October 16-18, 2015 Fall Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries

october 16-18, 2015

E xhibition: October 5-15, 2015 9 : 0 0 a . m . - 5 : 0 0 p. m . ( E xc l u d in g S u nd ay )

E vening Pre vie w Reception: T h u r s d a y, O c t o b e r 1 5 , 2 0 1 5 5 : 0 0 - 8 : 0 0 p. m .

Session I: F r i d a y, O c t o b e r 1 6 , 2 0 1 5 1 : 0 0 p. m . C D T, L o t s 1 - 2 9 8

Session II: S at u r d a y, O c t o b e r 1 7 , 2 0 1 5 1 0 : 0 0 a . m . C D T, L o t s

299 - 895

Session III: S u n d a y, O c t o b e r 1 8 , 2 0 1 5 1 0 : 0 0 a . m . C D T, L o t s 8 9 6 - 1 3 3 8

New Orleans Auction Galleries 504-566-1849 | 333 St. Joseph Street, New Orleans, Louisiana 70130 | NewOrleansAuction.com | Info@NewOrleansAuction.com LA AUCTION LICENSE AB-363, STEINKAMP #1265, THOMAS #1833, EICHENWALD #1922/23% BUYER’S PREMIUM (3% DISCOUNT FOR PROMPT PAYMENTS MADE BY CASH, CHECK, OR WIRE)

J u ly 2 5 - 2 6 , 2 0 1 5 E s tat e s A u c t i on

Evening Preview Reception

(L-R) Jelena James, Livia Hill and Nicole Casi; Dr. Sid Bhansali and Gia Rabito; Burke, Lisa Montgomery and Micah Fincher; Philip Lorio and John Ernst; Margaret Crews and Carly Levenshon; Maria Delaune, Lora L. Schnorf and Lori Cupit; Weezie DeaVergne, Renee Peck, John Bose and Jane Milazzo; Christa Ougel and Taylor Eichenwald; Richard Vigil, Chloe Polemis and Christian Galvin

Letter from the CEO

Though the trees in New Orleans don’t cloak themselves in deep hues of burnt orange and burnished gold this time of year, sometimes a certain crispness can be felt in the air. The heat is at least more bearable and it doesn’t rain every day, which is our South Louisiana way of transitioning into autumn. Spring and summer certainly possess their own enchantments; however, fall brings with it the promise of months of celebrations to come. Clearly, I love all things autumnal, even the shift from daylight saving time. Yes, I fully realize I am one of possibly two people in the nation who prefers standard time, but I’m always happy to “fall back” and gain that hour I feel that I’ve lost in months past. This time of year is really all about traditions for me. I suppose I like the predictability of knowing I will be doing many of the same things on the same days as I did in years past. The concept of tradition, as the notion of holding on to a previous time, brings a sort of comforting stability and calmness to my life. However, while I love tradition, the desire, the impulse for change is ever-present. This fact is especially true in decorating and designing. We like to update, change and redo, hoping, in a way, to reinvent ourselves. Changing our environments, we believe, will change our lives for the better, defining who we really are. Our aspiration to reinvent somehow always circles around to our desire to keep our ties to the past. So we decorate according to the latest trends with the newest furnishings and fixtures. But those of us who wish to be surrounded by artful aesthetics incorporate items we have loved over the years or that have an honored history to create environments that tell the stories of our lives. Our October 16-18 sale offers 1,338 opportunities for reinvention, from fine antiques to eclectic curiosities. I am always excited to browse the catalogue, looking for pieces that offer so many possibilities for telling the world who I am, and whom I want to be. I believe this process is known as “retail therapy,” and at New Orleans Auction Galleries, it begins Friday, October 16. Got your holiday wish list ready? Sunday, October 18, offers nearly 200 lots of jewelry, including pieces by Tiffany, Henry Dunay and David Webb, to name a few. We are also offering a wonderful collection of American 19th-century furniture from the Memphis estate of Theresa Higgins. Interestingly, a vintage photo of the Higgins’ parlor taken for a newspaper article in 1968 revealed that the room remained unchanged until present day, with all the furnishing still in place for nearly half a century. I suppose just every once in a while, when it’s perfect, there’s no reason to redo! Join us for our preview party on Thursday, October 15 from 5 to 8 p.m. for cocktails and hors d’oeuvres. There is so much to view, you’re going to want to be prepared for three days of possibilities. The auction begins at 1 p.m. on Friday and at 10 a.m. on Saturday and Sunday. As always, we have a chair saved for you along with food and drinks served throughout the day, because we know you may need a little help keeping up your strength! We hope to see you for what will be four fabulous days of excitement and fun as you discover your own new season of designing and decorating with New Orleans Auction Galleries. As always,

Susan D. Sarofim, CEO

F e at u r i n g P r op e rt y F r o m :

The E stat e of Ther esa Higgins Me mphis , Tennes se e

The Col l e ction of Richard Vernon & Bettie Long Rickenbach O cal a , Florida

The E stat e of Viol eta Ju de ll Van R onzelen Ne w Or l ea n s , Lo u i si a n a a nd L i m a, Pe ru

Furniture Descended in the Fossier Fa mily Ne w Or l ea n s , Lo u i si a n a

The M ar cel lus V. L anier Ho use Oxfor d, Nort h C a r ol in a

Lot 350

The E s tat e of The r e sa Hig g ins M e m p hi s , Te nne s se e

Theresa Higgins was born July 26, 1916 in Shelby, Mississippi. As a young woman, she moved north to Memphis, Tennessee to attend business school. She met her husband, William H. Higgins, and the two married shortly thereafter, remaining together for 68 years until Will’s death. Mrs. Higgins was involved in the Memphis community as a longtime member of St. Louis Catholic Church and St. James Catholic Church, as well as the Chickasaw Country Club and the Nineteenth Century Club, a women’s organization founded in 1890 that focused on influencing the moral, philanthropic and educational future of Memphis. As a well-read, socially engaged and generous member of her community, the Nineteenth Century Club was an important part of Mrs. Higgins’ life. She was a quintessential Southern lady who loved entertaining, and from her home to her clothing and makeup, presentation was always a top priority. In 1955, the couple built a home together in East Memphis, providing the perfect space for Mrs. Higgins to build her collection of American furniture and decorative arts, something she shared with her close-knit circle of friends. A glowing article from February 1968 in the Memphis Press-Scimitar proclaimed, “Here in Memphis the Metropolitan can almost be ‘matched’ by a complete set of Belter in the residence of Mr. and Mrs. Will Higgins of Barfield Road – a home that is Victorian from top to bottom.” New Orleans Auction Galleries is pleased to offer items from the Estate of Theresa Higgins, including fine art, cut glass, several important furniture pieces by makers such as John Henry Belter, John and Joseph Meeks and Thomas Brooks. The collection reflects her lifelong passion for collecting fine antiques and her meticulous stewardship.

The Colle ct ion of R ich a r d V e r non a nd Be t t ie Long Ric k e nba c h O c a l a , F lor id a

Anyone who knew the Rickenbachs knew two lovely people who greatly appreciated their family, friends, music and art. Richard “Rick” Vernon Rickenbach was born in Punta Gorda, Florida. He graduated from the University of Florida with a Masters Degree in History and Political Science. After completing his degree, he joined the U.S. Army and served as the editor and writer of technical manuals for the U.S. Army Signal Corps. Bettie Christian Long, a third generation Ocalan, graduated from Salem Academy in North Carolina, then went on to study piano at Finch Junior College in New York City, where she graduated with distinction. She then attended Peabody Conservatory in Baltimore before returning to Ocala. Rick and Bettie met in Gainesville, Florida at his Phi Delta Theta fraternity house, where Bettie had been invited to play piano. Rick, also an accomplished pianist, heard Betty and followed his heart. They married December 6, 1952. The couple opened a small office supply business in Ocala that ultimately evolved into their fine gift and antique store, Rheinauers Gift Shop. The Rickenbachs owned and operated the shop for over 50 years, working with their son, Walter Rickenbach, and daughter, Marie Tuck. Rick and Bettie traveled throughout Europe and the United States buying from auction houses, estate sales and antique shows to provide their customers with the finest silver, crystal, porcelain, fine art and antiques, while building their personal collection as well. In addition to owning and operating the shop, Rick was a member of the International Society of Appraisers and loved helping clients learn about their treasures. The Rickenbach’s shop was awarded #1 in Design in the United States by Gifts and Decorative Accessories Magazine. Their exquisite taste attracted clients such as Queen Anne-Marie of Greece and the Spanish Ambassador to Hong Kong. Through their shop, the Rickenbachs developed close friendships with many customers, including Josette Cornu, godmother of Marc Lalique, René Lalique’s son. The Rickenbachs also became close friends with Harriette K. Prasse, the widow of famed silversmith Alphonse La Paglia, from whom the Rickenbachs acquired several pieces that are offered in this sale. The Rickenbachs loved entertaining friends and family at elegant cocktail and dinner parties in their home, always having the theme of “enjoying champagne before, during and after dinner!” They were active in their local arts community as founding members of the “Fine Arts for Ocala” organization and Bettie served as President of the Ocala Community Concert Association. After closing the store and retiring in 2003, Rick became a volunteer at the Appleton Museum of Art in Ocala, fulfilling both his love of art and community.

S e ssion I F riday, Octobe r 16, 2015 Lots 1 - 298, Be gins at 1:00 p.m.

1:00

2:00

3:00

100 - 199

3:00

4:00

200 - 298

Lot 136

1 Chinese Famille Rose Porcelain Vase, Qing Dynasty (1644‑1911), 19th century, decorated with flowers, fruit, birds and insects in a famille rose palette on a pale celadon ground, a scene of children frolicking around a seated sage in an idyllic garden rendered in relief on underglaze blue and gilt, with kui dragon handles, h. 23‑1/2”, dia. 9‑1/2”. [700/1000] Illustrated 2 Pair of Chinese Porcelain Book-Form Vases, Qing Dynasty (1644‑1911), enameled in a famille rose palette, decorated with scenes of figures in a garden, each rectangular vessel with a narrow round opening at the top and an inscription down the side, signed “Gao Xintian”, h. 7‑3/4”, w. 5‑3/4”, d. 1‑1/2”. [700/1000] Illustrated

3 Unusual Chinese Famille Verte Porcelain Vase, Qing Dynasty (1644‑1911), now mounted as a lamp, with foo dog decoration on the neck and applied salamanders on each shoulder of the vase, the vase decorated with mythical scenes, vase, h. 18‑1/8”, overall, h. 25”, dia. 8”. [700/1000] Illustrated

4 Pair of Chinese Famille Verte Triple Gourd Vases, 20th century, the lower two sections decorated with fruit, flowers, birds and bats, and the top sections decorated with auspicious Shou characters beneath a frond pattern at the neck, each vase with a pierced and carved wooden stand, vase, h. 20‑1/2”, dia. 8‑1/2”. [1000/1500] Illustrated

5 Chinese Porcelain Beehive Water Pot, Taibai Zun, Qing Dynasty (1644‑1911), the white-ground vessel with a dome-shaped body enameled in a famille rose palette, depicting the eight immortals crossing the sea, a six-character Jiaqing reign (1796‑1820) mark on the underside in red, h. 4‑1/2”, dia. 5‑3/8”. Provenance: The Estate Collection of Judge and Mrs. Everett Dudley, Massachusetts. [700/1000] Illustrated

6 Chinese Famille Rose Porcelain Jardiniere on Stand, 20th century, the large jardiniere with a globular form, enameled in a famille rose palette with reserves depicting dragons and phoenixes, with a carved wooden stand, jardiniere, h. 18”, dia. 20‑1/8”. [600/900] Illustrated

8 Two Chinese Teadust-Glazed Bottles, Qing Dynasty (1644‑1911), one with two handles and the other with a petaled lip and foot, each with a Qianlong reign (1736‑1795) mark in relief on the underside, h. 9” and 9‑1/8”, w. 5‑1/2”. Provenance: The Estate Collection of Judge and Mrs. Everett Dudley, Massachusetts. [800/1200] Illustrated 9 Four Korean Pottery Vessels, Joseon Dynasty (1392‑1910), including two bottle-form vessels, one round jar with stamped decoration and one octagonal lidded jar with a brown glaze and incised ornamentation, the largest, h. 9‑1/4”, w. 8”. Provenance: Private collection, San Antonio, Texas; by family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea. [1000/1500] Illustrated A vessel resembling the brown-glazed vase is in the permanent collection of the Philadelphia Museum of Art, Philadelphia, Pennsylvania. An example similar to the round piece with stamped decoration dating to the Baekje period (18 BC-AD 668) is in the collection of the National Museum of Korea, Seoul, South Korea. Certificates of Old Arts Cultural Property provided by the Korea Old Arts Cultural Association Central Committee are available for the round jar and the brown-glazed vessel.

7 Three-Piece Chinese Porcelain Garniture, Qing Dynasty (1644‑1911), including a pair of vases, each with a globular body and petaled lip, h. 15‑1/3”, dia. 8‑1/2”, together with a matching bowl, h. 6‑3/4”, dia. 14‑3/8”, all decorated with butterflies and flowers on a yellow ground, the interiors all glazed white and with Qianlong reign (1736‑1795) and Tang Ying (1682‑1756) marks in underglaze blue on the undersides. [2000/4000] Illustrated

10 Two Korean Earthenware Cups, Silla period/Three Kingdoms period (57 BC-AD 668), the two shallow footed cups with a gray ash finish, each with a small curved handle, one with a cross-hatch design on the foot, h. 3‑3/8”, dia. 4‑1/4” and h. 3‑3/4”, dia. 4‑3/8”. Provenance: Private collection, San Antonio, Texas; by family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea. [600/900] Illustrated Similar examples to these can be found in the permanent collection of the National Museum of Korea, Seoul, South Korea, the Metropolitan Museum of Art, New York, New York, and the Kimbell Art Museum, Fort Worth, Texas.

11 Chinese Peach Bloom-Glazed Brush Washer, Tangluoxi, Qing Dynasty (1644‑1911), 19th century, the gong-form vessel with compressed body and slightly raised lip, with a mottled green and red surface with white-glazed interior and base, the underside marked with concentric circles in underglaze blue of the Kangxi reign (1662‑1722), h. 2‑7/8”, dia. 5”. Provenance: The estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [600/900] Illustrated One of the “Eight Great Forms” or Ba Da Ma, for the scholar’s writing table. Similar brush washers can be found in the Palace Museum, Beijing, China and in the Metropolitan Museum of Art, New York, New York.

12 Chinese Peach Bloom-Glazed Vase, Yuhuchunping, Qing Dynasty (1644‑1911), 19th century, the pear-shaped porcelain vase with a bulbous body, tapered form and splayed lip covered with a mottled green and red glaze, the interior and base with a white glaze, the underside marked with two concentric circles in underglaze blue, h. 6‑1/2”, w. 4”. Provenance: The estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [600/900] 13 Chinese Peachbloom Amphora with Stand, Qing Dynasty (1644‑1911), Kangxi Reign (1662‑1722), the vessel with a slender, tapered body with a long neck and everted mouth, the lightly mottled peachbloom glaze stopping elegantly just above the foot of the vessel, the underside inscribed with a six-character Kangxi reign (1662‑1722) mark in underglaze blue, displayed on a carved and molded wooden stand, vessel, h. 5‑3/4”, overall, h. 7”, w. 1‑3/4”. [2000/4000] Illustrated Vessels having this shape are among the “Ba Da Ma”or “Eight Great Numbers”, a group of eight 13 porcelain forms collected by the scholarly elite. This amphora, also called a liuye or willow leaf vase for its delicate form, is often referred to as a Guanyin vase because depictions of the goddess of mercy are often shown holding bottles of a similar shape. A complete set of the “Ba Da Ma” has been published in Michel Beurdeley and Guy Raindre’s Qing Porcelain (New York: Rizzoli, 1986), p. 150, no. 12, as well as, Suzanne Valenstein’s A Handbook of Chinese Ceramics (New York: Metropolitan Museum of Art , 1989), p. 237. Illustrated examples can also be found in Ralph Chait’s article “The Eight Prescribed Peachbloom Shapes Bearing K’ang Hsi Marks” in Oriental Art Winter 1967, vol. III, no. 4, p. 130‑137 and J. Ayers’ article “The Baur Collection: The Peachbloom Wares of the Kangxi Period (1662‑1722)” in Transactions of the Oriental Ceramic Society 1999‑2000, vol. 64, pp. 31‑55. Kangzi peachbloom vessels can be found in the collections of The National Palace Museum, Taipei, The Hong Kong Museum of Art, Hong Kong, The Metropolitan Museum of Art, New York, and The Museum of Fine Arts, Houston. Provenance: Private collection, New Orleans, Louisiana. Purchased at the Phoenix Antique Shop, Cathay Hotel, Shanghai, China, 1946. 14 Chinese Flambe-Glazed Porcelain Bottle, Qing Dynasty (1644‑1911), late 19th/early 20th century the roundbodied vessel with a long cylindrical neck, covered with a reddish-purple opaque glaze streaked with white and blue, the underside marked with a blue underglaze apocryphal four-character Jiaqing reign (1796‑1820) mark, h. 7‑1/2”, w. 4”. Provenance: Estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [600/900]

15 Eight Korean Porcelain Footed Bowls and Stands, Joseon Dynasty (1392‑1910), including four raised bowls and four raised stands, all with a fine white glaze, bowl, h. 3‑1/4” to 3‑5/8”, dia. 4” to 5‑3/8”, stands, h. 2‑1/2” to 3‑1/8”, dia. 5‑3/8” to 7”. Provenance: Private collection, San Antonio, Texas; by family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea. [1200/1800] Certificates of Old Arts Cultural Property on two of the bowls from the Korea Old Arts Cultural Association Central Committee.

18 16

16 Chinese Geyao Hu-Form Vase, Qing Dynasty (1644‑1911), in the Song style, the vessel with elephantshaped lugs covered with a milky bluish-gray glaze, the underside with an unglazed stamp indiscernible mark, h. 8‑3/8”, w. 5”. Provenance: The Estate Collection of Judge and Mrs. Everett Dudley, Massachusetts. [700/1000] Illustrated 17 Chinese Longquan Celadon Charger, possibly Ming Dynasty (1368‑1644), with an everted rim and foliate edge, the center decorated with a swirling dragon, dia. 11‑3/4”. Provenance: The Estate Collection of Judge and Mrs. Everett Dudley, Massachusetts. [1000/1500] Illustrated

18 Unusual Chinese Clair-de-Lune Glazed Water Pot, Taibai Zun, Qing Dynasty (1644‑1911), the porcelain beehive vessel with a dome-shaped body incised with three roundels and covered with a pale blue glaze, a white glaze on the base and interior, the underside with a six-character Kangxi reign (1662‑1722) mark in underglaze blue, h. 3‑5/8”, dia. 5‑3/8”. Provenance: The estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [800/1200] Illustrated Rarer than peach bloom wares, clair-de-lune-glazed porcelains were produced in the shapes collectively referred to as Ba Da Ma or “Eight Great Forms” and were used to decorate an official’s study. Examples of similar vessels can be found in the Chinese University of Hong Kong Museum, Hong Kong, China and another was featured in the exhibition, “The Scholar’s Desk, 17th and 18th Century”, of the Oriental Ceramic Society, Oxford, UK, 1979.

19 Chinese Clair-de-Lune-Glazed Vase, Qing Dynasty (1644‑1911), 19th century, the porcelain jar with a globular body and phoenix-head-shaped lugs on either side, the center decorated with auspicious “Shou” symbols amid scrolling floral vines and bats, surrounded with a key-fret border, h. 9‑1/2”, dia. 9‑1/2”. Provenance: The collection of Gary Dryer, Dorr, Michigan. [1000/1500] Illustrated 20 Chinese Blue and White Porcelain Charger, Qing Dynasty (1644‑1911), 18th/19th century, the peony border around a motif of bats and peaches, the center of the dish decorated with a scrollwork roundel, the reverse covered with a pattern of waves and vines, the underside with a Qianlong reign (1736‑1795) mark in underglaze blue, h. 2‑3/8”, dia. 15‑1/4”. [800/1200] Illustrated

21 Chinese Blue and White Porcelain Charger, Qing Dynasty (1644‑1911), with a border of blue plumate flowers around a reserve decorated with a pattern of spirals and flower roundels, dia. 14‑3/4”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [600/900] Illustrated 22 Pair of Chinese Cloisonne Mandarin Ducks, Qing Dynasty (1644-1911), 19th century, the two lidded boxes with enameled blue interiors and undersides, each depicting a swimming duck, the lids decorated with a pattern of blue and green feathers, the body adorned with intricate scrollwork, h. 4‑3/4”, l. 6”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [600/900] Illustrated

23 Chinese Bronze Hand of the Buddha, Qing Dynasty (1644‑1911), the figure of Budai draped in jewels, reclining in the palm of a large patinated bronze hand, the fingers of the hand positioned in Apana Mudra and the figure resting on a lotus base, inscribed in sanskrit, h. 13‑1/8”, w. 8”, l. 10”. [700/1000] Illustrated

24 Chinese Bronze Censer, Ming Dynasty (1368‑1644), the round censer with animal-head-form lugs on either side, the underside with a six-character Xuande reign (1426‑1435) mark, censer, h. 2‑3/8”, dia. 5‑1/4”. Provenance: The collection of Gary Dryer, Dorr, Michigan. [1000/1500] Illustrated

Christie’s London sold a similar censer on November 3, 2011. 25 Pair of Cambodian Bronze Guardian Lions, 19th/20th century, the two stylized patinated bronze temple lions, each seated on muscular haunches. h. 40”, w. 16”, d. 19”. [800/1200] Illustrated

26 Antique Chinese Carved and Lacquered Cabinet, Qing Dynasty (1644‑1911), 19th century, the red lacquer cabinet with carved and reticulated panel doors beneath two drawers, also with pierced panels, the carved panels depicting scenes of immortals, on four carved feet in the form of foo dogs, h. 33‑1/4”, w. 42‑1/2”, d. 22”. [700/1000] Illustrated 27 Pair of Chinese Official Hat Chairs, Qing Dynasty (1644‑1911), 19th century, the lacquered black and red armchairs with carved seats, h. 45‑3/4”. [1200/1800] Illustrated

29 28 Chinese Art Deco Runner, 2’ 6” x 15’. [500/800] 29 Chinese Art Deco Carpet, 10’ x 16’. [1200/1800] Illustrated 30 Chinese Art Deco Carpet, 6’ x 9’. [700/1000] 31 Chinese School (Late 19th/Early 20th Century), “Flowering Plum Blossoms”, fan painting, ink and color on paper, inscribed on left with two seals in lower left and one in the lower right corner, image 9” x 19‑1/4”. [600/900] Illustrated

32 Chinese School (Early 20th Century), “Lynx Devouring a Hare”, ink and color on linen, signed Ci Fu and marked with a four-character seal in red “Wang Ma Hua Yuan”, 23‑3/5” x 30‑3/4”. Framed. [800/1200] 33 Chinese Carved Polychrome Wooden Figure of Guanyin, Qing Dynasty (1644‑1911), seated on the back of a recumbent elephant, the figure’s right arm resting on its raised right knee, the figure wearing a crown, flowing robes and elaborately carved jewels, h. 31”, w. 8‑1/4”, l. 18”. [600/900] 34 Chinese Carved, Polychrome and Giltwood Bodhisattva, Qing Dynasty (1644‑1911), carved in the round, seated in latisana on a lotus base, the bare-chested figure dressed in flowing robes of pink, blue and red, the figure’s right hand is raised, while its left hand rests on the base behind its leg, adorned with earrings, a necklace and an elaborately rendered crown, h. 50‑1/2”, w. 16”. [1000/1500] Illustrated

36 31

35 Chinese Polychrome Wood Figure of Guanyin, Qing Dynasty (1644‑1911), 19th century, the wood and gesso-soaked cloth figure, in the Ming style, seated on a rectangular base in a state of contemplative repose with a serene smile across its face, dressed in flowing robes wearing an intricately carved crown, unmarked, h. 49”, w. 19”, l. 25”. [1000/1500] Illustrated 36 Unusual Chinese Carved Boxwood Figure of Guanyin, Qing Dynasty (1644‑1911), 18th/19th century, the reclining figure of the bodhisattva of mercy carved in the round holding a basket of flowers, wearing long feathered earrings and her hair rising above her crown in a high chignon, the scene and benevolent face of the figure highlighted with a pair of inlaid eyes, with a reticulated wooden stand decorated with pine branches and rockwork, h. 4‑5/8”, w. 2‑1/4”, l. 8‑1/2”, without stand. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [600/900] Illustrated 37 Chinese Eglomise Painting, Qing Dynasty (1644‑1911) late 19th/early 20th century, depicting an imperial lady standing on a terrace overlooking idyllic palace gardens, overall, h. 23”, w. 17”. [700/1000] Illustrated 38 Chinese Four-Panel Coromandel Screen, Qing Dynasty (1644‑1911), 18th century, the four panels each depicting a beautiful maiden on a white ground, the lower section decorated with mythical creatures and the top sections featuring an arrangement of scholarly accoutrements and archaic vessels, the reverse of the screen depicting a garden scene on a black field, h. 81”, overall, w. 88”. Provenance: A. Hartman, Rare Art, New York, New York, 1981. [700/1000] Illustrated

39 Chinese Twelve-Panel Coromandel Screen, Qing Dynasty (1644‑1911), the brightly painted black lacquer folding screen depicting an elaborately rendered village scene with numerous figures engaged in many pursuits, including greeting one another, weaving, boating, farming and fishing on one side, with smaller reserves at the top and bottom of each panel with vignettes of beautiful ladies, as well as bird and flower arrangements, the other side with eight cranes in a forest surrounded by prunus limbs, pine trees, bamboo and lingzhi, inscribed in the upper right corner, overall, h. 106‑3/4”, w. 216”. [1400/1800] Illustrated 40 Antique Isfahan Carpet, 9’ 5” x 12’ 4”. [700/1000] Illustrated 41 Turkish Angora Oushak Carpet, 7’ 10” x 9’ 8”. [800/1200] Illustrated 42 Laristan Sultanabad Carpet, 8’ 2” x 10’. [2000/4000] Illustrated 43 Turkish Angora Oushak Carpet, 9’ 1” x 11’ 10”. [1200/1800] Illustrated 44 Ardabil Carpet, 6’ 9” x 9’ 8”. Provenance: Jacqueline Vance Rugs, New Orleans, Louisiana. [800/1200] Illustrated 45 Mahal Round Carpet, dia. 8’. [500/800]

42 46 Chinese Savonnerie Carpet, 12’ 2” x 18’. [700/1000]

52 Chinese Carved Jade Brush Washer, Qing Dynasty (1644‑1911), the pale celadon jade finely carved in the form of a blooming prunus blossom surrounded with flowering branches, h. 1‑7/8”, w. 3‑1/2”. Provenance: The estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [600/900] Illustrated 53 Chinese Carved Jade Box, Qing Dynasty (1644‑1911), 19th century, the mottled green and white jade box in the shape of a large peach set among branches, heavy with leaves and ripe fruit, the lid topped with a finial in the form of a bird carrying a peach in its beak, h. 4‑1/2”, w. 5‑1/8”, d. 5‑1/2”. Provenance: Private collection, San Antonio, Texas. [700/1000] Illustrated

47 47 Turkish Angora Oushak Carpet, 6’ 1” x 8’ 9”. [600/900] Illustrated 48 Semi-Antique Sarouk Carpet, 10’ 3” x 13’ 11”. [2000/4000] 49 Turkish Oushak Carpet, 8’ x 10’. [1000/1500] 50 Chinese Carved Jade Belt Buckle, Qing Dynasty (1644‑1911), probably 18th century, the finely rendered reticulated carving of a dragon and qilin in a pale celadon jade, the figures set among ruyi clouds and the qilin carrying a scepter in its mouth, w. 1/2”, l. 3‑1/4”. A buckle very closely resembling this one sold at Christie’s London on May 10, 2011. [600/900] Illustrated 51 Chinese Carved Jade Cup, probably Ming Dynasty (1368‑1644), the small white jade cup with two kui dragon-form handles, with a carved wooden stand, cup, h. 1‑3/8”, dia. 3‑1/2”. Provenance: The estate collection of Judge and Mrs. Everett Dudley, Massachusetts. [700/1000] Illustrated

54 Two Chinese Carved Jade Censers, Qing Dynasty (1644‑1911), the two round vessels in a mottled celadon jade, one with an archaistic taotie motif across the surface and a pair of kui dragon lugs, and the other with three flower-form handles each suspending a carved jade ring, each censer with a carved wooden stand, h. 1‑1/4”, dia. 4‑1/8” and h. 3‑1/4”, dia. 8”. Provenance: The estate of Violeta Judell van Ronzelen. [1200/1800] Illustrated 55 Five-Piece Lot of Chinese Jade Bowls and Plates, Qing Dynasty (1644‑1912), including two spinach jade bowls with carved and reticulated ebonized wooden stands, bowl, h. 2‑1/4”, dia. 5‑7/8”, and three plates of a mottled green and white jade, dia. 5‑1/4”. Provenance: The estate of Violeta Judell van Ronzelen. [500/800]

56 52 56 Chinese Carved Jade Censer, Qing Dynasty (1644‑1911), late 19th-early 20th century, the large, finely carved green jade censer with four chambers, and fully reticulated dragon handles, each with two suspended rings, with ornate ringed carvings along the sides of the censer and a lid with a dragon, phoenix and flaming pearl finial, h. 27‑3/4”, w. 14”. Provenance: Private collection, Shreveport, Louisiana. [2000/4000] Illustrated 57 Chinese Carved Jade Figure of Guanyin, Qing Dynasty (1644‑1911), 19th century, the exquisitely rendered figure depicting the goddess of mercy with a young female musician attending her, standing on a lotus base beside a carp and a peacock, with a carved and reticulated wooden stand, jade, h. 13”, w. 8”. [1500/2500] Illustrated

58 Fine Chinese Carved Jade Censer, Qing Dynasty (16441911), late 19th/early 20th century, the mottled grayish stone with areas of pale lavender, each side adorned with a ringed dragon lug, the lid and surface decorated with Kui dragons and elegantly rendered scrollwork, the cover topped with a finial depicting a dragon on a ruyi cloud, with a silver-inlaid two-tier carved wooden stand, censer, h. 9‑3/4”, w. 9‑1/4”. [1800/2500] Illustrated 59 Exquisitely Carved Chinese Jade Figure of a Female Immortal, Qing Dynasty (1644‑1911), the finely rendered figure in flowing robes and holding a fly whisk and a tray of peaches, pomegranates and Buddha’s hands, carved in the round of pale green and lavender jadeite, the figure with a reticulated ruyi scepter, on a wooden stand, figure, h. 8‑3/4”, w. 6”, d. 2‑3/4”. Provenance: Paul Art Gallery, PTE LTD, Singapore, 1985. [2500/4000] Illustrated 60 Fine Chinese Carved Jade Bird Ewer, Qing Dynasty (1644‑1911), the bird-form vessel decorated in shallow relief with a scrolling pattern, carved of pale green stone, resting on four feet, each with three spread toes, suspended rings beneath the beak and tail, the whole on a carved wooden stand, ewer, h. 7”, w. 10”, d. 4”. Provenance: Paul Art Gallery, PTE LTD, Singapore, 1985. [4000/7000] Illustrated 61 Chinese Carved Jade Wedding Box, Qing Dynasty (1644‑1911), 19th century, the white jade with light green mottling, the flower-form lidded box with lotus decoration on the rim and a pattern of bats and Shou symbol finial on the lid, a small opening on the side of the lid, displayed on a carved wooden stand, box, h. 2‑3/4”, dia. 5‑7/8”. Provenance: The estate of Violeta Judell Van Ronzelen. [900/1200] Illustrated

60 62 Important Chinese Carved Jade Urn, Qing Dynasty (1644‑1911), 19th century, the octagonal-bodied vessel in the form of an archaistic bronze carved in a pale gray/ green jade, with two ringed handles on either side of its body and a ringed handle on either side of its reticulated lid, the urn fully encompassed in lavish openwork carving depicting cranes, pine branches and swirling ruyi clouds, with a custom-carved wood stand in the form of dense branches, urn, h. 13‑1/2”, w. 4‑1/2”, l. 11‑1/2”. [3000/5000] Illustrated 63 Chinese Jade Carving, Qing Dynasty (1644‑1911), 19th century, carved with eight birds perched on the limbs of a flowering prunus tree in pale green jade, with a carved and reticulated wooden stand, jade, h. 16”, w. 9”. [1500/2500] Illustrated 64 Magnificent Chinese Carved Jade Censer, Qing Dynasty (1644‑1911), probably late 19th-early 20th century, the superbly carved censer with five reticulated chambers lavishly decorated with phoenix, dragon and floral scroll ornamentation, the finial depicting an immortal on the back of a dragon, with two large dragon lugs flanking the center chamber of the censer, the foot decorated with phoenixes with outspread wings and dragon heads, with a carved silver-inlaid wooden stand, censer, h. 24‑1/2”, w. 12”. [3000/5000] Illustrated 65 Chinese Carved Jade Water Buffalo, late Qing Dynasty (1644‑1911)/early Republic period (1912‑1949), the brown, gray and white nephrite carving of a recumbent water buffalo, with a carved wooden and ebonized stand, h. 3”, w. 2‑3/4”, l. 5‑3/4”, without stand. [600/900]

67 Pair of Chinese Carved Marble Foo Dog Sculptures, the white and pale green/gray variegated stone with finely rendered detail, each beast depicted seated on a plinth, one with a ball, and its mate with a pup, h. 19”, w. 9‑1/2”, l. 12”. [1000/1500] Illustrated

66 Chinese Carved Chicken Blood Stone Censer, Qing Dynasty (1644‑1911), 19th century, the carved mottled red and gray stone censer with two chambers, the lid topped with the form of a recumbent dragon, the coiled dragon motif extending across the body of the censer to the three lion-form lugs, h. 17‑1/2”, w. 8‑3/4”. [2000/4000] Illustrated

68 Large and Rare Chinese Amber Scholar’s Rock, Qing Dynasty (1644‑1911), the untreated piece of amber displaying a range of colors from dark brown to golden yellow, with overall great translucency with opaque areas, displayed on a carved wooden stand, amber, h. 7‑1/4”, w. 6”. [900/1200] Illustrated

69 Chinese Carved Cherry Amber Figure of Shou, Qing Dynasty (1644‑1911) to Republic Period (1912-1949), 19th/20th century, depicting the god of longevity, holding a long gnarled staff in his right hand with a suspended gourd, his left hand with a bough of peaches, h. 13‑3/8”, w. 5”. [800/1200] 70 Chinese Carved Shoushan Stone Seal and Brush Washer, Qing Dynasty (1644‑1691), the seal carved from yellow Tianhuang Shoushan stone, inscribed along the side and carved on the underside, with a foo dog on top, h. 2‑5/8”, w. 1‑3/8”, and the brush washer carved from red Tianhong Shoushan stone, the sides decorated with a depiction of three sages in a landscape, with an archaistic mark on the underside, h. 1‑3/8”, dia. 3‑3/4”. [700/1000] 71 Chinese Carved Agate Brush Washer and Two Snuff Bottles, Qing Dynasty (1644‑1911), all carved from a vibrant carnelian agate, the brush washer decorated with a motif of flowering vines, h. 1‑1/2”, w. 3‑1/4”, and the snuff bottles covered with prunus limbs, h. 3”, w. 1‑7/8”. Provenance: The Estate of Violeta Judell Van Ronzelen. [800/1200]

72 Chinese Carved Translucent Agate Teapot, Qing Dynasty (1644‑1911), 19th century, the Mughal-style pale gray and russet agate with a knop finial and finely ribbed body, with taotie masks on the handle and beneath the spout, two with suspended rings, h. 7‑1/2”, w. 6‑1/4”, d. 2‑3/8”. Provenance: The estate of Violeta Judell Van Ronzelen. [600/900] Illustrated

77 Three Korean Stoneware Bowls, Joseon Dynasty (1392‑1910), probably 19th century, each of the three shallow footed dishes decorated with a pinkish glaze, one with stilt marks on the interior from the firing process, h. 2”, dia. 6”. Provenance: Private collection, San Antonio, Texas. By family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea. [700/1000] Illustrated An almost identical bowl from the Beuche Collection is in the permanent collection of the San Antonio Museum of Art, where it is on display.

73 Chinese Carved Lapis Urn, Qing Dynasty (1644‑1911), the lidded vessel with a flat tapered body decorated with a taotie motif, with a carved wood double-lotus base, h. 7”, w. 2‑3/4”. Provenance: The estate of Violeta Judell Van Ronzelen. [500/800] Illustrated 74 Nepalese Carved Rock Crystal Phurba, 19th/20th century, the intricately decorated ritual dagger inlaid with turquoise and coral, a tripartite blade extending from the mouth of a makara, the central section of the dagger in the form of a vajra carved from rock crystal, the top with a terminal depicting the three-headed Dharmapala, each face contorted into a fierce expression, h. 14‑3/4”, w. 2‑1/2”. [800/1200] Illustrated 75 Unusual Japanese Export “Puzzle Cabinet”, Meiji period (1868‑1912), the stained mahogany and glassfront display cabinet with an ornately carved crest in the form of a dragon set among curling ruyi clouds, the base of the case formed by another dragon surrounded by crashing waves, h. 75”, w. 35‑1/4”, d. 14‑1/2”. [3000/5000] Illustrated 76 Japanese Aritaware Jar, mid-19th century, the large ovoid vessel decorated with a motif of pine trees, cranes and fans, with a six-character mark of “Zoshuntei Sanpo”, h. 16”, dia. 12”. The Sanpo shop run by the potter Hisatomi Yojibei Masatsune (1812‑1878). Provenance: Orientique, Hong Kong, 1999. [600/900] Illustrated

78 Five Korean Ido Chawan, Joseon Dynasty (1392‑1910), the thickly potted stoneware tea bowls glazed with a flared and footed form, each with marks on the insides from stacking during the firing process, h. 2‑3/4” to 3‑1/8”, dia. 5‑1/8” to 6”. Provenance: Private collection, San Antonio, Texas. By family repute aided by a former adjunct curator of the National Museum of Korea, Seoul, South Korea. Christie’s London sold a chawan similar to the one in this lot on November 7, 2012. [700/1000] Illustrated 79 81 Japanese Bronze of a Samurai on Horseback, Meiji period (1868‑1911), the samurai depicted in full regalia and armor astride a galloping steed with tail and mane streaming, attached to a reddish-brown marble base, h. 14”, w. 15”, d. 7‑1/2”. Provenance: Private collection, San Antonio, Texas. [600/900] Illustrated 78

79 Japanese Bronze Tiger, Meiji period (1868‑1912), the sculpture of a roaring tiger with inlaid stone eyes, a threecharacter atelier mark on the underside in a rectangular cartouche, h. 8‑1/2”, w. 4”, l. 19‑1/4”. Provenance: Private collection, San Antonio, Texas. [800/1200] Illustrated 80 Japanese Bronze Iris Vase, Meiji period (1868‑1912), the elegantly formed vessel with a squared shoulder, long neck and flared lip, with a molded and cold-painted iris on the shoulder along the neck, the underside marked “Seikoku”, h. 7‑3/4”, w. 3‑1/2”. Provenance: Private collection, San Antonio, Texas. [700/1000] Illustrated

82 Japanese Bronze Floor Lamp, Meiji period (1868‑1912), the solid cast bronze lamp with allover chased and relief-rendered bird and dragon decoration, h. 66‑1/2”, dia. 13”. [1000/1500] 83 Japanese Plique-a-Jour Bowl, Meiji period (1868‑1911), the Shotai Shippo bowl decorated with pink, blue and purple flowers, a silver edge along the rim and underside of the three small feet, h. 2‑1/2”, dia. 5”. [600/900] 84 Japanese Cloisonne Vase, Taisho period (1912‑1926), the globular-bodied vase with an impressed design of prunus limbs, bamboo and chrysanthemums on a red ground, and vibrantly enameled daisies covering the surface of the vessel, with silvered rims, the underside with an Ando Jubei (1876‑1953) mark and three-character inscription of maker, h. 9‑3/8”, dia. 8‑1/2”. [600/900] Illustrated Examples of Ando Jubei’s work can be found in the Walters Art Museum, Baltimore, Maryland.

85 Japanese Moriage Cloisonne Vase, Meiji/Taisho period (1868‑1926), the tapered-form vase decorated with vibrantly enameled chrysanthemums and daisies on a pale green ground, with silvered rims, the underside with marks of the Ando Company, h. 8‑1/2”, dia. 14‑1/4”. [500/800] Illustrated Recognized for their superior craftsmanship and elegant design in exhibitions around the world, the Ando Company was designated the official maker of imperial gifts by the Emperor circa 1900. 86 Japanese Cloisonne Vase, Meiji period (1868‑1912), the shouldered vase with a long flared neck, the exterior opulently decorated with a polychrome floral motif on a white ground, with silvered rims, the underside with a gilt mark of Inaba, h. 12‑7/8”, dia. 5‑1/2”. [500/800] The Inaba Company of Kyoto, founded by Inaba Isshin in 1886, remained one of the most well-known and influential makers of Japanese cloisonne until it closed in the 1990s.

85 87 Japanese Cloisonne Panel Side Table, Taisho/Showa period (1912‑1945), the ebonized wood table with an inlaid cloisonne panel top, the central reserve with a depiction of peonies, irises, and orchids in archaic vessels with a delicately articulated grasshopper and butterfly on goldstone cloisonne, surrounded by chrysanthemums and cherry blossoms with birds on a blue ground, the panel with a border of scrollwork and daisies, h. 22‑1/2”, w. 16”, l. 25‑1/2”. [1200/1800] Illustrated 88 Japanese Lacquer Writing Box, Edo period (1615‑1868)/Meiji period (1868‑1912), the elegant writing box (suzuribako) decorated on the exterior surface with a motif of cranes and pines rendered in takamaki-e, the interior and underside with nashiji decoration, the box with two brushes and a small covered knife, fitted with a rectangular slate inkstone and a silver water dropper, h. 1‑5/8”, w. 5‑5/8”, l. 9‑1/4”. [800/1200] Illustrated A comparable writing box sold at Sotheby’s, New York on June 4,1992.

90 89 Japanese Lacquer Incense Box, Edo period (1615‑1868), decorated in takamaki-e, the incense box covered with a pattern of gold and silver prunus limbs and flowers, the interior with two chambers and a narrow drawer, the inside with a tag from the Rogers Fund, 1912, h. 7”, w. 8‑3/4”, d. 6‑1/2”. [600/900] Illustrated 90 Impressive Japanese Ten-Panel Folding Screen, 19th century, ink, colors and gilt on paper, the scene depicting celestial phoenixes and swirling clouds, each panel, h. 64”, w. 24”. [3000/5000] Illustrated This extraordinary ten-panel screen illustrates two phoenixes with spread wings and cascading tail feathers soaring against a celestial background. The two birds are surrounded by swirling ruyi clouds, symbolic of longevity and associated with royalty. The virtuosic articulation of the birds in vibrant mineral pigments is reminiscent of important works by such masters as Itō Jakuchū (1716–1800) and Katsushika Hokusai (1760-1849). The powerful yet rather playful depiction recalls the work of Jakuchū. Renowned for his innovative style and interest in experimentation, Jakuchū was an avid student of nature, Chinese painting, and Kyoto silk patterns. Each bird on this screen also shares its form and color with a stately multipanel rendering of a phoenix by Hokusai in the permanent collection of the Museum of Fine Arts, Boston. Introduced to Japan by the Chinese during the six century, the phoenix or Hō-ō, was a symbol of prosperity, fertility and justice, as well as the bearer of auspicious tidings. Also associated with the women of the imperial household, the phoenix was regarded as the celestial guardian of the south. The phoenix became a popular decorative motif as early as the late seventh-early eighth centuries, appearing on a variety of decorative objects including mirrors, lacquer, and textiles. It remained ubiquitous through the 19th century. 91 Antique Persian Runner, 3’ 10” x 20’ 4”. [600/900] Illustrated 92 Semi-Antique Heriz Carpet, 9’ 2” x 12’ 2”. [700/1000] 93 Antique Tabriz Carpet, 9’ 4” x 12’ 4”. [700/1000] Illustrated

94 Bidjar Malayer Runner, 3’ x 9’. [500/800] 95 Semi-Antique Bidjar Carpet, 6’ 6” x 9’ 3”. [500/800] 96 Peshawar Sultanabad Carpet, 8’ x 9’ 10”. [1000/1500] Illustrated 97 Turkish Angora Oushak Carpet, dia. 8’. [800/1200] 98 Aubusson Needlepoint Carpet, 9’ x 12’. [1000/1500] Illustrated 99 Oushak Carpet, 8’ 7” x 11’. [2000/4000] Illustrated

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100 Peshawar Sultanabad Carpet, 7’ 10” x 9’ 7”. [800/1200] Illustrated 101 Turkish Angora Oushak Carpet, 9’ x 11’ 7”. [600/900] 102 Semi-Antique Mehriban Lilihan Carpet, 4’ 6” x 6’ 7”. [500/800] Illustrated 103 Anglo-Indian Bamboo and Lacquered Occasional Table, late 19th century, the square top with a lacquer panel of a bird among foliage, and joined to a lower embossed paper shelf by bamboo supports, h. 28”, w. 19‑3/4”, d. 19‑3/4”. [500/800]

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104 Anglo-Indian Bone-Clad Jewel Case, ca. 1900, the exterior and interior decorated with incised lines and turnings, the interior fitted and lined with turquoise satin, h. 3‑1/2”, w. 9”, d. 5‑1/2”. [1000/1500] Illustrated 105 Regency-Style Anglo-Indian Bone and Wood Sewing Chest, 19th century, the sarcophagus-form box decorated with ink-stained bone inlay and tropical hardwood panels, and raised on paw feet, the fitted interior set with covered compartments, needle cases and thread holders, h. 4‑1/4”, w. 11‑3/4”, d. 7‑1/2”. [700/1000] Illustrated

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107 109 Aesthetic Movement Bamboo and Polychrome Side Table, late 19th/early 20th century, the square top decorated with birds and foliage in the Japonesque taste, the legs joined by a lower shelf and gallery, h. 28”, w. 19‑1/2”, d. 19‑1/2”. [500/800] Illustrated 110 Pair of African Iron Currency Blades, Lokele and Turumbu peoples, Lomani and Lualaba Rivers, Democratic Republic of Congo, h. 57” and 60‑1/2”. [1400/1800] Illustrated

106 106 Fine Persian Pictorial Rug Depicting the Selling of Joseph, fourth quarter 19th century, silk and wool, with three central scenes of Joseph and his brothers, surrounded by smaller narrative scenes, overall meandering vine border, 97” x 53”. [10000/15000] Illustrated

111 African Carved Wooden Mask, Attributed to the Baule Tribe, Ivory Coast, possibly 19th century, with an elongated face and pierced eyes, the hair with a conical topknot, h. 20”, w. 9”, d. 5‑1/2”. [900/1200]

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107 Indian Mughal Bone Plaque Depicting a Tiger Hunt, first quarter 19th century, the oval plaque with four hunters and four tigers, in fierce combat, in a custom-fitted case, plaque, h. 4‑1/2”, w. 3‑1/2”. [1000/1500] Illustrated 108 Anglo-Colonial Hardwood Server, late 19th century, the rectangular top with a three-quarter tall spindled gallery and a molded edge, above a conforming case fitted with three drawers over three cupboard doors, each inset with a mirrored panel, the whole with inlaid scrolling foliate patterns, raised on bracket feet, h. 52”, w. 68”, d. 24‑1/2”. [1500/2500] Illustrated

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112 Salvador Dali (Spanish/French, 1904‑1989), “El Violin also referred to as the Violin d’Ingres”, 1966, verdigris patinated and silver argente bronze, cast signature "Dali", marked “H.C”, numbered “1/3”, and dated along lower right edge, l. 20”, w. 8‑1/4”, d. 3”, now in a custom-made beveled wood, green velvet, and plexiglass presentation case, overall, h. 13‑1/4”, w. 24‑1/4”, d. 12‑1/4”. Provenance: Philips, London, June 29, 1987, lot 35. Illustrated: Dali in the Third Dimension: The Stratton Foundation Collection. New York: Umberto Allemandi & C., 2010, pp. 164‑165. [15000/25000] Illustrated This rare sculpture is of a limited edition of three. As the H.C. mark indicates, the violin was not produced for public sale, but given instead to fellow artists, friends and collaborators. According to the Stratton Foundation, which oversee the world’s largest collection of Dali sculpture, “El Violin” is the “physical materialisation of a nightmare, which Dali experienced. Music was coming from his subconscious, a violinist in a white evening dress with a very pale face and two flashing eyes. Then, as the vision disappeared, a monstrous being with a goat-like skull and two empty eye-sockets on top of a grotesque body shaped like a bestial violin emerged. Dali woke up the same morning...and began modelling”. As this dream illustrates, Dali was fascinated by the macabre, by the unconscious manifestation of fear and desire, and sound was often regarded by the Surrealists as a gateway to unlocking it. Skulls and violins are a recurrent symbol in Dali’s work. In 1934, he painted the “Masochistic Instrument”, in which the nude torso of a woman dangles a “soft”/melting violin outside a building window near a phallic-shaped tree. And in “Voluptas Mors (Voluptuous or Desirable Death)”, Dali collaborated with photographer Philippe Halsman in 1951 to create a trompe-l’oeil double-image photograph of a skull made of seven naked women. This bronze violin, as its pseudo name implies, was also greatly influenced by Man Ray’s famous 1924 photograph of the model Kiki of Montparnasse as an odalisque; shot from behind with the f-holes of a string instrument painted on her flanks, her torso resembles a violin. Myth has it that the French Neoclassical artist Auguste Dominique Ingres, famed for his depictions of the odalisque (reclining nude concubine), preferred to play his violin for his visitors, even though he played poorly, rather than show them his masterpieces. The expression “Violon d’Ingres” came into parlance for a pastime for which one is neither known nor talented. Man Ray’s violin is both an homage to Ingres and a pun for a man’s inability to “play a woman well.” This motif is beautifully captured, yet again, in the extraordinary violin offered here.

113 113 Tall Pair of Maison Jansen, Paris, Brass-Mounted Brushed Steel and Black Leather Seven-Shelf Open Bookcases, second quarter 20th century, the shelves covered in black morocco leather, the gilt-brass finials modeled as upright pomegranates, h. 85”, w. 40‑1/2”, d. 15”, accompanied by copies of James Archer Abbott’s Jansen (New York: Acanthus Press, 2006) and Jansen Furniture (New York: Acanthus Press, 2007), in carmine and buff cloth, respectively, with matching wrappers and contrasting lettering and register ribbons (four total pieces). [6000/9000] Illustrated 114 Pair of Regency-Style Ebonized Sidechairs, early 20th century, each with a turned crest rail above a caned back with annulated accents, the padded seat raised on tapering circular legs headed by a ribbed capital and ending in ball feet, h. 34”. [1000/1500] Illustrated

115 Continental Art Nouveau Marble Statue of an Allegory of Evening, ca. 1900, depicted en deshabille, holding a star aloft, over her head, h. 33‑1/2”, w. 11‑1/2”, d. 10‑1/2”. [2000/4000] Illustrated

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116 Lalique “Bacchantes” Crystal Vase, fourth quarter 20th century, after a 1927 design by Rene Lalique, the frosted and tapered cylindrical body centering a molded relief of cavorting nude maidens, marked “Lalique/France” on the foot, h. 9‑1/2”, dia. 7‑3/8”. [1400/1800] Illustrated

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117 Lalique, France, Molded and Frosted Clear Crystal “Luxembourg” Centerpiece Bowl, post-1978, model No. 12227, decorated with cherubs dancing and holding garlands, h. 8”, dia. 10‑1/2”. [1200/1800] Illustrated

117 120 118 Auldwin Thomas Schomberg (American/Colorado, b. 1943), “The Athlete”, patinated bronze, incised signature and numbered “11/18” at proper right thigh truncation, presented on a carved wood columnar plinth, overall, h. 18‑3/4”, w. 4”, d. 5”. [1500/2500] Illustrated

121 Contemporary Daum Colorless and Pate-de-Verre Bowl, 20th century, French, the amber and blue mottled pate-de-verre base depicting a butterfly lighting on leaves, and holding the colorless glass bowl, retaining the original “Daum France” label and its original box, h. 5‑3/4”, dia. 7‑3/4”. [500/800] Illustrated

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119 Baccarat “Moulin Rouge” Molded Crystal and GiltBronze Wine Cooler, fourth quarter 20th century, the paneled, tapered cooler set with gilt handles and pierced bottle holder insert, h. 9‑1/4”, dia. 8”. [600/900] Illustrated 120 Daum Pate-deVerre “Lotus” Vase, 20th century, French, depicting a mauve blossom perched on unfurling aquamarine leaves, marked “Daum, France”, in its original box, h. 18‑1/4”, w. 11‑1/4”, d. 7‑3/4”. [700/1000] Illustrated

122 Daum Pate-de-Verre “Rose Passion” Vase, 20th century, French, the amber-colored flaring vase modeled with roses and leaves, in its original box, h. 12”, dia. 11”. [700/1000] Illustrated

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123 Art Deco Brass and Glass Display Cabinet, first quarter 20th century, fitted with two beveled glass doors opening to a mirrored and shelved interior, raised on ball-and-claw feet, indistinctly signed “Colombo Bros...Av. Alvear...”, h. 61‑1/2”, w. 28”, d. 16‑1/2”. [800/1200] 124 Lalique “Formose” Vase, ca. 1924, French, molded with an all-over pattern of fish, the engraved mark reading “R. Lalique, France, No. 934”, h. 7”, dia. 5‑3/4”. [1200/1800] Illustrated 125 Lalique Molded Crystal “Anthurium” Vase, ca. 2001, French, the flaring vase molded with frosted leaves on each side, in its original box, h. 15‑3/4”, w. 7”, d. 5‑3/4”. [1500/2500] Illustrated 126 Lalique Frosted and Clear Colorless “Three Jaguars” Vase, 20th century, French, molded with three jaguar heads surmounted with a vase molded with frosted leaves, the bottom with an engraved signature reading “Lalique France A198”, in its original box, h. 11”, dia. 8”. [1000/1500] Illustrated 126

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128 127 Pair of Lalique “Claude” Crystal Vases, 20th century, French, the pillarmolded and frosted vases decorated on the lower portion with cut leaves, signed “Lalique France”, h. 13‑3/4”, dia. 4‑1/2”. [500/800] Illustrated 128 Pair of SteubenAttributed Cut Crystal Pheasants, 20th century, Corning, New York, unmarked, h. 6‑1/2”, w. 2‑1/2”, l. 9‑1/2”. [800/1200] Illustrated

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129 After Pablo Picasso (Spanish/French, 1881‑1973), “Dove of Peace”, lithograph in colors on “Lana” paper, pencil signed lower right, 22” x 29”. Glazed, float-mounted and framed. [1200/1800] Illustrated

131 131 Pablo Picasso (Spanish/French, 1881‑1973), “Portrait Imaginaire”, lithograph in colors, from Portraits Imaginaires series, 1972, signed and dated in plate upper left, numbered in pencil “A 130/250” lower right, sheet, approximate size 25‑1/2” x 19‑3/4”. Glazed, float mounted and framed. [800/1200] Illustrated

129 130 Pablo Picasso (Spanish/French, 1881‑1973), “Femme au Balcon, Affiche Oeuvre Grave”, 1959, lithograph on Arches paper, signed in red crayon lower right, sight 24” x 19”. Glazed, matted and framed. [1800/2500] Illustrated 130

133 132 Ermanno Nason (Italian, b. 1928), Murano glass cockerel jug, 1984, clear glass with applied glass in red, purple, blue and white, engraved signature, dated, and inscribed “P. d’arte” along back, h. 14‑1/2”. [800/1200] Illustrated 133 Marc Chagall (Russian/French, 1887‑1985), “Adam and Eve are Banished from Paradise”, lithograph in colors from Drawing for the Bible, Mourlot Freres, Paris, sight 13‑1/2” x 10”. Glazed, matted and framed. Provenance: Georgetown Frame Shoppe, Washington, D.C. [600/900] Illustrated

134 134 Marc Chagall (Russian/French, 1887/1985), “Angel with a Candlestick”, lithograph in colors, printed by Charles Sorlier, 1973, signed in pencil lower right, numbered “148/200” lower left, sight 23” x 18‑1/4”. Glazed, matted and framed. [2500/4000] Illustrated 135 LeRoy Neiman (American, 1921‑2012), “Hunter Trials”, 1972, color serigraph, pencil-marked “A/P” lower left and signed lower right, sight 28‑1/2” x 40‑1/2”. Matted, glazed and framed. [1200/1800] Illustrated

132 135

136 detail 137 Bruce Barnbaum (American, b. 1943), “Moonrise Over Cliffs and Dunes”, black and white silver gelatin print mounted on white board, signed in pencil lower right, dated “1992” lower left, sheet 15‑3/8” x 18”. Glazed, matted and presented in a contemporary frame. [500/800] Illustrated

136 136 Ansel Adams (American, 1902‑1984), “Jeffrey Pine, Sentinel Dome, Yosemite”, 1940, printed ca. 1970, silver gelatin print mounted on board, pencil monogrammed lower right, “Photographs of Yosemite” stamp en verso, 7‑1/2” x 9‑1/2”. Matted and framed. [3000/5000] Illustrated

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138 Nicholas Trofimuk (American, Contemporary), “New Mexico Symphony” and “Santa Fe Sunlight No. 1”, two black and white silver gelatin photographs, each signed in pencil on mat lower right, titled lower left, sight 14” x 17‑5/8” and 10” x 12‑5/8”. Both glazed, matted and presented in contemporary frames. [500/800] Illustrated 139 Yousuf Karsh (Armenian, 1908‑2002), “Winston Churchill”, 1941, silver gelatin print, signed lower right, verso with “Copyright by Karsh, Ottawa, Canada” stamp en verso, sheet size 13” x 10‑1/4”. Glazed, float mounted and framed. [4000/7000] Illustrated 137

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139 140 Baccarat “Rotary” Pattern Crystal Ice Bucket, post1981, French, tapered and molded with channels, and marked on the bottom, h. 9”, dia. 8”. [600/900] 141 Contemporary Baccarat Crystal “Tornado” Vase, 20th century, French, with a tapered and molded swirled opening, marked underneath with an etched decanter and glasses mark and signed “Baccarat” along the outer lower edge, retains the original red Baccarat fitted box, h. 14‑1/2”, dia. 8‑1/2”. [1500/2500] Illustrated 142 141 Extensive Partial Service of Baccarat “Harcourt” Pattern Stem and Bar Ware, 20th century, French, including thirteen champagne flutes, h. 7”, twelve tall water goblets, h. 6‑1/2”, twelve claret glasses, h. 5‑3/8”, eleven port glasses, h. 4‑7/8”, and eleven old fashioned glasses, h. 3‑7/8”, together with five Continental molded salt dishes cut with flowers, h. 2‑1/4”. [1500/2500] Illustrated

143 Partial Service of Baccarat “Genova” Cut Crystal Stemware, 20th century, French, including four champagne flutes, h. 8‑1/4”, fifteen tall water goblets, h. 7‑1/2”, seventeen claret wine glasses, h. 6‑1/2”, and twelve champagne/sherbet coupes, h. 5‑1/2”. [700/1000] Illustrated

144 Large French Cameo Glass Vase, second quarter 20th century, in the manner of Daum, the mauvedecorated vase depicting rolling hills with cottages overlooking a lake in a valley, bearing the acid etched signature “Arsall”, h. 26‑3/4”, dia. 9”. [500/800] Illustrated 144

145 Louis XVI-Style Polychrome Bergere and Ottoman, the tall, padded rectangular back joined by padded arms on spiral-fluted uprights to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 45”, the conforming ottoman cushioned and raised on like legs, h. 17”, w. 31”, d. 25‑1/2”. [1200/1800] Illustrated 146 Philip LaVerne (American, 1908‑1988) and Kelvin LaVerne (American, b. 1936), “Eternal Forest” Coffee Table, ca. 1969, with an acid-etched, enameled, patinated brass and pewter-clad surface over a wooden superstructure, the circular top bearing the etched signature “Philip & Kelvin LaVerne”, h. 17”, dia. 42”. [4000/7000] Illustrated

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147 Loet Vanderveen (Dutch, 1921‑2015), “Bull Elephant”, patinated bronze, signed, copyright marked, and numbered “250/250” at underside of belly, h. 10”, w. 11‑3/4”, d. 10‑3/4”. [1500/2500] Illustrated

150 150 Loet Vanderveen (Dutch, 1921‑2015), “Cheetah Pair”, patinated bronze, signed, copyright marked, and numbered “187/750” at underside of belly, h. 5‑3/2”, w. 13‑3/4”, d. 6‑3/4”. [1000/1500] Illustrated 151 Loet Vanderveen (Dutch, 1921‑2015), “Gerenuk and Tree”, patinated bronze, signed, copyright marked, and numbered “35/750” along lower edge of branch, h. 16‑7/8”, w. 9”, d. 6”. [1000/1500] Illustrated

148 Loet Vanderveen (Dutch, 1921‑2015), “Lion Pair”, patinated bronze, signed, copyright marked, and numbered “36/750” at underside of belly, h. 7”, w. 15‑1/4”, d. 9”. [1500/2500] Illustrated 149

149 Loet Vanderveen (Dutch, 1921‑2015), “Ostriches Running”, patinated bronze, signed, copyright marked, and numbered “73/1250” at underside of belly, h. 8‑1/8”, w. 13‑3/8”, d. 6”. [1000/1500] Illustrated

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152 Loet Vanderveen (Dutch, 1921‑2015), “Rhino”, patinated bronze, signed, copyright marked, and numbered “277/500” at underside of belly, h. 5‑1/2”, w. 10‑3/4”, d. 4”. [1000/1500] Illustrated

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154 Joseph Kiselewski (American, 1901‑1986), “Seated Nude”, patinated bronze, signed at back edge of base, inscribed “Roman Bronze Works” along side edge of base, h. 19”, w. 16‑1/2”, d. 13”. [1500/2500] Illustrated

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153 Unusual Pair of French Glass and Metal Cloche Hall Lanterns, 19th century and later, each utilizing an inverted blown glass melon cloche as a shade, and mounted with three electrified metal candle sockets, supported on three hanging rods suspended from the hook-mounted ring, h. 37‑3/4”, dia. 18‑1/2”. [1000/1500] Illustrated 154

155 155 John Thomas Biggers (American/Texas, 1924‑2001), “Untitled Nude”, 1984, conte crayon on paper, signed and dated lower right, sight 21‑1/4” x 15‑1/2”. Glazed, matted and framed. [6000/9000] Illustrated

156 156 John Thomas Biggers (American/Texas, 1924‑2001), “Our Grandmothers”, lithograph, signed lower right, numbered “27/60” lower left, sight 23‑5/8” x 17‑5/8”. Glazed, matted and framed. [800/1200] Illustrated John Thomas Biggers (1924‑2001), an influential African American artist and educator of the 20th century, is recognized for his drawings, prints, and murals. He studied art at Hampton Institute (now University) in North Carolina and continued his education at Pennsylvania State University where he received his M.A. and PhD. In 1943, his work was included in the revolutionary show Young Negro Art at the Museum of Modern Art in New York. Biggers later moved to Houston, TX in 1949, where he established the art department at Texas State University for Negros (now Texas Southern University). From there, his career and work transformed over the next five decades, though still remaining rooted in traditions of African Art and Southern African-American culture. Shotgun houses, churches, railroads, images of spiritual reawakening, and travel are typical symbols featured in his work. His work received numerous prizes during his early career, but during a time of entrenched racial segregation, once award-givers discovered Biggers was African American, receptions honoring the artist were frequently canceled. Biggers' significant role in Modern African American Art was recognized later in life and he was the recipient of numerous awards, including being named "Distinguished Professor" at Texas Southern University, "Texas Artist of the Year" by the Art League of Texas. He received an Achievement Award from the Metropolitan Arts Foundation.

