New Orleans Auction July 27th-29th by New Orleans Auction Galleries

2012 AUCTION SCHEDULE July 27, 28 & 29 September 29-30 December 1-2

AUCTION TIME CHART Friday July 27, 2012 Lots 1-408 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00

1-99 100-199 200-299 300-408

Saturday July 28, 2012 Lots 409-1106 http://www.facebook.com/NewOrleansAuction

New Orleans Auction Galleries Under New Ownership

801 Magazine Street at 510 Julia New Orleans, Louisiana 70130 (800) 501-0277 â&#x20AC;˘ (504) 566-1849 Fax (504) 566-1851 Website: www.neworleansauction.com E-mail: info@neworleansauction.com La. Auction License: AB-363

10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00

409-508 509-608 609-708 709-808 809-908 909-1008 1009-1106

SUNDAY July 29, 2012 Lots 1107-1705 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-4:00 4:00-5:00

1107-1206 1207-1306 1307-1406 1407-1506 1507-1606 1607-1705

Featuring Property From: Guajolotes Ranch, Wimberley, Texas The Important Collection of Philip Plaisance and the Late Kenneth Haydel, St. Francisville, Louisiana The Furnishings from a Grand St. Charles Avenue Home, New Orleans, Louisiana Property Descended in the Pioneering Nicholas Family of Albemarle County, Virginia and the Wilkinson-Marriot Families of Bermuda to the Present Owner And Property from Numerous Southern Estates and Private Collections

Guajolotes Ranch, Wimberley, Texas Lyon L. Brinsmade was born and raised in Mexico by American parents and received there most of his preparatory education in private schools. He went on to acquire his undergraduate training in the United States, earning Bachelor of Science degrees in mining engineering and geology. His post-graduate work in those fields required him to travel extensively in Central and South America. He subsequently served in the U.S. Army in the Panama Canal Zone before attending and graduating from Harvard Law School in 1950. For nearly five decades, Mr. Brinsmade devoted his time to the practice of international law in Houston, first as associate and partner in the law firm of Butler & Binion, later as partner and Senior Counsel at Porter & Hedges, L. L. P. At both firms he headed the international practice section, representing United States and foreign clients in the handling of transactions and matters worldwide.

Over the years, Mr. Brinsmade served as chairman of the American Bar Association’s Section of International Law and Practice (1980-81), as well as on the Councils of the American Society of International Law, the Inter-American Bar Association and the State Bar of Texas’ Section of International Law. He has also actively participated in many other professional and civic organizations. The Brinsmade family traces its history to the times of Henry VIII and counts among their ancestors some of the first immigrants to 17th century New England. His heritage, education and international work fostered his lifelong interest in history and antiques, leading him to acquire a unique collection. Lyon L. Brinsmade retired from the practice of law in 1999 and thereafter moved from Houston to his beloved “Guajolotes Ranch” located in the Texas Hill Country near Wimberley.

Session I Friday, July 27, 2012 1:00 p.m. â&#x20AC;&#x201C; Lots 1- 408

4 Theodore Gerard (Belgian, 1829‑1902), “Interior Scene with a Mother, Child and a Playful Dog”, oil on canvas, signed left “Theodore Gerard”, 29’1/2” x 23‑3/4”. Presented in a period giltwood and gesso frame. [3000/5000] Illustrated 5 George III-Style Mahogany Games Table, late 19th century, the bowed top with earred corners and rosewood banding, hinged and opening to a baize-lined interior, tapering square legs ending in ringed feet, h. 29”, w. 35”, d. 17‑1/2”. [300/500] 6 Interesting Edwardian-Style Side Table and Box, composed of four large stacked faux books, each with applied leather and gilt bindings, the upper one opening to a storage space, the lower one, a drawer, raised on bun feet, h. 19”, w. 21‑1/52”, d. 15". [300/500] Illustrated 7 Interesting Edwardian-Style Mahogany Side Table and Box-on-Stand, the box formed of four large stacked faux books, each with applied leather and gilt binding, raised on a conforming stand to cabriole legs, h. 21‑1/2”, w. 21‑3/4”, d. 16”. [300/500]

4 6

8 Group of Minton Dinnerware, ca. 1902‑1912, retailed by Tiffany and Company, New York, the set consisting of four cream soup bowls on stands, h. 2‑1/4”, and nine bread and butter plates, dia. 5‑1/4”, decorated with raised gilt borders with lotus flowers and solid raspberry bands, marked “Minton”, “Tiffany and Company, New York”, and “Made in England”. [150/300] Illustrated 9 Set of Eight Copeland Broth Bowls, ca. 1902, the border decorated with interlocking “C”-scroll-hearts on a white ground, the sloped sides with a claret ground decorated with white “jewels” and the central border with a running gothic fret decorated with gilt rondels and drops, marked “Copeland’s China England”, printed in green, dia. 8”. [75/125]

1 Edwardian Mahogany Pole Screen, c. 1900, in the Georgian taste, the adjustable oval panel with an embroidered floral panel within a beaded frame, raised on an annulated and foliate-carved standard to three splayed cabriole legs headed by foliate carving and ending in paw feet, h. 57”, w. 15”. [400/700] 2 Patinated Metal Figure of a Hawk, the hawk depicted setting on a rock, wings down and looking forward, h. 13”, w. 7”, d. 9”. [300/500] 3 English Carved Wooden Figure of a Lion, first quarter 20th century, probably fruitwood, the lion depicted resting on a plinth, and mounted on a larger base, h. 6”, w. 7‑1/2”, d. 4‑1/8”. [100/200]

10 Fifty-Piece Minton Partial Dinner Service, third quarter 20th century, comprised of ten dinner plates, dia. 10‑1/2”, ten luncheon plates, dia. 9”, ten bread and butter plates, dia. 4‑3/4”, and ten handled cream soup bowls, dia. 4‑3/4”, with stands, dia. 6‑1/4”, all decorated with a burgundy and gilt border, retailed by T. Goode, London. [300/500] 11 Edwardian Mahogany Wardrobe, early 20th century, of breakfront form, the molded cornice above a case fitted with two central bi-paneled doors opening to a shelved interior over two banks of three drawers, flanked to either side by a like-paneled door opening to two pull-out drawer shelves, raised on a plinth base, h. 78‑1/2”, w. 101”, d. 24”. [2000/4000] 12 Continental Painted Iron Birdcage, first quarter 20th century, the wall bracket with fleur-de-lis finials and a rope-twist pot holder terminating in a pair of tassels, the dome top hung with rope-twist swags and tassels, four rope-twist pot holders attached to the bottom of the cage, h. 46”, dia. 21”. [300/500] 16

13 Edwardian Mahogany Revolving Book Mill, early 20th century, the small circular dished top tier joined by a fluted and ribbed support to the octagonal top, above a revolving base fitted with a galleried space for books, raised on turned bulbous standard to four splayed legs, h. 39‑1/2”, dia. 20‑1/2”. [100/200] 14 Edwardian Oak Butler’s Tray on Stand, late 19th century, the tray of rectangular form with full raised edge and shaped pierced end handles, raised on collapsable turned and bulbous “X”-form stand, h. 34”, w. 27‑1/2”, d. 20‑1/2”. [250/400]

15 Edwardian Rosewood Banded Mahogany Kneehole Desk in the Georgian Taste, first quarter 20th century, the top and drawer faced with rosewood banding, the frieze with a pair of drawers, each pedestal end with a bank of three graduated drawers, raised on bracket feet, h. 32‑1/2”, w. 46‑1/4”, d. 23”. [600/900] 16 Adam-Style Satinwood Demi Lune Cabinet, the fan-inlaid and banded demi-lune top above a conforming case fitted with four doors, all banded and with a central oval-paterae-inlay, raised on tapering square legs, h. 35”, w. 52”, d. 24”. [600/900] Illustrated 17 Samson Parian Bacchanalian Figure in the Neoclassical Style, first quarter 20th century, depicting a putti wearing a wreath of grapes resting on a basket, spilling carefully sculpted grapes and leaves, signed “L. Badessi” in script and the Samson blue crossed swords over “R”, h. 18‑3/4”, w. 9”, d. 5‑1/2”. [400/700] Illustrated

18 George III-Style Mahogany Breakfront Bookcase, the molded cornice above an inlaid paneled frieze with four astragal-glazed doors below, all banded, the lower section fitted with three pull-out slides over four cabinet doors, all triple-banded and centered by an oval panel, raised on a plinth base, h. 90”, w. 93‑3/4”, d. 14‑1/2”. [3000/5000] Illustrated 19 Pair of Three-Light Adams-Style Wall Sconces, second quarter 20th century, probably English, the bellflower molded backplates supporting a reeded urn holding the candle branches, terminating in sheep’s heads, a half urn with acanthus-molded top, h. 17”, w. 13”, d. 7‑1/2”. [400/700] 20 George III-Style Mahogany and Satinwood Demi-Lune Side Table, in the Adam taste, the demi-lune top centered by a half paterae issuing foliate garlands above a conforming frieze with polychrome bellflower garlands, raised on tapering square legs, h. 34‑1/2”, w. 56”, d. 21". [500/800] Illustrated 18

21 Erwin Aichele (German, 1887‑1974), “Three Dogs by the Fire”, oil on panel, signed lower left “E. Aichele”, 15” x 19‑1/2”. Presented in a handsome giltwood and gesso frame. [1000/1500] Illustrated 22 Contemporary Ebonized and Polychrome Corner Cabinet, in the Georgian Style, the molded and domed cornice centered by a carved shell crest, above a glazed door, with a single paneled cupboard below featuring a figural Oriental landscape, raised on a plinth base, the whole with gilt and polychrome accents in the chinoiserie manner, h. 82‑1/2”, w. 34‑1/2”, d. 18‑1/2”. [400/700]

23 Contemporary Ebonized and Polychrome Corner Cabinet, in the Georgian Style, the molded and domed cornice centered by a carved shell crest, above a glazed door, with a single paneled cupboard below featuring a figural Oriental landscape, raised on a plinth base, the whole with gilt and polychrome accents in the chinoiserie manner, h. 82‑1/2”, w. 34‑1/2”, d. 18‑1/2”. [400/700]

24 Three-Piece Polychrome Parlor Suite, in the chinoiserie taste, consisting of a table and two sidechairs, the circular table with an elaborate gilt and polychrome figural landscape, raised on four square legs joined by a pierced X-form stretcher, the chairs each with a domed back above a pierced splat with a like landscape, the padded seat raised on square legs joined by an H-form stretcher and ending in block feet, h. 30”, dia. 30”, table, h. 39‑1/2”, chairs. [300/500]

30 Set of Fifteen Copeland Spode Luncheon Plates, ca. 1935, the scalloped and fluted edges with an outer border of celeste bleu, decorated with white “jewels”, the inner border with a gilt fleur-de-lis holding bleu celeste swags and gilt sprigs, marked “Spode Copeland’s China, England” and marked with an impressed “Y35”, dia. 8‑3/4”. [300/500] Illustrated 31 Set of Six Coalport Dessert Plates, ca. 1881‑1891, the scalloped and molded edges with an outer border molded with shells, edged in bleu celeste alternating with gilt coral, the cream ground central panel with a scrolled gilt border and a raised gilt center medallion, with a printed green Coalport mark, dia. 9”. [300/500] Illustrated

25 Danish Bronze Cigar Box, first quarter 20th century, the box in the form of a medieval casket and decorated with bas relief scenes of the battle of Lyndanisse, June 15, 1219, a battle of the Crusades, when the Estonians attacked the Danes, the inside lid with an inscription commemorating the battle, the interior lined with wood, h. 3‑1/2”, w. 8”, d. 3‑1/2”. [200/400] 26 Suite of Three Edwardian Nesting Tables, early 20th century, each with a banded flame mahogany top, the smallest top with a center section removing to an inlaid backgammon board and flipping to a chess board, all raised on turned slender circular legs with brass ring accents, ending in brass-inlaid splayed feet, h. 30‑1/4”, w. 20”, d. 13”. [1000/1500] 27 Set of Ten Minton Handled Cream Soup Bowls with Stands, ca. 1914‑1950, retailed by Tiffany and Company, New York, each decorated with raised gilt borders framing a band of bleu celeste, bowls, dia. 5‑3/4”, stands, dia. 5‑1/2”. [150/300] Illustrated 28 Pair of Venetian Toasting Glasses, ca. 2001, signed by William Gudenrath and dated, the domed swirled foot supporting a gold-flecked ribbed spherule, supporting the standard, in the shape of a seahorse with an intricately intertwined tale, also composed of gold flecked glass, h. 11”. [100/200] Illustrated 29 Set of Twelve Royal Worcester Service Plates, ca. 1912, the bleu celeste border decorated with a raised gilt pattern of interlaced “C” scrolls with medallions, framed in smaller raised gilt borders, retailed at Marshall Field, Chicago, and with printed “Royal Worcester” mark for “1912”, dia. 11”. [500/800] Illustrated

35 32 Suite of Three Edwardian-Style Mahogany Nesting Tables, each with a double-banded rectangular top with thin decorative inlaid band, all raised on ring-turned double end supports joined by stretchers and ending in runner feet, h. 25”, w. 19”, d. 13”. [500/800] 33 English Arts and Crafts Mahogany Armchair, early 20th century, the curved back, slatted and joined to the wooden saddle seat, with a custom leather cushion, raised on rounded square legs joined by stretchers, h. 48‑1/2”. [150/250] 34 Edwardian Mahogany Pole Screen in the Late Georgian Taste, early 20th century, the adjustable ovoid frame adorned with ivory silk brocade of Adamesque inspiration on a tripodal base, h. 60‑1/2”, dia. 17”. [200/400] 35 Augustus Edwin John (British, 1878‑1961), “My Family”, pen and ink and wash on paper, label with the artist’s signature on the reverse, sight 12” x 14‑3/4”. Glazed, matted and framed. [1800/2500] Illustrated

36 Attributed to Augustus Edwin John (British, 1878‑1961) “Gypsy Caravan”, pencil on paper, titled lower right, sight 3‑1/8” x 5‑1/4”. Glazed, matted and framed. [100/200]

41 42 Set of Four English Silverplate Candlesticks, third quarter 20th century, by the Barker-Ellis Silver Co., Birmingham, in the Adam taste, of oval form, each with a tapering standard above a cavetto-domed base and surmounted by an urn-form nozzle, the whole decorated with broad gadrooned and narrow beaded banding, h. 11”, l. 6”, w. 4‑7/8”. [150/300] Illustrated

37 Scottish Oak Occasional Table, early 20th century, the dished rectangular top with turreted corners and centered by a plaque reading “For Oak That Roofed Glasgow Cathedral For 650 Years Circa 1260‑1910”, above a blind fret carved frieze, joined by fluted circular legs to an open stretcher shelf, with previous caned piercings, raised on like legs ending in turned bulbous feet, h. 24”, w. 21‑1/2”, d. 15‑3/4”. [200/400]

43 Set of Four English Silverplate Candlestands, second quarter 20th century, by the Barker-Ellis Silver Co., Birmingham, in the Adam taste, of oval form, each with an urn-form nozzle above a cavetto-domed base and fitted with a conforming bobeche, the whole decorated with broad gadrooned and narrow beaded banding, h. 4‑1/2”, l. 4”, w. 3‑1/4”. [100/200]

38 Edwardian Mahogany Plant Stand, c. 1900, the square lower shelf and top shelf with a fretwork gallery and each side with a shaped and molded shelf supported by carved brackets, h. 44”, w. 22”, d. 10”. [75/125]

39 Edwardian Mahogany Display Cabinet, late 19th century, the rectangular top with a foliate-carved edge above a case fitted with two drawers with garland-carved front over two astragal glazed doors, raised on cabriole legs ending in ball-and-claw feet, h. 49”, w. 44”, d. 16‑3/4”. [400/700] 40 German Art Nouveau Jardiniere, ca. 1900, Royal Bonn, of bulbous form with gilt traced edges in the art nouveau style, the facade hand painted with two maidens, wearing diaphanous gowns in a garden, the reverse depicting a Mediterranean seaside view, the sides depicting gardens, signed “Royal Bonn, Germany”, h. 14”, w. 10‑1/2”, d. 10‑1/2”. [300/500] 41 English Silverplate Hot Water Urn, second quarter 20th century, in the Georgian taste, the urn-form body gadrooned about the lower half, with cavetto collar and high, arched, foliate-mounted molded handles, with a reeded tap and spatulate faux ivory key finial, with a tall waisted domed lid with urn-from finial, the whole raised above a square plinth on four spherical feet, h. 23‑3/4”, w. 12”, d. 11”. [200/400] Illustrated

48 English Silverplate Tray, first quarter 20th century, of rounded rectangular form, with applied naturalistic leaf-and-berry rim and acanthus-mounted addorsed gadroon handles, l. 28‑1/2”, w. 18”. [75/125]

44 Four Pieces of English and American Silver and Silverplate Tableware, 20th century, including English silverplate pieces, an I. Freeman & Sons oval footed fruit bowl, decorated with spiral gadrooned bowl and foot and gadroon, shell and scroll border, h. 4”, l. 10‑3/4”, w. 8‑1/8”, and a James Pinder & Co. oval revolving butter dish, with gadrooned dome and raised on four scroll-crested lion’s paw feet, h. 5‑1/4”, w. 7‑3/4”, d. 5‑3/4”, and American sterling silver pieces a Wester Co. swing-handled circular sugar bowl, with pierced imbrication and gallery, raised on three paw feet, with colorless glass liner, h. 2‑7/8” (5” with handle), dia. 3‑3/4”, and another unmarked swing handle sugar basket, of oval form with upswept ends and pierced leaf banding, 2‑1/2” (5” with handle), l. 4‑5/8”, w. 3‑3/4”, 5.59t. oz. (sterling pieces only, excluding glass liner). [100/200] 45 Pair of Anglo-Canadian Silverplate Candelabra, second quarter 20th century, by the English division of Henry Birks & Son, Montreal, each with a tapering standard above a waisted and serpentine-lobed circular foot, and surmounted by an urn-form nozzle into which fits the superstructure of a shorter baluster standard flanked by a pair of scrolling reeded arms, the baluster and arms all terminating in an urn-form nozzle with circular drip-pan an detachable bobeche, the central bobeche additionally fitted with a detachable flammiform finial, the whole decorated with robust “vintage” scroll banding, h. 20”, w. 15‑3/4”, base dia. 5‑1/4”. [100/200] 46 George V Silverplate Meat Dome and Well-and-Tree Platter, first quarter 20th century, of oval form with gadrooned rim, the dome with gadrooned ring handle, the platter above a hot water reservoir with elaborate beaded acanthus crested handles and flat circular feet en suire, overall h. 15‑1/2”, l. 22‑1/4”, w. 17‑5/8”. [300/500] Illustrated 47 Three George V Ivory and Faux Ivory-Handled Silverplate Serving Pieces, first quarter 20th century, including an ivory handled plate lifter, l. 8‑1/2”, a faux ivory-handled joint fork, l. 10”, both by William Hutton & Sons, Sheffield, and an ivory handled crumber with rococo-scroll engraved blade and pierced gallery, l. 13‑1/2”. [50/80]

49 English Silverplate Egg Set, second quarter 20th century, by Hukin & Heath, Birmingham and Cooper Brothers, Sheffield, including a lobed frame with central standard terminating in a ring handle and raised on six toupie feet, peg-fitted with six goblet-form egg cups with annulated rims and knops and separated by six “fiddle thread” egg spoons, overall h. 8‑1/2”, dia. 7” (11‑1/2” with spoons). [100/200] 50 George V Silverplate Revolving Vegetable Dish, second quarter 20th century, by Barker Brothers, Birmingham, of oval form, raised on four gadrooned spatulate feet, the domed lid decorated with four embossed floral cartouches and revolving to reveal two trays, one pierced, one solid, above a hot water reservoir, h. 9‑1/2”, w. 13‑3/4”, d. 9‑1/2”. [800/1200] 51 George V Silverplate Kettle-on-Stand, first quarter 20th century, by the Barker-Ellis Silver Co., Birmingham, of flattened spherical form and decorated with repousse floral scrolls and rococo cartouches, with gooseneck spout, fitted hinged lid and double “C”-scrollmounted, turned wood “stirrup” handle, raised on a pair of addorsed tubular supports above a circular base engraved with rococo floral scrolls and centering a spirit burner, the whole raised on four cast rococo-scroll feet, h. 13”, l. 6‑1/2”, w. 8‑1/2”. [75/125] 52 Pair of George V Silverplate Candlesticks, second quarter 20th century, probably Joseph Parker & Sons, Sheffield, each with a baluster standard above an annular knop and waisted domed circular foot, surmounted by a thistle-form nozzle fitted with detachable bobeche, the whole decorated with robust acanthus fronds and foliate scroll banding, h. 12‑1/4”, dia. 5‑3/8”. [150/300] 53 George V Magnifying Glass, ca. 1911, the silvermounted horn handle, hallmarked “Biggin and Son, Sheffield, 1911/12, l. 10”. [100/200] 54 English Silverplate Deep-Galleried Tray, mid 20th century, of rounded rectangular form, the deep gallery with pierced ovolo banding and serpentine-gadrooned edge, with acanthus-mounted cylindrical handles, l. 27”, w. 17‑1/4”. [200/400] Illustrated

55 English Silverplate Galleried Tray, second quarter 20th century, of oval form, with a pierced concave gallery and serpentine-lobed gadrooned edge, with opposing gadrooned handles and raised on four gadroon-crested paw feet, l. 28‑1/2”, w. 17‑1/4”. [75/125]

56 George V Silverplate Revolving Vegetable Dish, first quarter 20th century, by Martin, Hall & Co., of oval form with gadrooned rim, raised on four flat columnar legs with patera crests and lion’s paw feet, the narrow ends with stirrup handles, the domed lid revolving to reveal two trays, one pierced, one solid, above a hot water reservoir, h. 8”, w. 14”, d. 9” [50/80]

58 English Silverplate and Glass Epergne, third quarter 20th century, by Israel Freeman & Son, comprising a circular gadrooned receptacle raised above four acanthus-scroll supports, to a hemispherical knop, on a baluster standard above a circular domed base with four shell-and-scroll feet, the supports each flanking a reeded scrolling arm terminating in a smaller receptacle raised on four acanthus-embossed strap supports, the receptacles fitted with a central large and four surrounding smaller fan-and-diamond pattern glass bowls, along with four cannon-form candle nozzles with detachable bobeches which may be used in place of the smaller bowl, h. 14‑3/4”, w. 24‑1/2”, d. 16‑1/2”. [200/400] Illustrated

57 Three Large English and American Silverplate Serving Pieces, late 19th century and later, including a Victorian Levesley Brothers, Sheffield “Old English” ladle, monogrammed “AC” conjoined, l. 13‑3/4” a George VI William Adams, Birmingham “King’s” punch ladle, l. 17”, and a contemporary Reed & Barton, Taunton, Massachusetts “Dog Nose” platter spoon, l. 14” [75/125]

59 English Silverplate Four-Piece Coffee and Tea Set, mid-20th century, in the William IV taste, including a coffeepot, h. 8‑1/8”, l. 10‑1/4”, a teapot, h. 5‑1/2”, l. 12”, a sugar bowl, h. 4‑1/2”, w. 8‑1/4”, and a cream jug, h. 4‑1/8”, l. 7”, each of melon-lobed form and raised on four anthemion scroll feet, the post with “gooseneck” spouts, hinged, domed lids and bone-insulated, crested “S”-scroll handles, the sugar bowl with fitted lid and a pair of handles en suite, the cream jug with integral spout and single handle, the lids with cast floriform finials. [75/125] Illustrated 60 Pair of George V Silverplate Candlesticks, second quarter 20th century, each of baluster form above a cavetto-domed circular base and sumounted by an inverted bell-form nozzle with detachable circular bobeche, the whole with reeded banding, h. 9‑3/4”, dia. 6” [50/80]

61 Rare Set of Eight English Silverplate Service Plates and Covers, third quarter 20th century, the service plates with Louis XIV-shaped rim with applied laurel rim quartered by leafy-mantled shells, dia. 12‑1/2”, the fitted hemispherical domes with gadrooned edge and pyriform finial, h. 6‑3/4”, dia. 10‑1/4” [300/500] Illustrated

62 Edwardian Scottish Silverplate Case Twenty-Three Piece Fish Service, first quarter 20th century, by Smith & Rait, Glasgow, including twelve fish knives with pointed blades with pricked scroll decoration, l. 7‑1/4”, and eleven fish forks with four tines, l. 6‑1/2”, the handles decorated with rococo scrolls in the Louis XV taste, presented in the original fitted, ruched indigo satin- and velvet-lined mahogany case, 15‑1/4” x 9”. [100/200] 63 George V Silverplate Tantalus, first quarter 20th century, by Walker & Hall, Sheffield, the molded rectangular plinth base with flat columnar ends joined by top bar with stirrup handle, fitted with three decanters of canted square section, cut on the upper half with a lattice pattern and fitted with a faceted spherical stopper, the decanters held by conforming molded wire frames and accessed by tilted the bottle frame forward, h. 12‑3/4”, w. 15”, d. 6‑5/8”. [200/400] Illustrated

65 Ninety-Two Assorted Pieces of English Mother-ofPearl-Handled Silverplate Flatware, first half 20th century, including a twelve piece dinner set of six knives, l. 9” and six forks, l. 8”, all monogrammed “S” on the ferrule, six dessert forks, l. 7‑1/2”, twelve dinner knives, l. 11”, another twelve dinner knives, l. 91/2”, with engraved monogram “AKS” on the handle, six seafood/ cocktail forks, l. 6‑1/4”, six sherbet spoons, l. 5”, six fruit forks, l. 5‑3/4”, eleven butter spreaders, l. 5‑3/4”, seventeen various fruit knives, l. 6‑1/4”, a bonbon spade, l. 7”, a sardine fork, l. 5‑1/2”, a vegetable spoon, l. 9‑1/2”, and a joint fork, l. 7‑1/2”, all with turned spatulate motherof-pearl handles and variant ferrules. [300/500] 66 Two Silverplate Footed Platters, first half 20th century, including a Mappin & Webb “Prince’s Plate” example, 1923, Sheffield, of circular form with “reed-and-ribbon” serpentine-lobed rim, the plateau engraved with an Adam-style laurel-mantled oval cartouche, raised on three claw-and-ball feet, dia. 17‑1/2”, and a Rogers Brothers “Remembrance” pattern oval well-and-tree platter, the pattern introduced 1948, Hartford, Connecticut, l. 19”, w. 13‑1/4”. [50/80] 67 Pair of English Silverplate Candelabra, third quarter 20th century, by Elkington & Co., Birmingham, each with a vasiform nozzle above a circular domed base and fitted with a superstructure of a second nozzle flanked by a pair of scrolling reeded arms each terminating a nozzle en suite. the whole decorated with beaded banding, h. 7‑1/2” w. 10‑3/4”, base dia. 4‑1/4”, [75/125]

64 Edwardian Sterling Silver and Silverplate Cased Twelve-Piece Dessert Set, hallmarked Sheffield, 1908‑1910, by William Yates, including six knives with silverplate spatulate blades, l. 6‑1/4”, and six forks with three silverplate tines, l. 5‑1/4”, each with a sterling handle with beaded decoration and scroll finial, presented in the original fitted indigo satin- and velvetlined faux leather case, 10‑3/4” x 8”. [100/200]

68 English Silverplate Epergne, second quarter 20th century, by Barker Brothers, Birmingham, with central baluster knop raised on an inverted bell-form base and surmounted tall trumpet-form vase, the knop with six scrolling arms each ending in a circular receptacle fitted with alternating trumpet vases and bowls, the vases, bowls and base all with “Chippendale” molded rim and decorated with pierced “gadroon” and embossed annular banding, h. 19”, dia. 18‑3/4”. [100/200] Illustrated

69 Six English and American Sterling and Silverplate Trumpet Vases, first quarter 20th century, inclucing an English sterling pair marked London and Sheffield, 1912‑1913, by the Goldsmiths & Silversmiths Co. Ltd., each of serpentine lobed section with annular band and shaped rim, h. 5‑1/2”, and English silverplate pair by Cooper Brothers, Sheffield, with annular band and pierced, fluted rim, h. 6‑1/2”, and American example of lobed section, engraved and embossed with floral rococo medallions and swags, with shaped rim, h. 8‑1/4”, and an unmarked example with wide annular band and shaped rim, h. 4‑3/4”, all weighted. [75/125]

70 George V Silverplate Meat Dome and Well-andTree Platter, first quarter 20th century, of oval form with gadrooned rim, the dome with gadrooned ring handle, the platter above a hot water reservoir with acanthus crested handles and feet, overall h. 14”, l. 18”, w. 13‑3/4”. [200/400]

73 English Silverplate Tray, third quarter 20th century, by the Barker-Ellis Co., Birmingham, of rounded rectangular form, with pierced acanthus leaf-and-dart rim and applied “vintage” rim, with rocaille handles and a plateau with broad engraved band en suite, l. 29”, w. 18”. [900/1200]

75 71 English Silverplate Double Buffet Stand, third quarter 20th century, comprising a pair of rounded rectangular entree dishes with ring handles wihich fit into a conforming hot water reservoir with opposing handles on the narrow end, raise on a frame with four scrolling cabriole legs joined by an H-form stretcher to a central spirit burner, the whole decorated with narrow gadroon edging, overall h. 10‑1/4”, l. 20‑3/4”, w. 12”. [50/80] 72 English Silverplate and Imari-Pattern Porcelain Salad Serving Set, third quarter 20th century, with ovoid silverplate bowl/tines and tapering shank to a conical “Imari” handle, l. 11‑3/4”. [40/70]

74 English Silverplate Centerpiece, third quarter 20th century, comprising and arched scrolling wirework frame fitted with seven small and two large trumpet vases with shaped floriform rims, arranged with the two large vases on the outer ends, with five of the small vases along the arch between and flanked by the other two at the center, h. 11‑1/2”, w. 28‑1/2”, d. 11”. [100/200] 75 Pair of Chinese Cinnabar Vases, 20th century, the red cinnabar vases cut to dark green with designs of chrysanthemums and stylized lotus scrolls, h. 15”. [800/1200] Illustrated 76 Chinese Two-Color Lacquer Storage Box, 20th century, the circular box with fitted dome cover carved in black over cinnabar lacquer with a central scene of peonies and rockwork, the sides carved as scrolling vines, dia. 11‑7/8”. [300/500] 77 Chinese Cinnabar Vase on Stand, 20th century, with floral reserves with stylized lotus scroll borders, fitted stand, h. 7”, without stand. [100/200] 78 Good Chinese Guri Lacquer Brush Pot, 18th/19th century, of cylindrical form, the alternating layers of black and red lacquer carved with arabesque designs through eight layers revealing the alternating colors, h. 6”. [600/900] 79 Chinese Silk Panel, the panel with chain-stitch and lampas borders, decorated with a dragon, clouds and a wave border on a yellow ground, h. 32”, w. 37”. [1800/2500] Illustrated 80 Chinoiserie-Style Ebonized and Polychrome Cabinet, of square form, the top with floral border surrounding a central crane medallion, above a case fitted with a single drawer over two cupboard doors, the whole with polychrome floral accents in the chinoiserie taste, h. 23‑1/2”, w. 22‑1/2”, d. 22‑1/2”. [100/200]

81 Pair of Chinese Ancestral Portraits, early 20th century, gouache on paper, each bearing a signature lower left corner, sight 37” x 25”. Each glazed, attractively matted and framed. [200/400] 82 Japanese Arita Ware Vase, late 19th century, the pear-shaped vase with a ruffled edge and a flaring foot, decorated with reserve panels of court figures and a fish and net ground, h. 26”. [300/500] Illustrated 86

83 Good Chinese Iron-Red and Gilt Saucer Dish, Guangxu (1875‑1908) mark and period, decorated as a carp among waves with a five-clawed dragon above in clouds and an oval hatch border at the lip rim, the dish representing the wish that the recipient, the carp, a student, will pass the Imperial examinations and will become an Imperial official, the dragon, dia. 9‑1/8”. [400/700] 84 Chinese Polychrome Double Gourd Vase, the sides with pierced handles, the whole with scrolling foliate patterns with floral and calligraphic accents, h. 8‑3/4”. [300/500] 85 Group of Six Japanese Covered Bowls, 19th century, the red Kutani ware decorated with scenes of courtiers in landscapes, marked “Kutani” on base, dia. 5”. [100/200] 86 Chinese Coromandel Eight-Panel Floor Screen, 20th century, the eight panels decorated in black lacquer ground and colors filled in the carved designs, decorated on the face and reverse with scenes of peacocks, cranes and small birds, scenes of rockwork, water, bamboo, flowering magnolias, peonies and assorted flowers, enclosed by a foliate scrolling border on the face and a border of cracked ice and bamboo sprays on the reverse, h. 84”, w. 127”. [2500/4000] Illustrated 87 Contemporary Chinese Ebonized Cocktail Table, the rectangular top above a fret-carved frieze, raised on block legs, h. 14”, w. 54”, d. 30”. [150/300]

92 Large Chinese Iron-Red and Encre-deChine Vase, first half 20th century, of baluster shape with flared lip rim and lion head handles, decorated in iron-red with Buddhistic lions among flames and a calligraphic poem in black, h. 22‑3/8”. [200/400] 93 Group of Four Pieces of Japanese Stoneware and Porcelain, 19th century, comprised of two bowls and a vase in red Kutani ware, all signed “Kutani”, vase, h. 12”, bowls, dia. 9‑1/4” and 14‑1/4”, together with an Imari plate with an impressed mark, dia. 12”. [150/300]

94 Group of Ten Porcelain Vases, comprised of nine Japanese early 20th century vases, together with one Chinese early 20th century vase, h. 3‑1/2” to 8‑1/4”. [100/200] 95 Chinese Ming-style Wu Tsai Vase, 19th century, of baluster form with a short neck, decorated with two Buddhistic lions among flowering peonies and scrolling foliage, the shoulder with a band of four Buddhistic emblems and cross-hatch decoration and the neck with a band of stylized plantain leaves, h. 7‑7/8”. [400/700] 96 Good Chinese Famille Rose Porcelain Tea Bowl, Guangxu mark and probably of the period (1874‑1908), the interior decorated with an iron-red bat surrounded by multi-colored clouds, the exterior decorated with five ironred bats (wufu) in flight among multi-colored clouds, the base with a delicately drawn six-character Guangxu reign mark in iron-red, dia. 3‑5/8”. [250/400]

88 Pair of Japanese Red Kutani Ware Vases, 19th century, now mounted as lamps, finely painted with mythological scenes, h. 14”. [800/1200] Illustrated 89 Group of Five Chinese Polychrome Glazed Porcelain Vases, 20th century, composed of meibing, a garlic head vase, a baluster vase and thick and thin bottle vases, each enameled in famille verte enamels with an iron-red and gilt dragon overlaid, a manufacturer’s representative of models, h. 5‑1/4” to 7”. [400/700] 90 Good Chinese Famille Rose Porcelain Saucer Dish, Republic Period (1908‑1949), the interior decorated with five bats, a Shou symbol and a ruyi head border at the rim, the exterior decorated with a continuous border of lotus flowers and foliage executed in pastel enamels, the base with a sic-character Qianlong seal mark in underglaze blue, dia. 8”. [500/800] 91 Group of Five Porcelain Vases, four Japanese Red Kutani Vases, early 20th century, together with a 19th century Chinese Vase decorated with gold fish, h. 8” to 12”. [200/400] Illustrated

99 97 Chinese Lacquered and Polychrome Tray, of square form with full raised edge and featuring a scene of a rooster in a grassy landscape, now mounted in an Orientalstyle ebonized occasional table, h. 22‑1/2”, w. 24‑1/4”, d. 24‑1/4”. [200/400]

98 Pair of Chinese Elm Side Tables, 20th century, each with a banded and dished rectangular top above a carved frieze, joined to a lower pierced decorative stretcher shelf by square legs ending in shaped feet, h. 29”, w. 16‑1/2”, d. 14". [300/500]

103 106

99 Large Chinese Famille Verte Double Gourd Vase, 20th century, of conventional form, the lower section decorated with a lappet border at the base, a band of lotus and scrolling foliage, a border of flower filled ruyi heads and a band of cross-hatch decoration, the upper section decorated with two rondels of figures separated by cranes among flowers, the base unglazed, h, 21‑1/4”. [900/1200] Illustrated 100 Chinese Famille Verte Double Gourd Vase, of conventional form with small mouth, the lower section decorated with a pheasant on rockwork among flowers above a lappet border in the Kangxi style, separated from the upper section by four bands of decoration, the upper section decorated in the same Kangxi style decoration, the white glazed base unmarked, h. 15‑1/2”. [800/1200]

101 Chinese Famille Verte Yen Yen Vase, 19th century, now mounted into a lamp by Denis Poupart, the body decorated with scenes of boys playing in garden scenes, fitted with custom wooden top and base with exterior wiring, pleated silk shade, h. 27”, to top of shade. [250/400] 102 Chinese Polychrome Enamel Porcelain Bottle Vase, 20th century, the bulbous body with cylindrical neck enameled in green with three four-clawed cavorting dragons among clouds and stylized flames, the base with a fourcharacter Qianlong mark in iron-red, h. 8‑1/4”. [700/1000]

103 Chinese Carved Jade Ritual Object, early 20th century, the celadon green jade with earthy inclusions, l. 13”. [1000/1500] Illustrated

107

104 Chinese Carved Spinach Jade Seal Paste Box, first half 20th century, the stone of even spinachcolored jade, of circular form with carved ribs on the sides extending to the cover and base, the cover with a central carved floral medallion, dia. 2‑1/4”. [100/200] 105 Chinese Jade Cup, 20th century, the highly translucent jade of a dark green color, dia. 3‑1/2”. [300/500] 106 Chinese Jade Covered Jar, 20th century, the celadon colored stone with brown markings, and with archaicstyle decoration of flanges and Kuci dragons, with dragon mask jump rings and a kylin finial, fitted stand, h. 14”. [8000/12000] Illustrated 107 Large Chinese Famille Rose Porcelain Vase, Republic Period (1908‑1949), of baluster form with flattened midsection and flared lip rim, decorated in overglaze enamels with a continuous scene of the Eight Immortals with attendants and acolytes in a pine tree studded garden with clouds, bats and butterflies, the white glazed base unmarked, h. 15‑5/8”. [900/1200] Illustrated

108 Chinese Famille Rose Porcelain Bottle Vase, Republic Period (1908‑1949), the body densely decorated with lotus, scrolling foliage, bats, Buddhistic Endless Knots and stylized characters, all above a basal border of cresting waves, the decoration on the body and neck separated by a band of ruyi heads and the lip rim with a key-fret border, the base with a six-character Qianlong seal mark in underglaze blue, h. 9‑1/8”. [600/900] Illustrated

108

117 Uzbek Shirvan Runner, 2’8” x 17’10”. [800/1200] 118 Persian Heriz Carpet, 10’2” x 12’3”. [800/1200] Illustrated 119 Persian Mahal Carpet, 10’3” x 13’10”. [4000/7000] 120 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] 121 Karaja Runner, 3’7” x 11’3”. [400/700]

109 Chinese Hardstone Carving, 20th century, the Bowenite stone with a carved central figure of Shou Lao with an attendant in a grotto, fitted stand, h. 9”. [800/1200] Illustrated

122 Peshawar Sultanabad Carpet, 12’ x 15’2”. [2000/4000] Illustrated 123 Persian Serapi Carpet, 10’ x 13’8”. [4500/7000]

110 Elaborate Chinese Carved Dark Green Jade Covered Vase, 20th century, the even spinach-colored stone carved in high relief as the figure of Shou Lao holding his staff with a double gourd, attended by an acolyte and standing before an ancient pine tree with undercut entwined branches, alongside the tree are the figures of a sika deer, a crane and a cluster of flowers, the fitted lid carved and undercut as pine branches and two figures of cranes, fitted, carved wooden stand, h. 9‑1/8”, including stand. [2500/4000] Illustrated 111 English Design Needlepoint Carpet, 10’ x 14’. [3000/5000] 112 Semi-Antique Persian Tabriz, 9’9” x 12’2”. [1200/1800] Illustrated 113 Semi-Antique Tabriz Carpet, 4’7” x 6’10”. [300/500] 114 English Design Needlepoint Carpet, 9’ x 12’. [2500/4000] Illustrated 115 Antique Kurdish Carpet, 4’5” x 8’10”. [500/800]

116 Semi-Antique Persian Mashad Carpet, 9’5” x 12’4”. [1400/1800]

109

110

112 124 Persian Kashan Carpet, 10’8” x 15’6”. [8000/12000] Illustrated following page

118

114 125 Chinese Carpet, 8’10” x 12’7”. [150/300] 126 Semi-Antique Sarouk Carpet, 3’7” x 4’11”. [500/800]

122

127

127 Suite of Four Empire-Style Mahogany Sidechairs, each with a padded backswept back within a gilt imbricatecarved frame, above the padded seat, raised on tapering circular legs headed by ribbed carving and ending in peg feet, upholstered in black ultra suede, h. 38”. [400/700] Illustrated 128

128 Contemporary Six-Fold Polychrome Screen, each narrow panel painted in black, gilt and burnished gold diamond patterns, h. 92”, w. 78”. [400/700] Illustrated

124

131

133 Maggie Hasbrouck (American, Contemporary), “Magnolia Bloom”, photoencaustic, 2011, signed, dated and titled on the reverse, reverse with “The Lowe gallery, Atlanta, GA”, exhibition label, 36” x 48”. Presented in a custom shadowbox-style frame. [4000/7000] Illustrated 134 American School (Contemporary), “Abstract Composition in Red”, oil on canvas, signed lower right “M. Moss”, 20” x 16”. Presented in a crimson-polychrome frame. [150/300] 135 American School (Contemporary), “Untitled Abstract in White”, acrylic and plaster on canvas, unsigned, 36” x 30”. Unframed. [300/500]

132

136 American School (Contemporary), “Untitled Abstract in Black, White and Yellow”, mixed media on canvas, unsigned, 36” x 30”. Unframed. [400/700] 137 Gilberto Tarin (American/Texas, Contemporary), “La Mona y el Mocho”, mixed media on paper, signed, titled an dates “78” lower right, 25” x 19‑1/2”. Framed. [800/1200] 138 Paige Harvey (American/Georgia, Contemporary), “Untitled Abstract”, mixed media on paper, affixed to linen, under a custom plexiglass case, 55” x 43”, case 60‑1/2” x 48”. [700/1000] 139 Roland Digital Intelligent Ebonized Baby Grand Piano and Bench, model KR-1070, h. 39”, w. 58”, l. 64”. [8000/12000] Illustrated

133 129 Contemporary Steel, Iron and Glass Cocktail Table, the rectangular glass top above two elaborately patterned and pierced iron panels, raised on square legs, h. 19”, w. 48”, d. 43”. [500/800]

139

130 Contemporary Upholstered Ottoman, of circular form, the top tufted and padded, the base banded, upholstered in black leather, h. 20”, dia. 38”. [400/700] 131 Maggie Hasbrouck (American, Contemporary), “Owl”, from the “Alphabet Series”, photoencaustic, 2003, signed, dated and titled on the reverse, reverse with “The Lowe gallery, Atlanta, GA”, exhibition label, 48” x 36”. Presented in a custom shadowbox-style frame. [3000/5000] Illustrated 132 Maggie Hasbrouck (American, Contemporary), “Pumpkin Flowers With Butterflies”, photoencaustic, 2009, signed, dated and titled on the reverse, reverse with the “Bill Lowe Gallery, Atlanta, GA” exhibition label, 48” x 60”. Presented in a custom shadowbox-style frame. [3000/5000] Illustrated

152

145 James Coignard (French, 1925‑2008), “Untitled ABCD Composition”, color carborundrum etching with collage, pencil signed and numbered “91/95” lower right, sheet size 24‑1/2” x 19”. Glazed, matted and framed. [600/900] 146 Harry Soviak (American/ Pennsylvania, 1935‑1984), “Etruscan Encore”, watercolor on paper, signed in pencil lower right “Soviak”, titled on the reverse, 29” x 41‑1/2”. Glazed and framed. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. Private Collection, New Orleans, Louisiana. [500/800]

153

147 Lucite and Glass Square Coffee Table, 1980’s, the beveled glass top resting on a weighty lucite base with rectangular legs ending in upturned feet, h. 16‑1/2”, w. 30”, d. 30”. [600/900] 148 Interesting Mid-Century Modern Silver and Gold Anodized Pedestal/Jardiniere of Art Deco Inspiration, the sides with alternating stripes of gold and silver in a geometric design, the front with a slanted open cavity at its midpoint, h. 42”, w. 12”, d. 20”. [400/700] 149 Baccarat Glass Figure of a Seated Egyptian Cat, bearing the circular acid-etched Baccarat mark underneath, h. 6‑1/8”. [100/200]

140 Partial Set of Mid-Century Modern Stemware, in the Art Deco taste, comprised of seven water goblets, h. 7”, nine red wines, h. 5‑3/4”, twelve champagne saucers, h. 4” and six aperitifs, h. 4‑3/4”. [250/400] 141 Two Steuben Glass Bowls, both mid-century designs, one example a large “Foliate” center bowl, h. 5‑3/8”, dia. 11‑3/8”, the smaller example a “Talisman” bowl, h. 3‑1/2”, dia. 7‑1/4”, both engraved in script under the base: “Steuben”. [250/400] 142 Steuben Glass “Spiral” Vase, model 8058, designed by Donald Pollard in 1955, engraved in script under the foot: “Steuben”, h. 6‑1/2”, dia. 5‑1/4”. [100/200] 143 Dusti Bonge (American/Mississippi, 1903‑1993), “Untitled Abstract”, watercolor on paper, signed and dated lower right “D. Bonge ‘50”. Glazed, matted and framed. [800/1200] Illustrated 144 James Louis Steg (American/ Louisiana, 1922‑2011), “Picnic Scene”, color etching, pencil signed lower right, titled and numbered in pencil lower left “21/25”, sight 24” x 35”. Glazed, matted and framed. [300/500]

143

150 Pieter Van Velzen (Dutch, 1911‑1990), “Orange Cat”, oil on canvas, signed and dated lower right “Pieter V. Velzen ‘59”, 29” x 23”. Framed. [500/800] 151 American Verlys Crystal Vase, second quarter 20th century, the vase molded with a Mandarin figure carrying a parasol in a garden of flowers, including a bouquet in a Chinese vase, resting on a fret-molded foot, etched “Verlys” on the base, h. 9‑1/4”. [300/500] 152 Pair of Leather and Chromed Steel Paul Tuttle “Zeta” Lounge Chairs, designed by Tuttle in 1969 for Strassle, Switzerland A.G., each upholstered in white leather on a cantilevered steel frame, h. 25”. [3500/5000] Illustrated

155

160 156 Unusual Brushed-Steel Veneered and Brass Writing Table, the rectangular top with an inset gilt-tooled leather surface and projecting turreted corner, above a frieze fitted with three drawers to one side, opening to a flame mahogany interior, and three faux drawers to the other, raised on tapering fluted circular legs ending in lotusmodeled block feet, h. 31”, w. 63”, d. 33‑1/2”. [3000/5000]

159

153 Pair of Cubical Bench-Form Side Tables by Mimmo Rotella (Italian, 1918‑2006), made for Zerodisegno, sublimated graphics on zinc, each depicting images from Vanity Fair Magazine covers, one of Nicole Kidman, signed, dated and labeled “Rotelli, Marco Ferreri, 05/05 Kidman, Zerodisegno”, the other of Penelope Cruz and signed “Rotello, Marco Ferreri, 01/05 Cruz, Zerodisegno”, h. 18”, w. 18”, d. 18”. [2000/4000] Illustrated 154 Near Pair of Buffalo Horns, now chromed and mounted on a molded rectangular plinth, h. 22‑1/4”. [125/250] 155 Grotto-Style Polychrome Bull’s Eye Mirror, the circular beveled plate within a heavily molded frame, the inner band crusted with abalone shells, dia. 37”. [300/500] Illustrated

157 Contemporary Upholstered Sofa, of box form, the padded back fitted with three cushions, joined to the likecushioned seat by padded arms, the skirted base raised on peg legs, h. 30‑1/2”, d. 33”, l. 85‑1/2”. [300/500] 158 Contemporary Variegated Charcoal Marble Pedestal, of square form, h. 30”, w. 14”, d. 14”. [300/500] 159 Ebonized Metal Floor Candelabrum, 1980’s, with eight candle stands of staggered height, resting on a reticulated abstract base, h. 53‑3/4” with candles. [400/700] Illustrated 160 Nils Obel (Danish/ American, Contemporary), “Bar Jack and Nassau Grouper”, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, 26” x 41”. Unframed. [1000/1500] Illustrated

161 Nils Obel (Danish/American, Contemporary), “Halibut, Atlantic Tomcod, Sculls of Shark”, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, 26” x 41”. Unframed. [1000/1500] 162 Nils Obel (Danish/American, Contemporary), “Goosefish Tomcod”, graphite, colored pencil and ink on Arches paper, signed lower right “Nils Obel”, 26” x 41”. Unframed. [1000/1500] 172 173

163 Suite of Four “U.S. Fish Commission Bulletin” Lihtographs, of “Common Eel”, “Common Pompano”, “Gray Snapper”, and “Nassau Grouper” from Dr. Barton Warren Evermann’s Investigations of the Aquatic Resources and Fisheries of Porto Rico by U.S. Fish Commission Steamer Fish Hawk in 1899, printed by Julius Bien, Washington, D.C., 1900, sight 6” x 9‑1/4”. Each glazed, matted and framed. [300/500] 164 Pair of Diminutive French Art Deco Worked-Steel Console Tables, second quarter 20th century, in the manner of Edgar Brandt (French, 1880‑1960), each with conforming blanc bleute de savoie marble tops, h. 35‑1/2, w. 20‑1/2”, d. 9‑1/2”. [700/1000] 165 Articulated Wooden Artist’s Model, mid-20th century, the pine male model, articulated for multiple poses, h. 15”, w. 5”. [40/70] 166 Continental Carved Hardwood Hat Mold, fourth quarter 19th century, in the form of a male head, with carved facial features, h. 9‑1/2”. [100/200] 167 American School (Contemporary) “Male and Female Torso”, two terracotta relief sculptures, female signed and dated on the reverse “S. Porter 97”, male incised “S. Porter”, female h. 18”, w. 17”, male h. 16”, w. 19”. [400/700] 168 Group of Two Red-Earred Slider Turtle Shells, each now mounted on a turned standard to a molded circular plinth, h. 7‑1/2” to 9‑1/2”. [75/125] 169 Pair of Ostrich Eggs on Stands, the pair now mounted on turned standards on a molded circular plinth, h. 9-1/2". [75/125] 170 Feliciano Bejar (American/Mexican, 1920‑2007), “Magiscope”, cut crystal, reclaimed steel, automotive parts, signed and dated “Feliciano Bejar 1989”, h. 36”, dia. 11”. [1000/1500]

174

171 Feliciano Bejar (American/Mexican, 1920‑2007), “Magiscope”, cut crystal, reclaimed steel, automotive parts, signed and dated “Feliciano Bejar 1996”, h. 38”, dia. 12”. [1200/1800]

172 Feliciano Bejar (American/Mexican, 1920‑2007), “Magiscope”, cut crystal, reclaimed steel, automotive parts, signed and dated “Feliciano Bejar 1989”, h. 37‑1/2”, dia.11”. [1400/1800] Illustrated 173 Feliciano Bejar (American/Mexican, 1920‑2007), “Magiscope”, cut crystal, reclaimed steel, automotive parts, signed and dated “Feliciano Bejar 1996”, h. 42”, dia.14”. [1500/2500] Illustrated 174 Albert Hirschfeld (American, 1903‑2003), “The Game’s Afoot”, Basil Rathbone as Sherlock Holmes and Nigel Bruce as Dr. Watson, lithograph, pencil signed lower right, numbered lower left “20/320”, sight 22” x 18”. Glazed, matted and framed. [1200/1800] Illustrated

178 After Francois-Michel Roziere (French, 1775‑1842), suite of six illustrations of the “Minerals of Egypt”, from the Description de L’Egypte, sight 22” x 16”. All glazed, matted and framed. [100/200] 179 Contemporary Brass and Glass Cocktail Table, 1980s, the inset rectangular top within a molded coral-lacquered wood border, raised on square tubular legs, h. 15”, w. 56”, d. 25‑1/2”. [500/800] 180 Le Corbusier (French/Swiss, 1887/1965), “Unite”, color etching with aquatint, initialed and numbered in plate, signed in pencil lower right “Le Corbusier”, pencil numbered lower left “9/130”, sight 19‑1/4” x 14‑3/4”. Glazed, matted and framed. [3000/6000] Illustrated 181 Bernard Buffet (French, 1928‑1999), “Le Pont Neuf”, stone lithograph, signed and dated in plate, reverse with “The Collector’s Guild, New York City” label, sight 18” x 22”. Glazed, matted and framed. [300/500] 182 Bernard Buffet (French, 1928‑1999), “Notre Dame de Paris”, stone lithograph, signed and dated in plate, reverse with “The Collector’s Guild, New York City” label, sight 22‑1/2” x 18‑1/2”. Glazed, matted and framed. [300/500] 183 Pierre Alechinsky (Belgian, b. 1927), “Boeuf Gros Sel”, color lithograph, signed and numbered upper right “Alechinsky 232/300”, 17” x 12”. Unframed. [400/700]

180 175 Interesting Pair of Crystal Geode Specimen Garnitures, each composed of a silver-leafed turned wooden low base supporting a section of a crystal-lined geode, one with fine small hexagonal crystals, the other with clustered amorphus crystals, h. 6‑3/4”. [75/125] 176 Tall Pair of Murex Conch Shell and Wood Garnitures, each composed of a shell of a murex conch with ribbed ridges, the white shells with rose outlined openings and mounted on turned weathered, wooden architectural-style bases, h. 22”, w. 9”. [100/200]

184 Jean Cocteau (French, 1889‑1963), design for “Poesie Graphique at Jacques Damase Gallery” exhibition, color lithograph, signed in plate lower left, pencil numbered lower right “31/100”, sight 23‑1/2” x 17‑1/2”. Glazed, matted and presented in a contemporary metal frame. [500/800] 185 Omar Rayo (Colombian, 1928‑2010), “Untitled”, color intaglio, signed, numbered “75/120” and dated “69” in pencil lower left, 30” x 22”. Glazed and framed. [500/800] 186 Contemporary Mirrored and Gilt-Metal Occasional Table, the inset square smoked mirrored top above a faux bamboo spindled frieze, raised on like legs joined by a box stretcher, h. 26”, w. 18”, d. 18”. [150/300]

177 Quartz Crystal Cluster, displayed on a lucite stand, h. 7‑1/2”, w. 11”, d. 8”. [100/200]

192

191 193

194 189 195

190

187 Art Deco-Style Chest of Drawers, mid-20th century, veneered in elaborately figured calamander and brassmounted, h. 33‑1/2”, w. 39”, d. 18‑3/4”. [1000/1500] Illustrated

189 Pair of Chinese Ivory Carvings, early 20th century, the carvings of an emperor and empress in Ch’ing Dynasty costume, fitted stands, h. 7‑1/2”, without stands. [600/900] Illustrated

188 Regency-Style Calamander and Burlwood Circular Cocktail Table, the highly figured top with an inlaid burl banding, raised on a graduated paneled standard with decorative inlay, to four splayed legs banded en suite and ending in brass paws on casters, h. 19‑1/2”, dia. 40‑1/2”. [800/1200] Illustrated

188

190 Lot of Seven Japanese Ivory Carvings, 20th century, the seven gods in lush colored details, each on a rosewood display stand, h. 2‑1/2”, without stand. [500/800] Illustrated

187

191 Indian Ivory Standing Figure, early 20th century, the carving of a standing figure of Easkshmi holding a musical instrument, Padouk wood stand, l. 7‑1/2”. [300/500] Illustrated

192 Chinese Ivory Carving of the Goddess of Lan Tsai Ho, early 20th century, the figure scattering her basket of flowers, fitted stand, h. 13‑1/2”, without stand. [800/1200] Illustrated 193 Japanese Ivory Carving of a Woman with a Child, Meiji Period (1868‑1912), a Tokyo school study with a woman showing a flower to a child, head repaired, h. 9‑1/4”. [400/700] Illustrated 194 Chinese Carved Ivory Figure of an Immortal, late 19th century, the Ming-style standing figure of an immortal, fitted rosewood stand, h. 7”, without stand. [500/800] Illustrated 200

199 Pair of African Carved Hippo Tusks, 20th century, carved as pairs of crocodiles fishing, l. 10”. [200/400]

197

200 Pair of Japanese Ivory Carvings, 19th century, each carving of a farmer harvesting grapes, h. 7”. [600/900] Illustrated 200A Japanese Ivory Carving of a Vegetable Vendor, 20th century, the carved figure of a vegetable vendor with stained details, signed, l. 10”. [600/900]

201 Two Chinese Ivory Carvings, early 20th century, each carving of a woman with flowers, h. 3” to 4”. [300/500]

195 Pair of Japanese Ivory Carvings, 20th century, depicting standing figures of a fisherman and rabbit vendor with children, stained details, h. 5‑1/2”. [200/400] Illustrated 196 Chinese Silver Box, 20th century, the parcel-gilt box with repousse decoration of a dragon, clouds and scrolling, h. 1‑1/2”, w. 4‑1/4”, d. 3”. [400/700] 197 Chinese Ivory Carving, early 20th century, two sections carved as a phoenix with flowering peony and rockery, the base marked “Ta Ming”, fitted stand, h. 17‑1/2”, without stand. [1800/2500] Illustrated

202 Pair of Chinese Ivory Carvings, early 20th century, the carvings depicting standing female figures with colored details, wooden stands, h. 5”, without stand. [200/400] 203 Chinese Ink and Color on Paper Scroll of Zhong Kui, early 20th century, paper with silk threads, 37‑1/2” x 22”, now glazed and framed. [300/500] 204 Dramatic Chinese Framed Hand Scroll, 19th century, executed in colors on paper depicting Tang Dynasty ladies, courtiers and servants with three ladies seated on a carpet engraved in weaving silk and others preening before a mirror being fanned by a servant, gossiping and examining cosmetics, framed in a burlwood frame and glazed, h. 14‑1/2”, w. 83”, sight. [1000/1500]

198 Indian Carved Ivory Tusk, early 20th century, of elephants entering a forest, teakwood base, l. 11‑1/2”. [400/700]

205 Large Chinese Carved Ivory Tusk, early 20th century, the surface carved and pierced with dragons, clouds and fiery pearls, Ch’en Lung mark on the base, l. 34”. [5000/8000] Illustrated 206 Japanese Bone Inro, 20th century, the surface carved and gilt with chickens and rose bushes, w. 2‑1/2”, l. 4”. [250/400] 207 Japanese Daikokus Hammer, 20th century, the silver hammer with two ancient coins on each side, with multi-color gilding, fitted glazed wooden case, h. 2”, l. 6”, hammer only. [400/700]

208

210 Chinese Ivory Equestrian Figure, early 20th century, the carving of an equestrian figure of a Ch’ing Dynasty official, fitted stand, h. 8‑1/2”, without stand. [400/700] 211 Japanese Ivory Mounted Sword, 19th century, the Koshirac with a carved surface with peasants at various tasks, steel blade, l. 15‑1/2”. [800/1200] 212 Pair of Japanese Ivory Carvings, 19th century, the figures of the gods of luck, h. 4‑1/2”. [200/400] 213 Chinese Carved Ivory Figure of an Immortal, early 20th century, the figure of an immortal on the back of a tiger, wooden stand, h. 4”, without stand. [250/400] 214 Unusual Chinese Carved and Ebonized Cocktail Table, the top formed from a carved panel featuring figures walking among pagoda structures, raised on carved square legs ending in shaped feet, h. 13‑1/2”, w. 38‑3/4”, d. 24‑1/4”. [700/1000] Illustrated 215 Japanese Ivory Shrine, Meiji Period (1868‑1912), the surfaces carved with dragons and lotus plants, h. 10”. [300/500] Illustrated

208 Chinese Fossil Ivory Carving, mammoth tuck, carved as the figure of Shou Lao with a dragon in a grotto, fitted stand, h. 4‑3/4”, without stand. [400/700] Illustrated 209 Japanese Carved Ivory Figure, 20th century, of a standing figure of a wood cutter with polychrome details, h. 7‑1/2”. [300/500]

214

205

220 Group of Two Chinese Boxwood Figures of Guanyin, 20th century, one figure dressed in loose robes with a vessel in one hand, the other in a mudra position, raised above waves on a lotus leaf, h. 19‑3/4”, the other dressed in windswept robes and raised above the waves on a leaf, h. 15‑1/2”. [300/500] Illustrated

220

218

221

219 216 Chinese Carved Ivory of a Boat, 19th century, carved with a scene of a fisherman’s boat with various figures at their occupations, l. 7”. [500/800]

217 Chinese Elm Bench, 20th century, the rectangular banded top above a conforming recessed frieze and square-pierced apron, raised on square legs, h. 19”, w. 42‑1/2”, d. 15‑1/2’. [200/400]

218 Group of Two Chinese Boxwood Figures of Guanyin, 20th century, one in a seated position holding a ruyi scepter and raised on a rocky outcropping, h. 14”, the other figure seated and with both hands in a mudra position, seated on a floating chair above stylized waves and lotus blossoms, h. 13”. [300/500] Illustrated 219 Group of Two Chinese Figures of Reclining Guanyins, 20th century, the larger clothed in flowing robes and with one hand in a mudra position, h. 7”, l. 15”, the other similarly clothed and holding the Pearl of Wisdom in one hand, h. 6”, l. 11‑1/2”. [300/500] Illustrated

215

223 Chinese Boxwood Figure of a Reclining Buddha, 20th century, the robed figure reclining on an elaborately carved couch with a dragon-pierced back, raised on mask and paw feet, h. 12”, w. 22”, d. 6‑1/2”. [400/700]

221 Group of Two Chinese Boxwood Sculptures, 20th century, one of a piece of coral and two fish, the coral carved to form a vase, h. 9”, the other, an aquatic leaf and lotus blossoms with two fish, the leaf forming a vase, h. 11”. [200/400] 222 Chinese Carved Wood Figure of a Bearded Elderly Man, 20th century, the figure with two side knots and a long flowing beard, partially robed and holding a large leaf, h. 18‑1/2”. [200/400]

225

224 Group of Two Chinese Boxwood Figures of Guanyin, 20th century, each figure standing and with a wound top knot and clad in loose robes, their hands in a mudra position, raised on stylized lotus bases, h. 12”. [300/500] 225 Chinese Boxwood Figure of Buddha, 20th century, the robed figure holding the Pearl of Wisdom in one hand, the other raised in a mudra position, seated on a lotus throne raised on stylized waves, h. 22‑1/2”. [600/900] Illustrated

226 Chinese Carved Boxwood Ruyi and Stand, 19th century, of conventional form with an oval lobed head with low relief carving of a stylized character surrounded by five bats and a fretwork border, the shaft with a central plaque of archaic characters flanked by fields of geometric hexagons, fitted stand, l. 19‑1/2”. [450/700]

237

227 Group of Three Chinese Boxwood Figures of Budai, 20th century, the largest, a standing figure carrying the Pearl of Wisdom and with one leg raised above a foo dog, h. 13‑1/2”, the next of a standing Budai with both hands in the air, clothed in loose robes and raised on a plinth, h. 8‑3/4”, and the last figure seated and robed on a stylized grass mat, h. 6”. [300/500] 228 Group of Two Chinese Boxwood Figures of Guanyin, 20th century, each figure with an elaborate top knot and clad in loose robes, one with one hand in a mudra position, the other hand holding a bamboo branch, raised on a lotus blossom, h. 15‑3/4”, the other figure clasping a lotus blossom between her two hands, h. 14‑1/2”. [250/400] 230 Chinese Carved Ivory Figure of Shou Lao, 20th century, the figure depicted standing and holding a staff and a branch of peaches, h. 6‑1/2”. [300/500]

229 Group of Three Chinese Boxwood Figures, 20th century, the first, a figure of a standing robed Immortal with a small attendant at his side, h. 9‑3/4”, the second, a bust of Guanyin, h. 7”, and the third, a seated figure of an Arhat holding a cup, h. 5‑1/4”. [200/400]

231 Large Chinese Boxwood Figure of Guanyin, 20th century, the standing figure clothes in loose robes and holding one hand up in a mudra blessing position, standing on a lotus platform on a wave base, h. 33‑1/2”. [800/1200] 232 Group of Two Chinese Boxwood Figures, 20th century, one figure of a robed Guanyin holding the Pearl of Wisdom and raised on a circular plinth, h. 17‑1/2”, the other seated figure of a robed Buddha in a meditative pose, h. 8‑3/4”. [200/400] 233 Chinese Export Rose Medallion Bowl, third quarter 19th century, the exterior decorated with panels of phoenix birds and flowers alternating with panels of figures, the interior with like-decoration, h. 6, dia. 14‑3/4”. [1400/1800] Illustrated

233

238

234 Chinese Famille Rose Export Porcelain Wash Basin, 19th century, the deep porcelain bowl with flattened rim decorated in the rose medallion pattern with alternating panels of figural and floral decoration, dia. 16”. [500/800] 235 Chinese Export Porcelain Punch Bowl, fourth quarter 19th century, in the rose medallion pattern, decorated in the classic style with panels of figures alternating with panels of peonies and ho ho birds, h. 6”, dia. 14‑1/2”. [500/800]

243

240 Group of Five Chinese Export Bottle Vases in the Rose Canton Pattern, ca. 1900, one pair decorated with orange and gilt-edged blue peonies, h. 8‑1/2”, and three with pink and gilt dragons, h. 7” to 8‑1/2”. [150/300] 241 Chinese Export Porcelain Charger in the Rose Canton Pattern, ca. 1900, the field decorated with peonies and butterflies, and the yellow border decorated with green scrollwork and pink lotus blossoms, dia. 15”. [300/500] Illustrated 242 Three Pieces of Chinese Export Porcelain, the first, a charger in the rose canton pattern, decorated with ho ho birds and butterflies, dia. 13‑1/2”, the second, a plate in the same pattern, dia. 10‑3/4”, and the third a plate in the butterfly pattern, dia. 10”. [300/500]

236 Chinese Export Porcelain Baluster Vase, fourth quarter 19th century, executed in the rose medallion pattern, panels of Chinese figures alternate with panels of ho ho birds and flora, three-dimensional gilt dragons decorate the shoulder and gilt foo dogs serve as handles, h. 23‑3/4”, dia. 9”. [200/400]

241

237 Three Chinese Export Porcelain Rose Medallion Vases, all of baluster form, the largest with gilt foo dog handles and gilt lizards applied to the shoulders, decorated with gilt highlights in the female’s hair, h. 17‑3/4”, the middle-sized vase with the same pattern, handles and shoulder decoration, and with a scalloped lip, h. 13‑1/4”, and the shortest example with orange accents added to the foo dogs and lizards, with no gilt highlights, h. 12‑1/2’. [300/500] Illustrated 238 Assembled Group of Rose Medallion Dinnerware, ca. 1850‑1900, the group consisting of five dinner plates, dia. 9‑1/2”, ten luncheon plates, dia. 8‑1/2”, six mid19th century luncheon plates with gilt highlights to hair, dia. 8‑1/2”, eleven tea cups, including two cups of different shape, h. 2‑1/4”, and nine saucers, dia. 5‑1/2”, two luncheon plates marked “Made in China”, dia. 8‑1/2”, one dinner plate of mid-19th century origin with gilt highlights to hair, dia. 10”, and six assembled bread and butter plates, some marked “China” and “Made in China”, and some unmarked, dia. 6”. [200/400] 239 Chinese Export Porcelain Punch Bowl, fourth quarter 19th century, in the rose medallion pattern, decorated in the classic style with panels of figures alternating with panels of peonies and ho ho birds, h. 5”, dia. 11‑1/2”. [300/500]

243 Three Chinese Export Porcelain Rose Medallion Vases, third quarter 19th century, each of baluster form, one example with gilt foo dog handles with orange balls and gilt lizards applied to the shoulder, the female’s hair decorated with gilt highlights, h. 17‑1/4”, the second example with a straight unadorned neck and shoulders, h. 17‑3/4”, and the third example with foo dog masks at the shoulders and having a flared rim, h. 13‑1/2”. [300/500] Illustrated

