Estates Auction: July 27-28, 2024 by New Orleans Auction Galleries

New Orleans Auction

July 27-28, 2024

SUMMER the

July 27-28, 2024

The SUMMER

SANCTUARY

CREATIVE DIRECTOR

Amelia Schussler

PHOTOGRAPHER

Jacqueline Marque

PRODUCER / John-Robert Horville

DIRECTOR OF PHOTOGRAPHY / Sam Aguirre-Kelly

PHOTO RETOUCHING / Kyle Iskra

DIGITAL TECHNICIAN / Craig Mulcahy

LIGHTING TECHNICIAN / Brett Felty

GRIP / Josh Walker

OPERATIONS / Cedric Roberts, Cassius Brown Owen Lemon

PROP DESIGN / Caroline Russell, Brandon Melancon, Angie Earley

CREATIVE ASSISTANTS / Erica Westenberger, Abby Meitrodt

PRODUCTION ASSISTANTS / Taylor Harding, Grace Borrel

SHOT ON LOCATION AT:

ESTATES AUCTION

JULY 27-28, 2024 Auction License LA AB-363 | Eichenwald #1922, Steinkamp #1265 25% Buyer’s Premium (No Discounts) | 30% for Purchases Made on LiveAuctioneers and Invaluable

JULY 15 - 26

Evening Reception

Thursday, July 25 5:00 p.m.

BIDDING

Bidding is available in-person, by telephone, absentee and live online at NewOrleansAuction.com, LiveAuctioneers.com and Invaluable.com.

Please note that times are approximate. Monday - Friday 9:00 a.m. - 5:00 p.m.

- 11:00 11:00 - 12:00 12:00 - 1:00 1:00 - 2:00 2:00 - 2:15 Sunday, July 28, 2024 10:00 a.m CT

333 Saint Joseph Street, New Orleans, Louisiana 70130 504-566-1849 | info@neworleansauction.com www.neworleansauction.com

Welcome to

JULY from the President

Historic preservation is important and rewarding work, but it can also be an overwhelming endeavor that requires patience, passion and a high tolerance for unexpected (and costly) surprises along the way. At New Orleans Auction Galleries, I’ve had the privilege of working closely with countless preservationminded clients. Whether it’s a private home or a public venue, preservation projects ensure that future generations have a tangible connection to the past and foster a deeper appreciation for the present. It is thanks to the courageous visionaries who are willing and able to take on such projects that these properties are able to preserve their stories and write new chapters for generations to come.

While visiting my family in Philadelphia a few years ago, I drove to see one of America’s great homes, Lynnewood Hall. Built between 1897 and 1900 by architect Horace Trumbauer for industrialist Peter A. B. Widener, Lynnewood Hall was designed to be an extravagant estate that reflected the immense wealth and stature of the Widener family, who amassed a Gilded Age fortune from transportation and real estate investments and was widely known for their philanthropy and patronage of the arts.

The sprawling mansion once housed the Widener family’s impressive art collection, the finest and most significant in the U.S. at the time, which included works by Raphael, Rembrandt, Vermeer, Manet, Degas, Renoir and countless others, and included a library curated with rare books and manuscripts. Reflecting the family’s fine tastes and interests, Lynnewood Hall hosted lavish parties and gatherings attended by the elite of Philadelphia and beyond and became a center of social and cultural life in the early 20th century.

Tragically, Peter A.B. Widener and his son George died in the sinking of the Titanic in 1912. As the family's wealth dwindled over the following decades, the mansion fell into a state of neglect and disrepair. In a twist of fate, the Lynnewood Hall Preservation Foundation acquired the property in 2023 and will undertake the estimated $100 million restoration project, eventually opening the home to the public. Lynnewood’s newest chapter is now being written, and its future looks bright.

NOAG is honored to offer the contents from a rich chapter of another one of America’s important historic homes, Solana, an architectural masterpiece perched high above idyllic Montecito, California. Were it not for the vision of a preservation-minded couple that took on the important restoration project, Solana may not be here today.

Built in 1913 as Frederick Peabody’s estate, Solana became a beacon of hope and progress, its presence and Peabody’s generosity indelibly linked to Santa Barbara’s flourishing development. In 1959, the property became a public institution, housing the Center for the Study of Democratic Institutions, a leading American think tank. Over two decades, Solana hosted some of the world’s most notable minds, including Martin Luther King, Jr., John F. Kennedy, Cesar Chavez and J. William Fulbright, to name a few.

After the Center made the difficult decision to sell off parts of Solana’s grounds and eventually moved its headquarters to the University of California Santa Barbara campus, the property spent the remaining years in neglect and degradation.

In 1999, under the stewardship of new owners, Solana embarked on an era of remarkable reformation. The Houstonbased couple who spearheaded the extensive restoration project – their sixth – breathed life back into the historic property, building it for the next 100 years.

Today, Santa Barbara’s most iconic and beloved estate stands as a defining architectural achievement and as a testament to what’s possible with intent and unbridled aspiration. We encourage you to read more about the splendid Solana estate in the pages that follow.

We are also pleased to offer items from the Marjorie Shushan Estate. A beloved, award-winning interior designer and businesswoman, Shushan began her illustrious career at the encouragement of her friend and mentor, Kalef Alaton. The world-renowned interior designer encouraged Shushan to explore her natural penchant for classic design and pursue a decades-long career. Alaton is hailed as one of the most important California decorators of the 20th century for his effortlessly chic and livable interiors, a legacy Shushan continued to honor in her own work. Her collections include elegant furniture, fine art and decorative objects, including some from Alaton that once graced the pages of Architectural Digest

I encourage you to visit our gallery during the two-week exhibition, beginning Monday, July 15. I would also like to extend an invitation to join us on Thursday, July 25, from 5 to 7:30 p.m. for a special preview. One of my favorite New Orleans spots will be providing delicious hors d’oeuvres and refreshing drinks—you won’t want to miss it!

The July 27-28 Estates Auction begins at 10 a.m. CST each day; bidding is available in-person, by phone, and live online in advance or during the auction at NewOrleansAuction.com, or on LiveAuctioneers and Invaluable.

See you at the auction,

Taylor Eichenwald President

Spotlight explorations

on MPRESSIONISM

ILife Revealed through Color and Light

Around the turn of the 19th century, dozens of artists began to break free from the naturalism of Impressionism, embarking on personal creative journeys to respond to and expand the constraints of the movement.

Photography / Christa Ougel Written by / Sophie Curtis

Though still concerned with vivid colors, impasto and real-life subject matter, these young artists placed more emphasis on expression and defined forms, encouraging more abstract tendencies. Despite how diverse these artistic paths were, they had grown into a notable group referred to as post-Impressionists, a term coined by art critic Roger Fry in 1910. By that time, the post-Impressionists had grown into a notable group in search of authentic and expressive artistic achievements, which would extend well into the 20th century.

Lucien Adrion continued the Impressionist tradition of painting en plein air , often capturing public scenes on water. His treatment of water broke from Impressionist convention, however; in Vue du Port de Cannes , Cote d'Azur , Adrion abstracts the water by using blocky, noticeable brushstrokes that break it down into distinct shapes. Georges D'Espagnat worked with abstraction as well, as he longed to find an expressive style that emphasized familiarity. Even his still lifes, like Nature Morte avec Roses sur Fond Blanc , express intimacy, given the closeness of the composition with a picture frame just barely in view, and his distinctive hazy brushstrokes break up the objects into a variety of curved forms..

Lot 150

Martha Walter (American 1875-1976)

Late Afternoon at Biarritz

explorations

As post-Impressionism continued into the 20th century, it also leapt across the pond into North America. Louis Kronberg clearly took inspiration from Degas’s ballerinas, painting his own version titled Dancer in Blue with Red Scarf . Though her face is obscured, her posture expresses an awkward naivete, and the background reinforces this with its loose forms and lines. Martha Walter’s monumental Late Afternoon at Biarritz is another en plein air example depicting a beach scene, where each wave is its own block of greenish-blue and each ribbon of light is its own line of gauzy yellowishwhite. Even the umbrellas swelling in the wind appear as separate forms, each more defined than the last. The intimate clumps of figures in her work appear as small vignettes of inner lives, expressing a poignancy that has become distinctive of Walter’s style.

Lot 154

Georges D'Espagnat (French, 1870-1950)

Nature Morte avec Roses sur Fond Blanc

Lot 149

Lucien Adrion (French, 1889-1953) "Vue du Port de Cannes, Cote d'Azur", 1930

This collection of artists and their work would continue to inspire various movements, such as Cubism, Modernism and Abstract Expressionism, highlighting the lasting impact of Impressionism and post-Impressionism as it spread throughout the world. The desire to express emotion by way of color, form and line still influences Contemporary art today, making it impossible to understate the work of the artists presented here.

Discover

Impressionism: Lots 147-160

places SPLENDOR Sun-Kissed

Written by / Valeria L. Palmertree

Photography / Jim Bartsch via "From the Hilltop, The Story of Solana's 100 years"

SOLANA

"Once upon a time, as they say, a remarkable estate named Solana was established on the western end of Montecito. Drawing upon a wide range of influences – from Pompeii and ancient Rome to poetry and mathematics – this incredible residence transcends time and space to surround her callers in a physical thesis in the classics: history, philosophy, architecture, language, literature, laws, art ... at one with nature and at once a distinct feat of physics and engineering, Solana, from her conception to restoration, is a defining achievement of our time. ”

–From the Hilltop, The Story of Solana’s100 Years | Riskin Partners

Perched high above Montecito with unobstructed and unrivaled ocean and mountain views and majestically set on more than 11 lush acres, Santa Barbara’s most iconic and beloved estate stands as a defining architectural achievement of the West Coast and as a testament to what’s possible with intent and boundless aspiration.

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C Solana’s Beginnings

onstruction on the property began in 1913 as the California residence for Frederick Forrest Peabody, a philanthropist and prominent businessman who’d fallen in love with Santa Barbara’s enviable climate and striking natural beauty upon his first visit at the turn of the century.

Designed by architect Francis Underhill, the 22,000-squarefoot estate was inspired by classical Italian architecture, yet envisioned for contemporary living. Built at the turn of the century during what was a time of great significance in California’s (and the country’s) history, the sprawling home was a precursor to other iconic West Coast properties, such as Hearst Castle and the Getty Villa and remains one of five historic hilltop estates in Montecito.

As the Peabody estate neared completion, it was decided that the property needed a proper name. Meaning “sunny place” in Spanish, Solana emerged as the fitting front-runner. Over the decades, this sun-kissed marvel would set the stage for enlightening engagements and come to embody the California dream.

Peabody committed wholeheartedly to Santa Barbara, generously donating his time and wealth to support local causes. Together with his wife, Kathleen Burke, the couple’s long history of philanthropy and social activism foreshadowed Solana’s illustrious chapter as part of the nation’s discourse on politics and social consciousness.

Worldly Connections

Solana ushered in a bold new chapter in 1959. Ceasing to exist as a private residence, the property became a public institution as home to the Center for the Study of Democratic Institutions, a leading American think tank funded by The Ford Foundation and led by Dr. Robert E. Hutchins.

Established in 1959, the Center encouraged dialogue and spirited discourse based on the ideals of ancient Greek academies, welcoming world leaders, public officials, scientists, journalists, intellectuals and Hollywood figures to investigate critical global issues and produce hundreds of reports, papers and treatises on education, freedom of the press, international relations, public policy, religion, medicine and technology.

Over two decades, Solana became a remarkable crossroads for some of the world’s most notable minds, including Martin Luther King, Jr., John F. Kennedy, Cesar Chavez, Aldous Huxley, Antonin Scalia, Jack Lemmon, Paul Newman and J. William Fulbright, to name just a few.

“

The center made its mark on me, as it had on hundreds of people who entered the sunlit conference rooms on Eucalyptus Hill to wrestle with the agonies of the world. The beauty of the place aroused guilt in some of the scholars who were there, and jealousy in some of the visitors who thought it had too much splendor. A visitor asked me once, 'What did you ever do to deserve this?' No anwer seemed possible.”

– Frank Kelly, Author | Court of Reason

Under financial distress, the Center made the difficult decision to sell off parts of Solana’s grounds before ultimately moving its headquarters to the University of California Santa Barbara campus, from where the Center operated for the next decade before merging with the Los Angeles-based Institute for National Strategy.

Solana spent the remaining years in neglect and degradation. As it approached the 21st century, the grand estate was in dire need of restoration.

Reimagining Solana for the Next 100 Years

In 1999, Solana embarked on an era of remarkable reformation under the stewardship of new owners. Noted architect Don Nulty, master builder Rick Heimberg and designer Joan Behnke were charged with meticulously bringing the couple’s magnificent and courageous vision for Solana to life. Central to their approach was retaining the beauty and integrity of Underhill’s original design, while incorporating the modernity and convenience needed for a present-day residence.

The Houston-based couple, both entrepreneurs and philanthropists who have been married for more than 40 years, spearheaded the extensive restoration project – their sixth – with their eyes set on breathing life back into the historic property and building it for the next generation. The task was no ordinary feat, entailing a complete and detailed rebuild of the remarkable estate.

Relentless in their approach to conserving, restoring, respecting and caring for Solana, the husband and wife set out to leave the storied estate even better than they found it, preparing it for its next 100 years.

The restoration project brought together the best professionals in architecture, construction and landscaping, faithfully restoring one of Montecito’s most storied treasures.

We had a singular vision for this property, and that was to respect its history, its architecture, its location and its community. It was important to us to respect the era during which Solana was built – to imagine what folks who walked through the door in its early days would’ve seen and experienced. We saw the renovation, as we always do: an opportunity to create art, to refine a home’s history, to retune its course.”

A Living Museum

From Thai silk draperies made by Patrick DeMott and antique crystal chandeliers to beams salvaged from an airplane hangar dating to before World War II and French oak that once belonged to William Randolph Hearst, Solana is a tribute to some of the world’s finest artisans, past and present – its materials and artwork having been sourced from every continent and collected over a life well-traveled.

In the ensuing months and years, the owners traveled far and wide, amassing a collection of antiquities ranging from an art collection by female artists, to specialized antique furniture, textiles, china, silver, crystal, ceramic tiles and so much more. All of the treasures were to be curated and find a home in this classic structure. As the construction unfolded, the house began to come to life."

A tremendous effort was made to ensure that Solana’s renovation and redesign was accurate for both its origin and its location. Painstakingly committed to preserving Solana’s classicism, the couple sought building supplies from across Europe, acquiring Portuguese tiles, hardwood flooring, marblework, glass, terracotta and hardware from suppliers who have been in business for hundreds of years, staying accurate to Solana’s original design.

Cloaked in 17th-century French oak paneling originally designed for a British castle, the wood façade that adorned Solana’s guest reception once belonged to William Randolph Hearst, who had intended to include the carvings at his estate in San Simeon. It took two years and two master craftsmen to expertly piece it together.

The building materials are where the house begins. That’s where we knew we needed to start. All of the arts and antiques are icing on the cake, but we wanted the cake to be right.”

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The couple’s love for art, travel and collecting further guided their approach to decorating Solana – each hand-picked item as unique as the home in which it was going. With a deep drive to marry 1914 to the year 2000, the couple carried architectural drawings and color swatches across Europe, acquiring art and antiques that matched their vision for Solana. Art, sculpture and furniture provided a great opportunity for welcoming the 1900s back into the home. They refer to the furniture, art and decorative objects offered in this sale as “treasures,” each remarkable on its own, but which together tell a cohesive and beautiful story.

Solana provided a place to house our collection – to live with it and share it with others. In some way, that’s what we’re doing by offering some of these pieces at auction: we are sharing our collection with others.”

Solana’s large galleries and ample wall space provided an idyllic setting for showcasing pieces from the couple’s collection, a mix of antique and contemporary, as well as the inspiration for acquiring others – each piece thoughtfully selected for Solana. This includes several pieces of Indonesian art, such as a pair of portraits by Abdul Aziz (titled “Attraction,” 1980), which the couple acquired from a gallery in 1981. These are among the fewer than 10 other such twin-panel paintings Aziz created in his lifetime and are the rarest and most sought-after subject matter by the artist. The last time a portrait pair in this series by Aziz went to auction was in 2013.

The avid collectors consider the candlelit French chandelier that anchored the home’s formal dining room among their most cherished pieces. They found the stunning crystal fixture, never electrified, during a trip to Brussels, where it had been kept in its original crate in a basement for well over a century, having been acquired by a young man with a penchant for collecting them.

Solana’s dining room poignantly conveys the home’s magic. With original quarter-sawn oak pocket doors and one of two original fireplaces, the space provided a warm and vivid setting for hosting and entertaining, something the couple did often and well. Around the long French oak dining table, hundreds of people gathered over time to converse, collaborate and celebrate.

“Oh, if that table could talk,” the couple tells New Orleans Auction Galleries tongue-in-cheek. In fact, the spirited dining room serves as the centerpiece of the first episode of season five of the acclaimed television series Succession

Solana’s revival as a gathering place that inspires, surprises and delights is something that its now former owners are particularly proud of and something they hope the estate will for long be known.

We weren’t interested in following fads or trends. We wanted anyone who gathered at Solana to be inspired, to be challenged to think differently, to imagine a better way and a better life. When the doors opened up, we wanted their eyes to light up… and they always did.”

Distinctly Santa Barbara places

Solana’s idyllic position high above Montecito provides the residence with an unrivaled balance: the power of the mountains, the glow of city lights and the rhythms of the sea. With its expansive grounds and striking landscape, Solana beautifully celebrates the indoor-outdoor experience that has long characterized the ease and breeze of Santa Barbara living.

Across its formidable 11 acres, Solana poetically conveys a series of stories, each region of the landscape standing alone as a distinct destination and experience – from high tea in the formal

gardens, on the former site of an old amphitheater, and a contemplative afternoon in the Bali Bali to a lively dinner on the ocean terrace and an early morning swim in the pool.

Solana’s meticulously manicured Edenic gardens showcase the theatrics of the seasons, boasting botanical beauty that extends from the local to the exotic, including a terraced rose garden featuring more than 500 bushes.

And fittingly, multiple courtyards and terraces invite the outdoors to spill into the home, basking it with the sunlight that is inherent to its name.

A visual feast, Solana’s landscape comes alive through vivid colors, detailed manicuring, wild footprints, unexpected specimens and, above all else, a skillfully layered design plan.

…The varietals delight, surprise and comfort all who experience their beauty.”

– From the Hilltop, The Story of Solana’s 100 Years | Riskin Partners

“ places Solana’s Next Chapter

Solana’s former owners sold the illustrious estate in 2020 to another couple who share a deep appreciation for the property’s history. As the couple downsizes and continues to focus on their philanthropic efforts and love for travel, they remain confident that their beloved Solana will continue to forge her remarkable journey in the hands of its new stewards, who have committed to protecting the splendid estate for the next generation.

Solana’s former owners hope that the treasures they have acquired along the way will inspire and find themselves revived in new spaces, where their stories are surely to continue being written.

Solana is more than simply a profound residence or ambassador of a significant moment in history. She is an aspiration. An inspiration. A reminder of what is possible. What began as a defining achievement of the early 1900s is now a defining california estate of the 21st century.”

– From the Hilltop, The Story of Solana’s 100 Years | Riskin Partners

New Orleans Auction Galleries is honored to offer more than 150 lots from Solana in this sale.

EXPLORE

Solana’s splendor spans more than a century of American history.

Watch its story unfold by scanning the QR codes below to access a curated selection of videos that highlight some of the magnificent estate’s most riveting tales.

Solana’s idyllic hilltop location, high above Montecito, strikes an unrivaled balance: the power of the mountains, the glow of city lights and the rhythms of the sea.

For more than two decades, Solana was a leading American think thank, a remarkable crossroads for some of the world’s most notable minds.

Solana’s meticulously manicured grounds include a terraced rose garden, featuring more than 500 bushes, created by master rosarian Dan Bifano.

Noted architect Don Nulty was among the team charged with ushering in Solana’s new era, retaining the beauty and integrity of its original classical design, while building it for the next 100 years.

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Effortless ELEGANCE

The Estate of Marjorie

Written by / Taylor Eichenwald

Shushan

Product Photography / Christa Ougel

The bedroom of Alaton's pied-à-terre in New York City, designed by Alaton and Shushan. Photo by Jaime Ardiles-Arce

Esteemed and accomplished interior designer Marjorie F. Shushan never anticipated that an office space she designed as a favor for her husband’s law firm would lead to a decades-long career and a lifelong passion. From Aspen to Miami and New Orleans to New York and Palm Beach, her work has been widely published and landed her a coveted spot on Architectural Digest ’s annual list of top 100 interior designers numerous times.

"I don't think I had any idea that I was going to become a designer. If I thought I was going to be anything, it would have been a designer of clothes—that was my love," Marjorie told Architectural Digest in 2005.

Marjorie’s trademark sense of style epitomized timelessness, grace and uncluttered elegance. Her interiors masterfully mixed styles and periods, using rich textures, harmonious colors and a mix of antique and contemporary elements to achieve sophisticated, yet practical and comfortable spaces, for her clients. Her iconic aesthetic ultimately led her to produce her own fabrics and launch a furniture line, The Marjorie Shushan Collection.

The Early Years

Marjorie Fischman was born in Philadelphia. Her father was a soda fountain manufacturer; from the family’s own marble quarry in Vermont, he would also make lamps and various other pieces for their home. From a young age, Marjorie had a creative spirit, an interest in the arts and a natural eye for beauty.

After graduating high school, Marjorie moved to Boston to attend Emerson College. Her father, somewhat traditional in his sensibilities, agreed to let her live away from home for one year at the insistence of her mother. After completing her first year at Emerson, she returned home to Philadelphia to attend the University of Pennsylvania.

While at the University of Pennsylvania, Marjorie met her husband, Louis G. Shushan, who was on his way to Harvard Law School. Once again, she returned to Boston for a brief time. The couple married in 1950 and in 1952 moved to New Orleans, her husband’s hometown, where they also raised their two daughters. Mr. Shushan practiced law, specializing in real estate, for 42 years and worked for the same firm, Shushan, Jackson and McPherson, since 1955.

Marjorie Shushan's master bedroom in New York City.

Photo by Billy Cunningham

The Beginnings of an

Interior Design Career

After her daughters went away to college, Marjorie began spending more time in Aspen. Naturally, friends saw what Marjorie did with her own home and began asking for decorating advice. She resisted at first, but when her husband was dissatisfied with his office design project, she stepped in.

"I didn't really want to do that," she told Architectural Digest "So we hired someone. But my husband didn't like what they did. Then he hired somebody else and fired them too. Finally, I said, ‘I can't take this anymore—I'll do it, I'll do it.’” The project was ultimately published, making it increasingly apparent that Marjorie’s natural talents were more than just a hobby.

A Dynamic Duo: Marjorie Shushan and Kalef Alaton

When a close friend in Aspen was looking for someone to design the interior of their home, Marjorie suggested Kalef Alaton, a highly sought-after interior designer whose work she had long-admired in the pages of Architectural Digest. Known for his eclectic, luxurious and restrained style, Alaton’s signature elegance and creative vision were unrivaled.

Born in Istanbul in 1940, Kalef Alaton was sent to school Paris, where he lived alone in a hotel without family. He frequently immersed himself in museum galleries, historic homes and antique shops, developing a refined eye and historical knowledge. In 1968, he left Europe for Los Angeles, where his innovative and bold design approach quickly caught the attention of the Beverly Hills and the Hollywood elite, landing high-profile commissions that catapulted him into the international spotlight.

Marjorie met Alaton for the first time in 1978 while he was on a site visit at her friend’s project in Aspen. The two hit it off instantly and became fast friends. He saw a kindred spirit in Marjorie, whose work reflected many of the same design principles.

Excited by Marjorie’s immense talent, Alaton insisted, "You need to go to work. You need to use your talent. You need to let it be seen,” to which she replied, “I'm skiing right now, but if you get something I'd be interested in, I'll work with you.” That call eventually came, and she agreed to begin working with Alaton as an associate. Over the next decade, he became a dear friend and invaluable mentor.

LOT 547 (CABINET), LOT 541 (TOADS)

The living room of Alaton's pied-à-terre in New York City, designed by Alaton and Shushan. Photo by Jaime Ardiles-Arce

As Alaton’s work became increasingly popular, there was a need for a New York pied-à-terre for him and his staff, including Shushan, to stay in while working in the city. The chic and layered interior of this shared property was published in the May 1986 issue of Architectural Digest , which mentions and prominently features items offered in this sale, including a striking ebonized German table and a charming gilt alligator.

In an essay Marjorie wrote for Designers on Designers , she said of Alaton:

“His concept of formulating an interior was very much like the method of a superbly dressed lady: the perfect tailored suit or simple dress accessorized knowingly with the correct shoes and jewelry, all of the finest craftsmanship… He always knew when it was time to encourage his clients to stop buying. He wanted each project to have the balance that it needed with appropriate luxurious things. His ultimate objective was to create glamorous environments, but ones that were ultimately to be lived in, not merely exercises in glitz.”

Lasting Legacies

Tragically, Alaton passed away in 1989 when he was only 46 years old. Following her mentor’s untimely death, Marjorie established her own interior design firm in New York, Marjorie Shushan, Inc., dedicating the decades that followed to honoring Alaton’s legacy and forging her own path.

Reflecting on Alaton, Marjorie wrote, “To this day, the spirit of Kalef whispers to me, ‘Marjorie, give them more beauty and a style of living that they did not dream possible. I promise they will recognize it.’ Sometimes when I return to a former project and discover how little the client has changed the interiors, I smile and know, like Kalef, that I got it right the first time. Kalef Alaton’s presence is forever with me.”

Marjorie died peacefully at her beloved home in New Orleans in October 2023. Her and Alaton’s lasting legacies are intertwined, and their time together transformative for the people they worked with and the spaces they inhabited.

New Orleans Auction Galleries is honored to offer furniture, fine art, decorative objects and more from the Marjorie Shushan Estate, including beloved pieces from the Collection of Kalef Alaton.

The living room of Alaton's pied-à-terre in New York City, designed by Alaton and Shushan. Photo by Jaime Ardiles-Arce

SATURDAY, JULY 27

Three Large Chinese Painted Panels

early 20th century, one painted paper panel depicting a mandarin family under a plum tree, another depicting a mandarin family in a walled garden with pots of flowers, one child with a fish-form kite, and the third depicting a mandarin family beneath a tree, on the banks of a stream with geese, each in a pale green wooden frame. h. 100-1/2”, w. 47-1/2”

$4,000-$7,000

Provenance: Daniel Bruxelles, Brussels, Belgium; Historic Solana, Montecito, California.

Charming Italian Marble Figure of a Woman and Her Spaniel

third quarter 19th century, cast signature “CARUSI DI CARRARA” along back, the figure with roses in her hair, seated and holding a book in one hand, the other hand to her lips as the dog excitedly looks up at her, on a handsome marble plinth with carved molding, likely original.

h. 65”, w. 19-3/4”, d. 16-3/4”

$6,000-$9,000

Provenance: Arita Eduardo Cohen Antique Gallery, Buenos Aires, Argentina; Historic Solana, Montecito, California.

Cut Crystal Candle-Light Chandelier

20th century, attributed to St. Louis, Belgian, the corona composed of spiral-reeded crystal scrolls hung with cut glass drops, the molded glass-clad standard with three gilt glass prism rings, and with scrolled, spiral-reeded candle branches terminating in glass candle cups and leaf-cut prism rings, alternating with glass scrolls hung with cut glass drops. h. 34-1/2”, dia. 33-3/4”

$4,000-$7,000

Provenance: Louis Pierre Gallery, Leuven, Brussels, Belgium; Historic Solana, Montecito, California.

4

Provincial Louis XV-Style Oak Draw-Leaf Dining Table

19th century, the rounded, rectangular top banded and with parquetry veneers, with a like draw leaf to either end, raised above a shaped apron on cabriole legs joined by a shaped X-form stretcher and ending in scrolled toes on pegs. h. 32”, w. 48”, l. 97”, extended l. 183”

$3,000-$5,000

Provenance: Purchased from a private estate, Montecito, California; Historic Solana, Montecito, California.

19th century, consisting of two armchairs and six side chairs, each with a shaped, bellflower- and foliate-carved crest above a pierced and shaped apron, raised on cabriole legs joined by a shaped X-form stretcher and ending in foliate toes on gilt pegs. h. 47”, w. 23”, d. 22”

$1,500-$2,500

Provenance: Purchased from a private estate, Montecito, California; Historic Solana, Montecito, California.

Provenance: Purchased from a private estate, Montecito, California; Historic Solana, Montecito, California. 5

19th century, each with a shaped, bellflower- and foliatecarved crest above a pierced and shaped apron, raised on cabriole legs joined by a shaped X-form stretcher and ending in foliate toes on gilt pegs. h. 45”, w. 19”, d. 18”

$2,000-$4,000

Suite of Twelve Portuguese Oak Side Chairs

Suite of Eight Portuguese Oak Dining Chairs

Large

Pair of Italian Carved and Painted Wooden Torcheres

17th/18th century, each standard in the form of the goddess Fortuna in a silver-gilt gown, holding aloft a six-light reeded and leaf-carved candelabrum atop a cornucopia, and supported on a green faux marbre concave pedestal, painted with cut-cornered panels. h. 86”, w. 27”, d. 16”

$5,000-$8,000

Provenance: Francoise Baudry, Sinta, Portugal; Historic Solana, Montecito, California.

fourth quarter 19th century, of unusual delicacy and scale, the crest with three-dimensional pierced, scrolling leaves decorated with beading in the center and accented with flowers, the beveled mirror plate set into a giltwood surround carved in a scale pattern, the lower portion with a central shell framing a flower head, flanked by leaves. h. 75-1/2”, w. 46-3/4”

$4,000-$7,000

Provenance: Historic Solana, Montecito, California.

Italian Giltwood Mirror

Italian Giltwood Architectural Altar Panel

18th century, the barrel-back Franciscan panel decorated with Masonic-era water, sun and fountain, with a pair of urns flanking the upper hemispherical opening, above a sun framed in scrollwork and rocaille work, accented with flower heads, the lower scroll- and rocaille-framed panel decorated with a well, the background with incised leaves. h. 66”, w. 30-1/2”, d. 11”

$3,000-$5,000

Provenance: Removed from a freemasonry lodge and once part of the Museum of Santos, Lisbon, Portugal; Historic Solana, Montecito, California.

Italian Florentine Giltwood and Parcel-Gilt Figural Tabouret

20th century, the serpentine-sided Florentine tray top decorated with incised gilt scrollwork, above a giltwood putto in a stocking cap, on a dark green base, mounted on a black wooden plinth. h. 30-1/2”, w. 20”, d. 14-3/4”

$1,000-$1,500

Provenance: Addison Mizner Estate, Montecito, California; Historic Solana, Montecito, California.

Pair of Monumental Italian Giltwood Sconces

20th century, in the Baroque taste, the oval, acanthus-carved backplates with cornucopia-form arms, fluted and carved with acanthus leaves, supporting reeded candle holders, set with giltmetal drip pans.

h. 18”, w. 10”, d. 33-1/2”

$1,200-$1,800

Provenance: Theta Antiques Show, Houston, Texas; Historic Solana, Montecito, California.

Belle Epoque Gilt-Bronze and Marble Console Table

late 19th century, the Verde Alpi Scuro marble console with an overhanging molded deck supported by a gilt-bronze putto di mare mounted to a stepped base.

h. 33”, w. 30”, d. 11”

$3,000-$5,000

Provenance: Jack Nicholson, Sotheby’s New York, 1993; Historic Solana, Montecito, California.

third quarter 19th century, in the Neo-Grec taste, the crest with a pair of cherubs supporting an oval piercing, framed in sprays of laurel leaves, the outer surround with egg-and-dart molding, the raised “cushion” with scrolled cartouches in the corners and oval profiles of Grecian goddesses on the sides, the inner surround molded with laurel leaves and berries. h. 88”, w. 52-1/2”

$3,000-$5,000

Provenance: John Nelson Gallery, Los Angeles, California; Historic Solana, Montecito, California.

Continental Rosewood Occasional Table

19th century, the rectangular top with an inset leather-clad panel under glass, featuring scrolling foliate patterns, above a conforming imbricate-carved frieze, with pendant scrolling patterns, raised on barley-twist legs headed by a bobbinturned capital.

h. 24”, w. 22-1/2”, d. 19-1/2”

$1,500-$2,500

Provenance: Europa Antiques, Santa Barbara, California; Historic Solana, Montecito, California.

Napoleon III Giltwood Cushion Mirror

Pair

of Neoclassical-Style Marble Pedestals

the siena marble standards carved with reeding, on ogeecarved mottled green marble bases. h. 35-1/4”, w. 17-1/2”, d. 17-1/2”

$1,500-$2,500

Provenance: Farnese Gallery, Los Angeles, California; Historic Solana, Montecito, California.

16 Pair of Giltwood, Velvet, Metal and Cast Stone Torcheres

first half 20th century, the carved giltwood lanterns with pierced dome-form tops with masque-carved corner scrolled brackets and side panels set with textured glass, supported on velvet-covered standards set into scrolled metal brackets, on cast stone tripartite bases molded with shields, electrified. h. 80-3/4”, dia. 16-1/2”

$2,000-$4,000

Provenance: Addison Mizner Estate, Montecito, California; Historic Solana, Montecito, California.

17 German Double Bird Automaton

first quarter 20th century, probably Karl Griesbaum, the giltbrass birdcage with a singing bird on a perch with enameled leaves, and another singing bird below, on a giltwood base decorated with sprays of molded flowers, and ogee acanthusmolded trim, with original key. h. 20-1/4”, w. 9-1/2”, d. 9-1/2”

$1,200-$1,800

Provenance: Summerhill Antiques, Orange, California; Historic Solana, Montecito, California.

Pair of Belle Epoque Gilt-Bronze and Marble Figures of Putti

fourth quarter 19th century, now mounted as lamps, one figure holding a dagger and the other a fishing net, on molded marble bases raised on wooden feet, mounted with shades. h. 15-1/2”, w. 9”, d. 6”

$1,200-$1,800

Provenance: Carty & Carty Antiques, Montecito, California; Historic Solana, Montecito, California.

Louis XV-Style Giltwood and Marble-Top Console Table

19th century, the bowed and shaped marble top above a conforming frieze centered by a foliate shell crest, raised on molded cabriole legs joined by a foliate shield-centered stretcher and ending in scrolled toes on pegs. h. 38”, w. 48”, d. 19”

$1,200-$1,800

Provenance: Summerhill Antiques, Orange, California; Historic Solana, Montecito, California.

French Belle Epoque Giltwood Mirror

fourth quarter 19th century, in the rococo taste, the serpentine crest decorated with pierced scrollwork, accented with rocaille work and flower heads, the surround with carved cabochons framed with scrollwork and the lower corners with bold, pierced scrolls, the beveled mirror plate set into a beaded liner. h. 89-1/2”, w. 54”

$1,500-$2,500

Provenance: Summerhill Antiques, Orange, California; Historic Solana, Montecito, California.

Belle Epoque Gilt-Bronze and Tole Bouillotte Lamp

in the Louis XVI taste, the black tole shade with a gilt arrow adjustment knob, the fluted standard decorated with husks and acanthus leaves, and supporting three scrolled, leaf-molded arms set with inverted bellform candle cups, the base decorated with engine turning and classical details, not electrified. h. 29-1/2”, dia. 19-1/2”

$800-$1,200

Provenance: Ramon de Portundo Gallery, Madrid, Spain; Historic Solana, Montecito, California.

Chinese Export Chinoiserie Lacquered and Bamboo Center Table

20th century, the circular top decorated with gilt mandarin scenes on a black ground, with a cane-wrapped hexagonal bamboo base, with pierced herringbone bamboo skirts and a glass top. h. 32-1/2”, dia. 38”

$2,000-$4,000

Provenance: Yau Arts Gallery, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

Pair of Gilt-Metal Floor Lamps

20th century, in the Mediterranean taste, the turned candle sockets set into pierced drip pans, on hammered metal standards supported on scrolled feet, fitted with shades. h. 75-1/4”, dia. 23-1/4”

$800-$1,200

Provenance: Marge King Gallery, Theta Antiques Show, Houston, Texas; Historic Solana, Montecito, California.

Psalterio Autoharp

ca. 1800, the blue-painted pine case opening to reveal the lid painted with flowers, birds and people in the Germanic taste, the soundboard with two apertures lined with pierced metal, the edges lined with transfer-printed flowers, the red-trimmed case raised on turned feet. open h. 20-1/4”, closed h. 7-3/4”, w. 28-1/2”, d. 16”

$2,000-$4,000

Provenance: Septiminio Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

Pair of Cut Glass Boudoir Lamps with Joanna Wood Shades

one decorated with Egyptian scenes and the other with Moors, both of 19th-century inspiration, the lamps composed of faceted cut glass elements. h. 25-1/4”, w. 8”, d. 8”

$800-$1,200

Provenance: Shades from Fracture Gallery, Verdon Gorge, France; Bases from Duo Deco, Paris, France.

Rare Venetian Silk Window Shade

19th century, decorated with a scene out of literature or mythology, depicting a woman on horseback, consoling a crying woman, the horse drinking from a pool of water, in a lushly painted Italian garden with a castle in the background, in a painted neoclassical “frame”, the upper portion with a cartouche framed with scrollwork and fluting, the sides painted with scrolls and the base with a scroll-supported shell on a guilloche-decorated field, all against an olive-green ground.

h. 114-1/4”, w. 57-1/2”

$2,000-$4,000

Provenance: Daniel’s Antiques, Aspen, Colorado; Historic Solana, Montecito, California.

Pair of Louis XVI-Style Giltwood Fauteuils

each with a padded, ovoid back joined by padded, acanthinecarved arms to the like seat, raised above a carved apron on stop-fluted, tapered circular legs ending in ball feet, upholstered in Fortuny fabric.

h. 43”, w. 30”, d. 25-1/2”

$2,500-$4,000

Provenance: Marshall Gallery, Los Angeles, California; Historic Solana, Montecito, California.

Pair of Japanned Wooden Table Lamps

20th century, in the Chinese taste, the square vasiform lamps decorated with mandarin figures, willow trees and children playing by a body of water, raised on cabriole legs and mounted with shades. h. 32-3/4”, dia. 23”

$1,200-$1,800

Provenance: Yau Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

Ebony-Lacquered Side Table

the slightly raised gallery top over cabriole legs ending in recessed square feet. h. 19”, w. 23”, d. 16”

$700-$1,000

Provenance: The Red Cabinet, Hollywood Road, Hong Kong; Historic Solana, Montecito, California.