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158 John Thomas Biggers (American/Texas, 1924‑2001), “Three Children”, 1965, lithograph, artist proof, signed and dated lower right, titled lower left, sight 25‑3/8” x 17‑3/4”. Glazed, matted and framed. [1200/1800] Illustrated

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157 Maya Angelou (American, 1928‑2014) and John Thomas Biggers (American, 1924‑2001), Our Grandmothers, New York: Limited Editions Club, 1994, limited edition 243 of 400, folio, in clay red Japanese linen cloth, presented in a similarly cloth-bound box stamped in black, printed on handmade paper and hand bound, the poem by Angelou printed by Dan Keleher at Wild Carrot Letterpress, Hadley, Massachusetts, the five black and white lithographs by Biggers pulled by Bruce Porter at Trestle Editions, New York, New York, each pencil signed by Biggers lower right, title page pencil signed by Biggers, colophon page pencil signed by Biggers and Angelou, bound sheet size 21‑7/8” x 17”, box 22‑7/8” x 18‑1/4”. [2500/4000] Illustrated

160 159 John Thomas Biggers (American/Texas, 1924‑2001), “Black Family”, 1986, lithograph, signed and dated lower right, titled and numbered “7/50” lower left, sight 21” x 25‑1/2”. Glazed, matted and framed. [2000/4000] Illustrated 160 John Thomas Biggers (American/Texas, 1924‑2001), “Marked Women”, 1964, lithograph, signed, dated and numbered “Proof No. 5” lower right, titled lower left, sight 22” x 29‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated

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161 161 John Thomas Biggers (American/ Texas, 1924‑2001), “Midnight Hour”, 1995, etching in colors, signed and dated lower right, titled lower center and numbered “10/60” lower left, sight 21‑3/8” x 16‑5/8”. Glazed, matted and framed. [1000/1500] Illustrated

162 Good Pair of Georg Jensen Sterling Silver “Pomegranate” Candelabra, the pattern designed ca. 1904 by Georg Jensen (1866‑1935), Copenhagen, these examples third quarter 20th century, each with a pomegranate standard surmounted by stemmed berries and a pair of entwined scrolling arms, each terminating in a lobed nozzle and circular drip-pan, with central berry finial and circular foot, h. 9”, w. 6‑3/4”, base dia. 3‑7/8”, 74.86 total t. oz. [9000/12000] Illustrated

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163 Six Pieces of Alphonse LaPaglia (1907‑1953) Modernist Design Sterling Silver Flatware, mid20th century, by Georg Jensen USA, New York and International Silver, Meriden, Connecticut, including a pattern #131 salad serving set, l. 9‑3/4”, and four pieces of pattern #112 (“Scarlet Pimpernel”), including a condiment spoon, l. 5‑1/4”, a condiment fork, l. 5‑1/2”, and a pair of demitasse spoons, l. 4”, 10.47 total t. oz. Provenance: Harriet K. LaPaglia Prasse (1903‑1993), Ocala, Florida, widow of Alphonse LaPaglia, to the consignor’s family. [500/800] Illustrated Little is known of the early life of noted mid-century modernist silversmith Alphonse F. X. LaPaglia. Immigration and naturalization papers show that he was born on September 11, 1907 in Caltanissetta, Sicily and arrived in the United States in August 1913 with three brothers: Michele, Salvatore and Vittorio. (A fourth brother - Umberto - would arrive in 1915.) Census records show him in 1920 both in the household of his stepfather Frank Nicholson and as a student in the New York State Agricultural and Industrial School, and in 1925 he is recorded a boarder in the household of Dr. John Weinmann in Leicester, New York. By 1930 he is listed in Manhattan as a repairer of musical instruments, a trade practiced by of all his brothers. (The census shows him lodging with 70‑year-old Indian emigrant Phofuela Gasbal and his wife Imogene Gasbal, a 24‑year-old vaudeville performer!) The first census to show him working as a silversmith is 1940, when he was living in East Orange, New Jersey. In that year Frederick Lunning, American agent for Georg Jensen, secured the exclusive rights to sell Jensen silverware in the United States, but almost immediately the German occupation of Denmark prevented all exports to America. To meet the demand for Danish Modern designs, Lunning hired LaPaglia and other American silversmiths to create jewelry and silverware under the brand “Georg Jensen USA”. (During this time, it is also reported that LaPaglia was engaged as an intelligence agent for the U.S. in his native Italy.) After the war, the Jensen firm in Copenhagen, which had been completely unaware of Lunning’s activity, sued him for design infringement. The suit was finally settled in 1950, and in 1952 LaPaglia was invited by International Silversmiths of Meriden, Connecticut to form International Sterling Craft Associates, expanding LaPaglia’s Summit, New Jersey garage workshop into a prestige design and craft shop. Shortly after the move to Connecticut, however, LaPaglia fell from the roof of his house while cleaning the gutters, and the injuries he sustained led directly to a fatal heart attack on November 19, 1953. International purchased his workshop from his widow, Harriet (later Mrs. Arthur Prasse), and continued to produce LaPaglia’s designs throughout the 1950s in a popular and quite extensive line. (Included were some of his Jensen USA designs, as exemplified by the salad set here, with one piece from Jensen USA and the other from International.) References: Nancy Schiffer and Janet Drucker, The American Designs: Jensen Silver (Atglen, PA: Schiffer, 2007); Dorothy T. Rainwater, “Alphonse LaPaglia: Silversmith and Designer”, in Silver Magazine, May/June 1995; Ginger Moro, “The Mystery Designer for Georg Jensen USA”, in Jeweler’s Circular Keystone, June 1996.

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164 Alphonse LaPaglia (1907‑1953) Modernist Design Sterling Silver Porringer, mid-20th century, Summit, New Jersey, of bulbous circular form with scrolled “berry” handle, dia. 4‑1/2”, l. 5‑1/2”, 9.57 t. oz. Provenance: Harriet K. LaPaglia Prasse (1903‑1993), Ocala, Florida, widow of Alphonse LaPaglia, to the consignor’s family. This is an early handcrafted piece from LaPaglia’s workshop. [500/800] Illustrated 165 Alphonse LaPaglia (1907‑1953) Modernist Design Sterling Silver and Ebony Cocktail Shaker, mid20th century, by International Silversmiths, Meriden, Connecticut, of cylindrical form with slightly rounded base, the short spout between annular bands, the sleeve-fitted lid with turned ebony beveled-disc finial, the carved ebony handle with gentle curve and flute, the whole above a beveled foot ring, h. 9‑1/2”, l. 5‑3/4”, dia. 3‑7/8”, 26.12 t. oz. (including ebony fittings). Provenance: Harriet K. LaPaglia Prasse (1903‑1993), Ocala, Florida, widow of Alphonse LaPaglia, to the consignor’s family. [800/1200] Illustrated 166 Tiffany & Co. Sterling Silver Punch Bowl, the pattern introduced in 1913, the hemispherical bowl raised on a broad cylindrical foot ring with reeded banding, the cavetto-flared base with acid-engraved oval-and-shield banding, with later handcrafted arched handles, h. 6‑1/4”, dia. 10‑1/2”, w. 13‑3/4”, 70.30 t. oz. [1800/2500] Illustrated

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167 Eighty-One-Piece Set of Tiffany & Co. “Castilian” Sterling Silver Flatware, the pattern designed in 1929 by Arthur LeRoy Barney (1884‑1955), comprising eight nine-piece place settings (two iced tea spoons lacking), with eleven additional place pieces and four serving pieces, no monograms, 101.04 total t. oz., presented in a fitted Hagerty cloth-covered drawer insert with zippered closure, 12‑1/2” x 19‑1/2”. Detailed list of pieces available on request. [4000/7000] Illustrated

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169 Pair of American Sterling Silver “Danish Modern” Candelabra, second quarter 20th century, by the Woodside Sterling Co., New York, New York, each with a central openwork “leaf and berry” standard between a circular domed foot and cap, the cap with baluster stem flanked by two acanthus-scroll arms, the stem and arms all ending in a stylized floriform nozzle with drip-pan en suite, monogrammed on the base “S”, h. 7”, w. 9‑1/2”, dia. 4‑1/4”, 40.70 total t. oz. [1800/2500] Illustrated

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168 168 Pair of Danish Modern Sterling Silver Candlesticks, third quarter 20th century, by C. C. Hermann, Copenhagen, each with a tapering fluted columnar standard above a cavetto-waisted base and surmounted by a plain saucer-form nozzle, h. 13”, dia. 4‑5/8”, 29.21 total t. oz. [500/800] Illustrated

170 Fifty-Eight-Piece Set of International “Royal Danish” Sterling Silver Flatware, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including eight six-piece luncheon place settings (three pieces lacking), with three additional place pieces and nine serving pieces, no monograms, 67.37 total t. oz. (weighable silver). Detailed list of pieces available on request. [600/900] Illustrated 171 American Sterling Silver Modernist Tea Tray, second quarter 20th century, by M. Fred Hirsch Co., Inc., Jersey City, New Jersey, of navette form, the slightly upturned ends with integral handles, 21‑1/2” x 14”, 54.01 t. oz. [800/1200]

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172 Forty-Six-Piece Set of Puiforcat “Richelieu” First Standard (.950) Silver Flatware, second half 20th century, Paris, comprising five ninepiece place settings (dinner fork, salad fork, dessert fork, dinner spoon, dessert spoon, teaspoon, demitasse spoon, dinner knife and butter spreader) with one additional teaspoon, no monograms, 67.92 total t. oz. (weighable silver). Detailed list of pieces available on request. [1800/2500] Illustrated

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172 detail

173 Fine American Modernist Sterling Silver Gilt and Gemstone Liturgical Cross, mid-20th century, by Carl O. Podszus, New York, the flat cross set with a central bezelset, brilliant-cut amethyst weighing approximately 10 carats, the arms pegset with 2.5 mm seed pearls, with open scrollwork between the arms and the Greek letters “alphaomega” at the base, the whole above a turned whale tooth knop and gadrooned base on a circular foot, h. 14‑1/4”, w. 4‑3/4”, 11.89 t. oz. [1500/2500] Illustrated

174 Paul Evans (American, 1931‑1987), “Cityscape” burlwood, brass and glass cocktail table, 1970s, for Directional, signed “Paul Evans”, h. 15‑3/4”, w. 42”, d. 42”. [1800/2500] Illustrated

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175 175 Robert Indiana (American, b. 1928), “Terre Haute”, 1971, silkscreen in colors, signed and dated lower right, numbered “67/208” lower left, sight 38” x 31”. Glazed, matted and framed. [800/1200] Illustrated 176 Louise Nevelson (American, 1899‑1988), “Brandeis Multiple”, 1968, patinated bronze, signed and dated en verso, from an edition of 150, produced for the Brandeis University National Women’s Committee, attached to a plexiglass base, overall, h. 7”, w. 2‑3/4”, d. 2‑1/2”. [1500/2500] Illustrated

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177 Friedensreich Hundertwasser (Austrian, 1928‑2000), “Citta nella Citta”, 1979, color silkscreen, inscribed and numbered “304/350” lower margin, and with a Japanese stamp, sheet 22” x 30”. Glazed and framed. [2500/4000] Illustrated 178 Sam Francis (American, 1923‑1994), “Hurrah for the Red, White and Blue, Variant”, lithograph in colors, signed in pencil lower right, numbered “27/45” lower left, sheet 20” x 25‑1/2”. Glazed, float mounted and framed. [1500/2500] Illustrated

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179 Christian Eckart (Canadian/Houston, b. 1959), “Untitled II”, 2005, polished aluminum, from the Circuit Painting series, inscribed “Circuit Painting 2 of 6” and initialed en verso, 36” x 78”. [3000/5000] Illustrated

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181 Christian Eckart (Canadian/Houston, b. 1959), “Untitled I”, 2005, polished aluminum, from the Circuit Painting series, inscribed “Circuit Painting 1 of 6”, dated, and signed en verso, 36” x 78”. [3000/5000] Illustrated

180 180 Alexander Calder (American, 1898‑1976), “Les Vagues (Waves)”, color lithograph, ca. 1970, pencil signed lower left and numbered “9/99” lower right, sheet 19‑5/8” x 12‑5/8”. Glazed and framed. [800/1200] Illustrated

Christian Eckart has received international acclaim for his new age conceptual works that attempt to express relationships between nature and the infinite in finite forms. Eckart’s sculptural paintings, situated in the tradition of the “Northern Romantic Sublime”, are strongly influenced by his native Calgary. Situated at the crossroads of the Rocky Mountain foothills and vast prairie expanses, the city is also home to some of the most ethereal Northern Lights, as the region (Alberta) boasts the two darkest sky preserves in the world. Landscapes, such as these, continuously inform Eckart’s series. According to the artist, the ”Circuit Series,” an extension of the ”Andachstein” and “Eidolon” Series, is a dialectical exploration of the “inside and out”, of the liminal space between the physical and the metaphysical. The aluminum “undone” figure eight form in the work offered here is a literal turning of the form “we understand as a painting, and most specifically, the monochrome, inside out.” 182 Christian Eckart (Canadian/Houston, b. 1959), “Diptych”, acrylic urethane on aluminum plate, from the Circuit Painting series, 27” x 56” and 28” x 48”. [4000/7000] Illustrated Eckart’s monumental amorphous structures are designed to fit within and around each other.

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183 Aaronel deRoy Gruber (American/ Pennsylvania, 1918‑2011), “Spinning”, 1969, acrylic and plexiglass, signed, dated, copyright marked, marked “A/P”, and inscribed “119‑IN” along upper edge of cube, h. 6‑1/2”, w. 4‑1/4”, d. 3‑3/4”, now with a metal and marble presentation stand. [600/900] Illustrated

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185 184 184 Jeff Koons (American, b. 1955), “Loopy”, 2000, high gloss print on glossy photo paper, signed and numbered “10/1000” lower right and en verso, approximate sight 33” x 24”. Glazed, matted and framed. [2500/4000] Illustrated 185 Aaronel deRoy Gruber (American/Pennsylvania, 1918‑2011), “Diamond”, 1970, acrylic and plexiglass, signed, dated, copyright marked, numbered “1/8”, and inscribed “126‑B” along bottom edge, h. 24”, w. 9‑3/4”, d. 10”, now with a metal and marble presentation stand. [800/1200] Illustrated 186 Menashe Kadishman (Israeli, 1932‑2015), “Untitled”, two steel and glass sculptures, one signed and numbered “5/7” at bottom, the tallest, h. 5”, w. 9‑1/2”, d. 1”. [1200/1800] Illustrated

187 Lalique Glass and Chromed Steel Lighted Wall Bracket Console, with a pressed and frosted glass triangular standard decorated with Art Deco-style wheat stalks and supporting a large half-ellipse colorless glass shelf, the standard with etched signature “Lalique, France”, overall, h. 18‑1/2”, w. 50‑1/4”, d. 11‑5/8”. [500/800] Illustrated 188 Hunt Slonem (American, b. 1951), “Hornbill”, 1988, oil on canvas, signed, dated and titled en verso, 68” x 41‑3/4”. In a thin gallery frame. [6000/9000] Illustrated 189 Joseph Glasco (American, 1925‑1996), “Untitled”, 1984, oil and collage on canvas, signed and dated en verso, verso with a “Moody Gallery, Houston, TX” label, 74” x 70”. Framed. [2000/4000] Illustrated

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190 190 Wook-Kyung Choi (Korean, 1940‑1985), “White Reflection Through Black”, 1963‑65, oil on canvas, exhibition label en verso canvas, 35‑3/4” x 35‑5/8”. [3000/5000] Illustrated Stretched and unframed. Provenance: Estate of the artist. Choi painted this monochromatic work while studying at the Cranbrook Academy of Art, Bloomfield Hills, Michigan. 191 Wook-Kyung Choi (Korean, 1940‑1985), “New Mexico Snow”, 1976, acrylic on paper, signed, dated “12/20/76” lower left, 27‑3/8” x 39”. Framed. Provenance: Estate of the artist. [1800/2500] Illustrated Painted during Choi’s residency at the Roswell Museum in New Mexico, this work illustrates the artist’s experimentation with light and airy forms and colors inspired by the New Mexico landscape. 188

192 Allison Stewart (American/New Orleans, b. 1941), “Julia Wall III”, mixed media on hand-made paper, signed lower right, titled lower left and en verso, 35‑3/4” x 48”. Glazed, float mounted on linen backing and presented in a contemporary metal frame. [3000/5000] Illustrated 193 Leonardo Nierman (Mexican, b. 1932), “Prophesy”, acrylic on masonite, signed lower right, titled en verso, 48” x 35‑3/8”. Presented in a thin gallery giltwood frame. [2000/4000] Illustrated

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194 194 Adele Sypesteyn (American/Louisiana, Contemporary), “Accentrate”, mixed media on canvas, signed lower right, titled en verso on stretcher, 60” x 48”. Unframed. [1800/2500] Illustrated

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195 195 Douglas Bourgeois (American/Louisiana, b. 1951), “Helen Dreams of Spring”, 1986, oil on plywood, signed, dated and titled en verso, verso with a “Galerie Simonne Stern, New Orleans, Louisiana” gallery label, 7‑1/2” x 8”. Provenance: Private collection, New Orleans, Louisiana; Galerie Simonne Stern, New Orleans, Louisiana. [2500/4000] Illustrated Douglas Bourgeois was born in Saint Amant, Louisiana, and the intense character of Southern landscape and culture is a lingering component in his work. Bourgeois finds inspiration and influence from biographical fantasies, tributes to pop icons, discarded paper media, religious iconography and the mysterious life of objects. As a child, he attended catholic school and had once intended to become a priest, but rock and roll music gained popularity around the same time, influencing him to alter his career choice. Themes of music and religion play out equally in his work. Bourgeois’ early style was influenced by the visionary outsider artists and the raw expressive extravagance of Chicago Imagism. Although he is reluctant to define his art, in 1990, a New Orleans art critic, D. Eric Bokhardt dubbed Bourgeois along with a group of fellow New Orleans artists, such as Jacqueline Bishop and George Febres, as a “Visionary Imagist”, whose art deals mostly with social, psychological and emotional issues. Looking at the intimate portrait, “Helen Dreams of Spring”, rendered in a Bourgeois’ trademark meticulously detailed style, we are reminded of early Renaissance panels and icons. The mundane is transformed into mysterious and mystical; pansies, seen in the background, known to grow in Louisiana during wintertime are a symbol of free thinking, while “Helen” bears an expression of deep thought as she dreams of coming spring and perhaps a personal awakening.

197 (open) 197 Jose Luis Cuevas (Mexican, b. 1934), “Cuevas Comedies”, 1971, triptych consisting of four lithographs and woodcuts, the central sheet signed, dated and numbered “15/100” in pencil lower left, blindstamped with “Collectors Press” monogram, the whole presented in an acrylic case, closed: h. 33”, w. 25‑1/2”, d. 2”, open: h. 33”, w. 57”, d. 1”. [1200/1800] Illustrated 198 Rufino Tamayo (Mexican, 1899‑1991), “Dos Cabezas”, 1969, color lithograph, from the “Mujeres” series, pencil signed lower right, numbered “XXI/XXV” lower left, 21‑3/4” x 28‑1/4”. Glazed, matted and framed. [1400/1800] Illustrated

196 James Michalopoulos (American/New Orleans, b. 1951), “New Orleans Tilt”, 1992, acrylic on canvas, signed “Mitchell” lower left, signed, dated, and inscribed “New Orleans” en verso, 30” x 24”. Framed. [5000/8000] Illustrated

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203 199 Rufino Tamayo (Mexican, 1899‑1991), “Perro”, 1979, etching in colors on Guarro paper, signed in white crayon bottom center, marked “HC” and numbered “X/10” lower left, published by Ediciones Poligrafa, S.A., Barcelona, from an edition of 100 with 10 hors commerce, sight 22” x 29”. Float-mounted, glazed and framed. [3000/5000] Illustrated 200 Pedro Friedeberg (Mexican, b. 1936), “Astroecological Chair”, carved and gilded wood, rusticated cowhide upholstery, hands, stars, and half-moon elements along top of chairback, signed at bottom of one foot, h. 49‑3/4”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [10000/15000] Illustrated

201 Thomas Ostenberg (American, b. 1949), “Give Us Grace for Today”, verdigris patinated bronze, cast signature and edition number “2/12” inscribed on side, h. 34”, w. 8”, d. 12”. [12000/18000] Illustrated 202 Jules Pascin (French, 1885‑1930), “Three Men - New Orleans”, watercolor on paper, pencil signed lower right, sight 6” x 5‑1/2”. Attractively matted, glazed and framed. Provenance: Swann Galleries, New York, New York, November 5, 2013, as lot 120. [2000/4000] Illustrated 203 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Study for a Painting”, 1985, graphite on paper, signed and dated lower right, sight 8” x 8‑1/2”. Glazed, matted and framed. [700/1000] Illustrated

204 Stanley William Hayter (British, 1901‑1988), two untitled etchings, 1932, from Ombres Portees, by Georges Hugnet, Editions de la Montagne, Paris, both pencil signed and dated lower right, one numbered “55/90” on old label en verso, each sight 7” x 4‑5/8”. Glazed, matted and framed alike. [700/1000] Illustrated 205 Caroline Durieux (American/Louisiana, 1896‑1989), “Mardi Gras Day, The Coach Dogs”, lithograph, signed and titled in pencil lower right, further pencil inscribed lower right edge “printed by the artist-15 prints”, 15” x 10”. Glazed, double-matted and presented in a contemporary frame. [1000/1500] Illustrated

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206 William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Masked Nude”, 1992, oil on canvas, signed lower right, 60” x 48”. Framed. [14000/25000] Illustrated

210 Clementine Hunter (American/Louisiana, 1887‑1988), “Baby Jesus”, oil on panel, monogrammed mid-right, 18” x 24”. Framed. [1500/2500] Illustrated

207 Harold Pierce (American/Louisiana, 20th Century), “The Bribe”, gouache on silk, signed lower right, titled lower center, sight 21” x 17”. Glazed, matted and framed. [1200/1800] Illustrated

211 Continental Four-Panel Painted Paper Screen, second quarter 19th century, the lower portion painted to resemble paneled wainscoting, the upper portion depicting people strolling amidst a fountain and planters, a cityscape in the background, on a period blue-painted frame, h. 71”, w. 74”. [1500/2500] Illustrated

208 William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Sula”, 1992, oil and carved wood on board, signed lower right, 60” x 48”. Framed. [15000/25000] Illustrated 209 William Tolliver (American/Louisiana, 1951‑2000), “Three Musicians”, oil on paper, signed lower left, sheet 27” x 22”. Unframed. [2000/4000] Illustrated

212 Provincial Polychrome Armoire, 20th century, the molded rectangular cornice above a conforming case fitted with two doors, each inset with three panels with applied corner foliate accents, raised on block feet, h. 92”, w. 65”, d. 23”. [700/1000] Illustrated 213 Pair of Louis XVI Polychrome Fauteuils, late 18th century, each with a padded tufted back surmounted by a floral crest, joined to the cushioned rush seat by padded arms on fluted uprights, raised on stop-fluted tapering circular legs joined by an X-form stretcher and ending in toupie feet, h. 36”. [2500/4000] Illustrated 214 Provincial Louis XV-Style Polychrome Buffet, 19th century, the rectangular, breakfront top above a conforming case fitted with two cupboard doors, each inset with a shaped panel and above a scalloped apron, raised on cabriole toes, h. 41‑1/2”, w. 51‑1/2”, d. 26”. [700/1000]

212

211

213

221 215 J. F. Jungling (Austrian, 19th/20th Century), “Floral Still Life with a Butterfly, Lute, Flute and a Music Sheet”, gouache on paper, signed and dated lower right, “J. F. Jungling 1908”. Presented in a Louis XVI-style guilloche-carved and parcel-gilt frame, cornered with patera carvings and surmounted by a floral- and musical instruments-carved and pierced crest, overall size, 21” x 17”. [1500/2500] Illustrated

215

216 Provincial Louis XV-Style Polychrome Buffet, mid-19th century, the rounded rectangular top above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel, flanked to either end by a fluted upright, over a shaped apron, raised on Flemish toes, h. 44‑1/2”, w. 57‑1/2”,d. 25”. [1200/1800] Illustrated 217 Provincial Polychrome Armoire, late 19th century, the molded rounded rectangular crest above a conforming case fitted with a paneled frieze over two doors, each inset with three shaped panels, over a scalloped anthemioncarved frieze, raised on shaped feet, h. 84‑1/2”, w. 66”, d. 26”. [1800/2500] Illustrated 218 Belle Epoque Peindre sur Dore Cushion Mirror, first quarter 20th century, set with an antique beveled mirror glass, the surround carved with egg-and-dart molding, the pierced corners decorated with shells on a latticed ground and pierced scrollwork, h. 72‑1/2”, w. 62”. [1000/1500] Illustrated

218

216

219 Louis XV-Style Polychrome Games Table, mid-19th century, the square top with a molded edge and inset leather surface, above a shaped frieze, raised on cabriole legs headed by foliate carving and ending in hoof feet, h. 28”, w. 30”, d. 30”. [1000/1500] Illustrated 220 Louis XVI-Style Polychrome Fauteuil, mid-19th century, the domed and padded back within a molded and annulated frame, joined by padded scrolling arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 36”. [1000/1500] 221 Pair of Louis XV Polychrome Fauteuils, late 18th century, each with a padded back surmounted by a foliate shield crest, joined by molded scrolling arms to the padded seat, above a shield-carved frieze, raised on molded cabriole legs ending in scrolled feet, h. 36‑1/2”. [2500/4000] Illustrated

219

222 Provincial Louis XV-Style Polychrome Pine Cabinet, early 20th century, the molded cornice above a floral basket-carved frieze and a center section of open shelves, flanked to either side by a long bi-paneled door, above a shaped apron, raised on scrolled toes, h. 88‑1/2”, w. 109”, d. 17‑3/4”. [2500/4000] Illustrated 223 Handsome Pair of Art Deco Wrought Metal Gates, second quarter 20th century, probably French, each gate decorated with scrollwork and a central heart shape, pierced and set with a basket of roses, and terminating in a swan’s neck-form crest, each gate, h. 72”, w. 30‑1/2”. [1500/2500] Illustrated 222

217 223

224 Pair of Louis XV-Style Polychrome and Parcel-Gilt Fauteuils, mid-19th century, each with a shaped and padded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 34”. [500/800] Illustrated 225 Louis XVI-Style Parcel-Gilt Mirror, mid-20th century, on 225 pinecone-carved gilt rests, with a beaded inner liner on an ivory ground, the pierced crest decorated with crossed garden trophies on a spray of wheat, and the sides with trailing leaves, h. 47‑1/2”, w. 27”. [600/900] Illustrated 226 French Provincial Fruitwood Armoire, mid-19th century, the molded and domed cornice above a case fitted with a carved frieze depicting a bird, a torch and quiver and a laurel wreath, over two long doors, each fitted with three shaped panels and divided by an urn-, tassel- and foliate-carved upright, above a pierce lyre apron, raised on scrolled toes, h. 108”, w. 65”, d. 28”. [2000/4000] Illustrated

231 227 Louis XVI-Style Bronze Cartel Clock, fourth quarter 19th century, French, on a fluted base terminating in a leaf-molded finial, the dial with an enamel chapter ring sitting over a grillwork panel, the urn finial supporting swags of laurel leaves forming the crest and decorating the sides of the clock, h. 23‑1/2”, w. 12”, d. 4”. [700/1000] Illustrated 228 French Provincial Cherry Wood Farmhouse Table, mid-19th century, the rectangular top banded and above a shaped frieze fitted with a drawer to either end, raised on cabriole legs, h. 29‑1/2”, w. 29‑1/2”, l. 78”. [800/1200] 229 Louis XV-Style Fruitwood and Marble-Top Side Table, early 20th century, the Breche d’Alep marble top with a bowed front, molded edge and turreted corners, above a conforming frieze fitted with a single drawer, raised on molded cabriole legs ending in scrolled toes, h. 29”, w. 50‑1/2”, d. 24”. [600/900]

230

224

234 230 Napoleon III Fruitwood Bergere Avec Orielles, third quarter 19th century, in the Louis XVI taste, the padded medallion back surmounted by a floral portrait medallion crest, and joined to the cushioned seat by shaped and padded sides to ram’s head hand rests, raised above a portrait-carved frieze with pendant floral garlands on scrolled toes, h. 49”. [900/1200] Illustrated 231 Dutch School (First Quarter 19th Century), “Still Life of Peonies, Roses and Tulips in a Carved Stone Urn, with Insects and a Bird’s Nest”, oil on canvas, unsigned, 32” x 25‑3/4”. Framed. [3000/5000] Illustrated 232 Provincial Louis XV-Style Fruitwood Fauteuil, early 19th century, the shaped and padded back surmounted by a foliate shell crest and joined by padded arms to the like seat, raised on cabriole legs ending in shaped toes, h. 37‑1/2”. [600/900]

227

233 Regence Chestnut Commode, 18th century and later, the top with a molded edge and a bowed front, above a conforming bombe case fitted with three long drawers, each with three shaped panels, the sides paneled, raised on block bracket feet, h. 41”, w. 55”, d. 30”. Provenance: Christie’s, New York, Sale 214, March 2009. [4000/7000] Illustrated 234 Suite of Eight Victorian Armchairs of Louis XVI Inspiration, fourth quarter 19th century, each with a molded back centered by an eagle-carved crest, with open arms, fluted serpentine seat rail with a central panel with the initials “HP”, and raised on ribbed and fluted legs, h. 36‑1/2”. [1500/2500] Illustrated

233

226

235 French Provincial Fruitwood Refectory Table, 19th century, the planked top with banded ends above a frieze fitted with a drawer to one end, raised on tapering turned and bulbous legs ending in ball feet, h. 28‑1/2”, w. 28‑1/2”, l. 71‑1/2”. [1200/1800] Illustrated 236 French Provincial Fruitwood Desk, late 19th century, the planked rounded rectangular top above a case fitted with a central kneehole flanked to each side by a deep drawer, the back paneled to simulate three drawers, raised on cabriole legs, h. 30”, w. 70”, d. 29‑1/2”. [500/800] 240

237 Provincial Louis XV-Style Oak and Fruitwood Buffet, mid-19th century, the rounded rectangular top with a molded edge, above a conforming case fitted with three drawers over two cupboard doors, each inset with a shaped panel and above a scalloped apron, raised on shaped pointed feet, h. 42”, w. 63‑1/2”, d. 27”. [2000/4000] Illustrated

235

237 239

238 French Needlepoint Tapestry of a Deer Frolicking Within a Dense Forest Setting, 18th century, composed of wool thread, now backed in linen, in warm tones of rust, ochre, brown and olive, overall lush floral border, 78” x 58”. Now mounted and fitted for framing. [1500/2500] Illustrated

241

239 Provincial Louis XV-Style Pine Armoire, late 19th century, the molded and arched cornice above a case fitted with a floral basket-carved frieze over two doors, each inset with two shaped panels divided by a small oval floral-carved panel, over a scalloped apron, raised on scrolled toes, h. 92‑1/2”, w. 57‑1/2”, d. 21”. [2000/4000] Illustrated

245

238

245 Provincial Louis XV-Style Fruitwood Occasional Table, 20th century, the banded rectangular top above a scalloped frieze fitted with a single drawer, raised on slight cabriole legs, h. 29”, w. 33‑1/2”, d. 20‑1/4”. [500/800] Illustrated

244

240 French Provincial Oak Refectory Table, 19th century, the rounded rectangular top with banded ends and above a scalloped frieze fitted with a single end drawer, raised on cabriole legs ending in acanthine scrolled toes, h. 29‑1/2”, w. 30”, l. 70”. [1500/2500] Illustrated 241 Provincial Louis XV-Style Fruitwood and Walnut Buffet, early 19th century, the rounded rectangular top above a conforming case fitted with two burl paneled drawers over two cupboard doors, each inset with a shaped panel, above a scalloped apron, raised on scrolled toes, h. 37”, w. 50”, d. 24”. [700/1000] Illustrated 242 Louis XV-Style Fruitwood Chaise Longue, mid-19th century, the double-domed and padded back surmounted by a floral crest and joined by shaped and padded sides to the long cushioned seat, above a shaped floral-carved frieze, raised on molded cabriole legs ending in foliate toes on pegs, h. 38”, w. 32”, l. 70”. [1000/1500] Illustrated

243

243 Pair of Louis XV-Style Polychrome Fauteuils, early 20th century, each with a shaped and padded back surmounted by a foliate floral crest, joined by scrolling padded arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 36”. [800/1200] Illustrated 244 Regence-Style Polychrome Stool, the padded square top raised on molded S-scroll legs joined by an H-form stretcher and ending in in-scrolled toes, h. 17”, w. 26‑1/2”, d. 25‑1/2”. [700/1000] Illustrated

242

246

248 246 Provincial Louis XV-Style Oak Armoire, early 19th century, the molded rounded rectangular cornice above a conforming case fitted with a foliate swag-carved frieze over two doors, each inset with two shaped panels, above a shaped floral patera-carved apron, raised on scrolled toes, h. 78‑1/2”, w. 60”, d. 25”. [2000/4000] Illustrated 247 Provincial Pine Side Table, 19th century, the planked rectangular top with a hinged center section, opening to a storage interior, above a plain frieze, raised on turned and bulbous legs ending in tall toupie feet, h. 29”, w. 48”, d. 26”. [700/1000] Illustrated 248 Circle of Conrad Roepel (Dutch, 1678‑1748), “Still Life of Flowers in a Glass Vase and a Butterfly”, oil on canvas, unsigned, 22” x 17”. Presented in an antique giltwood and gesso frame affixed with an artist plaque. [3000/5000] Illustrated

249

250 249 Louis XVI-Style Fruitwood Settee, late 19th century, of box form, the rectangular double-caned back surmounted by a floral ribband crest, joined by double-caned sides to the cushioned seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet, with two conforming bolsters and four throw pillows, h. 41”, w. 70‑1/2”, d. 32”. [1200/1800] Illustrated 250 Provincial Directoire-Style Fruitwood Cabinet, late 19th century, the rounded rectangular top above a case fitted with two cupboards over two cupboards, all paneled and with an inlaid diamond and star design, raised on splayed feet, h. 54”, w. 43‑1/2”, d. 16‑1/2”. [700/1000] Illustrated

253 251 Provincial Louis XV-Style Fruitwood Writing Table, mid-19th century, the slightly shaped rectangular top with a raised edge and canted corners, above a conforming frieze fitted to one side with a pull-out leather-inset slide, and to one end with a drawer with an eased back surface, raised on cabriole legs ending in sabots, h. 27”, w. 23”, d. 15”. [700/1000] Illustrated

251

252 Provincial Louis XV-Style Polychrome Buffet a Deux Corps, 19th century, the domed and scroll-molded cornice above a conforming case fitted with a paneled and fruit basket-carved frieze over two cabinet doors, each inset with a grilled panel, the lower section fitted with two cupboard doors, each inset with a shaped panel and with foliate carving, raised on scrolled toes, h. 96”, w. 55‑1/2”, d. 19‑1/2”. [3000/5000] Illustrated 253 Fine French Aubusson Fragment, 19th century, a central floral posy set within an acanthine and floral vine border, 25‑1/2” x 23‑1/2”. Matted, glazed and framed. [500/800] Illustrated

247 252

257-264

254 French Provincial Fruitwood Buffet a Deux Corps, mid-19th century, the molded rounded rectangular cornice above a conforming case fitted with a grapevine-carved frieze over two cupboard doors, each inset with a shaped panel, with carved leaf accents, the lower section fitted with two paneled cupboard doors over a shaped apron, raised on shaped feet, h. 84”, w. 54”, d. 21”. [1000/1500] Illustrated 255 Provincial Louis XV-Style Fruitwood Buffet, early 19th century, the rectangular top with canted corners, above a conforming case fitted with two cupboard doors, each inset with a shaped panel and above a shaped foliate urn-carved frieze, raised on cabriole feet ending in scrolled toes, h. 37”, w. 54”, d. 22”. [1500/2500] Illustrated 256 Large French Iron and Brass-Mounted Baker’s Rack, 20th century, the top adorned with scrolled ironwork and brass-mounted shafts of wheat, the various shelves with brass-banded fronts, h. 84”, w. 85”, d. 19”. [1500/2500] Illustrated

255

257 Group of Five Antique Copper Kettles, 18th/19th century, English or American, with gooseneck spouts, including the largest example, dovetailed and with a cylindrical knop, h. 14‑1/4”, dia. 9‑1/4”, an example with a ribbed shoulder, h. 12‑3/4”, dia. 9‑1/2”, a dovetailed example with an acorn knop, and two oval dovetailed examples, h. 8‑1/2” to 10”, w. 10‑1/4” to 10‑1/2”, d. 6” to 7”. [500/800] Illustrated

254

258 Two Pieces of French Copper Cookware, 19th century, including a massive ragout pot with copper handles and dovetailed construction, h. 13‑1/4”, dia. 19‑1/4”, and a confiture pot with copper handles, h. 7”, dia. 19‑3/4”. [500/800] Illustrated 259 Assembled Collection of Three Graduated Copper Sauce Pans, 19th century, French and English, including two French pans signed “Legoq”, mid-19th century, h. 7”, dia. 13” and h. 6”, dia. 12”, and an English dovetailed pan, early 19th century, h. 6”, dia. 10‑1/4”. [500/800] 260 Three Pieces of French Tin-Lined Copper Cookware, including an E. Dehillerin, Paris, hammered copper ragout pot, 20th century, h. 10‑1/4”, dia. 19‑1/2”, an unusual dovetailed spouted kettle, early 19th century, h. 13‑1/2”, dia. 18‑1/2”, and a dovetailed covered sauce pan, early 19th century, h. 9”, dia. 14‑3/4”. [500/800] Illustrated 266

261 Six Pieces of French Heavy Copper Cookware, marked by E. Dehillerin, including three graduated sauciers, the smallest with a lid, h. 3” to 3‑1/2”, dia. 8” to 9‑1/2”, and three graduated saute pans, h. 2‑1/4” to 3‑1/4”, dia. 7‑3/4” to 11‑1/4”. [500/800] Illustrated 262 French Hammered Copper Two-Handle Stock Pot, 20th century, fitted with a spigot and mounted with a lid, together with a steel mesh interior basket, h. 16”, dia. 14‑3/4”. [500/800] Illustrated 263 Massive Copper Cooking Pot, mid-19th century, possibly British, with dovetailed sides and set with brass handles and a brass spigot, h. 18‑1/2”, dia. 18”. [500/800] Illustrated 264 Group of Ten Antique Copper Molds, 19th century, English and French, comprising three oval molds, including a dovetailed shell example marked “Bernon 158 Oxford St.”, and another marked “Jones Bros. Down St. W.”, h. 3‑1/2” to 4”, w. 5‑1/2” to 6”, four round molds, several with unidentified marks, h. 5” to 6‑3/4”, dia. 4‑3/4” to 6‑3/4”, and three ring molds, including one marked “Trotter Paris” and another marked “Temple and Crook, Ironmongers, Motcomb St.”, h. 3‑1/2” to 4”, dia. 4‑3/4” to 5‑1/4”. [500/800] Illustrated

267

265 French Provincial Oak Dresser, mid-19th century, the open rack fitted with two shelves, supported and divided by turned and bulbous supports, the lower section with a rounded rectangular top above a conforming case fitted with three drawers over three cupboard doors, each inset with a shaped panel, over a molded base, raised on bun feet, h. 82”, w. 78‑1/2”, d. 22‑1/4”. [1000/1500] Illustrated 266 William Posey Silva (American, 1859‑1948), “Rural Landscape with Farmhouse and Fence”, oil on canvas board, 8” x 10”. Framed. [2000/4000] Illustrated

265

267 William Henry Bancroft (British/Colorado, 1860‑1932), “Landscape with Cabin”, oil on wood panel, signed lower right, 13‑1/2” x 10”. Framed. [600/900] Illustrated

269 268 268 Harry Hesser (American/California, 20th Century), “California River Landscape”, 1904, oil on canvas, signed and dated lower left, 25‑3/8” x 17‑1/8”. Presented in a polychrome, carved frame. Provenance: Ann Koerner Antiques, New Orleans, Louisiana. [700/1000] Illustrated 269 Dennis Perrin (American, b. 1950), “River Landscape”, oil on canvas, 20‑1/2” x 16”. Framed. [800/1200] Illustrated

271

270 Jack de Coudres Leonard (American, 1904‑1980), “Harbor Scene”, oil on canvas, signed lower left, 24” x 28”. Framed. [1000/1500] Illustrated 271 William Tolliver (American/Louisiana, 1951‑2000), “Water Oak”, oil on canvas, signed lower left, 11” x 14”. Presented in a burlwood veneer frame. [1500/2500] Illustrated

270

272 French Carved Oak Hanging Reliquary/Shrine, first half 18th century, with a tombstone raised panel door under a conforming cornice, the door carved with a monstrance flanked by carved flowers on each side, h. 17‑3/4”, w. 16‑3/4”, d. 10”. [600/900] 273 Provincial Oak Refectory Table, early 19th century, the long planked top banded and above a conforming frieze fitted with a drawer to each end, raised on tapering square legs, h. 30‑1/2”, w. 34‑1/4”, l. 82”. [1800/2500] 274 French Provincial Oak Armoire, mid-19th century, the molded rounded rectangular top above a deeply carved floral basket frieze with two long doors below, each inset with two shaped panels surmounted by floral carving and divided by a small like-carved oval panel, above a shaped frieze, raised on foliate scrolled toes, h. 98”, w. 64”, d. 25”. [1800/2500] Illustrated

276 276 Continental School (19th Century), “Exuberant Still Life Arranged on a Terrace, a Landscape in the Background”, oil on canvas, 54” x 63‑1/2”. Framed. [7000/10000] Illustrated

274 275 French Provincial Fruitwood Buffet, mid-19th century, the rounded rectangular top above a conforming case fitted with two paneled drawers over two cupboard doors, each inset with a shaped panel above a shaped apron, raised on molded block legs, h. 49‑1/2”, w. 52‑1/2”, d. 26”. [1000/1500] Illustrated

277 Pair of Louis XV-Style Fruitwood Fauteuils, early 19th century, each with a caned back surmounted by a foliate shell crest, joined by shaped arms to the cushioned caned seat, raised on cabriole legs joined by an X-form stretcher and ending in scrolled toes, h. 36”. [500/800]

278

278 Louis XV-Style Oak and Marble-Top Console Table, 19th century, with a Breche d’Alep marble top and a Sainte Anne des Pyrenees marble top, each shaped and with a molded edge, raised on a pierced shell- and foliatecarved frieze, supported by molded legs with applied floral garlands, joined by a foliate shield stretcher and ending in acanthine toes, h. 32‑1/2”, w. 48”, d. 33‑1/2”. [3000/5000] Illustrated 275

279 Unusual French Gilt-Bronze Encrier, first quarter 20th century, depicting a bear fighting with two dogs, the bear’s head opening to reveal an inkpot, the stump and plant acting as pen holders, on a later marble base, h. 9‑3/4”, dia. 10”. [1000/1500] Illustrated

285 283 Provincial Directoire Fruitwood Rafraichissoir, late 18th century, the square top with a marble top and two inset copper bottle holders, each custom-made by Ellis Joubert, New Orleans, Louisiana, and so stamped, above a conforming frieze fitted with a single small drawer, joined to two lower shelves by bulbous supports, the whole raised on tapering circular legs, h. 28”, w. 17‑1/2”, d. 17”. [600/900] 279

280 Provincial Directoire Fruitwood and Marble-Top Bedside Commode, early 19th century, the rectangular marble top with a three-quarter raised gallery, above a case fitted with a single cupboard door, the back faced as three faux drawers, raised on tapering square legs, h. 28‑1/4”, w. 17”, d. 12‑1/2”. [600/900] 281 Provincial Cherrywood and Marble-Top Commode, early 19th century, the rectangular marble top above a conforming case fitted with two short drawers over two long drawers over a shaped apron, raised on shaped toes, h. 30”, w. 44‑1/4”, d. 22‑1/2”. [1000/1500] Illustrated 282 Restauration Fruitwood Settee, early 19th century, of diminutive proportions, the paneled rectangular back surmounted by a plain crest rail, joined by closed arms on shaped uprights to the padded seat, raised on tapering square legs, h. 34‑1/4”, w. 61”, d. 19”. [600/900]

284 Pair of Louis XV-Style Fruitwood Stools, each with a long cushioned rectangular top above a shaped shelland foliate-carved frieze, raised on cabriole legs headed by acanthine carving and ending in foliate scrolled toes, h. 22”, w. 42”, d. 16”. [1200/1800] 285 French Provincial Fruitwood Desk, mid-19th century, the banded rectangular top above a frieze fitted with two short end drawers flanking a shaped kneehole, raised on cabriole legs, h. 30”, w. 56”, d. 27‑1/2”. [1000/1500] Illustrated 286 Transitional Louis XV-into-Louis XVI-Style Mahogany Side Table, mid-19th century, the rounded rectangular top with an inset leather surface above a shaped frieze fitted with a single drawer to each end, raised on cabriole legs ending in sabots, h. 28‑1/2”, w. 38‑1/2”, d. 21”. [800/1200] Illustrated

281

286

289 287 Continental School (First Quarter 20th Century), “Landscape with Figures by a Forest”, oil on canvas, illegibly signed lower right, 25” x 30”. Framed. [1000/1500] Illustrated 288 Continental School (First Quarter 20th Century), “Wooded Interior with Cattle”, oil on double-sided board, the verso with a “River Landscape with Cottage and Fishing Boat”, 9‑3/4” x 13‑3/4”. Framed. Provenance: Galleria d’Arte, di Alfredo Maccolini, Florence, Italy: Private collection. [500/800]

290 290 Ernst Oppler (German, 1867‑1929), “Cottage Garden”, oil on canvas board, signed lower right, 15‑3/4” x 11‑3/4”. Framed. [1000/1500] Illustrated

289 Edgar Bohlman (American/New York, b. 1902), “Flower Market, Lisbon”, oil on canvasboard, signed lower right, 19” x 26”. Framed. Exhibition: Marie Sterner Galleries, New York, New York, October 21‑November 2, 1940. Together with the original pamphlet from the 1940 exhibition. [1500/2500] Illustrated

291 291 Georges Charles Robin (French, 1903‑2003), “Saint Simeux”, oil on canvas, signed lower right, titled en verso canvas, 25‑1/2” x 36‑1/4”. Presented in a polychrome and parcel-gilt frame with a linen liner. [2000/4000] Illustrated

287

292 292 Luigi Paolillo (Italian, 1864‑1934), “View from the Terrace”, oil on canvas, signed lower right, 17‑3/4” x 27‑3/4”. Framed. [2000/4000] Illustrated 293 Francois Gall (French, 1912‑1987), “Montmartre, Place du Tertre”, oil on canvas, signed and inscribed lower right, 21‑3/4” x 26”. Framed. [7000/10000] Illustrated 294 Francois Gall (French, 1912‑1987), “Floral Still Life with Blue Vase”, oil on canvas, signed lower left, gallery stamp en verso canvas, 10‑1/2” x 8‑1/2”. Framed. [2000/4000] Illustrated

295 295 Niek van der Plas (Dutch, b. 1954), “Amsterdam Canal”, oil on wood panel, signed lower right, 10‑3/4” x 12‑3/4”. Presented in a polychrome carved frame. [1500/2500] Illustrated 296 Dietz Edzard (German/French, 1893‑1963), “Jeune Femme Appuyee”, 1955, oil on canvasboard, initialed lower right, an “Atelier D. Edzard” label with date and title and a “Galerie Dominion/Montreal, Canada” label en verso, 9‑1/4” x 5‑3/4”. Framed. [1000/1500] Illustrated 293

294

298

297 Dietz Edzard (German/French, 1893‑1963), “Les Midinettes - Esquisse”, 1950, oil on canvasboard, initialed lower right, an “Atelier D. Edzard” label with date and title and a “Galerie Dominion/Montreal, Canada” label en verso, 7‑1/4” x 10‑1/4”. Framed. [1500/2500] Illustrated Primarily a self-taught artist, Edzard studied briefly with Max Beckmann (German/New York, 1884‑1950) in Berlin before moving to France, where he settled in Paris in 1928. Inspired by the Post-Impressionists, Edzard employed a cool, muted color palette and a painterly brushstroke in his delicately rendered depictions of women. One of the many artists whose works were deemed ìdegenerateí by the Nazis, at least five of Edzardís paintings were publicly destroyed. During WWII he was imprisoned, along with fellow artists Hans Bellmer and Max Ernst, at the Les Milles internment camp. Edzard exhibited widely, in solo and group shows across Europe and in the United States, and his work is in numerous private and public collections.

296

298 Francois Gall (French, 1912‑1987), “Vue du Port de Dieppe”, oil on board, signed and inscribed lower right, 15” x 18”. Framed. [3000/5000] Illustrated

297

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299 Minton Bone China “Dynasty-Cobalt” Partial Dinner Service, ca. 1951‑2009, English, the assembled service comprised of eight dinner plates, dia.10‑1/2”, eight salad/ dessert plates, dia. 7‑1/2”, eight bread and butter plates, dia. 6”, eight footed cups, dia. 4”, fifteen saucers, dia. 5‑1/2”, eight cream soup bowls, dia. 4‑1/4”, one cream soup bowl with flaring rim, dia. 4‑1/2”, and eight cream soup bowl stands, dia. 6”. [600/900] Illustrated 300 Edwardian Satinwood Firescreen, early 20th century, the caned oval screen within a floralpainted frame and centered by an oval portrait medallion of a fashionable lady, raised on splayed end supports, h. 34‑1/2”, w. 19”. [1200/1800] Illustrated

300

301 Edwardian-Style Mahogany and Satinwood Cabinet, 20th century, the domed cornice above a floral garlandinlaid frieze with two doors below, each banded and quarterveneered and centered by an inlaid oval floral panel, the conforming lower section fitted with a single drawer, raised on tapering square legs, the back bearing the label “B. Altman & Co. New York”, the inside of the drawer labeled “Royal Furniture Robert W. Irwin Co.”, h. 74‑1/2”, w. 39”, d. 17‑1/2”. [800/1200] Illustrated 302 Alfred Victor Fournier (French, 1872‑1924), “An Interior with Lady Seated at a Desk”, oil on canvas, signed lower right, 24” x 20”. Presented in a gesso and carved giltwood frame. Provenance: Sold in these Galleries October 4, 2008, as lot 534. [1000/1500] Illustrated 303 Edwardian Paint-Decorated Satinwood Desk, ca. 1925, the rectilinear top with an inset tooled leather writing surface, the perimeter with painted flora and vines, the frieze with a central drawer flanked by deeper drawers, raised on tapering square legs and adorned with painted flora and swags throughout, h. 30”, w. 51”, d. 27”. [1200/1800] Illustrated

304 Chinese Sang de Boeuf Bottle Vase, 18/19th century, later mounted as lamp, the porcelain vase with a globular body and long cylindrical neck, with bronze lamp mounts, vase, h. 16‑1/2”, overall, h. 34‑1/2”, w. 9”. [700/1000] Illustrated 305 Pair of English 302 Mahogany, Bronze and Marble Adjustable Torcheres, first quarter 20th century, in the Adam style, each set with a pair of electrified candles on an oval mottled gray and red marble top with pierced bronze edges, and supported on a fluted standard on cabriole legs, h. 41‑1/4”, dia. 14‑1/2” [600/900] 304 306 French Empire-Style Mahogany and Bronze Floor Lamp, mid-20th century, the top mounted with bronze candlecups under lamp sockets, on a threesided top set with a bronze Greek-key gallery, supported on bronze paw feet with an X-form stretcher, h. 59‑1/2”, dia. 22‑1/4”. [600/900]

301

307

303

308

307 Jean-Joseph Delvin (Belgian, 1853‑1922), “Portrait of a Young Girl in a Landscape Surrounded by Flowers”, five oil on canvas panels, signed “J. Delvin” lower left of center panel, overall, 82‑1/2” x 152‑3/4”. Unframed. [15000/25000] Jean-Joseph Delvin studied at the Academy of Ghent and was a founding member of Les Vingt (the Twenty), an avant-garde secessionist Belgian art movement in the 1880s that rebelled against the conservative national academies. He exhibited at the Salons de Libre Esthetique, and was appointed professor at the School of Fine Arts in Ghent, where he remained until his death as president. Delvin was an accomplished artist, who received commissions throughout Belgium for portraits and painted panels for architectural buildings and structures. The polyptych format of the monumental painting offered here is Delvin at his best, as it is a composite of a portrait and landscape commission flanked by still-lifes, designed to be installed in the home of its affluent patron as either a wall or screen piece. 308 Six-Piece George III-Style Mahogany Parlor Suite, early 20th century, consisting of a settee, three armchairs and a pair of sidechairs, all with rectangular backs over interlacing arch pierced splats, the padded seats raised on tapering square legs joined by H-form stretchers, settee, h. 36‑1/4”, w. 40‑1/2”, d. 21‑1/2”, chairs, h. 38”. [2000/4000] Illustrated

309 Pair of Adam-Style Polychrome Cabinets, late 19th century, each with an ebonized shaped top featuring a gilt and polychrome scene of Asian figures, above a conforming case fitted with a fluted frieze above a single cabinet door, paneled and with applied swag and medallion patterns in the Adam taste, raised on foliate-carved feet, h. 30”, w. 30‑1/2”, d. 14”. [1200/1800] Illustrated 310 Nineteen-Piece Assembled English Hand-Painted Game Set, late 19th/early 20th century, decorated with gilt scrolled borders on a cream ground, with panels of carefully rendered birds, including an oval platter, w. 14”, l. 17‑1/2”, eleven plates marked “Edwin J. D. Bodley, 1875‑1892”, five plates marked “Cauldon, England” along with the retailer mark “Tiffany and Co., New York”, one plate marked “Cauldon, England”, and one unmarked plate, dia. 8‑3/4” to 9”. [2500/4000] Illustrated

310

312 Three Chinese Sterling Silver Gilt, Enamel and Hardstone Table Articles, 20th century, all of pagoda form with carved cylindrical green hardstone bodies, including a tea caddy with blue, green and orange enamel, with pillars, tassels and a cabochon onyx-set finial, h. 7”, and salt and pepper casters with blue, green and violet enamel, h. 3‑7/8”, 11.92 total t. oz. (weighable silver). [1800/2500] Illustrated 313 Pair of Chinese Glazed Pottery Hexagonal Garden Seats, 20th century, the green-glazed seats with reticulated Wan symbols, over rectangular piercings trimmed in cobalt, h. 18‑1/4”, dia. 12‑1/4”. [600/900]

312

314 Edwardian Mahogany and Satinwood Side Table, late 19th century, the rectangular top banded, quarterveneered and with a central oval panel, above a conforming frieze fitted with a single banded drawer, raised on slender tapering square legs ending in brass caps and casters, h. 28‑1/4”, w. 23‑3/4”, d. 15‑3/4”. [1000/1500] Illustrated

311 Continental Verdigris Patinated Bronze of a Greyhound at Attention, 20th century, h. 33”, w. 10”, d. 10‑1/2”, presented on a carved square plinth, overall, h. 42‑1/2”. [1500/2500] Illustrated

315 Regency-Style Mahogany Side Table/Server, 19th century, the long rectangular top above a conforming frieze fitted with a long central drawer centered by an ebonized lion’s masque panel, raised on four tapering circular front legs headed by an ebonized anthemioncarved block capital and with gilt ribbed carving, ending on plinth bases, h. 38‑1/2”, w. 90‑1/2”, d. 27”. [3500/5000] Illustrated

311

309

316 Anton Karssen (Dutch, b. 1945), “Puppies on a Fringed Blanket”, oil on wood panel, signed lower right, 12‑3/4” x 18”. Presented in a giltwood frame with a linen liner. [1500/2500] Illustrated

319

319 Set of Twelve Tiffany-Retailed Cauldon Hand-Painted Porcelain Dinner Plates, ca. 1905‑1920, English, each plate with an ivory border decorated with hand-painted roses framed with gilt scrollwork, alternating with gilt medallions, marked “Cauldon Ltd., England”, along with “Tiffany & Co., New York”, dia. 10‑1/4”. [900/1200] Illustrated

316 317 George V Eighteen-Karat Gold and Tortoiseshell Gentleman’s Shaving Brush Case, hallmarked London, 1918‑1919, by Asprey & Co. Ltd., comprising a cylindrical tortoiseshell body and domed lid, mounted in an elegant, narrow hinged gold frame, h. 3‑5/8”, dia. 1‑1/2”. [900/1200] 318 Edwardian Mahogany Sideboard, 20th century, the slightly bowed top banded and centered by an inlaid patera, above a conforming case fitted with three central banded drawers flanked to either side by a cupboard door, flanked and divided by projecting bellflower-inlaid uprights, raised on tapering square legs ending in spade feet, h. 39”, w. 62”, d. 26‑1/2”. [1000/1500] Illustrated

314

318

315

320 Pair of Edwardian Giltwood Shield-Form Mirrors in the Adam Taste, first quarter 20th century, the covemolded frames set with beveled mirror plates, with lower ornament of a leaf-molded drop flanked by C-scrolls, the crest with an urn of flowers flanked by ewer-form finials, decorated with swags of bellflowers continuing down each side, h. 42”, w. 18”. [2500/4000] Illustrated

322 Edwardian GiltBronze Oval Mirror in the Adam Taste, first quarter 20th century, the beveled mirror plate with a leaf-molded and beaded surround with a laurel-molded crest, beneath an oval finial with a patinated metal bas-relief plaque of a dancing nymph and a pierced bowknot on top, h. 24‑3/4”, w. 12‑1/2”. [500/800] Illustrated 323 Set of Eleven English Minton Dessert Plates, ca. 1928, decorated with raised 322 gilt scrollwork on an apple-green ground, and hand-painted signed floral panels on an ivory ground, with the Minton mark, incorporating the retailer, St. Louis Glass and Queensware Co., and with impressed date marks, dia. 9”. [600/900] Illustrated

320

321 Edwardian Mahogany and Burl Walnut Occasional Table, early 20th century, the rectangular top quarterveneered and with a central oval panel with inlaid scrolling foliate patterns above a frieze fitted with one drawer, raised on tall, slender cabriole legs ending in pad feet, h. 26‑1/2”, w. 16‑1/4”, d. 11”. [500/800] Illustrated 323

324 Northern Italian Giltwood Mirror in the Baroque Taste, fourth quarter 19th century, the surround decorated with leaf-carved corners, bold pierced scrollwork and grape leaves, opposing pairs of upper and lower overhanging scrolls forming the crest, h. 78”, w. 44”. [5000/8000] Illustrated 325 Italian Giltwood and Marble-Top Console Table, 19th century, in the Baroque manner, the shaped marble top with a molded edge, above a conforming exuberantly modeled scrolling foliate frieze, raised on acanthine scrolled legs with applied spiral shell carving, joined by a foliate stretcher and ending in like toes, h. 39‑1/2”, w. 53”, d. 22‑1/2”. [2000/4000] Illustrated 321

327 Venetian Giltwood and Engraved Glass Rococo-Style Mirror, fourth quarter 19th century, the cartouche-form mirror decorated with rocaille work, and set with a mirror plate engraved with a crown, ribbons and trailing engraved vines, a small panel under the pierced crest engraved with the initials “FB”, and small side panels engraved with scrollwork, h. 39”, w. 24‑1/2”. [1000/1500] Illustrated

324

327

326 Pair of Italian Alabaster Figures After Antonio Canova (1757‑1822), fourth quarter 19th century, “Enfant Ecrivant” (Child Writing) and “La Lecture de l’Enfant” (Child Reading), each on a spiral-reeded alabaster pedestal with carved grape leaves and an octagonal base, overall, h. 61”, dia. 11”. [3000/5000] Illustrated

325

326

328 Italian Polychrome and Marble-Top Table and Pier Mirror, late 19th century, in the rococo taste, the inset shaped marble top above a deep shaped frieze centered by a pierced shell carving and surrounded by foliate patterns, raised on molded C-scroll legs joined by a floral-carved stretcher and ending in scrolled toes and pegs, and having an elaborate mirror above, h. 147”, w. 58”, d. 20‑1/2”. [4000/7000] Illustrated

330 Continental Parcel-Gilt and Paint-Decorated Pier Mirror and Planter, first quarter 20th century, in the Venetian Rococo style, the mirror with bracketed shelves on each side, under a crest of pierced scroll and rocaille carving, trimmed with contrasting bright and matte gilt, set with a beveled mirror plate, the whole resting on a matching planter with scrolled feet, decorated with gilt-trimmed and carved scrollwork, set with a brasstrimmed conforming planter insert, h. 99‑1/2”, w. 45‑3/4”, d. 16‑1/4”. [1500/2500] Illustrated

329

328

329 Continental Baroque-Style Polychromed and Carved Wooden Pedestal, late 19th century, the shaped rectangular top above a kettle-form base fitted with an upper floral pattern and a lower open shelf, raised on foliate scrolled toes, the whole with gilt accents, h. 47‑1/2”, w. 21”, d. 14”. [1000/1500] Illustrated

8 74

330

333

332

332 Florentine Richly Carved Giltwood Pier Mirror in the Baroque Taste, fourth quarter 19th century, Italian, the fluted mirror surround mounted with boldly carved layered acanthus leaves and scrollwork, the crest carved with overhanging leaves, h. 75”, w. 38”. [2000/4000] Illustrated 331 Italian Polychrome Commode, 20th century, the shaped top with foliate garland banding surrounding a floral spray, above a conforming bombe case fitted with three long drawers, all decorated en suite, raised above a scalloped apron on splayed feet, h. 34‑1/2”, w. 45”, d. 20”. [1500/2500]

334

333 Pair of Italian Rococo-Style Gilt Wrought Iron and Crystal Five-Light Wall Sconces, early 20th century, each scrolled frame draped with crystal chains, the arms issuing pressed glass drip pans, h. 19”, w. 18”, d. 12”. [3000/5000] Illustrated 334 Venetian Cut and Engraved Mirror, second quarter 20th century, framed with a beveled mirror plate, the sides engraved with sprays of leaves and flowers, the serpentine crest decorated with an engraved basket of flowers, the finials in the form of cut and engraved mirror glass acanthus leaves, h. 59‑1/2”, w. 34‑1/2”. [700/1000] Illustrated

335

335 Italian Neoclassical Polychrome and Marble-Top Pier Table, the inset bowed marble top with projecting corners, above a conforming frieze with guilloche carving, raised on fluted tapering circular legs headed by swagapplied capitals and ending in toupie feet, h. 34‑1/2”, w. 51‑1/2”, d. 20‑1/2”. [1000/1500] Illustrated

336 Pair of Continental Ebonized Wood, Bronze and Marble Pedestals, fourth quarter 19th century, in the Aesthetic taste, the columns decorated with gilt incising and bronze swags flanked by leopard’s head capitals, the notched-corner tops fitted with conforming marble tops, raised on anthemia-trimmed bronze paw feet, h. 31‑3/4”, w. 12”, d. 12”. [1200/1800] Illustrated 337 Framed Tortoiseshell and Hand-Painted Silk Fan, fourth quarter 19th century, with pierced tortoiseshell spines, the hand-painted fan depicting a wood nymph spinning cobwebs and frolicking fairies, signed “L. Renders”, overall, h. 16”, w. 25‑1/2”. [600/900] Illustrated

339 Italian Giltwood Overmantel Mirror, ca. 1900, in the Florentine Baroque taste, decorated with pierced scrollwork, the finial designed as a spray of leaves, h. 41”, w. 54‑3/4”. [500/800] 340 Northern Italian Walnut and Mahogany Secretary, late 18th century, the upper section with a pierced gallery with urn finial accents, above a central cupboard featuring an inlaid classical warrior, flanked to either side by a bank of five small drawers, all with various avian inlays, the lower section fitted with a slant front, inlaid with a hunting scene and opening to a baize-lined interior and four small drawers, over three long concave paneled drawers, all with avian- and floral-inlaid patterns, raised on bun feet, the whole with ebonized accents, h. 69”, w. 46”, d. 28”. [1000/1500] Illustrated 341 Italian Walnut and Fruitwood Draw-End Dining Table, late 19th century, the rectangular top with decorative banding and two panels, each inlaid with an elaborate star pattern within various bands, with two draw ends, above a plain frieze, raised on tapering square legs to turned spade feet, h. 32”, w. 35‑1/2”, l. 63”, extended l. 103”. [5000/8000] Illustrated

337

338 Pair of Continental Near Life-Size Terracotta Statues, Depicting the Goddess Artemis and the God Apollo, second quarter 20th century, both siblings carrying quivers of arrows, Artemis with a hunting hound at her feet, indistinctly signed on the base, h. 73”, w. 27”, d. 27”. [2000/4000] Illustrated

336

342 Unusual Continental Baroque Giltwood Mirror, third quarter 18th century, with large voluted scrolls flanking a central “C” scroll and pierced scrollwork trailing each side and lining the inner frame, the pierced pediment with scrolls flanking a pierced shield-form finial, h. 48‑1/2”, w. 24‑1/2”. [500/800]

338

344

345

343 Pair of Mottled Rouge et Gris Marble Campana-Form Urns, 20th century, probably Italian, resting on square bases, the urns decorated with reeding on the lower portions and fluting on the upper portions, h. 14”, dia. 10”. [500/800] 344 Unusual Pair of Italian Parcel-Gilt Blackamoor Mirrored Sconces, composed of 19th century components, each with a notched corner backplate set with a conforming mirror and holding a leaf-carved bracket supporting a Blackamoor figure with a basket on its head and fitted with an electrified candle, h. 36”, w. 10‑1/2”, d. 9‑1/4”. [1500/2500] Illustrated

