July 27-28, 2019 Estates Auction

New Orleans Auction galleries

ESTATES AUCTION July 27-28, 2019

Estates Auction

July 27-28, 2019

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | 504-566-1849 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyer’s Premium

Pictured Left: Lot 658 | Cover: Lot 308

Exhibition:

July 15-26, 2019 Monday - Friday, 9:00 a.m. - 5:00 p.m.

Saturday, July 20, 10:00 a.m. - 3:00 p.m.

Preview Reception: Thursday, July 25, 2019, 4 - 6:00 p.m.

Featured Property: Fine American Furniture from the Collection of Janet & Matthew Geller Central Park West, New York, New York The Estate of Barbara & Ernest Henley Houston, Texas The Estate of Victor and Marie Cascio Monroe, Louisiana The Estate of Albert A. Prats, Jr. New Orleans, Louisiana

Lot Schedule:

Please note that times are approximate

Saturday, July 27, 2019 Lots 1 - 491 10:00 - 11:00

1

11:00 - 12:00

101

-

200

12:00

1:00

201

-

300

-

-

100

1:00

-

2:00

301

-

400

2:00

-

2:45

401

-

491

Sunday, July 28, 2019 Lots 492 - 906 10:00 - 11:00

492

-

570

11:00 - 12:00

571

-

650

12:00

1:00

651

-

750

-

1:00

-

2:00

751

-

850

2:00

-

2:30

851

-

906

Pictured: Lot 649 (detail)

Letter From the Director of Marketing

There’s no doubt about it – I have color on my mind. Perhaps it’s because I’ve just returned from a trip to the British Virgin Islands, where bright, saturated colors are everywhere, from the fish to the flowers. Or maybe it’s the shocking-pink crepe myrtle blooms, cascading like freeze-frame firecrackers in front of my house. Or it could be the intensity of the cloudless, blue skies that blaze blindingly between New Orleans’s afternoon thunderstorms. Regardless, my new craving for color fully came into focus when I recently read an old Architectural Digest story covering legendary fashion designer Marc Jacobs’s New York townhouse.

The sophisticated interior of Jacobs’s West Village home is richly appointed with interesting objects, beautiful carpets and a casual pair of Diego Giacometti stools. But, what stood out the most to me, of course, was the striking bright-yellow Ellsworth Kelly painting, hanging over his custom mantel.

I would expect to see bright colors in the home of someone who veers toward vibrant designs as Marc Jacobs, but what I love most about his use of color in that room is his restraint.

In a world awash in so much gray and beige, it’s refreshing to see color so perfectly used to elevate an interior.

The Kelly glows above the mantel like a rising sun and instantly draws you in, but at the same time, the bright yellow hue somehow feels at home amongst the room’s predominate earth tones.

While his seemingly simplistic minimalist color block paintings and prints may seem devoid of natural influences, Kelly was highly inspired by the outdoors. From an early age, Kelly’s grandmother encouraged his exploration of nature by taking him birdwatching near his home in New Jersey and also introduced him to the work of naturalist John James Audubon.

The variety of forms and colors through these experiences captivated Kelly, and many attribute this early interest to his fascination with color throughout his career.

Lot 737

Lot 138

It should come as no surprise that I was thrilled when a colorful collection of modern and contemporary art arrived at the gallery, especially a print by Ellsworth Kelly (Lot 737) featuring the same intense yellow I fell in love with while reading that AD piece.

Another favorite in the sale is George Rodrigue’s “Our Love Blooms” (Lot 658) – the playful blue dog and bright flowers are sure to make you smile. Finally, while it may not be the most colorful, I absolutely love Lot 138, a charming silver cocktail shaker in the form of a dog.

Our July Estates Auction, to be held on Saturday, July 27 and Sunday, July 28, has plenty of color, including modern and contemporary paintings and prints; fine jewelry, sparkling across the rainbow spectrum with sapphires, emeralds and rubies; to furniture dressed in elegant but bold patterns. I invite you to find that pop of color amongst our 900 lots to bring a bright, new inspiration to your life, too.

Taylor Eichenwald Director of Marketing & Public Relations P.S. Put on something colorful and join us on Thursday, July 25 from 4-6:00 p.m. for a preview reception, with complimentary wine and hors d’oeuvres!

Lot 658

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2

4

6

April Fine Art Auction & May Estates Auction Preview Reception Highlights 1. Ann Stafford & Ellen McGlinchey; 2. Renée Céleste Flanders; 3. Sandra Carter-Green & Burke; 4. Jesper Skade & Janice Jaudikt; 5. Barry Williams, Grace Kim, Lisa Helfman, Sandy Barrett & Susan Sarofim; 6. Burke, Susan Sarofim & Tony Bradfield; 7. David Pons & Judith Oudt

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F E AT U R E D P R O P E R T Y Fine American Furniture from the Collection of Janet & Matthew Geller Central Park West, New York, New York

F E AT U R E D P R O P E R T Y

The Estate of

Barbara & Ernest Henley Houston, Texas

Barbara Miller was born in 1929 in New York City. After growing up in the city, she moved upstate to attend Cornell University, receiving a Master’s Degree in Social Work in 1955. She took a position as Assistant Project Director for the Study of Psychological Needs of the Elderly at New York Hospital from 1951-1958 before working as a Field Coordinator for Social Work Internationally while in Rio de Janeiro from 1964-1966 When she arrived in Houston in 1966, she became the Director of Social Work at Ben Taub Hospital where she worked for 25 years. During her time at Ben Taub, Barbara developed numerous programs that benefitted a wide range of patients and was an active member of the Ethics Committee. She served as Chair of the Certification Board in the Texas Department of Human Services, President of the National Association of Social Workers in Texas and National President of the Society of Hospital Social Work Directors.

Barbara’s mission to help others was not limited to her work at Ben Taub. She served as Vice President of DePelchin Children’s Center and President of Houston Achievement Place, both of which continue to be critical resources for under-served and vulnerable children in the Houston community.

Barbara and Ernest Henley both left behind a rich legacy of community involvement and professional accomplishments. Married in 1953, the couple moved to Houston in 1966 and remained together for over 65 years.

Ernest J. Henley was born in Germany in 1926 and raised in Bloomfield, New Jersey. He served as First Lieutenant in the United States Field Artillery from 19461949. After receiving his Doctorate in Engineering Science from Columbia University in 1953, Ernest held a professorship in Chemical Engineering at Columbia until 1959. He has held professorships at Stevens Institute of Technology, University of Brazil and the University of Houston, where he also served as the Associate Dean of the College of Engineering for ten years. He held visiting professorships at Stanford University, Cambridge University and the City College of New York. Ernest has been awarded nine patents and authored or coauthored 119 publications and 18 scientific books, including an important text on separation process principles.

Ernest was a founding director of eight technology corporations and was president of the Henley Foundation from 1995-2018. Henley was also a Fellow of the American Institute of Chemical Engineering.

Outside of his professional life, Ernest was an avid supporter of the performing arts, serving on the boards of Opera in the Heights and Main Street Theater.

Educating future generations was also important to Barbara. She was appointed instructor in the Department of Community Medicine at Baylor College of Medicine and also worked as an adjunct professor at the University of Houston Graduate College of Social Work as well as special assistant to the Dean. Barbara also published a book, The Elderly Ambulatory Patient.

New Orleans Auction Galleries is pleased to offer fine art and antiques from the Estate of Barbara and Ernest Henley.

F E AT U R E D P R O P E R T Y

The Estate of

Victor and Marie Cascio Monroe, Louisiana

Victor and Marie Cascio were beloved Monroe icons and restaurateurs. Victor, a local celebrity, was the face of famed Monroe restaurant The Chateau, a society columnist in The News-Star, television personality and supporter of the arts.

He invited numerous clubs and organizations to host events at the restaurant over the years, earning it a reputation as a local institution. Liberace even stopped by for a visit and let Victor’s mother try on all of his jewelry and, of course, his mink coat.

Victor and Marie loved to travel and collect interesting items along the way. Victor’s love for art and design, cultivated by good friend Speed Lamkin, was evident in every aspect of his life, from his clothing to his home and restaurant. Lamkin, a playwright and novelist, spent years living in New York and was an avid design enthusiast and collector. After moving back to Monroe, Lamkin hired Mark Hampton to help design his home, which was featured in Architectural Digest. Lamkin guided the Cascios as they amassed their own collection and sold or gifted items to them, some of which are offered in this sale.

Victor took pride in knowing his regular customers’ names, where they preferred to sit, what they liked to order and loved sharing his restaurant with all of them. In an interview, Victor said that, “The Chateau was my living room and the dining room was my stage on which to perform.” The feeling was mutual – the customers were extremely loyal and loved visiting with Victor.

Inspired by Victor and Marie’s travels, the restaurant was brilliantly decorated. In an article in The News-Star, Victor shared, “Once on a trip to Venice we walked into a favorite little restaurant of the locals and all of the booths were covered in vines; it was magical." He continued, “I took the idea for the ornaments from another trip to New York. If you take it all in, it’s ethereal and almost child-like. I wanted it to be enchanting.”

Josephine and Joe Cascio, Victor’s parents, opened the family’s first restaurant in 1943. The Chateau opened in 1964 and remained open until Victor’s retirement in 2012 after nearly 50 years serving the Monroe area.

New Orleans Auction Galleries is pleased to offer fine art, antique furniture, decorative arts, silver and more from the Estate of Victor and Marie Cascio.

Marie with Anderson Cooper and Gloria Vanderbilt; Marie was introduced by a mutual friend, Speed Lamkin.

Victor and Marie Cascio

SESSION I

Saturday, July 27, 2019 Lots 1-491

1 2

1 Provincial Louis XIV-Style Oak and Pine Refectory Table ca. 1900, the fold-out leaves supported by pairs of wrought iron rods, the canted legs with wrought braces. h. 31‑1/2”, w. 30‑3/4”, l. 59”, ext. l. 117‑1/2” $1,500‑$2,500 2 Basilius Besler (German, 1561‑1629) “Two Botanical Prints of Narcissi and Hyacinths” from Hortus Eystettensis, Eichstatt and Nuremberg, 1613 or later each copperplate engraving with later hand-coloring Matted, glazed and framed alike. each pl. 18‑1/2” x 15‑1/2”, framed 38” x 31‑3/4” $1,000‑$1,500 3 French Provincial Vaisselier early 19th century, the rack with a shaped frieze centered by an inlaid star and with pendant finials, above three open shelves, the lower section with a canted rectangular top over a conforming case fitted with two drawers over two paneled cupboard doors above a shaped apron, raised on scrolled feet. h. 89”, w. 58‑1/2”, d. 27‑1/2” $1,200‑$1,800

3

2

4 Henry Schouten (Belgian, 1857‑1927) “Rooster with Hens, Chicks and a Duck” oil on canvas signed lower right.

Framed.

23‑3/4” x 36‑1/4”, framed 32‑1/2” x 45” $2,500‑$4,000

4

5 Provincial Louis XV-Style Fruitwood Farmhouse Table 19th century, the rectangular top with a molded edge and rounded cut corners, above a scalloped frieze, raised on cabriole legs ending in molded toes. h. 30‑1/2”, w. 38”, l. 81‑1/2”

5

$2,000‑$4,000

6 French Provincial-Style Fruitwood and Marble-Top Dresser mid-20th century, with a conforming Breccia Pernice Chiara marble top over a case fitted with three rows of three drawers, each with in-carved panels and raised on short cabriole legs ending in scrolled toes. h. 35”, w. 68”, d. 23” $1,000‑$1,500

6

3

7 9

7 Ildephonse Stocquart (Belgian, 1819‑1889) “Along the Bank, by the Mill” oil on wood panel signed lower left center, wax seal en verso.

Framed.

10‑3/4” x 15”, framed 15” x 19‑1/4” $1,000‑$1,500

8 French Provincial Fruitwood Bookcase Cabinet mid-19th century, the rounded rectangular ogee-molded cornice above a conforming case fitted with two long doors, each inset with two grilled panels, raised on a plinth base. h. 95”, w. 62”, d. 19” $1,000‑$1,500

9 Continental School (19th Century) “Young Red-Capped Boy with His Pet Spaniel” oil on canvas unsigned.

Framed.

25‑5/8” x 25‑3/4”, framed 30‑1/8” x 29‑3/4” $1,000‑$1,500

4

8

10 Provincial Fruitwood Farmhouse Table early 19th century, the rectilinear refectory top with draw leaves at each end, the drop apron fitted with a single drawer, raised on tapering square legs. h. 31”, w. 34”, l. 63”, ext. l. 125‑1/2” 10

$1,500‑$2,500

11 Provincial Louis XV Walnut Bergere 18th century, the carved and molded frame with a central foliate-carved cartouche, the seat and back covered in brown leather, raised on cabriole legs. h. 30” $1,000‑$1,500

11

12 Henry Schouten (Belgian, 1857‑1927) “Shepherd with His Flock” oil on canvas signed lower right.

Framed.

31‑1/2” x 24”, framed 37‑1/2” x 30” $1,500‑$2,500

12

5

15

14 French Provincial Fruitwood Draw-End Table

13

mid-19th century, the rectangular top with two draw ends, above a frieze fitted with a small drawer to each side, raised on tapering square legs. h. 32”, w. 33‑1/4”, l. 66”, ext. l. 126” $1,500‑$2,500

13 Henry Schouten (Belgian, 1857‑1927) “Ride in the Country” oil on linen signed lower left.

Framed.

49‑1/2” x 38‑1/2”, framed 60” x 49” $4,000‑$7,000

15 Charles Coumont (Flemish, 1822‑1889) “Cattle Resting by the Duck Pond”, 1887 oil on canvas signed and dated lower left.

Framed.

29‑1/4” x 41‑7/8”, framed 35‑1/2” x 49” $1,500‑$2,500

14

6

16 Henry Schouten (Belgian, 1857‑1927) “Goats Grazing” oil on canvas signed lower right.

Framed.

27‑3/4” x 39‑3/4”, framed 39‑5/8” x 48‑3/4” $3,000‑$5,000

16

17 Henry Schouten (Belgian, 1857‑1927) “Cattle Pasturing” oil on canvas signed lower left.

Framed.

27‑1/2” x 39‑1/4”, framed 33‑1/4” x 44‑3/4” $1,500‑$2,500

17

18 Charles Coumont (Belgian, 1822‑1889) “Lunchtime Respite from Ploughing” oil on canvas signed lower right.

Framed.

26‑1/4” x 32‑3/4”, framed 31‑3/4” x 38” $2,000‑$4,000

18

7

19 Louis Derickx (Belgian, 1835‑1895) “Off to Market”, 1861 oil on canvas signed and dated lower left, stenciled “5616” on stretcher.

Framed.

34” x 49‑1/2”, framed 48” x 62” $6,000‑$9,000

19

20 Charles Coumont (Belgian, 1822‑1889) “The Horse Ride” oil on linen signed lower right.

Framed.

16” x 17”, framed 22” x 23‑1/8” $1,000‑$1,500

20

21 Jean-Baptiste de Roy (Belgian, 1759‑1839) “Courtship on the Range” oil on wood panel signed lower left.

Framed.

20‑1/4” x 28‑1/4”, framed 27‑3/8” x 35‑1/4” Provenance: Private collection, Germany/Florida, U.S.A. $1,400‑$1,800

21

88

22 Johann Friedrich Voltz (German, 1817‑1886) “The Shepherd’s Family” oil on canvas signed lower left.

Framed.

28‑1/2” x 38‑1/2”, framed 37” x 47” $3,000‑$5,000

22

23 Italian Walnut Commode 19th century, the rectangular top with a molded edge, above a conforming case fitted with three long paneled drawers, all with incised scrolling patterns and all flanked to either side by a paneled upright, raised on bracket feet. h. 39‑3/4”, w. 46‑1/2”, d. 21‑1/2” Provenance: Brian L. Stringer Antiques, Houston, Texas; Private collection, Houston, Texas. $1,000‑$1,500

23

24 Pair of Chinese Export-Style Porcelain Beaker Vases 20th century, now mounted as lamps, with blue-and-white decoration of Western style buildings in panels, on molded wooden bases. h. 28”, dia. 8‑1/2” $1,000‑$1,500

24

9

25 Continental Pine Blanket Chest on Stand 19th century and later, the lift top opening to reveal an interior fitted with niches and a large well, the front with a row of shaped panels, the base with three paneled drawers and block bracket feet. h. 36”, w. 59‑1/2”, d. 26” $1,200‑$1,800

25

26 Continental Oak Trestle-Form Harvest Table ca. 1900, the slab top supported by square columns with flare capitals and shaped bases, on a base with scroll feet joined by a stretcher. h. 30‑1/4”, w. 85”, d. 38‑1/4” $1,000‑$1,500

26

27 Large Black Forest-Style Chandelier the six-light chandelier mounted with antlers forming the body, the outside edge mounted with tole candle cups and drip pans, suspended from leaf- and spring-molded chains, supported on the horn-mounted canopy. h. 46”, dia. 46” $1,200‑$1,800

10

28

29 Large Flemish Stained Oak Wing-Back Sofa

28 Continental Scrubbed Pine Tilt-Top Wine Tasting Table

19th century, in the William and Mary taste, the tall back with out-curved wings and rolled arms, with a reversible cushion and raised on scrolled legs joined by block-and-turned stretchers. h. 50”, w. 80”, d. 29”

19th century, with an oval top mounted to a trestle base and a rotating bracket to support the top. h. 28‑1/2”, w. 56‑1/2”, d. 43‑1/2” $1,000‑$1,500

$1,000‑$1,500

29

11

30

30 Studio of Cornelis Engelsz (Dutch, 1575‑1650) “Kitchen Interior with Two Women Preparing Food, with Scene of Christ at the Supper of Emmaus in Background” oil on canvas unsigned.

Framed.

45” x 51‑1/2”, framed 59‑1/2” x 67” Provenance: Sold as attributed to Gottfried von Wedig, Leo Spik, Cologne, Germany, June 17, 2004, lot 406; Cavalier Fine Art, Houston, Texas, U.S.A., Private collection, Texas, U.S.A. $7,000‑$10,000

12

31 Circle of Charles Beaubrun (French, 1604‑1692) “Portrait of a Young Noble Woman” oil on canvas unsigned, stretcher with numerical stencils and various partial labels, including an auction one with the consignor “Mulliken”.

Framed.

51‑1/4” x 39‑1/2”, framed 64‑1/2” x 54” Provenance: Collection of Felix Astoin, France/New York, 1883; Collection of the late Alfred H. Mulliken (Together with Property of John H. Mulliken), Anderson Galleries, New York, April 12‑13, 1933, lot 162, sold as a portrait of “Dame van Montfoort” by a follower of Pieter van Mierevelt. $5,000‑$8,000

32 Attributed to Gonzales Coques (Flemish, 1614‑1684) “Pendant Portraits of a Man and a Woman” oils on copper unsigned.

Framed alike. each 8‑1/4” x 6‑3/8”, framed 14‑1/4” x 12‑1/4” Provenance: Possibly Sale of Citoyen Lebrun, Paris, May 1803, lot 39.

31

$2,000-$4,000

32

13

33 After Hendrick Gerritsz Pot (Dutch, 1580‑1657) “The Miser” oil on linen unsigned, title and artist attribution and provenance later handwritten on stretcher, additional label with monogram “H. D. Lyman”.

Framed.

14‑1/4” x 13‑1/8”, framed 18‑3/4” x 17‑1/2” Provenance: Dr. George Hinckley Lyman (1819‑1891), Boston, Massachusetts, purchased in Florence, April, 1891; His second wife Henrietta Dana Lyman (Monod) (1840‑1920), thence by descent in the Monod family; Private collection. $1,000‑$1,500 The original painting, conserved in the Uffizi Gallery, Florence, was formerly attributed to Horatius Paulijn (Dutch, 1644‑1682/85), because of the H. P. monogram. In the early 20th century, after Dr. Lyman’s death, the Uffizi changed the attribution; the provenance on the back of this painting corresponds with the information the Lymans had at the time of their purchase in 14891. This painting, of almost identical dimensions, is probably a late 18th-century copy.

33

34 After Peter Paul Rubens (Flemish, 1577‑1640) “Self-Portrait”, 1639 oil on canvas unsigned.

Framed.

39‑1/4” x 27‑1/2”, framed 48” x 36‑1/4” Provenance: Charlotte Nail Interiors, Houston, Texas; Private collection, Houston, Texas.

The original is conserved in the Kunsthistorisches Museum, Vienna, Austria; numerous other copies of this portrait were made following Rubens’ death. $3,000‑$5,000

34

14

35 Wouter Knijff (Dutch, 1607‑1693) “Amsterdam, View of the Delft with the Oude Kerk in the Background”, ca. 1650 oil on wood panel monogrammed and dated “165_?” lower left center, old stencil and English label en verso.

Framed.

20‑5/8” x 33”, framed 28” x 40‑3/8” Provenance: Probably Paul Brandt, Amsterdam, May 20, 1980, lot 8; Private collection, Germany/Florida, U.S.A. $5,000‑$8,000

35

36 Willem van de Velde the Younger (Dutch, 1633‑1707) “Ship on the Breakers by a Rocky Coast”, 1666 oil on canvas faintly monogrammed and dated “1666” lower right.

Framed.

15‑1/2” x 25”, framed 21‑1/8” x 30‑1/2” Provenance: Private collection, Germany/Florida, U.S.A. $20,000‑$40,000

36

37 Gerardus Johannes Delfgaauw (Dutch, 1882‑1947) “Landscape with Boats on a Bank and Windmills in the Distance” oil on canvas signed lower right.

Framed.

19‑3/4” x 27‑3/4”, framed 25‑1/2” x 33‑1/2” $1,500‑$2,500

37

15

39

38

38 Alex de Andreis (Belgian, 1880‑1929)

40 Tadeusz Brodowski (Polish, 1821‑1848)

“Cavalier Holding a Ewer”, 1925

“Hussars, The Greater Poland Uprising of 1846”, 1846

oil on canvas signed and dated lower right.

Carved wood frame.

32” x 25”, framed 40‑3/8” x 33‑1/2”

oil on canvas signed, dated and localized “Paris” lower right, remnants of a French shipper’s or framer’s label on stretcher.

Framed.

15” x 18”, framed 21‑1/2” x 24‑1/2”

Provenance: Private collection, Houston, Texas. $1,000‑$1,500

$1,000‑$1,500

39 Alex de Andreis (Belgian, 1880‑1929) “Cavalier with a Sword” oil on canvas signed lower right.

Carved wood frame.

32” x 26”, framed 38” x 32” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

16

40

41

41 Set of Five Baroque-Style Signed Caldwell Sconces

42 Continental Carved Mahogany Library Table

second quarter 20th century, New York, the pierced backplates decorated with baroque figures and scrollwork and gilt details against red lacquer panels, the arms decorated to match, the tops with reeded edges and the bases with acorn pendant finials, marked with inscribed “C’s” in a lozenge on the back. h. 15”, w. 10‑1/2”, d. 4‑3/4”

ca. 1890, in the Renaissance Revival taste, the rectangular top with a gadrooned edge, one side with a pair of drawers in the apron, raised on stylized carved griffins at each corner and joined by a shaped shelf-form stretcher. h. 29‑1/2”, w. 55”, d. 30‑1/2” Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

$1,500‑$2,500

$1,500‑$2,500

42

17

43 detail

43 Continental Carved Mahogany Nine-Tube Tall Case Clock ca. 1900, the heavily carved case adorned with griffins and acanthine details, the movement with chimes on Eight Bells and Westminster and marked Germany. h. 113”, w. 43”, d. 24” Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $5,000‑$8,000

43

18

44 46

44 German Bronze-Mounted Drinking Horn

46 Suite of Eight Louis XIV-Style Walnut Dining Chairs

fourth quarter 19th century, supported by a female figure on a circular base, the fittings ornamented with engine turning, the horn cup with an angel knop, the engine-turned bezel supporting molded swags of grapes with a molded acornshaped finial on the tip. h. 24”, w. 15‑3/4”, d. 4”

20th century, the seat dust covers stenciled “Mobilier D’art G. Lescouzeros Toulouse”, each with an arched crest rail, turned legs and serpentine stretcher, retaining their needlework upholstery. h. 43‑3/4”

Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana.

$1,200‑$1,800

$1,000‑$1,500

45 Continental Oak Dining Table second half 19th century, the circular top with a carved edge and raised on a leafcarved vasiform pedestal joined to four fruit- and griffin-carved legs ending in paw feet, the top opening to accommodate 72” of additional leaves, one 18‑1/2” leaf present, and with drop-down legs for additional support when extended. h. 28‑3/4”, dia. 58”, ext. l. 76‑1/2” $1,500‑$2,500

45

19

48

47

47 Albrecht Durer (German, 1471‑1528) “Knight, Death and the Devil”, 1513 engraving on laid paper with “P” watermark monogrammed and dated in plate lower left.

Matted, glazed and framed. plate 9‑3/4” x 7‑1/2”, sheet 10‑1/4” x 7‑3/4”, framed 23‑1/4” x 19‑1/4”

49 Dutch Mahogany and Marquetry Server 20th century, the demi-lune top with elaborate floral and foliate inlays around a central floral urn, hinged and opening to form a backsplash with two hinged shelves over a tri-paneled top, above a conforming case fitted with two central drawers over cupboards, flanked to either side by a rounded cupboard door, raised on half-round feet. h. 35”, w. 55”, d. 23” $2,500‑$4,000

Provenance: Private collection, Germany/Florida, U.S.A. Literature: Hollstein, 74; Bartsch, 98; Meder, 74; Schoch Mende Scherbaum, 69; Briquet, 8493‑8494. $8,000‑$12,000 48 Rembrandt Harmenszoon van Rijn (Dutch, 1606‑1669) “Windmill”, 1641 etching on laid paper with Strasbourg Lily watermark signed and dated lower right in plate.

Matted, glazed and framed. plate 5‑3/4” x 8‑1/4”, sheet 6‑7/8” x 8‑1/2”, framed 14” x 16” Provenance: Private collection, Germany/Florida, U.S.A. Literature: Hollstein, 233; Boon,160; Harris, 233. $7,000‑$10,000

49

20

51

50

50 Dutch Walnut and Marquetry Bureau mid-19th century, the rectangular top above a slant front opening to a central arched cupboard flanked to either side by three short drawers, over a lower bombe section fitted with three long drawers, raised on splayed feet, the whole with elaborate inlaid floral and foliate marquetry patterns. h. 43‑1/4”, w. 39‑1/2”, d. 19‑1/2” $1,000‑$1,500 51 Dutch Mahogany and Marquetry Window Seat 19th century, the padded rectangular seat flanked to either side by an outscrolled armrest, raised on a curule-form crossover base to splayed toes, the whole with inlaid foliate patterns. h. 24‑1/4”, w. 30‑3/4”, d. 16‑1/2”

52

$1,000‑$1,500 52 Dutch Neoclassical Marquetry-Inlaid Games Table ca. 1800, the serpentine fold-over top with urn, foliate and bird inlay and lifting to reveal a segmented wall, the frieze with a single drawer, raised on fluted legs. h. 30‑3/4”, w. 31‑1/4”, d. 16‑3/4”, ext. d. 31” $1,500‑$2,500 53 Marquetry-Inlaid and Marble-Top Bombe Commode early 20th century, in the rococo taste, the serpentine figured marble top over a case with three drawers with floral, leaf and vine inlay, with gilt-bronze pulls and mounts, the bombe sides with like inlay. h. 37”, w. 39‑1/2”, d. 18‑3/4” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana.

53

$1,500‑$2,500

21

54 Francois Joseph Huygens (Belgian, 1820‑1908) “Still Life of Flowers, Basket of Eggs, Radishes and Dead Game” and “Still Life of Flowers, Lobster and a Dish of Fruit” pair of oils on wood panel former signed and dated lower left, latter unsigned.

Presented in matching period giltwood frames.

8‑1/2” x 6‑3/4”, framed 16” x 14‑1/2” $1,000‑$1,500

54

55 Emile Godchaux (French, 1860‑1938)

56 Max Albert Carlier (Belgian, 1872‑1938)

“Bouquet de Fleurs” oil on canvas signed lower right.

Period giltwood and gesso frame.

36‑1/2” x 23‑3/4”, framed 50‑1/8” x 37‑3/8” $6,000‑$9,000

“Still Life of a Bountiful Table” oil on canvas signed lower right.

Framed.

27‑1/2” x 39‑1/2”, framed 33” x 44‑1/2” $2,000‑$4,000

56

55

22

57

57 Eugene Henri Cauchois (French, 1850‑1911)

58 Continental School (Third/Fourth Quarter 19th Century)

“Still Life with Flowers”

“Pair of Floral Still Lifes”

oil on canvas signed lower right.

Framed.

19‑3/4” x 30”, framed 30‑1/4” x 40‑1/4”

oils on canvas each unsigned.

Framed alike.

39” x 28”, framed 45‑1/2” x 31‑1/2”

$1,500‑$2,500

$1,500‑$2,500

58

23

59 Continental Polychrome and Faux Marbre Side Table 20th century, in the baroque taste, the long faux marbre top with a molded edge and projecting canted corners, above a conforming floral Greek-keycarved frieze, centered by a Green Man masque and with pendant acanthine scrolls and oak leaf garlands, raised on guilloche-carved scrolling legs to tapering block feet. h. 36”, w. 81‑1/2”, d. 21‑1/2”

59

$1,000‑$1,500 61 Continental Polychrome Armoire 60 Pair of Carved and Painted Figural Torcheres in the baroque taste, the figures of men in Renaissance dress, poised on hexagonal marbleized stands trimmed with silver-gilt carving and supporting scrolled and painted candle arms ornamented with carved silver-gilt leaves. h. 76”, w. 17”, d. 14‑1/2”

19th century, the molded faux marbre canted crest above a conforming case fitted with two doors, each inset with two panels, each panel with a figural representation of the four seasons, raised on bun feet, the whole with floral and faux marbre accents. h. 73‑1/4”, w. 57‑1/2”, d. 19‑1/2” $1,500‑$2,500

$2,500‑$4,000

60

24

61

62

62 Exceptional Continental Embroidered Panel

63 Four Continental Porcelain and Metal Sconces

18th century, a variety of stitches, including satin, long-andshort, padded, and French knots rendered in fine silk and cotton on a red velvet ground, central motif of a woven basket overflowing with blooms, surrounded by birds and stylized posies.

Glazed and framed. sight 31‑1/2” x 69”, framed 36” x 74”

first quarter 20th century, with intertwined twisted metal branches set with molded metal leaves, porcelain flowers and leaf-molded candle sockets. h. 13‑3/4”, w. 14”, d. 12‑1/2” $1,000‑$1,500

$1,800‑$2,500

63

25

65 66

64 Polychromed and Carved Oak Cabinet in the High Renaissance Style 19th century and later, the carved and dentillated cornice over a frieze with carved masques, fruit and swags, with full-figured putti at each end, over a pair of doors with carved panels and a frame depicting heads, fruit, flora, armorial crests and a satyr head, the interior fitted with three drawers. h. 99‑3/4”, w. 63”, d. 20‑3/4” $1,500‑$2,500 65 Unusual Giltwood Mirror in the Baroque Taste 20th century, probably Latin American, set with small mirror plates of various shapes, reverse serpentine, quatrefoil, and Gothic arched, in a larger mirror boldly decorated with carved leaves and scrollwork, with rocaille work, scrolled sides and a scroll-carved base. h. 43”, w. 29‑1/2” $1,000‑$1,500 66 Unusual Baroque-Style Parcel-Gilt Hanging Vessel 19th century, probably Italian, now mounted with lights on the interior, the conical-shaped vessel ornamented with a beaded edge, with carved flowerheads and acanthus leaves on a green-painted ground, hung with a pendant tassel. h. 31”, dia. 13” $1,000‑$1,500

26

64

67 Unusual Continental Carved Wood Figure 18th century or later, the male figure dressed in a scrollwork-decorated helmet and tunic, poised atop a carved Ionic capital, holding a presentation tray. h. 42‑1/2”, w. 18‑3/4”, d. 14” $1,000‑$1,500

68 Handsome Continental Carved Walnut Putto early 18th century, originally an architectural element, the putto torso grasping a cloak, supported by carved, overlapping leaves, with a pierced base. h. 40”, w. 12‑1/4”, d. 9”

68 67

$1,000‑$1,500

69 Italian Giltwood Mirror in the Renaissance Taste ca. 1900, the crest with a female head framed with shells and scrollwork, flanked by shell-backed heads and angel wings, supporting pierced scrollwork, the lower portion decorated with pierced scrollwork and scattered flowerheads, and the cove-molded mirror surround with rocaille work. h. 49‑3/4”, w. 31‑1/2” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

70 Carved and Painted Wood Santos of St. Anthony of Padua 18th century, probably Italian, with a carefully carved face and hands, the face with glass eyes, dressed in a white cassock with a black shawl. h. 20”, w. 8‑1/2”, d. 5‑1/2” $1,000‑$1,500

70

69

27

72 71

71 Pair of Carved Gothic Giltwood Panels 19th century, now mounted as lamps, the panels mounted on contemporary lamp standards with acrylic bases. h. 22”, w. 9”, d. 5” $1,000‑$1,500 72 Pair of Louis XV-Style Giltwood Stools early 20th century, each with a padded top raised on molded cabriole legs ending in in-scrolled foliate feet, joined by a shell-carved H-form stretcher. h. 18”, w. 19‑1/2”, d. 20”

73 After Pietro Perugino (Italian, 1446/52‑1523) “Detail of the Bust of Madonna from ‘Madonna and Child Enthroned Between St. John the Baptist and St. Sebastian’”, 1493 oil and gold leaf on wood panel presented in a Renaissance-style carved giltwood altar frame composed of antique elements.

10‑1/2” x 7‑1/2”, framed 24” x 21” x 5” Provenance: Private collection, New Orleans, Louisiana. $1,500‑$2,500

$1,500‑$2,500

This beautiful painting ensconced in an impressive tabernacle frame exemplifies Grand Tour devotional work. Copied after High Renaissance masters, notably Raphael - the pupil of Perugino, these works were designed as personal altarpieces for wealthy tourists, combining the virtuoso of classical architecture with religious humanism. The post and lintel symmetry created through pilasters and scrollwork reflect the clarity of form and color achieved through unione - the soft modeling of rich colors harmonized by the blend of the gold leaf into the golden hue of Madonna’s skin.

According to the Uffizi Gallery, where the original painting is conserved, this work was commissioned by the widow and son of the Venetian merchant Giovanni Martini for the newly restored chapel of the convent of San Domenico in Fiesole.

The figure of Madonna was modeled by the artist’s wife Chiara, the daughter of the architect Luca Fancelli. Purchased in 1786 by Peter Leopold, Grand Duke of Tuscany, for the Uffizi Gallery, which he opened to the public in 1769, Perugino’s painting would have been widely visible near the turn of the 18th/19th century, inspiring additional studies, commissions and copies.

73

28

74 Circle of Guido Reni (Italian, 1575‑1642) “The Repentant St. Peter” oil on canvas unsigned, verso numbered “169”.

Framed.

16‑3/8” x 13‑7/8”, framed 24” x 21” $2,000‑$4,000

74

75 Italian School (Fourth Quarter 16th/First Quarter 17th Century)

76 Italian School (Fourth Quarter 16th/First Quarter 17th Century)

“Portrait of an Archbishop or Bishop”

“Portrait of a Pope, Probably Sixtus V”

oil on canvas unsigned.

Framed.

38‑1/2” x 28‑3/4”, framed 43‑3/4” x 34‑1/4”

oil on canvas unsigned.

Framed.

38‑3/4” x 29”, framed 43‑3/4” x 33‑3/4”

Provenance: Charlotte Nail Interiors, Houston, Texas; Private collection, Houston, Texas.

Provenance: Charlotte Nail Interiors, Houston, Texas; Private collection, Houston, Texas.

$1,000‑$1,500

$1,000‑$1,500

75

76

29

77 Northern Italian School (Fourth Quarter 18th/First Quarter 19th Century) “Portrait of a Woman with an Ermine Stole” oil on board backed by masonite unsigned.

Framed.

25‑1/4” x 17”, framed 32‑1/4” x 20” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

78 Italian School (Mid-17th Century)

77

“Portrait of Two Gentlemen Engaged over a Letter Regarding a Legal Affair” oil on canvas unsigned, letter to a magistrate indistinctly inscribed in both Italian and Latin and signed in Latin, “In Limine”.

Presented in an elaborate 19th-century carved oak leaf, gilt frame.

37‑1/2” x 37‑1/2”, framed 57” x 57” Provenance: Collection of Jack Herbert Shannon, Birmingham, Alabama.

Exhibited: Loaned to the Birmingham Museum of Art, Alabama through 1962 $2,000‑$4,000

78

79 School of Tintoretto (Italian, 1519‑1594) “Portrait of a Man of Letters Holding a Book, Possibly the Poet Giovanni Battista Guarini (1538‑1612),” fourth quarter 16th/ first quarter 17th century oil on canvas backed by masonite unsigned.

Framed.

39‑1/4” x 30‑1/8”, framed 47” x 37‑3/4” Provenance: Charlotte Nail Interiors, Houston, Texas; Private collection, Houston, Texas. $1,200‑$1,800 79

30

81 Large Italian Giltwood Mirror 20th century, the frame decorated with pierced scrollwork and carved foliage, the mirror surround carved to resemble wood with overlapping leaves. h. 56”, w. 36” $1,000‑$1,500

80

80 Pair of Italian Carved Giltwood Sconces 20th century, the eight-light sconces composed of delicately carved and pierced scrollwork, and set with gilt-metal candle arms with lotus-carved wooden candle cups, electrified. h. 31‑1/2”, w. 23‑1/2”, d. 4‑3/4”

82 Diminutive Venetian Olivewood Secretary early 20th century, in two parts, the arched top with a fabric-lined interior and open shelves, the base of bombe form with a slant-lid writing desk opening to a fitted interior above two shaped drawers and raised on cabriole legs. h. 74‑1/2”, w. 42”, d. 15” $1,000‑$1,500

$1,000‑$1,500

82

81

31

83 Italian Fruitwood Bombe Commode late 18th century, the stepped and shaped top above a bombe case fitted with two short drawers over two long drawers, each banded, raised on cabriole legs headed by foliate carving and ending in peg feet. h. 36”, w. 40”, d. 16‑1/2” $1,000‑$1,500

83

84 Italian School (18th Century) “Fishermen on the River Banks Outside a Town Wall” oil on canvas unsigned.

Framed.

32‑1/4” x 46‑1/2”, framed 43” x 56‑3/4” $1,500‑$2,500

84

85 Thaddeus Defrees (American, 1855‑1888) “Venice”, 1883 oil on canvas signed and dated lower left.

Framed.

22” x 36”, framed 27” x 40” $1,500‑$2,500

85

32

87 86

86 Continental School (ca. 1900)

87 Joseph-Antoine Bouvard (French, 1840‑1920)

“Freed from the Constraints of the Gilded Cage”

“Venice, Grand Canal”

oil on canvas signed “A. Arion” lower right.

Framed.

47” x 34”, framed 56” x 43‑1/2”

oil on masonite signed lower right.

Framed.

19‑1/4” x 25‑1/2”, framed 24‑5/8” x 30‑3/4”

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

$2,000‑$4,000

$1,500‑$2,500

88 Italian Fruitwood and Marble-Top Commode 19th century, the rectangular marble top with a molded edge and serpentine front, above a conforming case fitted with three long drawers, all with inlaid banding, raised on cabriole legs ending in block feet. h. 35‑1/2”, w. 49”, d. 26‑1/2” $1,000‑$1,500

88

33

89 Venetian Engraved Glass Mirror 20th century, Italian, the oval beveled mirror plate set into a rectangular surround decorated with sprays of engraved flowers, the pierced crest with scrolls framing an oval panel and with a molded finial, the whole engraved with scattered flowers. h. 43”, w. 24” $1,000‑$1,500 90 Venetian Cushion-Form Mirror 20th century, Italian, the rectangular beveled mirror plate within a surround cut with small scallops, the arched crest with scalloped edges and a fan-form finial. h. 32”, w. 30‑1/2”

90

$1,000‑$1,500 91 Venetian Fruitwood Canape early 19th century, the shaped, domed and padded back surmounted by a foliate shell-carved crest, joined by padded outswept arms to the shaped cushioned seat, raised above a shell-carved apron on cabriole legs ending in foliate scrolled toes. h. 42”, w. 77”, d. 27” $1,800‑$2,500 89

91

34

92 detail

92

92 Italian Walnut Tray Table in the Rococo Taste ca. 1900, the carved top with a nesting glass paneled tray, with carved frame and handles, raised on griffin-carved legs joined by a shaped shelf and resting on hoof feet. h. 30‑1/4”, w. 31‑3/4”, d. 20” $1,000‑$1,500 93 Antonio Brisochi (Italian, 1854‑1920)

94 Italian Carved Alabaster Paperboy on Pedestal ca. 1900, the boy shouting “extra, extra” and clenching a bundle of newspapers in one arm, on a carved spiral-twist alabaster pedestal. paperboy h. 31‑1/2”, pedestal h. 30‑1/2”, overall h. 62”, w. 14”, d. 14” $1,200‑$1,800

“View of Lake Como with a Villa on the Hilltop” oil on canvas signed lower right.

Framed.