30 Pair of Chinoiserie Lacquered Drum Barrel Containers

20th century, the black covers decorated with birds in branches, the red-trimmed black bodies decorated with mandarin scenes of figures in a village, with pine and willow trees, set with gilt foo dog handles. h. 17-3/4”, dia. 11-1/2”

$800-$1,200

Provenance: Yua Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

English

Faux Tortoiseshell Dressing Mirror

20th century, the rectangular beveled mirror plate lined with a segmented tortoiseshell surround, set with a pedimented crest, supported by an easel back. h. 21”, w. 15”, d. 12-3/4”

$1,500-$2,500

Provenance: Field & Fort, Summerhill, California; Historic Solana, Montecito, California.

Impressive Pair of Italian Giltwood, Silver-Leaf and Painted Wooden Topiaries

17th century, the large, pierced silver-leaf topiaries decorated with flowers with giltwood centers, the backs reinforced with iron rods, in handsome faux-stone-painted and turned wooden flower pots, the “soil” topped with green glass “stones” in one pot and blue glass “stones” in the other. h. 68”, w. 30-1/4”, d. 14”

$3,000-$5,000

Provenance: A. Palloni & C. via Borgognissanti, Florence, Italy; Historic Solana, Montecito, California.

After Maarten de Vos (Flemish, 1532-1603)

“Children of Saturn”

oil on copper on cradled wood support early 17th century, after a series of engravings “Planetarum Effectus et Forum in Signis Zodiaci”, after lost drawings by de Vos. Framed.

34-3/8” x 41-1/8”

$1,500-$2,500

Provenance: Manheim Galleries, New Orleans, Louisiana; Historic Solana, Montecito, California.

The utilization of copper as a support for oil paintings emerged as a prominent technique within European artistic circles during the 16th and 17th centuries as it offered several advantages to artists. Compared to canvas, copper's smooth and rigid surface facilitated the creation of meticulously detailed brushwork. Additionally, its non-absorbent nature prevents oil pigments from sinking into the ground, resulting in a more vibrant and intense appearance. While small-scale copper paintings were commonplace during this period, the larger size of the work offered here differentiates it from the majority of its contemporaries.

This mythological tableau, divided into distinct sections, presents a fascinating juxtaposition of Roman and Christian iconography. Based on engravings from the series "Planetarum Effectus et Forum in Signis Zodiaci," itself derived from a lost drawing by Flemish artist Maarten de Vos, the painting presents a visual narrative of the religious transition within the Roman Empire around the 4th century CE. During this period, Christianity experienced a dramatic rise within the Roman sphere, culminating in its legal recognition in 313 CE. Finally, Christianity's ascendancy peaked in 380 CE when it became the Roman Empire's official religion. This imperial decree standardized Christian practice and fostered a cultural intertwining between Christian and Roman traditions.

In the upper segment of the painting, Saturn is illustrated as an elderly figure, adhering faithfully to conventional iconographic precepts; in his right hand he clasps a scythe, his inveterate attribute, while simultaneously leaning over a young boy, sinking his teeth into the child as the defenseless figure struggles to break free. This motif of child cannibalism and infanticide was a recurring theme in mythological depictions of Saturn, famously interpreted by masters such as Peter Paul Rubens and Francisco Goya. According to legend, Saturn, fearing his overthrow by one of his offspring, consumed each upon their birth. However, Rhea, the mother of his children, managed to conceal one child, Jupiter, who ultimately fulfilled the prophecy by dethroning his father and freeing his siblings. The celestial backdrop reinforces the thematic connection to Saturn, showcasing the astrological signs of Aquarius and Capricorn, both traditionally associated with his planetary dominion.

Juxtaposed against the pagan imagery above, the lower register of the composition unfolds upon a vast landscape populated by various figures seemingly oblivious to the drama transpiring overhead. Positioned prominently in the bottom right corner, a solitary figure draped in a red cloak sits beside a cave. The crimson hue of his attire, traditionally associated with Christian martyrdom and penance, coupled with his apparent eremitic existence, strongly suggests an identification with Saint Jerome, a Church Father renowned for his years of solitary contemplation and rigorous asceticism. Notably, the original engraving depicted this figure studying planetary books, a thematic link to the celestial realm above. This deliberate alteration by the artist, replacing the astrological texts with written words, suggests a purposeful shift in identity from a nameless figure associated with Roman polytheism to a Christian saint. This intervention further emphasizes the narrative of polytheistic decline and Christian ascendancy, adding depth and signifying the artist's creative agency in shaping the visual narrative.

On the opposite side of the canvas, an impressive fight between a lion and serpent occupies the bottom left corner. Inclusion of the intertwined lion and serpent evokes Psalm 91: 13-14: "13 You will tread on the lion and the cobra; you will trample the great lion and the serpent. 14 'Because he loves me,' says the Lord, 'I will rescue him; I will protect him, for he acknowledges my name.'" This imagery underscores a central tenet of Christian faith: that unwavering trust in God grants believers the strength to overcome even the most formidable challenges. The emphasis on trust in the chosen verse from Psalms starkly contrasts with the violent act perpetrated by Saturn above. By juxtaposing these scenes, the artist constructs a visual argument, portraying polytheistic practices as inherently violent and contrasting them with the security and peace offered by the Christian faith.

This work transcends its mythological foundation, evolving into a visually compelling narrative of religious transformation within the Roman Empire.

in the Baroque taste, the shelves with painted tops and decorated with pierced scrollwork, the lower edges shaped and carved with acanthus leaves.

h. 12”, w. 33-3/4”, d. 12-1/4”

$800-$1,200

Provenance: Ricardo Hogan, Lisbon, Portugal; Historic Solana, Montecito, California.

Pair of Italian Carved and Polychrome Wooden Shelves

Pair of Flemish-Style Fruitwood Armchairs

each with a domed and pierced crest above a caned back, joined to the cushioned, caned seat by downswept scrolling arms, raised on shaped legs joined by a pierced front stretcher and ending in Flemish toes.

h. 51”, w. 23-1/2”, d. 19”

$800-$1,200

Provenance: Minton-Spidell, Los Angeles, California; Historic Solana, Montecito, California.

fourth quarter 19th century, Dutch or Flemish, in the Baroque taste, the pedimented crest with pierced brass work of a pair of cherubs on a ground of scrolling leaves and flowers, the outer surround with black lacquer ripple molding, framing a pulvinated brass flower-decorated surround, the raised cushion with brass corners with baskets of flowers, the interior surround with like decoration and set with a beveled mirror plate.

h. 59”, w. 31”

$1,400-$1,800

Provenance: Historic Solana, Montecito, California.

Brass and Ebonized Wood Cushion Mirror

Pair of Napoleon III Giltwood Fauteuils

19th century, in the Louis XVI taste, each with a domed and padded back within a molded, laurel-carved frame, joined by acanthine-carved, padded arms to the like seat, raised on foliate-carved, fluted and tapered circular legs headed by a ribbed capital and ending in toupie feet, each upholstered in 18th century Aubusson tapestry featuring frolicking cherubs and animal-filled landscapes.

h. 44”, w. 29”, d. 24”

$3,000-$5,000

Provenance: Marshalls Gallery, Melrose Avenue, Los Angeles, California; Historic Solana, Montecito, California.

Pair of Napoleon III Giltwood Fauteuils

h. 44”, w. 29”, d. 24”

$3,000-$5,000

Provenance: Marshalls Gallery, Melrose Avenue, Los Angeles, California; Historic Solana, Montecito, California.

Pair of Velvet Aubusson Pillows

one pillow decorated with monkeys and the other with boars, both with floral garlands and rose-colored swagging. h. 24”, w. 24”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Pair of Fringed Velvet Aubusson Pillows

one pillow decorated with a dog and the other with a raven perched on a sheep, both with floral garlands and rose-colored swagging. h. 24”, w. 24”

$1,000-$1,500

Provenance: Sotheby’s, New York, New York; Historic Solana, Montecito, California.

each decorated with passementerie scrollwork with yellow accents and flowers, one on a light green damask ground and the other on a darker green ground. h. 24”, w. 24”

$500-$800

Provenance: Historic Solana, Montecito, California.

Pair of Damask and Passementerie Pillows

Italian Giltwood and Upholstered KingSize Headboard and Tester

the headboard in the Baroque taste with a central carved cherub supporting a swag of flowers, framed with bold, carved scrollwork, upholstered in silk, h. 80”, w. 80”, d. 6”, and the tester suspended with gilt-metal chains, with a red “ceiling”, and embroidered silk hangings decorated with angels, flowering scrollwork, religious texts and oval personifying Jesus, all hung with gold metallic fringe, h. 57”, w. 75-1/4”, d. 29”.

$1,500-$2,500

Provenance: Historic Solana, Montecito, California.

Pair of Polychrome Commodes

19th century, each with a shaped, rectangular top with glass overlay, featuring decorative polychrome banding and a scene of decoupage classical figures, above a conforming bombe case fitted with three drawers, all with like polychrome accents and decoupage figural scenes, the sides en suite, raised on splayed legs. h. 35”, w. 26-1/2”, d. 17-1/2”

$1,800-$2,500

Provenance: Carty & Carty Antiques, Montecito, California; Historic Solana, Montecito, California.

Pair of Italian Painted Metal Standing Lanterns

first quarter 20th century, the triangular lanterns composed of molded metal and glass panels, divided by leaf-molded corners, the domed covers set with leaf-molded finials, on tapered standards over ogee-molded bases, electrified. h. 32-1/2”, w. 10-1/2”, d. 10”

$800-$1,200

Provenance: Ricardo Hogan, Lisbon, Portugal; Historic Solana, Montecito, California.

Partial Service of Venetian Enameled Stemware

20th century, decorated with rows of white-enameled animals accented with cobalt and yellow trim, the set comprised of eight wine goblets, h. 6-1/2”, dia. 2-3/4”, and eight champagne coupes, h. 4-1/2”, dia. 1-1/2”.

$500-$800

Provenance: Summerhill Antiques, Orange, California; Historic Solana, Montecito, California.

Pair of Italian Polychrome Bombe Commodes

early 20th century, each with a shaped top above a stepped frieze and bombe case fitted with two short drawers over a single long drawer, raised on cabriole legs ending in scrolled toes, the whole with delicate chinoiserie accents. h. 37”, w. 52”, d. 20”

$4,000-$7,000

Provenance: Historic Solana, Montecito, California.

Blown and Engraved Venetian Glass Mirror

of Baroque inspiration, the paneled crest lined with spiralreeded amber blown glass trim, accented with gilt-spangled blown glass flowers, the panels engraved with ferns and sprays of leaves and flowers, the central “cushion” mirror set into a spiral-reeded amber blown glass surround with spangled flowers at the corners. h. 70”, w. 34-1/4”

$1,500-$2,500

Provenance: Nancy Corzine, Melrose Avenue, Los Angeles, California; Historic Solana, Montecito, California.

“Baby Hercules” Cast Iron Umbrella Stand

fourth quarter 19th century, the young Hercules standing in rushes and grasping a serpent, the body of the serpent acting as the support for umbrellas and canes, with a removable drip pan molded with rushes. h. 32”, w. 18”, d. 11-1/2”

$600-$900

Provenance: Stuart Thompson Fine Canes, Arundel, England; Historic Solana, Montecito, California.

49 Italian Carved, Painted and Parcel-Gilt Sconce

20th century, in the Egyptian taste, the fan-form sconce carved with lotus blossoms with giltwood trim, concealing a single socket near the base. h. 18-3/4”, w. 11-3/4”, d. 4-1/2”

$1,000-$1,500

Provenance: JF Chen Gallery, Los Angeles, California; Historic Solana, Montecito, California.

Latin American Santos Processional Cage Doll Figure

19th century and later, with carved and painted head and arms, the body covered in cloth, the upper portion with a painted corset with fabric ties. h. 36”, w. 15”, d. 14”

$700-$1,000

Provenance: Ricardo Hogan Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

Latin American Processional Cage Doll Figure of Madonna and Child

19th century and later, with carved and painted heads and arms on Mary and the baby, on a cage base.

h. 41-1/2”, w. 16-1/2”, d. 11-1/2”

$1,000-$1,500

Provenance: Ricardo Hogan Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

Latin American Carved and Painted Processional Cage Doll Figure of St. Joseph

19th century and later, the well-carved head set into a body with articulated arms and hands, mounted on a cage-form base.

h. 61-3/4”, w. 13-1/2”, d. 14-3/4”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Latin American Cage Doll Processional Figure of Saint Francesca Romana

19th century and later, with a serene face, the body with articulated lower arms, and carved feet below the cage. h. 26-1/2”, w. 6-1/2”, d. 6”

$700-$1,000

Provenance: Ricardo Hogan Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

Italian Cased Shrine to St. Thomas Aquinas

18th century and later, in a rococo carved fruitwood case with a domed top and a serpentine crest, the door carved with shells and scrollwork, the case interior with wallpaper depicting scrollwork and flowers in a giltwood surround, the carved and painted saint dressed in a silk gown with passementerie trim, possibly original, with a matching cap and holding a “jeweled” crown on his lap. h. 44-1/4”, w. 18-3/4”, d. 11-3/4”

$2,500-$4,000

Provenance: Ricardo Hogan Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

Rare Italian Wooden Reliquary Figure of St. Rocco (Roch)

17th century, the saint carved with a dog at his side, his robes with remnants of red, blue and gilt decoration, presented on a 19th-century fluted column-form pedestal. h. 75-1/4”, w. 19”, d. 17”

$1,400-$1,800

Provenance: Summerhill Antiques, Orange, California; Historic Solana, Montecito, California.

Latin American Carved Wood Figure of Saint Atocha

19th century, the saint seated in an armchair, his arms outstretched. h. 18-3/4”, w. 11-1/2”, d. 8”

$700-$1,000

Provenance: Ambrosia Armorino Gallery, Uruguay; Historic Solana, Montecito, California.

Pair of Italian Faux Marbre Painted Wooden Pedestals

fourth quarter 19th century, the square tops supported by graduated molding, each side with cut-cornered faux siena marble panels against faux red griotte marble grounds, the bases with cove-molded trim. h. 41-1/2”, w. 19”, d. 19”

$1,000-$1,500

Provenance: Ricardo Hogan Antiques, Lisbon Portugal; Historic Solana, Montecito, California.

Anglo-Colonial Rosewood Canape

mid-19th century, the shaped, double camel-back crest above a caned back, joined by outswept caned arms to the like, slightly bowed seat, raised on molded cabriole legs ending in pointed toes. h. 39”, w. 83”, d. 23-1/2”

$1,500-$2,500

Provenance: Galeria de Se, Sintra, Portugal; Historic Solana, Montecito, California.

Italian Giltwood Mirror in the Rococo Taste

ca. 1900, the mirror-backed crest and surround decorated with a central basket of flowers framed with scrollwork, accented with flower heads, the sides with scrollwork and flower heads trimmed with rocaille work and a matching base, the liner carved with rocaille work.

h. 65”, w. 35-1/4”

$1,200-$1,800

Provenance: Carty & Carty Antiques, Montecito, California; Historic Solana, Montecito, California.

Pair of Baroque-Style Carved Wood Lamps

in the Italian taste, the vasiform lamps with leaf-carved handles, the bodies with rocaille carving, on stepped bases, the red bole base with remnants of gilt and silver gilt, mounted with shades. h. 33-1/4”, w. 18”, d. 18”

$1,000-$1,500

Provenance: Greco Angela Rose, Venice, Italy; Historic Solana, Montecito, California.

Pair of Carved Fruitwood Corbel Brackets

fourth quarter 19th century, in the Renaissance Revival taste, the circular shelves with dentil trim, the carved backplates decorated with satyrs with animal faces and hoof feet, and the bottoms with carved masques.

h. 24”, w. 6-1/2”, shelf dia. 8”

$1,000-$1,500

Provenance: Alisandro Romano Antichita, Florence, Italy; Historic Solana, Montecito, California.

Pair of Bronze and Marble “Sprites with Amphorae” Candlesticks

20th century, after Edward Francis McCartan (American, 1879-1947), in the Art Nouveau taste, the water carriers perched on spheres, mounted on fluted bases, signed indistinctly, and raised on mottled green marble plinths, now converted to lamps. h. 28”, w. 16”, d. 12-3/4”

$1,000-$1,500

Provenance: Les Puces Flea Market, Paris, France; Historic Solana, Montecito, California.

Pair of French Polished Bronze Figural Candelabra

fourth quarter 19th century, now mounted as lamps, the floriform candle sockets intermingled with molded bronze lilies and other flowers, supported on putti-form standards, the cove-form bases decorated with panels of diapering and leaf-molded and pierced feet. h. 34-3/4”, dia. 17-1/4”

$900-$1,200

Provenance: Historic Solana, Montecito, California.

Pair of Regency Molded Bronze Chenets

first quarter 19th century, with “Medici” lions on the tops, each with one paw resting on a gilt-brass ball, the rectangular bronze patine plinths decorated with bronze dore sprays of molded leaves. h. 15-1/2”, w. 14-1/4”, d. 6”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

65 Portuguese Ebonized Settee

early 20th century, the trisected back with finials flanking shaped crests over four shaped splats, with barley-twist sides, joined to the rush seat by downswept arms, raised on barleytwist and block legs joined by a shaped front stretcher and ending in peg feet.

h. 54”, w. 60”, d. 22”

$700-$1,000

Provenance: Marge King Gallery, Theta Antiques Fair, Houston, Texas; Historic Solana, Montecito, California.

66 Suite of Six Portuguese Ebonized Dining Chairs

early 20th century, consisting of two armchairs and four side chairs, each with side finials flanking a shaped crest over three like splats, with barley-twist sides, the cushioned rush seat raised on barley-twist and block legs joined by a shaped front stretcher and ending in peg feet.

h. 51”, w. 25-1/2”, d. 24”

$1,000-$1,500

Provenance: Marge King Gallery, Theta Antiques Fair, Houston, Texas; Historic Solana, Montecito, California.

Giltwood and Composition Mirror in the Neoclassical Taste

the ogee surround reeded and decorated with molded acanthus leaves, the liner beaded and set with a beveled mirror plate.

h. 53-1/4”, w. 53-1/4”

$700-$1,000

Provenance: Historic Solana, Montecito, California.

Rare Pair of Medieval Spanish Iron and Leather Ecclesiastical Bookstands

13th-15th century, each of folding form, with a leather surface supported by an X-form base, the rear finials forged in the form of dog heads, the front fitted with two swinging candle arms and two lower hooks. h. 53-1/2”, w. 26”, d. 21”

$1,800-$2,500

Provenance: Maria Amelia Parente Gallery, Portugal; Historic Solana, Montecito, California.

Pair of American Art Deco Metal and Parcel-Gilt Floor Lamps

second quarter 20th century, attributed to George Washington Smith, the pierced demilune shades with mica-style liners, with scrolled supports and crest, the bases with pierced drops flanking “hammered” standards, on lobed and pierced bases. h. 65-1/2”, dia. 14”

$1,200-$1,800

Provenance: Carty & Carty Antiques, Montecito, California; Historic Solana, Montecito, California.

70 Flemish School (17th Century)

“Falconer with His Hunting Dogs” oil on canvas unsigned. Framed.

26-1/4” x 46-1/2”, framed 28-1/4” x 48-3/4”

$5,000-$8,000

Provenance: Ricardo Hogan Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

71 French School (19th Century)

“La Sieste”, 1855

oil on canvas dated and illegibly signed lower right. Framed.

9-1/2” x 12-3/4”, framed 13-1/4” x 15”

$1,000-$1,500

Provenance: Madrid Antiques Fair, Madrid, Spain; Historic Solana, Montecito, California.

Manner of Adriaen de Gryef (Dutch, 1670-1715)

“Pair of Hunting Scenes”

oil on wood panel Framed alike. each 10-3/8” x 13-1/4”, framed 15-1/4” x 18”

$3,000-$5,000

Provenance: Ramon de Portuondo Gallery, Madrid Antiques Fair, Madrid, Spain; Historic Solana, Montecito, California.

Flemish School (17th Century)

“Spaniel with a Rifle and Hunting Bag” oil on canvas Framed.

35” x 45-1/4”, framed 37-1/2” x 49-1/2”

$3,000-$5,000

Provenance: Ricardo Hogan Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

Flemish School (17th Century)

“Spaniel with the Spoils of the Hunt” oil on canvas faintly signed lower right. Framed.

35-1/4” x 43-3/4”, framed 37” x 44-3/4”

$3,000-$5,000

Provenance: Ricardo Hogan Antiques, Lisbon, Portugal; Historic Solana, Montecito, California.

18th century, the padded and square back surmounted by gilt foliate shield finials, joined by ribbed arms on scrolled arm rests to the padded seat, raised on square legs joined by turned front stretchers and ending in paw feet. h. 54-1/2”, w. 28”, d. 23”

$700-$1,000

Provenance: Annual Calm Charity Antique Show, Santa Barbara, California; Historic Solana, Montecito, California.

fourth quarter 19th century, in the Renaissance taste, the standing cherub finials on threesided standards molded with Ionic capitals, the sides with masques, the corners with satyrs, the pierced bases with lion’s heads supporting swag work, the scrolled corners decorated with putti, now on conforming triangular stone bases. h. 43”, w. 22”, d. 13-1/4”

$1,500-$2,500

Provenance: Brownstone Gallery, Houston, Texas; Historic Solana, Montecito, California.

Iberian Oak Armchair

Pair of Monumental Bronze Figural Andirons

Contemporary Leather-Upholstered and Carved Fruitwood Ottoman

the rectangular, tufted top raised on a foliateand lattice-carved plinth base. h. 18”, w. 38”, d. 29”

$800-$1,200

Provenance: Historic Solana, Montecito, California.

Near Pair of Provincial Fauteuils

18th century, each with a domed top rail above a slatted back, joined to the rush seat by downswept arms, raised on ball-and-block legs joined by a like H-form stretcher and ending in ball feet, each with an overstuffed back cushion and seat cushion. h. 44”, w. 27-1/2”, d. 34”

$800-$1,200

Provenance: Stephen Gratwohl, Switzerland; Historic Solana, Montecito, California.

Pair of Italian Custom-Made Deruta Pottery Chargers

ca. 1988, decorated in the Venetian Renaissance taste, one charger with a nobleman on horseback, a castle in the background, and the other with a falconer, with her bird and dog, marked “Grazia Deruta (Giugno 1998), Made in Italy for Bill & Sandi Nicolson [sic]”. dia. 20-1/2”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Pair of Italian Custom-Decorated Deruta Pottery Vases

ca. 1998, the scrolled handles terminating in molded masques, one decorated with Moses accepting the stone tablets, and the other with Adam and Eve, flanking the serpent, wrapped around the apple tree, marked “Grazia Deruta, Made in Italy, Luglio 1998, for Bill & Sandi Nicholson”.

h. 16-3/4”, dia. 10-1/2”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Pair of Italian Custom-Made Deruta Pottery Pilgrim’s Flasks

ca. 1998, with dome-form covers and scrolled handles, one decorated with a profile of “Scipio Africo” and the other with a profile marked “Sola Fides Sufficit”, on backgrounds decorated with dolphins issuing cornucopia, signed “Grazia Deruta, Made in Italy for Bill & Sandi Nicolson” and “Luglio 1998”.

h. 21-1/2”, w. 12”, d. 5-1/2”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Five Framed Sets of French Blue-and-White Tiles

20th century, in the Delft taste, depicting tennis through the ages, including “Tennis chez les anciens” depicting ancient Greeks playing tennis in front of the Parthenon, “Tennis au temps mythologiques” depicting tennis played by characters in ancient myths, “Le Tennis a Grand Siecle”, depicting Louis XIV and his courtiers playing tennis, “Le Tennis aux homeriques” depicting characters from Homer’s literature playing tennis, and “L. Tennis Sous Lempire” depicting Napoleon and Josephine on the tennis court, presented in matching, contemporary walnut frames. h. 18”, w. 56”

$2,000-$4,000

Provenance: Azulejos Manuel M. Antiques, Lisbon, Portugal: Historic Solana, Montecito, California.

Pair of Chinese Export Blue and White Porcelain Tree Tubs

in the “Fitzhugh” pattern, with medallions framed with panels of peonies and chrysanthemums, the wide rims with diapering.

h. 16-1/4”, dia. 21-1/2”

$1,000-$1,500

Provenance: Yao Arts, Hong Kong; Historic Solana, Montecito, California.

Caldas Bordallo Pinheiro Palissy Ware Covered Ewer and Plaque

ca. 1900, Portuguese, the ewer decorated with a moth and lizards, including a large lizard-form handle, the cover with a toad, h. 14”, dia. 8-3/4”, on a conforming undertray, dia. 9”, together with a plaque decorated with a serpent, moth, frog and beetle, marked on the back, dia. 7-3/4”.

$1,000-$1,500

Provenance: Silva, Lisbon, Portugal; Historic Solana, Montecito, California.

20th century, in the manner of Anthony Redmile, probably deer horn, set with turned candle cups and drip pans, on octagonal brass bases.

h. 32-1/2”, w. 18-3/4”, d. 11-3/4”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Tall Pair of Brass and Elk Antler Candelabra

Brazilian Tropical Hardwood Bench

18th century, of large proportions, the scrolling crest above an undulating back, joined by downswept sides to the tri-cushioned seat, the seat lifting to a storage space, raised above a shaped apron on block feet.

h. 58”, w. 142”, d. 17”

$3,000-$5,000

Provenance: Maria Amelia Parente Gallery, Lisbon, Portugal; Historic Solana, Montecito, California.

Flemish Fruitwood Mechanized Armchair

19th century, the tall, domed and padded back joined by padded arms to the like seat, the back and arms fitted with a reclining function, raised on cabriole legs joined by a shaped X-form stretcher and ending in rounded feet. h. 55”, w. 23”, d. 27”

$1,200-$1,800

Provenance: Chateau de Deulin, Belgium; Historic Solana, Montecito, California.

Pair of Italian Painted and Parcel-Gilt Wood Girandoles

19th century, in the Baroque taste, the pierced giltwood crests mounted on green-painted mirror surrounds decorated with flowers, the scroll-carved giltwood bases set with pairs of leafmolded and scrolled metal candle arms set with leaf-molded drip pans, mounted with shades. h. 22-1/2”, w. 13”, d. 6-1/2”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Oval Marble and Scagliola-Decorated Top

the design attributed to Gianni Versace (Italian, 1946-1997), with a central butterfly framed with flowers, against leaf-decorated scrollwork, accented with butterflies and insects, the outside turquoise border punctuated with medallions. h. 1-1/2”, w. 55-1/4”, d. 35-3/4”

$2,000-$4,000

Provenance: Lando Atelier, Florence, Italy; Historic Solana, Montecito, California.

Pair of Carved Wooden Figures of Asian Dancers

19th century, possibly Balinese, the carefully carved and painted figures with turbans and floriform earrings, on wooden plinths. h. 46”, w. 14-1/4”, d. 13”

$2,000-$4,000

Provenance: Ashwood Gallery, Bangkok, Thailand; Historic Solana, Montecito, California.

Pair of Italian Baroque Carved Wood Pedestals

mid-18th century and later, the faux marbre serpentine shelves over columns with central cabochons flanked by scrolls, the leaf-carved sides with carved husks terminating in bold, carved scrolls, on pylon-form bases. h. 53-1/2”, w. 12-1/4”, d. 8-1/4”

$1,500-$2,500

Provenance: Purchased Brussels, Belgium; Historic Solana, Montecito, California.

Pair of Painted Wood Column-Form Floor Lamps

attributed to Nancy Corzine, Los Angeles, each with a Corinthian capital over a fluted standard, raised on a paneled base above ogee molding, fitted with shades. h. 77”, dia. 24-1/2”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

Wool Polychrome Tapestry of a Hunt Scene

ca. 1900, the figures dressed in 18th-century costume, two on horseback with hunting horns, an attendant on foot, and another carrying a spear and accompanying the dogs, on a ground of foliage and flowers and with a floral border, on a custom-made metal rod.

h. 84-1/2”, w. 58-1/4”

$2,500-$4,000

Provenance: Designer Rugs & Antiques, Los Angeles, California; Historic Solana, Montecito, California.

Large French Framed Aubusson Tapestry

19th century, featuring a landscape with ferns and flowers in the foreground, and trees and a lake in the background, within a woven border of scrollwork, now in a contemporary giltwood frame.

h. 94”, w. 58”

$2,000-$4,000

Provenance: Designer Antiques & Rugs, Los Angeles, California; Historic Solana, Montecito, California. 93

95 Continental Oak Stool

late 19th century, the padded, rectangular top raised on shaped legs headed by eagle carving, joined by pierced, foliate-carved stretchers and ending in scrolled toes.

h. 20”, w. 37”, d. 16-1/2”

$800-$1,200

Provenance: Carty & Carty Antiques, Montecito, California; Historic Solana, Montecito, California.

96 Sheraton-Style Mahogany Lady’s Dressing Table

late 19th century, by John Bagshaw & Sons, Liverpool, the paneled, rectangular top opening and fitted with hinged, beveled mirror panels, the case fitted with a swing-out, velvet-lined storage tray and a further swinging glass-inset work space to either side, the interior with a back section, elaborately fitted out for a variety of toiletry implements, the front half with a glass panel over a lace panel, hinged and opening to a removable velvet-lined jewelry tray and three concealed drawers, the front fitted with two small side drawers, the whole raised on square legs ending in brass spade feet on casters.

h. 38”, w. 35”, d. 22-1/2”

$1,800-$2,500

Provenance: The Regency Group, Ltd., Theta Antiques Show, Houston, Texas; Historic Solana, Montecito, California.

97 Continental Silver-Mounted Vanity Mirror

ca. 1900, of elaborate rococo form, the frame embossed with acanthus scrolls on a trellised ground, with a conforming beveled mirror and carved wooden back with easel support. h. 27-1/2”, w. 20-1/2”

$1,000-$1,500

Provenance: Ambrosio Amorino Gallery, Uruguay; Historic Solana, Montecito, California.

Pair of Dutch Neoclassical Inlaid Satinwood Wine Coolers/Planters

ca. 1800, the front and back with inlaid medallions on a green ground, the sides with ring pulls in matching greenstained lozenges, the tapered legs with line inlay and inlaid medallions, raised on turned brass feet and set with brass liners.

h. 20-1/4”, w. 14”, d. 14”

$1,200-$1,800

Provenance: Millenium Art and Antiques Fair, Madrid, Spain; Historic Solana, Montecito, California.

George III-Style Mahogany Dumbwaiter

20th century, consisting of three graduated circular tiers, all with raised and molded edges, the whole raised on three splayed cabriole legs ending in pad feet. h. 49”, dia. 31-1/2”

$800-$1,200

Provenance: Portuguese Embassy, Lisbon; Historic Solana, Montecito, California.

100

Louis XVI-Style Fruitwood Porter’s Chair

of traditional form, the paneled, padded and domed hood above a tufted, paneled back, joined by padded and caned sides to the cushioned seat, raised on fluted, tapered circular legs ending in toupie feet.

h. 57”, w. 27”, d. 23”

$1,200-$1,800

Provenance: Historic Solana, Montecito, California.

101

Pair of Louis XV-Style Mahogany Stools

early 20th century, each with a padded, rectangular needlework seat with foliate and avian patterns, above a conforming shell-carved apron, raised on cabriole legs joined by an X-form stretcher and ending in scrolled toes. h. 19”, w. 28”, d. 19”

$800-$1,200

Provenance: Historic Solana, Montecito, California.

102

Tall Pair of English “Mulberry” Oak Pricket Candlesticks

20th century, the Baroque-style rope-twist candlesticks with turned drip pans, labeled “Mulberry, England”, now on custom-made oak reeded bases. h. 43”, dia. 10-1/2”

$1,000-$1,500

Provenance: Purchased, London, England; Historic Solana, Montecito, California.

103

George III-Style Mahogany and Marble-Top Side Table

the thick, rectangular marble top with a molded edge, above a foliate-carved frieze over a pierced foliate shell-carved apron, raised on molded cabriole legs headed by acanthine scrolls and ending in scrolled toes. h. 38”, w. 83”, d. 26”

$2,000-$4,000

Provenance: Miramar Hotel, Montecito, California; Historic Solana, Montecito, California.

104

Pair of American Inlaid Bronze Foo Dogs

second half 20th century, attributed to Karl Springer (German/ American, 1931-1991), the menacing foo dogs mounted with quartz and decorated with crackled polychrome mirror glass mosaics, with incised hair and a patinated bronze finish. h. 32-1/2”, w. 12-1/2”, l. 27-3/4”

$2,000-$4,000

Provenance: Historic Solana, Montecito, California.

105 Chinese

Ebonized Double Chair Back Folding Bench

20th century, the back constructed of carved posts and pierced splats, with a woven seat and base fitted with foot rests. h. 36”, w. 50”, d. 26”

$800-$1,200

Provenance: Ashwood Gallery, Bangkok, Thailand; Historic Solana, Montecito, California.

106

Pair of Chinese Ebonized Wood Torchere Stands

the molded legs decorated with pierced skirts, the side panels carved with scrollwork, the circular, bas-relief-carved base shelves with panels of flowers. h. 55-3/4”, dia. 14”

$800-$1,200

Provenance: Yau Arts, Hong Kong; Historic Solana, Montecito, California.

107

Chinese-Style Red-Lacquered and Parcel-Gilt Coffee Table

attributed to Rose Tarlow, the square top with a molded and gilded edge, the gilt-decorated central field with silk bamboo branches, raised on square legs with scroll-carved, in-turned feet.

h. 20”, w. 42”, d. 42”

$800-$1,200

Provenance: Historic Solana, Montecito, California.

108 Pair of Asian Hardwood Side Tables

19th century, each of canted, rectangular form, the banded tops above a conforming case fitted with three drawers, over a deep frieze with polychrome vessels, raised on cluster-column legs.

h. 32-1/2”, w. 37”, d. 16”

$1,500-$2,500

Provenance: Minton-Spidell, West Hollywood, California; Historic Solana, Montecito, California.

109

Pair of Large Mandarin Carved Wood Figural Wall Brackets

first half 20th century, the shelves with scalloped edges and decorated with green mottled faux stone, on parcel- and silver-gilt supports raised by seated male figures in gilt tunics. h. 27-3/4”, w. 20-1/4”, d. 10-1/2”

$1,800-$2,500

Provenance: Gerald Tomlin Gallery, Dallas, Texas; Historic Solana, Montecito, California.

110

Pair of Large Mandarin Carved Wood Figural Wall Brackets

$1,800-$2,500

Provenance: Gerald Tomlin Gallery, Dallas, Texas; Historic Solana, Montecito, California.

111 Suite of Four Chinese Export Bamboo Chairs

20th century, consisting of a pair of armchairs, h. 46”, w. 25”, d. 26”, and a pair of side chairs, h. 46”, w. 19”, d. 17”, each with canewrapped bamboo and geometric back panels, with loose seat cushions.

$1,000-$1,500

Provenance: Yau Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

112

Chinese Export Chinoiserie Lacquered and Bamboo Cocktail Table

20th century, the circular table top decorated with gilt mandarin scenes on a black ground, above a hexagonal base of cane-wrapped bamboo with pierced skirting and corner brackets, with a glass top. h. 21”, dia. 25-1/2”

$800-$1,200

Provenance: Yau Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

113

Pair of Chinese Export Chinoiserie Lacquered and Bamboo

first quarter 20th century, the circular tops decorated with gilt mandarin scenes on a black ground, on hexagonal canewrapped bamboo bases with pierced skirts. h. 20-1/2”, dia. 15”

$1,000-$1,500

Provenance: Yau Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

Tabourets

114

Chinese Export Chinoiserie Lacquered and Bamboo Demilune Console Table

20th century, the top decorated with a gilt mandarin scene on a black ground, the cane-wrapped bamboo base with a pierced skirt with a center medallion, with a glass top.

h. 33-1/2”, w. 40”, d. 19-1/2”

$1,000-$1,500

Provenance: Yau Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

115

Chinese Export Chinoiserie Lacquered and Bamboo Side Table

20th century, the top decorated with gilt mandarin scenes over a black ground, the cane-wrapped bamboo base with pierced skirting and corner brackets, the splayed legs with a pierced shelf on the lower level, with a glass top. h. 31”, w. 29-1/2”, d. 19”

$800-$1,200

Provenance: Yau Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

116

Chinese Export Bamboo and Yew Wood Center Table

19th century, of rectangular form with a split bamboo edge over a pierced geometric apron, raised on bamboo legs joined by a box stretcher. h. 33-1/2”, w. 35-1/2”, d. 19”

$1,000-$1,500

Provenance: Oriental Treasures, Los Angeles, California; Historic Solana, Montecito, California.

117 Pair of Chinese Export Bamboo Armchairs

20th century, each with a cane-wrapped bamboo frame, the backs with pierced medallions, with loose cushions. h. 40”, w. 22-1/2”, d. 20”

$1,000-$1,500

Provenance: Yau Arts, Hollywood Boulevard, Hong Kong; Historic Solana, Montecito, California.

118 Five-Piece Bamboo Dining Suite

attributed to McGuire, consisting of a square, beveled glass-top table with a base formed of bound bamboo clusters, h. 30-1/2”, w. 48”, d. 48”, and four bamboo armchairs fitted with loose cushions, h. 36”, w. 28”, d. 30”.

$1,500-$2,500

Provenance: Historic Solana, Montecito, California.

119

Srihadi Soedarsono (Indonesian, 1942-2022)

“Untitled”, 1975

oil on canvas

signed upper right, signed, dated and localized “Ubud, Bali, Indonesia” en verso. Framed.

56” x 36”, framed 58-1/4” x 38-1/4”

$30,000-$50,000

Provenance: Neka Art Museum, Ubud, Indonesia; Historic Solana, Montecito, California.

AbdulAziz (Indonesian,1928-2002)

“Attraction”,1980 pairofoilsoncanvas signed,datedandlocalized“Bali”lowerleftorlowerright, inscribedenverso. Framedalike.

each56-1/4”x19-5/8”,framed68-1/4”x29”

$60,000-$90,000

Provenance:NekaArtMuseum,Ubud,Indonesia;Historic Solana,Montecito,California.

Attractionisadiptychportrayingamaleandafemalefigure amidacourtship.Thelightingandperspectiveofthefigures demonstrateatrompel'oeileffectastheyleanagainsttheir respectiveframes,asifoneithersideofawall.Themalefigure longinglypresseshisfaceagainsthisframe,hishandplaced closetohisheart.Thefemalefigurestaressoftlyyetdirectlyat theviewerasshedelicatelycaressesaflower,perhaps decidingwhethertoreturnthemalefigureísaffections.A compositionthatfeelsuniversallyresonantisenhancedbya masterfuluseofvisualtrickery;thecontactbetweenthe figuresandtheirframesisacarefullyconstructedshadow meanttodisguisethetransitionfromtherealandpainted frames.Thissignaturetrompel'oeiltechniqueofAbdulAziz's artisticstylegarneredhimacclaimandcelebrity,aswellas reflectinginspirationfromGreekandRenaissancemasters.

