April 25-26, 2015 Cakebread Auction

c a k e br e a d a u c t i o n d e c o r a t i v e

a r t s

&

APRIL 25-26, 2015

d e s i g n

Lot 828 Front Cover: Lot 830

c a k e br e a d a u c t i o n d e c o r a t i v e

a r t s

&

d e s i g n

Auction: April 25-26, 2015

Exhibition: April 13-24, 2015 (Excluding Sunday) 9:00 a.m. - 5:00 p.m.

Evening Preview Reception: Thursday, April 23, 2015 5:00 - 7:00 p.m.

Session I:

Session II:

Saturday, April 25, 2015

Sunday, April 26, 2015

10:00 a.m. CDT, Lots 1 - 691

10:00 a.m. CDT, Lots 692 - 1223

10:0 0 - 1 1 :0 0

1 - 100

10:00 - 11:00

692 - 791

11:0 0 - 1 2 :0 0

101 - 200

11:00 - 12:00

792 - 891

12 :0 0 - 1 :0 0

201 - 300

12:00 - 1:00

892 - 991

1 :0 0 - 2 :0 0

301 - 400

1:00 - 2:00

992 - 1091

2 :0 0 - 3 :0 0

401 - 500

2:00 - 3:00

1092 - 1191

3 :0 0 - 4 :0 0

501 - 600

3:00 - 3:30

1192 - 1223

4 :0 0 - 5 :0 0

601 - 691

Cakebread Auction: Presented by New Orleans Auction Galleries | 333 Saint Joseph Street, New Orleans, LA 70130 CakebreadAuction.com | Info@NewOrleansAuction.com | 504-566-1849 | Toll Free: 1-800-501-0277 LA Auction License AB-363, Steinkamp #1265, Thomas #1833/23% Buyer’s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)

Auction Evening Reception Highlights J a n u a r y

David Burridge & Susie Gillibrand Stephanie & Robin Durant Frank Fasullo & Burke Marie France & Michel Tourniaire

2 4 - 2 5 ,

2 0 1 5

Letter from the Director of Auctions

When Cakebread Auction launched at the beginning of 2013, we envisioned it as an opportunity to cultivate a more diverse customer base, conduct more sales and accommodate larger estates with a range of items. Once we purchased the 333 St. Joseph Street location and began renovations, we added a third floor to the existing structure to give Cakebread Auction a dedicated space to continue to grow.

Susan Sarofim, CEO & Tessa Steinkamp, Director of Auctions

The third floor Cakebread gallery offers sweeping views of the city, including the historic Warehouse and Arts District, the Mississippi River and Crescent City Connection. With broad glass windows on two full sides, a clerestory with skylights on three sides, and a balcony across the front, the space offers an abundance of natural light and provides a unique and appropriate venue for contemporary and antique pieces alike.

The April 25-26 Cakebread sale offers an extensive selection of fine and decorative art, antique to contemporary furniture, carpets, silver, jewelry and more. The sale also features Part II of property from several large estates and collections that were offered in our March Estates Auction, including Glenridge Hall, Sandy Springs, GA, the personal collection of Reuben “Buzz� Harper, Natchez, MS, items from the estate of Evelyn and T.L. Wilson of Houston, TX and property from Naomi Damonte Marshall, New Orleans, LA. We invite you to come preview the sale and see the new gallery during our two-week exhibition, from April 13-24 from 9 a.m. to 5 p.m. daily (excluding Sunday), and join us for cocktails and light refreshments at our Evening Preview Reception on Thursday, April 23 from 5 to 7 p.m.

Tessa Steinkamp Director of Auctions

Session I

3

Saturday, April 25, 2015 10:00 a.m. CDT Lots 1 - 691 1 Pair of Monumental Neoclassical-Style Polychrome Composite Pedestals, of square form, the stepped top above a base with intertwined dolphins applied to one side, raised on a molded square base, h. 54”, w. 36‑1/2”, d. 36‑1/2”. [300/500] Illustrated

4 Pair of French Empire-Style Bronze Two-Light Sconces, second quarter 20th century, each with an arrowform backplate decorated with a roundel depicting a lion’s head, the arms of trumpet form, marked “Made in France”, h. 18”, w. 10‑1/2”, d. 10‑3/4”. [250/400] Illustrated

2

1 one of a pair

2 Pair of Directoire-Style Brass and Iron Jardinieres, each with a circular basket with open sides, on a conforming tapering base with paired legs joined by a circular stretcher, h. 41‑1/2”, dia. 17”. [250/400] Illustrated 3 Neoclassical-Style Glass and Patinated Metal FourLight Hall Lantern, third quarter 20th century, the bell-form lantern set with a pierced ram’s head-molded metal rim, under a glass smoke bell, h. 24‑1/2”, dia. 11‑1/4”. [300/500] Illustrated

2

4

5 Pair of Neoclassical-Style Gilt-Metal and Composition Stone Three-Light Lamps, set with fringed shades, h. 33”, dia. 17”. [250/400] Illustrated

6

5

7 Four-Piece Collection of Napoleon Related Objects, including miniature portraits of Napoleon and his second wife, Marie-Louise, late 19th century, h. 4‑1/2”, w. 4”, a French relief-carved horn tricorn hat-form tobacco box, early 19th century, h. 1‑3/4”, w. 3”, and a miniature bronze desk cannon commemorating the Battle of Waterloo, early 20th century, l. 5‑3/4”.

[250/400] 8 French Belle Epoque Bronze Box, ca. 1900, the top set with a porcelain plaque depicting Napoleon Bonaparte, h. 1‑1/2”, w. 2‑1/2”, d. 3”. [250/400] Illustrated

8

6 Pair of French Empire-Style Torchere Stands, mid-20th century, the circular tops raised on ebonized columnform legs, h. 38”, dia. 11‑1/2”. [200/400] Illustrated

3

9 Pair of Continental Porcelain Figures of Napoleonic Soldiers, ca. 1900, now mounted as lamps, marked with blue crossed arrows, base, h. 17‑1/2”, overall, h. 23”, dia. 7”. [200/400] 10 Unusual French Empire-Style Bronze and Marble Clock, 20th century, h. 61‑1/2”, w. 11”, d. 11”.

[500/800] Illustrated 11 Empire-Style Parcel-Gilt Overmantel Mirror, 20th century, framed as bundles of ebonized reeds tied with gilt ribbon, the pierced crest of crossed arrows and a laurel wreath flanked by gilt lion’s heads, h. 38‑1/2”, dia. 42”. [900/1200] Illustrated 12 Pair of French Neoclassical-Style Tapered Pedestals, decorated in faux tortoiseshell and giltwood, h. 46”, w. 16”, d. 16”. [500/800] Illustrated

11

13 Empire-Style Parcel-Gilt Fruitwood Kneehole Desk, h. 30”, w. 60”, d. 30”. [300/500] Illustrated 10

14 Two Pieces of Attic-Style Terracotta Pottery, 20th century, after the Antiques, including an amphora, h. 12‑1/2”, dia. 10‑1/2”, and an askos in the form of a duck, h. 13”, w. 9‑1/2”, d. 18‑1/2”, each signed “Annette Galick”. [300/500]

12

4

17

15 Set of French Inlaid Rosewood, Marble, Brass, Pewter and Glass Balance Scales, third quarter 19th century, the pewter level signed “Portee”, h. 7”, w. 14”, d. 6”. [200/400] 16 Pair of Neoclassical-Style Patinated Bronze Five-Light Candelabra, on composite stone bases, h. 23‑3/4”, dia. 10”.

[500/800] Illustrated 17 Empire Revival Gilt-Metal, Gilt-Brass and Glass Six-Light Chandelier, first quarter 19th century, h. 31‑1/2”, dia. 21”.

[500/800] Illustrated

13

16

18 Pair of Neoclassical-Style Pewter Table Lamps, in the form of urns, decorated with bas-relief depictions of helmeted warriors, base, h. 19”, overall, h. 30”, dia. 9”. [600/900] Illustrated 19 Pair of Neoclassical-Style Patinated Bronze Five-Light Candelabra, h. 29”, dia. 9‑3/4”. [300/500] Illustrated 19 18

5

22

21 French Cast Iron Napoleonic Stove Plate, ca. 1802‑1815, now mounted as a table on a Directoire-style painted metal base, decorated with a crowned eagle and the cross of the Legion d’Honneur, h. 22‑1/4”, w. 27‑1/4”, d. 27”. [400/700]

25

20 Continental Patinated Bronze of Nike, the Winged Goddess of Victory, first quarter 20th century, the figure holding aloft a laurel wreath in one hand and a horn in the other, one foot balanced on a sphere, h. 26”, w. 14”, d. 11”. [400/700] Illustrated

20

22 French Empire-Style Gilt-Bronze and Patinated Metal Nine-Light Chandelier, second quarter 20th century, the patinated body set with molded and gilt candle arms and patera-form mounts in two tiers, and a pine cone drop finial, the corona decorated with gilt anthemia, h. 19”, dia. 21”. [1200/1800] Illustrated 23 Pair of French Bronze and Sienna Marble Candlesticks, fourth quarter 19th century, in the Restauration style, the marble standards capped with Corinthian capitals and lotus-molded candlecups, and raised on pawfooted patinated bronze bases, h. 16‑1/2”, dia. 4‑3/4”.

[400/700] Illustrated 24 Unusual French Carved Fruitwood Sidechair, in the neoclassical taste, the pierced back decorated with sheaves of wheat, h. 38‑1/2”. [250/400] Illustrated

6

24

25 Unusual Pair of French Gilt- and Patinated Bronze Two-Light Sconces, second quarter 20th century, in the Empire style, with angel-form backplates holding sprays of crystal drops, and perched on spheres mounted with molded candle arms terminating in swan’s heads, electrified, h. 19‑1/2”, w. 10‑1/2”, d. 7‑3/4”. [1500/2500] Illustrated 26 Continental Walnut Cabinet, early 19th century, the molded and broken cornice centered by a shield-form carving, above a case fitted with two doors, each inset with a fabric panel and a wooden latticework grille, flanked to either side by turned and bulbous applied uprights, joined by toupie supports to a lower section fitted with two like cupboard doors, raised on toupie feet, h. 93”, w. 49”, d. 18”. [1000/1500] Illustrated

26

23

7

27 Pair of French Empire-Style Bronze Two-Light Sconces, 20th century, each with a leaf-molded backplate holding a pair of swan-molded candle arms, h. 16”, w. 8‑1/4”, d. 7”. [500/800] Illustrated

29

27

29 Paris Porcelain-Style Jardiniere, decorated with portraits of Josephine Bonaparte and Marie-Louise, h. 12‑3/4”, w. 12”, d. 9”. [200/400] Illustrated

30 28 KPM-Style Porcelain Plaque, after the self-portrait of Louise Elisabeth Vigee Le Brun, (French, 1755‑1842), fourth quarter 19th century, probably German, in a pierced giltwood frame, h. 7‑1/4”, w. 5‑3/4”. [300/500] Illustrated

28

30 Pair of Empire-Style Porcelain Vases, 20th century, in the Paris style, decorated with depictions of cathedrals, with spurious “Sevres” marks, h. 22‑1/2”, dia. 8”.

[700/1000] Illustrated 31 Lacquered Panel, with incised gilt decoration of scrolling vines and animals, h. 72”, w. 28”. [200/400] Illustrated

88

32 French Belle EpoqueStyle Patinated Metal Figure of a Bacchante Riding a Goat, after PhilippeLaurent Roland (French, 1746‑1816), erroneously marked “Claude Michele” at edge of self-base, on a marble plinth, h. 20‑1/4”, dia. 7”.

[600/900] Illustrated

35 Continental Patinated Bronze of “Aura”, the Personification of the Breeze, the figure with garment billowing around and above her, on a black marble plinth, overall, h. 32‑3/4”, w. 7”, d. 10‑1/2”.

[800/1200] Illustrated

34

33 Continental Patinated Bronze Figure of a Lion, first or second quarter 20th century, illegible signature at base, h. 6‑3/4”, w. 11”, d. 5”.

[300/500] 34 Pair of French Bronze Chenets, first quarter 20th century, in the Louis XIV style, 31 decorated with urn-form finials with stippled fluting and hung with laurel swags, h. 13‑1/2”, w. 5‑3/4”, d. 3”. [300/500] Illustrated

35

32

9

36 Louis-Philippe Cast Iron and Brass Fire Fender, mid19th century, decorated with dog figures, a brass rail and brass mounts, h. 9‑3/4”, w. 48”, d. 5”. [400/700] Illustrated

39 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”. [500/800] Illustrated

37

38

37 Pair of Neoclassical-Style Rouge Griotte Faux-Marbre Pedestal Cabinets, each with a rectangular faux slate top above a conforming fluted faux-marbre body fitted with a single door opening to a shelved interior, raised on a molded ebonized base, h. 39”, w. 17”, d. 18‑3/4”.

[700/1000] Illustrated 38 French Empire-Style Bronze Candelabrum, first quarter 20th century, mounted as a lamp, on a round patinated base decorated with mounts of trophies, the standard in the form of three caryatids supporting the molded candle arms and candle sockets trimmed with engine turning, base, h. 21”, overall, h. 35‑1/2”, dia. 7‑1/2”. [600/900] Illustrated

40 Empire-Style Rosewood Fauteuil, 20th century, the padded leather back and seat with painted motifs and surmounted by a foliate diamond-patterned crest, joined by flat arms with lion’s masque hand-rests to the padded seat, raised on tapering square legs ending in paw feet, h. 37”. [400/700] Illustrated

36

10

42

41 Handsome Hand-Painted Paris Porcelain Urn, second quarter 19th century, now mounted as a lamp, with a cerulean ground, decorated with “jewels”, moths and flowers, base, h. 14”, overall, h. 28”, dia. 6”. [200/400] 42 French First Empire Bronze Dore Mantel Clock, ca. 1800, featuring a child dressed in a classical robe and reading a book, above a base decorated with a pair of figures reading, flanking a globe, the dial signed by the retailer or possibly the case bronzier, Raol a Lyon, set with later works, h. 12‑1/2”, w. 9‑3/4”, d. 3‑1/2”.

[500/800] Illustrated 43 French Empire-Style Bronze-Mounted Mahogany Vitrine, composed of period elements, h. 62”, w. 27‑3/4”, d. 15”.

[400/700] Illustrated

43

39

40

11

45

52

46

53

47

12

44 Pair of Paris Porcelain Vases and a Card Tray, second quarter 19th century, French, the rhyton-form vases molded with swans and decorated with flowers and an apricot border, h. 7”, w. 4‑3/4”, and the card tray decorated in the manner of Jacob Petit, with raised gilt on a green ground, the hand-painted panel depicting quail in a landscape, w. 7‑3/4”, d. 6‑3/4”. [200/400] 45 Biedermeier-Style Bronze-Mounted Miniature Commode, mid-20th century, the drawers lined with velvet for use as a jewel box, h. 10‑3/4”, w. 14”, d. 7‑1/2”.

[400/700] Illustrated 46 Unusual Restauration-Style Miniature Mahogany Chest, third quarter 19th century, in the neoclassical taste, with faux-marbre columns terminating in gilt Corinthian capitals framing the front, over sabre legs, h. 17”, w. 13‑1/4”, d. 7‑1/2”. [500/800] Illustrated 47 Charming Louis XVI Miniature Secretaire a Abattant, ca. 1800, veneered in kingwood and mahogany and line inlaid, with gilt-bronze escutcheons on the drawer, lower case and lid, which opens to reveal a fitted interior and lined writing surface, h. 18‑3/4”, w. 15‑1/4”, d. 6‑3/4”.

[500/800] Illustrated

50 French Gilt-Bronze and Sienna Marble Kylix, second quarter 19th century, with a molded foot and reeded body set with leaf-molded handles terminating in heads of Bacchus, on a stepped sienna marble base, h. 7‑3/4”, w. 9‑1/4”, dia. 6‑3/4”. [300/500] Illustrated 51 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”.

[600/900] Illustrated 52 Empire-Style Gilt-Metal-Mounted Mahogany Bibliotheque, the projecting cornice over a frieze with Egyptian masques, each of the three doors with a metal grid over a panel, h. 72”, w. 61‑1/2”, d. 16”. [400/700] Illustrated 53 Empire-Style Mahogany-Veneered and Gilt-BrassMounted Secretaire a Abattant, the arched pediment above a paneled fall-front door, opening to a desk interior, over two drawers and a concealed plinth, h. 63”, w. 43”, d. 23”. [800/1200] Illustrated

48 French Opaline and Brass Moderator Lamp, mid-19th century, marked “Smethurst and Co., 139 New Bond St.”, base, h. 21”, overall, h. 32”, dia. 5”. [200/400] 49 Pair of Louis XVI-Style Rock Crystal and Gilt-Bronze Candlesticks, the rock crystal elements mounted with leaf-molded gilt-bronze fittings, the laurel-molded candlecups with matching bobeches, h. 7‑1/2”, dia. 3‑3/4”. [600/900] Illustrated

50

49

51

13

54 Pair of Late Regency Mahogany Cabinets, first quarter 19th century, each with a deep rectangular top above a cupboard door, with reeded banding and tapering paneled uprights, both opening to a void interior, raised on paw feet, h. 36‑1/2”, w. 24”, d. 26”.

[300/500] Illustrated

58

55 Louis XVI Marbre-Gris and Gilt-Bronze Mantel Clock, fourth quarter 18th century, in the form of two columnar monuments with the clock suspended between them, mounted with a silk-string suspension movement, h. 12‑3/4”, w. 10”, d. 3‑1/4”. [250/400] Illustrated 56 Pair of French Bronze and Verde Antique Marble Garniture Urns, second quarter 20th century, the marble bases decorated with giltbronze trophies, and supporting patinated urns of Warwick Vase form, h. 9”, w. 5”, d. 4‑1/4”. [200/400] Illustrated

54

56

55 57 Pair of Unusual Louis-Philippe Bronze Candlesticks, mid-19th century, decorated with molded leaves and ribbing, with reeded bobeches, h. 7”, dia. 3‑3/4”. [200/400] 58 French Empire-Style Tole-Peinte Lamp, second quarter 20th century, overall, h. 24”, dia. 4‑3/4”. [450/700] Illustrated 59 French Gilt-Bronze and Kingwood-Veneered Occasional Table, second quarter 20th century, with bronze legs on hoof feet, terminating in ram’s heads, h. 27‑1/2”, w. 15”, d. 15”. [200/400]

14

60 Empire-Style Ormolu-Mounted Elm and MarbleTop Occasional Table, the circular marble top over a conforming frieze, each leg with a figural mount, concave base and brass feet, h. 29”, dia. 21”. [300/500] Illustrated

62 Louis-Philippe-Style Center Table, inlaid with cornucopias of flowers in burl walnut veneers, with paw feet, h. 30‑1/2”, dia. 46‑1/4”. [300/500] Illustrated

62 60

61

63 61 Empire-Style Mahogany Settee, late 19th century, the padded rectangular back surmounted by a shell and foliate gilt crest, joined by downswept arms headed by gilt swan’s heads and ending in scrolled uprights at the padded seat, raised on sabre legs, h. 39”, w. 54‑1/2”, d. 24”. [250/400] Illustrated

63 American School (20th Century), “New York Street Scene with Lamp Post”, oil on canvasboard, 8” x 6”.

Framed. [400/700] Illustrated

15

64 Louis Basset (French, 20th Century), “Parisian Street Scene”, oil on canvas, signed lower right, 24” x 48”.

Framed. [1200/1800] Illustrated

66 Vasiliy Nicholayevich Gribennikov (Russian Federation, b. 1951), “Macao”, 2009, oil on canvas, signed and dated lower right, signed, titled and dated in Cyrillic en verso canvas, 13‑1/2” x 19‑1/2”. Framed.

[1000/1500] Illustrated

64 65 French School (Second Quarter 20th Century), “Canal Bridge”, oil on canvas, unsigned, 48” x 24”. Framed.

[500/800] Illustrated

66 67 Chinese Clobbered Ginger Jar, 19th century, the porcelain jar with a decoration of peonies and rocks, with bronze lamp mounts, base, h. 7”, overall, h. 20‑1/4”, dia. 6‑1/4”. [300/500] Illustrated

67

65 16

68 Pair of Chinese Export Porcelain Famille Noir Square Vases, 20th century, squared bodies with flared necks, decorated with peonies and plum branches, now mounted as lamps, base, h. 21‑1/4”, overall, h. 35”, w. 6”, d. 6”. [400/700]

70

71 Chinese Bronze Silk Iron, Qing Dynasty (1644‑1911), the sides covered in panels decorated with scroll patterns, a four-character mark on the side in a square cartouche, with a wood piece attached to the handle, h. 3‑1/2”, l. 7‑3/4”. [200/400] 72 Southeast Asian Bronze Censer, possibly Khmer Empire (802‑1431), in the form of a bull with removable pierced lid, h. 5”, l. 5‑3/8”. [250/400] Illustrated 73 Two Chinese Jade Carvings, 19th/20th century, the two pale green carvings with green inclusions, one example depicting two foo dogs, h. 4‑3/4”, w. 5‑1/2”, and the other example depicting a seated Buddha, h. 4”, w. 2”, each figure attached to a molded wooden stand. [200/400]

74

72 74 Chinese Opal Matrix Carving, 20th century, the stone carved in the shape of a tiger, h. 2‑3/4”, l. 3‑1/4”.

[200/400] Illustrated 75 Two Chinese Carved Stone Water Pots, late Qing Dynasty (1644‑1911), one example carved in the round from spinach jade in the form of a leaf, w. 4”, l. 5”, and the other example carved from agate and decorated with leaf-shaped carvings, w. 2”, l. 3‑1/8”.

[300/500] Illustrated 69 Chinese Cloisonne Ginger Jar on Stand, 19th century, with a floral motif on a blue ground, unmarked, on a carved wooden stand, jar, h. 8‑1/2”, dia. 7”. [300/500]

75

70 Pair of Chinese Cloisonne Vases on Stands, 19th century, the hexagonal vases with peacock and floral scroll reserves, two gilt lions on the neck of each vessel, and a gilt seal on the underside of each, displayed on pierced and carved wooden stands, vase, h. 8‑1/4”.

[200/400] Illustrated

17

76 Chinese Carved Hardstone Buddha, 20th century, the deep green figure of Budai seated, with an affixed wooden stand, h. 6”, w. 6”. [200/400]

79

79 Two Chinese “Porcelain Shard” Table Boxes, the shards fourth quarter 19th century, with silver alloy mounts, w. 5‑1/2”, l. 6‑1/2” and w. 6”, l. 8‑1/2”. [200/400] Illustrated 80 Chinese Carved Bamboo Brush Pot, Qing Dynasty (1644‑1911), depicting the Seven Sages of the Bamboo grove in a bamboo thicket, framed with pine trees, unmarked, h. 7‑1/2”, w. 5‑1/8”. [200/400] Illustrated

81

77 Chinese Soapstone Carving of a Horse, 20th century, the mottled grayish-colored stone of a horse standing beside a tree stump, h. 10‑1/4”, l. 11”. [200/400]

80

81 Pair of Chinese Cinnabar Vases on Stands, the black and red square vases with a flared foot and neck, with a motif of flowers and rocks, on carved and pierced wooden stands, vase, h. 9‑1/8”, w. 3‑7/8”. [300/500] Illustrated 82 Three Chinese Cinnabar Lacquerware Vases, 19th/20th century, one now mounted as a lamp, vase, h. 11” to 11‑3/4”, dia. 6” to 7”, overall lamp, h. 26”.

[300/500]

78 Two Chinese Carved Agate Snuff Bottles, 20th century, one with a gourd and butterfly motif and the other with bird and prunus decoration, each displayed on a carved wooden stand, h. 2” and 2‑1/2”, without stands.

[200/400]

18

83 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”. [300/500] Illustrated

83

86 Chinese Porcelain Figure of a Sage, 20th century, the seated figure in blue and white robes, holding a scroll, a four-character maker’s inscription stamped on the underside, h. 11”, w. 7”. [200/400] Illustrated 87 Pair of Pottery Lamps in the Chinese Style, mid-20th century, the faux carved wood bases parcel-gilt and set with faux ivory male and female figures, base, h. 14‑1/4”, overall, h. 20‑3/4”, w. 4‑3/4”, d. 4‑3/4”.

[400/700] Illustrated

87

84 Chinese Sang-de-Boeuf Porcelain Bottle on Stand, 19th century, the long-necked vessel with a round body, a white interior and underside, unmarked, with a pierced and carved wooden stand, h. 8‑1/2”, w. 3‑1/2”, without stand. [200/400]

86

85 Chinese Sang-de-Boeuf Bowl on Stand, 20th century, the glazed red bowl with two blue concentric circles on the underside, displayed on a carved wooden stand, bowl, h. 2‑3/4”, dia. 5‑1/4”. [200/400]

88 Blanc-de-Chine Figure of Guanyin, 20th century, the bodhisattva of compassion depicted in white-glazed porcelain atop a lotus base, “Made in China” stamped on the reverse of the figure in both English and Chinese, h. 10‑5/8”, w. 4‑1/2”. [300/500]

19

89 Pair of Chinese Pottery Foo Dogs, 20th century, the blue-green glazed foo dogs on hollow pedestals, unmarked, h. 9”, w. 3‑3/8”, d. 6”. [200/400] Illustrated

89

92 Pair of Chinese Export Porcelain Parrots, first quarter 20th century, the two brightly enameled birds with vivid and delicately articulated feathers on the wings and backs, each resting on a branch, unmarked, h. 10‑1/2”, w. 7”, d. 2‑1/2”. [450/700] Illustrated 93 Pair of Chinese Pottery Vases, 20th century, in the form of carp on breaking waves, h. 17‑1/2”, w. 13”, d. 7”.

[400/700] Illustrated

93

90 Pair of Chinese Export Duck-Shaped Tureens, late 19th/early 20th century, painted and gilded in a palette of browns, greens and blues with gilded bills, with turquoise interiors, unmarked, h. 6‑1/2”, w. 5‑1/2”, d. 3‑1/4”. [300/500]

92

94 Pair of Mexican Woven Sterling Silver Fruit Baskets, fourth quarter 20th century, by Alfredo Villasana, Taxco, each with circular base, wire staves, flat wire weavers and twisted wire rim and foot ring, h. 2‑3/4”, dia. 8‑1/4”, 24.51 total t. oz. [500/800] Illustrated

94

91 Chinese Export Porcelain Tiger, probably 1920‑1930, the brightly enameled tiger poised to pounce, with a stamped manufacturer’s mark on the underside, h. 3‑1/2”, w. 4”, l. 9‑1/4”. [300/500]

20

95 Pair of Austrian Empire 13 Lot (.813) Silver Candlesticks, 1816, Prague, by Tomas Hopfel (1793‑1847; Master 1815), each with a tapering standard of octagonal section, surmounted by a cylindrical nozzle with beaded edges and raised on a trumpeting foot, the whole decorated with narrow guilloche bands, h. 11‑1/8”, dia. 4‑3/8”, 20.49 total t. oz. [1000/1500] Illustrated

96

96 Continental .800 Silver Waiter, first quarter 20th century, probably Hanau, Germany, with 2003 London import marks, circular, with pierced gallery and clawand-ball feet, dia. 6”, 7.29 t. oz. [300/500] Illustrated 97 Pair of German .800 Silver and Gilt Metal Ice Cream Servers, ca. 1900, the maker’s mark rubbed, including an ice cream slice, l. 10‑3/4”, and spade, l. 10‑1/2”, each with a tapering handle of rectangular section decorated with embossed flowers and pierced gilt metal blades engraved en suite. [450/700] Illustrated

97

95

21

98 Portuguese Second Standard (.833) Silver Ladle, first quarter 20th century, by Antonio Augusto de Lopes da Cunha, Porto, in a Louis XV-style pattern, l. 12‑1/4”, 7.45 t. oz.

[250/400] Illustrated

98

99 Two French Silver Tastevins, first half 20th century, including a Parisian First Standard (.950) example with billet handle, and a Provincial Second Standard (.800) example with stirrup handle, engraved “Lamy Beaune 1793”, dia. 2‑3/4”, 3.30 total t. oz. [400/700] Illustrated

100 Oak and Silverplate Serving Trolley, contemporary, Royal Castle, Sheffield, in the Napoleon III taste, the carved oak base of circular form, above a conforming frieze raised on four toupie legs joined by curved stretchers, fitted with a pair of hemispherical silverplate serving domes, opening to a removable platter, with detachable plate ring, the whole raised on casters, h. 43”, dia. 26”. [2000/4000] Illustrated

100

99

103

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

[1500/2500] 102 Pair of Danish .830 Silver Candlesticks, 1956, by Svend Toxvaerd, Copenhagen, in the neoclassical taste, with tapering standard, urn-form nozzle, oval base and detachable bobeche, h. 8”, w. 4”, weighted. [300/500]

22

103 Eight-Piece German .800 Silver and Glass Cordial Service, first quarter 20th century, by J. D. Schleissner Sohne, Hanau, comprising six shot cups (one glass liner lacking), h. 2”, a liqueur bottle with figural stopper, h. 8”, and a waiter, 10‑1/4” x 7‑1/2”, the silver pierced and embossed in the historizmus manner, the glass wheel- and acid-engraved with rococo scrolls, 13.18 total t. oz. (weighable silver). [400/700] Illustrated

106

104 Assembled Continental Sterling and Silverplate Smoker’s Set, mid-20th century, in the Dutch taste, including a sterling ashtray, dia. 5‑3/4”, 3.20 t. oz., and a silverplate cigarette holder, h. 2‑3/4”, w. 3‑7/8”, each decorated with embossed tavern scenes. [200/400] 105 Four Continental .833 Silver Historizmus Spoons, first quarter 20th century, including a 1903 Dutch ‘s-Gravenhage (The Hague) armorial spoon, two Dutch figural spoons with pseudo-hallmarks, and a Swiss Solothurn armorial spoon with figural finial, l. 7‑1/4” to 7‑3/4”, 8.46 total t. oz. [300/500] Illustrated

105

107 Dutch .833 Silver Brandy Bowl, first half 20th century, in the 17th-century Dutch taste, circular, decorated with repousse scrolls and birds, with cast and applied reticulated handles, dia. 6”, w. 9‑3/8”, 10.69 t. oz.

[600/900] Illustrated

107

106 Dutch Second Standard (.833) Silver Miniature Tall Case Clock, marked Alkmaar, 1918, by J. Verhoogt, Hoorn, of traditional form, embossed and pierced with rural scenes, with pendulum and figural finial, the clock face and inserted enamel-faced watch by L’Epine of Paris, h. 9‑1/2”. [800/1200] Illustrated

23

108 Dutch Second Standard (.833) Toy Model of a Windmill, marked Alkmaar, 1903, by J. Verhoogt, Hoorn, with human figures at the base and working blades, h. 4‑1/2”, base, w. 1‑1/2”, 2.04 t. oz. [300/500] Illustrated

110

109 Dutch .800 Silver Teapot, first half 20th century, in the 18th-century taste, with repousse rocaille and armorial decoration, waisted and fluted collar, figural spout and finial, and crested handle, h. 6‑1/4”, dia. 5”, 10.74 t. oz. [500/800] Illustrated

108

109

110 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”. [400/700] Illustrated 111 Indian Silverplate Monteith, contemporary, hemispherical, lobed with repousse decoration of figures and foliage, with ringed lion’s masque handles, with bottle cooler insert, h. 9‑7/8”, dia. 14‑1/4”.

[200/400] Illustrated

24

111

113 Orientalist Silverplate Figural Inkstand, 20th century, in the 18th-century Spanish Colonial taste, the tripodal base with a central figure of a Persian warrior, surrounded by ink, water and pounce pots and surmounted by a cannon-form taper nozzle, h. 14”, w. 7‑1/4”. [250/400] Illustrated

113

112 Continental Silverplate Chalice, first quarter 20th century, the base with the attributes of the four evangelists joined by grapevine swags and surmounted by figures of church fathers Saints Jerome, Ambrose, Gregory and Augustine, surrounding a baluster standard decorated with cherubim and grape clusters, surmounted by a cup decorated with paneled scenes of the Passion, h. 12‑1/4”, dia. 5‑3/4”. [250/400] Illustrated

112

114 English Leather-Upholstered Club Chair, second quarter 20th century, h. 32”, w. 32”, d. 32‑1/2”.

[400/700]

115

25

117

117 Art Deco-Inspired Leather Reclining Armchair, in deep brown leather upholstery, trimmed with brass tacks, h. 40‑1/2”. [400/700] Illustrated 118 Two Louis XV-Style Faux-Bois and Marble-Clad Side Tables, one of rectangular form, h. 20‑1/2”, w. 32‑1/2”, l. 55”, and the other of square form, h. 24”, w. 25”, l. 25”. [200/400] 119 Set of Folding Library Steps, decorated to mimic a stack of books, fitted with interior drawers, closed, h. 24”, w. 20”, d. 25”. [600/900] Illustrated 120 Pair of French Painted Metal Sphinx-Form Garnitures, third quarter 19th century, h. 7‑3/4”, w. 5”, d. 9”.

[200/400] Illustrated

120 119

115 Victorian Mahogany and Leather-Upholstered Fainting Couch, late 19th century, in tufted buff leather, with molded apron and fluted legs, h. 26‑1/2”, w. 30”, l. 75”. [300/500] Illustrated 116 Lighted Glass Globe, third quarter 20th century, the globe on a Federal-style mahogany stand, h. 41”, dia. 17‑1/2”. [300/500]

26

121 Collection of Four Inlaid Boxes, including an English desk box inlaid with mother-of-pearl dogs chasing deer and hares in an inlaid “forest”, mid-19th century, h. 5”, w. 12”, d. 9”, an English parquetry-inlaid tea caddy, second quarter 19th century, h. 6”, w. 8‑1/4”, d. 5”, and two contemporary boxes attributed to John Russell, New York, h. 3”, w. 8‑3/4”, d. 8‑3/4” and h. 3”, w. 8”, d. 8‑3/4”. [300/500] 122 George II-Style Pierced Giltwood Mirror, fourth quarter 19th century, h. 41”, w. 25”. [350/500] Illustrated 123 George III-Style Mahogany Office Desk, second quarter 20th century, of double-pedestal form, with a central drawer flanked by projecting banks of drawers, raised on ogee bracket feet, h. 30‑1/2”, w. 59”, d. 32‑1/4”. [400/700] Illustrated

126 Georgian-Style Mahogany Wine Table, 20th century, in the Sheraton taste, of demi-lune form, the top with a reeded edge, fitted with drop leaves at each end, on reeded and turned legs with brass cup casters, h. 30‑1/2”, w. 61”, l. 30‑1/2”, extended l. 45‑1/2”. [250/400] Illustrated 122

125

123

126 124 Regency-Style Mahogany Library/Bed Steps, fitted with three rungs, joined by shaped supports and a turned and ribbed back support, raised on turned and tapering circular legs ending in peg feet, h. 32”, w. 18”, d. 20”. [200/400] 125 English Burlwood and Brass-Mounted Armoire, early 20th century, with an arched top and raised on short Queen Anne-style legs, h. 81”, w. 50”, d. 24”.

