December 9-10, 2017 Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries

DECEMBER 9-10, 2017

New Orleans Auction galleries Estates Auction:

December 9-10, 2017

333 Saint Joseph Street, New Orleans, Louisiana 70130

neworleansauction.com | info@neworleansauction.com | Main: 504.566.1849 | Toll Free: 800.501.0277 | Fax: 504.566.1851 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount For Prompt Payments Made By Cash or Check) Pictured: Lot 95

Featured Proper ty: Estate of Charles Harcour t and Edith Marion Hallett "Love" Dimick Rifton and Manhattan, New York Estate of Carmelita Blackburn Sugar Land, Texas Estate of Diana Stuar t Dymond Earhar t, Including Items from Belair Plantation Plaquemines Parish and New Orleans, Louisiana Paintings Deaccessioned from the Collection of Friends University, Wichita, Kansas; Gifted to the University by the Sam and Rie Bloomfield Foundation, Newpor t Beach, California Impor tant Maps from the Collection of Hugo Wedemeyer New Orleans, Louisiana Collection of Naomi Damonte Marshall New Orleans, Louisiana

Exhibition:

Evening Reception:

November 27 - December 8, 2017 Monday - Friday, 9 a.m. - 5 p.m. Saturday, December 2, 10 a.m. - 4 p.m.

Thursday, December 7, 2017 5 - 7:30 p.m.

Session I

Session II

Saturday, December 9, 2017

Sunday, December 10, 2017

Lots 1-615

Lots 616-1133

10:00 - 11:00

11:00 - 12:00

101

12:00

1:00

2:00 3:00

100

10:00 - 11:00

616

699

200

11:00 - 12:00

700

780

201

300

12:00

1:00

781

880

2:00

301

400

1:00

2:00

881

980

3:00

401

500

2:00

3:00

981

1080

4:00

501

615

3:00

3:45

1081

1133

Happy Holidays!

From New Orleans Auction Galleries

October 14-15, 2017 Estates Auction Evening Reception

(L-R) David Forsyth and Judith Oudt; Carl and Susan Wedemeyer; Rose Tomeny, Frank Dixon, Regina and Frank Hall; Al and Angele Thompson; Sandy Barrett and Burke; Anne Winston and Rebecca Ziskind; Stephen Bibb and Cliff Elliott

Estate of Diana Stuart Dymond Earhart, Including Items from Belair Plantation Plaquemines Parish and New Orleans, Louisiana Diana Stuart Dymond Earhart was born July 21, 1942 in New Orleans to William Dymond, Jr. and Stuart Louise Bogan. Her early years were spent in the French Quarter before her family relocated to Uptown. The Dymond family’s Louisiana roots began with Diana’s grandfather, John Dymond. John was born in Canada in 1836 to English parents from Cornwall. The family moved to Zanesville, Ohio, and John remained in the Midwest through school and later while working at his father’s cotton manufacturing business, White & Dymond, from 1858 to 1860. In the spring of 1860, he left for New York to become a traveling salesman, but after only three years entered into a business partnership with the nephew of a prominent coffee and sugar broker to form Dymond & Lally, a coffee and sugar company in New York and New Orleans. The firm purchased a New Orleans branch house in 1866 and in 1868 purchased Belair and Fairview sugar plantations. John Dymond’s most productive property was Belair Plantation. Located approximately 30 miles downriver from New Orleans on the East Bank, the plantation was built before 1720 by Governor Bienville. Dymond quickly became a prominent leader in the Louisiana sugar industry through innovative practices and business acumen. For instance, Dymond was the first to install a nineroller mill and he implemented a cost determination system based on weight that developed into a control system used almost universally in modern sugar manufacturing. He was internationally known in the industry as a leading figure, establishing the Louisiana Sugar Planters’ Association in 1877 and serving as the President from 1887 to 1897. Dymond served as State Senator, Vice-President of The Louisiana Historical Society and The Louisiana Agricultural and Scientific Association, CEO of Police Juries and Levee Boards, and held numerous other political and civic positions.

The stately main house at Belair Plantation was lost to the mighty Mississippi by river change and levee failure. New Orleans Auction Galleries is pleased to offer items descended in the Dymond family, including property from Belair Plantation. The collection features a rare and monumental "Norman's Chart of the Lower Mississippi, from Natchez to New Orleans" as well as other important maps of the region, an impressive Louisiana Creole-style cypress armoire, New Orleans-retailed silver and more.

Important Maps from the Collection of Hugo Wedemeyer New Orleans, Louisiana

Hugo Wedemeyer (1929-2017), a native of New Orleans, was a resident of Metairie and the French Quarter. He was active in civic and arts organizations that championed the advancement and preservation of southern culture and architecture, including the Historic New Orleans Collection, the New Orleans Opera, and the Mardi Gras Krewe of Sparta, where he served as Duke of the French Quarter. He was also a long-time and ardent supporter of the Louisiana Philharmonic Orchestra as donor, board member and archivist. After graduating from Tulane University, he served in the Air Force during the Korean War, and then embarked on a long and distinguished career in the marine insurance business, which took him abroad, often traveling and living in London for periods of time. Given his background, Wedemeyer developed a strong affinity for antique regional maps that he began collecting in earnest both here in New Orleans and in specialty antiquarian shops throughout London. After his retirement, Wedemeyer enthusiastically indulged his love of art, music, philosophy, travel, and general good living, expanding his collection into an impressive folio of nearly 100 important maps of Louisiana and the Gulf Coast.

Lot 808

Paintings Deaccessioned from the Collection of Friends University, Wichita, Kansas; Gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California Although Friends University was officially established as an institution of higher learning in 1898, its history dates to the mid-1880s when the Christian Churches of Kansas began construction on a building that would encompass more floor space under one roof than any other educational facility west of the Mississippi River. It wasnâ&#x20AC;&#x2122;t until James M. Davis, a businessman from St. Louis, saw an advertisement in a St. Louis paper and purchased the original building and surrounding lots that Friends University was born. He immediately offered the entire holding to the Kansas Society of Friends (better known as the Quakers) on the condition that the group raise $50,000 for the permanent endowment of the college. The conditions were accepted, and the University officially opened its doors in September 1898. The enrollment for the first fall was 52 students; during the first year that would grow to 102 students. Throughout its history, the University has remained committed to its central core: a broad-based education emphasizing the arts and sciences. As part of this educational goal, the Sam and Rie Bloomfield Foundation gifted a large collection of art, dating from the 15th through the 20th centuries, to afford the students the opportunity to learn from the actual period works themselves. Perhaps the most stunning selection is the collection of Renaissance and Baroque portraits which New Orleans Auction Galleries is pleased to offer in the December sale. The Sam and Rie Bloomfield Foundation generously supported numerous Wichita institutions and underwrote many of the cityâ&#x20AC;&#x2122;s cultural, educational and charitable programs. Rie Bloomfield, an independent spirit, received her degree in nursing from Wichita Hospital in 1938 and practiced as an RN until her marriage. Sam Bloomfield was the owner, president and a chief engineer of Swallow Airplane Co. from 1934 to 1956. He eventually sold the company and used the proceeds to form the Foundation. It was to have a profound and positive influence on so many facets of our society, both cultural and scientific. Sam Bloomfield died in 1979, but his wife continued their philanthropic work until her death in 1996. She was awarded an honorary doctorate from Friends University in 1990, as a tribute to her charitable work. Lot 154

Estate of Charles Harcourt and Edith Marion Hallett "Love" Dimick Rifton and Manhattan, New York

Charles Harcourt Dimick was born September 17, 1884 in Hamilton, Massachusetts, to Charles Waldo Dimick and Abby Parcher Haines. He attended Harvard University from 1902-1904, leaving there to work at the National Tube Company in Lorain, Ohio. Two years later, he went on to work at the United States Cartridge Company in Lowell, Massachusetts, remaining with the company for five years until The National Lead Company acquired it. An Industrialist, he served as President of the Fairlawn Finishing Company in Fairlawn, New Jersey and the President of the Richmond Piece Dye Works, Inc. of Richmond, Virginia. Dimick was a member of the Harvard Club of New York and retained an office in the Empire State Building and a residence in Manhattan.

New Orleans Auction Galleries is pleased to offer items from the Estate of Charles Harcourt and Edith Marion Hallett "Love" Dimick. Items offered in the present sale were once located at Woodcrest Farm, including pieces by Tiffany Studios and a fine Chinese celadon jade vase.

After his tenure at Richmond Piece Dye Works, Inc., Dimick took over management of Woodcrest Farm, a large and impressive farm and estate built by his relative, Jeremiah W. Dimick, in Rifton, New York. In addition to being a prominent businessman, Jeremiah was a wellknown breeder of Holstein cows. Jeremiah died in 1915 leaving Woodcrest to Charles. Woodcrest Farm was an impressive estate. A 1930 brochure advertising the sale of the property by Charles after Jeremiah’s death reads, “Property includes spacious, well-built residence; comprehensive equipment of model horse and cattle barns—one reputed among finest in State—and farm buildings; superintendent’s cottage and 7 tenant houses; large stable—garage with quarters, etc.” The residence was further described as, “a three story Colonial Style built by the late Jeremiah W. Dimick for his own occupancy. It contains 14 rooms and 4 baths. The house has a steamheating plant, electricity, parquet floors in halls and principal rooms, wide porches.”

Charles Harcourt and Edith Marion Hallett "Love" Dimick

Charles Dimick was an avid horseman. His most prized horse, "On Guard", was awarded numerous trophies. He and his wife, Edith Marion Hallett "Love" Dimick, vacationed at Sky Top Lodge in Pennsylvania, where they enjoyed the vast beauty of the Pocono Mountains. On April 8, 1946, Harcourt left his office, dined and spent some time at the Harvard Club, then picked up his sport coupe at a nearby garage and headed towards his home. Harcourt was murdered that night. He lived long enough to whisper to the police, "I was shot by a sailor, who I had given a lift."

Cottage and Garage on Woodcrest Farm

Session I: December 9, 2017 10:00 a.m. CST Lots 1-615

1 Pair of Louis XIV-Style Oak Fauteuils 19th century, each with a domed and padded back joined by molded acanthine-carved arms to the padded seat, raised on shaped legs joined by a scrolling front stretcher and ending in scrolled toes, the whole with brass tack accents. h. 47‑1/2” $800‑$1,200 2 French Giltwood Cushion Mirror fourth quarter 19th century, in the rococo taste, the surround with molded cabochons, the pierced crest decorated with putti lounging on pierced fretwork flanking a basket of flowers finial. h. 54”, w. 34‑1/4” $700‑$1,000 3 Unusual French Oak Cartel Clock third quarter 19th century, in the Renaissance Revival style, the cartouche-form scrolled case decorated with a carved lion’s head and carved and painted grapes, set with a marked Japy Freres movement. h. 26”, w. 18‑3/4”, d. 5‑1/2” $700‑$1,000

4 Aubusson Hand-Woven Tapestry of Three Princelings in a Lush Garden 18th century, a chalet in the background, with an overall stylized double vine border. 108” x 85” $4,000‑$7,00 5 Louis XIII-Style Mahogany Fauteuil a la Reine mid-19th century, the tall padded and rectangular back joined by molded downswept arms and ram’s-head hand rests to the padded seat, raised on turned circular legs joined by an X-form stretcher and ending in bun feet. h. 47” h. 47” $800‑$1,200 6 Silvered Bronze and Crystal Chandelier first quarter 20th century, in the Louis XIV taste, the ninelight chandelier with a bronze frame set with candle arms and cut glass finials around a central light with a spray of drops, the upper portion with more finials and drops and a spray of drops forming the corona. h. 43‑1/2”, dia. 27‑1/2” $2,000‑$4,000 4

7 Regence-Style Giltwood Fauteuil a la Reine

9 Gilt-Bronze Clock Set in the Baroque Taste

early 20th century, the domed and padded back joined by downswept arms headed by female masques and ending in scrolling armrests, to the padded seat, raised on cabriole legs with scroll knees, joined by an X-form stretcher and ending in carved feet. h. 49”

fourth quarter 19th century, Belgian, the clock signed “A. de Lambert, Liege” on the dial, and decorated with pierced scrollwork and a winged masque, h. 21‑1/4”, w. 12‑1/2”, d. 4‑1/2”, the pair of matching five-light candelabra with pierced scrollwork and molded leaves and reeding, h. 19”, dia. 9‑3/4”.

$1,200‑$1,800

$600‑$900

8 Pair of Bronze Sconces in the Baroque Taste

10 Regence Kingwood and Marble-Top Commode

mid-20th century, French, each with a pierced lyre-form backplate trimmed with molded acanthus leaves and scrollwork, and set with scrolled arms with molded candle cups and matching drip pans. h. 27‑3/4”, w. 16‑3/4”, d. 9”

late 18th century, the bowed marble top with projecting corners, above a conforming case fitted with two short drawers over two long drawers, all triple banded and quarter-veneered, the sides with herringbone veneers, raised on splayed legs. h. 35”, w. 51‑1/2”, d. 23‑1/2”

$700‑$1,000

$1,000‑$1,500

11 Louis XIV-Style Fruitwood Settee early 20th century, the padded triple-domed back joined by padded downswept arms to the cushioned seat, raised above a shaped shell-carved apron on cabriole legs ending in scrolled toes. h. 37”, w. 78‑1/2”, d. 32” $1,000‑$1,500 12 Louis XIV-Style Giltwood Bench late 19th century, the shaped rectangular padded and tufted top above a conforming pierced shell- and foliate-carved frieze, raised on cabriole legs headed by masque carving and ending in scrolled toes. h. 18”, w. 46”, d. 21”

$800‑$1,200 13 Regence-Style Fruitwood Commode the banded chevron-veneered top with a slightly domed front, above a conforming case fitted with three long drawers, all with chevronveneered panels, raised on ormolu-mounted block feet. h. 33”, w. 43‑1/2”, d. 22‑1/2” $800‑$1,200

15 Pair of Louis XV-Style Fruitwood Bergeres avec Orielles early 20th century, each with a domed and padded back surmounted by a floral crest, joined by shaped and padded sides to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes. h. 40” $1,200‑$1,800

14 French Giltwood-Framed Wool Tapestry Fragment 19th century, of gros point and petit point wool, depicting a courting couple in a garden landscape within a shaped cartouche, presented in a carved giltwood and gesso frame. overall h. 33”, w. 24‑1/2” $600‑$900 16

16 Henry Schouten (Belgian, 1864/67‑1927) “In the Henhouse” oil on board signed lower left. Framed. 31‑3/8” x 26”, framed 39” x 30‑1/4” $1,500‑$2,500

17 Henry Schouten (Belgian, 1864/67‑1927) “Cattle in a Field by the Beach” oil on canvas signed lower right. Presented in a giltwood and gesso frame. 19‑3/4” x 29‑3/4”, framed 28‑3/4” x 38‑1/4” $1,800‑$2,500 18 Enrico Henri Coleman (American/Italian, 1846‑1911) “Bringing In Horses from the Campagna” oil on canvas signed and further inscribed “Roma” lower right, verso with a hand-inscribed label. Presented in a giltwood frame affixed with artist plaque. 14‑1/8” x 22‑1/8”, framed 20‑1/2” x 28‑3/8”

$4,000‑$7,000

19 Joseph van Severdonck (Belgian, 1819‑1905)

“Taming the New Horses” oil on canvas signed lower left. Framed. 30” x 39‑1/2”, framed 40‑1/4” x 50” $3,000‑$5,000 20 After Pierre-Jules Mene (French, 1810‑1879) “Cheveaux Arabes”, 20th century patinated bronze cast signature along one edge and Russian foundry inscription along other. h. 12‑1/2”, w. 20‑3/4”, d. 7‑3/4” $800‑$1,200 19

21 Henry Schouten (Belgian, 1864/67‑1927) “Cattle and a Young Calf Watering” oil on canvas signed lower right. Presented in a giltwood and gesso frame. 27‑5/8” x 39‑1/4”, framed 38” x 49” $1,000‑$1,500

22 Adolf Henrik Mackeprang (Danish, 1833‑1911)

“Cattle at the River Crossing”, 1868 oil on canvas monogrammed and dated lower left. Presented in an elaborate cove-molded gessoed and giltwood frame. 44‑3/4” x 38‑1/4”, framed 61” x 53” $1,500‑$2,500

23 Gaston Malpigny (French, Late 19th/Early 20th Century) “Les Ramasseuses de Fagots” oil on canvas signed lower left. Framed. 27‑1/2” x 35‑1/2”, framed 36‑1/8” x 44‑1/8” $1,000‑$1,500

24 27

24 Jules Hereau (French, 1839‑1879) “The Sheep Herders” oil on canvas monogrammed lower left. Framed. 13‑3/4” x 21”, framed 25” x 32” $2,000‑$4,000 25 Provincial Louis XV Fruitwood Buffet late 18th century, the slightly bowed top above a conforming case fitted with two cupboard doors, each inset with a shaped panel, raised above a shaped apron on scrolled toes. h. 36”, w. 43‑1/2”, d. 21‑1/2” $700‑$1,000

26 French Provincial Oak Coffer 19th century, the hinged rectangular top opening to a storage space, the front paneled and centered by an oval panel, the sides paneled, raised above a scalloped apron on cabriole legs. h. 30”, w. 53‑1/2”, d. 24” $700‑$1,000 27 Provincial Carved Wooden Figure 19th century, the male figure dressed in a neoclassical gown, holding up one hand as though orating. h. 45”, w. 21‑1/4”, w. 5‑3/4” $1,000‑$1,500

28 Pair of Louis XIII-Style Fruitwood Fauteuils a la Reine 19th century, each with a padded slightly domed back joined by molded downswept arms to the padded seat, raised on turned and floral block legs joined by a turned H-form stretcher and ending in hairy paw feet. h. 44” $900‑$1,200 29 French Provincial Oak Armoire early 19th century, the molded and rounded rectangular top above a conforming case fitted with two doors, each inset with two shaped panels over two drawers, and a shaped apron, raised on molded shaped legs. h. 88‑1/2”, w. 67”, d. 24” $800‑$1,200

30 Pair of Louis XIV-Style Fruitwood Fauteuils a la Reine mid-19th century, each with a padded slightly domed back joined by downswept arms to the padded seat, above a shaped foliate-carved apron, raised on cabriole legs ending in scrolled toes. h. 45” $800‑$1,200 31 French Provincial Fruitwood Buffet mid-19th century, in the Louis XVI taste, the rectangular top with canted corners above a conforming case fitted with two drawers over two cupboard doors, each paneled and with an elaborate floral urn carving, raised above a scalloped foliate-carved apron on shaped feet. h. 42”, w. 59‑1/2”, d. 24‑1/2”

$1,200‑$1,800 32 French Provincial Walnut Buffet a Deux Corps early 19th century, the molded and rounded rectangular cornice above two slightly domed doors, each bi-paneled and with carved foliate accents, the lower section fitted with two drawers over two paneled cupboard doors, all with foliate-carved accents, raised on shaped feet. h. 95”, w. 57”, d. 25‑1/2” $1,500‑$2,500

33 Louis XVI-Style Mahogany Dining Table early 20th century, the top with rounded drop leaves, bisected to accommodate three 15” leaves, raised on tapering circular legs ending in brass caps on casters. h. 28”, w. 44”, l. 45”, ext. l. 90” $600‑$900

34 Suite of Eight French Provincial Fruitwood Side Chairs

19th century, each with a graduated ladderback surmounted by finials, the cushioned rush seat above a fluted apron, raised on turned tapering circular legs joined by an H-form stretcher and ending in toupie feet. h. 35‑1/2” $600‑$900

35 Two Heavy Copper Hemispherical Kettles 20th century, French, each with a hammered surface and mounted with brass handles. h. 9‑3/4”, dia. 24” and h. 10‑1/2”, dia. 20‑1/2” $600‑$900 33

36 Collection of French Copper Sauce Pans with Rack 20th century, including seven graduated copper sauce pans with steel handles, suspended from a provincial-style oak rack. overall h. 10‑1/2” to 23‑1/2”, w. 51‑3/4”, d. 6” $600‑$900

37 French School (First Quarter 20th Century) “Still Life with Seafood and Champagne” oil on canvas signed and dated lower right “E. Lachappelle 1906”, verso canvas with “A. Vittry Paris” stamp. Presented in a handsome oak frame. 31‑3/4” x 25‑1/2”, framed 39” x 45‑3/8” $1,500‑$2,500 38 French Provincial Fruitwood Buffet a Deux Corps mid-19th century, the molded and rounded cornice above two long cupboard doors, each inset with a shaped panel, the lower section of rounded rectangular form and fitted with two doors, each with like inset panels, over a scalloped apron, raised on shaped feet. h. 93”, w. 52‑3/4”, d. 25‑1/4” $800‑$1,200 38

39 Pair of Provincial Louis XV-Style Fauteuils late 18th century, each with a shaped caned back surmounted by a foliate crest, joined by shaped arms to the caned seat, raised on molded cabriole legs joined by a shaped X-form stretcher and ending in foliate toes. h. 39” $1,000‑$1,500 40 Louis XV-Style Fruitwood Desk 20th century, the shaped rectangular top with an inset leather surface above a frieze fitted with three drawers, raised on molded cabriole legs ending in scrolled toes. h. 30”, w. 62‑1/2”, d. 33” $800‑$1,200

41 After Pierre-Jules Mene (French, 1810‑1879) “Trois Chiens de Chasse” patinated bronze cast signature along edge of self-base. h. 7‑3/4”, w. 14‑1/4”, d. 6‑1/2” $1,200‑$1,800

42 French Provincial Fruitwood Armoire early 19th century, the arched top with a molded crown, above shaped paneled doors, raised on cabriole legs. h. 95‑1/2”, w. 58”, d. 24” $1,000‑$1,500

43 Suite of Six Provincial Louis XV-Style Side Chairs late 19th century, each with a scalloped acanthinecarved crest above undulate slat splats, the padded seat raised above a shaped stretcher on cabriole legs headed by foliate carving and ending in scrolled toes. h. 40‑1/2” $800‑$1,200

44 Provincial Louis XV-Style Oak and Marble-Top Buffet early 20th century, the rounded rectangular marble top above a conforming case fitted with a long pullout slide over three drawers and three cupboard doors, all paneled and with carved foliate accents, raised above a shaped ogee-molded frieze on shaped foliate-carved feet. h. 48‑1/2”, w. 86‑1/2”, d. 23” $1,800‑$2,500

45 French Provincial Cherrywood Armoire mid-19th century, the domed and molded cornice above a conforming case fitted with two shaped panels, over a shaped apron, raised on scrolled toes. h. 110”, w. 70‑1/2”, d. 26‑1/2” $800‑$1,200

46 Suite of Eight Provincial Louis XV-Style Fruitwood Armchairs each with a domed and molded crest above a caned back, joined by shaped and scrolling arms to the padded seat, raised on cabriole legs ending in peg feet. h. 40” $1,000‑$1,500 47 Provincial Louis XV-Style Mahogany and Marble-Top Center Table

early 20th century, the shaped rectangular marble top above a conforming shaped and foliate-carved frieze, raised on cabriole legs headed by foliate carving, joined by an X-form stretcher and ending in scrolled toes. h. 30”, w. 48”, d. 32‑1/2” $700‑$1,000 48 Provincial Regence-Style Polychrome Commode 19th century and later, the rectangular top with a slightly bowed front, above a conforming case fitted with three long drawers, raised on scrolled toes. h. 35‑1/2”, w. 49”, d. 28‑1/2” $1,500‑$2,500

49 Louis XV-Style Oak and Polychrome Table the shaped rectangular top banded and with parquetry inlay, above a conforming foliate-carved frieze, raised on cabriole legs headed by shield carving and ending in acanthine toes, with two 20” skirted leaves. h. 30‑1/2”, w. 43‑1/2”, l. 74”, ext. l. 94” $1,000‑$1,500

50 Rare French Faience Seder Dish second half 18th century, with molded edges, hand-painted with flowers in the center, the borders decorated with sprigs of flowers alternating with Yiddish script. dia. 14” $3,000‑$5,000 50

51 French School (Fourth Quarter 19th/First Quarter 20th Century) “A Springtime Garden” diptych, pair of oils on canvas each signed lower right “Jean Barrill”, one dated “1901”. Unframed. 62‑1/2” x 26‑5/8” $1,500‑$2,500

52 Provincial Louis XV Polychrome Buffet late 18th century and later, the rounded rectangular top with a molded edge, above a conforming case fitted with three short drawers over two cupboard doors, each inset with a shaped panel, raised on shaped toes, the back with a paper label reading “Madame Graizely, 7 Boulevard Bourceron a Argenteuil Seine et Vise”. h. 40”, w. 58”, d. 24‑1/2” $800‑$1,200

53 Provincial Louis XV-Style Oak Bed early 20th century, the headboard and footboard each padded and surmounted by a floral crest and surrounded by a molded frame, raised on scrolled toes, upholstered in Fortuny fabric. h. 53”, inside w. 50”, l. 74”, outside w. 54”, l. 82” $700‑$1,000 54 After Charles Anfrie (French, 1833‑1905) “L’Insouciant”, 20th century patinated bronze cast signature along back edge of self-base, titled at front. h. 17”, w. 6”, d. 5‑3/4” $600‑$900 55 Louis XV-Style Gilt-Bronze Chandelier second quarter 20th century, French, the pierced lyre-form standard hung with swags of flowers, atop the fluted turned base set with scrolled arms molded with acanthus leaves, terminating in reeded drip pans and fluted candle cups. h. 34”, dia. 23‑1/2” 55

$800‑$1,200

56 Provincial Regence Oak Commode 18th century, the rectangular top with a slightly bowed front, above a conforming case fitted with two long drawers, each inset with three panels with corner accents, above a scroll-carved apron, raised on cabriole legs ending in scrolled toes. h. 37‑1/2”, w. 49”, d. 22‑1/2” $1,500‑$2,500 57 Four-Piece Suite of Provincial Louis XV-Style Fauteuils mid-19th century, consisting of two fauteuils and two side chairs, each with a shaped and padded back surmounted by a foliate shell crest above the like seat, above a shell-carved apron, raised on cabriole legs headed by bellflower carving and ending in scrolled toes, upholstered in floralpatterned needlework. h. 42”

$1,000‑$1,500

58 After Annibale Carracci (Italian, 1560‑1609) “The Triumph of Bacchus and Ariadne” composed of two oils on canvas unsigned. Both framed in matching polychromed and parcel-gilt frames. 116‑1/4” x 80‑5/8” and 116‑1/4” x 45”, framed 123‑3/8” x 87‑1/4” and 123‑3/8” x 51‑1/2” $10,000‑$15,000

59 Franco-Belgian School (Late 17th Century) “Susanna and the Elders” oil on cradled panel unsigned. Framed. 29‑1/2” x 42”, framed 36‑3/4” x 48‑1/2” $5,000‑$8,000 60 Follower of Theodor van Thulden (German, 1606‑1669) “Mars, Venus and Attendants” oil on alabaster encased in a wood liner unsigned. Presented in a giltwood frame. sight 12” x 14‑3/8”, framed 20” x 23” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California.

$1,000‑$1,500

61 Dutch School (17th Century) “Lute Player” oil on canvas unsigned. Framed. 44‑1/8” x 38‑1/8”, framed 56‑5/8” x 50‑3/8” Provenance: Freeman’s “European Arts & Old Master Sale”, June 16, 2015, lot 24. $1,000‑$1,500 61

62 Iron and Marble Conservatory Table of Spanish guard room form, the thick rectangular marble top with a molded edge, and raised on scrolling supports joined by like stretchers and ending in shaped toes. h. 31‑1/2”, w. 82‑1/2”, d. 36‑1/2” $1,200‑$1,800 62A Danish Oak Cupboard late 17th/early 18th century, the heavily molded cornice above a case fitted with a tri-paneled frieze over two ebony paneled doors, over two like taller doors, the whole flanked by fluted and faux fluted pilasters and raised on like feet, the sides also paneled. h. 58‑1/2”, w. 68”, d. 25” Provenance: By tradition, descended in the maritime and lumber-trading Olsen/Strigel family of Denmark and New Orleans, until sold in these galleries in May 2014. 62A

$1,200‑$1,800 63 Pair of Painted Armorials on Porcelain ca. 1877, Munich, signed on the rear by artist C. F. Deininger, Munchen, and labeled by the Munich frame maker, one marked on the back “Rebecca Keim-Robinson, 1877” and the other marked “L. Keim Carsrahe, 1877”. h. 16”, w. 12‑1/4” $1,200‑$1,800

64 Baroque-Style Brass and Ebonized Wood Cushion Mirror fourth quarter 19th century, Dutch or Flemish, with molded, patinated pressed brass, decorated with bold raised flowers and trimmed with ebonized “ribbon” molding, the pedimented crest decorated with flowers and scrollwork, set with a beveled mirror plate. h. 53‑1/2”, w. 33”

$800‑$1,200 65 Italian Baroque-Style Carved and Painted Column ca. 1900, now mounted as a floor lamp, on gilt paw feet, the spiralreeded column carved with grapes and gilt grapevines, terminating in a gilt composite capital, mounted with a shade. h. 81”, dia. 17‑1/2” $800‑$1,200 66 Continental Domed Trunk-on-Stand the entire trunk covered in needlework of medieval figures in a garden, with brass tack accents, now fitted with a drop front opening to a pull-out compartmented interior, possibly for artist’s supplies, raised on a barleytwist leg stand. h. 55”, w. 35‑1/2”, d. 19‑1/2” $600‑$900 67 Parcel-Gilt Mirror in the Baroque Taste 20th century, with a parcel-gilt and ebonized frame, the arched crest decorated with cut flowers and stars. h. 55”, w. 23‑3/4” $600‑$900 66

68 Continental Oak Cassone late 18th century, the hinged and bi-paneled top opening to a storage interior, the front with two arched panels with the remnants of painted decorations, raised on a shaped bracket base. h. 30‑1/2”, w. 60‑1/2”, d. 23” $600‑$900 69 Flemish Walnut and Mahogany Secretary late 18th century, the molded and double-domed cornice above two domed doors, each paneled and with decorative foliate and masque inlays, opening to a compartmented and slotted interior, with two candle slides below, the lower section fitted with a banded slant front opening to an inset leather writing surface, a storage well and various drawers and compartments surrounding a central domed cupboard, opening to two small drawers, over two short and two graduated long drawers, all with decorative inlays, raised on carved bracket feet. h. 89‑1/2”, w. 38”, d. 23‑1/2”

Provenance: Lyonel Stone, New Orleans, Louisiana. $1,200‑$1,800 69 detail

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70 Dutch Marquetry-Inlaid Bombe Commode mid-19th century, in the rococo taste, the serpentineinlaid top over a case with like inlay and a bank of four drawers flanked by serpentine-inlaid columns, raised on carved ball-and-claw feet. h. 36”, w. 46‑1/2”, d. 22” $1,000‑$1,500 71 Continental Brass-Mounted Horn Drinking Cup possibly medieval, with a Latin inscription on the rim, mounted with incised brass trim, supported on ball-andclaw feet. h. 13”, w. 15”, d. 5” $1,000‑$1,500

This example compares favorably to one in the collection of the British Museum, London. Their description quotes the 1928 book The Waddesdon Bequest, by Charles Hercules Read and Alec Bain Tonnochy, which reads “drinking horns of this type are not uncommon in Denmark and Norway and a large collection of medieval and later specimens is preserved in the National Museum at Copenhagen...”. The Museum attributes their example to Denmark, 15th century. 72 Spanish Walnut Vargueno late 17th/early 18th century, of rectangular form, the case ornamented with pierced brass medallions in the Moorish taste, the front opening to an interior fitted with ten drawers of various shapes and sizes centering a cupboard, the cupboard with an architectural front featuring tiers of columns and carved cherub masques, opening to reveal nine small drawers, all richly carved in geometric floriform patterns and with decorative moldings. h. 28”, w. 44‑1/2”, d. 17‑1/4” $4,000‑$7,000 72 detail

73 Pair of Monumental Mahogany Armchairs late 19th century, in the Baronial taste, each with a shaped scrolling foliate-carved crest above a pierced oval splat within an acanthine-carved border, joined by downswept arms to the padded seat, raised on bulbous legs joined by a shaped and pierced front stretcher and ending in toupie feet. h. 60” $1,000‑$1,500 74 Continental Oak Refectory Table the rectangular top with a molded edge, above a fan- and patera-carved frieze, raised on turned columnar legs joined by an H-form stretcher and ending in block-and-ball feet. h. 30”, w. 66‑1/2”, d. 39‑1/2” 73

$800‑$1,200

75 American Carved Pine Six-Board Trunk 18th century and later, the top, front and sides relief-carved in the 19th-century and in the Pilgrim style, the sides with boot-jack ends, the lid with interior strap hinges. h. 26‑1/2”, w. 46”, d. 17”

$600‑$900 76 Continental Giltwood Mirror in the Baroque Taste fourth quarter 19th century, with an egg-and-dart surround, the frame with inset mirrors and pierced, carved corner ornaments and a carved inner frame, the crest scrollwork carved and pierced, with a central cabochon beneath a spray of leaves. h. 73”, w. 41” $1,500‑$2,500 75

77 Italian Parcel-Gilt Alabaster Statue of Our Lady of Guadalupe 19th century, the statue depicted holding a baby, held aloft by three angels, about to be borne up to heaven, in a glass-sided carved mahogany case in the Baroque fashion. h. 17‑1/2”, w. 8‑3/4”, d. 5” $900‑$1,200 78 Dutch Walnut Secretary 19th century and later, the molded double-domed cornice above two doors, each inset with two oyster-veneered panels, opening to an interior fitted with a central compartment surrounded by various drawers and cubbyholes, the lower section fitted with a slant front opening to an inset leather surface, a storage well and a variety of drawers and cubbyholes, over a central recessed kneehole, flanked to either side by a bank of four graduated drawers, raised on ogee bracket feet. h. 89”, w. 50”, d. 22”

$2,500‑$4,000

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79 Italian Baroque Walnut Center Table 18th century, the octagonal top with a molded edge, over a conforming apron with carved panels and carved masques and brackets at the corners, one side fitted with a drawer, raised on shaped legs ending in paw feet. h. 28‑1/2”, w. 34”, d. 34” $1,500‑$2,500 80 Turned Mahogany Model of a Spiral Staircase 20th century, with tapered, vase-turned balusters, the landing supported by a turned pillar, on a circular base. h. 24‑1/2”, dia. 10‑1/2” $700‑$1,000 81 Pair of Carved Pine Figures Mounted with Candleholders fourth quarter 19th century, the provincial draped figures holding tin candle sockets molded with drip pans. h. 25‑1/2”, w. 11‑1/4”, d. 8” $1,800‑$2,500

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82 Well-Carved Oak Figure of a Monkey fourth quarter 19th century, possibly Venetian Fantasy, the animal carved with a bow of branches and hanging fruit framing his face, on a feather-carved base. h. 29”, w. 6‑1/2”, d. 7” $700‑$1,000 83 Continental Provincial Oak Armoire mid-19th century, the heavily molded cornice with projecting canted corners, above a conforming case fitted with two long doors, each inset with two shaped panels, flanked to either side by a paneled upright, raised on large bun feet. h. 97”, w. 83”, d. 30‑1/2” $800‑$1,200 84 Continental Mahogany Trestle Table 20th century, the rectangular top above a conforming molded frieze, raised on scrolling acanthine-carved end supports centered by a spiral-ribbed column, joined by a spindled stretcher and ending in runner feet. h. 29”, w. 58‑1/2”, d. 31” $700‑$1,000 83

86 Carved and Painted Santos Figure of St. Peter 85 Pair of Italianate Carved and Parcel-Gilt Wood Liturgical Cabinet Doors with Inset Religious Portraits the doors early 20th century and set with six oil on canvas laid on board paintings ca. 19th century, the arched gates with floral motif and scrollwork, one side with images of the Angel of the Annunciation, St. Matthew and St. Luke, the other with Mary, St. Mark and St. John, each evangelist depicted with his attribute. h. 67”, overall w. 37‑3/4” $2,000‑$4,000

late 19th century, Continental or Latin American, the figure with glass eyes, dressed in a red cape and a teal gown with gilt “embroidery”, mounted on a base marked “S. Pedro”. h. 21‑1/4”, w. 8‑1/2”, d. 4‑1/4” $700‑$1,000 87 Carved and Painted “Salvator Mundi” 18th century, Spanish or Latin American, on a painted base marked “Nino Jesus, Formariano ..., Natural de Torreyclec ...”. h. 28‑1/4”, w. 13‑1/2”, d. 9‑3/4” $700‑$1,000

88 Latin American Carved Madonna 18th century, poised with her head to one side, wearing a head cover, her arms crossed, heavily encrusted with early paint layers. h. 25”, w. 16”, d. 10” $1,000‑$1,500 89 Continental Carved and Painted Figure 18th century, the figure standing contrapposto and wearing a toga, with remnants of gray paint on some of the lower portion, on a giltwood and velvet base. h. 37”, w. 9”, d. 9” $800‑$1,200 90 Carved, Painted and Parcel-Gilt Figure of an Angel first quarter 19th century, Continental, depicted dressed in a flowing gown, retaining traces of parcel-gilt and paint, the wings with silver gilt and red paint, with parcel-gilt trim. h. 25”, w. 10‑1/4”, d. 12” $1,000‑$1,500 90

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91 Carved Wooden Figure of a Putto fourth quarter 19th century, Latin American, the figure poised holding a cornucopiaform flaming torch, sitting on a column-form base. h. 47”, w. 13”, d. 17” $1,200‑$1,800 93

92 Carved and Painted Wooden Figure ca. 1800, possibly depicting an archangel, dressed in flowing robes and poised as though floating in the air, on a contemporary painted base. h. 21‑1/2”, w. 9”, d. 11” $800‑$1,200 93 Italian School (Late 17th Century) “Saint Ursula with Saints Jacob and Jerome” oil on canvas unsigned. Framed. 59” x 49‑1/4”, framed 63‑1/2” x 53‑1/2” $3,000‑$5,000

94 Italian School (18th Century) “The Body of Abel Found by Adam and Eve” oil on canvas unsigned. Unframed. 44‑1/8” x 53” $3,000‑$5,000

95 Antwerp School (First Quarter 16th Century) “A Triptych: Adoration of the Magi, Nativity and Rest on the Flight to Egypt” oil on shaped panels unsigned, leftt wing verso with “Carl Westernburger, Frankfurt, Germany” restorer label, ca. 1930’s Conforming frames. central panel: 29” x 20‑1/2”, left wing: 29” x 9‑1/2”, right wing: 29” x 9‑1/2”, overall 38‑1/2” x 46‑1/2” Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Weisbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas. $100,000‑$200,000

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The triptych offered in this sale, dedicated to the story of Nativity is a fine example of the Antwerp Mannerist School. This is not to be confused with the Italian Mannerists as the two vary greatly stylistically and thematically. The central panel is devoted to the scene of the “Adoration of the Magi”, which was probably the most popular of scenes executed by artists of the movement. It is flanked by the “Nativity” and “The Rest on the Flight to Egypt”. This style of painting is known for its rich use of color, extravagant scenery where Gothic and Renaissance architectural elements merge unabashedly; the asymmetrical composition; lack of harmonious perspective and scale (unlike Italian Renaissance examples); lavish costuming, and unnatural source of light. “Adoration of the Magi”, with its inclusion of the exotic kings bearing gifts, perfectly lends itself to this theatrical tableau, creating a sense of drama and evoking an emotional response. Writing in the mid sixteenth century, the Portuguese painter Francisco de Hollanda recorded what he claimed was Michelangelo’s opinion on the achievements of Flemish Renaissance art: “Flemish painting, slowly answered the painter, will generally speaking, please the devout better than any painting of Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many. In Flanders they paint with a view to deceiving sensual vision They paint stuffs and masonry, the green rivers and bridges, which they call landscapes, with many figures on this side and many figures on that.” Although the Northern Mannerists appeared before the Reformation of 1516, it is those same qualities described by

de Hollanda that appealed to the personal form of religious expression that the Protestants encouraged. The Reformation is also most likely responsible for the emergence of new, secular themes in art such as landscapes and portraiture. Whereas in the previous century, the religious and secular comingled in devotional painting, the sixteenth century witnessed a segregation of those themes. Of course, these new artistic developments could not have happened without the economic prosperity. Antwerp in the early part of 16th century emerged as the financial and trading center of Northern Europe, surpassing Bruges. This economic climate attracted artists from all over Europe, who set up workshops and produced large quantities of personal devotional works for both local consumption and export. Albrecht Durer, visiting the city in 1520, commented in his diary on the persistent carnival atmosphere on the streets of the city, especially during the Feast of Assumption of the Virgin. He also commented on the “awesomeness” of the artists guild of St. Luke, which as all other guilds in the city, was well organized and whose records give ample testimony to the sudden influx of foreign artists. The Northern Mannerist movement lasted only a few decades, although it emerged again at the turn of the century. 17th century saw an artistic boom due to the large workshops of the popular Peter Paul Rubens and Jacob Jordaens, but as the economy began to decline toward the end of the century, Antwerp ceased to be the artistic center it once was.

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96 Follower of Rogier van der Weyden (Flemish, 1399‑1464) “Madonna and Child”

97 Large German Carved and Polychrome-Painted Figure of the Madonna and Child

oil on panel unsigned. Framed. 19” x 12‑1/2”, framed 24‑1/2” x 19”

probably 15th century, the crowned Madonna holding the Infant Jesus grasping an orb, “Salvator Mundi”, the reverse with a hand-wrought iron butterfly bracket attached with rosehead nails and having a loop for hanging h. 44”, w. 10”, d. 8‑3/4”

Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959)and Carola (1895‑1967) Kilp, Weisbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas.

Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Weisbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas.

$4,000‑$7,000

$3,000‑$5,000

98 German Carved and Polychrome-Painted Figure of St. John the Evangelist probably 15th century, poised with a chalice, referring to a miracle in which a poisoned cup of wine intended for him was transformed into a serpent. h. 23”, w. 7”, d. 6‑1/4” Provenance: By descent in the Kilp Family, Germany; to Antonio (1885‑1959) and Carola (1895‑1967) Kilp, Weisbaden, Germany; to their daughter Carmelita Kilp Blackburn (1923‑2017), Sugar Land, Texas. $1,500‑$2,500

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99 Madonna and Child Gilt-Bronze, Brass and Ebony Table Clock, Benedict Miller, Augsburg, Germany, ca. 1635 the Madonna figure backed with a later sunburst, her crown with a revolving chapter ring band, her left hand holding a steel pointer, her right arm supporting the Infant Jesus holding a “globus cruciger”, the glass-paneled ebony base containing the movement signed “Binedickt Miller”, with a fusee movement for the going train and a standing barrel for the strike, the verge escapement with steel balance and engraved and reticulated floral cock, the barrel with lips and pinned cover, engraved and pierced striking gate, the backplate mounted with the countwheel cut for 3 x 6 hour striking. h. 12‑1/4”, w. 6‑1/4”, d. 4‑1/2” Provenance: “The Justice Warren Shepro Collection of Clocks”, Sotheby’s, New York, April 26, 2001, lot 26; Private collection. $12,000‑$18,000

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100 Unusual Giltwood Mirror first quarter 20th century, possibly Italian, the surround in a “rustic” pattern and molded to resemble wood, decorated with grape leaves and pierced vines, and molded grapes on the crest. h. 61”, w. 32‑3/4” $1,200‑$1,800 101 Pair of Carved and Gilded Table Lamps in the Italian Baroque taste, of silver gilt rope-twist form, decorated with gilt grapes and grapevines, on lucite bases. h. 21‑1/2”, dia. 6” $700‑$1,000 102 Russian Silver-Plated Icon second quarter 20th century, depicting the Ascension of Christ, with Christ in brass, floating above the church top and attended by angels, while four disciples gaze heavenward, with spurious silver marks. h. 12”, w. 10‑1/4” $600‑$900

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103 White Metal Chandelier of Baroque Inspiration 20th century, with a bold faceted and turned urn-form standard set with scrolled candle arms. h. 41”, dia. 40‑1/2” $700‑$1,000 104 Empire-Style Silvered Metal and Marble-Top Occasional Table 20th century, the circular marble top raised on an urn-form standard with ram’s head accents on three shaped supports centered by a caduceus to a concave tripartite base. h. 28”, dia. 20‑1/2” $700‑$1,000 105 Large Pair of Continental Bronze Argente Altar Candelabra fourth quarter 19th century, each with a knopped standard decorated with fluting, scrolls and acanthus calyx, raised on a triangular plinth with pendant pyr and supported by three acanthus-crested scroll feet, the whole surmounted by scrolling branches decorated with acanthus leaves and bud pendants, each terminating in a cannon-form nozzle with gadrooned drip pan and detachable bobeche. h. 44‑1/2”, w. 18”, d. 10‑1/2” $2,500‑$4,000 105

106 Silver Gilt Reliquary Bust of Blessed Franco of Siena fourth quarter 17th century, Italian, the base supporting a plinth with incised and crossed palm fronds, the bust dressed in classical draping inset with a reliquary opening framed with scrollwork. h. 24‑1/2”, w. 14”, d. 5‑1/2” $700‑$1,000 107 Carved, Painted and Parcel-Gilt Figure of Christ first quarter 19th century, possibly Latin American, dressed in a gilt gown, the barefoot Christ standing on a carved base. h. 44”, w. 22”, d. 12” $1,500‑$2,500 108 Continental Life-Sized Carved and Painted Figure of St. Peter second half 18th century, piously posed with a bowed head and crossed arms, depicted with his long flowing beard. h. 69‑1/2”, w. 23‑1/2”, d. 13” $1,000‑$1,500 106

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109 Carved and Painted Statue of St. Margaret of Hungary fourth quarter 17th century, probably Italian, known for her piety, she is depicted with her eyes downcast, wearing her signature crown. h. 61”, w. 21”, d. 12” $2,500‑$4,000 109A Carved and Painted Figure of an Angel late 17th/early 18th century, probably Italian, poised with wings and arms spread, the carved banner worn but likely Latin. h. 20‑3/4”, w. 19‑1/2”, d. 7‑3/4” $800‑$1,200

110 Two Continental Carved Walnut Figures including a scroll-carved cartouche carved with a classical female masque with flowers in her hair, framed with a swag of carved fruit, third quarter 19th century, h. 17‑1/2”, w. 14”, d. 6‑3/4”, and a bas-relief Salvator Mundi, Christ holding an orb, h. 15‑1/4”, w. 5”. $700‑$1,000

111 Continental Oak Buffet

113 Pair of Painted and Parcel-Gilt Putti

late 19th century, the rectangular top above a conforming case fitted with a single gadroon-carved drawer over two cupboard doors, each with a decorative panel centered by a deeply carved fruit cluster, flanked to either side by masqueand female-carved uprights, raised on squat bun feet. h. 43”, w. 60”, d. 22‑1/2”

ca. 1800, probably Iberian Peninsula, with painted bodies and gilt hair and wings, each holding a basket of loaves of bread, upturned for distribution. h. 27”, w. 32”, d. 6‑3/4”

$800‑$1,200

114 Pair of Painted and Parcel-Gilt Putti with Candleholders

112 Pair of Parcel-Gilt Molded Plaster Table Lamps in the Italian Baroque style, molded with standing putti alternating with putti masques and swags of fruit and scrollwork, on lucite bases. h. 22”, dia. 6”

$1,200‑$1,800

fourth quarter 19th century, Italian, realistically painted, holding aloft cornucopia-form pricket candle holders, with mounts for wall hanging. h. 21‑1/4”, w. 8‑1/2”, d. 8” $800‑$1,200

$800‑$1,200

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115 Two Painted and Parcel-Gilt Putti probably Italian, the smaller example, 18th century, modeled dressed in a painted and parcel-gilt robe, h. 17”, w. 9‑3/4”, d. 4”, and the larger example, fourth quarter 19th century, in a gilt gown, h. 25‑1/2”, w. 14”, d. 13‑3/4”. $1,000‑$1,500 116 Italian Polychrome Games Table in the neoclassical taste, the rectangular framed top with a paint-decorated surface under glass, and featuring 36 game squares. h. 17‑1/2”, w. 53‑1/2”, d. 39‑1/2”

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$600‑$900 117 Baroque-Style Cast Bronze Garden Fountain the tall back modeled as a cartouche centered by a spigot masque over flora and foliage with a pair of full-figured putti astride dolphins, the bowl of shell form, supported by atlantes modeled as putti with fish tails. h. 78”, w. 40”, d. 24” $2,000‑$4,000

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118 Italian Composite Stone and Marble-Top Conservatory Table the rectangular specimen marble top with intricate foliate and geometric patterns, and raised on two large supports, each in the form of an acanthine scroll on a plinth base. h. 33”, w. 95‑1/4”, d. 44‑1/4” $4,000‑$7,000 119 Pair of Italian Polychrome Side Chairs late 18th century, each with a padded ovoid back surmounted by a foliate crest, the padded seat raised on molded cabriole legs ending in scrolled toes. h. 44” $700‑$1,000

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120 Continental Enamel Plaque 18th century, depicting Aphrodite with a satyr, freshly pierced by the arrows of Eros, who stands to one side, his bow and arrow on the other, in a contemporary giltwood frame. overall h. 7‑1/2”, w. 8‑3/4” $800‑$1,200 121 Italian Carved and Painted Reliquary mid-18th century, the oval relic holder framed with pierced scrollwork, with a crown-form crest, carved tassels below, on a contemporary lucite base. h. 21‑1/4”, w. 11‑1/4”, d. 5‑1/2 h. 21‑1/4”, w. 11‑1/4”, d. 5‑1/2”

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$600‑$900 122 Monumental Continental Polychrome Cabinet 18th century, in the neoclassical taste, the molded cornice above four cabinet doors, over three small drawers and two end cupboards, the lower section fitted with four cupboards, raised on block feet, the whole accented with scrolling geometric patterns. h. 98”, w. 116”, d. 30” $2,000‑$4,000 121

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123 Italian Neoclassical Polychrome and Marble-Top Commode mid-19th century, the rectangular marble top with a molded edge, above a case fitted with three long drawers, all with polychrome scrolling foliate and avian accents, raised on cabriole legs. h. 39‑1/2”, w. 50‑1/2”, d. 21” $2,500‑$4,000 124 Pair of Italian Giltwood Blackamoor Occasional Tables mid-19th century, each with a shaped top with incised scrolling patterns and a shaped apron, raised on a support in the form of a blackamoor, each holding a wine goblet and grape cluster, and with traditional garb, continuing to three shaped legs with floral accents and ending in peg feet. h. 37‑1/2”, w. 13‑1/2”, d. 11‑1/2” $1,000‑$1,500

125 Continental Louis XV-Style Writing Table the shaped rectangular top banded and centered by a circular panel with scrolling foliate, floral and avian inlays, above a conforming frieze fitted with a single drawer, raised on cabriole legs headed by bellflower carving and ending in in-scrolled toes. h. 29‑1/2”, w. 48”, d. 30” $1,500‑$2,500 126 Italian Venetian Blackamoor Stool late 18th century, the padded rectangular top supported by a crouching blackamoor figure and a back carved to simulate drapery, raised on a canted and molded plinth. h. 22”, w. 19”, d. 12‑1/2” $1,800‑$2,500

127 Pair of Large Carved and Painted Blackamoors second quarter 20th century, Venetian, depicted dressed in tunics with gilt sashes and plumed turbans, holding giltwood cornucopias, standing on carved “stones”, raised on covemolded bases. h. 73‑1/2”, w. 30”, d. 23‑3/4” $3,000‑$5,000 128 Pair of Italian Giltwood Fauteuils 19th century, each with a padded shaped back surmounted by a shell and foliate crest, joined by molded scrolling arms to the padded seat, above a shaped foliate shield-carved apron, raised on cabriole legs ending in scrolled toes. h. 43” $700‑$1,000

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129 Venetian-Style Octagonal Mirror 20th century, Italian, framed with spiral-blown glass trim, the surround decorated with engraved flowers and leaves, the joints with glass strapwork and flowers. h. 43‑1/2”, w. 31‑1/2” $800‑$1,200 130 Italian Fruitwood Commode late 18th century, the rounded concave top banded and inlaid with decorative paneling, above a conforming case fitted with three long drawers, all banded and with like inlay, raised on bun feet. h. 32”, w. 38‑1/2”, d. 20” $2,000‑$4,000 131 Continental School (18th Century) “Portrait of a Mother and Daughter in Pearl and Lace Collars” oil on canvas In a carved giltwood frame. 24‑1/2” x 21‑1/2”, framed 28” x 23” $1,000‑$1,500

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132 Italian Rococo Giltwood and Faux Marbre Side Table 19th century, the shaped faux marbre top above a conforming foliate-carved frieze centered by a shield carving, raised on scrolling legs headed by deeply carved floral capitals, joined by an urncentered X-form stretcher and ending in foliate scrolled toes. h. 36‑1/2”, w. 50”, d. 21” $1,000‑$1,500 133 Pair of Rococo Revival Gilt-Bronze Mirrored Sconces third quarter 19th century, the frames with pierced rocaille work and flowerheads, and set with angelhead finials, the scrolled candle arms terminating in flower-form candle cups and leaf-molded drip pans. h. 26”, w. 13”, d. 4”

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$700‑$1,000

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134 Pair of Gilt Terracotta Putti ca. 1900, Italian, the figures modeled poised in flight, with hanging mounts. h. 16”, w. 17‑1/2”, d. 6‑3/4”

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$600‑$900 135 KPM-Style Porcelain Plaque ca. 1900, painted with a carefully delineated luminous portrait of William Shakespeare, mounted in a pierced giltwood frame, probably original. plaque h. 5‑1/2”, w. 3‑3/4”, overall h. 11‑3/4”, w. 9‑1/2” $600‑$900 136 KPM-Style Porcelain Plaque of Francesco delle Opere ca. 1900, after a portrait by Pietro Perugino (1448‑1523), the rear of the carefully painted plaque marked “Portrait: P. Vannucci di Brugino”, in a turn-of-the-century pierced giltwood frame. plaque h. 3‑1/2”, w. 2‑3/4”, overall h. 8‑1/2”, w. 6‑1/4” $600‑$900 136

137 Italian Fruitwood and Elm Commode early 19th century, in the rococo taste, the banded and shaped top inset with two panels with decorative corner inlays, above a conforming case fitted with three long drawers, all paneled and with like inlay, above a pierced foliate-carved apron, raised on cabriole legs ending in foliate toes. h. 34”, w. 38”, d. 22‑1/2” $1,500‑$2,500

138 Northern Italian Walnut and Fruitwood Secretary early 19th century, the molded and domed cornice above a bowed upper section fitted with a central drawer over a shieldinlaid cabinet, opening to three small drawers, over a drawer, flanked to either side by four small drawers, the lower section fitted with a central drop front, opening to a central cupboard and two small drawers, flanked by a downswept panel to a small drawer, over two long serpentine drawers, raised on cabriole legs ending in paw feet, the whole accented with decorative inlaid banding. h. 80”, w. 43‑1/2”, d. 27” $1,500‑$2,500 139 Italian Giltwood Mirror in the Rococo Taste mid-19th century, with a grapevine-carved surround inset with mirror glass, the scroll-carved crest decorated with carved flowerheads and inset with mirror, with scrolled feet on either side of the base. h. 64”, w. 35” $2,500‑$4,000

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140 Italian Polychrome and Fruitwood Settee 20th century, probably Venetian, the domed and shaped padded back surmounted by a foliate shield crest, joined by dramatically outswept and padded arms to the cushioned serpentine seat, raised on cabriole legs headed by foliate carving and ending in foliate-carved scrolled toes. h. 39”, w. 83”, d. 23‑1/4” $800‑$1,200 141 Italian Fruitwood Desk

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18th century, the rectangular banded top with shaped corners, above a case fitted with a writing slide over three frieze drawers and a central kneehole flanked to either side by two small drawers, raised on fluted tapering circular legs ending in toupie feet. h. 32”, w. 43”, d. 22” $800‑$1,200 142 Pair of Baroque-Style Brass Urns fourth quarter 19th century, Continental, of inverted pear form, decorated with mounts of winged angel heads alternating with cabochons, the molded bases supporting reeded engine-turned standards. h. 21‑1/2”, dia. 16” $600‑$900

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143 Italian Giltwood Mirror in the Baroque Taste fourth quarter 19th century, with an asymmetrical mirror plate lined with molded rocaille work, framed with bold, pierced scrollwork, the crest decorated with a pair of opposing leaves framing an overlapping center leaf. h. 57‑1/2”, w. 36” $700‑$1,000 144 Italian Fruitwood and Marble-Top Bombe Commode 19th century, the shaped marble top above a conforming bombe case, fitted with three long drawers, all with decorative scrolling inlay, raised on splayed legs ending in sabots. h. 37”, w. 57”, d. 25” $700‑$1,000 146

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145 Giuseppe Gustavo Scoppa (Italian, 1856‑1940) “Messina” and “Naples from Posillipo” pair of gouaches on paper each titled lower bottom, the second signed lower left. Matted, glazed and framed alike. each 18‑1/2” x 27”, framed 26” x 35‑1/2” $2,000‑$4,000 146 Pair of Venetian Carved and Painted Blackamoor-Style Gondoliers

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ca. 1900, Italian, the figures dressed in colorful painted and parcel-gilt fringed breeches and vests, carrying decorated paddles in one hand and holding aloft gilded tazzas in the other, standing on half gondolas. h. 11‑1/2”, w. 6”, d. 5‑1/2” $700‑$1,000

147 Impressive Carved Alabaster Chandelier ca. 1900, Italian, with a rosette finial, the sides lobed, with an upper border of carved rosettes alternating with bellflowers, supported by a patinated bronze chain with alternating lozenge-form and rectangular links. h. 41”, dia. 25” $1,500‑$2,500 148 Italian Walnut and Fruitwood Commode late 18th century, the concave D-form top banded and with parquetry veneers, above a conforming case fitted with three long drawers, banded with like parquetry veneers, raised on bun feet. h. 33”, w. 49‑1/2”, d. 27‑1/2” $2,500‑$4,000 149 Louis-Philippe Giltwood Mirror mid-19th century, with rounded corners, the frame decorated with molded scrollwork on a stippled ground, set with a rocaille-molded pierced crest. h. 57‑1/2”, w. 36‑1/2”

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$600‑$900

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150 Pair of Continental Giltwood Bergeres late 19th century, in the Baroque taste, each with a padded and domed back surmounted by a pierced foliate crest joined by closed out-scrolled arms to the padded seat, above a guilloche-carved apron, raised on short cabriole feet headed by acanthine carving and ending in scrolled toes. h. 46” $700‑$1,000 151 Italian Polychrome Secretary late 18th century and later, the broken swan’s-neck pediment above two paneled doors, opening to a shelved interior, the lower section fitted with a slant front opening to a central cupboard and drawers and over four long drawers, raised on shaped feet. h. 76”, w. 23‑1/2”, d. 16” $1,000‑$1,500 151

152 Italian Kingwood and Walnut Bureau early 19th century, the rectangular top inset with two panels with decorative banding, over a like-paneled slant front opening to a variety of drawers and cubbyholes, over three long drawers, all with like panels, raised on shaped bracket feet. h. 46”, w. 46‑1/2”, d. 24‑1/2” $1,500‑$2,500 153 Brussels Hand-Woven Wool Tapestry of a Betrothal first quarter 19th century, the figures within a lush garden setting, with an overall bird and vine border. 64” x 81” $2,000‑$4,000 152

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154 Studio of Justus Sustermans (Antwerp, 1597‑Florence, 1681) “Portrait of Mattias de’ Medici (1613‑1667)”, formerly attributed to Velazquez as “Don Juan of Austria”, ca. 1633-1645 oil on canvas unsigned, “Velasquez” [later] inscribed in ink en verso. Framed. 81‑3/4” x 47‑3/4”, framed 95” x 62”

Provenance: Collection of John Rushout, Second Baron Northwick (1770‑1859), Thirlestane House, Cheltham, U.K. as “Don John of Austria” by Velazquez, no. 62; also sold by Mr. William Augustus Phillips (now Phillips of London) as a Velazquez in the sale of the Lord Northwick Estate, July 26‑ August 15, 1859, lot 1499; John Samuel Wanley Sawbridge ErleDrax, Esq. (1800‑1887), Dorset, U.K.; his nephew Wanley Ellis Sawbridge Erle-Drax, Olangtigh Towers, Wye, Kent, U.K., 1887; Private collection of Sam and Rie Bloomfield, Wichita, Kansas, 1950s-1990; Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California.

