July 22-23, 2017 Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries

July 22-23, 2017

New Orleans Auction Galleries Estates Auction:

Exhibition:

July 22-23, 2017

July 10-21, 2017 Monday - Friday, 9 a.m. - 5 p.m. Saturday, July 15, 10 a.m. - 4 p.m.

Evening Reception: Thursday, July 20, 2017, 5 - 7:30 p.m.

Session I

Session II

Saturday, July 22, 2017

Sunday, July 23, 2017

Lots 1-630

Lots 631-1156

100

10:00 - 11:00

631

700

200

11:00 - 12:00

701

774

201

300

12:00 - 1:00

775

874

1:00 - 2:00

301

400

1:00 - 2:00

875

974

2:00 - 3:00

401

500

2:00 - 3:00

975 - 1074

3:00 - 4:00

501

600

3:00 - 3:45

1075 - 1156

4:00 - 4:30

601

630

10:00 - 11:00

11:00 - 12:00

101

12:00 - 1:00

333 St. Joseph Street, New Orleans, Louisiana 70130 Website: NewOrleansAuction.com | Email: Info@NewOrleansAuction.com Tel: 504.566-1849 | Toll Free: 800.501.0277 | Fax: 504.566.1851

Lot 461 Covers: Lot 223 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount For Prompt Payments Made By Cash or Check)

FeaturING Property FROM: The Estate of Cheryl Barousse Frischhertz New Orleans, Louisiana

The Estate of Nancy Nye Harrell Houston, Texas

The Estate of Janice Hughes Labouchere Hilton Head Island, South Carolina

A Preston Hollow Estate Dallas, Texas

A Private Collection from a Madison Avenue Resident New York, New York

Evening Reception Highlights

6 1. BennĂŠ Rockett and Kevin Hilbert 2. Helen Mirren and Burke

3. Don Hudson, Marilyn Alexander, and Tony Meanza 4. Michael and Brian Skinner 5

5. Stephan Blaize and Glen Steeb 6. Skye Ross and Amy Murrah

Letter from the ceo

The price of beauty. We are all too familiar with it, particularly when it comes to interior design. It seems to be a Sisyphean task to wrap a value around an entire project that is so personal and somewhat permanent, doesn’t it? In the last New Orleans Auction Galleries catalogue, we talked about the importance of finding the right designer, with tips straight from some of my favorite industry professionals. In this issue, we continue the series, addressing the backbone of any decorating plan. You guessed it: The Budget. With a little preparation and communication, you can grab what some might call this necessary evil by the horns. Otherwise, when that designer you love, the one who “really gets you,” starts sending invoices, you’ll feel like the carpet (you know, not the one you just bought, but the one that supports your entire project) has been yanked out from under you. BOOM! What did you agree to?!? Most design professionals are, without question, honest and reputable. However, the unregulated nature and opaque "to-the-trade" pricing structures, which sometimes read like health insurance charges, have, in the past, left me feeling vulnerable and occasionally even victimized. So, let’s get to the heart of the matter by discussing the sentry to which your budget is subjected, otherwise known as a billing structure. Following are three of the most common models. 1. Hourly rate: Interior designer bills a negotiated rate per hour. You may want to negotiate a defined number of hours per month and then require approval of additional hours. With this model, the designer typically passes along to the client industry discounts. You can also sever your relationship at any time. 2. Cost-plus: Interior designer charges a set percentage on merchandise purchased and thirdparty services rendered from such trade, such as upholsterers, window-treatment makers, faux painters, etc. 3. Mixed: Interior designer charges a set percentage on purchases and a base design fee at an hourly rate.

Tip: List prices for "to-the-trade" products typically include a built-in commission of anywhere from 20 to 50 percent. Likewise, a third-party contractor may build in some additional percentage for the referral from the designer. A reputable interior designer will clearly explain these charges to you. For a topnotch professional point of view, I turned to Charlotte Nail, the highly regarded owner of Houston’s Charlotte Nail Antiques (CharlotteNailAntiques.com). Ms. Nail, who opened her firm in 1972 and specializes in French antiques, advises clients to be clear about the parameters of a project, and to make sure you and your designer have a complete understanding of the budget and financial arrangement. Just as interior style is not one-size-fits-all, the approach to compensating a good design professional offers options that can be tailored for your specific needs and budget. Do some research, run some numbers that you and your designer can agree on and you will have a successful design project that brings joy and beauty into your life daily. Now that’s what I call priceless. Want to talk more design ideas? Join us for our next Estates Auction on Saturday and Sunday, July 22-23 at 10:00 a.m. each day. And, of course, I hope you will attend the preview party beginning at 5 p.m. on Thursday, July 20! We are pleased to offer property from numerous prominent collections and estates from throughout the country, including the Estate of Nancy Nye Harrell of Houston, Texas; the Estate of Cheryl Barousse Frischhertz of New Orleans; the Estate of Janice Hughes Labouchere of Hilton Head Island, South Carolina; a Preston Hollow Estate, Dallas, Texas; and a Private Collection from a Madison Avenue Resident, New York, New York. The sale also includes a large and important drawing by celebrated African American artist John Biggers, works by Peter Max, George Rodrigue, Hunt Slonem and others, a selection of modern silver, a stunning collection of fine jewelry and much more.

th e estate of

Nancy nye HARRELL Houston, texas

Nancy Nye Harrell was born February 18, 1931 in Shawnee, Oklahoma to George and Marion Nye. She grew up in Houston, Texas, attending Lamar High School. Upon graduating, she enrolled at the University of Texas at Austin, where she was a member of Pi Beta Phi. Nancy met James (Jim) E. Harrell in Houston and the two married in 1954. Harrell’s family founded Harrell Drilling Company, an independent oil company originating in Louisiana and operating throughout Texas and Louisiana. Jim and Nancy traveled extensively early on in their marriage, venturing all over the world. They were longtime members of River Oaks Country Club, and Nancy also formed the Lamar Luncheon Club, a group that included her longtime girlfriends from Lamar High School. One of Nancy’s greatest joys was hosting uniquely themed and stylized dinner parties for her close group of friends. Each of her marvelous parties was different

and every detail, from the place settings to the table runner, was meticulously curated. Nancy would often take the pattern of a plate and construct the décor around that design; she kept meticulous records to ensure that each theme and motif was unique. When Nancy began hosting her dinner parties, she did most of the cooking, even taking into consideration any dietary restrictions her guests may have. The banquet table and dining chairs used for these extravagant parties are included in this sale. Nancy loved French furniture—she personally sought out every item in her home to fit the exact look and specifications she needed. She frequented the finest antique shops throughout Houston searching for the perfect pieces. New Orleans Auction Galleries is honored to offer fine furniture, chandeliers, sculpture, paintings and decorative arts from the Estate of Nancy Nye Harrell.

the estate of

Janice Anne Hughes Labouchere hilton head island, south carolina

New Orleans Auction Galleries is pleased to offer the Estate of Janice Anne Hughes Labouchere. Ms. Labouchere (1946-2017) was the youngest child and only daughter of an upstate New York Irish Catholic family. She met her husband, Ronald Labouchere (1946-1996), through friends while she was living in Manhattan and working as the private secretary to famed children’s book author and illustrator, Dr. Seuss (Theodor Geisel). Ronald was from a prosperous, international banking family; he was the great-grandson of Grace Nichols Whitney Hoff, the daughter of David Whitney, the lumber magnate and former Governor of Michigan. The couple wed in 1969, and shortly after their marriage, Ronald took Janice to France, where his family still had property and strong ties. The two became active in the world of international business, and spent years living and working across Europe and Australia. After the birth of their two sons, the family decided it was time to return to the United States, and they settled in Wilton, Connecticut. With two young, active children, Janice made the career change to real estate, working as a popular and successful agent in upscale Fairfield County. Upon their retirement, the Laboucheres relocated to Hilton Head Island, South Carolina. Janice never lost her love of travel and in her later years would revisit places, spending time with old friends and family. According to those who knew her best, she had a magnificent smile. Ronald’s great-grandmother, Mrs. Hoff was a prominent philanthropist and patron of the arts, devoting much of her career to the establishment of foundations and funds for young women. She developed the Detroit Young Women’s Christian Association (Y.W.C.A.), serving as its president for a number of years. After Hoff moved to Paris in 1900,

following her second marriage to the Standard Oil executive John Jacob Hoff, she built a boarding house for young American women studying in Paris and founded the first Y.W.C.A. for British and American women. She served as the Honorary President of the International Art Union of Paris, through which she established the “Grace Whitney Hoff Museum Purchase Fund”, which annually gifted an American museum a prominent art work exhibited in Paris. The first recipient in 1908 was from Hoff’s native city, the Detroit Museum, to which she contributed greatly throughout her life. During World War I, she aided in the care of wounded American soldiers and established a retirement home for veterans’ widows in eastern France near Switzerland. In 1923 and 1925, the French government recognized her dedication to public service and education with the prestigious awards, the Academic Palms and the Legion of Honor. Following her death in 1938, she was survived by her only child, Elaine Evans Labouchere (18881943), from her first marriage to John Everett (d. 1892), and this collection descended through the family of her grandson Robert E. Labouchere (19221982), Ronald’s father. The foundations Mrs. Hoff established, still active today, are a testament of her legacy and reflect the diversity of the fine pieces offered here. Included in this estate is the Grace Nichols Whitney Hoff Collection, which contains a fine selection of furniture, silver and paintings collected from the finest Paris salons and galleries at the turn of the twentieth century.

Session I: July 22, 2017 10:00 a.m., CDT Lots 1-630

Lot 152

1 French Provincial Walnut Cabinet 18th century, the molded cornice above a frieze featuring two carved winged cherub heads, over two cupboard doors, each paneled and with decorative carving, the lower section fitted with two doors over two paneled cupboard doors, each centered by a carved floral medallion, raised on bun feet. h. 70”, w. 51‑1/2”, d. 23‑1/4” $900‑$1,200 2 Provincial Louis XV Fruitwood Fauteuil 18th century, the domed and caned back surmounted by a shell crest, joined to the cushioned caned seat by foliate-carved arms, raised on cabriole legs ending in foliate toes. h. 38” $600‑$900 3 French Provincial Polychrome Armoire 19th century, the rounded and molded cornice above a conforming case fitted with two doors, each inset with three foliate- and shell-carved panels, raised on rounded block feet. h. 84‑1/4”, w. 52‑1/2”, d. 24”

$600‑$900

5 4

4 Regence-Style Fruitwood Fauteuil late 19th century, the padded and domed back joined by downswept foliate-carved arms to the padded seat, raised on cabriole legs headed by shield carving and ending in scrolled toes. h. 42” $600‑$900 5 Provincial Louis XV-Style Fruitwood Buffet late 18th century, the rounded rectangular top above a conforming case fitted with three small central drawers flanked to either side by a cupboard door inset with a shaped panel, raised above a shaped apron on cabriole feet ending in scrolled toes. h. 39”, w. 65”, d. 20” $800‑$1,200 6 French Provincial Oak and Fruitwood Buffet a Deux Corps early 19th century, the molded and dentillated cornice with canted corners, above a foliate-carved frieze and two glazed doors, the lower conforming section fitted with two drawers over two cabinet doors, each inset with a shaped panel and over a shaped sunburst-inlaid apron, raised on shaped toes. h. 92‑1/2”, w. 54‑1/2”, d. 23‑1/2” $1,500‑$2,500

7 Paul Verdussen (Belgian, 1868‑1945) “Two Still Lifes with Apples, Confit Jar and a Bottle of Wine” pair of oils on canvas one signed upper left and one lower right. Presented in matching frames, each affixed with an artist plaque. each 15‑3/4” x 12” $1,500‑$2,500

8 Pair of Louis XV-Style Fruitwood Fauteuils a la Reine

7 one of two

7 two of two

late 19th century, each with a domed and padded back joined to the cushioned seat by padded scrolling arms, raised above a foliate shell apron on cabriole legs ending in scrolled toes. h. 41‑1/2” $600‑$900

9 French Provincial Fruitwood Table mid-19th century, the rounded rectangular top with bound ends, above a frieze fitted with two side drawers, raised on cabriole legs. h. 29‑1/2”, w. 53”, d. 26‑1/2” $1,000‑$1,500

10 Provincial Louis XV-Style Fruitwood Duchesse Brisee

late 18th century, the domed and padded back surmounted by a floral crest, joined by padded arms to the like seat, the ottoman portion padded and with a slightly raised domed and padded end, all raised on molded cabriole legs ending in scrolled toes. h. 38”, w. 28”, ext. l. 70” $600‑$900

12 Pair of Louis XV-Style Fruitwood Bergeres late 18th century, each with a padded and domed back surmounted by a floral-carved crest, joined by closed downswept sides to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes. h. 37‑1/2” $1,200‑$1,800

11 detail

11 Unusual French Provincial Fruitwood Secretary Table mid-19th century, the banded rectangular top hinged and opening to an inset writing surface and a secretary structure, which rotates up to reveal various drawers and cubbyholes with pen trays to either side, above a deep apron, raised on slender cabriole legs. h. 26‑1/4”, w. 20”, d. 12‑1/4” $800‑$1,200

13 Pair of Louis XV Fruitwood Fauteuils 18th century, each with a domed and padded back surmounted by a floral crest, joined by padded, scrolling arms to the padded seat, raised on cabriole legs ending in scrolled toes. h. 36‑1/4” $600‑$900

14 Portuguese Palissy-Type Pottery Wall Plaque

15 Portuguese Palissy-Type Pottery Wall Plaque

stamped with an indecipherable maker’s name, with a lobster in the center and various shellfish and underwater vegetation molded around. dia. 11‑3/4”

decorated with an applied crab, shells and underwater vegetation. dia. 9‑1/2” $600‑$900

$600‑$900

16 Provincial Louis XV-Style Oak and MarbleTop Side Table 19th century, the rounded rectangular marble top with a molded edge, above a conforming frieze fitted with a pull-out slide to either end and shell- and foliate-carved sides, raised on molded cabriole legs ending in foliate toes. h. 29”, w. 30”, d. 16” $600‑$900

17 Louis-Philippe Fruitwood Wing Chair mid-19th century, the padded back and sides, mechanized to be reclineable, joined by closed downswept arms to the padded seat, raised on tapering square legs headed by bellflower carving. h. 43” $800‑$1,200

19 Continental Patinated Bronze of “Maternal Love” 20th century, cast signature “Cloidon (sic)” at edge of self-base, on a round black marble plinth. overall h. 11‑1/2”, w. 7‑1/2”, d. 7‑1/2” $700‑$1,000

18 French Provincial-Style Fruitwood Lingerie Chest early 20th century, the canted rectangular top above a conforming case fitted with a guilloche-carved frieze over five pull-out drop-front leather box drawers, over a lower drawer, raised on scroll feet. h. 64”, w. 21‑3/4”, d. 13” $600‑$900 19

20 Provincial Louis XV-Style Oak Armoire early 19th century, the domed and molded cornice above a case fitted with an avian torchere and floral garland-carved frieze over two doors, each inset with two shaped grilled panels with fabric backing, raised above an avian- and foliate-carved, shaped apron on scrolled toes. h. 96‑1/2”, w. 63”, d. 24” $1,000‑$1,500

21 Pair of Louis XV Fruitwood Fauteuils 18th century, each with a domed and padded back joined by padded and molded arms to the padded seat, raised above a shaped apron on cabriole legs ending in scrolled toes. h. 35‑1/4” $600‑$900

22 Pair of Louis XV Fruitwood Fauteuils 18th century, each with a domed and padded back joined by padded and molded arms to the padded seat, raised above a shaped apron on cabriole legs ending in scrolled toes. h. 35‑1/4” $600‑$900

23 Pair of Louis XV Fruitwood Fauteuils 18th century, each with a domed and padded back joined by padded and molded arms to the padded seat, raised above a shaped apron on cabriole legs ending in scrolled toes. h. 35‑1/4” $600‑$900

24 Provincial Louis XV-Style Fruitwood Settee 18th century, the triple-domed back with three conforming back cushions, joined by padded downswept arms to the tri-cushioned seat, raised above a shaped apron on cabriole legs ending in scrolled toes. h. 35”, w. 81”, d. 31” $800‑$1,200 25 French Provincial Fruitwood Buffet

mid-19th century, the rectangular top with canted corners, above a conforming case fitted with two drawers over two paneled cupboard doors, raised above a scalloped apron on shaped toes. h. 43”, w. 59”, d. 23” $1,000‑$1,500 26 French Provincial Fruitwood Desk mid-19th century, the banded rectangular top with a molded edge, above a case fitted with two drawers flanking a kneehole, raised on cabriole legs. h. 30‑1/2”, w. 70‑1/2”, d . 27‑1/2” $700‑$1,000

28 Jef Louis Van Leemputten (Belgian, 1865‑1948) “Poultry in the Barnyard” and “Shepherdess with Her Flock” pair of oils on canvas each signed lower right. Presented in matching frames. each 14” x 18” $1,000‑$1,500

28 one of two

28 two of two

27 French Provincial Fruitwood Armoire early 19th century, with an in-carved star on the frieze below the crown molding, the doors with shaped panels, the scalloped base with a carved fan and raised on cabriole legs with scrolled toes. h. 91‑1/2”, w. 59”, d. 26” $1,000‑$1,500

30 Flemish Religious Tapestry Fragment 17th century, depicting a man and woman in intense conversation, within a voluted architectural framework. 29” x 21‑1/2” Provenance: Christie’s Interiors, July 22‑23, 2014 sale; Private collection, New Orleans, Louisiana. $500‑$800

29 Henri Schouten (Belgian, 1859‑1922) “Chickens in a Barnyard” oil on canvas signed lower right. Framed. 20‑3/4” x 17‑1/2” $1,000‑$1,500

31 Pair of Carved and Parcel-Gilt Appliques first quarter 20th century, probably French, carved as a bunch of fruit decorated with a central giltwood pomegranate surrounded by various gray-painted fruits. h. 19”, w. 9” $600‑$900

32 Continental Polychrome and Marble-Top Center Table in the neoclassical style, the rectangular specimen marble top above an arched palmetto- and bellflower-carved frieze, raised on stop-fluted tapering circular legs headed by a foliate capital, joined by a shaped urn-centered stretcher and ending in foliate feet. h. 31‑1/2”, w. 52‑1/2”, d. 31‑1/2”

$1,000‑$1,500

32 detail

33 Continental Polychrome and MarbleTop Server early 20th century, the D-form marble top with projecting corners, above a conforming case fitted with two open shelves supported by paneled and scrolling uprights, raised on a plinth base. h. 36”, w. 58”, d. 22‑1/2” $800‑$1,200

34 Pair of Italian Marble Cluster-Form Columns fourth quarter 19th century, the cluster-column standards on molded matching bases with leafcarved Corinthian capitals. h. 62‑1/2”, w. 18”, d. 15” $1,500‑$2,500

35 Suite of Twelve Louis XVI-Style Polychrome and Parcel-Gilt Armchairs each with a tapering rectangular back with paneled vertical slats, the padded seat raised on fluted tapering circular legs ending in ring-turned bulbous feet. h. 43‑1/2” $800‑$1,200 34

37 Pair of Carved, Painted and Parcel-Gilt Wooden Sconces third quarter 20th century, Italian, the pierced backplates decorated with carved oak leaves, acorns and bowknots, the scrolled arms terminating in faceted drip pans, electrified. h. 25”, w. 12‑1/2”, d. 6‑1/4” $600‑$900

36 Belle Epoque Carved and Painted Cartel Clock ca. 1900, carved with a border of blossoms and leaves, the dial with a putto carved below, a pair of lovebirds at the top, now fitted with electric works. h. 37”, w. 20” $1,500‑$2,500

38 Pair of Carved, Painted and Parcel-Gilt Wooden Sconces third quarter 20th century, Italian, the pierced backplates decorated with carved oak leaves, acorns and bowknots, the scrolled arms terminating in faceted drip pans, electrified. h. 25”, w. 12‑1/2”, d. 6‑1/4” $600‑$900

39 Louis XVI-Style Polychrome and Marble-Top Side Table early 20th century, the demi-lune marble top above a conforming pierced guilloche frieze, raised on fluted tapering circular legs headed by foliate capitals and ending in toupie feet. h. 32‑1/4”, w. 40‑3/4”, d. 15‑1/2” $700‑$1,000 40 French Restauration Parcel-Gilt Trumeau Mirror second quarter 19th century, the beveled mirror plate set into a cove-decorated frame with egg-and-dart molding, the upper tablet with gilt classical figures flanking a vase of flowers. h. 66‑1/2”, w. 39” $1,400‑$1,800 39

41 Provincial Louis XV Polychrome Armoire/Bibliotheque 18th century and later, the molded and canted rectangular cornice above a foliate-carved frieze and two doors, with an upper grilled section, the lower section with a shaped panel, over a foliate urn-carved apron, the lighted interior fitted with shelves and a belt of drawers, raised on shaped feet. h. 92”, w. 56”, d. 22‑1/2” $1,200‑$1,800 41

42 Louis XVI-Style Polychrome and Marble-Top Console Table 20th century, the D-form marble top above a conforming paneled and guilloche-carved frieze, raised on fluted tapering circular legs headed by foliate capitals joined by a concave stretcher and ending in reeded feet. h. 34‑1/4”, w. 45”, d. 17‑1/2” $800‑$1,200

43 Louis XVI Polychrome Settee late 18th century, the padded rectangular back within a molded frame, joined by closed arms on baluster-form uprights to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 33‑1/2”, w. 55”, d. 26” $700‑$1,000

44 Continental Neoclassical Polychrome and Marble-Top Side Table early 20th century, the rectangular marble top above a conforming frieze fitted with a single long drawer with applied foliate accents, raised on a mirrored back and tapering square legs headed by winged maiden’s head capitals, above a concave plinth base. h. 37”, w. 60‑1/4”, d. 19‑1/4” $1,500‑$2,500

46 Suite of Four Neoclassical-Style Polychrome Columns each with a square top over a Doric capital, the faux marbre shafts raised on square pedestals, paneled on each side and on a molded base. h. 111”, w. 17‑1/2”, d. 17‑1/2” $1,800‑$2,500

45 Louis XVI-Style Parcel-Gilt Trumeau Mirror ca. 1900, with an ogee-molded beaded mirror surround, beneath wreaths and swags of fruit tied with bowknots on a gray ground, a gilt egg-and-dart at the top. h. 55”, w. 41‑1/4” $900‑$1,200

47 Italian School (Fourth Quarter 18th/First Quarter 19th Century) “The Profit of Hard Work” oil on canvas unsigned. Presented in an arched top polychromed carved wood frame. 41” x 31” $1,500‑$2,500

48 Louis XVI-Style Polychrome and Marble-Top Side Table late 19th century, the D-form marble top above a conforming annulated and floral guilloche-carved frieze, raised on stop-fluted tapering circular legs headed by foliate capitals, joined by an urncentered stretcher and ending in foliate toupie feet. h. 34”, w. 29”, d. 15‑1/4” $700‑$1,000 50

49 Unusual Continental Lyre-Form Mirror third quarter 19th century, the mirror with a pickled walnut finish, carved with inset panels decorated with arabesque scrollwork, a winged angel head on the lower center portion. h. 71‑1/2”, w. 59‑1/2” $1,000‑$1,500

50 Italian Variegated and Black Marble Bust 20th century, the classically draped figure with an acanthine circlet, on a socle base, presented on a marble columnar pedestal. bust h. 34‑1/2”, w. 23”, d. 10”, pedestal h. 43” $5,000‑$8,000

51 Art Nouveau Bronze-Finished Bust of Cicero fourth quarter 19th century, Austrian, inscribed “Civis Romanus Sum”, the gilt-trimmed figure marked “Goldscheider”, along with “Fabrique Autriche” and several pattern numbers. h. 20‑1/4”, w. 11‑1/2”, d. 6” $900‑$1,200

52 Pair of Continental Patinated Bronze Busts of Plato and Homer ca. 1900, each philosopher identified along the front edge, each on a square marble plinth. former h. 9‑1/4”, w. 5”, d. 4”, latter h. 9‑1/2”, w. 5‑1/8”, d. 4‑1/2” $1,200‑$1,800

55 Pair of Italian Baroque-Style Giltwood Mirrors 20th century, the pierced surrounds decorated with scroll and rocaille work, grapes and grapevines, the serpentine crests with pierced shells and rocaille work. h. 45‑1/2”, w. 28” $1,500‑$2,500

53 Pair of Italian Parcel-Gilt Wood and Gilt-Metal Blackamoor Torcheres mid-20th century, on gilt-trimmed octagonal bases painted as faux stone, the male and female figures dressed in fringed gilt robes and turbans, each holding aloft a gilt-metal twelve-light candelabrum hung with drops, electrified. h. 88‑1/2”, dia. 21”

$4,000‑$7,000

54 Italian Giltwood and Marble-Top Center Table in the Renaissance taste, the large circular marble top with a molded edge, above a molded frame raised on three large supports headed by foliate scrolling capitals over a graduated standard, joined by a foliate stretcher and ending in shaped feet. h. 33”, dia. 59‑1/2” $2,000‑$4,000 54

56 Italian Carved, Pierced and Parcel-Gilt Wood Crest ca. 1900, in the Renaissance taste, carved with a winged putto head on a gray ground. h. 13‑1/2”, w. 17‑3/4” $600‑$900 57 Italian Giltwood and Marble-Top Pedestal Table 20th century, the circular marble top with projecting sections, above a base of three supports headed by winged angel heads, joined by floral garlands and ending in large scrolled feet. h. 30‑1/4”, top dia. 20”, base dia. 28” $2,500‑$4,000

58 Pair of Italian Carved Giltwood Sconces mid-20th century, in the baroque style, with a backplate carved with a bowknot holding a tassel, mounted with carved fruit and flowerheads, set with leaf-carved candle arms terminating in leafcarved drip pans and turned candle cups, marked “Made in Italy” on back. h. 37‑3/4”, w. 12‑1/4”, d. 4‑3/4” $600‑$900

59 Pair of Italian Tin-Glazed Pottery Blackamoor Candlesticks mid-20th century, wearing feathered turbans and colorful jackets and pantalones, holding aloft cornucopia-form candle holders. h. 25‑1/2”, w. 6”, d. 6‑1/2” $600‑$900

61 Italian Giltwood Mirror

19th century, in the Baroque style, the pierced and carved frame with conjoining scrollwork and shells, and presented with a broadly beveled plate glass mirror. h. 46”, w. 32” $700‑$1,000

60 Pair of Italian Polychrome and Faux Marbre Side Tables partially constructed of antique elements, each with a shaped faux verde antico top above an asymmetrical paneled base featuring bands of various faux marbles and acanthine carving, raised on a socle base. h. 36”, w. 38”, d. 23” $1,000‑$1,500

62 Pair of Italian Boldly Carved and Gilded Sconces first quarter 20th century, in the Baroque taste, on backplates decorated with cabochons framed with scrollwork, the vasiform standards carved with scrollwork and supporting large drip pans carved with lotus leaves and terminating in acorn-form drops, electrified. h. 30”, w. 8‑1/2”, d. 8” $1,500‑$2,500

63 Pair of Italian Boldly Carved and Gilded Sconces first quarter 20th century, in the Baroque taste, on backplates decorated with cabochons framed with scrollwork, the vasiform standards carved with scrollwork and supporting large drip pans carved with lotus leaves and terminating in acornform drops, electrified. h. 30”, w. 8‑1/2”, d. 8” $1,500‑$2,500

64 Italian Mahogany and Marble-Top Center Table 19th century, the rectangular marble top above a conforming shaped scrolling foliate frieze, raised on fluted, turned and foliate-carved legs and shaped and interlacing dolphin- and avian-carved end supports, joined by a cherub-centered X-form stretcher and ending in bun feet. h. 30‑1/2”, w. 30”, d. 20‑1/2” $600‑$900

66 Pair of Carved and Gilded Cherubim 18th century, possibly Italian, in the Renaissance taste, depicted as though floating, their hands poised to hold instruments. h. 24”, w. 15‑3/4”, d. 8‑3/4” $1,000‑$1,500

65 Italian Giltwood Mirror ca. 1900, the beveled mirror plate lined with leafy gadrooning, the frame composed of delicately pierced, deep scrollwork and leaves, the leaves overlapping the scrollwork background. h. 30”, w. 25” $1,000‑$1,500

67 Pair of Carved and Painted Cherubim in the 18th-century Italian style, each poised as though floating in the clouds and singing. h. 28‑1/2”, w. 20” $1,000‑$1,500

68 Italian Giltwood and Gilt-Metal Chandelier third quarter 20th century, in the neoclassical taste, the pagoda-form interior frame set with a giltwood finial, hung with swags of glass beads, sprays of glass medallions decorating the top, the scrolled candle arms set with turned candle cups with molded glass drip pans and hung with drops. h. 29”, dia. 25‑1/4” $900‑$1,200 69 Venetian Blown and Gilt-Spangled Glass Candelabrum 20th century, the vasiform quilted standard set with five rope-twist glass arms with quilted leaf-trimmed candle cups, alternating with downturned gilt-spangled leaves, the center with blown and gilt-spangled flowers alternating with leaves. h. 29‑1/2”, dia. 21” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000 68

70 Engraved Venetian Mirror 20th century, Italian, with a segmented mirrored surround decorated with engraved sprays of flowers and glass trim, with a serpentine crest and corner panels with blown and applied flowers. h. 84”, w. 37‑1/2” 70

$4,500‑$7,000

72 Polychrome-Decorated and Molded Jardiniere on Stand 20th century, in the Italian Renaissance style, the stand molded with satyr heads over scrolled feet, with hand-painted panels of putti and cherubs in various poses, the jardiniere set with handles in the form of Pan figures with dolphin tails, the sides with scenes depicting the Roman abduction of young women memorialized in “The Rape of the Sabine Women”. h. 23”, w. 19‑3/4”, d. 18” $1,500‑$2,500

71 Italian Hand-Painted Majolica Covered Urn fourth quarter 19th century, the polychrome-decorated urn supported on a base molded with three dolphins, the main body featuring peasants toiling in a field with Mount Vesuvius on one side and Middle Eastern traders with their camels on the other, the leaf-molded, scrolled handles and cover decorated with putti. h. 38”, w. 20”, d. 12”

$2,000‑$4,000

73 Impressive Italian Market Capodimonte Jewel Casket fourth quarter 19th century, German, of architectural form, decorated with relief-molded polychrome neoclassical decoration based on Ariadne and Bacchus, who are depicted on the front of the cover, the “roof” cover decorated with pierced trim and gilt-bronze finials, the sides mounted with bronze handles, marked with an underglaze blue crowned “N” associated with Ernst Bohn Sohn, Rudolstadt, Germany. h. 13”, w. 13‑1/2”, d. 7‑1/4” $1,000‑$1,500

74 Italian Carved and Painted Reliquary mid-18th century, the oval relic holder framed with pierced scrollwork, with a crown-form crest, carved tassels below, on a contemporary lucite base. h. 21‑1/4”, w. 11‑1/4”, d. 5‑1/2 $600‑$900 75 Italian Patinated Metal and Crystal Chandelier of Baroque inspiration, the patinated metal frame set with scrolled candle arms alternating with arms set with crystal spires, hung with crystal drops interspersed with mauve crystal grapes, two tiers of drops set at the top serving as the corona. h. 33‑1/2”, dia. 21” $600‑$900

76 Pair of Italian Parcel-Gilt and Polychrome-Painted Mirrored Sconces second quarter 20th century, with shield-form mirrored backplates set with scrolled candle arms, both arms and crest decorated with enameled flowers and leaves, and gilt acanthus leaves, electrified. h. 31”, w. 16”, d. 5‑1/2”

$700‑$1,000

78 Rare Carved Alabaster Roundel Depicting Notables fourth quarter 19th century, Italian, the alabaster roundel with a profile portrait of Raphael in the center, surrounded by Leonardo da Vinci, Petrarch, Aristotle, Titian, Boccaccio and Dante, on a carved and pierced ground, presented in an ogee-molded walnut frame decorated with scrollwork and cabochons. dia. 21” $600‑$900

77 Pair of Italian Mahogany and Mixed Woods Pedestal Tables late 19th century, each with a pie-crust-form top with raised edge around a floral inlay in the Sorrento manner, raised on a delicate turned standard to a graduated paneled upright, to three splayed legs with like inlay. h. 34”, dia. 10‑3/4” $600‑$900

79 Northern Italian Walnut and Fruitwood Bureau late 18th century, the banded and rounded top above a banded slant front opening to four small drawers flanking a central arched cupboard, over a serpentine case fitted with four conforming, banded long drawers, raised on bracket feet. h. 39”, w. 39”, d. 17” $600‑$900

81 French Carved and Painted Putto ca. 1900, personifying “winter” with a cloak around its head, roses in its hair and a banner of roses around its body, raised on an integral circular base. h. 32‑1/2”, w. 15”, d. 7‑1/2” $700‑$1,000

80 Italian Parcel-Gilt Mirror in the Baroque Taste fourth quarter 19th century, Italian, the oval mirror decorated with bold, pierced scrollwork and sprays of flowers, the crest with overhanging carved leaves, with paint-decorated blue-green portions. h. 40”, w. 28” $1,200‑$1,800

82 Northern Italian Walnut and Fruitwood Bureau late 18th century, the banded rectangular top above a banded slant front opening to four small drawers, flanking two central open shelves, the lower serpentine section fitted with three conforming, banded long drawers, raised on molded bracket feet. h. 33”, w. 40‑1/2”, d. 18‑1/2” $600‑$900

83 Italian Carved Silver-Gilt Mirror mid-20th century, in the rococo taste, with a carved rocaille surround, the serpentine crest decorated with pierced scrollwork with flowerheads, the lower corners set with scrolls. h. 58‑1/2”, w. 30” $800‑$1,200 84 Continental Tortoiseshell-Veneered and Giltwood Vitrine late 19th century, the stepped rectangular top above a glazed case fitted with a single side door, raised on a shaped shell- and foliate-carved apron on cabriole feet ending in pegs. h. 65‑3/4”, w. 28”, d. 15‑1/2” $1,800‑$2,500 85 Continental Gilt-Metal and Crystal Chandelier third quarter 20th century, on a metal frame lined with beading and set with faceted crystals, with lily-form candle cups hung with colorless and red drops, and swags of colorless drops with amber grape drops concealing four interior sockets. h. 44”, dia. 28‑1/2” $800‑$1,200

86 Pair of Terracotta and Cloth Creche Figures early 19th century, Neapolitan, the Asian figures with terracotta heads and hands, dressed in old or original costumes. h. 21”, w. 7‑1/4”, d. 5‑1/2” $2,500‑$4,000 87

87 Italian Carved Giltwood Vitrine Cabinet early 20th century, of canted rectangular form, with a molded foliate-carved crest over a glazed front and two glazed side doors, over a foliate- and lionmasque-carved frieze, raised on large scrolling supports ending in foliate scrolled toes. h. 77”, w. 49”, d. 24” $2,500‑$4,000

88 Italian Carved Walnut Hall Bench constructed of antique elements, the molded crest above a masque-inlaid frieze with two arched panels below, divided by fluted pilasters, the lower section with two banded and diamond-inlaid hinged wooden seats flanked by and divided by tall scroll armrests, raised on shaped end supports to runner feet. h. 76”, w. 58‑1/2”, d. 13” $700‑$1,000

90 KPM-Style Porcelain Plaque of Francesco delle Opere ca. 1900, after a portrait by Pietro Perugino (1448‑1523), the rear of the carefully painted plaque marked “Portrait: P. Vannucci di Brugino”, in a turn-of-the-century pierced giltwood frame. plaque h. 3‑1/2”, w. 2‑3/4”, overall h. 8‑1/2”, w. 6‑1/4” $500‑$800

89 KPM-Style Porcelain Plaque of William Shakespeare ca. 1900, painted with a carefully delineated luminous portrait of William Shakespeare, mounted in a pierced giltwood frame, probably original. plaque h. 5‑1/2”, w. 3‑3/4”, overall h. 11‑3/4”, w. 9‑1/2” $600‑$900

91 Italian Rococo Revival Fruitwood Console Table 20th century, the shaped top with a molded edge, above a conforming frieze centered by a pierced shell, flanked to either side by a floral garland, raised on shaped legs headed by floral carving and joined by a shieldform stretcher base. h. 42”, w. 60”, d. 18‑1/2” $800‑$1,200 91

92 Pair of Italian Giltwood and Gilt-Metal Sconces mid-20th century, of rococo inspiration, on wooden backplates carved with shells and flowers, the metal candle arms set with leaves and fluted and carved candle sockets, marked “Paladio, handcrafted in Italy” on the back. h. 19”, w. 9‑1/2”, d. 6” $600‑$900

93 Venetian Giltwood Looking Glass late 19th century, the frame pierced and carved throughout, with a protruding crest with birds, the mirror intricately shaped and beveled. h. 44”, w. 22”, d. 13” $600‑$900

94 Continental Patinated Bronze of Mercury 20th century, after Giovanni da Bologna (Flemish/Italian, 1529‑1608), raised on a marble base. h. 33”, w. 11”, d. 7‑1/4” $1,800‑$2,500 95 French Gilt-Bronze Figure of Cupidon fourth quarter 19th century, after the Antique conserved in the Louvre Museum, Paris, the base stamped “F. Barbedienne, Fondeur”. h. 9‑3/4”, w. 6‑3/4”, d. 4‑1/4” Literature: Bronze d’Art: F. Barbedienne. Paris: Imprimerie E. Capiomont et V. Renault, 1886; p. 9. $800‑$1,200

96 Pair of Continental Patinated Bronze Cherubs ca. 1900, each partially draped plump figure with one hand at hip and the other upraised, on round cream marble plinths with decorative brass medallions. overall h. 14‑1/2”, w. 4‑1/2”, d. 4‑1/2” $800‑$1,200

97 Italian Patinated Bronze of a Roman Lictor

99 Auguste Joseph Peiffer (French, 1832‑1886)

20th century, with foundry mark and stamped “Made in Italy” along back. h. 21‑1/2”, w. 15”, d. 14”

“The Wise Virgin” patinated and gilt bronze cast signature on base. h. 20”, w. 8‑3/8”, d. 8”

$1,000‑$1,500

$1,000‑$1,500 98 Continental Bronze of a Greek Maiden ca. 1900, wearing a peplos and himation, on a black marble and composite base. overall h. 24‑1/4”, w. 9‑5/8”, d. 8‑5/8” $700‑$1,000

101 Restauration Gothic Revival Bronze Mantel Clock second quarter 19th century, the cathedral-inspired case decorated with Gothic spires arranged around a pierced steeple, and Gothic piercing below the dial, revealing the matching pendulum, all executed in gilt-bronze ornament applied to the silveredbronze case, set with a silk-string suspension movement. h. 24‑1/2”, w. 9‑1/2”, d. 4‑3/4” $1,500‑$2,500

102

101

100 Pair of Restauration-Style Mahogany Settees

102 Pair of Restauration Gilt-Bronze Candlesticks second quarter 19th century, on tripartite bases, the tapered standards molded with lotus and acanthus leaves, and terminating in deeply molded candlecups and drip pans with like decoration. h. 13‑1/4”, dia. 5”

each with a paneled crest above a padded back, joined by closed and padded arms on dolphin uprights to the padded seat, raised on splayed legs. h. 36‑1/4”, w. 51”, d. 23”

$800‑$1,200

$1,200‑$1,800

100

104 Near Pair of Restauration Mahogany Fauteuils first quarter 19th century, each with a rounded crest over a plain frieze and padded back, joined by ribbed downswept arms to the padded seat, raised on sabre legs headed by palmetto carving. h. 35” and 36‑1/4” $600‑$900

103

103 Charming French Miniature Bureau a Cylindre fourth quarter 19th century, in the Directoire taste, composed of gilt-stamped leather, glass, wood and metal, on carved paw feet, the case covered in gilt-stamped Morocco, with grillwork in the upper doors, the lower drawers set with glass covering checked, marbleized paper. h. 35‑1/2”, w. 20”, d. 10” $600‑$900

104

105 Empire-Style Mahogany and MarbleTop Commode early 20th century, the rectangular marble top above a conforming case fitted with three long drawers, raised on ebonized paw feet. h. 34”, w. 51‑1/2”, d. 23” $600‑$900

105

106 French Empire-Style Bronze-Mounted Opaline Glass Vase ca. 1900, with molded handles terminating in masques and engineturned trim, possibly for the Russian market. h. 14”, w. 6‑1/4” $600‑$900

106

108

107

107 Pair of Napoleon III Bronze Dore Sconces third quarter 19th century, in the Empire style, the brackets molded on carefully detailed eagles’ heads grasping serpent-molded candle arms, each set with three candle cups molded with grapes. h. 4”, w. 9‑1/4”, d. 8‑3/4” $800‑$1,200

108 Pair of Cut Crystal and Polished Bronze Lamps third quarter 20th century, probably Baccarat, in the Empire style, the urn-form strawberry-cut crystal vases mounted with bronze swan’s-head handles and gadrooned bronze bases. overall h. 28‑1/2”, w. 6‑3/4”, d. 4‑1/2” $1,200‑$1,800

109

109 Charles X Mahogany and Marble-Top Dressing Table first quarter 19th century, the dodecagonal mirror within a molded frame and raised on dolphin supports, the inset rounded rectangular marble top above a conforming frieze fitted with a single compartmented drawer, raised on columnar legs joined by a swan’s-neck stretcher and a concave stretcher shelf and ending in bun feet. h. 59”, w. 34‑1/2”, d. 19” $700‑$1,000

110

110 Pair of Restauration-Style Mahogany Gondola Chairs

111

20th century, each with a ribbed and pierced scrolling acanthine crest above a padded back, joined by downswept sides and scrolling ribbed arms to the padded seat, raised on sabre legs ending in upturned toes. h. 32‑1/2” $800‑$1,200 111 French Empire-Style Bronze and Crystal Chandelier first quarter 20th century, the basket-form chandelier hung with cascades of drops to the engine-turned bronze ring set with molded cornucopia-form candle arms, alternating with scroll-molded standing ornament, and an engine-turned corona decorated with standing molded anthemia. h. 40”, dia. 28” $1,800‑$2,500

113

112 Empire-Style Gilt-Metal and Marble-Top Gueridon the circular marble top raised on three shaped supports headed by ram’s heads, joined by a ring stretcher and ending in hoof feet. h. 26”, dia. 30” $700‑$1,000 113 Pair of Restauration Bronze Dore et Patine Candlesticks

112

second quarter 19th century, now mounted as lamps, decorated with patinated bronze figures of Athena supporting gilt-bronze lotus-molded candle cups on cornucopia-molded urns. overall h. 25”, dia. 6” $600‑$900

114 Louis-Philippe Giltwood Pier Mirror and MarbleTop Stand mid-19th century, French, the stand with fluted pilasters flanking sanded panels, the mirror with matching pilasters, the top with rounded corners beneath a crest decorated with pierced acanthus leaves resting on egg-and-dart molding, flanked by flower-filled urns. h. 112”, w. 34‑1/2”, d. 17‑1/2” $1,500‑$2,500

115

116

115 Handsome French Marble and Bronze Mantel Clock third quarter 19th century, in the Neo-Grec taste, the black marble base decorated with incising and resting on bronze paw feet, with a bronze skirt in the center, mounted with a patinated bronze bust of Dionysus with grapes in his hair. h. 22‑3/4”, w. 19”, d. 7” $1,000‑$1,500

116 Pair of French Bronze and Marble Busts of Bacchus and Ariadne fourth quarter 19th century, the patinated busts on white marble cylindrical bases set with engine-turned bronze trim, on mottled black marble bases. h. 12‑1/2”, w. 6”, d. 4” 114

$1,800‑$2,500

117 Louis-Philippe Mahogany and Marble-Top Commode mid-19th century, the inset rounded rectangular top above a conforming case fitted with four graduated and paneled long drawers, over a paneled apron, raised on cabriole feet. h. 41”, w. 46”, d. 21‑1/4” $800‑$1,200

118 Impressive Louis-Philippe Giltwood Mirror mid-19th century, in the rococo taste, with an oxbowform crest decorated with pierced scrollwork, grapes and grape leaves set into the center, flanked by putti trailing flowers, the sides with flowerheads, and the lower edge with molded rocaille work. h. 92”, w. 51” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $1,000‑$1,500

119 Pair of Exceptional Restauration-Style Gilt-Bronze Garniture Urns second quarter 20th century, on bases molded with griffins at each corner, the vases decorated with mounts of cherubs riding sea lions, between pierced handles with angels and honeysuckle, terminating in leopard’s heads, the flared tops molded with acanthus leaves. h. 25‑1/4”, w. 9‑1/4” $5,000‑$8,000

118

117

119

120

121

122

123

120 Heriz Carpet 9’ 3” x 10’ 11” $1,400‑$1,800

121 Turkish Angora Oushak Carpet 10’ 3” x 13’ 8” $1,200‑$1,800

122 Heriz Carpet 9’ 7” x 13’ 2” $3,000‑$5,000

123 Kashan Carpet 9’ x 12’ 1” $800‑$1,200

124

124 Turkish Angora Oushak Carpet 9’ 2” x 11’ 9” $900‑$1,200

125 Antique Mahal Carpet 7’ 6” x 11’ 7” $2,000‑$4,000

125

126

126 Antique Southwest Persian Carpet

129 Tabriz Carpet

6’ 6” x 11’ 8”

10’ x 14’

$1,800 - $2,500

$2,000‑$4,000

127 Turkish Angora Oushak Runner

130 Antique Mahal Carpet

2’ 7” x 19’ 10”

8’ 10” x 11’ 11”

$600‑$900

$1,500‑$2,500

128 Turkish Angora Oushak Carpet

131 Turkish Angora Oushak Carpet

10’ 3” x 14’ 2”

12’ x 15’

$1,200‑$1,800

$1,800‑$2,500

127

128

130

129

131

134 133

132 Continental Carved Oak Writing Table 19th century, the rectangular top with a superstructure to one end, fitted with two paneled cupboard doors, opening to two small drawers and compartments, the top with an incised decorative banding over a fan-carved frieze fitted with a single drawer, raised on imbricatecarved square legs. h. 41‑1/2”, w. 34‑1/2”, d. 22‑1/4”

134 Brussels Hand-Woven Tapestry of a Royal Audience 19th century, the central scene of an enthroned queen receiving courtiers, with an overall acanthine border. 3’ 9” x 6’ $3,000‑$5,000

$700‑$1,000

133 Monumental Mahogany Hall Chair late 19th century, in the Baronial taste, the shaped back surmounted by a masque over two cherubs bearing a shield over griffin and foliate carving, flanked to either side by garland-entwined barley-twist uprights with heraldic lion finials, joined by imbricate-carved arms on heraldic lion uprights to the padded seat, raised on barley-twist legs joined by a box stretcher and ending in bun feet. h. 73” $3,000‑$5,000

132

135 detail

136

135 Suite of Four Continental Baronial-Style Armchairs

136 Italian Walnut Pier Mirror in the Renaissance Taste

early 20th century, each with a tall padded rectangular back joined by acanthine-carved downswept arms to cherub masque hand rests, the padded seat over a deep padded apron, raised on square legs ending in gilt foliate scrolling feet. h. 59”

fourth quarter 19th century, the frame with pylons, carved with bearded male figures beneath Ionic capitals on carved acanthus leaves, the upper tablet decorated with strapwork and a punched ground. h. 85”, w. 41‑1/4”

$3,000‑$5,000

$800‑$1,200

135

138 Continental Carved Oak Hall Chair 18th century, the tall pierced “fish and bird” crest above a domed back featuring an elaborate urn, masque and griffin carving, joined by flat, paneled arms to the wooden seat, the seat removing to a storage space, the front and sides paneled and with carved foliate and fruit designs, raised on a plinth base. h. 76‑1/2” $1,000‑$1,500

138

137 Pair of Continental Fruitwood Low Side Tables 19th century, in the Renaissance taste, each with a shaped top with line-incised scrolling designs, above a deep masque-carved frieze, raised on scrolling supports joined by a fruit garland stretcher and ending in paw feet. h. 21”, w. 32‑1/2”, d. 18” 139

$1,000‑$1,500

139 Continental Mahogany Hall Chair late 19th century, in the Baronial taste, the tall back with a foliate-earred crest over a foliate- and urn-modeled pierced splat, joined by padded and scrolling arms to the padded seat, raised on carved bobbin-turned legs joined by an H-form stretcher and ending in molded toes. h. 54” $600‑$900 137

140 142

140 Giltwood Overmantel Mirror in the Baroque Taste fourth quarter 19th century, with a leaf-molded mirror plate surround, the pediment-form crest molded with pierced acanthus leaves and scrollwork, the corners decorated with scrollwork, leaves and grapes. h. 60”, w. 59‑1/2”

142 Pair of Italian Parcel-Gilt Mirrors in the Baroque Taste fourth quarter 19th century, with pilasters on each side decorated with fluting, flowerheads and masques at the crest, with three plates each, the lunette-form center mirror beneath “floating” putti, reflected in small mirrors beneath winged masques. h. 71‑1/4”, w. 25‑1/4”

$1,500‑$2,500 141 Continental Carved Oak Sideboard early 20th century, in the Renaissance taste, the molded top above a row of three drawers and fitted with cabinets below, separated by figural-carved pilasters. h. 34”, w. 71”, d. 22”

$3,000‑$5,000

$800‑$1,200

141

143 Pair of Monumental Continental Walnut Torcheres 18th/19th century, in the Baronial taste, each with a bulbous and bobbin-turned graduated standard with carved acanthine accents, to a lower sphere supported by three scrolling foliate legs to large bun feet. h. 65‑1/2” $2,000‑$4,000 144 Italian Painted Plaster Figure of Our Lady of Guadalupe first quarter 20th century, depicted borne up by angels and wearing a gilt-metal wreath of stars. h. 67‑1/2”, w. 21”, d. 18” $2,000‑$4,000 145 Continental Baronial-Style Fruitwood Hall Seat mid-19th century, the shield-form back with a broken masque-centered crest over a central carving of two frolicking cherubs, on a lattice-carved background, flanked to either side by a winged figure, the foliate-carved wooden seat over an apron centered by a military medallion. h. 60”, w. 44”, d. 19‑1/2” $1,500‑$2,500 144

143

145

147 Pair of Cast Stone Griffin-Like Creatures on Plinths 20th century, each winged, one with a lion head and the other with an eagle head, on a plinth molded with a fleur-de-lis. h. 40‑1/2”, w. 11”, d. 11” $700‑$1,000

146

146 Italian Renaissance-Style Fruitwood Sidechair late 19th century, the shield-form pierced back centered by a raised dolphin panel and flanked to either side by rampant lions, the foliate-carved wooden seat raised on a masque-carved front panel to scrolled feet. h. 43”

147

$600‑$900

148

148 Venetian Giltwood Settee late 19th century, with three padded shield-form backs, the central being higher, all surmounted by militaristic crests of crossed battle axes centered by a helmet, joined by padded arms on eagle-head hand rests to the generous shaped and padded seat, raised on splayed legs ending in foliate scrolled toes. h. 54”, w. 73”, d. 28” $2,500‑$4,000

148 detail

149

149 Suite of Six Venetian Giltwood Sidechairs late 19th century, each with a padded shieldform back surmounted by a militaristic crest of crossed battle axes centered by a helmet, the padded seat raised on cabriole legs ending in foliate scrolled toes. h. 43‑1/4” $2,500‑$4,000 150 Pair of Venetian Giltwood Fauteuils late 19th century, each with a padded shieldform back surmounted by a militaristic crest of crossed battle axes centered by a helmet, joined by padded arms on eagle-head hand rests to the generous padded seat, raised on splayed legs ending in foliate scrolled toes. h. 47” $2,500‑$4,000 151 Pair of African Wildebeest Skulls 150

20th century, with distinctive black horns, mounted on walnut panels. h. 30‑3/4”, w. 36‑1/2”, d. 15” $600‑$900 See Online Illustration

152 one of two

152 two of two

152 Circle of Frans Pourbus the Younger (Flemish/French, 1569‑1622) Portraits of the illustrious de Polcastro family of Padua, Italy, including “Antonia Padovano (d. 1424), Wife of Girolamo de Polcastro” and “Ottavio de Polcastro (act. 1575‑1590)” pair of oils on canvas unsigned, each titled respectively at top “Antonia Paduani, Uxor Hieronymi/Pol.: Docis. 1404” and “Octavius de Polcastris, 1581”. Framed alike. each 28‑3/4” x 22‑1/4” Provenance: Herbie Oakes Collection, Houston, Texas Literature: Marconato, Ruggiero. La Famiglia Polcastro. Lions Club: Camposampiero, 1999, pp. 102‑103 $12,000‑$18,000 These stunning portraits, vestiges of a prominent Renaissance family, are full of mystique and intrigue, guaranteed to pique the curiosity of the most discerning collectors and art historians. Stylistically, they bear the bravura of Frans Pourbus, the Younger- the celebrated court painter of Marie de Medici. The three-quarters profile, black background, but most of all, the deft layering of transparent oil washes to create a luminous figure accented by opaque whites and cadmium yellows (reserved for only the finery of the lace and jewels) is distinctly in the school of Pourbus. Pourbus, born into an accomplished family of Flemish portraitists, trained under his father (Frans I, 1545-1581), and to a lesser degree his grandfather Pieter Pourbus (1523-1584), completing his apprenticeship in 1591 in Antwerp. In 1600, he was commissioned court painter by Vincezo Gonzaga, Duke of Mantua, and his wife Eleonora, the sister of Marie de Medici. Pourbus remained in the service of the Gonzagas, working in tandem with Peter Paul Rubens, before moving to Paris in 1609 to serve as premier court painter to Marie de Medici.