27” x 47”, framed 33‑1/2” x 52‑3/4” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

93

94

35

95 Italian Walnut and Fruitwood Commode late 18th century, the rectangular top with projecting ends, banded and with a scrolling avian inlay, above a conforming case fitted with two drawers, each banded and with like inlay, over a foliate-carved apron, raised on cabriole legs headed by bellflower carving and ending in hoof feet. h. 31”, w. 38”, d. 20” $1,000‑$1,500

95

96 Pair of Italian Carved and Faux-Marbre Linden WoodConsoles 19th century, the serpentine tops and cove-molded bases painted to resemble Siena marble, the carved stands with monkeys playing cymbals under oak trees, decorated with gilt flourishes. h. 34”, w. 25”, d. 14‑1/4” Provenance: Collection of Speed Lamkin, Monroe, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,500‑$2,500 96

97 Italian Rococo-Style Giltwood Overmantel Mirror fourth quarter 19th century, the oblong mirror lined with pierced rocaille work and edged with scrollwork, the sides and top decorated with pierced flowering vines, the crest with pierced scrollwork crowned with an anthemion. h. 49”, w. 61‑1/2” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $1,000‑$1,500

97

36

98

98 Suite of Eight Italian Giltwood Chairs 18th century, each with a padded back and ribbon- and leafcarved crest, the molded frames with groove-carved and beaded details, raised on cabriole legs. h. 38”, w. 18”, d. 17” $1,800‑$2,500

99 Carved Giltwood Chandelier in the Baroque Taste 20th century, probably Italian, the ten-light chandelier with a leaf- and scroll-carved standard set with candle arms on two levels, the lower level scroll-carved and the upper level rocaille-carved, set with leaf-carved drip pans and wooden candle cups. h. 42”, dia. 43”

99

$1,200‑$1,800

100 Italian Fruitwood and Elm Commode early 19th century, in the rococo taste, the banded and shaped top inset with two panels with decorative corner inlays, above a conforming case fitted with three long drawers, all paneled and with like inlay, above a pierced foliate-carved apron, raised on cabriole legs ending in foliate toes. h. 34”, w. 38”, d. 22‑1/2” $1,200‑$1,800 100

37

101 Carved Painted Wood Venetian Blackamoor on Pedestal ca. 1900, the female figure wearing an elaborate polychrome costume comprised of a turban, a revealing dress and high button shoes, standing on a draped, fringed pedestal with a coved painted base, and raised on a separate circular plinth. h. 55”, dia. 10” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500 103

101

102 Pair of Painted Wood and Patinated Metal Blackamoor Candelabra first quarter 20th century, Italian, the kneeling figures of blackamoors dressed in patterned enameled and parcel-gilt clothing, holding cornucopias set with metal floriform candle branches, on coved parcel-gilt bases decorated with handpainted flowers, on associated French gilt-bronze-mounted ebonized pedestals. h. 62‑1/2”, dia. 14‑1/2” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,800‑$2,500

103 Gilt-Brass and Blown, Twisted and Spangled Murano Glass Chandelier 20th century, Italian, the five-light chandelier with a panshaped base, the standard composed of a sphere and two vasiform elements, the scrolled arms supporting wide, matching drip pans, decorated with gilt-spangled trim. h. 31”, dia. 22” $1,000‑$1,500

102

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104 one of two

104 two of two

104 Pair of Rare Venetian Murano Glass Fantasy Appliques fourth quarter 19th century, the carved, gessoed and painted wood Carnivale figures each with an extended arm holding a Murano glass-decorated candle holder, the oval mirrored frames engraved and accented with Venetian glass flowers and trim. h. 24”, w. 18”, d. 14‑1/2” Provenance: Collection of Speed Lamkin, Monroe, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana.

An example can be found in Bruce M. Newman and Alastair Duncan, Fantasy Furniture (New York: Rizzoli, 1989), p. 153.

104 detail

$2,500‑$4,000

39

106 Rare Venetian Glass and Giltwood Boudoir Mirror fourth quarter 19th century, the giltwood surround supported on dolphin-carved feet, the oval mirror framed with engraved flowers and opalescent glass beads, the mirrored surround set with opalescent sculpted flowers on the inner portion and a crest of colored flowers and leaves framed with a corona of mirror glass trimmed with cut glass beads. h. 23”, w. 13‑1/2” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

107 Rare Venetian Glass Mirror

105

105 Venetian Mirror in the Baroque Taste fourth quarter 19th century, the oval mirror framed with panels of scroll-engraved mirror plate and trimmed with segments of ripple-molded sculpted glass in shades of mauve and pink, with sculpted flowers, the crest with a swan’s-neck pediment and “ears” framing the center decoration, all lined with colored glass scrolls, rippled glass trim and colored glass-sculpted flowers and leaves. h. 57”, w. 46”

fourth quarter 19th century, of baroque inspiration, the beveled mirror plate framed with segmented mirror plate engraved with scrollwork and spiral-turned glass edging, the arched crest decorated with an engraved griffin, trimmed with sculpted glass rippled trim and sculpted glass flowers and leaves, with engraved, scrolled “ears” on each side, and a lower engraved and scrolled skirt with like decoration. h. 57”, w. 42‑1/2” Provenance: French Antique Shop, New Orleans, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $2,000‑$4,000

Provenance: French Antique Shop, New Orleans, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,800‑$2,500

106

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107

109

108

108 Austrian School (18th Century) “Portrait of Joseph II, Archduke of Austria and Emperor of the Holy Roman Empire” oil on canvas verso canvas inscribed “text from the back of original canvas/ Henrich Stadler pinxit Ano 1772”.

Framed.

37” x 29”, framed 42‑1/2” x 35” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

110

109 Continental School (19th Century)

110 Follower of Antoine Pesne (French, 1683‑1757)

“Nobleman in Armor”

“Portrait of Francis I, Holy Roman Emperor and Grand Duke of Tuscany”

oil on canvas unsigned.

Framed.

24‑1/2” x 20”, framed 32” x 27‑1/2” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

oil on canvas unsigned.

Framed.

38” x 31”, framed 43” x 36” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

41

111 Swedish-Style Provincial Tole and Glass Basket Chandelier 20th century, the six-light chandelier hung with strands of glass prisms, and set with tole candle arms and drip pans. h. 41”, dia. 30” $1,000‑$1,500

112 Fine French Neoclassical Walnut, Burl and Marble-Top Commode late 18th century, the rectangular marble top with canted projecting corners, above a conforming case fitted with three long drawers, all banded and tri-paneled and with decorative triangular banding, the sides en suite, raised on canted tapering square feet. h. 36”, w. 49‑1/2”, d. 24‑1/2”

111

$3,000‑$5,000

112

113 Rafaello Battelli (Italian, 19th Century) “Diana”, ca. 1900 carved marble the goddess in her role as huntress with a quiver across her chest, incised signature along back, on a marble socle base. overall h. 25”, w. 14”, d. 8” $1,200‑$1,800 113

42

114 Carved Alabaster Figure of a Young Dionysus on a Pedestal fourth quarter 19th century, Italian, the nude figure holding a kylix, his head wreathed in lush branches of grapes, standing on a ring-turned alabaster pedestal. overall h. 69‑3/4”, w. 11‑3/4”, d. 11‑3/4” $3,000‑$5,000 115 Continental Painted Terracotta Figure of a Modest Venus ca. 1900, depicted fresh from her bath, holding a drapery, on a circular plinth. h. 50”, dia. 13‑3/4” $1,000‑$1,500 116 Pair of Swedish Neoclassical Polychrome and Parcel-Gilt Captain’s Chairs 18th century, each with a curved crest rail and central fern-carved splat, raised on tapered and fluted legs with mortise and tenon construction fastened with wooden pegs, presented in a later polychrome and gilt surface. h. 30”, w. 21”, d. 16” $1,000‑$1,500 117 Neoclassical-Style Marble Bust of a Young Woman, Possibly Diana 20th century, the head of white marble and the body of gray-veined pink marble, on a salmoncolored socle. h. 25”, w. 16”, d. 9”

115

114

$900‑$1,200

116

117

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118 Monumental Marble and Bronze Grand Tour Column fourth quarter 19th century, Italian, on a black marble base, the Siena marble fluted Corinthian column decorated with a bronze figure of the reviled Emperor Phocas, sitting on a rectangular plinth with a Latin inscription on a stepped base. h. 40”, w. 15”, d. 15” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500 119 Provincial Louis XVI Pine and Fruitwood Games Table 18th century, the rectangular top with turreted corners and a central inlaid backgammon board between lattice-patterned panels, hinged and opening to a baize-lined interior with sunburst-inlaid corner pockets, over a fluted frieze, raised on four fluted tapering circular legs ending in brass caps, with back concertina action. h. 29”, w. 32‑1/2”, d. 16‑1/2”

118 detail

118

$1,500‑$2,500 120 Continental Mahogany and Marquetry Bureau a Cylindre 19th century, the rectangular top with a rope-inlaid banding and decorative lattice-patterned inlays, above a case fitted with a tambour roll-top opening to a pull-out leather-inset writing surface and a variety of drawers and cubbyholes, over a central drawer, flanked to either side by two short banded drawers, raised on tapering square legs ending in brass bun feet, the whole with decorative inlaid patterns and banding. h. 46”, w. 55‑1/4”, d. 32” $1,000‑$1,500

119

120

44

120 detail

121 Continental Inlaid Fruitwood Cabinet ca. 1800, in two parts, the upper section with a shaped and molded cornice over a pair of glazed doors, and flanked by a pair of doors with raised panels, each with an inlaid bird, the base with a pair of doors, each with two raised panels with an inlaid floral stem, the doors flanked and centered by fixed panels, the case with geometric inlaid banding and barber-pole inlays, the door on fische hinges. h. 82‑1/2”, w. 79‑1/2”, d. 20” $1,000‑$1,500

122 Pair of Classical Carved Wood Figures late 19th century, including a woodland faun wearing ivy and a wreath of grapes, blowing a ram’s horn, together with a sea faun perched on a shell, draped and wearing a wreath with aquatic plants, holding a flute. h. 53”, w. 11”, d. 13” $5,000‑$8,000

121

123 Continental Mahogany Commode 20th century, the slightly banded top with projecting ends, above a conforming case fitted with four long drawers, flanked to either side by a floral-diamond-carved upright, raised on block feet. h. 33”, w. 54”, d. 23” $1,000‑$1,500

122

123

45

124

125

124 Italian Neoclassical-Style Parquetry and Marble-Top Demilune Table ca. 1900, the variegated gray marble top over a pair of swingout drawers, each with geometric floral and parquetry inlay, with a cross-banded perimeter, raised on tapering square legs with stringing and contrasting panel inlay. h. 22‑1/4”, w. 26‑1/2”, d. 15” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500 125 Continental Neoclassical Inlaid Fruitwood Side Stand 19th century, the inlaid and banded top on a case with a single drawer with figural inlay, over a door with urn and foliate inlay, flanked by columnar pilasters and raised on square block feet. h. 31‑1/2”, w. 22‑3/4”, d. 15” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,200‑$1,800 126 Pair of Italian Giltwood and Glass Appliques mid-20th century, the giltwood backplates carved as ribbonbound bundles of leaves, set with scrolled gilt-metal candle arms and hung with strands of amber glass drops, amber and colorless glass flowers and cut glass drops. h. 61‑3/4”, w. 16”, d. 12” Provenance: The Gazebo/Harvey Paige, Monroe, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,400‑$1,800

46

126

129

127

127 Large Italian Neoclassical Bookcase/Cabinet early 19th century, constructed of walnut and mixed woods, the projecting bowed cornice over a conforming frieze and case, the open shelves flanked by fluted pilasters with Doric capitals, the lower section with three paneled doors on a projecting molded base. h. 105‑3/4”, w. 99”, d. 18‑1/4” $2,000‑$4,000

128 Cast Stone Oval Garden Planter in the Neoclassical Taste mid-20th century, with a lotus-molded rim, the sides with bold acanthus leaves, on a fluted base. h. 24”, w. 37‑1/2”, d. 26‑1/4” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

129 Weathered Marble Garden Figure of Diana late 19th century, the goddess of the hunt dressed in a toga, her bow to one side and a quiver on her back. h. 53‑1/2”, w. 16”, d. 13” $1,000‑$1,500

128

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130 Cast Stone Figure of Diana mid-20th century, the goddess of the hunt depicted with her dog and a quiver of arrows, on a neoclassical-style base with molded cut-cornered panels. h. 62‑1/2”, w. 16”, d. 16” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

131 Pair of Terracotta Garden Sphinxes 20th century, of traditional form, with pharaoh heads, on rectangular plinths. h. 19”, w. 8”, l. 29”

132

Provenance: Harvey Paige/The Gazebo, Monroe, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500 130

133 Italian Grand Tour Carved and Painted Marble Bust of the Augustus of Prima Porta

132 Campana-Form Cast Stone Garden Urn mid-20th century, with an egg-and-dart-molded rim, the sides decorated with neoclassical revelers in bas-relief, on a fluted base. h. 38”, dia. 24” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

ca. 1900, the ruler represented as a general and wearing a breastplate richly decorated with mythological and allegorical figures, after the 1st century life-sized marble now conserved at the Vatican Museum, Rome. h. 18”, w. 14‑1/2”, d. 9 Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

131 133

48

134 Dutch Silver Cake Basket hallmarked Amsterdam, 1783, by Johannes Hermanus Logerath, the oval basked with wire-work sides and twisted mid-rib, with beaded rim and swing handle pierced with navettes. h. 3‑3/4” (10‑1/2” with handle), l. 12‑3/4”, w. 10”; 31.15 t. oz. $1,500‑$2,500

134

135 Pair of German Sterling Silver “Jousting Knights” Table Garnitures second half 20th century, probably Hanau, the combatants depicted in full armor with articulated visor, holding a lance and shield, riding an armored horse passant, the peytral and croupiere decorated with hardstone and glass cabochons, all raised on a rectangular base with semicircular projections and decorated fanciful armorials matching the knight’s shield, and leaf-and-dart banding. h. 12”, l. 12‑1/4”, w. 3‑1/2”; 124.40 total t. oz.

Provenance: Private collection, Houston, Texas. $2,500‑$4,000 135

136 Impressive Pair of Austrian Silver Figural Candelabra fourth quarter 19th century, Vienna, by Vinzenz Mayer’s Sohne, third standard (.800) silver, each with a figural standard, one depicting Bacchus, the other Ceres, supporting an acanthus calyx fitted with a baluster standard and five scrolling arms, each ending in a vasiform nozzle, all above a waisted circular base with oak branch-mantled classical masques in high relief, raised on three scrolling mascaron feet. h. 25‑3/4” h. 25‑3/4”, dia. 14‑3/4”; 154.30 total t. oz.

Bacchus, the god of wine, and Ceres, the goddess of grain, make appropriate subjects for the dining table, and are frequently depicted together in art, inspired by the maxim of Terence: “Without Ceres and Bacchus, Venus would freeze” (i.e. without food and wine, love grows cold). $6,000‑$9,000 136

49

137 Cased French Flatware Set first quarter 20th century, by Keller Freres, Paris, including a dozen thirteen-piece place settings (dinner knives lacking) with an additional sixteen serving piece (and a mismatched serving spade), no monograms, presented in the original fitted mahogany green baize-lined case, with lift-top, three drawers and brass campaign handles.

173 pieces (plus case) 254.4 total t. oz. (weighable silver) $3,500‑$5,000

137 detail

137

137 detail

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138 German Novelty “Dog” Sterling Silver Cocktail Shaker contemporary, Ludwig Neresheimer Co., Hanau, in the form of a realistically detailed begging German Spitz, its mouth a faux spout fitted with a chained “stopper” of a bone, the head fitted with glass eyes and removing to reveal the detachable strainer. h. 9‑1/4”, w. 5”, l. 4‑3/4”; 42.92 t. oz. $5,000‑$8,000

138

139 German Novelty “Cat” Sterling Silver Cocktail Shaker contemporary, Ludwig Neresheimer Co., Hanau, in the form of a realistically detailed seated cat, its mouth a faux spout fitted with a chained “stopper” of a fish, the head fitted with glass eyes and removing to reveal the detachable strainer. h. 7‑1/4”, l. 6‑1/4”, w. 4”; 30.46 t. oz. $5,000‑$8,000

139

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140 Orla Mogensen “Champagne” Sterling Silver Flatware Set the pattern designed in 1947 by Jens Harald Quistgaard (1919‑2008), Copenhagen, Denmark, including ten seven-piece place settings (one teaspoon lacking) with an additional four place pieces and six serving pieces, no monograms.

79 total pieces 102.66 total t. oz. (weighable silver) Detailed list of pieces available on request. $3,000‑$5,000

140

140 detail

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140 detail

141

141 Franco Lapini Silverplate “Carciofi” Covered Fish Platter

142 Louis van der Pol (Dutch, 1896‑1982)

contemporary, Florence, Italy, with shallow elongated ovoid dish and conforming domed lid, the lid with applied realistic, life-sized artichoke stalk. h. 7‑3/4”, l. 27”, w. 10‑1/2”

“Donkey Ride on the Beach” oil on wood panel signed lower right.

Framed.

22‑1/2” x 29‑1/4”, framed 29” x 36‑1/4”

$1,000‑$1,500

$1,000‑$1,500

142

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143 Bound Collection of 19th-Century Swiss and German Drawings and Watercolors thirty works, plus title and dedication pages, collated and affixed to album pages by Walter Baumann for his wife Mary Muller Baumann (1863‑1933) of Zurich, Switzerland, five works are lacking, the other twenty-five are by Arthur Calame, Johann Gottfried Steffan, August Benziger (3), Julius Adam, Emilie Vouga, Edouard von Grutzner, Ernst Stuckelberg, Rosalie Gay, Otto Bauman, Emil Rittmeyer, Otto Biermer, Johann Zahnd, Rudolf Koller, Franz Aerni, Louise Rudisuhli, Emil Schuback, Wilhelm Fussli, Albert Kappis, Peter W. Quack, Eduard Pfyffer, Caspar Ritter, one untitled and two charcoal drawings inscribed in French and Italian and indistinctly signed [A]aspaghi. drawings and watercolors 5‑1/2” x 5‑1/4” to 11” x 15”; overall book 23‑1/2” x 18‑3/4” x 2‑1/2” Provenance: Descended in the family. $2,500‑$4,000 143 detail

Walter and Mary Muller Baumann were married in Zurich in 1887, and lived near the lake by what is now the Bauer Loch Hotel. Both were involved in the performing and visual arts of their community. Mary, an accomplished pianist, played at concerts and entertained throughout Zurich. This fine collection of drawings and watercolors, which the Baumanns reportedly bought together at local bazaars, features works by numerous well-known artists; landscapes of the Swiss and German countryside/Black Forest by Steffan, Kappis and Aerni; horses and Roman campagna scenes by Zahnd ,Calame and Koller; floral still lifes by Vouga and Gay; and three drawings by August Benziger, who painted Mary’s portrait as well as numerous other dignitaries at the timeseven presidents, two popes and Alexander Graham Bell, to name a few. This collection is both an intimate reflection of the Baumanns and a compendium of Swiss/German art at the turnof-the century.

143 detail

143 detail

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143 detail

143 detail

145 144

144 William Vincent Cahill (American, 1878‑1924)

145 Jean-Baptiste van Eycken (Belgian, 1809‑1853)

“Harvest Courtship”

“Marchande de Fruits”

oil on canvas signed lower left.

Framed.

30” x 25”, framed 38” x 33”

oil on wood panel faintly signed lower left and en verso.

Framed.

17‑1/8” x 13‑7/8”, framed 23‑3/4” x 21”

$3,000‑$5,000

$2,000‑$4,000

146 Cornelis Koppenol (Dutch, 1865‑1946) “Mother and Children” oil on canvas signed lower left, a “Guillaume Campo, Antwerp” inventory label on stretcher.

Framed.

39‑5/8” x 31‑1/2”, framed 48” x 40‑1/4” $3,000‑$5,000

146

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148

147

147 Bela von Spanyi (Hungarian, 1852‑1914)

149 Johan Nicolaas van Lokhorst (Dutch, 1837‑1929)

“Cattle by a Lake”, 1890

“At a Watering Hole”

oil on canvas signed, dated and localized “Munchen” lower right.

Period giltwood and gesso frame.

29‑3/4” x 39‑1/2”, framed 44” x 53‑1/2”

oil on canvas signed lower right, verso with a “Kunstzaal, Willem, Roelofs” label.

Frame with an artist plaque.

Provenance: Private collection, Houston, Texas.

16” x 23‑3/4”, framed 25‑3/4” x 33‑1/2”

$2,500‑$4,000

$1,000‑$1,500

148 Ferenc Paczka (Hungarian, 1856‑1925)

150 Antonio Fontanesi (Italian, 1818‑1882)

“Woman and Children Resting in a Park”

“Pirogue on a Lake at Dusk”

oil on canvas signed lower left.

Framed.

41” x 44‑1/2”, framed 45‑5/8” x 54‑1/4”

oil on linen unsigned.

Framed.

25‑1/2” x 37‑3/4”, framed 34‑3/8” x 42”

$1,000‑$1,500

$6,000‑$9,000

149

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150

151 Edward Harrison Compton (German/London, 1881‑1960) “Lake Konigssee” oil on canvas signed lower right.

Framed.

28‑3/4” x 42‑1/2”, framed 40‑1/2” x 53” $4,000‑$7,000

151

152 Studio of Yulievich Klever (Russian, 1850‑1924) “Winter Evening”, 1889 oil on linen signed in Cyrillic and dated lower right.

Framed; together with a copy of the Sotheby’s sales catalogue.

29” x 22‑1/2”, framed 38‑1/2” x 32‑1/4” Provenance: Sotheby’s, Olympia, London, November 30, 2006, lot 26. $5,000‑$8,000

152

153 Harald Julius Niels Pryn (Danish, 1891‑1968) “Winter Landscape” oil on canvas signed lower right.

Framed.

13” x 16‑3/4”, framed 18‑1/4” x 22 “ $2,000‑$4,000

153

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154

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156

155

154 Turkish Oushak Carpet 9’ 8” x 13’ 4” $1,000‑$1,500 155 Turkish Angora Oushak Runner 2’ 6” x 29’ 4” $1,000‑$1,500 156 Turkish Mahal Carpet 12’ 4” x 15’ 2” $1,800‑$2,500 157 Turkish Angora Oushak Runner 2’ 7” x 19’ 10” $1,000‑$1,500 158 Laristan Serapi Carpet 7’ 9” x 9’ 7” $1,000‑$1,500

158

157

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159 Peshawar Sultanabad Runner 2’ 11” x 13’ 1” $1,000‑$1,500

160 Turkish Angora Oushak Runner 2’ 8” x 15’ 8” $1,000‑$1,500

161 Semi-Antique Silk and Wool Isfahan Carpet signed.

9’ 6” x 12’ 10” $7,000‑$10,000

162 Agra Serapi Carpet 9’ 10” x 14’ $2,000‑$4,000

163 Turkish Angora Oushak Carpet 9’ 10” x 14’ $1,000‑$1,500

164 Laristan Village Tribal Carpet

160

9’ x 11’ 9” $1,200‑$1,800

159

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162 161

163

164

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167

167 Regence-Style Kingwood and Marble-Top Commode early 20th century, the shaped marble top above a conforming case fitted with two short drawers over three long drawers, all banded and quarter-veneered, raised on block feet, the whole accented with ormolu mounts. h. 33‑1/2”, w. 49‑1/2”, d. 27‑1/2”

165

165 Pair of French Bronze and Glass Mirrors

Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi.

ca. 1900, of Louis XIV inspiration, the octagonal surrounds lined with segmented, beveled mirror glass and decorated with molded acanthus leaves, the crest with a satyr masque against a fan-form decoration, the base with a scrollwork finial. h. 68”, w. 30”

$2,000‑$4,000

$1,500‑$2,500 166 Pair of Louis XIV-Style Giltwood Stools each with a padded top above a paneled X-carved stretcher, raised on like-carved square legs headed by foliate capitals and ending in block feet. h. 21”, w. 16‑1/2”, d. 15‑1/2”

168 French Bronze and Crystal Chandelier mid-20th century, of Louis XIV inspiration, the six-light chandelier with a patinated bronze frame hung with crystal drops and mauve- and smoke-colored fruit, the scrolled candle arms set with scalloped drip pans and turned candle cups, a corona hung with crystal drops at the top. h. 32‑3/4”, dia. 17” $1,200‑$1,800

$1,800‑$2,500

166 168

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169

169 Set of Four Patinated Bronze Sconces in the Baroque Taste second quarter 20th century, French, the pierced scrollwork backplates with shell crests and mounted with urns supporting scrolled, leaf-molded arms and set with faceted candle sockets on leaf-molded drip pans. h. 21‑1/4”, w. 15‑1/4”, d. 8‑3/4” $1,500‑$2,500

170

170 Pair of Provincial Louis XIV Walnut Chairs 18th century, each with an arched crest rail and splat, turned stiles and legs joined by serpentine stretchers, now upholstered in figural and foliate striped brocade. h. 43‑1/2” $1,000‑$1,500 171 French Baroque-Style Walnut Secretary Cabinet 19th century, comprised of earlier elements, the upper section with a pediment capped by a crest, over a carved frieze with angel masques at each corner, the upper cabinet with a pair of carved raised panel doors, the lower case with a pair of drawers over a pair of doors, each with carved armorials, the molded base on bun feet. h. 80‑1/2”, w. 49”, d. 24‑1/4” Provenance: Reputedly originally from the Loire River Valley, France. $1,200‑$1,800 171

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172 French Baroque-Style Giltwood Mirror fourth quarter 19th century, the pedimented crest with a leaf-carved finial with a basket of flowers on a latticeincised ground, the mirror surround with scrollwork and leaves, the mirror plate with gadrooning. h. 38‑1/2”, w. 20‑1/2” $1,000‑$1,500 173 Regence Oak Commode 18th century, the rectangular top with a shaped front, above a conforming case fitted with two small drawers over two long drawers, all paneled and with incised lattice-patterned designs, raised on rounded feet. h. 32”, w. 45‑1/2”, d. 25” Provenance: Kevin Stone Antiques, New Orleans, Louisiana.

172

$2,000‑$4,000 174 Pair of Regence Walnut Sidechairs second quarter 18th century, with molded stiles and crest rail, a serpentine front seat rail with shell and scroll carving and cabriole front legs, now upholstered in “floral and urn” needlepoint fabric. h. 40‑1/4” Provenance: Lucullus, New Orleans, Louisiana. $1,200‑$1,800

175 French Bronze and Glass Chandelier of Louis XIV Inspiration third quarter 20th century, the twelve-light chandelier with a standard molded in glass, the silvered bronze frame set with candle arms on two levels and hung with a mixture of crystal drops and mauve, amber and colorless fruit, with a corona of mauve and colorless drops. h. 44”, dia. 26‑1/2” $1,000‑$1,500

173

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175

174

176

176 Regence-Style Marquetry-Inlaid Kingwood and MarbleTop Commode early 20th century, of bombe form, the serpentine rouge marble top over a bank of three drawers, each with floral, leaf and vine inlay, on cabriole legs with ormolu mounts above the knees and toupie feet, the bombe sides with floral cornucopia inlay. h. 34‑1/8”, w. 31‑3/4”, d. 17”

177

177 French School (Second Half 18th Century) “Portrait of a Young Prince, Possibly Louis Joseph Xavier, Duke of Burgundy (1751‑1761)”

Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana.

oil on canvas unsigned.

Framed.

30” x 27‑3/8”, framed 34” x 31”

$1,000‑$1,500

$3,000‑$5,000

178 French Hand-Painted Leather Four-Panel Folding Screen ca. 1900, decorated with swags, bunches of fruit, flowers, exotic birds and scrollwork on a gilt ground. h. 84”, w. 88” Provenance: Toby West, Ltd., Atlanta, Georgia; Private collection, Houston, Texas. $1,500‑$2,500

178

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180 179

181 Pair of Louis XIV-Style Gilt-Bronze and Crystal Girandoles

179 Louis XV-Style Stained Oak Fauteuil the molded back with a floral- and leaf-carved crest, the open arms terminating in scroll ends on molded supports, with a serpentine front seat rail and cabriole legs, upholstered in tiger-printed velvet. h. 40‑1/2” $1,200‑$1,800 180 Pair of Louis XV-Style Kingwood and Marble-Top Commodes mid-19th century, each with a shaped marble top above a bombe case fitted with two drawers, with scrolling and floral inlay, raised on cabriole legs ending in sabots. h. 30”, w. 30”, d. 19” $1,500‑$2,500

first quarter 20th century, French, each with a glass-clad standard terminating in a spear-point finial, above a leafmolded bronze base, hung with cut glass drops and swags of prisms on three tiers. h. 25”, dia. 10‑1/2” $1,000‑$1,500 182 Regence-Style Kingwood and Marble-Top Commode the shaped marble top above a bombe case fitted with two long drawers, all within a scrolling ormolu mount and with an inlaid floral spray, the sides inlaid en suite, raised on splayed legs ending in sabots. h. 34”, w. 48”, d. 22‑1/2” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $1,000‑$1,500

182 181

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183 Six-Piece Louis XV-Style Giltwood Salon Suite late 19th century, consisting of two fauteuils and four side chairs, all with a slightly domed and padded back surmounted by a foliate shield crest, the padded seat raised above a likecarved frieze on cabriole legs headed by a foliate capital and ending in scrolled toes, all upholstered in floral-patterned tapestry. fauteuil h. 40”, side chair h. 37‑1/2” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi.

183

185 French Gilt-Bronze and Crystal Chandelier second quarter 20th century, in the Louis XIV taste, the bronze frame set with scrolled arms supporting floriform prism-hung drip pans and turned candle sockets, the frame hung with graduated sprays of crystal drops, with an interior spear-point finial and a corona of sprays of drops crowning the top. h. 31”, dia. 17‑1/2” $1,000‑$1,500

$1,500‑$2,500 184 Large Louis XV Giltwood Mirror mid-18th century, the outside frame carved with rocaille work, the crest with a central pierced shell flanked by pierced scrollwork and flowerheads, the segmented mirror plate framed with finger-carved scrollwork, the lower edge carved with scrollwork and rocaille work, raised on short cabriole legs. h. 73‑3/4”, w. 44‑1/2” $1,500‑$2,500

185

184

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186

186 Louis XV-Style Giltwood and Marble-Top Console Table 19th century, the shaped marble top above a conforming frieze centered by a pierced foliate shield amidst scrolling foliate patterns, and raised on C-scroll legs joined by a shaped stretcher and ending in foliate scrolled toes. h. 36”, w. 57”, d. 18” Provenance: Charlotte Nail Antiques, Houston, Texas; Private collection, Houston, Texas.

188

$3,000‑$5,000 187 Pair of Provincial Louis XV-Style Fruitwood Wing Chairs early 20th century, with carved and molded frames and floralcarved crests, raised on cabriole legs. h. 43‑1/2”, w. 30”, d. 28” $1,000‑$1,500

188 Impressive French Gilded Age Giltwood Mirror fourth quarter 19th century, in the Louis XV taste, the oval-form mirror decorated on the outside with boldly molded rocaille work and sprays of flowers, the lower edge with a pierced anthemion, the segmented mirrored inner edge framed with cabochon molding, with oval paterae covering the seams. h. 58‑1/2”, w. 40‑1/2” $1,000‑$1,500

187

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191

189 Impressive French Gilded Age Giltwood Mirror 189

fourth quarter 19th century, in the Louis XV taste, the oval-form mirror decorated on the outside with boldly molded rocaille work and sprays of flowers, the lower edge with a pierced anthemion, the segmented mirrored inner edge framed with cabochon molding, with oval paterae covering the seams. h. 58‑1/2”, w. 40‑1/2” $1,000‑$1,500 190 French Gilt-Bronze Chandelier in the Neoclassical Taste first quarter 20th century, the eighteen-light chandelier with a lower standard molded as a quiver with its feathered arrow tops displayed, the vasiform upper portion molded with laurel leaves, the delicate leaf-molded and spiral-reeded arms set with fluted drip pans and flower-molded candle cups. h. 44”, dia. 29” $1,500‑$2,500 191 French Gilt-Bronze Eighteen-Light Chandelier in the Rococo Taste first quarter 20th century, the pierced standard decorated with molded flowers “caged” with bronze leaves, set with bronze three-light arms alternating with one-light arms, decorated with molded leaves terminating in leaf-molded drip pans and matching candle cups. h. 21”, dia. 28” $1,000‑$1,500

190

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192

193 Pair of Continental Painted and Framed Landscape Scenes

192 Louis XV-Style Ormolu-Mounted Mahogany Bureau Plat

19th century, oil on rough canvas, both depicting figures in various degrees of stylized exotic dress, presented in greenbordered and cove-molded gilt frames. overall h. 32‑1/2”, w. 42”

20th century, the shaped top with a green tooled leather blotter, one side fitted with three drawers, raised on cabriole legs with female mounts on the knees. h. 33‑1/2”, w. 76”, d. 38”.

Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana.

$1,000‑$1,500

$1,000‑$1,500

193

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194 Black Japanned Bureau Plat of Louis XV Inspiration mid-20th century, the black ground decorated all around with stylized gilt chinoiserie details, the serpentine top and legs with a gilt-molded edge, with a central drawer flanked by banks of two drawers, raised on cabriole legs. h. 30‑1/2”, w. 41‑1/2”, d. 21‑1/4” 194

Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

195 Louis XVI-Style Ebonized Commode 19th century and later, the serpentine top above a conforming case fitted with two long drawers, each with gilt and polychrome designs in the chinoiserie manner, the paneled sides en suite, raised on cabriole legs to peg feet. h. 30”, w. 41‑1/2”, d. 21” 195

$2,000‑$4,000

196 Exceptional Charles X Gilt-Bronze, Coral and Mother-ofPearl Encrier ca. 1825, decorated with a Chinese male figure holding a parasol perched on a pillow atop a pedestal mounted with winged figures and scrolls issuing quiver-form pen holders at the corners and cut glass ink pots at the sides, the pedestal rising as an island above a mother-of-pearl “pool” with coral dolphins swimming along the edges, their tails in the mouths of double-headed serpent handles, the whole resting on feet decorated as winged masques of Psyche. h. 11”, w. 11”, d. 8‑3/4” Provenance: Collection of Speed Lamkin, Monroe, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana.

A gift to Mr. Lamkin from renowned designer Billy Baldwin in the 1980s.

196

$1,000‑$1,500

71

197 Dual Large Gracie, New York, Framed Chinoiserie Panels 20th century, possibly a flip sample, one side with a deep peach ground having a large tree peony, birds and butterflies, the reverse with a soft lemon ground having a delicate tree peony, birds and butterflies, presented in a contemporary partially cove-molded LarsonJuhl frame. overall h. 81”, w. 39” $1,000‑$1,500

197

198 Transitional Louis XV/XVI-Style Giltwood Bench 20th century, the upholstered cushion over leaf-carved rails joined to cabriole legs with scroll-carved brackets. h. 19‑3/4”, w. 43‑1/4”, d. 20‑1/2” $1,000‑$1,500

198

199 Pair of Chippendale Inspired Parcel-Gilt Chinoiserie Decorated Commodes in the Louis XV taste, each with an inset onyx top above a serpentine case with a drawer over a cupboard door, a carved apron and cabriole legs. h. 28”, w. 26”, d. 23” $2,000‑$4,000 199

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200 Louis XV-Style Giltwood Chaise ca. 1900, the foliate-carved back extending to closed arms with like carving, the seat fitted with a loose cushion, the serpentine seat rail with leaf, cabochon and cartouche carving, raised on cabriole legs. h. 41”, w. 32”, l. 73” $1,500‑$2,500 200

201 Louis XV-Style Polychrome Dining Table early 20th century, the rectangular top with a molded edge, above a carved and scalloped apron, raised on carved cabriole legs, with two 19” leaves. h. 31”, w. 43”, l. 82”, ext. l. 120”

201

$1,200‑$1,800

201 detail

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202

203

202 French Cast Stone Fireplace Surround in the Louis XV style, the opening framed with a carved serpentine top ornamented with a shell, the tapered canted corners with inset panels and carved scrolls at the top. h. 53‑1/2”, w. 61”, d. 8”

204 Pair of Louis XV-Style Giltwood Fauteuils each of generous proportions, the upholstered arched back joined to open arms on carved supports, the serpentine seat rail with leaf and scroll carving, raised on cabriole legs with like carving, the upholstery edged with brass nails. h. 43‑1/4”

$1,200‑$1,800 203 French Gilt-Bronze and Crystal Chandelier

$3,000‑$5,000

second quarter 20th century, in the Louis XVI taste, the bronze frame set with scrolled arms supporting floriform prism-hung drip pans and turned candle sockets, the frame hung with graduated sprays of crystal drops, with an interior spear-point finial and a corona of sprays of drops crowning the top. h. 26”, dia. 19” $1,000‑$1,500

204

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205

205 Pair of Louis XV-Style Giltwood Fauteuils each of generous proportions, the upholstered arched back joined to open arms on carved supports, the serpentine seat rail with leaf and scroll carving, raised on cabriole legs with like carving, the upholstery edged with brass nails. h. 43‑1/4” $3,000‑$5,000 206 Louis XV-Style Giltwood Window Seat early 20th century, the padded kidney-form seat with a low ribbed rest above a central bellflower medallion and pendant floral garlands, raised on paneled cabriole legs headed by a foliate capital and ending in scrolled toes. h. 23”, w. 41”, d. 22”

206

$1,500‑$2,500 207 Louis XV-Style Gilt-Bronze and Mirrored Glass Cocktail Table 20th century, the “turtle”-form top with an inset mirrored surface and raised on foliate-modeled cabriole legs ending in foliate toes. h. 17”, w. 34‑1/2”, d. 27‑1/2” $2,500‑$4,000

207

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209

208

208 French Bronze Chandelier in the Baroque Taste first quarter 20th century, the sixteen-light chandelier with a turned standard decorated with molded acanthus leaves and classical busts on scrolled brackets, set with bold, leafmolded candle arms on two levels, the lower level set with masque-molded brackets and the upper lever with scrollwork and a “pinecone” pendant finial. h. 40‑1/2”, dia. 38” $1,500‑$2,500 209 Unusual French Bronze, Tole and Glass Chandelier second quarter 20th century, the eight-light chandelier with a serpentine body with painted tole sides and bronze trim, and set with four molded rococo candle arms and four interior sockets over a frosted glass base, with a bronze rococomolded support. h. 17”, w. 27”, d. 13‑1/2”

210 Louis XV-Style Giltwood and Marble-Top Center Table early 20th century, the rounded square marble top above a pierced shell-carved frieze and raised on cabriole legs headed by foliate-shell capitals and ending in foliate scrolled toes. h. 29”, w. 31”, d. 31” $2,000‑$4,000 211 Pair of Louis XV-Style Polychrome Beechwood Bergeres late 19th century, each with a molded crest rail extending to closed arms and adorned with leaf and scroll carving, a loose down and form-fitted seat cushion, serpentine apron and cabriole legs. h. 40” $3,000‑$5,000

$1,200‑$1,800

210

211

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212 Louis XV-Style Polychrome Bench the upholstered cushion on a frame with a serpentine shelland leaf-carved apron, raised on cabriole legs with French toes. h. 17‑1/4”, w. 66‑1/2”, d. 19‑3/4” $1,000‑$1,500 213 Carl Thieme Porcelain Figure of a Monkey Holding an Apple

212

post-1901, German, with polychrome details, the monkey sitting on a stump decorated with sculpted flowers and leaves, the bottom with the underglaze blue mark of Carl Thieme’s Saxsonian Porcelain, Potschappel. h. 16”, w. 11‑1/4”, d. 7‑1/2” Provenance: John Roselli, Ltd., New York, New York; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500 214 French Painted and Mirrored Hall Stand ca. 1900, the surround painted in shades of green, the central panel with a carved giltwood crest mounted with an engraving after Angelica Kauffman (Swiss, 1745‑1807), the side panels set with marble-top brackets over panels set with carved musical trophies, a planter with a zinc insert in the center. h. 103”, w. 75”, d. 11” $1,200‑$1,800

214 213

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215

216

215 Louis XV Fruitwood Center Table early 20th century, the banded shaped square top with projecting corners, above a conforming frieze, raised on large cabriole legs ending in sabots. h. 32”, w. 51‑1/2”, d. 51‑1/2” $1,000‑$1,500 216 French Porcelain and Bronze Mantel Clock ca. 1900, in the rococo taste, the porcelain case decorated with raised gilt scrollwork and hand-painted scenes of courting couples and flowers, probably Limoges, with bronze love birds nesting on the cover and lion’s-head pulls set on the sides, the base with leaf-molded and pierced scrollwork on a molded bowfront plinth. h. 19‑1/2”, w. 10”, d. 4‑3/4” $1,000‑$1,500 217 Louis XV-Style Kingwood and Marble-Top Vitrine 20th century, the inset marble top with canted sides, above a conforming case fitted with a single glazed door and sides, opening to a mirrored interior fitted with glass shelves, raised on cabriole legs ending in sabots. h. 63‑1/2”, w. 37‑3/4”, d. 16‑1/2” $2,000‑$4,000

217

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218 219

218 Louis XV-Style Walnut Duchesse Brisee early 20th century, with floral-carved crests and a molded frame, raised on cabriole legs. chair h. 39”, w. 29”, d. 35”, ottoman h. 24”, w. 36”, d. 28” Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,000‑$1,500 219 Unusual Bronze Chandelier first quarter 20th century, probably French, the ten-light chandelier of rococo inspiration, the pierced and molded spherule-shaped standard supporting flaring acanthus leaves, the leaf-molded candle arms decorated with delicate pierced scrollwork and termating in pierced drip pans and acanthus-molded candle cups. h. 32”, dia. 34” $1,000‑$1,500 220 French Rococo Revival Giltwood Pier Mirror third quarter 19th century, set with a beveled mirror plate, the surround molded with gadrooning, the crest decorated with an impressive shell finial trimmed with scrollwork, each side with lush swags of molded flowers. h. 91‑1/2”, w. 43” Provenance: Charlotte Nail Antiques, Houston, Texas; Private collection, Houston, Texas. $1,200‑$1,800

220

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222

221

221 Louis XV-Style Ormolu-Mounted Black Chinoiserie and Marble-Top Commode of bombe form, the serpentine variegated marble top over a pair of conforming drawers, the whole black-lacquered and with gilt chinoiserie decoration, with foliate and scroll-molded gilt ormolu mounts, the corners with shell- and leaf-carved mounts, raised on cabriole legs with gilt-bronze-mounted scroll feet. h. 34”, w. 60‑1/2”, d. 23” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $2,500‑$4,000

223 French Neo-Grec Gasolier third quarter 19th century, the four-light gasolier mounted with Chinese export Rose Medallion porcelain elements, the bronze standard decorated with carefully molded and detailed lotus leaves, open pierced scrollwork, and a cylinder of Rose Medallion porcelain molded with ring handles, the scrolled arms set with anthemia-molded elements, the lower finials likely gas keys, with Rose Medallion urns holding the burners, now electrified, and shade holders set with ruffled cranberry glass shades. h. 39”, dia. 31‑1/2” $1,000‑$1,500

222 Louis XVI-Style Chinoiserie-Decorated Commode early 20th century, with a serpentine top on a conforming case with a pair of drawers, raised on cabriole legs with ormolu toupie feet, the black-lacquer ground embellished throughout with gilt and polychrome chinoiserie ornament. h. 36”, w. 46”, d. 21‑1/4” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,400‑$1,800

223

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224

224 Exceptional Napoleon III Ebonized Wood, Gilt-Bronze and Hardstone Casket third quarter 19th century, of large size, with a cove-molded lid, bronze trim defining the panels and scrolled bronze feet and corner decorations, each side decorated with chinoiseriestyle applied cherries and flowers. h. 12‑1/4”, w. 21‑1/2”, d. 16‑1/2” $2,500‑$4,000 225 French Parquetry-Inlaid and Ormolu-Mounted Dining Table

226

early 20th century, in the Louis XV taste, the banded top with geometric inlay and raised on ormolu-mounted cabriole legs, with four 19‑1/2” skirted leaves. h. 29‑1/2”, w. 49”, l. 60”, ext. l. 138” $1,200‑$1,800 226 After George van der Straeten (Belgian, 1856‑1941) “Buste d’Elegant” patinated bronze incised signature along back, on a breche rouge marble base. overall h. 27”, w. 12”, d. 9”

225

$1,000‑$1,500

225 detail

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228

227

228 French Glass Chandelier in the Baccarat Taste 227 Franco-Bohemian Cut and Frosted Crystal Gasolier third quarter 19th century, the four-light gasolier with a ropetwist glass standard, and rope-twist arms terminating in cut and frosted prism holders set with shade holders and sockets, all over a large glass prism ring matching the ones under the burners, as well as two on the standard, strands of drops hung from the upper standard to the burners, set with etched glass shades. h. 38‑1/2”, dia. 29” $1,000‑$1,500

20th century, the six-light chandelier with a molded standard decorated with reeding and set with a glass prism ring, the twisted arms alternating with twisted glass scrolls, with a molded, prism-hung pendant finial. h. 38”, dia. 36” $1,200‑$1,800 229 Victorian Bronze-Mounted, Inlaid and Burled Maple Center Table third quarter 19th century, in the Louis XVI revival style, the top with a central urn, floral and leaf marquetry panel, the frieze in figured maple with line stringing, one side fitted with a drawer, raised on fluted trumpet legs joined by a stretcher with a central finial, with bronze mounts throughout. h. 30‑3/4”, w. 51‑1/4”, d. 28” $1,000‑$1,500

229

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229 detail

230 231

230 Pair of Belle Epoque Gilt-Bronze Candelabra fourth quarter 19th century, the hexagonal bases trimmed with egg-and-dart molding, decorated with strapwork and scrollwork, the inverted pear-form standards decorated with putti heads supported by scrolls, and leaf-molded arms supporting drip pans and candle cups decorated with strapwork, electrified. h. 27‑1/2”, dia. 7” $1,500‑$2,500 231 Franco-Bohemian Brass and Cut Glass Gasolier third quarter 19th century, the six-light gasolier with descending tiers of spear-point prisms in the lower portion, the arms set with cut glass prism rings and bellflower drops, the upper portion decorated with graduated cut glass prism rings hung with spearpoint prisms. h. 43”, dia. 23” $1,000‑$1,500 232 Franco-Bohemian Cut Glass Chandelier ca. 1850‑1870 and later, the six-light chandelier with a glass-clad standard decorated with a vasiform element cut with lotus leaves, beneath conical and spherical cut glass elements terminating in a downturned cut glass prism ring, the cut glass arms set with glass prism rings and prisms, the lower portion with a cut glass prism ring framing a cut glass ball finial. h. 53”, dia. 38” 232

$1,000‑$1,500

83

233 Louis XV-Style Brass-Inlaid Mahogany Center Table late 19th century, the tortoise-form top with an inlaid floral basket and foliage, the perimeter with brass stringing, the frieze with a drawer, raised on cabriole legs. h. 29”, w. 39‑1/2”, d. 24‑1/2” Provenance: Hallmark Antiques, Houston, Texas; Private collection, Houston, Texas. $1,000‑$1,500

233

234 French Belle Epoque Giltwood and Faux Malachite Mirror ca. 1900, the oval beveled mirror plate with a twisted gilt surround, set into a rectangular frame with a delicate crest depicting a wreath of flowers and boughs of laurel, with a malachite ground, the upper portion decorated with swags of flowers, the lower portion with a quiver and torch. h. 53”, w. 36” $1,500‑$2,500

235 French Giltwood “Porthole” Mirror fourth quarter 19th century, with a gadrooned edge, set with an oval beveled mirror plate, the corners decorated with acanthus leaves and trimmed in beading. h. 39‑1/2”, w. 33‑1/2” $1,000‑$1,500

235 234

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236

236 Napoleon III Brass-Inlaid Ebonized Center Table

237

third quarter 19th century, in the Louis XV taste, the tortoiseform top with inlaid brass marquetry, the conforming apron fitted with a single drawer, raised on cabriole legs with brass stringing and gilt-bronze mounts. h. 29‑1/2”, w. 53”, d. 32”

238 Theodore Ceriez (Belgian/French, 1832‑1904)

$1,000‑$1,500

“The Antiques Dealer and a Connoisseur” oil on wood panel signed lower right, and en verso.