345 Baroque-Style Metal Six-Light Architectural Lantern, set with antiquestyle glass, decorated with scrolled, pierced roundels and matching trim over the glass panels, the pagoda cap with scroll trim and a ball finial, h. 59‑1/2”, w. 29‑1/2”, d. 29‑1/2”. [1200/1800] Illustrated 346 Metello Amadio (Italian/Rome, 1884‑1967), “Narcissus”, verdigris patinated bronze, after the antique statue discovered in 1862 in Pompeii and now in the National Archaeological Museum, Naples, Italy, inscribed “M. Amadio N.” along back edge, h. 24‑3/4”, w. 9”, d. 8‑1/2”. [600/900] Illustrated

346

341 detail

340

341

347 Italian Prussian Blue and Parcel-Gilt Mirror in the Baroque Taste, ca. 1900, decorated with various shields and gilt scrollwork, the pitch pediment with a putto masque in a polychrome wreath on a field of gilt scrollwork and supported by gilt-trimmed Corinthian pilasters, the base supported by gilt corbels, h. 47”, w. 39”. [2500/4000] Illustrated

347

348 Pair of Continental Walnut Console Tables, partially composed of antique elements, each with a rounded rectangular top, above a conforming floral patera-carved frieze, raised on ribbed baluster-form supports to runner feet ending in scrolled feet on molded blocks, h. 33”, w. 46‑1/2”, d. 23‑1/2”. [1200/1800]

350 Emilio P. Fiaschi (Italian, 1858‑1941), “Victorian Bathing Beauty”, a white marble statue depicting a demure young woman dressed only in her “combination”, preparing to enter the water down a flight of steps, her arms held across her chest, signed en verso, sculpture, h. 47‑1/2”, on a conforming verdigris marble pedestal, overall, h. 88”, dia. 19”. [12000/18000] Illustrated

349 Fiaschi was a native of the Tuscan town of Volterra, and attended the prestigious Accademia di Belle Arte in Florence from 1883‑1885. An accomplished sculptor of marble and alabaster, he gained a reputation in the competitive Florentine art community for his technical skill and mastery of sculptural composition, following in the grand tradition of such masters as Donatello (1386‑1466), Benvenuto Cellini (1500‑1571), and Giambologna (1529‑1608). Fiaschi was adept at depicting a range of textures, not an easy task in the unforgiving and rigid medium of marble; this is evident in the example presented here with the juxtaposition of the smoothness of the figure's flesh with the roughness of the steps. Specializing in classical and genre scenes and portraits of women, Fiaschi completed numerous private and public commissions, and was awarded the medal at the annual art competition of his hometown in 1890. 351 Italian Art Nouveau Marble Bust of a Young Woman, ca. 1900, the woman depicted with flowers in her long hair, the base carved with leaves and flowers, with a partial illegible signature, h. 19‑1/4”, w. 10‑1/4”, d. 6”. [1200/1800] Illustrated

349 Unusual Silverplate and Brass Clock in the Baroque Taste, fourth quarter 19th century, resting on paw feet, the hexagonal standard molded with Corinthian pilasters decorated with delicately detailed arabesque patterns, with rope turns delineating the corners, a putto perched on the standard and holding the silverplate-cased works, set with a brass dial, the number of the chapter ring alternating with signs of the zodiac, with arabesque work decorating the center, h. 24‑1/4”, w. 6‑1/2”, d. 5‑3/4”. [700/1000] Illustrated

353

350 detail

352 Continental Alabaster Bust of a Young Woman, ca. 1900, depicted with downcast eyes and wearing a hat, with beads in her hair, resting on a flat base, h. 10‑1/4”, w. 8‑1/2”, d. 4‑1/4”. [500/800] Illustrated 353 Neoclassically Inspired Faux Marbre and Specimen Marble Center Table, ca. 1900, the top with an inset specimen top comprised of octagonal and square stones, above a faux marbre apron with raised diamond-form panels, raised on tapering square legs, h. 30”, w. 33”, d. 24‑3/4”. [1800/2500] Illustrated 354 Neoclassically Inspired Walnut Sofa, 20th century, probably Italian, the heavily carved frame with floral and ribbon decor throughout, the crest with lovebirds and trophies, the closed arms terminating in ram’s heads, with a bowed seat rail and cabriole legs, now upholstered in ivory and crimson striped brocade, h. 41”, w. 79”, d. 28”. [700/1000]

350

351

352

355 Neoclassically Inspired Walnut Armchair, early 20th century, probably Italian, with a lovebird- and trophy-carved crest, ram’s-head arms and a bowed seat rail, upholstered in striped brocade, h. 37”. [500/800]

359 Italian-Style Kingwood, Mahogany and Marble-Top Commode, in the Baroque taste, the shaped verde antico marble top above a conforming 360 bombe case fitted with three drawers, paneled and with a central floral inlay, raised on splayed legs ending in sabots, h. 36‑1/2”, w. 40‑1/2”, d. 23‑1/2”. [600/900]

356 Italian Neoclassical Parcel-Gilt Mirror, fourth quarter 18th century, set with tapered, carved rests on either side of the base, the mirror plate surrounded by gilt egg-and-dart molding, the tablets on either side of the mirror plate decorated with carved vines, the top of the tablet with a spray of laurel leaves, the pierced crest decorated with a roundel carved with a flower and a ribbon crest, h. 49‑1/2”, w. 23‑3/4”. [800/1200] Illustrated

356

357 Pair of Italian Grand Tour Alabaster and Specimen Stone Columns, ca. 1900, on specimen stone stepped and molded bases, the Doric columns set with bronze urn-form finials, h. 16‑1/2”, w. 3‑3/4”, d. 3‑3/4”. [700/1000]

360 Continental Pietra Dura and Gilt-Bronze Encrier, ca. 1900, decorated with medallions of flowers, birds and insects executed in various colored stones, the scalloped, beaded tray holding a central inkpot, the surface decorated with incised scrollwork, h. 4”, dia. 7‑3/4”. [900/1200] Illustrated

362

361 Russian Malachite-Clad Square Tazza, second quarter 19th century, the tapered, trumpet-form standard on a square base, h. 9”, w. 10‑1/2”, d. 10‑1/2”. [3000/5000] Illustrated

358 358 British Needlepoint Embroidery Depicting the Murder of Feodor Godunov and His Mother, the Tsaritsa, fourth quarter 19th century, probably a fragment, composed of tightly rendered tent stitch in wool thread with accents of gold thread and glass seed beads, depicting a scene from the history of Boris Godunov, Tsar of all Russia, 48” x 64”. Glazed and framed. [2000/4000] Illustrated

361

362 Pair of Italian Pietra Dura Obelisks, fourth quarter 19th century, inlaid with meandering flowering vines including malachite leaves, raised on stepped bases, h. 18‑1/4”, w. 4‑3/4”, d. 4‑3/4”. [600/900] Illustrated 363 Italian Specimen Marble Table Top, of rectangular form, with a central oval panel surrounded by a decorative floral and geometric banding, w. 59‑1/2”, d. 36”. [2000/4000] Illustrated 364 Italian BaroqueStyle Giltwood and Engraved Glass Mirror, fourth quarter 19th century, the mirror panels engraved with flowers, framing the central plate of the octagonal mirror, the giltwood surround carved with egg-anddart molding, and the pierced rocaille crest decorated with a shell and echoed by a similar crest on the bottom, h. 49”, w. 30”. [800/1200] Illustrated

364

366

367

365 Continental Neoclassical Fruitwood Commode, mid19th century, the rectangular top with an ebonized edge and turreted corners, above a conforming case fitted with a frieze drawer over three long drawers, all tri-paneled and with ebonized banding, raised on tapering circular feet, the whole accented with ormolu mounts, h. 32‑1/2”, w. 49‑1/2”, d. 24‑1/2”. [1500/2500] Illustrated

363

366 Continental Neoclassical Parcel-Gilt and Malachite Center Table, the inset pieced malachite circular top with an inlaid floral band, raised on fluted tapering circular legs joined by a concave stretcher and ending in tall tapering feet, h. 30”, dia. 26”. [1500/2500] Illustrated 367 Continental Giltwood Cushion Mirror, ca. 1900, the beveled mirror plate with beaded giltwood trim forming the frame, with cabochon-molded corners, the delicately pierced crest comprised of scrollwork, branches of laurel and berries, h. 55”, w. 40‑1/2”. [1000/1500] Illustrated

365

368 Italian School (Fourth Quarter 19th Century), “Venice Harbor with the Return of Fishermen”, oil on canvas, unsigned, 27” x 48”. Presented in a period giltwood and gesso frame. [700/1000] Illustrated 369 Stanislas Victor Lepine (French, 1835‑1892), “Port of Caen”, oil on canvas, signed lower right, a “Hazlitt Gallery/London” label en verso, 22‑1/4” x 36”. Framed. [12000/18000] Illustrated 370 Auguste Matisse (French, 1866‑1931), “Ships in a Harbor”, oil on canvas, signed lower left, verso with multiple inscriptions, artist signature and inventory number “No. 137”, canvas stamped “Paul Foinet fils, 21 Rue Breas Paris”, 35” x 57‑1/2”. Framed. [2000/4000] Illustrated

368

371 Belle Epoque Gilt-Bronze Twelve-Light Chandelier, fourth quarter 19th century, in the Louis XV taste, the leaf-molded standard with a grape-molded lower finial, terminating in twisted and pierced scrollwork, and holding twelve scrolled arms decorated with molded leaves and set with molded drip pans and matching candle cups, now electrified, h. 32‑3/4”, dia. 27‑1/4”. Provenance: Rothschild’s Antiques, New Orleans, Louisiana. [1400/1800] Illustrated

370

369

372 Napoleon III Rosewood Bonnet-Top Armoire, third quarter 19th century, in the rococo taste, with an asymmetrical foliate-carved crest over a pair of doors with mirrored panels, opening to reveal a bird’s-eye maple interior with a medial belt of drawers, scalloped apron and cabriole legs, with herringbone parquetry veneers throughout, h. 99‑1/2”, w. 88‑1/4”, d. 20‑1/2”. [900/1200] Illustrated 373 Handsome Pair of Louis-Philippe Giltwood Oval Mirrors, mid-19th century, in the Rococo Revival taste, the sides decorated with a rocaille border and pierced scrollwork with trailing flowers, the scrollwork finial resting on a platform, h. 51‑1/2”, w. 50”. [2000/4000] Illustrated

371

373 one of two

374 Napoleon III Ebonized, Tole-Painted and Marble-Top Dresser, third quarter 19th century, the superstructure fitted with a central arched and beveled mirror surmounted by a shield crest, and two lower short drawers, the lower section with a marble top with turreted corners, above a conforming case fitted with two drawers over two paneled cupboard doors, opening to pull-out drawers, raised on annulated toupie feet, the whole accented with gilt and inlaid mother-of-pearl patterns, h. 83”, w. 47‑1/2”, d. 24”. [1000/1500] Illustrated

372

374

375 French Bronze and Porcelain Napoleonic Centerpiece, fourth quarter 19th century, the handpainted bowl with swags of flowers, the center with a Napoleonic wreathed eagle and the exterior with grisaille and gilt trophies of war, raised on a bronze stand with two handles and displayed eagle feet, h. 9”, dia. 11‑1/2”, w. 15‑1/4”. [800/1200] 376 Napoleon III Kingwood and Marble-Top Occasional Table, mid-19th century, the oval marble top with a threequarter gallery above a conforming case fitted with a single cupboard faced as leather bindings over a single drawer, the sides paneled, raised on cabriole legs, h. 29‑1/4”, w. 19‑1/4”, d. 15‑1/2”. [700/1000] Illustrated

377

379 Pair of Napoleon III Giltwood Two-Light Mirrored Sconces, third quarter 19th century, in the Rococo Revival taste, each with an oval mirror back set with scrolled candle arms flanking pierced scrollwork and shell ornament, with like decoration forming the crest, h. 25‑1/2”, w. 15‑1/2”. [800/1200] Illustrated 380 French Bronze, Glass and Wood Skeleton Clock, third quarter 19th century, the engraved, scrolled clock with a blue-and-white enamel chapter ring and clock works marked “Hy Marc, Paris”, and presented under a glass dome above an ebonized wooden base, h. 17‑1/4”, w. 12‑3/4”, d. 6‑1/2”. [500/800]

376

377 Napoleon III Inlaid Figured Walnut Fitted Liqueur Case, third quarter 19th century, the walnut-veneered case with a serpentine front trimmed with ebony and cross banding, and inlaid with a central rocaille cartouche of brass, mother-of-pearl, ebony and rosewood, h. 10‑3/4”, w. 13”, d. 9‑1/2”, the removable tray with gilt-bronze fittings holding four engraved decanters with stoppers, h. 7‑1/4”, fourteen matching glasses, h. 3”, and two cut glasses of different origin, h. 4”. [1200/1800] Illustrated 378 French Belle Epoque Bronze Jardiniere, fourth quarter 19th century, the pierced base supporting the lobed body, decorated with bunches of flowers on a lattice-molded ground, with cherubs sitting atop the flower-molded handles, with a conforming tin liner and a brass flower grid, h. 10‑1/2”, w. 15‑1/2”, d. 8‑1/2”. [900/1200] Illustrated

381 Three Carriage Clocks, fourth quarter 19th century, French and American, including a large marked Ansonia clock with a nickel finish, the fret-molded case set with a scrolled handle, h. 6”, w. 4‑3/4”, d. 3‑1/4”, a French bronze carriage clock with a chapter ring with Roman numerals, the case set with beveled glass, h. 4‑1/2”, w. 3”, d. 2‑3/4”, and a clock with a bronze case set with beveled glass, with a raised enamel Arabic chapter ring, h. 4”, w. 3”, d. 2‑1/2”. [600/900]

378

383 Louis XV-Style Polychrome Bergere and Ottoman, 20th century, the padded and angled back joined to the bolstered and cushioned seat by padded and molded arms, the conforming ottoman also cushioned, all raised on molded cabriole legs ending in scrolled toes, bergere, h. 32”, ottoman, h. 16”, w. 30”, d. 30”. [1000/1500] Illustrated

379

382 Three-Piece Louis XV-Style Mahogany and OrmoluMounted Bedroom Suite, ca. 1900, comprised of a pair of twin beds trimmed throughout with gilt-bronze mounts, h. 70”, inside, w. 40”, l. 76”, outside, w. 40”, l. 80”, together with a matching bronze-mounted dressing bureau, with a shaped beveled mirror plate in a conforming frame on wishbone-form brackets, the serpentine base with twoover-two drawers, on cabriole legs, and adorned with bronze mounts at the perimeter edges, h. 69”, w. 56”, d. 22‑1/2”. [2000/4000] Illustrated

383

382 part of a three-piece suite

384 After Raimundo de Madrazo y Garreta (Mexican, 1841‑1920), “After a Masquerade Ball”, oil on panel, fourth quarter 19th century, signed lower right “T. Sanchez/Geo. de R. Madrazo”, 12‑1/2” x 8”. Framed. [1000/1500] Illustrated

385

384

385 Regency-Style Red Tole and Silver Gilt Six-Light Chandelier, mid-20th century, in the chinoiserie style, with an inverted pagoda base and matching candle cups, the pagoda-shaped open canopy trimmed with carved tassels, h. 31”, dia. 26‑1/2”. [700/1000] Illustrated 386 Chinoserie Embroidered Panel of a Lady in a Garden, 19th century, needlepoint, petitpoint, and satin stitch in wool and silk thread on canvas, now backed in brown silk and edged in velvet, with hardware for hanging, 120” x 29”. [700/1000] Illustrated 387 Franco-Japanese Bronze and Porcelain Belle Epoque Potpourri Urn, fourth quarter 19th century, on scrolled bronze feet, the urn decorated in the Imari palette, with a pierced cover with a gilt chicken-form finial, held by a bronze bezel with pierced bronze handles, h. 11‑1/2”, dia. 7”. [1000/1500]

388 French Belle Epoque Gilt-Bronze Table Clock in the Rococo Taste, fourth quarter 19th century, with chinoiserie decoration, the pierced rocaille-molded base including a seated Chinese figure, along with branches and shells, the clock works set into rocaille ornament, with two Chinese children serving as the finial, h. 11”, w. 6”, d. 4‑1/2”. [2500/4000] Illustrated 389 Pair of French GiltBronze and GiltBrass Three-Light Candelabra, first quarter 20th century, the pierced bronze bases supporting polychrome-glazed parrots and bowers of gilt-brass branches set with leaf-molded candle cups and drip pans, and various sculpted porcelain flowers, electrified, h. 16”, w. 15‑3/4”, d. 5”. [1500/2500] Illustrated 390 Suite of Six ChinoiserieStyle Painted Canvas Screens, late 20th century, painted by Richard Garrett, signed and dated, each panel, h. 96”, w. 30”. [1200/1800] Illustrated 386

389

388

391 Pair of French Gilt-Bronze and Cut Glass Four-Light Girandoles, second quarter 20th century, in the Louis XIV style, each with a glass-clad standard terminating in a spire finial and set with four scrolled candle arms, under two graduated tiers of sprays of drops, hung with polychrome fruit-form drops along with various colorless and colored drops, electrified, h. 23‑1/2”, w. 9‑1/4”, d. 9‑1/4”. [900/1200] Illustrated

391

390 suite of six

394 392 Belle Epoque Franco-Chinese Porcelain and Bronze Vase, fourth quarter 19th century, the pink-ground vase decorated with peonies and scrollwork, and set in a giltbronze base decorated with rocaille work and cattails, the gilt-bronze handles mounted with a pair of winged dragons, h. 15‑3/4”, dia. 4‑3/4”. [2500/4000] Illustrated 393 Pair of Longwy Pottery and Bronze Orientalist Moderator Lamps, fourth quarter 19th century, French, the bronze Asian-style bases with pottery standards, with Middle-Eastern-inspired decoration of swirling peonies on a turquoise ground, the base impressed “Longwy”, now electrified, base, h. 19”, overall, h. 20‑1/2”, w. 5‑3/4”, d. 5‑3/4”. [500/800] 394 Follower of Titian (Italian, ca. 1485‑1576), “Venus Reclining with Satyr in Background”, oil on canvas, unsigned, variant of the 1538 “Venus of Urbino”, 47” x 75”. Framed. Provenance: Sotheby’s Olympia, July 6, 2004. [4000/7000] Illustrated 395 French Belle Epoque Silvered Brass Half-Tester Bedstead, ca. 1900, of neoclassical inspiration, bearing the label “Grands Magasins Cicurel 3 Avenue De Boulac Le Caire-Paris”, h. 108”, inside w. 47”, l. 79”, outside, w. 50”, l. 83”. [2000/4000] Illustrated

392

396 French Restauration Black Marble and Silvered Bronze Portico Clock, second quarter 19th century, the entablature supported by columns, with masque medallions on each side, and mounts of cherubs with horns flanking the clock works, set with a silk-string suspension movement, the dial in an engine-turned bezel, signed “A. LaCrois, a Paris”, h. 17‑1/2”, w. 9‑1/4”, d. 5”. [500/800] Illustrated

397

397 Pair of Belle Epoque Bronze Argente Chenets, first quarter 20th century, each in the form of a graduated pair of urns with flammiform finial and raised on neoclassical pedestals, joined by an acanthus-scroll panel and decorated with laurel banding, each h. 15”, w. 13‑1/2”, d. 4”. [500/800] Illustrated

398 Extensive “Old 396 Limoges” Partial Dinner Service, third quarter 19th century, retailed by Kerr’s “China Hall” of Philadelphia, marked in rouge de fer “China Hall, Phila., Jas. K. Kerr, Paris, 11 R. de Paradis”, decorated with a black running fret punctuated with roundels of classical heads on a blue ground with “jeweled” gilt surrounds, the set comprised of a soup tureen, h. 10‑1/2”, w. 13‑1/2”, d. 10”, a pair of covered vegetable dishes, h. 7‑1/4”, w. 12”, d. 8”, an open vegetable dish, h. 2‑3/4”, w. 11”, d. 8”, a round covered vegetable dish, h. 7”, dia. 8‑3/4”, a sauce boat on integral stand, h. 4”, w. 9‑1/2”, d. 5‑3/4”, a punch bowl, h. 4‑3/4”, dia. 10‑1/4”, a compote, h. 3‑3/4”, dia. 8‑3/4”, a comport, h. 2”, dia. 8‑3/4”, a nest of six graduated platters, w. 11” to 23‑1/4”, d. 8‑3/4” to 16”, a fish platter, w. 27”, d. 9‑1/2”, a pair of pot-de-creme stands, w. 14‑1/4”, d. 10‑1/2”, eleven covered pot-decreme cups, h. 3‑1/2”, dia. 2‑1/2”, with three additional covers, thirty-two dinner plates, dia. 9‑1/2”, fifteen soup plates, dia. 9‑1/4”, fourteen salad/dessert plates, dia. 8‑1/4”, twenty-two broth bowls, dia. 7‑3/4”, four coffee cups, h. 2‑1/2”, and fourteen saucers, dia. 4‑3/4”. [800/1200] Illustrated

398

395

398 detail

401 French School (Fourth Quarter 19th Century), “Portrait of a Lady Seated on a Recamier”, oil on canvas, unsigned, 49‑1/2” x 39”. Framed. [2000/4000] Illustrated 402 Pair of Restauration Walnut Fauteuils, second quarter 19th century, each with a curved backswept crest above a padded back, joined by scrolling arms to the padded seat, raised on sabre legs, h. 36”. [500/800] 403 Louis-Philippe Mahogany Bergere, mid-19th century, the padded rectangular back surmounted by a scroll- and gadrooned-carved crest, joined by padded arms on swan’s neck uprights to the padded seat, raised on sabre legs, h. 37”. [500/800] 404 Unusual Louis-Philippe Mahogany Chaise Longue, mid-19th century, in two parts, the low padded barrel-back end above a cushioned seat, the other section with a demi-lune cushion on a conforming base, each section raised on bulbous legs to brass caps and casters, overall, h. 24‑1/2”, w. 32‑1/2”, l. 67‑1/2”. [1800/2500] Illustrated

401 399 Pair of Napoleon III Gilt-Bronze and Crystal Three-Light Sconces, of neoclassical inspiration, each with an acanthusmolded backplate holding leaf-molded scrolled candle branches set with leaf-molded drip pans and molded candle cups, the crest formed by molded roses and leaves over a spray of crystal drops, with crystal drops and swags of crystals strung from the candle branches, h. 22”, w. 8‑3/4”, d. 4‑3/4”. [500/800] 400 Unusual French Brass and Porcelain Bouillotte-Form Lamp, first quarter 20th century, with a base composed of intertwined gilt-brass leaves, piercings set with porcelain flowers, and three electrified candles, the tole shade decorated with white leaves and scrolls on a blue ground, h. 26”, dia. 13‑3/4”. [700/1000]

404

405

405 French Empire Revival Bronze and Tole Peinte Bouillotte Lamp, first quarter 20th century, the three molded arms set with electrified candles and mounted with a tole shade, on a round base decorated with engine turning, h. 26”, dia. 15”. [500/800] Illustrated 406 Set of Six French Empire-Style Patinated Metal TwoLight Sconces, 20th century, the round backplates with winged female figures and supporting pairs of molded candle arms, electrified, h. 10‑1/2”, w. 9‑1/4”, d. 4”. [1200/1800] 407 Handsome French Empire-Style Bronze Dore et Patine Portico Clock, post-1876, the base decorated with floral leaves and supporting carefully cast Corinthian columns supporting an entablature with floral mounts held by a bowknot under a dentillated cornice, the dial marked by the retailer Black, Starr and Frost, New York, h. 19‑1/2”, w. 9‑1/4”, d. 4‑1/4”. [500/800] Illustrated

407

409 Pair of Napoleon III Gilt-Bronze Chenets, third quarter 19th century, in the Louis XIV style, the fluted column-form standards hung with laurel swags and set with urn-form finials, above molded bases, h. 15”, w. 8‑1/4”, d. 4”. [700/1000] 410 French Bronze and Crystal Six-Light Basket Chandelier, second quarter 20th century, in the Louis XVI taste, the bronze frame decorated with hunting hornform candle arms, alternating with lion’s heads and sprays of molded leaves, the upper edge ribbon-molded and holding strings of drops leading to the frame and set with sprays of crystals, the lower portion with strings of drops and terminating in a grape-molded finial, h. 38”, dia. 25”. [1200/1800] Illustrated

410

411 Continental Mahogany Games Table, late 19th century, the rectangular top with a full dished edge, centered by an inlaid chessboard, removing to reveal a sunken backgammon board, the frieze fitted with an end drawer and a faux drawer to either side, raised on tapering square legs ending in brass caps and casters, h. 32‑1/2”, w. 45”, d. 24”. [1800/2500] Illustrated 412 Baltic Neoclassical Mahogany Sidechair, early 19th century, the scrolling crest above a paneled back with shaped pendant, the padded slip seat raised on sabre legs, h. 35”. [500/800] 413 Pair of French Giltwood and Gilt-Metal Sconces, first quarter 20th century, in the neoclassical taste, each with a gilt-metal paterae-form molded backplate holding a scrolled arm decorated with acanthus leaves, bellflowers and swags of flowers, and fitted with a leaf-molded metal drip pan supporting an electrified candle, mounted with pleated shades, h. 20”, w. 6‑3/4”, d. 7‑1/4”. [1000/1500] Illustrated

413

408

408 Pair of French Gilt-Bronze and Bleu Turquin Marble Garniture Urns, fourth quarter 19th century, in the Baroque taste, on notched bases with guilloche bronze mounts, the laurel-molded and fluted bronze urn feet supporting the marble urns, fitted with dragon-head handles and masque-molded trim with molded leaves, the caps with bronze flame finials, h. 21”, w. 9‑1/4”, dia. 7”. [1500/2500] Illustrated

411

414 Suite of Four Neoclassical Mahogany Sidechairs, mid-19th century, each with a shaped string-inlaid crest above a foliate lyre-form splat, the padded seat raised on sabre legs, h. 33”. [600/900] Illustrated 415 French Bronze of the Shepherd Phorbus Rescuing the Infant Oedipus, first quarter 20th century, after Antoine-Denis Chaudet (French, 1763‑1810), cast signature on base, the original model exhibited at the Paris Salon of 1801 and now at the Musee du Luxembourg, Paris, h. 17”, w. 5‑1/2”, d. 6”. [600/900] Illustrated 416 French NeoclassicalStyle Bronze and Marble Encrier, third quarter 19th century, the encrier modeled with cloven hoof feet terminating in bulls’ heads, the cover finial depicting a putto petting two dogs, raised on a sienna and black marble base, h. 7‑3/4”, dia. 4‑1/4”. [800/1200] Illustrated

414

418

415

417 French Patinated Bronze of a Young Faun, ca. 1900, after Charles Paul Alfred Lemarquier (French, 19th/20th Century), cast signature on self-base, on a marble plinth, h. 20”, w. 9‑1/4”, d. 11‑1/2”. [700/1000] Illustrated

416

418 Napoleon III Giltwood Overmantel Mirror, third quarter 19th century, with a beaded surround, the lower edge of each side decorated with scrollwork and sprigs of flowers, and the rocaille-work pierced crest flanked by trailing flowers, h. 85‑1/4”, w. 36‑3/4”. [800/1200] Illustrated

417

419 Louis-Philippe Elm Writing Table, mid-19th century, the stepped cornice with canted corners, above a conforming superstructure fitted with two glazed cabinet doors over two banks of two small drawers, the lower section with an inset leather writing surface above a frieze fitted with a single drawer, raised on turned and bulbous legs ending in ball feet, h. 59”, w. 34”, d. 21‑1/2”. [1000/1500] Illustrated

421

419

420 Continental Fruitwood and Walnut Commode, mid-19th century, the rectangular top with an ogeemolded edge above a conforming case fitted with two long drawers, raised on slight cabriole legs, h. 34‑1/2”, w. 42‑1/2”, d. 19”. [1800/2500] Illustrated 421 Exceptional French Marble, Bronze Dore and Enamel Skeleton Clock, fourth quarter 18th century, Rouen, the red griotte marble base beneath the lunette-form gilt-bronze supports decorated with delicate gilt stars on a bleu-de-roi ground and holding the clockworks, signed by the maker on the dial, “Marteau Fils a Rouen”, the chapter ring decorated to match, the bezel decorated with a spray of laurel leaves on the base, and the crest with an eagle and pierced scrollwork, h. 16‑3/4”, w. 9‑3/4”, d. 5”. [6000/9000] Illustrated

422 Pair of French Rock Crystal and Gilt-Metal TwoLight Lamps, 20th century, in the neoclassical taste, the square bases with winged paw feet and supporting vasiform crystal standards with pierced gilt-metal decoration, vase, h. 20‑1/2”, overall, h. 33”, dia. 8‑1/4”. [2500/4000] Illustrated

422

420

423 Pair of Bagues-Style Rock Crystal, Gilt-Metal and Crystal Two-Light Sconces, 20th century, French, the chinoiserie rock crystal “vases” holding sprays of rock crystal and crystal glass flowers and leaves in metal mounts, each set with a pair of leaf-molded candle branches with matching cups, hung with various rock crystal and glass drops, h. 26”, w. 11‑1/4”, d. 5‑1/4”. [3500/5000] Illustrated 423

427 Louis XVI-Style Parcel-Gilt Pier Mirror, 20th century, the ivoryground mirror with a gilt egg-and-dart surround with a pierced bowknot crest, h. 57‑3/4”, w. 31‑1/2”. [600/900]

425

428 Pair of Polychrome Sidechairs in the Directoire Manner, each with a tall padded rectangular back above a cushioned seat, raised on paneled sabre legs ending in ball feet, h. 37”. [700/1000] 429 Louis-Philippe Mahogany Collector’s Cabinet, mid19th century, the stepped top with a molded cornice, above a case fitted with two banks of eight removable compartments, each with a gilt-tooled leather drop front, flanked to either side by hinged uprights with locking mechanism, raised on bracket feet, h. 66”, w. 36”, d. 12‑1/2”. [1200/1800] Illustrated

424 424 Pair of Louis XVI-Style Gilt-Bronze, Rock Crystal and Crystal Sconces, 20th century, the quiver-form backplates terminating in urn-form finials capped with flames, the scrolled arms holding beaded and fluted drip pans and candle sockets hung with swags of drops and rock crystal prisms, electrified, h. 15‑1/2”, w. 9‑1/4”, d. 4”. [500/800] Illustrated 425 Pair of Napoleon III Rock Crystal and Gilt-Bronze Candlesticks, third quarter 19th century, in the Louis XVI style, with leaf molding on the base and a reeded standard, the fluted candlecups decorated with laurel leaves and berries, h. 7‑1/4”, dia. 3‑1/2”. [700/1000] Illustrated 426 Pair of Louis XV-Style Gilt-Metal and Marble Lamps, ca. 1900, French, the notched bases decorated with beading and holding the urn-form bodies, fitted with rams’ head handles supporting swags of molded roses, base, h. 16”, overall, h. 23”, dia. 8”. [600/900] Illustrated

429

430 French GiltBronze and Red Griotte Marble Seven-Light Candelabrum, fourth quarter 19th century, the bronze vasiform standard 426 decorated with bas-relief Dionysian dancers and fitted with elaborately leaf-molded and scrolled candle arms terminating in eagle heads or alternating boughs of flowers, and set with leaf-molded drip pans and fluted candle sockets, the bronze-mounted marble base carved with cove molding, h. 30”, dia. 14‑1/2”. [500/800]

431 Louis XVI-Style Mahogany Writing Table, mid-19th century, the rounded rectangular top with an inset leather writing surface and within a brass banding, above a conforming paneled frieze fitted with a single end drawer, raised on stop-fluted tapering circular legs ending in brass caps and casters, h. 28”, w. 34”, d. 20‑1/2”. [1500/2500] Illustrated 432 Pair of French Gilt-Bronze Candelabra, 20th century, in the Restauration style, now mounted as lamps, each with a tapering reeded standard molded with leaves and terminating in a Corinthian capital, and set with two sockets, the reeded arms ornamented with pierced anthemia, the whole resting on paw feet above a stepped tripartite base, electrified, base, h. 27”, overall, h. 35‑1/2”, dia. 12‑1/2”. [1200/1800] Illustrated 433 Louis XVI-Style Mahogany and Marble-Top Collector’s Cabinet, early 20th century, the rectangular marble top within a full pierced brass gallery and above a case fitted with nine small drawers, all with gilt-tooled leather fronts and marbleized interiors, over two paneled cupboards, with side access, raised on tapering square legs ending in brass caps, h. 54‑1/2, w. 30”, d. 16‑1/4”. [2500/4000] Illustrated

432

431

433

434 Pair of Neoclassical Fruitwood and Marble-Top Demilune Commodes, second quarter 19th century, each with a demi-lune marble top above a conforming case fitted with two cupboard doors, both banded and quarter-veneered and with decorative corner inlay, the sides en suite, raised on tapering square legs, h. 38‑1/4”, w. 40‑1/2”, d. 21”. [2500/4000] Illustrated

436

435 Pair of Baltic Neoclassical Mahogany Sidechairs, early 20th century, each with a turned and foliate-carved crest rail above an inlaid crest over a fan-form splat, the padded seat raised on tapering circular legs ending in foliate toupie feet, h. 35”. [600/900] 436 French Neoclassical-Style Gilt-Brass and Glass Six-Light Chandelier, first quarter 20th century, the brass frame set with a ruby glass panel and a central medallion, and scrolled candle arms alternating with pierced wreaths, the molded chain hung from a gilt-brass canopy decorated with pierced leaves, the canopy, frame and drip pans hung with prisms, h. 30”, dia. 21‑1/2”. [1000/1500] Illustrated 437 French First Republic Marble 437 and Bronze Dore Clock in the Louis XVI Style, ca. 1800, the clock on a square white marble base decorated with bronze beading and fluting, a pair of fluted Doric columns with bronze trim supporting the entablature holding the clock works, the dial signed by the retailer, “Durentons a Paris”, and the silk-strung suspension clock works signed “Noel Mornand, Paris”, the dial set in an engine-turned bezel and decorated with giltbronze drapery, the lunette-form crest decorated with bronze mounts of a swan flanked by rampant poodles, h. 17‑3/4”, w. 12”, d. 3‑1/2”. [600/900] Illustrated

438 Continental Neoclassical Fruitwood Games Table, mid-19th century, the demi-lune top hinged and opening to a gaming space, above a conforming frieze, raised on tapering square legs ending in brass caps, h. 28‑1/2”, w. 43”, d. 21‑1/2”. Provenance: Royal Antiques, New Orleans, Louisiana. [800/1200] 439 Biedermeier Elm Commode, second quarter 19th century, the rectangular top with highly figured panels and a canted banded edge, above a conforming case fitted with three long, like-paneled drawers, raised on outscrolled toes, h. 36”, w. 47‑1/2”, d. 25”. [700/1000] Illustrated 440 Continental Neoclassical-Style Fruitwood and Marble-Top Secretaire a Abattant, mid-19th century, the stepped top with an inset marble surface, above a conforming case fitted with a frieze drawer over a drop front, opening to a leather writing surface and two small drawers, over three long drawers, raised on a plinth base, h. 51”, w. 26‑3/4”, d. 15”. [800/1200] 441 Unusual Biedermeier Fruitwood Mirror in the Egyptian Revival Taste, second quarter 19th century, Germano-Austrian, boldly designed with cove-molded sides supporting an Egyptian cornice, styled after abstract lotus leaves, h. 57‑1/2”, w. 39‑1/2”. [800/1200] Illustrated

434

442 Neoclassical-Style Line-Strung and MarquetryInlaid Mahogany Commode, the top with canted corners, over a conforming case with a pair of drawers inlaid with a classical scene depicting a horse pulling a chariot with a winged figure, raised on tapering legs, h. 30‑1/4”, w. 38‑1/2”, d. 16‑1/2”. [1500/2500]

443 Biedermeier Fruitwood Sofa, mid-19th century, the rectangular crest above a padded back, joined by padded outscrolled arms with carved fronts to the like seat, the reeded apron centered by a carved patera and raised on reeded and molded block feet, h. 37”, w. 91”, d. 25‑3/4”. [500/800] 444 Continental Neoclassical-Style Fruitwood Occasional Table, mid-19th century, the ovoid top with an ebonized edge, above a conforming frieze fitted with a single compartmented drawer, raised on tapering square legs ending in brass caps, h. 28”, w. 32‑1/2”, d. 25”. [1200/1800] Illustrated 445 Continental Neoclassical Fruitwood Fauteuil, mid-19th century, the curved crest rail joined by downswept arms to the padded seat, raised on sabre legs, h. 34‑1/2”. [500/800] 446 Directoire GiltBronze Table Clock, ca. 1800 and later, now on a malachite-clad base, the case with mounts of flowers and medallions, an engine-turned bezel around the dial marked “Bologniel a Paris”, the arched top molded with laurel leaves and grapevines, set with a basket of flowers adorned with a butterfly serving as the finial, now set with battery-powered works, h. 11‑1/4”, w. 4‑1/2”, d. 3‑1/2”. [1000/1500] Illustrated

447 Fifteen Pieces of French Canary Ware, first half 19th century, by Creil and other makers, printed with various designs, including a tureen decorated with scenes of soldiers around a castle, h. 10‑3/4”, w. 11‑1/4”, a pitcher with a couple in a landscape, h. 7‑1/4”, dia. 6‑1/4”, a trumpetform sugar bowl with tropical scenes and an unidentified mark, h. 6‑3/4”, dia. 4‑3/4”, a rare spittoon with 446 domestic views, marked “Creil”, h. 3‑1/2”, dia. 4‑3/4”, a plate decorated with “Arc de triomphe a Langres”, dia. 9”, nine plates with European or willow-type decoration, dia. 8‑1/2”, and a single cup with an unidentified mark, h. 3”, dia. 4”. [2000/4000] Illustrated

441

447

439

444

448 Pair of Directoire Carved, Painted and Parcel-Gilt Pine Panels, ca. 1800, each with a leaf-trimmed base set with a panel carved with swags, the tapered upper panel with framed edges terminating in carved medallions, the central decoration depicting intertwined laurel leaves on a ground of overlapping laurel leaves, the whole terminating in a leaf-carved finial, h. 43”, w. 14”, d. 3”. [800/1200] Illustrated

448

449

449 Handsome Pair of Directoire Tole Peinte Argand Sconces, fourth quarter 18th century, the removable oil tanks resting in holders with chinoiserie decoration, on a gilt-trimmed vert fonce ground, h. 14‑1/2”, w. 2‑3/4”, d. 6‑3/4”. [900/1200] Illustrated

450

453

450 Pair of Art Deco Steel and Iron Andirons, second quarter 20th century, each with a tapered and pierced standard raised on scrolled feet and decorated with a steel dolphin wrapped around a trident, beneath a ribbed steel melon-form ball finial, h. 33‑1/2”, w. 15”, d. 29‑1/2”. [1500/2500] Illustrated

451 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table, early 20th century, the circular marble top within a full pierced brass gallery, above a conforming frieze fitted with a drawer and two leather-inset candle slides, raised on fluted tapering circular legs ending in brass caps on casters, h. 29‑1/4”, dia. 26”. [700/1000] Illustrated 452 Handsome Pair of French Gilt-Bronze Chenets, fourth quarter 19th century, in the Louis XVI style, each with a fluted column-form base molded with oak leaves, acorns and bands of laurel leaves, and supporting a fire-pot finial with swags of wave-form decoration and laurel leaves, and resting on hoof feet, h. 18‑1/2”, w. 16”, d. 5‑3/4”. [700/1000] 453 Unusual Pair of Louis XIV-Style Bronze Dore Candelabra, fourth quarter 19th century, now mounted as lamps, the square bases decorated with panels of carefully detailed acanthus leaves, supporting a tapered standard decorated with panels of guilloche and Ionic capitals, the four leaf-molded candle arms supporting hexagonal drip pans and matching candle cups, base, h. 21”, overall, h. 36‑1/2”, dia. 13‑1/2”. [1200/1800] Illustrated 454 Baltic Neoclassical Mahogany Sofa of Biedermeier Inspiration, second quarter 19th century, with an arched and boldly reeded back rail, the arm fronts with spiral-reeded and foliate decor, raised on carved paw feet, h. 45”, w. 88”, d. 28”. [1000/1500] Illustrated

455

455 detail

455 451 Felix Kelly (British/New Zealand, 1914‑1994), “St. Mark’s Square Under Snow”, 1981, oil on masonite, signed and dated lower right, verso with “Partridge Fine Arts Ltd., London, UK” label and label with artist signature, 17‑1/2” x 22”. Glazed and framed. [4000/7000] Illustrated 456 Felix Kelly (British/New Zealand, 1914‑1994), “No 1, Temple by the Nile”, 1980, oil on masonite, signed and dated lower right, verso with “Partridge Fine Arts Ltd., London, UK” label, 17‑1/2” x 22”. Glazed and framed. [4000/7000] Illustrated

456

454 456 detail

457 458

457 detail

457 Felix Kelly (British/New Zealand, 1914‑1994), “Rock Temple”, 1977, oil on masonite, signed and dated lower right, verso with “Partridge Fine Arts Ltd., London, UK” label and label with artist signature, 22” x 27”. Glazed and framed. [5000/8000] Illustrated Felix Kelly was an accomplished painter, illustrator, graphic and interior designer, who achieved much recognition in the U.K. and United States during his lifetime. As this lot and the two preceding ones illustrate, his landscapes are an unusual blend of Surrealism and Romanticism: the compositions with their characteristic untamed flora and disquieting arrangement of space are Surrealist in design, while the expansive hazy skies and cliffs rendered through the use of luminism are distinctly Romantic. The buildings in Kelly’s work, however, are executed with the draftsmanship of an architect. The tempietti that comprise this Indian-style temple, the Palladian architecture in “Temple by the Nile” (lot 456), even the loggias on Doge’s Palace in “St. Mark’s Square” (lot 455) are immaculately rendered. This unusual mix of styles was likely influenced by Kelly’s background as an illustrator, most notably his collaboration with Elizabeth Burton on a four-volume book series on the domestic interiors and furnishings of Elizabethans, Jacobeans, Georgians and early Victorians titled “Early Victorians at Home, 1825-1861”. Kelly accepted numerous commissions for illustrations, paintings and murals that took him worldwide to India, Egypt, even Nepal where he painted a mural for the banquet hall of the Royal Palace, Kathmundu. Clearly, “Rock Temple” offered here and “Temple by the Nile” were influenced by these foreign sojourns. The former may have even been shown in the Patridge Fine Arts Gallery exhibit “Felix Kelly: Recent Paintings of India and Other Places” in London in 1978” as it has the gallery label en verso.

100

458 Pair of Large Gilt-Brass and Ebonized Wood Cushion Mirrors in the Baroque Taste, ca. 1900, Dutch or Flemish, the frames outlined with ebonized moldings with a wave edge and trimmed in gilt-brass decorated with flowers, and with pierced gilt-brass corners, the pediment crests decorated with flowers, military trophies and pierced intertwined initials in the central roundels, set with beveled mirror plates, one h. 65”, w. 41”, the other h. 66”, w. 40”. [10000/15000] Illustrated 459 Continental School (Third or Fourth Quarter 19th Century), “Landscape Capriccio with Figures, Ruins and a River”, oil on canvas, illegibly signed bottom center, 29‑1/2” x 39‑1/2”. In an antique gesso and carved giltwood frame. [2000/4000] Illustrated 460 Dutch/American School (Late 19th Century), “Winter Skating Landscape”, oil on board, signed “Simons” lower right, 12” x 16”. Framed. [700/1000] Illustrated Skating scenes have always been a popular genre with Dutch painters. The genre gained popularity after it was introduced to the new world with the Dutch settlement of New Amsterdam (New York City). In addition to the Hudson River Valley, skating scenes flourished throughout Dutch Pennsylvania, notably along the Wissahickon tributary on the Schuylkill River, which boasts the third oldest skating club in the world. Though this painting bears the distinct hand of a European trained artist, the homestead cottages that line the creek banks are reminiscent of Dutch/German immigrant settlements, as is the masonry arch bridge in the background that bears a striking resemblance to Hermit Lane bridge on Wissahickon Creek, which separates the Germantown and Roxborough townships in the Philadelphia area. 461 Fred Arends (Dutch, b. 1949), “Ice Skaters”, oil on wood panel, signed lower right, 10” x 11‑3/4”. Handsomely framed. [1000/1500] Illustrated

462

459

462 Continental School (Second Quarter 19th Century), “Coastal Landscape with Fishermen and Figures on a Rocky Shore”, oil on canvas, unsigned, 19” x 36‑3/4”. Presented in a giltwood frame. [1500/2500] Illustrated

460

463

463 Willem Jacobus Boogaard (Dutch, 1842‑1887), “In the Stableyard”, 1881, oil on canvas, signed and dated lower left, old handwritten note by artist en verso canvas, 27‑1/2” x 23‑1/2”. Glazed and in a carved giltwood frame. [2000/4000] Illustrated

461

101

464 Black Forest-Style Carved Mahogany “Bear” Hall Tree, mid-20th century, depicting a mother bear watching her cub in a treetop, perched above an oval mirror, the base with a circular cane/ umbrella holder, h. 86”, w. 26”, d. 20”. [1200/1800] Illustrated

466 Continental Rosewood and Fruitwood Commode, mid-19th century, the rectangular top banded and above a conforming case fitted with three long graduated drawers, all banded, raised on cabriole legs, h. 34”, w. 35”, d. 19”. [1500/2500] Illustrated 467 After Giuseppe (Joseph) D’Aste (Italian/French, 1881‑1945), “Neapolitan Shepherdess with Flock of Spring Lambs”, first quarter 20th century, patinated bronze, incised signature and “Bronze Garanti au Titre/ C&L Deposee” stamp along back edge of self-base, on a stepped rouge marble plinth, overall, h. 16‑3/4”, w. 17”, d. 10‑1/4”. [1800/2500] Illustrated

465 Set of Three Porcelain Squirrels in the Meissen Manner, early 19th century, probably 464 German, painted naturalistically, the center squirrel depicted eating a vegetable, h. 9”, w. 7‑1/2”, and the two smaller squirrels running along the ground, h. 3‑1/2”, w. 6”, unmarked. [1400/1800] Illustrated

467

465

468 Unusual Pewter-Mounted Tortoiseshell Mirror, fourth quarter 19th century, probably Dutch or Flemish, the bolection-molded frame with a cove-molded mirror surround, set with a beveled mirror plate and decorated with pierced pewter mounts, with flowers and scrollwork, h. 41‑3/4”, w. 33‑1/2”. [3000/5000] Illustrated 469 Fine Seventeenth-Century Flemish Hand-Woven Tapestry, depicting the first meeting of Alexander the Great and Roxana, the figures set within a lush verdant landscape, with pomegranate vine and acanthus leaf border, 9’ 4” x 13’ 7”. [7000/10000] Illustrated 470 Manner of Hendrick Terbrugghen (Dutch, 1588‑1629), “The Lute Player”, oil on canvas, unsigned, 44‑1/8” x 38‑1/8”. Presented in a carved wood frame with hand-painted border. [2000/4000] Illustrated

466

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468

470

469

103

471 Pair of Stained Glass Panels, ca. 1922, made in Vienna, with mauve and gray stained glass framing central panels depicting, respectively, an old master-type female and male, signed “P. Nagl 1922”, h. 15‑1/2”, w. 12‑3/4”. [600/900] Illustrated

475

472 Dutch Walnut Bookcase, late 18th century, the canted, domed and molded cornice above a case fitted with two astragal-glazed doors, the upper panels with etched accents, the sides canted and glazed, the lower section of kettle form and fitted with three long drawers, the canted sides each fitted with a cupboard door, raised on paw feet, h. 87”, w. 57”, d. 16”. [1800/2500] Illustrated

471 one of two

473

472

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474 Collection of Four European Pipes, ca. 1900, including an Art Nouveau nude femme fatale, h. 4‑3/4”, w. 7‑3/4”, a dog’s head, h. 3”, w. 5‑3/4”, and a hunter with a retriever carrying a bird, h. 2‑1/4”, w. 6”, all Meerschaum and with amber pipes, together with a briar root pipe with an ebony stem, h. 2”, w. 7‑1/2”. [800/1200] 475 Continental Pietra Dura Plaque Depicting an Aged Violinist, 20th century, executed in various stones, the elderly man dressed in gaiters and a waistcoat, carrying a hat and umbrella, a violin under his arm, in a Baroque-style frame, h. 16‑3/4”, w. 13‑1/2”. [700/1000] Illustrated 476 Continental Pietra Dura Plaque Depicting Traditional Dancers, 20th century, executed in various stones, the male holding a horn and the female a tambourine, in a carved giltwood frame, h. 13‑1/4”, w. 10”. [700/1000] Illustrated

476 473 Exceptional Continental Carved Meerschaum Pipe, ca. 1900, with an amber stem, the pipe carved with a tribal hunter approaching a lion on a rocky outcropping, poised to pounce on a pair of gazelles below, in its original case, h. 5‑1/2”, w. 12”, d. 1‑3/4”. [700/1000] Illustrated

478

477 Jan Walraven (Belgian, 1827‑1863), “The Fiddler Playing for His Supper”, oil on beveled wood panel, signed lower right, 21” x 26‑5/8”. In a fine cove-molded gessoed and carved giltwood frame. Provenance: Campo & Campo, Antwerp, Belgium, March 19, 2013, as lot 301. [2500/4000] Illustrated 478 Jean Arnould Heyermans (Belgian, 1837‑1892), “The Visit”, oil on canvas, signed lower left, 36” x 44”. Framed. [4000/7000] Illustrated

477

105

479 Continental Mahogany Music Stool, mid-19th century, in the rococo taste, the circular seat of adjustable height and with a needlework scene of a country maiden, raised on three scrolling foliate-carved legs ending in foliate toes, h. 20”, dia. 14‑1/2”. [500/800] 480 Dutch Marquetry-Inlaid Center Table in the Neoclassical Taste, first half 19th century, the circular top with a floral-inlaid circular center and inlaid flower baskets in each quadrant, on a shaped hexagonal pedestal with inlaid scroll pilasters, on sabre-form legs with like inlay, h. 29‑3/4”, dia. 43‑1/2”. [1500/2500] Illustrated 481 German 13 Lot (.813) Silver Dish, 19th century, of shaped oval form and decorated with a central repousse allegorical figure of Autumn, surrounded by fruits and grains between rococo scrolls, dia. 10‑1/4”, 9.63 t. oz. [900/1200] Illustrated

482

482 Suite of Six German Sterling Silver Parcel-Gilt Figures of Knights and Nobles, first quarter 20th century, probably Hanau, depicting six male figures and one female, with carved meerschaum faces/heads and adorned with various attributes - crowns, hinged visors, banner standards, swords, shields, halberds, pikes, scepters, etc. - each presented on an integral canted square plinth base with openwork scrolls and colored glass cabochons, h. 4‑3/8” to 7”, w. 1‑5/8”, 26.14 total t. oz. [1000/1500] Illustrated 483 Pair of German .800 Silver Historizmus Platters, first quarter 20th century, in the Louis XV taste, each of oval form, the broad shaped rim decorated with rococo scroll cartouches and scrolls on a textured lattice ground, monogrammed on the rim “PGR”, 22” x 15‑1/4”, 97.33 total t. oz. [3500/5000] Illustrated

481

483

480

106

484 Victorian Silverplate- and German .800 SilverMounted Glass Table Sets, 19th century, including a Victorian Elkington & Co. silverplate cruet frame, 1849, of circular form, with pierced scroll “melon” panels, with a turned wooden base and central baluster standard with rococo-scroll ring handle surrounded by seven cut glass condiment bottles, h. 11”, dia. 7‑1/4”, and a Weinranck & Schmidt, Hanau, .800 silver cordial set in the Louis XV taste, comprising a silver-mounted wheel-engraved glass spirits jug, h. 8‑3/4”, six acid-engraved glass cordial cups with silver zarfs, h. 2‑3/8”, and a silver waiter, 13‑1/4” x 10‑1/4”, 18.17 total t. oz. (weighable silver). [500/800] Illustrated

485 French First Standard (.950) Silver-Mounted Etched Glass Claret Jug, fourth quarter 19th century, by Claude Doutre-Roussel (1855‑1929), Paris, in the rococo taste, the glass pear-shaped body trisected by treble flutes and etched with floral swags and trophees, mounted in an openwork floral scroll band centering a rococo cartouche, joined by the crested handles to a silver collar decorated with mascarons and fitted with a hinged “duck’s beak” spout and flammiform finial, the whole raised on a circular base with four urn-form feet, h. 11”, dia. 5”. [1500/2500] Illustrated

484

486 Pair of Napoleon III First Standard (.950) Silver Legumiers, third quarter 19th century, by Francois Durand (fl. 1828‑1874), Paris, each of circular form, serpentine-lobed with shell-and-acanthus stirrup handles, with fitted liner and conforming domed lid en suite with ring handle, engraved on the lid and body with arms “argent, three stags springing, two and one”, h. 7‑1/4”, dia. 9‑3/8”, 116.72 total t. oz. [2500/5000] Illustrated

485

486

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487

487 Fine Napoleon III Christofle Three-Piece Silverplate Table Garniture, third quarter 19th century, Paris, comprising a pair of candelabra, h. 26”, dia. 13‑3/4”, and a centerpiece, h. 19‑1/2”, dia. 14”, all with a figural group base of three Bacchic putti cavorting on a twining grapevine, the candelabra surmounted by one central and six scrolling branches en suite, each terminating in a grape-leaf nozzle with foliate drip-pan and detachable bobeche, the centerpiece surmounted by a circular frame fitted with a floriform glass bowl, all raised on a scrolling openwork grapevine base with three lion’s masque-crested cloven hoof feet. [15000/25000] Illustrated

This model was shown at the 1851 London Crystal Palace Exhibit; the candelabrum design from the Christofle Archives is illustrated in Henri Bouilhet, Christofle, 150 Ans d’Orfevrerie (Paris: Editions de Chene, 1981), page 67. The unique serial number on this centerpiece (120293) is from Christofle’s first series used 1844‑1862. As that series is known to have run into the 300,000s, this piece must date fairly close to the Exhibition. The candelabra bear consecutive serial numbers (68955 and 68956) from Christofle’s second series, dating them to around 1862. (The model does not appear in Christofle’s 1862 catalogue, though it was very probably still available by special order.) For an identical but later pair of candelabra, with non-consecutive serial numbers and lacking the centerpiece, see the Collection of Suzanne Saperstein, Sotheby’s New York, April 19, 2012, lot 161.

108

487 detail

488 Pair of Continental .800 Silver Sauceboats, first quarter 20th century, in the Dutch Rococo taste, each of batteau form, the serpentine-paneled body engraved with rococo scrolls and latticed cartouches, with arched scroll handle, the sides with applied acanthus scroll, the whole raised on four shell-crested rocaille feet, h. 5‑1/4”, l. 7”, w. 5‑1/2”, 27.60 total t. oz. [800/1200] Illustrated

487 detail

489 Pair of Cased German Empire 13 Lot (.813) Silver and Cut Glass Salt Cellars, first quarter 19th century, each with a pierced ovolo band supported by three swans displayed above a circular gadrooned plinth base and fitted with a cut glass liner with gadrooned lower half and diamond-cut scalloped rim, h. 2‑3/4”, dia. 3”, presented in an embossed ministerial red case with fitted interior lined in red velvet, cream satin and printed paper with gilt trim, 3‑3/4” x 7‑1/8” x 4‑1/4”, together with an associated pair of silver and turned ebony salt shovels, l. 4‑1/2”. [700/1000] Illustrated

489

488

490

490 Alexander III 84 Zolotnik (.875) Silver Pushke, marked Moscow, 1893, assayer Alexander Smirnov (or Skovronsky), maker Peter Pavlovich Milyukov (fl. 1877‑1912), of cubic form, with bracket feet and rounded top edges, engraved with geometric bands and foliate bouquets, the hasp with an associated Victorian heart lock, h. 2‑3/4”, w. 2‑5/8”, d. 2‑5/8”, 5.84 oz. [1400/1800] Illustrated

109

491 Four Continental and American Silver Boxes, late 19th/early 20th century, including an American Tiffany & Co. sterling silver soap box, of rounded rectangular form and engraved with rococo scrolls, l. 3‑3/4”, a French Leon Souloy .950 silver pastille box, circular with engine turned decoration, dia. 2‑5/8”, and two Russian .875 silver reeded cases, including a Moscow cigarette case by “ARS”, l. 4”, and a St. Petersburg cheroot case by “AT”, l. 4”, 14.00 total t. oz. [500/800] Illustrated

491 493

494 Spanish Sterling Silver Tureen, second quarter 20th century, by Plateros Pasgorcy, Madrid, of oval form, decorated with applied realistically detailed grape leaves and tendrils, with arched reeded handles, the fitted, domed lid with grape cluster finial, the whole above a plain conforming foot, h. 1”, l. 15‑3/4”, w. 8‑1/2”, 53.30 t. oz. [1000/1500] Illustrated 492 Bohemian .800 Silver-Mounted Cut Glass Fruit Stand, first quarter 20th century, the silver with import marks for Zagreb, Yugoslavia, 1919‑1933, the squat thistle-form bowl of amethyst-cut-to-amber glass with floral- and oculus-cut decoration, raised above a silver frame supported by four displayed eagles on a gadrooned circular plinth, h. 7‑1/4”, dia. 9”, 12.72 t. oz. (stand only). [500/800] Illustrated

494

492

493 Pair of Italian .800 Silver Fighting Cockerel Table Garnitures, first half 20th century, the combatants realistically detailed, one h. 9‑5/8”, l. 6‑1/2”, the other h. 9‑1/2”, l. 8”, 44.44 total t. oz. [600/900] Illustrated

110

495 Portuguese Second Standard (.833) Silver Wine Jug, mid-20th century, by Reis Joalheiros, Porto, in the form of a barrel with realistically detailed staves and hoops, with a robust applied grapevine rim, grape leaf spout and plain handle, h. 7‑3/4”, l. 9”, dia. 6”, 37.20 t. oz. [500/800] Illustrated 496 Egyptian .900 Silver Punchbowl, second half 20th century, Cairo, in the Georgian taste, of hemispherical form, the scalloped rim decorated with applied molding and rose edge, with stirrup-ringed lion’s masque handles and raised on an ogee-domed circular foot, h. 8”, dia. 11”, 50.03 t. oz. [800/1200]

500 Four Pieces of Mexican Sterling Silver Tableware, mid-20th century, including a Sanborn Hermanos threepiece cream and sugar set, with a cream jug, dia. 2‑1/2”, an open sugar bowl, dia. 3‑1/4”, and an oval waiter, 9” x 6‑1/8”, all in the Spanish Colonial taste, lobed with chased rose decoration, and a Tango Aceves tray, of serpentinelobed oval form, with stirrup handles, 25‑3/4” x 17”, 93.51 total t. oz. [1400/1800]

495

497 Egyptian .900 Silver Tea Tray, 1951‑1953, Cairo, of shaped rectangular form, with shell-and-gadroon rim with shell-and-scroll feet and four rocaille feet, 28” x 18”, 105.13 t. oz. [1800/2500] Illustrated 498 Continental Silverplate Hot Water Urn, third quarter 19th century, the ovoid body with acanthus-mounted tap and caryatid-crested imbricate handles, the domed lid with acanthus fronds and bud finial, raised above a domed foot with canted square plinth and acanthus-crested feet, h. 21”, w. 17‑1/2”, d. 14”. [500/800] Illustrated

498

499 Continental Sterling Silver Hot Water Pitcher, with London import marks for 1985, in the rococo taste, the pear-shaped body decorated with bouquets of repousse flowers joined by acanthus scrolls, with a chased figural dolphin spout, hinged and domed lid with floriform finial, and acanthus-mounted crested ebony handles with poppy boss, the whole raised on an oval foot, h. 10‑1/2”, l. 8‑1/2”, w. 5‑1/4”, 34.01 t. oz. (including ebony handle). [1500/2500] Illustrated

497

499

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501 Silver Benetier in the Spanish Colonial Taste, first quarter 20th century, South American, probably Peru, with repousse decoration, the oval base decorated in the form of a coquille, the large crest decorated with the leafymantled Spanish Royal arms, the whole raised on three whelk-form feet, h. 6‑1/2”, w. 10‑3/4”, d. 11‑1/2”, 14.69 t. oz. [500/800] Illustrated

503

501

502 Peruvian .900 Silver Center Bowl, mid-20th century, in the Spanish Colonial taste, the circular melon-lobed body decorated with a chased band of trailing roses, with a flat bottom and raised on four cast leaf legs, h. 5‑1/2”, dia. 12‑1/2”, 33.52 t. oz. [500/800] Illustrated

504 Edouard Leon Cortes (French, 1882‑1969), “Porte SaintDenis”, oil on canvas, signed lower left, verso with a label, hand-inscribed with the title, 18‑1/8” x 21‑5/8”. Presented in a contemporary giltwood frame. Provenance: John H. Surovek Gallery, Palm Beach, Florida; Private collection, Florida. [20000/40000] Illustrated 505 Louis XVI-Style Mahogany Cabinet, early 20th century, the molded cornice above a paneled frieze and three long doors, each with a two-third fabric-lined glazed panel over a brassbanded panel, raised on toupie feet, h. 86”, w. 76”, d. 18”. [3500/5000] Illustrated

502

503 Large Myanma/Burmese Sterling Silver Bowl, 20th century, of traditional squat spherical form, decorated in deep repousse with two wide bands of dancers, water bearers, oxcart drivers, charioteers, deer, etc., below repousse and chased foliate bands at the rim, h. 8‑1/4”, dia. 13‑1/4”, 57.55 t. oz. [900/1200] Illustrated

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504

506 Louis XVI-Style Giltwood and Marble-Top Console Table, early 20th century, the rectangular marble top with projecting corners, above a conforming pierced guilloche-carved frieze centered by a laurel leaf medallion with pendant swags, raised on pierced tapering square legs ending in lotus feet, h. 31”, w. 28”, d. 13”. [1500/2500] Illustrated

506

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507 Louis XVI Mahogany and Marble-Top Commode, early 19th century, the rectangular marble top with a molded edge and turreted corners, above a conforming case fitted with three short drawers over two long drawers, all paneled and with brass banding, raised on tapering circular legs ending in brass caps, long drawer and underside stamped “Chateau Da...miant”, h. 50”, w. 36”, d. 25”. [2000/4000] Illustrated 508 Louis XVI-Style Kingwood and Marble-Top Secretaire a Abattant, late 19th century, the rectangular marble top with canted corners and a molded edge, above a case fitted with a frieze drawer over a banded and quarter-veneered drop front, opening to an inset leather writing surface and a variety of cubbyholes and drawers, over two cupboard doors, each banded and veneered en suite, raised on tapering circular legs, h. 55”, w. 31‑1/2”, d. 15‑1/2”. [500/800] 509 Pair of Louis XVI-Style Gilt-Bronze Two-Light Sconces, 20th century, each with a quiver-form backplate filled with arrows and holding a pair of leaf-molded scrolled candle arms set with molded drip pans and candle cups, marked “Made in Spain”, electrified, h. 19”, w. 7‑1/4”, d. 2‑1/2”. [500/800] 510 Pair of French Bronze-Mounted Porcelain Lidded Urns, fourth quarter 19th century, in the Louis XVI style, on guilloche-decorated notched bronze bases, decorated with gilt-edged leaves against raised gilt on a blue-green ground, one urn with framed panels 510 depicting an allegory of art painted in cerise on the obverse and a trophy of art on the reverse, and the other with an allegory of music on the obverse and a trophy of music on the reverse, formerly mounted as lamps, h. 14‑1/2”, dia. 4‑3/4”. [600/900] Illustrated

507

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511 Regence-Style Polychrome and Marble-Top Side Table, mid-19th century, the shaped marble top with a molded edge and raised on a conforming frieze fitted with a single drawer, paneled and centered by a floral spray carving, joined by C-scroll supports to a lower bowed shelf continuing to molded shaped legs ending in scrolled toes, h. 40”, w. 55”, d. 21”. [1000/1500] Illustrated 512 Pair of French Gilt-Bronze Putti-Form Pecheurs, fourth quarter 19th century, one figure carrying his catch and the other carrying a fishnet, on cove-molded red griotte marble bases, h. 11”, w. 6‑3/4”, d. 3‑1/4”. [800/1200] Illustrated 513 Belle Epoque Giltwood Overmantel Mirror, fourth quarter 19th century, of Louis XV inspiration, the frame molded with anthemia and scrollwork, and supporting a serpentine crest molded with pierced rocaille and scrollwork, h. 69”, w. 44‑1/2”. [1000/1500] Illustrated

512 514 Small Louis XV-Style Gilt-Bronze-Mounted Parquetry Walnut Lady’s Desk, ca. 1900, the slant lid opening to reveal a fitted segmented interior, over a pair of drawers and a full-width drawer, raised on cabriole legs, h. 36”, w. 24‑1/4”, d. 16‑1/2”. [1000/1500] Illustrated

511

516 Louis XIV-Style Boulle Work Clock, third quarter 19th century, French, resting on cabriole legs, the tortoise- and brass-inlaid case decorated with gilt mounts, a floriform bronze mount serving as the finial, set with marked Vincenti et Cie works, h. 12‑1/2”, w. 6‑1/4”, d. 3‑3/4”. [1400/1800] Illustrated 513