At various times, Aziz was an artist, a revolutionary, as well as a musician. He showed precocious creative talent from an early age and went on the study fine art at the Indonesian Fine Arts Academy, where he was recognized for his considerable skill and awarded a scholarship to study at the Academia di Belle Arti in Rome. He returned to Indonesia to teach at Udayana University and establish his studio in Ubud, Bali, where he took interest in painting local life but remained influenced by European artistic tradition. This confluence produced his most iconic and celebrated works, such as the present lot, wherein an intimate picture of Balinese culture is captured with the use of Western oil painting techniques, bringing his figures and the viewer together in a blurry space between the real and the imagined.

121

Regency-Style Giltwood and Marble-Top Occasional Table

20th century, the circular marble top inset into a carved border, raised on three shaped and molded supports with foliate accents to three in-scrolled legs.

h. 27”, dia. 25”

$1,200-$1,800

Provenance: Pacific Design Center, Los Angeles, California; Historic Solana, Montecito, California.

122 Pair of French Aubusson Tapestries

third quarter 19th century, in the empire taste, the designs inspired by Percier et Fontaine, with bowknot-supported tents above oval profiles of goddesses, flanked by attendants on tapered bases, holding vases of flowers on their heads, potpourri urns issuing smoke at the bases, on custom-made metal rods.

h. 133”, w. 42”

$4,000-$7,000

Provenance: JF Chen, Los Angeles, California; Historic Solana, Montecito, California. 121

123

Chinese Molded Garden Vessel

the shoulder with a ring of lotus blossoms and leaves, the body with a ring of writhing dragons and the lower edge with molded flowers. h. 29", dia. 19"

$500-$800

124

Monumental Japanese Patinated Bronze Censer

possibly Edo period (1603-1868), with a lotus flower bowl, veined and wrapped with a menacing dragon peeking over the top, the hexagonal base set with oval panels decorated with various fauna. h. 36”, w. 27”, w. 27”

$1,200-$1,800

Provenance: Private collection, Mountain Brook, Alabama.

125

Small Italian Patinated Bronze Fountain

fourth quarter 19th century, after the antique, the fountain with a figure of a fisherman perched above a molded masque, piped for water, the bowl with handles molded with serpents and lion’s heads, raised on paw feet. h. 13”, w. 21”, d. 17-1/2”

$1,200-$1,800

123

124

Large Patinated Bronze Figure of a Crab realistically molded with open claws, with a mottled green patina.

h. 19-3/4”, w. 31”, d. 12”

$1,000-$1,500

127

Large Bronze Sculpture of Flying Ducks

the ducks depicted flying through cattails, with a verdigris surface, on a rectangular molded base, with a “Lake Geneva Studios” stamped plaque on the base. h. 68-1/2”, w. 40”, d. 14”

$1,500-$2,500

128

Pair of Bronze Flamingo Garden Figures

one depicted upright and the other with displayed wings, with a green-patinated surface. h. 51-1/2”, w. 6-3/4”, d. 16” and h. 22-1/2”, w. 25-1/2”, d. 16”, respectively

$1,000-$2,000

129

Pair of Large Bronze Figural Jardinieres

20th century, after Claude Michel Clodion (French, 17381814), each with a flaring, pierced basket wrapped with ribbon-bound laurel leaves and supported by a trio of putti standing on a circular base, the sides decorated with cherubs supporting floral swags, raised on paw feet. h. 38”, dia. 20”

$1,500-$2,500

130

Large Aluminum Fountain in the Victorian Taste

20th century, the top finial decorated with three flowers, on a standard raised above a trio of molded shells, supported by a putto above a trio of larger shells, the lower standard molded with storks, on a tapered, pierced base, sitting in a large bottom pan with a wide rim of molded flowers and leaves. h. 84”, dia. 67-1/2”

$3,000-$5,000

131

Pair of Metal Tree Tubs in the Neoclassical Taste

with cone-form finials on each corner, the sides with wreath-form mounts, raised on bun feet. h. 22-1/2”, w. 16-3/4”, d. 16-3/4”

$1,000-$1,500

132

Pair of Neoclassical-Style Metal Tree Tubs

decorated with applied classical wreaths on each side and pinecone finials at the corners, raised on ball feet. h. 22”, w. 16-1/2”, d. 16-1/2”

$1,000-$1,500

20th century, the figure holding the golden apple and grasping her clothes, on a faceted base. h. 50”, dia. 12-3/4”

$1,000-$1,500

133

Cast Stone Garden Figure of Venus

134

Large Carved Stone Figure of a Gardener first quarter 20th century, the figure dressed in 18th-century costume and carrying a bouquet of flowers, resting on a rectangular plinth.

h. 86”, w. 24”, d. 19”

$2,000-$4,000

135

Pair of Bronze Lion Garden Figures the seated figures with their heads and tails in opposing directions, with a brown-patinated surface.

h. 31-1/2”, w. 16”, d. 30”

$3,000-$5,000

Pair of Janus et Cie “Amalfi” Iron and Brass Lounges

20th century, the adjustable yoke backs with brass ball finials, the backs and seats composed of woven iron strapwork, with X-form stretcher bases, the back legs on casters, impressed “Janus et Cie”, with striped cushions. h. 49-1/2” (adjustable), w. 32-1/2”, l. 68”

$1,000-$1,500

137

Pair of Janus et Cie “Amalfi” Iron and Brass Lounges

$1,000-$1,500

138

Impressive Wrought Iron Garden Settee

in the Mario Papperzini taste, the back and arms with brass ball finials, the yoke-shaped back and seat composed of woven strapwork, the base with X-form stretchers. h. 38” (adjustable), w. 81-1/2”, d. 46”

$1,200-$1,800

139

Set of Four Wrought Iron and Brass Garden Chairs

after a Mario Papperzini design for John Salterini, the yoke backs with brass ball finials, the backs and seats with woven iron strapwork, with curule stretchers and loose cushions. h. 38-1/4”, w. 19-1/2”, d. 25”

$1,000-$1,500

140

Pair of Wrought Iron and Brass Garden Lounge Chairs

after a Mario Papperzini design for John Salterini, the backs and seats with woven iron strapwork, the serpentine arms and backs with brass ball finials, the bases with X-form stretchers, the backs adjustable. h. 36”, w. 26-1/4”, d. 32”

$1,000-$1,500

Suite of Eight Wrought Iron Garden Dining Chairs

20th century, after a Mario Papperzini design, designed for John Salterini, with ball finials and iron strapwork woven backs and seats, the bases with stretchers, with black and white striped cushions.

h. 38-1/2”, w. 17-1/4”, d. 17-1/4”

$1,000-$1,500

142

Pair of Bronze Lion Garden Figures

the seated lions with their heads and tails in opposing directions, with a green-patinated surface.

h. 36-1/2”, w. 15-1/2”, d. 26”

$3,000-$5,000

143

Pagoda-Form Carved Granite Japanese Lantern

first quarter 20th century, the pagoda-shaped roof with an acorn-form finial, above a body, pierced at the top, on a projecting center block with a carved panel, over a pylon-form foot on a square base.

h. 64”, w. 23”, d. 23”

$2,000-$4,000

144

Pagoda-Form Carved Granite Japanese Lantern

first quarter 20th century, the hexagonal roof cast with “tiles” and a crown-shaped finial, above a conforming body with an interior removable sphere, the two side panels open, the other pierced and decorated in bas-relief, raised on a pedestal. h. 57-3/4”, dia. 22”

$2,000-$4,000

145

Pagoda-Form Carved Granite Japanese Lantern

first quarter 20th century, the square, sloping “roof” with a ball finial, above a two-tier body, the upper portion with an opening.

h. 42”, w. 21”, d. 20”

$2,000-$4,000

146

Impressive Carved Granite Garden Figure of “Budai”

first half 20th century, the rotund monk holding a fan, a symbol of health and prosperity, on a square base. h. 26-1/2”, w. 30”, d. 24”

$2,000-$4,000

Provenance: Private collection, New York, New York.

147

Henri Baptiste Lebasque (French, 1865-1937)

“Vue de Saint Tropez”

watercolor and ink on paper signed lower left, verso affixed with “M.S. Rau Antiques” label.

Matted, glazed and framed. sight 11-1/2” x 14-1/2”, framed 20” x 23”

$2,000-$4,000

Provenance: M.S. Rau Antiques, New Orleans, Louisiana; Property of a gentleman collector, New Orleans, Louisiana.

148

Charles Malle (French, 1935-2023)

“Paris, Canal a la Bastille” oil on canvas signed lower left, inscribed with title en verso stretcher, verso affixed with “Callan Fine Art” gallery label. Framed.

23-1/4” x 28-1/4”, framed 31-1/2” x 36-1/2”

$3,000-$5,000

Provenance: Callan Fine Art, New Orleans, Louisiana; Property of a gentleman collector, New Orleans, Louisiana. 147

149

Lucien Adrion (French, 1889-1953)

“Vue du Port de Cannes, Cote d’Azur”, 1930 oil on canvas signed and dated lower left, verso affixed with “Waterhouse & Dodd” gallery label. Framed.

24” x 30”, framed 32” x 37”

$6,000-$9,000

Provenance: Waterhouse & Dodd Gallery, London, England; Property of a gentleman collector, New Orleans, Louisiana.

150

Martha Walter (American, 1875-1976)

“Late Afternoon at Biarritz”

oil on board

signed lower left, signed and titled en verso, a “Greenwich Gallery of American Art” inventory label en verso. Framed.

20-1/2” x 25-1/4”, framed 30-3/8” x 35”

$50,000-$80,000

Provenance: Greenwich Gallery of American Art, Greenwich, Connecticut; Guarisco Gallery, Washington, D.C.; Property of a gentleman collector, New Orleans, Louisiana.

Her style is quite individual, not too detailed and yet not too sketchy, naturalistic, yet far from photographic in any degree. She has a deep understanding in respect to the construction of figures and a high consideration for composition, which is particularly manifest when she discusses with her brushes a large group…. Her canvases have great pictorial and decorative value and what artists know as technique has with her attained a point of actual brilliance.

C.H.Bonte, The Philadelphia Enquirer, 1928

Employing a palette of rich, bright colors, bold brushstrokes, and with the unexpected inclusion of gray tones and black pigment, Walter emphasized shapes and the interplay of light and shadow rather than relying on the purely figurative. Her beach scenes were especially popular, and the work offered here is an exceptional example of her complex, yet immediately recognizable, compositions with the huddled figures in the foreground beneath their vibrantly hued tents, the gray-tinged clouds roiling in the sky above. She was acclaimed throughout her career for her plein air compositions.

Walter’s academic art training incorporated the best that America and France had to offer. She studied under William Merritt Chase at the Pennsylvania Academy of Fine Arts, where she won numerous awards including the prestigious Toppan prize and was the first recipient of the Cresson award (quite an accomplishment for a woman at the time), which was a twoyear travel scholarship which afforded her the opportunity to travel to Europe. She spent some time in France where she attended the Academie Julien and was inspired by the great plein air painter Eugen Boudin (1824-1898).

Upon her return to the United States, Walter settled in the art colony of Gloucester, Massachusetts. She exhibited widely throughout her life, including the National Academy of Design, the Corcoran Gallery Biennials, Paris Salon, and the Salon d’Automne.

151

Andre Hambourg (French, 1909-1999)

“Sur la Plage”

oil on canvas signed lower left. Framed.

12” x 19”, framed 20” x 27-1/2”

$3,000-$5,000

151

152

Harry Fidler (British, 1856-1935)

“New Corn from Old Fields, Teffont, Salisbury”

oil on canvas monogrammed lower left, signed and titled en verso, Sotheby’s label en verso. Framed.

25” x 30”, framed 33-1/2” x 38-1/2”

$3,000-$5,000

Provenance: Sotheby’s Colonnade, February 9, 1994, lot 408; Dixon & Dixon, New Orleans, Louisiana; Property of a gentleman collector, New Orleans, Louisiana.

153

Lelia Pissarro (French/English, b. 1963)

“Les Foins de Clement”

oil on canvas

signed lower right, signed, titled, inscribed “8 Fig” and with the artist’s sketch en verso canvas. Framed.

15” x 18”, framed 20-5/8” x 23-5/8”

$1,500-$2,500

Provenance: M.S. Rau Antiques, New Orleans, Louisiana; Property of a gentleman collector, New Orleans, Louisiana.

153

154

Georges D’Espagnat (French, 1870-1950)

“Nature Morte avec Roses sur Fond Blanc” oil on canvas monogram lower right, inscribed with artist name, localized “Paris” and titled en verso stretcher, affixed with “Guarisco Gallery, Washington, D.C.” label. Framed.

24” x 20”, framed 33” x 28”

$6,000-$9,000

Provenance: Guarisco Gallery, Washington, D.C.; Property of a gentleman collector, New Orleans, Louisiana.

155

Frank Howard Desch (American, 1873-1934)

“A Basque Girl”

oil on canvas mounted on wood panel signed lower right, a “Salmagundi Club” label en verso. Framed.

10-5/8” x 8-5/8”, framed 15” x 13”

$2,000-$4,000

Provenance: Salmagundi Club, New York, New York; Christie’s New York, July 22, 1998, lot 99; Guarisco Gallery, Washington, D.C.; Property of a gentleman collector, New Orleans, Louisiana.

156

Louis Picard (French, 1861-1940)

“At the Theater”

oil on board signed lower left, verso with “Exposition de Tableaux, Rotterdam, 1906” label. Framed.

9-1/2” x 13”, framed 17-1/4” x 20”

$1,000-$1,500

Provenance: Property of a gentleman collector, New Orleans, Louisiana.

157

Louis Kronberg (American, 1872-1965)

“Dancer in Blue with Red Scarf”, ca. 1953

pastel on paper signed lower right, verso inscribed with artist name, dates, and localized “Paris”, affixed with a label, hand-inscribed with title and artist name, and with “Sennelier/Quai Voltaire, Paris” supplier’s stamp.

Glazed and framed.

24” x 18”, framed 33-1/2” x 27-1/2”

$2,000-$4,000

Provenance: Private collection, Chicago, Illinois; Guarisco Gallery, Washington, D.C.; Property of a gentleman collector, New Orleans, Louisiana.

158

Sir William Russell Flint, R.A. (Scottish, 1880-1969)

“Evening Gold”

watercolor on paper signed lower left, “Frost & Reed, Ltd. London” and “Waterhouse & Dodd” labels en verso. Matted, glazed and framed.

sight 14-5/8” x 21-1/2”, framed 24-1/2” x 30-1/2”

$3,000-$5,000

Provenance: Frost & Reed, Ltd., London, England; Waterhouse & Dodd, London, England; Property of a gentleman collector, New Orleans, Louisiana.

Born in 1880 to a family that fervently supported their children's creative pursuits, the Scottish painter Sir William Russell Flint began honing his skills from an early age. At fourteen, he was apprenticed to a lithographer in Edinburgh, a position he would hold for six years while concurrently attending night classes at the Royal Academy in Edinburgh. This dual practical and academic training equipped Flint with expertise in illustration and printmaking, laying a robust foundation for his career. After relocating to London in 1900, he established himself as an illustrator for magazines and medical journals.

Following World War I, Flint transitioned to a full-time artist. Evening Gold, likely painted during this time, lyrically captures an intimate moment of a young woman that is imbued with subtle eroticism, a recurring theme in Flint's oeuvre. The shadowy foreground starkly contrasts with the bright greens, oranges and yellows of the background, evoking a seasonal ambiance. The meticulous rendering of the woman's form showcases Flint's mastery of watercolor shading and gradation.

Flint's prowess as a watercolorist made him one of the twentieth centuryís foremost artists in the medium. In 1936, he was appointed President of the Royal Society of Painters in Watercolor, a role he held for two decades. Knighted during his tenure in 1947, Flint's title is a recognition of his contributions to the field and cements his work permanently into the canon of Scottish art history. 158

159

Wilfrid De Glehn, R.A. (British/American, 1870-1951)

“Sargent Sketching in a Gondola”, 1905

watercolor on paper signed and dated lower right. Matted, glazed and framed. sight 15-1/4” x 17-1/2”, framed 26” x 28-1/2”

$3,000-$5,000

Provenance: Property of a gentleman collector, New Orleans, Louisiana.

160

Jean Lefeuvre (French, 1882-1975)

“The Mediterranean Garden” watercolor on paper signed lower right, verso with “Mark Murray Fine Paintings, LLC” gallery label. Matted, glazed and framed. 11” x 15”, framed 21-1/2” x 25”

$1,000-$1,500

Provenance: Mark Murray Fine Paintings, LLC, New York, New York; Property of a gentleman collector, New Orleans, Louisiana.

159

161

Pair of Louis XV-Style Giltwood Fauteuils

late 19th century, each with a domed and padded back surmounted by a floral crest, joined by padded, scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes. h. 40”, w. 27”, d. 21”

$1,200-$1,800

162

Directoire Creme-Peinte Wood Trumeau Mirror

ca. 1800 and later, with an ogee crest, the sides set with dentsde-loup-edged panels, with swags of flowers at the top, the bases with vases of flowers, the oil-on-canvas tablet of later origin, depicting a shepherd and shepherdess in 18th-century costume, the upper tablet and mirror plate having carved surrounds with corner medallions and lined with beading. h. 69-1/2”, w. 40”

$1,000-$1,500

Provenance: Royal Antiques, New Orleans, Louisiana.

163

Louis XV-Style Giltwood Parlor Suite

late 19th century, comprised of a settee, h. 40”, w. 57”, d. 24”, and four fauteuils, h. 39”, w. 27”, d. 22”, each with a shaped and padded back surmounted by a foliate shell crest, joined by scrolling and padded arms to the like seat, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes.

$1,400-$1,800

164

fourth quarter 19th century, decorated with processionals of children flying kites and a mother and child on a dragon, the sides with orange bats, the covers decorated to match, both presented with a voluptuous arrangement of faux roses, ranunculus, quince and assorted spring blossoms among light-tipped twigs and scattered crystals. h. 13-1/4”, dia. 6-1/2”

$1,200-$1,800

Provenance: Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

third quarter 18th century, the molded cornice with canted sides, the abbreviated tablet carved with a flowering branch, the arched mirror plate with a pulvinated giltwood surround, with cut corners. h. 85”, w. 35”

$1,200-$1,800

Provenance: Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

Pair of Qing Dynasty Famille Rose Ginger Jars

165

Louis XV Provincial Parcel-Gilt and Painted Trumeau Mirror

166

Pair of George III-Style Mahogany and Satinwood Side Tables

19th century, each with a demilune top, with a sunburst veneer pattern within a scrolling foliate border, above a conforming paneled frieze, raised on tapered square legs ending in spade feet.

h. 33”, w. 52”, d. 21-1/4”

$3,000-$5,000

Provenance: Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

167

second quarter 19th century, with reticulated flaring sides having a border of gilt leaves and flowers, the bases with gilt decorations at each corner, set with faux boxwood.

h. 18-1/2”, dia. 9-1/4”

$1,000-$1,500

Provenance: Collection of Ruthie and Louis Frierson, New Orleans, Louisiana. 166 detail

Pair of Paris Porcelain Gold and White Corbeilles

168

French Giltwood Mirror in the Neoclassical Taste

ca. 1900, the surround carved with ribbon-bound reeds, the corners decorated with floriform-carved medallions in square blocks, the mirror plate lined with beading. h. 42-1/2”, w. 53-1/2”

$1,400-$1,800

Provenance: Lucile Andrus, New Orleans, Louisiana; Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

169 Moss Green Chinoiserie Four-Panel Floor Screen

ca. 1900, hand-painted canvas on board, depicting unusual and whimsical chinoiserie figural vignettes throughout, with monkeys resting in lower bowers, all richly bordered by scrolls, floral bouquets, swags and vines, the reverse decorated with flowers, vines and butterflies. h. 67-1/2”, w. 88”

$1,400-$1,800

Provenance: Lucile Andrus, New Orleans, Louisiana; Collection of Ruthie and Louis Frierson, New Orleans, Louisiana. 168

170

Provincial Louis XV-Style Oak Draw-Leaf Table

19th century, the banded, rounded rectangular top with a parquetry pattern accented with floral inlays, each end with a like pull-out leaf, the whole raised on double cabriole legs, joined by an X-form stretcher to each end, ending in scrolled toes.

h. 30”, w. 43”, l. 62”, ext. l. 107”

$2,000-$4,000

Provenance: Waldhornís, New Orleans, Louisiana; Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

171

Hayne E. Rudolph (American/Mississippi, Contemporary)

Lou Frierson"

mixed media and found object sculpture featured ca. 1980 in the Junior League of New Orleans Jambalaya cookbook.

h. 49”, w. 29”, d. 27”

$700-$1,000

Provenance: Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

"Chef

172

Regence-Style Mahogany Commode

19th century, the rectangular top with a serpentine front, above a conforming case fitted with three long drawers, all tripaneled, raised on scrolled toes. h. 37-1/2”, w. 52-1/2”, d. 25”

$2,500-$4,000

Provenance: Royal Antiques, New Orleans, Louisiana.

173 Suite of Eight Louis XV-Style Fruitwood Side Chairs

20th century, each with a shaped and caned back surmounted by a molded frame and foliate crest, the padded seat raised on cabriole legs ending in scrolled toes. h. 41”, w. 21”, d. 19-1/2”

$1,400-$1,800

Provenance: Fireside Antiques, Baton Rouge, Louisiana; Private collection, New Orleans, Louisiana.

174

Italian Polychrome Bureau

19th century, in the rococo taste, the rectangular top above a slant front, opening to various cubbyholes, over two long drawers, all with delicate polychrome floral accents, raised on cabriole legs ending in foliate toes.

h. 39-1/2”, w. 44-1/2”, d. 21-1/2”

$1,200-$1,800

175

Pair of William Switzer Louis XV-Style Fauteuils

20th century, each with a shaped and padded back surmounted by a foliate crest, joined by padded, scrolled arms to the like seat, raised above a shaped apron on cabriole legs ending in scrolled toes.

h. 38”, w. 27”, d. 22”

$1,000-$1,500

176

French Regence Provincial Giltwood Mirror

second quarter 18th century, the large crest ornamented with a basket of fruit framed in scroll and rocaille work, backed by a mirror plate, the pierced mirror surround outlined in scrollwork and wrapped with grapevines, leaves and fruit, the corners with carved scrollwork, set with an antique mirror plate.

h. 79”, w. 40-1/4”

$2,000-$4,000

177

Pair of British Victorian Carved Deal Whippets

19th century, the true pair of whippets with opposing elongated snouts, seated on oval bases with ogee edges, each with a chain for securing to a floor. h. 36”, w. 12-1/2”, d. 34”

$3,000-$5,000

Provenance: Eric Davidson Antiques Ltd., Edinburgh, Scotland.

178 Louis XV-Style Fruitwood Desk

20th century, the shaped and banded top with pierced inlays, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, raised on cabriole legs. h. 31”, w. 47”, d. 23”

$2,000-$4,000

179

After Justus Sustermans (Flemish, 1597-1681)

“Portrait of Prince Waldemar Christian of Denmark” oil on board with inscription en verso identifying the sitter and location of the original work at the Pitti Palace in Florence. Presented in a conforming Baroque-style ebonized, brass and pietra dura frame.

overall h. 12”, w. 11”

$800-$1,200 178 177

180

Continental Fruitwood and Exotic Woods Games Table

19th century, the canted, square top with decorative bandings surrounding an inlaid chessboard, above a conforming frame, raised on a turned and bulbous standard to four shaped and splayed legs ending in in-turned, scrolled toes. h. 30”, w. 31-1/2”, d. 31-1/2”

$1,500-$2,500

181

Painted Metal Chandelier in the Baronial Taste

second quarter 20th century, the twelve-light chandelier with a ring-form body, pierced and decorated with flowers and leaves, suspended from a metal canopy with chains, supporting scrolled candle arms ornamented with applied leaves and set with tulip-form candle holders. h. 36”, dia. 40”

$1,000-$1,500

182

Ebonized Wood and Brass Cushion Mirror

fourth quarter 19th century, Dutch or Flemish, the outer surround composed of flower-molded brass panels lined with wave-edged ebonized molding, the raised “cushion” with flower-molded corners, the beveled mirror plate set into an inner surround with like decoration. h. 26-1/4”, w. 22-3/4”

$800-$1,200

183

Provincial Louis XVI-Style Oak Buffet a Deux Corps

19th century, the double-domed and molded crest centered by a ribbon torchere carving, above two astragal-glazed doors, opening to a shelved interior, the lower section fitted with two paneled cupboard doors, each with a carved musical trophee, raised on fluted, tapered square feet. h. 90”, w. 43”, d. 19”

$1,500-$2,500

184

Pair of Unusual French “Faure a Revin” Cast Iron Jardinieres on Pedestals

first quarter 20th century, each in three pieces, the hexagonal, pineapple-molded and brown-enameled planters set with teal-enameled lizard-form handles, on matching molded bases raised on feet, the pedestals on scrolled, enameled legs ornamented with Greek-key designs and raised on paw feet, the skirt having pierced aprons with anthemia. h. 46-1/4”, w. 17-1/4”, d. 8-3/4”

$6,000-$8,000

185

Terracotta Amphora/Olive Jar

in the continental taste, with an ovoid body and flaring rim. h. 28”, dia. 18”

$1,000-$1,500

Provenance: Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

186

Pair of Italian Parcel-Gilt Wood and Wrought Iron Sconces

20th century, in the Baroque style, the cream-painted cartouche-form backplates trimmed in bold gilt scrollwork, and mounted with wrought iron candle branches set with candle cups and drip pans, terminating in scrolls.

h. 19-1/2”, w. 22-1/2”, d. 13-3/4”

$800-$1,200

187

Italian Polychrome and Parcel-Gilt Wooden Figural Group

19th century, depicting “The Gift of the Magi”, the figures of Joseph, Mary and God with gilt-brass halos and Jesus with a gilt-brass crown.

h. 16-3/4”, w. 12-3/4”, d. 4”

$1,500-$2,500

Provenance: Private collection, New York, New York.

188

Italian Giltwood and Polychrome Wooden Plaque

19th century, possibly Florentine, the plaque depicting Christ rising from the dead, his arms outswept and dressed in embroidered blue and pink robes, supported by winged angel heads, the carved gilt sun rays framing him as “the light of the world”.

h. 33-3/4”, w. 27”

$2,500-$4,000

Provenance: Private collection, New York, New York.

189

Provincial Louis XV Fruitwood Buffet

late 18th century, the banded and canted rectangular top above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel, over a diamond-inlaid apron, raised on cabriole feet ending in upturned toes. h. 43”, w. 53-1/2”, d. 24”

$1,000-$1,500

190

French Belle Epoque Giltwood Mirror

fourth quarter 19th century, the pierced crest decorated with a cartouche with a flame finial, flanked by trumpeting cherubs, the unusual surround decorated with molded leaves and tendrils on a sanded ground with a scalloped border, the beveled mirror plate set into a giltwood liner molded with water lilies.

h. 60”, w. 35”

$1,200-$1,800

191

Italian Baroque Carved, Painted and Parcel-Gilt Wooden Figure of St. Michael

mid-18th century, the figure in his helmet and tunic, his wings displayed, standing on a carved cloud, mounted on a period giltwood base with a scrolled and painted armorial cartouche on the front.

h. 19-3/4”, w. 8-1/2”, d. 7-1/4”

$1,000-$1,500

192

Hendrix Allardyce “La Rochelle” Painted Mirror

in the rococo taste, the crest with a spray of acanthus leaves decorated with rocaille piercing, framed with carved leaves and flower heads, the ogee surround with rococo carving at the lower corners, the mirror plate in two pieces, in the 18th-century fashion. h. 75-1/4”, w. 33-1/4”

$1,500-$2,500

193

Louis XV-Style Fruitwood and Marble-Top Side Table

the thick, shaped marble top with a molded edge, above a conforming floral- and foliate-carved frieze, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes. h. 34”, w. 42”, d. 20-1/2”

$700-$1,000

194

Pair of Art Deco Iron and Brass Torcheres

second quarter 20th century, the candles on scalloped brass drip pans, supported on scrollwork, flanking leaf-form finials, the standards with brass medallions and ring-form trim, on paw feet resting on a coved base with brass buns on each corner. h. 67-3/4”, w. 13-3/4”, d. 10”

$1,400-$1,800

195

French Carved Fruitwood Estanier

late 19th century, in the Louis XV style, the pierced crest carved with flowers and scrollwork, set with three graduated shelves carved with shells and flowering vines, the base on cabriole legs, the top stamped “Made in France”. h. 54-3/4”, w. 33”, d. 14”

$1,000-$1,500

196

Italian Fruitwood Settee

19th century, in the Renaissance taste, the padded, rectangular back surmounted by gilt scrolling lion-masque finials, joined by downswept arm to the padded seat, raised on square legs joined by a pierced front stretcher, the whole upholstered in figural- and foliate-patterned tapestry. h. 48”, w. 57”, d. 21-1/2”

$2,000-$4,000

197

Monumental Parcel-Gilt Wood and Metal Chandelier

in the Italian provincial taste, the leaf-carved corona decorated with sprays of giltwood tassels, the leaf-carved vasiform standard set with two tiers of scrolled metal candle arms decorated with gilt-metal leaves terminating in turned candle cups, the base with a pineapple-carved pendant finial.

h. 57”, dia. 61”

$1,500-$2,500

196 197

198

Carved Wooden Figures of Demeter and Iasion

19th century, Demeter, the goddess of the harvest, depicted wearing a wreath of autumn wheat, dressed in a toga and Iasion, her mortal lover, depicted dancing, each on a carved circular base. h. 54-1/4”, w. 18-1/2”, d. 10-3/4” and h. 55-3/4”, w. 20”, d. 11-1/2”

$4,000-$7,000

199

French Belle Epoque Giltwood Wreath

fourth quarter 19th century, the carefully delineated, carved laurel leaves and berries bound with carved crossed ribbons, fitted for hanging. h. 16”, w. 14-3/4”

$1,000-$1,500

200

French Provincial Oak Buffet

20th century, the rectangular top above a conforming case fitted with three paneled drawers over three cupboards, each inset with a panel featuring an intricate circular design, raised on scrolled toes.

h. 39-1/2”, w. 74-1/2”, d. 20-1/2”

$1,500-$2,500

17th century, the tapestry decorated with a shepherd and shepherdess, along with goat herds and their flocks in a lush landscape, the border woven with ribbon-bound swags of fruit.

h. 87”, w. 105”

$3,000-$5,000

Provenance: Sotheby’s, 1964; Private collection.

201 Flemish Pastoral Verdure Tapestry

201

202

Provincial Louis XV-Style Fruitwood and Marble-Top Buffet

the thick, shaped marble top with a molded edge, above a conforming case fitted with two central arched and paneled cupboards, flanked to either side by a drawer over a paneled cupboard, the whole accented with foliate carving, raised on scrolled toes, the back with an incised stamp reading, “Bianchimani Ebeniste Marseille”.

h. 45”, w. 96”, d. 24-1/2”

$1,200-$1,800

203

French Baroque-Style Carved Wood and Parcel-Gilt Chandelier

second quarter 20th century, the six-light chandelier with a vasiform standard decorated with gilt cabochons and swirled fluting, the body decorated with carved shells and set with scrolled, leaf-carved candle arms, set with turned candle cups and drip pans. h. 24”, dia. 23”

$1,000-$1,500

204

Giuseppe Giardiello (Italian, 1877-1920)

“La Tarantella”

oil on canvas signed lower left. Framed.

32” x 49”, framed 36-1/2” x 53”

$4,000-$7,000

205

Provincial Louis XV-Style Oak Buffet a Deux Corps

19th century, the heavily molded cornice above two long doors, each inset with a shaped, foliate-carved panel over a rectangular panel, the lower section fitted with two drawers over two cupboard doors, each inset with a shaped panel, raised above a shaped apron on shaped toes. h. 103”, w. 57-1/2”, d. 20-1/2”

$1,000-$1,500

206

Unusual Italian Carved Walnut Fantasy Chair

ca. 1900, the chair in the form of a goose with a floral sprig in its beak, fitted with a padded leather seat and mounted to a carved circular base. h. 30-1/2”, w. 28”, d. 25”

$2,500-$4,000

207

Heinrich Sperling (German, 1844-1924)

“Newest Member of the Family” oil on panel signed lower left. Framed.

9-7/8” x 12”, framed 15-1/4” x 17-3/4”

$1,500-$2,500

208 Henry Schouten (Belgian, 1864-1927)

“Heading to the Horse Market” oil on canvas signed lower left. Framed.

21” x 26”, framed 30” x 34-1/2”

$1,500-$2,500

207

209

William Carel (Karel) Nakken (Dutch, 1835-1926)

“End of the Harvest”, 1867 oil on canvas signed and dated lower right, signed and dated en verso frame. Framed.

16-1/2” x 21-1/2”, framed 25” x 29-3/4”

$2,000-$4,000

210

Unusual Italian Giltwood Lantern

fourth quarter 19th century, in the Baroque taste, the threelight lantern top with a pierced, leaf-carved vasiform dome, the sides with oval piercings, the corners with cornucopia dripping with grapes, the base with a leaf-carved vasiform finial, supported by a molded brass chain. h. 29”, w. 14”, d. 14”

$1,200-$1,800

211

Pair of French Ebonized Faux Bamboo Side Chairs

19th century, of folding design, each with a ball and spindle crest above a padded back, the slung seat raised on a collapsible X-form support, covered in zebra hide.

h. 33”, w. 17”, d. 15”

$1,500-$2,500

212

Continental Oak Center Table

19th century, the circular top with a zebra skin covering, raised on a turned vasiform support to three shaped supports, joined by a circular stretcher and ending in shaped toes.

h. 30”, dia. 24”

$1,200-$1,800

213

Continental Oak Center Table

19th century, the circular top with a zebra skin covering, and raised on a turned vasiform support to three shaped supports joined by a circular stretcher and ending in shaped toes.

h. 30”, dia. 24”

$1,200-$1,800

214

Pair of North African Hardwood Tabourets

20th century, each with an octagonal top, now covered in zebra hide, above a conforming case with an upper paneled mother-of-pearl frieze over an arched base, with decorative inlaid banding.

h. 20”, dia. 17”

$1,500-$2,500

215

Marquetry-Inlaid and Giltwood Tall Case Clock

18th century and later, possibly Italian, the giltwood finial of a nesting eagle and eaglets, the hood with marquetry inlay and giltwood scrollwork trim over a brass dial movement, the door with ebony strapwork inlay and walnut veneer, and giltwood scrollwork at each corner, a window fitted with glass to display the pendulum, the base inlaid to match. h. 105”, w. 17-1/4”, d. 9-1/4”

$3,000-$5,000

216

Continental Polychrome Cabinet

19th century, the long rectangular top above a case fitted with three cupboard doors, raised on low bracket feet, the whole with a decorative geometric polychrome pattern. h. 39”, w. 73-1/2”, d. 19-1/2”

$2,000-$4,000

217

Louis-Philippe Silver-Gilt Mirror

mid-19th century, with rounded upper corners, the raised portion decorated with incised latticework on a matte ground, the mirror plate lined with beading. h. 41-1/2”, w. 31”

$800-$1,200

Provenance: Royal Antiques, New Orleans, Louisiana.

218

Continental Neoclassical Polychrome and Faux Marbre Commode

19th century, the rectangular faux marbre top with projecting canted corners, above a conforming case fitted with three long drawers, each with a fluted central panel and flanked to either side by a stop-fluted upright, raised on tapered square feet.

h. 34”, w. 47”, d. 24-1/2”

$1,800-$2,500

219

Erte (Russian/French, 1892-1990)

“Her Secret Admirers”, 1988

patinated and cold-painted bronze with metal accents dated, inscribed “Chalk and Vermilion and Sevenarts”, numbered “256/375” and copyright-marked along edge of base, on a stepped black marble base.

h. 25”, w. 15”, d. 5-1/2”

$1,000-$1,500

220

Neoclassical Gilt-Bronze Gueridon Table

20th century, the circular black marble top accented with cast eagle heads, and supported on three curved legs with balland-claw feet.

h. 28”, w. 22”

$1,400-$1,800

221

James Jacques Joseph Tissot (French/British, 1836-1902)

“Le Hamac”, 1880 (Tissot 41, Beraldi 37, Wentworth 46)

etching and drypoint on laid paper signed and dated in plate lower left, with a “Christopher Clark Fine Art” certificate of authenticity, pencil marked “AB” lower left and “13” lower right margin. Matted, glazed and framed. platemark 10-3/8” x 7-1/4”, sheet 15” x 9-1/2”, framed 22-1/2” x 18-3/4”

$1,000-$1,500

Provenance: Christopher-Clark Gallery, San Francisco, California; Property of a gentleman collector, New Orleans, Louisiana.

222

James Jacques Joseph Tissot (French/British, 1836-1902)

“Promenade dans la Neige”, 1880 (Tissot 44, Beraldi 47, Wentworth 48)

etching on laid paper signed in plate and with artist’s stamp lower right, quote from Keats along lower margin: “She will bring in spite of frost/Beauties that the earth hath lost”. Matted, glazed and framed. platemark 22-3/8” x 10-3/8”, sheet 25-3/8” x 18-1/8”, framed 38-3/4” x 26-1/2”

$2,500-$4,000

Provenance: Christopher-Clark Gallery, San Francisco, California; Property of a gentleman collector, New Orleans, Louisiana. 221

223

James Jacques Joseph Tissot (French/British, 1836-1902)

“Portrait de M. N...or La Frileuse”, 1876 (Tissot 20, Beraldi 19, Wentworth 26)

etching and drypoint on laid paper signed in plate and with artist’s stamp upper right, “Christopher-Clark Fine Art” label en verso, pencil inscribed “G24237” en verso.

Matted, glazed and framed.

platemark 10-1/4” x 6-3/8”, sheet 13” x 8-1/4”, framed 23” x 19”

$3,000-$5,000

Provenance: Christopher-Clark Gallery, San Francisco, California; Property of a gentleman collector, New Orleans, Louisiana.