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Literature: Hours in the Picture Gallery of Thirlestane House, Cheltenham: Being a Catalogue, with Critical and Descriptive Notices.... London: Longman & Co.1846, p. 20, no. 62; Catalogue of the Late Lord Northwick’s Extensive and Magnificent Collection of Ancient and Modern Pictures...: London: Mr. Phillips, 1859, p. 133, no. 1499; Curtis, Charles Boyd. Velazquez and Murillo: A Descriptive and Historical Catalogue of the Works.... London: Sampson, Low, Marston Searle, and Rivington, 1883, p. 62, no. 148c; The Times (London). Feb. 21,1910, p. 14. $15,000‑$25,000

154 detail

The London Times review of the Erle Drax sale at Christie’s on February 19, 1910 stated that while most of the 108 big paintings Erle-Drax purchased at the Northwick sale of 1859 were offered at auction, “a few, however, do not appear, and some of these omissions are of sufficient interest to call for notice, [notably] the whole length Velazquez, Don Juan of Austria”. At the time of Curtis’ catalogue raisonne on Murillo and Velazquez in 1883, this painting was reportedly still in the Erle-Drax collection. Its absence and misrepresentation does indeed merit attention; “Don Juan” does not reappear until a 1958 appraisal by Milton Holland in San Francisco for the Bloomfields, who purchased it (probably in London) during the early 1950s when they amassed much of their collection of old masters, and it remained a Velazquez until after it was gifted to Friends University, when Ian Kennedy, the Senior Vice President and Director of the Old Masters Collection at Christie’s, New York, properly attributed it to a portrait of Mattias de’ Medici by the studio of Sustermans in a 1992 letter, calling it “the most interesting work in the collection.” This impressive, life-sized portrait of Mattias de’ Medici is a much larger version of the one conserved at the Pitti Palace in Florence. It is remarkable in the amount of attention given to the details of the sitter’s “military costume”, especially considering its size. The studs on the armor, the point de Venise lace collar and the red embroidered and lace-trimmed sash is the focal point of the painting; the tiny battle in the background is hardly visible, although it probably alludes to Mattias’ involvement in the Thirty Years War in Austria from 1632‑1639 and the Wars of Castro from 1641‑1649, where he commanded the leagues of the Republic of Venice, the Grand Duchy of Tuscany, and the Duchies of Parma, Modena and Reggio against the Barberini Pope. As the son of Cosimo II de’ Medici, Grand Duke of Tuscany, Mattias was destined for an ecclesiastical career, but due to his poor disposition toward the vocation, he became a governor of Siena. Lover of arts, public festivities and finery, he was an important patron to many artists, including the Flemish painter Justus Sustermans, who spent most of his career in France and Italy at the Court of the Medicis. Sustermans painted Cosimo II’s five sons and three daughters multiple times from childhood to adulthood, and he was often further commissioned by the Medici to produce multiple copies of their portraits (through his workshop) to be sent to the family’s allied courts in Venice and Paris. One such fine example is the 1660 portrait of Mattias in armor and attended by a Moorish servant, now conserved in the National Gallery of Art. Executed in a near life-size scale, it too is a copy produced by the studio of Sustermans that was erroneously sold on the 19th-century London market. Instead of another “Don John” by Velazquez, it was sold in 1872 as Lord Fairfax by Sir Peter Lely. In spite of 19th-century cataloging mishaps, this portrait exemplifies Sustermans’ detailed, realistic depictions of his

subjects, along with the dramatic use of light and dark, rich color, and exquisite rendering of textures and fabrics. His style was influenced by Diego Velasquez and the Venetian artists, combining realism with the atmosphere and sense of drama. Sustermans was keenly inspired by Velazquez’s portrait of Francesco d’Este, Duke of Modena, painted in 1638 when d’Este visited Madrid to secure the support of Philip IV, King of Spain. Sustermans studied the painting extensively as he painted a portrait of d’Este’s son, Alfonso IV, in the likeness of it when he visited the Duke’s court in 1649. Both paintings of the d’Estes (conserved in the Galleria Estense in Modena) are depicted in three-quarter profile in polished black armor surmounted by the iconic Castilian red silk sash. Reserved for the nobility, it demarcated both political and ecclesiastical power; it was an expensive luxury only powerful countries with an advanced navy and mercantile trade could afford, as the rich carmine color was extracted from the cochineal, a tiny Mexican bug from the New World. The sash, often trimmed in gold thread network, is seen throughout Velazquez’s portraits of the court of Philip IV; the sash is the focal point of General Spinosa’s military costume in the famous painting of the “Surrender of Breda”, 1635, in the equestrian portrait of “Gaspar de Guzman, Count-Duke of Olivares”, 1636, (of which there are two Velazquez copies in the Prado and the Metropolitan museums) and, most importantly, the portrait of “King Philip IV”, 1638, in the Royal Collection, which was likely gifted to King Charles I by Sir Arthur Hopton, the English Ambassador to Madrid. In all three portraits, the similarities in composition and military costume are strikingly similar to the portrait of Mattias de’ Medici: all figures dominate the picture plane and are offset by diminutive backgrounds and landscapes; all wear half- to three-quarter-length suits of black armor, richly decorated in studs and gold damascened mounts with Castilian sashes. Given the number of copies of political portraiture produced by European monarchies and powerful courts, it is quite possible that Sustermans encountered more Velazquez paintings when he executed this portrait and the matching pendant one in the Pitti Palace of his brother Francesco. This painting is an extraordinary example of 17th-century political portrait painting, serving not only as a reminder of the Medici’s power, but also as an insight into the sitter’s personality - the unusual detail of the sash, embroidered with a floral design and trimmed in delicate gold thread and reticella lace is unique to this work. It may reference a mixture of Mattias’ flamboyant personality as a patron of the arts and his ecclesiastical background, as the sash is similar in design and color to several surviving examples of such 17th-century Italian fabrics, particularly a fragment of a chalice veil, pictured in the European Embroidery 1650‑1850, German Textile Museum, edited by Uta-Christiane Bergemann, Krefeld 2006 (Inv. No. 08772, cat, 35, p. 109).

155 After Sir Anthony van Dyck (Antwerp, 1599‑London, 1641) “Portrait of Thomas Wentworth, 1st Earl of Strafford (1593‑1641)” oil on canvas unsigned, inscribed lower right. Presented in an antique giltwood and gesso frame. 77‑1/2” x 46”, framed 99” x 67” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $10,000‑$15,000

Thomas Wentworth, a loyal supporter of King Charles I, was a powerful statesman, who believed in the absolute power of the monarchy as opposed to a constitutional one governed, in part, by Parliament. His great ambition to curb Parliament’s power led to his untimely impeachment and execution, which was begrudgingly signed by the King, just eight years before the King himself was overthrown in the English Civil War. After Wentworth served as President of the Council of the North in 1628, he was appointed Lord Deputy of Ireland from 1632‑1641. Though he was an efficient administrator, he was detested for his pro-English authoritarian rule, and made many enemies among the nobles. To solidify his “sovereignty”, Wentworth commissioned numerous portraits of himself, the majority of which were issued when he governed Ireland, and ordered copies of them in quantity to be sent throughout the Kingdom. According to the National Portrait Gallery in London, Anthony van Dyck painted Wentworth’s portrait at least thirty-one times. The three oil paintings in the Gallery’s collection are copies after 1633 portraits, including a smaller work of the portrait offered here with Wentworth’s obedient Irish wolfhound gazing upward at him. This same painting, in yet three more different sizes (two of which are even larger than this one), were exhibited at the Royal Academy in 1875, 1883 and 1885 by landed gentry. Before this painting came to be part of the Bloomfield’s private collection in the 1940s-1950s, it, too, probably graced the vast halls of an estate alongside the portrait of Wentworth’s rival George Villiers, First Duke of Buckingham, presented in the same custom-made giltwood frame.

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156 School of Daniel Mijtens the Elder (Delft, ca. 1590‑The Hague, 1647/48; active England 1618‑ca. 1634) “Full-Length Portrait of a Gentleman, traditionally identified as George Villiers, 1st Duke of Buckingham (1592‑1628)” oil on canvas unsigned, inscribed lower left, identifying the sitter. Presented in an antique giltwood and gesso frame. 83” x 46‑3/4”, framed 99” x 61‑1/2” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $7,000‑$10,000

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157 Follower of Agnolo Bronzino (Italian/Florence, 1503‑1572) “Full-Length Portrait of a Nobleman” oil on canvas unsigned. Framed. 77‑1/2” x 46”, framed 87‑1/2” x 56‑3/8” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $7,000‑$10,000

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158 Circle of Tiziano Vecelli, “Titian” (ca. 1535‑1545) “Portrait of Girolamo della Torre, Count of Valdessina, Baron of Vercelli, and of Leibnitz (ca. 1510‑1590)” oil on canvas name and title inscribed in Latin along upper edge. Presented in an antique carved and pierced giltwood frame. 49‑3/4” x 37‑5/8”, framed 61‑5/8” x 51” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $10,000‑$15,000

For years this painting was attributed to Titian; in the first half of the 20th century, it was marketed, sold and bought as a Titian; in the second half of the 20th century, it was appraised, gifted to the museum, conserved and exhibited as a Titian. In 1992, a representative from Christie’s Old Masters Department in New York suggested it was instead by Titian’s apprentice Paris Bordone without articulating why? Was it because of the similarities between this portrait and his bravura in rendering a variety of textures and forms through color? Was it the luminescence of Girolamo della Torre’s flesh, created through the transparent layering of glazes and framed by the short, quick brushstrokes in his beard and hairline, or was it the more Mannerist-style of the figures’ long immense black-robbed form and the saturation of the green table cloth? While these characteristics are consistent with many Bordone portraits, namely the portrait bust of the red headed gentleman in the Uffizi in Florence or his portrait of Nickolaus Korber in the Liechtenstein Collection in Vienna, they are visible, in varying degrees, in most Titian’s pupils. Though Bordone travelled throughout the courts of northern Italy in the 1530s and 1540s, he preferred mythical subjects to portraits, and is not known to have had paintings commissioned by the della Torre family. Titian, on the other hand, painted members of the della Torre family, including Girolamo’s uncle Francesco Savorgnan della Torre in 1545. Three years later, Girolamo sends Titian to Augsburg with a letter of recommendation intended for the Cardinal of Trent. Why would Girolamo recommend Titian to the cardinal and friend of his brother Michele (also a cardinal) if he had not painted his portrait? Is it possible that the portrait of Girolamo was indeed executed by Titian’s workshop? If not Titian, then who? Lorenzo Lotto, another Venetian painter strongly influenced by Titian, who also painted the della Torre family? The Della Torres, known in German as Thurn (tower) und Valsassina, is a prominent Italian/Austrian family, whose peerage persists under the titles Count or Countess of Thurn and Valsassina-Como-Vercelli. They originated from Valsassina in the Alps of Lombardy, and ruled Milan from the 12th to the 14th century. The sitter, Girolamo, was destined for an ecclesiastical career, but abandoned it in 1549 in favor of

politics when he betrothed, Giulia Bembo, the daughter of a Venetian patrician. Lotto painted Girolamo Torre’s uncle and much older cousin in an early portrait, “Giovanni della Torre and his son, Niccolo”, ca. 1513-1516, now in the National Portrait Gallery. Niccolo’s son, also named Niccolo, was more closely allied in age and status to his father’s cousins- Girolamo and his brothers Luigi/Alvise and Michele. In 1533, all four were conferred as “counts of Valsassina” by Emperor Charles V. It is also reported that Lotto painted a portrait of the della Torre brothers, which was exhibited throughout the latter half of the 19th century in Brescia at the Galleria Lecchi. Later portraits by Lotto certainly suggest that this portrait of Girolamo could be by the hand of the artist, such as “Laura da Polo” (1544), now in the Pinacoteca di Brera. Da Polo is depicted in the same diamond-patterned black velvet robe with a similar oversaturated lime green taffeta curtain in the background. The brushwork that conveys the tight red curls at the hairline recalls Girolamo’s temples, as well as Titian’s treatment of Danae’s hair. Lotto was a master at creating rich textures and form through a complex layering of color instead of line, but unlike many of the Venetian masters, he was not particularly adept at depicting the figure, as he was less interested in the human form than in the psychology of the sitter. A fine example is Girolamo’s luxuriant, yet shapeless and understated robe that conveys Girolamo’s importance without the opulence of fitted tights, jewels or lace. Like North Renaissance artists, Lotto’s figures do not often directly engage the viewer: Young da Polo looks down and away in a moment of reverie, and Girolamo’s right eye peripherally glances outward at the viewer in curiosity, while the left eye stares blankly ahead. Bordone’s portraits, as many scholars have pointed out, also employ indirect and asymmetrical placement of the eyes for the same purpose. Bordone, Titian and Lotto spent much of their careers travelling outside of Venice and were highly attuned to the works of their contemporaries. Did they ever work in tandem for the illustrious della Torre family is a question this portrait continues to raise?

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159 Circle of Jan Dircksz Both (Dutch/German, 1615/18‑1652) “Mountainous Landscape with Travelers” oil on wood panel unsigned. Framed. 11‑1/4” x 13‑7/8”, framed 15‑5/8” x 18‑1/4” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $1,000‑$1,500

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160 Follower of Jacob Isaacksz van Ruisdael (Dutch/Haarlem, 1628‑1682) “Figures on a Wooded Path, Sailboats and a Church Spire in the Distance” oil on canvas unsigned. Presented in a giltwood and gesso frame. 44‑3/8” x 36‑3/4”, framed 51‑1/2” x 53‑3/4” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $3,000‑$5,000

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161 Circle of Philipp Peter Roos, Rosa da Tivoli (German/Italian, 1655/57‑1706) “Shepherd with His Flock in an Italianate Landscape” and “Shepherd Milking a Goat in an Italianate Landscape”

161 one of two

pair of oils on canvas unsigned. Both presented in matching frames. each 38‑1/4” x 53‑1/4”, framed 42‑1/2” x 57‑1/2” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Rie and Sam Bloomfield Foundation, Newport Beach, California. $2,000‑$4,000

161 two of two

162 Follower of Giovanni Battista Piazzetta (Italian,1682‑1754) “The Beggar Boy” oil on canvas unsigned. Presented in a late 20th-century frame. 25‑5/8” x 20‑1/8”, framed 32‑1/8” x 27” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $1,500‑$2,500 162

163 School of Jacob Jordaens (Belgian/Antwerp, 1593‑1678) “Two Shepherds” oil on canvas unsigned, verso with a partial label referring to the painting as a part of the estate of Sir Richard Sutton, November 1855. Framed. 30‑3/4” x 24‑1/8”, framed 40‑3/4” x 34‑1/8” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $3,000‑$5,000

164 School of Barent Fabritius (Flemish, 1624‑1673) “The Merry Drinker”

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oil on canvas unsigned. Presented in an antique giltwood frame. 14‑3/4” x 11‑1/8”, framed 20‑1/2” x 17‑1/8” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $1,000‑$1,500

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165 Follower of Rembrandt Harmenszoon van Rijn (Dutch, 1606‑1669) “Portrait of a Philosopher” oil on canvas unsigned. Presented in an antique giltwood and gesso frame. 49‑1/2” x 39‑1/2”, framed 55‑3/4” x 49” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $3,000‑$5,000

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166 Manner of Alonso Sanchez Coello (Spanish, 1532‑1588) “Portrait of a Spanish Court Lady, Possibly Infanta Catalina Micaela of Austria (1567‑1597)” oil on canvas unframed. Framed. 34‑1/2” x 44‑3/4”, framed 56‑1/2” x 47‑1/4” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $5,000‑$8,000

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167 School of Frans Pourbus the Younger (Flemish/French, 1569‑1622) “Portrait of a Bearded Man with a Ruff Collar” oil on hand-planed mahogany panel unsigned. Presented in a handsome, antique, deeply carved giltwood frame, possibly 18th century. 13‑1/2” x 9‑3/8”, framed 21‑1/4” x 18” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $1,500‑$2,500 167

168 Sarouk Carpet 12’ 10” x 13’ 10” $2,500‑$4,000 169 Semi-Antique French Needlepoint Carpet 10’ x 14’ 4” $600‑$900 170 Agra Serapi Carpet 9’ 7” x 14’ $1,500‑$2,500 171 Agra Serapi Runner 2’ 5” x 30’ 1” $800‑$1,200 Illustrated Online 169

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172 Turkish Angora Oushak Carpet 8’ x 10’ $700‑$1,000 173 Turkish Angora Oushak Carpet 9’ 10” x 13’ 10” $1,200‑$1,800 174 Semi-Antique Persian Mashad Carpet 9’ 8” x 13’ $1,500‑$2,500

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175 Turkish Oushak Carpet 12’ x 33’ 6” $2,000‑$4,000 176 Malayer Carpet 4’ 8” x 6’ 7” $600‑$900

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177 Turkish Angora Oushak Carpet 8’ x 10’ $700‑$1,000 178 Mahal Carpet 10’ 9” x 13’ 8” $1,800‑$2,500 179 Turkish Angora Oushak Carpet 9’ x 11’ 10” $900‑$1,200

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180 George III Walnut Chest late 18th century, the banded rectangular top with decorative oyster veneers, above a conforming case fitted with two short drawers and three graduated long drawers, all banded and with like veneers, the sides en suite, raised above a scalloped apron on bracket feet. h. 38”, w. 36‑3/4”, d. 21‑1/2” $1,500‑$2,500 181 English Oak Gate-Leg Table 18th century, the rectangular top with rounded ends and two ovoid drop leaves, and raised on a gate-leg support of bobbinturned bulbous legs joined by a like stretcher and ending in bulb feet. h. 29‑1/2”, w. 44”, l. 24”, ext. l. 60”

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$800‑$1,200 182 Pair of Japanese Imari Porcelain Covered Urns second half 19th century, each of eight-sided baluster form, with everted neck supporting a high domed cover with flared rim, surmounted by a shishi-form finial, the body decorated with opposing cartouches depicting butterflies amid foliage and ducks in a pond setting, surrounded by various smaller cartouches and stylized flowerheads, all in the traditional Imari palette. h. 23‑1/3”, dia. 10” $1,500‑$2,500 183 Chinese Export Imari Porcelain Charger ca. 1850s, having a broad, slightly everted rim painted with blossoming peony plants, the center with a terraced garden scene within a single band geometric border, the base with a single motif within two concentric bands in underglaze blue. dia. 16‑3/4”

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184 English Oak Linen Cupboard late 18th century, the molded cornice above a case fitted with two paneled cupboard doors, the lower section fitted with three panels over three small drawers, raised on block feet. h. 81”, w. 58”, d. 24” $1,000‑$1,500 185 Queen Anne Walnut-Veneered Mirror second quarter 18th century, the molded frame with outer beading, set with a two-section beveled mirror plate. h. 56‑1/2”, w. 24‑1/2” $1,000‑$1,500 186 William and Mary Oak and Walnut Chest 18th century, the banded rectangular top above a conforming case fitted with two drawers over three graduated long drawers, all banded, raised on bun feet. h. 36”, w. 38‑1/2”, d. 21” $1,200‑$1,800 184

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187 Chinese Famille Verte Porcelain Dish possibly Kangxi period (1661‑1772), painted to the center with plants blossoming around rockwork, within overlapping cartouche borders with birds and butterflies amid flowers, the reverse with individual floral sprays, the base with an artemisia leaf mark within double concentric bands in underglaze blue. dia. 11” $600‑$900 188 Chinese Famille Verte Porcelain Bowl 19th century, of inverted bell form, with flared lip, the exterior decorated with a continuous scene of figures in a garden terrace setting, the base with two concentric bands in underglaze blue, together with a hardwood stand. h. 5‑1/4”, dia. 10‑1/2” $600‑$900

189 Chinese Porcelain Powder-Blue Bowl 19th century, having slightly flared sides and raised foot, the exterior decorated with four individual cartouches on a distinct powder-blue ground, each cartouche with figural and landscape scenes, the interior with a central medallion depicting a four-claw dragon chasing the flaming pearl, the base with an apocryphal four-character Kangxi mark within two concentric bands in underglaze blue. h. 4”, dia. 10‑1/4” $600‑$900 190 Pair of Chinese Famille Verte Porcelain Covered Vases late 19th/early 20th century, each of ovoid form, with neat dome cover, decorated to the exterior with opposing cartouches depicting birds perched amid blossoming foliage, and an arrangement of scholarly objects, the shoulders and foot with floral borders, the bases unmarked, together with carved hardwood stands. h. 11”, dia. 4‑1/2” $1,000‑$1,500

191 Large Chinese Famille Verte Porcelain Brush Washer second half 19th century, of compressed globular form with rounded lip, decorated to the exterior with a panoramic design depicting flowering water plants in reds, yellows and greens, the base with an apocryphal six-character Kangxi mark in underglaze blue, together with a carved hardwood stand. h. 5”, dia. 9‑1/4” $700‑$1,000 192 Chinese Famille Verte Porcelain Bowl

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second half 19th century, of circular form with steep, slightly flared sides, the exterior decorated with four panels depicting floral sprays and auspicious and scholarly objects, the interior centered by a floral medallion, with cell-diaper borders interspersed with floral cartouches. h. 6”, dia. 11‑3/4” $700‑$1,000 193 William and Mary-Style Walnut Marquetry Chest 20th century, the rectangular top banded and inset with panels of intricate seaweed marquetry, above a conforming case fitted with two short drawers over three graduated long drawers, all with like panels, raised on bracket feet. h. 35”, w. 36”, d. 24” $700‑$1,000 194 Chinese Famille Rose Porcelain Vase Mounted as a Table Lamp Republic period (1912‑1949), of ovoid form, the body decorated with a continuous scene depicting the emperor on horseback with various attendants in a picturesque mountainous setting, the base encircled with a key pattern border, mounted on a hardwood stand, with a single bulb fixture, complete with shade. h. 28‑1/2”, dia. 8”

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195 Large Chinese Famille Rose Porcelain Brush Washer Republic period (1912‑1949), of cylindrical form, with flared, flattened rim, delicately painted to the exterior with a continuous design depicting a mountainous landscape beside a river, with inscription, and artist mark and seal to the reverse, the base with an apocryphal four-character Guangxu mark in copper red. h. 4‑1/2”, dia. 9‑3/4” $1,500‑$2,500 196 Chinese Famille Rose Porcelain Vase Republic period (1912‑1949), of baluster form, decorated to the body with a scene of multiple cranes amid blossoming peonies and rockwork, having a key pattern border encircling the foot, the base with an apocryphal six-character Qianlong mark in copper red. h. 23” $600‑$900

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197 George II Mahogany Drop-Leaf Table 18th century and later, the top flanked by single-board drop leaves supported by fly legs, the frieze with a single drawer, raised on cabriole legs. h. 29‑3/8”, w. 35‑3/8”, l. 17‑1/2”, ext. l. 53‑1/2” $800‑$1,200

198 Impressive Pair of Chinese Famille Rose Porcelain Chargers 20th century, each of circular form with slightly flared lip, having a central medallion depicting a phoenix standing on rockwork with foliage and birds in the surround, with pomegranate and fan-form cartouches containing fish, crabs, ducks and trees, all on a blue and white geometric ground, within lappet borders containing flowerheads and auspicious objects, the reverse with four individual outlines of auspicious motifs, the base with a six-character Yongzheng mark in underglaze blue. dia. 21”

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$800‑$1,200

200 George III Mahogany Tripod Table early 19th century, the tilting floriform top with a dished edge, and raised on a turned and graduated standard to three cabriole legs headed by acanthine carving and ending in foliate feet. h. 27”, dia. 29” $700‑$1,000

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199 George II-Style Walnut Settee 20th century, the double arched back with carved acanthine crests over shaped splats with finely figured veneers, joined by outscrolled arms to the padded seat, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet. h. 40‑1/2”, w. 54”, d. 21” $700‑$1,000

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201 Group of Ten Japanese Imari Porcelain Dishes fourth quarter 19th century, each of circular form with everted cavetto and broad foliate lip, decorated with alternating dragon and phoenix panels surrounding a central landscape medallion, all within stylized floral borders, the reverse with various motifs depicting auspicious objects in underglaze blue. dia. 7” $600‑$900 202 Pair of George III-Style Polychrome Armchairs 19th century, in the rococo taste, each with a shaped and padded back joined to the padded seat by scrolling padded arms, raised on molded foliate-carved cabriole legs ending in scrolled toes and pegs. h. 40”

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$600‑$900 203 George III Red-Lacquered Tall Case Clock late 18th century, the door decorated with portraits of George III and Queen Charlotte, and the painted case in the chinoiserie manner, set with 18th-century works with a brass dial signed “James Cotton, Tamworth”. h. 98”, w. 18”, d. 9‑3/4” $2,000‑$4,000

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204 Fine George III-Style Carved Mahogany Dining Table

205 Suite of Sixteen George III-Style Carved Mahogany Dining Chairs

ca. 1900, the top with a molded and carved edge and opening to accommodate three 18” skirted leaves, the aprons with a bold Greek-key design above a floral-carved molding, and raised on large cabriole legs with acanthus-carved knees and paw feet. h. 30”, w. 47‑1/2”, l. 65”, ext. l. 119”

20th century, comprised of two armchairs and fourteen side chairs, each with a floral-carved crest rail and pierced and carved backsplats with scrolls and carved tassels, raised on cabriole legs with foliate-carved knees and terminating in balland-claw feet. armchair h. 40”

$2,000‑$4,000

$4,000‑$7,000

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206 Pair of George III-Style Carved Mahogany Chairs 20th century, each with a floral-carved crest rail and a pierced and carved back splat with scrolls and tassels, raised on cabriole legs with foliate-carved knees and terminating in ball-and-claw feet. h. 40” $600‑$900 207 Minton Porcelain “Cuckoo” Pattern Partial Dinner Service ca. 1889, English, hand-painted and decorated with peonies and birds, impressed “Minton” and the date latter, marked with hand-painted pattern numbers, the service including twenty-three dinner plates, dia. 10”, twelve luncheon plates, dia. 8‑3/4”, ten soup plates, dia. 10”, a soup tureen and stand, h. 8”, w. 13‑1/2”, three oval covered vegetable dishes, h. 8”, w. 12‑1/2”, three oval sauce tureens and stands, h. 5‑1/2”, w. 7‑3/4”, a tureen lid, w. 7‑3/4”, d. 9‑3/4”, an oval platter, w. 19‑1/2”, d. 14‑1/2”, a smaller oval platter, w. 13‑1/4”, d. 9‑3/4”, and four oval platters, w. 11”, d. 8”.

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$800‑$1,200 208 George III Mahogany Games Table fourth quarter 18th century, the rectangular top hinged and with projecting corners, above a plain frieze fitted with a single small side drawer, raised on cabriole legs ending in pad feet. h. 28‑1/2”, w. 32”, closed d. 16” $600‑$900 208

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209 Giltwood Mirror in the Chippendale Taste first quarter 20th century, English, the pierced surround carved with scroll and rocaille work, the pediment crest decorated with a ho-ho bird grasping a swag of flowers and leaves. h. 64‑1/4”, w. 30‑1/2”

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$1,000‑$1,500 210 Impressive Chinese Famille Jaune Porcelain Covered Jar 20th century, of baluster form with slightly splayed foot and everted neck supporting a carved hardwood cover, decorated to the exterior with birds perched amid blossoming foliage and rockwork, the base unglazed, together with an associated hardwood stand. h. 26”, dia. 13” (excluding stand) $1,200‑$1,800 211 George III Mahogany Jardiniere Stand fourth quarter 18th century, in the Chinese Chippendale taste, of square form, three sides with elaborately pierced panels within a blind fret-carved band, all four sides with central brass handles, raised on cabriole legs ending in scrolled toes on casters. h. 23”, w. 14”, d. 14” $600‑$900 210

212 George III-Style Mahogany Tripod Table 19th century, the tilting pie-crust-form top with a raised edge, on a birdcage support on a stop-fluted graduated standard to three splayed legs headed by acanthine carving and ending in ball-and claw feet. h. 28”, dia. 28” $800‑$1,200 213 Pair of Georgian-Style Giltwood Sconces 20th century, Italian, on fringed bowknot backplates decorated with carved eagles holding tassels, with crossed bows and arrows, the twisted candle arms with wire scrolls set with medallions. h. 35”, w. 13‑1/2”, d. 9‑1/4”

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$600‑$900 214 Four Pieces of Worcester Porcelain third quarter 18th century, English, including an assembled pair of lettuce leaf sauce boats, one decorated with flowers and the other with butterflies and insects, the latter with a painter’s mark, h. 4”, w. 7”, d. 3‑1/2”, together with a pair of Royal Worcester bone china leaf dishes in the 18th-century style, w. 7‑3/4”, d. 6‑1/4”. $600‑$900 215 George III Mahogany Demi-lune Side Table fourth quarter 18th century, the demi-lune top above a conforming frieze fitted with a central frieze drawer flanked to either side by a faux drawer, raised on tapering square legs headed by an oval panel and ending in cap feet. h. 34”, w. 67”, d. 29” $1,200‑$1,800 212

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216 Pair of George III-Style Mahogany Armchairs first half 20th century, in the Chippendale taste, each with a carved serpentine top rail over an open foliate- and scrollcarved splat, the shaped open arms with leaf-carved scroll ends, the Marlborough legs joined by stretchers. h. 39‑1/4” $700‑$1,000 217 George III Mahogany Secretary Bookcase early 19th century, the molded and dentillated cornice above two astragal-glazed doors, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes, surrounding a central cupboard, over four graduated long drawers, raised on shaped bracket feet. h. 85‑1/2”, w. 41‑1/2”, d. 20‑1/2”

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$1,500‑$2,500 218 Chinese-Style Famille Verte Porcelain Bowl and Covered Jug ca. 1900, French, probably Samson, each lobed and decorated with lily pads, peonies, lotus flowers, birds and insects, the jug with pewter fittings, unmarked. jug h. 9‑1/4”, w. 6”, d. 5”, bowl h. 3”, w. 12‑1/4”, d. 11‑1/4” $600‑$900

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219 George III Mahogany Bowfront Chest

221 George III Mahogany Gainsborough Chair

first quarter19th century and later, with a bowed top with decorative edging, above a conforming case fitted with four graduated long drawers, all banded, raised on splayed feet. h. 43”, w. 40”, d. 23‑1/2”

late 18th century, in the Chippendale taste, the upholstered back with a serpentine crest rail, joined to open arms on rosette- and foliate-carved supports, the legs joined by an H-form stretcher. h. 41‑1/4”

$600‑$900 220 George III Mahogany Games Table early 19th century, the banded demi-lune top with a central inlaid patera, the top hinged and opening to a gaming space, above a conforming frieze with inlaid Prince of Wales cartouches, raised on molded tapering square legs. h. 28‑1/2”, w. 34‑1/2”, closed d. 17‑1/4” $900‑$1,200

$700‑$1,000 222 Pair of Chinese Porcelain Wig Stands Mounted as Lamps Republic period (1912‑1949), each of four-sided form, with opposing sides depicting mirrored figural scenes in the famille rose palette, with studio marks and seals, and the remaining sides having inscriptions, each mounted on a hardwood base with single bulb fixture. overall h. 25‑1/4”, w. 5”, d. 4‑3/4” $700‑$1,000

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223 British School (First Quarter 18th Century) “Portrait of a Member of the Villiers Family of Jersey, Possibly William, the 2nd Earl of Jersey” oil on canvas unsigned, traditionally attributed to the Circle of Sir Godfrey Kneller (1646‑1723), partial old “F. Le Gallais & Sons/Jersey/Depository” label en verso. Presented in an antique gessoed and giltwood frame. 49‑1/2” x 40‑1/2”, framed 58” x 48‑1/2” The specific wording on the Gallais label suggests the painting was stored in that company’s warehouses during the German occupation of the Isle of Jersey. $3,000‑$5,000

224 Circle of Allan Ramsay (British/Scottish, 1713‑1784) “Portrait of John Campbell, Second Duke of Argyll & Greenwich” oil on canvas after the ca. 1740 portrait by Ramsay in the collection of Inveraray Castle, Argyll, Scotland. Framed. 61” x 52”, framed 69” x 61‑5/8” $3,000‑$5,000

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225 After Peter Lely (British, 1618‑1680) “Isabella Dormer, Aged 8 [Later Countess of Mountrath]” oil on canvas unsigned, stretcher with “W. M. Power” London framer’s label. 29” x 35”, framed 34‑3/8” x 30‑1/4” $1,500‑$2,500

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226 Follower of Thomas Gainsborough (British, 1727‑1788) “Portrait of a Beauty with Golden Curls”, fourth quarter 18th century oil on canvas unsigned, a partial old “Camberley & Yorktown/ Surrey” label en verso. Presented in an antique gessoed and giltwood frame. 26” x 22‑1/2”, framed 36” x 32” Provenance: Deaccessioned from Friends University, Wichita, Kansas; gifted to the University by the Sam and Rie Bloomfield Foundation, Newport Beach, California. $1,500‑$2,500

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227 Manner of John Opie (British, 1761‑1807) “Portrait of a Gentleman in a White Silk Cravat”, 19th century oil on linen unsigned, an old “E. L. Hill/4 Wood Street/Bath” framer’s label, inscribed “BLACKWELL” in white chalk, and an old handwritten inventory label en verso. Presented in an antique gessoed and giltwood frame. 30” x 25”, framed 36‑1/2” x 31‑1/2” $2,500‑$4,000

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228 After Sir Thomas Lawrence (British, 1769‑1830) “Portrait of George, Prince Regent, Later King George IV”, first quarter 19th century oil on canvas unsigned. Presented in an elaborate gesso and giltwood frame. 46” x 52”, framed 58‑1/2” x 44‑1/2” $15,000‑$25,000

George Augustus Frederick was the eldest son of King George III and Charlotte of Mecklenburg-Strelitz. An intelligent, witty, and charming figure, George – affectionately referred to as “Prinny” – was also flagrantly extravagant, known for his outrageous excesses and wasteful spending. After his father fell severely ill Parliament, fearing that the populace’s faith in the monarchy would weaken, made the unusual and extreme decision to name the young man Prince Regent, making him the essential head of the country. This portrait captures Prince George at the height of his Regency. Initially admired by the English people, his rambunctious, careless behavior – including a clandestine and essentially illegal marriage to the twice widowed Catholic Maria Fitzherbert – soon became uncontrollable. Severely in debt,

Parliament agreed to honor his debts only if he agreed to marry his first cousin Caroline of Brunswick. The marriage was an unmitigated disaster; both parties took an instant dislike to each other and the majority of their marriage was spent in separate countries. This impressive portrait is a copy of the 1816 painting by Sir Thomas Lawrence, which is conserved at the Vatican Museum, Vatican City. It reveals the then Prince Regent in all his glory – the lush clothing, insignia and badges of the many orders of which he is a member, the careful posturing of his figure. A later portrait completed for the King’s Coronation and dated 1821, is nearly identical except for its inclusion of scarlet, ermined edged robes.

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229 William Powell Frith, R.A. (British, 1819‑1909) “The Last Sunday of Charles II”, 1907 oil on canvas signed and dated lower right. In a giltwood frame. 25” x 39‑1/2”, framed 33” x 47‑1/2” $20,000‑$40,000

“I can never forget the inexpressible luxury and profaneness, gaming and all dissoluteness, and as it were total forgetfulness of God (it being Sunday evening), which this day’s night I was witness of, the King sitting and toying with his concubines, Portsmouth, Cleveland, and Mazarine [sic], etc., a French boy singing love songs, in that glorious gallery, whilst about twenty of the great courtiers and other dissolute persons were at Basset round a long table....Six days later, was all in the Dust.” - Memoirs Illustrative of the Life and Writings of John Evelyn

The work presented here is a variant of Frith’s 1866 painting “The Last Sunday of Charles II”, and was created in the last years of the artist’s life when he frequently revisited earlier, favorite paintings. According to Frith’s own diary, he was inspired by Evelyn’s description, excerpted above, of the liveliness and hedonism of the Royal Court on one of the last days of the King’s life (Charles II fell unexpectedly ill the following day, dying several days later). The painting was exhibited at the Royal Academy, where it proved so popular a railing had to be installed to protect it from the throng of visitors. The subject lent itself well to Frith’s grandiose style, and allowed the artist to revel in the various accoutrements of the wealthy Court. References: Frith, William Powell, My Autobiography and Reminiscences, London: Richard Bentley and Son, 1887; Evelyn, John Memoirs Illustrative of the Life and writings of John Evelyn, London: Henry Colburn, 1819

230 Edward Matthew Ward, R.A. (British, 1816‑1879) “La Toilette des Morts - Charlotte Corday in the Prison of the Conciergerie”, 1862 oil on canvas signed and dated lower left “E M Ward, R.A. 1862”. Framed. 30‑1/2” x 25”, framed 39‑1/4” x 34‑1/4” $10,000‑$15,000 Provenance: Thomas Williams, Esq., London, 1863; George Fox, Esq. 1873; (Messrs.) Christie’s, London, April 17, 1880 (L.325. 10s.); Christie’s, Scotland, October 25, 1995, lot 926; Lyon and Turnbull, London, December 6, 2002, lot 30; Sotheby’s, London, November 30, 2003, lot 333; Christie’s, New York, April 22, 2004, lot 78. Exhibited: Royal Academy, London, 1863, no. 124; World Exposition, Vienna, 1873, no. 118. Literature: Graves, Algernon. The Royal Academy of Arts: A Complete Dictionary of Contributors, vol. 8. London: Henry Graves & Co./George Bell & Sons, 1906; The Art-Journal. London: Virtue & Co., 1869, p. 36 and engraving of the painting illustrated on the frontispiece; The British Architect and Northern Engineer. vol. 13 (Jan.-June): 1880, p. 202; Welt-Ausstellung 1873 in Wien, Officieller Kunst-Catalog. Vienna: Druckerei des Journals, die Presse, 1873, p. 78. 230

How to die in the bath? That is the question to be asked. Agamemnon, by many accounts, was murdered in the bath after his return from the Trojan Wars; Emperor Hadrian’s favored youth, Antinous, drowned under dubious circumstances in the Nile; and, perhaps most famous of all, Shakespeare’s Ophelia, who commits suicide by drowning after her lover Hamlet murders her father. The art of dying in the bath is not only a modern phenomenon but also a historical one that has informed millennia of Western art and is at the heart of the painting offered here - the “Toilette des Morts (“Bath of Deaths” or the “Last Toilet”), and its 1852 pendant work. Charlotte Corday, often regarded as a heroine of the French Revolution, was a member of the Girondins - a moderate political faction that advocated an intellectual revolution over the more radical Jacobin faction that promulgated the bloody “Reign of Terror”. In attempt to stymie the escalating violence, Corday, in a daring vigilante act, gained entry to the residence of the Jacobin leader Jean-Paul Marat and assassinated him in his bathtub in July 1793. The moment of his death, immortalized in the canon of art through Jacques-Louis David’s famous painting from the same year, elucidated multiple artistic renditions in the century that followed.

In 1852, Ward exhibited a painting of “Charlotte Corday Being Led to Execution” at the Royal Academy while his rival and former colleague John Everett Millais exhibited the celebrated Pre-Raphaelite painting of “Ophelia” (now conserved in the Tate Museum) in a watery bed of willows. Ward’s painting catapulted him to immediate acclaim after it beat out Millais’ oeuvre for the Liverpool medal. “Ophelia”, or “O’ Failure” as Ward dubbed it, received mixed reviews that culminated in multiple legal bills, after the family of Elizabeth Siddal - the model for Ophelia, sued the artist, claiming that Siddal’s untimely death years later resulted from complications to the pneumonia she contracted after posing for hours in a poorly heated bathtub. In the decade that followed, Ward returned to the subject of “Charlotte Corday”, painting a prequel to his famed 1852 work, depicting her at her toilet. Before her execution, Corday requested that her portrait be painted in prison. Jean-Jacques Hauer, a courtroom artist and member of the National Guard, captured her likeness at her toilet - her last washing and dressing, as her hair was shorn and the red overblouse - the dress of a condemned traitor of the state - was donned. “Toilette des Morts” was equally lauded; it was shown at two major international exhibitions and in 1869, an engraving of the work was produced by Lumbar Stocks, R.A. for the Art Journal and mass distributed to its subscribers.

231 British School (Third Quarter 19th Century) “Charity Starts at Home” oil on canvas unsigned. Framed. 25‑1/2” x 29‑1/4”, framed 29” x 34” $1,000‑$1,500

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232 Frederick Henry Henshaw (British, 1807‑1891) “Tamworth Castle - As Seen from the Meadows Between Tamworth and Drayton Manor”, 1844 oil on canvas signed, inscribed and dated en verso stretcher, with a “Kurt E. Schon, Ltd., New Orleans, Louisiana” gallery label. Presented in a giltwood frame affixed with artist plaque. 36‑1/8” x 28‑5/8”, framed 41‑3/4” x 34” Provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. $1,400‑$1,800

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233 William Mellor (British, 1851‑1931) “On the Bridge, Yorkshire” oil on canvas signed lower left, verso with a “Kurt E. Schon, Ltd., New Orleans, Louisiana” gallery label. Presented in a giltwood frame affixed with artist plaque. 35‑3/4” x 27‑3/4”, framed 41‑1/8” x 33‑1/8” Provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. $1,000‑$1,500 234 Horatio McCulloch (Scottish, 1805‑1867) “Doune Castle near Perth” oil on wood panel unsigned, artist name and title inscribed on 19th-century label en verso. Framed. 8‑1/4” x 10”, framed 16‑3/4” x 18” $1,500‑$2,500 235 Attributed to Henry Brittan Willis (British, 1810‑1884) “On the Way to the Market”

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oil on canvas signed lower right “H. B. Willis”. Framed. 12‑1/4” x 17‑3/4”, framed 16” x 21‑1/2” $1,000‑$1,500

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236 George II Sterling Silver Sauceboat hallmarked London, 1739‑1740, the maker’s mark rubbed, bulbous oval form with shaped rim and integral spout, with shellmounted, acanthus-crested double C-scroll handle and raised on three scroll-mounted stepped pad feet, monogrammed “ETA”. h. 3‑5/8”, l. 8‑3/4”, w. 5”; 14.95 t. oz. $600‑$900 237 George III Sterling Silver Waiter hallmarked London, 1771‑1772, by John Carter II, circular with openwork galleried rim decorated with urns and medallions joined by bellflower swags and raised on three feet en suite, the plateau with (later?) flat-chased Bacchic banding centering the arms of Arnold of Armswell, Dorset et al. dia. 7”; 10.72 t. oz. $600‑$900 238 George III Sterling Silver Cake Basket

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hallmarked London, 1772‑1773, by Richard Meach, of oval form with elaborately pierced galleried banding separated by annulated decoration, with applied leaf-and-berry rim, the scrollmounted swing handle en suite with the rim, the whole raised on a conforming openwork navette quatrefoil paterae-banded foot ring. h. 4” (11” with handle), l. 14”, w. 12”; 44.46 t. oz. $2,500‑$4,000 239 George III Irish Sterling Silver Gilt Salver hallmarked Dublin, 1777, by “JL” (John Laughlin, John Lloyd or John Locker), of circular form with rocaille-crested “Chippendale” rim and raised on three double-scroll stepped pad feet, the plateau engraved with a wide band of scrolls, fruit and birds centering a crest of a demi-phoenix above the addorsed monogram “AJL”. dia. 13‑1/2”; 37.62 t. oz.

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$1,800‑$2,500

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242 George III Sterling Silver Cream Jug hallmarked London, 1795‑1796, probably Alexander Field, helmet form, decorated with bright-cut, pricked and wrigglework gadroons, laurel cartouches, floral swags and banding, with reeded rim and arched handle, raised on a waisted and domed square plinth base. h. 6‑1/2”, l. 5‑1/4”, w. 2‑3/4”; 6.26 t. oz. $600‑$900 243 Assembled Georgian and Later Sterling Silver Flatware Set 241

hallmarked London, 1784‑1824, the knives 1935‑1937, in the traditional “Old English” and “Hanoverian” patterns, with brightcut decoration and most with crest of a goat’s head erased, comprising twelve eight-piece place settings (one dessert fork lacking), by approximately sixteen different makers, including Richard Crossley, members of the Bateman, Barker, Sumner and Chawner and Sumner families, among others. 95 pieces 83.44 total t. oz. (weighable silver) Detailed list of pieces, dates and makers available on request. $1,500‑$2,500

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240 Georgian Silver Child’s Rattle

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second half 18th century, maker’s mark “EF”, fluted with single knop, decorated with bells (one lacking) with whistle at one end and coral teether at the other, with double braided silver chain. l. 5‑1/4”; 2.18 t. oz. (including coral) $800‑$1,200 241 George III Sterling Silver Sauce Tureen hallmarked London, 1780‑1781, by Daniel Smith & Robert Sharp, oval form with engraved neoclassical rinceaux banding between applied beading and above laurel-mantled cartouches, with high-arched reeded handles above a conforming waisted pedestal foot, the domed lid with brightcut and wrigglework banding and toupie finial, monogrammed on the cartouches “BH”. h. 5‑3/4”, l. 8‑1/2”, w. 4‑3/8”; 21.92 t. oz. $2,500‑$4,000 242

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244 Fine Late Georgian Sterling Silver Presentation Tureen hallmarked London, 1803‑1804, by John Emes, oval, with gadrooned rim and engraved floral paterae banding, with ringed lion’s masque handles and raised on a conforming foot en suite, fitted with a cavetto-domed lid banded en suite and with acanthus-mounted reeded ring handles, engraved with presentation inscription dated 1803 from Mayor John Wray of Kingston-upon-Hull to Recorder Robert Osborne, with arms opposing. h. 13”, l. 14”, w. 10‑1/4”; 112.54 t. oz. $9,000‑$12,000 245 George III Sterling Silver Sugar Basket hallmarked London, 1793‑1794, by Robert & Thomas Makepeace, navette form, with reeded rim and swing handle en suite, raised on a conforming waisted pedestal foot en suite, monogrammed “S”. h. 4‑1/4” (7‑1/2” with handle), l. 7”, w. 4‑1/2”; 12.18 t. oz. $600‑$900 245

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246 Good Regency Sterling Silver Gilt Covered Cup hallmarked London, 1812‑1813, by Robert Garrard I (1758‑1818), of campana form, with applied oak-and-laurel mantled cartouches below a grapevine band, the calyx with applied acanthus and lily fronds, with acanthus-crested and mascaron-mounted addorsed fluted handles, with waisted and fluted foot, the fitted, ogee-domed lid with egg-and-dart and leaf-and-dart banding and pineapple finial. h. 16‑3/4”, dia. 9”; 98.80 t. oz. $2,000‑$4,000 247 Regency Four-Piece Assembled Sterling Silver Tea Set London, 1812‑1818, including an open sugar bowl, l. 7‑3/4”, w. 4‑1/4”, and creamer, l. 5‑3/4”, w. 3‑1/8”, hallmarked London, 1812‑1813, by Naphtali Hart (free ca. 1791; d. 1834), and a coffeepot, h. 9‑1/8”, l. 11‑1/4”, and teapot, l. 12”, w. 5‑1/4”, hallmarked London, 1815‑1816 and 1817‑1818 (respectively) by William Bateman I (1774‑1850; free 1799), each with a bulbous rounded body with gadrooned rim, brightcut and pricked floral banding and ball feet. 58.12 total t. oz.

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$1,000‑$1,500 248 Two 19th-Century English Sterling Silver Ladles both hallmarked London, one 1826‑1827, by John Brudie, in the “Fiddle” pattern, engraved with a crest of a demi-lion rampant, l. 13‑3/8”, the other 1855‑1856, by Elizabeth Eaton, in the “Lamerie” pattern, l. 13”. 16.95 total t. oz. $600‑$900

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250 Pair of Georgian Sterling Silver Game Platters with Later Silverplate Domes 249 Set of Eleven Georgian Sterling Silver Service Plates hallmarked London, 1794‑1795, by William Stroud, with pentagonally-lobed gadrooned rim and recessed circular plateau, engraved on the rim with the crest of Seymour, Marquess of Hertford, K.G. dia. 9‑5/8”; 183.72 total t. oz. The crest here is that of Francis Seymour-Conway (1718‑1794), who was made a Knight of the Garter in 1756 and created 1st Marquess of Hertford in 1793. $8,000‑$12,000

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the platters hallmarked London, 1802‑1803, by William Fountain, the later Victorian domes with unidentified demieagle mark, the platters of serpentine-lobed oval form with gadrooned rocaille and shell rim, the conforming domes en suite and with addorsed acanthus ring handles, h. 7‑1/4”. l. 11‑1/4”, w. 8‑1/4”, the platters engraved with the crest of Baronet Cooke of Wheatley, the domes engraved with the arms of Cooke impaling Feilden. overall h. 7‑3/4”, l. 14‑1/2”, w. 11‑1/4”; 74.65 total t. oz. (sterling platters only) $5,000‑$8,000 The arms here are those of Sir William Ridley Charles Cooke, 9th Bt. (1827‑1894) and his second wife Harriet Blanche Juanita Georgina Feilden (1843‑1930). They were married on April 27, 1871, so the armorial can date no earlier, though the domes themselves date somewhat earlier, around 1850. They were evidently made to accompany the earlier Georgian platters which, given the date of manufacture and crest, presumably belonged to Sir William’s grandfather, Sir George Cooke, 7th Bt. (ca. 1745‑1823).

