July 28-29 Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries

J U LY 2 8 - 2 9 , 2 0 1 8

ESTATES AUCTION July 28-29, 2018 10:00 a.m. CDT

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | Main: 504.566.1849 | Fax: 504.566.1851 25% Buyerâ&#x20AC;&#x2122;s Premium | LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 Pictured Left: Lot 273 | Front Cover: Lot 424 | Back Cover: Lot 42

EXHIBITION July 16 - 27, 2018 Monday-Friday, 9:00 a.m. - 5:00 p.m. Saturday, July 21, 10:00 a.m. - 4:00 p.m.

EVENING RECEPTION Thursday, July 26, 2018, 5 - 7:30 p.m.

LOT SCHEDULE Please note that times are approximate

Session I Saturday, July 28 Lots 1 - 542 10:00 - 11:00

11:00 - 12:00

101

200

12:00

1:00

201

300

100

1:00

2:00

301

400

2:00

3:00

401

500

3:00

3:30

501

542

10:00 - 11:00

543

613

11:00 - 12:00

614

684

12:00

1:00

685

785

Session II Sunday, July 29 Lots 543 - 1050

1:00

2:00

786

886

2:00

3:00

887

987

3:00

3:30

988

Pictured: Lot 826

1050

LETTER FROM THE DIRECTOR OF AUCTIONS

Collections are curious and wonderful things. They are, by most accounts, considered to be a sum greater than their parts. However, I counter that notion, because I know even the smallest item in a beloved collection can singularly represent a world of relevance and meaning. Even though we hold our collections dear – whether comprised of art, jewelry, antique furniture or the like – these items are often simply passing through our hands, moving from one generation to another, or sought out in far-flung flea markets, from private dealers or, of course, at auction. As Director of Auctions for New Orleans Auction Galleries, I’ve had the privilege of helping people create and curate their collections. I truly enjoy being a part of their exciting and satisfying pursuits, and I am equally honored when a client allows me to be part of the consigning of their collection. It’s a valued responsibility to bring their collections to NOAG so that these items continue that succession, moving into new hands. Working in consignments during the past three decades, I’ve had the incredible opportunity to visit countless homes across the country and meet the most interesting people. I’m constantly surprised and engaged by our consignees, as they, and their collections, broaden my knowledge and enrich my life. A standout among this distinguished group of people is Dr. Carroll Ball, of Hillman, Mississippi, whom I met in the late 1980s. This was at the onset of my career, and he was one of the first consummate collectors I encountered. His passion for miniatures, silhouettes, fine portraits and American classical furniture made a lasting impression on me, helping me understand what it truly means to collect. Therefore, it is a personal privilege to present in the pages of this catalogue Dr. Ball’s lifetime collection, which includes fine art, furniture, porcelain and Grand Tour bronzes.

A more recent encounter reminded me that each client and each home brings the excitement of anticipation and unknown possibilities. As I entered a contemporary high-rise penthouse in the beachside town of Destin, Florida, I was blown over by the choice of fine French furnishings and lighting in this polished and elegant retreat.You’ll find many of these items, including Boulle desks and side tables, ormolu-mounted commodes, vitrines, clocks, gilt-bronze chandeliers, mirrors and much more in the following pages. This auction also features an incredible private collection of jewelry with pieces from Van Cleef & Arpels, David Webb and Henry Dunay. Also offered is a stunning Fred Leighton gemstone and diamond bib necklace set with an array of natural ruby, sapphire and emerald cabochons. This piece is one of five similar necklaces designed by Leighton, one of which was worn by actress Amy Adams at the 2009 Academy Awards, and another worn by Beyoncé in the pages of InStyle magazine the year prior. But, of course, if jewelry isn’t your bag, we have you covered. This auction will include a fabulous Van Cleef & Arpels handbag and four sumptuous Hermes Birkin bags. (Just thinking ahead: It’s a great time to check off the designer handbag collector on your holiday list.) This auction offers such a variety of exquisite, rare and beautiful items. It is with pride that I recognize the hard work by our staff. Their coordinated effort – which can, behind the scenes, resemble a major theater production – has resulted in what I know will be an exciting auction on July 28-29, along with our evening reception on Thursday, July 26 from 5-7:30 p.m. I invite you to sit back and enjoy leafing through the pages of our latest catalogue. With 1,050 lots, perhaps you will find the perfect piece to compliment your own cherished collection.

Tessa Steinkamp Director of Auctions

May Estates Auction

Evening Reception

1. John Zarsky, Gwendolyn Mann, & Brittany Markert 2. Burke, Peg Wheatley, & Adam Fenasci 3. Claudia Kheel & Jay Murphy 4. Marsden & Vicki Moran 5. Lelia Peyronnin, Shane Thornton, & Shelly Pecor 6. Jamie Lehr, Chuck, & Rob Keller

Pictured Right: Lot 40

THE ESTATE OF

JOHN ELLIOT BRADSHAW HOUSTON, TEXAS

New Orleans Auction Galleries is honored to offer fine art, jewelry, garden statuary, antique furniture and many other unique treasures from the Estate of John Elliot Bradshaw, internationally renowned educator, counselor, philosopher, theologian, motivational speaker and New York Times bestselling author.

Bradshaw hosted a number of PBS television series on topics such as love, addiction(s), eating disorders, relationships, recovery, codependency, family systems and spirituality. Through his television production ventures with PBS, John helped raise over $12 million for the Public Broadcasting System.

Born into a troubled family on June 29, 1933 in Houston, Texas and abandoned by his alcoholic father at a young age, John became both an academic overachiever and an out-of-control teenager. He later studied for the Roman Catholic priesthood at a Basilian seminary where he remained for nine and one-half years, leaving just a few days prior to being ordained. During that time, he earned his Bachelor of Arts and Master’s degrees in psychology, philosophy, and theology from St. Michael’s College at the University of Toronto, graduating Magna Cum Laude. He continued his postgraduate studies at Rice University and earned a Masters of Spiritual Psychology at University of Santa Monica. Throughout his education, John was the recipient of many merit awards, including the Trustees' Scholarship, John MacDonald Scholarship in Philosophy, Cardinal Mercier Gold Medal in Philosophy and the Trustees' Gold Medal for Academic Excellence.

For over four decades, Bradshaw combined his exceptional skills and personal experiences from his childhood and struggles with alcoholism to become one of the leading figures in the fields of addiction/ recovery, family systems, relationships, spiritual and emotional growth, and management training. He was a driving force in introducing recovery concepts of “dysfunctional families,” “toxic shame,” “PRSD - Post Romantic Stress Disorder,” and the “wounded inner child” into mainstream vocabulary.

During his years of study, John developed a drinking problem, and on December 11, 1965, took a drastic step—he committed himself to Austin State Hospital for the treatment of his dependency to alcohol. John signed himself out of the hospital after six days and entered an alcohol recovery program. Soon afterward he began to lecture at a local church, and before long, was in high demand as a counselor, teacher, public speaker, and corporate consultant.

Bradshaw touched and transformed the lives of millions, selling over 12.5 million books in 42 different languages and reaching an estimated 500,000 people through his lectures and workshops. He was elected by a group of his peers as “one of the most influential writers on emotional health in the 20th century” along with Sigmund Freud, Carl G. Jung, Joseph Campbell, Erik Erikson, Erich Fromm, Virginia Saturday and Elizabeth Kübler Ross. To learn more about the legacy of John Bradshaw, visit www.johnbradshaw.com.

THE ESTATE OF

CARROLL RAYBOURNE BALL, PHD HILLMAN, MISSISSIPPI

Carroll Raybourne Ball, PhD was born October 11, 1925 in Hillman (Greene County), Mississippi. He attended Millsaps College and Duke University, and holds Bachelorâ&#x20AC;&#x2122;s and Masterâ&#x20AC;&#x2122;s degrees from the University of Mississippi, Oxford, and a PhD from the University of Mississippi Medical Center in Jackson, Mississippi. A highly regarded professor, Dr. Ball authored and illustrated a history celebrating the first one hundred years of the Department of Anatomy at the medical center. Dr. Ball served in the United States Navy, and retired with the rank of Lieutenant Commander, United States Naval Reserve. He was a member of the First Families of Mississippi and served as Governor General of the Order from 2001 to 2003. He served three terms on the Board of Directors of the Mississippi Historical Society. He was past President of the Jackson Civil War Roundtable and was Chairman of the Coker House Restoration project of the Roundtable. Additionally, Dr. Ball was a member of the Omicron Delta Kappa academic fraternity and was a member of Pi Kappa Alpha social fraternity. Dr. Ball was also a discerning and enthusiastic collector of fine American, Continental and English portraits and portrait miniatures, as well as 19th-century English and American silhouettes. New Orleans Auction Galleries is honored to offer fine art, furniture, clocks and more from the Estate of Dr. Carroll Ball.

THE ESTATE OF

MARIANNE HOCHULI HOUSTON, TEXAS

Marianne Hochuli (née Mariana Balazs) was born in December of 1922 in Budapest, Hungary. As a child, she endured a debilitating medical condition requiring a radical surgery, which was ultimately a success. Marianne came from a family of art collectors, and was interested in art from a young age. An original Kandinsky painting hung in the family home in Budapest, but her mother was slightly embarrassed by the subject, so it was hung in a part of the home not frequented by guests. As a young woman in the midst of World War II, she endured more harrowing experiences. With dogged persistence and chutzpah, she managed to escape to Paris, then London and on to Berlin. She worked for Radio Free Europe and, being fluent in Hungarian, German, French and English, she found work as an interpreter for the United States forces. In 1952, she departed for Brazil after being rejected by several countries, including Mexico, Canada and, ironically, the United States. In Brazil, she met and married Fred Hochuli, a Swiss-born hotel manager. They lived happily for a time until he died, leaving her a widow in her forties. Nevertheless, her interest in the fine arts and all things cultural blossomed as she now began to travel for pleasure, acquiring fine art along the way. Eventually, she found her way to Houston, where she decided to make her home. She developed lasting friendships with those who shared her interest in the arts and the good life. She frequented the museums, the ballet, the symphony and opera. In particular, she loved the Museum of Fine Arts, Houston where she continued to attend lectures into her early 90s. Her passion for travel to exotic locales never waned as she visited Egypt, Antarctica, China, Iran, Machu Picchu and more well into her 80s.

As she began to lose her sight, her loyal friends rallied around her making every Wednesday (or “Vensday”, as she would say) special by taking her out to dinner. Her friends estimate that they shared over 600 “Vensday night dinners” with this amazing lady. In her last few months, the dinners were shared at her bedside. The words of “The Last Rose of Summer” ring true to the friends she left behind as it expresses what this diminutive 4’ 6” lady meant to them. New Orleans Auction Galleries is pleased to offer old master paintings from the Estate of Marianne Hochuli.

IMPORTANT C OLLECTION OF C ONTINENTAL FURNITURE & DEC ORATIVE ARTS DESTIN, FLORIDA

session i Saturday, July 28, 2018 10:00 a.m. CDT Lots 1-542

Pictured: Lot 256

2 Meissen Porcelain Pug ca. 1830, carefully molded and decorated, the seated dog signed with the pommel-ended blue crossed swords mark and incised with “3H”. h. 6‑3/4”, w. 6‑3/4”, d. 3‑1/2” Provenance: Sotheby’s, London, Mark Birley: The Private Collection, March 21, 2013, lot 216; Private Collection, Mobile, Alabama. $1,000‑$1,500

1 Continental School (18th Century)

3 Pair of Louis XV-Style Fruitwood Bergeres and Ottoman

“Portrait of a Lady with a Papillon and Parrot” oil on canvas In an antique giltwood and gesso frame. 29‑1/2” x 22‑3/4”, framed 38‑3/4” x 33‑1/2”

each leather-covered bergere with a domed, padded and cushioned back and sides, surmounted by a floral and foliate crest, joined by padded arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 38”, w. 33”, d. 34”, with a single conforming cushioned ottoman, h. 20”, w. 33”, d. 24”.

$2,000‑$4,000

$1,000‑$1,500

6 Two French Gilt-Bronze Objets d’Art ca. 1900, decorated with portraits of Elisabeth “Jardiniere”, including a cylindrical jewel box with engine turnings and neoclassical decoration, the portrait signed “Marchand”, h. 1”, dia. 3‑1/2”, and a Louis XVI-style frame molded with anthemia and decorated with a crest of putti holding swags of flowers, h. 10‑3/4”, w. 8‑1/4”. $1,000‑$1,500

4 Twelve 18th-Century Volumes of Science and Mathematics including: Carl Linnaeus (1707‑1779), Systema Naturae (London: Delamolliere et al., 1789‑1796), demy octavo, 13th edition, in ten volumes [Sherborn BM: 118] Jacques Lacombe (1724‑1811), Dictionnaire Encyclopedique des Amusemens des Sciences, Mathematiques et Physiques (Paris: Panckouke, 1792), demy quarto [Querard IV, p. 366] Georg Simon Klugel (1739‑1812), Analytische Dioptrik (Leipzig: Junius, 1778), demy quarto [Poggendorf I: 1277] Detailed bibliographic descriptions available on request. $1,000‑$1,500 5 French Taupe Leather Serre-Papiers with stepped serpentine tiers and brass nailhead trim, the sides with brass carrying handles. h. 20‑1/2”, w. 24‑1/2”, d. 18‑1/2”

Provenance: Leon Irwin Antiques, New Orleans, Louisiana.

7 Pair of French Gilt-Bronze Boudoir Lamps in the Neoclassical Taste

Copy of one of a personal pair, formerly owned by Edward, Prince of Wales, was offered in Sotheby’s, New York, auction, “The Duke and Duchess of Windsor/The Private Collections”, September 11‑19, 1997, lot 2084, page 105.

second quarter 20th century, the urn-form lamps decorated with swags and paterae, the tops with molded acanthus leaves, mounted with shades. h. 17‑1/4”, w. 9‑1/4”, d. 9‑1/4”

$1,000‑$1,500

$800‑$1,200

8 Pair of Gilded Age White Marble and Gilt-Bronze Candelabra fourth quarter 19th century, each five-light candelabrum on an urn-form white marble standard with gilt-bronze ram’shead handles supporting swags of flowers, and a border of “diamonds”, the candle branches molded to resemble roses and poppies, set with candle sockets. h. 21‑3/4”, dia. 12” $1,000‑$1,500 9 Bronze Dore and Lacy Flint Glass Dessert Stand ca. 1900, Baccarat or Belgian, the leaf-molded gilt-bronze base set with graduated “plates” and a gilt-bronze scrolled handle. h. 19‑1/2”, dia. 7‑1/2” $1,500‑$2,500

10 Louis XVI-Style Giltwood and Marble-Top Console Table mid-20th century, the thick, shaped verdigris marble top over a conforming apron, supported by shaped legs with acanthus-carved knees, joined by curved stretchers and a central finial. h. 36”, w. 66”, d. 23” $2,000‑$4,000 8

11 Maria Theresa-Style Molded Glass and Cut Crystal Chandelier the twelve-light chandelier with a glass-lined frame hung with cut crystal drops on two levels, and glass arms terminating in molded prism rings, hung with cut glass prisms. h. 36‑1/2”, dia. 30‑1/2” $1,000‑$1,500 12 Maria Theresa-Style Molded Glass and Cut Crystal Chandelier the twelve-light chandelier with a glass-lined frame hung with cut crystal drops on two levels, and glass arms terminating in molded prism rings, hung with cut glass prisms. h. 36‑1/2”, dia. 30‑1/2” $1,000‑$1,500 13 French Patinated Bronze of a Seated Putto 20th century, the plump, winged figure on a Siena marble base. overall h. 22”, w. 10”, d. 10” $800‑$1,200

14 Pair of French Bronze Dore et Patine Candelabra fourth quarter 19th century, in the Louis XV style, the pierced and scrolled bases set with patinated putti, one holding a bird’s nest and the other holding fruit, the leafmolded candle arms set with floriform candle cups and drip pans. h. 19”, dia. 12‑1/2” $800‑$1,200 15 Napoleon III Bronze Dore et Patine Three-Piece Deniere, Paris, Clock Set mid-19th century, signed by Parisian bronzier Deniere on both the works and dial of the clock, the clock base molded with pierced scrollwork and flowers, a masque of Dionysus looking out over the clock, supporting a patinated bronze figure of a three-piece band comprised of a cupid playing a drum supported by a putto, another putto playing a horn, h. 21‑1/4”, w. 19”, d. 8‑1/2”, and the six-light candelabra with bases matching the clock, supporting patinated bronze cupids lifting the leaf-molded candle branches set with scroll-molded sockets and rocaille-molded drip pans, h. 27‑1/2”, w. 13‑1/2”, d. 9”. 14

Provenance: Private collection, New Orleans, Louisiana. $7,000‑$10,000

16 Transitional Louis XV/XVI Kingwood, Rosewood and Marble-Top Commode late 18th century, the rectangular breakfront marble top with a molded edge, above a conforming case fitted with two long drawers, each with three veneered panels and decorative banding, raised on cabriole legs. h. 32”, w. 37”, d. 20” $1,500‑$2,500 17 Louis XV/XVI-Style Kingwood and Marble-Top Vitrine late 19th century, in the manner of Paul Sormani (1817-1877), the rectangular stepped marble top above a herringboneveneered frieze centered by an ormolu masque, over two glazed doors opening to a mirrored interior, each side banded and with herringbone veneers, raised on splayed legs ending in sabots. h. 67”, w. 47”, d. 17” $1,500‑$2,500

18 Suite of Twelve Louis XV/XVI-Style Polychrome Dining Chairs early 20th century, consisting of two armchairs and ten side chairs, each with a foliate shell-carved crest above a padded rectangular back, the padded seat raised on molded cabriole legs joined by an X-form stretcher and ending in scrolled toes. h. 46” $2,000‑$4,000 16

20 Goldscheider Wein Painted Terracotta Bust of an Elegant Lady first quarter 20th century, stamped with Friedrich Goldscheider mark, inscribed “Reproduction Reserve/1679/22/4”, and illegibly signed at back, now presented on a Louis XV-style ormolu-mounted mahogany and marble-top stand, ca. 1920. sculpture h. 30‑1/2”, w. 18”, d. 12”, table h. 39‑3/4” $1,200‑$1,800 21 Louis XV/XVI-Style Kingwood and Marble-Top Cabinet early 20th century, the rectangular marble top with a bowed center section and projecting canted corners, above a conforming case fitted with two cupboard doors, faced as three panels, each banded and with inlaid floral and foliate accents, raised on cabriole legs ending in paw sabots. h. 38”, w. 45”, d. 21‑1/2” $1,200‑$1,800

19 Transitional Louis XV/XVI-Style Kingwood and Marble-Top Commode

early 20th century, the bowed and canted breche d’Alep marble top above a conforming case fitted with three banded short drawers over two long drawers, banded and with parquetry veneers, the sides banded and quarter veneered, raised on sabre legs ending in sabots. h. 36‑1/2”, w. 51”, d. 23” Provenance: Private collection, Mobile, Alabama $2,500‑$4,000

22 Louis XVI-Style Kingwood and Marble-Top Lingerie Chest

24 Louis XVI-Style Mahogany and Satinwood King-Size Bed

20th century, the rounded rectangular marble top above a case fitted with six drawers, each banded and with chevron veneers and a floral scrolling inlay, the sides veneered en suite, raised on short splayed legs to sabots. h. 54‑1/2”, w. 28”, d. 14‑1/4”

early 20th century, comprised of a pair of twin beds, each with a domed chevron-veneered headboard surmounted by a molded crest and ormolu-mounted frieze, joined by dentillated rails to a like-veneered flat footboard, the whole raised on tapering circular legs ending in brass caps, and with elaborately patterned ormolu mounts in grapevine patterns. king-sized bed measurements: h. 58”, inside w. 83”, l. 81”, outside w. 89‑1/2”, l. 83”; twin-sized bed measurements: h. 58”, inside w. 38‑1/2”, l. 81”, outside w. 44‑1/2”, l. 83”

$1,000‑$1,500 23 Louis XVI-Style Mahogany Center Table the circular mirrored top within a full pierced brass gallery over a conforming frieze with inlaid Greek-key design, raised on fluted tapering circular legs headed by a beaded capital and ending in ormolu bulb feet. h. 32”, dia. 31‑1/2”

$2,000‑$4,000

$1,800‑$2,500

25 Pair of Bronze, Marble and Crystal Figural Torcheres of Louis XVI Inspiration the twelve-light torcheres with bases of Bacchanalian maidens holding grapes, mounted on turned mauve marble bases supported on gilt-bronze paw feet, the gilt-bronze upper portion with molded glass standards supporting bronze candle arms alternating with cut glass spires and hung with cascades of crystal drops, the top with scrolled sprays hung with prisms. h. 98‑1/4”, dia. 23‑1/2” $4,000‑$7,000

26 Nicolas Petit (French, 1732‑1791) Louis XVI GiltBronze-Mounted Mahogany Bureau Plat ca. 1780, the rectangular top with an inset leather surface, turreted corners and leather-inset slides at both sides, above a conforming case fitted with a central drawer flanked to one side by a deep drawer and to the other side by two drawers, stamped: “N. Petit Jm.” on the case front beneath the deep drawer, verso with faux drawers, raised on stop-fluted tapering circular legs ending in brass caps. h. 30‑1/2”, w. 64”, d. 30‑1/2” Provenance: Sotheby’s, New York , “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 512, page 401. Shown in situ pages 400‑401, the library, “Holly Hill”; Private collection, Mobile, Alabama. $3,000‑$5,000 25

27 Carved, Parcel-Gilt and Oil-on-Canvas Trumeau Mirror fourth quarter 18th century, the lower portion with a mirror, the upper portion with a panel depicting an Italian village framed with gilt scrollwork, with a green ground, the side panels with gilt scrollwork embellishments. h. 65‑1/2”, w. 43‑1/2” $1,000‑$1,500

28 Pair of Louis XVI-Style Giltwood and Marble-Top Console Tables 19th century, each with a bowed marble top with projecting corners, above a conforming dentillated frieze with floral patera panels, raised on fluted tapering circular legs ending in paneled block-andbun feet. h. 29‑1/2”, w. 26”, d. 12‑1/2” $1,000‑$1,500 29 Continental School, Probably French (Fourth Quarter 18th Century) “Satyr, Nymph and Amours” oil on linen unsigned, stretcher with old catalogue label attributing it to Deshayes. Framed. 43‑1/2” x 37‑1/2”, framed 48‑1/4” x 43” $2,500‑$4,000

30 Louis XVI-Style Seven-Piece Giltwood Parlor Suite late 19th century, comprised of a settee, two bergeres and four side chairs, all with a padded, slightly domed back surmounted by a floral crest and within a rope-carved frame, the padded and cushioned seats raised on fluted tapering circular legs ending in toupie feet. settee h. 40”, w. 53”, d. 23”, bergeres h. 40‑1/2”, side chairs h. 35” $2,000‑$4,000 31