224

James Jacques Joseph Tissot (French/British, 1836-1902)

“Entre le deux mon Coeur Balance”, 1877 (Tissot 26, Beraldi 23)

etching and drypoint on laid paper signed and dated in plate lower right. Matted, glazed and framed. platemark 9-3/4” x 14”, sheet 14-3/4î x 22”, framed 26” x 30”

$2,500-$4,000

Provenance: Christopher-Clark Gallery, San Francisco, California; Property of a gentleman collector, New Orleans, Louisiana. 223

225

James Jacques Joseph Tissot (French/British, 1836-1902)

“La Tamise”, 1876 (Tissot 14, Beraldi 13, Wentworth 20)

etching and drypoint on laid paper pencil-signed lower right, artist’s stamp lower left, after the painting exhibited at the Royal Academy, London in 1876. Matted, glazed and framed. platemark 9-1/4” x 14-1/4”, sheet 13-5/8” x 20”, framed 25-1/2” x 29-3/4”

$4,000-$7,000

Provenance: Christopher-Clark Gallery, San Francisco, California; Property of a gentleman collector, New Orleans, Louisiana.

226

Fine English Brass-Mounted Figured Mahogany Campaign-Style Chest

19th century, the top with a brass-trimmed edge, the front fitted with four long, graduated drawers, all with cock-beaded edges, flanked by narrow inset panels lined with brass trim, raised on turned bun feet.

h. 38”, w. 43”, d. 21”

$1,200-$1,800

227

Edwardian Parcel-Gilt and Mahogany Mirror

first quarter 20th century, in the George II taste, the giltwood carved swan’s-neck pediment set with a leaf-carved finial, the mahogany-veneered surround with crossetted corners, lined with carved giltwood and decorated with leaf-carved, applied leaves and shells, both above and below the mirror plate, the sides with giltwood leaf-carved drops.

h. 53”, w. 28”

$1,000-$1,500

228

George III-Style Bleached Pine Cabinet

19th century, the molded and dentillated cornice above a fluted frieze, over two astragal-glazed doors, the lower section fitted with a ribbed frieze over two cupboard doors, each inset with a panel, raised on a plinth base. h. 100”, w. 56”, d. 20-1/2”

$3,000-$5,000

229 English Brass-Inlaid Mahogany Bottle Case

ca. 1800, inlaid with rectangular panels on each side, the sides with brass carrying handles, the front with a Chippendale escutcheon, raised on brass paw feet, now with six mismatched 18th-century gilt-decorated blown glass spirit bottles.

h. 9”, w. 12-1/2”, d. 8-1/4”

$700-$1,000

Provenance: Malcolm Innes Gallery, Edinburgh, Scotland.

the fishbowl-form tubs decorated on the exteriors with unusual blue-outlined tiles with various orange and blue patterns, the interior painted with fish and lotus blossoms.

h. 21-3/4”, dia. 24-1/2”

$1,200-$1,800

230

Large Pair of Japanese Imari Porcelain Tree Tubs

231

Mahogany, Brass and Leather Folding Library Steps

20th century, the frame inlaid with brass spears, the giltstamped leather-inset steps with carved risers, the tops with a spiral-reeded brass hand hold. h. 87-3/4”, w. 23-1/2”, d. 54”

$1,500-$2,500

232

Interesting Mahogany and Inset Leather Library Table

ca. 1900, of octagonal form with an inset green and tooled leather blotter, above a deep frieze fitted with eight niches for books between the legs, supported by eight octagonal tapered and faceted legs, each with fine satinwood beading along with vertical edges and ending in bronze acanthus-form cup casters, bearing a label reading, “Designed and Made by the Hayden Company, Rochester N.Y., Showrooms New York”. h. 30-1/2”, dia. 43-1/2”

$1,200-$1,800

233

Pair of George III-Style Mahogany and Leather Wing Chairs

20th century, of traditional form with a camel back, curved wings, out-rolled arms and loose cushions, raised on Marlborough legs, labeled “Hancock & Moore”. h. 42”, w. 33”, d. 32”

$1,000-$1,500

234

Porcelain Tureen and Undertray

20th century, probably Portuguese, the cover with an orange handle, the body with boar’s-head handles, decorated with royal marriage armorial devices on a cobalt ground, the green bamboo borders decorated with pink ribbons and scattered flowers. h. 9”, w. 14-1/4”, d. 11-3/4”

$800-$1,200

235

George III-Style Mahogany Linen Press

19th century, in the Adam taste, the molded, broken triangular pediment above a banded frieze with two banded and paneled doors below, each with an elaborate inlaid urn issuing scrolling foliate patterns, the lower section fitted with two short drawers over two long drawers, all with inlaid stringing, raised on bracket feet. h. 97”, w. 47-1/2”, d. 23-1/2”

$1,500-$2,500

Provenance: Michael Dale Interiors, Houston, Texas.

236

Suite of Four George V Sterling Silver Candlesticks

hallmarked Sheffield, 1919-1920, by William Hutton & Sons, in the Adam taste, each with a tapering standard of square section with vasiform finial and cavetto-domed base with canted corners, the whole decorated with ribbons, laurel swags, ram’s masques, urns and various neoclassical bandings, with detachable circular beaded bobeches. h. 12-1/4”, w. 5-1/8”; weighted

$1,200-$1,800

Provenance: Collection of Frederic and Matilda Delano (Uncle of President Franklin Delano Roosevelt) by descent to present owner.

237

Handsome English Tiffany-Retailed Silverplate Tureen Set late 19th century, by Hawksworth, Eyre & Co., Sheffield for Tiffany & Co., New York, including one large and two smaller tureens, each of oval form with gadrooned banding, engraved scroll decoration and squared arch handles, the domed lids with ring handle finial. h. 12”, l. 16”, w. 8-1/4” and h. 7-1/4”, l. 9-3/4”, w. 4-1/2”

$900-$1,200

Provenance: Collection of Frederic and Matilda Delano (Uncle of President Franklin Delano Roosevelt) by descent to present owner.

238

Silverplate Venison Dome and Platter

contemporary, Royal Family, Rome, Italy, with gadrooned rim, the dome with openwork acanthus handle, the tray with opposing turned celluoid stirrup handles and button feet.

overall h. 9-3/4”, w. 18”, l. 27-1/2”

$1,200-$1,800

239

Edwardian Sterling Silver Inkstand

hallmarked Sheffield, 1902-1903, by Fenton Bros. Ltd., of rounded rectangular form with gadrooned rim and recessed pen tray, fitted with two spiral strawberry diamond-cut inkwells with hinged silver caps, all raised on fan feet; together with a Portuguese second standard (.833) silver dip pin with brass nib. overall h. 3-1/2”, w. 12”, d. 8”; 18.98 total t. oz. (weighable silver)

$900-$1,200

240

English Sterling Silver Tea Set

hallmarked Sheffield, 1962-1963, by Viner’s Ltd., in the Victorian taste, including: a coffeepot, h. 8-3/4”, l. 9-1/4”; a teapot, h. 6-3/4”, l. 11-3/4”; a covered sugar bowl, h. 5-1/4”, w. 7-1/2”; a cream jug, h. 4-1/4”, l. 6”; and a waste bowl, h. 4-1/4”, dia. 5-1/4”; each with a melon-lobed body with chased decoration and anthemion feet.

120.72 total t. oz.

$2,000-$4,000

241

Attributed to Margaret Sarah Carpenter (British, 1793-1872)

“Matilda and Helen Burgoyes, the Daughters of Mrs. Bernier of Brighton, England”, 1849

oil on canvas together with morocco-bound, gilt-lettered portfolio with artist and collector information.

In an oval-aperture frame. 26” x 25”, framed 34” x 32”

$2,000-$4,000

Provenance: Newhouse Galleries, New York, New York; Ann Weckbaugh, Denver, Colorado; thence by descent to Janice and Wally Weckbaugh, Highlands Ranch, Colorado.

241

242

Fritz Zuber-Buhler (Swiss, 1822-1896)

“After the Bath” oil on canvas signed lower right, a “Newhouse Galleries, New York” label en verso; together with a morocco-bound, gilt-lettered portfolio with artist and collector information. Framed.

24” x 20”, framed 30” x 26”

$1,500-$2,500

Provenance: Newhouse Galleries, New York, New York; Ann Weckbaugh, Denver, Colorado; thence by descent to Janice and Wally Weckbaugh, Highlands Ranch, Colorado.

Born in 1822 in Le Locle, Switzerland, Zuber-Buhler was from a distinguished academic lineage. He studied in Germany, Italy, and France, and trained with FrancoisEdouard Picot at the Ecole des Beaux-Arts in Paris. Picot, a former student of Jacques Louis David, played a pivotal role in nurturing a cadre of 19th-century painters steeped in the academic tradition. ZuberBuhler’s notable contemporaries from the Ecole des Beaux-Arts include William Adolph Bouguereau, Alexandre Cabanel, and Leon Perrault. Despite the challenges posed by the burgeoning modernist movements, Zuber-Buhler remained loyal to the tenets of academic painting. Undeterred by modern developments, Zuber-Buhler continued to create his captivating scenes of women, cherubic children, and slightly mythologized scenes. Following his debut at the Paris Salon in 1850, Zuber-Buhler consistently exhibited at various European Salons throughout his career.

243

Fritz Zuber-Buhler (Swiss, 1822-1896)

“The New Arrival” oil on canvas signed lower left, a “Newhouse Galleries, New York” label en verso. Framed.

24” x 20”, framed 30” x 26”

$1,500-$2,500

Provenance: Newhouse Galleries, New York, New York; Ann Weckbaugh, Denver, Colorado; thence by descent to Janice and Wally Weckbaugh, Highlands Ranch, Colorado.

244

George III-Style Mahogany Dining Table

the rounded rectangular top banded and raised on four pedestals, each with a vasiform standard to three splayed and ribbed legs ending in brass caps on casters, the four sections with two detachable ends to facilitate different configurations. h. 30”, w. 48”, ext. l. 143”

$3,000-$5,000

245

Suite of Six Georgian-Style Mahogany Side Chairs

early 20th century, each with a domed, tapered and padded back, the padded seat raised on cabriole legs headed by foliate shell carving and ending in double pad feet. h. 42-1/2”, w. 21-1/2”, d. 19”

$1,200-$1,800

Provenance: Bertha Stambulie Antiques, Houston, Texas.

Neoclassical-Style Stained Pine and Parcel-Gilt Bookcase/Vitrine

late 19th century, in two parts, the upper case with a pair of fan-lightglazed doors, opening to a later mirror-lined interior, fitted with three adjustable plate-glass shelves, the base with a carved Greek-key frieze above a pair of framed and paneled doors, bearing a tag that reads, “Provenance: Princeton University - Rockefellar [sic] Donation”. h. 84-1/2”, w. 54-3/4”, d. 16-3/4”

$1,800-$2,500

247

Contemporary Oak and Iron Wine Tasting Table

of traditional form, the D-form top with two drop ends, raised on an iron base of U-form supports, joined by stretchers and ending in ball feet.

h. 28”, w. 63”, d. 33”, ext. d. 59”

$1,500-$2,500

247

247 detail

248

Bill Mack (American, b. 1949)

“Fascination”

patinated bonded bronze signed and numbered upper right, together with book and cassette on artist.

In an integral black frame.

Overall 42” x 74”

$1,200-$1,800

249

Anglo-Chinese Camphorwood Chest

first quarter 19th century, the leather-covered chest with a lid decorated with a cut-corner panel formed with brass tacks, the brass-bound edges lined with tacks, the sides with original brass carrying handles, raised on handsome ball-andclaw paw feet.

h. 18”, w. 36”, d. 18-1/4”

$1,200-$1,800

Provenance: Christieís South Kensington, December 12, 2001, Sale 9286.

250

Anglo-Colonial Hardwood Center Table

19th century, possibly Burmese, the octagonal top centered by a carved floral medallion, banded by intricate foliate- and animal-carved panels, above a like-carved and shaped projecting, pierced frieze, raised on a turned and bulbous standard to three splayed legs, headed by lion and bird carving and ending in scrolled toes. h. 28-1/2”, dia. 33”

$1,000-$1,200

251

Pair of Nautical-Themed Metal Andirons

second quarter 20th century and later, now mounted as lamps, each molded with a pierced clipper ship atop an anchor, now with a metal lamp standard and a rectangular base. h. 23”, w. 7-3/4”, d. 5”

$1,000-$1,500

252 William Clark (Scottish, 1803-1883)

“A British Topsail Schooner Inward Bound off the Needles, Isle of Wight, with a Cutter and Other Shipping in the Distance” oil on canvas signed lower left. Framed.

13-5/8” x 19-1/2”, framed 20” x 25-3/8”

$7,000-$10,000

Provenance: Sotheby’s London, November 6, 2007, “The Marine Sale”, lot 25. 250 252 251

253

ca. 1988, the padded and rounded back and sides above a single velvet-cushioned seat, raised on tapered square legs, the whole with brass tack accents, bearing the Ralph Lauren label under the seat cushion.

35”, w. 86”, d. 40”

$1,500-$2,500

254

h. 35”, w. 86”, d. 40”

$1,500-$2,500

Ralph Lauren “Brompton” Mahogany and Leather Sofa

255

Pair of Brown Leather Club Chairs

of barrel-back form with a rolled-over crest rail, with diamond-tufted seats and backs dressed with brass tacks, raised on turned and reeded legs.

h. 31”, w. 32”, d. 33”

$1,000-$1,500

257

George III-Style Mahogany Chest

early 20th century, the satinwood serpentine banded top with a central patera inlay, above a conforming case fitted with two short drawers over three long, graduated drawers, all banded and with corner accents, raised on bracket feet.

h. 37-1/2”, w. 45”, d. 20”

$1,000-$1,500

256

George II Walnut-Veneered and Parcel-Gilt Mirror

18th century, the giltwood swan’s-neck pediment set with a scroll-carved finial, the top with crossetted corners, the base with rounded corners terminating in flower heads, flanking the serpentine base, the beveled mirror plate set into a carved giltwood liner.

h. 55”, w. 27”

$2,000-$4,000

258

Pair of Chinese Export Porcelain Ginger Jars

the bodies of the blue and white jars decorated with a processional of children flying kites and riding a foo dog, the shoulders with applied and molded foo dog heads, and the covers with foo dog knops. h. 18”, dia. 8”

$1,200-$1,800

259 Rene Tiercelein (French, 18th Century)

“Portrait of a Young Child with Pet Songbird”, 1748

oil on canvas

signed and dated lower right at edge of table. Accompanied by The Antique Dealer & Collectors Guide, May 1976, magazine which features this portrait on its cover.

Framed.

29-1/8” x 24-1/8”, framed 36” x 31-1/8”

$3,000-$5,000

Provenance: Roy Miles Fine Paintings, London, England; Estate of Sue Mahan, Fort Myers, Florida.

Literature: The Antique Dealer & Collectors Guide, May 1976, cover illustration.

260

Exceptional George III Inlaid Mahogany and Mixed Woods Secretary Bookcase

late 18th century, having a dentillated overhanging molding above a pair of astragal-glazed doors with carved swags and Prince-of-Wales plumes, the base with an inlaid urn on the slant lid, opening to a fitted interior and pull-out document box with secret compartments, above four long, graduated drawers, raised on a bracket-foot base. h. 91”, w. 45”, d. 22”

$2,500-$4,000

Provenance: Michael Dale Interiors, Houston, Texas.

261

Regency Tortoiseshell Tea Caddy

first quarter 19th century, the rectangular cut-corner caddy veneered in segments of tortoiseshell with silver dividers, the two-compartment interior with matching covers and the remnants of foil lining, on silverplate ball feet.

h. 5”, w. 7-1/2”, d. 5”

$1,200-$1,800

263

Regency Tortoiseshell Tea Caddy

first quarter 19th century, the bombe-form caddy with a cove-molded cover and segmented tortoiseshell veneer with silver dividers, the two-compartment interior with matching covers, on ball feet.

h. 5-3/4”, w. 6-1/2”, d. 3-3/4”

$1,200-$1,800

262 Rare Ellipse-Form Silver-Inlaid Tortoiseshell Tea Caddy

fourth quarter 18th century, British, the Adam-style caddy veneered in green-stained tortoiseshell, the front inlaid with a bright-cut silver medallion, and swags of bellflowers and bowknots, the cover with like inlay, the interior with two matching covers concealing the remnants of foil lining.

h. 5”, w. 7”, d. 3”

$1,500-$2,500

264

Regency Tortoiseshell Tea Caddy

first quarter 19th century, the cover with a monogrammed silver plaque, over a serpentine front, the two-compartment interior with matching covers and the remnants of foil lining, on ball feet. h. 4-3/4”, w. 7-3/4”, d. 4-3/4”

$1,200-$1,800

265

William-and-Mary-Style Oyster Walnut and Yew Chest

18th century, the double-banded and quarter-veneered rectangular top above a conforming case fitted with two short drawers over three long, graduated drawers, all banded, raised on bun feet. h. 34-1/2”, w. 37-1/2”, d. 23”

$1,500-$2,500

Provenance: Royal Antiques, New Orleans, Louisiana.

268

Carolean-Style Mahogany Bench

the padded, rectangular seat raised on barleytwist and block legs joined by a like H-form stretcher and ending in bun feet. h. 19-1/2”, w. 39”, d. 17-1/2”

$1,000-$1,500

266

Fritz Wagner (German, 1896-1939

“Hatching a Plan” oil on canvas signed and localized “Munich” lower right. Framed.

34” x 40”, framed 40” x 45-1/2”

$5,000-$8,000

267

Max Gaisser (German, 1857-1922)

“Cavalier in a Tavern” oil on panel signed lower right, verso with a framer’s label. Period frame.

16” x 12-1/4”, framed 27-1/2” x 23-1/2”

$2,000-$4,000

269

Large Martin Brothers Salt-Glazed Stoneware Double Face Jug

1897, the brown glaze with “orange peel” typical of Martin Brothers, incised underneath “7, 6-1897, Martin Bros., London & Southall”. h. 9-1/2”, w. 8”, d. 7-1/4”

$3,500-$5,000

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

270 Martin Brothers Salt-Glazed Stoneware Two-Sided Face Jug

1902, English, made by Robert Wallace Martin, the underside incised “S-1902, R W Martin & Bros., London & Southall”, retaining the paper retailer label “Gem Antiques, 1088 Madison Ave.” h. 6-3/4”, w. 5”, d. 4-3/4”

$2,500-$4,000

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

Note: Robert Wallace Martin, along with his brothers Walter, Charles and Edwin, formed the pottery in 1902. The typically expressive faces make it evident that Robert was trained as a sculptor.

271

Suite of Eight English Oak Windsor Armchairs

each with a hooped, spindled back and shaped and pierced splat, joined by outscrolled arms to the saddle seat, raised on turned and bulbous legs joined by stretchers and ending in bulb feet.

h. 46”, w. 27-1/2”, d. 18-1/2”

$2,000-$4,000

272

Pair of Carved Walnut Griffins

fourth quarter 19th century, the creatures with carved fur and wings, on paw-footed monopodial feet, now on acrylic bases.

h. 25-1/4”, w. 7”, d. 7-1/4”

$1,200-$1,800

273

English Oak Wake Table

19th century, the long top with rounded ends and with two like drop leaves, raised on a gateleg support of bobbin-turned legs joined by stretchers and ending on block-on-ball feet.

h. 29-1/2”, closed w. 22”, open w. 62”, l. 83”

$1,200-$1,800

274

Pair of Rare George IV Derbyshire Stone Cows

second quarter 19th century, the carefully carved recumbent bull and cow, possibly the work of John Mawe or Joseph Hall, composed of mottled rust and white stone, likely Derbyshire alabaster, on black marble bases.

h. 4-1/2”, w. 8-3/4”, d. 4-3/4”

$1,000-$1,500

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

275 George III Oak Mule Chest

late 18th century, the rectangular top with a molded edge, hinged and opening to a storage space, the front fitted with three short drawers over two drawers, all faux, with two banks of two drawers below, all banded, raised on ogee-molded bracket feet.

h. 40-1/2”, w. 65”, d. 21-1/2”

$1,000-$1,500

276

Cornelis Christiann Dommelshuizen (Dutch, 1842-1928)

“Along the Canal”

oil on canvas signed lower right. Framed.

21” x 31”, framed 28” x 37”

$2,500-$4,000

277

Pair of George III-Style Ebonized Armchairs

late 20th century, in the Chippendale taste, each with a carved crest rail and pierced back splat, the arm grips in the form of serpent heads, with slip seats in floral needlepoint, raised on cabriole legs ending in ball-andclaw feet.

h. 41-1/2”, w. 29”, d. 19”

$1,000-$1,500

Provenance: Private estate, Seattle, Washington.

278

Henry Scott (British, 1911-2005)

“The Clipper and the Wellington Following” oil on canvas signed lower right, verso with “MacConnal-Mason & Son Ltd., London” label. Frame with artist plaque. 24” x 39-7/8”, framed 29-1/8” x 45”

$4,000-$7,000

Provenance: MacConnal-Mason & Son Ltd., London,

$30,000-$50,000

279 Antique Silk Sivas Carpet

13’ 1” x 20’ 1”

279 detail

280

Antique Sultanabad Carpet

10’ 7” x 13’ 7”

$8,000-$12,000

280

281

Semi-Antique Tabriz Pictorial “Hunt Scene” Carpet

12’ x 19’ 10”

$5,000-$8,000

Antique Kashan Carpet

11’ 6” x 14’ 11”

$6000-$9,000

283

Giltwood Mirror in the Chinese Chippendale Taste

20th century, the pagoda-form crest decorated with pierced latticework and “stalactites”, the delicate pierced surround composed of scrollwork with rocaille trim accented with flower heads, the lower edge with a central rocaille ornament framed in scrollwork, indistinctly labeled on the back. h. 55-1/2”, w. 20”

$1,500-$2,500

284

George III-Style Mahogany Silver Table

in the Chinese Chippendale taste, the rectangular top within a full pierced gallery, raised on chamfered legs joined by a fretpierced X-form stretcher. h. 30-1/2”, w. 32-1/2”, d. 18-1/2”

$700-$1,000

285

Pair of Chippendale-Style Mahogany Side Tables

20th century, each with a pierced fretwork four-quarter gallery and one side fitted with a pull-out candle slide, raised on cluster-column legs joined by a pierced stretcher and finial. h. 27”, w. 13”, d. 13”

$700-$1,000

286

Chinese Red-Lacquer Six-Panel Coromandel Screen

20th century, decorated with warriors on horseback and pine trees, the raised decoration executed in lacquer and various semi-precious stones, the base with foo dogs, trimmed with gilt flowers and scrollwork, on brass-capped feet.

h. 72-1/4”, w. 97” (fully extended)

$1,500-$2,500

287

Pair of Giltwood Mirrors in the Chinese Chippendale Taste

20th century, each with a pierced pagoda-form crest hung with temple bells, and carved scrollwork decorated with pierced rocaille work, the sides with pierced scrollwork and carved leaves, the bottom with like decoration.

h. 52”, w. 33-3/4”

$1,200-$1,800

289

Handsome Regency Painted and Parcel-Gilt Games Table first quarter 19th century and later, now mounted as a floor lamp, the light supported on an ebonized stand above the table top, painted as a game board, the base with carved and painted gilt and green alternating acanthus leaves, on legs decorated with gilt scrollwork, raised on Greek-key feet, mounted with a shade.

h. 57”, w. 17”, d. 17”

$1,000-$1,500

288

Elaborately Carved and Parcel-Gilt Buddha and Shrine 20th century, possibly Burmese, the crest carved with a dragon in the clouds, the sides carved with dragons, cockerels and mushrooms, the base carved with birds and pine trees, the Buddha displayed on the dais, holding a scepter with a lotus flower.

h. 32-3/4”, w. 15”, d. 6-3/4”

$2,500-$4,000

Provenance: Acquired from a gallery in Singapore, 1981.

290

Pair of Regency Mahogany and Marble-Top Side Tables

19th century, each with a rectangular marble top above a conforming case fitted with a single drawer, joined to a shaped stretcher shelf by supports headed by gilt winged swans, the whole raised on bulbous, turned legs.

h. 38”, w. 23”, d. 13”

$3,000-$5,000

291

Large Red-Japanned Mirror in the Rococo Taste

the finial of the Habsburg double-headed eagle over the scrolled crest, with edges decorated with carved giltwood leaves, the red field with scattered chinoiserie figures, the pulvinated surround with panels of black-ground diapering framing raised flowers and chinoiserie figures. h. 70-1/2”, w. 40”

$1,500-$2,500

292

Pair of Monumental Regency Dore et Patine Candelabra

first quarter 19th century, the reeded candle cups supported on leaf-molded and scrolled arms, mounted on Egyptian Revival “priestesses”, in the manner of Thomas Hope (English, 1769-1831), on bases mounted with Egyptian masques and the Goddess Nike, raised on paw feet. h. 25-3/4”, w. 17-1/2”, d. 6”

$1,000-$1,500

293

Fine English Brass-Bound Camphor Wood Campaign Chest with Butler’s Desk

early 20th century, in two parts, the edges of the case with inset brass trim and decorative corners, the top drawer with a fold-down front, opening to a butler’s desk with a fitted interior, above a pair of side-by-side drawers over two long drawers, all with brass stringing, raised on bracket feet, the ends with brass handle mounts.

h. 41”, w. 37-1/2”, d. 17-1/2”

$1,500-$2,500

294

Pair of Chinese Famille Rose Ginger Jars

third quarter 19th century, now mounted as lamps, decorated with mandarin mothers and children playing, and bats and insects on the sides, now on hardwood bases and mounted with shades. h. 20-1/2”, dia. 11-3/4”

$1,000-$1,500

295

Campaign-Style Mahogany Chest

early 20th century, the rectangular top with corner brass accents, above a two-part case fitted with two small drawers over three long drawers, all with traditional campaign hardware, raised on bracket feet. h. 40”, w. 36”, d. 19-1/2”

$1,500-$2,500

296 Ben (Benjamin) Foster (American/Maine, 1852-1926)

“Vista Through the Pine Trees” oil on canvas

verso with “Grand Central Galleries, New York, New York” exhibition label and an original hand-inscribed label with artist name and title. Framed.

24” x 24”, framed 27-1/2” x 27-1/2”

$1,500-$2,500

Provenance: Grand Central Gallery, New York, New York.

$3,000-$5,000 297

ca. 1900, with a carved mane and glass eyes, the head with iron ring holders for a bridle, the carved saddle over a carved blanket decorated with tassels, on a contemporary metal mount. h. 51-1/2”, w. 12-1/2”, l. 46”

$3,000-$5,000

297

Carved Wooden Carousel Horse

298

Carved Wooden Carousel Horse

299

Giltwood Mirror in the English Rococo Taste

20th century, the crest decorated with pierced scrollwork supporting carved flower heads, the corners with pierced rocaille and scrollwork, the surround “wrapped” with carved leaves and pierced scrolls ornamenting the outside edge. h. 56”, w. 38-1/4”

$1,000-$1,500

Provenance: Michael Dale Interiors, Houston, Texas.

300

Pair of Neoclassical-Style Beechwood Benches

each stripped and bleached bench with a padded seat and padded outswept sides within a shell-carved frame, raised on a ribbed, graduated square standard to a square base on paw feet.

h. 27”, w. 36”, d. 21-1/2”

$1,500-$2,500

301

Giltwood Mirror in the Rococo Taste

the finial composed of carved acanthus leaves atop pierced scrollwork, the surround edged with rocaille and scrollwork on the top and base, the pierced sides with scrolled side arms accented with flower heads and the base with acanthus-lined piercing.

h. 53-1/2”, w. 26-1/4”

$1,000-$1,500

302

Regence Mahogany, Kingwood and Marble-Top Commode

18th century, the bowed top with projecting corners, above a bombe case fitted with three long drawers, all banded and quarter-veneered, raised on splayed feet to sabots.

h. 34”, w. 50”, d. 27-1/2”

$2,000-$4,000

303

Continental Giltwood and Marble-Top Side Table

19th century, the shaped and deeply scalloped marble top above a conforming deep frieze with lattice and torchere carving, raised on cabriole legs headed by grapevine carving, joined by an X-form stretcher and ending in foliate toes.

h. 30”, w. 41”, d. 27”

$1,500-$2,500

304

French Restauration Giltwood Barometer

first quarter 19th century, in the empire taste, the crest decorated with an urn supporting a sheaf of wheat, framed with fruit-filled cornucopia and sprays of laurel leaves, the cove-molded surround decorated with anthemia and beading, with an octagonal handpainted dial marked “Haring, A Paris”, and “Opticien de S.M. le Roi & Wurtemberg”. h. 40”, w. 23”

$2,000-$4,000

305

Signed Linke French Bronze and Marble Clock

ca. 1900, the patinated bronze figure of Eostre, goddess of spring, with nesting birds and resting on a giltbronze case signed by Belle Epoque bronzier Francois Linke (1855-1946), on a carved marble base lined with beading and decorated with an inset panel of bronze grapevines tied with a bowknot.

h. 13”, w. 8”, d. 4”

$3,000-$5,000

306

Pair of Impressive Napoleon III Bronze Figural Candelabra

third quarter 19th century, decorated with patinated bronze putti holding aloft gilt-bronze reeded urns set with bouquets of flowers, five set with candle sockets, raised on gilt-bronze bases with guilloche trim and panels of strapwork, on bold bun feet.

h. 28-1/4”, w. 15-1/4”, d. 8”

$1,500-$2,500

307

Pair of French Gilt-Bronze and Crystal Sconces

fourth quarter 19th century, in the Louis XVI taste, the backplates with urn finials and pierced swags of laurel, supporting scrolled arms set with turned candle cups and molded crystal drip pans, hung with swags of cut glass prisms and cut glass drops.

h. 20-1/4”, w. 18”, d. 7”

$1,000-$1,500

308

French Belle Epoque Gilt-Bronze Encrier

fourth quarter 19th century, in the Louis XV taste, decorated with a cherub embracing a putto, each holding flowers, flanked by molded candle holders on scrolled supports, the shell-form pen tray crowned with a masque of Poseidon, flanked by a cut glass ink pot and sander, retaining flowermolded bronze covers, the scroll-molded front skirt concealing a drawer, the whole supported on scrolled feet. h. 9-1/2”, w. 14-1/4”, d. 6-1/4”

$1,000-$2,000

309

Large French Belle Epoque Giltwood Overmantel Mirror

fourth quarter 19th century, the crest with a cartouche decorated with scrollwork and sprays of flowers, the surround with cut corners with egg-and-dart and scrollwork decoration, the mirror plate set into a beaded liner. h. 75”, w. 54-1/2”

$1,500-$2,500

310

Louis XVI Mahogany and Marble-Top Commode

18th century, the rectangular marble top with canted corners, above a conforming case fitted with a frieze drawer over three long drawers, all with herringbone veneers and parquetry bands, the sides quarter veneered and with like decorative bands, raised on canted, tapered square legs ending in brass caps. h. 42-1/2”, w. 48”, d. 21”

$2,500-$4,000

Provenance: Royal Antiques, New Orleans, Louisiana.

311

312

French Gilt-Bronze and Cut Crystal Centerpiece

20th century, in the empire taste, the bateauform centerpiece set with a cut crystal bowl in the diamond-point pattern, with bronze handles on each side in the form of swan’s heads, supported by molded anthemia, the bowl resting on an engineturned foot ring, raised on acanthus-molded feet. h. 11-3/4”, w. 22”, d. 9-1/2”

$1,500-$2,500 310 311

Charles Auguste Carolus Emile Duran (French, 1837-1917)

“Belle Femme avec des Lunettes”

watercolor on paper signed lower right, verso with “Guarisco Gallery” label. Glazed and framed. sight 1” x 13-1/2”, framed 32” x 25-1/2”

$1,500-$2,500

Provenance: Guarisco Gallery, Washington, D.C.; Property of a gentleman collector, New Orleans, Louisiana.

313

Eleven Heinrich & Co. Raised Gilt Dinner Plates

first quarter 20th century, the plates with elaborately scrolled borders and accented with flowers on a cream ground, marked on the back by the retailer, “Ovingtons, New York” and “Heinrich & Co.”, dia. 11”; together with twelve Tressemanes & Vogt raised gilt salad plates, first quarter 20th century, decorated in the United States, each marked on the back, “T & V, Limoges, France”, dia. 8-1/2”.

$700-$1,000

314

French Gilt-Bronze and Mirrored Plateau

mid-20th century, the oval plateau with a raised, pierced gallery decorated with vases flanked by birds, raised on paw feet, the conforming mirror with a hardwood backing. h. 2-1/2”, w. 15-3/4”, d. 24-1/2”

$1,000-$2,000

315

Louis XVI-Style Mahogany and Marble-Top Bouillotte Table

20th century, the circular marble top within a full pierced brass gallery, above a frieze fitted with two small drawers and two leather-inset slides, raised on tapered square legs ending in brass caps. h. 29”, dia. 25-1/2”

$1,000-$1,500

Provenance: Royal Antiques, New Orleans, Louisiana.

316

Continental Empire-Style Curule Stool

20th century, the padded seat raised on an X-form base headed by gilt ram’s-head hand rests, centered by a foliate panel and ending in hairy hoof feet. h. 32”, w. 31-1/2”, d. 19-1/2”

$800-$1,200

Provenance: Brownstone Gallery, Houston, Texas.

317

Restauration Polychrome Settee

early 19th century, the padded, rectangular back surmounted by a molded crest, joined by downswept arms to the cushioned seat, raised on turned, tapered circular legs, each headed by a floral block capital and ending in a bulb foot.

h. 38”, w. 62”, d. 24”

$1,500-$2,500

318

Emile Vernon (French, 1872-1919)

“Portrait of a Lady Arranging Pink Roses”, 1909

oil on canvas signed, dated and localized “Paris” lower left. In an attractive antique gessoed and giltwood frame. 36” x 26”, framed 48-1/2” x 38-1/2”

$6,000-$9,000

319

Maximilien Luce (French, 1858-1941)

“Vue de Rolleboise”

oil on paper mounted on canvas verso with “Meredith Long & Company, Houston, Texas” gallery label.

Framed.

21-1/2” x 29-3/8”, framed 30” x 37”

$7,000-$10,000

Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas.

320

French Signed Erard Double-Action Pedal Harp

first quarter 19th century, the main fluted column-form support with crown decoration in the style of Percier et Fontaine, the upper gilt-bronze neck signed “Erard, Facteur de Pianos et Harpes, 13 rue du Mail, Paris”, with a bird’s-eye maple soundboard, h. 67-1/4”, w. 33-1/2”, d. 18-1/2”; together with an American maple, iron and gilt-metal piano stool, made by J. Briggs, Peterborough, New Hampshire, labeled on the bottom, h. 18”, dia. 14-3/4”.

$1,500-$2,500

Note: A nearly identical example is in the collection of the Metropolitan Museum of Art, New York.

second half 20th century, the lyre-form finial above a shaped case lined with cove molding and set with a signed barometer, with an acorn-form pendant finial. h. 39”, w. 17-3/4”

$1,000-$1,500

321 English Grow & Cuttle Giltwood Barometer

322

French Belle Epoque Aubusson Tapestry

fourth quarter 19th century, the central panel decorated with a vase of roses, peonies and hydrangeas with trails of rose vines above, in a scrolled panel worked in shades of taupe, rose and orange, on a taupe field decorated with rose scrollwork, lined with ball fringe. h. 123”, w. 49-3/4”

$1,500-$2,500

323

Pair of Empire-Style Bleached Mahogany Tub Chairs

19th century, each with a padded and rounded back and sides surmounted by a laurel-carved frame terminating in ram’s-head hand rests, the cushioned seat raised on tapered circular legs headed by a patera block capital and ending in foliate toupie feet. h. 34”, w. 28”, d. 23”

$1,500-$2,500

324

French Belle Epoque Giltwood Mirror

ca. 1900, of neoclassical inspiration, the crest composed of ribbon-bound sprays of laurel leaves, supporting swags of oak leaves and acorns, the surround decorated with ribbon-bound roses, set with a beaded liner. h. 75-1/4”, w. 49-3/4”

$1,200-$1,800

325

Pair of French Patinated Metal and Marble Neo-Grec Vases

fourth quarter 19th century, now mounted as lamps, decorated with an ivy-molded border, the bodies with frolicking putti in bas-relief, the lower portions with incised anthemia, the red griotte marble bases trimmed in beading and raised on toupie feet, mounted with shades. h. 26-1/2”, dia. 16-3/4”

$1,000-$1,500

326

Gustav Adolf Daumiller

(German, 1876-1962)

“Der Schwimmer” patinated bronze cast signature along back of self-base, artist plaque at front of marble base.

overall h. 18”, w. 5-1/2”, d. 4-1/2”

$1,000-$1,500

327

Louis-Philippe Bronze and Marble Garniture Urn

second quarter 19th century, the oval bowl with an egg-anddart-molded edge, set with intertwined serpent-molded handles, the fluted base with rope trim, on a black marble plinth with lotus-molded trim on the base.

h. 14”, w. 14-3/4”, d. 7-3/4”

$1,000-$1,500

328

Louis-Philippe Mahogany and Marble-Top Secretary Chest

mid-19th century, the rounded rectangular marble top above a conforming case fitted with a drop-front secretary drawer, opening to a leather-inset writing surface and a variety of drawers and cubbyholes, over three long, paneled drawers, raised on rounded, molded feet.

h. 43”, w. 51-1/2”, d. 23”

$1,000-$1,500

329

Louis XVI-Style Mahogany Bureau Plat

early 20th century, the rectangular top with a molded edge and an inset gilt-tooled leather writing surface, within multiple bands of inlaid brass stringing and molding, above a conforming frieze and fitted with three drawers, raised on fluted, tapered circular legs headed by an ormolu capital and ending in brass caps. h. 31”, w. 73-1/2”, d. 35”

$1,500-$2,500

Provenance: Fireside Antiques, Baton Rouge, Louisiana; Private collection, New Orleans, Louisiana.