Framed.

8‑5/8” x 14‑5/8”, framed 13‑3/4” x 19‑3/4”

237 Pair of Napoleon III Marble and Gilt-Bronze Candle Holders third quarter 19th century, now mounted as lamps, on marble bases with paw-footed monopodia set with masques, supporting the marble bodies, hung with ball chains, the necks molded with fluting, on contemporary black bases. h. 17”, dia. 15”

$1,000‑$1,500

$1,000‑$1,500

238

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239

239 Victor Marais-Milton (French, 1872‑1948) “Contemplative Cardinal”

240

oil on academy board signed lower right, faint letter of authenticity inscribed and signed by the artist en verso.

Framed.

18‑1/4” x 15”, framed 25” x 21‑3/4” $2,000‑$4,000 240 German/Austrian School (Second Half 19th Century) “The Trinkets Seller” oil on wood panel unsigned.

Framed.

23” x 18‑1/4”, framed 31‑5/8” x 27” $1,000‑$1,500 241 Dutch/Continental School (19th Century) “The Pipe Smokers”, 1863 oil on wood panel signed “Netcher” and dated “63” lower right.

Framed.

11‑1/4” x 8‑1/2”, framed 19” x 16‑3/4” $1,000‑$1,500

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241

242

242 Gaston La Touche (French, 1854‑1913) “The Engagement”, 1899 oil on canvas signed and dated lower center right, stretcher with “Christie’s, London” label and various other [partial] inventory and drayage ones.

Framed.

46‑1/4” x 31‑1/4”, framed 54‑1/2” x 40‑1/4” Provenance: Private collection, Spain; Christie’s, London, July 12, 2018, lot 24; Private collection, London.

Literature: To be included in the forthcoming catalogue raisonne on Gaston La Touche by Roy Brindley and Selina Baring Maclennan. $25,000‑$40,000

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243

243 Gustave Loiseau (French, 1865‑1935) “Pont Marie, Paris” oil on cradled wood panel signed lower left, verso with a hand-inscribed label.

Framed.

14‑3/4” x 21‑5/8”, framed 23‑3/8” x 30” Provenance: Collection of Jacques Francais and Lynne Charnay Francais. $17,000‑$20,000

88

244

244 Albert Lebourg (French, 1849‑1928) “Bord de Seine a La Bouille” oil on canvas signed and localized lower left, with a partial label en verso.

Framed.

18‑1/8” x 33‑1/2”, framed 25‑1/2” x 41‑3/4” $16,000‑$19,000

89

245 Louis Hayet (French, 1864‑1940) “Le Petit Pont Traversant la Riviere”, ca. 1888 oil on board stamped with signature lower left.

Framed.

14‑3/4” x 18‑1/8”, framed 20‑1/4” x 23‑5/8” $3,500‑$5,000

245

246 Maurice Chabas (French, 1862‑1947) “L’Elegante dans l’Atelier” oil on canvas signed lower right.

Framed.

25‑3/4” x 31‑7/8”, framed 36‑1/4” x 42” $14,000‑$18,000

246

90

247 Hans Zatzka (Austrian, 1859‑1945) “A Tender Moment” oil on canvas signed lower right.

Framed.

24‑1/2” x 12‑1/2”, framed 30‑3/4” x 19” $7,000‑$10,000

247

248 Hans Zatzka (Austrian, 1859‑1945) “Eintritt Verboten (Entry Forbidden)” oil on canvas signed lower left and signed, titled and inscribed en verso.

Framed.

27‑1/4” x 18‑3/4”, framed 34‑1/2” x 26‑1/2” $10,000‑$15,000

248

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249

249 Louis XVI-Style Giltwood and Marble-Top Center Table late 19th century, the inset “turtle”-form marble top above a conforming pierced frieze centered by a torchere panel and with pendant floral garlands, raised on stop-fluted tapering circular legs joined by an urn-centered X-form stretcher and ending in toupie feet. h. 32”, w. 48‑1/2”, d. 29‑1/2”

250

Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $1,500‑$2,500 250 Continental Silvered Metal and Crystal Chandelier the eight-light chandelier with a molded glass-clad standard and set with scrolled candle arms and cut glass drip pans, hung with an upper spray of drops, cascades of drops and cut glass drops on the arms. h. 26‑1/2”, dia. 21‑1/2” $1,000‑$1,500 251 Louis XIV-Style Silvered Metal and Crystal Chandelier the eight-light chandelier with a molded glass-clad standard and set with sprays of cut glass drops, the silvered metal candle arms set with molded glass drip pans over sprays of cut glass drops. h. 28‑1/4”, dia. 20‑1/2” $1,000‑$1,500 251

92

252 Louis XVI-Style Fruitwood and Marble-Top Semainier late 19th century, the rectangular marble top above a conforming case fitted with seven chevron-veneered banded drawers, raised on slightly cabriole legs. h. 59‑1/2”, w. 27‑1/2”, d. 16‑1/2” $1,000‑$1,500

253 Exceptional Pair of French Gilded Age Gilt-Bronze Candelabra fourth quarter 19th century, with figural supports depicting putti on leaf-molded brackets, the leaf-molded scrolled candle arms set with tulip-shaped candle cups and matching drip pans, set on two levels. h. 27”, w. 18‑1/2”, d. 7‑1/2” $3,000‑$5,000 252

253

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254

254 Exceptional Bronze Dore et Patine and Rouge Griotte Marble Clock Set third quarter 19th century, French, the clock after a welldocumented 18th-century example by Ferdinand Berthoud, and with the dial signed “Fd. Berthoud/Paris”, the works signed “S. Marti”, depicting “L’amour voilant le temps” for “Love veiling time”, the bronze dore et patine figure and veiled clock on a rouge griotte marble plinth with inset bronze on a footed gilt-bronze base, the matching pair of six-light candelabra each modeled with a patinated bronze putto holding a bunch of gilt lilies with interspersed candle sockets and standing on a rouge griotte marble base decorated with swags. clock h. 21‑1/2”, w. 19‑3/4”, d. 10‑1/2”; candelabra h. 35”, w. 12‑3/4”, d. 7” $12,000‑$18,000

94

255 256

255 Louis XVI-Style Giltwood and Onyx-Top Center Table late 19th/early 20th century, the inset circular onyx set in a carved frame, the fluted tapering legs with lobed tops and leaf-carved bases, joined by a beaded stretcher centered by a finial. h. 28‑1/2”, dia. 31‑3/4” $1,000‑$1,500 256 Pair of Louis XVI-Style Giltwood Fauteuils

258 French Belle Epoque Giltwood and Painted Mirror fourth quarter 19th century, in the Louis XVI style, labeled by Fenoglio Freres, Grenoble, set with a beveled mirror plate, the surround decorated with molded lotus leaves and beading, the upper tablet with a pair of floral swags supported by bowknots on a pink ground. h. 64‑1/4”, w. 37” $1,400‑$1,800

late 19th century, with finely carved frames, turned and fluted legs and covered in 19th-century Aubusson fabric. h. 35‑1/2”, w. 23”, d. 19” $1,000‑$1,500 257 Pair of Louis XVI-Style Giltwood and Marble-Top Corner Consoles each with a serpentine variegated rouge and grey marble top over a conforming apron centered by shell, floral and foliate carving and raised on a cabriole leg. h. 37”, w. 33”, d. 18” $1,000‑$1,500

257

258

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259

259 detail

259 French Walnut, Glass and Tapestry Three-Panel Folding Screen first quarter 20th century, with carved rosette finials on each corner and a twisted ribbon surround, each panel set with four beveled mirror plates over tapestry panels. h. 52‑1/2”, w. 58‑1/2” $1,000‑$1,500 260 Louis XVI-Style Painted, Parcel-Gilt and Marble-Top Side Table 19th century, the rectangular marble top above a conforming frieze fitted with two faux marbre panels centering a gilt lion masque, raised on fluted tapering circular legs headed by foliate capitals and ending in bulbous feet. h. 35‑1/2”, w. 42‑1/2”, d. 21‑1/2”

260

$5,000‑$8,000 261 Pair of Bronze-Mounted Rose Canton-Style Porcelain Garniture Urns decorated with warriors on one side and groups of people on the other, the bronze caps set with rose-molded finials, the leaf-molded handles terminating in fruit, set on bronze bases raised on molded cabriole feet. h. 23”, w. 12‑3/4”, d. 8‑1/2” $2,000‑$4,000

261

96

262 Louis XVI-Style Giltwood and Onyx-Top Center Table early 20th century, the circular onyx top with a molded edge, above a conforming dentillated frieze with a pendant floral garland, raised on stop-fluted tapering circular legs ending in toupie feet. h. 31‑1/2”, dia. 20” $1,000‑$1,500 263 Pair of Continental Polychrome and Parcel-Gilt Fauteuils ca. 1900, in the transitional rococo-into-neoclassical style, each with an upholstered medallion back and ribbon-andleaf-carved crest rail, the carving extending to open arms and their supports, the circular seat with a loose cushion, raised on four tapering, paneled legs with foliate-carved drops. h. 37‑1/4”

262

Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,200‑$1,800

264 Four Continental Polychrome Side Chairs 19th century, each chair with a shaped and molded back, serpentine seat and cabriole legs. h. 36‑1/2” to 37” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500 263

264

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265

265 Pair of Louis XVI-Style Walnut, Burl and Creme-Peinte Side Tables 19th century, each with a canted and beaded rectangular top above a conforming burl frieze, raised on paneled tapering square legs headed by foliate shell carving and ending in foliate block feet joined to two back legs by shaped stretchers. h. 29”, w. 46”, d. 20” $1,000‑$1,500 266 French Brass and Crystal Chandelier 20th century, in the rococo taste, the fifteen-light chandelier having a vasiform scroll-molded standard set with scrolled candle arms and matched sockets on two levels, hung with cut crystal drops and a faceted sphere pendant finial. h. 37”, dia. 28” $1,500‑$2,500

266

267 Open Lot 268 French Belle Epoque Bronze Urn fourth quarter 19th century, now mounted as a lamp, on a square base decorated with panels of bas-relief trophies, the body with a Greek-key border and piercing, supported on hoof-footed monopodia, hung with swags of laurel leaves and wreaths on the beaded handles, mounted with a shade. h. 29‑1/2”, dia. 16” $1,000‑$1,500 268

98

269 Pair of Louis XVI Painted Fauteuils late 18th century, each with a molded back joined to open arms, a serpentine molded front seat rail and fluted and stop-fluted front legs, now upholstered in citron leather upholstery. h. 35” $1,500‑$2,500 270 Louis XVI-Style Gilt-BronzeMounted Kingwood King-Size Headboard ca. 1900, the padded and tufted panel set within a conforming kingwood frame trimmed with cast bronze moldings and flanked by turned and fluted posts with ormolu mounts, newly upholstered. h. 57”, w. 84”, d. 5” $1,500‑$2,500

270

271 Gracie, New York, Framed Chinoiserie Wallpaper Panel 20th century, with a pink ground, depicting a Chinese famille rose covered urn on a stand in a garden setting with rolling lawn and tree peony, presented in a contemporary silver frame. overall h. 60”, w. 39” $1,000‑$1,500

269

271

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272

272 Three Royal Copenhagen “Flora Danica” Serving Bowls mid-20th century, the largest model 3507, depicting “Epilobium montanum L.”, h. 2‑1/4”, w. 11”, d. 8‑1/4”; the other two examples model 3506, depicting “Berberis vulgaris L.” and “Orobus niger L.”, h. 2”, w. 9‑3/4”, d. 7‑3/8”, all fully marked.

Provenance: Private collection, New Orleans, Louisiana. $1,000‑$1,500 273 Royal Copenhagen “Flora Danica” Circular Pierced Platter

274 Royal Copenhagen “Flora Danica” Large Serving Platter mid-20th century, model 3520, depicting “Campanula persicifolia L.”, fully marked. w. 18‑1/8”, d. 14” Provenance: Private collection, New Orleans, Louisiana $1,500‑$2,500

third quarter 20th century, model 3529, depicting “Primula variabilis Goupil.”, fully marked. h. 2”, dia. 14‑1/4” Provenance: Private collection, New Orleans, Louisiana. $1,000‑$1,500

274 273

100

275

275 Royal Copenhagen “Flora Danica” Large Serving Platter

276 Two Royal Copenhagen “Flora Danica” Oval Pickle Dishes

second quarter 20th century, model 3520, depicting “Aesculus Hippocastanum”, fully marked. w. 18‑1/4”, d. 14”

both model 3541, the first example ca. 1900, depicting “Vinca minor L.”, h. 2‑1/2”, overall w. 9‑5/8”, bowl w. 9‑1/8”, d. 7‑7/8”; the other example third quarter 20th century, depicting “Cerastium arvense L.”, h. 2‑3/4”, overall w. 9‑3/4”, bowl w. 9”, d. 7‑1/2”, both examples fully marked.

Provenance: Private collection, New Orleans, Louisiana. $1,500‑$2,500

Provenance: Private collection, New Orleans, Louisiana. $1,000‑$1,500

276

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277

277 Two Royal Copenhagen “Flora Danica” Serving Pieces

278 Royal Copenhagen “Flora Danica” Round Fruit Basket

both mid-20th century, the first example a triangular highfooted cake plate, model 3511, depicting “Potentilla fruticosa L.”, h. 4‑3/4”, w. 9”, d. 8‑1/2”; the other a triangular salad/ serving bowl, model 3509, depicting “Veronica agrestis L.”, h. 1‑3/4”, w. 9”, d. 8‑1/2”, both pieces fully marked.

ca. 1900, model 3532, with vine handles, the interior depicting “Ribes nigrum L.”, fully marked. h. 3‑1/4”, bowl dia. 7‑1/4”, w. 8‑1/4” Provenance: Private collection, New Orleans, Louisiana. $1,400‑$1,800

Provenance: Private collection, New Orleans, Louisiana. $1,000‑$1,500

278

102

279 Louis XVI-Style Parcel-Gilt Trumeau Mirror ca. 1900, with a gilt egg-and-dart upper crest, the mirror plate with a beaded surround and decorated with a basket of flowers on a platform molded with acanthus leaves, the corners with giltwood medallions. h. 63‑1/2”, w. 37‑1/2” $1,000‑$1,500

280 French Painted and Parcel-Gilt Cheval Mirror first quarter 20th century, of rococo inspiration, the pierced crest decorated with scrollwork and sprays of laurel leaves, with fluted supports on leaf-carved and scrolled cabriole legs. h. 75”, w. 40”, d. 19‑1/2” $1,200‑$1,800

279

281 Pair of French Belle Epoque Gilt-Bronze and Marble Garniture Urns fourth quarter 19th century, the mottled green marble bodies decorated with mounts on the front depicting Ares, god of war, framed with oak leaves and hung from a bowknot, intertwined branches forming the handles, the covers with acorn-form knops. h. 16‑1/2”, dia. 5” $1,800‑$2,500

280

281

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282

283

282 Louis XVI-Style Mahogany, Kingwood and Marble-Top Cabinet 20th century, the D-form marble top within an ormolu banding and raised above a conforming case fitted with a single drawer over a paneled and quarter-veneered cupboard door, centered by an ormolu panel, raised on tapering circular feet, the whole with ormolu mounts and millwork. h. 44”, w. 54”, d. 16‑1/2” $4,000‑$7,000 283 Louis XVI-Style Giltwood and Marble-Top Center Table ca. 1900, the figured inset green marble top with projecting corners, above a conforming guilloche-carved apron, raised on fluted legs with foliate-carved bases, joined by a shaped bracket stretcher. h. 29‑3/4”, w. 44”, d. 25‑1/2” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana.

284

$1,500‑$2,500 284 Louis XVI Fruitwood and Polychrome Fauteuil 18th century, the carved frame with acanthus arm supports, raised on turned and fluted legs, retaining traces of old gray paint. h. 38‑1/2”, w. 25”, d. 22” $1,000‑$1,500 285 Louis XVI-Style Beechwood and Marble-Top Center Table 19th century, the rectangular marble top with D-ends, above a conforming laurel leaf-carved frieze, centered by a floral wreath panel, raised on stop-fluted tapering circular legs joined by a shaped X-form stretcher and ending in pad feet on casters. h. 31”, w. 47”, d. 27‑1/4” $1,500‑$2,500

104

285

287

286 Louis XV-Style Painted Trumeau Mirror fourth quarter 19th century, French, the mirror framed with a serpentine crest embellished with a central shell flanked by leaf carving, the upper panel framed in scrollwork with a carved shell, leaves and flowerheads. h. 86”, w. 47‑3/4” $1,200‑$1,800 286

287 Pair of Louis XVI-Style Painted Bergeres

288 Louis XVI-Style Giltwood Settee

ca. 1900, each with ribbon and bead carving, closed arms terminating in foliate rosettes, bowed seat rail and fluted front legs, now upholstered in ivory microsuede. h. 35‑1/2”

early 20th century, of box form, the padded back and sides surmounted by a ribbon-carved crest and above a cushioned seat, raised above a guilloche-carved apron on fluted tapering circular legs ending in toupie feet. h. 30”, w. 54‑1/2”, d. 25”

$1,000‑$1,500

$2,000‑$4,000

288

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289

291

289 Louis XVI-Style Giltwood Settee early 20th century, of box form, the padded back and sides surmounted by a ribbon-carved crest and above a cushioned seat, raised above a guilloche-carved apron on fluted tapering circular legs ending in toupie feet. h. 30”, w. 54‑1/2”, d. 25” $2,000‑$4,000 290 Suite of Eight Ammonite Gemstone Fossils each mounted and presented in a silvered shadowbox frame and glazed. each overall 10” x 10” $1,000‑$1,500 291 French Patinated Bronze and Crystal Chandelier 20th century, in the Louis XIV style, the glass-clad standard supporting the bronze frame, set with bell-shaped candle cups set in sprays of crystals, and having sprays of prisms decorating the upper and lower standard. h. 31”, dia. 24” $1,000‑$1,500

290

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294

293 Louis XVI-Style Mahogany Bureau Plat second half 20th century, the inset tooled leather top over a frieze with a central drawer flanked by fluted and stop-fluted panels and a banks of two drawers, raised on fluted tapering legs, the ends with a writing slide and parquetry panels. h. 29‑1/2”, w. 53”, d. 28” 292

292 Louis XVI-Style Gilt-Bronze-Mounted Mahogany and Marble-Top Bookcase/Vitrine ca. 1900, the rectangular marble top above a guillochemounted cornice over a pair of glazed doors flanked by paneled pilasters, beneath finely executed gilt-bronze foliate and floral mounts, raised on fluted legs, with brass moldings throughout. h. 66‑1/4”, w. 54”, d. 16” $1,800‑$2,500

$1,000‑$1,500 294 Louis XVI Line-Inlaid Mahogany and Marble-Top Chest late 18th century, the marble top with a molded edge and rounded front corners, above a conforming case with three over two drawers, each with parquetry-veneered centers edged in contrasting line inlay and banding, the rounded corners with a trio of light and dark inlaid lines, raised on inlaid and turned legs. h. 34”, w. 50‑3/4”, d. 23” $1,500‑$2,500

293

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296

295 Louis XVI-Style Mahogany Cabinet late 19th century, the molded cornice with turreted corners, above a conforming case fitted with two long glazed doors over two paneled cupboard doors, the whole flanked to either side by fluted uprights, raised on toupie feet to brass caps, the whole accented with ormolu mounts and millwork. h. 91‑1/2”, w. 50‑1/2”, d. 19” $1,000‑$1,500 296 Pair of Directoire-Style Polychrome Bergeres

295

20th century, each with a padded rectangular back within an annulated frame, joined by closed arms on spiral-fluted uprights to the cushioned seat, raised on fluted tapering circular legs ending in toupie feet. h. 39” $1,200‑$1,800 297 Louis XVI-Style Beechwood and Marble-Top Side Table 20th century, the D-form marble top with a projecting center section, above a conforming floral guilloche-carved frieze, raised on tapering circular and floral-carved legs joined by a shaped urn-centered stretcher and ending in toupie feet. h. 37”, w. 58”, d. 20‑1/2” $2,500‑$4,000

297

108

299

298

298 Pair of French Gilt-Bronze and Marble Candelabra fourth quarter 19th century, in the neoclassical taste, each with a bronze-mounted verde antique marble base supporting incurvate legs set with hoof feet, the body decorated with ram’s heads hung with laurel swags, the leaf-molded and scrolled candle branches on two levels, decorated with acanthus leaves and flowers, the center candle socket with removable flower finial. h. 35‑1/2”, dia. 10” $1,500‑$2,500 299 After Christophe-Gabriel Allegrain (French, 1710‑1795) “Venus au Bain”, first half 20th century patinated bronze incised “C G Allegrain” along back edge of self-base. h. 33‑1/4”, w. 11‑3/4”, d. 14” $2,500‑$4,000 300 After Louis Charles Hippolyte Buhot (French 1815‑1865) “Hebe with the Eagle of Zeus” patinated bronze the lovely goddess of youth in her role as cup-bearer to the gods, serving the king of the gods in his guise as an eagle, cast signature at proper left side.

Presented on a conforming black marble base with a bronze frieze of frolicking putti, set upon an attractive rouge royal marble columnar pedestal with brass elements. sculpture h. 16‑1/2”, overall h. 65”, w. 11”, d. 11”

300 detail

Provenance: Private collection, Houston, Texas. $2,000‑$4,000

300

109

301 Nicola Simbari (Italian, 1927‑2012) “Soaking up the Sun” oil on canvas signed lower right.

Framed.

18‑1/2” x 22‑1/4”, framed 23‑3/8” x 26‑3/4” $3,000‑$5,000 302 Nicola Simbari (Italian, 1927‑2012) “Dressing Room” oil on canvas signed mid-right, verso with “Wally Findlay Galleries, New York” label.

Framed.

32” x 39‑1/2”, framed 35” x 43” $3,000‑$5,000 303 Jacques Renard Lejeune (French, 1930‑2003) “Femme au Cafe au Bord de la Mer” oil on canvas signed lower right.

Framed.

47‑1/2” x 35‑1/2”, framed 52‑3/4” x 42‑1/2”

303

$5,000‑$8,000

302

110

301

304 Niek van der Plas (Dutch, b. 1954)

306

“Beach Scene”

304

oil on beveled wood panel signed lower right, signed en verso.

Framed.

24‑1/4” x 28‑5/8”, framed 30‑1/2” x 36” $2,000‑$4,000 305 Niek van der Plas (Dutch, b. 1954) “Naples Beach” oil on wood panel signed lower right.

Framed.

27” x 38‑1/2”, framed 34‑1/2” x 46‑1/2” $3,500‑$5,000 306 Anton Nicolaas Marie Karssen (Dutch, b. 1945)

305

“At the Beach” oil on canvas signed lower right.

Framed.

19‑1/2” x 31‑1/2”, framed 26” x 37‑1/4” $1,500‑$2,500 307 Willem Heytman (Dutch, b. 1950) “At the Beach” oil on wood panel signed lower right.

Framed.

24” x 30”, framed 31” x 37” $2,000‑$4,000 307

11

308 Andre Hambourg (French, 1909‑1999) “Sur la Plage” oil on canvas signed lower left.

Framed and with artist plaque.

12” x 19”, framed 20” x 27‑1/2” $4,000‑$7,000

308

309 Dietz Edzard (German/Paris, 1893‑1963) “Venice, Window View of the Grand Canal with Flowers and Mandolin” oil on canvas signed lower left.

Framed.

28” x 40”, framed 35‑1/4” x 46‑1/2” $9,000‑$12,000

309

112

310 Paul Verona (Romanian, 1897‑1996) “Arabian Street Scene” and “Harbor Scene” pair of oils on board former signed lower right.

Matching frames.

20” x 10‑1/2”, framed 25‑1/2” x 16” $1,000‑$1,500 310

311 Niek van der Plas (Dutch, b. 1954) “Wailing Wall” oil on wood panel signed lower right and en verso (wood burn engraved).

Framed.

20” x 18‑3/4”, framed 28” x 27‑1/4” $2,000‑$4,000

311

312 James Miller (British, b. 1962) “Classics on the Solent” oil on canvas signed lower left, and initialed and titled en verso.

Framed.

24” x 30”, framed 29‑1/2” x 35‑1/2” $2,000‑$4,000

312

113

313 Niek van der Plas (Dutch, b. 1954) “New Orleans, Moon Walk at Riverfront Park” oil on wood panel signed lower right and en verso (wood burn engraved).

Framed.

11‑3/4” x 15‑3/4”, framed 17” x 21” $1,500‑$2,500

313

314 Andre Gisson (American/French, 1921‑2003) “Paris, Pres de Pont Alexandre III” oil on canvas board signed lower right.

Framed.

15‑1/4” x 19‑1/4”, framed 22‑1/2” x 26‑1/4” $1,500‑$2,500

314

315 Robert Marc (American, 1943‑1993) “Composition 68”, 1990 mixed media on canvas signed lower center, numbered on the reverse “H966”.

Framed.

8‑5/8” x 12‑1/4”, framed 24‑1/2” x 27‑3/4” Provenance: Collection of Barry Friedman.

Accompanied by a certificate of authenticity issued by Anne Fromentin-Sangnier. $5,000‑$8,000 315

114

316

316 Andre Lanskoy (Russian/French, 1902‑1976)

317 Abram Tromka (American/Russian, 1896‑1954)

“La Malade”

“Village Scene at Night”

oil on canvas signed with a monogram upper right.

Framed.

8‑3/4” x 11‑3/4”, framed 14‑3/4” x 18‑1/4”

oil on board signed lower left, verso with a portrait sketch of a man.

Period frame.

15‑1/2” x 18”, framed 23‑1/2” x 26”

To be included in the forthcoming Catalogue Raisonne de l’Oeuvre d’Andre Lanskoy currently being prepared by the Comite Lanskoy.

Provenance: Estate of Barbara and Ernest Henley, Houston, Texas.

$4,000‑$7,000

317 verso

$1,000‑$1,500

317

115

318 Hippolyte Petitjean (French, 1854‑1929) “Nature Morte aux Fruits”, ca. 1880 oil on canvas laid on board signed with studio stamp lower left, a “Neffe-Degandt/ London”, “Galerie de l’Institut/Paris/Centenaire Hippolyte Petitjean” and partial Parisian gallery labels en verso Framed.

10‑1/4” x 16‑1/8”, framed 15‑3/4” x 21‑5/8” Provenance: Neffe-Degandt Galleries, London; Artcurial Modern Art Sale, 30 January 2008, lot 210.

Exhibited: Galerie de l’Institut “Centenaire Hippolyte Petitjean”, Paris.

318

$1,800‑$2,500

319 Bernard Safran (American, 1924‑1995) “Emptores” oil on board signed upper left.

Framed.

24” x 32”, framed 26‑1/2” x 34” Provenance: Estate of Barbara and Ernest Henley, Houston, Texas. $1,500‑$2,500 319

320 Colleen Browning (American, 1918‑2003) “Golden Light over a Landscape” oil on canvas signed upper left.

Framed.

19‑1/2” x 35‑3/4”, framed 23‑1/2” x 41‑3/4” Provenance: Estate of Barbara and Ernest Henley, Houston, Texas. $2,000‑$4,000 320

8 116

321 Hildegard Rath (German/New York, 1909‑1994) “Weeping Willow in Bloom” oil on canvas signed lower right.

Framed.

50” x 60”, framed 51‑5/8” x 61‑3/4” $1,500‑$2,500

321

322

322 Pair of Neoclassical-Style Metal Planter Boxes the sides mounted with raised wreaths and the top corners set with pineapple finials. h. 23”, w. 16”, d. 16” $1,000‑$1,500 323 Pair of Empire-Style Metal and Brass Topiary Planters the obelisk-form superstructures with latticed sides and X-form mounts with center brass medallions, the bases on brass paw feet. h. 93”, w. 24”, d. 24” $3,000‑$5,000

323

117

325

324

324 Suite of Nine Pressed Hydrangeas of various hues, each initialed “SW” lower right.

Glazed and framed. overall 17‑3/8” x 13‑1/4” $1,200‑$1,800 325 Empire-Style Giltwood and Marble-Top Tabouret late 19th century, the circular marble top set into a bound laurel garland frieze and raised on paneled imbricate-carved legs joined by a tripartite stretcher and ending in scrolled toes. h. 21”, dia. 17” $1,000‑$1,500 326 Impressive Pair of French Giltwood and Tole Torcheres ca. 1900, in the neoclassical taste, the spiral-reeded standards set with scroll-molded capitals, on tripartite bases with paw feet, the eight lotus-carved candle arms set with leaf-carved cups, surrounding a tole pan with a gilt ground, painted with flowers and concealing light sockets, an upper lotus-carved giltwood standard supporting four candle arms arranged around a flame finial. h. 78”, dia. 19” $1,000‑$1,500

118

326

327 Directoire Figured Mahogany Dining Table early 19th century, the figured top flanked by a pair of demi-lune leaves with like grain, extending to accommodate a pair of 20‑1/2” leaves. h. 27‑3/4”, w. 44‑1/2”, l. 23‑1/2”, l. with leaves raised 45”, l. with center leaves 86” $1,500‑$2,500 328 Restauration Mahogany Armoire early 19th century, the molded cornice over a pair of paneled doors with mitered corners framed by a brass molding and flanked by tapering ebonized pilasters with cast figural capitals in the form of an allegorical maiden’s head and brass feet at their base, the interior fitted with four shelves. h. 82”, w. 56”, d. 22‑1/2” $1,500‑$2,500 329 Pair of Charles X Birch and Parcel-Ebonized Armchairs second quarter 19th century, each with a barrel back wrapping to arms terminating in carved dog heads, the tapering front legs terminating in carved paw feet, upholstered in patterned black horsehair. h. 30‑1/2”

328

$3,000‑$5,000

327

329

327 detail

119

330 French Restauration Clock with Figure of Hercules second quarter 19th century, the clock retaining much of its original gilding, the figure of Hercules dressed in a toga and clutching a club, leaning on the clockworks, the lower portion decorated with a lion masque, war trophies and oak leaves, on engine-turned bun feet, in a period glass dome on an ebonized base. h. 34‑1/2”, w. 14‑1/2”, d. 6‑3/4” $2,000‑$4,000 331 Directoire-Style Bronze, Crystal and Patinated Metal Chandelier ca. 1900, the spherule-shaped upper portion set with lion’s heads, supporting strands of crystal drops descending to the main portion of the bronze frame, set with patinated figures of “Peace” over lotus-molded candle branches set with tulip-form sockets, the border with swags of patinated flowers “held” by tiny patinated butterflies, strands of crystal drops strung to the base and set with a pendant pinecone finial. h. 32”, dia. 27”

331

Provenance: French Antique Shop, New Orleans, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,400‑$1,800 332 Pair of Empire-Style Gilt-Bronze and Marble-Top Gueridons early 20th century, each with a circular marble top within an ormolu frame, joined by ram’s head supports to a like smaller lower shelf, to splayed legs joined by a tripartite stretcher and ending in hairy paw feet. h. 29‑1/2”, dia. 33” $7,000‑$10,000

330

332

120

334

333

335

336

333 Empire-Style Gilt-Lacquered Brass and Marble Gueridon

335 Pair of Empire-Style Ebonized and Parcel-Gilt Stools

the circular inset mottled gray marble top on a tripodal stand with scroll legs joined by a central marble-inlaid shelf, a finialmounted stretcher and ending in paw feet. h. 28‑3/4”, dia. 27‑1/4”

each with a padded and rectangular top above a gilt-banded frieze, raised on shaped legs ending in gilt paw feet. h. 18”, w. 22‑1/4”, d. 17”

$1,000‑$1,500 334 Louis XVI-Style Ebonized Games Table late 19th century, the removable rectangular top with an inset leather surface, removing to reveal a sunken inlaid backgammon board, above a conforming frieze fitted with a faux central drawer and a small drawer to each side, raised on fluted tapering circular legs ending in brass caps on casters. h. 31”, w. 39‑1/2”, d. 19‑1/2”

$1,500‑$2,500 336 Empire-Style Ebonized and Giltwood Stool the padded circular top above a conforming arch-carved frieze, raised on three shaped legs headed by gilt foliate capitals, joined by a gilt laurel leaf-carved ring and ending in hoof feet. h. 18”, dia. 22” $1,000‑$1,500

$1,000‑$1,500

121

337 Two Empire-Style Ormolu-Mounted Mahogany Bedside Tables each with an inset marble top over a frieze drawer, one with a cupboard door opening to reveal a marble-lined interior, the other with a banded shelf and X-form stretcher, both with gilt-lacquered ormolu mounts at the canted corners, including classical maiden heads, raised on tapering legs with ormolu paw feet. h. 32”, w. 20‑1/2”, d. 15‑1/2” and h. 31‑3/4”, w. 20”, d. 15‑1/2” $1,500‑$2,500 338 Empire-Style Mahogany and Marble-Top Center Table late 19th century and later, the circular dished marble top above a conforming ormolu-mounted frieze, and raised on three shaped legs headed by gilt eagle heads and ending in gilt paw feet, above a tripartite base to bun feet. h. 30‑1/4”, dia. 35‑1/4” $1,000‑$1,500

338

337

339 French Green Enamel and Bronze Chandelier second quarter 20th century, the twelve-light chandelier with a spherule-form bronze-mounted faux malachite standard, supported by scrolled, leaf-molded bronze arms with six downturned arms set with frosted floral-form glass shades, and upturned arms set with frosted flame-form glass shades. h. 36”, dia. 28” $1,000‑$1,500 339

122

340

340 Circle of Francois Pascal Simon Gerard (French, 1770‑1837) “Napoleon I, in Imperial Costume” oil on canvas unsigned.

Framed.

93‑1/4” x 61”, framed 101‑1/2” x 69‑5/8” Provenance: By repute, acquired from a French consulate in Parma, Italy; Charlotte Nail Interiors, Houston, Texas, 2006; Sold in these rooms, March 29, 2008, lot 595; Private collection, Houston, Texas. $10,000‑$15,000

This composition of Napoleon I standing in imperial costume closely resembles a near identical 1805 composition by Jacques-Louis David that Napoleon rejected as he deemed it not flattering enough. David, thereafter, abandoned the work, which is only known by a smaller sketch conserved at the Palais des Beaux-Arts in Lille, France. Another version, now lost, was commissioned for Napoleon’s brother Jerome, King of Westphalia. The Fogg Art Museum at Harvard University has an incomplete copy of it. Gerard’s rendition, now in the Palace of Versailles, features a more colossal Napoleon, who directly engages the viewer and dominates the majority of the picture plane; of this work, there are at least three known period copies from the circle/workshop of Gerard. One has been on loan since 1922 to Rijksmuseum; another sold at auction in 2014 through Leslie Hindman from the Ann Stone Trust, and this copy, which is reputed to have come from a French consulate in Parma, Italy, and sold here in 2008.