515 Pair of French Gilt- and Patinated Bronze FiveLight Candelabra, fourth quarter 19th century, in the Louis XV style, with pierced scrolled feet supporting the column-form bases, decorated with scrolls holding swags of fruit, the figural standard depicting a putto holding a globe and calipers, another with a book with allegorical symbols depicting geography and literature, the candle branches with molded leaves and scrollwork, h. 21‑3/4”, dia. 10‑1/4”. [800/1200] Illustrated

514

515

516

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517 Louis XVI-Style Giltwood and Marble-Top Side Table, late 19th century, the D-form marble top with projecting corners, above a conforming lattice-incised and floral garland-carved frieze, raised on fluted tapering circular legs headed by foliate carving, joined by a ribbon stretcher and ending in toupie feet, h. 36‑1/2”, w. 38‑1/2”, d. 14‑1/2”. [1200/1800] Illustrated

519 Unusual French Carved ParcelGiltwood Allegorical Clock, ca. 1800, the semicircular base trimmed with eggand-dart and beaded molding, and holding a figure, hunched over and supported by crutches, the clock on his back, set with a silk-string suspension and finished with an empty cooking pot serving as the finial, h. 20‑1/2”, w. 12‑1/2”, d. 6”. [800/1200] Illustrated

519

520 Two Pairs of French Molded Bronze Candlesticks, 19th century, one pair with pierced scrollwork bases supporting figures of musicians in 18th-century costume standing before morning glory-molded standards, h. 10‑3/4”, dia. 5‑1/2”, and the other pair with molded scroll and rocaille work, and baluster-form standards, h. 9‑1/2”, dia. 4‑1/4”. [500/800] 517

518 Louis XV-Style Giltwood and Marble-Top Console Table, mid-19th century, the shaped marble top with a molded edge, above a conforming pierced scrolling frieze centered by a fruit spray, raised on molded legs, joined by a floral urn stretcher and ending in foliate scrolled toes, h. 31‑1/2”, w. 24‑1/4”, d. 13‑1/2”. [1000/1500] Illustrated

524

521 Pair of Louis XV-Style Brass Three-Light Sconces, third quarter 20th century, the rocaille-molded backplates supporting three matching candle arms with candle cups, and dressed with cut glass prisms, h. 28‑1/2”, w. 15”, d. 6”. [500/800]

518

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522 Jean-Sebastien Rouillard (French, 1789‑1852), “Portrait of a Court Lady in 18th-Century Costume”, oil on canvas laid on board, signed lower right “S. Rouillard”, 39” x 32”. Presented in a handsome, antique giltwood and gesso frame. Provenance: St. Charles Antiques, New Orleans, Louisiana; Private collection. [2000/4000] Illustrated

525 Continental Enamel and Alabaster Annular Clock, first quarter 20th century, the cobalt-enameled urnform case decorated with classical figures in gilt trim, the annular rings with Roman numerals indicating time by pointers, just above the knurled winding stem, hung with decoration chains and mounted with an acorn finial, and resting on an octagonal alabaster base, h. 7”, dia. 3”. [1000/1500] Illustrated

526

522 523 Julien Morier (French, 1890‑1915), “Bust of Madame du Barry”, ca. 1900, terracotta, after Augustin Pajou (French, 1730‑1809), inscribed “D’apres Pajou” and signed at proper right truncation, an “Atelier Petit/Paris” stamp at back, on a gray marble plinth, h. 28‑1/2”, w. 17”, d. 8”. [1000/1500] Illustrated

526 Set of Eleven Limoges Raised Gilt Cabinet Plates, ca. 1894‑1930, French, the cobalt borders with raised gilt scrollwork surrounding a central panel with hand-painted flowers, marked by Charles Ahrenfeldt, artist-signed “Hiceille”, dia. 8‑1/2”. [600/900] Illustrated

524 Pair of Louis XV-Style Bronze and Porcelain Lamps, first quarter 20th century, the base molded with laurel leaves and supporting the inverted pear-form cobalt porcelain lamp, mounted with horned satyr bronze handles supporting swags of flowers, base, h. 17”, overall, h. 32”, dia. 8‑1/4”. [2500/4000] Illustrated

525

523

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527 Twenty-Seven-Piece Sevres Gilt and Lapis-Ground Partial Coffee Set, ca. 1892‑1922, decorated with delicately painted sprigs of flowers, the set including a coffeepot, h. 8‑3/4”, dia. 5”, a cream jug, h. 3‑3/4”, dia. 2‑3/4”, a sugar bowl, h. 4‑1/2”, dia. 3‑3/4”, and twelve demitasse cups, h. 2”, with twelve matching saucers, dia. 4‑1/2”, marked with various blank marks dating 1892‑1922, with various decorator’s initials including “BB” and “HP”. [900/1200] Illustrated

527

529 Pair of Louis XVIStyle Brass FiveLight Sconces, the backplates molded with tassels and intertwined bellflowers, the leafmolded arms set with glass bobeches hung with prisms, h. 31”, w. 17‑1/2”, d. 10”. [700/1000] Illustrated

529

530 Pair of French Gilt-Bronze and Marble Figural Five-Light Candelabra, fourth quarter 19th century, on trumpet-form black marble bases, each with a standard in the form of a putto holding a bird in one hand and a cornucopia set with scroll-molded, pierced candle branches in the other, with molded drip pans and matching candle cups, h. 18‑1/4”, dia. 9‑3/4”. [700/1000] Illustrated

530 528 Pair of French Porcelain and Bronze Palace Urns, 20th century, in the Sevres style, each with a cobalt ground decorated with raised gilt scrollwork and oval panels of sirens beckoning to doomed sailors on one side and bucolic landscapes on the other, with leaf-molded bronze handles and domed covers, raised on notched bronze bases h. 40”, dia. 11‑1/2”. [3500/5000] Illustrated

528

531 Louis XVI-Style Mahogany and Marble-Top Secretaire a Abattant, early 20th century, the rectangular marble top with projecting corners and a three-quarter pierced brass gallery, above a conforming case fitted with a drawer over a drop front opening to shelves, drawers and an inset leather writing surface over three paneled drawers, raised on tapering circular legs, h. 52”, w. 25‑1/2”, d. 14”. [500/800] 532 Louis XVI-Style Mahogany and Marble-Top Cabinet, early 20th century, the demi-lune marble top above a conforming case fitted with a central drawer over two paneled cupboard doors, flanked to either side by two open curved shelves, raised on fluted tapering circular legs ending in ring-turned feet, h. 40”, w. 49‑1/2”, d. 15‑1/2”. [500/800] Illustrated

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533

535 French Belle Epoque Giltwood Mirror, fourth quarter 19th century, in the Louis XVI style, the oval mirror set with a beveled mirror plate in an egg-and-dartcarved surround, the crest depicting a pair of lovebirds sitting on a crossed torch and quiver, framed with sprays of pierced laurel leaves on each side, h. 43”, w. 24‑3/4”. [1500/2500] Illustrated

535

536 Louis XVI-Style Kingwood Dressing Table, early 19th century, the rectangular trisected top with a hinged central mirrored section and two side sections, each hinged and opening outwards to reveal a storage well, above a frieze fitted with a central drawer flanked to either side by two short drawers, the upper ones false, raised on tapering circular legs ending in brass caps, h. 29”, w. 39”, d. 22”. [1500/2500] Illustrated

533 Louis XIV-Style Chrome-Plated and Crystal Six-Light Chandelier, the interior set with molded glass finials, the six scrolled candle branches and upper tiers embellished with various crystal drops, h. 31‑1/2”, dia.. 23‑1/2”. [1200/1800] Illustrated 534 Pair of Louis XVI-Style Oak, Mahogany and MarbleTop Cabinets, early 20th century, each with a rectangular marble top with a three-quarter pierced brass gallery and turreted corners, above a conforming case fitted with two frieze drawers over two cupboard doors, each faced as six drawers, all drawer faces paneled and with brass banding, raised on brass-bound toupie feet, h. 50”, w. 56”, d. 20‑1/2”. [3000/5000] Illustrated

532

536

534

119

537 Louis XVI-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top with turreted corners, above a conforming case fitted with three long paneled drawers, flanked to either side by rounded fluted uprights, raised on tapering circular legs ending in toupie feet, h. 34‑1/2”, w. 44‑1/2”, d. 22‑1/2”. [1800/2500] Illustrated 538 Exceptional Napoleon III Gilt-Bronze Mantel Clock in the Louis XVI Style, third quarter 19th century, made by Raingo Freres, Paris, the base decorated with a border of ribbon-bound laurel and molded acanthus leaves and supporting the clock works, the sides with molded, pierced brackets and swags of flowers, the arched top with a bowknot crest, below an imposing urn-form finial with a Greek-key fret and hung with laurel swags, the careful attention to detail extending to the rear door, decorated with a gilt-bronze basket of flowers, both the dial and works signed by bronziers and clock makers Raingo Freres, h. 29”, w. 18”, d. 7”. [2000/4000] Illustrated

538

540 Pair of French Fin de Siecle Bronze Dore et Patine Seven-Light Candelabra, fourth quarter 19th century, of Louis XIV inspiration, each with a patinated bronze urn-form standard with swags of flowers under a wave-molded trim, and set with cherub-form gilt handles and gilt candle arms with scrolls and molded leaves supporting drip pans and molded candle sockets, the gilt base with leaf-molded feet, h. 29‑3/4”, dia. 12‑1/4”. [2000/4000] Illustrated

539

541 Pair of Louis XVI-Style Gilt-Brass Four-Light Sconces, 20th century, each with a quiver-form backplate terminating in an urn finial with flame knop, and leaf-molded candle branches set with molded drip pans and matching candle cups set with matching bobeches, h. 17‑3/4”, w. 12‑1/2”, d. 8”. [500/800]

537

539 French Gilt-Bronze and Glass Five-Sided Hall Lantern, first quarter 20th century, in the Louis XV taste, set with serpentine glass panels, the sides trimmed with molded rocaille work and serpentine crests decorated with shell-form finials, with five sockets in molded gilt-bronze candle cups and drip pans, held by the central standard supporting the scrolled bronze frame, h. 36”, dia. 17”. [1500/2500] Illustrated

120

542

543 Set of Three French Bronze Two-Light Scones, 20th century, in the Louis XVI style, each with a fluted quiverform backplate hung with swags and terminating in an urn-form finial, and having reeded candle arms supporting leaf-molded drip pans and candle cups set with beaded bobeches, electrified, h. 19”, w. 10‑3/4”, w. 6‑1/2”. [500/800]

540

545 542 Louis XVI-Style Mahogany and Satinwood Writing Table, early 20th century, the rectangular top inset with a leather writing surface and within a brass banding, above a frieze fitted with two drawers, each with a floral latticepatterned veneer, raised on tapering square legs ending in brass caps, h. 30‑1/4”, w. 50‑3/4”, d. 25”. [1500/2500] Illustrated

544 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Vitrine Cabinet, late 19th century, the rounded rectangular marble top above a conforming case fitted with two doors, each with a shaped glazed panel with pleated fabric backing, the sides quarterveneered, raised on shaped toes to sabots, h. 52”, w. 39”, d. 11‑1/2”. [2000/4000] Illustrated 545 Pair of Louis XV-Style Giltwood Fauteuils, fourth quarter 19th century, each with a domed and padded back surmounted by a floral shell crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs ending in casters, h. 43”. [2500/4000] Illustrated

544

546 Unusual French Fin de Siecle Enamel Vase, ca. 1900, rendered in shades of lavender and mauve, the front depicting a couple in 18th-century costume ascending the stairs into a hotel, the desk clerk sitting behind them, and the back depicting a room with a table, wine bottle and glass, a gentleman’s hat and walking stick suggestively left on a bench, resting on a pierced gilt-bronze base, h. 6‑1/2”, dia. 3‑1/4”. [1000/1500] Illustrated

546

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547 547 Manner of Francois Boucher (French, 1703‑1770), “Lovers”, a pair of graphite and watercolors on paper, monogrammed lower right “F.B.”, each sight 9” x 7”. Both glazed, matted and attractively framed alike. [1500/2500] Illustrated 548 Manner of Jean-Antoine Watteau (French, 1684‑1721), “Lovers in the Garden”, oil on canvas, 28‑1/2” x 26”. Framed. [800/1200] Illustrated 549 Louis XVI-Style Mahogany Bergere, early 20th century, of barrel form, the rounded back and downswept sides padded and within a molded frame, joined to the cushioned seat by fluted uprights, raised on stop-fluted tapering circular legs ending in toupie feet, h. 44‑1/2”. [1000/1500] Illustrated

548

550 French Enamel and Gilt-Bronze Miniature Ewer, ca. 1900, on a carnelian ground with delicate raised gilt scrollwork framing the oval panels depicting couples in 18th-century costume in an Arcadian landscape, h. 4‑3/4”, dia. 2”. [800/1200] Illustrated 551 Pair of Paris Porcelain Covered Urns on Plinths, third quarter 19th century, made to promote a pharmaceutical equipment supplier, decorated with gilt on a cobalt ground, the bases decorated with panels of flowers and panels depicting palm trees similar to those on apothecary jars, the urns with portraits on one side and panels of palm trees with snakes on the other, marked around the base “Paul Lefebure, Rue de L’Odeon 13, Paris”, h. 25‑1/2”, w. 15‑1/4”. [1000/1500] Illustrated 552 Suite of Three Louis XVI-Style Mahogany and Marble-Top Nesting Tables, early 20th century, each with a rectangular marble top above a brass-banded frieze, the largest one with a full pierced brass gallery, the smallest one with a frieze drawer, raised on fluted tapering circular legs ending in brass caps, the largest, h. 22‑1/2”, w. 22‑1/2”, d. 14‑1/2”. [700/1000] 553 Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, the arched crest rail centered by floral and leaf carving, the open arms with foliate-carved scroll ends on shaped supports with like carving, bowed seat rail and turned legs, now in Brunswig and Fils upholstery and fitted with loose seat cushions, h. 44‑3/8”. [800/1200]

549

122

554 Transitional 556 Louis XV-intoLouis XVI-Style Rosewood, Kingwood and Marble-Top Commode, late 18th century, the rectangular top with projecting canted corners and a breakfront, above a conforming case fitted with two long drawers, centered by an inlaid waterscape, flanked to either side by parquetry star inlays, the sides en suite, raised on cabriole legs ending in sabots, h. 35”, w. 44‑1/2”, d. 21”. [3000/5000] Illustrated

550

555 Italian Fruitwood and Marble-Top Commode in the Louis XV Style, late 19th century, the shaped marble top with a molded edge, above a conforming case fitted with two drawers, each with two banded panels, raised on cabriole legs, h. 34”, w. 32‑1/2”, d. 20”. [2000/4000] Illustrated 556 French Bronze and Crystal Ten-Light Chandelier in the Baroque Taste, second quarter 20th century, the bronze frame decorated with strings of glass drops and glass medallions, and set with six bronze candle arms, four sockets concealed in the interior, decorated with two tiers of cut glass drops, h. 28”, dia. 22‑1/2”. [2000/4000] Illustrated

551

554

555

123

557 Pair of French Bronze and Marble Baroque-Style Candlesticks, fourth quarter 19th century, now mounted as lamps, the marble bases supporting the candlesticks, with acanthus-leaf supports holding monopodia standards with reeded candlecups with lion’s heads, set with faux candles and double light sockets, h. 25‑1/2”, dia. 6‑1/4”. [500/800] 558 Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Occasional Table, early 20th century, the “kidney”-form marble top with a threequarter pierced brass gallery and above a conforming frieze fitted with a single drawer, joined to a like-shaped, galleried shelf by reeded supports continuing to cabriole legs ending in sabots, h. 30‑1/4”, w. 29‑1/2”, d. 14”. [1000/1500] Illustrated

561 559 Champleve Enamel and Green Onyx Crystal Regulator, first quarter 20th century, probably French, the serpentine onyx base and top with enamel trim on the side columns and bezel, the cream-colored dial with swags of hand-painted roses and an enamel center medallion, unmarked, with the exception of the stamped numbers, h. 13‑1/4”, w. 8‑1/2”, d. 5‑3/4”. [600/900]

560

562

558

124

560 Pair of French Belle Epoque Gilt-Bronze Chenets, fourth quarter 19th century, in the Louis XVI taste, each with a pair of acorn finials above a pierced ivy panel flanked by molded medallions, and raised on tapering feet flanking a molded swag and tassel, h. 11‑1/4”, w. 12”, d. 5”. [500/800] Illustrated

562 French Bronze Mantel Clock, fourth quarter 19th century, in the Louis XV style, retailed by J. E. Caldwell, Philadelphia, resting on pierced, scrolled feet, the facade decorated with a molded masque over a grid-work panel, the upper edges with a pierced, scrolled border, and the urn-form finial trailing molded flowers, the dial marked “J. E. Caldwell, Philadelphia”, h. 23‑1/2”, w. 12”, d. 9‑1/4”. [700/1000] Illustrated

563

565

561 Pair of French Marble and Bronze Urns, fourth quarter 19th century, now mounted as lamps, the faux-marbredecorated tripartite bases supporting the bronze-mounted mottled lavender marble urns on like bases, the inverted pear-form bodies with pierced bronze handles and raised on gilt-bronze scrolled feet, urn, h. 19”, overall, h. 31‑1/4”, dia. 8”. [1000/1500] Illustrated

563 Belle Epoque Giltwood Overmantel Mirror in the Louis XV Style, ca. 1900, the cove-molded frame decorated with scrolled mantel rests on each side, the serpentine crest decorated with rocaille work flanked by flowers and scrolls, set with a beveled mirror plate, h. 72”, w. 43‑1/2”. [1000/1500] Illustrated 564 Exceptional Enamel Table Clock, fourth quarter 18th century, the case in the form of a wine cask and decorated with various classical figures and mythological scenes, the domed base set with enameled dolphin-form supports, the French works signed “Berthoud a Paris”, the movement with a pierced and engraved balance cock, and the opening at the top formerly fitted for a finial, h. 4‑1/4”, dia. 3‑1/2”. [3000/5000] Illustrated 565 Two Continental Gilt-Bronze Boxes Inset with Miniature Paintings, ca. 1900, the first a cigar box, stamped "Austria", the hinged lid centering a Roman bath scene signed "J. Richter", opening to a fitted cedar interior, the case decorated with guilloche and anthemion, h. 2-1/4", w. 8-1/4"; the second a circular jewel case, the hinged lid with applied laurel and a portrait of Marie Antoinette, signed "L. Levy", the case decorated with lyres and scrolling vinery, h. 2", dia. 5-3/4". [600/900] Illustrated

564

125

566

566 Extensive Royal Vienna-Style Hand-Painted Porcelain Partial Dinner Service, first quarter 20th century, German, including some Limoges additions, decorated with hand-painted polychrome panels depicting the three graces, some after Angelica Kauffman (Swiss, 1741‑1807), each piece with cerise borders on an ivory ground, and decorated with gilt scrollwork, the set including two graduated soup tureens, h. 13”, dia. 7‑1/4” and h. 14‑1/2”, dia. 8‑3/4”, a pair of dessert stands with bronze handles, h. 16”, dia. 9‑3/4”, a pair of oval platters, w. 17‑3/4”, d. 12”, two graduated oval platters, w. 11”, d. 7‑1/2” and w. 13‑3/4”, d. 9‑1/4”, a pair of round meat platters, dia. 13‑1/2”, a fish platter, w. 24‑1/2”, d. 9”, a pair of round open footed bowls, h. 4‑1/2”, dia. 12”, a round footed open bowl, h. 2‑1/2”, dia. 9‑3/4”, a round covered vegetable dish, h. 7‑1/2”, dia. 10‑1/2”, a pair of sauce boats with integral stands and matching porcelain ladles, h. 4‑3/4”, w. 9‑3/4”, d. 6”, twenty-four dinner plates, dia. 9‑3/4”, sixteen soup plates, dia. 9‑1/2”, thirty dessert plates, dia. 7‑3/4”, eleven salad plates, dia. 8‑1/4”, thirty bread and butter plates, dia. 6‑1/4”, twelve cups on gilt feet, h. 2‑1/2”, eighteen matching saucers, dia. 5‑1/2”, fifteen coffee cups, h. 1‑1/2”, sixteen matching saucers, dia. 4‑1/2”, a comport, h. 6”, dia. 9‑1/2”, and nineteen hand-picked dishes, dia. 4”, fifteen ramekins, dia. 3‑3/4”, sixteen flat cups, h. 2‑1/4”, and ten saucers, dia. 5‑1/4”, each piece marked with an underglaze blue or gray “beehive”. [1000/1500] Illustrated

566 detail

567 Louis XVI-Style Kingwood and Marble-Top Chest, early 20th century, the slightly bowed top above a conforming case fitted with five drawers, all banded and quarter-veneered, raised on rounded legs ending in sabots, h. 50”, w. 24‑1/2”, d. 15”. [700/1000] 568 Louis XV-Style Elm Poudreuse, 19th century, the trisected top with a central section opening to a mirrored and fabric-lined interior, flanked to one side by a hinged section opening outward to a fabric-lined storage space, the other side opening outward to a space fitted with three metal-topped glass vessels, two scent bottles and two porcelain boxes, over a frieze fitted with a single central drawer, raised on cabriole legs ending in sabots, h. 28”, w. 33‑1/2”, d. 20‑1/4”. [1800/2500] Illustrated

568

126

569 Louis XV-Style Mahogany Vitrine Table, 20th century, the shaped rectangular top inset with a glass panel, hinged and opening to a fabric-lined interior, the sides also glazed, raised on cabriole legs headed by ormolu mounts, h. 30”, w. 43”, d. 24”. [800/1200] Illustrated

570

571

570 French Belle Epoque Giltwood Mirror of Louis XIV Inspiration, fourth quarter 19th century, the beaded surround with rounded upper corners, the crest comprised of a pair of cherubs supporting a cabochon, and with flower swags hanging on each side of the mirror plate, h. 66‑1/2”, w. 42”. [1500/2500] Illustrated 571 French Gilt-Bronze and Cut Glass Eight-Light Chandelier, mid-20th century, in the Louis XIV style, the gilt-bronze frame with a standard clad with cut-panel glass and eight prism-hung candle branches with giltbronze drip pans and candlecups below two tiers of sprays hung with cut glass drops, electrified, h. 43”, dia. 29”. [5000/8000] Illustrated

569

572 Louis XVI-Style Mahogany Vitrine Table, fourth quarter 19th century, attributed to Gervais-MaximilienEugene Durand, Paris, the hinged rectangular top with a central glass panel opening to a fabric-lined display space, above a scrolling foliate ormolu-applied frieze, raised on paneled tapering legs ending in foliate ormolu feet, the whole richly accented with ormolu mounts and millwork, the inside labeled “Mon. Roll, G. Malin, Millan et Cie Successeurs, 42 FG. St., Antoine, Paris”, h. 29‑3/4”, w. 38”, d. 23”. A nearly identical table to the one offered here, bearing “F. Durand. Fils” stamps, sold at Christie’s, New York, October 24, 2006, as lot 312. [1800/2500] Illustrated

572

127

573 Meissen Marcolini Period Hand-Painted CabbageForm Tureen and Underplate, ca. 1774‑1817, German, decorated with gilt-trimmed framboise-colored leaves and panels of hand-painted flower bouquets, marked in underglaze blue with crossed swords over a star, tureen, h. 7‑1/2”, dia. 7”, underplate, dia. 9‑3/4”. [600/900] Illustrated

575

573

574 Beautifully Decorated Paris Porcelain Clock in the Jacob Petit Manner, second quarter 19th century, French, the 574 top and sides with hand-painted panels of birds and fruit framed in raised gilt on an aubergine ground, the facade beneath the dial decorated with a wicker basket filled with flowers, the base decorated with a swag of fruit and raised on scrolled feet, the works stamped “Lenoir, Paris”, h. 15”, w. 9‑1/4”, d. 5”. [1500/2500] Illustrated

576

575 Louis XVI-Style Parcel-Gilt Mahogany Center Table, ca. 1900, the shaped top with inset silk velvet center, the conforming apron with carved rosettes, on fluted trumpet legs joined by stretchers centered by a flame- and swag-carved finial, h. 29‑3/4”, w. 47”, d. 28”. [600/900] Illustrated 576 Regence-Style Kingwood and Marble-Top Commode, 19th century, the shaped Breche d’Alep marble top with a molded edge, above a conforming bombe case fitted with three long drawers, each with decorative banding, raised on splayed legs ending in sabots, h. 33‑1/2”, w. 54”, d. 23”. [2000/4000] Illustrated

128

577

582 578

577 Kerman Carpet, 11’ x 16’. [2000/4000] Illustrated 578 Semi-Antique Lavar Kerman Carpet, 3’ 2” x 4’ 11”. [600/900] Illustrated 579 Semi-Antique Sarouk Carpet, 13’ 5” x 20’ 7”. [3000/5000] 580 Angora Oushak Carpet, 8’ x 10’. [3000/5000] 581 Turkish Angora Oushak Carpet, 10’ x 14’. [1500/2500] Illustrated 582 Antique Persian Tabriz Carpet, 9’ 8” x 12’ 9”. [2000/4000] Illustrated

581

129

583

587

130

585

583 Empire Needlepoint Carpet, 11’ 9” x 18’ 2”. [1500/2500] Illustrated

593

584 Turkish Angora Oushak Carpet, 6’ 1” x 9’. [600/900] 585 Turkish Angora Oushak Runner, 2’ 5” x 19’ 6”. [600/900] Illustrated 586 Turkish Angora Oushak Carpet, 9’ x 12’ 3”. [1800/2500] 587 Antique Sarouk Carpet, 10’ 8” x 12’ 8”. [800/1200] Illustrated

591 Regency Tole Tray-on-Stand, early 19th century, the oval-form tray with a full raised edge and two pierced end handles, centered by a maritime cityscape, possibly Venice, within a scrolling gilt banding, now raised on a later ebonized faux bamboo stand, h. 23”, w. 23”, d. 18”. [500/800] 592 Unusual Pair of English Regency Bronze Dore et Patine Three-Light Candelabra, second quarter 19th century, the bronze bases with engine turning and supporting a figural standard depicting a neoclassical female figure holding a single candle cup on a star, h. 11‑3/4”, w. 10‑1/4”. [500/800]

589

593 Regency-Style Red Tole Six-Light Chandelier, second quarter 19th century, the base in the form of an inverted gilt-decorated pagoda and set with six candle arms, supported by gilt chains suspended from a pagoda-form canopy hung with bells, h. 22‑1/2”, dia. 27”. [600/900] Illustrated

588 Turkish Angora Oushak Carpet, 5’ 7” x 8’ 7”. [600/900] 589 Pair of English Regency-Style Bronze and Marble Candlesticks, fourth quarter 19th century, each with a patinated bronze sphinx-form standard mounted with a gilt-bronze candle cup and bobeche, above a marble and bronze base, h. 8‑3/4”, w. 4”, d. 2‑1/2”. [700/1000] Illustrated 590 Regency Hand-Painted Oval Tole Tray on Stand, first quarter 19th century, the tray with a red ground and central oval painted scene of figures in a pastoral landscape, within a gilt “vintage”-patterned border, with a carrying handle to either end, now raised on a later conforming mahogany stand with splayed legs joined by an X-form stretcher, h. 20”, w. 32‑1/2”, d. 23”. [500/800] Illustrated

590

131

594 Regency Rosewood Credenza, early 19th century, the double-tiered superstructure with a mirrored back and three-quarter pierced brass gallery, the lower section with a recessed center section over a conforming case fitted with two cupboards, each with an inset brass grille, flanked to either side by a paneled door, raised on a molded plinth base, the whole accented with brass banding, h. 61‑1/4”, w. 72”, d. 15‑3/4”. [900/1200] Illustrated

594

595

595 Two Pieces of Japanese Imari Porcelain, first quarter 20th century, including an unusual scalloped dish decorated with a tiger under a bamboo plant, dia. 8‑1/2”, and a saucer dish with a blue and white panel of plants and butterflies and a border of orange flowers, dia. 5‑1/2”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [600/900] Illustrated

597

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596 Three Pieces of Japanese Imari Porcelain, fourth quarter 19th century, including a square dish decorated with a basket of flowers, w. 12‑1/2”, d. 12‑1/2”, and a pair of similar round scalloped dishes decorated with flowers and cranes, dia. 8‑1/4”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [600/900] 597 Japanese Imari Porcelain Charger, ca. 1900, decorated with panels of cranes alternating with panels of foo dogs, dia. 18”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [500/800] Illustrated

600

598 Regency Satinwood-Banded Rosewood Sofa Table, early 19th century, the top flanked by a pair of drop leaves, all with satinwood crossbanding, the apron with a drawer on each side, raised on a lyre-form trestle base with brass “strings” and saber legs with brass paw cup casters, h. 28‑3/4”, w. 38‑1/2”, d. 23”, extended w. 57”. [1500/2500] Illustrated

601

603

601 French Restauration Bronze Dore et Patine Figural Mantel Clock Depicting Apollo, second quarter 19th century, the scroll-footed base decorated with molded acanthus leaves and a gilt-bronze mount depicting a lyre, a wreath of laurel and tied palmette fronds, Apollo sitting on the works, wearing a wreath and holding a scroll, his lyre resting on the base and clasped with one hand, the silk-strung suspension clock works stamped “Gillion”, h. 29‑1/4”, w. 19”, d. 6‑3/4”. [1800/2500] Illustrated

599 Regency-Style Rosewood Occasional Table, late 19th century, the kidney-form top above a conforming frieze, raised on two end supports, each with a delicate tri-spindled stretcher, continuing to splayed legs ending in brass caps on casters, h. 29”, w. 34”, d. 18”. [600/900] 600 Regency Rosewood Breakfront, first quarter 19th century, the molded and ebonized cornice with applied ball accents, above a case fitted with four glazed doors opening to shelved interiors, joined by grilled panels to a lower section fitted with two paneled cupboard doors, raised on ebonized ball feet, the whole accented with applied ebonized ribbed accents, h. 87‑1/2”, w. 73‑1/4”, d. 16‑1/2”. [5000/8000] Illustrated

598

602 Late Regency Mahogany Work Table, second quarter 19th century, the top fitted with a pierced brass gallery, over a pair of paneled drawers, on a trestle base with turned stretchers and saber-form legs ending with brass paw cups, h. 29”, w. 24”, d. 16”. [1000/1500] Illustrated 603 Regency-Style Gilt-Brass and Cut Crystal Six-Light Chandelier, mid-20th century, the standard decorated with graduated sprays of drops, and with matching sprays of drops under the candle cups, h. 29”, dia. 25‑1/2”. [900/1200] Illustrated

602

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604 Regency-Style Brass-Inlaid and -Strung Rosewood and Faux Rosewood Chiffonier, ca. 1900, in two parts, the upper section with a pair of graduated stepped shelves on brass columns, the base with a concave brass-inlaid door over a pair of conforming doors fitted with brass grillwork and pleated silk panels, h. 62”, w. 44‑1/2”, d. 18‑1/4”. [1000/1500] Illustrated 605 Pair of AngloIrish Regency Cut Glass Decanters, second quarter 19th century, the unusually heavy decanters with diamond-point cutting on the body, and neck rings with matching stoppers, h. 12”, dia. 5‑1/4”. [600/900] Illustrated

607 Five-Piece Collection of Cut Glass, 19th century, including a pitcher on a pedestal, h. 11‑1/4”, dia. 5‑1/2”, and a water pitcher, h. 8‑3/4”, dia. 5”, both cut in the strawberry pattern, a French Restauration pitcher on a pedestal, h. 11”, dia. 6”, an English pitcher cut with stars, h. 5‑3/4”, dia. 6”, and a William IV celery vase cut with concentric rings and a band of diamond-point cutting, h. 7‑1/2”, dia. 4‑1/2”. [500/800]

605

606 Collection of Eight Anglo-Irish Cut Glass Decanters, including two English Regency examples, second quarter 19th century, h. 9‑1/2”, dia. 3‑1/4” and h. 9‑3/4”, dia. 4‑1/4”, four American or French examples, mid-19th century, h. 10‑1/4” to 14”, dia. 4‑1/4” to 5‑1/4”, a signed Waterford decanter, 20th century, h. 12‑1/2”, dia. 4”, and a ship’s decanter, 20th century, h. 8‑1/4”, dia. 6‑1/4”. [500/800]

610

608 Four-Piece Collection of Cut Glass, 19th century, including a pair of Anglo-Irish centerpieces with fold-over rims, cut in the strawberry pattern, h. 7‑3/4”, dia. 10‑1/2”, a Regency strawberry-cut centerpiece with a fold-over rim, h. 8‑1/2”, dia. 9‑1/4”, and a panel-cut cheese dish with a faceted knop, h. 8”, dia. 10”. [600/900] 609 Pair of Regency-Style Blown Glass Urn-Form Punch Fountains, the sides cut in a lattice pattern with leaf flourishes, the tapered covers with acorn-form knops, h. 25‑3/4”, dia. 7‑1/2”. [500/800] 610 Regency Mahogany Cellarette, first quarter 19th century, the hinged rectangular top with breadboard ends opening to a zinc-lined and fitted interior, raised on slender turned legs ending in brass casters, h. 24”, w. 17”, d. 13”. [700/1000] Illustrated

604

134

611 Regency-Style Mahogany Dining Table, the circular top triple banded and raised on four turned supports to a concave platform to four splayed legs ending in brass caps and casters, h. 31”, dia. 79”. [2000/4000] Illustrated

612 Neoclassical-Style Bronze and Glass Four-Light Hall Lantern, set with an inverted bell-form shade, a pinecone finial serving as the standard, the chain holder molded with ram’s head hooks and pierced swags of laurel leaves, a glass smoke bell mounted at the top, h. 30”, dia. 11‑1/2”. [600/900] Illustrated

615 Regency Burr Walnut SarcophagusForm Tea Caddy, first quarter 19th century, raised on gilt-brass feet, the two-compartment interior fitted with two lidded compartments, h. 6‑1/4”, w. 8”, d. 4‑3/4”. [600/900] Illustrated 614

613 612 Neoclassical-Style Bronze and Glass Four-Light Hall Lantern, set with an inverted bell-form shade, a pinecone finial serving as the standard, the chain holder molded with ram’s head hooks and pierced swags of laurel leaves, a glass smoke bell mounted at the top, h. 30”, dia. 11‑1/2”. [600/900] 614 Regency Fruitwood Pear-Form Tea Caddy, ca. 1800, the lock set with an oval metal escutcheon, the bottom with a center plug and the interior lined in foil, h. 6‑1/2”, dia. 3‑1/2”. [800/1200] Illustrated 615

611

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616

617

136

616 Suite of Four Hand-Colored British Engravings of Racing Scenes, 1866, including plates 1‑4, after John Frederick Herring, Sr. (British, 1795‑1865), engraved by John Harris the Younger (British, 1791‑1865) and William Summers (British, 19th Century), from Fores’s National Sports series, published by Samuel William Fores (British, 1761‑1838), London, each sight 17‑3/4” x 28‑1/2”. Matted, glazed and framed alike. [1000/1500] Illustrated

619

617 British School (Fourth Quarter 19th Century), “A Day at the Races”, oil on canvas, after John Frederick Herring, Sr. (British, 1795‑1865), inscribed “J. F. Herring Sen, 1851” lower right, 30” x 48‑1/4”. Framed. [2000/4000] Illustrated 618 Eighteen Pieces of Chinese Export Floral-Decorated Dinnerware, ca. 1800, consisting of nine dinner plates, dia. 9‑3/4”, and nine bread and butter plates, dia. 6”, decorated with borders of flowers and butterflies on a gilt ground, each with a center panel of initials in a red and gilt panel. [1400/1800] Illustrated

618

619 William IV Giltwood Tabernacle Mirror, second quarter 19th century, decorated with bundles of reeds framing the mirror on three sides, with black lion’s heads decorating the corner blocks, under an ogee-molded cornice, h. 40”, w. 28‑1/2”. [1200/1800] Illustrated 620 Louis Basset (French, b. 1948), “At the Racetrack”, oil on wood panel, signed lower right, 43” x 43”. Framed. [2000/4000] Illustrated 620

137

621 William IV Mahogany Linen Press, second quarter 19th century, the molded cornice above a case fitted with two paneled cupboard doors, flanked to either side by a columnar upright and opening to a shelved interior, the lower section fitted with two short drawers over two graduated long drawers, raised on ribbed and splayed feet, h. 89‑1/4”, w. 54”, w. 24‑1/2”. [1200/1800] Illustrated

622

622 William IV Polychromed and Ebonized Papier-Mache and Wood Pole Screen, second quarter 19th century, the shaped screen centered by a painted genre scene amidst gilt decor, the base in foliate polychrome with scroll feet, the back of the stand exhibiting a handwritten note asserting the piece’s provenance as the descendents of Pennsylvania’s William Penn, h. 54‑1/2”, w. 16”, d. 16”. [500/800] Illustrated

623

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621

624

623 William IV Mahogany Bookcase/Cabinet, mid-19th century, the molded cornice above a case fitted with two grilled cupboard doors, opening to a shelved interior, the lower section fitted with a long frieze drawer over two cupboard doors, each inset with a shaped panel, raised on reeded bun feet, h. 78”, w. 43”, d. 19‑1/2”. [1000/1500] Illustrated 624 Regency-Style Ebonized Parlor Cabinet, mid-19th century, in the chinoiserie taste, the superstructure with a shaped crest above a shelf, joined by a paneled back and scrolling supports to a lower section fitted with a drawer above a recessed cupboard door, inset with a circular pleated yellow cloth panel, opening to an interior fitted with a shelf over a drawer and two pull-out shelves, the cupboard flanked to either side by turned columnar uprights, raised on turned toupie feet, the whole with gilt and polychrome accents in the chinoiserie taste throughout, h. 52”, w. 30”, d. 16”. [1500/2500] Illustrated

625 detail

625 William IV Carved, Ebonized and Giltwood Specimen Marble-Top Center Table, mid-19th century, the circular marble top banded and centered by a malachite chess board within a field of various pebble-form marbles, raised on a fluted and egg-and-dart-molded standard to three legs headed by ram’s heads and ending in foliate feet, the base with gilt accents, h. 31”, dia. 30”. [700/1000] Illustrated 626 Two William IV Casket-Form Tea Caddies, second quarter 19th century, comprising a large mahogany example with wooden ring handles, the three-section interior set with a pair of hinged lidded compartments flanking a 19th-century pillar-molded blown glass mixing bowl, h. 8‑3/4”, w. 14”, d. 6‑3/4”, and a rosewood example inlaid with mother-of-pearl flowering vines, the interior with two compartments with inlaid covers flanking a mixing bowl compartment, h. 7‑1/4”, w. 12”, d. 6”. [700/1000] 627 William IV Mahogany Armchair, second quarter 19th century, the shaped crest rail with foliate and anthemion carving, the open arms with scroll ends and on scroll supports, with leaf-carved seat rail and spiral-reeded legs, the seat now in suede upholstery, h. 30‑1/2”. [1000/1500]

628

628 Unusual Pair of William IV Bronze and Porcelain Door Porters, second quarter 19th century, the porcelain plaques hand-painted with vases of flowers and musical instruments, and fitted into lyre-shaped bronze frames decorated with molded leaves and scrollwork, each with a carrying handle on top, h. 17‑3/4”, w. 7”, d. 2‑1/2”. [800/1200] Illustrated 629 Extensive Partial Service of Wheel-Engraved Crystal Stemware, first quarter 20th century, probably French, decorated with panels composed of scroll-framed flowers against a diamond-cut band, the service comprised of twenty-seven red wine goblets, h. 8‑1/2”, twenty white wine goblets, h. 7‑1/2”, eleven liqueur glasses, h. 4‑7/8”, and nine footed dessert bowls, h. 2‑1/2”, dia. 4‑1/4”, together with four similar cut candlesticks, h. 9”. [700/1000] Illustrated

629

625

139

630 Four-Piece Collection of Cut Glass, including a diamond-point-form bateau-shaped bowl, second quarter 19th century, h. 5‑1/4”, w. 12‑1/2”, d. 6”, a diamond-point basket, 20th century, h. 8‑1/4”, w. 9”, d. 6‑1/4”, a Brilliant Period jelly compote cut with hobstars, ca. 1900, h. 10”, dia. 7”, and a large vase in the Brilliant style, mid-20th century, h. 18‑1/2”, dia. 6”. [500/800] 631 Pair of English Presentation Goblets with Odd Fellows Emblems, ca. 1856, the goblets composed of flint glass with polished pontils, engraved “T Pottinger 1856” in a wreath on one side, and “Friendship, Love and Truth” on the other, with additional emblems, the foot and bowl formerly separated, h. 7”, dia. 4‑1/4”. [900/1200]

633 Pair of Anglo-Irish Colorless Cut Glass Lustres, second quarter 19th century, with diamond-point cutting at the foot and upper rim, the tapered standard cut with panels, hung with cut glass prisms, h. 9‑1/2”, dia. 5”. [500/800] Illustrated 634 Red-Painted Metal Chinoiserie Birdcage, 20th century, of three-tiered pagoda form and terminating in a gilt finial, the interior fitted with Chinese blue and white porcelain bird feeders, raised on a Chinese-style base, h. 85‑1/4”, w. 20”, d. 20”. [1500/2500] Illustrated

632 Four-Piece Collection of Engraved Masonic Glasses, first quarter 19th century, English or Continental, including a flint goblet engraved with many emblems, including the columns of Boaz and Jachin between a Masonic “G” compass, h. 6‑1/4”, dia. 3‑1/2”, two panel-cut glasses with dice enclosed in their hollow bases, and engraved Masonic emblems, h. 2‑3/4” to 4‑1/2”, dia. 2” to 2‑1/2”, and a panel-cut glass richly decorated with Masonic emblems, h. 5”, dia. 2‑3/4”. [800/1200]

633

634 635

140

635 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”. [1500/2500] Illustrated

636 detail

636 Charles I Sterling Silver Apostle Spoon, hallmarked London, 1638‑1639, by Richard Crosse, depicting St. Simon the Zealot, retaining most of the gilt on the finial and traces throughout, l. 7‑1/4”, 1.60 t. oz. Reference: Timothy Arthur Kent, London Silver Spoonmakers, 1500 to 1697 (London: The Silver Society, 1981), p. 44. [800/1200] Illustrated

636

636 detail

Little is known of Richard Crosse beyond the fact that he was apprenticed to specialist spoonmaker Robert Jygges in 1625, and had is own apprentices Richard Wild, Nicholas Miller (1632) and brother John Crosse (1637). However, Crosse must have overseen a shop of some significance, given the comparatively large number of surviving apostle spoons from the 1630’s and 1640’s bearing his mark. 637 Important Reference Work on Pre-Elizabethan Silver, George E. P. How and Jane B. How, English and Scottish Silver Spoons, Mediaeval to Late Stuart, and Pre-Elizabethan Hallmarks on English Plate, London: the author, 1952‑1957, limited edition 230 of 550, complete in three volumes, folio, in blue cloth, the spines with red label with gilt lettering and rule, the edges cut, the top edges gilt, presented in the original buff paper wrappers with black lettering, 16‑1/4” x 12‑5/8”. Ex libris: Ruth Wilkins Sullivan, Fort Worth, Texas. [1400/1800] Illustrated

637

637 detail

This monumental work, which remains the definitive reference on pre-16th century English silver spoons, was compiled by silver expert and dealer Commander George Evelyn Paget How (1894‑1953) and his wife, Jane Penrice Benson How, who met when preparing the Sotheby’s sale catalogue for the John BennettStanford collection of early spoons in 1935. How of Edinburgh were the premier dealers in pre-Reformation silver spoons, providing articles and advice to the top collectors and institutions of the 20th century. After the Commander’s death, Mrs. How completed the work, and continued to serve on the Antique Plate Committee at Goldsmith’s Hall (and become a breeder of prize English mastiffs). Her personal silver spoon collection, the Benson Collection, was offered at Christie’s London, King St., on June 3, 2013. This particular copy of Silver Spoons is accompanied by correspondence and invoices (some on How of Edinburgh letterhead) detailing the purchase of the set in 1969 - by which time it was already quite scarce - by Ruth S. Wilkins (later Sullivan) directly from How. Mrs. Wilkins Sullivan was herself a prominent figure in the field of antique silver scholarship, co-author of the seminal Chinese Export Silver 1785‑1885 and long-time curator at the Kimbell Art Museum in Fort Worth, Texas. Mrs. Wilkins Sullivan’s estate - including her personal silver collection and reference library - were offered by New Orleans Auction Galleries in July 2013.

141

638 George III Sterling Silver Cake Basket, hallmarked London, 1762‑1763, by Samuel Herbert & Co. (fl. 1750‑1786), of oval form, with triangular reticulated panels and applied openwork floral-scroll and beadedswag rim, with a double “c-scroll” mounted reticulated swing handle, raised on an openwork foot ring en suite with the rim, engraved on the bowl and handle with a crest of an arm in armour embowed, holding a dagger, the bowl additionally inscribed “May every good event attend thee now and blessings wait upon thy way”, h. 4” (11‑1/2” with handle), l. 14‑1/2”, w. 12‑1/2”, 41.68 t. oz. [1500/2500] Illustrated

640

640 George III Sterling Silver Sauce Tureen, hallmarked London, 1780‑1781, by Daniel Smith and Robert Sharp, in the neoclassical taste, of oval form with bright-cut and pricked laurel-mantled cartouches, the rim with an engraved ovolo band between applied beading, with arched reeded handles, the fitted domed lid with brightcut banding and urn-form finial, the whole raised on a conforming foot, monogrammed on the cartouches “BGHC”, h. 5‑3/4”, l. 8‑1/2”, w. 4‑3/8”, 21.94 t. oz. [2000/4000] Illustrated

638

639 George III Sterling Silver Teapot, hallmarked London, 1783‑1784, by Andrew Fogelberg, of oval section, decorated with engraved floral swags centering oval cartouches between wrigglework and bright-cut banding, with straight conical spout and crested wood handle, the flat hinged lid banded en suite and with conforming carved wood finial, engraved on one cartouche with the arms of Whitehead of Guilden Sutton, Cheshire, h. 5‑3/8”, l. 10‑1/2”, w. 3‑3/4”, 14.40 t. oz. (including wood fittings). [900/1200] Illustrated

641

639

142

641 George III Sterling Silver Sugar Basket, hallmarked London, 1783‑1784, by William Plummer, of navette form with upswept ends, decorated with a wide pierced gallery band quartered by scroll-mantled cartouches and urns, with conforming swing handle and conforming foot, accented throughout with narrow beaded banding and fitted with a conforming cobalt glass liner, monogrammed on the cartouche “EH”, h. 4‑3/4” (7‑1/2” with handle), l. 6‑1/2”, w. 4‑3/4”, 7.07 t. oz. (excluding glass liner). [600/900] Illustrated

642 644 642 George III Sterling Silver Salver, hallmarked London, 1790‑1791, by John Hutson, of circular form with reeded rim and raised on four reeded triangular feet, engraved with the arms of Littlehales of Ashcombe, Sussex, dia. 14‑1/8”, 33.27 t. oz. [2500/4000] Illustrated 643 642 Suite of Four detail Georgian Sterling Silver Candlesticks, hallmarked Sheffield, 1778‑1781, by John Winter & Co., in the neoclassical taste, each with a pedestal-form standard of tapering square section, surmounted by an urn-form nozzle with circular bobeche and raised above a shaped square base, decorated with embossed urns, swags and patera and beaded banding, engraved on the standard and two bobeches with a crest of a lion’s gamb, h. 12”, w. 5‑1/8”, weighted. [1200/1800] Illustrated 644 Late George III Sterling Silver Tea and Sugar Box, hallmarked London, 1803‑1804, by John Emes, of oval section, the slightly bulbous body engraved with brightcut and wrigglework swags below a rounded shoulder with bright-cut floral swags, the flat, double hinged lid with upswept ends, wrigglework banding and oval cartouches with two locking compartments for sugar and tea (key lacking), with acanthus-mounted reeded swing handle, engraved on the cartouches with the unusual crest of Monson, Morison et al. (“three saracen’s heads conjoined in one neck, one each to the dexter and sinister, one looking upwards”), h. 4‑1/2” (6‑3/4” with handle), l. 6‑3/4”, w. 5‑1/4”, 17.85 t. oz. [2500/4000] Illustrated

645 Pair of Late George III Sterling Silver Gilt Wine Coasters, hallmarked London, 1806‑1807, by “TH”, of squat cylindrical form, with central turned wood base clad in a silver gilt collar embossed in the round with neoclassical figures and flower baskets, with leaf-and-dart rim, the base centering a silver gilt boss engraved with a crest of Fenwick et al., h. 1‑7/8”, dia. 5‑1/4”. [3000/5000]

644 detail

643

143

646 Regency Sterling Silver Footed Platter, hallmarked London, 1819‑1820, by Richard Sibley I, of oval form with gadrooned rim and raised on four gadroon and scroll triangular feet, 26‑3/8” x 19‑1/4”, 104.81 t. oz. [5000/8000] Illustrated

650 646

647 Set of Seventeen George IV Sterling Silver Gilt “King’s Husk” Dessert Knives, hallmarked London, 1823‑1824, by William Eley & William Fearn, with filled handles and ovolo-engraved sterling blades, the handle engraved with the crest of Cave-Brown-Cave, presumably for Sir William Cave-Brown-Cave, 9th Bt. (1765‑1838), l. 8‑3/4”. [2500/4000] Illustrated

647 648 Set of Four George IV Sterling Silver Candlesticks, hallmarked Sheffield, 1829‑1830, by John Settle & Henry Wilkinson, each of baluster form and concave square section, decorated on the corners of the base, knop, nozzle and bobeche with chased acanthus scrolls, engraved on the base with the crest of Tailer/Taylor et al., h. 9‑1/2”, w. 4‑1/2”, weighted. [3500/5000] Illustrated

647 detail

144

649

649 Russian Neoclassical Mahogany Cylindre Secretaire, late 18th century, in the Jacob style, the molded cornice above two astragal-glazed doors flanked to either side by ormolu-mounted pilasters, the lower section fitted with a paneled cylinder opening to a pull-out leather-inset writing surface and a variety of drawers and cubbyholes flanking a central cupboard, over three graduated long drawers, all flanked en suite, raised on tapering square legs, the whole accented with brass banding and accents, h. 92‑1/2”, w. 48”, d. 27”. [60000/90000] Illustrated

648

653

650 Russian Neoclassical Mahogany Bureau, early 19th century, in the Jacob style, the shaped backpiece above an ogee-molded slant front opening to an interior fitted with a central cupboard with a single drawer surrounded by a variety of drawers and cubbyholes, above two frieze drawers, raised on two bi-paneled back and front columnar supports to a concave stretcher shelf, raised on flattened bun feet, the whole richly ornamented with brass banding in the Jacob manner, h. 47‑1/2”, w. 48‑1/2”, d. 22”. [5000/8000] Illustrated 651 Louis-Philippe Bronze Dore Mantel Clock Depicting Mercury, second quarter 19th century, resting on leafmolded feet, the base decorated with a leafmolded surround, Mercury standing on a rocky summit holding the clockworks and wearing his winged helmet, his caduceus on one side, h. 18‑1/2”, w. 12”, d. 5‑1/2”. [1000/1500] Illustrated

653 Baccarat Gilt-Bronze and Crystal Six-Light Chandelier, mid-20th century, French, the standard clad in reeded and molded glass, and holding six prismhung candle arms below three sprays of cut glass drops, stamped “Baccarat” and “Bronze 3” on the base above the ball finial, h. 28”, dia. 18‑3/4”. [2000/4000] Illustrated

652 651

652 Pair of French Rock Crystal Obelisks in the Neoclassical Style, on square bases with tapered trim, h. 23‑1/2”, w. 5”, d. 5”. [2000/4000] Illustrated

145

654 Suite of Eight Baltic Neoclassical Mahogany Sidechairs, second quarter 19th century, each with a highly figured arched and earred crest above a conforming rail, the padded seat raised on turned and ribbed circular legs ending in toupie feet, h. 37‑1/4”. [1200/1800] Illustrated

654

655 Empire-Style Mahogany Bibliotheque, late 19th century, the molded cornice with projecting sections above paneled and scrolling foliate brass inlays, above three long doors, all inset with glazed panels and a lower panel with similar brass inlay, flanked and divided by freestanding brass fluted columns, raised on a plinth base, the whole accented with brass banding, h. 82‑1/2”, w. 81‑1/2”, d. 20‑1/4”. [4000/7000] Illustrated

657 Pair of Restauration Bronze Dore et Patine and Marble Garniture Urns, second quarter 19th century, the red griotte marble bases with acanthus-molded trim around the lower edge, with wreath mounts on the fronts and star mounts on the sides, the patinated kylix-form urns decorated with fluting and reeding, and molded anthemia on the upper edge, h. 9‑1/4”, dia. 5‑1/4”. [800/1200] Illustrated 658 French Patinated Bronze of a Recumbent Lion, 20th century, cast signature “Mercier” along edge of self-base, on a red marble plinth, h. 6‑1/2”, w. 12”, d. 7”. [800/1200] Illustrated

656

657

658

655

656 Exceptional Napoleon III Marble Mantel Clock, third quarter 19th century, the red griotte marble base on toupie feet and set with Japy Freres works, the top serving as a plinth to hold a patinated bronze figure of Diane de Gabies, after the Antique, marked by the founder, F. Barbedienne, Paris, h. 21‑1/2”, w. 13‑1/4”, d. 4‑1/2”. [500/800] Illustrated

146

659 Restauration Gilt-Bronze-Mounted Mahogany and Marble Basin Stand, second quarter 19th century, now fitted as a planter, the lower platform fitted with a marbletop pitcher stand surrounded by bronze-fitted mahogany legs, the skirt with bronze roundels depicting swans and holding a painted tole planter insert, h. 37”, dia. 12‑3/4”. [1000/1500] Illustrated 660 Empire-Style Mahogany and Granite-Top Side Table, late 19th century, the rectangular granite top above a conforming frieze and raised on a mirrored back and ebonized front supports in the form of griffins with gilded wings, to a concave plinth shelf, h. 37”, w. 46‑1/2”, d. 18”. [2500/4000] Illustrated

661 Pair of French Empire-Style Brass and Patinated Metal Three/Two-Light Candelabra, 20th century, each with a winged figure-form standard holding a basket of flowers set with candle arms, the flame-form center cover converting to a candle cup, and raised on a molded brass base, h. 25‑1/2”, w. 9‑1/4”, d. 4”. [600/900] Illustrated

662 Unusual Art Deco Brass and Metal Planter, second quarter 20th century, probably French, the oblong planter with rounded corners and decorated with pierced ovals with Art Deco brass leaves and scrolls, flanking a center panel with a pierced and draped urn, with a metal insert, h. 17‑1/2”, w. 48”, d. 11‑1/2”. [800/1200] Illustrated

661

662 663 Napoleon III Ebonized and Mahogany Occasional Table, late 19th century, the circular top within a full pierced brass gallery and with gilt and polychrome butterfly and insect patterns, joined to a smaller, likegalleried and shaped stretcher shelf by shaped supports ending in gilt hoof feet, h. 27”, dia. 18‑1/4”. [800/1200] Illustrated

659

660

663

147

664 Baltic Neoclassical Mahogany Sidechair, mid-19th century, the backswept crest above a splat of addorsed carved sphinxes over an interlacing band, the padded seat raised on paneled sabre legs, h. 34‑1/2”. [800/1200] Illustrated

667 Empire-Style Mahogany and Marble-Top Center Table, late 19th century, the circular marble top with a full pierced brass gallery, above a plain frieze, raised on tapering supports headed by ormolu maiden’s heads, joined by a star-form stretcher and ending in block feet, h. 31”, dia. 43‑1/2”. [2500/4000] Illustrated

665 Empire-Style Mahogany and Marble-Top 664 Secretaire a Abattant, mid-19th century, the rectangular marble top above a case fitted with a frieze drawer above a recessed drop front, opening to an inset leather writing surface and a variety of drawers and cubbyholes, over three long drawers, all flanked by ormolu-mounted columnar standards, raised on turreted feet, h. 56”, w. 38”, d. 18‑1/4”. [500/800] Illustrated

668 668 Paris Biscuit Porcelain Figural Clock, first quarter 19th century, in the neoclassical taste, depicting a figure of the earth goddess Cybele Phrygian, attended by putti and with adult figures representing Winter and Summer flanking the base, the clock dial with gilt-bronze medallions on four corners, set with silk-string suspension works, h. 20”, w. 14”, d. 7‑1/2”. [800/1200] Illustrated

665

666 Empire-Style Mahogany Lit du Jour, late 19th century, both ends paneled and with a front freestanding fluted Ionic column surmounted by a turned ormolu-banded finial and ending in a bulbous foliate ormolu-applied base, raised on paneled block feet joined by paneled rails, h. 55”, inside, w. 41”, l. 73”, outside, w. 45”, l. 80”. [1000/1500]

148

667

669 Pair of French Empire-Style Brass-Plated Altar StickForm Lamps, third quarter 20th century, on paw feet, the tripartite bases supporting leaf-molded column-form standards terminating in Corinthian capitals under reeded drip pans, with double light sockets, h. 40”, dia. 8‑1/4”. [700/1000] Illustrated

672

669

672 French Gilt-Bronze Eight-Light Chandelier, first quarter 20th century, in the Louis XVI style, the lower standard molded with foo dog heads and terminating in a grape-molded finial, and set with molded arms with ribbon-bound drip pans and leaf-molded candle cups, the upper tier decorated with a pierced frame hung with swags of laurel leaves, h. 32‑3/4”, dia. 29”. [1500/2500] Illustrated

670 Handsome French Restauration Bronze Dore Adjustable Fender, second quarter 19th century, the arched ends decorated with mounts of lyres and lunettes, and the pierced center rail with medallions and another lyre, h. 7”, w. 32‑1/2” to 38‑1/2”, d. 2”. [500/800]

671

673

671 Pair of French First Empire Bronze Dore et Patine Chenets, first quarter 19th century, each with a patinated bronze lion supported by a plinth decorated with a wreath flanked by a pair of caducei, the metal billet bars of later origin, h. 8”, w. 12‑1/2”, d. 24‑1/2”. [1500/2500] Illustrated

673 Empire-Style Walnut, Bronze and Marble-Top Center Table, the circular inset marble top above a conforming frieze with applied ormolu masque and urn mounts, and supported by four large patinated bronze supports in the form of winged lions on plinth bases, h. 36”, dia. 54”. [8000/12000] Illustrated

149

674 French Patinated Bronze of “Surpris!”, ca. 1900, depicting a satyr terme with two putti, after Henri Pernot (French, 1859‑1937), signed along front edge, h. 31‑3/4”, w. 11‑1/2”, d. 11”. [1500/2500] Illustrated

675 Pair of French Restauration Bronze Dore et Patine Six-Light Candelabra, second quarter 19th century, now mounted as lamps, the tripartite bases supporting paw feet set with tapered column-form standards wrapped in gilt-bronze snakes and terminating in leafy capitals, the molded candle branches surrounding the central candle sockets, base, h. 22‑1/2”, overall, h. 35”, dia. 10”. [2000/4000] Illustrated

676

674

676 Impressive Pair of Napoleon III Bronze and Red Griotte Marble Ewer-Form Garnitures, third quarter 19th century, in the Aesthetic taste, each with a giltbronze standard and a marble and patinated metal-form body decorated with gilt-bronze masques and trimmed in anthemia, the sides mounted with graceful winged dragon handles, above a shaped red griotte marble base, h. 22”, w. 8‑1/2”, d. 6‑1/4”. [1800/2500] Illustrated 677 Pair of French 677 Empire-Style Bronze TwoLight Sconces, 20th century, the backplates depicting Athena, her owl perched on her helmet, the swan-molded candle arms supporting the candle cups and sockets, electrified, h. 13”, w. 11‑1/2”, d. 7”. [800/1200] Illustrated

675

150

678 Large French Belle Epoque Giltwood Mirror in the Louis XVI Style, ca. 1900, the surround molded with ribbon-bound reeding, the crest decorated with a pierced bowknot and ribbon, set with a beveled mirror plate, h. 71‑1/2”, w. 45”. [500/800] Illustrated

679 Empire-Style Mahogany Secretaire a Abattant, mid19th century, the plinth top above an ebonized molded frieze and a case fitted with a single drawer over a drop front, opening to a variety of drawers and cubbyholes, over two cupboard doors flanked to either side by ebonized columns with gilt capitals, raised on block feet, h. 61‑1/4”, w. 40‑1/2”, d. 22”. [1500/2500] Illustrated

681

680 Louis XVI-Style Mahogany Desk, late 19th century, the rectangular top with an inset leather writing surface, above a case fitted with a like-inset pull-out slide to either end, the front fitted with a central drawer flanked to either side by two small drawers, all banded, raised on tapering square legs ending in brass caps, h. 30”, w. 44”, d. 26”. [1800/2500] Illustrated

678

680

681 Italian Gilt-Bronze and Crystal Six-Light Chandelier, mid-20th century, in the neoclassical taste, the basketform chandelier with a bronze frame set with medallions and scrolled glass arms set with star-shaped glass drip pans, the whole dressed with swags of crystals, and the gilt-brass wheat sheaf-form corona emanating a spray of crystal drops, h. 37”, dia. 33”. [1000/1500] Illustrated 679

151

682 Baccarat-Style GiltMetal and Cut Glass Centerpiece, mid20th century, French, resting on paw feet, the cylindrical base decorated with bronze mounts and caryatid supports, the ringform bezel set with a strawberry-cut crystal bowl, h. 17‑1/2”, dia. 8‑1/2”. [800/1200] Illustrated

685 French Empire Giltwood Mirror, first quarter 19th century, the rectangular mirror plate flanked by mummyheaded termes resting under a tablet with a gilt basrelief of Apollo and his chariot on a green ground, the coved cornice decorated with running acanthus leaves, h. 59‑3/4”, w. 38‑1/2”. [500/800] Illustrated

682 683 Louis XVI-Style Mahogany and Marble-Top Commode, late 19th century, the rectangular marble top within a three-quarter pierced brass gallery and with turreted corners, above a conforming case fitted with three short drawers over two long drawers, all paneled and with annulated beading, raised on fluted tapering circular legs ending in brass caps, h. 36”, w. 43”, d. 20”. [2000/4000] Illustrated 684 Empire-Style GiltBronze and MarbleTop Center Table, early 20th century, the circular marble top within a molded bronze band, joined to a smaller like lower shelf by supports headed by ringed scrolls and continuing to an urn-centered stretcher and terminating in ormolu paw feet, h. 28‑1/2”, dia. 20‑1/2”. [1000/1500] Illustrated

684

683

152

685

686 Pair of French EmpireStyle Bronze Three-Light Candelabra, fourth quarter 19th century, each with a square base holding a round plinth with a mount of Cupid forging 688 arrows, and a putto standing atop the plinth and balancing the standard, set with scrolled candle arms mounted with engine-turned candle cups and drip pans, h. 21”, dia. 9”. [800/1200]

687 Pair of Louis XVI-Style GiltBronze Sconces, first quarter 20th century, each with a tapered backplate terminating in a ram’s head and set with an urn finial, the scrolled, fluted and leaf-molded candle arms holding molded drip pans and candle cups, h. 18‑1/4”, w. 12‑3/4”, d. 5‑1/4”. [600/900] 688 Pair of French 689 Parcel-Gilt TwoLight Sconces in the Empire Taste, second quarter 20th century, one composed of wood and the other molded composition, each with a quiver-form backplate terminating in a carved anthemion finial, the front with a displayed swan beneath a pair of candle arms with carved cups, electrified, h. 22‑3/4”, w. 11‑1/2”. [800/1200] Illustrated 689 Continental Patinated Bronze of the Venus de Milo, 20th century, after the ca. 100 BC marble discovered in 1820 in the ruins of Milos and now in the Louvre, Paris, France, h. 33”, w. 9‑1/2”, d. 10”. [1200/1800] Illustrated

690 French Bronze and Glass Five-Light Hall Lantern, 20th century, in the Louis XVI style, the circular, glass-set bronze frame decorated with bound bundles of reeds, hanging from a scrolled bronze frame attached to the standard, electrified, h. 36”, dia. 16‑1/2”. [800/1200] Illustrated

690

691 Pair of Louis XVI-Style Gilt-Metal and Marble Pedestals, early 20th century, each with a canted square marble top above a patera and pierced frieze, joined to a like marble lower shelf by reeded supports continuing to splayed legs ending in peg feet, h. 42”, w. 10‑3/4”, d. 10‑3/4”. [500/800] 692 Empire-Style Mahogany Chest, late 19th century, the rectangular top with projecting corners, above a conforming case fitted with a single frieze drawer over five recessed drawers, flanked to either side by ormolumounted ebonized columns, raised on tall, tapering square legs, h. 60‑1/2”, w. 39‑1/2”, d. 21”. [800/1200] Illustrated 693 Louis XVI-Style Mahogany and Marble-Top Center Table, early 20th century, the circular top with a removable bisected damask protective cover, removing to a marble top within a pierced brass gallery, raised on tapering square legs ending in brass caps and casters, h. 31‑1/2”, dia. 43‑1/2”. [1500/2500] Illustrated

692

693

153

695 Alfred de Breanski, Sr. (British, 1852‑1928), “Departing Day”, oil on canvas, signed lower left, signed and dated en verso canvas, 40” x 69‑1/2”. Provenance: Private collection, Mississippi; previously in the collection of “The Junius R. Ward House (a.k.a. Erwin House)”, Erwin, Mississippi. [15000/25000] Illustrated Born into a London family of painters, de Breanski had a long and successful career as a landscape artist, frequently depicting scenes of the Welsh and Scottish countryside. A precocious talent, he debuted at the age of twenty at the Royal Academy Exhibition of 1872; he was to continue to exhibit there until 1918. The work presented here reveals de Breanski at his most masterful: the setting sun in the center of the canvas which creates a radiating rosy-gold haze; the compositional juxtaposition of the gnarled tree at the left, the gently grazing sheep in the forefront, and the cosy thatched roof cottage in the distance; and the accomplished manner in which the various textures - bark, leaves, grass, rocks - of the natural world are carefully worked. Not merely a landscapist, de Breanski was a chronicler of a specific aspect of British rural life of the late 19th century, one which was soon to be irrevocably altered by the calamitous events of the early 20th century.

