

Pair of Bohemian Blown, Cut and Enameled Ruby Glass Mantel Lustres, fourth quarter 19th century, hung with prisms, together with a pair of cut and enameled colorless glass shades of like period, h. 14‑1/2”, dia. 6” (four total pieces). [400/700] Illustrated

861

Pair of Bohemian Overlay Glass Lustres, 20th century, opaline cut to emerald green, enameled with flowers and hung with spear-point prisms, h. 12”, dia. 7”. [400/700]

867

862

Suite of Eight Rococo-Inspired Mahogany Dining Chairs, comprised of a pair of armchairs and six sidechairs, each with a shell-carved medallion back, serpentine seat with conforming apron, and cabriole legs ending in carved paw feet, upholstered in floral brocade on a claret ground, h. 42‑1/4”. [800/1200] 865

863

American Rococo Revival Walnut and Marble-Top Dresser, third quarter 19th century, the Carrara marble top surmounted by an arched dressing mirror fitted with two short drawers, above a case with a projecting drawer over a bank of three recessed drawers, all with carved pulls, h. 86”, w. 43‑1/2”, d. 20‑3/4”. [300/500] Illustrated

864

American Rococo Revival Walnut Chest, second half 19th century, the marble top on a case with a projecting drawer over a bank of three drawers, all with race track molding and leaf- and grape-carved pulls, h. 38‑1/2”, w. 42‑1/2”, d. 20‑1/2”. [300/500]

865 866

Pair of Cast Iron “Fern” Pattern Garden Chairs, ca. 1900, h. 32”, w. 23”, d. 23”. [1000/1500] Illustrated

866

Cast Iron “Fern” Pattern Garden Bench, ca. 1900, h. 33”, w. 56”, d. 23”. [1000/1500] Illustrated

867

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”. [300/500] Illustrated

141

868

Pair of Franco-Bohemian Porcelain Garniture Vases, third quarter 19th century, now mounted as lamps, with Egyptian Revival decoration including sphinxes, pyramids and a pharaoh being fanned on his throne, the gilt surrounds with hieroglyphs on a pale blue ground, on later bases decorated to match, electrified, base, h. 15”, overall, h. 30‑1/2”, dia. 8”. [600/900] Illustrated

868

871

873

869

American Renaissance Revival Parcel-Gilt Walnut Occasional Chair by George Hunzinger, New York, third quarter 19th century, the oval backrest and circular seat supported by turned and fluted mechanical-form elements, the rear leg with the incised stamp “Hunzinger N.Y. Pat. Feb 6 1866”, h. 33‑3/4”. [300/500] Illustrated

869

870

American Renaissance Revival Walnut Book-Form Writing Case, third quarter 19th century, the interior fitted with pen trays, h. 3”, w. 11‑1/2”, d. 8‑1/2”. [400/700]

871

Pair of Napoleon III Gilt-Bronze Vases in the Neo-Grec Style, third quarter 19th century, the bodies molded in bas-relief with cherubim riding minotaurs, the contrasting matte-gilt fluted necks mounted with snake-form handles terminating in masques of Pan, raised on griffin-form paw feet, h. 18‑1/2”, w. 7‑3/4”, d. 5‑1/2”. [800/1200] Illustrated

142

874

875

Hudson River School (19th Century), “Mountainous Landscape at Sunset”, oil on canvas, illegibly signed lower left, 12” x 18”. Framed. [300/500] Illustrated

876

872

Pair of Paris Porcelain Vases, third quarter 19th century, decorated with hand-painted panels of knights on a gilt background framed with Gothic tracery, all on a mauve matte ground, h. 13‑1/2”, dia. 6”. [500/800]

873

French Neo-Grec Marble and Parcel-Gilt Metal Figural Mantel Clock, third quarter 19th century, the red griotte marble base decorated with oval neoclassical profiles, and set with an imposing Renaissance-style figure, possibly David, seated on a column, finished in contrasting silver gilt and dore, the dial decorated in trailing laurel leaves, set with Marti works and stamped by the retailer, “Charpentier Fine Bronzes a Paris”, h. 27‑3/4”, w. 16‑1/4”, d. 9‑1/4”. [1500/2500] Illustrated

874

Victorian Mixed Hardwood Cabinet, fourth quarter 19th century, the molded cornice over a case fitted with a pair of doors, above a lower projecting, single-drawer case, on a plinth base, ending in block feet, h. 79”, w. 33”, d. 17”. [500/800] Illustrated

876

American Renaissance Revival Walnut Bookcase, third quarter 19th century, the molded cornice over a pair of glazed doors, on a projecting base with a pair of drawers adorned with raised panels, h. 89‑1/2”, w. 54”, d. 24”. [600/900] Illustrated

143

878 877

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”. [300/500] Illustrated

879

French Cast Bronze 880 Tripod Stand in the Renaissance Revival Style, third quarter 19th century, h. 31‑1/2”, dia. 17”. [500/800]

880 877

Blot et Drouard Gilt-Metal and Marble Mantel Clock in the Neo-Grec Taste, fourth quarter 19th century, French, having two classical nymphs holding amphorae and supporting the clock, decorated with a blue enameled chapter ring and signs of the zodiac around the works, signed on the works, the whole resting on a marble base, h. 20‑3/4”, w. 14‑3/4”, d. 6‑3/4”. [700/1000] Illustrated

878

Clarence E. Braley (American/Massachusetts, 1854‑1927), a reverse painting on glass of a mallard drake, with mother-of-pearl inlay to the neck, head and tail, signed lower left “C. Braley”, overall, h. 29”, w. 15‑3/4”. Presented in an oak frame with shaped inner border with scrolling and leaf design. [300/500] Illustrated

881

Oak Billiard Cue Rack and Cues, ca. 1900, the rack supported between two turned columns, the beveled mirrored top panel headed by a shelf, with slots for eight billiard cues, and including seven cues, h. 78”, w. 43”, d. 8‑1/2”. [500/800] Illustrated

881

882

Vernacular American Oak Double-Sided Clerk’s Partner Desk, second half 19th century, of pegged construction, each side with a slanted work surface over a pair of frieze drawers, raised on turned legs, h. 34‑1/4”, w. 59‑1/8”, d. 58‑1/2”. [600/900] Illustrated

883

American Eastlake Walnut and Marble-Top ThreeDrawer Chest, fourth quarter 19th century, with a chocolate brown marble top, h. 32‑1/2”, w. 36‑3/4”, d. 16‑1/4”. [200/400]

144

885

Alberta Kinsey (American/ Louisiana, 1875‑1952), “French Quarter Courtyard”, oil on canvas, signed lower left, verso with a “Farish Art Store Inc., New Orleans” label, 16” x 12”. Framed. [400/700] Illustrated 882

884

August Norieri (American/New Orleans, 1860‑1898), “Steamboat #2 on the Mississippi River”, oil on canvas, signed lower right, 18” x 26”. In a cove-molded giltwood frame. Provenance: Descended in a Louisiana family. [15000/25000] Illustrated A native of New Orleans, Norieri specialized in maritime scenes documenting the vibrant culture centering around the great waterways of Louisiana: the Mississippi River, Lake Pontchartrain and Bayou St. John. His technically accomplished paintings depict a way of life slowly being lost by the advent of the railroad and the resulting changing attitudes towards travel. Norieri studied for several years with prominent local artist Andres Molinary (1847‑1915) before opening his own studio which he maintained until his untimely death in 1884. An active member of the Art Association of New Orleans, Norieri also exhibited nationally at the American Exhibition of 1885‑86 and the National Academy of Design in New York City.

886

Colette Pope Heldner (American/ Louisiana, 1902‑1990), “Place de Voges, Paris”, 1930, oil on canvas, signed lower left, signed, titled and dated en verso, 13‑3/4” x 10‑1/2”. Framed. Provenance: Private collection, New Orleans, Louisiana; Jean Bragg Gallery, New Orleans, Louisiana. [800/1200] Illustrated

885

886

887

Charles Richards (American/Louisiana, 1906‑1992), “Street Scene in Clifton Heights”, Natchez, Mississippi, 1949, oil on canvas, signed and dated lower right, titled en verso stretcher, 24” x 36”. Framed. [800/1200] Illustrated

887 884

145

890

Noel Rockmore (American/New Orleans, 1928‑1995), a pair of oils on paper, including “Jan. 31”, pencil-signed and dated lower right, and “Jan 26”, pencil-signed, dated, and inscribed “done in a very agitated state” lower right, each sight 17‑3/4” x 12‑1/4”. Matted, glazed and framed alike. [500/800] Illustrated

888

Rolland Harve Golden (American/Louisiana, b. 1931), “French Quarter Scene”, 1958, watercolor on paper, signed and dated lower right, sight 21” x 29”. Framed. [700/1000] Illustrated

891

Noel Rockmore (American/New Orleans, 1928‑1995), “New York City Stoop”, pastel on paper, signed upper right, sight 19” x 25‑1/4”. Matted, glazed and framed. [400/700] Illustrated

889

Colette Pope Heldner (American, 1902‑1990), “Patio, Brulator Courtyard, Royal Street, French Quarter, Old New Orleans 1940”, oil on canvas, signed lower left, 25‑1/2” x 30‑1/2”. Framed. [1000/1500] Illustrated

893

892

After Henry Mosler (American, 1841‑1920), “The Lost Cause”, oil on canvas, inscribed “Katie Bower(?)” on fencing, 22” x 31”. Framed. [400/700]

890 one of two

146

895

893

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. [1500/2500] Illustrated

Julia Conroy Michel Black (American/Louisiana, 20th Century), “Still Life of Pottery”, oil on board, signed lower right, 14” x 11”. Framed. [700/1000] Illustrated

896

Laura Barbender (American/Louisiana, 20th Century), “Pottery Still Life”, watercolor on paper, unsigned, sight 13‑3/4” x 13‑3/4”. Glazed, matted and framed. [300/500]

897

894

895 Chester Dixon Snowden (American/ Texas, 1900‑1984), a pair of oils on canvasboard, including “Texas Field”, incised signature lower right, 19‑3/4” x 25‑3/4”, and “Riverbank”, incised signature lower left, sight 8‑1/2” x 11‑1/2”. Both framed. [300/500]

Al Federico (American/Louisiana, 20th Century), “Preservation Hall”, 1979, oil on canvas, signed and dated lower right, 20” x 24”. Framed. [400/700] Illustrated

898

Clementine Hunter (American/Louisiana, 1886‑1988), “Saturday Night”, oil on Fredrix canvas panel, monogrammed lower right, 18” x 24”. Framed, [2500/4000] Illustrated

899

Kilim Runner, 2’ 8” x 8’ 1”. [400/700]

900

Turkish Angora Oushak Carpet, 8’ 10” x 12’ 2”. [1500/2500] Illustrated

897

900

898

147

901

Semi-Antique Kashan Carpet, 11’ 1” x 15’ 2”. [500/800] Illustrated

904

901

902

Three SemiAntique Kilim Carpets, 3’ 8” x 4’ 11”, 2’ 1” x 5’ 2”, and 3’ 3” x 4’ 11”. [600/900]

903

Silk Kerman Carpet, 3’ 1” x 5’ 7”. [300/500] Illustrated

904

Semi-Antique Kashan Carpet, 8’ 7” x 11’ 3”. [400/700] Illustrated

905

Semi-Antique Heriz Carpet, 8’ x 12’. [300/500] Illustrated 903

148

905

909

Semi-Antique Caucasian Kazak Runner, 3’ 6” x 8’ 4”. [300/500]

910

Japanese School (19th Century), “Riverside Meditation”, ink and watercolor on paper, inscribed in three places on the figure’s shoulder, knee and robe, 24” x 16‑5/8”. Matted and framed. [300/500]

906

912

911

908

906

Semi-Antique Oushak Carpet, 10’ 4” x 13’ 6”. [3000/5000] Illustrated

907

Semi-Antique Mahal Carpet, 6’ 4” x 9’ 1”. [400/700]

908

Semi-Antique Persian Heriz Carpet, 10’ 4” x 12’ 4”. [1500/2500] Illustrated

Bertha Boynton Lum (American, 1869‑1954), “Fox Women - Kitsuna”, 1908, color woodblock on paper, 9‑1/2” x 6‑1/2”. Framed. [300/500] Illustrated

912

Japanese School (Edo Period, 1615‑1868), “Three Women”, 911 color woodblock on paper, signed by three artists including Toyokuni III and Kuniyoshi, 8‑1/2” x 10‑1/4”. Matted and framed. Provenance: The Vincent Price Collection. [300/500] Illustrated

149

913

Attributed to Utagawa Kuniyoshi (Japanese, 1797‑1861), “Sketches of Ori”, ink on paper, inscribed in top left corner, 9” x 10‑1/4”. Framed. [300/500] Illustrated

913

914

Utagawa Hiroshige (1797‑1858), “Shichu han-ei Tanabata matsuri - the Tanabata Festival”, ink and color on paper, no. 73 from the series “Meisho Edo Hyakkei - One Hundred Famous Views of Edo”, 1857, 7th Month, publisher Uoya Eikichi, 13‑1/2” x 9”. [400/700] Illustrated

914

917

Japanese Porcelain Satsuma Bowl, late 19th/early 20th century, the lavishly and vibrantly enameled porcelain bowl with petaled edges and a finely articulated rendering of a peacock and peaches in a lush garden replete with chrysanthemums, peonies and an array of other flowers, the underside with a two-character manufacturer’s mark, h. 4”, dia. 9‑7/8”. [300/500] Illustrated

This print can be found in the permanent collections of the British Museum, London, the Museum of Fine Arts, Boston, the Library of Congress, Washington, D.C., and the Metropolitan Museum of Art, New York.