251 George IV Matthew Boulton Old Sheffield Plate Tray second quarter 19th century, Birmingham, of rounded rectangular form, with acanthus-crested gadrooned rim and rocaille handles, the plateau engraved with the arms of Lyon impaling Johnston. 31‑3/8” x 20‑1/4” The arms here are those of George Lyon of Kirkmichael (1804‑1879), who married, on February 18, 1827, in Holywood, Dumfriesshire, Phoebe deCourcy Johnston (ca. 1809‑1893), daughter of Captain (later Vice-Admiral) Charles James Johnston of Cowhill. 252

$1,200‑$1,800 252 Set of Four George IV Sterling Silver Candlesticks hallmarked Sheffield, 1824‑1825, by John Watson & Son, each of ornate fluted square section and decorated with rococo scrolls and acanthus leaves, with bulbous nozzle and concave-domed foot, fitted with a conforming detachable bobeche en suite. h. 7‑3/4”, w. 4‑1/2”; weighted $2,500‑$4,000 253 George VI Sterling Silver Center Bowl hallmarked Birmingham, 1938‑1939, by William Henry Sparrow, with shell-and-scroll “Monteith” rim above a band of repousse acanthus scrolls on a matte ground with two oval cartouches, the lower half with spiral flutes and gadroons, raised on a domed foot banded en suite. h. 7‑3/4”, dia. 10”; 44.00 t. oz. $900‑$1,200

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254 Late Victorian Sterling Silver Tea Tray

255 Pair of George VI Sterling Silver Entree Dishes

hallmarked London, 1897‑1898, by Gibson & Langman (Goldsmiths’ & Silversmiths’ Co. Ltd.), of navette form with upswept ends, with pierced foliate and quatrefoil sides, gadrooned rim and integral handles. l. 27”, w. 17”; 133.74 t. oz.

hallmarked London, 1945‑1946, by Harrison Bros. & Howson, of slightly convex rectangular form with incuse corners and gadrooned banding, the lids with detachable reeded ring handles, monogrammed, on the lids, “C/RC”. overall h. 5‑1/4”, l. 10‑1/2”, w. 7‑1/2”; 86.29 total t. oz.

$4,500‑$7,000

$1,800‑$2,500

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257

256 Pair of Edwardian Sterling Silver Entree Dishes hallmarked London, 1904‑1905, by George Stone, each of canted rectangular form with laurel banding, the lids with detachable addorsed acanthus ring handles, engraved on the body with the crest and motto of Carrington of Upton, the crest repeated on the handle bases. overall h. 5‑1/2”, l. 11‑1/2”, w. 8‑1/2”; 131.27 total t. oz. $2,500‑$4,000

257 Good George VI Six-Piece Sterling Silver Tea Set hallmarked London, 1916‑1917, by Crichton Brothers, in the High Georgian taste, including a kettle-on-stand, h. 13‑1/4”, l. 9‑1/4”, a coffeepot, h. 11”, l. 8”, a teapot, h. 6‑3/4”, l. 10‑1/2”, a covered sugar bowl, h. 5‑3/4”, w. 7‑3/4”, a cream jug, h. 5‑3/4”, l. 5”, and a waste bowl, h. 4‑1/2”, dia. 4‑3/4”, each with an inverted pear-shaped body decorated with spiral flutes and gadroons, with acanthus shoulder and gadrooned rim, a domed foot en suite and acanthus-crested handles and -mounted spouts, the hot pots with wooden handles, monogrammed “MMvR”. 155.81 total t. oz. (including wooden handles) $3,500‑$5,000

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259 Louis XV-Style Giltwood Bench late 19th century, the shaped rectangular top tufted and above a conforming foliate shell-carved frieze, raised on molded cabriole legs headed by acanthine carving, joined by an X-form stretcher and ending in acanthine scrolled toes. h. 22”, w. 39‑1/2”, d. 18‑1/2” $700‑$1,000

258

260 Pair of Louis XV-Style Giltwood Bergeres avec Orielles

258 French Giltwood Trumeau Mirror ca. 1900, the Baroque-form frame cove-molded and beaded, the upper oil-on-canvas panel depicting a courting couple in 18th-century costume, watching birds in a garden. h. 63‑1/2”, w. 31‑1/2”

late 19th century, each with a padded and domed back joined by shaped padded sides to the cushioned seat, raised above a scrolling foliate-carved apron on cabriole legs headed by shield carving and ending in scrolled toes. h. 44”

$600‑$900

$2,000‑$4,000

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261 French Three-Panel Wallpaper Screen in the Rococo Taste ca. 1900, each panel decorated with puttiform planters on neoclassical bases with lush arrangements of pink flowers and trailing ivy, on a blond grained ground, framed with an anthemia-decorated border and marbleized bases. overall h. 84‑3/4”, w. 66‑3/4” $1,500‑$2,500

262 Louis XV-Style Kingwood Bureau Plat 20th century, the rectangular top with an inset leather surface and within an ormolu band with corner accents, above a frieze fitted with a central drawer flanked to either side by two small drawers, raised on cabriole legs headed by ormolu mounts and ending in sabots. h. 31‑1/2”, w. 63”, d. 31‑1/2” $2,000‑$4,000

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263 Gilt-Metal and Cut Glass Hall Lantern first quarter 20th century, French, the gilt-metal leaf-molded frame supporting oval frosted glass shades decorated with star cutting, with a matching gilt-metal canopy. h. 27‑1/2”, dia. 10‑1/2” $800‑$1,200 264 Gilt-Metal and Cut Glass Hall Lantern first quarter 20th century, French, the leaf-molded gilt-metal frame supporting oval frosted glass shades decorated with star cutting, with a matching gilt-metal canopy. h. 27‑1/2”, dia. 10‑1/2” $800‑$1,200 265 French Rococo-Style Giltwood Mirror mid-20th century, with a roundel-form crest decorated with roses, and serpentine scroll-carved sides, all pierced and backed with mirror plate. h. 47‑1/2”, w. 31” $700‑$1,000

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266 Louis XV-Style Ormolu-Mounted Kingwood and Marble-Top Commode late 19th century, with two serpentine drawers with banded inlaid panels, the legs with bronze foliate mounts ending in scrolled toes. h. 32”, w. 42”, d. 19‑1/2” $700‑$1,000

266

267 Louis XV-Style Rosewood Writing Table late 19th century, the kidney-form top banded and with a leather-inset surface, above a conforming frieze fitted with a central drawer flanked to either side by a small drawer, raised on cabriole legs ending in sabots. h. 29”, w. 34”, d. 21‑1/2” $600‑$900 267

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268 Gilt-Bronze-Mounted Tortoiseshell Musical Bracket Clock, Stephen Rimbault, London, act. 1744‑1788 created for the French market, with a glazed door opening to a gilt-brass dial surround with hand-painted floral festoons and floral and musical figural decoration flanking a ship at lower center, the brass dial with a silvered chapter ring having Roman numerals and a matte center, the faux pendulum aperture with engraved “S. Rimbault London”, the hands blued cut-steel, with eight-day, brass, five-pillar, fusee movement with front-mounted rack and snail hour strike, verge escapement, 5‑1/2” flat bob pendulum, separate four-pillar, fusee pin barrel musical train with eight bells, fourteen hammers and outboard adjustable fly, “God Save the Queen” and a period piece play on the hour and on pull repeat. h. 21”, w. 10‑3/4”, d. 5‑1/4” Provenance: Collection of Dr. S. P. “Serge” Pechin, Pennsylvania, to a private collector. $12,000‑$18,000

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268A Louis XV-Style Kingwood Secretaire a Abattant early 20th century, the rectangular marble top above a bombe case fitted with a drawer over a drop front, opening to various drawers and cubbyholes, over three long drawers, raised on splayed legs to sabots, the whole with quarter veneers and richly ornamented with ormolu mounts. h. 59”, w. 37”, d. 16” $800‑$1,200 269 French Bronze and Crystal Chandelier second quarter 20th century, in the Louis XIV style, the twentylight chandelier with a scrolled bronze frame set with cut glass finials and sprays of drops, above scrolled candle arms, the interior with a single socket above a ring of sockets, decorated with sprays of drops. h. 52”, dia. 25” $2,000‑$4,000

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268A detail

270 Pair of French Gilt-Bronze Candelabra ca. 1900, the five-light candelabra on bases decorated with swagged fringe and molded laurel, each set with a fluted standard with molded and pierced arms set with leaf-molded drip pans and candle cups with beaded swags on bowknots. h. 18‑1/4”, dia. 12‑1/4” $1,000‑$1,500 271 Louis XV-Style Mahogany and Marble-Top Center Table the turtle-form top within a brass banding and above a conforming frieze fitted with a single drawer, joined to a likeshaped lower shelf by cabriole legs ending in sabots, the whole with ormolu mounts and millwork. h. 28‑3/4”, w. 26‑1/4”, d. 18‑1/2”

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$700‑$1,000 272 Pair of Louis XV-Style Giltwood Fauteuils late 19th century, each with a shaped caned back within a molded frame and with a partial fabric overlay, joined by outscrolled arms to the caned seat, raised on cabriole legs ending in scrolled toes. h. 42‑1/4” $600‑$900 273 Meissen Porcelain Covered Coffee Pot second quarter 18th century, German, with hand-painted harbor scenes framed in richly painted scrollwork. h. 4‑3/4”, w. 4‑1/4”, d. 3‑1/4” 273

$900‑$1,200

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274 Meissen Porcelain Cream Jug ca. 1817‑1824, German, decorated with tooled gilt and a charming painting of children, a little girl on the front with a drum, and a boy on the back, with an underglaze blue crossed swords mark with the Roman numeral “1”. h. 3‑3/4”, w. 4”, d. 2‑1/2” $900‑$1,200 275 Louis XV-Style Painted and Parcel-Gilt Trumeau Mirror 19th century, French, with an olive green ground, the mirror plate and upper tablet set with a scroll and rocaille work surround, the top with an oil-on-canvas depiction of family in early 18th-century costume in a garden. h. 64”, w. 48‑1/2” $1,000‑$1,500 276 Louis XV-Style Mahogany Lady’s Desk

274

early 20th century, the superstructure fitted with a central galleried marble shelf over two small banded drawers, flanked to either side by two rounded open shelves, the shaped rectangular top with a pull-out leather writing surface above a conforming frieze fitted with a single drawer, raised on cabriole legs ending in sabots. h. 38‑1/2”, w. 29”, d. 22” $800‑$1,200

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277 Gilt-Bronze and Crystal Chandelier of Baroque Inspiration late 19th century, French, the twenty-eight-light chandelier with a molded glass-clad standard terminating in a leafmolded bronze spherule set with leaf-molded arms terminating in bronze candle cups and lobed prisms rings, hung with crystal drops and swags, the top with a two-tiered corona of drops. h. 39”, dia. 27‑1/2” $1,500‑$2,500

278

278 Louis XV Fruitwood Bergere

279 Louis XV-Style Kingwood, Mahogany and Marble-Top Occasional Table

late 18th century, the shaped and padded back surmounted by a foliate shell crest and joined by padded arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes. h. 40”

late 19th century, the inset shaped rectangular marble top within a full brass banding, above a conforming frieze fitted with a single end drawer, joined to a concave lower shelf by cabriole supports continuing to sabots. h. 25”, w. 23”, d. 14”

$700‑$1,000

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280 Louis XV-Style Fruitwood Bureau Plat 20th century, the shaped rectangular top with an inset gilt-tooled leather surface and within an ormolu band with corner accents, above a conforming frieze fitted with three faux drawers to either side, raised on cabriole legs ending in sabots. h. 29”, w. 54”, d. 30” $800‑$1,200 281 Pair of Impressive French Gilt-Bronze Sconces 20th century, in the Louis XIV style, on scrolled backplates molded with winged caryatids terminating in scrolled, masquemolded brackets, the bold, scrolled arms molded with masques and acanthus leaves, and set with egg-and-dart-molded drip pans and fluted, reeded candle cups, electrified. h. 27‑1/2” and 31‑1/2”, w. 12‑1/2”, d. 11‑1/4” $1,500‑$2,500

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282 Louis XV-Style Kingwood Commode early 20th century, the shaped rectangular top banded and quarter-veneered, and with an inlaid floral spray, above a conforming bombe case fitted with three drawers, raised on cabriole legs. h. 27”, w. 19‑1/2”, d. 13‑1/2” $800‑$1,200 283 French Bronze and Rock Crystal Chandelier second quarter 20th century, in the Louis XV style, the bronze frame set with an interior rock crystal finial and mounted with eight scrolled bronze candle branches, hung with rock crystal drops and flowerheads, beneath graduated tiers of rock crystal drops. h. 34‑1/2”, dia. 22‑1/2” 282

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$1,200‑$1,800

284 Louis XV-Style Kingwood Games Table late 19th century, the banded and shaped rectangular top quarterveneered and within an ormolu edging, hinged and opening to a baize-lined interior, raised above a shaped apron on cabriole legs ending in sabots. h. 30‑1/2”, w. 44”, closed d. 23‑1/2” $800‑$1,200 285 Louis XV-Style Kingwood Poudreuse early 19th century, the tri-sected top banded, quarter-veneered and with inlaid floral sprays, the center section opening to a mirrored interior, each side section opening to a lidded storage compartment, above a case fitted with a central slide over a drawer, flanked to either side by a small drawer to one side and two small drawers to the other, raised on cabriole legs ending in sabots. h. 29‑1/2”, w. 34”, d. 19”

284

$800‑$1,200

285

285 detail

286 Louis XV-Style Fruitwood Settee mid-19th century, of box form, the floral-carved crest above a padded back and sides, the cushioned seat raised above a shaped foliate-carved apron on scrolled toes, with conforming pillows and bolsters, all upholstered in damask. h. 34”, w. 78”, d. 34” $1,200‑$1,800 286

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287 Gilt-Bronze Chandelier in the Rococo Taste French, the twenty-four-light chandelier with a diapered and scroll-molded standard, with bold scroll-molded arms, set with candle cups on two levels and hung with faceted crystal drops. h. 46”, dia. 41” $1,500‑$2,500 288 Belle Epoque Giltwood Mirror fourth quarter 19th century, French, the surround decorated with acanthus leaf-wrapped reeding, supporting the arched crest with pierced scrollwork and rocaille work, punctuated with flowerheads. h. 61‑1/2”, w. 40‑1/2” $1,200‑$1,800 289 Louis XV-Style Kingwood Dressing Table mid-19th century, the shaped rectangular top banded and with a parquetry inlay, hinged and opening to a mirrored storage space, above a conforming frieze and a single well drawer, raised on cabriole legs ending in scrolled sabots, the whole accented with ormolu mounts and millwork. h. 28‑1/4”, w. 24”, d. 17”

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$800‑$1,200

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290 Louis XV/XVI-Style Kingwood and Marble-Top Commode 20th century, the bowed breche d’Alep marble top above a conforming case fitted with two short drawers over two long drawers, all banded and quarter-veneered and with scroll inlay, the sides veneered en suite, raised on cabriole legs ending in sabots. h. 33”, w. 51”, d. 25” $700‑$1,000 291 Louis XV-Style Giltwood Mirror ca. 1900, French, with a cove-molded surround decorated with molded flower sprigs, the serpentine, rocaille-molded crest with scrollwork and flowerheads, set with a beveled mirror plate. h. 54”, w. 33” $800‑$1,200 292 Unusual Gilt-Bronze and Cut Glass Chandelier fourth quarter 19th century, in the Louis XV taste, supported from a faceted glass vasiform standard, set with vigorously leaf-molded and scrolled candle arms with integral drip pans and leaf-molded cups. h. 21”, dia. 19” $600‑$900 291

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293 Louis XV/XVI-Style Kingwood and Marble-Top Commode early 20th century, the rectangular marble top above a conforming case fitted with two drawers, the drawers and sides with decorative quarter-veneering, raised on cabriole legs ending in sabots. h. 29‑1/4”, w. 21‑1/4”, d. 11‑1/2” $600‑$900 294 Louis XV/XVI-Style Kingwood Occasional Table early 20th century, the banded kidney-form top with parquetry veneers, above a conforming frieze fitted with a single drawer, joined to a like lower shelf by cabriole supports ending in splayed feet. h. 27‑1/2”, w. 21‑1/2”, d. 13” $600‑$900 294A Pair of Louis XV-Style Fauteuils

293

early 20th century, each with a domed and padded back joined by padded outscrolled arms to the padded seat, above a foliate-carved apron, raised on cabriole legs headed by a foliate shield and ending in scrolled toes. h. 42” $1,200‑$1,800

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294A

295 Delphin Enjolras (French, 1857‑1945) “Dans Le Boudoir” oil on canvas signed lower left “D. Enjolras”, partial exhibition label en verso. Presented in a period giltwood and gesso frame affixed with artist plaque. 28‑3/4” x 21‑1/2”, framed 38‑3/4” x 31” Provenance: Sotheby’s, London, June 13, 2006, lot 375. $12,000‑$18,000

296 Philippe Swyncop (Belgian, 1878‑1949) “Les Poupiers” oil on canvas signed lower right “Ph. Swyncop/10”. Presented in a period giltwood and gesso frame. 53‑3/8” x 35‑1/2”, framed 64” x 46” Exhibited: Exposition Internationale de Bruxelles, 1910. $9,000‑$12,000

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297 Hans Zatzka (Austrian/Italy, 1859‑1945) “Cupid’s Captives” oil on panel signed lower right “H. Zatzka”, further inscribed en verso. Presented in a giltwood and gesso frame. 11” x 5‑3/4”, framed 19‑3/8” x 15” $3,000‑$5,000 298 Theodore Ceriez (Belgian/French, 1832‑1904) “The Flower Seller” oil on wood panel signed “T. Ceriez” lower right, frame backing with two turn-of-thecentury handwritten labels stating that the painting was exhibited and bought at the International Exhibition by a Mr. de Vitre, “T. Ceriez” incised on panel verso. 19‑1/2” x 31‑1/2”, framed 42” x 43‑3/4” Provenance: George Edward Denis de Vitre (1833‑1892), Keephatch, Wokingham, Berkshire, U.K..; Sotheby’s, London, November 15, 1995, lot 133; Christie’s, New York, April 22, 2004, lot 146. Exhibited: London International Exhibition of 1872, no. 1640

297

$4,000‑$7,000

298

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299 Charles Edouard Edmond Delort (French, 1841‑1895) “Place de la Concorde, Paris” oil on canvas signed lower right. Framed. 30‑3/4” x 39‑1/4”, framed 43‑1/2” x 52‑1/2” Provenance: Christie’s, New York, October 30, 2002, lot 216. $30,000‑$50,000

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300 Angelo Zoffoli (Italian, fl. 1860‑1910) “An Audience with the Cardinal” oil on canvas signed lower right “A. Zoffoli, Rome”. Framed. 23‑1/2” x 39‑1/2”, framed 32” x 47‑1/2” Provenance: Freeman’s, Philadelphia, December 3, 2006, lot 18; Collection of Marie Evans, Alexandria, Virginia. $10,000‑$15,000 301 Alexey Ivanovich Trankowsky (Russian, 1847‑1904) “Oriental Beauty” oil on canvas signed lower left. Presented in an attractive giltwood and gesso frame. 28‑3/4” x 20‑1/4”, framed 37” x 28” Provenance: Sotheby’s, New York, April 23, 2004, lot 177. $10,000‑$15,000

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302 Emile Auguste Pinchart (French, 1842‑1924) “Jeune Femme au Bord de la Mer” oil on canvas signed lower left. Framed. 25‑3/8” x 17‑3/4”, framed 38‑1/2” x 31‑3/4” Provenance: Stockholms Auktionsverk, Stockholm, December 1, 2004, lot 2369; Christie’s, New York, April 12, 2007, lot 183. $10,000‑$15,000 303 Ernesto Novelli (Italian, 19th/20th Century) “The Palm Reader, Seville” oil on canvas signed lower left “E. Novelli”. Presented in a period giltwood and gesso frame. 14‑1/2” x 23”, framed 21” x 29‑1/4” $1,500‑$2,500

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304 Guglielmo Zocchi (Italian, b. 1874) “The Cock Fight” oil on canvas signed lower right “G Zocchi”. Framed. 26” x 37”, framed 33‑3/4” x 44‑3/4” Provenance: Christie’s, New York, April 22, 2004, lot 242. $15,000‑$25,000 305 Beaux-Arts Painted Trumeau Mirror ca. 1900, French, the arched mirror plate decorated with a surround of ribbon-bound reeding, beneath a molded tablet depicting an oval plaque with a classical maiden hanging from a bowknot and swags of flowers. h. 54”, w. 30” $600‑$900

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306 307

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306 Handsome French Bronze and Biscuit Porcelain Clock

308 Louis XVI-Style Polychrome and Marble-Top Center Table

ca. 1900, in the neoclassical taste, decorated with figures of “The Three Graces”, after Antonio Canova (Italian, 1757‑1822), embellished with carefully sculpted garlands of flowers, around a neoclassical urn on stand, the top fitted with a clock, the base set with gilt-bronze panels depicting putti frolicking in the waves. h. 26‑1/4”, w. 11‑3/4”, w. 9‑1/4”

early 20th century, the oval marble top above a conforming guilloche-carved frieze, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet. h. 29”, w. 45”, d. 30”

$3,000‑$5,000 307 Molded Terrazzo Figure of “The Three Graces” after Antonio Canova (Italian, 1757‑1822), the statue depicting the three charities, daughters of Zeus, Euphrosyne, representing mirth, Aglaea, representing elegance, and Thalia, representing youth and beauty. h. 33‑1/2”, w. 20‑1/4”, d. 11” $800‑$1,200

$700‑$1,000 309 Rare Paris Porcelain Plaque depicting Auguste Jean Jacques Hervieu (French, 1819‑1858), June 30, 1850, the plaque dated and inscribed on the back “Hervieu 30 Juin, 1854, D’apres L B Parant”, and additional text, in a carved and pierced giltwood frame. dia. 7” $900‑$1,200 Louis Bertin Parant was a Sevres painter in the early 19th century.

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310 Pair of Belle Epoque Marble and Gilt-Bronze Candelabra fourth quarter 19th century, French, in the Louis XVI style, the four-light candelabra with fluted bases and vasiform standards set with bronze caryatids supporting pairs of gilt-bronze candle cups, with swags of bronze flowers hung between the arms. h. 14‑1/2”, w. 7‑1/2”, d. 7‑1/2” $3,500‑$5,000 310

311 Louis XVI-Style Marble Mantelpiece 20th century, French, the mottled gray marble with a serpentine thumb-molded shelf, the upper center of the surround with an incised roundel flanked by inset panels, the side pilasters with an inset roundel flanked by panels. h. 39‑1/2”, w. 45”, d. 13‑3/4” $2,500‑$4,000 312 Louis XVI-Style Mahogany Dining Table 20th century, the circular top bisected and opening to accommodate three 15” leaves, above a conforming plain frieze, raised on tapering circular legs headed by an ormolu capital and ending in brass caps on casters. h. 29‑1/2”, w. 50”, l. 50”, ext. l. 95” $1,000‑$1,500

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316

314 315

313 Suite of Four Louis XVI Fruitwood Side Chairs

315 Samson Chinese Export-Style Porcelain Charger

late 18th century, each with a padded rectangular back within a beaded and molded frame, the padded seat raised on fluted tapering circular legs ending in toupie feet. h. 37”

20th century, French, decorated in the famille rose palette with peonies and a ho-ho bird, the border with panels of vases and flowers on a pink ground, signed with an “S” on the reverse, with an ebonized wood easel stand. dia. 22”

$700‑$1,000

$600‑$900

314 Louis XVI-Style Mahogany and Marble-Top Center Table

316 Pair of Edme Samson Porcelain Baluster Vases

early 20th century, the circular marble top within an ormolu edging, above a conforming paneled frieze, raised on fluted tapering circular legs ending in brass caps. h. 30”, dia. 38”

ca. 1900, decorated with armorials, famille rose flower painting and Samson raised white scrollwork, marked with export-style rouge-de-fer marks. h. 18‑1/2”, dia. 6‑1/4”

$700‑$1,000

$600‑$900

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317 Louis XVI-Style Mahogany Desk mid-19th century, the dished rectangular top with an inset tooled leather surface, above a frieze fitted with a central drawer flanked to either side by a small drawer, each end fitted with a slide, raised on turned tapering circular legs ending in brass caps. h. 30”, w. 51‑1/2”, d. 25” $1,000‑$1,500

318 Louis XVI-Style Mahogany and Kingwood Center Table early 20th century, the circular top banded and with a full pierced brass gallery and a sunburst inlay, above a conforming chevron-veneered frieze fitted with a single drawer, raised on tapering square legs joined by an ormolu basket-centered stretcher and ending in brass caps. h. 30”, dia. 24”

319

$800‑$1,200

319 Pair of Marked Christofle Gilt-Bronze Candlesticks third quarter 19th century, French, with swirled fluting and molded with swags of laurel leaves and berries, trimmed with beading. h. 11‑1/2”, dia. 5‑1/2” $600‑$900

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320 Louis XVI Mahogany and Marble-Top Side Table late 18th century, branded “F. SCHEY”, the demi-lune marble top with projecting corners, above a conforming frieze fitted with a single central drawer, joined by fluted bulbous uprights to a like-shaped lower shelf, raised on fluted tapering circular legs ending in toupie feet. h. 35”, w. 46”, d. 19‑1/2” $1,800‑$2,500

320

322 Louis XVI Biscuit Porcelain Mantel Clock fourth quarter 18th century, the case molded entirely of porcelain and depicting Venus and Cupid, decorated with bronze dore mounts depicting anthemia and a central basket of flowers and birds, the silk-string suspension movement mounted with an enameled chapter ring, with gilt Roman numerals and an engine-turned bezel. h. 20”, w. 18”, d. 7‑3/4” $3,500‑$5,000

321

321 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table early 20th century, the circular marble top within a full pierced brass gallery, above a frieze fitted with two small drawers and two leather-inset candle slides, raised on fluted tapering circular legs ending in brass caps on casters. h. 29‑1/4”, dia. 26” $600‑$900

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323 325

323 Louis XVI-Style Marble Fireplace Surround

325 Louis XVI-Style Giltwood Settee

late 19th/early 20th century, the shaped mantel with a molded edge, over a serpentine frieze adorned with a carved shell and laurel leaves and berries, supported by scroll uprights with foliate-carved capitals. h. 46‑1/4”, w. 58”, d. 12”

late 19th century, the padded oval back surmounted by a ribbon crest, joined by padded acanthine-carved arms to the padded seat, raised above a guilloche-carved apron on fluted tapering circular legs ending in toupie feet, upholstered in period tapestry. h. 42”, w. 56‑1/2”, d. 24‑1/2”

$1,000‑$1,500 324 Napoleon III Giltwood Mirror third quarter 19th century, in the neoclassical taste, molded with dents de loup and mounted with a crest decorated with lovebirds and a quiver of arrows set into pierced scrollwork, roses hanging from the upper corners, set with an antique mirror glass, the backboard penned with the name “Labuthic” in period script. h. 45”, w. 29” $1,000‑$1,500

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$700‑$1,000 326 French Bronze Chandelier ca. 1900, the six-light chandelier with five pierced and scrolled arms terminating in torch-form candleholders set with vasiform anthemion-molded cups, supported on a molded torch-form base, the rod-form chains mounted with vines and leaves, terminating in a pierced canopy. h. 46‑1/2”, dia. 23” $800‑$1,200

327 Pair of French Oil-on-Canvas Panels first quarter 20th century, in the Louis XVI style, decorated with putto-carved bases supporting urns framed with arabesque scrollwork, and trimmed with swags of flowers and musical trophies on an ivory ground, in parcel-gilt wooden frames. h. 57”, w. 19‑1/2” $1,800‑$2,500 328 Pair of Bagues-Style Gilt-Metal and Rock Crystal Sconces 20th century, French, the two-light sconces with chinoiserie vase bases, set with flowering trees and a pair of foliate candle cups and drip pans. h. 28‑3/4”, w. 13”, d. 4” $3,000‑$5,000

327

328

329 Pair of Gilt-Bronze and Marble Urn-Form Garnitures on molded white marble bases, the marble urns set into bronze laurel leaves, with delicately leaf-molded handles framing the beaded and leaf-molded bronze necks. h. 11”, w. 5‑1/4”, d. 4” $2,500‑$4,000

329

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330 Louis XVI-Style Giltwood Mirror 19th century, French, the surround decorated with ribbonbound leaves and corner medallions, the pierced crest with an oval medallion decorated with a bas-relief urn flanked by cascades of pierced flowers, the lower edge set with leafcarved feet. h. 56”, w. 34‑1/2” $1,200‑$1,800 331 Pair of Louis XVI-Style Polychrome Bergeres avec Orielles 20th century, each with a tri-sected caned back and sides surmounted by a foliate crest and joined to the cushioned seat by padded caned arms, raised on bulbous legs headed by floral block capitals and ending in toupie feet. h. 47‑1/2” $700‑$1,000 332 Pair of Gilded Age Bronze and Marble Candelabra fourth quarter 19th century, French, the four-light candelabra with urn-shaped marble standards decorated with bronze ram’s-head handles and swags of flowers, and supporting twig-molded candle branches decorated with leaves and set with flower-molded candle cups, raised on hoof feet, above ormolu-mounted circular marble bases. h. 19‑1/2”, dia. 9‑1/2”

330

$700‑$1,000

331

134

332

333 Louis XVI-Style Giltwood Settee early 19th century, the padded and domed back within a molded frame, joined to the cushioned seat by padded scrolled arms, raised on fluted tapering circular legs headed by floral capitals and ending in toupie feet. h. 40”, w. 74”, d. 24” $700‑$1,000 334 Terracotta-Painted Molded Stone Garden Figure of Diana 20th century, the goddess depicted with a crescent moon in her hair, a quiver on her back, a bow at her side. h. 51‑1/4”, w. 15”, d. 13” $1,000‑$1,500 335 Louis XV Painted and Parcel-Gilt Trumeau Mirror second half 18th century, with a reeded giltwood surround, the upper portion with a serpentine crest and a carved giltwood basket of flowers crest, the oil-on-canvas tablet depicting Mercury rescuing a chained naid from a sea monster. h. 84”, w. 44‑1/2” $1,500‑$2,500 336 Pair of Hand-Painted Paris Porcelain Cachepots

335

third quarter 19th century, each painted with groups of putti at play on the obverse, one with a rear view of a firepot on the reverse, personifying winter, the other with a bust of Dionysus on the reverse, personifying autumn, the carefully detailed rims and handles with bleu celeste trim, one with a worn retailers label reading “Paris”. h. 7‑3/4”, dia. 8‑1/4” $600‑$900 336

333 334

135

337 Louis XVI-Style Fruitwood Secretaire

339 Louis XVI-Style Polychrome Bench

19th century, the paneled slant front opening to a variety of drawers surrounding a central cupboard, opening to small drawers, all retaining paper labels, over three long drawers, all paneled and with floral carving, above a guilloche-carved apron, raised on ribbed tapering square feet. h. 48”, w. 51”, d. 25”

the long, padded rectangular top raised above a foliatecarved frieze on paneled tapering square legs headed by foliate capitals and ending in block and toupie feet. h. 21”, w. 65”, d. 18” $1,000‑$1,500

$2,000‑$4,000 338 Pair of Continental Wallpaper Panels 20th century, laid down on panel, each with a monkey king and monkey attendants playing music and serving food, the fields decorated with polychrome garlands of flowers and various trophees, framed with grisaille scrollwork and presented in giltwood frames. h. 87”, w. 31” $1,000‑$1,500

337

338

339

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340 Impressive Louis-Philippe Giltwood Overmantel Mirror mid-19th century, the egg-and-dart-carved frame with projecting corners and molded medallions, the lushly molded crest decorated with lovebirds on a quiver of arrows, flanked by sprays of flowers. h. 71”, w. 54‑1/2” $1,500‑$2,500 341 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table early 20th century, the circular marble top within a full pierced brass gallery, above a brass-banded frieze fitted with a single drawer, raised on fluted tapering circular legs ending in brass caps. h. 28”, dia. 26” $600‑$900 342 Copper-Plated Red Toile Fabric late 18th century, probably French, depicting William Penn’s treaty with the Indians, in a classical-style wooden frame. h. 27‑1/2”, w. 35‑3/4”

340

At least three versions existed, according to Winterthur Museum curator Florence Montgomery in Printed Textiles. $1,000‑$1,500 343 Louis XVI-Style Mahogany, Kingwood and Marble-Top Commode early 20th century, the demi-lune marble top above a conforming case fitted with three graduated drawers, all banded and with chevron veneers, raised on tapering square legs ending in cap feet. h. 33‑1/4”, w. 33‑1/2”, d. 17” $700‑$1,000 341

343 342

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344 Louis XVI-Style Mahogany Desk 20th century, the rectangular top with an inset leather surface, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, raised on dramatically tapering square legs to brass pegs. h. 30”, w. 51”, d. 27” $600‑$900 345 Pair of French Bronze-Mounted Porcelain Lamps first quarter 20th century, in the Louis XV style, the cobalt urnform lamps on fluted bases, with bronze fittings and set with ram’s head handles. h. 30”, w. 11‑1/4”

345

$800‑$1,200 346 Louis XVI-Style Mahogany, Rosewood and Marble-Top Server early 20th century, the D-form marble top within a full pierced brass gallery, above a conforming frieze fitted with three drawers, joined by fluted supports to a lower galleried shelf, raised on fluted circular legs ending in toupie feet. h. 35”, w. 54”, d. 18‑1/2” $1,000‑$1,500

346

344

138

348 347

347 Painted and Parcel-Gilt Shelf of Directoire Inspiration first quarter 20th century, French, with double shelves and scrolled dividers, the splash decorated with a gilt masque and scrollwork on a Prussian blue ground, the panel against a lighter blue field, the lower shelf with scrolled brackets carved with medallions. h. 32‑1/2”, w. 37‑3/4”, d. 9” $1,000‑$1,500 348 Louis XVI-Style Mahogany Folio Holder early 20th century, the angled slatted top with an applied ormolu floral garland and festoon mount, raised on scrolling end supports to ormolu lotus-form caps. h. 38”, w. 34”, d. 16” $700‑$1,000 349 Louis XVI-Style Mahogany Vitrine 20th century, the molded demi-lune cornice above a conforming case fitted with an ormolu undulate-patterned frieze over a single glazed door, the slides glazed en suite, raised on tall toupie feet. h. 65”, w. 40‑1/2”, d. 18” $700‑$1,000 349

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350 Maurice Lenoir (French, 1872‑1931) “Le Marche de Mortagne dans l’Orne” oil on canvas signed lower left “M. Lenoir”, verso with “Pitt Scott, Ltd./Duke...U89” label. Framed. 15” x 21‑3/4”, framed 21‑3/8” x 28‑1/8” Provenance: Lombrail-Teucquam Maison de Vente, La Varenne-Saint-Hilaire, June 20, 1987, lot 31; Sotheby’s, New York, January, 28, 2006, lot 181. $6,000‑$9,000

350

351 Frank Myers Boggs (American/French, 1855‑1926) “Pont Neuf [a Paris]”, 1896 oil on canvas signed, dated and localized lower left, titled on “Arthur Tooth and Sons” label and on “Erving and Joyce Wolf Collection” label on frame backing. Presented in a vintage Carrig-Rohane custommade and gilded frame, incised “Carrig-Rohane/ Thulin-Murphy”. 21‑3/8” x 25‑5/8”, framed 27‑1/2” x 32” Provenance: Arthur Tooth and Sons, Ltd., London; Erving and Joyce Wolf Collection, New York; Sotheby’s New York, October 7, 2008, lot 28. $15,000‑$25,000

351

140

352 Eugene Galien-Laloue (French, 1854‑1941) “La Porte Saint-Martin, soir d’hiver” gouache on paper signed lower left “E. Galien-Laloue”, verso frame with “Alexander Kahan Fine Arts, Ltd., New York, NY” and “Jane Kahan Gallery, New York, NY” gallery labels. Matted, glazed and framed. 7‑1/8” x 12‑5/8”, framed 16‑7/8” x 22” $10,000‑$15,000

352

353 Marcel Dyf (French, 1899‑1985) “Villeneuve-les-Avignon” oil on canvas signed lower right “Dyf”. Framed. 22‑7/8” x 28‑1/2”, framed 30‑5/8” x 35‑1/2” $8,000‑$12,000

353

141

354 Henri-Jean Guillaume Martin (French, 1860‑1943) “Jeune Garcon avec Un Bateau a Voiles”, ca. 1932 oil on board signed lower right “Henri Martin”. Framed. 17‑1/2” x 14‑5/8”, framed 24‑3/4” x 22” Provenance: Chaite Gallery, Paris, 1950; Private collection, New York; Heritage Auctions, May 25, 2007, lot 2519; Shapiro Auctions, New York, Saturday, May 16, 2015, lot 569. $30,000‑$50,000 Musee de Cahors Henri-Martin assisted Shapiro Auctions in cataloging this painting. 354

355 Henri-Jean Guillaume Martin (French, 1860‑1943) “Le Chevre”, ca. 1937 oil on panel signed lower right. Framed. 12‑1/2” x 16”, framed 23‑3/8” x 19‑3/4” Provenance: Chaite Gallery, Paris, 1950; Private collection, New York; Shapiro Auctions, New York, September 26, 2015, lot 547. Literature: This lot is probably a preparatory sketch for Martin’s major work “Les Peupliers”, 1937, from the collection of the Petit Palais, Musee des Beaux-Arts de la Ville de Paris. $15,000‑$25,000 Cyrille Martin confirmed the authenticity of this painting for Shapiro Auctions in 2015, and the Musee de Cahors Henri-Martin assisted with identifying the present lot as a preparatory sketch. 355

142

356 Hugues Claude Pissarro (French, b. 1935) “Dimanche Au Lac, La Barque du Passeur” oil on canvas signed lower left “H. Claude Pissarro”, signed, titled and further inscribed en verso. Framed. 20” x 24‑1/2”, framed 25‑1/2” x 29‑3/4” Provenance: Christie’s, New York, September 22, 2009, lot 132. Hugues Claude Pissarro confirmed the authenticity of this work in 2009 through Christie’s. $10,000‑$15,000

356

357 Hugues Claude Pissarro (French, b. 1935) “Paris, Place du Tertre” pastel on paper signed lower left “H. Claude Pissarro”. Handsomely float-mounted, glazed and framed. 14‑1/4” x 19‑1/2”, framed 26‑1/2” x 33” $2,000‑$4,000

357

143

358 Ferdinand Loyen du Puigaudeau (French, 1864‑1930) “Marais Salants Pres du Croisic” oil on panel signed lower right. 7‑1/4” x 9‑1/8”, framed 15‑1/4” x 17” Provenance: Sotheby’s, Paris, July 3, 2008, lot 308. This painting is to be included in Antoine Laurentin’s forthcoming Le catalogue raisonne des peintures de Ferdinand du Puigaudeau. $12,000‑$18,000 A painter in the Impressionistic style, Puigedeau received a traditional education in his native Nantes before travelling to Italy and Tunisia. Upon his return to France he spent some time in the Breton city of PontAven, becoming an integral part of the thriving artistic community and befriending fellow artists Paul Gaugin, Edgar Degas, Claude Monet, and Pierre-August Renoir; these artists were to be forces behind the “Pont-Aven School” which emphasized the use of bold, light-infused colors. This approach is clearly evident in Puigaudeau’s work which is known for its distinctive wide range of vivid colors and understanding of how light can shape landscapes and objects, creating a certain mood. The intimate painting here is a wonderful example of the artist’s style: A village bathed in the mid-day sun, serenely combining the small, energetic brushstrokes of the poppies in the foreground we associate with the Impressionists, together with the strong linear definition of the rooftops beyond.

358

359 Maurice Mathurin (French, 1884‑1965) “La Moisson”, 1919 oil on canvas signed and dated lower left, verso with a “Kurt E. Schon, Ltd., New Orleans, Louisiana” gallery label. Presented in an attractive frame affixed with artist plaque. 32‑1/2” x 40‑1/2”, framed 41‑1/2” x 49‑1/2” Provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. $1,000‑$1,500

359

144

360 Continental School (First Half 20th Century) “Seaside Village” oil on canvas signed lower right “E. Almgaen”. Presented in a giltwood and gesso frame. 13‑1/2” x 10”, framed 22” x 18‑1/2” $1,000‑$1,500

360

361 William Auerbach-Levy (Russian/American, 1889‑1964) “Landscape with Church” oil on canvas signed lower left, verso with “ACA Galleries, New York, NY” label. Framed. 32” x 21”, framed 39‑1/2” x 28‑3/4” $1,000‑$1,500

361

145

362 R. G. de Casteras (French, Fourth Quarter 19th Century) “A Bretton Village Harbour Scene” oil on canvas signed lower left. Framed. 21‑1/8” x 25‑5/8”, framed 26‑3/4” x 31” $1,000‑$1,50

362

364 Hayley Lever (American, 1876‑1958) “Harbour at Night” oil on canvas signed lower left. Framed. 9‑7/8” x 14‑3/4”, framed 14‑1/4” x 19‑3/4” $3,000‑$5,000

363

363 Michel Korochansky (Russian, 1866‑1925) “Couche de Soleil sur la Riviere” oil on canvas signed lower left, titled on brass artist plaque, verso with “Kurt E. Schon, Ltd., New Orleans, Louisiana” gallery label. Presented in an attractive frame affixed with artist plaque. 29” x 21‑1/4”, framed 36‑3/4” x 29” Provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. $1,000‑$1,500 364

146

365 Dixie Hampson Durham (American, 1913‑2010) “A Fork Under the Pillow to Cure Night Sweats”, 1977 oil on canvas signed and dated lower right, titled en verso. Framed. 24” x 20”, framed 31‑1/4” x 27‑1/4” $1,000‑$1,500

365

366

367

366 Andre Gisson (American/French, 1921‑2003)

367 Francois Gall (French, 1912‑1987)

“Beach Scene”

“Girl Reading a Letter”

oil on canvas signed lower left. Framed. 16” x 20”, framed 25‑1/4” x 29‑1/4”

oil on canvas signed lower left. Framed. 11” x 8‑3/4”, framed 15‑5/8” x 13‑3/4”

$1,500‑$2,500

$4,000‑$7,000

147

368 Marcel Dyf (French, 1899‑1985) “Jeunne Femme Songeant [sic]” oil on canvas signed mid-right, verso with an inventory label. Presented in an attractive frame affixed with artist plaque. 21‑3/4” x 18‑1/8”, framed 29‑5/8” x 26” Provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. $3,000‑$5,000

368

369 James Pratt (New Zealand, 20th Century) “The Spanish Steps” oil on canvas signed lower right. Framed. 16‑1/4” x 19‑7/8”, framed 20‑1/4” x 24” $1,200‑$1,800

369

370 Pierre Guillaume (Dutch, b. 1954) “Paris Street Scene with a Busy Sidewalk Cafe” oil on panel signed lower right. Framed. 23‑1/4” x 37”, framed 29‑3/8” x 43‑1/4” $1,500‑$2,500

370

148

371 Willem Heytman (Dutch, b. 1950) “Les Terrasses aux Champs Elysees, Paris” oil on canvas signed lower right, titled en verso. Framed. 19‑5/8” x 27‑5/8”, framed 26‑1/4” x 34‑1/4” $1,500‑$2,500 372 George Vuillard (French, b. 1956) “Lady at the Cafe” oil on canvas laid on panel signed lower right. Framed. 23‑3/8” x 11‑7/8”, framed 29” x 17‑1/2” $1,000‑$1,500

371

373

373 Louis van der Pol (Dutch, 1896‑1982) “A Donkey Ride” oil on canvas laid on panel signed lower right. Framed. 22‑1/4” x 29‑1/4”, framed 29‑1/8” x 36‑1/8” $1,500‑$2,500 372

149

374 Michel Henry (French, b. 1928) “Still Life of Wildflowers in a Glass Vase” oil on canvas signed lower left, verso with “Wally Findlay Galleries, New York, NY” label. Framed. 46” x 32”, framed 54” x 40” $3,000‑$5,000

374

375 Michel Henry (French, b. 1928) “Still Life of Flowers in a Blue Japanese Bowl” oil on canvas signed lower left, verso with “Wally Findlay Galleries, New York, NY” label. Framed. 59‑1/2” x 59”, framed 67” x 66‑1/2” $7,000‑$10,000

375

150

376 Geza Kende (Hungarian/California, 1889‑1952) “Still Life of Yellow Roses in a Porcelain Vase” oil on canvas signed lower left. Framed. 24‑1/4” x 20‑1/4”, framed 31‑1/4” x 27‑1/4” $1,000‑$1,500 377 Peter Siabkin (Russian/German, 1899‑1948) “Self-Portrait” oil on canvas signed lower right “P. Siabkin”, further inscribed en verso canvas. Unframed. 36‑5/8” x 26” $3,000‑$5,000

376

378

378 Raymond Louis Charmaison (French, 1876‑1955) “Le Cirque au Nuit” oil on canvas signed lower right. Framed. 18‑1/4” x 24‑1/4”, framed 31‑5/8” x 25‑1/2” $1,500‑$2,500 377

151

379

379 Pair of Austrian Biedermeier Silver Candlesticks

380

1817, Vienna, by Karl Sedelmayer (master 1797; died 1840), 13 lot (.813) silver, each with a waisted standard with reeded band above a trumpeted foot and surmounted by an urn-form nozzle with circular drip-pan. h. 11”, dia. 4‑3/4”; 24.12 total t. oz. $1,000‑$1,500 380 Pair of German Neoclassical Silver Candlesticks 1826, Munich, by Bartholomaeus Maierhofer (1773‑1840; Master 1804), .813 silver, each in the form of a classical urn with ringed lion’s masque handles on a fluted columnar pedestal with rope-twist-banded foot and square plinth base, the urn nozzles fitted with detachable circular bobeches. h. 11‑1/4”, w. 4‑1/2”; 27.49 total t. oz. $1,800‑$2,500 381 Pair of German Silver Candlesticks second quarter 19th century, Weissenfels, Saxony, .750 silver, in the neoclassical taste, each in the form of a Corinthian column above a triangular base with acanthus-crested scrolls and embossed shell and bouquet plaques, above a conforming scrolled plinth base, the nozzle fitted with a detachable leaf-banded bobeche. h. 12”, w. 5”; 19.06 total t. oz. $700‑$1,000

152

381

382 Rare Alexander I Silver Tea Urn first quarter 19th century, St. Petersburg, by Anders Wilhelm Ljung (1794‑1850; master 1819), assayer Aleksandr Ilyich Yashinkov, 84 zolotnik (.875) silver, of bulbous rounded rectangular section, decorated with large palmettes and narrow palmette banding and gadrooned collar, with turned ivory cornucopia-mounted handles and “beehive” tap finial on the gadrooned spout, with gadrooned-domed finial en suite, the whole above a gadrooned stand raised on four palmettecrested flat-column legs with shell feet, on a canted and concave rectangular plinth, banded and domed en suite, the burner lacking. h. 13‑1/4”, w. 10‑3/8”, d. 9‑3/4”; 81.90 t. oz. $2,000‑$4,000 383 Louis-Philippe and Later “Fiddle Thread” Silver Flatware

382

most pieces second quarter 19th century, by Pierre Francois Quille and Jean-Francois Oury, Paris, first standard (.950) silver, the knives and salad forks mid-20th century, by Frank W. Smith, Gardner, Massachusetts, sterling silver, including a dozen five-piece place settings (one table fork lacking) with two additional teaspoons, variously monogrammed, presented in the original fitted, cream satin-lined oak case with lift-top and single drawer, with retailer’s stamp of Maurice Scooler (1827‑1900), New Orleans, Louisiana. 61 pieces 91.27 total t. oz. (weighable silver) $1,400‑$1,800 384 German Silver Wheelbarrow Table Ornament second quarter 20th century, by Christoph Widmann, Pforzheim, .800 silver, the rectangular barrow with openwork gadrooned sides centering putti medallions and decorated with floral swags, with scroll handles and working spoked wheel en suite. h. 4‑3/4”, l. 10‑1/4”, w. 4”; 14.42 t. oz. $600‑$900

383

384

153

387

385

386 388

385 German Silver Fruit Bowl

387 Pair of German Silver Sauceboats-on-Stands

first quarter 20th century, probably Hanau, .800 silver, of hexagonally paneled form, each side decorated with embossed cartouches, alternately with putti and void, mantled with floral bouquets on an openwork scroll-and-trellis ground, the base embossed with a scene of musical putti. h. 3‑3/4”, w. 13”; 23.59 t. oz.

first quarter 20th century, by Breidenstein & Renaud, Frankfurt, .800 silver, in the rococo taste, each of traditional batteau form, with steep spout and rococo scroll handle, raised on a domed oval foot and fixed to a shaped oval stand, decorated with rococo scroll and floral cartouches on a latticework ground, monogrammed on the body “PGR”. h. 6‑1/2”, l. 10‑1/2”, w. 6‑5/8”; 48.23 total t. oz.

$700‑$1,000 386 Good German Silver Center Bowl first quarter 20th century, by Storck & Sinsheimer, Hanau, .800 silver, in the Louis XV taste, of oval form with peaked sides and reed-and-ribbon rim, decorated with pierced gadroons centering ribbon-crested oval cartouches joined by floral swags, with ram’s masque handles, raised on four ram’s masque-crested cloven feet, one cartouche with engraved armorial, fitted with a conforming silverplate liner with gilt interior. h. 7‑1/2”, l. 18‑3/4”, w. 11”; 77.93 t. oz. (excluding liner) $4,000‑$7,000

154

$1,000‑$1,500 388 Continental Silver Wine Cooler mid-20th century, .800 silver, the inverted pear-shaped body quarter-lobed and with gadrooned calyx, decorated with applied rococo medallions and fruit bouquets, with waisted collar and addorsed dolphin-scroll handles, the handles and medallions set with malachite cabochons, raised on an acanthus-domed foot. h. 11‑3/4”, w. 12‑1/4”, dia. 9‑1/2”; 53.67 t. oz. $1,000‑$1,500

389 Large Italian Silver Center Bowl fourth quarter 20th century, by Stancampiano, Palermo, .800 silver, of lobed oval form with upswept ends, with applied rococo rim and medallions, with hammered finish, raised on a conforming foot en suite. h. 8‑3/4”, l. 24”, w. 11”; 86.86 t. oz. $1,500‑$2,500

389

390

390 Continental Silver-Mounted Molded Glass Claret Jug ca. 1900, probably French, the flattened pear-shaped colorless glass body molded with spiral gadroons and clad in a silver collar, band and foot of openwork rococo acanthus scrolls, the collar and band joined by an arched handle en suite, with integral spout and hinged lid with flammiform finial. h. 12‑1/4”, l. 7”, w. 3‑3/4” $700‑$1,000 391 French Silver and Cobalt Glass Vase ca. 1900, the maker’s mark rubbed, in the Empire taste, .950 silver, the cobalt glass deep bucket-form body with gadrooned silver calyx crested by embossed medallions of Bacchus and Ariadne, the silver collar with applied palmettes and waisted neck, with tall arched swan’s head-mounted handles, the whole raised on a steeply domed laurel-crowned and palmette-banded foot. h. 15‑1/2”, dia. 5‑1/2”, w. 9‑1/2” $900‑$1,200

391

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393

392

392 Christofle Belle Epoque Silverplate Plateau

393 Four-Piece German Silver Tea Set

1901‑1903, Paris, with a central square section and two “D”-shaped ends, with balustrade gallery sectioned by square paterae with pyriform finials and fluted feet, each section fitted with a conforming mirrored plate. overall h. 3”, l. 32‑1/2”, w. 17‑5/8”

first quarter 20th century, by Alfred Roesner (1857‑1935), Dresden, .800 silver, in the rococo taste, including a coffeepot, h. 11‑3/4”, dia. 4‑3/4”, a teapot, h. 7‑3/4”, dia. 5‑3/4”, a cream jug, h. 5‑3/8”, dia. 3‑1/4”, and a waste bowl, h. 3‑1/4”, dia. 5”, each with a spiral serpentine-fluted pear-shaped body, with acanthus-crested handles and domed feet and lids en suite. 54.68 total t. oz.

$1,000‑$1,500

$1,200‑$1,800

156

394 Belle Epoque French Silver Urn fourth quarter 19th century, first standard (.950) silver, decorated with four large ovoid panels separated by repousse acanthus arches, the cavetto collar with repousse acanthusand-fluting banding, above a circular foot ring with fluted and beaded banding, fixed to a cavetto-canted square black marble base. h. 13”, dia. 9‑1/4”; 55.00 t. oz. (excluding marble base, but including the brass mounting band) $1,200‑$1,800 395 Set of Twelve Georg Jensen Sterling Silver Service Plates second half 20th century, model 600Y, designed by Harald Nielsen (1892‑1977), Copenhagen, circular with step-molded edge. dia. 11”; 243.02 total t. oz. $8,000‑$12,000 Surroundings the Mississippi River Discovered by Mr. De la Salle in 1683)”, by Nicolas de Fer (French, 1646‑1720), geographer to Louis XIV and Philip V, published Paris, 1705; “A New Map of the River Mississippi from the Sea to Bayagoulas”, published in the London Magazine, 1778; and a “Map of Louisiana...”, by T. S. Hardee, prepared for Joseph Jones, MD, published New Orleans, 1879. All unframed. sheet size, respectively 11” x 15‑1/2”, 8‑1/4” x 10‑1/4” and 15‑1/2” x 17‑1/4” Provenance: The Hardee/Jones map was purchased at J. Raymond Samuel (Gallery), New Orleans, Louisiana, March 1983; all three are from the private collection of Hugo Wedemeyer, New Orleans, Louisiana.