694

694 Classical Alabaster Statue of Hercules and Lichas, ca. 1900, after Antonio Canova (Italian, 1757‑1822), the figures depicted wrestling, now on a contemporary stained wood base, h. 16‑1/2”, w. 9‑1/4”, d. 5‑1/4”. [1400/1800] Illustrated

695 detail

695

154

696 696 James Baker Pyne (British, 1800‑1870), “Bassenthwaite Lake, Cumbria, England”, 1850, oil on canvas, signed, dated, and inscribed “No. 320”, lower left, old label en verso frame with title and artist, 30‑1/2” x 51‑1/2”. In a giltwood frame. [2000/4000] Illustrated

698

699

697

700 Louis B. Hurt (British, 1856‑1929), “Padley Brook, North Derbyshire”, 1881, oil on canvas, signed and dated lower right, signed, dated and titled en verso canvas, 14” x 18”. Framed. [800/1200] Illustrated

697 William Oliver (British, 1804‑1853), “Landscape with Figures, Estate, and Meandering River”, oil on canvas, unsigned, an old handwritten label en verso reading “No.1 W.M.Oliver”, 20” x 30”. In a fine antique cove-molded gesso and carved giltwood frame. [1000/1500] Illustrated 698 Follower of Thomas Gainsborough (British, 1727‑1788), “A Drover and His Cattle with a Traveler on Horseback”, oil on canvas, 25” x 31”. Framed. [1200/1800] Illustrated 699 British School (Late 19th/Early 20th Century), “Coastal-scape with Cathedral and Fishing Boats”, oil on canvas, signed “McMany (?)” lower right, 14” x 21”. Presented in an attractive giltwood frame [1200/1800] Illustrated

700

155

701 F. Miles (British, 19th Century), “Village Landscape with Bridge and Cottage”, oil on canvas, signed lower left, 20” x 30”. Framed. [1000/1500] Illustrated

704

701

705 Pair of English Oak Student’s Chairs, late 17th century and later, each with a deep angled crest, with bar for holding books, joined by downswept arms to the narrow seat, raised on turned circular legs to runner feet, h. 34”. [1500/2500] Illustrated

702 A. Herbe (British, 20th Century), “A Norfolk Sunset”, oil on board, signed lower right, titled en verso in graphite, 23‑5/8” x 30”. Presented in a giltwood and gesso frame. [500/800] 703 James Wilson Carmichael (British/American, 1800‑1868), “On the Rhine”, oil on canvas, signed lower right, 23‑3/4” x 30‑1/4”. Presented in a period exhibition frame. [2000/4000] Illustrated

705

706 Suite of Six Carolean-Style Fruitwood Sidechairs, 19th century, each with a tall, padded rectangular back above a padded seat, raised on turned and block legs joined by a like H-form stretcher and ending in toupie feet, h. 43‑1/2”. [1500/2500] Illustrated

703 704 George Webster (British, 1797‑1864), “Arriving on Schell”, oil on canvas, signed and titled en verso, partial signature lower left, 16” x 24”. Framed. [1400/1800] Illustrated 706

156

707 Circle of Pierre Gobert (French, 1662‑1744), “Portrait of a Blue-Eyed Noblewoman”, oil on canvas laid on wood panel, 15” x 12”. Presented in a handsome, antique, ribbon-carved giltwood frame. [800/1200] Illustrated

709

710 Edwardian Japanned Mirror in the Queen Anne Style, first quarter 20th century, the japanned frame decorated with gilt chinoiserie on a red ground and set with a beveled mirror plate, h. 42‑3/4”, w. 18‑1/2”. [700/1000] 711 Queen Anne Walnut Highboy, early 18th century, the molded cornice above a case fitted with a single ogeemolded frieze drawer, over two short drawers and three graduated long drawers, all with herringbone banding, the lower section fitted with a central drawer flanked to either side by a short deep drawer, raised on cabriole legs ending in pad feet, h. 67‑1/2”, w. 41‑1/4”, d. 22‑1/4”. [1000/1500] Illustrated

707 708 English Provincial Mahogany and Fruitwood Draper’s Table, late 19th century, the long narrow top above a frieze fitted with four drawers to one side and two drawers to the other, raised on bulbous ring-turned legs ending in toupie feet, h. 30”, w. 26‑1/2”, l. 126”. [1800/2500] Illustrated

708

709 Flemish-Style Oak Bench, early 20th century, the long, padded rectangular top supported by eight turned and tapering legs, joined by shaped X-form stretchers centered by finials, ending in bun feet, h. 20”, w. 102‑1/2”, d. 23”. [1500/2500] Illustrated

711

157

715

713 712 Queen Anne Oak Lowboy, late 18th century, the top with canted front corners and a molded edge, over a frieze fitted with three side-by-side drawers, raised on cabriole legs ending in pad feet, h. 28”, w. 32”, d. 18‑1/2”. [600/900] 713 After Sir Anthony van Dyck (Flemish, 1599‑1641), “Portrait of a Young Boy in a Ruff Collar”, late 18th/early 19th century, oil on linen, unsigned, inscribed “nach Van Dyk/834” en verso, 18‑3/4” x 15‑1/8”. Framed [1000/1500] Illustrated 714 George I-Style Giltwood and Polychrome Sidechair, early 20th century, the shaped crest centered by a shell carving and above a vasiform splat centered by an ebonized plaque featuring a cherub, the padded saddleform seat raised on shaped legs headed by relief-carved heads and ending in paw feet, the whole retaining polychrome embossed patterns, similar to pieces by Lenygon and Company, h. 43”. [1000/1500] 714 Illustrated 716

158

715A

723

720 Pair of Chinese Blue and White Ginger Jars, 20th century, decorated with figures of immortals in a garden setting, each cover mounted with a metal ring pull, h. 20”, dia. 10”. [700/1000]

715 Queen Anne Walnut Chest, 18th century, the banded rectangular top above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on bun feet, h. 35”, w. 38‑1/4”, d. 22”. [1000/1500] Illustrated 715A Dutch Baroque-Style Bronze Sixteen-Light Chandelier, mid-20th century, the scrolled candle arms set on two tiers and the standard terminating in a large spherical finial, electrified, h. 50”, dia. 48”. [1000/1500] Illustrated 716 Scottish Oak Tall Case Clock, first quarter 19th century, the hood with a swan’s-neck pediment trimmed with brass medallions, the engraved brass dial decorated with spandrels in the corners, signed “George Dunbar, Turriff”, h. 82‑1/4”, w. 19‑1/2”, d. 10‑3/4”. [1000/1500] Illustrated 717 Group of Four British Salt and Candle Boxes, 18th century and later, including a salt box with dovetailed construction, composed of mixed woods, h. 12”, w. 10‑1/2”, d. 6”, an oak candle box with nailed construction, h. 18‑1/2”, w. 6‑3/4”, d. 3‑3/4”, a mahogany candle box with dovetailed construction, h. 16‑3/4”, w. 5”, d. 4”, and an oak salt box with nailed construction, h. 14‑3/4”, w. 8‑1/2”, d. 7”. [600/900]

719

721 Chinese Export Blue and White Porcelain Platter, third quarter 18th century, with serpentine edges and decorated with panels of pomegranates and peonies, w. 17‑1/4”, d. 12‑3/4”. [500/800] 722 Chinese Blue and White Porcelain Vase, Qing Dynasty (1644‑1911), 19th century, with a key-fret border along the lip of the vase, the neck and body decorated with a scene of figures in a landscape, h. 21‑1/4”, dia. 11”. [700/1000] 723 Suite of Ten George III Mahogany Dining Chairs, 18th century and later, comprised of six period sidechairs, a pair of later benchmade armchairs and a pair of later bench-made sidechairs to match, each with a pierced back splat and shaped crest rail, raised on Marlborough legs, armchairs, h. 39”, sidechairs, h. 37‑1/2”. [3000/5000] Illustrated

718 Chinese Export Porcelain Soup Tureen and Matching Platter, ca. 1800, decorated with mazarine blue and gilt borders, the tureen with twisted handles and a sunflower knop, the landscapes depicting mixed European and Asian scenes, h. 12‑1/2”, w. 13‑1/2”, d. 7‑1/2”. [2500/4000] Illustrated 719 Interesting Edwardian-Style Maple and LeatherCovered Folding Library Ladder, 20th century, with six steps, the sides covered with brown leather and brass tacks, h. 81”, w. 12”, d. 3”. [500/800] Illustrated

718

159

724 Adam-Style Giltwood Mirror, mid-20th century, with a ribbon-bound surround, the lower edge decorated with pierced laurel leaves, the crest with an urn of flowers flanked by a pair of phoenix birds supporting swags of flowers, h. 53”, w. 32”. [600/900]

729

726 725 George III Mahogany Drop-Leaf Table, late 18th century, the rectangular top with bowed ends and ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 28”, w. 47”, d. 21‑1/2”, extended l. 63‑1/2”. [900/1200]

729 George III Mahogany Settee, 19th century, the padded shaped and domed back joined by padded out-scrolled arms to the cushioned seat, above a frieze nicely carved in shell and scrolling foliate patterns, raised on like-carved square legs joined by fret-pierced H-form stretchers and ending in guttae feet, h. 39‑1/2”, w. 70‑1/2”, d. 29”. [1000/1500] Illustrated

727 726 George III-Style Mahogany Camelback Sofa, late 19th century, with an arched, peaked back and outscrolled arms, raised on cabriole legs with ball-and-claw feet, h. 37”, w. 90”, d. 32”. [1800/2500] Illustrated 727 Henry Schouten (Belgian, 1857‑1927), “The Plow”, oil on canvas, signed lower left, 32” x 46‑5/8”. In an elaborate carved giltwood frame. [3000/5000] Illustrated 728 George III Mahogany Tea Table, late 18th century, the rounded rectangular top with a dished edge, above a conforming shaped frieze, raised on cabriole legs headed by acanthine carving and ending in paneled pad feet, h. 28‑1/4”, w. 29‑1/2”, d. 20”. [800/1200] Illustrated

160

731

730

732

730 Impressive Georgian-Style Cut- and Molded-Glass Eighteen-Light Chandelier, the glass-clad standard holding two tiers of rope-twist glass arms set with glass drip pans and bobeches, with graduated prism-hung coronas supporting strings of prisms meeting the candle cups, and swags of prisms hung between the cups, h. 64‑1/2”, dia. 49‑1/2”. [8000/12000] Illustrated 731 George III Mahogany Bookcase, early 19th century, the molded and dentillated cornice above two astragalglazed doors, now with pleated fabric lining, the lower section fitted with two paneled cupboard doors, the whole raised on a plinth base, h. 93”, w. 39‑1/2”, d. 11”. [3000/5000] Illustrated

728

732 Pair of Adam-Style Giltwood Oval Mirrors, mid20th century, the crests decorated with urns of wire and giltwood flowers, flanked by pierced swags, h. 42”, w. 23‑1/2”. [700/1000] Illustrated 733 Pair of Qianlong Chinese Export Armorial Sauceboats, third quarter 18th century, decorated in the famille rose palette, the ribbed and scalloped sauceboats decorated with the Arms of Dickson impaling another coat of arms, h. 3‑1/4”, w. 4”, l. 7‑1/4”. [1000/1500] Illustrated The sauceboats are thought to have been made for James Dickson of Ednam, Scotland. The arms are illustrated in Howard, David Sanctuary, Chinese Armorial Porcelain (London: Faber & Faber, 1974), p. 965. 734 Chinese Export Porcelain Armorial Charger, mid18th century, made for the Scottish market, decorated with the Arms of Gourlay within a lancet border, and a red and gilt scrolled edge, dia. 11‑1/4”. Provenance: Antique Porcelain Co., New York, New York. An identical plate from the British Museum is illustrated in Howard, David Sanctuary, Chinese Armorial Porcelain (London: Faber & Faber, 1974), page 370. [500/800]

733

161

739 Suite of Eight George II-Style Walnut Dining Chairs, 20th century, consisting of two armchairs and six sidechairs, each with a shaped acanthine-carved crest above an earred like-carved splat, the padded saddleform seat raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 40‑1/2”. [2000/4000] Illustrated 735 735 Pair of George III-Style Mahogany DoubleChairback Settees, late 19th century, in the Chippendale taste, each with a shaped foliate-carved crest rail, over a pierced shaped splat, open arms and cabriole legs with French toes, h. 38‑1/2”, w. 58”, d. 22”. [2000/4000] Illustrated 736 Chinese Export Porcelain Oval Platter, in the famille rose palette, decorated with garlands of flowers, a matching bouquet in the center, w. 14‑3/4”, d. 12‑1/4”. [700/1000]

739

740 George II-Style Walnut Dining Table, late 19th century, the rounded top with a molded edge, bisected and opening by crank action to accommodate two leaves, above a paneled frieze, raised on cabriole legs headed by shell carving and ending in padded feet, h. 29‑1/2”, w. 50”, l. 60”. [1500/2500] Illustrated 737

737 Chinese Export Porcelain Wine Cooler, third quarter 19th century, decorated in the famille rose palette, with gilt-lancet borders framing sprigs of pink and mauve flowers, with a serpentine rim and handles mounted on the sides, h. 8‑1/4”, dia. 8‑1/4”. [3500/5000] Illustrated

741 Fine Chinese Rose Medallion Wash Basin, Qing Dynasty (1644‑1911), with ornate and finely executed detail, the reserves depicting court ladies in lavish garden settings, with a carved and ebonized wood stand, basin, h. 5‑1/8”, dia. 16”. Provenance: Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [600/900] Illustrated

738 George III-Style Mahogany Sofa, late 19th century, the padded and slightly domed back joined by downswept sides on acanthine-molded uprights to the cushioned seat, raised on paneled, bellflower-carved tapering square legs headed by floral patera block capitals and ending in casters, h. 37”, w. 67‑1/2”, d. 28”. [700/1000] Illustrated

740

742 Chinese Rose Medallion Vase, Qing Dyansty (1644‑1911), now mounted as a lamp on a wooden base, with applied foo dogs and dragons along the neck of the vase, and with reserves depicting courtly figures and arrangements of birds and flowers, vase, h. 18”, overall, h. 31‑1/2”, dia. 9”. [700/1000] 738

162

746 Rare 18th-Century First Edition of Volume I of Heideloff’s “Gallery of Fashion”, Nicolaus Wilhelm von Heideloff (1761‑1839), publisher, April 1794‑March 1795 [London], with twenty-four hand-colored engraved fashion plates of forty-six figures, some with metallic tints, quarto, in brown marbleized full calf with gilt-tooled fillet, decorative banding and dentelle, the spine with green panel and gilt lettering, ruling and paterae, 11‑5/8” x 9‑1/2”. [800/1200] Illustrated

741

743 English Giltwood Mirror in the Chinese Chippendale Taste, 20th century, the pierced surround decorated with grapes, rocaille work and pagodas, with a leaf-carved finial, h. 42‑1/2”, w. 24”. [500/800]

This rare and important work was among the earliest of fashion magazines, and certainly the most prestigious and ambitious of its time. Only 167 copies were subscribed to this first volume (at a rate of three guineas, equivalent to about $350 today), suggesting that less than 200 were produced; probably at no time during the magazine’s run was the issue more than about 450 copies. Publication continued until March of 1803, although Heideloff’s name no longer appears on the imprint after April 1802. For more information on this seminal work, see Hand Coloured Fashion Plates, 1770 to 1899 (London: Batsford, 1955), pp. 46‑51, by Vyvyan Holland (whose expertise in the subject came legitimately, being the only surviving son of Oscar Wilde).

744 George III-Style Mahogany Pedestal Desk, late 19th century, the rectangular top with a molded edge and an inset leather writing surface, above a frieze fitted with a single long drawer, faced as three, raised on two pedestals, each fitted with three graduated drawers, raised on plinth bases on casters, h. 31”, w. 51”, d. 30”. [800/1200] Illustrated

746 detail

744

745 George III-Style Mahogany Partner’s Desk, late 19th century, the rectangular top with an inset leather surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with three graduated drawers to one side and a paneled cupboard door to the other, raised on plinth bases, h. 30”, w. 59”, d. 40‑1/2”. [600/900] 746

163

747 William Shakespeare (1564‑1616), Works, New York: Harper & Bros., 1892‑1893, edited by William J. Rolfe, the “Friendly Edition”, 19 volumes (of 20; vol. 11 lacking), duodecimo, in brown half calf with gilt fillet on marbled paper, the spines with raised bands and gilt lettering, numbering, rule and decoration, the top edges cut and gilt, with marbled endpapers, first volume with bookplate of Jay Gould (1836‑1892), Lindhurst, Irvington-on-Hudson, 7” x 5‑1/2”. [600/900]

752

749

748 Giacomo Casanova (1725‑1798), Memoirs, London and New York: the Venetian Society, 1928, translated by Arthur Machen, introduction by Havelock Ellis, limited subscriber’s edition of 330 (unnumbered), complete in twelve volumes, octavo, in half blue morocco with gilt fillet on blue cloth, the spines with raised bands and gilt lettering and decoration, the top edges cut and gilt, 9‑3/4” x 6‑3/4”. [600/900]

751

749 Michel de Montaigne (1533‑1592), Essays, London: Navarre Society Ltd., 1923, edited by William Carew Hazlitt, translated by Charles Cotton, complete in five volumes, octavo, in half blue leather with gilt fillet on blue cloth, the spines with raised bands and gilt lettering and decoration, the top edges cut and gilt, 9” x 6‑1/4”. [500/800] Illustrated

164

750 Heinrich von Sybel (1817‑1895), Geschichte der Revolutionszeit von 1789 bis 1800, Frankfurt: Ruetten & Loening, 1882, German text, complete in four volumes, octavo, in green half leather with gilt fillet on green cloth, the spines with raised bands and gilt lettering and decoration, the top edges cut and gilt, with marbled endpapers, 9‑1/8” x 6‑1/8”. A handsome set of the revised edition of 1882. [500/800] This important work on the French Revolution was the result of an exhaustive study of contemporary documents, which led to a reassessment of the primarily anecdotal history up to that time. 751 Benjamin Disraeli (1804‑1881), Novels, London: David Bryce/Routledge, Warne & Routledge, 1853‑1865, complete in ten volumes, sextodecimo, in green half calf with embossed fillet on marbled boards, the spines with raised bands and red and black panels with gilt lettering and decoration, the edges cut and marbled, with marbled endpapers, 6‑5/8” x 4‑3/8”. [600/900] Illustrated

753

752 Adolphe Thiers (1797‑1877), Historia de la Revolucion Francesa, Barcelona: Montaner y Simon, 1892‑1895, Spanish text, complete in five volumes, quarto, in black half leather on textured cloth, the spines with raised bands and gilt lettering, rule and decoration, the edges cut, with marbled endpapers, stamp and seal of Dr. Aurelio de Flores, Cuba, 12‑1/8” x 9‑1/2”. [600/900] Illustrated 753 Suite of Eleven George III-Style Mahogany Dining Chairs, in the Chippendale taste, consisting of two armchairs and nine sidechairs, each with an earred pagoda-form crest above a pierced and interlacing ribboncarved splat, the padded seat raised on chamfered legs ending in molded feet, h. 41‑1/2”. [1000/1500] Illustrated 754 George III Fruitwood Chest, late 18th century, the top with a cross-banded perimeter, the case with a bank of four drawers with banded edges, raised on bracket feet, h. 37”, w. 41”, d. 18”. [1200/1800]

757 George III Walnut Chest, late 18th century, the rectangular top banded and quarter-veneered, above a conforming case fitted with two short drawers over three graduated long drawers, all banded, raised on bracket feet, h. 33”, w. 34‑1/2”, d. 19‑1/2”. [500/800] Illustrated 758 George III Mahogany and Oak Secretary Bookcase, early 19th century, the molded and dentillated cornice above a blind fret-carved frieze, over two paneled cupboard doors, the lower section fitted with an inset 757 baize surface and a variety of drawers and cubbyholes flanking a central cupboard, over two short drawers and three graduated long drawers, raised on shaped bracket feet, h. 78”, w. 40‑1/2”, d. 22”. [1200/1800] Illustrated

755

755 George III Octagonal Inlaid Tea Caddy, ca. 1800, the mahogany-veneered caddy outlined with ebony stringing and satinwood crossbanding, the interior with foillined two-section compartments, h. 5”, w. 7‑1/2”, d. 4”. [600/900] Illustrated 756 British School (Third Quarter 19th Century), “After the Hunt”, oil on canvas, illegibly signed lower right, further pencil inscribed en verso stretcher, 25‑1/2” x 35”. Presented in a giltwood frame. Provenance: By repute, purchased at the 1947 sale at Lowther Castle, Cumberland, England, prior to the estate’s partial demolition; Rothschild’s Antiques, Royal St., New Orleans, Louisiana; Private collection. [1500/2500] Illustrated

758

756

165

759 Henry Schouten (Belgian, 1864/1867‑1927), “Cattle in the Field”, oil on canvas, signed lower left, 23‑3/4” x 35‑1/2”. Framed. [1400/1800] Illustrated

761 George III-Style Walnut, Faux Marbre and Polychrome Demi-lune Cabinet, late 19th century, in the Adam taste, the top with a polychrome, floral and annulated banding around a faux marbre panel, above a conforming case fitted with a single cupboard door, centered by a panel with a grisaille classical figural scene, flanked to each side by a like panel, raised on circular legs headed by foliate capitals and ending in block feet, h. 36”, w. 51‑1/2”, d. 22”. [1500/2500] Illustrated

759 760 George III Mahogany Secretary Bookcase, late 18th century, the molded and dentillated cornice above two astragal-glazed doors, the lower section fitted with a slant front, opening to an inset leather writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over four graduated long drawers, raised on bracket feet, the whole accented with string inlay and corner patera accents, h. 87”,w . 42‑1/4”, d. 24”. [1500/2500] Illustrated

761

762 English Carved Deal Mantelpiece in the Adam Taste, first quarter 20th century, the central panel flanked with fluted pilasters terminating in carved urns, the central tablet with carved scrollwork and set on a fluted field, the ogee-molded shelf with an acanthus-carved edge, firebox, h. 44‑1/2”, w. 42”, overall, h. 57‑1/4”, w. 84”. [900/1200] Illustrated

762 760

166

763 Exceptional English Inlaid Mahogany Tea Caddy with Silver Hardware, fourth quarter 18th century, in the Adam taste, with rosewood on kingwood crossbanding, the 763 front inlaid with a trophee of music in a roundel, framed with stained and incised scrollwork and inlaid snowdrops, the sides inlaid to match with trophees of music, education and love, the sarcophagus-form lid inlaid and mounted with a bright-cut sterling silver handle and sterling silver hinges, hallmarked “GB”, h. 7‑1/4”, w. 10‑1/2”, d. 5‑1/2”. [1000/1500] Illustrated 764 Pair of Adam-Style 764 Carved and Inlaid Mahogany Knife Urns, fourth quarter 19th century, with leaf-carved bases supporting the urns, decorated with reeding beneath inlaid bowknots and bellflower swags, the cover edges with fluting alternating with carved medallions and terminating in pine cone finials, the interiors fitted, h. 31”, dia .10‑1/4”. [1500/2500] Illustrated 765 George II-Style Carved Deal Overmantel Mirror, ca. 1900, English, the mirror with a ribbon-bound inner liner, an egg-and-dart-carved outer edge and rocaille carving in the corners, the broken-arch crest carved to match, h. 47”, w. 51”. [600/900]

767 Pair of Matthew Boulton Old Sheffield Plate Candelabra, first quarter 19th century, each with a tapering standard surmounted by an urn-form socket fitted with a detachable superstructure of a short standard surmounted by a vasiform nozzle and flanked by scrolling reeded arms, each terminating in a circular drip-pan and urn-form nozzle, the whole raised above a circular base and decorated with gadrooned banding, h. 20‑3/4”, w. 18‑3/4”, base dia. 5‑7/8”. [1000/1500] Illustrated

767

768 Good William IV Old Sheffield Plate Centerpiece and Plateau, second quarter 19th century, the centerpiece of triangular section, the central baluster with three acanthus-scrolling feet and a trumpeting vase, surrounded by three scrolling branches, each bifurcated and terminating in a floriform candle nozzle with drip pan and detachable bobeche, the whole decorated with robust and intricately detailed acanthus fronds, presented on a conforming plateau decorated en suite and fitted with a mirrored plate, overall, h. 19‑3/4”, w. 22‑1/4”. [1800/2500] Illustrated

766 Pair of George III Old Sheffield Plate Sauce Tureens, first quarter 19th century, each of navette form, with opposing ringed lion masque handles and a fitted domed lid with conforming finial, raised on four flat reeded legs with lion’s paw feet above a cavetto canted plinth and four spherical feet, h. 6”, l. 6‑1/2”, w. 3‑3/4”. [600/900] Illustrated

766

768

167

769 George IV Old Sheffield Plate Tureen, first quarter 19th century, of fluted bulbous oval form, with robust acanthus-mantled shell feet, floral scroll rim, and large oak branch handles, the fitted domed lid en suite with sterling silver oak branch finial handle hallmarked Sheffield, 1822‑1823, by Howard, Battie & Hawksworth, h. 11‑3/4”, l. 14‑1/2”, w. 10‑1/2”, 3.98 t. oz. (sterling finial only). [2000/4000] Illustrated

769

770 Pair of Matthew Boulton Old Sheffield Plate Candelabra, first quarter 19th century, each with a tapering standard surmounted by an urn-form socket fitted with a detachable superstructure of a short, knopped standard flanked by scrolling reeded arms, all terminating in an urn-form nozzle, the center nozzle with detachable flammiform finial, the outer nozzles with circular drip pans, the whole raised above a circular base and decorated throughout with rocaille banding, h. 24”, w. 16‑1/4”, base dia. 5‑7/8”. [1000/1500] Illustrated 771 Old Sheffield Plate “Warwick Vase” Wine Cooler, second quarter 19th century, after the Antique as discovered in Rome at Hadrian’s Villa, excavated 1769‑1770 by Gavin Hamilton (1723‑1798) and currently in the Burrell Collection, Glasgow, with detachable liner, h. 9‑3/4”, dia. 9‑3/4”, w. 13”. [3000/5000] Illustrated

770

168

772 The Thomas Davies Old Sheffield Plate Table Service, second quarter 19th century, the assembled service comprising a tureen, h. 11”, l. 17‑1/4”, w. 10‑3/4”, a poultry dome, h. 8‑3/4”, l. 13”, w, 9”, a pair of wine coolers, h. 9‑1/4”, w. 9‑1/2”, dia. 8”, and a large salver, dia. 23”, each decorated with shell-and-acanthus gadrooned banding, the tureen with acanthus-mounted ring finial and reeded handles, raised on four lion’s paw feet, the dome with acanthus-mounted ring handle, the coolers with gadrooned lower half and shell-and-palmette banding, with fitted liners and collars, the salver plateau with a broad engraved floral-crested rococo cartouche band on an imbricate ground, raised on four shell-andacanthus lion’s paw feet, each piece engraved with the crest and/or arms of Davies quartering Baillie and Pierce. [2000/4000] Illustrated This remarkable set, assembled over time but completely harmonious, demonstrates the grandeur of Old Sheffield plate at its height, shortly before the technique was completely outmoded by electroplating. The elaborate and meticulously detailed arms are those of Davies of Langley, specifically for Thomas Henry Hastings Davies (1789‑1846) of Elmley Castle, Worcestershire, the son of Thomas Davies (Advocate-General for the East India Company) and his wife Anna Baillie. Davies enlisted in the 52nd Regiment of the 1st Foot Guards in 1808 and served under Wellington at Waterloo, by which time he had achieved the rank of Lieutenant Colonel. He left the army in 1818 to stand as M.P. for Worcester. In the Commons, he was a staunch supporter of the rights of Catholics and (surprisingly) an outspoken critic of military expenditure. He was re-elected four times, but was defeated in 1835 by Conservative Joseph Bailey (1783‑1858). While canvassing in that election, Davies was in a carriage accident which left him partially paralyzed in one leg. He returned to Parliament, unopposed in the general election of 1837, but increasing paralysis forced his retirement in 1841. His condition continued to worsen, leaving him completely helpless by the time of his death on December 11, 1846. He left his considerable estate to his wife, Anna Augusta de Crespigny (1799‑1892), daughter of Thomas Champion de Crespigny and Augusta Charlotte Thellussion, whom he married on January 17, 1824. (The de Crespigny arms appear in pretence on the salver armorial.) After her husband’s death, she married, as his third wife, Sir John Somerset Pakington (1799‑1880), Baronet (later Baron Hampton). She died on February 8, 1892.

771

772

772 detail

169

773 George IV Old Sheffield Plate-Mounted Ebonized Standish, second quarter 19th century, the ebonized wood stand with a single drawer, the silverplate top with two pen trays, a central taper stick and two flattened spherical, diamond-cut glass inkwells with silverplate caps, all with gadrooned edging, the box mounted with two silverplate lion-masque ring handles and raised on four silverplate lion’s-paw feet, h. 8”, w. 11”, d. 9”. [700/1000] Illustrated 774

773

774 Good Pair of Matthew Boulton Old Sheffield Plate Armorial Meat Domes, first quarter 19th century, of oval form with applied rocaille-and-gadroon band with acanthus-mounted ring handle en suite, engraved with the arms of Richards impaling Peters, h. 9‑3/4”, l. 15‑5/8”, w. 12‑1/2”. [500/800] Illustrated The arms here are those of John Baker Richards (ca. 1776‑1833), governor of the Bank of England 1826‑1828, who married Georgiana Peters, daughter of Henry Peters of Betchworth Castle, Surrey, on January 10, 1814.

774 detail

777 Louis XVI Parcel-Gilt and Paint-Decorated Trumeau Mirror, fourth quarter 18th century, the side panels decorated with swags and lyres, with gilt scrollwork flanking the mirror, and a central urn with swags of flowers forming the crest, the rounded top with a painting depicting Trajan’s Column and Forum, and a gilt crest on a bleu gris ground, h. 70‑1/2”, w. 41‑1/2”. Provenance: Christie’s, New York, Sale 2136, February, 2009. [3000/5000] Illustrated

775 Old Sheffield Plate Armorial Salver and Tray, first quarter 19th century, the salver of circular form with robust “Chippendale”-shaped rose and acanthus rim, raised on acanthus scroll legs, the plateau engraved with a broad scrolling floral band on an imbricate ground centering an elaborate but unidentified double-crested armorial, dia. 19‑1/2”, the tray of rounded rectangular form with reeded rim and handles, acanthus-crested corners and four spherical feet, the plateau engraved with the arms of Proctor-Beauchamp of Langley Park, Norfolk, l. 23‑1/2”, w. 14‑3/4”. [500/800] 776 Old Sheffield Plate Epergne and Small Plateau, second quarter 19th century, the epergne with central knop-form baluster with four scrolling arms supporting a gadrooned circular frame and four out-scrolled arms, each terminating in a smaller frame, the frames fitted with later cut glass bowls, the whole above a rounded and concave square plinth raised on four acanthus-crested lion’s paw feet, h. 14”, w. 22‑3/4”, together with a small circular plateau, with ogee-molded frame and shaped rocaille skirt and feet, fitted with a conforming mirrored plate, h. 2‑3/4”, dia. 12‑1/2”. [1000/1500] Illustrated

170

776

778

777

778 French School (19th Century), “Woman Reading a Letter, a Spaniel at Her Feet”, watercolor, gouache and graphite on paper, unsigned, sight 17‑1/4” x 14‑1/4”. Glazed, matted and framed. Provenance: Private collection, Paris, France. [2000/4000] Illustrated

779

779 Pair of French Gilt-Bronze and Cut Glass Three-Light Girandoles, second quarter 20th century, in the Louis XIV style, each embellished with tiers of cut glass pendalogues, prisms and swags of drops, electrified, h. 24”, w. 13‑1/2”, d. 9”. [800/1200] Illustrated

780 Extensive Royal Copenhagen “Henriette” Partial Dinner Service, ca. 1965, Danish, decorated with hand-painted flowers and made in the style of Paris porcelain, the set including twelve dinner plates, dia. 10”, fourteen luncheon plates, dia. 9”, 780 fourteen soup plates, dia. 8‑1/4”, fourteen salad/ dessert plates, dia. 7‑1/4”, fifteen bread and butter plates, dia. 6‑1/4”, seventeen cups, h. 2‑1/4”, sixteen saucers, dia. 5‑3/4”, two similar cigarette urns, h. 2”, and two round dishes, dia. 3‑3/4”. [1200/1800] Illustrated

780 detail

171

781 Set of Four Baccarat Molded Crystal and Gilt-Bronze Bouquet Vases, second quarter 20th century, French, on molded gilt-bronze stands, the vases with an etched “Baccarat” mark on the bottom, h. 5”, dia. 4”. [600/900] Illustrated

786

781

782 Assembled Twenty-Piece Collection of Sevres White and Gold Porcelain, including eight dinner plates decorated with Louis-Philippe’s initials and an ivy border, the blanks dated 1849, with “Chateau de St. Cloud” decorator’s marks, dia. 9”, a teapot with Napoleon III’s crest, with a blank mark for 1853 and a decorator’s mark for 1855, five coffee cups and six saucers with delicately molded ribbing and gilt initials, the blank marks dated 1886 and the decorator’s marks for 1889, h. 2‑1/4”, dia. 4‑1/4”. [500/800]

784 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded rectangular back within a rope-carved frame surmounted by a garland-carved crest, joined by padded arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 38‑1/2”. [700/1000] Illustrated 785 Set of Four J. and L. Lobmeyr Enameled Glass Tazzas, fourth quarter 19th century, Vienna, Austria, each tazza panel cut and decorated with enameled polychrome scrollwork and flowers, and raised on a like-decorated trumpet-form base, each example marked, h. 2‑1/4”, dia. 4‑3/4”. [500/800] 786 Continental Glass Twenty-Five-Light Chandelier, third quarter 20th century, in the Maria Theresa style, the glass-clad frame holding candle cups on two levels, with prism-hung drip pans, swags of drops and an upper level spray of drops, h. 30”, dia. 30‑1/2”. [1500/2500] Illustrated

783

783 Louis XVI-Style Polychrome Settee, early 19th century, the padded rectangular back joined by padded arms on baluster-form uprights to the cushioned seat, raised on tapering circular legs headed by a foliate capital and ending in bulb feet, h. 36”, w. 50”, d. 20‑1/2”. [2500/4000] Illustrated 784

172

787

789 Pair of Bohemian Carefully Detailed Tinted Biscuit Figures, ca. 1849‑1860, made by Johann Moehling, comprising a gesturing female holding flowers in one hand and a male figure presenting a “nest” containing a pair of cherubim, each in lavish gilt-trimmed polychrome costume, impressed “AM” on the base of each, h. 22”, dia. 7‑1/2”. [600/900] Illustrated

787 Pair of Louis XIV-Style Gilt-Bronze and Crystal Sconces, 20th century, each with an openwork lyre-form back holding scrolled candle arms hung with prisms and set with a molded glass finial, a spray of drops forming the crest, h. 27”, w. 18‑1/2”, d. 10‑1/4”. [700/1000] Illustrated

788

789

790 Three-Piece Collection of Sevres-Style Porcelain, fourth quarter 19th century, French, decorated with bleu celeste, including a covered vase on a gilt-bronze notched base, with hand-painted floral panels and set with masquemolded bronze handles, finished with a pierced rim and an acorn-form finial, h. 13”, dia. 5‑3/4”, a plate decorated with a portrait of Marie Leszczynska, wife of Louis XV, dia. 9‑1/2”, and a plate decorated with a hand-painted view of a courting couple in 18th-century costume, dia. 9”, each with spurious Sevres marks. [500/800] Illustrated

790

788 Set of Four German Bisque and Bronze Two-Light Sconces, second quarter 20th century, two plaques depicting a couple in 18th-century garb giving a flute lesson and two depicting the couple holding baskets of grapes, set in oval frames with scrolled arms, one marked, probably Swaine & Co., Huttensteinach, h. 14”, w. 15”, d. 6”. [800/1200] Illustrated

173

791 Unusual Belle Epoque Gilt-Bronze, Glass and Porcelain Encrier, fourth quarter 19th century, the base with a molded and pierced gilt-bronze trim set with a cut and frosted glass plate decorated with lattice and trails of leaves, the hand-painted Sevres-style inkpot mounted in the center, flanked by taper holders with molded dolphins, h. 5‑1/4”, w. 12”, d. 8”. [600/900] Illustrated

791

792 French Belle Epoque Gilt-Metal and Porcelain Mantel Clock, fourth quarter 19th century, in the Louis XIV style, the base with rounded ends and decorated with handpainted porcelain on a bleu celeste ground, the Japy Freres clock works set with a porcelain dial decorated to match the base, flanked by cherubs with butterfly nets, and the top with a porcelain-mounted urn-form finial, h. 18”, w. 17‑1/4”, d. 5‑3/4”. [1500/2500] Illustrated

794 French Brass and Crystal Eight-Light Chandelier, 20th century, in the Louis XIV taste, with molded glass sleeves and a spire decorating the standard, set with one tier of candle arms and two graduated tiers of sprays of prisms, electrified, h. 34”, dia. 24”. [700/1000] Illustrated

794

795 Suite of Six Louis XVI-Style Polychrome Sidechairs, 20th century, each with a padded tapering rectangular back above a like seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [600/900] Illustrated

793

792

795

793 Pair of French Belle Epoque Gilt-Bronze and Marble Figural Five-Light Candelabra, fourth quarter 19th century, with figures of putti playing flutes and musical trophies to one side, the bronze candle branches set with rose-form candle cups and leaves, on column-form marble bases decorated with gilt-bronze swags, h. 16‑1/4”, w. 8”, d. 6”. [1200/1800] Illustrated

174

796 Transitional Louis XV-into-Louis XVI Kingwood, Rosewood and Marble-Top Commode, late 18th century, the breakfront rounded rectangular marble top above a conforming case fitted with three short drawers over two long drawers, each tri-paneled, raised on molded legs ending in sabots, h. 24”, w. 38‑1/2”, d. 33‑1/2”. [1800/2500] Illustrated 797 Transitional Louis XV-into-Louis XIV-Style Kingwood and Marble-Top Cabinet, early 20th century, the rounded rectangular Breche d’Alep marble top above a case fitted with two cupboard doors, each inset with a fabric-lined arched glazed panel, raised on shaped legs ending in sabots, h. 47”, w. 33”, d. 14”. [1500/2500] Illustrated

798 Limoges, France, Porcelain and Gilt-Bronze HandPainted Centerpiece, ca. 1891‑1896, the pink-ground centerpiece decorated with a hand-painted panel depicting a couple in 18th-century dress fishing, the border decorated with panels of flowers with gilt trim, mounted in a pierced scrollwork bronze base, with matching handles and border around the upper edge, marked by Mark Redon of Limoges, and with a spurious “Sevres” mark, h. 6”, w. 17”, d. 9”. [500/800] Illustrated

798

799 French Gilt-Metal and Porcelain Casket-Form Mantel Clock, fourth quarter 19th century, the base set with pinkground floral panels and molded with acanthus leaves, the pink-ground porcelain facade painted with the chapter ring over a panel of putti and trimmed with tooled gilt, the urn-form finial decorated with a porcelain insert and the handles with molded masques, h. 21‑1/4”, w. 10”, d. 6”. [700/1000] Illustrated 796

797

799

175

800 Pair of Louis XV-Style Burlwood and Marble-Top Commodes, early 20th century, each with a shaped marble top above a conforming bombe case fitted with two drawers, raised on splayed legs ending in sabots, h. 33”, w. 33‑1/2”, d. 17‑1/2”. [800/1200] Illustrated

800 801 Handsome Louis XV-Style Gilt-Bronze Fire Screen, first quarter 20th century, with an associated tool set, the fire screen raised on pierced cabriole legs, the surround decorated with rocaille and scrollwork and terminating in a handle, the screen-wire center with a bronze mount depicting a delicately molded flame pot on a scrolled ground, h. 30‑1/2”, w. 27‑1/2”, d. 7‑1/2”, the brass tool holder molded with a dog and of later origin, h. 25‑1/2”, w. 11”, d. 9” (five total pieces). [500/800]

803 Louis XV-Style Giltwood Mirror, ca. 1900, the bottom with pierced scrollwork decoration, each side with a frolicking putto holding garlands, the crest comprised of rocaille and scrollwork, executed in contrasting burnished and matte gilt, h. 48‑1/2”, w. 25”. [1500/2500] Illustrated

803

804 Pair of Louis XVIStyle Giltwood Bergeres avec Orielles, late 19th century, each with a padded and trisected back and sides surmounted by a floral crest and within a rope-carved frame, joined by shaped sides and acanthine-carved arms to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet, h. 41”. [1500/2500] Illustrated 805 Extensive Meissen Porcelain Hand-Painted Partial Dinner Service, ca. 1857‑1872, German, decorated with various hand-painted flowers, the set including a soup tureen, h. 10”, w. 12‑1/4”, d. 7‑1/2”, a pair of oval platters, w. 14”, d. 11”, an oval platter, w. 10‑3/4”, d. 8‑3/4”, a pair of low round bowls, dia. 10”, a round chop plate, dia. 12‑1/2”, an oval open vegetable bowl, w. 11”, d. 7‑1/2”, a pair of square open bowls, h. 4”, w. 10‑1/2”, d. 10‑1/2”, a single open square bowl, h. 2‑3/4”, w. 9”, d. 9”, twenty-five dinner plates, dia. 10”, fourteen soup plates, dia. 9‑1/2”, thirteen salad/dessert plates, dia. 8”, fourteen bread and butter plates, dia. 7”, a pair of covered mustard pots, h. 3‑1/4”, a pair of covered sugar bowls, h. 3‑1/4”, three salt dishes, dia. 1‑3/4”, twelve demitasse cups, h. 2”, and fourteen saucers, dia. 4‑1/4”, and a sauceboat on integral stand, h. 7‑1/2”, w. 9”. [2500/4000] Illustrated

802

802 French Bronze and Screen Wire Firescreen of Louis XV Inspiration, first quarter 20th century, the rocaillemolded serpentine frame set with a handle and a mount depicting a putto on a swing, raised on cabriole legs, h. 30‑1/2”, w. 22‑1/2”, d. 5‑3/4”. [500/800] Illustrated 804

176

805

808

805 detail

806 Meissen Porcelain Vase in the Rococo Taste with Schneeballen Cover, ca. 1824‑1850, German, in two pieces, decorated with painted fluting and bands, and swags of sculpted flowers, with the “Daub” crossed swords mark of the period, h. 17”, dia. 6‑1/4”. [500/800] 807 Meissen-Style Porcelain Figural Banquet Lamp, fourth quarter 19th century, made by Carl Thieme, Potschappel, Germany, the pierced standard with a latticework base decorated with sculpted flowers under figures of a couple in Tyrolean costume shearing sheep, the font decorated with panels of flowers and a man serenading a woman with a violin, framed with sculpted flowers, the opaline glass ball shade decorated with raised gilt-work and hand-painted flowers, marked with a “T” and crossed swords on the base, now electrified, h. 33‑1/2”, w. 8”, d. 8”. [700/1000] Illustrated 808 Pair of Meissen-Style Porcelain Figural FourLight Candelabra, ca. 1900, made by Voigt Brothers, Sitzendorf, Germany, decorated in pink and white with realistically rendered flesh tones, the standards decorated with sculpted roses, and holding male and female figures in 18th-century costume, the upper sections comprised of candle branches supporting leaf-molded drip pans and candle cups, decorated to match with pink sculpted roses, marked in underglaze blue with Voigt’s symbol, h. 21”, dia. 10‑1/4”. [700/1000] Illustrated

807

177

809 Maria Theresa-Style Crystal and Gilt-Metal Sixteen-Light Chandelier, 20th century, the glass-clad arms set with lights on two levels, the arms and candle cups hung with prisms, h. 23”, dia. 26‑1/2”. [600/900] Illustrated

809

810 Regence Walnut, Burl and Marble-Top Commode, 18th century, the marble top with a molded edge and bowed front, above a conforming case fitted with two short drawers over two long drawers, all banded and quarter-veneered, the sides banded and with chevron veneers, raised on rounded bracket feet, h. 33”, w. 50”, d. 25‑1/2”. [3000/5000] Illustrated

812 Pair of Louis XV-Style Polychrome and ParcelGilt Settees, 19th century, each with a shaped and padded back surmounted by a foliate crest, joined by padded downswept sides and foliate scrolling uprights to the padded seat, above a shell- and foliate-carved apron, raised on molded cabriole legs headed by a flower carving and ending in scrolled toes, h. 33”, w. 59”, d. 25”. [1500/2500] Illustrated

810

811 Continental Hand-Painted Porcelain Plaque of Marie Antoinette, ca. 1900, in the Vienna style, marked “Antoinette” on the back in script and impressed “MR”, h. 5‑3/4”, w. 3‑7/8”, mounted in a giltwood frame, h. 15”, w. 13‑1/4”. [800/1200] Illustrated

813 French Bronze and Screen Wire Firescreen of Louis XV Inspiration, first quarter 20th century, the screen of rectangular form with a serpentine crest set with a handle, the wire decorated with tendrils of leaves and flowers suspended by a bowknot, raised on cabriole legs, h. 3”, w. 28”, d. 9‑1/2”. [600/900] Illustrated 811

812

178

814 Pair of Baccarat Crystal “Enfant” TwoLight Candelabra, second quarter 20th century, French, each with a frosted putto standard holding aloft candle arms with “silk stripe” candle cups and matching drip pans hung with prisms, the central nozzle fitted with a cut 813 glass spire finial, the “silk stripe” bases marked with etched signatures, h. 24‑1/2”, w. 10‑1/2”. [1200/1800] Illustrated

815

815 Pair of Louis XVI-Style Giltwood Bergeres, early 20th century, each with a floral-carved crest over a tripartite back extending to closed arms on leaf-carved supports, with bowed seat rail and fluted legs, now upholstered in celadon brocade and fitted with a loose seat cushion, h. 42”. [2500/4000] Illustrated

816

818 Pair of Unusual Royal Berlin Covered Ginger Jars, ca. 1900, German, decorated with gilt leaves at their bases, each jar with a ribbed yellow ground and a roundel portrait of, respectively, Augustus III of Poland and an unidentified female on the obverse, and Polish armorial devices on the reverse, and marked with an underglaze blue scepter, h. 13”, dia. 6‑1/2”. [1200/1800] Illustrated 814

816 Louis XVI-Style Polychrome Bed, early 20th century, the tall headboard of paneled construction and surmounted by a gilt portrait medallion crest, the back centered by an oval floral panel, joined by rails to the likedecorated lower footboard, the whole raised on tapering circular feet, h. 55”, inside, w. 31”, l. 78”, outside, w. 36”, l. 81”. [800/1200] Illustrated 817 Pair of Meissen-Style Porcelain Lamps, ca. 1900, on pierced giltwood stands, the “Dresden” bases decorated with cherubs and sculpted flowers on one and a pair of figures with sculpted flowers on the other, mounted with shades, electrified, base, h. 15‑1/2”, overall, h. 34‑1/2”, dia. 18”. [500/800]

818

179

819

824

819 French Bronze and Crystal Six-Light Chandelier, first quarter 20th century, in the Louis XIV taste, with a molded glass-clad standard, the bronze arms and matching candle cups hung with strands of alternating pink and yellow drops, the corona decorated with matching swags of drops, h. 27”, dia. 20”. [700/1000] Illustrated 820 Pair of Paris Porcelain Costume Plates, second quarter 19th century, decorated by Feuillet and marked “Feuillet a Paris” on the backs, each with an elaborate gilt border employing running leaves and scrollwork, one with a maiden in a cap at a well with a terracotta jug, titled “Costume Francais”, and the other with a young woman carrying a basket, titled “Jeune Fille de la Finlande”, dia. 9‑1/4”. [800/1200]

823

821 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, the breakfront marble top above a conforming case fitted with a single tripaneled frieze drawer over two long drawers, both banded and quarter-veneered, raised on cabriole legs ending in sabots, h. 33‑1/2”, w. 50‑1/2”, d. 22”. [1500/2500] Illustrated

822

180

822 Rococo-Style Bronze and Screen Wire Firescreen, ca. 1900, French, the scroll-molded surround with a rocaille handle over a masque flanked by sphinxes, the screen decorated with a basket of flowers supported by a bowknot and swags, raised on leaf-molded cabriole feet, h. 32”, w. 28‑1/2”, d. 10”. [800/1200] Illustrated

823 Louis XVI-Style Kingwood and Marble-Top Bouillotte Table, early 20th century, the circular inset marble top above a conforming frame fitted with two drawers and two pull-out leather-inset slides, the frieze with banding and inlaid foliate patterns, raised on tapering square legs ending in brass caps, h. 29”, dia. 35‑1/2”. [700/1000] Illustrated 824 Baccarat Gilt-Bronze and Crystal Chandelier, mid20th century, in the Louis XIV taste, the molded glassclad standard set with eight branches on the lower tier and four on the upper tier, the tiers alternating with glass spire-form finials, hung with two sprays of prisms on the upper portion, set with opaline glass candle sleeves and electrified, stamped “bronze” and with an impressed Baccarat decanter mark, h. 40”, dia. 28‑1/2”. [3000/5000] Illustrated 826

825 Louis XV-Style Giltwood Pier Mirror and Console, late 19th century, the rectilinear looking glass with rounded corners and a broken-arch crest centered by a pair of carved putti, h. 83”, w. 37”, d. 7”, together with a console with a faux-marbre top over a scalloped foliate-carved apron and cabriole legs, h. 25”, w. 35”, d. 13”. [2500/4000] Illustrated 825

826 Rare Pair of Paris Porcelain Vases in the Sevres Style, mid-19th century, made by Feuillet, on bronze dore bases and decorated with hand-painted panels of frolicking putti, representing the four seasons, on a bleu celeste ground, the Louis XV-style vases with Sevres-style marks enclosing the Feuillet “F” on the bases, under the bronze foot, h. 12”, dia. 7”. [700/1000] Illustrated 827 Pair of Porcelain Two-Light Figural Candelabra, mid-19th century, possibly Minton or Coalport, the bases with notched corners below cylindrical plinths trimmed in celeste bleu and with hand-painted bouquets framed with raised swags, and supporting biscuit figures of putti holding cornucopia set with fruit-molded drip pans and leaf-molded candle cups, h. 14‑1/2”, w. 7‑1/2”, d. 4‑3/4”. [500/800] Illustrated

821

181

828 Dresden Porcelain Figural Centerpiece, 1st quarter 20th century, Richard Klemm, marked in underglaze blue on underside, hand-painted bowl festooned in gilt work and applied flowers, supported by frolicking putti raised on cabriole legs centering masques, h. 20”, dia. 13‑1/2”. [1000/1500] Illustrated

827

829

830 Pair of Continental Porcelain and Mirrored Sconces in the Meissen Style, ca. 1900, the oval, cove-molded frames trimmed with painted and sculpted flowers, the crests with molded seated cherubs and the lower portions with molded cavorting cherubs flanked by a pair of porcelain candle arms, h. 22”, w. 13”, d. 6‑3/4”. [1000/1500] Illustrated 829 Charming Meissen-Style Porcelain Tobacco Jar, Made by Sluzier, Fontainebleau, fourth quarter 19th century, French, designed to resemble a Dionysian feast and depicting a wine barrel and four putti, one standing atop the barrel among encrusted grapes and serving as the knop, one gesturing, one climbing a ladder into the barrel, and one lounging while holding a wine cup, marked with underglaze blue crossed swords in the Meissen style, h. 13‑1/2”, w. 9‑1/2”, d. 6‑1/4”. [800/1200] Illustrated

830

831 Victorian Silverplate Cruet Frame, third quarter 19th century, of oval form, with bulbous lattice-reticulated sides and robust grapevine banding, with a central baluster standard with ring handle and four feet, all en suite with the banding, fitted with seven cut and wheel-engraved glass condiment bottles, overall, h. 13‑1/2”, l. 9‑1/4”, w. 8”. [500/800] Illustrated

828

182

832 Victorian Sterling Silver Salver, hallmarked London, 1870‑1871, by Samuel Smily (1825‑1882; free 1847) of the Goldsmith’s Alliance Ltd., of circular form, the pierced galleried rim decorated with paterae, laurel festoons and beaded rim, the plateau engraved with a wide ovolo and alternating ribbon and bellflower festoons, the whole raised on three feet en suite with the rim, dia. 16”, 56.46 t. oz. [1000/1500] Illustrated

833 Victorian Silverplate Meat Dome and Associated Well-and-Tree Platter, third quarter 19th century, the dome by Atkin Brothers, Sheffield, with gadrooned edge and acanthus-mounted ring handle, the oval platter unmarked, with reeded rim, robust acanthus handles and feet and hot water reservoir, overall, h. 16”, l. 24”, w. 17‑1/2”. [900/1200] Illustrated

833

835 Victorian Silverplate Cruet Frame, third quarter 19th century, by Henry Wilkinson & Co., in the Georgian taste, of navette form, with reticulated and “bright-cut” banding and beaded edges, with a central baluster standard and beaded ring handle, raised on four acanthus feet and fitted with seven cut glass condiment bottles, overall, h. 10‑1/4”, l. 8‑7/8”, w. 6‑1/4”. [500/800] Illustrated

831

834 Four-Piece Victorian Sterling Silver Gilt and Cut Glass Dresser Set, hallmarked London, 1872‑1873, by Thomas Johnson I, retailed by Leuchars & Son, comprising a pair of cane-cut cologne bottles of square section with screw caps, h. 4‑1/2”, and a pair of oval dresser jars with cane-cut base, one with hinged, the other with fitted lid, l. 3‑5/8”, the caps/lids of silver gilt decorated with engraved arabesques and centering a circular cartouche with conjoined monogram “MEW”. [900/1200] Illustrated

832

834

835

183

836 Late Victorian Four-Piece Sterling Silver Coffee and Tea Set, hallmarked London, 1898‑1899, by Elkington & Co., comprising a coffeepot, h. 8‑1/2”, l. 9‑1/4”, a teapot, h. 5‑1/2”, l. 11‑1/4”, an open sugar bowl, h. 4‑1/2”, l. 8‑1/4”, and a cream jug, h. 4‑1/2”, l. 6”, each of bulbous oval form, the lower half gadrooned, the upper half with repousse floral-scroll band, with everted shell-andgadrooned rim and raised on four spherical feet, the pots with wooden crested handles and gadrooned finials, the bowl and jug with arched silver acanthus handle(s), each monogrammed “PSD” (conjoined), 63.72 total t. oz. [1200/1800] Illustrated

839 detail

836

837 Edwardian Sterling Silver Kettle-on-Stand, hallmarked London, 1904‑1905, by Adie Brothers Ltd., in the Regency taste, the kettle of oval section with gadrooned lower half and everted rim with gadroon-androcaille decoration, with ebony-insulated stirrup handle and carved finial, the whole raised on a conforming stand with flat columnar legs, the burner lacking, overall, h. 14‑1/4”, l. 10‑1/4”, w. 5‑3/4”, 50.41 t. oz. [600/900] Illustrated

839

837

184

838

838 American Silverplate Epergne and Victorian Plateau, 19th and 20th centuries, the epergne by Reed & Barton, Taunton, Massachusetts, with an openwork baluster standard with four scrolling arms, all terminating in a floriform nozzle and conforming openwork drip-pan, decorated with rococo scrolls and irises, the nozzles fitted with detachable glass liners, h. 15”, w. 22‑1/2”, d. 17‑1/4”, presented on a Victorian silverplate plateau of circular form, with acanthus-and-shell scroll feet and applied “vintage” banding, fitted with a mirrored plate, h. 3‑1/2”, dia. 16”. [500/800] Illustrated

840

839 Large Edwardian Sterling Silver Armorial Salver, hallmarked London, 1901‑1902, by the Goldsmiths and Silversmiths Co. Ltd., in the George II taste, with shaped “Chippendale” rim and raised on four scroll feet, the plateau engraved with the arms of Baronet Parkyns of Bunny, Nottinghamshire, presumably for Sir Thomas Mansfield Forbes Parkyns, 6th Bt. (1853‑1926), dia. 24‑1/4”, 133.74 t. oz. [2500/4000] Illustrated

840 Stately Silverplate Roast Beef Trolley, 20th century, probably English, comprised of a large dome which rotates to reveal an integral carving station and three reservoirs for condiments (with one large and two smaller circular bowls), the whole above a hot-water reservoir accessed by a floriform cap, the underside fitted with a wire frame supporting three individual alcohol burners, within a conforming frieze with semi-circular handles, the front suspending an oblong utensils tray, the corners with detachable plate racks (which can be fitted with either the large bowl or a pair of accompanying wine coolers), all raised on four mascaron-crested cabriole legs joined by a strapwork stretcher supporting a detachable tray, all raised on acanthus-mounted pad feet above sturdy wheels, h. 44”, w. 47”, d. 33‑1/4”. [12000/18000] Illustrated

840 detail

185

841 Edwardian Silverplate Tray, first quarter 20th century, by the Goldsmiths’ and Silversmiths’ Company, Ltd., London, of canted rectangular form, with reticulated gallery and beaded rim, the plateau engraved with conforming concentric floral paneled bands, the whole raised on four spherical feet, 23‑3/4” x 17‑1/4”. [800/1200] 842 Sir William Orpen, K.B.E., R.A., R.H.A. (British/ Irish 1878‑1931), “SelfPortrait of the Artist with His Wife Grace”, ca. 1902‑1912, conte on paper, signed lower right “Orpen”, sight 11‑3/4” x 11‑1/4”. Glazed, matted and framed. [2500/4000] Illustrated Sir William Orpen, a Londonbased artist, was one of the most prolific portrait painters in Edwardian society at the turn of the century. During World War I, he served as a war correspondent in France for the British government. His drawings, sketches and portraits of battles, soldiers and generals were so prodigious, Orpen was knighted for his service in 1918. In addition to his military works, Orpen is equally renowned today by curators and scholars for the visual complexity of his selfportraits, in which he often portrayed himself (sometimes mockingly) in multiples as well as from multiple angles. In “Ready to Start”, 1917, in the Imperial War Museum, Orpen depicts himself in a mirror or painting within a painting, and in a series of self-portraits in pencil that recently sold at auction in Ireland, Orpen appears in 3/4 profile from the rear as he does in the drawing offered here. Art Historian Bruce Arnold has noted that the multiplicity of Orpen’s portraits reflect “the shadow of death and experience, toil, passion and fulfillment” of his time that “few English artists have equaled.” A fine example of Orpen’s enigmatic nature is this touching self-portrait of the artist and his wife. Grace Knewstub married Orpen in 1902. Though their marriage was an unhappy one fraught with mistresses after 1908, Orpen’s sketchbooks reveal much tenderness in the early years of their marriage, in which Grace is portrayed numerous times in profile, resting, modelling, and looking after their infant daughters. With her distinctive nose and poised chin captured in warm sanguine in this drawing, Grace is a beauty to behold and possess as one of Orpen’s more intimate portraits and self-portraits.

186

842

842 detail

843 John Hoppner, R.A. (British, 1758‑1810), “Portrait of a Gentleman Identified in the Dillon Collection as Hon. James William Dillon (1792‑1812), Son of Charles Dillon, the 12th Viscount”, ca. 1808, oil on canvas, indistinctly signed lower left, 30” x 25”. In an ornate carved giltwood period frame. Provenance: The “Dillon Collection”, Estate Sale of Harold Arthur Dillon, 17th Viscount, Ditchley Manor, Enstone, Oxfordshire, Sotheby’s, London, May 24, 1933; C. E. Dix, British Collector; Howard Young (Galleries), New York, New York; Houston, Texas collection. Published: McKay, William and W. Roberts. John Hoppner Catalogue Raisonne. London: P & D Colnaghi & Co., 1909, p. 67. [3000/5000] Illustrated John Hoppner was one of the most celebrated English portrait artists of his time, rivaled only in prestige by King George III’s painter Thomas Lawrence, who succeed Sir Joshua Reynolds as "painter-in-ordinary to his majesty". Hoppner, a decorated member of the Royal Academy, painted at least three portraits of the illustrious Dillon family. In addition to the one offered here of the Honorable James William Dillon, son of the 12th Viscount Dillon by his second marriage, Hoppner also painted portraits of the Viscount’s eldest son Henry Augustus Dillon, 13th Viscount, and his brother-in-law by his first marriage, the Honorable Augustus Phipps. After the young James William died shortly after earning the rank of ensign in the Grenadier Guards, the portrait remained with his father and descended through the Viscount’s heir apparent until 1933, when it was sold with the Estate of Harold Arthur Dillon. The 17th Viscount had an extraordinary collection of art that he amassed over a lifetime as an antiquarian as curator of the Tower Armories, trustee of the British Museum and National Portrait Gallery.

843

844 French School (Second Quarter 19th Century), “Portraits of Two Brothers”, pair of oils on canvas, one with a partially legible inscription on stretcher “Pierre Eugene...”, and dated “1837”, 12‑3/4” x 9‑1/2”. Both attractively framed alike. [500/800] 845 Manner of Thomas Sully (American, 1783‑1872), “Portrait of a Girl with a Book, Within a Painted Oval”, oil on canvas, 21” x 18”. Presented in a giltwood and gesso frame. [500/800] 846 American School (Third Quarter 19th Century), “Portrait of a Gentleman in a Landscape”, oil on canvas, 20” x 15”. Presented in a giltwood frame. [600/900] Illustrated

846

187

850

848 Pair of Victorian Mahogany Console Tables, mid-19th century, each with a shaped top above a heavily molded frieze, raised on molded cabriole legs headed by bellflower carving and ending in acanthine-carved scroll feet, h. 31”, w. 36‑1/2”, d. 13”. [1200/1800] 849 Victorian Rosewood Pier Table in the Rococo Taste, third quarter 19th century, the molded serpentine marble top over a conforming frieze, raised on foliate-carved cabriole legs joined to a serpentine platform base, the back fitted with a mirror plate, h. 37”, w. 42”, d. 17‑1/2”. [800/1200]

847

847 William Logsdail (British, 1859‑1944), “Study of a Washwoman, Probably for the ‘St. Anne’s Almshouses, Antwerp’”, 1880, oil on wood panel, signed and dated lower left, 9‑1/4” x 5‑1/2”. Framed. [700/1000] Illustrated William Logsdail, a prolific portrait, landscape and genre painter, is best known for his realistic rendering of everyday figurative “scenes” in markets, squares (piazzas) and church courtyards. Logsdail studied architecture at the Lincoln School of Art and Design, before attending the Academy Royale des Beaux-Arts in Antwerp, where he was exposed to naturalism - the art of painting real things in natural, as opposed to staged, settings. While in Belgium, Logsdail painted the peasantry, proletariat and indigent in sweeping cityscapes that later defined his famed Italian scenes. The painting offered here belongs to this tradition, and may represent a pivotal study in the formation of Logsdail’s mature works. The open neckline and smock-style chemise that the sitter wears is indicative of a working-class girl, and closely resembles the two central washwomen in his painting of the courtyard at “St. Anne’s Almshouses, Antwerp”. The hat is all the more telling as it is neither the fashionable poke bonnet nor the typical Dutch/Flemish “hovetcleet” - the white hood seen in Logsdail’s 1879‑1880 painting of washwomen in the “Fish Market”. The headdress anomalies in these works, painted scarely a year apart, strongly suggest that this study and the “’St. Anne’s Almshouses” influenced his Italian scenes as they were painted around the time Logsdail moved to Venice in the fall of 1880. This reading is all the more plausible since these distinctive cloche-style (Flapper) hats reappear in the crowds of Logsdail’s most famous Venetian painting, “The Piazza of St. Mark,” which he began sketching upon his arrival in the city.