245 George III-Style Walnut Desk, early 20th century, the rectangular top with canted corners and an inset gilttooled leather writing surface, above a conforming frieze fitted with two long drawers over a small end drawer to each end, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 30‑1/2”, w. 52‑1/2”, w. 22". [600/900] 246 George III-Style Wirework, Iron and Brass Fire Fender, fourth quarter 19th century, with a brass gallery over a wire latticework, h. 10‑1/2”, w. 36”, d. 13”. [125/250] 247 George III-Style Brass and Cast-Iron Fireplace Insert, first quarter 20th century, the arched back in fan decor in the manner of Robert Adam, the firebox fronted by nickel-plated bars, the facing stand in brass, h. 26”, w. 29”, d. 16”. [200/400] 248 English Victorian Brass Fire Fender, fourth quarter 19th century, the flat brass base with turned standards in the neoclassical style, supporting horizontal brass rods fitted with brass-turned end cups, h. 10”, w. 40”, d. 15”. [150/300]

260

244

244 George III-Style Mahogany and Burl Wood Secretary/Bookcase, the molded and dentillated cornice above two astragal-glazed doors, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and three long graduated drawers, all banded, raised on bracket feet, h. 88”, w. 38‑1/2”, d. 20‑1/2”. Provenance: The Unicorn Shop, Montgomery, Alabama. [700/1000] Illustrated

255

249 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded cornice above a case fitted with two short drawers over three long graduated drawers, the lower section fitted with three long graduated drawers, raised on tall shaped bracket feet, Provenance: Herbert Schiffer Antiques, West Chester PA h. 72‑1/2”, w. 41”, d. 19‑3/4”. [1500/2500] 250 Horn, Tortoise and Gilt-Bronze Smoking Stand, ca. 1900, the stand comprised of a pair of horns forming the structure mounted in the center with a gilt-bronze mountain goat wearing a wreath of fruit, the brass-lined tortoise shells serving as holders for cigarettes and cigars, and with a bronze match holder on the rear, the foot clad in heavy giltbronze, h. 5”, w. 16”, d. 9”. [700/1000]

257 Contemporary Burlwood Side Table, in the Georgian Taste, the rectangular quarter-veneered top above a single frieze drawer, raised on square chamfered legs with gilt accents, h. 24”, w. 25”, d.19". [500/800] 258 George III Mahogany Bachelor’s Chest, early 19th century, the rectangular top with molded edge above a case fitted with five long graduated drawers, raised on shaped bracket feet, h. 28‑1/2”, w. 27‑1/4”, d. 19”. [500/800]

254 251 Richly Colored Sea Turtle Carapace, the surface cleaned and softly waxed, h. 20‑1/2”, w. 16”. [400/700] 252 Mother-of-Pearl Box Fitted with Scent Bottles, mid-19th century, the box with turreted corners and a raised lozenge on the lid, the velvet-lined interior fitted with a pair of cut-glass bottles with bright cutsilver caps, h. 3‑1/4”, w. 4‑1/4”, d. 2‑1/2”. [300/500] 253 Henry Schouten (Belgian, 1859‑1927), “Wooded Landscape with a Horseman”, oil on canvas, signed lower left “Henry Schouten”, 21” x 33”. Presented in a handsome period giltwood and gesso frame. [2000/4000] Illustrated 254 Edouard Hostein (French, 1804‑1889), “Pastoral Landscape With Cattle and Shepherds”, oil on canvas, signed lower right “Edouard Hostein”, 21” x 29”. Presented in a Beaux-Arts giltwood and gesso frame. [2000/4000] Illustrated 255 Impressive Pair of Carved Giltwood Wall Brackets in the Style of Grinling Gibbons, each bracket depicting a three-dimensional pheasant perched on an oak branch, against a background of carved leaves, the underside of the serpentine shelves carved with branches cleverly terminating in rococo scrollwork, h. 18”, w. 19’, d. 11‑1/2”. [1400/1800] Illustrated 256 Large Pair of George III-Style Gilt-Bronze Carriage Four-Light Lanterns, each of square form and with a domed cupola with foliate finials above a central standard with four sockets, within an etched glass case with a pendant foliate knop, h. 48”, w. 19‑1/2”, d. 19‑1/2”. [1500/2500]

253

259 Chinese Rose Medallion Porcelain Punch Bowl, fourth quarter 19th century, decorated with alternating panels of figures and peonies with ho ho birds, and a rose medallion in the center of the bottom, h. 5”, dia. 11‑1/2”. [300/500] 260 Two Chinese Export Porcelain Chargers, ca. 1870, in the rose medallion pattern, dia. 15” and 19”. [300/500] Illustrated

263

261

264 Group of Three Chinese Export Porcelain Rose Medallion Chargers, ca. 1900, in the standard pattern, with alternating panels of figures and flora, with red edges, dia. 11‑1/2” to 15”. [300/500] Illustrated 265 Four Pieces of Chinese Export Porcelain in the Rose Medallion Pattern, comprised of an oval platter, fourth quarter 19th century, w. 13”, d. 10‑1/4”, an oval dish, first quarter 20th century, w. 11”, d. 9”, and two vases, first quarter 20th century, with obverse panels with figures and reverse panels with peonies and ho ho birds, h. 8”. [200/400]

262

264

266 Chinese Export Porcelain Garden Seat in the Rose Medallion Pattern, fourth quarter 19th century, the barrel-form seat with classic rose medallion decoration, with pierced top and sides in the form of a medallion, faux raised “nailheads” complete the barrel theme, h. 19”, dia. 13”. [500/800] Illustrated

266

261 Assembled Pair of Chinese Rose Medallion Ginger Jars, third quarter 19th century, each with figures with gilt highlights in their hair, applied gilt masks on the shoulders act as handles, the dome-shaped covers with foo dog knops, h. 17”. [1000/1500] Illustrated 262 Group of Four Chinese Export Rose Medallion Vases, late 19th/early 20th century, consisting of three examples with foo lion handles and lizards mounted to the neck and another vase of bulbous form with a narrow neck and flared rim, h. 10” to 12”. [300/500] Illustrated 263 Impressive Pair of Large Scale Chinese Export Porcelain Baluster Vases, fourth quarter 19th century, now fitted for lamps, but not drilled, the alternating panels of figures and ho ho birds with flora on a gilt ground decorated with butterflies, gilt raised dragons decorate the shoulder and gilt foo dogs serve as handles, the top scalloped and fitted with shades, custom gilt stands, h. 44”, [2000/4000] Illustrated

267 George III-Style Mahogany Side Table, 19th century, in the Chinese Chippendale taste, the rectangular top above a nicely blind-fret-carved frieze, raised on fluted chamfered legs ending in block feet, h. 31‑1/2”, w. 46‑1/2”, d. 21‑1/2”. Provenance: Pickwick Antiques, Montgomery, Alabama. [1500/2500] Illustrated

268 George III Mahogany Tripod Table, fourth quarter 18th century and later, the tilting pie crust top with a dished edge and raised on a turned and fluted vasiform standard to three splayed acanthine-carved legs ending in foliate scrolled toes, h. 28", dia. 27‑1/4”. [1000/1500]

269 269 Suite of Twelve George III-Style Mahogany Dining Chairs in the Chippendale Taste, consisting of two armchairs and ten sidechairs, each with a pagoda-form top above an elaborately carved and interlacing ribboncarved splat, the padded seat raised on carved square legs to molded feet, h. 42”. [3000/5000] Illustrated 270 Pair of George III-Style Mahogany Sidechairs, early 20th century, each with a shaped crest above a pierced splat, the padded seat raised on cabriole legs ending in ball and claw feet, h. 39”. [300/500] 271

271 Good George III Mahogany Tall Case Clock, fourth quarter 18th century, the silvered brass face engraved “Adam Travers-London”, the hood with a broken arch pediment and foliate rosettes above a frieze with scrollcut grillwork, fluted columns above and quarter columns below, the mid-molding floral and ribbon carved, the ogee bracket feet gadrooned and the movement featuring time and strike with calendar date, h. 95‑1/2”, w. 23”, d. 11”. [1500/2500] Illustrated 272 George III-Style Mahogany Gainsborough Chair, 19th century, the padded,domed and tufted back joined to the like-seat by padded fret-carved arms, raised on fret-carved square legs joined by an open-work H-form stretcher, h. 41‑1/2”. [150/300] 273 George III-Style Mahogany Dumbwaiter, mid-19th century, with three graduated tiers, all circular with dished edge, supported by turned and spiral-reeded supports, raised on an urn-form standard to three splayed cabriole legs headed by foliate-carving and ending in ball-and-claw feet, h. 44‑1/2”, dia. 23‑1/2”. [300/500]

274 George III-Style Mahogany Tripod Table, third quarter 19th century, the tilting circular top with a piecrust edge, raised on a turned columnar standard to three splayed legs ending in pad feet, h. 29”, dia. 23”. [500/800]

267

275 George III-Style Mahogany Bedside Commode, partially composed of antique elements, the rectangular top hinged and opening to a storage space over a case fitted with two faux drawers over two cupboard doors, raised on splayed feet, h. 28”, w. 23”, d. 18”. [300/500]

276 Nested Set of Two Japanese Imari Shallow Bowls, late 19th century, each of low circular form with a central leaf medallion surrounded by reserve panels of prunus branches, dia. 9‑3/4” to 12”. [300/500] Illustrated 277 Group of Five Small Japanese Dishes, late 19th/early 20th century, consisting of an oval dish with floral and avian decor, dia. 5‑1/2”, an oval Imari dish with a scalloped edge, dia. 5”, a floral-patterned diamond-shaped Imari dish, dia. 5‑3/4”, a small paneled Imari bowl centered by a ship medallion, dia. 5”, and a polychrome charger with an avian branch pattern, dia. 6”. [100/200] 278 Group of Two Japanese Chargers, late 19th century, one an octagonal Imari example, featuring a gilt phoenix above a floral garden, dia. 14”, the other, a Kutani example featuring an all-over polychrome mountainous landscape, dia. 13‑3/4”. [200/400] 279 Group of Two Japanese Imari Chargers, one late 19th century, with a scalloped edge and a central floral medallion surrounded by alternating reserve panels of phoenix and flowering branches, dia. 15‑3/4”, and the other, early 20th century, with alternating reserve panels of a figural landscape and a stylized floral design, dia. 14‑3/4”. [200/400]

284

276

280 Group of Eight Japanese Imari Plates, late 19th century, seven in the traditional palette and with traditional motifs, one in al all-over pattern with a foo dog in a floral landscape, dia. 7‑1/4” to 8‑3/4”. [200/400] 281 George III-Style Double Pedestal Mahogany Banquet Table in the Chippendale Taste, the top with a carved edge and beaded apron, opening to accommodate a pair of like leaves, supported by tripodal vasiform and foliate-carved pedestals joined to cabriole legs, with leafcarved knees and ball-and-claw feet, h. 30”, w. 48‑3/4”, l. 48‑1/2”, ext. l. 115”. [1500/2500] Illustrated

282 Suite of Seven George III-Style Mahogany Dining Chairs, consisting of two armchairs and five sidechairs, all with a domed and earred crest above a pierced and foliatecarved splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 39‑1/2”. [1500/2500]

281

283 Pair of George III-Style Mahogany Armchairs, early 20th century, marked “D.F.”, each with a pagoda-form crest centered by a carved foliate monogram medallion over a pierced and interlacing splat, joined by reeded arms to the padded seat, raised on cabriole legs headed by foliate carving and ending in paw feet, h. 41”. These chairs were purportedly the property of Douglas Fairbanks, Jr. [900/1200]

284 George III Mahogany Sideboard, early 19th century, the brass and urn-accented rail above a rectangular top with a serpentine front above a conforming case fitted with two central drawers flanked by two drawers to one side and by a single deep drawer to the other, raised on tapering square legs ending in spade feet, h. 36”, w. 69‑1/2”, d. 27‑1/4”. [2500/4000] Illustrated

286

285 George III Mahogany Bowfront Sideboard, fourth quarter 18th century and later, the bowed top with string-inlaid edging above a conforming case fitted with a long frieze drawer over a short drawer to each end, raised on tapering square legs, h. 32‑1/4”, w. 40‑1/2”, d. 21‑1/2”. [500/800] 286 Pair of Japanese Imari Chargers, early 20th century, each with a demi-lune panel of horses under a prunus tree, the remaining with floral and vessel designs, dia. 13‑3/4”. [200/400] Illustrated

291 George III-Style Mahogany Pembroke Table, 19th century, the rectangular top with a two like-leaves, above a frieze fitted with a single drawer, raised on chamfered square legs, h. 28”, w. 33‑1/2”, d. 18‑1/2”, ext. l. 37”. [400/700]

287 Group of Two Japanese Imari Chargers, late 19th century, one with an all-over aquatic and avian landscape scene within a segmented border, dia. 16”, the other with a central avian in a flowering ground pattern, with fanform and geometric band panels, richly gilded throughout, dia. 14”. [250/400]

292 George III Mahogany Tilt-Top Tripod Table, late 18th century, the three-board tilt-top on a turned pedestal with cabriole legs and pad feet, restorations, dia. 30”. [400/700]

288 Group of Two Japanese Imari Dishes, late 19th century, one a shallow bowl with an all-over floral, avian and geometric design, dia. 13‑1/2”, the other, a charger with a floral basket design surrounded by floral-patterned panels, dia. 12‑1/4”. [200/400]

293 Pair of George III-Style Mahogany Side Chairs, in the Chippendale Taste, mid-19th century, each with a gently arched crest rail, pierced splat, slip seat and exuberantly modeled cabriole legs in ball-and-claw feet, h. 39”. [300/500]

289 Group of Two Asian Bowls, the first a Chinese example, early 20th century, of ogee form, centered by a dragon medallion and surrounded by various creatures and floral and geometric patterns, the exterior with a band of foo dogs and fish, dia. 8‑1/2”, the other a Japanese Imari bowl with a central floral medallion and floral and mountainous reserve panels, dia. 8‑1/2”. [150/300]

294 George III Mahogany Breakfast Table, 19th century, the tilting rounded rectangular top with reeded edge, raised on a turned graduated columnar standard to four splayed fluted legs ending in brass caps on casters, h. 27‑1/2”, w. 54”, d. 34”. [700/1000]

290 George III Mahogany and Brass Cellarette, early 19th century and later, the hexagonal case with a hinged top opening to an open interior, the body with triple brass banding and carrying handles, raised on a stand of splayed square legs, h. 28”, dia. 19”. [300/500]

295 George III Inlaid Mahogany Tall Case Clock, fourth quarter 18th century, the painted face with parcel-gilt details and painted birds in each corner, the dial signed “Tho Dumbell-Rockdale”, the case with an inlaid snail in the frieze of the broken arch pediment, and with stringinlaid details, raised on ogee bracket feet, the movement featuring time, strike and calendar date, h. 94”, w. 23”, d. 9‑1/2”. [800/1200]

296

300 George III Sterling Silver Waiter, hallmarked London, 1782‑1783, by John Crouch and Thomas Hannam, of circular form with beaded rim, raised on three spatulate feet beaded en suite, the plateau with engraved garland centering the arms of Horn, dia. 8‑1/4”, 12.28 t. oz. [1800/2500] 301 George III Hester Bateman Sterling Silver Sugar Tongs, no city or date mark but London, fourth quarter 18th century, the bow-style tongs with openwork handles and shell grips, monogrammed on the bow “SMHA”, l. 5”, 0.90 t. oz. [200/400]

302

296 Pair of George II Sterling Silver Candlesticks, hallmarked London, 1731‑1732 and 1733‑1734, by James Gould, each with a baluster standard of octagonal section, with a conforming knop above and annular knop below, raised on a rounded square base with projecting sides and surmounted by a cannon-form nozzle fitted with a detachable nozzle en suite with the base, one inscribed on the underside “The Gift of T*M to S/I*E”, h. 7‑1/2”, w. 4‑1/4”, 29.64 total t. oz. [6000/9000] Illustrated 297 George III Sterling Silver Sauce Tureen, hallmarked London, 1795‑1796, by Henry Chawner, of oval form, the lower half gadrooned, with a reeded rim and arched handles on the narrow ends, fitted with a gadroon-domed conforming lid with reed-and-acanthus ring handle, the whole raised on an oval cavetto domed foot reeded en suite, engraved on the body with the arms of Austyn impaling Percival, h. 6‑3/4”, l. 9‑1/2”, w. 4”, 17.49 t. oz. [1400/1800] 298 Set of Eight George III Sterling Silver Tablespoons, hallmarked London, 1777‑1779, five by George Smith III, three by Joseph Steward II, each in the traditional “Old English” pattern, decorated with bright-cut and wrigglework threading, engraved on the handle with the crest of Harvey,^ l. 8‑1/2”, 18.2 t. oz. One of the Smith spoons is a “duty dodger” example, with the maker’s mark struck four times but lacking the official marks of Goldsmith’s Hall. [800/1200] 299 Pair of George III Hester Bateman Sterling Silver Platter Spoons, hallmarked London 1788‑1789, in the traditional “Old English” pattern, with a brightcut cartouche engraved with the crest of Hutchinson of Whitton and Durham, l. 11‑1/2”, 6.49 total t. oz. [3000/5000]

304

302 George III Hester Bateman Sterling Silver Cream Pail, hallmarked London, 1775‑1776, of flaring cylindrical form, decorated with openwork lattice-and-lozenge and ovolo banding, with gadrooned rim, plain circular plinth foot and twisted wire swing handle, fitted with a conforming cobalt glass liner, h. 2‑1/2” (3‑3/4” with handle), dia. 3”, 1.73 t. oz. (excluding liner). [2500/4000] Illustrated 303 Pair of George III Hester Bateman Sterling Silver Salt Cellars, hallmarked London 1779‑1780 and 1781‑1782, each of oval form, decorated with openwork lattice and laurel banding, with beaded rim and raised on four claw-and-ball feet, fitted with a conforming cobalt glass liner, h. 1‑3/4”, l. 3‑1/4”, w. 2‑1/2”, 2.89 total t. oz. (excluding liners). [900/1200]

309

305 George III Old Sheffield Plate Wirework Cake Basket, fourth quarter 19th century, of oval form, with molded rim and foot joined by wirework “gadroons”, with a swing handle en suite, h. 3‑3/4” (9‑1/4” with handle), l. 13”, w. 10‑1/2”. [500/800] 306 Pair of Late George III Sterling Silver Casters, hallmarked London, 1807‑1808, by Alexander Field, each with on ovoid body with reeded banding and engraved with pricked and wrigglework scrolls on the shoulder, the tall waisted cap pierced and with spherical finial, the whole raised on a square plinth base, h. 6”, dia. 2‑1/84”, weighted. [1400/1800] 307 Late George III Sterling Silver Sugar Sifter, hallmarked London, 1805‑1806, by William Eley and William Fearn, in the traditional “Old English” pattern, originally a sauce ladle, the handle later decorated with chased gadroons and scrolls, the bowl later pierced, gilded and decorated with repousse flowers, scrolls and annulated banding, monogrammed “EJB”, l. 7”, 1.86 t. oz. [250/400] Illustrated 308 Near Pair of George III Sterling Silver “Berry” Spoons, hallmarked London, 1805‑1806, one by Peter, Anne & William Bateman, l. 8‑3/4”, the other by GWB, l. 8‑1/4”, each in the traditional “Old English” pattern, the handles later decorated with chased foliage, the bowls with repousse fruit, engraved on the handle with a crest, “out of a mural crown, a dehi-swan displayed and ducally gorged”, 3.47 total t. oz. [250/400]

304 Pair of George III Sterling Silver Cluster Column Candlesticks, hallmarked London, 1765‑1766, by Edmund Vincent, each with an eight -”cluster” standard with molded bands, surmounted by a conforming openwork nozzle formed by acanthus fronds emerging one from each of the clusters and fitted with a detachable conforming bobeche with “balustrade” banding, the whole raised on stepped square base with “balustrade” banding cornered by acanthus fronds and centering an oval cartouche engraved with an armorial: “azure, on a bend engrailed argent, three mullets of the first”, h. 12‑1/2”, w. 5‑3/4”, weighted. Provenance: Axel Vervoordt, Antwerp, Belgium. This lot is accompanied the signed certificate of authenticity from internationally acclaimed designer and antiquarian Axel Vervoordt. [3500/5000] Illustrated

309 Pair of Regency Sterling Silver Candlesticks, hallmarked Sheffield, 1812‑1813, by Smith, Tate, Nicholson & Hoult, each with a tapering standard gadrooned on the lower half, above an acanthus-domed foot and surmounted by a thistle-form nozzle also gadrooned on the lower half and fitted with a conforming detachable bobeche, the whole decoracted with gadroonand shell banding, engraved on the base with the arms of Cholmondeley impaling another, with the Cholmondeley crest on the bobeche, h. 13‑1/4”, dia. 5‑3/4”, weighted. [4000/7000] Illustrated 310 Regency Sterling Silver Asparagus Tongs, hallmarked London, 1817‑1818, by RP, the bow-style tongs with narrow blades and slender rectangular brace, engraved on the bow with the crest of Holman of Banbury, et al., l. 10‑1/4”, 6.88 t. oz. [600/900] 311 Two Pairs of Sterling Silver Master Salt Spoons, the first an English Regency pair, hallmarked London (no city mark), 1815, by Thomas Streetin, in the traditional “Fiddle” pattern, with gilt bowls and engraved crest of a rose and a lion’s head couped, l. 4”, and the second an American pair in Gorham’s “Delhi” pattern, introduced in 1881, Providence, Rhode Island, retailed by Spaulding & Co., Chicago, monogrammed “LRF”, l. 3‑1/2”, 1.48 total t. oz. [50/80]

314 312 Large Pair of Chinese Polychrome Porcelain Foo Dogs, first half 20th century, modeled as male and female Foo Dogs on plinth bases and having taper or joss stick holders at their backs, enameled in famille rose enamels with yellow body colors, h.14‑3/4”. [400/700] Illustrated 313 Chinese Incised Large Saucer Dish, 20th century, the body glazed in yellow with green decoration following incised decoration of peaches and scrolling foliage, dia. 11‑7/8". [75/125] 314 Chinese Embroidered Skirt, 19th century, the green silk embroidered with dragons and phoenixes in gold. [300/500] Illustrated

312

315 Two Pieces of Pottery, second quarter 20th century, China and Japan, the first molded yellow with a Sung reign mark on the bottom, h. 3‑1/2”, dia. 9‑1/2”, and the second a brown glazed vase, h. 5‑3/4”. [100/200] 316 Chinese Ming-Style Porcelain Covered Jar, 20th century, engraved with dragons and clouds with yellow enamel on a brick red ground, with a six-character Chia Ching mark on the base, h. 8‑1/2”. [1400/1800] 317 Chinese Porcelain Polychrome Vase, early 20th century, of bottle form, the neck with colorful geometric bands over a body decorated with various mythical animals amidst wave patterns, h. 18”. [150/300] 318 Chinese Elm Side Table, 20th century, the banded rectangular top above a pierced recessed frieze, raised on square legs joined by a box stretcher, h. 33‑1/2”, w. 37‑1/2”, d. 19”. [500/800] Illustrated 319 Pair of Chinese Famille Jaune Porcelain Garden Seats, 20th century, each of hexagonal, barrel form with pierced “cash” symbols on the top and sides and having two rows of bosses, decorated with shaped reserve panels of figures in garden settings and before an altar, the ground decorated with flowers, fruit and antiques in polychrome enamels against a yellow ground, h. 18‑1/2”. [250/400] 320 Large Pair of Chinese Baluster Vases, 19th century, each with applied dragons at the shoulders and Foo Dog handles, decorated in encre-de-chine and colors against a yellow ground with dragons among flowering vines, h. 24”. [400/700]

318

321 Elegant Chinese Famille Rose Porcelain Vase, Republic Period (1908‑1949), the body decorated with a continuous scene of asters, peonies and flowering trees above a ruyi border, the shoulder and neck decorated with lotus, flowers and scrolling foliage with a ruyi border on a greenish-yellow ground, the base with a six-character Jiaqing seal mark in iron-red, h. 7‑3/8”. [600/900] Illustrated

322 Two Chinese Famille Rose Vases, 20th century, one of rouleau shape decorated with sparrows in a flowering peony tree, a calligraphic poem and a floral decorated neck, the second of baluster shape with flowering peonies and a calligraphic poem, h. 11‑7/8”. [50/80]

321

325

324

323 Fine Chinese Famille Rose Chrysanthemum Bowl, Republic Period (1908‑1949), the interior plain, the exterior finely decorated with sprays of yellow, pink and green chrysanthemums and blue asters with a calligraphic inscription in black with three red seals, the countersunk base with a four-character Yongzheng seal in raised blue enamel, eclectic zitan carved stand, dia. 6‑3/8”. [300/500]

324 Chinese Famille Rose Porcelain Bottle Vase with Flared Lip Rim, Republic Period (1908‑1949), the body and neck densely decorated with open lotus blossoms, scrolling foliage, bats in flight and stylized Shou characters above a lappet border and having a border and having a border of ruyi heads at the shoulder, the base with a six-character Qianlong seal mark in underglaze blue, h. 8‑7/8”. [600/900] Illustrated 325 Chinese Famille Rose Porcelain Wine Cup, 20th century, the interior plain, the exterior decorated with a cockerel among flowering plants on a grassy ground, the base with a four-character Yongzheng mark in underglaze blue, dia. 2‑3/8”. [200/400] 326 Good Chinese Carved Rosewood MarbleTop Stand, fourth quarter 19th century, the rectangular top with an inset rouge marble, the pierced aprons in an interlocking motif and having a medial shelf below, raised on tall square legs terminating in ball-and-claw feet, h. 32”, w. 17”, d. 12”. [400/700] Illustrated

326 327 328

327 Chinese Carved Rosewood and MarbleTop Stand, fourth quarter 19th century, the scalloped top with a carved beaded edge and floral-pierce-carved aprons, the legs with carved serpents and ending in paw feet, the top with a rouge inset marble, h. 23”, dia. 18‑1/2”. [500/800] Illustrated 328 Unusual Chinese Rosewood and MarbleTop Stand, fourth quarter 19th century, the circular top with a rouge marble insert, the frame, legs and aprons depicting interlocking bamboo motifs, h. 19”, dia. 16‑1/2”. [400/700] Illustrated

329 Chinese Ebonized and Marble-Top Tabouret, late 19th century, the square top with an inset rouge marble panel, above a conforming foliate-carved frieze and pierced apron, joined to a lower dished shelf by square supports terminating in ball-and-claw feet, h. 31‑1/4”, w. 16‑3/4”, d. 16‑3/4”. [700/1000]

332

334 Early Chinese Creamware Pottery Bowl, 18th/19th century, the exterior side walls with embossed decoration and the whole with a slightly raised circular foot, dia. 3‑3/4”. [150/250] 335 Chinese White Glazed Offering Bowl, Republic Period (1908‑1949), the circular bowl lightly incised on the exterior with two cavorting five-clawed dragons with Flaming Pearls and clouds, the base with a six-character Yongzheng reign mark within a double circle, dia. 5‑7/8”. [400/700] Illustrated 336 Chinese Porcelain Teapot, early 20th century, the cylindrical body with sides engraved with a poem, h. 6‑1/2”, w. 6”. [200/400] 337 Pair of Chinese Porcelain Animals, 19th century, the white water buffaloes with underglaze blue eyes, h. 4‑1/4”. [100/200] 338 Group of Four Japanese Polychrome Composition Figures, in various erotic poses, longest, 3‑3/4”. [500/800]

330 Group of Three Chinese Blanc de Chine Porcelain Figures, 20th century, h. 16” to 16‑1/2”. [200/400] 331 Pair of Chinese Famille Rose Porcelain Vases, 20th century, each of squared rectangular form with rounded necks, decorated all over with flowers and insects against a white ground, h. 9‑1/2”. [75/125]

339 Gilt-Metal and Porcelain French Clock in the LouisXVI Taste, fourth quarter 19th century, the base supported on round feet and mounted with Sevres-style plaques depicting panels of flora on a bleu celeste ground, the body with three matching plaques, the central plaque depicting a female dancing in classical costume, floral plaques adorn the sides, cast caryatids at each corner, the porcelain clock face painted in the Sevres-style and trimmed in scrollwork, with a pair of lovebirds acting as a finial, h. 19‑1/4”, w. 10‑1/2”, d. 4‑1/2”. [1800/2500]

332 Chinese Famille Jaune Porcelain Moon Flask, 20th century, the flattened circular body with a tubular neck and two dragon handles, the face and reverse with central circular panels decorated with birds and groups of flowers above weathered rockwork, the surround decorated with lotus blossoms and scrolling foliage on a yellow background, the base with a six-character Qianlong seal mark in iron-red, h. 14‑5/8”. [600/900] Illustrated 333 Chinese Famille Jaune Porcelain Vase, now mounted as a lamp, of baluster form with applied dragons at the neck and double foo dog handles, the body decorated with flowers and Chinese antiques against a yellow ground, presented on a carved wooden base and fitted with a silk drum shade, h. 41‑5/8”, to top of shade. [250/400]

335

340 Napoleon III Gilt-Bronze and Porcelain Three-Piece Mantel Garniture, third quarter 19th century, the clock with a rounded base set with Sevres-type plaques in a bleu celeste ground, decorated with putti and flora, the clock works adjacent to a winged putti holding a porcelain plaque of a woman in 18th century costume, the clock signed “Jalliffier, Boulevard St. Denis”, h. 10”, w. 12”, d. 4‑1/2”, the accompanying candlesticks with round bases set with matching plaques depicting birds, and a single winged putti serves as the standards, holding a candle cup and drip pan, h. 13‑1/2”, dia. 4‑3/4”. [2000/4000] Illustrated

340

341 Bronze and Crystal Louis XV-Style Twelve-Light Chandelier, the scrolled brass arms supporting two rows of candle cups fitted with scalloped drip pans, all hung with flat, serpentine-sided prisms, the central standard clad in vase-shaped glass segments, and the bottom finished with a round faceted ball finial, h. 38”, dia. 25”. [500/800] 342 Pair of Paris Porcelain Garniture Vases, second quarter 19th century, the square plinths with hand painted cartouches of people in Elizabethan costume on the obverse, and cartouches of flowers on the reverse, with matching decoration on the main body of the vases, each figure sitting on a Gothic chair with attendants at their side, the bright green ground with raised gilt, and with scroll-molded and gilt-trimmed handles, h. 13”, w. 6‑1/4”, d. 5”. [600/900] Illustrated

342

343 Napoleon III Opaline and Bronze Centerpiece Bowl, third quarter 19th century, the scroll-molded pierced bronze base supporting an oval opaline bowl enameled with putti and flora on a pink ground, the pierced bronze rim with scrolled handles and oval rings, h. 6”, w. 6‑3/4”, l. 18”. [1000/1500] Illustrated

343

344 Pair of Paris Porcelain Scent Bottles, second quarter 19th century, the bases with scrolled feet support tasseled cushions, holding seated Mandarin male and female figures, the female dressed in apricot and the male in lavender, h. 5‑3/4”, w. 3”, d. 3”. [300/500]

348 Continental Porcelain “Nodders” of a Sultan and Sultana, third quarter 19th century, each depicted seated, their white gowns decorated with navy flowers and stripes, with turquoise raised flowers and gilt trim, h. 4‑3/4”, w. 3‑1/2”, d. 3”. [400/700] 349 Pair of Napoleon III Moderator Lamps, fourth quarter 19th century, the bronze bases with incised decoration, supporting the pottery base decorated with plum branches, birds and butterflies, the neck decorated with a Greek-key, and finished with gilt-bronze trim, h. 25”, [600/900]

347

350 Louis XVI-Style Mahogany and Marble-Top Occasional Table, early 20th century, the rectangular Carrara marble top with a three-quarter pierced brass gallery, above a case fitted with three drawers, each paneled and with brass banding, joined to a lower shelf by turned bulbous uprights, raised on tapering circular legs ending in brass caps and casters, h. 30”, w. 19”, d. 12‑1/2”. [900/1200]

345

353 345 Tinted Parian “Nodder” of a Manderin Figure, fourth quarter 19th century, dressed in a pale green gown decorated in the aesthetic manner with cranes, flora and moths, the figure resting on a period giltwood base lined with silk, marked with a faint blue anchor, “ESS”, a series of pattern numbers and hand inscriptions, h. 18”, w. 6”, d. 4‑1/2”. [200/400] Illustrated

346 Collection of Two Framed French Hand-Colored Engravings, depicting various oriental costumes, 19th century, each sheet with four plates, sight 16” x 10‑1/2”. Both glazed, matted and framed. [600/900] 347 Pair of Paris Porcelain Potpourri Holders, second quarter 19th century, in the style of Jacob Petit, each featuring a seated oriental figure holding the oval covered potpourri containers aloft, and resting on bleu royale tasseled cushions, the potpourri holders decorated in pink and green with dragon molded handles and with oval pierced covers with spire-form knops, h. 13”, w. 7‑1/2”, d. 3”. [600/900] Illustrated

351 Pair of Sevres-Style Urns Mounted as Lamps, the pear-shaped lobed bodies decorated with alternating cascades of raised gilt bellflowers on a white ground and raised gilt roses on an apple green ground, resting on a conforming wooden base with matching decoration, h. 29‑1/2”, w. 7”. [700/1000]

356 Group of Four Porcelain Figures in 18th Century Costume, 19th century, the first pair depicting a male holding a racket and the female holding a lawn ball, each on a rococo molded stand, another depicting a couple standing on a single low stand and the last depicting a maiden holding sculpted flowers with a bocage of sculpted flowers on brass branches at her back, h. 5‑1/4” to 7‑1/2”. [75/125]

360

357 German Porcelain Figural Tobacco Jar, third quarter 19th century, depicting an inebriated young man on a ladder, a grape-filled harvest basket strapped on his back, adding grapes to the wine barrel, an empty harvest basket resting on the ground serving as a match striker, h. 9‑1/2” [300/500] 358 Imperial and Royal Porcelain Manufactory Porcelain Standish, ca. 1850, Vienna, the oval tray serves as a stand for the ink pot and pounce pot, with a central vase for pens or spills, decorated with bleu royale borders and gilt sprigs on a white ground, the pounce pot with an inscribed beehive, “15” and “850”, h. 4”, w. 5”, l. 8‑3/4”. [100/200]

352 Louis XV-Style Gilt-Bronze Clock, ca. 1900, retailed by J.E. Caldwell, Philadelphia, the case with a serpentine facade top and sides, the corners decorated with scrolls and all inset with complex beveled glass panels, the shell-molded crest with oak leaves, the Japy Freres works with a porcelain dial with a blue painted chapter ring decorated with swags of roses, the pendulum edged with faux diamonds and decorated with a painted rondel of a woman in 18th century costume, the Caldwell, Philadelphia and Japy Freres signature on the porcelain dial and rear, h. 14‑1/2”, w. 8‑1/2”, d. 5”. [1200/1800] 353 Napoleon III Giltwood Oval Mirror, third quarter 19th century, the cove-molded and beaded frame with a lushly molded crest depicting a pair of lovebirds, a flaming torch, a quiver of arrows and a trail of roses on each side, the lower edge molded with morning glories and roses, h. 41”, w. 24”. [800/1200] Illustrated 354 Louis XV-Style Mahogany Three-Fold Screen, early 20th century, the wider central panel with an upper shaped beveled panel surmounted by a pierced floral and foliate crest, with a painted silk panel below of a pastoral maiden, the two side panels en suite and floral painted panels raised on scrolled toes, h. 64‑1/2”, w. 59”. [300/500] 355 Pair of Meissen Porcelain Figural Double Sweetmeat Bowls, third quarter 19th century, in the rococo taste, modeled as pairs of addorsed shells centered by a seated figure, one a chef’s assistant and the other a kitchen maid with a plucked goose, the bowl interiors with polychromed floral sprays, each with incised numerals underglaze and the underglaze blue crossed swords of Meissen, h. 7”, w. 9‑1/2”, d. 4”. [500/800] Illustrated

355

359 Pair of Louis XVI-Style Polychrome Fauteuils, each with a padded medallion back within a molded frame, joined by padded scrolling arms to the cushioned seat, raised on tapering fluted circular legs ending in toupie feet, h. 38”. [400/700] 360 Pair of French Sevres-Style Table Lamps, ca. 1900, the square, notched brass base supporting a cobalt base with raised gilt rocaille decoration, the ovoid bases decorated with reserve panels of 18th century couples frolicking in an Arcadian landscape, the panels trimmed in raised gilt, one with a bleu celeste ground and the other with a pink ground, the cobalt neck matching the foot, fitted with shades, h. 38”, to top of finial. [2500/4000] Illustrated

361 Louis XV-Style Giltwood and Marble-Top Console Table, 19th century, the shaped Sarrancolin Ilhet marble top with a molded edge, above a conforming frieze with central foliate shell and pierced foliate bands, raised on scrolling legs headed by acanthine carving and ending in scrolled toes joined by a scrolling stretcher, h. 38‑1/2”, w. 48”, d. 16‑1/2”. [1800/2500] Illustrated

370

362 French Gilt-Brass and Champleve Enamel Mantel Clock, ca. 1900, the elaborately cast case resting on scrollwork feet, with a pierced skirt, reeded sides columns and a bowknot crest, the lower facade mounted with a champleve panel with a bleu celeste ground and a cream cartouche decorated with foliage and hung from a bow knot, the works set with a cream-colored porcelain dial painted with swags of roses and the retailer’s name, now undecipherable, the case crowned with a champleve enamel finial sporting scrollwork brass handles which descend down the sides of the case, h. 17”, w. 8”, d. 4”. [900/1200]

365 Set of Ten Paris Porcelain Cabinet Plates, mid-19th century, each plate decorated with a different botanical subject, some with fruit and some with flowers, the paneled border with a pink ground and finely detailed gilt decoration, dia. 8‑1/2”. [500/800] Illustrated 361

363 English Gilt-Brass and Enamel Etui, first quarter 20th century, of cylindrical form with polychrome floral sprays within white cartouches on a soft aqua ground, the interior fitted with gilt-metal implements including a needle case, scissors, a bodkin and small hook, h. 3‑3/4”. [75/125] 364 Louis XVI-Style Polychrome Settee, 19th century, the padded rectangular back joined to the padded seat by downswept closed arms, raised on fluted tapering circular legs ending in toupie feet, h. 37‑1/2”, w. 41", d. 22‑1/2”. [1400/1800]

366 Louis XV-Style Giltwood and Marble-Top Console, early 20th century, the shaped and bowed Griotte Rouge marble top with molded edge and above a pierced foliatecarved frieze, raised on cabriole legs headed by shield carving, joined by an urn-centered X-form stretcher and ending in scrolled toes, h. 34”, w. 41”, d. 22”. [1800/2500]

365

372 Juan Soler (Spanish, b.1941), “Parisian Park Scene”, oil on panel, signed lower right “J. Soler”, 11‑1/2” x 15‑1/2”. Presented in a contemporary ebonized and parcel-gilt frame. [1000/1500] Illustrated 373 Paul Pierre Gomez (French, 19th/20th Century), “Girl with Pink Ribbon in Her Hair”, oil on canvas, 36‑1/4” x 29”, signed lower left: “Paul Gomez “. Presented in a attractive molded giltwood frame. [2000/4000] Illustrated 374 Pair of French Bronze Three-Light Sconces in the Baroque Taste, the back plate in the form of an open cartouche, made of two bold “C” scrolls molded with acanthus leaves, leading to a lower drop, molded with acanthus leaves and bellflowers, the trumpet-shaped urns decorated with applied leaves and terminating in bold urn-form members, mounted with brass candle cups, the crest formed of a square plinth with an applied leaf-molded medallion holding a draped urn with a flame finial, h. 30”, w. 14”, d. 10”. [800/1200] Illustrated

374 373 367 Italian Giltwood Looking Glass in the 18th Century Rococo Taste, the rectilinear looking glass in a scalloped frame adorned with open scrolls and shells, partially composed of antique elements, h. 49”, w. 29". [700/1000] 368 Four Limoges Oyster Plates, ca. 1891‑1896, made by Martin Redon, retailed by Collamore and Company, New York, the plates molded in the form of five conjoined scallop shells, realistically molded, with gilt edges and gilt divides in a coral pattern with a central indentation to hold dipping sauce, marked in green, “Martin Redon” on the reverse and with a black Collamore retail mark, dia. 8‑1/4”. [100/200] 369 Pair of Paris Porcelain-Style Veilleuses, Now Mounted as Lamps, decorated with flora en grisaille, complete with bases pierced for night lights and candle holders, now mounted on brass bases and fitted with shades, electrified, h. 20‑3/4”, to top of the shade. [1200/1800] 370 Louis XVI-Style Giltwood Looking Glass, 19th century, the beveled rectangular plate surmounted by a scroll and torchere crest and surrounded by a molded stylized foliate frame, h. 53‑1/2”, w. 30‑1/2”. [700/1000] Illustrated 371 French School (Fourth Quarter 20th Century), “In the Garden”, oil on canvas, signed and dated lower right “J. J. Collin 1885”, possibly a study or unfinished work by Louis Joseph Raphael Collin (French, 1850‑1916), 36” x 20”. Presented in a molded giltwood frame with an exhibition plaque. [600/900] 372

378 379 381

378 Two Patte de Verre Vases, first quarter 20th century, the shorter example, mottled green and blue and signed “Daum Nancy” in script on the lower side, h. 7‑1/2”. the taller amber example mottled with gray and signed “Delatte Nancy”, h. 8‑1/2”. [300/500] Illustrated 379 Daum Pate de Verre Vase, first quarter 20th century, the mottled amber, green and gray vase inscribed “Daum Nancy” on the side with the cross of Loraine, pontil marked, h. 4‑3/4”, w. 7”, d. 2‑1/2”. [200/400] Illustrated

380

380 Quezal Art Glass Salt Dish, first quarter 20th century, New York, the salt executed in gold iridescent glass and with a pontil marked “Quezal”, h. 1‑1/4”, dia. 2‑3/4”, together with a small gold iridescent art glass trumpet vase with a pontil mark, h. 2‑1/4”, dia. 3”. [200/400] Illustrated

381 Continental Art Glass Vase, ca. 1900, attributed to Loetz, Czechoslovakia, the olive green vase with amber flecks and dimpled sides, ground pontil on base, h. 5‑1/2”, dia. 4”. [200/400] Illustrated 382 Art Glass Pumpkin, the pumpkin blown in iridescent gold, complete with ribs and a stem, pontil marked, h. 3”, dia. 2‑1/2”. [100/200] 386

383 Contemporary Threaded Art Glass Vase, the aurenecolored vase threaded with purple, attributed to Lundberg Studios, Davenport, California, h. 6‑3/4”. [200/400]

388

375 Fritz Rehm (German, 1871‑1928), “Cigaretten Laferme Dresden” chromolithograph, reverse with a “Martin Lawrence Gallery” label, sight 12‑1/2” x 8‑1/2”. Glazed, attractively matted and framed. [700/1000] 376 Jules Cheret (French, 1836‑1932), “Folies-Bergere, Le Miroir” color poster, sight 12‑1/2” x 8‑1/2”. Glazed, matted and framed. [500/800] 377 Albert Guillaume (French, 1873‑1942), “Ambigu Comique/Gigolette” color poster, sight 12” x 8‑1/2”. Glazed, matted and framed. [500/800]

387

384 Contemporary Art Glass Vase, the vase in gold iridescent glass decorated with heart-shaped leaves and stems, attributed to Lundberg Studios, Davenport, California, h. 7‑1/4”. [150/300] 385 George de Feure Molded Art Glass Vase, first quarter 20th century, the vase executed in purple and green mottled glass, molded with bas relief images of maidens in classical costume, dancing and playing musical instruments, signed “G. de Feure” on base, h. 5‑3/4”, dia. 4‑1/2”. [200/400] 386 French Cameo Glass Vase, first quarter 20th century, the yellow-green glass vase cased in lime green, cut in patterns of flowers with butterflies and dragonflies, signed “Richard” and pontil marked on base, h. 6‑1/4”, w. 4‑1/4”. [700/1000] Illustrated 387 Fine French Cameo Glass Finger Bowl, ca. 1900, the colorless glass cased in purple and depicting a landscape with a waterside view with sailboats in the background, signed “Gressiere, Nancy”, h. 2‑1/8”, dia. 4‑3/8”. [700/1000] Illustrated 388 Art Deco Cameo Glass Vase, second quarter 20th century, the mottled pale blue body, overlaid with dark blue glass, cut in patterns of flowered balloons, attributed to Charles Schneider, Nancy, France, h. 7”. [300/500] Illustrated 389 Continental Art Glass Low Bowl, first quarter 20th century, the lower portion colorless with mottled blue and traces of amber and pink, polished pontil mark on base, h. 3”, dia. 8”. [300/500] 390 Aubusson Woven Tapestry by Jean Picart LeDoux (1902‑1982), the central field depicting a tazza filled with fruit and grapes placed amongst sliced melons and a mandolin, the border with meandering grape vines and butterflies, the lower left corner bearing the initials “PF” “Aubusson”, the lower right corner signed “Jean Picart LeDoux”, h. 63”, w. 86”. Jean Picart LeDoux is one of the most famous tapestry artists of the 20th century. He started as a painter and graphic designer following in the tradition of his famous illustrator father Charles Picart LeDoux. Working alongside his contemporary, Jean Lurcat, LeDoux designed tapestries for the world renowned workshop of Aubusson, where tapestries have been created since the Middle Ages. His artistic creations are best known for their allegorical expression and today are considered masterpieces. Tapestry works by LeDoux can be found in the Musee d’Art Moderne in Paris. [3500/5000] Illustrated 391 Two Pieces of Contemporary Art Glass, the larger handled vase blow in gold glass, attributed to Lundberg Studios, Davenport, California, h. 9”, the smaller vase, in a colorless satin glass with applied purple threading, h. 7”. [200/400]

390

392 Threaded Art Glass Vase, ca. 1900, attributed to the Loetz factory, the vase in a blown green glass with purple iridescence, h. 5‑1/2”. [200/400] 393 Contemporary Threaded Art Glass Vase, blown in an aurene color, possibly Lundberg Studios, Davenport, California, h. 5”. [150/300] 394 Two Pieces of Louis Vuitton “Monogram” Luggage, both with natural stitched cowhide handles and trim, the first a carry-on with two rounded handles and a name tag stamped: “Louis Vuitton / Malletier” and attached to one handle with a buckled leather strap, the dual-zippered top opening to a cream polished cotton-lined interior with one long open pocket along the back, two sides reinforced, case h. 13‑1/2”, w. 18”, d. 9‑3/4”, including handles h. 19‑1/2”, the second a side-zippered suitcase, the interior lined with chocolate brown fabric, with a long elasticized pocket at each end and two slip straps, the bottom end with a stitched leather window holding a card reading: “LOUIS VUITTON / PARIS, FRANCE / MANUFACTURED BY / THE FRENCH CO., U.S.A. / UNDER SPECIAL LICENSE”, the top bearing a metal label near the handle: “MYERS / LUGGAGE / THE PALM BEACHES” above a gilt-tooled monogram: “J. R. F.”, h. 24” including the handle, w. 25‑1/2”, d. 9‑1/4”. [300/500] 395 Rare Monumental Cameo Glass Vase, Attributed to Charles Schneider Art Glass, early 20th century, the upper portion depicting pitcher plants against a mottled yellow ground, the rim and base with restorations, h. 46”. [300/500]

398 Paul McCobb “Planner Group” Hardwood Extension Dining Table, ca. 1950, labeled: “Planner Group / designed by Paul McCobb / Winchendon Furniture Group / Winchendon, Mass.”, having two drop leaves and three additional leaves, h. 29‑1/2”, drop leaves w. 40” tapering to 36” on each end, l. with leaves down 23‑1/2”, l. with leaves up 53”, extended l. 89‑3/4”. [800/1200] Illustrated 399 Ting Shao Kuang (American/Chinese, b.1939), “The Silk Road”, serigraph, pencil signed lower right, numbered in pencil lower left “22/275”, sight 35” x 35”. Glazed, attractively matted and framed. [600/900]

397

400 Vintage Eero Saarinen “Womb” Chair, mid20th century, produced by Knoll International, the patinated steel frame supporting a seat with loose cushions, presented in the original blue basket weave fabric, h. 34”. Purchased by the consignor in the mid1950’s. [500/800] 401 Two Pieces of Contemporary Italian Glass, the first, a handles vase, signed “Safis Rossi”, the deep blue glass overlaid with white, decorated with red veins, h. 9‑1/4”, the second, a glass sculpture with a frosted plinth, supporting a clear glass rondel containing green and brown marbleizing and a large bubble, h. 11‑5/8”, w. 9‑1/2”. [400/700]

398

396 Pair of Gouda Pottery Vases, second quarter 20th century, Dutch, the matte-glazed vases with black interior and feet, and with art deco-style stylized leaves, flowers and berries, executed in browns on a white background, signed “Gouda Holland 1084/501”, along with a windmill, a “ZA” and a cross with dots, h. 6‑3/4”, dia. 4‑1/4”. [200/400] 397 Six Paul McCobb Maple Dining Chairs, ca. 1950, all side chairs with upholstered seats, six bearing metal tags: “Calvin Grand Rapids / Furniture Designed by Paul McCobb”, one with a Calvin paper label and one with matching hand-written numbering, h. 35”. [450/700] Illustrated

402 Pair of Yoruba Tribe, Nigeria, Beaded Armchairs, each with black, green and yellow decor on a white beaded ground, h. 38”. [2000/4000]

403 Andre Lanskoy (French/Russian, 1902‑1976), “Cafeteria Scene at Lunchtime”, oil on canvas mounted on board, initialed upper right, 12” x 24‑1/2”. Framed. [5000/8000] Illustrated 404 Hermann Lismann (German, 1878‑1943), “Landscape With a Village”, oil on canvas, signed lower left “H. Lismann”, reverse stretcher with a partial label inscribed “Hermann Lismann, Paris”, 17” x 22”. Framed. [900/1200] 405 French School (Third Quarter 20th Century), “Parisian Street Scene With View of Madeleine”, oil on canvas board, signed lower right “A. Blanchard”, 9” x 15‑3/4”. Framed. [500/800]

403

406 Niek Van der Plas (Dutch, b.1954), “Beach Scene with Colorful Umbrellas”, oil on panel, signed lower right “Van der Plas”, 8‑1/2” x 10‑1/2”. Presented in a Louis XV-style polychrome frame. [1000/1500] 407 Niek Van der Plas (Dutch, b.1954), “Beach Scene with Children Playing in the Sand”, oil on panel, signed lower right “Van der Plas”, 7” x 9”. Presented in an attractive giltwood frame. [800/1200]

408 Collection of Two French Chromolithographs, 19th century, including a “Lettres” plate from Journal-Maneul de Peintures, by Pierre Chabat, and “Emaux, Metauc, Coleurs & Fourrures” from Chiffres Modernes Fougeadoire, by A. Fougeadoire, Paris, sight former 16” x 10”, sheet size latter 10” x 13”. Both glazed and attractively framed. [200/400]

Session II Saturday, July 28, 2012 10:00 a.m. â&#x20AC;&#x201C; Lots 409-1106

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409 Chinese Blue-and-White Porcelain Flattened Baluster Vase, 20th century, the flattened body with flared neck and elephant-head handles decorated with continuous scenes of lotus blossoms and scrolling foliage with bands of ruyi heads at the shoulder and lip rim, the base with a six-character Qianlong seal mark, h. 10”. [500/800] Illustrated 410 Small Chinese Blue-and-White Gu Beaker Vase, probably late 19th century, the slender vase with flared lip rim, decorated in deep sapphire blue with two continuous scenes of figures in garden pavilions and a central band of flowers, the base with a six-character Kangxi reign mark within a double circle, h. 9‑1/4”. [300/500] Illustrated 411 Large Chinese Blue-and-White Porcelain Saucer Dish, 20th century, decorated on the interior and exterior as four-petal flowers among dense scrolling vines and pointed lobed foliage, the base underglazed, dia. 15‑5/8”. [700/1000] Illustrated 412 Chinese Blue-and-White Bottle Vase, 20th century, the bulbous body with cylindrical neck, the body decorated with three rondels of dragons pursuing the Flaming Pearl separated by sprays of lotus, the neck with a hand of plantain leaves above a band of ruyi heads, the base with a six-character Qianlong seal mark, h. 6‑3/8”. [400/700] Illustrated

414

416

413 Unusual Chinese Blue-and-White An Hua Porcelain Wine Cup, probably late 19th century, of inverted bell shape, decorated on the exterior in underglaze blue with a flowering rose bush, butterflies and a poetic inscription with a seal, the porcelain body with An Hua incising of a dragon, the base with a six-character Kangxi reign mark within a double circle in underglaze blue, dia. 2‑1/2”. [700/1000] Illustrated 414 Chinese Blue-and-White Double Gourd Vase, of traditional form, decorated in underglaze blue with rondels of confronting cranes in flight among clouds with borders of lappets, plantain leaves and characters, the base with a six-character Chenghua reign mark within a square, h. 7‑3/4”. [600/900] Illustrated 415 Chinese Blue-and-White Ming-Style Guan-Shaped Jar, the globular body with narrowed foot and straight neck, decorated in underglaze blue with two three-clawed dragons among clouds, the narrowed foot with a lappet border, the shoulder with a band of lotus flowers and foliage and the neck with a band of cresting waves, the base unglazed, h. 8‑1/2”. [700/1000] Illustrated 416 Small Chinese Blue-and-White Garlic Head Porcelain Vase, 20th century, the body decorated with clusters of peaches, pomegranates and Buddha’s Hand citrons above a lappet band, the shoulder with a band of plantain leaves and ruyi heads and the lip with a key-fret border, the base with a six-character Qianlong seal mark in underglaze blue, h. 6‑1/8”. [300/500] Illustrated

421 Pair of Chinese Porcelain Blue-and-White Vases, early 20th century, the bottleshaped vase decorated with birds and flowers in underglaze blue, h. 16”. [200/400]

417 Small Chinese Blue-and-White Porcelain Vase, of squat, baluster form, decorated with a continuous scene of lotus and foliage above a lappet band, the shoulder with a ruyi and key-fret border and a band of plantain leaves at the neck, the base with a six-character Qianlong seal mark in underglaze blue, h. 5”. [400/700] Illustrated

422 Chinese Blue-and-White Porcelain Double Gourd Vase, 20th century, of conventional shape with countersunk base, the body decorated with light Buddhist symbols among clouds and lotus above a band of cresting waves, the base with a sixcharacter Qianlong seal mark in underglaze blue, h. 8‑1/8”. [600/900]

418 Pair of Chinese Blue-and-White Porcelain Vases, late 19th/early 20th century, the vases of double-gourd form, with underglaze blue decoration of a landscape, fourcharacter K’ang Hsi mark on base, h. 11”. [150/300] 419 Pair of Chinese Baluster Jars, 20th century, with underglaze blue decoration of Hsi Hsuang characters on a floral scroll ground, h. 16”. [400/700] 420 Japanese Blue-and-White Umbrella Stand, late 19th century, decorated with birds and aquatic plants, h. 24”. [400/700] Illustrated

423 Pair of Japanese Blue-andWhite Porcelain Vases, late 19th/early 20th century, of bottle form, with underglaze blue decoration with prunus blossoms on a cracked ice ground, h. 12”. [150/300]

428 420

424 Group of Thirteen Japanese and Chinese Underglaze Blue-and-White Decorated Porcelain Items, consisting of seven cups, one vase, two plates, an oblong dish, a brush rinser and a fish plate, h. 3” to 5”. [200/400] Illustrated 425 Chinese Export Porcelain Blue-and-White Salt Dish, first quarter 19th century, in the Nanking pattern, of oval form and with the Nanking border on the lower edge, h. 1‑1‑4”, d. 3”, l. 3‑3/4”. [200/400]

424

426 Thirty-Four Pieces of Mottahedeh Blueand-White Dinner Service for Eight, comprised of nine dinner plates, dia. 10”, eight luncheon plates, dia. 8‑1/2”, four cafe-au-lait cups with saucers, dia. 4‑1/2”, and nine bread and butter plates, dia. 7”, all decorated with “blue willow” central motifs and cloud borders, marked with “Vista Allegre”, “Mottahedeh”, and “Historic Charleston”. [250/400] 427 Chinese Porcelain Vase, 19th century, of barrel form, Tou Tsai decoration of a historical scene, h. 7‑23/4”, dia. 8”. [700/1000] 428 Chinese Porcelain Basin, 19th century, the basin with underglaze blue decoration of birds and flowers, dia. 16”. [150/300] Illustrated

429 Large Pair Chinese Blue-and-White Porcelain Vases, 20th century, each of tapered-baluster-form with flattened rims, decorated in underglaze blue with reserve panels of avian design against a ground of flowers and foliage, h. 31‑1/2”. [300/500]

431

430 Pair of Chinese Baluster Jars and Covers, late 19th century, with Hsi Houang decoration on a floral scrolled ground, loss to one finial, h. 18”. [300/500] 431 Pair of Large Chinese Baluster Jars and Covers, 20th century, with underglaze blue decoration of kylin in landscapes, with foo dog finials and lugs, h. 30”. [1200/1800] Illustrated

438 432 Pair of Japanese Underglaze Blue Vases, late 19th century, each of ribbed baluster form with crenelated flared lip rims, heavily decorated in underglaze blue with stylized floral decoration, h. 14‑3/8”. [300/500]

435

433 Two Blue-and-White Porcelain Pieces, the first a shallow bowl, K’ang Hsi Period (1662‑1722), decorated with flowers and rim fruits, fan mark, dia. 13‑3/4”, together with a Japanese transfer printed charger, dia. 15‑3/4”. [200/400] 434 Blue-and-White Chinese Export Porcelain Tea Pot Stand, first quarter 19th century, produced in the Nanking pattern, with a raised edge decorated with Nanking borders, w. 6‑1/2”, d. 5‑1/2”. [300/500] 435 Group of Eight Chinese Blue-and-White Porcelain Vases, comprised of an 18th century K’ang Hsi Period (1662‑1722) double-gourd vase with blue decoration of kylin and floral scrolling, together with seven other vases of later date, h. 5” to 13”. [200/400] Illustrated

436 Pair of Chinese Blue-and-White Baluster Jars with Covers, 20th century, with underglaze blue decoration of landscapes, h. 22”. [200/400] 437 Chinese Blue-and-White Ming-Style GuanShaped Jar, the globular body with narrowed foot and slightly tapered neck, decorated in underglaze blue with a continuous scene of carp and perch among water plants and lotus, the narrowed foot with a lappet border, the shoulder with a band of stylized lotus and foliage and the neck with a band of key-fret decoration, the base unglazed, h. 7‑3/8”. [300/500]

438 Chinese Blue-and-White Double Gourd Vase, of traditional form, decorated in underglaze blue with continuous scenes of “Hundred Boys” with a lower lappet border and borders at the shoulders and neck of scrolling foliage and characters, the base with a six-character Chenghua reign mark within a double circle, h. 7‑5/8”. [600/900] Illustrated 439 Group of Three Blue-and-White Chargers, the first an 18th century Chinese charger, together with two Japanese chargers, one hand painted, dia. 13‑3/4” to 18”. [300/500]

444

440

440 Large Chinese Export Blue-andWhite Porcelain Vase, late 19th/ early 20th century, the body depicting a pair of courting peacocks in a lush floral garden on each side, the top with a broad flared rim, unsigned, h. 30‑1/2”, dia. 14”. [600/900] Illustrated 441 Large Pair of Japanese Blueand-White Vases, late 19th century, in underglaze blue with birds and flowers, h. 24‑1/2”. [800/1200] Illustrated

441

442 Two Japanese Blue-and-White Porcelain Chargers, 19th century, one with a design of peacocks and peony flowers, and the other with a carp and flowers, dia. 17‑1/2” to 18‑1/4”. [200/400] 443 Pair of Chinese Blue-and-White Porcelain Covered Ginger Jars, first half 20th century, each of bulbous shape with flattened covers decorated in underglaze blue with continuous scenes of lakeside pavilions beside a mountainous lake, h. 9‑1/8”. [200/400] 444 Japanese Stoneware Vase, late 19th/early 20th century, Sumidagawa ware, decorated in the “Hundred Antiques”, signed in underglaze blue within an applied jarshaped cartouche, h. 11‑3/4”. [600/900] Illustrated

445 Chinese Color and Ink Scroll Painting by Liu Haisu (1896‑1994), “Autumn Lotus”, executed in brilliant colors against a shaded gray background depicting red and white lotus blossoms, lapis blue and malachite green lotus leaves against shaded gray background foliage with stalks and buds emerging from water, h. 88‑3/8”, l. 32‑7/8”. Liu Haisu was something of a child prodigy, entering painting school in Shanghai at age 14 under the guidance of Zhou Xiang. When he was 17, he opened the first school of fine arts in modern China along with Wu Shiguang, creating something of a scandal as his school was co-educational and pioneered the use of human body models. This earned him the appellation of “artist traitor”. He visited Europe twice and corresponded with Picasso and Matisse and was influenced by them and their artistic theories. He passed away in August, 1994. [800/1200] Illustrated

447

448 Queen Anne-Style Mahogany Silver Table, mid-20th century, the rectangular top with a raised molded edge, above a frieze fitted with a candle slide to either end, above a scalloped apron, raised on cabriole legs ending in pad feet, h. 26”, w. 30”, d. 18‑1/2”. [300/500] 449 Queen Anne Mahogany and Marble-Top Side Table, 18th century and later, the rectangular Sarrancolin marble top with molded edge above a conforming ogeemolded frieze, raised on tapering circular legs ending in pad feet, h. 32”, w. 33”, d. 19‑1/2”. [1800/2500] 450 French School (Second Quarter 19th Century), “Sunday Mass” oil on canvas, unsigned, illegibly pencil inscribed verso canvas, 10‑1/2” x 8‑1/2”. Presented in a 19th century giltwood and gesso frame. [2000/4000] Illustrated 451 Anglo-Irish Cut-Glass Compote, mid-19th century, made of lead crystal wtih a faceted design, with a scalloped footrim and upper edge, h. 7”, dia. 9”. [75/125]

445 446 Group of Twelve Blue-and-White Chinese Porcelain Vases and Jars, late 19th/early 20th century, with underglaze blue prunus decoration, h. 5” to 14‑1/2”. [200/400] 447 Pair of Chinese Porcelain Jars, late 19th century, the baluster-form covered jars with underglaze blue decoration of birds and flowers, h. 17‑1/2”. [600/900] Illustrated

452 Set of Six George III Sylabub Glasses Together with a Pillar-Molded Finial Glass, fourth quarter 18th century, the six conical glasses panel-cut with fluted ribs near the top, with like decoration on the top edges, h. 4”. and the Anglo-Irish finial glass made to top a tier of glass dessert stands, h. 6”. [200/400] 453 Forty-Eight Pieces of Waterford Crystal, 20th century, in the Ballyshannon pattern, comprised of twelve red wines, h. 7‑3/4”, twelve white wines, h. 6‑3/4”, twelve champagne flutes, h. 8‑1/2”, and twelve aperitifs, h. 4‑1/4”. [500/800] Illustrated

458 Five Georgian Cut-Glass Articles, first quarter 19th century, Anglo-Irish, the cylindrical tea caddy insert cut in the strawberry-and-fan pattern, and would have been used to mix black and green tea to the desire flavor, h. 5”, a butter tub, formerly fitted with a lid, diamond-cut with a fluted rim, h. 2‑3/4”, dia. 5”, and three boat-shaped salts, the tallest example cut with swags and a scalloped rim, h 3‑1/4”, the colorless example cut with panels of diamond-point cutting and with a lemon squeezer base, h. 3”, and the canary example with fan-cut edges, diamond-point sides and a hexagonal base, h. 2‑1/4”. [50/80] 459 Set of Fourteen Blown Glass Cobalt Blue Rummers in the Georgian Style, the round foot supporting a short baluster shaped stem, under a tapered bowl, h. 6”. [200/400] 460 Suite of Eight Queen Anne-Style Walnut Dining Chairs, 20th century, consisting of two armchairs and six sidechairs, each with a slightly domed crest above a vasiform splat, the saddle-form padded seat raised on cabriole legs ending in pad feet, h. 38‑1/2”. [1800/2500]

450 454 Group of Twelve Waterford Curraghmore Champagne Flutes, signed “Waterford”, each panel-cut and raised on faceted hexagonal stems, h. 8”. [200/400]

461 George III Mahogany Drop-Leaf Table, mid-18th century and later, the leaves supported by fly legs, the gently-curved cabriole legs ending with pad feet, h. 27‑7/8”, w. 36”, l. 18‑1/4”, ext. l. 98‑1/4”. [800/1200]

455 Group of Eighteen Waterford “Colleen” Pattern Cut and Leaded Cocktail Glasses, comprised of four snifters, h. 5‑1/4”, eight rocks glasses, h. 3‑1/2”, and six tumblers, h. 4‑1/2”, each diamond- and elongated-panelcut, signed “Waterford”. [150/300] 456 Group of Five Cut-Glass Decanters, four by Waterford, the first two barrel-shaped decanters, signed “Waterford” and have vertical spear cuts and globular diamond-cut stoppers, another signed decanter with a diamond-cut body with a globular stopper, the fourth decanter with a tapered body with vertical spear cuts and a cylindrical block-cut stopper, and the fifth decanter, probably English, ca. 1900, the round foot supporting a body decorated with strawberry-cut gothic arches,under a diamond-cut border, with a round faceted stopper, h. 10‑3/4” to 14”. [150/300]

453

457 Collection of Sixteen Period Wine Glasses, comprised of five Louis Philippe champagne flutes, second quarter 19th century, French, decorated with vertical fluting, h. 8”, two similar Napoleon III champagne flutes, decorated with panel cutting, h. 8”, two unadorned Georgian sherry glasses, h. 6”, three William IV sherry glasses with baluster stems, h. 4‑3/4”, one panel-cut William IV sherry glass, h. 4”, one George III sherry glass engraved with a garland of flowers, h. 4‑1/4”, one George III pillar-molded wine glass, third quarter 18th century, h. 5‑3/4”, and on William IV fluted wine goblet with a baluster stem, h. 5‑1/4”. [200/400]

462 Good Chinese Export Small Rectangular Dish, 18th century, of rectangular outline with rounded corners, decorated in famille rose enamels and gilding, with a central crest of a rampant griffin at a tree within a draped puce enamel drape topped by the inscription “E.L. Melleu”, the well encircled by a chain border, the rim decorated with four floral clusters and a border in iron red, lime green and gilding, d. 4‑1/4”, l. 5‑3/8”. [400/700] Illustrated 463 Pair of French Market Chinese Export Porcelain Soup Plates, third quarter 18th century, the central motif of a bucolic scene with mountains in the distance, sitting over the heraldic device of three fleur-de-lis on a blue ground, dia. 8‑3/4”. [1400/1800] Illustrated

467

464 Chinese Export Porcelain Soap Dish and Liner, third quarter 19th century, executed in the rose medallion pattern with figures on the lid alternating with flowers, scrolls and ionic columns, the sides decorated with butterflies and peonies, h. 2‑3/4”, w. 5”, d. 4”. [500/800]

467 interior

462

465 Pair of Oval Chinese Export Porcelain Platters, fourth quarter 18th century, each with a central rose decoration, and roses in relief panels on all four sides, and the border with a raised decoration, w. 7‑3/4”, l. 10‑1/2”. [800/1200]

463

466 Chinese Export Porcelain Plate, fourth quarter 18th century, probably made for the French market, the plate with a pierced lattice work border, and the central portion molded with basketweave and decorated with scattered polychrome flowers, dia. 9”. [400/700] 467 Large Chinese Porcelain Bowl, finely painted with a scene of the eighteen Louhan and a poem with three seals, dia. 23”. [800/1200] Illustrated