394

$900‑$1,200

395

157

396 Pair of Capodimonte Biscuit Figures 20th century, Italian, one depicting the “Rape of the Sabine Women”, h. 17‑1/2”, w. 5‑1/2”, d. 5‑3/4”, and the other “Centaur Nessus Removing Deianira”, h. 15”, w. 5‑1/4”, d. 10‑1/2”, each with an overglaze blue crowned “N” and “Ginori” mark. $600‑$900 397 Unusually Large Parian Bust of Apollo Belvedere third quarter 19th century, probably English, molded in two pieces and joined with a brass screw and nut, unmarked. h. 22‑3/4”, w. 18‑1/2”, d. 13‑3/4” $2,500‑$4,000 396

398 Neoclassical Creme-Peinte and Parcel-Gilt Stool mid-19th century, the cushioned seat with tasseled corners, and raised on a curule-form cross-over base with foliate carving and beading, centered by a floral medallion and ending in scrolled feet. h. 19”, w. 19‑1/2”, d. 15” $600‑$900

399 Charming French Painted and Parcel-Gilt Mantel Mirror second quarter 19th century, the white-painted ogee-molded frame set with molded and gilt decoration in the Empire taste, the antique mirror plate lined with gilt dents de loup. h. 45”, w. 30‑1/2” $700‑$1,000

397

398

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399

400 Empire Mahogany Fauteuil 19th century, the padded square back surmounted by a shaped ormolu-mounted crest, joined by flat arms on dolphin uprights to the padded seat, raised on shaped legs ending in paw feet. h. 37” $800‑$1,200

401 Pair of Marble, Gilt-Bronze and Glass Candelabra

400

ca. 1800, Swedish or Russian, the two-light candelabra on gray marble bases supporting marble standards, with giltbronze fittings, and mounted with mirrored vasiform balusters supporting cut glass spires set with sprays of drops, the engine-turned candle cups set with sprays of drops and hung with swags of drops. h. 22‑1/2”, w. 13”, d. 6” $1,500‑$2,500

402 Directoire-Style Polychrome and Parcel-Gilt Recamier 19th century, the padded and back-scrolled end with foliate and swan’s neck carving, the long cushioned seat above a paneled frieze with laurel wreath accents, raised on paw feet. h. 35”, w. 31”, l. 74” $1,500‑$2,500

403 Italian Grand Tour Bronze of a Patrician Roman Woman Adjusting Her Stola 401

first quarter 20th century, now on a black cove-molded base. overall h. 24‑1/4”, w. 9‑1/2”, d. 8‑1/2” $600‑$900

402

403

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404

406

404 Handsome Neo-Grec Bronze Chenets with Integral Fender third quarter 19th century, French, the chenets molded with columns mounted with classical oil lamps wound molded serpents, with an integral fender and pierced brackets on either side. h. 21‑1/2”, w. 43”, d. 4‑1/2” $800‑$1,200 405 French Carved and Painted Trumeau Mirror first quarter 19th century, in the provincial Directoire style, the tablet with carved ivory scrollwork and vases of flowers against a celadon ground, the sides with masques in lozenges and “Pompeiian” vases. h. 74‑1/2”, w. 43” $1,800‑$2,500 406 Pair of Bronze Sconces in the Directoire Style mid-20th century, the five-light sconces on tassel-molded backplates with bellflower chains, set with leaf-molded candle arms terminating in leaf-molded candle cups and drip pans on two levels. h. 32”, w. 17”, d. 11” $700‑$1,000

405

160

407

407 After Albert-Ernest Carrier-Belleuse (French, 1824‑1887)

408

“Harmonie”, ca. 1900 patinated bronze the classically draped figure holding a lyre, incised signature along proper left edge, artist and title plaque at front. h. 24‑1/2”, w. 13”, d. 12” $1,500‑$2,500 408 Italian Neoclassical Giltwood Mirror first quarter 19th century, the surround with corner medallions and molded anthemia, with carved vases on the lower rests, the pierced crest with a lyre on a field of scrollwork and bellflowers. h. 60‑1/2”, w. 25‑3/4” $1,500‑$2,500 409 Directoire Mahogany Chest early 19th century, the figured top with cookie corners above three long drawers flanked by fluted columns and ending in turned legs. h. 34‑1/2”, w. 45”, d. 23” $700‑$1,000

409

161

410 Pair of Empire-Style Bronze and Marble Candelabra 20th century, now mounted as lamps, on giltwood bases, the green marble tripartite plinths with gilt-bronze mounts and supporting patinated bronze caryatids smoking pipes, set with gilt-bronze candle cups with molded masques, mounted with shades. h. 35‑1/4”, dia. 17‑1/2” $1,000‑$1,500 411 Bronze Figure of Apollo on a Chariot, Ushering in the Dawn first quarter 20th century, French, the chariot drawn by two Pegasus horses, one with a muse trumpeting sun’s arrival, on a patinated bronze base with gilt-bronze eagle-molded feet and mounts. h. 20‑1/2”, w. 22‑1/2”, d. 8‑3/4” $3,500‑$5,000

410

412 Pair of Empire-Style Gilt-Bronze Sconces 20th century, French, the two-light sconces with caryatid-molded backplates terminating in molded acanthus leaves, supporting leaf-molded candle arms, set with melon-molded candle cups and leaf-molded drip pans. h. 17”, w. 13”, d. 6‑1/4” $1,200‑$1,800

411

413 Regency Bronze Dore et Patine Fender second quarter 19th century, English, with an adjustable width, each end decorated with a patinated bronze griffin wearing a gilded collar, sitting on a plinth with winged flames, framed with brackets and mounted with medallions and scrollwork. h. 11‑3/4”, w. 38” to 46‑1/2”, d. 3‑1/2” $800‑$1,200

412

413

162

414 Italian Neoclassical Polychrome and Marble-Top Console Table mid-19th century, the shaped marble top with a molded edge, above a conforming frieze with elongated gadroon and bellflower carving, raised on cabriole legs headed by foliate carving and ending in hoof feet. h. 35”, w. 49”, d. 20” $800‑$1,200

414

415 Directoire Polychrome Lit du Jour 18th century, of box form, the back and sides all padded and surmounted by a molded crest and spherical finials, fronted by columnar uprights, the cushioned seat raised on toupie feet, with four conforming pillows. h. 42”, w. 73‑1/2”, d. 34‑1/2” $1,000‑$1,500 416 Pair of Rock Crystal and Gilt-Metal Table Lamps 20th century, French, on stepped bases with column-form standards and Egyptian capitals. h. 22”, w. 5‑1/2”, d. 5‑1/2”

416

$2,500‑$4,000

415

163

417

417 Suite of Six Empire-Style Polychrome Chairs 19th century, consisting of two armchairs and four side chairs, each with a padded square back surmounted by a carved gilt foliate patera, the padded seat raised on fluted tapering square legs ending in peg feet. h. 39‑3/4” $1,200‑$1,800 418 Unusual Porcelain and Bronze Double Wine Cistern fourth quarter 19th century, Continental, the barrel-form cistern with taps at each end, supported by a pair of bronze cupids holding wine cups and riding dolphins, all above a porcelain base fitting into molded bronze trim. h. 8”, w. 5”, d. 9”

418

$1,500‑$2,500

419

419 Jean Pouyat Limoges Partial Dinner Service ca. 1914‑1932, French, the service including seven dinner plates, dia. 10‑1/4”, eight plates, dia. 9‑3/4”, sixteen luncheon plates, dia. 8‑1/2”, seven bread and butter plates, dia. 6‑1/4”, five dessert dishes, dia. 5”, twelve cups, h. 2”, with twelve saucers, dia. 5‑1/2”, eight drawn butter dishes and stands, h. 1‑1/2”, dia. 5”, three graduated platters, w. 13‑1/2” to 18”, d. 10‑1/2” to 13‑3/4”, a gravy boat with integral stand, h. 4”, w. 9‑1/2”, a shell dish, l. 9”, w. 5”, an open vegetable dish, h. 2‑1/4”, w. 9‑1/2”, d. 8”, a covered oval vegetable dish, h. 5”, w. 11‑1/2”, d. 7”, a round covered vegetable dish, h. 5”, w. 9‑1/2”, a teapot, h. 5‑3/4”, w. 8‑1/4”, a sugar bowl, h. 4‑1/2”, w. 6‑1/4”, and a cream jug, h. 3‑1/4”, w. 4‑1/4”, with Pouyat’s decorating mark and the retailer’s mark, J. Mc. D & S Co., Boston. $700‑$1,000

8 164

420 421

420 Italian Neoclassical Fruitwood Commode mid-19th century, the rectangular top banded and with a decorative central inlay, above a conforming case fitted with two long drawers, both banded and with like inlay, raised on tapering square legs. h. 38‑1/2”, w. 43‑1/2”, d. 21” 38‑1/2”, w. 43‑1/2”, d. 21” $1,200‑$1,800 421 Contemporary Gilt-Metal Chandelier of Dessin Fournir Inspiration 20th century, the ten-light chandelier with a circular pierced frame of interlocking circles, the two-light candle arms with Moorish pierced decorative drops. h. 16”, dia. 44” $1,000‑$1,500 422 French Giltwood Over-Door Boiserie Element

423

423 Two Pieces of Biedermeier Furniture

second quarter 19th century, in the neoclassical taste, carved with a wreath of flowers flanked by scrolls terminating in carved cornucopia. h. 10”, w. 57”

including a fruitwood and marble-top pedestal cupboard, the circular marble top within a molded border, the columnar body fitted with a single cupboard and raised on a plinth base, h. 30‑1/2”, dia. 16”, and a fruitwood cellarette of canted tapering rectangular form, raised on square feet, h. 20”, w. 23”, d. 18”.

$600‑$900

422

165

424 Restauration Polished Bronze and Crystal Lyre-Form Mantel Clock second quarter 19th century, French, with a cut glass base, probably Baccarat, and a bronze wreath mount, the bronze lyre mounted with clockworks and terminating in swan’s heads holding a swag of flowers and flanking a masque of the sun god Helios. h. 19‑1/2”, w. 7”, d. 4‑1/4” $2,500‑$4,000

425 Rare French Restauration Double Wine or Liquor Cistern second quarter 19th century, probably Baccarat, the giltbronze frame set with alabaster panels and a cut glass panel framing a gilt-bronze lunette-form panel set with a pair of taps, the taps connecting to a pair of strawberry-cut decanters with matching stoppers, probably original. h. 11‑1/2”, w. 7‑1/2”, d. 5‑3/4” $1,500‑$2,500 424

426 Impressive Restauration Painted and Parcel-Gilt Pier Mirror second quarter 19th century, French, with a gilt cove-molded surround, supporting a giltwood depiction of the goddess Hera, with her chariot drawn by peacocks, and pilasters flanking the mirror with delicately molded bronze “mounts”, the capitals with pierced anthemia and cornucopias, the frieze with giltwood mounts below egg-and-dart molding. h. 100‑1/2”, w. 63‑1/2” $1,500‑$2,500

425

166

426

427 Italian Neoclassical Walnut Commode 18th century, the banded top with two panels with decorative inlay, above a conforming case fitted with three long drawers, each with three geometric banded panels, raised on tapering square legs. h. 35”, w. 52”, d. 25‑1/2” $2,000‑$4,000 428 Rare Basalt Figure of Psyche mid-19th century, Danish, modeled with butterfly wings and carrying one of her symbols, a pottery jar, the figure stamped “L. Hjorth” and “Eneret”. h. 14‑3/4”, w. 4”, d. 4” $700‑$1,000 429 Continental Grand Tour Patinated Bronze of “Apollo”

428

20th century, after the original from Pompeii, now in the Museo Nazionale, Naples, Italy. h. 24‑1/2”, w. 11‑1/2”, d. 9‑1/2”

429

$800‑$1,200 430 Italian Silvered Carved Wood Figure of a Roman Soldier fourth quarter 19th century, the figure wearing a plumed helmet and dressed in a cloak over an armored vest, a sword at his side. h. 46‑1/2”, w. 16‑1/2”, d. 10‑3/4” $3,500‑$5,000

427 430

167

431 Continental Patinated Bronze Roundel of the Inebriated Silenus 19th century, the tutor to Dionysus precariously perched on a donkey and attended by young satyrs. dia. 7‑1/4” $800‑$1,200 432 Handsome Pair of Patinated Bronze Andirons first quarter 20th century, French, in the Beaux-Arts style, the rectangular standards on scrolled feet and mounted with lion’s-head ring pulls and laurel wreaths, terminating in flame finials. h. 32”, w. 12‑1/2”, d. 21‑1/2”

431

$1,000‑$1,500 433 Pair of Handsome French Neo-Grec Polished Steel Planters third quarter 19th century, of oval form with lobed ends, the sides decorated with molded anthemia and Greek key fretwork. h. 9‑1/2”, w. 26”, d. 15‑1/2” $1,000‑$1,500 434 Pair of Neo-Grec Patinated Bronze and Marble Urns third quarter 19th century, French, now mounted as lamps, on molded red griotte marble bases, the urns decorated with basrelief classical figures and trimmed with gilt-bronze. h. 25”, w. 7‑1/2”, d. 6‑3/4”

433

$1,500‑$2,500

432

168

434

436

435

435 Pair of Neoclassical-Style Kingwood and Marble-Top Pedestals each with a square marble top raised on a tapering square standard to a molded square base, to block feet, all with inlaid foliate urn patterns. h. 49‑1/2”, w. 12”, d. 12”

436 French Bronze Chandelier in the Neoclassical Taste first quarter 20th century, the standard molded to mimic a fringed silk swag held with oak-leaf garlands, the four arms molded as hunting horns. h. 39”, dia. 23” $600‑$900

$600‑$900

437 Set of Four Louis XVI-Style Gilt-Bronze Sconces second quarter 20th century, French, each of the threelight sconces with a quiver-form standard mounted with arrows and supported by a pierced bowknot holder, the arms decorated with carefully molded leaves and buds and supporting fluted drip pans and candle cups. h. 26‑3/4”, w. 12”, d. 7‑3/4” $2,000‑$4,000

437

169

438 Parcel-Gilt Mirror in the Neoclassical Taste ca. 1900, French, decorated with a pair of floral swags held with a bowknot on a pink ground, the surround with molded leaves and beading, set with a beveled mirror plate. h. 64”, w. 37” $800‑$1,200

439 438

439 Pair of Restauration Mahogany Fauteuils mid-19th century, each with a padded rectangular back surmounted by a molded crest, joined by downswept ribbed arms to the padded seat, raised on shaped and molded legs ending in scrolled toes. h. 38‑3/4” $1,000‑$1,500

440 Pair of Restauration Fruitwood Bergeres mid-19th century, each with a padded rectangular back surmounted by a molded crest, joined by downswept arms on dolphin uprights to the cushioned seat, raised on sabre legs. h. 36‑1/2” $600‑$900

170

440

442 441

441 Directoire-Style Mahogany and Marble-Top Sideboard early 20th century, the shaped and conforming marble top above a row of four drawers and tambour-style cabinet doors below. h. 40”, w. 71”, d. 21” $700‑$1,000

442 Pair of Polished Steel Covered Garden Urns in the French neoclassical taste, with “Devil” masques on each side supporting swags of laurel leaves, the leaf-molded covers with pinecone finials. h. 32‑1/2”, dia. 11” $1,200‑$1,800

443 French Giltwood Mirror of Neoclassical Inspiration fourth quarter 19th century, with a leaf-molded surround, the corners molded with medallions, the pierced crest decorated with a crossed torch and quiver flanked by flower-filled urns on each side. h. 61‑1/2”, w. 34‑1/2” $600‑$900 443

171

444 Georg Anton Rasmussen (Norwegian, 1842‑1914) “Coastal Village by the Fjord”, 1888 oil on canvas signed and dated lower right. Framed. 26‑3/4” x 39‑1/2”, framed 36‑3/4” x 49” $5,000‑$8,000

444

445 Theodore Alexander Weber (German, 1838‑1907) “Fishing Boats on Choppy Seas” oil on canvas signed lower right. Framed. 13” x 20‑1/4”, framed 19” x 26‑1/4” $2,000‑$4,000

446

446 Henri Adolphe Louis Laurent (French, b. 1830) “The Clam Diggers” oil on canvas signed lower right. Presented in a giltwood and gesso frame affixed with artist plaque. 25‑1/2” x 21‑1/4”, framed 35‑1/2” x 31‑1/4” $2,000‑$4,000 445

172

448

447

448 Harry Kluge (Danish, 1879‑1963)

447 S. H. Hunter (British, 19th/20th Century)

“The Bent Branch”

“By the Shore”

oil on canvas signed and dated lower right. Framed. 14‑1/2” x 16‑3/4”, framed 18” x 20‑1/4”

oil on canvas signed lower right. Framed. 30‑1/4” x 20”, framed 39‑1/2” x 29‑3/4”

$1,000‑$1,500

$1,200‑$1,800

449 Paul Seignon (French, 1820‑1890) “Bringing in the Day’s Catch” oil on canvas signed lower right. Unframed. 27‑1/2” x 38‑1/2” $1,000‑$1,500

449

173

450 Carl Werner (German, 1808‑1894) “Ship on Stormy Seas” oil on canvas signed and dated “91” lower right. Framed. 31” x 46‑1/8”, framed 52‑1/8” x 36‑5/8” $2,000‑$4,000

450

451 Henrik Gamst Jespersen (Danish, 1853‑1936) “Mountain Pines” oil on canvas signed lower right. Framed. 36‑3/4” x 57”, framed 39‑1/2” x 60‑1/4” $1,500‑$2,500

451

452 August Jacobsen (Norwegian, 1868‑1955) “The Meandering Stream” oil on canvas signed lower right. Framed. 33‑3/4” x 49”, framed 42‑1/2” x 59” $1,000‑$1,500

452

174

453

454

453 Carl Hornung-Jensen (Danish, 1882‑1960)

454 Christian Molsted (Danish, 1862‑1930)

“Portrait of a Girl with Braids”, 1924

“Sailor Blowing His Horn”, 1896

oil on canvas signed and dated lower right. Framed. 20‑3/4” x 15‑3/4”, framed 25‑1/4” x 20‑1/2”

oil on canvas signed and dated lower left. Framed. 23‑1/4” x 18‑1/4”, framed 30” x 25”

$1,000‑$1,500

455 Rudolf Pleissner (German, 1889‑1977) “Cathedral Square” oil on canvas signed lower left. Framed. 25‑1/2” x 36‑1/2”, framed 32‑1/2” x 43‑1/4” $1,500‑$2,500

455

175

457

456

456 Christoffer Jennert (Danish, 1890‑1949) “The Bustling Crowd”, 1929 oil on canvas signed and dated lower right. Framed. 27‑1/2” x 30‑3/4”, framed 31‑3/4” x 34‑1/2” $1,000‑$1,500

457 Ludvig Jacobsen (Danish, 1890‑1957) “The Judgment of Paris”, 1928 oil on canvas signed and dated lower right. Framed. 21‑1/2” x 25‑3/4”, framed 26‑1/4” x 30‑1/2” $1,000‑$1,500

458 Ludvig Jacobsen (Danish, 1890‑1957) “Don Quixote and Sancho at the Wedding of Camacho and Quiteria” oil on canvas signed lower right. Framed. 33‑3/4” x 43‑1/2”, framed 39‑3/4” x 49‑3/4” $1,000‑$1,500

458

176

459 French Bronze and Crystal Chandelier 20th century, in the Louis XIV taste, the eight-light chandelier with a bronze frame set with scrolled candle arms, the lights with sprays of prisms, a spearpoint finial decorating the interior, and a spray of drops forming the corona. h. 34‑1/2”, dia. 23‑1/2” $600‑$900

459

460 Pair of Meissen Porcelain Tea Bowls and Saucers second quarter 19th century, richly decorated with gilt scrollwork framing hand-painted bucolic scenes, with underglazed crossed swords mark. bowl h. 1‑3/4”, saucer dia. 5” $1,800‑$2,500 460

461 Pair of Louis XV-Style Polychrome Fauteuils early 19th century, each with a padded domed back surmounted by a foliate shield crest, joined by padded arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in foliate toes. h. 37‑1/2” $1,000‑$1,500

461

177

464

464 French Gilt-Bronze and Crystal Chandelier

462

first quarter 20th century, the twenty-two-light chandelier with a frame of bronze foliage supported on a spiral-reeded standard, with blown glass crystal lilies and poppies, interspersed with molded bronze candle cups with leaf-form drip pans on three levels, hung with cut glass drops. h. 38”, dia. 36” $3,000‑$5,000

462 Pair of Rococo-Style Painted and Parcel-Gilt Arched Doors 19th century, probably Italian or Spanish, the paneled doors decorated with carved and gilded rocaille scrollwork, the panels framed with giltwood-covered molding. h. 91”, w. 57‑1/2” $2,000‑$4,000 463 Regence-Style Polychrome and Faux Marbre Commode 19th century, the serpentine faux marbre top with a molded edge, above a conforming case fitted with three drawers, raised on cabriole legs to scrolled toes. h. 32‑1/2”, w. 42”, d. 20‑1/2” $2,000‑$4,000

463

178

465 Italian Rococo Creme Peinte and Parcel-Gilt Bowed Corner Cabinet early 20th century, the domed and molded cornice above a pierced floral frieze with a glazed door below, opening to a fabric-lined and mirrored interior, the sides also glazed, joined by a paneled back and scrolled uprights to a lower section fitted with a central drawer over a paneled cupboard, flanked to either side by two open shelves, raised on cabriole legs ending in scrolled toes on pegs. h. 84”, w. 41”, d. 20‑1/2” Provenance: Estate of June Milton Stobaugh, Houston, Texas. $1,500‑$2,500

466 Pair of Louis XV-Style Polychrome and Parcel-Gilt Bergeres early 20th century, of generous proportions, each with an arched and padded back and carved and molded arm fronts, the seat frame gracefully scalloped and raised on cabriole legs. h. 36” $1,800‑$2,500

465

466

179

467 French Hand-Woven Tapestry of King David Entering the City late 18th century, with a central motif of the king and attendants on horseback, a city in the background, with an overall elaborate border with sunbursts, meandering vines and whimsical architectural elements, now backed in cotton. 107” x 114” $5,000‑$8,000

468 Pair of Chinese Blue and White Porcelain Bottle Vases Mounted as Lamps 20th century, each with a globular body supporting a slender neck, decorated with qilin and phoenix amid blossoming flowers and stylized flames, and having impressive ormolu mounts and a twin bulb fixture. overall h. 36‑1/2”, w. 13‑1/2”, d. 13‑1/2” $1,500‑$2,500 467

469

469 Chinese Export Porcelain Cider Jug second half 19th century, of barrel form with applied loop handle, the body decorated with floral sprays and sprigs in the famille rose palette, between blue and white borders, centered by the monogrammed letters “BH” below the upturned spout. h. 9‑1/4”, w. 8”, d. 6” $600‑$900

180

468

470

470 Pair of Louis XV-Style Polychrome Bergeres 471

early 20th century, each with a domed and padded back surmounted by a floral crest, joined by closed downswept arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes. h. 35‑1/2” $1,000‑$1,500 471 French Bronze and Crystal Chandelier 20th century, in the Louis XIV taste, the eight-light chandelier with a bronze frame set with scrolled candle arms, the lights with sprays of prisms, a spear-point finial decorating the interior, and a spray of drops forming the corona. h. 34‑1/2”, dia. 23‑1/2” $600‑$900 472 Pair of French Gilt-Bronze Candelabra

472

fourth quarter 19th century, the five-light candelabra in the Louis XV style, the bases decorated with fluting and set with molded bellflowers, terminating in draped urns, the leafmolded arms supporting reeded candle cups and matching bobeches set on molded drip pans. h. 22‑1/4”, w. 13‑1/2” $600‑$900 473 Pair of Marble and Bronze Potpourri Urns ca. 1900, French, in the Louis XVI style, the pink-veined marble ovoid bodies mounted with leaf-molded handles and hung with swags of flowers, the marble covers on pierced bronze bezels and set with leaf-molded mounts terminating in molded grapes. h. 17‑3/4”, dia. 6” $700‑$1,000 473

181

474 Regence Polychrome Commode 18th century and later, the shaped faux marbre top above a conforming case fitted with three long drawers, each with two panels within scrolling foliate bands, the sides paneled, raised on cabriole legs ending in scrolled toes. h. 36”, w. 45”, d. 22” $1,800‑$2,500

475 Three-Piece Louis XV-Style Giltwood Parlor Suite early 20th century, including a settee and a pair of fauteuils, each with a shaped and padded back surmounted by a foliate shield crest, joined by padded and molded arms to the padded seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes. settee h. 40”, w. 48”, d. 24”, fauteuil h. 38”

474

$1,000‑$1,500

476 Napoleon III Gilt-Bronze and Marble Figural Mantel Clock third quarter 19th century, marked by C. Detouche, clockmaker to Napoleon III, the Rococo Revival clock case decorated with marble inserts and mounted with a figure of author Voltaire holding up a book, a pen in hand, the dial marked “C. Detouche, Fr, 158 & 160, Rue de St. Martin”. h. 18‑1/2”, w. 14”, d. 4‑1/2” $900‑$1,200 475

476

182

479

477

477 French Giltwood Mirror mid-20th century, in the Louis XV style, the molded surround with pierced scroll and rocaille work, the crest with scrollwork and cabochons, with flowerheads forming the finial. h. 56”, w. 38” $800‑$1,200 478 Louis XV-Style Mahogany Dresser early 20th century, the shaped oval beveled mirror surmounted by a tall foliate shield and surrounded by a molded frame, raised on two foliate-modeled supports to two small drawers, the lower section of bombe form and fitted with two drawers over two cupboard doors, each paneled and with incised patterns, raised on splayed legs to scrolled toes. h. 82”, w. 42”, d. 20‑1/2” $800‑$1,200 479 French Gilt-Bronze Chandelier in the Louis XV Style 20th century, the pierced rope-twist standard decorated with rocaille work, flowers, scrolls and classical heads, and set with eight leaf-molded candle arms with matching drip pans hung with rock crystal drops. h. 46”, dia. 31” $2,000‑$4,000 478

183

480

480 Louis XV-Style Kingwood Bureau Plat

482

early 20th century, the rectangular leather top within a brass banding with corner accents, above a frieze fitted with a central drawer flanked to either side by a short deep drawer, raised on cabriole legs headed by espagnolettes and ending in sabots. h. 30”, w. 66”, d. 36” $800‑$1,200

481 Louis XV-Style Kingwood Occasional Table early 20th century, the banded and shaped square top with parquetry veneers and within an ormolu edging, above a conforming paneled like-veneered frieze fitted with a single drawer, raised on cabriole legs ending in sabots. h. 29‑1/2”, w. 19”, d. 19” $700‑$1,000

481

482 Andre Jean Lebrun (French, 1737‑1811) “Jeune Garcon” terracotta bust signed along back of proper right shoulder truncation, on a socle base. h. 17”, w. 10”, d. 6” $800‑$1,200

483 Terracotta Roundel of Guy Le Gentil, Marquis de Paroy attributed to Jean-Baptiste Nini (Franco-Italian, 1717‑1786), ca. 1767, the richly patinated roundel self-framed with a hanging aperture at the top, inscribed and dated on the obverse. dia. 6‑1/4” The example being offered appears to be identical to the example in the Metropolitan Museum of Art, New York. 483

184

$800‑$1,200

484 Louis XVI-Style Polychrome and Marble-Top Console Table 18th century, the shaped marble top above a conforming fluted frieze centered by a pendant portrait medallion issuing garlands, raised on C-scroll legs with gilt foliate accents, joined by an urn-centered stretcher and ending in foliate feet. h. 28”, w. 40‑1/2”, d. 21” $1,000‑$1,500 484

485 Pair of French Bronze Sconces 20th century, each with a bowknot backplate supporting three leaf-molded arms, candle cups and drip pans, the lower portion molded as a bracket with a leaf-molded pendant finial. h. 23”, w. 19” $1,200‑$1,800

485

486 Pair of French Bronze Sconces 20th century, each with a bowknot backplate supporting three leaf-molded arms, candle cups and drip pans, the lower portion molded as a bracket with a leaf-molded pendant finial. h. 23”, w. 19” 486

$1,200‑$1,800

185

488

487 Painted and Parcel-Gilt Trumeau Mirror

487

ca. 1900, French, in the Louis XVI style, the mirror plate and painting lined with bound ribbon, with a bowknot crest, each side decorated with panels of applied scrollwork, the painting with a French country outdoor genre scene on a moss-green ground. h. 60”, w. 44‑1/4” $1,000‑$1,500 488 French Bronze Chandelier of Rococo Inspiration 20th century, the thirty-two-light chandelier on a scroll- and rocaille-molded and turned standard, set with pierced leafmolded graduated arms on three levels, the top level set with pierced chains. h. 36”, dia. 41” $1,500‑$2,500 489 French Bronze Chandelier of Rococo Inspiration 20th century, the thirty-two-light chandelier on a scroll- and rocaille-molded and turned standard, set with pierced leafmolded graduated arms on three levels, the top level set with pierced chains. h. 36”, dia. 41” $1,500‑$2,500

489

186

490 Marie-Felix-Hippolyte Lucas (American/French, 1854‑1925) “The Stag Hunt” oil on canvas signed lower right. Framed. 41‑3/4” x 55‑1/4”, framed 51” x 63‑7/8” $6,000‑$9,000

490

491 Guillaume Anne van der Brugghen (Dutch, 1811‑1891) “The Hunt” oil on canvas signed lower left. Presented in a giltwood and gesso frame. 37‑5/8” x 49‑1/4”, framed 47‑3/4” x 59‑1/4” $3,000‑$5,000

491

187

492 Anton Nicolaas Marie Karssen (Dutch, b. 1945) “On the Lookout” oil on panel signed lower right. Framed. 19” x 26”, framed 26‑1/8” x 33‑1/8” $1,500‑$2,500

493

493 Conradyn Cunaeus (Dutch, 1828‑1895) “Waiting for Mistress” oil on canvas signed lower right, verso with a label inscribed in pen “Leeuwhondje, C. Cunaeus...”. Presented in a 20th-century giltwood frame. 34‑1/2” x 27‑3/4”, framed 41‑1/2” x 34‑5/8” Provenance: Sara Davenport Paintings, London, U.K., 1994. 492

$5,000‑$8,000

494 Anton Nicolaas Marie Karssen (Dutch, b. 1945) “A Litter of Puppies” oil on panel signed lower left. Framed. 25” x 36”, framed 37‑1/8” x 48‑1/2” $2,000‑$4,000

494

188

495 Pair of Regency-Style Mahogany Serving Cabinets 20th century, in the Adam taste, each surmounted by an urn-form cabinet topped by a finial and fitted with a single swag-carved door, opening to four pull-out shelves, the lower cabinets each fitted with a single drawer over a tall paneled cupboard door, opening to shelves and a storage space, fronted by a swag and patera carving, raised on plinth bases. h. 60”, w. 18”, d. 18” $1,200‑$1,800 496 Regency-Style Mahogany Four-Pedestal Banquet Table 20th century, each top with a reeded leading edge and mounted to a turned standard with four down-curved legs ending in cast brass toes fitted with casters. h. 30”, w. 48”, l. 192” This table is also designed to accept one leaf between each top section for further length (leaves lacking). $1,500‑$2,500

495

497 William IV Mahogany Music Stand mid-19th century, the double-sided slatted top fitted with two swinging, adjustable brass candle arms, raised on a turned and graduated standard to four splayed ribbed legs ending in peg feet. h. 47”, w. 16‑1/2”, d. 17‑1/2” $700‑$1,000

496

497

189

498 Edwardian Mahogany Pembroke Table early 20th century, in the Adam taste, the rectangular top with delicate inlays in various floral, foliate and ribbon patterns within a likeinlaid band, with two drop leaves inlaid en suite, with corner floral baskets, above a frieze fitted with a single end drawer, raised on tapering square legs to casters. h. 29‑1/2”, w. 23”, d. 36‑1/2”, ext. w. 39” $600‑$900 498

499 George III Mahogany Gainsborough Chair late 18th century, the padded back joined by padded and downswept arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher. h. 39‑3/4” $600‑$900 500 English Tortoiseshell Tea Caddy third quarter 19th century, on brass ball feet, the twocompartment tea caddy with a foil-lined interior fitted with two covers, and a slightly domed top decorated with line-inlaid tortoise. h. 5”, w. 7”, d. 3‑3/4” $900‑$1,200 501 Regency Tortoiseshell Tea Caddy second quarter 19th century, English, the commode-fronted caddy with a molded cover matching the front, and a twocompartment interior with covers. h. 6‑1/2”, w. 7‑1/4”, d. 4‑1/2”

499

$900‑$1,200

500 501

190

502 English Tortoiseshell Tea Caddy third quarter 19th century, on brass ball feet, the twocompartment tea caddy with a foil-lined interior fitted with two covers, and a slightly domed top decorated with line-inlaid tortoise. h. 4‑1/4, w. 6‑1/4”, d. 3‑3/4” $900‑$1,200

502

503 Pair of Regency-Style Parcel-Gilt and Ebonized Benches of curule form, with scroll arms on a frame with gilt fluting, upholstered in tufted green plush. h. 26”, w. 41”, d. 17” $1,200‑$1,800

504 Polychrome and Marble-Top Cabinet late 19th century, of Regency inspiration, the concave marble top with turreted corners, above a conforming case fitted with two cupboard doors, each with Greek-key banding and inset with a panel with avian accents in the chinoiserie manner, raised on splayed faux bamboo legs. h. 35‑1/2”, w. 41‑1/2”, d. 20‑1/2”

504

$1,800‑$2,500

503

191

505 Pair of Rare, Labeled Gilt-Bronze and Cut Glass Argand Lamps first quarter 19th century, London, England, decorated with engine turning, molded leaves and fluting, the fluted section below the burner labeled “Johnston Brookes & Co., Manufacturers, London”, mounted with cut glass urn-form fluid tanks, now electrified, originally adjustable in height, with a molded thumb screw at the base. h. 18‑1/2”, w. 9‑1/2”, d. 5” $600‑$900 505

506 Pair of Molded Stone Seated Lion Garden Figures ca. 1900, English, on raised bases, retaining a rich patina with a lichen-encrusted surface. h. 24”, w. 10‑1/2”, d. 21” $800‑$1,200

506

507 Regency-Style Black-Painted and Gilt Chandelier mid-20th century, the standard decorated with a prism-hung urn over a faceted pagoda inset with mirror plates, supporting scrolled candle arms on two levels, hung with prisms and mounted with gilt-metal leaves. h. 36”, dia. 33‑1/2” Provenance: Chosen by Parish-Hadley, New York for a South Hampton, New York client. $1,800‑$2,500

507

192

508

508 Regency Ebonized Settee early 19th century, in the chinoiserie taste, the padded rectangular back surmounted by a frame featuring gilt accents in the chinoiserie taste, joined by downswept arms to the padded seat, raised on ring-turned tapering circular legs ending in toupie feet. h. 35”, w. 66”, d. 20” $800‑$1,200 509 Cast Stone Garden Figure of Leda and the Swan 20th century, probably English, Leda reclining on a draped platform with Zeus, in swan form. h. 24”, w. 31‑1/2”, d. 13” $3,000‑$5,000 510 Regency-Style Parcel-Gilt Tabernacle Mirror first quarter 20th century, English, with a giltwood surround and a tablet molded with a pair of angels supporting laurel swags, framed with a pair of brackets, the cornice with molded leaves and medallions, set with a beveled mirror plate. h. 76”, w. 37” $800‑$1,200

509

510

193

511 Pair of Silvered Bronze and Jasperware Sconces second quarter 20th century, American or English, the threelight sconces with oval plaques decorated with the “Dancing Hours”, the backplates framed with anthemia-handled urns, the leaf-molded arms terminating in medallions. h. 19", w. 8", d. 5-1/2" $800‑$1,200 512 Pair of Large Staffordshire-Type Pottery Figures depicting William Shakespeare and John Milton, each poised at a molded podium, with a stack of books and a written page, Shakespeare depicted with his trademark beard, Milton with his long locks. h. 18”, w. 11”, d. 4‑1/2”

511

$2,500‑$4,000

513

513 Pair of Charming Prattware Bough Pots

512

first quarter 19th century, English, the flared pots decorated with a pair of bas-relief-molded figures on a blue basketweave ground, and complete with original inserts. h. 5‑1/4”, w. 6”, d. 3‑1/4” $700‑$1,000 514 Mirrored Pair of Chinese Export Porcelain Blue and White Phoenixes 20th century, each modeled perched upon pierced and molded rockwork, with painted detail to the wings and plumage. h. 16‑1/2”, w. 7” $600‑$900

514

194

515 Pair of Regency-Style Painted Metal Birdcages 20th century, with pagoda-form tops modeled after the Brighton Pavilion, raised on faux bamboo bases. h. 82‑1/2”, w. 15‑1/2”, d. 15‑1/2” $800‑$1,200

515

516 Continental School (First Quarter 19th Century) “Exotic Birds in a Park Setting” pair of oils on canvas unsigned. Both presented in matching frames. each 53” x 34”, framed 56‑7/8” x 37‑1/2” $2,000‑$4,000

516 one of two

516 two of two

195

517 English Art Movement Ebony and Leather-Top Library Table third quarter 19th century, in the manner of Charles Bevan, the rectangular top with an inlaid border and tooled leather blotter, with a pair of carved legs at each end with Gothic trefoil piercing at the top and mounted to arched legs joined by a stretcher. h. 29”, w. 48”, d. 24”

517

$1,200‑$1,800

518 The Book of the Thousand Nights and a Night

519 Waverley Novels, Sir Walter Scott (Scottish, 1771‑1832)

Richard Francis Burton (British, 1821‑1890), translator, Denver: Press of the Carson-Harper Co., 1900, incomplete in ten volumes (missing the seven volumes of the Supplemental Nights), Burton Society Edition, by subscription only, this numbered 36 of 1,000, brown fabric boards and spines with gilt lettering and design. 10” x 6‑3/4”

Edinburgh: Little Brown and Co./Boston: Adam and Charles Black, 1871, complete in twenty-five volumes, Centenary Edition, brown leather boards, spines with gilt lettering and design. 7‑1/2” x 5‑1/4” $700‑$1,000

$700‑$1,000

518

196

519

520

520 Thirty Decorative Volumes of Literature and History including The Complete Works of Johann Wolfgang von Goethe, New York: P. F. Collier and Son, n.d., complete in ten volumes, half red leather over marbled boards, spines with gilt lettering; The Complete Works of Oscar Wilde, New York: National Library Company, 1907, incomplete in ten volumes (of fifteen), Edition de Luxe, this numbered 62 of 1,000, half burgundy leather over cloth boards, spines with gilt lettering and design; The Letters of Philip Dormer Stanhope, Earl of Chesterfield, Philadelphia: J. B. Lippincott Company, 1892, complete in five volumes, half brown green leather over marbled boards, spines with gilt lettering; and The Tudor Translations, London: David Nutt, 1898‑1899, red and burgundy cloth boards and spines with gilt lettering. 8” x 5‑3/4” to 9” x 6‑1/2” $700‑$1,000

521 Pair of Carved Pine Whippets third quarter 19th century, English, their heads angled in the opposite direction, on molded oval bases. h. 35”, w. 21‑1/2”, d. 11” $1,500‑$2,500

521

522 Handsome English Mahogany Folding Library Ladder 522

fourth quarter 19th century, the leather-covered exterior with brass nailhead trim, opening to reveal the cleverly designed mahogany ladder. closed l. 104”, open l. 94‑1/2”, w. 12‑1/2” $700‑$1,000

197

523

523 The World’s Great Books

524 English Late Victorian Carved Oak Pedestal Desk

Rossiter Johnson, ed., New York: D. Appleton and Company, 1898‑1900, incomplete in forty volumes (with some duplications), Edition de Grand Luxe, marbled paper boards, leather spines with gilt lettering. 9‑5/8” x 6‑1/2”

fourth quarter 19th century, the top with an in-carved border and an oval leather blotter, the base with a central kneehole with three side-by-side drawers below the deck and a bank of three drawers to each side. h. 30‑1/2”, w. 54”, d. 30”

$700‑$1,000

$800‑$1,200

524

198

525

525 Forty-Eight Volumes on British Literature and History

526 Thirty-Seven Volumes on Literature and Travel

including The History of England, Lord Macaulay, London: Longmans, Green, and Co., 1882, incomplete in eighteen volumes (of twenty), half brown leather over marbled boards, spines with gilt lettering and design; The Aldine Poets, Geoffrey Chaucer, London: William Pickering, 1845, complete in six volumes, tan leather boards with gilt filet, spines with gilt lettering and design; Memoirs of Eminent Englishwomen, Louisa Stuart Costello, London: Richard Bentley, 1844, complete in four volumes, half tan leather over marbled boards, spines with gilt lettering and design; Poems of John Milton, London: John Macrone, 1835, complete in six volumes, half brown leather over marbled boards, spines with gilt lettering and design; Poems of Samuel Rogers, London: T. Cadell and E. Moxon, 1834, two volumes, tooled green leather boards and spines with gilt lettering and design; The Poetical Works of Thomas Moore, London: Longman, Orme, Brown, Green and Longman, 1840, complete in ten volumes, half green leather over marbled boards, spines with gilt lettering and design; The Reliques of Father Prout, London: James Fraser, 1836, complete in two volumes, tan leather boards with gilt filet, spines with gilt lettering and design. 6‑3/4” x 4‑1/2” to 9” x 6”

including The Works of James Fenimore Cooper, New York: G. P. Putnam’s Sons, n.d., incomplete in ten volumes (of thirtytwo), half black leather over burgundy fabric boards, spines with gilt lettering; Beacon Lights of History, John Lord, ed., New York: James Clarke and Co., 1888‑1902, Stanford Edition, this numbered 190 of 700, half green leather over marbled boards, spines with gilt lettering and design; With the World’s Great Travellers, Charles Morris, ed., Chicago: Union Book Co., 1901, complete in eight volumes, half green leather over marbled boards, spines with gilt lettering; and Ireland and Her People, Thomas W. H. Fitzgerald, Chicago: Fitzgerald Book Company, 1910, incomplete in four volumes (of probably five), half black leather over dark green cloth boards, spines with gilt lettering and design. 8‑1/2” x 5‑1/2” to 9‑3/4” x 6‑3/4” $700‑$1,000

$700‑$1,000

526

199

527

527 Fifty Decorative Volumes on World Literature including The Works of Theophile Gautier, New York: George D. Sproul, 1902, complete in twenty-four volumes, Limited Edition by subscription only, this numbered 75 of 1,000, half brown leather over marbled boards, spines with gilt lettering and design; Ancient Classics for English Readers, various editors, Edinburgh and London: William Blackwood and Sons, n.d., incomplete in fourteen volumes (of probably twenty), half maroon leather over marbled boards, spines with gilt lettering; The Works of Oliver Goldsmith, London: John Murray, 1854, incomplete in six volumes (of eight), paper boards, spines with gilt lettering; The Adventures of Gils Blas of Santillana, Alain Rene Lesage, Henri-Van Laun, translator, Edinburgh: William Paterson, 1886, complete in three volumes, half brown leather over marbled boards, spines with gilt lettering and design; The Odysseys of Homer, George Chapman, translator, London: John Russell Smith, 1874, two volumes, half brown leather over marbled boards, spines with gilt lettering and design; and The Iliads of Homer, George Chapman, translator, London: John Russell Smith, 1873, Vol. I only, half brown leather over marbled boards, spines with gilt lettering and design. 7” x 5‑1/2” to 9‑3/4” x 6‑3/4” $700‑$1,000

200

528 Fifty-Three Decorative Bindings on the Classics, History, and Literature including Norroena Anglo-Saxon Classics, Erasmus B. Anderson, ed., Norroena Society, 1905, incomplete in eleven volumes (of fifteen), Royal Edition by subscription only, this 237 of 450, red leather boards and spines with gilt lettering and design; Consulate and Empire, Louis Adolphe Thiers, London: Chalto and Windus/ Philadelphia: J. B. Lippincott, co., 1894, complete in twelve volumes, half blue leather over marbled boards, spines with gilt lettering; The Works of Thomas Carlyle, Chicago and New York: Belford, Clarke and Company, n.d., incomplete in eleven volumes, half brown leather over marbled boards, spines with gilt lettering; Memoirs of Prince de Talleyrand, the Duc de Brogie, ed., Raphael Ledos de Beaufort, translator, London and Sydney: Griffith, Farrar, Okeden and Welsh, 1891, incomplete in two volumes (of five), half dark gray leather over marbled boards, spines with gilt lettering; Works of Horace, Sir Theodor Martin, translator, Edinburgh and London: William Blackwood and Sons, 1881, complete in two volumes, green leather boards and spines with gilt lettering; The Real America in Romance, John R. Musich, New York and Chicago: Wm. H. Wise and Company, 1907, volume XI only, half red leather over fabric boards, spines with gilt lettering and design; and fourteen volumes on English History, John Heneage Jesse, Boston: Francis A. Niccolls and Co., n.d., Connoisseur Edition, this numbered 20 of 150, half green leather over marbled boards, spines with gilt lettering and design. 7‑1/2” x 5‑1/4” to 9” x 6” $700‑$1,000

528

529 Set of Twelve Royal Worcester Dinner Plates ca. 1928, English, decorated with raised gilt vases and swags on a lapis lazuli ground, the central panels with floral painting signed by Worcester artist Ernest Barker, with a gilt “Royal Worcester, Made in England” mark employing the 1928 mark. dia. 10‑1/4” $600‑$900

529

530 Suite of Twelve Late Victorian Mahogany Dining Chairs ca. 1890, in the manner of R. J. Horner, consisting of two armchairs, h. 55”, and ten side chairs, h. 52”, with shell- and scroll-carved crests and lion-carved arm fronts, with carved paw feet. $1,000‑$1,500 531 British Elkington Co, Patinated Bronze of the Duke of Wellington Astride His Horse Copenhagen fourth quarter 19th century, after the ca. 1837 model by Edmund Cotterill (1794‑1860), this version cast by the Elkington Co., Ltd., foundry inscription along back edge of self-base. h. 20‑3/4”, w. 16‑1/2”, d. 6‑1/2” $600‑$900 531

530

201

532 Two 19th-Century Swords including a British naval officer’s sword with scabbard, the bronze guard with a lion’s head, molded with a crowned anchor, w. 3”, l. 35”, and an Italian sword with scabbard, the blade stamped “Lorenzotti Brescia”, w. 4‑1/2”, l. 42”. 532

$700‑$1,000

533 Pair of Cast Stone Garden Figures of Griffins 20th century, English, depicted seated on molded plinths, with wings spread and mouths open. h. 33”, w. 18”, d. 10‑1/2” $1,000‑$1,500

534 Victorian Bronzed Iron and Pottery TileMounted Bathtub late 19th/early 20th century, in the aesthetic taste, the iron tub insert with a mahogany rim, supported by a tile-mounted frame with a central row of tiles depicting birds, the tiles marked “Minton Hollins Patent Tile Works Stoke on Trent”, raised on shaped legs. h. 28‑1/2”, w. 68”, d. 29” Provenance: Exhibited at the 1884 World’s Fair/ Cotton Exposition, New Orleans, Louisiana.

533

$700‑$1,000

534

202

535 Fine William IV Carved Mahogany Mechanical Reclining Library Chair second quarter 19th century, the curved back with carved details, the arms with brass latches to release and recline the back, as well as tilt the seat, with a pull-out adjustable footrest and upholstered in Italian embroidered faux leather fabric. h. 51”, w. 27” $1,200‑$1,800

535

536 The Writings, John Fiske (American, 1842‑1901) Cambridge: The Riverside Press, 1902, complete in twentyfour volumes, Edition De Luxe, this numbered 484 of 1,000, half red leather over marbled boards, spines with gilt lettering and design. 9” x 6‑1/4” 536

$1,000‑$1,500

537 Thirty-Seven Volumes of English Translations of Foreign Masters including The Works of Leof N. Tolstoi, New York: Charles Scribner’s Sons, 1899, incomplete in twenty volumes (of twenty-four), blue cloth boards with gilt decoration, cream spines with gilt lettering; Court Memoir Series, Boston: L. C. Page and Company, n.d., crimson cloth boards and spines with gilt lettering and design; and Masterpieces of Foreign Authors, Chicago: A. C. McClurg and Co., 1890, incomplete in nine volumes (of unknown number), green and cream cloth boards and spines with gilt lettering and design. 7” x 4‑3/4” to 9‑1/2” x 6‑1/4” $700‑$1,000

537

203

538

538 Seventy Decorative Bindings of British and American Literature and History including The Holly Edition of the Works of Washington Irving, New York and London: G. P. Putnam’s Sons, 1892, incomplete in twenty-seven volumes (of forty), Limited Edition, this numbered 855 of 1,000, red leather boards, spines with gilt lettering and design; Modern Eloquence, Thomas B. Reed, ed., Philadelphia: John D. Morris and Co., 1900‑1903, incomplete in twenty volumes, half red leather over marbled boards, spines with gilt lettering and design; A History of the U.S. from the Discovery of the American Continent, George Bancroft, Boston: Little Brown and Co., complete in ten volumes, half red leather over marbled boards, spines with gilt lettering and design; The Works of Alfred Lord Tennyson, New York: Macmillan and Co., 1895, incomplete in nine volumes (of twelve); and A History of Our Times, Justin McCarthy, New York: Merrill and Baker, 1894, complete in four volumes, half red leather over marbled boards, spines with gilt lettering and design. 7‑1/4” x 5” to 8‑1/8” x 5‑1/2” $700‑$1,000

539

539 Pair of Cast Iron Retrievers in the 19th-century style, on oval bases, each depicted seated, one with a bird at its feet and the other with discarded tack. h. 37”, w. 16”, d. 33” $1,000‑$1,500

540 Edwardian-Style LeatherUpholstered and Mahogany Chesterfield Sofa the back and sides padded and tufted, the bi-cushioned seat above a tufted apron and raised on bulbous toupie feet to casters. h. 31”, w. 70”, d. 39” $800‑$1,200

540

204

541 Pair of Edwardian Satinwood Cabinets first quarter 20th century, in the Adam taste, each with a stepped rectangular top with a shaped front, above a conforming case fitted with a single drawer over a single cupboard, each centered by an oval panel with a painting of a classical maiden, in the manner of Angelika Kauffman, opening to a drawer and shelf, one with a lined cellarette, flanked to either side by tapering bellflower-carved uprights headed by ram’s heads, raised on tapering square legs ending in spade feet. h. 41‑1/4”, w. 24”, d. 25‑1/2” $3,000‑$5,000 542 English Molded Glass Chandelier second quarter 20th century, the five-light chandelier in the Waterford taste, with a diamond-point and ribbed standard supporting swags of drops, set into a dish-form base, with twisted glass arms supporting glass candle cups and matching drip pans, hung with spear-point prisms. h. 30‑1/2”, dia. 22” $700‑$1,000 542

541

205

543 Pair of Edwardian Mahogany Pedestal Cabinets late 19th century, in the Adam taste, each surmounted by a large urn knife box, and with a stepped hinged top and graduated square body to a waisted base, raised on square pedestals, one fitted with a cellarette drawer over cupboard, the other fitted with a cupboard over cupboard, all paneled and flanked by ribbed uprights, raised on ogee-molded bracket feet. h. 66”, w. 16”, d. 16” $1,000‑$1,500

544 English Victorian-Style Ebonized and ParcelGilt Tray Table of traditional form, the shaped tray mounted within a conforming frame and raised on turned outcurved legs joined by an X-form stretcher. h. 19‑1/2”, w. 37”, d. 28” $600‑$900

545 Set of Ten Royal Doulton Porcelain Dinner Plates ca. 1923‑1927, English, the plates with cobalt borders, decorated with raised gilt and punctuated with panels of flowers and raised gilt, the undersides marked “Royal Doulton/Made in England”. dia. 10‑1/4” 543

545

206

$600‑$900

544

546 Pair of Edwardian Polychromed and Parcel-Gilt Satinwood and Maple Armchairs early 20th century, each back with an ovoid painted floral panel, over one depicting a pair of putti, and flanked by a woven case, carved seat and closed arms, the front seat rails painted in vintage decor, fitted with a loose seat cushion. h. 40‑1/2” $700‑$1,000 546

548 Onofrio Boua (Italian, Second Half 17th Century) “Natura Morta con Fiori” oil on canvas signed in Latin “Honufrius. Boua. F” lower left. Framed 37‑1/8” x 27‑3/8”, framed 42‑3/4” x 33” $4,000‑$7,000

547

547 Dutch School (Fourth Quarter 18th/First Quarter 19th Century) “Still Life of Flowers, Squash and Other Fruit in a Park Setting” oil on canvas unsigned. Presented in a giltwood and gesso frame. 51‑1/8” x 37‑1/8”, framed 58‑1/8” x 43‑3/4” $1,000‑$1,500 548

207

549 French Beaux-Arts Bronze and Glass Hall Lantern second quarter 20th century, the six-light, hexagonal lantern set with star-cut glass panels with scroll-molded upper and lower portions, and having swags of laurel leaves and berries hanging over the glass panels. h. 57”, dia. 23” $600‑$900 550 French Bronze Lantern in the Rococo Taste first quarter 20th century, the six-light lantern of hexagonal form, set with star-cut beveled glass panels and decorated with swags of flowers, hung from scrolled supports, the base with pierced scrollwork and a grape finial. h. 35‑3/4”, dia. 19” $600‑$900

550

549

552 Napoleon III Marquetry-Inlaid Ebonized Center Table in the Louis XVI taste, the top with central and perimeter marquetry edged by bronze mounts, over a conforming inlaid frieze with a single drawer, raised on fluted trumpet legs joined by a stretcher, adorned with bronze mounts throughout. h. 30”, w. 47‑3/4”, d. 27” $600‑$900

551

551 After Emmanuel Fremiet (French, 1824‑1910) “Cavalier Romain”, 20th century patinated bronze smaller scale version of the figure exhibited at the Paris Salon in 1866, cast signature and titled on self-base. h. 13”, w. 11‑1/2”, d. 5” $1,000‑$1,500 552

208

553 Napoleon III Boulle and Marble-Top Cabinet third quarter 19th century, the inset rectangular marble top with turreted corners, above a conforming case fitted with two cupboard doors, each inset with an oval panel, raised on turreted feet, the whole with intricate boulle patterns. h. 43‑1/2”, w. 54‑1/2”, d. 17‑1/2” $1,500‑$2,500 554 Philipp Schmitz (German, 1824‑1887) “Pendant Portraits of Husband and Wife” pair of oval oils on canvas each signed mid-right, one dated “1865”. Presented in matching giltwood and gesso frames. each 50” x 40‑1/4”, framed 62‑3/4” x 54” $4,000‑$7,000

554 one of two

553

554 two of two

209

555 Louis XV-Style Ebonized and Faux Boulle Bureau Plat the rectangular top with banding and a central panel simulating Boullework, within an ormolu band with corner accents, above a frieze fitted with three drawers, raised on cabriole legs headed by espagnolettes and ending in sabots. h. 31”, w. 59”, d. 32”

555

$1,000‑$1,500

556 Pair of Gilt-Metal and Marble Covered Garniture Urns ca. 1900, French, on marble bases, the urns decorated with molded swags and ram’s-head handles, the fluted covers with cone-form knops on marble rims. h. 15”, w. 6‑1/2”, d. 4‑1/2” $700‑$1,000

556

557 Handsome Limoges Enamel Plaque in a Bronze Frame ca. 1900, depicting a young woman in profile, a wreath of laurel in her hair, and clutching a newspaper, all carefully rendered and shaded, mounted in a Beaux-Arts gilt-bronze frame decorated with a bowknot crest supporting swags of flowers. h. 8”, w. 6‑1/2” $700‑$1,000

557

210

558 After Francisque Joseph Duret (French, 1804‑1865) “Neapolitan Dancer with Tambourine” “Neapolitan Dancer with Castanets” pair of pendant patinated bronzes third or fourth quarter 19th century, cast by AugusteMaximilien Delafontaine (French, 1813‑1892), each with cast signature and foundry inscription on self-base, marked “AD” along edge of base. h. 17”, w. 6” to 6‑1/2”, d. 5” Provenance: Private Collection, Connecticut. $2,500‑$4,000

558

Duret was an academically trained sculptor whose most popular and familiar works reveal his deep love and appreciation for the antiquities of the Classical Age. The son of an artist, he trained with his father and studied under Francois-Joseph Bosso, before traveling to Europe where he soon immersed himself in the history, culture, and artistic traditions of the region. The original models for the works presented here (part of his debut exhibition at the Paris Salon of 1838), bear a resemblance in form and composition to the Dancing Satyr, a 1st/2nd century CE Roman sculpture (itself a copy of the 2nd century Hellenistic work), now conserved at the Uffizi Gallery, Rome, and the Dancing Faun, a 2nd century BC Greco-Roman sculpture, now conserved at the National Archeological Museum in Naples. Duret’s figures, however, exhibit more freedom from the somewhat controlled postures of his inspiration; his dancers turn, twist and contort, revealing exuberant expressions and easily conveying to the viewers their pleasure and enthusiasm for the dance in which they are so completely engrossed.