[200/400] Illustrated

27

127 Contemporary Tufted Leather Ottoman, raised on turned legs, h. 17”, w. 46”, d. 22‑1/2”. [300/500] Illustrated

127

130 Mantini Action Schuetzen Target Rifle, made by Adam Schure of Munich, and so marked on the top barrel flat, 7.65 mm with an excellent bore, double-set triggers with extremely light pull, an adjustable peep sight, the receiver is color case-hardened, with an excellent blue to the barrel, the walnut stock profusely checkered, with line-carved stylized foliage, no engraving on the metal with the exception of the signature, barrel, l. 31‑3/8”, overall, l. 49‑1/2”. [1500/2500] Illustrated

131

128 English Regency Brass-Bound Lap Desk, second quarter 19th century, the lid with a nameplate engraved “Robt. Rusfel”, the interior with a writing slope and compartments with two emerald green glass inkpots, h. 6”, w. 19‑3/4”, d. 9‑1/4”. [200/400] Illustrated

128

129 Unusual English Calamander Wood and Gilt-Brass Tea Caddy, third quarter 19th century, the dome-top chest decorated with strapwork, cabochons, and an anchor suspended from a gilt-brass “rope” sailor’s knot, the escutcheon framed with “rope”, the velvet-lined interior holding two gilt-glass tea compartments and a glass flask, h. 6‑3/4”, w. 9‑1/4”, d. 5‑1/2”. [300/500]

130

28

131 Regency-Style Brass and Mahogany Folding Library Ladder, extended, h. 81”, w. 12‑1/4”, d. 2‑1/2”, folded, h. 80‑1/2”, w. 3”, d. 2‑1/2”. [300/500] Illustrated

132 English Walnut and Cast Iron Folding Ladder, fourth quarter 19th century, marked “Simplex Ladder”, h. 60‑1/2”, w. 35”, d. 17”. [200/400] Illustrated

132

133 English Chippendale Mahogany Wing Chair, fourth quarter 18th century, with a stretcher base, h. 42‑1/2”, w. 29‑1/2”, d. 25‑1/4”. [300/500] Illustrated 134 Pair of Georgian-Inspired Satinwood and Mahogany Night Stands, each with concave front corners, and an open shelf over a drawer with a tooled leather dust slide, h. 29”, w. 20”, d. 16‑1/2”. [1000/1500] Illustrated

134

135 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”. [500/800] Illustrated 133

136 William IV Brass-Inlaid Mahogany Lap Desk, second quarter 19th century, on a Chippendale-style custom stand, h. 21”, w. 15‑1/4”, d. 9‑1/2”. [200/400]

135 pair

29

137 Unusual Regency Rosewood Writing Desk, early 19th century, the superstructure fitted with a domed backpiece over a projecting center drawer flanked to either side by tapering pedestals fitted with five small drawers each, the banded rectangular top above a case fitted with a single drawer opening to an inset leather writing surface, hinged and opening to a storage space, raised on tapering square legs ending in block feet, h. 46‑1/2”, w. 31‑1/2”, d. 17‑1/2”. [400/700] Illustrated

140

138 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”. [250/400] Illustrated

142

139

143 137

138

30

139 Pair of Staffordshire Pottery “Uffizi” Lions, fourth quarter 19th century, with glass eyes, h. 11‑1/4”, w. 11‑3/4”, d. 5”. [250/400] Illustrated

142 William IV Mahogany Writing Table, second quarter 19th century, on brass casters, h. 29”, w. 49”, d. 22”.

[400/700] Illustrated

140 Two Porcelain Figures of Dogs, 20th century, including a sheep dog marked “Ronzan, Italy”, h. 12”, and a shih tzu composed of glazed terracotta, h. 10‑1/2”.

[400/700] Illustrated

143 Queen Anne-Style Club Chair and Ottoman, second quarter 20th century, American, chair, h. 36”, w. 25”, d. 31”, ottoman, h. 17”, w. 24”, d. 17”. [200/400] Illustrated 144 Sheraton-Style Etagere, 20th century, covered in gilt-tooled leather, h. 54‑3/4”, w. 19‑1/2”, d. 14‑3/4”.

[300/500] 145 Regency-Style Mahogany Book Trough, the rectangular top with a gadroon edge, above the trough fitted with five compartments with pierced dividers, raised on slender ring-turned tapering legs joined by an X-form stretcher and ending in peg feet, h. 33‑1/2”, w. 35‑1/2”, d. 15‑1/4”. [200/400] Illustrated

146

141 Three Staffordshire Pottery Spaniels, including a pair of seated spaniels, h. 14‑1/4”, and a spaniel-form spill vase, h. 13‑1/4”, decorated with gilt highlights.

[250/400]

145

148

146 Pair of Mahogany Book Shelves/Occasional Tables, in the Chinese Chippendale taste, each with a rotating dished top over fretwork galleries, on clustered faux bamboo legs, h. 32‑1/4”, dia. 21‑1/2”. [800/1200] Illustrated 147 Chippendale-Style Leather Reclining Wing Chair, trimmed with brass tacks, upholstered in oxblood leather, h. 40‑1/2”. [200/400] 148 Fourteen-Volume Set of the Works of George Elliot, Edinburgh and London, in leather half binders with marbleized borders, h. 7”, w. 5”. [450/700] Illustrated

31

149 Eight-Volume Set of the History of France, by M. Guizot and Madame Guizot de Witt, translated to English, in leather half bindings with marbled ends, sold by John Wanamaker’s, Philadelphia and New York, undated, h. 7‑3/4”, w. 5‑1/2”. [300/500] Illustrated

149

150 Collection of Eight Late 19th/Early 20th Century Books, including The American Girl, by Howard Chandler Christy (American, 1873‑1952), and The Courtship of Miles Standish, illustrated by Christy, h. 8” to 9‑3/4”, w. 5‑1/2” to 7‑1/4”. [200/400]

152

152 Henry David Thoreau (American, 1817‑1862), Works, the Riverside, Cambridge edition, ten volumes (of eleven, lacking vol. IV), Boston & New York: Houghton-Mifflin, 1892‑1893, duodecimo, in full green cloth, the spines with gilt lettering, the top edges cut and gilt, 7‑3/4” x 5‑1/4”. [200/400] Illustrated

153

153 All The Extant Works of Francois Rabelais, New York: Covici Friede, 1929, limited subscription edition no. 497 of 1000, complete in three volumes, translated by Samuel Putnam (American, 1892‑1950), full color illustrations by Jean de Bosschere (Belgian, 1881‑1953), large quarto, in quarter blue buckram with paper boards, the spine with applied paper label, the top edges cut and gilt, 13‑1/4” x 10‑3/4”. [200/400] Illustrated This edition of Rabelais is noted not only for de Bosschere’s colorful Dali-esque illustrations, but for Putnam’s lively and meticulously annotated translation, which brings the earthy vernacular of Rabelais to modern readers.

151 Collection of Twenty-Two Antique Books in English, French, German and Latin, including Les Facetieuses Nuits de Straparole, published in Amsterdam in 1635, an untitled book of small engravings depicting Shakespeare’s plays, dated 1822, and a handsome presentation edition of Elias, an epic, by Oscar Ferguson Whitney, New York, 1904, and signed by the author, h. 6” to 12”, w. 3‑1/2” to 9‑1/2”. [250/400]

32

154 Henryk Sienkiewicz (1846‑1916), Quo Vadis, Boston: Little Brown & Co., 1897, limited edition no. 102 of 250, complete in two vols., translated by Jeremiah Curtain, octavo, in full white vellum, the front boards with applied gilt-stamped medallion within a giltstamped frame, the spines with gilt lettering and decoration, illustrated, the top edges cut and gilt, 8‑1/2” x 5‑3/4”. [200/400]

155 William Henry Smith (1833‑1896), Political History of Slavery, first edition, New York: G. P. Putnam’s Sons, Knickerbocker Press, 1903, complete in two volumes, octavo, in green cloth with gilt lettering on the spines, the top edges cut and gilt, 9” x 6‑1/4”. [200/400] Illustrated

157

A nice first edition copy of the important postReconstruction history of slavery by Ohio politician and Associated Press manager William H. Smith. This work - along with his biography of his close friend President Hayes - was unfinished at the time of his death, and completed by his son-in-law Charles R. Williams.

155

159 Two Volumes of Familiar Trees, by G. S. Boulger, London, 1883, first and second series, with color illustrations, in leather half bindings with marbleized boards and endpapers, h. 7‑1/2”, w. 5‑1/4”. [200/400] Illustrated

158

156 J. H. Leigh Hunt (1784‑1859), The Old Court Suburb, Piccadilly: Freemantle & Co., 1902, limited edition no. 41 of 150, complete in two vols., with photogravure illustrations by Claude A. Shepperson, Herbert Railton and Edmund J. Sullivan and autographed by each on the limitation page, square octavo, in full white vellum with gilt-decorated boards and spines, lithographed endpapers with the author’s portrait, the top edges cut and gilt, 8‑7/8” x 7‑1/4”. [200/400]

160 Eight-Volume Set of The Works of Victor Hugo, translated to English, published in New York, ca. 1907, with gilt-stamped leather bindings, each with a presentation inscription, h. 7”, w. 4‑1/2”. [200/400]

159

157 Six-Volume Set of The Essays of Michael, Lord of Montaigne, translated by John Florio, second edition, 1902, in gilt-stamped leather bindings, each with an inscription on the inside, h. 6”, w. 4”. [200/400] Illustrated 158 Four-Volume Set of the Works of Oliver Goldsmith, half bound in leather with marbled boards, published in London, 1854, h. 8‑3/4”, w. 5‑3/4”. [200/400] Illustrated 33

161 Antique Caucasian Shirvan Carpet, 4’ 4” x 6’ 2”.

[600/900] Illustrated 162 Antique Shiraz Runner, 3’ 2” x 13’ 8”. [400/700] 163 Semi-Antique Kerman Carpet, 11’ 8” x 16’ 1”.

[700/1000] Illustrated 164 Antique Turkoman Tekke Carpet, 6’ x 10’ 8”. [600/900]

166

161 165 Semi-Antique Caucasian Carpet, 4’ x 9’ 10”. [400/700] Illustrated 166 Turkish Oushak Carpet, 10’ x 14’ 6”. [700/1000] Illustrated 167 Semi-Antique Hamadan Runner, 3’ 4” x 9’ 11”.

[300/500] Illustrated 168 34

168 Semi-Antique Bidjar Carpet, 4’ 6” x 7’ 2”.

[300/500] Illustrated 169 Three Semi-Antique Sarouk Carpets, 4’ 2” x 6’ 5”, 3’ 4” x 4’ 10” and 2’ 8” x 5’.

[400/700]

165

167

163 35

170 Figural Cast Iron Fireback, 19th century, depicting a maiden extending a cluster of grapes and labeled “Terra”, h. 32”, w. 23”. [250/400] Illustrated

172 Cast Iron “Versailles” Pattern Garden Settee, ca. 1900, the wrap-around back modeled as joined foliage and scrolls, with a pierced seat and cabriole legs, h. 30”, w. 36‑3/4”, d. 18”. [250/400] Illustrated

174

173 Cast and Wrought Iron Garden Planter in the Form of a Cart, mid-20th century, with two tiers, the large rear legs each with wrought flora and vines, h. 31‑1/4”, w. 26”, d. 43”. [200/400]

175

170 171 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”. [500/800]

172

174 Three-Piece Cast Iron “Vintage” Pattern Garden Suite, 20th century, comprised of a long bench, h. 28”, w. 58”, d. 23”, and a pair of armchairs, h. 26”, each back modeled as grapes, leaves and vines. [300/500] Illustrated 175 Pair of Cast Iron Garden Urns on Pedestals, first half 20th century, each richly detailed with leonine and applied fruit and foliate mounts, above a pedestal adorned on each side by a wreath, h. 25”, w. 14”, d. 17”. [200/400] Illustrated

36

176 Four-Piece Suite of Cast Iron “Vintage” Pattern Garden Furniture, comprised of a long bench, h. 29‑1/2”, w. 59”, d. 27‑1/2”, a pair of armchairs, h. 26‑1/2”, and an occasional table, h. 14”, dia. 20‑1/2”, each with back and legs modeled as grapes, vines and leaves. [200/400]

179 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”.

[300/500]

180 177

177 Pair of Cast Iron Garden Tables, early 20th century, each with a pierced circular top on a foliate- and scroll-modeled tripodal base, h. 30‑1/2”, dia. 15‑1/2”.

[300/500] Illustrated

178

180 Victorian-Style Cast Iron Sundial, the dial of circular form with numerals ringed by the signs of the zodiac, on an antique cast stone pedestal base, h. 36”, w. 14”, d. 14”. [300/500] Illustrated 181 Near Pair of Cast Iron “Fern” Pattern Garden Benches, late 19th/early 20th century, the larger with the cast stamp “Kramer Bros. Fdy. Co. Dayton O”, each with a back modeled as twining fronds, with dished pierced seats and naturalistically modeled legs, h. 34”, w. 55‑1/2”, d. 16”, and h. 35”, w. 58‑1/2”, d. 17”.

[500/800] Illustrated 181

178 Pair of Small Late Victorian Cast Iron Garden Urns, ca. 1900, each with scroll handles with floral decor, the lower section ribbed, h. 15”, w. 20”, d. 14”. [300/500] Illustrated

37

182 Cast Iron “Laurel” Pattern Garden Bench, ca. 1900, the back modeled as rows of leaves and berries, on avian-form cabriole legs, h. 29‑1/2”, w. 42‑1/2”, d. 23”.

[400/700] Illustrated

182

183A Pair of Wrought and Cast Iron Topiary Forms, each with a pineapple finial and twist body, h. 69”, dia. 22‑1/2”. [200/400] Illustrated

186

183 Painted Metal Garden Table, mid-20th century, h. 27‑1/2”, dia. 38‑3/4”. [200/400]

183A

184 Iron Strapwork Pierced Hemispherical Wall Planter and Stand, the wall planter with a tin insert, h. 24”, w. 16”, d. 10”, together with the strap-iron circular pot stand, h. 31”, dia. 11”. [200/400]

187

185 Pair of San Juan Terracotta Pottery Floor Vases, decorated on the shoulders with wide bands of incised scrollwork, against a contrasting unglazed ground, h. 30”, dia. 14‑1/2”. [200/400]

38

186 Neoclassical-Style Composition Lidded Urn, 20th century, molded with leaves and scrollwork, with ram’s head handles, h. 18‑1/4”, dia. 10‑1/14”. [200/400] Illustrated

189 Cast Stone Garden Ornament, first half 20th century, in the form of a lobed urn overflowing with fruit, h. 19‑1/2”, dia. 12”. [250/400] Illustrated

187 Pair of Cast Iron Lawn Stags, each deer with a full rack, modeled with heads turned in opposing directions, h. 60”, w. 41”, d. 17”. Provenance: Rosedown Plantation, St. Francisville, Louisiana. [3000/5000] Illustrated

190

188 Pair of Cast Iron Campana-Form Garden Urns, with egg-and-dart rims, lobed bodies and square bases, h. 39”, dia. 25”. [1000/1500] Illustrated

188

190 Stone-Veneered and Composition Console Table, in the neoclassical taste, the deep stone top on a shell-form pedestal, h. 31‑1/2”, w. 36”, d. 16”. [800/1200] Illustrated 189

191

191 Neoclassical-Style Carrara Marble Pedestal, the square top on a fluted standard, above a socle base, h. 35”, w. 14”, d. 14”.

[250/400] Illustrated 192 American Centennial Iron Plantation/School Bell, marked “1776”, h. 24”, w. 18‑1/2”, dia. 12”. [200/400] 193 Wrought Iron and Tile Conservatory Table, second quarter 20th century, the rectilinear inset tile top on a wrought trestle-form stand, h. 28”, w. 25‑1/4”, d. 16‑3/4”. [400/700]

39

194 Continental Patinated Metal Figure of a Seated Cherub, fourth quarter 19th century, h. 21”, w. 8‑1/2”, d. 8”. [200/400] Illustrated

194

195 Three-Piece Suite of Cast Iron “Vintage” Pattern Garden Furniture, comprised of a settee, mid-20th century, h. 28”, w. 38”, d. 16”, and a pair of sidechairs, late 19th/early 20th century, h. 31‑1/2”, each with a back modeled as twining grapes, leaves and vines.

[300/500] Illustrated

195

196 Assembled Pair of French Cast Iron Campana-Form Garden Urns, ca. 1900, h. 20‑3/4”, dia. 14”. [300/500]

40

197 French Cast Concrete Deer-Form Garden Figure, late 19th century, h. 37”, w. 15”, l. 29”. [600/900] Illustrated

197

198 Pair of Regency-Style Painted and Parcel-Gilt Planters, with gilt-metal lion’s head ring pulls and tin liners, h. 7”, w. 12”, d. 6”. [200/400]

200

199 Four-Piece Cast Iron Garden Suite, comprised of three settees in the “Versailles” pattern, h 30”, w. 37”, d. 20”, together with a low table, h. 14”, w. 29”, d. 17”.

[500/800] 200 Pair of Cast Iron Garden Sculptures of Cranes, h. 29”, w. 9‑1/4”. [300/500] Illustrated

202

204 Figural Cast Stone Garden Ornament, depicting a semi-recumbent putto, h. 21‑1/2”, w. 23”, d. 10”.

[300/500]

205

201

205 Pair of Cast Aluminum “Fern” Pattern Garden Chairs, the backs and arm supports molded as joined fronds, with dished seats and vine legs, h. 29‑3/4”. [300/500] Illustrated 206 Painted Metal Pagoda-Form Birdcage, decorated with scrollwork and medallions, h. 69‑1/2”, w. 25‑1/2”, d. 19”. [400/700] Illustrated

206

201 Classical-Style Cast Iron Garden Figure of Aphrodite, 20th century, on a square plinth decorated with masques and scrollwork, h. 92”, w. 24”, d. 24”.

Provenance: Rosedown Plantation, St. Francisville, Louisiana. [2500/4000] Illustrated 202 Classical Cast-Iron Garden Figure after “Venus of the Bath”, 20th century, on a plinth decorated with masques and scrollwork, h. 95”, w. 24”, d. 24”.

Provenance: Rosedown Plantation, St. Francisville, Louisiana. [2500/4000] Illustrated 203 Wrought Iron Garden Jardiniere Stand, early 20th century, of tripodal form with scroll, foliate and floral decor, h. 39”, w. 19”, d. 16”. [200/400]

41

207

212

208

209 207 Pair of Cast Aluminum Garden Urns, second half 20th century, each of campana shape with griffinform handles, h. 25‑1/4”, w. 33”, dia. 17”. [300/500] Illustrated 208 Pair of Cast Aluminum Garden Urns, second half 20th century, each of campana shape with griffinform handles, h. 25‑1/4”, w. 33”, dia. 17”. [300/500] Illustrated

211

209 Two Sets of Cast Iron “Versailles” Pattern Garden Chairs, first quarter 20th century, four with scrolled crests, h. 31‑1/2”, and four with plain crests, h. 28‑1/2”.

[600/900] Illustrated 210 Six-Piece Cast Iron “Vintage” Pattern Garden Suite, 20th century, comprised of two settees, h. 28”, w. 33”, d. 21‑1/2” and h. 33”, w. 38”, d. 13”, a low table, h. 14”, dia. 20”, and three sidechairs, h. 27‑1/4”, one chair with the label of “Atlanta Stove Works, Atlanta, GA”. [500/800]

42

211 Suite of Four American Cast Iron “Lyre and Rose” Pattern Garden Armchairs, a Philadelphia pattern in production from about 1840 into the 20th century, now painted black, h. 34‑3/8”. [400/700] Illustrated

216

212 Italian Painted Metal Garden Lantern, mid-20th century, of tapering hexagonal form, decorated with scrollwork and leaves, h. 44‑1/2”, dia. 21”. [200/400] Illustrated 213 Pair of Pierced Wirework Urn-Form Wall Planters, h. 18‑3/4”, w. 22”, d. 8‑3/4”. [200/400] 214 Three Balinese Carved and Painted Puppets, 20th century, the marionettes in lacquer, wood, paint, beads and cloth, each in a flowing batik skirt and elaborate headdress, h. 28”. [200/400]

215

217 Indian Gilt-Brass Figure of a Dancing Parvati, 20th century, on a double lotus base, unmarked, h. 14‑1/2”, w. 7‑1/2”. [500/800] 218 Indian Architectural Fragment, decorated with a pierced and carved arch, now mounted as a mirror, h. 53‑1/2”, w. 31‑1/2”. [300/500] Illustrated

218

215 Sino-Tibetan Mixed Metal Figure of Manjusri, seated in padmasana on a reticulated base, holding an alms bowl, an incised mark on the underside, h. 14‑3/8”, w. 10‑1/4”. [400/700] Illustrated 216 Indian Bronze Figures of Shiva and Parvati, 19th/20th century, the representation of Shiva and Parvati dancing on a pointed oval lotus base, depicted in Chola fashion, h. 11‑5/8”, w. 8‑1/8”. [300/500] Illustrated

43

219 Collection of Four Indian Carved Capitals, early 20th century, including a pair of painted stone capitals, h. 10”, dia. 7‑1/2”, a large wooden capital, h. 14‑1/2”, dia. 20”, and a small wooden capital, h. 11”, dia. 12”.

[200/400] 220 Indian Elaborately Carved Framed Archway Architectural Fragment, mounted as a mirror, h. 53‑1/2”, w. 32”. [300/500] Illustrated

223 Pair of Indian Bas-Relief-Carved Mirrors, decorated with scrollwork and gadrooning, and set with beveled plates, h. 31”, w. 19‑1/2”. [200/400] 224 Indian Carved Wood Frame, mounted with a mirror and decorated with gadrooning and scrollwork, h. 60”, w. 37‑1/2”. [200/400]

221

220 225 Whimsical “Persian”-Style Three-Piece Clock Set, fourth quarter 19th century, probably French, composed of bronze with some silvering, comprising a clock and a pair of garnitures, all decorated with onion domes and Islamic strapwork, the enamel chapter ring painted with Persian numerals, clock, h. 14‑1/2”, w. 5‑1/4”, d. 4‑3/4”, garnitures, h. 17”, w. 8”, d. 6”.

[3500/5000] Illustrated

221 Pair of South Asian Polychrome Wooden Peacocks, 20th century, h. 52”, l. 40”. [1000/1500] Illustrated 222 Five Sets of Indian Framed Architectural Metal and Paint-Decorated Wooden Shutters, mounted as mirrors, h. 17‑3/4” to 20‑1/2”, w. 14‑1/4” to 23”.

[300/500] Illustrated

222 1of 5 44

226 Carved Marble Bust of “Odalisque”, a Turkish Harem Girl, fourth quarter 19th century, dressed in traditional Turkish costume and jewelry, signed illegibly on the rear, h. 20‑1/4”, w. 18”, d. 10”. [1200/1800] Illustrated 227 Iznik-Style Tin-Glazed Pottery Jardiniere, decorated with Islamic motifs and lotus blossoms in cobalt, red and green, h. 11‑1/4”, dia. 13‑1/2”. [250/400]

230 Indian Metal, Turquoise and Coral Ewer, 19th/20th century, the white metal ewer encrusted with coral and turquoise, a motif of Vishnu riding Garuda on each side of the vessel, the lid attached with a chain, unmarked, h. 9”, w. 6”. [400/700] Illustrated

225

228 Two Paisley Shawls, mid-19th century, Indian or Kashmiri, h. 68”, w. 65”, and h. 75”, w. 79”. [400/700] 229 Persian Painting of Noblemen in a Garden, 19th/20th century, opaque watercolor and ink on silk, depicting courtiers and their attendants enjoying idyllic pursuits in a lush garden setting, with a floral border, unsigned, matted and framed, h. 41”, w. 28‑1/2”. [500/800] Illustrated

229 230

226

45

231 Middle Eastern Mixed Metal Covered Dish, the circular dish with a domed cover, decorated with Islamic scrollwork, panels and flowers, h. 5”, dia. 7‑1/4”. [300/500]

232 Enameled Metal Figure Depicting a Turkish Dancing Girl, ca. 1900, the figure modeled standing on a rug-covered stool and playing a lute, decorated with raised details and a Turkish tribal necklace, h. 33‑1/2”, w. 10”, d. 10”.

[1000/1500] Illustrated

232

243

247 233

46

233 Tribal Bristle-Carved and Painted Wooden Shield, h. 43”, w. 18”, with a metal-tipped wooden spear, l. 88‑1/4”, probably African. [250/400] Illustrated 234 After John Singer Sargent (American, 1856‑1925), “The Misses Vickers”, acrylic on canvas, contemporary, signed lower right “T. Kennedy”, 36” x 48”. Framed.

[200/400]

240 Contemporary Decorative Painting, of “Interior Scene with Children and Their Grandmother”, in the 19th-century taste, 48” x 36”. Presented in an ornate composition frame. [300/500] 241 Contemporary Architectural Painting, of “Roman Ruins”, 48” x 36”. Presented in an ornate composition frame. [250/400]

235 Contemporary Decorative Painting, of “Cupid and Psyche”, illegibly signed lower right, 40” x 30”.

Presented in a composition frame. [200/400]

242 Pair of Decorative Coaching Scenes, oils on canvas, illegibly signed lower right, each 8” x 16”. Framed alike. [400/700]

236 Contemporary Decorative Painting, of “Madonna and Child”, signed lower right “Ortiz”, 30” x 24”.

Presented in a composition frame. [200/400]

243 Decorative Painting in the British 19th-Century Style, depicting a “River Landscape with Figure Fishing”, 11‑1/2” x 15‑3/4”. In a giltwood and gesso frame.

[500/800] Illustrated

248

244 Contemporary Decorative Framed Print of a “Garden Urn” , 35” x 47‑1/2”. Presented in a composition frame. [300/500] 245 Contemporary Decorative Painting, of “A Rococo Church Interior”, signed lower right “M. Livingston”, 60” x 48”. Presented in a Louis XVI-style composition frame. [300/500] 246 American School (20th Century), “Winter Scenes”, a pair of oils on panel in the 19th-century Dutch style, each signed “David Beatty” lower right, each 8” x 9‑5/8”. Framed alike. [200/400]

237 Contemporary Decorative Painting, of “A Wooded Landscape”, 72” x 48”. Presented in a painted 19th-century-style frame. [300/500] 238 Contemporary Decorative Genre Painting, of “An Interior Scene with Figures”, in the neoclassical taste, 40” x 30”. Presented in an ornate composition frame.

[300/500]

247 Louis XIV-Style Carved Mahogany Mirror, the tips of the scrollwork and leaves trimmed with gilt flourishes, h. 61‑1/2”, w. 40‑1/2”. [2500/4000] Illustrated 248 Pair of Louis XVI-Inspired Ebonized and Gilt-Bronze Occasional Tables, each with an oval white marble top on a lyre-form standard with winged putti mounts and laurel swags, h. 21‑1/2”, w. 23”, d. 17”. [1200/1800] Illustrated

239 Contemporary Decorative Painting, of “A Rococo Street Scene”, in the 19th-century style, illegibly signed lower left, 48” x 36”. Presented in an ornate composition frame. [300/500]

47

249 Pair of Paris Porcelain Figures in the Jacob Petit Style, mid-19th century, French, the scroll-molded bases decorated with hand-painted flowers and holding polychrome-painted figures of a male and female attired in 18th-century Spanish costume, formerly fitted with brass candle branches, h. 23”, w. 9”, d. 6‑3/4”.

[300/500] Illustrated

251 French Bronze Firescreen, first quarter 20th century, decorated with molded flowers, h. 27‑1/4”, w. 29‑1/4”, d. 7‑3/4”. [300/500] Illustrated 252 French Pierced Gilt-Bronze Fan-Form Firescreen, mid20th century, h. 29‑1/4”, w. 43‑1/2”. [200/400]

253

249

253 French Pierced Bronze Fan-Form Firescreen, mid-20th century, h. 23‑1/2”, w. 39”. [200/400] Illustrated 250 French Porcelain Figure of a Courting Couple, post1876, the polychrome figure depicting a couple in 18th-century costume with bread, fruit and jugs for wine, signed with the underglaze blue mark of “J. Vialatte”, h. 9‑3/4”, w. 8”, d. 7‑1/4”. [200/400]

254 Composition Bust in the Neoclassical Taste, lushly decorated with encrusted seashells, and a hairpiece of various corals, h. 41”, w. 14‑3/4”, d. 11”. [200/400]

255

251

255 Pair of Louis XV-Style Giltwood Armchairs, each with a foliate-carved crest and stiles, open arms and cabriole legs, upholstered in gold brocade, h. 41”. [300/500] Illustrated

48

258 Louis XV-Style Giltwood Mirror, set with a beveled mirror plate, h. 46”, w. 58”. [200/400] Illustrated 259 Louis XVI-Style Prism-Hung Gilt-Metal Six-Light Chandelier, of basket form, h. 23”, dia. 22”. [300/500] 256

260 Pair of French Bronze Two-Light Sconces, 20th century, in the Louis XV style, h. 21‑1/2”, w. 10”, d. 3”. [200/400] 261 Louis XV-Style Bronze and Marble Five-Light Candelabrum, mid-20th century, now mounted as a lamp, base, h. 21‑3/4”, overall, h. 34‑1/2”.

[200/400] Illustrated

261

262 Louis XVI-Inspired Mahogany and ParcelGilt Bedstead, with an elaborate carved crest and paneled headboard, h. 71”, inside, w. 77”, l. 86”, outside, w. 82”, l. 92”. [500/800] Illustrated 258 262

256 Louis XV-Style Parcel-Gilt Overmantel Mirror, with gilt scrollwork on an ivory ground, h. 64”, w. 46”.

[300/500] Illustrated 257 Pair of Louis XV-Style Polished Brass Chenets, mid20th century, with iron billet bars, h. 17‑1/2”, w. 10”, d. 24”. [300/500]

263 Louis XVI-Style Giltwood Cocktail Table, 20th century, with a composite white-veined gray marble top, h. 20‑1/2”, w. 36‑1/2”, d. 22‑1/2”. [200/400]

49

264 Louis XVI-Style Giltwood Plant Stand, ca. 1900, the circular top over a conforming frieze with floral swags, on fluted legs joined by a low stretcher, h. 46‑1/2”, dia. 15”. [200/400]

267

266 Pair of Louis XVI-Style Carved Beechwood Footstools, second quarter 20th century, h. 18‑1/4”, w. 16”, d. 16”.

[250/400] 267 French Hand-Painted Garniture Vase, first quarter 20th century, probably Limoges, depicting Lord Horatio Nelson at the Battle of Waterloo, trimmed with raised gilt on an apple green ground, the whole resting on a bronze base, h. 21‑1/4”, w. 8”, d. 8”. [800/1200] Illustrated 268 Louis XV-Style Giltwood Overmantel Mirror, second quarter 20th century, set with a beveled mirror plate, h. 32‑1/2”, w. 26‑1/4”. [900/1200] Illustrated 269 Louis XV-Style Giltwood Bench, the molded low back and sides draped with floral swags, with a kidney-form caned seat and cabriole legs, and a loose cushion in beige and tan brocade, h. 25”, w. 43”,d. 18”. [300/500] Illustrated

269

265 Louis XVI-Style Giltwood Dressing Table Chair, ca. 1900, with a concave cane back and an ovoid cane seat, on fluted trumpet legs, h. 28”. [200/400]

268

270 Louis XV-Style Giltwood Mirror, 20th century, h. 63”, w. 52”. [200/400] Illustrated 271 Set of Seven Raised Gilt Porcelain Service Plates, first quarter 20th century, probably German, retailed by Loesser, New York, dia. 10‑1/2”. [200/400] 272 Impressive Royal Bonn Hand-Painted Pottery Covered Vase, fourth quarter 19th century, in the neoclassical taste, the base and cover decorated with raised gilt and hand-painted swags of flowers, the body decorated with parrots among orchids, painted in the Impressionist style, the top with a dramatic gilt pinecone knop finial, h. 43‑3/4”, dia. 11‑1/2”.

[3000/5000] Illustrated

50

273 272

274 Whimsical French Belle Epoque Silvered Metal Clock, fourth quarter 19th century, depicting a cupid hanging from a ring, holding a balloon by ropes, the balloon set with the clock, the works indistinctly marked, h. 23‑1/2”, w. 9”.

[400/700] Illustrated

270

274

275 French Three-Piece Marble and Gilt-Bronze Clock Set, fourth quarter 19th century, of rococo inspiration, with paw feet supporting both the clock and the pair of five-light candelabra, the clock set with marked Marti works, clock, h. 17”, candelabra, h. 17”, dia. 9‑1/2”.

[400/700] Illustrated 276 Louis XV-Style Brass Fire Fender, second quarter 20th century, of serpentine form, pierced with scrollwork and diapering, h. 8‑3/4”, w. 31‑1/2”, d. 9”. [400/700]

275

273 Pair of Louis XV-Style Giltwood Armchairs, early 20th century, each with a molded and foliate-carved crest rail, open arms, serpentine seat and cabriole legs, now upholstered in ivory and navy floral and urn brocade, h. 39”. [300/500] Illustrated

51

278

279 Pair of French Bronze Three-Light Sconces, in the Louis XVI style, with pierced bowknot backplates and molded scrolled arms, h. 23‑3/4”, w. 13”, d. 7‑1/2”.

[200/400]

282

280

280 Pair of Continental Gilt-Bronze Three-Light Sconces, mid-20th century, in the Louis XVI style, h. 25”, w. 13‑1/2”, d. 8‑1/4”. [200/400] Illustrated 281 French Giltwood Oval Mirror, third quarter 19th century, decorated with a molded floral crest, h. 34‑3/4”, w. 36”. [200/400] 277 Belle Epoque Verde Antique Marble and Gilt-Bronze Six-Light Candelabrum, third quarter 19th century, in the rococo taste, the marble and bronze standard holding scroll-molded candle arms hung with spearpoint prisms, h. 23”, dia. 10‑1/2”. [250/400] 278 Set of Three Italian Mirrored Giltwood Appliques, in the Baroque style, of tapered form and decorated with hand-painted panels depicting Tuscan villas, with pierced bowknot finials, h. 31‑1/2”, w. 7‑3/4”.

[250/400] Illustrated

52

282 French Belle Epoque Figural Patinated Metal and Rouge Griotte Marble Clock, fourth quarter 19th century, the figure after Albert Ernest Carrier-Belleuse (French, 1824‑1887) and depicting two putti holding aloft a sphere, the sphere set with clockworks with a marble face, raised on a fluted marble base, impressed “A. Carrier” on the base of the figure, h. 27‑1/2”, dia. 10‑1/4”. [1500/1800] Illustrated

283 Louis XIV-Style Pierced Faux-Bois Mirror, first quarter 20th century, set with a beveled plate, h. 17‑3/4”, w. 14‑3/4”. [200/400] 284 American School (Fourth Quarter 19th Century), “Still Life with Corn, Melon and Peaches”, oil on canvas, unsigned, 27‑1/2” x 19‑3/4”. Framed.

[500/800] Illustrated

284

285 285 Style of Jan Baptist Weenix (Dutch, 1621‑ca. 1660), “Nature Morte”, oil on canvas, verso with a partial label, 24‑1/2” x 20”. Unframed. [800/1200] Illustrated 286 Italian School (First Quarter 19th Century), “Still Life with Tulips” and “Still Life with Roses”, a pair of oils on canvas, unsigned, each 19” x 14”. Framed.

[700/1000] Illustrated

286 53

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

Framed. [700/1000] Illustrated

287 288 Continental School (Fourth Quarter 20th Century), “Exuberant Still Life in a Baroque Vase”, oil on canvas, unsigned, 47‑1/2” x 35”. Framed. [300/500] Illustrated

289 289 Continental School (20th Century), “Still Life of Daisies”, oil on canvas, unsigned, 17” x 14”. Framed.

[400/700] Illustrated

290

288

54

290 American School (20th Century), “Vibrant Still Life with Fruit and Flowers”, oil on canvas, signed lower right, 20” x 16”. Framed. [700/1000] Illustrated

293 Jan C. Van der Heyden (Dutch, 1911‑1988), “Still Life of Roses and Zinnias in a Blue Vase”, oil on canvas, signed and dated “Sept. ‘81”, 23‑3/4” x 19‑3/4”.

Framed. [600/900] Illustrated

297

293 291 American School (20th Century), “Still Life of Apples and Grapes”, oil on canvas, illegibly signed and dated “1913” lower right, 10” x 17”. Framed. [300/500] 292 Continental School (20th Century), “Still Life of Apples”, pastel on paper, signed “Frish” lower right, 7” x 9”. Glazed, matted and framed. [300/500]

294 Bart Schouten Leroy (Dutch/French, 1941‑2001), “Floral Still Life”, oil on panel, signed lower left, 9” x 7”. Framed. [600/900] Illustrated 295 Four Chinese Porcelain Tiles, Qing Dynasty (1644‑1911), the four famille rose enameled tiles depicting a scene of Qing Dynasty court life, unmarked and unframed, h. 5‑1/4”, w. 5‑1/4”. Provenance: Adriaan’s Oriental Arts and Antiques, New Orleans, Louisiana. [300/500] 296 Chinese Porcelain Lidded Vase, 20th century, with famille rose enamels and a red foo dog finial on the lid, a four-character Daoguang reign mark (1821‑1850) on the underside, h. 22”, w. 13”. [200/400] 297 Chinese Porcelain Bowl on Stand, 20th century, very finely potted with intertwined phoenix and dragon on a center yellow-ground reserve, a motif of peonies and butterflies on a white ground surrounding the yellow reserve, the sides of the bowl with a turquoise ground with reserves depicting cranes, pine and prunus limbs, butterflies, entwined dragons and phoenixes adorning the sides around the panels, the underside marked with a four-character red and gilt Qianlong reign (1736‑1795) mark, displayed on a carved wooden stand, bowl, h. 5‑3/8”, overall, h. 9‑5/8”, dia. 12”.

[400/700] Illustrated

294 55

298 Chinese Export Blue and White Porcelain Fish Bowl on Stand, 20th century, bowl, h. 22‑1/4”, dia. 24‑1/2”, overall, h. 34‑1/4”. [300/500] Illustrated

298

300 Chinese Coromandel Six-Panel Screen, 20th century, the black lacquer screen with a brightly painted surface, one side signed in the upper left corner, with a depiction of peacocks, cranes, ducks and other birds in a lush forest landscape, the reverse with five panels inscribed in archaic script and one in standard, overall, h. 72”, w. 96‑3/4”. [300/500] Illustrated

301

299 Chinese Export Porcelain Garden Seat, in the famille noir palette, decorated with peonies and phoenixes, h. 20”, dia. 12”. [300/500]

300

301 Pair of Bronze Figures of Mongolian Warriors, depicted seated and dressed in loincloths and earrings, with the traditional “ponytail” and moustaches, h. 35”, w. 15‑1/2”, d. 28‑1/2”. [1000/1500] Illustrated 302 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”.