123

341 Louis-Philippe Mahogany and Marble-Top Chest mid-19th century, the variegated gray marble top with a beaded edge, above a case with a graduated bank of four drawers with perimeter moldings and raised on shaped feet. h. 39‑1/2”, w. 51‑1/2”, d. 24” $1,000‑$1,500 342 French Empire Revival Gilt- and Patinated Bronze Chandelier first quarter 20th century, the six-light chandelier with molded candle sockets on patinated arms, surrounding a flame finial, the bottom with molded gilt-bronze lotus leaves and an artichoke pendant finial, suspended from handsome gilt- and patinated bronze molded chains. h. 18”, dia. 19” $1,000‑$1,500 343 Pair of Belle Epoque Gilt-Bronze Candelabra fourth quarter 19th century, possibly Caldwell, the hexagonal bases trimmed in egg-and-dart molding and decorated with strapwork and scrollwork, the inverted pear-form standards decorated with putti heads supported by scrolls, the leaf-molded arms supporting drip pans and candle cups decorated with strapwork, electrified. h. 27‑3/4”, dia. 7”

342

$1,000‑$1,500

341

124

343

344 Empire Parcel-Gilt Mahogany Bibliotheque mid-19th century, with a peaked crest and gilt-bronze mounts in the frieze, above a pair of glazed doors flanked by turned columns with bronze collars, the protruding base with a parquetry-inlaid desk, fitted with a single drawer and raised on tall carved giltwood paw feet. h. 80‑1/2”, w. 50”, d. 26” $1,200‑$1,800 345 Empire-Style Mahogany and Marble-Top Side Table mid-19th century, the rectangular marble top within an ormolu banding, above a conforming case fitted with two drawers, each with a pierced brass panel, raised on lyre-form swan’s-neck supports to plinth bases joined by a stretcher. h. 35”, w. 59‑1/4”, d. 23‑1/2” $3,000‑$5,000 344

345

125

347 346

346 Unusual Pair of Napoleon III Bronze and Marble Candelabra third quarter 19th century, the vasiform standards set with swags of flowers and handles terminating in ram’s heads, the scrolled and leaf-molded candle arms terminating in leaf-molded drip pans and decorated with swags of beading, the tripartite gray marble base set with seated griffins. h. 26”, dia. 11‑1/2” $2,000‑$4,000 347 Pair of Handsome French Patinated Bronze Covered Garniture Urns fourth quarter 19th century, the handles in the form of naiads drinking from seashells, with molded masques on the upper rim, the conical covers with molded leaves and artichoke finials, with removable liners, on green onyx bases. h. 16‑1/2”, w. 7‑1/2”, d. 5” $1,000‑$1,500 348 Pair of Louis-Philippe Bronze and Marble Candelabra

348

second quarter 19th century, now mounted as lamps, with giltand patinated bronze fittings decorated with scrollwork, the base and standard inset with verde antique green marble with scrolled leaf-molded and patinated candle arms set with molded and gilded drip pans and patinated bronze cups, set with pleated shades. h. 43”, dia. 16” $1,000‑$1,500 349 Louis-Philippe Mahogany, Rosewood and Marble-Top Side Table mid-19th century, the rounded rectangular marble top above a conforming ogee-molded frame fitted with a single long drawer, joined by scrolling supports to a shaped lower shelf to molded feet. h. 35‑1/2”, w. 51‑1/2”, d. 19‑1/2” $1,000‑$1,500

126

349

351

350 Pair of Louis-Philippe Giltwood Oval Mirrored Sconces

351 Unusual French Gilt- and Patinated Bronze Chandelier

mid-19th century, each with a cove-molded surround decorated with beading and bellflowers, the pierced crest with a shell set into scrollwork, the leaf-molded candle arms set into the lower portion, decorated with more scrollwork and a budform drop. h. 31”, w. 25”, d. 6” Provenance: Private collection, Houston, Texas.

first quarter 20th century, in the neoclassical style, the fluted standard decorated with a bundle of leaves tied with a ribbon, the leaf-molded and scrolled gilt- and patinated bronze arms terminating in single electric sockets, set among five bronze unelectrified candle arms, the multi-light arms alternating with scrolled gilt-bronze arms terminating in flowers, set with frost flame-form shades and hung with prisms. h. 36‑1/2”, dia. 42”

$1,200‑$1,800

$2,000‑$4,000

350

127

352 Handsome Empire Revival Gilt-Bronze Chandelier first quarter 20th century, French, the patinated metal pan set with an artichoke pendant finial and masquemolded cornucopia-form candle arms alternating with pierced mounts of cupids and flowers, suspended from a pierced corona on anthemion-molded chains. h. 31”, dia. 28‑1/2” $1,000‑$1,500 353 Empire-Style Mahogany and Marble-Top Commode 19th century, the rectangular marble top above a plain frieze and three recessed long drawers, flanked to either side by an ormolu-mounted columnar upright, raised on turreted feet. h. 38”, w. 49”, d. 24‑1/2” $1,000‑$1,500 354 Louis-Philippe Malachite and Gilt-Bronze Mantel Clock mid-19th century, in the Rococo Revival style, set in a scrolled bezel, with signed Samuel Marti works mounted atop the bell-shaped malachite case, resting on a malachite base mounted with boldly scrolled gilt-bronze feet. h. 18‑3/4”, w. 11‑1/2”, d. 5‑3/4” 352

$1,000‑$1,500

354 353

128

355 Early George III Sterling Silver Warwick Cruet Frame hallmarked London, 1760‑1761, by Emick Romer, of traditional cinquefoil form raised on four treble C-scroll legs and pierced union shell feet, with five circular gadrooned receptacles faced by a rococo cartouche, all surrounding a central baluster standard with rococo ring handle, fitted with one large, h. 8‑1/4”, and two small, h. 7‑1/2”, casters, each of baluster form decorated with repousse spiral imbricate gadrooning with strawberry finials, and two cut glass cruets with sterling cylindrical caps en suite with the casters, h. 8”, the frame cartouche engraved with the arms of Symmes impaling James, the casters engraved with the crest of Symmes of Daventry. overall h. 11‑1/2”, w. 9‑1/2”; 66.41 total t. oz. (excluding glass bottles) $2,500‑$4,000 355

356 George III Sterling Silver Salver hallmarked London, 1773‑1774, by Richard Rugg I (ca. 1723‑1775; free 1746), of circular form with beaded serpentine-lobed rim, raised on four ball-and-claw feet, engraved on the plateau with a laurel, ribbon and rose-mantled cartouche centering the arms of Yate of Great Farringdon, Berkshire. dia. 17”; 66.01 t. oz. $2,500‑$4,000 357 George III Irish Sterling Silver Covered Cup hallmarked Dublin, 1793, by Joseph Jackson, the ovoid body with fluted calyx and repousse flowerhead banding, with acanthuscrested arched handle and steeply domed fitted lid with vasiform finial and raised on a conforming pedestal foot, the foot and lid banded en suite. h. 16‑1/2”, dia. 6‑1/2”, w. 11‑1/2”; 48.86 t. oz. $1,800‑$2,500

357

356

356 detail

129

358

358 detail

358 Four George II Sterling Silver Soup Plates hallmarked London, 1756‑1757, the maker’s mark rubbed, converted from service plates, each of octagonal form with fluted bowl and gadroon and shell marli, the bowl engraved with the crest of Smith of Nottingham, Lord Carrington (an elephant’s head erased, charged with three fleur-de-lys). w. 10‑1/2”; 70.90 total t. oz. $3,500‑$5,000

359 George III Sterling Silver Gilt Covered Cup

359

hallmarked London, 1789‑1790, by Robert Sharp, the vasiform body with acanthus-mounted arched and reeded handles, pedestal foot and tall, waisted cover with acanthus bud finial, decorated with engraved and bright-cut paterae and swag banding and opposing canted rectangular cartouches, one engraved with the crest and motto of MacDonald. h. 17‑3/4”, w. 11‑1/2”, dia. 7‑1/4”; 87.25 t. oz. $4,500‑$7,000

359 detail

130

360 George III Sterling Silver Tray hallmarked London, 1795‑1796, by John Crouch & Thomas Hannam, of oval form with reeded rim and opposing handles en suite, the plateau with an engraved and bright-cut band of paterae and foliate swags, centering an erminemantled armorial of Bower impaling Colquhoun.

23‑1/2” x 15‑3/4”; 82.95 t. oz. $3,000‑$5,000

360

361 Assembled Georgian/William IV “Feather Edge” Sterling Silver Flatware Set

360 detail

London, with pieces dating from 1770 to 1837, various makers, including a dozen seven-piece place settings, with an additional dozen dinner forks and eight serving pieces, monogrammed “L” or “EW/S”, presented in an oak case converted from a Georgian writing box, with fitted baize-lined interior and two lift-out trays, with facsimile Rundell, Bridge & Rundell label, the lid with engraved brass plaque “J. H. Burnett, Esq.”, 7” x 19” x 12‑1/4”.

104 pieces (plus case) 119.51 total t. oz. (weighable silver) Notes: Detailed list of pieces available on request. $3,000‑$5,000

361

361 detail

131

362

362 Assembled Late George III Sterling Silver Coffee and Tea Set

363 Late George III Sterling Silver Tureen hallmarked London, 1801‑1802, by William Pitts, of oval form, the bulbous body with waisted collar, “reed-and-ribbon” rim and robust opposing acanthus-scroll handles, raised on four scrolling legs mounted and decorated en suite with the handles, the fitted, double-domed lid with threaded panel banding quartered by repousse patera and centering a reeded, double acanthus-crested ring finial. h. 10”, l. 13”, w. 7‑3/4”; 91.50 t. oz.

hallmarked London, 1791‑1801, including, by John Robins, a teapot, h. 6‑1/2”, l. 10‑1/2”, a swing-handle sugar basket, h. 3‑3/4” (h. 6‑1/4” with handle), l. 5‑1/4”, a coffeepot, h. 12”, l. 10‑1/2”, and a hot water jug, h. 12”, l. 6”, with a teapot stand

by Michael Plummer, l. 7‑1/4”, w. 5”, and a cream jug by Henry Nutting, h. 4‑3/4”, l. 4‑1/2”, each of cavetto-canted rectangular section variously decorated with engraved or bright-cut banding, the coffeepot monogrammed “R”.

83.90 total t. oz.

$4,000‑$7,000

$4,000‑$7,000

363

132

364 Regency Scottish Sterling Silver Tea Set hallmarked Edinburgh, 1811‑1812, by George Fenwick, including a teapot, h. 6‑1/2”, l. 12”, a cream jug, h. 4‑1/2”, l. 6‑3/8”, and an open sugar bowl, h. 4”, w. 8‑5/8”, each of rounded rectangular section with bulbous base and waisted collar, with gadrooned rim quartered by shell-and-scroll motifs, with crested handle(s) and raised on four spherical feet, decorated with wrigglework oak leaf and acorn banding, and engraved with the crest of Douglas et al.

38.95 total t. oz. $1,000‑$1,500 365 Good Pair of Regency Old Sheffield Plate Presentation Wine Coolers dated 1816, marked “W. Bak . . .”, each of campana form with everted “vintage” rim and opposing robust acanthus-mounted stirrup handles, fitted with the original collars and liners, engraved on a rubbed in plaque “Presented / to the Rev.d John Wood MA / Minister of Ripley / by the Members of his / Congregation / 1816”, below the abbreviated arms of Wood of Swanwick. h. 10‑1/2”, dia. 9‑1/4”

365

Provenance: Private collection, Houston, Texas. $1,200‑$1,800 The Rev. John Wood of Swanwick Hall, Derbyshire was born on November 25, 1776, the son and heir of Hugh Wood and his second wife, Mary Peake. He was educated at Cambridge (B.A., 1799, M.A. 1802) and ordained as an Anglican priest in 1801. His first appointment was in his native Derbyshire as curate at Pinxton (1799‑1801), and later Mugginton (1801‑1808). It was at this last appointment that he married, on September 22, 1803, Emilia Susanna Bellairs of Stamford. In 1808 he was made Rector of Kingsley, Staffordshire which he would remain for nearly 40 years. Added to his duties in 1818 was the vicarage of Pentrich, Derbyshire, which included the town of Ripley where his brother Robert (1781‑1858) lived. There was no church in Ripley at the time, but All Saint’s Church was dedicated there in July 1821, as a “Chapel of Ease” under St. Matthew’s in Pentrich. Given the date, it is likely that this handsome pair of presentation coolers was connected to beginnings of All Saints Ripley. The Reverend Wood would remain in his positions as rector and vicar until his retirement in 1855; he died on October 28, 1858.

365 detail

364

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366

366 William IV Paul Storr Sterling Silver Inkstand hallmarked London, 1832‑1833, of rounded concave rectangular form with molded rim, the sides centered with openwork scroll-mantled shells, with a pair of pen trays flanking two receptacles with silver-capped glass wells and a central taperstand covering a nibs compartment (the conical extinguisher a contemporaneous Birmingham replacement), raised on four openwork scroll feet, the trays with presentation inscription: “To the Reverend Lawrence Panting /A Memorial of the esteem and affection of the Inhabitants of / Hodnet Parish 1838”, opposing the crest of Panting. h. 4”, l. 14”, w. 9‑3/4”; 38.73 t. oz. (excluding glass wells) $3,500‑$5,000 The Rev. Lawrence Panting was born on October 26, 1808 in Belmont, Shrewsbury, the son of Thomas Panting and Mary Mieres. He studied at St. John’s Cambridge and was ordained a deacon in 1832 and a priest on November 10, 1833. He served as Curate of Malpas, Cheshire and Hodnet, Shropshire from 1832 until 1838; it was evidently the end of his curacy in Hodnet that was the occasion of this handsome gift from his parishioners. He was next made Vicar of Chebsey, Staffordshire, which position he held until his death on October 20, 1895.

366 detail

367 George IV Irish Sterling Silver Cake Basket hallmarked Dublin, 1825‑1826, by Stephen Bergin, of rounded rectangular form with upswept ends, the interior with lower gadrooned band and fluted corners, with applied gadrooned rim quartered by applied shell-and-scroll motifs, with conforming openwork swing handle decorated with laurel banding and centering a floral-scroll cartouche, the whole raised on a conforming foot, the handle engraved with the crest of Meynell. h. 4‑1/2” (10‑1/4” with handle), l. 12‑1/2”, w. 9‑3/4”, 35.57 t. oz. $1,400‑$1,800

134

367

369

368 Four English Hand-Painted Leather Panels

369 George III-Style Mahogany Pedestal Desk

19th century, each depicting a gentleman hunter with his dog, retaining the original nailhead trim within a contemporary burlwood frame. overall h. 52”, w. 22” Provenance: Private collection, Houston, Texas.

19th century, the rectangular top with an inset leather surface and a carved floral banding, above a frieze fitted with three drawers, raised on two pedestals, each fitted with three graduated short drawers and raised on plinth bases on casters. h. 31”, w. 60”, d. 32”

$1,200‑$1,800

$1,000‑$1,500

368

135

370 George III-Style Mahogany Bookcase/Cabinet 19th century, in the Chinese Chippendale taste, in two parts, the upper section with a fretwork-carved broken-arch pediment over a pair of mullioned doors, the base with four graduated beaded drawers, raised on bracket feet. h. 96‑1/2”, w. 50‑1/2”, d. 25‑1/2” $1,200‑$1,800 371 Fine George III-Style Mahogany Tea Table third quarter 19th century, in the Chinese Chippendale taste, the figured single-board top over a pierced fretwork apron, joined to pierced legs in Gothic decor by delicate scroll brackets, on squat bun casters. h. 27”, w. 29‑1/2”, d. 21” Provenance: Robert Wakefield & Co. Antiques, Houston, Texas; Private collection, Houston, Texas.

372

$1,000‑$1,500 Adhered to the underside of the top is a handwritten note reading “This table was purchased by us from Mr. Whiting, Cromwell House, Trumpington Cambridge, to whom it was left by “Mr. Monro” Senior Fellow of Caius College Cambridge,” signed “Mallett & Son”. Mallett & Son has long been a premier London art and antique dealer.

372 Georgian-Style Carved Mahogany and Leather-Covered Armchair late 19th century, the padded back and seat with finely carved arms and raised on cabriole legs with shell-carved knees and trifid pad feet. h. 39”, w. 26”, d. 25” $1,000‑$1,500

371

370

136

373 Adam-Style Carved Mahogany Demi-lune Console Table ca. 1900, with a two-board top above a carved frieze and raised on tall tapering square legs with carved bellflowers and ending in spade feet. h. 35”, w. 54”, d. 29” $1,000‑$1,500 374 British School (19th Century)

373

“Portrait of a Gentleman in Ceremonial Robes, View of Durham in the Background” oil on canvas unsigned, several old inventory labels en verso.

Framed.

30‑1/4” x 25”, framed 35‑1/2” x 30‑1/2” Provenance: Private collection, Houston, Texas. $1,500‑$2,500 375 Pair of Late George III-Style Parcel-Gilt Mahogany Stands ca. 1900, each with a circular dished top in burled walnut, with a molded and carved edge, raised on a square column with beaded corners and foliate medial and top carving, joined to a tripodal base with like carving on each leg. h. 42”, w. 20”, d. 20” $1,500‑$2,500 376 George III Mahogany Side Table 19th century, the rectangular top above a conforming blind fretcarved frieze, raised on square legs. h. 35”, w. 72”, d. 28‑1/2”

374

Provenance: Kentshire Galleries, New York, New York; Private collection, Houston, Texas. $2,500‑$4,000

376 375

137

378 Handsome Giltwood Mirror in the Chippendale Taste fourth quarter 19th century, English, with a pagoda-form finial framed with carved rocaille ornament, the sides and base carved and pierced with scrollwork, acanthus leaves, rocaille ornament and leafy tendrils, set with an antique mirror plate. h. 66”, w. 36” $1,800‑$2,500 379 Suite of Ten George III-Style Mahogany Dining Chairs consisting of two armchairs and eight side chairs, each with a foliate-carved earred crest above a pierced splat, the padded seat raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet. h. 40” Provenance: Private collection, Houston, Texas. $1,200‑$1,800

378

377 George III-Style Mahogany Bowfront Chest early 20th century, the triple-banded bowed top centered by an inlaid oval panel, above a conforming case fitted with four graduated long drawers, all with banding, the top one opening to a baize-lined surface pushing back to a variety of compartments, raised on splayed bracket feet. h. 34‑1/2”, w. 41”, d. 23” $3,000‑$5,000

377

379

138

380 Circle of Charles Jervas (Irish, 1675‑1739) “Portrait of a Lady in Blue and Crimson” oil on canvas unsigned.

Framed.

49‑1/2” x 40”, framed 58” x 49” $2,000‑$4,000 381 George III-Style Mahogany Dining Table the rounded rectangular top with a molded edge and raised on three pedestals, each with a stop-fluted standard to three splayed legs, all with floral and foliate carving to foliate scrolled toes, with three leaves. h. 29”, w. 48‑1/2”, l. 108” $2,000‑$4,000 382 Three Chinese Export Porcelain Fitzhugh Pattern Pieces mid-19th century, comprising a vegetable tureen and cover, h. 6‑1/2”, w. 13”, d. 9”, a platter and cover, h. 7”, w. 14‑1/2”, d. 10”, and an oval dish, w. 12‑1/2”, d. 10‑1/4”, all decorated in the traditional blue and white Fitzhugh pattern.

380

$1,000‑$1,500

382

381

139

383 Associated Pair of Chinese Blue and White Porcelain Lidded Bowls each with a Guangxu mark (1875‑1909) and possibly of the period or later, the bowls of shallow form with everted lip, cradling the conforming covers, decorated to the exterior with floral and foliate sprays, one cover with a calligraphic inscription. h. 3‑1/4”, dia. 6‑1/2”

383

$1,500‑$2,500 384 Chinese Blue and White Porcelain Planter 20th century, of ovoid form, with curved lip, decorated to the exterior with four-clawed dragons chasing the flaming pearl, and carp leaping from broiling seas, the base unglazed and unmarked. h. 20”, dia. 18‑1/4” $1,000‑$1,500 385 Pair of George II-Style Eagle-Carved Giltwood Brackets 20th century, with rounded shelves, the edges carved with egg-and-dart trim, the pierced backplates carved with eagles perched on scroll and rocaille work decorated with flowerheads. h. 18‑1/2”, w. 13‑3/4”, d. 8”

385

$1,000‑$1,500 386 Pair of Giltwood Mirrors in the George II Style 20th century, set with beveled mirror plates, the surrounds carved with rocaille work, scrollwork and flowerheads, the crests with carved phoenix birds. h. 58”, w. 26” $1,200‑$1,800

384

140

386

387 Georgian-Style Mahogany Executive Desk 20th century, the framed rectangular top with three inset tooled leather blotters, resting on a pair of pedestals fitted with drawers and a long narrow drawer above the kneehole, the back side framed and paneled. h. 30‑1/2”, w. 72‑1/2”, d. 36” $1,200‑$1,800 388 Pair of George III-Style Mahogany Lolling Chairs

387

mid-20th century, in the Chinese Chippendale taste, the shaped back with peaked corners, the arms and legs with blind fretwork details, upholstered in white silk damask. h. 37‑1/2”, w. 30”, d. 26” Provenance: Robert Wakefield & Co. Antiques, Houston, Texas; Private collection, Houston, Texas. $2,500‑$4,000 389 George III Mahogany Chest second half 18th century, the case with a slide over a bank of four graduated cock-beaded drawers, raised on bracket feet. h. 32‑1/2”, w. 34”, d. 19” $1,000‑$1,500 389

388

141

390

390 detail

390 detail

390 Pair of Rare George III Celestial and Terrestrial Globes ca. 1800‑1802, labeled “T. M. Bardin, 16 Salisbury Square, London”, both dated 1800, on period turned mahogany stands with bronze fittings. h. 18”, dia. 16” Provenance: Private Collection of Jack Warner, Tuscaloosa, Alabama. $5,000‑$8,000

142

Included in the 1976 sale of Carter Hall, Millwood, Virginia, conducted by Sotheby Parke Bernet. Carter Hall was built by the grandson of Robert “King” Carter, and used by Stonewall Jackson as his headquarters for a time during the Civil War.

393 391

391 George III Mahogany Beau Brummell ca. 1800, the fold-out top opening to reveal an extending mirror fronted by a cut glass basin, over a cupboard door with drawers below, raised on square legs joined by a stretcher with a shelf designed to accommodate a circular pitcher or bowl. h. 33‑3/4”, ext. h. 51”, w. 16”, d. 16”, ext. w. 31‑3/4” $1,000‑$1,500 392 George III Walnut Secretary late 18th century, the ogee-molded cornice above two doors, each inset with arched and banded panels, the lower section fitted with an inset writing surface, a storage well and a variety of drawers and cubbyholes, over two short drawers over two graduated long drawers, raised on bracket feet. h. 74‑1/2”, w. 38”, d. 21” $1,000‑$1,500 393 George III Mahogany Side Table 19th century, the rectangular top above a conforming stepped frieze, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet. h. 31”, w. 60”, d. 29‑1/2” $1,000‑$1,500

392

143

394 Suite of Eight Chippendale-Style Mahogany Armchairs 20th century, bearing the stamp of Schmieg & Kotzian, New York, and marked under the front seat rails with an incised stamp with the initials “SK” within a circle, each with a shaped crest rail over an open carved splat, the open arms with scroll ends on molded supports, the cabriole front legs with ball-andclaw feet, each upholstered in gold leaf and vine brocade on a green ground. h. 38” $2,500‑$4,000

395

395 British School (First Quarter 19th Century) 394 detail

“Allegory of the Innocence of Youth” oil on canvas unsigned.

Framed.

43” x 30‑1/2”, framed 50” x 37” $1,000‑$1,500

394 detail

394

144

397

396 Large Black Chinoiserie-Decorated Japanned Cabinet on Stand early 20th century, in two parts, the case with a pair of doors with engraved decorative brass hinges and escutcheon plates, opening to an interior fitted with shelves, on an exuberantly modeled gilt Georgian-style base with floral, swag and scroll decoration, raised on cabriole legs with balland-claw feet. h. 70”, w. 48”, d. 21‑1/2” Provenance: Harvey Paige/The Gazebo, Monroe, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,500‑$2,500 397 Japanese Imari Porcelain Five-Piece Garniture first half 19th century, comprising a six-sided urn, having a conforming domed cover with rooster-form finial, decorated with alternating panels depicting flowers in a vase and a pair of phoenix, together with two similarly decorated slightly smaller examples, and completed with a pair of trumpet vases decorated with similar design. urns h. 7‑3/4”, dia. 4”; vases h. 5”, dia. 3” Provenance: Private collection, Houston, Texas.

396

$1,000‑$1,500 398 Chinese Miniature Five-Piece Wucai Porcelain Temple Garniture fourth quarter 19th/first quarter 20th century, comprising an incense burner and cover with foo dog finial, flanked by two tiered candlesticks, and two “gu”-form vases, each decorated with dragons chasing the flaming pearl and phoenix designs, all depicted in the wucai palette, with apocryphal six-character Wanli mark to rim of each. tallest h. 3‑1/4”, widest w. 2” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

398

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401

400

399

399 Pair of George III Mahogany Armchairs late 18th century, in the Chippendale taste, each with a domed crest above a pierced and interlacing foliate-carved splat, joined by shaped and scrolling arms to the padded seat, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet. h. 38‑1/2” Provenance: Jas A. Gundry Antiques, Houston, Texas; Private collection, Houston, Texas. $1,200‑$1,800 400 George III Mahogany Sideboard late 18th century, the banded demi-lune top with a projecting center section, above a conforming case fitted with a central drawer flanked to one side by a deep drawer and to the other side by a cupboard, both banded and with circular panels, raised on tapering square legs ending in spade feet. h. 36‑3/4”, w. 62”, w. 29” Provenance: Alfred Bullard, Inc., Philadelphia, Pennsylvania; Private collection, Houston, Texas. $1,400‑$1,800

146

401 British School (19th Century) “Meandering River with Red-Roofed Mill” oil on canvas after the 17th-century painting by Meindert Hobbema (Dutch, 1638‑1709) now conserved at the Dulwich Picture Gallery, London.

Framed.

36” x 59”, framed 39‑1/4” x 62‑1/2” $1,500‑$2,500

402 George III-Style Slant-Lid Secretary Bookcase 20th century, the cornice with fretwork in the Chinese Chippendale taste, over a pair of mullioned doors, the base with a marquetry-inlaid slant lid opening to reveal a tooled leather writing surface and interior fitted with drawers and niches, the case with four graduated beaded drawers, raised on ogee bracket feet. h. 86‑3/4”, w. 40”, d. 21” $1,000‑$1,500 403 George III-Style Mahogany Banquet Table in the manner of Robert Adam, the circular top above a fluted apron with urn-carved panels and raised on tapering paneled legs with bellflower carving and ending in spade feet, the top opening to accommodate six 12” leaves. h. 30”, dia. 60”, ext. l. 132” $1,500‑$2,500

403

402

403 detail

147

405

404

406 British School (Fourth Quarter 18th Century) 406

404 George III Mahogany Side Table late 18th century, the banded demi-lune top above a conforming frieze fitted with two concealed drawers centering an inlaid shell, raised on ring-turned tapering circular legs ending in toupie feet. h. 37”, w. 71”, d. 31” Provenance: King-Thomasson, Houston, Texas; Private collection, Houston, Texas. $1,800‑$2,500 405 Pair of Sheraton Mahogany Demi-lune Console Tables first quarter 19th century, each with a semi-circular top mounted to a frame with a figured mahogany frieze and raised on tall turned and reeded legs. h. 28‑1/2”, w. 53‑1/2”, d. 26” Provenance: Jas A. Gundry Antiques, Houston, Texas; Private collection, Houston, Texas. $2,000‑$4,000

148

“Portrait of a Young Boy in a Red Skeleton Suit, Pet Spaniel by His Side” oil on canvas unsigned, partial “Arthur Whitcombe/Clarence Street/ Cheltenham” art gallery label en verso.

Framed.

36” x 28”, framed 43‑1/2” x 35‑1/2” Provenance: Arthur Whitcombe Gallery, Cheltenham, England; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,500‑$2,500 “A skeleton suit... an ingenious contrivance for displaying the symmetry of a boy’s figure by fastening him into a very tight jacket... and then buttoning his trousers over it so as to give his legs the appearance of being hooked on just under his arm pits.”

--Charles Dickens in Sketches by Boz The skeleton suit originated in England in the late 18th century and is considered one of the earliest garments designed specifically for children. Consisting of a form-fitting jacket and trousers, joined by buttons, it was worn by boys between the ages of three and ten.

407 Vincent de Vos (Belgian, 1829‑1875) “Three Dogs Resting” oil on canvas signed lower right.

Framed.

19” x 23‑1/4”, framed 25‑1/2” x 29‑1/2” $4,000‑$7,000

407

408 Henry Schouten (Belgian, 1857‑1927) “Keeping a Watchful Eye on the Litter” oil on canvas signed lower left.

Framed.

21” x 29‑3/4”, framed 24” x 33‑1/4” $2,000‑$4,000 408

409 Henry Barraud (British, 1811‑1874) “Sit Up Sir: Ginger”, 1859 oil on canvas signed lower right.

Frame with two title and date plaques.

24” x 20‑1/8”, framed 30” x 26‑1/4” Provenance: Sotheby’s, New York, September 24, 2012, “Property from the Estate of Brooke Astor”, lot 636; Private collection, Mobile, Alabama. $2,000‑$4,000

409

149

410 Regency Revival Polished Brass Chandelier fourth quarter 19th century, the six-light chandelier with scrollmolded arms dovetailed into brackets, the body with a leafmolded vasiform upper finial, the lower section with stepped reeding and a leaf-molded pendant finial, suspended from rod-form lotus-molded “chains”. h. 49”, dia. 36” $1,000‑$1,500 411 Pair of Signed Scottish Bronze and Marble Garniture Urns fourth quarter 19th century, marked J. G. & Sons, for the Garvie family, the gilt- and patinated bronze urns decorated with neoclassical figures and mounted on red griotte marble bases. h. 11‑1/2”, dia. 4” $1,000‑$1,500

410

411

413

412 Regency Convex Mirror second quarter 19th century, the cove-molded mirror decorated with gilt spherules, and a reeded and ebonized surround set next to the convex mirror plate, the crest with a displayed eagle finial on a rocky outcropping. h. 32”, w. 22‑1/2” $1,200‑$1,800 413 Regency-Style Giltwood and Marble-Top Side Table the rounded rectangular marble top above a fluted frieze, supported by a large winged eagle to a socle base. h. 35”, w. 60”, d. 23” $7,000‑$10,000 412

150

414 Regency-Style Ebonized and Parcel-Gilt Window Seat the long padded seat flanked to either end by a low padded circular armrest, above a gilt-banded frieze, raised on fluted tapering circular legs ending in toupie feet. h. 23”, w. 48‑1/2”, d. 16‑1/2” $1,500‑$2,500 415 Pair of Regency-Style Brass-Mounted and Parcel-Gilt Armchairs

414

each ebonized with a reeded and carved crest rail over a lyreform splat, open arms with inlaid brass stringing and turned front legs. h. 36” $1,500‑$2,400

416 415

416 Regency Giltwood Overmantel Mirror first quarter 19th century, the top decorated with a central panel depicting a dolphin, flanked by tablets decorated with shells flanked by delicate scrollwork, the cluster columns on each side with leaf-carved capitals. h. 45”, w. 54” Provenance: Chelsea Antique Mirrors, London, England; Private collection, Houston, Texas. $1,000‑$1,500 417 British School (19th Century) “Portrait of a Gentleman in a White Cravat” oil on canvas unsigned, two old inventory labels en verso.

Framed.

26‑1/2” x 21‑1/2”, framed 31‑1/2” x 26” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

417

151

418

419

420

418 Regency-Style Mahogany Sofa fourth quarter 19th century, of box form, the molded crest rail joined to like arms with spiral-reeded baluster-form supports with Corinthian-carved capitals, raised on lobed and spiralreeded turned legs, upholstered in celery and cream striped brocade, with matching bolsters. h. 36”, w. 88”, d. 26‑1/2” $1,000‑$1,500 419 Pair of Regency Gilt- and Patinated Bronze Candlesticks second quarter 19th century, now mounted as lamps, the main body supporting a turned base, set with rose-molded prism holders hung with crystal drops and beehive-molded candle cups, electrified. h. 21”, dia. 4” $1,000‑$1,500

152

420 Suite of Eight Regency-Style Mahogany Dining Chairs of klismos form, comprised of a pair of armchairs and six side chairs, each with a concave top rail over a reeded splat, the slip seats in gold and cream striped upholstery. h. 36‑1/4” $1,200‑$1,800

421 Late Regency Mahogany Sideboard in the Sheraton Taste early 19th century, probably Scottish, the serpentine case with a recessed cupboard with tambour doors flanked by inlaid flower and urn panels, the case with a pair of cross-banded bowfront drawers flanked by concave cellarette drawers, raised on reeded legs. h. 44‑1/2”, w. 74‑1/2”, d. 30‑1/4” $1,500‑$2,500 422 Pair of Rare Regency Mahogany and Brass Plate Buckets

422

first quarter 19th century, with mahogany staves, brass bindings and handles, each with a side opening for easy removal of clean or dirty plates. h. 16”, dia. 15‑1/2” Provenance: Wakefield-Scearce Gallery, Shelbyville, Kentucky. $1,000‑$1,500 423 After Sir David Wilkie, R.A. (British, 1785‑1841) “The Village Festival” oil on canvas unsigned.

Framed.

37‑3/4” x 50‑1/2”, framed 50‑1/2” x 57‑1/8” $4,000‑$7,000

423

421

153

424 Albert Goodwin (British, 1845‑1932) “The Lake District” watercolor on paper signed lower right.

Matted, glazed and framed. sight 12” x 16”, framed 20” x 24” $1,000‑$1,500

424

425 British School (19th Century) “The Reluctant Scholar” oil on canvas unsigned.

Framed.

20” x 16‑1/4”, framed 27‑3/4” x 23‑5/8” $1,000‑$1,500

425

426 Daniel Ridgway Knight (American, 1839‑1924) “The Island” oil on canvas signed lower left, titled and listed as #32 on old inventory label en verso, a Parisian customs stamp “Douane Centrale/PARIS” and a partial “Ridgway Knight Exhibition New York 1924” label en verso Framed.

18‑1/8” x 21‑5/8”, framed 22‑3/4” x 26‑1/4” Exhibited: Daniel Ridgway Knight Exhibition, New York, New York 1924 $8,000‑$12,000

426

154

427 Attributed to Frederick William Watts (British, 1800‑1862) “Boaters on the Mill Pond” oil on canvas unsigned.

Unframed.

36” x 30” $1,000‑$1,500 427

428 William Etty (British, 1787‑1849) “Reclining Nude”, 1839 oil on wood panel signed and dated lower left.

Framed.

20‑1/4” x 26‑7/8”, framed 25‑1/4” x 31‑3/4” Provenance: Descended in the family of Henry George Milner, York, England and Kingston, Jamaica. $3,000‑$5,000 428

429 Karl Rudolf Sohn (German/Pennsylvania, 1845‑1908) “Going Through the Family Portraits”, 1887 oil on beveled wood panel signed and dated lower right, remnants of old labels en verso.

Framed.

13‑3/4” x 10”, framed 20‑1/2” x 17‑1/4” $3,000‑$5,000

429

155

430 Francois-Alfred Delobbe (French, 1835‑1920) “La Peche aux Ecrevisses”, 1878 oil on canvas signed lower left.

Framed.

58‑1/2” x 43‑1/2”, framed 64‑1/4” x 49‑1/4” Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

Exhibited: Paris Salon of 1878, no. 696. $5,000‑$8,000 Francois-Alfred Delobbe, a pupil of Thomas Couture and William Bouguereau, was a talented naturalist artist, who excelled in history and daily life genre paintings, exhibiting annually at the Paris Salon since his debut in 1861.

Delobbe, like Jules Breton and Bastion-Lepage, was best known for his beautiful, somewhat idealized depictions of peasantry - capturing harvesters, fishermen, shepherdesses, washwomen and children at play in tattered rags with an aggrandized, classical beauty that are academically drawn and softly lit through diffuse and reverse lighting. A great deal of Delobbe’s inspiration and models came from Concarneau - a rural fishing port and artist colony in Brittany, France, that the artist regularly visited from 1875 until his death. In addition to coastal waters, Concarneau boasts many fresh water inlets and estuaries off the Pont-Aven that are also ideal for crawfish, and may have served as the locale and inspiration for this fine depiction of children fishing for crawfish.

430

431 Narcisse Virgile Diaz de la Pena (French, 1807‑1876) “Ramasseuse de Fleurs” oil on wood panel signed lower right, inscribed en verso.

Framed.

9‑3/4” x 7‑1/2”, framed 17‑5/8” x 13‑3/8” $1,500‑$2,500

431

156

432 Attributed to Jean-Jacques Henner (French, 1829‑1905) “Portrait of a Red-Haired Woman” oil on beveled wood panel Framed.

13‑7/8” x 10‑5/8”, framed 22” x 19” $1,500‑$2,500

432

433 British School (19th Century) “Minna from Walter Scott’s Pirates and Another Maiden, Probably Her Sister Brenda” pair of oils on tin each unsigned and with a period label en verso inscribed in French; the first identifies Minna and the second describes a setting “le soir a la foret”.

Framed alike. each 16‑5/8” x 13‑1/2”, framed 23‑1/2” x 20” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

433

434 British School (Late 18th/Early 19th Century) “Portrait of a Flaxen-Haired Beauty in a Feathered Cap” oil on canvas unsigned.

Attractively framed.

30” x 25”, framed 38‑5/8” x 35‑1/2” $1,000‑$1,500

434

157

435 Sir Jacob Epstein (American/British, 1880‑1959) “Contemplation” charcoal on paper signed lower right.

Matted, glazed and framed, and with artist plaque. sight 8‑1/2” x 11”, framed 22” x 26” $1,000‑$1,500 435

436 detail

436 Good Early Victorian Neoclassical-Style Sterling Silver Ewer hallmarked London, 1839‑1840, by Charles Reily & George Storer, the ovoid body decorated with applied figures of Venus at her toilette and flat-chased with palmette scrolls, with fluted, waisted collar with ovolo-banded spout, the tall, arched handle mounted with three mascarons at the top and one at the base, with ogee-domed foot ring. h. 12”, dia. 5”; 28.75 t. oz. $1,200‑$1,800 436

158

437 Fine Victorian Regimental Sterling Silver Ewer hallmarked Birmingham, 1856‑1857, by Elkington & Co., the ovoid body with waisted collar, crested arched handle and raised on a pedestal foot, the whole decorated with ovolo banding and a textured finish, engraved with the badge of the 3rd King’s Own Light Dragoons. h. 19‑1/4”, dia. 7”; 57.80 t. oz. $3,000‑$5,000 Although so-named in 1818, the 3rd King’s Own Light Dragoons had been formed 150 years earlier during the Glorious Revolution to guard approaches to London. It participated in every major British continental conflict of the 18th and early 19th century: the War of the Spanish Succession, the War of the Austrian Succession, the Seven Years War and the Napoleonic Wars.

The regiment was stationed in Ireland in the 1820s and saw action in the First and Second Anglo-Sikh War in the 1840s. At the time of the presentation of this ewer, the regiment was under the command of Col. Peter Augustus Latour (1788‑1866), who had received the commission in May 1855 and was promoted to General in March 1861. The regiment was renamed the 3rd King’s Own Hussars in August 1861, and was amalgamated in 1958 as part of the Queen’s Own Hussars and again in 1993 as the Queen’s Royal Hussars, under which name it exists today.

437 detail

437

438 Good Pair of Early Victorian Sterling Silver Chambersticks hallmarked Sheffield, 1839‑1840, by Samuel Roberts & Co., each of scalloped circular form with reeded rim, the scallops centered by alternating shells and roses, with a central lobed candle nozzle with detachable bobeche, the shell-crested handle fitted with a conical extinguisher with flammiform finial, the stand and extinguisher engraved with a badge of a demi-lion rampant holding a tower and the motto “Recti Tenax”. h. 3‑3/4”, dia. 6”; 22.77 total t. oz.

438

$1,000‑$1,500

439 Victorian Sterling Silver Salver hallmarked London, 1874‑1875, by John Wilmin Figg (1811‑1886; free 1833), of circular form, with shaped and applied rococo scroll rim, the gallery decorated with elaborate repousse scenes of village life, raised on four demi-mandarin and shell feet, the plateau engraved with a crest of a demi-lion rampant holding an etoile above the motto “Semper Fidelis” and the monogram “WA”. dia. 20‑1/2”; 81.66 t. oz. $4,000‑$7,000

439

159

440 Large Victorian Silverplate Centerpiece third quarter 19th century, probably John Gilbert, Birmingham and London, the standard in the form of a realistically detailed twining grapevine supporting five scrolling branches, each terminating in a candle nozzle and centering a short standard surmounted by a “basket” with a wirework rim and fitted with a molded glass bowl, all decorated with applied grape clusters above a tall waisted plinth raised on three robust acanthus scroll feet, accompanied by an alternative surmounted standard to convert the piece to a candelabrum. h. 31”, dia. 20‑1/4” $1,200‑$1,800 441 Mappin & Webb “Reed & Ribbon” Sterling Silver Flatware Set hallmarked Sheffield, 1973‑1974, including a dozen eleven-piece place settings, with an additional six cream soup spoons, a salad serving set, and six German Bremen Silberwarenfabrik “Louis XV” .800 silver egg spoons, each piece acid engraved with the crest of the Imperial Pahlavi Dynasty of Iran, presented in a mahogany-stained, Pacific cloth-lined, fitted wooden case with lift-top and two drawers, 11” x 18‑3/4” x 12‑1/2”.

146 pieces (plus case) 178.2 total t. oz. (weighable silver) Detailed list of pieces available on request. $3,000‑$5,000

440

441 detail

441

160

440 alternate fitting

442 Edwardian Sterling Silver Tea and Coffee Set with Associated Tray the set hallmarked London, 1905‑1909,

by Page, Keen & Page of Plymouth; the tray by Lebkuecher & Co. of Newark, New Jersey for Udall & Ballou, New York, New York, including a coffeepot, h. 8‑1/4”, l. 10”, a teapot, h. 5‑1/2”, l. 11‑3/4”, a cream jug, h. 3‑3/4”, l. 5‑1/2”, and an open sugar bowl, h. 4‑1/2”, l. 6‑3/4”, each of bulbous rounded rectangular section with reeded band and straight collar, with conforming plinth bases, the pots with black plastic crested, squared handles and conforming finials, the creamer and sugar bowl with squared strap handles, and the tray of oval form with reeded rim, 21‑3/4” x 10”, all monogrammed “EAS”.

126.47 total t. oz.

Provenance: Estates of John and Frances Wittenberg, New Orleans, Louisiana. $2,000‑$4,000

442

443 George V Sterling Silver Hot Water Urn hallmarked Sheffield, 1929‑1930, by Mappin & Webb, the hemispherical body with a cavetto collar and fitted domed lid with turned ebony finial, decorated with reeded banding and flanked by a pair of silver-mounted out-scrolled spatulate ebony handles, the paneled, down-turned spout with turned ebony finials, the whole raised on “Onslow”-crested legs joined by a stretcher centering a spirit burner and terminating in lion’s paw feet above spheres, monogrammed on the collar “MLS”. h. 14‑1/4”, w. 12‑1/4”, d. 12”; 82.50 t. oz. (including wooden elements, but excluding the silverplate burner cap) $1,500‑$2,500

443

444 Edwardian Sterling Silver Center Bowl hallmarked London, 1902‑1903, by Sibray, Hall & Co. (Charles Clement Pilling), the hemispherical bowl decorated with inverted pear-form cartouches flanked by embossed lilies and whiplash lines, with shaped and gadroon-molded rim crested by Bacchic masques, raised on a domed foot ring, monogrammed “AHA”. h. 7‑1/8”, dia. 10‑1/4”; 35.46 t. oz. $1,000‑$1,500

444

161

445 George V Sterling Silver and Porcelain Dessert Set hallmarked London, 1910‑1911, by Mappin & Webb, comprising twelve dessert forks and knives, each with a porcelain “pistol grip” handle painted with galants scenes, with sterling tines/blades, presented in a rosewood case converted from a writing box and with plum velvet-fitted interior. forks l. 7”, knives l. 8”, case 6‑1/2” x 14” x 9‑3/4” $1,000‑$1,500 446 George V/VI Seven-Piece Sterling Silver Gilt Chinoiserie Dresser Set hallmarked London, 1911‑1912 (the brushes 1938‑1939), by CJ Vander, Ltd., in the Charles II taste, including a pair of octagonally-paneled dresser boxes, h. 2‑1/4”, w. 3‑1/2”, a pair of twohandled powder jars, h. 3‑1/4”, w. 6”, a hand mirror, l. 11”, w. 4‑1/2”, and a pair of handled brushes, l. 9‑1/2”, w. 3‑1/2”, all decorated with engraved vignettes of mandarins, birds, buildings and foliage.