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468 Chinese Famille Rose Porcelain Vase, Guangxu mark and probably of the period (1874‑1908), the pear-shaped body with slightly flared neck decorated with a continuous scene of a mountainous landscape with a lake, pavilion, pagoda and a single figure admiring the view, the base with a six-character Guangxu reign mark in iron-red, h. 8‑3/4”. [500/800] Illustrated 469 Chinese Porcelain Planter, Republic Period, the planter decorated with a landscape in famille rose enamels with a descriptive poem on the reverse, signed with a red seal, h. 3”, d. 6‑3/4”. [500/800] Illustrated 470 Chinese Circular Enameled Porcelain Box, the cover decorated in polychrome enamels depicting an idealized landscape of a country mansion and rockwork bridge in a mountainous setting alongside a lake, the sides decorated in a faux agate design, the base with a four-character mark in underglaze blue, dia. 4‑1/8”. [400/700] 471 Chinese Famille Rose Porcelain Deep Dish, the steepsided dish decorated with a scene of an official and two women playing a board game in a setting with furniture and antiques, the base with a six-character Yongzheng reign mark in underglaze blue, dia. 7‑3/4”. [500/800] 472 Chinese Famille Rose Porcelain Tea Cup, 20th century, of inverted bell shape, the interior plain, the exterior heavily enameled with a group of flowers growing from rockwork, the base with a six-character Yongzheng reign mark within a double circle in underglaze blue, dia. 3‑1/8”. [400/700]

469

468

473 Large English Ironstone Oval Platter in the “Chinese Pattern”, late 19th century, the rim having a gold lustre border with floral decor, the center field featuring an Asian scene, w. 15”, l. 19”. [75/125]

474 American Colonial Mahogany and Walnut Tripod Table in the Chippendale Taste, late 18th century and later, the tilting circular top with a dished pie-crust edge, raised on a birdcage support to a turned and bulbous standard on three splayed cabriole legs ending in pad feet, h. 29”, dia. 34”. [500/800] 475 George III-Style Mahogany and LeatherUpholstered Wing Chair, the slightly domed and padded back joined by shaped sides and rounded arms to the cushioned seat, raised on chamfered square legs joined by an H-form stretcher, the seat bearing the label “Hancock and Moore Fine Leather Furniture Hickory, North Carolina”, h. 41‑1/2”. [400/700] 476 George III Walnut Chest, fourth quarter 18th century, the rectangular top banded and above a conforming case fitted with two short drawers over three long graduated drawers, all banded in a decorative herringbone pattern, raised on block feet, h. 39”, w. 36”, d. 19‑1/2”. Provenance: Pickwick Antiques, Montgomery, Alabama. [1200/1800] Illustrated 477 George III-Style Mahogany Linen Press, the molded cornice above a case fitted with two paneled doors, the lower section fitted with two short drawers over two long graduated drawers, all banded, raised on bracket feet, h. 87”, w. 48", d. 24”. Provenance: The Unicorn Shop, Montgomery, Alabama. [700/1000]

476

482 George III Mahogany Tall Case Clock, fourth quarter 18th century, the hood with a broken arch pediment and fan-inlaid rosettes, the painted face featuring a moon dial and floral decorated corners, and flanked by double-fluted columns, the case with full fluted columns flanking the door and the base with fan-inlaid corners and raised on ogee bracket feet, the movement featuring time, strike and calendar date, h. 90”, w. 22”, d. 10”. [1200/1800]

479 478 Pair of George III-Style Mahogany Demi-lune Game Tables, early 20th century, each with a bowed top opening to a larger gaming surface, above a highly figured frieze, raised on tapering chamfered square legs, h. 29”, w. 39”, d. 17‑1/2”. [800/1200] 479 Exceptional William IV Calamander and Brass Tea Caddy, second quarter 19th century, bearing the ivory retail tag of Parkins & Gotto, Oxford St., London, the dome-topped outer case trimmed in brass and inlaid with a bright-cut brass escutcheon, the lid lined with gilt-stamped and tooled deep purple velvet, opening to reveal two matching dome-top paktong-lined compartments, the lids spring-mounted and inlaid with bright-cut escutcheons engraved “B” for black tea and “G” for green tea, h. 7”, w. 9‑3/4”, d. 5”. Provenance: Pickwick Antiques, Montgomery, Alabama. [400/700] Illustrated

483 Four-Piece Group of Japanese Imari, fourth quarter 19th century, consisting of a bowl with all-over bamboo patterns, dia. 10”, a smaller bowl with foliate reserve panels, dia. 8‑1/2”, a charger with alternating giltaccented floral and bamboo panels, dia. 13‑1/4”, and a later charger with a scalloped edge and a central floral vase medallion, dia. 14”. [250/400] Illustrated 484 Group of Eight Japanese Imari Plates, late 19th/ early 20th century, consisting of a pair with reserve panels of mountain landscapes, dia. 9‑3/4”, the remaining six with scalloped edges and in a traditional palette, dia. 8‑1/2 to 9‑1/2”. [150/300]

483

480 George III-Style Mahogany “Gainsborough” Chair, 19th century, the padded rounded rectangular back joined to the like seat by padded downswept arms, raised on square legs joined by an H-form stretcher, h. 37”. [1000/1500]

481 George III-Style Mahogany Pembroke Table, late 19th century, the banded and rounded top with two like drop leaves, above a frieze fitted with a drawer to one end and a faux drawer to the other, raised on tapering square legs ending in brass caps and casters, h. 28‑1/2”, w. 29‑1/4”, d. 18”, ext. l. 37”. [400/700]

491

485 Group of Two Japanese Imari Chargers, 20th century, one with a trefoil floral medallion surrounded by alternating reserve panels of a stylized floral design and a pagoda landscape, dia. 18‑1/4”, the other with a similar center surrounded by alternating reserve panels of a floral basket and a flowering branch, the back bearing a possible calligraphic signature, both examples richly gilded throughout, dia. 18‑1/4”. [100/200]

493

486 Pair of Chinese Polychrome Shallow Bowls, mid19th century, each centered by foliate foo dog medallions surrounded by avian patterns and reserve panels of huts, dia. 8‑1/4”. [100/200] 487 Pair of English Petal-Based Brass Georgian Candlesticks, second quarter 18th century, the petal base with scallops and corresponding indented decoration, of seamed construction, the baluster stem supporting a turned candle cup with a flaring bobeche, h. 8‑3/4”. [150/300] 488 Pair of English Petal-Based Brass Georgian Candlesticks, second quarter 18th century, of seamed construction, the petal-shaped base supporting a baluster stem, the candle cup with a scalloped rim, h. 8‑3/4”. [150/300] 489 Near Pair of Edwardian Brass Candlesticks in the Elizabethan-style, first quarter 20th century, the pierce and engraved tapering square base decorated with cartouches and strapwork, the bulbous shaft pierced in floral pattern with the upper nozzle pierced and molded with neoclassical swags, h. 10” to 11‑1/2”. [40/70] 490 Continental Brass Foot Warmer, mid-19th century, of octagonal shape, decorated with pierced and engraved with tulips, sunflowers and scrollwork, with a swinging handle, h. 11”, w. 8”, d. 8”. [50/80]

491 Regency-Style Mahogany Horseshoe Dining Table, the circular top banded and with a sunburst inlay, with circular banded extension leaves, raised on four turned circular supports joined by a ring stretcher and ending in splayed legs on brass caps and casters, h. 29”, dia. 61”, ext. dia. 83”. [3000/5000] Illustrated 492 George III Banded, Line-Strung and Marquetry Inlaid Sideboard in the Hepplewhite Taste, partly manufactured of antique elements, the elaborately modeled top inlaid with bellflowers radiating in a demi-lune arc, with rosewood band stringing and light wood inlays, the serpentine front with a bowed central door flanked by a concave door and drawer, each with stringing and rosewood banding, raised on line-strung tapering legs with graduated bellflower inlay, h. 33‑1/2”, w. 45”, d. 24‑3/8”. [2500/4000] Illustrated

492

493 George III-Style Banded Mahogany Breakfront, in the Chippendale Taste, in two parts, the upper section with a scrolling broken-arch, and fretwork crest, a pair of projecting doors flanked by single doors of like form, the conforming base with a bank of drawers, each with contrasting banding at the perimeter, the upper drawer with a fold-out writing surface and fitted interior, the flanking doors with oval banding, h. 94‑1/4”, w. 76”, d. 15”. [1200/1800] Illustrated

504

505

500 501

499 507

502

503

494 Suite of Eight George III Style Mahogany Dining Chairs, consisting of two armchairs and six side chairs, each with a shaped crest above a pierced and interlacing splat, the padded seat raised on square legs joined by an H-form stretcher, h. 38”. [2000/4000] Illustrated 495 Regency-Style Mahogany Double Pedestal Dining Table, early 20th century, the rectangular top having rounded corners and the underside fitted with runners to extend the top, the base with two pedestals, each with three down-curved legs ending in cast brass toes with casters, accompanied by one twenty-eight inch leaf, h. 28”, w. 41‑1/2”, l. 56”, ext. l. 84”. [300/500]

494

506

496 Collection of Thirteen Diminutive Decorative Bindings, comprised of the two volumes of “The Works of Virgil” translated by John Dryden included in “The Works of the British Poets/Including the Most Esteemed/Translations/From/ The Greek and Roman Authors”,Collated with the Best Editions by Thomas Park, F. S. A., volumes 46 and 47, printed in London for John Sharpe, Piccadilly; and Suttaby, Evance and Fox, Stationers’ Court, Ludgate Street, in 1818 and five late 19th and early 20th century volumes of “The Temple Shakespeare” with preface, glossary etc. by Israel Gollancz, h. 5‑1/4”-6‑3/4”. [50/80]

497 Group of Six Decorative Bindings Including, Volumes I and II of Washington and the American Republic, by Lossing, printed by Virtue and Yorstons, 1870, each in full leather covers with gilt page edges, profusely illustrated, Volumes VII, VIII, IX and X of Messages and Papers of the Presidents, by Richardson, published by Bureau of National Literature and Art, each in tooled quarter Morocco with embossed gilt lettering on marbleized boards. [60/90]

498 George III Parchment Indenture Document, dated March 25, 1779, regarding the conveyance of property from the Reverend Robert Foley to Gryffydd Price, Esq., the manuscript document with printed header and rubricated fillet, with tax stamps and red wax seals of both signatories, with random cut top edge, sight 26‑1/4” x 32‑1/8”, presented in a narrow black wood frame with double-sided glazed float, 31‑1/8” x 37”. This document concerns the sale of a piece of property belonging to the estate of the late Thomas Foley, 1st Baron Foley of Kidderminster (1716‑1777), whose will directed that his property be held in trust by the Rev. Robert Foley and Abraham Turner who were to liquidate his assets. This document recounts how Turner predeceased Lord Foley, leaving the Rev. Foley solely responsible for the liquidation of the estate. The trustee, Rev. Robert Foley, D.D., Dean of Worcester (1720‑1783) was Baron Foley’s half brother, being the son of their father’s second (of five!) wives and a fellow of Trinity Cambridge. The property - only one of the Baron’s many holdings - was located at No. 6 Lincoln’s Inn, one of the prestigious four Inns of court, and was sold for the sum of a thousand pounds (about $140,000 in today’s money). The document records the consent of Lord Foley’s eldest son (by his first wife) Thomas Foley (1742‑1793), who succeeded him as the 2nd Baron, to the sale of the property to Gryffydd Price, Esq. (1718‑1787) a prominent Welsh barrister and heir to his own family’s ancient estates at Penllergare, Glamorganshire. The document implies that Price was using the property as his London office, with an additional set of apartments leased to a widow, Mrs. Harrison. It is to be noted that the legal term “indenture” comes from the old French “endenteure” (“indented”), exemplified by the uniquely cut top edge of this document. Contracts were written in duplicate on a single piece of parchment which were then cut apart in a singular waved, notched or indented fashion, thus permitting the authenticity of a contract to be proved by aligning it with its unique counterpart, the signatories bound by the “indenture”. [200/400] 499 Set of Four Japanese Imari Plates, early 20th century, all with scalloped edges and a central pomegranate medallion surrounded by alternating avian and foliate reserve panels, together with a similar single plate, dia. 8‑1/2”. [200/400] Illustrated 500 Good Pair of Japanese Imari Covered Ginger Jars, early 20th century, each with a domed lid topped by a foo dog finial, the ribbed body richly decorated in gilt and polychrome patterns and featuring reserve panels of dragons in a floral background, with conforming ebonized stands, h. 18”. [1200/1800] Illustrated

501 Dramatic Pair of Japanese Imari Chargers, early 20th century, each with a scalloped edge and centered by a floral arrangement, surrounded by reserve panels of blossoming landscapes and stylized foliate motifs, dia. 18‑1/4”. [400/700] Illustrated 502 Japanese Imari Brazier, late 19th century, of traditional form, the pierced and domed lid with a floriform knop, the bulbous body with two extended handles, raised on three legs, the whole with geometric and floral avian designs, h. 8”, dia. 9”. [200/400] Illustrated 503 Japanese Imari Dish, late 19th century, of ribbed oval form, each end with extension handles, centered by a floral medallion surrounded by reserve panels of floral avian patterns and geometric bands, w. 10”, d. 7‑1/4”. [200/400] Illustrated 504 Monumental Japanese Imari Charger, early 20th century, centered by a phoenix and foliate medallion surrounded by alternating reserve panels of ladies in a garden and shaped foo dog and foliate panels, dia. 54”. [800/1200] Illustrated 505 Group of Two Japanese Imari Vessels, early 20th century, consisting of a bowl with a flared lip over a large and elaborate floral vase, dia. 10‑3/4”, and a vase of tapering cylindrical form with reserve panels of flowering branches against a ground of geometric bands, h. 12”. [150/300] Illustrated 506 Pair of Japanese Imari Vases, 19th century, of baluster form, the flared lip and waisted neck above a ribbed body decorated with alternating floral vase and avian reserve panels, h. 9”. [200/400] Illustrated 507 Japanese Imari Tiered Vessel, mid-19th century, of circular form, the slightly domed lid centered by a phoenix and turtle medallion and surrounded by reserve panels of foo dogs in a floral background, over four tiers all with like reserve panels, h. 8‑1/4”, dia. 7‑1/4”. [150/300] Illustrated

508 Geroge III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with reeded edge raised on two pedestals, each with a turned urn-form pedestal to three splayed reeded legs ending in brass caps and casters, h. 29‑1/2”, d. 49”, l. 72”, ext. l. 96”. [1200/1800] Illustrated 509 Georgian Mahogany Tallcase Clock, fourth quarter 18th century, the bonnet fitted with a swan-neck pediment and brass finials with glazed door over a finely engraved brass face by James Nemess, Johnshaven, Scotland, the case with a flame-mahogany door over a plinth base with a fine line onf inlay over bracket feet, h. 85”, w, 18”, d. 8”. [1400/1800] Illustrated 510 George III-Style Mahogany Wing Chair, early 20th century, the padded domed back and shaped arms joined to the cushioned seat by outscrolled arms, raised on stopfluted square legs joined by an H-form stretcher, h. 46”. [200/400] 511 George III-Style Mahogany Armchair, mid-20th century, in the rococo taste, the domed and padded back joined by padded acanthine-carved arms to the cushioned seat above a shaped apron, raised on cabriole legs ending in scrolled toes, h. 34”. [400/700]

512 George III-Style Yew and Mahogany Writing Table, early 20th century, the rectangular top with an inset shaped writing surface and molded edge, above a conforming frieze fitted with three drawers to either side, raised on cabriole legs headed by bellflower carving and ending in balland-claw feet, h. 32‑1/2”, w. 62‑1/2”, d. 42". [700/1000] Illustrated

509

513 George III-Style Mahogany Side Table, 20th century, the rectangular top with a shaped front and projecting canted corners, above a conforming fluted frieze centered by an urn-carved drawer, raised on tapering square stop-fluted legs ending in block-on-ball feet, h. 33‑1/2”, w. 64”, d. 26”. [1800/2500]

512

514 Monumental Japanese Polychrome Shallow Bowl, late 19th century, with four shaped reserve panels against a ground of floral and undulating patterns, dia. 22‑1/4”. [300/500] Illustrated

508

515 Group of Two Japanese Imari Chargers, one late 19th century, with alternating avian and butterfly reserve panels, the other, early 20th century and featuring panels of dragons and prunus trees and various geometric bands, with gilt accents, dia. 12”. [150/300]

516 Group of Ten Japanese Imari Objects, late 19th/ early 20th century, consisting of a pair of plates with double rabbit panels, dia. 8‑1/2”, another plate, dia. 8‑3/4”, an oval bowl with bamboo decor, w. 10”, d. 7‑3/4”, a small oval bowl, w. 7‑1/2”, d. 6”, a small oval shallow dish, w. 7‑1/2”, d. 6”, a bowl with a scalloped edge and radiating panels, dia. 8‑3/4”, a smaller bowl with a scalloped edge and figural reserve panels, dia. 6”, and two small saucers, dia. 4‑1/2” to 5”. [150/300] 517 Large Japanese Imari Charger, 19th century, centered by a stylized design surrounded by figural reserve panels alternating with colorful medallions, dia. 22”. [400/700] 518 Emile Artiges (Belgian/American, 1864‑1938), "Stopping for Water”, oil on canvas, signed and dated lower left “E. Artiges-1895”, 22” x 30”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated 518

514

519 Attributed to Ernest Louis Augustin Seigneurgens (French, 1820‑1904), “Picking Flowers”, oil on canvas, unsigned, reverse canvas stamped “Carpentier-Deforge, 8 Boulevard Montmartre, Paris”, 13” x 18‑1/2”. Presented in a giltwood and gesso period frame with artist plaque. [600/900] 520 Continental School (Third Quarter 19th Century),“Mountainous Landscape with a Caravan Crossing a Bridge”, oil on canvas, signed illegibly lower right, 22” x 36‑1/8”. Presented in a period giltwood and gesso frame. [500/800] 521 Trio of Three Japanese Imari Bowls, late 19th century, consisting of a paneled octagonal example centered by a phoenix medallion and surrounded by geometric panels, dia. 10”, a floral-patterned bowl, dia. 8‑1/2”, and a smaller bowl with fan-form patterns against a dark blue ground, dia. 7‑1/2”. [150/300] Illustrated

521

522 Group of Six Japanese Plates, consisting of a pair of Meiji plates with a shaped edge surrounding various floral and foliate medallions, dia. 10”, a pair of polychrome plates richly decorated in shades of orange and with reserve panels of couples, dia. 8‑3/4”, an Imari plate with an unusual squared center panel within a foliate border, dia. 8‑1/2”, and a later plate in the Imari palette, dia. 9‑1/2”. [200/400] 523 Japanese Imari Deep Serving Bowl, 19th century, decorated heavily in underglaze blue and polychrome enamels with a dense design of curved bands of flowers and phoenix birds emerging from a central mon, the exterior with floral decoration, dia. 11‑7/8”. [150/300]

524 Large Japanese Imari Charger, 19th century, decorated in polychrome enamels with three shaped reserve panels decorated with birds in trees, horses in a landscape and bee hives among branches, all against an orange ground with the “cracked ice” pattern, dia. 18‑1/8”. [200/400] 525 George III-Style Polychrome Vitrine, in the chinoiserie taste, the rectangular top with a pagoda-form backpiece, above a case fitted with a single astragal-glazed door, the sides also glazed, raised on square legs ending in molded feet, the whole with gilt and polychrome accents in the chinoiserie taste, h. 70‑3/4”, w. 26‑1/2”, d. 14‑1/2”. [200/400]

526

533 526 Peking Chinese Carpet, 10’1” x 13’4”. [500/800] Illustrated 527 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 528 Kerman Carpet, 6’6” x 6’9”. [400/700] 529 Louis-Philip-Style Aubusson Carpet, 10’ x 14’. [4000/7000] Illustrated 529

530 Persian Hamadan Carpet, 3’4” x 9’7”. [400/700]

530A Peshawar Zeiglar Mahal Carpet, 8’2” x 9’10”. [1000/1500] 531 Turkish Oushak Carpet, 9’ x 12’. [3000/5000] 532 Antique Serab Runner, 3’6” x 8’. [400/700] 533 Antique Persian Qum Pictoral Carpet, 6’2” x 9’. [800/1200] Illustrated 534 Semi-Antique Kerman Carpet, 8’10” x 11’. [600/900] 535 Semi-Antique Mashad Carpet, 11’8” x 13’8”. [1200/1800] Illustrated 536 Semi-Antique Tabriz Carpet, 4’5” x 6’2”. [300/500]

535

537 Persian Heriz Carpet, 10’ x 12’8”. [800/1200] 537A Persian Heriz Carpet, 10’1” x 14’3”. [800/1200] 538 Semi-Antique Savonnerie Carpet, 8’ x 9’. [800/1200] 539 Semi-Antique Persian Tabriz Carpet, 9’9” x 12’10”. [2000/4000] 540 Persian Heriz Carpet, 9’9” x 12’9”. [3500/5000] Illustrated 541 German Historismus 13 Lot (.813) Silver Beaker, first quarter 20th century, Hanau, in the 17th century Nuremberg manner, of cylindrical form, decorated with embossed alternating Roman Imperial busts and fruit garlands, with molded rim and raised on three spherical feet, h. 4”, dia. 4‑3/4”, [1000/1500] 542 Two Continental Silverplate Figural-Handled Tea Strainers, first quarter 20th century, probably German, including one with gilt coquille bowl, spiral twist stem and figural finial of Hermes, l. 8”, and one with a nautilus-form bowl, imbricate handle and figural dolphin finial, l. 7‑1/2”. [50/80]

540

543 Good German Mannerist-Style Parcel Gilt .800 Silver Pineapple Cup, first quarter 20th century, by Jean L. Schlingloff, Hanau, retailed by Carl Weishaupt, Munich, in the early 17th century Nuremberg taste, the “pineapple” body gilded and above a figural standard of a armored nobleman with shield and flag, raised on a steeply domed, waisted and lobed gilt foot, the fitted lid with a figural finial of a lion rampant regardant, crowned, its paws resting on a shield, h. 21‑1/2”, dia, 7”, 46.55 t. oz. [1500/2500] Illustrated

543

544 German Parcel Gilt .800 Silver Salad Serving Set, first quarter 20th century, by Koch & Bergfeld, Bremen, in the Historismus taste, including a salad serving fork with three gilt tines, and spoon with gilt coquille bowl, both with a spiral-twist handle and scrollmantled mascaron finial, l. 10‑1/4”, 5.85 t. oz. [75/125] 545 Collection of Five German Silver and Silverplate Serving Utensils, first half 20th century, including two .800 silver scissor-action serving tongs in the rococo taste, l. 6” and 6‑1/4”, a BMF silverplate pasty spade with reticulated blade, l. 11‑1/4”, another pastry spade with ribbon-engraved blade and Historismus baluster handle, l. 12”, and a Louis XV-style fish slice with “nature morte” engraved pierced blade, l. 10‑1/2”. [75/125] 546 Two European Mother-of-Pearl-Mounted Silver Serving Pieces, fourth quarter 19th century, including a German serving spade, Pforzheim, with a 13 lot (.813) silver serving blade engraved with rococo scrolls joined by a silver boss to a threaded spatulate mother-of-pearl handle, l. 11‑3/4”, and a Victorian spring-action sandwich server, Henry Wilkinson & Co., Sheffield, the silverplate blades shaped and pierced with rococo scrolls, joined to a spiral-gadrooned mother-of-pearl handle, l. 10‑1/4”. [75/125]

547 Pair of German .800 Silver Rococo-Style Candelabra, fourth quarter 19th century, by Peter Bruckmann & Soehne, Heilbronn, each with a figural standard of a putto sitting in a bough formed by a pair of acanthus fronds scrolling upwards to form three branches, each terminating in a floriform nozzle with acanthus frond drippan, the whole raised on a domed base with four scrolling openwork rocaille feet, the bases with applied monogram medallion “SM”, conjoined, h. 8‑1/2”, w. 8‑1/8”, base dia. 3‑3/4”, 45.20 total t. oz. [1500/2500] Illustrated 548 Pair of Continental Silverplate Footed Salts, first quarter 20th century, probably German, in the Rococo Revival taste, each in the form of a coquille raised on the scrolling tail of a dolphin, above a gadrooned oval base, each fitted with a fitted and scalloped glass liner, h. 4‑1/2”, l. 3‑1/2”. [200/400] 549 Three English and Continental Silver and Silverplate Reticulated Dishes, first quarter 20th century, including an Barker-Ellis silverplate footed circular fruit bowl, h. 3‑3/4”, dia. 9‑1/2”, an Barker-Ellis silverplate coquille form sweetmeat dish with arched handle, h. 4‑1/4”, w. 5‑1/4”, and a Continental .835 silver oval sweetmeat dish, l. 5‑1/2”, w. 7‑1/2”, 3.92 t. oz., each with elaborate rococo decorations and latticework piercing, [75/125] 550 Assembled Set of Twenty Glass and Silver or Silverplate Swan-Form Salts and Condiment Dishes, mid-20th century, German and Italian, including five condiment dishes (one marked “sterling”, the others unmarked), h. 5”, l. 5‑1/4”, and fifteen salt cellars (one marked “sterling”, two marked “835”, two marked “silver plated”, the others unmarked), h. 3‑1/2” to 3”, l. 3” to 2‑3/4”, each with a cut or pressed glass body and silver or silverplate neck and wings, the wings hinged and opening to reveal the dish/cellar compartment of the body. [75/125] Illustrated 551 Eight Continental Silver and Silverplate Dessert Forks, first quarter 20th century, with filled silver handles and silverplate tines, six with “pistol grip” handles with reeded calyx and cap, l. 5‑3/4”, and two with Louis XV-style “King’s” shape handles, l. 6‑1/4”. [50/80]

547

557 Georg Jensen Sterling Silver “Blossom” Salad Serving Set, designed in 1919 by Georg Jensen (1866‑1935), Copenhagen, Denmark, with the Jensen Copenhagen shop mark in use 1945‑1951, including a salad-serving fork and spoon, l. 8‑1/2”, 6.49 t. oz. [1500/2500]

560

558 Cased Pair of Danish Sterling Silver and Enamel Salt & Pepper Shakers, third quarter 20th century, by Meka Reklamegaver, Holte, each of ovoid form and decorated on both sides with a yellow guilloche enamel coquille, h. 1‑3/4”, presented in the original fitted ruched cream-satin lined case, 4‑1/4” x 3”. [150/300] 559 Set of Twelve Italian Sterling Silver Gilt Dessert Forks, third quarter 20th century, by Cesa 1882, Alessandria, in the “Quirinale” pattern, l. 6‑3/4”, 23.34 total t. oz. “Quirinale”, the flagship pattern of the century-old Italian silver firm A. Cesa, is virtually indistinguishable from its American counterpart, “Francis I”, produced by Reed & Barton. [400/700]

552 Set of Six Continental .800 Silver Teaspoons, second quarter 20th century, probably Italian, the openwork cast handles in the form of pine branches, l. 5‑5/8”, 4.11 total t. oz. [75/125] 553 German Jugendstil .800 Silver Magnifying Glass, fourth quarter 19th century, by Pausch & Pohl, Berlin, the spatulate handle embossed with scrolling poppies and butterflies, with a later chromed steel mounted lens, l. 8”. [100/200] 554 Set of Twelve Georg Jensen “Acorn” Sterling Silver Demitasse Spoons, the pattern designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, Denmark, these examples with the Jensen “GJ” mark in use 1933‑1944, l. 3‑3/4”, 4.12 total t. oz. [700/1000] 555 Georg Jensen “Acorn” Sterling Silver Salad Serving Set, the pattern designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, Denmark, these examples with the Jensen “GJ” mark in use 1933‑1944, including a salad serving fork and spoon, l. 9‑1/2”, 7.46 total t. oz. [1200/1800]

560 Pair of Italian Modernist .800 Silver Candelabra, 1934‑1944, designed by Lorenzo Martignetti, via Montenapoleone, Milan, manufactured by Dino Lay, Milan, each with a conical base decorated with stylized repousse flowers and leaves, surmounted by five curved, tapering arms, each terminating in stylized iris centered by a hidden candle nozzle, h. 20‑1/4”, dia. 15”, 189.05 t. oz. [18000/25000] Illustrated 561 Soviet .916 Silver Gilt Cloisonne Tea Strainer, 1955, by the Leningrad Jewelry Collective, with circular pierced and spatulate handle, the upper side decorated with traditional Muscovite-style enamel on a white ground, l. 4‑1/2”, 1.48 t. oz. [75/125]

550

556 Georg Jensen Sterling Silver Ornamental Pattern No. 83 Salad Serving Set, designed in 1914 by Georg Jensen (1866‑1935), Copenhagen, Denmark, with the Jensen “GJ” mark in use 1933‑1944, including a saladserving fork and spoon, each with an openwork handle and stylized flower bud finial, l. 9‑1/2”, 7.84 total t. oz. [2000/4000]

562

563

564 Continental Silvered Brass, Brass and Black Enamel Table Lamp, second quarter 20th century, the round brass base molded with swags and egg-anddart molding, the silvertoned ovoid base fitted with brass acanthus leaves and rams’ head ring pulls, the black enamel neck and cup matching that on the foot, fitted with an ecru silk shade, top of finial h. 30”. [250/400]

565 Two Continental Miniature of Ladies in Eighteenth Century Costume, fourth quarter 19th century, the larger, framed in a tortoiseshell frame inlaid with motherof-pearl scrolls and trimmed in ivory, h. 6”, w. 5”, the smaller with a bouelle-work-brass inlaid in tortoise and trimmed in ivory, h. 4”, w. 3‑1/2”. [200/400] 566 Round Porcelain Plaque of “Marguerite”, ca. 1900, German, the young woman portrayed en dishabille, carrying Marguerite daisies in her hand and hair, the pierced scrollwork frame retaining a bright gilt finish, marked “Marguerite 462” on the reverse and stamped “Germany”, dia. 8‑3/4”. [200/400] 567 Suite of Six Henri II-Style Walnut Sidechairs, mid-19th century, each with an embossed leather back surmounted by a cornucopia-carved crest and above a spindled gallery, the padded leather seats raised on turned circular legs joined by a shaped H-form stretcher and ending in block and ball feet, h. 41‑1/2”. [200/400]

562 Italian Ebonized Collector’s Cabinet, 18th century, of rectangular form, with two doors, each with inlaid brass stringing in geometric patterns with small marble inlays in a variety of shapes, to the front and back, opening to an interior fitted with the drawers surrounding a central cupboard, all with inset ivory panels depicting a variety of figural and landscape scenes, the central panel of a classical maiden flanked by raised shaped caryatid figures, raised on a later stand of square legs, h. 37”, w. 37‑1/2”, d. 11‑1/4”. [3000/5000] Illustrated 563 Pietra Dura Marble and Stone Inlaid Top, the circular black slate top with central floral and leaf inlay, the perimeter with inlaid malachite ribbon and floral sprays, dia. 25”. [2000/4000] Illustrated

568 Suite of Four Spanish-Style Walnut Sidechairs, early 20th century, each with a domed embossed leather back above a foliate-carved rail, the padded seat raised on turned and fluted circular legs joined by a shaped H-form stretcher and ending in acorn feet, h. 39‑1/2”. [75/125] 569 Two Volumes From the Pennsylvania State University Press English-Language Printing of “Corpus Palladianum”, the Works of the 16th Century Architect Andrea Palladio, including, The Rotunda of Andrea Palladio Corpus Pallandianum Volume 1, by Camillo Semenzato, translated by Percy, copyright 1968, and The Villa Emo at Fanzolo Corpus Palladianum Volume V, by Giampaolo Favero, translated by Lewis, copyright 1972. [75/125]

570 Provincial Oak Refectory Table, 19th century, the thick rectangular top raised on baluster-form end supports, joined by a plank stretcher and ending in shaped runner feet, h. 29", w. 79”, d. 30”. [1500/2500]

573

571 Pair of English Brass Renaissance Revival Candlesticks, fourth quarter 19th century, the candlesticks in the form of a griffin holding a torchere and terminating in a pierced candle cup, the whole resting on a pan base supported by eagle heel feet, h. 9”. [200/400] 572 Continental Eighteen-Light Baroque Metal Chandelier, ca. 1900, the hexagonal base decorated with roping and morning glories, the urns molded with swans, with pierced outstretched wings supporting scrolled branches with foliate drip pans and strap metal designs on the cups, two supports with applied leaves and petals, and the top foliate-molded to match, h. 45”, w. 45”, d. 40”. [1200/1800] Illustrated

573 Medieval-Style Mantel Garniture, ca. 1900, the mahogany and steel bracket clock with a plaque over the dial proclaiming, “Je sonne la bonne heuve (I only tell the good time)”, and with leaded bulls’ eye glass decorating the sides, the top with a bell in the 17th century-style and with a lion holding a shield with a fleur-de-lis, h. 22‑1/2”, w. 11”, d. 9”, together with a pair of two-light steel candelabra with spiral-turned arms and crenellated candle cups, h. 15”, w. 9‑1/4”, d. 5”. [1200/1800] Illustrated

572

574 Pair of Miniature Bronze Centurions, fourth quarter 19th century, each depicted seated and wearing battle garb, mounted on rouge marble plinths, h. 5‑1/4”, w. 2‑1/2”, d. 2‑1/2”. [100/200]

575

575 Pair of Continental Mahogany Fauteuils, in the Renaissance Taste, late 19th century, each with a padded rectangular back joined to the like seat by acanthine-carved downswept arms terminating in lion’s head handrests, raised on block and bulbous legs joined by a dragon-carved front stretcher and ending in paw feet,, upholstered in foliate-patterned needlework, h. 44”. [2000/4000] Illustrated 576 Neo-Renaissance Continental Walnut Looking Glass, fourth quarter 19th century, of rectilinear form, the beveled mirror plate beneath a projecting cornice with a leaf, berry and vine-carved frieze, and flanked by pilasters capped by a carved male and female figure, h. 57‑3/4”, w. 40‑3/4”. [300/500]

577 Bronze Figure of a Lion Holding a Shield, fourth quarter 19th century, the lion depicted resting on his haunches, holding the shield, the figure supported by an octagonal base, the underside fitted with a mounting bracket, h. 9‑1/4”. [400/700] 578 Pair of Continental Gilt-Metal Chenets, ca. 1900, designed to resemble a balustrade, the primary end with a tapered fluted base mounted with a draped lion’s head, sitting beneath a draped urn with a flame finial, the curved, pierced balustrade portion meeting the secondary end, with a corbelled column supporting a smaller draped finial, h. 15”, w. 17”, d. 7”. [600/900]

582

579 Renaissance Revival Ebonized Mahogany And Marble-Top Center Table, late 19th century, the rectangular rouge royale marble top above a paneled frieze accented with metal lion’s head masks, raised on large urn-form legs, with mask foliate and fluted carving and joined by an “H”-form stretcher, ending in block and bun feet, h. 32”, w. 56‑3/4”. [2000/4000] Illustrated

580

580 Pair of Italian Baroque-Style Carved Giltwood Pricket Candlesticks, ca. 1920‑1925, now mounted as table lamps, fitted with aubergine silk shades, top of finial h. 34‑1/4”. [500/800] Illustrated 581 Pair of Mettlach Salt Glaze Earthenware Chargers, ca. 1900, the chargers decorated with incised horses heads surrounded by a border of anthemia contained by gadrooned edges, executed in browns and blues, each impressed with the castle mark “Villeroy and Boch Patent Mettlach, 1422”, the foot pierced for wall hanging, dia. 14”. [500/800]

582 Napoleon III Bronze Clock in the Louis XIV Style, late 19th century, the fluted round feet supporting the serpentine sides, terminating in baroque masks, the shell-molded skirt under a heraldic panel of two eagles grasping a cartouche embossed with fleur-de-lis, the bronze clock face fitted with a white enamel chapter ring and hands, the diapered and pierced hipped roof supporting a covered cup finial trimmed with eagle head handles, h. 21‑3/4”, w. 10‑1/2”, d. 5‑1/2”. [600/900] Illustrated

579

583 Italian Stained Pine Looking Glass, late 19th century, the circular plate within a molded banding with corner deeply carved mask accents among scrolling foliate patterns within a laurel leaf-carved band and shell-carved frame, h. 45‑1/2”, w. 54”. [3500/5000] Illustrated

589 Italian-Style Polychrome Sunburst Mirror, the central circular beveled plate radiating eight bi-paneled canted mirrored rays, dia. 37”. [200/400] 590 Suite of Three German Chromolithographs, of various mural paintings from Fabrige Decorationen by Ernst Ewald, published by Ernst Wasmuth, Berlin, 1889‑1896, sight 21” x 16”. All glazed, attractively matted and framed. [300/500]

586 pair

584 Continental Oak Cupboard, 18th century, the stepped rectangular top, lifting to a storage area and above a floral guilloche-carved frieze, the front fitted with two cabinet doors, each with two panels with decorative geometric patterns, the whole raised on block feet, h. 37”, w. 52”, d. 25”. [1200/1800] 585 English Victorian Oak Tripod Table, third quarter 19th century, the circular top with a carved edge and raised on a barley-twist standard, to three splayed acanthine and scroll-carved legs ending in foliate toes, h. 29”, dia. 27”. [400/700]

586 pair 591 Flemish Walnut Fauteuil a la Reine, late 19th century, the padded rectangular back surmounted by a carved shell and acanthine crest, joined by scrolling downswept arms to the padded seat, raised on turned and block legs joined by a foliate-front stretcher and ending in ball feet, h. 46‑1/2”. [300/500]

586 Marcus Stone (British, 1840‑1921), studies for “Fallen Out” and “Reconciled”, a pair of oils on canvas, former signed lower left “Marcus Stone”, both with “The Pantechnicon, Belgrave Square, London” label on reverse stretcher, 30” x 13‑1/2”. Both presented in period giltwood and gesso frames. [18000/25000] Illustrated 587 Clark Stanton (British, 1832‑1894), “Masquerade Ball”, watercolor on paper, signed lower right “Clark Stanton RSA”, sight 35” x 26‑1/2”. Glazed and framed. [700/1000]

583

588 Manner of Federico Andreotti (Italian, 1847‑1930), “Courtship”, oil on canvas, unsigned, 14” x 12”. Framed. [500/800]

595 Pair of Iberian-Style Mahogany Fauteuils a la Reine, early 20th century, each with a padded rectangular back upholstered in heraldic-patterned embossed leather, joined by downswept scrolling arms to the padded seat, raised on molded scrolling legs joined by a like “H”-form stretcher, h. 45”. [1800/2500] Illustrated

595

596 Monumental Continental Mahogany Armchair, early 20th century, in the Renaissance taste, the padded rectangular back joined to the padded seat by acanthine-scrolled arms, the back and seat both upholstered in leather embossed in heraldic patterns, raised on exuberantly carved scrolling legs joined by a floral basket and cornucopia carved front stretcher and ending in extreme carved toes, h. 50”. [1800/2500] Illustrated

596

592 Cast-Bronze Bust of Scipio, fourth quarter 19th century, the bust mounted on a variegated tan and gray marble socle, Scipio was the general who defeated Hannibal in the Second Punic War, h. 24”, w. 11”, d. 10‑1/4”. [700/1000] Illustrated 593 Georges Colin (French, 1876‑1917), “Modele Sur Platre”, large patinated bronze group, titled on verso, the base signed “G. Colin”, h. 25‑1/2”. [800/1200] 594 Diminutive Italian Carved Giltwood Mirror in the Florentine Style, early 20th century, the frame with swirling foliate scrolls surrounding the oval mirror plate, h. 10”, w. 8”. [100/200]

597 Pair of Italian Two-Light Patinated Metal Sconces, first quarter 20th century, the round bases with applied leaves, the standard with like decoration, scrolled arms support turned candle cups fitted with petal-form drip pans, the flared center supporting branches for tear-drop prisms and a foliate finial forms the top, h. 14‑1/2”, w. 14”, d. 5‑1/2”. [250/400]

598 Italian School (First Quarter 20th Century), “Harbor Scene with Fishermen Bringing in Their Catch”, oil on board, signed illegibly lower right, 27‑1/2” x 38‑1/2”. Glazed and framed. [2000/4000] Illustrated 599 Continental School (First Quarter 20th Century), “Watching the Ships on a Stormy Sea”, oil on board, unsigned, 13” x 15”. Framed. [300/500]

592

600 British School (19th Century), “Shipwrecked”, oil on canvas, unsigned, 10” x 16”. Presented in a period giltwood and gesso frame. [150/300] 601 British School (Fourth Quarter 19th Century), “Ships on a Stormy Sea”, oil on panel, unsigned, 6‑1/4” x 9‑1/2”. Presented in a period giltwood and gesso frame. [150/300] 602 Henry S. Talbot (American, 1836‑1924), “Ship on a Stormy Sea”, oil on board, initialed and dated lower right “H.T. 86”, 6‑1/4” x 10‑1/4”. Presented in a giltwood and gesso frame. [150/300] 603 British School (Fourth Quarter 19th Century), “Seascape with a Rocky Shoreline”, oil on board, signed lower left “H.B. Carter”, 28” x 42”. Presented in a period giltwood and gesso frame. [600/900]

604 Carved Pine Model of a Galleon, fourth quarter 19th century, the hull painted dark brown and fitted with a scroll-carved figure head, with three masts fitted with old rigging, h. 38”, w. 8”, l. 40”. [300/500]

598

607 606

605 Spanish Yew-Wood Guardroom Table, early 20th century, the thick plank top mounted to a trestle-form base with splayed legs and joined by a wrought iron stretcher, h. 30”, d. 33”, l. 79”. [1000/1500] Illustrated 606 Forged Steel and Engraved Cross Form Medieval Projectile, 15th/16th century, designed to be thrown at enemy targets with the ability to pierce armor, it was also believed that when hung on a wall it would ward off evil spirits, h. 14”, w. 9”. [300/500] Illustrated

607 Rare Hand-Forged Double-Edged Shearing Sword, 15th century, having a light flexible straight blade, carved wooden grip with iron mounts and cruciform hilt, probably Western Europe, w. 7”, l. 33”. [500/800] Illustrated

605

608 Victorian Period Replica 15th Century Sword, having a shaped oak grip with forged iron fittings and a cruciform hilt, w. 13”, l. 68”. [300/500]

617

612 Pair of German Salt-Glaze Gothic Revival Vases, the gray body decorated with gothic tracery trimmed in silver lustre, the pierced lustre-trimmed handles and neck with like decoration, each side panel with a relief-molded figure in contrasting tan glaze, marked “319” in a pad mark, h. 7”. [250/400] 613 Renaissance-Style Mahogany and Marble-Top Cabinet, the stepped Breche Arlequino marble top above a case fitted with a foliate-carved frieze over two paneled cupboard doors opening to a shelved interior, each panel featuring a carved classical maiden, joined by a mirrored back and carved swan supports to a plinth shelf on block feet, h. 62‑1/4”, w. 35‑1/2”, d. 18‑1/2”. [1500/2500] 614 Italian Walnut Firescreen, early 20th century, in the Renaissance taste, the rectangular fabric screen surmounted by a scrolling lion crest ad with applied foliate scrolls to either side, raised on splayed supports ending in paw feet, h. 48”, w. 30‑1/2”. [300/500]

621 609 Early Twentieth Century Fencing Sword and Mesh Helmet, h. 12‑1/2”, w. 8”, helmet. [100/200] 610 Italian Alabaster Pedestal, ca. 1900, the standard with carved reeding on the lower portion and spiral carving on the upper, supported by an octagonal base, and with a square top set on a cove-molded base which revolves on a brass socket, h. 43‑1/2”, w. 9‑1/2”, d. 9‑1/2”. [500/800]

615

611 Settimio Giampietri (Italian, 1852‑1924), “Portrait of Two Fashionable Ladies in a Renaissance Interior”, watercolor on paper, signed lower right “S. Giampietri, Roma, 1882”, 28” x 19‑1/2”. Glazed, matted and presented in a giltwood and gesso frame. [600/900]

615 Bronze Figure of Cyparissus, fourth quarter 19th century, the figure depicted kneeling and grief stricken, one arm grasping his head, the other holding the leg and foot of the pet deer that he has accidentally shot, formerly mounted to another object with an opening on one side, h. 10‑1/2”, w. 6‑3/4”, d. 6‑3/4”. [400/700] Illustrated 616 Continental Baroque Miniature Secretary, fourth quarter 18th century, comprised of various veneers, including fruitwood and walnut over a pine secondary, the reverse serpentine base resting on cabriole feet and with one large drawer made to appear as three, the desk portion opening to reveal a conforming single drawer, the upper door set with an old mirror plate opening to reveal an interior now mounted with a spoon rack, a swan’s neck pediment and a flat flame finial crown the top, h. 27‑3/4”, w. 13‑1/2”, d. 9”. [900/1200]

617 Dutch Burlwood and Mahogany Bureau, 19th century, of bombe form, the slant front opening to an interior fitted with an inset leather surface, a lidded storage well and a variety of drawers and cupboards surrounding a central cupboard, above three long drawers, raised on large balland-claw feet, h. 37‑1/2”, w. 40”, d. 20”. [1000/1500] Illustrated 618 French Third Republic Desk Clock and Barometer Set, fourth quarter 19th century, the oak case trimmed with cast-bronze feet, base molding and facade ornaments, the barometer on the left with a cream-colored porcelain dial, marked “Made in Paris”, with a matching clock on the right, and a brass-backed thermometer in the center, h. 9”, w. 16”, d. 3”. [250/400] 619 Pair of Black Forest Carved Vases in Stands, fourth quarter 19th century, each base depicting a rabbit on a stump, wheel-cut glass posey holders trimmed in red, and “growing” from the top of each stand, h. 11‑1/2”, w. 4‑1/4”, d. 3”. [200/400]

625

622

621 Pair of Dutch Rococo-Style Walnut Marquetry Bombe Miniature Commodes, the rectangular tops with canted corners above three floral-inlaid drawers, on paw feet, h. 24‑1/2”, w. 21‑1/2”, d. 12”. [1000/1500] Illustrated 622 Italian Walnut Bureau, late 18th century, the rectangular top above a slant front opening to drawers and cubbyholes flanking a central cupboard, the lower section with a serpentine front and fitted with three long drawers, the whole with inlaid banding accents and raised on bulbous feet, h. 41”, w. 41‑1/2”, d. 20”. [2500/4000] Illustrated 623 Louis XVI-Style Mahogany Bergere, attributed to Alfonso Marina, Mexico City late 20th century, the padded rectangular back within a foliate and guillochecarved frame, joined to the padded seat by closed guilloche-carved arms, raised on fluted lotus-carved legs ending in foliate carving to bulb feet, the base also skirted, Marina is a contemporary, low volume, custom cabinetmaking firm producing fine period-inspired benchmade pieces.h. 41”. [500/800]

620 Continental Carved Oak Casket, fourth quarter 19th century, the casket with prominent outset corners, the sides decorated with panels of carved stylized leaves, the top with a carved edge echoed in the border of the top panel, which is carved with a sprig of hydrangea, the whole resting on bun feet, h. 7”, w. 12‑1/2”, d. 9”. [400/700]

624 North Italian Carved, Parcel-Gilt and Antiqued Brass-Mounted Mahogany Bowfront Commode, in the neoclassical taste, second quarter 19th century, the conforming top of yellow lamartine marble, modeled as two bowfront transverse drawers, h. 33‑1/2”, w. 47”, d. 25‑1/2”. [800/1200] 625 Continental Carved Giltwood Whippet, early 20th century, the whippet depicted seated, his tail erect and looking forward, retains a rich, gold leaf finish, the collar finished in contrasting silver leaf, h. 31”, d. 17”. [500/800] Illustrated

626 Unusual Continental Parquetry Inlaid Mahogany Games Table, early 20th century, the circular top with an inlaid string banding, and a cornucopia band surrounding a central griffin inlaid medallion, spinning to reveal a baize-lined center section with side recessed segments for gaming pieces, the center section removing to reveal a compartmented storage area, raised on tapering square legs joined by an X-form stretcher, h. 30”, dia. 42‑1/2”. [1800/2500] Illustrated

628

627 Continental Mahogany Fauteuil a la Reine, late 19th century, in the Renaissance taste, the tall padded rectangular back joined by downswept arms ending in lion’s head handrests to the padded seat, raised on block and bulbous legs joined by a scrolling acanthine front stretcher and ending in paw feet, h. 43”. [1500/2500]

629

628 Louis XIVStyle Oak Fauteuil a la Reine, early 20th century, the padded rectangular back joined by downswept foliate-carved arms to the padded seat, raised on scrolling legs joined by a shaped and molded “X”-form stretcher and ending in ribbed square feet, upholstered in flora, foliate and fruit patterned needlework, h. 47”. [2000/4000] Illustrated 626

630

629 Viennese-Style German Porcelain Plaque, ca. 1900, the plaque depicting a young woman en deshabille, holding Marguerite daisies, and titled “Marguerite” on the rear, along with a blue beehive mark and Germany, mounted in a period pierced giltwood frame, dia. 8‑3/4”. [400/700] Illustrated

632

630 Pair of Italian Gilt-Metal Wall Sconces, mid-20th century, the tulip-shaped candle cups leading to wall brackets in the form of vertical ivory vines with gilt leaves, hung with cut-glass prisms, h. 20”, w. 4”, d. 4”. [400/700] Illustrated 631 Baroque Style Ebonized Looking Glass, the rectangular beveled plate with a scalloped top and surmounted by a heavily modeled foliate shell crest, within a floral garland-entwined frame, h. 50”, w. 27”. [600/900] 632 Pair of Italian Carved Wood Polychrome Blackamoors, the black serpentine plinths trimmed with gilt acanthus leaves on the corners and gilt cove molding around the base and top, the figures resting on sculpted supports and are dressed in gilt jackets decorated with blue scrollwork, green and red striped pantaloons and red boots decorated with silver scrollwork, h. 60”, w. 24”, d. 14‑1/2”. [4000/7000] Illustrated

633 Collection of Five Decorative Orbs on Stands, the largest,a malachite orb on a tripartite monopedia stand decorated with hoof feet and goat heads, one a rouge granite orb on a leaf-molded stand, one a colorless glass orb on a stand molded as frogs on columns, another a block glass orb on a tripartite dolphin-molded stand and the smallest, a quartz orb on three sitting frogs with baby frogs perched on their backs, h. 3‑3/4”, to 12”. [250/400] 634 Continental School (Fourth Quarter 19th Century), “Floral Still Life with Poppies and Peonies”, oil on canvas, 33‑3/4” x 29‑1/2”. Presented in a handsome foliate-carved gesso giltwood frame. [1000/1500] Illustrated 635 Dutch School (First Quarter 20th Century) “Winter Scene With a Snow-Covered Seaside Town”, oil ,on academy board, unsigned, reverse with a “Wadsworth, Howland & Co. Inc., Boston, Chicago” label, 11‑1/2” x 18”. Framed. [500/800] 634

637 Ten Antique Theological and Religious Volumes, 1699 to 1892, including Gennaro’s Considerationi Morali (1699) and Gorgeron’s Regoli de’ Costumi (1764) in parchment bindings, Latin texts of Bottens’ Commentaria (1703), de Charmes’ Compendium Theologica (1779) and a Kempis’ Imitatione Christi (1807), French texts of de Villefore’s Vies des Saints d’Orient (1711) and Chevassu’s Meditations et Pratiques de Piete (1781) (one volume each), Spanish texts of de Ascargorta’s Manual de Confessores (1764) and the 1805 Guia del Estado Eclesiastico, and a late 19th century Episcopal Hymnal, the largest, 8‑1/4” x 6‑3/4”, the smallest 5” x 3‑1/4”. Complete list of titles with descriptions available on request. [150/300] 638 Sixteen 19th Century Madrilenian Full Marbleized Leather Bindings, including nine volumes of historical and political works of Emilio Castelar y Ripoli (1832‑1899), all bound by Libreria Cervantes, Havana, with a four-volume Spanish translation of William H. Prescott’s History of Ferdinand and Isabella, and works by Vincenzio Mellusi and Anatole France, the largest, 8‑3/8” x 5‑3/4”, the smallest, 7” x 4‑1/2”. Complete list of titles with descriptions available on request. [150/300]

636 636 Gerrit Toorenburg (Dutch, ca.1737‑1785), “A View of the Witte Vrouwenpoort with the Suikerhuis, Utrecht”, oil on panel, signed lower right, reverse with a hand-inscribed label and a “Stair Sainty Matthiesen, Inc.” label, 15” x 12‑1/2”. Presented in a 19th century giltwood exhibition frame. Provenance: Private collection, New Orleans, LA. Sotheby’s, New York, May 19, 1994 sale, Lot 145. [15000/25000] Illustrated

643

641

639 Twenty-One Antique and Vintage Decorative Bindings, 1715 to 1947, including two18th century French works (an issue of Journal de Trevoux and de Laporte’s Voyageur Francois), one French and three Spanish volumes of Buffon’s Natural Histories, eight handsome matching tan half leather bindings of Dickens, Carlyle and Cooper, with other assorted works by Aedelbert von Chamisso, “Mme. Bourdon”, George Eliot, Ignac Kont, Maurice Leblanc, Ambrosio Gonzalez del Valle and Franz Grillparzer, the largest 8‑5/8” x 6‑1/4”, the smallest 5‑1/4” x 3‑3/8”. Complete list of titles with descriptions available on request. [150/300]

640 Continental Brass Bible Stand, first quarter 20th century, the ratcheted book stand atop the pierced skirt, molded with scrolls and rope-twist turnings, the whole supported by bold hairy paw feet which retain scattered remnants of original gilt, h. 6‑1/4”, w. 11‑1/2”, d. 13”. [300/500] 641 Gilt-Brass and Cloisonne Bible Stand, first quarter 20th century, the stand with a pierced apron, cast in a gothic pattern on the facade and set with cloisonne rondels, Jesus, a lamb, and other images encircled with paste “diamonds” and punctuated with glass “emeralds” and “rubies”, the ratcheted book stand engraved with a cross enclosed in a Celtic knot, the whole resting on paw feet, h. 6‑3/4”, w. 14”, d. 12‑1/4”. [1200/1800] Illustrated 642 Group of Three Victorian Brass Altar Sticks, fourth quarter 19th century, the tripartite bases molded and pierced in the form of crosses terminating in trefoils, the shafts decorated with a chain pattern on a ribbed background with scroll-molded mid ribs and with leafmolded drip pans, h. 23‑1/2”. [75/125] 643 Pair of English Six-Light Gilt-Bronze Candelabra, ca. 1900, each base resting on paw feet, pierced and molded in Indian patterns, the round standards with applied plumes and with pierced and molded mid ribs and molded upper and lower ribs, the candle branches molded to match the base, h. 23‑1/2”, w. 11‑3/4”, d. 11‑3/4”. [300/500] Illustrated 644 Santos Figure of a Bishop, first quarter 19th century, Spanish or Latin American, the figure in flowing robes, a book in one hand, the other, out to carry the cross, the silver gilt robe trimmed in red and white, h. 32”, w. 11‑1/2”, d. 9”. [500/800] Illustrated 645 Indian Carved Ivory Figure, early 20th century, the figure of St. Francis with the Christ child, Padouk wood base, h. 3‑1/2”, without stand. [150/300]

644

646 French Oak Bureau, late 19th century, the the Gothic taste, the slant front with linenfold carving, opening to an interior fitted with an inset leather writing surface and three drawers, above a central drawer flanked to one side by two small drawer and to the other by a single deep drawer, raised on spiral-fluted legs joined by an H-form stretcher and ending in quatrefoil-carved block feet, h. 42”, w. 43”, d. 27‑1/2”. [1200/1800] 647 English Oak and MarbleTop Side Table, composed of antique elements in the Gothic taste, the rectangular Jaune Lamartine marble top above a quatrefoil-pierced frieze, and linenfold-carved back, raised on front supports joined by a box stretcher, h. 34”, w. 37‑1/2”, d. 19”. [1000/1500] 648 Wooden Carving of the Angel Gabriel, carved full figure with his trumpet and wings, depicted as if he is flying on the iron stand, h. 28”, d. 12”, l. 30‑1/2”. [200/400] 649 Latin American Santos Figure, first quarter 19th century, the bearded saint depicted in a long flowing gown, lushly decorated with gilt, black and red flowers and a red sash at his waist, standing on a wooden plinth with one foot forward, h. 39”, w. 13‑1/2”, d. 8”. [1800/2500] 650 Pair of Russian Porcelain Compotes, first quarter 20th century, the round gilded feet supporting bowls with decorated center in Russian double-headed eagle, surrounded by Cyrillic script, bordered with flowers and gilt lozenges, and with an outside border of black scrollwork interlaced with green and blue flora on a gilt ground, h. 3‑3/4”, dia. 8‑3/4”. [900/1200] Illustrated

651 Orientalist Figure in the Viennese Style, the Arabian figure with an ivory-colored head and limbs, depicted riding a camel with a traditional Middle Easter saddle, resting on a black marble plinth, h. 12”, w. 13‑1/2”, d. 6”. [1500/2500] 650

654 Persian .875 Silver Box, first half 20th century, possibly Isfahan, of square form, with a hinged, cavetto-domed lid and raised on short bracket feet, the whole decorated with intricate engraved “basketweave” geometric banding, h. 1‑1/2”, w. 7”. [300/500] 655 Anton Muller (Austrian, 1853‑1897), “Discussion Over a Beer”, oil on canvas, signed and dated lower right “Anton Muller 1882”, 25” x 19‑1/2”. Presented in a period giltwood and gesso frame. [18000/25000] Illustrated 656 Victorian Polychrome Metal and Mesh Three-Fold Firescreen, late 19th century, with a domed center section with all three panels with a mesh background and applied metal foliate vines with polychrome flowers, h. 28‑1/2”, w. 55”. [150/300] 657 Victorian-Style Metal and Glass Terrarium, of rectangular form with a pitched roof, with accents of arched overlays, raised on a stand with arched designs, h. 56‑1/2”, w. 32”, d. 16‑1/2”. [300/500] 658 Pair of Bronze Mastiffs on Marble Bases, first quarter 20th century, the dogs depicted reclining and facing in opposite directions, with an old patina and resting on mottled black and gray marble bases, the dogs are a true pair, h. 4‑1/2”, w. 10‑1/4”, d. 4‑1/2”. [600/900] Illustrated 655 652 Group of Seventeen Turkish Silver Cups and Zarfs, first quarter 20 century, including an late Ottoman provincial or early Republican set of one large, dia. 5‑1/2”, and eleven small, dia. 1‑3/4”, cups with incised leaf-anddart banding and cast handles with bird finials, the interior base of each with fish mark, a similar late Ottoman small cup with beaded rim, incised scroll banding and cast handle with bird finial, the interior base with tughra mark, dia. 1‑7/8”, and a set of four late Ottoman zarfs, each of hemispherical form with shaped rim and incised and pierced banding, with tughra mark on the foot, h. 1‑3/4”, dia. 2‑1/8”. [1200/1800]

653 Ottoman-Style Silverplate Ewer and Basin, 20th century, Turkey or Egypt, the ewer of spiral-gadrooned baluster form with “gooseneck” spout, cast floral-scroll handle and hinged domed lid with avian finial, h. 13‑1/2”, the basin of wide flaring circular form, spiral gadrooned en suite, dia. 15”. [600/900]

659 Victorian Mahogany Nursing Chair, third quarter 19th century, the shaped and padded back above the elongated padded seat, raised on turned and bulbous legs ending in caps and casters, upholstered in wool paisley, h. 33”. [150/300] 660 Victorian Walnut Cocktail Table, third quarter 19th century and later, the oval top quarter-veneered and with corner and central inlays of urns and foliate patterns, now raised on tapering square legs ending in spade feet, h. 18”, w. 45”, d. 33”. [400/700]

658

661

661 Set of Twelve Minton Dinner Plates, ca. 1900, retailed by Tatman, Chicago, each with rich cobalt banding and raised gold leaf design, dia. 10‑1/2”. [500/800] Illustrated

662

662 Set of Nine Minton Soup Plates, ca 1891‑1912, the raised gilt border with scrolling bands of gilt flora on a cobalt ground, banded by a solid raised gilt border depicting rondels with urns alternating with rondels with medallions, retailed by Davis Callamore & Co., New York, dia. 9”. [300/500] Illustrated

663 Set of Six Minton Luncheon Plates Retailed by Tiffany, ca. 1891‑1912, lushly decorated with raised gilt scrollwork borders on a cobalt ground, marked with a “Minton” signature, and “Tiffany & Co., New York”, “Made in England”, dia. 9”. [300/500] Illustrated

664 English Victorian Needlepoint Picture, depicting a phoenix bird in a tree, being chased by a dog and a dragon, worked primarily in wool with a floral ground and set in a baroque polychrome panel, the whole in a modern neoclassical cover-molded giltwood frame, h. 20”, w. 16‑1/4”. [100/200]

663

665 John Broadwood and Sons, London, Rosewood Grand Piano, late 19th century, of traditional form, with foliate-carved brackets joined to cabochon-carved tapering octagonal legs, h. 37‑1/4”, w. 54‑3/4”, l. 88”. [1500/2500] Illustrated

670

666 English Cut-Glass and Bronze Banquet Lamp in the French Taste, fourth quarter 19th century, the stepped cut-glass base resting on round gilt-bronze feet, a fluted bronze collar holding the cut-glass standard, which is crowned with a bronze Corinthian capital supporting the cut-glass font, h. 39”. [400/700]

668

668 Fanciful Victorian Polychrome Tiered Birdcage, late 19th century, in the form of a gabled house, the upper tier with elaborately modeled double doors to each side, the interior divided into three sections, separated by spindled doors, fitted with swings, the lower section bi-sected and with double doors to three sides, also with swings, each tier with storage drawers, the whole raised on patinated metal splayed feet, h. 71”, w. 25‑1/2”, d. 20‑1/2”. [800/1200] Illustrated 669 Victorian Polychrome Birdcage, late 19th century, in the form of a fanciful mansion, fitted with four doors, two metal-lined feed and water troughs and a metal lining, one end turreted, h. 30”, w. 39”, d. 17”. [200/400] 670 Set of Twelve Wedgwood Bone Chine Broth Bowls, ca. 1891‑1914, the raised gilt border portraying a wreath of laurel leaves framed by raised bleu celeste “jewels” and gilt medallion borders, marked with the printed Portland Vase mark, “Wedgwood, England”, dia. 8”. [300/500] Illustrated

667 English Victorian Brass Seven-Light Candelabra, fourth quarter 19th century, the tripartite paw footed base pierced with Indian patterns, echoed in the candle branch supports, molded lilies spring from the branches which support pineapple molded candle cups, 32”, w. 18‑1/2”. [150/300]

665

671 Set of Ten Minton Coffee Cups and Saucers, ca. 1902‑1912, retailed by Tiffany and Company, New York, produced in an Empire shape, decorated in raised gilt on a cream ground, both cup and saucer decorated with a raised gilt border holding a scrollwork crest with a swagged drop of gilt “jewels”, marked with the printed Minton mark, cups, h. 4”, saucers, dia. 5‑1/2”. [200/400] Illustrated

671

674 672 Set of Nine Minton Salad Plates, ca. 1891‑1912, the cream border with a gilt gadrooned edge and with an inner raised gilt border decorated with flowers, printed with a “Minton” mark and the retailer mark, and the retailer mark, “Wright, Tyndale & Van Roden of Philadelphia”, dia. 7‑3/4”. [150/300]

673 Set of Eight Raised Gilt Soup Plates, ca. 1891‑1904, the outer border mimics gadrooning, with bleu celeste leaves alternating with raised gilt sprigs, all edge in raised leaves, the central medallion matching the border, retailed by Tiffany and Company, New York and signed “Cauldron England”, along with a “Brown Westhead Moore & Co.” mark, dia. 9‑1/2”. [200/400] 674 Set of Six Minton Dinner Plates, ca. 1891‑1912, the raised gilt decoration depicting a running band of pierced “C” scrolls, holding garlands of flora in a contrasting gilt, signed “Minton, England”, retailed by Collamore &Co., New York, dia. 10”. [200/400] Illustrated 675 Three-Piece Copeland China, England, Tea Service, early 20th century, retailed by Tiffany & Co. and so marked, comprised of a lidded tea pot, creamer and lidded sugar basin, each piece with floral painted decor with butterflies and gilded highlights, h. 4‑1/2” to 7”. [500/800]

676

676 British School (Third Quarter 19th Century), “Portrait of a Woman with Red Hair”, oil on canvas, unsigned, reverse canvas stamped “Alexr Hill Colorman to the Royal Scottish Academy, Edinburgh”, 23” x 19”. Presented in a 19th century gold-painted frame. [1500/2500] Illustrated

677

680 Two Victorian Glass and Brass Inkwells, fourth quarter 19th century, English, the ruby glass example with a bun-shaped base and a pontil mark, the globular cap with a polished top attached with a heavy brass neck, h. 4”, dia. 4”, and the colorless example in the block pattern with a heavy brass neck and a cylindrical top, h. 3‑3/4”, dia. 3”. [125/250] 681 George Whyatt (British, fl. 1910‑1923), “Stag in the Highlands Landscape”, oil on canvas, signed lower right “Geo. Whyatt”, 19‑1/2” x 29‑1/2”. Framed. [1000/1500] Illustrated

682 Algernon Mayow Talmage (British, 1871‑1939), “Summer Landscape with Grazing Cattle”, oil on canvas, signed lower right “A. Talmage”, 14” x 18”. Presented in a giltwood frame. [300/500] 683 British School (First Quarter 19th Century), “Landscape with a Clergyman and Two Women by a River, a Temple in the Background”, oil on canvas, illegibly signed lower right, 17” x 21”. Presented in a giltwood and gesso frame. [300/500]

681 677 Early Victorian Mahogany Sideboard, third quarter 19th century, the shaped and foliate-carved backpiece above a rectangular top with a recessed center section, above a conforming frieze fitted with three ogeemolded drawers, raised on two pedestals, each paneled and with side scrolling pilasters, one opening to a single pull-out drawer, the other opening to a three-tier pull-out fitted cutlery drawer, with a paneled central backpiece, raised on a plinth, h. 51”, w. 89‑1/2”, d. 28”. [1500/2500] Illustrated 678 Victorian Mahogany, Rosewood and Faux Rosewood Pole Screen, third quarter 19th century, the shaped frame mounted with antique floral needlepoint, on a tripodal base ending in pad feet, h. 56”, w. 19”, d. 17”. [250/400] 679 Fanciful Upholstered Pouf, in the Victorian Taste, the padded “turtle”-form top centered by a monogram “B”, skirted and upholstered in floral, geometric and striped fabric, richly dressed with tassels and fringe, h. 17”, w. 21‑1/2”, d. 16”. [100/200]

690

684 Edgar Longstaffe (British, 1849‑1912), “Luminous Highland View with Sheep Grazing in the Foreground”, oil on board, sight 5‑3/4” x 12”, monogrammed lower left. Glazed, matted and presented in a contemporary silver gilded frame. Reference: A. Greutzner and J. Johnson, British Artists 1880‑1940. [400/700]

696 695

685 British School (Fourth Quarter 19th Century), “Village Church”, watercolor on paper, initialed and dated lower left “JB 1886”, sight 3‑1/4” x 4‑3/4”. Glazed, matted and framed. [200/400] 686 George William Graham (British, 19th Century), “Evening at the Harvest”, oil on canvas signed lower right “G.W. Graham”, 7” x 10”. Presented in a period giltwood and gesso frame with a hand-inscribed label on the reverse. [300/500] 687 Contemporary Victorian-Style Ebonized and Polychrome Cocktail Table, the rounded rectangular top with turreted corners and raised edge, centered by an elaborate polychrome floral spray, raised on cabriole legs ending in pad feet, the whole with gilt accents, h. 24‑1/4”, w. 38”, d. 29”. [200/400]

688 English Victorian Rosewood Lap Desk, mid-19th century, the front inlaid with cut brass corners and line inlay, fitted with a cylinder lock, the lid with matching brass inlay and a matching escutcheon engraved with initials, the writing slope lined with red leather gilttooled from Greek borders and corner crowns, and fitted with spaces for ink pots and pens, h. 5‑1/2”, w. 15‑1/2”, d. 9‑3/4”. [250/400] 689 English Victorian Bronze Letter Holder, fourth quarter 19th century, the turned feet support the twocompartmented stand, the sides pierced and scroll-molded, with a central Neo-Grec medallion and a renaissance revival mask in the upper portion, the scroll-molded and pierced central divider fitted with a carrying handle, h. 7‑3/4”, w. 8‑1/4”, d. 3”. [250/400] 690 Nils Bergslien (Norwegian, 1853‑1928), “Interior Viking Scene With a Daughter Showing Her Embroidery”, oil on canvas, signed and dated lower right “Nils Bergslien 1900”, 28” x 22”. Framed. [1500/2500] Illustrated