[300/500] Illustrated

302

56

303 Pair of Chinese Porcelain Lidded Urns, 20th century, the two urns with scrolling vine and floral motifs, the undersides unmarked, h. 21”, w. 10‑1/2”. [300/500] Illustrated

303

305 Chinese Low Table, 20th century, with a painted base, h. 20”, w. 30”, d. 11‑1/2”. [200/400] 306 Pair of Chinese Porcelain Ginger Jars, 19th century, the jars with a white craquelure glaze, with carved and reticulated lids, unmarked, h. 8‑3/4”, dia. 7”.

[300/500] Illustrated

306

307 Chinese Cizhou Ware Jar, possibly Ming Dynasty (1368‑1644), the small jar with a tapered body and broad shoulders, with a motif of flowers and leaves rendered in an iron oxide glaze, the underside bearing an institutional identification number, h. 4‑3/4”, dia. 5”. [400/700] 308 Zhong Pan (Chinese, 20th Century), “Five Goldfish in a Pond”, 1973, watercolor on paper, now mounted on silk as a hanging scroll, inscribed and marked with artist’s seal, 36” x 19‑1/8”. [200/400]

304

309 Five Chinese Embroideries on Silk, 19th and 20th century models, comprised of four floral examples and one of figures in a garden, 23‑3/4” x 13”, framed, 29” x 15‑1/4”. Each framed. [300/500]

304 Three-Fold Canvas and Leather Screen, each fold depicting various figures in Oriental garb amidst buildings and a lakeside landscape, overall, h. 68‑1/2”, w. 51”. [500/800] Illustrated

57

312 Chinese Carved Hardwood Armchair, late 19th/early 20th century, h. 39‑1/2”, w. 21‑1/2”. [200/400]

313 313 Chinese Hardwood Altar Table, late 19th/early 20th century, the large table decorated with reticulated carvings of birds and prunus limbs, h. 39‑3/4”, w. 92”, d. 14”. [500/800] Illustrated

314

310 1 of 3 310 Group of Three Chinese Paintings, ca. 1900, inks and colors on paper, including a pair of ancestor paintings, each depicting four women and two men in Qing imperial robes, each 47‑1/2” x 20‑1/2”, mounted, and a painting of two carp and an arrangement of blooming flowers after Shen Shichong (Ming Dynasty, 1368‑1644), inscribed and marked with two seals upper left and seals upper right and lower left, 51‑3/4” x 13”, mounted. [200/400] Illustrated 311 Chinese Mahogany Altar Table, 20th century, with a ruyi mushroom-carved motif on each side, h. 32”, w. 11‑1/2”, l. 58”. [200/400]

58

314 Pair of Chinese Porcelain Jardinieres, 20th century, the flared, rectangular jardinieres with a blue floral motif over a yellow ground, and two blue handles on each side, a four-character archaic mark on the underside of each, h. 8”, w. 8”. [300/500] Illustrated 315 Chinese Monochrome Porcelain Baluster Vase, 19th/20th century, with an incised floral scroll monochrome cobalt blue glaze, now mounted as a three-socket lamp with gilt-bronze mounts, base, h. 18‑3/4”, overall, h. 35”, dia. 9‑1/2”. [500/800] 316 Chinese Hardwood Altar Table, 20th century, with four drawers across the front, h. 31‑1/4”, w. 67‑3/4”, d. 21‑5/8”. [300/500] Illustrated

317 Evelio Garcia Mata (Cuban/ French, 1910‑1985), “Chinoiserie-Style Wallpaper Panel” depicting figures in a garden, oil on paper laid on board, signed lower left, 47” x 31”. Framed. [1000/1500]

316

318 Two Chinese Porcelain Vases, late Qing Dynasty (1644‑1912), with gilt design on a black ground, now mounted as lamps, one with phoenix roundels and the other decorated with a depiction of a beautiful lady surrounded by children, vase, h. 17”, overall, h. 31‑3/4”, dia. 7”. [300/500] Illustrated 319 Japanese Table-Top Cabinet, 19th/20th century, inlaid with mother-of-pearl and porcelain, h. 21‑1/4”, w. 13‑5/8”, w. 5‑7/8”.

[200/400] Illustrated

319

320 Chinese Lacquer Coffee Table, late 19th/early 20th century, the low table with dragons depicted on the surface, against a backdrop of floral scrolls, waves and scholar’s rocks, h. 12”, w. 40”, d. 18‑1/2”. [200/400]

318

59

321

321 Pair of Chinese Inlaid Wooden Panels, 19th/20th century, the panels once part of a larger folding screen, each divided into two sections on each side, featuring inlaid hardstone and mother-of-pearl depicting figures in a landscape on the top and an arrangement of birds and flowers on the bottom, the reverse in carved and painted lacquer, the top depicting figures in a garden and the bottom an arrangement of flowers and archaic vessels, each panel, h. 77‑3/4”, w. 22”. [200/400] Illustrated

324

323

322 Unusual Contemporary Bamboo-Trimmed Bed, the stepped headboard painted with Impressionist-style flowers, h. 73”, outside, w. 66”, l. 85”. [300/500] 323 Shanghai Deco Three-Fold Screen, 20th century, the mahogany three-fold screen with pierced panels above mirrored panels, overall, h. 84‑1/4”, w. 66”. [500/800] Illustrated

326

60

324 Chinese Porcelain Punch Bowl, 20th century, the white-ground bowl with a motif of bats extending around the interior and exterior borders, the center and sides depicting hunters in a hilly landscape, a fourcharacter apocryphal Chenghua reign (1465‑1487) mark on the underside, h. 5‑1/2”, dia. 12”. [200/400] Illustrated

326 Chinese Red Lacquer Coffee Table, 20th century, the lacquered wood table with brass handles on the sides and a scene of figures in a garden on the central reserve, h. 18”, w. 21‑3/4”, l. 43‑3/4”. [400/700] Illustrated 327 Chinese Red Lacquer Coffee Table, 20th century, with a motif of peonies and scholar’s rocks across the top and a scrolling floral design on the sides, h. 16‑1/2”, w. 18”, l. 40”. [250/400]

328

330

325 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]

329

328 Pair of Peking Glass-Style Boudoir Lamps, the Chinesestyle brass bases holding glass standards decorated with scrollwork, base, h. 11‑1/2”, overall, h. 20‑1/2”, w. 4‑3/4”. [300/500] Illustrated 329 English Painted and Marble-Top Demi-lune Cabinet, second quarter 20th century, in the Louis XVI taste, h. 36”, w. 51”, d. 23‑1/2”. [1800/2500] Illustrated 330 French Painted and Parcel-Gilt Trumeau Mirror, second quarter 20th century, in the Louis XVI taste, h. 64‑1/2”, w. 43‑3/4”. [1500/2500] Illustrated

61

331 Louis XIV-Style ParcelGilt Barometer, h. 40”, w. 10‑1/2”. [400/700] Illustrated

331

332 Pair of Louis XVI-Style Painted Armchairs, each with a medallion back, open arms and fluted legs, upholstered in taupe and chocolate plush fabric, h. 37”. [1200/1800] Illustrated

335 Pair of Gold-Leaf and Painted Three-Light Candelabra, of urn form, with pricket cups, h. 24”, w. 20‑1/2”, d. 6‑3/4”. [200/400] Illustrated 336 Italian Enameled Metal Three-Light Floriform Chandelier, mid-20th century, h. 16”, dia. 15”.

[200/400]

332

333 Pair of Louis XVI-Style Painted Armchairs, each with a medallion back, open arms and fluted legs, upholstered in taupe and chocolate plush fabric, h. 37”. [1200/1800] 334 Pair of Louis XVI-Style Painted Armchairs, each with a medallion back, open arms and fluted legs, upholstered in taupe and chocolate plush fabric, h. 37”. [1200/1800]

335

337 “Kaiser” Hand-Painted Porcelain Partial Dinner Service, ca. 1970, German, with a complementary set of eight Murano goblets, marked by Nason Moretti, h. 6‑1/4”, the set in the “Desire” pattern, including dinner, soup, salad and bread-and-butter plates, dia. 6‑1/2” to 9‑3/4”, various serving pieces, teacups and saucers, demitasse cups and saucers, a teapot, two sugar bowls and a cream jug. [400/700] Illustrated 338 Floral-Decorated Oxbow Cabinet, 20th century, on bracket feet, h. 34‑1/2”, w. 41”, d. 13‑1/4”. [300/500] Illustrated

337

62

338

339

340 343 Polychrome-Painted Trumeau Mirror, decorated with an image of Glenridge Hall, Atlanta, Georgia, h. 62”, w. 38‑1/2”. [300/500] Illustrated

339 Pair of Paris Porcelain Garniture Urns in the Etruscan Style, first quarter 19th century, decorated with leaves and bellflowers on a pink ground, the gilt handles with biscuit flourishes, above black bases mimicking marble, h. 10‑1/4”, w. 5‑1/2”. [600/900] Illustrated

343

340 American Sheraton-Style Painted Tall Chest, third quarter 20th century, with chinoiserie decoration, h. 51”, w. 34”, d. 19”. [200/400] Illustrated 341 Pair of Painted Bedside Tables, on spade feet, h. 30”, w. 21‑1/2”, d. 17”. [200/400] 342 Painted Chest, in the Italian neoclassical taste, h. 54‑1/2”, w. 34”, d. 19”. [200/400]

63

349

345 1 of 2

346

347

345 Pair of Louis XV-Style Painted Consoles, with pierced skirts and faux rouge marble tops, h. 31‑1/2”, w. 39”, d. 17‑1/2”. [700/1000] Illustrated 346 Pair of French Carved and Painted Architectural Elements, now mounted as lamps, h. 21”, w. 23”, d. 4‑1/2”. [300/500] Illustrated 347 Pair of Provincial Louis XV-Style Carved and Polychromed Fauteuils a la Reine, with arched backs, open arms, scalloped aprons and cabriole legs, upholstered in chocolate and beige brocade, h. 47‑1/4”. [300/500] Illustrated

344 Pair of Louis XV-Style Polychrome Bergeres and Ottomans, the padded domed top surmounted by a floral crest and joined to the cushioned seat by padded scrolling arms, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 41”, ottoman, h. 16”, w. 34”, d. 22”. [300/500]

64

348 Porcelain Plaque Signed by Jenny Rosauer (German), ca. 1900, in an ebonized labeled frame, h. 19‑1/2”, w. 13‑1/2”. [200/400] 349 French Empire-Style Giltwood Mirror, mid-20th century, with a pierced wreath and ribbon crest, h. 51‑3/4”, w. 28‑3/4”. [300/500] Illustrated

350 Pair of Louis XVI-Style Ivory-Painted Armchairs, each with a crisply carved trophy crest, foliate-carved open arms and tapering fluted legs, upholstered in cut olive plush fabric, h. 40”. [1500/2500] Illustrated

352

350

351 Two KPM-Style Porcelain Plaques, fourth quarter 19th century, German, including “Forbidden Kiss”, after W. J. Martens (Dutch, 1838‑1895), h. 5‑1/2”, w. 6”, and “Gesu Bambino e San Giovannino”, after Francois Boucher (French, 1703‑1770), and identified on the back, h. 4‑3/4”, w. 4”. [200/400] Illustrated

353

351 354 Suite of Six Louis XVI-Style Creme-Peinte and ParcelGilt Sidechairs, mid-20th century, each with a padded medallion back surmounted by a fleur-de-lis crest, the padded seat raised on fluted tapering circular legs headed by foliate carving and ending in toupie feet, h. 39‑1/2”. [300/500] Illustrated

354 352 Nancy Corzine Designed Painted King-Sized Headboard, of Louis XVI inspiration, h. 68”, w. 82”.

[800/1200] Illustrated 353 Louis XV-Style Parcel-Gilt Overmantel Mirror, second quarter 20th century, decorated with pierced carved flowers, h. 32‑1/2”, w. 43‑1/2”. [300/500] Illustrated

65

359

355 Pair of Carved, Paint-Decorated and Parcel-Gilt Lamps, in the Italian neoclassical style, h. 24”, dia. 7‑1/4”. [200/400] 356 Pair of Italian Rococo-Style Polychrome Chairside Cupboards, early 20th century, each with a shaped front above a conforming case fitted with three drawers, all with painted floral panels, raised on cabriole legs headed by acanthine carving and ending in scrolled toes, h. 29‑1/2”, w. 16”, d. 11”. [200/400]

360

363 357 Louis XV-Style Painted Footstool, second quarter 20th century, upholstered in yellow damask, h. 21”, w. 21‑1/4”, d. 18”. [200/400] 361

358 Three-Piece Group of Painted Louis XV-Style Furniture, comprised of a bergere and a pair of stools, each with like decoration and mauve upholstery, chair, h. 33”, stool, h. 20‑3/4”, w. 23”, d. 19”. [200/400] 359 Pair of French Patinated Bronze and Crystal ThreeLight Candelabra, second quarter 20th century, in the Louis XIV style, each with a glass-clad standard and hung with sprays of drops in three tiers, interspersed with polychrome glass fruit-form drops, h. 17‑3/4”, dia. 9‑3/4”. [300/500] Illustrated 360 Pair of Louis XIV-Style Walnut Fauteuils, with stretcher bases, h. 46”. [300/500] Illustrated

66

361 Regency-Inspired Polychromed Jardiniere, with a basket-form top on a dolphin-carved base, h. 28”, dia. 19”. [200/400] Illustrated 362 Collection of Six British Bookplate Prints, of various famous paintings from The Royal Collection, each sight 8‑1/2” x 11”. All glazed, handsomely matted and framed alike. [300/500]

365 After Ferdinand Delamonce (French, 1678‑1753), a pair of hand-colored engravings from View of Fountains in the Garden of Versailles, printed 1714, each sight 18” x 21‑1/2”. Both glazed, matted and framed. [350/500] Illustrated 366 Pair of George III Sterling Silver Cauldron Salts, hallmarked London, 1769‑1770, by David & Robert Hennell, with gadrooned rim and stepped pad feet, monogrammed on the underside “N/I*C” fitted with later glass liners, dia. 2‑1/2”, 2.92 total t. oz. (excluding liners). [400/700] Illustrated

367

365 1 of 2

363 Giovanni Battista Piranesi (Italian, 1720‑1778), “Veduta degli avanzi della Sepolcro della Famiglia Plauzia sulla via Tiburtina vicino al ponte Lugano”, black and white engraving from Le Vedute di Roma, first quarter 19th century, sheet 19‑3/4” x 30”. Glazed, float mounted and framed. [500/800] Illustrated

366

367 George III Sterling Silver Wick Cutter Tray, hallmarked London, 1789‑1790, by Joseph Scammell, navetteform, with reeded rim, engraved with the royal badge, 10‑5/8” x 4‑1/2”, 4.82 t. oz. The badge here appears to be the royal crest within a garter and surmounted by a prince’s crown, and thus belonging to one of the sons or grandsons of George II or III. The label which might indicate which Prince, however, is not sufficiently detailed to identify him. [600/900] Illustrated 368 George III Sterling Silver Sauceboat, hallmarked London, 1784, by Laglands & Robertson, batteau form, with scalloped rim, crested handle and shellcrested stepped pad feet, l. 6‑1/2”, w. 3‑1/4”, 4.59 t. oz.

[400/700] Illustrated

368

364 After Vicente Garcia de Paredes (Spanish, 1845‑1903), “Promenade in Fontainebleau” and “The Greeting”, a pair of mezzotints, copyrighted “1904”, sight each 14‑5/8” x 20‑5/8”. Each glazed, handsomely matted and presented in a Louis XVI-style giltwood and gesso frame. [250/400]

67

369

371 Assembled Pair of Regency/Victorian Sterling Silver Wine Coasters, hallmarked London, one 1817‑1818,

by Thomas Purver, the other 1889‑1890, by Martin & Hall, each circular with reeded rim and turned wooden base insert, the plateau with engraved crest of Huth of London, dia. 5‑1/2”. [600/900]

373

369 Pair of George III Sterling Silver Wine Coasters, the marks rubbed but fourth quarter 18th century, circular with pierced gallery and turned wooden base, monogrammed with addorsed “DD”, dia. 4‑5/8”, h. 1‑3/4”. [1000/1500] Illustrated

370

372 George IV Sterling Silver Taperstand, hallmarked London, 1826‑1827, by Robert Hennell II, circular, with rocaille rim, cannon-form nozzle and conical snuffer, h. 2‑1/4”, dia. 3‑7/8”, 4.37 t. oz. [400/700] Illustrated 373 Set of Four Victorian Sterling Silver Salt Cellars, hallmarked Birmingham, 1869‑1870, by HS & H, each of navette form with arched handles, l. 4‑7/8”, 5.05 total t. oz. [600/900] Illustrated

374 370 Regency Sterling Silver Wick Cutter Tray, hallmarked London, 1816‑1817, by Makepeace & Carter, waisted oval, with pierced Vitruvian wave gallery and beaded rim, engraved with a crest of a hind trippant, ducally gorged (Hussey?), l. 7‑1/2”, w. 2‑3/4”, 4.01 t. oz.

[500/800] Illustrated

372 374 Pair of Victorian Sterling Silver Casters, hallmarked Birmingham, 1891‑1892, the maker’s mark rubbed, lighthouse form, with embossed spiral gadroon decoration, h. 4‑1/2”, dia. 2‑3/4”, 7.37 total t. oz.

[300/500] Illustrated

68

375 Late Victorian Sterling Silver Mustard Pot, hallmarked Chester, 1899‑1900, by Nathan & Hayes, oval with pierced gallery and domed, hinged lid, fitted with a cobalt glass liner, h. 3‑1/4”, l. 4‑1/2”, 2.47 t. oz. (excluding liner). [300/500] Illustrated

377 Six-Piece George V Sterling Silver Salt and Pepper Set, hallmarked Birmingham, 1933‑1937, by William Adams, Ltd., comprising three oval salt cellars, l. 2‑1/8”, and three cylindrical pepper casters, h. 2‑1/4”, each with reticulated gallery banding and fitted with a cobalt glass liner, 3.29 total t. oz. (weighable silver). [450/700] Illustrated

375 377

376 Good Victorian Sterling Silver-Mounted Engraved Glass Claret Jug, hallmarked Sheffield, 1877‑1878,

by W. & G. Sissons, of ovoid form, the glass body wheel-engraved with ferns and flowers, with beaded silver collar, foot and arched handle, h. 11‑1/4”, l. 6”.

[1000/1500] Illustrated

378 Victorian Silverplate Tripartite Folding Biscuit Barrel, late 19th century, with “clamshell” compartments opening to reveal the pierced grille covers, h. 10‑1/2”, w. 8” (13‑1/2” open). [400/700] Illustrated

378 376

69

379

382 Two English Silverplate Tea Trays, 19th and 20th centuries, including an unmarked Victorian footed example with robust rocaille decoration, engraved with the crest of Dabbins, 28” x 19”, and a George V Ellis-Barker example with gadrooned rim, 28” x 17‑1/2”. [300/500]

381

379 Silverplate Meat Dome and Platter, contemporary, in the Regency taste, oval with gadrooned banding and rocaille handle and feet, the base with hot water reservoir, h. 14”, l. 26”, w. 17”. [1000/1500] Illustrated

380

383 Italian Silverplate Tripartite Folding Biscuit Barrel, 20th century, in the Victorian taste, with “clamshell” compartments opening to reveal the spring-loaded covers, h. 10”, w. 8‑1/2” (13‑1/4” open). [200/400] 380 Three-Piece Silverplate and Glass Table Garniture, contemporary, in the Victorian taste, comprising one tall compote, h. 20”, dia. 11‑3/4”, and two shorter compotes, h. 9‑1/2”, dia. 11‑3/4”, each with a triangular rococo scroll base and saucer-shaped glass bowl, the tall compote with a twining “vintage” standard. [500/800] Illustrated 381 Edwardian Silverplate Epergne, first quarter 20th century, in the Georgian taste, of oval form, with a central wirework gallery between gadrooned bands, raised on four flat-column legs with lion’s paw feet, joined by a wirework stretcher to an oval domed platform fitted with four scrolling arms centering an acanthus bud finial, fitted with one large and four smaller oval glass bowls, h. 12‑1/2”, l. 17”, w. 14‑1/2”.

[1800/2500] Illustrated

70

384

384 Three “Vintage”-Decorated Silverplate Trays, 19th and 20th centuries, including a William IV rectangular tray with later electroplating, 27” x 17‑1/2”, an English rectangular tray, 25” x 15”, and a large Reed & Barton coquille form dish, 16” x 15”. [300/500] Illustrated

385

388 Two Pieces of Silverplate Hollowware, including a Victorian Martin & Hall salver with beaded rim and ball-and-claw feet, monogrammed and dated “RJE / March 5th 1863”, dia. 14‑1/4”, and a 1910 Gorham covered vegetable dish of “turtleback” form with rococo rim, monogrammed “EW”, l. 11‑1/4”, w. 8‑3/8”. [200/400] 389 Jacobean-Style Carved Oak Side Table, ca. 1903‑1927, labeled “Baker”, h. 31”, w. 39‑1/2”, d. 19”. [200/400]

390

385 Edwardian Silverplate and Celluloid Cased Fish Set with Associated Fish Servers, first quarter 20th century, with six each fish forks and knives, presented in a fitted oak case, 12‑3/4” x 9”, with a William Hutton and Sons two-piece fish serving set, l. 11‑1/4” and 8‑5/8”.

[200/400] Illustrated 386 Victorian Cased Twenty-Four-Piece Silverplate Dessert Set, ca. 1900, by James Dixon & Sons, Sheffield, including twelve forks, l. 6‑7/8”, and twelve knives, l. 8‑1/2”, presented in the original fitted, indigo baize-lined mahogany case with lift-out tray, 2‑1/8” x 11‑3/8” x 10‑1/4”. [200/400]

387 390 Pair of Italian Baroque Painted Altar Sticks, ca. 1800, now mounted as lamps, the turned and foliate-carved standards above tripartite bases decorated with carved leaves, base, h. 36”, overall, h. 50”, dia. 8‑1/2”.

[400/700] Illustrated

387 Pair of Anglo-American Sterling Silver Coquille Dishes, first quarter 20th century, by Chrichton & Co., New York, of stylized shell form, l. 4”, 5.45 total t. oz.

[350/500] Illustrated

391 Italian Baroque Painted Altar Stick, ca. 1800, now mounted as a lamp, the turned standard decorated with leaf carving, above a tripartite base with carved leaves, base, h. 37”, overall, h. 50”, dia. 9”. [300/500]

71

392 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”. [300/500] Illustrated

394

392

395 Pair of Bronze and Segmented Bone Lamps, in the rococo taste, base, h. 15”, overall, h. 18‑1/4”, dia. 5‑1/2”. [200/400] Illustrated

395

393 Set of Four Continental Bronze Five-Light Sconces, second quarter 20th century, in the Dutch Baroque taste, the flattened baluster backplates supporting scrolled candle arms, h. 24”, w. 20”, d. 11”. [200/400] Illustrated

393 394 William and Mary-Style Mahogany Chest, ca. 1900, American, on bun feet, h. 40”, w. 38”, d. 24‑1/2”.

[200/400] Illustrated

72

396 Pair of Bronze Three-Light Sconces, with quiver-form backplates and dragon-molded arms, h. 27‑3/4”, w. 13”, d. 9”. [500/800] 397 Jacobean-Style Oak Server, first quarter 20th century, American, with two cupboards flanking a central drawer, h. 38‑1/2”, w. 72”, d. 21”. [400/700] Illustrated

397

400

398 Continental Carved Oak Hanging Cupboard, ca. 1900, h. 30”, w. 22”, d. 7”. [400/700] 399 Pair of Signed E. F. Caldwell, New York, Bronze TwoLight Sconces, second quarter 20th century, in the Baronial taste, marked with an impressed “C” in a lozenge on the rear, h. 18‑1/2”, w. 11”, d. 6‑1/2”.

[200/400] Illustrated

399

401 402 Pair of Chinese Porcelain Jardinieres, 20th century, the two rectangular blue and white porcelain jardinieres with dragon and phoenix roundels, unmarked, h. 9‑3/4”, w. 7‑1/2”, d. 7‑1/2”. [300/500] Illustrated 400 Pair of English Gilt-Bronze Four-Light Candelabra, fourth quarter 19th century, in the Gothic taste, decorated with spiral-reeded standards and pierced galleries, h. 30”, w. 12‑3/4”, d. 7”. [200/400] Illustrated

402

401 American Oak Cabinet in the Renaissance Taste, with a parquetry top, linen-fold sides and a carved front, on a paw-footed trestle base, h. 50‑1/2”, w. 91”, d. 23”.

[500/800] Illustrated

73

403 Chinese Blue and White Porcelain Bowl, Qing Dynasty (1644‑1911), the side of the bowl with four scholars in a garden, the interior reserve depicting a landscape, the underside with a four-character inscription in underglaze blue, h. 3‑1/2”, dia. 8‑5/8”. [250/400] 404 Chinese Blue and White Porcelain Bowl, 20th century, the inside with two dragons around a phoenix medallion, unmarked, h. 3‑3/4”, dia. 9‑3/4”. [300/500]

406 Spanish Oak and Leather-Upholstered Armchair, 19th century, the padded rectangular back joined by flat arms to the padded seat, raised on turned and block legs joined by a bobbin-turned stretcher and ending in peg feet, h. 36‑1/2”. [200/400] Illustrated

407

405

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

406

407 Pair of Continental Oval Mirrors in the Rococo Taste, ca. 1900, with beveled mirror plates set in pierced brass frames, h. 18‑1/4”, w. 12‑1/4”. [200/400] Illustrated 408 William and Mary-Style Oak Octagonal Table, with a carved cup and cover pedestal, h. 31‑1/2”, dia. 48”.

[200/400]

411

74

409 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”. [300/500] 410 English Oak Gateleg Table, late 19th century, the top with slightly bowed ends and two deep ovoid leaves, and raised above a frieze fitted with a single end drawer, on a gateleg support of turned and bulbous legs joined by box stretchers and ending in turned bun feet, h. 29”, w. 33”, l. 13”, extended l. 53”. [200/400] 411 William and Mary-Style Oak Drop-Leaf Dining Table, ca. 1900, with barley-sugar-turned legs, h. 30‑1/2”, w. 42”, l. 23”, extended l. 55”. [250/400] Illustrated 412 Pair of English Oak Jacobean-Style Armchairs, first quarter 20th century, with barley-sugar turnings, h. 45”. [1500/2500] Illustrated

414 Pair of Flemish-Style Fruitwood Armchairs, 19th century, each with a padded rectangular back with narrow padded sides, joined by like arms on heavily scrolled uprights to the cushioned seat, raised on scrolling legs joined by a pierced foliate shell stretcher ending in scrolled toes, h. 45”. [400/700] 415 Pair of Continental Mahogany Armchairs, 19th century, each with a padded slightly back-sloped back, joined by heavy scrolling ribbed arms to the padded seat, raised above a shaped stretcher on square legs joined by turned side stretchers and ending in bun feet, h. 46”. [300/500]

417

412

413 Two Pieces of Dutch-Decorated Polychrome Creamware, fourth quarter 18th century, probably English, consisting of a plate depicting a scene in a church in Amsterdam, the lower facade marked “T. Vormsel”, dia. 10‑1/4”, and a cream jug with strapwork handles, decorated with Our Lady of Kevelaer, named for a miracle in the German village of the same name, h. 5”, dia. 3”. [500/800]

416 Alfred Bertram Pegram (British, 1873‑1941), “Amitie”, 1911, bronze, signed and dated en verso selfbase, titled at front, on a carved wooden stepped plinth, overall, h. 9‑3/4”, w. 5‑1/2”, d. 4”. [300/500] 417 Jacobean-Style Mixed Woods Stretcher Table, with two drawers in the skirt, h. 33‑3/4”, w. 55”, d. 23”.

[300/500] Illustrated

75

418

421 Carolean-Style Oak and Fruitwood Sidechair, 19th century, the shaped foliate-carved crest above a pierced splat flanked to either side by uprights and foliate finials, the padded seat raised on turned tapering legs joined by a shaped front stretcher and ending in ball feet, h. 56”. [300/500] Illustrated

421

418 Pierced Giltwood Mirror in the Baroque Taste, set with a beveled mirror plate, h. 61‑1/2”, w. 51‑1/2”.

[300/500] Illustrated

420

422 Jacobean-Style Oak Stretcher Table, with two drawers in the skirt, h. 33‑3/4”, w. 55”, d. 23”. [300/500] Illustrated 422 419 Pair of English Bronze Five-Light Candelabra, fourth quarter 19th century, in the Neo-Gothic taste, h. 29”, w. 22”, d. 6”. [300/500] 420 Pair of English Bronze Andirons with an Integral Fender, fourth quarter 19th century, in the Renaissance Revival style, h. 21”, w. 50”, d. 3”. [500/800] Illustrated

76

423 Pair of Carved Walnut Armchairs in the Jacobean Taste, first quarter 20th century, with pierced “crown” crests and scrolled handrests and feet, h. 55”. [300/500] Illustrated

425

423

424 Chinese Blue and White Porcelain Dragon Jar, 20th century, the cut-corner lidded box with an image of a dragon pursuing a flaming pearl on each side, unmarked, h. 13”, w. 6‑3/4”. [200/400] Illustrated 425 Pair of Chinese Export Blue and White Gilt-Trimmed Tureen Stands, ca. 1800, w. 9”, d. 7”. [300/500] Illustrated

426

426 Dutch Walnut Vitrine, early 19th century and later, the molded and domed cornice with canted sides, above a conforming case fitted with two astragal-glazed doors over two short drawers and one long drawer, raised on paneled tapering circular legs joined by a shaped stretcher and ending in bun feet, h. 92‑1/2”, w. 69”, d. 16”. [500/800] Illustrated

424

77

427 Britannia Metal Two-Handled Covered Chalice, third quarter 19th century, English, engraved with flowers and scrollwork, h. 19”, w. 12‑1/2”. [500/800] Illustrated

427

428 Pair of American Arts and Crafts Bronze-Finished “Hammered” Metal Andirons, ca. 1900, h. 19‑1/4”, w. 11‑1/4”, d. 26‑3/4”. [200/400] 429 Pair of Portuguese Walnut Armchairs, 18th century, in the rococo taste, each with a medallion back with foliate and scroll carving, a seat rail with like carving, and raised on cabriole legs, now upholstered in crimson and beige brocade, h. 48”. [300/500]

434

433

430 English Dish of “Blind Earl” Inspiration, mid19th century, possibly Derby or Minton, h. 2‑1/4”, w. 10‑1/4”, d. 8‑1/2”. [200/400] 431 Five Pieces of English and American Majolica, fourth quarter 19th century, including a marked Etruscan pitcher, h. 7‑1/2”, a marked Wedgwood putti-form candlestick, h. 11‑1/4”, a sailor-form teapot attributed to Brownfield’s, h. 10”, a leaf-form nut dish with a squirrel handle, w. 10”, and a leaf dish, w. 9”.

[300/500] 432 Ten-Piece Collection of English, French and German Majolica, fourth quarter 19th century, including a marked Villeroy and Boch pierced compote, dia. 9‑1/4”, an oval bread tray, l. 12”, an open bowl, dia. 9‑1/2” and seven dishes and plates, including an English plate marked “Copeland” and French plates marked “Salins” and “Sarreguemines”, dia. 7‑3/4” to 9”. [300/500] 433 Majolica-Style Pottery Vase, 20th century, molded with two cranes, h. 20”, w. 13”, dia. 6‑1/4”, d. 11”.

[200/400] Illustrated

78

436

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

[500/800] 436 Continental Carved Oak Two-Part Buffet a Deux Corps, fourth quarter 19th century, in the Renaissance style, h. 77‑1/2”, w. 55”, d. 23‑1/2”. [500/800] Illustrated

434 Three Porcelain Figures, fourth quarter 18th century, consisting of one figure of Poseidon, attributed to Derby, the base now reduced, h. 6”, and two similar figures of putti, possibly Bow, h. 4‑3/4” and 5‑1/2”.

Provenance: Dorothy G. Hale and Company, Chicago and London. [200/400] Illustrated

439 437 Queen Anne-Style Mahogany Easy Chair, second quarter 20th century, h. 35”, w. 26”, d. 27”. [200/400] 438 Continental School (First Quarter 19th Century), “The Sacrifice of Isaac”, oil on canvas, unsigned, 21‑3/4” x 28”. Framed. [500/800] Illustrated 439 After Angelica Kauffman (Swiss/British, 1741‑1807), “A Sibyl of Antiquity”, fourth quarter 19th century, oil on canvas, unsigned, 40” x 29”. Framed. [700/1000] Illustrated 438

79

440 Italian School (Third Quarter 19th Century), “Looking for a Place to Rest”, oil on canvas, signed lower left “D. Buveri”. Presented in a later giltwood frame. [500/800] Illustrated

440 441 After David R. Roberts, R.A. (British, 1796‑1864), “Fortress of Ibum - Nubia” and “Excavated Temples of Aboosimble - Nubia”, a pair of chromolithographs with later hand-coloring, from The Holy Land, Syria, Idumea, Egypt & Nubia, lithography by Louis Hough, published by F. G. Moon, between 1842‑1849, sight 11‑1/8” x 14‑3/4”. Both glazed, French-matted and presented in distressed giltwood frames. [200/400] 442 After Ignaz Stern (German, 1679‑1748), “Allegory of Autumn”, 19th century, oil on canvas, unsigned, 29” x 24”. Framed. [500/800]

445 445 British School (19th Century), “Regency Girl with Parasol and Basket of Flowers”, oil on panel, 18” x 12”.

Framed. [400/700] Illustrated 446 Margarite Rousseau (Belgian, 1888‑1948), “Girl with a Red Parasol”, oil on canvas-board, signed lower right, 20” x 16”. Framed. [1500/2500] Illustrated

443 Follower of Gerrit Dou (Dutch, 1613‑1675), “The Cook and His Wife”, oil on board, late 19th/early 20th century, 8” x 9”. Presented in a giltwood frame.

[200/400] 444 John Thomas Peele (British, 1822‑1897), “The Mountain Stream”, oil on canvas, signed and dated “1864” lower right, titled and dated en verso, 10” x 8”. Presented in a period giltwood and gesso frame.

[200/400]

450 80

447

446

447 Louis Jean Baptiste Boulange (French, 1812‑1878), “Lake View”, oil on wood panel, signed lower right, 14‑3/4” x 21‑1/2”. Framed. [800/1200] Illustrated 448 Alfred Garcement (French, b. 1830), “The Thatched Cottage”, oil on canvas, signed lower left, 13‑1/4” x 16‑1/4”. Framed. [500/800] Illustrated

448

449 Jean Lefort (French, b. 1948), “Puppies”, oil on panel, signed lower left, 16” x 20”. Framed. [1000/1500] Illustrated 450 Evelio Garcia Mata (Cuban/French, 1910‑1985), “Grey Beauty”, oil on board, signed lower right, 14” x 18”. Handsomely framed. [700/1000] Illustrated

449

81

451 1 of 2

452 Pair of Italian Neoclassical-Style Giltwood Brackets, mid-20th century, the Corinthian capital-form backplates supporting molded shelves, marked “Made in Italy”, h. 14”, w. 12‑1/2”, d. 7”. [600/900]

455

454 453 Pair of Italian Creme-Peinte and Parcel-Gilt Fauteuils, late 18th century, each with a curved, shaped and padded back surmounted by a foliate crest, joined by molded arms to the cushioned seat, raised on cabriole legs ending in foliate toes, h. 43”. [500/800]

451 Pair of Italian Pierced Chippendale-Style Mirrors, mid20th century, in the chinoiserie taste, finished in faux gilt, h. 53”, w. 32‑1/2”. [400/700] Illustrated

82

456

454 Pair of Italian White-Glazed Terracotta Chinoiserie Figures, third quarter 20th century, made for Mottahedeh, one figure depicting a male playing a stringed instrument and the other a female figure holding a parrot, marked “Made in Italy” and with a paper label, “A Mottahedeh Design”, h. 34”, w. 13‑1/2”, d. 8‑3/4”. [1000/1500] Illustrated 455 Giltwood Mirror in the Northern Italian Rococo Taste, mid-20th century, h. 32‑1/2”, w. 26”. [500/800] Illustrated

458 457

459

456 Pair of Italian Baroque-Style Giltwood Wall Brackets, the masque-molded backplates supporting shellmolded shelves, h. 20”, w. 18‑1/2”, d. 12”. [200/400] Illustrated 457 Giltwood Mirror in the Spanish Baroque Taste, decorated with pierced scrollwork and a leaf-carved overhanging finial, h. 19‑1/2”, w. 15”. [400/700] Illustrated

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

[400/700] Illustrated 459 Pair of Italian Neoclassical-Style Giltwood Fluted Urns on Pedestals, mid-20th century, now mounted as lamps, overall, h. 23‑1/2”, dia. 4‑1/4”. [400/700] Illustrated

83

460 Continental Verdigris Marble Pedestal, ca. 1900, in three sections, the spiral-twist central standard with a circular top and an octagonal base, h. 38”, base, dia. 16”, top, dia. 15”. [300/500] Illustrated

462 Unusual Italian Micro-Mosaic Stand with Candle Holder, fourth quarter 19th century, marked “L. Olivieri, Venezia”, h. 7”, w. 9‑1/2”, d. 3‑1/2”.