31 Louis XVI-Style Giltwood and Granite-Top Center Table

32 Suite of Six Louis XVI-Style Giltwood Side Chairs

19th century and later, the rectangular granite top with canted corners, above a conforming frieze with foliate undulate carving centered by a foliate- and patera-carved dentillated panel, raised on guilloche-carved tapering square legs headed by waisted foliate capitals and ending in bulb feet. h. 32‑3/4”, w. 61”, d. 34‑1/2”

early 20th century, each with a padded and domed rectangular back surmounted by a floral ribbon crest and within a guilloche frame, the padded seat raised on fluted tapering circular legs ending in toupie feet. h. 38‑1/2” $1,200‑$1,800

$1,400‑$1,800

33 Louis XVI-Style Giltwood and Marble-Top Side Table mid-19th century, the bowed marble top with projecting sections, above a conforming pierced guilloche-carved frieze, centered by a foliate-carved panel, raised on fluted, foliatecarved tapering circular legs joined by a floral urn-centered stretcher and ending in toupie feet. h. 34‑1/2”, w. 36‑1/2”, d. 17‑1/2” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,000‑$1,800

35 Gilt-Bronze-Mounted Cut Glass Jewel Casket 35

34 Pair of French Neoclassical Bronze and Crystal Appliques first quarter 20th century, each with a bowknot crest and the head of Dionysus grasping a grape wreath, with cut and mirrored glass medallions. h. 23‑3/4”, w. 9” $800‑$1,200

ca. 1900, probably Baccarat, in the form of a grand piano, on reeded bronze legs and with a molded bronze bezel, the box cut with strawberry, fan and diamond-point patterns. h. 6”, w. 6‑1/4”, l. 9‑1/4” $800‑$1,200 36 Louis XVI-Style Fruitwood and Mahogany Commode the banded and rectangular top with concave ends, above a conforming case fitted with three frieze drawers over three central drawers, flanked to either side by a bank of three short drawers, all banded, raised on tapering square legs. h. 34”, w. 48”, d. 20” $800‑$1,200

37 Pair of Louis XVI-Style Mahogany and MarbleTop Center Tables 20th century, each with an inset circular marble top above a conforming plain frieze, raised on fluted, tapering circular legs headed by block floral capitals, joined by an X-form stretcher and ending in toupie feet. h. 29‑1/2”, dia. 35‑1/2” Provenance: Private collection, Mobile, Alabama $2,000‑$4,000 37

38 Suite of Ten Louis XVI-Style Mahogany Side Chairs early 20th century, each with a domed and padded back surmounted by an ormolu foliate crest, the padded seat raised on fluted tapering circular legs ending in ormolu caps. h. 40‑1/2” $1,200‑$1,800 39 Louis XVI-Style Mahogany Dining Table 20th century, the ovoid top with a molded edge, above a plain frieze, raised on fluted tapering circular legs joined by a molded X-form stretcher and ending in toupie feet, with two 19‑1/2” skirted leaves. h. 29”, w. 48”, l. 56”, ext. l. 95” 39

$1,500‑$2,500

40 Dietz Edzard (German/Paris, 1893‑1963) “Carnival in Venice”, 1958 oil on canvas signed lower right. Framed. 25‑1/2” x 31‑1/2”, framed 31” x 37” Provenance: Private collection, Canada; Christie’s, New York, February 12, 2009, lot 140; Collection of Leon Amar, Palm Beach, Florida. $12,000‑$18,000 Dietz Edzard came from a talented German family of artists and studied with the celebrated “German Expressionist” Max Beckmann in Berlin, before moving to France in the late 1920s. In Paris, he received wide acclaim, exhibiting regularly with the Post-Impressionists at the Jeu de Paume and at Durand-Ruel, where he met Suzanne Eisendieck, a fellow German artist, whom he married in 1938. Eisendieck, who was represented by Madame Zak, studied under Fritz August Pfuhle and attended the Berlin State Academy for Fine and Applied Arts. During the German occupation of France, Edzard’s work, like most great modern artists of the

time, was determined to be “degenerate”; his and Eisendieck’s paintings of women did not “celebrate German womanhood”, but chose to depict the “ideal cretin and whore” instead at carnival, the theatre, opera or racetrack as three of these five lots illustrate. While Edzard embraced Impressionist and Post-Impressionist study of optics and pleinair observations, he was equally influenced by the Fauves and Expressionists, preferring instead to examine color from a personal emotive experience culled from the drama of the streets, cabarets and the denizens who frequented them.

41 Dietz Edzard (German/Paris, 1893‑1963) “Femme sur Une Terrasse en Regardant Les Courses”, 1951 oil on linen signed lower right. Framed. 21‑3/4” x 18‑1/4”, framed 29‑5/8” x 26‑1/4” Provenance: Lock Galleries, New York, New York; Christie’s, New York, September 22, 2009, lot 47; Collection of Leon Amar, Palm Beach, Florida. $7,000‑$10,000

42 Dietz Edzard (German/Paris, 1893‑1963) “Bouquet a Menton”, 1961 oil on canvas signed lower right, titled en verso. Framed. 28‑3/4” x 23‑1/4”, framed 39” x 33‑1/4” Provenance: Shannon’s Fine Art Auctioneers, Milford, Connecticut, July 3, 2009, lot 18; Collection of Leon Amar, Palm Beach, Florida. $5,000‑$8,000

43 Dietz Edzard (German/Paris, 1893‑1963) “Les Ballarines,” 1960 oil on linen signed lower left. Framed. 14” x 10‑3/4”, framed 18‑1/2” x 15‑1/2” Provenance: Julian Beck (via Atelier), Bridgehampton, New York, 2002; Collection of Leon Amar, Palm Beach, Florida. $3,000‑$5,000 44 Dietz Edzard (German/Paris, 1893‑1963) “Ile St. Louis, Paris”, 1945 oil on wood panel signed lower right, titled on “Hammer Galleries, New York” label en verso. Framed and with brass artist plaque. 10‑5/8” x 22‑3/4”, framed 20‑5/8” x 32‑5/8” Provenance: Hammer Galleries, New York, New York; Three Centuries Antique Shop, Vancouver, Canada, 2008; Collection of Leon Amar, Palm Beach, Florida.

$4,000‑$7,000

45 46

45 Louis Etienne Timmermans (French/Belgian, 1846‑1910) “Le Port de Dieppe” oil on wood panel signed lower left. Framed. 14‑3/4” x 18”, framed 23” x 27” $1,800‑$2,500 46 Jan Jans (Dutch, 1893‑1963) “Holland American Line”, 1959 oil on canvas signed lower left and signed and dated en verso. Framed. 31‑1/2” x 47‑1/2”, framed 37‑1/2” x 53‑1/4” $1,200‑$1,800 47 Louis van der Pol (Dutch, 1896‑1982) “In the Dressing Room” oil on canvas signed lower right. Framed. 37” x 34”, framed 44” x 41” $1,400‑$1,800

48 Paul Renard (French, 1941‑1997) “Les Bouqinistes au Bord de la Seine, Paris” oil on canvas signed lower right. Framed. 20‑1/4” x 28”, framed 27‑1/4” x 35‑1/4” $2,000‑$4,000 48

49 Willem Zwart (Dutch, 1867‑1957) “White Swans” oil on board signed lower right. Framed. 21‑3/4” x 31‑5/8”, framed 28‑3/4” x 38‑1/2” $2,000‑$4,000 49

50 Henri Joseph Pauwels (Belgian, 1903‑1983) “Picking Flowers” oil on canvas signed lower right. Framed. 32” x 38”, framed 42” x 47‑1/2” $2,000‑$4,000

51 Henri Joseph Pauwels (Belgian, 1903‑1983) “Tea in the Garden” oil on canvas signed lower right. Framed. 32” x 40”, framed 41‑3/4” x 49‑3/4” $2,000‑$4,000

52 Austrian School (20th Century) “Portrait of a Young Ballerina”, 1913 oil on canvas signed and dated lower left “Kend..., 1913”. Framed. 66‑1/8” x 42‑5/8”, framed 74” x 51” $4,000‑$7,000

53 Niek van der Plas (Dutch, b. 1954) “Cafe Le Manoir, Paris” oil on wood panel signed lower right, signed and titled en verso. Framed. 12” x 16”, framed 17‑1/4” x 21” $1,200‑$1,800

54 Michel Henry (French, b. 1928) “Amsterdam” oil on canvas signed lower left, verso with ‘Wally Findlay Galleries” label. Framed. 51‑3/4” x 63‑3/4”, framed 57‑7/8” x 70‑3/8” $5,000‑$8,000 53

55 Yvonne Canu (French, 1921‑2008) “La Ponche a St. Tropez” oil on canvas signed lower left, signed, titled and numbered “1002” en verso, stretcher with Wally Findlay, New York inventory number “WF N.Y. 10B915”, frame backing with “Wally Findlay Galleries” label. Framed. 15” x 18‑1/4”, 23‑3/4” x 27” Provenance: Wally Findlay Galleries, New York, New York. $4,000‑$7,000

56 Willem Heytman (Dutch, b. 1950) “London” oil on canvas signed lower left, signed, titled and further inscribed en verso, “Atelier Heytman” stamp en verso. Framed. 29‑3/4” x 39‑1/2”, framed 38‑3/4” x 49” $2,000‑$4,000

57 Willem Heytman (Dutch, b. 1950) “Avenue Champs Elysees, Arc de Triomphe, Paris” oil on canvas signed lower right, titled and stamped “Atelier Heytman” en verso. Framed. 29‑1/2” x 39‑1/2”, framed 39” x 49” $1,800‑$2,500

58 Willem Heytman (Dutch, b. 1950) “Times Square, New York City” oil on canvas unsigned, “Atelier Heytman” stamp en verso. Framed. 19‑3/4” x 27‑1/2”, framed 24‑1/2” x 32‑1/4” $1,200‑$1,800

61 Bronze and Crystal Chandelier in the Louis XIV Style second quarter 20th century, the twelve-light chandelier with a bronze scrolled frame set with molded drip pans and sockets, hung with various cut glass drops. h. 34”, dia. 25” $1,000‑$1,500

59 Regence-Style Giltwood Mirror the surround inset with mirror panels, framed with scrolled acanthus leaves and flowerheads, carved with cabochons and gadrooning, the swan’s-neck-form crest with a central shell flanked by carved acanthus leaves and shells. h. 40”, w. 20‑1/2”

$1,000‑$1,500

60 Pair of Louis XV Carved Beechwood Fauteuils ca. 1730, each with a slightly domed and padded back joined by padded, outscrolled arms to the like seat, raised above a foliate shell-carved apron on cabriole legs headed by shell carving and ending in scrolled toes. h. 39‑1/2” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 376, page 286. Shown in situ page 285, the foyer; Private collection, Mobile, Alabama. $2,500‑$4,000

62 Pair of Meissen Porcelain Malabar Figures mid-19th century, consisting of a male with a bow and arrow slung over his shoulder, and a female carrying a basket of fruit, with underglazed blue crossed swords pommel-ended marks. h. 14”, w. 6‑1/2”, d. 5‑1/4” $1,000‑$1,500

63 Three Porcelain Figures Representing “The Continents” third quarter 19th century, probably Samson, one figure with a lion representing Africa, one with a camel representing Asia, and one with a horse representing Europe, unmarked. h. 10‑3/4”, w. 6‑1/4”, d. 3‑1/2”

$800‑$1,200

64 French Regence-Style Giltwood Mirror fourth quarter 19th century, the surround inset with a mirror plate, the corners with pierced scrollwork, a basket of flowers on the lower edge, the crest with pierced rocaille and scrollwork, a shell serving as the finial. h. 65”, w. 31‑3/4” $1,000‑$1,500

65 Regence-Style Kingwood and Marble-Top Commode late 19th century, the shaped and bowed marble top above a conforming bombe case fitted with two cupboard doors, each inlaid with an Orientalist landscape scene, opening to two short drawers over a single long drawer, the sides inlaid en suite, raised on splayed legs ending in sabots. h. 25”, w. 51‑1/2”, d. 33‑1/2” $2,500‑$4,000

66 Pair of Regence-Style Giltwood Fauteuils a la Reine late 19th century, each with a tall, padded rectangular back joined by molded downswept, acanthine-carved arms to the padded seat, raised on S-scroll legs, joined by a molded urn-centered X-form stretcher and ending in acanthine scrolled toes. h. 47” $1,000‑$1,500

67 Regence-Style Ebonized Commode 18th century and later, the slightly bowed top above a conforming bombe case fitted with two short drawers over two long drawers, raised on shaped legs ending in scrolled toes. h. 32‑1/2”, w. 49”, d. 25” $1,500‑$2,500

68 Follower of Nicolas Tournier (French, 1590‑1638) “Judith with the Head of Holofernes” oil on canvas verso with a typewritten label attributing the painting to Robert Le Vrac-Tournieres. Framed. 16‑1/4” x 13‑1/4”, framed 21” x 18” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

69 Exceptional Regence Giltwood Mirror ca. 1715, with a mirror-inset surround, the corners framed with delicate scrollwork, supporting eagles and joined with spiral reeding, the bell-shaped crest molded with cabochons and scrollwork, and a masque beneath a shell. h. 72‑1/2”, w. 42” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 536, page 414. Shown in situ pages 413 and 415, the library, “Holly Hill”; Private collection, Mobile, Alabama. $3,000‑$5,000 70 After Guillaume Coustou the Elder (French, 1677‑1746) “Marly Horses” patinated bronze 20th century, after the ca. 1740 monumental sculptures commissioned by Louis XV to be placed in his Chateau Marly and now conserved at the Louvre, Paris, each with cast signature along edge of self-base, each on a beveled red griotte marble base. overall h. 25”, w. 20”, d. 11‑1/2” $1,500‑$2,500

71 French Louis XIV-Style Gilt-Bronze, Mahogany and Kingwood Tall Case Clock fourth quarter 19th century, the hood with a circular glazed face supported and surmounted by gilt-bronze putti frolicking in the clouds, the tapering case lushly adorned with gilt-bronze mounts, including a masque of Apollo Soleil (the symbol of Louis XIV) on the frieze, an urn, lyre, floral swags and scrolling anthemion on the body, acanthus crests on the corners and raised on four acanthus-crested lion’s paw feet, above a platform base en suite, the dial marked “Balthazar a Paris”, the works marked “Elite”. h. 88‑1/4”, w. 19‑3/4”, d. 11‑3/4” $5,000‑$8,000 72 French Boulle Bracket Clock in the Louis XIV Style ca. 1900, in a brass- and tortoiseshell-inlaid case decorated with masques, the door with the Three Fates, Clotho, Atropos and Lachesis, the mansard cup crowned with a figure of Athena, the goddess of war, on a matching inlaid bracket shelf, the mount above the door marked “HPR” on the back. h. 59‑1/4”, w. 26”, d. 10‑1/2” The “HPR” mark on the back of the mount has been discovered on a number of high-quality pieces of furniture, but to date the bronzier has not been identified. 71

$3,000‑$5,000

73 French Louis XV-Style Gilt-Bronze Chandelier early 20th century, the pierced standard framed with scrollwork and set with putti shooting arrows and holding birds, the lower sections decorated with pots of roses and lovebirds, the rocaille-molded arms set with rococo-molded candle cups and matching drip pans. h. 45”, dia. 35” $7,000‑$10,000

74 French Louis XV-Style Gilt-Bronze Chandelier early 20th century, the pierced standard framed with scrollwork and set with putti shooting arrows and holding birds, the lower sections decorated with pots of roses and lovebirds, the rocaillemolded arms set with rococo-molded candle cups and matching drip pans. h. 45”, dia. 35” $7,000‑$10,000

75 Louis XV-Style Giltwood and Faux Marbre Console Table 19th century, the shaped faux marbre top above a pierced shield- and foliate-carved frieze, raised on C-scroll legs joined by a shield-form stretcher and ending in foliate scrolled toes. h. 37”, w. 35‑1/2”, d. 15‑1/2” $1,000‑$1,500

77 detail

76 Pair of Louis XV Giltwood Stools mid-18th century, each with a shaped rectangular cushioned seat above a conforming shell- and foliatecarved apron, raised on molded cabriole legs headed by shell and bellflower carving and ending in scrolled toes. h. 17”, w. 23”, d. 17‑3/4” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 31, page 40; Private collection, Mobile, Alabama.

$2,000‑$4,000

77 Louis XV-Style Mahogany and Rosewood Commode early 20th century, in the manner of Paul Sormani, the rectangular top with a three-quarter pierced brass gallery and projecting canted corners with decorative circular string inlays, above a conforming case fitted with a frieze drawer opening to a leather-inset pushback writing surface over two long drawers with conforming string inlay, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts. h. 31”, w. 25‑1/2”, d. 19” 76

$1,200‑$1,800

78 Louis XV-Style Mahogany Vitrine late 19th century, the molded and domed cornice above a floral-painted frieze, over a bombe case fitted with a central door, with glazed upper section and a lower painted panel in the manner of Vernis Martin, the sides glazed and paneled en suite, raised on splayed legs ending in sabots, the whole width ormolu mounts h. 72”, w. 46”, d. 17‑1/2” $2,500‑$4,000

79 Pair of Continental Allegorical Depictions of “Vanity” and “Industry” 19th century, oils on canvas, unsigned, the former of an elegantly dressed lady before a mirror, the latter of a woman harvesting grapes in an arbor, each set within an attractive rococo-style gesso and carved giltwood frame with coiled acanthine design. each overall 34” x 20”

$1,500‑$2,500

80 Aubusson Handwoven Tapestry of Figures by a Fountain fourth quarter 17th century, with an allover floral border. 8’ 6” x 8’ 9” $7,000‑$10,000

81 Pair of Louis XV-Style Fruitwood Bergeres avec Orielles 20th century, each with a padded back surmounted by a carved foliate shield, joined by downswept padded sides to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes. h. 43” $1,200‑$1,800

82 Louis XV-Style Parcel-Gilt and Painted Wood Overmantel Mirror fourth quarter 19th century, the vine-molded surround wrapped with leaves and morning glories, the lower edge with scrollwork and flowerheads, the arched top with complex pierced and molded acanthus leaves and flowerheads, on an ochrepainted back. h. 78‑1/2”, w. 52” Provenance: Private collection, Mobile, Alabama. $1,500‑$2,500

83 Suite of Four Louis XVI-Style Giltwood Bergeres early 20th century, each with a padded rectangular back joined by padded sides and scrolling guillochecarved arms to the padded seat, raised on shaped reeded legs ending in foliate toes on casters, each with a conforming fringed lumbar pillow. h. 40” $1,200‑$1,800

84 French Sevres-Style Palace Urn ca. 1900, decorated with a group in 18th-century costume frolicking in an Arcadian landscape on the obverse and a landscape on the reverse, on a cobalt ground trimmed with raised gilt, with a bronze dore base, pineapple knop and handles decorated with scrollwork and laurel leaves, with a spurious Sevres mark under the lid. h. 42”, w. 17‑1/2”, d. 14” $1,500‑$2,500

86 Attributed to Jean-Baptiste Perronneau (French, 1715‑1783) “Portrait of a Nobleman in a Fur-Trimmed Coat” oil on canvas unsigned, old labels identifying artist as Perronneau or Maurice de la Tour en verso. Framed. 28‑3/4” x 23‑3/8”, framed 36” x 30‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. 84

$2,500‑$4,000

85 Pair of Louis XV-Style Bronze-Mounted Cobalt Porcelain Vases mid-19th century, with gilt-bronze handles and rims decorated with scrollwork, flowerheads and rocaille work. h. 7”, w. 8”, d. 5” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 702, page 525. Shown in situ page 524, the Cardinal’s Room, “Holly Hill”; Private collection, Mobile, Alabama. $1,000‑$1,500 85

87 Manner of Elisabeth Louise Vigee Le Brun (French, 1755‑1842) “Portrait of a Young Artist” oil on canvas Framed. 24‑1/8” x 19‑7/8”, framed 29” x 24‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000

88 After Jean-Louis Voille (French/Russian, 1744‑1803) “Portrait of Grand Duke Pavel Petrovich (1754‑1801), Later Emperor Paul I of Russia “, 19th century oil on canvas unsigned, a “Rowley Gallery Ltd./Kensington” label en verso. Framed. 26‑1/4” x 20‑1/8”, framed 34‑1/2” x 29” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000 Pavel Petrovich, the only son of Emperor Paul I and Catherine the Great, had a brief reign of five years that ended in his assassination by members of the Court who favored his son, Alexander. The unfortunate Grand Duke is presented wearing the sash and star of the Order of St. Andrew and the badge of the Order of St. Alexander Nevsky. Jean-Louis Voille was the official painter of the Court of the Grand Duke, and produced several portraits of the future Emperor. A painting nearly identical to the one offered here was sold at Christie’s, London, July 6, 2011, lot 181. 88

89 Pair of French Rococo-Style Bronze Candelabra ca. 1900, now mounted as lamps, the pierced bronze rocaille and scrollwork bases decorated with flowerheads, the scrolled candle arms set with matching candle cups and drip pans, the center candle cup now mounted with electrical fittings. h. 26‑3/4”, dia. 15‑3/4” $800‑$1,200

90 Regence-Style Kingwood, Mixed Woods and Marble-Top Commode 20th century, the shaped marble top above a conforming bombe case fitted with two long drawers with inlaid scrolling foliate and floral patterns, the sides en suite, raised on sabre legs ending in sabots, the whole with decorative ormolu mounts. h. 33”, w. 45”, d. 22”

$1,000‑$1,500

92 Suite of Six Louis XV-Style Mahogany Side Chairs

91 Napoleon III Walnut and Mixed Woods Dressing Table

early 20th century, each with a padded and domed back above a like seat, over a shell-carved apron, raised on cabriole legs ending in scrolled toes. h. 42”

mid-19th century, in the Louis XV taste, the turtleform top quarter-veneered with a foliate banding and centered by a brass plaque, above a conforming frieze fitted with a drawer with a push-back writing surface, raised on cabriole legs ending in sabots. h. 28”, w. 23”, d. 15‑1/2”

$1,200‑$1,800

$800‑$1,200

91 detail

93 Tahitian Pearl Necklace 14k white gold, the necklace composed of graduated medium gray Tahitian pearls measuring 12.00 mm to 14.00 mm, with an excellent luster, finished with a gold clasp. l. 18”, total weight 100.3 grams $1,400‑$1,800 94 Tahitian Pearl and Diamond Ring 18k white gold, the ring mounted with a dark silver Tahitian pearl with a good luster, measuring approximately 12.5 mm in diameter, accented by round brilliant-cut diamonds weighing approximately 1.13 carats in total. size 7‑1/2, total weight 7.3 grams $1,200‑$1,800 95

95 Pearl, Diamond and Amethyst Pendant on Chain 14k white gold, the pendant mounted with a baroque white pearl suspended from an Edwardian-style pendant mounted with a central round-cut amethyst weighing approximately 0.22 carats and round brilliant-cut diamonds weighing approximately 0.26 carats in total, l. 2”, suspended from an 18” white gold chain. total weight 5.0 grams $1,200‑$1,800

96 Multi-Stone Ring 14k yellow gold, the ring mounted with amethyst, green tourmaline, blue topaz, iolite, white sapphire, citrine, pink topaz, orange garnet and tsavorite garnets, with an approximate total weight of 11.27 carats in total. size 8‑1/2, total weight 9.0 grams $1,000‑$1,500 97 Multi-Stone Necklace 14k yellow gold, the necklace with approximately 2.10 carats of peridots, 1.66 carats of citrines, 1.66 carats of amethysts, 2.20 carats of blue topazes and 3.26 carats of garnets, all suspended from a 16” gold chain. total weight 6.0 grams $1,000‑$1,500