During his tenure in Italy, he likely encountered the Polcastro family in Padua, in the courts of Mantua, Padua or Venice, at which the Polcastros were present. Ottavio Polcastro (Octavius de Polcastris), pictured here, from the ancient 13th century Porcastris family of Vicenza, and of Maddalena Volpe of Padua was active in the Basilica of Saint Anthony of Padua, appearing on its registry of board members that approved the music and choirmasters from the 1570s-through the 1590s. The accompanying portrait of his ancestor, "Antonia Paduani (Padovano), was likely painted at the same time, given that her dress is distinctly early 17th century and not early 15th century. Padovano was the second wife of the Girolamo de Polcastro, and step-mother of the famous physician and philosopher Sigismondo Polcastro (1384–1473), who received his doctorate from the University of Padua in 1412 and taught at the University from 1412 to 1465. Antonia married his father Girolamo (Hieronymi), a prominent jurist, ca. 1400, and in excerpts from her 1424 will, she is alleged to have left Sigismondo funding to secure passage and favor from the bishop. Her contemporary dress, with its full sleeves and bodice, accented by fine lace collar and cuffs, bear a striking resemblance to Pourbus’ 1606 portrait of the Duke of Mantua’s daughter, Margarita Gonzaga- even the physical resemblance is notable. In the early 17th century, it was not uncommon to model portraiture after reigning dynastic figures for obvious modish reasons, but, more importantly, to elevate an already ennobled family through greater suggested lineage. Pourbus, or perhaps a student of his, may have taken such artistic license to secure prospective commissions. References: Marconato, Ruggiero. La Famiglia Polcastro. Lions Club Camposampierpo, 1999; Bottaro, Francesco. Pesca di Valle e Commercio Ittico a Padova nel Quattrocento. Padua: CLEUP, 2004. Tebaldini, Giovanni. L'Archivio Musicale della Cappella Antoniana in Padova: Illustrazione ...Padua: Libreria Antoniana, 1892; Pietrucci, Napoleone. Biografia degli Artisti Padovani. Bologna: Forni Editore, 1858; Rizzioli, Luigi. I Sigilli nel Museo Bottacin di Padova: Secc. XVII-XIX. Padua: Premiata Cooperativa Tippografica, 1908.

153 Circle of Thomas de Keyser (Dutch, Amsterdam, ca. 1596‑1667) “Portrait of a Lady with a Ruff and Bonnet” oil on oak panel Framed. 8‑1/4” x 7‑1/2” Provenance: Collection of Grace Nichols Whitney Hoff, thence by descent. $1,500‑$2,500

153

154 Follower of Gerard ter Borch the Younger (Dutch, 1617‑1681) “Portrait of a Gentleman Standing in an Interior” oil on oak panel Framed. 22‑1/4” x 18” Provenance: Collection of Grace Nichols Whitney Hoff, thence by descent. This work repeats a composition by Gerard ter Borch in the National Gallery of Art, London. $3,000‑$5,000 154

155 Attributed to Jan Stolker (Dutch, 1724‑1785) group of five oval portrait miniatures of 17th-century Dutch Golden Age masters, fourth quarter 18th century grisailles on copper unsigned, including portraits of Lucas Leyden, Gerard Honthorst, Jan Utrich Meyer, Cornelis van Poelenburgh and one other, the Leyden portrait after Durer’s is dated 1525, the Honthorst and van Poelenburg are inscribed in Latin “Se Ipse: Pinxt” and “Se Ipse: Del”, respectively, and all five are inscribed with sitters’ names, dates and inventory numbers en verso, some of which are indecipherable due to adhesive residue from having been previously backed with paper. Presented in matching antique brass frames. each 4‑1/8” x 3‑3/8” $700‑$1,000 Provenance: Private collection, Houston, Texas.

155

Literature: Eijnden, R. van and A. van der Willigen. Geschiedenis der Vaderlandsche Schilderkunst. Amsterdam, 1816, II, pp. 183 and 185; Nagler, G.K. Neues Allgemeines Kunstler Lexicon. Leipzig, 1847, XVII, p. 398F. Jan Stolker, a prominent printmaker, painter, dealer and art collector, is best known for his copies of 17th-century Dutch artists. He studied under Jan Maurits Quinkhard, and was a member of the Confrerie Pictura and the Rotterdam Guild of Saint Luke. His series of grisaille portrait miniatures was influenced by his predecessors. Though usually credited to Arnoud van Halen, who painted in 1712 a series of portraits of Dutch poets, the inspiration equally came from Karel van Mander’s 1604 Dutch version of Giorgio Vasari’s Lives of the Artists that chronicled the biographies of 15th- and 16th-century Dutch artists and Cornelis de Bies’ 1662 expanded compendium that included 17th-century Dutch artists. Two of the portraits offered here, those of Honthorst and van Poelenburgh, were copied after engravings published in de Bies’ book, and Stolker owned copies of both texts at the time of his death, according to Appendix 3, “Excerpts from Dutch Book Sales Catalogues from the Estates of Painters (1667‑1792)”, published in M.J.N. Stols-Witlox book Historical Recipes for Preparatory Layers for Oil Paintings in Manuals. One hundred fifty-five grisaille miniatures, that resemble these in size and execution, were offered at the sale of the artist’s studio in Rotterdam on March 27, 1786, and were identified by inked inventory numbers on their backs, as only one of the miniatures

was signed “Stolker”. The collection (cabinet) did not sell and remained with Stolker’s descendants. In 1853, the collection was sold as part of the Frederik Mueller Collection in Amsterdam as lot 1781 for 800 flourins. The catalogue entry did not list the names of the portraits, but described them as a “Cabinet” with the “old high Dutch painters and paintings, in pleasing grayish color on oval round copper plates, high 4 inches, wide 3 inches, with many portrayals of painters and poets from prints”. According to Michele N. Benisovich’s “Notes sur Jan Stolker” (1946), the portraits were dispersed nearly a century later in the 1940s in New York City. A group of twenty sold at Christie’s, Amsterdam, November 10, 1997 as lot 153 for $29,412, and another eight sold at Christie’s New York, June 7, 2002 as lot 121 for $11,353. This group of five, according to extant art database results, is the largest number to be offered at auction since the aforementioned sales at Christie’s. References: De Bies, Cornelius. Het Gulden Cabinet vande Edel Vry SchilderConst (The Golden Cabinet of the Noble Liberal Art of Painting). Jan Meyssen: Antwerp, 1662; Stols-Witlox, M.J.N. Historical Recipes for Preparatory Layers for Oil Paintings in Manuals, Manuscripts and Handbooks in North West Europe, 1550‑1900. Diss. University of Amsterdam, 2014. Web. 25 June 2017; Benisovich, Michel N. “Notes sur Jan Stolker (1724‑1785)”. Oud Holland. 61 (1946), pp. 185‑196. Mueller, Frederik Beschrijvende catalogus van 7000 portretten, van Nederlanders, en van buitenlanders, tot Nederland in betrekking staande Amsterdam, 1853, pp. 37‑38.

156 Follower of Jacob Van Ruisdael (Dutch, 1628‑1682) “A Wooded River Landscape with Rapids and a Fortress on the Hill Beyond” oil on oak panel Framed. 15‑1/4” x 12‑3/4” $1,000‑$1,500

156

157 Manner of Willem van de Velde the Younger (Dutch, 1633‑1707) “Dutch Shipping Boats Colliding in a Heavy Sea”, first quarter 19th century oil on wood panel faintly signed lower right, reverse stenciled “99KJ” in black with an early 20th-century auction label attributing the work to Jan van de Capelle. Presented in an early 19th-century giltwood frame. 16‑1/2” x 24” Provenance: The collector Wayne Francis Palmer (1895‑1983), Springlake Plantation, Mobile, Alabama; Thence by descent. $4,000‑$7,000

157

158 Attributed to Richard Wilson (British/Welsh, 1713‑1782) “Shepherd and Cows Resting Among the Ruins” oil on canvas unsigned. In a giltwood frame. 13” x 19‑1/2” $1,000‑$1,500

158

160 After Artus Wolfaerts (Flemish, 1581‑1641) “Mary Magdalene Anointing Christ’s Feet”, a detail oil on canvas Framed. 36‑1/2” x 49‑3/4” $2,000‑$4,000 159

159 V. Bianchini (Italian, 19th Century) “Susanna and the Elders” oil on canvas signed lower left, titled, signed and further inscribed en verso. Presented in a handsome giltwood and gesso frame. 44” x 58” $1,000‑$1,500

160

161 Dalmatian School (18th/19th Century) “Madonna and Child” oil on board Framed. 13‑1/2” x 10” $1,000‑$1,500 161

163

162

162 Attributed to Abraham van Diepenbeeck (Flemish, 1596‑1675)

163 Italian School (19th Century)

“Christ Entering Jerusalem”

detail from Leonardo da Vinci’s (Italian, 1452‑1519) “Annunciation”

oil on wood panel verso with “Dominion Gallery, 1448 St. Catherine St. W., Montreal” label. Presented in a fruit- and foliate-carved and molded giltwood and gesso frame. 14‑1/2” x 11‑3/8” Provenance: Estate of Nancy Nye Harrell, Houston, Texas.

oil on canvas laid on paperboard verso with “C. Duncan Gallery/Thirteen Colony Arts Inc., Atlanta, Georgia” label. Presented in a Renaissance-style carved giltwood frame. 5‑1/2” x 8‑1/2” $1,000‑$1,500

$1,000‑$1,500

164 After Raphael (Raffaello Sanzio, Italian, 1483‑1520) “Madonna della Sedia”, ca. 1900 oil on canvas unsigned. Presented in an antique gessoed and carved giltwood frame. 15‑3/4” x 15‑1/2” $1,500‑$2,500

164

165 Pair of Rare Spanish Religious Engravings with Quillwork Mattes fourth quarter 18th century, each hand-colored, one depicting Mary and the Christ Child, the other depicting the Baby Jesus with a young John the Baptist, both in original giltwood oval frames with pierced bowknot crests and original gilt quillwork (rolled, cut paper) surrounds. h. 6‑1/2”, w. 4‑1/4” $900‑$1,200 165

166 Three Polychrome-Painted Santos Figures 19th century, Latin American or Filipino, including one depicting St. Joseph holding the baby Jesus, one depicting Our Lady of Guadalupe standing on the moon, and one depicting Mary Magdalene in a red cloak. h. 10‑1/2” to 11‑1/2”, w. 3‑1/2” to 4‑3/4” $600‑$900

167

167 Two Italian Religious Objets d’Art comprising a carved and polychrome-painted wooden figure of Christ draped in a gilt and crimson cloak, 18th/early 19th century, h. 10‑3/4”, w. 5”, d. 3‑1/4”, and a micro-mosaicinlaid and nickel-plated brass crucifix, ca. 1900, marked “Roma”, decorated with views of buildings and ruins, a dove and an “IHS”, h. 15”, w. 6”, d. 4”. $600‑$900 166

168 Carved Santos Figure second half 19th century, Latin American, probably of St. Philomena, clasping her hands and looking heavenward. h. 23‑1/2”, w. 6”, d. 5‑1/2” $600‑$900 169 Santos Figure of St. Francis of Assisi ca. 1800, Latin American, retaining a handsome patina, depicted in robes with a tassel to one side. h. 17‑1/4”, w. 6‑3/4”, d. 4‑1/2” h. 17‑1/4”, w. 6‑3/4”, d. 4‑1/2” $600‑$900 170 Carved and Polychrome-Painted Santos Figure 19th century, Latin American, the figure of a priest dressed in a crimson cape, carrying a Bible in one hand and a staff with an incense burner in the other, with glass eyes. h. 13‑1/2”, w. 4‑1/2”, d. 4” $800‑$1,200 168

169

170

171

171 Set of Four Spanish Faience Dishes with Whimsical Decoration ca. 1614, each inscribed with a name of the month, the March, September and October plates depicting growing or havesting, and the Janudary dish, “Genaro”, dated ca. 1614 and depicting a figure warming at a stove. dia. 9‑3/4” $800‑$1,200

172

172 Exceptional Inlaid Walnut Valuables Box fourth quarter 17th century, possibly Spanish, set with pierced iron hardware, with a lift-top and full front, opening to reveal a series of wells over a series of drawers inlaid with delicate scrollwork, both the underside of the cover and back of the front are inlaid. h. 11‑1/4”, w. 15‑3/4”, d. 11‑1/2” $800‑$1,200 173 Danish Oak Cupboard late 17th/early 18th century, the heavily molded cornice above a case fitted with a tri-paneled frieze over two ebony paneled doors, over two like taller doors, the whole flanked by fluted and faux fluted pilasters and raised on like feet, the sides also paneled. h. 58‑1/2”, w. 68”, d. 25” Provenance: By tradition, descended in the maritime and lumber-trading Olsen/Strigel family of Denmark and New Orleans, until sold in these galleries in May 2014. $1,500‑$2,500 173

174

175

174 Continental Wrought Metal and Stained Glass Architectural Torchere second quarter 20th century, the wall-mounted lanterns in the baronial taste, decorated with scrollwork and twisted elements, the sides set with mauve stained glass roundels. h. 53‑1/2”, w. 11”, d. 16‑1/4” $700‑$1,000 175 Continental Patinated Metal Chandelier 20th century, with a frame of decorative scrollwork with delicate, applied leaves, set with scrolled candle arms with floriate drip pans, electrified. h. 45”, dia. 34‑1/2” $600‑$900 176 Continental Baroque-Style Giltwood Mirror fourth quarter 19th century, the bold, ogee-molded surround decorated with oak leaves and scrollwork with delicate piercing. h. 36”, w. 29” $1,200‑$1,800 176

177 Set of Four Continental Brass Electrotype Sconces ca. 1900, with fruit-trimmed backplates and cornucopia-form candle arms set with fruit, electrified and mounted with period fluted and engraved gas shades. h. 12”, w. 7‑1/2”, d. 10” $800‑$1,200 177

178 Portuguese Rosewood Library Table 19th century, the rectangular top with a shaped edge, above a conforming reeded frieze fitted with two drawers, raised on bulbous ribbed and bobbinturned legs joined by a like H-form stretcher and ending in circular molded feet. h. 30‑1/2”, w. 55”, d. 31‑1/2” $800‑$1,200 178

179 Continental Oak and Fruitwood Cabinet early 19th century, the narrow rectangular top above a floral- and guilloche-carved frieze, above a case fitted with two doors, each with a palmetto anthemion banding around three panels, the central one with an oval portrait medallion, raised on bulbous feet. h. 48”, w. 39‑1/2”, d. 10‑1/2” $1,000‑$1,500 179

180 181

180 Continental Oak Center Table late 19th century, the hexagonal top raised on a tripartite base with imbricate carving and scroll carving to low block feet. h. 30”, dia. 42” $600‑$900 181 Continental Giltwood Mirror in the Baroque Taste fourth quarter 19th century, the frame decorated with deeply molded and pierced scrollwork and acanthus leaves, the bolection-molded mirror surround with flowerheads and corner scrolls. h. 36”, w. 30” $1,200‑$1,800 182 Pair of Continental Jeweled Brass Sconces in the Baronial Taste mid-20th century, with heart-shaped backplates, the pierced globe-form shades with inset faux jewels and suspended from scrolled arms. h. 14”, w. 5‑1/4”, d. 8” $700‑$1,000

182

183 Continental Carved Oak Low Coffer 19th century, the banded rectangular top with a gadroon edge, removing to a narrow storage compartment, above the waisted floral garland-carved body, raised on tall paw feet. h. 19”, w. 50‑1/2”, d. 18” $1,000‑$1,500

183

185 Baroque-Style Giltwood Crest mid-20th century, probably Italian, decorated with pierced, interlaced scrollwork decorated with scattered flowerheads, with carved leaves on each side and an overhanging leaf-form finial. h. 11‑1/2”, w. 34‑1/2” $600‑$900

184

184 Flemish-Style Mahogany Stool early 20th century, the padded rectangular top above a conforming foliate shell-carved frieze, raised on paneled tapering square legs headed by foliate capitals, joined by curule-form stretchers and ending in tapering square feet. h. 18”, w. 25‑1/4”, d. 18” $800‑$1,200

185

186 Pair of Continental Walnut Sidechairs 18th century, possibly Portuguese, each with a domed and foliate- and scroll-carved crest above a shaped and pierced like-carved splat, the padded seat raised on cabriole legs headed by shield carving, joined by a scrolling H-form stretcher and ending in scrolled toes. h. 49” $800‑$1,200

186

187 Brass Chandelier in the Dutch Baroque Taste mid-20th century, with a turned standard terminating in a large ball-form finial and set with scrolled candle arms with swan’s-head ends, terminating in brass candle cups and drip pans. h. 32”, dia. 31” $600‑$900 188 Continental Provincial Pine Farmhouse Table the rectangular top with D-ends and a molded edge, over a plain frieze, raised on two large paneled bulbous supports joined by a flat stretcher and ending in runner feet. h. 31”, w. 39‑1/2”, l. 96” $1,200‑$1,800

187

188

189 Spanish Colonial-Style Painted Wood Cage Doll 20th century, with a carved head, articulated arms and hands, and an openwork skirt, originally used for home altars by traveling priests. h. 60”, w. 37”, d. 24” $1,200‑$1,800

189

190 Monumental Provincial Fruitwood Farmhouse/ Banquet Table ca. 1900, of neoclassical inspiration, the rectilinear bisected top over a paneled frieze, raised on shaped reeded legs. h. 32‑1/4”, w. 33‑1/2”, l. 157‑1/2” $1,200‑$1,800 191 Continental Provincial Fruitwood Occasional Table mid-19th century, the hinged rectangular top banded and with a central floral inlay, above a plain frieze with a single drawer, raised on barley-twist legs joined by a shaped X-form stretcher and ending in bulb feet. h. 30”, w. 20‑1/2”, d. 16” $600‑$900

192

192 Continental Carved Giltwood Easel ca. 1900, in the Baroque taste, the crest decorated with carved rocaille work, phoenix birds and flowerheads, the lower portion with a winged masque and swags of flowers. h. 86”, w. 44‑1/2”, d. 26‑1/2”

191

$1,500‑$2,500

190

194 193

193 Large Continental Gilt-Bronze Garniture Urn decorated with frolicking putti celebrating, molded with grapes and grapevines, fitted with a cover and a pinecone finial. h. 24‑1/2”, dia. 8‑1/2” $700‑$1,000 194 Gilt-Brass Chandelier in the Florentine Taste ca. 1900, Italian, on a turned standard decorated with molded leaves and scrollwork, the arms set with pierce anthemion gas keys terminating in leaf-molded sockets and drip pans matching the standard, electrified. h. 23‑1/2”, dia. 24” $600‑$900 195 Impressive Continental Giltwood Mirror 19th century, in the rococo taste, the highly scrolled crest with opposing phoenix birds, the frame with bold swirling leaves and flowers. h. 90”, w. 70” $1,500‑$2,500 195

196 Large Continental Mahogany Cabinet early 20th century, the foliate-shield domed crest above two arched cupboard doors, flanked to either side by a bowed open shelf with a back spindled gallery shelf, joined by a paneled backpiece and uprights to a lower breakfront section fitted with three drawers over three cupboard doors, all paneled and with decorative carving, raised on a molded plinth base. h. 106”, w. 69‑1/2”, d. 24” $700‑$1,000 197 Delft Hand-Painted Jug with Pewter Cap fourth quarter 18th century, Dutch, decorated with freehand white flowers on a white ground, an “L” mark on the bottom. h. 15”, w. 7”, d. 5‑1/2” $800‑$1,200

198

198 Silverplate Chandelier in the Baroque Taste second quarter 19th century, possibly New York, on a turned standard decorated with seashells, reeded stop-fluting and molded acanthus leaves with an acorn drop, set with cornucopia-form arms with putti supporting candle cups. h. 29”, dia. 27” $1,500‑$2,500

196

197

199 Large Continental Bronze Argente Jardiniere third quarter 20th century, of shallow bowl form with gadrooned body and Greek-key banding, with ringed lion’s-masque handles and raised on four lion’s paw feet. h. 8‑1/2”, dia. 19‑1/4”, w. (across handles) 22‑1/2” $700‑$1,000 200 Pair of Continental Silverplated Andirons ca. 1900, in the Baroque taste, the turned and molded standards raised on bold scroll feet centered by a satyr masque, the turnings with masques and panels of incised anthemia, the ball finials with molded leaves. h. 29”, w. 11‑1/2”, d. 11” $1,000‑$1,500

201

202

201 Continental-Style Patinated Metal Chandelier

200

the scrolled frame set with sixteen candle cups on three levels, and turned drip pans and matching candle cups, hung with glass drops. h. 63”, dia. 50‑1/2” $800‑$1,200 202 Pair of Patinated Bronze Gimballed Oil Lamp Sconces fourth quarter 19th century, in the Renaissance Revival style, with pierced, circular backplates and pierced, scrolled covers over the oil tanks, set with acid-etched ruffled glass shades. h. 12‑1/2”, w. 9”, d. 9” $600‑$900

199

203

203 Inlaid Rosewood Single-Cylinder Music Box fourth quarter 19th century, Swiss, the case trimmed with ebonizing, the cover inlaid with flowers and stringing, and the sides mounted with bronze handles. h. 8”, w. 22‑1/2”, d. 11‑1/2” $700‑$1,000

204 Continental Giltwood Pier Mirror

204

mid-18th century, in the Baroque style, set with three vertical mirror plates, molded with cabochons and bold scrollwork, the serpentine crest pierced and decorated with deeply molded flowers and fruit. h. 85‑1/2”, w. 44” $1,200‑$1,800

205 Dutch-Style Faux Tortoise and Ebonized Bombe Chest 20th century, the shaped top with an elaborate paneled veneer, above a conforming bombe case fitted with three long drawers, flanked to either side by a shaped cornice piece, raised on ebonized canted paw feet. h. 30”, w. 36”, d. 18” $2,000‑$4,000

205

206 After Emile Louis Picault (French, 1833‑1915) “Jeanne d’Arc a Orleans”, first quarter 20th century bronze-patinated spelter cast signature along back edge, on a green marble plinth. overall h. 41”, w. 25”, d. 10‑1/2” $2,000‑$4,000

206

207 French Patinated Spelter of “Char de la Victoire” fourth quarter 19th century, with a “Fabrication Francaise/Made in France” stamp and inscribed “Domenech et Pfeffer” along back edge of self-base, on a black marble plinth. h. 24‑1/2”, w. 25‑1/4”, d. 10‑1/2” $800‑$1,200 207

208 Pair of French Bronze Dore et Patine Cheveaux de Marly first or second quarter 20th century, after Guillaume Coustou (French, 1677‑1746), on naturalistic self-bases. each h. 19‑3/4”, w. 18‑1/4”, d. 7‑3/4” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900

209 Pair of Continental Black-Patinated Spelter Equestrian Figures of “Julius Caesar” and “Vercingetorix” fourth quarter 19th century, the opposing generals of the Gallic Wars each dragging a captive, on blackpainted wooden bases. overall h. 26”, w. 17‑1/2”, d. 9‑1/4”

208

$1,000‑$1,500

209

211 Adrien Etienne Gaudez (French, 1845‑1902) “Jean-Baptiste Poquelin (Moliere), Tapissier”, ca. 1900 patinated bronze incised signature at edge of self-base, a “Susse Freres” foundry mark at back, and fitted on its original bronze rotating socle base set on a marble plinth. h. 13‑3/4”, w. 11”, d. 8‑1/2” $1,000‑$1,500 The great French dramatist Moliere - born Jean Baptiste Poquelin - was the son of a valet de chambre tapissier, one of several furniture restorers and upholsterers to the King of France, responsible for maintaining the furnishings of the Royal residences. This was a prestigious and often hereditary position, and the younger Poquelin was apprenticed in anticipation of following in his father’s footsteps. Unfortunately for his father’s ambitions, Moliere was more interested in the theater and literature. The sculpture offered here has the young Moliere engrossed in a book, seated on an unfinished chair with an awl in one hand and the discarded cloth under the seat.

210

210 After Andrea del Verrocchio (Italian, 1435‑1488) “Equestrian Statue of Bartolomeo Colleoni”, fourth quarter 19th century patinated bronze unsigned, a small-scale variant of the sculpture of the Venetian Captain General now conserved in the Campo Santi Giovanni e Paolo in Venice, on a rectangular black onyx and green marble plinth. overall h. 22‑1/4”, w. 13‑1/2”, d. 8‑1/2” $1,500‑$2,500

211

212

212 Two Louis XIII-Style Fruitwood Fauteuils a la Reine 18th century, the first with a tall padded back joined by downswept arms on turned uprights to the padded seat, raised on turned and block legs joined by a like H-form stretcher and ending in ball feet, h. 45‑1/2”, and the second with a tall padded rectangular back joined to the padded seat by downswept acanthinecarved arms, raised on block-and-ball legs joined by like stretchers and ending in bun feet, h. 47”.

214

214 French Fin-de-Siecle Bronze Hall Lantern ca. 1900, the frame decorated with Psyche heads and bowknots, the panels lined with silk, supported on bronze cords from a pierced canopy, the interior fitted with a single light. h. 28‑1/2”, w. 8”, d. 8” $700‑$1,000

$600‑$900

213 Pair of French Bronze Candelabra fourth quarter 19th century, in the Baroque taste, now mounted as lamps, on scroll-footed bases, the standards decorated with pierced griffin monopodia, supporting scrolled candle arms set with scalloped drip pans and pierced candle cups, electrified. overall h. 36”, w. 13”, d. 9” $600‑$900

213

215 Pair of Monumental Louis XIV-Style Giltwood Fauteuils a la Reine 19th century, each with a tall padded back surmounted by a domed masquecentered sunburst crest, within a molded bellflower-carved frame, joined by downswept scrolling acanthine arms to the padded seat, raised on paneled tapering square legs joined by an H-form stretcher and ending in foliate block feet. h. 54‑1/2” $2,000‑$4,000

215

216 Gilt-Bronze Clock Set in the Baroque Taste fourth quarter 19th century, Belgian, the clock signed “A. de Lambert, Liege” on the dial, and decorated with pierced scrollwork and a winged masque, h. 21‑1/4”, w. 12‑1/2”, d. 4‑1/2”, the pair of matching five-light candelabra with pierced scrollwork and molded leaves and reeding, h. 19”, dia. 9‑3/4”. $600‑$900

216

217 Louis XIV-Style Mahogany and Marble-Top Cabinet the long rectangular marble top with turreted ends, above a conforming case fitted with three drawers over two cupboard doors, both with a domed panel and an elaborate overlay ormolu mount, centered by a roundel of classical figures, the sides with like mounts and roundels, raised on tapering circular legs ending in sabots. h. 37”, w. 70‑1/2”, d. 26‑1/2” $1,500‑$2,500 217

219 French Giltwood Mirror in the Louis XIV Taste fourth quarter 19th century, the mirror plate framed in segmented mirror plates divided by giltwood bellflowers, the pierced shell-form crest decorated with molded bellflowers and flanked with pierced scrollwork and trailing bellflowers. h. 53‑1/4”, w. 29‑1/2” $1,000‑$1,500

218

218 French Carved Giltwood Chandelier second quarter 20th century, in the Louis XIV taste, on a tapered standard decorated with swags of laurel and carved, pierced scrollwork, with leafcarved candle branches on two tiers set with carved candle cups, electrified. h. 36”, dia. 36” $1,500‑$2,500

219

220 Pair of Louis XVI-Style Polychrome and Parcel-Gilt Stools early 20th century, each with a padded square top above an annulated and paneled bellflower-carved frieze with pendant apron, raised on paneled tapering square legs ending in peg feet. h. 19”, w. 18‑1/4”, d. 18‑1/4” $3,000‑$5,000 220

221 Pair of Louis XIV-Style Giltwood Fauteuils early 20th century, each with a shell and foliate crest over a diamond-patterned frieze and a padded back, joined by acanthine-carved arms to the padded seat, raised on paneled bulbous legs ending in tiered block feet, upholstered in figural tapestry of pastoral scenes. h. 51‑1/2” $1,200‑$1,800

221

222 Louis XV-Style Polychrome Secretary Bookcase 20th century, Continental, the molded and domed cornice above a case fitted with two domed doors opening to a shelved interior, the lower section fitted with a slant front opening to a central cupboard, flanked to either side by two small drawers above three long serpentine drawers, raised on cabriole legs ending in scrolled toes, the whole richly ornamented with delicate gesso and polychrome chinoiserie accents. h. 86‑1/2”, w. 43‑1/2”, d. 20‑1/2” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $700‑$1,000

222

223 Impressive French “Chinoiserie” Oil-on-Canvas Decorative Panel second/third quarter 18th century, depicting a fete galante scene with rocaille garlands and musical trophee surround, centering a garden with pagodas, musicians and maidens frolicking with songbirds. 85” x 67‑3/4” $4,000‑$7,000

223

This stunning panel exemplifies the 18th-century vogue for Chinese-inspired works. Europeans were fascinated with the exoticism of the “Orient”, with the fine porcelain, silk, textiles and spices that flooded ports with the expansion of trade in the East in the late 17th/early 18th centuries through the Swedish East India Companies. China, in the imagination of Europeans, was combined with Turkey, Japan and India, a collective primitive other that dazzled and afforded a fantastic reprieve from the mores and strictures of the West. The influx of Chinese goods coalesced with the Rococo style, characterized by exuberant scrollwork and stylized seashell decoration couched in scenes of leisure and pleasure with gardens and courting couples

(called fete-galantes) its archetypal subject. Marvels from the orient fueled the imaginative decadence of the genre that also flourished in the decorative arts and interior design, creating an abundant demand for chinoiserie wallpaper, panels and screens, similar to the example offered here, which was likely commissioned for a parlor wall or trumeau. Antoine Watteau and Jean-Baptiste Pillement, two of the most accomplished French artists of the period, executed numerous like panels, redolent with scrollwork and promenading beauties in Asian-inspired gardens, for the palaces of the European monarchy and gentry, including the Chateau de Chantilly and the castles of Worlitz and Pillnitz.

224 Franco-Chinese Gilt-Bronze-Mounted Rose Mandarin Vase first quarter 20th century, with a scrolling Louis XV-style bronze base and grape-molded handles, holding a bronze bouquet of carefully molded lilies, the vase decorated with Mandarin scenes and flowers. h. 37”, dia. 7‑3/4” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000 225 Set of Twelve Meissen Dinner Plates

225

ca. 1924‑1934, pattern no. 455110, decorated in the Kakiemon style with polychrome pine trees, birds and flowers, with a gilt scalloped rim, marked on the back with underglazed crossed swords with a “dot” between the blades, and a decorator’s mark. dia. 10‑1/2” $600‑$900

226

226 Pair of Italian Blanc de Chine “Capodimonte” Pottery Figures 20th century, Italian, the figures of courting couples in 18th-century costume, under trees, decorated with sculpted flowers, marked with an underglaze blue crowned “N”. h. 12‑1/4”, w. 4‑1/4”, d. 4‑1/4” $600‑$900

224

227 Pair of Brass and Mirrored Eglomise Sconces second quarter 20th century, American, with scalloped, mirrored backplates painted with silver and gilt Chinese Chippendale patterns, mounted with scrolled candle arms with leaf-molded drip pans. h. 10‑1/2”, w. 7‑1/2”, d. 4” $600‑$900

227

228 Franco-Japonesque Gilt-Bronze and Lacquer Encrier fourth quarter 19th century, in the Louis XV style, with a pierced, scrolled gilt-bronze frame supporting the lacquer base, decorated with cockerels, and three lacquer inkpots with pierced gilt-bronze covers and liners. h. 4”, w. 11‑3/4”, d. 9‑1/2” $1,200‑$1,800 228

229 Louis XV/XVI-Style Kingwood and Marble-Top Cabinet early 20th century, the shaped marble top with a molded edge, above a conforming case fitted with two banded drawers over two cupboard doors, each inset with an ebonized panel with landscape scenes in the chinoiserie manner, raised on shaped legs ending in sabots, one drawer interior bearing a plaque reading “H. Bergmann/90, Boulevard de Strasbourg/Havre/H. F. Snow. Paris”. h. 51‑1/2”, w. 41”, d. 20‑1/2” $2,000‑$4,000 229

230 Louis XV-Style Ebonized and Marble-Top Commode late 19th century, the shaped marble top above a conforming bombe case fitted with two drawers, both featuring a gilt and gesso scene in the chinoiserie manner, raised on splayed legs ending in sabots. h. 34‑1/2”, w. 38‑1/2”, d. 19‑1/2” $1,500‑$2,500

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231 Louis XV-Style Mahogany Bureau Plat 19th century, the rectangular top within an ormolu banding with decorative corner accents, and with a leather-inset writing surface, above a conforming frieze fitted with a single drawer flanked to either side by two small drawers, the verso with the same arrangement of faux drawers, raised on ormolu-mounted cabriole legs ending in sabots. h. 30”, w. 61‑1/2”, d. 31‑1/2” $3,500‑$5,000

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232 Suite of Ten Ormolu-Mounted Beechwood Dining Chairs in the Louis XV style, comprised of a pair of armchairs and eight sidechairs, each with a shaped back with gilt-lacquered shell mounts and molding, serpentine seat and cabriole legs, all with ormolu mounts, upholstered in black faux leather edged with brass tacks. h. 44‑1/4” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $1,000‑$1,500

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233 Venetian Baroque-Style Polychrome Vitrine Table 19th century, the hinged top and sloping sides glazed, opening to a velvet-lined display space, above a shaped frame with inset mirrored panels, raised on cabriole legs ending in pad feet. h. 32”, w. 35‑1/2”, d. 25” $1,500‑$2,500 234 Dutch Inlaid and Chinoiserie-Japaned Secretaire a Abattant 19th century,, of satinwood, maple and fruitwood, the canted rectangular cornice above a frieze drawer inset with an ebonized chinoiserie panel, over a drop front, centered by a figural chinoiserie landscape panel, opening to a void interior, over a single cupboard door centered by a red chinoiserie panel of a floral arrangement, the whole flanked to either side by canted ebonized panel uprights and raised on tapering square legs ending in ball feet. h. 59”, w. 30”, d. 18”

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Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $700‑$1,000 235 Louis XV-Style Polychrome and Marble-Top Commode late 19th century, the shaped marble top above a conforming bombe case fitted with two long drawers, both with gesso and gilt figural scenes in the chinoiserie manner, raised on splayed legs ending in sabots, the whole accented with ormolu mounts. h. 34‑1/2”, w. 48‑1/2”, d. 24‑1/2” $2,000‑$4,000 235

236 Louis XV-Style Polychrome and Marble-Top Commode 19th century, the shaped marble top above a conforming case fitted with two drawers, each with an exuberantly rendered floral and avian scene, the sides en suite, raised on cabriole legs. h. 32‑1/2”, w. 30‑1/2”, d. 15” $1,500‑$2,500 237 Gilt-Metal, Porcelain and Wood Automaton ca. 1900, Continental, on a hexagonal ebonized base set with hand-painted porcelain plaques depicting landscapes and nautical scenes, one side set with a clock, with a hand-painted opaline dial, the base supporting a gilt-metal birdcage with three feathered mechanical singing birds on metal and wood perches. h. 21‑1/2”, dia. 11‑3/4”

237

$2,000‑$4,000 238 Pair of French Porcelain and Bronze Aesthetic Garnitures fourth quarter 19th century, on bronze bases, the vasiform garnitures painted with birds, prunus branches and turquoise panels on platinum grounds, the scrolled bronze arms terminating in lion-headed ring pulls, the bronze covers set with pinecone finials. h. 11‑1/2”, w. 4‑3/4”, d. 3‑1/2” $700‑$1,000

238

239

239 Meissen Hand-Painted Monteith

236

ca. 1800, with fruit, flower sprigs, birds and butterflies beneath a complex border of diapering and a twisted ribbon, the unusual mark, an underglaze blue crossed swords over a star, over an 11, is typically on biscuit porcelain produced during the Marcolini period (1774‑1817). h. 5‑1/4”, w. 10‑1/4”, d. 8‑1/4” $2,000‑$4,000

240

240 Bavarian Rococo Silver Sugar Box 1757‑1759, Augsburg, by Johann Leonhard Wirsing (ca. 1720‑1784; Master 1750), of serpentine-lobed oval form, with fitted lid and raised on four bifurcated scroll feet. h. 3‑1/4”, l. 15/1/4”, w. 4‑1/4”; 7.12 t. oz.

241

$1,200‑$1,800

241 Pair of Louis XVI Alsatian Silver Candlesticks 1778, Strasbourg, by Jacques Henri Alberti (1730‑1795), 13 Lot (.813) silver, each with a knopped standard, above an ogee step-molded circular foot and surmounted by a cannon-form nozzle with detachable bobeche, the whole decorated with gadrooned calyces. h. 9‑1/4”, dia. 5‑1/2”, 34.82 total t. oz. $3,000‑$5,000

242 Continental Silver Coffeepot unmarked, probably 19th century, in the Venetian Ottocento taste, with serpentine-lobed baluster body, hinged domed lid and squared “duck’s beak” spout, with ebonized wood handle of later date. h. 12‑1/2”, dia. 5‑1/4”; 27.31 t. oz. (including wooden handle) $600‑$900

242

243 Italian Silver Lucerna 20th century, .800 silver, in the Ottocento taste, with central serpentine-lobed baluster standard with incised panels, with ring-handle finial and four chained accessories. h. 39”, base dia. 9‑3/4”; 123.78 t. oz. $3,500‑$5,000

244 Four-Piece Hessian Biedermeier Silver Tea Set second quarter 19th century, Frankfurt-am-Main, Germany, by J.H.P. Schott Sohne, 13 lot (.813) silver, including a kettle-on-stand, h. 14‑1/2”, dia. 7‑3/4”, a teapot, h. 6”, dia. 5‑3/4”, an open sugar bowl, h. 5‑1/2”, dia. 6”, and a cream jug, h. 5”, dia. 4”, each with a flattened spherical body, shell-and-scroll feet, and milled foliate banding, with carved wooden handles. 89.45 total t. oz. (including wooden fittings) $1,800‑$2,500 The firm of J.H.P. Schott Sohne was founded after the death of Johann Heinrich Philipp Schott (1748‑1813) by his widow Anna Margaretha Hertzog Schott (1749‑1819), who was given authority by the Frankfurt guild to continue his business on November 11, 1814 with her son Johann Martin Schott (1786‑1822) and son-in-law Friedrich Ernst Wulcker (1783‑1856). The firm continued into the 1860s with Wulcker’s son Philipp Heinrich Friedrich Wulcker (1804‑1880), who kept the business in the family by marrying his first cousin, Anna Margarethe Schott (1816‑1894), the daughter of Johann Martin Shott.

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245 Austrian Silver Tray fourth quarter 19th century, by Vincenz Czokally, Vienna, third standard (.800) silver, of oval form, the molded rim quartered by circular portrait medallions of a neoclassical female head in high relief and with addorsed and annulated acanthus-scroll handles on the narrow ends, the conforming plateau engraved with laurel wreaths and arabesques centering a crowned and conjoined monogram “AW”. l. 29”, w. 19‑1/4”; 81.98 t. oz. $2,000‑$4,000 246 French Restauration Vermeil Boite Potpourri 1819‑1838, Paris, by Gabriel Jacques Andre Bompart/Bompard (fl. 1803‑1846), gilt .950 silver, of short cylindrical form with pierced hinged lid (finial lacking), leaf-and-dart edging, and raised on three lion’s paw feet with turned wooden bases. h. 3‑1/4”, dia. 6‑3/4”; 22.38 t. oz. (including wooden feet) $600‑$900

247 Pair of French Silver-Mounted Cut Glass Claret Jugs ca. 1900, with cut glass bodies and blown rope-twist handles, set with rococo-molded first standard .950 silver caps and spouts. h. 10”, w. 5‑1/4”, d. 4” $1,000‑$1,500 248 French Belle Epoque Silver Tray first quarter 20th century, by Georges Falkenberg (fl. 1894‑1928), Paris, first standard (.950) silver, of hexagonally lobed form, with ovolo gadrooned rim and applied laurel edge, with reed-and-acanthus handles. dia. 16‑1/4”, w. 18‑3/4”; 47.01 t. oz. $1,500‑$2,500

249 French Belle Epoque Silver Platter fourth quarter 19th century, by Boin-Taburet, Paris, first standard (.950) silver, of serpentine-lobed oval form with applied laurel-and-ribbon edge, monogrammed “TGJ”. 18” x 12‑5/8”; 40.89 t. oz.

251 Assembled Set of Spanish Silver Band Figurines third quarter 20th century, first standard (.915) silver, the comic figures in military dress and including a band major, drummer, saxophonist and cymbalist, each on a circular plinth. h. 4‑3/8” to 5‑3/4”, dia. 2‑1/8”; 18.41 total t. oz.

$800‑$1,200

250 Pair of German Silver Candelabra

$1,200‑$1,800

third quarter 20th century, by Gebr. Deyhle, SchwabischGmund, .835 silver, each of lobed baluster form in the Late Rococo style, each with a central standard flanked by scrolling arms, all ending in a baluster-form nozzle. h. 10”, w. 11”, base dia. 5‑5/8”; weighted $700‑$1,000

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254 Southeast Asian Silver Tinderbox first half 20th century, .900 silver, of octagonal form with hinged lid, decorated with an undersea scene of fish, seahorses and sea anemones on a pierced ground. h. 2‑1/2”, w. 5‑3/4”; 11.87 t. oz. $600‑$900

252

252 Pair of German Sterling Silver Gilt Historizmus Cabinet Figures first quarter 20th century, Hanau, retailed by Israel Freeman & Son, London, depicting a 15th-century king and queen, possibly Maximilian I and Maria of Burgundy, the king in armor holding a sword and shield, the queen in elegant robes and holding a scepter, both with carved ivory faces and hands and presented on a canted square plinth base with glass cabochons. h. 10‑3/4” and 11‑3/4”; 63.62 total t. oz. $1,500‑$2,500

254

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

253

255 Large Silver Figure of a Recumbent Lion mid-20th century, probably West or South Asian, the realistically detailed figure with glass eyes. h. 12‑1/4”, l. 22”, 140.50 t. oz. $1,500‑$2,500 256 Japanese Silver Pedestal Punch Bowl first half 20th century, the exterior encircled with a foliate band centered by a single Imperial Kamon, the base of the stem with a similar foliate band, the base stamped “Jungin” above a twocharacter studio mark. h. 7‑3/4”, dia. 12‑1/4”; 119.92 t. oz. $4,000‑$7,000

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257 Japanese Silver Bowl first half 20th century, with foliate rim, the slightly concave sides decorated with peacock feathers and floral sprays, with a three-character mark to the back and “Jungin” stamped to the base. h. 4”, dia. 8‑1/2”; 29.10 t. oz. $4,000‑$7,000 258 Japanese Silver Vase first half 20th century, of baluster form with neat everted lip, the neck encircled with a single foliate band, having two applied cockerel-head hanging loop handles, the body etched and inlaid with a continuous design of birds and butterflies amid blossoming flowers and foliage, the base stamped “Jungin”. h. 12‑3/4”, w. 7‑1/4”; 31.28 t. oz. $1,500‑$2,500

258

259 Chinese Marble-Inset Hongmu Armchair

262 Japanese Satsuma Vase

Republic period (1912‑1949), the foliate-form frame over a quatrefoil marble-inset backsplat flanked by scrolling arms, the seat set within a thick form-fitting frame over a solid, shaped apron, the four legs joined by a simple H-form stretcher. h. 41”, w. 20”, d. 19”

Meiji period, late 19th/early 20th century, of cylindrical form, with short neck, the body decorated with multiple panels depicting figures in various scenarios, with a dense scrolling design to the surround, the neck similarly decorated with floral panels on a cell-diaper ground. h. 14‑1/4”, w. 7”

$600‑$900

Provenance: Estate of Nancy Nye Harrell, Houston, Texas.

260 Ostrich Egg, Nickel and Hardstone ElephantForm Box

$600‑$900

ca. 1970s, attributed to Anthony Redmile, London, the elephant with an ostrich egg body and glass eyes, a hardstonemounted knop on the cover. h. 11‑1/4”, w. 8”, d. 5” $1,000‑$1,500 261 Chinese Pottery Figure of a Soldier possibly Sui Dynasty (581‑618 A.D.), modeled standing with fists clenched and pierced, wearing traditional armor, having an all-over cream glaze with black and red detail. h. 15‑1/2”, w. 5” $1,400‑$1,800

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263 Set of Eighteen Sino-Tibetan Buddhist Temple Bells and Stand 20th century, the graduated set of bells with ornate handles and stud detail, centered by an inscription in archaic characters within a rectangular reserve, the stand with figuralform sides, the supports with leopard detail to denote bell placement, complete with beater. h. 35”, w. 41” $600‑$900 264 Chinese Cinnabar and Black Lacquer Table Screen with Hardwood Stand 20th century, the screen of circular form, decorated to one side with two ladies at leisure in a garden setting, and to the other with a representation of the emperor on horseback with two attendants, each side with an apocryphal six-character Xuande mark within a rectangular reserve, all within geometric scroll borders, together with a carved and pierced hardwood stand. h. 28‑1/4”, w. 17‑1/2” (on stand), dia. 16” $600‑$900 265 Pair of Chinese Cinnabar Lacquer Panels probably late 19th century, each of rectangular form, having four vertical cartouches depicting figural scenes, with a scrolling foliate and chrysanthemum-head pattern to the surround, all within floral-motif borders, with an apocryphal six-character Xuande seal mark to the bottom left corner. each panel h. 60‑5/8”, w. 16‑3/8” $1,500‑$2,500

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267 one of four 266

266 Important Chinese Rosewood and Mother-ofPearl-Inlaid Tilt-Top Table early 19th century, the top, pedestal and legs profusely inlaid with flowers, people, birds and seal characters. h. 28”, dia. 33” Literature: This table is illustrated in Erich Bruggemann’s, Kunst und Technik der Intarsien” (Art and Technique of Inlay Works), Munich, 1988, pp. 134‑135. $1,200‑$1,800 268

267 Group of Four Chinese Eglomise Paintings 20th century, each painted to depict a floral scene with birds and rockwork, one bearing a seven-character inscription, all mounted and framed. h. 18‑1/4”, w. 22‑1/2” (including frame) $800‑$1,200

268 Pair of Chinese Hardstone and Cloisonne Ornamental Trees second half 20th century, each modeled with a naturalistic trunk and branches supporting various flowers and foliage in differing hardstones, within cloisonne flower pots, each of rectangular form with canted corners, raised on four neat feet, the exteriors decorated in vibrant enamels with auspicious objects contained in cartouches surrounded by a scrolling floral design. h. 14”, w. 10”, d. 6‑1/4” $1,200‑$1,800

269 Chinese Lacquered Cabinet early 20th century, with two doors over two smaller doors, and eight convex panels with figures in palace scenes in gold lacquer on a black ground, with a floralcarved crest. h. 88”, w. 34‑1/2”, d. 19” $1,000‑$1,500 270 Group of Three Chinese Porcelain and Hardwood Panels probably Republic period (1912‑1949), the central panel containing three rectangular-form porcelain plaques depicting landscapes and figures, each with a short inscription; the smaller panels having a circular plaque with figural subject mounted above a larger rectangular example, showing blossoming peonies and a bird perched amid foliage, all within wooden panel mounts, these framed in a darker wood with ornately carved cornice. largest h. 66‑3/4”, w. 33‑3/4” Provenance: Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $1,000‑$1,500

270

271 Japanese Porcelain Dish Meiji period, 19th century, of circular form with everted lip, painted with a kirin crouched amid blossoming peonies, the reverse with a scrolling band, the base with a six-character studio mark in underglaze blue. dia. 11‑1/2” $600‑$900

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272 Large Japanese Sumida-ware Vase 20th century, of baluster form, with broad shoulders narrowing to a short neck with flared lip, neck and shoulders with all-over thick blue-green glaze, the remainder of the body unglazed, with applied figures of various forms, having a four-character studio mark within a double-gourd-form reserve to the back. h. 25”, w. 12‑1/2” $800‑$1,200 269

274 Pair of Molded and Painted Plaster Lamps mid-20th century, on Asian-style stained wooden bases, the serene bodhisattva decorated in brown and green. overall h. 33‑1/2”, w. 7‑1/4”, d. 6‑1/2” $600‑$900 275 Bronze Head of Buddha probably early 20th century, Thailand, the peaceful face modeled with eyes cast downward, with traditional elongated earlobes, mounted on a wooden stand. h. 19‑1/4” (including stand), w. 7‑1/2”, d. 8” $600‑$900

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273 Large Chinese Single-Panel Hardwood Screen with Stand 20th century, of rectangular form, one side painted with the figure of Luxing, in traditional Mandarin dress and holding a scroll, the reverse with an inscription in Chinese characters, raised on a decoratively carved stand later mounted on casters. h. 80”, w. 48‑3/4”, d. 29”

275

$1,000‑$1,500

276

276 Group of Four Japanese Bronze Crabs 20th century, each solid cast, as if in motion, with pincers raised and eyes protruding, in three graduating sizes. smallest h. 3/4”, w. 3”, d. 2”, largest h. 1‑1/2”, w. 6”, d. 4” $700‑$1,000

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277 Group of Three Chinese Eggshell Porcelain Bowls first half 20th century, each of foliate form, the larger example decorated to the exterior with dragons amid flowers on a yellow ground, the interior centered by a dragon medallion, the base with an apocryphal six-character Tongzhi mark, together with a smaller example similarly decorated, and a further example with dragons and flowers on a turquoise ground. largest h. 4‑3/4”, dia. 10‑1/2” $700‑$1,000

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278 Pair of Chinese Framed Panels Depicting Auspicious Objects 20th century, each of rectangular form, with hardstone and resin mounted on a black lacquer-style ground to form censers, vases, flowers and other auspicious objects, within bamboo-style frames. h. 18‑3/4”, w. 25‑1/2” 280

$600‑$900

279 Pair of Chinese Cloisonne Vases 20th century, each of baluster form, with pedestal foot and flared rim, having a double band to the neck, the body decorated with a scrolling floral design in pinks, yellows and greens on a vibrant blue ground. h. 12‑1/2”, w. 5‑1/4” $600‑$900 280 Unusual Japanese Kakiemon-Style Vessel

278 one of two

possibly 19th century, having a globular body raised on three short legs, flanked by loop handles surmounted by applied ox head-form decoration curving to form an upper pair of handles on either side of a broad, everted lip, decorated to the exterior with a chrysanthemum design, with other floral motifs, the interior of the lip with opposing phoenix amid stylized clouds. h. 8”, w. 10‑3/4”, d. 9‑1/4” $600‑$900

281 English Oak Wake Table the long top with rounded ends and two ovoid drop leaves, and raised on a gateleg support of turned bulbous legs joined by stretchers and ending in block feet. h. 28”, w. 22”, ext. w. 63”, l. 87” $600‑$900

282 English Carved Wooden Figure of a Knight

281

ca. 1800, the knight on horseback, carrying a spear, a dragon to one side. h. 14‑3/4”, w. 7‑1/2”, d. 5” $600‑$900

283 Suite of Eight George II-Style Mahogany Dining Chairs consisting of two armchairs and six sidechairs, all with a shaped crest above a vasiform splat, the padded saddle seat raised on cabriole legs headed with shell carving and ending in ball-and-claw feet. h. 40” $700‑$1,000

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100

284 George III Mahogany Cellarette-on-Stand fourth quarter 18th century, of brass-banded oval form, the interior retaining a removable metal liner, raised on a later stand of splayed legs to brass caps and casters. h. 31”, w. 31‑1/2”, d. 17” $800‑$1,200 285 Samson-Type Imari Ginger Jar 20th century, decorated with gilt scrollwork, pomegranates and lotus flowers. h. 17‑1/4”, dia. 8‑1/2” $600‑$900 286 William and Mary-Style Walnut and Mahogany Chest the rectangular top banded and with inlaid panels of seaweed marquetry, above a conforming case fitted with two short drawers over three graduated long drawers, all with likeinlaid panels, the sides banded and inlaid en suite, raised on bracket feet. h. 35‑1/2”, w. 36”, d. 23‑1/2”