691 Franz Gaul (Austrian, 1837‑1906) “Battle Scene”, graphite and crayon on paper, signed and dated lower right “Franz Gaul 1861”, sight 16” x 25”. Glazed, matted and framed. [700/1000]

698

692 Anglo-Indian Bamboo and Lacquered Occasional Table, late 19th century, the rectangular top with an inset lacquered panel with foliate and avian patterns, raised on large tubular legs joined by a patterned stretcher and ending in splayed legs, h. 27‑1/2”, w. 26", d. 18‑1/2". [300/500] 693 Anglo-Indian Bamboo Easel, late 19th century, the crest with a fan-form pattern and finial accents, the shelf with end arrows, of hinged construction, h. 66”, w. 30”. [150/300] 694 Anglo-Indian Bamboo Stool/Canterbury, late 19th century, the rectangular tufted and padded seat flanked to either side by bamboo hand rests, above a case inset with embossed leather panels in scrolling foliate patterns, the front opening to a segmented canterbury compartment, h. 21”, w. 24”, d. 14‑3/4”. [400/700] 695 Indian Ivory Carving of St. George, early 20th century, carved in a scene of St. George slaying a dragon, Padouk wood stand, l. 8”. [500/800] Illustrated 696 Indian Carved Ivory Group, early 20th century, figure of Krishna with Raddha, Padouk wood base, h. 7”, without stand. [300/500] Illustrated

701

701 detail

701 William IV Old Sheffield Plate Tureen, second quarter 19th century, of lobed oval form, the waisted neck with shell-and-gadroon border, the body with robust addorsed acanthus handle and raised on four scrolling feet en suite, the conforming domed lid with acanthus ring handle, engraved on the body with the arms of Grosvenor impaling Wellesley, h. 11”, l. 15‑1/2”, w. 10‑1/4”. The well-executed arms here are those of Lord Robert Grosvenor, 1st Baron Ebury (1801‑1893) and his wife Charlotte Arbuthnot Wellesley (1808‑1891); as they lack the baronial coronet, they may be dated to sometime between the couple’s marriage on May 17, 1831 and Grosvenor’s elevation to the peerage on September 15, 1857. [200/400] Illustrated 702 William IV Old Sheffield Plate Salver, second quarter 19th century, of circular form, the reeded rim decorated with alternating large and small floral and foliate motifs, the plateau flat-chased with a pair of leafy-mantled coquilles joined by floral boquiets, the whole raised on four acanthus scroll feet, dia. 22”. [50/80] 703 William IV Silverplate and Glass Epergne, second quarter 19th century, comprising a circular gadrooned receptacle raised above four acanthus-scroll supports, to a baluster knop, above domed, rounded and cavettocanted square plinth raised on four scrolling shell feet, the supports each flanking a reeded scrolling arm terminating in a smaller receptacle raised on four floral-crested strap supports, the whole decorated with rocaille banding, the receptacles fitted with a central large and four surrounding smaller fan-and-diamond pattern glass bowls, 13‑1/2”, w. 22‑1/4”. [250/400]

697 Pair of Erotic Indian Ivory Rondels, 19th century, the rondels depicting positions from the Karma Sutra, French matted and framed in contemporary rococo gilt frames, h. 8‑1/2”, w. 8”. [75/125] 698 Brass Hookah Base, late 19th/early 20th century, the brass inlaid with Arabic inscriptions and arabesques in silver copper, h. 21”. [600/900] Illustrated previous page 699 Jewish Brass Collection Box, the domed top decorated with two gilt stars of David and with silver overlay scrollwork, the body with faceted sides, one side panel containing an arched door with a hasp for a lock, the other panels containing city views, script and two lions guarding tablets of the law, h. 8‑3/4”, dia. 5‑1/2”. [500/800] 700 Early Leather-Covered Document Box, first quarter 18th century, possibly Middle Eastern, the tooled leather in patterns of scrollwork, flora and faune, contained in squares of a grid, and with cast-iron cotter pin strap hinges, lock, hasp and escutcheon plate, held in place with rose-head nails, h. 7”, w. 11‑3/4”, d. 7‑1/4”. [700/1000]

704 William IV Old Sheffield Plate Hot Water Urn, second quarter 19th century, of bulbous circular form, with cavetto collar and domed lid with gadroon-mounted button finial, with union shell-mounted squared and reeded handles, the reeded tap with horizontal key and addorsed acanthus handle, the whole raised on a waisted standard above a canted square plinth with applied reed-and-acanthus decoration and aised on acanthus-crested haunched paw feet, the whole with narrow gadrooned banding, the interior fitted with a detachable billet chamber with fitted cap, h. 16‑1/2”, w. 13”, d. 14‑1/2”. [100/200] Illustrated 705 William IV Sterling Silver Sugar Sifter, hallmarked London, 1830‑1831, by William Eaton, in the traditional “King’s” pattern with “diamond” heel, the circular bowl pierced in a foliate pattern, l. 5‑1/4”, 1.41 t. oz. [200/400] 706 Good Pair of Victorian Silverplate Entree Dishes with Warming Stands, 1859‑1860, by Elkington & Co., Birmingham, each of oval form, decorated with a bead-and-bobbin edge overlapped by robust scrolls and quartered by cabochons, the fitted lid banded en suite and with a detachable “vintage” ring handle, raised above a warming stand with an oval dish en suite above a hot water reservoir with a pair of cabochon-crested handles and raised on four scrolling legs, engraved on the lid with the crest and motto of Jopp of Hampshire, h. 8‑1/2”, l. 14”, w. 10‑1/4”. [300/500]

707 Pair of Victorian Silverplate Sauce Tureens, fourth quarter 19th century, each of bulbous oval form decorated with repousse flowers centering a pair of annulated oval cartouches, with gadrooned rim, acanthus-mounted handles and four acanthus feet, the flat lid with gadrooned mound supporting a figural stag finial, one tureen engraved on one cartouche with the badge of Houlton, h. 6‑3/4”, w. 5‑1/4”, l. 8‑1/4” [100/200]

711 Good, Large Victorian Silverplate Tray, third quarter 19th century, by James Dixon & Sons, Sheffield, of oval form, pierced galleried rim and reed-and-ribbon edge, with opposing addorsed and birfurcated acanthus scroll handles each centering a ribboned cabochon, the plateau engraved with concentric scrolling rococo foliate bands, each of decreasing complexity as they approach the center monogram, “M”, l. 36‑3/4”, w. 22‑1/4”, [200/400]

708 Victorian Silverplate Entree Dish-on-Stand, fourth quarter 19th century, of oval form with gadrooned rim, the fitted domed lid with gadrooned band and grape cluster-mounted reeded ring handle, the whole raised on a warming stand with stand with a molded and beaded banded frame raised on four beaded and acanthus-crested scrolling legs ending end paw feet, separated by cast floral swags and joined by a double-”C”-scroll stretchers to a central circular receptacle for a spirit burner (now lacking), h. 9‑3/4”, l. 12‑3/4”, w. 9”. [100/200] Illustrated

712 Victorian Silverplate Tray, third quarter 19th century, Sheffield, of oval form, with gadrooned rim and elaborate annulated addorsed acanthus handles, the plateau blindstamped with a wide band of alternating palmette and anthemion cartouches, l. 31”, w. 19‑1/2”. [200/400]

704

709 Victorian Silverplate Tripartite Folding Biscuit Box, fourth quarter 19th century, each bowl of coquille form, joined to a chased laurel branch frame raised on pad feet, each segment crested by a gilt putto centering a spherical finial surmounted by another gilt putto, the bowls opening by laurel wreath rings to reveal a peaked grille, and gilt interior, h. 11‑3/4”, w. 7‑1/2” (13” open). [200/400] 710 Two Victorian Silverplate Meat Domes with a Later American Well-and-Tree Platter, the domes fourth quarter 19th century, one of oval form with annulated rim and ring handle, engraved with the arms of Adams of Cambridge, h. 10‑1/2”, l. 18”, w.14‑1/2”, the other of quarter-lobed oval form with “vintage” ring handle, engraved with the crest of Croachrod, h. 10”, l. 16”, w. 12‑1/2”, the well-and-tree platter first quarter 20th century, by the Lawrence B. Smith Co., Boston, Massachusetts, of oval form with applied “vintage” rim and raised on four spade feet en suite, h. 2‑3/4”, l. 20‑1/2”, w. 15‑3/4”. [500/800]

708

713 Pair of Victorian Silverplate Sauceboats, third quarter 19th century, by Smith, Sisson & Co., Sheffield, in the Georgian taste, each of bulbous oval form with everted spout, with gadrooned rim, crested “C”-scroll handle and raised on three shell-crested stepped pad feet, engraved on the body with the motto and crest of Home, et al., h. 5”, l. 7‑1/4”, w. 3‑3/4”. [100/200] 714 Victorian Silverplate Decanter Frame, fourth quarter 19th century, of trefoil form, with a central “vintage”-mounted trisected standard surmounted by a scrolling oval ring handle and surrounded by three circular ovolo-reticulated wire bottle receptacles, each with molded wavy rims and centering an integral cartouche, all above a conforming molded base raised on three acanthus feet, monogrammed on each cartouche, “RJF”, h. 17”, w. 9”. [50/80]

716

715

717 718

717 William IV Old Sheffield Plate Cake Basket, second quarter 19th century, of lobed circular form decorated with engraved addorsed acanthus scrolls and applied molded rocaille rim, with shaped swing handle decorated en suite and raised on a serpentine-lobed circular foot, h. 3‑1/4” (10‑1/4” with handle), dia. 13”. [150/300] Illustrated

720 718 Fine Victorian Neo-Grec Silverplate Entree Dishon-Stand, 1853, by Elkington & Co., Birmingham, of oval form, the wide rim decorated with narrow bead-andbobbin interior edging and broad chased and openwork Virtuvian scrolls and palmettes, the fitted, domed lid with pamette-mounted addorsed acanthus scrolls, the whole raised on a warming stand with an addorsed Vitruvian scroll-banded frame raised on four robust acanthusmantled haunched legs, each crested by a a Greek warrior masque and joined by a circular palmette-scrolled receptacle fitted with a spirit burner, the lid engraved with opposing anthemion cartouches engraved “Winslow” and with a pseudo-crest of a morion, h. 9-1/4", w. 12", l. 15". [200/400] Illustrated

715 Victorian Silverplate Revolving Vegetable Dish, fourth quarter 19th century, of oval form with beaded rim, raised on four mascaron-crested acanthus scroll legs with flattened spherical feet, the domed lid decorated with a wide band of embossed arabesque cartouches, locking by a chained peg and revolving to reveal two trays, one pierced, one solid, above a hot water reservoir, h. 8‑1/2”, w. 13”, d. 9‑1/2”. [200/400] Illustrated 716 Victorian Silverplate Three-Tier Pastry Stand, third quarter 19th century, comprising a central “vintage” standard raised above an open trisected base decorated with shells and scrolls, fitted with three graduated circular tiers, each with applied “vintage” banding and surmounted by a ring handle en suite, h. 23‑1/2”, dia. 10”. [300/500] Illustrated

724

725 722 Collection of Six Victorian and Later Silverplate Toast Racks, late 19th to mid 20th century, including a Barker Brothers, Birmingham, rectangular example with arched partitions by h. 4‑1/2”, l. 5‑1/8”, an unmarked navette-shaped example with pointed dividers and a central receptacle for a butter dish, h. 8‑1/4”, l. 10‑1/2”, an unmarked rectangular example with rectangular dividers and raised on a conforming stand with warming plate and central spirit burner, h. 7‑1/2”, l. 6”, and three swan-form examples with pointed dividers, one by Deykin & Harrison, Birmingham, h. 4‑1/2”, l. 5‑1/4”, the others an unmarked pair, h. 4‑1/2”, l. 5‑3/4”. [200/400]

719 Victorian Twenty-Nine Piece Cased Mother-ofPearl and Close Plate Carving Service, fourth quarter 19th century, by Harrison Brothers & Howson, Sheffield, including a joint carving fork, l. 9‑1/2”, and knife, l. 12‑3/4”, a fowl carving fork, l. 9‑1/2”, and knife, l. 11‑1/4”, a sharpening steel, l. 11‑1/4”, twelve place knives for beef, l. 10”, and twelve for fowl, l. 7‑1/2”, each with a spatulate mother-of-pearl handle with cavettocarved threading and gadrooned ferrules, presented in the original purple satin-and velvet lined fitted wooden case, the interior lid stamped in gilt with the manufacturer’s label, 15” x 10‑1/2”. [300/500] 720 Victorian Silverplate Toast Rack, fourth quarter 19th century, by William R. Deykin & Sons, Birmingham, of scalloped oval form, with a pair of intersecting arches attached with four hoop-shaped toast dividers on each side and centered by a ring handle, the base centered by an opaline glass butter dish with an engraved and pierced domed silverplate lid, the whole raised on four openwork rococo scroll feet, h. 8”, w. 8‑1/2”, d. 6”. [50/80] Illustrated 721 Good Victorian Sterling Silver Toast Rack, hallmarked London, 1869‑1870, by Hunt & Roskell, of oval form, with nine oval wire dividers, with double ring handle and raised on four claw-and-ball feet, h. 5‑3/4”, l. 6‑7/8”, w. 5‑1/8” [1800/2500]

723 Two Victorian Silverplate Fish Serving Sets, fourth quarter 19th century, both with a fish slice and serving fork, the first by Atkin Brothers, Sheffield for Elkington & Co. Birmingham, the handle in a fan-and-cabochon pattern, the blade/tines with engraved arabesques, l. 12” and 8‑3/4”, the other by Levesley Brothers, Sheffield, in the traditional “King’s” pattern the blade/tines with embossed pellet banding, l. 11‑1/2” and 9”. [75/125] 724 Good Victorian Silverplate Meat Dome, fourth quarter 19th century, by William Hutton & Sons, of oval form, the body entirely fluted with a beaded edge and addorsed scroll and beaded ring handle, h. 7‑3/4”, l. 12‑1/4”, w. 9”. [100/200] Illustrated 725 Victorian Silverplate Epergne, third quarter 19th century, with a central baluster-form standard of serpentine-lobed section and quartered by heart-shaped rococo cartouches, above a conforming knop and lobed, domed foot and surmounted by a shaped and waisted receptacle, the whole decorated with sinuous foliate and floral scrolls, the knop fitted with four acanthus-scroll arms each terminating in a flared receptacle, the receptacles fitted with a central large and four smaller surrounding glass dishes of later date, each cut with diamonds and fans, h. 18-1/2”, w. 22‑1/2”, d. 16‑3/4”. [600/900] Illustrated

726 Victorian Parcel Gilt Silverplate Centerpiece, the design registered May 3, 1862, by Elkington & Co., Birmingham, of circular form, with a central tripodal standard comprising three ovolo-milled scrolling legs joined by scrolling supports to a domed plinth base with anthemion apron and lion’s paw feet, surmounted by an ovoid knop and a circular receptacle, the whole parcel gilt and decorated with anthemion, the recepracle fitted with a hemispherical bowl with cut-diamond pattern and scalloped rim, h. 11‑3/4”, dia. 9”. [75/125] Illustrated

728

727 726

727 Victorian Silverplate and Glass Center Vase, fourth quarter 19th century, the silverplate tripodal with a spherical knop surmounted by a conical scrollmounted receptacle and above a canted triangular plinth, the sides with scrolling decoration in relief, the corners each with a figure of a swan, raised on palmette feet, the receptacle fitted with a glass trumpet vase decorated with a band of cut flutes below star-centered diamonds, with reeded rim, h. 17‑1/4”, w. 7‑1/4”. [300/500] Illustrated 728 Victorian Silverplate Decanter Frame, fourth quarter 19th century, of trefoil form, with a central standard surmounted by a scrolling oval ring handle and surrounded by three circular wire receptacles above a conforming molded base, the whole decorated with beaded banding and raised on three scrolling acanthus feet, fitted with a trio of cut glass decanters, each with with a tall fluted diamond neck, ovoid diamond body, fluted base and floriform foot, fitted with a diamond-pattern ovoid stopper, overall, h. 18‑1/2”, w. 8‑1/4”. [200/400] Illustrated 729 Victorian Two-Piece Silverplate and Cut Glass Salad Serving Set, fourth quarter 19th century, by Thomas Prime and Son, Birmingham, including a salad serving fork and spoon, each with an silverplate elliptical bowl and stem milled with laurel and anthemion, with a shaped glass handle cut with star and diamond banding, with a silverplate ferrule, l. 13”. [40/70]

732 Assembled Set of Five Victorian Silverplate Platter Spoons, fourth quarter 19th century, by various makers including John Round & Son, Harrison Brothers & Howson, and Harris & Law, all in the traditional “Fiddle Thread” pattern, one mongrammed “M”, l. 12” to 12‑1/2”, [50/80] 733 Fourteen Pieces of Victorian and Later Silverplate Flatware, third quarter 19th century and later, including, six Elkington demitasse spoons, 1863, with gilt bowls and “branch” handles, l. 4‑1/4”, a pair of Elkington meat skewers, 1870 and 1877, with figural putti finials, l. 6‑1/2”, three traditional meat skewers by J. Dixon & Sons, l. 10‑1/4”, Roberts & Belk, l. 7‑7/8” and Wm. Hutton & Sons, l. 8”, a John Neal fish slice monogrammed “B”, l. 11‑3/4”, a J. Dixon & Sons pastry spade monogrammed “S”, l. 12”, and a Bingley, Worrall & Co. spring-action sandwich server, l. 10”. [75/125]

730 Victorian Cased Sterling Silver- and Ivory-Mounted Steel Carving Set, hallmarked Sheffield, 1888‑1889, by Harrison Brothers & Howson, including a roast carving fork, l. 12”, and knife, l. 16”, a fowl carving fork, l. 10‑1/2”, and knife (reduced), l. 9‑3/8”, and a sharpening steel, l. 13”, the ivory “pistol grip” handles with fluted sterling mounts and caps, presented in the original burgundy ruched satin- and velvetlined oak case, decorated with ebony stringing, 18‑3/4” x 8”. [500/800]

734 Chinese Cloisonne Vase, 20th century, the archaic-style vase, decorated with Tao Tieh masks and lotus scrolling on a turquoise ground, Ch’ien Lung mark on base, h. 11”. [6000/9000] Illustrated

731 Seven Victorian and Later Silverplate Serving Pieces, including a John Gilbert & Sons “Fiddle Thread” fish slice, third quarter 19th century, Birmingham, with pierced blade, monogrammed “TJ”, l. 13‑3/4”, a Latham & Morton “Fiddle” punch ladle, Birmingham, fourth quarter 19th century, monogrammed “L”, l. 13”, a James Dixon & Sons ivory-handled poultry carving fork, l. 8” and crumber, l. 13”, both Sheffield, fourth quarter 19th century, a pair of Cooper Brothers & Sons rococo-style berry spoons, Sheffield, first quarter 20th century, l. 9”, and a William Adams. Inc. “King’s” platter spoon, Birmingham, engraved and dated “KoT / 1961”, l. 12‑1/2”. [75/125]

736 Large, Impressive Chinese Covered Cloisonne Bowl, of flattened globular shape with conforming cover, enameled in polychrome enamels with shaded peony flowers and foliage on a cloud ground and edged in a border of ruyi heads, carved wooden stand, dia. 15”. [150/300]

735 Brass Japanese Egyptian-Style Floor Lamp, ca. 1930, with Egyptian-style decoration with champleve enamels, h. 63”. [300/500]

741 Chinese Brocade Panel, the panel with a yellow ground with decoration of rampant dragons and dragon borders, h. 46”, d. 122”. [1400/1800]

734

742 Chinese Brocade Bound Book in Wooden Case by Bing Yun, 18th century, composed of six painting of butterflies and flowers with facing pages of calligraphy, the brocade bound book in a fitted wooden box, w. 8‑3/4”, l. 16/1/4”. Bing Yun was a famous female painter of the Qianlong reign (1736‑1795). [200/400] 737

743 Chinese Wood Bound Book of Beauties, 18th/19th century, composed of wooden covers enclosing painting of six women with facing pages of calligraphy, painted by Yu Ji, a well known Chinese painter of the Qing dynasty (1738‑1823), w. 7‑7/8”, l. 11‑3/4”. [200/400]

737 Chinese Cloisonne Brush Pot, 20th century, of cylindrical form, with Ju-i shaped feet, decorated with lotus scrolls on a turquoise ground, Ch’ien Lung mark on base, h. 3”, dia. 3‑1/2”. [4000/7000] Illustrated 738 Chinese Hammered Brass Jardiniere on Rosewood Stand, fourth quarter 19th century, the jardiniere having an applied ornamental border and foo lion handles with brass rings, the stand with pierced and carved aprons around a circular platform and raised on cabriole legs joined by scrolling stretchers, h. 38”, dia. 23”. [400/700] 739 Chinese Brocade Panel, decorated with a pair of dragons flanking a vase on a yellow ground, h. 30‑41/2”, w. 37”. [1200/1800] Illustrated 740 Chinese Brocade “Tribute Silk”, the yellow ground with roundels of facing dragons, inscription in silver at one end, w. 27”, l. 180”. [4000/7000]

739

744 Chinese Famille Rose/ Verte and Mazarin Blue Rouleau Vase, the blue body with gilt decoration of flowers and fruit and having canted reserve panels of idyllic mountainous lakescapes finely painted in famille verte enamels with minute touches of famille rose enamels, the base with a double circle in underglaze blue, h. 17‑7/8”. [1500/2500] Illustrated

744

745 Japanese Hexagonal Porcelain Plate, late 19th century, the plate decorated with a peacock and flowering peony tree in famille rose enamels with a border of fruits, flowers and butterflies, dia. 17”. [300/500] 746 Group of Three Japanese Porcelain Vases, early 20th century, the first two with famille rose reserves of women and flowers on a black ground, h. 6” and 14‑1/2”, together with a 19th century famille noir vase decorated with flowering prunus, h. 12”. [200/400] 747 Pair of Ebonized and Polychrome End Tables, early 20th century, in the chinoiserie taste, each with a canted square top with avian branch designs, raised above an ogee-molded frieze on rounded legs joined by a box stretcher, h. 18”, w. 18‑1/2”, d. 18‑1/2”. [150/300] 748 Fine Chinese Hare’s Fur Glazed Tea Bowl, Song Dynasty (960‑1279), of circular outline with tapered body ending in a straight foot, glazed in a black glaze with golden hare’s fur striations, the glaze stopping short of the foot revealing gray stoneware body, dia. 4‑5/8”. [600/900] 749 Chinese Export Sterling Silver Porringer, first quarter 20th century, by C.J. & Co., of hemispherical form with plain concave-sided handle, decorated with engraved bamboo on a matte ground centering a circular cartouche engraved “Carol”, l. 5‑1/2”, dia. 4‑1/4”, 3.99 t. oz. [100/200] 750 Japanese Polychrome Vase, early 20th century, of bottle form, the neck with an avian prunus branch design and applied trefoil handles, the body richly decorated in floral and avian patterns, all against a black ground, h. 10”. [200/400]

751 Pair of Chinese Export Bronze-Mounted Mazarin Blue Ginger Jars, 19th century, the ovoid jars with a gilt decorated mazarin ground, with reserve panels of peonies painted in polychrome on the obverse, and vases on the reverse, mounted on French bronze bases with bronze pine cone finials, h. 11‑3/4”. [2500/4000] Illustrated 752 Pair of Chinese Porcelain Candle Pickets, 20th century, with blue enamel decoration of the eight precious emblems, marked “Ch’ien Lung” on base, h. 10”. [200/400] 753 Chinese Three-Part Porcelain Box, early 20th century, the famille verte box with landscapes and underglaze blue scrolling, h. 3‑3/4”, w. 4”, d. 5‑1/2”. [600/900] 754 Chinese Rock Crystal Snuff Bottle, 19th century, the well-hollowed double-gourd-form bottle, carved with the characters great good luck and foliage, turquoise glass stopper, h. 2‑1/4”. [900/1200] Illustrated

754

755 Chinese Peking Glass Snuff Bottle, 20th century, the pear-form bottle, relief-carved with a design of the “hundred antiques”, glass stopper, h. 2‑3/4”. [600/900]

751

756 Chinese Polychrome and Enameled Porcelain Lidded Canister, the lid with a shaped gilt finial above a cylindrical body with three bands of floral and geometric patterns, the whole with gilt band accents, h. 6‑1/2”. [200/400]

759

761

757 Chinese Famille Rose Reticulated Vase, composed of three sections, a bulbous reticulated body modeled as foo dogs fighting over brocade balls against a pierced cloud ground and resting on a porcelain stand and having a flared inserted vase, h. 15‑1/4”. [500/800] 758 Large Pair of Palace Vases, in the rose medallion style, h. 31”. [700/1000] 759 Chinese Polychrome Porcelain Shallow Bowl, 20th century, the center featuring two richly clothed ladies in a flowering landscape, within a colorful band with reserve foo dog panels, dia. 17”. [200/400] Illustrated

762 Pair of Asian Ink and Color Paintings on Paper, first half 20th century, depicting various birds amidst flowering branches, sight 13‑3/4” x 10‑3/4”. Presented in polychrome faux-bamboo frames. [50/80]

760 Chinese Famille Rose Porcelain Vase, 20th century, decorated in the Qianlong Imperial style with two reserve panels depicting European style scenes of women and children against a yellow ground of lotus, flowers and fruit with scrolling foliage, of baluster form with stylized dolphin handles at the neck, h. 9‑5/8”. [150/300]

763 Unusual Chinese Turquoise Scholar’s Stone on Stand, the stone in the shape of an irregular mountain peak showing the formation of the turquoise with typical black matrix veining, the stone in a fitted carved rosewood display stand h. 11”, including stand. [1200/1800]

761 Elegant Chinese Oxblood Glazed Scholar’s Desk Vase, Guangxu mark and probably of the period, the finely potted baluster-form vase glazed in an even, rich oxblood glaze, the base with a six-character Guangxu reign mark in iron-red, h. 7‑1/8”. [500/800] Illustrated

764 Group of Six Porcelain Pieces, comprised of four pieces of early 20th century Japanese pieces, a jar and three vases, and two early 20th century Chinese pieces, a vase and footed bowl, h. 4” to 6‑1/2”. [100/200]

766

765 Chinese Polychrome and Gilt Glazed Bottle Vase, 20th century, the bulbous body tapering to a flared neck with two handles, the red glazed body with gilt decoration of lotus and scrolling foliage between a lappet border at the base and a ruyi border at the neck, the base with a four-character Yongzheng mark, h. 7”. [200/400] 766 Chinese Oval-Shaped Porcelain Box, Tao Kuang mark and probably of the period, the turquoise ground with a decoration of Chi characters around a yin yang symbol, surrounded by bats, peaches and floral scrolling with gilt, w. 5‑1/2”, l. 8”. [900/1200] Illustrated

771 English Pine Bible Box, late 17th century, the slanted top opening to a storage interior fitted with compartments, the front paneled and with the carved applied initials “IC 1688”, the sides also paneled, raised on a later pine stand of square legs, h. 36”, w. 22‑1/2”, d. 18”. [1500/2500]

772

772 William and Mary-Style Walnut Table, partially composed of antique elements in the 17th century style, the rectangular top centered by an oval burl wood panel and surrounded by a pattern of oyster veneers, above a frieze fitted with a single drawer, veneered en suite, raised on large barley-twist legs joined by an “H”-form stretcher and ending in block and ball feet, h. 28‑1/2”, w. 40”, d. 27”. [5000/8000] Illustrated

773 Belgian School (19th Century), “Interior Kitchen Scene with Two Men Drinking”, oil on panel, signed lower right “T.W. Linnig”, reverse with the artist’s label inscribed in French and dated “1857”, 20” x 28”. Presented in a giltwood exhibition frame. [1000/1500] Illustrated 774 Continental school (19th Century), “Kitchen Scene With a Mother Nursing a Child, an Older Woman Reading and a Young Boy Looking On”, oil on canvas mounted on board, unsigned, 18” x 15”. Presented in a molded giltwood frame. [400/700]

773 767 Pair of Chinese Porcelain Saucer Dishes, 18th century, the dish with a reticulated double wall and decorated in famille rose enamels, dia. 5‑1/4”. [600/900] 768 Chinese Carved Flourite Censer, early 20th century, the purple flourite dragon with mask jump rings and finial, h. 6”. [900/1200] 769 Group of Seven Japanese Hardstone Carvings, 20th century, depicting the seven gods of luck, carved from aventurine, sodalite, rose quartz, rock crystal, amethyst, carnelian and tiger eye, wood stand, h. 3”, without stand. [400/700] 770 Chinese Molded Famille Rose Vase, 20th century, of baluster form with molded dragons at the neck and foo dog handles enameled in famille rose enamels on a crackled ground with military figures in a landscape, h. 12”. [100/200]

779

775 Dutch School (Fourth Quarter 19th Century), “Interior Scene With a Man Playing a Violin”, oil on board, unsigned, 10” x 8”. Presented in a Aesthetic giltwood and gesso frame with a velvet liner. [150/300] 776 Fritz Wagner (German, 1896‑1939), “A Merry Gathering with Tobacco and Beer”, oil on canvas, signed lower right “Fritz Wagner, McG”, 27‑1/2” x 33‑1/2”. Handsomely framed. [7500/10000] Illustrated 777 British School (First Quarter 19th Century), “A Humorous Scene With a Curate at a Cobbler’s Shop”, oil on canvas, unsigned, 8‑3/4” x 9”. Presented in a ornately-molded giltwood and gesso frame. [150/300] 778 English Oak Armchair in the Carolean Taste, early 19th century, the shaped cornice above a paneled back with central diamond design, joined by shaped arms to the wooden seat, raised on bulbous legs joined by a box-form stretcher, h. 42‑1/2”. Provenance: Tom Hayes/Toby West, Ltd., Atlanta, Georgia. [300/500]

776

780 Edmund Adler (German, 1871‑1965), “Feeding the Rabbits”, oil on canvas, signed lower right “Edmund Adler”, 25” x 31‑1/2”. Presented in a giltwood and gesso frame. [10000/15000] Illustrated 781 Follower of Adriaen Van Ostade (Dutch, 1610‑1685) “Two Peasants in a Tavern”, oil on panel, unsigned, 19th century, 8‑1/2” x 7”. Presented in a molded giltwood frame. [150/300] 782 Anton Fenz (Austrian, 1884‑1970), miniature painting in the Renaissance style depicting a young woman leaning from a window and holding a brass lantern, probably gouache, signed lower left, sight 3‑3/4” x 3‑1/4”. Presented in a Rococo-style faux-burlewood frame. [400/700]

780 779 English Oak Chest, fourth quarter 18th century, in the George III style, the rectangular top with diamond-pattern inlays above a case fitted with two short drawers over three long drawers, all with decorative geometric veneers, raised on bracket feet, h. 38”, w. 40”, d. 23‑1/2”. Provenance: Samuel Hart Galleries, Houston, Texas. [700/1000] Illustrated

783 George II Oak Book Holder, second quarter 18th century, the book support surface with a serpentine upper rail and with tombstone finials decorating the tops of the stiles, hinged to a ratcheted, adjustable rack, h. 11”, fully extended, w. 15‑1/2”, d. 13”. Provenance: Pickwick Antiques, Montgomery, Alabama. [250/400]

784 English Oak Side Table, early 20th century, the rectangular top above a frieze fitted with two drawers, each with decorative molding, raised on turned vasiform legs joined by a box stretcher, h. 29”, w. 48", d. 18”. [400/700] 785 Set of Sixteen Blue-and-White Chinese Export Porcelain Dinner Plates in the “Fitzhugh” Pattern, first quarter 19th century, the plates richly colored and with gilt borders, dia. 9‑3/4”. [1800/2500] Illustrated

795 786 Large Group of Chinese Export Blue-and-White Canton Dinnerware, second and third quarters 19th century, including eleven soup plates, dia. 10”, a square notched-corner covered vegetable dish with fruit finial, w. 11”, an octagonal deep dish, l. 9‑1/2”, an octagonal platter, 9‑3/4”, a pair of octagonal platters, l. 11”, twelve dessert dishes, dia. 6‑1/2”, six luncheon plates, dia. 9”, a pair of rice bowls, dia. 5”, with three Nanking teabowls dia. 4‑1/4”, with an associated saucer, dia. 5”, four mismatched teacups, dia. 3‑1/2” to 4‑1/4”and saucers, dia. 5‑3/4” to 6”, and a handle-less teabowl, dia, 4‑1/2”, and saucer, dia. 6‑1/8”. (49 pieces total.) [500/800] 787 Set of Nine Spode Transfer Printed Soup Plates, first quarter 19th century, molded with a gadrooned border, transfer printed with floral centers, and scrolled panels enclosing flowers on their borders, marked with both impressed and transfer-printed “Spode”, dia. 10”. [150/300]

790

785

788 Pair of Chinese Export Porcelain Blue-andWhite Platters in the “Fitzhugh” Pattern, fourth quarter 18th century, the platters with a central medallion and four panels of floral decoration, and with draped border, complete with mazarin inserts, h. 20”, w. 14”, l. 16‑3/4”. [1800/2500] 789 Pair of Blue-and-White Chinese Export Porcelain Covered Vegetable Dishes in the “Fitzhugh” Pattern, first quarter 19th century, decorated with a round center medallion, with gilded rims and gilded fruit knops, h. 6”, w. 11‑1/2”, d. 10”. [1500/2500]

796 British School (First Quarter 18th Century), “Portrait of a Cleric in Robes, Holding a Document”, oil on canvas, unsigned, 36” x 28‑3/4”. Framed. [800/1200]

800 799

801

797 Flemish School (18th Century), “Portrait of a Bearded Man”, oil on canvas, unsigned, 19‑1/4” x 22”. Presented in a handsome giltwood and ebonized frame. [600/900] 798 Provincial English Fruitwood Drop-Leaf Table, 19th century, the rectangular top with rounded ends and with two ovoid drop leaves, raised on square tapering legs, h. 30‑1/2”, w. 46”, d. 22”, ext. d. 42”. [400/700]

799 Chinese Ivory Group, early 20th century, the three figures with a screen and planter and with a decorated screen at the back, wooden stand, h. 10”, including stand, w. 10”. [1200/1800] Illustrated 790 English Stained Pine Welsh Dresser, mid-19th century, the molded cornice above a scalloped frieze, over three open shelves with plate rails and cup hooks, the lower section with a rectangular top over a frieze fitted with three short drawers, joined by bulbous and turned uprights to a lower shelf, raised on bulbous toupie feet, h. 83‑1/2”, w. 60”, d. 16‑1/2”. [600/900] Illustrated 791 Tall Continental Pewter Flagon, 19th century, of baluster form, hinged lid with a double acorn billet to an “s”-shaped strap handle, with a lower ringed stirrup handle on the body to assist pouring, h. 26‑3/4”, dia. 6‑1/2” [200/400] 792 Two Pieces of European Pewter, including Victorian pint capacity tavern mug 5”, dia. 4‑3/8”, and a 20th century lidded tankard, probably German, with false date “1821”, h. 10”, dia. 5‑3/4” each of tapering cylindrical form. [200/400] 793 Seven French Louis-Philippe Pewter Spoons, second quarter 19th century, in the traditional “uniplat” pattern with pointed bowls, l. 8” [100/200]

800 Chinese Carved Ivory Group, early 20th century, the carving depicting a historical scene of two figures at a wine table and a screen, with stained details, wooden stand, h. 9‑1/2”, including stand, w. 9”. [1000/1500] Illustrated 801 Chinese Carved Ivory Group, 20th century, carved with two figures having wine at a rootwood table with a decoration screen at the back, the figures with stained details, fitted wood stand, h. 9‑3/4”, w. 8”. [1000/1500] Illustrated

804

802 Japanese Blackwood and Bone Three Panel Table Screen, 20th century, composed of a central panel and two hinged side panels in blackwood with etched bamboo decoration, each panel with applique bone decoration of birds and trees, h. 14‑1/4”, w. 16‑5/8”. [75/125]

794 Assembled Set of Four Victorian Pewter Measures, second half 19th century, each of baluster form, including capacities one quart, h. 6‑1/4”, one pint, h. 5”, one half pint”, h. 3‑1/4”, and a gill, h. 2‑1/2”. [200/400]

803 Japanese Cabinet Piece, 20th century, the carving of a boxwood toad on a plinth with engraved bone, decorated with insects, h. 7‑1/4”. [400/700]

795 Jan Jac Matthys Damschroeder (German/ Dutch, 1825‑1905), “The Prospective Buyer”, oil on canvas, signed lower left “J.J.M. Damschroeder”, 25” x 30”. Presented in a Rococo-style giltwood and gesso exhibition frame with brass artist plaque, incised with the artist’s name and title of work. [4000/7000] Illustrated

804 Chinese Ivory Carving of a Scholar, early 20th century, the carving of a standing scholar with a small child holding a branch of peaches, fitted stand, h. 10”. [1000/1500] Illustrated

814

808 Japanese Woodblock Print, attributed to Mtagawa Toyokuni III (1786‑1864), signed lower right, sight h. 12‑1/2”, w. 18‑1/2”,. [300/500] 809 Framed Japanese Woodblock Triptich, the three panels forming a continuous scene of three geishas in a garden setting, each clad in elaborate brocade kimonos, one standing next to a jardiniere of flowering chrysanthemums, one seated holding a fan and the third standing before a field of flowering plants, signed, glazed and matted, h. 20‑1/4”, l. 34‑1/4”. [250/400]

805

810 Framed Japanese Woodblock Triptich, the three panels forming a continuous scene of a samurai, his lady and a servant, the samurai clad in black seated on a mat, his lady in elaborate robes seated on a pile of cushions and the servant in a kimono serving a delicacy to the lady, all in front of a bonsai and food dishes ready for cooking, signed, glazed and matted, h. 20‑1/4”, l. 34‑1/4”. [250/400] 811 Pair of Chinese Red Lacquered Lidded Storage Boxes, late 19th century, of octagonal form, the canted and domed lid opening to an interior with a lift-out tray and open interior, raised on a conforming stand of cabriole legs, the whole with polychrome designs in scrolling foliate, avian and calligraphic patterns, h. 36‑1/2”, dia. 20‑1/2” [1000/1500] 812 Group of Three Chinese Ivory Carvings, early 20th century, comprised of two male figures and one female figure, colored details, wooden stands, h. 4‑1/2” to 5‑1/2”, without stands. [300/500]

805 Pair of Chinese Ivory Carvings of an Emperor and Empress, early 20th century, the figures in Ch’ing Dynasty costume, fitted stands, h. 5‑1/2”, without stands. [500/800] Illustrated

813 Japanese Carved Ivory Figure of a Geisha, 20th century, carved as the standing female figure clad in an informal kimono and having an elaborate coif, wooden base, h. 7‑1/4”, including stand. [100/200]

806 Pair of Japanese Framed Woodblock Prints, 19th century, each depicting a standing figure of a geisha in a brocade kimono reading a long scroll while in a grove of bamboo, red painted frames, glazed, h. 19‑3/8”, w. 14‑3/8”. [150/300]

814 Chinese Carved Ivory Boat, 19th century, the ornately carved pleasure barge with banners and lanterns, l. 12”. [700/1000] Illustrated

807 Two Framed Japanese Woodblock Prints, probably 19th century, both framed in the same frame, one depicting a lady in an informal kimono holding a pipe and standing at a balustrade, the other depicting a courtesan in elaborate multi-layered kimono on a ground of calligraphy, both signed and having the publisher’s name, double matted, glazed and framed in a textured black frame, h. 23‑5/8”, l. 30”. [250/400]

815 Japanese Ivory Netsuke, 20th century, the figure of Jurojn with a monkey, polychrome details, l. 3”. [200/400] 816 Pair of Decorative Covered Jars, with a wood frame inset with bone plaques in a design of children playing, polychrome decoration, h. 37”. [3000/5000] Illustrated 817 Japanese Ivory Carving, 20th century, the carving of the ship of the gods of luck, polychrome details, h. 3”. [300/500]

816

820 Pair of Chinese Hardwood Cabinets, 20th century, each with a rectangular top with floating central panel, above a case fitted with two small drawers over two cabinet doors, each with carved designs, raised on block feet, h. 30”, w. 22”, d. 14”. [600/900] 821 Good Pair of Framed Chinese Embroidered Silk Sleeve Panels, late 19th century, each framed vertically, the white silk ground delicately embroidered in colored silk thread with birds and flowers bordered all around with a band of trees, matted, framed in silvered wood frames, glazed, h. 25‑1/4”, w. 8‑1/4”. [200/400] 822 Indian Ivory Lamp, early 20th century, the surface carved in relief with a design of animals hunting, h. 16‑1/2”. [800/1200] Illustrated

825 822

818 Chinese Ivory Carving of a Cabbage Plant, early 20th century, depicting an insect and a cabbage plant with colored details, l. 10‑1/2”. [700/1000] Illustrated 819 Rare Pair of Chinese Framed Kesi Panels, first half 20th century, each woven with subtle colors on a cream ground, depicting mounted soldiers in battle in a hilly landscape, very fine condition, matted in silk, framed in silvered wood frames, glazed, h. 19‑3/8”, w. 20‑3/8”. [400/700]

818

830 Japanese Ivory Carving of Figures in a Landscape, late 19th/early 20th century, carved with a scene of various figures in a mountain landscape, signed, l. 7”. [350/500] Illustrated 828

831 Two Indian Carvings, the first, a 19th century ivory carving of an elephant with mahout and howdeh, together with an early 20th century Jujariti shell-inlaid duck, l. 6‑1/2” and 7”. [300/500] 832 Group of Three Japanese Ivory Netsuke, 20th century, the figures of a basket, a front with a cabbage plant and a warrior with a peach, l. 2”. [300/500] 833 Suite of Five Chinese Paintings on Silk, each depicting a Holy Man in a garden setting, all unsigned, 12” x 8‑1/2”. Two glazed, attractively matted and framed. [250/400]

823 Pair of Chinese Carved Ivory Figures on Stands, 20th century, depicting female figures holding a bouquet of flowers, h. 5”, without stand. [400/700] 824 Chinese Carved Ivory Pendant, 20th century, the front side carved in low relief depicting a camel, the back side bearing a signature, h. 1‑1/2”, w. 2". [400/700] 825 Pair of Chinese Ivory Carvings of Peacocks, late 19th century, depicting peacocks in flowering prunus trees, wooden stands, h. 9‑1/2”, without stands. [800/1200] Illustrated previous page 826 Two Chinese Carved Ivory Figures, early 20th century, one depicting an elder bearded figure with a staff and basket, h. 6”, and the other of a jointed warrior figure wearing a headband and holding a staff, h. 8”. [200/400] 827 Chinese Porcelain Covered Jar, 19th century, the jar of globular form with famille rose decoration of children playing, h. 8‑1/4”, dia. 8”. [400/700] 828 Pair of Chinese Stained Hardwood Armchairs, 20th century, each with a domed and eared crest above a splat with calligraphic and horse carving, joined to the paneled seat by outscrolled arms, raised on rounded legs joined by a box stretcher, h. 47”. [800/1200] Illustrated 829 Chinese Rosewood Window Seat, late 19th century, the banded rectangular seat flanked to either end by a floral-and foliate-carved arm rest, above a like deeplycarved frieze, raised on plank legs, h. 24”, w. 26”, d. 15‑1/4”. [150/300]

100

834 Good Japanese Color on Silk Landscape Scroll by Akizuki Tadashiro, 19th/20th century, depicting a rural landscape of a peasant bathing his water buffalo in a stream surrounded by a group of trees, the background with a distant mountain range, bordered in green silk with cloud design, wooden storage box, h. 78", w. 24‑5/8”. [600/900]

835 RestaurationStyle Cut-Glass and Prism Hung Chandelier, second quarter 20th century, of bag form, with a trio of stepped circular caps, supporting parallel swags of graduated jewelcut glass chains and applied upright palmettes, the interior fitted with eight spoked lights with four adjacent up-lights, the crown with four additional up-lights, h. 66”, dia. 37”. [2500/4000] Illustrated

830

835

836 Restauration-Style Cut-Glass and Prism Hung Chandelier, second quarter 20th century, of bag form, with a trio of stepped circular caps, supporting parallel swags of graduated jewel-cut glass chains and applied upright palmettes, the interior fitted with eight spoked lights with four adjacent up-lights, the crown with four additional up-lights, h. 66”, dia. 37”. [2500/4000] Illustrated

837

836

837 Suite of Eight Empire-Style Mahogany Armchairs, all with a backswept crest with applied ormolu paterae above the padded rectangular back, joined by scrolling arms to the padded seat, raised on tapering fluted circular legs ending in ormolu reeded feet, the whole accented with ormolu mounts in Empire patterns, h. 38‑1/2”. [5000/8000] Illustrated

838 Pair of French Louis XVI Brass Candlesticks, now mounted as lamps, fourth quarter 18th century, the domed foot fluted and edged in beading, with a border of laurel leaves, the flaring standard fluted and beaded and with the candles repeating the same motif, complete with beaded bobeches, fitted with wax-clad electric candles, complete with pleated and tasseled shades, h. 23”, to top of shade. [200/400]

101

840

840 French Empire Revival Bronze and Patinated-Metal Twelve-Light Chandelier, the bronze pan fitted with an acanthus-molded plaque and a pineapple finial, the scrolled candle branches terminating in maiden’s heads supporting leaf-molded drip pans and candlecups, and with bronze link chains from the pan to the canopy, h. 30”, dia. 30”. [2500/4000] Illustrated

839

839 Bronze and Enamel French Bouillotte Lamp, first quarter 20th century, the candle branches with cups ending in delicately molded leaves, supported by the round pierced base, with sprigs of enameled flowers attached to the standard, and with a finial matching the base, fitted with a green tole shade and faux tole candles, electrified, h. 25”, to top of finial. [900/1200] Illustrated

841 Louis Philippe Tole Peinte Wall Clock, second quarter 19th century, the octagonalshaped clock with a red ground, decorated with a gilt running vine, the enamel dial held in a brass bezel and covered in glass, h. 19‑1/2”, to top of ring, w. 16”. [600/900]

842 Suite of Three Polychrome Nesting Tables, early 20th century, probably Florentine, each with a rectangular top with projecting corners, centered by an applied print of a classical procession of figures, raised on tapering square legs headed by an incised bow design, h. 22”, w. 23‑1/2”, d. 13”. [300/500] Illustrated 843 French School (Third Quarter 19th Century), “16th and 17th Century Ornament”, chromolithograph by Pralon, published by Firmin-Didot, 1869‑1873, under artistic direction of Albert Charles Auguste Racinet (1825‑1893), sight 12” x 8‑1/2”. Glazed, matted and presented in a attractive contemporary silvered frame. [150/300]

842

102

844 Collection of Four French Chromolithographs, including three unframed examples of monograms and coat of arms from an album Chiffres Modernes Fougeadoire by A. Fougeadoire, Paris and a framed “City of Paris Coat of Arms”, unframed sheet size 10” x 13”, framed sight 8‑1/2” x 5‑3/4”. [300/500]

845 Neoclassical-Style Faux Marbre Pedestal, of columnar form, the circular top above a fluted slightly graduated standard to a molded circular plinth, h. 49”. [900/1200] 846 Empire-Style Mahogany Sidechair, early 20th century, the padded rectangular back surmounted by a backswept ormolu mounted crest, above the padded seat, raised on tapering circular legs headed with ormolu mounts and ending in ring-turned caps, h. 38”. [400/700] 847 Louis XVI-Style Walnut Cabinet, early 20th century, the banded rectangular top with a domed backpiece and above a case fitted with two paneled cupboard doors over open slotted compartments, all flanked to either side by fluted columnar uprights, the whole raised on tapering ring-turned circular legs, h. 53”, w. 22‑1/4”, d. 15‑1/4”. [150/300]

851

853 850 Empire-Style Mahogany and Marble-Top Center Table, late 19th century, the verde antico marble with projecting canted corners, inset into a conforming paneled frieze with applied ormolu mounts of paterae and palmettos, raised on tapering square legs headed by ormolu maiden’s heads and joined by a pierced stretcher, ending in ormolu paw feet, the whole richly accented with decorative mounts, h. 32”, w. 49”, d. 28”. [3000/5000] Illustrated 851 Pair of Bronze French Empire-Style Wall Sconces, the backplate in the form of a winged Blackamoor, perched on a ball and crowned with an anthemion, gripping the two candle branches, mounted with leaf-molded drip pans and flared candle cups, h. 14‑1/2”, w. 10‑1/2”, d. 4‑1/2”. [300/500] Illustrated 852 After Jean-Jacques Henner (French, 1829‑1905), “Jeune Fille”, oil on canvas, unsigned, first quarter 20th century, 18” x 15”. Presented in a faux-burlwood contemporary frame. [200/400]

848 Biedermeier-Style Mahogany Looking Glass, late 19th century, the molded pyramidal crest centered by an ormolu star mount, above a trisected plate, divided and flanked by uprights headed by gilt maiden’s heads and ending with gilt feet on a molded base, h. 41”, w. 46‑1/2”. [500/800] 849 Restauration-Style Engine-Turned GiltBrass Three-Light Bouillotte Lamp, with parcel-gilt green tole peinte shade, electrified, h. 25‑1/2”. [500/800]

850

103

853 After Jean-Jacques Henner (French, 1829‑1905), “The Reader”, oil on canvas, attributed to Caleb Arnold Slade (American, 1882‑1961), inscribed lower left “Apres J.J. Henner”, 29” x 39”. Presented in a contemporary silvered frame. [1000/1500] Illustrated previous page 854 After Diego Velazquez (Spanish, 1599‑1660), “The Toilet of Venus”, oil on canvas, inscribed upper right “after Velazquez by Evalene Johnston”, 33” x 51”. Presented in a magnificent giltwood and gesso frame. [800/1200] 855 Continental School (First Quarter 20th Century), “Odalisque Reclining”, oil on board, unsigned, 20” x 23”. Presented in a giltwood and gesso frame. [1500/2500] Illustrated 856 Oxidized Cast-Iron Balustrade, second half 19th century, now mounted as a table lamp, reportedly salvaged from a structure in New York City, h. 41”. [200/400]

855 859 Pair of Empire-Style Giltwood and Mahogany Jardinieres, each with a wooden strapwork basket on a tripodal base, the legs extending in the form of swanheads, the scroll feet with gilt-foliate decor, h. 48”, dia. 26". [500/800] 860 Paris Porcelain Corbeille, second quarter 19th century, decorated dore partout, resting on paw feet, and with a worn signature in rouge de fer that appears to read “Leplle le”, signature of the Plee brothers, h. 4‑3/4”, dia. 9”. [200/400] 861 French Empire-Style Marble, Gilt-Bronze and CutGlass Centerpiece Bowl, ca. 1900, the sienna marble plinth supporting the gilt-bronze base in the form of pawfooted monopedia, crowned with winged putti heads, supporting an engine-turned ring fitted with a diamond-cut flaring cut-glass bowl, h. 10”, dia. 8”. [300/500] Illustrated

861

857 Pair of Classical Revival Three-Light Candelabras in the Directoire Style, the metal finished in patinatedbronze with contrasting gilt, supported on square plinths decorated with an applied cartouche on the front and stars on the sides, the vasiform standard mounted with egyptorevival handles, the candle branches terminating in leopard heads, the side cups ribbed with the molded center cups in a contrasting lobed pattern, the bobeches hung with prisms, h. 22”, w. 9‑3/4”, d. 4”. [600/900] 858 Neoclassical-Style Mahogany Bench, with scroll arms, capped by fruit and floral carving, gadrooned seat rail and winged paw feet, upholstered in pale green striped brocade, h. 31”, w. 66‑1/2”, d. 22”. [500/800]

104

862 French Gilt-Bronze and Marble Directoire Mantel Clock, first quarter 19th century, the marble base supported on engine-turned and gilt-bronze feet, mounted with a quiver of arrows and oak leaves, the columnar supports decorated with mounts of vases of wheat with pairs of birds, supported by dolphins on intertwined tails, the enamel dial over a gilt-bronze swag and tassels, mounted with a masque and the pendulum with a sunburst set with a masque, finished with a finial in the form of a sheaf of wheat supporting an arc of flowers, h. 22”, w. 12‑1/2”, d. 4". [1500/2500] Illustrated 863 Pair of Italian Gilt-Bronze Four-Light Sconces in the French Empire Taste, the backplate in the form of an arrow terminating in a pierced anthemia and held with bowknots, the full-bodied swan supports the electrified candle arms, which are decorated with pierced anthemia, the drip pans and candle cups decorated with molded laurel leaves, anthemia and bellflowers, h. 25”, w. 7”, d. 10”. [700/1000] Illustrated

865 Walnut and Parcel-Gilt Wall Mount Tester Frame and Draperies,in the Renaissance revival style, the front with pleated swags and tassels, the sides with tieback panels and the back side with a wide drapery panel, w. 77”, d. 24”. [300/500]

863

866 Napoleon III Giltwood Mirror, fourth quarter 19th century, the beveled mirror plate bordered by a gilt molding matted with red velvet, the beaded edge lines the interior of the primary frame, molded with acanthus leaves on an ogee molding, the outer edge finished with laurel leaves bound by ribbons, h. 43”, w. 37”. [300/500]

862

864 Empire-Style Mahogany Bed, early 20th century, the paneled headboard with a domed and molded cornice surmounted by an ormolu wreath and with end pineapple finials, flanked by brass-fluted uprights, joined by paneled rails to the paneled footboard, flanked en suite, raised on brass banded toupie feet, h. 64”, w. 58”, l. 75”, outside w. 64”, outside l. 83". [500/800]

867 Continental Faux Bois and Marble-Top Side Table, early 19th century, the rectangular Sainte Anne marble top above a conforming frieze, with gilt applied gilt stars and decorative molding, raised on tapering circular legs with ring-turned feet, h. 31”, w. 41”, d. 19‑1/2”. [1500/2500] Illustrated

867

105

872 Pair of Empire-Style Gilt-Bronze and Marble-Top Gueridons, each with a circular Rouge du Maine top within a modeled gilt banding, joined to a smaller like shelf by shaped imbricate modeled legs headed by ram’s heads and ending in hoof feet, h. 29”, dia. 31‑1/2”. [5000/8000] Illustrated

871

873 Napoleon III Giltwood Mirror, fourth quarter 19th century, French, the rectangular mirror plate bordered by a narrow, sanded area, followed by an ogee molding decorated with acanthus leaves on a stippled ground, the outer edge molded in barrel leaves bound by crossed ribbons, h. 38‑1/2”, w. 33”. [300/500]

869

868 Fine Cased Set of U.S. Navy (1877‑1940) Lieutenant Junior Grade Epaulettes, Hat and Belt, the gilt-bronze buckle depicting the American eagle clenching an anchor and surrounded by a braided rope and stars, the outer edge with an oak leaf and acorn border. [800/1200] Illustrated 869 French Gilt-Bronze Restauration Mantel Clock Depicting Napoleon, second quarter 19th century, the paw feet support the base which is decorated with a pair of Napoleonic eagles carrying a garland of laurel leaves, the clock works with an enamel dial signed “Delamare a Paris”, and with a silk string suspension set in a leaf-molded bezel, depicted in a rocky outcropping, topped with a figure of Napoleon on horseback, rearing up in a commanding pose, h. 18”, w. 13”, d. 5‑1/4”. [5000/8000] Illustrated 870 Continental Portrait Miniature of a Lady, fourth quarter 19th century, depicted wearing an empire gown, with a matching necklace and jeweled hairpiece, in a gilt-bronze frame with an engine-turned bezel crowed with pierced flowers and bowknots, with an easel back and signed, “Larry”, h. 3‑1/4”, w. 2‑1/2”. [150/300] 871 Pair of French Gilt-Bronze and Rouge Marble Lamps, ca. 1900, the pierced base with a marble stand supporting three hooffooted monopedia, terminating in goats’ heads, the heads supporting the ovoid marble base, with a leaf-molded gilt-bronze neck with three candle branches holding acanthus-molded drip pans and fluted candle cups, the shade holders finished with Chinese hardstone finials, h. 31”, dia. 7”. [1200/1800] Illustrated

106

868

876 Pair of French Neoclassical Revival Bronze Mantel Garnitures, fourth quarter 19th century, the tripartite bases, each with a central standard of patinated-bronze applied with gilt classical figures and terminating in a gilt cup trimmed with flame ornaments, three monopods terminating in winged female head supports, h. 16‑3/4”, w. 5‑3/4”, d. 5‑3/4”. [2000/4000] 877 French Third Republic Bronze and Marble Mantel Clock, fourth quarter 19th century, the black marble case resting on bronze paw feet, with a lower case adorned by bronze anthemia, the black marble chapter ring with 872 bronze numerals and bezel, the sides mounted with bronze leopard heads grasping rings and with a bronze and marble turret forming the upper finial, h. 18‑1/2”, w. 10‑1/4”, d. 7”. [300/500]

878 Napoleon III Giltwood Mirror, third quarter 19th century, the oval mirror with a molded outside border in a pattern of ribbon-bundled reeds, the cove decorated with sanded decoration in a rocaille pattern, and a beaded edge sitting adjacent to the mirror plate, h. 40”, w. 24‑1/2”. [500/800]

879

879 Pair of Third Republic Patinated-Bronze Four-Light Candelabra in the Egyptian-Style, fourth quarter 19th century, each with an urn with flame finial and leontine supports, the arms ending with an Egyptian mask supporting the bobeche and candle, the lower standard with four monopdia with women’s heads, on a circular base, previously electrified, h. 24‑1/4”, dia. 12‑3/4”. [1800/2500] Illustrated

874 Continental Neoclassical Mahogany Desk, second quarter 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a central drawer flanked to either side by two short drawers, raised on tapering square legs ending in brass caps, h. 31‑1/4”, w. 51‑1/4”, d. 27‑1/2”. [2500/4000] Illustrated 875 Baltic Empire-Style Ebonized Occasional Table, mid-19th century and later, the circular top above a conforming frieze, raised on splayed supports and a central support headed by gilt eagle’s heads and resting on a circular plinth base, h. 27‑1/2”, dia. 22”. [500/800]

874

107

880 Pair of Classical Revival Bronze Two-Light Sconces, ca. 1900, the backplate in the form of a female figure with a shawl around her head, her outstretched hands each holding a basket of flowers forming a candle cup, h. 10‑1/2”, w. 7”, d. 4”. [350/500]

886 Biedermeier-Style Blonde Wood Center Table, the circular top banded and quarter-veneered and with an elaborate applied stencil central medallion, raised on a graduated standard to a concave platform raised on ebonized bun feet, h. 30‑1/2”, w. 36‑1/2”. [300/500]

881 Continental Neoclassical Giltwood Looking Glass, second quarter 19th century, the projecting cornice adorned with anthenium, egg-and-dart and foliate decor, the bisected mirror plate with shell and dolphin carving over the upper plate, h. 59‑1/4”, w. 32‑3/4”. [800/1200]

887 Round Wooden Temple Model, the stepped base leading to a classical temple model with doric columns topped with a domed roof, mounted with a gilt pinecone finial, h. 25”, dia. 16”. [200/400] Illustrated

882 Brass-Mounted Desk Clock of Pocket Watch Form, the dial bearing the manufacturer’s label “Timeworks, Inc. Berkley, California”, h. 6‑1/2”, w. 5‑1/2”. [125/250]

887

883 Pair of Continental Neoclassical-Style Side Tables, 20th century, each with a rectangular top with ormolu banding and centered by an elaborate polychrome paterae design, above a conforming frieze, raised on tapering paneled end supports headed by foliate ormolu mounts and ending in runner feet to pegs, h. 29‑1/2”, w. 39‑1/4”, d. 19‑1/2”. [2500/4000] 884 Empire-Style Fruitwood Secretaire a Abbatant, mid-19th century, the banded rectangular top with canted projecting corners above a conforming case fitted with a frieze drawer above a drop-front opening to an inset leather writing surface and a variety of drawers and cubbyholes, with a paneled cupboard and doors below, raised on ebonized paw feet, h. 57‑1/2”, w. 38”, l. 16”. [900/1200]

888 French Carved Panel, fourth quarter 19th century, composed of distressed hardwood, depicting a group of putti at play, climbing a tree, holding a mask, making a face and playing with a goat, h. 8‑1/2”, w. 15”. [100/200] 885

885 Continental Neoclassical-Style Brass Stool, 20th century of curule form, the padded seat flanked to either side by armrests with ball finials, raised on an “X”-form base with central decorative medallion and ending in ball feet, h. 27‑1/2”, w. 26”, d. 22”. [700/1000] Illustrated

108

889 Pair of Painted Metal Neoclassical-Style Wall Sconces, the round backplate supporting a pair of scrolled branches, terminating on the top and bottom with bunched leaves, and with the candle cups resting on “C” scrolls, h. 20”, w. 10”, d. 4‑3/4”. [200/400] 890 Pair of Louis XVI Old Standard (.958) Silver Sauceboat Stands, marked Paris 1781‑1783, by RenePierre Ferrier, each of oval forms, the narrow ends shaped by addorsed serpentine scrolls, the edge decorated with engraved floral and foliate garland surrounding the recessed oval plateau, the edge beaded with acanthus crests at the narrow ends, l. 9‑1/2”, w. 6‑1/4”, 25.14 total t. oz. [1200/1800] Illustrated

890 894 895

891

892

891 Louis XVI Old Standard (.958) Silver Mustard Pot, marked 1780-1781, by Guillaume-Francois Rolland, the open cylindrical frame composed of three upright open-flute legs with hemispherical feet and crested by a bead-and-acanthus swag, all joined by beaded garlands and below a fluted band, with a split laurel “C”-scroll handle and a hinged beaded and fluted domed lid with toupie final and coquille billet opening to reveal the cobalt glass liner, h. 4”, dia. 2‑1/5”, l. 3‑3/4”, 5.40 t. oz. (excluding glass liner). [300/500] Illustrated 892 Louis XV Old Standard (.958) Silver and Bicolor Gold Snuffbox, marked Paris, 1760‑1762, by Mathieu Coiny, of rectangular form decorated all over with an incised diapered ground with rose gold corners and edges, each side and the hinged lid decorated with cartouches of flowers, drums cannon, helmets and flags in rose and yellow gold, h. 1‑1/2”, w. 3‑1/8”, d. 1‑1/2”, 4.63 t. oz. [1800/2500] Illustrated 893 Louis XV Old Standard (.958) Silver Gilt Beaker and Stand, marked Paris, 1738‑1739, probably Pierre Mignot, the beaker of bell form with molded rim and foot, h. 2‑1/4”, dia. 2‑1/4”, the circular stand with fluted edge and molded rim, dia. 4”, 2.89 total t. oz. [300/500] Illustrated 894 Louis XVI Old Standard (.958) Silver Beaker, marked Paris, 1789, the maker’s mark rubbed, of bell form, decorated with an upper band and lower panels of engraved cornucopias on a matte ground with pricked wave surrounds, raised on an ovolo-banded foot, h. 4‑3/4”, dia. 3‑3/8”, 5.47 t. oz. [800/1200] Illustrated

895 Louis XV Old Standard (.958) Silver Beaker, marked Paris, 1743‑1744, the maker’s mark rubbed, of bell form, decorated with flat-chased and engraved rocaille bands and panels, raised on a gadrooned foot, h. 4‑1/8”, dia. 3‑1/2”, 4.57 t. oz. [1500/2500] Illustrated

893

896

896 Good Continental Cased Eighteen-Piece Bi-Color Nine Karat Gold Dessert Service, fourth quarter 18th century, probably Bavarian, including six pink gold dessert spoons, l. 6”, six pink gold fruit forks, l. 7”, and six pink gold fruit knives, l. 7‑1/4”, the spoons in the traditional threaded “uniplat” pattern, decorated on the underside with an applied yellow gold laurel wreath cartouche, the three-tined forks and pointed knives each with a fluted “cannon” handle with acanthus calyx finial with yellow gold cap and laurel-banded ferrule, 120 gr. (spoons only), presented in a later modified burl walnut writing box with brass banding, the interior refitted with three greenvelvet lined fitted lift-out trays, 6” x 14‑3/4” x 10‑3/4”. [12000/18000] Illustrated

109

897 Louis-Philippe First Standard (.950) Silver Cruet Frame, second quarter 19th century, by Charles-Louis Dupre, of oval form, the central baluster-form standard with addorsed scroll ring handle and flanked by a pair of tapering cylindrical openwork receptacles, each with four embossed rococo panels joined by a gadrooned band above and annulated band below, with a pair of stopper holders between them, the whole raised on a cavetto-molded and gadroon banded plinth base above four acanthus-crested lion’s paw feet, fitted with a later pair of molded “diamond” pattern glass cruets with arched handles and fluted stoppers, h. 13”, l. 9‑7/8”, w. 5‑3/4, 22.44 t. oz. (excluding bottles). [400/700] Illustrated

898

897

900 French Louis-Philippe First Standard (.950) Silver Saupoudreuse, second quarter 19th century, by HenriLouis Chenailler, Paris, in a Louis-XVI-style pattern of “fiddle” shape, with acanthus crest and threaded edges, the bowl intricately pierced, l. 8‑1/4”, 2.38 t. oz. [50/80] 901 Four Continental Silver- and Silverplate-Handled Serving Utensils, first half 20th century, including a Norwegian .830 silver-handled cheese plane by Thorvald Marthinson, Tonsberg, l. 8‑1/4”, and unmarked silverplatehandled joint fork with elaborate Louis XVI-style ring handle, l. 11‑1/2”, another unmarked silverplate joint fork with ring handle, l. 6”, and a French silverplate-handled manche a gigot by Deschamps Freres, Paris, in the Louis XVI taste, l. 8‑1/2”. [75/125]

898 Good Louis-Philippe Seventy-Four Piece First Standard (.950) Silver Gilt Dessert Service, second quarter 19th century, by Pierre Queille and Henri-Louis Chenailler, Paris, in a pointed Gothic revival “King’s” shape pattern decorated with mascarons, scrolls and grape clusters, including seventeen dessert forks, l. 7‑1/4”, eighteen dessert spoons, l. 7‑1/4”, eighteen fruit knives with silver gilt blades, l. 8” eighteen dessert knives with steel blades, l . 8”, a pair of berry spoons, l. 8‑1/2”, and a saupoudreuse, l. 8‑1/4”, all pieces monogrammed “HM”, 71.63 total t. oz. (excluding filled-handle knives). [4500/7000] Illustrated 899 Napoleon III French First Standard (.950) Silver Ladle, 1845‑1855, by Hippolyte Thomas, Paris, in the traditional “King’s” shape, with threaded rim and addorsed scroll finial, the bowl elliptical, monogrammed “VB”, l. 13‑1/4”, 7.84 t. oz. [400/700]

110

902 French Second Standard (.800) Silver Asparagus Server, fourth quarter 19th century, by Louis Wolfers, Paris, the handle in a Louis XV-decorated “King’s” shape, the shaped blade elaborately pierced and decorated with scrolling acanthus on a lattice ground, l. 10‑1/2”, 6.56 t. oz. Louis Wolfers (1820‑1892) was the founder of the prestigious Belgian firm later known as Wolfers Freres. His sons Philippe, Max and Robert operated a branch in Paris under their father’s name from 1893 to 1898. [75/125] 903 French First Standard (.950) Silver and Silverplate Fish Serving Set, fourth quarter 19th century, by Edouard Ernie, Paris, including a fish serving knife with a scimitar-shaped blade, l. 12”, and fork with four tines, l. 10‑1/2”, the silverplate blade/tines pierced and engraved with rococo scrolls, the cannon-shaped first standard silver handles decorated with rococo panels with scrolls at the base and cap, centering a rococo cartouche, with a vasiform finial, monogrammed “DRA”. [75/125]

904 906 French Cased Four-Piece First-Standard (.950) Silver-Mounted Gilt Metal Hors d’Oeuvres Service, first quarter 20th century, by Andre Fleury, Paris,retailed by F. Dautreau, Orleans, including an olive/gherkin server, l. 6‑1/4”, a serving fork, l. 6‑3/4”, a pate knife, l. 7‑1/2”, and a serving spade, l. 6‑1/4”, the filled handles in a spatulate Louis XVI fluted garland pattern, the gilt metal fittings with acid-engraved floral designs, presented in the original fitted cream moire- and lambskin-lined case, the interior lid with gilt retailer’s stamp, 8‑1/2” x 6‑3/4”. [100/200]