330

Italian Bronze “Dancing Fawn with Cymbals”

fourth quarter 19th century, after Massimiliano Soldani Benzi (Italian, 1656-1740), the dancing fawn with a tree trunk to one side, on an oval base inscribed “Vatican”. h. 21-1/2”, w. 10-1/2”, d. 8-1/2”

$1,500-$2,500

331

Patinated Bronze and Marble “Faune Pleurant”

after Claude Michel Clodion (French, 1738-1814), the weeping, seated horned satyr with hoof feet, his panpipes at his side, on a carved verde antique marble base, inscribed “Clodion” in script. h. 26-1/2”, w. 14”, d. 10-1/2”

$2,500-$4,000

332

Pair of French Belle Epoque Gilt-Bronze and Marble Candelabra

fourth quarter 19th century, the pierced, scrolled candle arms set with molded candle cups and leaf-molded prism rings hung with spear-point prisms, mounted on vasiform marble standards set with gilt-bronze handles, on square marble bases mounted with lion masques, raised on elaborately molded gilt-bronze bases decorated with laurel leaves and cabriole legs on each corner.

h. 23”, dia. 11”

$800-$1,200

333

first quarter 19th century, in the neoclassical taste, the giltwood and mahoganized frame set with a figure of Cupid resting on an upper tablet, set with giltwood arrows, the figure flanked by delicate, pierced giltwood bows and flowers, set with an eglomise tablet decorated with gilt figures on a black ground, the tablet and mirror plate lined with gilt beading, the sides with carved masques and laurel leaves, raised on giltwood paw feet.

h. 62”, w. 30-1/2”

$1,500-$2,500

Northern Italian Parcel-Gilt and Mahoganized Wood Mirror

334

French Empire-Style Bronze Dore et Patine Chandelier

second quarter 20th century, the three-light chandelier suspended from a corona decorated with pierced anthemia, hung with rod-form “chains”, the body set with swan-form supports alternating with scrolled and molded candle arms, decorated with medallions, mounted with inverted bell-form candle cups and matching drip pans. h. 38-1/2”, dia. 18”

$1,200-$1,800

335

Napoleon III Boulle and Marble-Top Table with Mirror

mid-19th century, the shaped marble top within an ormolu banding, above a conforming boulle-paneled frieze centered by an ormolu masque, raised on shaped legs headed by foliate mounts and ending in scrolled sabots, label en verso, h. 34”, w. 53-1/2”, d. 21”, with a like-decorated mirror, h. 71-1/8”, w. 43-1/4”.

$2,000-$4,000

Provenance: Private collection, Mountain Brook, Alabama.

336

French Grisaille Wallpaper Panel by Desfosse & Karth

late 19th/early 20th century, titled “Psyche Descends into Hades”, from the “Psyche and Cupid” series, designed in 1815 by Merry-Joseph Blondel and Louis Lafitte for the Manufacturer Dufour & Cie. h. 81-1/4”, w. 31-1/4”

$600-$900

337

French “Lamb of the Apocalypse” Marble Altar Panel 19th century, the carved panel of a lamb with a halo, resting on a cross atop a coffin, carved in a convex form, on a contemporary metal base. h. 20-1/4”, w. 15-1/2”, d. 5”

$1,200-$1,800

338 Italian Grand Tour Bronze Figural Brazier-Form Jardiniere

fourth quarter 19th century, after the antique, possibly by Sabatino de Angelis et Fils, the pierced top set with molded handles and supported by three satyrs on paw feet, their tails joining a circular center stretcher. h. 16-3/4”, dia. 9-1/4”

$1,000-$1,500

339

Pair of Continental Oak Armchairs

19th century, each with a padded, square back surmounted by lion-masque finials, joined by downswept and reeded arms on ram’s-head hand rests to the padded seat, raised on fluted, bulbous legs joined by stretchers and ending in block feet. h. 44”, w. 23-1/4”, d. 24”

$1,200-$1,800

Provenance: Brownstone Gallery, Houston, Texas.

340

Pair of Continental Oak Fauteuils

19th century, in the Renaissance taste, each with a padded back surmounted by lion-masque finials, joined by downswept arms on ram’s-head hand rests to the padded seat, raised on fluted, bulbous, tapered circular legs joined by an H-form stretcher and ending in block feet. h. 44”, w. 24”, d. 25”

$1,200-$1,800

Provenance: Brownstone Gallery, Houston, Texas.

mid-19th century, now electrified and set with molded ruffled shades, the lamps decorated with frolicking putti in scrolled panels, the white metal stands with putti-molded standards on ogeemolded circular bases decorated with scrollwork, the feet molded with eagle’s heads.

h. 32-1/2”, dia. 7”

$1,000-$1,500

in the Renaissance Revival taste, the backplates with masque molding and pierced scrollwork, set with sweeping scrolled and pierced arms decorated with classical warriors on horseback, and set with fluted drip pans fitted with aurene-style iridescent gold art glass trumpet shades.

h. 15-3/4”, w. 6”, d. 18”

$1,000-$1,500

341

Pair of Louis-Philippe Brass and Metal Moderator Lamps

342

Pair of Gilt-Metal and Art Glass Sconces

343

$2,000-$4,000

Provenance: The Home of Eleanor Roosevelt, New York, New York.

Aubusson Carpet

11’ 7” x 13’ 6”

344

Pair of Louis XV/XVI-Style Polychrome and Parcel-Gilt Bergeres

early 20th century, each with a padded, rectangular back surmounted by an urn crest, joined by padded, downswept arms to the cushioned seat, raised on cabriole legs headed by foliate carving and ending in scrolled toes. h. 43”, w. 30”, d. 23”

$2,000-$4,000

345

Hans Ronsard Zatzka (Austrian, 1859-1945)

“Under the Blossoming Branches” oil on wood panel signed lower right. Framed.

20” x 10”, framed 27” x 17”

$6,000-$9,000

346

Pair of Continental Rosewood Fauteuils

19th century, each with a domed and pierced crest over a frieze with scrolling foliate brass inlays, the padded back joined by padded arms on lion-masque hand rests to the padded seat, raised on sabre legs ending in scrolled toes, the whole accented with delicate bone- and brass-inlaid patterns. h. 45”, w. 26-1/4”, d. 28”

$3,000-$5,000

Provenance: Brownstone Gallery, Houston, Texas.

347

Belle Epoque Bronze, Brass and Glass Electrolier

ca. 1900, the twenty-four-light gas and electric fixture with a brass body, with a pierced, scrolled rim, supported on rod-form “chains” set with twelve gas arms, now electrified, with turned candle sockets and scrolled and pierced drip pans, and twelve reeded, downturned electric sockets, mounted with floriform frosted shades, with a large ball-form lower brass finial decorated with pierced latticework. h. 64”, dia. 30”

$1,500-$2,500

348

Jean-Jacques

Henner

(French, 1829-1905)

“Nymphe de la Seine”, 1888

oil on canvas

signed and dated lower right, verso with “Galerie des Artistes Modernes, Paris” label. Framed.

60” x 31”, framed 64” x 36”

$8,000-$12,000

Provenance: Galerie des Artistes Modernes, Paris, France.

Henner’s style is characterized by his adept manipulation of sfumato and the dynamic interplay of light and shadow. He defies easy classification within the diverse art movements of the late nineteenth century.

Henner was educated at the Ecole des Beaux-Arts in Paris and was the recipient of the prestigious Grand Prix de Rome in 1858. This marked a significant turning point in his artistic journey. The award granted him a five-year residency at the Villa Medici, where he was exposed to the work of Renaissance masters such as Titian, Raphael, and Correggio. Their work was to have a profound impact on Henner, influencing his style for the remainder of his career.

Upon returning to Paris, Henner initially embraced the tenets of Naturalism before diverging from contemporary themes and gravitating towards an idealized portrayal of antiquity. This marked the beginning of his exploration of classical literature and mythology within his paintings. Nymph de la Seine is a striking manifestation of Henner’s predilection for depicting redhaired women. In this work, Henner employs light to accentuate the crown of the nymph’s head, creating a luminous halo over her flowing red hair. Though the sitter’s identity remains ambiguous, it is evident that Henner recurrently depicted several of the same redheaded models throughout his career. 348

349

Pair of Continental Mahogany and Fruitwood Console Tables

early 19th century, each with a demilune banded top and intricate parquetry veneers, above a conforming likeveneered frieze fitted with two swinging drawers, raised on slender legs with flared feet.

h. 27-3/4”, w. 27”, d. 11”

$2,000-$4,000

early 20th century, the carved frame with rope and beaded details and a flame and ribbon cartouche, with a padded back, arm rests and seat cushion, raised on stop-fluted, tapered circular legs.

h. 40”, w. 28”, l. 61”

$1,400-$1,800

350 Louis XVI-Style Polychrome and Leather-Covered Chaise Longue

351

Neoclassical Gilt, Gris-Peinte and Marble-Top Side Table

20th century, the rectangular marble top with projecting corners, above a conforming paneled, ropeand laurel-carved frieze, raised on stop-fluted, tapered circular legs headed by a foliate capital and ending in toupie feet.

h. 34-1/2”, w. 48-1/2”, d. 20-1/2”

$2,000-$4,000

352

Pair of Directoire-Style Polychrome and Parcel-Gilt Fauteuils

each with a padded back and backswept crest, joined by padded arms on spiral-fluted uprights to the padded seat, raised on fluted, tapered circular legs ending in toupie feet, upholstered in elaborate silk damask and faille.

h. 38”, w. 25-1/2”, overall d. 24”

$1,200-$1,800

Provenance: Estate of Norma Crawford Myers, Dallas, Texas; Royal Antiques, New Orleans, Louisiana. 351

353

Pair of Louis XVI-Style Polychrome Fauteuils

early 20th century, each with a padded, rectangular back surmounted by a foliatecarved frame and side finials, joined by padded arms to the like seat, raised on fluted, tapered circular legs headed by floral block capitals and ending in toupie feet. h. 39-1/2”, w. 26”, d. 23”

$1,200-$1,800

354

Johann Holmstedt (Swedish, 1851-1929)

“Fisherman’s Cottage” oil on canvas

signed lower right and titled en verso, “S. R. Thielsen Fine Arts” label affixed en verso. Framed.

sight 22” x 30-1/4”, framed 32” x 40”

$2,000-$4,000

Provenance: S. R. Thielsen Fine Arts, London, Ontario, Canada.

355

Louis XVI-Style Polychromed and Parcel-Gilt Settee

19th century, the padded, rectangular back with a guilloche-carved frame, joined by padded arms, raised on turned and fluted legs, fitted with a reversible cushion. h. 37”, w. 40”, d. 29”

$1,500-$2,500

356

Semi-Antique Sultanabad Carpet

12’ 6” x 18’ 3”

$3,000-$5,000 355

357

Pair of Louis XVI-Style Creme-Peinte Boudoir Chairs

20th century, each with a padded, low back surmounted by a pierced garland and wreath crest, joined by padded, downswept sides to the cushioned seat, raised above a fluted apron on stop-fluted, tapered circular legs ending in toupie feet.

h. 32”, w. 36”, d. 19”

$1,500-$2,500

358

Dramatic Giltwood Mirror in the Baroque Taste

late 19th century, the giltwood surround with heavy, pierced scrollwork, the center with a carved bellflower overhanging a shell, the corners with carved leaves, the beveled and arched mirror plate set into a line with block decoration.

h. 65”, w. 40”

$1,500-$2,500

360

Pair of Metal Plant Stands

of neoclassical inspiration, the black tops molded to resemble slate, the sides with X-form stretchers set with brass center medallions, raised on ball feet, bearing a brass tag by Hart Associates.

h. 38-3/4”, w. 16”, d. 16”

$1,000-$1,500

359

Pair of Empire-Style Creme-Peinte and ParcelGilt Side Chairs

20th century, each with a padded and curved crest above an X-form arrow back, the padded seat raised on fluted, tapered circular legs headed by a lotus capital and ending in toupie feet, the whole with gilt accents.

h. 33-1/2”, w. 20”, d. 16-1/2”

$2,000-$4,000

361

Louis XVI-Style Creme-Peinte and Parcel-Gilt Settee

19th century, the padded, rectangular back within a guilloche- and foliate-carved frame, joined by padded arms to the cushioned seat, raised above a foliate-carved apron on fluted, tapered circular legs headed by foliate capitals and ending in peg feet.

h. 36”, w. 39”, d. 27”

$1,500-$2,500

362

Large Louis-Philippe Giltwood Mirror

mid-19th century, with rounded upper corners, the raised portion decorated with incised latticework on a matte ground.

h. 65-1/4”, w. 37-1/2”

$1,200-$1,800

Provenance: Royal Antiques, New Orleans, Louisiana.

363

Large Louis-Philippe Giltwood Mirror

mid-19th century, with rounded upper corners, the raised portion decorated with incised latticework on a matte ground.

h. 65-1/4”, w. 37-1/2”

$1,200-$1,800

Provenance: Royal Antiques, New Orleans, Louisiana.

362

364

Fruitwood Dining Table in the Directoire Taste

early 20th century, the top with brass-banded trim and raised above a deep frieze on tapered square legs ending in brass caps, the circular top opens to accommodate one 28” leaf.

h. 30”, w. 63”, l. 66”, ext. l. 94”

$1,400-$1,800

Provenance: Fireside Antiques, Baton Rouge, Louisiana; Private collection, New Orleans, Louisiana.

365 Henry Cleenewerck (Belgian/American, 1818-1901)

“View of Cuba”, 1876 oil on canvas signed and dated lower left. In a period frame. 15-1/2” x 35-3/4”, framed 30-1/2” x 50”

$4,000-$7,000

The Belgian landscape painter Henry Cleenewerck traveled extensively throughout his career including spending time in New York, San Francisco, Savannah, Cuba and Paris. In 1863, Cleenewerck settled in Cuba where his paintings of Matanzas, Yumani Valley, Canimer River, San Antonio de los Banos, and the surrounding jungles were highly prized and collected by the wealthy colonial society of sugar planters. With the start of Cuba’s fight for independence from Spain led by the planters known as Ten Years’ War (Guerra de los Diez Anos) in 1868, Cleenewerck returned to Europe. Cleenewerck continue to paint landscapes of Cuba based on his memories of the island.

Set in the mountainous terrain of Cuba, Cleenewerck in this painting focused on cattle drinking at a river supervised by their herdsmen. In the background a small village is nestled at the base of the mountain.

366

Pair of Continental Neoclassical Polychrome Commodes

19th century, each with a rectangular top above a conforming case fitted with two drawers, each with a decorative scroll design, the sides en suite, raised on tapered square legs. h. 32”, w. 21-1/2”, d. 15”

$2,000-$4,000

367

Pair of Neoclassical-Style Bleached Fruitwood Curule Stools

19th century, each with a slung fabric seat supported by a folding crossover guillochecarved base, headed by acanthine scrolls, centered by a lion-masque medallion and ending in paw feet.

h. 24”, w. 28-1/2”, d. 19”

$2,500-$4,000

368

Large Bleached Beechwood and Marble-Top Console

early 20th century, in the baronial taste, the conforming inset white marble top over a foliate-carved and molded edge, the apron with relief-carved scrolls and plaques, supported by four large, scrolled support brackets, mounted to a shaped platform base. h. 39-1/2”, w. 98”, d. 24”

$1,500-$2,500

369

Pair of Louis XVI-Inspired Bleached Fruitwood Fauteuils

early 20th century, each with a padded, square back surmounted by a floral crest and floral ribbonentwined corners, with a foliate-pierced band below, joined by padded arms to the like seat, raised on tapered circular legs entwined with delicate vine carving and ending in bulb feet. h. 39”, w. 25”, d. 20”

$1,000-$1,500

370

Pair of French Gilt-Bronze and Marble Garniture Urns

second quarter 19th century, the reeded kylix-form bronze urns set with handles molded with leaves, scrollwork and flowers, and mounted on tall, mottled tan marble plinths with leaf-molded bronze base trim. h. 13”, w. 10-1/2”, d. 6-1/2”

$1,000-$1,500

371

Neoclassical Creme-Peinte Commode

19th century, the rounded rectangular top above a conforming case fitted with three long drawers, raised on slender, ring-turned, tapered circular legs. h. 35”, w. 46”, d. 23”

$2,000-$4,000

372

Pair of Neoclassical Kingwood and Polychrome Commodes

19th century, each with a rectangular banded top featuring a polychrome panel of a bucolic landscape with classically garbed figures, above a case fitted with two long drawers, each with two like landscape panels, the sides en suite, raised on tapered square legs. h. 36”, w. 45-1/2”, d. 21-1/2”

$6,000-$8,000

373

Louis XVI-Style Mahogany Chest

20th century, the rectangular top with turreted corners and a three-quarter pierced brass gallery, above a conforming case fitted with six drawers, all paneled and with decorative banding, raised on tapered circular feet ending in brass caps.

h. 55”, w. 34-1/2”, d. 18”

$1,200-$1,800

374

Louis XVI-Style Kingwood and Marble-Top Occasional Table

20th century, the circular top with an inset marble panel, above a chevron-veneered frieze fitted with a single drawer, joined to a lower sunburst-inlaid frieze by banded, tapered square legs ending in brass caps. h. 29”, dia. 23”

$1,000-$1,500

Provenance: Royal Antiques, New Orleans, Louisiana.

375 Louis-Philippe Silver-Gilt Mirror

mid-19th century, with rounded upper corners, the raised portion decorated with incised flowering vines on a matte ground, the mirror plate lined with beading. h. 59”, w. 36-1/2”

$1,000-$1,500

Provenance: Royal Antiques, New Orleans, Louisiana.

376 Stained Hardwood and Leather-Covered Window Bench

late 20th century, with padded ends and seat, raised on tapered square legs, labeled “Milling Road - A Division of Baker Furniture”. h. 28”, w. 54”, d. 23”

$1,000-$1,500

375

377

Charles-Theodore Frere (French, 1814-1888)

“In the Desert”

oil on canvas signed lower right, verso affixed with “Sotheby’s New York” labels. Framed.

9-1/2” x 14-3/4”, framed 20” x 25-1/2”

$6,000-$9,000

Provenance: Sotheby’s New York, November 2, 2001, lot 50; Private collection, Houston, Texas.

378

Continental Polychrome, Parcel-Gilt and Faux Marbre Side Table

19th century, the shaped and slightly bowed faux marbre top above a conforming frieze fitted with a single deep drawer, raised on exaggerated cabriole legs ending in foliate scrolled toes, the whole with carved floral and foliate accents.

h. 29-1/2”, w. 27-1/2”, d. 15-1/2”

$1,000-$1,500

379

Italian Giltwood and Painted Mirror

first quarter 20th century, in the rococo taste, the crest with bold pierced “C” scrolls set with flower heads, the surround decorated with scrollwork, rocaille work and flower heads, on a moss green ground, the lower edge with a shell-carved center.

h. 67-1/2”, w. 36”

$1,500-$2,500

380

French Gilt-Bronze “Planchon” Cartel Sunburst Clock

post-1914, in the Louis XV style, the dial with a cherub bearing a torch, ushering in the dawn, a border of roses and clouds encircling the dial, the dial signed “Planchon a Paris” and the works stamped “Planchon, Paris Made in France”. h. 26”, w. 20-1/2”

$1,200-$1,800

381

Handsome Napoleon III Giltwood Fire Screen

third quarter 19th century, the crest with a pair of nesting lovebirds, flanked by pierced scrollwork strewn with roses, sitting atop the upper gadrooned frame, quivers of arrows hung with floral swags supporting the frame on each side, the base with a carved shell flanked by floral swags, raised on molded cabriole legs set with an acanthus-carved and fluted center stretcher. h. 45-1/2”, w. 29”, d. 17”

$1,200-$1,800

382

Pair of French Gilt-Bronze and Marble Torchere Stands

third quarter 19th century, the torcheres with circular black marble tops supported on monopodia, the scrollwork tops set with ring pulls alternating with large pierced anthemia, the center stretcher decorated with lion’s-head ring pulls, raised on molded paw feet.

h. 42”, dia. 15”

$1,800-$2,500

383

Pair of Regence-Style Parcel-Gilt Oak and Marble-Top Table

19th century, each with a shaped marble top with a molded edge, above a conforming shell-centered frieze, raised on large, shaped legs with gilt and foliate accents, joined by shaped stretchers with a central stretcher, modified to be used as a pair of console tables. h. 30”, w. 64”, d. 52”

$4,000-$7,000

384

Pair of French Large Carved Giltwood and Brass Torcheres

fourth quarter 19th century and later, set with brass faceted trumpet-form shades, the tapered tripartite standards carved with masques framed with leaf-carved scrolls, raised on bold bases with leaf-carved and scrolled feet set with floral medallions, electrified. h. 78-1/4”, dia. 30-1/4”

$2,000-$4,000

385

Pair of Louis XVI-Style Polychrome Bergeres

20th century, of generous proportions, each with a domed and padded tri-sected back surmounted by a floral crest, joined by rounded, downswept arms to the cushioned seat, raised on fluted, tapered circular legs headed by a floral block capital and ending in toupie feet, the fabric with a label reading, “Carol Hicks Bolton and E J Victor”. h. 38-1/2”, w. 36”, d. 26”

$1,000-$1,500

386 Napoleon III Giltwood Settee

19th century, the padded back surmounted by a backswept, wave- and shell-carved crest, joined to the padded seat by freestanding, padded outscrolled arms, raised on cabriole legs ending in pointed toes on casters. h. 37-1/2”, d. 60”, d. 24”

$1,000-$1,500

389

Pair of North African-Style Hardwood, Bone, Mother-ofPearl and Marble-Top Chests

20th century, each with a slightly bowed marble top above a case fitted with a conforming frieze drawer over two long drawers, all with an elaborate geometric inlaid pattern, raised above a shaped apron on rounded bracket feet, inlaid en suite. h. 33-1/2”, w. 41-1/2”, d. 20”

$1,200-$1,800

387

Rococo-Style Iron and Marble-Top Conservatory Table

the rounded, rectangular top above an elaborately scrolling and pierced frieze, raised on cabriole legs joined by an X-form stretcher and ending in scrolled toes.

h. 32”, w. 46”, d. 29”

$2,000-$4,000

388

Pair of English Silverplate Urns

first quarter 20th century, now mounted as lamps, the faceted urns engraved with armorial devices and decorated with huskmolded trim at the seams.

h. 33”, dia. 6-3/4”

$1,200-$1,800

390

Unusual Pair of Mahogany Pyramidal-Form Etageres

20th century, attributed to Nancy Corzine, each tapered and fitted with five graduated shelves, the sides with vertical slats and raised on a platform base.

h. 73-1/2”, w. 28”, d. 28”

$3,000-$5,000

Provenance: Nancy Corzine, Los Angeles, California.

391

Pair of Patinated Metal Baluster-Form Pedestals

each with a stepped, square top supported by a vasiform standard, above a square base.

h. 38-3/4”, w. 13-1/2”, d. 13-1/2”

$1,500-$2,500

392

Pair of Italian Baroque Giltwood Fragment Lamps

fourth quarter 19th century, composed of bold, leafcarved scrollwork, now on acrylic bases. h. 37-1/2”, w. 10”, d. 8”

$1,500-$2,500

393

Italian Giltwood and Silver-Gilt Bed Corona

fourth quarter 19th century, the crown with a spherical finial, leaf-carved scrollwork supporting the oval frame and a leaf-carved lower edge.

h. 15-3/4”, w. 13”, d. 9-1/4”

$1,200-$1,800

394

Continental Polychrome Oak and and Marble-Top Console

late 19th century, in the Renaissance taste, the rectangular Lyonnaise marble top above a conforming foliate-carved apron frame, supported by winged female figures and joined by an elaborately carved scrolling stretcher.

h. 34”, w. 44”, d. 13”

$1,500-$2,500

395

Impressive Italian Giltwood and Silver-Gilt Wall Plaque mid-20th century, in the Greco-Roman taste, the plaque with a helmet serving as the finial, above a torso dressed for battle, with a shield decorated with various instruments of war and power, including a battle axe, spears, trumpets and fasces.

h. 57-1/2”, w. 33”

$3,000-$5,000

SESSION2

SUNDAY, JULY 28

396

18k yellow gold, the diamond-shaped links with a wire-brush texture, the bottom link with a retractable loop for adding a pendant.

l. 24”, total weight 95.4 grams

$4,000-$7,000

397

Italian Diamond Bracelet

14k yellow gold, the bracelet with a hook-and-eye clasp, mounted with round brilliant-cut diamonds weighing approximately 0.16 carats in total, stamped “Italian 14k” and “P” and “G” with a fleur-de-lis. inside circumference 6-1/2”, total weight 14.8 grams

$1,000-$1,500

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

Heavy Textured Gold Necklace

398

Diamond Brooch/Pendant

18k yellow/white gold, the brooch/pendant mounted with round brilliant-cut diamonds weighing approximately 1.25 carats in total.

size 2” x 1-3/8”, total weight 16.2 grams

$1,000-$1,500

399

Diamond Choker

18k yellow gold, the choker mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 1.80 carats in total.

l. 15”, total weight 59.7 grams

$3,000-$5,000

400

Expandable Diamond Bracelet

14k yellow gold, the expandable bracelet with a chevron pattern, in the round, mounted with round brilliant-cut diamonds weighing approximately 6.00 carats in total. expandable inside circumference 6” to 8”, total weight 42.9 grams

$8,000-$12,000

401

1894 Liberty Head Ten Dollar Gold Coin Pendant

the ten dollar gold coin in a 14k yellow gold frame. dia. 1-1/4”, total weight 21.6 grams

$1,400-$1,800

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

18k yellow gold, the ring mounted with a round-cut smoky quartz weighing approximately 2.50 carats, stamped “GAGE”. size 5, total weight 17.3 grams

$1,400-$1,800

402 Elizabeth Gage Smoky Quartz Ring

403

Gurhan Diamond Bangle Bracelet

22k yellow gold, the hammered gold bracelet mounted with round-cut black diamonds weighing approximately 0.21 carats in total, stamped “GG GURHAN BH073 103990”. inside circumference 8”, total weight 18.9 grams

$1,500-$2,500

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

404

Diamond Brooch and Ear Clips

18k yellow gold, the matte-finished gold suite mounted with round brilliant-cut, marquise-cut and rough-cut diamonds weighing approximately 6.36 carats in total. brooch size 1-1/2” x 2-1/4”, ear clip l. 1-1/4”, total weight 39.6 grams

$2,000-$4,000

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

405

Gurhan Diamond Bangle Bracelet

22k yellow gold/sterling silver, the bracelet mounted with singlecut diamonds weighing approximately 1.40 carats in total, stamped “GURHAN”. inside circumference 7-1/2”, total weight 15.9 grams

$1,200-$1,800

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

406

Bold Diamond and Enamel Ring

18k yellow gold, in the David Webb style, the ring mounted with a central pear-cut diamond weighing approximately 1.40 carats, flanked on either side by a marquise-cut diamond weighing approximately 0.36 carats in total and bordered on the outside edge by round brilliant-cut diamonds weighing approximately 0.90 carats in total, the whole accented by black enamel.

size 7, total weight 22.3 grams

$3,500-$5,000

407

Emerald-Cut Diamond Necklace

18k yellow gold, the necklace mounted with emerald-cut diamonds weighing approximately 5.90 carats in total. l. 15-3/4”, total weight 25.3 grams

$7,000-$10,000

408

Diamond Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 2.30 carats in total. inside circumference 6-3/4”, total weight 12.7 grams

$2,500-$4,000

409

Diamond and Enamel Ring

18k rose gold, the ring mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total, accented by black enamel.

size 7, total weight 8.9 grams

$2,000-$4,000

18k yellow gold, the graduated necklace composed of polished gold links.

w. 1/4” to 1/2”, l. 17”, total weight 52.3 grams

$2,500-$4,000

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 2.30 carats in total. inside circumference 6-1/2”, total weight 8.1 grams

$1,800-$2,500

410 Gold Necklace

411 Diamond Bracelet

412

Diamond Crossover Ring

18k rose gold, the ring mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 1.30 carats in total.

size 6, total weight 3.9 grams

$1,800-$2,500

413

Expandable Diamond Bangle Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total. inside circumference 6-3/8” to 7”, total weight 5.9 grams

$1,500-$2,500

414

Two Diamond Stackable Rings

14k yellow gold, the rings mounted with round brilliant-cut diamonds weighing approximately 0.90 carats in total.

size 6-3/4, total weight 3.8 grams

$1,200-$1,800

Co.

14k yellow gold, the quartz watch with an 11.00mm face, the back stamped “TIFFANY & CO. 14K 585, SWISS WATER RESISTANT” and the clasp stamped “TIFFANY & CO. 585” with a star and “459 VI”.

l. 6”, total weight 24.4 grams

$2,000-$4,000

416

Tiffany & Co. Starburst Diamond Brooch/Pendant

18k yellow gold, the brooch/pendant mounted with a central European-cut diamond weighing approximately 1.00 carat, accented by smaller European-cut diamonds weighing approximately 1.70 carats in total, with a retractable bail, stamped “TIFFANY & CO.”. dia. 1-5/8”, total weight 8.2 grams

$7,000-$10,000

Tiffany &

Dress Watch

417

Gold Chain by Fred, Paris

18k yellow gold, the chain composed of hammered beadand-bobbin links, stamped “FRED”. l. 29”, total weight 44.1 grams

$2,000-$4,000

418

Pair of David Webb Enamel Ear Clips

18k yellow gold, the ear clips in a freeform design, accented with white enamel, stamped “WEBB 18K”. l. 3/4”, total weight 22.5 grams

$2,500-$4,000

419

Kieselstein-Cord Diamond Ear Clips

18k yellow gold, the ear clips mounted with round brilliantcut diamonds weighing approximately 0.38 carats in total, stamped “KIESELSTEIN-CORD” and “1993 18K”. dia. 1”, total weight 37.1 grams

$1,500-$2,500

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

420

Elizabeth Locke Micro-Mosaic and Diamond Brooch

18k yellow gold, the brooch with a micro-mosaic scene of ancient ruins, accented by round brilliant-cut diamonds weighing approximately 0.50 carats in total and teardropshaped Tahitian pearls, the back stamped “18K” and with the Elizabeth Locke mark.

size 2” x 2-1/8”, total weight 28.8 grams

$1,800-$2,500

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

421

422

Emerald, Diamond and Enamel Ring

18k yellow gold, the ring mounted with a central emerald-cut emerald weighing approximately 1.06 carats, surrounded by a border of round brilliant-cut diamonds weighing approximately 0.25 carats in total, and accented on the outer border with blue enamel.

size 7, total weight 3.5 grams

$1,500-$2,500

421

Micro-Mosaic Brooch

14k yellow gold, the micro-mosaic of St. Peter’s Basilica, in a malachite and black onyx border. dia. 1-1/2”, total weight 13.5 grams

$800-$1,200

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

423

Emerald and Diamond Bracelet

14k white gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.10 carats in total and round-cut emeralds weighing approximately 0.90 carats in total.

l. 7”, total weight 6.1 grams

$1,400-$1,800

424

Pair of Emerald and Diamond Earrings

14k yellow gold, the earrings mounted with emeraldcut emeralds weighing approximately 1.96 carat in total, accented by round brilliant-cut diamonds weighing approximately 0.55 carats in total.

l. 7/8”, total weight 3.5 grams

$1,200-$1,800

425

Long Emerald and Diamond Necklace

14k yellow gold, the necklace mounted with emeraldcut emeralds weighing approximately 23.90 carats in total, separated by open links, all accented with round brilliant-cut diamonds weighing approximately 10.25 carats in total.

l. 32”, total weight 52.8 grams

$12,000-$18,000

426 Emerald and Diamond Ring

14k yellow gold, the ring mounted with an emerald-cut emerald weighing approximately 2.00 carats, accented by baguette-cut diamonds weighing approximately 0.50 carats in total. size 6-1/2, total weight 10.1 grams

$2,000-$4,000

14k yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 4.60 carats in total. l. 16”, drop l. 3”, total weight 15.9 grams

$4,000-$7,000

427 Diamond “Y” Necklace

14k yellow gold, the necklace mounted with clover-shaped pendants, each set with round brilliant-cut diamonds weighing approximately 0.50 carats in total.

adjustable l. 15-1/2” to 17-1/2”, total weight 2.6 grams

$800-$1,200

429

22k yellow gold, the bracelet composed of hammered curb links, accented with mine-cut diamonds weighing approximately 1.75 carats in total. l. 7”, total weight 32.0 grams

$3,000-$5,000

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

428 Diamond Necklace

Diamond Bracelet

430

Diamond, Emerald and Enamel Snake Ring

18k white gold/rose gold vermeil, the articulated, expandable ring mounted on the head and tail with round brilliant-cut diamonds weighing approximately 0.32 carats in total, the eyes accented with marquise-cut emeralds weighing approximately 0.20 carats in total, accented throughout with black enamel, stamped “ALEXIS NY 750 755 3588AL”.

size 6 (expandable), total weight 18.1 grams

$1,800-$2,500

432

Diamond, Tanzanite and Ruby Owl Brooch/Pendant

14k yellow gold/sterling silver, the brooch/pendant mounted with round brilliant-cut diamonds weighing approximately 3.25 carats in total, oval- and pear-cut tanzanites weighing approximately 2.25 carats in total and round-cut rubies weighing approximately 0.10 carats in total.

size 1-3/4” x 7/8”, total weight 11.3 grams

$1,400-$1,800

431

Cartier Diamond and Chrysoprase Bird Brooch

18k yellow gold, the bodies composed of carved chrysoprase, the eyes accented by round brilliant-cut diamonds weighing approximately 0.04 carats in total, stamped “CARTIER 1991 750”.

size 1-1/8” x 7/8”, total weight 10.1 grams

$6,000-$9,000

Turquoise Ear Clip and Ring Suite

14k yellow gold, the ear clips and ring mounted with oval cabochon-cut turquoise weighing approximately 37.30 carats in total.

ear clip l. 1-3/8”, ring size 6, total weight 31.1 grams

$1,800-$2,500

434

Martine Diamond, Turquoise and Enamel Maltese Cross Brooch

18k yellow gold, the brooch mounted with cabochon-cut turquoise and round brilliant-cut diamonds weighing approximately 0.36 carats in total, accented throughout with white enamel, stamped “MARTINE 18K”. size 2-1/4” x 2-1/4”, total weight 33.0 grams

$1,800-$2,500

435

Turquoise and Diamond Bracelet

14k yellow gold, the bracelet mounted with cabochon-cut turquoise 3.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.50 carats in total.

l. 7”, total weight 7.9 grams

$1,500-$2,500

436

Turquoise and Diamond Ring

18k yellow gold, the ring mounted with a cabochon-cut turquoise weighing approximately 8.09 carats, accented by round brilliant-cut diamonds weighing approximately 1.20 carats in total.

size 6, total weight 7.6 grams

$2,500-$4,000

437

Turquoise and Diamond Necklace

14k white gold, the necklace mounted with cabochoncut turquoise weighing approximately 6.50 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.75 carats in total. l. 16”, total weight 15.9 grams

$3,000-$5,000

438

Turquoise Ring

18k white gold, the ring mounted with an oval cabochon-cut turquoise weighing approximately 12.30 carats. size 7, total weight 14.9 grams

$1,200-$1,800

437

438

439

Unusual Lapis Lazuli Jewelry Suite

18k yellow gold, in the Egyptian style, the suite mounted with cabochon-cut lapis lazuli, including a necklace, l. 16-1/2”, a bracelet, l. 7-3/4”, a pair of ear clips, l. 1”, and a ring, adjustable size.

total weight 95.1 grams

$3,500-$5,000

440

Aldo Cipullo Diamond and Hardstone Bracelet

18k yellow gold, the bracelet mounted with stacked hardstone links, each separated by a row of round brilliant-cut diamonds weighing approximately 1.68 carats in total, stamped “A. Cipullo”. w. 1”, l. 7-1/2”, total weight 132.1 grams

$14,000-$18,000

441

Beautiful Topaz and Diamond Ring

18k white gold, the ring mounted with an oval-cut orange topaz weighing approximately 9.00 carats, accented by round brilliant-cut and square-cut diamonds weighing approximately 1.04 carats in total. size 6-1/2, total weight 8.0 grams

$1,400-$1,800

439

440

441

442

Coral and Diamond Bangle Bracelet

18k yellow gold, the hinged bracelet mounted with a carved coral cabochon, accented by round brilliant-cut diamonds weighing approximately 0.56 carats in total. inside circumference 6-1/4”, total weight 23.6 grams

$1,500-$2,500

443

Gem-Set Bangle Bracelet

18k yellow gold, the openwork bracelet mounted with seed pearls and various rough-cut stones, including topaz, carnelian, turquoise, emerald, ruby and sapphire. inside circumference 6-3/4”, total weight 29.8 grams

$1,000-$1,500

444

Pair of Amethyst and Diamond Earrings

18k rose gold, the earrings mounted with sugarloaf-cut amethysts weighing approximately 22.70 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.13 carats in total.

l. 1-1/4”, total weight 7.9 grams

$1,800-$2,500

14k yellow gold, the bracelet mounted with square-cut graduated amethysts weighing approximately 27.00 carats in total.

w. 1/4”, l. 7”, total weight 45.1 grams

$1,800-$2,500

445

Amethyst Bracelet

446

Gem-Set “Swirl” Statement Ring

18k white gold, the ring mounted with yellow and white round brilliant-cut diamonds weighing approximately 3.90 carats in total, and round-cut rubies and sapphires, graduating in color, weighing approximately 2.80 carats in total. size 7, total weight 24.9 grams

$2,000-$4,000

447

Gem-Set Bracelet

18k yellow gold, the bracelet mounted with marquise- and square-cut rubies, sapphires and emeralds weighing approximately 5.60 carats in total, accented by round brilliantcut diamonds weighing approximately 0.40 carats in total. l. 7-1/2”, total weight 29.2 grams

$2,500-$4,000

448

Gem-Set Necklace

18k yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 1.06 carats in total, oval-cut rubies, and square-cut rubies, emeralds and sapphires, with an approximate total weight of 2.48 carats. l. 16”, total weight 59.1 grams

$4,500-$7,000

449

Bulgari Ruby and Diamond Heart Necklace

18k yellow gold, the pendant mounted with a heart-cut ruby weighing approximately 0.95 carats, accented by baguettecut diamonds weighing approximately 0.72 carats in total, stamped “BVLGARI 750”, with a star and “2337AL”. l. 16-1/2”, total weight 80.2 grams

$12,000-$18,000

450

Diamond and Ruby Bangle Bracelet

18k yellow gold, the hinged bracelet mounted with round brilliant-cut diamonds weighing approximately 1.98 carats in total, accented by round- and square-cut rubies weighing approximately 0.24 carats in total. w. 1/2”, inside circumference 6-1/4”, total weight 26.8 gram

$2,000-$4,000

448

452

Ruby and Diamond Flower Pendant Necklace

the 18k yellow/white gold pendant mounted with square-cut rubies weighing approximately 3.75 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.80 carats in total, l. 1-5/8”, suspended from a 14k white gold chain, l. 18”.

total weight 23.5 grams

$2,500-$4,000

Ruby and Diamond Ring

18k yellow gold, the ring mounted with an oval-cut ruby weighing approximately 1.90 carats, accented by two borders of round brilliant-cut diamonds weighing approximately 2.00 carats in total.