[300/500] Illustrated

463

460

463 Seven Micro-Mosaic Floral-Decorated Boudoir Picture Frames, fourth quarter 19th century, Italian, h. 3‑3/4” to 9”. [300/500] Illustrated

464

461 Eight Italian Micro-Mosaic Boudoir Objects, ca. 1900, including a frame with a porcelain plaque depicting the Madonna della Sedia after Raphael, a hand mirror, l. 10‑1/2”, and various shaped frames, h. 3‑1/4” to 8‑3/4”. [300/500]

462

464 Five Italian Micro-Mosaic Objects, including a boudoir clock, h. 8”, a jewel casket, h. 2‑1/2”, and three frames, h. 8‑1/2”, to 10”. [300/500] Illustrated 465 Venetian Cut and Engraved Mirror, with a beveled segmented surround and an arched crest, h. 72”, w. 40‑1/2”. [600/900] Illustrated 466 Pietra Dura Stone Table Box, inlaid with geometric patterns on a lapis ground, h. 1‑3/4”, w. 5‑3/4”, d. 4‑1/4”. [300/500] 467 Maitland-Smith Cast Brass and Wrought Iron Demilune Console, in the Italian neoclassical style, the marble-clad top over a frieze adorned with pierced foliate and scroll metalwork, h. 34”, w. 53”, d. 19”.

[800/1200] Illustrated

84

468 Small Italian-Style Paint-Decorated Commode, of demi-lune form in the neoclassical taste, with painted visages, two drawers and tapering legs, h. 31”, w. 27‑1/2”,d. 13‑1/2”. [500/800]

470

465

467

469 Italian-Style Scrolled Metal Floor Lamp, 20th century, on a tripartite base, h. 68‑1/2”, dia. 16”. [200/400] 470 Italian Scrolled Metal Floor Lamp, second quarter 20th century, decorated with applied gilt leaves, h. 68‑1/2”, dia. 15”. [200/400] Illustrated 471 Two Metal Candelabra, including a semicircular example set with six graduated pricket candle sockets, h. 13‑1/2”, w. 14”, d. 8”, and a thirteen-light example on a wooden base, h. 12‑1/4”, w. 36”, d. 3‑3/4”, both decorated with flowers and leaves in the Italian style.

[300/500]

85

472 Italian Miniature Cassone, 17th century and later, the inlaid walnut, pine, ebonized and parcel-gilt cassone with a paneled base, trimmed with ebonizing and decorated with heraldic shields supporting the marquetry-work walnut top, the inside cover with an old tag reading, “From the Estate of Arndt & Krupp Von Bohlen, und Halbach, Removed from the Palm Beach Residence”, h. 13”, w. 27”, d. 10”. [900/1200] Illustrated

473 Unusual Italian Parcel-Gilt and MahoganyVeneered Mirror, second quarter 19th century, in the neoclassical taste, the mahogany-veneered sides mounted with Blackamoor figures supporting baskets of wheat, the cove-molded crest decorated with molded gilt acanthus leaves, and the base with molded gilt leaves, h. 42‑3/4”, w. 55”. [300/500]

472

477

474

474 Italian Mottled Brown Marble and Bronze Pedestal, ca. 1900, in the Beaux-Arts style, h. 45‑1/2”, w. 11”, d.11”. [400/700] Illustrated 475 Italian Beaux-Arts Marble and Bronze Pedestal, first quarter 19th century, the sienna marble base supporting the mottled brown marble standard, with neoclassical bronze fittings, h. 37”, w. 7”, d. 7”.

[200/400]

86

476 Continental Copper Electroplate Figure of “Lorenzo de Medici, Duke of Urbino”, first quarter 20th century, after the ca. 1530 marble tomb sculpture by Michelangelo (1475‑1564) in the Medici Chapels, San Lorenzo, Florence, h. 21‑1/2”, w. 9‑1/2”, d. 10‑1/2”. [300/500]

481

477 Impressive Italian Baroque-Style Mirror, fourth quarter 19th century, sitting on leaf-carved feet, framed with bold, mirrorbacked carvings of grapes and grape leaves, the arched crest decorated with a scroll-framed, mirror-backed basket of flowers, h. 81”, w. 44‑1/2”. [2500/4000] Illustrated 478 French Neoclassical-Style Giltwood Bench, first quarter 20th century, with a curule base, h. 26‑1/2”, w. 33‑1/2”, d. 21”. [200/400] Illustrated 479 Italian Baroque-Style Pierced Giltwood Mirror, fourth quarter 19th century, h. 16‑1/2”, w. 16”. [300/500] Illustrated

478

480 Unusual French Bronze Lamp with Urn-Form Standard, fourth quarter 19th century, on lobster-molded cabriole legs, base, h. 20”, overall, h. 37‑1/2”, w. 12”. [300/500] 481 Unusual Pair of Italian Giltwood Columnar Table Lamps, second quarter 20th century, decorated with raised tracery, base, h. 23‑1/2”, overall, h. 32‑1/2”, dia. 5‑1/2”. [600/900] Illustrated 482 Neoclassical-Style Giltwood Mirror, with a “porthole” beveled mirror plate, h. 40”, w. 34”. [200/400] Illustrated

482 479

87

486

483 Pair of Italian Baroque-Style Parcel-Gilt and Faux-Marbre Lamps, the Corinthian column standards with putti on the bases, base, h. 19”, overall, h. 24”, dia. 10”. [200/400] Illustrated 484 Frederick William MacMonnies (American, 1863‑1937), “Pan of Rohallion”, first quarter 20th century, bronze, cast signature and date at back edge of sphere, on a black marble plinth, h. 11”, w. 4‑1/2”, d. 4‑1/2”.

[1500/2500] Illustrated

483

485 Italian Baroque-Style Silver Gilt and MarbleTop Console, ca. 1900, with a white-veined black marble top, h. 31‑1/2”, w. 57”, d. 21”.

[500/800] Illustrated 486 Silver-Gilt Marble-Top Console Table and Mirror, in the Italian neoclassical taste, decorated with arcading, overall, h. 78‑3/4”, w. 44‑1/2”, d. 11‑1/2”. [300/500] Illustrated 485

487 Baroque-Style Pierced Silver Gilt Mirror, h. 47”, w. 35‑1/2”. [200/400] Illustrated 488 Italian Silvered Metal Boudoir Mirror on an Easel, ca. 1900, in the Renaissance taste, h. 15‑3/4”, w. 13”. [200/400] Illustrated 489 Neoclassical-Style Bronze Twelve-Light Chandelier, mid-20th century, h. 24”, dia. 31”. [300/500] Illustrated

88

489

490 Pair of Parcel-Gilt Corinthian Column-Form Pedestals, third quarter 20th century, decorated with carved leaves and swags on an ivory ground, h. 40‑1/2”, w. 13”, d. 13”.

[200/400] Illustrated 491 Neoclassical-Style Giltwood and Ebonized Mirror, set with a beveled mirror plate, h. 39”, w. 27‑1/4”. [200/400]

490

487

484

488

89

492 Neoclassical-Style Giltwood Overmantel Mirror, 20th century, decorated with reeded pilasters and shells, h. 59‑1/2”, w. 42‑1/2”. [200/400] Illustrated

493 Pair of Italian Giltwood Lamps of Neoclassical Inspiration, 20th century, in the form of carved cylindrical urns on square bases, with red and green trim, h. 23‑1/2”, w. 5‑3/4”, d. 5‑3/4”. [200/400] Illustrated 494 Pair of Gilt Plaster Appliques, second quarter 20th century, in the form of lotus leaves molded in a fan shape, h. 10‑1/2”, w. 15‑1/4”, d. 4‑1/4”. [200/400]

492

496

493

497

495 Continental Bronze of a Classical Athlete, first quarter 20th century, on a black marble base, h. 10‑1/2”, w. 12‑1/2”, d. 6”. [300/500]

90

496 Italian Grand Tour Patinated Metal Figure of a Wrestler Taking Down a Stag, ca. 1900, the figure modeled with his hands on the antlers, mounted on a black marble base, h. 8‑3/4”, w. 8‑3/4”, d. 3‑1/4”.

[200/400] Illustrated

498

497 Italian Walnut Hexagonal Occasional Table, in the Renaissance style, with an inset “Egyptian” marble top, h. 30‑1/2”, dia. 27”. [500/800] Illustrated 498 Pair of Italian Neoclassical-Style Giltwood Mirrors, with painted surrounds, h. 37‑1/2”, w. 13‑1/4”.

[300/500] Illustrated 499 Set of Four Italian Walnut Dining Chairs, ca. 1800, with pierced anthemion backs and fluted legs, h. 34‑1/2”. [400/700] Illustrated 500 Pair of Neoclassical-Style Urn-Form Lamps, the tops decorated in faux rouge marbre, base, h. 16‑1/2”, overall, h. 21‑1/2”, dia. 8‑1/2”. [200/400] 502

501 Italian Glazed Pottery Roundel-Form Plaque, 20th century, in the Della Robbia style, dia. 23‑1/2”. [300/500]

504

502 Pair of Italian Renaissance-Style Painted Wall Brackets, fourth quarter 17th century and later, with angel-form backplates, h. 16”, w. 15‑1/2”, d. 9‑1/2”. [400/700] Illustrated 499

503 Italian Patinated Bronze of Mercury, fourth quarter 19th century, after the ca. 1550 sculpture by Benvenuto Cellini (Italian, 1500‑1571), cast inscription “B. Cellini” at edge of base, h. 25‑1/2”, w. 7”, d. 5”.

[300/500] 504 Italian Grand Tour Patinated Bronze of a Satyr with Cymbal and Kroupezion, 19th century, after the Roman marble copy of a 1st century BCE Greek sculpture, now at the National Gallery of Ancient Art, Rome, h. 29”, w. 12”, d. 9”. [1500/2500] Illustrated

91

505

507

506

505 Italian Patinated Bronze of Mercury, fourth quarter 19th century, after the ca. 1560 sculpture by Gian Bologna (Italian, 1524‑1608), now at the National Gallery in Florence, the figure holding a caduceus and with winged sandals, one foot balanced on the personification of the West Wind, on a black marble columnar plinth, h. 27”, w. 5‑1/2”, d. 10”. [400/700] Illustrated 506 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”. [700/1000] Illustrated

92

507 Neoclassical-Style Marble Pedestal, the circular Carrara marble top on a conforming stand, on ormolu masque and paw feet, h. 32‑3/4”, dia. 20‑1/2”.

[300/500] Illustrated 508 Pair of Italian Bronze and Marble Floor Lamps, decorated with neoclassical-style integral busts, together with shades, h. 61”, w. 8”, d. 8”. [400/700] Illustrated

509 Carved Wood Full-Bodied Swan Planter, with a tole insert, h. 31”, w. 21”, l. 39”. [700/1000] Illustrated 510 French School (Third Quarter 19th Century), “Market Day in the Cathedral Square”, oil on canvas, 49” x 49”.

Unframed. [800/1200] Illustrated

508

510 511 Carel Jacobus Behr (Dutch, 1812‑1895), “Dutch Street Scene”, oil on board, signed lower left, 9‑1/4” x 7”.

Framed. [500/800] Illustrated

509

511 93

515 Italian School (Second Quarter 19th Century), “View of an Erupting Volcano” and “Figures on a Path with View of Bay of Naples”, a pair of gouaches on paper, sight 15‑1/2” x 25”. Both glazed and framed alike.

[800/1200] Illustrated

512 512 Italian School (Fourth Quarter 19th Century), “The Grand Canal, Venice”, 1898, oil on canvas, dated and signed “Giannini” lower right, 9‑1/2” x 13”. Framed.

[700/1000] Illustrated

515 516 Louis XV-Style Carved Fruitwood Commode, fitted with two drawers and a composite marble top, h. 33”, w. 37”, d. 16”. [600/900] Illustrated

513 513 Italian School (20th Century), “The Vegetable Seller”, oil on wood panel, signed “A. Pizzola” lower right, 12” x 16”. Framed. [300/500] Illustrated 514 Continental School (First/Second Quarter 20th Century), “Pastoral”, oil on canvas, inscribed “A. P. Yates” en verso canvas, 27” x 40”. Framed. [700/1000]

94

516

517 French Neoclassical-Style Painted Mirror, third quarter 19th century, molded with leaves in a coved frame, h. 39”, w. 24”. [300/500] 518 Pair of Italian Neoclassical-Style Pierced Creamware Urns, second quarter 20th century, pierced with latticework and decorated with swan-molded handles, stamped “Italy”, h. 14”, w. 9”, d. 5”. [250/400] Illustrated

521 Pair of Louis XIV-Style Fauteuils, finished in patinated silver gilt, h. 37”. [400/700] Illustrated

518

522 Pair of Continental Gilt-Metal Tripod Standards, fourth quarter 19th century, in the Renaissance style, h. 9‑3/4”, dia. 7”. [200/400] 523 Two Cast Iron Busts of Belle Epoque Jeunes Filles, in the 19th-century style, one depicted wearing a hat, h. 27‑1/2”, w. 15‑1/2”, d. 10‑1/2”, and the other with roses in her hair, h. 23”, w. 17”, d. 10‑1/2”. [200/400] Illustrated

523 519

519 Set of Six French Provincial Fruitwood Dining Chairs, in the Louis XV style, h. 39‑1/2”. [700/1000] Illustrated 520 Pair of Deal Panels, decorated with molded musical trophies framed with scrollwork, h. 48‑3/4”, w. 23‑3/4”. [300/500] Illustrated

524 Machine-Woven Tapestry of a Fox Hunt, in muted tones of creams, yellows and greens, with a Solomonic column border, 71” x 154”. [300/500]

521

520

95

525 French Fruitwood and Caned Bergere, second quarter 20th century, in the Louis XV style, carved with flowers, h. 33”. [300/500] Illustrated

527

525

527 Set of Twelve Austrian Cabinet Plates, ca. 1900, handpainted and transfer-printed, marked by the retailer, dia. 8‑1/4”. [300/500] Illustrated

529

526 Meissen Figure of a Mother and Child, second quarter 19th century, German, marked with underglaze crossed swords, h. 6‑1/2”, w. 4‑1/4”, d. 2‑3/4”.

[250/400] Illustrated

528

526

528 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”. [700/1000] Illustrated 529 Suite of Six Provincial Louis XV-Style Stained Birch Dining Chairs, each with a floral-carved scalloped crest over like splats, upholstered seat and cabriole legs, h. 38”. [400/700] Illustrated

96

530 Suite of Four Louis XV-Inspired Fruitwood Bar Stools, each with a shaped floral-carved crest rail, high upholstered seat and cabriole legs, h. 38‑1/4”.

[300/500] 531 Molded Pottery Table Lamp, in the form of a polychromed altar stick, base, h. 25”, overall, h. 29”, dia. 8”. [200/400]

533 Continental School (Fourth Quarter 19th Century), “Peeling Apples”, illegibly signed lower left, 16” x 19”.

Attractively framed. [700/1000] Illustrated

536

532

532 Large Colonial-Style Wrought-Iron Eighteen-Light Chandelier, of two-tier form, each candle cup on a scrolled arm, h. 44”, dia. 44”. [300/500] Illustrated

534 Painted Turned Console Table/Island, with a slate top, h. 30‑1/2”, w. 20”, l. 80‑1/2”. [300/500] 535 Two Metal Containers, including a large Middle Eastern hammered copper pot, h. 14”, dia. 19”, and a hammered brass firewood container, h. 19”. [300/500] 536 French Provincial-Style Pine Bonnetiere, 20th century, with raised panel doors and inscribed carving, h. 79‑1/2”, w. 30‑1/2”, d. 15‑1/2”. [300/500] Illustrated

533 97

537 French Provincial Fruitwood Vasselier, mid-19th century, the molded cornice with canted corners above two open shelves and two paneled cupboard doors, the conforming lower section fitted with three drawers over two paneled cupboard doors, raised on shaped bracket feet, h. 79”, w. 51”, d. 18”. [800/1200] Illustrated

541

537

541 Pair of Bronze Lamps, in the style of Italian Baroque altar sticks,^ h. 28‑1/2”, dia. 5‑1/2”. [200/400] Illustrated

543

538 Five French Aubusson Tapestry Pillows, ca. 1900, trimmed with fringe, the smallest, h. 10‑1/2”, l. 21”.

[500/800] 539 Continental Upholstered Ottoman on Casters, 19th century, with peg construction and retaining the original casters, now upholstered in crewelwork, h. 17”, dia. 23”. [200/400] 540 Continental Verdure Tapestry Depicting Nobles at the Hunt, 20th century, with an allover acanthine and floral motif border, tabs for hanging, 70” x 86”.

[250/400]

98

542 Brass-Bound Wooden Box, in the 18th-century Continental style, with a compartmentalized interior, h. 10”, w. 19‑1/2”, d. 13‑1/2”. [200/400]

543 French Polychromed Faience Flagon, ca. 1860‑1871, in the Renaissance style, signed “Gien”, h. 10”, dia. 6”.

[200/400] Illustrated

548 Two Belle Epoque Carved Wooden Jewel Caskets, comprising an oval giltwood example carved with fruit and a bird knop, h. 8‑3/4”, w. 8‑1/4”, d. 5‑1/2”, and a rectangular walnut example resting on carved twig feet, the sides and cover carved with flowers on a stippled ground, h. 5”, w. 9”, d. 6”. [200/400] Illustrated

548

544

544 French Carved Oak Table, mid-20th century, in the Louis XV style, with a parquetry top, h. 31”, w. 53”, d. 32‑1/2”. [300/500] Illustrated

546

549 Collection of Five French and English Majolica Pitchers and a Tobacco Jar, fourth quarter 19th century, h. 5‑1/4” to 8”. [300/500] Illustrated 550 Anglo-Indian Polychromed Figural Six-Light Chandelier, the columnar standard with foliate decor, the arms modeled as mermaids holding a torch, electrified, h. 35‑1/2”, dia. 42”. [700/1000] Illustrated

545 European Carved and Painted Wolf’s Head, 19th century, now mounted in a circular walnut frame, d. 9”, dia. 15”. [200/400] 546 Flemish-Style Mahogany Bench, early 20th century, the padded rectangular top raised on turned bulbous legs joined by shaped X-form stretchers and ending in hoof feet, h. 19”, w. 42”, w. 17”. [200/400] Illustrated

550

549

547 French Painted Terracotta Figural Group, fourth quarter 19th century, depicting putti dancing at the feast of Dionysus, signed “L. Livi”, h. 23”, w. 15‑1/2”, d. 7”. [800/1200]

99

551 Pair of Majolica-Glazed Terracotta Garden Urns, in the Italian neoclassical taste, h. 25”, dia. 25‑1/2”.

[500/800] Illustrated

551

554 Five Pieces of Reed & Barton “Holiday” and Similar Silverplate Hollowware, third quarter 20th century, including “Holiday” pattern oval footed center bowl, h. 4‑1/2”, l. 12‑3/8”, oval center bowl, l. 15”, and two circular center bowls, dia. 13”, and similar Towle circular center bowl, dia. 12‑3/4”, some with presentation inscription. [250/500] Illustrated

553

552 One Hundred and Two-Piece Set of Alvin “Chapel Bells” Sterling Silver Flatware, the pattern designed in 1939 by James Russell Price (1907‑1974), Providence, Rhode Island, including eight nine-piece place settings, with twenty-seven additional place pieces and three serving pieces, monogrammed “P”, 93.73 total t. oz. (weighable silver). Detailed list available on request [1000/1500] Illustrated

554

552

555 Porter Blanchard “Fiddle” Sterling Silver Platter Spoon, second quarter 20th century, by Richard Bogardus Blanchard (1893‑1976), Burbank, California, no monograms, l. 12‑1/2”, 3.87 t. oz. [200/400]

553 Gorham Sterling Silver “Standish” Fruit Bowl, 1928, Providence, Rhode Island, lobed with wavy rim and molded foot ring, h. 4”, dia. 9”, 20.37 t. oz. [300/500] Illustrated

100

556 Six Pieces of American Modernist and Other Silverplate Hollowware, third quarter 20th century, all of sleek saucer or bowl form, including a Wm. A. Rogers footed center bowl, dia. 11‑1/4”, an F. B. Rogers compote, h. 7‑3/8”, dia. 11”, an Oneida bonbon dish with green enamel interior, dia. 6‑1/8”, and three Revere bowls, one by Gorham, dia. 10‑1/4”, and two small unmarked examples, dia. 6”, two pieces with presentation inscription. [300/500] Illustrated

556

558

557 Three Pieces of Tiffany & Co. Sterling Silver Tableware, second quarter 20th century, New York, New York, including a good Art Deco bowl, h. 2‑1/4”, dia. 5‑1/4”, and a pair of “English King” fruit forks, the latter monogrammed “S”, l. 6”, 10.75 total t. oz. [250/400] Illustrated

557

558 American Modernist Sterling Silver Footed Bowl, designed by Alphonse LaPaglia (1907‑1953) for International Silver, Meriden, Connecticut, hemispherical, with pierced “blossom” foot, h. 3‑1/4”, dia. 5”, 7.91 t. oz. [350/500] Illustrated 559 Good Four-Piece Modernist Silverplate Coffee Set, mid-20th century, by the Wilcox Silver Plate Co., Meriden, Connecticut, in the manner of Gio Ponti (1891‑1979), including a coffeepot, h. 10”, a covered sugar bowl, h. 4‑1/2”, a cream jug, h. 4‑1/2”, and a tray, 20‑1/8” x 9‑1/4”, in a stylish paneled “diamond” form.

[200/400] Illustrated

559

560

560 Set of Three Boxed Peruvian Sterling Silver Cigar Tubes, contemporary, by Ilaria, Lima, of plain cylindrical form, l. 6”, 6.42 total t. oz., each in its original flower-print pasteboard box. [250/400] Illustrated

101

563 Art Deco Patinated Metal Figural Bookends of “La Lecture”, second quarter 20th century, after Max Le Verrier (French, 1891‑1973), each with cast signature at back, each on a black marble plinth, h. 8‑1/2”, w. 5”, d. 3‑1/4”. [700/1000] Illustrated

561

563

561 Mexican Silverplate and Lapis Parrot Pitcher, late 20th century, by A. Fajardo, Taxco, urn form with hammered finish and “parrot” handle, h. 8”, dia. 4‑1/2”. [600/900] Illustrated

562

562 Loet Vanderveen (Dutch, b. 1921), “Roaring Lioness”, patinated bronze, signed and numbered "24/500" at underside, h. 20‑3/4”, w. 24”, d. 7”. [1000/1500] Illustrated

102

564 Art Deco Patinated Metal of “Danseuse aux Cymbales”, second quarter 20th century, after Pierre Le Faguays (French, 1892‑1962), on a green marble plinth, h. 10‑1/4”, w. 6”, d. 4”. [500/800] Illustrated

564

565

565 Art Deco Patinated Metal Figural Lamp in the Form of “Femme Assise”, second quarter 20th century, after Max Le Verrier (French, 1891‑1973), cast signature at back, on a stepped black marble plinth, h, 9‑1/4”, w. 4‑3/4”, d. 4‑3/4”. [500/800] Illustrated 566 Large Brass and Wrought Iron Baker’s Rack, with three ovoid shelves, raised on scroll brackets, the back of ladder form, h. 81‑1/2”, w. 43”, d. 18‑1/2”. [300/500] 567 French Art Deco Gilt-Metal and Marble-Top 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”. [400/700] Illustrated 568 Five-Piece Patinated Metal and Granite 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”. [700/1000] Illustrated

567

568

568

103

569 French Art Deco Metal Mirror, second quarter 20th century, with applied mounts, h. 45‑3/4”, w. 25‑1/2”.

[300/500]

579

571

570 French Art Deco Pierced Metal Hexagonal Six-Light Hall Lantern, second quarter 20th century, with ropetwist corners decorated with applied scrolls, the sides pierced with leaves and scrollwork, h. 40”, dia. 15”.

[400/700] 571 KPM Porcelain Covered Garniture Urn, first quarter 20th century, Berlin, Germany, the urn molded with ribbons on a green-glazed ground, hand-painted with flowers in a medallion, the domed cover with a bowknot knop, marked with an underglaze blue scepter and the red orb “KPM” mark, h. 10‑3/4”, dia. 7‑1/4”. [400/700] Illustrated

574

572 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”.

[400/700] 573 Pair of Art Deco Brass and Wrought Iron Consoles, second quarter 20th century, each of demi-lune form with a pierced foliate and scroll apron, raised on concave iron straps joined to a demi-lune base, h. 30”, w. 30”, d. 9‑1/2”. [300/500] 574 Art Deco Patinated Bronze of a Woman Flanked

by Musicians, first or second quarter 20th century, each figure with a cast “France” at back, on a marbleveneered composition base, h. 10”, w. 17‑3/4”, d. 5‑1/2”. [400/700] Illustrated 575 Bronze Figure of a Turkish Dancing Girl, in the Belle Epoque style, h. 19”, dia. 4‑3/4”. [200/400] 576 French Belle Epoque Polished Bronze and Verde Antico Marble Encrier, fourth quarter 19th century, decorated with a mother teaching a child, two inkpots flanking the central figures, h. 7‑1/2”, w. 15‑1/2”, d. 9‑3/4”. [200/400]

104

580

579 French Art Deco Iron and Art Glass Five-Light Chandelier, second quarter 20th century, with mottled mauve shades, h. 29‑1/2”, dia. 25”. [350/500] Illustrated 580 French Art Deco Iron and Glass Five-Light Chandelier, second quarter 20th century, with etched and cut shades, the large shade signed “Deveau”, h. 30”, dia. 28”. [700/1000] Illustrated 581 French Art Deco Carved Alabaster Figure, the figure of a smiling boy in a clown suit, holding a lute, h. 15‑1/2”, dia. 4‑3/4”. [400/700] 582 Belle Epoque-Style Gilt-Metal and Pottery Centerpiece, in the form of Poseidon and two dolphins supporting a shell-form pottery bowl decorated with a nymph and putti, h. 14”, w. 12”, d. 5‑1/2”. [500/800] Illustrated

577 French Bronze and Onyx Table Lamp, first quarter 20th century, in the Louis XV style, the ovoid onyx body resting on a molded bronze base, with bronze handles and molded fruit, base, h. 19‑1/2”, overall, h. 33‑1/2”, dia. 7‑3/4”. [300/500] 578 Juan Clara (Spanish, 1875‑1958), a pair of bronzes, including “Young Girl on a Stool”, cast signature at edge of self-base, marked “Goldscheider” at edge, on a black marble plinth, h. 5‑3/4”, w. 3‑3/4”, d. 3‑3/4”, and “Boy on Overturned Chair”, marked “Bronze/AG/ Paris”, h. 5‑1/2”, w. 2‑1/2”, d. 5”. [600/900]

582

583 French Patinated Bronze Vide Poche, ca. 1900, depicting cherubs frolicking in the waves, after Clodion (Claude Michel, French, 1738‑1814), cast signature en verso, dia. 12‑7/8”. [200/400] 584 Art Nouveau-Style Cast and Enameled Bronze Tray, after Alphonse Mucha (Czechoslovakian, 1860‑1939), depicting a woman in profile framed by swirling irises, an incised mark on the back, “A. Mucha”, dia. 12‑1/2”.

[400/700] 585 Art Nouveau-Style Pairpoint Patinated Metal Lamp Base, first quarter 20th century, set with a Tiffin “puffy” glass shade of later origin, a Pairpoint label in the interior, h. 15”, dia. 9”. [700/1000] 586 Belle Epoque Patinated Metal, Pottery and Art Glass Compote, fourth quarter 19th century, the standard depicting Psyche on a pottery spherule, supporting the iridescent art glass ruffled bowl, which is probably Loetz, h. 19‑1/2”, dia. 9”. [200/400] 587 Pair of French Patinated Metal Figures, now mounted as lamps, the figures depicting a gardener and his female companion gathering grapes, on faux-marbre painted bases, base, h. 17‑1/4”, overall, h. 29”, dia. 6”.

[250/400]

105

588

591

592 588 French Belle Epoque Patinated Bronze Clock, fourth quarter 19th century, depicting “Progres” riding atop the ship “Esperance”, h. 24”, w. 21”, d. 8‑1/2”.

[400/700] Illustrated 589 Unusual Belgian Three-Piece Pottery Garniture, ca. 1900, in the Jugendstil style, consisting of a large central baluster-form vase, h. 15‑1/2”, dia. 7”, and a pair of long-necked vases, h. 15”, dia. 7”, decorated with mauve flowers and mustard leaves, with a raised edge, each with printed marks and numbers, marked

by Faiencerie Onnaing. [500/800] Illustrated

589

590 Royal Dux Porcelain Art Nouveau Centerpiece, ca. 1900, in the form of two water nymphs with water lily leaves and blossoms, marked with a pink biscuit “E” triangle mark, h. 13‑1/4”, w. 16”, d. 7‑1/2”. [300/500] 591 Impressive Royal Dux Art Nouveau Centerpiece, ca. 1900, decorated with water nymphs, lily pads, a fish net and a figure of Poseidon, inscribed “Doebrich”, and marked with the firm’s “E” bisque triangle mark, h. 21‑1/4”, w. 20”, d. 14”. [400/700] Illustrated

106

594 Contemporary Gilt-Metal and Glass Hanging ThreeLight Fixture, the pyramid-form shade set with scrolling metal grillwork and glass, concealing the light sockets, h. 24”, w. 24”, d. 24”. [200/400] Illustrated

593

595

595 Contemporary Glass and Wrought Iron Coffee Table, the serpentine glass top on a conforming base in a faux bronze finish, h. 19‑1/4”, w. 42”, d. 30”. [400/700] Illustrated 592 Three Royal Dux Porcelain Figures in the Classical Style, ca. 1900, including a female bathing beauty vase, h. 16‑1/4”, a female bust, h. 8‑3/4”, and a cardholder in the form of a male holding a basket, h. 16”, all with the pink bisque “E” mark. [200/400] Illustrated

596 Group of Eleven Assorted Pillows, upholstered in silk and velvet, the largest, h. 19”, w. 19”. [200/400] Illustrated

596

594

597 Group of Seven Black, Green and Blue Pillows, covered in silk and velvet, the largest, h. 19”, w. 19”.

[200/400] 598 Wool-Lined Fur Throw, 60” x 72”. [200/400] 593 Pair of Segmented Bone and Gilt-Metal Table Lamps, base, h. 22‑1/2”, overall, h. 36”. [200/400] Illustrated

599 Contemporary Sofa of Tripartite Form, with a loose seat and back cushions, upholstered in gold crushed velvet and a fringe apron, together with three complementary pillows, h. 35”, w. 79”, d. 35‑1/2”.

[400/700]

107

600 Contemporary Trefoil-Form Hassock, upholstered in sculpted velvet, h. 41”, dia. 18”. [200/400]

604

601 Turkish Revival-Style Overstuffed Armchair, on turned legs, upholstered in gold and beige brocade, h. 33‑1/4”. [300/500]

602

605

602 Pair of Metal and Brass Calla Lily-Form Candlesticks, h. 17”, w. 6‑1/2”, d. 9‑1/4”. [250/400] Illustrated

603

603 Impressive Contemporary Bronze and Glass Coffee Table, bears a monogram "O N 86", the base molded in the form of gnarled vines, h. 19”, w. 46‑1/4”, d. 22”.

[800/1200] Illustrated

108

604 Pair of Gold-Leafed Blesbok Skulls, each retaining their natural horns, h. 23”, w. 8‑1/2”. [250/400] Illustrated 605 Hollywood Regency Queen Anne-Style Mirror, with a segmented and beveled surround, h. 60‑1/2”, w. 26‑3/4”. [400/700] Illustrated 606 Art Deco-Style Mirrored Server, trimmed in metal, h. 38”, w. 70”, d. 20”. [300/500] Illustrated

609 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] 610 Lalique “Lionne Simba” Molded and Frosted Crystal Lion, 20th century, French, with an engraved mark, h. 5‑1/2”, w. 10”, d. 4”. [400/700] Illustrated

610

606

607 Signed Steuben Crystal Figure of an Eagle, 20th century, Corning, New York, h. 5”, w. 4‑1/4”, in the original marked presentation case. [200/400] Illustrated

611 Pair of Enameled Milk Glass Decanters, mid-20th century, probably Bohemian, the conical bottles decorated with borders of hand-painted roses, h. 9‑1/2”, dia. 5‑1/2”. [200/400]

613

607

612 Colonial Revival Blown Glass Hurricane Shade, mid20th century, with a folded foot rim, h. 17”, dia. 6‑1/4”.

[200/400] 613 Scarlet Damask Club Sofa, second quarter 20th century, with a serpentine back, h. 34”, w. 90”, d. 34‑1/2”. [600/900] Illustrated 608 Two Signed Steuben Crystal Animals, including a mouse, h. 2‑1/4”, w. 3‑3/4”, and a baby chick, h. 3‑3/4”, w. 3‑1/4”. [300/500]

109

614 Nicaraguan Multicolor Pottery Vase, by Enmanuel Maldonado (b. 1977), San Juan de Oriente, of slightly flattened spherical form and decorated with incised geometric patterns in black, red, speckled tan and speckled blue, signed sgraffito on the underside, h. 8”, dia, 8‑1/2”. [300/500] Illustrated

614

617 Pair of Monumental Contemporary Gold and Rouge Mottled Glass Mosaic Flower-Form Trumpet Vases, h. 42‑3/4”, dia. 24‑3/4”. [200/400] 618 Contemporary Brushed Metal and Marble-Top Console Table, the long Rouge Royale marble top with a molded edge and raised on three S-scroll metal supports, h. 36”, w. 80”, d. 20‑1/2”. [400/700] Illustrated

618

615 Contemporary Mosaic Glass Charger, third quarter 20th century, decorated to resemble brickwork, presented on a metal stand, dia. 19‑1/4”. [200/400] Illustrated

619 Pair of Black Metal Torcheres, decorated with scrollwork and leaves, h. 60‑1/2”, dia. 12”. [200/400] Illustrated

616 Contemporary Metal Wall Sculpture, h. 45”, w. 55”, d. 5”. [300/500]

615

110

619

620

620 Contemporary Marble Pedestal-Form Table, 20th century, with a rectangular top mounted to a square base, h. 29‑1/2”, w. 36”, l. 71”. [500/800] Illustrated 621 Contemporary Tufted Hassock, covered in leopard chenille-woven fabric and trimmed with fringe and tassels, h. 16”, dia. 23‑1/2”. [300/500]

625

622 Michael Mode Inlaid Mughal-Form Jar, ca. 1998, Vermont, composed of inlaid purpleheart wood, titled “Heart of Twelve” and accompanied by the original invoice, signed “Michael Mode 98‑12” on the bottom, h. 14‑3/4”, dia. 9‑1/4”. [500/800] Illustrated 623 Unusual Pair of Turned and Veneered Wall Brackets, decorated with alternating “stripes” of kingwood and fruitwood, h. 12‑1/2”, w. 25‑1/2”, d. 11”. [300/500] Illustrated 624 Pair of Art Deco-Style Parcel-Gilt and Leather-Top Pedestal Tables, each bearing the label of John Taws, h. 30”, dia. 30”. [1200/1800] Illustrated

623

625 Overstuffed Club-Style Sofa, upholstered in gold brocade and trimmed with fringe, h. 32”, w. 84”, d. 37”. [200/400] Illustrated

622

624

111

626

626 Pair of American Sabre-Leg Boudoir Chairs, second quarter 20th century, covered in tufted brocade and trimmed in fringe, h. 34”, w. 25”, d. 26”. [200/400] Illustrated 627 Group of Eight Pillows, in various shades of chocolate brown, turquoise and tan, covered in silk, velvet and silk crewel, the largest, h. 21‑1/2”, w. 21‑1/2”.