98 Amethyst, Emerald and Diamond Earrings 18k yellow gold, the dangle earrings mounted with oval cabochon-cut amethysts weighing approximately 24.43 carats in total, and oval-cut treated emeralds weighing approximately 2.96 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.48 carats in total. l. 1‑3/4”, total weight 13.2 grams $1,800‑$2,500

99 Lady’s Buccellati Audachron Wristwatch 18k yellow gold, the heavy molded case with a twisted edge, signed “Gianmaria Buccellati, 5022, 5023, 085, Audachron”, the yellow gold dial engraved and with black Roman and Arabic numerals, with a Swiss quartz movement, the watch band with an 18k yellow gold buckle, diameter without crown is 28.5 mm. l. 7‑3/4”, total weight 34.6 grams $7,000‑$10,000

101 one of three

101 Three Katy Briscoe Convertible Bracelets 18k yellow gold, the three bracelets together with two interchangeable clasps, including a thirty-strand pearl bracelet, w. 2”, l. 7‑1/2”, a twenty-strand faceted emerald bracelet, w. 2‑3/4”, l. 7‑3/4”, and a twenty-five-strand bracelet composed of round coral beads, w. 2”, l. 7‑1/2”, each made to go with the two accompanying clasps, the first, an 18k yellow gold clasp with a scroll design, mounted with round brilliant-cut diamonds weighing approximately 0.20 carats in total, size 5/16” x 1‑7/8”, and the second, an 18k white gold clasp mounted with round brilliant-cut diamonds weighing approximately 6.48 carats in total, color E-F and clarity VVS1‑VVS2, size 3/8” x 1‑7/8”. total weight 284.3 grams $4,500‑$7,000

100 Pair of Emerald and Diamond Earrings 18k yellow gold, the earrings mounted with two ovalcut emeralds weighing approximately 1.16 carats in total, accented below by square-cut emeralds weighing approximately 0.32 carats in total, and above by round brilliant-cut diamonds weighing approximately 0.58 carats in total. l. 3/4”, total weight 14.0 grams $1,000‑$1,500 100

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102 Gemstone Bracelet in the Van Cleef & Arpels Style 18k yellow gold, the bracelet with square cushion-cut citrines mounted in quatrefoil-shaped frames and weighing approximately 8.46 carats in total, and round brilliant-cut diamonds weighing approximately 0.19 carats in total. l. 7‑1/2”, total weight 11.0 grams $1,800‑$2,500 103 Set of Seven Gold Bangle Bracelets 18k yellow gold, the bracelets twisted and engraved. inside circumference 7”, total weight 45.0 grams $3,500‑$5,000 104 Diamond Necklace 18k yellow gold, the necklace mounted with five bezel-set round brilliant-cut diamonds weighing approximately 0.76 carats in total. l. 18”, total weight 3.0 grams $1,800‑$2,500 105 Three-Strand Diamond Bracelet 14k yellow gold, the flexible link bracelet set with approximately 2.75 carats of round brilliant-cut diamonds. l. 7‑1/8”, total weight 28.0 grams $1,200‑$1,800

106 Wide Diamond Bracelet and Earrings the bracelet, 14k yellow/rose gold, mounted with a center band of round brilliant-cut light brown diamonds weighing approximately 9.89 carats in total, approximate clarity SI2‑I1, separated by yellow gold bars, mounted to a rose/yellow gold link bracelet, l. 7‑3/4”, w. 1”, together with a pair of earrings, 10k yellow gold, mounted with round brilliant-cut light brown diamonds weighing approximately 2.87 carats in total, l. 1”. total weight 72.0 grams $2,500‑$4,000 107 Spitzer and Furman Gold Bracelet 18k yellow gold, the Italian bracelet composed of large links with a brushed texture. w. 1‑1/8”, l. 7‑1/8”, total weight 69.3 grams $1,800‑$2,500 108 Diamond and Black Enamel Cross Pendant 14k yellow gold, the pendant mounted with round brilliantcut diamonds weighing approximately 1.36 carats in total, approximate color E-F and clarity VS2‑SI1. l. 2‑3/4”, total weight 19.0 grams $1,000‑$1,500 109 Gurhan Diamond Bracelet and Earrings 24k/4k yellow gold, the bracelet and earrings composed of a 24k gold center, with a 4k gold cross-hatch pattern on the top, mounted with round brilliant-cut diamonds weighing approximately 2.05 carats in total. bracelet l. 7” to 8‑1/2”, earring l. 7/8”, total weight 28.5 grams $1,000‑$1,500

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110 Diamond and Sapphire Bracelet 18k yellow gold, the bracelet with a herringbone design, set in the center with round-cut sapphires weighing approximately 0.50 carats in total and round brilliant-cut diamonds weighing approximately 0.33 carats in total. l. 6‑3/4”, total weight 49.3 grams $1,000‑$1,500 111 Opal and Diamond Hoop Earrings 14k yellow gold, the earrings mounted with oval opal cabochons weighing approximately 4.31 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.14 carats in total. l. 1‑1/8”, total weight 11.7 grams $1,400‑$1,800 112 Opal and Diamond Brooch 14k white/yellow gold, the brooch designed as a wreath and mounted with oval cabochon-cut opals weighing approximately 5.50 carats in total and single-cut diamonds weighing approximately 1.00 carat in total, signed “Kevin”, the back set with a bail for wearing on a chain. dia. 2‑1/4”, total weight 26.6 grams $1,000‑$1,500 113 Opal, Emerald and Diamond Pendant with Chain 18k white gold, the pendant mounted with an oval-shaped opal weighing approximately 13.23 carats, accented with pear-cut treated emeralds weighing approximately 2.77 carats in total, l. 2‑1/4”, suspended from an adjustable double white gold chain, l. 16” to 18”, both the chain and pendant accented with round brilliant-cut diamonds weighing approximately 0.23 carats in total. total weight 13.8 grams

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$4,000‑$7,000 114 Tourmaline and Diamond Ring 14k white/rose gold, the bi-colored tourmaline weighing approximately 12.23 carats, flanked on either side by a baguette-cut diamond and further accented on the ring shank with round brilliant-cut diamonds, with an approximate total diamond weight of 0.52 carats. size 7, total weight 6.9 grams $1,800‑$2,500 115 Emerald Dangle Earrings 18k white gold, the earrings mounted with round-cut treated emeralds weighing approximately 8.48 carats in total. l. 2‑3/4”, total weight 23.4 grams $3,000‑$5,000 116 Emerald and Diamond Ring 18k white gold, the ring mounted with a hexagonal-cut emerald weighing approximately 3.21 carats, framed by a row of round brilliant-cut diamonds weighing approximately 0.23 carats in total. size 6‑1/2, total weight 4.5 grams

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$2,500‑$4,000

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120 Emerald and Diamond Bracelet 18k white gold, the bracelet mounted with emerald-cut treated emeralds weighing approximately 6.71 carats in total and baguetteand round brilliant-cut diamonds weighing approximately 3.51 carats in total. l. 7”, total weight 11.7 grams 120

$6,000‑$9,000

117 Emerald and Diamond Earrings 18k white gold, the earrings designed as flowers and mounted with round-cut treated emeralds weighing approximately 1.40 carats in total and round brilliant-cut diamonds weighing approximately 0.28 carats in total. l. 1/2”, total weight 5.0 grams $1,200‑$1,800 118 Emerald and Diamond Bracelet 14k white gold, the bracelet mounted with oval-cut treated emeralds weighing approximately 12.75 carats in total, accented with round brilliant-cut diamonds weighing approximately 6.06 carats in total. l. 6‑7/8”, total weight 24.4 grams $7,000‑$10,000 119 Emerald and Diamond Earrings 18k white gold, the earrings mounted with emerald-cut treated emeralds weighing approximately 3.94 carats in total, surrounded by a border of round brilliant-cut diamonds weighing approximately 0.39 carats in total. l. 1/2”, total weight 5.7 grams $6,000‑$9,000

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121 Diamond Pendant with Chain 18k white gold, the pendant mounted with baguette- and round brilliant-cut diamonds weighing approximately 0.49 carats in total, l. 3/8”, suspended from a 17” white gold chain. total weight 3.0 grams $1,200‑$1,800 122 Diamond Bracelet 18k white gold, the flexible bangle bracelet mounted with baguette-cut diamonds weighing approximately 4.87 carats in total, approximate color E-F and clarity VVS2‑VS2. inside circumference 7”, total weight 17.0 grams $7,000‑$10,000 123 Diamond Dangle Earrings 18k white gold, the earrings mounted with baguette- and round brilliant-cut diamonds weighing approximately 2.09 carats in total, approximate color E-G and clarity VVS2‑VS2. l. 2‑1/2”, total weight 8.0 grams $3,500‑$5,000 124 Diamond Ring 18k white gold, the ring mounted with baguette- and round brilliant-cut diamonds weighing approximately 0.69 carats in total. size 6‑1/2, total weight 3.0 grams 123

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125 Diamond Bracelet 18k white gold, the flexible bracelet mounted with baguette- and round brilliant-cut diamonds weighing approximately 4.36 carats in total, approximate color E-G and clarity VVS2‑VS2. l. 7”, total weight 12.0 grams

130 Tanzanite and Diamond Earrings 14k white gold, the earrings mounted with oval-cut tanzanites weighing approximately 9.15 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.29 carats in total. l. 5/8”, total weight 6.2 grams

$6,000‑$9,000

$4,000‑$7,000

126 Diamond Dangle Earrings 18k white gold, the earrings mounted with baguette- and round brilliant-cut diamonds weighing approximately 2.22 carats in total, approximate color G-I and clarity VVS2‑VS2. l. 2”, total weight 6.0 grams

131 Tanzanite and Diamond Ring platinum, the ring mounted with an oval-cut tanzanite weighing approximately 4.29 carats, accented by round brilliant-cut diamonds weighing approximately 2.20 carats in total. size 6‑3/4, total weight 11.4 grams

$3,000‑$5,000

$4,500‑$7,000

127 White and Brown Diamond Bracelet 18k white gold, the bracelet composed of six sections mounted with round brilliant-cut fancy deep brownish diamonds weighing approximately 4.61 carats in total, separated by links mounted with round brilliant-cut white diamonds weighing approximately 2.24 carats in total. l. 7”, total weight 55.2 grams

132 Turquoise, Sapphire and Diamond Earrings 18k white gold, the dangle earrings mounted with pearshaped turquoise cabochons weighing approximately 23.31 carats in total, accented by round-cut treated sapphires weighing approximately 0.41 carats in total and round brilliantcut diamonds weighing approximately 0.41 carats in total. l. 2‑1/8”, total weight 12.9 grams

$2,000‑$4,000 128 Diamond Earrings 18k white gold, the earrings designed as blooming flowers and mounted with round brilliant-cut diamonds weighing approximately 2.79 carats in total. l. 1”, total weight 27.0 grams $2,500‑$4,000 129 Diamond Ring 18k white gold, the ring mounted with a central rectangular brilliantcut diamond weighing 0.49 carats, color I and clarity SI1, EGL report #913187607D, accented by round brilliant-cut diamonds weighing approximately 0.70 carats in total. size 6‑1/2, total weight 4.2 grams $2,000‑$4,000

$2,500‑$4,000 133 Turquoise, Pink Sapphire and Diamond Ring 14k white gold, the ring mounted with a round cabochon-cut turquoise weighing approximately 14.36 carats, accented on the side with round-cut treated pink sapphires weighing approximately 0.46 carats in total, and white and brown round brilliant-cut diamonds weighing approximately 0.62 carats in total. size 7, total weight 10.6 grams $1,500‑$2,500

136 Royal Copenhagen “Flora Danica” Porcelain Five-Quart Oval Covered Tureen and Conforming Stand second half 20th century, the tureen and cover model “3560”, the cover depicting “Convolvulus sepium L.” the body depicting “Humulus lupulus L.” and “Myosotis arvensis Roth.”, with flower-trimmed branch handles, both fully marked, the conforming stand model “3561” depicting “Tormentilla reptans L.”, the underside unglazed and semi-marked. tureen overall h. 10‑1/2”, w. 14‑1/4”, d. 10”, stand h. 1‑3/4”, w. 15‑3/4”, d. 12‑1/2” Provenance: Private collection, New Orleans, Louisiana $3,000‑$5,000

134

134 Six Royal Copenhagen “Flora Danica” Porcelain Fish Dinner Plates 1955‑1968, model “3549”, comprised of assorted fish and an eel among aquatic plants, all listed on the reverse in Latin, all examples fully signed. dia. 10‑1/8” Provenance: Private collection, New Orleans, Louisiana $2,000‑$4,000 136

135 Rare Royal Copenhagen “Flora Danica” Porcelain Fish Platter, Drainer and Sauceboat all 1960s, the oval platter depicting “Esox lucius”, with impressed “3520” on unglazed cavetto, the pierced drainer, model “3522”, topped with a small fish handle, the sauceboat, model “3556”, with fixed stand and flower-trimmed branch handle, the sauceboat and drainer fully marked. platter l. 18‑1/4”, d. 14”, drainer l. 14‑1/4”, d. 9‑1/2”, sauceboat overall h. 5‑3/4”, l. 9‑1/2” Provenance: Private collection, New Orleans, Louisiana $2,500‑$4,000

137

137 Pair of Royal Copenhagen “Flora Danica” Porcelain Oval Wine Coolers and a Circular Platter mid-20th century, the coolers model “3569”, one “Campanula rotundifolia L.”, the other “Convolvulus sepium L. B. coloratus”, both with flower-trimmed branch handles, the platter model “3524” centered with a “Pedicularis lanata Chamiss”, all fully marked. coolers h. 6‑3/4”, overall w. 10‑3/4”, d. 6‑5/8”, platter dia. 13” 135

Provenance: Private collection, New Orleans, Louisiana $2,500‑$4,000

138 Royal Copenhagen “Flora Danica” Porcelain Monteith 1940, model “3531”, the fluted exterior decorated with assorted botanical specimens, the interior with a large “Primula unicolor Nolt.”, all flowers listed in Latin on the unglazed reverse, fully marked. h. 5”, w. 13” (including handles), d. 9‑1/4” Provenance: Private collection, New Orleans, Louisiana $2,000‑$4,000 139 Suite of Six Dried and Pressed Hydrangea Botanicals 20th century, each initialed “SW” lower right, mounted, glazed and framed, each overall 17‑1/4” x 13‑1/4”. $1,000‑$1,500

139

140 Pair of French Louis XV-Style Marble and Bronze Garniture Urns ca. 1900, composed of green-veined marble, the urns supported on hoof-footed legs terminating in ram’s heads, the sides set with delicately molded bronze panels of scrollwork and flowerheads, set with matching marble covers. h. 17‑1/2”, dia. 8” 138

138 detail

$1,000‑$1,500

140

141 Pair of Louis XV-Style Fruitwood Bergeres early 20th century, each with a domed and padded back surmounted by a floral spray crest, joined by padded arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes. h. 41” $1,000‑$1,500

142 Pair of French Sevres Soft Paste Wine Bottle Coolers

142

19th century, with a celeste blue ground, decorated with hand-painted scenes of people in Arcadian landscapes, trimmed with raised gilt, one cooler with hand-painted underglaze crossed “L’s”. h. 7‑1/4”, w. 10‑1/4”, d. 8” $1,000‑$1,500

143 Pair of German KPM Hand-Painted Porcelain Covered Vases fourth quarter 19th century, decorated with panels of courting couples framed with gilt on a royal blue ground, the bases molded with dragon-headed serpents, on fluted bases, with molded handles and covers set with pinecone knops, marked with underglaze blue scepters. h. 17”, w. 10‑1/2”, d. 8” $1,000‑$1,500 143

141

144 Bohemian Enamel-Decorated Crystal Partial Glassware Service first quarter 20th century, the service decorated with Bacchanalian-themed oval enamel plaques and gilt swags of flowers, including three sizes of wine goblets, six, h. 6‑1/4”, nine, h. 5‑1/2”, and seven, h. 4‑3/4”, seven champagne coupes, h. 4‑1/2”, seven finger bowls, h. 2‑1/4”, dia. 4‑1/2”, and a pitcher, h. 10‑1/2”, dia. 4‑1/2”. $2,000‑$4,000 145 Pair of Large French Capodimonte Covered Vases ca. 1900, decorated with relief-molded polychrome scenes of a Bacchanalian feast and mounted with ram’s-head handles grasping grapevines, the covers decorated with a pair of putti, signed with an overglaze blue crowned “N” and “France”. h. 25”, dia. 13”

144

$1,800‑$2,500

145

146 Louis XV-Style Giltwood Vitrine late 19th century, the domed top painted sky-blue and with applied giltwood carvings, the front with a foliate avian shield crest above a single glazed door, and two lower panels painted with cherubs, the sides glazed and paneled en suite, raised on bellflower-carved scrolling legs to peg feet. h. 84”, w. 39”, d. 20” $2,000‑$4,000 146

147 Monumental Pair of Belle Epoque Gilt-Bronze Candelabra fourth quarter 19th century, in the rococo style, the bases decorated with scrollwork and supporting putti bearing urns fitted with candle arms molded with scrollwork, the candle cups and drip pans molded with rocaille work, electrified. h. 42‑1/2”, w. 18‑3/4”, d. 17‑1/4” $2,500‑$4,000 148 Impressive French Gilded Age Gilt-Bronze and Cut Glass Centerpiece fourth quarter 19th century, probably Baccarat, in the Rococo Revival style, the pierced base lushly decorated with grapes, grapevines and putti carrying baskets of flowers and grapes, the fluted cut crystal bowl flanked by a pair of integral threelight candle holders. h. 23‑1/2”, w. 26”, d. 15” $2,500‑$4,000

147

148

149 Louis XV Fruitwood Fauteuil ca. 1735, the domed and caned back with a partial fabric overlay, joined by padded arms to the cushioned seat, raised above a shell-carved apron on cabriole legs ending in scrolled toes, upholstered in gold strie silk. h. 39‑1/2” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 511, page 401. Shown in situ pages 400‑401, the library, “Holly Hill”; Private collection, Mobile, Alabama. 149

$1,200‑$1,800

150 Louis XV-Style Mahogany Bureau Plat 20th century, the banded rectangular top with an inset leather writing surface within a brass edging with corner accents, above a conforming frieze fitted with three drawers, verso with three like faux drawers, raised on cabriole legs ending in sabots, the whole richly accented with ormolu mounts and millwork. h. 29”, w. 67‑1/2”, d. 38‑1/2” Provenance: Personal collection of designer Jimmy Sellars, Montgomery, Alabama; Private collection, Mobile, Alabama. Literature: Illustrated (cover) Veranda. Winter 1992 and further illustrated page 53 $2,000‑$4,000

151 French School (19th Century) “At the Waterfalls” oil on canvas laid on wood panel unsigned, verso with “Bedel & Cie” label. Presented in an antique giltwood frame. 12‑1/2” x 18‑7/8”, framed 16‑1/8” x 22‑5/8”

151

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

150

152 School of Jean-Baptiste Pater (French, 1695‑1736) “Fete Galante” oil on canvas unsigned. Framed. 18” x 24‑1/2”, framed 23” x 29‑3/8” $2,500‑$4,000

153 Attributed to Francois Boucher (French, 1703‑1770) “Shepherd Girl”

152

oil on canvas unsigned. Unframed. 19” x 16” Provenance: Sotheby’s, New York, February 1‑2, 2013, “Old Master and 19th Century European Paintings and Drawings, Including Property from the Estate of Giancarlo Baroni”, lot 477; Private Colleciton, Mobile, Alabama. $5,000‑$8,000

154

154 School of Jean-Antoine Watteau (French, 1684‑1721) “Fete Champetre” oil on cradled wood panel unsigned. In a contemporary frame. 15‑3/8” x 11‑7/8”, framed 19‑1/4” x 15‑3/4” $2,500‑$4,000 153

155 Near Pair of Louis XV Polychrome Bergeres 18th century, each with a slightly domed and padded back surmounted by a floral crest, joined by low padded arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes. h. 38” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lots 27 and 33, pages 39 and 43. Shown in situ pages 42 and 43, the library; Private collection, Mobile, Alabama. $2,500‑$4,000

156 French Sevres Porcelain Tureen and Under Tray ca. 1793‑1797, decorated with scattered bouquets of flowers, signed with the underglaze blue script Sevres “First Republic” mark, a gilt “Sevres” and “HP” mark on both pieces. h. 7”, w. 14‑1/2”, d. 11‑1/4”

157

$1,200‑$1,800

157 German Meissen-Style Porcelain Dressing Mirror ca. 1900, with serpentine sides and crest, the edges molded with pink and blue rocaille work, decorated with encrusted flowers, birds and putti, set with a beveled mirror plate, on an easel back. h. 25‑3/4”, w. 15” $2,000‑$4,000 156

155

158 Pair of German Meissen “Four Seasons” Candelabra ca. 1850‑1922, the seven-light candelabra with figures personifying spring and autumn on one and summer and winter on the other, set with seven branch candle inserts, with a pommel-ended underglaze blue crossed swords mark with painted overglaze “25” on the base and inscribed in script “E128”. h. 19‑3/4”, dia. 12‑1/2” $1,500‑$2,500 159 Assembled Twenty-One-Piece Porcelain “Monkey Band” post-1915, after Meissen, German, each piece marked with slight variations of the “VEB Oldest Porcelain Manufactory” underglaze blue mark, with the exception of the drummer with a feathered cap, which is a Meissen original, ca. 1850‑1922, the set including the band leader and twenty musicians, all in 18th-century costume and playing various instruments. h. 4” to 5‑3/4”, w. 2” to 3”, d. 1‑1/2” to 2” $1,200‑$1,800 160

160 German Meissen Porcelain Figure of a Dancer ca. 1924‑1935, the figure dressed in a kilt, with a feathered helmet and cape, poised to bow and start dancing, with an underglaze blue crossed swords mark, a dot between the blade tips. h. 9‑1/2”, w. 6”, d. 3” $700‑$1,000

158

159

161 German Meissen Porcelain Figural Group of Apple Picking ca. 1850‑1922, featuring a mother holding out her apron for apples, a seated boy by her side, and a little boy holding out his hat for another boy to throw them from the top of the tree, with an underglaze blue pommel-ended crossed swords mark, with indistinctly inscribed numbers. h. 10”, w. 4”, d. 4‑3/4” $700‑$1,000

162

163 German Meissen Porcelain Figural Group Personifying “Earth” ca. 1730, originally from a set of four groups personifying the elements, the central goddess with a cornucopia of fruit, sitting against a sphere, a putto on the left digging with a spade, and one on the right feeding a chicken. h. 6‑3/4”, w. 6‑3/4”, d. 3‑3/4” $700‑$1,000

161

162 Large Meissen-Style Porcelain Figure ca. 1900, depicting a reclining child with flowered dress, the underside marked with blue crossed swords. h. 9‑1/2”, w. 16”, d. 7” $1,000‑$1,500

163

164 German Meissen Porcelain Group of a Couple with an Animal Band 20th century, the male holding a horn up to a goat, the woman holding a parrot, a monkey playing a flute at their feet, with an underglaze blue crossed swords mark. h. 8”, w. 4‑3/4”, d. 3‑1/4” $700‑$1,000 165 Three German Meissen Porcelain Figures ca. 1850‑1924, including the largest figure, a crinoline group, depicting a man kissing a woman in crinolines, h. 7‑3/4”, w. 9‑1/2”, d. 4‑1/4”, a boy holding a rake, with an overglaze hand-painted “53” on the bottom, h. 5‑1/2”, dia. 2”, and a boy with a nanny goat, the base with an overglaze hand-painted “47”, h. 6”, w. 4‑1/4”, all three pieces with underglaze blue pommel-ended crossed swords. $700‑$1,000 166

166 Manner of Francois Boucher (French, 1703‑1770) “La Lecon de Flute” oil on canvas unsigned. In an antique carved giltwood frame. 32‑3/4” x 32‑3/4”, framed 38” x 38” $1,000‑$1,500

164

165

167 French Bronze-Mounted Bracket Clock in the Louis XV-Style fourth quarter 19th century, decorated with hand-painted roses on a green ground, the clock with gilt-bronze scrollwork on the case and matching shelf, mounted with an eagle-decorated finial. h. 38‑1/2”, w. 13”, d. 8” $1,000‑$1,500

168

169

167

168 Exuberantly Carved and Polychromed Settee and Ottoman

169 Exuberantly Carved and Polychromed Settee and Ottoman

in the Louis XV manner, the padded and shaped back centered by a pierced shell crest, joined by padded downswept arms to the cushioned seat, above an apron with ribbon carving and pendant floral garlands, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 49”, w. 49”, d. 43”, the conforming rectangular cushioned ottoman with like apron and feet, h. 21”, w. 47”, d. 28”.