size 6-1/2, total weight 7.2 grams

$2,000-$4,000

453

Ruby and Diamond Bracelet

18k yellow gold, the bracelet mounted with oval cabochon-cut rubies weighing approximately 5.50 carats in total, accented by round brilliant-cut diamonds weighing approximately 2.00 carats in total.

l. 8”, total weight 57.9 grams

$12,000-$18,000

454

Tourmaline, Diamond and Ruby Butterfly Brooch

14k yellow gold/sterling silver, the brooch mounted with carved tourmaline “wings”, accented by round brilliant-cut diamonds weighing approximately 0.96 carats in total and marquise- and pear-cut rubies weighing approximately 0.37 carats in total.

size 1-1/8” x 1-1/4”, total weight 8.6 grams

$1,200-$1,800

455

Ruby and Diamond Bracelet

14k yellow gold, the bracelet mounted with round brilliantcut diamonds weighing approximately 1.10 carats in total and round-cut rubies weighing approximately 0.90 carats in total.

l. 7”, total weight 5.9 grams

$1,400-$1,800

456

Gem-Set Bracelet

18k white/yellow gold, the bracelet mounted with round brilliant-cut white and yellow diamonds weighing approximately 5.90 carats in total, accented by marquise-cut and round-cut emeralds and rubies weighing approximately 1.65 carats in total.

l. 6-1/2”, total weight 35.9 grams

$4,000-$7,000

457

Diamond Ring

platinum, the ring mounted with a central European-cut diamond weighing approximately 0.60 carats, approximate color K-L and clarity VS1, accented by smaller European-cut diamonds weighing approximately 0.32 carats in total. size 7, total weight 4.4 grams

$1,500-$2,500

458

Diamond Brooch/Pendant

14k white gold, the brooch/pendant mounted with round brilliant-cut and single-cut diamonds weighing approximately 6.20 carats in total. size 1-1/2” x 2-1/8”, total weight 11.3 grams

$1,000-$1,500

459

Two-Strand Diamond Necklace

14k white gold, the necklace mounted with stations of singlecut diamonds weighing approximately 0.16 carats in total.

l. 18”, total weight 9.7 grams

$1,400-$1,800

460 Diamond Brooch/Pendant

14k white gold, the brooch/pendant mounted with marquisecut and round brilliant-cut diamonds weighing approximately 3.00 carats in total.

size 1-7/8” x 1-1/2”, total weight 10.9 grams

$1,000-$1,500

459

14k white gold, the necklace decorated with five stations of “flowers”, all set with round brilliant-cut diamonds weighing approximately 10.00 carats in total. l. 18”, total weight 22.0 grams

$8,000-$12,000

14k white gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 0.70 carats in total. inside circumference 6-1/2”, total weight 6.3 grams

$1,200-$1,800

461

Diamond Necklace

462

Diamond Bangle Bracelet

463

Pair of Diamond “Heart” Earrings

18k white gold, the heart-shaped earrings mounted with round brilliant-cut diamonds weighing approximately 0.60 carats in total.

l. 3/8”, total weight 2.4 grams

$1,200-$1,800

463

464

465

Pair of Emerald and Diamond Earrings

18k white gold, the earrings mounted with emerald-cut emeralds weighing approximately 2.00 carats in total, accented by round brilliant-cut and baguette-cut diamonds weighing approximately 1.21 carats in total.

l. 1/2”, total weight 3.5 grams

$3,000-$5,000

464

Emerald and Diamond Ring

18k white gold, the ring mounted with an emerald-cut emerald weighing approximately 0.95 carats, accented by rose-cut and round brilliant-cut diamonds weighing approximately 0.65 carats in total. size 6, total weight 3.0 grams

$1,800-$2,500

465

466

Emerald and Diamond Ring

18k white gold, the ring mounted with an emerald-cut emerald weighing approximately 1.00 carat, accented by baguette-cut diamonds weighing approximately 0.50 carats in total.

size 6-1/2, total weight 3.3 grams

$2,000-$4,000

467

Pair of Emerald and Diamond Earrings

14k white gold, the earrings mounted with pear-cut emeralds weighing approximately 2.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.90 carats in total.

l. 1-1/4”, total weight 7.2 grams

$2,500-$4,000

468

Diamond Tennis Bracelet

14k white gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 15.00 carats in total.

l. 7”, total weight 17.1 grams

$14,000-$18,000

466

469

Diamond Eternity Band

14k white gold, the band mounted with round brilliant-cut diamonds weighing approximately 4.60 carats in total.

size 7-1/2, total weight 2.9 grams

$4,500-$7,000 469 471

470

Long Diamond Necklace

14k white gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 12.00 carats in total.

l. 36”, total weight 29.7 grams

$9,000-$12,000

471

Diamond Tennis Bracelet

14k white gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total.

l. 7”, total weight 4.7 grams

$1,400-$1,800

472 Diamond Ring

14k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.58 carats in total. size 6-3/4, total weight 4.2 grams

$1,000-$1,500

473

Emerald-Cut Diamond Band

18k white gold, the band mounted with emerald-cut diamonds weighing approximately 1.00 carat in total. size 6, total weight 2.7 grams

$1,800-$2,500

474

Pair of Diamond Earrings

18k white gold, the earrings mounted with round brilliant-cut and baguette-cut diamonds weighing approximately 0.40 carats in total.

l. 1/4”, total weight 2.4 grams

$1,200-$1,800

475 Beautiful Diamond Ring

platinum/18k yellow gold, the ring mounted with a central emerald-cut diamond weighing 2.33 carats, color I and clarity VS1, GIA report #10119958, flanked on either side by a trapezoid diamond weighing approximately 1.10 carats in total. size 5, total weight 7.3 grams

$4,500-$7,000

476

Beautiful Star Sapphire and Diamond Ring

18k yellow gold, the ring mounted with a cabochon-cut star sapphire weighing approximately 39.20 carats, accented by round brilliant-cut diamonds weighing approximately 3.00 carats in total. size 7, total weight 15.9 grams

$5,000-$8,000

477

Sapphire Bangle Bracelet

24k gold, the bracelet mounted with round-cut sapphires weighing approximately 2.32 carats in total, stamped “ARA 985 HANDMADE”. inside circumference 7-3/8”, total weight 23.9 grams

$1,800-$2,500

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

478

Sapphire and Diamond Ring

14k yellow gold, the ring mounted with an oval-cut sapphire weighing approximately 3.15 carats, accented by round brilliantcut diamonds weighing approximately 1.28 carats in total. size 6-1/2, total weight 7.2 grams

$1,500-$2,500

479

Pair of Sapphire and Diamond Earrings

18k white gold, the earrings mounted with round-cut sapphires weighing approximately 3.00 carats in total, suspended from tops with clusters of marquise-cut and baguette-cut diamonds weighing approximately 1.12 carats in total. l. 7/8”, total weight 9.7 grams

$4,500-$7,000

476

478

477

479

$1,400-$1,800

481

Opal and Diamond Ring

18k yellow gold, the ring mounted with a freeform opal doublet, accented by round brilliant-cut diamonds weighing approximately 0.15 carats in total. size 7-1/4, total weight 9.7 grams

$1,200-$1,800

doublets, accented by round brilliant-cut diamonds weighing approximately 1.70 carats in total. l. 7”, total weight 15.7 grams

$2,500-$4,000

483

Pair of Black Opal and Diamond Earrings

14k yellow gold, the earrings mounted with black opal doublets, accented by round brilliant-cut diamonds weighing approximately 1.00 carat in total. l. 1-1/4”, total weight 7.2 grams

$1,800-$2,500

484

485

Opal and Diamond Ringdant

18k yellow gold, the ringdant mounted with an oval opal cabochon weighing approximately 5.73 carats, surrounded by a halo of baguette-cut diamonds weighing approximately 1.00 carat in total, the ring shank with a mechanism permitting the top to be removed and a retractable bail to be engaged, allowing it to be worn as a pendant.

ring size 6, pendant l. 1”, total weight 8.0 grams

$1,000-$1,500

484

Opal, Diamond, Emerald and Ruby Fish Brooch/ Pendant

sterling silver/14k yellow gold, the brooch/pendant mounted with a central oval cabochon-cut opal weighing approximately 11.66 carats, round brilliant-cut diamonds weighing approximately 2.73 carats in total, oval-cut emeralds weighing approximately 2.03 carats in total and round-cut rubies weighing approximately 0.26 carats in total.

size 2” x 1-3/8”, total weight 17.8 grams

$1,800-$2,500

485

483

486

Opal, Diamond and Emerald Brooch

sterling silver/14k yellow gold, the brooch mounted with oval cabochon-cut opals weighing approximately 4.90 carats in total, round brilliant-cut diamonds weighing approximately 0.97 carats in total and cabochon-cut emeralds weighing approximately 0.90 carats in total, accented with black enamel.

size 2-1/4” x 3/4”, total weight 6.4 grams

$1,200-$1,800

488

Opal and Diamond Ring

14k yellow gold, the ring mounted with an oval opal cabochon weighing approximately 12.95 carats, bordered by round brilliant-cut diamonds weighing approximately 1.30 carats in total.

size 6-1/2, total weight 13.5 grams

$1,400-$1,800

486

487

Opal, Emerald and Diamond Crescent Brooch

14k yellow gold/sterling silver, the brooch mounted with oval cabochon-cut opals weighing approximately 10.99 carats in total, accented by round-cut emeralds weighing approximately 0.52 carats in total and single-cut diamonds weighing approximately 0.45 carats in total.

size 1-1/2” x 2”, total weight 9.9 grams

$1,200-$1,800

487

488

489

Opal, Diamond and Ruby Bird Brooch/Pendant

sterling silver/14k yellow gold, the brooch/pendant mounted with an oval cabochon-cut opal weighing approximately 9.35 carats, and round brilliant-cut diamonds weighing approximately 2.57 carats in total, accented on the eye with a round-cut ruby weighing approximately 0.02 carats. size 3” x 3”, total weight 19.1 grams

$1,800-$2,500

490

Aquamarine and Diamond Ring

18k white gold, the ring mounted with a pear-cut aquamarine weighing approximately 1.10 carats, accented by round brilliant-cut diamonds weighing approximately 0.40 carats in total.

size 6-1/2, total weight 2.0 grams

$1,400-$1,800

491

Aquamarine and Diamond Bracelet

18k yellow gold, the bracelet mounted with graduated oval aquamarines weighing approximately 40.53 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.90 carats in total. l. 6-1/2”, total weight 29.9 grams

$1,500-$2,500

492

Beautiful Aquamarine and Diamond Ring

18k yellow gold, the ring mounted with a large emerald-cut aquamarine weighing approximately 14.05 carats, accented by round brilliant-cut diamonds weighing approximately 3.40 carats in total.

size 6-1/2, total weight 17.6 grams

$1,400-$1,800

493

Convertible Diamond Van Cleef & Arpels Necklace/ Bracelet

18k yellow gold, the necklace/bracelet designed to be worn connected, as a longer necklace or separated as a shorter necklace and bracelet, mounted throughout with round brilliant-cut diamonds weighing approximately 5.60 carats in total, each piece stamped “VCA NY AU750”.

necklace l. 18-3/4”, bracelet l. 8-1/4”, overall l. 27”, total weight 56.6 grams

$18,000-$25,000

492

494

Buccellati Diamond Daisy Cuff Bracelet

sterling silver/18k yellow gold, the hinged bracelet mounted with round brilliant-cut diamonds weighing approximately 1.35 carats in total, stamped “BUCCELLATI ITALY 925 STERLING”.

w. 1-1/2”, inside circumference 6”, total weight 69.4 grams

$1,800-$2,500

495 Bulgari Gold Case

18k yellow gold, the guilloche-carved and enameled gold case stamped “BVLGARI ITALY 18K”. size 2” x 3”, total weight 106.5 grams

$9,000-$12,000

496 M. Buccellati Diamond Bangle Bracelet

18k yellow/white gold, the hinged bracelet mounted with round brilliant-cut diamonds weighing approximately 2.24 carats in total, stamped M. Buccellati”. w. 5/8”, inside circumference 5-7/8”, total weight 28.7 grams

$9,000-$12,000 494

497

18k yellow gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 5.80 carats in total. l. 17”, pendant l. 2-1/4”, total weight 41.7 grams

$2,500-$4,000

498

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.60 carats in total. inside circumference 6-1/2”, total weight 8.1 grams

$1,800-$2,500

Diamond Pendant Necklace

Diamond Bracelet

499 Diamond Band

18k yellow gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.50 carats in total. size 7, total weight 4.4 grams

$1,200-$1,800

500

Flexible Diamond Cuff Bracelet

14k yellow/white gold, the bracelet with a woven design and mounted with round brilliant-cut diamonds weighing approximately 0.40 carats in total. adjustable inside circumference 6-1/2” to 7”, total weight 9.1 grams

$1,500-$2,500

$1,000-$1,500 499

501

Two Layering Gold Chains

14k yellow gold, the chains composed of oval-shaped links. l. 16” and l. 18”, total weight 8.7 grams

502

Diamond Ring

14k yellow gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.40 carats in total. size 6-1/4, total weight 4.5 grams

$1,000-$1,500

503

Diamond Tennis Bracelet

14k yellow gold, the bracelet mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total. l. 7”, total weight 4.7 grams

$1,500-$2,500

504

Two Diamond Stackable Rings

14k yellow gold, the rings mounted with round brilliant-cut and marquise-cut diamonds weighing approximately 0.60 carats in total. size 6-3/4, total weight 2.8 grams

$1,200-$1,800 503 504

505

Diamond Chain-Link Bracelet

14k yellow gold, each link mounted with round brilliant-cut diamonds weighing approximately 2.50 carats in total.

l. 7”, total weight 8.8 grams

$2,500-$4,000

506

Pair of Diamond Chain-Link Earrings

14k yellow gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 0.70 carats in total.

l. 1-1/2”, total weight 4.9 grams

$1,400-$1,800

506

507

Diamond Mariner-Link Bracelet

14k yellow gold, the bracelet composed of mariner links, each set with round brilliant-cut diamonds weighing approximately 12.30 carats in total.

l. 7” to 7-1/2”, total weight 12.3 grams

$2,500-$4,000

508

Pair of Diamond Earrings

14k yellow gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 1.50 carats in total.

l. 1-1/2”, total weight 3.5 grams

$1,400-$1,800

507 508

509

Yellow and White Diamond Flower Earrings

18k white/yellow gold, the earrings mounted with cushion-cut yellow diamonds and round brilliant-cut white diamonds, weighing approximately 0.60 carats in total. dia. 1/2”, total weight 2.0 grams

$1,000-$1,500

510

Diamond Flower Ring

18k rose gold, the coiled ring mounted with three flowers, each composed of pear-cut and round brilliant-cut diamonds, set on a shank mounted with round brilliant-cut diamonds, with an approximate total diamond weight of 1.50 carats. size 6, total weight 8.2 grams

$3,000-$5,000

511

Pair of Diamond Flower Ear Clips

18k yellow gold, the ear clips mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total. l. 1”, total weight 22.4 grams

$1,200-$1,800

512

Convertible Pearl and Diamond Necklace/Brooch

18k yellow gold, the five-strand necklace composed of white freshwater pearls, finished with a flower-shaped clasp mounted with round brilliant-cut diamonds weighing approximately 2.80 carats in total, the clasp with hidden slides, allowing it to be removed and worn alone as a brooch.

necklace l. 18”, brooch dia. 1-1/2”, total weight 107.2 grams

$2,500-$4,000

513

Pearl and Gold Pendant Necklace and Ear Clips

the suite including a necklace, 14k yellow gold, and a pair of ear clips, 18k yellow gold, each mounted with cultured pearls measuring approximately 6.00mm to 6.50mm.

necklace l. 15”, pendant drop 2”, ear clip l. 1-3/8”

$2,500-$4,000

18k yellow gold, the necklace composed of white cultured pearls with a good luster, measuring approximately 10.00mm to 11.80mm in diameter, finished with a gold clasp mounted with round brilliant-cut diamonds weighing approximately 0.07 carats in total. l. 57”, total weight 223.1 grams

$1,800-$2,500

515

22k yellow gold, the hinged bracelet mounted with freshwater white pearls. inside circumference 7”, total weight 23.3 grams

$1,200-$1,800

514

Long Pearl and Diamond Necklace

Pearl Bangle Bracelet

514

515

516

Pair of Baroque Pearl and Diamond Ear Clips

18k yellow gold, the ear clips mounted with flattened baroque pearls accented with round brilliant-cut diamonds weighing approximately 1.60 carats in total. l. 1”, total weight 27.9 grams

$1,800-$2,500

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

517

Pearl and Diamond Bangle Bracelet

14k yellow gold, the hinged bracelet mounted with white cultured pearls measuring approximately 6.70mm to 7.90mm in diameter, accented by round brilliant-cut diamonds weighing approximately 0.50 carats in total. inside circumference 6-1/2”, total weight 21.7 grams

$1,000-$1,500

518

Christopher Walling Pearl Ear Clips

18k yellow gold, the ear clips mounted with shaped pearls, stamped “WALLING 18K”. l. 1-1/4”, total weight 19.0 grams

$700-$1,000

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

519

Diamond and Pearl Jewelry Suite

18k yellow gold, the suite including a necklace, bracelet, ring and ear clips, each mounted with a white mabe pearl and round brilliant-cut diamonds weighing approximately 9.50 carats in total.

necklace l. 15-1/2”, bracelet inside circumference 7-3/8”, ring size 6, and ear clips l. 1”, total weight 146.9 grams

$3,000-$5,000

520 Pearl and Diamond Necklace and Earrings

18k yellow gold, the necklace composed of graduated white cultured pearls with a good luster, measuring approximately 13.00mm to 16.40mm in diameter, finished with a gold clasp mounted with round brilliant-cut diamonds weighing approximately 0.24 carats in total, l. 17”, together with a pair of white cultured pearl ear studs measuring approximately 10.00mm in diameter.

total weight 112.0 grams

$2,000-$4,000

521

Pair of Baroque Pearl Earrings

18k yellow gold, the white baroque pearls with a good luster, suspended from yellow gold French earring hooks.

l. 1-1/4”, total weight 16.2 grams

$600-$900

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

522

Diamond and Pearl Pendant Necklace

18k yellow gold, the pendant necklace mounted throughout with round brilliant-cut and baguette-cut diamonds weighing approximately 9.60 carats in total and with a white South Sea pearl drop measuring approximately 11.30mm x 14.20mm, suspended within the pendant.

l. 17”, pendant drop 2”, total weight 47.7 grams

$3,000-$5,000

522

521

523

Three-Strand Pearl Necklace

18k yellow gold, the necklace composed of three strands of white cultured pearls measuring approximately 6.00mm to 7.00mm, finished with a gold clasp set with a mabe pearl. l. 34”, total weight 151.9 grams

$1,500-$2,500

523

14k yellow gold, the necklace composed of Tahitian baroque pearls measuring approximately 10.30mm x 11.50mm to 12.00mm x 14.50mm, finished with a gold ball clasp.

l. 17”, total weight 62.0 grams

$1,500-$2,500

525

Convertible Tahitian Pearl and Diamond Pendant Necklace

14k white gold/18k yellow gold, the necklace composed of baroque Tahitian pearls measuring approximately 9.30mm x 9.80mm to 11.30mm x 13.40mm, centered by a section of round brilliant-cut diamonds weighing approximately 0.68 carats in total, supporting a removable pendant mounted with round brilliant-cut diamonds weighing approximately 1.40 carats in total and a Tahitian pearl drop, the necklace finished with a white gold ball clasp.

necklace l. 18-1/2”, pendant l. 1-3/4”, total weight 80.1 grams

$1,800-$2,500

524

Tahitian Baroque Pearl Necklace

526

Diamond Masonic Cufflinks

14k yellow gold, the face with the double-eagle emblem of the 32nd degree Mason decorated with enamel and mounted with European-cut diamonds weighing approximately .30 carats in total, with an “S”-shaped link to a toggle with the sword, crescent and star emblem of the Shriners.

h. 3/4”, w. 3/4”, total weight 15.7 grams

$1,000-$1,500

527

Patek Philippe Golden Ellipse Wristwatch

18k yellow gold, ca. 1980s, reference #3838, the watch with a quartz movement E27, 6 jewels, the 36.00mm x 31.00mm case with a white enamel dial, with the original PP Alligator strap with an 18k yellow gold buckle.

l. 6-1/4” to 7-3/4”, total weight 41.5 grams

$2,500-$4,000

528

Rolex “Sea Dweller” 1665 Stainless Steel Wristwatch

the 40mm stainless steel case with a caliber 1575 movement, with a Tritium Luminous Dial, “The Great White” dial, the watch with the original bracelet, ref# 93150 and “B”, the date code for 1977, now professionally replaced with a 2023 93150 bracelet, the watch with Rolex service records, pouches and box. inside circumference 7-3/4”, total weight 131.4 grams

$10,000-$15,000

529 Patek Philippe Aquanaut, Ref. 5065A-001

Stainless Steel Wristwatch

ca. 2000, with a 38.00mm watch face, and with an automatic caliber 315-190 movement, reference #5065A-001, 30 jewels, with a black rubber strap, with a steel double fold clasp. inside circumference 7-3/4”, total weight 64.3 grams

$50,000-$80,000

Since its debut in 1997, Patek Philippe’s Aquanaut has become one of the brand’s most sought-after models, appreciated for its blend of casual elegance, durability and sportiness. Philippe Stern, the brand’s president at the time, said that the Aquanaut "responds to the desires of the brand's clientele who want the traditional Patek Philippe quality but in a true sports watch."

The original reference was 5060A, which featured a 36mm rounded octagonal steel case that echoed the shape of the wildly popular Nautilus. The Aquanaut’s innovative tropical rubber strap, engineered to be highly resistant to saltwater, sweat and UV radiation, featured an embossed design that was replicated on the dial.

The Aquanaut’s instant success resulted in Patek Philippe releasing a 5065A "Jumbo" model in 1998, which was 38.8mm wide and had a display caseback. The present lot is a fine early example of the first “Jumbo” model of the Aquanaut line and has remained with its original owner since it was initially purchased in 2000.

Recently celebrating its 25th anniversary, the Aquanaut endures as one of the most iconic timepieces of the 20th century and remains in production today in a variety of case materials, colors and sizes.

530

Louis Vuitton Taiga Leather Briefcase

20th century, the hunter green briefcase with a brass lock stamped “Louis Vuitton”, the interior stamped “Louis Vuitton, Paris, Made in France”, with two keys. h. 3-1/4”, w. 16-1/2”, d. 13”

$1,000-$1,500

531

Louis Vuitton Signature “LV” Briefcase

20th century, the coated canvas briefcase with leather trim and a brass lock stamped “Louis Vuitton”, the interior with green coated canvas and stamped “Louis Vuitton, Paris, Made in France”, with the original Louis Vuitton cotton bag and one key. h. 4-1/4”, w. 17-1/2”, d. 13-3/4”

$1,000-$1,500

532

Louis Vuitton Taiga Leather Briefcase

20th century, the cordovan leather briefcase with a brass lock stamped “Louis Vuitton, Made in France”, the interior stamped “Louis Vuitton, Paris, Made in France”, and with an original Louis Vuitton cloth bag. h. 4-1/2”, w. 17-3/4”, d. 14”

$1,000-$1,500

531

532

533

Italian Bone-Inlaid Brazilian Ebony and Marble Center Table

fourth quarter 19th century, possibly Ferdinando Pogliani (Milan, 1832-1899), inlaid with engraved banding and plaques, the blackmarble-centered top bordered with roundels of Plutarch, Ovid and subjects of Plutarch’s Lives (the Greeks Theseus, Lycurgus, Pyrrhus, Nicias, Solon, Aristides and Demosthenes; the Romans Cato the Elder and Younger, Camillus, Sertorius and Fabius Maximus), each in profile with legend, the frieze with four rectangular plaques of Hannibal and Terentius Varro at the Battle of Cannae (one with legend) along with eight engraved plaques, each depicting a putto within elaborate scrolls and engraved rope stringing throughout. h. 34-1/2”, w. 47-1/2”, d. 32”

$4,000-$7,000

Provenance: Collection of Kalef Alaton, Los Angeles, California and New York, New York; Marjorie F. Shushan Estate, New Orleans, Louisiana.

Literature: C. D. B. Bryan, “Showpiece: A Designer’s New York Pied-a-Terre”, in Architectural Digest May 1986, pp. 140-142.

533 detail

533

534

Pair of Neoclassical-Style Fruitwood Fauteuils

19th century, each with a slatted back joined by downswept arms on ebonized paw feet to the incurved, padded seat, raised on tapered circular legs, the seats upholstered in camel wool fabric.

h. 32-1/2”, w. 22”, d. 19”

$1,000-$1,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

535

Stylish Burl and Ebonized Side Table

20th century, in the Directoire taste, the D-form burled top with carved banding, above a conforming imbricate-carved frieze, raised on tapered circular ebonized legs headed by a gilt lotus capital and ending in toupie feet, the underside bearing the label “Irwin”. h. 32”, w. 40”, d. 13-1/2”

$1,200-$1,800

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

536

Pair of Chinese Bamboo Octagonal Armchairs

19th century, each with openwork panels on the backs, arms and aprons in geometric motifs, with woven mat seats, the legs joined by box stretchers. h. 39”, w. 25”, d. 19”

$1,200-$1,800

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

Notes: A similar square seat model is conserved at the Victoria and Albert Museum, accession no. W.453-1922; a pair of hexagonal seat chairs is in the Royal Collection Trust from the Royal Pavilion Brighton; and a suite of three octagonal seat models is from the Stanley J. Seeger Collection, sold at Sotheby’s London, March 5, 2014, lot 354.

537

Directoire Giltwood Overmantel Mirror

ca. 1800, the outer surround lined with ogee “dents-de-loup” carving, the mirror plate lined with beading. h. 62”, w. 44”

$1,400-$1,800

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

538

Bronze Alligator Box

early 20th century, with a hinged cover and fitted with a removable compartment to one side.

h. 3-1/2”, w. 6-3/4”, l. 14-3/4”

$600-$900

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

539

Black-Patinated Steel and Noir de Sable Marble Coffee Table

with square legs and like stretchers supporting a galleryedged rectangular marble top, the whole resting on square plinth feet.

h. 15-1/2”, w. 46-1/2”, d. 28-1/2”

$1,400-$1,800

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

540

Pair of Cast Steel Tripodal Floor Lamps

1980s, with textured and patinated surfaces, the standards scrolled at top and ended in poised strap feet, fitted with ecru card shades having removable paper diffusers, electrified. h. 65”, overall dia. 19-1/2”

$1,200-$1,800

Provenance: Kalef Alaton, Los Angeles, California; Marjorie F. Shushan Estate, New Orleans, Louisiana.

541

Pair of Handsome Gilt-Bronze Toads

early 20th century, possibly Japanese, the carefully articulated toads retaining most of their original gilt-bronze surface. h. 4”, w. 5-1/2”, d. 6”

$900-$1,200

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

542

Pair of Handsome Japanese Meiji Period Lacquered Vases

ca. 1868-1912, the vases decorated with bamboo stems and leaves, and red interiors, with faux stone bases, one with an early paper tag with characters. h. 10-1/4”, dia. 3-1/2”

$600-$900

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

543

Japanese Bronze Tripod Censer with Stand

19th century, with a molded rim and flaring handles, the bottom marked, retaining a mellow brown patina, raised on an oak stand. h. 8-3/4”, dia. 12-1/2”

$600-$900

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

541

542

545

Pair of Diminutive Chinese Hardwood “Corner Leg” Side Tables

Qing Dynasty, each with a framed, rectangular top and slightly raised outer edge, with open-work carved aprons in interlocking archaic motifs, raised on square, molded legs joined by a medial shelf and “stepped” box stretchers. h. 30”, w. 13-1/2”, d. 9-1/2”

$600-$900

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

546

Two Nephrite Jade Bowls

Qing Dynasty, ca. 1644-1912, the thinly turned bowls of traditional form, in a beautifully figured green stone. h. 2-3/4”, dia. 6-1/2” and h. 3-1/2”, dia. 8-1/4”

$800-$1,200

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

544

Chinese Hardwood “Corner Leg” Scholar’s Table

Qing Dynasty, the framed, rectangular top with a flush inset panel, having open-work carved aprons in interlocking archaic veins motifs, raised on square, molded legs joined by a “stepped” box stretcher. h. 35-1/2”, w. 35-1/2”, d. 19”

$600-$900

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

544

545

546

547

Black-Lacquered and Japanned Cabinet

first half 20th century, fitted with two long doors, opening to an interior fitted with adjustable upper shelves, the lower section fitted with four drawers to one side and adjustable shelves to the other, raised on a base of in-turned feet, the whole accented with gilt figural landscapes in the chinoiserie taste. h. 77-1/2”, w. 42”, d. 21”

$2,000-$4,000

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

548

Two Chinese Export Lacquer Boxes

second quarter 19th century, the large example with a lushly decorated exterior, opening to reveal three decorated card cases and eight decorated trays for game pieces, one marked “games”, the others with diamonds and various kings and queens with Asian faces, h. 4-1/2”, w. 12-1/4”, d. 11”, and the smaller example, an octagonal tea caddy, with worn decoration, retaining its original engraved pewter inserts, h. 4-1/2”, w. 8”, d. 5-1/4”.

$1,000-$1,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

547

548

549

Gilt-Lacquered Wrought Iron Circular Table

the tiered, tripodal frame fitted with a conforming beveled glass top and lower shelf.

h. 30-1/4”, dia. 34”

$1,400-$1,800

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

550 Regency-Style Oak X-Frame Chair

late 19th century, in the manner of Thomas Hope, the curved back with undulating fluting and side finials, joined to the padded seat by fluted and ribbed arms, raised on a crossover base joined by stretchers and ending in casters, the seat upholstered in taupe pebble-grain faux leather. h. 38”, w. 24”, d. 19”

$800-$1,200

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

Contemporary Giltwood Mirror of Classical Inspiration

20th century, the wide giltwood surround decorated with bold reeding.

h. 57-1/2”, w. 31-1/4”

$1,400-$1,800

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

549

552

North African Brass and Exotic Wood Circular Side Table

the hammered brass top and lower tier edged with a textured brass band and joined with bobbin-molded supports ending in rounded legs and feet. h. 25-1/2”, dia. 23-1/2”

$1,500-$2,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

553 Continental School 18th Century

“Study of Mother and Child” “Study of Fashionable Ladies”

two pen and ink washes on paper

Both matted, glazed and framed alike. sight 7” x 5-3/4”, framed 13” x 12” and sight 5” x 6”, framed 12” x 12-1/2”, respectively

$1,000-$1,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

552

553

554

Continental School 18th Century

“Two Apostles” “Saint Matthew with an Angel”

two pen and ink washes on paper

Both handsomely matted, glazed and framed. sight 5-1/2” x 7”, framed 14-1/2” x 16-1/4” and sight 6” x 4-3/4”, framed 11-1/4” x 10”, respectively

$1,000-$1,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

555

Continental Tapestry-Upholstered Mahogany Ottoman

the square, padded and button-tufted top raised on tapered square legs ending in casters, upholstered in antique foliate tapestry edged in camel and slate blue ottoman tape. h. 16”, w. 28”, d. 28”

$1,000-$1,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

554 555

557

Regency-Style Mahogany Tub Chair

the domed and downswept crest continuing to a gilt sphere hand rest, above a caned back and sides, the cushioned, caned seat raised on sabre legs ending in brass caps and casters. h. 32”, w. 22”, d. 29”

$1,000-$1,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

556

Pair of Thomas O’Brien “Bryant” Floor Lamps

for Visual Comfort & Co., with adjustable standards and antiqued brass finish, fitted with paper shades, electrified. h. 45”-62”, dia. with shade 12”

$800-$1,200

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

556

557

558

Patinated Bronze Sculpture of a Stalking Feline

modeled with raised fur, arched back and tail up, presented on a contemporary “cage” pedestal, the sides composed of vertical pierced elements. overall h. 56-1/2”, w. 19-3/4”, d. 19-3/4”, feline h. 25-1/2”, w. 26”, d. 9-1/4”

$1,000-$1,500

Provenance: Marjorie F. Shushan Estate, New Orleans, Louisiana.

558

558 detail

559

Italian Cut Crystal and Chrome Chandelier

20th century, attributed to Venini Murano Quadriedri, the chrome frame hung with seven graduated tiers of cut crystal pillar-molded tubular “prisms”, concealing nine interior light sockets.

h. 35”, dia. 19-1/2”

$1,200-$1,800

560

Italian Cut Crystal and Chrome Chandelier

20th century, attributed to Venini Murano Quadriedri, the chrome frame hung with seven graduated tiers of cut crystal pillar-molded tubular “prisms”, concealing nine interior light sockets.

h. 35”, dia. 19-1/2”

$1,200-$1,800

562

Pair of Silverplate Mosaic Vases

now mounted as lamps, with faux turquoise mosaic necks over hammered silverplate twisted and reeded bodies, on acrylic bases.

h. 17-3/4”, dia. 6-3/4”

$1,200-$1,800

561

Contemporary Chrome and Glass Drinks Trolley composed of square framing with handles on each side, raised on casters, both the top and lower shelf set with glass. h. 30-1/2”, w. 30”, d. 17-1/4”

$900-$1,200

Provenance: Royal Antiques, New Orleans, Louisiana.

563

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”; 41.29 t. oz.

$4,000-$7,000

562

564

Twelve Silverplate Figural Napkin Rings

contemporary, cast and assembled from vintage elements, with floral, foliate and grapevine rings, with various barnyard and other animals including cats, dogs, lambs, a pig, roosters, hares, foxes, pheasant and an owl. l. 2-1/2” to 3-3/4”

$1,000-$1,500

565 German Novelty “Rabbit” Sterling Silver Cocktail Shaker

contemporary, Ludwig Neresheimer Co., Hanau, in the form of a realistically detailed European hare, seated on its haunches, its mouth a faux spout fitted with a chained “stopper” with a carrot, the head fitted with glass eyes and removing to reveal the detachable strainer. h. 10-1/4”, l. 5-1/4”, w. 2-3/4”; 26.20 t. oz.

$3,500-$5,000

566

German Novelty “Bear” Sterling Silver Cocktail Shaker

contemporary, Ludwig Neresheimer Co., Hanau, in the form of a realistically detailed standing bear, holding a fishing pole with dangling fish, its mouth a faux spout fitted with a chained “stopper” of a half-swallowed fish, the head fitted with glass eyes and removing to reveal the detachable strainer. h. 9-3/4”, w. 2-3/4”, l. 4-1/2”; 27.76 t. oz.

$3,500-$5,000

567

Twelve Silverplate Figural Napkin Rings

contemporary, with foliate rings and bases, with various wild animals including elephants, chimpanzees, camels, a lion, hippopotamus, cheetah, crocodile and rhinoceros, most beneath a palm tree, some with monkeys. h. 4-1/4”, l. 2-1/4” to 4-3/4”

$1,000-$1,500

566

567

568

Extensive Partial Service of “The Jardin de Versace” Dinner Service

20th century, designed by Gianni Versace (1946-1997), manufactured by Rosenthal, Germany, the service including fourteen service plates with butterfly centers and a pink ground, the backs pierced for hanging, dia. 12”, fourteen dinner plates with a blue ground, dia. 10-1/2”, thirteen bread-andbutter/dessert plates with a blue ground, dia. 7-1/4”, fourteen flat cups with butterfly wing handles, on a blue ground, h. 2-1/4”, and fourteen saucers with a pink ground, dia. 6-1/4”, each piece marked on the back, with original boxes.

$1,000-$1,500

569

Set of Twenty Versace “Le Roi Soleil” Service Plates

20th century, designed by Gianni Versace (Italian, 1946-1997), the polychrome plates named for Louis XIV, with backs pierced for hanging, each plate marked, with original boxes. dia. 12”

$1,000-$1,500

570

Holton Rower (American, b. 1962)

“Untitled (HROW 0048)”, 2008

paint on plywood

verso with “Arthur Roger Gallery” label with artist name, title, date and additional information. Framed.

32” x 20”, framed 32-3/4” x 20-3/4”

$5,000-$8,000

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Estate of Ann and Howard Barnett, New Orleans, Louisiana.

571

Pedro Friedeberg (Mexican, b. 1936)

“Hand and Foot Lamp”

carved and gilt wood signed underneath one foot, together with an invoice having a note from the artist. Now fitted with a black card shade. top of shade h. 31-1/2”, shade dia. 14”

$4,000-$7,000

Provenance: purchased directly from Pedro Friedeberg, San Miguel, Mexico, 1996; Private collection, New Orleans, Louisiana.

572

David Beck (American, 1953-2018)

“Just a Little Something for the Landlady”, 1988

glazed clay signed, titled and dated on the underside, in an oval stained wood and glass presentation box. h. 8-1/2”, w. 8-1/2”, d. 5-1/4”

$5,000-$8,000

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

Inspired by the great 18th and 19th century cabinets of curiosities, David Beck's detailed sculptures incorporate numerous, mostly self-taught, techniques such as carving, gilding, illumination, automation, and mosaics. An inveterate lover of the natural world, he frequently combined animals with architectural elements and historical design motifs, resulting in astonishingly clever works imbued with wit, whimsy and humor.

573

Pair of Art Deco-Style Brown Leather Club Chairs

Restoration Hardware, with slanted and padded backs, slightly curved arm tops and loose cushions with brass tacking along the outer edge of the arm fronts. h. 28”, w. 34”, d. 36”

$1,200-$1,800

574

Bronze and Glass “Etruscan” Coffee Table

20th century, attributed to Paul Ferrante and inspired by Diego Giacometti, the table with a beveled glass top, bronze trestle base with fox heads on each corner, set with scrolls and side stretchers, the legs raised on molded paw feet. h. 22-1/2”, w. 40-1/2”, d. 26-1/2”

$1,000-$1,500

572

574 573

575

Karl Reidel (German, 1927-2006)

“Untitled”, 1962

patinated bronze cast signature, numbered “2/6” and dated front left corner.

h. 14-1/2”, w. 13-1/2”, d. 6”

$1,500-$2,500

576

Luis Ortiz Monasterio (Mexican, 1906-1990)

“Sin Titulo”, 1971

patinated bronze cast monogram, dated and numbered “1/3” at back of selfbase, on a carved wood base.

overall h. 28-3/4”, w. 16-1/2”, d. 6”

$2,000-$4,000

Provenance: Art Wagon Galleries, Scottsdale, Arizona, purchased 1973. 575

577

Francisco Zuniga (Mexican, 1912-1998)

“El Umbral - The Threshold”, 1970-71

patinated bronze bas-relief cast signature, dated “71” and numbered “II/III” at lower right, on an integral rectangular wood base. relief h. 15-1/4”, w. 19-7/8”, d. 1-5/8”; overall h. 16-1/2”, w. 21-1/4”, d. 4-1/2”

$15,000-$25,000

Provenance: Private collection, Covington, Louisiana.