[200/400] 628 Group of Nine Blue, Tan and Mauve Pillows, covered in silk and velvet, the largest, h. 18, w. 19”. [200/400]

629

629 Contemporary Neoclassically-Inspired Sofa, with a camel-type back, scrolled arms, fluted apron and turned legs, h. 38‑1/2”, w. 82‑1/2”, d. 36”. [300/500] Illustrated 630 Pair of Art Deco-Style Upholstered Club Chairs, each with loose seat and back cushions, closed arms and skirted aprons, in green and beige striped upholstery, each together with a complementary loose pillow, h. 32”. [400/700]

631

631 Wrought Iron and Glass Low Table, the square glass top with canted corners, on a conforming gilt-painted base with scroll legs and stretchers, h. 16”, w. 39”, d. 39”. [300/500] Illustrated 632 Gilt-Metal Scrolled Garden Table, with a beveled glass top, h. 29‑1/2”, dia. 32‑3/4”. [400/700] 633 Contemporary Wrought Iron, Parcel-Gilt and Ebony Glass Occasional Table, the circular top over a conforming base with cabriole legs joined by X-form stretchers, h. 19”, dia. 31‑1/4”. [200/400]

642

634 Iridescent Yellow and Orange Glass TrumpetForm Footed Vase, 20th century, probably Murano, h. 24‑1/2”, dia. 14‑1/2”. [300/500] 635 French Art Glass Vase in the Style of Andre Delatte, 20th century, mottled with aubergine, pink and yellow glass, and decorated with flourishes of interior silver leaf, h. 11”, dia. 11‑1/4”. [400/700]

112

636 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”. [250/400]

637

641 Post-Modern Mirror, the wide frame covered in green pigskin and metal nailheads in a Flanders weave pattern, and set with a beveled mirror plate, h. 36‑3/4”, w. 35‑3/4”. [200/400] 642 Contemporary Upholstered Sofa, the seat fitted with loose cushions, a low arm and turned legs, upholstered in deep blue with brown cord, h. 33‑1/2”, w. 56‑1/2”, d. 40”. [400/700] Illustrated 643 Pair of Mid-Century Raku-Glazed Studio Pottery Jardinieres, h. 11‑1/2”, w. 17‑1/4”. [200/400] Illustrated

645

637 Italian Art Glass Ovoid Vase, third quarter 20th century, on a lucite base, h. 8”, w. 14‑3/4”, d. 6”.

[200/400] Illustrated

643

638 Group of Seven Tan, Orange and Cerise Pillows, covered in silk and velvet, the largest, h. 18”, w. 18”.

[200/400]

644 Two French Quartz, Crystal and Bronze Bird Sculptures, ca. 1900 and later, including a duck sculpture composed of a rock crystal body with a rose quartz head and contrasting stone details, h. 3‑3/4”, w. 6‑1/2”, and a sculpture composed of a quartz “rock” holding an agate bird perched on a gilt-bronze branch, h. 6”, w. 3‑1/4”. [300/500]

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

645 Contemporary Pottery Bowl, molded with wheat decoration, the interior with a blue glaze, signed “Timothy Mooke. 183”, on a burl wood stand, bowl, h. 12‑1/4”, w. 21”, d. 17”. [200/400] Illustrated

640 Contemporary Upholstered Recamier, upholstered in rose striped brocade, h. 32”, w. 41”, l. 67‑1/2”.

[500/800]

646 Suite of Four Contemporary Overstuffed Sidechairs, each of generous proportions and armless form, upholstered in gold and beige plush, h. 37”. [300/500]

113

647 Three American Contemporary Craft Wooden Bowls, including a turned, thin curly maple bowl, made and signed by Alan Hollar, Newland, North Carolina, ca. 2000, h. 7‑1/2”, w. 16”, d. 13”, a flat, heavy bowl made and signed by H. T. Alford, Rome, Georgia, ca. 2005, h. 5”, w. 16”, d. 15”, and a small bowl made and signed by Michael Smith, Hawaii, ca. 2002, h. 7”, dia. 10‑1/2”. [200/400] Illustrated

650 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”. [300/500]

652

647

648 Contemporary Mirror-Mounted Ebonized Bed, the headboard with a row of three circular mirrors set in a band of mirrors, together with a queen-size metal frame, h. 66‑1/4”, outside, w. 67”, l. 83”. [300/500]

649

651 Large Silver Gilt Segmented Mirror, set with smoked glass panels, h. 54”, w. 68”. [300/500] 652 Pair of English Art Deco Club Chairs, second quarter 20th century, upholstered in mauve wool and mohair velvet, h. 30‑1/2”. [500/800] Illustrated

655

653 Limited Edition Cased Volume of the Work of F.R.D. Hundertwasser (Austrian/New Zealand, 1928‑2000),

by Wieland Schmied, Salzburg, 1974, h. 11‑1/4”, w. 12‑1/4”. [500/800] 654 Group of Seven Decorative Pillows, including cowhide, tapestry and brocade examples, the largest, h. 18‑1/2”, w. 18‑1/2”. [200/400] 649 Contemporary Cube-Form Mirrored Side Table, trimmed in brass and black metal, h. 19‑1/2”, w. 16”, d. 16”. [200/400] Illustrated

114

655 Four-Piece Lot of Japanese Satsuma Ware, 19th/20th century, including two bucket-form vessels and two miniature vases, each with a carved wooden stand, the tallest, h. 7‑3/4”, without stands. [200/400] Illustrated

656 Japanese Satsuma Ware Vase, late 19th/early 20th century, now mounted as a lamp, a maker’s inscription on the side of each handle, the panels depicting beautiful ladies and their young attendants, h. 36”, dia. 9”.

[300/500] Illustrated

656

659 Japanese Lacquer Box, Meiji period (1868‑1912), in the form of a swimming fish, with a maki-e interior and underside, unmarked, h. 2”, w. 3‑1/2”, l. 7‑1/2”.

[400/700] Illustrated

659

657 Kawase Hasui (Japanese, 1883‑1957), “Zojoji Temple in Shiba” from the series “Twenty Views of Tokyo”, 1925, published by Watanabe Shozaburo, 14” x 9‑1/4”.

Glazed, matted and framed. [400/700] Illustrated 658 Group of Three Japanese Woodblock Prints, including Utagawa Kuriyoshi (1797‑1861), “Ichikawa Danjuro as Seki Sekibei in the play Tsumoru Koi Yukino Seki No To”, 1853, Utagawa Kunisada (1786‑1865), “New Year Party”, 1855, and “A Beauty from the Story of Yoshitsune”, 1842, each 14” x 9‑1/2”. Glazed, matted and framed. [400/700]

660 Japanese Lacquer Bowl, late 19th/early 20th century, in red and black with gilt decoration, a floral scroll motif on the inner rim, a crane motif in the center, and a maki-e underside with a gilt manufacturer’s mark, h. 3‑3/8”, dia. 6‑1/4”. [300/500] Illustrated

660

657

115

661 Japanese Satsuma Lidded Urn, Meiji period (1868‑1912), the large gilded Satsuma vase with two handles modeled as rings and knotted ropes, a foo dog and ball finial on the lid, unmarked, h. 26‑1/2”, w. 13‑1/4”. [300/500] Illustrated

661

662 Japanese Satsuma Ware Vase, 19th century, the hexagonal vase with a round foot and neck, heavily gilded with a multitude of figures, a six-character maker’s mark on the underside, h. 15‑1/4”, w. 8”.

[300/500] Illustrated 663 Suite of Seven Japanese Woodblock Prints, including Utagawa Kunisada (1786‑1865), two prints from “Modern Genji” series, 1852‑54, No. 8 from the series “An Excellent Selection of Thirty-Six Noted Courtesans”, 1861, Utagawa Hiroshige (1797‑1858), “Kinryusan Temple at Asakusa” from the series “One Hundred Famous Views of Edo”, 1856, Ohara Koson (1878‑1945), “Snow at Yanagibashi”, 1927, Chobunsai Eishi (1756‑1829), from the series “Six Flowery Immortals of the Pleasure Garden”, 1790’s, Katsukawa Shunsho (1726‑1793), “Two Actors”, late 18th century, images sight from 10‑3/4” x 8‑1/4” to 14‑1/2” x 22‑1/2”. Glazed, matted and framed. [400/700]

665

662

664 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”.

[300/500] 665 Two Pairs of Japanese Mother-of-Pearl and Bone Figures of Aquatic Birds, 19th/20th century, h. 2” to 4‑1/8”, w. 2‑7/8” to 4”. [300/500] Illustrated 666 Japanese Inlaid Wooden Inro, 19th century, the threepart carved wood case for holding small objects with inlaid decoration of a two-headed dragon roundel on the front and brushes on the back and underside, with a silk rope, h. 4”, w. 3”, d. 1‑3/4”. [300/500]

116

667 Japanese Mixed Metal Cigarette Case, first quarter 20th century, the cover decorated with a rickshaw going over a bridge in a lush landscape, with copper flourishes, the back decorated with a dragon, both sides with “cracked ice” borders, w. 4‑1/4”, d. 3‑1/4”.

[300/500] 668 Japanese Imari Plate, with a central reserve depicting a mountain landscape, a six-character apocryphal Ming Chenghua reign mark in underglaze blue, w. 9”, l. 9”.

[300/500]

670 Japanese Kakiemon Plate, 19th century, the cloudform porcelain dish depicting a sage with a basket on his back and a parcel in his hand, unmarked, h. 1‑1/4”, w. 4‑3/4”, l. 11”. [350/500] Illustrated 671 Japanese Bronze Vase, first quarter 20th century, decorated with dragon head handles, now mounted as a lamp, base, h. 12”, overall, h. 17‑1/4”, dia. 6‑1/4”.

[200/400] Illustrated

671

672

669

672 Japanese Large-Scale Mixed Metal Vase, first quarter 20th century, the bronze base decorated with a flock of silver and copper cranes flying into the silver sun over engraved waves with silver spray, h. 24‑1/2”, dia. 10‑1/4”. [200/400] Illustrated 669 Large Japanese Imari Fishbowl/Jardiniere, 19th/20th century, the large basin in a blue and red palette with heavy gilding and reserves depicting landscapes and arrangements of birds and flowers, fish and aquatic plants adorn the inside of the vessel, the underside with a two-character mark in a red cartouche, h. 18”, dia. 21”. [300/500] Illustrated

673

670 673 Japanese Inlaid Panel Mounted as a Coffee Table, the late 19th-/early 20th-century panel from a multi-panel screen depicting birds flying among maple branches, now mounted as a coffee table, the ebonized wood with a glass top, one side bearing a pierced and carved arrangement of birds and prunus limbs, the other a group of chrysanthemums, 20th century, h. 17”, w. 31”, l. 46”. [300/500] Illustrated 117

674 Anglo-Japonesque Bamboo Occasional Table, with a parquetry top and a lacquered shelf, h. 28‑1/2”, w. 23”, d. 23”. [200/400]

675

675 Japanese Cloisonne Vessel, 20th century, the lidded shouldered jar with a removable pewter lining, the sides adorned with textile motifs in bright colors on a black ground, the underside fully enameled with a floral roundel, h. 3‑1/8”, dia. 3‑1/4”. [300/500] Illustrated

676

676 Pair of Japanese Cloisonne Vases, late 19th/early 20th century, the reserves depicting mythical creatures, a floral scroll motif on a black ground surrounding the reserves, h. 9‑1/2”, w. 5‑1/2”. [300/500] Illustrated

678

677 Japanese Cloisonne Box, early 20th century, decorated with pink peonies, and a dark blue interior, unmarked, h. 1‑1/2”, w. 3”, d. 3‑1/2”. [300/500] 678 Pair of Japanese Cloisonne Vases in the Style of Namikawa Sosuke (1847‑1910), Meiji period (1868‑1912), the two wireless cloisonne vases with long necks and round bodies, each depicting a scene of mallards along snowy riverbanks against pale blue grounds, the neck and foot rims mounted with silver and shakudo, unsigned, h. 11‑3/4”, w. 6‑1/2”.

[2000/4000] Illustrated 679 Japanese Wedding Kimono, 20th century, the Shiromuku with an embroidered crane and wave motif, in heavy white silk with a silver silk lining, h. 73”, w. 50”, sleeve to sleeve. [300/500] 680 Semi-Antique Hamadan Carpet, 4’ x 6’ 9”. [300/500] Illustrated 681 Semi-Antique Hamadan Runner, 3’ 5” x 10’ 1”.

[200/400]

118

680

682

682 Semi-Antique Shiraz Runner, 4’ 3” x 8’ 10”. [300/500] Illustrated 683 Shiraz Runner, 3’ 5” x 9’ 10”. [200/400] 684 Oushak Carpet, 6’ 7” x 9’ 8”. [400/700] Illustrated 685 Semi-Antique Karaja Runner, 2’ 6” x 12’ 8”. [400/700]

684 119

686 Turkish Angora Oushak Carpet, 8’ 4” x 10’ 7”.

[1000/1500] Illustrated 687 Semi-Antique Bakhtiari Carpet, 4’ 7” x 7’ 2”.

[400/700] Illustrated 688 Semi-Antique Bidjar Carpet, 2’ 5” x 4’ 3”. [200/400] 689 Semi-Antique Turkoman Carpet, 4’ 2” x 5’. [300/500] Illustrated 690 Semi-Antique Sarouk Carpet, 4’ 2” x 6’ 11”. [300/500] 691 Antique Sarouk Carpet, 11’ x 17’. [1500/2500] Illustrated

689

687 120

686

691

121

Session II Sunday, April 26, 2015 10:00 a.m. CDT Lots 692 - 1223 692 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.

[700/1000] Illustrated

696 2 of 5 695 Contemporary Decorative Painting, of “Madonna and Child”, signed lower right “Ortiz”, 30” x 24”.

Presented in a composition frame. [200/400] 696 Collection of Five Florentine Gilt Plaques, decorated with Renaissance-style angels, h. 11‑1/2”, w. 6‑1/4”.

[200/400] Illustrated 697 Louis-Philippe Giltwood Prie-Dieu, mid-19th century, with a pierced back, h. 35”, w. 17”, d. 18”. [200/400] Illustrated

697

692 693 Continental School (Second Quarter 20th Century), “Madonna and Child”, oil on canvas, illegibly signed lower right, 35” x 23”. Framed. [300/500] 694 Contemporary Decorative Painting, of “Madonna and Child”, signed lower right “Ortiz”, 24” x 20”.

Presented in a composition frame. [200/400]

122

698 Two Similar Continental Gilt-Bronze Altar Crosses, second quarter 20th century, h. 22”, w. 9‑1/2” to 10‑1/2”. [200/400] Illustrated

701

698

699 Pair of Italian Silvered Copper Pricket-Form Altar Sticks, second quarter 19th century, h. 29”, dia. 8”.

[300/500] Illustrated 700 Pair of Italian Silvered Bronze Altar Sticks, third quarter 19th century, now mounted as lamps, base, h. 22”, overall, h. 39‑1/2”, dia. 5‑1/2”. [200/400]

702 699

701 Pair of Pierced Brass Dome-Based Seven-Light Candelabra, first quarter 20th century, in the Eastern European style, h. 21‑1/2”, w. 22‑3/4”. [200/400] Illustrated 702 German Well-Painted Porcelain Roundel-Form Plaque, ca. 1900, depicting a monk reading a newspaper, impressed “PP” on the back, dia. 5‑3/4”.

[200/400] Illustrated

123

703 Pair of French Carved Wooden Monks with Bone Faces and Details, ca. 1900, made to commemorate feast days, the “sad” monk carrying a cross, inscribed “14 Octobre” on the front of the base, the “happy” monk inscribed “16 Mai”, each signed “Cornuche” on the back, mounted on later marble bases, h. 9”, dia. 4‑1/4”.

[900/1200]

704

706 Fourteen-Karat Yellow Gold and Graduated Diamond Necklace, composed of 101 round brilliant-cut diamonds, color, faint yellow to very light yellow, clarity I1‑I2, with an approximate total weight of 15.71 carats, l. 17”, 23.8 grams total weight. [10000/15000] Illustrated 707 Fourteen-Karat Yellow Gold and Diamond Tennis Bracelet, composed of thirty-nine round brilliant-cut diamonds, with an approximate total weight of 7.41 carats, color I-L and clarity I1‑I2, l. 7”, 11.4 grams total weight. [4500/7000] Illustrated

707

704 Fourteen-Karat Yellow Gold and Diamond Bracelet, the straight line bracelet set with twenty round brilliantcut diamonds, with an approximate total weight of 2.00 carats, l. 7‑1/4”, 12.2 grams total weight. [450/700] Illustrated

705

708 Fourteen-Karat Yellow Gold and Diamond Ear Clips, each ear clip set with a mix of twenty-one channel-set diamond baguettes and tapered baguettes, with an approximate total weight of 1.00 carat for the pair, l. 3/4”, 5.1 grams total weight. [400/700] Illustrated

708

705 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, the six-prong mounting set with a round European-cut diamond, with an approximate weight of 0.95 carats, size 6, 3.2 grams total weight. [500/800] Illustrated

124

706

709 Fourteen-Karat White Gold, Emerald and Diamond Ring, set with a treated emerald-cut emerald, with an approximate weight of 0.98 carats, and twenty-eight round brilliant-cut diamonds, with an approximate total weight of 0.39 carats, color G-I and clarity I1‑I2, size 7‑1/2, 3.7 grams total weight. [1000/1500] 710 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, composed of a central step-cut treated emerald, with an approximate weight of 0.81 carats, surrounded by ninety-two round brilliant-cut diamonds, with an approximate total weight of 0.46 carats, color G-H and clarity I1‑I2, size 7‑1/2, 3.4 grams total weight.

[900/1200] Illustrated

711

710

711 Fourteen-Karat Yellow Gold, Diamond, Emerald and Ruby “Pisces” Brooch, set with approximately fiftyeight single-cut diamonds, with an approximate total weight of 0.33 carats, twenty-two round faceted rubies and twenty-two round faceted emeralds, w. 1‑3/4”, 6.9 grams total weight. [200/400] Illustrated

125

712 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, set with a central cushion-cut treated ruby, with an approximate weight of 3.69 carats, surrounded by fiftysix round brilliant-cut diamonds, with an approximate total weight of 0.57 carats, size 7‑3/4, 4.7 grams total weight. [900/1200] Illustrated

714

712

714 Fourteen-Karat Yellow Gold and Ruby Brooch, in a wreath design, and set with sixteen round faceted rubies, with an approximate total weight of 1.25 carats, dia. 1‑3/4”, 11.8 grams total weight. [250/400] Illustrated

716 713 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, set with a central oval-cut treated ruby, with an approximate weight of 4.40 carats, surrounded by twenty-four round-cut rubies, with an approximate total weight of 2.35 carats, and sixteen round brilliantcut diamonds, with an approximate total weight of 0.64 carats, color I-K and clarity SI3‑I2, size 7‑3/4, 7.1 grams total weight. [1000/1500] Illustrated

713

715 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, set with a central rectangular step-cut treated ruby, with an approximate weight of 5.60 carats, and fifty-six round brilliant-cut diamonds, with an approximate total weight of 0.92 carats, color H-J and clarity I1‑I2, size 7‑3/4, 4.9 grams total weight. [1000/1500]

126

717

718

719

716 Pair of Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, each set with two treated pear-cut rubies, with an approximate total weight of 3.29 carats for the pair, and 162 round brilliant-cut diamonds, with an approximate total weight of 1.68 carats for the pair, l. 2‑1/4”, 8.0 grams total weight. [1400/1800] Illustrated

720

717 Fourteen-Karat White Gold and Rock Crystal Necklace, composed of irregular-shaped and faceted rock crystal beads, and finished with a fourteen-karat white gold clasp, l. 18”. [200/400] Illustrated

718 Eighteen-Karat White Gold and Diamond Ring, set with a central princess-cut diamond, with an approximate weight of 1.02 carats, color J and clarity I1, twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.52 carats, color G-I and clarity SI1‑SI2, and twelve channel-set baguette-cut diamonds, with an approximate total weight of 0.90 carats, color G-I and clarity SI1‑SI2, size 7‑1/2, 13.6 grams total weight.

[6000/9000] Illustrated 719 Eighteen-Karat White Gold, Pink Sapphire and Diamond Ring, set with a central cushion modified brilliant-cut treated pink sapphire, with a weight of 2.05 carats, GIA certification #6177021980, and twenty-four round brilliant-cut diamonds, with an approximate weight of 0.51 carats, color G-I and clarity SI1‑SI2, size 7‑1/2, 3.4 grams total weight. [2500/4000] Illustrated 720 Fourteen-Karat White Gold and Diamond Ring, set with a central round brilliant-cut diamond, with an approximate total weight of 0.41 carats, color G and clarity SI3, and fifty-six prong- and channel-set round brilliant-cut and baguette-cut diamonds, with an approximate weight of 0.42 carats, color G-I and clarity SI1‑I1, size 7‑3/4, 2.9 grams total weight. [1800/2500] Illustrated

127

721 Fourteen-Karat White Gold, Natural Sapphire and Diamond Ring, set with a central oval modified brilliant-cut natural sapphire, with a weight of 1.31 carats, GIA certification #6177021639, and 178 round brilliant-cut diamonds, with an approximate total weight of 1.31 carats, color H-J and clarity I1‑I2, size 8‑1/2, 5.2 grams total weight. [2500/4000] Illustrated

721

724 Fourteen-Karat White Gold and Diamond Ring and Eighteen-Karat White Gold and Diamond Ring, the fourteen-karat white gold ring mounted with a marquise-cut diamond, with an approximate weight of 0.33 carats, and thirty-one baguette and tapered baguette diamonds, with an approximate total weight of 0.42 carats, size 7‑1/2, and the eighteen-karat white gold ring mounted with a central round brilliantcut diamond, with an approximate weight of 0.20 carats, and four round brilliant-cut diamonds, with an approximate total weight of 0.05 carats, size 6‑1/4, 7.9 grams total weight for both rings. [400/700]

725

722 Fourteen-Karat White Gold and Diamond Ring, set with a central square brilliant-cut diamond, with an approximate weight of 0.48 carats, color G and clarity I1, and seventy-four round brilliant-cut diamonds, with an approximate total weight of 0.39 carats, color G-I and clarity SI2‑I1, size 7‑3/4, 4.4 grams total weight.

[1400/1800]

723

725 Fourteen-Karat White Gold, Sapphire and Diamond Ring, set with a central oval-cut treated sapphire, with an approximate weight of 2.25 carats, twenty-four round mixed-cut sapphires, with an approximate total weight of 1.06 carats, and twenty-eight round brilliantcut diamonds, with an approximate total weight of 0.89 carats, color G-I and clarity I1‑I2, size 7, 8.9 grams total weight. [1200/1800] Illustrated 723 Eighteen-Karat White Gold, Natural Color Change Sapphire and Diamond Ring, set with a central natural sapphire, with a color change from greenish-blue to purple, with a weight of 2.01 carats, GIA certification #1176022138, and sixty-four round brilliant- and baguette-cut diamonds, with an approximate total weight of 0.75 carats, color H-J and clarity VS2‑SI2, size 7‑1/2, 4.6 grams total weight. [2500/4000] Illustrated

128

726 Fourteen-Karat White Gold, Sapphire and Diamond Earrings, composed with two oval cabochon-cut dyed treated sapphires, with an approximate total weight of 11.53 carats for the pair, and fifty-eight round brilliantcut diamonds, with an approximate total weight of 1.27 carats for the pair, l. 1‑3/8”, 9.9 grams total weight.

[1400/1800] Illustrated

728

727

726

727 Fourteen-Karat White Gold and Blue and White Diamond Ring, set with a central round brilliant-cut treated fancy very slightly greenish-blue diamond, with an approximate weight of 1.13 carats, clarity I1, and seventy-two round brilliant-cut diamonds, with an approximate total weight of 0.63 carats, color H-I and clarity SI2‑I2, size 7‑3/4, 3.4 grams total weight.

[1500/2500] Illustrated

729

728 Fourteen-Karat Yellow Gold and Sliced Banded Agate Necklace, composed of eight sliced banded agate pendants hanging from a fourteen-karat yellow gold chain, l. 16‑1/2”, pendant, l. 1‑1/2”. [200/400] Illustrated 729 Fourteen-Karat Yellow Gold, Aquamarine and Diamond Ring, set with a central rectangular stepcut aquamarine, with an approximate weight of 9.23 carats, and thirty-four round brilliant-cut diamonds, with an approximate total weight of 1.13 carats, color H-J and clarity SI1‑I1, size 7‑1/2, 7.0 grams total weight. [1500/2500] Illustrated

129

730

730 Fourteen-Karat Yellow Gold, Aquamarine and Diamond Pendant with Chain, the pendant set with an oval-cut aquamarine, with an approximate weight of 14.76 carats, and 230 round brilliant-cut diamonds, with an approximate total weight of 4.47 carats, chain, l. 17”, pendant with bail, l. 2‑5/8”, 25.9 grams total weight. [4500/7000] Illustrated 731 Fourteen-Karat Yellow Gold and Aqua Jasper Slab Necklace, composed of large jasper slabs separated by gold roundels and finished with a fourteen-karat yellow gold clasp, l. 18”. [200/400] Illustrated

732

732 Fourteen-Karat White Gold and Turquoise Bracelet, the flexible link bracelet set with five oval turquoise cabochons, measuring approximately 15.3 mm x 11.6 mm, l. 7”, 21.6 grams total weight. [450/700] Illustrated

731

733

733 Sterling Silver and Turquoise Tiffany and Company, Paloma Picasso “Fireworks” Earrings and Brooch, each ear clip set with a 5.9 mm x 7.9 mm oval turquoise cabochon, l. 1‑1/8”, and the brooch set with a 12.8 mm x 15.7 mm oval turquoise cabochon, l. 1‑7/8”, all pieces marked “1995 Tiffany & Co., 925, Fireworks”. [450/700] Illustrated

130

734 Fourteen-Karat Yellow Gold and Impression Jasper Necklace, composed of graduated sticks of impression jasper and finished with a fourteen-karat yellow gold clasp, l. 16”. [200/400] Illustrated 734

735 Eighteen-Karat Yellow Gold and Coral Pendant with a Fourteen-Karat Gold Chain, the pendant bezel-set with a 12.0 mm x 16.0 mm red coral cabochon, together with a fourteen-karat yellow gold rope chain, l. 30”, 14.8 grams total weight. [200/400] Illustrated

736

735

736 Fourteen-Karat Yellow Gold, Diamond and MultiColored Jade Ear Clips and Pendant, each ear clip set with five round brilliant-cut diamonds and six pearshaped jade cabochons, l. 1”, and the pendant set with seven round brilliant-cut diamonds and six ovalshaped jade cabochons, l. 1‑1/4”, with an approximate total diamond weight of .015 carats for all pieces, 19.6 grams total weight. [200/400] Illustrated 737 Men’s Fourteen-Karat Yellow Gold and Onyx Ring, the textured shank of the ring supporting the bezelset polished onyx stone, size 10‑1/2, 12.9 grams total weight. [200/40] Illustrated

737

131

738 Fourteen-Karat Yellow Gold Victorian Cameo Brooch, set with a finely carved oval cameo of a woman with a flower in her hair, size 2‑1/2” x 1‑1/2”, 15.0 grams total weight. [300/500] Illustrated

740

739 Fourteen-Karat Green Gold Griffin Watch Fob and Chatelaine, the Victorian green gold griffin seal fob engraved with the letter “E”, the fob attached to a matching five-link griffin chatelaine with a watch clasp, l. 7”, 41.4 grams total weight. [1200/1800] Illustrated

738

740 Two Fourteen-Karat Yellow Gold Brooches, including one depicting a Labrador, l. 1‑3/8”, and one depicting a leopard, l. 1‑3/4”, 17.2 grams total weight. [300/500] Illustrated

742 Fourteen-Karat White Gold, Alexandrite and Diamond Ring, set with a central oval-cut natural Alexandrite, with a color change from yellow-green to orangey-brown, with a weight of 1.56 carats, GIA certification #2171028624, surrounded by thirty-eight round brilliant-cut diamonds, with an approximate total weight of 0.62 carats, color G-I and clarity VS2‑SI1, size 8‑1/4, 4.9 grams total weight.

[3000/5000] Illustrated

742

739

741 Three Pieces of Eighteen/Fourteen-Karat Yellow Gold Jewelry, including eighteen-karat white and yellow gold ear clips, stamped “Christofle”, with French hallmarks, h. 5/8”, eighteen-karat yellow gold Italian ear clips designed as swirled buttons, dia. 3/8”, and a fourteen-karat yellow gold “S” link bracelet, l. 7”, 21.0 grams total weight for all pieces. [400/700]

132

743 Graduated Tahitian Pearl Necklace, composed of twenty-nine Tahitian pearls with a good luster, finished with a sterling silver bead clasp, l. 18”. [1000/1500] Illustrated 744 Fourteen-Karat White Gold, Tahitian Pearl and Diamond Ring, set with a 15.0 mm Tahitian pearl with a high luster, surrounded by sixteen half-bezel-set round brilliant-cut diamonds, with an approximate total weight of 0.51 carats, color H-J and clarity I1‑I2, size 7‑1/2, 10.4 grams total weight. [1200/1800] Illustrated

744

743

745 Fourteen-Karat White Gold and Black and White Diamond Ring, set with a treated central round brilliant-cut fancy black diamond, with an approximate weight of 7.07 carats, and forty-two round brilliant-cut diamonds, with an approximate total weight of 1.62 carats, color H-J and clarity I2‑I3, size 7‑1/4, 8.3 grams total weight. [2500/4000]

748

746 Fourteen-Karat White Gold, Tanzanite and Diamond Necklace, set with 141 oval- and round-cut natural tanzanites, with an approximate total weight of 47.11 carats, and twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.77 carats, chain, l. 17”, pendant, l. 1‑1/4”, 41.3 grams total weight.

[4500/7000] 747 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, composed of a central pear-shaped treated tanzanite, with an approximate weight of 6.63 carats, and twenty-three round brilliant-cut diamonds, with an approximate total weight of 0.62 carats, color H-I and clarity SI2‑I1, size 7‑3/4, 4.5 grams total weight.

[2500/4000] Illustrated next page 748 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant set with an oval-cut natural tanzanite, with an approximate weight of 5.16 carats, and 109 prong- and bezel-set round brilliant-cut diamonds surrounding the tanzanite and on the bail, with an approximate total weight of 0.21 carats, color G-I and clarity SI1‑I1, chain, l. 18”, pendant including bail, l. 1‑1/8”, 8.1 grams total weight. [1500/2500] Illustrated

133

749 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central oval-cut tanzanite, with a weight of 8.11 carats, GIA certification #6167950447, surrounded by twenty-four round brilliant-cut diamonds, with an approximate total weight of 1.15 carats, color H-J and clarity I1‑I2, size 8, 6.0 grams total weight. [4500/7000] Illustrated

751 Fourteen-Karat Yellow Gold, Tanzanite and Diamond Pendant with Chain, the pendant set with an oval-cut natural tanzanite, with an approximate weight of 4.53 carats, and eighty-six round brilliant-cut diamonds, with an approximate total weight of 1.57 grams, chain, l. 18”, pendant with bail, l. 1‑1/2”, 8.9 grams total weight. [2500/4000] Illustrated

749 751

750 Fourteen-Karat White Gold, Diamond and Tanzanite Ring, set with a central oval faceted tanzanite, with an approximate weight of 0.75 carats, and fourteen diamond baguettes, with an approximate total weight of 0.33 carats, size 6‑1/2, 3.5 grams total weight.

[400/700]

747

752 Eighteen/Fourteen-Karat Yellow Gold and Amethyst Ear Clips and Brooch, the eighteen-karat yellow gold and sterling silver Christofle ear clips in a teardrop design and set with a pear-shaped faceted amethyst, with an approximate total weight of 2.00 carats for the pair, l. 1/2”, and the fourteen-karat yellow gold brooch set with twenty tapered baguette amethysts, with an approximate total weight of 10.00 carats, dia. 1‑1/4”, 17.0 grams total weight. [200/400] Illustrated

134

754 752

753 Five-Piece Suite of Accessories in the “Chanel” Style, including a goldtone two-tier curb link chain belt with a “Chanel” medallion, l. 39”, fits waist 22” to 30”, with a “Chanel” box, a goldtone double chain necklace with a “Chanel” medallion, l. 34”, with a “Chanel” box, a pair of “Chanel” ear clips, dia. 1”, and two pairs of simulated pearl and goldtone ear clips, dia. 1‑1/4” and 1‑5/8”, with a “Chanel” box. [200/400] Illustrated

755 American Gothic Revival Walnut Hall Tree, third quarter 19th century, the arched mirror plate flanked by narrower mirrors with Gothic tracery, the opencarved crest with carved spires, oak leaves and trefoils, the Tennessee marble top over a frieze with an inset roundel, each end of the frieze fitted with a drawer, raised on turned columns joined to a molded platform base, h. 98‑1/2”, w. 46”, d. 19”. [800/1200] Illustrated

755

753

754 Collection of Eight Vintage Assorted Lizard and Alligator Frame Handbags, 1950’s, the three black models stamped Bellestone, h. 5‑1/2” to 10”.

[500/800] Illustrated

135

756 Pair of American Gothic Revival Rosewood Sidechairs, third quarter 19th century, h. 45‑1/2”. [300/500] Illustrated

757 American Gothic Revival Walnut Sidechair, mid-19th century, with an arched crest adorned with crockets and quatrefoils, raised on tapering octagonal legs, h. 42‑3/4”. [250/400] Illustrated 758 Classical-Style Three-Fold Screen, late 20th century, print on canvas depicting Roman ruins with Corinthian columns, h. 40”, w. 31”. [600/900]

756

759

757

759 Minton Pate-sur-Pate Pottery Vase, fourth quarter 19th century, English, decorated with pate-sur-pate trailing vines and leaves and elephant handles, the base designed to mimic an oriental stand and bolted to the baluster vase, impressed “Mintons” on the bottom of the primary vase, h. 11‑1/4”, dia. 9”. [800/1200] Illustrated 760 Pair of Franco-Bohemian Hand-Painted Baluster Vases, mid-19th century, decorated with hand-painted angels holding cornucopias of roses, in tooled gilt frames on an apple-green ground, h. 13‑3/4”, dia. 6”. [200/400] 761 American Renaissance Revival Gilt-Incised Rosewood Occasional Table, third quarter 19th century, the circular top with an inset beadwork panel under glass, on a tapering column joined to a quadrupedal base, h. 30‑1/4”, dia. 21‑1/2”. [400/700] Illustrated

136

761

762 American Eastlake Walnut and Marble-Top Sideboard, fourth quarter 19th century, inlaid with cranes and bamboo, h. 85”, w. 48”, d. 21”. [300/500] Illustrated 763 Fine American Neo-Grec Incised, Bronze-Mounted and Parquetry-Inlaid Rosewood Sidechair, ca. 1870, with a carved crest over a bronze plaque depicting a classical figure, the crest and seat rail with parquetry banding, raised on trumpet legs, now upholstered in the period style in gold silk brocade, h. 41”. [250/400] Illustrated

763

762

764 French Gilt-Metal and Glass Hanging Banquet Lamp, fourth quarter 19th century, the wick raiser marked “Le Impereur & Bernard”, on a weighted chain, h. 40”, dia. 12‑1/2”. [200/400] 765 Unusual American Portrait Plate in a Porthole Frame, fourth quarter 19th century, the portrait plate printed with a photograph of a baby in a Hunzinger chair, in a period oak and brass porthole frame, h. 16‑1/4”, w. 16‑1/4”. Provenance: Ex-collection Joan Bogart, Rockville Centre, New York; Priscilla St. Germain, Lafayette, Louisiana. [200/400]

137

766 French Giltwood Cove-Molded Mirror, fourth quarter 19th century, decorated with fruit and flowers, h. 54”, w. 32‑1/2”. [300/500] Illustrated

768

766

770

767 Pair of Exceptional French Marble, GiltBronze and Cloisonne Enamel Garniture Urns, third quarter 19th century, in the Aesthetic taste, the marble urns with gilt fittings, including handles terminating in swan’s heads, above marble bases mounted with cloisonne plaques of mauve anthemions on a yellow ground, raised on bronze scroll feet, h. 19‑1/2”, w. 5‑1/2”, d. 5‑1/2”.