915

Japanese School (Meiji Period, 1868‑1912), “Two Peacocks on a Pine Branch”, ink and color on silk, vertical scroll cut and mounted in a frame, signed and marked with seal in lower right corner, 45‑3/4” x 16”. [300/500] Illustrated

916

Japanese School (20th Century), “Prunus Limbs in Spring”, ink, color, and gold leaf paper six-panel folding screen, signed with a seal on the far left panel, h. 37‑1/2”, w. 80‑3/4”. [400/700] Illustrated

916

918

Two Pieces of Japanese Satsuma Ware, 19th/20th century, the two elaborately decorated porcelain vessels with Satsuma marks on the undersides, one with a lid, h. 5‑1/4” to 7”, w. 5‑1/2”. [400/700]

150

919

Japanese Satsuma Dish, Meiji period (1868‑1912), with an elaborately rendered scene of a sage sitting on an animal skin with books, archaic vessels and plants, a tall Chinese scholar’s rock looms from behind the seated figure, a crane stands behind him, the underside unmarked, h. 2”, w. 11‑1/4”, d. 14”. [300/500] Illustrated 919

920

Japanese Porcelain Vase, 19th/20th century, decorated with seated figures, the neck covered with a motif of cranes and clouds, a foo dog perched on each shoulder, the underside with Kutani marks in red, h. 18”, dia. 10”. [400/700]

922

Japanese Export Wooden Desk and Chair, Meiji period (1868‑1912), the two-part desk with an elaborately carved upper section depicting a dragon wrapped around Mount Fuji over a series of small 921 compartments, some of which are fronted with doors carved with dragon motifs, the desk top and seat both bordered with a key-fret band, the chair back decorated with a reticulated dragon decoration, and both with zoomorphic cabriole legs, desk, h. 55”, w. 47”, d. 28”, chair, h. 38‑1/2”. [300/500] Illustrated

915

917

922

921

Fine Japanese Banko Ware Lidded Jar, 20th century, delicately potted with a nerikomi decoration, with two curved handles, a glazed interior and gilt on the handles and lid finial, a Banko mark in a rectangular cartouche on the underside, h. 2‑7/8”, w. 4”. [400/700] Illustrated

923

Set of Seven Japanese Black Lacquer Corner Nesting Tables, decorated with slightly raised dragons, h. 10”, w. 14‑1/2” to 26‑1/2”, d. 7‑1/2” to 13‑1/2”. [300/500]

151

924

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. 46”, d. 31”. [200/400] Illustrated

927

Seven Japanese Antique Ivory Netsuke, Meiji period (1868‑1912), depicting the seven lucky gods, the Budai figure with a two-character Mitsuyuki mark on the underside, h. 3” to 3‑1/8”. [300/500] Illustrated

928

924

Pair of Japonesque-Style Molded Brass Table Lamps, decorated with bas-relief figures in landscapes over a Greek-key field, on giltwood stands, h. 20”, dia. 5”. [200/400]

929

925

Japanese Carved Antique Ivory Figures of Three Gods, 19th century, depicting Fu, Lu and Shou, the three Chinese folk gods associated with prosperity, status and longevity respectively, each figure bearing a maker’s signature on the underside, h. 5‑3/4” to 6‑1/8”. [500/800] Illustrated

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”. [600/900] Illustrated

930

929

Japanese Patinated Bronze Hanging Incense Burner, Meiji period (1868‑1912), in the form of an eagle in flight clutching a pine branch, h. 16‑1/8”, l. 25‑1/2”. [1500/2500] Illustrated

925

926

Japanese Antique Ivory Shunga Carving, second half 19th century, the carved tusk with a homoerotic depiction, unsigned, 5‑1/4” x 1‑1/2”. [400/700]

152

930

934 931

Japanese Mixed Metal Box, Meiji period (1868‑1912), the lidded rectangular box with a painted arch panel on the lid depicting a cockfight on the steps of an elegant pavilion, the sides of the lid cut into pointed arches to fit panels on the sides of the box, inlaid with maki-e interiors, h. 3‑1/8”, w. 4‑1/4”, d. 5‑1/2”. [1500/2500] Illustrated

935

French Patinated Bronze and Marble-Top Garden Table, first quarter 20th century, the base composed of two winged putti with upraised hands supporting a white marble top, in the style of Auguste Moreau (French, 1834‑1917), incised signature “A. Moreau” at edge of base, h. 30‑1/2”, w. 44”, d. 24”. [2500/4000] Illustrated

931

Japanese Patinated Bronze Figural Group of Two Cranes on a Rocky Outcrop, Meiji period (1868‑1912), signed at underside of one bird, on a carved and shaped wood plinth, h. 10‑1/2”, w. 12”, d. 8”. [500/800] Illustrated

935

934

936

Murano Glass Carriage Light-Form Electric Wall Sconce, third quarter 20th century, with brass fittings, the glass flecked with gilt, h. 17‑3/4”, w. 4‑1/4”, d. 6‑1/4”. [400/700]

937

Two Art Deco Mixed Metal Plaques on Marble, second quarter 19th century, executed in copper, brass, silvered metal and steel, each mounted on a verde marble back, h. 23‑1/4”, w. 14”, d. 1‑5/8” and h. 21‑1/4”, w. 14”, d. 1‑5/8”. [350/500]

938

932

Japanese School (Meiji Period, 1868‑1912), “Woman Carrying a Bunch of Sticks”, gilded and cold-painted bronze, marked on reverse at lower right corner, h. 11‑1/2”, w. 5‑1/2”. [300/500]

933

Japanese Bronze Censer, Meiji period (1868‑1912), the tripodal cylindrical-bodied vessel with moving dragon handles, decorated with a rock formation finial with ruyi mushrooms, h. 18‑3/4”, w. 13”. [400/600]

938

Sergio Bustamante (Mexican, b. 1942), “Yellow Bird”, papier-mache, silver, copper and brass, signed and numbered “35/100” along edge of chest, h. 5‑1/2”. [300/500] Illustrated

153

942 942

Terracotta Sculpture of a Female Torso, by Bretislav Benda (Czech, 1897‑1983), second quarter 20th century, the Art Deco-style sculpture inscribed “b.b.” in the base, h. 23‑1/2”, w. 9‑1/2”, d. 6”. [500/800] Illustrated

943

939

Vintage “Le Tapageur” Screen Printed Cotton Wall Hanging, 1957, designed by Jean Lurcat (French, 1892‑1966) for COROT, France, with a printed signature, the title and artist’s name printed along the lower edge, bearing the original cloth label “Le Tapageur” / de Jean Lurcat / (signed in ink) / edite par COROT / exemplaire No. 227”, backed with polished cotton, fitted with two covered metal rods and gold plastic rings for hanging, panel, h. 67”, w. 49”. [300/500]

940

French Art Deco Palace-Sized Pottery Vase, second quarter 20th century, the amphora-form vase decorated with molded birds and fruit on a mottled blue ground with a central panel of blue and orange glaze, h. 38‑1/2”, dia. 13”. [400/700] Illustrated

941

940

Pair of Art Deco-Style Mahogany Bedside Tables, with molded fronts, h. 25‑3/4”, w. 14‑3/4”, d. 15‑1/2”. [400/700]

154

943

Thomas Bruno (American/New Orleans, b. 1960), “Untitled”, cast epoxy framed in wood, h. 54‑3/4”, w. 18‑1/2”, d. 2‑1/4”. [1000/1500] Illustrated According to the artist, the design was originally made for a cabinet panel. This example and the cabinet are the only two castings made before the mold was destroyed.

944

Charles Fritchie (American/New Orleans, 1936‑2013), “Pensive Nude”, 2000, patinated bronze, signed and dated at edge of base at proper right foot, h. 27‑3/4”, w. 12”, d. 10”. [400/700]

945

Painted Ceramic Figure of “Devotion”, 20th century, h. 21‑3/4”, w. 6‑1/4”, d. 5‑1/2”. [250/400]

949 946

Contemporary Marble Pedestal-Form Table, 20th century, with a rectangular top mounted to a square base, h. 29‑1/2”, w. 36”, l. 71”. [300/500]

950

Art Deco Enamel and Brass Cigarette Case, the hinged cover etched in the contour lines of a skater, the brass interior with a reticulated guilloche cigarette holder, indistinctly marked, w. 3‑1/8”, l. 5”. [500/800] Illustrated

951

946

Irma Rothstein (Russian/American, 1896‑1971), “Woman in Prayer”, terracotta sculpture, signed at front edge of self-base, on a wooden plinth, h. 23‑1/4”, w. 10”, d. 15‑1/4”. [500/800] Illustrated

951

Mario Villa, New Orleans, Neoclassical-Style Iron and Brass Canopy Bed, with a stylized leaf-form headboard and footboard, a central panel with brass swags, and fitted with a raised and downswept canopy, h. 103”, w. 40”, l. 82”. [1500/2500] Illustrated

952 950

947

American Composition Sculpture of a Torso, 20th century, on a square marble plinth, h. 23‑1/2”, w. 5‑1/4”, d. 7”. [300/500]

948

Neil Moul (American/Pennsylvania, b. 1933), “The Wildthing”, 2000, iron and industrial gear sculpture, h. 13‑1/2”, w. 18‑1/2”, d. 6”. [300/500]

Mario Villa (Nicaraguan/New Orleans, b. 1953), “Winged Victory”, 1988, patinated bronze, cast signature, dated, and numbered “34/50” along edge of base, h. 8‑1/2”, w. 2‑1/2”, d. 2‑1/2”. [400/700] Illustrated

952

155

953

Unique Hand-Crafted Aluminum and Nautilus Shell Lamp, the shade supported by a leaning standard entwined with driftwood and seashells on a cast sandy beach base with mounted starfish, h. 14”, w. 9”, d. 18”. [300/500] Illustrated

954

Silvered Iron Firescreen, with crested scrollwork over a mesh screen, on bracket feet, h. 34”, w. 36”. [300/500]

955

Wrought Metal and Wire Screen of Samuel Yellin Inspiration, 20th century, the scrolled and pierced screen with a serpentine top and twisted flame finials, h. 41”, w. 48”, d. 7‑1/2”. [300/500]

956

Contemporary Painted Metal Cocktail Table, with bamboo-form legs and cross stretchers, h. 18‑1/2”, w. 40‑1/2”, d. 40‑1/2”. [300/500]

959 953

957

958 Part of a Five-Piece Suite

Venetian-Style Beveled and Etched Glass Looking Glass, set with foliate-shaped panels at the corners, 34” x 40‑1/2”. [300/500]

958

Five-Piece Patinated Metal and Granite Dining Suite, comprised of four armchairs with a patinated metal finish, h. 40”, and a granite-top table with a scrolled metal base, h. 31”, w. 67”, d. 34‑1/2”. [400/700] Illustrated

959

Contemporary Silvered Oval Looking Glass, the frame in the form of interwoven leaf-accented branches, h. 45”, w. 32”. [400/700] Illustrated