559 After Sylvain Kinsburger (French, 1855‑1935) “Amour”, 20th century patinated bronze the winged putto scattering rosebuds, cast signature along back edge of base. h. 26‑1/2”, w. 12”, d. 12” $1,000‑$1,500

559

211

560 560 French Patinated Bronze Figural Grouping of the Allegory of War

20th century, modeled as three putti engaged in a mock battle, cast inscription “Philippe Benezech” at self-base. h. 15‑1/2”, w. 11‑3/4”, d. 6” $700‑$1,000 561 Pair of Art Nouveau Patinated Bronze Vases ca. 1900, probably French, signed E. Fuchs (Austrian, 1866‑1929), each molded with a child climbing a fence in pursuit of a bird, on a ground of flowers. h. 16‑1/2”, dia. 7‑1/2” $1,000‑$1,500

561 562 French Crystal and Silvered Metal Chandelier

mid-20th century, of Louis XVI inspiration, the lower section with concentric spear-point drops, beneath the prism-hung arms, the upper section with cascades of drops, trimmed with star-shaped crystal medallions. h. 37‑1/2”, dia. 25” $1,000‑$1,500 563 Napoleon III Mahogany Dressing Table third quarter 19th century, the rectangular top centered by an inlaid brass musical trophee and with turreted corners, hinged and opening to a mirrored interior, above a conforming frieze fitted with a single compartmented drawer, raised on fluted tapering circular legs joined by an urn-centered X-form stretcher and ending in squat bun feet. h. 25‑1/2”, w. 24‑1/2”, d. 16” $600‑$900

562

212

563

564 KPM-Style Porcelain Plaque of the Goddess Vesta first quarter 20th century, German, marked “Vestalin, after C. Wunnenberg”, and “Made in Germany”, the plaque depicting the virgin goddess descending stairs of a classical temple and feeding the birds. overall h. 13”, w. 11‑1/2” $700‑$1,000

564

565 KPM Plaque Depicting “Hoffnung” (Hope) after Baron Cuno von Bodenhausen (German 1852‑1831), the young woman wearing a white gown, in a garden, arms akimbo, impressed with “KPM” and an impressed scepter and “H”. overall h. 15‑1/2”, w. 13‑1/4” $800‑$1,200

565

566 Limoges Enameled Plaque of “The Jolly Cavalier” ca. 1900, after Jean-Louis Ernest Meissonier (French, 1815‑1891), monogrammed and inscribed “Jaques [sic] Meissonier” lower left, set within a shadowbox frame. plaque 7‑3/4” x 5”, framed 13” x 10‑1/4” $1,500‑$2,500

566

213

567 French Giltwood Mirror of Rococo Inspiration ca. 1900, the gadrooned surround with cut corners and a pierced crest decorated with scrollwork and a swan’s-neck pediment, the rectangular mirror with a superimposed oval giltwood-trimmed panel, with molded swags of flowes beneath the crest. h. 49‑1/2”, w. 34” $1,200‑$1,800

567

568 After Clodion (b. Claude Michel, French, 1738‑1814) “Putto with Triangle” “Putto with Tambourine” pair of patinated bronzes fourth quarter 19th century, the slightly chubby figures modeled balancing on one foot and holding instruments, each signed “Clodion” on the base, on red griotte marble bases. h. 9‑3/4”, dia. 4” $1,200‑$1,800 568

214

569 one of four

569 three of four

569 two of four

569 four of four

569 Carl Cesar Adelbert Cramer (Danish, 1822‑1889) “The Four Seasons” suite of four oval oils on canvas each signed, dated and further inscribed lower right “C. Cramer 1876, Munchen”. Each presented in matching oval giltwood and gesso frames. two examples 33‑1/2” x 25‑1/2”, two examples 33” x 25‑1/4”, framed sizes 44‑3/4” x 31” and 45‑1/8” x 31” $3,000‑$5,000

215

570

571

570 Impressive Pair of Paris Porcelain Baluster Vases mid-19th century, of Sevres inspiration, with bleu celeste grounds, the panels on the obverse hand-painted with cupids, flowers and lovebirds, the panels on the reverse hand-painted with flowers, both panels framed with carefully detailed tooled gilt scrollwork. h. 22‑1/2”, dia. 8‑1/4” $600‑$900 571 Impressive Hand-Painted Porcelain and Gilt-Bronze Centerpiece third quarter 19th century, probably Paris, in two parts, the base and bowl lushly decorated with large, carefully rendered flowers, the base of the bowl molded with gilt putti on a bleu celeste ground, the pierced bronze rim with grapevines. h. 18‑3/4”, w. 18”, d. 14‑3/4” $3,500‑$5,000 572 Napoleon III Marquetry-Inlaid and Porcelain-Mounted Ebonized and Amboyna Cabinet ca. 1875, the upper section with a brokenarch pediment over a pair of doors, each with a panel centered by a porcelain plaque in the Sevres style, and flanked by shelves, the shaped base with a frieze drawer with like decor over a pair of shelves supported by segmented columns. h. 70”, w. 64”, d. 19” $700‑$1,000

216

572

574

573

573 Art Nouveau Marquetry-Inlaid Mahogany Side Chair early 20th century, in the manner of Carlo Bugatti, the parquetry-inlaid crest rail over an inlaid circular splat, the stiles curving to join the shaped front legs, the stiles and seat rail adorned with inlaid scrolls. h. 40”, w. 13”, d. 14” $600‑$900 575

574 Set of Eight Meissen Dinner Plates

575 Polished Bronze Figure of an Angel Embracing a Child

ca. 1862‑1924, German, the hand-painted plates with a cobalt and floral border, and a gilt and floral center medallion, with an underglazed blue crossed swords mark with pommel ends. dia. 9‑1/2”

third quarter 19th century, French, the angel with one foot on a serpent as it prepares to strike, illegible faint inscription along edge of self-base h. 13‑1/2”, w. 11”, d. 6”

$600‑$900

$700‑$1,000

217

576 detail

576

576 Jean-Alexandre Chertier (French, active 1825‑1890) “Angels in Supplication” pair of gilt-bronze supporting figures each stamped “Chertier/Orfevre/Paris” along edge of drapery, with holes for mounting. h. 33”, w. 24”-29” Chertier was one of the pre-eminent liturgical metalworkers in France in the last decades of the 19th century. His Paris workshop produced exquisite decorative architectural elements, which adorned the most significant religious edifices across Europe, including the Basilica of Saint Martin de Tours, the Cathedral of Saint-Gatien de Tours, and the Cathedral of Notre Dame de Paris. His design for the central portal of Notre-Dame de Strasbourg resulted in his being awarded the prestigious Grand Prix at the Paris Exposition Universelle in 1855. Chertier was also known to produce smaller-scale decorative objects, such as the wonderful pair of supporting angels presented here; designed in extreme bas-relief, these elegantly composed figures were meant to be mounted on a wall. $1,800‑$2,500

577 Monumental RestaurationStyle Gilt-Bronze Altar Stick fourth quarter 19th century, French, mounted on a white- and gilt-painted base, the tripartite candle holder resting on paw feet, the base decorated with oval portraits of Mary, Joseph and Jesus, the baluster-turned standard with winged angel heads and acanthus leaves, and supporting a molded drip pan under the pricket holder. h. 69‑3/4”, w. 24”, d. 24” $1,000‑$1,500

577

218

579

578 578 French Belle Epoque Giltwood Cushion Mirror

fourth quarter 19th century, the outside surround decorated with beading, the inside surround with gadrooning, the inset mirror glass with scroll-molded cartouches. h. 68‑1/2”, w. 41” $700‑$1,000 579 Crystal Chandelier Attributed to Baccarat 20th century, the eight-light chandelier with rope-twist arms and standard, scalloped prism holders hung with cut spearpoint prisms and set under matching urn-form candle cups, the standard hung with prism rings and terminating in a flared vasiform element. h. 40”, dia. 28”

580

581 Partial Service of Baccarat “Genova” Cut Glass Stemware French, the pattern first introduced in 1981, the service including twelve tall water goblets, h. 7‑1/2”, dia. 3‑1/2”, thirteen claret glasses, h. 6‑1/2”, dia. 2‑3/4”, and twelve champagne flutes, h. 8‑1/4”, dia. 2‑1/2”. $800‑$1,200

$2,500‑$4,000 580 Pair of Molded Crystal Candelabra first quarter 20th century, probably Baccarat, the three-light candelabra decorated with molded cabochons and hung with spear-point prisms, the bases and candle cups lined with bold beading. h. 18‑1/2”, w. 12”, d. 5” $800‑$1,200

581

219

582 Napoleon III Kingwood Cabinet mid-19th century, in the transitional style, of breakfront form, the stepped top above a case fitted with two central glazed doors, flanked to either side by a tall cupboard door, each with an oval parquetry panel centered by a cartography-themed medallion, raised on cabriole legs ending in sabots. h. 67”, w. 77”, d. 19” $1,000‑$1,500

583 Large French Mahogany Center Table 20th century, the circular top above a plain frieze, raised on four scrolling imbricate-carved legs joined by a molded X-form stretcher and ending in bun feet. h. 30”, dia. 64”

582

$800‑$1,200

583

584 After Emmanuel Villanis (French, 1858‑1914) “Valkyrie”, first quarter 20th century patinated bronze cast signature and titled on self-base. h. 24‑1/2”, w. 14‑1/2”, d. 9” 584

220

$2,500‑$4,000

585 detail

585 After Jules Moigniez (French, 1835‑1894) “Heron “ 585

patinated bronze impressive figural grouping of a heron within a lush, leafy marsh landscape, cast signature along edge of self-base. h. 27‑1/2”, w. 37”, d. 19” $6,000‑$9,000 586 Chinese Sang de Boeuf Porcelain Bottle Vase first quarter 20th century, with distinctive all-over deep red glaze fading to a pale speckled pink at the neck, the base unmarked. h. 16‑1/2”, d. 8” $600‑$900

586

587 Associated Pair of Chinese Oxblood Porcelain Vases 20th century, now converted to table lamps, each of bottle form, the taller example with an impressed scrolling floral band encircling the neck, mounted with a twin bulb fixture, the shorter example with a single bulb fixture, each mounted on a square hardwood stand. tallest overall h. 32”, w. 8” $600‑$900

587

221

588 589

588 Japanese Lacquer Box

590

first quarter 19th century, the rectangular cover with rounded corners snugly fitting a conforming case, decorated to the exterior with blossoming hawthorn trees in gilded shades over a speckled copper ground. h. 6‑1/2”, w. 17‑1/2”, d. 14” $1,000‑$1,500 589 Chinese Red-Overlay Peking Glass Vase late 19th/early 20th century, of baluster form, narrowing to a slender neck with flared lip, the white opaque glass overlaid with a red glass design depicting birds amid blossoming branches. h. 7‑1/4”, dia. 3‑1/4” $800‑$1,200 590 Distinctive Japanese Kutani Porcelain Bottle Vase first quarter 20th century, having a long, slender neck stemming from a short, compressed body, decorated to the exterior with an intricate design of cartouches of various forms layered over a stylized cloud design in copper red and gilt, the base signed “Kutani Shoundo”, with two further studio marks. h. 13”, dia. 5” $600‑$900 591 After Zhao Boju (1120‑1182) “Pagoda in a Mountainous Riverscape” ink and color on silk this example likely 20th century, with two indistinct seal marks. Mounted and framed. h. 53‑3/4”, w. 21‑1/4”, framed h. 61”, w. 28‑1/2” $700‑$1,000 591

222

592 Chinese Carved Hardwood and Lacquer Compound Cabinet first half 20th century, comprising six rectangular sections, the lower, taller sections supporting two upper hat chest-style sections, each with an intaglio-carved panel door opening to reveal a vacant interior, the whole decorated with various figural and landscape scenes on a red lacquer ground. h. 87”, w. 47‑3/4”, d. 18” $1,500‑$2,500

593 Chinese Carved Rosewood Occasional Table fourth quarter 19th century, having a rectangular rouge marble top inset within a thick conforming frame, over a carved skirt with geometric scroll and floral design above a pierced foliate frieze, the whole raised on four slender legs terminating in scroll-form feet. h. 31‑1/2”, w. 35‑1/4”, d. 19‑1/2” $700‑$1,000

593

592

223

595

594

596

597

594 Pair of Chinese Silk-Embroidered Panels

596 Pair of Japanese Satsuma Vases Mounted as Table Lamps

fourth quarter 19th century, each rectangular panel intricately embroidered with idyllic scenes depicting figures at leisure on terraces and by a river, with various pagodas, bridges and houses in the surround, embellished with trees, rockwork, birds and butterflies below stylized scrolling clouds, later mounted and framed. h. 10‑1/2”, w. 16‑1/2”, framed h. 18”, w. 23‑3/4”

first half 20th century, each of ovoid form narrowing to a short neck with flared lip, decorated with scenes of the emperor and empress with various attendants amid stylized clouds, mounted on a gilt-metal base, with twin bulb fixture. h. 35‑1/2”, dia. 8”

$600‑$900

597 Large Japanese Satsuma Tripodal Koro

595 Large Pair of Japanese Satsuma Vases first half 20th century, each of elongated baluster form, with splayed foot and flared neck flanked by applied angular handles, decorated with figural scenes of the emperor’s court within multiple stylized floral borders. h. 28”, dia. 9” $1,800‑$2,500

224

$1,200‑$1,800

first half 20th century, the body of globular form with a short everted neck flanked by shishi-form handles, supporting a domed cover surmounted with gilt shishi finial, decorated to the exterior with figural scenes centered by the emperor at court, the whole raised on three zoomorphic-form legs. h. 25”, w. 19” $1,200‑$1,800

598

598 Anglo-Colonial Rosewood and Mahogany Writing Table

599 Pair of Anglo-Colonial Bamboo and Rush Side Chairs

mid-19th century, the rectangular top with a gadroon edge, above a paneled and scrolling foliate-carved frieze fitted with two drawers, raised on shaped and carved end supports joined by a like stretcher and ending in ribbed acanthinecarved feet. h. 30”, w. 54‑1/2”, d. 24”

early 20th century, each with a shaped crest above a shaped rush splat, joined by bamboo arms with decorative fan stretchers to the rush seat, raised on bamboo legs to carved feet. h. 41”

$1,000‑$1,500

$700‑$1,000

599

225

600

601

600 Mughal Jade and Steel Dagger with floral-carved jade hilt and gold koftgari-decorated steel blade, the curved single-edged grooved blade centered with openwork sections, one of these containing steel balls, includes a fabric-covered wooden scabbard. overall l. 19‑3/4” $800‑$1,200 601 Mughal Rock Crystal and Steel Dagger with ram’s head rock crystal hilt and gold koftgari-decorated single-edged watered steel blade, includes a fabric-covered wooden scabbard. overall l. 17‑1/4” $800‑$1,200 602 Indian Silver Hookah contemporary, in the traditional Mumbai taste, with steeply domed base, twinned shaft, one ending a covered bowl, the other to a metal hose and dolphin’s head-mounted mouth tip. h. 19”, dia. 6‑1/2” $1,500‑$2,500 602

226

603 Continental School (Fourth Quarter 19th Century) “Arabian Vegetable and Fruit Market” oil on canvas Framed. 13‑3/4” X 20”, framed 30” x 23‑5/8” 13‑3/4” x 20”, Framed 23‑5/8” x 30” $1,200‑$1,800

603

605 After John Frederick Lewis (British, 1805‑1876) “A Cairo Bazaar”, fourth quarter 19th century oil on canvas Framed. 26” x 20”, framed 32‑3/4” x 27‑1/4” $1,200‑$1,800

604

604 George Washington Nicholson (American, 1832‑1912) “North African/Algerian Market Scene” oil on wood panel signed lower left. Framed. 18‑1/2” x 17‑1/4”, framed 24” x 21‑5/8” $1,000‑$1,500

605

227

606 Antique Kerman Carpet 9’ 8” x 14’ $700‑$1,000

607 Semi-Antique Persian Heriz Carpet 10’ x 12’ 10” $2,000‑$4,000

606 609

608 Peshawar Sultanabad Carpet 7’ 11” x 9’ 10” $600‑$900

609 Turkish Angora Oushak Carpet 8’ 2” x 9’ 9”

607

$700‑$1,000

610 Turkish Angora Oushak Runner 2’ 6” x 23’ 6” $600‑$900

608

228

610

611 Agra Serapi Carpet 7’ 9” x 10’ 1” $900‑$1,200

612 Heriz Runner 2’ 7” x 20’ 3” $600‑$900

613

611

613 Heriz Carpet 8’ 8” x 12’ 7” $1,200‑$1,800

614 Tabriz Carpet 10’ x 14’ $1,000‑$1,500 614

615 Louis XVI-Style Aubusson Carpet 8’ x 10’ $700‑$1,000

612

615

229

Session II: December 10, 2017 10:00 a.m. CST Lots 616-1133

617

616

618

620

232

619

616 Paraiba Tourmaline and Diamond Ring 18k white gold, the ring mounted with an oval-cut Paraiba tourmaline weighing approximately 4.64 carats, flanked on either side by a pear-cut diamond weighing approximately 0.40 carats in total, and accented by round brilliant-cut diamonds weighing approximately 0.92 carats in total, approximate color E-F and clarity VS1‑VS2. size 7, total weight 8.0 grams $18,000‑$25,000 617 Topaz, Peridot and Diamond Necklace 14k white gold, the necklace with five pear-cut treated blue topazes, suspended from round-cut and heart-cut treated blue and pink topazes, with an approximate total topaz weight of 80.03 carats, the whole suspended from a necklace mounted with oval-cut peridots with an approximate total weight of 29.92 carats, the whole accented with round brilliantcut diamonds with an approximate total weight of 0.35 carats. l. 16‑1/2”, drop 2”, total weight 45.8 grams $2,500‑$4,000

618 Blue Zircon and Diamond Ring 18k white gold, the ring mounted with a central cushion-cut blue zircon weighing approximately 8.73 carats, accented by round brilliant-cut diamonds weighing approximately 0.83 carats in total. size 6‑1/2, total weight 7.0 grams $1,500‑$2,500 619 David Yurman Beryl and Pearl Necklace 18k yellow gold, the necklace mounted with 10.50 mm cultured pearls and rough-cut green beryl and rough-cut rose quartz, separated by 18k gold roundels, stamped “DY”. l. 15‑1/2”, total weight 12.0 grams $3,500‑$5,000 620 Aquamarine and Diamond Ring platinum, the ring mounted with a pear-cut aquamarine weighing 12.63 carats, GIA report #6173043969, accented by round brilliant-cut diamonds weighing approximately 0.71 carats in total. size 8‑1/2, total weight 12.1 grams $4,500‑$7,000

233

621 Opal and Diamond Earrings

624 Opal and Diamond Bracelet

14k white gold, the ear clips set with pear-shaped opals weighing approximately 1.75 carats in total, surrounded by round brilliant-cut diamonds weighing approximately 1.14 carats in total. l. 7/8”, total weight 11.6 grams

14k yellow gold, the bracelet mounted with seven oval cabochon-cut opals weighing approximately 11.66 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.37 carats in total. l. 7”, total weight 11.6 grams

$1,000‑$1,500

$1,500‑$2,500

622 Opal and Diamond Ring

625 Opal and Diamond Necklace

14k yellow gold, the ring mounted with an oval cabochon-cut opal weighing approximately 5.06 carats, accented by round brilliant-cut diamonds weighing approximately 0.58 carats in total. size 7‑3/4, total weight 8.0 grams

14k yellow gold, the necklace mounted with oval-, pear- and triangle-cut opal cabochons weighing approximately 39.21 carats in total, accented with round brilliant-cut diamonds weighing approximately 3.55 carats in total. l. 17‑1/2”, pendant l. 1‑1/4”, total weight 45.3 grams

$900‑$1,200 623 Opal and Diamond Pendant with Chain 14k yellow gold, the pendant mounted with an oval cabochoncut opal weighing approximately 11.45 carats, accented by round brilliant-cut diamonds weighing approximately 0.81 carats in total, l. 1‑3/4”, suspended from a 14k gold chain, l. 17”. total weight 13.9 grams $1,500‑$2,500

234

$5,000‑$8,000 626 Opal and Diamond Earrings 18k yellow gold, each earring mounted with a pear-cut opal with an approximate total weight of 3.32 carats, accented with round brilliant-cut diamonds with an approximate total weight of 0.55 carats. l. 1‑1/2”, total weight 9.0 grams $1,200‑$1,800

621

622

623

624

626 625

235

627 Opal and Diamond Bracelet

629 Tanzanite, Peridot and Apatite Necklace

gold vermeil, the hinged bracelet mounted with blue opal cabochons weighing approximately 13.34 carats in total, accented by rose-cut diamonds weighing approximately 6.16 carats in total. inside circumference 7”, w. 1‑3/8”, total weight 65.5 grams

18k yellow gold, the necklace with seven gold teardropshaped charms suspended from the chain mounted with tanzanite, peridot and apatite roundels, finished with a gold toggle clasp. l. 17”, total weight 14.7 grams

$600‑$900 628 Opal, Tanzanite and Diamond Earrings 14k yellow gold, the earrings each mounted with a pearshaped opal with an approximate total weight of 2.18 carats, suspended from a cushion-cut tanzanite with an approximate total weight of 2.10 carats, accented by round brilliant-cut diamonds with an approximate total weight of 0.29 carats. l. 1”, total weight 5.0 grams $1,000‑$1,500

236

$700‑$1,000 630 Opal, Sapphire and Diamond Earrings sterling silver, each earring mounted with a pear-cut opal weighing approximately 3.96 carats in total, surrounded by a border of rose-cut diamonds weighing approximately 0.39 carats in total and an outer border of pear-cut treated sapphires weighing approximately 9.62 carats in total. l. 1”, total weight 7.9 grams $600‑$900

628

629

630

627

237

634

631

633

637

635

638

238

632

631 Sapphire and Diamond Bracelet

636 Natural Sapphire and Diamond Ring

14k white gold, the bracelet mounted with oval-cut treated sapphires weighing approximately 13.85 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 2.60 carats in total. l. 7”, total weight 19.7 grams

platinum, the ring mounted with an emerald-cut natural sapphire weighing 3.30 carats, GIA report #5172489162, accented with round brilliant-cut diamonds weighing approximately 0.69 carats in total. size 7‑1/2, total weight 5.4 grams

$2,500‑$4,000

$7,000‑$10,000

632 Sapphire and Diamond Necklace 14k white gold, the necklace mounted with oval-cut treated sapphires weighing approximately 39.14 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 5.37 carats in total. l. 17”, total weight 31.9 grams $5,000‑$8,000 633 Sapphire and Diamond Earrings platinum, the earrings mounted with oval-cut treated sapphires weighing approximately 3.02 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.84 carats in total. l. 1‑1/8”, total weight 9.0 grams $2,500‑$4,000 634 Sapphire and Diamond Bracelet and Earrings sterling silver, the hinged bracelet set with oval-cut treated sapphires weighing approximately 3.75 carats in total, accented by rose-cut diamonds weighing approximately 1.20 carats in total, inside circumference 7”, and the earrings mounted with pear-cut treated sapphires weighing approximately 2.85 carats in total, each surrounded by a border of rose-cut diamonds weighing approximately 0.24 carats in total, l. 3/4”. total weight 53.4 grams $600‑$900 635 Sapphire and Diamond Studs with Jackets sterling silver, the studs mounted with an oval-cut treated sapphire weighing approximately 3.97 carats in total, surrounded by a border of rose-cut diamonds, together with a detachable jacket mounted with three rows of rose-cut diamonds, with an approximate total diamond weight of 1.30 carats. l. 3/4”, total weight 6.9 grams $600‑$900

636

637 Sapphire and Diamond Cross 18k white gold, the cross mounted with invisible-set calibrated-cut treated sapphires weighing approximately 1.20 carats in total, accented by round-cut diamonds weighing approximately 0.09 carats in total. l. 1”, total weight 6.0 grams $1,800‑$2,500 638 Sapphire and Diamond Earrings 14k white gold, the dangle earrings mounted with oval-cut treated sapphires weighing approximately 2.94 carats in total, accented with a round brilliant-cut diamond weighing approximately 0.40 carats in total. l. 1”, total weight 3.0 grams $3,000‑$5,000

239

639 Diamond Jewelry Suite 14k white gold, including a necklace and earrings mounted with clusters of round brilliant-cut and single-cut diamonds, with an approximate total weight of 1.25 carats. necklace l. 18‑1/2”, earring dia. 1/2”, total weight 5.1 grams $1,200‑$1,800 640 Diamond Ring 18k white gold, the stylized ring mounted with round brilliantcut diamonds weighing approximately 1.60 carats in total, approximate color E-G and clarity VS2‑SI1. size 7, total weight 6.0 grams $2,000‑$4,000 641 Vintage Diamond Ring platinum, the ring mounted with round brilliant-cut and singlecut diamonds weighing approximately 0.64 carats in total. size 7‑1/4, total weight 7.0 grams $700‑$1,000

240

642 Diamond Earrings 14k white gold, the cluster-style stud earrings mounted with round brilliant-cut diamonds weighing approximately 0.66 carats in total. dia. 3/8”, total weight 2.8 grams $800‑$1,200 643 Diamond Ring 18k white gold, the wide, slightly domed ring mounted with round brilliant-cut diamonds weighing approximately 2.78 carats in total. size 7, total weight 9.0 grams $1,400‑$1,800

639

640

642

641

643

241

644

648

645

651

649 646

242

644 Stunning Rubellite Tourmaline and Diamond Ring 18k white gold, the ring mounted with a central oval-cut rubellite weighing approximately 11.54 carats, accented with pear-, oval- and round brilliant-cut diamonds weighing approximately 1.20 carats in total, approximate color E-F and clarity VS1‑VS2. size 7, total weight 14.0 grams $8,000‑$12,000 645 Ruby and Diamond Earrings 18k white gold, the dangle earrings mounted with pearcut treated rubies weighing approximately 2.97 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.94 carats in total. l. 1”, total weight 9.0 grams $1,800‑$2,500

650

646 Pink Sapphire, Ruby and Diamond Ring 18k yellow gold, the ring designed as a butterfly and mounted with an oval-, pear- and round-cut ruby down the center weighing approximately 0.97 carats in total, the wings mounted with round-cut pink sapphires weighing approximately 3.64 carats in total and accented with round brilliant-cut diamonds weighing approximately 0.12 carats in total. size 7, total weight 8.0 grams $900‑$1,200 647 Ruby and Diamond Bracelet 18k white gold, the bracelet mounted with round-cut rubies weighing approximately 6.43 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.26 carats in total. l. 7”, total weight 16.0 grams $1,000‑$1,500 648 Multi-Strand Ruby and Diamond Necklace

650 Ruby and Diamond Ring 18k white gold, the ring mounted with an oval-cut ruby weighing approximately 3.01 carats, accented on each side with marquise-, baguette- and round brilliant-cut diamonds weighing approximately 0.72 carats in total, approximate color E-G and clarity VVS2‑VS2. size 7, total weight 4.0 grams $7,000‑$10,000 651 Ruby and Diamond Bracelet 18k white gold, the bracelet mounted with oval-cut treated rubies weighing approximately 24.04 carats in total, accented with round brilliant-cut diamonds weighing approximately 5.45 carats in total. l. 7”, w. 1/2”, total weight 40.0 grams $14,000‑$18,000

sterling silver, the clasp and links set with rose-cut diamonds weighing approximately 4.00 carats in total and mounted with multiple strands of treated ruby roundels. l. 25‑1/2”, total weight 109.0 grams $800‑$1,200 649 Delicate Ruby and Diamond Earrings 18k white gold/platinum, the dangle earrings mounted with calibrated-cut rubies weighing approximately 2.02 carats in total, accented with European-, single- and round brilliantcut diamonds weighing approximately 2.42 carats in total. l. 2‑1/2”, total weight 15.0 grams $7,000‑$10,000

647

243

652 Diamond Ring platinum, the ring mounted with a central rectangular-cut diamond weighing approximately 0.45 carats, approximate color H and clarity SI1, accented with round brilliant-cut diamonds weighing approximately 1.06 carats in total, approximate color E-F and clarity VS1‑VS2. size 8, total weight 11.9 grams $3,000‑$5,000

655 Emerald and Diamond Earrings 18k white gold, the long dangle earrings each mounted with a treated pear-cut emerald, with an approximate total weight of 1.90 carats, accented by round brilliant-cut diamonds with an approximate total weight of 0.80 carats. l. 2‑1/4”, total weight 10.0 grams $4,000‑$7,000 656 Emerald and Diamond Ring platinum, the ring mounted with an emerald-cut natural emerald weighing approximately 1.71 carats, accented on the ring shank and with a double halo of round brilliant-cut diamonds weighing approximately 0.79 carats in total. size 8, total weight 6.1 grams $2,500‑$4,000 657 Emerald and Diamond Earrings

652

18k white gold, the earrings mounted with emerald-cut natural emeralds weighing approximately 5.39 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.88 carats in total. l. 11/16”, total weight 10.4 grams $7,000‑$10,000

653 Diamond Jewelry Suite

658 Beautiful Diamond and Emerald Necklace

14k white gold, including a pair of cushion-shaped earrings and a matching pendant, mounted with round brilliant-cut diamonds weighing approximately 0.75 carats in total, the pendant suspended from an 18” white gold chain. pendant/ earring size 5/16” x 5/16”, total weight 3.6 grams

18k white gold, the long necklace composed of round brilliantcut diamonds weighing approximately 6.98 carats in total, approximate color E-F and clarity SI1‑SI2, mounted with four stations composed of emerald-cut treated emeralds weighing approximately 2.40 carats in total and marquise-cut diamonds weighing approximately 6.43 carats in total, approximate color E-F and clarity VVS2‑VS1. l. 36”, total weight 35.0 grams

$1,000‑$1,500 654 Diamond Solitaire Ring 14k white gold, the ring mounted with a round brilliant-cut diamond weighing 5.10 carats, color K and clarity I1, GIA report #5171227184. size 6‑1/2, total weight 3.8 grams $15,000‑$25,000

244

$20,000‑$40,000

653

654

657

656

655

658

245

659

661

660

659 Diamond Bangle Bracelet

661 Emerald and Diamond Pendant with Chain

18k white gold, the bracelet with a leaf design, mounted with marquise-cut diamonds weighing approximately 5.60 carats in total, approximate color E-G and clarity VS2‑SI2. inside circumference 7‑1/4”, total weight 27.0 grams

18k white gold, the pendant mounted with an emeraldcut natural emerald weighing approximately 4.05 carats, accented by round brilliant-cut diamonds weighing approximately 0.65 carats in total, l. 1”, suspended from a white gold chain, l. 18”. total weight 5.0 grams

$9,000‑$12,000 660 Emerald and Diamond Earrings 18k white gold, the earrings mounted with round-cut treated emeralds weighing approximately 1.92 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.70 carats in total. l. 3/4”, total weight 12.0 grams $3,000‑$5,000

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$4,500‑$7,000

662 Beautiful Diamond Bracelet 18k white gold, the multi-strand bracelet mounted with seven rows of round brilliantcut diamonds separated by five bars mounted with marquise-cut diamonds, with an approximate total weight of 23.31 carats, approximate color E-F and clarity VS1‑SI1. l. 7‑1/2”, w. 1”, total weight 61.0 grams $25,000‑$40,000

663 Emerald and Diamond Necklace 14k white gold, the necklace mounted with oval-cut natural emeralds weighing approximately 16.88 carats in total, accented with round brilliant-cut diamonds weighing approximately 9.27 carats in total. l. 16‑1/2”, pendant l. 1”, total weight 33.1 grams $12,000‑$18,000

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664 South Sea Pearl and Diamond Earrings 18k white gold, each earring mounted with a white South Sea pearl measuring approximately 11.3 mm in diameter, suspended from a delicate top mounted with round brilliant-cut diamonds weighing approximately 0.27 carats in total. l. 1‑3/8”, total weight 7.8 grams $900‑$1,200 665 Diamond and Pearl Necklace 14k white gold, the fleur-de-lis pendant set with round brilliant-cut and single-cut diamonds weighing approximately 0.45 carats in total, with a dangling freshwater pearl, l. 1”, suspended from a white gold chain, l. 18”. total weight 4.3 grams

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$900‑$1,200

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666 Tahitian Pearl and Diamond Necklace anodized silver, the graduated necklace mounted with Tahitian pearls with a very good luster, measuring 11.5 mm to 13.5 mm, accented with decorative beads mounted with table-cut and single-cut light yellow and light brown diamonds weighing approximately 1.54 carats, finished with a silver magnetic clasp. l. 17”, total weight 70.3 grams $1,800‑$2,500

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667 Opera-Length Freshwater Pearl Necklace the hand-knotted necklace composed of freshwater pearls ranging in size from 9.8 mm to 11.0 mm in diameter with a good white luster. l. 54” $800‑$1,200 668 South Sea Pearl and Diamond Ring

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670 Sapphire and Pearl Bracelet

18k yellow gold, the ring mounted with a 14.0 mm South Sea pearl with a golden luster, accented by round brilliant-cut diamonds weighing approximately 1.18 carats in total. size 8, total weight 11.0 grams

14k yellow gold, the hand-engraved flexible link bracelet with six cartouche links, each mounted with 6.5 mm round cultured pearls with a golden rose luster, the links separated by a bezelset rectangular-cut sapphire weighing approximately 0.50 carats in total. l. 6‑5/8”, total weight 20.0 grams

$1,800‑$2,500

$700‑$1,000

669 South Sea Pearl and Diamond Earrings

671 South Sea Pearl and Diamond Earrings

18k yellow gold, each earring mounted with a golden South Sea pearl measuring approximately 10.4 mm in diameter, nestled in a curved mounting set with round brilliant-cut diamonds weighing approximately 0.52 carats in total. l. 1”, total weight 6.3 grams

18k yellow gold, each earring set with a white South Sea pearl measuring approximately 11.4 mm in diameter, suspended from a stylized top mounted with round brilliant-cut diamonds weighing approximately 0.41 carats in total. l. 1‑1/4”, total weight 9.5 grams

$1,200‑$1,800

$1,000‑$1,500

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672 Black Fox and Gunmetal Leather Apres-Ski Jacket size S, the broad fox collar backed with gunmetal leather matching the broad leather hem and sleeves, with full zippered closure, the lower body and sleeves with dual buckled straps, labeled: “Cosmopel/The fur collection”. l. 22” $600‑$900

673 Vintage Full-Length Fox and Mink Coat 1980s, size 8, with a black mink body and tan fox shawl collar extending full length, the inset full sleeves trimmed with tan fox shoulder accents and ending in narrow banded cuffs, with three hook closure and on-seam pockets, the black satin-lined interior monogrammed. l. 49” $700‑$1,000

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674 Vintage Christie Brothers Full-Length Natural Lunariane Mink Coat 1960s, size 8, with notched collar, on-seam pockets and straight inset sleeves ending in an overlap-stitched cuff, the hem with two 10” rear vents, with three hook closure along with a button at the collar, the chocolate silk-lined interior with a self tie and forward glove pocket, labeled: “The Christie Brothers/ New York Atlanta”, monogrammed. l. 42‑1/2” $1,000‑$1,500

675 Vintage Black Mink Stroller 1980s, size 8, with shawl collar, three hook closure and on-seam pockets, the inset full sleeves with elasticized cuffs, the black silk-lined interior with a wide, richly embroidered band of arabesques and a forward glove pocket, embroiderylabeled: “James Furlan, Houston”, monogrammed. l. 33” $600‑$900

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676 Chic Full-Length Lynx Coat size 6, with stand-up notched collar, the shaped body with three hook closure, on-seam pockets and straight raglan sleeves, the taupe silk-lined interior with self-tie, monogrammed. l. 47” $1,000‑$1,500

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677 Unusual Mexican Opal and Diamond Necklace 18k/14k yellow/white/rose gold, the pendant mounted with a large triangle-cut Mexican opal weighing approximately 46.40 carats, accented on the bar with round brilliant-cut diamonds weighing approximately 0.46 carats in total, the whole suspended from a rose gold wire necklace. pendant l. 3‑5/8”, necklace l. 16”, total weight 63.0 grams $1,800‑$2,500 678 Coral and Diamond Dangle Earrings 18k yellow gold, the earrings each mounted with three coral cabochons weighing approximately 14.54 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.05 carats in total. l. 1‑7/8”, total weight 12.9 grams

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$2,000‑$4,000 682 Tiffany & Co. Gold Brooch

679 Coral and Diamond Ring 18k yellow gold, the ring mounted with a central coral cabochon weighing approximately 3.90 carats, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 0.48 carats in total. size 7‑3/4, total weight 6.0 grams $900‑$1,200 680 Gold and Diamond Bracelet 18k yellow gold, the flexible domed bracelet with a navette link design and set with fifty-six round single-cut diamonds in a zigzag pattern, weighing approximately 1.00 carat in total. l. 7”, total weight 62.0 grams

18k white/yellow gold, the large circular ribbed brooch signed “k18, Italy, Tiffany”. dia. 2‑1/2”, total weight 47.2 grams $1,000‑$1,500 683 Yellow and White Diamond Ring 18k white gold, the ring mounted with a cushion-cut light yellow diamond weighing approximately 0.37 carats, accented with round brilliant-cut yellow diamonds weighing approximately 0.21 carats in total, further accented with round brilliant-cut white diamonds weighing approximately 0.38 carats in total. size 7, total weight 4.0 grams $1,800‑$2,500

$1,800‑$2,500 681 Diamond Ear Clips 14k yellow/white gold, each ear clip pave-set with thirty-five round brilliant-cut diamonds, with an approximate total weight of 4.02 carats for the pair. l. 1”, total weight 25.0 grams $2,000‑$4,000

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684 Diamond Ear Clips in the Buccellati Style

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18k yellow gold, the button-shaped ear clips with retractable posts, set with round brilliant-cut diamonds weighing approximately 1.25 carats in total. dia. 15/16”, total weight 17.2 grams $1,800‑$2,500

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685 Yellow and White Diamond Ring 18k white/yellow gold, the ring mounted with a central cushioncut fancy light yellow diamond weighing approximately 0.51 carats, approximate clarity I1, flanked on either side by a triangle-cut white diamond weighing approximately 0.55 carats in total, approximate color E-F and clarity VS2‑SI2, surrounded by a border of round brilliant-cut white diamonds and round brilliant-cut yellow diamonds, with an approximate total weight of 0.57 carats. size 7, total weight 3.0 grams $6,000‑$9,000 686 Yellow Diamond Earrings 18k white gold, the earrings mounted with oval-cut fancy yellow diamonds weighing approximately 1.08 carats in total, bordered by a row of round brilliant-cut white diamonds weighing approximately 0.32 carats in total. l. 1/2”, total weight 10.0 grams

688

$4,500‑$7,000 687 Yellow and White Diamond Pendant with Chain 18k white gold, the pendant mounted with round-cut and cushion-cut fancy yellow diamonds weighing approximately 2.15 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.20 carats in total, l. 1”, suspended from a white gold chain, l. 18”. total weight 8.0 grams $4,000‑$7,000

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688 Diamond Ring 18k white gold, the ring mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 2.36 carats in total, approximate color E-G and clarity VVS2‑VS1. size 6‑1/2, total weight 11.0 grams $4,500‑$7,000

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689 Diamond Dangle Earrings 18k white gold, the earrings mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 2.30 carats in total. l. 1‑3/8”, total weight 6.5 grams $3,500‑$5,000 690 Beautiful Opera-Length Diamond Necklace 18k white gold, the necklace mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 9.22 carats in total, approximate color E-F and clarity VVS2‑VS1. l. 34”, total weight 52.0 grams

691 Diamond Earrings 18k white gold, the earrings mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 4.29 carats in total, approximate color E-G and clarity VVS2‑VS1. l. 1/2”, total weight 7.0 grams $4,000‑$7,000

$15,000‑$25,000

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697 Diamond Earrings

692 Stunning Tanzanite and Diamond Necklace 18k white gold, the necklace mounted with nine pear-cut tanzanites weighing approximately 88.45 carats in total, accented by pear-cut and round brilliant-cut diamonds weighing approximately 21.15 carats in total. l. 17”, total weight 78.0 grams

18k white gold, the earrings designed with three curved rows mounted with round brilliant-cut diamonds weighing approximately 1.22 carats in total. l. 2”, total weight 14.0 grams $1,400‑$1,800

$90,000‑$120,000 693 Tanzanite and Diamond Dangle Earrings 18k white gold, the earrings mounted with pear-cut and ovalcut tanzanites weighing approximately 9.46 carats in total and accented with round brilliant-cut diamonds weighing approximately 0.81 carats in total. l. 2”, total weight 12.0 grams $2,500‑$4,000 694 Tanzanite and Diamond Ring 14k white gold, the ring mounted with a central emerald-cut tanzanite weighing approximately 5.58 carats, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 1.08 carats in total. size 7, total weight 6.7 grams 697

$3,500‑$5,000 695 Large Amethyst Ring 18k white gold, the large oval faceted amethyst weighing approximately 37.75 carats, in a mounting set with round faceted amethysts weighing approximately 2.85 carats in total. size 8, total weight 20.6 grams $700‑$1,000 696 Natural Sapphire and Diamond Ring 14k white gold, the ring mounted with a natural brownish purple-pink cushion-cut sapphire weighing 7.54 carats, GIA report #6177486323, accented by round brilliant-cut diamonds weighing approximately 1.20 carats in total. size 7‑1/2, total weight 8.9 grams $9,000‑$12,000

698 Pink Sapphire and Diamond Ring 18k white gold, the ring mounted with a rectangular cushioncut treated pink sapphire weighing approximately 1.49 carats, accented by round brilliant-cut diamonds weighing approximately 0.56 carats in total. size 7‑1/4, total weight 4.4 grams $2,000‑$4,000 699 Pink Sapphire and Diamond Ring 18k white gold, the ring mounted with a cushion-cut treated pink sapphire weighing approximately 0.55 carats, accented with baguette-cut and round brilliant-cut diamonds weighing approximately 0.34 carats in total. size 7, total weight 4.0 grams $700‑$1,000

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700 Yellow and White Diamond Earrings sterling silver, the earrings mounted with rose-cut treated yellow diamonds and white diamonds, with an approximate total diamond weight of 1.93 carats. l. 2”, total weight 12.8 grams $600‑$900 701 Multicolored Sapphire Bangle Bracelet gold vermeil, the wide hinged bracelet with a diamond pattern finish, set with square-cut and mixed cut multicolored treated sapphires weighing approximately 12.50 carats in total. w. 7/8”, inside circumference 6‑7/8”, total weight 56.0 grams $600‑$900 702 Multicolored Sapphire and Diamond Ring 18k yellow gold, the ring mounted with oval-cut treated blue, green, pink, orange and yellow sapphires, weighing approximately 11.40 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.68 carats in total. size 7, total weight 12.0 grams $1,800‑$2,500

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703 Yellow Sapphire, Ruby and Diamond Ring 14k yellow gold, the ring mounted with a central oval-cut treated yellow sapphire weighing approximately 9.63 carats, surrounded by a border mounted with baguette-cut treated rubies weighing approximately 1.92 carats in total, alternating with baguette-cut diamonds weighing approximately 0.90 carats in total. size 7, total weight 11.0 grams $6,000‑$9,000 704 Yellow Sapphire and Diamond Ring platinum, the ring mounted with a central treated yellow sapphire weighing 7.44 carats, flanked on either side by a trapezoid-cut diamond weighing approximately 0.70 carats in total. size 6‑1/2, total weight 7.0 grams $7,000‑$10,000

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705 Sapphire and Diamond Earrings 14k white/yellow gold, the earrings mounted with pear-cut treated sapphires weighing approximately 1.68 carats in total, accented with round brilliant-cut and single-cut diamonds weighing approximately 0.80 carats in total. l. 1‑1/4”, total weight 6.0 grams $4,000‑$7,000 706 Sapphire and Diamond Bracelet 18k yellow gold, the bracelet mounted with pear-cut treated sapphires weighing approximately 9.04 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.23 carats in total. l. 7”, total weight 16.0 grams $1,400‑$1,800

711

707 Sapphire and Diamond Necklace 18k yellow gold, the stylized necklace mounted with clusters of pear-cut treated sapphires mimicking leaves and flowers, weighing approximately 41.7 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.64 carats in total. l. 18”, total weight 47.0 grams $2,000‑$4,000 708 Sapphire and Diamond Bracelet 18k white gold, the bracelet mounted with oval-cut and pearcut treated sapphires weighing approximately 9.48 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.24 carats in total. l. 8”, total weight 9.0 grams $1,400‑$1,800 709 Sapphire and Diamond Earrings 18k white gold, the cluster dangle earrings mounted with oval-cut treated sapphires weighing approximately 7.72 carats in total, accented with single-cut diamonds weighing approximately 0.18 carats in total. l. 2”, total weight 16.0 grams

711 Diamond Pendant Earrings 14k white gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total. l. 1‑1/4”, total weight 6.1 grams $1,000‑$1,500 712 Diamond Ring and Earring Suite sterling silver, the wide ring mounted with rose-cut diamonds weighing approximately 6.38 carats in total, size 7‑1/2, h. 1‑3/16”, and the earrings with five dangling bars in various lengths, mounted with rose-cut diamonds weighing approximately 3.98 carats in total, l. 2‑1/2”. total weight 28.3 grams $600‑$900

$1,500‑$2,500 710 Diamond and Sapphire Ring platinum, the ring mounted with a central round brilliant-cut diamond weighing approximately 0.63 carats, approximate color G and clarity VS2, surrounded by square-cut sapphires weighing approximately 0.16 carats in total and accented with round brilliant-cut diamonds weighing approximately 0.04 carats in total. size 5‑1/2, total weight 3.0 grams $900‑$1,200

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713 Emerald and Diamond Ring 14k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 2.59 carats, accented with round brilliant-cut diamonds weighing approximately 0.44 carats in total. size 7‑3/4, total weight 4.4 grams $1,400‑$1,800 714 Emerald and Diamond Tassel Necklace sterling silver/14k white gold, the tassel top mounted with rose-cut diamonds weighing approximately 1.68 carats in total and holding ten strands of round faceted treated emerald roundels, l. 3‑1/4”, suspended from a necklace composed of round faceted treated emerald roundels finished with a 14k white gold clasp, l. 23”. total weight 40.7 grams $700‑$1,000 715 Emerald and Diamond Earrings platinum, each earring mounted with an oval-cut natural emerald with an approximate total weight of 1.11 carats, accented by round brilliant-cut diamonds weighing approximately 1.12 carats in total. l. 1‑7/8”, total weight 13.5 grams $3,000‑$5,000

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716 Emerald and Diamond Necklace platinum, the pendant with a filigree design and mounted with pear-, square- and triangle-cut treated emeralds weighing approximately 1.00 carat in total, accented with round brilliant-, single- and European-cut diamonds weighing approximately 2.98 carats in total, l. 2‑1/4”, suspended from a 14k white gold chain mounted with four bezel-set diamonds weighing approximately 0.23 carats in total, l. 18”. total weight 12.0 grams $12,000‑$18,000 717 Emerald and Diamond Bracelet 14k yellow gold, the bracelet mounted with five oval-cut treated emeralds weighing approximately 16.12 carats in total, accented by round brilliant-cut diamonds weighing approximately 3.95 carats in total. l. 7‑1/2”, total weight 18.9 grams $8,000‑$12,000

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718 Diamond Bangle Bracelet 14k yellow gold, the hinged bracelet with a Florentine finish and mounted with marquise-, single- and round brilliant-cut diamonds weighing approximately 1.14 carats in total. inside circumference 6‑1/4”, total weight 20.0 grams $600‑$900 719 Set of Three Diamond Bands

724 Yellow and White Diamond Ring 18k white gold, the ring mounted with a central cushion-cut fancy yellow diamond weighing approximately 1.65 carats, flanked on either side by baguette-cut diamonds weighing approximately 0.92 carats in total, stamped “Canary Star=1.65”. size 6, total weight 4.0 grams $2,500‑$4,000

18k yellow gold, the widest band with pyramid-shaped sections mounted with round brilliant-cut diamonds, together with two interlocking bands mounted with round brilliant-cut diamonds, with an approximate total diamond weight of 0.51 carats. size 7‑1/8, total weight 9.0 grams $1,200‑$1,800 720 Bueche-Girod Tri-Colored Gold and Diamond Watch 18k, the round seventeen jewels manual wind mechanical movement signed on the dial “Bueche-Girod”, the bezel set with thirty-two single-cut diamonds, with an approximate total weight of 1.00 carat, the eighteen-karat textured brick link band composed of rose, white and yellow gold, with an English hallmark and stamped “MG 6704, 82, XXX”. l. 6‑1/4”, total weight 43.6 grams $1,200‑$1,800 721 David Yurman Diamond Earrings sterling silver/18k yellow gold, the cable-designed earrings set with round brilliant-cut diamonds weighing approximately 1.00 carat in total, stamped “D.Y., 925, 750” and a “C” in a circle. l. 3/4”, total weight 10.8 grams $600‑$900 722 Diamond Ring 18k yellow gold, in the Van Cleef and Arpels style, the ring mounted with round brilliant-cut diamonds in quatrefoil designs, weighing approximately 1.02 carats in total. size 7‑1/2, total weight 12.4 grams

725

725 Diamond Ear Clips 18k yellow gold, the ear clips mounted with pave-set round brilliant-cut diamonds weighing approximately 3.00 carats in total. l. 7/8”, total weight 18.8 grams $1,800‑$2,500 726 Fancy Light Yellow Diamond Ring 18k white gold, the ring mounted with a central cushion-cut fancy light yellow diamond weighing 3.00 carats, clarity I1, laser-inscribed with GIA report #1156480052, flanked on either side by a trapezoid-cut white diamond weighing approximately 0.42 carats in total, the band stamped “18k” and “Canary Star 3.00”. size 6, total weight 6.0 grams $25,000‑$40,000

$2,000‑$4,000 723 Beautiful Woven Gold and Diamond Bracelet 14k yellow gold, the molded woven bracelet with a white gold clasp set with round brilliant-cut diamonds weighing approximately 1.00 carat in total. w. 1‑15/16”, l. 7‑1/8”, total weight 48.6 grams $8,000‑$12,000 726

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727 Bulgari Pyramid Ring 18k yellow gold, the domed ring stamped “750, BVLGARI, and 714ROMA”. size 11, total weight 15.4 grams $600‑$900 728 Turquoise and Diamond Earrings 14k yellow gold, the earrings mounted with oval cabochoncut turquoises weighing approximately 14.17 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.39 carats in total. l. 1‑1/2”, total weight 9.5 grams $700‑$1,000 729 David Yurman Turquoise and Tourmaline Jewelry Suite 14k yellow gold/sterling silver, including a spring-loaded bracelet set with two round 9.5 mm turquoise cabochons on each end, inside circumference 6‑1/4”, a ring set with a 10.0 mm x 10.0 mm sugarloaf turquoise cabochon and two oval pink tourmaline cabochons weighing approximately 0.25 carats in total, size 6, and a pair of earrings, each set with a turquoise cabochon measuring approximately 12.0 mm x 6.0 mm and a round pink tourmaline cabochon weighing approximately 0.20 carats in total, l. 1‑1/8”, each piece stamped by the maker. total weight 70.0 grams $1,500‑$2,500 730 Lapis Lazuli, Turquoise and Diamond Ear Clips

727

731 Turquoise and Garnet Bracelet

14k white gold, the huggie ear clips each set with four customcut lapis lazuli cabochons and one turquoise cabochon, accented with round brilliant-cut diamonds weighing approximately 0.10 carats in total. l. 1”, total weight 11.2 grams

14k yellow gold, the filigree hinged bracelet set with seven oval turquoise cabochons ranging from 5.0 mm x 7.0 mm to 8.0 mm x 10.0 mm, separated by oval faceted garnets weighing approximately 0.90 carats in total. inside circumference 6‑3/4”, total weight 25.6 grams

$600‑$900

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732 Garnet and Diamond Bangle Bracelet

737 Ruby and Diamond Ring

gold vermeil, the hinged bracelet mounted with three rows of oval cabochon-cut garnets weighing approximately 54.5 carats in total, bordered on the outside edges with rose-cut diamonds weighing approximately 2.40 carats in total. inside circumference 7‑1/4”, total weight 42.1 grams

14k yellow gold, the ring mounted with a central cushion-cut treated ruby weighing approximately 12.86 carats, accented by round brilliant-cut diamonds weighing approximately 0.85 carats in total. size 7‑1/2, total weight 7.9 grams

$600‑$900 733 Ruby and Diamond Earrings 14k yellow gold, the earrings mounted with oval-cut treated rubies weighing approximately 18.26 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.56 carats in total. l. 3/4”, total weight 8.5 grams $1,200‑$1,800 734 Ruby and Diamond Bracelet

$1,400‑$1,800 738 Natural Ruby and Diamond Ring 14k white gold, the ring mounted with a natural oval-cut ruby weighing 1.04 carats, GIA report #5182386667, accented by round brilliant-cut diamonds weighing approximately 0.89 carats in total. size 7‑3/4, total weight 4.0 grams $2,500‑$4,000 739 Ruby and Diamond Ring

18k yellow gold, the bracelet mounted with oval-cut treated rubies weighing approximately 8.25 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.15 carats in total. l. 7", total weight 13.0 grams

18k white gold, the ring mounted with a large oval-cut treated ruby weighing 20.79 carats, surrounded by a double border of baguette- and round brilliant-cut diamonds weighing approximately 2.73 carats in total, approximate color H-I and clarity VS2‑SI1. size 8, total weight 2.0 grams

$1,200‑$1,800

$3,500‑$5,000

735 Hammerman Brothers Diamond and Ruby Ring 18k yellow gold, the bypass-designed ring mounted with round brilliant-cut diamonds weighing approximately 2.70 carats in total, separated by a row of square-cut rubies weighing approximately 0.30 carats in total. size 6‑3/4, total weight 8.6 grams $1,400‑$1,800 736 Ruby and Diamond Bracelet 14k yellow gold, the bracelet mounted with emerald-cut treated rubies weighing approximately 20.94 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.88 carats in total. l. 7”, total weight 20.8 grams