284

$700‑$1,000

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287

287 detail

287 Fine Queen Anne Circassian Walnut Secretary mid-18th century, the top with a concealed drawer in the curved frieze, the drop-front writing desk fitted with an adjustable ratchet blotter and opening to a fitted interior with multiple drawers and cubbies, the base with a pair of side-byside drawers over two long drawers and raised on turned bun feet. h. 72”, w. 37‑1/2”, d. 20” $2,500‑$4,000 288 Contemporary Occasional Table

288

in the form of four large stacked books, the upper one with a hinged top opening to a storage space, the lower three all drawers, all books with gilt-tooled spines, raised on bulbous feet. h. 20‑1/2”, w. 21‑1/4”, d. 15‑1/2” $600‑$900

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290

289 Queen Anne Oak and Walnut Lowboy 18th century, the rectangular banded top with a molded edge, above a conforming case fitted with a single long drawer over two short end drawers, raised on cabriole legs ending in pad feet. h. 28‑1/4”, w. 31”, d. 18” $600‑$900 290 British School (Second Quarter 19th Century) “Hunters Resting by the Riverbank” oil on canvas unsigned, an old “The London Shop/New Orleans” label en verso frame. Framed. 20‑1/2” x 26‑1/2” $1,000‑$1,500 291

291 Queen Anne-Style Walnut Chest-on-Stand composed of 18th-century elements, the banded and quarter-veneered rectangular top above a case fitted with two graduated long drawers, raised on a separate stand with a shaped apron on shell-carved cabriole legs ending in pad feet. h. 32‑1/2”, w. 33‑1/2”, d. 18‑1/2” $600‑$900 292 Queen Anne-Style Mahogany Drop-Leaf Table 19th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on tapering circular legs ending in pad feet. h. 28‑1/2”, w. 40‑1/4”, l. 16”, ext. l. 72‑1/2” $600‑$900

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293 Queen Anne Mahogany Silver Table 18th century, the dished, rounded rectangular top above a frieze fitted to each end with a small candle slide over a drawer, raised on cabriole legs ending in pointed pad feet. h. 29”, w. 30‑1/2”, d. 20”

294

$1,000‑$1,500 295 Suite of Eight George II-Style Elm and Mahogany Dining Chairs

294 Georgian-Style Upholstered and Mahogany Wing Chair

consisting of two armchairs and six sidechairs, all with a domed crest above a baluster-form splat, the padded saddle seats raised on cabriole legs headed by shell carving and ending in ball-and-claw feet. h. 40”

early 20th century, the tall, tufted and padded back with a backswept crest, joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs headed by scroll carving and ending in pad feet. h. 57”

$700‑$1,000

$900‑$1,200

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296 George II-Style Parcel-Gilt and Red Lacquer Chinoiserie Mirror second quarter 20th century, English, the mirror plate with a red lacquer bolection-molded surround, lined with gilt scrollwork, the crest with swan’s-neck-molded gilt strapwork flanked by gilt scrollwork trim. h. 64”, w. 30”

297

$900‑$1,200 297 George III Red-Lacquered Tall Case Clock late 18th century with later painted surface, English, the door decorated with portraits of George III and Queen Charlotte, and the painted oak case in the chinoiserie manner, set with 18th-century works with a brass dial signed “James Cotton, Tamworth”, marked “Made in England” on the back and hood. h. 98”, w. 18”, d. 9‑3/4” $2,500‑$4,000 298 Pair of Giltwood Mirrors in the Chippendale Taste mid-20th century, probably Italian, the pierced surrounds composed of scrollwork, flowerheads and rocaille-work, with a canopy of leaves forming the crest. h. 48‑1/2”, w. 15‑1/2” $2,500‑$4,000 298

105

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299 Pair of Bronze and Engraved Mirror Glass Candelabra second quarter 20th century, on molded bases with prismhung candle arms flanking pierced chinoiserie-decorated central panels, set with mirrored panels engraved with phoenix birds, electrified. h. 14‑3/4”, w. 11”, d. 2‑1/4” $600‑$900 300 Suite of Ten George III-Style Mahogany Dining Chairs in the Chippendale manner, consisting of two armchairs and eight sidechairs, each with an earred and domed crest above a pierced and interlacing splat, the inset padded seat raised on cabriole legs, headed by foliate carving and ending in balland-claw feet. h. 39‑1/2” $1,200‑$1,800 301 Pickled Beechwood “Phoenix” Mirror early 20th century, in the Chinese Chippendale taste, the crest with a stylized phoenix bird gripping a floral garland in its beak, the frame with deeply carved shell and leaf motifs. h. 64”, w. 32”

301

$1,000‑$1,500

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300

302 Large Chinese Famille Rose Porcelain Punch Bowl mid-19th century, of circular form with slightly flared sides and broad rim, decorated to the interior with a central medallion depicting figures on terraces, surrounded by alternating panels showing figures and birds and insects amid flowers, all on a scrolling foliate ground with flowerhead and butterfly detail, the rim decorated with ruyi bats and cartouches containing birds and flowers, the exterior painted with three floral sprays. h. 5‑3/4”, dia. 19” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000 303 Pair of Chinese Famille Rose Vases Mounted as Lamps second half 19th century, each of baluster form, with applied foo dog handles flanking the neck and lizard detail to the shoulders, the body decorated with three opposing sets of panels depicting figures at leisure on terraces, the surround with a dense design of floral motifs and auspicious objects, each mounted on a gilt-metal base, with a single-bulb fixture, complete with shade. h. 35” (including fixture), w. 8” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000

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304 Chinese Famille Verte Charger Kangxi period (1662‑1722), of circular form with subtle foliateshaped rim, the charger centered by a basket with ‘shou’ character motif, the cavetto with eight arched panels each containing a design featuring flowers and rockwork, all within a cell diaper border interrupted with reserves containing auspicious symbols, the reverse with a stylized floral mark in underglaze blue and three individual floral sprays. dia. 14‑1/4” $1,500‑$2,500

304 303

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305 Chinese Famille Verte Vase possibly Kangxi period (1662‑1722), of quatrefoil-baluster form, with slender neck and flared rim flanked by ruyi-form handles, the exterior body painted with a panel design depicting qilin, ducks and blossoming foliage, the neck with flowers and rockwork. h. 11‑1/2”, w. 5”, d. 4‑1/4” $1,200‑$1,800

305

307 Pair of Chinese Powder Blue Porcelain Vases Mounted as Table Lamps second half 19th century, each vase of rouleau form, decorated to the body with two large opposing panels depicting scenes from the Warring States period, with smaller cartouches showing flowers, fish and auspicious objects, all on a powder blue ground densely covered with a gilt scrolling floral design, later mounted as table lamps with a single-bulb fixture, complete with shades. h. 34” (including fixture), w. 7”

306

Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $700‑$1,000

306 Chinese Famille Verte Charger possibly Kangxi period (1662‑1722), of circular form with slightly flared and everted lip, centered with a design of a bird perched on a blossoming willow tree, with three crysanthemums to the side and a butterfly hovering above, within a double border, the inner decorated with floral sprays, the outer with floral motifs on a green ground, interrupted by reserves containing fish and lobster, the reverse with a single border with fish detail, and four individual floral motifs, the base centered by two concentric bands in underglaze blue. dia. 14‑3/4” $2,500‑$4,000

108

307

309

308

308 Chinese Famille Rose Porcelain Punch Bowl late 19th/early 20th century, having slightly flared slides and raised foot rim, the interior decorated with a central medallion and multiple alternating panels depicting figures at leisure, and birds and insects amid blossoming flowers and foliage, surrounded by dense floral detail, the exterior similarly painted. h. 6‑1/4”, dia. 14‑1/2”

310 Chinese Famille Rose Porcelain Jardiniere Republic period (1912‑1949), having a flared and flattened lip, decorated to the exterior with a continuous scene of children playing in a garden setting, with a floral band encircling the rim and a key pattern border to the foot. h. 14‑1/4”, dia. 16” $600‑$900

$1,200‑$1,800 309 Chinese Famille Rose Porcelain Charger with Ormolu Mounts first quarter 20th century, the charger centered with a floral motif, and quartered by four panels with scenes of figures on terraces and birds and insects amid blossoming flowers, the surround densely decorated with a scrolling floral design, later mounted with pierced gilt-metal rim and handles, and raised on three lion-head-form legs. h. 7”, w. 21”, d. 16‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900

310

311 Chinese Export Porcelain Dish Mounted as a Tazza late 19th/early 20th century, the celadon-ground dish decorated with flowers and butterflies in the famille rose palette, the reverse with a six-character mark in underglaze blue, having foliate ormolu mounts to rim, raised on three scroll-form legs and form-fitting base. h. 7”, dia. 10‑3/4” $2,000‑$4,000

311

109

312 Chinese Export Famille Rose Porcelain Punch Bowl second half 19th century, having slightly flared sides, the interior centered by a circular panel depicting ladies on terraces, the sides with four further panels showing figures at leisure, interrupted by alternating sections decorated with auspicious symbols, the rim with floral panel borders, the exterior similarly decorated, with borders of stylized clouds. h. 6‑1/4”, dia. 14‑1/4” 313

$800‑$1,200

314 Pair of Large Chinese Famille Verte Porcelain Urns and Covers late 19th/early 20th century, each of baluster form, with slightly splayed foot, painted to the exterior with continuous scenes from the Warring States period, the cover of flattened dome form, surmounted with a peach-form finial, the base with concentric bands in underglaze blue. h. 25”, dia. 13” $800‑$1,200

312

313 Chinese Famille Verte Porcelain Bowl late 19th/early 20th century, decorated to the exterior with a continuous scene depicting the Warring States period, the interior centered by two children, the rim with a trellis border interrupted by four reserves containing auspicious objects, the base with an apocryphal four-character Kangxi mark in copper red. h. 6‑1/4”, dia. 14‑1/4”

315 Pair of Chinese Famille Rose Porcelain Vases late 19th/early 20th century, each of baluster form, with flared lip flanked by applied foo dog handles, decorated to the exterior with auspicious symbols and scholarly objects between key-pattern and trellis borders. h. 23‑1/2”, w. 9” $1,500‑$2,500

$600‑$900

314

110

315

316

316 Suite of Six George III Mahogany Sidechairs fourth quarter 18th century, each with a shaped foliate-carved crest above a pierced and like-carved splat, the generous padded seat raised on chamfered square legs joined by an H-form stretcher, upholstered in kelly green nubuck leather. h. 37‑1/4” $800‑$1,200

317

317 George III-Style Mahogany Dining Table the rounded rectangular top with a molded edge and raised on two pedestals, each with a turned columnar standard to four splayed and reeded legs ending in brass paws on casters. h. 29‑1/2”, w. 45‑1/2”, l. 68”, ext. l. 89‑1/2” $700‑$1,000 318 George III-Style Mahogany Breakfront late 19th century, the broken swan’s-neck pediment above a conforming Greek-key-carved frieze with drop pendant spindles, over four astragal-glazed doors, the lower section with a serpentine front and fitted with three drawers over four paneled cupboard doors, all banded, raised on a conforming plinth base. h. 82”, w. 67”, d. 21‑1/2” $2,000‑$4,000

318

111

319 George III-Style Mahogany Cabinet the banded top with a concave front, above a conforming case fitted with two cupboard doors over a single deep drawer, all banded and with a central burl wood oval panel, raised on bracket feet. h. 31‑1/2”, w. 22‑1/4”, d. 19” $800‑$1,200

319

320 Pair of Chinese “Peking Yellow” Glass Vases late 19th/early 20th century, each of double gourd form, with slightly flared lip and subtle foot rim, having a vibrant “imperial yellow” tone consistent throughout, with hardwood stands. h. 6”, w. 3” $600‑$900

320

112

321 Pair of Chinese “Imperial Yellow” Porcelain Bottle Vases 19th century, each having a bulbous body tapering into a narrow neck, the all-over yellow glaze incised with floral sprays below a leaf pattern border encircling the neck, the base with an apocryphal six-character Kangxi mark, each with a hardwood stand. h. 10‑1/4”, w. 5” $600‑$900

321

322 George III Mahogany Chest late 18th century, in the French taste, the bowed top double-banded and centered by an inlaid floral spray, above a conforming case fitted with three graduated long drawers, all with an inlaid foliate swag, raised on splayed legs. h. 33”, w. 43”, d. 19” $1,000‑$1,500

322

113

325 Nineteen Decorative Bindings of French Interest including de Sevigne’s Lettres, a limited Legionnaire’s edition of Paris’ Napoleon’s Legion, and works of Balzac, Hugo, Daudet, Jerome, Sastri, Thomas a Kempis, Maurois and others, some with bookplates of Grace Whitney Hoff or her chateau Le Moulin de Peyrieu. the smallest 5‑1/8” x 6‑1/4”, the largest 9‑3/8” x 6‑1/2” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. Detailed list of titles available on request. 323

$600‑$900

323 Seven Leatherbound Religious Books including four volumes of a 1670 French Vulgate Bible, a large, decorative 1886 American KJV/ RV Bible, a decorative 1919 Italian Flowers of St. Francis, and Ruter’s Martyrs. the smallest 4‑5/8” x 2‑5/8”, the largest 12‑1/4” x 11” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. Detailed list of titles available on request. $600‑$900 325

326 Nathaniel Hawthorne, Works London: Walter Scott, n.d. [1893], complete in twelve volumes, in half red leather on red linen boards with gilt fillets, the spines with raised bands and gilt lettering and decoration, the top edges cut and gilt, seller’s label of Brentano’s, Paris, bookplate of Grace Whitney Hoff and her chateau Le Moulin de Peyrieu. 7‑1/8” x 4‑5/8” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. $500‑$800 324

324 Seven Decorative Bindings 1890‑1906, including works by Wordsworth, Longfellow, Chesterfield and others. the smallest 7” x 4‑1/2”, the largest 9‑7/8” x 7” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. Detailed list available on request. $500‑$800

114

326

328 Victor Hugo, Oeuvres Completes Paris: Hetzel-Quantin, n.d. [1880‑1889] & Societe d’Editions Litteraires et Artistiques, 1903‑1904, 40 volumes (of 48), in green half-leather on marbled boards with gilt fillet, the spines with gilt-stamped lettering and decoration, the top edges cut and gilt, with marbled endpapers and bookplate of Grace Whitney Hoff. 9‑1/2” x 6‑3/8” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. $800-$1,200 328

327 Four Large Volumes with Print Illustrations including Claude Buy de Mornas Atlas Historique et Geographique (1761‑1770) in two volumes, Roger Riordan French Etchers (1884) with bookplate of Grace Whitney Hoff, and Revue d’Illustration (Christmas edition, 1927), the latter with hand-tinted plates of Leon Bakst’s designs for the Ballets Russes. the smallest 15‑1/4” x 12‑1/2”, the largest 14‑1/2” x 12‑3/4” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. Detailed list of titles available on request. $500‑$800

327

329

329 Dante Alighieri (1265‑1321), La Divina Comedia

329 detail

(Milan: Alfieri and Lacroix, 1902), chromolithograph illustrations by Attilio Razzolini in full parchment with yapp edges (closures lacking), the front with calligraphic title stamped in black, red and gilt, the Italian text elaborately set and decorated in the manner of a medieval illuminated manuscript with illustrated capitals and rubricated initials throughout, printed on card stock laid on linen, the top edges cut and gilt, with black and gilt endpapers, with bookplate of Grace Whitney Hoff and of her chateau Le Moulin de Peyrieu. 5‑7/8” x 7‑3/4” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. $500‑$800

115

332 Twenty-Nine Volumes of Modern Classics including a first edition (third printing) of The Little Prince, thirteen volumes of the Riverside Press Modern Classics, and works by Wilde, Conan Doyle, Millay, Riley and others, some with bookplates of Grace Whitney Hoff and her chateau Le Moulin de Peyrieu. the smallest 3‑3/4” x 2‑3/4”, the largest 9‑5/8” x 6‑1/2” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. Detailed list of titles available on request. $500‑$800

330

330 Ten French Language Books including a 1785 dual language Mother Goose, and Consular-era works by Florian, Voltaire and Ossian, most with bookplate of Grace Whitney Hoff. 5‑1/4” x 3‑1/4” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. Detailed list of titles available on request. $500‑$800

332

333 Seventeen Decorative Bindings including volumes of Bell’s Miniature series, Black’s Works of series and Pocket Books Collector’s Editions, some with bookplate of Grace Whitney Hoff. the smallest 6‑1/4” x 4‑1/8”, the largest 7‑3/8” x 5‑1/4” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. 331

331 Twenty-Seven Volumes of English Novelists

Detailed list of titles available on request. $500‑$800

including the works of Hardy, Eliot, Dickens and Thackeray, some with bookplates of Grace Whitney Hoff, her chateau Le Moulin de Peyrieu and her daughter Elaine Labouchere. the smallest 6‑1/8” x 4‑1/8”, the largest 6‑7/8” x 4‑3/8” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. Detailed list of titles available on request. $500‑$800

116

333

334 Anton Nicolaas Marie Karssen (Dutch, b. 1945) “New Puppies” oil on canvas signed lower right. Framed. 19‑1/2” x 28” $2,000‑$4,000

334

335 George Armfield (British, ca. 1808‑1893) “Chasing the Fox” oil on canvas signed lower right. Framed. 20‑1/4” x 24” $1,000‑$1,500 335

336 Jean Louis Lefort (French, 1875‑1954) “Resting by the Hearth” oil on canvas signed lower right. Framed. 25‑1/2” x 47‑1/4” $1,500‑$2,500

336

117

337 Circle of Thomas Sidney Cooper (British, 1803‑1902) “Cattle in the Field Before a Tree Trunk” oil on canvas Framed. 24” x 20” $1,000‑$1,500

337

338 Two Banjo-Form Barometers including an English Regency mahogany example, second quarter 19th century, signed “Buchanan, Boston”, referring to the Boston in Lincolnshire, h. 37”, w. 9‑1/2”, and a French cherry example, second quarter 19th century, signed by Pouvillion Optical, Paris on the dial, with an engine-turned dial bezel, and bronze trim, h. 37”, w. 13‑1/2”. $600‑$900

338

339 Regency Brass-Inlaid and Ebony-Veneered Bracket Clock first quarter 19th century, made by James Howden, Edinburgh, Scotland, on ball feet, inlaid with leaves, lines and bellflowers, the top terminating in a brass finial on a reeded base, the dial signed “Howden, Edinburgh”. h. 20”, w. 10‑1/4”, d. 6” $600‑$900 339

118

340 Pair of Whimsical Mahogany Stools in the Regency taste, each with a padded circular seat with brass tack accents and raised on three supports in the form of laced-up lady’s boots. h. 20”, dia. 15‑1/2” $1,500‑$2,500

340

341 Regency-Style Mahogany and Marble-Top Cabinet late 19th century, the rectangular marble top with projecting corners, above a conforming case fitted with an ormolu masque-applied frieze over two cupboard doors, each paneled and with an ormolu sunburst pattern over a fabric panel, flanked to either side by a freestanding ormolumounted column, raised on a plinth base. h. 42”, w. 60”, d. 16‑1/2” $600-$900

341

342 Pair of Regency-Style Parcel-Gilt Eagle-Carved Convex Mirrors 19th century, probably English, the cove-molded frames set with ebonized spherules, with intertwined dolphins at the base, with opposing ebonized edges flanked by acanthus leaves forming the crests and a pair of candle arms, the brass sockets set with cut glass drip pans on each side. h. 51”, w. 30” 342

$6,000‑$9,000

119

343

343 Regency Mahogany and Caned Recamier first quarter 19th century, the long cushioned and caned seat flanked to one side by an outscrolled end and partial shaped and caned back, to the other by a lower outscrolled end, raised above a ribbed and scroll-carved apron on splayed legs ending in decorative brass caps and casters, with two conforming bolsters. h. 34”, w. 26”, l. 78”. $1,400‑$1,800

344 Regency Burl Maple Center Table

344

first quarter 19th century, the banded circular top raised on a paneled and gilt foliate-carved standard to a concave square base, raised on gilt paw feet. h. 30”, dia. 44‑1/2” $1,500‑$2,500

345 Pair of Bronze and Glass Two-Light Sconces mid-20th century, English, in the neoclassical taste, on beaded circular backplates with scrolled arms, set with hurricane shades engraved with rows of leaves. h. 18‑1/2”, w. 11”, d. 7” $600‑$900 345

8 120

346

346 Pair of Regency Mahogany Serpentine Knife Boxes ca. 1811, the boxes outlined with ebonized stringing and set with silverplated ring pulls and escutcheons, retaining their fitted interiors. h. 14‑1/2”, w. 9”, d. 11” $1,000‑$1,500 Provenance: These knife boxes come with a reputed family history, from Dorothy Lansdale of Moore Hall, Kent County, England, who married Stephen Sawyer of Winfield, Kent County, England in 1811, and received the knife boxes at the time of her wedding. The couple emigrated to the United States, and she died in Lyme Township, Huron County, Michigan. They descended to Thomas Mitchell Sawyer of Hillsdale, Michigan, and on to a friend in 1962.

348

347 Regency Mahogany Breakfast Table early 19th century, the tilting, rounded rectangular top with string inlay, and raised on a columnar standard to four splayed and banded legs ending in brass caps and casters. h. 29”, w. 37‑3/4”, l. 50” $1,800‑$2,500 348 Regency Mahogany Secretary Bookcase early 19th century, the domed and paneled cornice with side urn-form finials and above a line-inlaid frieze and two astragal-glazed doors, the lower section fitted with a dropfront secretary drawer opening to a variety of drawers and cubbyholes, over three graduated long drawers, raised on tall splayed bracket feet. h. 89”, w. 39”, d. 19” $1,000‑$1,500

347

121

349 Late Regency-Style Mahogany Library Table the rectangular top with a reeded edge and two ovoid end drop leaves, and inset with a gilt-tooled leather surface, above a frieze fitted with two drawers, raised on double-turned columnar supports joined by a cluster-column stretcher and ending in reeded splayed legs to brass caps and casters. h. 29”, closed w. 40”, open w. 67‑1/2”, d. 24‑1/4” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. 349

$700‑$1,000

350 After Sir John Everett Millais, P.R.A. (British, 1829‑1896) “Bubbles, or a Child’s World”, fourth quarter 19th century oil on canvas unsigned. Presented in an antique gessoed and giltwood frame. 30” x 25” $1,200‑$1,800 The work presented here is after the 1886 painting of the artist’s grandson Sir William Milbourne James (later Admiral) now conserved on loan at the Lady Lever Art Gallery, Liverpool. The painting, and its copyright, had been acquired by the owner of the Pears Soap Company, and it was replicated in an extensive, and highly successful and popular, series of advertisements. 350

122

351 Pair of Regency-Style Mahogany Serving Cabinets 20th century, in the Adam taste, each surmounted by an urn-form cabinet topped by a finial and fitted with a single swag-carved door, opening to four pull-out shelves, the lower cabinets each fitted with a single drawer over a tall paneled cupboard door, opening to shelves and a storage space, fronted by a swag and patera carving, raised on plinth bases. h. 60”, w. 18”, d. 18” $1,500‑$2,500

351

352 Polychrome and Marble-Top Demi-lune Side Table 19th century, in the Adam style, the demilune marble top with incised bellflower and urn accents, above a conforming frieze with applied urn and garland designs, raised on reeded tapering square legs headed by masque capitals and ending in peg feet. h. 35”, w. 46‑1/2”, d. 23‑1/2” $2,500‑$4,000

352

123

353

353 Thomas Clement Thompson, R.H.A. (British, 1778‑1857) “Portrait of William Grant, Esq. of Carrs Bank” oil on canvas unsigned, titled on letter in sitter’s hand, an old handwritten label en verso frame with artist and sitter, an “Agnew & Zanetti/ Manufacturers/Manchester” label en verso frame, inventory label reading “Owner/Sir P. Grant Lawson/June 2, 1930” en verso. In a fine period or slightly earlier gessoed and carved wood frame. 51‑7/8” x 40‑1/2” Provenance: With sitter; Sir Peter Grant Lawson, 2nd Baronet of Knavesmire Lodge; thence by descent. $1,200‑$1,800

124

The sitter of this portrait, William Grant, was the last male heir of the mercantile Grant brothers of Manchester, England. The family was of Scottish Highland origin and relocated to England in the 1780s after several disastrous fires decimated the family farmland. William was the son of John Grant of Nuttall Hall, and the nephew of Daniel and William Grant, who were famously memorialized as the charitable “Cheeryble Brothers” in Charles Dickens’ Nicholas Nickleby. The family was known for their business acumen and philanthropic spirit, members having served as justices, religious leaders, and founders of various institutes and foundations. This portrait descended in the family of William’s sister Isabella, first to his nephew Sir John Grant Lawson, the 1st Baronet of Knavesmire Lodge, and then to his great-nephew Sir Peter Grant Lawson, the 2nd Baronet, whose name appears on an inventory label en verso this painting. The nomenclature and design of the “Agnew & Zanetti” label on the frame was only employed by the firm during the years of 1828‑1837, thus dating the frame to that short period. References: Prentice, Archibald. Historical Sketches and Personal Recollections of Manchester. Manchester: J. T. Parles, 1851.; Elliot, Rev. W. Hume. The Story of the Cheeryble Grants. Manchester: Sherkatt and Hughes, 1906.

354

355

354 English Regency Bombe-Form Tea Caddy first quarter 19th century, the cove-molded cover with a plate engraved “B”, the two-compartment interior with matching covers, on brass ball feet. h. 6”, w. 6”, d. 3‑3/4” $800‑$1,200 355 William IV Tortoiseshell Tea Caddy second quarter 19th century, with a foil-lined interior, the interior compartments with tortoiseshell covers, on bun feet. h. 5‑1/2”, w. 7”, d. 4‑1/4”

356

$900‑$1,200

357 Regency Rosewood Library Table

356 English Regency Casket-Form Tea Caddy

first quarter 19th century, the banded rectangular top above a frieze fitted with two drawers to one side and two faux drawers to the other, raised on square end supports, joined by a stretcher and ending in splayed supports to brass caps and casters. h. 29”, w. 54‑1/2”, d. 28”

first quarter 19th century, with a silver plate engraved with initials on the front and a cove-molded cover, the twocompartment interior with matching covers, on bun feet. h. 5‑3/4”, w. 7”, d. 4” $900‑$1,200

$1,500‑$2,500

357

125

358 Neoclassical-Style Giltwood Convex Mirror mid-20th century, the circular cove-molded frame decorated with a gadrooned outer edge, the crest with a displayed eagle on a draped plinth flanked by dolphins, the bottom with pierced scrollwork. h. 31‑1/2”, w. 24‑1/2” $1,500‑$2,500

359 Regency-Style Polychrome Settee early 20th century, the double back slatted and with curule-patterned splats, joined by downswept arms to the caned seat, raised on turned tapering circular legs ending in bulbous toupie feet. h. 33”, w. 54‑1/2”, d. 19‑1/4” $700‑$1,000

358

359

126

360 361

360 Semi-Antique Bakhtiari Carpet 9’ 10” x 12’ 6” $1,200‑$1,800 361 Antique Oushak Carpet 12’ x 14’ 9” $3,000‑$5,000 362 Peshawar Sultanabad Carpet 362

9’ 2” x 12’ $1,200‑$1,800 363 Laristan Sultanabad Runner 2’ 8” x 24’ $800‑$1,200 364 Heriz Carpet 7’ 3” x 10’ 10” $800‑$1,200

364

363

127

366

365

367 368

365 Kasmar Carpet

366 Semi-Antique Heriz Carpet

367 Semi-Antique Bakhtiari Carpet

368 Heriz Carpet

9’ 8” x 12’ 7”

8’ x 10’

4’ 5” x 7’

7’ 10” x 11’ 3”

$1,200‑$1,800

$1,800‑$2,500

$1,000‑$1,500

$1,200‑$1,800

128

369

370

372

371

369 Semi-Antique Tabriz Carpet

370 Silk Tabriz Pictorial Carpet

371 Turkish Angora Oushak Carpet

depicting the “Tree of Life”. 6’ x 10’

6’ 4” x 10’ 3”

12’ 3” x 15’ 4”

Provenance: Estate of Nancy Nye Harrell, Houston, Texas.

$1,500‑$2,500

$800‑$1,200

372 Antique Bidjar Carpet

Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000

11’ 8” x 18’ $1,500‑$2,500

129

374

374 Set of Coalport Demitasse Cups and Saucers ca. 1891‑1914, comprising twelve cups and twelve saucers, decorated with gilt cup interiors, the exteriors with raised gilt anthemia on an ivory ground, with standard green-printed marks and the retailer’s mark “Ovington Brothers, Brooklyn”. h. 2‑1/4”, dia. 4‑3/4” $1,500‑$2,500

373

373 Italian Exuberantly Carved Giltwood Fauteuil 19th century, the padded and tufted back surmounted by a foliate shield crest flanked by putti, joined to the padded seat by molded, scrolling arms, raised on cabriole legs ending in scrolled toes. h. 45‑1/2” $600‑$900 375 Louis XV-Style Giltwood and Marble-Top Console Table late 19th century, the rounded rectangular top above a conforming frieze centered by a carved foliate shell and with lattice-incised panels, raised on cabriole legs headed by acanthine carving and ending in foliate scrolled toes. h. 29”, w. 47‑1/2”, d. 13‑3/4”

375

$800‑$1,200 376 Pair of Louis XV-Style Giltwood and Marble-Top Console Tables late 19th century, each with a shaped marble top above a conforming foliate- and shell-carved frieze, raised on a single molded C-scroll support with acanthine carving and ending in a scrolled toe. h. 29‑1/2”, w. 26‑1/2”, d. 14” $1,800‑$2,500 376

130

377 Louis XVI-Style Gilt-Bronze Chandelier mid-20th century, the six-light chandelier with a quiver-form standard decorated with pierced sprays of patinated bronze leaves, the scrolled candle arms with molded medallions terminating in eagle heads, with leaf-molded drip pans and matching candle cups. h. 34”, w. 15‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000 378 Pair of Impressive French Gilt-Bronze Sconces first quarter 20th century, of neoclassical inspiration, on molded circular backplates, the scrolled candle arms decorated with laurel leaves, the candle cups and bobeches leaf-molded, hung with strands of crystal drops and prisms, electrified. h. 32”, w. 16”, d. 10” $2,000‑$4,000 379 Napoleon III Giltwood Jardiniere/Pedestal late 19th century, of canted square form, the top lifting off to an open interior, the case paneled, each side centered by a floral carving, joined by scrolling supports to a canted stretcher shelf centered by a floral urn, raised on toupie feet. h. 32”, w. 15”, d. 15” $700‑$1,000

377

378

379

131

380 & 381 Pair of Giltwood and Upholstered Bergeres early 20th century, in the Louis XV taste, each with a pierced scrolling crest above a trisected padded back, joined by outscrolled padded arms to the cushioned seat, raised on short cabriole legs ending in scrolled toes. h. 35” $800‑$1,200 382 Monumental Mahogany and Gilt-Bronze Club Fender late 19th century, in the Regency taste, of traditional form, the padded and tufted top raised on scrolling foliate-modeled supports, centered by a lion’s masque to a mahogany base. h. 19”, w. 107”, d. 32”

380 & 381

$3,000‑$5,000

382

383 Set of Twelve Royal Worcester Dinner Plates ca. 1929, English, richly decorated with raised gilt ornament on a cranberry ground, with a solid raised gilt inner border against the ivory center, with the Royal Worcester printed mark and the retailer mark of Ovington Brothers. dia. 10‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas.

383

$600‑$900

384 Italian Carved Giltwood Bench 19th century, the long cushioned seat above a shaped and pierced shell- and foliate-carved frame, raised on paneled tapering bellflower and lattice-carved legs with female masque capitals and ending in waisted square feet. h. 18”, w. 60”, d. 21” $2,000‑$4,000

132

384

387

388

385

385 French Giltwood “Cushion” Mirror fourth quarter 19th century, with a gadrooned surround set with pierced scrolls on the corners, the mirror inset surround trimmed with gilt scrollwork, the pierced crest decorated with crossed torches, a bow and sprays of laurel. h. 66”, w. 41” $600‑$900

386 French Gilt-Metal and Crystal Chandelier of Rococo Inspiration fourth quarter 20th century, with a cut crystal-clad standard with scrolled candle arms set with molded glass prism rings, the arms hung with crystal drops and swags, a corona of crystal drops at the top. h. 37‑1/2”, dia. 24” $800‑$1,200 387 French Giltwood Cornice 19th century, the molded crest centered by a shield carving with like corner accents, over a fabric frieze and a fringe apron, the interior tufted and padded. h. 9”, w. 57”, d. 40” $800‑$1,200 388 Napoleon III Rosewood and Boulle Games Table late 19th century, the square top with decorative boulle-work banding surrounding a brass and faux tortoise chess board, above a conforming shaped frieze with boulle panels and corner ormolu maiden mounts, raised on cabriole legs ending in sabots. h. 31”, w. 32”, d. 32” $2,500‑$4,000

386

133

389 French Brass Skeleton Clock fourth quarter 19th century, with a silvered chapter ring, under an old glass dome, and resting on an ebonized wood base. h. 16‑1/2”, w. 9‑3/4”, d. 7” $800‑$1,200

391

389

391 French Parcel-Gilt and Painted Plaster Bracket first quarter 20th century, in the Louis XV style, of bombe form, decorated with gilt scrollwork and flowers, under a serpentine top. h. 14‑3/4”, w. 20‑1/2”, d. 9‑3/4” $600‑$900

392 Pair of Gilt-Metal and Crystal Sconces of Baroque inspiration, on molded backplates with scrolled candle arms, holding vasiform candle cups on floriate drip pans, with scrolled sprays of prisms at the top, the candles flanking a molded glass finial. h. 18‑1/4”, w. 13‑1/5”, d. 8” $600‑$900

390

390 Pair of French Giltwood and Mirrored Brackets first quarter 20th century, the serpentine mirror frame molded with laurel leaves and set with pierced bowknot crests, the shelf support decorated with pierced scrollwork and flowerheads framing a cabochon. h. 27”, w. 18”, d. 7‑1/2” $1,200-$1,800

134

392

393 394

393 Louis XVI-Style Giltwood and Marble-Top Side Table

395 Louis XVI-Style Giltwood and Marble-Top Center Table

late 19th century, the rectangular marble top above a pierced guilloche frieze, raised on fluted tapering circular legs headed by scrolling foliate capitals, joined by a pineapple-centered H-form stretcher and ending in ribbed toupie feet. h. 34‑3/4”, w. 35‑1/2”, d. 23‑1/2”

late 19th century, the inset circular marble top above a conforming foliate-carved frieze, raised on fluted tapering square legs headed by scrolling capitals and ending in peg feet. h. 30”, dia. 23”

$1,800‑$2,500

$700‑$1,000

394 Maria Theresa-Style Gilt-Metal and Crystal Chandelier

396 Pair of Louis XV-Style Giltwood Stools

mid-20th century, the six-light chandelier with a gilt-metal scrolled frame lined with glass beading and hung with swags of drops, the candles set with molded glass prisms rings. h. 24‑1/2”, dia. 25”

late 19th century, each with a padded square top above a molded frieze, raised on cabriole legs headed by a foliate capital and ending in scrolled toes. h. 18”, w. 16‑1/2”, d. 16‑1/2”

Provenance: Estate of Nancy Nye Harrell, Houston, Texas.

$600‑$900

$700‑$1,000

396

395

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397

397 Pair of Louis XVI-Style Giltwood Bergeres avec Orielles late 19th century, each with a padded and domed back surmounted by a floral torchere crest, joined by shaped and padded sides and arms to the cushioned seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet. h. 42‑1/2” $800‑$1,200

398 Louis XV-Style Polychrome Pier Mirror early 20th century, the domed and beveled plate surmounted by a tall shell and foliate crest, and surrounded by a molded frame with two ovoid candle stands and pendant scrolling designs, the lower section of serpentine form and fitted with a conforming metal liner, with applied gilt floral and foliate accents, raised on scrolled toes. h. 99”, w. 46”, d. 15‑1/4” $1,000‑$1,500

136

398

399 George III Sterling Silver Warwick Cruet Frame hallmarked London, 1761‑1762, by John Delmestre (1700‑1782), of traditional cinquefoil form raised on four acanthus-scroll legs and union shell feet, with five circular molded receptacles faced by a laurel-mantled cartouche, all surrounding a central baluster standard with rococo ring handle, fitted with one large, h. 6‑3/4”, and two small, h. 5‑1/2”, baluster-form casters, with spiraled finials, and two vasiform glass cruets cut in a diaper pattern with sterling caps en suite with the casters, h. 6‑1/2”. overall h. 9‑1/2”, w. 6‑7/8”, d. 7”; 37.44 total t. oz. (excluding glass bottles) $2,500‑$4,000

399

400 George II Sterling Silver Salver hallmarked London, 1746‑1747, by John Robinson II, circular with “Chippendale” shell rim and raised on four double-scroll pad feet, with foliate-mantled oval armorial. dia. 13‑1/2”; 34.27 t. oz. $1,800‑$2,500

400

401 Rare George III Irish Provincial Sterling Silver Sauceboat fourth quarter 19th century, by William Reynolds (fl. 1758‑1795), Cork, of traditional batteau form, with beaded rim, crested double scroll handle and raised on three shellcrested pad feet, engraved with the crest of Colburn et al. h. 4‑1/8”, l. 8‑1/2”, w. 4”; 8.98 t. oz. $600‑$900

401

137

402 George III Sterling Silver Snuffer Tray hallmarked London, 1799‑1800, by William Abdy II, of navette form with reeded rim, the plateau engraved with a pricked and engraved band of alternating circles and florets, the center with a laurel-leaf cartouche framing a crest: “a demi-lion rampant, holding in the paws a cross engrailed and charged on the shoulder with an ermine spot”. l. 9‑3/8”, w. 4”; 4.48 t. oz.

402

$600‑$900

403 George III Sterling Silver Sugar Basket hallmarked London, 1786‑1787, by George Brazier (1756‑aft. 1793; free 1778), of oval form with upswept ends, with pierced wave banding and paterae, brightcut decoration and beaded edge, with swing handle, conforming foot and fitted Bristol glass liner. h. 3‑4/8” (6‑1/4” with handle), l. 5‑1/8”, w. 4‑1/8”; 4.04 t. oz. (excluding liner) $600‑$900

403

404 Late George III Sterling Silver Cake Basket hallmarked London, 1800‑1801, by John Emes (1762‑1808; free 1786) of oval form, decorated with pricked leaf-and-diaper banding, with reeded swing handle and conforming foot-ring. l. 12‑1/4”, w. 8”, h. 3” (9‑1/4” with handle), 17.26 t. oz. $800‑$1,200

404

138

405

405 Fine Pair of Regency Paul Storr (1771‑1844) Sterling Silver Entree Dishes hallmarked London, 1818‑1819, the sterling silver entree dishes of rounded rectangular form with gadrooned banding and detachable shell-crested addorsed reed-and-acanthus handle, presented on the original Old Sheffield Plate warming stands with handles en suite and raised on four acanthuscrested scroll feet, engraved on the lid with the arms and on the body and warmer with the crest of Pett of Chatham, Kent. overall h. 8‑1/2”, l. 15‑3/4”, w. 8‑3/4”; 126.08 total t. oz. (excluding stands) $12,000‑$18,000 The arms here are those as borne by the important Pett dynasty of 17th- and 18th-century shipbuilders. 405 detail

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406

406 Three-Piece Regency Sterling Silver Tea Set hallmarked London, 1818‑1821, by Joseph Angell I (1782‑1853; free 1804), including a teapot, dia. 6‑3/4”, a sugar bowl, dia. 5‑1/2”, and a creamer, dia. 4‑1/8”, of bulbous form with gadrooned calyx, with gadrooned banding, acanthus-crested handles and scroll-and-patera-crested lion’s paw feet, monogrammed “FND”. 40.35 total t. oz. $700‑$1,000 407 Eight English Sterling Silver Serving Pieces 18th/19th century, all London, including a Hester Bateman “Old English” straining spoon, 1788‑1789, l. 11‑7/8”, Hester Bateman bright-cut sugar tongs, no date letter, l. 5‑3/4”, a Josiah & George Piercy “Hourglass” stuffing spoon, 1818‑1819, l. 12”, a Sarah & John William Blake “Hourglass” stuffing spoon, 1820‑1821, l. 12‑1/2”, a William Schofield “Fiddle Thread and Shell” cheese scoop, 1828‑1829, l. 8‑3/4”, a pair of William Chawner “Hourglass” modified potato forks, 1828‑1829, l. 7‑3/4”, and a W. Hutton & Sons apostle spoon, 1896‑1897, l. 8”, most with monogram or engraved crest. 28.62 total t. oz. $800‑$1,200

407

408 Three Regency Sterling Silver Fish Slices first quarter 19th century, one hallmarked Edinburgh, 1814‑1815, By George Fenwick I, with fiddle handle and pierced scimitar blade, l. 12”, one hallmarked London, 1816‑1817, by William Bateman I, with fiddle handle and pierced scimitar blade, l. 11‑3/4”, and one hallmarked London, 1823‑1824, by Robert Hennell II, with filled rectangular handle and pierced spatulate blade, monogrammed “AGLM”, l. 11‑1/8”. 15.36 total t. oz. (including filled handle) $600‑$900 408

140

409 detail 409

409 Large Old Sheffield Plate Tray second quarter 19th century, of oval form with gadrooned rim and handles, engraved with a large armorial of Wolsey of Cottingham, Suffolk, as borne by Cardinal Wolsey. 34‑1/2” x 22” $1,000‑$1,500 410 Pair of Late Victorian Sterling Silver Candlesticks hallmarked London, 1897‑1898, by John Nathaniel Licence (1871‑1946), each of baluster form, with gadrooned knops and embossed foliate decoration, raised on three lion’s masquecrested scroll feet, with detachable gadrooned bobeche. h. 13‑3/4”, dia. 5‑3/4”; 35.85 total t. oz.

410

$600‑$900 411 Victorian Sterling Silver Monteith Punch Bowl hallmarked London, 1898‑1899, by Gibson & Langman (Goldsmiths & Silversmiths Co. Ltd.)., in the Hanoverian taste, circular with ringed-lion’s masque handles and domed foot-ring, the detachable Monteith collar with molded arches centering putto masques with pendant bellflowers. h. 9‑1/2”, dia. 11‑1/8”, w. 12‑3/4”; 70.31 t. oz. $1,200‑$1,800

411

412 Edwardian Sterling Silver Desktop Menorah hallmarked London, 1902‑1903, in the form of a bombe pedestal desk, decorated with applied menorahs, embossed Shabbat scenes, and “Chanukkah” in Hebrew, the hinged lid with finial of the crowned tablets of the law supported by lions, opening to reveal eight oil wells with wick rings flanked by a pair of candleholders. h. 5‑1/2”, w. 8”, d. 2‑1/2”; 21.75 t. oz. $3,000‑$5,000

412

141

413

414

413 Late Victorian Sterling Silver Tray hallmarked London, 1897‑1898, by William Hutton & Sons, of oval form with embossed palmette rim, beaded edge and rocaille handles, the plateau engraved with an outer narrow leaf-and-ribbon band and a larger inner rococo scroll and palmette band centering a monogram “LC”. 28‑3/4” x 17‑3/4”; 121.85 t. oz. $3,000‑$5,000 414 Good Victorian Sterling Silver Gilt Chalice hallmarked Birmingham, 1876‑1877, by Elkington & Co., with funnel-shaped bowl above a slightly tapering stem and circular foot, decorated with engraved leaf-and-dart banding, with palmette-mounted quadfurcated handles, each with a perching dove. h. 8”, w. 7‑3/4”, dia. 4‑1/4”; 22.34 t. oz.

414 detail

$1,200‑$1,800 415 Pair of George V Sterling Silver Graduated Bowls hallmarked London, 1918‑1919, by Mappin & Webb, each of hemispherical form with egg-anddart edge, with a trio of paired lions couchant handles, their tails entwined around a flower, the whole raised on a foot-ring en suite with three lion couchant feet, monogrammed “PLM”. dia. 8‑1/2” and 12”, 76.33 total t. oz. $1,000‑$1,500 415

142

416 Edwardian Mahogany Sideboard early 20th century, the tiered and silvered back rail above a bowed center section over a conforming frieze fitted with a single cutlery drawer over a central drawer flanked to either side by a bank of two small drawers, the whole flanked by taller pedestal cabinets, each centered with an applied carved urn and opening to a shelved interior, raised on plinth bases. h. 53”, w. 85”, d. 25” $600‑$900

416

417 Royal Crown Derby “Olde Avesbury” Partial Dinner Service 417 detail

post-1933, including twelve dinner plates, dia. 10‑1/4”, eleven salad plates, dia. 8‑1/4”, ten bread-and-butter plates, dia. 6‑1/4”, twelve sauce/dessert dishes, dia. 4‑3/4”, twelve cream soup bowls with underplates, h. 1‑3/4”, dia. 6‑1/4”, eleven demitasse cups, h. 2‑1/4”, ten footed cups, h. 2‑1/4”, a coffeepot, h. 9‑1/4”, w. 7‑1/2”, a cream jug, h. 4”, w. 4‑1/2”, and a sugar bowl, h. 4‑1/4”, w. 6”. $700‑$1,000

417

418 George III-Style Mahogany Dining Table

418

the rounded rectangular top with a reeded edge and raised on three pedestals, each with a columnar standard to a ribbed base, to three splayed reeded legs ending in brass paws on casters, with two additional leaves. h. 29”, w. 44”, l. 93‑3/4”, ext. l. 153‑3/4” $700‑$1,000

143

419

419 Suite of Eight George III-Style Mahogany Dining Chairs late 19th century, in the Hepplewhite taste, comprised of a pair of armchairs and six sidechairs, each with a shield back adorned with Prince of Wales plumes, on fluted legs joined by H-form stretchers. h. 38” $1,200‑$1,800 420 English Campaign-Style Bottle Case with Bottles third quarter 19th century, the mahogany case set with brass corners and flush handles, the fitted interior with cut crystal bottles with sterling silver caps, hallmarked by John Clemmens, Birmingham, 1858‑59, engraved with a boar’shead crest, erased. h. 9‑1/4”, w. 10”, d. 8‑1/2” $600‑$900 420

421 English Mahogany Clerk’s Desk 19th century, the rectangular top with a slatted superstructure shelf, above a slightly slanted top over a frieze fitted with three drawers, raised on baluster-form supports joined by an H-form stretcher and ending in toupie feet. h. 55”, w. 72‑1/2”, d. 32‑3/4” $800‑$1,200

421

144

422 Pair of Rare Victorian Blue John and Stone Candlesticks mid-19th century, of Jacobean inspiration, the stems composed of Blue John and red and yellow mottled stone, the octagonal bases mounted with green cabochons, with giltbronze fittings. h. 7”, dia. 3‑3/4” $2,500‑$4,000 423 Two Pairs of English Hall Chairs including an oak pair in the Gothic taste, late 19th century, each with a crocket crest over a pierced shield back, the wooden seat above a pierced apron and raised on shaped feet, h. 43”, and a mahogany pair in the Aesthetic taste, mid19th century, each with a broken-scroll crest over a spindled gallery and inset tile, and a wooden seat raised on turned tapering circular legs to peg feet, h. 35”.

422

$600‑$900 424 Pair of English Polished Bronze Andirons fourth quarter 19th century, on paw-footed bases trimmed with scrollwork, the rampant lions resting against leaf-trimmed cabochons. h. 16”, w. 18‑3/4”, d. 7‑1/4” $1,000‑$1,500

424

423

145

425 Pair of Edwardian Giltwood Mirrors first quarter 20th century, in the Adam taste, the oval mirror set into beaded surrounds with reeded urn finials set with garlands of flowers and leaves wrapping around the mirror to a lower molded medallion. h. 55‑3/4”, w. 25” $1,000‑$1,500 427 Pair of Edwardian Polychrome Armchairs early 20th century, in the Adam taste, each with a shield-form back with urn-form splat, centered by a wolf’s head, joined by downswept arms to the caned seat, raised on slender, slightly splayed square legs joined by an H-form stretcher, the whole with delicate polychrome foliate accents. h. 37‑1/2” $800‑$1,200 425

426 Pair of Edwardian-Style Satinwood and Mahogany Demilune Cabinets 20th century, each with a demi-lune top with patera sunburst inlay and a polychrome floral band, above a conforming case fitted with four cupboard doors, each banded and paneled and with a central polychrome urn oval panel, raised on tapering square feet, both cabinet backs bearing Sotheby’s, New York lot stickers. h. 39”, w. 59‑1/2”, d. 23‑1/4” Provenance: Acquired from Sotheby’s, New York, in the early 1990s; Private collection, Atlanta, Georgia. $5,000‑$8,000

426

146

427

429 Monumental Doulton Lambeth Glazed Pottery Jardiniere on Stand pre-1891, decorated in various shades of green and brown, the planter molded with scrolled handles and a reeded body, each decorated with beading, and resting on winged eagle-head feet, above a Corinthian column capital glazed to match, and an acanthus-leaf-molded foot-ring, marked “Doulton Lambeth”. h. 52‑1/2”, dia 29” $2,000‑$4,000

428

428 Edwardian Satinwood and Polychrome Demi-lune Side Table early 20th century, in the Adam taste, the demi-lune top banded and with a polychrome morning glory band, surrounding a faux marbre surface centered by a medallion of grisaille classical figures, above a conforming paneled frieze, centered by a floral panel, raised on faux marbre circular legs joined by a shaped stretcher and ending in bulbous toupie feet. h. 34”, w. 48‑1/2”, d. 21‑1/2” $1,800‑$2,500

429

430 Thomas Uwins, R.A. (British, 1782‑1857) “Young Neapolitan Girl with Mandolin”, 1851 oil on canvas signed and dated lower left. In an antique gessoed and carved giltwood frame. 36” x 28” $1,000‑$1,500 430

147

431 Set of Four Delft Polychrome Plates third quarter 18th century, probably English, hand-painted with flowers and fruits in cobalt, green and iron-red, unidentified marks on the back. dia. 9” $600‑$900

432 431

432 Anglo-Indian Specimen Wood-Inlaid Ebony Center Table 19th century, of neoclassical form, the circular top inlaid with swirls of exotic specimen hardwoods with herringbone stringing, over a carved pedestal joined to a carved concave base on paw feet. h. 31”, dia. 35” $1,400-$1,800

433 Indo-Dutch Satinwood, Ebony and Ebonized Cabinet mid-19th century, the ogee-molded cornice above a case fitted with two cabinet doors, each with two panels, flanked to either side by engaged spiral-ribbed uprights, the lower section fitted with two frieze drawers flanking a central panel, all with an overlaid pierced, ebonized front, over two cupboard doors, each inset with two vertical panels, raised on bulbous legs, the whole with decorative ebonized moldings. Dutch Colonial furniture made on the Cormondal coast of India is often constructed of ebony carvings mounted on solid satinwood. h. 78‑1/4”, w. 51”, d. 22” $1,500‑$2,500

433

148

435 Continental Polychromed Metal Sculpture of “Esmeralda” 20th century, after Emmanuel Villanis (French, 1858‑1914), cast signature on base. h. 38‑1/2”, w. 14‑1/2”, d. 12‑1/4” $1,800‑$2,500

434

434 Anglo-Colonial Rosewood Cabinet late 19th century, the rectangular top with a gadroon edge, above a conforming case fitted with a foliate-carved frieze over two cabinet doors, each inset with a domed foliate-pierced panel, opening to a shelved interior and two lower drawers, flanked to either side by vine-entwined uprights, the sides with patera-carved panels, raised on turned feet. h. 38‑1/4”, w. 43‑1/2”, d. 18‑1/2” $1,500‑$2,500

435

436 Patinated Bronze of a Recumbent Camel and Bedouin Rider 20th century, French, in two parts. h. 19‑1/4”, w. 14”, l. 34” $800‑$1,200

437 Middle Eastern Scimitar

436

19th century, the carved blade set with a damascene hilt with a carved handle terminating in a leopard’s head, in a contemporary red felt and gilt braid scabbard. l. 38” $1,000‑$1,500

437

149

438 German/Austrian School (Second/Third Quarter 19th Century) “Bridge Before the Falls” oil on canvas indistinctly signed “D. He...burg” lower right. Framed. 21‑1/2” x 18‑1/4” $1,000‑$1,500

438

439 Antonio Rose (Italian/Austrian, 1848‑1918) “Alpine Village Scene” oil on canvas signed and dated “81” lower left. Presented in a period giltwood and gesso frame. 29‑1/4” x 39‑3/4” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $1,400‑$1,800 439

440 Barbizon School (French, Second Half 19th Century) “Femmes au Bord de la Riviere” oil on canvas indistinctly signed lower right. Presented in a period giltwood and gesso frame. 13‑3/4” x 25‑1/2” $1,000‑$1,500

440

150

441

441 Circle of Eugene Delacroix (French, 1798‑1863) “Shipwreck” oil on canvas unsigned. Presented in an impressive giltwood frame. 19” x 42” Provenance: By repute, William Hearst, Hearst Castle; Marion Davies, Los Angeles, California, ca. 1938; Private collection, Los Angeles; thence by descent. $4,000‑$7,000

This shipwreck scene bears the keen influence of Eugene Delacroix, the leader of the French Romantic School, whose optical studies of color and expressive brushstroke profoundly shaped future Impressionist works. Though he was trained in the Neoclassical style of Jacques-Louis David by Pierre-Narcisse Guerin, he rejected the academic traditions, privileging emotive expressions of color through bold brush strokes over controlled lines and carefully modeled forms. Though beautifully rendered, classical depictions of historical and mythological scenes invoked a sense of stasis, in which the turmoil of the battle or deluge was lost on the viewer. Inspired by Peter Paul Rubens and the Venetian colorists, Delacroix created a new genre of painting, capturing the primacy of the moment through the rapid application of deep warm colors and exaggerated lighting to convey movement.