960 958 Part of a Five-Piece Suite

156

Contemporary Mahogany Low Table of Regency Inspiration, the figured oval top on paired faux bamboo legs, h. 18”, w. 44”, d. 30‑3/4”. [300/500] Illustrated

962

960

961

Unusual Pair of Painted Metal Six-Light Wall Sconces of Asian Inspiration, third quarter 20th century, in the form of bound fan palmettos, with fronds concealing the light sockets, h. 35‑1/2”, w. 24”, d. 10”. [400/700] Illustrated

964

965

961

962

Pair of Chinese Black-Lacquered and Parcel-Gilt Side Tables, each with a rectangular dished top decorated with a standing, multi-panel screen, raised on square legs joined by a shelf stretcher, h. 17‑3/4”, w. 11‑1/2”, d. 14‑1/2”. [500/800] Illustrated

963

Contemporary Tufted Hassock, covered in leopard chenille-woven fabric and trimmed with fringe and tassels, h. 16”, dia. 23‑1/2”. [300/500]

964

Pair of French Bronze and Onyx Bookends, first quarter 19th century, each modeled in the form of two embracing monkeys sitting on a green onyx “log” and peering up to see their reflections in a mirror, h. 10”. [800/1200] Illustrated

965

African Carved and Painted Wood Figure of a Man, 20th century, the seated figure with a spear in one hand and a libation cup in the other, h. 37”, w. 13”, d. 10‑1/2”. [500/800] Illustrated

966

Robyn (The Beaver) Beverland (American, 1957‑1998), “Sneaky Snacks” and “This is Heaven”, 1997, pair of acrylics on wood panel, each signed and dated lower right, each 11‑3/4” x 11‑3/4”. Unframed. [400/700] Illustrated 966 one of two

157

967

George Febres (American/Louisiana, 1943‑1996), “Untitled”, two framed mixed media works, both signed and dated “1981”, overall, 9‑3/4” x 10‑3/4” and 14‑1/2” x 11‑3/4”. [500/800] Illustrated

971

Louisiana School (20th/21st Century), “Louisiana Cottage”, oil on canvas, signed and dated lower left “Thompson 02”, 24” x 36”. Handsomely framed. [300/500]

972

Gayle Reynolds (American/Texas, Contemporary), “Victorian Rooftops, Galveston”, watercolor on paper, signed along right edge, verso with “The Water’s Edge Studio and Gallery, Galveston, TX” label, sight 5‑1/2” x 15‑1/2”. Glazed, matted and framed. [200/400]

967

968

Jennifer Oliver (American/Louisiana, Contemporary), “Untitled Landscape”, acrylic on board, signed lower right, 60” x 60”. Framed. [700/1000] Illustrated

973

970

Richard Sexton (American/New Orleans, b. 1954), “Languid Memory”, 2000, silver gelatin print, signed and dated lower right, titled lower left, marked “AP” en verso, 18” x 23”. Glazed, matted and framed. To be sold for the benefit of WLAE. [1200/1800] Illustrated Having recently won the 2014 Michael P. Smith award for documentary photography, Louisiana Endowment for the Humanities intoned that “Photographer Richard Sexton combines artistry, storytelling, and powerful evocations of the past to create work that reflects the rich landscape of Louisiana.” His work evokes a spirit of mysticism and intrigue that follows from the placid landscapes he captures.

969

968

Don Wright (American/Louisiana, 1938‑2007), “Girl on the Beach”, 1981, oil on canvas, signed and dated lower left, 18” x 24”. Framed. [300/500]

970

Don Reggio (American/Louisiana, 20th/21st Century), “Christmas Bonfires”, oil on canvas, signed lower right, 24” x 30”, and “Barefoot in the Fields”, oil on canvas, signed lower right, 12” x 18”. Each framed. [500/800] Illustrated

973

158

974

976

Robert Rucker (American/Louisiana, 1932/2001), “Cottage”, oil on canvas board, signed lower right, 4” x 6”. Handsomely framed. [500/800] Illustrated

975

977

975

977

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. [1500/2500] Illustrated

Jean Calogero (American/Louisiana, 1922‑2001), “Girl with Flowers”, oil on canvas, signed lower right, 18” x 13”. Presented in a carved polychrome exhibition frame. [400/700] Illustrated

976

978

Garth Swanson (American/New Orleans, Contemporary), “Nude, Reclining”, 2004, oil on canvas, signed lower right, signed and dated en verso canvas, 36” x 36”. Unframed. [800/1200] Illustrated

Laurence Edwardson (American/Connecticut/Louisiana, 1904‑1995), “The Ford”, oil on board, signed lower right, signed and titled en verso, 18” x 24”. Unframed. [400/700]

159

979

Laurence Edwardson (American/Connecticut/Louisiana, 1904‑1995), “Bordelo (sic)”, oil on board, signed lower left, signed and titled and localised “47 Fifth Ave/N.Y.C.” en verso, 24” x 36”. Unframed [400/700] Illustrated

982 979

983

Pair of Vintage Crackle-Glazed Ceramic Lamps, in the style of Stiffel, each hexagonal vasiform lamp on a molded stepped giltwood base, h. 25‑1/2”, w. 10”. [400/700]

980

Pair of Art Deco Polychromed and Mirrored Glass Nightstands, second quarter 19th century, each labeled by the West End Furniture Company, Rockford, Illinois, with a mirrored top, drawer face and display shelves, with octagonal columns flanking the shelves, the sides modeled as fluted columns, one with interior drawer label, each with a back sticker stating the design is registered by the company, h. 27”, w. 19”, d. 13”. [600/900] Illustrated

985

983

Niek van der Plas (Dutch, b. 1954), “Venice at Sunset”, oil on wood panel, signed lower right, signed en verso, 5‑1/2” x 7”. Framed. [600/900] Illustrated 980

984

Contemporary Upholstered Recamier, upholstered in rose striped brocade, h. 32”, w. 41”, l. 67‑1/2”. [300/500]

981

Art Deco-Style Vase, the ovoid-form vase decorated in a shagreen pattern, h. 16”, w. 19”. [400/700]

160

985

Giltwood, Metal and Milk Glass Sunburst, in the midcentury modern style, d. 3‑1/2”, dia. 32‑1/2”. [400/700] Illustrated

987

992

986

Steuben Crystal and Bronze Christmas Tree, 20th century, American, with an engraved signature, in its original giltstamped Morocco presentation case, h. 12‑1/4”, dia. 6”. [600/900]

990

Group of Seven Tan, Orange and Cerise Pillows, covered in silk and velvet, the largest, h. 18”, w. 18”. [200/400]

991

Pair of Contemporary Upholstered Armchairs and Matching Ottomans, the chairs each with an overstuffed back joined by flat padded arms to the cushioned seat, raised on bun feet, h. 32‑1/2”, the conforming ottomans of rectangular form and raised on like feet, h. 13‑1/2”, w. 25”, d. 18‑1/2”. [200/400]

992

Murano Glass and Chrome Five-Light Chandelier, third quarter 20th century, Italian, the orange and brown glass standard supporting a chrome linen fold set with glass and chrome light sockets, mounted with opalescent and amber glass shades, h. 26‑1/2”, dia. 18”. [1400/1800] Illustrated 988

987

Steuben Crystal and Gilt-Bronze Unicorn, 20th century, American, with an engraved mark, in its original giltstamped red Morocco presentation case, h. 3‑1/2”, w. 7‑1/2”, d. 9‑3/4”. [500/800] Illustrated

988

Steuben Crystal and Gold Trout, 20th century, American, the trout leaping for an eighteen-karat gold Royal Coachman fly, in its original gilt-stamped red Morocco presentation case, h. 9”, w. 6‑1/4”, d. 2”. [800/1200] Illustrated

989

Pair of Gold-Leafed Blesbok Skulls, each retaining their natural horns, h. 25”, w. 9”. [300/500] Illustrated

989

161

993

Unusual Contemporary Double-Sided Sofa by Nancy Corzine, with rolled armrests and reversible cushions, raised on short tapered square legs, upholstered in Jack Larsen silk “Dragonseed” fabric, h. 31”, w. 67”, d. 74”, together with a pair of Hepplewhite-style giltwood consoles, 20th century, fitted with shaped tops, h. 28”, w. 33”, d. 17‑1/4” (three total pieces). [1200/1800] Illustrated

995

993

997

994

Hernan Caro (Columbian/New Orleans, Contemporary), “Obello Crestu”, metal and paint, 15” x 18” x 99”. To be sold for the benefit of WLAE. [1000/1500] Illustrated

994

Metal artist Hernan Caro seeks to bridge the gap between the organic shapes he studies in nature and the logistical challenges of forming metal. Such contextual integration enables the Columbia-born artist to masterfully create the elegant simplicity of his forms.

995

Mitchell Gaudet (American, b. 1962), three molded colored glass sculptures of nude torsos on shaped plinths, h. 11‑1/2” to 13”, w. 6‑1/2” to 8”. [400/700] Illustrated

996

Contemporary Art Glass Vase, probably Italian, with molded crocodile-head handles, the opalescent bluegreen body on a copper-colored foot, trimmed in red, h. 18”, w. 15”, dia. 10”. [500/800] Illustrated

162

German Art Deco Metal and Jade Card Case, ca. 1926, mounted with a carved Chinese jade flower, the case with a faux shagreen exterior, marked by the retailer, “Gebr Nathan, Hamburg”, and “ESW 8.11.1926” on the interior, h. 3‑1/4”, w. 2”. [400/700]

996

998

Hollywood RegencyStyle Brass, Enamel and Glass Floor Lamp, mid-20th century, the square brass standard trimmed with green enamel and mounted with a matching square milk glass shade, decorated with green and yellow mandarin figures, h. 68”, w. 19”, d. 19”. [350/500] Illustrated

999

998

Tom Wesselmann (American, 1931‑2004), “Bedroom Face with Orange Wallpaper”, 1987, screenprint in colors, signed, dated and numbered “14/100” in pencil lower right, blind stamped lower right corner, sheet size 58” x 64”. Glazed and framed. [8000/12000] Illustrated

1001

1000

999

Continental Carved and Polychromed Wood Shrine, 20th century, in the form of a Buddhist temple, h. 19”, w. 17”, d. 21”. [300/500] Illustrated 1002 1000

1002

1001

Robert Huff (American/Miami, 1945‑2014), “Landscape IV”, 1970, mixed media shadowbox assemblage, signed and dated lower left, signed, dated, and titled at back, an “Isaac Delgado Museum of Art / Robert Huff / one man exhibition / May 9‑31, 1970” label en verso, h. 10‑1/4”, w. 8”, d. 9”. [400/700] Illustrated

Robert Huff (American/Miami, 1945‑2014), “Sparkle Baby”, 1970, chrome and stainless steel shadowbox assemblage, signed, dated, and titled at back, an “Isaac Delgado Museum of Art / Robert Huff / one man exhibition / May 9‑31, 1970” label en verso, h. 22”, w. 12”, d. 6”. [500/800] Illustrated

1003

Frank Thompson (American/Louisiana, Contemporary), “Crystal Reflections”, stained and fused glass over polished aluminum, 15” x 30”. [300/500]

163

1006

John McNaughton (American/ Indiana, Contemporary), “Dancing Chair and Table”, carved wood sculpture, incised signature along front edge, h. 16‑1/2”, w. 8‑3/4”, d. 7”. [400/700] Illustrated

1006

1007

1004

Louise Guidry (American/ Louisiana, b. 1930), “Whispering Lake, Tibetan Folklore”, oil on gallery-wrapped canvas, signed lower right, 24” x 20”. [1500/2500] Illustrated

1004

Don Baum (American/Chicago, 1922‑2008), “Occident/ Orient Express Stagecoach”, 1988, oil on velvet and wood sculpture, a “Betsy Rosenfield Gallery, Inc./ Chicago” label at bottom, h. 14‑3/4”, w. 7‑3/4”, l. 14‑3/4”. [400/700] Illustrated

1005

1007

1008 1005

Christopher Maier (American/New Orleans, 1955‑2004), “Untitled”, 1991, carved wood, signed and dated along back, h. 10”, w. 6‑1/4”, d. 5‑1/4”, and Robert Tannen (American/New Orleans, b. 1937), “Church”, 1993, carved wood, initialed, dated and numbered “277/400” at bottom, h. 3‑1/2”, w. 6‑3/4”, d. 2‑1/4”. [400/700] Illustrated

164

Adele Sypesteyn (American/Louisiana, Contemporary), “Intrinsic”, mixed media on canvas, signed lower right, 36” x 36”. Unframed. [1500/2500] Illustrated

1009

Adele Sypesteyn (American/Louisiana, Contemporary), “Waiting”, mixed media on canvas, signed lower right, titled en verso stretcher, 60” x 48”. Unframed. [1800/2500] Illustrated

1011

1008

1010

Alvyk Boyd Cruise (American/Louisiana, 1909‑1988), “Chinese Figure and Wreath”, watercolor on paper, sight 23‑1/4” x 17‑3/4”. Glazed, matted and framed. [600/900] Illustrated

1012

Jeromy Young (American/Louisiana, Contemporary b.1977), “Still Life with Porcelain”, oil on masonite, signed, 16” x 20”. Framed. [600/900] Illustrated

1011

Jeromy Young painted his first oil on canvas at the age of 9 and thus began a lifelong study of the technique and compositions prevalent in Old Masters works. Demonstrating a superior attention to detail - capturing reflections, subtle blending of shadows, and the fluidity of fabrics - Young often features elements of Southern regional culture into his paintings.