[2000/4000] Illustrated 768 Pair of Aesthetic Movement Mother-of-Pearland Brass-Inlaid Mahogany Sidechairs, fourth quarter 19th century, each with a wreathcarved crest centered by inlay, flanked by line and leaf mother-of-pearl and brass inlay, the top and bottom edges of the top rail with mother-of pearl-banding, the tapering front legs reeded, h. 35‑1/2”. [250/400] Illustrated

138

769 American Rococo Revival Giltwood Pier Mirror and Stand, mid-19th century, the stand with a faux-marbre top, h. 103”, w. 33‑1/2”, d. 11‑1/2”. [300/500] Illustrated

767

770 New Orleans Market Rococo Revival Rosewood Bookcase, mid-19th century, attributed to the warerooms of the McCracken firm, of generous scale, the bonnet top with a foliate-carved crest centered by a cabochon, each door with four old glazed panels, the doors on brass hinges, the base with a pair of drawers, the canted corners with foliate carving, h. 125”, w. 75”, d. 19”. [2500/4000] Illustrated 771 Transitional American Late Classical-into-Rococo Revival Mahogany Half-Tester Bed, third quarter 19th century, the serpentine tester supported by tapering octagonal posts, the arched and paneled headboard with applied fruit carving, the arched wrap footboard with a cabochon-carved cartouche, h. 106‑1/2”, inside, w. 59‑1/2”, l. 75‑1/2”, outside, w. 64”, l. 80‑1/2”. [1400/1800] Illustrated 769

771

139

772 Suite of Four Rococo Revival-Style Walnut Dining Chairs, 20th century, each with a balloon back and rose- and grape-carved crest, a serpentine seat and cabriole legs, h. 37”. [250/400]

773

774 Pair of Rococo Revival-Style Mahogany Armchairs, first quarter 20th century, the corseted back with a fruit-and floral-carved crest, open arms and cabriole legs, now upholstered in ivory brocade, h. 49‑1/2”.

[200/400] Illustrated 775 American Rococo Revival Walnut Corner Cabinet/ Etagere, third quarter 19th century, the top with graduated shelves on molded brackets, the base with a marble top and a pair of doors, h. 75”, w. 26”, d. 20”.

[600/900] Illustrated

775

773 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”. [500/800] Illustrated

774

776 American Renaissance Revival Giltwood Mantel Mirror, third quarter 19th century, the open-carved crest centered by a cartouche flanked by foliate scrolls, the oval mirror plate in a beaded frame with scroll-carved brackets at the base, h. 45‑1/2”, w. 55”, d. 7‑1/2”. [300/500] Illustrated

140

777 Continental Bronze of Attis, the Consort of Cybele, first quarter 20th century, after Jean-Baptiste Clesinger (French, 1814‑1883), a “Barbedienne/ Fondeur” inscription and “Reduction Mecanique/A. Collas” mark at edge of base, inscribed “J. Clesinger/ Rome/1860” on figure’s sash, h. 10‑1/2”, w. 4‑1/2”, d. 4”. [300/500]

776

780 Two American Gilt-Bronze Three-Light Girandoles, mid-19th century, New York or Philadelphia, including a “Sultana” model on a marble base, h. 17‑3/4”, w. 15”, d. 4”, and a grape-molded example attributed to Henry Hooper, Boston, h. 16”, w. 14”, d. 3‑1/2”. [200/400] 781 Impressive American Rococo Revival Giltwood Overmantel Mirror, mid-19th century, with ropemolded sides, the crest decorated with piercing and molded scrollwork, and an unusual Bacchanalian masque finial, h. 75‑1/2”, w. 80”. [1500/2500] Illustrated

781

778 French Neo-Grec Bronze and Marble Tazza, third quarter 19th century, with anthemion-molded pierced handles, a central roundel decorated with a bas-relief of two figures in classical dress, and borders of reliefmolded tigers and anthemia, on a black marble base, h. 5”, dia. 10‑1/4”. [500/800]

779

782 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”.

[500/800] Illustrated

782

779 Assembled Three-Piece American Gilt-Bronze and Marble Girandole Set, mid-19th century, consisting of a three-light “Lyre” center, h. 18‑1/2”, and a pair of single-light “Sultana” ends, h. 14‑1/4”, all hung with snowflake prisms. [300/500] Illustrated

141

783 783 American School (Fourth Quarter 19th Century), “Full-Length Portrait of a Young Woman Removing Her Glove”, oil on canvas, unsigned, 71” x 50”. Presented in a spectacular, period giltwood and gesso frame.

[2000/4000] Illustrated

784 784 Italian School (19th Century), “Lucrezia”, oil on canvas, unsigned, 30” x 34”. Framed. [800/1200] Illustrated

142

785 785 British School (Second Quarter 19th Century), “The Drawing Lesson”, oil on canvas, unsigned, 30‑1/4” x 25‑1/4”. Framed. [800/1200] Illustrated

786 786 Continental School (Second Quarter 19th Century), “Portrait of an Elderly Woman Seated in a Red Chair”, oil on canvas, 50” x 40”. Unframed. [400/700] Illustrated

787 British School (Second Quarter19th Century), “Portrait of a Young Gentleman”, oil on canvas, 13‑1/2” x 11‑1/2”. Framed. [200/400]

793 Attributed to Bernard Moses (German/New Orleans, 1832‑1899), “Portrait of a Child, Probably Olga Pollatsek”, oval oil on canvas, 24” x 20”. Presented in a period giltwood and gesso frame. [200/400]

788 Maria Christine Thymann (Danish, 1867‑1928), “Portrait of a Bearded Man in Profile”, oil on canvas, signed lower right, 20” x 17‑1/2”. Framed. [200/400] 789 Continental School (Second Quarter 19th Century), “Portrait of a Gentleman”, oil on canvas, 24” x 20”.

Framed. [200/400]

795

790 Continental School (Second Quarter 19th Century), “Portrait of a Young Man”, oil on canvas, 23” x 18”.

Framed. [200/400]

794

794 George III-Style Mahogany Dumbwaiter, early 20th century, fitted with two tiers, each circular and with a dished edge, raised on a turned bulbous standard to four splayed legs ending in brass caps and casters, h. 31‑1/2”, dia. 27‑1/4”. [500/800] Illustrated 791 American School (First Quarter 20th Century), “Portrait of a Distinguished Gentleman”, oil on canvas, illegibly signed lower right, 24” x 20”. Handsomely framed. [200/400] 792 American School (Fourth Quarter 19th Century), “Portrait of a Man in a Brown Vest”, 26” x 20”.

Presented in a giltwood frame. [200/400]

795 Iberian Oak and Leather Armchair, late 19th century, the padded leather back with an incised colorful floral spray, joined by flat arms to the like upholstered seat, raised on imbricate-carved legs and bulbous legs to runner feet joined by a stretcher, h. 42”. [300/500] Illustrated

143

796 Chinese Export Porcelain Mug and Two Coffee Cups, the mug with a complex border and interlocking rings of flowers, ca. 1800, h. 5‑1/2”, the armorial cup with a lancet border, second quarter 18th century, h. 2‑1/2”, and the other cup decorated in a pseudo tobacco leaf pattern, third quarter 18th century, h. 2‑1/2”. [200/400] Illustrated

796

799 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the domed cornice with ebonized faux dentilation, above a conforming case fitted with two small drawers over four graduated long drawers, flanked to either side by canted line-incised uprights, the lower section fitted with four graduated long drawers, raised on splayed bracket feet, h. 89‑1/2”, w. 44”, d. 21”. [1200/1800] Illustrated 800 Georgian-Style Mahogany Hunt Table, ca. 1900, in the Hepplewhite taste, of demi-lune form with a drop leaf on each end, the interior center fitted with a drawer, h. 29‑7/8”, w. 61”, l. 35‑1/2”, extended l. 47‑1/2”. [350/500]

799

797 Chinese Export Porcelain Milk Jug, mid-19th century, with Rose Mandarin decoration, molded with faceted sides, a scalloped rim and a leaf-molded spout, h. 6”, dia. 4‑1/2”. [300/500] Illustrated

797

798 Pair of Chinese Export Porcelain Pickle Leaves, first quarter 19th century, in the “Chinese Vase” pattern, w. 8‑1/4”, d. 6‑1/4”. [300/500]

144

801 Pair of Chinese Export Porcelain Demi-lune Dishes, 18th/19th century, the dishes with floral decoration on the sides against a white ground, an arrangement containing a peach, pomegranate and a Buddha’s hand adorning the interior of each bowl, the undersides unmarked, each displayed on a custom wooden stand, dish, h. 2‑1/2”, w. 8‑1/4”. [300/500] Illustrated

805 Four Pieces of Molded Lead Crystal, 20th century, including a pair of vases, h. 9”, dia. 7”, and two ice buckets, h. 7‑3/4” to 9‑1/2”, dia. 8”. [250/400]

806

801

802 Chinese Rose Medallion Hot Milk Jug, mid/late 19th century, lidded with a gilt finial and reserves depicting birds and flowers on one side and a courtly scene on the other, unmarked, h. 5‑1/4”, w. 5‑1/2”. [200/400]

803

806 Eighty-Six-Piece Set of Lattice-Cut Crystal Tableware, including fiftyeight various stemmed wine glasses, h. 4‑3/4” to 6”, three wine casters, dia. 6‑3/4”, and a variety of salad plates, underplates and dessert bowls, dia. 6‑3/4”. [300/500] Illustrated

807

807 English Parcel-Gilt Mirror, mid-20th century, in the Georgian style, with a pierced crest, h. 52‑1/2”, w. 23‑1/2”.

[500/800] Illustrated 808 Pair of Gilt-Metal Two-Light Sconces, in the Chinese Chippendale taste, h. 18”, w. 10‑3/4”. [400/700] Illustrated

808

803 English Hepplewhite-Style Chest, third quarter 19th century, with inlay and cross banding, h. 34”, w. 41‑1/2”, d. 19‑1/2”. [400/700] Illustrated 804 Seven Cut and Molded Colorless Glass Decanters, including three Georgian examples, early 19th century, two Waterford “Comeragh” decanters in different shapes, and a pair of Waterford-style decanters, 20th century, h. 8‑1/2” to 13‑1/2”. [200/400]

145

809

812

809 Four Pieces of Marked Adams “Cries of London” Transfer-Printed Creamware, ca. 1920‑1965, including a pair of punch bowls, h. 4‑1/2”, dia. 9‑3/4”, and a pair of plates, dia. 10‑1/2”. [200/400] Illustrated 810 Copeland Parian Bust Personifying “Summer”, fourth quarter 19th century, after Louis-Auguste Malempre (Belgian, 1820‑1888), marked on the rear, h. 12”, w. 6‑1/2”, d. 5”. Illustrated in Richard Dennis’s The Parian Phenomenon, p. 182. [200/400] 811 English Painted Demi-lune Cabinet in the Adam Taste, mid-20th century, with parcel-gilt decoration, h. 36”, w. 44‑3/4”, d. 18‑1/4”. [500/800] Illustrated

814 Regency-Style Cut Glass and Brass-Plated Centerpiece, mid-20th century, the brass-plated base decorated with cupids holding chains, around a pineapple finial, the bowl cut in the Waterford style, h. 7‑1/2”, w. 13‑1/2”, d. 7‑1/2”. [300/500] Illustrated

814

811

812 Regency-Style Molded Glass Six-Light Chandelier, h. 18”, dia. 18”. [400/700] Illustrated 813 Pair of Cut and Pressed Crystal Vasiform Boudoir Lamps, h. 21”, dia. 5‑3/4”. [200/400]

146

815 Two English Worcester Porcelain Plates, with painted marks, including a Flight, Barr and Barr topographical plate with a view identified as “Port Elliott Cornwall”, ca. 1792‑1807, dia. 9”, and a Barr, Flight and Barr apricot-ground soup plate, ca. 1807‑1813, decorated with the arms of the Hebden family, dia. 9”. [200/400] 816 Edwardian-Style Polychrome Demi-lune Cabinet, the demi-lune top above a conforming case fitted with a single central drawer over two paneled cupboard doors, all with central floral sprays, raised on tapering square legs, h. 30”, w. 44”, d. 17”. [250/500] Illustrated

817 William IV-Style Giltwood Center Table, with a circular mirrored eglomise-style top and a leaf-carved, scrolled base, h. 28”, dia. 30‑1/2”. [200/400]

819

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

[1000/1500] Illustrated

818

820

819 English Burr Walnut-Veneered 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”. [800/1200] Illustrated 816 821 Hepplewhite-Style Inlaid Demi-lune Cabinet, with Battersea-style pulls, h. 37‑1/4”, w. 36”, d. 19”.

[400/700] Illustrated 821

820 Pair of Regency-Style Brass-Mounted, Polychromed and Porcelain-Top Occasional Tables, each with a circular porcelain top in bird and floral decor in the Chinese taste, on a trio of shaped legs with brass paw feet, h. 30‑1/2”, dia. 24”. [1200/1800] Illustrated

147

822 George Rodrigue (American/Louisiana, 1944‑2013), “Baby Bear”, 1995, acrylic on canvas, signed lower right, 24” x 20”. Framed. [18000/25000] Illustrated

823 George Rodrigue (American/Louisiana, 1944‑2013), “The Class of Marie Courrege”, poster, signed lower right, ca. 1975, created to commemorate artists exhibition award at the Paris Salon, sight 27” x 18”, glazed, matted and framed; accompanied by The Cajuns of George Rodrigue, special signed edition for Louisiana Bicentennial, Oxmoor House, Inc., Birmingham, 1976. [1000/1500] Illustrated

822

824 824 George Valentine Dureau (American/New Orleans, 1930‑2014), “Mardi Gras New Orleans - A Carnival Bestiary”, 1979, silkscreen, signed lower center, sight 35” x 23”. Glazed, matted and framed. [700/1000] Illustrated 825 Mario Villa (American/New Orleans, b. 1953), “Torso of a Man”, 1991, patinated bronze, signed and dated along proper left thigh, h. 41‑1/2”, w. 21”, d. 15‑3/4”.

[1000/1500] Illustrated

823 148

827 Drew Galloway (American/Alabama, Contemporary), “Water Study II”, “Water Study IV”, “Water Study VIII”, 2001, three oils on tin, each titled, signed and dated en verso, one 20” x 44”, two 20” x 20”. [800/1200] Illustrated

825

827 828 Louise Guidry (American/Louisiana, b. 1930), “Untitled”, encaustic on paper, signed lower right, sight 18‑1/2” x 11”. Glazed, matted and framed.

[1000/1500] Illustrated 826 Collection of Five Contemporary Works, including: Roger Brown (American, 1941‑1997), “Elephant”, painted gourd sculpture, Emery Clark (American/ Louisiana, b. 1950), “View-Sky Lights”, watercolor and mixed media sculpture, “Eye Masque”, mixed media on shaped board, signed and dated “Jewett ‘91”, painted found object, signed and dated “Raq ‘90”, and a double-sided oil on board of a Louisiana landscape, the largest, 10” x 12”. [600/900] Illustrated

826

828 149

829 Louise Guidry (American/Louisiana, b. 1930), “Tibetan Spirit”, mixed media on gallery-wrapped canvas, signed lower left, 14” x 36”. [700/1000] Illustrated

829

831 832 Betty Christovich (American/Louisiana, 20th Century), “Fugue #9”, oil on canvas, signed midright, signed and titled en verso, 40” x 48”. Framed.

[600/900] Illustrated

830 830 Louise Guidry (American/Louisiana, b. 1930), “Galaxies”, acrylic on gallery-wrapped canvas, signed lower left, 30” x 24”. [2000/4000] Illustrated 831 Louise Guidry (American/Louisiana, b. 1930), “Trees and Sky”, acrylic on gallery-wrapped canvas, signed lower right, 48” x 48”. [3000/5000] Illustrated

832 150

833 833 Ann T. Cooper (American/Louisiana, 1935‑2005), “Lilies and Nautilus”, ca. 1982, oil on canvas, signed lower right, 54” x 42”. Framed. [700/1000] Illustrated

836 834 A. Dalrymple (American/Louisiana, 20th Century), “Portrait of a Man in Contemplation”, mixed media on canvas, signed lower left, 36” x 23”. Framed.

Provenance: Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. [300/500] 835 Wayman Adams (American/Texas, 1883‑1959), “Portrait of the Soprano Dorothy Kirsten”, oil on canvas, signed lower right, 80” x 68”. Framed.

Provenance: Estate of Wayman Adams and descended in family; Private collection. [10000/15000] Illustrated 836 Wayman Adams (American/Texas, 1883‑1959), “Portrait of a Man in a Black Cap”, oil on canvas, unsigned, 27‑1/2” x 19‑1/4”. Framed. Provenance: Estate of Wayman Adams and descended in family; Private collection. [700/1000] Illustrated 837 Wayman Adams (American/Texas, 1883‑1959), “Portrait of Benny Denton”, oil on canvas, signed upper left, 50” x 32‑3/4”. Framed. Provenance: Estate of Wayman Adams and descended in family; Private collection. [2000/4000]

835 151

838 Wayman Adams (American/Texas, 1883‑1959), “Portrait of a Man in a White Shirt”, oil on canvas, unsigned, 27” x 19”. Framed. [700/1000] 839 Scing Randle Parker (American/Texas, 1873‑1959), “Vivian, Mardi Gras New Orleans”, ca. 1900, oil on canvas, 28” x 21”. Framed. Provenance: Clarksville, Arkansas estate. [400/700] 840 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]

842

843 841 841 Louisiana School (20th Century), “Dusk, Under the Gaslight”, charcoal and pastel on paper, illegibly signed lower right, 22” x 16‑3/8”. Glazed, matted and framed. [300/500] Illustrated 842 Bela De Tirefort (American/Florida, 1894‑1993), Southern Market Scene”, oil on canvasboard, signed lower right, 14” x 18”. Framed. [400/700] Illustrated

152

843 Alberta Kinsey (American/New Orleans, 1875‑1952), “St. Louis Cathedral”, oil on canvasboard, signed lower left, 14” x 11‑3/4”. Framed. [400/700] Illustrated 844 Wiley Churchill (American/Louisiana, 1900‑1987), “French Quarter Street Scenes”, a pair of watercolors on paper, each signed lower right, one dated 1944, each sight 9” x 7‑1/2”. Both glazed, matted and framed. [600/900] Illustrated

846

844 1 of 2

847 846 Charles Robert Eyer (American, 20th Century), “The Brick Cottage”, oil on canvas, signed lower right, 18” x 24”. Framed. [300/500] Illustrated 845 845 Marie Tebo Williamson (American/Louisiana, 20th Century), “Madame John’s Legacy”, signed lower right, titled en verso, 16” x 12”. Framed. [300/500] Illustrated

847 Rolland Harve Golden (American/Louisiana, b. 1931), “Laundry Room”, 1964, watercolor on paper, signed and dated lower right, 28‑1/2” x 20‑1/2”. Floatmounted and framed. [700/1000] Illustrated

153

848

850

849 848 Karl Ferdinand Wolfe (American/Mississippi, 1904‑1985), “Mountain Landscape”, pastel and watercolor on paper, signed lower right, sight 15‑3/4” x 21‑1/2”. Glazed, matted and framed. [800/1200] Illustrated 849 Antonio Cardona, Sr. (American/Louisiana, 1835‑1899), “Autumnal Woods”, 1888, oil on canvas, signed and dated lower left, 25‑1/2” x 17‑3/4”.

Framed. [300/500] Illustrated

154

851 850 Florence Stevenson (American/Alabama, 1894‑1974), “Still Life of Plant in Yellow Flowerpot”, oil on canvas, signed lower left, 20” x 20”. Framed. [300/500] Illustrated 851 George Edward Hopkins (American, 1855‑1925), “The Ford”, oil on wood panel, signed lower right, faintly inscribed en verso, 8” x 10”. Framed. [300/500] Illustrated

854 American Chippendale-Style Mahogany Bonnet-Top Highboy, 18th century and later, h. 80”, w. 43”, d. 31”.

[300/500] Illustrated

854

852 852 Gertrude Smith (American/Louisiana, 1869‑1962), “Bayou Landscape”, gouache on paper, monogrammed lower right, 8‑1/2” x 11‑1/2”. Framed.

[400/700] Illustrated Smith was an instructor at Newcomb College from 1887‑1894.

855 Federal-Style Inlaid Mahogany Candle Stand, mid20th century, h. 41”, w. 15”. [200/400] 853 853 Laure Josephine Carriere (American/Louisiana, 1876‑1925), “Southern Landscape with Cottage and Barn”, 1901, oil on canvas, signed and dated lower right, 12” x 16”. Framed. [700/1000] Illustrated

856 Pair of Philadelphia-Style Brass Fire Tools, 20th century, American, with acorn finials, l. 25‑1/4”.

[200/400]

155

857

858 New Orleans Market Carved Walnut Tester Bed, third quarter 19th century, attributed to William McCracken, the tester frame with an arched front adorned with beaded moldings and supported by tapering octagonal posts, the headboard with a characteristic convex ovoid panel, h. 95‑1/2”, inside w. 62‑3/4”, inside l. 77‑1/2”, outside w. 65‑1/2”, outside l. 86”. [2500/4000] Illustrated 859 American Late Classical Mahogany Chest, second quarter 19th century, with a pair of molded projecting drawers over a graduated bank of three drawers, flanked by detached columns and raised on bun feet, h. 45”, w. 45”, d. 23”. [200/400] Illustrated

857 American Late Classical Mahogany Sofa, third quarter 19th century, the crest rail having a turned top with scroll ends, the scroll arms with cornucopia carving, and the legs with like carving on the brackets and paw feet, h. 32‑1/2”, w. 79”, d. 33”. [400/700] Illustrated

859

858

860 American Late Classical Mahogany Work Table, second quarter 19th century, New England, the top flanked by deep leaves, h. 28‑1/2”, w. 18”, d. 17”, extended w. 35”. [200/400] 861 Four European Molded and Cut Glass Decanters, 20th century, together with six Stieff engraved pewter bottle tickets, bottles, h. 9‑1/2” to 12‑1/4”. [200/400]

156

862

862 American Late Classical Mahogany Secretary, second quarter 19th century, h. 75”, w. 46”, d. 21”. [200/400] Illustrated 863 American Sheraton-Style Mahogany Four-Post Bed, mid-20th century, with turned posts and scroll-cut headboard, the canopy with a molded frame, h. 94”, inside, w. 45”, l. 76”, outside, w. 49”, l. 80‑1/2”.

[200/400] Illustrated 864 American Classical Mahogany Bureau with Mirror, second quarter 19th century, New England, h. 70‑1/2”, w. 44‑1/4”, d. 20‑1/4”. [300/500] Illustrated

864

863

157

865 American Late Classical Flame Mahogany Sideboard, second quarter 19th century, the case with a wide banded drawer above a pair of bottle drawers with cabinets on each side, raised on paw feet, h. 60”, w. 53”, d. 24”. [300/500] Illustrated

867

865

867 Pair of Bohemian Cobalt Cut-to-Clear Overlay Glass Garniture Vases, mid-19th century, decorated with gilt tracery on the lower portion, the necks cut with bull’s eyes, h. 10‑1/4”, dia. 5‑3/4”. [200/400] Illustrated

868

866 American Classical Revival Mahogany Library Table, ca. 1900, the cyma-molded frieze with a single drawer, raised on scroll legs on a low shelf, h. 28‑1/2”, w. 48”, d. 30”. [200/400] Illustrated

866

868 Thirteen Bohemian Cobalt Cut-to-Clear Overlay Glass Objets de Vertu, including four candlesticks cut with bull’s eyes, first quarter 20th century, h. 9‑1/2”, dia. 4‑1/4”, a cylindrical scent bottle with a silver cap, l. 6‑1/2”, and a pair of panel-cut shot glasses, h. 2‑1/4”, all fourth quarter 19th century, together with a cylindrical dresser box, h. 2”, dia. 2‑1/2”, two ashtrays, dia. 4‑3/4”, a pair of small rose bowls, dia. 4‑3/4”, and a bull’s eye paperweight, dia. 2‑3/4”, all 20th century.

[200/400] Illustrated 869 Six Pieces of American Brilliant Period Cut Glass, ca. 1900, including a champagne pitcher attributed to Clark, h. 11‑1/2”, three carafes, h. 7‑3/4” to 8‑1/2”, a pitcher, h. 8”, and a dresser box, dia. 3‑1/4”. [300/500]

158

871

870 New England Classical Parcel-Gilt Tabernacle Mirror, the top panel with a Hudson River Valley type oil on canvas, with stamped brass corner medallions, h. 29‑3/4”, w. 13‑3/4”. [200/400] 871 American Colonial Revival “Duncan Phyfe”-Style Mahogany Window Seat, second quarter 20th century, with brass paw feet, h. 30”, w. 77”, d. 26‑1/2”. [300/500] Illustrated

872

872 Pair of Chippendale-Style Mahogany Bachelor’s Chests, second quarter 20th century, American, with fluted quarter columns, h. 32‑1/2”, w. 31‑1/2”, d. 19‑1/4”.

[200/400] Illustrated 873 American Late Classical Drop-Leaf Breakfast Table, ca. 1825, school of Isaac Vose, the deep drop leaves with rounded corners, the frieze fitted with a single drawer, on a tapering pedestal above a concave base with characteristic scroll feet, h. 29”, d. 42”, l. 18‑1/4”, extended l. 51”. [350/500] Illustrated

875

873

874 Fourteen-Piece Carlsbad, Austria, TransferPrinted 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”. [500/800] 875 Set of Twelve Hand-Painted Limoges Fish Plates, ca. 1900, French, decorated with gilt laurel leaves on a green ground framing the artist-signed fish, marked with Bawo & Dotter’s Elite signature, 1896‑1900, dia. 9”.

[400/700] Illustrated

159

877

880 876 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. [500/800] 877 Raku Pottery Covered Jar, ca. 1996, made by Robin Duke Rodgers, Tallahassee, Florida, decorated with egrets, accompanied by the original invoice, signed “Rodgers ‘96” on the base, h. 11‑3/4”, dia. 7”.

[200/400] Illustrated 878 Clarence Millet (American/New Orleans, 1897‑1959), “Pirate’s Alley”, color woodcut, pencilsigned lower right, titled lower left, sheet 9‑3/4” x 8”.

Unframed. [200/400] Illustrated 879 After John James Audubon (American, 1785‑1851), “Great Blue Heron”, 20th century, numbered “885/1000” lower left, 37‑1/2” x 25”. Glazed, matted and framed. [300/500] 880 James McConnell Anderson (American/Mississippi, 1907‑1998), “Great White Egret”, 1983, block print on paper, signed and dated lower right, 24” x 18”.

Framed. [300/500] Illustrated 878 160

881

881 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.

[1000/1500] Illustrated

882 1 of 2 882 Phillip Sage (American/Louisiana, b. 1942), “The Lady in Red” and “Homage to Ignatius”, two hand-colored etchings, both signed and dated lower right, titled lower center and numbered lower left, sight, former 10‑1/2” x 4‑1/2”, latter 15‑1/2” x 9‑1/2”. Both glazed, matted and presented in silvered frames.

[500/800] Illustrated

882 1 of 2

161

883 892 883 Semi-Antique Agra Carpet, 9’ 8” x 13’ 2”.

[800/1200] Illustrated 884 Semi-Antique Shiraz Runner, 2’ 10” x 7’ 6”.

[200/400] Illustrated 885 Antique Heriz Runner, 3’ 6” x 9’. [300/500] Illustrated 886 Semi-Antique Sarouk Carpet, 3’ x 5’.

[200/400] 887 Semi-Antique Bakhtiari Carpet, 5’ x 7’. [500/800] Illustrated

162

884

887

888

885 888 Semi-Antique Oushak Carpet, 8’ x 10’.

[300/500] Illustrated 889 Semi-Antique Caucasian Kazak Runner, 3’ 6” x 8’ 4”. [400/700] 890 Fine Heriz Carpet, 8’ x 10’ 4”. [1200/1500] Illustrated 891 Antique Caucasian Kazak Runner, 4’ x 9’ 9”.

[200/400] 892 Semi-Antique Heriz Carpet, 4’ 2” x 6’.

[200/400] Illustrated 893 Two Semi-Antique Carpets, including a Caucasian Kazak, 3’ x 4’ 10”, and a Hamadan, 4’ 7” x 6’ 7”. [300/500]

890 163

894 Pair of Arts and Crafts-Style Hammered Brass Bookends, first half 20th century, attributed to Newcomb College, New Orleans, Louisiana, h. 4‑3/4”, w. 6”, d. 4”. [300/500]

896 Tiffany-Style Stained Glass Table Lamp, the lotusmolded bronze base supporting the flower-decorated shade, h. 34‑1/2”, dia. 18‑1/2”. [800/1200] Illustrated

Similar bookends with cutout oak trees and Spanish moss are documented by Myrtle Pujol, and a related pair is in the Newcomb Art Collection, Tulane University.

895 897 897 American Leaded and Stained Glass Window, decorated with mauve and green slag glass, depicting a shell framed by scrollwork, h. 21‑1/2”, w. 52‑1/4”.

[200/400] Illustrated 898 Tiffany-Style Stained Glass Lamp, with a dragonfly shade, h. 32”, dia. 22‑1/2”. [500/800] Illustrated

896

899 Empire-Style Patinated and Gilt Metal Four-Light Chandelier, first quarter 20th century, with iridescent marigold shades, h. 18”, dia. 14”. [300/500] Illustrated

898

895 Tiffany Favrile Glass Bowl, first quarter 20th century, New York, the gold iridescent bowl with crimped edges, unsigned, with a paper label within the ground pontil, h. 2‑3/4”, dia. 7”. [800/1200] Illustrated

164

899

901

900

902 Roseville “Donatello” Jardiniere on Stand, post-1916, Zanesville, Ohio, marked with the shape number, “575‑10”, h. 26”, dia. 11”. [300/500] 903 Blair Buswell (American/Utah, b. 1956), “Secret Admirer”, terracotta-patinated bronze, signed and numbered “Buswell/16/32” at back edge of base, h. 10‑1/2”, w. 12‑3/4”, d. 7”. [200/400] 904 An Armchair and Two Stools, including a Hepplewhite-style painted armchair with Prince-ofWales feathers on the back, h. 39”, a gout stool covered in needlepoint, h. 11‑1/2”, l. 20”, and a rococo-style painted footstool, h. 17‑1/2”, w. 19”, d. 16”. [250/400] 900 Roseville “Pinecone” Pattern Green Jardiniere and Stand, Zanesville, Ohio, post-1932, marked “632/70” on the base, h. 28‑1/2”, dia. 11”. [300/500] Illustrated

905 Adam-Style Paint-Decorated Window Bench and an American Adjustable Stool, late 19th century, bench, h. 29‑1/2”, w. 28”, d. 13‑1/4”, stool, h. 19”, dia. 14‑1/4”. [200/400]

901 Roseville Art Pottery “Baneda” Pattern Vase, post1932, Zanesville, Ohio, with a green glaze dripped in blue, retaining its black foil label reading “Roseville Pottery”, h. 12‑1/4”, dia. 6‑1/2”. [500/800] Illustrated

906 Set of Six American Queen Anne-Style Dining Chairs, first quarter 20th century, with ball-and-claw feet, now painted celadon green, h. 39‑1/2”. [200/400]

165

907 Ruby Cased Cut Glass Lamp in the American Brilliant Style, cut with pinwheels and hobstars, h. 20”, dia. 12”.

[300/500] Illustrated

907

908 American Brilliant Period Cut Glass Lamp, first quarter 20th century, possibly Ohio Glass Company’s “Palm” pattern, with a mushroom shade and spear-point prisms, h. 20‑1/2”, w. 10‑3/4”. [500/800] Illustrated

910

912

908

909 Set of Eight Wheel Engraved Dessert/Finger Bowls on Stands, first quarter 20th century, probably American, h. 2‑1/2”, dia. 6‑1/4” (sixteen total pieces). [200/400]

166

910 Four-Piece Cut and Engraved Glass Garniture and a Blown, Cut and Engraved Pitcher in the Manner of Christian Dorflinger, third quarter 19th century, New York, the garniture comprised of a large compote, h. 7‑3/4”, dia. 12”, and a matching pair of smaller compotes, h. 6”, dia. 8”, decorated with panels of cut stars and engraved grapes and grape leaves, and supported on inverted standards, the blown pitcher cut in the honeycomb pattern and engraved with sprigs of flowers and fruit, h. 10”, dia. 5‑1/4”.

[700/1000] Illustrated 911 American Late Victorian Oak Library Table, ca. 1900, with a frieze drawer, reeded and carved columns, and a low shelf with a central pedestal, h. 29‑1/2”, w. 48”, d. 27”. [200/400] 912 American Mahogany Revolving Bookcase, first quarter 20th century, the top inlaid with a patera on burl walnut veneer, h. 32”, w. 19”, d. 19”.

[300/500] Illustrated

915

913

913 Colonial Revival Line-Strung and Inlaid Mahogany Vitrine, second quarter 20th century, with a scrolling broken-arch 916 pediment over a 1 of 2 shell-inlaid panel and arched mullioned doors, with glazed sides and drawers below, raised on tapering legs, h. 79”, w. 33‑1/2”, d. 13”.

[300/500] Illustrated 914 American Cherry Hanging Wall Cabinet, late 19th century, with a dentillated cornice over two doors, h. 54”, w. 42”, d. 10‑1/4”. [200/400] 915 LeRoy Neiman (American, 1921‑2012), “Cuisine Francoises”, serigraph, signed in plate and in the margins, sight 28” x 24”. Glazed and handsomely matted and framed. [500/800] Illustrated 916 John Matthew Moore (American/Georgia, Contemporary), “Chinese Vases”, a pair of watercolors on paper, each signed lower right, sheet 23‑1/2” x 15”. Both attractively framed.

[300/500] Illustrated

167

917 917 Jan Gilbert (American/New Orleans, Contemporary), 1988, “Untitled”, mixed media on stiffened and shaped canvas, signed and dated upper left, 65” x 20”.

[250/400] Illustrated

919 919 Darryl D. Alello (American/New Orleans, Contemporary), “Fitting the Pieces Together”, graphite on paper, signed lower right, sight 4” x 8‑3/4”.

Attractively glazed, matted and framed. [250/400] Illustrated 920 Shepard Fairey (American, b. 1970), “World Police State Champs”, black and white lithograph, pencil signed lower right and numbered “155/300” lower left, 23‑1/2” x 17‑1/2”. Glazed and framed. [300/500] Illustrated

918 918 Alexander Calder (American, 1898‑1976), “Balloons”, lithograph in colors, pencil marked “E.A.” lower left, signed in pencil lower right “Calder”, sheet 20” x 13‑3/4”. Framed. [600/900] Illustrated

920 168

921 921 Ron English (American, b. 1966), “Dandy Banana No. 6”, 2003, oil on canvas, unsigned, 24” x 20”.

Unframed. Provenance: Opera Gallery, New York, New York. [1500/2500] Illustrated This is a variation of English’s cover painting for the Dandy Warhol’s Welcome to the Monkey House album of 2003.

924 922 Ron English (American, b. 1966), “The Low Road Gasser”, oil on canvas, signed lower right, 35” x 47‑1/8”.

Framed. Provenance: Opera Gallery, New York, New York.

[3000/5000] Illustrated 923 Francie Rich (American/New Mexico, b. 1947), “Untitled”, 1989, gouache on artist palette, verso with “Arthur Roger Gallery” label, 13” x 14”.

[500/800] 924 Johanne Corno (Canadian/ American, b. 1952), “Blonde 3”, mixed media on canvas, signed lower right, 36” x 60”. Unframed. [2000/4000] Illustrated

922

922

169

925 Johanne Corno (Canadian/American, b. 1952), “Blonde 2”, mixed media on canvas, signed lower right, 36” x 60”. Unframed. [2000/4000] Illustrated 926 Leonardo Nierman (Mexican, b. 1932), “Autumn Wind”, acrylic on masonite, signed lower left, titled en verso, 30” x 22‑1/2”. Presented in a giltwood frame.

[800/1200] Illustrated

925

927 927 American School (20th Century), “Lady in White”, oil on canvas, illegibly signed upper right, inscribed “MILTS” en verso canvas, sight 30” x 19‑1/2”. Framed.

[400/700] Illustrated 928 Peter Dean (American/New York, 1934‑1993), “Cherry Wood Crosses”, 1983, oil on canvas, signed, titled and dated en verso, 80” x 66”. Framed.

Provenance: Purchased by the consignor from the Peter Dean Estate collection, New York City.

[800/1200] This thought-provoking painting filled with symbolism of death and rebirth depicts the tragic fate of many Native American tribes.

926 170

929 Marcel René von Herrfeldt (French, 1889‑1965), “Exotic Nude”, oil on canvas, signed lower left, 42” x 31”. Framed. [1000/1500] Illustrated

931 Laurent Jimenez Balaguer (Spanish, b. 1938), “Abstract Composition”, mixed media on canvas, signed and dated “Paris 1962” en verso, 35‑1/2” x 28”.

Framed. Provenance: Galerie Saint-Germain, Paris; purchased in 1963. [600/900]

932

932 Set of Six of Reed & Barton “Francis I” Sterling Silver Nut Dishes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, these date-marked 1947‑1951, dia. 3‑3/8”, 9.27 total t. oz. [350/500] Illustrated 929 930 American School (Fourth Quarter 20th Century), “Still Life of Green Apples on a Native American Blanket”, oil on canvas, signed lower left “Presley”, 20” x 24”.