“The Storm on the Sea of Galilee”, a biblical tale from the Gospel of Mark that multiple artists depicted throughout the 18th and 19th century, was a subject Delacroix visited many times from 1822‑1855, as the drama of the miracle performed amid a tempest showcased his bravura of color and movement. In addition to multiple drawings, there are six known paintings of this subject executed between 1850 and 1855 with the attendant focus in the earlier ones on the swells of the sea before Christ awakens and calms them. Three fine examples are the ones conserved in the Metropolitan Museum, New York, New York, the Walters Museum, Baltimore, Maryland and the Nelson Atkins Museum of Art, Kansas City, Missouri. Created through swirling greys and greens with white capped sprays, the momentum of the sea as it threatens to swallow the fishing vessel borders on the sublime- the unbounded synergy drawn from the cataclysmic forces of nature. This “Shipwreck” was likely modeled after these paintings; it captures the same emotion of movement through heavy brush strokes executed in the same lurid green-gray palette. The juxtaposition of the crimson red of the survivor’s dress, burnt sienna of the mast the figure clings to, and the swatch of a torn blue sail, also mimics the color schema of Delacroix’s depictions of the apostles, which are rendered in a rich palette of red, sienna and ultramarine blue suffused with light. This palette and composition is characteristic of Delacroix’s “Sea of Galilee” and shipwreck scenes, including “The Shipwreck of Don Juan” in the Louvre Museum in Paris.

151

442

442 Louis XIV-Style Bronze and Crystal Chandelier mid-20th century, the standard clad with molded glass, the bronze scrolled candle arms with crystal drops, with three graduated tiers of drops hanging above them. h. 23‑1/2”, dia. 15‑1/2” $600‑$900

443 Flemish Hand-Woven Tapestry of a Shepherd and Shepherdess

443

19th century, with figures in a bucolic setting. 4’ 6” x 8’ 6” $1,500‑$2,500

444 Set of Fourteen Rare Ambrosius Lamm “Opera” Plates first quarter 20th century, decorated with raised gilt on an ivory ground, each opera and scene identified on the back, along with Lamm’s gilt flower mark, over a Rosenthal blank marked “Made in Czecho-Slovakia” and “Holzner’s Glaspalest, Karlsbad”. dia. 9‑1/4” $4,000‑$7,000 444

152

445 Fine Two-Part Rosewood Sideboard in the Louis XV Rococo Style ca. 1900, the upper section with a central shaped and beveled mirror flanked by serpentine side cabinets, the base with a complicated shaped front and a central bowed section with a drawer above, and a curved and beveled glass door, each side flanking the center section and with a pullout work slide, flatware drawer and cabinet. h. 63”, w. 79”, d. 29” $800‑$1,200

445

446 Ormolu-Mounted Mahogany and Kingwood Banquet Table in the Louis XV style, the circular top with stringing, and a crossbanded and brass-edged perimeter, opening to accommodate three leaves, the apron with gilt-lacquered guilloche ormolu, raised on cabriole legs with foliate mounts at the knees and toes. h. 30‑3/4”, dia. 48”, ext. l. 115‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $2,000‑$4,000 446

446 detail

153

447 Impressive Louis XV-Style Giltwood Overmantel Mirror ca. 1900, with a serpentine crest and reverse serpentine sides, with a mirror plate inset surround, decorated with bold scrolls and molded shells, the crest richly detailed with a central shell and sprays of flowers, flanked by sprays of flowers on mirror inset panels. h. 80”, w. 52‑1/2” $1,000‑$1,500

448 Pair of French Carved and Parcel-Gilt Corner Brackets 20th century, in the Louis XV taste, with carved leaves and scrollwork against a white ground, the gilt shelf with a molded edge. h. 23‑1/4”, w. 15‑3/4”, d. 9‑3/4” $700‑$1,000

449 Suite of Four Louis XV-Style Kingwood and OrmoluMounted Nesting Tables early 20th century, the tops with parquetry inlay and molded bronze rim, the slender shaped legs ending in bronze feet. largest h. 29‑1/2”, w. 24”, d.16” 447

$600‑$900

448 449

154

450 Louis XV-Style Rosewood, Kingwood and MarbleTop Commode 19th century, the shaped marble top above a conforming bombe case fitted with two drawers, each bi-paneled, banded and quarter-veneered, the sides veneered en suite, raised on splayed legs ending in sabots, the top stamped “F. Moreau”. h. 31”, w. 39‑1/2”, d. 19” $2,500‑$4,000

450

451 Unusual Gilt-Bronze Fifteen-Light Sconce 20th century, French, in the rococo taste, the leaf-molded and pierced, scrolled candle arms supporting reeded and leaf-molded candle cups, on molded drip pans. h. 16”, w. 53‑1/2”, d. 5” $700‑$1,000

451

452 Fine Brussels Hand-Woven Tapestry of Diana la Chasseuse first half 19th century, the maiden goddess of the hunt depicted mid-stride, surrounded by her female archers and hunting dogs, all within a verdant forest, with an elaborate floral-motif border, now backed in cream linen. 110” x 113” $5,000‑$8,000

452

155

453 Ormolu-Mounted and Marquetry-Inlaid Secretaire a Abattant ca.1900, in the Louis XV style, of bombe form, with a conforming rouge marble top, the mahogany case with floral leaf and vine inlay, and a fall front opening to reveal an interior with a niche over four drawers, above a bank of three lower drawers, raised on cabriole legs with ormolu French toes. h. 50‑3/4”, w. 27”, d. 14” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000

453

454 Louis XV-Style Kingwood Occasional Table early 20th century, the shaped rectangular top with a raised edge, banded and with a central inlaid floral basket, above a conforming case fitted with two drawers, with floral inlay, joined to a like lower shelf by cabriole supports continuing to sabots. h. 28”, w. 19‑1/2”, d. 14‑1/2” $800‑$1,200 454

455 Pair of Louis XV-Style Giltwood Stools each with a padded rectangular top above a shaped foliate-carved apron, raised on cabriole legs ending in scrolled toes on pegs. h. 18”, w. 20”, d. 18” $700‑$1,000 455

156

456 Louis XV/XVI-Style Giltwood Slipper Chair late 19th century, the domed and padded back within a foliatemolded frame and joined by downswept padded sides to the padded seat, raised on cabriole legs headed by a foliate capital and ending in scrolled toes. h. 34‑1/2” $500‑$800 457 Extensive Herend “Coronation” Pattern Partial Dinner Service ca. 1966‑1990, each piece marked, the service including thirteen dinner plates, dia. 10‑3/4”, thirteen soup plates, dia. 9‑3/4”, thirteen rim soup bowls, dia. 8‑1/4”, twenty-two bread-and-butter plates, dia. 6”, thirteen flat cups, h. 2”, and fourteen matching saucers, dia. 5‑1/4”, ten demitasse cups, h. 2‑1/2”, and twelve matching saucers, dia. 4‑1/2”, a coffeepot, h. 9”, w. 6‑1/2”, a cream jug, h. 3‑3/4”, w. 5”, a leaf dish, w. 5‑1/4”, d. 4‑1/2”, and a covered gray boat on stand, h. 6”, w. 8‑3/4”. $1,000‑$1,500

456

457

457 detail

458 French School (Fourth Quarter 18th Century) “Portrait of Anne-Marguerite, Countess of Laugier-Villars” oil on canvas unsigned. Framed. 28‑1/2” x 23‑1/2” $1,000‑$1,500 458

157

459 Bronze, Crystal and Rock Crystal Chandelier mid-20th century, in the Louis XIV taste, the bronze frame set with candle arms alternating with glass spears, hung with glass prisms and rock crystal prisms interspersed with pink rock crystal prisms, all below two graduated tiers of prisms and spears, a spray of drops at the top. h. 44”, dia. 24” $1,200‑$1,800

459

460 Louis XV-Style Giltwood and Marble-Top Console Table early 20th century, the shaped marble top with rounded ends. above a conforming pierced shield-centered frieze, raised on molded cabriole legs headed by maiden’s head capitals, joined by a basket-centered stretcher and ending in hoof feet. h. 36”, w. 29‑1/2”, d. 16” $1,500‑$2,500

460

158

461

461 Eugene Henri Cauchois (French, 1850‑1911) “Still Life of Flowers, Jewelry Casket and a Fan, on a Draped Table” oil on canvas signed lower right. Presented in a period giltwood and gesso frame. 27‑3/4” x 41‑1/2” $8,000‑$12,000 462 Pair of French Gilt-Bronze Candelabra fourth quarter 19th century, cast and signed by Ferdinand Barbedienne, now mounted as lamps, decorated in bas-relief with classical figures and dolphin handles, the bases after a pair of urns by Claude Michel, known as Clodion (French, 1738‑1814), now in the collection of the Louvre. h. 40”, w. 10”, d. 10” Provenance: Estate of Betty J. Shelburne, Liberty, Texas. $1,800‑$2,500 462

159

463 French Gilt-Bronze Clock in the Rococo Revival Style ca. 1900, decorated with Bacchanalian themes, the case outlined with pierced grapes and grapevines, a putto frolicking with a goat and mounds of grapes atop the pierced bronze base, a putto in grapevines forming the finial, mounted with A. D. Mougin works. h. 16”, w. 11”, d. 5‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900

463

464 Pablo d’Espinosa (Spanish, 19th/20th Century) “Christening” oil on panel signed lower right. Framed. 17‑1/2” x 25‑1/2” $1,000‑$1,500 464

465 Pasquale Ruggiero (Italian, 1851‑1916) “Christening in the Courtyard” oil on canvas signed lower right. Framed. 20” x 30” $2,000‑$4,000

465

160

466 Christel Sprinkmann (German, b. 1847) “The Japanese Parasol (Auf dem Spaziergang)”, 1884 oil on wood panel signed and dated lower right, German title on label en verso. Presented in a period giltwood and gesso frame. 13” x 8” $1,000‑$1,500 466

467 Percival De Luce (American, 1847‑1914) “Out for a Walk” oil on canvas signed lower right. Presented in a period giltwood and gesso frame. 22” x 16” $1,000‑$1,500

467

161

468 Evert-Jan Ligtelijn (Dutch, 1893‑1975) “Interior Scene with Mother and Children” oil on wood panel signed lower right. Framed. 24” x 19‑3/4” $1,200‑$1,800

468

469 Tony Lodewyk George Offermans (Dutch, 1854‑1911) “The Lullaby” oil on canvas signed lower right. Presented in a Baroque style copper-washed gessoed and carved wood frame. 16‑1/4” x 23” $1,200‑$1,800

469

162

470 Pieter Cornelis Dommershuyzen (Dutch, 1833‑1918) “The Town Center” oil on canvas signed lower left. Framed. 28‑3/4” x 23‑1/2” $1,500‑$2,500 470

471 Rene de Baugnies (Belgian, 1869‑1962) “The Duck Pond” oil on canvas signed lower left. Framed. 29” x 21‑1/4” $1,000‑$1,500

471

163

472

472 Cesar de Cock (Flemish, 1823‑1904) and Cornelis van Leemputten (Belgian, 1841‑1902) “Verdant Forest with Figure and Sheep”, 1878 oil on canvas signed and dated lower right. Presented in an antique gessoed and carved giltwood frame. 18‑3/4” x 35” $6,000‑$9,000

164

474 Louis XV-Style Ormolu-Mounted Mahogany Desk early 20th century, the ebonized top with an inset leather surface and within an ormolu banding, above a conforming case fitted with a single drawer, faced as three, raised on cabriole legs headed by foliate ormolu mounts and ending in sabots. h. 30”, w. 48”, d. 25‑1/2” $1,000‑$1,500

473

473 Signed Baccarat Gilt-Bronze and Crystal Chandelier fourth quarter 19th century, the gilt-bronze frame with four rope-twist bronze supports, each holding three candle cups, for a total of twelve lights, the whole elaborately hung with drops and prisms, and terminating in a faceted crystal ball pendant, signed on both the brass base of the central cut glass finial and on the molded glass prism holders. h. 33‑1/2”, dia. 23‑1/2” $2,000‑$4,000

474

475 Louis XV-Style Kingwood Writing Table mid-19th century, the kidney-form top banded and with an inset leather writing surface, within a partial pierced brass gallery, one end with a superstructure consisting of a bombeform drop-front cabinet surmounted by an ormolu putto figure, all above a conforming frieze and fitted with a single drawer, raised on cabriole legs ending in sabots. h. 44”, w. 33‑1/2”, d. 17‑1/2” $700‑$1,000 475

165

476 Samuel Marti et Cie Crystal Regulator fourth quarter 19th century, French, in a baroque-inspired giltbronze case set with beveled glass panels, with molded feet and a bacchanalian masque at the base, the case flanked with Ionic columns, the silvered dial set into the “roof”, trimmed with molded scrollwork, beneath the figure of a putto with a palette and pencil, personifying drawing and art, set with signed Marti works. h. 21‑1/2”, w. 9‑1/2”, d. 7” $1,200‑$1,800

476

477

477 Pair of French Patinated Bronze and Brass Ewers fourth quarter 19th century, each with a central bacchanalia motif of drunken revelers, and grape patterns adorning the neck, body, base and handle where they terminate in seated putti. h. 22”, w. 10”, d. 6” $700‑$1,000

478 French Bronze Dore et Patine Figural Sconce ca. 1900, on a quiver-form backplate decorated with pierced vines and fruit, a patinated bronze cherub on top, arms akimbo, each hand set with a light socket. h. 28”, w. 12‑3/4”, d. 7” $1,500‑$2,500

166

478

480 French Belle Epoque Marble and Bronze Tazza fourth quarter 19th century, the mottled brown, red and white marble base with bronze dore trim and supporting a pair of putti holding the marble dish, carved with covemolded sides. h. 13‑1/2”, dia. 13‑1/2” $1,500‑$2,500

479

479 Johannes Christiaan Karel Klinkenberg (Dutch, 1852‑1924) “Putti Frolicking in a Classical Garden with Armor, a Cat and a Bird” oil on canvas signed lower left. Unframed. 41‑1/4” x 33‑1/2” Provenance: Auktionshaus Georg Rehm, Augsburg, Germany, November 13, 2004, lot 8073.

480

$3,000‑$5,000

481 Louis XVI-Style Mahogany and Marble-Top Side Table 20th century, the inset rectangular marble top above a conforming frieze, paneled and with applied foliate ormolu mounts and central cherub plaque, raised on tapering square legs ending in brass caps. h. 30”, w. 39‑1/2”, d. 24” $2,000‑$4,000

481

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483

482 Egisto Sarri (Italian, 1837‑1901) “The Tease”, 1877 oil on canvas signed, dated and localized “Firenze” lower left. Presented in a period giltwood and gesso frame affixed with an artist plaque. 15” x 11‑1/2” $3,000‑$5,000 483 Napoleon III Gilt-Bronze Figural Mantel Clock third quarter 19th century, in the Louis XV taste, on a gilded base with bold laurel swags, guilloche panels and a pierced bowknot at the base, the top with a figure of Erato holding a gilt bird to the delight of the cherub adjacent to her, inspired by the work of Francois Boucher (French, 1703‑1770). h. 21‑1/2”, w. 18”, d. 6‑3/4” $700‑$1,000 484 Louis XVI-Style Gilt-Bronze Chandelier mid-20th century, with a quiver-form standard set with arrows, the leaf-molded candle arms terminating in drip pans and candle cups molded with acanthus leaves and flowers. h. 38”, dia. 15” $1,200‑$1,800

168

484

485 Pair of Louis XVI-Style Giltwood Bergeres avec Orielles late 19th century, each with a concave molded crest with side finials, above a padded back joined by shaped and padded sides and arms to the cushioned seat, raised on ring-turned and fluted circular legs ending in toupie feet. h. 45” $600‑$900

485

486 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table early 20th century, the circular marble top within a full pierced brass gallery, above a frieze fitted with two leather-inset candle slides and two small drawers, raised on fluted tapering circular legs ending in brass toupie feet. h. 27‑1/2”, dia. 28‑1/2” $800‑$1,200

486

487 French Marble and Bronze Lyre-Form Clock ca. 1900, in the Louis XVI taste, the marble case decorated with bronze mounts terminating in a sunburst masque, the enamel dial signed by the retailer, Spaulding & Co., Chicago, set with signed Vincenti et Cie works. h. 17‑1/2”, w. 7‑1/4”, d. 4‑3/4” $600‑$900

487

169

488 Louis XVI-Style Rosewood Occasional Table early 20th century, the rectangular top with an ebonized banding with brass-star inlay, above a conforming frieze fitted with a single end drawer and with applied and ormolu garland mounts, raised on fluted tapering circular legs ending in brass caps. h. 28”, w. 28”, d. 23” $900‑$1,200

488

489 Pair of French Gilt-Bronze-Mounted Moderator Lamps fourth quarter 19th century, with a celadon ground decorated with white slip decoration depicting bouquets of flowers, on cove-molded bronze bases with acanthus-molded feet, and handles with laurel-molded ring pulls, mounted with shades, electrified. overall h. 35”, dia. 7” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $600‑$900 490 Louis XVI-Style Parcel-Gilt Mahogany Parlor Suite comprised of a settee, h. 37”, w. 71”, d. 26”, a pair of armchairs, h. 34”, and four sidechairs, h. 33”, each with an upholstered back cushion joined to turned, fluted and stopfluted stiles, a bowed front seat rail and tapering foliate-carved and fluted legs, upholstered in celery damask, probably silk. $1,400‑$1,800 489

490

170

491

491 Louis XVI-Style Mahogany Dining Table early 20th century, the ovoid top with a molded edge, above a paneled frieze with gilt-lacquered brass banding, raised on fluted tapering circular legs ending in brass caps, with four conforming leaves. h. 30”, w. 50‑1/2”, closed l. 57”, ext. l. 129” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $1,500‑$2,500

491 detail

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492 Collection of Herend Porcelain Dinnerware post-1966, including a “Market Garden” large soup tureen, h. 10”, w. 12‑1/2”, d. 8”, forty-three “Queen Victoria” green demitasse cups and saucers, h. 2‑3/4”, dia. 4‑1/2”, a matching cream jug, h. 3‑1/2”, w. 5”, and fourteen butter pats, dia. 3”. $700‑$1,000 492

493 Pair of Meissen Hand-Painted Plates ca. 1860‑1924, each with a pierced border with handpainted trim, one plate with roses and the other with tulips, with an underglaze blue pommel-ended crossed swords mark. dia. 9” $600‑$900

493

494 Hand-Painted Meissen Covered Potpourri Basket ca. 1860‑1924, on scrolled feet, the oval-form basket with a pierced cover and sides, decorated with oval panels of flowers and molded and painted ribbon trim, the delicately molded finial depicting a chestnut in its outer shell, with an underglaze blue pommel-ended crossed swords mark. h. 9‑1/4”, w. 8‑1/4”, d. 6” $2,000‑$4,000

494

495 Hand-Painted Meissen Tray ca. 1860‑1924, decorated with a shipwreck scene executed in mauve, the handles molded as intertwined serpents, marked with underglaze blue crossed swords with pommel ends. w. 15‑1/4”, d. 10‑1/4” $1,200‑$1,800

172

495

496 Louis XVI-Style Fruitwood and Marble-Top Buffet early 20th century, the D-form top with a projecting center section above a conforming case fitted with two drawers over two cupboard doors, each inset with a foliate- and floral-carved panel, flanked to either side by a like bowed cupboard, raised on ringturned toupie feet. h. 40”, w. 67‑1/2”, d. 20‑1/2” $600‑$900

496

497 Louis XVI-Style Giltwood Fauteuil ca.1900, the padded medallion back surmounted by a foliate wreath crest, within a molded and annulated frame, joined by padded arms on acanthine uprights to the padded seat, raised on lotus-fluted tapering circular legs ending in toupie feet. h. 41‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000

497

173

498 Pair of Gilded Composition Oval Mirrors 20th century, in the Louis XVI taste, with large foliate crests and broadly beveled mirror plates. h. 60”, w. 42” $800‑$1,200

498

499 French Bronze and Rock Crystal Chandelier second quarter 20th century, in the Louis XV style, the bronze frame set with an interior rock crystal finial and mounted with eight scrolled bronze candle branches, hung with rock crystal drops and flowerheads, beneath graduated tiers of rock crystal drops. h. 34‑1/2”, dia. 22‑1/2” $1,500‑$2,500

499 500 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table

early 20th century, the circular marble top within a full pierced brass gallery, above a conforming frieze fitted with two small drawers, and two leather-inset candle slides, raised on fluted tapering circular legs ending in brass caps. h. 30”, dia. 24‑1/2” $800‑$1,200

500

174

501 Pair of Louis XVI-Style Fruitwood Fauteuils late 19th century, each with a domed and padded back surmounted by a ribbon shield crest and side urn finials, joined by padded acanthine-carved arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet. h. 40” $600‑$900 502 Louis XVI-Style Mahogany, Kingwood and Marble-Top Commode early 20th century, the rounded rectangular marble top above a conforming case fitted with three long drawers, all banded and tri-paneled, raised on tapering circular legs ending in brass caps. h. 33‑1/2”, w. 49‑1/4”, d. 22‑3/4”

501

$600‑$900 503 Pair of Italian Mahogany, Marquetry and Marble-Top Commodes fourth quarter 18th century, in the neoclassical taste, each with a rectangular rouge marble top above a conforming case fitted with two long drawers, each with an inlaid lattice pattern and centered by an oval floral inlay within a foliate wreath, flanked to either side by festoon-inlaid uprights, raised on tapering square legs with decorative inlay and ending in brass ball feet. h. 28”, w. 38”, d. 17” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana.

502

$3,000‑$5,000

503

175

506 Pair of Louis XVI-Style Giltwood Mirrors mid-20th century, Continental, the rectangular mirrors with beaded and carved surrounds set with pierced crests, decorated with leafmolded scrollwork, horn trophies and floral-wreath crests. h. 57”, w. 29‑1/2” $1,500‑$2,500

504

504 Pair of Bronze and Marble Figural Candelabra fourth quarter 19th century, French, the five-light candelabra on red griotte marble bases with fluted column-form plinths, supporting putti holding aloft pierced, scrolled candle arms with gilt details, the center candle cups with detachable pinecone finials. h. 25”, w. 9”, d. 6” $800‑$1,200 505 Louis XVI-Style Kingwood and Marble-Top Buffet 20th century, the long, D-form, breakfront marble top above a conforming case fitted with two central drawers over two paneled cupboard doors, flanked to either side by a bowed drawer and cupboard, all quarter-veneered, the cupboards all centered by an inlaid floral basket, raised on fluted tapering circular legs ending in brass caps. h. 40‑1/2”, w. 87‑1/2”, d. 21‑1/4”

506

$1,000‑$1,500

505

176

509

509 French Gilt-Bronze Table Clock in the Baroque Taste

507

507 Louis XVI-Style Giltwood and Marble-Top Console Table

fourth quarter 19th century, decorated with molded leaves and medallions, the pagodaform top with swags of laurel and set with a serpent-molded handle, signed indistinctly on the dial. h. 8‑3/4”, w. 4‑1/2”, d. 4” $1,200‑$1,800

late 19th century, the rectangular top with deeply canted concave corners, above a conforming fluted and floral guilloche-carved frieze, raised on a single support headed by scroll and bellflower carving, with a guillochecarved standard to a plinth base. h. 35‑1/2”, w. 41‑1/4”, d. 18‑1/2” $2,000‑$4,000

508 Exceptional French Gilt-Bronze Mantel Clock fourth quarter 19th century, the case made by noted Parisian bronzier Ferdinand Barbedienne (French, 1810‑1892), in the baroque taste, the case pierced and molded with scrolled acanthus leaves, swags of oak leaves and a bowknot crest over the clock dial, signed “F. Barbedienne, Paris”, an urn-form finial hung with swags of laurel, set with Japy Freres works. h. 23”, w. 19‑1/2”, d. 7” $3,000‑$5,000 508

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510 Louis XVI-Style Mahogany and Marble-Top Low Bouillotte Table early 20th century, the circular marble top within a full pierced brass gallery, above a conforming frieze fitted with two leatherinset candle slides and two small drawers, raised on tapering square legs to brass caps and casters. h. 22”, dia. 24‑1/2” $700‑$1,000

510

511 Pair of French Marble and Bronze Figural Candelabra fourth quarter 19th century, the five-light candelabra with hexagonal black marble bases, supporting patinated putti holding aloft leaf-molded candle branches set with shellmolded candle cups and leaf-molded drip pans. h. 19‑1/4”, dia. 9” $600‑$900

511

512 Louis XVI-Style Kingwood Vitrine Table early 20th century, the rounded rectangular top within an annulated ormolu band and inset with a glazed panel, hinged and opening to a velvet-lined interior, above a conforming frieze with applied scrolling foliate ormolu panels, raised on paneled tapering circular legs ending in lotus-form caps. h. 32‑1/2”, w. 38‑1/2”, d. 23” $1,200‑$1,800

512

178

514 Stylish Contemporary Bronze and Marble Center Table in the Directoire taste, the circular marble top within a banding and raised on cluster-column supports, joined by a quatrefoilpierced stretcher and ending in splayed feet. h. 28”, dia. 29‑1/2” $1,200‑$1,800 515 Pair of Empire-Style Burl Elm and Marble-Top Pedestals 20th century, each with a circular marble top above a plain conforming frieze, and raised on three graduated square supports headed by African maiden-head capitals, joined by vertical X-form stretchers and ending in foliate gilt feet on a concave tripartite base. h. 54‑1/2”, dia. 17” $1,500‑$2,500 513

513 French Bronze and Crystal Chandelier first quarter 20th century, in the Directoire style, possibly by Baccarat, with an elegant patinated bronze vasiform standard supporting the gilt-bronze outer ring molded with anthemia, set with molded scrolled candle arms with molded drip pans, supporting a basket of crystal strands. h. 42”, dia. 30” $700‑$1,000

514

515

179

517

517 Restauration Bronze Dore et Patine Chenets and Fender second quarter 19th century, decorated with bulldogs on each end, atop plinths with gilt-bronze leaves, the fender with a medallion and laurel spray. h. 10‑1/2”, w. 61‑1/2”, d. 6” $1,800‑$2,500 518 Directoire-Style Ebonized and Parcel-Gilt Fauteuil

516

516 First Empire Bronze Dore et Patine Mantel Clock first quarter 19th century, decorated with a bust of Napoleon as Caesar, inspired by the original by Antonio Canova (Italian, 1757‑1822), the case with numerous Napoleonic details, with eagles forming the feet and molded on the dial between the numerals, made by Louis Waltrin (1749‑1820) and signed on the dial, “Waltrin a Paris”. h. 20”, w. 7‑3/4”, d. 7” Provenance: Collection of Grace Nichols Whitney Hoff; thence by descent. $3,000‑$5,000

$700‑$1,000 519 Empire-Style Casket-Form Mantel Clock ca. 1900, composed of brass and gilt and patinated metal, the facade with gilt mounts depicting a masque flanked by a pair of flambeaux with owls, the base with classical mounts and the top with a pinecone finial. h. 19”, w. 9”, d. 6” $800‑$1,200

518

180

early 20th century, the foliate-carved rail above a paneled crest and a pierced fan and urn-form splat, joined by paneled and padded arms to the cushioned and caned seat, raised above a gilt foliate apron on fluted tapering circular legs ending in toupie feet. h. 37”

519

520

521

520 Empire-Style Mahogany and Marble-Top Side Table 20th century, the rectangular marble top above a conforming frieze with applied ormolu mounts, raised on tapering square legs ending in brass caps. h. 31‑1/2”, w. 42”, d. 30” $600‑$900 521 Superb Signed Louis-Philippe Mantel Clock second quarter 19th century, composed of gilt and patinated bronze, and featuring a figure of Psyche and Cupid leaning against the clock case, decorated with a mount of two clasping hands below the dial, and a carefully detailed mount with two kissing putti and lovebirds on the lower portion, signed “Deniere Fab. de Bronziere”. h. 16”, w. 11‑3/4” $1,500‑$2,500 Maison Deniere was founded in 1804. Examples of their work are represented in the Frick Collection, New York, among other institutions.

522

522 Restauration Patinated Bronze and Marble Clock second quarter 19th century, depicting Hermes resting against the clock and bearing the infant Dionysus, on a molded bronze base above a siena marble plinth, the clock face set with enamel numerals, on an ebonized wooden base. h. 20‑1/2”, w. 11‑1/4”, d. 7‑1/4” $1,800‑$2,500 523 Pair of Restauration Patinated Bronze and Marble Candelabra second quarter 19th century, the Siena marble bases mounted with laurel wreaths and trimmed with molded lotus leaves, the fluted, tapered standards supporting lotus-molded candle cups and fluted drip pans, around central flame finials. h. 29”, dia. 10‑1/2” $800‑$1,200 523

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524

525

524 French Empire-Style Ebonized, Parcel-Gilt and Marble-Top Side Table late 19th century, the rectangular marble top above a conforming top with applied giltwood florets, raised on shaped supports headed by gilt lion masques and ending in paw feet. h. 38”, w. 38‑1/2”, d. 23‑1/2” $1,500‑$2,500 525 Pair of French Empire-Style Bronze Sconces second quarter 20th century, on arrow-form backplates decorated with roundels depicting Roman centurions, set with scrolled candle arms with engine-turned candle cups and drip pans. h. 19‑1/2”, w. 9‑3/4”, d. 3‑3/4” $800‑$1,200

526

526 Pair of French Marble and Gilt-Bronze Garniture Urns first quarter 20th century, on verde antique marble plinths set with gilt-bronze trim, the reeded and fluted urns with pierced and scrolled handles. h. 11‑1/2”, w. 7”, d. 5‑1/4” $700‑$1,000 527 French Bronze Dore et Patine Tazza third quarter 19th century, in the Neo-Grec taste, in the form of a brazier, with scrolled feet and on gilt monopodia supports, the patinated bronze top set with a gilded roundel decorated with two cherubs with a goat, framed with grapes and grapevines. h. 17”, dia. 15‑1/4” $600‑$900 527

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528 530

528 Pair of Napoleon III Marble and Bronze Garniture Urns third quarter 19th century, the campana-form urns decorated with bas-relief-molded Roman soldiers over reeding, and raised on carved, stepped marble bases. h. 11‑1/4”, w. 5‑1/2”, d. 5‑1/2” $800‑$1,200 529 Painted Trumeau Mirror in the Swedish Neoclassical Taste ca. 1900, the frame painted in two shades of gray, the mirror surround decorated with molded neoclassical ornament, the lunette-form crest with a bas-relief-molded Apollo driving his chariot on a black ground. h. 69‑1/2”, w. 47” $900‑$1,200 530 French Gilt-Bronze and Patinated Metal Chandelier second quarter 20th century, in the Restauration taste, with a patinated pan set with an artichoke finial, the top edge set with molded cornucopia-form candle arms alternating with pierced chain holders, the molded chains hanging from a crown-form pierced corona. h. 21”, dia. 24‑1/2” $2,000‑$4,000

529

183

531 Empire-Style Ormolu-Mounted Mahogany Desk early 20th century, the rectangular brass-bound top with an inset leather writing surface, above a case fitted with a frieze drawer, flanked to either side by a bank of three drawers, raised on tapering square legs ending in ball feet, the whole richly ornamented with ormolu mounts and millwork. h. 31”, w. 72”, d. 34” 531

$1,000‑$1,500

532 Pair of Empire-Style Mahogany Fauteuils 19th century, each with a molded cornice over a padded back, joined by downswept arms to the padded seat, raised on sabre legs, the whole with gilt mounts and accents. h. 37‑1/2” $1,800‑$2,500 533 Pair of Empire-Style Bronze and Cut Glass Sweetmeat Dishes first quarter 20th century, each modeled as a putto standing on a reeded base and supporting a cobaltplated colorless glass dish cut with diamond-point bands and central stars, and mounted with flowermolded bronze ring handles. h. 8‑1/4”, dia. 6‑1/2” 532

$700‑$1,000 534 Pair of Lapis Lazuli-Clad Garniture Vases second quarter 20th century, probably French, with ruffled necks, vasiform bodies and bronze fittings. h. 14‑1/2”, dia. 5‑1/2” $1,200‑$1,800

184

533

534

536 535

535 Impressive Signed French Porcelain Covered Armorial Palace Urn third quarter 19th century, Paris or Limoges, with lion’s-head handles, the body molded with raised swags of flowers and drops framing the polychrome armorial, the cover with an acorn-form knop and gilt oak leaves, signed “Wm. Guerin, Paris and Limoges” h. 36”, w. 19”, d. 18” $2,000‑$4,000 536 Empire-Style Creme-Peinte, Parcel-Gilt and Marble-Top Side Table

537 Rare Haviland Limoges Partial Armorial Dinner Service ca. 1910‑1914, the blanks marked “Haviland, France” and decorator marked “Frank Haviland, Limoges”, each piece, with the exception of the saucers, hand-painted with the Arms of Grace Whitney Hoff (1862‑1938), the service including twenty-six dinner plates, dia. 10”, twenty-two soup plates, dia. 9‑1/2”, twenty-two luncheon plates, dia. 9‑1/2”, twenty-two salad plates, dia. 8‑1/2”, six bread-and-butter plates, dia. 7”, a round chop plate, dia. 12‑1/2”, an oval platter, w. 15‑1/2”, d. 11”, four teacups, h. 2‑1/2”, sixteen saucers, dia. 6‑1/4”, six demitasse cups, h. 2”, and twelve saucers, dia. 5”. $800‑$1,200

20th century, the rectangular top with slightly projecting corners and an inset marble top, above a conforming case with applied patera and fan designs, raised on ribbed tapering square legs ending in peg feet. h. 31”, w. 45‑1/2”, d. 16‑1/2” $800‑$1,200

537

537 detail

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538

539

538 Pair of French Crystal and Brass Urn-Form Lamps mid-20th century, molded with fluting and reeding, and resting on square bases. h. 23‑1/2”, w. 5‑1/2”, d. 5‑1/2” $700‑$1,000 539 Pair of French Cut Glass, Bronze and Brass Garnitures third quarter 20th century, in the Empire style, the cut glass urns on bronze, paw-footed bases, with molded bronze trim, set with an arrangement of long molded brass leaves. h. 24‑1/2”, d. 6‑3/4” 540

$700‑$1,000 540 Rare French Gilt-Bronze Double-Sided Mirror/Framed Portrait ca. 1900, in the Empire Revival style, the supports inset with mother-of-pearl and terminating in urn-form finials, the rounded frame decorated with an eagle and molded Empirestyle elements, with an oval hand-painted portrait on one side and a beveled mirror on the other. h. 11”, w. 8”, d. 5‑3/4” $700‑$1,000

541 Empire-Style Mahogany and Rosewood Bureau Plat 20th century, the rounded rectangular top banded and centered by an elaborate star inlay, above a conforming frieze fitted with three drawers to either side, raised on canted tapering square legs headed by waisted capitals and ending in paw feet. h. 30”, w. 80‑1/2”, d. 39” $1,000‑$1,500

541

186

542 Suite of Eight Directoire-Style Fruitwood Sidechairs 19th century, each with a turned and bulbous crest rail over a diamondpatterned crest with a pierced plume splat below, the padded seat raised on tapering square legs. h. 34‑1/2” $600‑$900 542

543 Empire-Style Mahogany Dining Table labeled Maitland Smith, the rounded rectangular top banded and above a conforming frieze fitted with a drawer to each end, raised on three pedestals, each with a fluted columnar standard to a foliate base on a concave tripartite platform to silvered paw feet. including a 20” wide leaf extending to 144” h. 30‑1/2”, w. 44”, l. 122” $1,500‑$2,500

543

544 Empire-Style Gilt-Bronze-Mounted Mahogany and Marble-Top Server fourth quarter 19th century, the rectangular marble top above a conforming case fitted with a leather-inset slide over two central Pacific cloth-lined cutlery drawers, over two grilled paneled cupboard doors, flanked to either side by four graduated short drawers, flanked and divided by ormolu-mounted columnar uprights, raised on a plinth base, the whole accented with ormolu mounts in the Empire taste. h. 39‑1/2”, w. 92”, d. 21” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $3,000‑$5,000

544

187

545 Rare Empire-Style Mahogany and Gilt-Bronze Portico Clock third quarter 19th century, with gilt-bronze-mounted columns and case, an upper fan of gilt-bronze concealing the connection where the pendulum hangs, the dial carefully decorated with engine turning, the bell on the back of the pendulum. h. 18‑3/4”, w. 11‑1/4”, d. 4” $600‑$900

547 Empire-Style Mahogany Shaving Stand

545

546 Empire-Style Mahogany Cabinet early 20th century, the molded cornice above an ormolu palmetto-applied frieze, with a central door below, the upper part grilled, the lower paneled, flanked to either side by a paneled door with angel mounts, divided by engaged pilasters headed by maiden’s heads, the whole raised on gilt paw feet. h. 68‑3/4”, w. 80”, d. 23‑1/4”

late 19th century, the square metal screen of adjustable height and opening to form a triptych mirror, each panel with applied ormolu mounts, the circular marble top above a conforming single-drawer frieze with like mounts, raised on three supports headed by ram’s-head capitals and ending in hoof feet on a circular plinth base. h. 58‑1/2”, dia. 16‑1/2” $800‑$1,200

$1,000‑$1,500

546

188

547

548 Pair of Empire-Style Mahogany Tub Chairs 19th century, each with a curved and rounded crest above a padded back, joined by downswept arms on dolphin uprights to the padded seat, raised on sabre legs. h. 32‑1/4” $700‑$1,000 549 Empire-Style Mahogany Desk

548

19th century, the superstructure with a central section fitted with an ormolu-applied frieze above an enameled clock, flanked to either side by an ormolu caryatid figure and further flanked by a band of three small drawers, the lower section with a leather-inset pull-out writing surface above a case fitted with a central drawer flanked to either side by two small drawers, raised on tapering square legs ending in paw feet, the whole accented with various ormolu mounts. h. 40‑1/2”, w. 56‑1/2”, d. 27‑1/2” $1,200‑$1,800

549 550

550 Pair of Empire-Style Mahogany and Marble-Top Pedestal Tables early 20th century, each with an inset rectangular marble top above a conforming standard with applied gilt accents, to a laurel leaf-carved socle base. h. 33”, w. 15‑1/2”, d. 12” $2,000‑$4,000 551 French Bronze Figure of a Centaur Driving a Chariot ca. 1838‑1867, one wheel marked on the back “Maison Alph. Giroux Paris”, a major Parisian luxury goods retailer. h. 6‑1/4”, w. 5‑1/4”, d. 3‑1/4” $600‑$900

551

189

552

553

552 Empire-Style Blonde Mahogany Desk early 20th century, the rectangular top inset with a gilt-tooled leather surface, above a frieze fitted with three drawers, raised on two pedestals, each fitted with a cabinet door opening to sliding shelves, the verso with like faux fittings, raised on gilt paw feet, the whole accented with ormolu mounts in the Empire taste. h. 31”, w. 63”, d. 33” $700‑$1,000 553 Directoire-Style Polychrome and Marble-Top Pedestal early 20th century, the circular marble top above a conforming frieze and raised on three tubular supports, headed by gilt winged maiden capitals, joined by vertical X-form stretchers and ending in hoof feet on a concave tripartite base to ball feet. h. 42‑1/2”, dia. 12‑1/4” $1,000‑$1,500

554

554 Pair of French Empire-Style Bronze and Marble Candelabra on green marble bases with gilt-bronze mounts, the patinated bronze male and female standards set with gilt-bronze serpent-molded candle arms supporting molded candle cups. h. 27‑1/4”, w. 10”, d. 8‑1/2” $1,000‑$1,500 555 Pair of French Gilt-Bronze-Mounted Granite Obelisks mid-20th century, in the Empire taste, with lyres mounted on the base and leafy medallions on the spires. h. 23‑1/2”, w. 5‑1/2”, d. 5‑1/2” $2,000‑$4,000

190

555

557 Empire-Style Polychrome Pedestal early 20th century, the circular top above a foliate- and laurel-leafcarved frieze, raised on three imbricate-carved supports headed by ram’s-masque capitals, joined by a circular stretcher and raised on a concave tripartite base. h. 51”, dia. 16”

556

556 Empire-Style Polychrome Occasional Table

$800‑$1,000

19th century, the rounded top raised on a support in the form of a seated sphinx with gilt drape, to a socle base. h. 27”, w. 24”, d. 21‑1/2”

557

558 Empire-Style Polychrome and Marble-Top Side Table

$1,500‑$2,500

late 19th century, the rectangular top with a central D-form projection, above a conforming heavily molded frame, raised on two supports, in the form of female sphinxes, ending in a molded plinth base. h. 32”, w. 45”, d. 24” $2,000‑$4,000 559 French Painted Wooden Panel in the Directoire Style first quarter 20th century, decorated with delicate arabesques, cherubs supporting swags of flowers, and urns, on a white ground, inspired by the designs of Percier et Fontaine. h. 21”, w. 82‑1/2” $1,200‑$1,800

558

559

191

561

562

560

560 Antique Sultanabad Carpet 9’ 4” x 12’ 2” $2,500‑$4,000 561 Heriz Carpet 8’ 1” x 10’ 4” $2,000‑$4,000 562 Heriz Carpet 8’ 4” x 11’ 2” $1,000‑$1,500

563

563 Semi-Antique Kerman Carpet 12’ 5” x 19’ 10” $1,800‑$2,500 564 Laristan Sultanabad Runner 2’ 9” x 18’ $700‑$1,000 565 Laristan Sultanabad Carpet 10’ x 14’ $1,800‑$2,500

565

192

564

566

568

567

569

566 Turkish Hotan Carpet 8’ 10” x 11’ 9” $800‑$1,200 567 Turkish Angora Oushak Carpet

570

9’ 1” x 11’ 10”

569 Fine Agra Serapi Carpet

$900‑$1,200

8’ 1” x 9’ 8”

568 Antique Heriz Carpet

$1,200‑$1,800

7’ 5” x 10’ 4”

570 Antique Caucasian Carpet

$1,800 - $2,500

8’ 11” x 19’ 11” $1,000‑$1,500

193

571 Joseph Pauwels (Belgian, 1819‑1876) “Tea Time with a Bowl of Cherries” oil on canvas signed lower right. Framed. 37” x 36” $2,000‑$4,000

571

572 Niek van der Plas (Dutch, b. 1954) “Cafe de Flore” oil on wood panel signed lower right, signed en verso. Framed. 17‑3/4” x 29‑3/4” $3,000‑$5,000

572

573 Willem Heytman (Dutch, b. 1950) “Scheveningen Beach, Netherlands” oil on canvas signed lower right, signed and titled en verso. Framed. 12” x 27‑1/2” $1,000‑$1,500 573

194

574 Willem Heytman (Dutch, b. 1950) “Les Terrasses aux Champs Elysees” oil on canvas signed, titled, and with an “Atelier/Heytman” stamp en verso canvas. Framed. 16” x 23‑3/4” $1,500‑$2,500

574

575 Louis Dali (French, 1905‑2001) 575 one of two

“Parisian Street Scenes” pair of oils on canvas one signed lower right and one unsigned. Presented in matching frames. each 8” x 10” $1,000‑$1,500

575 two of two

195

576 Paul Renard (French, 1941‑1997) “Champs-Elysees” and “Paris in the Snow” pair of oils on panel each signed lower right. Both framed alike. each 5” x 7” $1,000‑$1,500 576 one of two

576 two of two

577 Louis van der Pol (Dutch, 1896‑1982) “Autumn Stroll” oil on wood panel signed lower right. Framed. 24‑3/4” x 29” $1,500‑$2,500 577

196

580

578

578 Maria Theresa-Style Chandelier

580 Louis XV-Style Polychrome and Parcel-Gilt Console Table

20th century, the twelve-light chandelier with a scrolled frame lined with glass beading and hung with swags of drops, the candles on two levels and set with molded glass prism rings, a spray of drops forming the corona at the top. h. 32”, dia. 28”

early 20th century, the shaped top with a molded edge, above a conforming paneled foliate shell-centered frieze, raised on molded foliate-carved C-scroll legs, joined by a shell stretcher and ending in scrolled toes. h. 35”, w. 34‑1/4”, d. 15‑1/4”

Provenance: Estate of Nancy Nye Harrell, Houston, Texas.

$600‑$900

$1,200‑$1,800

581 Pair of Paris Porcelain and Bronze Moderator Lamps

579 Pair of Maria Theresa-Style Gilt-Metal and Glass Sconces the gilt-metal frames lined with glass beads, the five scrolled candle arms set with molded glass prism rings, and the top set with two tiers of prism sprays. h. 19‑1/2”, w. 16”, d. 9”

mid-19th century, the vasiform lamps hand-painted with young courting couples on a ground of Italian landscapes and mounted with Rococo Revival bronze fittings, now mounted as two-light electric lamps. overall h. 32‑1/4”, dia. 5‑1/4” $600‑$900

$600‑$900

579 581

197

582 Meissen Porcelain Shepherd and Shepherdess the shepherdess holding her crook and a sheep, ca. 1800, and the shepherd depicted with his dog and a sheep, 20th century. largest h. 11‑1/4”, w. 7”, d. 5” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900

582

583 French Giltwood Three-Panel Screen early 20th century, in the Louis XVI taste, the central panel with a beveled shield-form mirrored panel surmounted by a floral wreath crest, over a tall fabric panel, flanked to either side by a shorter panel with a figural pastoral painting over a like fabric panel, all within a ribbon-carved, molded frame. h. 70‑1/2”, w. 58” $1,000‑$1,500

583

198

584 Ormolu-Mounted and Polychrome Mahogany Vitrine in the Louis XV/XVI style, of demi-lune-form, with a gilt-lacquered brass gallery, moldings and mounts, a curved glass door and side panels, the lower portion depicting a landscape centered with frolicking putti, raised on cabriole legs. h. 61”, w. 37”, d. 15‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000

584

585 Large Hand-Painted Porcelain and Gilt-Bronze Centerpiece ca. 1868‑1887, Paris, the oval centerpiece decorated with a panel of two little girls dressing up two dogs (after Fragonard) on the obverse and a landscape panel on the reverse, trimmed in raised gilt with hand-painted flowers and set with pierced gilt-bronze mounts in the rococo taste, marked on the bottom by Marx Eugene Clauss. h. 17”, w. 20‑1/2”, d. 11” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $1,000‑$1,500 585

199

586 Louis XVI-Style Giltwood Fauteuil late 18th century, the padded medallion back surmounted by a ribbon crest and within an annulated molded frame, joined by padded foliate-carved arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet. h. 37‑1/2” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000

586

587 Two French Porcelain Cups and Saucers

587

including a Paris porcelain gobelet litron et soucoupe, ca. 1800, decorated with a hand-painted portrait of Marie Antoinette against a mottled green and brown faux stone ground, the matching saucer with a gilt medallion, h. 3‑1/4”, dia. 6‑1/2”, and a later French cup and saucer, 20th century, the flared cup with a grisaille portrait of Louis XV against a blue ground, formerly marked, h. 3‑1/4”, dia. 4‑3/4”. $600‑$900 588 French Gilt-Bronze and Porcelain Three-Piece Clock Set third quarter 19th century, the Baroque-style clock with an arched top and freestanding side columns, with front porcelain panels decorated with neoclassical figures, and trim panels with jewels and gilt on a turquoise ground, the dial signed “Raingo Freres, Paris” and the works signed “Vincenti et Cie”, h. 13”, w. 7‑1/2”, d. 4”, together with a pair of candlesticks, decorated to match the outside of the clock dial, h. 7”, dia. 3‑3/4”. $1,800‑$2,500 588

200

589 Collection of French Gilt-Brass Dressing Table Frames and Opera Glasses ca. 1900, including a rectangular frame set with a handpainted portrait of a woman in Elizabethan attire, signed “G. Kozang”, h. 6‑3/4”, w. 5‑3/4”, a pair of oval frames with pierced bowknot crests and set with portraits signed “Celley”, h. 5”, w. 3‑1/2”, a pair of pierced rectangular frames set with portraits signed indistinctly, h. 5‑1/2”, w. 3‑3/4”, and opera glasses with enamel scenes of a male and female in Arcadian landscapes, the bezels signed “La Reine”, h. 3”, w. 4‑1/4”.