43.80 total t. oz. (boxes and jars only)

445 detail

445

$1,000‑$1,500

446

447 Gilt- and Patinated Bronze Gasolier mid-19th century, American or English, the fluted standard decorated with a molded tassel, the four arms in the shape of classical oil lamps, the body decorated with gilt-bronze leaf mounts, the gas keys in the form of giltbronze grapes, set with frosted and cut glass shades. h. 45”, dia. 29” $1,000‑$1,500

447

162

448 William IV Mahogany Bowfront Chest second quarter 19th century, the case with a pair of drawers over a bank of four graduated drawers, all with a beaded perimeter molding and brass lion head ring pulls, the drawers flanked by reeded columnar pilasters, raised on shaped ribbed feet. h. 51‑3/8”, w. 48”, d. 22” $1,500‑$2,500 449 Large William IV Mahogany Tall Case Clock ca. 1800, the painted face with a rotating moon dial and calendar arch, fitted with a time and strike movement and marked “B. Jones - Llandysul”. h. 95‑1/2”, w. 29”, d. 10” $1,000‑$1,500

448

450 English Silvered Bronze and Cut Glass Gasolier mid-19th century, the arms carefully molded with delicate pierced scrollwork, the arms prism hung and termating in cut glass prism rings, the standard decorated with four graduated cut glass prism rings, hung with prisms, a glass “posy holder” at the apex. h. 38”, dia. 30‑1/2” $1,000‑$1,500

450 449

163

451 Unusual Cut Glass Chandelier of Regency Inspiration the six-light chandelier with a lower pan lined with spearpoint prisms, the glass arms set with cut glass prism rings, suspended on glass-clad arms, the center decorated with a glass spear-point finial atop a cut glass prism ring. h. 41”, dia. 30” $1,000‑$1,500 452 Edwardian-Style Satinwood Breakfront the molded cornice surmounted by a central flaming urn finial and side finials, over four astragal-glazed doors, the lower section fitted with four paneled drawers over four cupboard doors, all inset with an oval panel, raised on a plinth base. h. 93”, w. 72‑1/2”, d. 15‑1/2” $1,000‑$1,500

453

453 Pair of Edwardian Cut Glass and Gilt-Metal Candelabra first quarter 20th century, the cut glass bases mounted with oval prism holders, hung with prisms and decorated with lattice-patterned glass beading, set with inverted bell-form candle sockets flanking molded spear-shaped finials. h. 22”, w. 11‑1/2”, d. 5” $800‑$1,200

451 452

164

454 Victorian Mahogany Tripod Table 19th century, in the George III taste, the tilting octagonal top with a full spindled gallery and raised on a spiral-fluted and foliate-carved standard to three splayed like-carved legs ending in ball-and-claw feet. h. 29”, dia. 30” $1,200‑$1,800 455 Suite of Eight English Elm Windsor Armchairs 20th century, each with a hoop and spindle back, shaped saddle seat and turned legs. h. 40‑1/2” $1,500‑$2,500

456

456 Anglo-Irish Cut Glass Chandelier 20th century, the vasiform glass-clad standard decorated with two graduated prism-hung canopies, the bowl-form pan set with notch-cut scrolled candle arms terminating in cut glass prism rings and candle sockets, the lower portion hung with graduated tiers of prisms and a pendant ball finial. h. 31”, dia. 35” $1,000‑$1,500

454

455

165

457 Edwardian Mahogany and Marble-Top Demi-lune Side Table early 20th century, in the George III style, the demilune marble top with an incised Greek-key band and a central half patera, above a conforming fluted frieze, raised on paneled tapering square legs headed by bellflower carving and ending in spade feet. h. 32”, w. 42‑1/2”, d. 18‑1/2” $2,500‑$4,000 458 Chinese Export Lacquer Sewing Box and Small Cabinet

458

second half 19th century, the sewing box decorated to the exterior with floral designs, the hinged cover centered by a cartouche depicting a mountainous river scene, with the monogram “ML”, having a compartmentalized interior and single drawer opening to reveal six square boxes, h. 5‑1/2”, w. 15‑1/4”, d. 9‑1/4”, the cabinet of small proportions, with twin doors opening to reveal a five-drawer interior, h. 15‑1/2”, w. 13‑3/4”, d. 8‑3/8”. $1,000‑$1,500 459 Pair of Rare, Large Scottish Hand-Painted Tole Tea Canisters second quarter 19th century, one example with a scene of Brig o’Turk, a small Scottish village, and the other with a scene of Ben Venue, Loch Katrine, each with coin-like metal tags on the lids, somewhat obscured, but probably Wood & Wood, Glasgow. h. 23”, dia. 15”

459

$1,000‑$1,500

457

166

462 462 detail

460 Copeland Majolica Figure of “Sloth and Mischief” fourth quarter 19th century, English, after artist L. A. Malempre (British, 1820‑1888), decorated in naturalistic tones, on a turquoise cushion, marked around the edges of the cobalt base, “Sloth and Mischief” on the front, “Malempre 50 1877” on the side, and “Copyright Reserved Copeland 77” on the rear. h. 17‑1/2”, w. 9”, d. 12” Provenance: Collection of Speed Lamkin, Monroe, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,400‑$1,800 461 Cut Glass Chandelier in the Anglo-Irish Taste 20th century, the scalloped prism-hung canopy overhanging the cut standard, set among three glass scrolls, the cut glass scrolled arms terminating in glass prism rings, the lower portion with a cut glass prism-hung canopy and pendant ball finial. h. 28”, dia. 24”

461

$1,000‑$1,500 462 William IV-Style Mahogany and Mixed Woods Center Table 20th century, the banded circular top featuring a sunburst inlay, above a conforming plain frieze, raised on a paneled octagonal standard to a concave square base with gadrooncarved banding to foliate-carved toes. h. 29‑3/4”, dia. 59‑1/2” $1,000‑$1,500 460

167

463 Suite of Eight George III-Style Mahogany Dining Chairs early 20th century, consisting of two armchairs and six side chairs, each with a shaped crest rail ending in scrolled ears and a central pierced splat with carved ribbon and tassel, and raised on Marlborough legs, the seats upholstered in brown leather. armchair h. 38‑1/2”, w. 26‑1/2”, d. 20”, side chair h. 37”, w. 21”, d. 20” $1,800‑$2,500 464 Victorian Mahogany Bookcase/Vitrine late 19th century, in the Regency taste, in two parts, the upper section with a projecting cornice over a pair of mullioned doors flanked by reeded pilasters with ormolu Corinthian capitals, the base with a pair of like doors flanked by reeded pilasters, raised on turned legs. h. 79”, w. 33‑1/2”, d. 17” $1,000‑$1,500

464 463 detail

463

168

467

465

466

466 Georgian-Style Mahogany Desk 465 Victorian Bronze and Glass Chandelier mid-19th century, supported on chains, the ruby glass pan set into a bronze bezel decorated with rococo pierced trim, the leaf-molded and scrolled arms set with tulip-shaped candle cups and pierced rococo drip pans. h. 25”, dia. 30‑1/2” $1,000‑$1,500

mid-19th century, the rectangular top with an inset leather surface, above a conforming case fitted with three frieze drawers, all banded, raised on banded tapering square legs. h. 30”, w. 54”, d. 30‑1/2” $1,400‑$1,800 467 Victorian Oak Three-Tier Server mid-19th century, each shelf with a low galleried back and sides, supported by leaf-carved columns. h. 42‑1/4”, w. 42‑1/4”, d. 17‑1/2” $1,000‑$1,500

169

468 Semi-Antique Heriz Carpet 6’ 5” x 8’ 5”

471 Peshawar Sultanabad Runner 2’ 10” x 14’ 6”

$1,200‑$1,800 469 Louis XVI-Style Needlepoint Carpet

$1,000‑$1,500 472 Heriz Runner

17’ 4” x 20’ 5”

3’ x 10’ 8”

$1,000‑$1,500

$1,500‑$2,500

470 Agra Sultanabad Carpet

473 Turkish Oushak Carpet

12’ x 14’ 10”

7’ 6” x 10’ 8”

$2,500‑$4,000

$2,000‑$4,000

471

472

473

170

468

470

469

171

474 Semi-Antique Heriz Carpet 10’ 4” x 14’ 6” $3,000‑$5,000 475 Tabriz Carpet 12’ x 19’ 7” $1,200‑$1,800 476 Bamboo Silk Carpet

477 Turkish Angora Oushak Runner 2’ 8” x 19’ 4” $1,000‑$1,500 478 Agra Serapi Carpet 9’ 10” x 13’ 11” $1,000‑$1,500

8’ 9” x 12’ $1,000‑$1,500

477

474

172

476

478

475

173

479 Pair of Carved Wooden Foo Dogs 20th century, each with a menacing expression, one foot on a ball, and raised on a plinth carved with draped covers, over panels of clouds. h. 42”, w. 19”, d. 22‑1/2” $2,000‑$4,000 480 Middle-Eastern Brass and Glass Mosque Light 19th century, with faceted sides set with blown glass inserts, the domed pierced brass top with typical finals. h. 14”, dia. 10” $1,000‑$1,500 481 Japanese Satsuma Porcelain Covered Jar first quarter 20th century, of globular form, tapering to a narrower foot, having a domed cover with knotted cord and brocade detail, the body decorated with various seated Arhats, the base with Satsuma mark and signed in reserve. h. 16”, dia. 13”

480

$2,500‑$4,000 482 Two Japanese Inros and an Incense Box fourth quarter 19th/first quarter 20th century, comprising a segmented cinnabar lacquer inro, carved in relief with figures amid a garden setting, h. 2‑3/8”, w. 2”, an unusual naturalistic Japanese burl elm example, with conforming cover, h. 3‑2/8”, w. 2”, and a small lacquer incense or accessories box, with maki-e decoration, the cover with a design depicting a turtle and cranes, the body with various mon badges, and the base with a tiger, bull and rabbit, with seal mark in red to the bottom right corner, h. 1‑1/4”, w. 2”, d. 2‑1/2”.

482

$1,200‑$1,800

481

174

479

483 Japanese-Style Elmwood Three-Drawer Sideboard

485 Chinese Cobalt Blue and White Dragon Charger

probably fourth quarter 19th century, the rectangular top over three short drawers with drop-loop handles, the apron carved with a scrolling floral design, the whole raised on four square legs terminating in neat scroll feet. h. 33‑1/2”, w. 62”, d. 22”

in the Yuan or early Ming style, but later, likely fourth quarter 19th/first quarter 20th century, of circular form, having a pinched foliate rim, decorated to the center with an incised design of a three-claw dragon chasing the flaming pearl, depicted in a translucent white, contrasting the deep cobalt glaze thickly covering the surround, the base unglazed. dia. 18‑1/4”

$1,000‑$1,500

$1,000‑$1,500

484 Unusual Japanese Satsuma-Style Bottle Vase first half 20th century, decorated to the exterior with an applied design of shishi, trailing ribbons amid stylized flames and floral sprays, all on a metallic ground, the base unmarked. h. 25‑1/2”, dia. 13” $2,500‑$4,000

485

484

483

175

486 Chinese Carved Teakwood and Marble-Inset Occasional Table 20th century, the foliate form rouge marble top set within a conforming frame, over a carved and pierced floral frieze, raised on four legs carved with stylized foo dog heads, supporting a circular second tier, and terminating in claw feet. h. 31‑1/2”, dia. 25” $1,200‑$1,800

487 Chinese Jade Carving with Hardwood Stand probably first half 20th century, the naturalistic form of the stone used to create a mountainous backdrop to a scene, carved in relief, of two children flying a kite on a terrace, the stone with lavender tones and spinach inclusions, together with carved and fitted hardwood stand. stone h. 15”, w. 14”, d. 1‑1/2”, overall h. 19‑1/2”, w. 16”, d. 4”

486

$1,000‑$1,500

488 Pair of Chinese Bronze Foo Dogs on Carved Wood Stands first half 20th century, each modeled seated with head turned and paw raised, having an apocryphal fourcharacter Qianlong mark to the underside, with fitted hardwood stands carved as rockwork. h. 14‑1/4”, w. 16‑1/2”, d. 11” $1,000‑$1,500

487

488

176

489 Soapstone Figure of Buddha with Associated Marble Pedestal likely Chinese, second half 19th century, modeled peacefully seated in bhumisparsha, the pale stone with some remnants of paint visible, together with an associated Vert de Suede marble pedestal, with tapering stem and tiered base. buddha h. 17‑1/2”, w. 14‑1/2”, d. 6”, pedestal h. 42‑1/2”, w. 12”, d. 12” $1,000‑$1,500

490 Provincial Chinese-Style Elmwood Table probably first half 20th century, the broad rectangular top within a thick conforming frame, with simply carved frieze, raised on unusual shaped legs joined by plain double stretchers. h. 34”, w. 38”, l. 86‑1/2” $1,000‑$1,500

491 Chinese Porcelain Dragon Jar with Carved Hardwood Cover possibly Jiajing period (1521‑1567) or later, of compressed baluster form, with shallow everted neck, the exterior with all-over white glaze, lightly incised with a design of five-claw dragons chasing the flaming pearl, the hardwood domed cover carved and pierced with scrolling floral designs, the base with collection labels stating Pitt & Scott Ltd, London, and Borgonuovo Milano Arte Cinese. h. 9”, dia. 6”

491

489

$1,000‑$1,500

490

177

SESSION II

Sunday, July 28, 2019 Lots 492-906

Lot 761

492 Chanel, Paris, Large Black Surpique Tote 2003-2004, brushed gold hardware, with tan-stitched calfskin dual flat straps and body, magnetic closure, the underside with four domed feet, both sides with a deep black “CC” fabriclined outer snap pocket accessed from the upper edge, the black “CC” fabric-lined interior with a matching loose zippered pouch with logo pull and one zippered side pocket with logo tab fronted by a gold-stamped label “Chanel/Made in Italy”, includes a dust bag. h. 11”, w. 15-1/2”, d. 6-1/2”; strap drop: 8-1/2” Provenance: Private collection Mobile, Alabama. $1,000-$1,500

492

493 Chanel, Paris, Navy Surpique Drawstring Bucket Bag 2005-2006, with silver hardware, the doubled chain strap with “CC” charm and center-stitched shoulder guard, the navy lambskin body with white contrast stitching, the underside with four domed feet, the white logo fabric-lined interior with a single zippered pocket with logo pull and fronted with a matching leather label stamped in silver “Chanel/Made in Italy”, includes the interior hologram, matching authenticity card, small white care instructions pamphlet with envelope and dust bag. h. 12”, w. 12”, d. 7-1/2”; chain drop: 11” Provenance: Private collection Mobile, Alabama. $1,000-$1,500

493

180

495 Yves Saint Laurent Large Black Persian Lamb Muse Bag 2006, gold hardware, with dual flat leather straps and trim, zippered top closure with logo tabs, front padlock detail with clochette and key, the pearlized anthracite lambskin-lined interior with a small open pocket opposite a long black satinlined zippered pocket labeled “Yves Saint Laurent/Rive Gauche”, with five domed feet, includes the original style tag, authenticity card, care pamphlet and dual dustbags. h. 14”, w. 18”, d. 6-1/2”; strap drop: 7-1/4” Provenance: Private collection Mobile, Alabama. $800-$1,200

495

494 Prada, Milano, Large Red Nappa Leather Dressy Gaufre Frame Bag 2007, gold hardware, the handle with buckled detail, push lock closure and pochette with key, the body with overall ruched detail, the front with the Prada gold metal logo, resting on four domed feet, the red logo fabric-lined interior with a long zippered pocket fronted with the enameled metal label “Prada/ Made in Italy”, includes the authenticity card, the original style card, care pamphlet and dust bag. h. 14”, w. 14”, d. 4-1/4”; handle drop: 5-1/2” Provenance: Private collection Mobile, Alabama. $1,000-$1,500

494

181

496 South Sea Pearl Necklace 14k yellow gold, the necklace composed of graduated golden South Sea pearls with an excellent luster, measuring 11.0 mm to 14.0 mm in diameter, finished with a yellow gold ball clasp. l.

18”, total weight 89.3 grams

499 South Sea Pearl Necklace 14k white gold, the necklace composed of graduated 12.0 mm to 15.0 mm white South Sea pearls with a good luster, finished with a gold clasp. l. 18”, total weight 99.6 grams

$1,500-$2,500

$1,500-$2,500

497 Pair of Verdura “Diana” Pearl and Diamond Ear Clips

500 Baroque Pearl and Diamond Ring

18k yellow gold/platinum, the earrings mounted with pink/ white mabe pearls with an excellent luster, accented by round brilliant-cut diamonds weighing approximately 2.16 carats in total, stamped “VERDURA” AND “950, PT900”. l. 1”, total weight 36.0 grams

18k white gold, the ring mounted with a gray South Sea baroque pearl with a high luster, accented by round brilliantcut diamonds weighing approximately 1.20 carats in total. size 7, total weight 12.0 grams

$7,000-$10,000 498 Mother-of-Pearl and Diamond Brooch 18k yellow gold, the brooch in the shape of a flower with mother-of-pearl “petals” and a cluster of round brilliant-cut diamonds in the center weighing approximately 0.14 carats in total. l. 2”, total weight 30.0 grams $1,000-$1,500

182

$1,500-$2,500 501 South Sea Pearl Necklace 14k yellow gold, the necklace composed of 12.0 mm to 14.0 mm South Sea pearls with a pink/rose color and a good luster, finished with a gold clasp. l. 16”, total weight 2.0 grams $1,400-$1,800

500 501

497

498

499

496

183

502 503

505

509

504 507

184

502 Two Pairs of David Yurman Ear Clips

506 Spessartite Garnet and Diamond Bracelet

including a pair of 18k yellow gold/sterling silver “Capri” ear clips set with a 12.0 mm mabe pearl and round brilliantcut diamonds weighing approximately 0.20 carats in total, stamped “D.Y., 925, 750”, l. 7/8”, and a pair of sterling silver cable-designed ear clips set with a 14.0 mm mabe pearl surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.33 carats in total, stamped “D.Y., 925”, dia.

3/4”. total weight 41.8 grams

14k yellow gold, the bracelet mounted with triangle-cut spessartite garnets weighing approximately 13.42 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.73 carats in total. l. 7-1/4”, total weight 20.0 grams $2,000-$4,000

$1,200-$1,800 503 David Yurman “X Crossover” Diamond Ring 14k yellow gold, the wide band mounted with round brilliantcut diamonds weighing approximately 0.44 carats in total, stamped “D. YURMAN” and “585”. size 6-1/4, total weight 14.2 grams $1,000-$1,500 504 Large Gold Choker 18k yellow gold, the wide bold rope design composed of curved links, stamped “Italy, k18”. l. 16-1/4”, w. 13/16”, total weight 139.4 grams $3,500-$5,000

506

507 Citrine, Tiger Eye and Diamond Ring 14k yellow gold, the ring mounted with a central sugarloaf citrine weighing approximately 3.59 carats, accented with alternating sections of round brilliant-cut diamonds weighing approximately 0.15 carats in total, and calibrated-cut tiger eye. size 7-1/4, total weight 9.0 grams $1,000-$1,500 508 Spessartite Garnet and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-cut spessartite garnets weighing approximately 32.76 carats in total and round brilliant-cut diamonds weighing approximately 0.82 carats in total. l. 7-1/4”, total weight 28.0 grams

508

$2,500-$4,000 509 Citrine, White Sapphire and Diamond Necklace

18k yellow/white gold, the ear clips in a rope design and mounted with round brilliant-cut diamonds weighing approximately 0.62 carats in total, stamped “Italy, 18k”. l. 1”, total weight 21.0 grams

sterling silver, the pendant mounted with an oval-cut citrine weighing approximately 22.66 carats, surrounded by a halo of oval-cut white sapphires weighing approximately 3.20 carats in total, the whole and the clasp mounted with roundcut diamonds weighing approximately 1.71 carats in total, the pendant suspended from a necklace composed of faceted citrine roundels. pendant l. 2-1/8”, necklace l. 18”, total weight 30.0 grams

$1,500-$2,500

$1,000-$1,500

505 Pair of Gold and Diamond Ear Clips

185

510 Two Diamond Bangle Bracelets gold vermeil, the hinged bracelets mounted with round-cut diamonds weighing approximately 2.00 carats in total. inside circumference 6-1/2”, total weight 36.0 grams $1,000-$1,500 511 Pair of Diamond Ear Clips 14k yellow gold, each ear clip in the form of a sunflower and mounted with round brilliant-cut diamonds weighing approximately 0.96 carats in total. l. 1”, total weight 27.0 grams $1,200-$1,800 512 Diamond Bangle Bracelet 18k yellow gold, the bracelet mounted with round brilliantcut diamonds in the round, weighing approximately 1.00 carat in total, approximate color E-F and clarity SI1-I1. inside circumference 7-1/4”, total weight 13.0 grams $1,800-$2,500 513 Opal and Diamond Ring 18k white gold, the ring mounted with an oval cabochon-cut opal weighing approximately 3.09 carats, accented by round brilliant- and baguette-cut diamonds weighing approximately 0.33 carats in total. size 7, total weight 4.0 grams $1,000-$1,500

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514 Opal and Multi-Gem-Set Pendant with Chain 18k yellow gold, the pendant mounted with a pear cabochoncut opal weighing approximately 58.14 carats, accented by round-cut diamonds weighing approximately 0.50 carats in total, pear- and round-cut blue and pink treated sapphires weighing approximately 1.30 carats in total and pear- and round-cut treated emeralds weighing approximately 0.68 carats in total, l. 2”, suspended from an 18” gold chain. total weight 15.0 grams $2,500-$4,000 515 Unusual Opal and Diamond Necklace sterling silver, the necklace mounted with cabochon-cut opals weighing approximately 61.20 carats in total, and pear- and oval-shaped sliced diamonds weighing approximately 11.22 carats in total. w. 1”, l. 19”, total weight 168.3 grams $1,200-$1,800 516 Pair of Opal, Sapphire and Diamond Earrings sterling silver, the earrings mounted with oval-shaped opals weighing approximately 7.20 carats in total, round- and pearcut treated sapphires weighing approximately 1.48 carats in total and round-cut diamonds weighing approximately 2.13 carats in total. l. 2-1/4”, total weight 14.0 grams $1,000-$1,500

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517 Turquoise, Opal, Tourmaline and Diamond Necklace sterling silver, the pendant mounted with an oval cabochoncut turquoise weighing approximately 49.9 carats, accented on the border by oval cabochon-cut opals weighing approximately 1.16 carats in total, oval- and pear-cut tourmalines weighing approximately 0.74 carats in total, round-cut turquoises weighing approximately 0.16 carats in total, and rose-cut diamonds weighing approximately 0.50 carats in total, l. 2-1/4”, suspended from an opal necklace composed of opal roundels ranging in size from 2.7 mm to 5.4 mm, finished with a diamond clasp, l. 18”. total weight 23.3 grams

519 Lapis Lazuli, Opal and Diamond Necklace sterling silver, the pendant mounted with a cabochon-cut lapis lazuli weighing approximately 16.9 carats, accented with round-cut turquoises weighing approximately 0.72 carats in total, cabochon-cut opals weighing approximately 2.40 carats in total, and oval-cut green quartzes weighing approximately 3.00 carats in total, and rose-cut diamonds, l. 2-1/4”, the pendant suspended from a necklace composed of 4.6 mm lapis lazuli beads accented and finished with a diamond clasp, l. 16-1/2”, with a total approximate diamond weight of 1.90 carats in total. total weight 32.0 grams $1,000-$1,500

$1,000-$1,500 518 Turquoise and Diamond Jewelry Suite sterling silver, including a hinged bangle bracelet mounted with oval cabochon-cut turquoises weighing approximately 7.56 carats in total, alternating with sliced-cut diamonds weighing approximately 2.98 carats in total and accented by round-cut diamonds weighing approximately 1.00 carat in total, inside circumference 7-1/4”, and a pair of earrings mounted with oval cabochon-cut turquoises weighing approximately 5.60 carats in total and sliced-cut diamonds weighing approximately 2.80 carats in total, l. 1”. total weight 66.0 grams $1,000-$1,500

520 Pair of Turquoise and Enamel Ear Clips 18k yellow gold, the ear clips mounted with round cabochoncut turquoises weighing approximately 2.86 carats in total, accented with blue enamel. l. 1”, total weight 23.0 grams $1,000-$1,500 521 Lapis Lazuli Necklace 14k yellow gold, the necklace mounted with round cabochoncut lapis lazuli weighing approximately 4.46 carats in total. l.

18-1/2”, total weight 27.0 grams $1,000-$1,500

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522 Van Cleef & Arpels Turquoise and Diamond Ear Clips 18k yellow gold, the ear clips mounted with oval cabochoncut turquoises weighing approximately 13.28 carats in total, surrounded by a border of round brilliant-cut diamonds weighing approximately 2.90 carats in total, stamped “Van Cleef & Arpels” and “750”. l. 1”, total weight 23.0 grams $6,000-$9,000 523 Turquoise, Emerald and Diamond Necklace 18k white gold, the pendant mounted with an oval cabochoncut turquoise weighing approximately 6.04 carats, accented by pear-cut treated emeralds weighing approximately 2.99 carats in total and round brilliant-cut diamonds weighing approximately 0.22 carats in total, l. 2-3/8”, suspended from an 18” white gold chain accented with round brilliant-cut diamonds. total weight 11.0 grams $2,000-$4,000 524 Turquoise, Emerald and Diamond Ring 18k yellow gold, the ring mounted with a rectangular carved blue turquoise weighing approximately 4.09 carats, accented by emerald-cut emeralds weighing approximately 0.10 carats in total, and round brilliant-cut diamonds weighing approximately 0.31 carats in total. size 7-1/4, total weight 6.0 grams $1,000-$1,500

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525 Zircon and Diamond Ring 14k white gold, the ring mounted with an oval-cut blue zircon weighing approximately 4.23 carats, accented by round brilliant-cut diamonds weighing approximately 0.86 carats in total. size 6-3/4, total weight 4.5 grams $1,000-$1,500 526 Pair of Apatite and Diamond Earrings 18k white gold, the earrings mounted with oval-cut apatite stones weighing approximately 4.42 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.55 carats in total. l. 1”, total weight 5.0 grams $1,200-$1,800 527 Beautiful Paraiba Tourmaline and Diamond Ring 18k white gold, the ring mounted with an oval-cut Paraiba tourmaline weighing 3.63 carats, GIA report #6197733498, accented by round brilliant-cut diamonds weighing approximately 1.08 carats in total. size 6-1/2, total weight 5.5 grams $10,000-$15,000

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531 Emerald, Diamond, Rock Crystal and Onyx Ring

528 Emerald, Ruby and Diamond Ring platinum, the ring mounted with an emerald-cut treated emerald weighing approximately 1.39 carats, accented by channel-set mixed-cut treated rubies weighing approximately 1.46 carats in total and round brilliant-cut diamonds weighing approximately 0.30 carats in total. size 6-3/4, total weight 8.9 grams $1,800-$2,500 529 Tsavorite Garnet and Diamond Bangle Bracelet sterling silver, the hinged bracelet mounted with round-cut treated Tsavorite garnets weighing approximately 9.66 carats in total, and sliced-cut diamonds weighing approximately 1.50 carats in total. inside circumference 8�, total weight 74.0 grams $1,000-$1,500 530 Emerald and Diamond Ring

18k white gold, the ring mounted with a central emeraldcut treated emerald weighing approximately 1.06 carats, surrounded by a border of round brilliant-cut diamonds weighing approximately 0.21 carats in total, accented by a border of carved rock crystal and black onyx. size 7, total weight 7.0 grams $1,000-$1,500 532 Pair of Emerald and Diamond Earrings 18k white gold, the huggie-style earrings mounted with emerald-cut treated emeralds weighing approximately 3.39 carats in total and accented by baguette-cut diamonds weighing approximately 0.18 carats in total. l. 3/4�, total weight 7.0 grams $1,500-$2,500 533 Emerald and Diamond Ring 18k white gold, the ring mounted with an emerald-cut natural emerald weighing approximately 5.41 carats, flanked on either side by baguette-cut diamonds weighing approximately 0.62 carats in total, approximate color E-F and clarity VVS2-VS1. size 7, total weight 8.0 grams

18k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 1.81 carats, accented by round brilliant-cut diamonds weighing approximately 0.49 carats in total. size 6, total weight 5.9 grams

$5,000-$8,000

$1,800-$2,500

18k white gold, the ring mounted with a rectangular stepcut treated emerald weighing 7.03 carats, AGL report #1096882, accented by round brilliant-cut diamonds weighing approximately 1.00 carat in total. size 6, total weight 11.4 grams

534 Emerald and Diamond Ring

$8,000-$12,000

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535 Malachite, Onyx and Diamond Bracelet 18k yellow gold, the bracelet mounted with alternating links of gold-backed malachite and onyx, separated by links mounted with round brilliant-cut diamonds weighing approximately 0.53 carats in total. l. 7”, total weight 15.0 grams $1,400-$1,800

537 Jadeite, Seed Pearl and Enamel Jewelry Suite 14k yellow gold, including a necklace, ear clips and a ring composed of round and oval carved and pierced green jadeite, set in 14k champleve enamel mountings, outlined in a border of seed pearls. necklace l. 16”, ear clips dia. 15/16”, ring size 4, total weight 66.5 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,000-$1,500 538 Pair of Emerald and Diamond Earrings 18k yellow gold, the earrings mounted with pear-cut treated emeralds weighing approximately 10.41 carats in total and round brilliant-cut diamonds weighing approximately 2.42 carats in total. l. 1-3/4”, total weight 11.0 grams $2,500-$4,000 539 Emerald and Diamond Ring

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536 Malachite, Onyx and Diamond Pendant with Chain 18k yellow gold, the pendant mounted with malachite and black onyx, and accented on the pendant and the chain with round brilliant-cut diamonds weighing approximately 0.41 carats in total. pendant l. 2-1/2”, chain l. 18”, total weight 12.0 grams $1,000-$1,500

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14k yellow gold, the ring mounted with an emerald-cut treated emerald weighing approximately 2.29 carats, accented by round brilliant-cut diamonds weighing approximately 0.59 carats in total. size 4-1/2, total weight 6.0 grams $1,800-$2,500

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540 Diamond and Multi-Gem-Set Ring 18k yellow gold, the ring mounted with a round brilliant-cut diamond weighing approximately 1.13 carats, approximate color G and clarity VS1, and thirteen smaller round brilliantcut diamonds weighing approximately 1.54 carats in total, approximate color G-I and clarity VS1-VS2, accented with oval- and round-cut treated rubies weighing approximately 1.13 carats in total, oval- and round-cut treated sapphires weighing approximately 1.24 carats in total and round-cut treated emeralds weighing approximately 0.90 carats in total. size 6-1/4, total weight 8.0 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $2,500-$4,000 541 Multi-Gem-Set Brooch 18k yellow gold, the brooch mounted with round brilliantcut diamonds weighing approximately 1.18 carats in total, cabochon-cut treated rubies weighing approximately 3.80 carats in total, cabochon-cut treated emeralds weighing approximately 3.06 carats in total and cabochon-cut treated sapphires weighing approximately 2.47 carats in total, stamped “Coleman E. Adler & Sons Inc., Made in France”. l. 2”, total weight 31.0 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,800-$2,500 542 Multi-Colored Sapphire and Diamond Bracelet 14k yellow gold, the bracelet composed of oval-cut green, orange, yellow and blue treated sapphires weighing approximately 4.05 carats in total, alternating with ovalcut diamonds weighing approximately 3.89 carats in total, approximate color E-G and clarity SI1-I1. l. 7-1/4”, total weight 12.0 grams

543 Padparadscha Sapphire and Diamond Ring 18k white gold, the ring mounted with a natural oval-cut Padparadscha sapphire weighing approximately 1.05 carats, accented by triangle- and round brilliant-cut diamonds weighing approximately 0.49 carats in total. size 7, total weight 3.0 grams $1,800-$2,500 544 Yellow Sapphire and Diamond Ring 14k yellow gold, the ring mounted with a cushion-cut treated yellow sapphire weighing approximately 5.11 carats, accented by round brilliant-cut diamonds weighing approximately 0.56 carats in total. size 7, total weight 4.2 grams $1,800-$2,500 545 Pair of Natural Multi-Colored Sapphire Earrings 14k white gold, the huggie-style earrings mounted with ovalcut natural sapphires in white, light blue, light pink and light purple, weighing approximately 5.68 carats in total. l. 1”, total weight 6.0 grams $1,000-$1,500 546 Yellow Sapphire and Diamond Ring 18k white gold, the ring mounted with an emerald-cut treated yellow sapphire weighing approximately 1.84 carats, accented by round brilliant-cut diamonds weighing approximately 0.82 carats in total. size 6-3/4, total weight 3.4 grams $1,400-$1,800

$2,500-$4,000

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547 Multi-Colored Diamond Ring 18k yellow/white/rose gold, the ring mounted with a cushioncut brown diamond and a cushion-cut faint yellow diamond, each weighing approximately 0.15 carats, the whole accented by round brilliant-cut white and faint yellow diamonds weighing approximately 0.27 carats in total. size 7, total weight 4.0 grams $1,000-$1,500 548 Yellow and White Diamond Necklace 18k white gold, the pendant mounted with round-, radiant-, oval-, pear- and heart-shaped fancy yellow diamonds weighing approximately 1.19 carats in total and round brilliantcut diamonds weighing approximately 0.16 carats in total, suspended from a 16-1/2” gold chain. total weight 5.0 grams $1,200-$1,800 549 Fancy Yellow and White Diamond Ring 18k white gold, the ring mounted with pear- and round-cut Fancy Yellow diamonds weighing approximately 0.48 carats in total, accented by round brilliant-cut white diamonds weighing approximately 0.34 carats in total. size 7, total weight 3.8 grams $1,500-$2,500 550 Multi-Colored Diamond Cuff Bracelet sterling silver, the wide bracelet mounted with various cuts of yellow, white, gray, brown and black diamonds weighing approximately 2.67 carats in total. w. 1-7/8”, inside circumference 6-1/2”, total weight 67.0 grams $1,500-$2,500

551 Yellow and White Diamond Ring 18k white gold, the ring mounted with a central light yellow diamond weighing approximately 1.73 carats, approximate clarity SI2, flanked on either side with a quadrillion-cut white diamond weighing approximately 2.02 carats in total, approximate color F-G and clarity SI2-I1, and accented with round brilliant-cut diamonds weighing approximately 0.34 carats in total, approximate color F-H and clarity VS2-SI1. size 6-1/4, total weight 5.4 grams $10,000-$15,000 552 Yellow and White Diamond Band 18k white gold, the ring mounted with cushion-cut fancy light yellow diamonds weighing approximately 1.65 carats in total, approximate clarity VS1-SI1, accented with round brilliant-cut white diamonds weighing approximately 0.26 carats in total. size 7, total weight 6.0 grams $1,500-$2,500 553 Fancy Light Yellow Diamond Ring 18k white gold, the ring mounted with a central oval-cut Fancy Light Yellow diamond weighing approximately 1.00 carat, approximate clarity SI1, accented by round brilliant-cut white diamonds weighing approximately 0.78 carats in total. size 7, total weight 7.0 grams $3,000-$5,000 554 Alexandrite and Diamond Ring platinum, the ring mounted with an oval-cut alexandrite weighing 1.29 carats, with a color change from a yellowish green to a yellowish brown, GIA report #5191173290, accented with round brilliant-cut diamonds weighing approximately 0.54 carats in total. size 7, total weight 4.8 grams $2,500-$4,000

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559 Pair of Diamond Stud Earrings with Diamond Jackets 555 Three-Stone Diamond Ring 14k white gold, the ring mounted with three round brilliantcut diamonds weighing approximately 1.15 carats in total, approximate color E-G and clarity VS2-SI1, accented by single-cut diamonds weighing approximately 0.41 carats in total, with an adjustable ring shank. size 8-1/2, total weight 6.0 grams

18k white gold, the earrings mounted with pear- and rosecut diamonds weighing approximately 2.18 carats in total, approximate color E-G and clarity VS1-VS2. l. 1/2”, total weight 5.0 grams $1,800-$2,500 560 Diamond Necklace

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

14k white gold, the necklace mounted with round brilliantcut diamonds weighing approximately 0.80 carats in total. l.

17-1/2”, total weight 3.0 grams

$1,400-$1,800

$1,400-$1,800

556 Diamond Bracelet

561 Diamond Bracelet

14k white gold, the seven-strand bracelet mounted with round brilliant-cut diamonds weighing approximately 10.17 carats in total. l. 6-3/4”, total weight 41.3 grams

18k white/rose gold, the flexible bracelet mounted with marquise-, princess-, baguette-, and round brilliant-cut diamonds weighing approximately 4.27 carats in total, approximate color E-F and clarity VVS2-VS1. l. 6-1/2”, total weight 12.0 grams

$6,000-$9,000 557 Diamond Engagement Ring platinum, the ring mounted with a central round brilliant-cut diamond weighing approximately 1.00 carat, approximate color G and clarity VVS2, accented by single-cut diamonds weighing approximately 0.22 carats in total, with an adjustable shank. size 4-1/2, total weight 4.0 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $3,000-$5,000 558 Diamond Pendant with Chain 14k white gold, the pendant mounted with a European-cut diamond weighing approximately 1.03 carats, approximate color H and clarity VS2, accented by round- and single-cut diamonds weighing approximately 0.18 carats in total, l. 1”, w. 1”, suspended from a 15” white gold chain. total weight 5.0 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,400-$1,800

$3,500-$5,000 562 Pair of Two-Stone Diamond Earrings 18k white gold, the earrings mounted with round brilliantcut diamonds weighing approximately 1.50 carats in total, approximate color E-G and clarity SI1-SI2. l. 1/2”, total weight 3.0 grams $1,800-$2,500 563 Diamond Tennis Bracelet 18k white gold, the bracelet mounted with graduated round brilliant-cut diamonds weighing approximately 6.67 carats in total, approximate color G-I and clarity I1-I2. l. 7”, total weight 11.9 grams $5,000-$8,000 564 Pair of Diamond Stud Earrings 18k white gold, each earring mounted with a round brilliantcut diamond weighing approximately 1.43 carats in total, approximate color E-G and clarity SI2-I1. total weight 2.0 grams $1,800-$2,500

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565 Five-Stone Diamond Ring platinum, the ring mounted with five emerald-cut diamonds weighing approximately 1.38 carats in total, approximate color E-G and clarity VVS2-VS1. size 6-3/4, total weight 6.0 grams $1,500-$2,500 566 Diamond Bracelet 14k white gold, the flexible bracelet composed of elongated chain links and mounted with round brilliant-cut diamonds weighing approximately 2.03 carats in total. l. 7-1/2”, total weight 12.0 grams $2,000-$4,000 567 Diamond Ring 18k white gold, the ring designed with three sections mounted with round brilliant- and baguette-cut diamonds weighing approximately 1.07 carats in total, approximate color D-E and clarity SI1-I1. size 7-1/2, total weight 9.0 grams $1,500-$2,500 568 Tanzanite and Diamond Ring platinum, the ring mounted with an oval-cut tanzanite weighing 10.78 carats, GIA report #517158516, accented by round brilliant-cut diamonds weighing approximately 1.87 carats in total, approximate color G-I and clarity VS2-SI1. size 7, total weight 12.4 grams $7,000-$10,000

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569 Le Vian Tanzanite and Diamond Ring 18k white gold, the ring mounted with an emerald-cut tanzanite weighing approximately 8.56 carats, accented with baguetteand round brilliant-cut diamonds weighing approximately 0.89 carats in total, stamped “Le Vian”. size 8-1/4, total weight 11.8 grams $3,500-$5,000 570 Tanzanite and Diamond Bracelet sterling silver, the bracelet mounted with triangle-cut tanzanites weighing approximately 29.24 carats in total, accented by sliced-cut diamonds weighing approximately 1.08 carats in total. w. 1”, l. 7”, total weight 85.0 grams $1,000-$1,500 571 Tanzanite and Diamond Ring 14k white gold, the ring mounted with an oval-cut tanzanite weighing approximately 5.27 carats, accented by round brilliant-cut diamonds weighing approximately 1.74 carats in total. size 7, total weight 5.1 grams $3,000-$5,000

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575 Pair of Panther Door Knocker Earrings 572 Tanzanite, Garnet and Diamond Ear Clips 14k yellow gold, the ear clips with a rope-twist design, each mounted with a central oval cabochon-cut tanzanite weighing approximately 2.50 carats in total, and accented with round cabochon-cut garnets weighing approximately 1.20 carats in total and round brilliant-cut diamonds weighing approximately 0.08 carats in total. l. 1”, total weight 20.0 grams $1,400-$1,800 573 Raymond Yard Sapphire and Diamond Brooch 18k yellow gold, the brooch in the form of a flower and mounted with round-cut sapphires weighing approximately 1.10 carats in total and round brilliant-cut diamonds weighing approximately 0.16 carats in total, stamped “Yard, 18KT”. l.