905

907 French Cased Four-Piece First-Standard (.950) Silver-Mounted Gilt Metal Hors d’oeuvres Service, first quarter 20th century, by Brosse & Cie. Paris,retailed by la Union Horlogere de l’Est, Beasancon, including an olive/gherkin server, l. 6‑1/2”, a serving fork, l. 6‑3/4”, a pate knife, l. 7‑1/2”, and a serving spade, l. 6‑3/4”, the filled handles in a spatulate Louis XVI panel and scroll pattern, the gilt metal fittings with engraved floral designs, presented in the original fitted yellow satin- and velvetlined case, the interior lid with retailer’s stamp, 8‑1/4” x 8‑1/2”. [100/200] 908 French First Standard (.950) Silver Platter, fourth quarter 19th century, by Andre Aucoc, Paris, of oval form with incised ovolo edge, monogrammed, at the center, “HW”, conjoined, crowned, l. 15‑1/4”, w. 12”, 40.35 t. oz. [1400/1800] Illustrated

908

904 Good French First Standard (.950) Silver Tray, first quarter 20th century, by Tetard Freres, Paris, of circular form with beaded rim and a pair of handsomely chased integral laurel wreath and acanthus handles, monogrammed, on the rim, “CAE” conjoined, dia. 13”, w. 15”, 51.44 t. oz. [3000/5000] Illustrated 905 Cased Set of Twelve French First Standard (.950) Silver Oyster Forks, fourth quarter 19th century, by Henin & Vivier, Paris, retailed by Louis Rey, Marseilles, each with three down-curved tines and a filled “King’s” shape handle decorated with rococo threading and flowers, l. 5‑3/4”, presented in the original scarlet satin-lined fitted case, the interior lid with gilt retailer’s stamp, 6‑3/4” x 8”. [125/250] Illustrated

111

914

910 Good Pair of Christofle Silverplate Meat Skewers, ca. 1900, Paris, each with an openwork rococo-style finial of floralcrested “C”-scrolls and acanthus fronds, l. 8‑1/4”. [40/70]

909 Good Christofle Three-Piece Silverplate Condiment Service, fourth quarter 19th century, Paris, including a cruet frame, h. 11‑3/4”, l. 11‑3/4”, w. 6”, a double salt stand, h. 7‑1/2”:, l. 7‑1/4”, w. 4‑1/2”, and a mustard pot, h. 4‑3/4”, w. 3‑1/2”, the cruet frame and salt stand with a central openwork scrolling acanthus standard with ring handle and serpentine-curved oval plinth base, with scroll and palmette feet on the narrow ends and acanthus-crested haunched paw feet on the narrow ones, the mustard pot with hinged domed lid, opposing stirrup handles and raised on four acanthus-crested haunched paw feet, all fitted with colorless glass bowls or bottles decorated with wheel-engraved Greek-key banding, the cruet bottles with tall, slender necks, arched handles and balloon-shaped stoppers. [300/500] Illustrated

917

909

112

911 One Hundred and Fifty-ThreePiece Set of Christofle “Regence” Silverplate Flatware, mid-20th century, Paris, including, twenty dinner forks, l. 8‑1/2”, twenty luncheon forks, l. 7‑1/4” eight teaspoons, l. 5‑5/8”, twenty tablespoons, l. 8‑1/4”, twelve dessert spoons, l. 7‑3/8”. twenty dinner knives, l. 10‑1/4”, twelve luncheon knives, l. 8‑3/4”, ten fish forks, l. 7‑1/4”, eleven fish knives, l. 8‑1/2”, twelve fruit forks, l. 7‑1/4”, and eight fruit knives, l. 8‑1/4”, no monograms. [1500/2500]

918

916 Louis XVI-Style Giltwood Looking Glass, the oval beveled plate surmounted by a ribbon crest and surrounded by a molded bellflower-carved frame, h. 32”, w. 24”. [250/400] 917 Louis XV-Style Mahogany Bureau Plat, early 20th century, the rectangular top with an inset leather writing surface and within an ormolu banding with corner shield accents, above a frieze fitted with three drawers to one side and three faux drawer to the other, raised on cabriole legs headed by ormolu maiden head and ending in paw feet, h. 30‑1/2”, w. 48‑1/2”, d. 25‑1/2”. [700/1000] Illustrated 918 Louis XV-Style Giltwood Looking Glass, late 19th century, the domed beveled plate surmounted by a “C”-scroll foliate and floral-carved crest and surrounded by a molded frame with scrolling foliate accents, h. 81”, w. 49”. [1200/1800] Illustrated 919 Pair of French Gilt-Bronze Five-Light Candelabra, first quarter 20th century, in the Louis XV taste, the round base supporting a standard mounted with cut-glass covers, the gilt-leaf ornamented branches hung with glass drops and rosettes, and the top finished with a spear-point finial, h. 29”, dia. 14”. [800/1200] Illustrated

912 Christofle Silverplate Double Salt Stand, first quarter 20th century, Paris, of rounded and stepped rectangular form, with a central baluster standard with floral and foliate ring handle, flanked by a pair of knopped circular bases, each surmounted by a circular glass salt cellar with wheel-engraved Greek-key banding, the whole raised on four acanthus-scroll feet, h. 8‑1/4”, w. 3‑3/4”, l. 7‑1/2”. [75/125]

919

913 Cased Set of Twelve Christofle/Alfinide Gilt Metal Dessert Forks, third quarter 20th century, Paris, each with three tines, the handle of square section “a la Russe”, with laurel-and-ribbon decoration, l. 6”, presented in the original fitted red satin-lined printed pasteboard slipcase, 12” x 6‑1/2”. [50/80] 914 Suite of Six Louis XVI-Style Giltwood Fauteuils, each with a padded medallion back within a rope-carved frame, joined by padded acanthine-carved arms to the like seat, raised on fluted tapering circular legs headed by block foliate carving and ending in toupie feet, h. 36”. [800/1200] Illustrated 915 Louis XVI-Style Giltwood Looking Glass, first half 20th century, the crest with a beribboned foliate wreath over floral swags, the segmented mirror plates with beveled edges and embossed brass rosettes at the corners, h. 58‑3/4”, w. 60”. [1400/1800]

920 Pair of Continental Brass Picture Frames in the Louis XV Style, cast with dolphin feet, pierced scrolls and roses, with a putti masque near the top, with beveled conforming glass and easel backs, h. 17”, w. 7‑1/2”. [300/500]

113

921 Continental Giltwood Rococo-Style Mirror, fourth quarter 19th century, the asymetrical mirror plate framed by three bold interlocking “C” scrolls, edged with deeply sculpted rococo ornament, the sides ornamented with gilt acanthus leaves, and a bold “C” scroll serving as the finial, the lower edge finished with a pierced scrolled giltwood flourish, h. 51”, w. 28‑1/2”. [1000/1500] Illustrated

921

922 925 Set of Nine Minton Raised Gilt Service Plates, ca. 1891‑1902, the deep border decorated with raised gilt baskets of flowers, alternating with raised gilt blossoms with “C” scrolls and diapering, all contained in a gilt border of fluting with cartouches, “C” scroll and acanthus leaves, signed with the “Minton” signature in gilt, along with the retailer “Collamore of New York”, dia. 10”. [500/800] Illustrated

922 Pierre Pasquier (French, 1731‑1808), “La Lecon De Musique” and “La Dansomanie”, pair of watercolors on paper, each signed lower left “Dessine par Pasquier”, titled lower center and dated lower right “Paris, eu 1804”, sight 8‑1/2” x 11”. Both matted and presented in contemporary giltwood frames. [2000/4000] Illustrated 923 Collection of Four Classical Nineteenth Century Engravings, including a pair of elephant folios from Musee Francais Recueil des plus beaux Tableaux, Statues, et BasReliefs qui Existaient au Louvre Avant 1815, by Duchese Aine, Paris, 1829 and a pair of architectural engravings by Luigi Rossini, Rome, 1833, former sight 19‑1/4” x 13”, latter sight 19” x 28‑1/2”. All glazed and framed. [300/500] 924 Louis XVI-Style Giltwood Settee, late 19th century, the padded oval back within an annulated and rope-carved frame, joined by padded foliate arms to the like seat, raised on tapering stop-fluted circular legs headed by floral block carving and ending in toupie feet, h. 39‑1/2”, w. 48‑1/2”, d. 29”. [800/1200]

114

926 Pair of French Gilt-Bronze and Rock Crystal Candlesticks, fourth quarter 19th century, the round bases decorated with beading and molded leaves, reeded standard support fluted candle cups, molded with leaves and berries, the bobeches molded to match, h. 7‑3/4”. [600/900] 927 French Cut-Glass and Gilt-Bronze Val St. Lambert Wine Cistern, the round base supporting a paneled and tapered body, fitted with a gilt-bronze top, the top fitted with a spear-point stopper, signed “Val St. Lambert” in engraved script on base, h. 23”. [100/200]

925

928 Louis XVI-Style Mahogany Rafraichissoir, late 19th century, the square top with an inset Carrara marble surface fitted with two metal bottle holders, joined by turned bulbous supports to two lower square shelves, raised on circular legs ending in brass caps on casters, h. 29”, w. 17‑1/4”, d. 17‑1/4”. [1000/1500]

930

929 Louis-Philippe Giltwood Over-Mantle Mirror in the Neoclassical Taste, third quarter 19th century, French, the rectangular frame with notched corners, set with an old mirror plate and molded with roping on the outer edge of the ogee molding, with a beaded interior edge, h. 72‑3/4”, w. 43”. [800/1200] 930 Imposing Cobalt Porcelain Garniture Urn with GiltBronze Mounts, ca. 1900, French, raised on a square bronze plinth with leaf-molded corners, the round foot set with gilt-bronze rope twists, the base of the urn resting on gilt-bronze-molded leaves, the sides decorated with swags of bellflowers hung from bowknots and interspersed with gilt sprigs, h. 24”, w. 15”, d. 9‑1/2”. [2000/4000] Illustrated

934

933 Sevres-Style Covered Urns in the Louis XV Manner, now mounted as lamps, the cobalt ground urns decorated with gilt rope-twist handles and a pattern of scattered gilt dots, mounted on giltwood bases, fitted with shades, h. 28‑1/2”, w. 16”, d. 12”. [150/300]

931 Louis XVI-Style Mahogany Bureau Plat, mid-19th century, the rectangular top with an inset leather writing surface, above a conforming frieze fitted with a central drawer flanked to one side by two small drawer and to the other by a deep drawer, raised on tapering fluted circular legs headed by an annulated ormolu band and ending in toupie feet, h. 29‑1/2”, w. 51”, d. 29‑1/2". [2500/4000] Illustrated 932 English Porcelain Garniture Vase, second quarter 19th century, the round foot decorated with floral painting in reserve panels, the lower portion of the urn with gilt diapering and bellflowers, the upper panel with a finely rendered bunch of flowers in a reserve panel, the gilt handles against a navy ground, h. 7”, dia. 7”. [200/400]

931

115

934 French Sevres-Style Charger, fourth quarter 19th century, the hand-painted reserve signed “Emilo”, depicting a group in 18th century figures drinking wine in a garden, the cobalt border decorated with gilt bellflowers and a running fret of laurel leaves, mounted in a bronze stand in the Louis XVI taste, marked in the Sevres style, overall h. 8‑1/4”, dia. 18”. [700/1000] Illustrated previous page

939

942

939 Pair of French Bronze Six-Light Figural Candelabra in the Restauration Taste, the tripartite plinths supporting a paw-footed reeded and leaf-molded base, the patinated figural standards depict a male and female in classical dress, holding aloft a bouquet supporting the candle branches, which are reeded and lotus-leaf-molded, the candle cups and drip pans with like decoration, h. 26”, dia. 10”. [700/1000] Illustrated 940 Napoleon III Gilt-Decorated and Ebonized ThreeTier Stand, late 19th century, the top with a brass gallery, raised on fluted columns on trumpet legs, h. 31‑1/2”, w. 26‑3/4”, d. 15”. [200/400]

935 Pair of French Bronze-Patinated Spelter Figures, of respectively, Descartes and Molière, ca. 1880‑1885, now mounted as table lamps on turned ebonized wood bases, fitted with white silk shades and brass finials, h. 34”, to top of finial. [300/500] 936 Nicolas Eustache Maurin (French, 1799‑1850), “Conquest of Mexico by Hernando Cortes”, pair of chromolithographs, each sight 16” x 23”. Both glazed, eglomise-matted and presented in attractive Charles X giltwood and gesso frames. [600/900] 937 After Francesco Piranesi (Italian, 1756‑1810), a hand-colored engraving of the relief on the Medici Vase, depicting “The Sacrifice of Iphigenia”, sight 18” x 27”. Glazed, handsomely matted and framed. [150/300] 938 After Jean-Baptiste Mallet (French, 1759‑1835), “L’Amour Fait Son Chemin”, black and white stipple engraving, legend lower margin, sight 8‑1/2” x 8‑1/2”. Glazed and presented in a charming giltwood frame. [200/400]

116

943

941 Pair of French Third Republic Gilt-Bronze and Enamel Candlesticks, the round bases resting on scrolled bronze feet, the lower square drip pans enameled with a scene of putti in the forest on a black ground, connected by turned giltbronze standards to the upper round bobeches and candle cups, which are enameled to match,h. 6‑1/2”. [600/900]

942 French Double Miniature on Ivory, fourth quarter 19th century, the handsome couple depicted richly attired in the style of the 1830’s-1840’s, the woman wearing a lace cap and collar and with an empire waist gown, the copper frame embellished with a pierced scrollwork edge punctuated with opaline beads, dia. 4”, overall. [600/900] Illustrated

949

943 French Bronze and Marble Fin de Siecle Sweetmeat Stand, fourth quarter 19th century, the gilt-bronze scrollwork and marble base supporting the patinatedbronze figure, a gilt turtle, salamander and snake at the feet of the cupid standard with bacchanalian headdress, the cupid supporting a molded shell with a gilt-bronze interior, h. 10”, w. 7”, d. 4‑3/4”. [400/700] Illustrated

944

946 Continental Portrait Miniature on Ivory of a Lady, first quarter 20th century, the lady depicted wearing a blue silk gown, and beside an open window, the gilt-bronze frame trimmed in roping with a bowknot on top, h. 4‑1/2”, w. 3”. [200/400] 947 Miniature Portrait on Ivory of a Lady, first quarter 20th century, painted in the 18th century style, depicted in a blue gown with a blue ribbon in her hair, the gilt-bronze frame molded with bowknots and roses, accompanied by a neoclassical revival gilt-bronze hanger of similar design, w. 3”, l. 7”. [100/200] 948 Diminutive French Framed Enamel Plaque of the Bathing Venus Holding a Mirror, first quarter 20th century, probably Limoges, presented in the original laurel leaf-bound reeded and bow-embellished Louis XVI-style metal frame and matching easel, plaque h. 1‑1/2”, w. 3/4”, frame h. 4”, w. 2‑1/2", open easel h. 6‑5/8”, w. 3‑1/8”, d. 4”. [100/200]

944 Impressive Napoleon III Gilt-Bronze Seven-Light Candelabrum, in the Louis XIV taste, reeded ball feet supporting the tripartite base, leaf-molded scrolls support the conforming standard, decorated with shells and acanthus leaves, h. 27‑3/4”, dia. 17”. [400/700] Illustrated 945 Louis XVI-Style Mahogany Vitrine Table, the rectangular top with an inset beveled glass panel and within a brass banding, hinged and opening to a velvetlined display space, raised on square tapering legs joined by a shaped “H”-form stretcher and ending in toupie feet, h. 29‑1/2”, w. 31‑1/4”, d. 19‑1/2”. [500/800]

949 Napoleon III Boullework Planter, third quarter 19th century, executed in the Louis XV style, the casket-form planter with serpentine sides and ebonized, the shaped skirts fitted with brass scroll feet and trimmed in molded brass, the corners finished with brass scrolls terminating in goat’s heads, all four side inlaid with gridwork serpentine panels of boullework depicting rosettes, the sides mounted with brass rococo handles and the upper edge finished with a pierced brass scrollwork border, h. 8‑3/4”, w. 15”, d. 10”. [300/500] Illustrated 950 Samson-Style Punch Bowl in the Chinese Taste, the exterior decorated with armorial devices and sprigs of flora separated by raised white scrolls and flourishes, the interior decorated with matching flora and raised decoration, h. 6”, dia. 14”. [150/300] 951 Pair of Regence-Style Giltwood Fauteuils, 20th century, each with a shaped and padded back surmounted by a foliate crest, joined by padded arms to the like seat, raised above a shaped apron on cabriole legs ending in scrolled toes, h. 42‑1/2”. [1200/1800]

117

952 Pair of Louis XV-Style Ebonized Side Tables, each with a “turtle”-form top with decorative gilt banding, above a shaped apron, raised on cabriole legs, h. 28”, w. 28”, d. 17”. [200/400] 953 Pair of Louis XVI-Style Prism-Hung Gilt-Bronze SixLight Candelabras, each capped by a cut-glass spire joined to a glass-sheathed stem supporting stepped arms dressed with pendalogues and joined by swags of faceted beads, the lower six arms ending in bobeches and electric candles, h. 28”, dia. 15”. [700/1000] Illustrated

954 Pair of French Brass and Iron Rococo Chenets, ca.1900, in the Louis XV style, the scrolled feet supporting the scrolled fronts, decorated with gadrooning and pierced acanthus leaves, the iron billet bars set with brass log stops and billet bar covers, h. 15”, w. 9‑1/4”, d. 20‑3/4”. [300/500]

953

955

955 Pair of French Regence-Style Gilt-Bronze Mirrored Three-Light Appliques, fourth quarter 19th century, having a floral and foliate scrollwork mirrored backplate cast with the mask of Apollo radiating light, the bottom issuing three scrolling arms with scalloped wax pans and urn-form nozzles, not electrified, h. 19‑1/2”, w. 15”, d. 9” [1400/1800] Illustrated

956 Louis XV-Style Ebonized and Marble-Top Bombe Commode, early 19th century, the shaped rouge royale marble top with a molded edge and above a conforming bombe case fitted with two drawers, each with polychrome and gesso designs in the chinoiserie manner, raised on splayed legs headed by shield-form ormolu mounts and ending in sabots, h. 36”, w. 34”, d. 24‑1/4”. [2500/4000] Illustrated

956

118

957 Louis XV-Style Polychrome Occasional Table, early 20th century, in the chinoiserie taste, the kidneyform top with polychrome figural accents, above a conforming case fitted with three drawers, joined to a likeshaped lower shelf by square supports, raised on splayed legs, h. 28‑1/2”, w. 17‑1/2”, d. 12‑1/4”. [500/800]

958 Pair of Louis XVI-Style Carved Mahogany Demi-Lune Side Tables, each with a guilloche-carved apron, double serpentine stretchers similarly carved and centered with a pinecone-topped urn, and supported on acanthinecarved and stop-fluted tapering legs, h. 31”, w. 43”, d. 16”. [1000/1500] Illustrated

960

960 Gilt-Bronze Framed Portrait Miniature of the Duchess of Devonshire, first quarter 20th century, painted on ivory or ivorine, backed with kidskin, signed: “Derval.” and presented in an elaborate pierced easel frame surmounted by a crown, portrait h. 3‑1/4”, w. 2‑1/2”, overall h. 7‑5/8”, w. 5‑1/4”. [125/250] Illustrated 961 Paris Porcelain Spill Holder, third quarter 19th century, executed in the style of Jacob Petit, depicting a monkey painting a landscape on an easel with a palette and brush in hand, and with the spill holder behind the painting, the whole on an oval turquoise and blue plinth, h. 5‑1/4”, w. 4”, d. 5”. [400/700] Illustrated

961

959 French Gilt-Metal Framed Portrait Miniature of Madame de Montesson, first quarter 20th century, painted on ivory or ivorine, backed with annotated kidskin, signed: “Lucas” and presented in a gilt-metal Louis XVIstyle easel frame topped with ribbon-bound laurel leaves, portrait dia. 1‑1/2”, overall h. 3‑1/4”, w. 2‑3/4”. [100/200]

958

119

962 Louis XV-Style Mahogany Five-Piece Bedroom Suite, first quarter 19th century, comprised of a dressing bureau, h. 70”, w. 52”, d. 21‑1/4”, a bedstead, h. 43”, w. 56”, d. 83”, inside w. 50‑1/2”, inside l. 78”, a single door armoire, h. 95”, w. 40”, d. 21”, a double door armoire, h. 101‑1/2”, w. 53‑1/2”, d. 23”, and a bedside cupboard, h. 33”, w. 16‑3/4”, d. 15‑1/4”, the bed with a gently arched and paneled head and footboard, each with a shell-carved crest and raised on cabriole legs, the dressing bureau with a serpentine looking glass with like crest, grey marble top and splash, and graduated bank of drawer over a scalloped apron, the nightstand with similar marble top, a drawer over a zinc-lined cupboard, and raised on cabriole legs, the armoires each with a bonnet top with a shell and floral-carved crest, the doors with beveled mirror plates, scalloped apron and cabriole legs, h. 101‑1/2”, w. 53‑1/2”, d. 23”, double door armoire, h. 95”, w. 40”, d. 21”, single door armoire. [2500/4000] Illustrated

962 five-piece suite

963 Pair of Louis XV-Style Mahogany and Marble-Top Bedside Cupboards, late 19th century, each with an inset rounded square rectangular top above a case fitted with a single drawer over a paneled cupboard door, above a shaped apron, raised on cabriole legs ending in scrolled toes, h. 33”, w. 16‑3/4”, d. 16‑3/4”. [300/500] 964 Suite of Four Louis XVI-Style Beechwood Fauteuils, 19th century, each with a padded tapering rectangular back surmounted by a molded crest and foliate finials, joined by padded scrolling arms to the like seat, raised on tapering stop-fluted circular legs ending in toupie feet, h. 34‑1/2”. [1400/1800]

120

965 Fanciful Six-Light Polychrome Chandelier, the central rod issuing scrolling foliate stems ending in faceted crystal buds, the lower cap issuing six likedressed arms terminating in foliate bobeches and sockets, h. 30”, dia. 33”. [2000/4000] Illustrated 966 Mario Agostinelli (American, 1915‑2000), “Parisian Street Scene on a Rainy Day”, oil on masonite, signed and dated lower right “Agostinelli, Paris 1955”, 29‑1/2” x 39”. Presented in a Louis XV-style polychrome frame with a linen liner. [1000/1500] Illustrated

965 968

966 967 Rene Rambert (French, 19th/20th Century), “Parisian Street Scene with Coachmen”, oil on canvas laid on panel, signed lower right, “R. Rambert”, 20” x 24”. Presented in a Louis XV-style polychrome frame with a linen liner. [700/1000]

962 fivepiece suite

962 five-piece suite

968 Paul Renard (French, 1941‑1997), “Parisian Street Scene at Night”, oil on canvas, signed lower right “R. Renard”, 31‑1/2” x 39‑1/2”. Presented in a contemporary molded frame. [3000/5000] Illustrated

121

969 Napoleon III Mahogany Dressing Table, third quarter 19th century, the superstructure with a ormolu putti medallion crest above a beveled mirror within an annulated and foliate-carved frame, with an open shelf and two small end drawers below, the shaped rectangular top with an inset leather writing surface above a frieze fitted with a single compartmented drawer, fronted by a ribbon and foliate carving, raised on cabriole legs headed by ormolu maiden’s heads and ending in scrolled toes, the whole accented with ormolu millwork, w. 56”, w. 32”, d. 21". [500/800] 970 Pair of French Louis XV Brass Candlesticks, third quarter 18th century, the domed base stepped and molded in a repeating ogee curve, the vase-shaped standard with alternating ribs and indentations, and with a matching tulip-shaped candle cup, h. 9‑1/4”. [200/400] 971 Pair of French Louis XV Brass Candlesticks, third quarter 18th century, the domed base stepped and molded in a repeating ogee curve, the vase-shaped standard with alternating ribs and indentations, and with a matching tulip-shaped candle cup, h. 10”. [200/400]

972

976

973 Group of Two Chinese Famille Rose Serving Dishes Together with a Japanese Imari Bowl, first half 20th century, the Chinese serving dish of oval and hexagonal shape with famille rose figural and floral decoration, the Imari bowl in polychrome enamels of peasant’s huts in a landscape, dia. 6” to 9”. [100/200] 974 Two Chinese Framed Famille Rose Porcelain Plaques, first quarter 20th century, each of rectangular form with lacquered wooden frames, decorated in soft pastel enamels, one with an emperor, elephant and attendants, the other with ladies and children in a garden pavilion, h. 15‑3/8” to 17‑1/2”. [200/400] 975 Chinese Porcelain Covered Jar, late 19th/early 20th century, of cylindrical form, in famille rose decoration of an historical scene, h. 6‑1/2”, dia. 5‑1/4”. [300/500] 976 Chinese Four-Panel Porcelain Screen, 20th century, the screen with porcelain plaques decorated with famille rose enamels of birds and flowers, wooden frame, h. 11‑1/2”, l. 16”. [400/700] Illustrated 977 Chinese Famille Rose Hu Vase, 20th century, the hu-shaped vase with two antlered deer head handles, decorated on one side with a sika deer among flowers resting beneath a pine tree with red headed storks, the reverse with a maple tree growing from rockwork with red-headed cranes perched and in flight and peonies and ling-chih, the base with a six-character Jiaqing seal mark in iron-red, h. 7‑1/8”. [500/800]

972 Chinese Palace Jar and Cover, 19th century, of baluster form, decorated with women and children in famille rose enamel reserves, bordered with landscape reserves on a diapered pink ground and Ju-i borders with flowers, floral scrolling on the body in turquoise blue, the cover with a foo dog finial, h. 36”. [800/1200] Illustrated

122

978 Chinese Export Porcelain Garden Seat, 20th century, in high glaze with birds amongst the foliage against a black ground, h. 18”, dia.13”. [300/500]

983 Chinese Famille Rose Porcelain Tea Bowl, 20th century, heavily decorated on the exterior with three horned dragons among a dense ground of flowers, vines and fruit above a cresting wave border, the interior decorated with five bats in iron-red, the base with a six-character Qianlong seal mark in underglaze blue, dia. 4‑1/4”. [250/400]

982

984 Chinese Famille Rose Moon Flask Vase, 20th century, of traditional form with two lizard-form handles, the front and reverse with circular panels of birds, rockwork and flowers, the body with thick enameling of lotus and foliage, the base with a sixcharacter Jiaqing seal mark, h. 8‑7/8”. [400/700] 985 Pair of Chinese Famille Rose Porcelain Vases, 20th century, each of baluster form with straight edged lip rims, decorated with scenes of multiple generations before an ancestral altar and scenes of dignitaries approaching the pavilion with the altar, h. 24”. [300/500]

991

979 Good Chinese Famille Rose Bowl, 20th century, the interior plain, the exterior enameled with a scene of three rocky outcrops among flowering plants, the central outcrop with a blue-and-white vase of flowers and plants, the two flanking outcrops, each with a perched quail, the base with a six-character Qianlong seal mark in underglaze blue, dia. 6‑1/4”. [500/800] 980 Chinese Famille Rose Porcelain Brush Pot, 20th century, the circular brush pot with slightly waisted body decorated in overglaze enamels with a continuous scene of sixteen boys playing games in a fenced garden with weathered rocks, bamboo, a banana tree and flowers, the base partially unglazed and having a six-character Qianlong seal mark in iron-red, h. 6”, dia. 7‑7/8”. [600/900] 981 Chinese Famille Rose Porcelain Brush Holder, late 19th century, the cylindrical body with stepped base decorated with three figures of immortals and calligraphy, the base with a six-character Xianfeng reign mark in ironred, h. 5”. [400/700] 982 Pair of Chinese Porcelain Bowls, 20th century, finely painted magenta landscapes reserves, Ch’ien Lung mark on base, dia. 6‑1/2’. [4000/7000] Illustrated

986 Chinese Famille Rose Porcelain Serving Dish, early 20th century, the foliate-form dish with a flaring base, decorated with a figure of Li Po and a poem in famille rose enamels, the reverse decorated with peaches and bats, l. 8‑3/4”. [75/125] 987 Unusual Chinese Famille Rose Lobed and Handled Vase, Republic Period (1908‑1649), of baluster shape with quatrefoil lobed body and three stylized dolphin handles, the body decorated with scenes of traditional flowers and an exotic bird perched on a branch, the base with a fourcharacter Qianlong reign mark in overglaze enamels in blue, h. 8‑3/8”. [500/800]

988

988 Large Chinese Famille Rose Bottle Vase, 20th century, the bulbous body and flared neck decorated with twelve bats in various colors among Shou characters in sprays of fruiting peach branches and ribboned ruyi heads, the body and neck separated by a band of stylized lotus blossoms, Shou characters and foliage, the lip rim with a border of ruyi heads, the base with a six-character Guangxu reign mark in iron-red, h. 15‑1/8”. [1000/1500] Illustrated

123

990 Chinese Famille Rose Porcelain Bowl, Hongxian (1908‑1912) mark and period, the interior plain, the exterior decorated with prunus, peach tree, ling-chih and bamboo sprouting from rockwork with two bats in flight above, dia. 5‑7/8”. [500/800] 991 Good Chinese Famille Rose Porcelain Rice Bowl, Republic Period (1908‑1949), the interior plain, the exterior finely decorated with four rondels, each depicting various antiques, the ground densely decorated with lotus blossoms and scrolling foliage, the base with a six-character Jiaqing seal mark, dia. 4‑7/8”. [400/700] Illustrated previous page

994 989 Chinese Famille Rose Rice Bowl, 20th century, the interior plain, the exterior decorated with five Shou symbols, each enclosed by two green enamel bats, the lip with a border of ruyi heads, the base with a border of lappets, the base with a six-character Qianlong seal mark, dia. 5‑3/4”. [400/700]

1001 992 Chinese Famille Rose Porcelain Vase, 20th century, in the form of a wide-mouthed sack with two lion-head ring handles, decorated in famille rose enamels with scenes of female immortals, a heavenly pagoda in clouds and a red-headed crane in flight, the base with a six-character Guangxu reign mark in underglaze blue, h. 8‑3/4”. [500/800] 993 Chinese Famille Rose Beaker Vase, late 19th century, now mounted as a lamp by Denis Poupart, the body decorated with continuous scenes of ladies, attendants and servants in domestic scenes, fitted with custom wooden top and base with external wiring, Jones and Jones silk shade, h. 25” to top of shade. [150/300] 994 Tabriz Carpet, 10’ x 14’. [6000/9000] Illustrated 995 Persian Tabriz Carpet, 9’8” x 11’3”. [2000/4000] 997

124

996 Hamadan Carpet, 5’ x 7’2”. [400/700] 997 Sultanabad Carpet, 11’6” x 15’4”. [2000/4000] Illustrated 998 Persian Hamadan Runner, 3’6” x 10’2”. [400/700] 999 Tabriz Carpet, 8’4” x 10’3”. [500/800] 1000 Antique Sarouk Runner, 2’9” x 6’6”. [700/1000] 1001 Persian Heriz Carpet, 10’1” x 12’11”. [3000/5000] Illustrated 1002 English Design Needlepoint Carpet, 8’1” x 10’2”. [2000/4000]

1004

1003 Sarouk Carpet, 2’1” x 3’10”. [200/400] 1004 Agra Bakshaish Carpet, 9’2” x 12’. [1500/2500] Illustrated 1005 Jaipur Sultanabad Carpet, 7’10” x 9’9”. [1000/1500] 1006 Peshawar Zeiglar Mahal Carpet, 10’3” x 14’. [2000/4000] Illustrated 1007 Semi-Antique Pictorial Tabriz Carpet, 10’1” x 14’3”. [1400/1800]

1006

125

1008 Chinese Jade Carved Jar with Stand, 20th century, the grey-green stone carving with areas of russet, of an urn with aquatic life including frogs, turtles, fish and lotus plants, fitted stand, h. 8‑1/2”, without stand. [700/1000] Illustrated

1015

1009 Chinese Carved Shoushan Stone Seal, the gray stone with slight russet inclusions carved on a boulder form base with polished sides and topped by the fierce figure of a dragon grasping the Pearl of Wisdom, the base uncarved, h. 2‑3/4”. [150/300]

1019 1008

1010 Chinese Carved Jadeite Pendant, the mottled green and russet stone carved in low relief depicting vines, cash and foliate motifs with a delicate pierced edge, h. 2”, w. 1‑1/4”. [200/400] 1011 Chinese Carved Jadeite Pendant, the mottled pale green, lavender and russet stone carved in low relief depicting fruit on the vine and a squirrel, h. 2‑3/4”, w. 1‑3/4”. [200/400] 1012 Chinese Jade Carving of a Goddess, 20th century, the stone of a lavender/grey color with apple green markings and depicting a scene of a goddess with a crane and deer, fitted stand, h. 7”, w. 5‑1/2”, without stand. [600/900] Illustrated 1012

1013 Chinese Jade Pendant, early 20th century, the apple-green stone with areas of white, carved as a melon surmounted by a crane with ling-chih, l. 2‑1/2”. [700/1000] 1014 Chinese Carved Jade Pendant, early 20th century, the white stone with bright green markings, of a lotus plant with a crane and fish, h. 3‑1/4”. [800/1200] 1015 Chinese Jade Carving of a Dog, 20th century, the grey stone carved depicting a dog and puppy on a leaf, l. 3”. [700/1000] Illustrated 1016 Pair of Chinese Carved Serpentine “Imperial” Foo Dogs, each carved in even-colored stone, the beasts with curled manes, clawed feet and snarling mouths, modeled after bronzes in the Forbidden City, h. 4‑3/4”, including stands. [100/200]

126

1023

1028

1023 Chinese Green-and-White Jade Ruyi Scepter, 19th century, composed of a carved dark green jade body with incised seal mark on the underside and set with three white jade plaques carved in low relief with figures, bats and flowers, later fitted wooden box, l. 13‑1/2”. [1800/2500] Illustrated

1024 Chinese Carved Jadeite Pendant, the mottled pale green stone carved in low relief depicting a melon with foliage and squirrels along its border, h. 2”, w. 1‑1/2”. [100/200] 1025 Chinese Carved Jadeite Pendant, the mottled pale green stone carved in low relief depicting a peach and cash with squirrels along the edge, h. 2”, w. 1‑3/4”. [100/200] 1026 Chinese Carved Jadeite Pendant, the mottled pale green stone carved in low relief in the form of a peach with a squirrel climbing along the edge, h. 2”, w. 1‑1/4”. [150/300]

1017 Chinese Seal Paste Box, early 20th century, the celadon colored jade with a brown marking, surface-carved in relief with a crane and bamboo, dia. 3”. [600/900] 1018 Chinese Porcelain Vase, 20th century, the Fang Hu-shaped vase with peach medallions and a celadon glaze, with a six-character Ch’un Lung mark on the base, h. 8‑1/4”. [300/500] 1019 Chinese Carved Jade Tiger, 19th century, the celadon-colored stone carved as a tiger, l. 2”. [700/1000] Illustrated 1020 Chinese Carved Jadeite Pendant, the mottled lavender and russet stone carved in low relief, depicting a pear surrounded by foliage with delicate pierced filigree, h. 2‑1/2”, w. 1‑3/4”. [200/400] 1021 Chinese Carved Celadon Jade Rectangular Pendant, 19th century, carved in low relief on the face with a scholar and attendant in a garden with bamboo, the reverse carved with an eighteen-character inscription in formalized characters, suspended on a red silk cord, h. 1‑7/8”, w. 1‑1/2”. [200/400] 1022 Pair of Chinese Inlaid Wall Plaques, 20th century with earlier elements, with “hundred antiques” decoration in jade, ivory, carnelian and malachite, carved cinnabar frames with brass mounts, h. 12‑1/2”, w. 42”. [800/1200]

1027 Chinese Carved Jadeite Pendant, the mottled pale green stone carved in low relief depicting a hydra dragon and delicate piercings along the edge, h. 2”, w. 1‑1/2”. [100/200] 1028 Chinese Jade Carving, 20th century, the carving depicting grapes, l. 3‑3/4”. [500/800] Illustrated 1029 Two Chinese Jade Disks, 20th century, the Pi ritual disks in a grey/white stone with apple green markings, one carved plain and one carved as a cash coin with a foo character, dia. 2”. [500/800] 1031 1030 Chinese Jade Table Screen, 20th century, the white jade rectangular panel, carved in relief with a scene of the immortals, on one side and with a seal script poem on the other, carved and pierced rosewood frame, h. 13”, l. 14”. [500/800] 1031 Chinese Jade Carving, 20th century, the white stone carved on the front with Li Po and the reverse with a poem, h. 1‑3/4”, w. 3”. [1800/2500] Illustrated

127

1032 Three Chinese Jade Carvings, 20th century, the carvings of a bamboo, a child and a foo dog with cub, l. 1” to 2‑1/4”. [300/500] 1033 Chinese Jade Garment Hook, the celadon-colored stone carved as a dragon finial, h. 3‑1/4”. [500/800] 1034 Chinese Jade Garment Hook, 19th century, the greycolored stone finial, carved as a dragon, l. 3”. [500/800] 1035 Chinese Carved Celadon Jadeite Gourd Pendant, the even celadon-colored stone carved in the form of a double gourd with the figure of a hydra dragon climbing one side and having tendrils wrapped around the gourd, h. 2‑1/4”. [75/125]

1040

1039 Chinese Carved Serpentine Incense Burner, 20th century, the translucent pale green stone carved as a bulbous body on three feet with floral handles and loose rings, a pierced domed cover with floral knob and a pierced floral border, fitted wooden stand, h. 6”, including stand. [100/200]

1036

1040 Chinese Jade Dish, 19th century, the yellow-colored stone with one side carved with a kylin and spirals and the other with four characters, dia. 2”. [1400/1800] Illustrated

1041 Pair of Jade Bracelets, the stone of yellow-white color, dia. 2‑1/2”. [1800/2500] Illustrated 1042 Chinese Carved Jadeite Pendant, the mottled pale lavender and green stone carved in low relief depicting a double gourd with a foliate border and a squirrel, h. 2”, w. 1‑1/2”. [100/200] 1036 Chinese Jade Carving of a Figure, early 20th century, the jade of pale celadon color and depicting a standing figure of Shou Lao, wood stand, h. 5”, without stand. [700/1000] Illustrated 1037 Two Chinese Carved Serpentine Figures of Maidens, 20th century, each in pale, translucent green stone, one clad in flowing robes, a high top knot and holding a fan, the other in servant’s robes, both with fitted wooden stand, h. 5‑3/8” to 8”, including stands. [100/200] 1038 Chinese Carved Serpentine Covered Vase, the stone of onion-green color, of flattened baluster shape carved on the front and back in low relief as four panels of stylized archaic dragon, original cover with floral knob, wooden stand, h. 8‑1/2”, including stand. [100/200]

128

1043 Chinese Carved Jadeite Pendant, the mottled pale lavender and green stone carved in low relief depicting a double gourd with foliate border and delicate piercings, h. 2‑1/2”, w. 1‑1/2”. [100/200]

1041

1044 Striking Chinese Multi-Colored Carved Agate Group, the stone of mushroom, brown and blue colors, carved as the drunken poet Le Po reclining on clouds with the figures of two cavorting dragons with bifurcated tails, the carver making ingenious use of the various colors in the stone, fitted wooden stand, h. 5”, including stand. [500/800]

1047

1045 Chinese Malachite Carving, 20th century, the carving of a historical scene of two equestrian warriors, h. 5”. [200/400] 1046 Provincial Louis XV-Style Oak Armoire, 20th century, the molded and domed cornice above a floral basket carved frieze with two doors below, each inset with two shaped panels, above a shaped apron, raised on scrolled toes, h. 80‑1/2”, w. 47”, d. 21‑1/2”. [700/1000] Illustrated

1047 Regence-Style Mahogany Settee, early 20th century, the domed and padded back joined by reeded downswept arms to the padded seat, raised on shaped “S”-scrolled reeded legs joined by “H”-form stretchers, h. 47”, w. 59”, d. 32". [1500/2500] Illustrated

1046

1048 1048 American School (Fourth Quarter 20th Century), “Abundant Floral Still Life with Urn and Fruit”, oil on canvas, 48” x 36”, signed lower right: “L. Martin”. Presented in a contemporary acanthus and berry-molded giltwood frame. [1400/1800] Illustrated 1049 American School (Second Quarter 20th Century), “Still Life With Lemons and a Basket of Oranges”, oil on canvas, unsigned, reverse with a partial printed label, 14” x 25”. Unframed. [250/400]

129

1056 French Provincial-Style Mahogany Settee, the tri-sected ladder back slightly domed and with bulbous finials, joined by rounded arms on turned vasiform uprights to the rush seat, raised on bulbous turned legs joined by box stretchers, h. 32‑1/2”, w. 56‑1/2”, d. 20”. [300/500] 1057 French Provincial-Style Mahogany and Fruitwood Shelf, the narrow rectangular top with a carved frieze, above an arrangement of sixteen shelves, the sides paneled, raised on splayed legs, h. 56”, w. 85", d. 8’. [400/700]

1050 1050 Maurice Bompard (French, 1857‑1936), “Still Life with Two Vases of Flowers and a Blue Dish”, oil on canvas, signed lower left “Maurice Bompard”, 29” x 36”. Presented in a Rococo-style giltwood frame with a linen liner. [3000/5000] Illustrated 1051 Max Albert Carlier (Belgian, 1872‑1938), “Flowers, Fruit and Glasses Still Life”, oil on canvas, signed lower right “M. Carlier”, 32” x 47”. Presented in a attractive, giltwood, floral and acanthine-molded exhibition frame. [6000/9000] Illustrated 1052 French School (Fourth Quarter 19th Century), “Still Life of Summer Roses”, oil on canvas, 16” x 13”, signed lower right: “P. Henner”. Presented in a superb gilt exhibition frame. [1800/2500] Illustrated

1052

1053 Edouard Quost (French. 1844‑1931), “Floral Still Life with Chrysanthemums and a Potted Fuchsia”, oil on canvas, signed lower right “E. Quost”, 47” x 32”. Presented in a period Louis XV-style giltwood and gesso frame. [4500/7000] Illustrated 1054 Provincial Louis XV-Style Oak Buffet, early 20th century, the rounded rectangular top with a bowed center section, above a conforming case fitted with three central drawers, with nicely figured iron hardware, flanked to either side by a paneled cupboard door, raised on scrolled feet, h. 35‑1/2”, d. 25”, l. 72”. [1500/2500] Illustrated 1055 French Provincial-Style Oak Farmhouse Table, the rectangular top within a banded edge and above a shaped frieze, raised on cabriole legs, h. 30”, w. 81”, d. 36”. [500/800] Illustrated

130

1051

1058 Regence-Style Fruitwood Fauteuil a la Reine, late 19th century, the padded and domed back joined by downswept scrolling arms to the padded seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes, now upholstered in a vividly colored needlework landscape centered by a courting pastoral couple, h. 45‑1/2”. [1500/2500]

1061 1053

1059 Set of Six French Provincial Fruitwood Sidechairs, the curving crest rail centered by a carved shell and over two like-shaped rails to the rush seat, raised on cabriole legs joined by turned stretchers and ending in scrolled toes, h. 38”. [500/800] 1060 Provincial Louis XV-Style Fruitwood Fauteuil, early 19th century, the domed and caned back within a molded frame, joined by padded arms to the cushioned caned seat, raised on molded cabriole legs ending in scrolled toes, h. 35”. [125/250]

1055

1061 Set of Twelve Louis XV-Style Walnut Dining Chairs, each with a molded crest above a padded back to the over-upholstered seat, raised on slight cabriole legs ending in scrolled toes, consisting of two armchairs and eleven sidechairs, nine sidechairs upholstered in claret velvet, one sidechair in russet velvet, the armchairs in a claret and ecru-embroidered stripe, h. 39‑1/2”. Provenance: French Antique Shop, New Orleans, Louisiana. [1200/1800] Illustrated 1054

131

1062 Provincial Louis XV-Style Fruitwood Bergere, the slightly domed back surmounted by a foliate crest, cushioned and joined to the like seat by scrolling arms, raised on cabriole legs ending in scrolled toes, with a conforming cushioned ottoman, h. 37”. [700/1000] Illustrated 1063 Pair of Louis XV-Style Fruitwood Fauteuils, each with a padded slightly domed back surmounted by a floral crest, joined by scrolling padded arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37”. [600/900] 1064 Pair of Bead-Trimmed Burgundy Decorative Pillows, both in a treillage-stitched design, w. 20”, d. 20”. [40/70] 1065 Large Wrought Iron Bench of Art Nouveau Inspiration, the back of demi-lune form, with scrolling strapwork adorned with leaves, raised on cabriole legs, the seat with a loose cushion upholstered in brown plush, h. 58”, w. 64‑1/2”, d. 21”. [400/700]

1071

1069 1066 British School (Second Quarter 19th Century), “Floral Studies”, suite of three hand-colored lithographs, by Mrs. Badger, one example sight 13” x 9‑1/2”, the other two sight 15‑1/2” x 11”. Glazed, matted and framed en suite. [200/400] 1067 After John Nuget Fitch (British, 1840‑1927), suite of three hand colored lithographs of various orchids from the Orchid Album, published by B. S. Williams, London 1882‑1897, sight 11‑1/2” x 9‑1/2”. All glazed, attractively-matted and framed. [200/400] 1068 After John Nuget Fitch (British, 1840‑1927), suite of three hand colored lithographs of various orchids from the Orchid Album, published by B. S. Williams, London 1882‑1897, sight 11‑1/2” x 9‑1/2”. All glazed, attractively-matted and framed. [200/400] 1062

1069 Pair of Continental Tapestry Decorative Pillows, the floral tapestry late 18th century, trimmed in fringed gimp with scattered dangling silk thread-wrapped-wire flowers, both examples backed with iridescent toast silk dupioni, h. 16”, w. 16”. Provenance: Pickwick Antiques, Montgomery, Alabama. [400/700] Illustrated 1070 Louis XV-Style Rosewood Stool, late 19th century, the padded rectangular top upholstered in period needlework, above a shaped molded frame, raised on cabriole legs ending in scrolled toes, h. 16‑1/2”, w. 21‑1/2”, d. 14”. Provenance: Pickwick Antiques, Montgomery, Alabama. [300/500]

132

1076 Pair of Louis XV-Style Fruitwood Bergeres, each with a domed and padded back surmounted by a floral crest, joined by shaped sides and padded arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 38”. [800/1200] 1077 Pair of Louis XV-Style Fruitwood Bergeres, each with a domed and padded back surmounted by a floral crest, joined by low padded arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 40‑1/2”. [600/900] 1078 Provincial Louis XV-Style Fruitwood Stool, upholstered in taupe suede, the padded rectangular top above a shaped floral-carved frieze, raised on molded cabriole legs ending in scrolled toes, h. 17‑1/2", w. 19‑1/2”, d. 14". [300/500]

1075 1071 William Bowyer (British, b. 1926), “Hammersmith Mall”, oil on canvas, signed and dated lower right “William Bowyer 82”, 36” x 48”. Presented in a giltwood frame with an exhibition plaque. William Bowyer, a contemporary British figurative artist, was elected Royal Academician in 1981 and is a member of the Royal Portrait Society. His portraits of a trade unionist Arthur Scargill and the cricket player Vivian Richards hang in the National Portrait Gallery. The content of Bowyer’s paintings is the artist’s life- his love of river Thames, Suffolk coast, his friends and family as seen in his strong and challenging portraits, and his life-long love of cricket. [1400/1800] Illustrated 1072 Pair of Louis XV-Style Fruitwood Bergeres, upholstered in taupe leather, each with a shaped and padded back joined to the cushioned seat by padded reeded arms, raised on molded cabriole legs ending in scrolled toes, h. 37”. [600/900] 1073 French Provincial Pine and Fruitwood Buffet a Deux Corps, mid-19th century, the molded cornice above a case fitted with two long paneled doors, opening to a shelved interior, the lower section fitted with two cabinet doors, each inset with a shaped panel, raised on molded block feet, h. 90”, w. 50‑1/2”, d. 25‑1/2”. [1200/1800] 1074 Iberian Majolica Double-Sided Ewer, fourth quarter 19th century, the vase shaped ewer with spouts on each side, decorated with a blue and green tin glaze, the checked foot leading to a body with lush floral decoration and paneled decoration on the shoulder, set with loop handles, h. 21‑1/4”. [150/300] 1075 Dionis Bennassar (Spanish, 1905‑1967), “Coastal Landscape”, watercolor on paper, signed and dated lower left “Dionis Bennassar-1956”, sight 12” x 16”. Matted and presented in a polychrome frame. [1500/2500] Illustrated

1079 Provincial Louis XV-Style Fruitwood Fauteuil, late 19th century, the shaped and padded back surmounted by a floral crest, joined by molded and scrolling arms to the padded seat, raised on cabriole legs ending in foliate scrolled toes, h. 38”. [400/700] 1080 Continental School (Fourth Quarter 19th Century), “Portrait of a Woman with a White Shawl”, oil on board, initialed upper right “LR”, 17‑1/2” x 14”. Presented in a giltwood frame. [125/250]

1081

1081 Provincial Louis XV-Style Oak Cabinet, mid19th century, the domed and molded cornice above a case fitted with two astragalglazed doors, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised above a scalloped frieze on scrolled toes, h. 97”, w. 58”, d. 22‑1/2”. [2000/4000] Illustrated

133

1082 Louis XVI-Style Fruitwood Bergere, early 20th century, the padded and domed downswept back and sides above the cushioned seat, raised on tapering circular stop-fluted legs headed by floral block capitals and ending in pad feet, h. 34”. [300/500] 1083 Commodious Louis XV-Style Polychrome Fauteuil, the broad padded back surmounted by floral-carved crest, joined by padded scrolling arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 42”. [700/1000] Illustrated 1084 Provincial Louis XV-Style Oak Commode, 20th century, the rounded rectangular top with a molded edge above a conforming case fitted with three long drawers, all paneled, raised on cabriole legs ending in scrolled toes, h. 29”, w. 41”, d. 19”. [500/800] Illustrated

1083

1084

1087 Provincial Louis XVI-Style Fruitwood Fauteuil, mid 19th century, the padded rectangular back within an annulated and rope-carved frame, joined by padded arms on spiral-fluted uprights to the padded seat, raised on circular fluted legs ending in toupie feet, h. 39”. [400/700] 1088 Provincial Louis XV-Style Fruitwood Settee, 19th century, the domed and carved back surmounted by a floral crest, joined by downswept arms to the cushioned caned seat above a shaped floral-carved apron, raised on molded cabriole legs ending in scrolled toes, h. 36‑1/2”, w. 54”, d. 24”. [200/400] 1089 Pair of Meissen Blue and White Lattice-Reticulated Porcelain Comports, fourth quarter 19th century, in “Onion” decor, the cavetto and rim edges gilded, each marked on the interior of the foot with the underglaze blue crossed swords of Meissen, h. 8‑1/2”, dia. 9”. [300/500]

1085 Pair of Louis XV-Style Fruitwood Fauteuils, mid-19th century, each with a shaped and padded back surmounted by a floral crest, joined by padded scrolling arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, upholstered in blue toile on a yellow ground and with an extra bolt of the same fabric, h. 35”. [400/700] 1086 Niek Van der Plas (Dutch, b.1954), “Chrysanthemum Still Life in a Blue Vase”, oil on panel, signed lower right “Van der Plas”, 23‑1/2” x 29‑1/2”. Presented in a Louis XV-style polychrome frame. [1500/2500] Illustrated

1086

134

1093 Italian Polychrome Bench, in the Renaissance taste, the upholstered cushioned-seat raised on six bulbous paneled legs joined by X-form stretchers and ending in reeded bun feet, painted celadon with gilt accents, h. 19”, w. 61‑1/2”, d. 19”. [700/1000]

1092

1094 Louis XV-Style Carved Walnut Day Bed, early 20th-century, the padded ends with molded rails and raised on cabriole legs ending in scrolled toes, h. 37”, w. 78”, d. 28”. [700/1000] Illustrated 1095 Louis XVI-Style Mahogany Window Seat, the padded rectangular seat flanked to either side by a fluted acanthine-carved armrest, raised on tapering circular fluted legs headed by acanthine carving and ending in toupie feet, h. 24‑1/4”, w. 26”, d. 15‑1/2”. [125/250]

1096 Provincial Louis XV-Style Polychrome Fauteuil, the shaped and caned back surmounted by a floral and foliate crest, joined to the cushioned caned seat by molded arms, raised on cabriole legs joined by a shaped “X”-form stretcher and ending in scrolled toes, h. 38”. [150/300]

1091

1090 French Provincial Carved Mahogany Sofa, early 20th century, the padded camel back joined to the cushioned seat by outscrolled arms, upholstered in china blue and ecru checked seersucker, raised on cabriole legs ending in scrolled toes, h. 33”, w. 82”, d. 30”. [500/800]

1097 French Faience Jardiniere, fourth quarter 19th century, decorated in the Orientalist taste, the sides molded with Moorish arches, and panels decorated with scrollwork on a turquoise background, all against a field of white craquelure, signed “Glen” in a banner under a tower, a printed mark, h. 5”, dia. 6‑3/4”. [200/400] 1098 English Polychrome Majolica Jardiniere, the bowl decorated with lion masques and fruit swags, the foot comprised of three kneeling male nudes, bearing a pseudo-registration mark under the foot, h. 21‑1/2”, overall dia. 17‑1/2”. [300/500]

1091 Set of Ten Haviland Oyster Plates, ca. 1887‑1891, hand painted with aquatic plants and coral, each plate with four molded sections for oysters on a ribbed ground terminating in a gilt, scalloped edge, signed “H&C Depose” along with a gilt “EAN”, the initials of the artist who painted the plates, dia. 7”. [1200/1800] Illustrated 1092 Pair of Louis XV-Style Fruitwood Sidechairs, each with a padded shaped back within a molded frame, the cushioned seat raised on cabriole legs ending in scrolled toes, h. 34‑1/2”. [1200/1800]

1094

135

1102 Set of Eight French Creamware Dinner Plates, first quarter 20th century, the plated decorated in the style of earlier faience with floral polychrome borders and figures in the center, signed “Callot Longchamp” in a printed black mark and “Longchamp Terre de fer” in an impressed mark, dia. 10”. [500/800]

1101

1103 Provincial Oak Bench, 19th century, the long narrow plank seat with rounded ends, raised on square supports to splayed plinth feet, h. 19”, w. 77‑1/2”, d. 7‑1/4”. [500/800] 1104 Terracotta Hen-on-Nest in the French Farmhouse Style, the painted black and white chicken resting on a basketweave decorated base, h. 12‑1/2”, w. 13‑1/2”, d. 9”. [200/400]

1099 Green Glazed Majolica Garden Urn, fourth quarter 19th century, the campana -form urn with a square base and molded handles with lion’s head terminals, made in two parts and assemble with period hardware, h. 22‑1/2”. [300/500]

1105

1100 Large Italian Faience Olive Oil Jar in the Eighteen Century-Style, the ovoid tin-glazed earthenware jar, with a yellow upper border of scrollwork and a green lip with blue scrollwork, with a view of hunter killing a deer on the front over an inscription reading “Olio De Ifrati”, or “Oil of the Friars”, the back with a cartouche dated 1705, with yellow and green glazed and molded loop handles, h., 27”, w. 21”. [300/500]

1101 Pair of Louis XV-Style Bergeres, late 19th century, each with a padded and domed back surmounted by a foliate floral crest, joined by padded scrolling arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 38”. [1500/2500] Illustrated

136

1100

1105 French Painted Pine Carved Basket of Fruit, second quarter 19th century, the traditional basket laden with pineapple, grapes, plums, pears and cherries, and hung from a carved ribbon, h. 17”, w. 14”. [600/900] Illustrated 1106 Northern European Turned, Stripped and Waxed Pine “Farmhouse” Kitchen Table, late 19th century, raised on bulbous legs ending in toupie feet, h. 29‑1/4”, w. 60”, d. 27”. [400/700]

Session III Sunday, July 29, 2012 11:00 a.m. â&#x20AC;&#x201C; Lots 1107-1705

1107 Spectacular Lady’s Platinum, Sapphire, Diamond and Pearl Choker, ca. 1920’s, the necklace featuring an oval-cut bezel-set natural sapphire weighing an estimated 10 carats, surrounded by an intricate and beautifully detailed filigree setting featuring an estimated 3.00 carats of diamonds connected by eleven strands of Keshi pearls, ending in a platinum and diamond-studded, filigree clasp, l. 13”. [60000/90000] Illustrated

1107

1108 Spectacular Platinum, Diamond and Pearl Lariat Necklace, composed of a fine link chain bezel-set with approximately 124 bezel-set round-cut diamonds with an estimated weight of 20.0 carats, one end of the lariat with a large pear-shaped pearl, the other with a diamond-set tassel. [5000/8000] Illustrated

1108

1110 Lady’s Platinum and Diamond Art Deco-Style Brooch, of canted rectangular outline and pierced stylized floral design with bezel-and bead-set diamonds with Old European-cut, rose-cut and single-cut stones with an estimated total weight of 1.0 carats, 12 gr., h. 1‑1/4”, w. 2‑1/4”. Reputedly made by an independent jeweler on Canal Street, New Orleans, Louisiana. [500/800] 1111 Lady’s Fourteen Karat Yellow Gold and Diamond Ring, the ring with a central round brilliant-cut diamond with an approximate weight of 1.05 carats, surrounded by five single-cut diamonds each set in the navette-shaped gold petals alternating with twelve single-cut diamonds set in crescents, estimated total weight of diamonds is 1.75 carats, size 7. [900/1200] 1112 Elegant Lady’s Platinum and Diamond Engagement Ring, the ring featuring a prong-set old European-cut diamond weighing an estimated 1.25 carats, flanked by a single row of pave-set diamonds on each side of the shank, with pave-set diamonds on the prongs and bridges for an estimated total weight of .028 carats. [8000/12000] Illustrated

1112

1109 Fine French Platinum, Sapphire and Diamond Bar Pin, fashioned as a bow atop the bar set with central lines of calibre-cut blue sapphires flanked by old European-cut diamonds. [700/1000]

140

1114

1117

1117 Lady’s Fourteen Karat White Gold and Diamond Straight Line Bracelet, the flexible bracelet channel-set with fifty-six round brilliant-cut diamonds, with a total approximate weight of 5.60 carats. [5000/8000] Illustrated 1118 Lady’s Platinum and Diamond Ring, the engagement ring set with a round brilliant-cut diamond weighing approximately .25 carats, flanked by four single-cut diamonds with an approximate total weight of .30 carats. [400/700] 1119 Lady’s Fourteen Karat Yellow Gold Diamond Hinged Bangle Bracelet, the hinged bracelet set with twenty-four round brilliant-cut diamonds, with a total approximate weight of 2.88 carats. [3000/5000]

1116

1120 Lady’s Platinum and Diamond Engagement Ring and Band, the engagement ring set with a round Europeancut diamond weighing approximately 3.30 carats, flanked with thirty-six round diamonds, the platinum band set with twenty-two round diamonds, the band soldered to the engagement ring, total diamond weight approximately 3.80 carats. [25000/40000] Illustrated 1121 Lady’s Fourteen Karat White Gold, Pink Sapphire and Diamond Ring, the mounting set with an ovalcut pink sapphire weighing approximately 2.71 carats, flanked by two triangular faceted diamonds weighing approximately 1.50 carats total. [4000/7000]

1113 Lady’s Diamond Stud Earrings, each round brilliantcut diamond set in a fourteen karat white gold mounting and with an approximate total weight of 1.80 carats. [5000/8000] 1114 Lady’s Eighteen Karat White Gold and Diamond Necklace, the tapered sixteen inch necklace composed of ninety-nine pear-cut diamonds with an approximate total weight of 20.0 carats. [25000/40000] Illustrated 1115 Lady’s Fourteen Karat White Gold and Platinum Blue Sapphire and Diamond Necklace, the anchor link chain set with seven oval blue sapphire weighing approximately 5.00 carats, the sapphires separated by eight bezel-set old mine-cut diamonds weighing approximately 1.00 carats. [2000/4000] 1116 Lady’s Eighteen Karat White Gold and Three-Stone Diamond Engagement Ring, the ring featuring a centrally prong-set emerald-cut diamond weighing an estimated 3.06 carats, flanked by two matching prong-set emerald-cut diamonds with an estimated weight of 1.50 carats. [25000/40000] Illustrated

1120

1122 Eccentric Italian Eighteen Karat Yellow Gold and Gemstone Ring by Sun-Day, the pierced and beaded saddle-shaped mount with a central faceted group of a blue topaz flanked by amethysts, each strung on wire and suspended between the ends of the saddle, 16 gr., size 8. [500/800]

141

1123 Impressive Lady’s Fourteen Karat Yellow Gold, Blue Topaz and Diamond Cocktail Ring, composed of a central bezel-set rectangular cut blue topaz weighing an estimated 62.25 carats, flanked on either side by a row of six princess-cut white diamonds with an estimated total weight of 2.0 carats, set in a polished yellow gold mount, 56 grams, size 7‑1/2. [1200/1800]

1128

1124 Large Aquamarine and Diamond Pendant, the vivid blue emerald-cut aquamarine weighing approximately 31.0 carats, set in a white gold pendant and surrounded by two rows of brilliant-cut diamonds, estimated total weight of diamonds 5.00 carats. [6000/9000] Illustrated

1124

1128 Elegant Pair of Mabe Pearl and Eighteen Karat Gold Earrings, the handmade earrings set with approximately 0.60 carats of round brilliant-cut diamonds. [3500/5000] Illustrated 1129 Lady’s Fourteen Karat Yellow Gold and Gemstone Starter Slide Bracelet, composed of four slides of various shapes, each set with gemstones, all strung on doubletwist link gold chains, l. 8”. [300/500]

1125 1125 Stunning Lady’s Diamond Pendant Necklace, the fourteen karat gold necklace with a eighteen karat gold pendant featuring a mix of round brilliant-cut and pearshaped diamonds, estimated diamond weight is 8.25 carats, chain l. 18”, pendant l. 4‑1/8”, to top of pendant. [15000/25000] Illustrated 1126 Lady’s Platinum Opal and Diamond Ring, the platinum mounting set with a cabochon weighing approximately fifteen carats, surrounded by sixteen round brilliant-cut diamonds with two pear-shaped diamonds on the side of the opal, total estimated diamond weight is 3.00 carats. [7000/10000] 1127 Matched Rutilated Quartz Necklace and Bracelet Set, each piece composed of hexagonal faceted quartz beads with black tourmaline included needles designed as a cluster strand, each piece with hoop and bar clasps, necklace l. 19”, bracelet l. 8”. [100/200]

142

1130 Fine Pair of Fourteen Karat Yellow Gold and Diamond Ring Guards, each with yellow gold bands channel-set with baguettecut white diamonds, estimated total weight of the diamonds in both rings is 6.20 carats, size 8. [1200/1800] Illustrated 1131 Lady’s Fourteen Karat Yellow Gold and Gemstone Slide Bracelet, composed of ten slides of various shapes, each set with colored stones and some with diamonds, all strung on doubletwist link gold chains, l. 8‑1/2”. [800/1200] 1132 Lady’s Heavy Eighteen Karat Yellow Gold Link Bracelet by Baraka, Italy, composed of three rows of domed rectangular links flanked on the outer edges by single rows of the same links set in outward facing rows, a locking spherical clasp, 94 gr., l. 8‑1/4”. [2500/4000]

1133 Lady’s Fourteen Karat Yellow Gold, Emerald and Diamond Necklace, the necklace with a central oval frame set with an oval-cut emerald with an approximate weight of .50 carats, surrounded by twelve round brilliantcut diamonds with an approximate weight of .02 carats, l. 16”. [1800/2500] Illustrated 1134 Eighteen Karat Yellow Gold, Diamond and Emerald Bar Pin, composed of a central square-cut emerald weighing approximately .75 carats, flanked by six minecut diamonds with an estimated total weight of .10 carats, en suite with a Marshall Field and Company box. [900/1200]

1130 1133

1135 Gentlemen’s Fourteen Karat Yellow Gold, Emerald and Diamond Ring, composed of a central square-cut emerald with an approximate weight of 1.25 carats, surrounded by sixteen round brilliant-cut diamonds and with twenty-two round brilliant-cut diamonds on the sides, with an estimated total diamond weight of 1.36 carats, size 6‑1/2. [2500/4000]

1136 Lady’s Italian Fourteen Karat Yellow Gold Link Bracelet, the hollow flexible link bracelet composed of oblong links connected by bars. [300/500] 1137 Lovely Eighteen Karat Yellow Gold Umbrella Brooch, the brooch featuring three round brilliant-cut diamonds with an estimated weight of .15 carats, signed “Tiffany & Co.”. [2500/4000] Illustrated

1137

1139

1138 Lady’ Eighteen Karat Yellow Gold Designer Ring by Stephen Lagos, the slightly rectangular top and tapered shank cast in a waved linear pattern in dimensional detail, signed Lagos, 24 gr., size 8. Stephen Lagos is a dynamic New York jewelry designer. [600/900] 1139 Gentlemen’s Eighteen Karat Yellow Gold Patek Philippe Wrist Watch, the round man’s watch with an eighteen jewel Patek Philippe mechanical movement, the watch attached to an eighteen karat yellow gold Italian mesh band. [8000/12000] Illustrated

143

1155 1140 Italian Eighteen Karat Yellow Gold and Carnelian Intaglio Ring, second quarter 20th century, with a rectangular carnelian intaglio engraved with a seated sphinx, bezel set in a conforming gold mount with acanthus-engraved shoulders tapering to a plain shank, size 9, 10 gr. (including carnelian). [100/200] 1141 Late Georgian Eighteen Karat Yellow Gold and Bloodstone Intaglio Crest Ring, first quarter 19th century, with an oval bloodstone intaglio engraved with a crest of a lion sejant holding a halberd, bezel set in a conforming gold frame with integral shoulders tapering to a plain shank, size 7.5, 6.1 gr. (including bloodstone). [75/125] 1142 Fourteen Karat Yellow Gold Carnelian Intaglio Armorial Ring, first half 20th century, with a rounded rectangular carnelian ingaglio engraved with an armorial with a crest of a lion rampant and the motto “Deo Adjuvante” (for Milles?) bezel set in a conforming frame with integral shoulders narrowing to a plain shank, size 6.5, 13.2 gr. (including carnelian). [150/300] 1143 American Ten Karat Yellow Gold and Sardonyx Cameo Ring, second quarter 20th century, with a rectangular sardonyx cameo bust of a Renaissance woman, flat-prong set into a conforming gold Art Decostyle frame with chevroned shoulders to a plain shank, size 11, 10.3 gr. (including sardonyx). [100/200] 1144 Edwardian Eighteen Karat Gold Bloodstone Intaglio Armorial Ring, first quarter 20th century, with an oval bloodstone engraved with the arms of Barlow of Fir Grove, co. Surrey, bezel set into a conforming gold frame with plain shoulders tapering to a plainn shank, size 8, 8.6 gr. (including bloodstone). [150/300] 1145 Silver and Onyx Arts and Crafts Style Intaglio Ring, with a square onyx intaglio of Athena bezel set in a dentillated surround to a floral-engraved and “hammered” finish shank, size 9.5, 19.5 gr. (including onyx.) [75/125]

1146 Fourteen Karat Yellow Gold and Carnelian Intaglio Ring, with an oval carnelian intaglio engraved in Persian, bezel set in gold frame to pierced shoulders narrowing to a plain shank, size 10.5, 6.6 gr. (including carnelian). [100/200] 1147 Edwardian Nine Karat Yellow Gold and Bloodstone Intaglio Seal Ring, first quarter 20th century, with a rectangular bloodstone intaglio seal engraved with a crowned “A” monogram, bezel set into a conforming gold frame to forked shoulders and a plain shank, size 10.5, 9.0 gr. (including bloodstone). [100/200] 1148 Fourteen Karat Yellow Gold and Onyx Intaglio Ring, first half 20th century, with an oval onyx intaglio engraved with a bust of Hermes, horizontally bezel set into a conforming gold frame to narrow shoulders tapering to a plain shank, size 8, 2.3 gr (including onyx). [75/125] 1149 Fourteen Karat Yellow Gold and Faceted Intaglio Green Glass Ring, with a central cushion-cut green glass imitation peridot, the table engraved with a bust of Poseidon, bezel set in a conforming frame with integral shoulders tapering to a plain shank, size 10, 12.3 gr. (including glass). [75/125]