589

$700‑$1,000

590 Three French Gilt-Brass and Porcelain Dressing Table Boxes ca. 1900, including a rectangular box with a portrait signed “Dietrich”, h. 1‑3/4”, w. 4”, d. 5‑1/4”, and two circular examples, each with a portrait, one signed “Gerasel, h. 1”, dia. 3‑1/2” and the other unsigned, h. 1‑1/4”, dia. 3‑1/2”. $700‑$1,000

590

591 Three French Gilt-Bronze and Porcelain Dressing Table Objects ca. 1900, including two gilt-bronze hand mirrors, one with a pierced bowknot crest and an inset miniature portrait of Marie Antoinette after Elisabeth Vigee Le Brun (French, 1755‑1842), signed “Le Brun”, l. 10‑3/4”, and the other with an Empire-style frame inset with a portrait of a male in military uniform, signed “Pauline”, l. 9”, together with a Sevres-style box with raised gilt-framed scenes on a cobalt ground, marked with a spurious Sevres signature, h. 2‑1/4”, w. 3‑1/2”, d. 3‑1/2”. $700‑$1,000

591

201

593 Meissen Porcelain Figure of a Pilgrim ca. 1850‑1924, the polychromed male figure holding his hat against the wind while carrying a satchel, decorated with applied flowers and marked with underglaze blue pommel-ended crossed swords. h. 10‑1/2”, w. 5”, d. 4” $600‑$900

592

592 French School (18th Century) “Portrait of a Young Physician” oil on canvas unsigned. Framed. 14” x 12” $1,500‑$2,500

593

594 French Gilded Age Bronze and Porcelain Clock Set fourth quarter 19th century, the porcelain decorated with luminous hand-painted Victorian fishing scenes on a cobalt ground trimmed with opaline “jewels”, the clock with an arched top trimmed with gilt scrollwork, h. 15‑1/2”, w. 9”, d. 5”, the pair of matching garnitures with molded bronze bases, the side handles molded with putto masques and the covers set with coneshaped knops. h. 12‑3/4”, w. 4‑1/2”, d. 3‑1/2” $600‑$900

594

202

595 Vienna-Style Hand-Painted Creamware Plaque ca. 1900, decorated with a nymph depicted floating in the clouds and feeding a peach to a putto, flanked by putti blowing a shell horn and playing a tambourine, signed “W. Lopf”, in a modern giltwood frame. overall h. 14”, w. 18” $800‑$1,200

595

597 Francois Gall (Hungarian/French, 1912‑1987) “Jeune Femme, Nu” oil on canvas signed lower right. Framed. 11‑1/8” x 9‑1/4” $1,500‑$2,500

596

596 Wallace Bassford (American, 1900‑1998) “Composition - Seated Nude”, 1964 oil on canvas signed lower right, signed, dated and titled en verso, a “Provincetown Art Association” exhibition label en verso. Framed. 40” x 30‑1/4” Exhibited: Provincetown Art Association Exhibition $1,500‑$2,500

597

203

598 Jean Lefort (French, b. 1948) “Playing on the Beach” oil on canvas signed lower right. Framed. 19‑1/2” x 23‑1/2” $1,500‑$2,500 598

599 E. Haines (American, 20th Century) “At the Beach” oil on canvas signed lower right. Framed. 20” x 24” $1,000‑$1,500

599

204

600 Marcel Dyf (French, 1899‑1985) “Danseurs de Flamenco” oil on canvas signed lower right. Unframed. 21‑3/4” x 18” This painting is registered in the Dyf records under number No ID 5135. $1,200‑$1,800

601 Pierre Guillaume (Dutch, b. 1954) “Dancing Under the Lights” 600

oil on canvas signed lower right. Framed. 24‑1/2” x 36‑1/4” $1,500‑$2,500

601

205

602 Pair of French Louis XV-Style Gilt-Bronze and Crystal Girandoles second quarter 20th century, on candlestick-form bases set with leaf-molded, scrolled candle arms and glass-clad standards, supporting bronze sprays with cascades and swags of crystal drops, the tops set with crystal spires. h. 27”, dia. 11‑1/2” $1,000‑$1,500

603 Louis XV/XVI-Style Kingwood and Marble-Top Cabinet late 19th century, the rounded rectangular marble top above a conforming case fitted with two long doors, each inset with two grilled panels, opening to a shelved interior, the whole raised on cabriole feet to sabots. h. 59”, w. 34‑1/2”, d. 14‑1/2”

602

$1,500‑$2,500

604 Louis XV/XVI-Style Mahogany and Marble-Top Bureau Cylindre early 20th century, the rectangular marble top with a threequarter pierced brass gallery above three small drawers, over a roll-top secretary opening to small drawers, an open cupboard, and a pull-out leather-inset writing surface, above a frieze fitted with three small drawers, raised on cabriole legs ending in sabots. h. 44”, w. 37‑1/4”, d. 26” $1,000‑$1,500

603

206

604

605 Louis XV/XVI-Style Kingwood and Marble-Top Commode early 20th century, the bowed and shaped marble top above a conforming case fitted with a gilt patera-carved frieze drawer over three long drawers, all with decorative veneers and floral inlays, raised on shaped legs ending in sabots. h. 36”, w. 51”, d. 21” $700‑$1,000 606 Painted Metal, Rock Crystal and Glass Chandelier 20th century, Continental, the painted metal frame lined with glass beads and hung with rock crystal drops, the scrolled candle arms set with circular drip pans, a spray of drops decorating the top. h. 30”, dia. 28” $1,500‑$2,500

606

607 Louis XV/XVI-Style Kingwood Occasional Table early 20th century, the banded oval top with a sunburst inlay within a full pierced brass gallery, above a conforming frieze with chevron veneers and a single drawer, joined by square supports to a lower like-shaped and galleried shelf, raised on cabriole legs ending in sabots. h. 29‑1/2”, w. 21‑1/2”, d. 18‑1/2” $800‑$1,200

607

605

207

608

608 Louis XV/XVI-Style Kingwood and Marble-Top Commode 19th century, the rectangular marble top with canted corners and a breakfront, above a conforming case fitted with three long drawers, all banded and quarter-veneered, the sides en suite, raised on splayed legs ending in sabots. h. 34‑1/4”, w. 49”, d. 20‑3/4” $1,800‑$2,500

609

609 French Gilt-Bronze Chandelier in the Louis XV Style 20th century, the pierced rope-twist standard decorated with rocaille work, flowers, scrolls and classical heads, and set with eight leaf-molded candle arms with matching drip pans hung with rock crystal drops. h. 46”, dia. 31” $2,500‑$4,000

611 Louis XVI-Style Giltwood and Marble-Top Center Table late 19th century, the inset circular marble top above a conforming molded and dentillated frieze, raised on fluted tapering circular legs headed by a quiver top, joined by an X-form stretcher and ending in bulb feet. h. 31‑1/2”, dia. 21” $700‑$1,000

610

610 Set of Twelve Heinrich & Co. Porcelain Service Plates ca. 1930‑1939, Bavaria, decorated with a raised gilt border on an ivory ground, marked on the back. dia. 11‑1/4” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900

208

611

612 Louis XV-Style Marquetry-Inlaid Kingwood and Marble-Top Bookcase/Cabinet ca. 1900, the shaped rectangular Breche d’Alep marble top above a conforming case fitted with two open shelves over two cupboard doors, both with quarter-veneered banding around a floral and vase-inlaid panel, the sides veneered and inlaid en suite, raised on cabriole feet ending in sabots. h. 47”, w. 43‑1/2”, d. 14” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $1,500‑$2,500

613 Louis XV-Style Giltwood Settee ca.1900, the domed and padded back surmounted by a foliate crest and within a gadroon- and foliate-molded frame, joined by padded arms to the cushioned seat, raised on cabriole legs headed by foliate carving and ending in scroll toes to paws. h. 34”, w. 54” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $1,000‑$1,500 612

613

209

614

614 Suite of Twelve Louis XV-Style Mahogany Dining Chairs early 20th century, each with a shaped and padded rectangular back surmounted by a foliate crest, the padded seat raised on molded cabriole legs ending in ball-and-claw feet, upholstered in peach silk. h. 38” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $2,500‑$4,000 615 Pair of Louis XV-Style Kingwood and Ormolu-Mounted Occasional Tables 20th century, each with a shaped and banded rectangular top centered by an inlaid floral spray, joined to a conforming frieze drawer, with floral lattice pattern, by cabriole supports continuing to sabots. h. 28”, w. 19‑1/2”, d. 15‑1/2”

615

$1,500‑$2,500 616 Louis XVI-Style Mahogany and Marble-Top Occasional Table 20th century, the circular marble top within a full pierced brass gallery, above a paneled frieze fitted with one drawer, joined to a lower sunburst-veneered shelf by square supports, raised on cabriole feet to sabots. h. 25‑1/2”, dia. 13” $700‑$1,000

616

210

617 Louis XV/XVI-Style Fruitwood and Marble-Top Commode early 20th century, the rectangular breakfront marble top above a conforming case fitted with three frieze drawers, all with applied pierced scrolling foliate ormolu panels, over two quarter-veneered long drawers, raised on cabriole legs ending in sabots. h. 34‑1/2”, w. 47”, d. 22” $2,000‑$4,000 617

618 Impressive Brocot & Delettrez Gilt-Bronze Cartel Clock ca. 1851‑1878, French, in the Baroque taste, handsomely decorated with a putto grasping a shell on the case, with rocaille and scrollwork, a figure of Achilles serving as the finial, the panel below the enamel dial with chased pierced flowers in front of a red velvet panel, the works signed “A. Brocot & Delettrez, Paris”. h. 36”, w. 17‑3/4” $2,500‑$3,500

618

211

619 622

621

623

619 Turkish Angora Oushak Carpet 8’ 2” x 9’ 10” $700‑$1,000 620 Heriz Runner 3’7” x 20’ 3” 620

$600‑$900 621 Semi-Antique Mashad Carpet

623 Heriz Carpet

9’ 6” x 12’ 8”

3’ 5” x 5’ 4”

$600‑$900

622 Turkish Angora Oushak Carpet

624 Nain Carpet

8’ 1” x 10’ 1”

9’ 11” x 13’ 6”

$700‑$1,000

$2,000‑$4,000

212

624

625

626

628

630

629

625 Heriz Carpet 10’ 1” x 13’ 11” $2,000‑$4,000 626 Semi-Antique Bakhtiari Carpet 10’ 4” x 12’ 7” $1,400‑$1,800 627 Tabriz Carpet

627

628 Kerman Carpet 10’ 6” x 14’ $1,000‑$1,500 629 Antique Heriz Carpet 7’ 6” x 17’ 8”

11’ 3” x 14’ 7”

Provenance: By tradition, descended in the maritime and lumber-trading Olsen/Strigel family of Denmark and New Orleans, until sold in these galleries in May 2014.

$4,000‑$7,000

$3,500‑$5,000

213

631 Opera Length Pearl Necklace with Diamond Clasp

636 Pearl and Diamond Brooch

14k yellow gold, the hand-knotted necklace composed of silver-white pearls with a rose tint, measuring approximately 7.0mm in diameter, finished with a yellow gold clasp mounted with round brilliant-cut diamonds weighing approximately 0.10 carats in total. l. 37”, total weight 68.0 grams

14k white gold, the brooch with a floral design, mounted with fifteen baroque silver-white pearls, accented with single- and fullcut diamonds weighing approximately 0.55 carats in total. size 1‑3/4” x 2‑1/4”, total weight 26.8 grams

$700‑$1,000

637 Three Vintage Judith Leiber Karung Convertible Frame Clutches

632 South Sea Pearl and Diamond Ring 18k yellow gold, the ring mounted with a 13.0 mm golden South Sea pearl with a medium luster, accented on the sides with eight marquise-cut light brown/yellow diamonds weighing approximately 1.14 carats in total, approximate clarity VS1‑SI2, and round brilliant-cut white diamonds weighing approximately 0.28 carats in total, approximate color E-G and clarity VS1‑SI2. size 7, total weight 9.0 grams $1,800‑$2,500 633 Diamond and South Sea Pearl Earrings 18k yellow gold, the cone-shaped earrings each mounted with an 11.5 mm round South Sea pearl with a golden luster, accented with round brilliant-cut diamonds weighing approximately 2.26 carats in total. l. 1‑3/4”, total weight 14.2 grams $3,000‑$5,000 634 South Sea Pearl and Diamond Ring 18k yellow gold, the ring mounted with a 14.5 mm round South Sea pearl with a golden luster, “floating” above ten ribbons of round brilliant-cut diamonds weighing approximately 2.58 carats in total. size 7‑1/2, total weight 18.4 grams $3,000‑$5,000

$600‑$900

ca. 1980s-1990s, including a cream example with dual pouches and gathered on both sides, the front with a jeweled bar inset with crystals, rose quartz and jade with a rose quartz push closure, the grosgrain-lined interior with a zipper pocket opposite a scalloped slip pocket labeled “Judith Leiber/New York”, with drop-in self strap, matching coin purse, gold comb and gold swing mirror, h. 5‑1/2”, w. 8‑1/2”, d. 3”, strap drop: 19‑1/2”; a dusty peach example gathered on both sides with a self frame, jewel-inset shell flip clasp and drop-in gold chain, the pink grosgrain-lined interior with a zipper pocket below the gold “Judith Leiber/New York” label, h. 5”, w. 9”, d. 2‑1/2”, chain drop: 19‑1/2”; and a midnight blue example self-piped and gathered with a self frame, jewel-inset flip clasp and drop-in gold chain, the grosgrain-lined interior with one zip pocket below the gold “Judith Leiber/New York” label, h. 5‑1/4”, w. 8‑3/4”, d. 3”, chain drop: 19‑1/2”; dust bags included. Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900 638 White and Pink Diamond Band 18k rose gold, the ring mounted with eight round brilliant-cut light pink diamonds weighing approximately 0.65 carats in total, with an additional sixteen round brilliant-cut light pink diamonds and sixty round brilliant-cut white diamonds weighing approximately 0.59 carats in total. size 7, total weight 5.0 grams $2,500‑$4,000

635 Tahitian Pearl and Diamond Earrings 14k white gold, the earrings mounted with Tahitian cultured pearls measuring approximately 13.0 mm in diameter and with a very good luster, accented with round brilliant-cut diamonds weighing approximately 1.60 carats in total. l. 1‑1/2”, total weight 13.0 grams $1,800‑$2,500

637

216

Session II: July 23, 2017 10:00 a.m., CDT Lots 631-1156

Lot 796

632

633

634

631

635

638 636

217

640

639 642

641

643

646

645

218

644

639 Pink and White Diamond Ring

645 Morganite and Diamond Ring

18k white gold, the ring with a flower design, two petals mounted with light pink round brilliant-cut diamonds and two petals mounted with white round brilliant-cut diamonds, weighing approximately 0.40 carats in total. size 7, total weight 4.9 grams

14k white gold, the ring mounted with an oval-cut morganite weighing approximately 2.33 carats, surrounded by round brilliant-cut diamonds weighing approximately 0.34 carats. size 7‑1/4, total weight 3.5 grams

$900‑$1,200 640 Gold and Diamond Band

$700‑$1,000 646 Morganite and Diamond Earrings

18k rose gold, the band with segmented clusters, set with round brilliant-cut diamonds weighing approximately 0.70 carats in total. size 7, total weight 8.5 grams

gold vermeil, each earring mounted with an oval-cut morganite weighing approximately 1.16 carats in total, surrounded by baguette- and single-cut diamonds weighing approximately 1.07 carats in total. l. 3/4”, total weight 5.0 grams

$1,500‑$2,500

$600‑$900

641 Yellow and Pink Diamond Bracelet

647 Morganite and Diamond Pendant

18k rose gold, the bracelet mounted with eleven cushion-cut light yellow diamonds weighing approximately 6.04 carats in total, approximate clarity SI1‑SI2, accented with round brilliant-cut light pink diamonds weighing approximately 1.22 carats in total, approximate clarity VS1‑SI2. l. 7”, total weight 23.0 grams

14k rose gold, the pendant mounted with a large pear-cut morganite with an approximate weight of 41.42 carats, surrounded by round brilliant-cut diamonds weighing approximately 1.98 carats in total, l. 2‑1/8” including bail, suspended from a 14k rose gold chain, l. 18”. total weight 38.0 grams

$12,000‑$18,000

$7,000‑$10,000

642 Pink and White Diamond Ring 18k white gold, the elongated ring mounted with six clusters, two set with round brilliant-cut light pink diamonds surrounded by a halo of round brilliant-cut light pink diamonds weighing approximately 0.48 carats in total, and the remaining three set with three round brilliant-cut diamonds surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.84 carats in total. size 7, total weight 7.0 grams $2,000‑$4,000 643 Light Pink Diamond Ring 18k yellow gold, the ring pave-set with round brilliant-cut very light pink diamonds weighing approximately 0.83 carats in total. size 6‑1/2, total weight 11.0 grams $1,800‑$2,500 644 Gold and Diamond Bangle Bracelet 14k rose gold, the flexible bangle bracelet mounted with three sections of pave-set round brilliant-cut diamonds weighing approximately 2.10 carats in total. inside circumference 6”, total weight 31.0 grams $3,000‑$5,000

647

219

648 Diamond and Ruby Snake Ring 18k rose gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.75 carats in total, and a pear-cut ruby for its head, weighing approximately 0.13 carats. size 7‑1/2, total weight 7.3 grams $1,500‑$2,500 649 Diamond and Ruby Coiled Snake Bracelet 18k yellow gold, the flexible bracelet mounted with singlecut diamonds weighing approximately 0.05 carats in total and round-cut rubies weighing approximately 0.20 carats in total. inside circumference 6‑3/4”, total weight 47.0 grams

651

$4,500‑$7,000 650 Diamond Snake Ring 18k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.33 carats in total. size 7‑1/4, total weight 3.0 grams $1,200‑$1,800 651 Jane Bolinger Pearlized Celadon Lizard Convertible “Francesca” Handbag the gusseted body with gold snake closure and removable lizard-topped gold chain, the interior lined with gold kidskin and high-gloss gold leather, with the gold metal “Jane Bolinger” label above a slip pocket stamped “Made in Italy”, the exterior front panel with a horizontal slip pocket and zipper pocket along the top edge, the foldover cover with a zipper pocket, includes a dust bag. h. 5”, w. 9”, d. 2”, chain drop: 10‑1/4” $600‑$900 652 Diamond Heart Pendant/Pin

653 Wide Diamond Bracelet 18k white gold, the flexible bracelet mounted with round brilliant-cut diamonds weighing approximately 4.59 carats in total, approximate color E-G and clarity VS1‑SI1. w. 3/4”, l. 6‑3/4”, total weight 44.0 grams $2,500‑$4,000 654 Diamond Pendant on Chain 18k white gold, the vintage-style filigree pendant mounted with round brilliant-cut diamonds, suspended from a 20” chain mounted with round brilliant-cut diamonds, with an approximate total diamond weight of 1.00 carat. total weight 9.0 grams $2,500‑$4,000 655 Hamilton Diamond Wrist Watch

14k white gold, the pendant/pin mounted with round brilliant-cut diamonds weighing approximately 1.46 carats in total, approximate color E-F and clarity VS1‑VS2. l. 1”, total weight 4.6 grams

14k white gold, the case and band set with round brilliantcut and single-cut diamonds weighing approximately 1.75 carats in total, the twenty-two jewels mechanical manual wind movement and white dial signed “Hamilton”. l. 6‑5/8”, total weight 24.8 grams

$700‑$1,000

$600‑$900

220

648

650

654

649

652

655

653

221

659

657

661

660 658

662

663

664 detail 664

8 222

656 Stunning Tanzanite and Diamond Ring platinum, the ring mounted with an oval-cut tanzanite weighing 28.03 carats, GIA report #6173679188, accented by round brilliant-cut diamonds weighing 1.19 carats in total. size 9‑1/4, total weight 18.3 grams $18,000‑$25,000 657 Diamond Chandelier Earrings 14k white gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total. l. 3”, total weight 12.0 grams

660 Opal, Diamond and Sapphire Earrings 18k yellow gold, the earrings mounted with a pear-shaped opal weighing approximately 12.34 carats in total, accented by round-cut treated sapphires weighing approximately 0.80 carats in total and white and light brown round brilliantcut diamonds weighing approximately 0.90 carats in total. l. 1‑3/4”, total weight 15.0 grams $2,500‑$4,000 661 Opal, Emerald and Diamond Ring

$1,000‑$1,500

18k yellow gold, the ring mounted with a cushion-shaped opal cabochon weighing approximately 2.00 carats, surrounded by twelve square-cut emeralds weighing approximately 1.00 carat in total, and four corner set with single-cut diamonds weighing approximately 0.05 carats in total. size 7‑1/4, total weight 7.5 grams $700‑$1,000 662 Unusual Opal and Diamond Ring platinum, the ring mounted with a cabochon-cut opal weighing approximately 7.66 carats, flanked on either side by a halfmoon-shaped diamond weighing approximately 0.50 carats in total, approximate color D-E and clarity SI1‑SI2. size 6‑1/2, total weight 13.0 grams $3,000‑$5,000 656

658 Tanzanite and Diamond Ring 14k white gold, the ring mounted with a rectangular cushioncut tanzanite with an approximate weight of 5.50 carats, flanked on either side by three round brilliant-cut diamonds weighing approximately 1.93 carats in total. size 6‑3/4, total weight 8.9 grams $4,000‑$7,000 659 Tanzanite and Diamond Earrings sterling silver, each earring mounted with ten pear-cut tanzanites weighing approximately 3.80 carats in total, accented by twelve round-cut tanzanites weighing approximately 0.36 carats in total and round-cut diamonds weighing approximately 1.77 carats in total. l. 1‑1/2”, total weight 15.0 grams

663 Turquoise, Diamond and Ruby Earrings 18k yellow gold, the dangle earrings mounted with a pearshaped turquoise, measuring approximately 26.0 x 11.0 x 6.46 mm, accented with round-cut treated rubies weighing approximately 0.72 carats in total and round brilliant-cut white and light brown diamonds weighing approximately 0.25 carats in total. l. 1‑1/2”, total weight 16.0 grams $1,800‑$2,500 664 Turquoise, Diamond and Ruby Ring 14k yellow gold, the ring mounted with a cushion-cut turquoise measuring approximately 18.0 x 18.0 x 7.37 mm, accented with round-cut treated rubies weighing approximately 0.52 carats in total, and round brilliant-cut diamonds weighing approximately 0.56 carats in total. size 7, total weight 11.0 grams $1,400‑$1,800

$600‑$900

223

669 Aquamarine and Diamond Necklace sterling silver, the necklace mounted with pear-shaped faceted aquamarine briolettes weighing approximately 132.0 carats in total, finished with a lobster clasp mounted with round-cut diamonds weighing approximately 0.18 carats in total. l. 16”, total weight 22.5 grams $600‑$900 670 Zircon and Diamond Ring 14k white gold, the ring mounted with an oval-cut blue zircon with an approximate weight of 1.00 carat, accented by round brilliant-cut diamonds weighing approximately 0.89 carats in total. size 7, total weight 6.1 grams 670

665 Gold and Chalcedony Necklace 14k yellow gold, the necklace composed of free-form chalcedony drops, separated by gold tubes and finished with a ball clasp. l. 18”, total weight 15.2 grams $600‑$900 666 Blue Topaz and Diamond Earrings sterling silver, each earring mounted with two pear-cut blue topazes weighing approximately 15.00 carats in total, accented with round-cut diamonds weighing approximately 0.88 carats in total. l. 2”, total weight 9.0 grams

$1,200‑$1,800 671 Blue Diamond Bracelet 18k white gold, the bracelet mounted with eleven treated blue/green diamonds weighing approximately 1.96 carats in total, clarity SI1‑SI2, and round brilliant-cut white diamonds weighing approximately 0.52 carats in total, approximate color G-I and clarity SI1‑SI2. l. 7”, total weight 10.0 grams $2,000‑$4,000 672 Emerald-Cut Diamond Ring 18k white gold, the band mounted with seven emerald-cut diamonds weighing approximately 2.28 carats in total, approximate color E-F and clarity VVS1‑VVS2. size 7, total weight 4.0 grams $3,500‑$5,000

$600‑$900 667 Aquamarine and Diamond Ring 18k white gold, the ring mounted with an emerald-cut aquamarine weighing approximately 10.75 carats, accented by round brilliant-cut diamonds weighing approximately 0.80 carats in total. size 7, total weight 8.0 grams $3,000‑$5,000 668 Aquamarine and Gold Necklace 14k yellow gold, the necklace mounted with free-form aquamarine sections with gold-leafed edges, separated by gold tubes and finished with a ball clasp. l. 16‑1/2”, total weight 20.1 grams $600‑$900

224

672

666

669

665

667

671

668

225

673 674

675

673 Diamond Dangle Earrings 18k white gold, the earrings mounted with round brilliant- and baguette-cut diamonds weighing approximately 1.72 carats in total, approximate color D-E and clarity VVS1‑VS2. l. 3/4”, total weight 4.0 grams $1,800‑$2,500 674 Diamond Ring 18k white gold, the ring mounted with round brilliant- and baguette-cut diamonds weighing approximately 1.04 carats in total, approximate color E-G and clarity VVS2‑VS2. size 6, total weight 5.0 grams $1,500‑$2,500

226

675 Diamond Bracelet 18k white gold, the bracelet mounted with twenty-four sections set with round brilliant- and baguette-cut diamonds weighing approximately 3.92 carats in total, approximate color E-G and clarity VVS1‑VS1. l. 7‑1/2”, total weight 12.0 grams $4,500‑$7,000

676 Stunning Diamond Necklace 18k white gold, the necklace composed of ten sections, including the drop, mounted with baguette- and round brilliant-cut diamonds, weighing approximately 12.43 carats in total, approximate color D-E and clarity VVS2‑VS2, suspended from a white gold woven chain. l. 18”, total weight 41.0 grams $18,000‑$25,000

676

677

678

677 Diamond Earrings with Jackets

678 Custom-Made Diamond Ring

18k white gold, the earrings with removable dangles, mounted with round brilliant- and baguette-cut diamonds weighing approximately 2.64 carats in total, approximate color D-E and clarity VS1‑VS2. l. 1”, total weight 5.0 grams

18k white gold, the three-row ring mounted with two sections of baguette- and round brilliant-cut diamonds weighing approximately 1.66 carats in total, approximate color E-F and clarity VVS2‑VS2. size 6‑1/2, total weight 7.0 grams

$2,500‑$4,000

$2,000‑$4,000

227

682

681 680

228

683

679

679 Three Vintage Judith Leiber Convertible Clutches

681 Yellow and White Diamond Band

ca. 1980s-90s, the black satin and gold kidskin examples with self-piped gathered bodies and similar curved self frames, both with similar semi-precious stone flip clasps, the satinlined interiors with a zipper pocket, the gold example with a matching kidskin coin purse, both gilt-brass-labeled “Judith Leiber/New York”, black satin h. 5‑1/4”, w. 10”, d. 3‑1/2”, chain drop: 19”, gold kidskin h. 5‑1/2”, w. 8‑3/4”, d. 2‑1/2”, chain drop: 19”, the red whipsnake example with piped gathered body, the self frame with gold chevron accents and jeweland snake-inset flip clasp, the interior lined in satin with one zipper pocket, gilt-brass-labeled “Judith Leiber”, h. 5”, w. 9”, d. 1‑1/2”, chain drop: 19”, all three with drop-in chains, dust bags included.

18k white gold, the band mounted with seven oval-cut fancy yellow diamonds weighing approximately 2.60 carats in total, approximate clarity VS2‑SI1, bordered on the top and bottom by round brilliant-cut white diamonds weighing approximately 0.34 carats in total, approximate color E-G and clarity VS1‑SI1. size 6‑1/2, total weight 12.0 grams $5,000‑$8,000 682 Gold and Diamond Necklace in the Buccellati Style

Provenance: Estate of Nancy Nye Harrell, Houston, Texas.

18k yellow/white gold, the filigree necklace mounted with round brilliant-cut diamonds weighing approximately 5.96 carats in total, approximate color D-E and clarity SI1‑SI2. l. 18”, total weight 71.3 grams

$600‑$900

$8,000‑$12,000

680 Natural Yellow Sapphire and Diamond Ring

683 Yellow and White Diamond Ring

platinum, the ring mounted with a large natural cushioncut yellow sapphire weighing 7.34 carats, GIA report #2185163990, accented by round brilliant- and princess-cut diamonds weighing 1.31 carats in total. size 7, total weight 8.8 grams

18k white gold, the ring mounted with a cluster of five ovalcut fancy yellow diamonds and four pear-cut fancy yellow diamonds, weighing approximately 1.66 carats in total, approximate clarity VVS2‑VS1, surrounded by round brilliantand pear-cut white diamonds weighing approximately 0.94 carats in total, approximate color E-F and clarity VS1‑VS2. size 7, total weight 9.0 grams

$10,000‑$15,000

$4,500‑$7,000

229

684 Stunning Alexandrite and Diamond Ring platinum, the ring mounted with an octagonal step-cut alexandrite weighing 13.91 carats, with a color change from a greenish yellow to yellowish brown, GIA report #1219407010, accented by round brilliant-cut diamonds weighing 0.74 carats in total. size 7, total weight 10.7 grams $20,000‑$40,000

688 Tiffany & Co. Schlumberger Brooch 18k yellow gold, the brooch mounted with round brilliantcut diamonds weighing approximately 0.59 carats in total, approximate color D-E and clarity VVS1‑VVS2, stamped “Tiffany, Schlumberger, Made in France”. size 1” x 1‑1/2”, total weight 32.0 grams $1,800‑$2,500 689 Tiffany & Company Elsa Peretti Gold Ring 18k yellow gold, the ring in the “Infinity” design, stamped “Tiffany & Co., 18k, Peretti”. size 7‑1/4”, total weight 10.2 grams $600‑$900 690 Diamond Bangle Bracelet 18k yellow gold, the bracelet mounted with five bezel-set round brilliant-cut diamonds weighing approximately 0.26 carats in total. inside circumference 6‑1/4”, total weight 32.0 grams

684

685 Yellow Sapphire and Diamond Ring 14k white gold, the ring mounted with an oval-cut natural yellow sapphire weighing approximately 2.10 carats, accented by round brilliant-cut diamonds weighing approximately 0.94 carats in total. size 7, total weight 7.7 grams $1,800‑$2,500 686 Yellow and White Diamond Earrings 14k white gold, each earring mounted with a cushion-cut fancy intense yellow diamond weighing approximately 0.75 carats in total, approximate clarity VVS2, accented with round brilliantcut white diamonds weighing approximately 0.62 carats in total, approximate color E-F and clarity VS1‑VS2. l. 1”, total weight 5.0 grams $4,500‑$7,000 687 Yellow and White Diamond Engagement Ring 18k white gold, the ring mounted with a central cushion-cut fancy light yellow diamond weighing approximately 1.30 carats, approximate clarity VVS2, accented with round brilliant-cut white diamonds weighing approximately 0.59 carats in total, approximate color F-I and clarity VS1‑VS2. size 6‑1/2, total weight 6.0 grams $12,000‑$18,000

230

$700‑$1,000 691 Diamond Cuff Bracelet gold vermeil, the satin-finished bracelet in two tones, separated by a wavy line mounted with single-cut diamonds, with an approximate total weight of 0.35 carats. inside circumference 6‑1/4”, w. 1”, total weight 38.2 grams $600‑$900 692 Fancy Yellow and White Diamond Ring 18k yellow/white gold, the ring designed with three marquiseshaped sections, the center mounted with round brilliantcut white diamonds weighing approximately 0.18 carats in total, approximate color E-F and clarity VVS2‑VS1, and two outer sections mounted with round brilliant-cut fancy yellow diamonds weighing approximately 0.36 carats in total, approximate clarity VVS2‑VS1. size 8, total weight 13.0 grams $2,500‑$4,000 693 Diamond Bangle Bracelet gold vermeil, the hinged bracelet mounted with single-cut diamonds weighing approximately 1.00 carat in total. inside circumference 6‑7/8”, w. 9/16”, total weight 37.6 grams $600‑$900

686

685

687

692

693

688

690

689

691

231

702

698 694

697

695

699

696

703

232

700

700 Gold and Diamond Necklace 694 Diamond Lariat Necklace 18k yellow gold, the necklace set with a round- and ovalcut diamond weighing approximately 0.45 carats in total. l. 18‑1/4”, total weight 2.3 grams $600‑$900 695 Four-Row Diamond Cuff Bracelet gold vermeil, the four twisted rope bands decorated with a mix of round- and marquise-shaped designs, pave-set with singlecut diamonds weighing approximately 0.95 carats in total. inside circumference 6‑3/4”, total weight 25.0 grams

18k yellow/white gold, the necklace with crisscross designs, some mounted with round brilliant-cut diamonds weighing approximately 3.00 carats in total. l. 17”, total weight 84.0 grams $4,000‑$7,000 701 Diamond and Gold Bracelet 14k yellow gold, the flexible tapered bracelet composed of gold bars and a woven link border with eight bezel-set round brilliant-cut diamonds weighing approximately 0.72 carats in total. l. 7”, w. 1/2” to 13/16”, total weight 45.0 grams $1,200‑$1,800

$600‑$900 696 Gold and Diamond Ear Clips 18k yellow gold, the ear clips designed with swirling wire-work, set with round brilliant-cut diamonds weighing approximately 1.08 carats in total. size 1‑1/8” x 1‑1/4”, total weight 11.8 grams $1,500‑$2,500 697 Diamond Tennis Bracelet 14k yellow gold, the bracelet mounted with thirty-five round brilliant-cut diamonds weighing approximately 10.50 carats in total, approximate color H-J and clarity SI1‑I1. l. 8”, total weight 25.0 grams 701

$6,000‑$9,000 698 Heart Pendant on Chain 18k yellow gold, the heart-shaped pendant composed with an entwined vine design, size 1‑11/16” x 2”, suspended from a 2.5 mm rope chain, l. 30”. total weight 44.2 grams $700‑$1,000 699 Diamond and Seed Pearl Fleur-De-Lis Brooch 14k yellow gold, the brooch mounted with nine round brilliantcut diamonds weighing approximately 0.78 carats in total, accented with seed pearls. l. 1‑1/4”, total weight 7.4 grams $800‑$1,200

702 Gold and Diamond Necklace 18k yellow gold, the curved bar pendant set with single-cut diamonds and eleven pear-shaped diamonds, weighing approximately 1.10 carats in total. l. 17‑1/2”, total weight 3.5 grams $700‑$1,000 703 Diamond Cuff Bracelet gold vermeil, the bracelet with a chain-link design, mounted with rose-cut diamonds weighing approximately 0.47 carats. inside circumference 6‑1/4”, total weight 34.0 grams $600‑$900

233

709

704 Wide Gold Bracelet 14k yellow gold, the flexible twisted-link bracelet accented with 4.0 mm round gold beads on the outer edge. w. 5/8”, l. 7‑3/4”, total weight 48.4 grams $600‑$900 705 Gold and Diamond Necklace 18k yellow gold, the heavy hammered gold necklace with graduated links mounted with round brilliant-cut diamonds weighing approximately 3.84 carats in total, approximate color D-E and clarity VVS2‑VS1. l. 16”, total weight 114.0 grams $8,000‑$12,000 706 Wide Gold Bracelet 14k yellow gold, the flexible bracelet composed of two rows of convex textured herringbone links. l. 7”, w. 5/8”, total weight 44.7 grams $800‑$1,200 707 Lady’s Baume & Mercier Diamond Wrist Watch 14k yellow gold, the oval case set with thirty round brilliant-cut diamonds weighing approximately 0.30 carats in total, with a champagne-colored dial signed “Baume & Mercier, Geneve, Quartz, Swiss Made”, the band composed of five rows of 2.5 mm round rope chain. l. 6‑7/8”, total weight 27.8 grams $800‑$1,200

234

708 Diamond and Enamel Ring 18k yellow gold, the ring mounted with twelve round brilliantcut diamonds weighing approximately 1.02 carats in total, the gallery and ring shank with blue and green enamel separated by beaded edges. size 6‑1/2, total weight 15.1 grams $700‑$1,000 709 Three Vintage Judith Leiber Karung Frame Purses ca. 1980s-1990s, including a structured tan example with gold-accented self frame, gold swivel push closure and adjustable self strap, the toast grosgrain-lined interior with the gold “Judith Leiber/New York” label fronting a scalloped slip pocket, retains a matching coin purse, gold swing mirror and gold comb, resting on four gold ball feet, h. 5‑1/2”, w. 6‑1/2”, d. 3‑1/2”, strap drop: 9‑1/4”-16‑3/4”; a slate blue example self-piped and gathered with self curved frame, jewel-inset flip clasp and gold drop-in chain, the navy satin-lined interior with a gold “Judith Leiber” label above a zipper pocket giltstamped “Made in Spain”, h. 5‑1/4”, w. 10”, d. 3‑3/4”, chain drop: 19‑1/4”; and a chestnut pouch with self frame, a jewel and karung-inset flower flip clasp and gold drop-in chain, the grosgrain-lined interior with opposing scalloped slip pockets and the gold “Judith Leiber/New York” label, h. 6‑1/4”, w. 7‑1/4”, d. 3”, chain drop: 18‑1/2”; dust bags included. Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900

706

705

704

707 708

235

711 714

713

716

712

717

715

236

719

718

710 Multi-Colored Sapphire Cuff Bracelet

714 Sapphire and Diamond Ring

gold vermeil, the bracelet mounted with multicolored squarecut sapphires in purple, yellow, orange, pink, red, blue and green, weighing approximately 3.50 carats in total. w. 1”, inside circumference 6”, total weight 30.0 grams

18k white gold, the ring mounted with a central cabochoncut treated sapphire weighing approximately 8.88 carats, accented with round- and square-cut treated sapphires weighing approximately 1.08 carats in total, and round brilliant-cut diamonds weighing approximately 0.98 carats in total. size 6‑1/2, total weight 10.0 grams

$600‑$900 711 Natural Yellow Sapphire and Diamond Earrings 14k yellow gold, each earring mounted with an oval-cut natural yellow sapphire weighing approximately 4.84 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.38 carats in total. l. 1‑3/8”, total weight 8.3 grams $3,500‑$5,000

$4,000‑$7,000 715 Diamond Swirl Ring 18k white gold, the ring with a swirl design and mounted with round brilliant-cut diamonds weighing approximately 1.58 carats in total, approximate color E-F and clarity VVS2‑VS1. size 9, total weight 19.0 grams $3,000‑$5,000 716 Sapphire and Diamond Ring 14k white gold, the ring mounted with eleven French-cut sapphire baguettes weighing approximately 1.57 carats in total, bordered by round brilliant-cut diamonds weighing approximately 0.19 carats in total. size 7‑1/4, total weight 2.9 grams $600‑$900 717 Sapphire and Diamond Ring

710

712 Sapphire and Diamond Band 18k yellow gold, the ring mounted with five oval-cut treated sapphires weighing approximately 2.25 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.38 carats in total. size 7, total weight 6.0 grams $900‑$1,200 713 Natural Sapphire and Diamond Ring platinum, the ring mounted with a natural triangular-cut blue sapphire weighing 2.95 carats, GIA report #2236787677, accented by round brilliant-cut diamonds weighing approximately 0.57 carats in total. size 7‑1/4”, total weight 5.3 grams $3,500‑$5,000

18k white gold, the ring mounted with a central oval-cut treated sapphire weighing approximately 1.93 carats, accented with calibrated-cut treated sapphires weighing approximately 0.85 carats in total, and round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 7, total weight 6.0 grams $2,500‑$4,000 718 Diamond Dangle Earrings 18k white gold, the earrings mounted with five graduated clusters of round brilliant-cut diamonds weighing approximately 6.48 carats in total, approximate color E-F and clarity VS2‑SI2. l. 1‑1/2”, total weight 9.0 grams $1,400‑$1,800 719 Diamond and Sapphire Ring platinum, the custom-made ring mounted with a central princess-cut diamond weighing approximately 0.92 carats, approximate color E and clarity VS2, flanked on either side by a square-cut treated sapphire weighing approximately 0.44 carats in total, and accented with round brilliant-cut diamonds weighing approximately 0.15 carats in total. size 6‑1/2, total weight 3.0 grams $9,000‑$12,000

237

720

720 Diamond Stud Earrings 14k white gold, the earrings mounted with a central round brilliant-cut diamond weighing approximately 0.65 carats in total, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.40 carats in total, approximate color E-G and clarity SI1‑SI2. dia. 1/4”, total weight 2.3 grams $2,500‑$4,000

722

722 Stunning Period Art Deco Diamond Bracelet

721

721 Diamond Engagement Ring 18k white gold, the ring mounted with a central round brilliant-cut diamond weighing 1.03 carats, color G and clarity SI3, EGL report #1754013425, accented by round brilliant- and princess-cut diamonds weighing approximately 0.59 carats in total. size 7, total weight 3.2 grams $4,000‑$7,000

238

platinum, the bracelet mounted with a central bezel-set Old European-cut diamond with an approximate weight of 1.14 carats, approximate (color E, clarity SI2), two bezel-set Old European-cut diamonds weighing approximately 0.95 carats in total, approximate (color E-G, clarity SI2‑I1), eighteen channel-set baguette-cut diamonds weighing approximately 2.47 carats in total, approximate (color E-G, clarity SI1‑I1), and an additional 282 prong-set Old European-cut diamonds weighing approximately 14.86 carats in total, approximate (color E-G, clarity VS2‑I1), with a total diamond weight of 19.70 carats. l. 7”, w. 1”, total weight 69.9 grams $12,000‑$18,000

723

724

723 Stunning Diamond Engagement Ring

724 Stunning Diamond Necklace

platinum, the ring mounted with a central square modified brilliant-cut diamond weighing 1.00 carat, color H and clarity VS2, GIA report #16841123, flanked by black enamel accents, the whole accented with marquise-, round brilliant- and baguette-cut diamonds weighing approximately 0.47 carats in total. size 6, total weight 5.0 grams

platinum, the necklace mounted with seventeen graduated, bezel-set European-cut diamonds, suspended between two chains, weighing approximately 9.33 carats in total, approximate color H-J and clarity VS1‑SI2. l. 16”, total weight 7.0 grams

$35,000‑$50,000

$25,000‑$40,000

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725 Diamond Half-Hoop Earrings 18k white gold, the earrings with an open floral design, mounted with marquise- and round brilliant-cut diamonds weighing approximately 2.24 carats in total, approximate color E-F and clarity SI1‑SI2. l. 3/4”, total weight 9.0 grams $2,500‑$4,000 726 Sapphire and Diamond Ring

728 “En Tremblant” Diamond Flower Earrings 18k white gold, the dangle earrings mounted with round brilliant-cut diamonds weighing approximately 2.51 carats in total, approximate color E-F and clarity VS1‑SI1. l. 1‑1/2”, total weight 10.0 grams $2,000‑$4,000 729 Color-Change Sapphire and Diamond Ring

18k white gold, the wide band mounted with five rows of round-cut sapphires weighing approximately 3.70 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.57 carats in total. size 7, total weight 18.0 grams

14k white gold, the ring mounted with a rectangular cushioncut natural color-change sapphire with an approximate weight of 1.05 carats, with a color change from a dark, very slightly grayish, violetish blue color to a dark, very slightly grayish, bluish purple, accented with round brilliant- and baguette-cut diamonds with an approximate total weight of 0.75 carats. size 5, total weight 4.8 grams

$3,000‑$5,000

$1,500‑$2,500 730 Sapphire and Diamond Ring 18k white gold, the ring with a wave design, mounted with ten oval-cut sapphires weighing approximately 2.33 carats, bordered by baguette-cut diamonds weighing approximately 0.56 carats. size 7‑1/4, total weight 4.5 grams $1,200‑$1,800 731 White Gold and Diamond Earrings 18k white gold, the cluster earrings mounted with round brilliant-cut diamonds weighing approximately 3.71 carats in total, approximate color E-F and clarity VS1‑SI1. dia. 1/2”, total weight 9.0 grams $6,000‑$9,000 732 Diamond, Sapphire and Emerald Pendant on Chain 733

727 “En Tremblant” Diamond Flower Ring 18k white gold, the custom-made ring mounted with round brilliant-cut diamonds in a flower design, weighing approximately 1.55 carats in total. size 6‑1/2, total weight 14.0 grams $1,500‑$2,500

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18k white gold, the pendant mounted with round-cut emeralds weighing approximately 0.20 carats in total, marquise-cut sapphires weighing approximately 0.90 carats in total and round brilliant-cut diamonds weighing approximately 0.89 carats in total, suspended from a 20” chain. total weight 5.0 grams $2,500‑$4,000 733 Mario Buccellati (1891‑1965) Silver Compact third quarter 20th century, Milan, .800 silver, of canted square form with brushed finish, the lid set with a 7 mm jade cabochon. w. 2‑3/4”; 4.20 t. oz. $600‑$900

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734 Emerald and Diamond Ring 18k white gold, the ring mounted with an emerald-cut treated emerald, with an approximate weight of 2.39 carats, accented with two baguette-cut and eighteen single-cut diamonds, with an approximate total weight of 0.69 carats, approximate color F-I and clarity VVS2‑SI1. size 7‑1/2, total weight 8.0 grams $800‑$1,200 735 Diamond and Emerald Bracelet sterling silver, the bracelet mounted with rose-cut diamonds weighing approximately 2.75 carats in total, approximate color K-L and clarity SI1‑I1, and a central round-cut emerald with an approximate weight of 0.23 carats. l. 7”, total weight 26.0 grams $600‑$900 736 Emerald and Diamond Necklace sterling silver, the four-strand necklace composed of treated, faceted emerald roundels, finished with a clasp mounted with round-cut diamonds weighing approximately 0.33 carats in total. l. 18”, total weight 76.6 grams $600‑$900 737 Emerald and Diamond Earrings platinum, the earrings mounted with oval-cut treated emeralds weighing approximately 2.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.26 carats in total. l. 7/8”, total weight 4.3 grams $1,000‑$1,500 738 Emerald and Diamond Necklace 18k white gold, the flexible necklace mounted with pear-, square-, rectangular- and oval-cut treated emeralds weighing approximately 23.38 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.29 carats in total, approximate color E-F and clarity VS2‑SI2. l. 17‑3/4”, total weight 24.2 grams $10,000‑$15,000 739 Emerald and Diamond Earrings 18k white gold, each earring mounted with three square-cut treated emeralds weighing approximately 2.34 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.80 carats in total. l. 1‑1/2”, total weight 8.0 grams $4,000‑$7,000

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740 Emerald and Diamond Ring

744 Emerald and Diamond Ring

18k white gold, the ring mounted with three emerald-cut treated emeralds weighing approximately 2.16 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 7, total weight 4.0 grams

14k yellow gold, the ring mounted with an emerald-cut treated emerald weighing approximately 0.74 carats, flanked to either side by an emerald-cut diamond weighing approximately 2.03 carats in total, approximate color E-G and clarity SI1‑SI2, accented by single-cut diamonds weighing approximately 0.26 carats. size 8, total weight 7.5 grams

$2,500‑$4,000

$3,000‑$5,000

741 Emerald and Diamond Earrings

745 Emerald and Diamond Ring

14k white gold, each earring mounted with a pear-cut treated emerald weighing approximately 2.43 carats in total, accented with round brilliant-cut diamonds weighing approximately 2.77 carats in total, approximate color G-I and clarity VS1‑SI1. l. 1‑1/4”, total weight 7.0 grams

14k yellow gold, the ring mounted with a central oval-cut treated emerald weighing approximately 2.28 carats, surrounded by round brilliant-cut diamonds weighing approximately 0.39 carats in total. size 7, total weight 7.0 grams

$2,000‑$4,000 742 Emerald and Diamond Pendant Necklace 14k yellow gold, the pendant set with an emerald-cut treated emerald weighing approximately 3.91 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 2.08 carats in total, approximate color E-F and clarity VVS2‑VS1, mounted to a yellow gold herringbone chain. l. 15‑3/4”, total weight 35.0 grams $1,800‑$2,500 743 Emerald and Diamond Ring

$1,200‑$1,800 746 Emerald and Diamond Ring 14k yellow gold, the ring mounted with a treated oval-cut emerald weighing approximately 2.31 carats, accented with round brilliant-cut diamonds weighing approximately 0.50 carats in total. size 7, total weight 8.0 grams $1,200‑$1,800 747 Jane Bolinger Pearlized Sand Lizard Convertible “Francesca” Handbag

18k yellow gold, the band set with ten French-cut emerald baguettes weighing approximately 1.19 carats in total, bordered by round brilliant-cut diamonds weighing approximately 0.16 carats in total. size 7, total weight 5.6 grams

the gusseted body with snap closure and removable lizardtopped gold chain, the interior lined with gold kidskin and candlelight silk satin, with the gold metal “Jane Bolinger/Made in Italy” label above a slip pocket, the exterior front panel with a horizontal slip pocket and zipper pocket along the top edge, the fold-over cover with a zipper pocket, includes a dust bag. h. 5‑1/4”, w. 10”, d. 2”, strap drop: 10‑1/4”

$900‑$1,200

$600‑$900

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748 Gold and Peridot Necklace

754 Multi-Stone Bracelet

14k yellow gold, the necklace composed of two strands of peridot in multiple shapes and sizes, finished with a toggle clasp. l. 16”, total weight 86.5 grams

14k yellow gold, the flexible bracelet set with amethyst and aventurine oval cabochons and finished on the clasp with amethyst and aventurine round cabochons, weighing approximately 5.00 carats in total. l. 7‑1/4”, w. 1‑1/4”, total weight 45.4 grams

$600‑$900 749 Citrine, Peridot and Diamond Ring

$1,800‑$2,500

14k yellow gold, the ring mounted with a central oval-cut citrine weighing approximately 4.04 carats, surrounded by five ovalcut peridot weighing approximately 2.30 carats and accented with four round brilliant-cut diamonds weighing approximately 0.24 carats. size 7, total weight 15.4 grams $900‑$1,200 750 Fire Opal and Diamond Ring 18k yellow gold, the ring mounted with a marquise-cut fire opal weighing approximately 2.77 carats, surrounded by a border of round brilliant-cut diamonds weighing approximately 0.84 carats in total. size 6‑1/2, total weight 13.0 grams $900‑$1,200 751 Whimsical Coral, Enamel and Pearl Brooch 18k yellow gold, the red coral branch set with a polychrome enamel tropical fish with a round ruby cabochon for its eye, and five cultured pearls depicting bubbles. size 1‑3/4” x 3”, total weight 15.4 grams $1,800‑$2,500 752 Coral and Diamond Ring 751

14k yellow gold, the ring mounted with a round 11.0 mm red coral cabochon, surrounded by round brilliant-cut diamonds weighing approximately 0.27 carats. size 7, total weight 5.1 grams $700‑$1,000 753 Murano Glass and Gold Ring 22k yellow gold, mounted with an oval Murano glass intaglio depicting a man and a woman. size 6‑1/2, total weight 13.0 grams $1,800‑$2,500

755 Diamond and Multi-Stone Necklace 14k yellow gold, the boot-jack-design link necklace set with single-cut diamonds weighing approximately 0.30 carats in total, and four oval cabochons composed of an amethyst, a sapphire, a chrysoprase and a ruby, each weighing approximately 0.60 carats. l. 17‑3/4”, total weight 65.0 grams $2,500‑$4,000

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756 Amethyst and Gold Bracelet 14k yellow gold, the flexible bracelet bordered by three rows of rice links on both edges, accented with nine oval-cut amethysts weighing approximately 9.00 carats in total. l. 7”, w. 5/8”, total weight 36.2 grams $900‑$1,200 757 Wide Gold, Amethyst and Diamond Bangle Bracelet 14k yellow gold, the wide bracelet mounted with a central oval-cut amethyst weighing approximately 17.30 carats, surrounded by round brilliant-cut diamonds weighing approximately 1.00 carat in total, flanked by two round-cut amethysts weighing approximately 1.00 carat in total. inside circumference 7”, total weight 64.0 grams $3,500‑$5,000 758 Ruby and Diamond Ring 18k yellow gold, the ring mounted with six pear-cut treated rubies in a flower design, weighing approximately 2.15 carats in total, centered and accented with round brilliant-cut diamonds weighing approximately 0.42 carats in total. size 7‑1/4, total weight 8.0 grams $1,200‑$1,800 759 Ruby and Diamond Earrings 18k yellow gold, each earring mounted with six pear-cut treated rubies weighing approximately 5.64 carats in total, accented by a halo of round brilliant-cut diamonds weighing approximately 0.92 carats in total. l. 1”, total weight 9.0 grams $1,800‑$2,500

760 Ruby and Diamond Ring 18k yellow gold, the ring mounted with a cabochon-cut treated ruby weighing approximately 1.56 carats, accented by round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 6‑1/2, total weight 13.0 grams $2,000‑$4,000 761 Ruby and Diamond Earrings 14k yellow gold, the earrings mounted with square stepcut treated rubies weighing approximately 11.12 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.81 carats in total. l. 1”, total weight 8.3 grams $1,000‑$1,500 762 Star Ruby and Diamond Ring 14k yellow gold, the ring mounted with a star ruby cabochon weighing approximately 1.55 carats, accented by round brilliant-cut diamonds weighing approximately 0.95 carats in total. size 7‑1/4, total weight 6.9 grams $1,400‑$1,800 763 Boucheron Ruby Ring 18k white/yellow gold, the ring mounted with seven ruby baguettes weighing approximately 0.50 carats in total, stamped “Boucheron, 750”. size 5‑1/2, total weight 13.8 grams $1,800‑$2,500 764 Ruby and Diamond Earrings 14k white gold, each earring mounted with a treated ruby weighing approximately 1.84 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.28 carats in total. l. 3/4”, total weight 3.0 grams $1,500‑$2,500

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757

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761

763

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767

765

766

250

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765 Beautiful Rubellite and Diamond Necklace 18k white gold, the necklace mounted with rubellite tourmaline briolettes weighing approximately 36.18 carats in total, accented by round brilliant-cut diamonds weighing approximately 4.64 carats in total. l. 16‑1/2”, total weight 43.0 grams

769 Ruby and Diamond Ring platinum, the ring mounted with a cushion-cut natural ruby weighing approximately 1.08 carats, accented by round brilliant- and baguette-cut diamonds weighing approximately 0.89 carats in total. size 7, total weight 5.8 grams $2,500‑$4,000

$7,000‑$10,000 766 Ruby and Diamond Earrings 18k white gold, the quatrefoil-shaped earrings mounted with invisible-set rubies weighing approximately 4.40 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.14 carats in total. l. 5/8”, total weight 5.2 grams $1,800‑$2,500 767 Ruby and Diamond Ring 18k white gold, the ring mounted with an oval-cut ruby weighing approximately 2.61 carats, accented with baguetteand round brilliant-cut diamonds weighing approximately 0.32 carats in total. size 7, total weight 4.0 grams

769

$1,200‑$1,800 768 Ruby and Diamond Earrings sterling silver, the earrings mounted with pear- and marquisecut treated rubies in a flower design, weighing approximately 2.36 carats in total, over a swirl design mounted with round-cut diamonds weighing approximately 0.64 carats in total. l. 3/4”, total weight 7.0 grams $600‑$900

770 Garnet and Diamond Ring 18k white gold, the ring mounted with an oval-cut garnet weighing approximately 1.65 carats, surrounded by petals mounted with round brilliant-cut diamonds weighing approximately 0.96 carats in total. size 8‑1/4, total weight 11.4 grams $800‑$1,200

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771 Gentleman’s Rolex Datejust Wristwatch Stainless steel, the deep blue dial with Roman numerals, signed “Rolex, Oyster Perpetual, Datejust, Superlative Chronometer Officially Certified”, reference #116200, with random serial # marked on the inside bezel, the jubilee bracelet with a hidden clasp with all the Rolex stamping, with a mechanical automatic movement. inside circumference 6‑1/2”, total weight 112.7 grams $2,500‑$4,000 772 Diamond and Enamel Cufflinks 14k yellow gold and sterling silver, the cufflinks with blue guilloche enamel in the Imperial Russian style, each applied with a silver Romanoff eagle and set with single-cut diamonds weighing approximately 0.50 carats in total. size 3/4” x 7/8”, total weight 15.8 grams $1,200‑$1,800 773 Pair of Diamond Cufflinks 14k white gold, the square cufflinks invisible- and channel-set with princess-cut diamonds weighing approximately 2.65 carats in total, approximate color G-H and clarity VS2‑SI2. size 1/2” x 1/2”, total weight 11.0 grams $1,200‑$1,800 774 Black Onyx and Diamond Cufflinks 18k white gold, each cufflink set with a quatrefoil-shaped black onyx cabochon surrounded by round brilliant-cut diamonds weighing approximately 1.00 carats in total, approximate color G-H and clarity VS1. size 1/2” x 1/2”, total weight 10.8 grams

777

$900‑$1,200 775 Gentleman’s Diamond Ring 14k white gold, the ring mounted with princess- and baguettecut diamonds weighing approximately 2.20 carats in total. size 14, total weight 11.0 grams

777 Gentleman’s Rolex Datejust Wristwatch

18k white gold, the ring mounted with a square-cut treated emerald weighing approximately 0.69 carats, surrounded by round brilliant-cut diamonds weighing approximately 0.28 carats in total. size 9, total weight 11.2 grams

18k yellow gold, the mother-of-pearl dial with diamond markers and signed “Rolex, Oyster Perpetual Datejust, Superlative Chronometer Officially Certified”, the bezel mounted with round brilliant-cut diamonds, with an approximate total weight of 1.60 carats, model #16018, serial #L871365, the president bracelet with a hidden clasp with the Rolex stamping. inside circumference 6”, total weight 82.0 grams

$1,800‑$2,500

$5,000‑$8,000

$600‑$900 776 Emerald and Diamond Ring

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253

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781

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783 784

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778 David Webb Enamel Shell-Form Cufflinks 18k yellow gold, each curved barbell cufflink with a large and small shell, decorated with black and rust-red enamel, stamped “Webb 18k”. dia. 13/16”, total weight 19.8 grams $2,500‑$4,000 779 Diamond and Black Star Sapphire Owl Cufflinks each cufflink set with two 3.0 mm round black star sapphires for the eyes, and single-cut diamonds weighing approximately 0.18 carats for the pair. size 3/4” x 9/16”, total weight 18.0 grams $900‑$1,200 780 Black Star Sapphire Cufflinks and Stud Set 14k yellow gold, each round scallop-shaped cufflink set with a 12.5 mm round black star sapphire cabochon, with three matching studs, each set with an 11.0 mm round black star sapphire cabochon, with an approximate total weight of 44.70 carats. cufflink dia. 3/4”, stud dia. 5/8”, total weight 32.8 grams

782 Gentleman’s Sapphire and Diamond Ring 18k yellow gold, the ring mounted with a central oval-cut natural sapphire weighing approximately 2.70 carats, and round-cut sapphires on the band weighing approximately 0.18 carats in total, the whole accented with round brilliant-cut diamonds weighing approximately 0.82 carats in total. size 7‑1/4, total weight 13.0 grams $2,500‑$4,000 783 Gentleman’s Diamond Ring 18k yellow gold, the ring mounted with thirteen round brilliant-cut diamonds weighing approximately 0.90 carats, surrounded by a halo of baguette-cut diamonds weighing approximately 0.95 carats in total, approximate color D-E and clarity VVS2‑VS1. size 12, total weight 23.0 grams $3,000‑$5,000 784 Gentleman’s Jade Seal Ring 14k yellow gold, the oval 16.6 mm x 22.6 mm green jade with an intaglio of a family crest. size 8‑1/4, total weight 12.4 grams

$2,500‑$4,000

$800‑$1,200

781 Tanzanite and Diamond Cufflinks 14k white gold, the cufflinks with a quilted design, set with oval-cut tanzanites weighing approximately 6.30 carats and round brilliant-cut diamonds weighing approximately 0.30 carats in total. size 3/4” x 1/2”, total weight 10.0 grams

785 Gentleman’s Diamond Ring 18k yellow gold, the ring mounted with a cluster of round brilliant-cut diamonds weighing approximately 1.11 carats in total, approximate color D-E and clarity VVS2‑VS1. size 8, total weight 17.0 grams

$1,200‑$1,800

$2,500‑$4,000

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789

786 Franco Lapini Silverplate Covered “Carciofi” Dish contemporary, Florence, with shallow oval dish and conforming domed lid, the lid with applied realistic, life-sized artichoke stalks. overall h. 10‑3/4”, l. 17”, w. 12” $1,200‑$1,800 787 Mario Buccellati Sterling Silver Pitcher

788 Georg Jensen Sterling Silver Box second half 20th century, Copenhagen, designed by Sigvard Bernadotte (1907‑2002), pattern number 929B, of rectangular form with molded edge, bracket feet and foliate button. h. 3/4”, w. 7‑5/8”, d. 3‑1/8”; 14.29 t. oz. $500‑$800 789 Spanish Silver Wine Cooler

third quarter 20th century, Milan, the pear-shaped body with “duck’s beak” spout, crested “S-scroll” handle and domed foot. h. 9‑1/8”, l. 7‑1/2”, dia. 5”; 26.85 t. oz.

mid-20th century, Barcelona, first standard (.915) silver, in the Danish Modern taste, of inverted bell form, with scrolling wire and grape cluster handles and base, above a cavetto domed foot. h. 9‑1/4”, dia. 8”; 42.05 t. oz.