1009

1010

Margaret Evangeline (American/Louisiana, b. 1943), “Note in a Bottle”, oil on canvas, signed and titled en verso, 36” x 48”. Unframed. To be sold for the benefit of WLAE. [1000/1500] Illustrated Multi-disciplinary artist Margaret Evangeline utilizes unconventional materials in her artwork, adulterating tight geographical compositions with gritty organic materials. Her careful choice of color, scale, and medium shape the process in which she develops her luminous paintings. 1012

165

1016

Sally Heller (American/ New Orleans, Contemporary), “#1 From the Series Calamitrees”, 2012, c-print, 19‑1/2” x 24”. Glazed. To be sold for the benefit of WLAE. [2000/4000] Illustrated

1014

1013

Jeromy Young (American/Louisiana, Contemporary b.1977), “Down Time”, oil on birchwood panel, signed, 16” x 20”. Framed. [600/900]

Formed from a similar concept as 1016 her Uprooted series, Calamitrees dissects the relationship between our local ecology and the destruction caused by Hurricane Katrina. The disorganization felt by the city is mirrored in the chaotic visuals produced by the complex weaving and arrangement of ordinary consumables.

1017

Sally Heller (American/ New Orleans, Contemporary), “From the Series Uprooted”, 2008, ed. 1/7, c-print, 20” x 25‑1/2”. Glazed. To be sold for the benefit of WLAE. [1000/1500] Illustrated Local artist Sally Heller is well known for her installation 1017 work in which she creates artificial landscapes from what she terms “human detritus” or discarded remnants of plastic, wire, and fabric. Formed as trees, she is interested in the dialogue between the consumptive behaviors of society and its subsequent effect on nature. Photographs of the installations yield colorful abstractions and initiate the viewer into Heller’s irreverent media.

1015

1014

Jeromy Young (American/Louisiana, Contemporary b.1977), “Still Life with Oysters”, oil on birchwood panel, signed, 16” x 20”. Framed. [600/900] Illustrated

1015

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Untitled”, 1969, oil on canvas, signed and dated lower right, 45” x 44‑1/2”. Framed. [8000/12000] Illustrated

166

1018

Julie Silvers (American/New Orleans, Contemporary), “T-Pee”, acrylic and mixed media on board, 96” x 48”. Unframed. To be sold for the benefit of WLAE. [2000/4000] Illustrated “Living young, wild, and free,” a favored quote of Julie Silvers’ is infused into each one of her pieces. Daughter of well-known artist Susan Wittenberg, pastels and neutral earth tones dominate her paintings, which are likewise inspired by the world around her and replete with symbolism.

1019

Betty Christovich (American/Louisiana, 20th Century), “Fugue #9”, oil on canvas, signed mid-right, signed and titled en verso, 40” x 48”. Framed. [400/700] Illustrated

1020

Richard Johnson (American/New Orleans, b. 1940), “Re-Structure”, 1998, acrylic and mixed media on canvas, initialed bottom center, initialed, dated and titled en verso canvas, 49” x 47”. Unframed. [3000/5000] Illustrated 1018

1020

1021

1023

1019

Five-Piece Contemporary Upholstered, Glass and Pine Dining Suite, comprised of a table with a beveled glass top on a trestle base, h. 30‑1/4”, w. 44”, l. 77”, and four upholstered parson’s chairs, h. 39”. [300/500]

1021

Richard Johnson (American/New Orleans, b. 1940), “Reflection”, 2004, acrylic on wood panel, initialed and dated bottom center, titled, initialed and dated en verso, 28” x 50”. In a thin gallery frame. [2000/4000] Illustrated

1022

Contemporary Chromed Steel and Glass Desk, the rectangular beveled glass top with curved corners and raised on a pair of metal supports of sawhorse form, h. 30‑1/4”, w. 36”, l. 72”. [600/900] Illustrated

1022

167

1024

Contemporary Molded Glass Cocktail Table, the top of serpentine form extending to curved ends, retaining the label “Sica Made in Italy”, h. 14‑1/2”, w. 52”, d. 26”. [700/1000] Illustrated

1025

Mirror-Mounted Silver Gilt Torchere Stand, with segmented mirrors decorated with neoclassical roundels, h. 36”, dia. 16‑1/2”. [300/500] Illustrated

1028

Steuben Crystal Eagle on Ball, 20th century, American, engraved with the Steuben mark, h. 5‑1/2”, w. 13”, d. 4”. [400/700] Illustrated

1029

Collection of Four Baccarat Crystal Animal Figures, 20th century, French, including a dog, peacock, hedgehog and frog, with paper labels and etched decanter and glasses mark, h. 2‑1/2” to 4‑1/2”, w. 2‑1/2” to 4‑1/4”. [300/500]

Industrial Modern Sheet Metal and Welded Steel Sunburst Mirror, dia. 46”. [300/500] Illustrated

1026

1025

1026

1027

Pair of Lalique Crystal “Tete de Lion” Table Lighters and an Ashtray, all marked “Lalique France”, lighters, h. 4‑1/2”, dia. 3‑1/4”, ashtray, dia. 5‑3/4”. [300/500] Illustrated

1028

1030

Seven Small Baccarat Glass Figures, 20th century, including dogs, birds and an angel, two of them frosted, h. 1‑1/2” to 4‑3/4”. [300/500] Illustrated

1030

1027

168

1035

1031

Collection of Four Crystal Figures, 20th century, including a swan, snail and fleur de lis, all marked “Baccarat”, h. 1‑1/4” to 4‑1/4”, w. 4” to 5‑1/4”, and a Marcolin snail, Swedish, h. 3”, dia. 4”. [300/500]

1032

Pair of Pierced Pottery Table Lamps, mid-20th century, probably American, overall, h. 31‑1/4”, w. 14‑1/4”, d. 6‑1/2”. [300/500] Illustrated

1036

Contemporary Mirror and Glass Side Table, the thick rectangular glass top raised on stepped mirrored end supports joined by a stretcher shelf, h. 31”, w. 60”, d. 16”. [800/1200] Illustrated

1032

Steuben Crystal Lion and Elephant, 20th century, American, each with engraved marks, h. 4‑1/2” to 7‑1/2”, w. 2‑3/4” to 4‑1/2”. [500/800] Illustrated

1037

1035

1037 1033

Four-Piece Collection of Cut and Molded Crystal Desk Articles, 20th century, including two paperweights, l. 11‑1/2” and 3‑1/2”, a magnifier, l. 9‑1/4”, and a pen on stand, h. 7‑1/2”. [300/500]

Two Related Art Deco Frosted Glass and Metal Chandeliers, second quarter 20th century, comprising a rectangular example with frosted panels below a flaring rim and molded corners, set with four lights, h. 19‑3/4”, w. 28‑1/4”, d. 13‑3/4”, and a square example with frosted lower panels and sides, trimmed with molded corners, set with four lights, h. 18‑1/4”, w. 13‑1/4”, d. 13‑1/4”. [350/500] Illustrated

1038

Vintage Hollywood Regency Mirror, with a segmented and beveled surround, h. 60‑1/2”, w. 26‑3/4”. [300/500]

1039 1036

1034

Contemporary Glass, Brass and Mirrored Glass Coffee Table, of square form with mirrored panels on the top and sides, h. 15”, w. 38”, d. 38”. [200/400]

Lowell Nesbitt (American, 1933‑1993), “Rose”, 1973, color lithograph, pencil-signed and dated lower right, numbered lower left, 33‑3/4” x 22‑1/2”. Glazed, matted and framed. [600/900] Illustrated

1039

169

1041

Victor Vasarely (French/Hungarian, 1906‑1997), “Untitled” from Gestalt Series, serigraph, signed lower right, numbered “37/250” lower left, sight 22” x 22”. Glazed, matted and framed. [500/800] Illustrated

1042

Kenneth Price (American/California, 1935‑2012), “French Figurine Cup”, 1971, color lithograph, titled, signed and dated in pencil lower right, sight 37” x 27”. Glazed, matted and framed. [500/800] Illustrated

1041

1040

Asian School (Third Quarter 20th Century), a pair of gouaches on silk depicting swans, each signed Zhiguang Xie and dated 1964, each sight 15‑1/2” x 23‑1/2”. Matted, glazed and framed alike. [300/500]

1043

Julian Trevelyan, R.A. (British, 1910‑1988), “Villa Gamberaia”, 1966, etching in colors, signed lower right, titled bottom center, and numbered “70/100” lower left, sight 20‑1/2” x 15‑1/2”. Glazed, matted and framed. [500/800] Illustrated

1044

Asian School (Possibly Korean, 20th Century), “BlueEyed Boy”, 1964, oil on canvas, signed “Kim” and dated lower right, 13‑1/4” x 12‑1/4”. Framed. [300/500]

1045

Rufino Tamayo (Mexican, 1899‑1991), “La Negresse”, color lithograph, signed in pencil lower right, pencilnumbered lower left “38/150”, sight 28” x 21‑3/4”. Glazed, matted and framed. [1000/1500] Illustrated 1042

170

1048

Collection of Two Contemporary Prints, including Morley Safer (Canadian/American, b. 1931), “On Hearing of Kurt Vonnegut’s Death”, inscribed with dedication and signed lower right, numbered lower left “PP 2/11”, 16” x 11‑3/4”, and Ralph Idris Steadman (British, b. 1936), “Untitled”, inscribed with dedication and dated “2005” upper margins, signed lower right, numbered “AP” lower left, 7” x 11”. Both glazed and framed. [300/500]

1049

Pair of Baccarat Crystal Decanters, mid-20th century, each of tapered and paneled form, and with an acidetched “decanter and glasses” mark, h. 8‑3/4”, dia. 4‑1/2”. [400/700] Illustrated

1050

Two Pairs of Baccarat Crystal Toasting Flutes, 20th century, French, decorated with frosted Bacchanalian figures on the stems, each pair in their original box, h. 8‑3/4”, dia. 2‑3/4”. [400/700]

1051

Baccarat Molded and Cut Crystal Sculpture on a Lighted Base, ca. 1981, French, decorated with a cut and engraved sturgeon swimming at the depths, marked “Baccarat, 1981, 10/50”, h. 11‑1/2”, w. 8”, d. 3‑1/2”. [700/1000] Illustrated

1045

1052

1049

Signed Lalique Crystal “Pinsons” Coupe/Bowl, 20th century, decorated with birds and ferns, h. 3‑3/4”, dia. 9‑1/2”; together with a French bowl decorated with birds in the Lalique style, h. 4‑1/4”, dia. 10‑1/4” (two total pieces). [300/500] Illustrated

1046

James Rosenquist (American, b. 1933), poster for “The New Gallery” 1975 exhibition, Cincinnati, Ohio, pencil-signed and dated lower right “Rosenquist 1975”, numbered in pencil lower left “65/100”, sheet size 20” x 28”. Partially mounted on a linen background and presented in a silvered frame. [300/500]