188

850 Pair of Victorian Oak and Upholstered Settees, third quarter 19th century, each with a padded triple-arched back joined by rounded arms to the like seat, raised on ring-turned tapering square legs, the whole upholstered in floral, avian and foliate needlework with petit-point figural panels, h. 37‑1/2”, w. 53”, d. 27‑1/2”. [1000/1500] Illustrated

851

851 Chinese Carved Tortoiseshell Brise Fan, ca. 1800, the decorated surface carved in relief to depict a village scene with figures, trees, boats and pavilions, in a box frame, fan, h. 7”, w. 12”, frame, l. 18”. [600/900] Illustrated 852 Leon Olivie (French, 1833‑1901), “La Lettre”, oil on beveled wood panel, signed lower right and dated “186(?)0”, old handwritten inscription “paysage soleil couchant” en verso, 9‑5/8” x 7‑3/8”. In a period covemolded acanthine-motif giltwood frame. [2000/4000] Illustrated

855

852 853 Victorian Ormolu-Mounted and Ebonized Work Table, third quarter 19th century, the rectilinear top with projecting rounded corners, the perimeter with brass beads and ivory stringing over a drawer with a compartmentalized maple interior, and an ormolumounted yarn drawer below, on tapering inlaid legs joined by turned stretchers centered by a finial, h. 28‑1/4”, w. 26”, d. 19”. [1000/1500] Illustrated

854

854 Victorian Tole and Parcel-Gilt Tray, third quarter 19th century, the rectangular tray with turreted corners, bowed sides and a raised edge, centered by a scene of Abbey ruins with figures passing by, within an elaborate gilt border, now raised on a conforming ebonized tray with gilt accents, h. 18”, w. 31”, d. 24”. [800/1200] Illustrated 855 Waterford Cut Crystal and Prism-Hung Five-Light Chandelier, 20th century, the central shaft and bobeshes with diamond cross-hatched cutting, and draped with clear faceted plug drop crystal prisms, h. 19‑1/2”, dia. 18‑1/2”. [500/800] Illustrated 853

189

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

859

857 Pair of Victorian Walnut Candle Stands, third quarter 19th century, each 856 with a square top with bowed sides and a molded edge, and raised on a turned and bulbous standard on a tapering paneled circular support to three splayed cabriole legs ending in paw feet, h. 36”, dia. 10‑1/2”. [800/1200] Illustrated

859 English Cut and Frosted Glass Four-Light Gasolier, third quarter 19th century, the frosted vasiform standard cut with fluting and having scalloped edges, the arms mounted with frosted ball shades, the whole dressed with spear-point prisms and swags of drops, h. 39‑1/2”, dia. 31”. [600/900] Illustrated 860 Archibald Alison (1757‑1839), History of Europe, Edinburgh & London: Wm. Blackwood & Sons, 1849‑1850, 7th ed., complete in fourteen volumes, octavo, contemporaneous binding by James Hayday (1796‑1872) of London, in full red morocco with richly gilt “Cambridgepanel”-style decoration and dentelle, the spines with raised bands with gilt lettering, rule and decoration, the edges cut and gilt, binder’s stamp lower edge inside board, 8‑7/8” x 6”. [800/1200] Illustrated 857

858 Group of Four English Mahogany Candle Stands, consisting of a pair of Victorian examples, mid-19th century, each with a circular top with a dished edge, supported by a bobbin-turned standard to three splayed legs, h. 40”, dia. 8”, a George III-style stand of similar date, with a dished circular top raised on a turned and ribbed tapering paneled standard to three splayed acanthine-carved legs ending in ball-and-claw feet, h. 38”, dia. 12‑1/2”, and another Victorian example with a piecrust-form top raised on a paneled and bulbous standard to three splayed supports ending in shaped feet, h. 36”, dia. 10”. [500/800]

190

A superlative example of the work of prominent Victorian book binder James Hayday; see Charles Ramsden, London Book Binders, 1780‑1840 (London: B. T. Batsford, 1987), pp. 78‑79. 861 Charles Sumner (1811‑1874), Works, Boston: Lee & Shepard, 1870‑1875, subscriber’s edition with author’s autograph on the flyleaf of volume I, complete in eleven volumes, duodecimo, in tan half leather with embossed fillet on marbled paper, the spine with raised bands and gilt lettering, numbers and decoration, the edges cut and marbled, with marbled endpapers, 7‑7/8” x 5‑7/8”. [600/900] 862 William Makepeace Thackeray (1811‑1863), Works, London: Smith, Elder & Co., 1869, complete in twenty-two volumes, octavo, in full brown tree calf, the boards with gilt Greek-key banding and scrolling dentelle, the spines with raised bands and red and green panels with gilt lettering, numbering and decoration, with marbled endpapers and cut and gilt edges, 8‑3/8” x 5‑3/4”. [700/1000] Illustrated

860

863 Edward Bulwer-Lytton, Lord Lytton (1803‑1873), Novels, London: George Routledge & Sons, 1875‑1875, the “Knebworth” edition, thirty volumes, duodecimo, in tan half calf with embossed fillet on marbled boards, the spines with raised bands, brown and black panels, and gilt lettering, rule and decoration, the edges cut and marbled with marbled endpapers, bookplate of Prescott Erskine Wood (1884‑1955), 7” x 5‑1/8”. [800/1200] Illustrated An attractive set of the ever-quotable Bulwer-Lytton; see, for instance, act II, scene II of Richelieu - “The pen is mightier than the sword” - and, of course, the inexcusable opening line of Paul Clifford: “It was a dark and stormy night.”

862 860 detail

863

860 detail

864

864 Sir Walter Scott (1771‑1832), Waverly Novels, Edinburgh: Adam and Charles Black, 1862, complete in twenty-five volumes, octavo, in brown half morocco with gilt fillet on marbled boards, the spines with raised bands and gilt lettering, rule and “thistle” decoration, with marbled endpapers, all edges cut and gilt, 8‑3/4” x 6”. [1800/2500] Illustrated

191

865 Victorian Burl Walnut Davenport, third quarter 19th century, of traditional form, the rectangular top lifting to a pierced fretwork compartment, above an ogee-molded case, hinged and lifting to a drawer with an easeled leather-inset writing surface, the front paneled and with block and turned uprights, one side fitted with four short drawers, the other side with four faux drawers, to a plinth base on casters, h. 36”, w. 22‑1/2”, d. 22‑1/2”. [800/1200] Illustrated

866 British or American School (Fourth Quarter 19th century), “A Girl and Child with Red Flowers”, oil on canvas, unsigned, 25” x 20”. Framed. [800/1200] Illustrated 867 Early Victorian Mahogany Linen Press, third quarter 19th century, the molded cornice above a case fitted with two doors, each inset with an arched panel, the lower section fitted with an ogee-molded drawer over two long drawers, all flanked to either side by acanthine-carved scroll uprights, raised on flattened bun feet, h. 92”, w. 54‑1/2”, d. 24”. [1200/1800] Illustrated 868 Victorian Rosewood and Mahogany Metamorphic Firescreen, third quarter 19th century, the rectangular needlework screen within a shaped and pierced frame, the angle adjustable from flat to vertical, supported by a brass rod of adjustable height, raised on a paneled bulbous standard to three scrolling supports ending in upturned toes, h. 35” to 54”, w. 20”, d. 15‑1/2”. [500/800] 869 Victorian Teakwood Campaign Chest, late 19th century, in two parts, the upper section fitted with two short drawers over two long drawers, the lower section fitted with two long drawers, all with recessed wooden pulls and brass banding, the sides with carrying handles, h. 35‑1/4”, w. 35‑1/2”, d. 18”. [800/1200]

866

865

192

867

872 Fourteen-Piece Bodley Aesthetic Porcelain Partial Dessert Service, fourth quarter 19th century, English, including twelve plates decorated with bamboo-molded edges and panels of bamboo piercing alternating with panels of cerise flowers, dia. 9‑1/2”, and a pair of matching tazzas resting on scrolled supports raised on bases, impressed “Bodley”, many with impressed diamond registration marks, h. 6‑3/4”, dia. 9‑1/2”. [1200/1800] Illustrated 872

870 870 Laslett John Pott (British, 1837‑1898), “Before the Ball”, oil on beveled wood panel, signed lower right, 18‑1/4” x 14‑3/4”. In a giltwood frame. [3000/5000] Illustrated

873 Wedgwood “Wild Strawberry” Partial Bone Dinner Service, ca. 1965, comprised of sixteen dinner plates, dia. 11”, twelve salad/dessert plates, dia. 8”, four accent salad plates, dia. 8”, six bread and butter plates, dia. 6”, six rim soup bowls, dia. 8”, and four coasters, dia. 4”. [500/800] 874 Victorian Gilt-Bronze and Onyx Occasional Table, late 19th century, the square top with an inset onyx surface, above a conforming floral garland frieze, raised on supports in the form of winged maidens, joined by a shaped stretcher and ending in splayed paw feet, h. 30”, w. 18‑3/4”, d. 18‑3/4”. [800/1200] Illustrated

871

871 English Rococo Revival Giltwood Overmantel Mirror, mid-19th century, the surround decorated with ribbon-bound flowers, supported by triangular side plates with scrollwork and single-light candle branches, the unusual pierced crest in the form of flowers wrapped in a bold mirror with a bowknot crest, h. 57‑3/4”, w. 52”. [3000/5000] Illustrated

874

193

877 Unusual Pair of English Silvered Bronze and Cut Glass Banquet Lamps, fourth quarter 19th century, the acanthus-molded bases holding “rustic” twig-molded standards, the bodies with molded bas-relief hunt scenes and mounted with boar’s heads and pierced “C” scrolls, h. 24‑1/2”, dia. 7”. [1200/1800] Illustrated

875 Victorian Giltwood and Marble-Top Occasional Table, mid-19th century, the circular Carrara marble top above a conforming rose garland-carved frieze, raised on an acanthine-carved bulbous standard to three scrolling legs ending in foliate toes, h. 30”, dia. 19”. [500/800] 876 Rare Wedgwood Auro Basalt Vase, 876 ca. 1880s, English, decorated with bronze and gilt lilies and leaves, impressed “Wedgwood” in all caps, and hand-inscribed “S. 513 Lilium Auro Ware”, h. 9”, dia. 4‑3/4”. Auro ware was an experimental line Wedgwood sold in the 1880s. [800/1200] Illustrated

877

878

194

878 Chinese “Mandarin” Export Fan, Qing Dynasty (1644‑1911), mid-19th century, the elegant folding fan with black and gilt lacquer sticks, both sides depicting figures in a garden, the leaves on both sides conveying a continuous scene of court officials and fine ladies with delicately rendered features, pursuing leisurely pastimes, the scene framed by a frieze of auspicious symbols and floral scroll designs, with the original lacquer box, fan, h. 11‑1/2”, w. 20‑1/2”, box, h. 2”, l. 12‑1/2”. [2000/4000] Illustrated A comparable example can be found in the Museum of Fine Arts, Boston, Massachusetts, and another fan in a similar style in the Museum of Liverpool, Liverpool, England. 879 Monumental Joseph Holdcroft Majolica Cachepot and Matching Underplate, ca. 1870‑1885, London, England, decorated with molded Greek-key borders on a cobalt ground, in the Aesthetic taste with prunus branches, water lilies and fish, the interior turquoise-glazed, impressed “J. Holdcroft” on the underside of the underplate, h. 15‑1/2”, dia. 18”. [500/800] Illustrated

879

880 British School (Third Quarter 19th Century), “Traveler on Horseback, a Dog at His Side”, oil on wood panel, unsigned, 8‑1/4” x 6‑1/4”. Presented in an attractive giltwood and gesso frame. [600/900] Illustrated 881 Royal Bonn Hand-Painted Pottery Covered Garniture Urn, ca. 1900, German, resting on a black and gilt leafmolded base with matching handles, the inverted urn with a ground of well-painted blue flowers on sculpted gilt, the Japanese-inspired panels of flowering prunus over a roundel depicting a sunrise decorating the obverse, and a roundel of a brook and a rectangular flower branch decorating the reverse, the oval cover decorated to match, with Royal Bonn’s standard printed mark and some additional impressed marks, h. 15‑1/2”, w. 14‑1/4”, d. 6‑3/4”. [800/1200] Illustrated

882

883 Worcester-Style Porcelain Partial Dessert Service, 19th century, English, decorated with hand-painted exotic birds and flowers on a blue-scale ground, some pieces marked with various single decorator’s initials on the backs, the set comprised of a pair of oval molded dishes, w. 11‑1/2”, d. 9”, a square dish, w. 8”, d. 8”, ten plates, dia. 9”, a sparrow-beak milk jug, h. 4”, a waste bowl, h. 4‑1/2”, dia. 5”, four cups, h. 2‑1/2”, and four saucers, dia. 4‑3/4”, and four bread and butter plates, dia. 7”. [700/1000] Illustrated

880

882 Pair of Potschappel Porcelain Figures of Pug Dogs, first quarter 20th century, the spotted, brown and white, bell-collared pups modeled in the Meissen style, their bellies marked with the Potschappel PS monogram in underglaze blue-gray transfer print, the figures facing left and right, h. 8‑3/4”, l. 8”. [500/800] Illustrated

881

883

883 detail

195

884

885

887

888

890

884 Antique Turkish Oushak Carpet, 8’ x 12’. [4000/7000] Illustrated

887 Semi-Antique Mahal Carpet, 14’ x 20’ 3”. [3000/5000] Illustrated

885 Semi-Antique Heriz Carpet, 9’ 4” x 12’ 7”. [900/1200] Illustrated

888 Agra Serapi Carpet, 9’ x 12’. [1500/2500] Illustrated

886 Semi-Antique Sarouk Carpet, 3’ 5” x 5’ 2”. Provenance: The Sarouk Shop, New Orleans, Louisiana. [500/800]

196

889 Turkish Angora Oushak Carpet, 6’ 2” x 9’. [600/900]

891

893

890 Turkish Angora Oushak Carpet, 8’ 1” x 10’. [800/1200] Illustrated 891 Antique Persian Tabriz Carpet, 9’ 8” x 15’ 1”. [5000/8000] Illustrated 892 Turkish Angora Oushak Carpet, 6’ 3” x 8’ 9”. [600/900] 893 Turkish Angora Oushak Carpet, 8’ x 9’ 9”. [800/1200] Illustrated 894 Empire Needlepoint Carpet, 9’ 10” x 14’ 3”. [800/1200] 895 Antique Persian Tabriz Carpet, 10’ 5” x 14’ 6”. [3000/5000] Illustrated

895

197

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896

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896

896 Fourteen-Karat Rose Gold and Chocolate and White Diamond Ring, pave-set with thirty-two round brilliantcut chocolate diamonds and thirty-one round brilliantcut white diamonds, with an approximate total diamond weight of 0.63 carats, size 8, 3.6 grams total weight. [600/900] Illustrated

900 Fourteen-Karat White Gold and Diamond Ring, the cross-overdesigned band set with approximately 137 single-cut diamonds, with an approximate total weight of 1.00 carat, size 6‑1/2, 6.9 grams total weight. [600/900] Illustrated

899

900

898

901 Pair of Fourteen-Karat Rose Gold and Chocolate and White Diamond Earrings, each drop pendant earring set with a 0.20‑carat round brilliant-cut chocolate diamond surrounded by a halo of fourteen round brilliant-cut white diamonds, with an approximate total diamond weight of 0.66 carats for the pair, pendant, l. 3/8”, 1.8 grams total weight. [500/800] Illustrated 897 Ten-Karat Yellow Gold and Diamond Bracelet, the fifteen dome cushion-shaped links each set with twentyfive cognac-colored round brilliant-cut diamonds, with an approximate total weight of 7.50 carats, l. 7‑1/2”, 20.8 grams total weight. [700/1000] 898 Ten-Karat Rose Gold and Chocolate and White Diamond Ring, the rose gold mounting set with thirtyseven round brilliant-cut chocolate diamonds and thirty-three round brilliant-cut white diamonds, with an approximate total diamond weight of 0.66 carats, size 8, 4.4 grams total weight. [600/900] Illustrated 899 Eighteen-Karat Yellow Gold and Diamond Heart Pendant, the large stylized heart pave-set with approximately 170 round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, size, 1‑3/4” x 2‑1/4”, 10.4 grams total weight. [1000/1500] Illustrated

200

901

902

903 Fourteen-Karat Tri-Colored Gold Necklace and Earrings, the woven braided necklace composed of fourteen-karat rose, white and yellow gold, and the hoop earrings composed of alternating segments of textured fourteen-karat rose, white and yellow gold, necklace, l. 16”, earrings, dia. 3/4”, 29.6 grams total weight. [600/900] Illustrated 904 Fourteen-Karat Yellow Gold and Diamond Bracelet/ Wrist Watch, the woven mesh chevron-designed bracelet with a lid set with twenty-six single-cut diamonds, with an approximate total weight of 0.25 carats, the lid lifting to reveal a seventeen jewel Swiss mechanical watch, the silver-white dial signed “Austin” and the movement signed “Semag”, l. 7‑1/4”, 62.5 grams total weight. [2500/4000] Illustrated

902 Fourteen-Karat Rose Gold and Chocolate and White Diamond Ring, the mounting set with three rows of thirty-four chocolate round brilliant-cut diamonds, separated by two rows of thirty-eight white round brilliantcut diamonds, with an approximate total diamond weight of 1.50 carats, size 8, 5.1 grams total weight. [1000/1500] Illustrated

905 Fourteen-Karat Yellow Gold, Cameo and Pearl Brooch/Pendant, the gold frame set with a carved cameo of the goddess Diana, accented with eleven seed pearls and four 4.0 mm round pearls, h. 2‑1/4”, 16.2 grams total weight. [500/800] Illustrated

905

903

906

904 906 Three Victorian Fourteen-Karat Yellow Gold and Enamel Brooches, including a blue enamel pansy brooch set with six full-cut diamonds, with an approximate total weight of 0.42 carats, approximate color D-E and clarity VVS2‑VS1, and a round faceted blue sapphire in the center, with an approximate weight of 0.10 carats, size, 1‑1/4” x 1‑1/4”, a violet enamel pansy brooch set with an 8.0 mm round pearl, size, 1‑1/2” x 1‑1/2”, and a pinkish enamel dogwood brooch set with a 4.0 mm round pearl, size, 2‑1/8” x 1‑1/2”. [600/900] Illustrated

1 0 2

907

907 Eighteen-Karat Yellow Gold, Purple Sapphire and Diamond Ring, mounted with an oval-shaped treated purple sapphire, with an approximate weight of 4.60 carats, and eighteen channel-set round brilliant-cut diamonds, with an approximate total weight of 0.23 carats, approximate color D-E and clarity SI1‑I1, size 7‑1/4, 9.0 grams total weight. [1400/1800] Illustrated

910

911 Eighteen-Karat White Gold, Sapphire and Diamond Bracelet, composed of ten sections mounted with an emerald-cut treated sapphire, with an approximate total weight of 4.50 carats, and 210 round brilliant-cut diamonds, with an approximate total weight of 1.91 carats, approximate color E-F and clarity SI2‑I1, l. 7”, 13.0 grams total weight. [4500/7000] Illustrated

908

908 Baume and Mercier Lady’s Eighteen-Karat Yellow Gold Wrist Watch, the stirrup-shaped case set with two small blue sapphire cabochons, measuring 2.0 mm in diameter, the manual wind gold gilt seventeen jewels mechanical movement signed “Baume & Mercier”, as is the case and blue-tone dial, size 25.0 mm x 30.0 mm, not including the crown, serial and model #560,XXX, 38306, 25.4 grams total weight. [500/800] Illustrated 909 Eighteen-Karat Yellow Gold, Sapphire and Diamond Ring, set with forty-two square-cut channel-set sapphires, with an approximate total weight of 2.94 carats, and thirty-eight round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, approximate color D-E and clarity SI2‑I1, size 7‑1/2, 12.0 grams total weight. [1800/2500] 910 Fourteen-Karat Yellow Gold and Lapis Lazuli Necklace, composed of approximately 1490.0 carats of 21.0 mm round lapis lazuli beads separated by twisted gold roundels and finished with a matching twisted fourteenkarat yellow gold clasp, l. 21”, 294.29 grams total weight. [500/800] Illustrated

202

911

912 Platinum, Sapphire and Diamond Ring, mounted with an oval-shaped treated sapphire, with an approximate weight of 4.00 carats, flanked by two triangle-cut diamonds, with an approximate total weight of 0.98 carats, approximate color E-F and clarity SI1‑SI2, size 7, 8.0 grams total weight. [5000/8000] Illustrated 913 Beautiful Art Deco Tiffany and Company Platinum, Sapphire and Diamond Bar Pin, first quarter 20th century, the pin mounted with six channel-set square step-cut natural blue sapphires, with an approximate total weight of 4.15 carats, and ten bead-set transitionalcut diamonds, with an approximate total weight of 1.25 carats, approximate color G-H and clarity VS1‑VS2, l. 2‑1/2”, stamped “Tiffany & Co.”, 7.5 grams total weight. [6000/9000] Illustrated

915

915 Custom-Made Eighteen-Karat White Gold, Sapphire and Diamond Necklace, composed of twenty sections, each mounted with an oval-cut treated sapphire surrounded by twelve round brilliant-cut diamonds, with an approximate total sapphire weight of 24.60 carats, and an approximate total diamond weight of 13.90 carats, approximate color G-I and clarity VVS2‑VS1, l. 16”, 58.0 grams total weight. [25000/40000] Illustrated

912 914

913

914 Beautiful Tiffany and Company Eighteen-Karat Yellow/White Gold, Sapphire and Diamond Brooch of Schlumberger Inspiration, the ornate brooch designed as a flower in full bloom, the center mounted with a blue sapphire cabochon, with an approximate measurement of 13.0 mm x 10.0 mm x 9.7 mm, and an approximate weight of 15.64 carats, the five flower petals, as well as the leaf, mounted with 139 round brilliant-cut diamonds, with an approximate total weight of 8.27 carats, with an approximate color of F-G and clarity VS1‑VS2, stamped “Tiffany” and “18K”, size, 2‑1/4” x 2‑5/8”, 46.9 grams total weight. Provenance: The estate of Elizabeth Craig Weaver Proctor, Belle Meade, Tennessee. [18000/25000] Illustrated

203

918 Fourteen-Karat White Gold, Yellow Sapphire and Diamond Ring, set with a central emerald step-cut natural yellow sapphire, with an approximate weight of 5.89 carats, accented by fifty-eight round brilliant-cut diamonds, with an approximate total weight of 1.42 carats, approximate color G-I and clarity I1‑I2, size 7‑1/2, 5.7 grams total weight. [4500/7000] Illustrated 919 Eighteen-Karat Yellow/White Gold and Fancy Intense Yellow Diamond Earrings, each earring set with a central pear-shaped fancy intense yellow diamond, with an approximate total weight of 1.21 carats for the pair, approximate clarity SI2, surrounded by a halo of white round brilliant-cut diamonds, with an approximate total weight of 1.18 carats, approximate color E-F and clarity VS2‑SI1, and two borders of round brilliant-cut fancy intense yellow diamonds, with an approximate total weight of 0.62 carats for the pair, approximate clarity VVS2‑VS1, l. 3/4”, 11.0 grams total weight. [10000/15000] Illustrated

916

916 Beautiful Pair of Eighteen-Karat White Gold, Diamond and Sapphire Earrings, the Art Deco-style earrings mounted with eighty-eight round-cut diamonds, with an approximate total weight of 3.32 carats for the pair, approximate color E-G and clarity SI1‑SI2, and thirty-eight square-cut sapphires, with an approximate total weight of 0.38 carats, l. 2”, 10.0 grams total weight. [6000/9000] Illustrated

918

919

917 Eighteen-Karat White Gold, Purple/Pink Sapphire and Diamond Ring, set with a central GIA certified treated, natural octagonal, modified brilliant-cut purple/pink sapphire, with a weight of 3.67 carats, GIA certification #2175190007, and sixty-six round brilliantcut diamonds, with an approximate total weight of 0.61 carats, approximate color G-I and clarity SI2‑I1, size 7, 7.0 grams total weight. [4500/7000]

204

920 Eighteen-Karat White/Yellow Gold and Fancy Faint Yellow Diamond Ring, in a flower design and mounted with seven round brilliant-cut fancy faint yellow diamonds, with an approximate total weight of 1.48 carats, approximate clarity VVS2‑VS1, bordered by sixtysix round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, approximate color E-F and clarity VVS2‑VS1, size 7‑1/2, 7.0 grams total weight. [2500/4000] Illustrated 921 Beautiful Eighteen-Karat White/Yellow Gold and Fancy Light Yellow Diamond Ring, set with an oval-cut fancy light yellow diamond, with an approximate weight of 3.92 carats, approximate clarity SI1, and thirty-four round brilliant-cut diamonds in a halo around the center stone and down the shank of the ring, with an approximate total weight of 0.55 carats, approximate color E-G and clarity VS1‑SI1, size 7, 7.0 grams total weight. [15000/25000] Illustrated

922 920

922 Fourteen-Karat Yellow Gold and Diamond Pendant Necklace, the circular pendant channel-set with straight baguette-cut diamonds, with an approximate total weight of 3.00 carats, approximate color E-F and clarity VVS1‑VVS2, suspended from a fourteen-karat yellow gold snake chain, l. 17”, 15.0 grams total weight. [3500/5000] Illustrated 923

924 Eighteen-Karat Yellow/White Gold and Diamond Ring, the unusual twisted ring mounted with sixty-four round-cut and single-cut diamonds, with an approximate total weight of 1.20 carats, approximate color E-G and clarity VS1‑VS2, size 6, 20.0 grams total weight. [5000/8000] Illustrated

921

923 Beautiful Custom-Made Eighteen-Karat Yellow Gold and Diamond Bangle Bracelet, pave-set with 357 round brilliant-cut diamonds, with an approximate total weight of 4.45 carats, approximate color D-E and clarity VVS2‑VS1, inside circumference, 9”, 39.0 grams total weight. [7000/10000] Illustrated

924

205

925 Fourteen-Karat Yellow/White Gold and Diamond Wreath Pin, the customdesigned pin set with twenty-eight round brilliant-cut diamonds, with an approximate total weight of 1.26 carats, approximate color E-F and clarity VS1‑SI1, l. 1‑1/2”, 10.0 grams total weight. [700/1000] Illustrated

929 Eighteen-Karat Yellow Gold, Diamond and Amethyst Necklace, the herringbone chain with a pendant composed of a faceted heart-shaped amethyst, with an approximate weight of 1.00 carat, and twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.66 carats, l. 16‑1/4”, 17.0 grams total weight. [900/1200]

925

926 Fourteen-Karat Yellow Gold and Diamond Bangle Bracelet, the cable-designed bracelet with two “X” sections set with eighteen round brilliant-cut diamonds, with an approximate total weight of 0.28 carats, approximate color G-I and clarity VVS2‑VS1, inside circumference, 7”, 24.0 grams total weight. [3000/5000] 927 Eighteen-Karat Yellow Gold CustomDesigned Diamond Ring, in a double pinecone design, set with approximately sixty round brilliantcut diamonds, with an approximate total weight of 2.25 carats, approximate color E-F and clarity VS2‑SI2, size 5, 15.0 grams total weight. [1000/1500] Illustrated

930

927

928 Fourteen-Karat Yellow Gold and Diamond Bangle Bracelet, the cable-designed bracelet with three “X” sections set with twenty-seven round brilliant-cut diamonds, with an approximate total weight of 0.41 carats, approximate color VVS2‑VS1, inside circumference, 7”, 25.0 grams total weight. [2500/4000] Illustrated

928

8 206

930 Fourteen-Karat Yellow Gold and Amethyst Necklace, composed of approximately 850.0 carats of faceted and graduated amethyst beads, ranging in size from 22.0 mm to 12.0 mm, separated by gold corrugated roundels and finished with a fourteen-karat yellow gold clasp, l. 20”, 145.4 grams total weight. [500/800] Illustrated 931 Fourteen-Karat Yellow Gold, Amethyst and Diamond Ring, set with a cabochon-cut amethyst, with an approximate weight of 11.80 carats, and six bezel-set diamonds, with an approximate total weight of 0.30 carats, approximate color H-I and clarity SI1‑SI2, size 7‑1/2, 11.0 grams total weight. [700/1000] Illustrated

931

932 Pair of Eighteen-Karat Yellow Gold and Amethyst Ear Clips, in an organic design, with a freeform amethyst interlocking into the matching freeform gold, l. 1‑1/4”, 27.2 grams total weight. [600/900] Illustrated

933 Two Eighteen-Karat Yellow Gold and Amethyst Necklaces, the two necklaces composed of 12.0 mm round amethyst beads separated by gold roundels, each necklace with a 13.0 mm round clasp, making it possible to combine into an operalength necklace, each, l. 12‑1/2” and 18‑1/2”. [900/1200] Illustrated 934 Fourteen-Karat Yellow Gold, Diamond, Sapphire and Ruby Leopard Ring, the two-headed bypass leopard-head-designed ring set with sixteen singlecut diamonds, with an approximate total weight of 0.10 carats, four round faceted rubies, with an approximate weight of 0.04 carats, and six round faceted sapphires, with an approximate total weight of 0.10 carats, size with sizing beads, 6, 23.4 grams total weight. [700/1000] Illustrated

932

935

934

935 Collection of Four Fourteen-Karat Yellow Gold and Multi-Stone Bee Brooches, including a bee set with twenty round faceted rubies, with an approximate total weight of 1.90 carats, a bee set with a round brilliant-cut diamond, with an approximate weight of 0.05 carats, and nineteen round faceted rubies, with an approximate total weight of 0.75 carats, a bee set with a round brilliant-cut diamond, with an approximate weight of 0.05 carats, and nineteen round faceted sapphires, with an approximate total weight of 0.75 carats, and a bee set with a round faceted amethyst and a pear-shaped faceted amethyst, with a combined approximate total weight of 2.75 carats, l. 3/4” to 1”, 17.4 grams total weight. [600/900] Illustrated

936 Eighteen-Karat Yellow Gold, Amethyst and Tourmaline Ring, the mounting set with a large emerald-cut amethyst, with an approximate weight of 46.50 carats, flanked by two olivegreen rectangular step-cut tourmalines, with an approximate total weight of 5.70 carats, size 9, 26.2 grams total weight. [900/1200] Illustrated

936

933

207

939 Eighteen-Karat Yellow Gold, Amethyst and Diamond Ring, the Florentine-textured flower-designed ring set with an oval faceted amethyst, with an approximate weight of 2.10 carats, and twelve single-cut diamonds, with an approximate total weight of 0.30 carats, size 7‑1/4, 16.4 grams total weight. [500/800]

937

937 Pair of Eighteen-Karat Yellow Gold, Amethyst and Diamond Ear Clips, each ear clip set with an oval amethyst cabochon, measuring approximately 13.0 mm x 17.0 mm, surrounded by thirty round brilliant-cut diamonds, with an approximate total weight of 0.60 carats for the pair, approximate color F-G and clarity VS2‑SI1, l. 1‑1/8”, 23.4 grams total weight. [1000/1500] Illustrated

938

938 Eighteen-Karat Yellow Gold, Amethyst and Diamond Ring, the large oval amethyst cabochon, with an approximate weight of 21.65 carats, surrounded by a halo of twenty-eight round single-cut diamonds, with an additional row of seventeen diamonds, with an approximate total weight of 0.55 carats, with an approximate color E-F and clarity VS2‑SI1, size 7, 22.2 grams total weight. [1000/1500] Illustrated

208

940

940 Eighteen-Karat Rose Gold, Amethyst and Diamond Ring, the open dome floral-designed mounting set with a large oval faceted amethyst, with an approximate weight of 19.70 carats, and a mix of approximately 100 round brilliant-cut and single-cut diamonds, with an approximate total weight of 0.57 carats, size 8, 19.6 grams total weight. [1800/2500] Illustrated

941

941 Ten-Karat White Gold, Kunzite and Diamond Pendant with Chain, the pendant composed of an emerald-cut kunzite, with an approximate weight of 30.29 carats, below three round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, approximate color E-F and clarity SI2‑I1, l. 1”, suspended from a 19” ten-karat white gold chain, 14.6 grams total weight. [1000/1500] Illustrated

942

942 Platinum and Diamond Engagement Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 0.52 carats, approximate color F and clarity VS2, size 6‑1/2, 4.0 grams total weight. [700/1000] Illustrated

944

946 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, the bold ring set with a central oval mixed-cut treated tanzanite, with an approximate total weight of 12.21 carats, surrounded by 210 bead-set round brilliantcut diamonds and twenty-six prong- and channel-set baguette-cut diamonds, with an approximate total diamond weight of 2.94 carats, approximate color F-H and clarity VS1‑I2, size 7‑1/2, 22.2 grams total weight. [10000/15000]

943

947 Fourteen-Karat White Gold and Diamond Pendant with Chain, the pendant set with a round brilliant-cut diamond, with an approximate weight of 0.97 carats, approximate color E and clarity I2, suspended from a 16” chain, 2.0 grams total weight. [1000/1500] Illustrated

943 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with a triangle-cut treated tanzanite, with an approximate weight of 3.56 carats, surrounded by eighteen round brilliant-cut diamonds, with an approximate total weight of 0.49 carats, approximate color H-I and clarity SI1‑SI2, size 7‑1/2, 5.0 grams total weight. [3000/5000] Illustrated 944 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant mounted with a triangle-cut treated tanzanite, with an approximate weight of 4.86 carats, and 100 single-cut diamonds surrounding the tanzanite and on the bail, with an approximate total weight of 0.64 carats, approximate color G-I and clarity VS1‑SI1, l. 1‑1/4”, suspended from an 18” fourteen-karat chain, 10.0 grams total weight. [5000/8000] Illustrated 945 Pair of Fourteen-Karat White Gold and Diamond Stud Earrings, each earring set with a round brilliant-cut diamond, with an approximate total weight of 1.02 carats for the pair, approximate color G-I and clarity SI2‑I1, 1.0 gram total weight. [900/1200]

947

948 Eighteen-Karat Yellow Gold, Tanzanite and Diamond Ring, set with an oval faceted tanzanite, with an approximate weight of 3.80 carats, surrounded by a halo of fifty round brilliant-cut diamonds, including two diamonds set in the shank, with an approximate total weight of 0.35 carats, size 8‑3/4, 5.9 grams total weight. [2500/4000]

209

949 Eighteen-Karat White Gold and Diamond Ring, the flower-designed ring set with round brilliant-cut and straight baguette-cut diamonds, with an approximate total weight of 2.20 carats, approximate color F-G and clarity SI1‑I1, stamped “GD”, size 7, 6.0 grams total weight. [2500/4000] Illustrated

951

949

950 Fourteen-Karat White Gold, Sterling Silver and Diamond Necklace and Earring Set, the necklace composed of five graduated sterling silver and diamond spikes, ranging in length from 20.0 mm to 50.0 mm, suspended from a 16” fourteen-karat white gold chain, together with a matching pair of earrings, each set with a 20.0 mm long sterling silver and diamond spike, with an approximate total diamond weight of 0.60 carats, 6.5 grams total weight. [500/800] Illustrated

951 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, the mounting set with a central faceted cushionshaped treated tanzanite, with an approximate weight of 0.65 carats, flanked by two smaller faceted cushionshaped treated tanzanites, each with an approximate weight of 0.35 carats, the whole surrounded by forty-six round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, size 8, 3.9 grams total weight. [900/1200] Illustrated 952 Eighteen-Karat White Gold, Tanzanite and Diamond Ring, the faceted cushion-shaped treated tanzanite, with an approximate weight of 2.21 carats, surrounded by a halo of forty-eight round brilliant-cut diamonds, including the diamonds set in the shank, with an approximate total weight of 0.30 carats, size 7‑3/4, 5.5 grams total weight. [1200/1800]

953

950

210

953 Fourteen-Karat White Gold and Diamond Bracelet, with eighteen links mounted with 378 straight baguettecut diamonds, with an approximate total weight of 5.67 carats, approximate color D-E and clarity SI2‑I1, l. 8”, 24.0 grams total weight. [800/1200] Illustrated

956 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central GIA certified cushion modified brilliant-cut tanzanite, measuring approximately 12.03 mm x 10.80 mm x 8.23 mm, with an approximate weight of 8.86 carats, GIA certification #2161725503, surrounded by prong- and channel-set round brilliant- and baguettecut diamonds, with an approximate total weight of 1.77 carats, approximate color G-I and clarity VS2‑I1, size 7‑1/2, 8.8 grams total weight. [8000/12000] Illustrated

956 954

954 Fourteen-Karat White Gold and Diamond Necklace, the double drop necklace set with 156 round brilliant-cut diamonds, with an approximate total weight of 4.96 carats, approximate color E-F and clarity I1‑I2, l. 17”, 24.0 grams total weight. [2000/4000] Illustrated

957 Eighteen-Karat White Gold and Diamond Jewelry Suite, including an eighteen-karat white gold chain with sixty round brilliant-cut diamond links and a teardrop pendant encrusted with approximately eighty diamonds, the matching pendant earrings each set with approximately eighty-eight round brilliant-cut diamonds, the suite with an approximate total weight of 2.75 carats, chain, l. 17‑1/4”, pendant, l. 1‑3/8”, earrings, l. 2”, 15.4 grams total weight. [2000/4000] Illustrated

955

955 Eighteen-Karat White Gold and Diamond Wedding Band, set with seventeen princess-cut diamonds, with an approximate total weight of 1.70 carats, approximate color H-I and clarity VS1‑VS2, size 9, 6.0 grams total weight. [1800/2500] Illustrated

957

211

959

958 Fourteen-Karat White Gold, Ruby and Diamond Ring, composed of an ovalshaped treated ruby, with an approximate weight of 5.09 carats, surrounded by 128 single-cut diamonds, with an approximate total weight of 0.55 carats, approximate color F-G and clarity SI2‑I1, size 7, 5.0 grams total weight. [1200/1800]

961

960 Fourteen-Karat Rose Gold, Ruby and Diamond Ring, set with an oval-shaped treated ruby, with an approximate weight of 7.50 carats, surrounded by a halo of thirty-eight single-cut diamonds, with an approximate total weight of 0.19 carats, approximate color F-G and clarity VS1‑VS2, size 7‑1/4, 5.0 grams total weight. [700/1000] Illustrated

960

959 Unusual Sterling Silver, Ruby and Diamond Necklace, composed of a large 21.0 mm x 28.0 mm faceted, treated ruby “wheel” pendant, flanked on either side by two graduated diamond roundels and a round diamond bead, the pendant attached to a strand of graduated and faceted treated rubies, separated in three sections by diamond roundels, and finished with a sterling silver and diamond clasp, the necklace with an approximate total diamond weight of 2.29 carats, l. 19‑1/2”, 132.3 grams total weight. [600/900] Illustrated

212

962

963 Fourteen-Karat Yellow Gold and Carved Ruby Necklace, composed of approximately 520.0 carats of graduated ovalshaped carved treated ruby beads separated by round gold beads and finished with a fourteenkarat yellow gold toggle clasp, l. 18”, 114.39 grams total weight. [500/800] Illustrated

963

961 Fourteen-Karat Yellow Gold and Ruby Tassel Necklace, composed of approximately 130.0 carats of teardrop-shaped treated rubies, measuring approximately 22.0 mm x 14.0 mm to 25.0 mm x 15.0 mm, separated by gold tubes, coming to a point at the bottom and separating into a two-strand tassel, finished with a fourteen-karat gold hook clasp, necklace, l. 23”, tassel, l. 5”, 77.8 grams total weight. [500/800] Illustrated

964 Fourteen-Karat White/Yellow Gold, Ruby and Diamond Earrings, each earring set with a cushioncut treated ruby, with an approximate total 965 weight of 12.52 carats for the pair, and round brilliant- and baguettecut diamonds, with an approximate total weight of 3.97 carats, approximate color I-K and clarity I1‑I2, l. 1‑3/4”, 14.4 grams total weight. [3000/5000] Illustrated 965 Eighteen-Karat Yellow Gold, Diamond, Ruby and Emerald Cockatoo Brooch, the large brooch set with twenty-two oval faceted rubies, with an approximate total weight of 5.50 carats, the head pave-set with approximately forty round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, approximate color E-G and clarity VS1‑SI1, and the eye set with a faceted emerald, with an approximate weight of 0.03 carats, l. 3‑5/8”, 33.0 grams total weight. [1500/2500] Illustrated 966 Fourteen-Karat Yellow Gold, Ruby and Diamond Drop Dangle Earrings, each earring set with two emerald-cut treated rubies, with an approximate total weight of 5.46 carats for the pair, surrounded by round-cut diamonds, with an approximate total weight of 1.28 carats for the pair, approximate color H-I and clarity I2‑I3, l. 1”, 9.0 grams total weight. [1500/1800]

964

962 Fourteen-Karat Yellow Gold, Ruby and Diamond Bracelet, composed of fifteen oval stations, each mounted with a mixed-cut treated ruby, with an approximate total weight of 24.38 carats, surrounded by round brilliant-cut diamonds, with an approximate total weight of 2.27 carats, approximate color H-J and clarity I2‑I3, l. 7”, 20.9 grams total weight. [2500/4000] Illustrated

967 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, with a Florentine finish and set with a cabochoncut treated ruby, with an approximate weight of 35.00 carats, surrounded by eleven diamonds, with an approximate total weight of 0.86 carats, approximate color H-I and clarity VS1‑VS2, size 5‑1/2, 22.0 grams total weight. [700/1000] Illustrated

967

213

968 Eighteen-Karat White/Yellow Gold, Diamond and Ruby Strawberry Brooch, the body of the strawberry set with eighty irregular round treated ruby cabochons, ranging in size from 2.3 mm to 4.4 mm in diameter, with an approximate total weight of 12.75 carats, the calyx 968 and leaves set with a mix of eighty-nine round brilliant-cut diamonds, fifty-three single-cut diamonds and one round brilliant diamond, with an approximate total diamond weight of 4.00 carats, approximate color H-I and clarity VVS2‑VS1, the stem of the pin is fourteen-karat yellow gold, l. 2‑1/8”, 21.6 grams total weight. [2000/4000] Illustrated

970

971 Fourteen-Karat Yellow Gold and Emerald Necklace, composed of approximately 600.0 carats of round and teardrop-shaped treated emerald beads, separated by gold beads and finished with a fourteen-karat yellow gold clasp, l. 17”, 107.5 grams total weight. [500/800] Illustrated

971 969

969 Lady’s Cartier Eighteen-Karat Yellow Gold “Tank Francaise” Wrist Watch, the gold case measuring 20.0 mm x 25.0 mm, not including the crown, the Tank Francaise bracelet with double deployment clasp, the champagne-colored dial with the classic Roman numerals in black and the Cartier signature in the Roman numeral “X”, the watch with a quartz movement, reference #1820, serial #MG251XXX, inside circumference, 6”, 71.5 grams total weight. [3000/5000] Illustrated 970 Eighteen-Karat Yellow Gold and Emerald Salamander Brooch, the large flexible salamander previously a bracelet, the head set with a round faceted emerald, with an approximate weight of 0.15 carats, and a faceted kite-cut emerald, with an approximate weight of 0.60 carats, the body set with a mix of twenty-four faceted round-, oval-, emerald- and square-cut emeralds, with an approximate total weight of 2.90 carats, l. 7”, 26.8 grams total weight. [1400/1800] Illustrated

214

972 Eighteen-Karat Yellow Gold, Emerald and Diamond Ring, the large oval faceted emerald, with an approximate weight of 3.15 carats, surrounded by a halo of twenty-two round brilliant-cut diamonds and six round brilliant-cut diamonds on the shank of the ring, with an approximate total weight of 0.42 carats, size 8, 5.1 grams total weight. [1800/2500] Illustrated 973 Eighteen-Karat White Gold, Emerald and Diamond Necklace, composed of an oval faceted emerald, with an approximate weight of 1.24 carats, surrounded by a halo of sixteen round brilliantcut diamonds and with two additional diamonds set in the chain, with an approximate total weight of 0.25 carats, chain, l. 18”, 2.7 grams total weight. [1200/1800] Illustrated

972

975

973

974 Fourteen-Karat Yellow Gold, Emerald and Diamond Bracelet, composed with an oval cabochon-cut emerald, measuring approximately 14.00 mm x 11.35 mm x 7.38 mm, and with an approximate weight of 8.32 carats, and round brilliant- and baguette-cut diamonds surrounding the emerald and adorning the tapered bracelet, with an approximate total weight of 3.00 carats, approximate color H-I and clarity SI2‑I1, l. 7”, 16.4 grams total weight. [3500/5000] Illustrated 975 Eighteen-Karat White/Yellow Gold, Emerald and Diamond Ring, composed of ten round-cut emeralds, with an approximate total weight of 0.30 carats, and twenty-five round brilliant-cut diamonds, with an approximate total weight of 1.38 carats, approximate color E-G and clarity VS1‑SI1, size 5‑3/4, 6.0 grams total weight. [1000/1500] Illustrated

976

976 Pair of Fourteen-Karat Yellow/White Gold, Emerald and Diamond Earrings, each set with an emerald-cut emerald, with an approximate total weight of 5.60 carats for the pair, surrounded by round brilliant- and baguette-cut diamonds, with an approximate total weight of 1.12 carats for the pair, approximate color E-F and clarity SI1‑I1, l. 3‑4”, 8.0 grams total weight. [600/900] Illustrated

974

977 Rolex Eighteen-Karat Yellow Gold, Stainless Steel and Diamond Dial Oyster Perpetual Wristwatch, the self-winding two-tone watch with a white satin dial set with eleven single-cut diamond markers, with a two-tone Rolex jubilee adjustable band, reference #76193, serial #F824, XXX, adjustable to 6‑3/4”, 51.4 grams total weight. [2000/4000]

215

980 Pair of Art Deco Platinum, Diamond and Jade Earrings, second quarter 20th century, each dangling pendant earring with a 1” green jade disc suspended from an oval 8.0 mm x 12.0 mm green jade cabochon set in an engraved platinum bezel, the platinum links and band holding the disc are each set with eight singlecut diamonds, with an approximate total weight of 0.15 carats for the pair, with fourteen-karat white gold posts and backs, l. 2”, 9.7 grams total weight. [1500/2500] Illustrated

981

978

978 Unusual EighteenKarat Yellow Gold, Diamond, Green Quartz and Rock Crystal Necklace with Detachable Pendant/ Brooch, the freeform gold nugget-style necklace with eight 18.0 mm green translucent quartz discs and sixtyfour round brilliantcut diamonds, with a 980 detachable matching extender, the hourglassshaped pendant/brooch set with twenty-seven round brilliant-cut diamonds and a matching green translucent quartz insert outlined by two pieces of rock crystal, the necklace and pendant/brooch with an approximate total diamond weight of 2.50 carats, approximate color D-E and clarity VVS2‑SI1, necklace, l. 22‑3/4”, extender, l. 8‑1/2”, pendant/brooch, l. 2‑1/8”, 140.0 grams total weight. [3500/5000] Illustrated 979 Gentleman’s Fourteen-Karat Yellow Gold and Jade Ring, the bezel-set green jade cabochon measuring approximately 17.0 mm x 20.0 mm, size 9‑1/4, 12.6 grams total weight. [900/1200]

216

981 Fourteen-Karat Yellow Gold and Carved Emerald Necklace, composed of approximately 590.0 carats of 13.0 mm to 14.0 mm carved, treated emerald beads, finished with a fourteen-karat yellow gold clasp, l. 18”, 204.0 grams total weight. [500/800] Illustrated 982 Platinum/FourteenKarat White Gold, Carved Emerald and Diamond Ring, composed of a central carved oval cabochoncut emerald, with an approximate weight of 10.25 carats, surrounded by sixteen round brilliantcut diamonds, with an approximate total weight of 0.56 carats, approximate color G-I and clarity SI1‑SI2, size 6‑1/2, 9.0 grams total weight. [1200/1800] Illustrated

982

983 Fourteen-Karat White Gold, Emerald and Diamond Necklace, with an oval faceted emerald, with an approximate weight of 2.00 carats, surrounded by a halo of twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, chain, l. 18”, 4.9 grams total weight. [1000/1500]

984

984 Pair of Eighteen-Karat White Gold, Emerald and Diamond Earrings, each stud earring set with an oval faceted emerald, with an approximate total weight of 2.10 carats for the pair, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 0.50 carats for the pair, l. 1/2”, 2.8 grams total weight. [1400/1800] Illustrated

986

987 Beautiful Platinum, Eighteen-Karat White/Yellow Gold, Emerald and Diamond Ring, composed with a GIA certified octagonal-shaped emerald-cut treated emerald, with a weight of 3.06 carats, GIA certification #5161473465, eighteen round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, approximate color E-G and clarity VVS2‑VS1, twenty-four single-cut diamonds, with an approximate total weight of 0.13 carats, approximate color E-G and clarity VS1‑VS2, and twelve baguette-cut diamonds, with an approximate total weight of 0.50 carats, approximate color E-G and clarity VVS2‑VS1, size 7‑1/2, 9.0 grams total weight. [25000/40000] Illustrated

985

985 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an oval-cut emerald, with an approximate weight of 9.06 carats, surrounded by twentytwo round brilliant-cut diamonds, with an approximate total weight of 1.28 carats, approximate color E-F and clarity SI1‑I1, size 7‑1/2, 9.0 grams total weight. [2500/4000] Illustrated 986 Custom-Made Eighteen-Karat White Gold, Diamond and Emerald Earrings, the Art Deco-style earrings mounted with two princess-cut diamonds, sixty-six round brilliant-cut and square-cut diamonds, with an approximate total weight of 1.93 carats for the pair, approximate color F-G and clarity VS1‑VS2, and thirtyeight square-cut emeralds, with an approximate total weight of 1.12 carats for the pair, l. 2”, 13.0 grams total weight. [7000/10000] Illustrated

987

217

991 Piaget Lady’s Eighteen-Karat White Gold and Diamond Wrist Watch, the textured-brick link bracelet watch with a round case set with thirty-six round single-cut diamonds, with an approximate total weight of 1.00 carat, the manual-wind mechanical watch with a textured silver dial with stick markers and hands, the dial and bracelet signed “Piaget”, reference #926, serial #137,XXX, l. 6”, 56.5 grams total weight. [1500/2500] Illustrated

988

988 Eighteen-Karat White Gold and Diamond Tennis Bracelet, composed of forty-three graduated round brilliant-cut diamonds, with an approximate total weight of 6.12 carats, approximate color G-I and clarity I1‑I2, l. 7‑1/4”, 12.4 grams total weight. [6000/9000] Illustrated 989 Eighteen-Karat White Gold and Diamond Dangle Earrings, the drop dangle earrings set with sixty round brilliantcut diamonds, with an approximate total weight of 1.53 carats for the pair, approximate color E-F and clarity SI2‑I1, l. 1”, 5.0 grams total weight. [2500/4000] Illustrated

989

991

992 Unusual Eighteen-Karat Rose Gold, Diamond and Rock Crystal Ring, the custom-designed ring mounted with an oval-shaped rock crystal, with an approximate weight of 20.18 carats, surrounded by a halo of graduated round brilliant-cut diamonds, with an approximate total weight of 0.74 carats, approximate color E-F and clarity VVS2‑VS1, stamped “Casato”, size 9, 15.0 grams total weight. [800/1200] Illustrated 993 Pair of Eighteen-Karat Yellow Gold, Diamond and Rock Crystal Earrings, each earring set with one round brilliantcut diamond, with an approximate total weight of 0.21 carats for the pair, color E and clarity SI1‑SI2, above a bezel-set faceted cushionshaped rock crystal pendant, measuring 21.0 mm x 21.0 mm, l. 1‑1/4”, 12.6 grams total weight. [500/800] Illustrated 990

990 Fourteen-Karat White Gold, Emerald and Diamond Ring, set with a central pear mixed-cut treated emerald, with an approximate weight of 3.83 carats, surrounded by round brilliant- and baguette-cut diamonds, with an approximate total weight of 1.50 carats, approximate color G-I and clarity SI1‑I1, size 7‑3/4, 7.4 grams total weight. [2500/4000] Illustrated

218

993

994 Stunning Platinum and Diamond Necklace, the flexible link necklace composed of sixty-five baguette-cut diamonds, with an approximate total weight of 5.40 carats, 132 round brilliant-cut diamonds, with an approximate total weight of 6.60 carats, finished with a marquise- and baguette-cut diamond clasp, with an approximate total weight of 0.20 carats, the necklace with an approximate total diamond weight of 12.20 carats, approximate color F-G and clarity VS1‑VS2, l. 15‑1/2”, 47.0 grams total weight. [6000/9000] Illustrated

992

994

995 Beautiful Eighteen-Karat White/Yellow Gold and Diamond Ring, the custom-made ring mounted with forty-four baguette-cut diamonds, with an approximate total weight of 2.57 carats, approximate color D-E and clarity VVS2‑VS1, and fifty-four round brilliant-cut diamonds, with an approximate total weight of 3.12 carats, approximate color D-E and clarity VVS2‑VS1, size 7, 9.0 grams total weight. [9000/12000] Illustrated

997

996

996 Eighteen-Karat Yellow Gold and Diamond StarburstStyle Brooch, set with thirty-nine round brilliant-cut diamonds, with an approximate total weight of 3.70 carats, approximate color D-E and clarity SI2‑I1, l. 2”, 33.0 grams total weight. [2000/4000] Illustrated 997 Stunning Custom-Made Eighteen-Karat Yellow Gold and Diamond Bracelet, in a link design and mounted with 310 round brilliant-cut diamonds, with an approximate total weight of 9.20 carats, approximate color D-F and clarity VS1‑VS2, w. 1/2”, l. 7”, 70.0 grams total weight. [6000/9000] Illustrated

995

219

998

998 Beautiful Picchiotti Custom-Made Eighteen-Karat Yellow Gold and Diamond Bow Brooch, mounted with seventy-two baguette-cut diamonds, with an approximate total weight of 2.60 carats, approximate color D-F and clarity VVS1‑VVS2, and 169 round brilliant-cut diamonds, with an approximate total weight of 5.00 carats, approximate color D-F and clarity VVS1‑VVS2, stamped “Picchiotti”, h. 1‑1/4”, w. 2‑1/4”, 28.0 grams total weight. [7000/10000] Illustrated

1000

1001 Pair of Henry Dunay Eighteen-Karat Yellow Gold Ear Clips, the large ear clips with a brushed, textured and quilted design, stamped with Dunay’s trademark and “750, B6481”, l. 1‑3/8”, 38.3 grams total weight. [700/1000] Illustrated 1002 Henry Dunay Eighteen-Karat Yellow Gold Bracelet, the heavy hammered-finish link bracelet with a crossover design, stamped “Dunay, 18K” and a “C” in a circle, l. 7‑1/4”, 82.5 grams total weight. [3000/5000] Illustrated

999

999 Pair of Henry Dunay Eighteen-Karat Yellow Gold and Diamond Ear Clips, with a swirling brushed and textured design, each pave-set with approximately twenty-eight round brilliant-cut diamonds, with an approximate total weight of 1.00 carat for the pair, stamped “Dunay, 18K, 750, B3140”, l. 15/16”, 15.1 grams total weight. [1200/1800] Illustrated 1000 Henry Dunay Eighteen-Karat Yellow Gold Diamond Ring, with a hammered finish and composed of swirling segments flowing over and under one another, the mounting set with seventy-nine round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, stamped “Dunay, 18K” and a “C” in a circle, size 8, 17.2 grams total weight. [1200/1800] Illustrated

220

1001

1003 “ARA” Twenty-Three-Karat Yellow Gold, Turquoise and Ruby Multi-Strand Necklace and Earrings, the three-strand 23.6‑karat gold necklace composed of hammered gold tubular beads, eight 8.0 mm turquoise discs and sixteen 3.0 mm faceted ruby roundels, l. 16‑3/4”, together with a pair of matching 23.6‑karat yellow gold hoop pendant earrings, both pieces stamped “ARA, 985”, l. 2‑3/8”, 33.2 grams total weight. Provenance: Elliott Yeary Gallery, Aspen, Colorado. [1200/1800]

1002

1006

1004

1004 Fourteen-Karat Yellow Gold and Blue Topaz Hinged Bangle Bracelet, the spring-loaded rope-designed bracelet terminating with two gold finials, each capped with a round faceted blue topaz cabochon, with an approximate weight of 2.00 carats, inside circumference, 6‑1/2”, 13.0 grams total weight. [500/800] Illustrated 1005 Eighteen-Karat Yellow Gold, Blue Topaz and Diamond Ring, set with an oval blue topaz, with an approximate weight of 7.26 carats, flanked on each side with a total of twenty round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, approximate color E-F and clarity VVS2‑VS1, size 6, 13.0 grams total weight. [700/1000] Illustrated

1005

1006 Eighteen-Karat White Gold, Topaz, Diamond and Citrine Spider Pendant and Chain, the pendant composed of a pear-shaped blue topaz, with an approximate weight of 3.98 carats, a pear-shaped citrine, with an approximate weight of 0.25 carats, sixteen treated round-cut blue diamonds, with an approximate total weight of 0.15 carats, and 131 round-cut diamonds, with an approximate total weight of 0.56 carats, approximate color E-F and clarity VVS2‑VS1, stamped “Chaumet, 750, Paris”, pendant, l. 1‑1/8”, chain, l. 18”, 9.0 grams total weight. [2500/4000] Illustrated

221

1009 Beautiful Platinum, Eighteen-Karat White Gold, Aquamarine and Diamond Pin/Pendant, set with a cushion-cut aquamarine, with an approximate weight of 40.65 carats, with a border mounted with four marquisecut diamonds and twenty-three round brilliant-cut diamonds, with an approximate total weight of 0.82 carats, approximate color E-F and clarity VS2‑VS1, l. 1‑3/4”, 17.0 grams total weight. [3500/5000] Illustrated

1008

1007 Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Ring, composed of a triangle-cut blue topaz, measuring approximately 13.8 mm x 14.6 mm x 9.36 mm, with an approximate weight of 13.99 carats, surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 1.62 carats, approximate color G-I and clarity SI1‑I1, size 7‑1/2, 12.0 grams total weight. [1500/2500] 1008 Platinum/Eighteen-Karat White Gold, Aquamarine and Diamond Ring, set with a pear-shaped aquamarine, with an approximate weight of 18.05 carats, thirteen round brilliant-cut diamonds and eleven single-cut diamonds, with an approximate total weight of 0.55 carats, approximate color E-F and clarity VS1‑VS2, size 7‑3/4, 11.0 grams total weight. [2500/4000] Illustrated

1010

1010 Stunning Custom-Made Platinum, Aquamarine and Diamond Ring, the large emerald-cut aquamarine, with an approximate weight of 60.58 carats, flanked by fourteen baguette-cut diamonds, with an approximate total weight of 1.12 carats, approximate color E-F and clarity VVS2‑VS1, size 7‑3/4, 37.0 grams total weight. [7000/10000] Illustrated 1011 Fourteen-Karat Yellow Gold, Aquamarine and Blue Topaz Bracelet, composed of four emerald-cut aquamarines, with an approximate total weight of 9.48 carats, and one emerald-cut blue topaz mounted in the center, with an approximate weight of 8.01 carats, l. 7”, 13.0 grams total weight. [800/1200]

1009

222

1012 Eighteen-Karat White Gold, Aquamarine and Diamond Ring, the bold ring mounted with a large emerald-cut aquamarine, with an approximate weight of 15.43 carats, flanked by sixteen single-cut diamonds, with an approximate total weight of 0.25 carats, approximate color H-I and clarity VS1‑SI1, size 7‑3/4, 10.0 grams total weight. [1000/1500]

1016 Fourteen-Karat White Gold and Diamond Dangle Earrings, set with approximately 216 round brilliant-cut diamonds, with an approximate total weight of 6.08 carats, approximate color E-G and clarity VS1‑SI2, l. 2‑1/2”, 17.0 grams total weight. [10000/15000] Illustrated

1013

1013 Patek Philippe Lady’s Eighteen-Karat White Gold Wrist Watch, the eighteen-karat woven mesh bracelet watch with an oval case and dial, with a twenty jewels manual wind mechanical movement, serial #991,XXX, the oval silver textured dial signed “Patek Philippe, Geneve”, as is the case and band, the back monogrammed, reference #3351/1, case #2,658,XXX, l. 7”, 51.5 grams total weight. [1500/2500] Illustrated 1014 Fourteen-Karat White Gold and Diamond Necklace, with a variety of ten bezel-set round-, emerald- and marquise-cut diamonds, with an approximate total weight of 3.89 carats, approximate color G to light brown, clarity VVS2 to SI2, l. 17”, 4.0 grams total weight. [6000/9000] 1016

1017 Fourteen-Karat White Gold, Opal and Diamond Ring, the custom-made freeform ring set with an irregularshaped opal, measuring approximately 26.0 mm x 20.0 mm x 8.0 mm, and with an approximate weight of 15.06 carats, and ninety-one round brilliant-cut diamonds, with an approximate total weight of 0.83 carats, approximate color E-G and clarity SI1‑I1, size 9, 18.0 grams total weight. [6000/9000] Illustrated

1015

1015 Eighteen-Karat White Gold, Opal and Diamond Ring, with a wide band and set with a blue-green-colored crystal opal, with an approximate weight of 4.88 carats, and the ring band set with sixty-four round brilliant-cut diamonds, with an approximate total weight of 0.84 carats, approximate color E-G and clarity VVS2‑VS1, size 7‑1/2, 10.0 grams total weight. [4000/7000] Illustrated 1017

223

1018

1018 Fourteen-Karat White Gold and Diamond Tennis Necklace, bezel-set with ninety-five graduated round brilliant-cut diamonds, with an approximate total weight of 6.04 carats, approximate color H-I and clarity SI2‑I1, l. 16”, 36.0 grams total weight. [4500/7000] Illustrated

1020

1019

1019 Large Pair of Fourteen-Karat White Gold and Diamond Stud Earrings, one diamond with an approximate weight of 2.51 carats and the other with an approximate weight of 2.47 carats, approximate color G-I and clarity I1‑I2, 3.0 grams total weight. [10000/15000] Illustrated 1020 Beautiful Victorian Fifteen-Karat Gold and Diamond Butterfly Brooch/Pendant, fourth quarter 19th century, the en tremblant wings silver-topped and set with 109 old mine-cut diamonds, with an approximate total weight of 7.48 carats, approximate color E-F and clarity VS2‑SI1, with cabochon ruby eyes and rose-cut diamond-set antennae, with detachable brooch pin and hinged popup pendant bail, 1‑1/2” x 2‑1/2”, 18 grams total weight. [5000/8000] Illustrated

224

1021

1021 Cartier Eighteen-Karat Yellow Gold and Stainless Steel Tank Francaise Wrist Watch, the quartz watch with a cream-colored dial with black Roman numerals and the secret Cartier signature in Roman numeral “X”, everything signed “Cartier”, reference #2384, serial #530,XXX CD, the case measuring 25.0 mm x 20.0 mm, not including the gold blue sapphire crown, inside circumference, 5‑1/2”. [1200/1800] Illustrated

1024 Pair of Eighteen-Karat Yellow Gold, Baroque Pearl and Diamond Earrings, each earring set with a whitecolored baroque pearl with a good luster, measuring approximately 19.0 mm x 18.0 mm, and suspended from an eighteen-karat gold bail mounted with bezel-set round brilliant-cut diamonds, with an approximate total weight of 0.72 carats for the pair, approximate color I and clarity VVS2, l. 1‑1/2”, 19.0 grams total weight. [2500/4000] Illustrated

1022

1022 Vintage Platinum, Eighteen-Karat Yellow Gold and Diamond Bracelet, composed of seven sections mounted with channel-set princess-cut diamonds, with an approximate total weight of 6.30 carats, approximate color E-F and clarity VVS1‑VS1, each section separated by an eighteen-karat gold “X”, stamped “D”, l. 7”, 36.0 grams total weight. [3500/5000] Illustrated

1023

1025 Eighteen-Karat White and Yellow Gold Bracelet, the flexible bracelet composed of twisted circular links held together by woven-designed white and yellow gold links, l. 8‑3/8”, 48.0 grams total weight. [700/1000] Illustrated 1026 Pair of Italian Fourteen-Karat Yellow Gold Earrings, with a corkscrew design, stamped “Italy 14K”, l. 1‑1/2”, 3.0 grams total weight. [500/800] Illustrated

1024

1023 Eighteen-Karat Yellow Gold, Baroque Pearl and Diamond Pendant, the irregular-shaped silvercolored baroque pearl pendant with a good luster, measuring approximately 25.0 mm x 15.0 mm, and suspended from an eighteenkarat gold bail mounted with a bezel-set diamond, with an approximate weight of 0.25 carats, approximate color I and clarity VS2, l. 1‑1/2”, 15.0 grams total weight. [1200/1800] Illustrated