$800‑$1,200

$900‑$1,200

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791

790 Cased Set of Eight Alphonse La Paglia (1907‑1953) Modernist Design Sterling Silver Sorbet Bowls

791 Tiffany & Co. Sterling Silver Coffee and Tea Set 1956‑1965, New York, New York, including a coffeepot, h. 9‑1/2”, a teapot, h. 8‑5/8”, a covered sugar bowl, h. 4‑3/4”, a cream jug, h. 4‑1/2”, and a waste bowl, h. 3”, each with a pear-shaped body, with fitted domed lids with rosebud finials, the pots with rosewood handles, the sugar bowl and creamer with reeded foliate handles, monogrammed “ARD”, together with a silverplate tray with pierced scroll border, 24” x 18”. 77.44 total t. oz.

mid-20th century, by International Silversmiths, Meriden, Connecticut, each with a hemispherical bowl and openwork “Danish Modern Blossom” standard above a circular foot, h. 3‑1/4”, dia. 3‑7/8”, presented in the original fitted, Pacific cloth-lined mahogany case, 5” x 19‑3/8” x 11”. 42.98 total t. oz. $1,200‑$1,800

$1,800‑$2,500

790

257

792 Contemporary Tiffany & Co. Sterling Silver Vase the pattern introduced in 2001, New York, New York, the ovoid body with waisted neck and wavy everted rim, with “hammered” finish. h. 11‑3/4”, dia. 7”; 46.86 t. oz. $1,000‑$1,500

792

793 Swid Powell (est. 1982) Sterling Silver Pitcher for Calvin Klein, New York, manufactured by Guido Galbiati, Milan, of cylindrical form, with triangular spout, strap “C” handle, and flat fitted lid with cylindrical finial. h. 9”, l. 6‑3/4”, dia. 3‑7/8”; 33.74 t. oz. $800‑$1,200

793

258

794 Set of Twelve Tiffany & Co. Sterling Silver Cordials the pattern introduced in 1915, New York City, New York, each with a rounded conical bowl raised on a short baluster stem above a circular foot, one with presentation inscription. h. 4‑1/8”, dia. 2‑1/4”; 40.12 total t. oz. $1,000‑$1,500 795 Christofle Silverplate Wine Cooler-onStand contemporary, Paris, the bucket-form cooler with stirrup handles and molded rim and foot-ring, presented on a stand with balustraded capital, reeded standard and circular domed foot. overall h. 33‑1/4”, base dia. 10‑5/8” $1,400‑$1,800

795

794

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796 George Rodrigue (American/Louisiana, 1944‑2013) “Blue Dog, Untitled” acrylic on canvas signed lower right. Framed. 30” x 24” $30,000‑$50,000

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797 George Rodrigue (American/Louisiana, 1944‑2013) “Legacy” from the Saga of the Cajuns series oil on canvas signed lower right. Framed. 36” x 24” $25,000‑$40,000

797

798 James Michalopoulos (American/Louisiana, b. 1951) “Study for a King” oil on canvas signed lower left and verso “Mitchell”, titled en verso stretcher. Framed. 22” x 28” $2,500‑$4,000

798

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799 James Rogers Lamantia (American/Louisiana, 1923‑2011) “Louisiana Landscape”, 1988 diptych, oil on canvas each signed and dated en verso. each 24” x 36”, overall 24” x 72” $3,000‑$5,000

800 James Rogers Lamantia (American/Louisiana, 1923‑2011)

800

“View of the Mississippi from the Levee”, 1985 oil on canvas signed lower right, signed and dated en verso. Unframed. 22” x 42” $2,000‑$4,000

801 Hunt Slonem (American, b. 1951) “Bayou Teche”, 2011 oil on canvasboard signed, dated and titled en verso. Presented in a fine gessoed and gilt-washed carved wood frame. 20” x 18‑1/2” $5,000‑$8,000 801

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802 Aldo Menendez (Cuban, 20th Century) “Untitled” artist’s marker on paper pencil-signed mid-left. Matted, glazed and framed. sight 23” x 21” $1,000‑$1,500 803 Louise Guidry (American/Louisiana, b. 1930) “Singing the Blues” acrylic on gallery-wrapped canvas signed lower right. 48” x 48” $3,000‑$5,000 804 Louise Guidry (American/Louisiana, b. 1930) “Blue and Yellow Blooms” oil on gallery-wrapped canvas signed lower right. 36” x 24” 804

$2,000‑$4,000

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805 Peter Max (American, b. 1937) “Liberty” acrylic on canvas signed upper right, stamp en verso canvas. Attractively framed. 12” x 12” $3,000‑$5,000

805

806 Peter Max (American, b. 1937) “Angel with Heart” acrylic on canvas signed lower right, stamp en verso canvas. Attractively framed. 20” x 15‑3/4” $2,000‑$4,000

806

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807 Elizabeth (LIZO) Shahenian (Armenian/American, b. 1950) “Still Life of Gladioli and Chrysanthemums”, 2015 oil on canvas signed lower left, signed and titled en verso canvas. Framed. 36” x 36” $2,000‑$4,000 809

808 Elizabeth (LIZO) Shahenian (Armenian/American, b. 1950) “In Memory of Holocaust”, 2012 oil on canvas signed lower right, signed, titled and dated en verso canvas. Stretched and unframed. 48” x 48” $1,500‑$2,500

808

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809 Oscar Soteno (Mexican, Contemporary) “Arbol de los Nacimientos”, 2007 polychromed molded clay signed, dated and localized along bottom edge, signed and localized along top arch h. 29‑1/2”, w. 21”, d. 6‑1/4” $3,000‑$5,000 809

Oscar Soteno was born into a Metepec, Mexico family with a long tradition of creating utilitarian pottery pieces. In the 1930s his grandmother began to produce small decorative items which were to prove exceedingly popular; eventually, these were to evolve into the large-scale, “tree of life” sculptures for which the family has become so well-known. Utilizing the local reddish clay, which is dried, ground to a powder, and then mixed with water and plumilla (the fibers of the local bulrush plant), Oscar forms and joins all elements by hand. The sculpture is then dried

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and fired in stages before being carefully painted in exuberant shades of hot pink, canary yellow, royal blue, and red. He has expanded the symbolism of the trees to include references to the Last Supper, the Crucifixion, or death and marriage. The fine, brightly-colored example offered here includes, among the numerous flowers, a musical mermaid, an elaborately patterned wedding chest, and “la Calavera Catrina” - the elegantly attired female skeleton which has become a symbol of the DÌa de los Muertos.

810 Shelly Barq (American, Contemporary) “Untitled Abstract” mixed media on canvas signed lower left 78” x 78” $1,000‑$1,500

810

811 Adrian Pujol (Venezuelan, 20th Century) “Playa Vallecito 1” acrylic on canvas signed and dated “88”, signed, titled and further inscribed en verso. Framed. 47” x 57” $1,000‑$1,500 811

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812 Barbara Latham (American/New Mexico, 1896‑1989) “Window Shopping” oil on masonite signed lower right, verso with a “Gallery A, Taos, New Mexico” label. Framed. 12” x 9” $2,000‑$4,000 813 George Dureau (American/Louisiana, 1930‑2014) “Still Life”, 1963 oil on canvas signed and dated en verso. Framed. 14” x 20” $1,500‑$2,500 814 Burny Myrick (American/Louisiana, 20th Century) “Untitled Abstract” oil on canvas Framed. 51” x 27” $1,000‑$1,500

814

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815 David Harouni (American/Louisiana, Contemporary) “Untitled” oil on canvas signed lower right. 48” x 48” $1,000‑$1,500 816 English Cameo Glass Vase fourth quarter 19th century, decorated with swirling leaves, a sprig of gooseberries and a butterfly on a blue ground. h. 10‑1/2”, dia. 4‑3/4” $1,800‑$2,500 817 Ebonized Writing Table 20th century, the rectangular top with an inset leather writing surface beneath a removable beveled plate glass, above a frieze fitted with a central drawer flanked to either side by a deeper small drawer, raised on tapering square legs. h. 30”, w. 47‑1/2”, d. 25‑3/4” $600‑$900

815

817

816

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818 English Mahogany Artist’s Flat File in the Georgian taste, in two parts, with brass label holders and scallop-form brass pulls. h. 41”, w. 45”, d. 31” $700‑$1,000 819 Pair of Signed E. F. Caldwell Gilt-Bronze Sconces second quarter 20th century, New York, the design of Renaissance inspiration, featuring a lion’s-head backplate with a strapwork candle arm pierced with crowns, flowerheads and lozenges, and molded lozenges on the hexagonal drip pans and tapered candle sockets, signed with an impressed “6”, within a lozenge. h. 25”, w. 14”, d. 8‑1/2”

819

$2,000‑$4,000 820 Unusual Brass and Glass Tea Cart early 20th century, the oval glass top with a full splayed brass gallery, above two tiers of two like galleried shelves, each tier rotating out for access, the whole raised on domed supports to casters. h. 28‑3/4”, w. 30‑1/4”, d. 18‑1/2” $600‑$900

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270

820 closed

821 George van der Straeten (Belgian, 1856‑1941) “Euterpe”, ca. 1900 patinated bronze cast signature at proper left side of self-base, a “Societe des Bronzes de Paris” foundry mark along left edge. h. 22‑5/8”, w. 7‑1/2”, d. 9‑3/4” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $700‑$1,000 822 French Terracotta Figure of a Nymph ca. 1900, after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), incised signature at edge. h. 19‑3/4”, w. 6”, d. 5‑1/4” $700‑$1,000 823 Luis Sanguino (Spanish, b. 1934) “Amor” carved and polished Jaune Lamartine marble incised signature along proper right foot of male figure. h. 62‑1/2”, w. 18”, d. 13‑1/2”

822

$1,500‑$2,500

821

823

271

827 825

826 824

824 Pair of Silver-Leafed Iron and Granite-Top Side Tables 20th century, in the Art Deco style, each with an inset rectangular granite top above a deep frieze with pierced scrolling patterns around a central sphere, raised on exaggerated cabriole legs. h. 34‑1/2”, w. 26‑1/4”, d. 14‑1/2” $1,500‑$2,500 825 Thomas Webb Cameo Glass Bud Vase fourth quarter 19th century, decorated with white and pink flowers on a yellow-green ground, the bottom marked “Thomas Webb Sons Cameo, Gem”. h. 8‑1/4”, dia. 3” $2,500‑$4,000

826 Thomas Webb & Co. Cameo Glass Vase fourth quarter 19th century, cut with flowers, leaves and butterflies on a shaded peach ground, the base with an etched mark, “Thomas Webb & Co.”. h. 7”, dia. 3‑3/4” $1,800‑$2,500 827 Bill Mack (American, b. 1949) “Lustrous” bonded sand relief sculpture signed upper right. Presented in an integral linen filleted cove-molded painted wood frame. overall 30” x 13‑3/4” $1,000‑$1,500

8 272

829

830

828 Bronze Fountain in the Form of a Female Water Carrier 20th century, with a patinated and weathered surface, the classically draped figure atop a shell-form basin supported by stylized inverted dolphins. overall h. 94”, dia. 48” $1,800‑$2,500 829 Pair of Classical-Style Patinated Bronze Urns 20th century, the campana-form urns with lotusmolded bases, the bodies with molded scrollwork and rampant lion handles. h. 27‑1/2”, w. 20”, d. 24‑1/2” $700‑$1,000 830 Bold, Patinated Bronze Chandelier in the Manner of Gilbert Poillerat 20th century, the eighteen-light chandelier with an organic design employing large leaves on the lower tier, with a standard molded after an opening seed pod, with candle cups and sockets resembling lotus blossoms. h. 37”, dia. 30” $2,000‑$4,000

828

273

831 French Patinated Bronze Fountain 20th century, in the form of a frolicking mermaid, the figure delicately balancing one hand on a naturalistic rocky base, inscribed “Art de France” at back. h. 115”, w. 39”, d. 49” $2,000‑$4,000 832 Venetian Mirror in the Art Deco Taste 20th century, the mirror plate surround with a stepped crest, the plates cut with scalloped edges. h. 55‑3/4”, w. 30‑3/4” $800‑$1,200 833 Austrian Art Deco Dining Table

833

third quarter 19th century, the aluminum-banded, ebonized and burlwood table with a projecting fold-over top raised on a pedestal with a central burled panel, edged by metal bands and with ebonized ends, on a platform base in like decor, the pedestal finished on all sides. h. 30”, w. 52”, l. 26‑1/4”, extended l. 52‑1/2” $1,200‑$1,800

832 831

274

835 Art Deco-Style Ebonized and Chrome Fold-Over Table mid-20th century, the rectangular top supported by a block-form standard with three vertical chrome tubes mounted in the front and back, and resting on a platform base, finished on all sides, can be used as a console table or dining table. h. 30”, w. 60”, d. 24”, ext. d. 48” $600‑$900 836 Pair of Silver and Gold Polychromed Torcheres third quarter 20th century, in the Art Deco style, each with a marbleized bowl-form glass shade with a circular gilded wooden rim mounted to a tapering four-sided standard and platform base, electrified. h. 73”, dia. 22‑1/2” $700‑$1,000

836

834 Tomihisa Handa (Japanese, 1937‑2017) “Rei”, 1975 carved Swedish black granite Together with a letter of authentication from the artist. h. 12”, w. 20‑3/4”, d. 4‑1/2”

834

Provenance: Estate of Carolyn G. Fay, Houston, Texas. $1,400‑$1,800 Exhibited: Solo Traveling Exhibition: Tomihisa Handa - The Way of Stone, various galleries including the Blaffer Art Museum, University of Houston, Houston, Texas, September 1979. Literature: Handa, Tomihisa The Way of Stone - The Tomihisa Handa Sculpture Exhibition. Chicago: Art World Inc. 1979, no. 13. Tomihisa Handa graduated from the Tokyo Academy of Fine Arts, majoring in Sculpture, before completing an MA in architecture at Meiji University and going on to become a lecturer at the same institution the following year. His pieces have been featured in various exhibitions in his native Japan, as well as being commissioned by numerous international collectors. His striking works, powerful in their visual simplicity, are characterized by clean lines and strong silhouettes, striving to give tangible form to illusive concepts.

835

275

837 Erte (Romain de Tirtoff, Russian/French, 1892‑1990) “Directoire”, 1986 serigraph in colors pencil-signed lower right and numbered “AP 31/60” lower left. Attractively matted, glazed and framed. 41‑1/2” x 30‑1/2” $1,000‑$1,500 838 Erte (Romain de Tirtoff, Russian/French, 1892‑1990) “The Contessa”, 1985 serigraph in colors pencil-signed lower right and numbered “CXXXVII/CL” lower left. Attractively matted, glazed and framed. sight 35‑1/2” x 20‑1/2” $1,000‑$1,500 839 Impressive Pair of Molded Bronze Cranes 20th century, one modeled with its head back and the other with its head up and mouth open. largest h. 64‑1/2”, w. 9”, d. 22”

839

$800‑$1,200

838

276

837

840 Pair of Painted Wooden Mirrors with Dutch ripple molding and a mahogany-painted finish, the distressed double mirror plates each cut with a sunburst in the top panel. h. 61‑1/2”, w. 31‑1/4” $600‑$900

841 Pair of Mariner S.A. Classical-Style Torcheres third quarter 20th century, Spanish, composed of brass and patinated metal, in the form of a firepot, with flaring supports resting on paw feet, the upper portion decorated with bellflower swags and pinecone finials, labeled on the top. h. 71‑1/2”, w. 12‑3/4” $1,500‑$2,500

840

842 Stylish Contemporary Mirrored Demi-lune Cabinet the demi-lune top above a case fitted with four cupboard doors, all banded and with a central oval panel, raised on paneled tapering square legs, the whole clad in antiqued mirrored panels. h. 35”, w. 60‑1/2”, d. 16” $1,000‑$1,500

842 841

277

843 Contemporary Zebra-Printed Cowhide Ottoman the rectangular padded seat raised on pickled mahogany tapering square legs. h. 17”, w. 32”, l. 44” $800‑$1,200 844 Pair of Rock Crystal and Gilt-Metal Table Lamps 20th century, probably French, on guillochedecorated gilt-metal bases in the Louis XIV style, the standards comprised of graduated rock crystal spheres over lobed rock crystal bases. h. 33‑1/2”, dia. 9‑1/2”

846

$3,000‑$5,000

843

844

845 Pair of Rock Crystal and Giltwood Lamp Standards 20th century, probably French, on octagonal covemolded giltwood bases, the standards comprised of graduated rock crystal spheres and faceted, octagonal rock crystal “jewels”. overall h. 24‑3/4”, dia. 7‑1/4” $2,000‑$4,000 846 Abstract Patinated Cast Metal Console Table 20th century, in the manner of Diego Giacometti (1902‑1985), in shades of green and brown, the back with a stylized tree, with a molded plate-glass top. h. 27”, w. 48”, d. 16” $800‑$1,200 845

278

847 Vintage Louis Vuitton Wardrobe Trunk ca. 1920, the monogrammed canvas-covered hard case fitted with wood slats, leather strap and handles, brass trim, marked rivets and lock, the interior fitted with cloth hanger rings and a lift-out tray. h. 15”, w. 43‑1/2”, d. 22‑1/4” $2,000‑$4,000 848 Four Vintage Louis Vuitton, Paris, Monogram Canvas Luggage Pieces

847

late 1970s, comprising two “Jetsetter” part-soft side, leather-trimmed, strapped and buckled suitcases, with wooden frames, the exterior sides with leather-covered wooden ribs, double zipper closure, the cream polished cotton-lined interiors with elasticized side pockets, “Louis Vuitton” webbing straps and a removable separation board with like straps, both examples with lock, keys and luggage tag, each resting on four brass feet, h. 16‑1/2”, w. 23‑1/4”, d. 7” and h. 18‑1/4”, w. 27‑1/4”, d. 8‑3/4”, together with a third example with wooden frame and rigid sides, double zippers, luggage tag and combination lock, resting on four brass feet, h. 16‑1/4”, w. 23‑1/2”, d. 7‑1/4”, along with a rounded flat garment bag with hanging hook, two original hangers, a small luggage tag, small lower buckled strap, center zippered closure, zippered rear entry and carrying handle, l. 45‑1/2”, w. 23‑1/2”. Provenance: Saks Fifth Avenue, Houston, Texas. $700‑$1,000

848

849 Pair of Molded Crystal Candelabra Attributed to Baccarat first quarter 20th century, each swirl-molded crystal candelabrum with three arms, above a vasiform base and hung with prisms. h. 19‑1/4”, dia. 11‑3/4” $800‑$1,200 849

279

851 Classic Charles and Ray Eames Lounge Chair and Ottoman 2000s, for Herman Miller, constructed of walnut, black leather and enameled aluminum, both pieces bearing silver Herman Miller labels. chair h. 32”, w. 32‑3/4”, d. 32‑3/4”, ottoman h. 17‑1/4”, w. 26”, d. 21‑1/2” $1,500‑$2,500 852 Mid-Century Modern Fiber Cement “Loop Chair”

850

after a 1954 design by Willy Guhl (Swiss, 1915‑2004), of continuous shaped form, with the impressed signature “W Guhl”. h. 24” $700‑$1,000

850 Mid-Century Modern Design Leather and Tubular Steel Paulistano Armchair after a 1957 design by architect Paulo Mendes da Rocha (Brazilian, b. 1928), the single piece of polished stainless steel supporting a stitched sling seat of a single piece of hide, the present chair by Objekto, ca. 2016. h. 33‑3/8” $600‑$900

852

851

280

853 Mid-Century Modern Design Steel and Leather PK 80 Bed after a 1957 design by Poul Kjaerholm (Danish, 1929‑1980), the quilted cushion on a lacquered wood slab, supported by chrome-plated steel legs. h. 12‑1/2”, w. 32”, l. 72‑1/2” $700‑$1,000 854 Suite of Four Mid-Century Modern Design Walnut Chairs after a 1958 design by Norman Cherner (American, 1920‑1987), the laminated back and dished seat joined to the legs of like construction, the present examples of contemporary manufacture, each retaining the label of “The Cherner Chair Company”. h. 31‑1/2”

854

$600‑$900

853

855 Cattelan Italia “Valentino” Dining Table contemporary, designed by Emanuele Zenere, with a thick beveled glass top resting on a blonde walnut V-form base with a cylindrical travertine support block. h. 29”, w. 42”, l. 82” $1,000‑$1,500 855

281

856

856 Modern Glass, Aluminum and Mahogany Center Table

858

the circular glass top on a base with parallel conforming metal bands, on tapering legs. h. 29‑3/4”, dia. 38” $900‑$1,200 857 Modern Glass, Aluminum and Mahogany Occasional Table of ovoid form, the glass top on a base with conforming metal bands on tapering legs. h. 22”, w. 27‑1/2”, d. 24” $600‑$900 858 Contemporary Standing Floor Mirror after a design by Antonio Citterio (Italian, b. 1950), in a brushed metal frame. h. 79‑1/2”, w. 44” $700‑$1,000

857

282

859 “Tavolo con Ruote” Glass and Steel Cocktail Table

861 Modern White Laminate Dining Table

after a design by Gae Aulenti, of contemporary manufacture, unmarked. h. 11”, w. 48”, d. 32”

model C2 by Bulthaup Communication, Germany, the underside retaining the maker’s label, of rectilinear form, raised on straight legs. h. 29‑7/8”, w. 43”, l. 87”

$600‑$900

860 Lalique Molded and Frosted Crystal “Ingrid” Vase post-1978, decorated with frosted leaves on a non-frosted ground, engraved with the “Lalique, France” mark. h. 10‑1/2”, dia. 8‑1/4” $600‑$900

860 859

861

283

862 Contemporary Modular Ornamented and Chromed Steel Cabinet attributed to USM Haller, of modular tripartite form, the central open shelves flanked by a drawer over a fold-down door. h. 22‑3/4”, w. 88‑1/2”, d. 21”

863

$700‑$1,000

863 Contemporary Brass-Mounted Plate Glass Dining Table in the mid-century modern taste, the full-inch plate glass top with rounded corners, resting on two Y-form plate glass pedestals with brass trim. h. 29‑1/2”, w. 42”, l. 72” $600‑$900

864 Pair of Mid-Century Modern Gilt-Metal and Giltwood Trees in Tubs attributed to Curtis Jere, New York, ca. 1950’s-60’s, the name used by the design team Curtis Freiler and Jerry Fels for their company, Artisan House. h. 76‑3/4”, w. 30”, d. 13” $2,000‑$4,000

864

862 8 284

866

867

865

865 Contemporary Brushed Metal and Glass Bar Trolley of rectangular form, fitted with two tiered glass shelves with gilt pineapple finials, one end with a push handle, raised on two large spoked wheels and smaller casters. h. 32‑1/2”, w. 36”, d. 19‑1/2”

868

867 Large Pair of Gray Sheet-Metal Planters of Asian inspiration, with tapering square sides, ring handles and ball feet. h. 44”, w. 32”, d. 32”

$600‑$900

866 French Neoclassical Steel and Bronze Canterbury

868 Contemporary Brass, Brushed Steel and Glass Center Table

third quarter 20th century, in the Maison Jansen style, composed of polished steel with bronze fittings, the corners set with artichoke finials, on brass casters. h. 21‑1/2”, w. 18‑1/2”, d. 13‑1/2” $600‑$900

of neoclassical inspiration, the circular glass top on a pedestal with ornate brackets, and brass foliate-molded adornment. h. 28”, dia. 29” $1,500‑$2,500

285

869 Hilde B. Kayn (Austrian/American, 1903‑1950) “Jazz”, 1947 watercolor on paper signed lower left, verso with “Mitch Gallery, New York, New York” label. Matted, glazed and framed, and affixed with an artist plaque inscribed “Ida Wells Stroud Prize/American Water Color Society 1947”. sight 19‑1/2” x 25‑1/4” $2,500‑$4,000

869

870 Hilde B. Kayn (Austrian/American, 1903‑1950) “Happy Hosts” tempera on board signed lower left, titled en verso stretcher in pencil. Framed. 21‑1/3” x 25‑1/4” $3,000‑$5,000

870

871 Reynolds Beal (American, 1866‑1951) “Circus Scene”, 1934 watercolor and colored pencil on paper signed and titled lower right. Matted, glazed and framed. sight 14‑1/2” x 18‑1/2” $1,000‑$1,500

871

286

872 Sidney Gross (American, 1921‑1969) “The Artist’s Studio” oil on canvas signed lower left. Framed. 30‑1/8” x 25‑1/8” Provenance: Collection of the Lempert Research Foundation, Inc. $1,500‑$2,500 873 Tom Richard Cavanaugh (American/Louisiana, b. 1923) “Portrait of a Woman Wearing a Hat” charcoal on paper monogrammed lower left. Matted, glazed and framed. sight 24” x 17‑3/4” $1,000‑$1,500 874 Thomas Hart Benton (American, 1889‑1975)

872

“West Texas” lithograph signed in pencil lower right, published by Southern Methodist University Press, Dallas, 1952. Matted, glazed and framed. sheet 15” x 18”, plate 11” x 14” $1,500‑$2,500

874

873

287

877 Georges Braque (French, 1882‑1963) “Les Marguerites” etching with aquatint signed in pencil lower right, numbered “126/300” lower left. Matted, glazed and framed. sight 26” x 17‑1/4” $1,500‑$2,500

877

875 After Pablo Picasso (Spanish/French, 1881‑1973) “Femme Assise”, 1982 lithograph in colors on Arches paper from the “Marina Picasso Estate Collection”, pencil signed “Collection Marina Picasso” lower right, numbered “475/500” lower left, Picasso Estate blind stamp lower right, printer’s blind stamp lower left, printed inscription from Picasso Estate en verso. Unframed. sheet 29” x 22”

875

$2,500‑$4,000 876 Graham Sutherland (British, 1903‑1980) “Toad II”, “Beetles”, “Ram’s Head” and “Armadillo” suite of four lithographs in colors edition of 70, each numbered lower left and signed lower right. Presented in matching contemporary metal frames. three sight 25‑3/8” x 19‑1/4”, one 19‑1/4” x 25‑1/2” $2,000‑$4,000 876 one of four

288

876 two of four

879

878 Fine Pair of Austrian Art Deco Brass Figures of Female Dancers Werkstatte Hagenauer Wien, each stamped along one leg “Hagenauer Wien”, “Made in Austria”, and with a “WHW” in a circle, each presented on a shaped wood plinth. sculpture h. 45”, overall h. 48”, w. 9”, d. 9” Werkstatte Hagenauer Wien were masters at creating highly stylized sculptures and decorative arts during the Jugendstil and Art Deco periods. Their characteristically slender forms of elongated exaggeration were delicately modeled in brass - and later with elements of carved wood - and proved highly appealing to collectors. The sculptures offered here, unusual in both their size and in being a matched pair, are exceptional examples of the Werksatte at their most accomplished. $5,000‑$8,000

879 Philip LaVerne (American, 1908‑1988) and Kelvin LaVerne (American, b. 1936) acid-etched, enameled and patinated bronze diptych of “Orpheus and Hades”, ca. 1960, now mounted on wood edged with a bronze frame to accommodate a table base, signature lower right. 48‑1/4” x 48‑1/4” 878

$1,200‑$1,800

289

880 Gustave van Vaerenbergh (Belgian, 1873‑1927) “Buste de Jeune Femme”, first quarter 20th century gilt-patinated bronze and white marble cast signature along back, on a thin gray marble base. h. 11‑1/2”, w. 11‑1/2”, d. 5‑1/2 Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900 881 Richard MacDonald (American, b. 1946) “The Flair”, 1995 patinated bronze cast signature, dated and copyright marked on hoop, on a black marble plinth. overall h. 19‑1/4”, w. 15‑1/4”, d. 7‑1/2” $1,500‑$2,500 882 Jacques and Mary Regat (American, 20th Century) 881

“Rushing Waters”, 1987 patinated bronze inscribed “Regat”, with Studio Regat cypher, dated, numbered “15/25”, and copyright marked along lower figure’s belly, on a green marble plinth. h. 30‑1/2”, w. 19”, d. 7” Provenance: Manheim Galleries, New Orleans, Louisiana, 1980s; Estate of Cheryl Barousse Frischhertz, New Orleans, Louisiana. $2,000‑$4,000

880

290

882

883 Jamie Baldridge (American/Louisiana, b. 1975) “A Difference Engine Contemplates an Ontological Certainty”, 2008 archival pigment photograph signed in pencil lower right, titled lower left, numbered “2/20” lower center. Matted, glazed and framed. sight 23‑1/2” x 22‑1/2” $3,000‑$5,000 883

885 Carolyn DeMeritt (American/North Carolina, Contemporary) “Broken Doll/Male Figure” series gelatin-silver photograph Matted, glazed and framed. sight 19” x 19” $1,000‑$1,500

884 Keith Carter (American, b. 1948)

884

“Rachel” 1995 silver gelatin print signed, titled, dated and numbered “3/50” en verso. Matted, glazed and framed. sight 15‑1/2” x 15”, sheet 20” x 16” $700‑$1,000 885

291

886 David Halliday (American, b. 1958) “Breasted Hill”, Ireland, ca. 2000 toned silver gelatin photograph Matted, glazed and framed. sheet 22‑1/2” x 39‑1/2” $700‑$1,000

887 Elemore Morgan, Sr. (American/Louisiana, 1903‑1966)

887 two of two

“Week’s Bayou on Week’s Island” and “Log Cabin Settlement on the River”, ca. 1950‑1952 two silver gelatin prints both with Standard Oil Co., N.J., photo credit stamps en verso. Matted, glazed and framed alike. each sheet 11” x 14” $1,000‑$1,500 Provenance: Standard Oil of New Jersey Photographic Collection. Literature: Illustrated: “Week’s Bayou on Week’s Bay” in Carter Hodding, John Law Wasn’t So Wrong: The Story of Louisiana’s Horn of Plenty, Baton Rouge: Esso Standard Oil Co., 1952, np. (table of contents). These rare photographs chronicle not only the rich landscape and history of Louisiana portrayed through the lens of a native Acadian, but their commission also informs the history of the Standard Oil Company in the state and comprises an important photographic archive of both the nation and region. In the early 1940s, Elemore Morgan, Sr., an architectural draftsman and tire store owner from Baton Rouge, turned to photography, creating an important visual record of Louisiana architecture, rural life, customs and flora and fauna. In 1943, his early photographs were illustrated in Harnett Kane’s, Bayous of Louisiana; in the late 1940s, Morgan collaborated with novelist Frances Parkinson Keyes to publish a state-wide historical narrative titled All This Is Louisiana. At the same time Morgan launched his photography career, the Standard Oil Company embarked on a campaign of expansion and assimilation in Louisiana, employing film and PR to integrate its burgeoning refineries into the fabric of rural Cajun life. In 1948, they produced the Louisiana Story, a narrative film about a young Cajun boy and his pet raccoon, whose family’s financial insolvency is solved after the elderly patriarch allows the oil company to drill oil from an inlet behind their home. Directed by Robert Flaherty and set on location with local residents for actors, the film’s cinematography and its Cajun music score (performed by the Philadelphia Symphony) is a celebration of Acadia that inculcates oil into the terrain through the active participation of its people.1

292

887 one of two

Following the Louisiana Story, the Standard Oil Company commissioned Elemore Morgan to photograph the state for a book on the history of Louisiana, dedicated to the people of Louisiana, which similarly inserted its drilling and refineries into its history. Written by Hodding Carter, John Law Wasn’t So Wrong recasts Law, the French economists who lured Frenchmen to the new world through the promise of an earthly paradise full of virgin land, as a hero, not the scoundrel the new immigrants found him to be for failing to mention the mosquito-ridden swamps that bred alligators and malaria. These photographs were part of this epic project; thirtyone of the photos Morgan took were published in this book, including “Week’s Bayou on Week’s Island”. In 1953, the photographs, including twenty-four of a wildcat oil well, were commemorated in a show at Louisiana State University, titled “Photographs of Louisiana”; and in 1987, the Natural History Museum in Lafayette (now Lafayette Science Museum) paid tribute to Morgan and the Standard Oil project in an exhibit titled “Postwar to Prosperity? (Louisiana 1946‑1950): Images from the Standard Oil of New Jersey Photographic Collection.” The documentary photography Morgan and the Standard Oil Company created represents an important exchange between indigeneity and industry, and are preserved in the permanent collections of the Historic New Orleans Collection, Louisiana State University, the University of Louisiana at Lafayette, and the Lafayette Science Museum. 1Louisiana Story was nominated for an Academy Award and the music score won a Pulitzer Prize, the only score in the history of Hollywood to earn such an accolade.

References: Carter, Hodding. John Law Wasn’t So Wrong: [The Story of Louisiana’s Horn of Plenty]. Esso Standard Oil Co.: Baton Rouge, 1952; “Elemore Morgan Photos of State Will Be Shown”. Times Advocate. 13 Feb. 1953, p. 12; “Photo Conference Set”. Ibid. Nov. 8, 1987; Parr, Leslie Gale. “Elemore Morgan, Sr.” Know Louisiana: The Digital Encyclopedia of Louisiana. 1 Feb. 2011. Web. 21 June 2017.

886

888 suite of six

888 David Halliday (American, b. 1958) “Woodland” series, 2002‑2005 suite of six silver-toned photographs Presented in matching stained mahogany frames. each sight 23‑1/8” x 18‑1/2” $2,500‑$4,000

David Halliday’s sepia-tinted photographs are intimate explorations of the American woodlands and reveal his mastery at the interplay of light and shadow, of volume and void. The artist has stated that his intention when initiating this series was to create a sense of atmospheric immediacy, to emotionally engage the viewer by capturing what is , in essence, a fleeting moment in time.

293

889 Pair of Italian Patinated Bronze Four-Light Candelabra third quarter 19th century, in the Aesthetic taste, resting on paw feet, the central urn-form candle cups set with bust-form removable inserts, the candle arms decorated with anthemia, above two shepherds playing pan pipes, sitting on incised spheres. h. 21‑3/4”, dia. 8‑3/4” $700‑$1,000 890 Empire-Style Mahogany and Marble-Top Occasional Table 20th century, the circular marble top above a conforming frieze, and raised on delicate metal supports of winged sphinxes and scroll patterns, to a tripartite base. h. 20‑1/2”, dia. 14‑1/2” $700‑$1,000

890

891 Collection of Four Continental Grand Tour Metal Objets d’Art fourth quarter 19th century, including a patinated metal vase on a black marble base, decorated with molded bulls and lions, and anthemion-molded handles, h. 16‑1/2”, w. 8”, a patinated bronze compote with a dolphin-form standard, on an egg-and-dart base, h. 6‑3/4”, dia. 7”, an Italian bronze mortar decorated with “The Eagle of Zeus”, h. 4‑1/2”, dia. 5‑1/2”, and an Italian bronze dome with a Gorgon against a field of frolicking cherubs, h. 3‑1/2”, dia. 6‑1/4”. $600‑$900 892 Large Pair of Turned “Napoleon Tigre” Marble Pedestals

891

ca. 1900, quarried from Ferques, Boulogne-sur-Mer, Pas-deCalais, France, named after the place where Napoleon camped and trained his troops for the invasion of Great Britain. h. 50”, dia. 16” $1,800‑$2,500

889

294

892

893

894

896 895

893 Italian Grand Tour Souvenir of an Assyrian Sphinx

895 Continental Neoclassical Fruitwood Center Table

first quarter 20th century, the patinated bronze figure with a human head, a lion body and bird wings, on a black marble base. h. 4‑3/4”, w. 3‑1/2”, l. 9‑1/2”

late 18th century, the circular top with an inlaid modified Greek-key band above a plain frieze, raised on shaped legs joined by a finial-centered tripartite stretcher and ending in hoof feet. h. 30”, dia. 30”

$600‑$900

$1,000‑$1,500

894 Seven Pieces of Terracotta Pottery

896 Continental Walnut and Fruitwood Cabinet

fourth quarter 19th century, German and Danish, including a two-handled vase with enamel decoration, unsigned, h. 11‑3/4”, w. 6‑3/4”, a marked Villeroy & Boch bowl with enamel decoration, h. 3”, dia. 6”, and five amphorae and vases with enamel decoration, all marked “Peter Ipsen, Kjobenhavn (Copenhagen) Eneret”, h. 5‑1/4” to 6‑1/4”, dia. 3” to 3‑3/4”.

mid-19th century, the ogee-molded cornice above two tripaneled glazed doors, opening to a shelved and mirrored interior, flanked to either side by a pilaster with an inlaid elongated Gothic arch, the sides also glazed, raised on a plinth base. h. 72‑1/2”, w. 72‑1/2”, d. 18‑1/2”

$600‑$900

$800‑$1,200

295

898

899

897 Provincial Italian Neoclassical Oak and Mixed Woods Cabinet 18th century, the molded and domed canted cornice above two glazed doors, flanked to either side by a slender glazed panel, resting on a middle section fitted with three short drawers, all banded and with decorative chevron veneers, the lower section with a serpentine top inlaid with two latticepattern panels, above a conforming case fitted with three long drawers, all with three panels with decorative chevron veneers, the whole raised on molded feet. h. 92‑1/2”, w. 46‑1/2”, d. 27‑1/2” $3,000‑$5,000 898 Pair of Continental Carved Giltwood Mirrors early 20th century, in the neoclassical taste, the pierced, carved crest with a central fruit basket and flanked by winged caryatids, the frame with relief-carved grape and vine motifs. h. 68”, w. 35‑1/2” $2,000‑$4,000 899 Gilt-Metal Chandelier in the Neoclassical Taste second quarter 20th century, Continental, the acanthusmolded vasiform standard supporting leaf-molded candle arms on two levels, with leaf-molded candle cups and drip pans, set with a pierced crown-form corona, hung with crystal drops and swags of prisms. h. 37‑1/2”, dia. 25‑1/2” $1,800‑$2,500 897

296

901 Italian Giltwood Occasional Table late 19th century, the oval top with a foliate-incised banding around a beveled mirrored panel, above a conforming like-incised frieze, raised on caryatid supports ending in ball-and-claw feet. h. 29‑1/2”, w. 33‑1/2”, d. 22” $1,000‑$1,500

901

900 Pair of Faux Marbre and Parcel-Gilt Pilasters 18th century, each with a Corinthian capital above a reeded standard, and raised on a molded plinth base. h. 67‑1/4”, w. 17‑1/4”, d. 8‑1/2” $1,500‑$2,500

900

297

903

902 Exceptional Continental Carved Carrara Marble Fireplace Surround

903 Bas-Relief-Carved Marble Plaque of Cleopatra third quarter 19th century, probably Italian, the Egyptian ruler depicted reclining with decolletage, a sphinx in the background. h. 9”, w. 20‑1/4”, d. 9‑1/4”

mid-19th century, in the neoclassical taste, carved with figures of Adam and Eve flanking the firebox, the central frieze carved with putti harvesting wheat. h. 48”, w. 69‑1/4”, d. 13‑3/4”

$600‑$900

$3,000‑$5,000

902

298

904 French Marble of “Aphrodite at Her Bath” fourth quarter 19th century, the partially draped goddess of love with the mischievous Eros at her feet. h. 38‑1/2”, w. 14”, d. 14” $1,500‑$2,500 905 Italian Marble Figure of “The Crouching Venus” fourth quarter 19th century, after the 2nd century AD Roman copy of a 2nd century BCE Hellenistic sculpture. h. 25‑1/2”, w. 11‑1/4”, d. 14‑1/2” $2,000‑$4,000 906 Pierre-Etienne Daniel Campagne (French, 1851‑1910) “Phryne Devant ses Juges”, fourth quarter 19th century carved white marble incised signature along proper left edge, figure identified along front edge. h. 33”, w. 14”, d. 9” $2,500‑$4,000

904

905

906

299

907 Italian Carved Marble Figural Group of “The Rape of the Sabine Women” 20th century, after the ca. 1580 sculpture by Giovanni da Bologna (Flemish/Italian, 1529‑1608) now conserved in the Loggia dei Lanzi, Piazza della Signoria, Florence, presented on a black marble base. sculpture h. 30”, overall h. 30”, w. 20”, d. 20” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $600‑$900 908 Pietro Bazzanti (Italian, 1842‑1881) “Apollo Belvedere” carved alabaster incised signature “P. Bazzanti/Florence” at back, after the 2nd century Roman marble (itself a copy of the 4th century BCE bronze) now conserved at the Vatican Museums, Vatican City, on a cove-molded socle base. h. 13‑1/2”, w. 9‑1/4”, d. 4‑1/2”

907

$600‑$900 909 Northern Italian Faux Marbre Mantel Mirror 19th century, in the neoclassical taste, with an arched pediment over a shaped mirror plate, flanked by columnar pilasters. h. 70”, w. 47”, d. 7” $700‑$1,000

908 909

300

910 Neoclassical-Style Polychrome Eight-Panel Screen 20th century, the whole depicting a scene of various classically garbed figures on a loggia engaging in recreational activities with a classical landscape in the background, flanked to either end by architectural elements. h. 84”, w. 144” $1,200‑$1,800 911 Pair of French Neoclassical-Style Marble and Gilt-Bronze Urns

911

first quarter 20th century, with mottled rouge marbre bases and urns, supported on leaf-molded legs terminating in ram’s heads, the “covers” with gilt-bronze trim and acorn-shaped finials. h. 20‑1/2” $700‑$1,000 912 Pair of Continental Giltwood Figural Sconces fourth quarter 19th century, on acanthus-carved oval backplates, the leaf-carved, scrolled arms terminating in classical figures wearing laurel wreaths and supporting scalloped tin drip pans, now set with electrical sockets. h. 25‑1/2”, w. 8”, d. 19” $1,000‑$1,500

912

910

301

913 French Parcel-Gilt Mirror in the Neoclassical Taste ca. 1900, the mirror with a molded gilt edge and a greenpainted inner frame, with ram’s heads and a spray of bellflowers on each side. h. 32‑3/4”, w. 24” $800‑$1,200 914 Pair of Biedermeier Bird’s-Eye Maple Fauteuils mid-19th century, each with a scrolling foliate crest above a padded back, joined by lotus-carved scrolled arms to the padded seat, raised on turned and tapering bulbous legs ending in bulb feet. h. 41‑1/2” 915

$2,000‑$4,000

916

915 Pair of Marble, Bronze and Crystal Girandoles 913

second quarter 20th century, in the Russian taste, on marble bases with urn-form marble and bronze standards, set with four graduated tiers of prisms, the lower level set with four candle sockets, alternating with crystal spires, electrified. h. 30‑3/4”, dia. 11‑3/4” $1,000‑$1,500 916 Biedermeier Satinwood and Marble-Top Commode mid-19th century, the inset serpentine marble top within an annulated frame, above a conforming case fitted with three long drawers, the upper one with a gilt lion pull, all with annulated banding and inlaid scrolling patterns, with a concealed apron drawer below, flanked to either side by canted projecting ribbed giltwood uprights headed by lion’s masques and ending in foliate scrolls, raised on paw feet. h. 36”, w. 54‑1/4”, d. 24‑1/2” 914

302

$2,000‑$4,000

917 Continental Giltwood Bed Crown fourth quarter 19th century, in the neoclassical style, the cove-molded crown with a lower beaded edge, an upper border of carved acanthus leaves, and a displayed eagle perched over the front. h. 12”, dia. 23‑3/4” $800‑$1,200 918 French Bronze and Marble Garniture Vase second quarter 20th century, in the neoclassical style, with a removable flower holder in the pierced neck, the green-veined marble body surrounded by bronze elements decorated with roses, swags of laurel and acanthus leaves, and resting on bronze fluted feet. h. 24‑1/2”, dia. 9”

917 918

$700‑$1,000 919 Jan van Chelminski (Polish/New York, 1851‑1925) “Polish Light Cavalry Lancer of the Imperial Guard” watercolor signed lower right. Matted, glazed and framed. 10‑3/4” x 9‑3/4” $1,000‑$1,500 920 Eugene Delacroix (French, 1798‑1863)

919

920

“Esquisse, Deux Tetes de Lions” ink on laid paper artist’s studio stamp (L.838a) lower left. Matted, glazed and framed. 4‑7/8” x 3‑5/8” $1,000‑$1,500 921 Calamander Wood Dressing Case ca. 1900, English, the brass-inlaid box with a cover opening to reveal an array of glass and silverplate cosmetics containers, a “hidden” lock opening a lower writing drawer with fittings for jewelry below, set with sophisticated cylinder and spring locks. h. 7‑1/4”, w. 12”, d. 9” $600‑$900

921

303

922 923

924

922 Partial Service of Baccarat “Haut Brion” Crystal Stemware ca. 1928‑1986, including nine water goblets, h. 7‑1/4”, dia. 2‑3/4”, eight claret glasses, h. 6”, dia. 2‑1/4”, seven sherry glasses, h. 4‑3/4”, dia. 2”, and twelve liqueur glasses, h. 3‑1/2”, dia. 1‑1/4”, signed on the bottom. $700‑$1,000 923 Partial Service of Baccarat “Massena” Cut Crystal Stemware post-1979, the service including sixteen water goblets, h. 7”, dia. 3”, sixteen champagne flutes, h. 8‑1/2”, dia. 2”, and fourteen tall sherbet glasses, h. 5‑1/2”, dia. 3‑3/4”. Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $1,000‑$1,500

304

924 Set of Twelve Sevres Dinner Plates ca. 1894‑1896, with cobalt borders and gilt monogrammed panels, the blanks with the underglaze blank mark for 1894, and the overglaze decorator’s mark for 1896. dia. 9‑1/4” $800‑$1,200

926

925 Set of Ten Exceptional Haviland Cabinet Plates hand-painted with views after Jean-Francois Millet (French, 1814‑1875), with raised gilt cobalt borders, each plate decorated after one of Millet’s works, including “The Angelus” and “The Gleaners”, signed on the front with names of the works and “Millet”, some with an abbreviated version of the title on the back, along with the Haviland blank marks and decorator marks, indicating they were painted in house. dia. 9‑1/4”

925

$700‑$1,000 926 Unusual French Erotic Bronze Covered Basket 19th century, with a basket-form base, the cover, possibly a lady of the evening, resting on the basket, her bare derriere concealed until removing the cover. h. 7‑1/4”, w. 5‑1/2”, d. 7‑1/2” $2,000‑$4,000 927 Napoleon III Boulle and Ebonized Writing Table late 19th century, in the Louis XV style, the rectangular top with a leather-inset surface within a boulle border, above a shaped frieze fitted with a short drawer to each end, with like boulle work, with faux like drawers verso, raised on cabriole legs ending in sabots. h. 29”, w. 43‑1/2”, d. 25”

927

$1,400‑$1,800

305

928 Maria Theresa-Style Wood, Metal and Glass Chandelier first quarter 20th century, on a metal frame with wooden fittings, set with six candle arms and four interior light sockets, hung with swags of drops and prisms, a corona of drops at the top. h. 29”, dia. 25‑1/2” $1,000‑$1,500 929 Eugene Claude (French, 1841‑1922) “Le Lunch” oil on canvas signed lower right. Presented in a period giltwood and gesso frame affixed with an artist plaque. 29” x 45‑1/2” $3,500‑$5,000

928

929

306

930 Pair of Gilt-Bronze-Mounted Ebonized Faux Boulle Pedestals early 20th century, each with a variegated white and gray marble top, over canted corners with figural mounts flanking the Boulle-style panels. h. 42”, w. 19‑1/4”, d. 19‑1/4” $800‑$1,200 931 Pair of Napoleon III Ebonized, Boulle and Marble-Top Cabinets late 19th century, each with a rectangular marble top with turreted corners, above a conforming case fitted with a boulle frieze over a single cupboard door, centered by a like oval panel, flanked to either side by ormolu espagnolettes, raised on turreted feet. h. 43‑1/2”, w. 33‑1/2”, d. 16‑1/2” $3,000‑$5,000 930

931

307

932

933

932 Unusual French Gilt-Bronze, Enamel and Marble Tazza ca. 1900, the molded marble base with scrolled and leaf-molded feet, and supporting the engine-turned and gilt-bronze bowl, set with a circular enamel portrait of a jeune fille, and fitted with pierced, rolled handles decorated with flowers. h. 9‑1/2”, dia. 11‑1/2” $600‑$900 933 Rare French Carved Hardwood and Specimen Marble Box

934 detail

fourth quarter 19th century, the hexagonal box set with panels of various wedge-shaped specimen marble and stone, framed with “rustic” carved trim on carved, scrolled feet, lined with watered silk, the base retaining a worn label from the maker or retailer, “a Paris” in part, indicating an origin in Southwest France. h. 4”, dia. 5‑1/4” $500‑$800 934 Louis XVI-Style Fruitwood and Marble-Top Center Table early 19th century, the circular specimen marble top with a band and radiating panels of various marbles, above a conforming foliate-pierced frieze, raised on fluted tapering circular legs joined by an X-form stretcher and ending in toupie feet. h. 31‑1/2”, dia. 27‑1/2” $1,500‑$2,500 934

308

935 Maria Theresa-Style Metal and Glass Chandelier second quarter 20th century, on a scrolled metal frame set with candle arms and hung with swags of glass beads and glass drops, the brass candle sockets set with molded glass prism rings, and sprays of drops at the top. h. 30‑1/2”, dia. 24‑1/2” $1,000‑$1,500 936 Napoleon III Ebonized and Mixed Woods Occasional Table late 19th century, the square top with a scroll-inlaid band surrounding a central inlaid musical trophee, each side with an ormolu-banded D-form drop leaf, all banded and with foliate inlaid panels, raised on fluted tapering circular legs ending in bulbous and toupie feet. h. 29”, w. 21”, d. 21” $700‑$1,000 937 Napoleon III-Style Kingwood and Mahogany Occasional Table 20th century, the rectangular top banded and quarterveneered within a three-quarter pierced brass gallery, above a conforming frieze fitted with a single drawer, joined to a like concave lower shelf by ormolu ring-turned tapering circular legs continuing to brass caps. h. 29‑1/2”, w. 23‑1/4”, d. 17” $600‑$900

935

936

937

309

938

938 Good American Expansionist Era Five-Piece Coin Silver Coffee and Tea Set

939 Rare Antebellum Tennessee Agricultural Premium Coin Silver Julep Cup

second quarter 19th century, by Gerardus Boyce (1795‑1880), New York, New York, including a coffeepot, h. 12‑1/2”, a teapot, h. 11‑3/4”, a covered sugar bowl, h. 9‑3/4”, a cream jug, h. 7‑3/4”, and a waste bowl, h. 5‑5/8”, each with an inverted toupieshaped body below a serpentine-lobed everted rim, with crested “S”-scroll handles, “gooseneck” spouts, steeply domed gadrooned lids with floriform finials and raised on a wasted foot with gadrooned knop and lobed en suite, monogrammed “BL”. 163.95 total t. oz.