1052

1047

Ralph Idris Steadman (British, b. 1936), “Sadie” and “My Fox”, collection of two prints, both titled, signed and inscribed with a dedication, sight 15‑1/2” x 11” and 11” x 9”. Both glazed, matted and framed. [300/500]

171

1053

Three-Piece Collection of Steuben Crystal, second quarter 20th century, New York, including a centerpiece with scrolled handles, from a 1937 design, signed “Steuben”, h. 4‑1/4”, dia. 9‑3/4”, a boat-shaped bowl, from a 1955 original, with an engraved Steuben mark, h. 4‑1/2”, w. 12”, d. 6‑1/4”, and an olive dish, from a 1939 design, unsigned, h. 3‑3/4”, dia. 6”. [300/500] Illustrated

1055 1 of 2

1054

Ten Pieces of Lalique Crystal, 20th century, French, including a “Dampiere” vase decorated with birds, h. 4‑3/4”, dia. 4‑1/2”, six “Les Enfants” shot glasses, h. 2‑3/4”, dia. 1‑1/2”, a “Floreal” figure on a black glass base, h. 3‑1/2”, and a pair of “Meditating Figures”, h. 2‑1/2”, all signed “Lalique France”. [500/800]

1055

Morris Henry Hobbs (American/Louisiana, 1892‑1967), “Jambalaya”, 1948, and “The Aquarium”, 1944, two etchings, both signed, former 9‑3/4” x 9‑1/2”, latter 11” x 8”. Both glazed and framed. Accompanied with Huey P. Long linen letterhead. [700/1000] Illustrated

1055 1 of 2

1056

Anne Goldthwaite (American/Alabama, 1869‑1944), three works on paper, including “Mare and Foal”, graphite on paper, signed and titled lower left, 11” x 15‑3/4”; “the Aviator”, etching on paper, pencil-signed lower right, titled lower left, sheet 10‑1/4” x 7”; and “Dancing Girl”, etching on paper, signed lower right, sheet 12‑1/2” x 9”. All unframed. [500/800] Illustrated

1057

172

1059

1061

1058

1057

George Dureau (American/New Orleans, 1930‑2014), “Four Figures”, graphite on paper, signed lower center, sight 24” x 20”. Glazed, matted and framed. [500/800] Illustrated

Allison Stewart (American/Louisiana, b. 1941), “Mapmaking II”, color lithograph, pencil-signed lower right, titled bottom center, numbered “229/300” lower left, sheet 23” x 33”. Glazed, float-mounted and framed. [400/700] Illustrated 1060

1058

George Valentine Dureau (American/Louisiana, 1930‑2014), “Mardi Gras New Orleans, A Carnival Bestiary”, hand-augmented silkscreen from the artist’s proof, signed lower center, titled lower left “A Carnival Bestiary” and further inscribed lower right, accompanied with a personalized note from the artist, sight 35” x 23”. Glazed, matted and framed. [800/1200] Illustrated

1059

Robert Gordy (American/Louisiana, 1933‑1986), “Nudes in the Waves”, 1968, watercolor and ink on paper, signed and dated upper left, sight 16‑1/2” x 21‑3/8”. Glazed, matted and framed. [500/800] Illustrated

1060

Robert Gordy (American/Louisiana, 1933‑1986), “Untitled-Face”, color lithograph, pencil-signed lower right and numbered “124/300” lower left, sight 17” x 14”. Glazed, matted and framed. [400/700] Illustrated

1061

173

1062

After Walter Inglis Anderson (American/Mississippi, 1903‑1965), a pair of color lithographs, including “Fish” and “Crab”, each sight 25‑1/2” x 19‑1/4”. Glazed, matted and framed alike. [300/500] Illustrated

1063

Group of Three New Orleans Views, including Clarence Millet (American/New Orleans, 1897‑1959), “Entrance to Jackson”, woodblock, pencil-signed and titled lower margin, image 6‑1/2” x 5‑1/2”. Framed; C. Bennette Moore (American/New Orleans), “View of Cathedral from Lower Pontalba Balcony”, hand-colored photograph, signed in print lower right, 9‑7/8” x 7‑7/8”. Framed; and Bertrand Valnay (French, 19th Century), “Union Troops Occupying St. Louis Street in New Orleans”, engraving, signed in print lower right, published Le Tour du Monde, Paris, 1866, 9‑1/4” x 6‑1/8”. Framed. [300/500] Illustrated

1064 one of two 1062 one of two

1064

Two Important Views of New Orleans by John Stobart (American, b. 1929), including the limited edition color lithographs “The J.M. White ‘Mistress of the Mississippi’ Leaving the Crescent City in 1887”, image 23” x 33‑3/4”, and “The Robt. E. Lee Leaving...1880”, image 21‑5/8” x 33‑5/8”, New York: Maritime Heritage Prints, courtesy of Kennedy Galleries, 1976 and 1978, each signed in plate and pencil-signed lower right and numbered “416/750” and “365/750”, respectively. Matted and framed similarly. [350/500]

1065

Nineteen Pieces of Miscellaneous American Sterling Silver and Other Small Tableware, 20th century, including sterling pieces: a good Webster small Art Deco cream and sugar set, dia. 2‑5/8”, a pair of M. F. Hirsch urn-form salt cellars, h. 2‑1/4”, an unmarked thistle-form toothpick holder, h. 2‑5/8”, an Ellmore squat circular gravy boat and stand, overall, h. 2‑1/2”, dia. 5‑3/4”, a Gorham lobed oval bonbon dish, l. 7‑1/4”, an International leaf-form bonbon dish, l. 6‑1/8”, an Alvin lobed circular bonbon dish, dia. 6‑3/8”, an unmarked pair of diminutive Georgianstyle three-light candelabra, h. 7”, five pieces of Gorham “Buttercup” flatware (three luncheon forks, one salad fork and one teaspoon), l. 5‑3/4” to 7”, together with two cased sets of plated steel corn cob picks (eight picks per case), 5‑5/8” x 3”, no monograms, 30.35 total t. oz. (weighable silver). [400/700] Illustrated 1063 one of three

174

1065

1067

1066

Five Pieces of American Sterling Silver Tableware, 20th century, including an Ellmore Georgian-style sauceboat and stand with serpentine-lobed rim and crested “C”-scroll handle, overall, h. 5”, l. 9‑1/2”, two reticulated small sandwich plates, one by Alvin, dia. 8‑1/2”, the other by Meriden Britannia, dia. 7‑1/8”, and an unmarked “Revere” bowl, h. 3‑3/4”, dia. 7”, no monograms, 8.68 total t. oz. [400/700] Illustrated

1068

1066

1067

Six Reed & Barton “Francis I” Sterling Silver Serving Pieces, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including two poultry carving sets, each including a carving knife, l. 10‑1/4”, and fork, l. 8‑3/4”, all with stainless steel fittings, and a salad serving set, l. 9‑1/2”, no monograms, 11.78 total t. oz. (weighable silver). [500/800] Illustrated

1069

1068

Gorham Sterling Silver Water Pitcher, 1923, Providence, Rhode Island, of baluster form with plain molded banding, with “Chippendale” shaped rim/spout and crested double-scroll handle, monogrammed “LAM”, h. 8‑3/4”, l. 8‑3/4”, dia. 5‑3/4”, 17.53 t. oz. [400/700] Illustrated

1069

American Sterling Silver Center Bowl, first quarter 20th century, by Black, Starr & Frost, New York, New York, of hemispherical form with molded foot-ring and ovolo banding, monogrammed “MPP”, h. 5‑1/4”, dia. 9‑1/8”, 25.31 t. oz. [400/700] Illustrated

175

1070

Two American Sterling Silver “Revere” Bowls, second quarter 20th century, including a Gorham example with 1946 date-mark, h. 3‑1/2”, dia. 6‑1/2”, and a J. E. Caldwell example, h. 4”, dia. 8”, 28.94 total t. oz. [400/700] Illustrated

1073

1070

1073

1071

Tiffany & Co. Silverplate-Mounted Glass Flask, fourth quarter 19th century, New York, New York, of oval form and section, the glass bottle with silverplate hinged locking clasp and a lower half detaching to form a cup, monogrammed on the cup “CS”, h. 5‑1/4”, w. 3”. [300/500]

Seven Pieces of Tiffany & Co. Sterling Silver Small Tableware, 19th and 20th centuries, including a pair of Henry Hebbard foliate-chased “down-tipt” sauce ladles, l. 6‑1/2”, a pair of “English King” salt spoons, l. 3‑1/2”, “Faneuil” sugar tongs, l. 4”, a dinner bell with presentation hunting inscription dated 1951, h. 3‑1/2”, and a small “Revere” bowl with presentation inscription dated 1867, dia. 4”, 12.04 total t. oz. [300/500] Illustrated

1074

1072

Four Pieces of American Sterling Silver Tableware, 20th century, including a Gebelein-retailed Currier & Roby Georgian-style waiter with presentation inscription dated 1946, dia. 8”, an unmarked beaker with engraved faux armorial, h. 4‑1/8”, dia. 3‑1/8”, a Black, Starr & Frost ashtray with matchbox holder, monogrammed “PRC”, h. 5‑3/4”, dia. 4‑1/2”, and a Frank W. Smith cigarette canister with presentation inscription dated 1937, h. 3‑1/2”, dia. 2‑3/4”, 26.90 total t. oz. [400/700] Illustrated

176

1074

Good “Baltimore Rose” Sterling Silver Water Pitcher, second quarter 20th century, by the Schofield Co., Baltimore, Maryland, of baluster form, decorated all over with deep repousse roses and foliage, with feather-crested handle, h. 9”, l. 9‑1/2”, dia. 6”, 23.44 t. oz. [500/800] Illustrated

1075

Five Pieces of American Sterling Silver Tableware, mid-20th century, all with gadrooned rim, including a three-piece Ellmore suite with embossed shell-andflower festoon banding with a compote, h. 6‑1/4”, dia. 6‑7/8”, a fruit bowl, dia. 11‑1/4”, and a sandwich plate, dia. 11‑1/4”, with a Watson compote, h. 4‑1/2”, dia. 7”, and an unidentified condiment bowl, dia. 5‑3/4”, no monograms, 24.25 total t. oz. (excluding weighted compotes). [400/700] Illustrated

1078

Large Pair of Reed & Barton Silverplate Shell Dishes, second half 20th century, each of coquille form, with “vintage” grape cluster crest and feet, 15‑1/8” x 16‑1/4”. [300/500] Illustrated

1079

1075

1076

Five Silverplate and Brass Trays, 20th century, including American silverplate pieces: a Homan drinks tray, 19” x 10‑1/2”, a Glastonbury drinks tray with gadrooned rim, 21” x 11‑1/2”, a W. Bell rococo-style tea tray with 1967 presentation inscription, 25‑3/4” x 17”, and an unmarked rococo-style tea tray with 1972 presentation inscription, with a contemporary Indian brass rococo-style tea tray, 25” x 14‑1/2”. [200/400]

1079

Arthur J. Stone (1847‑1938) Sterling Silver Bowl, dated 1929, Gardner, Massachusetts, assistant’s mark of Herbert A. Taylor (1892‑1942), of deep saucer form with five incised panels and shallow foot ring, monogrammed and dated “MB/1929”, h. 2‑3/8”, dia. 6”, 8.12 t. oz. [400/700] Illustrated

1080

1078

1077

Five American Silverplate Oval Serving Platters, mid20th century, including a Queen City reticulated bread tray, l. 13‑1/8”, an unidentified platter with molded rim, l. 16‑1/4”, a W. Rogers “Spring Flower” platter with presentation inscription, l. 16‑1/2”, an unmarked platter with reeded rim, l. 21‑5/8”, and a Wilcox “Ashley” platter, l. 22”. [200/400]

1080

Pair of International “Royal Danish” Sterling Silver Candlestands, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, h. 3‑3/4”, dia. 4‑1/4”, weighted. [300/500] Illustrated

177

1081

American Silverplate Circular Tray and Platter, third quarter 20th century, unmarked, including a tray with acanthus-mounted handles and feet, dia. 20”, and a platter with gadrooned rim and rocaille decoration, dia. 17‑3/4”. [200/400] Illustrated