1026

1027 David Webb Eighteen-Karat Yellow Gold, Sapphire, Emerald and Ruby Ring, the heavy freeform ring set with a round sapphire cabochon and a round ruby cabochon, each weighing approximately 0.90 carats, and two round emerald cabochons, each weighing approximately 0.66 carats, stamped “Webb 18K”, size 6, 23.8 grams total weight. [2500/4000] Illustrated

1028

1027

1028 David Webb Eighteen-Karat Yellow Gold and Enamel Ring, the heavy bypass-designed ring of opposing heads, with a white enamel diamond quilted shank, the ring stamped “Webb, 18K” and with a “C” in a circle, size 5‑3/4, 34.2 grams total weight. [2500/4000] Illustrated

1025

1029 La Nouvelle Bague Eighteen-Karat White Gold and Diamond Ring, the wide tapered band with an applied yellow gold square plate set with seven round brilliant-cut diamonds, with an approximate total weight of 0.40 carats, and a worn engraving reading “Letters to a Woman”, size 10, 17.8 grams total weight. [500/800]

225

1030 Pair of Eighteen-Karat Yellow Gold and Mother-ofPearl Elizabeth Locke Ear Clips, the large circular gold ear clips each set with a 1‑1/4” round mother-of-pearl disc engraved with an oriental scene, each with a dangling 8.0 mm pearl pendant, l. 1‑3/4”, 31.8 grams total weight. [600/900] Illustrated

1032

1032 Eighteen-Karat Yellow Gold and Diamond Bracelet, the flexible bracelet with a twisted rope design, composed of seven circular links set with seven round brilliant-cut diamonds, alternating with seven quatrefoil links set with twenty-eight round brilliant-cut diamonds, with an approximate total weight of 4.20 carats, approximate color E-F and clarity VS1‑SI1, l. 7”, 36.0 grams total weight. [7000/10000] Illustrated

1030

1031 Elizabeth Locke Eighteen-Karat Yellow Gold Ear Clips with Interchangeable Pendants, the pair of hammered gold ear clips with four pairs of interchangeable pendants, including two pairs of gray cultured pearls, a pair of aquamarine cabochons, and a matching hammered gold pendant, l. 5/8” to 2”, 30.8 grams total weight. [1000/1500] Illustrated

1033 Pair of EighteenKarat Yellow Gold, Diamond and Sapphire Ear Clips, by Vander Moore Designs, Memphis, Tennessee, the twisted wire and granulation huggie ear clips each set with a 3.0 mm x 1033 5.0 mm oval sapphire cabochon and three round brilliant-cut diamonds, with an approximate total weight of 0.15 carats for the pair, presented in the original box, l. 1‑1/8”, 25.4 grams total weight. [600/900] Illustrated 1034 Ten-Karat Yellow Gold Victorian Cuff Bracelet, the Etruscan Revival hinged cuff bracelet with a design composed of twisted wire and granulation, the inside hand-engraved “Katharine C. Paul, Xmas 1882”, w. 5/8”, inside circumference, 6‑1/2”, 30.6 grams total weight. [800/1200] Illustrated

1031

226

1034

1037 Mignon Faget Fourteen-Karat Yellow Gold Brooch, in a moon snail design, marked with a “C” in a circle and “Mf. 14K”, l. 1‑1/4”, 25.4 grams total weight. [700/1000] Illustrated

1035

1035 Eighteen-Karat Yellow Gold Necklace, the Byzantineinspired design of interwoven loops, attached to a woven chain, l. 15”, 39.3 grams total weight. [700/1000] Illustrated

1036

1036 Eighteen-Karat Yellow Gold “Elephant” Cuff Bracelet, the wide bracelet with a design of a herd of traveling elephants, w. 1‑1/4”, inside circumference, 7”, 39.8 grams total weight. [700/1000] Illustrated

1038

1037

1038 Pair of Eighteen-Karat Yellow Gold Tiffany and Company “Paloma Picasso” Ear Clips, the gold ear clips in the “Kiss,X” design, signed “Tiffany & Co. 750, Paloma Picasso”, and with a “C” in a circle, l. 1”, 9.4 grams total weight. [600/900] Illustrated

1039 Eighteen-Karat Yellow Gold Tiffany and Company “Paloma Picasso” Brooch, the gold brooch in the “Scribble” design, signed “1983, Tiffany & Co. 18K, Paloma Picasso, 750”, and with a “C” in a circle, l. 2‑5/8”, 22.6 grams total weight. [600/900] Illustrated

1039

1040 Pair of EighteenKarat Yellow Gold, Diamond, Hematite and Enamel Ear Clips, the cushionshaped ear clips each set with a 10.0 mm x 10.0 mm cushionshaped hematite cabochon, surrounded 1040 by emerald green enamel and a halo of forty round brilliantcut diamonds, with an approximate total diamond weight of 0.80 carats for the pair, each ear clip with an omega back and hand-engraved “Tiffany & Co.”, l. 3/4”, 23.4 grams total weight. [1000/1500] Illustrated 1041 Eighteen-Karat Yellow Gold and Lemon Citrine Necklace, the hand-knotted necklace composed of twenty-one irregular-shaped faceted lemon citrine beads, with an approximate total weight of 525.0 carats, finished with an eighteen-karat yellow gold clasp, l. 19‑1/4”. [500/800]

227

1042 Eighteen-Karat Yellow Gold, Diamond, Sapphire, Peridot and Orange and Yellow Sapphire Owl Brooch, the large owl resting on a branch and set with a mix of 113 round brilliant-cut diamonds, with an approximate total weight of 2.65 carats, approximate color D-E and clarity 1042 VVS2‑VS1, the eyes set with two round faceted yellow sapphires, with an approximate total weight of 0.70 carats, and eleven round faceted orange sapphires, with an approximate total weight of 0.50 carats, the body set with thirteen oval faceted peridots, with an approximate total weight of 3.30 carats, h. 2‑1/2”, 47.8 grams total weight. [1200/1800] Illustrated

1044 Fourteen-Karat Yellow Gold, Amethyst, Topaz, Citrine, Garnet and Peridot Bracelet, the flexible link bracelet composed of ten links of ribbed design set with two amethysts, with an approximate total weight of 2.36 carats, two blue topazes, with an approximate total weight of 3.14 carats, two citrines, with an approximate total weight of 2.36 carats, two garnets, with an approximate total weight of 3.36 carats, and two peridots, with an approximate total weight of 2.90 carats, all with a matching ribbed design, l. 6‑3/4”, 26.6 grams total weight. [3500/5000] Illustrated

1044

1045 Fourteen-Karat Yellow Gold and Multi-Strand Garnet Necklace, composed of nine strands of faceted natural garnet beads, interspersed with gold beads and finished with a fourteen-karat gold clasp, shortest l. 16”, 110.4 grams total weight. [500/800] Illustrated

1043

1043 Eighteen-Karat Yellow Gold, Amethyst, Topaz, Citrine, Garnet and Peridot Necklace, the flexible link necklace composed of twenty-six links of ribbed design gold set with five amethysts, with an approximate total weight of 5.30 carats, five blue topazes, with an approximate total weight of 7.85 carats, six citrines, with an approximate total weight of 7.28 carats, five garnets, with an approximate total weight of 7.00 carats, and five peridots, with an approximate total weight of 7.05 carats, all with a matching ribbed design, l. 16”, 73.0 grams total weight. [8000/12000] Illustrated

228

1046 Pair of Eighteen-Karat Yellow Gold, Amethyst, Citrine, Garnet and Tourmaline Earrings, each curved band earring set with seven rectangular faceted multi-colored gems, with a total of four amethysts, two citrines, four garnets and four tourmalines, all weighing approximately 0.35 carats each, l. 3/4”, 5.9 grams total weight. [500/800] Illustrated

1046

1047 Custom-Made Fourteen-Karat Yellow Gold, Tourmaline and Diamond Bangle Bracelet, the hinged bracelet mounted with an oval cabochon-cut rubelite tourmaline, with an approximate weight of 10.63 carats, and an oval cabochon-cut green tourmaline, with an approximate weight of 10.54 carats, each cabochon accented on one side by six round brilliantcut diamonds, with an approximate total weight of 0.45 carats, approximate color E-F and clarity VVS2‑VS1, inside circumference, 8”, 50.0 grams total weight. [2000/4000] Illustrated

1048 Custom Fourteen-Karat Yellow Gold, Diamond, Sapphire, Emerald, Ruby and Multi-Strand Rice Pearl Dragon Necklace, the ten-strand freshwater rice pearl necklace attached to a large custom-designed dragon pendant set with forty-six round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, the dragon with two round faceted rubies for the eyes, with an approximate total weight of 0.60 carats, the mouth of the dragon with a detachable fourteen-karat yellow gold tassel pendant set with twenty-three round faceted sapphires, with an approximately total weight of 0.55 carats, forty round faceted emeralds, with an approximate total weight of 0.30 carats, and twenty-five round faceted rubies, with an approximate total weight of 0.75 carats, necklace, l. 31‑1/2”, pendant, l. 6”, 226.0 grams total weight. [1500/2500] Illustrated

1045

1049 1047

1049 Twenty-Two-Karat Yellow Gold and Enamel Indian Bangle Bracelet, the 1‑1/4” wide bangle decorated with delicate enameled filigree, in six sections, three with a flower pattern accented with ruby-, emerald-, sapphireand citrine-colored enamels, the center of the flowers raised, alternating with three sections decorated with two semi-circles accented with ruby-, emerald- and sapphirecolored enamels, inside circumference, 7”, 60.8 grams total weight. [2000/4000] Illustrated

1048

1050 Fourteen-Karat Yellow Gold, Mabe Pearl and Diamond Ring, the large round 20.0 mm light rosecolored mabe pearl with a good luster and set in a twisted rope mounting set with twenty round single-cut diamonds, with an approximate total diamond weight of 0.20 carats, size 7, 21.0 grams total weight. [600/900] Illustrated

1050

229

1053 Eighteen-Karat White Gold, Baroque Pearl and Diamond Ring, the large 14.0 mm x 18.0 mm rosecolored freshwater baroque pearl set in an open customdesigned mounting, set with ninety-three round brilliant-cut diamonds, with an approximate total weight of 1.20 carats, size 8, 13.0 grams total weight. [1800/2500] Illustrated 1051

1051 Pair of Fourteen/Eighteen-Karat Yellow Gold, Mabe Pearl and Diamond Ear Clips with a Gold Vermeil, each ear clip set with a round 17.0 mm light-rose-colored mabe pearl with a good luster, surrounded by a twisted eighteen-karat white gold vermeil rope border set with nineteen single-cut diamonds, with an approximate total weight of 0.38 carats for the pair, both with fourteen-karat yellow gold omega clip backs, dia. 1”, 23.0 grams total weight. [600/900] Illustrated

1054

1054 Eighteen-Karat Rose Gold, Pearl and Diamond Earrings, the freeform-designed earrings mounted with an irregularshaped pink/rose-colored pearl, measuring approximately 28.0 mm x 24.0 mm, and 140 round brilliant-cut diamonds, with an approximate total weight of 0.92 carats for the pair, approximate color F-G and clarity VVS2‑VS1, l. 2”, 13.0 grams total weight. [2000/4000] Illustrated

1055 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, composed with a central pear mixedcut natural morganite, measuring approximately 23.80 mm x 14.00 mm x 8.80 mm, with an approximate total weight of 15.38 carats, surrounded by seventy-four round brilliant-cut diamonds, with an approximate total weight of 2.08 carats, approximate color G-I and clarity SI2‑I1, size 7‑1/4, 15.0 grams total weight. [3500/5000] Illustrated

1052

1052 Fourteen-Karat Yellow Gold, Diamond, Sapphire, Ruby and Pearl Necklace, the hand-knotted triplestrand necklace composed of 9.0 mm round cultured pearls with a silver-white color and a good luster, the fourteen-karat gold clasp set with nineteen round faceted sapphires, with an approximate total weight of 1.50 carats, forty round faceted rubies, with an approximate total weight of 1.25 carats, and sixteen single-cut diamonds, with an approximate total weight of 0.15 carats, l. 17”, 156.2 grams total weight. [700/1000] Illustrated

230

1056

1053

1055

1056 Eighteen-Karat Rose Gold and Diamond Inside/Out Hoop Earrings, the oval-shaped hoop earrings set with eighty-two round brilliantcut diamonds, with an approximate total weight of 4.23 carats, approximate color D-E and clarity SI1‑I1, l. 1‑1/2”, 10.0 grams total weight. [6000/9000] Illustrated

1057 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, the oval faceted morganite, with an approximate weight of 4.90 carats, surrounded by a halo of thirty-six round brilliant-cut diamonds and an additional thirty-two diamonds set in the tapering shank, with an approximate total weight of 0.45 carats, size 8, 3.7 grams total weight. [1000/1500] 1058 Pair of Eighteen-Karat Rose Gold and Diamond Half-Hoop Dangle Earrings, mounted with 132 round brilliantcut diamonds, with an approximate total weight of 0.93 carats, approximate color E-F and clarity SI1‑SI2, l. 1”, 5.0 grams total weight. [1800/2500] Illustrated

1061

1059 Eighteen-Karat Rose Gold and Diamond Ring, the filigree-designed ring set with approximately 222 round single-cut diamonds and thirteen round brilliantcut diamonds, with an approximate total weight of 1.00 carat, size 8, 6.9 grams total weight. [1800/2500] Illustrated 1060 Unusual Eighteen-Karat Yellow Gold and Diamond Ring, the undulating bypass mounting pave-set with approximately 226 round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, approximate color E-F and clarity VS1‑SI1, size 8‑1/4, 12.8 grams total weight. [3500/5000] Illustrated

1062

1062 Eighteen-Karat Yellow Gold and Multi-Colored Diamond Ring, the bypass mounting pave-set with forty-eight white-, champagne- and cognac-colored round brilliant-cut diamonds, outlined by seventy white brilliantcut diamonds, with an approximate total diamond weight of 2.00 carats, size 8, 6.6 grams total weight. [3500/5000] Illustrated

1058

1059 1063

1060

1061 Beautiful Fourteen-Karat White Gold, Morganite and Diamond Ring, composed with a large cushion-cut morganite, with an approximate weight of 19.17 carats, surrounded by a double halo of sixty-four round brilliant-cut diamonds, with an approximate total weight of 2.04 carats, approximate color E-F and clarity SI1‑SI2, size 7‑1/2, 15.0 grams total weight. [4000/7000] Illustrated

1063 Fourteen-Karat White Gold, Fancy Dark OrangyBrown Diamond and White Diamond Ring, set with a central modified square brilliant-cut GIA certified Fancy Dark Orangy-Brown Diamond, GIA certification #2161000743, with a total weight of 4.04 carats, surrounded by seventy-six round brilliant-cut diamonds, with an approximate total weight of 0.98 carats, approximate color G-I and clarity SI1‑I1, size 7‑1/2, 4.3 grams total weight. [14000/18000] Illustrated

231

1064

1066 1064 Multi-Strand Red Coral Necklace with an EighteenKarat Yellow Gold, Smoky Quartz and Diamond Clasp, the twenty-eight-strand necklace composed of 3.0 mm round red coral beads and finished with an eighteen-karat yellow gold clasp composed of two large oval faceted smoky quartz gems, with an approximate weight of 76.0 carats each, and a round brilliant-cut diamond, with an approximate weight of 0.38 carats, approximate color G and clarity SI1, l. 36‑1/2”. [2500/4000] Illustrated 1065 Fourteen-Karat Yellow Gold, Coral and Diamond Ring, mounted with an oval red coral cabochon, measuring approximately 10.0 mm x 14.0 mm, twentytwo round brilliantcut diamonds and six tapered baguettes, with an approximate total weight of 0.33 carats, size 8, 4.3 grams total weight. [600/900] Illustrated 1065 1066 Fourteen-Karat Rose Gold, Red Coral and Diamond Pendant with Chain, the pendant set with a 14.0 mm round red coral button cabochon surrounded by a halo of fifty round brilliantcut diamonds, with an approximate total weight of 0.14 carats, suspended from an 18” rose gold box-link chain, 6.0 grams total weight. [600/900] Illustrated 1067 Eighteen-Karat Yellow Gold and Red Coral Multi-Strand Necklace, the twenty-strand red coral necklace composed of tubular-shaped beads and tied into a large twisted barrel clasp, l. 18‑1/2”. [800/1200] Illustrated

232

1067

1068 Fourteen-Karat White Gold, Red Coral and Diamond Ring, set with a central oval cabochon-cut natural red coral, with an approximate weight of 4.13 carats, surrounded by ninetysix round brilliant-cut diamonds, with an approximate total weight of 0.91 carats, approximate color F-H and clarity SI2‑I1, size 7‑3/4, 5.3 grams total weight. [1800/2500] Illustrated

1068

1069

1069 Rolex Gentleman’s Eighteen-Karat Yellow Gold and Stainless Steel Oyster Quartz Datejust Wrist Watch, the jubilee oyster quartz Rolex bracelet and watch with reference #17013 and serial #R249XXX, the circa 1987 watch with an original signed Rolex champagne-colored dial, inside circumference, 7”, 119.9 grams total weight. [3500/5000] Illustrated

1072

1072 Fourteen-Karat White Gold, Tahitian Pearl and Diamond Necklace, the fringe-style necklace set with eleven Tahitian pearls, measuring 10.0 mm to 11.0 mm in size, with a good luster, and bezel- and prong-set round brilliant-cut diamonds, with an approximate total weight of 7.35 carats, approximate color G-I and clarity SI2‑I1, l. 17‑1/4”, 54.4 grams total weight. [9000/12000] Illustrated

1070

1073 Fourteen-Karat White Gold and Black and White Diamond Ring, the cross-over-designed mounting with four rows mounted with eighty black round brilliant-cut diamonds and two rows of fifty-six white round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, size 8, 4.9 grams total weight. [900/1200]

1070 Fourteen-Karat White Gold, Sapphire and Diamond Necklace, composed of twenty-seven oval mixed-cut natural sapphires, with an approximate total weight of 178.01 carats, and round brilliant-cut diamonds, with an approximate total weight of 11.31 carats, approximate color G-I and clarity I1‑I3, l. 17”, 76.1 grams total weight. [9000/12000] Illustrated 1071 Fourteen-Karat White Gold and Black and White Diamond Ring, the dome mounting pave-set with forty-four round brilliant-cut black diamonds and seven oval spots, each pave-set with round brilliant-cut white diamonds, with an approximate total weight of 0.60 carats, size 8, 3.3 grams total weight. [600/900] Illustrated

1071

233

1074 Pair of Alessandro Fanfani Eighteen-Karat Yellow Gold, Sterling Silver, Diamond and Enamel Convertible Earrings, each earring set with five round brilliant-cut diamonds and an eighteen-karat/sterling silver disc painted with black and white enamel flowers, each free spinning removable disc measuring 1‑3/8” in diameter, the pair with an approximate total diamond weight of 0.16 carats, stamped “Alessandro Fanfani, 750, 925”, 28.6 grams total weight. [1000/1500] Illustrated

1075

1074 1080

1075 Alessandro Fanfani Eighteen-Karat Yellow Gold/ Sterling Silver, Diamond and Enamel Ring, the large dome mounting with a black enamel field with two white enamel flowers, and set with forty-seven round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, stamped “Alessandro Fanfani, 750, 925”, size 10, 26.2 grams total weight. [900/1200] Illustrated

1078 Fourteen-Karat Yellow Gold and Diamond Necklace, the five-row rice-link-designed necklace attached to a white gold pendant set with seventy-six round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, l. 17”, 59.5 grams total weight. [1500/2500]

1081

1076

1076 Eighteen-Karat White Gold, Diamond and Onyx Bracelet, with elongated rectangular black onyx links separated by rounded sections mounted with sixty-two round brilliant-cut diamonds, with an approximate total weight of 2.52 carats, approximate color G-I and clarity VS1‑VS2, l. 7‑1/2”, 55.0 grams total weight. [4500/7000] Illustrated 1077 Fourteen-Karat White Gold, Citrine and Diamond Ring, encrusted with approximately 215 single-cut diamonds, with an approximate total weight of 1.00 carat, surrounding the faceted pear-shaped citrine, with an approximate weight of 6.00 carats, size 10, 8.7 grams total weight. [900/1200]

234

1082

1082 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Ring, set with a round brilliant-cut diamond, with an approximate weight of 0.83 carats, approximate color H and clarity SI2, size 8‑3/4, 13.0 grams total weight. [900/1200] Illustrated 1083 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Horseshoe Ring, mounted with fourteen round brilliant-cut diamonds, with an approximate total weight of 1.20 carats, approximate color H-I and clarity VS2‑SI2, size 7‑1/2, 8.0 grams total weight. [800/1200] Illustrated

1083

1079 Eighteen-Karat Yellow Gold and Diamond Ring, the twin-band mounting set with forty-two round brilliant-cut diamonds, with an approximate total weight of 0.37 carats, size 8, 3.1 grams total weight. [500/800] 1080 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 0.82 carats, approximate color G and clarity VS1, surrounded by fourteen round brilliant-cut diamonds, with an approximate total weight of 1.52 carats, approximate color G-I and clarity VS1‑VS2, size 8, 5.0 grams total weight. [4500/7000] Illustrated 1085

1084 Mathey Tissot Fourteen-Karat Yellow Gold Wrist Watch, the textured woven mesh band attached to the matching textured case, the watch with a seventeen jewel mechanical manual wind movement, the gold champagne dial with black Roman numerals, the dial and case signed “Mathey Tissot”, l. 5‑3/4”, 37.3 grams total weight. [500/800] Illustrated 1084

1081 Rolex Gentleman’s Eighteen-Karat Yellow Gold President Diamond Dial Wrist Watch, the oyster perpetual Day-Date non-quick set watch with a fluted bezel and an after-market gold-colored linen-textured diamond dial, with an after-market eighteen-karat yellow gold president-style band, reference #1807, serial #3,480,XXX, circa 1972, inside circumference, 7‑3/4”, 122.0 grams total weight. [7000/10000] Illustrated

1085 Eighteen-Karat Yellow Gold Nicolis Cola Necklace, the hollow link Italian necklace with a clasp incorporated into the design, and stamped “Nicolis Cola, 750, 166 VI”, l. 18”, 56.5 grams total weight. [1500/2500] Illustrated 1086 Fourteen-Karat Yellow Gold Bracelet, the solid 9/16” wide bracelet with an open curb link design, l. 7‑3/4”, 67.0 grams total weight. [800/1200]

235

1087 1087 Pierre-Charles Comte (French, 1823‑1895), “Bijoux et Bibelots”, oil on hardwood panel, signed lower right, 31‑7/8” x 43‑3/8”. Presented in a giltwood frame. Provenance: Purchased by Houston, Texas businessman B. F. Bonner in the 20s, thence by descent in family. [7000/10000] Illustrated

1087 detail

236

A native of Lyon, Comte studied at l’Ecole des Beaux-Arts de Lyons under Claude Bonneford (French, 1796‑1860) and attended the Paris atelier of Joseph Nicolas RobertFleury (French, 1797‑1890). While adept at the grand historicizing scenes encouraged by his teachers and then so popular and prevalent in France, Comte was especially admired for his more intimate interior scenes referencing the Medieval and renaissance periods. By concentrating on the more mundane of life activities; the opening of a window, the adjusting of a flower in a coiffure, or - as in the painting presented here - sampling the wares of a jeweler, Comte created a window into the opulent world of the past, but one to which contemporary viewers could relate; his figures may be clothed in historical raiment, but their activities are universal. Comte’s considerable talent is evident in the assiduous attention given to the variety of textures - from the shimmering silk of the central figure, the deep plush of the velvet of the cushion, to the more humble woolen cloth of the antiquarian. Though this style was deemed overly sentimental by the younger generation of artists emerging in the last quarter of the 19th century, and even though Comte himself turned his back on this genre in his later years, such works have proven enduring. An admired and successful artist, Comte exhibited widely, including the Paris Salon from 1848‑1887, and was the recipient of numerous awards and accolades.

1090 Italian Oak Hall Chair, late 19th century, in the Renaissance style, the shaped back with a curved crest above a pierced shield-, sword- and cornucopia-carved splat, flanked to either side by horn-blowing putti, above a shaped wooden seat with a relief-carved urn and scrolling foliate patterns, raised on a deeply carved front support centered by a masque carving and flanked by winged beasts, raised on in-scrolled feet, h. 47”, w. 33”, d. 18”. [700/1000]

1088

1088 Baronial-Style Patinated Metal Twelve-Light Chandelier, having “candles” mounted on scrolled supports on two graduated tiers, supported on a bold chain with a “hammered” canopy, electrified, h. 33”, dia. 42”. [800/1200] Illustrated

1091 Pair of Spanish Paint-Decorated Wooden Panels, fourth quarter 18th century, decorated in the Moorish style, with Islamic raised panels containing vases of flowers on a green and red floral ground, h. 52”, w. 15”. [500/800] 1092 Two Latin American Carved Wood Santos Figures, 19th century, comprising a figure of St. Thomas Aquinas, h. 24‑1/2”, w. 8‑1/4”, d. 5”, and a figure of Our Lady of Guadalupe, h. 15‑1/4”, w. 5”, d. 4‑1/4”. [500/800] 1093 Italian Walnut Cupboard, early 19th century, the molded cornice above a shield-, cherub- and scrollingvine-carved frieze, and a single cupboard door, paneled and centered by a carved classical maiden, flanked to either side by a vine-carved barley-twist column and with a lower drawer, the larger lower section fitted with a single frieze drawer flanked to each end by two like columns, raised on a molded base to double bun feet, h. 86”, w. 43”, d. 19”. [3000/5000] Illustrated

1093

1089

1089 Italian Oak Hall Chair, early 18th century, in the Renaissance style, the shaped back with a curved crest above a pierced shield-, sword- and cornucopia-carved splat, flanked to either side by horn-blowing putti, above a shaped wooden seat with a relief-carved urn and scrolling foliate patterns, raised on a deeply carved front support centered by a masque carving and flanked by winged beasts, raised on in-scrolled feet, h. 47”, w. 32”, d. 17”. [700/1000] Illustrated

237

1098

1100

1097 Italian Walnut Cassone, late 17th century, the hinged rectangular lid with a gadroon-carved edge, above a front featuring carved griffins and figures flanking a central urn, the sides with iron handles, raised on projecting paw feet, h. 23”, w. 68”, d. 23”. [1400/1800] Illustrated

1097

1094

1095 1 of 3

1094 Cuzco School (Fourth Quarter 19th Century), “Archangel Uriel”, oil on canvas laid down on board, unsigned, 19” x 13”. Framed. [800/1200] Illustrated 1095 Group of Three Cuzco-Style Paintings of Religious Figures, 19th/20th century, each oil and gold paint on canvas, one signed “H. Munoz” lower right, 10” x 8” to 27” x 19”. One framed, two unframed. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [800/1000] Illustrated 1096 Napoleon III Parcel-Gilt Walnut Window Cornice, third quarter 19th century, having a central cartouche carved with trailing laurel leaves and an anthemion lower finial, and shell carvings on each end, h. 14‑1/4”, w. 88”, d. 14”. [1800/2500]

238

1098 Iberian Ebonized, Tortoiseshell, Oak and Fruitwood Papeleira Vargueno, 17th century and later, the breakfront molded cornice above a projecting architectural-form center section featuring a portico of stepped columns surrounding a central niche with an ormolu mount of the Madonna, the entire center section opening to reveal five small drawers, all with double-diamond pattern inlay, flanked to either side by a bank of four drawers, raised on parcel-gilt bun feet, the sides fitted with hand-forged iron handles, h. 29‑1/2”, w. 50‑1/2”, d. 18”, the whole resting on a Spanish mahogany and walnut guard room table, 18th century, the rectangular top with panel banding surrounding inlaid diamond patterns, raised on bobbin-turned legs joined by scrolling iron stretchers and ending in bulbous feet, h. 33”, w. 60”, d. 23”. Provenance: B.F. Bonner Estate, Houston, Texas. [5000/8000] Illustrated

1099 Unusual Continental Giltwood Cushion Mirror, ca. 1900, the surround with eggand-dart molding and acanthus leaves, the corners molded with crests and each side with a cabochon, the mirrored side panels accented with cut stars, h. 51‑1/2”, w. 39‑1/2”. [800/1200] Illustrated

1102 Vincent-Desire Faure de Brousse (French, 1876‑1900), “St. Aloysius Gonzaga as a Young Boy”, fourth quarter 19th century, patinated bronze, incised signature along back edge of base, h. 37‑1/4”, w. 14”, d. 15‑1/4”. [800/1200] Illustrated

1099

1100 Attributed to Emile Louis Picault (French, 1833‑1915), “Le Guerrier”, fourth quarter 19th century, patinated bronze, cast signature at front left corner of self-base, a “Ledentu Freres Paris” foundry inscription at back left corner of self-base, quote from Pierre Corneille (French, 1606‑1684) on plaque at front, presented on a custom acrylic pedestal, sculpture, h. 33‑3/4”, w. 12‑1/4”, d. 13‑1/2”, overall, h. 76‑3/4”, dia. 16”. [2000/4000] Illustrated

1102

1103 Pair of Continental Parcel-Gilt Wood Baroque-Style SixLight Chandeliers, 20th century, each with a leaf-carved standard set with six arms decorated with boldly carved gilt and chocolate-brown arms, h. 26”, dia. 31”. [1000/1500] Illustrated

1103 pair

1101

1101 French Patinated Bronze of “Michelangelo”, fourth quarter 19th century, after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), cast signature at back, self-socle on a marble plinth, presented on a custom acrylic pedestal, sculpture, h. 23‑1/4”, w. 14‑1/4”, d. 9”, overall, h. 63‑1/4”, dia. 15”. [2000/4000] Illustrated

1104 Handsome Spanish Parcel-Gilt Mirror in the Baroque Taste, fourth quarter 19th century, the carved medallion on the lower edge flanked 1104 by leaf-carved rests, the mirror surround decorated with giltwood leaves and medallions on a green ground, the tablet decorated with a gray ground lozenge with giltwood decorations and matching side panels, all against a green ground decorated with giltwood scrollwork, labeled on the back “Miguel Utrillo.... Barcelona”, possibly the father of Maurice Utrillo, h. 58‑1/2”, w. 30”. [1500/2500] Illustrated

239

1108 French Bronze of a Young Boy with a Thurible, first quarter 20th century, after Leon Noel Delagrange (French, 1872‑1910), cast signature along proper left hem, on an incised marble plinth, overall, h. 20”, w. 8”, d. 7”. [1400/1800] Illustrated

1105 pair

1105 Pair of Italian Painted Wood and Metal Three-Light Chandeliers, fourth quarter 18th century and later, in the Baroque taste, composed of early architectural element, the vase-turned standard mounted with pierced scrolls terminating in winged angel heads, the scrolled candle arms with leaf-molded sockets of later date, h. 46‑1/2”, dia. 24‑1/2”. [7000/10000] Illustrated 1107

1106 Camillo Gioja Barbera (Italian, 19th Century), “Seated Figures, Church Interior”, oil on canvas, signed lower left, 22‑1/2” x 17”. In a cove-molded giltwood frame. [800/1200] Illustrated 1107 Unusual Alabaster and Micro-Mosaic Enamel Bust, fourth quarter 19th century, Vienna, depicting a woman in Renaissance costume, with micro-mosaic lozenges and “jewelry” decorating the front of her hair, her tiara with inset micro-mosaic flowers on a turquoise ground, the whole on a conforming alabaster platform, h. 14‑1/4”, w. 13‑3/4”, d. 7”. [800/1200] Illustrated

240

1108

1109 Continental Pressed Brass “Infant of Prague” Crown, second half 19th century, retaining remnants of silvering, with images of Jesus, Mary and Joseph decorating the oval panels, and bands of strapwork and scrollwork supporting the upper portion, with an orb and cross finial, h. 10‑3/4”, dia. 8”. [1200/1800] Illustrated

1106

1109

1110 Pair of Renaissance-Style Bronze Five-Light Torcheres, each with mermaid-form feet supporting a vasiform standard decorated with twisted fluting and molded leaves, and putti supporting flowers on their heads and caryatids on scrolls both above and below the heavily molded drip pans, the scrolled candle arms terminating in masques and beaded candle cups, electrified, h. 72”, dia. 14”. [3000/5000] Illustrated

1110

James Dennistoun was a Scottish advocate, collector, antiquarian and historian. He was an ardent topographer and genealogist of his native Scotland which led to the publication of numerous articles on these subjects. The art and literature of Italy became an interest during his first tour of the Continent, during which he met his future wife. A year after his father’s death, Dennistoun sold most of his family’s estates and purchased a house in Edinburgh and Dennistoun Mains. The sale of the Colgrain estate afforded him prolonged stays in Italy where he devoted his time to the literary research of art. He published multiple articles in “Foreign Quarterly Review”, amongst other journals, as well as the critically acclaimed “Memoirs of the Dukes of Urbino”. He was also a collector of early Renaissance art and antiquities and most of his collection was sold on June 14, 1855 by Messrs. Christie, Manson & Woods, of King Street, St. James’s Square, Edinburgh. 1111 1111 Follower of Perugino (Italian, b. ca. 1450‑1523), “Madonna and Child”, oil on wood panel, verso with a partial “William Young, Fine Art Collector, Dealer in Articles in Vertu, Belmont Street, Aberdeen” label, and two seals: one with the arms of Brown of Waterhaughs, Ayshire, the other of arms of Dennistoun impaling Murray for James Dennistoun (1803‑1855) and his wife, IsabellaKatherine Murray (1805‑1864), another printed label attributes the painting to Andrea Assisi (Italian, b. 1470), 21‑1/4” x 16‑1/2”. Provenance: James Dennistoun (1803‑1855) of Dennistoun Mains, Renfrewshire and Edinburgh; Mrs. Arthur Prasse, Camp Hill, Pennsylvania; Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [6000/9000] Illustrated

1111 detail

241

1112 Manner of Lorenzo Di Credi (Italian, b. ca. 1456‑1536), “Portrait of Julia De Rubeis, from the House of De’ Rossi”, tempera and oil on wood panel, a tondo within an engaged frame, possibly a panel from a cassone, overall, 17‑1/4” x 17‑1/2”. Provenance: Sotheby’s, New York, July 21, 1981 sale; Collection of Richard Vernon and Bettie Long Rickenbach, Ocala, Florida. [4000/7000] Illustrated

De’ Rossi (De Rubeis in Latin) was a prominent Florentine family during the Renaissance, closely allied with the Medici. Lionetto de’ Rossi married Maria de’ Medici, and served as the General Manager of the Medici Bank in Lyons. His son Luigi, educated in the court of Lorenzo de’ Medici, went on to become a cardinal serving under his uncle, Pope Leo X. The dynastic power of this family is well captured in Raphael’s famous portrait in the Uffizi of Leo X with his nephews Cardinals Giulio de’ Medici (later Pope Clement VII) and Luigi de’ Rossi. Given the heraldic ribbon, the sitter’s affluent dress and jewels in the portrait offered here, it is quite possible that Giulia de’ Rossi, identified in Latin on the ribbon, is a member of this Florentine dynasty. Lorenzo di Credi, who studied under Andrea del Verrocchio alongside Leonardo da Vinci and Pietro Perugino, inherited his master’s Florence workshop after his death in 1488. As one of the preeminent Florentine painters, di Credi went on to produce dozens of portraits and devotional scenes for his wealthy patrons, which included the Medici. This portrait of Giulia de’ Rossi reflects di Credi’s style of portraiture from the mid-1480s through the early 1500s, which was strongly influence by Leonardo and Raphael, Perugino’s pupil. The rich colors, absence of chiaroscuro through the use of sfumato—the soft blending of values and tones, and the use of a monumental pyramidal three-quarter length pose foregrounded before a diminutive landscape (redolent of the Tuscan hills), is characteristic of the portraiture di Credi and his workshop produced. Three fine examples that resemble the painting offered here are di Credi’s portraits of “Costanza de’ Medici”, ca. 1499, “Caterina Sforza”, ca. 1483, and his “Portrait of a Young Girl”, ca. 1490s. All three sitters’ dress reflect Florentine fashion at the turn-of-the century, notably the fitted detachable sleeves and partlets (laced bodices), which were designed after the Italian 1464 decree that mandated that women cover their generous neck openings. Another notable feature is the distinctive trinzale-style headdress de’ Rossi, de’ Medici and the young girl wear. The “trinzale”, a fine fabric or metallic cap, was worn between the center and back of the head and was held in place by a fine string (“lenza”) that crossed the forehead. The jewelry is as equally telling as elaborate ruby or pearl pendants, such as the one de’ Rossi wears, were commonly regarded as “wifehood pendants” given as marital gifts. The tondo-style portrait and heraldic ribbon lends credence to this idea, as the circular form and serpentine ribbonry is commonly seen in majolica ceramic portrait plates, another ritual of courtship and betrothal that flourished in the late 1400s/early 1500s. Whether this portrait was painted by di Credi, his workshop, or another “St. Luke Guild” artist working in his manner, it is a stunning testament of Renaissance opulence and beauty worthy of further study.

242

1115

1113 1113 Circle of Guido Reni (Italian, 1575‑1642), “Mary Magdalene with a Crown of Thorns, oil on canvas, 26” x 21”. Framed. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [1000/1500] Illustrated

1114

1114 Large Baronial-Style Mahogany and Parcel-Gilt Triple-Back Sofa, late 19th century, with a triple tombstone back, carved and scrolled arms, and raised on cabriole legs joined by elaborately carved stretchers, h. 59”, w. 72”, d. 30”. [2500/4000] Illustrated 1115 Pair of Continental Parcel-Gilt Wood and Patinated Metal Six-Light Chandeliers, 20th century, each with a wooden central standard decorated at the top with a spray of giltwood “prisms” and set with scrolled metal candle arms decorated with metal leaves and hung with matching giltwood prisms, h. 43‑1/2”, dia. 46‑1/4”. [4000/7000] Illustrated

1116 Italian Neoclassical Pine and Marble-Top Side Table, late 19th century, the rounded rectangular marble top above a conforming frieze fitted with two guillochecarved drawers, raised on molded supports headed by acanthine carving and ending in paw feet, h. 33”, w. 48”, d. 20”. [1500/2500] Illustrated

1117

1116

1117 Italian Baroque Parcel-Gilt Mirror, fourth quarter 17th century, decorated with scroll-carved panels on a black ground, with a deeply carved gilt mirror liner, h. 37”, w. 31”. [2000/4000] Illustrated

243

1118

1118 Continental Fruitwood Stool, 20th century, the padded rectangular top raised on four cabriole legs, each headed by a carved lion’s masque with acanthine “mane” and ending in hairy paw feet, h. 23”, w. 48”, d. 30”. [1800/2500] Illustrated 1119 Continental Gothic-Inspired Mahogany, Burl Walnut and Parcel-Gilt Conference Table, early 20th century, the top with scroll-carved corners and with foliate-carved and stippled aprons, raised on carved cabriole legs with scrolled toes, h. 30‑1/2”, w. 43”, l. 84”. [1500/2500] Illustrated

1121

1120 Pair of Cast Iron and Slate-Top Pedestals, 20th century, each with a square slate top above a puttoform standard with draped grapevines, supported on a paneled base with molded grapes, h. 31‑1/2”, w. 9”, d. 9”. [600/900]

1119

1122

1121 Pair of Monumental Italian Carved Wooden Figural Pedestals, each example depicting putti borne on the back of a hybrid eagle/dragon with inset bone eyes and both eagle and dragon wings, the putti climbing heavenward, with the uppermost putto supporting the platform, h. 73‑1/2”, w. 28”, d. 31‑1/2”. [7000/10000] Illustrated 1122 Italian Giltwood Mirror in the Baroque Style, ca. 1900, composed of bold, pierced scrollwork in the Florentine manner, the corners with cabochons terminating in leaf carvings, h. 56‑3/4”, w. 36‑1/4”. [1800/2500] Illustrated 1123 Pair of Italian Polychrome Side Tables, early 20th century, each with a shaped top with a molded edge and supported by carved palm fronds and a blackamoor figure, each figure colorfully garbed and holding a brazier in an outstretched hand, seated on a rocky base on a molded socle base, h. 31”, w. 31‑1/2”, d. 13‑1/2”. [2500/4000] Illustrated

244

1123

1124

1124 Italian Blackamoor Pedestal, second quarter 20th century, the circular wooden base supporting a papiermache kneeling Blackamoor in a skirt decorated with red and gilt scrollwork, and holding the gilt-trimmed wooden top, h. 20”, dia. 11‑1/2”. [1200/1800] Illustrated 1125 French Carved and Painted Wood Blackamoor Head Inkwell, fourth quarter 19th century, set with glass eyes, the cover opening to reveal a porcelain inkpot, h. 6”, dia. 4‑3/4”. [800/1200]

1126

1127

1126 Pair of Italian Polychrome Blackamoor Figures, 20th century, each turbaned figure holding aloft a fruit-filled cornucopia in one hand, the other hand extended and holding a gilt shell, each clothed in traditionally patterned colorful garb and slippers, and raised on a canted square faux porphyry pedestal to a molded ebonized base on gilt paw feet, h. 75‑1/2”. [4500/7000] Illustrated 1127 Italian Argente and Gilt-Wash Sleigh Chair in the Grotto Taste, late 19th century, the shell-form back joined by dolphin arms to the shell seat, raised on ebonized hippocampi supports to dolphin-form rockers, h. 32‑1/2”. [3000/5000] Illustrated

245

1128

1128 Italian Metal and Alabaster Seven-Light Chandelier in the Baronial Taste, second quarter 20th century, the alabaster bowl concealing a single light socket, the pierced, scrolled frame holding the bowl and set with six leaf-molded candle arms, the chains held from a second graduated frame, molded to match, h. 52‑3/4”, dia. 31”. [1200/1800] Illustrated

1129 1131

1129 Hand-Woven Brussels Tapestry of a Hunt Scene, first quarter 18th century, with classically draped figures in a verdant forest setting, 154” x 116”. [4500/7000] Illustrated 1130 Middle Eastern Carved, Painted and Parcel-Gilt Two-Piece Figure of a Rider on a Horse, the horse and his tack decorated with giltwood studs, and with a bristle mane and tail, the bearded rider clad in a helmet, h. 29”, w. 13‑1/4”, d. 18”. [500/800] Illustrated

1130

1131 Fine Russian Orthodox Icon of the Mother of God, Joy of All Who Sorrow, 19th century, tempera and gold leaf on wood panel, the full-length, standing Crowned Virgin holding the Christ Child in her left arm, both surrounded by a blue and gold nimbus, flanked by supplicants, angels, and the Four Evangelists, God the Father above, an incised painted meandering vine border, banner inscriptions in Cyrillic throughout, 12‑1/4” x 10‑1/4”. [3000/5000] Illustrated 1132 Russian Orthodox Icon of St. Nicholas the Wonderworker, 19th century, tempera on wood panel, the Bishop of Myra with one hand raised in blessing, the other holding a holy book, wearing a cross-adorned omophorion, flanked by Christ holding the Gospels to one side and the Virgin Mary holding his bishopric vestments to the other, St. Michael the Archangel and St. Tikhon in the margins, 12‑1/4” x 10”. [2000/4000] Illustrated

246

1132

1133 “The Creation of Eve” from the Bible, in High German, Nuremberg, 1483, a woodcut with hand coloring and gold leaf, from Anton Koberger’s (b. ca. 1440‑1513) ninth German Bible, leaf size 7‑1/4” x 7‑1/4”. Glazed, laid down on woven paper, matted and presented in a giltwood frame. [2500/4000] Illustrated Anton Koberger was a goldsmith, printer, bookseller, and a publisher from Nuremberg, Germany. In 1470, he opened his own printing firm, leading the spread of modern literary culture in the early decades of printing and reinforcing his reputation as a major figure in history during this time. Koberger’s most famous printed works are “The Nuremberg Chronicle” and the “Koberger Bible”, also known as The Ninth German Bible. The Ninth German Bible is a significant work of the Incunable Era due to the number of large woodcuts embellished with gold leaf and delicate hand coloring. The trimmed sheet presented here, “The Creation of Eve”, is from the Ninth German Bible and reveals the characteristics of Koberger’s printing firm.

1133 1135 Pair of Painted Wood and Metal Ten-Light Chandeliers in the Italian Baroque Taste, each with a turned and painted standard decorated with molded metal leaves and terminating in a painted bell-form lower finial, the scrolled arms decorated with metal leaves and terminating in turned wooden candle sockets, electrified, h. 41”, dia. 34‑1/2”. [1000/1500] Illustrated 1136 Pair of Baroque-Style Silverplated Copper TwoLight Sconces, ca. 1900, each with a molded backplate depicting a pair of putti carrying a laurel-molded cartouche and with scrollwork resting on their heads terminating in a molded crown finial, the scrolled, leaf-molded arms terminating in molded drip pans and candle cups, electrified, h. 16‑3/4”, w. 11”, d. 7‑1/4”. [1000/1500] Illustrated

1135 pair

1136

1134 Continental Shadowbox Picture Depicting Jesus and Saint Joseph, fourth quarter 19th century, in a Baroque-style giltwood frame, the oil-on-canvas depiction “dressed” in pleated silk woven in floral patterns and trimmed in passementerie, h. 24‑1/2”, w. 20‑3/4”. [500/800]

247

1139 Two Hand-Colored Old World Maps of England/ Wales and the Americas, consisting of “Accuratissima Angliae Regni et Walliae Principatus...”, engraved by Cornelis Danckerts, ca. 1690‑1700, plate 20‑1/2” x 21”. Unframed; and “Americae Mappa Generalis Secundum...” engraved by Homann Heirs, Nuremberg, 1746, numbered “XXVII” en verso, double page, sheet 19‑1/4” x 22‑1/2”. Unframed. [500/800]

1140

1137

1137 American Maple High Chest in the Queen Anne Taste, 18th century, New England, in two parts, the upper section with a band of three drawers, the center drawer shell-carved, over a graduated bank of four drawers on a base with two over three drawers, raised on cabriole legs ending in pad feet, the highboy top and base associated, h. 74‑1/2”, w. 38‑1/2”, d. 20‑1/2”. [800/1200] Illustrated

1138

1138 American Federal Mahogany D-End Dining Table, ca. 1800, the aprons with string-inlaid details, consisting of a pair of demi-lune swing-leg end tables, h. 31”, w. 54”, d. 28”, and a central drop-leaf table, h. 31”, w. 54”, closed l. 23”, open l. 69‑1/2”, and an extra leaf, w. 54”, l. 20‑3/4”, total extended l. 146‑1/4”. [2000/4000] Illustrated

248

1140 Lower Mississippi Valley Creole-Style Mahogany Flush-Panel Armoire, ca. 1825, with a projecting cornice with centered corners, the case with a pair of flush panel doors on fiche hinges, the sides fitted with doors and the central section with an interior medial belt of drawers, raised on beehive feet ending in brass balls with straight ferrules, h. 88”, w. 55”, d. 22”. Provenance: Descended in the William Hamilton family, Brewton, Louisiana. [4000/7000] Illustrated 1141 Vernacular American White Pine Table-Top Cabinet, 18th century, the molded crest above a case fitted with a single glazed door, the sides bi-paneled, each raised panel with chamfered corners, raised on block feet, exhibiting pegged construction and hand-wrought rose-head nails throughout h. 28‑1/2”, w. 24‑1/4”, d. 10‑1/2”. [700/1000]

1145

1142

1142 Vernacular American Cherrywood Sugar Chest, second quarter 19th century, Kentucky or Tennessee, the case with a lift top over a drawer, raised on turned feet, the interior retaining the mortises, for one vertical and one horizontal division to create three interior compartments h. 29‑1/2”, w. 36”, d. 19”. [1000/1500] Illustrated

1145 American Federal-Style Mahogany Triple-Chairback Settee, ca. 1900, in the manner of the Haines/Connelly school, Philadelphia, the rectangular back trisected and with reeded and acanthine-carved spindles, joined by downswept arms on bulbous reeded uprights to the cushioned seat, raised above a fluted frame on tapering circular legs headed by acanthine capitals and ending in molded feet, now upholstered after the period fashion in striped green horsehair, h. 34‑1/2”, w. 67‑1/2”, d. 21‑1/2”. [1500/2500] Illustrated

1146 1143

1143 Regency Mahogany Bowfront Chest, early 19th century, the bowed top above a conforming case fitted with two short drawers over three graduated long drawers, all with decorative inlaid string banding, raised on shaped bracket feet, h. 38”, w. 45”, d. 22‑1/2”. [700/1000] Illustrated

1146 American Classical Parcel-Gilt, Ebonized and Stenciled Mahogany Pier Table, ca. 1825, the portoro marble top over a frieze centered by urn and foliate stenciling, and raised on turned columns with giltwood capitals joined to a shaped low shelf with a stenciled edge, on foliate-carved paw feet, h. 36‑1/4”, w. 45”, d. 20”. [3000/5000] Illustrated

1144 Assembled Pair of Anglo-American Blown Glass Hurricane Shades, second quarter 19th century, with folded glass lower edges, h. 22” to 22‑1/4”, dia. 7” to 7‑1/4”. [500/800]

249

1147 American Classical Mahogany and Gilt-Stenciled DoublePedestal Dining Table, ca. 1825, New York, each D-end section with a single-board top and deep drop leaf, over a figured frieze edged in original “Greek-key” gilt stenciling, raised on a vasiform foliate-carved pedestal joined to paw feet adorned with like carving, h. 29”, w. 47‑3/4”, l. 50”, extended l. 97”. [2500/4000] Illustrated

1148

1148 Rare Bronze and Glass Three-Light Argand Chandelier, ca. 1817‑1852, retailed by J. & I. Cox, New York, the mirrored base terminating in a bronze-mounted cut glass finial, set in a prismhung ring mounted with pierced palmettes, the three burners under the urn-form oil tank with retailer’s labels and mounted with frosted glass ball-form shades, the tank mounted with a gilt-bronze prism ring and cut glass drops, and terminating in a flame-form finial, the gilt-bronze ring and scroll-molded chain hanging from a canopy decorated with palmettes, h. 41”, dia. 15‑3/4”. [4000/7000] Illustrated 1149 American Classical Stenciled Mahogany Games Table, ca. 1825, New York, the figured fold-over top with a stenciled edge, the apron with a central panel framed by stenciling, the canted corners with like decor, on a foliate-carved pedestal joined to four legs with similar carving and ending in paw feet, h. 29‑1/2”, w. 36”, d. 18‑1/2”, extended l. 37”. [1000/1500] Illustrated

1147 detail

1147

250

1153 American Classical Parcel-Gilt and Stenciled Mahogany Pier Table, second quarter 19th century, New York, the marble top with projecting ends and bow front over a conforming frieze retaining its period gilt stenciling, raised on tapering columns with giltwood capitals and bases, the shaped low shelf with a stenciled edge and backed by a mirror plate, on foliate-carved and reeded legs, h. 36‑1/2”, w. 42‑1/4”, d. 18‑3/8”. [3000/5000] Illustrated

1149

1150 American Classical Stenciled Mahogany Games Table, ca. 1825, New York, the fold-over top over a conforming frieze with stenciling at the bottom edge, on a foliate-carved vasiform pedestal joined to four legs ending in paw feet, retaining its untouched original surface, h. 28‑3/4”, w. 36”, d. 18”, extended l. 36”. Provenance: Thomas Schwenke, Inc., Woodbury, Connecticut, to the current owner. [500/800] 1151 Handsome Paris Porcelain Gilt and Bleu du Roi Tazza, second quarter 19th century, raised on paw feet, the tripartite base decorated with lion’s heads and pinecones, the bowl with a border of leaves and flowers around a white-ground panel with a star within a wreath of cloves, h. 5‑3/4”, dia. 9‑1/4”. [600/900] Illustrated

1153

1151

1152 American Classical Mahogany Secretary, ca. 1830, in two parts, the upper section with a projecting cornice over a pair of mirrored doors with a band of drawers below, the base with a molded drawer opening to reveal an adjustable writing surface with tooled leather top, and a pair of recessed paneled doors below, flanked by columns on carved paw feet, h. 66‑1/2”, w. 39‑1/2”, d. 22”. [1000/1500] Illustrated

1152

251

1154 American Late Classical Mahogany Sideboard, second quarter 19th century, a Philadelphia masterpiece, of generous scale, the pedestal ends with a stepped top with brass gallery over a molded drawer and a door, the door centered by a banded diamond-form figured panel surrounded by crisply carved scrolling tendrils and leaves, the break center with a marble top over a drawer with a pair of figured and crossbanded diamond-form panels, and a lower edge with egg-and-dart molding, the door lifting and sliding back to reveal a highly figured demi-lune panel reflected by a mirrored back, each section flanked by figured columns with Ionic capitals, the whole raised on carved paw feet, h. 60”, w. 97”, d. 26”. [5000/8000] Illustrated

1154 detail

The work of a Philadelphia master, the present piece exhibits a number of motifs typical of that city’s finest work, including the use of demi-lune fan-form panels, crisply carved perimeter moldings, Gothic niches and foliate-carved paw feet. A sketch in the hand of Anthony Quervelle depicts a sideboard with a similar stepped pedestal top, and diamond-form door panels. The stepped motif also appears on the base of a cellarette attributed to Joseph Barry. A cellarette attributed to Quervelle exhibits very similarly carved anthemion. Reference: Allison, Christopher, J. W. Boor et al., Philadelphia Empire Furniture (Philadelphia: Boor Management, 2007).

1154

252

1157 Fine American Classical Mahogany Tester Bed, second quarter 19th century, the antique tester with figured veneers and projecting cornice, supported by shaped foliate-carved posts with a vasiform segment and ring turnings, the headboard with a figured panel and turned crest rail with scroll ends, h. 101”, inside, w. 55”, l. 78‑1/2”, outside, w. 61”, l. 81‑1/2”. [4000/7000] Illustrated

1155

1155 American Classical Mahogany Breakfast Table, ca. 1825, probably New York, the single-board top flanked by a pair of like leaves, on a vasiform pedestal base joined to carved paw feet, the pedestal and legs foliate carved, h. 28‑1/4”, w. 41‑1/2”. l. 26”, extended l. 52‑1/2”. [800/1200] Illustrated 1156 Unusual Pair of Paris Porcelain Hand-Painted CampanaForm Urns, second quarter 19th century, decorated with Greek figures, one urn depicting soldiers watching ships in the distance, and the other a fallen soldier with a sword being attended by a young woman, the reverses decorated with war trophies, including crossed Greek flags, h. 13‑1/4”, dia. 10”. [500/800] Illustrated

1157

1156

1158 American Classical Mahogany Chest, second quarter 19th century, with a projecting band of three drawers over a deep cross-banded drawer and three graduated drawers below, flanked by pineapple- and foliate-carved pilasters, raised on carved paw feet, the drawers now fitted with opalescent glass pulls, h. 53”, w. 50‑1/2”, d. 23”. [600/900] Illustrated

1158

253

1159 American School (First Quarter 19th Century), “The Parable of the Workers in the Vineyard” (Matthew 20:1‑16), oil on canvas, 38” x 46”. Presented in a period giltwood frame. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. [5000/8000] Illustrated This early 19th-century rendering of a parable from Matthew 20:1‑16, staged in the courtyard of a classical mansion--with cornfields, instead of customary vineyards in the background--possibly depicts the famed Van Rensselaer family, dispensing coins to the field laborers. There is a naive quality to the painting, with the distorted proportions of the manor house, cluttered composition and the various styles of clothing; while the landowners are in recognizable American 19th-century garb, the workers are in anachronistic dress, alluding to the paintings of the Northern Renaissance. The Van Rensselaer family was the feudal landholders of the entire Rensselaer County in upstate New York. In 1631, one of the principal investors in the West India Company, a Dutch diamond merchant Killiaen van Rensselaer, bought a large stretch of land around Fort Orange on the shores of the North River from the Native American tribe Mahicans, and proceeded to establish a “patroonship”, or private farming community, which he named Rensselaerswijck. The Van Rensselaer patroonship was the only one that lasted into the nineteenth century. Stephen Van Rensselaer III (1764‑1839), whose family may be depicted here, inherited a vast landed estate in Rensselaer and Albany counties at age 5. A graduate of Harvard, he spent time in state government and as a member of the U.S. Congress (1822‑29). His chief services to the state, however, were economic and educational. Van Rensselaer was a member of the Erie Canal commission and president of the state’s board of agriculture. He was a lenient landlord for 3,000 tenants. When at age 21, he took possession of the family’s prestigious and vast estate, he wished to profit from the land, but was reluctant to sell. Instead, he granted tenants perpetual leases at moderate rates, which allowed the would-be landholders financial opportunity to invest more in their operations; this inevitably led to increased productivity in the area. Van Rensselaer was the founder and supporter of a wide variety of social, educational, business, and government institutions, most notably and lasting, The Rensselaer Polytechnic Institute which became a well-respected private research university. Perhaps the scene depicting a fair, socially conscious landlord who dispenses equal wages for a day’s work was chosen purposefully by this family whose income and wealth stemmed from land ownership.

1159 1160 American Classical Mahogany Drop-Leaf Table, ca. 1825, the single-board top flanked by like-shaped drop leaves, raised on acanthus-carved legs on brass cup casters, h. 29”, w. 39”, d. 26‑1/2”, extended l. 55”. [500/800] Illustrated

1163

254

1163 American Classical Mahogany Tester Bed, ca. 1825, Philadelphia, the rare original tester supported by turned and foliate-carved posts, the paneled headboard with a cornucopia-, scroll- and foliate-carved crest, h. 101”, inside, w. 54‑1/4”, l. 77”, outside, w. 61”, l. 82”. [2000/4000] Illustrated

1160

1164 American Classical Mahogany Secretary Bookcase, ca. 1825, in two parts, the upper section with a projecting cornice over mullioned doors with a brass astragal and flanked by acanthus-carved pilasters, the base with a slant fold-out lid over a door with a shaped raised face, and paneled doors below, on bracket feet, retaining its untouched old original surface, h. 96‑1/2”, w. 53‑1/2”, d. 23”. Provenance: From the original furnishings of Shell Castle Plantation, Halifax County, North Carolina, sold to the current 1165 owner in October 2002. [1000/1500] Illustrated 1165 Rare Bronze and Glass Sinumbra Lamp, second quarter 19th century, English or American, the painted oil tank supported on a burner by two tubes, mounted with a frosted glass shade cut with grapes, on a turned and tapered standard ending in a square weighted base, not electrified, h. 30‑3/4”, dia. 12‑1/2”. [1000/1500] Illustrated

1164

1161 American Classical Mahogany Sofa, ca. 1825, Philadelphia, the carved crest over a cross-banded panel, with scroll arms and cornucopia-carved paw feet, h. 35”, w. 85”, d. 22‑1/2”. [600/900] 1162 Pair of Anglo-Indian Amber Blown Glass Hall Lanterns, 19th century, the inverted bell-shaped lanterns with folded upper rims and applied punties to the bottom, and supported on ring-form brass chain holders with bird’s head hooks, terminating in assembled amber smoke bells, now electrified with three light sockets, h. 24”, dia. 9”. [700/1000]

1166

255

1166 American Late Classical Mahogany Dressing Bureau, second quarter 19th century, the upper section with a band of three drawers supporting turned columns with an arched cornice and rectilinear looking glass, the base with two drawers on turned columns joined by a low shaped shelf, h. 68‑1/4”, w. 42”, d. 19‑1/4”. [800/1200] Illustrated

1170 1168

1167 American Classical Mahogany Dressing Table, second quarter 19th century, the rectilinear mirror plate in a molded frame supported by turned columns joined to a recessed band of drawers, the base with a marble top and two-over-one drawers, on a tapering columnar pedestal with a concave base and carved paw feet, h. 75”, w. 37”, d. 20‑1/4”. [600/900]

1169 American Late Classical Figured Elm Center Table, second quarter 19th century, Philadelphia, the rectilinear marble top over a cyma-molded frieze, raised on lyreform supports on scroll feet, joined by a shaped stretcher, h. 28‑3/4”, w. 35‑1/2”, d. 19‑1/2”. [700/1000] Illustrated

1171

1169

1168 Fine Vernacular American Classical Birdseye Maple and Cherry Sideboard, second quarter 19th century, the molded center drawer over a pair of paneled doors flanked by bottle drawers, each pedestal end with a drawer over a paneled door, the section divided by tapering turned columns, raised on foliate-carved paw feet, h. 49‑1/2”, w. 78”, d. 25‑1/4”. [1200/1800] Illustrated

256

1170 American Late Classical Mahogany Server, second quarter 19th century, Baltimore, the figured back board joined to scroll sides on a spindle gallery, the case with a projecting pair of drawers over paneled doors, flanked by spiral-reeded columns on turned feet, h. 56‑1/2”, w. 46‑1/2”, d. 22‑1/2”. [700/1000] Illustrated 1171 American Classical Mahogany Sideboard, ca. 1825, Baltimore, the top with a single reeded gallery, the case with a projecting band of drawers over paneled doors flanked by heavily reeded columns with foliate-carved capitals, raised on bun feet, h. 45‑3/4”, w. 69‑1/2”, d. 27”. [1200/1800] Illustrated

1172 American Late Classical Mahogany Armoire, second quarter 19th century, Baltimore, the projecting cornice over a figural arched frieze, the pair of bisected paneled doors flanked by tapering figured pilasters with Ionic capitals, each side with a paneled door, on carved paw feet with like capitals, h. 87‑1/2”, w. 73‑1/4”, d. 26‑1/2”. [1400/1800] Illustrated

1172

1175

1173 Regency Revival Giltwood Three-Part Overmantel Mirror, fourth quarter 19th century, English, set with beveled mirror plates in ebonized, reeded liners, with Corinthian columns flanking each side, the molded table depicting the goddess Cybele in her lion-drawn chariot, h. 35‑3/4”, w. 57‑1/2 . [1500/2500] Illustrated

1173

1174 American Classical Mahogany and Cherry Tester Bed, ca. 1825, the upholstered tester supported by tapering octagonal posts, the hanging headboard with a scroll crest over a trio of figured panels, h. 92”, inside, w. 54‑3/4”, l. 84”, outside, w. 58‑3/8”, l. 91”. [1800/2500] Illustrated 1175 American Classical Mahogany Pier Table, second quarter 19th century, the marble top over a cyma-molded frieze, raised on tapering columns with carved capitals, the back with like pilasters flanking a mirror plate, raised on leaf-carved and turned feet, h. 35‑1/2”, w. 46‑1/4”, d. 19‑3/4”. [900/1200] Illustrated

1174

1176 Unusual Colonial Revival Silverplate and Glass SinumbraStyle Lamp, ca. 1900, the standard in the form of an Egyptian column, the frosted glass shade cut with grapes, h. 34‑3/4”, dia. 13”. [900/1200] Illustrated

1176

257

1177 American Late Classical Mahogany Center Table, second quarter 19th century, the figured octagonal top over a cyma-molded apron, raised on an octagonal pedestal joined to a concave platform base with scroll feet, h. 30”, w. 38‑1/2”, d. 38‑1/2”. [700/1000] Illustrated

1178 1177

1178 American Late Classical Mahogany Tester Bed, 19th century and later, the canted tester frame on deeply acanthus- and grape-carved posts, the paneled headboard with a cylindrical top rail ending in foliate-carved balls, the antique bed artfully altered by Bruno, New Orleans, to accommodate a near king-size mattress, h. 102”, inside, w. 74”, l. 86”, outside, w. 78”, l. 91‑1/2”. [2500/4000] Illustrated 1179 American Gothic Revival Mahogany Low-Post Bed, second quarter 19th century, the headboard and footboard with an arched top rail over molded Gothicised piercings, the head post of octagonal form on a square base, the foot posts and lower head posts adorned with arched panels, all posts fitted with turned finials, h. 71‑1/4”, inside, w. 65”, l. 78‑1/2”, outside, w. 69‑3/4”, l. 81”. [1000/1500] Illustrated

1179

258

1180 Important American Gothic Revival Rosewood and Marble-Top Center Table, ca. 1840‑1850, attributed to Alexander Roux, New York, after a design by Alexander Jackson Davis, retaining its original restored white marble top over a conforming frame with a scalloped and beaded apron ending in drop finials and supported by six cluster columns mounted to a base with extended trefoil feet and applied beaded moldings, h. 30‑1/2”, w. 36‑1/2”, d. 36‑1/2”. Provenance: Deaccessioned from the Peoples Bank, Mobile, Alabama, upon its closing June 9, 1927 and reputedly from the Staples family of Mobile. [25000/40000] Illustrated Alfred Staples was president of Peoples Bank and was one of many city officials that were indicted on Prohibition charges. This table is the third example of this form to surface from Mobile in recent years.