1-3/4”, total weight 15.0 grams $1,500-$2,500 574 Gold Bracelet 22k yellow gold, the twisted wire bracelet stamped with a foliage design, the ends termating in 9.0 mm round spheres. inside circumference 7-3/4”, total weight 54.0 grams

14k yellow gold, the earrings in the form of panther heads mounted with oval cabochon-cut treated rubies weighing approximately 1.38 carats in total and round brilliant-cut diamonds for the eyes weighing approximately 0.07 carats in total. l. 2”, total weight 36.0 grams $1,200-$1,800 576 Gold Bracelet 22k yellow gold, the twisted wire bracelet with ends terminating in applied “D”-designed discs. inside circumference 7-1/2”, total weight 36.2 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,200-$1,800 577 Gold Rope Chain 14k yellow gold, the hollow 10.0 mm chain with a clasp and safety lock. l. 36”, total weight 89.0 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,800-$2,500

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

578 Gold Bangle Bracelet

$1,800-$2,500

22k yellow gold, the hinged bracelet of Middle Eastern design. inside circumference 6-3/4”, total weight 52.5 grams $1,500-$2,500

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579 Diamond Bracelet and Earring Suite gold vermeil, the hinged bracelet and earrings mounted with sliced-cut diamonds weighing approximately 3.57 carats in total. earring l. 2-1/2”, bracelet inside circumference 8”, total weight 10.0 grams $1,000-$1,500 580 Diamond Necklace

583 Diamond Bracelet gold vermeil, the bracelet mounted with single- and round-cut diamonds weighing approximately 2.80 carats in total. l. 7”, total weight 35.0 grams $1,000-$1,500

gold vermeil, the necklace mounted with sliced-cut diamonds weighing approximately 7.42 carats in total. w. 1”, l. 20-1/2”, total weight 21.1 grams $1,000-$1,500

584 Diamond Ring 18k yellow gold, the ring mounted with baguette-cut diamonds weighing approximately 0.83 carats in total. size 7, total weight 5.0 grams $1,000-$1,500 585 Pair of Diamond Earrings 18k yellow gold, the earrings in the form of concentric circles and mounted with round brilliant-cut diamonds weighing approximately 1.85 carats in total. l. 1-1/4”, total weight 18.0 grams $2,000-$4,000

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581 “E. Pearl” Diamond Ear Clips 18k yellow gold, each ear clip designed as a flower blossom and set with a round brilliant-cut diamond weighing approximately 0.32 carats in total, stamped “E. Pearl, 18k”. dia. 1”, total weight 24.4 grams

586 Stunning Pair of Diamond Chandelier Earrings 18k yellow gold, the earrings mounted with round brilliantcut diamonds weighing approximately 9.68 carats in total, approximate color D-E and clarity SI1-I1. l. 3”, total weight 21.0 grams $6,000-$9,000 587 Diamond Bangle Bracelet

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

18k yellow gold, the hinged bracelet with a chain-link design and mounted with round brilliant-cut diamonds weighing approximately 0.75 carats in total. inside circumference 6-1/4”, total weight 13.0 grams

$1,400-$1,800

$1,800-$2,500

582 Pierre Sterle Diamond Ear Clips

588 Pair of Diamond Earrings

18k yellow gold, each ear clip designed as a flower blossom and mounted with a round brilliant-cut diamond weighing approximately 0.32 carats in total, stamped “Modele, Sterle, Paris”. dia. 1”, total weight 23.6 grams

18k yellow gold, the earrings composed of graduated gold discs with a satin finish, and mounted with round brilliant-cut diamonds weighing approximately 0.46 carats in total. l. 2”, total weight 5.0 grams

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

$1,000-$1,500

$4,000-$7,000

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591 Pair of Opal, Ruby and Diamond Earrings 589 Pair of Tourmaline, Emerald and Diamond Earrings sterling silver/gold vermeil, the articulated earrings mounted with round-cut and pear-cut tourmalines weighing approximately 1.16 carats in total, pear-cut treated emeralds weighing approximately 1.32 carats in total and rose-cut diamonds weighing approximately 1.38 carats in total, and accented on the bottom with 4.4 mm onyx drops. l. 3-1/4”, total weight 14.3 grams $1,000-$1,500 590 Ruby and Diamond Necklace and Earring Suite gold vermeil/sterling silver, the earrings and pendant mounted with a pear-cut treated ruby cabochon weighing approximately 15.10 carats in total, accented by rose-cut diamonds weighing approximately 6.90 carats in total, the pendant suspended from a 17” necklace composed of faceted treated ruby roundels finished with a clasp mounted with rose-cut diamonds. earring l. 2”, pendant l. 2”, total weight 57.2 grams $1,200-$1,800

sterling silver/gold vermeil, the earrings mounted with an oval cabochon-cut opal weighing approximately 3.00 carats in total, accented with oval cabochon-cut treated rubies weighing approximately 6.50 carats in total, and rose-cut diamonds weighing approximately 2.30 carats in total. l.

3-1/4”, total weight 23.8 grams $1,000-$1,500 592 Ruby and Diamond Bangle Bracelet sterling silver, the hinged bracelet mounted with oval- and pear-cut treated rubies weighing approximately 22.9 carats in total and rose-cut and sliced-cut diamonds weighing approximately 4.62 carats in total. inside circumference 8”, total weight 67.0 grams $1,000-$1,500 593 Ruby and Diamond Ring 18k white gold, the ring mounted with a marquise-cut treated ruby weighing approximately 3.13 carats, accented by round brilliant-cut diamonds weighing approximately 0.66 carats in total. size 6-1/2, total weight 5.0 grams $2,000-$4,000

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597 Natural Ruby and Diamond Ring 594 Ruby and Diamond Ring 14k white gold, the ring mounted with an oval-cut treated ruby weighing approximately 1.39 carats, accented by round brilliant-cut diamonds weighing approximately 0.30 carats in total. size 7, total weight 4.2 grams $1,800-$2,500 595 Ruby and Diamond Ring

platinum, the ring mounted with an oval-cut natural ruby weighing 1.05 carats, GIA report #6173582469, accented by round brilliant-cut diamonds weighing approximately 0.72 carats in total. size 6-1/2, total weight 5.0 grams $1,800-$2,500 598 Diamond and Ruby Ring

18k white gold, the ring mounted with a pear-cut treated ruby weighing approximately 2.12 carats, accented by round brilliant-cut diamonds weighing approximately 0.97 carats in total. size 6-1/2, total weight 4.8 grams

18k white gold, the ring mounted with a central radiant-cut diamond weighing approximately 1.05 carats, approximate color G and clarity I1, surrounded by a border of square-cut treated rubies weighing approximately 0.50 carats in total, and accented by a border of round brilliant-cut diamonds weighing approximately 0.20 carats in total. size 6-1/2, total weight 4.1 grams

$3,000-$5,000

$3,500-$5,000

596 Tourmaline and Diamond Necklace

599 Diamond and Ruby Ring

platinum, the pendant mounted with an oval-cut tourmaline weighing approximately 9.77 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.07 carats in total, l. 1-1/2�, suspended from an 18� platinum chain. total weight 13.7 grams

platinum, the ring mounted with a central round brilliant-cut diamond weighing approximately 1.26 carats, approximate color H and clarity I2, accented by round brilliant-cut diamonds weighing approximately 0.80 carats in total, and rectangular-cut treated rubies weighing approximately 1.86 carats in total. size 7, total weight 15.1 grams

$4,500-$7,000

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602 Diamond Bracelet 600 Beautiful Diamond Ring platinum, the ring mounted with a central round brilliant-cut diamond weighing approximately 2.76 carats, approximate color G and clarity VS2, set in a cluster of round brilliant-cut diamonds weighing approximately 1.58 carats in total. size 5, total weight 8.0 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $9,000-$12,000 601 Diamond Necklace 18k white gold, the necklace mounted with round brilliantcut diamonds weighing approximately 9.23 carats in total, approximate color G-I and clarity SI1-I1. l. 17”, total weight 33.3 grams $7,000-$10,000

18k white gold, the bracelet designed with clusters in the form of “snowflakes”, mounted with round brilliant-cut diamonds weighing approximately 7.86 carats in total, approximate color E-F and clarity VVS2-VS1. l. 7”, total weight 16.0 grams $6,000-$9,000 603 Pair of Diamond Stud Earrings 18k white/yellow gold, each earring mounted with round brilliant-cut diamonds weighing approximately 1.30 carats in total, approximate color E-F and clarity VS1-SI2. l. 1/2”, total weight 5.0 grams $1,400-$1,800 604 Diamond Bangle Bracelet 18k white gold, the hinged bracelet mounted with baguetteand round brilliant-cut diamonds weighing approximately 9.22 carats in total, approximate color E-G and clarity VVS2-VS1. w.

1-1/2”, inside circumference 7-1/4”, total weight 46.0 grams $10,000-$15,000

213

605 Diamond Ring platinum, the ring mounted with a central round brilliant-cut diamond weighing approximately 2.01 carats, approximate color H and clarity I2, accented by baguette- and round brilliant-cut diamonds weighing approximately 1.26 carats in total, approximately color F-H and clarity VS1-VS2. size 6-1/4, total weight 14.0 grams $8,000-$12,000 606 Diamond Ring 14k white gold, the wide band mounted with round brilliant-cut diamonds weighing approximately 2.21 carats in total. size 7-1/4, total weight 7.0 grams $1,500-$2,500 607 Lady’s Cartier Diamond Wrist Watch 18k white gold, the Tourneau-shaped case measuring 37.0 mm x 32.0 mm, not including the crown, and set with round brilliant-cut diamonds weighing approximately 0.75 carats in total, the gold band with a polished and satin finish and a double deployant Cartier clasp, the quartz movement with a calendar, the silver-colored dial with the classic Cartier black Roman numerals and the secret signature located in Roman numeral “X”, the case signed “Cartier, Roadster, Water Resistant 100m 330ft”, reference #2723, serial #102,XXX LX, and hallmarks, the watch accompanied by a black Cartier crocodile “Roadster” strap and Cartier box. inside circumference 6-1/4”, total weight 168.5 grams $12,000-$18,000

214

608 Diamond Ring 14k white gold, the ring mounted with a central oval-cut diamond weighing 1.71 carats, color D and clarity SI3, EGL report #1562051626, accented by round brilliant-cut diamonds weighing approximately 1.47 carats in total. size 7, total weight 5.9 grams $4,000-$7,000 609 Sapphire and Diamond Ring 18k white gold, the ring mounted with pear- and oval-cut sapphires weighing approximately 7.45 carats in total and round brilliant- and marquise-cut diamonds weighing approximately 0.97 carats in total. size 7, total weight 10.0 grams $6,000-$9,000 610 Sapphire and Diamond Bracelet 14k white gold, the bracelet mounted with oval-cut treated sapphires weighing approximately 7.76 carats in total and round brilliant-cut diamonds weighing approximately 0.94 carats in total. l. 7”, total weight 9.8 grams $1,400-$1,800 611 Sapphire and Diamond Ring platinum, the ring mounted with an oval-cut treated sapphire weighing approximately 3.94 carats, accented by round brilliant-cut diamonds weighing approximately 1.00 carat in total. size 6-3/4, total weight 12.5 grams $5,000-$8,000

608

605

607

606

610

609

611

215

612 Sapphire and Diamond Necklace 14k white gold, the necklace mounted with oval-cut treated sapphires weighing approximately 24.89 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 9.12 carats in total. l. 17�, total weight 26.8 grams $4,500-$7,000 613 Sapphire and Diamond Necklace

615 Natural Sapphire and Diamond Ring 14k white gold, the ring mounted with an oval-cut natural sapphire weighing 2.64 carats, GIA report #1172189150, accented by baguette- and round brilliant-cut diamonds weighing approximately 0.70 carats in total. size 6-1/2, total weight 6.4 grams $3,500-$5,000

18k white gold, the circular pendant mounted with oval-cut treated sapphires weighing approximately 6.84 carats in total and round brilliant-cut diamonds weighing approximately 0.87 carats in total. pendant dia. 1-1/4�, necklace l. 18�, total weight 8.0 grams

616 Diamond Ring platinum, the ring mounted with European-cut diamonds weighing approximately 1.03 carats in total, and accented with blue glass baguettes. size 6-1/4, total weight 5.0 grams

$1,800-$2,500

$1,200-$1,800

614 Natural Star Sapphire and Diamond Ring

617 Sapphire and Diamond Ring

18k white gold, the ring mounted with a cabochon-cut blue star sapphire weighing approximately 19.66 carats, accented by round brilliant-, pear-, marquise- and baguette-cut diamonds weighing approximately 2.47 carats in total, approximate color E-F and clarity VVS2-VS1. size 6-1/4, total weight 13.0 grams

platinum, the ring mounted with a central round-cut treated sapphire weighing approximately 0.24 carats, accented by round-cut diamonds weighing approximately 0.79 carats in total. size 8, total weight 8.0 grams

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $3,500-$5,000

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$1,200-$1,800

613

614

612

617 615

616

217

620

621

623 618

619

218

622

624

621 Emerald and Diamond Ring

618 Sapphire and Diamond Necklace

18k white gold, the ring mounted with pear-cut treated emeralds weighing approximately 1.16 carats in total and pear-cut diamonds weighing approximately 1.64 carats in total. size 7, total weight 7.0 grams

sterling silver, the necklace mounted with pear-cut treated sapphires weighing approximately 6.30 carats in total and sliced-cut diamonds weighing approximately 2.26 carats in total. w. 1”, l. 15”, total weight 195.8 grams

$2,500-$4,000

$1,000-$1,500

18k white gold, the hinged bracelet mounted with pear-, square- and marquise-cut emeralds weighing approximately 0.48 carats in total and round brilliant-cut diamonds weighing approximately 0.82 carats in total. inside circumference 6-1/2”, w. 1-3/4”, at widest point, total weight 20.0 grams

619 Suite of Three Diamond Bangle Bracelets sterling silver, the hinged bracelets mounted with sliced-cut diamonds weighing approximately 6.12 carats in total, one bracelet alternating with oval-cut treated sapphires weighing approximately 7.02 carats in total. inside circumference 7”, total weight 81.0 grams $1,000-$1,500 620 Sapphire and Diamond Ring 14k white gold, the ring mounted with a central oval-cut treated sapphire, flanked on either side with two oval-cut smaller treated sapphires, with an approximate total weight of 11.59 carats, accented by round brilliant-cut diamonds weighing approximately 1.06 carats in total. size 7, total weight 9.6 grams $1,200-$1,800

622 Emerald and Diamond Bracelet

$2,500-$4,000 623 Emerald and Diamond Bracelet 14k white gold, the bracelet mounted with oval-cut treated emeralds weighing approximately 4.52 carats in total and round brilliant-cut diamonds weighing approximately 2.46 carats in total. l. 7”, total weight 11.1 grams $1,800-$2,500 624 Emerald and Diamond Necklace 14k white gold, the necklace mounted with oval-cut treated emeralds weighing approximately 10.25 carats in total, and round brilliant-cut diamonds weighing approximately 6.15 carats in total. l. 14-1/2”, total weight 26.6 grams $4,000-$7,000

219

625 Emerald and Diamond Ring

627 Emerald and Diamond Bracelet

18k white gold, the ring mounted with a pear-cut natural emerald weighing approximately 3.17 carats, accented by round brilliant-cut diamonds weighing approximately 0.36 carats in total. size 7, total weight 5.0 grams

18k white gold, the bracelet mounted with a square stepcut treated emerald weighing approximately 2.20 carats, accented by round brilliant-cut diamonds weighing approximately 3.54 carats in total. l. 7�, total weight 19.7 grams

$1,800-$2,500

$5,000-$8,000

626 Pair of Emerald and Diamond Earrings

628 Emerald and Diamond Necklace

18k white gold, the earrings mounted with square step-cut treated emeralds weighing approximately 3.09 carats in total, accented by round brilliant-cut diamonds weighing approximately 3.67 carats in total. l. 1-7/8�, total weight 9.4 grams

18k white gold, the necklace mounted with a square step-cut treated emerald weighing approximately 2.94 carats, and round brilliant-cut diamonds accenting the emerald and the necklace, weighing approximately 7.61 carats in total. l. 17�, total weight 36.1 grams

$3,000-$5,000

$9,000-$12,000

220

626 628

627

625

221

631

222

629 Coral, Diamond, Rock Crystal and Onyx Ring 18k yellow gold, the ring mounted with a central oval cabochon-cut coral weighing approximately 1.45 carats, surrounded by a border of round brilliant-cut diamonds weighing approximately 0.17 carats in total, accented by a border of carved rock crystal and black onyx. size 7, total weight 7.0 grams $1,000-$1,500

630

630 Coral and Diamond Ring 14k yellow gold, the ring mounted with a cushion-cut salmoncolored coral cabochon weighing approximately 2.67 carats, accented by calibrated-cut black coral and round brilliant-cut diamonds weighing approximately 0.25 carats in total. size 7, total weight 8.0 grams $1,000-$1,500 631 Stunning Mexican Fire Opal and Rock Crystal Necklace 18k yellow gold, the necklace composed of multiple strands of Mexican fire opal, finished with gold caps and carved rock crystal ends. l. 19�, total weight 15.0 grams 629

$3,000-$5,000

223

632 Four Antique Rolled-Gold Hardstone Intaglio Watch Fobs the collection including three chased and one smooth fob, each with a carnelian intaglio carved seal, including the arms of Buchanan, the crest and motto of Sinclair with the monogram “RS”, the crest and motto of Usher with the monogram “JU”, and a Greek inscription. largest size 1-1/8” x 1-3/8”, total weight 68.4 grams $1,000-$1,500 633 Yellow Gold Charm Bracelet 14k yellow gold, the bracelet composed of nine charms, including an oil derrick, a ballerina with a pearl, a palm tree with a faceted ruby, a “Tree of Life” set with cultured pearls, a “Touch Me for Luck” carved jade Buddha, a ewer with a cultured pearl, a horseshoe with cultured pearls, a large faceted smoky quartz heart weighing approximately 60.0 carats, and a crown and heart charm with a faceted blue sapphire, two rubies and a faceted heart amethyst. l. 7-1/4”, total weight 69.5 grams

635 Pair of Antique Etruscan Revival Gold Earrings fourth quarter 19th century, English, 18K gold, each in the form of an arched harp, decorated with beading and wirework, with plain “fishhook” backs, presented in the box as retailed by S. J. Shrubsole, New York. l. 1-3/4”, total weight 12.0 grams $1,000-$1,500 636 Antique Etruscan Revival Diamond Bangle Bracelet fourth quarter 19th century, English, 18k yellow gold, the hinged bracelet decorated with rope- and bead-work centering a “buttercup” mounted mine-cut diamond weighing approximately 0.16 carats, approximate color E and clarity VS2. inside circumference 6”, total weight 8.0 grams $1,000-$1,500

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

637 Gold Charm Bracelet

$1,200-$1,800

14k yellow gold, the heavy bracelet with six charms, including a tree set with cultured pearls, a rope-bezeled charm set with facted garnets, an oil derrick charm with round-cut diamonds weighing approximately 0.27 carats in total, a large facted heart-shaped smoky topaz charm weighing approximately 60.0 carats, an orchid charm with a pearl and round-cut amethysts, and a horse racing charm with rubies and sapphires. l. 7”, total weight 128.4 grams

634 Collection of Seven Charms including a 9k yellow gold ship, a 19k yellow gold basket of flowers with cultured pearls, a 14k yellow gold charm with mechanical race horses with rubies and sapphires, a 14k yellow gold oil derrick with cultured pearls, sapphires and rubies, a 14k yellow gold Viking ship, a 14k yellow gold bunch of bananas and a 14k gold comedy and tragedy mask. total weight 55.5 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,500-$2,500

224

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $2,000-$4,000

632

632 detail

635

636 633

634 637

225

640

642

643

641

644

226

638

638 Vintage Gold Compact and Mesh Bag Wristlet first quarter 20th century, by Levitt & Gold, New York, New York, 14k yellow gold, with elongated hexagonal double hinged top, the lid with guilloche engraving, the upper part opening to a compact and mirror, the opposite side opening to the mesh bag, each side set with a 4.0 mm round blue sapphire cabochon, the wrist strap with an adjustable slide set with a small oval blue sapphire cabochon, the tassels at the top and end of the bag set with seed pearls, the lid monogrammed “JPH”. l. 12-1/2”, total weight 107.5 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $2,000-$4,000

640 Gentleman’s Three-Stone Diamond Ring 14k yellow gold, the ring mounted with three European-cut diamonds weighing approximately 1.25 carats in total, approximate color H-I and clarity SI1-I1. size 10, total weight 9.0 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,000-$1,500 641 Tiffany & Co. Gold Cufflinks 14k yellow gold, the double-row knot cufflinks with springloaded swivel backs, stamped “Tiffany & Co.”. dia. 5/8”, total weight 26.6 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,000-$1,500 642 Onyx and Diamond Dress Set 14k yellow gold, the set including a pair of double octagon button cufflinks with black onyx inserts and a round brilliantcut diamond in the center, accompanied by a set of four matching large shirt studs and a set of three matching smaller shirt studs, with an approximate total diamond weight of 0.33 carats. cufflink size 1/2” x1/2”, total weight 17.2 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,000-$1,500 643 Gentleman’s Yellow and White Diamond Ring

639

639 Raymond Weil Gentleman’s Wrist Watch 18k yellow gold, the quartz movement with an ivory-colored dial with gold Roman numerals, the dial signed “Raymond Weil, Geneve”, with Swiss hallmarks, reference #5104 and serial #10,XXX. diameter without crown, 31.0 mm, total weight 27.2 grams $1,000-$1,500

18k white gold, the ring mounted with a central radiant-cut Fancy Yellow diamond weighing approximately 0.38 carats, approximate clarity I2, accented by round brilliant-cut white diamonds weighing approximately 0.24 carats in total. size 10, total weight 7.8 grams $1,800-$2,500 644 Three Pairs of Cufflinks with One Tie Tack 14k yellow gold, the pair of basket-woven cufflinks set with a round 7.0 mm black sapphire cabochon, the pair of triangular Florentine cufflinks set with single-cut diamonds, and a pair of cufflinks and tie tack with a florentine finish and set with singlecut diamonds, with an approximate total diamond weight for the lot of 0.17 carats. size 1/4” to 1”, total weight 46.6 grams Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,400-$1,800

227

645 Mildred “Millie” Wohl (American/Louisiana, 1906‑1977) “No. 16” oil on masonite signed and titled en verso.

Period frame.

22” x 18”, framed 22‑3/4” x 18‑3/4” $1,500‑$2,500

646 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Untitled - Cluster Series”, 1981 acrylic on canvas signed and dated lower right.

Now mounted in an open shadowbox frame.

47‑1/2” x 47‑1/2”, framed 49‑1/8” x 49‑1/8” $30,000‑$50,000 645

646

647 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Maternity”, 1970 oil on canvas signed and dated lower left and lower right.

Framed.

46” x 42”, framed 47‑3/4” x 43‑1/8” $5,000‑$8,000 648 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Untitled, Cluster Series”, 1974 mixed media on paper signed and dated lower right.

Glazed and framed. sight 29‑1/2” x 38”, framed 32” x 40” Provenance: Private collection, Houston, Texas; DuBose Gallery, Houston, Texas. $4,000‑$7,000 649 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Untitled - Synthesis Series”, 1995 mixed media on paper signed and dated lower left.

Matted, glazed and framed.

16‑1/8” x 15‑1/8”, framed 22‑1/2” x 21‑3/4

647

$5,000‑$8,000

648

649

650

650 Hunt Slonem (American, b. 1951) “Lorikeets”, 1998 oil on canvas signed, titled and dated en verso.

Unframed. overall 36” x 72” $6,000‑$9,000

651 James Michalopoulos (American/Louisiana, b. 1951) “Perry’s Pinky” oil on canvas signed lower left, signed, titled and dated en verso.

Framed.

28” x 22”, framed 29” x 23” $3,000‑$5,000

651

652 James Michalopoulos (American/Louisiana, b. 1951) “Cottasia”, 1994 oil on canvas signed lower left, signed and dated en verso.

Framed.

28” x 22”, framed 29” x 23” $3,000‑$5,000

652

653 Louise Guidry (American/Louisiana, b. 1930) “Brianna’s Choice” collage and acrylic on gallery-wrapped canvas signed lower right.

42” x 42” $2,000‑$4,000

653

654 Louise Guidry (American/Louisiana, b. 1930) “Layers of Time” acrylic on gallery-wrapped canvas signed lower right.

48” x 48” $2,000‑$4,000

654

655 Louise Guidry (American/Louisiana, b. 1930) “Rhythmic Repetition in Blue” acrylic on gallery-wrapped canvas signed lower right.

36” x 36” $1,500‑$2,500

655

656 Louise Guidry (American/Louisiana, b. 1930) “Rhythmic Repetition II” acrylic on gallery-wrapped canvas signed lower right.

48” x 36” $1,800‑$2,500

656

657 Rise Delmar Ochsner (American/Louisiana, 20th Century) “Be-Be” acrylic on canvas signed lower right.

Framed.

46” x 35”, framed 48‑3/4” x 37‑3/4” $1,000‑$1,500

657

657A After Andy Warhol (American, 1928-1987) “Siberian Tiger, Pine Barrens Tree Frog, Bighorn Ram, Giant Panda, San Francisco Silverspot, Black Rhinoceros, African Elephant, Orangutan, Bald Eagle and Grevy’s Zebra”, from the Endangered Species ten silkscreen prints in color unsigned (outside edition), printed Rupert Jasen, New York.

Unframed. each 38” x 38” $12,000-$18,000

657B After Andy Warhol (American, 1928-1987) “Superman, The Witch, Santa Claus, Mammy, Mickey Mouse, Howdy Doody, Dracula, The Shadow, The Star and Uncle Sam”, from the Myths, 1981 ten silk screenprints all with diamond dust (except Dracula), unsigned (outside of edition), printed Rupert Jasen, New York.

Unframed. each 38” x 38” $12,000-$18,000

658

658 George Rodrigue (American/Louisiana, 1944‑2013) “Our Love Blooms”, 2001 oil on canvas signed lower left, signed, titled and dated en verso.

Framed.

30” x 40”, framed 40‑1/2” x 50” $50,000‑$80,000

659 George Rodrigue (American/Louisiana, 1944‑2013) “We Will Rise Again” acrylic over giclee on canvas signed lower right.

Framed.

60” x 40”, framed 70‑1/4” x 50” $30,000‑$50,000 “Tears and rising water threaten to drown us.

But don’t be deceived. The land may be under water, but the spirit of New Orleans and the culture of Louisiana hold their heads high.

"We Will Rise Again" shows the American flag covered with water. The blue dog is partly submerged, and its eyes, normally yellow, are red with a broken heart. Like a ship’s SOS, the red cross on the dog’s chest calls out for help.”

—George Rodrigue, 2005

This powerful image is both George Rodrigue's heartfelt reaction to the devastation wrought on his beloved Gulf Coast by Hurricane Katrina, and his acknowledgement of the region's determination to recover. When Rodrigue first conceived of the image, he had the challenge of creating it without access to his studio. He struggled to replicate the intricacies of the water and avoid a “marble-type effect,” as his wife Wendy describes on her blog. George ultimately photographed a friend's swimming pool, printed it on canvas and then painted the flag and blue dog.

When this painting was reproduced as an open edition print, it raised over $700,000 for the Louisiana Chapter of the American Red Cross.

Later editions and versions raised even more funds for the recovery of the region, a testament not only to the generosity of the people, but also to the popularity of this iconic blue dog with the soulful eyes.

The work offered here is one of only two paintings on canvas of this specific image.

659

660

660 George Rodrigue (American/Louisiana, 1944‑2013)

661 George Rodrigue (American/Louisiana, 1944‑2013)

“Hurricane Georges,” 2002

“My Golden Jolie Blonde”, 1987

acrylic on canvas signed, titled and dated en verso.

Unframed.

36” x 82”

oil on canvas signed lower right, signed, dated, titled and inscribed “To Betty Richardson, Nov 24, 1987” en verso.

Framed.

30” x 24”, framed 38” x 32”

$20,000‑$40,000 The Hurricane series, inspired by the artist’s first-hand experience of the power and potential destruction of nature, was begun in 2002. In these highly stylized, abstract renderings, Rodrigue employed a loose brushstroke to cover the canvas in bold, bright swathes of swirling color.

The viewer’s eye is inevitably drawn into the center of this turbulent maelstrom, creating an almost visceral emotional response. Each work in this series has the name of an actual storm - the painting offered here refers to the 1998 hurricane which ravaged the region.

Provenance: George Rodrigue Gallery, Lafayette, Louisiana; Private collection Baton Rouge, Louisiana; thence by descent.

Exhibited: Rodrigue Studio, New Orleans, Louisiana, 2018 Rodrigue's Heartland: Under the Oaks and Out of the Swamp $20,000‑$40,000 "Jolie blonde, regardez donc quoi t’as fait, Tu m’as quitte pour t’en aller, Pour T’en aller avec un autre, oui, que moi, Quel espoir et quel avenir, mais, moi, je vais avoir?" ­—Amadie Breaux, 1928 Jolie Blonde (vernacularly Jole Blon) is a traditional Cajun ballad of uncertain origin and of various versions. The first known recording dates from 1928, but some variation of the song existed long before that. It is a nostalgic recounting of a false love, the singer lamenting the loss of his lovely goldenhaired sweetheart. Jolie Blonde was a recurring figure in Rodrigue’s art; she was never meant to represent a specific person, but rather to serve as an idealized symbol of feminine beauty. As seen in the painting presented here, she is usually depicted in a wide-brimmed sun hat and filmy white dress, often set against the lush Cajun landscape.

661

662 James McConnell “Mac” Anderson (American/Mississippi, 1907‑1998) “Pitcher Plant”, 1976 oil on canvas board signed and dated lower right.

Framed.

24‑1/4” x 15‑1/4”, framed 25‑1/2” x 17” $2,000‑$4,000

662

663 Tony Mose (American/Louisiana, Contemporary) “Untitled Abstract”, 2016 oil on canvas signed, dated and localized “NOLA” en verso.

Unframed.

84” x 60” Provenance: Acquired directly from the artist. $2,000‑$4,000

663

664 Tony Mose (American/Louisiana, Contemporary) “Untitled Abstract”, 2016 oil on canvas signed, dated and localized “NOLA” en verso.

Unframed.

84” x 60” Provenance: Acquired directly from the artist. $2,000‑$4,000

664

665 Clementine Hunter (American/Louisiana, 1886/87‑1988) “Pickin’ Cotton and Cotton Wagon” oil on masonite initialed “CH” lower left.

Framed.

20” x 24”, framed 23” x 27” $3,000‑$5,000

665

666 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Crime of Cuenca”, 1966 oil on canvas signed lower right, stretcher is integral part of painting.

Unframed. overall 51” x 45‑3/4” $15,000‑$25,000

666

667 Mildred Nungester Wolfe (American/Mississippi, 1912‑2009) “Peach Orchard”, 1966 oil on canvas signed and dated lower right, titled on stretcher.

Framed.

18” x 26‑1/4”, framed 21‑1/2” x 29‑3/4” $1,500‑$2,500

667

668 Richard Johnson (American/New Orleans, b. 1942) “Before Lent”, 1982 acrylic and mixed media on canvas signed, dated and titled en verso.

Framed.

55‑7/8” x 67‑1/2”, framed 59” x 69‑1/2” Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Private collection. $1,500‑$2,500

668

669 Robert Gordy (American/Louisiana, 1933‑1986) “Untitled #72” acrylic on fiberglass unsigned, titled en verso.

Framed.

20” x 20”, framed 21‑1/4” x 21‑1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,000‑$1,500

669 671 Robert Gordy (American/Louisiana, 1933‑1986) “Untitled #71” acrylic on fiberglass unsigned, titled en verso.

Framed.

20” x 20”, framed 21‑1/4” x 21‑1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,000‑$1,500

670

670 Robert Gordy (American/Louisiana, 1933‑1986) “Untitled #73” acrylic on fiberglass unsigned, titled en verso.

Framed.

20” x 20”, framed 21‑1/4” x 21‑1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $1,000‑$1,500

671

674 May (Mary) H Lesser (American/Louisiana, 1927‑2001) “Late Afternoon, Audubon Park”, 1987 pastel on paper signed lower right, dated and titled on a “Galerie Simonne Stern, New Orleans” inventory label en verso.

Matted, glazed and framed. sight 18‑1/2” x 23‑3/4”, framed 27” x 32‑1/4” Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Private collection. $1,000‑$1,500

672

672 Robert Gordy (American/Louisiana, 1933‑1986) “Head in Profile”, 1986 watercolor and mixed media on paper signed and dated lower left.

Float-mounted, matted, glazed and framed.

30” x 22”, framed 44‑1/2” x 33”

674

$1,000‑$1,500

673 Emil Eugen Holzhauer (German/Florida, 1887‑1986) “The Pier, Florida”, 1961 watercolor on Arches paper signed and dated lower right.

Matted, glazed and framed.

21” x 28‑1/2”, framed 34‑1/8” x 41‑5/8” $1,000‑$1,500

673

675

675 Romeo Tabuena (Filipino/Mexican, 1921‑2015) “Untitled” oil on wood panel signed and dated lower right.

Framed.

19” x 25”, framed 20” x 26” $5,000‑$8,000 676 Juan Sanchez-Juarez (Mexican, b. 1946) “Rain Forest #70”, 2003 collage, acrylic, airbrush and silkscreen signed lower left.

Float-mounted, glazed and framed. sheet 30” x 22”, framed 37‑3/4” x 29‑1/2” Provenance: Gift of the artist; Private collection, New Orleans, Louisiana. $1,500‑$2,500

676

677 Charles Schorre (American/Texas, 1925‑1996) “Autumn Nocturne” oil on canvas signed lower left, titled and with a “Meredith Long & Company” label en verso.

Unframed.

36” x 48” Provenance: Meredith Long & Company, Houston, Texas; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,500‑$2,500

677

678 Earl Hebert (American/Louisiana, 1942‑2006) “Charibari” oil on canvas signed lower right, titled lower center.

Framed.

18” x 24”, framed 25” x 31” $3,000‑$5,000

678

679 John Thomas Biggers (American/Texas, 1924‑2001) “Old Spanish Trail Market, Houston, Texas”, 1970 graphite on paper signed, titled, dated and inscribed lower right to the family of his friend and fellow artist Jean-Paul Hubbard.

Unframed.

21‑7/8” x 26” Provenance: Gifted by the artist to the Hubbard family, thence by descent. $2,000‑$4,000 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 tight-knit 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.

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 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.

In 1943, Biggers was included in the Young Negro Art exhibition at the Museum of Modern Art in New York City. That same year, Biggers was drafted into the Navy, eventually becoming an illustrator. During this time, he began to refine his technique, working extensively in graphite and Conte crayon, employing a distinct hatching to create a sense of depth and volume.

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. His colleague and fellow artist Jean-Paul Hubbard, to whom this drawing is dedicated, was equally committed to the advancement of African-Americans in the arts.

Hubbard, a native of Berkeley, California, was an Associate Professor at Tennessee State University in Nashville and was chairman of the Central State College Art Department.

He taught art and art history at Southern University in Baton Rouge for thirty years, and was eventually appointed as the Chairman of the Fine Arts Department. He held numerous exhibits throughout his career, including at Centenary College in Shreveport, Louisiana, Tuskegee Institute in Tuskegee Alabama, Alcorn College in Mississippi, the Baton Rouge Gallery, and the Masur Museum of Art in Monroe, Louisiana.

As evidenced by the fine drawing presented here, Biggers captures a snapshot vignette of African-American women at the market creating both depth of space and character through a nuanced command of line quality: colossal in their matriarchal presence outlined against a white ground, each unique with a different handbag and accessories - including a tignon and (cross-hatched) seagrass basket hat that pay homage to Caribbean and Carolina roots - and each with a different dress print that riffs off the shapes of market, each forming a collective part of African-American culture in a market, situated in another historic cross-road of American culture - the Old Spanish Trail, which connects the Atlantic and Pacific oceans from St. Augustine, Florida to San Diego, California.

680 Roberto Fabelo (Cuban, b. 1951) “The Effects of Fantasy”, 1991 watercolor on paper signed and dated lower right.

Matted, glazed and framed. sight 14” x 22‑1/2”, framed 23‑1/2” x 32” Provenance: Galeria Pacifico, Puerto Vallarta, Mexico; Estate of Barbara and Ernest Henley, Houston, Texas. $8,000‑$12,000

679

680

681

682

681

682

683

683

681 Herman Leonard (American, 1923‑2010) “Nat King Cole, NYC, 1949” and “Cannonball Adderley, NYC, 1956” two silver gelatin prints both signed lower right, titled and dated lower left, printed ca. 1990.

Unframed. sheet 14” x 11” $1,000‑$1,500 682 Herman Leonard (American, 1923‑2010) “Dexter Gordon, NYC, 1948” and “Chet Baker, NYC, 1956” two silver gelatin prints both signed lower right, titled and dated lower left, printed ca. 1990.

Unframed. sheet 14” x 11” $1,500‑$2,500

683 Herman Leonard (American, 1923‑2010) “Doc Cheatham, New Orleans, 1997” “Doc Cheatham and Nicholas Payton, New Orleans, 1996” “Palm Court Cafe, New Orleans, 1996” three silver gelatin prints each signed lower right, titled and dated lower left.

Unframed. sheets 20” x 16”; 14” x 11” $1,500‑$2,500

684

684 Herman Leonard (American, 1923‑2010)

685 Agustin Maya (Mexican, 1914‑1996)

“Dr. John, San Francisco, 1989”

“Untitled - Woman in Embroidered Cape” “Untitled - Three Generations” “Untitled - Man with Headdress”

silver gelatin print signed lower right, titled lower left.

Unframed. sheet 20” x 16” $1,500‑$2,500

photographs on Kodak paper first two with various artist’s stamps; together with a framed print of “Frida Kahlo” after Manuel Alvarez Bravo (Mexican, 1902‑2002) on Fujicolor Crystal Archive Paper.

8‑1/2” x 9‑7/8”, 10” x 8”, 10” x 8” and 8‑3/8” x 6”, respectively Provenance: Agustin Maya photos from the artist, 1993; Private collection, Louisiana. $1,000‑$1,500

685

687

687 French Bronze and Crystal “Waterfall” Chandelier first quarter 20th century, with a scroll-pierced corona concealing four lights and a primary bronze ring molded with satyr masques concealing nine interior lights, hung with four tiers of graduated raindropmolded prisms and set with a cut spherical pendant finial. h. 49”, dia. 24”

686

686 Unusual French Metal and Crystal Chandelier

$1,500‑$2,500

first quarter 20th century, the four-light chandelier with an acanthus-molded gilt “crown” at the top, supporting four interior down-turned lights, and scrolls on two levels supporting prisms and swags of glass beads, and large spherical prisms supporting strings of glass heads. h. 32”, dia. 20”

688 Pair of Metal Oval Planters of Asian Inspiration the sides with ring pulls attached to straps, raised on ball feet, with drainage holes in the base. h. 20”, w. 27‑1/2”, d. 12”

$1,000‑$1,500

$1,000‑$1,500

688

689 Pair of Metal Planters of Asian Inspiration the tapered sides set with ring pulls on each end, and with drainage holes. h. 23”, w. 23‑1/2”, d. 23‑1/2” $1,000‑$1,500

689 690 Pair of Metal Oblong Planters of Asian Inspiration each with a molded top rim, each end mounted with a ring pull, and raised on bracket feet. h. 14‑1/4”, w. 32”, d. 14” $1,000‑$1,500

690

691 Unusual Continental Patinated Metal Table Fountain second quarter 20th century, in two tiers, each with a row of water nozzles around the outside edge, the lower level set with lights, three putti holding swags of flowers supporting the upper tier, with a delicate pierced arcade edge, set with an electric pump. h. 15”, dia. 18” $1,000‑$1,500

691

692 Cast Iron and Glass-Top Garden Table late 20th century, the inset glass top supported by a pair of pedestals, each with a cast iron panel depicting flowers and vines centered by an allegorical masque, and supported by claw feet. h. 29‑3/8”, w. 86‑3/4”, d. 40‑1/4” $1,000‑$1,500

692

693 Hugo Steiner-Prag (Czech, 1880‑1945), “Der Golem: Prager Phantasien” Leipzig: Kurt Wolff, 1916, limited first edition, in portfolio case with vellum spine on black cloth boards with giltstamped title and vignette, with red endpapers and flaps (detached but present), containing twenty-five lithographs of illustrations for Gustav Meyrink’s The Golem, each mounted under passe-partout with blind-stamped number and logo of Kurt Wolff and separated by glassine, the first lithograph dated and signed in pencil, the rest signed (and dated) in stone, the title folio first leaf recto with rubricated title and colophon and verso with limitation statement number 137 of 265 (complete print run of 300), numbered and signed in pencil, the second leaf recto with content listing.

[Rodenberg 184; Gobel 704; Sennewald 216] lithographs 34 x 24 cm; passe-partout 50 x 30 cm; portfolio 51 x 31 cm $1,500‑$2,500

693

694 George Koras (Greek/New York, b. 1925)

695 Impressive, Large Pair of Patinated and Polished Bronze Elephants

“Untitled”, 1966

20th century, each with trunk raised. each h. 55”, w. 40”, d. 16”

patinated bronze 1966, cast signature, dated, and with artist’s mark along one side, on a carved wood plinth. overall h. 17‑1/4”, w. 21‑1/2”, d. 13‑1/2”

Provenance: Jack Sutton Co., New Orleans, Louisiana; Private collection. $1,500‑$2,500

$1,000‑$1,500 A graduate of the Academy of Fine Arts in Athens, the Greek-born Koros arrived in the United States in 1955 to attend the Art Students League, New York City, where he worked as an assistant in the studio of Jacques Lipchitz (Lithuanian, 1891‑1973). He was a professor of sculpture at the State University of New York, Stony Brook for over 30 years, and was instrumental in expanding that institution’s Art Department.

Koros has been the recipient of numerous fellowships and study grants which gave him the opportunity to travel and study throughout Spain and Italy.

694

695

696 Collection of Four Elephant Figurines including a sterling silver example by J. D. Schleissner, Hanau, h. 4‑3/4”, 8.37 t. oz., a stylized crystal example by Baccarat, h. 2‑3/4”, a carved lapis lazuli example, h. 2‑1/4”, and a carved serpentine example, h. 3‑3/8”. $1,000‑$1,500

696

697 Partial Service of Baccarat “Balmoral” Cut Crystal Stemware 20th century, French, the set including ten water goblets, h. 6”, thirteen sherbets/champagne coupes, h. 5”, eleven sherry glasses, h. 4‑1/4”, and five finger bowls, h. 2‑1/4”, dia. 4‑1/4”; together with eight Baccarat “Buckingham” liqueur glasses, h. 3”.