1084

1081

1083

1082

Eight Pieces of American Silverplate Tableware, mid20th century, including a W. Rogers reticulated fruit bowl, dia. 12‑1/4”, a Reed & Barton “Riviera” sandwich plate, dia. 10‑1/2”, an International “Camelot” covered vegetable dish, dia. 10‑3/4”, a Benedict “Chinese Chippendale” oval covered vegetable dish, l. 11‑1/8”, a Barbour “Chippendale” oval covered vegetable dish, l. 11‑1/4”, and a a Hartford covered double vegetable dish, dia. 13”, a Gorham rococo-style sandwich plate, dia. 10‑3/4”, and an unmarked fruit bowl, dia. 12‑1/2”, some with monograms/inscriptions. [200/400]

1083

American Silverplate Revolving Supper Service, mid20th century, probably Glastonbury Silver Co., Chicago, Illinois, of circular form, fitted with three covered entree dishes, a pepper caster, a salt cellar, a mustard pot and a central bowl, all above a hot water reservoir raised on a large foot-ring, decorated with applied rocaille molding and applied scroll-mounted turned bakelite handles, overall, h. 14‑1/2”, dia. 22‑3/4”. [600/900] Illustrated

1084

American Sterling Silver Water Pitcher, mid-20th century, by International Silver, Meriden, Connecticut, of baluster form, with integral spout, crested handle and ogee-domed foot-ring, monogrammed “G”, h. 9‑1/4”, l. 9”, dia. 5‑1/2”, 26.35 t. oz. [400/700] Illustrated

1085

Two American Silverplate Footed Serving Trays, second half 20th century, by the English Silver Plate Mfg. Co., Brooklyn, New York, rectangular with shaped rim, in the rococo taste, one 14‑5/8” x 5‑1/2”, the other 26‑3/8” x 11‑1/8”, the latter with presentation inscription dated 1977. [200/400]

1086

Seventy-Piece Set of Towle “Candlelight” Sterling Silver Flatware, the pattern designed in 1934 by Harold Edward Nock (1875‑1952), comprising five twelve-piece place settings (one butter spreader lacking but with one additional teaspoon), with ten specialty and serving pieces, no monograms, 60.30 total t. oz. (weighable silver), presented in a fitted, turquoise velvet- and satinlined creme peinte wooden case with lift-top and one drawer, 7‑1/2” x 18” x 12”. Detailed list of pieces available on request. [1000/1500] Illustrated

178

1089 1086

Five-Piece Peruvian Sterling Silver Tete-a-Tete Coffee and Tea Set, mid-20th century, by Camusso, Lima, in the Spanish Colonial taste, including a coffeepot, h. 7‑1/2”, l. 6‑3/8”, a teapot, h. 6‑1/2”, a covered sugar bowl, h. 4‑1/2”, and a cream jug, h. 4‑1/2”, with pear-shaped bodies and crested handles, with a serving tray en suite, 16‑1/8” x 9‑3/4”, 47.24 total t. oz. [700/1000] Illustrated

1089

1087

American Silverplate Four-Piece Tea Set and Pitcher, third quarter 20th century, the tea set by Eton and including a coffeepot, h. 10‑1/2”, a teapot, h. 9”, a sugar bowl, h. 3‑1/2”, and a cream jug, h. 3‑1/2”, ovoid with floral scroll handles and feet, the water pitcher by F. B. Rogers, pear-shaped, with rococo scroll handle and feet, h. 9”, all with monograms/inscription (five total pieces). [200/400]

1090

Anglo-American Silverplate Tray, mid-20th century, made in England for the Benedict Mfg. Co., Syracuse, New York, of oval form, with rocaille rim and opposing handles, the plateau decorated with a wide band of shells and scrolls on a lattice ground, 27” x 18”. [300/500] Illustrated

1090

1088

Twenty-Six Pieces of Assorted North and South American Sterling Silver Tableware, 20th century, including a pair of Sanborn, Mexico lobed napkin rings in the Colonial taste, dia. 2”, seven Alvin “Viking” 1086 salad forks, l. 6”, fourteen detail pieces of Reed & Barton “La Comtesse” flatware (six luncheon forks, l. 7‑1/8”, and eight teaspoons, l. 5‑5/8”, all monogrammed “N”), and three pieces of Camusso, Peru “Boston” flatware (serving spade, l. 10”, ice cream slice, l. 10‑1/2”, and cream ladle, l. 5‑1/8”), 32.62 total t. oz. [400/700]

1091

Federal-Style Brass-Mounted Wood Curtain Rod/ Drapery Hardware, including a pair of fluted wall bracket rod mounts with applied foliate and beadwork ornamentation, h. 12”, d. 7‑3/4”, together with eight matching rings, four rod finials, h. 4‑1/2”, and two tiebacks, l. 7”. [300/500]

179

1092

American Vernacular-Style Mixed Woods Butcher Block Island, the rectangular planked top over an apron fitted with a single drawer, raised on block and balusterturned legs ending in turned feet, h. 36”, w. 42”, d. 36”. [400/700] Illustrated

1096

American Colonial Revival Brass Fire Tool Set, first quarter 20th century, the ball-top finialed holder supporting a faceted urn-top poker, tongs and a shovel, h. 29‑1/2”, dia. 7‑1/2”. [400/700]

1092 1097

1093

Early American Sponge-Painted Blanket Chest, early 19th century, with mortised and pegged construction, raised on turned legs, the interior fitted with a hinged till, h. 25‑1/2”, w. 48‑1/2”, d. 21”. [400/700]

1094

Spanish Colonial Mahogany Low Sidechair, early 19th century, the shaped crest above a like splat, the seat of woven strips of hide, raised on turned and bulbous legs joined by a box stretcher ending in peg feet, h. 33”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [300/500]

1095

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 floralpainted motifs, time and strike movement, raised on ogee bracket feet, h. 95”, w. 20”, d. 12”. [600/900] Illustrated

180

1095

1097

Ambroise Louis Garneray (French, 1783‑1857), “Champ d’Asile”, black and white engraving presenting a romanticized scene of the ill-fated Champ d’Asile colonists in Texas, sheet 12‑3/4” x 15‑3/4”. Glazed and framed. [700/1000] Illustrated

1098

Covens and Mortier (Dutch, 1721‑1866), “Carte du Congo et du Pays des Cafres”, ca. 1739, depicting Africa south of the Equator, with extensive detail including geography, wildlife, tribal areas and Portuguese colonies, with hand-colored boundaries, glazed and presented in a faux-bois cavetto frame, imprint, h. 19‑1/2”, w. 24”, overall, h. 29‑1/4”, w. 33”. [300/500]

1099

American Federal Line-Strung Drop-Leaf Table in the Hepplewhite Taste, ca. 1800, the drop leaves supported by fly legs, the apron and tapering legs with banded line inlay, h. 29”, w. 45”, d. 18‑1/2”, extended l. 55”. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [500/800] Illustrated

1100

American Federal Mahogany Server in the Hepplewhite Taste, first quarter 19th century, New York, the rectangular top with a molded edge, above a conforming case fitted with two short drawers over a single long drawer, joined by square uprights to the concave lower shelf, raised on tapering square legs, h. 35”, w. 35‑1/2”, d. 18‑1/2”. [600/900] Illustrated

1102

American Federal Line-Strung and Inlaid Mahogany Games Table, ca. 1800, probably Connecticut, in the Hepplewhite taste, of ovolo form, the fold-over top with a line-inlaid edge and supported by a fly leg, over a conforming apron with inlaid stringing, the tapering legs with like stringing and capped by tapering petal inlay, h. 29”, w. 35‑1/4”, d. 17‑1/2”. [500/800] Illustrated

1099

1102

1100

1101

American Hepplewhite-Style Mahogany Settee, first quarter 19th century, the curved padded back joined to the like seat by undulating arms, raised on tapering square legs ending in casters, h. 35‑1/2”, w. 63”, d. 30”. [400/700] Illustrated 1103 one of nine 1101

1103 one of nine

1103

Collection of Nine Beatrix Sherman (American, 1894‑1975) Silhouettes, depicting standing gentlemen, some inscribed in the margins, one signed, sheet size from 11‑1/4” x 7” to 12” x 5‑1/2”. All glazed and presented in contemporary ebonized frames. [500/800] Illustrated 1103 one of nine

181

1106 1104 two of ten

1104

Collection of Ten Silhouettes, attributed to Beatrix Sherman (American, 1894‑1975), all with inscriptions in the margins, unsigned, sheet size from 11” x 5‑3/8” to 11‑1/4” x 6‑5/8”. All glazed, float-mounted and presented in contemporary ebonized frames. [500/800] Illustrated

1108

Vernacular American Cherry Wood Tilt-Top Candle Stand, ca. 1825, the shaped single-board top on a turned tripodal pedestal, h. 28‑1/2”, w. 24‑1/2”, d. 17‑3/4”, h. with top tilted, 41”. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [300/500] Illustrated

1105

American School (19th Century), “Primitive Landscape”, oil on canvas, unsigned, 29” x 36”. Unframed. [300/500]

1106

American Late Federal Figured Maple, Birch and Mahogany 1108 Chest, first quarter 19th century, Boston or Coastal Massachusetts, the figured maple top with a reeded edge and ovolo corners, on a case with a bank of four drawers, each with birdseye maple faces edged in banded mahogany, the ends with reeded pilasters on tapering turned legs, h. 41‑1/8”, w. 43”, d. 20”. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [1200/1800] Illustrated

1107

American Vernacular Federal Maple Candlestand, first quarter 19th century, New England, the tilt octagonal top on a turned tripodal pedestal on shaped legs, ending in spade feet, h. 30”, w. 29‑3/4”, d. 14‑3/4”, with top raised, h. 38”. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [300/500]

182

1109

American Classical Mahogany Work Table or Sugar Chest in the Sheraton Taste, ca. 1825, Baltimore, the reeded lift-top on a case with a deep well and single drawer with pinwheel-carved pulls, raised on ring-turned reeded legs on cup casters, h. 29”, w. 22‑1/2”, d. 15‑1/8”. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [1500/2500] Illustrated

1110

American Sheraton Mahogany Sideboard, ca. 1825, Massachusetts, the shaped and reeded top over a case with a central drawer over a pair of doors and bottle drawers, flanked by ring-turned and reeded pilasters and reeded legs, each end with a curved drawer over a door, flanked by like legs and pilasters, h. 42‑3/4”, w. 74‑1/2”, d. 23‑1/2”. [800/1200] Illustrated

1114

After John James Audubon (American, 1785‑1851), “Tropic Bird”, color offset lithograph from the Amsterdam edition of The Birds of America, sight 20” x 30”. Glazed, matted and framed. [500/800]

1115

After John James Audubon 1116 (American, 1785‑1851), “Hare Squirrel”, hand-colored lithograph, printed by J. T. Bowen, 1844, sight 24‑1/4” x 19‑1/4”. Provenance: Private collection, New Orleans, Louisiana; Taylor Clark Gallery, Baton Rouge, Louisiana. [300/500] 1110 1117

1111

After John James Audubon (American, 1785‑1851), “Smew or White Nun”, color offset lithograph from the Amsterdam edition of The Birds of America, sight 27‑3/8” x 22”. Glazed, matted and framed. [500/800] Illustrated

1112

After John James Audubon (American, 1785‑1851), “BlackBellied Darter”, color offset lithograph from the Amsterdam edition of The Birds of America, sight 36‑1/2” x 26‑3/4”. Glazed, matted and framed. [500/800] Illustrated

1113

1111

After John James Audubon (American, 1785‑1851), “Tufted Auk”, color offset lithograph from the 1112 Amsterdam edition of The Birds of America, sight 17‑5/8” x 24”. Glazed, matted and framed. [500/800]

1116

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. [4000/7000] Illustrated

1117

American Classical Mahogany Sidechair, New York, first quarter 19th century, with a tablet-form crest rail and well-carved foliate back splat, with saber legs, h. 32‑1/4”. [300/500] Illustrated

183

1118

Large American Classical Mahogany Drop-Leaf Dining Table, ca. 1825, the top flanked by drop leaves with curved corners, raised on a foliate-carved vasiform pedestal joined to four shaped legs with like carving and ending in carved paw feet, h. 30”, w. 56”, l. 29‑1/2”, extended l. 55”. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [800/1200] Illustrated

1118 1122

1119

American Late Classical Giltwood Mantel Mirror, second quarter 19th century, of large scale and tripartite form, with foliate details and gilt highlights, h. 30”, w. 72”. [500/800] Illustrated