1154 1150 Fourteen Karat Yellow Gold and Gold-Filled Figural Fob, the body with a fourteen karat gold figure of the lion of St. Mark, to an oval goldfilled bezel base, the stone lacking, h. 3/4”, l. 5/8”, 6 gr. (including gold filled bezel). [50/80]

144

1161

1160 Unusual Pair of Eighteen Karat Rose Gold Gentleman’s Cufflinks, in the shape of a fleur-delis and set with round brilliant-cut diamonds in the center, total estimated diamond weight is 0.10 carats. [1200/1800] Illustrated 1161 Elegant and Unique Lady’s Eighteen Karat Yellow Gold Parure, comprised of a bracelet and a matching pair of earrings, each with an oval-shaped pink tourmaline in black onyx and with pave-set round brilliant-cut diamonds, estimated weight of the pink tourmalines is 13.15 carats and with an estimated diamond weight of 1.30 carats. [12000/18000] Illustrated

1151 Spectacular Long Pearl Rope Necklace, of extraordinary length, composed of 12.5 mm to 13.0 mm baroque cultured pearls of ridged round shape, cream rose color and medium/high luster, may be used as a triplestrand necklace, l. 102”. [1800/2500] 1152 Good Strand of Cream/White Pearls, composed of 8.0mm round pearls with good luster and with a fourteen karat gold clasp, l. 30”. [1800/2500] 1153 Lady’s White/Rose-Colored Pearl Necklace, composed of 7.0mm pearls with a light pink luster and with a fourteen karat yellow gold clasp set with a 6.0mm pearl, l. 18”. [800/1200] 1154 Beautiful Opera Length Pearl Necklace, the necklace composed of 8mm knotted white-colored pearls with a beautiful lustre, l. 70”. [400/700] Illustrated

1162 Lady’s Pearl Choker, the knotted 7mm white-colored pearl choker with a fourteen karat yellow gold and pearl clasp, l. 15”. [500/800] 1163 Opera Length Cream-Colored Pearl Necklace, the 8mm knotted pearl necklace with a fourteen karat yellow gold reeded bead clasp, l. 36”. [300/500] 1164 Lady’s Pearl Necklace, the knotted 7.5mm rose-colored pearls with a fourteen karat yellow gold clasp, l. 29”. [800/1200]

1160

1155 Three-Piece Set of Eighteen Karat Gold Victorian Jewelry, ca. 1890, comprised of a large round brooch with blue enamel and set with rose-cut diamonds and seed pearls with a matching pair of earrings. [4000/7000] Illustrated 1156 Lady’s Pearl Choker, the knotted 5mm white-colored pearl choker with a fourteen karat white gold clasp, l. 15”. [300/500] 1157 Long Opera Length Strand of Golden Pearls, the ungraduated strand of intense golden-colored cultured pearls averaging 6.0 mm diameter. [500/800] 1158 Long Rope of Ribbed Baroque Cultured Pearls, the extremely long rope of white rose ribbed freshwater pearls with medium lustre, l. 122”. [700/1000] 1159 Good Strand of Spherical Pink Pearls, slightly graduated from approximately 12.5mm to 15.5mm in diameter, the color of soft pink with good luster and spherical shape, l. 24”. [800/1200]

1165 Two Victorian Rolled Gold Fob Seals, mid 19th century, each with a rococo-style mount, one with a carnelian seal inscribed “Tho lost to sight, to memory dear” from a song by George Linley (1798‑1865), h. 5/8”, w. 3/4”, the other with a bloodstone seal engraved with a dove in flight and the inscription “My Hope is Beyond”, h. 7/8”, w. 1/4”. [75/125]

145

1166 Pair of Fine Lady’s Eighteen Karat Yellow and White Gold Buccellati Earrings, ca. 1960’s, featuring the maple leaf design with Bukhara finish and detailed engraving, handmade and in original box. [4000/7000] Illustrated

1172 Large Silver-Mounted Middle Eastern Agate Pendant, 20th century, comprised of a large polished oval section of brown banded agate engraved with a lengthy Persian inscription, fitted in a conforming “eyeglass” silver frame with double suspension rings, h. 2‑3/8”, w. 3‑1/2”. [75/125]

1166

1167 Elegant Lady’s Eighteen Karat Yellow Gold and Coral Bracelet, the bracelet featuring five strands of angel skin coral beads with an exquisitely carved coral clasp depicting a rose gracefully surrounded by leaves. [1800/2500] Illustrated

1168 Lady’s Eighteen Karat Yellow Gold and Pink Coral Twisted Rope Ring, set with a cabochon pink coral approximately 14mm in diameter, with round brilliantcut diamonds weighing approximately .04 carats each. [1200/1800] Illustrated

1170

1168

1169 Lady’s Fourteen Karat Yellow Gold and Pink Coral Hinged Bangle Bracelet, set with six segments of pink coral conforming to the shape of the bracelet. [1200/1800] Illustrated 1170 David Yurman Diamond, Eighteen Karat Yellow Gold and Sterling Silver Necklace, the anchor link necklace composed of twisted sterling rope links with alternating smooth gold links, the detachable pendant mounted with a faceted eighteen karat yellow gold dome surrounded by approximately forty round brilliant-cut diamonds weighing .25 carats total weight. [1800/2500] Illustrated 1171 Spanish Colonial Silver Eight Reales Coin, mounted in a fourteen karat yellow gold pendant, date illegible, reputedly from the Atocha shipwreck discovered by Mel Fisher in 1985 off the coast of Key West, Florida. [2500/4000] Illustrated

8 146

1169

1167

1173 Russian Copper Five Kopeks Coin Date 1792, from the reign of Catherine II (1762‑1796). [60/90] 1174 Four Spanish Colonial Silver Coins with One Ancient Greek Copper Coin, the four silver coins consist of three one-quarter real and one one-half real, dates illegible, together with a Greek coin from the Kingdome of Thrace. [100/200]

1177

1175 Eight Spanish Colonial Silver Eight Reales Coins, five dated, 1658, 1666, 1717, 1766, 1789, and two with illegible dates. [200/400]

1176 Anglo-Colonial Bermuda Cedar BannisterBack Sidechair, late 18th/ early 19th century, the shaped crest rail on turned stiles, the legs joined by turned stretchers, of pegged construction throughout, the seat later, h. 39‑1/2”. The chair descended in the Wilkinson/ Marriot families of Bermuda. The underside of the seat with the notation: “Chair : given to Ma by her grandmother (Mary Ann Wilkinson) when Ma was a little girl. Always in Ma’s bedroom at Ellerslie”, [600/900] Illustrated

1176

1177 Lattice Frame Sextant, first quarter 19th century, signed “W&T Gilbert, London”, the sextant with assorted accessories, and with a 19th century mahogany box bearing the label of “Instrument Retailers in Seattle, Washington”,box h. 5”, w. 11”, d. 14”. [400/700] Illustrated 1178 American Gimballed Dory Compass, fourth quarter 19th century, signed “J.H. Rowe, Gloucester, Ma.”, and held in an old pine box, no lid, h. 2”, w. 4‑3/4" d. 4‑3/4”. [200/400]

1171

1179 Boston Gimballed Compass, ca. 1866‑1886, mounted in a period mahogany case and signed “E.S. Ritchie and Sons, Boston”, h. 7”, w. 9‑3/4”, d. 9‑3/4”. [300/500] 1180 Gimballed Brass Compass in a Faux Diving Helmet, second quarter 20th century, the brass compass with a painted dial, signed indistinctly, h. 9”, w. 10”, d. 9”. [400/700] 1181 Nautical-Themed Cigarette Box and Lighter, the brass diving helmet with space for cigarettes, the air tank with a cigarette lighter, all mounted on an oval walnut base, h. 8”, w. 9”, d. 6‑1/2”. [150/300]

147

1185 Chinese Ivory Tusk, 20th century, the tusk with a scrimshaw whaling scene, l. 13”. [200/400] 1186 Two Pieces of American Carved Ivory, 20th century, including a scrimshaw whale's tooth, signed “Doug Fine”, l. 5‑1/2”, and a section of mammoth ivory, signed “Turner”, with scrimshaw decoration of a Spanish Galleon, l. 5‑1/2”. [300/500] 1187 American Whale's Tooth Scrimshaw, 19th century, surface decorated with Columbia, a woman reading to a child and the letters, “E.A.B”, l. 4”. [150/300] 1188 After John James Audubon (American, 1785‑1851), “Crested Titmouse”, hand colored engraving on J. Whatman paper, by R. Havell, Plate XXXIX from Birds of America, London, sight 23” x 15‑1/4”. Glazed, attractively matted and framed. [1000/1500]

1192

1182 Anglo-Colonial Mahogany and Burmuda Cedar Tall Post Bed, first quarter 19th century, the ring-turned and cigar-shaped segmented posts, supporting an arched headboard adorned with finials on ring-turned supports, h. 82”, inside w. 61”, inside l. 75”, outside w. 69”, outside l. 82”. By family tradition, the bed was given by Dr. Ogilvie Anton of Burmuda to his the mother of the consignor.. [1000/1500] 1183 Pair of Chinese Ivory Carvings, ca. 1950, Africa, the pair carved in scenes of village life, l. 14”. [400/700] Illustrated 1184 Two American Ivory Carvings, the first a fossil ivory work scrimshawed with a polar bear, signed “Komen Lee Cormack”, the second a whales tooth scrimshawed with a whaling scene by Doug Fine, l. 4” to 5”. [200/400]

1189 Suite of Six Curtis’s Botanical Magazine HandColored Engravings, 1789‑1807, sight 8‑1/4” x 4‑3/4”. Each glazed, double-matted and presented in attractive molded giltwood frames. [400/700] 1190 Collection of Two Bradbury & Evans (British, 19th Century) Botanical Illustrations, including a”Polystichum angulare” and “Polystichum aculeatum lobatum” from Thomas Moore’s The Ferns of Great Britain & Ireland, published by Bradbury & Evans, Whitefriars, London, 1855‑57, sight 21” x 14”. Both glazed, attractively French matted and presented in molded giltwood frames. [300/500]

1183

148

1191 Frederick P. Nodder (British, active 1770‑ca.1800), “Amboria Lizard”, “The Warted Newt” and “Bicarinated Lizard”, suite of three hand-colored engravings from The Naturalist’s Miscellany, 1789‑1813, London, each sight 4‑1/2” x 7”. Each glazed, attractively French-matted and presented in floral-molded gilt frames. [200/400]

1192 American Federal Line-Strung Mahogany Pembroke Table, ca. 1800, stamped “S Parmele”, for Samuel Parmele of New York and Wilmington, North Carolina, the top flanked by drop leaves with perimeter string banding, over a frieze fitted with a single end drawer, raised on the square tapering legs capped with a trio of parallel inlaid lines and with stringing down the tapering legs to the cuffs, the knuckled gate with the incised stamp “S Parmele”, retains its period drawer pull, Construction: Pine case and drawer secondary woods, cherry gate mechanism h. 29”, w. 30‑3/4”, d. 18‑3/4”. An entry in the November 25, 1806 issue of the Wilmington Gazette states the following: “Samuel Parmele from New York respectfully informs the inhabitants of Wilmington and its vicinity, that he has lately commenced the Cabinet Business at the house of James Richard, where he will supply his customers at the shortest notice and in the neatest manner. Orders from the country will be particularly attend[sic] to. November 24” In the same issue of the Gazette was an announcement that John Parmele, a blacksmith, and presumably Samuel’s brother, had also established a shop in Wilmington. That Samuel chose to stamp his pieces with an iron punch and is consistent with a family member who was an ironworker. The use of three similar lines of parallel inlay on an unattributed Wilmington piece is illustrated in Bivens, The Furniture of Coastal North Carolina 1700‑1820 plate 7.44a. The same work also contains a discussion of New York-trained and influenced cabinetmakers working in Wilmington, including Parmele. [1200/1800] Illustrated

1193

1193 American Chippendale Cherry Oxbow Chest, second half 18th century, New England, the top affixed to the case via dovetails, the front of serpentine form with four graduated drawers, raised on ball-and-claw feet, h. 37”, w. 42", d. 20‑1/2”. [2500/4000] Illustrated 1194 American Chippendale Cherry Dished-Top Table, 18th century and later, the period-style dished top on an antique tripodal base with turned pedestal and snake feet, h. 27‑1/8”, dia. 21‑1/4”. [400/700] 1195 Southern Mid-Atlantic Mahogany Chest of Drawers, fourth quarter 18th century, probably Maryland or Virginia, the mahogany crossbanded and line-inlaid top overhanging the back, over two top drawers and three long drawers, all mounted with line-inlaid cut-corner panels and original post-and-ball Chippendale pulls, poplar full dust boards throughout, set on ogee bracket feet, h. 42”, w. 38”, d. 19‑1/2”. [900/1200] 1196 American Mid-Atlantic States One Piece Pine Corner Cupboard, fourth quarter 18th century, the projecting molded cornice over a pair of arched mullion glazed doors, and a pair of paneled doors below, the doors of pegged construction, h. 99”, w. 59”, d. 27”. [1000/1500] Illustrated 1197 Vernacular American Pine Dough Box-onStand, 19th century, the top with a hinged lid on a tapering rectilinear box, affixed to a stand with a scalloped apron on splayed chamfered legs, h 30‑1/2”, w. 33”, d. 19‑1/4”. [400/700] 1198 Nineteenth Century Oak and Cast-Iron Block and Tackle, the two large pulleys held in an oval oak block, suspended from a large hook, with a smaller pulley suspended from beneath, h. 3‑1/2”, w. 4‑3/4”, d. 4”. [100/200]

1196

149

1202 Follower of Thomas Cole (American, 1801‑1848), “ Two Figures in an Imaginary Classical Landscape”, oil on canvas, unsigned, third quarter 19th century, 20” x 30”. Presented in a “Foster Brothers, Boston, Massachusetts” giltwood and gesso frame. [2000/4000] Illustrated 1203 American School (19th Century), “Two Figures in a Mountainous River Landscape”, oil on canvas, signed “F.G. Taylor” and illegibly dated lower left. Presented in a Federal bird-eye maple frame. [400/700] 1204 American School (First Quarter 20th Century), “A Chestnut and a White Horse in a Landscape”, oil on canvas, signed lower left “W. Graham”, 16” x 26”. Unframed. [500/800] 1202 1199 Continental Polychromed Wood Hooded Rocking Cradle, c. 1900, the sides and outer surface of the hood depicting Biblical stories including “The Discovery of Moses”, h. 40”, w. 41”, d. 25”. [400/700]

1205

1200 Southern Country Storage Box, fourth quarter 19th century, reputedly used to store sugar, the well pierced to allow loose sugar to be captured in the drawer below, southern yellow pine throughout, with ironclad corners, the chamfered top decorated with sawtooth incising outlining the top panel, h. 7‑1/4”, w. 11‑1/2”, d. 10‑1/4”. [500/800] 1201 Suite of Sixty-Three European Butterflies and Moths Hand-Colored Lithographs, by W. F. Kirby, London, 1882, including the title page, sheet size 10‑1/2” x 8‑1/4”. All matted and unframed. [1500/2500] Illustrated

1205 Suite of Six American Federal Mahogany PlumeBack Dining Chairs, first quarter 19th century, each with molded stiles and top rail, a plume-form splat, raised on Hepplewhite legs joined by an “H”-stretcher, the beechwood slip seats later, h. 35‑1/4”. [2000/4000] Illustrated

1201

1206 Federal Giltwood Girandole Mirror, first quarter 19th century, the cavetto-molded frame set with spherules and an ebonized reeded liner, adjacent to the mirror plate, the top crowned with an eagle, perched with wing’s spread, on a rocky outcropping, and with molded acanthus leaves forming the lower drop, h. 41”, w. 25‑1/2”. [1500/2500] Illustrated 1207 Bright-and-Matte Gilt Paris Porcelain Dessert Stand, the edge of the upper cup with gilt tooling and the lower edge decorated with a magenta ground, signed, “Schoelcher” in rouge-de-fer script, h. 16”. [1000/1500] Illustrated

150

1208 Pair of Paris Porcelain Urns, second quarter 19th century, now mounted as lamps, the obverse of each decorated with reverse panels of peasant girls dressed in Tyrolean costumes, with landscapes and houses in the background, the bodies fitted with swan handles and having flower bouquets on the reverse with flower sprigs framing the front reserve panel, h. 12”, to top of urn. [500/800]

1207

1209 Pair of Paris Porcelain Garniture Urns, second quarter 19th century, reserve panels on one side with Italian landscapes and the other with domestic scenes, one with a sad mother and child with a letter and the other with a distraught man and woman, each mounted with swan’s head handles, h. 13”, w. 6‑1/2”, d. 5”. [600/900]

1206

1210 Four-Piece French Porcelain Group, mid-19th century, either Paris or Limoges, the four pieces with similar floral decoration and date of manufacture, the cache pot with handles molded with oriental masques and encircled with floral painting, h. 7”, a near pair of cologne bottles with floral painted panels outlined in rococo gilt cartouche with floral painted stoppers, h. 6‑3/4”, and a dresser box with a painted bouquet on the domed lid and a garland of flowers on the body, h. 2‑1/2”, d. 6‑1/4”. [100/200]

1211 American Sheraton Mahogany Triple-Section Banquet Table, first quarter 19th century, in the style of Norfolk, VA, the D-form ends joined by a center section with single-board top and leaves, the leaves supported by fly legs, on tapering turned legs with ring turnings and ball feet, h. 28‑5/8”, w. 47", l. 68”, ext. l. 107‑1/2”. By family tradition, George Nicholas of Hermitage plantation, Albemarle County, VA, personally selected the Santo Domingue mahogany from which to have this table crafted. [1800/2500] Illustrated

1211

151

1214

1212 Group of Four Blown Decanters, first quarter 19th century, one probably Bohemian, for the Anglo-American market, with cut-fluting on the neck and base and an engraved Greek-key contained in a scalloped border, h. 9‑3/4”, dia. 4”, two English decanters with ring-blown necks, one fitted with a molded stopper, h. 7‑1/2” to 9”, dia. 3‑1/2”, and one English miniature decanter with a ringed neck and panel cutting on the shoulder and base, h. 4‑1/2”, dia. 1‑3/4”. [150/300] 1213 Three Pieces of American Cut-Glass, the first, a celery vase, ca. 1850‑1870, attributed to Pittsburgh, and is a variation of the Argus pattern, the base decorated with oval bulls’ eyes, h. 9‑1/4”, dia. 4‑1/2”, the second, a Pittsburgh block and thumbprint spooner, fourth quarter 19th century, h. 6”, dia. 3‑1/2”, and a vase pressed to mimic American period brilliant-cut glass, ca. 1900, h. 6‑1/2”, dia. 2‑3/4”. [50/80]

1217 Extraordinarily Rare American Late Classical Giltwood Bed Cresting, second quarter 19th century, crafted to rest atop the tester of a tall post bedstead, comprised of crossed water-gilt rods with spear ends, h, 15‑3/4”, w. 67‑1/2”, d. 81‑3/4”. By tradition, these were found in the attic of "Arlington", Natchez, Mississippi. A pair of these ornaments fit a pair of labeled Charles White tester beds. The beds were destroyed in a fire in 2002. The other tester garniture of the pair is no longer complete. [600/900]

1218 Joseph Stella (American, 1880‑1946), “Two Leaves”, collage with natural leaves on paper, reverse with a “Pensler Galleries, Washington DC” and “Zabriskie Gallery, New York City” exhibition labels, 6‑1/16" x 2‑13/16”. Glazed, attractively matted and framed. [1000/1500] Illustrated 1219 German School (19th Century), suite of seven hand colored engravings of various nuts and fruit, sight 6‑3/4” x 3‑3/4”. Each glazed, handsomely matted and framed. [400/700]

1214 Pair of Prism-Hung Gilt-Bronze and Brass DoubleArm Argand Lamps, each arm with the applied plate of “Louis Vernon & Co., Philadelphia”, each with a font supporting a prism ring mounted with a pair of birds, supported by a three-sided base modeled with arabesques and dolphins at each corner, the arms supporting frosted and cut blown-glass shades, electrified, h. 18‑1/8”, w. 20”, d. 9”. [3500/5000] Illustrated 1215 Pair of Boston Bouquet Holders, Attributed to Henry Hooper, mid-19th century, the holders retain their original gilt-lacquered surface and molded in a pattern depicting classical masks, pierced anthemia, the turned bases retain their contrasting matte and bright striping fitted with period scalloped opaline inserts, h. 10”, dia. 4‑1/2”. [200/400] 1216 Group of Three Gilt Brass and Glass Boston Bouquet Holders, Attributed to Henry Hooper, mid-19th century, comprised of two matching holders with molded masks and acanthus leaves, retaining most of their original surface, including contrasting gilt-lacquer bases and resting on marble plinths, the glass inserts are period but mismatched, and one holder on a tripartite molded brass base, decorated with morning glories, h. 6‑3/4” to 9‑3/4”, dia. 4” to 4‑1/2”. [75/125]

152

1218

1220 After Pierre Jean Francois Turpin (French, 1775‑1840), “Amandier”, “Sucre” and “Anacardier”, suite of three hand-colored engravings from Flore Medicine, 1828‑1832, sight 6‑3/4” x 4‑1/4”. Each glazed, French-matted and presented in contemporary molded frames. [200/400] 1221 Christopher Marley (American, Contemporary), “Buprestid Study”, collection of nineteen beetles, mounted on cream board, signed in pencil “C. Marley” and attractively presented in a contemporary shadowbox frame, h. 15‑1/2”, w. 12‑1/2”, d. 2‑1/2”. [150/300] 1222 Ephraim Downs Mahogany and Eglomise Connecticut Pillar and Scroll Shelf Clock, early 19th century, with a scrolling broken arch pediment, painted dial, scalloped apron and bracket feet, h. 31‑1/4”, w. 16‑1/2”, d. 4‑1/2”. [400/700] 1223 Vernacular American Sheraton Walnut Stand, second quarter 19th century, with a projecting two-board top, single drawer and turned legs, h. 28‑3/4”, w. 21‑1/8”, d. 19‑1/2”. [200/400] 1224 Pair of Neoclassical-Style Lidded Cast-Iron Jardinieres, the fluted sides draped with swags, h. 21”, dia. 12‑1/2”. [400/700] Illustrated 1225 Neoclassical-Style Cast-Iron Jardiniere, ca. 1900, of rectilinear form, the flaring body centered by a wreath on foliate-molded legs, h. 14”, w . 28”, d. 14‑1/2”. [125/250]

1224

1226 1226 American Classical Brass-Inlaid Mahogany Games Table, first quarter 19th century, New York, the foldover top with central brass inlay, canted corners and perimeter brass stringing, the vertical edges reeded, on a conforming frieze with inlaid brass, raised on reeded and turned columns on a plinth with reeded shaped legs with brass paw cup casters and joined by a turned and reeded stretcher, h. 30”, w. 37‑1/4”, d. 18‑3/4”, ext. d. 37‑1/2”. [2500/4000] Illustrated 1227 American School (Second Quarter 19th Century), “Portrait of a Young Gentleman With a Blue Vest”, oil on canvas, unsigned, 35” x 27‑1/2”. Framed. [800/1200] 1228 American Late Classical Revival Mahogany Sofa, late 19th century, the scroll crest rail centered by an ovoid cross-hatched panel, and flanked by like raised panels, the back joined to foliate-carved scroll arms, and raised on dolphin-carved bracket feet, h. 34‑1/2”, w. 82”, d. 21‑1/2”. [600/900] 1229 Colonial Revival Bulls-Eye Mirror in the Classical Style, fourth quarter 19th century, the small round mirror, fitted with an old, flat mirror plate, set in a cove molded frame, with a leaf-molded drop and side arms, surmounted with a bold spread-winged eagle, h. 32”, w. 28”. [200/400] 1230 Pair of Vernacular American Poplar Low Post Twin Beds, second quarter 19th century, each with square posts with bun-form finials and turned legs, joined by period rails, h. 40‑1/2”, w. 45”, d. 80”, inside w. 39‑1/4”, inside l. 76”. [400/700] 1231 Two American Sheraton Painted Fancy Chairs, second quarter 19th century, each ebonized with stenciled polychrome decor, one with a rush seat, the other a cane seat, h. 32” and 33‑3/4”. [100/200]

153

1232 Good American Silverplate Strawberry Dish, fourth quarter 19th century, in the form of a pair of addorsed shell-form berry bowls centered by a scrolling strawberry plant with leaves and berries forming a handle flanked by a pair of receptacles fitted with spiral-fluted cream jug on one side and sugar bowl on the other, overall h. 7‑1/2”, l. 16”, w. 12”. [200/400]

1234 American Silverplate Butter Dish, fourth quarter 19th century, by the Hartford Silver Plate Co., Hartford, Connecticut, of circular form, with a flat rim with milled palmettes and a tall arched handle with cast floral mounts and palmette crest centering a suspension hook to hold the domed lid, the lid engraved with flowers and centering a palmette ring handle, lifting to reveal the butter dish blind-stamped en suite, the whole raised on four acanthuscrested lion’s paw feet, h. 12‑1/2”, dia. 6‑3/4”. [75/125]

1233 Collection of Nine Silverplate Figural Napkin Rings, fourth quarter 19th century and later, including a pair of Meriden Britannia Co. model #202, depicting a parakeet on a leaf, h. 3”, a pair of Meriden Britannia Co. model #205, depicting Japonaise fans, h. 3”, a Meriden Britannia Co. model #209, depicting Japonaise butterflies and a fan, h. 2‑3/4”, a Middletown Plate Co. model #96, depicting a leaf, h. 2‑1/4”, an unmarked example, probably Reed & Barton, depicting a child pulling a cart, h. 3”, a Reed & Barton “1824 Collection” reproduction depicting a dog and a squirrel, h. 3”, and a reproduction “Kate Greenaway” type girl in winter clothing, h. 3”. [100/200]

1235 American Silverplate and Bohemian Glass Decanter Set, ca. 1900, by the Jennings Brothers Mfg. Co., Bridgeport, Connecticut, with three cylindrical receptacles decorated with open arched panels and a “basketweave” ground, all surrounding a central standard with ringhandled finial and raised on a conforming trefoil base with open bracket feet, the whole with applied “vintage” decoration, fitted with three Bohemian flashed ruby glass decanters with cut panel and wheel-engraved “vintage” decoration, stoppered en suite, overall h. 21”, w. 10”. [125/250]

1236

1236 Five-Piece 19th Century Reed & Barton Silverplate Coffee and Tea Set, fourth quarter 19th century, Taunton, Massachusetts, including a teapot, h. 12‑1/2”, l. 9‑1/2”, coffeepot, h. 13‑1/2”, l. 9‑1/2”, covered sugar bowl, h. 9‑1/2”, w. 7‑1/4”, cream jug, h. 8”, l. 5‑1/2”, and waste bowl, h. 6”, w. 5‑1/4”, each of inverted acorn form with waisted collar and domed circular foot, decorated all over with repousse flowers on a matte ground, the pots with hinged, domed lids with spherical finial, insulated handles with palmette mounts and patera crest, and palmette-banded “gooseneck” spouts, the cream jug with integral spout and one handle, the sugar bowl with fitted lid and two handles, all en suite. [200/400] Illustrated

1239

154

1237 American Silverplate Revolving Dinner Castor, 1873‑1882, by the Racine Silver Plate Co., Racine, Wisconsin, the circular frame with a wide milled leaf-and-dart band, revolving on a raised domed foot banded en suite and centered by a plain standard surmounted by circular ring handle with elaborate scroll-mantled bar and figural masque finial of the allegorical “America”, fitted with six glass bottles (salt, pepper, mustard and three stoppered oil and vinegar bottles) with honeycomb pattern neck, and cut oculus and wheel-engraved wheat stalk banding, engraved, h. 17”, dia. 8‑1/2”. [200/400]

1240 Set of Twelve 19th Century American Sterling Silver Teaspoons, 1866‑1867, by William Gale, Jr., New York City, New York, in an engine-engraved medallion blank pattern, with spiral twist stem and gilt bowl, l. 5”, 5.79 total t. oz. [300/500]

1242

1241 American Sterling Silver NeoGrec Sauceboat, third quarter 19th century, by Ball, Black & Co., New York, of bateau form, each side mounted with an applied female masque, the short end with double scroll handle, the other with everted spout, raised on an oval foot, h. 5‑1/2”, w. 4‑3/4”, l. 9‑1/2”, 10.35 t. oz. [2000/4000]

1245

1238 American Silverplate Kettle-on-Stand, fourth quarter 19th century, by the Middletown Plate Co., Middletown, Connecticut, of spherical form, decorated with a band of repousse flowers and ribbons, with a wide and milled anthemion band below and a narrow one above, with a palmette-fronted “gooseneck” spout, shallowdomed hinged lid with “diamond” finial and stirrup-shaped anthemion-decorated handle, raised on a pair of openwork supports decorated with anthemion scrolls above a circular base milled en suite with the kettle, centered by a spirit burner and raised on four openwork palmette feet, h. 14”, l. 11‑3/4”, w. 9‑1/4”. [200/400] 1239 Pair of American Coin (.900) Silver Compotes, dated 1859, each of oval form with an openwork scroll and baluster rim with bead-and-bobbin edge, the narrow ends with upswept acanthus scroll handles, the handles and long sides mounted with ram’s head masques joined by chain swags, the whole raised on an oval gadrooned domed foot with bead-and-bobbin edge, engraved on the side “J.R.T. / 1859”, h. 5‑3/4”, l. 13‑1/4”, w. 9”, 47.64 total t. oz. [700/1000] Illustrated

1242 Five-Piece American Sterling Silver Coffee and Tea Set, first quarter 20th century, by A. G. Schultz & Co., Baltimore, Maryland, including a coffeepot, h. 13‑1/2”, teapot, h. 12‑3/4”, cream jug, h. 8‑3/4”, covered sugar bowl, h. 9”, and waste bowl, h. 6‑1/4”, each of inverted ovoid form and richly decorated with repousse rural architectural vignettes mantled by roses and other flowers in the traditional “Baltimore” taste, the pots with “gooseneck” spouts, hinged, domed lids, floriform finials and and ram’smasque-crested square handles, the jug with integral spout and handle en suite, the sugar bowl with fitted lid with opposing handles en suite, each raised on a floral repousse domed circular foot, 116.97 total t. oz. [8000/12000] Illustrated

1243 Pair of 19th Century Baltimore Standard (.917) Silver Vegetable Dishes, fourth quarter 19th century, by Samuel Kirk & Son, Baltimore, Maryland, each of oval form, the rim decorated with naturalistic repousse flowers and foliage in the Baltimore taste, with “treebranch” edge, the plateau with diapered chasing, l. 11‑1/2”, w. 8‑1/4”, 40.90 total t. oz. [3000/5000] 1244 19th Century Tiffany & Co. Sterling Silver Waiter, the pattern introduced in 1879, this example before 1891, New York City, New York, of rounded square form, the rim decorated with repousse flowers and gadroons, with a “rope” edge and raised on four scroll-mantled pad feet, monogrammed on the plateau, S.A j156.Mc.W”, w. 7‑7/8”, 12.92 t. oz. [600/900]

155

1245 Good 19th Century Tiffany & Co. Sterling Silver Three-Piece Bachelor’s Coffee Set, the pattern introduced in 1879, this set before 1891, New York City, New York, including a coffeepot, h. 5‑1/2”, l. 7‑1/4”, covered sugar bowl, h. 4‑1/2”, w. 6”, and cream jug, h. 5”, l. 4‑1/4”, each with a pear-shaped body decorated all over with naturalistic repousse floral and foliate decoration, with milled floral bands above and below, the lower band between leaf-and-dart and gadrooned bands, the coffeepot with slender “gooseneck” spout, ivory-insulated “C”-shaped handles and hinged domed lid with stirrup finial, the sugarbowl with a fitted lid and pair of handles en suite, the cream jug with integral spout and single handle, each piece monogrammed on the underside “CL”, 33.44 total t. oz. [3000/5000] Illustrated previous page 1246 Pair of Tiffany & Co. Sterling Silver and Glass Vegetable Dishes, the pattern introduced in 1882, this pair by 1891, New York City, New York, each of oval form decorated with an openwork band of stylized calla lily leaves centered by opposing shield-shaped cartouches and rising from a narrow reed-and-ribbon band above four foliate feet, the cartouches with applied armorial and monogram “WAL”, fitted with a navette-shaped colorless glass liner, h. 3‑1/2”, l. 9‑1/4”, w. 6‑1/4” 18.06 total t. oz. [2500/4000]

1248

1250

1248 Shreve & Co. Sterling Silver Water Pitcher, first quarter 20th century, San Francisco, California, in the Arts & Crafts taste, the pear-shaped body with waisted collar and shaped rim with integral spout, with an arched square hande and raised on a conical ring foot, the rim and foot decorated with a wide conforming “hammered” band, monogrammed on the handle “H”, h. 9-1/2”, l. 6‑1/4”, dia. 9‑3/4”, 35.88 t. oz. [3000/5000] Illustrated 1249 American Silverplate Pitcher, first quarter 20th century, by the Dowd-Rodgers Co., Wallingford, Connecticut, in the Aesthetic taste, the cylindrical-form body with rounded bottom, waisted integral collar and circular foot, with squared handle, the whole with a “hammered” finish, and decorated with a milled band of bucolic cartouches at the neck and foot, h. 9‑1/4”, dia. 5”, l. 7‑1/2”. [75/125] 1250 Good Pair of Gorham Sterling Silver Candelabra, 1914, Providence, Rhode Island, special order code EMX, in the Art Nouveau taste, each with a baluster standard above an integral domed circular base and surmounted by a vasiform candle nozzle into which fits a superstructure of a smaller standard surrounded by four scrolling arms, each ending a nozzle en suite and fitted with a detachable circular bobeche, the whole decorated with repousse “vintage” decor with a hammered finish, h. 16‑1/4”, w. 15‑1/2”, d. 12”. [8000/12000] Illustrated

1247 Gorham Sterling Silver Waste Bowl, 1899, Providence, Rhode Island, the inverted pear-shaped boy decorated with applied rococo scrolls and cartouches, with a waisted collar and domed foot, both with shaped applied edge en suite, monogrammed on one cartouche “JHB”, h. 4‑1/2”, dia. 5‑1/4”, 11.83 t. oz. [150/300]

156

1251 American Arts and Crafts Weighted Sterling Silver Scent Bottle, ca. 1900, by the Whiting Manufacturing Company, New York, with French resale marks, of modified navette form with hammered finish and subtle scroll decoration, with a small screw-threaded cap, monogrammed, on the body, “LSS”, l. 6”, 2.57 t. oz. [600/900]

1254 Alvin Silver Deposit Emerald Glass Vase, first quarter 20th century, Providence, Rhode Island, of baluster form with circular foot, decorated with silver deposit engraved with tall rococo scroll panels, monogrammed “MSS”, h. 12‑1/4”, dia. 4‑1/4”. This example of Alvin’s famous silver deposit glass is quite unusual in that nearly the entire body of piece is covered in silver, with the emerald glass body visible only in the narrow curves and scrolls of the rococo decoration; this is in stark contrast to the lacy silver decoration generally seen on Alvin’s deposit wares. [700/1000]

1252 Good American Sterling Silver Loving Cup, first quarter 20th century, by Black, Starr and Frost, New York City, New York, the bulbous circular body with waisted neck above an annular knop and steeply domed base quartered by applied reeded serpentine scrolls, the rim and base joined by two tall, arched “S”-scroll handles, the body and foot decorated with elaborate applied shell-and-scroll decoration, h. 15”, w. 12‑1/2”, dia. 6‑3/4”, 45.59 t. oz. [800/1200] Illustrated 1253 Alvin Silver Deposit Emerald Glass Vase, first quarter 20th century, Providence, Rhode Island, of baluster form with circular foot, decorated all over with silver deposit scrolls centering a heart-shaped cartouche, h. 14‑1/2”, dia. 4‑3/4”. [700/1000] Illustrated

1253

1255 Gorham “Maintenon” Sterling Silver Water Pitcher, the pattern introduced ca. 1915, Providence example, of ovoid form with waisted collar and integral spout, acanthus-crested square handle and circular foot, decorated with engraved panels and repousse swags and cartouches in the Louis XIV taste, h. 10”, l. 9‑1/2”, dia. 6‑1/2”, 37.55 t. oz. [600/900] Illustrated

1256 American Sterling Silver Flower Bowl and Underplate, first quarter 20th century, by Frank M. Whiting & Co., North Attleboro, Massachusetts, the bowl of ovoid form with steeply everted rim decorated with alternating openwork lattice panels and engraved cornucopia, the hexagonally serpentine-lobed edge molded, with a fitted and pierced flower frog with urnform finial, the fitted underplate decorated en suite, the bowl and underplate both monogrammed “VWR”, overall h. 8‑1/4”, dia. 13”, 35.37 total t. oz. [600/900] Illustrated

1252

1255 1256

1258 1257

157

1262

1262 Fifty-Three Piece Set of Tiffany & Co. “English King” Sterling Silver Gilt Flatware, the pattern designed in 1885 by Charles Grosjean (1841‑1888), including eight dinner forks, l. 7‑1/2”, eight salad forks, l. 9‑3/4”, nine teaspoons, l. 5‑3/4”, eight cream soup spoons, l. 6‑1/2”, eight dinner knives with stainless steel “blunt”shaped blades, l. 10‑1/4”, one tablespoon, l. 8‑1/2”, one serving spoon, l. 8‑3/4”, one serving fork, l. 8‑1/2”, one cake server with stainless steel blade, l. 10‑1/2”, one sauce ladle, l. 7”, and one sugar shell, l. 5‑1/2”, no monograms, 101.73 total t. oz. (excluding items with stainless steel blades) [2000/4000] Illustrated

1257 American Sterling Silver Bonbon Dish, first quarter 20th century, by the Shiting Mfg. Co., Providence, Rhode Island, of oval form, the sides decorated with elaborate openwork and embossed lattice loops, the edge embossed with rococo scrolls, monogrammed “MGC” l. 8‑1/4”, w. 6‑1/4”, 4.82 t. oz. [75/125] Illustrated previous page 1258 Good Gorham Sterling Silver Flower Bowl, 1892, Providence, Rhode Island, of circular fiorm with bulbous wavy gadrooned side and everted and shaped milled floral rim, monogrammed “JBH”, h. 2‑1/2”, dia. 8‑1/2”, 14.98 t. oz. [200/400] Illustrated previous page 1259 Tiffany & Co. “Chrysanthemum” Sterling Silver Sugar Tongs, the pattern designed in 1880 by Charles Grosjean (1841‑1888), monogrammed on the bow “FW”, l. 5”, 1.22 t. oz. [75/125] 1260 Four Tiffany & Co. “Colonial” Sobet Spoons, the pattern designed in 1895 by Paulding Farnham (1859‑1927), New York City, New York, monogrammed “FPR”, l. 5‑1/4”, 2.63 total t. oz. [75/125] 1261 Set of Four Tiffany & Co. Sterling Silver Sweetmeat Dishes, the pattern introduced in 1890, these examples before 1902, New York City, New York, each of lobed circular form, the bowl formed by eight conjoined outcurved openwork feather scrolls, to a plain base raised on four acanthus-and-scroll crested pad feet, h. 2‑7/8”, dia. 6‑3/4”, [3000/5000]

158

1263

1263 Good Pair of Italian Tiffany & Co. Sterling Silver Salt Cellars, second half 20th century, in the neoclassical taste, each in the form of a Roman brazier, with a circular gadrooned frame raised on three ringed lion masque cabriole legs ending in paw feet and joined by a small circular frame stretcher, the frames fitted with silver gilt hemispherical bowl for salt above and pepper below, the whole raised on a concave canted triangular plinth, h. 3‑1/4”, dia. 2‑1/4, with a pair of gilt-bowl salt spoons in Tiffany’s “English King” pattern, l. 3‑3/4”, 9.07 total t. oz. [200/400] Illustrated 1264 Set of Eight Tiffany & Co. Sterling Silver Gilt Small Leaf Dishes, the pattern introduced in 1937, these examples 1955‑1965, New York City, New York, each in the form of an ivy leaf, with a single spherical support, l. 3‑1/4”, w. 3”, 9.77 total t. oz. [200/400]

1265 Pair of Reed & Barton “Francis I” Sterling Silver Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 19.10 total t. oz. [1400/1800] Illustrated

1268 Pair of Reed & Barton “Francis I” Sterling Silver Compotes, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, these examples with the Reed & Barton date mark for 1951 (a bell), h. 4‑1/2”, dia. 8”, 26.36 total t. oz. [1000/1500] Illustrated

1266 Reed & Barton “Francis I” Sterling Silver Cracker Scoop, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 8‑3/4”, 3.02 t. oz. This implement is also known as a “Saratoga chip server”, used for the original potato chips, allegedly invented in Saratoga, New York in 1853. Specialty implements for the fad food started appearing in the 1870s, and were part of most luxury patterns at the turn of the century. The oversized bowls of these pieces gradually diminished and were slowly transformed into cracker scoops for oyster crackers, croutons and the like. Most line patterns dropped these uniquely American specialty utensils around World War Two. [60/90] Illustrated

1269 Reed & Barton “Francis I” Sterling Silver Salad Serving Set, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including salad serving fork and spoon, l. 9‑1/4”, 9.13 total t. oz. [700/1000] Illustrated 1270 Two Reed & Barton “Francis I” Sterling Silver Serving Pieces, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a petit four server with silverplate blade, l. 6‑1/4”, and a toast/waffle server, l. 9‑3/4”, 5.72 t. oz. (toast server only). [150/300]

1267 Pair of Reed & Barton “Francis I” Sterling Silver Center Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 15‑1/2”, w. 11‑3/4”, 59.03 total t. oz. [3500/5000] Illustrated

1271 George III-Style Stained Oak Lift-Top Flatware Chest, the interior bearing the label of “Reed and Barton”, the case fitted with two additional drawers and brass bail handles on the ends, h. 12”, w. 21”, d. 15". [200/400]

1267

1268

1265

1266

1269

159

1272 George Rodrigue (American/Louisiana, b. 1944), “Evangeline Standing”, bronze, signed “Rodrigue” at the base, raised on a circular wood plinth, h. 13”, dia. 8‑1/2”. [3000/5000] Illustrated

1272

1274 George Rodrigue (American/Louisiana, b. 1944), “Hank Williams”, 1989, oil on canvas, signed lower left “Rodrigue”, 68” x 50”. Framed. Provenance: Private collection, Florida. Exhibited: New Orleans, Louisiana, Rodrigue’s Louisiana Cajuns, Blue Dogs, and Beyond Katrina, New Orleans Museum of Art, March 1‑June 8, New York , 2008. Literature: George Rodrigue A Cajun Artist, Penguin Studio, 1996, illustrated; The Art of George Rodrigue, Harry N. Abrams Inc., New York, 2003, illustrated. Hank Williams, one of the most important country music artists performed with Dudley LeBlanc’s Hadacol Caravan in 1950 and 1951 in one of America’s last travelling medicine shows. He joined performers such as Judy Garland, Bob Hope, and Minnie Pearl. They travelled through small towns as a promotion for LeBlanc’s so-called elixir and in 1952 stopped in New Iberia where an eightyear old George Rodrigue witnessed the parade. In this painting, Rodrigue captures a slice of Louisiana history, specifically the Hadacol Caravan, the Louisiana Hayride and the “Jambalaya”. [50000/80000] Illustrated

1273 detail 1273 Exceedingly Rare Cameo Glass “Blue Dog” Bowl, Designed by George Rodrigue (American/ Louisiana, b. 1944), the underside bearing the etched item number “903056” along with the limited edition number “15/35” and dated 1994. h. 5”, dia. 9”. From 1993 to 1995, George Rodrigue worked with Kelsey Murphy and the Pilgrim Glass Company in West Virginia to recreate his “Blue Dog” designs in cameo glass. The layered glass is sandblasted revealing Rodrigue’s raised patterns. He created three bowls and a vase, each in editions of thirty-five. One of the bowls of this edition was featured in the Louisiana State University Museum of Art Exhibition which ran July 23 through September 18, 2011. Rodrigue’s novelty items were only available in limited editions and were primarily created for his private collection and experimentation, thus very few have been offered for sale. For this reason, the bulk of these works remain in private hands. [10000/15000]

160

1273

1274

1275 Early Steinway and Sons, New York, Rosewood Parlor Grand Piano, third quarter 19th century, the brass plate mounted above the keyboard with the inscription “1861 Steinway Reconditioned for Mr. & Mrs. A.W.D. Vos.” and the soundboard stamped “3831”, h. 37”, w. 82”, d. 42”. [1800/2500] Illustrated

1275

161

1276 1280 Pair of Bohemian Gothic Revival Vases, mid-19th century, the colorless glass cased in cranberry-over-white and cut-to-clear, trimmed in gilt, and with veins on the cranberry leaves, now worn, h. 11”, dia. 5‑1/4”. [500/800] 1281 Ruby Flashed and Enameled Glass Punch Pot, fourth quarter 19th century, probably Middle Eastern, the barrel-shaped pot, enameled with bold scrollwork alternating with delicate sprays of flowers, the base with a pontil mark surrounded with cut notches, matching scrollwork and flora decorate the rim, h. 9‑1/4”, dia. 7‑1/2”. [400/700] 1282 Pair of Enamel Mantel Lustres, fourth quarter 19th century, probably Bohemian, the celery green lustres decorated with enameled flowers and gilt sprigs and a frosted central portion, hung with spear-point prisms on double buttons, h. 12‑1/2”, dia. 6”. [450/700] Illustrated

1276 Continental Carved Mahogany Breakfront in the Rococo Taste, late 19th century, the molded cornice centered by a broken arch pediment with an elaboratelymodeled cartouche, foliate and floral carved pierced crest, over a gadrooned and carved frieze, the projecting center with a door with arched glazed panel and swag tracery, flanked by turned columns and a pair of narrow doors with like decor, the base fitted with a drawer in each section, scalloped apron and scroll feet, h. 33‑1/2”, w. 45”, d. 24‑3/8”. [3500/5000] Illustrated 1277 John George Brown (American, 1831‑1913), “Young Girl Sitting By the Stream”, oil on canvas, signed lower right “J. G. Brown”, 18” x 14”. Presented in a period giltwood liner. [5000/8000] Illustrated 1278 Pair of Baccarat Amberina Three-Light Candelabra, ca. 1900, the round bases with raised rondels supporting pillar-molded standards, the tulip-shaped cups mounted with amberine bobeches hung with spear-point prisms, marked “Baccarat Depose” in raised letters on base, h. 20‑3/4”, w. 12‑1/2”, d. 5‑1/2”. [700/1000] Illustrated 1279 Pair of Bohemian-Style Garniture Vases, the clear glass cased in cranberry-over-clear, cut in a pattern of quatrefoils alternating with rondels, all divided by vertical bands of gilt scrollwork, the neck cut in elongated ovals topped by small ovals, h. 10‑1/4”, dia. 5‑3/4”. [500/800]

162

1277

1283 Collection of Gilt-Edged American Pressed Glass, fourth quarter 19th century, comprised of a water set with a paneled pitcher, h. 10”, five matching tumblers, h. 4”, a toothpick holder, h. 2”, and a berry dish, dia. 4”, all in the same pattern, the remainder of the group in the King’s Crown Pattern with molded thumbprints and scalloped edges, comprised of one plate, dia. 10‑1/2”, four berry bowls, dia. 4‑1/4”, a toothpick holder, h. 2‑1/4”, and a covered compote, h. 7”, dia. 5”. [75/125] 1284 Twelve-Piece Collection of American Pressed Glass, fourth quarter 19th century, in two variations of the King’s Crown pattern, the first includes a banana boat, h. 9”, w. 10‑3/4”, d. 7‑1/4”, an open compote, h. 5‑1/4”, dia. 5”, a sugar bowl, h. 6”, dia. 4‑1/2”, a cream jug, h. 4‑3/4”, w. 4‑3/4”, d. 4‑1/4”, a covered pot, h. 3‑1/2”, dia. 2‑3/4”, a toothpick holder, h. 2‑1/2”, a spoon holder, h. 4‑1/4”, dia. 4”, and a double-spouted sauce dish, h. 2”, w. 5”, together with variations with a vertical molded fluting, including a spoon holder, h. 4”, dia. 4”, an open sugar bowl, h. 3”, w. 5”, a cream jug, h. 3‑1/2”, w. 4‑3/4”, and a toothpick holder, h. 2‑1/4”. [60/90]

1282

1278

1285 Three American Pressed Glass Cake Stands, fourth quarter 19th century, the first example with a round faceted base attaching to the top with a round top, h. 8‑3/4”, dia. 8”, the other two are an assembled pair with slight variations, each with a round foot, faceted standard and a top with a reticulated edge, h. 6‑1/2”, dia. 9”. [75/125] 1286 French Nine-Piece Cut and Gilded Crystal Ice Cream set, ca. 1900, lushly engraved with garlands of raspberries and birds, all with gilt edges and gilt sunbursts in each piece, the set consists of a rectangular scalloped-edge serving dish, w. 14‑3/4”, d. 10‑1/4”, and eight matching dishes en suite, w. 8”, d. 5‑1/2”. [300/500] Illustrated 1287 Pair of American Rococo Revival Mahogany and Marble-Top Bowfront Corner Cabinets, third quarter century, each with a paneled backpiece above an inset brocatelle violette d’ Espagna marble top with turreted corners, above a conforming base fitted with a swing-out frieze drawer over two open shelves supported by bulbous foliate and annulated supports, raised on a molded base, h. 33‑1/2”, w. 34”, d. 25”. [1200/1800]

1286

163

1291 A Detailed Louisiana Map, 1879, prepared by New Orleans Civil Engineer T. S. Hardee, sight 14” x 16”, legend upper right. Glazed, matted and framed. [200/400] 1292 Two Articles of Confederate Ephemera, the first, an unclipped $1000 confederate bond, entered in March, 1864, h. 34”, w. 23”, the second, a certificate of membership in the Association of the Army of Tennessee, CSA, of Louisiana interest, h. 19‑1/2”, w. 15‑1/2”. The certificate is for Louis Antoine Hymel of Algiers. Hymel was a carpenter who joined the Algiers Guards and took part in the battles of Baton Rouge, Port Hudson and Jackson, Mississippi. He went through the Georgia campaign and was made a corporal in one company. He was wounded in Nashville, Tennessee and fought at Spanish Fort and Mobile. He was born in Vacherie in 1843 and died in Algiers in 1906. He was married to Marie Cecile Babin and had four children, Cecelia, Frank, Viole and George. Ther certificate was issued in 1884. [200/400] 1293 Collection of Two Harper’s Weekly Illustrations, including “On the Mississippi-The Great Crevasse at Bonnet Carre” and “In the Old French Market, New Orleans”, former sight 11” x 15‑1/2”, latter sight 10” x 14”. Both framed. [100/200] 1294 Collection of Two Harper’s Weekly Illustrations, 19th century, including “Chinese Cheap Labor in Louisiana, Chinamen at Work On the Milloudon Sugar Plantation”, July 29, 1871 and “The Sugar Harvest in Louisiana”, October 30, 1875, sight 11” x 16”. Both glazed and presented in polychrome, parcel-gilt frames. [125/250]

1303 1288 Continental Walnut Center Table in the Rococo Revival Taste, third quarter 19th century, the marble top of tortoise-form, over a conforming shaped apron, each side centered by a carved rose amidst leaves and vines, raised on foliate-carved cabriole legs joined by serpentine scroll-carved stretchers, each stretcher bisected by a carved rose, the central finial in the form of an exuberantly modeled floral basket, h. 32”, w. 48‑1/2”, d. 32‑1/4”. [700/1000]

1295 Harper’s Weekly Hand-Colored Newspaper Illustration, “Crevasse on Chim's Plantation, West baton Rouge, Louisiana”, sight 9‑1/2” x 14”. Glazed, Frenchmatted and presented in a molded burlwood frame. [200/400]

1289 Pair of Paris Porcelain Moderator Lamps, third quarter 19th century, the cylindrical white porcelain bases decorated with scattered bouquets and sprigs of small hand-painted flowers, with brass molded neck and wick regulator, electrified, h. 22‑1/2”. [200/400] 1290 A Seventeen-Piece Collection of Various Prints, late 19th/20th century, comprised of maps, architectural prints and three pages from the 1885 Frank Leslie’s Illustrated Newspaper regarding the art gallery of the World’s Exposition of New Orleans, sizes varying from 9” x 12” to 27” x 20”. All unframed. [150/300]

164

1302

1305

1301 Civil War Map of New Orleans Interest, ca. 1865, the segmented map illustrating the approach to New Orleans, position of the Army of Tennessee near Atlanta, diagrams of troop positions of the Fourth Division, 17th Army Corps, Atlanta, the Siege of Spanish Fort, Alabama, position of left wing, 16th AG, Paulding Col, Georgia, the position of Second Division, Fourteenth Army Corps, near Savannah, map of Mechanicsville, Virginia, and Spanish Fort, Alabama, during siege, lithographed by Julius Bien and Company, New York, matted and framed, sight h. 16‑3/4”, w. 27‑1/2”. [300/500] 1302 Suite of Six American Rococo Revival Laminated Rosewood Parlor Chairs in the “Rosalie Without Grapes” Pattern, mid-19th century, attributed to John Henry Belter, New York, composed of a pair of armchairs and four side chairs, each with a thinly-laminated concave back centered by a floral, fruit and leaf-carved crest, with serpentine seat rail and cabriole legs, h. 42‑1/4”, armchair, h. 27‑1/2”, side chair. [5000/8000] Illustrated

1296 Harper’s Weekly Hand-Colored Newspaper Illustration,”Scene on the Levee of New Orleans on the Departure of the Paroled Rebel Prisoners, February 20, 1863”, sight 14‑3/4” x 21”. Glazed, Frenchmatted and presented in a molded, parcel-gilt frame. [300/500] 1297 Collection of Two Harper’s Weekly Hand-Colored Newspaper Illustrations, including “Canal Street, New Orleans, “Seven Wise Men” Preparing for a Parade” and “Christmas Eve in New Orleans-Merrymakers on Canal Street”, sight former 12‑3/4” x 19‑1/4”, latter 14” x 19‑1/2”. Both glazed, French-matted and presented in molded, parcel-gilt frames. [300/500] 1298 McKenney-Hall Portrait Gallery of American Indians, “Kee. Shes. Wa, A Fox Chief”, hand-colored lithograph, published by F.W. Greenough, Philadelphia, 1836, sight 17‑3/4” x 13”. Glazed, attractively matted and framed. [500/800] 1299 McKenney-Hall Portrait Gallery of American Indians, “Mar-Ko-Me-Te, A Menomene Brave”, handcolored lithograph, published by F.W. Greenough, Philadelphia, 1836, sight 17‑3/4” x 13”. Glazed, attractively matted and framed. [500/800] 1300 Embroidered Wool Work Picture of a Basket of Flowers, ca. 1934, American, executed in polychrome wood on a dark brown background, and in a gilt arts and crafts style frame, a family history and date attached to the rear, h. 23‑3/4”, w. 25‑1/2”. [100/200]

1303 Paul E. Poincy (American/ New Orleans, 1833‑1909), “Portrait of a Little Girl with Basket of Flowers and Orange”, oil on canvas, signed and dated lower right “P. Poincy 1886”, 41” x 27”. Presented in a handsome, period, giltwood and polychrome frame. Provenance: Private collection, New Orleans, Louisiana. [18000/25000] Illustrated 1304 American School (Fourth Quarter 19th Century), “Portrait of a Gentleman Holding a Sheaf of Documents”, oil on canvas, unsigned, reverse canvas and frame stamped “Jones Wooll & Sutherland, Manufacturers and Importers”, San Francisco, 34” x 28”. Presented in a Rococo-style giltwood and gesso frame. [1000/1500] 1305 American Rococo Revival Rosewood and Faux Rosewood High Back Bestead, third quarter 19th century, the arched headboard with a large ovoid panel, supported by shaped posts, capped by a cabochon over bellflower and foliate carving, the rails with applied carving and shaped brackets, the wrap footboard with an arched and scalloped top and applied foliate carving, h. 100”, w. 65”, d. 80”, inside w. 60”, inside l. 73”. [1000/1500] Illustrated 1306 American Vernacular Walnut Double Door Armoire, second quarter 19th century, the top with a double ogee-molded cornice above a pair of doors, each with a tombstone-shaped panel and raised on a base with bracket feet, found in a plantation house near Natchez, Mississippi, h. 87”, w. 56”, d. 22”. [300/500]

165

1312 Pair of American Cast-Iron Garden Urns on Stands, ca. 1900, each base with the label “MFG by Kramer Bros FDY Co Dayton O”, each with a tazzaform bowl with egg-and-dart rim, on a foliate-modeled support on a tapering square paneled base, h. 37‑1/2”, dia. 27”. [800/1200]

1310

1308

1307

1308

1307

1309 1307 Enameled and Cased-Glass Tea Caddy and Tea Cup, first quarter 20th century, probably Middle Eastern, the cobalt cased in white, cut in geometric patterns, the neck and stopper enameled with sprays of green and gilt leaves, the stopper with like decoration, h. 5‑1/4”, w. 4”, d. 4”, the cup is colorless cased in white and cobalt and cut in a thumbprint pattern, h. 3‑1/4”, dia. 4‑1/4”. [400/700] Illustrated 1308 Two Pieces of Bohemian Gothic Revival Glass, third quarter 19th century, the compote comprised of colorless glass cased in cobalt-over-white and cut-to-clear, with a conical foot and a bowl cut with quatrefoils and bulls’ eyes, three eyes engraved “Thedor”, “Alfred”, and “Heimlich”, in gothic script, h. 6”, dia. 4‑1/4”, the sugar bowl comprised of colorless glass cased in cobalt-over-white, cut-toclear and edged in gilt, with a round foot and a body cut with Moorish arches, the top cut with bull's eyes and a swirling finial, h. 7”, to top of finial, dia. 4‑3/4”. [500/800] Illustrated 1309 Pair of Bohemian-Style Cut-Glass and Silver Dresser Jars, the colorless glass, cased in white and cobalt, cut in bull's eyes, the molded silverplate lid with rococo decoration, h. 4‑1/2”, dia. 3”. [300/500] Illustrated 1310 Pair of Cut and Enameled Garniture Vases, first quarter 20th century, the blue cased-over-clear glass flared paneled vases, with round conical feet and trumpet-shaped bowls cut in the brilliant style, the panels enameled with polychrome floral springs alternating with gilt decoration, h. 10”, w. 5‑1/2”. [1200/1800] Illustrated 1311 Anglo-American Cast-Iron Garden Bench in the “Passion Flower” Pattern, late 19th/early 20th century, of double chairback form, each wrap-around back section modeled in the form of twining flowers, vines and leaves, the arm supports capped by avian heads, raised on cabriole front legs, h. 30‑1/2”, w. 40”, d. 21‑1/2”. [1200/1800] Illustrated

166

1313 Large Enterprise Manufacturing Company, Philadelphia, CastIron Coffee Mill on Stand, late 19th century, the large cast-iron wheels bearing the Enterprise inscription and mounted to a trestle-form base, discovered on the grounds of a Mandeville, Louisiana plantation, h. 59”, w. 29”, d. 39". [1000/1500]

1314 Pair of Victorian-Style Cast-Iron Garden Chairs in the “Renaissance” Pattern, each with the molded label of “Jacobs MFG Bridgeport, Ala. Early Victorian”, each with an arched crest centered by a rosette, open work back, dished seat, h. 36”. [150/300] 1315 American Victorian Cast-Iron Garden Urn, late 19th century, the base with a maker’s plaque “Made by Kramer Bros. FDY Co., Dayton, OH”, the urn with a pair of elaborate foliate-scroll handles, on a tapering plinth base, h. 40”, w. 37”. [1000/1500] 1316 Late Victorian-Style Cast-Iron Three Tier Plant Stand, of circular form and having three graduated and reticulated shelves, supported by four cast and pierced legs joined by a stretcher, h. 36‑1/2”, dia. 37”. [150/300]

1311

1317 Marble Statue of a Young Couple Embracing, first quarter 20th century, the cove-molded base supporting the pair, who are dressed in traditional 18th century costume, she is holding roses in her skirt while he kisses her cheek, formerly mounted as a lamp, h. 17”, w. 7”, d. 7”. [500/800]

1318

1318 Sixty-Three Piece Set of Lenox “Essex-Maroon (Smooth)” Porcelain Dinnerware, comprised of twelve dinner plates, dia. 10‑5/8”, thirteen salad/dessert plates, dia. 8‑3/8”, twelve bread and butter plates, dia. 6‑1/4”, thirteen coffee cups, h. 2‑1/8” and thirteen saucers, dia. 5‑5/8”. [500/800] Illustrated 1319 American Renaissance Revival Ebonized and Parquetry Inlaid Checkerboard Table, third quarter 19th century, the top with a geometric inlaid border and the central field in the form of a checkerboard, the base with four shaped supports and a central platform stretcher, h. 27‑1/2”, dia. 32”. [700/1000]

1324

1320 Silverplate Victorian Banquet Lamp, fourth quarter 19th century, fourth quarter 19th century, probably American, three cast Blackamoors, each in different costume, serve as feet, carrying a cast basket which serves as the base, the scroll-molded oil font,now fitted for electricity, h. 31‑1/2”. [700/1000]

1321

1321 American Renaissance Revival Walnut and Burled Walnut High Back Bedstead, third quarter 19th century, the headboard with an arched foliate-carved an pierced crest centered by a cartouche over a maiden’s head flanked by raised burlwood panels, with a trio of shaped panels below each head post with a foliate-carved umbrella-form finial, the rails joined to an arched and paneled wrap footboard, h. 91‑1/2”, w. 65”, d. 81”, inside w. 56”, inside l. 76”. [1500/2500] Illustrated 1322 American Late Victorian Cherry Banquet Table, fourth quarter 19th century, the top with a molded edge and opening to accommodate eight leaves, raised on tapering turned and reeded legs on ring-turned feet with cup casters, h. 30”, w. 46”, l. 46”, ext. l. 138”. [2500/4000] 1323 American Renaissance Revival Walnut Half Tester Bed, third quarter 19th century, the shaped tester on tapering raised-panel posts, supporting an arched headboard with a palmette crest over arched panels, the wrap footboard centered by an applied roundel, h. 104‑1/2”, inside w. 57‑1/2”, inside l. 72‑1/2”, outside w. 65”, outside l. 77”. [700/1000] 1324 Thirty-Three Piece Set of Gilt-Edged Glass Dinnerware, first quarter 20th century, probably American, the set consists of twelve luncheon plates, dia. 8‑1/2”, eight salad plates, dia. 8”, and thirteen goblets, h. 6‑1/2”, all decorated with engraved baskets of flowers and swags, all decorated en suite with a matching raised gilt border. [300/500] Illustrated

167

1325 Group of Twelve Goblets, fourth quarter 19th century, consisting of eight wheel-cut and engraved goblets, decorated with swags of leaves, and four goblets with faceted cut stems and engraved bowls bordered by a Greek fret, h. 6” to 7”. [75/125] 1326 Three Pieces of American Brilliant Period Cut-Glass, first quarter 20th century, signed “Tuthill”, comprised of a low bowl cut in the swirl primrose pattern with alternating intaglio cut flora with hobstars, unusually heavy, dia. 8”, a large bowl richly cut with hobstars and Russian borders, dia. 9‑1/4”, and a smaller bowl cut with pinwheels and hobstars, dia. 8”. [100/200] 1327 Group of Six Barbell Shaped Brilliant Cut-Glass Knife Rests, first quarter 20th century and later, brilliantly cut with facets and ribs, l. 4‑1/4” to 5‑1/2”. [100/200]

1336

1328 Brilliant Period Cut-Glass Bowl and Tazza with a Wheel-Cut Vase, ca. 1900, the bowl with a scalloped border and Russian patterned sides with sunburst cutting in the base, h. 4‑1/2”, dia. 11‑3/4”, the tazza with a round cut base, the standard cut with bulls’ eyes and a flat scalloped bowl in the Mitre pattern, h. 7‑1/4”, dia. 8‑1/2”, and the wheel-cut round vase with a baluster body, each cut with flowers and sprays of leaves, h. 14”, dia. 4‑3/4”. [150/300]

1329 Assembled Set of Nine French Wheel-cut and Enameled Finger Bowls, fourth quarter 19th century, the set comprised of six round and three lobed bowls, all with pink glass and similar decoration, wheel-cut in patterns of flowers with gilt incising and enamel incising on the flowers, h. 3”, dia. 5‑3/8”. [400/700] 1330 Paul Joseph Penczner (American/Tennessee, b. 1916), “Docked Riverboat on Mississippi”, gauche on paper, signed lower right “Penczner”, sight 23‑1/2” x 17‑1/2”. Glazed, matted and framed. [500/800]

1331 John Korver (American/Louisiana, 1910‑1988), “Fishing on the Bayou”, watercolor on paper, signed and dated lower right “John Korver - 71”, sight 7‑1/2” x 11‑1/2”. Glazed, handsomely matted and framed. [300/500] 1332 Robert M. Rucker (American, 1932‑2000), “French Quarter Street Scene with a Vegetable Cart” and “French Quarter Balconies”, pair of watercolors on paper, latter signed lower left, sight 14” x 5”. Both glazed, matted and framed. [500/800] 1333 Edna Janssen (American/Louisiana, 20th Century), “Two Boys In Front of a Cabin”, watercolor on paper, signed lower right “Edna Janssen”, sight 11” x 17”. Glazed, attractively matted and framed. [200/400]

1337

168

1334 Edna Janssen (American/Louisiana, 20th Century), “Cajun Porch With a Child”, watercolor on paper, signed lower right “Edna Janssen”, titled on the reverse label, sight 7” x 10‑1/2”. Glazed, attractively matted and framed. [125/250] 1335 Edna Janssen (American/Louisiana, 20th Century), “Levee View”, watercolor on paper, signed lower right “Edna Janssen”, titled on the reverse label, sight 10‑1/2” x 14”. Glazed, attractively matted and framed. [150/300] 1336 James Michalopoulos (American/Louisiana, b. 1951), “French Quarter Balcony”, oil on canvas, signed lower right “Mitchell”, 24” x 30”. Unframed. [2500/4000] Illustrated 1337 James Michalopoulos (American/Louisiana, b. 1951), “French Quarter Windows”, oil on canvas, signed and dated lower right “Mitchell 89”, 48” x 48”. Unframed. [5500/8000] Illustrated 1338 Mary Evol Noble (American/ Texas, 1913‑1999),”Farm House with Windmill, San Diego, Texas”, oil on canvas, signed lower right “Evol Noble”, 20” x 24”. Provenance: Descended in the artist’s family to the consigner, her grandson. [250/400] 1339 Ernest Berke (American, 1921‑2010), “Western Landscape with Tree and Ranch”, oil on canvas-board, signed lower right “Ernest Berke”, sight 8” x 13‑1/2”. Presented in a molded giltwood frame with a linen liner. [500/800] 1340 Anthony V. Martin (American/Texas, b.1941), “Winter Landscape”, oil on board, signed lower right “A. Martin ‘67”, reverse with a Dubose Gallery label, sight 8” x 9”. Presented in an ebonized and parcel-gilt frame with an ochre felt liner. Provenance: Dubose Gallery, Houston, Texas. [300/500]

1341 1341 Herb Booth (American/Texas, b.1942), “Whitetail Deer”, watercolor on paper, signed lower right “Herb Booth”, reverse with a “Meredith Long & Company, Houston, TX” gallery label, sight 24‑1/2” x 41”. Glazed, attractively matted and presented in a giltwood frame. [3000/5000] Illustrated 1342 Antonio Vazquez Parra (Mexican, 20th Century), “Market Scene With a Family Group”, oil on canvas, signed lower right “A. Vazquez Parra”, reverse with “The Alley Gallery, Houston, TX” label, 12” x 8”. Presented in a fauxfruitwood and parcel-gilt frame. [300/500] 1343 Roberto Delgado (Brazilian, Contemporary), “Everglades at Sunset”, oil on canvas, signed and dated lower right “Roberto Delgado, 02/2011”, 30” x 40”. Presented in an attractive giltwood frame. [500/800] 1344 James A. K. Marshall (American, Contemporary), “Christmas in Havana #1” and “Christmas in Havana #2”, 2002, pair of photographs on FIGI crystal archive paper, each sight 12” x 17”, both titled and signed in pencil lower margin. Glazed, matted and presented in black studio frames en suite. [700/1000] 1345 Set of Nine American Sterling Silver Tall Beakers, mid-20th century, by Watrous Mfg. Co., Wallingford, Connecticut, each of cylindrical form with everted rim, each engraved with the monogram “M” opposing an engraved autograph, each of a different person, h. 5‑1/4”, dia. 3”. The handsomely engraved autographs on these beakers suggest that they belonged to a gentlemen’s social or fraternal organization. Most of the identifiable men - Walter M. Brainard (1911‑1978), H. Paul Buckingham (1913‑1997), Robert J. Whipple (1912‑1997), Stephen W. Reed (1912‑1966) - were born in or near Worcester, Massachusetts, suggesting a link there, or possibly at Yale, where Brainard and Buckingham which both attended. [700/1000]