$1,000‑$1,500

170 Two Louis XV Walnut Console Tables one late 18th century and the other 20th century, each with a shaped demi-lune top with molded edge, above a scalloped foliate-carved frieze, raised on exaggerated cabriole legs ending in shaped feet. h. 32‑1/2”, w. 49‑1/2”, d. 24” $2,000‑$4,000

171 Flemish Handwoven Tapestry of a Courting Couple fourth quarter 17th century, figures set within a lush park setting, with an allover floral vine border with architectural elements. 7’ 11” x 9’ 11” $6,000‑$9,000

171

172 Louis XV-Style Creme-Peinte, Parcel-Gilt and Marble-Top Side Table early 20th century, the shaped marble top with a molded edge, above a conforming frieze centered by a pierced rose-carved panel, raised on molded cabriole legs ending in acanthine scrolled toes. h. 33”, w. 58”, d. 27” $3,500‑$5,000 172

170

173 Pair of Louis XV-Style Polychrome Fauteuils mid-19th century, each with a padded and domed back surmounted by a shield-form crest, joined by padded outscrolled arms to the padded seat, raised above a foliate- and shell-carved apron on cabriole legs headed by shield carving and ending in scrolled toes, upholstered in silk damask. h. 43” Provenance: Private collection, Mobile, Alabama. $4,000‑$7,000

173

175 Louis XV-Style Giltwood and Marble-Top Occasional Table ca. 1900, the inset “turtle”-form marble top with a gadroon edge, above a conforming lattice-pierced frieze centered by a shell carving, raised on cabriole legs joined by an X-form stretcher and ending in scrolled toes. h. 21‑1/4”, w. 27‑1/2”, d. 21‑1/2” $1,000‑$1,500

174

174 Suite of Four Louis XV Polychrome Fauteuils first half 18th century, each with a caned back surmounted by a floral crest, joined to the cushioned caned seat by molded downswept arms, raised above a shaped foliate-carved frieze on cabriole legs ending in peg toes. h. 38” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 155, page 131. Shown in situ pages 128 and 129, the dining room; Private collection, Mobile, Alabama. $1,800‑$2,500 175

176

178

176 Turkish Oushak Carpet 7’ 10” x 10’ 2” $1,000‑$1,500

177 Agra Karajeh Carpet 11’ 8” x 14’ 8” $1,500‑$2,500

178 Antique Lavar Kerman Carpet 8’ 10” x 11’ 4” $1,000‑$1,500

177

180

179 Turkish Angora Oushak Runner 2’ 6” x 24’ 1” $1,000‑$1,500

180 Turkish Oushak Carpet 12’ x 15’ 2” $1,500‑$2,500

179

181

182

183

184

185

181 Agra Serapi Carpet 9’ x 11’ 9” $1,500‑$2,500 182 Semi-Antique Heriz Carpet 13’ 2” x 9’ 6” $2,500‑$4,000 183 Laristan Tabriz Mahi Runner 2’ 8” x 20’ $1,000‑$1,500 184 Agra Sultanabad Carpet 8’ 10” x 12’ 1” $1,000‑$1,500 185 Peshawar Sultanabad Carpet 5’ 11” x 9’ 5” $700‑$1,000 186 Tabriz Carpet 12’ x 19’ 7” $1,500‑$2,500

186

187

189

187 British School (Second Quarter 19th Century)

189 American/British School (First/Second Quarter 19th Century)

Two Portrait Miniatures

Four Portrait Miniatures

each watercolor John Goddard (ca. 1785‑1860), “Mary Banter, Probably of Cambridgeshire”, 1839, signed, dated and sitter identified en verso, sight 4‑1/4” x 3‑1/8”; and (Attr.) John Patrick Haverty (1794‑1864), “Gentleman in White Stock and Black Coat”, unsigned, sight 3‑1/4” x 3”. Both glazed in bi-fold leather cases. overall 4‑5/8” x 3‑5/8” and 4‑1/4” x 3‑1/2”, respectively

each watercolor and gouache including “Melissa Phelps Dodge (1806‑1903) of New York, New York”, 1827, sitter’s name inscribed en verso; “Gentleman in White Cravat”; “Lady in Black Dress with White Lace”; and “Gentleman in Black Cravat”, reverse with plaited hair. All four glazed in oval pendants, overall 3‑1/4” x 2‑3/4”, 2‑3/4” x 2‑3/8”, 3‑1/2” x 2‑1/2” and 2‑3/4” x 2‑1/8”, respectively. All four with original bi-fold case, 3‑1/2” x 3” to 4” x 3”. All four together in a glass and wood presentation case, 12” x 18”.

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi; Sold in these rooms, May 17, 2003, lots 15 and 14. $1,000‑$1,500

188 British School (First Quarter 19th Century)

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 Melissa Phelps Dodge was the daughter of New York entrepreneur Anson Greene Phelps (1781‑1853) and wife of William Dodge, Sr. (1805‑1883). Phelps and his two British sons-in-law William Dodge, Sr. and Daniel James (1801‑1876) established a lucrative American mining corporation that began in 1834 as an import-export firm in tin, zinc, copper and lead roofing plates.

Two Portrait Miniatures each watercolor and gouache including “Lad in an Olive Jacket and Waistcoat”, unsigned, sight 4‑1/2” x 3‑1/2”; and “Lady in a Tulle Lace Collar and Hat”, unsigned, 2‑3/4” x 2‑1/4”. Each glazed and framed, 7‑1/2” x 6‑1/2” and 5‑1/8” x 4‑1/2”, respectively. Miniatures together in a glass and wood presentation case, 12” x 18”. Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

188

190 British and Continental Schools (19th and 20th Century) Six Portrait Miniatures of Officers each watercolor and gouache including “Portrait of a British Army General with the Order of Bath, Probably General George Augustus Eliott, later 1st Baron Heathfield (1717‑1790)”, 3‑1/2” x 2‑3/4; “Portrait of a Mustachioed British Army Officer, Likely Associated with the East India Company”, in a pendant with rolled gold plating, lock of hair en verso, 1‑1/8” x 1‑3/4”; “Portrait of a Bewigged Gentleman with a Black Velvet Bow”, in a brass case, 1‑3/4” x 1‑1/2”; “Portrait of an Officer with an Epaulette on Right Shoulder”, initialed “H.S.” lower right, in a pendant with rolled gold plating, 1‑3/8” x 1‑1/8”; “Portrait of a Highly Decorated Officer”, in a brass pendant, 2” x 1‑3/4”; Ida Calzolari (Italian, b 1936), “Portrait of a Russian Officer with Badge of the Order of the White Eagle”, 3‑1/2” x 2‑1/2”, in a presentation carved wood frame, 8‑3/8” x 7‑1/2”. All six together in a glass and wood presentation case, 12” x 18”.

190

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 191 Richard Cosway, R.A. (British, 1742‑1821) “Portrait Miniature of a Dandy in a Fur Stole” watercolor signed right edge, in a gold rolled oval frame. Glazed and mounted in a picture box frame. sight 3‑1/4” x 2‑1/4”, framed 7‑1/4” x 6‑3/8” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

191

Richard Cosway, a leading English portrait miniature painter of the Regency period, was appointed painter to King George IV, then Prince of Wales. Between 1780 and 1811, he painted more than fifty portraits of George IV and the royal family. Cosway and his Italian/ American wife Maria Hadfield, another accomplished portrait painter, cultivated a large aristocratic and famous clientele that included the Duke of Wellington, Viscountess of Melbourne, Sarah Siddons, Madame du Barry, Napoleon and Thomas Jefferson. Both Cosways were noted fashionistas of the London and American scene. As the rich fur stole offset by the windswept sideburns of the sitter in this portrait illustrates, Richard Cosway’s success lay in his keen ability to incorporate the prevailing vogue into soft, hazy portraits that enhanced the beauty and the elegance of the sitter.

193 Attributed to George Englehart (British, 1752‑1829) “Portrait Miniature of a British Officer”, ca. 1780 watercolor, unsigned together with R. C. Woolnough (British, active 1801‑1805), “Portrait Miniature of a Young Man”, 1802, watercolor, signed and dated on frame backing. Both glazed in brass oval frames. overall sight 3‑7/8” x 2‑3/8” and 2‑7/8” x 2‑3/8”, respectively Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,200‑$1,800

192

Another Woolnough portrait of a young man, whose physiognomy greatly resembles the sitter here, sold in England as lot 103 in Golding, Young & Mawer sale in Lincoln on November 19, 2014. Given the age of the sitters and the dates of the works, 1801 and 1802, the sitters are probably related, and are likely brothers. According to the catalogue description, the other Woolnough portrait descended in the family. By repute, the sitter was midshipman Harrison, a sailor who served on the famed HMS Victory between 1803‑1805. He is not believed, however, to have been in service during Lord Nelson’s Battle of Trafalgar. 194 British School (Fourth Quarter 18th/First Quarter 19th Century) Three Portrait Miniatures of Gentlemen

193

192 British/French School (Fourth Quarter 18th/First Quarter 19th Century) Two Portrait Miniatures of Noblemen

each watercolor including “Young Man with Powdered Hair”, sight 2‑3/4” x 2”, “Young Man with a Black Necktie”, sight 2‑1/8” x 1‑3/4”, “Man in a Navy Jacket with Two Medals”, signed “G. Grossbach” (active 1755‑1810) lower right edge, sight 3‑1/2” x 3”. All three glazed and framed, the first two 4‑1/2” x 3‑3/4”, the third 5‑7/8” x 4‑3/4” All three miniatures together in a glass and wood presentation case, 12” x 18” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $800‑$1,200

each watercolor including the “Honorable Colonel Richard Hare, Viscount of Ennismore” and a “Member of the de Chambray family of Normandy”. The first glazed in a 15k gold oval pendant engraved with Ennismore’s name; the second glazed in a rolled gold-plated oval frame, the backing illegibly inscribed in period script “W.... Chaguin [sp?] de Chambray/ borne 1761 to sest(?).” overall (with loop) 3” x 2” and 2‑7/8” x 2”, respectively Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,200‑$1,800 194

196 British School (First Half 19th Century) Group of Four Fine British and American Miniature Portraits of “Dandies” each watercolor each unsigned. Each glazed in an oval pendant with plated rolled gold; the reverse of three with plaited hair. sight 1‑3/4” x 1‑1/4” to 2” x 1‑5/8”, framed 2‑3/4” x 2” to 2‑1/2” x 1‑5/8” 195

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $800‑$1,200

195 Louisa St. Leger Leighton (British, b. 1786) “The Leighton Children”, ca. 1830 each watercolor and pencil on card each signed en verso “Louisa Leighton” and inscribed with sitter’s monogram and date of birth, each with Bristol framer’s label on frame backing. Matted, glazed and framed alike. Each sight 4‑3/8” x 3”, framed 8‑1/2” x 6‑5/8”. All four together in a glass and wood presentation case. Provenance: The Leighton Family; Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

196

197 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Silhouette Portrait of Mrs. Emma R. Adam (1798‑1875) and Her Children, William John Jr., Thomas, Elizabeth Rebecca and Jane Lucy”, Cheltenham, Aug. 6, 1836 paper cut-outs on card sitters identified and localized “Museum Cheltenham” lower margin, artist and date identified on Peggy McClard card on frame backing. Glazed in a period bird’s-eye maple frame. sight 9‑1/2” x 13‑1/2”, framed 12‑1/2” x 16‑1/2” Provenance: Collection of Mrs. F. Nevill Jackson (1861‑1947), London, U.K.; Peggy McClard American and Folk Art, Houston, Texas; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 113. 197

$1,000‑$1,500

198

198 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Portrait Silhouette of Rev. Dr. Robert Gordon of the High Church of Edinburgh (1786‑1853), His Wife and Their Children Robert, Alex, James, Campbell, Isabella, Jane and Janet”, Edinburgh, Scotland, August 1830 paper cut-outs on sepia/ink wash signed and dated lower center. Glazed in a period bird’s-eye maple frame. sight 17‑3/4” x 27‑5/8”, framed 23” x 32‑3/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. F. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 179. $2,000‑$4,000

199 British School (First Half 19th Century) Three Portrait Silhouettes the Adolphe silhouette is black gouache, the other two are paper cut-outs, all three heightened with gold and white gouache including Edgar Adolphe (active 1832‑1846), “An African Man in the Vestment of a Porter/Valet “, 1840, signed, dated and inscribed en verso; (Attr.) Auguste Edouart (French, active U.K./U.S., 1789‑1861), “A Lady with a Reticule Handbag”, faintly monogrammed “AE”; “A Man in a Tailcoat”, unsigned. All three glazed and framed, the last two in period frames. overall 13‑3/4” x 8‑1/4”, 11” x 8‑1/4” and 11” x 9‑5/8”, respectively

199

Provenance: The Adolphe silhouette, Hanes and Ruskin Antiques, Old Lyme, Connecticut. All three silhouettes, Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

200

200 British/American School (First Half 19th Century) Two Silhouette Family Portraits paper cut-outs, the Edouart on card, the Brown heightened with gouache on lithograph Auguste Edouart (French, active U.S./U.K., 1789‑1861), “Portrait of Samuel and Anne Ramsden Roe at Their Recital, Leamington Hastings, Warwickshire”, Oct. 28, 1837, dated and inscribed in keyhole cuts en verso, glass backing with “Collection of Mrs. Nevill Jackson”; and (Attr.) William Henry Brown (American/Charleston/ Philadelphia, 1808‑1883), “Family in Their Parlor”. Each glazed and framed, the latter in a period bird’s-eye maple frame. sights 9” x 13” and 13‑1/4” x 14‑1/4”; framed 13‑1/4” x 17‑1/4” and 16‑1/2” x 17‑1/2”, respectively

201 British School (First Half 19th Century) Two Rare Equestrian Silhouettes paper cut-outs on sepia/ink wash Auguste Edouart (1789‑1861), “Lady with Riding Whip”, 1834, signed and dated lower left; and “Jockey”, unsigned. Each glazed and framed. sights 11” x 9” and 8‑1/2” x 10‑1/2”, respectively; framed 12‑1/2” x 14‑1/2” and 11‑1/4” x 13” Provenance: Peggy McClard American and Folk Art, Houston, Texas; Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

Provenance: Edouart, Collection of Mrs. F. Nevill Jackson (1861‑1947), London, U.K. Both, Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: The Edouart in Mrs. F. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 162. $1,000‑$1,500

201

202 British School (First Quarter 19th Century) “Portrait of a Regency Gentleman with His Horse” oil on canvas unsigned. Framed. 35” x 26‑1/2”, framed 42” x 34” Provenance: Brunk Auctions, January 18, 2014, lot 700; Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000

202

203 Isaac Faulkner Bird (British, 1826‑1861) “Self-Portrait” oil on canvas signed “I. F. Bird by Himself, aged 19”, handwritten labels identifying artist en verso. Presented in a period frame affixed with artist plaque. 21‑3/4” x 17‑1/2”, framed 27” x 23” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $800‑$1,200

203

204 British School (First Quarter 19th Century) “Portrait of a Collector in His Study” oil on wood panel unsigned. Presented in a period giltwood frame. 14‑1/2” x 10”, framed 17‑3/4” x 13” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

204

205 British School (Second Quarter 19th Century) “Portrait of a Gentleman in a White Linen Cravat” oil on canvas unsigned. Framed. 29‑5/8” x 25”, framed 38” x 33‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,200‑$1,800

205

206 Attributed to Richard Rothwell, R.H.A (Irish, 1800‑1868) “Portrait of an Unidentified Distinguished Gentleman” oil on canvas unsigned, an old handwritten note and a “Grundy and Fox/Fancy Repository/St. Ann’s Square/Manchester” label en verso frame. In a period, possibly the original, carved giltwood frame affixed with artist plaque. 30‑1/2” x 25‑1/4”, framed 39‑1/2” x 34” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000 John Clowes Grundy and Charles Fox established a fine art supply and repository business in 1827 on St. Ann’s Square, in Manchester. The company, which also offered carving and gilding services as well as serving as a printseller, remained at that location only until 1829. The company is mentioned in the 1828 and 1829 editions of “Pigot and Son’s General Directory of Manchester, Salford, etc”.

206

207 Circle of Sir Thomas Lawrence (British, 1769‑1830) “Portrait of a Gentleman”, first quarter 19th century oil on canvas unsigned. Framed and with artist plaque attributing portrait to Circle of George Romney. 30” x 25”, framed 35‑1/2” x 30‑1/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,500‑$2,500

207

208 Manner of William Beechey, R.A. (British, 1753‑1839) “Portrait of a Boy in a White Collar”, ca. 1900 oil on canvas unsigned. Framed and with artist plaque. 30‑1/2” x 25‑1/4”, framed 38” x 33‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

208

209 Henry Weekes, R.A. (British, 1807‑1877) “Bust of a Distinguished Gentleman in Classical Garb” carved marble 1837, signed and dated at back of neck, on a dark gray marble columnar plinth. sculpture h. 29”, w. 20”, d. 10, plinth h. 39‑1/2” $1,200‑$1,800

209

212

210 English Regency Cream-Painted and Parcel-Gilt Tole and Cast Iron Purdonium

212 Assembled Imari Palette Royal Crown Derby Dinner and Dessert Service with Additions

first quarter 19th century, the sarcophagus-form coal box mounted with a lion’s-head masque grasping a ring, the cover decorated with reeding, raised on gilt cast iron paw feet, the interior with a liner. h. 19‑1/2”, w. 15‑3/4”, d. 15‑1/4”

late 19th/early 20th century, English, the dinner service in the “Kings” pattern” and including twelve dinner plates, dia. 10‑1/4”, eleven soup plates, dia. 10‑1/4”, twelve crescent salad plates, w. 9‑3/4”, d. 5‑3/4”, an early 19th-century shell dish, w. 9‑1/2”, d. 9‑3/4”, a tea tray, w. 17‑1/2”, d. 13‑3/4”, ten tea cups, h. 2‑1/2”, and eleven saucers, dia. 5‑1/4”, and the dessert service in the “Traditional Imari” pattern, including an oval teapot, h. 5‑3/4”, w. 10‑1/4”, a cream jug, h. 3‑1/4”, dia. 3‑1/4”, a sugar bowl, h. 3‑1/2”, w. 5‑1/2”, thirteen breadand-butter plates, dia. 6‑1/4”, four demitasse cups, h. 2‑1/4”, with four saucers, dia. 5‑1/4”, a flat cup and saucer, h. 2‑1/2”, dia. 5‑1/4”, six demitasse cups in pattern 5853, h. 2‑1/4”, with five matching saucers, dia. 4‑3/4”, a Nippon shell dish, w. 8‑3/4”, d. 9‑1/2”, a Royal Crown Derby Victorian sauce tureen on stand, h. 6”, w. 8‑3/4”, and a matching German teapot, h. 5‑3/4”, w. 8‑1/2”, a sugar bowl, h. 3‑3/4”, dia. 4”, and a cream jug, h. 3‑1/4”, w. 5”.

Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 337, page 257. Shown in situ page 256, the master bedroom; Private collection, Mobile, Alabama. $1,200‑$1,800 211 Pair of Regency-Style Rosewood Armchairs in the manner of George Smith, each with a masque- and foliate-carved crest surmounted by lion’s-head finials, joined by molded arms and lion’s-head hand rests to the cushioned seat, above a star-carved apron, raised on sabre legs ending in gilt paw feet. h. 35‑1/2”

$1,500‑$2,500

$1,200‑$1,800

210 211

213 Regency Mahogany Center Table early 19th century, the elongated banded octagonal top above a conforming frieze fitted with eight drawers, raised on a bulbous ribbed standard to four splayed legs ending in brass caps on casters. h. 30‑1/2”, w. 41”, d. 34” $1,200‑$1,800

213

214

214 Regency Mahogany and Leather-Covered Swivel Desk Chair second quarter 19th century, with a curved back and continuous arms, and scrolled and carved hand rests, mounted to a swivel base. h. 35”, w. 22”, d. 25” $800‑$1,200 215 Late Regency Mahogany Bookcase second quarter 19th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a baize-lined brushing slide over three graduated long drawers, all with ebonized banding, raised on splayed bracket feet. h. 84‑1/2”, w. 51”, d. 17‑1/2” $1,200‑$1,800

215

216 Pair of Regency Parcel-Gilt Mahogany Fire Screens ca. 1800, with shield-form screens set with embroidered silk panels, the centers decorated with chenille-work children with painted faces, the urn-form standards with giltwood acanthus leaves, on tripod bases supported on gilt paw feet. h. 62”, w. 16”, d. 11‑3/4” $800‑$1,200 217 Regency Mahogany Linen Press early 19th century, the molded and dentillated cornice above a paneled frieze and over a case fitted with two doors, each banded and inset with a highly figured oval panel, the lower section fitted with two short drawers over two graduated long drawers, all banded, raised on splayed legs. h. 83”, w. 50”, d. 24” $1,000‑$1,500

216

218

218 Regency-Style Mahogany Metamorphic Library Chair the carved and paneled crest joined by scrolling arms to the cushioned caned seat, the seat hinged and folding forward to form a four-step library ladder, each tread inset with gilt-tooled leather, raised on sabre legs. h. 34‑1/2” $700‑$1,000 217

219

219 William IV Carved Mahogany and Leather-Upholstered Library Chair second quarter 19th century, the horseshoe-form padded leather back and arm rests supported by two shaped back posts, raised on turned and carved legs. h. 34”, w. 31”, d. 26” $1,000‑$1,500

220

221 Regency Mahogany Dining Table 19th century, the circular top with a reeded edge, raised on a bulbous columnar standard to four splayed legs ending in scrolled toes, on casters. h. 30”, dia. 72‑1/2” $1,800‑$2,500

220 Pair of George III Needlework Pictures of Young Boys first quarter 19th century, various stitches rendered in wool, silk and chenille threads, on a silk foundation, the hands, faces and portions of background of silk enhanced with watercolor, each boy in a red jacket and accompanied by his dog(s). Each glazed and framed. each 14” x 10”, framed 16‑1/2” x 12‑1/2” Provenance: Sotheby’s, New York, Property from the Estate of Brooke Astor, September 25, lot 767, illus. p. 566 in catalogue; Private collection, Mobile, Alabama. $800‑$1,200 221

222 Important Irish Regency Mahogany Sideboard first quarter 19th century, the elaborately scrolled and carved splash rail above a rectilinear top, the lotus-molded frieze containing three drawers, the pedestal cabinets displaying anthemions and pineapple pendants, raised on bracket feet. h. 52‑1/2”, w. 75‑1/4”, d. 26‑1/2” $3,000‑$5,000

223 Near Pair of Regency Mahogany and LeatherUpholstered Library Chairs second quarter 19th century, each with a rectangular padded and diamond-tufted back, with down-curved arms with leather-padded elbow rests and scrolled hand grips, each with a pull-out foot rest, raised on turned legs. h. 45”, w. 27”, d. 31” and h. 44”, w. 26”, d. 31”

223

$1,200‑$1,800

224 Regency Mahogany Drop-Leaf Side Table ca. 1800‑1810, the single-board mahogany top with drop leaves with rounded corners, one end fitted with a drawer, the other end with a faux drawer, supported by a turned standard with four down-curved outstretched legs ending in brass toes and casters. h. 29”, w. 20”, l. 36”, ext. l. 39‑1/2” $1,000‑$1,500 224

222

225 William IV Mahogany Cheval Mirror second quarter 19th century, the reeded frame set with urn finials and a pair of adjustable brass candlestands, and the pulvinated mirror surround set with antique mirror glass, raised on reeded sabre legs with leaf carving. h. 69‑3/4”, w. 33‑1/2”, d. 24‑1/2” $1,200‑$1,800

227

226 William IV Carved Mahogany and Leather-Covered Library Chair second quarter 19th century, with a curved back supported by a pair of reeded back posts and scrollcarved slat, raised on turned legs ending in brass cup casters. h. 30‑1/2”, w. 27”, d. 25” $1,000‑$1,500

225

227 Late Regency Mahogany Sideboard second quarter 19th century, the shaped scrolling foliate-carved backpiece above a small drawer to either side, above a D-form top with turreted corners, over a conforming case fitted with a central cutlery drawer over a recessed well drawer, flanked to one side by a cupboard and to the other by a cellarette drawer, raised on spiral-ribbed and heavily turned circular legs ending in toupie feet. h. 67”, w. 77‑1/2”, d. 29‑1/2” $1,800‑$2,500

226

228 Regency Mahogany Dining Table early 19th century, consisting of two D-ends and a central drop-leaf section, all with reeded edge and raised on ribbed tapering circular legs headed by a turned capital and ending in toupie feet. h. 29”, w. 41‑1/2”, ext. l. 109” $1,500‑$2,500

229 Suite of Six Regency-Style Mahogany Side Chairs 20th century, each with a turned crest rail above string-inlaid and circular paneled splats, the padded seat raised on line-inlaid sabre legs. h. 32‑1/2”

230

$800‑$1,200

230 Regency Parcel-Gilt Rosewood and MarbleTop Pier Table second quarter 19th century, the Egyptian marble top set back from the front edge, above a straight frieze fitted with a drawer, supported by scrolled and acanthus-carved front legs mounted to an in-curved plinth raised on turned and carved legs. h. 38‑1/2”, w. 38”, d. 20” $1,000‑$1,500 229

228

231 Charles Archer (British, 1855‑1931) “Fruit Still Life in a Landscape”, 1875 oil on canvas signed and dated lower right. Framed and with artist plaque. 20” x 30”, framed 30” x 40” $1,500‑$2,500

231

232 Pair of Exceptional William IV Gilt-Bronze Candlesticks second quarter 19th century, the tripartite pierced dolphin-molded bases set with fluted column-form standards terminating in masque-molded candle cups, framed with scrolled and leaf-molded prism rings, retaining their gilt surfaces. h. 13‑1/2”, dia. 5‑3/4” $1,000‑$1,500

232

233 Handsome English Porcelain Dessert Service second quarter 19th century, attributed to John W. Ridgway, the service decorated with white leaves and scrollwork accented with gilt on a biscuit ground, the center panels with wildflower bouquets, the set comprised of a compote, h. 9‑1/2”, w. 13”, six rectangular dishes, w. 11‑3/4”, d. 8‑1/2”, twenty-four dessert plates, dia. 9”, a round dessert dish, dia. 9”, and a pair of sauce tureens and stands, h. 6‑3/4”, w. 8‑3/4”. $1,200‑$1,800

233

234 Daniel Ridgway Knight (American, 1839‑1924) “A Cavalier and His Lady” oil on canvas signed and dated lower right. Framed. 29” x 23‑1/2”, framed 35‑1/2” x 30” $4,000‑$7,000

235 Edward Sherard Kennedy (British, active 1863‑1890) “My Lord’s Gentleman”, 1874 oil on canvas signed and dated lower left. Framed. 29” x 40‑1/2”, framed 36” x 47” Provenance: Bonhams, London, July 14, 1977, lot 129; Private collection. $4,000‑$7,000 234

235

237 William IV-Style Teakwood Three-Tier Etagere of traditional form with three long shelves, each with straight galleries, supported by turned and reeded posts at the four corners. h. 52”, w. 42”, d. 16‑1/2” $1,000‑$1,500

236

236 British School (Fourth Quarter 19th Century) “Playing Dress-Up” oil on canvas faintly and illegibly signed/inscribed mid-left. Framed. 16‑5/8” x 12‑5/8”, framed 21‑1/2” x 17‑1/2” $1,500‑$2,500 237

238 Large and Impressive English Coalport Patesur-Pate Vase ca. 1881‑1891, decorated with a band of cupids dancing over a lily pond with dragonflies, a flutist in a tree, with a ruffled gilt mouth, the cobalt ground decorated with delicate scrollwork enhanced with polychrome enamel embellishments, with Coalport’s green underglaze transfer crown mark. h. 17‑1/2”, w. 12‑1/2”, d. 5‑1/2” $5,000‑$8,000

238

239 Edwardian Satinwood Bookcase late 19th/early 20th century, the central domed and molded cornice above two central grille-paneled doors flanked to either side by a shorter like door, all opening to a shelved fabric-lined interior, the lower section triple-bowed and fitted with four cupboard doors, all banded and inset with an oval floral polychrome panel, the whole raised on splayed bracket feet. h. 92”, w. 63‑3/4”, d. 19” $1,500‑$2,500

239

240 Edwardian Inlaid Mahogany Tall Case Clock ca. 1900, the hood with a swan’s-neck pediment and inlaid rosettes, the face labeled “Maple & Co. Ltd., London”, with a time, strike and chiming movement on five spring gongs. h. 91”, w. 21”, d. 14‑1/2” $1,000‑$1,500

240

241

241 Manner of Richard E. Miller (American, 1875‑1943)

242 Four Emglish Wedgwood Jasperware Plates pre-1891, decorated with borders of bucrania supporting swags of flowers, framing the central neoclassical sprigging, each impressed “Wedgwood” in all caps with serif letters on the rear. dia. 8‑1/2”

“Poling on the River”, third quarter 20th century oil on canvas laid down on board signed bottom left in boat. Framed. 24” x 29‑1/2”, framed 31‑1/2” x 38”

$1,000‑$1,500

$2,500‑$4,000

242

243 Anglo-Indian Bamboo and Lacquered Etagere late 19th/early 20th century, the superstructure with a pagoda-form crest over a central beveled mirrored cupboard, flanked to either side by bowed open shelves joined by bamboo uprights and a lacquered paneled back to a lower section with a lacquered rectangular top, over a single drawer and a single side cupboard and two tiered open shelves, raised on splayed bamboo legs. h. 66”, w. 25‑1/2”, d. 16” $1,000‑$1,500

244

244 Anglo-Indian Bamboo and Lacquered Corner Dresser late 19th century, the superstructure with a beveled rectangular mirror with a galleried crest, supported by bamboo uprights to a small canted drawer to either side, the lower section with a canted lacquered top above a case fitted with two seagrass-fronted deep drawers, flanked to either side by two open seagrass-lined canted shelves, raised on splayed bamboo legs. h. 63”, w. 37”, d. 17‑1/2” $1,000‑$1,500

243

245 George Owen Wynne Apperley (British, 1884‑1960) “Entrance to the Hall of Ambassadors, Alhambra, Granada”, 1921 watercolor on paper signed and dated upper left, verso with handinscribed labels with artist name and title, affixed with “The Closson Art Galleries, Cincinnati” label. Glazed and framed. 14” x 10”, framed 20” x 16” $1,000‑$1,500

245

246 French Painted Faux-Bamboo Umbrella and Cane Stand fourth quarter 19th century, the lower portion set with a tole drip pan, the holder with apertures for five umbrellas and eight canes. h. 27‑1/2”, w. 24‑1/4”, d. 8‑1/2” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 384, page 290. Shown in situ page 285, the foyer, “Holly Hill”; Private collection, Mobile, Alabama. $800‑$1,200

246

247 William IV Walking Stick Rifle second quarter 19th century, the carved mahogany ring handle decorated with brass nailheads and inlaid pewter plate, the shaft a steel muzzle-loading percussion cap rifle. l. 32‑5/8”

247

Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,000‑$1,500 248 Six Edwardian and Later Specialty Walking Sticks including a: Snuff Mull Walking Stick, the grip handle a horn snuff mull with hinged silver cap and mounts hallmarked Birmingham, 1912‑1913, John Grinsell & Sons, with malacca shaft and horn tip, l. 36”. Snuff Box Walking Stick, the pommel handle a brass navetteshaped snuffbox, the hinged lid stamped “Simon Ettle / Oldland Common / NR. Bristol / 1908”, with stained bamboo shaft and brass tip, l. 36”. Sword Walking Stick, the pommel handle withdrawing to reveal a steel blade of square section, the handle and shaft composed of used matchsticks, with horn tip, l. 37‑1/2”. Blackthorn Walking Stick, with integral crook handle, the shaft with a flat-head nail driven through and wrapped around, the tip lacking, l. 35”. Ear Trumpet Walking Stick, the grip handle a brass “London Horn” ear trumpet with gutta percha ear tip, with malacca shaft and brass tip, l. 35‑1/2”. Horse Measuring Walking Stick, the integral crook handle fitted with a silverplate-capped extending boxwood measuring stick calibrated in hands and centimeters on opposing sides (9.3 hands/99 cm to 16.2 hands/168 cm), with extending brass right angle set with a spirit level, with bamboo shaft and brass tip, l. 36” (extending to 64”). Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,200‑$1,800

249

249 Six Edwardian and Later Specialty Walking Sticks including a: Scent-Bottle Walking Stick, with “T” handle formed of two paneled ruby glass scent bottles set end-to-end, with brass caps and mount, malacca shaft and horn tip, l. 35‑1/2”. Corkscrew Walking Stick, with Chinese export silver crop handle, by Wang Hing of Canton and Shanghai, decorated with a dragon and unscrewing to reveal a corkscrew, with a painted bamboo shaft and pewter tip, l. 36”. Pyx Walking Stick, with sterling silver viaticum-type pyx pommel handle, hallmarked London, 1977, with rope-twist rim and the lid engraved with the Agnus Dei, unscrewing to reveal a compartment with small stoppered glass chalice, the underside inscribed “In Memory of Thomas Estlin Pritchard Vicar 1943‑1954”, with malacca shaft and horn tip, l. 35”. Bird Call Walking Stick, with brass four-note (A, G, F, E) sliding tube whistle, with ebonized wood shaft and horn tip, l. 36”. Marian Devotional Walking Stick, with brass straight handle engraved with Marian monogram and swiveling to reveal a figure of the Madonna and unscrewing to reveal a vial for holy water, with striped part-ebonized shaft and horn tip, l. 35‑3/4”. Tippler’s Walking Stick, with copper pommel handle unscrewing to reveal a small wine glass, and lower ferrule unscrewing to reveal a glass wine vial with cork stopper, with malacca shaft and horn tip, l. 35”. Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,200‑$1,800 The pyx walking stick here was made shortly after the death of Fr. Thomas Estlin Prichard (1910‑1975) and in his memory as noted, presumably by the congregation at Boxley where he served as Vicar from 1943 to 1954; he was serving as Archdeacon of Maidstone at the time of his death.

248

250

250 Near Pair of Victorian Writing Slopes Now Mounted as Side Tables

251 Large Black Leather Chesterfield Sofa second half 20th century, with a tufted back and arms, raised on block-and-turned legs. h. 30”, w. 96”, d. 41”

third quarter 19th century, each with brass fittings, including a mahogany example with square corners, and a rosewood example with rounded corners, the writing surface covered in gilt-stamped leather, the interior fittings with ink pots, on Chippendale-style rosewood stands. overall h. 24”, w. 21”, d. 12”

$1,200‑$1,800

$1,000‑$1,500

251

252

252 William Riviere (British, 1806‑1876) “Portrait of a Distinguished Family of Means”, 1847 oil on canvas signed and dated lower right, previously sold as “Portrait of the Fenwick Family”, faint pencil inscription “Fenwick Family, Brewers” en verso stretcher. Framed. 38” x 48”, framed 44” x 55” Provenance: Sotheby’s London, April 9, 1974, lot 97; Private collection. $3,000‑$5,000

An accomplished portraitist, William Riviere dedicated most of his career to art education, first at Cheltenham College, Gloucestershire, England (where he was instrumental in creating a highly respected art school) and later at Oxford University (where he stressed the importance of practical art instruction in higher education). He received his earliest training from his father, a wellrespected drawing master himself, before attending the Royal Academy School of Art. While at the RA, he was lauded by his professors and fellow students as a precise and talented draughtsman. The compelling family portrait presented here is a wonderful example of the fineness and detail of Riviere’s work - the complex multi-figural composition, the lush fabrics and glinting metals which almost revel in their textural variety, the well-delineated background filled with elements of wealth and prestige. Riviere was a consistent, if infrequent, exhibitor at the Royal Academy and the British Institution. His son was the artist Briton Riviere, R.A. (1840‑1920).

253 Group of Four Embroideries of Spaniels and Other Dogs

254 Two British Berlin Woolwork Embroideries of King Charles Spaniels

late 18th to early 19th centuries, including a stumpwork example with a needlepoint background; one of wool and cotton threads rendered in long-and-short stitch, signed “B Sneya” and dated “1762” upper left; one with a letter clenched in the dog’s mouth, inscribed “Paromo Dueno” on letter, wool and cotton threads rendered in needlepoint and petitpoint, with an allover flowered vine border; and one of wool and cotton rendered in long-and-short stitch. All glazed and framed. 11‑1/2” x 15‑1/2”, 14‑1/2” x 18”, 16” x 20” and 14‑1/2” x 18”, framed 14‑1/2” x 18‑1/2”, 16‑1/2” x 20”, 19” x 23‑1/2” and 17” x 20”

19th century, each of a well-groomed dog resting atop a red cushion, one with tufted needlework for the body of the dog; together with a Berlin Woolwork hand-colored paper pattern. Each glazed and framed. sight 12” x 16”, 23” x 25‑1/2” and 12” x 13‑1/2”, framed 13” x 17”, 27” x 30” and 14” x 17” Provenance: Sotheby’s, New York, Property from the Estate of Brooke Astor, September 24, 2012, three of the items from lot 417, illus. p. 316 in catalogue; Private collection, Mobile, Alabama.

Provenance: Sotheby’s, New York, Property from the Estate of Brooke Astor, September 24, 2012, four of the items from lot 417, dog on red cushion illus. p. 316 and dog with letter full page illus. p. 317 in catalogue; Private collection, Mobile, Alabama.

$1,000‑$1,500

255

255 Two Edwardian Mahogany-Cased Bracket Clocks first quarter 20th century, each with a domed top, one signed “Mansell Lincoln” and the other with a four-train movement. h. 15‑1/4”, w. 11”, d. 6” and h. 16”, w. 12”, d. 7” $900‑$1,200

253

254

256

256 Heywood Hardy (British, 1843‑1933) “Riding on the Dunes” oil on canvas signed lower left. Framed. 33” x 30”, framed 36‑1/2” x 33‑7/8” Provenance: Sotheby’s, London, May 7, 2008, “Sporting Sale”, lot 70; Private collection, Mobile, Alabama. $40,000‑$70,000

257 Bernard Edouard Swebach (French, 1800‑1870) “Before the Race” and “The Final Trot”, 1865 pair of oils on canvas signed and dated lower right and signed and dated lower center, handwritten labels with artist and titles en verso. In matching modern frames. each 7‑3/4” x 9‑1/2”, framed 13‑1/2” x 15‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

257

$1,500‑$2,500

258 John Frederick Herring, Jr. (British, 1815‑1907) “Bay Stallion” oil on canvas signed lower left. Framed with plaque. 18” x 24”, framed, 23‑1/2” x 28‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $3,000‑$5,000

258

259 John Frederick Herring, Jr. (British, 1815‑1907) “Belgian Draft Horse” oil on canvas signed lower left. Framed and with artist plaque. 18” x 24”, framed 23‑1/2” x 28‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $3,000‑$5,000

259

260 Continental School (19th Century) “The Work Horse” oil on wood panel unsigned. Framed. 16‑1/4” x 21‑1/2”, framed 22‑1/8” x 27‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

260

261 Cornelis Verschuur (Dutch, 1888‑1966) “At the Blacksmith’s” oil on canvas signed lower right. Framed. 24” x 40”, framed 30‑1/2” x 46‑1/4” $2,000‑$4,000

261

262 Cecil C. P. Lawson (British, 1880‑1967) “Getting Ready for the Race” and “The Race” pair of oils on board each signed. Framed alike. 14” x 11” and 11” x 14”, framed 18” x 15” and 15” x 18” $1,000‑$1,500

262

263 Wilbrandus Joannes Koppius (Dutch, 1859‑1945) “Hunter and His Dog” oil on canvas signed lower right. Framed. 18” x 25”, framed 26‑1/2” x 33‑3/4” $1,200‑$1,800

264 Joseph H. Sulkowski (American/Tennessee, b. 1951) “Quail Hunting Over Palmettos”, 1993 263

oil on canvas signed and dated lower left. In a custom frame affixed with artist plaque. 46” x 72”, framed 54” x 80‑1/2” $5,000‑$8,000

264

265 Paul Henry Schouten (Belgian, 1860‑1922) “Two Setters” oil on canvas signed lower left. Framed. 27‑3/4” x 39‑3/4”, framed 34‑3/4” x 46‑3/4” $1,500‑$2,500

265

266 Conradijn Cunaeus (Dutch, 1828‑1895) “Waiting Patiently” oil on canvas signed lower left. Framed. 28” x 36”, framed 34” x 42” $2,000‑$4,000 266

267 Vincent de Vos (Belgium, 1829‑1875)

267

“The Mouse Hole: Two Dogs in Pursuit” oil on wood panel signed upper left. In a period giltwood frame. 7‑1/2” x 9‑1/2”, framed 17” x 18‑3/4” $1,800‑$2,500

269

268 William Simpson (British, 19th/20th Century) “King Charles Spaniel with a Canary” pair of oils on canvas each signed, verso with partial framer’s labels, one example with a “Arthur Stewart, London-Donegal” artist biography sheet. In matching, period carved and pierced giltwood frames. each 12” x 14”, framed 22” x 23‑1/2” 268 one of two

$1,500‑$2,500

269 Karl Bodmer (American, 1809‑1893) “Portrait of a Saint Bernard” oil on canvas signed lower right. Framed. 25” x 19”, framed 29” x 23‑1/2” $1,000‑$1,500

268 two of two

270 one of two

270 two of two

270 Terry Bresnahan (20th Century) “Miniature Schnauzer”, 1929 oil on canvas signed and dated lower right, inscribed lower left “Int. Champion Holm Von Egelsee”, together with a (British School, 19th Century), “A Terrier on a Blue Cushion”, oil on canvas, unsigned. Both framed. former 15” x 19‑1/8”, framed 19” x 23”; latter 15‑3/4” x 12‑1/2”, framed 18‑1/2” x 15‑1/4” Provenance: Sotheby’s, New York, September 24, 2012, “Property from the Estate of Brooke Astor”, lot 667; Private collection, Mobile, Alabama. $2,000‑$4,000 271 Fannie Moody (British, 1861‑1948) “Friends for Life” oil on canvas signed lower right, “Kemp & Co., Pimlico” stamp en verso. Framed. 27” x 20”, framed 32” x 24‑1/2” $7,000‑$10,000

271

100

272 British School (19th Century) “Portrait of a Girl with a Bunny” oil on canvas unsigned. Framed. 24” x 20”, framed 31” x 27” $1,500‑$2,500

272

273 Charles Joshua Chaplin (French, 1825‑1891) “Her Favorite” oil on canvas signed lower left. In a period giltwood frame. 24” x 18‑1/8”, framed 35‑1/4” x 27‑1/4” Provenance: Sotheby’s, New York, “Old Master and 19th Century European Art”, January 29, 2010, lot 843; Private collection, Mobile, Alabama. $5,000‑$8,000

273

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274 Henry Barraud (British, 1811‑1874) “Sit Up Sir: Ginger”, 1859 oil on canvas signed lower right. Frame with two title and date plaques. 24” x 20‑1/8”, framed 30” x 26‑1/4” Provenance: Sotheby’s, New York, September 24, 2012, “Property from the Estate of Brooke Astor”, lot 636; Private collection, Mobile, Alabama. $5,000‑$8,000

274

275 Attributed to George Armfield (British, 1840‑1875) “Two Dogs Stalking Their Prey” oil on canvas signed lower left, old handwritten label en verso frame. Framed. 20” x 24”, framed 25‑1/2” x 29‑1/2” $1,500‑$2,500

275

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276

276 George III Sterling Silver Cake Basket

277

hallmarked London, 1766‑1767, by Edward Aldridge II, of oval form, the everted sides with reticulated panels separated by wavy gadroons, with openwork bead-andshell rim, the double “C”-scroll-mounted swing handle en suite, raised on an openwork acanthus scroll foot ring. h. 3‑1/2” (11‑1/4” with handle), l. 14”, w. 13‑1/4”, 32.15 t. oz. $1,400‑$1,800

277 George III Sterling Silver Coffeepot 277 detail

hallmarked London, 1791‑1792, by Charles Hougham, the gourd-shaped body with “gooseneck” spout, hinged dome lid with vasiform finial, scroll-mounted crested wooden handle and pedestal foot, the whole decorated with engraved, wrigglework and bright-cut bands and navette cartouches, engraved on one cartouche with the crest of Peter of Essex and Cornwall. h. 13”, dia. 4‑1/2”, l. 8‑1/2”; 29.88 t. oz. (including wooden handle) $1,000‑$1,500

278 George III Sterling Silver Salver hallmarked London, 1777‑1778, by Robert Jones & John Scofield, circular with serpentine-lobed gadrooned rim, raised on three scroll-and-pad feet. dia. 12”; 28.29 t. oz. $1,000‑$1,500

278

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279 George III Sterling Silver Coffeepot hallmarked London, 1771‑1772, by Charles Wright, the pear-shaped body with”gooseneck” spout, crested S-scroll wooden handle, hinged domed lid with acanthus bud finial and domed foot, decorated with repousse rococo scrolls, flowers, laurel swags and annulation. h. 11‑1/2”, l. 8‑3/4”, dia. 4‑3/4”; 30.55 t. oz. (including wooden handle) $1,500‑$2,500 280 Good George III Sterling Silver Tankard hallmarked London, 1790‑1791, by Walter Brind, of slightly tapering cylindrical form with reeded banding, the flat hinged lid with openwork shell billet, with double C-scroll handle and inset glass base, engraved with the arms (on the lid) and crest (on the body) of Emmott of Emmott Hall, Lancashire. h. 7‑1/4”, l. 7”, dia. 4‑3/8”; 30.34 t. oz. (including glass base) 279

$1,000‑$1,500

281 Matthew Boulton Old Sheffield Plate Epergne first quarter 19th century, Birmingham, of elongated octagonal form, with reed-and-vintage banding, acanthus crested flat-column legs and barrel feet, joined by a wirework stretcher centering a detachable acanthus bud finial and supporting four scrolling arms, fitted with one large and four smaller later diamondpattern cut glass dishes with scalloped fan-cut edges. h. 11‑1/2”, l. 16”, w. 16” $1,000‑$1,500

280

280 detail

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281

282

282 Late George III Sterling Silver Gilt Galleried Tray

283 Pair of Regency Sterling Silver Sauceboats hallmarked London, 1810‑1811, by William Bennett, each of batteau form, with squared handle and reeded edge, raised on a cavetto-domed and reed-banded oval foot, engraved with the arms of Hammerton. h. 5‑1/4”, l. 8‑1/2”, w. 4”; 18.90 total t. oz.

hallmarked London, 1802‑1803, by Joseph Preedy, canted rectangular form, with openwork floral and vintage rinceaux gallery and raised on four acanthus-scroll feet, the plateau engraved with the margravial arms of Manners with Seymour in pretence. 28‑3/4” x 19‑1/2”; 175.54 t. oz.