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana.

697

$1,000‑$1,500

698 Contemporary Brushed Steel and Polished Brass Tea Cart with three plate-glass shelves, the ends with curved arms supporting brass handles with acorn-form finial ends. h. 31”, w. 41”, d. 23‑1/2” $1,000‑$1,500

698

699 699 Italian High-Glaze Terracotta Tile Wall 20th century, the roundel centers decorated with images of the constellations and depicting their polychrome zodiac symbols, on a ground of amber, decorated with scattered gilt stars, a compass star in the upper left, 160 pieces plus additional tiles not pictured. overall h. 72”, w. 120” $3,000‑$5,000

699 details

699 details

702 Terracotta Plaque on a Contemporary Metal Stand 20th century, the plaque depicting a lion’s head grasping a ring, with scrollwork on the top and sides. h. 68‑3/4”, w. 66‑1/2”, d. 56” $1,000‑$1,500

701 700 Pair of Art Deco-Style Leather Club Chairs of traditional form, each with a shaped back, closed balusterform arms and a loose seat cushion, raised on square block legs. h. 33‑1/2” $1,000‑$1,500 701 Charles Umlauf (American/Texas, 1911‑1994) “The Three Graces” patinated bronze bas-relief plaque set within an integral marble stand/base, cast signature and foundry mark at lower right of plaque. h. 18‑1/2”, w. 17”, d. 4” $2,000‑$4,000

702

700

703

703 Suite of Four Neoclassical-Style Ebonized and SilverLeafed Chairs 20th century, each with a drapery-form carved back crest supported by two curved back posts, with tufted mohair seats and raised on down-curved tapering square legs. h. 34”, w. 22”, d. 17” $1,000‑$1,500

704 Collection of Three Pieces of Louis Vuitton Luggage 20th century, French, the collection including a soft-sided suitcase with a zippered side opening, h. 22”, w. 31‑1/2”, d. 12”, a hard-sided suitcase with a “78 Ave Marceau, Paris” tag on the interior, h. 20‑3/4”, w. 21‑1/2”, d. 10‑1/4”, and a soft-sided suitcase with a zippered opening, leather straps and buckles, h. 18”, w. 27‑3/4”, d. 8‑3/4”, all in Louis Vuitton’s signature printed LV canvas covering with tan leather trim.

704

$1,500‑$2,500

705 Contemporary Chrome and Polished Agate Side Table of rectangular form with a specimen agate top and square tubular-form chrome apron and legs. h. 23”, w. 24”, d. 15” $1,000‑$1,500

705

707 706 Large Brown Leather Sofa in the Mid-Century Style late 20th century, the padded back with a single row of buttons and the seat with three cushions, raised on straight square legs. h. 31‑1/2”, w. 101”, d. 35” $1,200‑$1,800 707 Contemporary Holly Hunt Mahogany and Steel Dining Table the underside with a plate reading “Holly Hunt / Made in USA”, the wooden top supported by a pair of shaped chromed steel trapezoidal pedestals. h. 30‑1/2”, w. 39‑1/4”, l. 97‑3/4” $1,200‑$1,800 708 Two Livio Seguso (Italian, b. 1930) Murano Glass Sculptures each with incised signature and dated “76” at bottom of base, one on a cylindrical self-base, the other on a rectangular selfbase. former h. 25‑1/2”, w. 7‑1/2”, d. 6”, latter h. 23”, w. 8‑1/2”, d. 5‑3/4”

708

$1,000‑$1,500

706

709 Interesting Contemporary Chrome, Plate Glass and Tree-Bark-Clad Table/Desk the thick rectangular plate glass top over a chrome trestle-form base, the ends framed with a tree-bark panel and joined by a large chrome stretcher. h. 29‑1/2”, w. 42”, l. 72” $1,000‑$1,500 710 Large Fossilized Clam Shell

710

prehistoric, with layers of fossilized sea life on the exterior, the interior retaining its original color. h. 9‑3/4”, w. 29”, d. 17‑1/2” $1,000‑$1,500 711 Large Fossilized Clam Shell prehistoric, with layers of fossilized sea life on the exterior, the interior retaining its original color. h. 12”, w. 29 h. 12”, w. 29”, d. 17‑1/2”

711

$1,000‑$1,500 712 Collection of Three Fossilized Clam Shells prehistoric, the exterior with layers of fossilized sea life, the interiors retaining original hues. h. 8” to 10”, w. 23” to 26”, d. 11” to 17‑1/2” $1,000‑$1,500

712

709

713 Suite of Six Ammonite Gemstone Fossils each mounted and presented in a silvered shadowbox frame and glazed. each overall 10” x 10 $1,000‑$1,500 714 Large Regency-Style Giltwood Bull’s-Eye Mirror 20th century, the coved surround decorated with fluting and lined with beading, the outside edge with double bands of beading. dia. 38” $1,200‑$1,800

713

715

715 Regency-Style “Braided Rope” Giltwood Barrel-Back Chair 20th century, the curved back with carved arm fronts and legs in a twisted and knotted rope motif and presented in a gold-leaf surface. h. 29”, w. 29”, d. 28” $1,000‑$1,500

714

716 Mid-Century Gilt-Lacquered Wrought Iron Etagere second half 20th century, in avian decor, the center section with two rectilinear marble shelves over a tole base, flanked by sections, each with a pair of demi-lune shelves and birds. h. 74‑1/4”, w. 59‑3/4”, d. 7‑1/2” $1,200‑$1,800 717 Fred Kormis (American, 1897‑1986) “Adam and Eve” verdigris-patinated terracotta incised signature at proper left edge of self-base. h. 42‑1/4”, w. 27‑1/4”, d. 15‑3/8” $1,000‑$1,500

718

717

718 Contemporary Glass and Bronze Table the circular smoked glass top supported by a bronze pedestal modeled as a pair of mermen holding the top aloft. h. 30‑1/2”, dia. 50‑3/4” $1,500‑$2,500

716

720 After Vincenzo Gemito (Italian, 1852‑1929) “Il Delfino”, 20th century patinated bronze cast signature and a “Gemito/Napoli” foundry mark along back of self-base, on a round marble plinth. overall h. 8‑3/4”, w. 6‑1/2”, d. 6‑1/2” $1,000‑$1,500 721 Unique Rosewood Circular Horseshoe Dining Table mid-20th century, the banded rosewood top with selfstoring leaves underneath, with inset brass hinges, raised on square, slightly tapered legs. h. 29”, dia. 48”, ext. dia. 70” $1,000‑$1,500

719 719 Unusual Murano Gilt-Metal and Glass Chandelier third quarter 20th century, the molded frame decorated with grapes and flowerheads, the bowl divided into sections, each with a bunch of glass grapes, on a ground of colorless molded flowers, the interior with six concealed electrical sockets. h. 27‑1/2”, dia. 20‑1/2” $1,000‑$1,500

720

721

722 Ferrell Mittman Club Wine Table with a polished steel base and a rosewood top, the shape of the molded base echoed in the top, set on an adjustable standard. h. 17” to 26”, w. 11”, d. 5” $1,000‑$1,500

722

723

723 Charles Pollock “Portuguese Armchair” japanned and parcel-gilt with chinoiserie decor, the seat rail with a brass plate reading “Made in the U.S.A. Charles Pollock Reproductions Inc Los Angeles CA”. h. 45‑1/2” $1,000‑$1,500

722 detail

724

724 Thomas Downing (American, 1928‑1985) “Aketi”, 1972 acrylic on canvas signed, titled and dated “June 29‑72” en verso.

Unframed.

84” x 134‑1/2” Provenance: Estate of James Julius Killough III, Houston, Texas, purchased from the artist by Mr. Killough in 1975, during the artist’s tenure at the University of Houston. $15,000‑$25,000

725 Robert Arthur Goodnough (American, 1917‑2010) “Multicolor I on Pale Gray”, 1974 acrylic and oil on canvas signed, titled and dated en verso.

Framed.

47‑1/2” x 59‑1/2”, framed 48‑1/2” x 61” Provenance: Private collection, Houston, Texas. $4,000‑$7,000

725

726 Robert Arthur Goodnough (American, 1917‑2010) “Light on Gray-Blue”, 1977 acrylic and oil on canvas signed, titled and dated en verso, with a “Watson/de Nagy Gallery, Houston, Texas” gallery label.

Framed.

48” x 70”, framed 49‑1/2” x 71‑1/2” $5,000‑$8,000

726

727 Jules Olitski (American, 1922‑2007) “Lament of Absalom-8”, 1973 water base acrylic on canvas signed, titled, dated and further inscribed en verso canvas, with two “Meredith Long & Co., Houston, Texas” gallery labels, along with an inventory label.

Thin gallery frame.

75” x 55”, framed 76‑1/2” x 56‑1/2” Provenance: Private collection, Houston, Texas; Meredith Long & Co., Houston, Texas. $15,000‑$25,000

727

Jules Olitski was born Jevel Demikovsky, March 27, 1922 in Snovsk, Russia, (now Ukraine) and immigrated to the United States in 1923 with his mother and grandmother settling in Brooklyn, New York.

Olitski revealed an early interest in drawing, and eventually won a scholarship to study art at the prestigious Pratt Institute. He was also admitted to the National Academy of Design in New York and the Beaux Arts Institute in New York from 1940‑1942.

Olitski was drafted into the army during WWII and soon after his discharge he went to Paris on the G.I. Bill where he studied at the Ossip Zadkine School and the Academia de la Grande Chaumiere.

Europe introduced him to the modern, non-figurative masters and while there he went to some lengths to remove himself from the earlier academic training as a portrait painter.

Returning to New York, he received a B.A., followed by an M.A. in Art Education, both from New York University. His first oneman show at the Zodiac Room of the Alexander Lolas Gallery in 1958 showed the artist’s coming of age, exhibiting muted, thickly impastoed paintings and rejecting his vibrant, energetic “Paris” work.

Over the following decades, Olitski continued to experiment with various mediums, textures and techniques. A prolific artist, continued to create, educate and exhibit until a few weeks before his death in 2007. He was considered a central figure in Color Field Painting, whose flat, one-dimensional pieces reviewers said, gave a sense of continuation beyond the borders of the paintings. In 1966, Olitski, Helen Frankenthaler, Roy Lichtenstein and Ellsworth Kelly were selected to represent the United States at the Venice Biennale contemporary art exhibition.

“Lament of Absalom-8” is a wonderful example of the work of early 1970s, where he moved from spray paintings that made him famous earlier, into subtle palettes, combined with surfaces built by strong brushwork.

728 William Conlon (American, b. 1941) “Time Glider I”, 1982‑83 acrylic and charcoal on canvas signed, titled and dated en verso, with “Andre Emmerich Gallery, Inc., New York, NY” label.

Unframed.

44” x 50” Provenance: Private collection, Houston, Texas; Andre Emmerich Gallery, New York. $1,000‑$1,500

728

729 Richard Wood (American, 1952‑2009) “Untitled”, 1995 oil on canvas signed and dated en verso.

Unframed.

40” x 54” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

729

730 Eric Freeman (American, b. 1970) “Untitled”, 2003 oil on canvas signed, inscribed “Untitled” and “For Sam...” en verso.

Unframed.

36” x 36” $2,000‑$4,000

730

731 731 Ibsen Espada (American/Texas, b. 1952)

732 Robert James Reed (American, 1938‑2014)

“Carousel”, 1986

“San Romano, Illegal Action”, 1980‑1981

oil and tempera on paper signed and dated lower right.

Glazed, float-mounted and framed.

37” x 71”, framed 40‑1/2” x 75‑1/2”

aqua-tec on canvas, a diptych signed, titled and dated en verso.

Unframed. each panel 83” x 71”

Provenance: McMurtrey Gallery, Houston, Texas.

Provenance: Corporate collection, New Orleans, Louisiana.

$1,500‑$2,500

$3,000‑$5,000

732

733 Frank Faulkner (American, 1946‑2018) “Agury”, 1983 acrylic on canvas signed and dated en verso.

Unframed.

79” x 71” Provenance: Private collection, Houston, Texas. $3,000‑$5,000

733

734 Simone Lucas (German, b. 1973) “Lilbeblick”, 2006 oil on canvas signed en verso.

Unframed.

86‑3/4” x 78‑3/4” Provenance: Rita Krauss Fine Art, New York, New York. $3,000‑$5,000

734

735 Mark Kostabi (American, b. 1960) “The Devil Hath Power to Assume a Pleasing Shape”, 1989 acrylic on canvas signed and dated lower left, signed, titled and dated en verso.

Framed.

54” x 48”, framed 57‑3/4” x 51‑1/2” Provenance: Private collection, New Orleans, Louisiana. $3,000‑$5,000

735

736 Peter Max (American, b. 1937) “God Bless America II” mixed media and lithograph on paper signed lower right, label with artist and title en verso.

Matted, glazed and framed. sight 23” x 17”, framed 37‑1/2” x 31‑3/4” $1,000‑$1,500

736

737

738

738

737 Ellsworth Kelly (American/New York, 1923‑2015) “Yellow Curve” handmade paper with color pulp artist proof, signed lower right, numbered “A.P. VI” lower left.

Float-mounted, glazed and framed.

32‑1/2” x 31”, framed 36” x 34‑1/2” Provenance: Private collection, Houston, Texas. $8,000‑$12,000 738 Robert Mangold (American, b. 1937) “Distorted Square Within a Circle I”, 1973 pair of color screenprints both signed and dated in pencil lower right, titled lower center, and numbered lower left “44/75” and “52/75”, respectively.

Matted, glazed and framed. sight 27” x 27”, framed 32‑1/2” x 32‑1/2” $1,800‑$2,500 739 Robert Burns Motherwell (American, 1915‑1991)

739

“Hermitage” lithograph in colors signed and numbered “25/50” lower right.

Float-mounted, glazed and framed.

45‑1/2” x 31”, framed 49” x 34” Provenance: Private collection, Houston, Texas. $2,000‑$4,000 740 Rufino del Carmen Arellanes Tamayo (Mexican, 1899‑1991) “Mascara Roja”, 1976 mixographia on handmade paper signed lower right, numbered “XXXI/XXXV” lower left, “Bien Trouve, Houston, TX” label with artist, title and date en verso of backing board.

Matted, glazed and framed.

30‑3/4” x 22‑1/2”, framed 32‑1/2” x 24‑3/4” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

740

741 Alex Katz (American, b. 1927) “The Emperor Jones” color silkscreen signed and numbered “51/60”.

Unframed.

60” x 32” $1,800‑$2,500

742 Gene Davis (American, 1920‑1985) “Mostly Mozart”, 1975 color silkscreen signed and numbered in pencil “28/144” lower right, verso with “Harcus/Krakow/Rosen/Sonnabend Gallery, Boston, MA” label.

In a conforming plexiglass frame.

29‑1/2” x 60” $1,500‑$2,500

741

742

743 Dan Christensen (American, 1942‑2007) “Untitled” watercolor and acrylic on paper unsigned, a “Meredith Long & Company, Houston, Texas” gallery label en verso.

Float-mounted, glazed and framed.

30” x 22‑1/2”, framed 37” x 29” Provenance: Private collection, Houston, Texa; Meredith Long & Company, Houston, Texas. $1,000‑$1,500

744 Nancy Stevenson Graves (American, 1939‑1995) “Untitled”, 1980 lithograph in colors signed and dated lower right, numbered “24/60” lower left.

Float-mounted, glazed and framed. sheet 29” x 39‑1/2”, framed 30‑1/2” x 41‑1/2” Provenance: Private collection, Houston, Texas.

743

$1,000‑$1,500

744

745 Robert Rauschenberg (American, 1925‑2008) “Autobiography”, 1968 three-panel offset lithograph printed by Broadside Art, Inc., edition of 2000.

Unframed. each 66‑1/2” x 48‑3/4” Provenance: Gift of Marian Javits (artist’s business partner, Broadside Art, Inc.) to an art museum located in Louisiana to benefit their collections fund. $3,000‑$5,000

746

746 Robert Rauschenberg (American, 1925‑2008) “Horsefeathers Thirteen Series”, 1972 offset lithograph, pochoir, collage with embossing signed and dated lower right.

Float-mounted, glazed and framed.

27‑1/2” x 22”, framed 31” x 25‑1/2” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

745

747

747 Michelangelo Pistoletto (Italian, b. 1933) “Gemelle” (Mirrored Triptych) silkscreen on mirrored acrylic verso with “McMurtrey Gallery, Houston, Texas” label.

Glazed and framed. overall 19‑3/4” x 47”, framed 24” x 52‑1/2” Provenance: Private collection, Houston, Texas; McMurtrey Gallery, Houston, Texas. $3,000‑$5,000

748 Ellen Carey (American, b. 1952)

748 one of two

“Self Portrait”, 1987 pair of photolithographs from Polaroid prints each signed and dated lower right and numbered “14/35” lower left.

Float-mounted, glazed and framed.

31” x 23‑1/2”, framed 34” x 25‑1/2” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

748 one of two

749

749 Manual (Ed Hill, b. 1935 and Suzanne Bloom, b. 1943) “Elegy in C (White Pine)”, 1996 type C photograph, white pine construction “Moody Gallery, Houston, Texas” label en verso and “The Museum of Fine Arts, Houston” exhibition label titled “MANUAL: Two Worlds - the Collaboration of Ed Hill and Suzanne Bloom”, 2/22/04‑5/23/04; accompanied by an audio recording.

With a tiered wooden support for hanging.

45‑3/8” x 48”, support 7‑1/2” x 63” Provenance: Private collection, Houston, Texas; Moody Gallery, Houston, Texas.

Exhibited: The Museum of Fine Arts, Houston, 2/22/04‑5/23/04. $2,000‑$4,000

The collaboration between Ed Hill and Suzanne Bloom, which began as a creative experiment in 1974 and has endured these past four decades, culminated in a major retrospective of their work at the National Center of Photography in New York, 2002; this was followed by a 2004 exhibit at the Museum of Fine Arts, Houston.

Elegy in C, a multi-media work, included in the retrospective, explores complex relationships between natural and manmade realities. Nature is a main protagonist in this as in many of the duo’s works created during the 1990s, focusing on the tension between real vs. virtual; nature vs. culture.

750 750 “Louisiana/Texas, Sheet 9” copper engraved map by Henry Popple from A Map of the British Empire in America with the French and Spanish Settlements Adjacent Thereto, published W. H. Toms and R. W. Seale, London, 1733.

Unframed. pl. 19‑1/4” x 26‑1/2”, sheet 21” x 27”

751 Two Early American Chests late 18th/early 19th century, comprised of a Federal cherry chest with line-strung inlay, four graduated drawers and flare feet, h. 34‑1/2”, w. 41‑1/2”, d. 18‑1/2”, and a Chippendale pine chest with four graduated drawers and ogee bracket feet, h. 37”, w. 44”, d. 19‑3/4”.

$3,000‑$5,000 This map spans the 38th parallel to south of the 28th parallel; it delineates northern New Mexico to the Ohio River and south from northern Mexico to Pensacola, Florida. It was developed for the Lord Commissioners of Trade and Plantations to better settle territorial disputes between the British, French and Spanish, and illustrates numerous Spanish and Indian settlements and details of rivers and portages.

$1,000‑$1,500

751

754 Le Vieux Carre de la Ville, Nouvelle Orleans mid-20th century, depicts a 19th-century view of the Port of New Orleans and French Quarter buildings, with various armorials of the city, lithograph in colors laid down on wood panel and varnished, limited edition, printed/produced by Tattersfield Associates, Philadelphia.

36” x 36”, framed 41” x 41” $2,000‑$4,000

754 752 Riley Whiting Federal Inlaid Cherry Tall Case Clock first quarter 19th century, the base inlaid with roundels and cutcornered panels, the trunk set with a door with an inlaid oval and inlaid dots, framed on the outer edges with quarter columns and panels of reeding, the painted wooden dial decorated with scrollwork and flowers, with matching spandrels in the corners, signed “R. Whiting, Winchester”, in gilt panels, the hood set with a swan’s-neck pediment and sausage-turned columns. h. 98”, w. 17‑3/4”, d. 9‑3/4” $1,200‑$1,800 753 Federal Mahogany Server ca. 1800 and later, the crossbanded top over a pair of line-strung drawers with banded perimeters, raised on line-strung tapering legs. h. 30‑3/4”, w. 41‑1/4”, d. 17‑3/4” $1,000‑$1,500

752 753

755 Vernacular American Cherry and Yellow Pine Armoire early 19th century, Southern, the projecting molded cornice over a pair of paneled doors with mitered corners, opening to reveal an interior fitted with a medial belt of three drawers, the stiles extending to tall square legs. h. 89‑3/4”, w. 54‑1/4”, d. 19‑1/2” $1,500‑$2,500

756

755

757 American Late Classical Mahogany Sofa

756 American Painted Mantelpiece in the Classical Revival Taste

second quarter 19th century, the columnar top rail with parcelebonized gilt rosette scroll ends, the scroll arms with leaf carving, the molded apron joined to carved paw feet with gilt leaf- and fruit-carved brackets, now upholstered in blue/green brocade in a bumblebee decor. h. 34”, w. 92”, d. 25‑3/4”

fourth quarter 19th century, with full fluted Corinthian columns supporting the dentillated mantel shelf, the frieze decorated with a bas-relief panel of frolicking putti flanked by panels of delicate scrollwork, the opening lined with carved acanthus leaves. overall h. 55”, w. 67”, d. 13”, firebox h. 38”, w. 40”

$1,200‑$1,800

$1,000‑$1,500

757

759 American Memento Mori Embroidery by Eliza Siter 1806, probably Philadelphia, variety of stitches in fine silk, cotton, and chenille threads on a silk ground, background, hands, and heads delicately rendered in watercolor, central monument inscribed “In Memory of an Affectionate Father, Adam Siter”.

Presented in an antique giltwood frame; glazing with a gilt and black eglomise border. sight 23” x 24‑1/4”, framed 30‑3/4” x 31‑5/8” Literature: John Woolf Jordan A History of Delaware County, Pennsylvania, and its People (New York: Lewis Historical Publishing Company, 1914); Gilbert Cope Genealogical and Personal Memoirs of Chester and Delaware Counties, Pennsylvania (New York: Lewis Historical Publishing Company, 1914), p. 274.

758 758 American Classical Brass-Mounted Mahogany DropLeaf Table

A prominent Pennsylvania industrial family, the Siters owned tan yards and mills throughout Delaware County. Accounts of 1776, 1782 and 1788 list Adam Siter as primary owner by 1802, his name has disappeared from the records and is replaced variously by John, William and Edward Siter presumably his heirs. His daughter Eliza wed David Wilson, also an industrialist, in 1811; they had seven children.

ca. 1825, New York, the top flanked by a pair of drop leaves over a frieze with brass ring pulls and a lower brass molding, raised on four turned and leaf-carved columns on a concave shelf, raised on foliate-carved legs ending in carved paw feet. h. 27‑1/4”, w. 23‑1/2”, d. 38‑3/4”, ext. w. 48”

The composition, color palette and stitching technique of this fine memorial embroidery bears a striking resemblance to such works created by the young women of the famed Folwell School of Embroidery in Philadelphia.

$1,200‑$1,800

$1,000‑$1,500

760 American Late Classical Mahogany Sofa second quarter 19th century, the back with a central carved crest panel and flanked by a scrolled and carved rail on each side, with scrolled armrests and raised on carved paw feet with cornucopia returns. h. 36”, w. 87”, d. 24” $1,000‑$1,500

759

760

761 American Eagle-Decorated Parcel-Gilt Convex Mirror mid-19th century, the surround set with spherules, molded leaves and an ebonized liner, the displayed eagle flanked by carved leaves. h. 34”, w. 23‑1/2” $1,000‑$1,500 762 Rare and Important American Classical Mahogany, Rosewood, Ebony and Brass-Inlaid Cylinder Secretary Bookcase second quarter 19th century, Philadelphia, the upper case with a scrolled and pierce-carved center crest, flanked by arched end crests with scroll- and swirl-carved fronts, the frieze above the glazed doors inset with an ebony panel and die-cut brass inlay, similar ebony and brass-inlaid pilasters flanking the doors, the top of the case designed as a secret compartment with a hinged lid opening to a void interior, the base with a book-matched pie-segmented cylinder roll opening to a fitted interior with a pull-out deck and its original adjustable parcel-gilt and tooled leather writing blotter, supported by large carved and scrolled brackets set on a shaped platform base with a central half-round section banded in rosewood and inlaid with brass stringing, having a mirrored back and raised on carved paw feet. h. 79”, w. 44”, d. 22”

761

$7,000‑$10,000 The present cylinder secretary shares characteristics of pieces from at least two noted Philadelphia cabinetmakers from the first half of the 19th century, the Irish immigrant Joseph M. Barry and the Frenchborn cabinetmaker Anthony Quervelle. The die-cut brass “boulle” inlay on the ebony pilasters flanking the upper doors on the present piece can be found on a Philadelphia fall-front secretary with bookcase wings in the collection of The Philadelphia Museum of Art, Accession Number: 1925‑76‑1.

And a secretaire a’ abattant with the apparent same brass inlay is attributed to the Philadelphia cabinet shop of Joseph Barry and is illustrated in Boor, Philadelphia Empire Furniture, page 448. Barry was active in Philadelphia from 1794 until 1838, both as an independent cabinetmaker and in various partnerships.

A number of the carved elements on this piece share similarities to elements in sketches in Anthony Quervelle’s sketch book and on pieces labeled or attributed to Quervelle including anthemion petals in Sketch 18 in Boor’s book. The small detailed rosettes and the small central crest carving are consistent with known Quervelle features that have been referred to as “micro-carving”.

Quervelle was active in Philadelphia from the early 1820s to 1845.

Reference: Boor, Philadelphia Empire Furniture, University Press of New England, 2006, pp. 71, 108 and 448.

762

763 American Late Classical Mahogany Four-Post Bed second quarter 19th century, with turned and acanthus-carved foot posts and smooth, turned head posts, the shaped headboard with a central urn-form finial. h. 95”, inside w. 54‑1/2”, l. 61‑1/2”, outside w. 77”, l. 80‑1/2” $1,200‑$1,800 764 Pair of Campaign-Style Mahogany and Leather Folding Chairs each with a padded and diamond-tufted back and seat, the frame turned to simulate bamboo and finished with brass caps. h. 39”, w. 25”, d. 23” $1,000‑$1,500

764

763

766

765 American Classical Figured Mahogany Scroll-Arm Sofa

766 Pair of Cast Iron Benches in the French Gothic Taste

first quarter 19th century, Massachusetts, the rolled crest rail with four framed and inset crotch mahogany panels, the scrolled arms supported by a turned post and raised on finely carved hairy paw feet. h. 34”, w. 71‑1/2”, d. 25”

20th century, the quatrefoil-pierced backs above pierced seats, arms and stretchers. h. 33‑1/2”, w. 53‑1/2”, d. 21‑1/2” $1,000‑$1,500

$1,200‑$1,800

765

767

767 Assembled Three-Piece Mid-Atlantic Coin Silver Tea Set

768 American Sterling Silver Tea Tray first quarter 20th century, by the Meriden Britannia Co., Meriden, Connecticut, of canted and serpentine-sided rectangular form, with engraved and applied acanthusscroll rim and opposing rocaille stirrup handles en suite.

30‑1/4” x 18”; 117.67 t. oz.

second quarter 19th century, including a teapot by Thibault & Brothers, Philadelphia, Pennsylvania, h. 11”, l. 10‑3/4”, and an associated, unmarked covered sugar bowl, h. 9‑1/2”, w. 8”, and cream jug, h. 7‑3/4”, l. 7”, each with an inverted pear-shaped body decorated with a wide band of applied foliage and narrow bead and gadroon banding, with elaborately mounted handles and raised on a domed pedestal foot, each piece monogrammed “MAK”.

82.23 total t. oz.

$2,500‑$4,000

$2,000‑$4,000

768

769

769 Set of Eight Reed & Barton “Francis I” Sterling Silver Water Goblets the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, no monograms. h. 6‑1/4”, dia. 3‑1/4”; 45.08 total t. oz. $1,200‑$1,800 770 Pair of Reed & Barton “Francis I” Sterling Silver Candelabra the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, each with a detachable fivelight superstructure permitting their use as a pair of candlesticks. h. 15‑3/4”, w. 16”, base dia. 5”; weighted

770

Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,500‑$2,500 771 Pair of Reed & Barton “Francis I” Sterling Silver Candelabra the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, each with a detachable threelight superstructure permitting their use as a pair of candlesticks. h. 15‑3/4”, w. 16”, base dia. 5”; weighted Provenance: The Estate of Albert A. Prats, Jr., New Orleans, Louisiana. $1,000‑$1,500

771

773 772

773 Large American Sterling Silver Tray

772 Oneida-Heirloom “Stanton Hall” Sterling Silver Flatware Set

first quarter 20th century, by Howard & Co., New York, New York, of rounded rectangular form, with gadrooned gallery and reeded rim.

26” x 19‑3/4”; 160.75 t. oz.

the pattern designed in 1951 by Grosvenor Noyes Allen (1874‑1954), Sherrill, New York, including a dozen fourpiece place settings (six pieces lacking) with an additional thirteen place pieces and three serving pieces, no monograms.

58 total pieces 62.46 total t. oz. (weighable silver)

$3,000‑$5,000 774 Set of Eight Kentucky Sterling Silver Julep Cups

Detailed list of pieces available on request.

1997‑2000, by Mark J. Searce, Shelbyville, Kentucky for WakefieldSearce Galleries, of traditional slightly tapering cylindrical form with beaded and molded rims, each monogrammed “DWH” (one with additional inscription on the reverse and underside), and each with the original blue felt storage bag, insert card, tissue wrapping and pasteboard box, all with the Wakefield-Searce name. h. 3‑3/4”, dia. 3‑1/8”; 44.28 total t. oz.

$1,000‑$1,500

$1,200‑$1,800

Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana.

774

775 Ludwig Huemer (1882‑1972) Modernist Sterling Silver Center Bowl mid-20th century, for Fisher Silversmiths, Jersey City, New Jersey, of hemispherical form with molded serpentine-scroll rim, raised above an openwork torus standard and “triglyph” banded foot, all with hammered finish. h. 5‑1/4”, dia. 10‑3/4”; 29.77 t. oz. $1,000‑$1,500

Ludwig Huemer was born on March 7, 1882 in Vienna, the son of Franz Huemer and Hannah Habinger, and presumably trained there as a silversmith. He first arrived in the United States on January 16, 1901, and was engaged with Towle Silversmiths in Newburyport, Massachusetts, before returning briefly to Austria. He came back to the United States in November 1905, and by 1908 was working in San Francisco.

He was betrothed there to Gertrude L. Warnecke in December 1909, but his marriage was not to be; evidently after another visit to Vienna in 1910 he settled permanently in Newark, New Jersey, and ship’s passenger records show the arrival in New York in August 1911 of Josephine Zamzal (1890‑1931) of Austria, the fiancee of Frank Huemer. The couple were married on September 5, 1911 in Manhattan. Huemer was working for Tiffany & Co. by 1917, and maintained a relationship with them for the rest of his life. He is better remembered, though, for his long association with the M. Fred Hirsch (later Fisher) Silver Company of Jersey City, New Jersey, of which he was superintendent. His work included interpretations of popular patterns, including a pastiche of Tiffany’s rare “Indian” pattern, and his exceptional designs in Danish Modern taste, exemplified in the present lot. He had three children (his daughter Frances E. Huemer [1921‑2014], was a noted Rubens expert at the University of North Carolina) and he married two more times after the death of their mother in 1931: secondly in 1936 to Marie Rose O’Conner (1894‑1969) and lastly in 1971 to the woman to whom he had been betrothed in San Francisco sixty-two years earlier, Gertrude Loretta Warnecke (1889‑1983), then Mrs. Joseph S. Hutton. He died on March 3, 1972 in Newark and is buried in Hilltop Cemetery in Mendham, Morris county, New Jersey.

775

776 Scully & Scully Sterling Silver Enameled Elephant Figurine contemporary, Italy, the trumpeting African elephant decorated in marbled iridescent black, rust and gray enamel. h. 7”, l. 9‑3/4”, w. 3‑1/4”; 47.62 t. oz. $4,000‑$7,000

776

778

777

777 Semi-Antique Kurd Runner 3’ 2” x 13’ 3” $1,000‑$1,500 778 Antique Serapi Carpet 7’ 11” x 10’ 8” $1,500‑$2,500 779 Antique Mahal Carpet 6’ 10” x 17’ 11” $1,000‑$1,500

779

780 Antique Moghan Carpet 4’ 10” x 10’ 9” $2,000‑$4,000 781 Antique Mahal Carpet 7’ x 13’ 8” $5,000‑$8,000 782 Turkish Oushak Carpet 8’ 10” x 12’ 3” $1,500‑$2,500

780

781

782

783

784

785

783 Semi-Antique Serapi Carpet

785 Antique Farahan Sarouk Carpet

10’ 8” x 12’ 9”

15’ 9” x 19’ 2”

$2,000‑$4,000

$1,200‑$1,800

784 Serapi Carpet

786 Semi-Antique Nain Carpet

9’ 4” x 12’ 2”

9’ x 13’

$5,000‑$8,000

$5,000‑$8,000

786

787 Turkish Angora Oushak Runner 2’ 8” x 15’ 10” $1,000‑$1,500 788 Antique Mahal Carpet 7’ 6” x 16’ 4” $1,000‑$1,500 789 Turkish Oushak Carpet 8’ 9” x 12’ 10” $1,500‑$2,500

788

787

789

790

790 Rococo Revival Bronze Gasolier

791

second quarter 19th century, English or American, the four-light gasolier with a lower pan decorated with applied roses, supporting four pierced, scrolled arms terminating in griffins, supporting the shade holders and burners, the turned standard decorated with various applied floral mounts, with flower- and cabochon-molded chains terminating in baskets of flowers set with inverted bell-form frosted and cut glass shades. h. 45”, dia. 30” $1,000‑$1,500 791 American Rococo Revival Laminated Rosewood Gentleman’s Armchair mid-19th century, attributed to J. H. Belter, New York, in the “Tuthill King” pattern, profusely carved with a floral crest and the back pierce-carved with grape clusters and vines. h. 44”, w. 24”, d. 22” $5,000‑$8,000 792 Rare American Rococo Revival Laminated Rosewood Lady’s Armchair mid-19th century, attributed to J. H. Belter, New York, in the “Tuthill King” pattern, profusely carved with a floral crest and the back pierce-carved with grape clusters and vines. h. 40‑1/2”, w. 24‑1/2”, d. 23” $5,000‑$8,000

792

793

795 793 Large Rococo Revival Rosewood and Walnut Center Table third quarter 19th century, the tortoise-form marble top over a conforming floral-, scroll-, leaf- and shell-carved apron, raised on cabriole legs with floral carving at the knees and foliate carving above the French toes, the legs joined by serpentine stretchers centered by a carved finial. h. 32”, w. 60”, d. 42‑1/2” $2,000‑$4,000 794 Fine American Rococo Revival Rosewood Etagere third quarter 19th century, New York, having a segmented concave domed top with an elaborate pierced and carved crest and finials, the upper section with a mirrored back and open shelves, the base with a carved bird amidst a foliate spray in the apron and the legs with graduated bellflowers on the knees and having a mirrored back. h. 106”, w. 70”, d. 22” $5,000‑$8,000 795 Handsome American Gilt- and Patinated Bronze Gasolier mid-19th century, attributed to Cornelius and Baker, Philadelphia, based on the gas keys, the standard decorated with gilt mounts of scrollwork, acanthus leaves and fan drops, and supporting delicate scrolled rococo arms with piercing, set with six frosted glass shades. h. 31”, dia. 26” $1,000‑$1,500

794

796 Martin Jablonksi (Polish, 1801‑ca. 1870) “Portrait of a Child with a Book”, 1839 oil on canvas signed with a monogram and dated.

Framed.

26‑1/8” x 20‑7/8”, framed 30‑1/4” x 24‑7/8” $3,000‑$5,000 797 American Patinated Metal and Brass Gasolier third quarter 19th century, the six-light gasolier with a panshaped base decorated with molded Turk’s heads, the arms with pierced scrollwork and the standard with satyr masques, hanging from a fluted brass rod, set with glass shades etched with bunches of roses. h. 38”, dia. 28” $1,000‑$1,500

797

796

798 New Orleans Market Rosewood Tester Bed, Attributed to the Warerooms of the Firm of William and/or James McCracken third quarter 19th century, the beaded and arched tester supported by four tapering cluster-column posts, the headboard with a fruit- and scroll-carved crest over a characteristic oval convex panel, the posts joined by scalloped rails centered by a cabochon-mounted cartouche. h. 120”, inside w. 62‑1/2”, l. 77”, outside w. 76”, l. 88”

798

$5,000‑$8,000

799 New Orleans Market Mahogany Armoire, Attributed to the Warerooms of Prudent Mallard third quarter 19th century, the beaded, molded cornice over a single mirrored door framed by cyma moldings, the corners with spiral-reeded pilasters, the interior with four shelves, one supporting a medial drawer, on a base with a cyma-molded drawer, raised on characteristic bracket feet with scroll moldings. h. 102”, w. 52‑3/4”, d. 23‑1/4” $2,000‑$4,000

799

800 American Rococo Revival Giltwood Oval Mirror mid-19th century, the cove-molded surround with a pierced crest decorated with scrollwork, carved leaves and morning glories, the bottom edge with pierced scrollwork and heartshaped leaves. h. 70‑1/2”, w. 29” Provenance: Charlotte Nail Antiques, Houston, Texas; Private collection, Houston, Texas. $1,000‑$1,500

800

801 American Rococo Revival Laminated Rosewood Seven-Piece Parlor Suite, Attributed to J. & J. W. Meeks, New York third quarter 19th century, in the pattern commonly referred to as “Stanton Hall”, comprised of a love seat, h. 47”, w. 63”, d. 32”, a pair of armchairs, h. 45”, w. 27”, d. 24”, and four side chairs, h. 41”, w. 18”, d. 19”, each with a floral-carved crest, pierced and carved scrollwork and raised on cabriole legs in the French style. $6,000‑$9,000

801

802 802 American Transitional Late Classical-into-Rococo Revival Rosewood and Marble-Top Center Table mid-19th century, attributed to J. & J. W. Meeks, New York, the shaped white marble top over a conforming frame with pierced grillwork panels and carved aprons, raised on conjoined C-scroll legs and a shaped stretcher. h. 29‑3/4”, w. 47‑1/2”, d. 30‑1/2”

803

$1,200‑$1,800 803 Hall Gasolier, Attributed to Cornelius and Baker mid-19th century, Philadelphia, retaining much of its original surface, the classical-form arms set with gilt gas keys, the rope-twisted and fluted rods terminating in a vasiform sleeve molded with flowers and set with frosted glass shades cut with a Greek-key pattern. h. 43”, w. 20”, d. 8” $1,000‑$1,500 804 American Rococo Rosewood Half-Tester Bed by C. Lee third quarter 19th century, crafted for the New Orleans and Southern market by the Manchester, Massachusetts workshop of Charles Lee, and with the maker’s incised stamp “C LEE”, the beaded serpentine tester raised on tapering turned posts supporting a paneled headboard with a shell-, fruit- and cabochon-carved crest. h. 111”, inside w. 64”, l. 77”, outside w. 67”, l. 84” Provenance: The present bed belonged to prominent New Orleanians Walter and Anita Howard Parker, while they were in their Louisiana colonial home at 924 East Moss Street, Bayou St. John, also referred to today as the “Blanc-Labatut-Parker-Erlanger House”. By family tradition, the present and following bed remained in the house until the early 1970s and has descended through the family to the present. In recognition of Walter Parker’s work as president of the Bayou St. John Improvement Association from 1927‑1950, the Dumaine Street Bridge in the neighborhood was named “The Walter Parker Memorial Bridge”. $4,000‑$7,000

804

805 American Classical Gilt-Bronze and Iron Gasolier mid-19th century, Philadelphia, attributed to Cornelius based on the gas keys, with an iron housing set with a molded bronze pan, a bronze figure of Apollo in the center, the solid spiralreeded bronze “chains” hung from gilt holders in the form of intertwined serpents, set with frosted and cut glass inverted turban shades. h. 39”, dia. 24” $1,000‑$1,500

805

806 American Rococo Revival Rosewood Half-Tester Bed, Attributed to Charles Lee third quarter 19th century, Manchester, Massachusetts, produced for the New Orleans and Southern market, the beaded serpentine tester supported by tapering posts with foliate-carved capitals supporting a headboard with a fruit- and cabochon-carved crest over a pair of shaped panels joined by rails to footposts with telescoping fruits designed to support mosquito netting. h. 121”, inside w. 63”, l. 77”, outside w. 68”, l. 85” Provenance: Formerly part of the decor at the “BlancLabatut-Parker-Erlanger House”, 924 Moss Street, New Orleans, thence by descent to the heirs of Walter and Anita Parker. $2,500‑$4,000

806

808

809 American Rococo Revival Laminated Rosewood Settee

807 807 American Rococo Revival Mahogany Armoire third quarter 19th century, the arched, pierced and foliate-carved crest flanked by finials, over a bonnet top with a cabochon, foliage and scroll carving, over a pair of paneled doors opening to reveal an interior in figured birch, and a pair of drawers below. h. 117‑1/2”, w. 67‑1/2”, d. 25”

third quarter 19th century, attributed to J. & J. W. Meeks, New York, in the “Hawkins” pattern, with an open carved crest centered by a floral-carved crest flanked by grapes and arabesques, closed arms, serpentine seat and cabriole legs. h. 47‑1/2”, w. 64”, d. 30” $1,500‑$2,500

$1,500‑$2,500 808 Rare Brass and Opaline Glass Gasolier, Attributed to Archer and Warner mid-19th century, fitted with an enameled opaline vasiform cover decorated with scrollwork picked out in gilt on a pink ground, and a matching lower pan, the glass either Bohemian or New England. h. 33”, dia. 22” Literature: The grape-molded chains and molded burner supports match the all-brass example discussed on pages 50‑51 of Gaslighting in America, by Denys Peter Myers and illustrated on plate 23 of the Archer and Warner catalogue. $1,000‑$1,500

809

810 American Rococo Revival Rosewood and Marble-Top Center Table third quarter 19th century, probably by Foster and Lee, the tortoise-form marble top over a conforming frieze with cabochon, leaf and floral carving, raised on a vasiform pedestal joined to dolphin- and foliate-carved legs. h. 30”, w. 38‑3/4”, d. 27‑1/4” $1,000‑$1,500

812

810

811 American Rococo Revival Giltwood and Marble-Top Pier Mirror third quarter 19th century, the crest with a winged cupid holding a cluster of grapes, above a central shield-form plaque, the whole resting on a marble shelf supported by a pair of gilded brackets. h. 107”, w. 38‑1/2”, d. 11‑1/2” $1,000‑$1,500

812 Unusual American Classical Revival Brass Gasolier fourth quarter 19th century, the eight-light fixture having a standard decorated with a swagged urn, the leaf-molded pan supporting leaf-molded arms set with pierced anthemionmolded gas keys, set with frosted glass shades etched with pairs of cupids. h. 39”, dia. 25” $1,000‑$1,500

811

813 Rococo Revival Walnut and Marble-Top Center Table third quarter 19th century, of tortoise form, the marble top over a scalloped frieze centered by floral carving, raised on cabriole legs capped by carved female heads and joined by serpentine stretchers centered by a carved floral basket. h. 29”, w. 48”, d. 33‑1/2” $1,500‑$2,500

814 American Rococo Revival Brass and Bronze Gasolier mid-19th century, possibly Cornelius and Son, the fluted rod supporting the standard decorated with masques, likely depicting Jenny Lind, the four scrolled arms decorated with molded morning glory leaves, all meeting at the pan decorated with Jenny Lind masques, set with an exceptional set of frosted and cut glass shades depicting children at agricultural pursuits. h. 44”, dia. 31” $1,000‑$1,500

814

813

815 American Rococo Revival Walnut Bookcase third quarter 19th century, the projecting cyma-molded cornice over a pair of glazed doors, the base with a pair of drawers. h. 99‑3/4”, w. 56”, d. 20‑1/2” $1,200‑$1,800

815

816 817 American Victorian Cast Iron Three-Tier Fountain fourth quarter 19th century, the standard with a trio of molded cranes standing on a tapered base, the three graduated, reeded pans with egg-and-dart-molded edges, with fluted columnar supports, the top with a molded sunflower. h. 18‑3/4”, dia. 45” $1,000‑$1,500

817 818 Suite of Six American “Fern” Pattern Cast Iron Garden Chairs

816 Victorian Walnut Center Table

first quarter 20th century, with molded fern backs and pierced and scrolled strapwork seats, the legs set with fernmolded side stretchers. h. 31”, w. 22‑1/2”, d. 13”

late 19th century, the floriform tilting top quarter-veneered and highly figured, raised on a bulbous standard to three splayed foliate- and scroll-carved legs ending in casters. h. 31”, dia. 53‑1/2”

$1,500‑$2,500

$1,200‑$1,800

818

819

819 American “Fern” Pattern Cast Iron Garden Bench ca. 1900, the back molded with ferns and a pierced lozenge on each side, with a scroll pattern strapwork pierced seat and molded legs with fern-molded stretchers on each side. h. 35”, w. 58‑1/2”, d. 14‑1/2” $1,000‑$1,500

820 Victorian Cast Iron and Travertine-Top Console Table second half 19th century, in the rococo taste, the serpentine travertine top over a conforming frieze in foliate, scroll and cartouche decor, raised on cabriole legs. h. 32”, w. 58‑1/2”, d. 22‑1/2”

820

$1,500‑$2,500

821 Pair of American Cast Stone Whippets first half 20th century, poised on rectangular plinths, their ears back and their tails curled. h. 16”, w. 10‑1/2”, l. 25” $1,000‑$1,500

821

822 Robert Jenkins Onderdonk (American/Texas, 1852‑1917) “A Mexico Courtyard Scene” watercolor on paper signed lower left.