739

$3,000‑$5,000

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740 Diamond Ring 18k white gold, the ring mounted with baguette-cut and round brilliant-cut diamonds weighing approximately 1.00 carat in total. size 7‑1/2, total weight 4.1 grams $1,400‑$1,800 741 Diamond Bracelet 18k white gold, the flexible bracelet mounted with baguettecut diamonds weighing approximately 4.74 carats in total, approximate color E-F and clarity VVS1‑VVS2. inside circumference 6‑1/2”, total weight 16.0 grams $7,000‑$10,000 742 Spectacular and Rare Natural Madagascar Sapphire Ring 18k white gold, the ring mounted with a certified natural ovalcut sapphire from Madagascar, weighing 10.03 carats, GRS report #GRS2017‑039576, accented on either side with a trapezoid-cut diamond, with an approximate total weight of 0.66 carats, approximate color F-G and clarity VVS2‑VS1. size 6‑1/2, total weight 9.0 grams $180,000‑$250,000

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743 Beautiful Diamond Bracelet 18k white gold, the flexible bracelet mounted with fifty-one emerald-cut diamonds weighing approximately 20.40 carats in total, approximate color E-F and clarity VVS1‑VVS2. l. 7”, total weight 17.0 grams $35,000‑$50,000 744 Sapphire and Diamond Necklace 18k white gold, the necklace mounted with a pear-cut treated sapphire weighing approximately 1.68 carats, suspended from a necklace accented with round brilliant-cut diamonds weighing approximately 7.23 carats in total. l. 16”, total weight 21.0 grams $9,000‑$12,000

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745 Diamond Engagement Ring platinum, the ring mounted with a round brilliant-cut diamond weighing approximately 3.91 carats, approximate color H and clarity SI2, flanked on either side by a tapered baguette-cut diamond weighing approximately 0.47 carats in total. size 6, total weight 8.0 grams $12,000‑$18,000 746 Diamond and Sapphire Bracelet

748 Sapphire and Diamond Cocktail Ring platinum, the ring mounted with a central oval-cut treated sapphire weighing approximately 1.74 carats, accented with round brilliant-cut and marquise-cut diamonds weighing approximately 2.04 carats in total, approximate color E-F and clarity VS1‑SI1. size 6, total weight 11.0 grams

14k white gold, the flexible bracelet mounted with roundcut diamonds weighing approximately 4.50 carats in total, accented with lab-created baguette-cut sapphires weighing approximately 8.16 carats in total. l. 7”, total weight 29.0 grams

$2,500‑$4,000

$4,000‑$7,000

18k white gold, the hinged bracelet mounted with baguette-cut and round brilliant-cut diamonds weighing approximately 5.12 carats in total, approximate color E-F and clarity VVS2‑VS2. inside circumference 6‑1/2”, total weight 13.0 grams

747 Diamond Flower Earrings 18k white gold, the flower-designed earrings each mounted with a central round brilliant-cut diamond weighing approximately 0.27 carats in total, accented on the “petals” by pave-set round brilliant-cut diamonds weighing approximately 1.90 carats in total, approximate color E-F and clarity VS2‑I1. l. 1”, total weight 11.0 grams

749 Diamond Bangle Bracelet

$5,000‑$8,000

$3,500‑$5,000

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750 Fancy Brown and White Diamond Ring 14k white gold, the ring mounted with a central round brilliantcut fancy brown diamond weighing approximately 2.12 carats, approximate clarity I2, accented with round brilliant-cut and baguette-cut white diamonds weighing approximately 0.92 carats in total. size 7‑3/4, total weight 4.1 grams $3,500‑$5,000 751 Diamond Hoop Earrings 18k white gold, the earrings mounted with a row of pear-cut and oval-cut green and light yellow diamonds weighing approximately 0.97 carats in total, bordered by a row of round brilliant-cut white diamonds weighing approximately 0.31 carats in total. l. 3/4”, total weight 8.0 grams $1,400‑$1,800 752 Yellow and White Diamond Earrings 18k white gold, the earrings mounted with clusters of various shades and shapes of yellow diamonds, with an approximate total weight of 1.41 carats, surrounded and accented on the top with round brilliant-cut white diamonds with an approximate total weight of 1.00 carat. l. 1”, total weight 7.0 grams

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$1,800‑$2,500 753 Custom-Made Diamond Cuff Bracelet

755 Diamond Hoop Earrings

18k rose gold, the cuff bracelet open in the center and mounted with round brilliant-cut diamonds cascading down from the top to the bottom, weighing approximately 4.16 carats in total. inside circumference 6‑1/2”, total weight 19.0 grams

18k rose gold, the hinged hoop earrings mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total. l. 15/16”, total weight 6.5 grams

$7,000‑$10,000 754 Brown and White Diamond Ring 18k rose gold, the ring with a knotted design and mounted with round brilliant-cut white and faint brown diamonds weighing approximately 4.17 carats in total. size 7, total weight 15.0 grams $3,500‑$5,000

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$5,000‑$8,000 756 Four Diamond Stack Rings 18k rose gold, each ring with a slightly different design, mounted with round brilliant-cut diamonds weighing approximately 1.62 carats in total. size 7, total weight 8.3 grams $2,000‑$4,000

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757 Diamond Cuff Bracelet

760 Morganite and Diamond Necklace

18k rose gold, the bracelet mounted on the ends with round brilliant-cut diamonds weighing approximately 0.40 carats in total. inside circumference 6‑1/2”, total weight 9.5 grams

14k rose gold, the pendant mounted with an oval-cut morganite weighing approximately 5.40 carats, accented by round brilliant-cut diamonds weighing approximately 1.19 carats in total, l. 1‑3/8”, suspended from a rose gold chain, l. 18”. total weight 12.2 grams

$1,400‑$1,800 758 Morganite and Diamond Earrings 14k rose/white gold, the earrings mounted with an oval-cut morganite weighing approximately 9.16 carats in total, accented with a double border of round brilliant-cut diamonds weighing approximately 0.75 carats in total. l. 1‑1/2”, total weight 9.0 grams $2,000‑$4,000 759 Morganite and Diamond Ring

$1,800‑$2,500

761 Morganite and Diamond Ring 14k rose gold, the ring mounted with an oval-cut morganite weighing approximately 9.60 carats, accented with round brilliant-cut diamonds weighing approximately 0.61 carats in total. size 8‑1/2, total weight 8.1 grams $2,000‑$4,000

14k white/rose gold, the ring mounted with a central ovalcut treated morganite weighing approximately 7.20 carats, accented with a double halo and on the ring shank with round brilliant-cut diamonds weighing approximately 0.46 carats in total. size 7, total weight 7.0 grams $1,500‑$2,500

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762 Two Antique Victorian Agate Poison Rings

765 Reverse-Painted Bracelet

14k yellow gold, one engraved example set with a shieldshaped agate, size 8‑1/2, and the second engraved example set with a black and white shield-shaped agate, size 9‑1/4, both lifting to reveal a secret compartment. total weight 7.8 grams

14k yellow gold, the bracelet with five round crystal intaglios, reverse-painted with game birds. l. 7‑1/2”, total weight 28.0 grams $800‑$1,200

$600‑$900 763 Victorian Enamel Jewelry Suite

766 Gold and Diamond “Temple” Wristwatch

14k yellow gold, including a pair of black enamel dangling pendant earrings, l. 1‑1/8”, and a matching oval brooch/ pendant, l. 1‑1/2”, on a cartouche link chain, l. 17”. total weight 8.3 grams

14k yellow gold, the watch designed as a belt with a pineapple tassel and with a hidden dial, set with single-cut diamonds weighing approximately 0.10 carats in total, the manual wind mechanical movement stamped “Winton Watch Co., Swiss, seventeen 17 jewels, unadjusted”, the white dial signed “Temple”. l. 6‑1/8”, total weight 37.6 grams

$900‑$1,200 764 Diamond Stick Pin 14k yellow/white gold, the stick pin mounted with a half-mooncut and shield-cut diamond weighing approximately 1.42 carats in total. l. 2‑1/4”, total weight 3.0 grams $900‑$1,200

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764

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766

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769

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767 Enamel Lapel Locket 18k yellow gold, the green enamel ribbon brooch accented with red enamel and with a locket accented with gold on one side and engraved with a blossom on the other. size 1‑1/4” x 2”, total weight 14.2 grams $600‑$900 768 Citrine and Emerald Ring 14k yellow gold, the ring mounted with a central oval-cut citrine weighing approximately 1.59 carats, accented with round-cut treated emeralds weighing approximately 0.96 carats in total. size 7, total weight 8.0 grams $600‑$900 769 Tourmaline and Amethyst Ear Clips 18k yellow gold, the heavy ear clips each set with an oval green tourmaline cabochon with an approximate total weight of 7.00 carats, accented with round amethyst cabochons and amethyst baguettes, with an approximate total weight of 1.50 carats. l. 1”, total weight 27.8 grams $1,400‑$1,800 770 Diamond and Emerald Necklace 18k yellow gold, the pendant mounted with a central oval-cut diamond weighing approximately 0.65 carats, approximate color G and clarity SI1, and round-brilliant-cut diamonds weighing approximately 1.84 carats in total, accented with an oval-cut and pear-cut treated emerald weighing approximately 1.26 carats in total, suspended from a gold chain composed of oval links. l. 17”, pendant l. 1”, total weight 39.0 grams $3,000‑$5,000 771 Emerald and Diamond Ring 14k yellow gold, the ring mounted with an oval-cut treated emerald weighing approximately 6.14 carats in total, accented on the band with baguette-cut and round brilliant-cut diamonds weighing approximately 0.31 carats in total. size 7, total weight 8.0 grams

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773 Emerald and Diamond Ring 18k yellow gold, the ring mounted with five oval-cut treated emeralds weighing approximately 1.70 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.20 carats in total. size 7, total weight 6.0 grams $900‑$1,200 774 Emerald and Diamond Bracelet 18k yellow gold, the bracelet mounted with square-cut treated emeralds weighing approximately 3.52 carats in total, accented with round brilliant-cut diamonds weighing approximately 2.96 carats in total. l. 7‑1/2”, total weight 28.0 grams $7,000‑$10,000 775 Emerald and Diamond Earrings 18k yellow gold, each earring mounted with a pear-cut and emerald-cut treated emerald weighing approximately 3.22 carats in total, framed in black onyx and accented with round brilliant-cut diamonds weighing approximately 0.14 carats in total. l. 1”, total weight 6.0 grams $1,400‑$1,800

$2,500‑$4,000 772 Emerald and Diamond Bracelet 18k yellow gold, the bracelet mounted with marquise-cut emeralds weighing approximately 6.08 carats in total, alternating with round brilliant-cut diamonds and bordered around the center emerald with round brilliant-cut diamonds, with an approximate total weight of 0.13 carats. l. 7”, total weight 12.0 grams $1,400‑$1,800

775

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776 Gentleman’s Hamilton Diamond Dial Wrist Watch platinum, the curved faceted rectangular case with a manual wind seventeen jewels mechanical movement, the movement stamped “Hamilton, USA, 17 jewels, 980”, the silver-finished dial with platinum numbers and markers, set with single-cut and baguette -cut diamonds weighing approximately 0.20 carats in total. case dia. without crown 43.0 mm x 20.0 mm, total weight 30.4 grams $1,000‑$1,500 777 Gentleman’s Gold Cufflinks

782

14k white/yellow gold, the round swivel-back cufflinks each designed as a skeleton watch with a white gold chapter ring with Roman numerals. dia. 13/16”, total weight 17.6 grams $800‑$1,200 778 Diamond Cufflinks

782 Diamond Cufflinks

18k white/yellow gold, the rectangular Art Moderne-designed two-tone cufflinks set with round brilliant-cut diamonds weighing approximately 0.20 carats in total. size 11/16” x 9/16”, total weight 16.8 grams

14k white gold, each cufflink set with round brilliant-cut diamonds in a checkerboard pattern, weighing approximately 2.00 carats in total. size 9/16” x 9/16”, total weight 10.2 grams

$600‑$900 779 E. Howard & Co. Series VIII Pocket Watch 18k yellow gold, the 18 size open face case stamped “E. H. & Co. Warranted 18k U.S. assay, 835,984”, the fifteen jewels nickel damascene movement and dial stamped “E. Howard & Co., Boston”. diameter without crown 2‑1/8”, total weight 133.9 grams

$1,400‑$1,800 783 Gentleman’s Diamond Band 18k white gold, the band mounted with round brilliant-cut diamonds weighing approximately 0.50 carats in total. size 8‑1/4, total weight 4.9 grams $600‑$900

$900‑$1,200 780 Gentleman’s Star Ruby and Diamond Ring 14k yellow gold, the ring mounted with an oval cabochon-cut star ruby weighing approximately 11.28 carats, accented with round brilliant-cut diamonds weighing approximately 0.44 carats in total. size 11, total weight 16.1 grams $1,400‑$1,800 781 Tiffany & Co. Gentleman’s Oversized Wrist Watch gold-plated, the 16s nickel-plated damascene twenty-one jewels mechanical movement with snail regulator, signed “Tiffany & Co., New York, No 9505”, the white porcelain dial with black Roman numerals and signed “Tiffany & Co., New York”, the movement has been re-cased in a later gold-plated wrist watch case with “Patek, Philippe” etched on the side, diameter without crown is 48.0 mm, lug to lug 55.0 mm. l. 7” to 8‑1/2”, total weight 109.3 grams $1,000‑$1,500

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784 “Novissima Tabula Regionis Ludoviciana Gallice dictae la Louisiane (Most Recent Map of the French Louisiana Region called La Louisiane)” by Christopher Weigel (German, 1654‑1725), hand-colored engraved map, published Nuremberg, ca. 1720. Unframed. plate 12‑5/8” x 16‑3/4”, sheet 15” x 18‑1/8” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $1,000‑$1,500 785 “Carte de la Louisiane et du Cours du Mississippi...”

784

by Guillaume De L’lsle (French, 1675‑1726), hand-colored engraved map, published in Paris, June 1718. Unframed. plate 17‑3/4” x 23‑3/4”, sheet 21‑3/8” x 25” Provenance: Avril Noble, London, U.K., 1987; Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $4,000‑$7,000 Often regarded as the most important Guillaume de L’Isle map, this chart depicts French claims to Florida prior to the treaty of Utrecht (1713) that ceded Spanish America to the Duke of Anjou. De L’Isle revolutionized cartography through a more scientific approach based on astrologically determined latitudes and longitudes. This map was the first map to accurately chart the Gulf coast between Florida and Texas and the Mississippi River, and became the source for all succeeding 18th century maps of the lower Mississippi and Texas. 786 Group of Three Hand-Colored Engraved Maps of the Mouth of the Mississippi River

785

from Pierre-Francois Xavier Charlevoix’s Histoire et Description Generale de la Nouvelle France by Jacques-Nicolas Bellin (French, 1703‑1772), Official Hydrographer to the French King, including two of the same chart showing the course of the River and Fort de la Balise, all three illustrate the course of the River into the Gulf of Mexico, published Paris, ca. 1744. Two are matted in varying sizes, all three are unframed. the first two plates 8‑1/4” x 11‑1/2”, sheets 9” to 9‑1/4” x 12‑1/4” to 12‑1/2”; the third plate 9” x 7‑1/4”, sheet 11‑1/2” x 8‑3/4” Provenance: Two of the maps were purchased from Jonathan Potter Ltd., London, October, 1982; Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000

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787 Two Important 18th-Century Engraved Maps of Louisiana including “Carte de La Louisiane et Pays VoisinsÖ”, by Jacques-Nicolas Bellin (French, 1703‑1772), Official Hydrographer to the French King, hand-colored, published Paris, 1757; and “Grondvlakte van Nieuw Orleans, de Hoofstad van Louisiana (Plan of New Orleans, the Capital of Louisiana)”, by Issak Tirion (Dutch, 1705‑1765), after L. B. de la Tour’s 1720 rendition, published Amsterdam, ca. 1769. The first matted, both unframed. plate size, respectively 9‑1/2” x 12‑1/2” and 13‑3/8” x 17‑3/8”, sheet size, respectively 10‑1/2” x 16” and 14‑7/8” x 19‑1/4” Provenance: The Tirion map was purchased at Jonathan Potter Ltd., London, U.K., 1982; both are from the private collection of Hugo Wedemeyer, New Orleans, Louisiana. 789

$800‑$1,200

788 Two Fine Engraved Maps of Florida and Louisiana including “La Florida”, by Abraham Ortelius, published Antwerp, 1598, 6‑1/4” x 9”; and “Lovisiana by de Rivier Missisippi [sic]”, probably by Leonard Schenk (Dutch, act. 1720‑1746), published 1720, 7‑3/8” x 6‑1/4”. Both matted and unframed. overall size, respectively 12” x 15‑7/8” and 13‑1/4” x 12‑1/4” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $900‑$1,200

789 “La Luisiana cedida al Rei N. S. por S. M. Christianisima, con la Nueva Orleans, e isla en que se halla esta ciudad... (Louisiana Ceded to the King N. S. by S. M. Christianisma with New Orleans, and the Island Where This City is Located...)” by Tomas de Vargas Machuca Lopez, after d’Anville’s 1732 map, and inset with maps of Bellin’s “Plan of New Orleans” (1760+) and a part of De L’Isle’s 1718 map, illustrating the course of the Mississippi with Native American lands, hand-colored engraving, published Madrid, 1762. Unframed. plate 16” x 16”, sheet 17‑1/2” x 24‑3/4” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $1,000‑$1,500

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790 Monumental “Carte de la Louisiane” drawn by Jean-Baptiste Bourguignon D’Anville (French, 1697‑1782) in 1732, hand-colored map engraved by Guillaume de la Haye, published Paris, 1752. Unframed. plate 20‑3/4” x 36‑3/4”, sheet 21‑3/4” x 40‑1/2” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $2,000‑$4,000 791 “Florida Called by Ye French Louisiana” by Herman Moll (British, ca. 1654‑1732), hand-colored engraving, published London, ca. 1732‑1736. Unframed. plate 8‑1/4” x 11‑1/4”, sheet 9‑5/8” x 14” Provenance: Baynton-Williams, Old Maps, Prints and Books, London, U.K.; Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000

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792 American Chippendale-Style Mahogany High Chest 18th century and later, in the Philadelphia style, in two parts, the upper section with a bonnet top over shell and foliate carving, the base with a scalloped shell-carved apron, on cabriole legs with ball-and-claw feet. h. 90‑1/2”, w. 41”, d. 26” $1,000‑$1,500 793 American Federal Mahogany Sideboard ca. 1800, in the Hepplewhite taste, the shaped top over a conforming case with a curved door flanking a concave door over a pair of like doors, raised on tapering cuffed feet, with contrasting inlaid light wood stringing. h. 37‑1/4”, w. 70”, d. 27‑1/4” $600‑$900

794 American Federal Mahogany and Inlaid Pembroke Table ca. 1795‑1810, possibly Charleston, South Carolina, the drop leaves with a triple string-inlaid border, each end with elliptical-inlaid panels, one end fitted with a drawer, raised on string-inlaid tapered legs with banded cuffs. h. 28‑1/2”, w. 21‑1/2”, d. 32”, ext. w. 42‑1/4” $1,000‑$1,500 792

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795 American Federal Mahogany D-End Dining Table first quarter 19th century, probably Baltimore, in the Sheraton taste, the top with a reeded edge and raised on boldly reeded legs with brass cup casters, accompanied by two leaves. h. 29”, w. 54”, l. 52‑1/2”, ext. l. 105‑3/4” $1,000‑$1,500

796 American Federal Inlaid and Line-Strung Mahogany Bowfront Chest ca. 1900, in the Hepplewhite taste, with a bank of four graduated drawers over a shaped apron centered by a drop panel, each drawer with an oval floral- and bellflower-inlaid central panel, raised on flare feet, the drawers divided by full dust boards, white pine secondary woods. h. 41‑1/8”, w. 42‑1/4”, d. 24” $600‑$900

797 American Late Federal Birdseye Maple Tall Case Clock early 19th century, the face signed “Charles Thum, Philadelphia”, with an eight-day time and strike movement, the hood with a swan’s-neck bonnet top and three turned finials, the central door flanked by turned columns and raised on ogee bracket feet. h. 85”, w. 22”, d. 12” $1,500‑$2,500

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798 American Vernacular Pine Drop-Leaf Table in the Sheraton Taste first quarter 19th century, the top with single-board drop leaves, one end fitted with a drawer and supported by turned legs. h. 29”, w. 20‑1/2”, d. 45‑1/2”, ext. l. 58” Provenance: Descended in the John Dymond family of Plaquemines Parish and New Orleans. $600‑$900

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799

799 American Federal Poplar Chest in the Hepplewhite Taste ca. 1800, with four graduated banded drawers flanked by mahogany-inlaid supports, a scalloped apron and flare feet. h. 39‑1/2”, w. 40‑1/2”, d. 20” $600‑$900 800 American Federal Painted Pine Corner Cabinet first quarter 19th century, probably New Jersey, the ogee curved cornice molding above a reeded frieze and two glazed doors with eight panes each, the lower case with a pair of framed and paneled doors above a scalloped skirt. h. 89”, w. 52”, d. 20‑1/2” Provenance: Descended in the John Dymond family of Plaquemines Parish and New Orleans. $600‑$900 800

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801 Rare, Early Map of “...Northern America Situated between New Mexico and the Frozen Sea [:] together with the Course of the Great River Meschasipi...” by Father Louis Hennepin (Belgian/ Spanish Netherlands, 1626‑1704), hand-colored engraved map dedicated to “His Majesty William III, King of Britain”, titled in English with French place names, published London, ca. 1698. Unframed. sheet 15‑1/2” x 18‑1/2” Provenance: The Map House, London, U.K., February, 1984; Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $2,000‑$4,000

801

802 “Map of Louisiana from D’Anville’s Atlas” by John Harrison and Thomas Bowen, handcolored engraving, published London, 1788. Unframed. plate 12‑7/8” x 20‑38”, sheet 16‑3/4” x 21‑1/4”” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $700‑$1,000

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803 “Accurata delineatio celeberrimae Regionis Ludovicianae vel Gallice Louisiane, ol Canada et Florida... (Accurate Delineation of the Frequented Louisiana Region, or of French Louisiana, Canada and Florida)” by Matthaus Seutter (German, 1678‑1756), handcolored engraving with a cartouche mocking the “Mississippi Bubble”, published Augsburg, 1720. Unframed. plate 19‑1/2” x 22‑5/8”, sheet 21‑3/4” x 24‑5/8” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $2,000‑$4,000 Drafted after Nicolas de Fer’s 1718 chart, this beautiful map, which depicts the great lakes and gulf coast from the French-controlled northeast coast to the Spanish-controlled New Mexico, represents an extraordinary chronicle of ruin-the collapse of a selfcontained Ponzi scheme by John Law, known as the “Mississippi Bubble.”

After Louis XIV nearly bankrupted the nation, France needed credit to stay afloat and a Scotsman, full of chicanery, with a goldsmith’s background provided the answer in 1717. In the absence of gold, paper currency would be generated by the backing of a government chartered bank that would in turn be used to ameliorate the national debt. After a moderately successful venture, Law devised a scheme to pay off the government’s remaining deficit through the creation of the French trading company-the Compagnie des Indes (commonly called the Mississippi Company), which secured a trading monopoly with the French Louisiana territory in 1719. In lieu of gold, portions of the debt would be exchanged for shares in the company, creating a system whereby an increase in shares would generate an increase in paper currency that Law promised would yield 120% profit to shareholders. As demand for shares soared with over 300,000 investors, so too did inflation, causing the bubble to burst in 1720 when French shareholders attempted to redeem their banknotes, which more than doubled the nation’s coin currency. While the inset in the upper left depicts the Louisiana coastline from the Mississippi Delta to the Florida peninsular at the height of the “Mississippi Bubble” with many forts/posts and Indian villages, the cartouche in the lower right illustrates its collapse in poignant allegory, portraying it as an assembly of deceit. At its center is the investment scheme, personified as a statue of Fortuna spilling a cornucopia of riches and jewels. Above her a group of cherubs swoon, issuing false shares; below her, another group of cherubs cuts up those same shares, while blowing bubbles. To the left and to the right of Fortuna is the before- wealthy vainglorious investors, and the after- men hunkered over by their ruin. 291291

804 “Carte d’une Partie des Cotes de La Floride et de La Louisiane (Map of Part of the Coasts of Florida and Louisiana...)” by Antoine Sartine (French, 1729‑1801), engraved map, published Paris, 1778. Unframed. plate 14‑1/4” x 24”, sheet 18‑3/4” x 25‑1/2” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $1,200‑$1,800

804

805 “Louisiana”, Charted After the Antoine Soulard Map by Samuel Lewis (British, 1782‑1865) and Aaron Arrowsmith (British, 1750‑1823), handcolored engraving, published Boston, ca. 1804‑1812. Unframed. sheet 10‑5/8” x 9” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $900‑$1,200 American map maker Samuel Lewis partnered with Aaron Arrowsmith, English hydrographer to the King, to created better articulated maps for atlases of the new Louisiana Purchase territory. Based on an earlier map by Antoine Soulard, this fine map, which depicts the region west of Mississippi explored by Lewis and Clark, became the primary map of the new territory and its surroundings, as it was easy to navigate with its clean lines and attractive coloring.

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806 “Louisiana and Mississippi” from a New American Atlas by Henry Schenck Tanner (American, 1786‑1858), hand-colored engraving, published Philadelphia, 1820. Unframed. plate 29” x 22‑1/4”, sheet 31” x 22‑3/4” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $2,000‑$4,000

807 Three 18th-/19th-Century Hand-Colored Engraved Maps of the Mississippi River and Gulf Coast including “Les Costes Aux Environs De La Riviere De Misisipi [sic] Decouvertes par Mr. De la Salle en 1683... (The Coasts Surroundings the Mississippi River Discovered by Mr. De la Salle in 1683)”, by Nicolas de Fer (French, 1646‑1720), geographer to Louis XIV and Philip V, published Paris, 1705; “A New Map of the River Mississippi from the Sea to Bayagoulas”, published in the London Magazine, 1778; and a “Map of Louisiana...”, by T. S. Hardee, prepared for Joseph Jones, MD, published New Orleans, 1879. All unframed. sheet size, respectively 11” x 15‑1/2”, 8‑1/4” x 10‑1/4” and 15‑1/2” x 17‑1/4” Provenance: The Hardee/Jones map was purchased at J. Raymond Samuel (Gallery), New Orleans, Louisiana, March 1983; all three are from the private collection of Hugo Wedemeyer, New Orleans, Louisiana.

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$900‑$1,200

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808 Rare and Monumental Map of “Louisiana from Darby’s Map, Published at Philadelphia 1816” by William Darby (British/American, 1775‑1854), hand-colored engraving, published by Aaron Arrowsmith, Hydrographer to the Prince of Wales, London, January 3, 1817. Unframed. plate 27‑3/4” x 39‑1/2”, sheet 28‑1/2” x 40‑1/4” Provenance: Private collection of Hugo Wedemeyer, New Orleans, Louisiana. $20,000‑$40,000 “I have no doubt whatever that Mr. Darby’s Map of Louisiana is more correct than any which has been published of that country. He has certainly taken extraordinary pains to acquire correct information; and as far as my opportunities have enabled me to judge I am induced to think his delineations correct.” -Andrew Jackson, speaking before U.S. Congress, Senate on his use of Darby’s (then) unpublished map of Louisiana that he relied on during and after the defense of New Orleans in the 1815 battle. At the outbreak of the War of 1812, Darby had already completed his map of Louisiana proper after nearly eight years of surveying the state, and promptly offered his map and services to General Jackson, serving as his topographical advisor. Jackson’s comments on the accuracy of Darby’s map have weathered time, as there are few major differences between his map and modern day ones-the most significant being the growth in Parishes from 25 to 64. After the war Darby completed his map, adding his expedition on the Sabine River and explorations of the Mississippi territory and Alabama, and presented it to John Melish in Philadelphia, the premier publisher at the time. Regrettably, Darby did not properly secure copyrights on his map, and Melish incorporated it into his own map of the United States without crediting him,

and received most of the recognition for it. It was not until a few weeks before his death in 1854 that Darby received a nominal remuneration from Congress for his work. In an attempt to reclaim his work, Darby immediately published an improved second edition through James Olmstead and Benjamin Levy in New York and New Orleans just months after the Melish one with the inclusion of ten additional counties, changes to Lafourche Parish, the course of the Alabama river and Choctaw boundary lines. In his preface to the new edition, Darby reiterates the singularity of his work: “The State of Louisiana south of Red river, and west of the meridian of Natchitoches, has never been surveyed except by myself. The whole work is from original document I am the only man who ever did attempt and execute a survey of the Sabine.” As Darby’s declarative prose demonstrate, what makes his map so incredibly important is the detail with which it was executed. What Adrien Persac achieved, in terms of cartographic history and demography, in his epic map of the plantations along the lower Mississippi River, Darby also achieved in terms of the topography, hydrography and demography of the state and gulf coast as General Jackson poignantly attested. Before Darby’s map, little had been accurately charted outside the twelve original counties and the rivers in the southeast; almost all of southwest Louisiana was a vast space of “terra incognita” that crafty publishers filled in with large cartouches. Darby’s map not only surveyed all the parish boundaries, but also all the major roads, settlements, rivers, bayous, and soundings. The United Kingdom, in recognition of the map’s great historical importance, which played a contributing role in the British defeat in the Battle of New Orleans, published a copy of Darby’s second edition (with proper acknowledgement) shortly after Olmstead and Levy produced it, making this map, the third state to be issued. All states are extremely scarce and valuable, as only a handful of have ever come to auction in the last 30 years. Reference: Gomez, Gary. “Describing Louisiana: The Contribution of William Darby”. Louisiana History: The Journal of the Louisiana Historical Association. 34:1 (1993). pp 87‑105.

809 Two Fine Hand-Colored Engraved Maps of the United States including “A New Map of Part of the United States of North America Exhibiting the Western Territory, Kentucky, Pennsylvania, Maryland, Virginia etc. Also, the Lakes Superior, Michigan, Huron, Ontario & Erie...”, by John Carey, first edition, published London, 1805; and “Southern Provinces of the United States”, by John Thomson, published Edinburgh, 1817. Each matted, glazed and framed. 18‑1/4” x 20‑1/2” and 23‑1/2” x 19‑1/2” $600‑$900

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810 American Federal Mahogany Games Table early 19th century, Boston, Seymour school, the fold-over top over a line-strung and rosewood cross-banded frieze, raised on a lyre-form pedestal joined to feet with like stringing, retaining embossed brass mounts. h. 28‑3/8”, w. 38”, d. 18‑1/4”, ext. l. 36‑1/2” $700‑$1,000

811

810

811 Unusual Paris Porcelain Neoclassical Urn second quarter 19th century, the urn with a polychromepainted Italian Renaissance scene, possibly from a play, the gilt ground with a tooled neoclassical roundel and swags of flowers, the handles with matte gilt scrollwork terminating in horse heads. h. 18‑1/2”, w. 10”, d. 6‑1/4”

812

$1,500‑$2,500 812 Argand-Style Bronze Hall Chandelier ca. 1900, English or American, with an urn-shaped tank with scrolled cartouches and scrolled handles terminating in masques, the lower section decorated with molded and pierced leaves and a leaf-molded drop. h. 35”, w. 33‑3/4”, d. 15” $1,000‑$1,500 813 American Classical Bronze-Mounted Mahogany Armoire second quarter 19th century, the top with a broad flared cornice molding above a frieze with a central bronze mount of Cupid with a floral garland and flanked by additional bronze mounts of wreaths, the doors boasting large turned half-columns with stamped brass collars and carved capitals, ending in turned legs with large brass ball feet in the front. h. 91”, w. 64‑1/2”, d. 27‑3/4” $1,000‑$1,500

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814 Fine American Classical Parcel-Gilt Rosewood and Marble-Top Pier Table ca. 1825, the marble top with rounded corners, over a conforming frieze with freehand gilt decoration, the canted scroll columns joined to a concave shelf and backed by a mirror plate, raised on conical feet. h. 32‑3/4”, w. 44”, d. 18” $3,000‑$5,000 815 After John James Audubon (American, 1785‑1851) “Red-headed Woodpecker”, no. 6, pl. XXVII, from Birds of America (1826‑1838) hand-colored engraving with aquatint by Robert Havell verso watermarked “J Whatman/1833”, verso frame with “W. Graham Arader III” gallery label. Float-mounted and attractively framed. sheet 38” x 26”, framed 49‑3/8” x 36‑7/8” $5,000‑$8,000 816 American Late Classical Mahogany and Marble-Top Mixing Table second quarter 19th century, Philadelphia, the marble top over a frieze on scroll brackets, the door of Egyptian form, on projecting scroll feet. h. 39‑3/4”, w. 37”, d. 18” 815

$700‑$1,000

814

816

297

818 Charles William Beebe (American, 1877‑1962), A Monograph of the Pheasants London: H. F. + G. Witherby, 1918‑1922, complete in four volumes, illustrated throughout with colored plates, photogravures and maps, printed under the auspices of the New York Zoological Society, Limited Edition, this numbered 495 of 600, burgundy cloth boards and spines with gilt lettering. 16‑1/4” x 12‑1/4” $2,000‑$4,000

817

817 Pair of American Late Classical Mahogany and MarbleTop Pier Tables second quarter 19th century, Philadelphia, each with a rectilinear marble top over a cyma-molded apron, raised on scroll columns with ovoid panels at their base, the serpentine low shelf with fan inlay, the back with a mirror plate. h. 33‑1/2”, w. 38”, d. 18‑1/4” $3,000‑$5,000

819 Thomas L. McKenney (American, 1785‑1859) and James Hall (American, 1793‑1868) History of the Indian Tribes of North America Philadelphia: D. Rice and A. N. Hart, 1855, octavo edition complete in three volumes, colored lithographic plates based on portraits mostly after Charles Bird King (American, 1785‑1862) throughout, tooled brown leather boards, spines with raised bands and gilt lettering, pages with gilt edges. [Howes 129; Sabin 43410a] 11” x 7‑1/4” $7,000‑$10,000

818

819

298

819 details

820 Pair of American Late Classical Mahogany Tables second quarter 19th century, each with a rectilinear marble top with canted corners, over a conforming frieze, raised on a trestle base with vasiform columns and a scrollsawn stretcher. h. 29‑5/8” and 31‑1/4”, w. 32‑1/4”, d. 16” $1,000‑$1,500 821 Painted Silhouette of Martin Van Buren, the Eighth U.S. President (1837‑1841) 1841, by Auguste Edouart (French, 1789‑1861), the reverse autographed and dated by Van Buren, the frame backing with an “Arthur S. Vernay, New York” label. Matted, glazed and framed. 11‑3/4” x 5‑1/4”, overall 12‑1/2” x 6”

820

$1,000‑$1,500

822

821

822 American Classical Revival Mahogany Grecian Sofa late 19th century, with scroll arms and back, reeded apron and scroll legs, the recamier now upholstered in a print simulating patterned horsehair. h. 30‑1/2”, w. 59‑1/2”, d. 22‑3/4” $600‑$900 823 American Classical Revival Mahogany Banquet Table second half 19th century, the circular top with a gadrooned edge and supported by a split pedestal with foliate-carved legs ending in paw feet, together with a rack of six leaves. h. 29”, dia. 56”, ext. l. 143” $1,200‑$1,800

823

299

824

827

825

824 After John James Audubon (American, 1785‑1851)

825 After John James Audubon (American, 1785‑1851)

827 Louisiana School (Second Half 19th Century)

“Yellow Red-poll Warbler”, no. 33, pl. CLXIII from Birds of America (1827‑1838)

“Connecticut Warbler”, no. 33, pl. CXXXVIII, from Birds of America (1826‑1838)

“Portrait of a Prominent Young Lady”

hand-colored engraving with aquatint by Robert Havell verso watermarked “J Whatman/1833”. Matted, glazed and framed.

hand-colored engraving with aquatint by Robert Havell verso watermarked “J Whatman/1832”. Matted, glazed and framed. sight 25‑1/2” x 18‑1/4”, framed 40” x 29‑1/2”

sight 25‑1/2” x 18‑1/4”, framed 40” x 29‑1/2” $1,500‑$2,500

$1,200‑$1,800

826 Pair of American Late Classical Mahogany Pedestal Cabinets second quarter 19th century, the pagoda-style tops with hinged lids, above a concealed drawer and cabinet below, with turned columns at the front corners, the base with a gadrooned molding and raised on turned legs. h. 49‑1/2”, w. 22”, d. 25” $1,000‑$1,500

826

300

oil on linen unsigned. Framed. 30” x 25”, framed 37‑3/4” x 33” $1,000‑$1,500

828 William Aiken Walker (American/South Carolina, 1839‑1921) “Young Boy on a Mule” oil on board signed lower left. Unframed. 9‑1/4” x 12‑3/8” To be included in John Fowler’s forthcoming catalogue raisonne. $8,000‑$12,000 828

829 William Aiken Walker (American/South Carolina, 1839‑1921) “Man and Woman on a Horse” oil on board signed lower left. Unframed. 9‑1/4” x 12‑1/4” To be included in John Fowler’s forthcoming catalogue raisonne. $10,000‑$15,000 829

301

831 Rare and Monumental “Norman’s Chart of the Lower Mississippi, from Natchez to New Orleans” hand-colored lithograph by after Marie Adrien Persac (French/Louisiana, 1823‑1873) drawn survey of the plantation holdings along the river, published by B.M. Norman, New Orleans, 1858, printed by J. H. Colton and Company, New York. Glazed in a float-mounted frame; together with its original cloth-bound board portfolio with tooling and gilt lettering, 8‑3/4” x 5‑1/2”. sheet 63‑1/2” x 31‑1/2”, framed 72” x 40” $150,000‑$250,000

830

830 detail

830 “Map of New Orleans and Adjacent Country” by John Melish (Scottish/American, 1771‑1822), hand-colored engraved map from A Military and Topographical Atlas of the United States, published Philadelphia, 1815. Glazed and framed. sight 15‑1/4” x 21”, framed 22” x 27” Published right after the War of 1812, this rare map, charted after Barthelemy Lafon’s premier 1806 plan of the New Orleans territory, was published to better illustrate to the public the geographical significance of the maritime victory over the British that culminated in the Treaty of Ghent. The map masterfully surveys the area from Lake Maurepas in Louisiana to Pensacola, including batteries on the English turn, two camps and battlefields between Villiers and New Orleans, and the pivotal forts- Barancas, Bowyer, St. John and St. Philip. The map is also one of the first to chart water depth in fathoms and the soundings of the Mississippi Delta. $2,500‑$4,000

302

Norman’s monumental map of the plantations from New Orleans to Natchez is regarded by historians and collectors as the most important map ever produced of the region - as it accurately charts the types of plantations, the owners, locations of schools, post-offices, hotels and churches on both sides of the Mississippi in the antebellum era. In 1938, it was estimated by a writer for the Baton Rouge Advocate (based on research culled from Dr. Wendell H. Stephenson, Professor of History at LSU) that not more than eight or ten of the original 1858 maps still existed. Today only four of those monumental works are knowingly conserved in public institutions: one is in the Historic New Orleans Collection, another is in the Louisiana State University (LSU) archive, a third is in the collection of the Howard Memorial Library (now HowardTilton at Tulane University) and a fourth is still actively used by the Louisiana Supreme Court to settle land ownership cases. Even rarer is its presence at auction, since most of the maps were rolled or folded in fifths and used by river pilots, they have deteriorated through time. According to auction databases, since the mid-1990s, only three have come to auction; all have sold for over $160,000. The map offered here represents a scarce opportunity for the discerning collector to own both an important historical record and a rare work of art by one of the most important Louisiana artists of the first half of the 19th century. Adrien Persac was a prolific painter, draftsman surveyor, lithographer and photographer, who recorded more plantation scenes than any other artist. In addition to painting roughly thirty idealized plantation scenes and public buildings in gouache for private clients, Persac also worked in traditional watercolors, working as a map surveyor and depicting houses for the auction market in New Orleans. In 1857, Benjamin Moore Norman commissioned him to chart a “perfect picture” of the glories of the “windings of the Father of Waters from this city to Natchez”. After the map was published and advertised in multiple newspaper classifieds to the public between March and April 1858, the New Orleans Crescent declared that Persac “deserves the highest credit for his very able and useful labor”, as he, being the true artist that he was, “descended the river in a skiff, landing at every mile, and drawing every plantation line and taking down every name and landmark on both banks of the river.” References: Dutton, Malile. “Two Copies of ‘Persac’s Map’ Recall Faded Glory of Plantations.” Advocate. Dec. 11, 1938; “Norman’s Chart of the River Mississippi”. Crescent. April, 1858.

831

303

832 Louisiana Colonial Walnut Pied-de-Biche Pier Table late 18th century, the top with rounded front corners, over a scalloped frieze fitted with a single drawer, the returns with a shaped apron, raised on cabriole legs ending in cloven hooves, cypress secondary woods. h. 26‑3/4”, w. 21‑1/4”, d. 13‑3/4” Provenance: Purchased January 23, 1996 by the consignor’s family from “The Quest” antiques, Magazine Street, New Orleans, Louisiana, reputedly removed from the home of the proprietor, Frederic Codman Parkinson (1921‑2014). The present table is illustrated on page 257 of Holden, et al., Furnishing Louisiana Creole and Acadian Furniture, 1735‑1835, fig. 16. $5,000‑$8,000

832

304

833 Louisiana Creole-Style Cypress Armoire ca. 1800, the period molded cornice over a pair of paneled doors opening to reveal an interior with shelves and a medial belt of two drawers, over a scalloped apron, raised on cabriole legs, the doors and case of pegged construction, the cypress back with six panels, formerly fitted with fiche hinges. h. 78”, w. 46‑1/2”, d. 20”, with cornice w. 51‑1/2”, d. 23” Provenance: Descended in the John Dymond family of Plaquemines Parish and New Orleans. $2,500‑$4,000

833

834 “Plan of the City of Jefferson” by William H. Williams (American, 1817‑1886), hand-colored lithograph, lithographed by J. Manouvrier, published New Orleans, 1860. Glazed and framed. sight 14‑1/2” x 20”, framed 16‑1/8” x 21‑1/2” $800‑$1,200

834

305

835 Rare “Norman’s Plan of New Orleans & Environs” hand-colored engraved map, published by B. M. Norman (1809‑1860), New Orleans, 1849. Glazed in a float-mount frame; together with the original 233‑page illustrated plan “Presenting a Complete Guide to All Subjects of General Interest in the Southern Metropolis”, and the portfolio cover for the map, both are cloth-bound board with gilt lettering and tooling, 6‑1/4” x 3‑1/4” and 5‑5/8” x 3‑3/4”, respectively. 17‑3/4” x 24‑1/2”, framed 36‑3/4” x 32‑7/8” This rare map, also produced by Norman, is unparalleled in the scope of its detail that illustrates significant social mores through historical boundaries. In 1836, the city charter was repealed and redrawn around Anglo and French Creole communities due to mounting ethnic tensions. The boundaries of these three new municipalities (with their own council, police force and taxes) that lasted until 1852 are clearly delineated on the map in pink/green, green/pink and orange/ yellow lines with corresponding street plans and block numbers. Intersecting these municipalities are the transportation lines - railways, canals and ferries, and footprints of dozens of other major edifices, many of which are identified on the legend at the base that contains an impressive listing of public buildings, banks, churches, theaters, and businesses.

835

$4,000‑$7,000

836 Vernacular American Walnut “Plantation” Desk third quarter 19th century, the kneehole opening flanked by a pair of drawers, raised on turned legs with bun feet. h. 28‑3/4”, w. 31‑1/2”, d. 54” Provenance: Descended in the John Dymond family of Plaquemines Parish and New Orleans. $600‑$900

836

306

837 Seven Volumes of Louisiana Interest including Nouveau Jardinier de la Louisiane, Jacques-Felix Lelievre, Nouvelle-Orleans: Chez J. F. Lelievre Libraire, 1838, first edition, marbled paper boards with cloth spine [Jumonville 1007]; Western Pilot, Samuel Cummings, Cincinnati: George Condin, 1849, green printed paper boards; The Business Institution and Commercial Houses of New Orleans, New Orleans: Bloomfield and Steel, 1866, printed paper boards; Los Natchez, Manuel M. Flamant, Madrid: Gaspar y Roig, 1853, half leather over marbled paper boards; New Orleans As I Found It, H. Didimus, New York: Harper and Brothers, 1845, brown fabric boards; and two copies of Histoire de la Fondation de la Nouvelle-Orleans (1717‑1722), Baron Marc de Villiers, Paris: Imprimerie Nationale, 1917, one with red fabric soft boards, the other with paper soft boards. 6‑3/8” x 4‑1/4”, 9” x 5‑3/4”, 7‑1/2” x 4‑3/4”, 10‑1/2” x 7”, 9” x 6” and 11‑1/4” x 9”, respectively 837

$700‑$1,000

838 Seven Volumes of Louisiana Interest

838

including History of the Discovery and Settlement of the Valley of the Mississippi, John W. Monette, New York: Harper and Brothers, 1846, complete in two volumes, each stamped “Campbell Marsh” inside front board, brown leather boards and spines with gilt lettering and design; The History of Louisiana, Barbe-Marbois, Philadelphia: Carey and Lea, 1830, first English translation, marbled paper boards, leather spine with gilt lettering; Voyage dans Les Deux Louisianes, Lyon: Chez Bruyset aine et Buynand, 1805, brown leather boards, spines with gilt lettering and design; History of the Discovery of America, Henry Trumbull, Norwich: James Springer, 1812, leather boards; and Nouveaux Voyages aux Indes Occidentales, Mons. Jean Bernard Bossu, Paris: Chez Le Jay, 1768, complete in two volumes, leather boards. 9‑1/4” x 6”, 9‑1/4” x 6‑1/4”, 8” x 5”, 8‑1/4” x 5”, and 6‑5/8” x 4”, respectively $700‑$1,000

307

839

839 Hermann Ottomar Herzog (German/American, 1832‑1932) “Sunset on a Florida Marshland with Cattle Grazing”, 1898 oil on canvas signed and dated lower right, frame and stretcher with three partial turn-of-the-century labels, all mostly effaced with one exhibition label with artist’s name. Framed. 20‑1/4” x 30‑1/4”, framed 29‑1/2” x 39‑3/4” $20,000‑$40,000

308

Hermann Herzog’s epic landscapes, accentuated by dramatic lighting, captivated the imagination of 19th- and 20th-century collectors, because the artist depicted the rugged Alps and the American wilderness through the rosy-tinted lens of “romantic pantheism.” For Herzog, the landscape was a sublime experience; it was a reflection of God’s creation that simultaneously awed and terrified people, and it was a medium for spiritual transcendence that both sanctioned and abated manifest destiny. In the early 1870s after Herzog immigrated to the United States, his views of the unchartered West provided an escapist reprieve from the war-torn East; in the early 1900s, his ethereal tonalist views of central Florida’s flora and fauna bore significant historical and visual evidence of one of America’s last frontiers. As this painting demonstrates, Florida is far more than everglades, beaches, sunset boulevards and iconic palm trees; it has the longest history of ranching in any state of the United States. Cattle ranching, followed by logging, was the economic staple at the turn of the 20th century. Florida was the nation’s leading cattle exporter not only within the eastern United States, but also within the Caribbean, fostering a lucrative market with Key West, Cuba and Nassau. Cattle ranches flourished throughout north central Florida between Tampa, where Herzog’s son Herman Jr. lived and Gainesville, and Herzog (through the few titled Florida works) is known to have painted this region along the inlets and waterways of the Alachua and Waccasassa Rivers, which are in close proximity to Silver Springs resort, a major tourist destination and artist colony on the Ocklawaha River that rivaled St. Augustine. The vast flatness, the reflective marsh, the low horizon, and immense sky that engulfs more than half the picture plane

in a haze of gold and pink is distinctly Floridian, according to curator Gary Libby. In Reflections: Paintings of Florida, 1865‑1965, the exhibition catalogue from the Collection of Cici and Hyatt Brown (the largest known private collection of Florida-based art), Libby writes that the key to “finding Floridaness” is a discerning eye for composition, flora, fauna and lighting. “Where the land is flat, waters move slowly,” where shallow waters stagnate, humidity arises and causes the shorter rays of sunlight at sunset to naturally blur into an atmospheric perspective that only Herzog, an accomplished Barbizon/Hudson River School artist, could truly capture through the bravura of reverse lighting - where the landscape is ethereally lit from behind, casting the foreground into warm shadows. Nowhere is this stunning effect better visualized than in the silhouettes of the cattle, the ashen roiling clouds and the splayed trunks of the young cypress trees on the left horizon. True to all Florida swamp cypresses (Taxodium distichum), they moor support in wetlands by buttressing outward, before growing upward knees. This is Florida, and this is Herzog, a master of reverse and tonalist lighting, at his finest. As the Philadelphia Press lauded his work: “His faculty of choosing the most effective illumination assisted by the rapidity of execution which enables him to seize and fetter the most transient phenomena of light and shade - of clouds that pass and of water - amount to genius and make his pictures unique among landscapes.” References: State of Florida Photographic Archives. Florida Cattle Ranching. http://floridamemory.com. Accessed Nov. 15, 2017; Libby, Gary Russell. Reflections: Paintings of Florida, 1865‑1965, from the Collection of Cici and Wyatt Brown. Daytona: Museum of Arts and Sciences, 2009; Herman Herzog, 1831‑1932 (New York: Chapellier Galleries, 1971).