$1,000‑$1,500 The lozenge shape of arms here, crested by a flowing ribbon, traditionally indicate that they belong to an unmarried woman, who is an heiress in her own right.

$7,000‑$10,000 The arms here are those of John Manners, Marquess of Granby (1721‑1770) and his wife Lady Frances Seymour (1728-1761), daughter of the Duke of Somerset. As the arms were made several decades after their deaths, it was probably made to match a service inherited by one of their younger children; the Marquess predeceased his father, the Duke of Rutland, and thus never assumed the dukedom, which passed to the Marquess’ eldest legitimate son, Charles Manners (1754‑1787), 4th Duke of Rutland.

283

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284 George IV Sterling Silver Cake Basket hallmarked London, 1823‑1824, by John Edward Taylor & Co., oval with serpentinegadrooned side and pierced floral C-scroll rim, with swing handle en suite. h. 4” (10” with handle), l. 13‑1/2”, w. 11‑3/4”; 34.06 t. oz. $1,000‑$1,500

285 Pair of George IV Old Sheffield Plate Wine Coolers first quarter 19th century, in the rococo taste, each with an inverted baluster-form body with opposing robust acanthus-scroll handles, rococo-scroll cartouches, and raised on four acanthus-scroll feet, with detachable openwork shaped acanthus-scroll collar, the liner lacking, monogrammed on one cartouche “JUMcJ”. h. 12”, dia. 9”, w. 11‑1/4”

284

Provenance: Purchased at M. S. Rau, New Orleans, Louisiana, 1987. $1,000‑$1,500

285

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286

286 Good Victorian Regimental Sterling Silver Tureen hallmarked London, 1861‑1862, by Stephen Smith & William Nicholson, bulbous oval form, the gadrooned rim quartered by leafy-mantled shells and palmettes, with addorsed acanthus-mounted handles and raised on four acanthus-crested scroll feet, the fitted, domed lid with wide gadrooned band and addorsed acanthus-crested ring handle, the lid and body engraved with the badge of the 24th Regiment of Foot. h. 11”, l. 17‑3/4”, w. 12”; 128.46 t. oz. $6,000‑$9,000 In 1689, Sir Edward Deering recruited a line infantry from Welsh and English border counties Monmouthshire, Breknockshire and Herefordshire to support the claim of William III in Ireland (a conflict later known as the Williamite/Jacobite War in Ireland). As was the custom, the regiment was styled with the name of its successive colonels until 1751, when it was named the 24th Regiment of Foot (having been ranked 24th in precedence four years earlier). They served in the American Revolutionary War, surrendering to Horatio Gates in 1777, and later fought in the Zulu, Second Boer and both World Wars. The Regiment’s devices of a sphinx and the word “Egypt” were awarded in July 1802 as a Battle Honor for their having been one of the 33 regiments which defeated Napoleon in Egypt in 1801. In 1881, in honor of its origins, the regiment was again renamed to the South Wales Borderers, which it remains today.

286 detail

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287

287 Late Victorian Sterling Silver Tea Tray hallmarked London, 1895‑1896, by Gibson & Langman (Goldsmiths’ & Silversmiths’ Co. Ltd.), oval with gadrooned rocaille rim and addorsed acanthus handles, the plateau engraved with the arms of Cotton. 28‑1/2” x 19”; 138.56 t. oz. $4,000‑$7,000

287 detail

108

290 Three Pieces of Victorian Sterling Silver Tableware fourth quarter 19th century, London, including a pair of sauce bowls, 1883‑1884, by Martin & Hall, oval with wavy rim, decorated with embossed swags and acanthus, h. 2‑3/4”, l. 6”, w. 4”, and a reticulated fruit stand, 1899‑1900, the maker’s mark rubbed, circular with applied floral rim and lobed domed foot, h. 5”, dia. 8‑3/4”. 30.79 total t. oz. $1,000‑$1,500

288

288 Victorian Sterling Silver Salver hallmarked London, 1872‑1873, by Alexander Macrae, circular with shaped rocaille rim, the plateau engraved with arabesques and paterae, the whole raised on three acanthus scroll feet. dia. 12‑1/2”; 30.31 t. oz. $1,000‑$1,500 289 Victorian Sterling Silver Center Bowl hallmarked London, 1886‑1887, by Sibray, Hall & Co., of octagonally paneled form with scalloped rim, decorated with embossed reeded band, laurel swags and acanthus calyx, raised on a cavetto dome foot en suite, the interior gilt. h. 5‑1/4”, w. 8‑1/4”; 21.83 t. oz.

289

$1,000‑$1,500

290

109

291 Good Pair of George V Sterling Silver Gilt Small Urns hallmarked London, 1913‑1916, by Crichton Brothers, Ltd., in the neoclassical taste, each of urn form with fluted shoulder and acanthus frond calyx, with opposing ram’s masque handles, the waisted collar with annulated rim, the fitted, domed lid with pyr finial, the whole raised on an ogee-domed foot en suite. h. 8‑1/2”, dia. 4”; 30.59 total t. oz. $2,000‑$4,000

291

292 Pair of George V Sterling Silver Candlesticks hallmarked London, 1930‑1931, by Ellis Jacob Greenberg, for J. E. Caldwell & Co., Philadelphia, 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. 11‑3/4”, w. 5”; weighted $1,000‑$1,500

292

293 Six Edwardian and George V Sterling Silver Casters including one paneled baluster example hallmarked Birmingham, 1908‑1909, by William Hutton & Sons Ltd., h. 6‑3/4”, a similar baluster example hallmarked Chester, 1911‑1912, by Nathan & Hayes, h. 6‑1/2”, a “lighthouse”-form pair hallmarked London, 1930‑1931, by William Comyns & Sons, Ltd., h. 5‑3/4”, and a large pear-shaped pair, hallmarked Birmingham, 1932‑1933, by A. Marston & Co., h. 7‑3/4”. 28.03 total t. oz. $1,000‑$1,500

293

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294 Assembled George V Silver Salt and Pepper Service hallmarked London, 1913‑1924, by Crichton Brothers, including a pair of sterling silver casters of oblong paneled baluster form, with pieced caps and vasiform finials, h. 6‑1/4”, and a set of six Britannia standard (.958) silver salt cellars, of concave-canted square pedestal form, with molded rim and foot, each with a conforming colorless glass liner, h. 2”, w. 3”. 8 pieces 54.45 total t. oz. (excluding liners) $1,000‑$1,500

294

295 George V Sterling Silver Vegetable Dish hallmarked Sheffield, 1916‑1917, by Roberts & Belk, circular with serpentine-lobed molded rim, with ring handle at one end and detachable turned handle at the other, the petal-lobed domed rim with reeded ring handle and lifting to reveal a detachable triple divider, the body with hot water reservoir accessed by the detachable handle. h. 6‑3/4”, dia. 11‑1/2”, l. 17‑1/2”; 89.94 t. oz. (weighable silver) $1,000‑$1,500

295

296 Pair of George VI Sterling Silver Candelabra hallmarked London, 1950‑1951, by Israel Freeman & Son, in the neoclassical taste, each with a tapering standard of serpentine-ended oval section, with a central nozzle and two scrolling reeded arms ending in drippans and nozzles, the outer nozzles with detachable conforming bobeches, the central nozzle with detachable flammiform finial, all raised on a conforming domed foot. h. 10‑1/2”, w. 13‑3/4”, d. 3‑3/4”; weighted $1,000‑$1,500

296

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297 William Shayer, Sr. (British, 1787‑1879) “The Village Meeting Place” oil on canvas signed lower right. Framed with artist and title plaque. 28‑1/4” x 36‑1/4”, framed 35‑1/2” x 43‑1/2” $4,000‑$7,000

297

298 Joseph Paul Pettitt (British, 1812‑1882) “Pulling into Port” oil on canvas signed mid-right on side of boat. Framed. 24” x 36”, framed 29‑1/2” x 41‑1/2” $1,500‑$2,500

298

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299 William Shayer, Sr. (British, 1787‑1879) “Fishermen Coming Ashore” oil on canvas signed lower left. Framed. 24” x 36”, framed 32” x 44‑1/4” $2,000‑$4,000

299

300 Abraham Hulk II (British, 1851‑1922) “Surrey Landscape Scene, with Cattle by a Stream” oil on canvas signed lower right. Framed. 30” x 50”, framed 36‑1/2” x 56‑3/4” $1,000‑$1,500

300

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301 Henry Charles Woollett (British, ca. 1826‑1893) “Outside the Village Inn” oil on board signed lower right. Framed. 20” x 36”, framed 25‑1/2” x 41‑1/4” $2,000‑$4,000

301

302 Edwin James Douglas (British, 1848‑1914) “Highland Cattle”, 1879 oil on canvas monogrammed, dated and with artist’s cipher lower right. In an antique frame. 20” x 16”, framed 28‑3/4” x 24‑1/4” Provenance: Sold in these Galleries June 6, 2011, lot 1038; Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

302

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303

303 Emma Oliver (American, 1819‑1885) “Lake District Village” oil on canvas affixed to masonite signed lower left. In a giltwood frame with title and artist plaque. 16” x 28”, framed 21‑1/4” x 33‑1/2” $1,500‑$2,500

304 British School (Fourth Quarter 19th Century) “Lunch with the Satyr” 304

oil on canvas faintly signed “M...Wyatt” lower right. Framed. 12‑1/4” x 15‑5/8”, framed 18‑3/4” x 21‑3/4” $1,000‑$1,500

115

305 James Fairman (American, 1826‑1904) “After the Storm, Edinburgh Castle” oil on canvas signed and illegibly dated lower right. Framed. 32” x 45”, framed 41‑1/2” x 54” $5,000‑$8,000

305

306 English Oak Welsh Dresser 19th century, the superstructure fitted with a molded cornice over three narrow shelves with plate rails, the lower section with a rectangular top over a case fitted with three drawers over three paneled cupboard doors, the middle drawer fitted for cutlery, raised on low bracket feet. h. 81‑1/2”, w. 74”, d. 22‑1/2” $1,000‑$1,500

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306

307 Scottish School 19th Century “The Ruins of Craigmillar Castle, Edinburgh, Scotland” oil on wood panel unsigned, remnant of old newsprint article on the ruins en verso panel. Framed. 10‑1/2” x 15”, framed 16‑1/4” x 20‑1/4” Provenance: Collection of James Harris, PhD, Oklahoma City, Oklahoma. $1,000‑$1,500

307

308 William-and-Mary-Style Oak Chest-on-Stand 18th century and later, the molded cornice above an ogeemolded concealed frieze drawer, over four graduated long drawers, all with paneled and molded fronts, raised on a stand of turned and bulbous legs joined by a box stretcher and ending in waisted feet. h. 59‑1/2”, w. 44”, d. 22‑1/4”

309 After Sir Edwin Henry Landseer, R.A. (British, 1802‑1873) “The Death of the Stag in Glen Tilt”, 19th century oil on canvas board Framed. 24‑3/4” x 29‑1/4”, framed 31” x 35‑1/2”

$1,000‑$1,500

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,500‑$2,500 The original of this painting was commissioned in 1829 by the 4th Duke of Atholl, Blair Castle, Perthshire, Scotland and is now conserved by the Blair Charitable Trust. It was a popular scene which was copied and engraved throughout the 19th century.

308

309

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310 Irish Mahogany Hunt Table the rounded end top with two ovoid, leaves, raised on unusual paneled octagonal legs. h. 30”, w. 78”, l. 20”, ext. l. 76” $1,500‑$2,500

310

311 Suite of Eight English Beech Dining Chairs consisting of two armchairs and six side chairs, all with six shaped ladderback splats above a rush seat, raised on tapering circular legs joined by a turned front stretcher and ending in bun feet. h. 43” $1,000‑$1,500

311

312 British School (Late 18th Century) “Portrait of a Lady” oil on canvas unsigned, a “Michael Davis/Surrey” label en verso frame. Framed. 29” x 24”, framed 34” x 29‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

312

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313 British School (18th Century) “Portrait of a Child with Pet Terrier, Against a Verdant Landscape” oil on canvas unsigned Framed. 42” x 32”, framed 48‑1/2” x 39” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $3,000‑$5,000 314 Queen Anne-Style Polychrome Secretary 20th century, in the chinoiserie manner, the molded and domed pagoda-form cornice above two arched paneled doors opening to an elaborately fitted interior with a central cupboard, over two candle slides, the lower section fitted with a slant front opening to an interior fitted with various drawers and cubbyholes, over two short drawers and three graduated long drawers, raised on squat bun feet. h. 92”, w. 45‑1/2”, d. 21” $3,000‑$5,000 313

314

314 detail

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315 Pair of English Chinoiserie Painted Mirrors second quarter 20th century, with Chippendale-style frames decorated with gilt chinoiserie figures, detailed in penwork and scroll painting, set with beveled mirror plates. h. 53”, w. 26‑1/2” $1,800‑$2,500 316 Chinese Imari Porcelain Bowl with Ormolu Mounts the porcelain likely fourth quarter 19th/first quarter 20th century, of circular form with deep, slightly flared sides, decorated to the exterior with cartouches containing foo dogs amid flowers and other stylized floral designs, the interior with floral sprays, having elegant ormolu mounts to rim and base, with butterfly-form handles joining with elephant-head-form feet. h. 8‑3/4”, w. 17‑1/4” $700‑$1,000 315

316

317 Group of Four Large Imari Vases with Hardwood Stands 20th century, each with a compressed globular body supporting an elongated ribbed, tapering neck, with flared lip and foliate rim, decorated to the exterior with various panels depicting floral designs, all in the traditional Imari palette. h. 25”, d. 13” (excluding stands) $1,000‑$1,500 318

318 English Oak Welsh Dresser 19th century, the breakfront molded cornice above three central recessed plate shelves, flanked to either side by an open cupboard over a paneled cupboard door and short drawer, the lower section fitted with three banded drawers over a shaped apron, raised on tapering square legs. h. 78”, w. 80‑1/2”, d. 19‑3/4” $1,000‑$1,500 317

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319 British School (Third Quarter 18th Century) “Portrait of a Wealthy Gentleman Holding a Gold Snuff Box” oil on canvas unsigned. Framed. 36” x 28”, framed 44‑3/4” x 36‑3/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000

319

320 British School (ca. 1800) “Portrait of a Gentleman, Identified as Sir Wilfrid Lawson, 8th Baronet Isell, of County Cumberland (1712‑1763)” oil on canvas unsigned, later inscription identifying sitter lower left. Presented in an antique gesso and carved giltwood frame. 30” x 25”, framed 36‑1/2” x 32” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,500‑$2,500 The later inscription conflates the Lawson Baronetcy of Isell, County Cumberland, which ended with the death of the 10th Baronet without issue in 1806, and the Lawson Baronetcy of Brayton, County Cumberland, which was created in 1831 and ended with the death of the 4th Baronet without issue in 1959. Of these combined 14 Baronets, nine were with the given name of Wilfrid.

320

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321 George III Walnut Bureau late 18th century, the banded and rectangular top above a slant front opening to a storage well and a variety of drawers and cubbyholes, flanking a central cupboard, over two short and two long graduated drawers, all banded, raised on bracket feet. h. 39”, w. 33”, d. 19” $1,200‑$1,800 322 George III Mahogany and Walnut Secretary fourth quarter 18th century, the molded and broken swan’sneck pediment above two doors, each inset with a mirrored panel and opening to an interior fitted with a pair of cupboard doors surrounded by a variety of drawers and cubbyholes, the lower section fitted with a slant front opening to a central cupboard and a variety of drawers and cubbyholes, over four graduated long drawers, all banded, raised on bracket feet. h. 82‑1/2”, w. 30”, d. 21‑1/2” $1,000‑$1,500

321

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322 detail

323

323 Suite of Twelve George III-Style Mahogany Dining Chairs early 20th century, each with a slightly domed and earred crest above a pierced splat, the padded seat raised on square legs joined by an H-form stretcher. h. 38‑1/2” $1,000‑$1,500 324 Pair of Chinese Export Famille Rose Porcelain Vases and Covers Qing Dynasty, second half 18th century, each of baluster form, with slightly tapering neck surmounted by a dome-form cover with peach finial, the exterior painted with blossoming flowers and foliage stemming from rockwork, the cover with floral sprays. h. 11‑3/4”, dia. 4‑3/4” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 366, page 270. Shown in situ page 249, the master bedroom; Private collection, Mobile, Alabama.

324

$2,000‑$4,000 325 Chinese Enameled Porcelain “Millefleur” Bowl first half 20th century, of deep sided form, with foliate rim and raised foot, decorated to the exterior with a dense floral design in the famille rose palette, the interior with a central “shou” medallion surrounded by ruyi bats, the base with an apocryphal six-character Qianlong mark in copper red. h. 4‑1/4”, w. 9‑3/4” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. $1,000‑$1,500

325

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326 Pair of Chinese Export Famille Rose Porcelain Chargers Yongzheng period, ca. 1678‑1735, with polychrome peonies and various flowers on the borders, the landscapes with houses and mountains framed with giltlancet borders. dia. 14” $1,000‑$1,500 326

327 Chinese Export Famille Rose Porcelain Charger Yongzheng period, ca. 1678‑1735, the center decorated with a basket of peonies and the scrollwork-edged border decorated with cranes and peonies. dia. 17‑1/4” Provenance: A.V. & M.R. Santos, London. $1,000‑$1,500 A closely related example is in the collection of the Essex Institute, Essex, Massachusetts.

328 Spoilum (Guan Zuolin) (Chinese/Guangzhou, active 1770‑1810) “Portrait of a Captain of the British East Indies Company” 327

oil on canvas unsigned, a “Vose Galleries/Boston, Massachusetts” label en verso. Framed. 17‑1/2” x 14”, framed 23‑1/2” x 20‑1/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $5,000‑$8,000 The Cantonese artist Guan Zuolin, colloquially known as Spoilum, was one of the first Chinese artists to work in oil on canvas as opposed to the more usual inks and colors on paper or silk. A resident of the busy port city of Guangzhou, the only Chinese city to allow trade between Chinese and Westerners, Spoilum taught himself Western art techniques by copying British paintings and prints. He specialized in portraits of British and American naval officers and prosperous local merchants, though he was also known to produce the souvenir landscapes popular with the Western visitors to the city. His portraits, as evidenced by the one of an unidentified officer presented here, are almost always in 3/4 length, against a vague background, the sitter gazing directly at the viewer, rendered in a minimal palette of black and fleshtones with little interplay of light and shadow - all of which serve to emphasize the features of the sitter. Works by Spoilum are conserved in numerous maritime museums including the Peabody Essex Museum, Salem, Massachusetts.

328

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329 George III-Style Polychrome Secretary Highboy 19th century and later, the molded broken swan’s-neck pediment above a central deep frieze drawer over four graduated long drawers, the lower section fitted with a fall front secretary drawer opening to a shaped inset leather surface and a variety of drawers and cubbyholes, over a single fancentered drawer over two shaped shell-carved cabriole legs ending in ball-and-claw feet. h. 93”, w. 50‑1/2”, d. 22‑1/4” $2,000‑$4,000 330 Pair of George III-Style Polychrome Stools each with a padded oval top above a plain frieze, raised on cabriole legs headed by shell carving and ending in ball-andclaw feet, upholstered in Kravet fabric. h. 18”, w. 27”, d. 17” $1,000‑$1,500

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330

331

331 Pair of George III-Style Giltwood and Marble-Top Side Tables 19th century, each with a rectangular marble top above a conforming waisted foliate-carved frieze with a shaped shellcentered apron, raised on cabriole legs headed by foliate carving and ending in block feet. h. 30”, w. 34‑1/2”, d. 17‑1/2” $1,500‑$2,500

329 detail

125

332 Pair of Chippendale-Style Giltwood Mirrors fourth quarter 19th century, English, each with an asymmetrical mirror plate decorated with a carved crest depicting a ho-ho bird eating from a cornucopia of fruit, the sides pierced with flowerheads, the bottom decorated with dripping rocaille work. h. 45”, w. 20‑1/2” Provenance: M. S. Rau, New Orleans, Louisiana, 1987. $1,500‑$2,500

332

333 Manner of John Hoppner (British, 1758‑1810) “Portrait of a Lady in a White Lace Cap”, fourth quarter 18th century oil on canvas unsigned, a “J. Fieldhouse/Re-Gilding Works/ Birmingham” label, a 1906 handwritten restorer’s note, and a “Bush Antiques/New Orleans” tag en verso frame. In a handsome, antique gesso and giltwood frame. 30” x 25”, framed 43” x 36” Provenance: Bush Antiques, New Orleans, Louisiana; Estate of Dr. Carroll Ball, Jackson, Mississippi. $3,000‑$5,000 J. Fieldhouse is listed as a “provincial” art dealer in the 1890s editions of The Year’s Art compilation published in London yearly by the J. S. Virtue Company.