1857, by Samuel Simpson (1800‑1872), Clarksville, Tennessee and Hopkinsville, Kentucky, of traditional tapering cylindrical form with beaded molded banding, engraved “Made by / S. Simpson / for / Christian Co. A. and M. / Association / 1857”. h. 3‑1/2”, dia. 3‑1/8”; 5.14 t. oz.

$2,500‑$4,000 A hot water urn in this popular pattern by Boyce is in the permanent collection of the Art Institute of Chicago and another five-piece service from the De la Guerra Family is in the collection of the Santa Barbara Historical Museum.

310

Literature: Benjamin Hubbard Caldwell, Jr., Tennessee Silversmiths (Winston-Salem: Museum of Early Southern Decorative Arts, 1988), pp. 154‑156. Marquis Boultinghouse, Silversmiths, Jewelers, Watch & Clock Makers of Kentucky, 1785‑1900 (Lexington: the author, 1980), p. 250. $1,500‑$2,500

This lot is one of a rare handful of known silver cups given as premiums at the first Christian County [Kentucky] Agricultural and Mechanical Association, each proudly engraved by its maker Samuel Simpson (1800‑1872) and bringing together the most desirable elements of antebellum Tennessee and Kentucky coin silver. The organizational charter for the Christian County Agricultural and Mechanical Association was granted in 1856 by the Kentucky Legislature, and its first meeting was held on February 2, 1857. Grounds were purchased outside of Hopkinsville, the county seat, and buildings were built for the first fair to be held for four days beginning on October 21, 1857. There is no record of the specific premiums awarded (though they totaled $1,500), but, following the fashion of the Central Kentucky and other fairs that year, the silver cups were probably among the $10 premiums awarded primarily for livestock, but also for equipment (carriages, buggies, plows and harnesses) and textiles (quilts and jackets). There is a single known silver goblet by Simpson with an 1857 “Christian County A & M” inscription, and at least three julep cups identical to the present lot, including one from the Caldwell collection (auctioned in 2006), and examples in the Tennessee State Museum, Nashville and the Museum of Fine Arts, Houston. Benjamin Caldwell Hubbard, Jr., in his seminal Tennessee Silver includes scant biographical information on Simpson, though more has come to light since its publication in 1988. For instance, Caldwell dismissed the possibility that Simpson could be the Samuel Simpson, watchmaker listed in York County, Maine in 1823, based on approximate birth dates of 1807 and 1815 taken from U.S. Census information in 1850 and 1860, respectively. However, the 1870 census and Simpson’s death record both agree on his birth around 1800, making it more likely that he was, in fact, working in his native Maine (on which all censuses agree) before moving to Tennessee. He moved to Tennessee by the late 1830s, probably directly to Clarksville in Montgomery County, on the southern border of Christian County, Kentucky. He began advertising in the Clarksville Chronicle in February, 1840, and ran notices consistently there for the next fifteen years, until September 1857 when Simpson offered the sale of his house. Caldwell postulates that Simpson had relocated to Christian County, Kentucky at this time, a theory supported by a January 1858 advertisement of silversmith George Edward Cooke (1835‑1902) as the successor to S. Simpson in Clarksville and Simpson’s listing in Hopkinsville, Kentucky in the 1859‑1860 Kentucky State Gazetteer. However, on March 2, 1860, the Clarksville Chronicle noted that “among the noticeable improvements now going on in our city, not the least is that of our former esteemed townsman, Mr. Samuel Simpson on Franklin Street, next door to Tate’s saddlery store. Mr. Simpson has had the entire front of his store taken out and remodeled, besides making other desirable alteration, and will have one of the neatest rooms in town. Mr. Simpson will soon open on the first floor a fine stock of Jewelry, Watches, &c.” Two weeks later, Simpson ran an ad announcing his the new firm of Simpson & Price with Andrew G. Price (1816‑1884). This firm ran ads throughout the year until December 1860, when Simpson once again announced that he was selling his house. This ad ran for nearly a year - until November of 1861, by which time the Civil War had started. The Chronicle still mentions Simpson & Price until at least February 1862, after which no extant documents record the fate of the firm during the war.

939

939 detail

In July 1865, however, Price had evidently left the partnership, as Simpson announced that the firm would thenceforth be known as A. & H. Simpson: his sons Alfred and Henry, born 1837 and 1840, respectively, and both of whom had served in Co. A of the 49th Tennessee, CSA. This firm evidently was short lived, as an announcement of its dissolution ran on September 7, 1866, with notice that it would continue under the name Henry Simpson, and with the assurance that “watch repairing will be under the control of Sam’l Simpson, as heretofore”. Although this announcement predates the event, the death of Alfred Simpson five days later on September 12, 1866 in Hopkinsville, Kentucky is certainly not coincidental, and suggests that the Simpson firm continued a business connection in Christian County Kentucky. The last mention of the Simpson firm in Clarksville was in April 1867 (with the announcement of a brief working visit by “Mr. J. W. Pyle, Ornamental Hair Workman”). In 1870, Samuel Simpson appears in the U.S. Census in Austin, Travis County, Texas with his wife Josephine (nee Love), son Henry and the rest of his children. Immediately next door to him is his brother William Simpson (1802‑1877), also a watchmaker, and who had been in Austin since the 1830s. Samuel is listed as a retired jeweler in the census, and he died two years later in Austin, on November 10, 1872. His son Henry left the watch and jewelry trade and later became a confectioner; he died on October 23, 1912, in San Marcos, Hays County, Texas.

311

940 Rare Antebellum Kentucky Coin Silver Julep Cup 1854‑1863, by John Kitts (1836‑1878) & Co., Louisville, of traditional tapering cylindrical form with beaded and molded rim. h. 3‑7/8”, dia. 3‑1/8”; 5.12 t. oz. Literature: Marquis Boultinghouse, Silversmiths, Jewelers, Watch & Clock Makers of Kentucky, 1785‑1900 (Lexington: the author, 1980), pp. 179‑180. $500‑$800 941 American Sterling Silver Pitcher fourth quarter 19th century, by Harris & Shafer & Co., Washington, D.C., the pear-shaped body with engraved and repousse “vintage” decoration, with cast “grapevine” handle and foot rim, monogrammed “MMcLD”. h. 11”, l. 7‑3/4”, dia. 6‑1/2”; 32.55 t. oz. $700‑$1,000 942 Boston Four-Piece Coin Silver Tea and Coffee Set

941

third quarter 19th century, by Vincent Laforme (1823‑1893) for Bigelow Brothers & Kennard (fl. 1845‑1863), including a coffeepot, h. 8‑1/2”, a teapot, h. 7‑1/4”, a covered sugar bowl, h. 5‑3/4”, and a tea caddy, h. 5‑1/2”, the first three with pear-shaped bodies, acanthusmounted handles and quatrefoil-lobed feet, the caddy of oval section, all decorated on the lid with repousse acanthus leaves surrounding an acanthus bud finial, monogrammed “MLE”. 78.71 total t. oz. $1,200‑$1,800

940

940 detail

942

312

943 American Sterling Silver Salver

944 Good American Five-Piece Sterling Silver Neo-Grec Coffee and Tea Set

1853, by William Gale & Son, New York, New York, circular with pierced lattice and rococo arch galleried rim and raised on four scroll feet, engraved with a band of flowers, fruit and birds and a central circular medallion of courting parrots, with presentation inscription “Amelia / from / John Harper / March 24th 1853”. dia. 19‑1/4”; 83.26 t. oz.

third quarter 19th century, probably Gorham Corp., Providence, Rhode Island, for Starr & Marcus, New York, New York, including a coffeepot, h. 9”, a teapot, h. 8”, a covered sugar bowl, h. 7”, a cream jug, h. 6”, and a waste bowl, h. 3‑3/4”, each of inverted “acorn” form, with milled beaded banding and wide engraved ivy banding with applied shield-form cartouches, with notched palmettecrested handles and shallow domed lids with toupie finials, engraved on the cartouches “PSG from SEP”. 106.25 total t. oz.

$3,000‑$5,000

$3,000‑$5,000 Starr & Marcus, founded in 1864 in New York by Theodore Burr Starr (1837‑1907) and Herman Marcus (1824‑1899), was the exclusive retailer of Gorham silver in New York until their dissolution in 1874. Afterwards, Starr would continue the firm alone and assume the Gorham contract, while Marcus - after working a few years at Tiffany & Co. - would found the important jewelry firm Jacques & Marcus (later Marcus & Co.) in 1884. Although bearing only the Starr & Marcus retailer’s stamp, this handsome set shows all the revivalist influences in Gorham’s designs under the direction of John Gorham (1828‑1898), and was almost certainly made by them under the terms of their exclusive contract with Starr & Marcus.

943

944

313

947 Three American Sterling Silver Ladles late 19th/early 20th century, including an engraved spatulate example with gilt bowl, retailed by Jules A. Ephriam, Philadelphia, monogrammed “BJF”, l. 12‑3/4”, a Gorham “Corinthian” example, l. 12‑3/4”, and a Watson “Bridal Flower” example, monogrammed “MDC”, l. 12‑1/4”. 20.18 total t. oz. $600‑$900

945

945 American Coin Silver Water Pitcher third quarter 19th century, by William Gale & Son (active 1850‑1860), New York, New York, the ovoid body decorated with elaborate floral-scroll mantled cartouches, the waisted collar and foot both between annulated banding, with crested double-scroll handle, engraved “M. A. Benedict / to / Theodore H. Benedict”. h. 11‑1/2”, l. 7‑1/2”, dia. 5‑3/4”, 27.45 t. oz.

947

$800‑$1,200 The recipient here is almost certainly Theodore Hudson Benedict (1821‑1885) of Westchester county, perhaps on the occasion of becoming the youngest member of the state assembly in 1851. The presenter was probably his sister-in-law, Mary Augusta Benedict (nee Weed). 946 Six American Sterling Silver Serving Pieces mid-19th to early 20th century, including an Albert Coles “Leaf” pastry spade, monogrammed “HMJC, l. 10”, a pair of Dominick & Haff “Louis XVI” berry spoons, monogrammed “L”, l. 8‑7/8”, two Gorham ornamental pattern no. 5C serving spoons, l. 7‑5/8” and 9‑1/4”, and a Whiting “Oval Twist” sugar spoon, monogrammed “BAB”, l. 5‑3/4”. 14.31 total t. oz. $600‑$900

314

946

948 Sixty-One Pieces of Gorham “Lansdowne” Sterling Silver Flatware the pattern designed in 1917 by Barton Pickering Jenks (1870‑1941), Providence, Rhode Island, including a dozen three-piece place settings, with an additional dozen luncheon knives and thirteen other place pieces, monogrammed “EEvP”. 51.88 total t. oz. (weighable silver) Detailed list of pieces available on request. $700‑$1,000

949 Good Shreve & Co. Sterling Silver and Engraved Glass Center Bowl

948

first quarter 20th century, San Francisco, California, the shaped navette base decorated with acanthus scrolls and mounted at the sides and corners with applied figures of Bacchic putti among grapevines, fitted with a conforming fluted glass bowl with scalloped rim and wheel-engraved with rococo fans and lattice. overall h. 5‑1/2”, l. 16‑1/4”, w. 10‑1/2”, 77.32 t. oz. (silver base only) $1,400‑$1,800

949

950 Large American Sterling Silver Tray 1899, by Howard & Co., New York, New York, of rounded rectangular form, with chased rococo gadrooned rim and applied gadrooned edge and handles, monogrammed “CEF”, the underside with presentation inscription “From / Harold and Georgette Brown / December 12, 1899”. 34‑1/2” x 22‑1/2”; 260.42 t. oz. $6,000‑$9,000

950

315

951 124‑Piece Set of Towle “Old Colonial” Sterling Silver Flatware the pattern designed in 1895 by Lucien Durkee Cole (1849‑1926), Newburyport, Massachusetts, including a dozen nine-piece place settings with an additional ten place pieces and six serving pieces, presented in a fitted, baize-lined, two-tier wooden case, 5‑1/2” x 15‑1/2” x 13”. 113.76 total t. oz. (weighable silver) Detailed list of pieces available on request. $2,000‑$4,000 952 American Sterling Silver Loving Cup first quarter 20th century, by the Newburyport Silver Co., Keene, New Hampshire, the ovoid body with shaped rim, acanthus-scroll handles and step-domed foot, decorated with shell-and-scroll edging. h. 10”, w. 9‑1/2”, dia. 5‑1/4”, 32.30 t. oz. $600‑$900

951 detail

951

952

953 Set of Twelve Gorham “Chantilly-Grand” Sterling Silver Service Plates 1906‑1910, Providence, Rhode Island, the pattern designed in 1895 by William Christmas Codman (1839‑1923), no monograms. dia. 10‑3/8”; 241.65 total t. oz. $5,000‑$8,000 953

8 316

955 Seventy-Five-Piece Set of Wallace “Sir Christopher” Sterling Silver Flatware the pattern designed in 1936 by William S. Warren (1888‑1965), Wallingford, Connecticut, including a dozen six-piece place settings and three serving pieces, no monograms. 87.71 total t. oz. (weighable silver) Detailed list of pieces available on request.

954

$1,200‑$1,800

954 Pair of American Sterling Silver-Mounted Glass Claret Jugs first quarter 20th century, by Theodore B. Starr, New York, New York, each with a pear-shaped glass body with spiral gadroons and trapped bubbles, the neck mounted in a silver collar with “duck’s beak” spout, hinged domed lid and tapering “C”-scroll handle, all decorated with embossed floral scrolls. h. 10‑1/2”, dia. 5‑1/4”

956 English Colonial Silver Covered Sugar Bowl mid-18th century, possibly American, the inverted pear-shaped body decorated with repousse rococo gadroons, the fitted lid with gadrooned foot-ring, engraved with the crest of Johnston et al. (a winged spur). h. 4‑3/4”, dia. 4‑1/4”; 9.42 t. oz. $800‑$1,200

$1,000‑$1,500

956 955

317

957 Impressive Twenty-Five-Piece Mexican Sterling Silver Punch Set third quarter 20th century, by Tane Orfebres, Mexico City, maker’s initials “JPG”, including a large hemispherical punch bowl with shaped “Monteith” rim, gadrooned body and ringed lion’s masque handles, h. 8‑3/4”, dia. 15‑7/8”, and twenty-four timbale-form beakers gadrooned en suite, h. 3‑3/8”, dia. 3”. 158.85 total t. oz. $2,000‑$4,000 958 South American Silver Bowl

959

late 18th/early 19th century, maker’s mark “J.L”, of serpentine-lobed oval form with molded rim, monogrammed “NL”. h. 2‑1/4”, l. 16‑1/2”, w. 11”; 41.44 t. oz. $1,500‑$2,500 959 Set of Six Victorian-Style Sterling Silver Goblets

958

second half 20th century, American, each with an ovoid body, waisted stem and square plinth base, decorated with rococo flowers, scrolls and cartouches. h. 5‑5/8”, dia. 3‑1/8”; 43.31 total t. oz. $600‑$900 960 Twelve Silverplate Figural Napkin Rings including a period Reed & Barton example with cherub and bud vase (no. 1285), and eleven contemporary examples including Kate Greenaway-type children, dogs, wild animals, carriages and others. h. 2‑1/2” to 5‑3/4”

960

Detailed list available on request. $1,000‑$1,500

957

318

961

961 Two Cased Sets of Sterling Silver Salt Cellars and Spoons contemporary, American, each set containing six cellars of coquille form, each crested with a putto playing one of six different musical instruments, raised above a foliate standard and gadrooned circular foot with black plastic disc base, h. 2”, dia. 1‑5/8”, and six associated salt spoons with coquille bowl and twiststem, l. 1‑3/4”, presented in a white satin-lined green buckram case, 2‑1/4” x 8‑1/4” x 5‑7/8”. 11.66 total t. oz. (including plastic elements) $600‑$900 962 Reed & Barton “Grande Renaissance” Sterling Silver Flatware

962

the pattern introduced in 1967, ninety-six pieces, including a dozen seven-piece place settings (four place spoons lacking) and sixteen serving pieces, no monograms. 97.14 total t. oz. (weighable silver) Detailed list of pieces available on request. $2,000‑$4,000 963 Lunt “Modern Victorian” Sterling Silver Flatware Set the pattern designed in 1941 by Frederick William Koonz (1868‑1958), fifty-five pieces, including a dozen five-piece place settings (seven pieces lacking) and two serving pieces, no monograms. 54.92 total t. oz. (weighable silver) Detailed list of pieces available on request. $800‑$1,200

963

319

964 American Chippendale Cherrywood Slant-Lid Desk third quarter 18th century, the lid front with a large reliefcarved fan, the interior fitted with cubbyholes and small drawers, the case with four graduated drawers and raised on bracket feet. h. 41”, w. 36”, d. 18” $600‑$900 965 American Chippendale-Style Mahogany High Chest 18th century and later, in the Philadelphia style, in two parts, the upper section with a bonnet top over shell and foliate carving, the base with a scalloped shell-carved apron, on cabriole legs with ball-and-claw feet. h. 90‑1/2”, w. 41”, d. 26” 964

$1,500‑$2,500 966 American Colonial Revival Mahogany Blockfront Chest third quarter 19th century, in the Newport style, the top and base edges gadrooned, fitted with four graduated drawers, the top drawer with a central concave shell and flanked by convex shells to either side, raised on carved ball-and-claw feet, having chestnut secondary woods with square nail construction, the back side bearing the branded initials and number “HR1”, probably referring to the cabinetmaker. h. 35‑1/2”, w. 42”, d. 22” $1,200‑$1,800

966 965

320

969

967

968

967 Meissen “Blue Onion” Tureen ca. 1860‑1924, the tureen with a scroll-molded knop and shellmolded handles, and with an underglaze blue crossed swords mark with pommel ends and hand-painted with a decorator’s mark at the footing. h. 10‑1/4”, w. 11‑1/4”, d. 7‑1/4” $600‑$900 968 Pair of Continental Meissen-Style “Blue Onion” Pattern Pierced Fruit Compotes fourth quarter 19th century, swirl-molded and gilt trimmed, marked with a variation of the crossed swords. h. 8‑1/2”, dia. 8‑3/4” $600‑$900

969 Rare Early Map of the 17th-Century Louisiana Province by Johann Baptist Homann (German, 1664‑1724), after Father Louis Hennepin’s 1687 account, hand-colored copper engraved map with Latin and French descriptions, published Nuremberg, 1717‑1720. Matted, glazed and framed. sight 19‑1/2” x 23‑3/8” $1,000‑$1,500 Homann’s striking map charts the course of the Mississippi River through the Louisiana Province, which extends from the Dakotas and the Great Lakes through Louisiana and parts of western Mississippi and eastern Texas. The Florida territory and the nascent American colonies on the eastern seaboard are also delineated in separate colors, offering a rare glimpse into the early settlements of North America. The map, based on the reports of the missionary Father Hennepin, closely follows Guillaume Delisle’s famous map of the same region, and is superbly illustrated with inset engravings and annotations that include many Indian tribes, explorer routes and forts.

321

971 “Carte de La Louisiane,” by Jean-Baptiste Bourguignon d’Anville (French, 1697‑1782) hand-colored copper engraved map, created 1732, published Paris, 1752. Matted, glazed and framed. plate 21” x 36‑1/2”, sight 21‑1/4” x 37‑1/4” $800‑$1,200 972 “Coast of West Florida and Louisiana”, by Thomas Jefferys (English, 1719‑1771)

971

copperplate engraved map, with the New Orleans environs heightened with hand-colored gold, published London, 1775. Matted, glazed and framed. plate 19‑1/2” x 25‑1/2”, sight 20‑1/2” x 26” $700‑$1,000

972

970 Three Hand-Colored Copper Engraved Maps of Louisiana and the Mississippi Basin by Jacques-Nicolas Bellin (French, 1703‑1772), from Le Petit Atlas Maritime, vol. 1, published Paris, 1764, including “Suite du Cours du Fleuve St. Louis depuis la Riviere d’Iberville jusqu’a celle de Yasous...”; “La Louisiane et Pays Voisins”; and “Suite du Cours du Fleuve St. Louis depuis ses Embouchures jusqu’a la Riviere d’Iberville et Costes Voisines”. Matted, glazed and framed. each plate 9” x 14‑3/4”, sight 9‑1/2” x 14‑7/8” $500‑$800

970

322

975 974

976

973

973 American Federal Vine- and Bud-Inlaid Walnut Chest early 19th century, probably Virginia, with a bank of four graduated drawers, each with ovoid line stringing and flanked by stiles with vine and bud inlay, and a scalloped apron, raised on flare feet in the Hepplewhite taste, having yellow pine and white pine secondary woods. h. 36‑1/2”, w. 38‑3/4”, d. 20‑1/2” $1,000‑$1,500 974 Good American Carved Mahogany Lolling Chair

975 American Federal Mahogany Chest ca. 1800, in the Hepplewhite taste, the bank of graduated string-inlaid drawers flanked by canted corners with line stringing, with shaped apron and flare feet. h. 35‑1/2”, w. 40”, d. 20‑1/4” $600‑$900 976 American Federal Mahogany and Figured Birch Sideboard

18th century, New England, the arched and peaked, padded back with graceful curved arms and dramatic knuckleroll, raised on Marlborough legs with pegged construction throughout. h. 41‑1/2”

first quarter 19th century, New England, the top with a crossbanded perimeter and projecting ovolo corners, the case with a pair of banded drawers, over a pair of doors flanked by deep drawers, the reeded ends extending to turned feet. h. 42‑1/2”, w. 48‑1/4”, d. 20‑1/2”

$1,800‑$2,500

$600‑$900

323

979

977

978 980

977 Exceptional Paris Porcelain Urn first quarter 19th century, attributed to Dagoty, with a band of molded biscuit flowers around the top, the primary portion of the urn with a matte blue ground, decorated with a roundel portrait of “Calliope” on the obverse and delicately tooled gilt neoclassical ornamentation on the reverse. h. 13‑1/4”, dia. 8‑1/2” $600‑$900 978 Good American Classical Figured Mahogany Breakfast Table ca. 1820, Philadelphia, the top with shaped drop leaves and fitted with a single drawer mounted to a turned standard and platform base with four outstretched, carved and reeded legs. h. 28”, w. 40”, l. 22”, ext. l. 50” $700‑$1,000

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979 Pair of Paris Porcelain Garniture Urns second quarter 19th century, decorated with hand-painted panels of flowers on a marble slab, against a gilt ground, with tooled gilt framing the panel and on the reverse, the molded swan’s-head handles finished with contrasting matte and burnished gilt. h. 15”, w. 7‑3/4”, d. 4‑1/4” $1,200‑$1,800 980 American Classical Parcel-Gilt and Stenciled Mahogany Pier Table second quarter 19th century, New York, the marble top with projecting ends and a bow front, over a conforming frieze retaining its period gilt stenciling, raised on tapering columns with giltwood capitals and bases, the shaped low shelf with a stenciled edge and backed by a mirror plate, on foliate-carved and reeded legs. h. 36‑1/2”, w. 42‑1/4”, d. 18‑3/8” $3,000‑$5,000

981 Pair of Handsome William IV Polished Brass Argand Lamps second quarter 19th century, the oil tank decorated with Cupid and Psyche, the base with molded leaves and baskets of flowers, hung with prisms, the shades cut and etched, probably Pairpoint, fourth quarter 19th century. h. 20”, w. 10‑1/4”, d. 6‑1/2” $1,000‑$1,500 982 School of Thomas Sully (British/American, 1783‑1872) “Pendant Portraits of Husband and Wife”

981

pair of oils on canvas Presented in matching frames. each 27‑1/2” x 22‑1/2” $2,000‑$4,000 983 American Classical Mahogany Settee ca. 1825, the figural paneled back framed by reeding, the reeded scroll arms joined to sabre-form legs with brass paw cup casters, upholstered in floral horse hair after the period fashion. h. 38”, w. 54‑1/4”, d. 26” $800‑$1,200 982 one of two

982 two of two

983

325

986

985

984

984 American Classical Mahogany Work Table ca. 1825, attributed to Anthony G. Quervelle (1789‑1856), Philadelphia, the cross-banded lift-top fitted with an interior looking glass and opening to reveal a segmented interior retaining its period red paper lining, over a pair of drawers, on a trestle base with paired dolphin-carved supports and turned stretchers. h. 30‑3/4”, w. 24‑1/4”, d. 20‑1/4” $800‑$1,200 An apparently identical table, attributed to Quervelle, is illustrated in Boor’s, Philadelphia Empire Furniture, pp. 266‑267.

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985 New England Federal Giltwood Tabernacle Mirror first quarter 19th century, with rope-twist columns flanking the tablet, decorated with grapes and grape leaves beneath a cove-molded cornice set with gilt spherules and molded wreaths and anthemia. h. 56‑1/4”, w. 31” $600‑$900 986 Bronze and Glass Solar Lamp ca. 1830s, probably English, the lotus-molded bronze standard retaining most of its original gilt-trimmed, patinated finish, the tag bearing the retailers name, “John B. Jones, Boston”, and affixed between the two oil tank filler tubes, set with a period frosted glass shade cut with flowers, with a firepolished lower edge. h. 28”, dia. 9” $600‑$900

987 American Late Classical/Gothic Revival Secretary Bookcase second quarter 19th century, constructed of maple and mahogany, in two parts, the upper section with a projecting cornice over a pair of mullioned and arched glazed doors centering an open compartment, the tall base with a slant-lid top over a drawer and paneled doors, flanked by columns and raised on bracket feet, employing carefully selected birdseye and figured maple throughout. h. 88‑3/4”, w. 45”, d. 21” $1,500‑$2,500 988 American Late Classical Mahogany Four-Post Bed second quarter 19th century, the paneled headboard with a back-rolled crest rail, the octagonal posts ending in large turned finials. h. 96”, inside w. 56‑1/2”, l. 76”, outside w. 65”, l. 83” $600‑$900

987

989

989 Pair of American Classical Pickled Mahogany Footstools second quarter 19th century, Boston, each with a leather-covered cushion mounted to a carved base with scrolled ends and central carved anthemion, joined by a turned stretcher. h. 15”, w. 17”, d. 15” 988

$700‑$1,000

327

990 Suite of Six American Stenciled Hitchcock Chairs second quarter 19th century, each with a turned and shaped crest rail above two slats, the seats in woven rush. h. 33” $600‑$900 991 Impressive Classical Revival Chandelier first quarter 20th century, the seven-light chandelier with an alabaster bowl decorated with bronze mounts, and supporting a patinated brass top set with molded gilt-bronze arms around the sides and a single light on the top, all mounted with frosted flameform glass shades supported by molded gilt-bronze chains. h. 37”, dia. 40” $1,000‑$1,500 992 Suite of Six American Classical-Style Mahogany “Gondola” Chairs third quarter 20th century, after a second quarter 19th century design, each with an arched figural crest rail, vasiform splat, curule stiles extending to the front legs, bowed seat and sabre legs. h. 34‑1/2”

991

$600‑$900

990

992

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993 Late Regency Mahogany Settee second quarter 19th century, the padded and tufted back with a rounded crest, joined by foliate-carved uprights and dramatically outscrolled arms to the padded seat, raised on foliate-modeled feet on brass caps and casters. h. 39”, w. 95”, d. 29‑1/2” $1,000‑$1,500 994 Alexander John Drysdale (American/Louisiana, 1870‑1934)

994

“Sunrise on the Bayou” oil wash on board signed lower right. Matted, glazed and framed. sight 7‑1/2” x 19” $1,000‑$1,500 995 Alexander John Drysdale (American/Louisiana, 1870‑1934)

995

“Cypress Trees”, 1916 oil wash on board signed and dated lower left, an old “John Wanamaker/Philadelphia” label en verso backing. Matted, glazed and framed. 6” x 20” $1,000‑$1,50 996 Newcomb College Art Pottery pitcher, 1932 decorated by Anna Francis Simpson, with longstemmed daffodils, matte glaze with blue, yellow and green underglaze, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. IX32. h. 6‑1/2”, base dia. 4‑1/8”

997

996

$2,000‑$4,000 997 Newcomb College Art Pottery creamer, 1924 decorated by Sadie Irvine, the floral band with blue, pink and green underglaze over a matte blue ground, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer potter’s mark, reg. no. NU88 and shape no. 196. h. 4”, base dia. 5” $800‑$1,200

993

329

998 Anna Hunter (American/Georgia, 1892‑1985) “Throwing a Fishing Net” oil on canvas signed lower right. Framed. 16” x 20” $1,800‑$2,500 999 John Thomas Biggers (American, 1924‑2001) “Blessing the People” conte crayon on paper signed, dated, localized “Houston, Texas”, and inscribed “To W. C. Starling, Patron of the Arts” upper right. Matted, glazed and framed. sight 26” x 56” Exhibited: New Orleans Museum of Art, New Orleans, Louisiana. $50,000‑$80,000 I think we have to show the human condition and what happens to it. To me that is what art is all about - showing the spirit of man struggling above the mundane, above the material, above suffering. This is the whole story of art. -John Thomas Biggers Rebecca Felts and Marvin Moon. “Artist Series: An Interview with John Biggers”. Texas Trends in Art Education. Fall 1988.

One of the most significant African-American artists of the 20th century, John Thomas Biggers was born the youngest of seven children to a family that stressed the importance of education, creativity and spirituality. Growing up in the tightknit black community of Gastonia, North Carolina, Biggers has stated that he had a relatively pleasant childhood, and that he was encouraged in his artistic and intellectual pursuits. Both of his parents had attended nearby Lincoln Academy, which Biggers and his brothers would later attend. The Academy was an all-black Congregationalist school created after the Civil War for the children of black soldiers and freed slaves alike, and it had a reputation for stringent academic requirements combined with practical training. At the age of fifteen, Biggers began attending classes at Lincoln Academy with the intention to train to be a plumber. The young man soon realized his passion and inclination was drawing. Having made the decision to study art, Biggers enrolled in Hampton Institute (now Hampton University) in Virginia, where he studied with Victor Lowenfeld, an Austrian who had fled Europe. Lowenfeld was one of the first to publicly acknowledge the artistic significance and influence of African culture on modern art, and he encouraged his students to eschew the artistic conventions of the time to pursue something that was more immediate, more personal to them

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and their heritage. For many of these students, this was the first validation of their particular experience from someone outside of the African-American community. Biggers began to create drawings and murals which specifically referenced the life of African-Americans, creating an iconography which would be immediately understood and accessible to his intended audience. In 1943, Biggers was included in the Young Negro Art exhibition at the Museum of Modern Art in New York City. This exhibition was extraordinary for several reasons; for such a prestigious institution to agree to an exhibit of student work was unusual in and of itself, for those students to be African American was virtually unheard of at that time. That same year, Biggers was drafted into the Navy, eventually becoming an illustrator. During this time, he began to refine his technique, employing a distinct hatching to create a sense of depth and volume and relying on a muted, almost monochromatic, palette of creams, umbers, browns and blacks. As evidenced by the fine drawing presented here, his naturalistic, slightly exaggerated figures emphasize the inner spirituality and struggle that was so integral to mid-century black American life. The viewer’s eye is immediately drawn to the upraised hand in the left corner, which then leads to each successive face and its contorted, yet tightly constrained expression. A century of African-American experience is deftly conveyed by a drawing of eight figures. After his discharge from the Navy, Biggers attended Pennsylvania State University, receiving his Bachelor’s and Master’s degrees in 1948; he would later receive his doctorate from that institution in 1954 for his Negro Women in American Life and Education. In 1949, Biggers accepted a position as Professor at Texas State College for Negros (now Texas Southern University), where he was instrumental in setting up the art department. He was to remain active in art education until his retirement in 1983. Biggers was the recipient of numerous prestigious awards, including a UNESCO travel grant to West Africa which resulted in his Pulitzer Prize nominated book Ananse: The Web of Life. References: Thiesen, Olive Jensen. A Life on Paper: The Drawings and Lithographs of John Thomas Biggers. Denton, Texas: University of North Texas Press, 2006.; Thiesen, Olive Jensen. Walls That Speak: The Murals of John Thomas Biggers. Denton, Texas: University of North Texas Press, 2010.; Carter, Holland. “John Biggers - Obituary”. New York Times. 30 January, 2001. 1000 Walter Henry Williams (American, 1920‑1998) “Summer Evening”, 1967 woodcut in colors artist proof, signed and dated lower right, titled lower left and annotated lower center. Matted, glazed and framed. sight 16” x 25” $1,000‑$1,500

1000

998

999

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1003

1001 Gorham Mixed Metal “Turkish”-Style Coffeepot fourth quarter 19th century, patinated copper and sterling silver, the copper ovoid body with tall, slender neck, thin “swan’s neck” spout, insulated handle and hinged “onion” dome lid, with embossed foliate and reeded silver banding. h. 13”, dia. 4‑3/4”

1001

Literature: This model is illustrated in Charles H. Carpenter, Jr’s. Gorham Silver (New York: Dodd, Mead & Co., 1982), p. 114, no. 109. $800‑$1,200 1002 Gorham Sterling Silver Loving Cup first quarter 20th century, Providence, Rhode Island, the urn-form body with arched handles decorated with flowers and whiplash lines, the collar with embossed ribboned wheat stalks, the rim and foot with applied “whiplash” edge, with later presentation inscription of the “National Saddle Horse Breeders National Futurity 1946”. h. 12‑3/4”, w. 8‑5/8”, dia. 4‑7/8”; 43.09 t. oz. $700‑$1,000 1003 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 in 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”; weighted $3,500‑$5,000

1002

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1004 Fine Gorham Art Nouveau Sterling Silver Coffee Set 1904, Providence, Rhode Island, special order numbers 4271 through 4274, including a coffeepot, h. 10‑1/2”, an open sugar bowl, w. 6‑1/4”, and a cream jug, h. 5‑1/4”, each of lobed gourd form and decorated with hand-repoussed daylilies, with shaped sinuous handles, and an unusual narrow curved tray en suite, 19” x 9‑3/4”. 83.07 total t. oz. $3,000‑$5,000 1005 American Art Nouveau Sterling Silver Crumber and Tray first quarter 20th century, by Simpson, Hall and Miller, Wallingford, Connecticut, of oblong form with wavy rim and engrailed edge, the broad rim decorated with repousse irises on a hammered ground. l. 11‑1/2”, w. 8‑1/2”; 10.33 total t. oz.

1005

$600‑$900 1006 Gorham Sterling Silver Center Bowl dated 1905, Providence, Rhode Island, retailed by J. E. Caldwell & Co, Philadelphia, Pennsylvania, the bulbous circular body with gadrooned calyx and deeply everted rim embossed and chased with oval cartouches and floral swags and with applied shell-leaf-and-scroll rim, the interior gilt, raised on four shell-crested scroll feet, monogrammed and dated on the cartouches “J / January seventh 1905”. h. 4‑3/4”, dia. 11‑3/4”, 46.13 t. oz. 1006

$800‑$1,200

1004

333

1007 186 Pieces of Gorham “Mythologique” Sterling Silver Flatware the pattern designed in 1894 by Florent Antoine Heller (1840‑1904), Providence, Rhode Island, including a dozen fifteenpiece place settings (one salad fork lacking), with an additional three place and four serving pieces, monogrammed “F”. 257.82 total t. oz. (weighable silver) Detailed list available on request. $6,000‑$9,000

1007

334

1008 Four-Piece Reed & Barton “Francis I” Sterling Silver Coffee and Tea Set the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, this set 1947, including a coffeepot, h. 10‑3/4”, l. 10‑1/4”, a teapot, h. 8‑1/4”, l. 10‑1/4”, a covered sugar bowl, h. 6‑3/4”, w. 8‑1/4”, and a cream jug, h. 5‑3/4”, l. 6”, inscribed on the underside “M&B Cartwright”. 128.56 total t. oz. $5,000‑$8,000 1009 Ninety-Five Pieces of Reed & Barton “Francis I” Sterling Silver Flatware the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a dozen seven-piece place settings, with one additional place piece and ten serving pieces, presented in a serpentinefront, cream satin-lined, fitted wooden case with brass “campaign” fittings, lift top and two drawers, 14‑1/4” x 23‑1/4” x 20‑1/4”. 125.29 total t. oz. (weighable silver)

1009 detail

Detailed list of pieces available on request. 1009

$2,500‑$4,000

1008

335

1012

1011

1010

1010 Pair of Reed & Barton “Francis I” Sterling Silver Oval Footed Vegetable Dishes the pattern introduced in 1907 by Reed & Barton, Taunton, Massachusetts, these 1953‑1955. h. 3”, w. 10”, l. 12‑3/4”; 44.44 total t. oz. $1,200‑$1,800 1011 Good Tiffany & Co. Sterling Silver Center Bowl the pattern introduced in 1918, New York, New York, with a large gadrooned saucer-shaped bowl with waisted and everted molded rim, raised on a flaring foot en suite, the whole with “hammered” finish. h. 6”, dia. 15‑1/4”; 86.16 t. oz. This rare lot is part of Tiffany’s “Special Hand Work” line introduced to compete with the Arts and Crafts designs out of the Chicago Art Metalsmiths school by shops such as the Kalo, Lebolt and Cellini. $2,000‑$4,000

336

1012 Set of Four Tiffany & Co. Sterling Silver Tazze the pattern introduced in 1895, this set before 1902, New York, New York, each with an everted rim decorated with pierced lattice cartouches and embossed floral bouquets, with applied floral scroll edge and waisted standard above a circular foot en suite. h. 2‑3/4”, dia. 6‑5/8”; 31.77 total t. oz. $1,000‑$1,500

1013 Tiffany & Co. Sterling Silver Center Bowl the pattern introduced in 1892, this example before 1902, New York, New York, of oval form decorated with a shaped rim with rococo shells, scrolls and cartouches. l. 15”, w. 11‑1/4”; 26.47 t. oz. $800‑$1,200 1014 Pair of Tiffany & Co. Sterling Silver Candlesticks the pattern introduced in 1914, New York, New York, in the neoclassical taste, with a tapering fluted and paneled standard above a domed foot and supporting a cannon-form nozzle, decorated with embossed bellflowers, acanthus and beaded banding, monogrammed AMcC. h. 9‑1/2”, dia. 5”, weighted

1013

$1,000‑$1,500 1015 Tiffany & Co. Sterling Silver Platter the pattern introduced in 1921, New York, New York, of serpentine-canted rectangular form, with embossed palmette and quatrefoil medallions on the rim and applied flower-and-ribbon edge. 16” x 11‑3/4”, 32.43 t. oz. $1,200‑$1,800 1016 Tiffany & Co. Sterling Silver Platter the pattern introduced in 1923, New York, New York, this example 1947‑1956, of oval form with molded rim, monogrammed “JL”. w. 14‑3/4”, l. 20”; 67.59 t. oz. $1,200‑$1,800

1015

1014

1016

337

1017 Tiffany & Co. Sterling Silver Well-and-Tree Platter the pattern introduced in 1923, New York, New York, this example 1947‑1956, of oval form with molded rim, raised on four hemispherical feet. h. 1‑1/2”, w. 14‑3/4”, l. 20”; 71.35 t. oz. $1,800‑$2,500 1018 Pair of Tiffany & Co. Sterling Silver Candelabra the pattern designed in 1897, New York, New York, this pair before 1902, each with a plain cylindrical standard above a domed foot raised on four scroll-mantled lion’s paw feet, surmounted by a central nozzle flanked by scrolling arms ending in nozzles, fitted with detachable beaded bobeches and a central toupie finial, the whole decorated with repousse ferns and flowers. h. 14”, w. 12”, dia. 4‑3/4”; 48.87 total t. oz.

1017

$1,400‑$1,800 1019 Tiffany & Co. Sterling Silver Cake Plate the pattern introduced in 1922, New York, New York, of circular form with acid-engraved laurel and rose paneled rim, with molded edge and foot-ring, monogrammed “GL”. dia. 12‑1/8”; 27.52 t. oz. $600‑$900 1020 Set of Ten Tiffany & Co. Sterling Silver and Porcelain Ramekins the pattern introduced in 1901, this set before 1907, New York, New York, the silver ramekin frames each with a pair of molded rings joined by rocaille shells with a flat handle en suite, monogrammed “FJ”, each fitted with the original Lenox porcelain liner with scalloped rim and gilt turquoise “jewel” decoration (two liners lacking). overall dia. 3‑1/2”; l. 4‑1/2”; 15.61 total t. oz. (frames only)

1018

$600‑$900

1020

1019

338

1021 George III-Style Mahogany Partner’s Desk

1023 George III Mahogany Gainsborough Chair

late 19th century, the rectangular top with an inset leather writing surface, above three frieze drawers to either side, raised on two pedestals, each fitted with three graduated short drawers, raised on plinth bases. h. 31‑1/2”, w. 55”, d. 40”

fourth quarter 18th century, the domed and padded back joined by padded and foliate-carved arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher. h. 38”

$700‑$1,000 1022 George III Mahogany and Upholstered Settee fourth quarter 18th century, the slightly domed and padded back joined by outscrolled arms to the cushioned seat, raised on square legs joined by H-form stretchers. h. 34”, w. 60‑1/2”, d. 25” $700‑$1,000

$600‑$900 1024 George III Mahogany Chest late 18th century, in the George III style, the rectangular top with a reeded edge, above a conforming case fitted with four graduated long drawers, raised on bracket feet. h. 39”, w. 27‑1/2”, d. 22” $900‑$1,200

1021

1023

1022 1024

339

1025 George III-Style Mahogany Secretary Bookcase late 18th century, the molded cornice above a plain banded frieze over two astragal-glazed doors, the lower section fitted with a drop-front secretary drawer opening to an inset leather surface and a variety of drawers and cubbyholes around a central cupboard, over three graduated long drawers, raised on bracket feet. h. 88‑1/2”, w. 41‑1/2”, d. 21‑1/2” $600‑$900 1026 George III-Style Mahogany Banquet Table labeled Maitland Smith, the figured top extending to accommodate two leaves, all with reeded edges and supported by a pair of tripodal pedestals on saber legs with brass cup casters. h. 31”, w. 43‑3/4”, l. 79‑3/4”, ext. l. 119‑3/4” $800‑$1,200

1025

1026

340

1028

1027 Suite of Six George III-Style Mahogany Dining Chairs

1028 Extensive Partial Royal Crown Derby Pottery Dinner Service

20th century, in the Sheraton taste, consisting of two armchairs and four sidechairs, each with a domed back over a bellflower-carved and fanned splat, the padded seat raised on molded square legs headed by waisted capitals and ending in splayed feet. h. 38‑1/2”

ca. 1890‑1921, pattern 563, in the Imari palette, including a soup tureen, h. 9”, w. 12‑1/2”, d. 7”, eleven dinner plates, dia. 10‑1/2”, eleven soup plates, dia. 10‑1/4”, twelve luncheon plates, dia. 9”, eleven salad plates, dia. 8”, twelve bread-and-butter plates, dia. 6”, four graduated platters, w. 10” to 19‑1/4”, d. 8‑1/2” to 16”, and twelve porcelain cups, h. 3‑1/4”, with twelve saucers, dia. 5‑1/4”.

$1,500‑$2,500

$1,200‑$1,800

1027

341

1032

1029

1030

1029 Japanese Imari Porcelain Umbrella Stand early 20th century, of ribbed cylindrical form, decorated to the exterior with opposing panels containing birds perched amid blossoming branches and stylized phoenix with flaming clouds, the surround with a dense scrolling floral design, all between two broad borders in underglaze blue. h. 22‑1/2”, dia. 9‑1/4” $600‑$900 1030 Chinese Export Imari Porcelain Chamber Pot

1031

1031 Japanese Imari Cache Pot late 19th century, of hexagonal form with pinched foliate-form rim, the sides tapering slightly to a six-sided splayed pedestal foot, the exterior painted with panels depicting blossoming peonies and birds, the rim with floral and stylized reserves on a neat cell-diaper ground. h. 9‑1/2”, w. 14”, d. 15‑1/4” $1,200‑$1,800 1032 Large Japanese Imari Charger

Qing dynasty, 19th century, of compressed globular form, with flared lip and loop handle to one side, the exterior decorated with trees, cranes and flowers, the lip with alternating floral reserves and chrysanthemum medallion design on a stylized underglaze-blue ground. h. 4‑1/2”, dia. 8”

late 18th/early 19th century, of circular form with slightly flared and everted lip, decorated with a floral cartouche containing a mountainous village scene, the surround with various floral and foliate sprays and motifs, the reverse with three individual scrolling floral sprays, with a single band in underglaze blue to the base. h. 3‑1/2”, dia. 21‑3/4”

$600‑$900

$1,400‑$1,800

342

1033 Japanese Imari Triple-Gourd Vase Late Meiji period, the three graduating bulbs surmounted by a short trumpet neck, decorated throughout with a chrysanthemum and peony design, having a studio mark in underglaze blue to the base. h. 14‑1/2”, w. 7” $600‑$900 1034 Pair of Japanese Imari Bowls and Covers Late Edo period, each bowl of circular form, having pierced, floral-form handles and slightly domed cover surmounted by cockerel and hen finials, the exterior painted in the traditional Imari palette with a floral design. h. 6”, w. 7‑3/4”, d. 6”

1035

$1,200‑$1,800 1035 Japanese Imari Charger early 20th century, of circular form with foliate rim, centered by a stylized floral medallion dividing three fan-form cartouches depicting kirin, phoenix, and floral designs, surrounded by alternating sections densely decorated with floral, wave and geometric patterns. dia. 15‑3/4” $600‑$900

1033

1034

343

1037 George III Mahogany Tripod Table

1036 Suite of Eight George III-Style Mahogany Armchairs each with an ovoid back and wheel-form splat with gilt patera accents, joined by molded outscrolled arms to the padded seat, raised on chamfered tapering square legs ending in block feet. h. 37” $1,000‑$1,500

fourth quarter 18th century, the tilting pie-crust top raised on a ribbed and acanthine-carved standard to three splayed legs headed by foliate carving and ending in pad feet. h. 28‑1/2”, dia. 31‑1/2” $800‑$1,200 1038 George III-Style Mahogany Tripod Table 19th century, the tilting pie-crust-form top with a raised edge, on a birdcage support on a stop-fluted graduated standard to three splayed legs headed by acanthine carving and ending in ball-and claw feet. h. 28”, dia. 28” $1,000‑$1,500

1038

1037

1036

344

1039 English-Style Molded Glass Chandelier 20th century, with a molded glass standard supporting twelve candle arms on two levels, set with chrome candle sleeves, the corona of glass scrollwork set with swags of drops, swags of drops hung to the lower level with swags of drops between the arms. h. 37‑1/2”, dia. 28‑1/2” $700‑$1,000 1040 George III-Style Mahogany Sideboard late 19th century, the banded top with a serpentine front, above a conforming case fitted with a central compartmented cutlery drawer over a recessed pull-out storage well, flanked to either side by a cupboard door, faced as two drawers, raised on tapering square legs ending in spade feet. h. 36”, w. 57”, d. 24‑1/2” $600‑$900

1039

1041 Assembled Set of Twelve George III-Style Mahogany Dining Chairs early 20th century, consisting of five pairs of matching sidechairs, a taller sidechair and an armchair, each with a shell-centered, foliatecarved crest above a pierced and interlacing splat, the padded seat raised on cabriole legs headed by shell and foliate carving and ending in stylized paw feet. tallest h. 47” $800‑$1,200 1040

1041

345

1042 Robert Stone (British, 1820‑1870) “The Meet” and “The Chase” pair of oils on wood panel latter with a faint signature lower right. Presented in matching giltwood frames, each affixed with an artist plaque. each 6‑1/2” x 12‑1/2” $1,800‑$2,500 1043 George III Mahogany Sideboard fourth quarter 18th century, the long rectangular top with a central bowed section, above a conforming case fitted with three central cutlery drawers, flanked to either side by a deep cellarette drawer, faced as two graduated drawers, all banded, raised on tapering square legs ending in spade feet. h. 38‑3/4”, w. 85”, d. 27‑1/2”

1042 one of two

$1,500‑$2,500 1044 George III Mahogany Library Chair early 19th century, the padded rectangular back joined by padded arms on foliate uprights to the padded seat, raised on cabriole legs headed by shell carving and ending in scrolled toes. h. 36‑1/2” $600‑$900

1042 two of two

1044

346

1043

1045 Two Chinese Blue and White Porcelain Pieces comprising a jar and cover, 19th century, of baluster form with splayed foot, decorated in the Ming style with a scrolling foliate design and stylized flowerheads, with four “double happiness” motifs, the base with a fluidly drawn fourcharacter Chenghua mark; together with an early 20th-century vase, similarly decorated, of baluster form, the neck with applied foo dog-form handles, the base unmarked. the taller h. 23‑1/2”, w. 8” $600‑$900 1046 Chinese Export Lacquer Tea Caddy and Cabinet the caddy, second half 19th century, of eight-sided cartouche form, each side ornately decorated with detailed depictions of courtly scenes, with floral and foliate borders, the hinged cover opening to reveal twin fitted pewter caddies and covers, h. 5”, w. 9‑1/2”, d. 7”; the small cabinet, ca. 1900, of rectangular form, the exterior decorated with scenes of figures in picturesque landscapes, the twin doors enclosing five short drawers, h. 16‑3/4”, w. 14”, d. 7”. $600‑$900

1047

1047 George III-Style Mahogany Writing Table late 19th century, in the Irish taste, the rectangular top with a three-quarter foliate-pierced gallery and carved edge, above a conforming cove-molded and foliate-carved frieze, fitted with a single drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet. h. 34”, w. 48”, d. 24” $2,000‑$4,000

1045

1046

347

1048 Pair of Chinese Blue and White Porcelain Vases Mounted as Candelabra the porcelain Qing dynasty, 19th century, each vase of baluster form, having a narrow neck with slightly flared lip supporting three gilt foliate-form arms around a central sconce, decorated to the body with two large opposing panels, one depicting a blossoming peony tree near rockwork, the other scholarly and auspicious objects, eached raised on a squared ormolu base with wreath band. h. 15‑1/2”, w. 10” $3,000‑$5,000 1049 Suite of Twelve George III-Style Mahogany Dining Chairs

1048

early 20th century, in the Sheraton taste, consisting of two armchairs and ten sidechairs, each with a domed back above a pierced fan-form splat, the curved and padded seat raised on tapering legs joined by an H-form stretcher. h. 38‑1/2” $700‑$1,000 1050 George II Mahogany Banquet Table ca. 1900, in the style of William Kent, the oval top over an egg-and-dart and Greek-key-carved frieze, on foliate- and scroll-carved legs, opening to accommodate three skirted leaves. h. 30‑1/2”, w. 52”, l. 72”, ext. l. 132” 1050

$1,500‑$2,500

1049

348

1051 Edmund Johann Niemann (British, 1813‑1876) “Extensive Highland Landscape with Cattle by a Stream” oil on canvas signed and dated “61” lower left. Framed. 25” x 44” $3,000‑$5,000