1119

1123

1120 1121

184

American Giltwood Tabernacle Mirror, second quarter 19th century, the fascia board decorated with an anthemia flanked by sunbursts and ring-turned pilasters, h. 44‑1/2”, w. 25”. [400/700]

1121

American Classical Mahogany Games Table, ca. 1825, the shaped, single-board, fold-over top above a conforming frieze raised on foliate-carved and ringturned legs ending in brass ball feet, h. 29‑3/4”, w. 35‑1/2”, 1125 d. 18”, extended l. 36”. [350/500] Illustrated

1122

American Late Classical Mahogany DoubleDoor Armoire, second quarter 19th century, probably Louisiana, with a flared cornice, the front legs with brass ball feet, h. 89”, w. 64”, d. 25”. [1000/1500] Illustrated

1125

Classical-Style Terracotta Concrete Figural Group of the Goddess Diana, holding a bird’s nest beside a dog, on an anthemion-decorated pedestal, h. 69”, w. 19”. [500/800] Illustrated

1126

Pair of American Gothic Revival Mahogany Sidechairs, second quarter 19th century, each with an arched crest rail over a trio of Gothic arches, flanked by classical columns and pilasters and separated by trefoil decor, raised on tapering ring-turned legs, now upholstered in Scalamandre silk damask with gold bees on a claret ground, h. 34‑1/4”. [800/1200] Illustrated

1123

Louisiana-Style Mixed Woods Tester Bed, mid-19th century, the serpentine-carved headboard and footboard flanked by paneled pilasters supporting a full tester by balusterturned posts, h. 90‑1/2”, inside, w. 46”, l. 78”, outside, w. 53”, l. 84”. Provenance: Bush Antiques, New Orleans, Louisiana. [500/800] Illustrated

1128

1127

1126

1124

American Gilt- and Patinated Bronze Argand Lamp, mid19th century, labeled “B. Gardiner/New York”, the finialed urn-form font on a turned columnar standard and molded circular base, the arm prism-hung, the shade lacking, electrified, h. 13‑3/4”, w. 10”, d. 5‑1/4”. [300/500]

American Classical Stenciled and Parcel-Gilt Faux Mahogany Piano Stool, second quarter 19th century, New York, the circular seat retaining its period underupholstery, raised on a turned and foliate-stenciled column joined to a concave base, h. 19‑1/2”. Provenance: Ex-collection Don Didier. [300/500]

1128

American Late Classical Parcel-Ebonized and BronzeMounted Mahogany Work Table, second quarter 19th century, with a pair of figured drawers, the sides of the case fitted with bronze mounts, raised on a turned pedestal with scroll feet, h. 28‑1/2”, w. 21‑1/2”, d. 16”. [300/500] Illustrated

185

1129

American Late Classical Mahogany and Marble-Top Pier Table, second quarter 19th century, the portoro marble top above a case with a cyma-molded frieze raised on scroll supports and joined to a serpentine low shelf on scroll feet, the back fitted with a looking glass, h. 37‑1/2”, w. 42”, d. 19”.[1000/1500] Illustrated A similar table is illustrated in the 1833 Broadside by Joseph Meeks and Sons

1133

American School (Second Quarter 19th Century), “Portrait of a Man and Woman”, pair of oils on canvas, unsigned, each 27” x 22”. Each presented in a handsome, period, mahogany frame. [1200/1800]

1134

1131 American Late Classical Mahogany Bookcase/China Cabinet, second half 19th century, the molded and arched cornice over a pair of mullioned glazed doors flanked by fluted columns, the returns fitted with like panels, raised on scroll feet and fitted with three wood shelves, h. 79”, w. 53‑1/2”, d. 24”. [800/1200] Illustrated

1129

1130

Pair of American Late Classical Mahogany Stools, second quarter 19th century, each in floral needlepoint upholstery on a figured apron with ogee bracket feet, h. 8‑1/2”, w. 15‑1/2”, d. 11‑1/2”. [350/500] Illustrated

1130

1131

British School (Second Quarter 19th Century), “Pair of Portraits of a Husband and Wife”, oils on wood panel, unsigned, each 12‑1/4” x 10”. Presented in antique covemolded carved wood frames. [500/800] Illustrated

1132

American School (19th Century), “Portrait of a Gentleman”, oil on canvas, 30” x 24”, unsigned. Presented in a late 19th-century deep oak frame. [300/500]

186

1134

1135

Colorless Flint Glass “Petal and Loop” Compote, ca. 1840‑1860, attributed to the Boston and Sandwich Glass Co., Sandwich, Massachusetts, composed with a wafer connecting the base to the top, h. 10”, dia. 12”. [300/500]

1136

Pair of American Painted Fancy Chairs Inscribed “Sawyer & Brown”, first quarter 19th century, each so branded on the bottom of the seat, and each retaining its period stenciled and faux-grained surface, “E Hesser” written on the bottom in chalk, presumably the owner of the chairs, h. 35‑1/2”. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [300/500] Illustrated

1138

Set of Four American Paint-Decorated Dining Chairs, second quarter 19th century, with cane seats, h. 32‑1/2”. [200/400]

1139

American Classical Mahogany Chest, ca. 1825, Boston, the scroll backboard centered by a figured panel on a recessed band of drawers, the case with a projecting top drawer over a bank of three drawers, flanked by columns and raised on bun feet, h. 50”, w. 45‑1/2”, d. 20‑1/2”. [600/900] Illustrated

1136

1137

American Classical Parcel-Gilt and Ebonized Fancy Chair, first quarter 19th century, Baltimore, with a tablet back and turned legs, h. 32‑1/2”. Provenance: Aileen Minor Antiques to the current owner. [300/500]

1142

1140

American Late Classical Mahogany Hall Tree, late 19th century, with swan-carved garment hooks joined to a foliate-carved and reeded standard on scroll feet, h. 69‑1/2”, dia. 18”. [400/700]

1141

American Late Classical Revival Mahogany Settee, fourth quarter 19th century, with cornucopia-carved arm fronts, the legs with winged returns and carved paw feet, h. 36”, w. 66”, d. 24”. [400/700]

1142

American Late Classical Mahogany-Veneered and Marble-Top Chest of Drawers, of serpentine form, h. 39”, w. 43‑1/2”, d. 19‑3/4”. [350/500] Illustrated

1143

Pair of Classical-Style Carved Cypress Architectural Ornaments, second quarter 19th century, probably Louisiana, now mounted as wall brackets, h. 13‑3/4”, w. 12‑1/2”, d. 12‑1/2”. [300/500] 1139

187

1144

Carolyn Lord (American, b. 1956), group of three watercolors on paper of “Floral Views”, each signed lower right, sights 14‑1/4” x 21‑1/2” to 21‑1/2” x 14‑1/4”. Each glazed, matted and framed. [300/500] Illustrated

1150

Pair of NeoclassicalStyle Parcel-Gilt Corinthian Column Lamps, 20th century, h. 33”, w. 8‑3/4”, d. 8‑3/4”. [400/700] Illustrated

1151

Contemporary Oversized Quilted Leather and Mahogany-Stained Coffee Table/ Ottoman, the padded chocolate 1147 leather top raised on tapering square legs ending in brass casters, h. 17”, w. 45”, d. 36”. [600/900] Illustrated

1152 1144 one of three

1145

Carolyn Lord (American, b. 1956), pair of watercolors on paper of “Landscapes During Storm”, one signed lower right, 14‑1/4” x 21‑1/4”, the other signed lower left, 14‑1/4” x 21‑1/4”. Both glazed, matted and framed. [300/500]

1146

Ann T. Cooper (American/Louisiana, 1935‑2005), “Pass Christian Pine”, oil on canvas, signed lower left, titled en verso stretcher, 60” x 48”. Framed. [500/800] Illustrated

1147

Three Graduated Faux Tortoise Lacquer Ware Boxes, h. 2‑1/2” to 4”, w. 4” to 6‑1/4”. [300/500]

1150

1153

Contemporary Leather-Covered Steamer-Style Trunk, h. 21”, w. 22”, d. 20”. [300/500] Illustrated

1154

Pair of Vintage Brass Carriage Lanterns, each with a pierced domed top and square hinged body inset with glass and modified to resemble an old camera, now electrified and mounted as sconces on S-shaped arms, inscribed “Made in India”, h. 13”, w. 4”, d. 9”. [300/500] Illustrated

Vernet Bonfort 1146 (French, b. 1934), “Still Life of Wildflowers”, oil on canvas, signed lower right, 36‑1/2” x 29”. Framed. [1000/1500] Illustrated

1148

American School (20th Century), “Mountainous Landscape with Cacti”, watercolor and pen on paper, signed lower right, sight 10” x 13‑1/2”. Glazed and framed. [200/400]

1149

Hugh Olmes (American, 20th Century), “The Spring House”, oil on canvasboard, signed lower left “Holmes”, verso with “Canton Art Institute” auction label, 11” x 14‑1/4”. Framed. [200/400]

188

1151

1157

Seth Thomas Gilt-Brass Revolving Desk Clock/ Barometer, third quarter 20th century, set with a clock and various weather functions, the clock with a Swiss movement, signed “Seth Thomas” and “T. Swiss T.”, h. 4”, w. 3”, d. 3”. [400/700]

1153

1158

1155

French School (First Quarter 20th Century), “Carriage Ride” and “Crossing the Creek”, pair of graphites on paper, both unsigned, latter with a label en verso, inscribed “C. Guys, Caliche”, sight 5” x 7” and 6” x 7”. Each glazed, matted and framed. [400/700] Illustrated

1158

Contemporary Gilt-Metal and Glass-Top Coffee Table, the oval glass top over a scroll-formed base centered by a foliate finial, h. 16”, w. 47”, d. 25‑1/2”. [300/500] Illustrated

1159

1159 1154

1156

Giltwood and Beveled Mirror, the cove-molded frame decorated with carved scrolls, h. 46‑1/2”, w. 35‑1/2”. [300/500]

Contemporary Metal and Composition Floor Lamp, with gilt branch-molded shade holders and gilt pierced feet, h. 67‑1/2”, dia. 13‑1/4”. [300/500] Illustrated

1160

Jansen-Style Chrome Day Bed, with brass accents, outfitted with mattresses and bolsters, h. 37”, inside, w. 36”, l. 77”, outside, w. 39”, l. 82”. [400/700] Illustrated

1160 1155 one of two

189

1161

French Art Deco GiltMetal and MarbleTop Console with Mirror, the console with a rose-colored marble top, h. 36”, w. 39”, d. 11”, with a matching mirror set with beveled glass, h. 32‑1/2”, w. 33”. [300/500] Illustrated

1161

1162

Hilde B. Kayn (American/Ohio, 1903‑1950), “Resting”, oil on canvas, signed lower right, verso with a “Carnegie Institute, Pittsburgh” exhibition label, 30” x 42”. Framed. [1000/1500] Illustrated

1165

Collection of Three Art Glass Vases, 20th century, including a trumpet-form cameo glass vase decorated with hanging berries and leaves, h. 7‑1/2”, dia. 3”, and an enameled oval scenic vase, h. 6”, w. 2‑3/4”, each signed “Legras”, first quarter 20th century, French, together with a cameo-style vase with an orange ground bearing the signature of “Richard”, h. 7‑1/4”, dia, 4‑1/4”. [800/1200] Illustrated

1164

1165

1162

1163

Donald J. Handel (American, 1936‑2002), “Pygmalion and Galatea”, enamel and etched copper, numbered “18/100”, titled, and signed along lower right edge 1163 of copper, now set within an ebonized and metal frame support, 25‑1/4” x 30‑1/2”. [300/500] Illustrated

1164

French Art Deco Metal Mirror, second quarter 20th century, with applied mounts, h. 45‑3/4”, w. 25‑1/2”. [200/400] Illustrated

190

1166

French Art Nouveau Marble-Top Server, ca. 1900, the oak-framed beveled mirror above an inset marble top with rounded ends, all over an oak case, the projecting marble top above three drawers with raised burled wood veneer fronts, above a central cabinet with a raised burled veneer panel topped with carved leaf and flower-blossom motif, flanked by rounded open shelves on each side, all above a molded plinth base, h. 45”, w. 51‑1/2”, d. 17”. [400/700] Illustrated

1167

Orient and Flume Iridescent Art Glass Trumpet Vase, post1972, Chico, California, decorated with blue dahlias, and signed by artist Bruce Sillars, retaining its paper label, h. 13”, dia. 5‑1/2”. [200/400] Illustrated

1168

Harriet Whitney Frishmuth (American, 1167 1880‑1980), “The Star”, ca. 1918, patinated bronze, cast signature, “Gorham Founders” foundry mark, and inscribed “#21...” at edge of base, on a circular black marble base, h. 19‑3/4”, w. 8”, d. 5”. [8000/12000] Illustrated One of the most popular sculptors of the early 20th century, Frishmuth began her long association with the Gorham Manufacturing Company in 1910. While the commissions she received were initially diverse in subject, Frishmuth preferred to create bronzes of idealized female nudes. Her most successful works were those that depicted the female figure as active and powerful, with flowing lines, and 1169 smooth surfaces; these soon became some of Gorham’s most profitable offerings. Frishmuth was elected to the National Academy of Design, becoming a full Academician in 1929.