333

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334 After Sir Henry Raeburn (British/Scottish, 1756‑1823) “The Allen Brothers - Portrait of James and John Lee Allen”, ca. 1900 oil on canvas unsigned, after the 1790s painting now conserved at the Kimbell Art Museum, Fort Worth, Texas. Framed. 60‑1/4” x 46‑1/4”, framed 72‑1/4” x 58” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000

334

336 Queen Anne-Style Mahogany Silver Table 19th century, the rectangular top with a full tray-form gallery, above an ogee-molded frieze fitted with a single long drawer, raised on cabriole legs ending in pad feet. h. 31‑1/2”, w. 36‑1/2”, d. 24‑1/2” $1,000‑$1,500 335

335 Pair of English Portrait Vases of “The Blue Boy” and “Lady Georgiana Cavendish” ca. 1900, both after Thomas Gainsborough (English, 1727‑1788), the ovoid-form vases, possibly made by Royal Crown Derby, decorated with laurel leaves on a cobalt ground, the pierced handles decorated with serpents holding spherules in their mouths. h. 17‑3/4”, dia. 5‑1/2” $1,000‑$1,500

336

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337

337 Group of Three George III-Style Mahogany Chairs 19th century, comprised of a pair of Chippendalestyle side chairs, each with an earred and foliatecarved crest over a pierced ribbon-patterned splat, the padded seat raised on cabriole legs headed by acanthine carving and ending in foliate toes, h. 40‑1/2”, and an Irish Georgian armchair with an eagle-carved crest over a shield paneled splat, all within a floral-carved frame, joined by scrolling eagle’s-head arms to the shaped slip-in seat, raised on cabriole legs headed by masque carving and ending in ball-and-claw feet, h. 40‑1/2”. $1,000‑$1,500

338 Chippendale-Style Carved Mahogany FourPost Bed mid-19th century and later, with finely carved cluster-column foot posts and simple square tapered posts at the head end, joined by a flat panel headboard with a pierced and scroll-carved tester frame. h. 103”, inside w. 52”, l. 78”, outside w. 59”, l. 84” $1,500‑$2,500

338

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339 Pair of Chinese Blue and White Porcelain Vases fourth quarter 19th/first quarter 20th century, each of fang gu form, with slightly flared foot and neck surmounted by a conforming flattened rim, painted to the exterior with panels depicting various flowers and foliage within crosshatch floral borders. h. 19‑1/4”, w. 7‑1/4” $1,200‑$1,800

341

340 George III Mahogany Chest

339

fourth quarter 18th century, the rectangular top with a carved edge, above a conforming case fitted with two short drawers over three graduated long drawers, above an ogee-molded, foliate-carved apron, raised on hairy-paw feet. h. 39”, w. 37”, d. 20‑1/2” $800‑$1,200

341 British School (18th Century) “Portrait of a Young Man, Possibly the Artist Gainsborough Dupont” oil on canvas unsigned. Presented in an antique giltwood frame with oval aperture. 25” x 20”, framed 30” x 25” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000 The sitter of the portrait offered here bears a striking resemblance to that of the ca. 1770 “Portrait of Gainsborough Dupont” by Thomas Gainsborough (1727‑1788) of his young nephew. This earlier portrait, which is now conserved at the Tate Britain, is of a younger, less somberly attired gentleman.

340

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342 Pair of George III-Style Mahogany and Leather-Upholstered Wing Chairs 19th century, each with a shaped, padded and tufted back joined by shaped sides and outscrolled arms to the cushioned seat, raised on chamfered square legs joined by an H-form stretcher, the whole with brass tack accents. h. 44” Provenance: Private collection Mobile, Alabama $1,500‑$2,500

342

343

343 George III-Style Mahogany Partner’s Desk late 19th century, the rectangular top inset with a leather writing surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with three graduated short drawers to one side and a cupboard door faced as three drawers to the other, raised on plinth bases on casters. h. 30‑1/2”, w. 59”, d. 41‑1/2” $1,000‑$1,500

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344 George III Mahogany Tall Case Clock fourth quarter 18th century, bearing the engraved name “Samuel Burges, London”, above the moon dial, with an arched swan’s-neck pediment and elaborately pierced and scroll-cut frieze, the hood door flanked by fluted columns with brass Corinthian capitals, the mid-case and base with chamfered corners and blind fretwork, the movement for time only. h. 92”, w. 21‑1/2”, d. 11‑1/2” $1,500‑$2,500

345

345 Three Chinese Export Porcelain Graduated Oval Platters ca. 1800, with sepia borders decorated with rope-twist leaves, painted with oval Asian grisaille landscapes. w. 12” to 14”, d. 9” to 12” $1,000‑$1,500 344

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346 George III Mahogany Secretary Bookcase late 18th century and later, the molded cornice above two astragal-glazed doors and two candle slides, the lower section fitted with a slant front opening to an inset leather writing surface and a central cupboard door surrounded by various drawers and cubbyholes, over a frieze drawer, over two short drawers and two graduated long drawers, raised on ogee-molded bracket feet. h. 83‑1/2”, w. 39‑1/2”, d. 22‑1/2” $1,200‑$1,800

347

347 Unusual Pair of Chinese Export “Clobbered” Porcelain Vases and Covers probably mid-19th century, each of four-sided pearshaped form, on a raised, tapering foot, and having applied dragon-form handles and conforming cover with foodog-form finials, decorated to the exterior with opposing panels in blue and white depicting temples and houses by a riverside, all within dense floral and geometric scroll pattern borders, later overpainted in greens, pinks, yellows and copper red with a cracked ice design and other floral embellishments. h. 18‑1/4”, w. 10” $1,000‑$1,500

346

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349

349 George III Mahogany Demi-lune Games Table fourth quarter 18th century, the demi-lune top hinged and opening to a larger surface, above a conforming plain frieze, raised on tapering square legs ending in brass caps. h. 30‑1/2”, w. 45‑3/4”, d. 22‑1/2” Provenance: Henry Stern Antiques, New Orleans, Louisiana. $1,000‑$1,500

350

350 George III-Style Mahogany Breakfront Bookcase

348 Suite of Eight George III-Style Mahogany Dining Chairs

20th century, the molded cornice above four astragalglazed doors, above a lower section fitted with a drop-front secretary drawer opening to an interior fitted with various drawers and cubbyholes surrounding a central cupboard, over two paneled cupboard doors, flanked to either side by two short drawers over a paneled cupboard door, raised on a plinth base. h. 92”, w. 81”, d. 18‑3/4”

19th century, in the Adam taste, consisting of one armchair and seven side chairs, each with a shield-form back with Prince of Wales feathers carved splat, above a padded seat, raised on tapering square legs joined by an H-form stretcher and ending in spade feet. h. 39” $1,200‑$1,800

$1,000‑$1,500

348

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354

352

351 George III Mahogany Bachelor’s Chest

351

353

353 George III Mahogany Tall Case Clock

fourth quarter 18th century, the rectangular top above a conforming case fitted with a brushing slide over four graduated long drawers, raised on shaped bracket feet. h. 31”, w. 31”, d. 18”

ca. 1800, with a broken-arch pediment and fluted upper columns, the case with a figured mahogany door flanked by fluted quarter columns, the face with a ship painting above the dial and anchors painted in each corner, with a time-and-strike movement. h. 84”, w. 21”, d. 10”

$1,000‑$1,500

352 George III-Style Mahogany Bachelor’s Chest

354 George III Mahogany Drop-Leaf Desk

late 19th century, the rounded rectangular top above a case fitted with a baize-lined brushing slide over four graduated long drawers, raised on shaped bracket feet. h. 31‑1/4”, w. 22‑1/2”, d. 19”

late 18th century, the rectangular top with an inset leather writing surface and with like inset drop leaves, above a case fitted to one side with three frieze drawers over two side cupboards and to the other side with three frieze drawers over a bank of two short drawers to either side, raised on tapering square legs ending in brass caps and casters. h. 30‑1/2”, w. 48”, d. 36‑1/2”, ext. w. 72‑1/2”

$1,000‑$1,500

$1,500‑$2,500

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356

355 Collection of Three Miniature Mahogany Chests including a Georgian-style mahogany example with fluted quarter-columns and bracket feet, 20th century, h. 22‑1/2”, w. 19‑1/2”, d. 10‑1/4”, a Southern American stained poplar chest with spool-turned columns, likely Virginia, second quarter 19th century, h. 20‑3/4”, w. 17‑1/2”, d. 10‑1/2”, and a Biedermeier-style figured fruitwood chest with an ebonized top, side columns and feet, 20th century, h. 19”, w. 17”, d. 15‑1/2”. $1,000‑$1,500 356 Collection of Five Miniature Chests

355

including a Georgian mahogany spice or apothecary chest with moth inlay, fourth quarter 18th century, h. 16‑1/2”, w. 12”, d. 8”, a southern walnut chest with yellow pine secondary wood, second quarter 19th century, h. 18”, w. 15‑1/4”, d. 13”, a Continental Empirestyle chest with ebonized columns, ca. 1900, h. 13”, w. 16”, d. 8‑3/4”, a Victorian-style oak side-lock chest, 20th century, h. 14‑3/4”, w. 15‑1/4”, d. 11”, and a Victorian-style mahogany side-lock chest, 20th century, h. 15”, w. 14‑3/4”, d. 9‑3/4”. $1,000‑$1,500 357 Attributed to Andries Cornelis Lens (Flemish, 1739‑1822) “Young Child with Dog” oil on canvas Framed and with brass artist plaque. 22‑3/4” x 18”, framed 27‑1/2”x 22‑7/8” Provenance: Robert van Steenberghe (b. 1909), Brussels, Belgium. $1,500‑$2,500 357

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358 Franco-American School (First Quarter 19th Century) “Portrait of a Young Gentleman at an Empire Console with a Vase of Flowers” oil on canvas unsigned. Presented in a period giltwood frame. 32” x 26”, framed 38‑1/2” x 32‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 359 Two French Bronze Dore et Patine Figural Mantel Clocks second quarter 19th century, each with a silk-string suspension movement, the larger example decorated with a courting couple in 18th-century costume, the dial signed “Roud Pere, a Toulon”, h. 17‑3/4”, w. 12‑1/4”, d. 4”, and the smaller example decorated with a pensive youth, h. 18”, w. 14‑1/4”, d. 4‑1/2”.

358

$1,000‑$1,500 360 Pair of Bronze and Marble Garniture Figures of Royal Dignitaries now mounted as lamps, French, fourth quarter 19th century, now on faux red griotte marble bases, the bronze dore et patine figures depict Orientalist notables on black marble plinths garniture h. 15‑1/2”, overall h. 20‑3/4”, w. 6”, d. 6” $1,000‑$1,500 361 Empire Polychrome and Marble-Top Side Table early 19th century, the rectangular marble top above a conforming frieze with an ormolu guilloche mount, raised on ribbed scroll supports with ormolu capitals to a narrow plinth base. h. 36”, w. 43”, d. 18” 360

$2,000‑$4,000

359

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361

362 Pair of Empire-Style Brass and Cut Crystal Lamps mid-20th century, French, the candelabra-style lamps with brass scroll- and leaf-molded bases set with cut crystal standards and four candle arms below two sockets. h. 39”, dia. 6‑3/4” $1,000‑$1,500 363 Empire-Style Mahogany Planter 20th century, the open octagonal top above a conforming case with ormolu mounts, raised on eight columnar supports headed by ormolu capitals and joined by a spoke-form standard and ending in turret feet. h. 32‑1/2”, dia. 25‑1/2” $1,000‑$1,500 362

364 French Gilt-Bronze-Mounted Mahogany Lyre-Form Clock first quarter 19th century, the dial marked “Lefevre Suce de Debelle a Paris”, on an engine-turned ground, the lyre decorated with laurel mounts and a pierced medallion and crest, mounted with a silk-string suspension movement. h. 23‑3/4”, w. 10‑1/4”, d. 6‑1/2”

363

$1,000‑$1,500 365 Pair of Empire-Style Walnut Demi-lune Side Tables 20th century, each with a highly figured demi-lune top above a conforming plain frieze, raised on a polychrome front support of a female sphinx with gilt wings on a paw foot, raised on a conforming plinth base. h. 34‑1/4”, w. 44”, d. 18‑1/2” $2,500‑$4,000

364

365

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366 Empire-Style Mahogany Vitrine 20th century, the triangular pediment above an ormolu-mounted frieze over two glazed doors, the sides also glazed, raised on a table base with an ormolu-mounted frieze joined by caryatid uprights and a mirrored back to a lower shelf, on bun feet. h. 81”, w. 42‑1/2”, d. 15‑1/2” $1,800‑$2,500 367 Louis-Philippe Gilt-Bronze Mantel Clock second quarter 19th century, the ogee base decorated with molded leaves and supporting a female figure dressed in Middle Eastern costume, holding a feather fan and sitting astride a lion pelt, a potpourri holder to one side. h. 19‑1/2”, w. 16”, d. 5‑1/2” $700‑$1,000

367 369

368 Pair of Empire-Style Bronze and Marble-Top Stands mid-20th century, each with a circular marble top raised above a palmetto-modeled frieze on three large acanthine-modeled supports, joined by a ring stretcher and ending in paw feet. h. 35”, dia. 18‑1/2” $1,000‑$1,500 369 Pair of Bronze Dore et Patine and Marble Lamp Standards first quarter 19th century, now mounted as lamps, the fluted bronze column-form standards set with gilt capitals, and raised on Siena marble bases supporting anthemia-molded feet, the lower plinth with gilt-bronze classical mounts. h. 37‑1/2”, w. 6‑1/4”, d. 6‑1/4” $1,000‑$1,500

368

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366

370

372

370 Rare Patinated Bronze Parlor Figure of Napoleon second quarter 19th century, made by Messenger and Sons, London and Birmingham, the military leader modeled standing on an integral shaped base. h. 15‑1/4”, w. 6”, d. 6” $1,000‑$1,500 371 Pair of French Neoclassical-Style Marble and Bronze Garniture Urns first quarter 20th century, the white-veined and chocolate brown/black marble bodies mounted with gilt-bronze leafmolded pistil-form handles and knops, and sitting on notched, molded bases. h. 17‑1/2”, w. 6‑3/4”, d. 5”

371

$1,500‑$2,500 372 French Empire-Style Brass and Tole Chandelier second quarter 20th century, the eight-light fixture with molded candle arms alternating with pierced wreaths, a flame finial in the center, the bottom with a pinecone pendant finial. h. 27”, dia. 24” $700‑$1,000 373 Empire-Style Ebonized and Parcel-Gilt Stool attributed to Versace, the inset circular padded seat above a conforming arch-patterned frieze, raised on three shaped legs joined by a foliate ring stretcher and ending in hoof feet. h. 19‑1/2”, dia. 22” $1,000‑$1,500 373

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374 Louis-Philippe Gilt-Bronze Figural Mantel Clock second quarter 19th century, modeled with a fashionably dressed lady at her toilette, her draped dressing table with a mirror on the top and set with the clock, mounted with silk string suspension works. h. 17‑1/4”, w. 14‑3/4”, d. 8” $800‑$1,200 375 Pair of Empire-Style Bronze and Faux Marble Pedestal Tables late 19th century, each with an inset circular faux porphyry top above a medallion-pierced frieze, raised on a cluster-column standard to a circular plinth base. h. 34‑1/2”, dia. 28‑1/2”

374

$1,500‑$2,500 376 Empire-Style Mahogany and Marble-Top Cabinet 20th century, the thick rectangular marble top with turreted corners, above a conforming case fitted with two drawers over two cupboard doors, with an arched panel and an elaborate ormolu military-themed mount, centered by a Medusa masque shield, flanked to either side by ribbed uprights, the whole raised on large paw feet. h. 38”, w. 73”, d. 28‑1/2” $3,000‑$5,000

375

376

8 140

377 Pair of Impressive Barbedienne Gilt-Bronze and Onyx Neo-Grec Candelabra third quarter 19th century, on carved onyx bases, the caryatid-form standards based on the columns at the Temple of Erechtheion, supporting scrolled candle arms fitted with molded candle cups, around crane finials, the bases of the standards stamped “F. Barbedienne, Fondeur”, along with a “Reduction Mecanique” medallion. h. 38‑3/4”, dia. 15‑1/2” 378

$2,000‑$4,000 378 Pair of Empire-Style Giltwood and Marble-Top Tabourets 20th century, each with an inset circular marble top within a laurel-leaf-carved band, raised on three splayed imbricate-carved legs joined by a tripartite stretcher and ending in scrolled toes. h. 20”, dia. 18” $2,000‑$4,000

379

377

379 Pair of Directoire-Style Gilt-Bronze, Mahogany and Malachite Occasional Tables each with a circular, highly figured malachite top within a full pierced gallery, joined by three double-column supports to a concave tripartite stretcher, centered by a circular malachite shelf on pedestal, the whole raised on splayed legs ending in foliate sabots. h. 31”, dia. 20” $3,000‑$5,000 380 Impressive Pair of Empire-Style Gilt-Bronze-Mounted Malachite Tazzas mid-20th century, French or Russian, the bases decorated with bronze medallions and acanthus-molded trim, supporting square tops with molded sides. h. 22”, w. 15‑1/2”, d. 14‑3/4”

380

$8,000‑$12,000

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381 French Gilt-Bronze and Malachite Figural Mantel Clock fourth quarter 19th century, with a malachite base and dial, the clock decorated with a bronze cupid standing on a stack of books and holding a cockerel, the works signed “E. Coeur a Paris”. h. 15‑1/2”, w. 11‑1/2”, d. 6” $700‑$1,000 382 Large Pair of Neoclassical-Style Hand-Painted Architectural Panels

381

depicting urns in the manner of Giovanni Battista Piranesi (Italian, 1720‑1778), presented in matching carved hardwood frames decorated with corner medallions and carved guilloche. h. 53”, w. 44‑3/4” $1,200‑$1,800 383 Pair of Large Cast Iron Architectural Urns in the French neoclassical taste, with brass labels signed indistinctly, the ovoid urns decorated with molded swags, the necks with twisted fluting, set with flame finials. h. 49”, w. 16” $4,000‑$7,000

383

382

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386 385

384 Directoire-Style Trumeau Mirror first quarter 20th century, with a mint-green ground, the tablet decorated with delicate giltwood arabesque scrolls flanking an urn draped with a laurel swag, the mirror plate with a matching surround. h. 75‑1/2”, w. 40‑1/2” $1,000‑$1,500 385 Pair of Restauration Mahogany Fauteuils 19th century, each with a padded square back surmounted by a rounded ormolu-mounted crest, joined by downswept arms on gilt dolphin uprights to the padded seat, raised on sabre legs. h. 36” $1,000‑$1,500 386 Impressive Restauration Bronze Patine and Siena Marble Clock Set second quarter 19th century, French, the clock decorated with a figure of Hercules, gatekeeper to Mount Olympus, h. 20‑1/2”, w. 17”, d. 7”, and the six-light candelabra on lion-molded bases, with marble standards and lotus-leaf capitals, h. 28”, dia. 10‑1/4”. $1,000‑$1,500

384

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390

387 French Neoclassical-Style Giltwood Mirror 20th century, the elaborate arched crest decorated with a pair of lovebirds under a wreath, flanked by carved oak leaves and acorns, the mirror surround lined with beading and carved lotus leaves. h. 64”, w. 37” $2,500‑$4,000 388 Restauration Giltwood Barometer Signed “Chevallier” second quarter 19th century, the cove-molded surround decorated with neoclassical ornament, below a pierced crest centered by a globe framed with laurel sprays and a bower of flowers, the painted wooden dial signed “L’Ing Chevallier Opticien du Roi et des Princes”. h. 36”, w. 23”

387

$2,500‑$4,000 389 Pair of Restauration Bronze Dore et Patine Candelabra second quarter 19th century, on reeded bases with molded dore trim, the standards in the form of cupids balancing on spheres, holding aloft pierced and scrolled patinated bronze arms mounted with dore cups, the central cups with flame-molded candle holders. h. 28”, dia. 9‑1/2” $700‑$1,000 390 Pair of Belle Epoque Gilt-Bronze Candelabra in the neoclassical taste, the four-light candelabra with fluted column-form bases set with vasiform standards, gilt-bronze caryatids on each side holding fluted giltbronze candle cups, with fruit-form finials. h. 14‑1/2”, dia. 9”

389

$1,800‑$2,500 388

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391 Charles X Mahogany Center Table second quarter 19th century, the oval top above a conforming frieze fitted with a single drawer to either end, raised on a handled urn-form standard with a gilt foliate foot above a hexagonal base on squat bun feet. h. 29‑1/2”, w. 38‑1/2”, d. 26‑1/2” $1,000‑$1,500 392 French Bronze and Marble Mantel Clock second quarter 19th century, decorated with the image of a Sultan grasping a scimitar, on a red griotte marble base, the works signed by both Richond a Paris and Honore Pons. h. 23‑3/4”, w. 18‑1/4”, d. 5‑3/4” $700‑$1,000 393 Empire Parcel-Gilt Mahogany Swivel Piano Chair

394

second quarter 19th century, the curved back with fan veneers and string inlay, and down-curved supports joining the seat and mounted to a turned and carved standard with three outstretched ormolu-mounted legs. h. 32”, dia. 14” $700‑$1,000 394 Directoire Carved, Painted and Parcel-Gilt Wooden Bed Corona fourth quarter 18th century, the hemispherical crown decorated with carved and painted draped fabric with gilt fringe, separated by gilt tassels, supported by carved scrollwork with acanthus leaves, and a ball finial. h. 20”, w. 18‑1/2”, d. 13‑3/4” Provenance: Private collection Mobile, Alabama $1,000‑$1,500 392

391

393

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395 German/Austrian Schools (Fourth Quarter 18th/First Half 19th Century) Five Fine Portrait Miniatures each watercolor and gouache including Karl von Saar (1797‑1853), “Dr. Richard Jonak von Freienwald (1821‑1853)”, signed left edge, sitter’s name inscribed on frame backing, sight 3‑1/2” x 2‑7/8”; Franz Weigl (b. 1810), “Gentleman in a Black Coat and Bow Tie”, signed right edge, sight 2‑5/8” x 2‑1/4”; “Infantry Man with Scimitar and Black Shako”, monogrammed “a.h.” on frame backing, sight 2‑7/8” x 2‑3/8”; “Young Man in a White Waistcoat and Black Stock”, signed “S. Arndt” right edge, 7‑1/4” x 5‑1/4”; and “Archduchess in Diamond Tiara and Necklace, Possibly Maria Anna of Austria (1738‑1789)”, sight 1‑3/4” x 1‑3/8”. Each glazed and framed, 3‑1/4” x 2‑1/2” to 7‑1/4” x 5‑1/4”. All five together in a glass and wood presentation case, 12” x 18”.