1181 1181 Robert Malone (American/Louisiana, Contemporary), “Venice, Louisiana”, oil on canvas, signed lower left, verso with “LeMieux Galleries, New Orleans” label, 12” x 16”. Framed. [500/800] Illustrated

1182 A. E. (Albert Ernest) Backus (American/ Florida, 1906‑1991), “Still Water Wader”, 1963, signed lower right, signed, dated, and with inscription from artist en verso canvas, together with a copy of a letter of authentication from the A. E. Backus Museum and Gallery, Fort Pierce, Florida, 25‑1/4” x 30‑1/2”. Framed. Provenance: Purchased from the artist; thence by descent in family of consignor. [18000/25000] Illustrated

1182 detail

1182

1180

259

1183 1183 Clark Hulings (American, 1922‑2011), “Pierre Part”, 1969, oil on canvas, signed and dated lower center, 21” x 34”. Framed. Literature: Hulings, A Gallery of Paintings by Clark Hulings, White Burro Publishing, 1986, plate 138. [25000/40000] Illustrated One of the leading American realist painters, Clark Hulings was born in Florida, raised in New Jersey and over the long course of his career, resided in New York, Louisiana and various European cities before settling in Santa Fe, New Mexico. His paintings of people, streets and landscapes of places he visited, often impoverished corners of the world, all teem with a sense of vibrancy and reveal his belief in the innate beauty of the human spirit. Huling’s father, recognizing his son’s talent, arranged for the then 12‑year-old to take art lessons with Sigismund Ivanowsky, a famed landscape and portrait painter who had served as a Court Painter to Tsar Nicholas II. Hulings also studied drawing with George Bridgman and continued at The Art Students League, New York with Frank Reilly. His career as a portraitist began in Louisiana, and it is there, while working on the Afton Villa portraits above St. Francisville, that he started sketching landscapes. His paintings of rural Louisiana, which were completed in the 1960’s, were exhibited in 1969 at The Lafayette Gallery in Baton Rouge. “Pierre Part” was one of the paintings included in that exhibit. In “Hulings, A Gallery of Paintings by Clark Hulings”, published in 1986, the artist’s comments on “Pierre Part” reflect his awareness of the vanishing nature of rural Louisiana and the resilience of the human spirit in the face of great social and environmental change. He writes: “Gone are the little cabins built on stilts in the swamps of Louisiana. They were all swept away by Hurricane Audrey in 1957, and have been replaced by houseboats which can rise and fall with a tidal wave. Gone too are the pirogue dugout canoes propelled like gondolas - now there are motor boats.”

260

1183 detail 1184 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou at Dusk”, 1911, oil on board, signed and dated lower right, 12” x 18”. Framed. Provenance: Jean Bragg Gallery, New Orleans, Louisiana. [4000/7000] Illustrated 1185 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Twilight in Southern Louisiana”, 1932, oil wash on paper board, pencil signed and dated lower right, pencil signed, titled and dated in the artist’s hand en verso, 19‑3/4” x 29‑3/4”. Framed. [3000/5000] Illustrated 1186 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Canoe and Cypress Trees”, oil wash on paper, signed lower right, sight 19” x 29”. Glazed, matted and framed. [2500/4000] Illustrated 1187 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Live Oak Landscape”, 1917, oil wash on paper board, pencil signed and dated lower left, sight 6‑1/2” x 19‑3/4”. Attractively matted and framed. [2000/4000] Illustrated

1188 William Woodward (American/New Orleans, 1859‑1939), “Cows in a Louisiana Field”, ink on paper, signed lower right, sight 6‑1/2” x 15”. Glazed and framed. Provenance: Private collection, New Orleans, Louisiana. [1500/2500] Illustrated

1184

1188

1185

1188 detail 1189 Ellsworth Woodward (American/New Orleans, 1861‑1939), “Houseboats on Red River”, etching, initialed in plate lower left , sight 8” x 9‑3/4”. Attractively matted, glazed and framed. [800/1200] Illustrated

1186

1187

1189

261

1190 Morris Henry Hobbs (American/ New Orleans, 1892‑1967), “Atchafalaya Swamp, Louisiana”, 1944, etching, pencil signed lower right, titled and inscribed “Ed/100” lower left, sight 12‑3/4” x 9‑1/2”. Attractively glazed, matted and framed. [600/900] Illustrated

1192 1190 1191 Ellsworth Woodward (American/New Orleans, 1861‑1939), “Madame John’s Legacy”, 1885, etching, initialed and dated in plate lower right , sight 10” x 12”. Attractively matted, glazed and framed. [800/1200] Illustrated

1191

1192 Knute Heldner (Swedish/New Orleans, 1875‑1952), “Sunny Afternoon, French Quarter”, oil on canvas board, signed lower left, a “Farish Art Store/New Orleans” label en verso, 15‑1/2” x 20”. In a cove-molded carved wood frame. [7000/10000] Illustrated

262

1193 1193 Knute Heldner (Swedish/New Orleans, 1875‑1952), “Old Louisiana”, oil on canvas board, signed lower right, signed, with artist mark, and titled en verso, a “Farish Art Store/New Orleans” label en verso, 15‑1/2” x 20”. In a cove-molded carved wood frame. [3000/5000] Illustrated

1197

1197 detail

1194 Alberta Kinsey (American/ Louisiana, 1875‑1952), “Parisian Street Scene with Figure Under an Archway”, oil on board, signed lower right, 14” x 10”. Presented in a period frame. [800/1200] Illustrated 1195 Charles Richards (American/ New Orleans, 1906‑1992), “Portrait of a Young Woman”, oil on canvas, signed upper left, 14” x 17”. Framed. [700/1000] Illustrated

1195 1194

1196 Emilie de Hoa LeBlanc (American/Louisiana, 1870‑1941), “Floral Still Life with Tulips”, watercolor on paper, signed lower left, sight 13‑1/2” x 17”. Glazed, matted and framed. [700/1000] Illustrated 1197 George Rodrigue (American/Louisiana, 1944‑2013), “Two Cajuns in a Pirogue”, oil on canvas, signed lower left, 24” x 36”. Framed. [20000/40000] Illustrated 1196

263

1198 Near Pair of Unusual Cast Iron Garden Urns, fourth quarter 19th century, probably French, of campana form with acanthus-molded bodies and pierced, scrolled handles with applied acanthus leaves, raised on fluted bases, h. 24‑1/4”, dia. 21”. [1500/2500] Illustrated

1199 Italian Marble Garden Sculpture of “Caught in the Storm”, ca. 1900, a faint, illegible inscription along self-base, depicting a young girl bracing herself against the wind, h. 45”, w. 13”, d. 20”; together with a mid20th-century white Carrara marble pedestal, h. 30”. [2500/4000] Illustrated 1200 Neoclassical-Style Patinated Bronze and MarbleTop Side Table, third quarter 19th century, the thick octagonal white marble top supported by a tripodal bronze base ending in paw feet, h. 30”, w. 20‑1/2”, d. 20‑1/2”. [500/800] 1201 American School (Fourth Quarter 19th Century), “Portrait of a Dark-Haired Lady in a White Dress”, oil on canvas, unsigned, the three-quarter-length figure depicted seated and holding a book, 30‑1/4” x 25‑1/4”. Presented in an attractive cove-molded and annulated giltwood frame with carved shield-form corner accents. [2000/4000] Illustrated

1198

1201

1199

264

1202 American Rococo/Renaissance Revival Burled Walnut and Walnut Half-Tester Bed, third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the serpentine tester with a carved cartouche crest centered by a cabochon, raised on tapering square columns supporting a headboard with a single arched panel, the wrap footboard centered by applied carving with a cabochon, the headboard now fitted with a Columbia mask crest, h. 130”, inside, w. 58‑1/2”, l. 79”, outside, w. 67”, l. 85”. Provenance: Descended in the Fossier family, New Orleans. [3000/5000] Illustrated

1203 American Renaissance Revival Walnut and Burled Walnut Two-Piece Bedroom Suite, third quarter 19th century, comprised of a dressing bureau and a wash stand, each with an unusual concave front, the dresser with an arched mirror plate beneath a crest depicting a classical woman’s head in the Neo-Grec taste, on a marble-top base with three drawers, each with raised burled panels, h. 98”, w. 59”, d. 24‑1/4”, and the wash stand with a marble top and shaped splash, and a concave upper drawer over a pair of doors with raised panels, h. 45‑1/4”, w. 39”, d. 20”. [1400/1800] Illustrated

1203 part of a 2-piece suite

1204 American Rococo Revival Polychrome-Stenciled Mahogany Armoire, third quarter 19th century, attributed to Joshua Jones, Cincinnati, Ohio, the bonnet top with a classical mask crest, over a carved frieze, the pair of doors with mirrored panels, opening to reveal an interior retaining its original painted floral bouquets and decor, on a base with a pair of drawers, h. 113”, w. 62‑1/2”, d. 22”. [1200/1800] Illustrated

1202

1204

265

1205 Pair of Renaissance Revival-Style Bronze Sconces, the Eastlake backplates supporting figures of winged nereids holding torches set with electric sockets, mounted with pierced brass shades, h. 17‑1/4”, w. 6‑1/2”, d. 6‑3/4”. [700/1000] Illustrated

1207 American Rococo Revival Walnut Etagere, third quarter 19th century, the crest with a broken arch centered by a cabochon-carved cartouche, over an arched mirror plate flanked by shelves and shaped mirrors, the lower marble-top cabinet flanked by shelves, h. 88”, w. 51‑1/2”, d. 16”. [800/1200] Illustrated

1206 American Renaissance Revival Walnut Night Stand, third quarter 19th century, the marble top with projecting corners, over a conforming case with a drawer over a door, each mounted with applied carving and flanked by carved pilasters, h. 32”, w. 20‑1/2”, d. 18”. [500/800]

1208 French School (19th Century), “Summer Day”, oil on canvas, unsigned, 28‑3/4” x 21‑1/2”. Presented in a contemporary giltwood frame. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [700/1000] Illustrated 1208 1210

1211

1209 American Renaissance Revival Marquetry-Inlaid, Ormolu- and Porcelain-Mounted Rosewood Cabinet, ca. 1870, attributed to Alexander Roux, New York, the case with a raised center plinth over a small plaque depicting an allegorical female masque, over a pair of doors with foliate and floral inlay centered by circular plaques, one depicting Michelangelo, the other Raphael, the doors flanked by fluted columns with gilt-lacquered bronze capitals, the concave ends each with trophy inlay, h. 54‑1/2”, w. 70”, d. 18‑1/2”. [6000/9000] Illustrated

1205

1209

1210 American Renaissance Revival Parcel-Gilt and Ebonized Walnut and Burled Walnut Cabinet, ca. 1870, attributed to Moore, York and Howell, Philadelphia, the upper section with a recessed drawer and carved crest, the case with a drawer over a paneled door centered by an electrotype bronze plaque in the NeoGrec taste, and flanked by fluted and carved pilasters, the convex ends each with a burled panel, adorned with gilt incising throughout, h. 63”, w. 52”, d. 24”. [2000/4000] Illustrated

266

1211 American Brass- and Bronze-Mounted, Parcel-Gilt and Marquetry-Inlaid Ebonized Stand, ca. 1865, the bronze top rim marked “PS.19” for Pottier and Stymus, New York, the circular pietra dura top inlaid with various stones depicting blooms and leaves, set in a marked bronze bezel and rosewood-banded rim, on a base mounted with metal female masques, the fluted central column joined to three scroll brackets, each with a marquetry panel, h. 36‑1/4”, dia. 18”. [1500/2500] Illustrated

1213

The incorporation of a pietra dura top on the present table likely predates the use of that medium in a number of pieces by the firm’s chief competitor, Herter Brothers, and its use through the 1870s by Pottier and Stymus. 1212 Egyptian Revival Bronze and Marble Mantel Clock, fourth quarter 19th century, French, the pylon-form rusticated case composed of black and red griotte marble, and mounted with a patinated bronze displayed vulture under the dial, and heads of Apis, the bull god, serving as handles and a seated bronze Osiris serving as the finial, the dial marked by the retailer, Savage, Lyman & Co., Montreal, h. 18‑1/4”, w. 10‑1/4”, d. 6”. [1500/2500] Illustrated

1212 1213 Pair of Egyptian Revival Parcel-Gilt Mahogany Sidechairs, each back with a central panel carved depicting an Egyptian figure amongst various symbols and stylized hieroglyphs, with a dished slat seat and legs ending in carved paws, the legs joined by box stretchers, h. 44‑3/4”. [3500/5000] Illustrated

1214

1207

1214 Seven-Piece Collection of Handsome American Brilliant Period Cut Glass, ca. 1900, including a champagne pitcher in Tuthill’s “hobstar and strawberry” pattern, h. 13‑1/4”, dia. 5‑1/4”, a butter dish cut with hobstars, strawberries and fans, h. 8‑1/2”, dia. 6‑1/4”, with an underplate, dia. 9‑3/4”, a butter dish cut with buzz stars, h. 8‑1/2”, dia. 6‑1/2”, with an underplate, dia. 9”, a compote on a stepped base cut with hobstars and fans, h. 7”, dia. 7”, a jelly compote cut with buzz stars and strawberries, h. 8”, dia. 5‑1/2”, a pitcher cut with hobstars, h. 10‑1/2”, dia. 5‑1/2”, and a low pitcher cut with buzz stars, h. 8”, dia. 5”. [500/800] Illustrated 1215 Rare Set of American Brilliant Period Cut Glass, ca. 1900, including twelve finger bowls and underplates cut with hobstars and fans, h. 3”, dia. 6‑1/2”, and a pedestal stand in Hawkes “Cobweb” pattern, h. 1‑1/2”, dia. 10” (25 total pieces). [500/800]

267

1216 Twenty-Seven-Piece Partial Set of St. Louis “Excellence” GoldTrimmed Cut Crystal Stemware, post-1967, French, including six hock wine glasses, h. 10‑1/4”, five burgundy glasses, h. 8‑3/4”, five champagne coupes, h. 7‑1/2”, five bordeaux glasses, h. 8”, and six sherry glasses, h. 7‑1/2”. [1400/1800] Illustrated

1216

1217 Set of Four American Walnut Window Cornices, fourth quarter 19th century, with curtain rods and rings, the cornices supported on side brackets, reeded beneath swan’s neck crests and carved with leaves and anthemia on a stippled ground, h. 21‑1/2”, w. 59”. [2500/4000] Illustrated

1218

1217 1 of 4

1218 American Brass, Onyx and Glass Piano Lamp, fourth quarter 19th century, set with a white glass ball shade of the period, decorated with glass “jewels” in gilt-brass settings, the adjustable standard molded with grapes and grape leaves, the onyx top supported by brass cabriole legs and a pierced skirt, h. 66”, w. 14”, d. 14”. [700/1000] Illustrated 1219 American Brass and Glass Piano Lamp, fourth quarter 19th century, Boston, in the Aesthetic taste, set with a fine frosted cranberry glass ball shade cut with flowers, the adjustable standard with a pierced font holder with Aesthetic decoration, the lower edge marked “R. Hollings & Co., Boston, USA”, on spiral-reeded feet, h. 65‑1/2”, dia. 18‑1/2”. [500/800] Illustrated 1219

268

1220 Bartholomew Gallotti (Italian/Mexico/New Orleans, Late 19th/Early 20th Century), “Queen Anne’s Lace”, 1910, oil on canvas, signed and dated lower left, a “W. E. Seebold/New Orleans” label en verso frame, 48” x 31‑1/2”. In a period incised giltwood frame. Provenance: Private collection, Mandeville, Louisiana. [1000/1500] Illustrated Gallotti was active in New Orleans ca. 1910s, and was a member of the local Art Association. A somewhat elusive figure, little biographical information is readily available. The first clear mention of the artist is when a Bartolomeo Gallotti from S. Bartolomeo, is listed as a student of the Accademia di Belle Arte, Milano for the academic year 1889‑1890, where he received a bronze medal for painting. That same year, a portrait of Giovanni Berra, the rector of San Giovanni alle Case Rotte, was completed by Gallotti; it was a replacement commission of the 1878 portrait by Alessandro Rinaldi (Italian, 1839‑1890) which had been destroyed in a fire. There are no further listings of work by Gallotti in Italy. Sometime between this date and the turn of the century, Gallotti traveled to Mexico where he was involved in the decoration of the famed Palacio de Correos de Mexico (colloquially the Palacio Postal) in Mexico City. The main meeting room of this building contains a series of frescos of children completed by the artist. While the exact date of these murals is not known, the construction of 1220 the building began in 1902 and was completed in 1907. Since the main architect of the Palacio was from Italy, it would not be surprising that several of the artists and artisans employed may have been his compatriots. American Art News, March 11, 1916, in its review of the 15th Exhibition at the Delgado Museum of Art (now the New 1220 Orleans Museum of Art) refers to Gallotti (now listed as Bartholomew and not Bartolomeo) as a member of the local Mexican community of detail New Orleans. The artist was represented at the exhibit by eight oils on canvas and the technical skill revealed was such that it prompted the reviewer to comment, “Mr. Gallotti has selected his subjects from among the poorer classes and has portrayed the characters and feelings of these people with much force. His treatment is broad and direct and his color is good.” While the subject of the portrait presented here is clearly of the middle classes, the treatment and style of the painting can be described in much the same manner. A rich deep palette of blues, greens and browns, a strong and carefully arranged composition, and a bold, confident brushstroke, all merge to create a powerful work which represents a somewhat idealized view of childhood introspection and concentration, without ever veering into the sentimentality then so prevalent. References: American Art News, Vol. XIV, No. 23, March 11, 1916.; Luna, Marina Juarez. Palacio Postal, Instituto Politecnico Nacional, 2009.

269

1221 Vernacular American Parquetry-Inlaid Oak, Walnut and Horn Games Table, ca. 1900, the square parquetry top centered by a checkerboard, each corner with an inlaid heart, diamond, club or spade denoting the suits of a deck of playing cards, on a base formed by joined steer horns, the top and base of like date, though possibly associated, h. 28‑1/4”, w. 30‑3/4”, d. 30‑3/4”. [600/900] Illustrated

1223

1224 Robert Gillar (Austrian, 1867‑1914), “An Ottoman Empire Market Scene”, oil on canvas, signed lower right, 29” x 35‑1/2”. Framed. [5000/8000] Illustrated

1221

1222 American Cast Iron Stag, early 20th century, in the manner of J. W. Fiske and Company, New York, the lifesize figure mounted to a rectangular cast iron plinth base, h. 63”, w. 16”, l. 52”. [5000/8000] Illustrated

1224

1222

1223 American Elk Horn and Leather-Covered Bench, 20th century, the oblong seat upholstered in distressed leather, mounted to a base of intertwined elk antlers, h. 16”, w. 52”, d. 14”. [900/1200] Illustrated

270

1225 Exceptional Royal Worcester Porcelain Ewer in the Persian Taste, ca. 1876‑1890, English, with a pierced handle and upper rim, decorated with faux bronze and silver appliques, mounted with turquoise, pearl and canary “jewels”, with carefully detailed scrollwork beading and lotus petals, the panels formed by the appliques further enhanced with a frame of delicately delineated Moorish panels, the interior of the neck and spout decorated with silver gilt scrollwork and tendrils, with a brown printed underglaze mark with an illegible date letter, h. 17”. [500/800] Illustrated

1225

1226 1226 Follower of Eugene Alexis Girardet (French/Swiss, 1853‑1907), “Cafe in Algeria”, oil on canvas, inscribed lower right “E.W., d’apres Giradet/Biskra, 1880”, 20” x 40”. Framed. [600/900] Illustrated 1227 Painted Pottery Figure of a Middle Eastern Woman, first quarter 20th century, probably German, the figure dressed in layered fringed robes, an elaborate cape pinned to her bodice and decorated with raised patterns, and a Middle Eastern necklace hanging around her neck, on a stepped base, h. 40”, w. 12‑1/2”, d. 14‑1/2”. [1800/2500] Illustrated 1228 Pair of Decorated Pottery Orientalist Figures, ca. 1900, made by B. Block & Co., Eichwald, Germany, raised on molded feet, one figure depicting a harem girl and the other a Moorish guard brandishing a sword, each standing before a tower with a pierced crow’s nest which possibly held a light, marked “BB”, h. 27‑3/4”, w. 9”, d. 9‑1/2”. [1200/1800] Illustrated

1227

1229 1230 Continental Patinated Bronze of “Cossacks on Horseback”, 20th century, cast signature “A. M. Bonegor” at base, h. 11‑1/4”, w. 8‑3/4”, d. 8‑3/4”. [800/1200] Illustrated

1230

1228

1231 Francois Nicolas Augustin FeyenPerrin (French, 1826‑1888), “Nude Under a Tree”, oil on panel, signed upper center, 15” x 6”. Presented in a handsome, period giltwood and gesso frame. [700/1000] Illustrated

1229 Enrico Fanfani (Italian, 1824‑1885), “Arabian Water Carrier”, oil on canvas, signed lower left, 32” x 22”. Presented in a handsome, period carved and pierced giltwood frame. [3500/5000] Illustrated

1231

271

1232

1232 Six Pieces of Tiffany Gold Iridescent Favrile Glass, first quarter 20th century, including a bowl signed “L.C.T”, with a spurious registration number, h. 2‑1/2”, dia. 7‑1/4”, and an assembled group of five salts, all signed “LCT Favrile”, h. 1”, dia. 2‑1/2” to 3”. [800/1200] Illustrated

1233

1233 Set of Twelve Lenox Porcelain Raised Gilt Service Plates, ca. 1930, Trenton, New Jersey, each with a cobalt border against an ivory ground, decorated with raised gilt baskets of flowers and scrollwork, with a green Lenox mark and pattern/date code 1830/E.306B, dia. 10”. [900/1200] Illustrated

1235

1236 Ellsworth Woodward (American/ New Orleans, 1861‑1939), “Abishag Came and Stood Before the King”, graphite on paper, monogrammed and titled lower right, from Kings 1:4, sight 15” x 7‑1/2”. Glazed, handsomely matted, and framed. Provenance: Collection of the artist’s family; Private collection New Orleans, Louisiana. [500/800] Illustrated 1236

1234 Augustus Vincent Tack (American, 1870‑1949), “Portrait of a Lady in a Green Gown, Possibly the Daughter of the Artist”, oil on canvas, unsigned, old label en verso with artist, title and provenance, 40” x 29”. Framed. Provenance: Estate of Agnes Gordon Tack; Private collection. [800/1200] Illustrated 1235 1234 Newcomb College Pottery Matte Glaze Low Bowl, ca. 1914, New Orleans, Louisiana, decorated with a bas relief-molded rim on a blue ground, decorated by Anna Frances Simpson (1880‑1930) and potted by Joseph Meyer (1848‑1931), marked “NC”, for Newcomb College, “JM”, for Joseph Meyer, and “6Y81”, the 1914 registration number, a “C” in a circle identifying the clay, “256” and “301”, one of which identifies the shape, h. 3‑3/4”, dia. 6‑1/4”. [1200/1800] Illustrated

272

1237 1237 Ellsworth Woodward (American/New Orleans, 1861‑1939), “Reclining Nude”, graphite on paper, monogrammed lower left, sight 8‑5/8” x 15”. Glazed, matted and framed. Provenance: Collection of the artist’s family; Private collection New Orleans, Louisiana. [500/800] Illustrated

1238

1238 Pair of Gilt-Bronze Andirons in the Style of E. F. Caldwell, New York, first quarter 20th century, in the Baroque taste, the scrollfooted bases supporting egg-form standards decorated with molded leaves and reeding, and female figures representing autumn and spring, h. 28”, w. 12”, d. 12”. [2000/4000] Illustrated

1242 Max Kalish, A.N.A. (Polish/New York, 1891‑1945), “Maternal Love”, 1930, marble, incised signature, dated, and inscribed “Created for Dr. Floyd Mowry” along back edge, h. 8‑1/2”, w. 21‑3/8”, d. 8‑1/2”. [1500/2500] Illustrated

1239

1240 1 of 2

1242

1239 Chaim Gross (Austrian/American, 1904‑1991), “Mother and Child, Seated”, patinated bronze, incised signature, numbered “34/47”, and with foundry mark for Joel Meisner & Co., New York, at back, on a carved wood plinth, overall, h. 10‑1/4”, w. 5‑1/2”, d. 5‑1/2”. [800/1200] Illustrated 1240 Pair of Art Deco Metal Mirrors in the Style of Oscar Bach, possibly American, the metal-clad mirrors on a wooden core, the frames outlined with rope-twist turning and decorated with roundels with various quatrefoils, with bronze-finished flowers and bronze strapwork, all on a burnt sienna ground, with a crenellated crest and scrolled finial, h. 53‑1/2”, w. 35”. [2000/4000] Illustrated 1241 Fine Steinway and Sons Model “O” Bubinga Wood Player Grand Piano and Bench, ca. 2008, from Steinway's Crown Jewel Collection, piano, h. 40”, w. 58”, l. 71” and bench, h. 20”, w. 35”, d. 15”. [20000/40000] Illustrated

1241

273

1243 1243 J. H. Stermer (American, 20th Century), “The Oil Tanker”, oil on canvas, signed lower right, 25” x 36”. Framed. [800/1200] Illustrated

1245

1246

1244

1244 One Hundred and Twenty-Eight-Piece Set of S. Kirk & Son “Mayflower” Sterling Silver Flatware, the pattern designed in 1846 by Samuel Kirk (1793‑1872), comprising eight twelve-piece place settings (three pieces lacking) with an additional dozen teaspoons, plus two place pieces and twenty-one serving pieces, monogrammed “BLR”, together with a single four-piece place setting in Kirk-Stieff’s “Old Maryland” pattern, 147.05 total t. oz. (weighable silver). [132 total pieces.] Detailed list of pieces available on request. [2000/4000] Illustrated

1247 Five Stieff and Other “Rose” Pattern Sterling Silver Serving Pieces, including Stieff pieces: a fruit spoon monogrammed “RMR”, l. 9”, a berry spoon, l. 7‑3/4”, a serving spoon monogrammed “W”, l. 9”, and a hotcake server, l. 8‑5/8”, together with an unmarked but nearly identical serving fork monogrammed “M”, l. 9”, 15.93 total t. oz. [700/1000] Illustrated

1245 S. Kirk & Son Sterling Silver Compote, second quarter 20th century, Baltimore, Maryland, of circular form, the shaped rim decorated with deep repousse flowers in the traditional Baltimore manner, raised on a trumpeting foot decorated en suite, monogrammed “MM”, h. 4‑1/2”, dia. 11‑1/4”, 27.59 t. oz. [600/900] Illustrated 1246 Large Stieff “Rose” Sterling Silver Platter Serving Set, the pattern introduced in 1892, Baltimore, Maryland, including a platter spoon, l. 12‑5/8”, and a serving fork, l. 13”, monogrammed “W”, 12.68 total t. oz. [800/1200] Illustrated

274

1247

1250 Tiffany & Co. Sterling Silver Covered Entree/ Vegetable Dish, the pattern introduced in 1923, New York, New York, of oval form with molded rim, the fitted lid with detachable stirrup handle and lifting to reveal a detachable divided liner, overall, h. 4‑3/4”, l. 11”, w. 8‑3/4”, 62.81 total t. oz. The components here may be used as one, two or three separate dishes. [800/1200] Illustrated

1248 1250

1248 Tiffany & Co. Sterling Silver Gilt Center Bowl, the pattern introduced in 1904, New York, New York, of lobed circular form, the everted rim pierced and decorated with scrolling berries and foliage, h. 3”, dia. 12”, 25.08 t. oz. [800/1200] Illustrated

1252

1249

1249 Tiffany & Co. Sterling Silver “Queen Anne” Teapot, the pattern introduced in 1937, New York, New York, the pear-shaped body with domed lid, “gooseneck” spout and crested ebony handle, h. 8”, l. 8‑3/4”, dia. 4‑3/4”, 22.73 t. oz. [500/800] Illustrated

1251 Three Pieces of Tiffany & Co. Sterling Silver Tableware, third quarter 20th century, including a “Bamboo”-pattern silent butler, monogrammed “JWB”, l. 10”, w. 6”, and a “Governor”-pattern parcel-gilt salad serving set, no monogram, l. 10”, 20.61 total t. oz. [500/800] 1252 Tiffany & Co. Sterling Silver Platter, the pattern introduced in 1951, New York, of circular form with molded rim, dia. 18”, 68.37 t. oz. [1200/1800] Illustrated

275

1253

1253 Tiffany & Co. Sterling Silver and Enamel Bowl, the pattern introduced in 1923, New York, New York, the rim and interior decorated with a band of acid-engraved scrolling foliage in green and blue enamel, monogrammed “JMcD”, h. 2‑1/4”, dia. 8”, 13.92 t. oz. [1500/2500] Illustrated 1254 1254 Gorham Sterling Silver and Enamel Trumpet Vase, 1897, Providence, Rhode Island, of tapering serpentine square section, decorated with embossed and applied tulip decoration, enameled on one side in translucent shades of green, yellow and orange, raised on a circular domed foot, h. 10”, dia. 3‑1/4”, 6.38 t. oz. [1200/1800] Illustrated

1255

1257 Collection of Seven American Aesthetic and Art Nouveau Sterling Silver Serving Pieces, mid-19th to early 20th centuries, including a Gorham “Byzantine” oyster ladle monogrammed “S & PJ”, l. 12‑1/2”, a Gorham “Imperial Chrysanthemum” parcel-gilt cream ladle monogrammed “MFG”, l. 5‑3/4”, a Gorham “Versailles” fish serving fork monogrammed “LC”, l. 8‑1/2”, a Gorham “Royal Oak” parcel-gilt salad serving fork monogrammed “HC”, l. 10”, an Amston “Gladstone” berry spoon, l. 8‑7/8”, a Wallace “Violet” berry spoon, monogrammed “K”, l. 8‑3/4”, and an unusual cast and pierced berry spoon with figural female handle and iris decoration, l. 9‑1/2”, 25.56 total t. oz. [800/1200] Illustrated

1256

1255 Two Gorham Sterling Silver and Enamel Small Vases, 1897, Providence, Rhode Island, each of baluster form, cast with raised tulip decoration enameled in translucent shades, one enameled on both sides in green, yellow and red, the other enameled on one side only in green, white and purple, h. 4‑3/8”, dia. 2‑1/4”, 6.09 total t. oz. [1000/1500] Illustrated 1256 American Art Nouveau Sterling Silver and Glass Inkstand, first quarter 20th century, by the Barbour Silver Co., Hartford, Connecticut, retailed by Marcus & Co., New York City, New York, of rectangular form with gauffered edge and “hammered” finish, decorated with realistic repousse poppies, centering a square glass inkwell with beveled edge and square-cut base, fitted with a silver collar and flattened spherical cap decorated en suite with the stand, overall, h. 5‑1/2”, w. 9‑1/4”, d. 7‑1/2”, 13.95 t. oz. (stand only). [1500/2500] Illustrated

276

1258 Five American Sterling Silver Dishes, first half 20th century, including a Kalo Shops lobed dish, 1912‑1916, with applied monogram “VP”, dia. 9‑3/4”, a Gorham/ Durgin cake plate with hammered finish and floral scroll border, monogrammed “EW”, dia. 9‑1/2”, a Frank M. Whiting sandwich plate with floral scroll border, dia. 10‑3/8”, a Dominick & Haff “Salem” sandwich plate, monogrammed “EW”, dia. 10‑1/2”, and a Reed & Barton “Hepplewhite Engraved” serving platter, retailed by Marcus & Co., monogrammed “MGS”, 13‑3/4” x 9‑3/4”, 72.21 total t. oz. [1200/1800] Illustrated

1257

1258

1259 Good Gorham Sterling Silver-Mounted Glass Flask, first quarter 20th century, of rounded rectangular form, the upper section clad in silver basketweave, with hinged twist-lock cap, the lower section with a detachable silver cup, inscribed on the cup “R.C. Camp”, h. 6‑1/2”, w. 3‑3/4”, 2.28 t. oz. (cup only). [500/800] Illustrated

1259

1261

1262 Nine Sterling Silver Bowls, 20th century, including a set of eight Shreve & Co., San Francisco, condiment bowls with everted rim and rococo edge, monogrammed “HEM”, h. 1‑1/2”, dia. 4‑7/8”, and a fruit bowl by Kara International, Istanbul, of hemispherical form with concave lobes, decorated with chased acanthus and pierced latticework, raised on an openwork acanthus foot ring, h. 5‑3/4”, dia. 9‑1/4”, 45.77 total t. oz. [600/900]

1263

1260 Three Pieces of American Sterling Silver Hollowware, 20th century, including a Gorham “Chippendale” covered entree dish, l. 10‑3/4, w. 7‑3/4”, a Gorham circular fruit bowl with gadrooned rim, dia. 9‑1/2”, and a Lunt circular condiment dish with pierced and floral-embossed rim, dia. 5‑7/8”, the fruit bowl monogrammed “HLH”, 40.56 total t. oz. [500/800] 1261 One Hundred and Four-Piece Set of Gorham “King Edward” Sterling Silver Flatware, the pattern designed in 1936 by James Russell Price (1907‑1974), Providence, Rhode Island, comprising ten eight-piece place settings (one seafood/cocktail fork lacking), with eight napkin clips, three additional place pieces and fourteen serving pieces, no monograms, 101.4 total t. oz. (weighable silver). Detailed list of pieces available on request. [1000/1500] Illustrated

1263 Pair of Gorham Sterling Silver “Buttercup” Convertible Candelabra, the pattern introduced in 1899, Providence, Rhode Island, each candelabrum in four parts - base, standard, socket and branches - permitting them to be arranged as candlestands, h. 4‑3/4”, candlesticks, h. 9‑1/4”, or candelabrum, h. 12‑1/2”, w. 11‑3/4”, base dia. 4‑3/8”, weighted. [500/800] Illustrated

277

1264

1264 Two Hundred and FortyThree-Piece Set of Gorham “Buttercup” Sterling Silver Flatware, the pattern introduced in 1899, Providence, Rhode Island, comprising a dozen twelve-piece place settings with an additional sixty-nine place pieces and thirty serving pieces, no monograms (except for four pieces), 196.98 total t. oz. (weighable silver), presented in a pair of fitted Pacific cloth-lined drawer inserts, 12” x 14‑5/8”, with lift-out knife racks. Detailed list of pieces available on request. [4000/7000] Illustrated 1265 Reed & Barton Six-Piece “Renaissance” Silverplate Tea Set, mid-20th century, Taunton, Massachusetts, comprising a coffeepot, h 11‑1/2”, a teapot, h. 8‑3/4”, a covered sugar bowl, h. 6‑3/4”, a cream jug, h. 5‑1/2”, a waste bowl, h. 4‑1/2”, and a tray, 30” x 21‑1/2”. [500/800] Illustrated

1267 American Rococo Revival Rosewood and Faux Grained Rosewood Three-Piece Bedroom Suite, third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, comprised of an elaborate high-back bedstead with a floral-pierced carved crest, h. 92”, inside, w. 61”, l. 81”, outside, w. 68”, l. 90”, a marble-top dressing bureau, h. 95”, w. 65”, d. 25”, and a marble-top tall chest, h. 47”, w. 47”, d. 22”. [5000/8000] Illustrated

1265

1264 detail

1266 One Hundred and Five-Piece Set of Wallace “Grande Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, including twelve seven-piece place settings, with an additional dozen teaspoons and nine serving pieces, no monograms, 123.31 total t. oz. (weighable silver). Detailed list of pieces available on request. [3000/5000] Illustrated

278

1266

1268 Thomas Grimshaw (British, 19th Century), “Portrait of Two Children with Their Dog, In a Wooded Landscape”, 1863, oil on canvas, signed and dated lower right, 50” x 40”. Presented in a floral- and acanthinemolded giltwood and gesso frame. [1500/2500] Illustrated 1268 1267 3-Piece Suite

1269

1269 American Rococo Revival Laminated Rosewood Center Table, third quarter 19th century, the tortoiseform marble top over a conforming open-carved laminated apron raised on cabriole legs joined by serpentine laminated stretchers centered by a finial, h. 29‑3/4”, w. 43”, d. 29‑1/2”. [1500/2500] Illustrated A related table from the same body of work is in the collection of the Historic New Orleans Collection with a McCracken, New Orleans label.

1267 3-Piece Suite

279

1270 American Rococo Revival Laminated Rosewood Sofa in the “Henry Clay” Pattern, mid-19th century, attributed to John Henry Belter, New York, the serpentine back of tripartite form, each section with a floral-, fruit- and foliatecarved crest, the back extending to closed arms, a serpentine seat and cabriole legs, now upholstered in the period fashion in tufted brocade, h. 42‑1/2”, w. 78”, d. 32”. [2000/4000] Illustrated

1270

1271

1273 Brass and Crystal Six-Light Gasolier, fourth quarter 19th century, probably English, composed of a molded and pierced brass ring and matching corona hung with strands of drops, the candle arms terminating in molded scrolls, retaining partial nickel plating to the brass, h. 35‑1/4”, dia. 29”. [500/800]

1272

1271 Pair of American Rococo Revival Laminated Rosewood Armchairs in the “Henry Clay” Pattern, mid-19th century, attributed to John Henry Belter, New York, each with a floral-, foliate- and fruit-carved crest on a concave back, with open arms, a serpentine seat and cabriole legs, now upholstered in the period fashion in tufted beige brocade, h. 43”. [2500/4000] Illustrated 1272 American Rococo Revival Rosewood Lady’s Secretary, third quarter 19th century, attributed to Thomas Brooks, Brooklyn, New York, the upper portion with a bonnet top adorned with lobed finials over a pair of doors with scalloped mirror plates, opening to reveal a finished figured birch interior over a roll top centered by applied carving, the segmented interior with a pull-out writing surface, raised on cabriole legs with floral and leaf carving, h. 75”, w. 34”, d. 22‑1/2”. [2500/4000] Illustrated

280

1274

1274 American Rococo Revival Laminated Rosewood Recamier in the “Rosalie” Pattern, third quarter 19th century, attributed to John Henry Belter, New York, the floraland leaf-carved crest flanked by clusters of grapes extending to a shaped back and closed arms, with serpentine seat and cabriole legs, now upholstered in button-tufted plush, h. 37‑1/4”, w. 37”, d. 26”. [2000/4000] Illustrated

1276

1275

1275 Pair of American Rococo Revival Laminated Rosewood Sidechairs in the “Rosalie Without Grapes” Pattern, third quarter 19th century, attributed to John Henry Belter, New York, each with a floral-, fruit- and leaf-carved crest over a concave back, a serpentine seat and cabriole legs, now upholstered in gold brocade, h. 38‑1/2”. [1000/1500] Illustrated 1276 Monumental American Rococo Revival Giltwood Pier Mirror, mid-19th century, with a complex bolection surround and an arched crest, the mirror decorated with pierced scrollwork flanking the sides at the base, the crest decorated with an unusual fan of molded leaves and scrollwork, h. 113”, w. 60”, now on an architectural base after a design by Minard, h. 16”, w. 62”, d. 9”. [2000/4000] Illustrated

1277

1277 Pair of American Rococo Revival Laminated Rosewood Sidechairs in the “Hawkins” Pattern, third quarter 19th century, attributed to J. & J. W. Meeks, New York, each with a floral- and foliate-carved crest flanked by a pierced field depicting grapes, leaves and vines, and centered by an upholstered chairback, with a round seat over a conforming carved apron and cabriole legs, h. 43”. [2000/4000] Illustrated

281

1282

1278 Important American Rococo Revival Laminated Rosewood Etagere, third quarter 19th century, the back of the top and base each labeled by Thomas Brooks, Brooklyn, New York, in two parts, the upper section with a domed top on turned supports fronting shelves and mirrors, the serpentine console base with a conforming laminated pierce-carved apron in foliate, floral and scroll decor, raised on cabriole legs joined to a low shelf and backed by mirror plates, the crest replaced, h. 85‑1/2”, w. 56”, d. 21‑1/2”. [4000/7000] Illustrated Etageres of this group have traditionally been attributed to the prominent New York shop of J. & J. W. Meeks, based on the similarity of laminated construction to that of a parlor suite given by Joseph Meeks to his daughter, Sophie Meeks Hawkins, as a wedding gift. Thomas Brooks operated a flourishing cabinet making business in nearby Brooklyn and had a large fashionable wareroom in that borough. A similar “Meeks” etagere base with a Brooks label sold in this gallery May 21, 2005, as lot 870.

1278

1279

1279 Fine American Rococo Revival Rosewood and Petit-Point Firescreen, third quarter 19th century, New York, in the manner of John Henry Belter or from a competitor of equal rank, the frame with sprays of flowers and cornucopia bound by ribbons, h. 66”, w. 43”. [7000/10000] Illustrated

282

1280 Large American Rococo Revival Rosewood Cylinder Secretary, third quarter 19th century, New York, the upper section with a broken-arch pediment centered by a finial and flanked by scrollwork, over a pair of glazed doors, the base with a cylinder opening to reveal a pullout interior with adjustable writing surface and fitted with shelves and drawers, over a pair of doors with scalloped apron and bracket feet, h. 103‑1/4”, w. 48”, d. 25”. [1500/2500] Illustrated

1281

1284

1280

1283

1281 American Rococo Revival Rosewood Console, third quarter 19th century, New York, the serpentine marble top over a conforming frieze centered by floral carving, raised on cabriole legs joined by a low shelf and mirrored back, formerly fitted as an etagere base, h. 39‑1/4”, w. 63‑1/4”, d. 22‑1/4”. [2000/4000] Illustrated 1282 American Rococo Revival Walnut Sideboard, third quarter 19th century, in the manner of Alexander Roux, New York, in two parts, the upper section with a deeply carved crest centered by a cartouche with the client’s monogram carved on a cabochon, flanked by fruit and foliate carving, over a shelf on carved brackets, the base with a molded marble top with a flat face, half-round projecting columns and serpentine sides over a conforming case with two drawers over two doors, the latter mounted with carved fish and foul, h. 81”, w. 66”, d. 25‑1/2”. [2500/4000] Illustrated 1283 American Rococo Revival Walnut Dining Table, third quarter 19th century, the circular top opening to accommodate three leaves, raised on cabriole legs with a cabochon- and fruit-carved cartouche and leafcarved feet, h. 29‑1/2”, dia. 52”, extended l. 101‑1/2”. [1000/1500] Illustrated 1284 Suite of Four Rococo Revival Rosewood Dining Chairs, third quarter 19th century, each with a rose- and foliate-carved crest hollow back, serpentine seat and cabriole legs, now upholstered in tufted floral brocade on a deep green ground, h. 38‑1/4”. [600/900] Illustrated

283

1287 3 Piece Set

1286

1287 3 Piece Set

1286 Pair of French Cast Iron Garden Urns in the Rococo Style, ca. 1860‑1880, accompanied by a pair of pierced cast iron plinths of later origin, the urns with pierced scrolled handles, molded rocaille ornaments and a scrollmolded rim, overall, h. 54‑1/2”, w. 21”, d. 21”. [800/1200] Illustrated An urn of this form is illustrated in Antique Garden Ornament, by Barbara Israel, p. 154. 1285 American Rococo Revival Mahogany High-Back Bed, third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the arched headboard with a carved crest over a conforming figured panel and flanked by generously proportioned finials, the wrap footboard with a central cabochon-carved cartouche, the cast iron bed hardware stamped “MR”, h. 104”, inside, w. 59”, l. 78”, outside, w. 63”, l. 82”. [1500/2500] Illustrated

1287 Three-Piece American Cast Iron Garden Set in the “Fern” Pattern, ca. 1900, including two armchairs, the backs and arm supports modeled as fronds, with dished pierced seats and saber-form legs, h. 35‑1/2”, and a garden bench modeled as twining fronds, extending to closed arms with a dished scrollwork seat, h. 33‑1/2”, w. 55”, d. 21”. [1000/1500] Illustrated

1285

1288

1288 Jean-Louis Hector Viger Duvigneau (French, 1819‑1879), “Portrait of a Young Child Eating Grapes”, 1854, oil on canvas, signed, dated, and inscribed “Paris” along bottom, 39” x 32‑3/8” oval. Unframed. [1000/1500] Illustrated

284

1292 American Chinoiserie-Decorated Serpentine Chest, third quarter 19th century, the slate top over a bank of four drawers, each with polychromed decoration depicting Eastern genre scenes, h. 37”, w. 42‑1/2”, d. 20‑1/4”. [700/1000] Illustrated

1292 1289

1289 Suite of Six Continental Walnut Dining Chairs in the Rococo Taste, third quarter 19th century, each with a rose-carved crest over a shaped back, cushion serpentine seat with floral carved apron and cabriole legs, h. 39‑3/4”. [1200/1800] Illustrated 1290 American Transitional Late Classical-into-RococoRevival Walnut Tester Bed, third quarter 19th century, the tester with a cove-molded cornice supported by tapering octagonal posts, the paneled headboard with a foliate- and scroll-carved crest, h. 105”, inside, w. 64”, l. 78”, outside, w. 69”, l. 82”. [1500/2500] Illustrated 1291 New Orleans Market Rococo Revival Mahogany Armoire, mid-19th century, probably retailed by the McCracken firm, the carved crest over a bonnet top with beading beneath the molding, the pair of doors with figured panels on a base with a pair of doors and bracket feet, losses to the wings of the original crest, h. 101‑1/2”, w. 66‑1/2”, d. 25”. [1200/1800] Illustrated

1291

1290

285

1293 American Rococo Revival Rosewood and Marble-Top Wig Dresser, third quarter 19th century, in the manner of John Henry Belter, New York, having a central arched mirror with a pierced carved crest flanked by serpentine fronted wig boxes, retaining its original white marble top above a bowfronted four-drawer base, h. 93”, w. 49”, d. 24”. [1500/2500] Illustrated

1294

1294 American Rococo Revival Giltwood Pier Mirror, mid-19th century, with a ropetwist trim framing the mirror plate, and scroll moldings on each side of the base, the pierced, scroll-molded crest depicting a basket of flowers and decorated with grapes and grape leaves, h. 89”, w. 37‑1/2”, on a serpentine marble-top shelf with gilt-metal supports decorated with phoenix birds and pierced rocaille work, h. 13‑1/2”, w. 36‑1/2”, d. 14‑1/2”. [600/900] Illustrated

1293

286

1296 1295 American Rococo Revival Walnut Cabinet-Base Etagere, third quarter 19th century, the upper section with a carved crest over a pair of graduated serpentine shelves on carved brackets and backed by mirrors, the base with a serpentine gadrooned top over a conforming drawer and a pair of drawers fitted with mirrored panels, h. 73”, w. 45”, d. 20”. [1500/2500] Illustrated

1295

1297 3-Piece Suite

1296 American School (19th Century), “Portrait of a Gentleman”, oil on canvas, unsigned, 30” x 25”. Framed. [800/1200] Illustrated 1297 Assembled Three-Piece American Rococo Revival Walnut and Marble-Top Bedroom Suite, third quarter 19th century, Cincinnati, Ohio, comprised of a high-back bedstead with a fruit and foliate crest, h. 100”, inside, w. 56”, l. 77”, outside, w. 59”, l. 81”, a marble-top washstand, h. 35‑1/2”, w. 36”, d. 19”, and a marble-top dressing bureau with mirror, h. 83‑1/2”, w. 48”, d. 23”. [1500/2500] Illustrated

1298

1297 3-Piece Suite

1298 Rococo Revival Mahogany Vitrine, first quarter 20th century, possibly Austrian, in two parts, the upper section with a carved crest over an arched glazed door, the interior fitted with a pair of shelves, the sides with glazed panels, on a base with projecting corners over a glazed door, raised on cabriole legs, adorned throughout with floral and foliate carving, h. 86‑1/2”, w. 43”, d. 22‑1/2”. [1500/2500] Illustrated

287

1299 Pair of Cast Iron “Fern” Pattern Garden Armchairs, late 19th/early 20th century, the backs and arm supports modeled as fronds, with pierced dished seats, h. 35”. [1000/1500] Illustrated

1299

1304 American Patinated Bronze of “Frontier Justice”, 20th century, after Carl Kauba (Austrian/ American, 1865‑1922), cast signature and numbered “12/15” at self-base, on a naturalistic resin plinth, h. 22‑1/2”, w. 14”, d. 8‑1/2”. [500/800]

1301

1300 Cast Iron “Fern” Pattern Garden Bench, late 19th/ early 20th century, the back modeled as joined fronds, with a dished pierced seat, h. 33”, w. 61” ,d. 16”. [1000/1500] Illustrated

1302 1300

1301 Victor Casenelli (American/Ohio, 1868‑1961), “Native American Chief”, watercolor on paper, signed lower left, 20” x 12‑1/4”. Glazed and framed. [800/1200] Illustrated 1302 Maynard Dixon (American, 1875‑1946), “Golden State Park”, ink on paper, signed and titled lower margins, sight 6‑3/8” x 5‑3/4”. Glazed, matted and framed. [3000/5000] Illustrated 1303 Ernest Berke (American/Arizona, 1921‑2010), “The Blackfoot Tracker”, patinated bronze, cast signature, dated “1955”, copyright marked, stamped “20”, and with a foundry mark along back edge of self-base, on a wood plinth, overall, h. 17”, w. 18‑5/8”, d. 8‑1/2”. [1200/1800] Illustrated

288

1303

1305

1305 American Patinated Bronze of “The Sergeant”, 20th century, after Frederic Remington (American, 1861‑1909), stamped “Roman Bronze Works, NY” along back edge, cast signature and inscribed “copyright”, h. 10”, w. 6‑1/4”, d. 4”. [900/1200] Illustrated

1308 1306 Semi-Antique Sarouk Carpet, 8’ x 11’. [3000/5000] Illustrated 1307 Antique Oushak Carpet, 10’ x 14’. [5000/7000] 1308 Antique Persian Tabriz Carpet, 10’ 1” x 15’ 1”. [5000/8000] Illustrated 1309 Semi-Antique Isfahan Carpet, 12’ 1” x 20’. [5000/8000] Illustrated

1306

1309

289

1314

1310 1310 Antique Serapi Carpet, 8’ x 10’ 6”. [3000/5000] Illustrated 1311 Antique Persian Tabriz Carpet, 10’ 9” x 12’ 4”. [2000/4000]

1315 1312 Turkish Oushak Carpet, 6’ 2” x 8’. Provenance: The Sarouk Shop, New Orleans, Louisiana. [800/1200] Illustrated 1313 Peshawar Sultanabad Carpet, 3’ 3” x 5’. Provenance: The Sarouk Shop, New Orleans, Louisiana. [500/800] 1312

290

1314 Semi-Antique Oushak Carpet, 11’ 10” x 13’ 10”. [3000/5000] Illustrated 1315 Antique Persian Kerman Carpet, 6’ 8” x 9’ 9”. [2000/4000] Illustrated

1319

1316

1316 Antique Persian Tabriz Carpet, 10’ 7” x 14’ 9”. [5000/8000] Illustrated 1317 Semi-Antique Serapi Carpet, 9’ 5” x 12’ 9”. [1500/2500] Illustrated 1318 Antique Persian Tabriz Carpet, 9’ 5” x 14’ 9”. [2000/4000] 1319 Semi-Antique Sarouk Carpet, 5’ x 6’ 4”. [600/900] Illustrated 1317

291

1322 Antique Persian Kerman Carpet, 10’ x 13’. [2000/4000] Illustrated 1323 Antique Caucasian Runner, 3’ 5” x 16’ 6”. [700/1000] Illustrated

1320 1320 Antique Mahal Carpet, 9’ 7” x 12’ 5”. [700/1000] Illustrated 1323

1321 Turkish Angora Oushak Carpet, 12’ 2” x 14’ 10”. [1500/1800] Illustrated

1321

292

1322

1325 Leonard Brooks (Canadian, 1911‑1989), “Over My Garden Wall”, oil on canvas, signed lower right, verso with “Sarah Balinskas, Houston, TX” label, 27” x 35”. Framed. [2000/4000] Illustrated 1326 Leonard Brooks (Canadian, 1911‑1989), “San Francisco Street Across Jardin/Jardin Presidencia”, oil on Fredrix canvas board, signed lower right, titled en verso, 12” x 16”. Framed. [1500/2500] Illustrated

1324

1327 1327 South American School (20th/21st Century), “San Miguel Flower Vendor”, oil on canvas, illegibly signed lower left, 17‑3/4” x 23‑5/8”. Framed. [1200/1800] Illustrated

1325

1328 Pierre Guillaume (Dutch, b. 1954), “Pantai Goa Lawah”, 2005, oil on canvas, signed and dated lower right, signed, dated and titled en verso, 43‑1/2” x 51‑1/4”. Framed. [6000/9000] Illustrated

1326 1324 Leonard Brooks (Canadian, 1911‑1989), “Garden Window”, 1994, oil on canvas, signed lower right, titled and dated en verso canvas, 16” x 19‑5/8”. Framed. [1400/1800] Illustrated

1328

293

1331 Mary Page Evans (American, b. 1937), “Still Life with Flowers and Fruit”, oil on canvas, signed lower right, a “Gulf Stream, Florida” exhibition label on frame backing, 40” x 28‑1/2”. Framed. [600/900] Illustrated

1329 1329 Rene Marcil (French/Canadian, 1917‑1993), “Still Life #6”, oil on canvas, signed lower left, verso frame with “Neikrug Galleries Inc., New York, NY” label and “The House of Heydenryk” frame label, 18” x 21‑5/8”. Presented in a carved, hand-painted frame. [1500/2500] Illustrated

Mary Page Evans is an accomplished still-life and landscape painter, who has exhibited widely across the northeast. A native of Virginia Beach, Evans studied music and painting at Hollins College (now Hollins University) in Roanoke, Virginia, where she met her husband, former Delaware Congressman Thomas B. Evans, Jr. After moving to Wilmington, Delaware, in 1961, Evans pursued her studies under two prominent local artists, Ed Loper and Tom Bostelle. By the early 1970s, Evans was exhibiting colorful compositions inspired by the lush rolling landscapes of Chester county, Pennsylvania, she encountered daily while car-pooling four young children around. Landscapes and still-lifes, like the one offered here, are a process of self-discovery for Evans that she characterizes as a visual “push-pull” influenced by the compositions of Paul Cezanne and Hans Hoffman, wherein she tries to “loosen the form and let the color determine the structure and create the space”. The Delaware Art Museum recently featured a retrospective in 2012 of Evans’ work titled “Painted Poetry” to commemorate its centennial anniversary.

1332

1331 1330 Don Trumball (American, 20th Century), “Damariscotta, Maine”, oil on canvas, monogramed and dated lower right “12/88”, 30” x 40”. Framed. [500/800]

294

1332 French School (20th Century), “Woman in a Garden”, oil on canvas, signed “A. Calle” lower left, 20” x 24”. Framed. [1500/2500] Illustrated 1333 Dennis Perrin (American, b. 1950), “Sunny Afternoon”, oil on canvas, signed lower right, 16” x 20”. Framed. [1000/1500] Illustrated

1333

1335

1334 1334 Dennis Perrin (American, b. 1950), “Portrait of a Woman, the Artist’s Wife”, 1985, oil on canvas, 32” x 30‑1/4”. Framed. [1500/2500] Illustrated 1335 Vera Rockline (Russian/American, 1896‑1934), “Nude, After the Bath”, oil on canvasboard, signed lower left, 24” x 18”. Framed. [1500/2500] Illustrated 1336 Moses Soyer (American, 1899‑1974), “Girl in a Striped Sweater”, pastel on paper, signed lower right, inscribed upper right “Noewi”, verso frame with “The House of Heydenryk, New York, NY” frame label, sight 23‑3/4” x 17‑3/4”. Glazed and handsomely framed. [800/1200] Illustrated 1336

295

1338 George Biddle (American, 1885‑1973), “Dahlias”, oil on canvas, signed and dated lower left, signed and titled en verso canvas, 40‑1/2” x 25”. Presented in a burlwood frame with a giltwood fillet. [2500/4000] Illustrated

1338 1337 1337 detail

1337 Zvi Mairovich (Israeli, 1911‑1973), “Yehudit on White Wicker Chair”, oil on canvas, signed lower right, verso stretcher inscribed “Zvi Mairovich/ S. Jerusalem St./ Haifa/ Israel”, 51” x 39”. Presented in a thin gallery giltwood frame; together with Small Change: A Collection of Stories, Yehudit Hendel, University Press of New England (for) Brandeis University Press, 2003, the jacket illustrated with another version of this painting. [1200/1800] Illustrated

296

I nd e x of A rt i s t

O c tobe r 1 6 - 1 8 , 2 0 1 5

Adams, Ansel 136

Cuzco School 1094

Amadio, Metello 346

Cuzco School (style) 1095

American School 1159, 1201, 1296

Dâ&#x20AC;&#x2122;Aste, Giuseppe (after) 467

Angelou, Maya 157

Dali, Salvador 112

Arends, Fred 461

De Breanski, Alfred, Sr. 695

Backus, A. E. (Albert Ernest) 1182

Delagrange, Leon Noel (after) 1108

Bancroft, William Henry 267

Delvin, Jean-Joseph 307

Barbera, Camillo Gioja 1106

Di Credi, Lorenzo (manner) 1112

Barnbaum, Bruce 137

Dixon, Maynard 1302

Basset, Louis 620

Drysdale, Alexander John 1184, 1185, 1186, 1187

Berke, Ernest 1303

Durieux, Caroline 205

Biddle, George 1338

Dutch School 231

Biggers, John Thomas 155, 156, 157, 158, 159, 160, 161

Dutch/American School 460

Bohlman, Edgar 289

Duvigneau, Jean-Louis Hector Viger 1288

Bonegor, A. M. 1230

Eckart, Christian 179, 181, 182

Boogaard, Willem Jacobus 463

Edzard, Dietz 296, 297

Boucher, Francois (manner) 547

Evans, Mary Page 1331

Bourgeois, Douglas 195

Evans, Paul 174

British School 617, 699, 756, 846, 866, 880

Fanfani, Enrico 1229

Brooks, Leonard 1324, 1325, 1326

Faure de Brousse, Vincent-Desire 1102

Calder, Alexander 180

Feyen-Perrin, Francois Nicolas Augustin 1231

Carmichael, James Wilson 703

Fiaschi, Emilio P. 350

Carrier-Belleuse, Albert (after) 1101

Fournier, Alfred Victor 302

Casenelli, Victor 1301

Francis, Sam 178

Chagall, Marc 133, 134

French School 401, 778, 844, 1208, 1332

Chaudet, Antoine-Denis (after) 415

Friedeberg, Pedro 200

Chinese School 31, 32

Gainsborough, Thomas (follower) 698

Choi, Wook-Kyung 190, 191

Gall, Francois 293, 294, 298

Comte, Pierre-Charles 1087

Gallotti, Bartholomew 1220

Continental School 276, 287, 288, 459, 462

Gillar, Robert 1224

Cortes, Edouard Leon 504

Girardet, Eugene Alexis (follower) 1226

Cuevas, Jose Luis 197

Glasco, Joseph 189

Cundin, Jose Maria 203

Gobert, Pierre (circle) 707

I nd e x of A rt i s t

O c tobe r 1 6 - 1 8 , 2 0 1 5

Grimshaw, Thomas 1268

Leonard, Jack de Coudres 270

Gross, Chaim 1239

Lepine, Stanislas Victor 369

Gruber, Aaronel deRoy 183, 185

Logsdail, William 847

Guillaume, Pierre 1328

Madrazo, Garreta Raimundo (after) 384

Hayter, Stanley William 204

Mairovich, Zvi 1337

Heldner, Knute 1192, 1193

Malone, Robert 1181

Herbe, A. 702

Marcil, Rene 1329

Herring, John Frederick, Sr. (after) 616

Matisse, Auguste 370

Hesser, Harry 268

Michalopoulos, James 196

Heyermans, Jean Arnould 478

Miles, F. 701

Hobbs, Morris Henry 1190

Morier, Julien 523

Hoppner, John 843

Nason, Ermanno 132

Hulings, Clark 1183

Neiman, LeRoy 135

Hundertwasser, Friedensreich 177

Nevelson, Louise 176

Hunter, Clementine 210

Nierman, Leonardo 193

Hurt, Louis B. 700

Oliver, William 697

Indiana, Robert 175

Olivie, Leon 852

Italian School 368

Oppler, Ernst 290

Jubei, Ando 84

Orpen, William 842

Jungling, J. F. 215

Ostenberg, Thomas 201

Kadishman, Menashe 186

Paolillo, Luigi 292

Kalish, Max 1242

Pascin, Jules 202

Karsh, Yousuf 139

Pernot, Henri (after) 674

Karssen, Anton 316

Perrin, Dennis 269, 1333, 1334

Kauba, Carl (after) 1304

Perugino (follower) 1111

Kelly, Felix 455, 456, 457

Picasso, Pablo 129, 130, 131

Kinsey, Alberta 1194

Picault, Emile Louis 1100

Kiselewski, Joseph 154

Pierce, Harold 207

Koberger, Anton 1133

Plas, Niek van der 295

Koons, Jeff 184

Pott, Laslett John 870

LaVerne, Kelvin 146

Pyne, James Baker 696

LaVerne, Philip 146

Remington, Frederic (after) 1305

LeBlanc, Emilie de Hoa 1196

Reni, Guido (circle) 1113

Lemarquier, Charles Paul Alfred (after) 417

Richards, Charles 1195

I nd e x of A rt i s t

O c tobe r 1 6 - 1 8 , 2 0 1 5

Robin, Georges Charles 291 Rockline, Vera 1335 Rodrigue, George 1197 Roepel, Conrad (circle) 248 Rouillard, Jean-Sebastien 522 Schomberg, Auldwin Thomas 118 Schouten, Henry 727, 759 Silva, William Posey 266 Slonem, Hunt 188 South American School 1327

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

Soyer, Moses 1336

Signed: In our qualified opinion, has the signature which is that of the artist.

Stermer, J. H. 1243

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Stewart, Allison 192 Sully, Thomas (manner) 845 Sypestyn, Adele 194 Tack, Augustus Vincent 1234 Tamayo, Rufino 198, 199 Terbrugghen, Hendrick (manner of) 470 Titian (follower of) 394 Tolliver, William 206, 208, 209, 271 Trofimuk, Nicholas 138 Trumball, Don 1330 Van Dyck, Anthony (after) 713 Vanderveen, Loet 147, 148, 149, 150, 151, 152 Walraven, Jan 477 Watteau, Jean-Antoine (manner) 548 Webster, George 704 Woodward, Ellsworth 1189, 1191, 1236, 1237 Woodward, William 1188

Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

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

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

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

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

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

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

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

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

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

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

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

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

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

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

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

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________

Date: ____________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: _________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: ______________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

R E Q U E S T F O R C O N D I T I O N R E P O RT S Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.NewOrleansAuction.com). Detail photographs will be provided at our discretion.

Name (Please Print): _____________________________________________ Date: ____________ Email Address: _______________________________ Phone: (_______)______________

Fax: (_______)_______________

Lot # Description Special Requests ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

Please submit this form by 5:00 p.m. two days prior to the first day of the auction.

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Authorized Release Form / Waiver Name: _______________________________________________________________________ Business Name: _______________________________________________________________ Telephone(s): _________________________________________________________________ Email Address: ________________________________________________________________ I authorize: _____________________________________________________to pick up items New Orleans Auction No.:___________________________ Sale Date:__________________ Lot #(s): _____________________________________________________________________ _____________________________________________________________________________ Signature_____________________________________________Date____________________ Print name: ___________________________________________________________________

Please fax this form to 504-566-1851 or Email to Info@NewOrleansAuction.com Note: Items will not be released without a signed authorization.

New Orleans Auction Galleries is not responsible for damage to property during pickups and loading. We will assist clients with moving and loading items at the client’s own risk. We are not responsible for any damage to items during moving, packing or unloading within or outside our premises. I have read and understand the above statement: Signature: _____________________________________________

Date:_______________

New Orleans Auction Galleries Susan D. Sarofim

Tessa Steinkamp

CEO

Director of Auctions

Ashton Thomas President

consignments FINE ARTS:

FURNITURE:

Jelena Restovic James

ASIAN FINE & DECORATIVE ARTS:

Ireys Bowman

Continental and American; Prints and Maps

Continental and English

Felicia Sailey Yao

Michele M. Carolla

American, Continental and English

Greg S. Kowles

BOOKS, MANUSCRIPTS & EPHEMERA:

Thomas Halverson

Charles C. Cage

British and American; Sculpture

American

DECORATIVE ARTS:

Jewelry:

Josh Broussard

Ireys Bowman

Continental and English

Southern Regional

Kim Lemon

Nicole Casi, PhD

SILVER:

FINE CARPETS & TEXTILES:

Charles C. Cage

Sean Ranson

American, Continental and English

administration Burke

Designer

Charles C. Cage Office Manager

Colleen Ryan

Marketing & Public Relations

Nicole Casi, PhD

Graphic Designer

Photographers: Gary Michael Gittelson Cord McPhail

Manager of Cakebread Auctions

Research

Denise Haik

Office Administration

Alexis Kopituk

Administrative Assistant

auctioneers Tessa Steinkamp #1265 Ashton Thomas #1833 Robin Ruiz #1114 Michael DeGeorge #1774 Taylor Eichenwald #1922

Taylor Eichenwald

Director of Human Resources

Christa Ougel Greg Kowles

Grace Connors

Assistant Manager of Cakebread Auctions

consultants

ope r at ion s

Ellen McKenzie

Cedric Roberts | Sean Ranson

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

James Callahan Asian Arts

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