1052 one of two

1052 British School (19th Century) “Pole Fishing by the Ruins” and “Rendezvous by the Riverbank” pair of oils on beveled wood panel unsigned, in the style of John Berney Ladbrooke (British, 1803‑1879). Presented in attractive, matching gessoed and carved giltwood frames. each 6” x 8” $1,000‑$1,500

1052 two of two

1051

349

1053 British School (Fourth Quarter 19th Century) “Fishing Boats on the Beach of Leith Harbor, Edinburgh, Scotland” oil on panel Presented in a period giltwood and gesso frame. 11” x 17” $1,000‑$1,500

1053

1054 John Horace Hooper (British, 1851‑1906) “Resting in the Hay Fields” oil on canvas signed lower right. Framed. 26” x 37” $1,500‑$2,500

1054

350

1055

1055 Semi-Antique Kerman Carpet 9’ x 17’ 8”

1056

1057

$1,000‑$1,500 1056 Turkish Angora Oushak Carpet 9’ 2” x 12’ $900‑$1,200 1057 Antique Kazak Runner 3’ x 10’ 10” $1,500‑$2,500 1058 Antique Sultanabad Carpet 9’ x 11’ $2,500‑$4,000 1059 Antique Tabriz Carpet 8’ x 11’ $5,000‑$8,000 1059

1058

351

1060 Antique Sultanabad Carpet 8’ 3” x 11’ 10” $6,000‑$9,000 1061 Semi-Antique Kurd Runner Provenance: Jacqueline Vance, New Orleans, Louisiana 4’ x 11’ 5” $600‑$900 1062 Semi-Antique Kerman Carpet 11’ x 17’ 6” $3,000‑$5,000

1061

1060

1063 1062

352

1063 Semi-Antique Amritzar Carpet 8’ 10” x 11’ $3,000‑$5,000 1064 Antique Oushak Carpet 7’ x 11’ $1,500‑$2,500 1065 Antique Heriz Carpet 7’ x 10’ $3,000‑$5,000 1066 Antique Kazak Carpet 4’ 6” x 9’ 6” $1,200‑$1,800

1064

1065

1068

1067

1066

353

1067 Semi-Antique Bakhtiari Carpet 6’ 10” x 10’ 7” $600‑$900 1068 Kashan Carpet 8’ 11” x 13’ $900‑$1,200 1069 Antique Oushak Carpet 6’ 8” x 9’ $4,000‑$7,000 1069

1071

1070 Feraghan Sarouk Carpet 7’ 10” x 10’ $1,400‑$1,800 1071 Pair of Semi-Antique Silk Prayer Carpets 2’ 9” x 6’ 6” Provenance: Estate of Nancy Nye Harrell, Houston, Texas. $1,000‑$1,500 1072 Antique Kerman Carpet 8’ 8” x 13’ 9” $10,000‑$15,000

1070

1072

354

1073 American Rosewood Bedstead mid-19th century, in the transitional Late Classical into Rococo Revival style, attributed to the warerooms of Prudent Mallard, New Orleans, the paneled headboard with a robustly carved crest mounted between two full-round posts, the footboard with large carved and turned finials. h. 73”, inside w. 63”, l. 80”, outside w. 72”, l. 91” $1,500‑$2,500 1074 Transitional American Late Classical into Rococo Revival Mahogany Armoire ca. 1850, the foliate- and shell-carved crest over a projecting molded cornice, the single door with a shaped mirror plate and set in a cyma molding, the base with a drawer, raised on ogee bracket feet, the interior with a medial belt of two drawers. h. 95‑1/2”, w. 42‑1/2”, d. 20‑1/2” $1,200‑$1,800 1075 Pair of Enameled Overlay Cut-to-Clear Banquet Lamps fourth quarter 19th century, on marble double-stepped bases with brass stands, the white-cut-to-peach glass fonts with sprigs of blue and peach enameled flowers, set with English etched, shaded peach ruffled shades, with English registry numbers, 162 180, 1884‑85. h. 25‑1/2”, dia. 8‑1/4”

1075

$800‑$1,200

1073

1074

355

1076

1078

1077

1079

1076 Pair of Bohemian Cased Glass Trumpet Vases

1078 Neoclassical Biscuit Porcelain Figural Group

third quarter 19th century, composed of cranberry glass cased with opaline, cut with quatrefoils and Gothic panels, trimmed with gilt scrollwork. h. 12‑1/2”, dia. 5‑1/2”

late 19th century, probably Continental, comprised of a group of nymphs attending a number of cherubs supporting swags of roses, unmarked. h. 16‑1/4”, w. 13‑1/4”, d. 9‑1/4”

$800‑$1,200

$600‑$900

1077 American Rococo Revival Mahogany Dresser

1079 Fine American Rococo Revival Rosewood Commode

third quarter 19th century, in two parts, the arched looking glass supported by a frame with a fruit- and cabochon-carved crest and handkerchief drawers, on a serpentine base retaining its period marble top and a bank of four drawers. h. 99”, w. 41‑3/4”, d. 21‑1/4”

third quarter 19th century, the serpentine marble top fitted with an arched back, the conforming case with a drawer over a pair of concave drawers flanked by a central drawer and pull-out commode, retaining its porcelain liner. h. 43‑1/2”, w. 39‑3/4”, d. 21‑1/2”

$700‑$1,000

$600‑$900

356

1080 American School (Mid-19th Century) “Folk Art Portrait of Two Children before a Wooded Landscape” oil on canvas unsigned. Framed. 30” x 25” $1,000‑$1,500 1081 American Rococo Revival Laminated Rosewood Settee attributed to John Henry Belter, ca. 1855, in the “Rosalie with Grapes” pattern, with floral-carved crests with grape clusters, raised on cabriole legs. h. 42”, w. 67” $1,800‑$2,500 1082 American Rococo Revival Rosewood and Faux Rosewood Work Table

1083

mid-19th century, of a form traditionally attributed to J. H. Belter, New York, the stepped top with a hinged cupboard, the whole opening to a mirrored and compartmented interior above a frieze fitted with a dummy drawer over a compartmented drawer, over a shell- and foliate-fronted storage well, raised on shaped legs joined by a basket-centered X-form stretcher and ending in in-scrolled toes. h. 33”, w. 22”, d. 17” $800‑$1,200 1083 Anglo-Irish-Style Molded Glass Gasolier late 19th century, the standard hung with prisms and cascades of drops, and set with three glass arms supporting glass candle cups, prism rings, and period crown-top etched shades. h. 35”, dia. 30”

1080

$1,000‑$1,500

1082

1081

357

1084 American Rococo Revival Rosewood Six-Piece Parlor Suite third quarter 19th century, comprised of a sofa, an armchair and four sidechairs, the sofa of tripartite form with double chair backs centered by an upholstered shaped panel with pierced floral-carved crest, serpentine apron and cabriole legs, h. 48”, w. 80”, d. 28”, the chairs with medallion backs with a floralcarved crest over an upholstered cushion set in a pierced fretwork frame, the fretwork with a solid core with veneer laminated to the face, sidechair h. 39‑1/2”, w. 18”, d. 21”, armchair h. 44”, w. 24‑1/2”, d. 24”. $2,000‑$4,000 1085 Pair of English Steel and Brass Andirons mid-19th century, in the Rococo Revival style, decorated with figures of a lion crushing a snake, with brass tree trunks with ivy leaves and flower buds, the bases with like decoration. h. 27‑1/2”, w. 13”, d. 7”

1086 French Empire-Style Bronze and Cut Glass Lamp Base second quarter 20th century, on a molded bronze base, the vasiform amethyst cut glass base decorated with panels of diamond cutting and set with leaf-molded handles and engineturned trim. h. 20‑3/4”, w. 7‑1/2” $800‑$1,200 1087 American Rococo Revival Mahogany and Marble-Top Center Table third quarter 19th century, the shaped white marble top above a carved frame with egg and foliate motifs, the legs joined by a curving stretcher with a carved floral basket finial. h. 28”, w. 45”, d. 34” $600‑$900

$1,000‑$1,500

1087

1085 1086

1084

358

1091

1088 1090

1089

1088 Achille Perelli (Italian/New Orleans, 1822‑1891)

1090 Exceptional Overlay Glass Banquet Lamp

“Nature Morte - Mallard”

fourth quarter 19th century, on a stepped brass base, the column-form standard decorated with cobalt over white, cutto-clear fluting, set with a brass Corinthian capital beneath a cobalt cut-to-clear font, set with a wick raiser marked “A. A. Vantine Co., 877 Broadway, NY”, and set with an American Brilliant period cut glass ball shade. h. 38‑1/2”, dia. 6‑3/4”

watercolor on paper signed “A. Perelli N.O.” lower left. Matted, glazed and framed. sight 23‑3/4” x 17‑3/4” $2,000‑$4,000 1089 Rococo Revival Mahogany Four-Piece Parlor Suite fourth quarter 19th century, probably Austrian, consisting of a settee, h. 46”, w. 55”, and three sidechairs, h. 44‑1/2”, w. 21”, each with a carved female portrait in the crest and flanked by grape and leaf motifs, along with scrolling foliate carving and graduated bellflowers. $1,000‑$1,500

$800‑$1,200 1091 Two Victorian Marble Garden Lambs fourth quarter 19th century, English or American, one modeled standing and the other in repose. h. 16”, w. 21”, d. 7” and h. 24‑1/2”, w. 25”, d. 9‑3/4” $700‑$1,000

359

1092 After Theodore Bauer (German/American, 1835‑1898) “The Buffalo Hunt”, 1980 bronze cuivre cast signature, numbered “26/48”, dated, inscribed “EX NY”, copyright marked, and with a Sterling Excalibur Foundry mark at edge, after the 1876 sculpture commissioned by the Meriden Brittanica Co (later the International Silver Co.) for the Centennial Exhibition in Philadelphia, on a carved wood plinth. overall h. 23‑1/4”, w. 30‑1/2”, d. 14” $3,000‑$5,000 1093 Bill Girard (American/New Mexico, b. 1936) “O’Great Spirit” patinated bronze cast signature, numbered “24/35”, copyright marked, and inscribed “Santa Fe Bronze” along proper right side, on a green marble and carved wood base. h. 33‑1/2”, w. 7‑1/4”, d. 15”

1092

$800‑$1,200 1094 Bill Girard (American/New Mexico, b. 1936) “Little Rascals”, 1988 patinated bronze cast signature, dated, numbered “9/35”, copyright marked and with “Santa Fe Bronze” foundry inscription along back edge, on a carved wood base. overall h. 17‑1/2”, w. 13”, d. 7‑1/2” $700‑$1,000

360

1094

1093

1095 C. R. Morrison (American, 20th Century) “The Wrangler”, 1981 patinated bronze signed, dated, numbered “6/10”, and copyright marked along edge of self-base, on a shaped wooden plinth. overall h. 16‑1/4”, w. 45”, d. 11” Together with a certificate of authenticity from the artist. $1,500‑$2,500 1096 Stephen LeBlanc (American/Colorado, 20th Century) “High Soarer”, 1989 patinated bronze incised signature, numbered “2/15”, dated and copyright marked at proper left edge, on a wood base. overall h. 23”, w. 31”, d. 18” $1,000‑$1,500 1097 Monumental Patinated and Cold-Painted Bronze of a Soaring Eagle 20th century, after Jules Moigniez (French, 1835‑1894), cast signature along front of self-base. h. 70”, w. 58”, d. 37” $2,000‑$4,000

1097

1095

1096

361

1098 Charles Valton (French, 1851‑1918) “Le Coq”, ca. 1900 patinated bronze cast signature along edge of self-base, on a red griotte marble base. overall h. 6‑1/2”, w. 4‑3/4”, d. 2‑3/4” $600‑$900

1098

1099 Silvered Bronze Chandelier in the Neo-Gothic Taste ca. 1900, of small size, the frame decorated with Gothic piercing and a molded Gothic standard with three standing classical figures, the downturned lights around the base and set with frosted shades. h. 24”, dia. 13” $800‑$1,200

1099

1100 Ransome Gillet Holdredge (American/California, 1836‑1899) “Landscape with a Homestead by a Pond” oil on canvas signed lower right. Presented in a period frame. 30” x 50” $1,500‑$2,500

1100

362

1101 Monumental Renaissance Revival Plaque-Mounted Rosewood Cabinet ca. 1865, the arched backboard flanked by laurel and brass-carved swags and a recessed platform with a ceramic plaque depicting pheasants, the case with a projecting center door with a copper-clad plaque in the manner of Bertel Thorvaldsen, flanked by gilt-incised wooden columns and larger onyx columns, the side doors with a circular ceramic plaque depicting children at play. h. 83‑1/4”, w. 106‑1/2”, d. 32” $4,000‑$7,000 1102 English Brass and Crystal Aesthetic Gasolier fourth quarter 19th century, the twelve-light chandelier hung with tiers of prisms and cascades of drops, now electrified throughout. h. 40”, dia. 33” $800‑$1,200

1102

1101

363

1105

1104

1103 American Renaissance Revival Gold-Painted Pier Mirror third quarter 19th century, the carved crest above a central arch with a Minerva head, the frame with raised panels and applied rosettes, together with an associated marble-top base. mirror h. 93”, w. 34”, base h. 12‑3/4” $700‑$1,000 1104 American Renaissance Revival Walnut Desk with Bookcase Top third quarter 19th century, the upper section with a pair of shelves on carved brackets and with fretwork galleries, the kneehole base with a marble top, one pedestal with a bank of drawers, the other with a pair of drawers over a paneled door. h. 59”, w. 59”, d. 28” $600‑$900 1105 Pair of Continental Brass Gas Wall Sconces fourth quarter 19th century, the front sockets on a lotusmolded arm with pierced and scrolled socket holders, set with engraved shades, now electrified, the rear sockets formerly gas, not electrified. h. 10‑1/4”, w. 5”, d. 10‑1/4” $600‑$900

1103

364

1106 American Aesthetic Movement Walnut Collector’s Cabinet fourth quarter 19th century, attributed to Daniel Pabst, Philadelphia, the paneled backboard joined to spindled side galleries, on a case with a glazed slant-lid door opening to reveal an angled display surface in period crimson silk velvet, over a pair of beveled glazed doors flanked by spiral-reeded columns with Corinthian capitals and a carved owl perched atop each, an interior lock marked “Pat. Sep. 29, 74”. h. 67‑1/2”, w. 20‑1/2”, d. 50” $2,500‑$4,000 1107 William H. Vanderbilt (1821‑1885) and Edward Strahan (b. Earl Shinn, 1837‑1886) Mr. Vanderbilt’s House and Collection. The Holland Edition, New York, Boston and Philadelphia: George Barrie, 1883‑84, 10 volumes, numbered 689/1,000, this number for Mrs. S. E. Trout, Frankfurt, Philadelphia, cream paper-covered boards. 19‑1/4” x 13‑3/4”

1108

$600‑$900 1108 Roswell Morse Shurtleff (American/New Hampshire, 1838‑1915) “October Snow - Keene Valley” oil on canvas signed lower left, verso with a partial exhibition label. Framed. 20” x 25” $1,500‑$2,500 1109 American Aesthetic Movement Ebonized Center Table ca. 1900, the rectilinear top with a foliate-carved edge, over a sunflower-, leaf- and vine-carved frieze, on shaped, reeded legs joined by a low shelf, each end with a glazed and mirrored display case flanked by Japonesque fretwork. h. 29”, w. 48”, d. 30” $1,000‑$1,500 1106

1107

1109

365

1110 Empire-Style Brass and Tole-Painted Chandelier ca. 1900, the cast roping holding the central pan and the outer rim, with three mounted putti, each fitted with a pair of frosted flower petal shades, electrified. h. 33”, dia. 33” $700‑$1,000 1111 Ansonia Clock Set with Two Accompanying Figures fourth quarter 19th century, New York, the clock flanked by muses depicting music and literature, and signed on the rear with an “1881” patent date, h. 17‑3/4”, w. 23‑1/4”, d. 7‑3/4”, the accompanying spelter figures depicting knights, h. 16‑1/4”, w. 8‑1/2”, d. 5‑1/4”. $800‑$1,200

1110

1111

1112 Pair of Parcel-Gilt and Silvered Bronze Lamps second quarter 20th century, probably Edward Caldwell, New York, on Portoro marble bases, the Renaissance-style lamps with vasiform standards decorated with bas-relief-molded leaves, scrollwork and masques, and molded dragons with pierced tails on the bases. h. 31”, dia. 6‑1/4” $1,200‑$1,800 1112

366

1113

1113 Two Pairs of Stained and Leaded Glass Double-Hung Windows late 19th century, comprised of two with an arched pattern, h. 75‑1/2”, w. 57”, each accompanied by a matching rectangular lower window, h. 77”, w. 57”, each with floral patterns in multicolored glass and with a central floral leaded panel in the center. $800‑$1,200

367

1114 American Oak Standing Desk late 19th century, the case with a spindle gallery over a slant-lid writing surface with pencil stop, lifting to expose a storage well over a pair of drawers and raised on turned legs joined by an H-form stretcher. h. 52‑3/4”, w. 30”, d. 23” $700‑$1,000 1115 Two Rootwood Canes one carved with a snake encircling the cane, a carved courting couple forming the handle, l. 35‑1/2”, and the other a memory cane inscribed with various names, done in various hands, first quarter 20th century, l. 34”. $600‑$900 1116 Cast Bronze Chandelier in the Belle Epoque Taste 20th century, with a bell-form bronze frame decorated with swags of flowers, pierced scrollwork and molded masques, set with three sets of three lights and two interior lights. h. 33‑1/2”, dia. 27”

1116

$1,200‑$1,800 1117 American Leather-Upholstered Horn Chair ca. 1900, the central padded back with radiating horns forming the back and armrests, and raised on horn legs. h. 34” $800‑$1,200

1115

1114

368

1117

1118 Harvey Joiner (American, 1852‑1932) “Kentucky Beeches, Autumn” oil on canvasboard signed lower right. Framed. 6‑1/4” x 14‑1/4” $1,500‑$2,500 1119 Harvey Joiner (American, 1852‑1932) “Kentucky Beeches, Spring” oil on canvasboard signed lower left. Framed. 6‑1/4” x 14‑1/4” $1,500‑$2,500 1120 Black Forest Antler-Mounted Mirror first quarter 20th century, German, the oval mirror set with an old beveled mirror plate with a surround of carefully spaced antlers. h. 40‑1/2”, w. 23‑3/4” $600‑$900 1120

1118

1119

369

1121 detail

1121 Tiffany Studios, New York, Leaded Glass Table Lamp early 20th century, in the “Pansy” pattern, the shade bearing a metal tag reading “Tiffany Studios New York”, with the model number “1448”, the base stamped “Tiffany Studios New York 533”. h. 22”, dia. 16” $10,000‑$15,000

1121 detail

370

1121

1122 Gilt-Bronze Desk Lamp in the Neoclassical Taste first quarter 20th century, possibly E. F. Caldwell, New York, the fluted base decorated with ribbon-bound laurel leaves, and the adjustable light head with molded leaves, mounted with a gold iridescent art glass shade. h. 23‑3/4”, w. 7‑3/4” $600‑$900

1122

1123 Large Tiffany-Style Leaded Glass Floor Lamp fourth quarter 20th century, the “Rose”-pattern leaded shade with a soldered label along the lower rim reading “Art Glass Studio”, and resting on a four-arm spider and bronze base, fitted with six sockets. h. 84‑1/2”, dia. 26” $1,800‑$2,500

1123

371

1124 Charles Rosen (American, 1878‑1950) “Autumn Dawn Over the Mountain Valley” oil on canvas signed lower left. Framed. 20” x 16” $4,000‑$7,000 1125 Coin-Operated Orchestrion Upright Player Piano early 20th century, bearing the “Stafford Nickelodeon Company” stencil on the key cover and “Friedrich, Grand Rapids, Mich” on the cast iron frame, the mahogany case with a leaded window above and below and fitted with internal lights, the base supported with seated griffins, the player unit with a paper roll and instruments including a cymbal, wood block, triangle, tambourine, drum, piano and accordion, bearing the serial number 54078. h. 53‑1/2”, w. 62‑1/2”, d. 27‑1/4” $2,000‑$4,000

1124

1126

1126 Stained Glass Lamp, Attributed to J. A. Whaley & Co., New York first quarter 20th century, the stained glass shade decorated with a ring of poinsettias below green slag glass, set with two lights and a patinated metal base. h. 18‑1/4”, dia. 14” $600‑$900 1125

372

1127

1128

1127 Pair of Moser-Style Gilt-Metal and Threaded Art Glass Vases first quarter 20th century, Czechoslovakia, the amphora-form vases supported on satyr-headed monopodia terminating in hoofed feet. h. 13‑1/4”, dia. 5‑1/2” $600‑$900 1128 Unusual Patinated and Cold-Painted Bronze Carousel Horse 20th century, the saddled horse modeled with one front leg raised, on an iron support. h. 71”, w. 65”, d. 18 $1,000‑$1,500 1129 Belle Epoque Giltwood Three-Part Mirror ca. 1900, French, with a pagoda-shaped central section and arched side sections, lined with pierced giltwood grapes and grapevines and set with beveled mirror plates. h. 65‑1/2”, w. 32‑1/2” $600‑$900

1129

373

1130 Philip de Laszlo (Hungarian/British, 1869‑1937) “Portrait of Madame Lydia Eustis Loudon (1871‑1957)”, 1920 oil on canvas signed, dated, localized and inscribed “Blankenburgh/ IX” lower right. Presented in its original giltwood frame that matches the pendant portrait of her husband, Jonkheer John Loudon (1866‑1955). 32‑5/8” x 22‑1/8” Provenance: The sitter, Blankenburgh, Waasensaar, Holland, 1920‑1957; her niece Lydia Edith Eustis Rogers, Birmingham, Alabama, 1958‑1991; her great-nephew, the actor William “Wayne” McMillian Rogers, III (1933‑2015), affectionately known as Dr. John “Trapper” McIntyre from the CBS series “M*A*S*H”, Destin, Florida. Exhibited: Literature: This portrait which will be included in the Philip de Laszlo catalogue raisonne, currently presented in progress online: www.delaszlocatalogueraisonne.com Literature: “The Catalogue”. De Laslo Archive Trust. 2016. Web. 6 June 2017; Grever, Tonko and Annemieke Heuft (Sandra de Laszlo, British ed.). De Laszlo in Holland: Dutch Masterpieces by Philip Alexius de Laszlo (1869‑1937), Paul Holberton publishing: London, 2006, pp. 8, 10, 61, 73. $5,000‑$8,000

Two illustrious families from two diverse cosmopolitan worlds collide in one rare portrait, executed by one of the most accomplished portraitist of the time. Lydia E. Eustis Loudon was born of privilege and fame; her family, the Marigny de Mandevilles and the Eustises were two of the contributing founders of New Orleans. Her great-grandfather on her mother’s side, Bernard de Marigny, developed the Marigny Faubourg and Northshore of the city after serving as President of the Louisiana State Senate, and her grandfather on her father’s side, George Eustis Sr., was a benefactor of the University of Louisiana (now Tulane University) and founder of the Pontchartrain Railroad. Her father Allain, served as the Honorary Vice Consul to Brazil and his brother, James B. Eustis was a judge advocate during the Civil War and Chief Justice of the Louisiana Supreme Court, serving for many years in U.S. Congress and as Ambassador to Paris. The young Lydia Eustis’ youth was spent in Paris and in New Orleans, surrounded by diplomats that she and her cousin Celestine often entertained at her uncle’s mansion on Coliseum Street. Fluent in three languages, Lydia embarked on her own career in her early twenties as an accomplished soprano, after studying for years with Madame Trelat at the Paris Conservatory. She performed at premier theaters across Europe and the U.S., where she met her husband, Jonkheer John Loudon, who served as a Dutch diplomat to Peking, London, Tokyo and Paris from 1901‑1913. Loudon and Eustis were married in 1906 at her uncle’s Paris estate, before returning to D.C. where they lived until the beginning of World War I when Loudon was appointed Minister of Foreign Affairs in the Hague.

374

Loudon was also from a prominent family. His father, a knighted member of the Dutch crown, served as the King’s Commissioner in South Holland, the Minister of Colonial Affairs and Governor-General of the Dutch East Indies. In the early fall of 1920, before the Loudons moved to Paris where they lived until 1940 with John Loudon serving as Dutch Ambassador, the couple returned to the family Estate in Voorlinden in Wassenaar near the Hague to have their portraits painted. De Laszlo had previously painted several members of the Loudon family, including John’s mother and brother in 1908 and 1909. John Loudon’s sister Adriana van Riemsdijk was one of the artist’s most loyal friends and patrons. After his bank accounts in Vienna were frozen during the war, van Riemsdijk enlisted the aid of Loudon to intercede on the artist’s behalf, helping de Laszlo get funds and letters to his family in Hungary. De Laszlo repaid the family in kind. According the de Laszlo Archive Trust, he painted seventeen portraits of the Loudon relatives, including Furstin and Duchess von Pless and the Honorable Mrs. Charles Rothschild. De Laszlo, born of an impoverished Jewish Hungarian tailor, rose to prestige through the bravura of his brushwork. Perfecting portraits of European aristocrats and elites with painterly backgrounds and crisp alla prima modelled faces in pastels that import a sense of immediacy and comportment of the sitter. By 1900, he was one of the top paid portraitists in Budapest, Vienna, and Munich; he was featured in the magazine the Studio and built a grand home. In 1907, he moved to London to better accommodate the growing demand for portrait commissions. De Laszlo produced more than 4,000 works in his life, many of which are conserved in museums worldwide. He was awarded numerous medals and honors, including the Royal Victorian Order of MVO by King Edward XVII of the United Kingdom in 1909 and knighthood by King Franz Joseph of Hungary in 1912. The painting offered here belongs to this great canon of work, touching as many countries and culture as did the artist’s hand. We are grateful to the De Laszlo Archive Trust for their expert assistance. The Hon. Mrs de Laszlo and a team of editors are compiling the catalogue raisonné of the artist’s entire oeuvre. Katherine Field is the Senior Editor. Please see www. delaszloarchivetrust.com or contact catalogue@delaszlo.com for more information or to offer any contribution.

1131 Fine American Chestnut Burl, Cherry-Banded and Carved Walnut Dining Table first quarter 20th century, in the Renaissance taste, attributed to Berkey & Gay Furniture Co., Grand Rapids, Michigan, with two 13” skirted leaves. h. 30‑1/2”, w. 50”, l. 66”, ext. l. 92” $2,000‑$4,000 1131

1132

1132 Two Pairs of Blown Glass Candlesticks Attributed to Pairpoint second quarter 20th century, Massachusetts, including an aubergine pair with the edge of the base ground, h. 11”, dia. 3‑3/4”, and an amber pair with a ground pontil in the center of the base, h. 10‑3/4”, dia. 4”, both pairs engraved with grapes and grape leaves. $800‑$1,200 1130

375

1133 Paul Leland Thompson (American, 1911‑1993) “The Haunted Farm” oil on canvas signed lower right. Framed. 30” x 44” $1,800‑$2,500 1134 Tiffany-Retailed Marble and Bronze Mantel Clock fourth quarter 19th century, French, in the Aesthetic taste, the black marble case inset with mauve, brown and ivory mottled marble in the upper and lower bands and on the center of the dial, the dial marked “Tiffany & Co., New York”, the gallery crest set with gilt-bronze finials, and the movement, likely French, marked “Tiffany & Co., New York”. h. 14”, w. 9”, d. 6”

1133

$600‑$900 1135 Henry Baerer (German/American, 1837‑1908) “The Lesson”, fourth quarter 19th century patinated bronze inscribed “H. Baerer Sculptor N.Y. 1881” along proper left edge and with “The Henry Bonnard Bronze Co. N.Y. 1896” foundry mark along proper right edge. h. 21‑3/4”, w. 13”, d. 17‑1/4” $1,500‑$2,500 A native of Germany, Baerer attended the Academy of Fine Arts, Munich and studied sculpture under Eduard Schmidt von der Launitz (1796‑1869) before moving to the United States. Eventually settling in the Bronx, he began a long association with the Henry-Bonnard Bronze Co., a foundry located in nearby Mount Vernon, New York. Baerer was a member of the National Sculpture Society and exhibited frequently at the National Academy of Design and the Brooklyn Academy of Art. His numerous public commissions include the bust of Beethoven at Central Park and the figure of Puck at the Puck Building, New York. As a member of the National Sculpture Society, Baerer was one of the sculptors tasked with designing and constructing the Dewey Arch, an intentionally impermanent triumphal gate, placed at the entrance to Madison Square Garden in honor of General George Dewey (1837‑1917).

1134

Reference: New York Times Obituary, December 9, 1908.

1135

376

1136 Bruno Lucchesi (American, b. 1926) “Mother and Daughter” patinated bronze cast signature at edge, now on a carved wooden plinth. h. 14‑1/2”, w. 10”, d. 11‑1/4” $1,000‑$1,500 A native of Lucca, Lucchesi attended the local art academy before accepting a professorship at Florence University. In 1958, he moved to New York where he taught at the National Academy of Design and the New School of Social Research. He has been the recipient of numerous awards including a prestigious Guggenheim Fellowship. Lucchesi’s sculptures are conserved in the permanent collections of numerous institutions including the Metropolitan Museum of Art, the Smithsonian Institute’s Hirschhorn Museum and Sculpture Garden, Washington, D.C., and the Whitney Museum of American Art, among others. 1137 Continental Patinated Bronze Fountain

1136

20th century, in the form of a cherub astride a dolphin, after Sylvain Kinsburger (French, 1855‑1935), cast signature at back. h. 37‑3/4”, w. 30, d. 18” $1,000‑$1,500

1138

1138 Henry Ryan MacGinnis (American, 1875‑1962) “Snow in the White Mountains” oil on board signed lower right. Framed. 12” x 16” $1,000‑$1,500

1137

377

1139 Leonard Ochtman (American/Connecticut, 1854‑1934) “The Green Valley” oil on panel signed lower left. Framed. 12” x 16” $1,000‑$1,500 1140 Patinated Metal Fountain of a Water Carrier second/third quarter 20th century, cast as a seated maiden holding a jug. h. 30‑1/2”, w. 18”, d. 21” $700‑$1,000 1141 Large Continental Bronze of an Angel

1139

first half 20th century, the figure astride rockwork and retaining traces of pigment in the wings and base. h. 53‑1/2”, w. 38‑1/2”, d. 21‑1/2” $700‑$1,000

1140 1141

378

1142 Pair of Victorian-Style Cast Iron Garden Benches in the Coalbrookdale style, each with an arched back centered by a circular panel depicting a classical maiden, the pierced back with leaves, vines and birds. h. 44”, w. 74”, d. 27” $1,500‑$2,500 1143 Pair of Bronze Garden Urns

1144

20th century, each of campana form with reeded and fluted bowls, the rims with figural masques, the base with floral details. h. 27‑1/2”, dia. 26” $700‑$1,000 1144 Pair of Patinated Metal Planters of Chinoiserie Inspiration 20th century, with tapered bodies and ring pulls, on ball feet. h. 18”, w. 19‑1/2”, d. 19‑1/2” $600‑$900

1143

1142

379

1145 Antique Persian Shiraz Carpet 7’ x 10’ 1” $700‑$1,000 1146 Bidjar Carpet 8’ 4” x 12’ 2” $1,000‑$1,500 1147 Peshawar Serapi Carpet 9’ 2” x 11’ 7” $1,400‑$1,800 1148 Heriz Serapi Carpet 9’ 2” x 11’ 8” 1145

$2,500‑$4,000 1146

1147

380

1148

1149

1151

1153

1152

1149 Semi-Antique Kerman Carpet 10’ 4” x 13’ 8” Provenance: Collection of music legend Al Hirt, New Orleans, Louisiana. $1,000‑$1,500 1150 Agra Serapi Runner 2’ 6” x 30’ 1” $800‑$1,200

1151 Turkish Angora Oushak Carpet 10’ x 13’ 10” 1150

$1,200‑$1,800 1152 Semi-Antique Heriz Carpet 8’ 3” x 10’ 2” $1,800‑$2,500

1153 Bidjar Carpet 6’ 11” x 10’ 7” $600‑$900

381

1154

1155

1154 Bakhtiari Carpet 8’ 6” x 11’ 8” $1,200‑$1,800 1155 Bamboo Silk Carpet 7’ 3” x 10’ 3” $800‑$1,200 1156 Nain Carpet 12’ 6” x 19’ $1,200‑$1,800

1156

382

Artist Index | July 22-23, 2017

American School, 1080

Dali, Louis, 575

Armfield, George, 335

Dalmatian School, 161

Baerer, Henry, 1135

De Baugnies, Rene, 471

Baldridge, Jamie, 883

De Cock, Cesar, 472

Barbizon School, 440

De Keyser, Thomas (circle), 153

Barq, Shelly, 810

de Laszlo, Philip, 1130

Bassford, Wallace, 596

De Luce, Percival, 467

Bauer, Theodore (after), 1092

del Verrocchio, Andrea (after), 210

Bazzanti, Pietro, 908

Delacroix, Eugene, 920

Beal, Reynolds, 871

DeMeritt, Carolyn, 885

Benton, Thomas Hart, 874

Dommershuyzen, Pieter Cornelis, 470

Bianchini, V., 159

Drysdale, Alexander John, 994, 995

Biggers, John Thomas, 999

Dureau, George, 813

Braque, Georges, 877

Dyf, Marcel, 600

British School, 290, 1052, 1053

Erte, 837, 838

Campagne, Pierre-Etienne Daniel, 906

French School, 458, 592

Carrier-Belleuse, Albert-Ernest (after), 822

Gall, Francois, 597

Carter, Keith, 884

Gaudez, Adrien Etienne, 211

Cauchois, Eugene Henri, 461

German/Austrian School, 438

Cavanaugh, Tom Richard, 873

Girard, Bill, 1093, 1094

Chelminski, Jan van, 919

Gross, Sidney, 72

Claude, Eugene, 929

Guidry, Louise, 803, 804

Cooper, Thomas Sidney (circle), 337

Guillaume, Pierre, 601

Coustou, Guillaume (after), 208

Haines, E., 599

dâ&#x20AC;&#x2122;Espinosa, Pablo, 464

Halliday, David, 886, 888

da Bologna, Giovanni (after), 94, 907

Handa, Tomihisa, 834

Artist Index | July 22-23, 2017

Harouni, David, 815

Moigniez, Jules (after), 1097

Heytman, Willem, 573, 574

Morgan, Elemore, Sr., 887

Holdredge, Ransome Gillet, 1100

Morrison, C. R., 1095

Hooper, John Horace, 1054

Myrick, Burny, 814

Hunter, Anna, 998

Newcomb College Art Pottery, 996, 997

Italian School, 47, 163

Niemann, Edmund Johann, 1051

Joiner, Harvey, 1118, 1119

Ochtman, Leonard, 1139

Karssen, Anton Nicolaas Marie, 334

Offermans, Tony Lodewyk George, 469

Kayn, Hilde B., 869, 870

Pauwels, Joseph, 571

Kinsburger, Sylvain (after), 1137

Peiffer, Auguste Joseph, 99

Klinkenberg, Johannes Christiaan Karel, 479

Perelli, Achille, 1088

Lamantia, James Rogers, 799, 800

Picasso, Pablo (after), 875

Latham, Barbara, 812

Picault, Emile Louis (after), 206

LaVerne, Kelvin, 879

Pourbus the Younger, Frans (circle), 152

LaVerne, Philip, 879

Pujol, Adrian, 811

LeBlanc, Stephen, 1096

Raphael (after), 164

Lefort, Jean, 598

Regat, Jacques and Mary, 882

Lefort, Jean Louis, 336

Renard, Paul, 576

Ligtelijn, Evert-Jan, 468

Rodrigue, George, 796, 797

Lucchesi, Bruno, 1136

Rose, Antonio, 439

MacDonald, Richard, 881

Rosen, Charles, 1124

MacGinnis, Henry Ryan, 1138

Ruggiero, Pasquale, 465

Mack, Bill, 827

Sanguino, Luis, 823

Max, Peter, 805, 806

Sarri, Egisto, 482

Menendez, Aldo, 802

Schouten, Henri, 29

Michalopoulos, James, 798

Shahenian, Elizabeth (LIZO), 807, 808

Millais, Sir John Everett (after), 350

Shurtleff, Roswell Morse, 1108

Artist Index | July 22-23, 2017

Slonem, Hunt, 801 Soteno, Oscar, 809 Sprinkmann, Christel, 466 Stolker, Jan (attributed), 155 Stone, Robert, 1042 Sully, Thomas (school), 982 Sutherland, Graham, 876 Ter Borch the Younger, Gerard (follower), 154 Thompson, Paul Leland, 1133 Thompson, Thomas Clement, 353 Uwins, R.A., Thomas, 430 Valton, Charles, 1098

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist. Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence. Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period. After: In our qualified opinion, a copy of a known work by the artist. Signed: In our qualified opinion, has the signature which is that of the artist. Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Van de Velde the Younger, Willem (manner), 157

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Van der Plas, Niek, 572

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Van der Pol, Louis, 577 Van der Straeten, George, 821 Van Diepenbeeck, Abraham (attributed), 162 Van Leemputten, Cornelis, 472 Van Leemputten, Jef Louis, 28 Van Ruisdael, Jacob (follower), 156 Van Vaerenbergh, Gustave, 880 Verdussen, Paul, 7 Villanis, Emmanuel (after), 435 Werkstatte Hagenauer Wien, 878 Williams, Walter Henry, 1000 Wilson, Richard (attributed), 158 Wolfaerts, Artus (after), 160

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above.

(iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form.

(e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

(b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

R E Q U E S T F O R C O N D I T I O N R E P O RT S Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally.

Name (Please Print): _____________________________________________ Date: ____________ Email Address: _______________________________ Phone: (_______)______________

Fax: (_______)_______________

Lot # Description Special Requests ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________

Please submit this form by 5:00 p.m. two days prior to the first day of the auction.

Rev. 01/04/17

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________

Date: ____________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: _________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: ______________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com Rev. 01/04/17

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 Prices Realized Prices include buyer's premium. May Estates Sale - Session 1, 05/20/2017 10:00 AM, May Estates Sale - Session 2, 05/21/2017 10:00 AM Lot

Price

Lot

Price

Lot

Price

Lot

Price

Lot

Price

Lot

Price

2 3 4 9 10 11 12 13 14 15 16 19 23 25 27 28 29 30 31 34 37 38 39 41 42 45 46 47 50 52 53 54 55 57 59 68 69 70 72 73 77 78 83 86 87 89 90 91 92 93 95 98 101 105

$1,500.00 $1,750.00 $3,250.00 $9,375.00 $3,172.00 $6,000.00 $2,125.00 $812.50 $1,830.00 $1,187.50 $1,375.00 $1,125.00 $687.50 $750.00 $1,000.00 $875.00 $854.00 $610.00 $1,952.00 $1,000.00 $937.50 $1,750.00 $2,500.00 $2,750.00 $2,125.00 $1,500.00 $1,250.00 $2,375.00 $1,125.00 $2,375.00 $562.50 $1,250.00 $1,500.00 $1,000.00 $1,187.50 $2,000.00 $1,187.50 $976.00 $937.50 $812.50 $1,625.00 $5,000.00 $854.00 $2,000.00 $976.00 $1,000.00 $1,000.00 $1,220.00 $687.50 $5,000.00 $812.50 $1,375.00 $1,187.50 $1,187.50

106 109 110 111 112 113 114 116 119 121 122 123 126 129 130 132 141 142 143 144 145 146 147 150 151 152 153 155 157 158 159 160 161 162 163 164 165 166 167 169 170 171 173 175 176 178 179 182 183 187 189 190 191 192

$1,187.50 $750.00 $937.50 $625.00 $750.00 $1,750.00 $1,750.00 $2,000.00 $2,125.00 $1,875.00 $2,000.00 $4,000.00 $915.00 $2,196.00 $1,250.00 $1,875.00 $2,375.00 $937.50 $2,500.00 $2,500.00 $687.50 $1,062.50 $5,750.00 $1,062.50 $1,125.00 $1,375.00 $1,500.00 $2,250.00 $937.50 $3,500.00 $750.00 $8,540.00 $1,625.00 $2,196.00 $937.50 $1,750.00 $3,250.00 $1,187.50 $1,750.00 $1,500.00 $1,750.00 $1,875.00 $687.50 $1,187.50 $2,750.00 $875.00 $687.50 $1,792.00 $812.50 $1,000.00 $832.00 $687.50 $2,250.00 $1,187.50

193 194 195 196 197 200 201 205 209 210 212 215 216 217 218 219 220 222 223 224 225 227 230 231 232 233 236 240 243 245 246 247 248 249 252 253 255 256 257 263 264 266 268 270 271 272 273 274 275 276 277 280 281 282

$610.00 $2,125.00 $1,000.00 $640.00 $750.00 $1,125.00 $1,187.50 $750.00 $1,875.00 $1,187.50 $2,250.00 $1,062.50 $1,750.00 $1,125.00 $1,062.50 $1,187.50 $4,250.00 $1,000.00 $750.00 $2,250.00 $854.00 $1,062.50 $1,187.50 $2,750.00 $500.00 $500.00 $1,125.00 $875.00 $1,625.00 $750.00 $50,000.00 $1,750.00 $875.00 $937.50 $1,000.00 $2,684.00 $1,250.00 $2,250.00 $2,250.00 $1,125.00 $875.00 $750.00 $915.00 $1,250.00 $812.50 $1,750.00 $4,500.00 $3,000.00 $1,375.00 $1,220.00 $915.00 $2,250.00 $1,536.00 $1,062.50

283 286 290 294 295 296 297 298 299 300 301 302 303 305 306 308 310 311 312 314 315 316 317 318 319 320 325 326 329 332 336 337 338 339 341 342 343 344 345 346 347 348 349 352 354 355 356 361 362 365 366 367 368 369

$3,000.00 $20,000.00 $2,500.00 $625.00 $2,375.00 $3,250.00 $1,098.00 $1,187.50 $3,750.00 $671.00 $1,750.00 $1,500.00 $1,125.00 $3,000.00 $4,148.00 $1,250.00 $2,125.00 $2,375.00 $4,250.00 $625.00 $3,250.00 $2,000.00 $3,750.00 $3,750.00 $812.50 $375.00 $1,250.00 $1,586.00 $2,000.00 $2,500.00 $1,750.00 $1,125.00 $937.50 $1,187.50 $875.00 $937.50 $3,500.00 $625.00 $1,000.00 $3,000.00 $1,625.00 $1,187.50 $12,500.00 $610.00 $1,250.00 $915.00 $687.50 $750.00 $1,250.00 $8,125.00 $960.00 $1,125.00 $812.50 $1,375.00

370 371 373 374 375 376 377 378 379 381 382 383 384 385 387 390 391 392 393 394 395 396 397 398 400 401 404 408 409 411 412 414 415 416 417 419 421 422 423 424 425 428 429 430 431 434 436 437 438 439 441 442 443 446

$732.00 $2,500.00 $1,125.00 $1,187.50 $960.00 $4,000.00 $1,750.00 $687.50 $1,750.00 $793.00 $1,375.00 $732.00 $1,250.00 $687.50 $1,500.00 $1,464.00 $960.00 $1,708.00 $6,875.00 $1,000.00 $640.00 $750.00 $750.00 $875.00 $687.50 $4,500.00 $3,500.00 $1,792.00 $1,586.00 $1,625.00 $2,000.00 $1,062.50 $3,500.00 $1,750.00 $2,440.00 $625.00 $6,000.00 $1,220.00 $1,500.00 $2,250.00 $3,250.00 $2,000.00 $9,062.50 $793.00 $2,125.00 $2,500.00 $1,062.50 $1,000.00 $2,500.00 $687.50 $750.00 $640.00 $610.00 $896.00

447 448 449 450 451 452 453 454 455 456 457 460 461 462 466 467 468 470 474 476 477 478 479 480 482 483 484 485 492 493 494 496 497 498 500 501 502 503 506 507 509 510 511 512 516 517 519 520 524 527 529 530 531 533

$937.50 $1,000.00 $2,250.00 $1,037.00 $2,750.00 $1,375.00 $812.50 $10,937.50 $1,500.00 $1,875.00 $812.50 $2,125.00 $687.50 $625.00 $875.00 $2,074.00 $625.00 $1,750.00 $2,250.00 $1,875.00 $1,125.00 $3,416.00 $1,500.00 $875.00 $1,500.00 $1,187.50 $1,625.00 $750.00 $750.00 $875.00 $812.50 $1,037.00 $750.00 $1,187.50 $3,250.00 $812.50 $3,750.00 $4,750.00 $1,342.00 $3,500.00 $1,062.50 $1,500.00 $1,500.00 $750.00 $687.50 $1,375.00 $937.50 $1,187.50 $1,342.00 $976.00 $687.50 $3,250.00 $5,250.00 $3,500.00

New Orleans Auction Galleries Prices Realized Prices include buyer's premium. May Estates Sale - Session 1, 05/20/2017 10:00 AM, May Estates Sale - Session 2, 05/21/2017 10:00 AM Lot

Price

Lot

Price

Lot

Price

Lot

Price

Lot

Price

534 544 545 546 547 548 550 551 554 558 559 560 562 563 564 565 567 569 570 571 572 573 574 577 578 582 583 584 585 586 588 590 592 593 594 595 596 597 599 600 603 604 605 606 607 608 610 611 612 614 615 617 618 620

$3,500.00 $2,250.00 $4,750.00 $1,708.00 $2,500.00 $1,220.00 $2,375.00 $2,750.00 $732.00 $875.00 $1,375.00 $2,750.00 $2,375.00 $750.00 $1,875.00 $1,062.50 $1,062.50 $3,500.00 $687.50 $687.50 $2,375.00 $3,660.00 $2,440.00 $8,750.00 $2,000.00 $1,159.00 $2,500.00 $1,625.00 $687.50 $793.00 $1,125.00 $1,750.00 $2,375.00 $812.50 $875.00 $793.00 $1,187.50 $3,000.00 $3,750.00 $2,750.00 $3,000.00 $875.00 $1,062.50 $2,750.00 $3,750.00 $3,750.00 $687.50 $687.50 $5,250.00 $2,375.00 $2,250.00 $1,830.00 $2,125.00 $2,000.00

621 622 623 625 626 628 630 636 637 638 639 642 643 645 648 649 650 655 656 657 661 663 665 666 667 668 670 674 676 681 682 684 685 686 687 689 690 691 692 693 694 695 696 697 698 699 700 705 706 709 710 711 712 713

$2,375.00 $2,750.00 $1,125.00 $1,500.00 $2,375.00 $6,875.00 $5,000.00 $3,660.00 $1,952.00 $21,960.00 $11,875.00 $1,250.00 $3,750.00 $3,250.00 $8,750.00 $3,250.00 $6,562.50 $937.50 $3,172.00 $875.00 $1,750.00 $3,250.00 $6,250.00 $11,250.00 $3,750.00 $3,416.00 $5,612.00 $3,500.00 $875.00 $3,750.00 $10,000.00 $937.50 $1,375.00 $2,500.00 $11,250.00 $3,750.00 $3,250.00 $2,125.00 $3,250.00 $11,250.00 $3,500.00 $1,062.50 $3,000.00 $2,375.00 $937.50 $6,000.00 $2,000.00 $2,500.00 $3,250.00 $1,250.00 $2,318.00 $11,875.00 $1,464.00 $1,000.00

714 716 717 718 719 720 722 723 724 726 727 728 729 735 736 738 741 743 744 745 746 747 748 750 753 754 755 757 758 759 760 763 764 765 769 770 771 773 774 775 776 777 779 780 781 783 785 786 787 788 789 790 791 792

$2,250.00 $625.00 $750.00 $4,250.00 $1,750.00 $625.00 $2,250.00 $2,125.00 $2,250.00 $6,250.00 $750.00 $2,000.00 $3,000.00 $1,500.00 $875.00 $1,037.00 $1,625.00 $2,750.00 $2,000.00 $2,250.00 $2,750.00 $3,250.00 $3,500.00 $3,750.00 $2,375.00 $2,250.00 $1,000.00 $3,750.00 $750.00 $1,024.00 $1,125.00 $2,000.00 $4,000.00 $4,500.00 $1,037.00 $687.50 $2,250.00 $2,750.00 $4,000.00 $3,000.00 $3,250.00 $812.50 $625.00 $875.00 $2,500.00 $1,159.00 $1,037.00 $1,500.00 $793.00 $687.50 $2,562.00 $1,952.00 $1,830.00 $1,875.00

793 794 795 796 798 799 800 801 802 803 805 806 808 809 810 811 812 816 817 819 820 821 822 823 824 827 828 829 832 833 834 835 837 839 840 841 842 843 844 846 847 849 853 854 857 858 859 860 861 862 863 864 867 868

$2,750.00 $1,220.00 $3,500.00 $1,062.50 $1,000.00 $5,000.00 $5,750.00 $1,000.00 $3,172.00 $875.00 $500.00 $625.00 $687.50 $2,375.00 $1,125.00 $2,750.00 $10,000.00 $12,500.00 $1,500.00 $3,000.00 $1,500.00 $1,250.00 $625.00 $2,750.00 $1,000.00 $1,750.00 $6,000.00 $5,368.00 $2,500.00 $2,750.00 $3,250.00 $4,500.00 $2,048.00 $2,500.00 $750.00 $937.50 $625.00 $1,750.00 $3,750.00 $625.00 $2,125.00 $1,187.50 $2,928.00 $1,187.50 $937.50 $1,062.50 $3,000.00 $1,000.00 $1,464.00 $2,250.00 $14,375.00 $750.00 $812.50 $5,124.00

869 870 871 872 874 875 877 880 881 882 884 885 886 887 889 890 891 895 896 900 901 905 906 907 908 910 911 912 913 914 915 916 917 918 920 921 922 926 928 929 933 934 935 937 939 940 942 944 945 947 952 953 954 955

$2,000.00 $2,375.00 $854.00 $3,000.00 $1,750.00 $750.00 $2,750.00 $875.00 $1,250.00 $1,750.00 $7,187.50 $1,952.00 $1,708.00 $937.50 $2,500.00 $2,500.00 $1,250.00 $2,750.00 $687.50 $812.50 $4,250.00 $2,375.00 $2,500.00 $7,812.50 $9,062.50 $2,375.00 $1,375.00 $1,062.50 $812.50 $3,750.00 $1,500.00 $5,250.00 $1,000.00 $2,196.00 $937.50 $812.50 $10,000.00 $1,125.00 $975.00 $812.50 $1,000.00 $6,250.00 $12,500.00 $11,562.50 $3,500.00 $2,750.00 $1,750.00 $2,375.00 $1,220.00 $1,750.00 $2,250.00 $1,000.00 $1,750.00 $6,000.00

Lot 957 958 959 961 962 966 969 971 973 975 976 977 978 982 984 985 986 987 988 989 991 993 994 995 1000 1006 1007 1011 1014 1015 1016 1018 1022 1027 1028 1029 1030 1031 1032 1033 1034 1035 1036 1039 1040 1047 1050

Price $1,250.00 $3,750.00 $625.00 $750.00 $1,000.00 $1,125.00 $1,708.00 $2,440.00 $2,750.00 $1,750.00 $1,098.00 $812.50 $2,250.00 $1,187.50 $687.50 $750.00 $3,750.00 $875.00 $750.00 $812.50 $875.00 $1,098.00 $812.50 $1,500.00 $2,250.00 $1,708.00 $1,708.00 $1,125.00 $687.50 $750.00 $812.50 $1,375.00 $2,375.00 $1,830.00 $1,187.50 $732.00 $1,464.00 $1,830.00 $1,125.00 $2,250.00 $812.50 $610.00 $2,500.00 $4,000.00 $2,750.00 $1,625.00 $1,062.50

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

consignments FINE ART:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

BOOKS, MANUSCRIPTS & EPHEMERA:

Director of Fine Art; Continental and American

Michele M. Carolla

Continental and English

American and Continental

British and American; Sculpture

Nicole Casi, PhD Continental and American; Prints and Maps

FURNITURE: Ireys Bowman

Charles C. Cage Jewelry:

Continental and English

Kim Lemon

Greg S. Kowles

FINE CARPETS & TEXTILES:

Asian Arts:

American, Continental and English

Rebecca Moss

Thomas Halverson

Sean Ranson

American

a d m ini s t r at ion Charles C. Cage

Grace Connors

Burke

Colleen Ryan

Nicole Casi, PhD

Taylor Eichenwald

Office Manager

Director of Human Resources

Manager of Cakebread Auctions Research

Denise Haik

Office Administration

Leigh Firestone

Designer

Marketing & Public Relations

Christa Ougel Gary Michael Gittelson Photographer

Administrative Assistant

Graphic Designer

Bettina Bausa

Graphic Designer

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie English and Continental Furniture

Cedric Roberts | Sean Ranson

Ira Savoie Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

James Callahan Asian Arts

Sol Carter | Thomas Johnson

Ashton Thomas #1833 Taylor Eichenwald #1922 Michael DeGeorge #1774

Bennie Amos | Eddie Daigrepont

Gerald Hampton | Juanita Bazile

David Abney | James Collins