169

1346 The 1926 Times-Picayune Sterling Silver Loving Cup, manufactured by R. Wallace & Sons, Wallingford, Connecticut, of traditional vase shape with cavetto collar, squared handled and raised on a circular foot, decorated with engraved arabesque and milled ovolo and acanthus banding, engraved on both sides with a fulsome inscription from the Times-Picayune of New Orleans, Louisiana to that year’s recipient, William J. Warrington, h. 14‑3/4”, w. 11”, dia. 7‑1/4”, 38.71 t. oz. New Orleans’ venerable paper of record, the Times-Picayune, has been in the spotlight recently after its announcement that it was reducing its publication to three times a week, leaving New Orleans as America’s only major city without a daily newspaper. The Times-Picayune has served New Orleans for over a century and a half, and part of that service from 1901 to the present day has been the annual presentation of a loving cup to a New Orleanian, nominated by the public, who has “worked unselfishly for the community without expectation of public acclaim or material reward.” The recipient in 1926 was the little remembered William Jennings Warrington (1850‑1941). Born in October 1850 in Georgia to an English father and French mother, Warrington was a man of many talents and several careers, all funded by the family fortune of his English and French relations. Among his ventures were the publication of “Warrington’s Musical Review” in New Orleans from 1877 to 1886, an art school in Kansas City in 1890’s, a farm in Benton county, Arkansas in 1900, the patent for a food drying apparatus in 1919 (granted in 1921), and at least two coal mines. But the Warringtons most sustained interest, and the one for which he was honored with the Times-Picayune loving cup, was the Warrington Movement, a philanthropic endeavor begun when he witnessed two street youths in New Orleans steal a peddler’s cart. The boys were arrested, imprisoned and disowned. Warrington, a life-long bachelor, secured their release and looked after them until they obtained employment. Thereafter, the police and welfare organizations sought out Warrington’s assistance with other such cases, and soon he had transformed his home into an asylum for wayward boys. In 1923 he purchased the Lalaurie House at 1143 Royal Street - infamous as the most haunted house in New Orleans - and turned it into the Warrington House, a refuge for the indigent. Soon after followed the Warrington House for Boys at 820 Esplanade Ave., the Warrington Trade School at 1133 Chartres St., a furniture shop at 1133 Royal Street and a mission and soup house at 623 Chartres Street. All of this was sustained by Warrington’s own fortune, as was the journal of his philanthropic philosophy, “The Warrington Messenger”. During the height of the Great Depression, it is estimated that he personally gave assistance to over 100,000 people annually, though he himself lived in a single room with sparse furnishings and sustained himself on greengrocer’s scraps from the French Market. The Warrington House, whose only qualifications for admission were hunger and want, closed in 1932 and, his fortune dwindling, Warrington took to national appeals to keep his other asylums open. These appeals fell on deaf ears, and by the late 1930’s most of his charitable enterprises had closed. He died, penniless, on January 22, 1941. This loving cup is one of the few surviving relics of the Warrington Movement, and is a testament to the extraordinarily compassionate man whom it honors. [700/1000] Illustrated

170

1346

1347 Six American Sterling Silver Serving Pieces, first half 20th century, including a Gorham “Pembroke” chipped beef fork, engraved “Hampton”, l. 5‑3/4”, a Reed & Barton “Burgundy” jelly spoon, l. 6‑1/4”, an International Silver “Shirley” lettuce spoon, l. 8‑1/2”, a Gorham “Fontainebleau” tablespoon, l. 8‑1/4”, a Towle “Richmond” cream ladle with gilt bowl, l. 5‑1/4”, and a J.B. & S.M. Knowles “Angelo” lettuce fork, monogrammed “B”, l. 10”, 8.03 total t. oz. [150/300] 1348 Four American Sterling Silver Serving Pieces, first half 20th century, including a J.B. & S.M. Knowles “Angelo” lettuce spoon, engraved “de la V.”, l. 8‑3/4”, a Watson “Princess” cold meat fork, l. 7‑1/2”, a Blackington pastry spade in an unidentified Louis XV-style pattern, l. 8‑3/4”, and an unidentified sugar shell in a pattern similar to Gorham’s Luxembourg, l. 5‑1/4”, 6.49 t. oz. [100/200] 1349 Towle “Old Master” Sterling Silver Ice Tongs, the pattern designed in 1942 by Harold E. Nock (1875‑1952), Newburyport, Massachusetts, l. 8‑1/4”, 6.17 t. oz. [100/200] 1350 Three American Sterling Silver Ice Cream Slices, 20th century, including examples of Gorham “Cambridge”, l. 10‑1/4”, Whiting “Radiant”, monogrammed “G”, l. 9‑1/8”, and Whiting “Bead”, l. 9‑1/8”, 7.84 total t. oz. [150/300] Illustrated

1351 Six Towle “Canterbury” Sterling Silver Serving Pieces, the pattern introduced in 1893, Newburyport, Massachusetts, including an almond scoop with pierced gilt bowl, l. 4‑5/8”, a lettuce spoon, l. 9”, a lettuce fork with gilt tines, l. 9‑1/4”, a cucumber server with pierced gilt bowl, monogrammed “de la V”, l. 7‑1/2”, a berry spoon with gilt bowl, monogrammed “de la V”, l. 7‑1/2”, and a meat fork, l. 9”, 8.74 total t. oz. [200/400]

1353

1352 American Silverplate Tray, thrid quarter 20th century, by International Silver Co., Meriden, Connecticut, in the “Castleton” pattern, of oval form with , w. 15‑1/4”.gadrooned rim and addorsed acanthus scroll handles, the plateau engraved with a wide rocaille band, l. 24‑1/2” [400/700]

1355 1353 Fourteen Piece American Silverplate Presentation Punch Service, mid-20th century, by the Crescent Silverware Mfg. Co., including a hemispherical punch bowl, h. 10”, dia. 15”, a circular platter, dia. 21”, and twelve cups, h. 3‑1/4”, dia. 3”, all decorated with applied “vintage” banding, the punchbowl inscribed “Dixie Horse Show / Jubilee / Parade-Grand-Championship Stake / The Chas. Eickel Memorial / Challenge Trophy”. [200/400] Illustrated

1350 1354 Reed & Barton “Victoria” Pattern Silverplate Tray, 1956, Taunton, Massachusetts, of oval form with shaped rococo scroll edge, handles and feet, the plateau engraved with a wide rocaille band, l. 28”, w. 18‑1/2”. [150/300] 1355 Set of Four American Sterling Silver Candlesticks, second quarter 20th century, retailed by Robert F. Ensko, probably manufactured by Currier & Roby, New York City, New York, in the colonial taste, each with a baluster standard above a concave-domed circular foot and surmounted by a circular drip-pan and cannonform nozzle, h. 11‑3/4”, dia. 5‑3/4”, 80.51 total t. oz. [4000/7000] Illustrated

171

1356 American Sterling Silver Water Pitcher, mid20th century, by Frank M. Whiting, North Attleboro, Massachusetts, of ovoid form, the body decorated with large, opposing, repousse, floral-mantled cartouches, with waisted integral collar, crested handle and circular foot ring, the whole decorated with embossed gadrooned banding, h. 11”, l. 9”, dia. 5‑3/4”. This pattern came in both an unadorned version (#1962) and this: the more desirable hand-chased version (#C1962). [400/700] Illustrated 1357 Three Pieces of American Sterling Silver Tableware, 20th century, including a Gorham “ChantillyDuchess” small compote, h. 3‑3/4”, dia. 6”, weighted, a Wallace “Grand Baroque” gravy bowl with attached underplate, h. 2‑3/4”, dia. 6”, 7.26 t. oz., and a Fisher Silversmiths compote with gadrooned rim and cavettocanted square plinth base, h. 4‑1/2”, dia. 6‑1/4”, weighted. [100/200]

1356

1358 Fifty-One Piece Gorham “Strasbourg” Sterling Silver Luncheon Service, the pattern designed in 1897 by William Christmas Codman (1839‑1823), Providence, Rhode Island, including eight luncheon forks, l. 7”, seven salad forks, l. 6‑1/4”, seven teaspoons, l. 5‑4/8”, eight iced tea spoons, l. 7‑1/8”, eleven demitasse spoons, l. 4”, eight luncheon knives with stainless steel “new French”shaped blades, l. 8‑3/4”, a master butter knife, l. 6‑3/4”, and a sugar shell, l. 6”, no monograms, 42.83 total t. oz. [800/1200] 1359 Three American Sterling Silver Serving Pieces, including Durgin “Fairfax Engraved” sugar tongs, l. 4‑5/8”, George W. Shiebler “Gothic” sugar tongs, monogrammed “L”, l. 5‑1/2”, and an Alvin “Florentine” bonbon spoon, monogrammed “McK”, l. 5‑5/8”, 2.70 total t. oz. [100/200]

172

1360 Three North American Sterling Silver or Silverplate Pierced Serving Pieces, 20th century, including sterling silver pieces an Alvin “Majestic” vegetable spoon, l. 8‑1/4”, and a P.W. Ellis “Old English” pea spoon, monogrammed “C”, l. 4‑3/4”, and in silverplate an 1881 Rogers “La Vigne” tea strainer, l. 8‑1/4”, 4.88 total t. oz. (sterling pieces only). [100/200] 1361 Whiting “Imperial Queen” Sterling Silver Punch Ladle, the pattern designed in 1895 by Charles Osborne (1847‑1920), monogrammed “VJS”, l. 13”, 6.24 t. oz. [100/200] 1362 Forty-Four Pieces of American Sterling and Other Small Table Silver, first half 20th century, including sterling pieces, a pair of Bailey, Banks and Biddle Louis XV-style master salt spoons, monogrammed “HW” l. 3‑3/4”, a pair of Wallace “Rose Point” salt spoons, l. 2‑1/4”, a set of six Durgin “Fairfax” salt spoons, monogrammed “R”, l. 2‑1/2”, a pair of Currier & Roby Hanoverian-style salt spoons, l. 2‑1/2”, a pair of Tiffany & Co. Italian spatulate-handled salt spoons, l. 3‑1/4”, a set of six Gorham “Chantilly” salt spoons, monogrammed “W”, a pair of Reed & Barton poppy-handled salt spoons with coquille bowls, l. 2‑1/8”, a pair of rose-handled salt spoons, l. 2‑1/4” a similar single rose-handled salt spoon, l. 2‑1/8”, a pair of salt spoons with coquille bowls and fleur-de-lys finial, l. 2‑1/2”, a single salt spoon with heart-shaped bowl, twist stem and fleur-de-lys finial, monogrammed “H”, l. 2‑3/4”, a single salt shovel with cherub finial, l. 2‑1/8”, a set of six Sterling Silver Mfg. Co. reticulated nut circular nut dishes, dia. 3”, a pair of Redlich baluster-form salt and pepper casters, h. 4‑1/4” and a Webster rococo-handled crumb sweep, l. 6”, with a set of six German .800 silver “Chippendale”-style butter pats., dia. 3‑1/8”, 16.71 total t. oz. (excluding crumb sweep). [75/125] 1363 American Silverplate Wine Cooler, second quarter 20th century, of campana form, with a gadrooned rim, opposing acanthus-form handles and raised on a domed foot, h. 10‑3/4”, dia. 7”, w. 10‑1/2”. [100/200] 1364 American Sterling Silver Bread Tray, third quarter 20th century, Durham Silver Co., New York City, New York, of shaped oval form, the flared rim decorated with embossed flowers and wheat stalks, the edge embossed with rococo scrolls and shells, l. 11‑3/4”, w. 7”, 10.55 t. oz. [200/400] 1365 Anglo-American Silverplate Platter and Tray, mid20th century, the circular platter by the Barker-Ellis Co., Birmingham, England, dia, 13‑3/4”, the rectangular tray by the E.G. Webster division of International Silver, Meriden, Connecticut, l. 27”, w. 16‑1/4”, each with a cast “Vintage Rose” border and a plateau flat-chased with a wide band of flowers and foliage. [100/200] 1366 Set of Eight American Silverplate Trumpet Vases, second quarter 20th century, each with a cast openwork “oak cluster” base with a single wire tenril coiling upwards terminating in a leaf and forming a socket for the detachable trumpet vase with wavy rim, h. 4‑1/4”, dia. 3”. [40/70]

1372 Three American Silverplate Serving Pieces, 20th century, including a National Silver “Monarch Plate #2” serving spade, l. 10”, an unmarked Danish-modern style bottle opener, l. 7”, and an unusual bow-style straining spoon with flat fiddle-thread handle, l. 9‑1/2” [50/80]

1377

1367 Fourteen Pieces of American Small Sterling Silver Tableware, first half 20th century, including eight Gorham pierced navette-shaped nut dishes, l. 3‑3/4”, w. 2‑1/4”, a pair of Lunt coquille-form butter pats, l. 3”, w. 21/2”, an F. M. Whiting circular floral-rimmed candy dish, dated 1903 and monogrammed “EWC”, dia., 5‑1/4”, an F. M. Whiting double-coquille condiment dish, l. 10‑1/2”, w. 5‑1/4”, and a pair of Fisher gadrooned campana-form toothpick holders, h. 3‑1/8”, dia. 2‑1/2”, 18.45 total t. oz. [300/500] 1368 Set of Twelve American Sterling Silver Bread and Butter Plates, first quarter 20th century, retailed by S. Jacobs & Co., Minneapolis, Minnesota, each of circular form with molded rim, monogrammed at the center “EGG”, dia. 6”, 34.46 total t. oz. [500/800] 1369 Six American Sterling Silver Butter Serving Pieces, first quarter 20th century, including a pair of Wallace “Lucerne” butter picks, monogrammed “MWH”, l. 6” a Rogers, Lunt & Bowlen “Monticello” butter pick, l. 6‑1/2”, an Alvin “Old Chippendale” butter pick, l. 6‑3/4”, a Gorham “Chantilly” two-tine butter pick, l. 5‑1/2”, and a Paye & Baker “Pond Lily” master butter knife, l. 7”, 3.28 t. oz. [75/125] 1370 Twenty-Four Assorted American Sterling Silver Ramekin Forks, 20th century, including six each in the patterns Gorham “Chantilly”, monogrammed “S”, l. 4‑3/4”, the Sterling Silver Mfg. Co. “Blossom”, monogrammed “E”, l. 5”, Frank M. Whiting “Pierced”, monogrammed “S”, l. 5”, and Whiting “Louis XV”, with gilt tines, monogrammed “C”, l. 5”, 12.28 total t. oz. [200/400] 1371 Seventeen American Sterling Silver and Silverplate Strawberry Forks, 20th century, including eleven Gorham “Buttercup” sterling examples, l. 4‑1/2”, and six Rogers & Hamilton “Marquise” silverplate examples, monogrammed “J”, l. 4‑3/4”, 4.11 total t. oz. (sterling pieces only). [100/200]

1373 Reed & Barton “Hepplewhite Engraved” Sterling Silver Platter Spoon, the pattern designed in 1907 by Charles A. Bennett, monogrammed “H”, l. 12‑3/4”, 5.21 t. oz. [100/200]

1374 Six American Sterling Silver Serving Pieces, 20th century, including a Towle “Louis XV” tomato server with stainless steel blade, l. 8‑3/4”, a Lunt “Bell Chateau” pastry spade, l. 9‑1/2”, a Gorham “Old English Tipt” slotted serving spoon, l. 9”, an International Silver “Deerfield” joint fork with silverplate tines, l. 10‑1/4”, a Webster cake server with plated steel blade, monogrammed “K”, l. 9‑1/2”, and a Gorham “Medallion” macaroni server, l. 9‑1/2”, 11.38 total t. oz. (excluding items with steel/ plated elements). [150/300] 1375 Eight Miscellaneous Pieces of Sterling Silver Flatware, 20th century, including two Sterling Silver Mfg. Co. sardine forks, one in a colonial revival pattern, l. 5‑1/2”, the other in an acid-engraved “vintage” pattern, l. 5‑1/4”, a Gorham “Gorham Plain” bonbon server, l. 5‑1/4”, four Baker-Manchester “No. 1” citrus spoons, l. 5‑1/4”, and Gorham “Etruscan” sugar tongs, monogrammed “B”, l. 4‑1/4”, 4.18 total t. oz. [75/125] 1376 Two Anglo-American Silverplate Trays, mid-20th century, including a Reed & Barton-retailed rounded rectangular drinks tray, with pierced gallery, gadrooned handles and rococo-engraved plateau, l. 12‑3/4”, w. 9‑1/4”, and an English rounded rectangular tea tray with floral rocaille edge and handles, the plateau engraved en suite, l. 27‑1/4”, w. 16‑1/4”. [50/80] 1377 American Silverplate Double Sauce Dish Stand, second quarter 20th century, by the Continental Silver Co., Brooklyn, New York, comprising a pair of Regencystyle covered sauce dishes with ring handles, in a fitted receptacle above a rounded rectangular hot water reservoir with a pair of scroll-mounted, turned bakelite faux ivory handles and raised on four acanthus-crested lion’s paw feet, the whole decorated with narrow gadrooned edging, the reservoir with acanthus-mantled shell corners, h. 7‑1/4”, l. 20”, w. 12‑1/4”. [50/80] Illustrated

173

1378 Set of Twelve Sterling Silver and Porcelain Bouillon Cups, mid-20th century, the silver frames by Frank M. Whiting, North Attleboro, Massachusetts, the porcelain cups by Lenox, Trenton, New Jersey, the silver frames of hemispherical form decorated with tall openwork lattice banding, with opposing arched scroll handles, fitted with a cream-colored cup with gilt-threaded rim, with one additional cup, overall h. 2‑1/2”, dia. 4‑1/4”, w. 5‑1/4”, 14.78 total t. oz. (excluding porcelain cups). (25 pieces total.) [200/400] 1379 Set of Eight Sterling Silver and Porcelain Demitasse Cups, mid-20th century, the silver frames by Gorham, Providence, Rhode Island, the porcelain cups by Lenox, Trenton, New Jersey, the silver frames of ovoid form decorated with tall openwork scroll banding above an openwork band of circles, with and arched scroll handle, fitted with a cream-colored cup with gilt-threaded rim, overall h. 2‑1/4”, dia. 2‑1/4”, w. 3”, 6.36 total t. oz. (excluding porcelain cups). [100/200] 1380 Twenty-Four Pieces of American and English Sterling Silver, Silverplate and Cobalt Glass Dining Table Ware, second and third quarters 20th century, a set eight Webster Co. sterling reticulated hemispherical salt cellars with cobalt glass liners (one lacking), dia. 1‑7/8”, a pair of Fisher Silversmiths sterling pedestal-footed cauldron salt cellars with cobalt glass liners, dia. 2‑1/8”, two pairs of George V reticulated sterling salt cellars hallmarked Birmingham, 1926‑1928, by J. B. Chatterly & Co., one oval, l. 2‑1/2”, one circular, dia. 2‑1/8”, all with cobalt glass liners (one lacking), an unmarked pair of silverplate reticulated circular salt cellars with cobalt glass liners, dia. 1‑3/4”, and eight pressed cobalt glass knife rests of hexagonal “dumbbell” fom, l. 3‑3/4”, 7.90 total t. oz. (sterling silver only). [250/400] 1381 Pair of American Silverplate Candelabra, third quarter 20th century, by the Goldfelder Silverware Co., Yalesville, Connecticut, each with a knopped baluster standard above a cavetto domed circular foot and surmounted by an urn-form nozzle, into which fits a superstructure of a shorter baluster standard flanked by pair of scrolling arms, the standard and arms all terminating in an urn-form nozzle with circular drip-pan and detachable circular bobeche, the whole decorated with embossed gadrooned banding. [75/125] 1382 Thirteen Pieces of Dominick & Haff “La Salle” Sterling Silver Flatware, the pattern introduced in 1928, New York City, New York, including eight seafood/cocktail forks, l. 5‑3/8”, for gumbo/soup spoons, l. 6‑78”, and one tablespoon, l. 8‑3/8”, no monograms, 12.60 total t. oz. [100/200] 1383 Set of Twelve International Silver “Georgian Maid” Sterling Silver Bouillon Spoons, the pattern designed in 1923 by Alfred G. Kintz (1884‑1963), l. 5‑1/4”, no monograms, 6.69 total t. oz. [100/200]

174

1384 Three Pieces of Assorted Small American Sterling Silver Tableware, mid-20th century, including a Poole Silver Co. cream jug, of bulbous form with integral spout and crested “c-scroll” handle, h. 3”, l. 4‑1/4”, a circular Poole bowl with molded rim, dia. 6‑7/8”, and an International Silver embossed leaf-form candy dish, l. 6”, w. 4‑1/2”, 11.63 total t. oz. [50/80] 1385 American Silverplate Split-Size Wine Bottle Trolley, mid-20th century, probably the Victoria Silver Co., Philadelphia, Pennsylvania, in the Georgian taste, with a pair of bulbous circular wine coasters with gadrooned rim and wooden base, fixed to a flat trolley with four spoked wheels, the front pair led by a crossbar handle, h. 3”, l. 12”, w. 4‑1/2”. [75/125] 1386 Set of Eight Sterling Silver Knife Rests, first quarter 20th century, each in the form an elaborate openwork rococo scroll, l. 4”, w. 1‑3/4”, 10.35 total t. oz. [150/300] 1387 Four American Sterling Silver Serving Pieces, 20th century, including S. Kirk & Son “Repousse” sugar tongs, l. 3‑1/4”, 0.51 t. oz. unmarked floral Art Nouveau-style poultry shears with stainless steel blades, l. 10‑1/4”, and a pair of unmarked “Danish Modern”-style salad servers with wooden tines/bowl, l. 11” & 12”. [75/125] 1388 Eleven Sterling Silver-Handled Corn Cob Picks, 20th century, the handles in the form of partially shucked ears of corn, four in one pattern and seven in another, with plated steel picks, l. 2‑3/4” [40/70] 1389 Set of Ten American Sterling Silver Iced Tea Sippers, mid-20th century, by the Watson Co., North Attleboro, Massachusetts, each with a heart-shaped bowl, slender tubular stem and small spherical finial, l. 8”, 3.53 total t. oz. [75/125] 1390 Pair of American Silverplate Candelabra, third quarter 20th century, each with a tapering standard above a domed circular foot and surmounted by and urnform nozzle into which fits a superstructure of a smaller standard en suite flanked by a pair of reeded scrolling arms, all terminating in a smaller urn-form nozzle, the outer pair with drip-pans, all fitted with detachable circular bobeches, the whole decorated with narrow gadrooned banding, engraved on the based with a faux crest of a griffin’s head, h. 20”, w. 15‑3/4”, dia. 5‑1/2”. [200/400]

1391 One Hundred and Fifty-Seven Piece Set of International “Riviera” Sterling Silver Flatware, the pattern designed in 1936 by Alfred G. Kintz (1884‑1963), Meriden, Connecticut, including, eight dinner forks, l. 7‑3/4”, eight luncheon forks, l .7‑1/4”, eight salad forks, l. 6‑1/4”, eight seafood/cocktail forks, l. 5‑1/2”, eight ice cream forks, l. 5‑1/2”, eighteen teaspoons, l. 5‑3/4”, eight soup spoons, l. 6‑3/8”, eight cream soup spoons, l. 5‑1/2”, eight gumbo spoons, l. 7”, eight dessert spoons, l. 6‑5/8”, eight iced tea spoons, l. 7‑1/2”, eight demitasse spoons, l. 4”, eight citrus spoons, l. 5‑3/4”, eight dinner knives with stainless steel “old French”-shaped blades, l. 9‑1/2”, eight luncheon knives with stainless steel “old French”-shaped blades, l. 9‑1/2”, eight flat butter spreaders, l. 5‑1/2”, four tablespoons, l. 8‑1/2”, two serving spoons, l. 9‑1/2”, a serving fork, l. 8‑3/4”, a master butter knife, l. 7‑1/4”, a two-piece carving set with stainless steel fittings including a carving fork l. 9‑3/8”, and knife, l. 11‑1/4”, two gravy ladles, l. 6‑1/2”, a sauce ladle, l. 5‑1/2”, a tomato server, l. 8”, a jelly spoon, l. 6‑1/2”, a potato fork, l. 7‑1/4”, a lemon fork, l. 4‑3/4”, a pickle fork, l. 5‑3/4” and a candlesnuff with stainless steel fittings, l. 10‑1/4”, one hundred and nineteen pieces monogrammed “W”, 145.45 total t. oz. (excluding items with stainless steel blades/ fittings). [2500/4000] 1392 American Sterling Silver Bread Tray, mid-20th century, of lobed oval form with molded rim, l. 12”, w. 6‑3/4”, 11.89 t. oz. [100/200] 1393 American Reed & Barton “Windsor” Sterling Silver Drinks Tray, 1945, Taunton, Massachusetts, of rounded rectangular form with molded “Chippendale”-style rim, l. 10‑3/4”, w. 7‑1/2”, 11.76 t. oz. [100/200]

1394 Forty-Five Pieces of Towle “Southwind” Sterling Silver Flatware, the pattern designed in 1951 by John O. Van Koert (1912‑1998), including eight dinner forks, l. 7‑1/2”, nine salad forks, l. 6‑1/2”, eight teaspoons, l. 6”, one soup spoon, l. 7”, one iced tea spoon, l. 8‑3/8”, nine dinner knives with contoured stainless steel blades, l. 8‑3/4”, seven butter spreaders, l. 5‑7/8”, one serving spoon, l. 8‑3/4” and one serving fork, l. 9‑3/8”, no monograms, 47.65 total t. oz.. (excluding dinner knives). John Owen Van Koert was born in Manitoba, Canada on July 30, 1912, the son of English-born tax consultant John Henry Van Koert and his wife, South Dakota native Elinor Owen. The family had moved to Milwaukee by 1930, where the young Van Court enrolled in the University of Wisconsin to study art. Trained a sculptor and painter, he designed jewelry for Harry Winston in New York in the 1940’s before branching out as an independent designer. He was a leading force in popularizing Scandinavian and Danish Modern designs, as exemplified by his silver designs for Towle Silversmiths, including “Southwind”, for which he filed a patent on December 12, 1951, granted on August 12, 1952. In 1954, he was the coordinator of “Design in Scandinavia”, an important exhibition which showed at twenty-four venues over three years. Around this time he also created the “Counterpoint” line of furniture for Drexel Heritage, which showcased his modern designs and his early advocacy of built-in furniture. In the 1970’s he designed traditional furniture of Serried, Ltd., eventually retiring to Santa Fe, New Mexico in 1993. He died there on October 11, 1998. [500/800] 1395 Pair of American Sterling Silver “Danish Modern” Candelabra, second quarter 20th century, by the Woodside Sterling Co., New York City, New York, each with a central openwork “leaf and berry” standard with 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, h. 7”, w. 9‑1/2”, dia. 4‑1/4”, 40.70 total t. oz. [2500/4000] Illustrated following page 1396 Pair of Mexican Sterling Silver Salt Cellars and Spoons, third quarter 20th century, Taxco, the cellars of hemispherical form above a floral-domed foot en suite, the interior gilt, h. 1‑1/8”, dia. 1‑3/8”, the spoons with hemispherical bowls and up-pointed handle with incised rib, l. 1‑5/8”, 1.15 t. oz. [30/50] 1397 Mexican Sterling Silver Platter, mid-20th century, by Plateria Maciel, Mexico City, of circular form, the rim decorated with repousse roses within a meander line, dia. 15‑1/2”, 46.29 t. oz. [600/900] 1398 Set of Twelve Mexican Sterling Silver Tall Beakers, third quarter 20th century, by Louvre, Mexico City, each of plain, slightly tapering cylindrical form, h. 6‑5/8”, dia. 2‑3/4”, 91.56 total t. oz. [300/500] Illustrated following page

175

1401 1399 1398

1400

1395

1399 Mexican Sterling Silver Water Pitcher, third quarter 20th century, by Industria Mexicana de Plata, Naucalpan de Juarez, in the Danish Modern taste, the ovoid body with rolled rim and integral spout, the strap handle decorated with applied stylized “berry” decoration, h. 8‑1/4”, w. 6‑1/4”, dia. 4‑1/4”, 16.97 t. oz. [100/200] Illustrated 1400 Mexican Sterling Silver Entree Dish, third quarter 20th century, by Sanborn Hermanos, Mexico City, in the Spanish Colonial taste, of rounded rectangular form, with gadrooned rim, the conforming fitted lid with applied gadroon-and-scroll handles and inverting to serve as a second dish, h. 2‑3/4”, l. 11‑1/4”, w. 8‑1/8”, 40.12 t. oz. [400/700] Illustrated 1401 Los Castillo “Metales Castillo” Copper and Silver Drinks Tray, third quarter 20th century, Taxco, Mexico, of rounded convex square form, the copper body inlaid with a stylized Aztec silver bird, w. 12‑1/2”, d. 12-1/2". [125/250] Illustrated 1402 Pair of Mexican Sterling Silver and Wood Salad Servers, third quarter 20th century, by “HCL”, Mexico City, in the Danish Modern taste, including a salad serving spoon, l. 10‑3/4” and fork, l. 11‑3/4”, each with an ovoid bowl/tines to a conical ferrule with stylized “berry” decoration, with curved wooden handles of tapering square-to-circular section. [100/200]

176

1403 Pair of American Cast-Iron “Owl” Andirons, early 20th century, the owls each perched on a gnarled limb, stamped: “3000‑2” on the hollow reverse, both pair of glass eyes set in with a metal strap, the billet bars with cast marks: “978‑1” and “MADE IN U S A”, h. 14‑3/4”, w.9‑1/4”, d.16”. [250/400] 1404 Set of Twenty-Three Minton Bread and Butter Plates, ca. 1902‑1912, retailed by Tiffany and Company, with raspberry borders contained in raised gilt stripes and decorated with gilt medallions and rococo cartouches, marked with a Minton transfer mark, “Tiffany & Co.”, and “Made in England”, dia. 6”. [150/300] Illustrated 1405 American Late Victorian Quarter-Sawn Oak Console Table with Mirror, fourth quarter 19th century, possibly by R.J. Horner, New York, the crest depicting two cupids flanking a central cartouche, the beveled mirror with a heavily carved frame and carved figural pilasters, the base with two side-by-side drawers and seated winged griffins on each end, raised on carved paw feet, overall h. 87‑1/2”, w. 54”, d. 23”. [3000/5000] Illustrated

1406 Pair of Late Victorian Gilt-Bronze Wall Sconces, ca. 1900, each scroll-molded round wall plate supporting a standard with four rope-twist, scrolled branches holding candle cups, the center fitted with an electric socket holding a cut-glass shade, and with a winged griffin below, now heavily patinated, h. 19”, w. 19”. [1000/1500] 1407 American Black Glass Cosmetics Box, 20th century, the black glass set with shadow agate, brass mounts, h. 2”, l. 2”. [250/400]

1404

1413 1412 1416

1411

1414

1408 Pair of Brass and Cast-Iron Andirons in the Renaissance-Style, ca. 1900, probably New England, the andirons with cabriole legs ending in paw feet, and with a satyr mask gripping a ring pull, the upper sections pierced in a geometric pattern with an acorn finial on top, signed “EOB & R Co.” on the iron billet bars, h. 21”, w. 12‑1/2”, d. 22”. [300/500]

1415

1412 Tiffany Favrile Glass Bowl and Gilt-Metal Basket, first quarter 20th century, the bowl engraved within the pontil: “Tiffany 1925 Favrile” and bearing the original circular paper sticker: “Favrile Glass Trademark Registered Tiffany” at the center, h. 2‑1/8”, dia. 5‑3/4”, the basket stamped under the foot: “Louis C. Tiffany Furnaces, Inc. / Favrile / 516” with the circular label stamped and matching the above design, h. 6‑3/4”, w. 7”. [500/800] Illustrated

1413 Tiffany Studios Bronze Dish, first quarter 20th century, possibly the “Chinese Pattern”, with a gold dore finish and stamped “Tiffany Studios New York 4021”, dia. 9”. [200/400] Illustrated

1405

1409 Circle of Martin Johnson Heade (American, 1819‑1904), “Cornstalks and Pumpkins”, oil on board, unsigned, 11‑1/2” x 18‑1/2”. Presented in a contemporary frame with a exhibition plaque. [2000/4000] Illustrated 1410 Hudson River School (Third Quarter 19th Century), “New England Landscape With Cattle”, oil on board, unsigned, 2‑1/4” x 3‑1/2”. Glazed, attractively matted and framed. [400/700] 1411 Nest of Three Tiffany Studios Bronze Dishes, first quarter 20th century, New York, the oval and ribbed dishes, in a gold dore finish signed "Tiffany Studios, New York, 1859. [400/700] Illustrated

1414 Tiffany Studios Double Inkwell in the Venetian Pattern, first quarter 20th century, the casket-form inkwell executed in the gold dore finish and inspired by early carved chests, the hinged lid opening to reveal the two wells containing pressed glass conforming ink pots, stamped “Tiffany Studios, New York, 1841” on base, h. 2‑3/4”, w. 4‑3/4”, d. 3”. [800/1200] Illustrated 1409

177

1423

1425

1427 1429 1422 1420

1428

1430 1431

1421

1424

1415 Tiffany Studios Oval Box in the Adams Pattern, first quarter 20th century, New York, the top molded as a classical paterae with a guilloche border, the sides with panels of vertical ribbing alternating with panels containing medallions and bellflowers, finished in gold dore, signed “Tiffany Studios New York” on the base, h. 2‑1/2”, w. 4”, d. 3‑1/2”. [300/500] Illustrated previous page 1416 Tiffany Favrile Glass Bowl, first quarter 20th century, New York, the blown gold iridescent glass bowl with a ruffled edge resting atop four short feet, pontil marked and etched “L.C.T. 7214‑B” around the pontil, h. 3‑3/4”, dia. 6". [500/800] Illustrated previous page 1417 Leaded Glass Lamp, ca. 1900, the leaded shade, probably made in Czechoslovakia, comprised of orange glass with scattered orange “jewels”, the patinated metal two-light base, probably American, h. 20‑1/2”. [500/800] 1418 Set of Nine Brownfield and Sons Dinner Plates, ca. 1871‑1891, retailed by Tiffany and Company, the plates decorated in the Chinoiserie style with peonies, the outline of the decoration transfer-printed with handpainted overglaze enamels, the reverse with a transferprinted “Brownfield China” mark, a “Tiffany and Company, New York” mark and with an impressed “Brownfield” mark, dia. 10”. [200/400] 1419 Continental Art Glass Vase, ca. 1900, the vase blown in heavy opaline glass and enameled with spider webs and peacock feathers, h. 8”. [200/400]

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1426

1420 Large Mont Joye, France, Cameo-Cut, Acid-Etched and Gilded Glass Vase, ca. 1900, the parcel-gilt ruffled rim above a tapering bulbous spring green textured body decorated in raised and flat gilding, marked with the gilt Mont Joye shield underneath, h. 8‑1/4”, dia. 9‑1/2”. [500/800] Illustrated 1421 Art Glass Vase Bearing the Signature of “Loetz”, first quarter 20th century, the iridescent green vase molded in a pattern resembling rippling fabric, fitted with a pierced brass neck piece inspired by arts and crafts design, h. 5‑3/8”. [300/500] Illustrated 1422 Galle Cameo Glass Bud Vase, first quarter 20th century, the vase in cream-colored glass overlaid in deep reds, cut in patterns of water flora in a pond, signed “Galle” on the neck, h. 12‑1/4”. [700/1000] Illustrated 1423 Galle Cameo Glass Trumpet Vase, ca. 1900, the green and pale blue glass base, cased in green and pink, cut in a pattern of pink flowering tropical vines with blossoming honeysuckles, signed, h. 22”, dia. 4‑1/2”. Included in an a 1990’s cameo art glass exhibit, coordinated by John W. Keefe, at The New Orleans Museum of Art. [5000/8000] Illustrated 1424 Continental Art Glass Vase, first quarter 20th century, the ovoid base surmounted with a square flaring neck, in a smoky glass with streaks of terracotta, brown and white creating a tortoiseshell effect, the raised gilt decoration depicting flowers, buds and leaves, ground pontil on base, h. 10”, dia. 5”. [300/500] Illustrated

1425 Impressive and Large Galle Cameo Glass Vase, first quarter 20th century, the pink body cased in lime green and cut in a pattern of thistles, signed “Galle” in the lower edge of the plants, h. 24‑1/2”, dia. 10”, at base. [800/1200] Illustrated 1426 Bohemian Glass and Gilt-Metal Atomizer, ca. 1900, the body with green and maroon surface-threading, probably Pallme-Konig, h. 5”. [150/300] Illustrated 1427 French Cameo Cut and Gilded Art Glass Vase, ca. 1900, the vase in green glass cut with grapes and vines, attributed to Monte Joye by Legras, h. 12”. [500/800] Illustrated

1433

1433 University of North Dakota School of Mines Pot by Julia Matson, ca. 1924‑1949, the pot with a high glaze in lavender and blue, with sgraffito decoration of a cowboy with a lasso, the pot marked with the University imprint and hand inscribed “J. Matson Cowboy, 54‑0”, dia. 5”. [600/900] Illustrated 1434 Rookwood Rook Pattern Tray, ca. 1944, in Rookwood’s wine madder glaze, the oval base supporting the molded bird, impressed with the “Rookwood” mark over “XLIV” and “1139” pattern number, h. 4”, w. 8‑1/2”, d. 7”. [250/400] 1435 Shearwater Pottery Beaker, 20th century, probably by Peter Anderson (1903‑1965), the interior with a tan glaze, the exterior with a hand painted design of waves and a bird on a cream and tan mottled ground, blistered in numerous areas, stamped “Shearwater”, h. 4‑3/4”, dia. 3‑1/2”. [300/500] Illustrated 1436 Moorcroft Pottery Hibiscus Bowl, ca. 1953‑1978, the green-glazed ground decorated with raised edge patterns of red hibiscus, stamped “Moorcroft” with paper label reading “Potters to the late Queen Mary”, h. 3‑1/4”, dia. 10‑1/2”. [250/400]

1428 Legras Acid-Etched Vase in a "Vintage" Pattern, first quarter 19th century, the pink body with applied color to the decoration, signed “Legras” on front, “Made in France” etched on base, h. 8”, dia. 4”. [300/500] Illustrated 1429 Richard Cameo Glass Landscape Vase, Loetz Factory, first quarter 20th century, the vase in a mottled clear and orange glass overlaid with dark amber and purple, cut in patterns of chalets on a lake against a backdrop of mountains, signed “Richard” on the lower front, h. 13”. [500/800] Illustrated 1430 Pallme-Konig Aubergine Floral Glass Vase, ca. 1900, the pinched tapering body decorated with large aubergine and white flowers, h. 7‑3/4”. [300/500] Illustrated 1431 Loetz Factory Cameo Glass Bud Vase, ca. 1900, the vase in cream-colored glass with carved bunches of red berries and leaves, the top finished with a molded gilt-brass liner, signed “Richard”, h. 6‑1/2”. [300/500] Illustrated 1432 Pair of Continental Green Glass Scent Bottles, mid19th century, the round bases cut in alternating leaves below a faceted neck with a gadrooned top, decorated with gilt flourishes and scattered enamel flowers on gilt branches, h. 4”, dia. 3”. [200/400]

1435

1437 Collection of Three Heintz American Arts and Crafts Silver Overlay-on-Bronze Items, first quarter 20th century, produced by the Heintz Art Metal Shop, Buffalo, New York, comprised of a stick neck vase in the “Mistletoe” design, model 3684C, h. 11‑1/2”, an inkwell with the original hinged tab-topped drop-in glass inkwell, in a rose design, model 1155, h. 2-3/8", dia. 3-7/8", and a small inverted edge bowl in a floral branch design, model 557G, h. 1/2”, dia. 3‑7/8”, all with the post-patent diamond mark. [250/400]

179

1438 Elbert Green Hubbard (1856‑1915), Eleven Roycrofters Bindings, Little Journeys to the Homes of the Great (New York: William H. Wise & Co., 1916), 11 volumes (of 14; lacking volumes VII, X and XIV), the “Memorial” edition, produced by the Roycrofters, East Aurora, Erie County, New York, each in full brown embossed flexible, with gilt top edge (the others deckled), overall 8‑1/2” x 6‑1/4”. [200/400] 1439 William Ousley (American/ Louisiana, 1866‑1953), “The Old Tree at Ousley’s Landing”, oil on canvas, signed lower right “W. Ousley”, pencil inscribed on the reverse by the artist, including the painting’s title, 23‑1/2” x 14”. Presented in a polychrome frame. [500/800]

1447 1443 Albert Jean Adolphe (American/ Philadelphia, 1865‑1940), “Portrait of a Doctor’s Wife”, oil on panel, unsigned, reverse with the artist’s handwritten account regarding the painting’s sitter, 7‑1/4” x 5‑3/4”. Presented in a giltwood frame. [150/300] 1444 Albert Jean Adolphe (American/ Philadelphia, 1865‑1940), “New England Mill”, oil on board, signed and dated lower right “Albert Jean Adolphe ‘22”, reverse inscribed in pencil with the artist’s name, 9” x 11”. Presented in a giltwood frame. [400/700] 1445 Karl Eugene Felix (American/Austrian, 1837‑1906), “Venetian Canal Scene With Gondolas”, oil on canvas, signed lower left “K. E. Felix”, 15” x 18”. Presented in a giltwood and gesso frame. [1000/1500]

1446

1440 William B. Gillette (American, 1864‑1937), “River Landscape”, watercolor on paper, signed lower left “W.B Gillette”, sight 8‑1/2” x 11‑1/2”. Glazed, matted and framed. [200/400] 1441 Francis Dixon (American, 1879‑1967), “Landscape With a Farm”, oil on canvas, signed lower right, dated reverse stretcher “April 11, 1945”, 12" x 16". Framed. [600/900] 1442 Bruce Crane (American, 1847‑1937), “Luminous Wooded Landscape”, oil on board, signed lower left “Bruce Crane, N.A.”, 8” x 10”. Presented in a period, gold-painted frame. [600/900]

180

1446 Alson Clark (American, 1867‑1949), “Snow Covered New England Landscape”, oil on canvas board, signed and dated indistinctively lower right, reverse board stamped “Blanchet, -20‑, Rue Saint Benoit, Paris”, 7‑1/4” x 9‑3/8". Framed. [3000/5000] Illustrated 1447 Guy Carleton Wiggins (American, 1883‑1962), “Winter Park Scene”, oil on canvas, signed lower left “Guy Wiggins”, reverse stretcher stamped “Bay State Stretcher, made by Wadsworth Howland & Co., Boston-Mass.”, 9” x 12”. Presented in a contemporary ebonized frame. [4000/7000] Illustrated 1448 William James Glackens (American, 1870‑1938), an illustration for The Saturday Evening Post, 178:8‑9, titled on the reverse “A-Babbled O’ Green Fields”, charcoal and graphite on paper, signed lower right “W. Glackens”, sight 10” x 10”. Glazed, matted and framed. [1400/1800] Illustrated

1449

1448

1449 Circle of Claude Raguet Hirst (American, 1855‑1942), “Ethicks”, oil on canvas, unsigned, 20” x 24”. Presented in a molded gitlwood frame. [800/1200] Illustrated 1450 Paul Joseph Penczner (American/Tennessee, b. 1916), “Autumnal Wooded Landscape”, oil on board, signed lower left “Penczner”, 8” x 10”. Presented in a molded, stained wood frame. [250/400] 1451 Paul Joseph Penczner (American/Tennessee, b. 1916), “Wooded Landscape with a Cottage”, oil on board, signed lower left “Penczner”, 8” x 10”. Presented in a molded, stained wood frame. [250/400]

1452 Group of Thirty Books Pertaining to Landscaping, Southern Gardens and Country Houses, including, Mississippi Wildflowers, by Parker, Construction Design for Landscape Architects, by Munson, Graphic Standards for Landscape Architecture, by Austin, Dunbar Hulvershorn and Todd, The Architect and the American Country House, by Hewitt, Summerhouses of Virginia, by Prideaux, The Backyard Bird Watcher, by Harrison, Landscape Design A Practical Approach, 2nd edition by Hannebaum, Classic Cracker Florida’s Wood-Frame Vernacular Architecture, by Haase, The Old House Book of Outdoor Living Spaces, by Grow, Essential Landscaping Ideas and Projects, edited by Spring, Southern Living Courtyards to Country Gardens, by Steadman, Reader’s Digest Practical Guide to Home Landscaping, by Reader’s Digest Association, fifth printing, The Weekend Gardener, by McHoy, The Farmhouse, by Irvine and Krukowski, The Everest House Complete Book of Gardening, by Kramer, The Low Maintenance Garden, by Rose, Residential Landscape Architecture, by Booth and Hiss, Fences, Gates and Garden Houses, by Schmidt, Perennial’s for American Gardens, by Clausen and Ekstrom, Mississippi Piney Woods A Photographic Study of Folk Architecture, by Black, Country Houses 32 Examples From Around the World, edited by Magnani, translated by Alexander, The Architecture of Country Houses, by A.J. Downing, Dover printing 1969, Country Patterns A Sampler of Country Home and Landscape Designs From 19th Century Sources, by Berg, Country Architecture, by Grow, American Country Houses of the Gilded Age Sheldon’s Artistic Country Seats, by Lewis, Dover reprint, The Old House Book of Classic Country Houses, by Grow, The Log Cabin Homes of the North American Wilderness, by Bealer and Ellis, Vacation Homes and Hideaways, by Highton, American Farmhouses, by Rosch, and Architectural Digest Country Homes, by Rense. [75/125] 1453 Group of Thirty-One Volumes Pertaining to the Architecture of Various American Regions and Cities, including, New York 1900 Metropolitan Architecture and Urbanism 1890‑1915, soft cover, by Robert A., M. Stern, Gilmartin and Massengale, The Galveston That Was, by Barnstone, Santa Fe Style. by Mather and Woods, The Metropolitan Club of New York, with slip case by Porzelt, The Architecture of St. Charles Avenue, hardcover by Kirk and Smith, Wayne County The Aesthetic Heritage of a Rural Area, by Jacobs and Plowden, Freestyle The New Architecture and Interior Design from Los Angeles, by Street-Porter, Landmarks of Los Angeles, by McGrew and Julian, Lost America from the Mississippi to the Pacific, by Greiff, Lost American from the Atlantic to the Mississippi, by Greiff, Chicago Houses, by Bailey, The Homes of America, by Pickering, Carnegie Libraries Across America A Public Legacy, by Jones, Historic Houses Restored and Preserved, by Page, Helena Her Historic Home, by Baucus, The Pelican Guide to Plantation Homes of Louisiana, by Calhoun, Landmark Architecture of Palm Beach, by Hoffstot, The Henry Morrison Flagler Museum, Whitehall, Googie Fifties Coffee Shop Architecture, by Hess, Deco Delights, by Capitman, Early Architecture in New Mexico, by Bunting, Bay Area Houses, New Edition, by Woodbridge, The Early Architecture of Madison Indiana, by Windle and Taylor, Guide to Atlanta, by American Institute of Architects, Old Kentucky Architecture, by Newcomb, Mizner’s Florida, by Curl, Lost Chicago, by Lowe, The Majesty of Natchez, by Smith and Owens, Historic Easton It’s History and Architecture, by Ludlow, A Treasury of Early American Homes, by Pratt, and The Abrams Guide to American House Styles, by Morgan. [75/125]

181

1454 Group of Twenty Volumes Pertaining to English Country and Books on Classical Architecture, including, Sir Richard Chambers Knight of the Polar Star, by Harris, The Architecture of Sir Christopher Wren, by Furst, Karl Fredderich Schinkel and Architecture for Prussia, by Bergdoll, Edwin Lutyens Country Houses, by Stamp, The Architecture of John Nash, by Davis, The English Country House A Tapestry of Ages, by Maroon, Monumental Classic Architecture in Great Britain and Ireland, by Richardson, John Soane, edited by Russell, 1983 St. Martin’s Press, Edwin Lutyens, edited by Dunster, 1986, St. Martin’s Press, Great Drawing from the Collection of the Royal Institute of British Architects, by Harris, Lever and Richardson, Inigo Jones, by Summerson, Dictionary of English Domestic Architecture by Osborne, The English Country House An Art and Way of Life, by Cook, Fragments from Greek and Roman Architecture The Classical America Edition of Hector d’Espouy’s Plates, intro by Blatteau and Sears, Fanlights A Visual Architectural History, by Gray and Sambrook, Classical Architecture The Poetics of Order, by Tzonis and Lefaivre, Letarouilly on Renaissance Rome, by Bayley, Andrea Palladio The Four Books of Architecture, intro by Placzek, Dover, 1965, Hardcover, Palladio A Western Progress, by Guinness and Sadler, and Learning From Palladio, by Mitrovic. [75/125] 1455 Group of Thirty-Three Volumes Pertaining to Architecture, including, Traditional details for Building Restoration, Renovation, and Rehabilitation, by Ransey and Sleeper, The Home Within Us, by McAlpine, Architecture in Watercolor, by Schaller, 18 Houses, by Leblanc, America’s Small Houses The Personal Homes of Designers and Collectors, by Williams and Williams, At Home with Books, by Ellis Seebohm and Sykes, 25 Houses Under 1500 Square Feet, by Trulove, Patterns of Home the Ten Essentials for Enduring Design, by Jacobson Silverstein and Winslow, Common Walls/Private Homes Multiresidential Design, by Holon and Dickson, Small House Designs, by Tremblay and Bamford, The Illuminated Landscape Defining and Painting Light and Space, by Poskas and Smith, Marbling How to Techniques, by Spencer, Architecture in San Francisco The Guide, by Woodbridge and Woodbridge, Small Pools, by Planells, The Timber-Frame Home Design Construction Finishing, by Benson, The Designs of William E. Poole, by House Beautiful, Caribbean Style, by Slesin, Cliff et al, Goodbye History, Hello Hamburger, by Huxtable, Landmark, reprint, The Old Way of Seeing How Architecture Lost its Magic, by Hale, Site Planning and Design for the Elderly, by Carstens, Designing Places for People, by Deasy and Lasswell, Living Well The New York Times Book of Home Design, edited by Donovan, American Houses, by Langdon, The New Cottage Home, by Tolpin, The Working Woman’s Dream House, by Hamilton, The Home Exciting New Designs for Today’s Lifestyles, by Szenasy, Home Magazine Best Little Houses, edited by Steves, The Craftsmanship Revival in Interior Design, by Reed, Architectural Detailing, by Lano and Allen, Light the Complete Handbook of Lighting Design, by Szenasy, Daylight in Architecture, by Evans, Feng Shui Art and Harmony of Place, by Govert, and Chinese Whispers, by Dexter. [75/125]

182

1456 Group of Thirty-Six Volumes Pertaining to Architecture and Early American Houses, including, Domestic Colonial Architecture of Tidewater Virginia, by Waterman and Barrows, Colonial Houses, The Historic Homes of Williamsburg, by Howard and Kurzaj, Introduction to Early American Masonry, by McKee, National Trust/Columbia University Series, wraps, The Complete Eight Volume Set in the Architecture Treasures of Early America Series including, Early Homes of New York and the Mid-Atlantic States, Early Homes of Rhode Island, Colonial Architecture in New England, Early Homes of New England, Colonial Architecture in Massachusetts, Early Homes of Massachusetts, Survey of Early American Design, and Colonial Homes in the Southern States, reprinted in 1977 by Arno Press, The Georgian Catalog Historical Buildings Survey, by Linley, The American Builders Companion, by Benjamin, Dover reprint of the 1827 edition, Early American Houses and a Glossary of Colonial Architectural Terms, hardcover by Isham, Early American Rooms 1650‑1858, by Ketrell, wraps, Revelations of New England Architecture, by Bruce and Grossman, Early Domestic Architecture of Connecticut, by Kelly, Great Georgian Houses of America Vol. 1, Dover reprint, Great Georgian Houses of America Vol. 2, Dover reprint, The Architecture of the Old South Maryland, by Lane, America Preserved, A Checklist of Historic Buildings, Structures and Sites, 1995 Historic American Buildings Survey, The Restoration of Colonial Williamsburg In Virginia, reprinted, The Architectural Record, 1935, Tidewater Maryland Architecture and Gardens, by Foreman, Cobblestone Landmarks of New York State, by Shelgren, Lattin and Frasch, Virginia Landmarks Register, by Virginia Historical Landmarks Commission, 2nd edition, Open Houses In New England, by Maynard, The Eighteenth-Century Houses of Williamsburg, An Architectural History, by Whiffen, Georgetown Houses of the Federal Period, by Davis, Dorsey and Hall, Old American Houses 1700‑1850, by Williams and Williams, Monticello Home of Thomas Jefferson, by Truett, Annapolis Houses 1700‑1775, by Davis, The Living White House, by White House Historical Association 1987 edition, Colonial Williamsburg Official Guidebook and Map, 7th edition, Colonial Williamsburg Foundation, Lost Examples of Colonial Architecture, by Howells, Domestic Architecture of the American Colonies and the Early Republic, by Kimball, and The White House Today and Yesterday, by Shelton, 1962. [75/125] 1457 Eleven Late 19th Century American Fancy Cloth Bindings, 1874 to 1898, including two of Altemus’ “Dore Masterpieces” editions (Milton’s Paradise Lost and Dante’s Inferno), with a similar volume by Pollard & Moss of Coleridge’s Ancient Mariner, with five black and gilt embossed volumes of Wordsworth, Tupper, the Brothers Grimm, Virgil and Thackeray, a large brown half leather “morocco cloth” edition of Longfellow, and two small volumes of Robert Browning and Adelaide Samuels, the largest, 14‑1/4” x 11”, the smallest 6‑1/4” x 4”. Complete list of titles with descriptions available on request. [200/400]

1458 Jay Edward Hambidge (American/ New York, 18670‑1924),“Italian Emigration to America”, oil on board, signed lower left “Jay Hambidge”, reverse with a “Kennedy Galleries, Inc.” exhibition label, 25” x 16”. Presented in a handsome giltwood Arts and Crafts frame. Provenance: Private collection, New Orleans, Louisiana., Kennedy Galleries, Inc., New York, New York. [1000/1500] Illustrated 1459 Samuel Halpert (American/French 1884‑1930), “New York City Bridge”, oil on canvas, signed lower right “S. Halpert”, inscribed verso stretcher “Samuel T. Halpert”, 19‑1/2” x 23‑1/2”. Unframed. [4000/7000] Illustrated 1460 Louis Krupp (German/American, 1888‑1978), “Fishing Under the Golden Gate”, oil on board, signed lower left, 11” x 15‑1/2”. Framed. [700/1000] 1459 1463 Hildegard Rath (American, 1909‑1994), “Flowering Geranium”, oil on canvas, signed lower left “H. Rath”, 36” x 24”. Framed. [500/800] 1464 Hildegarde Hume Hamilton (American/ Florida, 1898‑1970), “Mayor Harper’s House, 4 Gramercy Park, New York”, October 1962, oil on canvas, signed and dated lower left “Hildegarde Hamilton 1962”, titled, dated and extensively inscribed en verso, 15” x 18‑1/4”. Handsomely framed. [300/500] 1465 Clara Ruth (American/California, 1874‑1962), “View Of a Harbor With Sailboats”, oil on canvas, signed lower left “C. Ruth”, 20” x 16”. Presented in a Louis XV-style frame. [600/900]

1458 1461 Hildegard Rath (American, 1909‑1994), “Country House”, oil on canvas, signed lower right “Hildegard Rath”, 28” x 36”. Presented in a giltwood and gesso frame. [500/800] 1462 Emil Holzhauer (American, 1887‑1986), “View of the Santa Prisca Cathedral, Taxco, Mexico”, oil on board, signed lower right, 20” x 25”. Framed. [1800/2500] Illustrated

1462

183

1467 Mark Tobey (American/Swiss, 1890‑1976), “Untitled”, oil on canvas, signed lower right “Tobey”, 20” x 23”. Unframed. [3000/5000] Illustrated 1468 Max Wieczorek (American/ California, 1863‑1955), “Portrait of a Girl in a Yellow Dress”, pastel and graphite on board, signed and dated “38” upper right, 39” x 29”. Presented in a contemporary ebonized and parcel-gilt frame. [500/800] 1469 Carl Rice Embrey (American/Texas, b. 1938), “Small Room”, acrylic polymer emulsion, watercolor and tempera emulsion on panel, October 1966‑January 1967, signed lower left “C.R. Embrey”, titled, signed and dates on the reverse label, 13‑3/4” x 10‑1/2”. Presented in a custom shadowbox-style frame. [900/1200] Illustrated

1466 1466 David Park (American/California, 1911‑1960), “Portrait of a Man in a Green Jacket”, oil on board, signed and dated “Park ‘59”. Presented in a contemporary molded frame. Provenance: Private collection, San Francisco, California, 10" x 8". [10000/15000] Illustrated

1469

1467

184

1470 George Bauer Dunbar (American/Louisiana, b. 1927), “Red and Silver Heart”, silver leaf over red and black clay, signed lower center “Dunbar”, 11” x 8”. Framed. [1000/1500] Illustrated

1471

1470

1471 George Bauer Dunbar (American/Louisiana, b. 1927), “Silver Heart”, silver leaf over black clay, signed lower center “Dunbar”, 13‑5/8” x 12”. Framed. [1500/2500] Illustrated 1472 George Dureau (American/Louisiana, b. 1930), “Reclining Male Nude”, mixed media on paper, signed lower center “Dureau”, sight 29” x 38”. Glazed, matted and framed. [1400/1800] Illustrated 1472

185

1473 Elemore Morgan, Jr. (American/ Louisiana, 1931‑2008), “Water In A Rice Field”, acrylic on masonite, 2005, initialed lower right, signed, titled and dated verso, 47‑1/2” x 96”. Provenance: Private collection, New Orleans, Louisiana. Purchased at Arthur Roger Gallery, New Orleans, Louisiana. Elemore Morgan, Jr. was and still is recognized as the leading contemporary Louisiana landscape painter. He was best known for the “plein air” acrylics, set in the rice-growing region of southwest Louisiana, where the artist’s front porch offered a view such as one in this particular painting. In his treatment of color and light, he was often linked to Impressionists and Fauves of the 19th and early 20th centuries. In his use of bright palate and gestural style he successfully captured the intense heat and shimmering humidity of his natural environment. The size and shape of the masonite panels played an integral part in the design and composition of the paintings, reflecting the great vistas of the prairies and marshes. Elemore Morgan, Jr. was also an educator who taught drawing at the University of Louisiana in Lafayette for 33 years, and until his death in 2008 he tirelessly worked to promote visual and performing arts in Louisiana. He positively impacted the lives of students, fellow artists and friends around him. In 2010, the State of Louisiana has declared that annually, September 18 will be Elemore Morgan, Jr. day. [20000/40000] Illustrated

1473

1476 Dixie Hampson Durham (American, 1913‑2010), “Three Children in a Wagon on a Farm”, oil on canvas, signed lower left “Dixie Durham”, 22” x 28”. Presented in a rustic polychrome frame. [800/1200] 1477 Sarah Rakes (American, b. 1955), “On a Resting Branch”, mixed media on paper, signed and dated lower center “Sarah Rakes 1991”, titled on the reverse, reverse with a “Leon Loard Gallery of Fine Art, Montgomery, AL” label, 21‑1/2” x 13‑1/2”. Glazed, matted and presented in a hand-painted frame. [300/500] 1478 Sarah Rakes (American, b. 1955), “Luna Infants”, mixed media on paper, signed and dated lower left “Sarah Rakes 1992”, titled on the reverse, sight 11‑1/2” x 14‑1/2”. Glazed, matted and presented in a hand-painted frame. [300/500]

1474 Lesley Kushner (American, Contemporary), “Two Figures in a Garden”, mixed media and found objects on panel, unsigned, 74‑1/2” x 92”. Exhibited: Prince Street Gallery, New York City, March 19 - April 7, 1993. Lesley Kushner is the sister of acclaimed playwright, Tony Kushner. [1500/2500] Illustrated 1475 Christopher Guarisco (American/Mississippi, b. 1958), “Crucifixion”, mixed media on quilted canvas, 52‑1/2” x 59”. [1000/1500] Illustrated 1474

186

1481 Antique Fereghan Carpet, 4’6” x 6’. [900/1200] 1482 Persian Serapi Carpet, 10’x 13’5”. [4500/7000] Illustrated 1483 Semi-Antique Persian Tabriz Carpet, 6’10” x 9’7”. [1200/1800]

1482 1479 Woodie Long (American/Alabama, 1942‑2009), “Cousins #980”, mixed media on paper, signed and dated lower right “Woodie 1990”, titled on the reverse “Leon Loard Gallery of Fine Art, Montgomery, AL” label, 17‑1/2” x 23”. Glazed, matted and framed. [300/500] 1480 Clark Walker (American/Alabama, 20th Century), “Gloria!”, mixed media on paper, signed lower left, 28‑1/2” x 22”. Glazed, handsomely matted and framed. [400/700]

1485

1484 Aubusson Carpet, 10’ x 14’. [3500/5000] 1485 Turkish Oushak Carpet, 10’ x 14’. [4000/7000] Illustrated 1486 Bokara Carpet, 3’1” x 4’10”. [150/300] 1487 Semi-Antique Tekkmon Carpet, 8’ x 9’6”. [400/700]

1475

187

1490 Semi-Antique Kirman Carpet, 12’10” x 16’11”. [1500/2500] Illustrated 1491 Louis XV-Style Faux Boulle Work Clock and Stand, the ebonized clock case mounted with bronze feet and trim, the works with enamel numerals mounted in a bronze dial, signed “Le Ore” on the dial and “Germany” on the works, together with a marble-top pedestal, with a tapering square standard with a faux boulle panel within ormolu millwork, raised on bracket feet, h. 75”, w. 17”, d. 9”, overall. [800/1200] Illustrated

1488 1488 Turkish Oushak Carpet, 10’ x 14’. [5000/8000] Illustrated 1489 Pair of Antique Persian Lavar Kerman Carpets, 3’ x 4’7” and 2’2” x 3’1”. [1400/1800]

1492 Napoleon III Ebonized and MarbleTop Cabinet, third quarter 19th century, the bowed and shaped Griotte Rouge marble top above a conforming case fitted with an elaborately inlaid foliate garland frieze, above a single cupboard door with an elaborate brass and mother-of-pearl inlay of an urn surrounded by scrolling foliate patterns, raised on bracket feet, the whole accented with ormolu millwork, the back with the label “Mon. ROLL G. MALIN, MILLAN & CIE SUCCESSEURS 42 Fg St. Antoine, PARIS” [2500/4000] Illustrated

1491

1493 Pair of Louis XVI-Style Giltwood Mirrors, fourth quarter 19th century, the oval mirrors set with old mercury mirror plates, with a pierced border decorated with scrolls and fruit, the mirror plate bordered by bold beading, fitted with an iron sconce bracket holder, h. 27”, w. 17”. [1200/1800] Illustrated

1494 Giltwood Rococo Wall Bracket, fourth quarter 19th century, the half-round shelf supported by a pair of deeply carved, robust “C” scrolls, terminating in a double-scrolled drop, h. 16‑1/2”, w. 23”, d. 8”. [200/400] Illustrated

1490

188

1492

1493 pair

1496 1495 After Michel Claude Clodion (French, 1738‑1814), diminutive pair of patinated bronze figures, one depicting a young boy carrying a kettle over his shoulders, the other of a girl dancing and playing music, h. 8”. [150/300] 1496 Aubusson Allegorical Woven Tapestry, 19th century, depicting figures around a wishing well in a lush garden with cattle, the border in a floral motif, h. 101”, w. 74”. [3500/5000] Illustrated

1497 Maximilien Louis Fiot (French, 1886‑1953), patinated bronze group of deer, the base signed “M. Fiot” and bearing the Susse Freres, Paris foundry mark, h. 8”, l. 18”, d. 5‑1/2”. [600/900] 1494

189

1500 Dutch Mahogany Bombe Chest, early 19th century, the rounded rectangular top with a recessed center section, above a bombe case fitted with four long velvetlined drawers, all with highly figured hardware, raised on splayed legs ending in sabots, h. 32”, w. 35”, d. 21”. [1000/1500] 1501 Alfred Seifert (Czech, 1850‑1901), “Roman Maiden Playing a Lyre”, oil on canvas, signed lower right “A. Seifert”, 30” x 20‑3/4”. Presented in a attractive Aesthetic giltwood frame. [4500/7000] Illustrated

1498

1502 Henry Waugh (American, 1835‑1965, active New Orleans, 1858‑1859), “Roman Countryside with Peasants and a Shepherd Chasing Wild Boars”, oil on canvas, signed and dated lower right “Waugh, Rome ‘62”, 33‑1/2” x 51”. Presented in a rococo-style giltwood and gesso frame. [6000/9000] Illustrated 1503 French Majolica Pedestal, fourth quarter 19th century, signed “Sarraguemines”, the square and notched base supporting a rope-twist standard of cobalt glaze trimmed in gilt, “2263Z2” and the name of the manufacturer on the base, h. 31”, w. 11”, d. 11”. [600/900] 1504 Pair of Gilt Bronze Classical Revival Candlesticks, fourth quarter 19th century,the fluted standards decorated with swans and supported by tripartite shell-molded bases, and with egg-and-dart drip pans under shellmolded candle cups, h. 10‑1/4”. [350/500] Illustrated

1501 1498 Suite of Ten Louis XVI-Style Walnut Chairs, early 19th century, consisting of four armchairs and six sidechairs, each with a padded tapering rectangular back surmounted by a gadroon-carved crest and end finials, above the cushioned seat, raised on tapering fluted circular legs ending in toupie feet, h. 36‑1/4”. [5000/8000] Illustrated 1499 Louis XV-Style Kingwood Writing Table, early 20th century, the rectangular top banded and quarter-veneered and with raised corners, above a frieze fitted with a pull-put leather writing surface, pushing back to an interior fitted with drawers and compartments, raised on cabriole legs ending in sabots, h. 31”, w. 48”, l. 24”. [1800/2500] 1502

190

1504

1506 Napoleon III Giltwood Mirror, mid-19th century, the oval segmented frame with molded laurel leaves and an egg-and-dart molding, the lower edge ornamented with pierced scrollwork and acanthus leaves, with scroll-molded cartouches forming the segment divisions, the pierced and scroll-molded crest, decorated with acanthus leaves, putti and grapes, the center set with a beveled mirror plate, h. 63‑1/2”, w. 4”. [3000/5000] Illustrated

1506

1508 1505 Sevres Hand-Painted Portrait Plate, 19th century, depicting Marie Leozinska, wife of Louis XV, signed: “C. D.” and “Nebrier” below the portrait, identified on the back, with a gilt and blue border conforming to the shaped edge, marked with the green oval “S.46.”, the rouge de fer “Chateau de St. Cloud” mark, and the circular blue Sevres printed mark, the dia. 9‑1/2”. [250/400]

1507 Follower of Jean-Baptiste-Simeon Chardin (French, 1699‑1779), “Seamstress”, oil on panel, unsigned, 7‑3/4” x 6‑1/2”. Presented in a giltwood and gesso frame. [200/400] 1508 Circle of Pierre Mignard the Elder (French, 1612‑1695), “Portrait of a Gentleman Holding a Gold Box”,oil on canvas, unsigned, 28” x 22‑1/2”. Presented in an ebonized frame. [3000/5000] Illustrated

191

1513 Pair of Chinoiserie Polychrome Occasional Tables, late 19th century and later, each with a hinged hexagonal top with a decorative gilt border and centered by two oriental figures, opening to a storage space, the paneled tapering base with two handles and raised on a tripartite scrolling base, h. 22‑1/2”, dia. 21”. [800/1200]