A large- scale version of this sculpture is conserved at the Middelheim Museum Sculpture Garden, Antwerp, Belgium.

Literature: Echeverria, Carlos Francisco, Francisco Zuniga, Mexico: Ediciones Galeria De Arte Misrachi, 1980, model illus. pp 150-151.

578

Pair of Contemporary Bronze-Finished Brass Torcheres

attributed to Nancy Corzine, the bowl-form shades on cylindrical standards, on stepped bases with circular feet. h. 69-1/4”, dia. 11-1/2”

$800-$1,200

Provenance: Nancy Corzine, Los Angeles, California.

579

Susan Woods (American, Contemporary)

“The Shipyard”

wood and mixed media incised signature en verso. 22-1/2” x 8”

$1,000-$1,500

Composed of unexpected materials such as upholstery springs, poplar plywood and steel tubing, Susan Woods’ fine art and functional art pieces are clever explorations of form, line and space. She attended the Pennsylvania Academy of Fine Arts, concentrating on sculpture, as well as apprenticing with craftspeople where she perfected a variety of techniques she would eventually incorporate into her works. Believing that education is a constant, Woods continues to explore new methods and media. She has exhibited widely in both solo and group shows and her works are in numerous public and private collections.

578

579

580

Bernard Cathelin (French, 1919-2004)

“Nu a Toilette”, 1957 oil on canvas signed and dated lower left. Framed.

29” x 45”, framed 37” x 54”

$7,000-$10,000

Provenance: Christie’s, New York, New York, December 2, 2016, lot 29; sold in these Galleries July 24, 2021, lot 713; private collection, Houston, Texas.

581

Michael Schultheis (American, b. 1967)

“Silentium”, 2002

oil on gallery-wrapped canvas signed, dated and titled en verso. 21” x 21”

$1,000-$1,500

582

Michael Schultheis (American, b. 1967)

“Sea Equilibria”, 2002

oil on gallery-wrapped canvas signed, dated and titled en verso. 36” x 46”

$1,200-$1,800

583

Daisy Boman (Belgian, b. 1948)

“Hanging Between Fantasy and Reality”

resin wall sculpture signed, titled and numbered “18/95” on Washington Green Fine Art certificate en verso. 35-1/2” x 34-1/4”

$2,000-$4,000

584

Brass-Plated Steel and Marble Hickory Park “Gabby” Drinks Trolley

the circular trolley with upper and lower white-veined marble shelves and handles on each side, the lower shelf with a pierced gallery, raised on casters. h. 33”, dia. 23”

$800-$1,200

Provenance: Royal Antiques, New Orleans, Louisiana.

583 584

585

Pair of Italian Wooden Venetian Fantasy Grotto Dragons

ca. 1900, the carved and painted winged dragons set with glass eyes, and modeled grasping wooden poles with leaf-molded metal fitted ends.

h. 24”, w. 40”, d. 8”

$2,500-$4,000

586

Turkish Angora Oushak Carpet

12’ 2” x 15’ 2”

$1,800-$2,500

587

Turkish Angora Oushak Carpet

12’ x 15’ 3”

588

Peshawar Sultanabad Carpet

10’ x 13’

587

589

Pair of Iron Campana-Form Garden Urns

with fluted edges and bodies, raised on paw feet.

h. 23-1/2”, dia. 17”

$1,000-$1,500

590

Cast Iron and Wood Park Bench

20th century, in the English Victorian taste, the slatted bench with pierced cast iron sides decorated with flowers, leaves and guilloche trim.

h. 31-1/2”, w. 49-1/4”, d. 24”

$1,000-$1,500

591

William Adams Neo-Gothic Cast Iron Garden Suite

ca. 1874-1887, Philadelphia, including a pair of armchairs, h. 38-1/4”, w. 19-1/4”, d. 18”, and a settee, h. 36-1/2”, w. 46-1/4”, d. 18”, the backs with molded rosettes and baluster piercings crowning rococo-molded panels, the scrolled arms over seats with Gothic piercing and pierced aprons, the lower edges of the backs marked “Wm. Adams Foundry Co. 960 N. 9th St. Phila. Pa.”.

$1,000-$1,500

589 590

592

the lotus-molded covers with artichoke-molded knops, the necks decorated with anthemia, the bodies with grapevines and lotus leaves, and set with leaf-molded handles, above fluted bases on square plinths. h. 49-1/2”, w. 22-1/2”, d. 15”

$1,200-$1,800

593

19th century, the reeded, circular basin supported by a putto draped with a bowknot, above a rocky outcropping. h. 29-1/2”, dia. 15”

$1,000-$1,500

Pair of Monumental Cast Iron Covered Garden Urns

Victorian Lead Bird Bath

592

594

Brown Jordan Five-Piece Garden Suite

20th century, the graphite-colored metal suite including a love seat with a cushion, h. 34-1/4”, w. 41”, d. 21”, a pair of lounge chairs with cushions, h. 32-1/2”, w. 29”, d. 26”, an ottoman with a cushion, h. 16-1/2”, w. 28-1/2”, d. 24”, and a glass-topped side table, h. 17”, w. 23”, d. 22”, with labels.

$1,000-$1,500

595

Pair of English Lead Putti Garden Figures

19th century, the demure figures poised on one foot, their hands above their heads, on later metal bases. h. 28-1/4”, w. 10-1/8”, d. 9-7/8”

$1,200-$1,800

594

596

Pair of Cast Iron Urns on Pedestals

late 20th century, in the Victorian taste, the campanaform urns with egg-and-dart flared rims, decorated with scrollwork sides and reeded lower bowls, fitted with handles and supported on pylon-form pedestals with paneled sides, with scrollwork decoration. h. 41-1/2”, dia. 19”

$1,000-$1,500

597

Pair of “Concord” Aluminum Garden Chairs

21st century, attributed to Murray’s Iron Works, the bowed arms and back set with vertical banisters, the arms with reeded, ovoid finials, the tapered legs with molded acanthus leaves at the top, with loose cushions. h. 30”, w. 38-1/4”, d. 35”

$1,000-$1,500

596

597

598

“Concord” Aluminum Garden Settee

21st century, attributed to Murray’s Iron Works, with bowed arms and back, set with vertical banisters, the tapered legs set with ovoid, reeded finials and molded acanthus leaves, with loose cushions. h. 30”, w. 65-3/4”, d. 35”

$1,000-$1,500

599

Pair of Italian Tiffany-Retailed Este Pottery Urns

third quarter 20th century, the neoclassical-style campana-form urns decorated with leaf-molded rims, the sides molded with classical masques and scrollwork, above a raised Greek-key border, the lower portion of the body molded with leaves, the edges of the bases with raised scrollwork, with an underglaze black mark of a castle with “Este” and “Made in Italy for Tiffany’s”. h. 23”, dia. 16-1/2”

$1,200-$1,800

598

599

600

Pair of Thayer Coggin “Roger” Lounge Chairs

20th century, American, designed by Ransom Culler (American, b. 1950), the graphite-lacquered wooden chairs featuring an architectonic cantilevered design, upholstered in a contemporary print. h. 33”, w. 30-3/4”, d. 33-1/2”

$1,000-$1,500

601

Cast Iron Figural Fountain

first quarter 20th century, the three-part fountain with a figure of a putto holding a bird, standing on a pedestal base with a scalloped basin, on a column-form standard decorated with fluting and reeding, the bird’s mouth piped for water. h. 83”, dia. 49”

$1,200-$1,800

602

French Cast Iron and Glass-Top Conservatory Table

19th century, the scrolled and pierced legs decorated with ribbon-bound reeding, molded leaves and flower heads, terminating in hoof feet, with two tiers of rectangular stretchers, retaining an old painted surface, fitted with a rectangular plate-glass top. h. 28-1/2”, w. 66”, d. 36”

$1,000-$1,500

603

Suite of Ten White-Enameled Aluminum Janus et Cie “Savannah” Garden Dining Chairs

21st century, after a design by Orlando Diaz-Azcuy (Cuban/ American, b. 1940), including two armchairs and eight side chairs, the chairs with oval panels set into the metal “caned” backs, the slatted seats with paneled frames, on tapered legs with a single flute on each one, labeled on the bottoms. armchair h. 38-1/2”, w. 22-1/2”, d. 23-1/2”; side chair h. 38-1/2”, w. 18-3/4”, d. 23-1/2”

$3,000-$5,000

602

604

Brown Jordan “Elegance” Aluminum Garden Dining Suite

20th century, comprised of six side chairs and an oval table, the chairs with oval panels of pierced latticework, set into scrolled surrounds decorating the backs, the legs with pierced scrollwork corner brackets, with cushions, h. 31”, w. 18-1/2”, d. 19-1/2”, and the oval table with a glass top and a pierced skirt, with pierced scrollwork corner brackets decorating the legs, h. 29”, w. 40”, l. 60-1/4”, each labeled on the bottom.

$1,000-$1,500

605

Small English Lead Garden Fountain

ca. 1900, modeled as a smiling putto on a rocky outcropping, holding a goose, its mouth piped for water. h. 27-1/2”, w. 13”, d. 8-1/2”

$1,000-$1,500

606

Pair of Painted Cast Iron Garden Urns

fourth quarter 19th century, probably French, in the neoclassical taste, the reeded urns set with Bacchanalian putti holding grapes and kylixes, alternating with ram’s heads supporting swags of fruit, on later cast iron pylon-form plinths decorated with raised panels of scrollwork. h. 40-1/2”, w. 32”, d. 23”

$1,800-$2,500

607

Pair of Unusual Chinese Cloisonne Vases

second quarter 20th century, now mounted as lamps, the vases with foo dog handles and cloisonne panels in the Egyptian taste, trimmed with molded brass employing various Egyptian motifs, now on wooden bases. h. 20-3/4”, dia. 7”

$1,000-$1,500

607

608

Carved and Parcel-Gilt Wood Anubis-Jackal Figure

after the antique Egyptian tomb figure, the black-painted figure with carved and gilded ears, collar and harness.

h. 32-1/2”, w. 13”, l. 35”

$1,500-$2,500

609

Pair of Carved Wooden Busts of Cleopatra

fourth quarter 19th century, now mounted as lamps, dressed in nemes, lappets and a draped gown, now mounted on acrylic bases.

h. 27-1/2”, w. 8-3/4”, d. 6”

$1,200-$1,800

610

Egyptian Revival Carved Walnut and Mother-of-PearlInlaid Armchair

early 20th century, the back and arms in the form of a winged figure wearing a headdress with inlaid details, raised on animal-form legs ending in hoof feet.

h. 35”, w. 21-1/2”, d. 25”

$2,500-$4,000

611

Patinated Metal Figural Table Lamp

second quarter 20th century, in the Egyptian Revival taste, the circular body decorated with winged suns, supported by King Tutankhamun tomb figures, on a base with incised hieroglyphics, mounted with a shade.

h. 24-1/2”, dia. 14”

$1,000-$1,500

612

Pair of Parcel-Gilt and Paint-Decorated Torcheres

in the Egyptian Directoire taste, inspired by Percier et Fontaine, the vasiform supports with faux boxwood inserts on standards with Egyptian pharaoh heads over tapered, fluted supports and gilt feet, standing on stepped bases. h. 68”, w. 8-1/2”, d. 8-1/2” (including faux boxwood)

$2,500-$4,000

613

Unusual Chinese Cloisonne Jardiniere

ca. 1900, the applied rim with panels decorated with butterflies and scrollwork, the body with warriors and centurions in Greco-Roman-style garb on a turquoise ground with gilt “stars”.

h. 15-1/2”, dia. 12-3/4”

$1,000-$2,000

611

612

613

614

Salvador Dali for Jean-Michel Frank (1895-1941) Floor Lamp

the tapering and twisted oak standard stamped “CHANAUXî, ìC./J.M. FRANK” & numbered ì11î, the lamp retaining its original brass fittings and wiring, mounted with a later shade. without shade h. 73”, w. 6-1/2”, d. 6-1/2”

$12,000-$18,000

Together with a certificate of authenticity from the Comite Jean-Michel Frank.

Jean Michel Frank frequently collaborated with artists like Salvador Dali, for the sleek minimalist interiors he produced for the international cognoscenti who made up his client list. These unusual floor lamps look deceptively simple, but the tapering, twisted square profile is actually complex. The lamp is stamped “J.M. Frank” and “Chanaux & Co.”, which is a Parisian cabinetmaker.

615

Jean-Michel Frank (French, 1895-1941) Writing/Library

Table

the oak and mahogany folding low table with a red/brown leather top when closed, with three drawers and three false drawers, all with brass ring decor, the vasiform supports on casters, designed to slide out, allowing the top to be opened and reveal an inlaid wood surface. closed h. 28-3/4”, w. 51”, d. 15-1/2”, opened h. 28-1/4”, w. 51”, d. 31”

$10,000-$15,000

Together with a certificate of authenticity from

615 detail

the Comite Jean-Michel Frank.

615

616

Constantin Antonovici (Romanian, 1911-2002)

“Owl”

white marble inscribed “CA” at base. h. 24-1/2”, dia. 5-1/4”

$1,500-$2,500

Provenance: Collection of Maria Maxwell Perry, Lexington, Kentucky; Freeman’s/Hindman, January 27, 2022, lot 128.

617

Thomas Bastide, for Baccarat, “Empreinte” Crystal and GiltBrass Coffee Table

1996, France, the rectangular glass top resting on out-swept furrowed and grooved crystal supports, the gilt-brass base with flat bar stretchers notched into the base of each support, one support engraved with “Baccarat” in script and the Baccarat logo. h. 17”, w. 51”, d. 31-1/2”

$6,000-$9,000

Provenance: Private collection, Houston, Texas.

618

Painted Plaster Console, Attributed to Sirmos

fourth quarter 20th century, from a design by Emilio Rene Terry Sanchez (Franco-Cuban, 1890-1969), based on the Sanchez iconic original.

h. 31”, w. 40-1/2”, d. 18”

$2,000-$4,000

619

Pair of Brickel Associates for Ward Bennett Lounge Chairs

the backs with channel tufting, covered in boucle chenille fabric.

h. 30”, w. 30-3/4”, d. 30”

$4,000-$7,000

618

Brass and White Laminate Console

20th century, in the manner of Jacques Duval-Brasseur (French, 1931-2021), the rectangular top supported by a pair of brass egrets standing on a yolk-shaped platform. h. 32”, w. 59-1/8”, d.15-3/4”

$1,500-$2,500

621

Pair of Impressive Carved Wood Pier Mirrors in the George III style, of recent manufacture, after a design by Thomas Chippendale. h. 80”, w. 50-1/2”

$6,000-$9,000

622

Brass and Red Laminate Two-Tiered Side Table

20th century, in the manner of Maison Jansen, the turned legs terminating in finials, the red laminate top and lower shelf set into molded brass rails. h. 25”, w. 24”, d. 24”

$1,200-$1,800

Contemporary Gilt-Metal “Sunflower” Mirror

20th/21st century, with petals lining the surround and ropetwist trim encircling the mirror plate. dia. 36”

$1,000-$1,500

Provenance: Royal Antiques, New Orleans, Louisiana.

Contemporary Gilt-Metal “Sunflower” Mirror

20th/21st century, with petals lining the surround and ropetwist trim encircling the mirror plate. dia. 36”

$1,000-$1,500

Provenance: Royal Antiques, New Orleans, Louisiana.

623

624

622

623

624

625

Turkish Angora Oushak Carpet

8’ x 10’

$1,200-$1,800

626

Turkish Angora Oushak Carpet

12’ x 15’

$2,000-$4,000

627

Tore Wallin (American/Louisiana, Contemporary)

“Untitled”, 1988

oil on canvas signed and dated lower right. In a thin gallery frame.

36” x 60”, framed 36-1/2” x 61”

$1,000-$1,500

628

Louise Guidry (American/Louisiana, b. 1930)

“Long Life”

acrylic and collage on gallery-wrapped canvas signed lower right.

36” x 36”

$1,500-$2,500

627

628

629

Rose Thome Casterline (American, b. 1964)

“Untitled”, 1998 oil on paper initialed and dated lower right. Float-mounted, glazed and framed. sheet 41-3/4” x 29”, framed 45-1/2” x 33-1/4”

$1,500-$2,500

630

Evert Witte (Dutch/Louisiana, b. 1951)

“Untitled I”, 1996 “Untitled III”, 1996

two oils on linen both signed and dated lower right, both signed, titled and dated en verso, “Untitled III” verso affixed with “Cole Pratt Gallery” label. Framed alike. each 39-1/2” x 31-1/2”, framed 41” x 32-3/4”

$1,500-$2,500

Provenance: Cole Pratt Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

629

631

Mario Villa (Nicaraguan/Louisiana, 1953-2021)

“Nefertiti Lamp”, 1999

bronze, copper and steel cast signature and dated at bottom of bust, incised signature and dated at base. h. 29”, shade dia. 18-1/2”

$1,000-$1,500

Provenance: Private collection, New Orleans, Louisiana.

632

Mario Villa (Nicaraguan/Louisiana, 1953-2021)

Square Coffee Table

mixed metal glass top with molded edges, the sides mounted with swags, and the legs joined by a brass-bound X-form stretcher. h. 18”, w. 39-1/2”, d. 39-1/2”

$1,400-$1,800

Provenance: Collection of Ruthie and Louis Frierson, New Orleans, Louisiana.

631

632

633 Hunt Slonem (American, b. 1951)

“Ocelots”

mixed media sculpture signed on bottom of thin, integral support base. h. 45-1/2”, w. 61”, d. 29”

$4,000-$7,000

Provenance: Estate of Ann and Howard Barnett, New Orleans, Louisiana.

The son of a Navy officer, Hunt Slonem's family moved every few years fostering his love of travel. At the age of 16, Slonem was awarded the Rotary International Exchange Student grant to spend a year in Managua, Nicaragua. As a parting gift from his host family, he was given exotic items representing Nicaragua including an ocelot skin.

Slonem enrolled at Skowhegan School of Painting and Sculpture and then transferred to Tulane University where he earned a Bachelor of Arts in 1973. Ceremonial ocelot skins became a recurring theme he initially used in still lives, later portraying the wild ocelots in groups; he considered the felines spirit animals.

The exhibition entitled Hunt Slonem: A Retrospective is currently on view in the Cabildo, part of the Louisiana State Museum.

633

634

Hunt Slonem (American, b. 1951)

“Ocelots and Blue Pearls”, 2001

oil on canvas signed, dated, titled and “Marlborough Gallery, 40 West 57th St, New York” label with artist, title and date en verso. Unframed.

108” x 107”

$30,000-$50,000

Provenance: Marlborough Gallery, New York, New York.

634

24” x 30”, framed 26-1/4” x 32-1/4”

$10,000-$15,000

635

George Bauer Dunbar (American/Louisiana, 1927-2024)

“Rouville Series”

gold leaf over clay signed lower right. Framed.

635

636

Susan Woods (American, Contemporary)

“Winged City”

carved plywood and hardwood within an integral frame. 6-1/2” x 14”

$1,200-$1,800

637

Ashley Longshore (American/Louisiana, Contemporary)

“Fashion Flutters”

acrylic, resin and mixed media on gallery-wrapped canvas signed lower left. 48” x 36”

$5,000-$8,000

636

637

638

David Halliday (American, b. 1958)

“Mirrored Lake, Louisiana”, 1999

sepia-toned silver gelatin print signed, titled and dated en verso, and numbered “6/25” lower margin.

Matted, glazed and framed. sheet 20-1/2” x 20-1/2”, framed 29-3/4” x 28-3/4”

$1,000-$1,500

David Halliday is well known for his beautifully printed, toned with sepia and selenium, still life photographs. A native of New York, Halliday moved to New Orleans in 1991, where his Northeastern painterly aesthetic with its emphasis on volumes, texture, and shading became enhanced with the grit of the city. His subject matter has varied from unearthly landscapes, intimate portraits of ordinary objects, and maturing fruits, each treated with a deserved gravitas. Over the span of his nearly 30-year career, Halliday has exhibited widely nationally and locally, where he is represented by Arthur Roger Gallery, and his work can be found in the collections of the Ogden Museum of Southern Art, the New Orleans Museum of Art, and the Museum of Fine Arts, Houston.

639

David Halliday (American, b. 1958)

“Cypress Grove, Louisiana”, 1998

sepia-toned silver gelatin print pencil-signed, titled, dated and numbered en verso, and numbered “5/25” lower margin.

Matted, glazed and framed. sheet 20” x 21-1/4”, framed 29-3/4” x 28-3/4”

$1,000-$1,500

638 639

640

Mark Seliger (American, b. 1959)

“Dr. John, New Orleans”, 2012

archival inkjet print signed, dated, numbered “AP of 1” and copyright-marked en verso.

Matted, glazed and framed. sheet 7-1/4” x 13-1/2”, framed 17” x 20-1/4”

$1,500-$2,500

641

David Halliday (American, b. 1958)

“Banana Leaf (Soft Shadow)”, 1996

sepia-toned silver gelatin print unsigned.

Matted, glazed and framed. sheet 38” x 20”, framed 43” x 24”

$1,200-$1,800

642

Louise Guidry (American/Louisiana, b. 1930)

“Blue on Blue”

acrylic on gallery-wrapped canvas signed lower right.

40” x 30”

$1,500-$2,500

643

Rise Delmar-Ochsner (American/Louisiana, b. 1944)

“Double Portrait”

oil on gallery-wrapped canvas signed lower right. Unframed.

48” x 60”

$1,200-$1,800

642

644

Allison Stewart (American, b. 1941)

“Altered Course #9”, 2009

mixed media on paper signed lower right, verso affixed with “Arthur Roger Gallery” label.

Framed. paper 30” x 22”, framed 35-1/4” x 27”

$1,500-$2,500

Provenance: Arthur Roger Gallery, New Orleans, Louisiana.

645

Lin Emery (American/Louisiana, 1926-2021)

“Leaf Study”, 2003

polished aluminum kinetic sculpture signed and dated on base. h. 17-1/2”, orbit 13-1/2”

$4,500-$7,000

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

645

646

George Bauer Dunbar (American/Louisiana, b. 1927)

“Adois (GD9-83)”, 1983

mixed media collage on canvas

“Galerie Simonne Stern, Prytania St., New Orleans” label with artist, title and date en verso. Period frame.

30-1/4” x 36-1/4”, framed 32” x 37-1/2”

$4,000-$7,000

Provenance: Galerie Simonne Stern, New Orleans, Louisiana.

647

Nicole Charbonnet (American/Louisiana, b. 1966)

“Dixie Cup #5”, 2006

mixed media on panel titled on support bar and “Arthur Roger Gallery” label en verso. 26” x 20”

$3,000-$5,000

Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

646 647

648

Tore Wallin (American/Louisiana, Contemporary)

“Untitled”, 1998

oil on canvas signed and dated lower right. In a thin gallery frame. 47-1/2” x 40-1/4”, framed 48-1/2” x 41”

$1,000-$1,500

649

Lin Emery (American, 1926-2021)

“Mini Triad”

polished aluminum and enamel kinetic sculpture marked “A.P.” under base. h. 6-1/2”, orbit 9-1/2”, base dia. 5-1/2”

$4,000-$7,000

Provenance: Gift of the artist; Private collection, thence by descent.

649

649 detail

648

650

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

“Cluster 1-80”, 1976

oil and mixed media on canvas signed and dated lower mid right, and “Findlay Gallery, Madison Ave., New York City” label with artist and title en verso. Framed.

33-1/2” x 33-1/2”, framed 34-1/2” x 34-1/2”

$20,000-$40,000

Provenance: Findlay Galleries, New York, New York; Private collection.

651

George Bauer Dunbar (American/Louisiana, 1927-2024)

“Untitled - Action Series”, ca. 1950-1960 paper collage with acrylic unsigned. Glazed and framed.

16” x 22-1/2”, framed 16-1/4” x 22-3/4”

$3,000-$5,000

651

652

Lin Emery (American, 1926-2021)

“Splay”

polished aluminum kinetic sculpture unsigned. h. 56”, orbit 35”

$25,000-$40,000

Provenance: Gift of the artist; Private collection, thence by descent.

653 Clementine Hunter (American/Louisiana, 1886-1988)

“African Headdress”, ca. 1970 oil on canvas board monogrammed lower right. Framed.

20” x 16”, framed 25” x 20-3/4”

$3,000-$5,000

653

654

Walter Inglis Anderson (American/Mississippi, 1903-1965)

“Pitcher Plants”

watercolor and graphite on paper estate stamp lower left corner. Float-mounted, glazed and framed. sheet 11” x 8-1/2”, framed 18” x 15-1/4”

$6,000-$9,000

655

George E. Ohr (American/Mississippi, 1857-1918)

“Cougar Head Inkwell”, ca. 1895-1900

green-glazed bisque affixed to base Accompanied by bisque stamped “G. E. Ohr, Biloxi, Miss.”. 3-1/4” x 3-1/2”

$1,000-$1,500

The self-proclaimed “Mad Potter of Biloxi”, George Ohr created unique and innovative pottery with vibrant glazes and distinctive forms. For Ohr, artistry was more important than functionality. The “Cougar Head Inkwell” was part of his novelty series, created with the idea of attracting tourists visiting the Gulf Coast city of Biloxi. With his typical humor, Ohr advertised “Get a Biloxi souvenir before the potter dies or gets a reputation.”

654

656

After Walter Inglis Anderson (American/Mississippi, 1903-1965)

“The Frog Prince #1”

hand-colored linocut Glazed and framed. sight 77” x 16-1/2”, framed 79-1/2” x 19”

$1,500-$2,500

Provenance: Private collection, New Orleans, Louisiana.

By the mid-1940s, Walter Anderson was creating a series of woodblock prints based on fairy tales and folk stories. “The Frog Prince #1” draws on a German folk tale published in 1812 in Grimm’s Fairy Tales

Illustrated: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson, (Jackson: University Press of Mississippi, 2007), pp. 37, 88 and 90.

657

After Walter Inglis Anderson (American/Mississippi, 1903-1965)

“Cinderella on Her Way to the Ball” hand-colored linocut Glazed and framed. sight 71-1/2” x 19”, framed 75” x 22”

$1,500-$2,500

658

Clarence Millet

(American/Louisiana, 1897-1959)

“Louisiana Homestead”

oil on board signed lower right. Framed.

20” x 24”, framed 24-1/2” x 28-1/2”

$6,000-$9,000

As a teenager, Clarence Millet moved to New Orleans where he apprenticed at an engraving company. Encouraged by the visiting artists Louis Oscar Griffith and Robert Grafton, Millet enrolled at Tulane University and then furthered his studies at the Art Students League in New York City. Returning to the city, Millet became an integral part of the French Quarter Renaissance which was comprised of writers, artists, photographers and musicians who found the bohemian lifestyle and affordable rents of the then run down area appealing.

Although well known for his paintings of the French Quarter, Clarence Millet often painted images of life in rural Louisiana that were reminiscent of his youth in the small community of Hahnville.

658

659

Ellsworth Woodward (American/Louisiana, 1861-1939)

“The Conversation, French Quarter Courtyard”, 1901 watercolor signed and dated lower right. Matted, glazed and framed. sight 14” x 18-1/4”, framed 23-3/4” x 27-3/4”

$1,800-$2,500

Provenance: Private collection, New Orleans, Louisiana.

In 1890, Ellsworth Woodward was appointed Director of Sophie H. Newcomb College by Tulane president Brandt Dixon. A talented and accomplished artist, he was particularly adept in his handling of watercolor. The brothers William and Ellsworth were advocates of the preservation of the French Quarter, which had fallen into disrepair. In both his etchings and watercolors, Woodward documented the historic buildings, vistas and courtyards of the French Quarter.

660

1814 Battle of New Orleans Medal Presented in Custom Stand

the medal probably silvered bronze, with pelleted surround and scrolling bail, the obverse engraved with a crowned and stringed bugle with “95” within and flanked by the date “1814” and surrounded by a laurel wreath, the reverse engraved, “Given as a token of Esteem by the Officers of His Maj.s 3rd Batt. 95th Foot to Cap.t. Fullerton [sic] For his Action at New Orleans 1814” and stamped “W&DC” (the latter presumably the medallist’s mark), suspended from a white grosgrain ribbon, presented in a custom-made antique vitrine, fourth quarter 19th century, New York, supported on a hardwood base with a central post of pierced, spiral reeding, the bottom supported on brass and wood ball-and-claw feet.

vitrine h. 46-1/2”, w. 16-1/2”, d. 12-1/2”

$1,800-$2,500

Lt. Col. James Fullarton, C.B. (1782-1834) enlisted in 1802 as an Ensign in the 51st Regiment and was promoted the following year to Lieutenant and served in Ceylon and South America. He joined the 95th Regiment as a Captain in 1809, serving in Cadiz in 1811 and fighting in Barrosa and Salamanca.

As evidenced by this medal, he was part of the detachment of five companies of the 3rd Battalion sent in September 1814 to North America to fight in Mobile and New Orleans. A complete account of the 95thís engagement at the Battle of New Orleans may be found in Sir William Henry Cope’s History of the Rifle Brigade formerly the 95th (Piccadilly: Chatto & Windus, 1877), pp. 181-194.

Fullarton left New Orleans to fight in the Battle of Waterloo where he took command of the 95th as brevet Lieutenant Colonel upon the wounding of the Bvt. Lt. Col. Ross, though Fullarton was himself wounded in the battle. He was made a Companion of the Order of Bath for his service. He was posted in Paris in 1821 and made a Major, and promoted to Lt. Col. of the 96th Regiment in 1826. He died in 1836 in Halifax, Nova Scotia.

661

Rare and Important American Rococo Revival Rosewood and Marble-Top Etagere

attributed to J. & J. W. Meeks, New York, third quarter 19th century, the upper section with a pierced asymmetrical shellcarved cartouche above two shaped shelves, the base with its conforming white marble top on a cabinet base with a single drawer, above a pair of cabinet doors. h. 105”, w. 48”, d. 23”

$5,000-$8,000

Provenance: Acquired in 1920 by the consignor’s family from an antiques shop in New Bedford, Massachusetts.

A near identical etagere on loan from the Newark Museum of Art had been installed in the “Belter” parlor at the Metropolitan Museum of Art, and is illustrated in Dubrow, American Furniture of the 19th Century, 1840-1880, p. 80.

662

American Renaissance Revival Giltwood Overmantel Mirror

fourth quarter 19th century, the crest decorated with a masque of Athena flanked by pierced swags of laurel leaves, the ends with carved anthemia on a gadrooned border, the arched mirror plate flanked by giltwood colonnettes decorated with cabochons on vasiform bases. h. 78”, w. 60-1/2”

$2,000-$4,000

663

Set of Four Renaissance Revival Giltwood Window Cornices

third quarter 19th century, decorated with central scrolltrimmed cartouches molded with scallop shells framed with pierced scrollwork, the ogee-molded cornices with end caps decorated with fruit-molded finials, and brackets with molded shells and scrollwork, the side corners with raised strapwork, the set including custom-made upholstered superstructures trimmed with braid, swags and jabots decorated with ball fringe, composed of rose and gold rococo-patterned silk, the straight panels not included.

h. 23”, w. 66-1/4”, d. 13-3/4” (without panels)

$2,000-$4,000

662

663 (one of four)

664

Labeled “Baker Furniture” Mahogany Writing Desk

the rectangular top with a carved, gadrooned edge, the front and side aprons with geometric open fretwork in the Chinese Chippendale taste, the back side fitted with two drawers, raised on square legs ending in molded block feet. h. 32”, w. 71”, d. 28-1/2”

$1,200-$1,800

665

Baker Mahogany Tilt-Top Tea Table

20th century, in the rococo taste, the octagonal top with a raised, pierced gallery on a gadrooned edge, supported on a birdcage to facilitate turning and tilting, with a “Baker” label on the bottom, the acanthus-carved vasiform standard on leafcarved cabriole legs terminating in ball-and-claw feet. h. 30-3/4”, dia. 30”

$700-$1,000

664

666

American Expansionist-Era Coin Silver Tea Set

second quarter 19th century, by Garrett Eoff (1779-1845), New York, New York, including: a teapot, h. 10-3/4”, l. 11-1/2”; a covered sugar bowl, h. 9-1/2”, w. 8-1/2”; and a cream jug, h. 8-1/2”, l. 6-1/2”; each with gadrooned baluster body and milled “trailing rose” banding, with scroll-crested handles and acanthus-bud finials.

70.00 total t. oz.

$1,000-$1,500

detail

667

Philadelphia Coin Silver Water Pitcher

mid-19th century, by George B. Sharp (ca. 18191904), the pear-shaped body with integral spout, molded foot ring and acanthus-crested handle, decorated with repousse acanthus and floral swags, monogrammed “DSBW”. h. 11-1/2”, dia. 6-3/4”, l. 9”; 35.19 t. oz.

$900-$1,200

668

Fine Gorham Coin Silver Pitcher

mid-19th century, Providence, Rhode Island, retailed by J. W. Tucker & Co., San Francisco, the ovoid body decorated with repousse hibiscus on a starry matte ground, the scrollmounted imbricate handle crested with a ram’s masque, the cartouche engraved “B. F. Washington”. h. 12-3/4”, l. 9”, dia. 5-3/4”; 39.81 t. oz.

$1,200-$1,800

Benjamin Franklin Washington (1820-1872) was the greatgreat-nephew of George Washington, a descendant of the patriot’s brother Samuel. Born in Berry Hill in Jefferson County Virginia (now West Virginia), he studied law and assumed the family estates at the early age of 21, but was lured to the Pacific Coast by the Gold Rush, leading a contingent of young men from the Shenandoah Valley to California. He met with no success, but remained in Sacramento, working in the post office and elected Recorder in 1850. He purchased and operated the Times and Transcript newspaper for a few years before being appointed by James Buchanan as Collector of the Port of San Francisco in 1857. He purchased a ranch and returned to the practice of law in 1863, and in 1865 became editor of the San Franciso Examiner, from which he retired shortly before his death.

668 detail

669

American Medallion Sterling Silver Hot Water Urn

third quarter 19th century, by Ball, Black & Co., New York, New York, in the Neo-Grec taste, the spherical body with tall arched handles and cylindrical neck, decorated with palmette banding centering a medallion of Athena, the tap with down-turned palmette spout and key with medallion of Hermes, all attached by chain and peg to stand with four ram’s head and hoof legs joined by floral swags and a stretcher with spirit burner, monogrammed on the reverse medallion “KB”, conjoined. h. 16-3/4”, w. 9-1/2”, d. 11”; 88.09 t. oz.

$2,500-$4,000

669

Good Egyptian Revival Sterling Silver Tea Set

fourth quarter 19th century, by Ball, Black & Co., New York, New York, including: a teapot, h. 10-1/4”, l. 8-1/4”; a coffeepot, h. 10-3/4”, l. 8-3/4”; and a cream jug, h. 7-1/4”, l. 4-1/4”; each with a truncated conical body below a cylindrical collar, decorated with engraved palmette banding and lotusmantled cartouche with pharaonic masque crest, the spouts with Horus mounts and cobra’s-head finials, the squared handles with Horus-head mounts and capital bosses, the lids with figural addorsed pharaonic masque finials.

73.52 total t. oz.

$2,000-$4,000

671

Reed & Barton “Intaglio” Sterling Silver Flatware

the pattern designed in 1904-05 by Charles Augustus Bennett (1869-1939), including an ice cream serving set, ice cream spoons, ladle, teaspoons, cream soup spoons and other serving pieces, all but the tablespoons with gilt bowls, monogrammed “JMS” (21 pieces total). 48.49 total t. oz.

$1,200-$1,800

This rare pattern is one of the finest of the Gilded Age. Designed by Charles A. Bennett, who also created the extravagant “Love Disarmed” and “Les Six Fleurs” for Reed and Barton, the pattern was registered in a series of seven patents in September, 1904, with an eighth in December, 1905. The multi-motif floral designs (each identified on the reverse) were costly to produce given the labor involved in manually chasing the negative-space die strikes which give the pattern its name, producing realistically cupped and curled flowers with beautiful detail.

Detailed list of pieces available on request.

672

first quarter 20th century, Baltimore, Maryland, with ovoid body, waisted collar, plain foot ring and acanthus-crested handle, decorated allover in the Baltimore taste with repousse flowers on a matte ground. h. 9”, dia. 6”, l. 9”; 22.99 t. oz.

$600-$900

Schofield Repousse Sterling Silver Water Pitcher

672

671 detail 671

673

Rare Gorham 14k Gold Tea Strainer

ca. 1900, of serpentine-sided square form with reeded rim and elaborately pierced bowl, with turned bone handle, monogrammed “SH”, conjoined. l. 8-1/2”, w. 4-1/8”; 57.15 gr. (including handle)

$2,500-$4,000

673 detail

674

Set of Six Gorham Sterling Silver Napkin Rings

mid-20th century, Providence, Rhode Island, with embossed scrolling rose design, monogrammed “B”. h. 1-1/2”, dia. 1-3/4”; 7.28 total t. oz.

$600-$900

673 detail

674

673

$800-$1,200

676

$800-$1,200

Agra Serapi Runner

2’ 7” x 27’ 8”

Agra Serapi Runner

2’ 6” x 23’ 8”

677

$800-$1,200

678

$2,500-$4,000

Provenance: Parvizian and Sons, Washington, D.C. and Houston, Texas; Michael Dale Interiors, Houston, Texas.

Agra Serapi Runner

2’ 6” x 23’ 10”

Silk Tabriz Carpet

6’ 9” x 8’ 11”

678

677

679

Semi-Antique Tabriz Pictorial Carpet

9’ x 12’

$1,500-$2,500

Provenance: Parvizian and Sons, Washington, D.C. and Houston, Texas; Michael Dale Interiors, Houston, Texas.

680 Agra Serapi Carpet

$1,800-$2,500

8’ 7” x 12’

679

681

Achille Perelli

(Italian/New Orleans, 1822-1891)

“Nature Morte: Woodcock”

watercolor and pastel on paper signed and localized “N.O.” lower left. Matted, glazed and period framed. sight 23-1/2” x 17-1/2”, framed 34-1/2” x 28”

$2,000-$4,000

Provenance: Estate of Katherine Buckner Avery (1896-1982); thence by descent to current owner.

In 1850, the Italian artist Achille Perelli settled in New Orleans and became recognized for his sculptures and paintings. An avid hunter and fisherman, Perelli would bring his catch back to the studio to paint his realistic nature morte paintings. Perelli’s nature morte paintings of birds and animals indigenous to south Louisiana were popular and were hung in New Orleans homes, often adorning dining room walls.