309

840 Hudson River School (Fourth Quarter 19th Century) “New England Landscape with Cattle at a Mountainous Stream” oil on canvas stretcher with “Temple & Farrington Company, Stationers & Blank Book Manufacturers, Manchester, N.H.”. Presented in a period giltwood and gesso frame with “Hale & Whitemore Artists Materials, Picture Frames, 989 Elm St., Manchester, N.H.” label. 14” x 20”, framed 25‑1/2” x 31” $1,000‑$1,500

840

841 American School (Fourth Quarter 19th Century) “Coastal Landscape with Figures and a Boat” oil on canvas signed lower left “F. A. Silva”. Presented in a giltwood and gesso frame. 16‑7/8” x 28‑1/4”, framed 30” x 41” $2,000‑$4,000 841

842 Wesley Elbridge Webber (American, 1841‑1914) “Sailboats Off the Coastline” oil on canvas signed lower left. In an antique giltwood frame. 26‑1/4” x 36”, framed 32” x 43‑1/2” $3,000‑$5,000 842

310

843

843 Gilbert Munger (American/California, 1837‑1903) “River Landscape, France” oil on panel signed lower left, verso with “M. Newman, Ltd., London” label. Framed. 14‑3/4” x 21‑5/8”, framed 19‑1/4” x 26” $3,000‑$5,000

844 William Vincent Cahill (American, 1878‑1924) “Resting After a Day’s Work” oil on canvas signed lower left. Framed. 30” x 25”, framed 38‑3/4” x 32‑3/4” $4,000‑$7,000

844

311

845 Ella Buchanan (American/California, 1869‑1951) “Early Autumn” oil on canvas signed lower right. Presented in a period exhibition frame. 20” x 30”, framed 28‑1/4” x 38” $1,000‑$1,500

845

846 Hale William Bolton (American/Texas/California, 1885‑1920) “Summer Morning Sylvan View”, 1919 oil on canvas signed and dated lower right, indistinctly inscribed in pencil en verso “from on the Wichita...” (possibly Wichita Falls, Texas area). Framed. 17” x 20”, framed 24” x 27” $1,500‑$2,500

846

847 J. Franke (American, 20th Century) “Winter Landscape” oil on canvas signed lower right. Framed. 25‑3/4” x 34”, framed 33” x 41‑3/8” $1,000‑$1,500

312

847

848 Enameled Glass Decanter second quarter 20th century, possibly Moser, Czechoslovakia, decorated with raised enamel flowers on a gilt cartouche, against a cranberry glass base spangled with gilt, set with an impressive spire-form stopper with raised gilt decoration. h. 27‑1/4”, dia. 5‑1/2” $600‑$900

849

848

849 Franco-Bohemian Cut and Frosted Crystal Chandelier third quarter 19th century, the six-light chandelier with a vase- and ball-designed standard with strawberry cutting, the downturned cut corona hung with spearpoint prisms, glass arms supporting frosted and cut rings hung with prisms, the floriform cut and frosted base supporting a glass prism ring and an acorn finial. h. 45”, dia. 25‑3/4” $700‑$1,000 850 American Rosewood Secretary Bookcase mid-19th century, in the transitional Late Classical into Rococo Revival style, possibly by J. & J.W. Meeks, New York, in two parts, the upper section with a projecting cornice over a pair of glazed doors flanked by fluted and foliate-carved pilasters, on a base with a drawer with a baize writing surface, over a pair of fretwork-sawn doors, flanked by like pilasters, the case sides retaining their original faux rosewood decor. h. 88”, w. 44”, d. 23” $1,000‑$1,500

850

313

852 American Rococo Revival Mahogany Secretary Bookcase third quarter 19th century, in two parts, the upper section with a bonnet top over a pair of glazed doors, and fitted with drawers and niches below, the fold-out writing surface over a pair of paneled doors, raised on bracket feet. h. 103”, w. 46‑3/4”, d. 21‑1/2” Provenance: Formerly in the second story center hall, Belair Plantation, Wills Point, Plaquemines Parish, descended in the John Dymond family. $900‑$1,200

851

851 British School (Second/Third Quarter 19th Century) “Portrait of a Mother and Child Beside a Table with the Holy Bible” oil on linen unsigned. Framed. 35‑1/2” x 28‑1/2”, framed 41‑3/4” x 35” $1,000‑$1,500

852

853 Antebellum New Orleans Market Rosewood Bed third quarter 19th century, attributed to the New Orleans warerooms of Prudent Mallard, with clustercolumn posts supporting a paneled headboard with a shell-carved crest, the footposts with telescoping poles for mosquito netting, joined by scalloped shellcarved rails. h. 102”, inside w. 68”, l. 85”, outside w. 71”, l. 90” Provenance: Descended in the John Dymond family of Plaquemines Parish and New Orleans. $4,000‑$7,000

314

853

854 Tedeschi & Raffael, Milano, Bird’s-Eye Maple and Parcel-Gilt Harp ca. 1900, No. 930, with forty-six strings, seven pedals and five elliptical soundholes, the gilt column with Gothic tracery and angelic figures below the crown, supported by griffin-form feet. h. 70”, w. 37”, d. 18” $3,000‑$5,000 855 Pair of Rare Rococo Revival Brass Gasoliers mid-19th century, attributed to Archer and Warner, Philadelphia, the five-light gasoliers set with flowerand scroll-molded weights on pierced pulleys, the scrolled arms set with pierced ivy and scrollwork panels, hung with ivy-molded chains. h. 39”, dia. 33‑1/2” $3,000‑$5,000 855 one of two

854

856 Giltwood Mirror of Rococo Inspiration mid-20th century, American, the pierced crest with scrollwork flanked by a fence with roses, the sides with pagoda-type scrollwork, the lower edge with a rococo cartouche flanked by pierced scrollwork, labeled “D. Milch & Sons”. h. 51”, w. 31‑1/2”

856

$700‑$1,000

315

859 American Rococo Revival Laminated Mahogany Rocking Chair second half 19th century, the pierced concave back with foliate carving, joined to open arms, a serpentine seat and cabriole front legs joined to rockers. h. 40‑1/8” $600‑$900

857

857 American Rococo Revival Rosewood Parlor Cabinet

859

third quarter 19th century, probably J. & J. W. Meeks, New York, the upper structure with graduated shaped shelves and pierced back galleries, the crest with a central carved portrait bust and flanked by foliate scrollwork, the serpentine base with a drawer above a pair of cabinet doors with glazed windows, the serpentine sides also with glazed windows, raised on cabriole legs. h. 68‑1/2”, w. 45”, d. 18” $800‑$1,200

858 Pair of American Laminated Rosewood Armchairs third quarter 19th century, attributed to J. H. Belter, New York, comprised of a gent’s and a lady’s armchair, each in the “scroll” pattern, with a concave laminated back, open arms, serpentine seat and cabriole legs. h. 39‑1/2” and 35‑1/2” $600‑$900

316

858

860 American Rococo Revival Walnut and Marble-Top Center Table third quarter 19th century, attributed to Thomas Brooks, Brooklyn, New York, the oval picture-frame top with a conforming white marble insert, above a deeply molded and carved rim, and mounted to a turned central standard with four shaped and carved legs. h. 31”, w. 53”, d. 32‑1/2” $1,200‑$1,800 861 Pair of American Cobalt Blue Cut-to-Clear Oil Lamps mid-19th century, the fonts cut in a star and dot pattern and mounted to a tapered and fluted brass standard, and a double-step marble base, fitted with Victorian-style floral-etched shades, now electrified. h. 29” and 28‑3/4”

860

$800‑$1,200 862 Pair of Victorian-Style Cast Aluminum Garden Benches in the “Laurel Pattern”, each with a concave back modeled as leaves and berries, a pierced seat of like form, and avian-style front legs capped by bird’s heads with winged brackets. h. 32”, w. 43‑1/2”, d. 27” $600‑$900 863 Pair of Cast Stone Garden Ornaments 863

second quarter 20th century, probably American, modeled as lobed urns holding fruit and flowers. h. 16‑1/2”, dia. 8‑3/4”

861

$600‑$900

862

317

864 American Patinated Bronze Garden Sculpture of a Young Boy Reading 20th century. h. 41”, w. 17‑1/2”, d. 14” $600‑$900 865 American Walnut and Burled Walnut “Overseer’s” Desk third quarter 19th century, in two parts, the upper section with a hinged cornice over doors, niches and drawers, the base with an inset leather work surface over a pair of drawers, raised on segmented, octagonal and turned legs. h. 56‑3/4”, w. 47‑3/4”, d. 34” $700‑$1,000 866 Rare Pair of Cast Metal Figural Newel Post Lamps third quarter 19th century, attributed to Mitchell, Vance & Co., New York, modeled as elaborately coiffed and robed classical maidens, one with her right arm raised and the other with her left arm raised, holding the period etched glass crown-top shades, formerly fitted for gas, now electrified. h. 60”, w. 13”, d. 13”

864

An etching of these lamps is illustrated in “Picture Book of Authentic Mid-Victorian Gas Lighting Fixtures”, a reprint of the Historic Mitchell, Vance and Co. Catalog, ca. 1876, page 47 (plate 217). $3,000‑$5,000

865

318

866

867 American Renaissance Revival Marquetry-Inlaid Walnut Pedestal third quarter 19th century, the square top over a tapering column with an inlaid trophy panel, the sides with Sevresstyle porcelain mounts and incised panels on a stepped base. h. 39‑1/4”, w. 14”, d. 14” $700‑$1,000 868 Tiffany & Co. Retailed Belle Epoque Marble and Bronze Mantel Clock first quarter 20th century, French, in a rosso antico marble case, the works marked “Made in France”, set with a dial marked “Tiffany & Co.” and “France”, flanked by a pair of patinated bronze putti, one holding a bird’s nest and the other a bird, the case enhanced with inset panels of giltbronze scrollwork and flowers. h. 12‑3/4”, w. 25‑1/4”, d. 5” 867

$3,000‑$5,000

868

869 American Late Classical Revival Polychromed Tall Case Clock ca. 1900, the case with an arched top and gessoornamented frieze, the door and sides with Italian Baroque-style grillwork panels and turned columns at the front corners, raised on carved feet, the three-weight movement with nine tubes and engraved “Elite Germany”. h. 91‑1/2”, w. 26”, d. 19” $1,000‑$1,500

869

319

870 American Aesthetic Period Bird’s-Eye Maple and Faux Bamboo Dressing Bureau ca. 1900, probably by R. J. Horner, New York, the tilting beveled mirror mounted within the faux bamboo turned maple frame, above the base with three graduated long drawers. h. 79”, w. 47”, d. 22” $600‑$900 871 English Art Nouveau Cameo Glass Vase

871

872

fourth quarter 19th century, probably Thomas Webb, decorated with white and crimson passion flowers and leaves on a yellow ground. h. 6”, dia. 4” $1,000‑$1,500 872 Unusual English Art Nouveau Shaded Cameo Glass Vase fourth quarter 19th century, the vase shaded from peach to blue and carved with flowers and leaves. h. 7”, dia. 3‑1/2” $900‑$1,200

873 874

873 Pairpoint Table Lamp with Reverse-Painted Shade first quarter 20th century, New Bedford, Massachusetts, with a signed gilt-metal base and a signed reverse-painted shade with a landscape decoration, with a row of windmills at the top probably indicating a Dutch landscape. h. 21‑3/4”, dia. 13‑1/2” $1,200‑$1,800 874 Tiffany Studios Gilt-Bronze “Bell” Floor Lamp early 20th century, probably model “423”, unmarked, with an associated Quezal gold “pull feather” glass shade, etched “Quezal”. h. 55” Provenance: Estate of Charles Harcourt and Edith Marion Hallett “Love” Dimick, Rifton and Manhattan, New York. $700‑$1,000

320

870

875 Tiffany Studios Bronze and Blown-Out Glass Candlestick early 20th century, with rich brown patination and green blown-out glass socket, marked “Tiffany Studios/New York” and “D883”. h. 17‑3/4” Provenance: Estate of Charles Harcourt and Edith Marion Hallett “Love” Dimick, Rifton and Manhattan, New York. $700‑$1,000 876 Tiffany Studios Gilt-Bronze Eight-Light Candelabrum early 20th century, with textured surfaces, the four arms each having two sockets, marked “Tiffany Studios/New York” and “7966”. h. 15”, dia. 14” Provenance: Estate of Charles Harcourt and Edith Marion Hallett “Love” Dimick, Rifton and Manhattan, New York. $1,200‑$1,800 877 Tiffany Studios Bronze Three-Light “Lily” Desk or Piano Lamp

875

early 20th century, the integral hooked handle and artichoke-form base with rich greenish-brown patination, retains the original switch and Bryant white ceramic sockets, all shades etched “L. C. T. Favrile”, the base marked “Tiffany Studios/New York/320”. h. 8‑3/4”

879

Provenance: Estate of Charles Harcourt and Edith Marion Hallett “Love” Dimick, Rifton and Manhattan, New York. $800‑$1,200 878 Tiffany Favrile Glass Vase early 20th century, with ruffled iridescent stretched rim and shaped stem, the domed and slightly ribbed foot with lavender-blue iridescence, marked “L. C. T.” and “Y4986”. h. 12‑1/4” Provenance: Estate of Charles Harcourt and Edith Marion Hallett “Love” Dimick, Rifton and Manhattan, New York.

877

$700‑$1,000 879 Tiffany Studios Bronze Seven-Light “Lily” Table Lamp early 20th century, the base with rich greenish-brown patination, retains the original lily pad switch and Bryant white ceramic sockets, all shades etched “L. C. T. Favrile”, stamped underneath “Tiffany Studios/New York/385”. h. 21‑1/4” 878

Provenance: Estate of Charles Harcourt and Edith Marion Hallett “Love” Dimick, Rifton and Manhattan, New York. $6,000‑$9,000

876

321

880 Scale Model of Edmond J. Moran Tugboat 20th century, American, the original built in 1940, the two-masted tug carefully detailed with a mahogany deck, brass fittings and bollards, and a lifeboat, in a mahogany and glass case. overall h. 21”, w. 32‑1/4”, d. 13” $800‑$1,200

880

881 Mahogany and Bronze Scale Model of Speed Boat Baby Bootlegger based on an early 20th-century vessel, the model bronze-fitted and presented in a custom mahogany and glass case. overall h. 14‑1/2”, w. 45”, d. 13‑3/4” $1,500‑$2,500

881

882 Maher Naguib Morcos (Egyptian/American, b. 1946) “Fate of the Scout”, 1982 patinated bronze cast signature, copyright-marked, dated, and numbered “7/28” on edge of self-base, on a carved wood plinth. overall h. 20”, w. 27‑1/2”, d. 14‑1/2” $1,200‑$1,800

882

322

883 Stanley Johnson (American/Utah, b. 1939) “Buffalo Attack”, 1976 patinated bronze cast signature, dated and copyrightmarked along front edge of self-base, on a green marble plinth. overall h. 20‑3/4”, w. 23‑1/4”, d. 11‑1/2” $1,200‑$1,800 884 After Frederic Sackrider Remington (American, 1861‑1909) “Coming Through the Rye” patinated bronze cast signature and inscribed “RCS 102/375” along edge of self-base. h. 26‑3/4”, w. 29”, d. 26‑1/2” $2,500‑$4,000 885 After Carl Kauba (Austrian/American, 1865‑1922)

883

“The First Lesson” patinated and cold-painted bronze cast signature, now set upon a rectangular marble plinth. overall h. 19”, w. 9”, d. 7” $1,000‑$1,500

884 885

323

886 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Evening in a Louisiana Swamp”, 1909 oil wash on board signed and dated lower left, titled and with partial old supplier’s label en verso. Framed. 12‑1/4” x 18‑1/2”, framed 16‑1/2” x 22‑1/2” $2,000‑$4,000 886

887 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Early Morning in a Louisiana Swamp”, 1909 oil wash on board signed and dated lower right, titled and with partial old supplier’s label en verso. Framed. 12‑1/4” x 18‑1/4”, framed 16‑3/4” x 22‑3/4” $2,000‑$4,000 887

324

888 Two Pieces of Newcomb College Art Pottery by Sadie Irvine including a vase, 1924, and a trivet, 1917, each in blue underglaze with carved and decorated low-relief floral borders, each base incised with the Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, and registration numbers. vase h. 4‑1/4”, dia. 6”, trivet h. 1/2”, 5‑1/2” $700‑$1,000

888

889 Ellsworth Woodward (American/New Orleans, 1861‑1939) “Louisiana Irises with Moss-laden Cypress Trees on the Horizon”, 1908 watercolor signed and dated lower right. Matted, glazed and framed. sight 13‑3/4” x 18‑5/8”, framed 22” x 26‑1/2” $1,000‑$1,500

889

890 Morris Henry Hobbs (American/Louisiana, 1892‑1967) “Landscape from MacDowell Colony Dining Room, New Hampshire” oil on canvas signed lower left. Presented in a period frame. 24” x 27”, framed 30‑3/4” x 33‑1/4” $2,500‑$4,000 890

325

891

891 Walter Inglis Anderson (American/Mississippi, 1903‑1965) “Three Fish” color woodblock on wallpaper titled en verso. Matted, glazed and framed. sight 17‑3/4” x 51”, framed 54‑1/2” x 21‑1/4” Literature: Illustrated in color in Mary Anderson Picard and Patricia Pinson. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University of Mississippi Press, 2007. $4,500‑$7,000 The form is there. The stories are told. Realize it and then Like a succession of flowers opening. -Walter Inglis Anderson Between 1930 and 1950 Walter Inglis Anderson carved 300 whimsical linolueum blocks (linocuts), inspired by lore and iconic Gulf Coast flora and fauna. The bold colors and abstracted geometric figures, innate to the linocut process, were designed to be printed in various combinations, imbuing typical landscapes with spiritual symbolism that, according to Mary Pickard, the artist’s daughter, “emphasized connections in relationships among sea, earth and sky.” Printed on the reverse side of wallpaper rolls, the linocuts were affordable to ordinary folk, empowering them to share in the narratives that shape their lives. In 1949, A “Three Fish” print that closely resembles this one is in the Collection of the Walter Anderson Museum of Art.

326

892

892 Anna Colquitt Hunter (American/Georgia, 1892‑1985) “The Alley” oil on board signed lower right. Framed. 15‑7/8” x 20”, framed 21” x 25‑1/8” $1,000‑$1,500

893 Clementine Hunter (American/Louisiana, 1886/87‑1988) “Watermelon Party”, ca. 1965 oil on masonite monogrammed center right. Framed. 11‑3/4” x 23‑3/4”, framed 19‑1/4” x 31‑1/4” Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $2,000‑$4,000

893

894 Clementine Hunter (American/Louisiana, 1886/87‑1988) “The Cotton Gin”, ca. 1965‑1970 oil on masonite monogrammed center right. Framed. 11‑3/4” x 23‑3/4”, framed 19‑1/4” x 31‑1/4” Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $2,000‑$4,000

894

895 Clementine Hunter (American/Louisiana, 1886/87‑1988) “The Wedding”, ca. 1965‑1970 oil on masonite monogrammed center right. Framed. 11‑3/4” x 23‑3/4”, framed 19‑1/4” x 31‑1/4” Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $2,000‑$4,000

895

896 Clementine Hunter (American/Louisiana, 1886/87‑1988) “Cotton Picking”, ca. 1965‑1970 oil on masonite monogrammed center right. Framed. 11‑3/4” x 23‑3/4”, framed 19‑1/4” x 31‑1/4” Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. $2,000‑$4,000 896

327

897

898

897 James Michalopoulos (American/Louisiana, b. 1951)

898 James Michalopoulos (American/Louisiana, b. 1951)

“Blue Crispy”, 1993

“Pink Spook”, 1993

oil on canvas signed lower left “Michalopoulos”, signed “Mitchell Michalopoulos”, dated and titled en verso. Framed. 28” x 21‑3/4”, framed 28‑7/8” x 22‑7/8”

$4,000‑$7,000

328

$4,000‑$7,000

899

901

900 Ensko Reproduction Sterling Silver Footed Salver mid-20th century, probably by Currier & Roby, New York, New York, in the early 18th-century colonial Boston taste of John Coney (1655/56‑1722), the circular salver with gadrooned rim, raised on a waisted and domed foot, the plateau engraved with the arms of Rowden. h. 2‑3/4”, dia. 12”; 25.06 t. oz. $800‑$1,200 900

899 Good American Federal Coin Silver Salver ca. 1800, by Hugh Wishart (1766‑1840), New York, New York, oval with molded rim and raised on openwork bracket feet, the plateau engraved with a draperymantled cartouche monogrammed “SJM”, with later monogram on the underside “LAM”. h. 1‑1/2”, l. 19‑1/4”, w. 14‑1/2”; 53.78 t. oz. Provenance: Sotheby’s, New York, Important Americana [Sale NO8823] , January 20‑21, 2012, lot 93.

901 Dominick & Haff “Marie Antoinette” Sterling Silver Flatware Set the pattern introduced in 1917, this set retailed by Black, Starr & Frost, New York, New York, including a dozen thirteen-piece place settings (one piece lacking and nine replacements) and nine serving pieces, monogrammed “CEE” and presented in a blond mahogany-stained, brown felt-lined fitted case with lift-top, single drawer and brass fittings, 6” x 15‑1/4” x 11‑1/4”. 164 pieces 165.27 total t. oz. (weighable silver) Detailed list of pieces available on request. $4,000‑$7,000

$2,500‑$4,000

329

902 Pair of American Sterling Silver and Cut Glass Fruit Stands mid-20th century, by Gebelein Silversmiths, Boston, Massachusetts, in the Georgian taste, each with an oval wirework receptacle above a conforming molded frame raised on three lion’s paw-footed flat column legs joined by concave molded stretchers, fitted with a shallow diamond-cut glass bowl with scalloped rim and starburst base. overall h. 8‑1/4”, l. 8‑3/4”, w. 6‑3/8”; 56.42 total t. oz. (silver frames only) $1,200‑$1,800 903 Good American Expansionist Era Five-Piece Coin Silver Coffee and Tea Set second quarter 19th century, by Gerardus Boyce (1795‑1880), New York, New York, including a coffeepot, h. 12‑1/2”, a teapot, h. 11‑3/4”, a covered sugar bowl, h. 9‑3/4”, a cream jug, h. 7‑3/4”, and a waste bowl, h. 5‑5/8”, each with an inverted toupieshaped body below a serpentine-lobed everted rim, with crested “S”-scroll handles, “gooseneck” spouts, steeply domed gadrooned lids with floriform finials and raised on a wasted foot with gadrooned knop and lobed en suite, monogrammed “BL”. 163.95 total t. oz.

902

A hot water urn in this popular pattern by Boyce is in the permanent collection of the Art Institute of Chicago and another five-piece service from the De la Guerra Family is in the collection of the Santa Barbara Historical Museum. $2,000‑$4,000 903

904 Five 19th-Century American Mid-Atlantic Silver Ladles ca. 1820‑1870, including Thomas Richards, New York, ca. 1820, “Fiddle” pattern, monogrammed “JMR”; an unmarked coin silver example, ca. 1840, gilt coquille bowl and brightcut and engraved “Old English” handle, monogrammed “D”, l. 12‑1/4”; S. Kirk & Son, Baltimore, ca. 1850, .896 silver, “Mayflower” pattern, monogrammed “BF”, l. 11‑1/8”; William F. Bissing, Baltimore, ca. 1860, coin silver, “Mayflower” pattern, monogrammed “SCH”, l. 12‑7/8”; and George Sharp for Bailey & Co., Philadelphia, ca. 1870, sterling, coquille bowl, twist stem and engraved pointed handle, monogrammed “K”, l. 11‑3/4”. 24.07 total t. oz. 904

330

$600‑$900

906

905

905 Group of American Sterling Silver “Medallion” Flatware third quarter 19th century, by Hotchkiss & Schreuder, Syracuse, New York (two forks by John Wendt, New York, New York), including twenty-seven teaspoons, twelve coffee spoons, seven luncheon forks, and six other pieces, with various monograms and retailer’s marks. 52 pieces 41.93 total t. oz. Detailed list of pieces available on request. $600‑$900 906 Set of Six New Orleans-Retailed Glass and Sterling Silver Sorbet Dishes first quarter 20th century, retailed by Hausmann/A. B. Griswold, New Orleans, Louisiana, the silver holders with hemispherical bowl and ogee-domed foot, decorated with embossed Vitruvian scroll decoration, fitted with colorless glass liners with gilt-banded rim en suite, presented in a fitted, blue velvet- and satin-lined case with retailer’s ribbon, 4‑1/2” x 14” x 9‑3/4”. overall h. 3‑1/2”, dia. 3‑5/8”; 5.04 total t. oz. (excluding liners)

907

The retailer’s ribbon, with the names of both Hausmann, Inc. and A. B. Griswold & Co. , indicated a date very near 1924, when Hausmann acquired the Griswold company. $600‑$900 907 Collection of Fin-de-Siecle New Orleans-Retailed and Other Silver Flatware including pieces retailed by A. B. Griswold & Co., Frantz & Opitz, and T. Hausmann & Sons, all New Orleans, with thirty-two pieces of Gorham’s “Regent” pattern, a Gorham “Cambridge” salad serving set, a Gorham “Old Colony” punch ladle, and two Wallace “Violet” spoons, eight pieces variously monogrammed. 37 Pieces 60.19 total t. oz. Detailed list of pieces available on request. $900‑$1,200

907 detail

331

910 detail

908

908 Shreve & Co. Sterling Silver Art Nouveau Water Pitcher

910

first quarter 20th century, San Francisco, California, the pearshaped body with waisted collar and shaped and molded rim with integral spout, decorated on the shoulder with applied poppy medallions within “whiplash” mounts and banding, with a steeply arched “whiplash”-mounted handle and raised on a domed foot with openwork decoration en suite, elaborately monogrammed “CHRT”. h. 13”, l. 8‑1/2”, dia. 6‑1/2”; 37.45 t. oz. $1,400‑$1,800 909 Group of American Sterling Silver Seafood Flatware first quarter 20th century, including twelve Shreve & Co. fish knives with scimitar-shaped blades, l. 8‑1/4”, and eleven Gorham oyster forks, l. 5‑3/4”, all with hammer-finished pointed hollow handles. 23 pieces filled handles $600‑$900 910 Alvin “Chateau Rose” Sterling Silver Flatware Set the pattern designed in 1940 by James Russell Price (1907‑1974), Providence, Rhode Island, including a dozen seven-piece place settings and six serving pieces, presented in a fitted, mahogany-stained laurel-green felt-lined case with lift-top and single drawer, decorated with hand-painted flowers, 6‑1/4” x 15‑3/4” x 12”. 90 pieces 86.28 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,200‑$1,800

332

909

911

911 Good Seven-Piece Sterling Silver Punch Set

912 Wallace “Grande Baroque” Sterling Silver Flatware Set

mid-20th century, by W. H. Manchester, Providence, Rhode Island, including a large punch bowl, h. 9”, dia. 15”, and six associated goblets, h. 6‑7/8”, dia. 3‑1/4”, all decorated with repousse flowers and acanthus fronds. 112.95 total t. oz.

the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, including a dozen eight-piece place settings, with additional pieces extending to make sixteen five-piece place settings, with an additional two teaspoons and eleven serving pieces, no monograms, presented in a cherry-stained, Pacific cloth-lined fitted wooden case with lift-top and single drawer, 6” x 16” x 12”. 129 pieces 144.35 total t. oz. (weighable silver)

$3,000‑$5,000

Detailed list of pieces available on request $3,500‑$5,000

912

912 detail

333

913 Five-Piece Reed & Barton “Renaissance” Silverplate Coffee & Tea Set mid-20th century, Taunton, Massachusetts, including a coffeepot, h. 11‑1/2”, a teapot, h. 8‑1/2”, a covered sugar bowl, h. 6‑1/2”, a cream jug, h. 5‑5/8”, and a tray, 27‑1/2” x 18”, no monograms. $800‑$1,200

913

914 Reed & Barton “French Renaissance” Sterling Silver Flatware the pattern designed in 1941 by George Logan Turner (1874‑1951), Taunton, Massachusetts, including a dozen eleven-piece place settings (twelve pieces lacking), most monogrammed “C”. 120 pieces 151.77 total t. oz. (weighable silver) Detailed list of pieces available on request. $2,500‑$4,000

914

915 Reed & Barton “Duquesne” Sterling Silver Water Pitcher mid-20th century, Taunton, Massachusetts, helmet form with applied rinceax, acanthus and gadrooning, with squared handle and foot. h. 10‑1/2”, l. 9”, w. 5‑1/4”; 34.50 t. oz. $900‑$1,200

915

334

916

916 detail

916 Gorham “Buttercup” Sterling Silver Flatware Set

917 American Sterling Silver Punch Set

the pattern introduced in 1899, Providence, Rhode Island, retailed in part by Theresa Hausmann & Sons, New Orleans, Louisiana, including eight eight-piece place settings (five pieces lacking) and a three-piece carving set, thirty-one pieces monogrammed “M”, presented in a mahogany-stained, Pacific cloth-lined fitted case with lift-top, 3‑1/4” x 15‑1/2” x 11‑1/4”. 62 pieces 58.21 total t. oz. (weighable silver)

fourth quarter 19th century, by Davis & Galt, Philadelphia, Pennsylvania, including a large hemispherical pedestal punchbowl, h. 11‑1/4”, dia. 15‑1/2”, w. 21”, and twelve funnel-shaped punch cups, h. 2‑1/2”, dia. 3‑1/8”, l. 4”, all with squared handles and decorated with elaborate engraved acanthus and florals scrolls centering a cartouche monogrammed “HCEE”, the interiors gilt. 173.77 total t. oz. $6,000‑$9,000

Detailed list of pieces available on request $1,000‑$1,500

917

335

918 Eben Farrington Comins (American, 1875‑1949) “Good Harbor Beach, Gloucester, Massachusetts”, 1917 oil on canvas laid on board signed with initials in a monogram “EFC” lower left, verso with “R. H. Love Galleries, Inc., Chicago, Illinois” label. Presented in a handsome exhibition frame. 19‑3/4” x 19‑3/4”, framed 30‑1/4” x 30‑1/4” Provenance: R. H. Love Galleries, Chicago, Illinois; Skinner, Inc., Boston, Massachusetts, September 26, 1997, lot 344; Christie’s, New York, New York, September 29, 2009, lot 157. Exhibited: (Possibly) Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, 112th Annual Exhibition, 1917 (as The Bridge to the Beach). (Possibly) New York, National Academy of Design, 1917 (as The Bridge to the Beach). $25,000‑$40,000 918

919 Guy Arthur Wiggins (American, b. 1920) “Heavy Weather on Fifth Avenue/New York City” oil on canvas signed lower right, titled and localized en verso. Framed. 24” x 20”, framed 32‑3/4” x 28‑3/4” Provenance: Litchfield Auctions, Litchfield, Connecticut, February 10, 1991, lot 31. $25,000‑$40,000 919

336

920

920 Johann Berthelsen (American, 1883‑1972) “Washington Square Park in Winter, New York” oil on board signed lower right. Framed. 13” x 20”, framed 20” x 27” Provenance: Clarke Auction Gallery, July 10, 2016, lot 24. $4,000‑$7,000

921 Clara Hoffmann (American, 1862‑1897)

921

“Fragrant Flowers”, 1895 oil on canvas signed and further inscribed lower right “Clara Hoffmann / July-1895 / Cincinnati. O.” Presented in a giltwood and gesso exhibition frame. 14‑1/2” x 22‑1/4”, framed 26‑5/8” x 34‑14” $6,000‑$9,000

337

923

922 922 Katherine Allmond Hulbert (American, 1859‑1939)

“Still Life of Lilacs and Narcissus” oil on canvas signed lower right “K. Allmond Hulbert”. Framed. 30‑1/4” x 25‑1/4”, framed 34” x 28‑1/2”

923 Herbert Ryman (American, 1910‑1989) “The Fire Escape” oil on canvas signed lower right. Framed. 16‑1/8” x 20‑1/8”, framed 25‑1/2” x 29‑1/4” $1,500‑$2,500

$1,000‑$1,500

924

925

924 Philip Kran Paval (American/California, 1899‑1971)

925 George Otto Muhlfield (American, 20th Century)

“Torry [sic] Pines, Carmel, California”

“Show Girls”

oil on canvas signed and titled en verso. Framed. 27‑1/2” x 31‑1/2”, framed 29‑1/2” x 35‑3/8”

oil on canvas signed lower right “G. O. Muhlfield”. Framed. 30” x 22”, framed 37‑1/4” x 32‑1/2”

$1,000‑$1,500

338

927 Samuel Brecher (American/New York, 1897‑1982) “Still Life Composition”, 1961 oil on canvas titled and dated on frame backing with “Educational Alliance, New York” label and stamp. Framed. 12” x 17‑1/8”, framed 20‑3/8” x 25‑3/4” $1,000‑$1,500

926

926 Ernest Fiene (German/American, 1894‑1965) “Still Life with Fruit and Bottle”, 1922 oil on canvas signed and dated lower left, verso with contour drawing, frame backing with “EGFA” label. Framed. 24” x 20”, framed 25‑3/4” x 21‑3/4” Provenance: Trinity International Auctions, June 18, 2011, lot 63. 927

$2,000‑$4,000

928 American School (Mid-20th Century) "Market Day" oil on masonite signed and dated lower right "F. Woolfson '44", signed and further inscribed en verso. Presented in a period carved frame. 12" x 15-3/4", framed 17-1/8" x 21-1/8" $1,000‑$1,500

928

339

929 Lewis Wickes Hine (American, 1874‑1940) “Orval Riggins, Near Elizabethtown, Kentucky” “Noon Hour at the Brown Shoe Factory, Moberly, Missouri” “Group of Workers in the Peerless Box Company, Washington, Missouri” group of three silver gelatin prints all matted. 4” x 5”, 4‑3/4” x 6‑1/2”, and 4‑1/4” x 5‑5/8”, respectively $1,200‑$1,800

929 one of three

929 two of three

340

929 three of three

For nearly a decade, the photographer Lewis Wickes Hine worked for the National Child Labor committee, a social reform organization which had been established in 1904 with the goal of bringing national exposure to the plight of children in full time employment in America’s factories and mills. Hine’s stark black and white photos revealed the plight of these children – often as young as four or five – and included inscriptions of the personal information he was able to gather from his subjects; names, ages, level of schooling, family situation, etc. These photos made the general American population aware, often for the first time, of the truly dire nature of the lives of child mill and factory workers, and were implicitly responsible for the resulting child labor laws.

930 Lewis Wickes Hine (American, 1874‑1940) “Kibbe’s Candy Factory, Springfield, Massachusetts” “Cherokee Hosiery Mill, Rome, Georgia” two gelatin silver prints former matted, glazed and framed, latter matted. 3‑3/4” x 4‑1/4” and 4‑1/4” x 5”, respectively $1,000‑$1,500

930 one of two

931 Lewis Wickes Hine (American, 1874‑1940) “Miss Mackay’s Pageant Children, New York, New York” “12‑Year-Old Girl, Consolidated Duck Mills, LaGrange, Georgia” “Exhibit Panel - Girl at the Box Factory” group of three gelatin silver prints all matted. 7” x 5”, 4‑3/4” x 3‑7/8”, 7” x 5”. respectively $1,200‑$1,800

930 two of two

931 one of three

931 two of three

931 three of three

341

932 Walker Evans (American, 1903‑1975) “Battlefield Monument, Vicksburg, Mississippi” gelatin silver print Matted, glazed and framed. 10” x 8”, framed 20‑1/4” x 16‑1/4” $3,000‑$5,000

932

933

933 Russell Lee (American, 1903‑1986) “Spanish American Plastering Adobe House” gelatin silver print with two “Farm Security Administration (FSA)/Washington, D.C.” stamps en verso. Matted. 8‑1/4” x 10” $1,000‑$1,500

934

934 Russell Lee (American, 1903‑1986) “Clothing Store, Merigold, Mississippi”, 1939 gelatin silver print signed and with two “Farm Security Administration (FSA)/ Washington, D.C.” stamps en verso. Matted. 8‑1/8” x 10” $1,000‑$1,500

342

936 one of three

935

935 Russell Lee (American, 1903‑1986) “Sign on Side of Shoe Shine Parlor, San Antonio, Texas”, 1939 gelatin silver print Matted. 10‑1/8” x 8‑1/4”

936 two of three

$1,000‑$1,500

936 Lewis Wickes Hine (American, 1874‑1940) “Young Boys Working in the Naomi Mill, Randleman, North Carolina” “Mill Boy’s Recreation, Fries, Virginia” “Tolar, Hart and Holt Mills, Fayetteville, North Carolina” group of three gelatin silver prints all matted. 4‑1/4” x 5”, 5” x 7”, and 4‑1/2” x 6‑3/4”, respectively $1,000‑$1,500 936 three of three

343

937 two of three

937 one of three

937 Lewis Wickes Hine (American, 1874‑1940) “Little Rosie” “Robert Paul, 10‑Year-Old Newsy, Jacksonville, Florida” “Skeenah School, Macon County, North Carolina”

937 three of three

group of three gelatin silver prints all matted. 5‑1/4” x 7”, 4‑3/4” x 3”, and 4‑3/4” x 7”, respectively $1,000‑$1,500

938 Marion Post Wolcott (American, 1910‑1990) “One of the Mulattoes Who Works on the John Henry Plantation, Melrose, Natchitoches Parish, Louisiana” gelatin silver print with two “Farm Security Administration (FSA)/ Washington, D.C.” stamps en verso. Matted. 10‑1/8” x 8‑1/8” $1,500‑$2,500

938

344

939 Dorothea Lange (American, 1895‑1965) “A Resident of Tennessee” gelatin silver print with a “National Service of the Council Against Intolerance in America” stamp en verso numbering print “280/T”. Matted. 10” x 8‑1/4” $2,000‑$4,000 939

940 Dorothea Lange (American, 1895‑1965) “Untitled - Two Men on a Porch” gelatin silver print now mounted on board. Matted. image 7‑1/2” x 9‑1/2”, board 7‑1/2” x 9‑7/8” $3,000‑$5,000 940

345

941 Doris Ulmann (American, 1882‑1934) “Untitled - Two Men with Tools” “Untitled - Two Boys with Squash” two gelatin silver prints each partially laid down, both likely from the Appalachian series. Matted. former 8” x 6”, latter 8‑1/8” x 6‑1/8”

941 one of two

$1,000‑$1,500

346

941 two of two

942 Doris Ulmann (American, 1882‑1934) “Untitled - Couple with Basket on Porch” “Untitled - Women Gathering Apples” 942 one of two

two platinum prints both partially laid down, probably from the Appalachian series . Matted. former 8‑1/8” x 5‑7/8”, latter 8‑1/4” x 6‑1/4” $1,000‑$1,500

942 two of two

347

943

943 Turkish Oushak Carpet

946 Isfahan Carpet

10’ 3” x 14’ 2”

8’ 8” x 13’ 1”

$1,200‑$1,800 944 Laristan Sultanabad Runner

$2,500‑$4,000 947 Turkish Angora Oushak Carpet

2’ 8” x 18’ 2”

9’ 1” x 11’ 8”

$700‑$1,000

$900‑$1,200

945 Turkish Angora Oushak Carpet

948 Tabriz Carpet

12’ x 15’

6’ 8” x 9’ 7”

$1,500‑$2,500

$700‑$1,000

944

348

945

947

946

948

349

949 Turkish Angora Oushak Carpet 12’ x 14’ 10” $1,500‑$2,500 950 Isfahan Carpet 3’ 8” x 6’ 8” $1,000‑$1,500 951 Heriz Carpet 6’ 8” x 9’ 11” $1,500‑$2,500

949

950

350

951

954

952

952 Turkish Angora Oushak Carpet 9’ 2” x 11’ 8” $900‑$1,200 953 Heriz Carpet 9’ 7” x 12’ 2” $3,000‑$5,000 954 Turkish Angora Oushak Carpet 9’ x 11’ 8” $900‑$1,200

953

351

955

956

955 Turkish Angora Oushak Carpet 11’ 9” x 14’ 3” $1,500‑$2,500 956 Khorassan Carpet 10’ 6” x 15’ 10” $2,500‑$4,000 957 Tabriz Carpet 4’ x 5’ 4”’ $900‑$1,200

957

352

958 Antique Romanian Carpet 21’ 8” x 11’ This carpet is believed to have been included in the items sold at Christie’s from the Hitt Collection to benefit Bakersfield Museum of Art. $4,000‑$7,000

958

353

960 Rosenthal “Maria White” Partial Dinner Service German, the pattern introduced in 1916, the service decorated with molded flowers on faceted edges, including twelve dinner plates, dia. 11”, twelve luncheon plates, dia. 9‑3/4”, twelve soup plates, dia. 9‑1/4”, six crescent-form salad dishes, w. 7”, d. 3‑1/4”, twelve salad plates, dia. 8”, a covered soup tureen, h. 7‑1/2”, w. 11‑1/2”, d. 10”, four oblong serving dishes, w. 14” to 18‑3/4”, d. 6‑1/2” to 10‑1/2”, two graduated chop plates, dia. 6‑1/4”, twelve demitasse cups, h. 2‑1/2”, with twelve saucers, dia. 4‑3/4”, four salt and pepper shakers, h. 2”, twelve butter plates, dia. 3‑1/2” twelve teacups, h. 2‑1/2”, with twelve saucers, dia. 6‑1/4”, a cheeseboard, w. 8‑3/4”, d. 6”, and an ashtray, w. 7”, d. 5”. $700‑$1,000 961 Austrian Art Deco Dining Table third quarter 19th century, the aluminum-banded, ebonized and burlwood table with a projecting fold-over top raised on a pedestal with a central burled panel, edged by metal bands and with ebonized ends, on a platform base in like decor, the pedestal finished on all sides. h. 30”, w. 52”, l. 26‑1/4”, extended l. 52‑1/2”

959

$900‑$1,200 959 After Ganu Gantcheff (Hungarian/Paris, 20th Century) “L’Archer”, ca. 1930 patinated bronze cast signature at edge of self-base, on a rectangular marble plinth. h. 16”, w. 14‑3/4”, d. 7‑1/2” $1,000‑$1,500

961

354

960

964

962

962 Regency-Style Parcel-Gilt and Paint-Decorated Convex Mirror mid-20th century, English, with a painted black and white Greek fret border, between two giltwood moldings and a reeded and ebonized liner. dia. 37‑1/4” $1,200‑$1,800 963 Pair of Empire-Style Argente Bronze and GraniteTop Occasional Tables

963

each with a circular charcoal granite top supported by fluted flat square legs headed by a Greek-key-style capital with pendant ring and ending in hoof-on-ball feet. h. 29‑1/2”, dia. 25‑1/2” $2,500‑$4,000 964 French Silver-Gilt-Metal Chandelier second quarter 20th century, the three-light chandelier with a sunburst canopy and a pierced and scrolled, leaf-molded standard, the base mounted with a ring finial supporting hippocampus-molded arms, with antique faceted and frosted glass shades. h. 21‑1/2”, dia. 27‑1/2” $700‑$1,000 965 Regency-Style Silver-Leaf and Mirrored Gueridon designed by Lillian August, the circular eglomise top and center shelf mounted to in-curved legs joined by a triangular stretcher and ending in paw feet. h. 30”, dia. 36‑1/2” $1,500‑$2,500

965

355

966 Mid-Century-Style Chrome, Glass and Brass-Mounted Etagere the chrome frame with brass corners and collars, brass finials, and five glass shelves, the top and bottom ends with X-form stretchers. h. 72”, w. 30”, d. 12” $700‑$1,000

967 Interesting Patinated Bronze, Polished Brass and Glass Cocktail Table the circular plate-glass top mounted to three bronze whippets seated on a triangular brass platform and on a raised ebonized base. h. 22”, dia. 24” $600‑$900 967

968

968 Unusual Pair of Bronze, Crystal and Marble Candelabra second quarter 20th century, Swedish or Russian, the three-light candelabra on mauve veined marble bases, the open fret-molded standards supporting arms hung with drops, electrified and mounted with shades. h. 27‑1/4”, w. 13”, d. 14” $1,000‑$1,500

966

356

971 Loet Vanderveen (Dutch, 1921‑2015) “Roaring Lion” patinated and polished bronze incised signature, copyright-marked and numbered “31/500” on belly. h. 20‑3/4”, w. 22‑3/4”, d. 6‑1/2” Provenance: Purchased from the artist; private Midwestern collection. $1,000‑$1,500

969

969 Loet Vanderveen (Dutch, 1921‑2015) “African Elephant” patinated and polished bronze incised signature, copyright-marked and numbered “83/500” on belly. h. 10‑1/4”, w. 11‑1/2”, d. 10‑1/4” Provenance: Purchased from the artist; private Midwestern collection. $700‑$1,000 971

970 Loet Vanderveen (Dutch, 1921‑2015) “Kudu” patinated and polished bronze incised signature, copyright-marked and numbered “17/750” on belly. h. 11‑1/4”, w. 14‑1/4”, d. 9‑1/2” Provenance: Purchased from the artist; private Midwestern collection. $700‑$1,000

970

357

972 Loet Vanderveen (Dutch, 1921‑2015) “Lion” patinated and polished bronze incised signature, copyright-marked and numbered “102/750” on belly. h. 5‑5/8”, w. 9‑1/4”, d. 6‑1/2” Provenance: Purchased from the artist; private Midwestern collection. $600‑$900

972

974 Loet Vanderveen (Dutch, 1921‑2015) “Bull” patinated and polished bronze incised signature, copyright-marked, and numbered “85/500” on belly. h. 7‑1/2”, w. 7‑1/4”, d. 5” $600‑$900

973

973 Loet Vanderveen (Dutch, 1921‑2015) “Cheetah” patinated and polished bronze incised signature, copyright-marked and numbered “221/750” on belly. h. 7‑1/2”, w. 12‑1/2”, d. 6‑1/2” Provenance: Purchased from the artist; private Midwestern collection. $600‑$900

974

358

975 Loet Vanderveen (Dutch, 1921‑2015) “Fighting Stallions” patinated and polished bronze incised signature, copyright-marked and numbered “13/1750” on underside of belly. h. 11”, w. 13‑1/4”, d. 3‑1/2” Provenance: Purchased from the artist; private Midwestern collection. $700‑$1,000

976 William Zorach (Lithuanian/American, 1887‑1966)

975

“Sculptural Sketch of a Woman”, ca. 1939 patinated bronze cast signature and numbered “1/6” along proper right edge of self-base, an old partial gallery label at bottom. h. 7”, w. 3”, d. 2” $5,000‑$8,000 The Lithuanian born and Ohio raised Zorach was one of the first proponents of the American Modernist movement. He attended the Cleveland School of Art and the National Academy of Design in New York before enrolling in 1910 at the post-impressionist avant-garde Academie de la Palette in Paris. While at la Palette, Zorach met the fauvist artist Marguerite Thompson; the two would eventually marry and collaborate on numerous projects. Captivated by the thriving art community and by his fellow students and artists, Zorach began to experiment with various stylistic approaches to his work. His earliest works were colorful, vibrant landscapes with broad brushstrokes and in the bright palette most associated with the fauvists. He soon began to create paintings in a Cubist style and this led to his first experimentation with sculpture. These resulting figures are frequently explorations of the abstracted human form, as is evidenced by the example offered here. Eventually, Zorach would abandon painting - with the exception of watercolors - in favor of the more time-consuming and labor intensive discipline of sculpture. As he once commented on the distinction between the two media in terms of the difference in the creative approach; “There are things one does for the pure love of form and color, in the easy abandonment to the moods and the fancies of the moment.then there are the visions imprisoned in the rock and the visions deep in one’s soul this is my sculpture” Zorach exhibited widely during his lifetime and had two works included in the influential and now legendary 1913 Armory Show in New York.

976

359

977 Pair of Rock Crystal and Giltwood Lamp Standards 20th century, probably French, on octagonal covemolded giltwood bases, the standards comprised of graduated rock crystal spheres and faceted, octagonal rock crystal “jewels”. overall h. 24‑3/4”, dia. 7‑1/4” $1,800‑$2,500

978

977

978 Yuri Krasny (Russian, 1925‑2005) “Seated Figure”, 1983 polished bronze with cold-painted facial features inscribed “YK 4” along proper left flank, on an integral black base. overall h. 19‑3/4”, w. 9‑7/8”, d. 15‑3/4” $2,000‑$4,000 979 Yuri Krasny (Russian, 1925‑2005) “Seated Nude” polished bronze with cold-painted facial features inscribed “YK 4” along proper left flank, on an integral black base. overall h. 19‑3/4”, w. 9‑3/4”, d. 20‑3/4” $2,000‑$4,000 979

360

980

981

981 Small Giltwood Sunburst Mirror 20th century, probably Latin American, of French inspiration, mounted with a convex mirror plate. dia. 19‑1/4”

980 Faux Stack of Books on Stand

$600‑$900

creating a storage table with a lift-top, leather-covered with stamped gilt, on a cane-wrapped bamboo base. h. 21‑1/2”, w. 23”, d. 15”

982 Pair of Mid-Century Modern Parson’s Chairs and an Ottoman

$600‑$900

the armchairs with a padded seat and back and raised on square upholstered legs, h. 32”, and the ottoman in an inverted “U” form, h. 18”, w. 24”, d. 21”, all covered in Fortuny fabric. $800‑$1,200

982

361

983 Vintage Suite of Six Svend Age Eriksen, Denmark, Teak Dining Chairs mid-20th century, model GM11, covered in vintage fabric, each with a shadow of the original Glostrup Mobelfabrik stickers. h. 30‑1/2” $700‑$1,000 984 Giltwood Sunburst Mirror 20th century, made by Baker furniture after a ParishHadley design, mounted with a convex mirror plate, with crisply detailed “rays” forming the surround. dia. 45‑3/4” $700‑$1,000

985

985 Vintage Hans Olsen, Denmark, Five-Piece Teak Dining Set mid-20th century, comprising a circular table, h. 29”, dia. 41‑1/2”, fitted with four tripodal chairs upholstered in black faux leather, h. 28”, all with impressed: “Frem Rojle/Made in Denmark”. $700‑$1,000

984

983

362

987 Pair of Rock Crystal Table Lamps 20th century, French, in the Art Deco taste, on circular bases, the bullet-form standards decorated with smoky and black stone recesses. h. 34”, dia. 7” $2,000‑$4,000

986

986 Vintage Hans J. Wegner, Denmark, Teak “Papa Bear” Chair mid-20th century, for A. P. Stolen, with twelve button tufted back and loose seat cushion, the arms ending in teak hand rests, raised on conical legs, the frame retaining the shadow of the original circular “FURNITUREMAKERS/DANISH/CONTROL” label. h. 39”

987

$2,500‑$4,000

988 Guan Yi (Chinese, Contemporary) “Enlightenment” acrylic color on paperboard unsigned. Unframed. 39‑1/2” x 62‑1/2” $2,000‑$4,000

988

363

989

989 Vintage Suite of Six Niels O. Moller, Denmark, Teak Dining Chairs mid-20th century, model 77, with teal woven cord seats, two frames retaining a circular metal label: “J. L. Moller Made in Denmark”, all with recessed circular areas formerly metal-labeled. h. 30” $700‑$1,000

990 Vintage Hans Wegner, Denmark, G-240 Oak “Cigar Sofa” mid-20th century, the seat frame retaining much of the Getama branded label underneath, the seat with metal spring supports and spring cushions. h. 28”, w. 68‑3/4”

991

$900‑$1,200

991 Pair of Signed Sergio Costantini Murano Vases fourth quarter 20th century, Venice, the mauve vases subtly decorated with gold flecked glass threading, each signed “Costantini Murano” on the bottom of the gold flecked base. h. 15‑1/2”, dia. 11” $800‑$1,200

990

364

993

992

992 Pair of Guilloche, Enamel and Brass Table Lamps first quarter 20th century, French, with molded and pierced brass trim, the covered urn-form bases with interior molding of sprays of leaves on a stippled ground. h. 20‑1/2”, dia. 5‑1/2” $600‑$900 993 Vintage Charles and Ray Eames Lounge Chair and Ottoman 1970s, for Herman Miller, models 670 and 671, constructed of walnut, black leather and enameled aluminum, both pieces bearing the black Herman Miller and white paper patent labels. chair h. 32”, w. 32‑3/4”, d. 32‑3/4”, ottoman h. 17‑1/4”, w. 21‑1/2” d. 25‑1/4” Provenance: Estate of Henry F. LeMieux, Houston, Texas. $1,400‑$1,800 994 Anthony Quinn (American, 1915‑2001) “Hands Over Head”, 1988 polished bronze cast signature, dated, numbered “5/8”, and with an “Empire Bronze Art” foundry mark along back edge, on a black stone square base sculpture h. 24”, overall h. 27”, w. 14”, d. 14” $5,000‑$8,000 994

365

995 Pair of Art Deco-Inspired Black Leather Lounge Chairs second half 20th century, with flared backs and outcurved arms, raised on rock maple splayed legs. h. 34” $700‑$1,000

996 Jacques and Mary Regat (American, 20th Century) “Rushing Waters”, 1987 patinated bronze inscribed “Regat”, with Studio Regat cypher, dated, numbered “15/25”, and copyright marked along lower figure’s belly, on a green marble plinth. h. 30‑1/2”, w. 19”, d. 7” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $1,500‑$2,500

996

995

366

997 Dale Chihuly (American, b. 1941) “Imperial Iris Persian Pair” glass Portland Press, Seattle, Washington, 1999, both elements with chartreuse lip wrap, the smaller element signed “Chihuly PP99”, presented in the original acrylic display box. larger element: h. 8”, dia. 13‑1/2” x 11‑1/2”, smaller: h. 4‑1/2”, dia. 1‑3/4”, box: h. 13‑3/4”, w. 12”, d. 12” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $3,500‑$5,000

997

367

999 Suite of Three Mid-Century Modern Blonde Mahogany and Chrome Low Tables each with a circular plate-glass top and turned tapering legs joined by circular chrome stretchers, consisting of a coffee table, h. 18‑1/2”, dia. 32”, and two side tables, h. 21”, dia. 26”. $1,000‑$1,500

1000 Contemporary Stainless Steel and Leather-Covered Executive Desk

998

attributed to the Pace Collection, New York, the top segmented into four sections, covered in leather and separated by stainless steel partitions, the underside fitted with two drawers. h. 30‑1/2”, w. 71”, d. 27‑1/2”

998 Pair of Quartz Crystal Table Lamps formed of various colored crystal clusters, mounted on lucite bases. h. 16”, w. 8”, d. 8”

$1,500‑$2,500

$900‑$1,200

999

1000

368

1001 Frederick Elliott Hart (American, 1943‑1999) “Contemplation”, 1985 acrylic resin sculpture initialed, dated, copyright-marked, numbered “213/300”, and inscribed “B.C.” along bottom edge. h. 17‑1/2”, w. 15‑1/2”, d. 7‑1/4” $1,200‑$1,800 1002 Frederick Elliott Hart (American, 1943‑1999) “Eve”, 1991

1001

acrylic resin sculpture signed along bottom edge, signed, dated, copyrightmarked, numbered “10/350” and inscribed “SGL” and “CAT” along back edge. h. 17‑1/4”, w. 14‑1/2”, d. 7‑1/2” $1,200‑$1,800 1003 Baccarat Crystal Partial Stemware and Barware Service ca. 1928‑1986, French, in the “Haut Brion” pattern, including twelve water goblets, h. 7”, dia. 3”, twelve champagne flutes, h. 7‑5/8”, dia. 2”, thirteen high ball glasses, h. 5‑1/2”, dia. 2‑3/4”, and twelve double oldfashioned glasses, h. 4”, dia. 3‑1/4”. $1,200‑$1,800 1004 Molded and Etched Crystal Bowl

1002

first quarter 20th century, possibly American, of hexagonal form, raised on a conforming base, the bowl engraved with leaves and trimmed with a gilded edge. h. 8‑1/4”, dia. 10” $600‑$900

1003

1004

369

1005 Enzo Plazzotta (Italian/British, 1921‑1981) “Downfall” patinated bronze variant of the artist’s “Icarus” sculpture, stamped, numbered “9/12”, and with a “Luigi Tommaso” foundry mark on self-base, on a square black base. overall h. 24‑1/2”, w. 17‑1/2”, d. 12‑1/2” $2,000‑$4,000 1006 Lena Cronqvist (Swedish, b. 1938) “Nude”, 2000 enameled bronze bust incised signature, marked “AP”, numbered “1/1” and with “Empire” foundry stamp on bottom. h. 7‑1/2”, w. 6”, d. 6” $3,000‑$5,000 1007 Unusual Hardstone Circular Table Top with a brilliant azure blue ground, flecked with tan, cobalt and light blue veins. dia. 31‑1/2” $900‑$1,200

1005

1006

370

1007

1008

1008 Victor Khromin (Russian/American, 1948‑2015) “Triptych 4, Adam and Eve”, 2014‑2016 heat pressured medium, metallic paint on canvas signed lower center “Victor + Katya Khromin”. Framed. 52‑1/2” x 74”, framed 53” x 75” $10,000‑$15,000 Reminiscent of Romanesque bas-relief, Victor Khromin’s unique paintings are executed in oils and acrylics on a layered “sculpted” canvas, incorporating found objects. As with most artists who are influenced by a sincere and strong sense of place, Victor’s paintings are roadmaps to his memories of a childhood spent in a somewhat insular Finnish village, near Leningrad. His mother belonged to a small ethnic group of Ingrian Finns within the Soviet Union, in a region once part of Sweden.

Khromin’s early years were spent cocooned in a small world of Finnish-speaking people, with strange and extraordinary architecture, colorful myths, and even Ingrian graffiti in the subways - the very subways which connected the vibrant “outsider” communities to the vast, monotone Soviet Union. All of this nurtured the young artist’s burgeoning imagination and curiosity and cultivated his enigmatic artistic vision, which is adeptly expressed on his large canvasses. Khromin’s art is populated with stylized figures, shapes reminiscent of farm life, bicycles and found objects, all common to his childhood home. The found objects are carefully chosen for their specific shape, blending seamlessly with the acrylics and oils: the ordinary transformed into the imaginative. Victor Khromin’s paintings invite the viewer to lose oneself in the dynamic, complex world conceived on the canvas, to inquire about the stories depicted and, hopefully, foment a desire to delve deeply into the work for understanding. He also often collaborated with his wife, Ekaterina, a fellow artist. Ekaterina, a prolific painter, graphics artist and illustrator, before coming to the United States, was a professor at St. Petersburg Academy of Fine Arts. She was awarded a gold medal for the poster design of the 1990 Venice Biennale.

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1009 Victor Laks (French, 1924‑2011) “Untitled Abstract”, 1961 oil on canvas signed lower right, signed, dated and localized “Paris” en verso. Framed. 24” x 47”, framed 24‑3/4” x 47‑3/4” $1,200‑$1,800

1009

1010 Elizabeth Chandler (American, Contemporary) “Pentimento 2” mixed media on panel signed and titled en verso. Framed. 68” x 48”, framed 75‑5/8” x 55‑3/4” $3,000‑$5,000

1010

372

1011

1011 Marta Colvin (Chilean, 1907‑1995) “Sans Titre” patinated bronze articulated sculpture incised signature at back, on a black square presentation base. overall h. 16‑1/8”, w. 9”, d. 4‑1/4” Provenance: Descended in the family of the artist. $5,000‑$8,000

Born in Chile of Irish and Portuguese parentage, Colvin attended the Art School of the Universidad de Chile in Santiago. She worked with sculptors Lorenzo Dominguez (1901‑1963) and Julio Vasquez Cortes before receiving a scholarship to study in France at L’Academie de la Grande Chaumiere in Paris with Ossip Zadkine (1890‑1967) and Henri Laurens (1885‑1954). In 1952 she attended the Slade School of Fine Art in London where she met Henry Moore (1898‑1986), who encouraged her to look to the beauty of Chile and its rich heritage. Inspired by the terrain of her native country, Colvin moved away from a realist approach and soon began to create works whose elements were distilled to their organic forms. These often large-scaled sculptures in wood, stone and metal are multi-layered and richly textured. As seen with the smaller scale sculpture offered here, her work frequently incorporates deeply incised, moveable elements. Colvin’s first solo exhibition was in 1954 in Paris. She was the recipient of numerous prestigious awards including the 1965 Grand Prix of Sao Paulo Biennale and the Chilean National Art Prize in 1970. References: Jianou, Ionel La Sculpture Moderne en France depuis 1950. Arted Editions d’Art: Paris, 1982.; “The Centenary of Marta Colvin”. El Mercurio. February 3, 2007. www.emol.com.