1512

1511 1509 Follower of Francois Boucher (French, 1703‑1770), “Garden Courtship Scene”, oil on canvas, signed and dated lower left “Victoria DeTroye 1881”, 29” x 36”. Presented in a giltwood, molded Louis XV-style frame. [2500/4000] Illustrated 1510 Manner of Henri Fantin Latour (French, 1836‑1904), “Portrait of a Lady”, oil on panel, 23‑1/2” x 19”, unsigned. Presented in a contemporary frame bearing brass artist plaque. [400/700] 1511 Jean Louis Dulong (French, 1800‑1868), “An Aristocrat in the Artist’s Studio, with Still Life of Fowl and Fruit”, oil on canvas, 36” x 29”, signed and dated midleft: “JL Dulong 1865”. Presented in a handsome period decorated and gold gilt exhibition frame. Reference: Benezit. Studied: de Gros; d’Abel de Pujol. Exhibited: Paris Salon, 1833‑1868 (Medal, Third Class, 1844). Collections: Musee Le Havre; Musee Semur-en-Auxois. [5000/8000] Illustrated 1512 Large Louis XVI-Style Eighteen-Light Gilt-bronze and Brass Chandelier, the stem capped by arms supporting faceted and cut pendalogues, joined by beaded swags, with two tiers of foliate-molded arms joined with beaded swags, the lower tier hung with four graduated tiers of swags and pendalogues, the faceted cut-glass ball on a string of faceted spheres, h. 51”, dia. 33”. [2000/4000] Illustrated 1509

192

1516

1514

1516 Extensive Service of French St. Louis Cut, Engraved and Gilded Glassware in the Trianon Pattern, ca. 1900, the glassware engraved and gilded with grape leaves, the stems cut in a notched pattern and the bowls with rounded panels on a basketweave ground, decorated with leaves and flowers, all executed in gilded engraving, the set comprised of thirteen burgundy glasses, h. 7‑1/4”, three bordeaux glasses, h. 6‑3/4”, eight white wine glasses, h. 6”, seven champagne coupes, h. 4‑1/2”, nine hock glasses, h. 4‑3/4”, one mis-matched hock glass, h. 4‑3/4”, twelve aperitif glasses, h. 4‑3/4”, eleven cocktail glasses, h. 3‑1/4”, three liquor glasses, h. 3‑1/2”, three martini glasses, h. 4‑1/2”, and twelve finger bowls, dia. 4‑1/2”. [500/800] Illustrated

1517 Set of Twelve Bavarian Service Plates, ca. 1930‑1939, the plates with a raised gilt edge, the border depicting flora and palmettes on a stippled background, marked “H&C Selb, Bavaria, Heinrich & Co.”, dia. 11”. [300/500] Illustrated 1518 Thirty-Eight-Piece Group of Raised Gilt and White Dinnerware, ca. 1893‑1930, consisting of eight dinner plates, dia. 10‑1/2”, twelve luncheon plates, dia. 9”, and one broth bowl, dia. 8‑1/4”, all made by Minton, together with seventeen Haviland bread and butter plates with a raised gilt edge, dia. 6”. [300/500]

1517 1514 Pair of French Brass Four-Light Candelabra in the Louis XVI Taste, the square-notched corner base supporting a ring of laurel leaves surrounding the standard, which is tapered and pierced with bellflowers, the scrolled arms support pierced candle cups decorated with floral medallions, the top decorated with a spray of gilt-brass scrolls holding prisms and terminating in a vertical cut-glass spear finial, the sides and drip pans hung with swags of prisms, h. 27”, dia. 10”. [800/1200] Illustrated

1515 Baccarat Crystal and Gilt-Metal Centerpiece Bowl, first quarter 20th century, the ribbed, molded bowl, impressed “Baccarat Depose” on the bottom, supported by an oval frame with scrolled feet, decorated with swags of flowers draping from the sides, pierced in a running fret, and the handles in the form of putti resting on leaves, h. 6‑1/2”, w. 15”, d. 9‑1/2”. [1800/2500] Illustrated

1515

193

1519 Set of Twelve Limoges Demitasse Cups and Saucers, ca. 1891‑1920, marked “LS&S Limoges”, and “Lewis Straus & Sons”, the narrow footed cups with scrolled handles, h. 4‑3/4”, decorated with a raised gilt border of scrolls and flowers, the saucers decorated to match, dia. 4‑3/4”. [150/300] 1520 French Gilt Brass and Glass ThreeSection Condiment Stand, second quarter 20th century, the circular frame with an acanthus balustraded gallery with three anthemion-mantled torched crests, with a central ovolo-decorated standard flanked by acanthus scrolls and surmounted by an addorsed acanthus ring handle, fitted with three glass condiment dishes, h. 11‑1/2”, dia. 7‑1/2”. [75/125]

1522

1527 1521 Louis XVI-Style Polychrome Canterbury, early 20th century, fitted with four lattice-patterned dividers centered by a gilt-accented lyre, above a single fluted drawer, raised on toupie feet ending in brass caps and casters, h. 24”, w. 22”, d. 16”. [900/1200]

1522 Gilt-Bronze-Mounted Oak and Marble-Top Server, late 19th century, by Haentges Frs., Paris, the Breche Violette marble top of breakfront-form above a conforming case fitted with two central cupboard doors, each inset with an arched panel and with ormolu outlining and applied swag, flanked to either side by a small drawer over a mirror-paned cabinet, the whole raised on tapering circular fluted legs ending in brass caps, h. 42‑1/2”, w. 71‑1/2”, d. 25‑1/4”. [1200/1800] Illustrated 1523 Large Louis XV-Style Giltwood Looking Glass, the tall pierced foliate-carved crest above a shaped rectangular plate with a larger one below, each within a molded frame with applied scrolling and floral patterns, with an acanthine pierced pendant, h. 89‑1/2”, w. 40”. [1200/1800]

1530

194

1524 Pair of French Gilt-Bronze Two-Light Wall Sconces, fourth quarter 19th century, the leaf-molded backplate supporting candle branches molded with leaves, the drip pans molded with oak leaves and acorns and with a beaded edge, the candle cups molded to match, h. 6”, w. 9", d. 8”. [150/300]

1525 Louis XV-Style Kingwood Cabinet, late 19th century, the stepped rectangular top with a three-quarter pierced brass gallery above a case fitted with a pull-out slide over a tambour cupboard opening to a variety of small drawers, the tambour and sides all with a lattice and foliate patterned inlay, over a single drawer, raised on cabriole legs ending in sabots, h. 46”, w, 21”, d. 15”. [1500/2500]

1533

1526 Transitional Louis XV-into-Louis XVI-Style Kingwood and Marble-Top Commode, early 20th century, the rectangular breche d’Aleps marble top with canted corners and a projecting center section, above a conforming case fitted with a single frieze drawer over two deeper drawers, all with inlaid guilloche and floral lattice patterns, raised on shaped legs ending in sabots, h. 36”, w. 46”, d. 20‑1/2”. [2000/4000] 1527 Pair of Cabinet Plates in the Viennese Style, fourth quarter 19th century, the plates with hand painted centers depicting figures dress in 18th century costume in Arcadian landscapes, one titled “Sweet Fruits” on the rear, depicting a couple eating grapes surrounded by peaceful sheep, the other, titled “Maternal Happiness”, depicting a couple with two children in a garden, both with bleu celeste and gilt borders and with a blue overglaze beehive mark on the rear, dia. 10‑3/4”. [200/400]

1529 Sevres-Style Porcelain Encrier, fourth quarter 19th century, created in a bateau shape with a bleu celeste ground, the sides decorated with reserve panels of flora trimmed in gilt, the top having two original inkpots with covers and four pen apertures, the sides mounted with faux ring pulls, the bottom with Sevres-style mark in overglaze blue, h. 4”, d. 3‑1/2”, l. 9”. [200/400] 1530 French Giltwood Looking Glass, the rectangular plate within a foliate and dentillated slip and a floral acanthinecarved molded frame, h. 54‑1/2”, w. 44”. [500/800] Illustrated 1531 Louis XVI-Style Mahogany and Burl Wood Occasional Table/Jardiniere, early 20th century, the shaped top with a central section lifting off to a metallined planter, all within a full pierced brass gallery, above a conforming frame with banded panels, raised on circular fluted legs joined by an “X”-form stretcher and ending in tall toupie feet, h. 31‑1/2”, w. 25”, d. 16‑1/2”. [1000/1500] Illustrated 1532 Pair of Continental Gilt-Bronze Pheasants, first quarter 20th century, the crested birds depicted poised to walk forward, with their long tails carefully rendered with their feathers ruffled, h. 9‑3/4”, w. 3”, l. 19”. [700/1000]

1531

1528 Pair of Vienna-Style Hand-Painted Artist-Signed Cabinet Plates, fourth quarter 19th century, “Flower Harvest” by C. Wamitschka, one depicting two maidens in a wooded glade with two putti picking flowers, the other “Spring” by F. Hiebel, depicting a maiden under a flowering tree attended by children in classical garb gathering flowers and playing the flute, each with bleu celeste borders trimmed with raised gilt, dia. 10”. [400/700]

1533 French Champleve and Onyx Mantel Garniture, first quarter 20th century, comprised of a clock and a pair of covered urns, the clock resting on an onyx base with turned brass feet, set with an enamel plaque of stylized flowers on a blue background with matching enamel forming the corners of the clock case and trimming the flat onyx top, the case set with beveled glass, the clock dial with matching enamel and the white enamel dial painted with swags of roses and marked “France”, h. 13‑3/4”, w. 8‑1/2”, d. 5‑1/4”, together with a pair of unusual matching egg-shaped urns supported by three arms molded with floral panels in the art deco style, the urns with matching enamel bands at the mock cover, base and top, h. 15‑1/2”, dia. 4‑3/4”. [3500/5000] Illustrated

195

1537

1535 Rembrandt Van Rijn (Dutch, 1606‑1669), “Abraham Casting Out Hagar and Ishmael”, etching laid on card paper, later state, signed and dated in plate “Rembrandt 1637”, sight 4‑3/4” x 3‑3/4”. Glazed, matted and framed. [500/800] 1536 Collection of Three French Impressionist Etchings including one Paul Cezanne (183901906) “Entree de Ferme”, plate 4‑1/4” x 5” and two Pierre-Auguste Renoir (1841‑1919) “Sur la Plage, a Berneval”, plate 5‑1/4” x 3‑3/4” and “La Chapeau Epingle”, plate 4‑1/2” x 3‑1/4”. All unframed. [1500/2500] Illustrated 1537 Pair of Directoire-Style Polychrome Fauteuils, 19th century, each with a rectangular back featuring a pierced X-patter, joined by shaped arms on urn-form uprights to the cushioned caned seat, raised on tapering circular legs headed by paterae block carving and ending in toupie feet, h. 38”. [1200/1800] Illustrated

1534 Francisco de Goya (Spanish, 1746‑1828) “Tantalo” and “No grites, tonta”, two etchings with aquatint, 8‑1/4” x 5‑3/4”. Both unframed. [600/900]

1538

1538 Set of French Cut and Gilded Lead Crystal Stemware, produced by Saint Louis in the Excellence Pattern, the round gilt edge and star-cut base supporting faceted and notched stems, the bowls fluted, notched and trimmed with gilt, the set comprised of four goblets, h. 9‑7/8”, four champagne flutes, h. 10‑7/8”, and six water goblets, h. 10‑1/4”. [400/700] Illustrated

1536

1541

196

1544

1539 Belle Epoque Brass and Glass Tiered Serving Trolley, early 20th century, the removable rectangular glass tray top with raised applied scroll sides, joined to a like lower shelf by scrolling supports headed by putti figures and ending in casters, h. 29‑1/2”, w. 31‑1/2”, d. 16”. [150/300] 1540 Louis XV-Style Polychrome and Giltwood Commode Chair, the shaped caned back surmounted by a floral crest, the long caned seat hinged and once opening to the pot cupboard, over a caned apron, raised on scrolled toes, h. 27‑1/4”. [300/500]

1545

1543

1542 Louis XV-Style Polychrome Stool, late 19th century, the padded rectangular seat raised above a shaped apron on molded cabriole legs ending in scrolled toes, upholstered in floral-patterned tapestry, h. 10”, w. 36”, d. 16‑1/2”. Provenance: Pickwick Antiques, Montgomery, Alabama. [250/400] 1543 Six-Arm Cut-Glass and Prism-Hung Chandelier, 20th century, the turned cut-glass standard dressed with jewelcut glass chains, cut bobeches of saucer-form and faceted glass teardrops, electrified and fitted with faux candle sleeves, h. 30”, dia. 21”. [200/400] Illustrated 1544 Parian Figural Group in the Eighteenth Century Style, the round base supporting a group of maidens and putti en deshabille, with a chest of jewelry, love birds and one arranging the other’s hair, h. 14”, dia. 9”. [300/500] Illustrated

1541 Napoleon III Polychrome Boiserie and Giltwwod Mirror, third quarter 19th century, French, the mirror plate with rounded corners and set in a gilt molding, with an applied acanthus leaf at the base, a basket of flowers on a pediment serves as the crest, flanked by scrollwork supporting a trail of flowers, terminating in bold scrollwork, all painted pale green, h. 91”, w. 54”. [2500/4000] Illustrated

1545 Continental Parian Figural Lamp in the Louis XVI Taste, the round base decorated with a molded wave pattern and raised on round feet, the lamp standard composed of a campagna-form urn decorated with swags of applied flowers, resting on a square plinth, and surrounded by figures of women in classical costume, two playing musical instruments, one chiseling a bust, and one delivering an oratory, fitted with an ecru shade, h. 30”, to top of shade. [200/400] Illustrated

197

1548 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded and domed back surmounted by a ribbon crest, joined by scrolling padded arms to the like seat, raised on tapering circular fluted legs headed by floral block capitals and ending in toupie feet, upholstered in period tapestry depicting pastoral figures, h. 38‑1/2”. [600/900]

1546

1549 Louis XVI-Style Polychrome Bergere, mid-20th century, the padded rectangular back within a molded frame, joined by closed padded foliate-carved arms to the cushioned seat, raised on tapering circular fluted legs ending in peg feet, now upholstered in white chenille h. 37‑1/2”. [300/500]

1552

1554 1546 Pair of Continental Silverplate Girandoles, first quarter 20th century, with a tall central baluster standard raised above a serpentine-sided and cavetto-canted square base with tall pierced gallery and raised on four winged paw feet, the standard with two knops, each with four “S”-scroll arms terminating in a circular drip-pan and nozzle, the drip pan fitted with a ring of drop-crystal prisms, the sockets fitted with faux candles and electrified, the whole surmounted by a flammiform finial prism-ringed en suite, h. 33”, w. 14”. [2000/4000] Illustrated 1547 Pair of Louis XVI-Style Kingwood and Marble-Top Encoignures, mid-19th century, each with a Rouge Royale marble top above a case fitted with a single banded and quarter-veneered cupboard door, raised on block feet, h. 36”, w. 26‑1/2”, d. 15”. [1200/1800]

198

1550

1550 Louis XV-Style Kingwood and Marble-Top Bureau de Dame, late 19th century, the superstructure with a rouge royale top with a pierced threequarter brass gallery, above two central open shelves flanked to either side by two small quarterveneered drawers, the top with a pull-out inset leather writing surface above two like veneered frieze drawers, raised on cabriole legs headed by sabots, h. 39‑3/4”, w. 37‑1/2”, d. 20‑1/4”. [2500/4000] Illustrated 1557 1551 Dutch Kingwood Marquetry and Marble-Top Cabinet, late 18th century, the bowed St. Anne des Pyrennes marble top above a conforming case fitted with a single drawer over a tambour cupboard, the sides with elaborate floral inlays, raised on shaped legs to sabots, the whole with floral marquetry accents, h. 34‑1/2”, w. 35‑1/2”, d. 18”. [1400/1800] 1552 Impressive Pair of Gilt and Patinated-Bronze Putti Candelabra, late 19th century, each mounted to a giltbronze fluted cylindrical pedestal and a white marble base, the putti holding three gilt-bronze branch-form candle arms, h. 24‑1/2”. [1500/2500] Illustrated 1553 Bronze and Marble Table Lamp, first quarter 20th century, the tripartite gray marble base and plinth, mounted with monopodia, cast with hoof foot and terminating in satyr’s heads, the plinth hung with swags of roses and holding a rococo-style bisque figure of a putti, the shade trimmed with bunches of pearls hung from chains, resting in a bronze shade holder cast in a wave pattern, with a finial cast in bronze plumes, h. 17‑3/4”, dia. 6”. [700/1000] 1554 Napoleon III-Style Bronze and Hardwood Jardiniere, the cut corners resting on turned feet and with bronze mounts on ionic columns, hung with molded swags, the sides mounted with gilt-bronze rococo handles in a light wood panel, set in an inlaid ebony line and mahogany crossbanding, the obverse and reverse inlaid with an oval cartouche accompanied by a floral spray set on a light wood background with mahogany crossbanding, bronze beading outlines the base and a bronze pierced gallery in a guilloche pattern sits on top, h. 8”, d. 10”, l. 15‑1/2”. [700/1000] Illustrated

1556 1555 Napoleon III Fruitwood Games Table, late 19th century, in the Louis XVI taste, the rectangular top quarter-veneered, double-banded and centered by an urn inlay hinged and opening to a like-banded interior centered by an inlaid floral spray, above a banded apron, raised on tapering square legs, h. 31‑1/2”, w. 33‑3/4”, d. 17”. [1500/2500] 1556 Good Framed Chinese Scroll Painting, 18th century, painted in ink and colors on silk, depicting two Sika deer beneath a gnarled tree with two birds perched in its branches, the tree growing from rockwork and the lower edge with bamboo sprouting from rockwork, framed in a red, black and gilt lacquered frame and glazed with non-reflective plexiglass, h. 77”, w. 44‑3/8”. Ex col. of Theodore Francis Green, longtime U.S. Senator and Governor of Rhode Island, purchased from Hastings House, Essex, Connecticut. The Sika deer is one of the most famous precious animals of China and have been the subject of painting for centuries, conveying a wish for wealth, longevity and prosperity. [2000/4000] Illustrated 1557 Good Framed Chinese Scroll Painting, 18th century, painted in ink and colors on silk depicting a recumbent male lion beneath a gnarled pine tree, the beast with a full mane and posed with a back-turned head, framed in a red, black and gilt lacquered frame and glazed with non-reflective plexiglass, h. 75‑3/4”, w. 53‑1/4”. Ex col. of Theodore Francis Green, longtime U.S. Senator and Governor of Rhode Island, purchased from Hastings House, Essex, Connecticut. The lion, while not indigenous to China, is a sacred animal in Buddhism and believed to convey protection from evil spirits for humans. [2000/4000] Illustrated

199

1558 Chinese Export Painting, 19th century, depicting a scene of tea production, framed and glazed, h. 7”, w. 11”, sight. [700/1000]

1561 Chinese Hardstone Mirror, 20th century, the hardstone with garment hook handles, and base silver mounts, l. 8‑3/4”. [150/300]

1559 Chinese Hardstone Carving, 20th century, with nine plaques carved with relief Kuci dragons, dia. 6‑1/4”. [500/800]

1562 Contemporary Ebonized End Table, in the form of a Chinese money box, of tapering square form, the top bisected and opening to a storage interior, the body with double brass banding and carrying handles, h. 16”, w. 19”, d. 19”. [100/200]

1560

1563 Smoky Quartz Carving of an Immortal, early 20th century, the carving of a standing figure of the immortal Lan Tsai Ho, h. 7”. [100/200] 1564 Chinese Ivory Carving of a Goose, 20th century, the stone of a yellow-green color with brown areas, depicting the study of a goose with a water plant, l. 1‑3/4”. [1200/1800] Illustrated

1564

1565

1565 Unusual Chinese Carved Agate Group, 20th century, the lightly mottled brown and yellow stone carved in high relief as a hollow tree trunk covered in Morning Glory vines in bloom with three birds perched among the vines, fitted carved wooden stand, h. 6”, including stand. [300/500] Illustrated

1560 Chinese Shadow Agate Snuff Bottle, 20th century, very well hollowed, the surface carved with a boy on a water buffalo, the reverse carved with a landscape, h. 2‑1/4”. [1000/1500] Illustrated

200

1566 Fine Chinese Carved Tianhuang Stone Boulder, retaining the stone’s original shape but with flattened base, the even, rich golden-colored stone with a paler skin beautifully carved in low relief as two scholars and an attendant beneath a pine tree admiring the shape of the mountains in the background, the mountainous view with banana trees and pavilions continuing around to the rear, the reverse also having a calligraphic inscription in artistic script, carved rosewood pine branch, h. 4‑1/4”, excluding stand. [1000/1500] 1567 Fine Chinese Hanging Scroll, Ming Dynasty c. 1600, painted in ink and subtle colors as a figure astride a horse preparing to cross a bridge in a very dramatic mountainous landscape with a tall weathered cliff with trees clinging to the precipice, mounted on gold patterned silk, h. 79‑1/2”, w. 26”. [1500/2500]

1576

1568 Chinese Framed Tangkha, 20th century, Mandala, the heavy cloth with various lineage figures in polychrome, framed and glazed, h. 20”, w. 15”. [400/700]

1573 Chinese Miniature Four-Panel Screen, 20th century, the panels with landscapes on one side and with birds and flowers on the other, glazed wooden frame, h. 6‑1/4”, w. 12”. [400/700]

1569

1571 1569 Chinese Carved Bamboo Brush Pot, of squared outline, assembled in four sections and having a rosewood base and lip rim, each section finely carved in low relief and depicting two of the Immortals in each panel, completing the entire group of Eight Immortals, h. 10‑3/4”. [500/800] Illustrated

1570 Chinese Carved Bamboo Brush Pot, carved from a section of timber bamboo and having an applied bamboo base, the body carved in low relief with a continuous lakeside mountainous vista with two scholars seated before a rocky table set with a wine ewer and cups, h. 6‑5/8”. [125/250] 1571 Chinese Carved Jade Pebble, 20th century, the grey-green stone with russet areas, carved with a scholar in a grotto, h. 4”, w. 5”. [1400/1800] Illustrated 1572 Chinese Inside Painted Snuff Bottle, 20th century, painted with a scene of a yawning man with a Li Shu script poem on the reverse, h. 2‑3/4”. [75/125]

1574

1574 Tall Chinese Carved Tianhuang Stone Seal, the rectangular column of translucent golden stone with reddish-brown skin carved in low relief as a continuous mountainous landscape carved with banana and plum trees in mountainous settings and a bird perching in a pine tree, h. 5‑1/4”. [400/700] Illustrated 1575 Fine Chinese Carved Tianhuang Small Boulder with Skin, the oblong shaped boulder of rich translucent color with light golden skin carved in low relief on one side as two scholars playing Go under a pine tree, the other side carved as two mountain groups joined by a bridge, h. 2‑3/4”. [400/700] 1576 Pair of Chinese Carved and Gilded Wooden Figures of Buddhistic Lions, 20th century, each carved in intricate detail in the round as figures of lions with figures of pups clamoring over the adult figures each painted in red and gilt paint, h. 12”. [300/500] Illustrated

201

1577 Pair of Contemporary Chinese Ebonized and Mahogany Armoires, each fitted with two short cupboard doors paneled over two deeper banded doors with decorative hardware, opening to a shelved interior with two small drawers, over a paneled apron, raised on square legs, h. 95”, w. 47”, d. 21”. [800/1200]

1585

1578 Large Chinese Carved Tianhuang Personal Seal, the polished base with flattened back in dark honey-colored stone with black inclusions topped by the figure of a dragon atop clouds and crawling up the rock to pursue the Pearl of Wisdom, the base carved with a personal seal, h. 3‑1/2”. [400/700] Illustrated 1579 Chinese Elm Low Table, 20th century, the banded rectangular top above a frieze fitted with two small drawers, raised on shaped legs with a carved Greek-key design, h. 12”, w. 29‑3/4”, d. 15". [300/500] Illustrated 1580 Circular Mahogany and Carved Hardstone Japanese Wall Plaque, 20th century, depicting three female figures in colored hardstone under a shade tree and pagoda, dia. 10”. [300/500]

1578 1581 Pair of Well-Carved Chinese Agate Seals, each of yellow, white and brown variegated color with rectangular bases topped with figures of horned, vapor breathing dragons, the bases engraved on three sides with calligraphic inscriptions and with archaic inscriptions on the fourth side, the bases uncarved, h. 4‑1/2”. [150/300] 1582 Group of Three Chinese Soapstone Seals, each with plinth bases and topped with a figure of crouching Foo Dogs, one in red soapstone, one in orange soapstone and one in taupe soapstone, the bases uncarved, h. 3‑1/2” to 3‑7/8”. [75/125]

1583 Large Pair of Song Dynasty (960‑1279) Funerary Jars, each of baluster form, the shoulders and necks with a band of applied figures of servants below applied and molded figures of a dragon,the bulging top with a wavy rim with lug hoops, each glazed in a translucent green glaze stopping short of the splayed feet, h. 25”. [1000/1500]

1579

202

1584 Chinese Painted Pottery Figure of an Attendant, in the style of a Han Dynasty tomb figure, the kneeling figure with red and black painted robes in a respectful position, presented on a wooden stand, h. 12”. [200/400]

1594

1591 Well-Carved Chinese Tianhuang Dragon Seal, the honey-colored stone carved as a squared base with carved personal seal topped by an intricately carved dragon bearing a single horn with flowing mane and tail and flared whiskers, on a base of waves, h. 2‑1/8”, w. 2”, l. 2”. [400/700] Illustrated 1592 Chinese Carved Mottled Shoushan Stone Personal Seal, the caramel-white-and rosecolored stone with a polished rectangular base topped by the figure of a lion seated on its haunches with clawed paws, open mouth and split mane, the base carved with a personal seal, h. 2‑3/4”. [200/400] 1593 Pair of Chinese Soapstone Seals, early 20th century, case made in the form of a book, with water buffalo finials, uncarved, l. 3”. [400/700]

1585 Large Elaborate Chinese Carved Root Figure of Shou Lao, 19th century, the Chinese God of Longevity presented with his long flowing beard and staff, numerous other figures carved from the outcropping, some elements lacking, h. 41”, w. 25", d. 17”. [700/1000] Illustrated 1586 Chinese Lingbi Scholar’s Rock-on-Stand, the weathered and eroded gray rock showing cavities and protrusions, the result of erosion by water on softer parts of the matrix, custom carved and fitted rosewood stand, h. 11‑1/8”, including stand. [240/400]

1594 Rare Pair of Southern Chinese "Tortoiseshell" Bamboo and Lacquered Armchairs, late 18th century, each with a rectangular back with central bamboo patterned medallion, the lacquered seat raised on a box form base, h. 35‑1/2”. [2000/4000] Illustrated

1591

1587 Group of Three Chinese Carved Archaic-Style Jades, composed of the dark green figure of a recumbent kylin and two black stone figures of pairs of Mandarin ducks facing in opposite directions, l. 2‑1/2” to 2‑3/4”. [75/125] 1588 Chinese Bamboo and Hardwood Three-Piece Suite, early 20th century, consisting of two armchairs and a table, the chairs each of box form and with a decorative pierced splat, the wooden seat raised on bamboo legs joined by a box-form stretcher,h. 36”, the later square table fitted with two tiers and raised on clustered bamboo legs, h. 31”, w. 16”, d. 16”. [700/1000] 1589 Beautiful Chinese Rosewood, Indian Sandalwood and Ivory Ceremonial Fan and Stand, of traditional form with rosewood frame, handle and stand, the body a fragrant Indian sandalwood, intricately carved and stained with a scene of court ladies enjoying a garden, the face with inlaid, engraved ivory plaques, fitted brocade box, h. 24‑3/8”, including stand. [450/700] 1590 Chinese Carved Tianhuang Stone Figure of a Dragon, the honey-colored stone carved as the crouching figure of a dragon with bifurcated horn, ridged spine and trifurcated tail, the creature posed in a seated position with open mouth displaying teeth, l. 3‑1/8”. [200/400]

1595 Chinese Carved Tianhuang Miniature Model of a Mountain, the honey-colored stone carved as a single peaked mountain with orange skin carved in low relief as a figure leading a water buffalo across a bridge beneath a tree, the reverse carved as a boat on a lake among trees, h. 1‑3/4”. [150/300] 1596 Chinese Hardstone Ewer, late 19th century, the ewer in carnelian carved with flowers, h. 3‑1/2”, w. 4‑1/2”. [250/400]

203

1597

1602

204

1598

1606

1597 Persian Tabriz Carpet, 10’3” x 13’2”. [4000/7000] Illustrated 1598 Semi-Antique Persian Tabriz Carpet, 9’9” x 13’1”. [1800/2500] Illustrated 1599 Art Deco Chinese Carpet, 10’ x 14’. [1200/1800]

1604 Persian Heriz Carpet, 9’7” x 12’. [3500/5000] 1605 Heriz Runner, 2’7” x 12’5”. [200/400] 1606 Persian Shah Abas Design Tabriz Carpet, 10’ x 14’. [3500/5000] Illustrated 1607 English Design Needlepoint Carpet, 9’ x 12’. [2500/4000] 1608 Antique Persian Heriz Carpet, 8’ x 10’. [1200/1800] Illustrated 1609 Kilim Carpet, 3’ x 5’. [100/200] 1610 Persian Heriz Carpet, 6’10” x 9’4”. [700/1000] 1611 Serapi Carpet, 10’2” x 13’9”. [700/1000] 1612 Pair of Regency-Style Ebonized Armchairs, early 20th century, each with a padded back-scrolled crest joined by downswept arms on turned uprights to the padded seat, raised on tapering turned circular legs ending in toupie feet, h. 35‑1/2”. [300/500] 1613 Pair of English Derby Potpourri Holders, ca. 1820‑1830, the inverted pear-shaped body decorated with applied satyr masks, resting on a base with gilt paw feet, formerly fitted with covers, h. 4”, dia. 5‑1/2”. [200/400]

1608 1600 Persian Hamadan Carpet, 4’6” x 6’4”. [500/800] 1601 Sultanabad Carpet, 10’2” x 13’2”. [400/700] 1602 Persian Kerman Carpet, 9’7” x 13’3”. [3500/5000] Illustrated 1603 Caucasian Kurd Carpet, 3’8” x 8’4”. [100/200]

1614 Group of Fifteen Pieces of Royal Crown Derby, comprised of four dinner plates, dia. 10‑1/2”, three soup plates, dia. 8‑1/2”, four bread and butter plates in “Chelsea Garden”, dia. 6‑1/4”, and four salad plates in “Derby Pink Camellias”, dia. 8‑1/2”, all with the Derby bone china printed mark. [150/300] 1615 Regency Mahogany Side Table, first quarter 19th century, the rounded rectangular top above a conforming paneled frieze fitted with a single drawer and accented with brass banding, raised on like-banded end supports to splayed acanthine-carved reeded legs ending in brass paws on casters, h. 28’, w. 27”, d. 18‑1/2’. [1200/1800]

205

1619 Good Chinese Famille Rose Baluster Vase, 20th century, the slightly off-white body finely decorated with five sparrows in flight and perched on bamboo stems with weathered rockwork, flowering prunus stems, asters, peonies, flowering vines and lotus, the base with a lappet border, the lip rim with borders of key-fret and ruyi heads, the base with a six-character Daoguang seal mark in ironred, h. 13”. [800/1200] Illustrated 1620 Chinese Famille Rose Porcelain Game Piece Holder, Guangxu mark and period (1874‑1908), the tapered globular body with in-turned lip, decorated on the exterior with two scenes of flowering peonies growing from rockwork, one group with a katydid crawling on the leaves, the two groups separated on one side by a pair of butterflies in flight, the base with a six-character Guangxu reign mark in iron-red, dia. 5‑1/2”. [400/700]

1616

1616 Regency Gilt-Brass-Mounted Rosewood Chiffonier, first quarter 19th century, the upper shelf with a pierced brass gallery supported by foliate-modeled scrolling brass brackets, the case with a pair of doors fitted with brass grillwork, raised on brass paw feet, h. 48‑1/2”, w. 38”, d. 20”. [2000/4000] Illustrated 1617 Regency-Style Mahogany Butler’s Tray Table, the removable rectangular tray top with an inset beveled glass panel and with end foliate-modeled handles, the rectangular top banded and above a frieze fitted with a brushing slide to either end, each slide with a lion’s head pull and a central heraldic crest, joined by “X”-form bras supports on three sides to a banded lower shelf, raised on tapering square legs ending in brass caps, h. 34‑1/2”, w. 28‑3/4”, d. 19”. This piece is a copy made by Theodore Alexander Furniture after a piece found at Althorp, the ancestral home of the Spencer Family. The original piece is illustrated in Althorp: Living History on page 137, and the stock number of the reproduction is AL50073. [400/700] 1618 Regence-Style Mahogany Commode, the rounded rectangular top brass-banded and with quarter veneering and strapwork marquetry in amboyna, ebony and rosewood, above a serpentine case fitted with three banks of drawers, all brass-banded and with quarter-veneering and decorative bands, the sides en suite, raised on bracket feet, h. 36‑1/2”, w. 52”, d. 20‑1/2”. This piece is a copy made by Theodore Alexander Furniture after a piece found at Althorp, the ancestral home of the Spencer Family. The original piece is illustrated in Althorp: Living History on page 47, and the stock number of the reproduction is AL6009. [800/1200]

206

1621 Good Chinese Famille Rose Porcelain Saucer Dish, Republic Period (1908‑1949), finely decorated with flowering plum branches with bamboo sprigs in a crossover pattern continuing from the exterior to the central well on the front, the base with a sixcharacter Qianlong seal mark in ironred, dia. 6‑1/8”. [300/500]

1619

1626

1622 Good Chinese Famille Rose Porcelain Garlic Head Vase, Republic Period (1908‑1949), delicately enameled with two long-tailed white birds perched in flowering rose bushes growing from rockwork with ling-chih and aster sprigs, the base with a six-character Yongzheng mark within a double circle, h. 6‑7/8”. [500/800] 1623 Good Chinese Famille Rose Porcelain Saucer Dish, Republic Period (1908‑1949), of low form with slightly everted lip rim, the interior decorated with a spray of a peony, aster and flowering branch of prunus, the base with a six-character Yongzheng reign mark within a double circle in pale underglaze blue arranged in three rows of two characters each, dia. 3‑1/2”. [300/500]

1632

1626 Pair of Large Porcelain Chinese Vases, 20th century, the bottle-form vases with reserve panels of flowers in famille rose enamels on a lime green ground with stylized lotus scrolls, h. 25”. [1200/1800] Illustrated 1627 Chinese Famille Rose Porcelain Bell-Form Vase, Republic Period (1908‑1949), the bell-shaped body decorated with a continuous scene of asters, peaches, ling-chih and butterflies, the base with a six-character Daoguang reign mark in iron-red, h. 4‑3/8”. [400/700] 1628 Good Chinese Famille Rose Flared Porcelain Bowl, Republic Period (1908‑1949), the flared circular bowl decorated on the exterior with a continuous scene of the Eight Immortals standing on waves, the base with a sixcharacter Qianlong seal mark, dia. 6‑1/4”. [500/800] 1629 George III Ebony-Strung Maple and Mahogany Tall Case Clock, c. 1800, the clock face labeled, “Hugh Pannell, Northalerton”, with a broken arch scroll pediment, the glazed door flanked by columns with brass bases and Corinthian capitals, the waist with quarter-round ends with inlaid ebony stringing and maple panels above and below, raised on bracket feet, the brass face with second and calendar dials, the works associated, h. 80‑1/2”, w. 17”, d. 8‑3/4”. A book about Pannell has been published by David Sevors, Northalerton’s Clockmakers: Hugh Pannell and His Successors. [1500/2500] 1630 Pair of Edwardian Mahogany String-Inlaid Pedestals, c. 1900, each with a molded top and paneled sides with satinwood banding and raised on ogee bracket feet, h. 48‑1/2”, w. 14”, d. 14”. [200/400] 1631 Regency Burl Elm Center Table, first quarter 19th century, the tilting rounded rectangular top with ebonized string banding, raised on a turned vasiform standard to a concave platform on splayed legs ending in ebonized paws on casters, h. 30", w. 36‑1/2”, d. 30”. [1800/2500]

1624 Chinese Famille Rose Seal Paste Covered Box, Guangxu mark and probably of the period (1874‑1908), the cover finely decorated with two exotic birds perched in a flowering plum tree amongst flowers, the base decorated with three floral sprays and a six-character Guangxu reign mark in iron-red, dia. 4‑1/2”. [300/500] 1625 Chinese Famille Rose Porcelain Rimmed Bowl, Daoguang mark and probably of the period (1821‑1850), the bowl decorated as the Queen Mother of the West holding a child and standing on a wheeled platform before a palanqin among clouds and attended by a fan carrying attendant, the flattened rim decorated with a border of flowers, the base with a six-character Daoguang seal mark in underglaze blue, dia. 8‑1/4”. [500/800]

1632 Attractive Regency Carved Giltwood Convex, or “Bull’s-Eye”, Looking Glass, first quarter 19th century, the cresting modeled as two addorsed giltwood dolphins flanking a giltwood displayed eagle on a crag, h. 37”, w. 22‑1/2”. [2000/4000] Illustrated 1633 Regence-Style Mahogany Occasional Table, the rectangular top with canted curved corners and with an inlaid chessboard, raised on a turned standard to a rectangular platform on four splayed legs ending in brass paws on casters, h. 27‑1/4”, w. 22‑1/2”, d. 14”. [500/800] 1634 Pair of Regency-Style Mahogany Stands, each with a circular top over a fluted frieze, the tripodal supports each capped by a ram’s head and carved bellflowers and joined by a low concave shelf, h. 46”, dia. 11”, top, 19”, overall. [200/400]

207

1635 Regency-Style Mahogany Bergere, early 20th century, of box form, the padded back and downswept sides to bulbous and turned uprights, raised on tapering reeded legs ending in toupie feet, h. 33”. [800/1200]

1636

1636 Large Pair of Japanese Imari Chargers, 20th century, each with a shaped panel depicting a lady in a flowering landscape, surrounded by various shaped panels against a floral ground, dia. 21‑1/2”. [300/500] Illustrated 1637 Group of Three Japanese Imari Vases, 19th century, on of bulbous double-gourd form with reserve panels of birds on branches, h. 8”, one of tapering baluster form with foliate avian panels, h. 5‑1/4”, and a ginger jar-form example with stylized reserve panels, h. 4”. [100/200] 1638 Group of Six Japanese Imari Dishes, late 19th/ early 20th century, consisting of a large bowl with scalloped edge and central flower basket medallion, dia. 9‑3/4”, four smaller bowls with traditional palette and motifs, dia. 6”, and a similar saucer, dia. 6‑1/4”. [150/300]

1639 Group of Four Japanese Imari Bowls, late 19th century/early 20th century, the largest with a scalloped edge and centered by a floral vase, dia. 9‑3/4”, another with a like central medallion and edging, dia. 8‑1/2”, a shallow example with flattened lip and with reserve panels of water fowl, dia. 9‑1/4”, and a smaller piece with a scalloped edge and undulating geometric panels, dia. 7‑1/2”. [200/400]

1643 1640 Pair of Regency Mahogany Sidechairs, first quarter 19th century, each with a slightly domed paneled crest above a spiral-ribbed splat, the cushioned seat raised on reeded sabre legs, h. 34”. [300/500] 1641 Regency-Style Banded Mahogany Triple Section Banquet Table, the figured top edged with rosewood and contrasting light wood inlaid banding, raised on tapering three-sided concave plinths with applied carved arabesques, the bases edged with foliate carving and raised on like bun feet, accompanied by two 24" leaves, h. 29‑3/8”, w. 47”, l. 138-1/2", ext. l. 186‑1/2”. [4000/7000] Illustrated

1641

208

1642 Five English Colorless Glass Finger Bowls, second quarter 19th century, the bowls blown and cut, four with paneled sides and polished pontil, and one with paneled sides and a star-cut base, h. 3‑3/4”, dia. 4‑1/2”. [150/300] 1643 Late Regency Mahogany Server, second quarter 19th century, the rectangular top with a low shelved superstructure, the front with a concave center section and shaped corners, above a conforming frieze fitted with a single central drawer, with a spiral reeded ropetwist inset, flanked to either side by a like inset, raised on tapering circular ribbed legs ending in toupie feet, h. 40”, w. 66‑1/2”, d. 29‑1/2”. [3000/5000] Illustrated

1650

1644 Large Japanese Imari Charger, fourth quarter 19th century, the central floral peony medallion surrounded by alternating reserve panels of gilt floral and avian foliate designs, all within a segmented border, dia. 18‑1/4”. [200/400] Illustrated 1645 Group of Four Japanese Imari Chargers, late 19th/ early 20th century, one with a scalloped edge, all with geometric centers and a traditional palette with reserve floral and foliate panels, dia. 12” to 12‑1/4”. [200/400]

1644

1647 Group of Four Japanese Imari Chargers, late 19th century, consisting of a pair with central geometric foliate medallion surrounded by floral panels, dia. 12‑1/2”, the other two with scalloped edges and floral basket centers, dia. 12‑1/4”. [200/400] 1648 Set of Ten Japanese Imari Plates, early 20th century, each with alternating reserve panels of stylized flowers and prunus branches, dia. 7‑1/2”. [200/400] 1649 Louis-Philippe Mahogany Revolving Adjustable Piano Stool, second quarter 19th century, the circular top raised on a reeded vasiform standard to three splayed scrolling legs, h. 19‑1/4”, dia. 14”. [100/200] 1650 Regency Rosewood Games Table, first quarter 19th century, the rounded rectangular top opening to a b aizelined interior, above a paneled frieze with side scrolls, raised on a graduated columnar stand with acanthinecarved base, to a concave platform on ribbed bun feet on casters, h. 29‑1/2”, w. 36”, d. 18”. [1500/2500] Illustrated

1646 Three-Piece Group of Japanese Imari, late 19th century, consisting of a charger with a central figural medallion, dia. 12‑1/4”, another charger with undulating decorative bands and featuring the Immortals, dia. 12‑1/4”, and a bowl with a scalloped edge and various panels of geometric designs, dia. 10”. [200/400]

1651 Regency Mahogany Butler’s Chest, first quarter 19th century, the rectangular top with molded edge above a case fitted with a secretary drawer with a drop-front opening to an interior fitted with an inset leather writing surface and a variety of drawers and cubbyholes, over three long graduated drawers, raised on splayed bracket feet, h. 45”, w. 47‑1/2”, d. 22”. [800/1200] 1652 Regency-Inspired Mahogany Table-Top Vitrine, the lift-top with a beveled glass center, over a lotus-carved frieze and raised on reeded Sheraton legs, h. 31‑1/4”, w. 47”, d. 23‑1/2”. [250/400]

209

1656 Two Pieces of Japanese Porcelain, 19th century, comprised of a Japanese Kutani figure of a woman with a fan, together with an oviform vase with a wu tsai decoration of banana plants, Ching Hua mark on the base, h. 5” and 6”. [200/400] Illustrated 1657 Group of Ten Japanese Blue-and-White Plates, early 20th century, each with scalloped gilt edges and cloud pattern banding surrounding a bamboo and avian design with gilt and polychrome accents, dia. 8‑1/2”. [150/300]

1662 1653 Pair of Regency-Style Brass Candlestick Holders, the round base terminating in a faceted dome conforming to facets on both the shaft and candle cup, h. 11”. [50/80] 1654 Classical Revival Italian Bracket, comprised of wood and composition, the shaped shelf supported by a gilded shell in an antique finish, h. 14‑3/4”, w. 13‑1/2”, d. 7”. [100/200] 1655 Large Italian Blonde Wood Cabinet in the Neoclassical Taste, the tall molded cornice with projecting corners and bands of foliate, Greek-key and fluted carving, above three banks of open adjustable shelves, the lower section fitted with four paneled cupboard doors, raised on a gadroon-carved plinth base, h. 94”, w. 88‑1/2”, d. 20”. [1200/1800]

1656

1663 1658 Group of Two Japanese Chargers, late 19th century, one an Imari example featuring avian, floral and geometric panels, dia. 15‑1/2”, the other a Kutani example, centered by a polychrome scene of the Daruma and a dragon, within a floral border, dia. 14‑1/2”. [200/400] 1659 Group of Two Oriental Chargers, one a blue-and-white Chinese example, late 19th century, with a central gilt dragon medallion surrounded by a continuous landscape band, with gilt and polychrome accents, dia. 16‑1/4”, the other, a Japanese Imari charger with panels of various animals in landscapes, dia. 15‑1/2”. [200/400] 1660 William IV Mahogany Hall Chair, second quarter 19th century, the single-board back of shield form, joined to a compass seat, the high seat raised on square legs joined by an “H”-stretcher, and flaring at the feet, h. 41‑3/4”. [200/400] 1661 Pair of French Brass Candlesticks, second quarter 19th century, the turned standards fitted with a side ejection and trimmed with a beaded, urn support resting on turned feet, h. 7‑1/2”. [100/200]

210

1662 Pair of William IV Parcel-Gilt Rosewood Pedestal Cabinets, second quarter 19th century, each with a black granite top over a single door with a pleated fabric panel framed by gilt moldings, and flanked by pilasters, on a projecting molded plinth base, h. 39‑3/4”, w. 18‑1/2”, d. 13”. [1200/1800] Illustrated 1663 British School (Second Quarter 19th Century), “Portrait of a Cleric in His Robes”, oil on canvas, unsigned, 31” x 25”. Presented in a period giltwood and gesso frame. [1000/1500] Illustrated

1664

1667

1665 William IV Bronze and Cut-Glass Standish in the Rococo Style, second quarter 19th century, the base with scrolled feet, handles and borders and with pen trays on each side, fitted with two square cut-glass ink pots fitted with gothic revival brass lids, flanking a raised engineturned taperstick with a butterfly handle, h. 3‑1/4”, w. 10”, d. 6”. Provenance: Pickwick Antiques, Montgomery, Alabama. [200/400] 1666 English William IV Mahogany Jewel Case, second quarter 19th century, mounted on turned bun feet, the two arch-panel doors open to reveal graduated drawers mounted with turned mahogany pulls, the top finished with a finely reeded edge, h. 12‑3/4”, w. 14”, d. 8”. [200/400] 1667 Regency-Style Mahogany Metamorphic Table/ Library Steps, the table top bisected and inset with two leathern panels, hinged and folding to become four-step library stairs, each step with an inset burgundy leather panel, raised on bulbous turned circular legs, h. 28” as steps, h. 17‑1/2” as a table, w. 16‑1/2”, d. 27‑1/2”. [400/700] Illustrated

1664 William IV Mahogany Sideboard, second quarter 19th century, the top with projecting ends, the case with conforming pedestal ends, each with a deep compartmented cellarette drawer, the recessed center with a pair of drawers, the drawer edged with engaged bobbin turnings, raised on tapering Sheraton legs ending in ball feet, h. 38‑3/8”, w. 72‑3/4”, d. 24‑1/2”. [1200/1800] Illustrated

1668 Regency-Style Mahogany Library Steps, fitted with four triangular spiraling rungs, raised on block and ball feet and supported by a bamboo-turned upright, h. 65‑1/2”. [300/500] 1669 Regency-Style Mahogany Library Steps, 19th century, with three steps, all inset with gilt-tooled leather panels, the upper one with a cupboard below, the middle on fitted as a drawer, all with reeded edge and raised on ring-turned tapering circular legs, h. 28”, w. 29‑1/2”, d. 19‑1/4”. Provenance: Pickwick Antiques, Montgomery, Alabama. [300/500]

211

1670

1672 Chinese Covered Bronze Censer, ca. 1900, the separate stand pierced and molded with bamboo, the body with molded bamboo leaves on the corners and with twisted and stylized bamboo forming the feet and handles, the lid pierced in a pattern of bamboo leaves, with a foo dog knop with a bamboo body, h. 20‑3/4”, w. 10”, d. 7‑3/4”. [1200/1800] Illustrated

1672

1674

1673 Chinese White Metal Censer, 20th century, the base resting on paw feet and molded with foo dog heads, the body molded with scrollwork and with dragon-form handles, the pierced lid with a foo dog knop, h. 11‑1/2”, w. 9”, d. 7”. [200/400]

1676 1670 Chinese Mahogany Bench, mid-20th century, the shaped back featuring floral and avian carving within a dragon-carved frame, joined by dragon and pearl modeled arms to the wooden seat raised above a cloud-form apron on ball-and-claw feet, h. 47‑1/2”, w. 53‑1/2”, d. 20‑1/2”. [1000/1500] Illustrated 1671 Pair of Chinese Hardwood and Marble-Top Tabourets, each with a circular top with an inset marble surface, above a bamboo-carved frieze and pierced apron, raised on shaped legs joined by a floriform stretcher, h. 33”, dia. 13‑1/2”. [300/500]

212

1674 Chinese Mahogany Armchair, second quarter 20th century, the back heavily carved in phoenix and cloud patterns, the arms realistically modeled as dragons holding pearls in their mouth, the wooden seat centered by a carved foliate medallion, raised above a bat wing and cloud-carved apron on cabriole legs ending in upturned toes, h. 34‑1/2”. [700/1000] Illustrated 1675 Chinese Mahogany Center Table, mid-20th century, the stepped square top with an incised dragon design above a projecting frieze with cloud carvings, raised on shaped legs headed by carved winged bats and ending in scrolled toes, h. 31”, w. 29‑1/2”, d. 29‑1/2”. [300/500] 1676 Chinese Bronze Deity of a Seated Figure, 20th century, the seated figure of a Taoist divinity with a dragon, with a parcel-gilt surface, h. 11”. [300/500] Illustrated 1677 Bronze Figure of a Buddha, 20th century, Nepal, the four-armed figure of Manjushri, h. 14”. [500/800] Illustrated

1677

1678

1678 Chinese Silk Tangkha, the tapestry weave with lampas and brocade borders, K’o ssu with a central figure of Yama on an orange ground, h. 24‑1/2”, w. 30‑1/2”, sight. [2500/4000] Illustrated 1679 Chinese Nickel Bronze Image of a Buddha, 20th century, the many-armed tantric figure with three faces, the surface with gilding and color, h. 9”. [100/200] 1680 Pair of Chinese Stained Hardwood End Tables, 20th century, each with a banded square top above a conforming cloud-carved frieze, raised on square legs joined by stretchers and ending in shaped feet, h. 19‑1/2”, w. 17”, d. 17”. [200/400]

1681

1681 Chinese Carved Horn Brush Rest, of dark brown color carved in relief as a recumbent figure of a horned scaly dragon with feathered tail emitting a spray of vapor and resting on a bed of lotus, l. 6‑1/8”. [600/900] Illustrated

213

1685 Western Han Dynasty Bronze Bianhu Flask, (206 BC - 900 AD), the flattened body with shaped edges and raised on a quadrangular foot, surmounted by a cylindrical neck with a lobed, onion bulb mouth, embellished with twenty-two karat inlaid gold and silver animal and bird motifs, h. 11‑1/4”, w. 13‑1/4”. Provenance: Dallas Auction Gallery, April 2008. A TL testing was performed at LACMA by Dr. Pieter Meyers and is available upon request. [3000/5000] Illustrated

1685

1690

1682 Large, Dramatic Chinese Carved Zitan Immortal Ruyi Scepter on Stand, the large horizontal piece of zitan carved in high relief as a ruyi scepter with sprouting ling-chih and carved waves, scattered along the scepter’s length and within its recesses are figures of the Eight Immortals, each with their attribute, the arched stalk with a large ling-chih head at one end and terminating at the opposite end as a root cluster, the scepter attached to a stand of curling waves with two plaques of calligraphy, h. 7”, l. 24”. [1800/2500] 1683 Chinese Miniature Horn Wine Cup, of elongated oval outline, the exterior carved in relief with scenes of bamboo, pine trees, a pavilion and figures in the landscape, all above a ridged border at the base, l. 2‑13/16”. [250/400]

1696 1684 Chinese Carved Horn Water Coupe, carved in the form of a peach with a central peachshaped water well, the outer surface carved in relief as a crouching foo dog among branches, foliage and peaches, d. 3‑3/4”, l. 4‑5/8”. [500/800]

1686 Pair of Japanese Cast-Bronze Vases, 20th century, each of tapered bulbous form with splayed feet and everted lip rims, the bodies cast in relief with flowering wisteria vines, applied verdigris patination, h. 10‑5/8”. [300/500] 1687 Large Chinese Famille Rose Porcelain Vase, 20th century, of cylindrical baluster form with flared lip rim and lion head handles, decorated with continuous scenes of phoenix birds among flowers and trees, h. 23‑3/8”. [150/300] 1688 Impressive Nippon Vase, ca. 1911‑1921, the vase decorated with hand painted flowers and leaves, bordered with oriental inspired characters and trimmed with raised gilt, with gilt “C” scroll handles supporting oval rings, marked “M” in a wreath, h. 15”. [500/800] 1689 Chinese Sword, 20th century, the pattern-welded steel blade, with brass mounts decorated with clouds and lingchih, wooden hilt and scabbard, l. 45”. [200/400] 1690 Japanese Bronze Vase with Stand, late 19th century, with high relief decoration of birds and flowers, together with a finely carved rosewood stand, h. 12”, without stand. [600/900] Illustrated

214

1691 Chinese Hardwood and Ebonized Six-Fold Screen, early 20th century, each panel with three ebonized panels, all with incised and gilt foliate and bamboo designs, the panels divided by pierced dragon and calligraphic panels, raised on square feet, h. 81”, w. 120”. [400/700] 1692 Group of Three Mixed Metal Works, Meiji Period (1868‑1912), comprised of a covered jar, h. 5‑1/2”, a vase, h. 7‑3/4”, and a basketry edged bowl, dia. 10‑1/2”, decorated with birds and flowers, children playing and a man admiring chrysanthemums. [500/800] 1693 Chinese Export Rosewood Lady’s Desk, late 19th century, the superstructure with a fret-pierced crest above a slatted and shelved central section flanked to one side by two small drawers and to the other by a paneled cupboard, the banded rectangular top above a frieze fitted with two drawers over a pierced apron raised on cabriole legs ending in peg feet, h. 48”, w. 36”, d. 21‑3/4”. [300/500]

1698 Framed Collection of Five Asian Miniatures, 20th century, consisting of two oval mother-of-pearl miniatures depicting courtly scenes, two rectangular miniatures on ivory depicting a sporting match and one on paper, depicting ladies in a garden, all glazed and handsomely presented in a shadowbox frame, 14‑1/2” x 11”. [800/1200] 1699 Chinese Carved Bamboo Brush Pot, carved in relief from a section of timber bamboo with rockwork and pine trees and vignettes of scholars, one group of three examining a scroll painting and another scholar and attendant admiring the scenic view, h. 7‑1/8”. [300/500] 1700 Unusual Chinese Carved Rosewood Brush Pot, 19th century, carved in the form of two cupped lotus leaves, the body carved and undercut in high relief as two immortals on a lotus leaf, lotus stems, buds and seed pods, all above a border of cresting waves, h. 8‑5/8”. [900/1200] Illustrated 1701 Chinese Small Rosewood Brush Pot, 19th century, of slightly waisted outline, the body decorated with an engraved continuous landscape scene, a three column calligraphy inscription and an engraved seal, h.4‑5/8”. [250/400] 1702 Chinese Carved Bamboo Brush Pot, of slightly oval outline carved in relief from a section of timber bamboo, the body carved with a continuous scene of two scholars in a rural pavilion with a group of attendants all in a rocky landscape with pine trees and an additional group of scholars beneath a pine tree playing the game Go, h. 7‑1/8”. [300/500]

1700 1694 Japanese Copper Tobacco Case, late 19th century, the case of circular form with ribbed sides and a connecting chain, dia. 2‑3/4”. [300/500] 1695 Japanese Brass Box, early 20th century, the surfaces entirely engraved with a mille fleur design, h. 2‑1/4”, w. 6‑1/2”, d. 3‑1/4”. [300/500] 1696 Chinese Bronze Buddhist Image, 20th century, the figure seated with four faces, parcel-gilt surface, h. 12‑1/2”. [300/500] Illustrated 1697 Three Indian Bronze Figures, the first, a 19th century Indian deity, the second an early 20th century Thai head of a Buddha, and the third, a modern bronze head of a Buddha, h. 4” to 7”. [200/400]

1703 Chinese Carved Bamboo and Rosewood Brush Pot, late 19th to early 20th century, of slightly oval outline, the body carved in relief with generational figures in a grove of pine trees and a garden, the lip rim and base in rosewood, h. 6‑5/8”. [500/800] 1704 Chinese Carved Bamboo Brush Pot With Rosewood Lip Rim and Base, the body carved in low relief with two scholars enjoying the celebration of the Dragon Festival with a drummer, boys sitting off firecrackers and men dancing in a dragon costume, the scene bordered by an ancient pine tree and having an engraved calligraphic inscription, h. 7‑3/4”. [200/400] 1705 Chinese Carved Bamboo Brush Pot, 19th century, the slightly oval section of bamboo carved in low relief with a horse being led by a groom among rockwork and beneath a willow tree, a seven-character engraved calligraphic inscription, h. 6‑3/4”. [250/400]

215

Index of Artists and Printmakers A Adler, Edmund 780 Adolphe, Albert Jean 1443, 1444 Agostinelli, Mario 966 Aichele, Erwin 21 Alechinsky, Pierre 183 American School 134, 135, 136, 167, 1048, 1049, 1203, 1204, 1227, 1304

July 27, 28 & 29, 2012

C Carlier, Max Albert 1051 Carter, Henry Barlow 603 Cezanne, Paul 1536 Chardin, Jean-Baptiste-Simeon (follower) 1507 Cheret, Jules 376 Chinese School 81 Chinese School 203, 204, 833

Andreotti, Federico (manner) 588

Clark, Alson 1446

Artiges, Emile 518

Clodion, Michael Claude (After) 1495

Asian School 762

Cocteau, Jean 184

Audubon, John James (after) 1188

Coignard, James 145

Cole, Thomas (follower) 1202

Bejar, Feliciano 170, 171, 172, 173

Colin, Georges 593

Belgian School 773

Continental School 520, 599, 634, 774, 1080

Bennassar, Dionis 1075

Continetal School 855

Bergslien, Nils 690

Crane, Bruce 1442

Berke, Ernest 1339

Bompard, Maurice 1050

Damschroeder, Jan Jac Matthys 795

Bonge, Dusti 143

Delgado, Roberto 1343

Booth, Herb 1341

Dixon, Francis 1441

Boucher, Francois (follower) 1509

Dulong, Jean Louis 1511

Bowyer, William 1071

Dunbar, George Bauer 1470, 1471

Bradbury & Evans 1190

Dureau, George 1472

British School 600, 601, 676, 683, 685, 777, 796, 1066, 1189, 1663

Durham, Dixie Hampson 1476

Brown, John George 1277 Buffet, Bernard 181, 182

Dutch School 635, 775

Index of Artists and Printmakers E Embrey, Carl Rice 1469 Ewald, Ernst 590 F Fantin Latour, Henri (manner) 1510 Felix, Eugene Karl 1445 Fenz, Anton 782 Fiot, Maximilien Louis 1497 Fitch, John Nuget (after) 1067, 1068

July 27, 28 & 29, 2012

Harvey, Paige 138 Hasbrouck, Maggie 131, 132, 133 Heade, Martin Johnson (circle) 1409 Henner, Jean-Jacques (after) 852, 853 Hirschfeld, Albert 174 Hirst, Claude Raguet (circle) 1449 Holzhauer, Emil 1462 Hostein, Edouard 254 Hudson River School 1410

Flemish School 797

French School 346, 371, 405, 408, 450, 843, 844, 1052

Italian School 598

J Janssen, Edna 1333, 1334, 1335

Gaul, Franz 691 Gerard, Theodore 4 German School 1219 Giampietri, Settimio 611 Gillette, William B. 1440 Glackens, William James 1448 Gomez, Paul Pierre 373 Goya, Francisco 1534 Graham, George William 686 Guarisco, Christopher 1475 Guillaume, Albert 377 H Halpert, Samuel 1459 Hambidge, Jay Edward 1458 Hamilton, Hildegarde Hume 1464

John, Augustus Edwin 35 John, Augustus Edwin (attributed) 36 K Kirby, W. F. 1201 Korver, John 1331 Krupp, Louis 1460 Kuang, Ting Shao 399 Kushner, Lesley 1474 L Lanskoy, Andre 403 Le Corbusier 180 Lismann, Hermann 404 Long, Woodie 1479 Longstaffe, Edgar 684 M

Index of Artists and Printmakers

July 27, 28 & 29, 2012

Mallet, Jean-Baptiste (after) 938

Rath, Hildegard 1461, 1463

Marley, Christopher 1221

Rayo, Omar 185

Marshall, James A. K. 1344

Rehm, Fritz 375

Martin, Anthony V. 1340

Renard, Paul 968

Maurin, Nicolas Eustache 936

Renoir, Pierre-Auguste 1536

McKenney-Hall 1298, 1299

Rodrigue, George 1272, 1273, 1274

Michalopoulos, James 1336, 1337

Roziere, Francois-Michel (after) 178

Mignard, Pierre, the Elder (circle) 1508

Rucker, Robert M. 1332

Morgam, Elemore Jr. 1473

Ruth, Clara 1465

Muller, Anton 655

Schouten, Henry 253

Noble, Mary Evol 1338

Seifert, Alfred 1501

Nodder, Frederick P. 1191

Seigneurgens, Ernest (attributed) 519

Slade, Arnold (attributed) 853

Obel, Nils 160, 161, 162

Soler, Juan 372

Ousley, William 1439

Soviak, Harry 146

Stanton, Clark 587

Park, David 1466

Steg, James Louis 144

Parra, Antonio Vazquez 1342

Stella, Joseph 1218

Pasquier, Pierre 922

Penczner, Paul Joseph 1330, 1450, 1451

Talbot, Henry S. 602

Piranesi, Francesco (after) 937

Talmage, Algernon Mayow 682

Poincy, Paul E. 1303

Tarin, Gilberto 137

Tobey, Mark 1467

Quost, Edouard 1053

Toorenburg, Gerrit 636

Turpin, Jean Francois (after) 1220

Rakes, Sarah 1477, 1478 Rambert, Rene 967

Index of Artists and Printmakers

July 27, 28 & 29, 2012

Glossary The Artistâ&#x20AC;&#x2122;s Name: In New Orleans Auction Galleries opinion, a work by the artist.

V Van der Plas, Niek 406, 407, 1086 Van Ostade, Adriaen (follower) 781 Van Rijn, Rembrandt 1535 Van Velzen, Pieter 150

Attributed to: In New Orleans Auction Galleries 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 New Orleans Auction Galleries opinion, a work by a follower of the artist. Circle of: In New Orleans Auction Galleries opinion, a work of the period of the artist and showing his influence.

Velazquez, Diego (after) 854

Manner of: In New Orleans Auction Galleries opinion, a work in the style of the artist, p ossibly of a later period.

After: In New Orleans Auction Galleries opinion, a copy of the work of the artist.

Wagner, Fritz 776 Walker, Clark 1480 Waugh, Henry 1502

Signed: Has the signature which in New Orleans Auction Galleries opinion is that of the artist.

Whyatt, George 681

Bears Signature: Has a signature which in New Orleans Auction Galleries opinion might be the signature of the artist.

Wieczorek, Max 1468

Dated: Is so dated and in New Orleans Auction Galleries opinion was executed at about that date.

Wiggins, Guy Carleton 1447

Bears Date: Is so dated and in New Orleans Auction Galleries opinion may have been executed at about that date.

This Form Must Be Submitted by Thursday at 5:00 p.m.

absentee / telephone bid form

New Orleans Auction Galleries

Paddle #_______________ 801 Magazine Street l New Orleans, LA 70130 800-501-0277 l 504-566-1849 l Fax: 504-566-1851

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, Inc. catalog 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. See previous pages for the complete Conditions of Sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: ________________ Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number)

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 completed form to: 504-566-1851

This Form Must Be Submitted by Thursday at 5:00 p.m.

absentee/telephone bid form (continued) Name (Please Print): ______________________________________

Lot #

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

New Orleans Auction Galleries 801 Magazine Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: info@neworleansauction.com

– Authorized Release Form – Name: ________________________________________________________________________ Business Name: _________________________________________________________________ Telephone(s): __________________________________________________________________ Email Address: _________________________________________________________________ I authorize: _______________________________________________________to pick up items New Orleans Auction No.:______________________________or Sale Date:_________________ Lot #(s): ______________________________________________________________________

_____________________________________________________________________________

Please sign below:

X________________________________________________

Date____________________

Print name: __________________________________________

Please provide the shipping agent with the appropriate New Orleans Auction location and fax this form to the correct gallery listed above.

Note: Items will not be released without a signed authorization

CATALOGUE ORDER FORM Please Print, Complete and mail or Fax New Orleans Auction Galleries, Inc. 801 Magazine Street, New Orleans, LA 70130 Phone: (504) 566-1849 • Fax (504) 566-1851 Email: info@neworleansauction.com www.neworleansauction.com

New Orleans Auction Galleries

NAME ________________________________________________________________________________________ STREET ADDRESS ______________________________________________________________________________ CITY _________________________________________________________________________________________ STATE ________________________________________ ZIP ____________________________________________ BUSINESS PHONE ______________________________________________________________________________ HOME PHONE ________________________________________________________________________________ FAX PHONE __________________________________________________________________________________ E-MAIL _______________________________________________________________________________________

Annual Subscription (Domestic) (6 issues) - $150.00 Annual Subscription (International) (6 issues) - $300.00 Single Catalogue for Upcoming Auction (Domestic) $25.00

PLEASE INDICATE YOUR METHOD OF PAYMENT CHECK MADE PAYABLE TO NEW ORLEANS AUCTION GALLERIES, INC. VISA

MASTERCARD

AMEX

Credit Card Number ________________________________ Expiration Date _____________________________________ Amount $ _________________________________________

Single Catalogue for Upcoming Auction (International) $50.00 I do not wish to subscribe at this time, but please include me on your mailing list.

Signature _________________________________________ Date _____________________________________________ Office Use: Mail Code __________ Sub. End Date _____________

YOUR SATISFACTION IS IMPORTANT TO US. IF YOU HAVE ANY PROBLEMS WITH YOUR ORDER PLEASE CALL (504) 566-1849. PLEASE VISIT US ONLINE WWW.NEWORLEANSAUCTION.COM FOR MORE INFORMATION.

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Thursday, July 26, 2012 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, July 26, 2012

We Accept VISA, MasterCard and American Express for Invoices Up to $25,000 There will be a buyer’s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold. Items in the catalogue are sold as is, where is. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final. Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

New Orleans Auction Galleries REQUEST FOR CONDITION REPORTS (DEADLINE: THURSDAY, JULY 26 AT 5:00 P.M.) 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: __________

Business Name: ____________________________________________________________________________ Address: __________________________________________________________________________________ City: __________________________________________________ State: __________ ZIP: ____________ Telephones: Work: (_______)____________ Home: (_______)___________ (For Fed-Ex Requests) Federal Express Account #: _________________ Please Select: Method of Receiving Reports: _____Fax _____Mail _____Email

Fax: (_______)__________ Email Address: __________________

Method of Receiving Photographs: _____Mail

_____Email

Lot # Description Special Requests _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ Please Submit This Form Via Fax: 504-566-1851 or Email info@neworleansauction.com

New Orleans Auction Galleries Under New Ownership Susan Krohn CEO

Ashton Thomas President

Colleen Ryan HR Manager

Tessa Steinkamp Auctioneer / Consignments Manager

Ireys Bowman Consignments

Charles C. Cage Office Manager / Silver Specialist

Greg S. Kowles Consignments

Kim Lemon Customer Service Manager

Jelena James Consignments – Fine Art

Michael Maggio Marketing Manager / Graphic Designer

Thomas Halverson Consignments– American Furniture

Ellen McKenzie Graphic Designer / Cataloguer

Sean Ranson Consignments – Fine Carpets

Burke Exhibition Staff / Designer

Bryce Reveley Cataloguer – Couture Specialist

Lynn Bowker Exhibition Staff / Interior Designer

Randy White Operations Manager

Clarke “Doc” Hawley Exhibition Staff

Cedric Roberts Assistant Operations Manager

Denise Haik Exhibition Staff

Bennie Amos / Emmitt Kendrick, Jr. Eddie Daigrepont Operations

Robin Ruiz Wilkinson Auctioneer Gary Michael Gittelson Photographer