1169

French Bronze of “Porte Bonheur”, first quarter 20th century, after Paul Armand Bayard De La Vingtrie (French, 1846‑1900), on a marble plinth, overall, 15‑1/4”, w. 5‑3/4”, d. 6‑1/2”. [400/700] Illustrated

1168

1170

French Patinated Bronze of a Nude Woman, 20th century, after Auguste Rubin (1841‑1909), cast signature at back edge of self-base, on a black marble plinth, h. 17‑3/4”, w. 5‑1/2”, d. 4‑1/2”. [300/500]

1171

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”. [600/900] Illustrated

1172

Marianne Clouzot (French, b. 1908), “Figures in a Landscape”, 1942, oil on board, signed lower left, 28‑1/2” x 23‑1/4”. Framed. [700/1000] Illustrated 1172

191

1173

Pair of Sevres Porcelain Vases with Pate-surPate Decoration, ca. 1910, French, the ivory-ground, Chinese-form vases decorated with bands of pink and mauve, and lavender-blue bands of leaves, flowers and berries executed in pate-sur-pate, with a Sevres printed mark and “1910”, on bronze bases, now drilled as lamps, h. 10‑1/2”, dia. 3‑1/4”. [400/700]

1175

1174

Henri de Toulouse-Lautrec (French, 1864‑1901), “Elsa, Dite la Viennoise”, lithograph in colors, later printing, with blind stamp lower left, sight 17” x 12”. Glazed, handsomely matted and presented in a contemporary silvered frame. [300/500]

1175

Continental Art Deco Patinated Bronze of an Elegant Woman, 20th century, signed “Chiparus” along hem of dress, on a rectangular beveled marble plinth, h. 18‑1/4” w. 5”, d. 10”. [300/500] Illustrated

1179

1178

Carlos Perez Franco (Uruguayan, 1929‑2015), “Untitled”, 2003, watercolor on paper, signed lower right, sight 30” x 22”. Float-mounted, glazed and framed. [700/1000] Illustrated

Salvador Dali (Spanish, 1904‑1989), “The 1176 Return of Ulysses (Choir of Angels Dancing a Sardana)”, lithograph in colors, signed lower right, marked “A.P.” lower left, sight 27” x 19”. Glazed, matted and framed. [400/700] Illustrated

Born in 1929 on the southern coast of Uruguay, Franco was an accomplished architect and prolific visual artist, earning himself a place amongst the leading post-war abstract figurative artists. Always a keen observer of the socio-economic hardships rife within his Latin American 1179 community, Franco visually narrated the interactions between people and their physical environments, developing work with a uniquely emotive quality.

1177

1180

Erte (Romain de Tirtoff, French/Russian, 1892‑1990), “The Chaste Susanna”, color screen print, pencil-signed lower right, numbered “149/300” lower left, sight 20‑3/4” x 16‑3/4”. Glazed, matted and framed. [300/500]

British School (Mid-20th Century), “Street Scene with Red Car”, watercolor and pencil on paper, inscribed in pencil lower margins, sight 14‑1/4” x 20‑3/4”. Glazed, matted and framed. [500/800] Illustrated

1178

1181

1176

Itzchak Tarkay (Israeli, 1935‑2012), “Study for Emmaline”, pen and watercolor on paper, signed lower right, 12‑1/4” x 12‑1/4”. Glazed, matted and framed. [700/1000] Illustrated

192

Tabriz Mahi Carpet, 6’ 1” x 9’. [800/1200] Illustrated

1182

Heriz Runner, 2’ 7” x 12’ 4”. [400/700]

1180

1183

Group of Two Baluchi Carpets, 3’ 6” x 6’ 2” and 3’ 4” x 6’ 5”. [300/500]

1184

Kazak Carpet, 4’ 11” x 6’ 8”. [300/500]

1185

Tabriz Mahi Runner, 2’ 6” x 19’ 9”. [800/1200] Illustrated

1181

1186

Chinese Savonnerie Carpet, 7’ 10” x 10’ 6”. [300/500]

1187

Turkish Angora Oushak Carpet, 7’ 10” x 10’ 2”. [700/1000] Illustrated

1188

Semi-Antique Hamadan Carpet, 4’ 1” x 5’ 11”. [200/400]

1189

Two Round Heriz Carpets, dia. 4’ and 5’. [300/500]

1190

Group of Two Kazak Carpets, 2’ 10” x 2’ and 1’ 11” x 2’ 11”. [300/500]

1191

Kazak Carpet, 2’ 10” x 8’ 3”. [300/500]

1192

Heriz Carpet, 6’ 11” x 4’. [300/500]

1187 1185

193

I nd e x of A rt i s t s

American School 325, 780, 781, 782, 822, 823, 828, 852, 875, 947, 1105, 1132, 1133, 1148 Anderson, Walter Inglis (after) 1062 Asian School 1044 Audubon, John James (after) 1111, 1112, 1113, 1114, 1115 Barbender, Laura 896 Baum, Don 1004 Beverland, Robyn (The Beaver) 966 Biddlecombe, Walter 182 Black, Julia 895 Bonfort, Vernet 1147 Boodle, Walter 345 Braley, Clarence E. 880 British School 149, 341, 342, 343, 1131, 1180 Bruno, Thomas 943 Bustamante, Sergio 938 Califano, John Edmund 776 Calogero, Jean 977 Canova, Antonio (after) 31 Carabain, Jean 57 Caro, Hernan 994 Champion, Mrs. H. 562 Chapman, John Watkins (attributed) 429 Chinese School 273, 274 Christy, Howard Chandler 535 Chwala, Fritz 179 Clara, Juan 165 Clare, Vincent 58 Clouzot, Marianne 1172 Continental School 53, 100, 131, 139, 149, 162, 181, 206, 237, 311, 341, 367, 387, 388, 396, 402, 425, 450, 511, 549, 551, 749

August 22-23, 2015

Dali, Salvador 1176 Davidson, Jim 788 De La Vingtrie, Paul Armand (after) 1169 Drouot, Edouard (after) 148 Dureau, George Valentine 1057, 1058 Edwardson, Laurence 978, 979 Erpikum, Leon Vuilleminot 390 Erte 1177 Evangeline, Margaret 1010 Fabron, Luigi 389 Febres, George 967 Federico, Al 897 Franco, Carlos Perez 1179 French School 552, 1155 Frishmuth, Harriet Whitney 1168 Fritchie, Charles 944 Garneray, Ambroise Louis 1097 Gaudet, Mitchell 995 German School 392, 420, 548 Golden, Rolland Harve 888 Goldthwaite, Anne 1056 Goodnight, Veryl 540 Gordy, Robert 1059, 1060 Gruppe, Charles (style of) 781, 782 Guidry, Louise 1007 Handel, Donald J. 1163 Hardy, Dorofield 563 Hartwig, Heinie 827 Heemskerck, Egbert van the Younger (attributed) 407 Heldner, Colette Pope 886, 889

Cooper, Ann 1146

Heller, Sally 1016, 1017

Cruise, Alvyk Boyd 1011

Hobbs, Morris Henry 1055

Da Cortona, Pietro (follower) 748

Huff, Robert 1001

I nd e x of A rt i s t s

August 22-23, 2015

Hughes, William 55

Rinck, Adolphe D. 851

Italian School 8, 54, 153, 163, 428, 747

Rockmore, Noel 890, 891

Jacob, Ned 824, 825, 826, 831

Rosenquist, James 1046

Japanese School 910, 915, 932

Rossi, Giuseppe 280

Johnson, Richard 1020, 1021

Rothstein, Irma 946

Kayn, Hilde 1162

Rubin, Auguste (after) 1170

Kinsey, Alberta 885

Rucker, Robert 974

Kohlmeyer, Ida 1015

Safer, Morley 1048

Korean School 275

Scottish School 569

Leeke, Ferdinand (after) 404

Sexton, Richard 973

Lord, Carolyn 1144, 1145

Sherman, Beatrix 1103

Louisiana School 971

Sherman, Beatrix (attributed) 1104

Lum, Bertha Boynton 911

Silvers, Julie 1018

Maier, Christopher 1005

Snowden, Chester Dixon 894

Mayer, Luigi (after) 144

South American School 746

McNaughton, John 1006

Steadman, Ralph Idris 1047, 1048

Millet, Clarence 1063

Stewart, Allison 1061

Moigniez, Jules (after) 539

Swanson, Garth 976

Monte, Ira 173

Sypesteyn, Adele 1008, 1009

Moore, C. Bennette 1063

Tamayo, Rufino 1045

Mosler, Henry (after) 892

Tannen, Robert 1005

Moul, Neil 948

Tarkay, Itzchak 1178

Nesbitt, Lowell 1039

Thompson, Frank 1003

Norieri, August 884

Titian (after) 397

Oliver, Jennifer 968

Toulouse-Lautrec, Henri de 1174

Olmes, Hugh 1149

Travelyan, Julian 1043

Petit, John Louis 570

Utagawa, Hiroshige 914

Price, Kenneth 1042

Utagawa, Kuniyoshi 912

Pritchard, George Thompson 344

Utagawa, Kuniyoshi (attributed) 913

Reggio, Don 970

Utagawa, Toyokuni 912

Remington, Frederic (after) 829, 830

Valnay, Bertrand 1063

Reynolds, Gayle 972

Van der Plas, Niek 983

Richards, Charles 887

Van Vreeland, F. 550

I nd e x of A rt i s t s

August 22-23, 2015

Vasarely, Victor 1041 Villa, Mario 952 Wesselmann, Tom 999 Wright, Don 969 Young, Jeromy 1012, 1013, 1014 Zhang, Jun, (attributed) 271 Zhang, Xiong (after) 272

Glossary New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist. Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence. Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period. After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

cakebread decorative arts

Susan D. Sarofim

Tessa Steinkamp

CEO

Director of Auctions

design

Ashton Thomas President

consignments FINE ARTS:

FURNITURE:

Jelena Restovic James

Continental and American; Prints and Maps

ASIAN FINE & DECORATIVE ARTS:

Ireys Bowman

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

Amy Bissell Fine Art Consignments

Thomas Halverson

Charles C. Cage

DECORATIVE ARTS:

Josh Broussard

Michele M. Carolla

American

Ireys Bowman

Continental and English

Nicole Casi, PhD

Jewelry:

General Consignments

Kim Lemon

SILVER:

FINE CARPETS & TEXTILES:

Charles C. Cage

Sean Ranson

American, Continental and English

administration Kim Lemon

Gary Michael Gittelson

Charles C. Cage

Cord McPhail

Customer Service Manager

Office Manager

Denise Haik

Photographer

Greg S. Kowles

Office Administration

Manager of Cakebread Auction

Alexis Kopituk

Nicole Casi, PhD

Administrative Assistant

auctioneers Tessa Steinkamp #1265 Ashton Thomas #1833 Robin Ruiz #1114

Research

Burke

Designer

Christa Ougel

Graphic Designer

Taylor Eichenwald

Marketing & Public Relations

Colleen Ryan

Director of Human Resources

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Ira Savoie

Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr.

Michael DeGeorge #1774

Independent Certified Gemologist Appraiser

Gerald Hampton | Juanita Bazile

Taylor Eichenwald #1922

James Callahan

Sol Carter | Thomas Johnson

Asian Arts

David Abney | James Collins