Framed. [400/700] Illustrated

933

933 Pair of American Silverplate Tea Trays, third quarter 20th century, by the Sheridan Silver Co., Taunton, Massachusetts, rectangular, with shaped rocaille rim, handles and feet, 30” x 18”. [250/400] Illustrated

930 171

934

934 Pair of Silverplate Serving Trays, third quarter 20th century, by the Birmingham Silver Co., Yalesville, Connecticut, including a tea tray, 26” x 14‑1/2”, and a drinks tray, 32” x 11‑1/2”, with identical rocaille decoration. [300/500] Illustrated 935 Thirty-Seven Pieces of American Sterling Small Tableware, 20th century, including individual brandy pans, napkin rings, bowls, dishes, flatware, etc., most monogrammed, 46.79 total t. oz. (weighable silver). Detailed list available on request. [300/500]

936

936 Pair of American Silverplate Covered Vegetable Dishes, mid-20th century, in the Irish Georgian taste, bucket-form, with shell-crested pad feet, stirrup handles, domed lid with pyr finial, and decorated with incised rococo scrolls, h. 7”, dia. 6‑1/2”. [300/500] Illustrated 937 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]

938

938 Pair of American Silverplate Wine Coolers, mid20th century, by E. G. Webster & Son, Brooklyn, New York, campana form, with reeded handles and rococo scroll rim, h. 10‑3/4”, dia. 10”.

[300/500] Illustrated

939

172

939 American Sterling Silver Water Pitcher, third quarter 20th century, by Dunkirk Silversmiths, Meriden, Connecticut, ovoid with crested handle, h. 9‑1/4”, l. 9”, dia. 6”, 21.71 t. oz. [400/700] Illustrated

940

942 Two Silverplate Well-and-Tree Platters, mid-20th century, including a Van Bergh canted oval example with molded rim, 17‑3/8” x 12‑3/4”, and a Bechard “Portsmouth” pattern example, 19‑5/8” x 14”.

[200/400] Illustrated 943 Eight Pieces of American Sterling Silver Small Tableware, mid-20th century, including a Preisner footed “Lotus” bowl, dia. 5‑3/8”, a Wallace porringer, l. 5‑1/4”, and bread-and-butter plate, dia. 6”, a Hamilton oval waiter, l. 9‑1/8”, and four miscellaneous napkin rings, dia. 1‑3/4” to 2‑1/2”, the waiter monogrammed “A”, 12.07 total t. oz. (weighable silver). [200/400]

944

940 Pair of Gorham Sterling Silver Tazze, third quarter 20th century, Providence, Rhode Island, circular with gadrooned rim, monogrammed “ESW”, h, 2‑1/2”, dia. 8”, 22.64 total t. oz. [400/700] Illustrated

942

944 American Silverplate Drinks Tray, second quarter 20th century, by the Crown Silver Co., Brookline, Massachusetts, shaped rectangular, with pierced rim, gadrooned edge and rococo-scroll handles and decoration, 30‑5/8” x 11‑3/4”. [200/400] Illustrated 945 Five Pieces of American Silverplate Tableware, 20th century, including a pair of Georgian-style columnar candlesticks, h. 8”, a Corbell & Co. Regency-style campana-form vase, h. 4”, a “Chippendale”-style fruit bowl with a 1971 presentation inscription, 11” x 9”, and a compote with gadrooned rim, h. 3‑1/2”, dia. 7‑1/4”. [200/400]

941 Three American Oval Silverplate Trays, 20th century, including a Reed & Barton “King Francis” tea tray, 30‑3/8” x 20‑1/2”, an unmarked tea tray with rocaille decoration, 30” x 20‑1/2”, and a Coronet well-and-tree platter with molded acanthus rim, 23” x 17”. [300/500]

946 Three Pieces of American Sterling Silver Hollowware, 20th century, including a Shreve & Co. bread tray with molded rim, l. 11‑1/8”, an International Silver bread tray with bead-and-bobbin rim, l. 11”, both monogrammed, and an International Silver covered vegetable dish with molded rim, l. 10”, 27.10 total t. oz. [200/400]

173

947 American Sterling Silver Water Pitcher, first quarter 20th century, in the Colonial taste, of rounded and canted rectangular section, with crested handle, monogrammed “BSA”, h. 9”, l. 8‑3/4”, w. 5”, 19.15 t. oz. [300/500] Illustrated

950

947

949 Two Pieces of American Sterling Silver Tableware, mid-20th century, including a Wilcox sterling silvermounted molded glass syrup jug, h. 5”, and a Ensko reproduction brandy bowl after Simeon Soumain (New York, ca. 1685‑ca. 1750), dia. 5”, 7.26 t. oz. (bowl only). [300/500] Illustrated

949

948 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]

174

950 Pair of American Sterling Silver Candlesticks, second quarter 20th century, by R. Wallace, Wallingford, Connecticut, each with tapering standard, domed foot and urn-form nozzle with detachable bobeche, with laurel-and-ribbon banding and engraved arabesques, monogrammed “C”, h. 11”, dia. 4‑3/8”, weighted (but each marked “Sterling 7 oz.”). [200/400] Illustrated 951 American Sterling Silver Water Pitcher, first quarter 20th century, by the Watson Co., Attleboro, Massachusetts, baluster form, with peaked handle, monogrammed BWS”, h. 9”, l. 8”, dia. 6‑1/4”, 20.21 t. oz. [300/500] Illustrated 952 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”. [250/400] Illustrated

951

954 Seven Pieces of American Sterling Silver Tableware, second and third quarters 20th century, including an International “Lord Saybrook” sauceboat and stand, overall, h. 4”, l. 8‑3/8”, a Lunt child’s porringer, l. 5‑3/4”, an unidentified bonbon dish, dia. 5‑1/2”, a Reed & Barton lobed bonbon dish, dia. 6”, a Wallace fruit bowl, dia. 9‑1/8”, and a Reed & Barton fruit bowl, dia. 10”, 37.97 total t. oz. [600/900] 955 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. [300/500]

952

953

956 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 957 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. (5 pieces total.)

[200/400]

956

953 Five-Piece Reed & Barton “Georgian Rose” Sterling Silver Tea Set, third quarter 20th century, Taunton, Massachusetts, including a teapot, h. 8‑1/4”, a coffeepot, h. 6‑1/2”, a covered sugar bowl, h. 6‑1/2”, a cream jug, h. 5‑1/4”, and a waste bowl, h. 4‑1/4”, each piece monogrammed “RCL”, 85.04 total t. oz.

[1000/1500] Illustrated

175

959

960

961

958 Three Pieces of American Gadrooned-Edge Silverplate Hollowware, 20th century, including a Friedman Silver Co. rectangular covered entree dish, l. 12”, w. 9”, a Gorham oval platter, l. 21”, w. 14‑1/2”, and an R. Wallace rectangular tray, l. 22”, w. 13‑1/4”. [200/400] 959 Five American Silverplate Buffet Entree Dish Stands, late 20th century, including a pair of covered stands with mismatched lids, 17” x 8‑1/2”, a larger open stand, 19” x 10”, and a pair of covered stands with burner stretcher (burners lacking), 18” x 10”. [200/400] Illustrated 960 Eight-Piece Reed & Barton “Winthrop” Silverplate Coffee and Tea Service, 1949‑1950, Taunton, Massachusetts, including a kettle-on-stand, h. 16‑1/2”, two coffeepots, h. 11‑1/2”, a teapot, h. 11”, a covered sugar bowl, h. 8”, a cream jug, h. 7‑1/4”, a waste bowl, h. 3‑1/2”, and a tray, 29‑3/4” x 20‑3/4”. [600/900] Illustrated 961 Louis XV-Style Ormolu-Mounted and Parquetry-Inlaid Mahogany and Kingwood Commode, the salmon marble top over a case with three drawers, each with a projecting center, raised on cabriole legs, h. 34‑1/2”, w. 42”, d. 18”. [400/700] Illustrated 962 French Gilt Bronze of “Le Triomphe de Bacchus”, fourth quarter 19th century, after Clodion (Claude Michel, French, 1738‑1814), cast signature at base, h. 15‑1/2”, w. 9”, d. 8”.

Provenance: A New Orleans, Louisiana estate. [1500/2500] Illustrated

176

962

963 Empire-Style Mahogany and Marble-Top Gueridon, early 20th century, the inset circular marble top above a conforming ormolu-mounted frieze, raised on tapering square supports headed by ormolu maiden’s heads and ending in ormolu feet on a lower shelf, the whole raised on ormolu paws, h. 31”, w. 19”. [300/500] Illustrated 964 Belle Epoque-Style Giltwood Mirror, decorated with swags of flowers and set with a beveled mirror plate, h. 57”, w. 34”. [300/500] Illustrated

964 963

177

971

965 Pair of Louis XVI-Style Mahogany Armchairs, each with a medallion back with a ribbon-carved crest, bowed seat rail and fluted legs, upholstered in light brown leather, h. 39”. [300/500] Illustrated 966 Pair of French Gilt-Bronze Three-Light Sconces, 20th century, in the Louis XIV taste, the urn-form backplates decorated with putti heads and flame finials, and supporting scrolled candle arms accented with incised decorations, h. 17‑1/2”, w. 17‑1/4”, d. 17‑1/4”.

[1500/2500] Illustrated

968

965

967 Two French Inlaid Occasional Tables, with bronze trim, comprising a kidney-shaped table, h. 28‑3/4”, w. 21‑1/4”, and an oval-shaped example, h. 28‑3/4”, w. 16‑3/4”. [300/500]

966

968 Meissen-Style Figure of a Tailor Riding a Goat, each wearing tinted spectacles, h. 16‑1/2”, w. 6‑3/4”, l. 15”.

[300/500] Illustrated 969 Pair of Biscuit Porcelain Figures, 20th century, the male and figure figures depicted in 18th-century costume, with Meissen-style crossed sword marks, now mounted as lamps, base, h. 19”, overall, h. 32‑3/4”, dia. 6‑3/4”.

[200/400] 970 Louis XV-Style Parquetry-Inlaid and Parcel-Gilt Occasional Table, with a composite stone top over a pair of drawers, on cabriole legs, h. 32”, w. 23‑1/2”, d. 14‑1/2”. [200/400]

178

971 French Beaux Arts Bronze Four-Light Chandelier, first quarter 20th century, with frosted glass shades, h. 37”, dia. 22‑1/2”. [700/1000] Illustrated 972 Louis XVI-Style Giltwood Mirror, second quarter 20th century, with a pierced ribbon crest, h. 39‑1/2”, w. 24‑1/4”. [300/500] Illustrated

972

975 Pair of French Bronze Chenets with an Integral Fender, ca. 1900, in the Louis XVI taste, h. 12”, w. 48”, d. 2‑3/4”. [300/500] Illustrated

975

976 French Bronze and Crystal Basket-Form Five-Light Sconce, second quarter 20th century, in the Louis XVI style, h. 26”, w. 20‑1/2”, d. 11”. [400/700] Illustrated

976

973 Louis XV-Style Ormolu-Mounted Kingwood Occasional Table, 20th century, the inset marble top of heart shape, the frieze with brass banding and mounts, on cabriole legs with parquetry veneer and brass mounts, h. 30‑3/8”, w. 15”, d. 15”. [200/400] 974 Pair of Gold Silk Draperies and Associated Hardware, the draperies with a center swag and trimmed in roping, on a Louis XVI-style gilt-bronze curtain rod with a central gilt-bronze medallion and giltwood pinecone finials, h. 103”, w. 133”, together with a pair of French Art Nouveau-style gilt-bronze tiebacks, h. 10”, w. 3‑1/4”, d. 5‑1/2”. [300/500]

179

977

983

982 979

977 Louis XV-Style Marble-Top Bombe Commode, bronze-mounted and marquetry inlaid, h. 33”, w. 44”, d. 18‑3/4”. [400/700] Illustrated 978 French Bronze-Mounted, Marquetry-Inlaid and Marble-Top Side Cabinet, mid-20th century, in the Louis XV style, h. 32”, w. 24‑1/2”, d. 12‑1/2”. [300/500] 979 Pair of French Gilt-Bronze Two-Light Sconces, 20th century, in the Louis XIV taste, the inverted urn-form backplates decorated with leaf molding and holding scrolled candle arms with molded drip pans and candlecups, h. 10‑1/4”, w. 12‑1/2”, d. 6”. [300/500] Illustrated 980 Pair of Marble and Gilt-Bronze Garniture Urns, in the Baroque taste, h. 12”, dia. 4‑1/4”. [300/500] Illustrated

180

980

981 Brass and Glass Centerpiece, the blown glass bowl supported by brass tripartite angel-molded base supports, h. 12‑1/2”, dia. 16”. [200/400] 982 Louis XV-Style Kingwood Desk, late 18th century, the banded and quarter-veneered top above a likeveneered and ormolu-banded slant front, opening to an inset leather writing surface and a variety of drawers and cubbyholes, over three small drawers, raised on cabriole legs ending in sabots, the whole richly accented with ormolu mounts and millwork, h. 24”, w. 51‑1/2”, d. 23”. [2500/4000] Illustrated 983 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, early 20th century, the shaped marble top above a conforming case fitted with a frieze drawer with ormolu banding over two drawers, inlaid with a floral spray and banded en suite, raised on slightly splayed legs ending in sabots, h. 32”, w. 21‑3/4”, d. 14‑1/4”. [1800/2500] Illustrated

985 Bohemian Hand-Painted Porcelain Centerpiece, third quarter 19th century, decorated with a cabochon border, the pierced handles and rims hand-painted with honeysuckle, with a spurious KPM mark and an indistinct underglaze blue mark, h. 11”, w. 15”, d. 8”.

[200/400] 986 French Belle Epoque Giltwood Mirror, fourth quarter 19th century, with a leaf-molded frame, h. 59”, w. 46”.

[200/400] 987 Louis XV-Style Gilt-Bronze-Mounted Two-Drawer Commode, with a verdi antico marble top, the case veneered in parquetry-work, h. 33”, w. 45”, d. 20‑1/4”.

[700/1000] 988 Pair of Louis XVI-Style Bronze and Crystal Four-Light Candelabra, the four candle arms terminating in ram’s heads, the standard hung with strands of crystal drops ending at the corona, with a molded glass finial, electrified, h. 20”, dia. 9‑1/4”. [300/500] Illustrated

988

984

984 Vernis Martin-Style Mahogany and Polychrome Cabinet, early 20th century, in the Louis XVI taste, the demi-lune top with a three-quarter pierced brass gallery, above a conforming case fitted with five drawers, all with polychrome putti and floral accents, flanked to either side by a tall paneled cupboard door featuring a classical maiden, raised on ormolumounted toupie feet, h. 51‑1/2”, w. 40”, d. 19”.

[3000/5000] Illustrated

181

989

989 French Bronze-Mounted Occasional Table, second quarter 20th century, in the Louis XV style, with veneered parquetry work, h. 30”, dia. 21‑1/2”.

[300/500] Illustrated 990 Transitional Louis XV-into-Louis XVI Kingwood and Marble-Top Bedside Table, late 18th century, the shaped rectangular breche d’Alep marble top with a three-quarter shaped gallery and pull-up mirror, and a bowed front above a conforming case fitted with two quarter-veneered drawers, raised on cabriole legs ending in sabots, h. 31‑1/2”, w. 15”, d. 11‑1/2”.

[400/700] Illustrated

991

990

991 Two Germano-Austrian Hand-Painted Porcelain Cabinet Plates, ca. 1900, with raised gilt borders, including a cobalt-bordered example marked by Ambrosius Lamm of Dresden, 1887‑1915, and titled “Du bist mein” [you’re my sweetheart] on the back, and a burgundy- and green-bordered example marked in the Royal Vienna style and titled “Nixengeschichten” [mermaids] on the back, dia. 9‑1/2”. [300/500] Illustrated 992 Meissen-Style Porcelain Banquet Lamp, fourth quarter 19th century, German, decorated with hand-painted scenes in Arcadian landscapes, on a yellow ground hand-painted with flowers, now on a brass base and mounted with a cream-colored decorated glass ball shade, h. 34”, dia. 10‑1/2”. [200/400] Illustrated 993 Rococo-Style Mahogany and Marble-Top Occasional Table, h. 13”, dia. 14‑1/2”. [200/400]

182

994 Pair of French Aubusson Tapestry Pillows, ca. 1900, depicting a man and a woman in 18th-century costume, trimmed in fringed braid, on a white shantung backing, h. 19”, w. 19”. [400/700] Illustrated

996

994 995 Continental Patinated Bronze of “Nature Revealing Herself to Science”, first quarter 20th century, after Louis Ernest Barrias (French, 1841‑1905), cast signature at edge, on a black marble base, h. 32‑1/4”, w. 10‑1/2”, d. 12‑3/4”. [500/800] 996 Belle Epoque-Style Faux Bronze and Glass Figural Lamp, depicting a mother showing her son a bird’s nest, the lamp set with an art glass-style trumpet shade, h. 20‑3/4”, w. 9‑1/2”, d. 10‑1/2”.

[300/500] Illustrated

992

997 Monumental Royal Dux Figural Porcelain Vase, ca. 1919‑1943, Czechoslovakian, decorated in matte gilt with some pink trim, the vase depicting a Moorish figure playing a lute, in front of the leaf-molded vase, marked with the pink glazed triangle with an “E” in the center and a green-painted “Royal Dux, Made in Czechoslovakia”, h. 38”, w. 14‑1/4”. [800/1200]

999 Pair of Louis XV-Style Cast-Bronze Three-Light Appliques, early 20th century, with foliate-modeled backplate and arms, h. 20‑1/2”, w. 13‑1/2”, d. 6”.

[600/900]

998

998 Italian-Style Giltwood Mirror with Scenic Panel, in the rococo taste, the pierced flower-carved frame set with a beveled mirror plate, and fitted with a hand-painted landscape panel in the lower portion, h. 55‑1/2”, w. 25”. [300/500] Illustrated

183

1000 Louis XV-Style Bronze Shield-Form Firescreen, h. 28‑1/2”, w. 29”. [400/700] Illustrated 1001 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”. [400/700]

1000

1004 Two French Tortoiseshell Objets de Vertu, including a notebook inlaid with flowers, fourth quarter 19th century, with a bone pencil and calling cards of an early or the original owner, “lacomtesse, Irene Rogendorf nee la Divan”, h. 3‑3/4”, w. 2‑1/2”, and a mother-of-pearl-inlaid necessaire, ca. 1900, opening to reveal two perfume bottles, a notebook and pencil, h. 2‑3/4”, w. 2”. [250/400] Illustrated 1005 Louis XIV-Style Bronze and Faux Tortoiseshell Bracket Clock, set with German works, the chapter ring marked “Made in Italy”, h. 22‑3/4”, w. 12‑1/4”, d. 6”.

[300/500] Illustrated

1003

1002 Napoleon III Boullework, Tortoiseshell and BrassInlaid Lap Desk, third quarter 19th century, with an exceptionally well-preserved interior, h. 7‑3/4”, w. 13‑1/2”, d. 10‑1/2”. [600/900] Illustrated

1002 1006 Alex Toutrine (Russian, 20th Century), “Testing the Water”, oil on canvas, signed lower right, 23‑5/8” x 19‑7/8”. Framed. [600/900] Illustrated 1007 Giuseppe Rossi (Italian, b. 1876), “The Breakers”, oil on canvas, signed lower right, 23‑1/2” x 47”. Framed.

[800/1200] Illustrated

1003 Napoleon III Bronze-Mounted Boulle Cabinet, third quarter 19th century, inlaid with brass and tortoiseshell, and set with a black marble top, h. 42‑1/2”, w. 48”, d. 16‑3/4”. [700/1000] Illustrated

184

1008 Niek van der Plas (Dutch, b. 1954), “Nantucket”, oil on panel, signed lower right, 9” x 13”, signed and titled en verso. Framed. [1000/1500] Illustrated 1009 Niek van der Plas (Dutch, b. 1954), “Beach Scene”, oil on panel, signed lower right, 5” x 7”. Framed.

[700/1000] Illustrated

1004

1005

1006

1008

1007

1009 185

1010 Niek van der Plas (Dutch, b. 1954), “De Zanderij”, oil on panel, signed lower right, signed and titled en verso, 9” x 11”. Framed. [1000/1500] Illustrated

1012

1013

1010

1014 1011 1011 Andre Chalet (French, b. 1954), “Boys Setting Sail”, oil on wood panel, signed lower right, 8‑1/2” x 11‑3/4”.

Framed. [500/800] Illustrated 1012 Set of Eight Queen Anne-Style Black-Lacquered Dining Chairs, comprised of two armchairs and six sidechairs, h. 37”. [300/500] Illustrated

186

1013 Paint-Decorated Storage Chest, depicting a stack of books on an Asian-style gilt bracket base, h. 16”, w. 17‑1/4”, d. 13‑1/2”. [250/400] Illustrated

1020

1014 English Papier-Mache Tray, mid-19th century, decorated with painted morning glories and gilt leaves, on a later custom-made stand, h. 17‑1/2”, w. 21”, d. 24‑1/2”. [400/700] Illustrated

1016 1015 English Tole Tray, mid-19th century, with a molded edge, decorated with a polychrome portrait of a young woman in an Italian landscape, h. 22‑1/2”, w. 28‑1/2”.

[200/400] 1016 English Painted “Cottage” Tilt-Top Table, mid-19th century, the top decorated with a castle, h. 28‑1/2”, dia. 24”. [200/400] Illustrated 1017 Collection of Three English Segmented Peat Buckets, 19th/20th century, including a large turned bucket with ebonized trim and a brass liner, a medium-size bucket with brass trim, and a small bucket on paw feet, h. 7” to 12‑1/2”, dia. 7‑1/2” to 11‑1/2”. [250/400]

1018

1018 Handsome English Papier-Mache Lady’s Work Box, mid-19th century, decorated with gilt trim in the Elizabethan Revival style, the molded and hinged cover decorated with a pair of hounds, and opening to reveal a fitted paper- and plush-lined tray, the pair of doors opening to reveal a set of drawers, lined in matching paper, h. 11‑1/2”, w. 9”, d. 9”. [500/800] Illustrated 1019 Two Tea Caddies, including a Chinese lacquer tea caddy, ca. 1900, decorated with flowers and butterflies, the pewter insert labeled by Fortnum and Mason, Shanghai, and an English George III inlaid mahogany example, ca. 1800, h. 8”, w. 9‑1/2”, d. 6‑3/4”. [200/400] 1020 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”. [400/700] Illustrated

187

1021 William and Mary-Style Japanned Mirror, ca. 1900, English, set with a beveled mirror plate, h. 22‑1/2”, w. 18‑1/2”. [400/700] Illustrated 1022 George II-Style Japanned Cabinet, first quarter 20th century, the yellow cabinet on a giltwood stand, h. 61‑1/2”, w. 33”, d. 20‑1/2”. [600/900] Illustrated

1021 1022 detail

1023 English Giltwood Overmantel Mirror, first quarter 20th century, in the rococo taste, the serpentine frame molded with rocaille work and decorated with a chinoiserie temple-form pierced finial flanked by a pair of phoenix birds, h. 41‑1/2”, w. 56‑1/2”. [300/500] 1024 Group of Five English and Chinese Blue and White Teawares, including an English transferprinted tea bowl, second quarter 19th century, dia. 3”, a gilt-trimmed Dr. Wall Worcester tea bowl and saucer with a crescent mark, dia. 5‑1/4”, a Chinese saucer with a gilt edge, dia. 5‑3/4”, and a tea bowl, likely Caughley, with an indistinct mark, dia. 3”, all fourth quarter 18th century. [200/400]

1022

188

1025 Regency-Style Bookcase, 20th century, decorated with green and gilt chinoiserie and metal grillwork doors, h. 84”, w. 42”, d. 14‑1/2”.

[400/700] Illustrated

1025

1028

1026 American School (Second Quarter 20th Century), “The Old Mill River”, oil on canvas, unsigned, 35‑3/8” x 50”. Unframed. [200/400] Illustrated

1029 1027 American School (Fourth Quarter 20th Century), “Steamships on the Mississippi”, a pair of oils on wood panels, each signed “J. Clark”, each 8” x 18”. Each framed alike. [300/500] 1028 Adolph Heinze (American/Chicago, 1887‑1958), “Mountain Lake”, oil on canvas, signed lower right, an old “Chicago Galleries Association” label en verso, 30” x 35”.

Framed. [1500/2500] Illustrated

1026

1029 Attributed to Mary Cable Butler (American/Pennsylvania, 1865‑1946), “Mountainous Landscape”, oil on canvas, unsigned, 24” x 32”. Unframed. [1400/1800] Illustrated

189

1030 Attributed to Mary Cable Butler (American/ Pennsylvania, 1865‑1946), “Autumnal Landscape”, oil on canvas, unsigned, 24” x 32”. Unframed.

[1400/1800] Illustrated

1031 Continental School (20th Century), “The Verandah”, oil on canvas, signed “Cassah” lower right, 35‑1/4” x 23‑1/4”. Framed. [250/400] 1032 Continental School (20th Century), “The Terrace”, oil on canvas, signed “W. Vinello” lower left, 30‑1/4” x 40”. Framed. [500/800] Illustrated 1033 Continental School (20th Century), “View of Mount Vesuvius from Naples”, oil on canvas, illegibly signed lower left, 18‑1/2” x 29‑1/2”. Framed. [500/800] Illustrated 1034 George III-Style Mahogany Tall-Post Bed, the fluted and stop-fluted posts over ribbon-carved and foliatecarved sections, the headboard with a broken-arch crest, h. 78”, inside, w. 55”, l. 75”, outside, w. 59‑1/2”, l. 81”. [300/500]

1030

1035 Pair of George III-Style Mahogany End Tables, each with a square top and raised shaped edge, above a conforming dentillated frieze, raised on cabriole legs headed by acanthine carving and ending in ball-andclaw feet, h. 27‑1/2”, w. 19‑1/2”, d. 19‑1/2”. [200/400] 1036 Queen Anne-Style Mahogany Tea Table, the demi-lune top hinged and opening to a serving space, above a conforming frieze fitted with two small drawers, raised on cabriole legs ending in padded feet, h. 30‑1/2”, w. 30”, d. 15”. [200/400] Illustrated

1032

1036 1033 190

1037

1037 Polished Brass Eight-Arm Chandelier, second quarter 20th century, h. 35”, dia. 32”. [500/800] Illustrated 1038 George III-Style Mahogany Side Table, 19th century, the rectangular top with a bowed front and projecting canted corners, above a conforming fluted frieze, raised on stop-fluted tapering square legs ending in paneled block feet, h. 34”, w. 62”, d. 24”. [1500/2500] Illustrated

1040 George III Mahogany Drop-Leaf Table, 18th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on cabriole legs ending in slipper feet, h. 28”, w. 40‑1/4”, d. 17”, extended l. 49”.

[400/700] Illustrated

1040

1041 George II Mahogany Tea Table in the Chippendale Taste, 18th century, the single-board top on a tripodal base with a birdcage, and carved cabriole legs with ball-and-claw feet, h. 28‑1/2”, dia. 32‑1/2”. [300/500] Illustrated

1038

1039 Chinese Export Porcelain Teapot, first quarter 19th century, made for the Persian market and decorated with lotus flowers and red and green medallions, with a salmon-ground handle and a spout with molded decoration, h. 6”, dia. 5‑1/2”. [300/500]

1041

191

1042 Set of Six Mahogany Dining Chairs, 20th century, in the Philadelphia Chippendale style, h. 39‑3/4”. [200/400] 1043 George III-Style Mahogany Tea Table, the piecrust tilting top on a foliate-carved tripodal base with ball-and-claw feet, h. 29”, dia. 30‑1/2”. [400/700] Illustrated

1045 Delft Pottery Bulb Pot in the Imari Palette, 20th century, Dutch, marked in underglaze blue, h. 8‑1/2”, dia. 5‑1/4”. [200/400]

1043

1046

1046 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”. [1000/1500] Illustrated

1044 Pair of Chinese Export Armorial Dinner Plates with Fitzhugh Borders, fourth quarter 18th century, with serpentine molded edges, decorated with the armorial of Arthur impaling Darvall, listed in David Howard’s Chinese Armorial Porcelain, p. 803, dia. 9‑1/2”.

[200/400] Illustrated

1044

1047 Pair of Chinese Export-Style Table Lamps, Attributed to Samson, first quarter 20th century, French, the porcelain urn-form bases decorated with faux heraldic crests and raised white scrollwork, raised on footed bronze bases and mounted with shades, base, h. 17”, overall, h. 31”, dia. 15”. [300/500] Illustrated 1048 George III Mahogany Bowfront Sideboard, ca. 1800, the shallow central drawer flanked by deep drawers, one retaining fittings for bottles, raised on tapering Hepplewhite legs with spade feet, h. 36”, w. 65”, d. 24‑1/4”. [500/800] Illustrated 1049 Parcel-Gilt Armoire of Italian Neoclassical Inspiration, h. 91‑3/4”, w. 87‑1/2”, d. 25‑1/2”.

[500/800] Illustrated 1050 Empire-Style Inlaid Mahogany and Parcel-Gilt Bedstead and Back Wall, bed, h. 47‑1/2”, inside, w. 73”, l. 74”, outside, w. 80”, l. 84”, wall, h. 97‑1/4”, w. 158”, d. 5”. [700/1000] Illustrated

192

1048

1049

1047

1051

1050

1052

1051 Pair of Parcel-Gilt Bedside Commodes, of Italian inspiration, h. 26‑1/2”, w. 27‑1/2”, d. 18”.

[200/400] Illustrated 1052 Parcel-Gilt Kneehole Desk, of Italian neoclassical inspiration, h. 31‑3/8”, w. 55‑1/2”, d. 20‑1/2”.

[200/400] Illustrated

193

1053 Italian Neoclassical-Style Parcel-Gilt Arched Top Mirror, h. 49‑3/4”, w. 48”. [200/400]

1054

1055 Three English Hand-Painted Teacups and Saucers, mid-19th century, with Islamic script on the fronts and bottoms of each piece, marked with pattern number D-941A, cup, h. 1‑3/4”, saucer, dia. 5”. [300/500] 1056 Sixteen-Piece Set of Royal Crown Derby Porcelain and Steel Flatware, ca. 1921‑1940, including twelve spoons, l. 7‑1/4”, with grape-molded handles, in the original boxes, and four knives, marked on the blades, l. 6”. [200/400] 1057 Set of Ten Limoges Porcelain Dinner Plates, first quarter 20th century, decorated in the “Tree of Life” pattern, marked “Charles Ahrenfeldt” and by the retailer, “Ovington Brothers, New York”, dia. 10‑1/4”.

[300/500] 1058 Bohemian Ruby Flashed and Etched Decanter and Eleven Matching Liqueur Glasses, second quarter 20th century, decanter, h. 14‑1/2”, dia. 4”, glasses, h. 3‑3/4”.

[250/400] Illustrated 1059 French Empire-Style Black Tole Lamp, mid-20th century, on a wooden base, lamp, h. 19”, overall, h. 22”, w. 4‑3/4”. [450/700] Illustrated

1054 Georgian-Style Mahogany Breakfront, first quarter 20th century, with pierced swan’s-neck pediment and Greek-key fretwork, h. 77‑1/2”, w. 44”, d. 17‑1/4”.

[250/400] Illustrated

1058

1060 English Hepplewhite Inlaid Mahogany Wheel Barometer, ca. 1800, the dial signed “J. Giobbi, Stockport”, h. 39”, w. 10‑1/4”. [500/800] Illustrated 1061 New England “Pumpkin Pine” Tall Case Clock, ca. 1800, the painted wooden dial decorated with a view of a ship approaching port, h. 82‑1/2”, w. 18‑1/2”, d. 11‑1/2”. [600/900] Illustrated 1062 Pair of George III Mahogany Demi-lune Side Tables, fourth quarter 18th century, each with a demi-lune top above a dentillated frieze, raised on chamfered tapering square legs, h. 27”, w. 35”, d. 17”. [300/500] Illustrated 1063 Regency-Style Mahogany Planter, with a hammered brass liner, h. 36”, dia. 14‑1/2”. [200/400] Illustrated 1064 English Hepplewhite Mahogany-Veneered Bachelor’s Chest, ca. 1800, h. 35”, w. 35”, d. 18‑1/2”. [300/500] Illustrated

194

1063

1059

1060

1061

1062

1064

195

1068

1065

1065 Pair of Regency-Style Bronze Two-Light Candelabra, fourth quarter 19th century, probably French, the contrasting gilt and patinated bases holding griffinform standards set with molded gilt-bronze double candle arms, h. 14‑3/4”, w. 7‑1/4”, d. 4‑1/4”. [400/700] Illustrated

1066

1066 Collection of Ten Miniature Portraits, 19th/20th century, h. 2‑1/2” to 6‑1/4”, w. 2‑1/4” to 6”. [250/400] Illustrated 1067 Collection of Seven Framed Miniature Portraits, 19th century, h. 4‑1/2” to 6”, w. 4‑1/2” to 5”. [300/500] Illustrated 1068 Pair of Edwardian Giltwood Two-Light Sconces, decorated with panels depicting “The Dancing Hours”, h. 14”, w. 9‑3/4”, d. 5”. [200/400] Illustrated 1069 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”. [400/700] 1070 Sebastian Erard, London, Giltwood Harp, late 19th century, the brass plate engraved “Sebastian Erard, Patent #2041, 18 Great Marlborough Street, London”, h. 67”, w. 33”. [2500/4000] Illustrated

1067

196

1071 Pair of Regency-Style Mahogany Jardinieres, first quarter 20th century, mounted with gilt-metal lion’s head ring pulls, h. 9‑1/2”, w. 9‑1/2”. [200/400]

1070

1073

1074

1072 Suite of Eight Late Regency Mahogany Dining Chairs, first quarter 19th century, consisting of two armchairs and six sidechairs, all with a curved crest rail with scrolling ends, the padded seats raised on paneled tapering circular legs ending in toupie feet, h. 34”.

[800/1200] Illustrated

1072

1074 Chinese Export Armorial Dish Decorated with the Arms of the Honorable East India Company, ca. 1800, of lobed and footed form, the arms within a lancet border, and taken from the company’s bookplate, the service by the company in India, w. 11‑1/4”, d. 9”.

[200/400] Illustrated A platter from the service is illustrated in Chinese Armorial Porcelain, by David Sanctuary Howard, p. 774.

1073 Chinese Export Porcelain American Eagle-Decorated Covered Dish, first quarter 19th century, produced for the American market, of serpentine form and decorated with American eagles with shields, famille rose sprigging and a strawberry knop, h. 4”, w. 11”, d. 9”.

[250/400] Illustrated

1075 Hepplewhite Inlaid Mahogany Drop-Leaf Pembroke Table, early 19th century and later, h. 29”, w. 28‑3/4”, extended l. 40‑1/4”. [800/1200]

197

1076 Chinese Armorial Porcelain Platter, fourth quarter 18th century, decorated with the arms of the Bruce family, w. 9‑3/4”, d. 6‑3/4”. [450/700] Illustrated

1078

A piece from this service is recorded in Chinese Armorial Porcelain, by David Sanctuary Howard, p. 665.

1076

1079

1077 George III Oak Tall Case Clock, fourth quarter 19th century, the brass face engraved “Christopher Goddard, London”, having a bonnet-top hood with brass eagle and ball finial, featuring time and strike movement with a second hand and calendar dials, h. 88”, w. 20”, d. 9”.

[500/800] Illustrated 1078 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 fivepiece fireplace set, h. 29”, w. 7‑1/4”. [400/700] Illustrated

1079 Chinese Porcelain Vase, 20th century, the thinly potted vessel with floral scrollwork on a pale turquoise ground, surrounding reserves depicting groups of small boys, with an apocryphal four-character Qianlong reign (1736‑1795) mark, h. 12”, dia. 5”. [200/400] Illustrated

1077 198

1080

1082 Pair of Spode “New Stone” Sauce Tureens and Underplates, first quarter 19th century, English, decorated in the Imari palette with dolphin-molded handles and a gilt pinecone knop, the under trays impressed “Spode New Stone”, the bases of the tureens marked with the pattern number 3690, h. 4‑1/2”, w. 7‑1/4”, d. 5‑1/4”. [400/700] Illustrated

1083 1080 Three Pieces of Chinese Eggshell Porcelain, 20th century, including a cup depicting four horses in a landscape, h. 3‑1/4”, a plate depicting Shou, the God of Longevity, dia. 7‑7/8”, and a petaled bowl with a central reserve depicting a phoenix, dia. 11”, each with an apocryphal reign mark on the underside. [300/500] Illustrated

1081 1083 Chippendale-Style Mahogany Credenza, of double pedestal form, the shaped tooled leather top over a shallow drawer flanked by pedestals with banks of drawers, on bracket feet, h. 30‑1/4”, w. 79‑1/2”, d. 21‑1/2”. [300/500] Illustrated

1084

1081 Sino-French Bronze and Porcelain Bowl, first quarter 20th century, the Chinese bowl decorated in the Rose Mandarin style, and mounted in a French gilt-bronze foot, handles and rim, h. 11‑1/4”, w. 17”. [400/700] Illustrated

1082

1084 Pair of Continental Patinated Bronzes of the “Marly Horses”, fourth quarter 19th century, after Guillaume Coustou the Elder (French, 1677‑1746), each h. 18”, w. 13‑1/4”, d. 6”. [1500/2500] Illustrated

199

1088

1086

1085

1085 George III-Style Mahogany Executive Desk, of double pedestal form with tripartite tooled leather top over a band of three drawers, each pedestal with a shallow drawer over a deep file drawer, h. 31”, w. 82”, d. 44”. [500/800] Illustrated 1086 French Belle Epoque Patinated and Gilt-Bronze Figural Tazza, fourth quarter 19th century, the figure of a cupid supporting a tazza, h. 24”, w. 11‑1/2”.