373

374

1012

1012 Marc Chagall (Russian/French, 1887‑1985) “Le Peintre et le Chevre”, ca. 1982 tempera and pencil on masonite stamped with signature “Marc Chagall” lower right, signed “Chagall” on the reverse. Handsomely framed and glazed. 10‑5/8” x 8‑5/8”, framed 19” x 17” Provenance: Estate of the artist; Christie’s, New York, May 7, 2008, lot 397. Literature: The Comite Marc Chagall confirmed the authenticity of this painting in 2008 through Christie’s. $150,000‑$250,000

375

1013 Marc Chagall (Russian/French, 1887‑1985) "Artist Phoenix (M. 648)" lithograph in colors signed in pencil lower right, numbered lower left “32/50”. Float-mounted, glazed and framed. 29‑3/8” x 21‑3/4”, framed 40‑5/8” x 33” $5,000‑$8,000

1014 Charles Levier (French, 1920‑2003) “La Chambre de Bonne”, 1964 oil on canvas signed upper right, signed, dated and titled en verso canvas. Handsomely framed. 42” x 72”, framed 55” x 87” Provenance: Cornelis L. J. Damme, Los Angeles, 1965; The Flatt Collection. $3,000‑$5,000 1013

1014

376

1015

1015 Paul Augustin Aizpiri (French/Japan, 1919‑2016) “Fleurs Fond Rose” oil on canvas signed lower left “Aizpiri”, verso with “Galerie Felix Vercel, Inc., New York, New York” label. Galerie Tamenaga, Tokyo/Paris/Osaka confirmed the authenticity of this painting in 2008 through Christie’s. 25‑1/2” x 21‑1/4”, framed 35‑1/2” x 31” Provenance: Galerie Felix Vercel, New York; Henry Fox, New York, 1980‑2008; Christie’s, New York, September 10, 2008, lot 24. $25,000‑$40,000

377

1016 Hans Hofmann (German/American, 1880‑1966) “Still Life with Fruit” casein on wood panel signed lower right. Framed. 12” x 9‑1/4” Provenance: Masterworks Fine Art, Kensington, California. $8,000‑$12,000

1016

1017 Michel Rodde (French, 1913‑2009) “Hommage a Paris” oil on canvas signed and titled en verso, with remnants of a David Findlay Galleries label on frame backing. Framed. 45‑3/4” x 45‑3/4”, framed 51” x 51” $3,000‑$5,000

1017

378

1018

1018 Minas Avetisyan (Armenian, 1928‑1975) “Village Scene” oil on panel signed and dated lower right, verso with an incised inscription. Framed. 23‑1/2” x 18”, framed 28” x 23” $8,000‑$12,000

379

1019 Clyde Connell (American/Louisiana, 1901‑1998) “Hearth Place”, 1981 mixed media on wooden frame signed and dated on bottom. h. 80”, w. 13‑7/8”, d. 13‑7/8” Provenance: Arnold Herstand Gallery, New York, New York. $6,000‑$9,000

1019

380

1020 Allison Stewart (American/Louisiana, b. 1941) “Grotto”, 1990 mixed media on Arches paper signed lower right “Stewart”, verso with “Arthur Roger Gallery, New Orleans, Louisiana” label. Float-mounted, glazed and framed. 29‑1/4” x 22‑1/4”, framed 34” x 27” $1,000‑$1,500

1020

1021 Allison Stewart (American/Louisiana, b. 1941) “Rim Trail Moment 10”, 2001 acrylic and mixed media on handmade paper signed lower right. Float-mounted and presented in a contemporary blonde wood frame. 30” x 22”, framed 35‑1/2” x 27‑1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,500‑$2,500

1021

381

1022 Lin Emery (American/Louisiana, b. 1928) “Tree Dance” polished and painted aluminum kinetic sculpture small-scale variant of the twenty-one-foot monumental sculpture on the grounds of Hofstra University, Hempstead, New York, presented on a marble-clad square base. h. 57”, overall h. 75”, orbit dia. 42” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection. $30,000‑$50,000

“Sculpture is living, it’s vital, it’s changeable. Even when you walk around it, it can be something different. Drawing is a reflection and coordinating eye and hand, but sculpture is your mind and an idea.” --Lin Emery

An internationally renowned artist, Lin Emery’s kinetic sculptures have an elegance of movement which masks an intricate and precise working. The components slowly sway and undulate, pushing and pulling each other in a seemingly endless dance, incorporating the very air around them. Using highly polished aluminum, a material she says is readily available in the port city of New Orleans, Emery creates abstracted forms reminiscent of the natural elements which inspired them. As the artist once admitted, “I love the natural movement of the trees on the levees, the river, and anything in nature.” Emery spent her youth traveling between New York and Florida, before enrolling in Columbia University at the precocious age of 16. She traveled from university to university before arriving at the Sorbonne in Paris. While in Paris, she became interested in the work of Russian sculptor Ossip Zadkine (1890‑1967) whose studio was near her lodgings. Zadkine accepted her as a student, intrigued by the artistic potential of the curious and creative young woman. Emery eventually returned to New York to study welding at the New York Sculpture Center, one of the few schools to accept women into such a program.

382

Upon completion of her studies, she settled in New Orleans where she turned a portion of her French Quarter apartment into a studio. While her first sculptures were figural, Emery soon found herself more intrigued by the internal structural armatures than the finished work. She began to experiment with abstract welded sculptures, eventually incorporating natural elements water, magnets, air - into her works to create motion. “Tree Dance” exemplifies Emery’s kinetic sculpture. This lot, a variant of the 1990 commission for Hofstra University (made possible by the generous gift of Florence and Robert Kauffman,) is wind activated. With its geometric-shaped red and chrome graduated leaves and winding trunk, it scintillates at the slightest breeze, creating a veritable kaleidoscope of colors and forms. Emery is the recipient of numerous prestigious national and international awards, most significantly the Laszlo Aranyi Award of Honor for Public Art, a National Endowment for the Arts Grant, a Louisiana Women of Achievement Award, the Osawa, Japan Grand Prix for Public Sculpture, and an Opus Award from the Ogden Museum of Southern Art. She has exhibited widely including: the National Academy of Design, New York, New York; the Contemporary Arts Center, New Orleans, Louisiana; Arthur Roger Gallery, New Orleans, Louisiana; Kouros Gallery, New York, New York; and the Academy of Fine Art, Philadelphia, Pennsylvania.

383

1023 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Cluster 85‑2”, 1985 mixed media on canvas signed and dated lower right “Kohlmeyer 1985”, verso with a hand-inscribed artist label. Presented in a thin gallery frame. 38‑3/4” x 37‑3/4”, framed 39‑5/8” x 38‑3/4” $14,000‑$18,000 1024 James Michalopoulos (American/Louisiana, b. 1951) “Untitled”, 1993 oil on canvas signed lower right, signed and dated en verso. Framed. 28” x 22”, framed 31‑3/4” x 25‑3/4” $3,000‑$5,000 1025 James Michalopoulos (American/Louisiana, b. 1951) “Perry’s Palace”, 1993 oil on canvas signed lower left, signed, dated and titled en verso. Framed. 28” x 22”, framed 32‑3/4” x 26‑3/4”

1023

$3,000‑$5,000

1024

384

1025

1026 Lisa Conrad (American/Louisiana, Contemporary) “Heron IV”, 2017 color photographic print signed, numbered “1/100” and dated en verso. Handsomely framed. 33‑1/2” x 33‑1/2”, framed 35” x 35” $2,500‑$4,000

1026

1027 Lisa Conrad (American/Louisiana, Contemporary) “Heron II”, 2017 color photographic print signed, numbered “1/100” and dated en verso. Handsomely framed. 33‑1/2” x 33‑1/2”, framed 35” x 35” $2,500‑$4,000

1027

385

1028

1028 detail

1028 Gorham “Versailles” Sterling Silver Flatware Set the pattern designed in 1888 by Florentin Antoine Heller (1839‑1904), Providence, Rhode Island, comprising four nine-piece place settings (one dinner fork lacking) and thirteen serving pieces, removed monograms, presented in a mahogany cream satinand red velvet-lined fitted case, 3‑3/4” x 16‑1/4” x 12”. 47 pieces 62.12 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,500‑$2,500 1029 Gorham “Versailles” Sterling Silver Flatware Set the pattern designed in 1888 by Florentin Antoine Heller (1839‑1904), Providence, Rhode Island, comprising a dozen eleven-piece place settings, with an additional six five-piece luncheon settings, two teaspoons and seven serving pieces, monogrammed “GWP”, presented in a mahogany, Pacific cloth-lined fitted case with lift-top, single drawer and brass handles, 7‑1/2” x 18‑3/4” x 12‑1/2”. 172 Pieces 217.32 total t. oz. Detailed list of pieces available on request. $5,000‑$8,000 1029

386

1030

1030 19th-Century Tiffany & Co. Empire-Style Sterling Silver Tea Set third quarter 19th century, by John Chandler Moore (1803‑1875) for Tiffany & Co., New York, New York, including a teapot, h. 9‑1/2”, dia. 4‑3/4”, a covered sugar urn, h. 8‑1/4”, dia. 4‑1/4”, and a cream jug, h. 8‑1/4”, dia. 3‑1/2”, each with an ovoid body decorated with narrow milled palmette banding and raised on three Bacchus masque-crested flatcolumn legs with lion’s paw feet, with domed lids, arched handles (the sugar urn with ringed lion’s masque handles), the teapot engraved with the arms opposing the crest of Fitzgerald. 64.07 total t. oz.

1031 detail

$2,500‑$4,000 1031 Tiffany & Co. “Richelieu” Sterling Silver Flatware Set the pattern designed in 1892 by Paulding Farnham (1859‑1927), New York, New York, including a dozen thirteen-piece place settings (three pieces lacking) with an additional fifteen place pieces and seventeen serving pieces, thirty-nine pieces with gilt bowls/tines, twenty-one pieces entirely gilt, no monograms, presented in a cherry-stained, fitted, Pacific cloth-lined wooden case with lifttop, two drawers and brass fittings, 1” x 20‑5/8” x 14‑1/2”. 185 pieces 244.28 total t. oz. (weighable silver) Detailed list of pieces available on request $8,000‑$12,000 1031

387

1032 Tiffany & Co. Sterling Silver Flower Bowl the pattern introduced in 1921, New York, New York, of circular form with deeply everted rim and molded “Chippendale” edge, monogrammed “RCL”. h. 2‑1/2”, dia. 12‑1/4”; 33.33 t. oz. $800‑$1,200

1032

1033 Thirteen Tiffany & Co. “English King” Sterling Silver Serving Pieces the pattern designed in 1885 by Charles T. Grosjean (1841‑1888), including four tablespoons, l. 8‑1/2”, monogrammed “MVBM”, a gilt-bowled two-piece salad serving set, l. 9‑3/4”, monogrammed “P”, and (without monograms) three serving forks, l. 8‑1/2”, a sauce ladle, l. 4‑1/4”, a tomato server, l. 7‑5/8”, an asparagus server, l. 9‑1/2”, and a Saratoga chip server, l. 9”. 46.94 total t. oz. $1,500‑$2,500

1033

1034 Two American Sterling Silver Oval Platters the larger by Tiffany & Co., New York, New York, introduced 1911, 14‑1/8” x 10‑1/8”, the smaller by Gorham, Providence, Rhode Island, 1929, 9‑3/4” x 7‑1/8”, each with molded and stepped rim, monogrammed “MZS” and “MMM”, respectively. 28.86 total t. oz. $600‑$900 1034

388

1035 Tiffany & Co. Sterling Silver Compote the pattern introduced in 1876, this example before 1891, New York, New York, circular with a milled scrolling blossom border and raised on a waisted and cavetto-domed pedestal base, the lower edge banded en suite. h. 4‑1/2”, dia. 9‑1/2”; 18.56 t. oz. $600‑$900 1036 Twenty Tiffany & Co. Sterling Silver Salt and Pepper Accessories second and third quarters 20th century, New York, New York, including a pair of Georgian-style cauldron salt cellars after Dorothy Langlands, dia. 2‑1/2”, and (all the following monogrammed “JHS”) a set of four cauldron salt cellars with shell-crested pad feet and shell-and-anthemion border, dia. 2‑1/2”, a set of six baluster-form serpentine-quartered pepperettes with beaded rims, monogrammed, h. 2‑1/2”, a pair of footed bowl-form salt cellars en suite with the last, dia. 1‑3/4”, and six “St. James” pattern salt spoons, l. 3‑1/2”, the cauldron salts fitted with plastic cobalt liners. 21.05 total t. oz.

1035

$1,000‑$1,500

1036

1037 Tiffany & Co. Sterling Silver Center Bowl the pattern introduced in 1924, New York, New York, circular with everted and molded “Chippendale” rim decorated with chased threaded cartouche with palmettes and acanthus, monogrammed “EB”. h. 2‑1/4”, dia. 10‑1/2”; 18.26 t. oz. $800‑$1,200

1037

389

1038 Eleven Tiffany & Co. Sterling Silver and Glass Finger Bowls mid-20th century, each with an openwork silver frame with embossed rococo flat balusters joined by scrolls and crested by shells, fitted with a conforming colorless glass liner (six liners lacking). h. 2‑1/2”, dia. 4‑3/4”; 30.76 total t. oz. (silver frames only) $1,000‑$1,500

1038

1040 Set of Twelve Tiffany & Co. Sterling Silver Cordials the pattern introduced in 1915, New York City, New York, each with a rounded conical bowl raised on a short baluster stem above a circular foot, one with presentation inscription. h. 4‑1/8”, dia. 2‑1/4”; 40.12 total t. oz.

1039

$800‑$1,200 1039 Two Tiffany & Co. Sterling Silver Presentation “Revere” Bowls third quarter 20th century, New York, New York, in the traditional style, one with presentation inscription to actress Verna Felton (1890‑1966), star of CBS comedy “December Bride”, from the show’s sponsor General Foods and dated 1954‑1959 (the duration of the series), the other gilt and inscribed “Charles H. Strub Stakes” above the arms of Santa Anita Park, Arcadia, California, a trophy for the annual Grade II, 9 furlong stakes race open for four-year-olds, originated as the Santa Anita Maturity in 1948 and renamed the Charles H. Strub Stakes in 1963 in honor of the park owner. h. 4‑1/4”, dia. 8‑1/4”; 39.30 total t. oz. $600‑$900

1040

1041 Set of Twelve Tiffany & Co. Sterling Silver Sorbet Dishes the pattern introduced in 1925, New York, New York, each with a rounded funnel-shaped bowl above a knopped stem and ogee-domed circular foot. h. 3‑1/4”, dia. 1/2”; 52.06 total t. oz. $1,000‑$1,500

1041

390

1042 detail

1042

1042 Tiffany & Co. “Castilian” Sterling Silver Flatware Set the pattern designed in 1927 by Arthur LeRoy Barney (1884‑1955), New York, New York, including a dozen thirteen-piece place settings (seven seafood/cocktail forks lacking) and fifteen serving pieces, removed monograms, presented in the original fitted, Pacific cloth-lined oak case with lift-top, single drawer, brass fittings and gilt-stamped Tiffany label, 10‑1/4” x 23‑3/4” x 14‑1/4”. 164 pieces 211.99 total t. oz. (weighable silver) Detailed list of pieces available on request. $7,000‑$10,000 1043 S. Kirk & Son Sterling Silver Charger dated 1904, Baltimore, Maryland, circular with shallow well, the rim decorated with realistically detailed repousse flowers in the traditional Baltimore taste, with shaped and applied rococo scroll edge, monogrammed “CHMcC”, the underside engraved “Mother, May 16, 1904”. h. 1‑3/4”, dia. 14”; 36.68 t. oz. $800‑$1,200

1043

391

1045 1044 detail 1044

1044 Kirk “Repousse” Sterling Silver Flatware Set the pattern introduced in 1828, Baltimore, Maryland, including eighteen eight-piece places settings (one teaspoon lacking), and ten serving pieces, no monograms, presented in a mahogany, blue baize-lined fitted case with lift-top and single drawer, 7‑1/2” x 16‑1/4” x 13‑3/4”. 153 pieces 227.93 total t. oz. (weighable silver) Detailed list of pieces available on request. 1046

$5,000‑$8,000

1045 S. Kirk & Son Sterling Silver Compote mid-20th century, Baltimore, Maryland, circular with wide everted rim decorated with repousse flowers in the traditional Baltimore taste, above a waisted conforming pedestal foot decorated en suite. h. 4‑3/4”, dia. 10”; 17.51 t. oz. $600‑$900

1046 Assembled Set of Kirk “Repousse” Sterling Silver Flatware the pattern introduced in 1828, Baltimore, Maryland, including a dozen eleven-piece place settings (one citrus spoon lacking), with an additional two dozen teaspoons and two dozen other place pieces and twenty-two serving pieces, most pieces monogrammed “W” or “B”; presented in two cherry and mahogany stained, fitted, Pacific clothlined cases with lift-top, 4‑1/4” x 15‑3/4” x 11‑1/2”. 201 pieces 216.91 total t. oz. (weighable silver) Detailed list of pieces available on request. $2,000‑$4,000

392

1047 Pair of S. Kirk & Sons Candelabra third quarter 20th century, Baltimore, Maryland, each with a baluster-form candlestand with urn-form nozzle and domed foot decorated with embossed floral banding, the nozzle fitted with a detachable superstructure with central baluster flanked by scrolling reeded arms, each terminating in a candle nozzle en suite. h. 7‑3/4”, w. 11‑1/2”, base dia. 4‑1/8”; weighted $600‑$900 1048 Pair of Reed & Barton “Francis I” Sterling Silver Oval Footed Vegetable Dishes

1047

the pattern introduced in 1907 by Reed & Barton, Taunton, Massachusetts, these 1953‑1955. h. 3”, w. 10”, l. 12‑3/4”; 44.44 total t. oz. $1,000‑$1,500 1049 Reed & Barton “Francis I” Sterling Silver Luncheon Set the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including eighteen five-piece luncheon place settings, with an additional eighteen teaspoons and two tablespoons, presented in a mahogany-stained, Pacific cloth-lined wooden case with lift-top, single drawer and brass handles, 7‑1/8” x 17‑1/8” x 11‑1/2”. 110 pieces 131.35 total t. oz. (weighable silver)

1048

Detailed list of pieces available on request. $3,000‑$5,000

1050 1049 detail

1049

1050 Reed & Barton “Francis I” Sterling Silver Dinner Set the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a dozen eightpiece dinner place settings, with an additional four serving pieces and table bell, presented in a mahogany-stained, Hagerty cloth-lined, fitted wooden case with lift-top and two drawers, 9‑1/4” x 17” x 11‑1/2”. 101 pieces 104.24 total t. oz. $3,000‑$5,000

393

1051

1053

1051 Agra Serapi Carpet

1055 Antique Tabriz Carpet

9’ 8” x 14’

11’ x 16’

$1,800‑$2,500

$1,500‑$2,500

1052 Kashmar Carpet

1056 Semi-Antique Sarouk Carpet

9’ 3” x 12’

8’ 11” x 11’ 7”

$1,200‑$1,800

1053 Turkish Angora Oushak Runner

1057 Heriz Carpet

2’ 7” x 19’ 9” $600‑$900 1054 Agra Bakshaish Carpet 8’ 10” x 12’ 1052

394

$2,000‑$4,000

8’ x 11’ 4” $1,200‑$1,800

1055

1054

1056

1057

395

1058

1059

1058 Bakhtiari Carpet 10’ 10” x 13’ 9” $1,500‑$2,500 1059 Turkish Angora Oushak Carpet 10’ x 13’ 10” $1,200‑$1,800 1060 Nain Carpet 8’ 8” x 13’ 2” $3,500‑$5,000

396

1060

1061

1063

1061 Persian Sultanabad Carpet 9’ 8” x 12’ 9” $1,400‑$1,800 1062 Silk Tabriz Carpet 3’ 4” x 5’ 3” $1,000‑$1,500 1063 Mahal Carpet 3’ 8” x 4’ 10” $700‑$1,000

1062

397

1064 Empire-Style Bronze and Frosted Glass Chandelier second quarter 20th century, French, the frosted glass pan terminating in a bronze artichoke finial, set with eight cornucopia-form molded candle arms, hung from the laurelmolded corona, decorated with a crest of pierced, molded anthemia. h. 32”, dia. 25” $600‑$900

1064

1065

1065 Empire Mahogany and Marble-Top Gueridon early 19th century, the circular marble top within a full pierced brass gallery, above a plain frieze joined to a lower marble shelf by splayed supports headed by eagle’s heads and ending in paw feet. h. 29”, dia. 25‑1/2” $1,200‑$1,800 1066 Pair of Beaux-Arts Granite and Bronze Mounted Obelisks second quarter 20th century, French, with gilt-bronze fittings and decorated with inset neoclassical bronze plaques, resting on ball feet. h. 33‑1/2”, w. 9” $2,000‑$4,000

1066

398

1067

1067 Well-Painted Portrait Plate of Napoleon fourth quarter 19th century, French, with a lattice border decorated with raised gilt, the back with a gilt square incised “Napoleon” and the blue crossed swords used by Christian Nonne, Volkstedt, Germany. dia. 10” $600‑$900 1068 Large Pair of Turned “Napoleon Tigre” Marble Pedestals ca. 1900, quarried from Ferques, Boulogne-sur-Mer, Pasde-Calais, France, named after the place where Napoleon camped and trained his troops for the invasion of Great Britain. h. 50”, dia. 16” $1,200‑$1,800

1069

1069 Bronze and Marble Armillary Sphere on Pedestal 20th century, Continental, the baluster-turned marble base carved with acanthus leaves and a border of ribbon-bound leaves, the bronze armillary sphere molded with signs of the zodiac. h. 59”, dia. 9” $3,500‑$5,000

1068

399

1070 Pair of Barbedienne Neo-Grec Bronze and Marble “Medici Urns” third quarter 19th century, French, each inscribed “F. Barbedienne” along front edge of self-base, after the 1st century CE Greek original excavated at the Villa Medici in Rome and now conserved at the Uffizi Gallery, Florence, the urns decorated with bas-relief classical figures and set with scrolled handles with incised decoration, on molded red griotte marble bases. h. 12‑1/2”, w. 5‑1/2”, d. 5‑1/2” $900‑$1,200 1071 Empire-Style Mahogany Vitrine early 20th century, of demi-lune form, the molded crest above an ormolu-applied frieze over a single glazed door and glazed sides, joined by columnar uprights to a lower shelf, raised on ormolu paw feet. h. 65‑1/2”, w. 27‑1/2”, d. 15‑1/4”

1070

$700‑$1,000

1072

1072 After Eugene Laurent (French, 1832‑1898) “Roman Senator and Warrior” patinated bronze cast signature along edge of self-base. h. 15‑1/4”, w. 9”, d. 4‑3/4” $700‑$1,000 1071

400

1073

1074

1075

1073 Continental Grand Tour Patinated Bronze of a Water Carrier ca. 1900, the classically draped figure balancing an urn on one shoulder. h. 27‑1/4”, w. 10”, d. 10” $600‑$900 1074 Continental Grand Tour Patinated Bronze of “Apollo” 20th century, after the original from Pompeii, now in the Museo Nazionale, Naples, Italy. h. 24”, w. 10‑1/2”, d. 9‑1/2” $600‑$900 1075 Empire-Style Mahogany Jardiniere 19th century, of circular form, the open top fitted with a conforming metal liner, the body paneled and with ormolu handles and mounts, raised on horse-form legs ending in ormolu hoof feet. h. 29”, dia. 23‑3/4” $2,500‑$4,000 1076 Louis-Philippe Giltwood Overmantel Mirror mid-19th century, with rounded corners and lined with beading, the bolection molding with tooled and incised leaves and tendrils against a matte ground. h. 55‑1/2”, w. 40‑1/2”

1076

$700‑$1,000

401

1079

1077

1079 Empire-Style Gilt-Bronze and Tole Chandelier second quarter 20th century, French, the eight-light chandelier with molded gilt-bronze cornucopia-form arms set on a patinated tole body decorated with gilt-bronze mounts and an artichoke pendant finial, supported by molded bronze chains from a corona with pierced anthemia. h. 33”, dia. 28” $900‑$1,200 1080 Empire-Style Mahogany and Marble-Top Occasional Table

1078

1077 Pair of Neoclassical-Style Bronze and Marble Pedestals

early 20th century, the circular marble top above a conforming frieze, raised on graduated columnar supports headed by ormolu capitals, joined by a tripartite stretcher and raised on ball feet. h. 25”, dia. 20” $600‑$900

20th century, the bronze-mounted bases supporting reeded column-form standards set with Corinthian capitals and beveled tops. h. 40”, w. 9‑1/2”, w. 9‑1/2” $800‑$1,200 1078 Unusual Pair of French Enameled Black Glass Covered Urns third quarter 19th century, in the Neo-Grec taste, the urns decorated with carefully rendered 17th-century harbor scenes, framed with white enamel scrollwork borders, the handles with gilt incising. h. 23‑3/4”, w. 7‑3/4”, d. 7‑1/4” $1,500‑$2,500

402

1080

1081 French Empire-Style Gilt-Bronze and Tole Chandelier second quarter 20th century, the nine-light chandelier with a painted tole body set with eight giltbronze cornucopia-form branches and a single light in the center, decorated with gilt-bronze mounts and an artichoke finial, supported by molded chains from a corona with pierced anthemia. h. 32”, dia. 27” $800‑$1,200 1082 Napoleon III Gilt-Bronze and Marble Figural Mantel Clock third quarter 19th century, mounted with a bronze figure of a falcon attacking a snake, based on Homer’s dream depicting the outcome of the Trojan/ Greek war, the verde antique and black marble case mounted with Vincenti et Cie works and stamped “Rollin a Paris”, with an exposed escapement. h. 17‑3/4”, w. 22‑1/2”, d. 7‑3/4”

1081

$800‑$1,200 1083 Empire-Style Giltwood Chaise Longue 19th century, each side with a domed and padded back with downswept sides to ram’s head carving, raised above a laurel-carved apron on tapering circular legs ending in foliate feet. h. 32”, w. 28”, l. 71” $1,000‑$1,500

1082

1083

403

1086

1087

1085

1084

1084 Empire-Style Kingwood and Rosewood Center Table the banded circular top with a sunburst veneer centered by an inlaid star, above a conforming frieze with applied ormolu guilloche panels, raised on tapering square legs joined by a basket-centered X-form stretcher and ending in ormolu feet. h. 31”, dia. 42” $1,500‑$2,500 1085 After Otto Gradler (German, 1836‑1921) “Prometheus and the Oceanids”, first quarter 20th century patinated bronze after the 1879 marble by Eduard Muller (German, 1828‑1895) now conserved at the National Museum, Berlin, inscribed “Nach Prof. Muller von O. Gradler, Berlin” and with a “Guss V. H. Gladenbeck + Sohn Friedrichshagen” foundry inscription along back bottom edge, on a wooden base. overall h. 36”, w. 14”, d. 14” $2,500‑$4,000

404

1086 French Marquetry-Inlaid and Bronze-Mounted Chocolate Box second quarter 19th century, on grape-molded bronze feet, with bronze beading on the base and cover, probably a presentation case for special chocolate, labeled “Marquis, Passage de Panorama”, for the retailer Chocolatier Marquis. h. 3‑1/2”, dia. 9” $600‑$900 1087 French Gilt- and Patinated Bronze and Cut Crystal Tantalus early 20th century, the case set with deeply cut oval crystal panels on the top and each side, the inner tray fitted with four decanters and twelve cordials. h. 12”, w. 14‑1/2”, d. 12” $1,000‑$1,500

1088 Handsome Louis-Philippe Giltwood Mirror mid-19th century, the bolection-molded surround with a serpentine crest and decorated with tooled gilt flowers and tendrils on a matte gilt ground, the crest with a pierced laurel wreath and a crossed torch and quiver of arrows, flanked by sprays of leaves. h. 60”, w. 32‑1/2” $1,000‑$1,500

1089 Jules-Felix Coutan (French, 1848‑1939) “La Renommee Equestre”

1088

bronze dore relief plaque cast signature at lower right, a “Thiebaut Freres/Paris” foundry mark lower left, set within an integral beveled red marble support. bronze h. 24‑3/4”, w. 17‑1/2”, d. 7‑1/2”, overall h. 31‑1/2” $10,000‑$15,000 Literature: Pierre Kjellberg. Bronzes of the 19th Century, Atglen: Schiffer Publishing, Co., 1994, same model illus. p. 228 While still a student at l’Ecole des Beaux-Arts in Paris in 1872, Coutan was the recipient of the prestigious Prix de Rome, which afforded him the opportunity to study in Italy for several years. Upon his return to Paris, he had his debut at the Paris Salon to much attention and acclaim. One of the most sought-after artists for grand public commissions, Coutan was known for his elegant allegorical sculptures. The wonderful bas relief plaque presented here of an allegorical depiction of victory as a winged figure on horseback reveals the sculptor at his most masterful; the taut yet subtle muscles of the horses legs, the delineated feathers of the wings, and the delicate modeling which creates an interplay of light and shadow creating a sense of depth and motion. Coutan was named a professor of art at l’Ecole des Beaux-Arts in 1900.

1089

405

1091 1090

1090 Empire-Style Gilt-Bronze and Glass Chandelier mid-20th century, French, the yellow glass body set with six molded gilt-bronze branches, a cone-form pendant finial and a flame-form upper finial, supported on molded chains from a gilt-bronze and yellow glass canopy. h. 25‑1/2”, dia. 21‑1/2” $700‑$1,000 1091 French Empire-Style Gilt-Brass and Glass Vase first quarter 20th century, on paw feet, the pierced brass frame decorated with various carefully detailed neoclassical scenes, with molded handles terminating in swan’s heads, the blown glass vase with a ground pontil and a cracked-ice surface. h. 11”, w. 8‑1/2”, d. 4‑1/2”

1092

$800‑$1,200 1092 Collection of Four Malachite Table Boxes French or Russian, including an octagonal box with a brass bezel, h. 2‑1/2”, w. 6‑3/4”, d. 4‑1/4”, and three graduated rectangular covered boxes, the largest h. 2‑2/4”, w. 5‑3/4”, d. 4”. $600‑$900 1093 Pair of Malachite and Bronze Covered Urns mid-20th century, French or Russian, in the neoclassical taste, the Etruscan-form malachite-clad urns set with gilt-bronze fittings and patinated bronze winged mermaid handles. h. 18‑1/2”, w. 5‑1/2”, d. 3‑3/4” $3,000‑$5,000

406

1093

1094 Restauration Mahogany and Marble-Top Commode mid-19th century, the rounded rectangular top above a conforming case fitted with an ogee-molded frieze drawer and three long drawers, raised on shaped bracket feet. h. 40”, w. 51”, d. 23” $600‑$900 1095 Large Louis-Philippe Giltwood Mirror mid-19th century, French, the bolectionmolded surround trimmed with molded scrollwork and shells, the pierced crest decorated with scrollwork, a putto on the crest. h. 72”, w. 54” $1,200‑$1,800

1095

1094

407

1096 Louis-Philippe Gilt-Bronze Figural Mantel Clock second quarter 19th century, mounted with a figure of a sultana holding a rose and reposing on a cushion and a lion skin, the base lushly decorated with leaves, scrollwork, butterflies and peacocks, mounted with a silk-string suspension movement. h. 20‑1/2”, w. 16”, d. 4‑1/2” $800‑$1,200

1097 Near Pair of Louis-Philippe Mahogany and Marble-Top Center Tables mid-19th century, each with a circular marble top with a molded edge, above a plain frieze, raised on a ribbed urn-form standard to three splayed legs, each headed by foliate carving and ending in paw feet on casters. h. 29”, dia. 38‑1/2” and 38‑1/4”

1096

$2,500‑$4,000

1097

408

1098

1098 Suite of Six Restauration Mahogany Chairs early 19th century, consisting of a pair of bergeres and four fauteuils, each with a padded square back surmounted by a triangular scrolling crest, joined by downswept arms on foliate-carved uprights to the padded seat, raised on turned bulbous legs to peg feet. h. 37‑1/2” $2,000‑$4,000

1100

1099 Louis-Philippe Walnut and Marble-Top Commode mid-19th century, the rounded rectangular marble top above a case fitted with a frieze drawer over three long drawers, raised on block feet. h. 36”, w. 50”, d. 22” $1,500‑$2,500 1100 Pair of Silverplate Candelabra in the Restauration Taste

1099

fourth quarter 19th century, now mounted as lamps, on tripartite bases supporting fluted column-form stands, set with fluted and reeded candle cups and drip pans. h. 38‑3/4”, dia. 8‑3/4” $800‑$1,200

409

1101 Continental Biscuit Figure of Cupid

1104 Pair of French Restauration Tole-Peinte Vases

19th century, poised with a quiver of arrows around his neck, with an unidentified incised mark. h. 18‑1/2”, w. 8‑1/2”, d. 5‑1/4”

second quarter 19th century, of flaring form, on molded paw feet mounted on rectangular bases, decorated with colored decoupaged figures, scenes of a boar hunt and a harbor scene. h. 9‑1/4”, w. 5‑1/2”, d. 5‑1/2”

$1,000‑$1,500

$600‑$900 1102 Italian Carved Marble Figure of a Baby Boy mid-19th century, the figure on a cushion carved with swirling flowers. h. 9”, w. 22”, d. 19” $1,000‑$1,500

1101

1104

1102

1103 Dutch Inlaid and Chinoiserie-Japaned Secretaire a Abattant 19th century, constructed of satinwood, maple and fruitwood, the canted rectangular cornice above a frieze drawer inset with an ebonized chinoiserie panel, over a drop front centered by a figural chinoiserie landscape panel, opening to a void interior, over a single cupboard door centered by a red chinoiserie panel of a floral arrangement, the whole flanked to either side by canted ebonized panel uprights and raised on tapering square legs ending in ball feet. h. 59”, w. 30”, d. 18” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $600‑$900 1103

410

1105 Louis XV/XVI-Style Kingwood and Marble-Top Cabinet early 20th century, the shaped marble top with a molded edge, above a conforming case fitted with two banded drawers over two cupboard doors, each inset with an ebonized panel with landscape scenes in the chinoiserie manner, raised on shaped legs ending in sabots, one drawer interior bearing a plaque reading “H. Bergmann/90, Boulevard de Strasbourg/ Havre/H. F. Snow. Paris”. h. 51‑1/2”, w. 41”, d. 20‑1/2” $1,500‑$2,500

1107

1106 Pair of Japanese Ormolu-Mounted Imari Porcelain Trumpet Vases

1106

second half 19th century, each with a slender body and flared lip, decorated to the exterior with opposing panels depicting birds perched amid blossoming branches, the surround with a stylized floral design in the traditional Imari palette. h. 15”, dia. 7‑1/4” $1,200‑$1,800

1107 Franco-Japanese Bronze-Mounted Imari Porcelain Vase fourth quarter 19th century, the cylindrical vase fitted with a French scrolled base and winged dragon handles, originally fitted with a kerosene oil font. h. 17‑1/2”, w. 9”, d. 7‑1/2” $600‑$900

1105

411

1108 Pair of Louis XV-Style Ormolu-Mounted Mahogany Armchairs each with a padded back surmounted by an ormolu floral crest and surrounded by a molded frame with ormolu millwork, joined by scrolled arms to the padded seat, raised on cabriole legs ending in sabots, the backs and seats upholstered in chocolate brown leather. h. 41” $800‑$1,200 1109 Restauration Gilt-Bronze and Marquetry Table Clock and Thermometer second quarter 20th century, French, the marquetry-inlaid case with a gilt-bronze-framed thermometer inset in the front panel, marked “Selon Riaumur”, a scale used from the 1730s, the clock on top with works marked “A. C. Halmont”, with a gilt-bronze serpent-molded bezel flanked by a pair of recumbent lions. h. 17‑1/2”, w. 7‑1/4”, d. 4‑1/4”

1108

$800‑$1,200 1110 Pair of Bronze Dore et Patine Figural Candelabra second quarter 19th century, French, the two-light candelabra decorated with patinated bronze cherubs supporting unusual bow-form candle branches with arrow finials, perched on engine-turned column-form bases. h. 22‑1/2”, w. 6”, d. 4‑1/2” $1,200‑$1,800 1111 Louis XV-Style Ebonized Bureau Plat the shaped rectangular top with an inset leather surface and ormolu banding with corner accents, above a conforming frieze fitted with a central drawer flanked to either side by a smaller drawer, raised on cabriole legs headed by ormolu capitals and ending in sabots. h. 30”, w. 77”, d. 35” $2,500‑$4,000

1110

1111

412

1109

1112 Set of Twelve Meissen Dinner Plates ca. 1924‑1934, pattern no. 455110, decorated in the Kakiemon style with polychrome pine trees, birds and flowers, with a gilt scalloped rim, marked on the back with underglazed crossed swords with a “dot” between the blades, and a decorator’s mark. dia. 10‑1/2” $600‑$900

1112

1113 French “Chinois Panorama” Scenic Wallpaper Section

1114 French “Chinois Panorama” Scenic Wallpaper Section

first quarter 20th century, hand block-printed by Desfosse et Karth, Paris, reprinted after their original 1850s scenic design, canvas-backed, framed. framed h. 80‑1/4”, w. 97”

first quarter 20th century, hand block-printed by Desfosse et Karth, Paris, reprinted after their original 1850s scenic design, canvas-backed, framed. framed h. 79‑1/2”, w. 75”

Sections from this scenic design are included in the wallcoverings collection of the Cooper Hewitt Museum, New York, New York.

$1,000‑$1,500

1114

1113

413

1115 Louis XV-Style Ebonized and Marble-Top Commode 19th century, the shaped marble top above a conforming bombe case fitted with two long drawers, accented with polychrome and incised scenes in the chinoiserie manner, raised on splayed legs ending in sabots. h. 32”, w. 39‑1/2”, d. 21” $1,000‑$1,500

1116 Rock Crystal and Gilt-Bronze Elephant-Form Candlestick

1115

mid-20th century, French, the bronze “jeweled” elephant of Indian inspiration, carrying alternating rock crystal and leaf-molded gilt-bronze elements, terminating in a tulipform candle cup. h. 14‑1/4”, w. 7‑1/2”, d. 3‑3/4” $1,500‑$2,500

1117 Chinese Celadon Jade Vase and Cover 19th century, of flattened baluster form, delicately carved in light relief to the lower body on both sides with scenes of blossoming trees amid rockwork, above which a five-claw dragon is coiled around the neck, chasing a flaming pearl. h. 9”, w. 4‑1/4”, d. 2” Provenance: Estate of Charles Harcourt and Edith Marion Hallett “Love” Dimick, Rifton and Manhattan, New York. $1,000‑$1,500

1118 Chinese Celadon Porcelain Tripodal Cachepot 1116

first half 20th century, of heavily potted, compressed globular form, raised on three short legs, the exterior with a molded scrolling floral design below a stylized leaf pattern border. h. 5‑1/2”, dia. 9‑1/4” $600‑$900

1117

414

1118

1120

1119

1119 Pair of Chinese Celadon Porcelain Covered Vases first quarter 20th century, each of six-sided baluster form, with domed cover surmounted with peach-form finial, having opposing molded cartouches depicting deities, the surround with auspicious objects, the base with a four-character Yongzheng mark in underglaze blue. h. 9”, dia. 5” $600‑$900

1121

1120 Two Chinese Celadon Porcelain Bowls 19th century and later, each with a raised foot and flared lip, one example with ten auspicious and scholarly objects depicted to the exterior in a pale glaze, with a fourcharacter Chenghua mark to the base in underglaze blue, the other example with a geometric scrolling design incised to the exterior, the base unmarked, each with a carved hardwood stand. h. 4”, dia. 9‑1/2” and h. 3‑1/2”, dia. 9‑1/4” $600‑$900 1121 Chinese Bronze Dagger Axe in the Shang style, having a straight, slightly tapering blade, and decorative tang with taotie mask design to both sides, complete with perspex presentation case. overall l. 1‑1/4”, w. 10”, case h. 17‑1/4”, w. 13‑1/2”, d. 8‑3/4” Provenance: Reputedly from the private collection of Nicolas M. Salgo, Ambassador to Hungary. $2,000‑$4,000 1122 Two Chinese Terracotta Tomb Figures in the Ming style, both figures depicted standing on sixsided plinth bases, one modeled as a groom, the other in traditional robes with alms bowl, both partially glazed. the tallest h. 20” $700‑$1,000

1122

415

1123 Large Chinese Sancai Figure of Lokopala in the Tang style but later, modeled standing upon an ox in repose, with arm raised, in traditional costume, decorated to the exterior in distinctive green, yellow and brown enamels, the face and hands unglazed. h. 32”, w. 14” $2,500‑$4,000 1124 Large Chinese Porcelain Green-Ground Vase first half 20th century, of baluster form with trumpet neck, the exterior decorated all over in yellows and browns with designs of birds perched amid blossoming branches and rockwork, with a hardwood stand. h. 29‑1/2”, dia. 13” $700‑$1,000

1123

1124

1125 Japanese Lacquer Vanity Case first quarter 20th century, the rectangular top over a conforming case, with all-over landscape design, having detailed red lacquer embellishments, the front panel opening to reveal two interior draws decorated with individual feathers, the lower with a shallow insert tray. h. 8”, w. 9‑1/2”, d. 7‑1/4” 1125

$700‑$1,000

1126 Japanese Cloisonne Vase first quarter 20th century, of ovoid form with broad shoulders narrowing to a short neck with flared lip, delicately decorated with two birds perched amid blossoming branches on a deep cobalt blue ground. h. 7‑1/4”, dia. 3” $600‑$900

1126

416

1127

1129 1128

1128 Japanese Silver and Mixed Metal Trinket Box Taisho or early Showa period (ca. 1925), rectangular with fitted lid, the body with engraved floral scrolls, the lid with welldetailed applied gilt- and silver-accented copper medallion of Bajutsu combatants. h. 1‑3/4”, l. 3”, w. 2”; 9.77 t. oz. $1,200‑$1,800 1129 Chinese Silk-Embroidered Panel

1130

1127 Japanese Bronze Covered Jar on Stand 20th century, of woven basket form, with applied knot-form handles flanking a short neck, supporting a domed cover surmounted with a squirrel-form finial, the body decorated with a grasshopper amid foliate sprays, raised on a bamboo-form stand, the base with an indistinct three-character studio mark. h. 12‑3/4”, dia. 7‑3/4” $600‑$900

first half 20th century, the rectangular panel intricately embroidered in silk threads with a design of birds amid blossoming branches, depicted in whites, pinks, greens and browns, mounted and framed. h. 42‑1/4”, w. 16‑1/2”, framed h. 62”, w. 24” $1,500‑$2,500 1130 Pair of Chinese Famille Rose Porcelain Ruby-Ground Saucers probably 19th century, each of circular form, with three circular reserves depicting mountainous landscapes on a ruby ground incised with a dense floral design, the reverse with a sixcharacter Qianlong mark in underglaze blue. dia. 4‑1/4” $600‑$900

417

1131 Unusual Pair of Chinese Porcelain Ginger Jars late 19th/early 20th century, each of baluster form, with domed cover surmounted with peach-form finial, decorated to the exterior in the Imari palette with pomegranate sprays over a dense fish-scale pattern in copper red, the bases with apocryphal six-character Jiajing mark within concentric bands in underglaze blue, together with hardwood stands. h. 11”, dia. 7” $700‑$1,000

1131

1132 Chinese Wucai Porcelain Jar second half 19th century, of globular form with everted lip, decorated to the exterior with a continuous design depicting children playing with kites and flags in a terraced garden, the base with a six-character Wanli mark within concentric bands in underglaze blue. h. 3”, dia. 3‑1/4” $600‑$900

1132

1133 Chinese Famille Jaune Porcelain Jar and Cover late 19th century, of compressed baluster form, with everted neck and splayed foot, the domed cover surmounted with a peach-form finial, decorated to the exterior with a continuous design of birds and insects amid foliage, below cobalt blueground lappets depicting auspicious objects, the base with an apocryphal six-character Chenghua mark within two concentric bands in underglaze blue. d. 16”, dia. 12” $1,000‑$1,500

1133

418

Artist Index | December 9-10, 2017

Agam, Yaacov 568

Franco-Belgian School 59

Aizpiri, Paul Augustin 1015

Franke, J. 847

American School 841, 928

Fremiet, Emmanuel (after) 551

Anderson, Walter Inglis 891

French School 37, 51

Anfrie, Charles (after) 54

Frith, William Powell 229

Antwerp School 95

Gainsborough, Thomas (follower of) 226

Audubon, John James (after) 815, 824, 825

Galien-Laloue, Eugene 352

Auerbach-Levy, William 361

Gall, Francois 367

Avetisyan, Minas 1018

Gantcheff, Gana (after) 959

Berthelsen, Johann 920

Gisson, Andre 366

Boggs, Frank Myers 351

Gradler, Otto (after) 1085

Boju, Zhao (after) 591

Guillaume, Pierre 370

Bolton, Hale William 846

Hart, Frederick Elliott 1001, 1002

Both, Jan Dircksz (circle of) 159

Henry, Michel 374, 375

Boua, Onofrio 548

Henshaw, Frederick Henry 232

Brecher, Samuel 927

Hereau, Jules 24

British School 223, 231, 851

Herzog, Hermann Ottomar 839

Bronzino, Agnolo (follower of) 157

Heytman, Willem 371

Buchanan, Ella 845

Hine, Lewis Wickes 929-931, 936, 937

Cahill, William Vincent 844

Hobbs, Morris Henry 890

Carracci, Annibale (after) 58

Hoffmann, Clara 921

Carrier-Belleuse, Albert-Ernest (after) 407

Hofmann, Hans 1016

Ceriez, Theodore 298

Hornung-Jensen, Carl 453

Chagall, Marc 1012, 1013

Hudson River School 840

Chandler, Elizabeth 1010

Hulbert, Katherine Allmond 922

Charmaison, Raymond Louis 378

Hunter, Anna Colquitt 892

Chertier, Jean-Alexandre 576

Hunter, Clementine 893-896

Chihuly, Dale 997

Hunter, S. H. 447

Coello, Alonso Sanchez (manner of) 166

Italian School 46, 93, 94

Coleman, Enrico Henri 18

Jacobsen, August 452

Colvin, Marta 1011

Jacobsen, Ludvig 457, 458

Comins, Eben Farrington 918

Jennert, Christoffer 456

Connell, Clyde 1019

Jespersen, Henrik Gamst 451

Conrad, Lisa 1026, 1027

Johnson, Stanley 883

Continental School 131, 360, 516, 603

Jordaens, Jacob (school of) 163

Coutan, Jules-Felix 1089

Karssen, Anton Nicolaas Marie 492, 494

Cramer, Carl Cesar Adelbert 569

Kauba, Carl (after) 885

Cronqvist, Lena 1006

Kende, Geza 376

Cunaeus, Conradyn 493

Khromin, Victor 1008

de Casteras, R. G. 362

Kinsburger, Sylvain (after) 559

Delort, Charles Edouard Edmond 299

Kluge, Harry 448

Drysdale, Alexander John 886, 887

Kohlmeyer, Ida Rittenberg 1023

Duret, Francisque Joseph (after) 558

Korochansky, Michel 363

Durham, Dixie Hampson 365

Krasny, Yuri 978, 979

Dutch School 61, 547

Laks, Victor 1009

Dyf, Marcel 353, 368

Lange, Dorothea 939, 940

Emery, Lin 1022

Laurent, Eugene (after) 1072

Enjolras, Delphin 295

Laurent, Henri Adolphe Louis 446

Evans, Walker 932

Lawrence, Sir Thomas (after) 228

Fabritius, Barent (school of) 164

Lebrun, Andre Jean 482

Fiene, Ernest 926

Lee, Russell 933-935

Artist Index | December 9-10, 2017

Lely, Peter (after) 225

Swyncop, Philippe 296

Lenoir, Maurice 350

Titian, Tiziano Vecelli (circle of) 158

Lever, Hayley 364

Trankowsky, Alexey Ivanovich 301

Levier, Charles 1014

Ulmann, Doris 941, 942

Lewis, John Frederick (after) 605

van der Brugghen, Guillaume Anne 491

Louisiana School 827

van der Pol, Louis 373

Lucas, Marie-Felix-Hippolyte 490

van der Weyden, Rogier (follower of) 96

Mackeprang, Adolf Henrik 22

van Dyck, Sir Anthony (after) 155

Malpigny, Gaston 23

van Rijn, Rembrandt Harmenszoon (follower of) 165

Martin, Henri-Jean Guillaume 354, 355

van Ruisdael, Jacob Isaacksz (follower of) 160

Mathurin, Maurice 359

van Severdonck, Joseph 19

McCulloch, Horatio 234

van Thulden, Theodor (follower of) 60

Mellor, William 233

Vanderveen, Loet 969-975

Mene, Pierre-Jules (after) 20, 41

Villanis, Emmanuel (after) 584

Michalopoulos, James 897, 898, 1024, 1025

Vuillard, George 372

Mijtens the Elder, Daniel (school of) 156

Walker, William Aiken 828, 829

Moigniez, Jules (after) 585

Ward, Edward Matthew 230

Molsted, Christian 454

Webber, Wesley Elbridge 842

Morcos, Maher Naguib 882

Weber, Theodore Alexander 445

Muhlfield, George Otto 925

Werner, Carl 450

Munger, Gilbert 843

Wiggins, Guy Arthur 919

Newcomb College Art Pottery 888

Willis, Henry Brittan (attributed to) 235

Nicholson, George Washington 604

Wolcott, Marion Post 938

Nini, Jean-Baptiste (attributed to) 483

Woodward, Ellsworth 889

Novelli, Ernesto 303

Yi, Guan 988

Opie, John (manner of) 227

Zatzka, Hans 297

Paval, Philip Kran 924

Zocchi, Guglielmo 304

Piazzetta, Giovanni Battista (follower of) 162

Zoffoli, Angelo 300

Pinchart, Emile Auguste 302

Zorach, William 976

Pissarro, Hugues Claude 356, 357 Plazzotta, Enzo 1005 Pleissner, Rudolf 455 Pourbus the Younger, Frans (follower of) 167 Pratt, James 369 Puigadeau, Ferdinand Loyen du 358

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

Quinn, Anthony 994

The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist.

Ramsay, Allan (circle of) 224

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

Rasmussen, Georg Anton 444 Regat, Jacques and Mary 996

School of: In our qualified opinion, a work by a follower of the artist.

Remington, Frederic Sackrider (after) 884

Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence.

Rodde, Michel 1017 Rosa da Tivoli 161 Roos, Philipp Peter (circle of) 161

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

Ryman, Herbert 923

After: In our qualified opinion, a copy of a known work by the artist.

Schmitz, Philipp 554

Signed: In our qualified opinion, has the signature which is that of the artist.

Schouten, Henry 16, 17, 21 Scoppa, Giuseppe Gustavo 145 Seignon, Paul 449 Siabkin, Peter 377 Stewart, Allison 1020, 1021 Sustermans, Justus (studio of) 154

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist. Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

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

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

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

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. Rev. 01/04/17

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

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

Rev. 01/04/17

(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.

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

(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.

(ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] 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

(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.

(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.

(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.

(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. Rev. 01/04/17

(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.

Rev. 01/04/17

New Orleans Auction Galleries

333 Saint Joseph St., New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | 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 25% 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 [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% 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

Absentee/Telephone Bid Form (continued)

Name (Please Print): ______________________________________

Lot #

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

New Orleans Auction Galleries 333 Saint Joseph St., New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | Info@NewOrleansAuction.com

REQUEST FOR CONDITION REPORTS Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Name (Please Print): ________________________________________________________ Date: ____________ Email Address: ___________________________________________ Phone: (_______)______________ Fax: (_______)______________________________

Please submit this form by 5:00 p.m. two days prior to the first day of the auction.

Lot #

Description

Special Requests

________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

_____________________________________________________________________________________ _____________________________________________________________________________________ ________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________

New Orleans Auction galleries

333 St. Joseph Street • New Orleans, LA 70130 • (504) 566-1849 • Fax (504) 566-1851 Info@NewOrleansAuction.com • www.NewOrleansAuction.com

NEW ORLEANS AUCTION DOES NO SHIPPING OR PACKING Our clients have successfully used the following drayage companies: Company

Telephone

Fax

E-mail

Bayou Movers. . . . . . . . . . . . . . . . 504-228-3827 . . . . 504-324-9116. . . . . . . . . . . bayoumoversla@gmail.com Craters & Freighters . . . . . . . 800-733-0310 . . . . 504-733-3679. . . . . nola@cratersandfreighters.com Rancho Buck. . . . . . . . . . . . . . . 404-441-4994 . . . . 404-524-9129. . . . . . . . . . . . ranchobuck3@yahoo.com The Box. . . . . . . . . . . . . . . . . . . . . 504-568-0281 . . . -----------------. . . . . . . . . . . woodenbox@bellsouth.net N.O. Packaging & Shipping. . 504-885-4544 . . . . 504-885-4457. . . . . . . . . . info@nolapackandship.com Specialty Pack & Ship Co . . . . 504-304-3969 . . . . 504-304-4640. . . . loufou@specialtypackandship.com Vintage Transport Svcs. . . . . 800-333-0056 . . . . 404-733-6220. . . . . . . . . . info@vintagetransport.com Wintersteen Trucking. . . . . . . 800-253-0617 . . . . 785-543-6105. . . . wintersteentrucking@yahoo.com Pakmail. . . . . . . . . . . . . . . . . . . . . 800-230-5229 . . . . 504-393-1232. . . . . . . . . . . . . . . pakmail493@yahoo.com Kid Gloves. . . . . . . . . . . . . . . . . . 504-309-6894 . . . . 504-309-6907. . . . . . . . . . . . . . tanya@lakidgloves.com

rev 5/8/2017

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

consignments FINE ART:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

BOOKS, MANUSCRIPTS & EPHEMERA:

Director of Fine Art; Continental and American

Michele M. Carolla

Continental and English

American and Continental

British and American; Sculpture

Nicole Casi, PhD Continental and American; Prints and Maps

FURNITURE: Ireys Bowman

Charles C. Cage Jewelry:

Continental and English

Kim Lemon

Greg S. Kowles

FINE CARPETS & TEXTILES:

Asian Arts:

American, Continental and English

Rebecca Moss

Thomas Halverson

Sean Ranson

American

a d m ini s t r at ion Charles C. Cage

Grace Connors

Burke

Colleen Ryan

Nicole Casi, PhD

Taylor Eichenwald

Office Manager

Director of Human Resources

Manager of Cakebread Auctions Research

Denise Haik

Office Administration

Leigh Firestone

Designer

Marketing & Public Relations

Christa Ougel Gary Michael Gittelson Photographer

Administrative Assistant

Graphic Designer

Bettina Bausa

Graphic Designer

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie English and Continental Furniture

Cedric Roberts | Sean Ranson

Ira Savoie Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

James Callahan Asian Arts

Sol Carter | Thomas Johnson

Ashton Thomas #1833 Taylor Eichenwald #1922 Michael DeGeorge #1774

Bennie Amos | Eddie Daigrepont

Gerald Hampton | Juanita Bazile

David Abney | James Collins