681

James Hosmer Perkins Wise (American/Louisiana, 1845-1901)

“Sharecroppers, Bayou Teche”, 1878

oil on canvas signed lower left and dated lower left. Framed.

14” x 20-1/4”, framed 17-1/2” x 24”

$3,000-$5,000

Provenance: Estate of Sybil Calhoun, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.

Landscape painting of the Bayou Teche country became a favored pastime for Dr. James Hosmer Perkins Wise. In this painting, “Sharecroppers, Bayou Teche”, Wise reveals life in south Louisiana during the post-Civil War era. Sharecropping became a means for the former slaves to earn a living by working in the fields in exchange for housing, food and a share of the crop as well as considerable autonomy in their daily lives. The painting included African Americans tending to their animals and fishing. Set within Spanish moss-draped live oak trees are the former slave cabins, now rented to the sharecroppers.

Born in Northampton, Massachusetts, Wise joined the Union forces during the Civil War and served with the Twentieth New York Cavalry. While stationed at Fort Jackson, Louisiana, Wise began studying medicine, and would complete his studies at Louisiana Medical College in New Orleans. He eventually settled in Morgan City, and in 1877 married for a second time to Martha Aurelie Grevemberg, daughter of Gabriel Grevemberg and Frances Elizabeth Wikoff. Besides working as a local physician, Wise served three terms as mayor of Morgan City.

682

683

Alexander John Drysdale

(American/Louisiana, 1870-1934)

“Moonlight on the Louisiana Bayou”, 1912 oil on canvas signed and dated lower left. Framed.

sight 18” x 24”, framed 22” x 28”

$4,000-$7,000

Provenance: Neal Auction Company, September 9, 2017, lot 300A.

684

Knute Heldner

(Swedish/Louisiana, 1875/77-1952)

“Evening in Stockholm Harbor, View of Skeppsbron”, 1931

oil on canvas

signed and dated lower left, titled on stretcher bar, and “William Peltier Fine & Folk Art, New Orleans” label en verso. Framed.

21-1/2” x 28-1/2”, framed 25” x 30”

$3,000-$5,000

Provenance: William Pelter Fine and Folk Art, New Orleans, Louisiana; Previously in the collection of Dr. James Nelson, Gonzales, Louisiana; Historic Solana, Montecito, California.

Knute Heldner was a prominent member of the bohemian group of artists, writers and photographers that has become known as the French Quarter Renaissance. He spent the winters in New Orleans and summers in Minnesota. With a grant from the city of Duluth, Knute Heldner and his wife Collette made an extended European painting trip from 1929 to 1932. Raised on a small farm in southern Sweden, the Heldners returned to his native land. The 1931 painting “Evening in Stockholm Harbor, View of Skeppsbron” depicted the old town of Stockholm at dusk with the stone quay completed in 1854, and the steeple of the German St. Gertrude's Church in the distance.

684

Extensive Carved Oak Dining Suite

late 19th century, probably French for the American market, in the Renaissance taste, consisting of an oval extension dining table with a fruit-carved pedestal base and twelve leaves, h. 29”, w. 63”, l. 55”, ext. l. 195”, a sideboard with a carved hound’s-head crest above two open shelves, the base with a pair of side-by-side drawers over two paneled doors, mounted with carved plaques centered with carved hound’s heads, h. 85”, w. 69”, d. 23”, a suite of fourteen chairs, consisting of two armchairs, h. 46”, w. 24”, d. 23”, and twelve side chairs, h. 42”, w. 18”, d. 17”, each with foliate-carved crests above padded backs and seats, raised on block-andturned legs and stretchers, and an associated server with a lift top and marble interior work surface, with a pair of drawers above two open shelves, h. 37-1/2”, w. 48”, d. 17-1/2”.

$4,000-$7,000

Provenance: Estate of Katherine Buckner Avery (1896-1982); thence by descent to current owner.

686

Gorham “Strasbourg” Sterling Silver Flatware the pattern designed in 1897 by William Christmas Codman (1839-1921), Providence, Rhode Island, comprising a dozen tenpiece lunch place settings (twenty-six pieces lacking), with an additional two dinner forks and twenty-four teaspoons, most monogrammed “MSS” (118 pieces total). 116.5 total t. oz. (weighable silver)

$2,500-$4,000

Detailed list of pieces available on request.

687

686 detail

Gorham “Buttercup” Sterling Silver Tea Set 1949-1953, Providence, Rhode Island including: a teapot, h. 7-1/2”, l. 8-1/2”; a coffeepot, h. 8”, l. 8-3/4”; a covered sugar bowl, h. 4-1/2”, w. 7-1/2”; a cream jug, h. 4-1/2”, l. 5-1/2”; and a waste bowl, h. 2-1/2”, l. 5-1/2”; the coffepot and cream jug inscribed “Mandell”. 54.34 total t. oz.

$1,000-$1,500

688

Towle “Chased Diana” Sterling Silver Flatware Set

the pattern designed in 1930 by Harold Edward Nock (18751952), Newburyport, Massachusetts, including a dozen eightpiece place settings (six pieces lacking) with an additional seven teaspoons and ten serving pieces, no monograms, presented in a mahogany-stained, Pacific cloth-lined wood case with lift top and single drawer, 6-1/4” x 16” x 11-1/2” (107 pieces plus case).

115.2 total t.oz. (weighable silver)

$2,500-$4,000

Detailed list of pieces available on request.

689

Reed & Barton “Francis I” Sterling Silver Flatware Set

the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising a dozen five-piece dinner place settings, with luncheon forks in place of salad forks (one lacking), no monograms (59 pieces total).

92.32 total t. oz. (weighable silver)

$2,500-$45,000

Detailed list of pieces available on request.

690

Oushak Carpet

11’ 10” x 14’ 10”

$4,000-$7,000

690

$6,000-$9,000

$3,000-$5,000

691

Oushak Carpet

12’ x 12’

692

Donegal Carpet

9’ 2” x 12’ 2”

691

693

Hugues Claude Pissarro (French, b. 1935)

“Tot Matin, La Terrasse”

pastel on paper signed lower left. Glazed and framed.

sight 14” x 19-1/2”, framed 17” x 22-1/2”

$2,500-$4,000

Provenance: M.S. Rau Antiques, New Orleans, Louisiana; Property of a gentleman collector, New Orleans, Louisiana.

693

694

Hugues Claude Pissarro (French, b. 1935)

“Paris-Rue Clignancourt”

pastel on paper signed lower right, verso with the certificate of authenticity from the artist and “Guarisco Gallery, Washington, D.C.” label. Framed.

sight 14” x 19”, framed 25-1/2” x 30”

$3,000-$5,000

Provenance: Guarisco Gallery, Washington, D.C.; Property of a gentleman collector, New Orleans, Louisiana.

695

Hugues Claude Pissarro (French, b. 1953)

“Sur la Jetee”

pastel on paper signed lower center. Glazed and framed.

sight 14” x 19-1/2”, framed 17” x 22-1/2”

$3,000-$5,000

Provenance: M.S. Rau Antiques, New Orleans, Louisiana; Property of a gentleman collector, New Orleans, Louisiana.

696

Exceptional Italian Marble Planter

ca. 1900, in the neoclassical taste, the mottled mauve and white marble planter with five projecting white marble panels carved with vases of flowers alternating with panels of frolicking putti, one personifying spring and the other autumn, raised on three carved white marble corbel-form supports, with leaf-carved and fluted facades and carved scrolls and panels on the sides, above mauve marble bases, fitted with a copper liner. h. 29-1/2”, w. 36”, d. 12-1/2”

$2,000-$4,000

695

696

697

Pair of Italian Carved Sconces

mid-20th century, the flame finials over quiver-form backplates carved with giltwood acanthus leaves and white-painted panels, set with scrolled candle branches decorated with carved leaves, set with gadrooned drip pans and inverted bell-form candle sockets, decorated with carved leaves and beading. h. 33”, w. 21”, d. 15”

$1,000-$1,500

698

Italian Giltwood Floor Lamp in the Neoclassical Taste

first quarter 20th century, the vasiform standard decorated with egg-and-dart molding, fluting and acanthus carving, the tripartite base with dragon-headed monopodia on each corner, framing concave panels carved with cartouches and scrollwork, on a conforming platform, electrified.

h. 71-3/4”, dia. 21”

$1,400-$1,800

698

699

Rose Tarlow Upholstered Armchair and Ottoman

the curved and back-scrolled crest above a padded, waisted back, joined by outscrolled arms to the padded seat, the lower section skirted, with a conforming padded and skirted ottoman. h. 41”, w. 32”, l. 32”, ext. l. 43”

$1,500-$2,500

700

Pair of Edwardian Satinwood and Mahogany Demilune Cabinets

late 19th century, in the Adam taste, each top centered by a feather patera and with a polychrome scrolling floral and foliate band, above a conforming case fitted with a central cupboard, banded and featuring an elaborate floral urn, flanked to either side by a banded panel centered by an oval medallion with classical figures, raised on splayed, bracket feet.

h. 36”, w. 48”, d. 20-1/2”

$2,000-$4,000

701

in the “hu” shape, on giltwood bases.

h. 22-3/4”, dia. 10-1/4”

$1,200-$1,800

702

Directoire-Style Argente Metal and Marble-Top Center Table

the inset circular marble top raised on four supports, each headed by a gilt ram’s head, joined by a ring stretcher and ending in gilt hoof feet.

h. 28”, dia. 36”

$1,200-$1,800

Pair of Chinese Porcelain Lamps

703

Pair of Unusual Italian Faux Marbre Walnut Urns

the carved ovoid urns on turned bases and rectangular plinths, now with well-executed faux marbre painting. h. 23-1/2”, w. 19-1/4”, d. 12-1/4”

$2,000-$4,000

704

Unusual Belle Epoque Bronze and Glass Lantern

fourth quarter 19th century, having a pierced crown molded with fleurs-de-lis, above cartouches hung with swags of leaves, the inverted pear-form lantern set with panels of beveled glass, the divisions decorated with figures of Neptune alternating with seashells, the base molded with acanthus leaves and lion’s heads, terminating in a pineapple finial. h. 37”, dia. 13-1/2”

$2,000-$4,000

705

Continental Giltwood Center Table

19th century, the turtle-form top with an inset velvet surface and raised on a standard naturalistically modeled as an intertwining branch, extending to three like-modeled legs.

h. 34”, w. 33”, d. 26”

$1,000-$1,500

703

704

705

706

Pair of Chinese Porcelain Lamps

the apple-green crackled glaze vases raised on acrylic bases. h. 21”, dia. 9-1/2”

$1,000-$1,500

707

Gilt-Metal and Plate-Glass Cocktail Table of Louis XVI inspiration, the heavy plate-glass top with serpentine sides, over gilt-metal reeded quiver-form legs secured to the top with floriform medallions. h. 16-1/2”, w. 45-1/4”, d. 27-1/4”

$1,200-$1,800

708

Rose Tarlow Upholstered Club Chair

the domed and padded back joined by rounded arms to the cushioned seat, raised on a skirted base. h. 34”, w. 36”, d. 32”

$1,500-$2,500

706

707

Unusual Victorian Porcelain and Brass Coat Rack

fourth quarter 19th century, English or Continental, the coat rack with a porcelain finial and gilt-decorated pale green porcelain-clad standard, set with two tiers of hooks, the scrolled base with dragon-headed cane and umbrella supports, on ball feet.

h. 78”, w. 22-1/2”, d. 22-1/2”

$1,500-$2,500

fourth quarter 19th century, now mounted as a lamp, the brazier-form garniture with three cranes, the legs mounted with stag’s heads, the interior with a figure of Mercury, the base raised on acanthus-molded paw feet, separating molded anthemia, mounted with shades.

h. 35-3/4”, dia. 16”

$800-$1,200

Provenance: Malcolm Innes Gallery, Edinburgh, Scotland.

709

710

French Bronze Neo-Grec Garniture

709

710

711

French Giltwood and Mirrored Screen

20th century, in the neoclassical taste, the crest decorated with pierced scrollwork and flower heads, the surrounds lined with giltwood beading, inset with mirror glass, the bodies set with panels of “antique” mirror glass decorated with leaf-molded bronze medallions, the back covered in gold silk. h. 85-1/4”, w. 60-3/4” (fully extended)

$1,500-$2,500

712

Pair of Provincial Louis XV-Style Polychrome Jardinieres

19th century, each of rectangular form with scalloped edges and removable metal liners, raised on cabriole legs. h. 21”, w. 27-1/2”, d. 12”

$1,200-$1,800

711

712

713

Pair of Unusual Italian Tole-Peinte Sconces

third quarter 20th century, the three-light sconces with bases in the form of carefully decorated jardinieres in the neoclassical taste, supporting pineapple plants with rows of leaves and a pineapple at the top, each base concealing two sockets, with one more at the top. h. 32-1/2”, w. 18-3/4”, d. 4”

$3,000-$5,000

714

Set of Fourteen Hermes Service Plates

20th century, the service including six “Toucans Green” plates, six “Toucans Coral” plates and two HRMS plates, each with yellow-decorated rims, marked “Hermes”. dia. 11-3/4”

$1,000-$1,500

715

Suite of Eight Louis XVI-Style Giltwood Side Chairs

each with a padded, rectangular back above the padded seat, raised on fluted, tapered circular legs joined by an H-form stretcher and ending in toupie feet, with decorative brass tacks. h. 39”, w. 22”, d. 21”

$2,000-$4,000

713

714

716

French Belle Epoque Parcel-Gilt Trumeau Mirror

fourth quarter 19th century, in the neoclassical taste, the upper tablet decorated with gilt floral swagging within a gilt border, on a slate blue ground, the mirror plate surround carved with honeysuckle, the beveled mirror plate lined with beading, marked by the Parisian dealer and dated “1897/11MAI/Paris” on the reverse. h. 61-1/2”, w. 39-1/2”

$1,200-$1,800

Provenance: Royal Antiques, New Orleans, Louisiana.

19th century and later, the oval pierced ornaments decorated with tulips and sunflowers, retaining a patinated surface, now on acrylic bases. h. 29-3/4”, w. 10”, d. 5”

$1,200-$1,800

716

717

Pair of Pressed Tin Ornament Lamps

717

718

$4,000-$7,000

719

Oushak Carpet

$5,000-$8,000

720

Oushak Carpet

$3,000-$5,000

Oushak Carpet

12’ 2” x 14’ 7”

12’ 1” x 15’ 2”

9’ x 12’ 3”

719

721

Unusual Italian Bronze, Brass and Crystal Chandelier

first quarter 20th century, the corona with scrolled brass sprays of drops, supporting the twenty-four-light chandelier with a glass-clad standard, supporting six leaf-molded and scrolled arms, supporting turned candle cups with leaf-molded drip pans on two levels, the arms hung with swags of unusual blown glass balls, the bottom with a cut glass pendant. h. 52”, dia. 42”

$2,000-$4,000

722

Pair of Large Chinese Glazed Pottery Foo Dogs on Stands

the seated foo dogs with a crackled glaze and pierced menacing mouths, their collars hung with molded bells, the bases molded with drapery, the lower edges with scrolled feet on each corner. h. 38”, w. 13-1/2”, d. 20-3/4”

$1,200-$1,800

723

E. F. Caldwell & Co. Bronze, Jade and Bone Box

first quarter 20th century, New York, the cover with a carved white jade foo dog knop, the sides and cover with incised bone fitted with gilt-bronze mounts in the Chinese taste, the cover opening to reveal a black-lacquered panel of a mandarin figure under a tree and a script signature, “E. F. Caldwell & Co. Inc.”. h. 3”, w. 5-1/4”, d. 3-1/4”

$1,000-$1,500

721

724

Louis XV-Style Giltwood and Upholstered Settee

early 20th century, the padded, rectangular back joined by shaped sides and rounded arms to the bi-cushioned seat, above a guilloche-carved apron, raised on cabriole legs ending in scrolled toes.

h. 36”, w. 71”, d. 32”

$1,800-$2,500

Provenance: Michael Dale Interiors, Houston, Texas.

725

Pair of French Gilt-Bronze, Porcelain and Crystal Girandoles

second quarter 20th century, the Louis XV-style bases set with bronze frames with tulip-form candle sockets on each end, the scrolled arms decorated with porcelain flowers with enameled leaves and various colorless and mauve glass drops, the tops with spear-point cut glass finials.

h. 20-1/2”, w. 13-1/2”, d. 4-3/4”

$1,000-$1,500

724

726

Contemporary Giltwood Sunburst Mirror

of Louis XIV inspiration, the convex mirror plate set into a circular surround, mounted with carved giltwood sun “rays”. dia. 48-3/4”

$1,200-$1,800

727

Anglo-Irish Cut Glass Centerpiece

first quarter 20th century, in three pieces, decorated with strawberry cutting, the trumpet-form center set into a low bowl, raised on a standard, with a cylindrical band of cutting, the stepped base cut to match. h. 16-3/4”, dia. 13-1/4”

$1,000-$1,500

728

Italian Neoclassical Polychrome and Parcel-Gilt Console Table

19th century, the deeply canted top with an inset leather surface, above a conforming paneled, foliatecarved frieze, raised on like-carved, double-paneled, tapered square legs ending in toupie feet. h. 31”, w. 38”, d. 19”

$1,000-$1,500

726

727

729

Pair of Polychrome and Parcel-Gilt Wood Reliquaries in the Baroque Taste

19th century, with winged angel-head crests, the central oval reliquary holders supported by pierced scrollwork, the lower portion decorated with carved floral swags framed with scrollwork.

h. 8-1/2”, w. 9”

$1,000-$1,500

Provenance: Summerhill Antiques, Summerland, California.

730 Louis XVI-Style Ebonized Writing Table

20th century, the rectangular top with an inset leather writing surface, above a frieze accented with ormolu millwork and fitted with a single drawer, raised on likeaccented, tapered square legs ending in brass caps. h. 28-1/2”, w. 29-1/2”, d. 19-3/4”

$900-$1,200

731

Pair of Ralph Lauren Louis XV-Style “Spencer” Gilded Fauteuils

each with a domed and padded back and shaped sides, joined by scrolling arms to the padded seat, raised on cabriole legs headed by shield carving, joined by an X-form stretcher and ending in scrolled toes, bearing a label under the seat.

h. 45”, w. 28”, d. 26”

$1,000-$1,500

729

730

732

Pair of Empire-Style Gilt-Bronze and Granite Gueridons

each with a circular inset black granite top raised on three bronze supports joined by vertical X-form stretchers to paw feet.

h. 26-3/4î, dia. 17-1/4î

$1,200-$1,800

733

Japanese Lynn Chase “Jaguar Jungle” Porcelain Dinner Service for Six

20th century, the service including six dinner plates, dia. 10-3/4”, six soup plates, dia. 9-1/4”, six bread and butter plates, dia. 8-1/4”, and six cups with six saucers, h. 2”, dia. 5-1/2”, signed on the backs.

$1,000-$1,500

734

Polished Brass and Leaded Glass Hall Lantern

20th century, in the Renaissance Revival style, supported on a turned standard decorated with a pierced corona and molded acanthus leaves, the bronze frame with a pierced top, the corners with molded lion masques and pierced scrollwork, framing the leaded panels composed of red glass and stippled colorless glass, the lower section with scrolled bronze supports.

h. 41”, w. 12-3/4”, d. 12-3/4”

$1,000-$1,500

735

Italian Pietra Dura and Metal Table

mid-20th century, in the neoclassical taste, the top inlaid with star patterns executed in various marbles, supported on metal seated griffins atop scrolled legs, decorated with molded leaves terminating in hoof feet.

h. 23-1/2”, dia. 19-1/2”

$1,200-$1,800

734

735 detail

735

736

Bronze Figure of “Spud”

after Julian Jeffrey (British, b. 1973), the figure riding a bucking hare, marked “Hoblins” on the base in raised block lettering. h. 24”, w. 28-1/2”, d. 20-1/2”

$1,500-$2,500

This figure is from Jeffrey’s “Hoblins” series, depicting wizened elfin-like creatures.

737

Bronze Figure of “Pip”

after Julian Jeffrey (British, b. 1973), the figure playing a flute, perched on one leg, marked “Hoblins” on the base in raised block lettering. h. 28-1/2”, w. 9-1/2”, d. 12-1/2”

$1,200-$1,800

This figure is from Jeffrey’s “Hoblins” series, depicting wizened elfin-like creatures.

736

738

Bronze Figure of “Puck”

after Julian Jeffrey (British, b. 1973), the figure with a slingshot, inscribed “Hoblins” on the base in raised block lettering.

h. 21-3/4”, w. 16”, d. 9-1/2”

$1,200-$1,800

This figure is from Jeffrey’s “Hoblins” series, depicting wizened elfin-like creatures.

739

Bronze Figure of “Pod”

after Julian Jeffrey (British, b. 1973), the figure sitting on a lily pad, stroking his chin, a walking stick in one hand, inscribed “Hoblins” on the base in raised block lettering. h. 27”, w. 15”, d. 19”

$1,200-$1,800

This figure is from Jeffrey’s “Hoblins” series, depicting wizened elfin-like creatures.

740

Pair of Patinated and Parcel-Gilt Metal Sconces

in the baronial taste, each with a curved mica shade painted with fleurs-de-lis and set with a pair of faux candles mounted on pierced drip pans, supported on a twisted support rod with acorn pendant finial and molded leaves.

h. 40-1/4”, w. 9-1/4”, d. 4-1/4”

$800-$1,200

741

Contemporary Red-Lacquered Faux Bamboo and LeatherTop Games Table

the square top with circular, recessed cookie corners and leather playing surface, one apron fitted with a drawer and raised on turned faux bamboo legs.

h. 28-1/2”, w. 32”, d. 32”

$1,000-$2,000

742

Italian Venetian Blown and Engraved Glass Mirror

20th century, the surround composed of panels of glass engraved with scrollwork and flowers, the corners and sides decorated with blown glass flowers and leaves and the outside border with rope-twist blown glass trim. h. 39-3/4”, w. 31-3/4”

$1,000-$1,500

740

741

742

$2,000-$4,000

744

$4,000-$7,000

743 Modern Carpet

6’ 6” x 9’ 7”

Modern Carpet

10’ x 14’ 2”

743

745

Turkish Angora Oushak Carpet

9’ x 11’ 9”

$1,200-$1,800

746

Turkish Angora Oushak Carpet

9’ 1” x 12’ 3”

$1,200-$1,800

745

747

Turkish Angora Oushak Carpet

$1,400-$1,800

748

Turkish Oushak Carpet

$1,400-$1,800

749

$1,800-$2,500

8’ 10” x 12’ 2”

10’ 7” x 13’ 2”

Turkish Angora Oushak Carpet

10’ 2” x 14’ 1”

750 Contemporary Bronze Figural Sculpture

20th century, depicting a reader holding a book aloft, perched on a stack of books, the figure with a brown patina and the books with a lighter patina and green pages. h. 78-1/2”, w. 12-1/2”, d. 16”

$2,000-$4,000

751

Pair of Patinated Metal Urn-Form Lamps with Joanna Wood Shades

the polychrome drum-form shades decorated with 18th-/19thcentury-inspired tropical scenes, over square vasiform bases with bold scrolled handles. h. 33”, dia. 15-1/2”

$1,000-$1,500

Provenance: from a Gorges du Verdon, France Gallery.

752

Two Lamps with Joanna Wood Shades

one example, second quarter 20th century, with a shade decorated with elephants, on an Art Deco-molded glass boudoir lamp with a celluloid standard, h. 17”, w. 10-1/2”, d. 10-1/2” and the other example, with a “chinois” shade decorated with Chinese figures, with pet birds on a tether, on a simple black metal standard lamp base, h. 21-3/4”, w. 7-1/2”, d. 7-1/2”.

$500-$800

Provenance: from a Gorges du Verdon, France Gallery.

751

752

753

Asian Hardwood and Marble-Top Garden Seat

20th century, the circular top with an inset marble surface, above a conforming pierced and bulging body, raised on shaped feet. h. 20-1/2”, dia. 23”

$1,000-$1,500

754

Zebra Rug

70” x 123”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

755

Zebra Rug

66” x 105”

$1,000-$1,500

Provenance: Historic Solana, Montecito, California.

753

754

755

756

Asian-Style Papaya-Lacquered Cabinet

19th century, the rectangular top above a case fitted with a cupboard to one side and four short drawers to the other, above a carved apron and plinth base. h. 37”, w. 36”, d. 14-1/2”

$1,000-$1,500

Provenance: Royal Antiques, New Orleans, Louisiana.

757

758

Pair of Chinese Hardstone-Mounted Pewter Ginger Jars

first quarter 20th century, now mounted as lamps, the lobed bodies engraved with scrollwork and mounted with tendrils of leaves and hardstone “blossoms”, now on black acrylic bases. h. 18-1/4”, dia. 6-1/2”

$1,200-$1,800

ca. 1900, the rolled upper rim decorated with leaves and berries, the leaf-carved vasiform standard on a base carved with leaves and berries, raised on paw feet. h. 36”, dia. 17”

$1,200-$1,800

757

Burmese Carved and Pierced Wood Planter

758

756

759

of Unusual Italian Giltwood Mirrors

mid-19th century, in the rococo taste, with shell-carved crests supported by tendrils of leaves, the scrolled surrounds with strapwork carving, the edges with carved leaves and rocaille work, the segmented and lined mirror plates decorated with carved husks, the lower portions with carved baskets of flowers.

h. 47-1/2”, w. 36”

$2,000-$4,000

760

Louis XVI-Style Kingwood and Marble-Top Occasional Table

19th century, the square marble top within a full pierced brass gallery, above a conforming ormolu foliate applied frieze, joined to a lower parquetry-veneered shelf by fluted, bulbous supports, the whole raised on slender, circular, ringturned legs ending in peg feet.

h. 32-1/2”, w. 16”, d. 16”

$800-$1,200

Provenance: Christieís South Kensington, February 25, 2004, Sale 9852.

Pair

759

761

Louis XVI-Style Kingwood and Marble-Top Occasional Table

19th century, the square marble top within a full pierced brass gallery, above a conforming frieze, joined by bulbous and fluted supports to a pierced stretcher centered by a gilt pineapple, raised on slender, circular, ring-turned legs ending in peg feet.

h. 32-1/2”, w. 16”, d. 16”

$800-$1,200

Provenance: Christieís South Kensington, February 25, 2004, Sale 9852.

762

Pair of French Carved and Painted Jardinieres

second quarter 20th century, of Louis XVI inspiration, the green-painted bodies ornamented with giltwood medallions and swags of flowers, the skirts hung with pierced giltwood swags, the scrolled legs lined with carving and terminating in leaf-carved scrolls, above cove-molded platforms set with pineapple-carved giltwood finials, with removable metal liners.

h. 52”, dia. 16-1/2”

$2,000-$4,000

761

762

763

Suite of Nine Pressed Hydrangeas

2024, each initialed and dated lower right, in shades of blue, purple and cream. Matted, glazed and framed alike. each framed 17-1/2” x 13-1/2”

$1,200-$1,800

764

Pair of Chinese Porcelain Lamps

the celadon-glazed beaker-form vases mounted on giltwood bases.

h. 23-1/2”, dia. 7-3/4”

$1,200-$1,800

764

763

$3,000-$5,000

765 Moroccan Carpet

9’ 7” x 13’ 9”

765

766 Moroccan Carpet

8’ 10” x 12’ 3”

$3,000-$5,000

$3,000-$5,000

767

Moroccan Carpet

11’ 8” x 15’ 2”

768 Moroccan Carpet

10’ 3” x 15’ 3”

$5,000-$8,000

767

769

Pair of Giltwood and Faux Marbre Side Tables

19th century, in the Baroque taste, each with a shaped and bowed faux marbre top above a deep foliate-carved frieze, raised on exuberantly carved and molded legs featuring Green Man masques and joined by a winged cherub, raised on shaped and scrolled feet. h. 35”, w. 54”, d. 21”

$2,000-$4,000

770 Circle of Francisco Antonio Vallejo (Mexican, 1722-1784)

“Pieta”

oil on copper inscribed “Vallejo pinxit” lower left. Framed.

8” x 5-3/4”, framed 14” x 11-1/2”

$1,500-$2,500

771

Pair of French Patinated Metal and Marble Lamps

ca. 1900, in the Classical Revival taste, set with swanform handles, the bodies decorated in bas-relief with neoclassical charioteers, after Emile Picault (French, 1833-1915), signed “E Picault” and “France”, raised on anthemion-molded bases with sepia-veined marble plinths, now on acrylic bases and mounted with shades. h. 29-1/2”, w. 9”, d. 5-1/2”

$1,000-$1,500

772

Suite of Eight Venetian Polychrome Dining Chairs

ca. 1900, comprised of two armchairs, h. 41”, w. 27”, d. 23”, and six side chairs, h. 41”, w. 22”, d. 19”, each with a central shell-carved crest rail, above a shaped splat with various courting scenes, raised on cabriole legs ending in pad feet.

$2,500-$4,000

771

773

Peshawar

6’ 2” x 9’ 2”

$1,200-$1,800

774

Peshawar “Birds of Paradise” Carpet

9’ x 11’ 7”

$2,500-$4,000

“Birds of Paradise” Carpet

773

775

4’

$800-$1,200

$700-$1,000

Peshawar “Birds of Paradise” Carpet

1” x 6’

776

Peshawar “Birds of Paradise” Runner

2’ 9” x 7’ 7”

775

776

ARTIST INDEX

(BY LOT NUMBER)

Adrion, Lucien (French, 1889-1953)

Anderson, After Walter Inglis (American/Mississippi, 1903-1965) 656,657

Anderson, Walter Inglis (American/Mississippi, 1903-1965)

Antonovici, Constantin (Romanian, 1911-2002)

Aziz, Abdul (Indonesian, 1928-2002)

Beck, David (American, 1953-2018)

Boman, Daisy (Belgian, b. 1948)

Carpenter, Attributed to Margaret Sarah (British, 1793-1872)

Casterline, Rose Thome (American, b. 1964)

Charbonnet, Nicole (American/Louisiana, b. 1966)

Circle of Francisco Antonio Vallejo, (Mexican, 1722-1784)

Clark, William (Scottish, 1803-1883)

Cleenewerck, Henry (Belgian/American, 1818-1901)

Continental School, (18th Century)

D’’Espagnat, Georges (French, 1870-1950)

Daumiller, Gustav Adolf (German, 1876-1962)

De Glehn, R.A., Wilfrid (British/American, 1870-1951)

de Gryef, Manner of Adriaen (Dutch, 1670-1715)

de Vos, After Maarten (Flemish, 1532-1603)

Delmar-Ochsner, Rise (American/Louisiana, b. 1944)

Desch, Frank Howard (American, 1873-1934)

Dommelshuizen, Cornelis Christiann (Dutch, 1842-1928)

Drysdale, Alexander John (American/Louisiana, 1870-1934)

Dunbar, George Bauer (American/Louisiana, 1927-2024)

Duran, Charles Auguste Carolus Emile (French, 1837-1917)

633,646,651

Emery, Lin (American, 1926-2021) 645, 649,652

Erte (Russian/French, 1892-1990) 219

Fidler, Harry (British, 1856-1935) 152

Flemish School, (17th Century) 70,73,74

Flint, R.A., Sir William Russell (Scottish, 1880-1969) 158

Foster, Ben (Benjamin) (American/Maine, 1852-1926) 296 French School, (19th Century) 71

Friedeberg, Pedro (Mexican, b. 1936) 571

Guidry, Louise (American/Louisiana, b. 1930)

Halliday, David (American, b. 1958)

628,642

638,639,641

Hambourg, Andre (French, 1909-1999) 151

Heldner, Knute (Swedish/Louisiana, 1875/77-1952) 684

Henner, Jean-Jacques (French, 1829-1905) 348

Holmstedt, Johann (Swedish, 1851-1929) 354

Hunter, Clementine (American/Louisiana, 1886-1988) 653

Jean-Michel Frank (1895-1941) 615

Kohlmeyer, Ida Rittenberg (American/Louisiana, 1912-1997) 650

Kronberg, Louis (American, 1872-1965) 157

Lebasque, Henri Baptiste (French, 1865-1937) 147

Lefeuvre, Jean (French, 1882-1975) 160

Longshore, Ashley (American/Louisiana, Contemporary) 637

Mack, Bill (American, b. 1949) 248

Malle, Charles (French, 1935-2023) 148

Millet, Clarence (American/Louisiana, 1897-1959) 658

Monasterio, Luis Ortiz (Mexican, 1906-1990) 576

Ohr, George E. (American/Mississippi, 1857-1918) 655

Perelli, Achille (Italian/New Orleans, 1822-1891) 681

Picard, Louis (French, 1861-1940) 156

Pissarro, Hugues Claude (French, b. 1935)

Pissarro, Lelia (French/English, b. 1963)

Reidel, Karl (German, 1927-2006)

Rower, Holton (American, b. 1962)

Rudolph, Hayne E. (American/Mississippi, Contemporary)

Schouten, Henry (Belgian, 1864-1927)

Schultheis, Michael (American, b. 1967)

Scott, Henry (British, 1911-2005)

Seliger, Mark (American, b. 1959)

Slonem, Hunt (American, b. 1951)

Sperling, Heinrich (German, 1844-1924)

Srihadi, Siti Farida (Indonesian/Ohio, 1942-2023)

Stewart, Allison (American, b. 1941)

Sustermans, After Justus (Flemish, 1597-1681)

Tiercelein, Rene (French, 18th century)

Tissot, James Jacques Joseph (French/British, 1836-1902)

Vallejo, Circle of Francisco Antonio (Mexican, 1722-1784)

Villa, Mario (Nicaraguan/Louisiana, 1953-2021)

Wagner, Fritz (German, 1896-1939)

Wallin, Tore (American/Louisiana, Contemporary)

Walter, Martha (American, 1875-1976)

Wise, James Hosmer Perkins (American/Louisiana, 1845-1901)

Witte, Evert (Dutch/Louisiana, b. 1951)

Woods, Susan (American, Contemporary)

Woodward, Ellsworth (American/Louisiana, 1861-1939)

Zatzka, Hans Ronsard (Austrian, 1859-1945)

Zuber-Buhler, Fritz (Swiss, 1822-1896)

Zuniga, Francisco (Mexican, 1912-1998)

New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere.

The Artist’s Name: In our qualified opinion, a work by the artist.

Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist.

School of / 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.

After: In our qualified opinion, a copy of a known work by the artist.

Signed: In our qualified opinion, has the signature which is that of the artist.

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Dated: In our qualified opinion, is so dated and was executed on or around that date.

Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

Conditions of Sale:

ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction

(a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction.

(b). Under these Conditions of Sale, the following capitalized terms are defined as follows:

• An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG;

• The “Auctioneer ” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot;

• A “ Bidder ” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding);

• A “ Buyer ” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction;

• “ Buyer’s Premium” is defined in Section 4 below;

• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction;

• The “ Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction;

• The “ Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges;

• A “ Lot ” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below;

• The “ Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot;

• The “ Seller ” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot;

• The “ Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer.

(d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction

(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER.

(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.”

(ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose.

(iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale.

(iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED.

(v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership.

(vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a).

(b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

(c). Catalogue and other descriptions.

(i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others.

(ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot.

(iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price.

(iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material.

(d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that:

(i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot;

(ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere;

(iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot;

(iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and

(v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction

(a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements:

(i) A Bidder must complete and sign the attached registration form and provide identification to NOAG;

(ii) NOAG may require the production of bank or other financial references or any other additional information;

(iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment

(iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and

(v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below).

(b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion.

(c). Absentee bids / Telephone bids.

(i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”).

(ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid.

(iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above.

(e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller.

(f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot.

(g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction

(a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG:

(i) the Hammer Price; and

(ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 12% 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.

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction.

(g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law):

(i) to charge outstanding amounts to the Buyer’s credit card;

(ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law);

(iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;

(iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer;

(v) to cancel the sale;

(vi) to resell the property publicly or privately on such terms as we shall think fit;

(vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer;

(viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer;

(ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs;

(x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids;

(xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

(h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

(i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright

The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection

In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction

The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

New Orleans Auction galleries

333 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 / American Express #: ____________________________________________

Expiration Date: _____________ CVV #: __________ Billing Zip:

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 12% of the hammer price greater than $200,000 (no discounts). Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required):

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

Rev. Jan. 2023

Meet Our Team

CEO:

PRESIDENT:

DIRECTOR EMERITUS:

SPECIALISTS:

DIRECTOR OF ESTATES & EVALUATIONS:

DIRECTOR OF FINE ART:

ASSOCIATE SPECIALIST, FINE ART

SENIOR SPECIALIST: AMERICAN, CONTINENTAL & ENGLISH FURNITURE; DECORATIVE ARTS; CLOCKS

SENIOR SPECIALIST CONTINENTAL & ENGLISH FURNITURE; DECORATIVE ARTS

DIRECTOR OF FINE JEWELRY

FINE SILVER

CARPETS

ADMINISTRATION:

DIRECTOR OF CLIENT SERVICES

ADMINISTRATION

OFFICE MANAGER

CREATIVE:

CREATIVE DIRECTOR

LEAD PHOTOGRAPHER

GRAPHIC DESIGNER

OPERATIONS:

DESIGNER:

CONSULTANTS:

ENGLISH & CONTINENTAL FURNITURE

AMERICAN FURNITURE

FINE ART

Susan D. Sarofim

Taylor Eichenwald | taylor@neworleansauction.com

Tessa Steinkamp

John C. Jones | john@neworleansauction.com

Michele Carolla | michele@neworleansauction.com

Sophie Curtis | sophie@neworleansauction.com

Greg S. Kowles | greg@neworleansauction.com

Ireys Bowman | ireys@neworleansauction.com

Kim Lemon | kim@neworleansauction.com

Charles C. Cage | charles@neworleansauction.com

Sean Ranson | sean@neworleansauction.com

Sylvia Burn | sylvia@neworleansauction.com

Denise Haik | denise@neworleansauction.com

Charles C. Cage | charles@neworleansauction.com

Amelia Schussler | amelia@neworleansauction.com

Christa Ougel | christa@neworleansauction.com

Erica Westenberger | erica@neworleansauction.com

Sean Ranson, Cedric Roberts, Gerald Hampton, Emmitt Kendrick, Jr., Sol Carter, Juanita Bazile, Theadrow Mark, Furnell Augustin, Jr., Will Williams, Jr., Cassius Brown; Owen Lemon

Burke

Ellen McKenzie

Thomas Halverson

Claudia Kheel