[300/500] Illustrated 1087 Continental Patinated Bronze of “A Nude Holding a Flower”, 1979, dated and with cast signature “Zomo” at edge of self-base, on a carved wood plinth, overall, h. 23‑3/4”, w. 8‑1/4”, d. 7‑3/4”. [1000/1500] 1088 French Patinated Bronze of “The Water Carrier”, ca. 1900, after Anatole Jean Guillot (French, 1865‑1911), cast signature at edge of base, h. 28”, w. 9‑1/2”, d. 11”. [1200/1800] Illustrated

1089

1089 French Patinated Bronze of “Le Triomphe de Bacchus”, fourth quarter 19th century, after Claude Michel Clodion (French, 1738‑1814), cast signature at edge of self-base, on a red marble plinth, overall, h. 18‑1/2”, w. 10”, d. 9‑1/2”.

[1000/1500] Illustrated 1090 German Patinated Bronze Humorous Wall Hook of a Satyr and a Horseshoe, first quarter 20th century, numbered “53165” and inscribed “Geschutzt” along interior edge of clippers, as mounted, h. 6‑1/2”, w. 6”, d. 5‑1/2”.

[300/500] 1091 Mark Chatterley (American, Contemporary), “Free Form”, fired clay with crater glaze sculpture, h. 29‑3/4”, w. 4‑3/4”, d. 2”. [600/900]

200

1097 Lucille Reed (American/Louisiana, 1921‑2014), “Time Suite”, 1982, acrylic on gallery-wrapped canvas, a diptych, signed, titled and dated en verso, with “Longview Museum and Arts Center, Longview, TX” exhibition label, each panel 72” x 48”, total 72” x 96”. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [700/1000] 1098 Pep Canyelles (Spanish, Contemporary), “Sala Pelaires, Mallorca, 1982 Exhibition”, color silkscreen, sheet 27‑1/2” x 19”. Glazed, float-mounted and framed. Provenance: Estate of Lane Meltzer, New Orleans, Louisiana. [200/400] 1099 Vladimir Cora (American/Mexican, b. 1951), “Woman with Flower Pot”, monotype, signed lower right, 39” x 29”. Float-mounted and presented in an acrylic shadowbox frame. Provenance: B. Lewin Galleries, Palm Springs, California. [300/500]

1103 one of a pair

1092 American School (Contemporary), “Untitled”, painted ceramic figural sculpture, illegibly signed at edge of self-base, h. 4”, w. 21”, d. 7‑1/2”. [300/500] 1093 Gyuri Hollosy (German/American, b. 1946), “Untitled”, patinated bronze, on a thin black metal base, h. 9”, w. 18‑1/2”, d. 6‑1/4”. Provenance: Mario Villa, Inc., New Orleans, Louisiana. [300/500] 1094 Pair of Framed Rozenburg Pottery Impressionist Tiles, ca. 1900, Dutch, one example depicting a windmill, and the other people trudging home in the snow, marked with molded “Rozenburg den Haag” on the reverse, as well as a painted mark including a “bee” used in 1900, h. 10‑1/4”, w. 10‑1/4”. [300/500] 1095 Carved Marble Bust of “The Water Spirit”, 20th century, h. 19‑1/2”, w. 13”, d. 7‑1/4”. [200/400] 1096 B. Bailey (American, Contemporary), “Bedroom Environs”, bronze, h. 18”, w. 4‑1/4”, d. 6”.

Provenance: Cole Pratt Gallery, New Orleans, Louisiana. [200/400]

1100 March Avery (American, b. 1932), “Standing Nude”, 1981, monotype, signed and dated lower left, sight 21‑1/2” x 15”. Glazed, matted and framed.

Provenance: Marguerite Oestreicher Fine Arts, New Orleans, Louisiana. [300/500] 1101 March Avery (American, b. 1932), “Nude with Outstretched Leg”, 1978, monotype, signed and dated upper right, sight 15‑1/2” x 21”. Glazed, matted and framed. Provenance: Marguerite Oestreicher Fine Arts, New Orleans, Louisiana. [300/500] 1102 Konstantin Chmutin (Russian, b. 1953), “Potato ‘91”, edition of 60, and “Pepper ‘95”, edition of 55, two black and white mezzotints, both signed in pencil lower right, titled lower middle and numbered lower left, sheet 14‑3/4” x 15‑5/8”. Unframed. Provenance: Stone Press Galleries, New Orleans, Louisiana.

[200/400] 1103 Edouard Halouze (French, 20th Century), a pair of gouaches on paper, including “Eco”, numbered “64”, pencil-signed and dated 1928 lower right, and “Fly Toy”, numbered “79”, inscribed “Mr. Flit Vallier” and pencil-signed and dated 1929 lower right, each sight 12” x 7”. Glazed, matted and framed alike. [400/700] Illustrated

201

1104 Suite of Four Vanity Fair Caricatures, 1875‑1903, including “Prayer and Praise”, “French Free Trade”, “The Railway Interest”, and “Order Order”, all color lithographs, each signed “APE”, printed by Vincent Brooks, Day and Son, Lithographers, London, England, each 13” x 8”. Framed. [400/700] Illustrated

1105 SEM (Georges Goursat, French, 1863‑1934), “Caricature of a Woman in a Black Plumed Hat”, pencil and watercolor on paper, signed lower right, 11” x 7‑1/2”. Glazed, matted and framed. [400/700] Illustrated 1106 Louis Icart (French, 1880‑1950), “The Sleeping Beauty”, 1927, etching with aquatint, pencil-signed, blind-stamped, sight 24‑1/2” x 28”. Matted, glazed and framed. [700/1000] 1107 French School (Second Quarter 19th Century), two costume studies of medieval fashion, watercolor on paper, each with a “Brobury House Gallery/Brobury, Herefordshire” label en verso canvas, each 9‑5/8” x 7‑1/4”. Glazed, matted and framed alike. [200/400] 1108 Collection of Two Continental Decorative HandColored Lithographs, one depicting the “Emperor of Germany”, the other the “King of England”, sight 12” x 10”. Both glazed, attractively matted and presented in giltwood frames. [200/400]

1109

1104 1 of 4

1109 French Belle Epoque Bronze Seven-Light Candelabrum, ca. 1900, in the rococo taste, h. 27‑1/4”, dia. 10‑1/2”. [600/900] Illustrated 1105 202

1110

1112 Louis XV-Style Kingwood and Marble-Top Buffet, 20th century, the bowed and shaped ochre marble top with a molded edge, above a conforming case fitted with three central drawers flanked to either side by a cupboard, all banded and quarter-veneered, raised on splayed legs ending in sabots, h. 39‑1/2”, w. 72‑1/2”, d. 23”. [800/1200] Illustrated 1113 Italian Rococo Revival Pierced Giltwood Wall Bracket, third quarter 19th century, h. 14‑1/2”, w. 12”, d. 7‑1/4”. [200/400] 1114 Louis XV-Style Mahogany and Marble-Top Secretary Chest, late 19th century, the rounded rectangular top with a molded edge, above a case fitted with a single drawer over a drop-front secretary, opening to an inset writing surface and a pair of drawers, over three drawers, all banded and quarter-veneered, raised on bracket feet, the whole with decorative ormolu mounts, h. 50”, w. 27‑1/4”, d. 15‑3/4”. [600/900] Illustrated

1110 Pair of French Gilt-Bronze and Metal Four-Light Candelabra, fourth quarter 19th century, in the rococo taste, the vasiform standards molded with shells and scrollwork, the drip pans and candlecups molded to match, raised on scrolled feet, with pierced trim on the base, h. 16”, dia. 7‑1/2”. [300/500] Illustrated

1114

1112

1111 Pair of French Gilt-Metal Candlesticks of Louis XIV Inspiration, fourth quarter 19th century, now mounted as lamps with fringed shades, base, h. 17”, overall, h. 31‑1/4”, dia. 15”. [300/500]

203

1115 Continental Bisque Porcelain Bust of “Marie-Adelaide of Sardinia, Duchesse de Bourgogne”, ca. 1900, after Charles Antoine Coysevox (French, 1640‑1720), signed “A. COYZVOX” and dated 1710 in Roman and Arabic numerals at back, on a moss green marble columnar plinth, overall, h. 21‑1/2”, w. 9‑1/4”, d. 8‑1/2”. [1500/2500] Illustrated

1117

1115

1118

1116 Pair of Louis XV-Style Ormolu-Mounted, Line-Inlaid and Parquetry Night Stands, both with serpentine marble tops, the cases of bombe form, with a pair of drawers and cabriole legs, h. 25‑1/2”, w. 20‑3/4”, d. 12‑1/4”. [300/500] 1117 Pair of KPM Hand-Painted Porcelain Covered Garniture Urns, ca. 1900, Berlin, in the neoclassical style, decorated with courting couples on one side and spring flowers on the other side, the tops molded with a guilloche egg-and-dart, the leaf-molded covers terminating in gilt-bronze flame finials, raised on molded bases trimmed in gilt, marked with an underglaze blue scepter and the overglaze red “KPM” or “b”, h. 12‑3/4”, w. 10‑1/2”. [1500/2500] Illustrated

204

1118 French Painted Petite Bergere, ca. 1900, in the Louis XVI taste, h. 33‑1/2”. [200/400] Illustrated 1119 Louis XV-Style Ormolu-Mounted Burlwood and Travertine-Top Bombe Commode, 20th century, h. 36‑1/2”, w. 49”, d. 20”. [400/700] Illustrated

1122 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] Illustrated

1119

1123 Transitional Louis XV-into-Louis XVI Kingwood and Ormolu-Mounted Music Cabinet Stamped “F. REIZELL”, late 18th century, in two parts, the shaped cornice above a case fitted with two glazed doors, the lower section fitted with two long bi-paneled quarterveneered drawers opening to shelves and vertically slotted storage, raised on splayed feet to sabots, the whole richly appointed with ormolu mounts and millwork in foliate vine and masque patterns, h. 80”, w. 37”, d. 16‑1/2”. [6000/9000] Illustrated 1120 Louis XIV-Style Gilt-Bronze Cartel Clock Set, with A. D. Mougin works, and marked by the retailer on the dial, h. 25‑1/2”, w. 10‑1/2”.

[500/800] Illustrated

1120 1123

1121 Louis XVI-Style Gilt-Metal-Mounted Burl and Mahogany Occasional Table, the circular top with a brass gallery, the shaped legs with beading and ormolu mounts, joined by a concave stretcher centered by a gilt finial, h. 33”, dia. 18”.

[200/400]

1122

205

1124 Louis XV-Style Kingwood Bureau, early 19th century, the rectangular top with inlaid and banded patterns, above a slant front with like patterns and three inset Sevres-style porcelain plaques, opening to an inset leather surface, a storage well and a variety of drawers and cubbyholes, over two large porcelain panels featuring cherubs flanked to either side by two small drawers, raised on cabriole legs, the whole accented with ormolu mounts and millwork, h. 36‑3/4”, w. 35‑1/2”, d. 20‑1/2”. [2000/4000] Illustrated

1125 Louis XIV-Style Marble-Top Cabinet, decorated with bronze mounts and marquetry inlay, h. 40‑1/2”, w. 32”, d. 17‑3/4”. [200/400] Illustrated

1124 1126

1125

1126 French Giltwood Mirror, ca. 1900, in the Louis XV taste, the leaf-molded mirror with a pierced finial and a ribbon-carved lower edge, h. 47”, w. 27‑3/4”.

[800/1200] Illustrated

1127

206

1127 Napoleon III-Style High-Back Bedstead, with an arched headboard in foliate carving, turned posts, and a paneled footboard on like posts, h. 66‑1/2”, inside, w. 60”, l. 86”, outside, w. 66”, l. 82”. [200/400] Illustrated

1128

1130 Louis XVI-Style Marquetry, Parquetry and OrmoluMounted Mahogany and Marble-Top Commode, third quarter 20th century, the marble top above a case with two drawers over two doors, the doors centered by a floral, ribbon and urn inlay, h. 34”, w. 49”, d. 21‑1/4”.

[300/500] 1131 Scottish School (Fourth Quarter 19th Century), “Resting After the Hunt”, watercolor on paper, unsigned, sight 13” x 21‑1/2”. Glazed, matted and framed. [250/400]

1128 Louis XV-Style Ormolu-Mounted Burlwood and Kingwood Commode, of bombe form, with a serpentine marble top over a conforming pair of drawers, h. 34”, w. 52‑3/4”, d. 22‑1/2”. [400/700] Illustrated 1133 1129

1132 Settimio Giampietri (Italian, 1852‑1924), “Portrait of Two Fashionable Ladies in a Renaissance Interior”, 1882, watercolor on paper, signed, dated, and inscribed Roma lower right, 28” x 19‑1/2”. Glazed, matted and framed. [600/900] 1133 Zsuzsanna Suger (Hungarian, b. 1939), “The Library” and “The Study”, 20th century, a pair of oils on canvasboard, each signed lower left, each 4‑1/2” x 6‑1/2”. Framed. [300/500] Illustrated

1129 Louis-Philippe Bronze-Mounted Mahogany Day Bed, second quarter 19th century, h. 34‑1/4”, inside, w. 54‑1/2”, l. 5‑1/4”, outside, w. 76”, l. 79”. [300/500] Illustrated

1134 Continental School (First Quarter 20th Century), “Diana of Versailles”, oil on board, unsigned, 30” x 20”. Framed. [400/700] 1135 British School (ca. 1900), a pair of color mezzotints of children at play, after Clifford R. James (British, 19th/20th century), each 16‑3/4” x 21‑1/4”. Both glazed, matted and framed. [250/400]

207

1136 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. [250/400]

1138 Suite of Four Continental Decorative Natural History Prints, each sight 9” x 6”. Attractively glazed, matted and framed alike. [400/700] Illustrated 1139 Pair of Groups of 18th-Century French Fashion Prints, depicting hats and hairstyles of the day, each, h. 22‑3/4”, w. 6”. Glazed, matted and framed alike [250/400]

1138 1 of 4

1137 After Louis Van Houtte (Belgian, 1810‑1876), collection of two hand-colored botanical lithographs, from Flore des Serres et des Jardins de l’Europe, 1845‑1880, sight 9‑1/4” x 12‑1/4”. Both glazed, French-matted and presented in distressed giltwood frames. [200/400]

1142 1140 Pair of British Hand-Colored Leaves of Sheet Music, including “Fond Philander” and “April Love”, third quarter 18th century, each sight 8” x 4‑1/2”. Glazed, matted and framed alike. [300/500] 1141 Collection of Forty-Four Works on Paper, including engravings, lithographs, drawings and watercolors, by such artists as Morris Henry Hobbs, Ralph Pearson, Enid Butcher and George T. Plowman, among others, sizes 3‑1/2” x 2” to 12” x 14‑1/4”. Unframed.

[500/800] Illustrated

1141

208

1142 Erte (Romain de Tirtoff, Russian/French, 1892‑1990), “6”, color lithograph, from the Numbers Suite, pencilnumbered “2/75” lower right and pencil-signed lower right, sheet size 25‑1/4” x 19‑1/2”. Glazed, matted and framed. [500/800] Illustrated

1143

1145 Early Gorham Coin (.900) Silver Waiter, third quarter 19th century, Providence, Rhode Island, oval with imbricate rim, the plateau with wide engraved NeoGrec band, raised on four beaded palmette feet, 8‑3/8” x 11‑1/4”, 11.71 t. oz. [600/900] Illustrated

1145

1143 Collection of Eleven Russian Orthodox Drawings, first quarter 20th century, ink, watercolor and pen on paper, most with inscriptions/titles and signatures in Cyrillic, sizes from 8‑1/2” x 7‑3/4” to 13‑1/4” x 9‑1/2”.

Unframed. [300/500] Illustrated

1144

1144 Philadelphia Federalist Coin (.900) Silver Cream Jug, ca. 1800, by Joseph Lownes (1758‑1820), helmet form, with beaded rim, plinth base and squared strap handle, monogrammed “EMM”, h. 6‑1/2”, l. 6”, 5.78 t. oz.

[450/700] Illustrated

1146 Suite of Three Gorham “Raphael” Sterling Silver Ladles, the pattern designed in 1878 by Florentin Antoine Heller (1839‑1904), Providence, Rhode Island, including a soup/punch ladle, l. 13”, and a pair of sauce ladles, l. 7‑1/4”, monogrammed “S”, 13.03 total t. oz. [800/1200] Illustrated

1146

1147 Five 19th-Century American Sterling and Silverplate Flatware Designs, including sterling pieces: a Kirk “Repousse” berry spoon, l. 7‑1/2”, a Shiebler “Medallion-E” master butter knife, l. 7‑1/8”, a Westervelt “Cone” sugar shell, l. 6‑3/4”, and a Whiting “Oval Twist” master butter knife, l. 7‑1/8”, 5.28 total t. oz., with an unidentified silverplate cheese scoop, l. 8‑1/4”, all variously monogrammed. [500/800]

209

1148

1149

1150 Seven-Piece American Neo-Grec Silverplate Tea Set and Associated Bowl, the set fourth quarter 19th century, by the Wilcox Silver Plate Co., Meriden, Connecticut, including a hot water urn, h. 15”, a coffeepot, h. 10”, a teapot, h. 9‑1/2”, a covered sugar bowl, h. 8‑1/2”, a cream jug, h. 6‑3/4”, a waste bowl, h. 6”, and a tray, 28” x 18”, ovoid with engraved vine and applied Greek masque decoration, engraved “Maggie”, with an associated Rogers, Smith & Co. waste bowl, h. 5‑1/2”. [400/700] Illustrated 1148 Nineteenth-Century Wood & Hughes Sterling Silver “Venetian” Ladle, the pattern designed in 1878 by Charles F. Richers, New York, New York, retailed by Gustav A. Schultz, Louisville, Kentucky, monogrammed “R”, l. 12‑3/4”, 5.84 t. oz. [350/500] Illustrated 1149 Victorian Egyptian Revival Silverplate and Glass Epergne, fourth quarter 19th century, with fluted columnar standard and domed base, surrounded by three monopodal Egyptian caryatids and scrolling arms, the arms and standard fitted with frosted and cut glass bowls, h. 23‑1/2”, w. 17”. [800/1200] Illustrated

210

1151 Five-Piece American Silverplate Coffee and Tea Set, fourth quarter 19th century, by Charters & Leonard, New York, New York, including a coffeepot, h. 12”, a teapot, h. 12”, a covered sugar bowl, h. 10”, a cream jug, h, 7‑1/2”, and a waste bowl, h. 5‑1/4”, with ovoid bodies and waisted necks, decorated with repousse flowers and scrolls, swan finials and floral-crested handles. [250/400] 1152 Good Whiting Sterling Silver Christening Mug, fourth quarter 19th century, Providence, Rhode Island, cylindrical, decorated in the round with repousse putti among rococo scrolls, monogrammed “JES”, h. 4‑1/4”, dia. 3”, l. 4‑1/2”, 8.49 t. oz. [250/400] Illustrated

1152

1154

1153 Set of Eleven Tiffany & Co. Sterling Silver “Saratoga” Teaspoons, the pattern designed in 1870 by Edward C. Moore (1827‑1891), New York, New York, monogrammed “EWS”, l. 4‑3/4”, 6.85 total t. oz. [500/800] Illustrated 1154 American Seven-Piece Sterling Silver Art Nouveau Nut Dish Set, ca. 1900, by the Alvin Corp., Providence, Rhode Island, navette-shaped, including a master dish, l. 7‑1/2”, and six individual dishes, l. 4”, each embossed with flowers and foliage, 7.21 total t. oz. [250/400] Illustrated

1153

1150

211

1155

1157 Gorham Sterling Silver Footed Vegetable Bowl, 1899, Providence, Rhode Island, of oval form with floral scroll rim, monogrammed “HMS”, h. 3‑1/4”, l. 11‑3/8”, w. 8‑3/4”, 17.76 t. oz. [200/400]

1158

1155 Two American Sterling Silver Fruit Bowls, first half 20th century, one Gorham, lobed circular with floral scroll rim, monogrammed “RSW”, dia. 9”, the other unmarked, circular with wavy rim, decorated with engraved and embossed floral swags and pierced trellis, monogrammed “ESW”, dia. 11‑1/4”, 28.89 total t. oz. [400/700] Illustrated

1156

1158 Good Alvin Silver Deposit Glass Whisky Decanter, first quarter 20th century, Providence, Rhode Island, conical with paneled neck and stopper, the silver overlay decorated with engraved wheat stalks, h. 8‑1/2”, dia. 6‑1/4”. [300/500] Illustrated

1159 1156 Twenty-Five Wallace “Violet” Sterling Silver Flatware Place Pieces, the pattern designed in 1904 by Henrik Hillbom (1863‑1828), Wallingford, Connecticut, most monogrammed “G”, 14.86 total t. oz. (weighable silver). Detailed list available on request. [300/500] Illustrated

212

1159 Set of Twelve Tiffany & Co. “Chrysanthemum” Sterling Silver Coffee Spoons, the pattern designed in 1880 by Charles T. Grosjean (1841‑1888), New York, New York, with gilt bowls, monogrammed “BVW”, l. 4‑3/8”, 8.77 total t. oz. [1000/1500] Illustrated

1160 Victorian-Style Banded Mahogany High-Back Bed, the arched headboard with a foliate-carved crest, the paneled headboard banded in burled elm, the footboard joined to a pair of low posts, the head rails of adjustable width, h. 77”, inside, w. 78”, l. 82”, outside, w. 81”, l. 86”. [300/500] Illustrated

1160

1163 Regency Mahogany Shaving Stand, first quarter 19th century, the period rectilinear mirror plate in a molded frame supported by scroll and post brackets on a base with a band of drawers, h. 21”, w. 30”, d. 8”. [200/400] Illustrated 1164 Late Victorian Mahogany Sidelock Lingerie Chest, late 19th century, with a bank of six drawers secured by a pivoting locking mechanism, h. 50”, w. 22”, d. 17”.

[400/700]

1165

1161 Rococo-Style Mahogany Bench, second quarter 19th century, with a foliate scroll apron and cabriole legs, the seat upholstered in blue damask, h. 16‑1/2”, w. 46‑3/4”, d. 18‑3/4”. [300/500]

1165 English Giltwood Rococo-Style Pet’s Bed, in the form of a miniature recamier, h. 18‑1/2”, w. 13‑1/4”, l. 27‑1/2”. [300/500] Illustrated

1162 Continental Mahogany Lectern, late 19th century, the fabric surface slanted and supported by a shaped and pierced X-form back joined by turned stretchers and ending in block feet, h. 51”, w. 22”, d. 19”. [200/400]

1166 English Glass and Brass Banquet Lamp, fourth quarter 19th century, the fluted brass standard holding the glass font, hand-painted with flowers, the ruffled pink shade engraved with gladiolas, set with a Duplex burner, h. 28‑1/2”, dia. 6‑1/2”. [300/500]

1163

1167 Pair of Hand-Painted Plaques of Cherubic Children, fourth quarter 19th century, possibly English, each signed “Laidre”, dia. 10‑1/2”. [200/400] 1168 Two Porcelain Plaques, including one depicting a young man holding a flower, second quarter 19th century, English, h. 10‑1/4”, w. 7‑3/4”, and the other in the KPM style, depicting a female in classical dress, holding a zither, fourth quarter 19th century, h. 7‑3/4”, w. 5‑1/2”. [250/400]

213

1169 English Mahogany and Burl Walnut Veneered Sideboard, second quarter 20th century, the splashboard carved with dragons and a compote of fruit, raised on carved paw feet, h. 57”, w. 79”, d. 25”.

[800/1200] Illustrated

1172

1169

1172 Carved Mahogany Games Table, in the style of the English rococo revival, h. 30‑1/2”, w. 33‑1/2”, d. 16‑1/2”, open d. 33”. [300/500] Illustrated

1170 English Carved Mahogany and Burl Walnut Server, second quarter 20th century, the splashboard carved with dragons flanking an urn, raised on carved paw feet, h. 53”, w. 54”, d. 22”. [400/700] Illustrated

1174

1170

1173 Two Crystal and Brass Table Lamps, the smaller, base, h. 11”, overall, h. 24”, dia. 4‑1/4”, the larger, base, h. 17‑1/4”, overall, h. 22‑1/4”, dia. 6‑1/4”. [200/400] 1171 Pair of Chelsea Gold Anchor Period BocageDecorated Figural Candlesticks, fourth quarter 18th century, English, h. 10‑1/4”, dia. 4‑1/2”. [200/400]

214

1174 Georgian-Style Prism-Hung Cut Glass Eight-Arm Chandelier, with graduated prism rings, the bowl prism hung, electrified, h. 24”, dia. 20”. [900/1200] Illustrated

1175 English Gilt-Bronze, Onyx and Cut Glass Banquet Lamp, now electrified, base, h. 15”, overall, h. 28”, w. 8‑1/2”. [200/400]

1178

1176

1178 Continental School (19th Century), “Market Day”, oil on panel, unsigned, 14” x 19”. Framed. [500/800] Illustrated

1176 Paul Surtel (French, 1893‑1985), “Winter Scene”, oil on board, signed lower left, 15” x 18”. Framed.

[500/800] Illustrated

1179

1177 1177 Continental School (Third Quarter 19th Century), “Alpine Landscape with a Chalet”, oil on board, unsigned, 6” x 7‑3/4”. Presented in a period giltwood and gesso frame. [400/700] Illustrated

1179 Continental School (20th Century), “The Farmyard”, oil on canvas, unsigned, 14‑1/4” x 18”. Framed.

[400/700] Illustrated

215

1180 French School (Third Quarter 19th Century), “Breton Landscape with Abbey and Figures”, oil on canvas, unsigned, 14” x 19”. Framed. [400/700] Illustrated

1180 1181 Charles Agard (French, 1866‑1950), “L’Eglise a Verville”, oil on canvas, signed lower left, verso with “Kaplan Gallery, London, UK” label, 19‑3/4” x 20‑3/4”. Framed. [600/900] Illustrated

1181 1182 French School (19th Century), “Landscape with a Classical Youth Playing a Flute”, oil on canvas, unsigned, 20” x 19‑3/4”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated

216

1182

1183 1183 Continental School (Second Quarter 20th Century), “Promenade by the Sea” oil on canvas, illegibly signed lower left, 32” x 28”. In a giltwood and gesso frame.

[700/1000] Illustrated

1186 British School (Fourth Quarter 19th Century), “Ship in Rough Water”, watercolor on paper, unsigned, 7‑1/2” x 11”. Glazed, matted and framed. [500/800] Illustrated

1184 1184 Alphonse Muraton (French, 1824‑1911), “The Farmyard”, oil on canvas, signed lower left, 16” x 12‑3/4”. Framed. [600/900] Illustrated

1185 1185 Basil de Loose (Belgian, 1809‑1885), “Young Girl Reading to Her Grandmother”, 1881, oil on canvas, signed and dated lower left, verso with a “Stedeljik Museum Sint-Niklaas, Belgium” label, 17‑5/8” x 14‑3/4”. Framed. [2000/4000] Illustrated

1186 1187 Aubrey Hunt (British/American, 1855‑1922), “Busy Harbor”, watercolor on paper, signed lower right, sight 9‑3/4” x 13‑3/4”. Matted, glazed and framed.

[400/700] Illustrated

1187 1188 British School (First Quarter 20th Century), “Country Road”, oil on canvas, signed lower left “Foster”, 11‑1/2” x 17‑1/2”. Framed. [200/400] 1189 Frederick Waters Watts (British, 1800‑1862), “Bishopstoke, Hampshire”, oil on canvas, signed lower right, 5” x 7”. Framed. [200/400] Illustrated

217

1190 British School (First Quarter 20th Century), “Summer at Horsham”, oil on canvas, signed lower left “A. Mayhew”, 20” x 24”. Framed. [500/800] Illustrated

1193 American Mt. Lebanon Shaker Rocker, second half 19th century, with the stenciled label “Shaker’s No 3 Trade Mark Mt. Lebanon NY”, with a ladder back and woven seat, h. 33”. [300/500] Illustrated

1193

1189 1191 Wilhelm Braun (Austrian, 1873‑1938), “Country Path in Autumn”, oil on canvas, signed lower right, 13‑1/4” x 21‑3/4”. Framed. [300/500] 1194 Vernacular Southern-Style Cypress Farmhouse Table, with a rectilinear top, beaded apron and tapering square legs, h. 30”, w. 35‑3/4”, l. 82”. [700/1000] Illustrated

1194 1190 1192 Vernacular American Cherry and Mixed Woods Rocking Chair, second half 19th century, with a ladder back, open arms, a woven seat and turned legs joined by box stretchers, h. 42”. [800/1200]

218

1195 Polychrome Cast Aluminum Carousel Horse, second half 19th century, the galloping steed with flowing main, stirrups affixed to the sides, supported by an iron stand with brass ball finial, one hoof signed “C. A. Oakes”, presumably the decorator, h. 53‑1/4”, w. 52”, d. 12”. [700/1000] Illustrated

1196 Set of Six American Ash and Caned Seat Dining Chairs, fourth quarter 19th century, h. 33”.

[300/500] Illustrated

1197

1197 Black Forest-Style Faux Antler Five-Light Chandelier, with candlecups molded to match, h. 17”, dia. 21”. [500/800] Illustrated

1195

1198 Two American Duck Decoys, 20th century, including a brightly painted example with a ballast weight marked by the maker, Henry Perden, ca. 1940‑1963, Henry, IL, h. 6‑3/4”, l. 17”, and the other with a ballast weight marked “H.3”, from a group attributed to Charles Patterson, Wellesley Island, NY, ca. 1868‑1937, h. 7”, l. 15”.

Provenance: Richard A. Bourne Gallery, Hyannis, Massachusetts. [300/500]

1199

1196

1199 American Patinated Bronze of “Coming Through the Rye”, 20th century, after Frederic Remington (American, 1861‑1909), on a black marble base, h. 18”, w. 23”, d. 15”. [700/1000] Illustrated 1200 American Patinated Bronze of a Bronco Buster, 20th century, after Frederic Remington (American, 1861‑1909), cast signature on self-base, circled triangle mark at edge of horse’s flank, on a marble base, h. 12‑1/4”, w. 9‑3/4”, d. 5”. [400/700]

219

1201 Continental Patinated Bronze of a Polo Player, 20th century, cast signature “Joe” at self-base, on a black marble plinth, h. 27‑1/2”, w. 21‑1/2”, d. 9‑1/2”.

[600/900] Illustrated

1208

1201

1202 American Cherry Drop-Leaf Dining Table, mid-19th century, with two leaves, h. 28”, l. 45”, extended l. 69‑1/2”. [200/400] Illustrated

1202

1204 Large Mahogany Mercantile Cabinet, first half 20th century, with a band of five drawers over a bank of six drawers, each fitted for interior dividers, h. 65”, w. 62”, d. 23”. [300/500] 1205 Set of Four American Paint-Decorated Dining Chairs, second quarter 19th century, with cane seats, h. 32‑1/2”.

[300/500]

1209

1206 English Art Deco Oak Drop-Leaf Dining Table, second quarter 20th century, with drawers and cupboards built into the pedestal, h. 30”, w. 36”, l. 15‑1/2”, extended l. 60”.

[200/400] 1203 Santo Domingo Mahogany Blanket Chest, early 19th century, the cock-beaded lid over a flat undecorated body, the base surrounded by shaped molding, mounted with period batwing side handles, h. 30”, w. 48”, d. 22‑1/2”. [200/400]

220

1207 Pair of Figural Cast Iron Andirons, third quarter 19th century, depicting an African-American couple, made by Thomasville Iron Works, Thomasville, Georgia, and marked on the billet bars, h. 12”, w. 9”, d. 23‑1/2”. [300/500]

1208 American Sheraton-Style Lolling Chair in the Massachusetts Manner, 20th century, with reeded legs, covered in gold brocade, h. 48”. [300/500] Illustrated

1212 1209 American Federal Mahogany and Giltwood Banjo Clock, first quarter 19th century, the dial marked “Boston”, h. 33‑1/4”, w. 10”, d. 4”. [500/800] Illustrated 1210 Group of Five Gilded Frames, last half 19th century, of various sizes and motifs, including inset Greek-key and “leaves and berries” borders, h. 19‑1/2” to 48”.

[300/500] 1211 Norwood Hodge MacGilvary ( American, 1874‑1949), “Repose”, pastel on paper, signed lower left, sight 16” x 19”. Glazed, matted and framed.

[300/500]

1214 1213 Bidjar Runner, 3’ 9” x 14’ 2”. [300/500] 1214 Semi-Antique Malayer Carpet, 3’ 5” x 6’ 5”. [300/500] Illustrated 1215 Shiraz Carpet, 4’ x 6’ 11”. [300/500]

1212 Helge Helme (Danish, 1894‑1987), “Contemplation”, oil on canvas, signed lower right, 13” x 10”. Framed.

[500/800] Illustrated

221

1216 Semi-Antique Bidjar Runner, 2’ 8” x 49’. [500/800] Illustrated 1217 Oushak Carpet, 2’ 9” x 4’ 8”. [200/400] 1218 Bokhara Runner, 2’ 7” x 11’ 6”. [300/500] Illustrated 1219 Semi-Antique Persian Heriz Carpet, 6’ 5” x 8’.

[800/1200] Illustrated 1220 Oushak Carpet, 2’ x 3’ 2”. [200/400] 1221 American Hooked Carpet, 8’ 9” x 11’ 6”. [300/500] Illustrated 1222 Bidjar Carpet, 6’ 2” x 10’ 4”. [400/700] 1223 Mashad Carpet, 9’ x 13’. [400/700] Illustrated

1221

1219 222

1223

1218

1216 223

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

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

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

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

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art.

No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

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

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

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

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

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors.

NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive.

Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer.

Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j).

NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly.

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

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

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

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

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

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

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

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

Date: ____________________

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

State: ____________ ZIP: _________________

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

Lot #

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

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

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

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

c a k e br e a d a u c t i o n d e c o r a t i v e

a r t s

Susan D. Sarofim

Tessa Steinkamp

CEO

Director of Auctions

d e s i g n

&

Ashton Thomas President

consignments FINE ARTS:

ASIAN FINE & DECORATIVE ARTS:

DECORATIVE ARTS:

Jelena Restovic James

Continental and American; Prints and Maps

Ireys Bowman

Continental and English

Felicia Sailey Yao

British and American; Sculpture

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Thomas Halverson

Charles C. Cage

Michele M. Carolla

American

Ireys Bowman

Jewelry:

SILVER:

Continental and English

Kim Lemon

Charles C. Cage

Greg S. Kowles

American, Continental and English

Thomas Halverson American

FINE CARPETS & TEXTILES:

MUSEUM & NON-PROFIT SERVICES:

Sean Ranson

Jelena Restovic James

administration Kim Lemon

Gary Michael Gittelson

Charles C. Cage

Cord McPhail

Customer Service Manager

Office Manager

Denise Haik

Office Administration

Alexis Kopituk

Administrative Assistant

auctioneers Tessa Steinkamp Ashton Thomas Robin Ruiz Michael DeGeorge

Photographer

Photographer

Colleen Ryan

Director of Human Resources

Greg S. Kowles

Manager of Cakebread Auction

Burke

Designer

Christa Ougel

Graphic Designer; Marketing

Taylor Eichenwald

Marketing & Public Relations

Josh Broussard

Auction Coordinator

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

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

James Callahan Asian Arts

David Abney

Cakebread Auction: Presented by New Orleans Auction Galleries | 333 St. Joseph Street New Orleans, LA 70130 CakebreadAuction.com | Info@NewOrleansAuction.com | 504-566-1849 | (Fax) 504-566-1851 LA Auction License AB-363, Steinkamp #1265, Thomas #1833/23% Buyer’s Premium (3% Discount for Prompt Payments Made by Cash, Check, or Wire)