Matted, glazed and framed. sight 13” x 16”, framed 24” x 29” $2,500‑$4,000

822

823 Robert Wesley Amick (American, 1879‑1969) “Indian Portage” watercolor on paper signed lower right.

Glazed and presented in a frame affixed with artist plaque. sight 21‑1/2” x 27‑1/2”, framed 35‑1/2” x 41‑1/2” $2,500‑$4,000

823

824

824 Eanger Irving Couse, N.A. (American/New Mexico, 1866‑1936) “By the Fireside” oil on canvas board signed lower left.

Framed.

12” x 15‑1/2”, framed 21‑1/4” x 24‑3/4” Provenance: Private collection, Tucson, Arizona. $25,000‑$40,000 To be included in Virginia Couse Leavitt’s catalogue raisonne of the artist.

A native of a small farming town in Michigan, Eanger Couse revealed an early proclivity for art and as a child would visit the local Chippewa community, drawing the Native Americans as they went about their daily tasks. He attended the School of the Art Institute of Chicago and the National Academy of Design before moving to Paris to study with William-Adolphe Bouguereau at the Academie Julian. Upon his return to the United States a decade later, his interest in Native American culture was renewed. He eventually moved to Taos, New Mexico, becoming a founding member and first president of the artist community there. An accomplished landscapist and portraitist, it was his interior domestic scenes of Native American life for which he was most acclaimed. These intimate scenes, as evidenced by the fine example here, are tightly and carefully composed, usually depicting a lone figure immersed in some mundane task. Employing a rich color palette of oranges, golds and umbers, evocative of the Southwest landscape, the scenes are infused in a soft golden glow.

Couse exhibited widely during his lifetime. His studio is now a part of the Couse-Sharp Historic Site, listed on the National Registry of Historic Places.

825

825 Henry Raschen (American, 1854‑1937) “Indians in Camp” oil on canvas signed lower left.

Framed.

26‑1/4” x 46‑1/4”, framed 31‑3/8” x 50‑1/4” Provenance: Shannon’s Fine Art Auctioneers, October 26, 2017, lot 45; Shirley and Benjamin Flayderman Collection, Boston, Massachusetts; by descent to the present owners. $4,000‑$7,000 826 Jim Reno (American, 1929‑2008) “Cow Pony” patinated bronze cast signature and marked “HQF4” at edge of selfbase, on a conforming wooden base, now on a black rectangular presentation stand sculpture h. 25”, w. 30‑1/2”, d. 15”, stand h. 36”, w. 32”, d. 16”, overall h. 61” $2,500‑$4,000

826

829 After Frederic Sackrider Remington (American, 1861‑1909) “The Rattlesnake”, 20th century patinated bronze cast signature along edge of self-base, on a conforming wood plinth. h. 19”, w. 18”, d. 9” $1,000‑$1,500

827 828 827 Sherry Sander (American/Montana, b. 1941) “Cat on a Rock”, 1984 patinated bronze cast signature, copyright marked, and dated “85” at back of self-base, on a conforming wooden base. overall h. 15”, w. 18”, d. 12‑1/2” $1,200‑$1,800 828 After Frederic Sackrider Remington (American, 1861‑1909) “Mountain Man”, 20th century patinated bronze cast signature along proper left side of base. h. 64”, w. 40”, d. 22” $1,800‑$2,500

829

830 Harry Jackson (American, 1924‑2011) “Steer Roper - Hard and Fast (Bustin’ One)”, 1959 patinated bronze cast signature, dated, titled and copyright marked along right edge of self-base, a number “9” at left edge, on a black marble plinth. overall h. 13‑1/2”, w. 23”, d. 14‑1/2” Provenance: Deaccessioned property of a Southern institution. $2,000‑$4,000

830

831 Jerry Venditti (American/California, b. 1942) “Indian Blanket”, 1984 oil on canvas signed and dated lower right, verso with multiple “Altermann & Morris Galleries” labels.

Framed.

19” x 26”, framed 24” x 31‑1/2” Provenance: Altermann & Morris Galleries, Dallas, Texas; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,000‑$1,500

831 832 Douglas Ricks (American, Idaho, 1954‑2003) “Blackfoot in the Woods”, 1982 gouache on paper signed and dated lower right, verso with “Connally & Altermann Art Gallery” and “Altermann Art Gallery” labels.

Glazed and framed.

20” x 30”, framed 25‑1/2” x 36” Provenance: Connally & Altermann Art Gallery, Houston, Texas; Altermann Art Gallery; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,000‑$1,500

832

833 Douglas Ricks (American/Idaho, 1954‑2003) “When Winter Comes to the Tetons” oil on board signed lower left, verso with “Altermann & Morris Galleries” label.

Framed.

36” x 60”, framed 46” x 68‑1/2” Provenance: Altermann & Morris Galleries, Dallas, Texas; Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,500‑$2,500

833

834 Lee Jamison (American/Texas, b. 1957) “A Rainy Day”, 1989 oil on masonite signed and dated lower center, titled en verso.

Framed.

40” x 60”, framed 48” x 67‑3/4” Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,000‑$1,500

834

835 Lee Jamison (American/Texas, b. 1957) “N.W. Slopes”, 1989 oil on masonite signed and dated mid-left, titled en verso.

Framed.

47‑1/2” x 71‑1/2”, framed 58” x 80” Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,500‑$2,500

835

836 Lee Jamison (American/Texas, b. 1957) “Morning Stroll”, 1989 oil on masonite signed and dated lower right, titled en verso.

Framed.

40” x 60”, framed 48” x 67‑3/4” Provenance: Hancock Whitney Bank Collection; Acquired through American Bank, Houston, Texas. $1,000‑$1,500

837 Herb Booth (American/Texas, 1942‑2014)

836

“Pintail Flight” watercolor on paper signed lower right.

Matted, glazed and framed. sight 28‑1/2” x 39”, framed 38‑1/2” x 48‑1/2” Provenance: Private collection, Houston, Texas. $1,200‑$1,800

837

838 American Patinated Bronze and Ormolu Gasolier third quarter 19th century, the six-light gasolier exhibiting both Neo-Grec and aesthetic designs, with a spherule-form standard base, the upper portion decorated with molded and gilt anthemia and pierced, ivy-molded appliques, the unusual arms with like decoration, with gilt ivy-molded gas keys and pierced, gilded ivy appliques, set with molded and ruffled glass shades. h. 42”, dia. 27‑3/4” $1,000‑$1,500

838

840 841 Steinway & Sons Model A Ebonized Patent Grand Piano and Bench ca. 1890, and bearing the serial number 67658, with an adjustable bench. piano h. 39”, w. 56”, l. 73”, bench h. 18” to 20”, w. 24”, d. 17” $5,000‑$8,000

839 839 American Neo-Grec Gilt-Metal-Mounted Walnut Music Cabinet third quarter 19th century, New York, the crest with a circular metal plaque depicting Cupid playing a violin, above an open shelf supported by winged angels, the inlaid slant lid opening to a divided compartment for storage. h. 62‑1/2”, w. 27”, d. 15” This cabinet was formerly conserved at the High Museum, Atlanta, Georgia, as part of the Virginia Carroll Crawford Collection of 19th Century American Decorative Arts.

It was deaccessioned in 2005 and retains its museum inventory on the back, “HMA1991.68”. $1,000‑$1,500 840 American Renaissance Revival Inlaid Walnut Center Table third quarter 19th century, the top centered by a marquetry panel depicting musical trophies, flanked by birdseye maple panels and rosewood banding, on a parcel-gilt and parcel-ebonized base with an octagonal column joined to incised shaped legs and brackets. h. 28‑1/2”, w. 38”, d. 25‑1/2” $1,000‑$1,500

841

842

842

842 Dubois Fenelon Hasbrouck (American/New York, 1860‑1934) “Evening in October” and “Twilight”, 1886 pair of oils on academy board each signed and dated lower left, each with a “Buffalo Fine Arts Academy” exhibition label, inscribed with artist name, title and owner’s name (Charles M. Kurtz, 1855‑1909, a prominent art critic, writer and museum curator).

In matching giltwood frames, one retaining a framer’s label “J. H. Lewis & Son”.

12” x 8‑1/2”, framed 21‑1/2” x 17‑1/2” $2,000‑$4,000

843 Gilt- and Patinated Bronze Gasolier in the Neo-Grec Taste third quarter 19th century, American or English, the standard set with a gilt spherule, ball chains leading from the upper standard to bronze replicas of neoclassical oil lamps, set with burners and prism rings, with frosted and etched glass shades with Greek-key borders. h. 32”, dia. 25” $1,000‑$1,500

843

844

844 (Robert) Bruce Crane (American, 1857‑1937) “By the Riverbank”, 1882 oil on canvas signed, dated and localized lower right.

Framed.

14” x 20”, framed 20‑3/8” x 26‑3/8” $3,000‑$5,000

845 American Renaissance Revival Walnut Secretary Bookcase third quarter 19th century, the upper case with an arched and carved crest with the bust of possibly William Tell, the base with a slant lid opening to a fitted interior above a pair of drawers over two cabinet doors. h. 115‑1/2”, w. 55”, d. 25” $1,500‑$2,500

845

846 American Renaissance Revival Patinated Spelter Gasolier third quarter 19th century, the molded standard incised with anthemia and supported on a fluted rod decorated with applied and pierced scrollwork, the arms with carefully modeled heads of Minerva near the standard, terminating in pierced anthemia supporting the burners and shade holders, set with ruffled glass shades etched with swags of flowers. h. 35‑1/2”, dia. 32‑1/2” $1,000‑$1,500

846 847 American Renaissance Revival Cast Iron Newel Post Light third quarter 19th century, originally outfitted for gas, depicting a robed maiden holding a torch. h. 72”, dia. 13” $1,500‑$2,500 848 Pair of Cast Iron Benches in the Coalbrookdale Style 20th century, based on a pattern known as the “Peacock”, with the center reminiscent of a peacock’s spread tail feathers, flanked by molded leaves, with slatted iron seats, the sides with pierced scrollwork. h. 37‑1/2”, w. 47”, d. 22” $1,000‑$1,500

847

848

849 American Renaissance Revival Walnut Triple-Section Bookcase third quarter 19th century, the center section with an arched top and applied Minerva masque, above a glazed door with a scrolled grillwork panel and flanked by side cabinets crested with carved globes, the protruding base fitted with three drawers. h. 102‑1/2”, w. 69”, d. 21” $1,500‑$2,500

850 Franco-Bohemian Cut and Frosted Glass Gasolier third quarter 19th century, the standard with a vasiform frosted and cut glass cover over a frosted and cut umbrella-form prism ring, terminating in a pointed, frosted glass finial, the glass arms set with frosted and cut prism rings and rare, original metal shade holders, set with frosted and cut ball-form glass shades. h. 39”, dia. 27” $1,000‑$1,500

850

849

851 Polished Brass Gasolier in the Neo-Grec Style third quarter 19th century, American or English, the standard with three figures of Grecian dancers playing cymbals, on a pan trimmed with anthemions, the arms held with figures of gargoyles and leafmolded with a lower acorn finial, set with molded scalloped shades decorated with flowers on a stippled ground. h. 35”, dia. 30‑1/2” $1,000‑$1,500

852 Victorian-Style Cast Iron Bench After Coalbrookdale 20th century, the back of Gothic inspiration, the sides with pierced scrollwork, with a wooden slatted seat over a pierced scrollwork skirt. h. 40”, w. 47”, d. 22” $1,000‑$1,500

851

852

853

853 Four-Piece S. Kirk & Son Sterling Silver Tea Set first quarter 20th century, Baltimore, Maryland, including a coffeepot, h. 14‑3/4”, a teapot, h. 12‑1/2”, a cream jug, h. 9‑1/4”, and a waste bowl, h. 5‑1/4”, all but the latter of tall ovoid form with pedestal foot and squared, ram’s masquecrested handle, the waste bowl of hemispherical form with pedestal foot, the pots with gooseneck spouts and hinged, domed lids with grape cluster finials, all decorated with realistically detailed repousse roses.

96.39 total t. oz. $2,000‑$4,000

854 Good S. Kirk & Son Six-Piece Sterling Silver Coffee and Tea Service ca. 1900, Baltimore, Maryland, including a kettle-on-stand, h. 14‑3/4”, l. 8‑3/4”, a coffeepot, h. 10‑1/2”, l. 9‑1/2”, a teapot, h. 9‑1/2”, l. 9‑3/4”, a cream jug, h. 5‑7/8”, l. 6”, an open sugar urn, h. 6”, w. 7‑1/4”, and a waste bowl, h. 4‑1/2”, dia. 5‑1/2”, each with an inverted pear-form body and waisted collar with invected base, arched handles and foot-ring en suite with the collar, the hinged, domed lids with floral toupie finials, all richly decorated with repousse flowers in the traditional Baltimore taste and engraved with the arms of Rawlinson of Graythwaite.

128.37 total t. oz.

Provenance: Mary Morgan Rawlinson (Mrs. John Spring) Myers of Charlotte, North Carolina, to her daughter Sophie Convere Myers, thence by descent through the family. $5,000‑$8,000

854

854 detail

855 S. Kirk & Son Baltimore Silver Pedestal Monteith fourth quarter 19th century, Baltimore, Maryland, Baltimore standard (.917) silver, the ovoid bowl with a molded crenellated rim and raised on a waisted pedestal foot, decorated all over with repousse flowers in the traditional Baltimore manner, monogrammed “GNS”. h. 9‑3/4”, dia. 8‑1/2”; 33.03 t. oz.

Provenance: Private collection, New Orleans, Louisiana. $1,800‑$2,500

856 S. Kirk & Sons Five-Piece Silver Tea Service

855

fourth quarter 19th century, Baltimore, Maryland, Baltimore standard (.917) silver, including a hot water urn, h. 13‑1/4”, w. 12‑1/2”, a teapot, h. 8‑1/4”, l. 10‑1/2”, a covered sugar urn, h. 9”, w. 8‑1/4”, and a cream jug, h. 8‑1/2”, l. 5‑1/2”, together with an associated Kirk third quarter 19th century waste bowl, h. 5‑1/2”, dia. 6‑1/4”; the urn and teapot of flattened spherical form, the sugar urn and creamer of vase form, all with tall, squared handles with ram’s masque crests and pendant floral mounts, swan finials and raised on a pedestal foot, the pot with elaborated acanthus-and-shell “swan’s neck” spout, the hot water urn with bird-crested stirrup key, the waste bowl with shallow bucket-form bowl on a pedestal foot; all richly decorated with elaborate repousse flowers in the traditional Baltimore taste and monogrammed “F”.

157.05 total t. oz. $6,000‑$9,000

856 detail

856

857

857 Good Tiffany & Co. Sterling Silver Coffee and Tea Service third quarter 19th century, by William Gale & Son for Tiffany & Co., New York, New York, including a teapot, h. 8‑1/2”, l. 9‑3/4”, a coffeepot, h. 10”, l. 9‑1/2”, a hot water kettle-on-stand, h. 12‑3/4”, l. 9‑3/4”, a covered sugar bowl, h. 4‑1/2”, w. 6‑3/4”, a hot milk jug, h. 5‑1/2”, l. 5‑1/4”, and a waste bowl, h. 4‑5/8”, dia. 6”, each with a pearshaped body with melon-lobed collar and lid, decorated with acanthus leaves and imbrication, the handles, spouts and kettle stand decorated with handsomely chased acanthus, mascarons and foliage, each piece engraved with a crest of a lion rampant.

191.01 total t. oz.

857 detail

$5,000‑$8,000

858 Tiffany & Co. Sterling Silver “Blackberry” Bowl the pattern introduced in 1903, this example before 1908, New York, New York, circular with shaped octagonal rim decorated with deeply embossed openwork blackberries. h. 3”, dia. 11‑1/4”; 25.41 t. oz. $1,000‑$1,500

858

859 Extensive Tiffany & Co. “Renaissance” Sterling Silver Flatware Set the pattern designed in 1904 by Paulding Farnham (1859‑1927), New York, New York, with a dozen seventeenpiece place settings (fourteen pieces lacking; complete for nine persons) and thirty-one serving pieces, monogrammed “J”, presented in a custom fitted, navy blue velvet-lined mahogany case with lift-top and three drawers, on a stand with tapering legs and spade feet, overall 3‑1/2” x 32‑1/2” x 22”.

221 pieces (plus case) 329.32 total t. oz. (weighable silver) Detailed list of pieces available on request. $12,000‑$18,000 860 Tiffany & Co. Sterling Silver Ice Bucket third quarter 20th century, New York, New York, in the form of a traditional wooden bucket, with stirrup handles, incised “staves” and reeded bands, the shallow-domed lid with knob finial lifting to reveal the insulated glass interior. h. 7‑3/8”, dia. 7‑3/4”; weighted

860

$1,200‑$1,800

859

859 detail

861 Gorham “Buttercup” Sterling Silver Flatware Set the pattern introduced in 1899, Providence, Rhode Island, including a dozen ten-piece place settings (twelve pieces lacking) with an additional thirty-one place pieces and nine serving pieces, some pieces inscribed “Speed”.

148 total pieces 152.26 total t. oz. (weighable silver) Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana.

Detailed list of pieces available on request. $2,500‑$4,000

861 862 Good Whiting Sterling Silver Center Bowl 1913, Providence, Rhode Island, of oval form, the everted rim decorated with a wide engraved and reticulated band of scrolling grapevines, with molded rim, the arched handles and conforming foot reticulated en suite, engraved on the underside of the bowl “Presented by / M.C.A / to / Treasurer Kassler / Dec 21‑1916”. h. 8”, l. 20‑7/8”, w. 10‑1/4”; 52.02 t. oz. $1,000‑$1,500

862

863 Gorham Four-Piece Sterling Silver Demitasse Set first quarter 20th century, Providence, Rhode Island, including a demitasse pot, h. 10‑1/2”, an open sugar bowl, h. 3‑1/2”, a creamer, h. 5‑1/2”, and a salver, dia. 14‑1/2”, the hollowware with ovoid bodies decorated with repousse acanthus cartouches and milled leaf-and-dart banding, the circular salver with rim en suite, each piece monogrammed “KCMcR”.

71.51 total t. oz. $1,500‑$2,500

863

864 Pair of Gorham “Chantilly-Grand” Sterling Silver Candelabra mid-20th century, Providence, Rhode Island, model A1157, each with a central standard and three scrolling arms, each ending in a candle nozzle with drip-pan and detachable bobeche. h. 15”, w. 13‑1/2”; weighted $2,500‑$4,000 865 Victorian Prism-Hung Brass Chandelier fourth quarter 19th century, probably American, the sixlight chandelier with a brass cabochon-molded prism ring supporting brass scrolls decorating the standard, hung with spear-point prisms, under a canopy of prisms, the arms with circular gas keys and set with prism-hung shade holders, set with molded glass “Daisy and Button” shades. h. 39”, dia. 30” $1,000‑$1,500

865

864

866 Impressive American Late Victorian Sixteen-Piece Carved Oak Dining Set, Attributed to R. J. Horner, New York ca. 1900, comprised of an extension dining table with reliefcarved top and supported by seated griffins at each corner, h. 30”, dia. 60”, ext. l. 180”, a curved glass china closet with hooded top and griffin supports, h. 84”, w. 55‑1/2”, d. 20”, a sideboard with hooded top and mirrored back with griffin supports and profusely carved cabinet base, h. 91”, w. 74”, d. 30”, a server with carved backsplash and fitted with two rows of drawers, raised on griffin-form legs with paw feet, h. 49‑1/2”, w. 46”, d. 21”, and twelve dining chairs, two armchairs, h. 48‑1/2”, w. 25”, d. 22”, and ten side chairs, h. 46”, w. 21”, d. 20”, each with relief-carved back crest with lion head on each end, padded back and seat, and raised on cabriole legs ending in carved paw feet. $10,000‑$15,000

866

866

866

866

866

866

866

867 American Brilliant Period Cut Glass Table Lamp first quarter 20th century, the vasiform base set with brass lamp fittings and a mushroom-form shade, cut with hobstars and pinwheels. h. 26‑1/2”, dia. 12” $1,000‑$1,500

868 Brass Chandelier in the “Turkish” Taste fourth quarter 19th century, probably American, with an Islamic “moon” on the support rod, the main body impressed with Middle Eastern-style scrollwork, the leaf-molded arms set with molded glass shades decorated with flowers on a stippled ground, hung with prisms. h. 35‑1/2”, dia. 23” $1,000‑$1,500

867

869 869 Harry Smith (American, 19th Century) “Two Trout” oil on canvas signed lower left.

Framed.

11‑7/8” x 20”, framed 14‑1/8” x 22‑3/4” $1,500‑$2,500

868

870 American Victorian Brass, Crystal and “Jeweled” Gasolier fourth quarter 19th century, the standard hung with three tiers of graduated prisms, the prism rings with pierced borders, the lower tier set with glass jewels, cascades of crystal drops hung down to the primary ring, decorated with jewels and set with scrolled gas arms, the frosted shades with etched leaves and flowers. h. 45”, dia. 35” $1,000‑$1,500 871 American Victorian Brass and Crystal Gasolier fourth quarter 19th century, the standard with a brass “lily” and six downturned parasol-shaped prism holders, over a reeded spherule set with scrolled gas arms, with gas shades etched with flowers. h. 48”, dia. 35” $1,000‑$1,500

870

872 872 American Stained and Leaded Glass Table Lamp ca. 1900, attributed to the Mosaic Shade Company of Chicago, commonly referred to as the Chicago Mosaic Lamp Co., with a floral shade and a bronze tree trunk base. h. 31”, dia. 24” $1,000‑$1,500

871

873 American Stained and Leaded Glass Adjustable Floor Lamp ca. 1900, with a grape-and-leaf leaded glass shade mounted to an adjustable brass and iron base ending in paw feet, and finished with a large stylized bronze pineapple finial at the top. h. 51” to 80”, dia. 23” $1,200‑$1,800 874 Bronze and Glass Covered Chalice Lamp late 19th century and later, the chalice composed of mosaics of various colored glass, with a beaded rim separating the cup from the cover, the tripartite bronze base decorated with a leafmolded edge and full-figured griffins seated at each corner. h. 24”, dia. 8‑1/2” $1,500‑$2,500

874

875 Pair of Caldwell Patinated Bronze Sconces in the Baroque Taste first quarter 19th century, French, the cabochon-molded backplates framed in bold scrollwork, the scrolled, lotusmolded arms set with shell-form drip pans, signed “Caldwell”. h. 16”, w. 13”, d. 8” $1,000‑$1,500

875

873

877

876 Large Pair of Carved Mahogany Armchairs in the Art Nouveau Taste

877 Pair of Caldwell Silvered Bronze Sconces second quarter 20th century, New York, in the baroque taste, with turned backplates engraved with scrollwork, the upper portion set with putti heads on a scrolled bracket terminating in seashells, the scrolled arms and drip pans decorated with scrollwork engraving, marked on the back with a “C” in a lozenge. h. 17”, w. 14‑1/2”, d. 10”

ca. 1900, attributed to S. Karpen & Bros. Furniture Co., Chicago, the frames boldly carved with sprawling vines and flowers. h. 43”, w. 33”, d. 28” $2,000‑$4,000

$1,000‑$1,500

876

878 American Late Classical Revival Mahogany Dining Table fourth quarter 19th century, the circular top with a gadrooned edge and mounted to a large cylindrical pedestal flanked by four turned and acanthus-carved standards, the shaped platform base with large carved paw feet, the top opening to accommodate 67” of leaves, with three 12” leaves present. h. 30”, dia. 60” $1,200‑$1,800

879

879 879 Fine Steinway & Sons Rosewood Patent Grand Piano ca. 1865, bearing the serial number 11858, accompanied by a Louis XV-style mahogany bench. piano h. 39‑1/2”, w. 55”, l. 86”, bench h. 20”, w. 40”, d. 16” $5,000‑$8,000

878

878

880 880 Frederic Sackrider Remington (American, 1861‑1909) “The Caravan” oil on canvas signed lower left “Frederic Remington, from photograph”.

Framed.

15‑1/2” x 25‑1/2”, framed 20‑3/4” x 30‑1/2” $20,000‑$40,000

881

881 Thomas Moran (American, 1837‑1926) “Windsor Castle, from the Thames”, 1883 oil on artist board signed and dated lower right, “Kennedy Galleries, New York” label and catalogue publication en verso.

Framed.

11‑1/2” x 18‑3/8”, framed 19‑1/4” x 25” Provenance: Kennedy Galleries, New York, ca. 1963; Rudolph Wunderlich, New York; Private collection; Sotheby’s, New York, May 22, 2002, lot 141; Private collection.

Exhibited: “Thomas Moran, 1837‑1926”, The Picture Gallery, University of California, Riverside, April-June 1963; Kennedy Galleries, New York, 1966.

Literature: Illustrated in Kennedy Galleries 6:1 (1966), p. 52; Collector’s Choice, Center for the Arts, Vero Beach, Florida, 1989, p. 33.

To be included in the forthcoming catalogue raisonne of the artist’s work by Stephen L. Good and Phyllis Braff. $20,000‑$40,000

882 American Victorian Glass and Brass Hall Lantern fourth quarter 19th century, the polished brass frame decorated with pierced scrollwork on each side, the bezel with molded scrollwork, decorated with flourishes of scroll-molded white metal, the hobnail opalescent glass shade probably original, with brass fittings on the base. h. 33”, dia. 12” $1,000‑$1,500 883 American Victorian Brass, Glass and “Jeweled” Gasolier fourth quarter 19th century, the molded and pierced spherule set with glass jewels and scrolled gas arms, the standard with scrolls ending in brass rods wrapped with serpents, set with jewel-tone hobnail and coinspot ruffled glass shades. h. 35”, dia. 29” $1,000‑$1,500

882 884 American Late Victorian Carved Oak Library Table ca. 1900, attributed to R. J. Horner, New York, the rectangular top with a gadrooned edge, one side fitted with two drawers, and supported by fully carved seated griffins at each corner. h. 30”, w. 37”, l. 73” $1,500‑$2,500

883

884

885 Suite of Six Late Victorian Carved Oak Chairs ca. 1900, probably by R. J. Horner, New York, the backs carved with “North Wind” masques and foliate sprays, with padded backs and seats, raised on cabriole legs ending in carved paw feet. h. 46”, w. 22”, d. 22” $1,500‑$2,500

886 After Frederick William MacMonnies (American/New York, 1863‑1937) “Pan of Rohallion”, 20th century patinated bronze cast signature and dated “1890” along back, on a round marble base. overall h. 11”, w. 5”, d. 5” $1,000‑$1,500

886

885

887 American Late Victorian Quarter-Sawn Oak Lift-Seat Hall Tree ca. 1900, with a carved and molded cornice above an arched beveled mirror, flanked by large cast brass butterfly coat hooks, the base with a hinged seat and large carved griffins as armrests, raised on carved paw feet. h. 100”, w. 60”, d. 19” $2,000‑$4,000 888 Neoclassical-Style Bronze Electrolier ca. 1890, probably American, the twelve-light electrolier with a vasiform standard mounted with wreaths pierced with torches, and mounted with six scroll-decorated gas arms with leafmolded sockets, now electrified, and six down-turned electric sockets decorated with molded leaves, with glass shades etched with scrollwork and griffins. h. 47”, dia. 24‑1/2” $1,000‑$1,500

888

889

889 Exceptional Pair of French Porcelain, Bronze and Glass Moderator Lamps fourth quarter 19th century, the celadon bases decorated with pate-sur-pate flowers, the gilt-bronze fittings with anthemia shells and incising, supporting a pair of period ruffled glass shades with raised gilt dragons and clouds on a ground of etched leaves, electrified. h. 27”, dia. 8” $1,200‑$1,800

887

890 American Brass Electrolier ca. 1900, the six-light fixture of neoclassical inspiration, the quiver-form standard with a mount depicting a torch, set with three gas arms decorated with griffin heads, the gas keys molded as anthemia, the three electric arms with matching scrollwork, set with molded and frosted glass shades. h. 37‑1/2”, dia. 20‑1/2” $1,000‑$1,500

891 Impressive Two-Piece French Walnut King-Size Bedroom Suite early 20th century and later, in the Louis XV taste, comprised of a carved high-back bedstead with frolicking putti and maidens, h. 95”, inside w. 78”, l. 82”, outside w. 92‑1/2”, l. 86”, together with a large tripledoor armoire with the same carved motifs, h. 95”, w. 85”, d. 24”. $4,000‑$7,000

891

890 891

892 Pair of French Walnut and Marble-Top Side Tables 20th century, in the Louis XV taste, each with a tall carved backsplash with maidens and foliate carvings, the base fitted with a cabinet door above an open shelf and raised on cabriole legs. h. 55”, w. 19‑1/2”, d. 17” $1,000‑$1,500

893 Pair of French Walnut and Marble-Top Side Tables 20th century, in the Louis XV taste, each with a white marble top over a floral-carved cabinet with a putto at each front corner, both with a drop-front door above an open shelf and raised on cabriole legs. h. 29”, w. 37”, d. 22‑1/2” $1,000‑$1,500

892

893

894 Arts and Crafts Brass and Caramel Slag Glass Electrolier first quarter 20th century, American, the inverted pyramidform body decorated with shield-form mounts and supporting four hanging lanterns with brass strapwork and caramel glass sides, the frame above the pyramid set with four gas jets with flame-form burners, hanging from the handsome, original chain. h. 47‑1/2”, w. 24‑3/4”, d. 24‑1/4” $1,000‑$1,500

895 American Arts and Crafts Stickley Bros. Oak Dining Suite first quarter 20th century, comprised of an extension dining table and five chairs, the circular table with a metal tag reading “Quaint Furniture Stickley Bros. Co. Grand Rapids, Mich.”, and opening to accommodate five leaves, raised on a tapering column joined to four legs, h. 30”, dia. 54”, ext. l. 109”; together with one armchair, h. 37”, and four side chairs, h. 36‑1/2”, attributed to Stickley Brothers, each of pegged construction with double slat back and bar stretchers. $1,400‑$1,800

894

895

896 Agra Serapi Runner

898 Semi-Antique Chinese Peking Carpet

2’ 7” x 19’ 10”

8’ 10” x 11’ 5”

$1,000‑$1,500 897 Peshawar Sultanabad Carpet

$1,000‑$1,500

8’ 2” x 10’ 3” $1,000‑$1,500

897

896

898

899 Turkish Oushak Carpet 10’ x 13’ 9” $1,400‑$1,800 900 Turkish Oushak Carpet 9’ 1” x 12’ $1,000‑$1,500 901 Laristan Suzanne Carpet 8’ x 9’ 10” $1,000‑$1,500 902 Laristan Sultanabad Carpet

899

8’ 10” x 11’ 9” $1,200‑$1,800 903 Pair of Peshawar Kazak Runners 2’ 7” x 13’ 4” and 2’ 7” x 13’ 5” $1,000‑$1,500

900

901

903

902

904 Peshawar Sultanabad Runner 2’ 8” x 12’ 7” $1,000‑$1,500 905 Agra Sultanabad Carpet 8’ 8” x 12’ $1,000‑$1,500 906 Turkish Angora Oushak Runner 2’ 8” x 19’ 3” $1,000‑$1,500

904

905

906

ARTIST INDEX | JULY 27-28, 2019 Allegrain, Christophe-Gabriel (after) 299

Espada, Ibsen 731

Amick, Robert Wesley 823

Etty, William 428

Anderson, James McConnell ‘Mac’ 662

Fabelo, Roberto 680

Austrian School 108

Faulkner, Frank 733

Barraud, Henry 409

Fontanesi, Antonio 150

Battelli, Rafaello 113

Freeman, Eric 730

Beaubrun, Charles (circle of) 31

French School 177

Besler, Basilius 2

Gemito, Vincenzo (after) 720

Biggers, John Thomas 679

Gerard, Francois Pascal Simon (circle of) 340

Booth, Herb 837

German/Austrian School 240

Bouvard, Joseph-Antoine 87

Gisson, Andre 314

Brisochi, Antonio 93

Godchaux, Emile 55

British School 374, 395, 401, 406, 417, 425, 433, 434

Goodnough, Robert Arthur 725, 726

Brodowski, Tadeusz 40

Goodwin, Albert 424

Browning, Colleen 320

Gordy, Robert 669-672

Buhot, Louis Charles Hippolyte (after) 300

Graves, Nancy Stevenson 744

Cahill, William Vincent 144

Guidry, Louise 653-656

Carey, Ellen 748

Hambourg, Andre 308

Carlier, Max Albert 56

Hasbrouck, Dubois Fenelon 842

Cauchois, Eugene Henri 57

Hayet, Louis 245

Ceriez, Theodore 238

Hebert, Earl 678

Chabas, Maurice 246

Henner, Jean-Jacques (attributed to) 432

Christensen, Dan 743

Heytman, Willem 307

Compton, Edward Harrison 151

Holzhauer, Emil Eugen 673

Conlon, William 728

Hunter, Clementine 665

Continental School 9, 58, 86, 109

Huygens, Francois Joseph 54

Coques, Gonzales (attributed to) 32

Italian School 75, 76, 78, 84

Coumont, Charles 15, 18, 20

Jablonski, Martin 796

Couse, N.A., Eanger Irving 824

Jackson, Harry 830

Crane, (Robert) Bruce 844

Jamison, Lee 834-836

Cundin, Jose-Maria 666

Jervas, Charles (circle of) 380

Davis, Gene 742

Johnson, Richard 668

de Andreis, Alex 38, 39

Karssen, Anton Nicolaas Marie 306

de Roy, Jean-Baptiste 21

Kelly, Ellsworth 737

de Vos, Vincent 407

Klever, Yulievich (studio of) 152

Defrees, Thaddeus 85

Knight, Daniel Ridgway 426

Delfgaauw, Gerardus Johannes 37

Knijff, Wouter 35

Delobbe, Francois-Alfred 430

Kohlmeyer, Ida Rittenberg 646-649

Derickx, Louis 19

Koppenol, Cornelis 146

Diaz de la Pena, Narcisse Virgile 431

Koras, George 694

Downing, Thomas 724

Kormis, Fred 717

Durer, Albrecht 47

Kostabi, Mark 735

Dutch/Continental School 241

La Touche, Gaston 242

Edzard, Dietz 309

Lanskoy, Andre 316

Engelsz, Cornelis (studio of) 30

Lebourg, Albert 244

Epstein, Sir Jacob 435

Lejeune, Jacques Renard 303

ARTIST INDEX | JULY 27-28, 2019 Leonard, Herman 681-684

Sohn, Karl Rudolf 429

Lesser, May (Mary) H. 674

Stocquart, Ildephonse 7

Loisseau, Gustave 243

Swiss/German School 143

Lucas, Simone 734

Tabuena, Romeo 675

MacMonnies, Frederick William (after) 886

Tamayo, Rufino del Carmen Arellanes 740

Mangold, Robert 738

Tintoretto (school of) 79

Manual 749

Tromka, Abram 317

Marais-Milton, Victor 239

Umlauf, Charles 701

Marc, Robert 315

van de Velde the Younger, Willem 36

Max, Peter 736

van der Plas, Niek 304, 305, 311, 313

Maya, Agustin 685

van der Pol, Louis 142

Michalopoulos, James 651, 652

van der Straeten, George (after) 226

Miller, James 312

van Eycken, Jean-Baptiste 145

Moran, Thomas 881

van Lokhorst, Johan Nicolaas 149

Mose, Tony 663, 664

van Rijn, Rembrandt Harmenszoon 48

Motherwell, Robert Burns 739

Venditti, Jerry 831

Northern Italian School 77

Verona, Paul 310

Ochsner, Rise Delmar 657

Voltz, Johann Friedrich 22

Olitski, Jules 727

von Spanyi, Bela 147

Onderdonk, Robert Jenkins 822

Watts, Frederick William (Waters) (attributed to) 427

Paczka, Ferenc 148

Wilkie, R.A., Sir David (after) 423

Perugino, Pietro (after) 73

Wohl, Mildred ‘Millie’ 645

Pesne, Antoine (follower of) 110

Wolfe, Mildred Nungester 667

Petitjean, Hippolyte 318

Wood, Richard 729

Pistoletto, Michelangelo 747

Zatzka, Hans 247, 248

Pot, Hendrick Gerritsz (after) 33

Rath, Hildegard 321

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.

Rauschenberg, Robert 745, 746

The Artist’s Name: In our qualified opinion, a work by the artist.

Pryn, Harald Julius Niels 153 Raschen, Henry 825

Reed, Robert James 732 Remington, Frederic Sackrider 880 Remington, Frederic Sackrider (after) 828, 829 Reni, Guido (circle of) 74 Reno, Jim 826 Ricks, Douglas 832, 833 Rodrigue, George 658-661 Rubens, Peter Paul (after) 34 Safran, Bernard 319

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 / Follower 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 or her influence.

Studio of: In our qualified opinion, a work possibly associated with the studio of the artist and showing his or her influence.

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

Sanchez-Juarez, Juan 676

After: In our qualified opinion, a copy of a known work by the artist.

Sander, Sherry 827

Signed: In our qualified opinion, has the signature which is that of the artist.

Schorre, Charles 677 Schouten, Henry 4, 12, 13, 16, 17, 408 Simbari, Nicola 301, 302 Slonem, Hunt 650 Smith, Harry 869

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below).

These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed

by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.)

All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 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 - note that there is no discount for LiveAuctioneers and Invaluable bidders) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction.

Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision.

In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required

by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

ABSENTEE / TELEPHONE BID FORM Name (Please Print): ______________________________________________

Date: ______________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue.

Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted

by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: _____________ CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Note that there is no discount for LiveAuctioneers and Invaluable bidders. 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

Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

Jelena Restovic James Director of Fine Art

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Fine Jewelry Specialist

Michele Carolla Fine Art Specialist

Nicole Casi, PhD Fine Art Specialist

Rebecca Moss Asian Arts Specialist

Thomas Halverson American Furniture Specialist

Burke Designer

Taylor Eichenwald Marketing & Public Relations

Charles C. Cage Silver Specialist & Office Manager

Colleen Ryan Director of Human Resources

AUCTIONEERS

CONSULTANTS

Tessa Steinkamp, #1265 Ashton Thomas, #1833 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

Ellen McKenzie English & Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser Claudia Kheel Fine Art

ADMINISTRATION Christa Ougel Denise Haik Office Administration Graphic Designer Gary Michael Gittelson Bettina Bausa Graphic Designer Photographer Grace Connors Manager of Online Auctions

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson Theadrow Mark