395

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 396 Attributed to Jacques-Joseph de Gault (French, ca. 1738‑1812) “Double-Sided Portrait Miniature of a French Republican Dignitary, Probably Jean-Etienne Championnet (1762‑1800), the Reverse with Cupid and Psyche in Blue Grisaille” watercolor and gouache unsigned, the miniature in a French 18k gold pendant inset with a split pearl surround, loop of pendant with Paris gold marks, 1794‑1798. Mounted in a presentation box frame. medallion dia. 3”, box 13‑1/4” x 13‑1/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,500‑$2,500 Championnet was an important major-general in the French Revolution. He is best known for leading the armies of Rome and of Italy in 1798‑1799, thus establishing the Parthenopean Republic - a French First Republic in the Kingdom of Naples territory. He is commemorated on the list of names inscribed on the Arc-de-Triomphe. French Revolution cockards and medallions were typically affixed to the lapel or breast in the form of a brooch (called necklet); honorary ones were also fashioned to be worn around the neck. In his series “Collection des Grands Hommes” of the Revolution by Jean Francois Garneray, Joseph Chalier is depicted with the same tricolor neck ribbon as Championnet. Garneray also portrayed a few other dignitaries with tricolor necklets, neck ribbons and sashes.

398

Jacques-Joseph de Gault, to whom this portrait is attributed, was a former Sevres painter, who trained at the Academie de Saint-Luc in Paris. He specialized in portrait miniatures and was a trompe-l’oeil master. He perfected grisaille and faux painting, creating the illusion of porcelain and enamel, notably the blue grisaille (featured on the reverse of this portrait), which mimicked works by Sevres and Wedgwood. De Gault was the also the first artist to paint imitation gems in enamel on snuff boxes. 398 verso

146

397 French School (Fourth Quarter 18th/First Quarter 19th Century) Two Memento Miniatures including “Portrait of Napoleon”, after Jacques-Louis David’s 1798 study, watercolor, monogrammed “MM” lower right, dia. 2‑5/8”; and a mourning keepsake, eglomise with watercolor and elaborate hairwork, monogrammed “St. M” and “St. MP” on two of the gravestones, sight 3” x 2‑1/2”. Each matted and glazed in similar wood frames. framed 5‑1/4” x 5‑2/4” and 5‑3/4” x 5”, respectively Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

397

$1,000‑$1,500 398 French School (First Quarter 19th Century) Two Portrait Miniatures each watercolor and gouache including Jean-Baptiste Isabey (1767‑1855), “Gentleman in Red Waistcoat and White Stock”, 1818, signed and dated right edge; and (Attr.) Louis Marie Autissier (1772‑1830), “DarkHaired Gentleman in White Waistcoat and Stock”, unsigned, taped pencil inscription with artist’s name en verso. Each glazed, the first in a brass frame; the second in a rolled gold-plated frame. overall 3‑3/8” x 2‑3/4” and 3‑3/8” x 2‑3/4”, respectively Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

398

$1,200‑$1,800

399 Pair of Continental Neoclassical Mahogany Bergeres mid-19th century, each with a rounded crest centered by decorative brass inlay, joined to the padded seat by downswept arms, raised on sabre legs ending in brass caps. h. 36” $1,500‑$2,500 399

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400 Continental Empire Mahogany Commode early 19th century, the rectangular top above a conforming case fitted with a frieze drawer over two long recessed drawers, flanked to either side by engaged parcel-gilt and ebonized caryatid figures, raised on tapering square legs. h. 36”, w. 50”, d. 24‑3/4” $1,200‑$1,800 401 Large Pair of Classical Cast Bronze Figural Torcheres 20th century, both crowned with floral wreaths, one example holding a pair of doves, the other a clusters of grapes, each with an upraised torch set with frosted glass flame-form shades, electrified. h. 86” and 88‑1/2” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $3,000‑$5,000 This pair flanked the front entrance of the Bradshaw home, standing as guardians lighting the way. 401

400

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In the 18th, 19th, and early 20th century, the Grand Tour was deemed essential to the completion of one’s education. Undertaken by the wealthy - and those of the upper middle-class privileged enough to have a sponsor - the duration of the tour could be several months or several years. While generally including visits to numerous countries, it was the ancient ruins of Italy that most enflamed the imagination and these “grand tourists” would spend days, weeks, or months roaming the ruins of Rome, Herculaneum, and Pompeii. They would bring back mementos of these travels, often small-scale bronze replicas of the marble statuary, as evidence of their cultural excursions and as reminders of their halcyon youth. The bronzes offered in lots 402-410 are fine examples of the work created by the accomplished Italian artisans for the consumption of the tourist trade.

402 Italian Patinated Bronze of the Dancing Faun fourth quarter 19th century, after the Roman sculpture (itself a copy of a 1st century BCE Greek work) excavated at Pompeii in 1830 at the House of the Faun and now conserved at the Museo Archeologico Nazionale, Naples, on a marble plinth. h. 31‑1/2”, w. 12‑1/4”, d. 14‑3/4” 402

$700‑$1,000 403 Italian Patinated Bronze of Silenus and the Infant Dionysus fourth quarter 19th century, after the ca. 2nd century CE Roman marble (itself a copy of a 3rd century BCE Greek sculpture) discovered in the Gardens of Sallust, Rome and now conserved at the Louvre, Paris, on a carved wood plinth. h. 25‑1/2”, w. 11‑1/2”, d. 10‑1/2” $1,000‑$1,500 404 Italian Patinated Bronze of a Drunken Satyr with Wine Bag

403

fourth quarter 19th century, after the antique Roman fountain excavated in 1830 at the House of the Centenary, Pompeii and now conserved at the Museo Archeologico Nazionale, Naples, on a stone plinth. overall h. 21‑1/2”, w. 9‑1/2”, d. 18‑3/4” $800‑$1,200 405 Italian Bronze Brazier 20th century, after the antique excavated at the House of Julia Felix, Pompeii in 1755 and now conserved at the Museo Nazionale, Naples, the tripodal base with monopodial satyrs supporting the cove-molded and fluted fire pot. h. 32‑1/2”, dia. 15‑1/2”

405

$1,000‑$1,500 404

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406 Italian Patinated Bronze and Marble “Warwick Vase” fourth quarter 19th century, the campanaform urn with twisted handles, after the 2nd century CE Roman marble excavated at Hadrian’s Villa, Tivoli ca 1770 (with reconstruction by Giovanni Piranesi (Italian, 1720‑1778)) and now conserved at the Burrell Collection, Glasgow, on a gray and tan mottled marble base. h. 11‑1/2”, w. 14‑1/2”, d. 10‑1/2” 406

$1,000‑$1,500 407 Giovanni Varlese (Italian/Neapolitan, active 1888‑1922) “Narcissus” patinated bronze fourth quarter 19th century, incised signature, localized “Napoli”, and dated “1896” at base. h. 24”, w. 9‑3/4”, d. 9‑3/4”

410

$1,500‑$2,500 408 Two Italian Patinated Bronzes of “Hermes” and “Athlete” first quarter 20th century, the former after Ferdinando de Luca (Italian, 19th/20th century), cast signature along self-base, on a green marble plinth. former h. 30”, w. 10”, d. 10”, latter h. 25”, w. 9‑3/4”, d. 9‑3/4” $1,000‑$1,500 409 Collection of Five Grand Tour Souvenir Bronzes

407

fourth quarter 19th century, Continental, including a satyr riding a ram, on a red griotte marble base, h. 6”, w. 5‑1/2”, Asclepius, the god of medicine, wrestling a serpent, on an onyx base, h. 11”, w. 4”, “Flying Mercury”, after Giovanni da Bologna (Italian, 1529‑1608), an infant Hercules wrestling with serpents, h. 7”, w. 3‑1/2”, and a figure of an archer, after Otto H. Riese (German, 1851‑1910), mounted on a marble plinth and signed on the side of the base, h. 10‑1/2”, w. 3‑3/4”. $1,000‑$1,500

408

410 Italian Patinated Bronze of “Bacchus and Cupid” first quarter 20th century, after the 2nd century CE Roman marble (itself a copy of a Greek sculpture) formerly in the Farnese Collection and now conserved at the Museo Archeologico Nazionale, Naples. h. 27‑1/8”, w. 13‑1/2”, d. 6‑1/4” $800‑$1,200 409

150

411 Continental School (19th/20th Century) “Diana and Actaeon” oil on canvas signed lower left “...Van Dyck, R (?)”. Framed. 32” x 38”, framed 39” x 45” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 413

412 Neoclassical-Style Gilt and Marble-Top Center Table the circular specimen marble top in radiating and banded patterns, and raised on three gilt dolphin supports to a concave tripartite base on block feet. h. 29‑1/2”, dia. 43‑1/2” $2,000‑$4,000

414 detail

413 Pair of Neoclassical Marble Pedestals 19th century, each with a rounded rectangular top raised on two spiral-ribbed columnar standards to a molded base, raised on a rounded rectangular plinth. h. 38‑1/2”, w. 25”, d. 13”

411

$1,000‑$1,500 414 Classical-Style Bronze Figural Fountain on a molded base of aquatic plants, featuring a putto rising from the water, a dolphin on his shoulder, on a molded square pedestal base. h. 66‑3/4”, w. 13”, d. 15‑1/2” 412

$1,000‑$1,500 414

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415 Gustavian Neoclassical Giltwood and Marble-Top Side Table 19th century, the rectangular inset marble top above a molded and imbricate-modeled frieze, raised on fluted tapering square legs headed by Egyptian maiden capitals, joined by a finialcentered beaded X-form stretcher and ending in foliate feet. h. 32”, w. 37”, d. 26” $3,000‑$5,000 416 Pair of Danish Neoclassical-Style Faux Rosewood Fauteuils 20th century, each with a curved and rounded back joined by downswept on swan uprights to the padded seat, raised on paneled sabre legs with gilt accents. h. 39”

415

$1,200‑$1,800

415 detail

416

417 Italian Neoclassical Giltwood Mantel Clock fourth quarter 18th century, the clock face frame with pierced sprays of carved leaves and flowers, on a base carved with lotus leaves and corner medallions, raised on turned and carved feet, with an urn-form finial decorated with flames and ram’s-head handles, set with late 19th-century works and enamel dial. h. 36‑1/2”, w. 18”, d. 7” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 408, page 308. Shown in situ pages 307 and 309, the foyer, “Holly Hill”; Private collection, Mobile, Alabama. $1,500‑$2,500

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417

418 Pair of Large Italian Giltwood Sconces mid-20th century, in the regency style, the three-light sconces on swag and tassel backplates supported on bowknots decorated with displayed eagles on Corinthian capital plinths, the spiral-reeded candle arms supporting giltwood candle cups and drip pans, mounted with carved medallions on gilt wire scrolls. h. 48‑1/2”, w. 17”, d. 11” $1,000‑$1,500

419 Neoclassical Polychrome, Parcel-Gilt and Marble-Top Side Table

418

mid-19th century, the rectangular marble top above a conforming foliate-garlandcarved frieze centered by a classical portrait medallion, raised on stop-fluted tapering circular legs headed by a waisted foliate capital and ending in foliate bulb feet. h. 37”, w. 52‑1/2”, d. 26‑1/2” $2,000‑$4,000

419

420 Vittorio Caradossi (Italian/Florence, 1861‑1918) “The Nereids” carved alabaster the nymphs of the sea sinuously twisting against a rocky outcropping, signed at back, on a thin black marble base. h. 37‑1/2” w. 15‑1/2”, d. 18”, base h. 1‑1/2” Caradossi attended the Accademia di Belle Arti di Firenze, studying under the acclaimed sculptor Augusto Rivalta (1837‑1925). Eschewing the grand historicizing monuments espoused by his teacher, Caradossi specialized in Classical or Allegorical depictions of the elegant nude female form. These exquisitely carved sculptures are surprisingly complex in composition, with entwined, twisting figures. $6,000‑$9,000 420

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421 Pair of Neoclassical-Style Bronze Torcheres 20th century, the bases decorated with lion’s heads supported on scrolls, the turned standards molded with acanthus leaves and Ionic capitals, set with faux tortoise shades. h. 81”, dia. 12” $1,200‑$1,800 422 Italian Carved Marble Bust of “Clytie” 19th century, after the ca. 45 CE Roman antique acquired by the British collector Charles Townley (1737‑1805) from a noble Neapolitan family and now conserved at the British Museum, London, on a socle base, set upon a black marble columnar plinth. sculpture h. 27‑1/2”, w. 16”, d. 14, overall h. 67”

423

$1,200‑$1,800 423 Pair of Carrara Marble Kylix-Form Shallow Urns second quarter 20th century, Italian, with boldly reeded bowls. h. 13‑3/4”, dia. 16‑1/4” $1,000‑$1,500

421 422

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424 Exceptional Carved Carrara Marble Figural Group of a Bacchante with a Putto 20th century, after a model by Prof. Donatello Gabbrielli (Italian/Florence, 1884‑1955), the followers of Dionysus caught mid-celebration holding hands, the elegant female figure with grapes in her hair and a castanet in one hand, together with a custom carved wood pedestal; accompanied by a letter of sale stamped by the U.S. Consul. h. 80”, w. 28”, d 36”, pedestal h. 22‑1/2” Provenance: Galleria Pietro Bazzanti e Figlio, Florence, 1998; Private collection, New Orleans, Louisiana. This sculpture has been acknowledged by the Galleria Pietro Bazzanti e Figlio. $25,000‑$40,000 Born into a working class Florentine family, Donatello Gabbrielli revealed an innate artistic ability at a young age. While his family's financial situation prevented him from enrolling in one of of the prestigious art academies, with his parent's encouragement he eventually entered the studio of Cesare Fantacchiotti (Italian, 1844-1922) as an apprentice/student. Flourishing in the studio's strict and regimented environment, Gabbrielli soon became the sculptor master's most promising student - in fact, upon Fantacchiotti's death, Gabbrielli inherited the studio. He began exhibiting, nationally and internationally, and won numerous awards and accolades for his allegorical and mythological depictions of the female form. The impressive figural grouping presented here reveals Gabbrielli's mastery of the difficult and uncompromising medium of marble. The sophisticated composition of the slightly twisting body of the woman with one elegantly extended arm, the delicate modeling of the facial features, and the ability to create a sense of textural variation are all indicative of a true master. In 1955 Gabbrielli was honored by being appointed Professor at the Accademia delle Arti del Disegno, Florence, the oldest art school in the world.

155

425 Pair of Italian Carved and Gilded Wooden Figural Brackets fourth quarter 19th century, each with a carved cherub backplate supporting a shell-carved shelf. h. 15‑1/2”, w. 15‑1/2”, d. 9‑1/2”

425

$1,000‑$1,500 426 Pair of Italian Baroque-Style Giltwood Mirrors the frames pierced and decorated with scrollwork and flowerheads, the oval pierced crests with scrolls and rocaille work. h. 37‑1/4”, w. 20‑1/4” $1,000‑$1,500 427 Italian Giltwood Mirror in the Baroque Taste 20th century, framed with bold pierced scrollwork and flowerheads, the top with an overhanging carved leaf, set with a beveled mirror plate. h. 56‑1/2”, w. 43” $1,200‑$1,800 428 Italian Neoclassical-Style Polychrome Desk 19th century, the rounded, waisted rectangular top with an inset mirrored surface within a molded edging, above a conforming case fitted with a central frieze drawer flanked to either side by a short deep drawer, the corners with carved giltwood floral festoons, raised on spiral-fluted tapering circular legs ending in toupie feet. h. 30‑1/2”, w. 42‑1/2”, d. 26‑1/2” $1,000‑$1,500 427

628

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426

429 Neoclassical-Style Silvered Bronze Chandelier 20th century, the eighteen-light chandelier in two tiers, with six arms over twelve, the central standard with three cherubic busts mounted at the top, the circular hubs below fitted with the shaped outstretched arms and ending in a pineapple drop finial. h. 36”, dia. 36” $3,500‑$5,000 430 Neoclassical-Style Silvered Bronze Chandelier 20th century, the central standard with three cherubic bust mounts, the lower hub fitted with eight outstretched arms, ending in a pineapple drop finial. h. 24”, dia. 29” $3,000‑$5,000 431 Imposing French Silverplate, Bronze and Marble Garniture Urn 429

fourth quarter 19th century, the front decorated with an image of the Goddess “Flora”, framed with bronze scrollwork and flowers, on a base decorated with gadrooning, set with dragon-molded handles, on a carved marble plinth. h. 23‑1/2”, w. 11”, d. 7‑1/2” $1,000‑$1,500

430

432 French Silvered Bronze and Marble Figure of “Mercury” ca. 1900, after the 1580 sculpture by Giambologna (Flemish/ Florence, 1529‑1608) now conserved at the Museo Nazionale del Bargello, Florence, the messenger of the gods with winged feet and helmet, posed on one foot delicately balancing on the symbol of wind, raised on a marble fluted columnar base decorated with a bronze laurel swag. h. 39”, w. 6”, d. 10”

431

$1,500‑$2,500

432

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433 Silverplate and Bone-Clad Double Centerpiece on a plateau raised on anthemion-molded feet, each boneclad cornucopia with an upper rim of molded acanthus leaves, the base with silverplate ram’s heads. h. 12”, w. 16”, d. 8” $1,000‑$1,500 434 Pair of Shell-Carved Silver Gilt Lamps 20th century, the pierced, carved shells mounted on faux stone bases above acrylic plinths. overall h. 14”, w. 6”, d. 3”

433

$1,000‑$1,500 435 Unusual Pair of Venetian Obelisk-Form Mirrors 20th century, set with beveled mirror glass decorated with engraved spays of flowers, on marbleized bases. h. 72‑1/2”, w. 15” $1,000‑$1,500 436 Continental School (19th Century) “Judgment of Midas” oil on canvas unsigned. In an antique giltwood frame. 43‑1/2” x 61‑1/4”, framed 49‑3/8” x 67‑1/4”

434

Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $4,000‑$7,000

435 436

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437 Venetian Polychrome Settee

439 Continental Grotto-Style Mahogany Stool

18th century, the padded and double-domed back joined by padded out-scrolled arms to the slightly bowed and padded seat, raised on molded cabriole legs ending in scrolled toes, the whole with gilt accents. h. 39”, w. 88”, d. 26”

20th century, the shell-form seat raised on three dolphin supports to a concave tripartite base. h. 18‑1/2”, w. 19”, d. 18‑1/2”

Provenance: Private collection Mobile, Alabama

440 Pair of Monumental Italian Bronze and Wrought-Iron Andirons

$1,000‑$1,500

$1,000‑$1,500 438 Italian Painted and Parcel-Gilt Tabernacle

fourth quarter 19th century, in the Renaissance style, with bronze dragon finials and pierced, scrolled feet, the spiralreeded standard set with angled rush or grease lamps. h. 46‑1/2”, w. 14‑1/2”, d. 25‑1/2”

ca. 1700, the faceted niche flanked by Doric columns supporting carved brackets, the architrave decorated with a central carved masque, the broken pediment carved with fluting and flanking a giltwood shell. h. 43‑3/4”, w. 23‑1/2”, d. 11‑1/2”

$1,500‑$2,500

$1,000‑$1,500

439 438

440

437

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441 Giltwood and Gilt-Metal Chandelier in the Baroque Style second quarter 20th century, Italian, the twelvelight chandelier with a carved standard decorated with scrollwork and set in a tripartite carved support, the scrolled candle arms decorated with molded leaves, set on two levels. h. 47”, dia. 39” Provenance: Private collection Mobile, Alabama $1,500‑$2,500 442 Italian Giltwood and Marble-Top Side Table 20th century, the inset rectangular marble top above a pierced foliate scrolling frieze centered by a foliate and putti shield carving, raised on paneled, graduated square legs joined by an X-form stretcher and ending in gadroon-carved feet. h. 33”, w. 39”, d. 21” $1,200‑$1,800 443 Italian Baroque-Style Giltwood Mirror

441

first quarter 20th century, the guilloche-lined frame with a half-round crest, decorated with bold pierced scrollwork, a bellflower at the top. h. 76”, w. 44‑1/2” $1,000‑$1,500

442 443

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444

445

444 Pair of Italian Giltwood Sconces mid-20th century, in the neoclassical taste, the two-light sconces each with a cello and other musical instruments on a pierced, scrolled backplate supported by a bowknot, the giltmetal candle arms with foliate drip pans. h. 39‑1/2”, w. 12‑1/2”, d. 9” $1,000‑$1,500 445 Hand-Woven Flemish Tapestry of a Transfer of Power fourth quarter 18th century. 52” x 48” Provenance: Oonagh Black Antiques, London, England. $3,000‑$5,000 446 French Provincial Polychrome Buffet a Deux Corps mid-19th century, the rounded rectangular molded and dentillated cornice above a floral-carved frieze and two doors, each inset with a shaped panel, the interior fitted with two plate-glass shelves, the lower section fitted with a pair of paneled cupboard doors, raised on waisted bun feet, the whole with decorative polychrome accents. h. 92”, w. 58‑1/2”, d. 25” $1,800‑$2,500 446

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447 Jef Louis van Leemputten (Belgian, 1865‑1948) “Sheep, Chickens and Goat in the Stable” oil on wood panel signed lower right. Framed. 20‑1/4” x 27‑3/4”, framed 28‑3/4” x 36‑1/4” $1,200‑$1,800

447

448 Andre Plumot (Belgian, 1829‑1906) “Depart des Moutons” oil on canvas signed lower left, “Slot & Zonen, Den Haag” frame label en verso. In a period giltwood frame. 19‑1/2” x 28‑1/2”, framed 28‑1/2” x 38‑1/2” $3,000‑$5,000

448

449 Henri de Beul (Belgian, 1845‑1900) “Shepherd and His Flock”, 1885 oil on canvas signed and dated lower right, artist label en verso. Framed. 34‑3/4” x 51‑3/4”, framed 39” x 56‑1/2” $2,500‑$4,000

449

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450 Provincial Regence Fruitwood Commode 18th century, the rounded rectangular top slightly bowed and above a conforming case fitted with three long tripaneled drawers, raised on cabriole feet. h. 38”, w. 52”, d. 22” $1,500‑$2,500 451 Louis XV/XVI-Style Fauteuil late 19th century, the padded and domed back surmounted by a foliate shell crest, joined by downswept molded arms to the padded seat, raised above a shaped foliate shell-carved apron on cabriole legs ending in scrolled toes on pegs. h. 42‑1/2” $900‑$1,200 452 Unusual Provincial Louis XV-Style Fruitwood Vaisselier

450

mid-19th century, the domed and molded cornice above a central arched glazed cupboard centered with a clock and with a long bi-paneled cupboard below, flanked to either side by two plate racks over a single cupboard and single shorter rack, the lower section with a rounded rectangular top over three drawers and three cupboard doors, each inset with a shaped panel over a scalloped apron, raised on splayed, pointed feet. h. 103”, w. 78‑1/2”, d. 25” $1,500‑$2,500

451 452

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453 E. Langlois (French, active 1860‑1890) “Petite Paysanne au Repos”, 1883 oil on canvas laid on masonite backed by cradleboard signed “Mme. E. Langlois” lower left, “Haynes Fine Art of Broadway, Worcestershire” label en verso. Framed and with brass artist plaque. 38‑1/2” x 30”, framed 53‑1/4” x 44” Provenance: Sotheby’s, London, March 25, 2009, lot 289. $4,000‑$7,000 454 Bernard Johan de Hoog (Dutch, 1867‑1943) “Interior Scene: Man Reading” oil on canvas signed lower left. Framed. 23‑1/2” x 20”, framed 30 -3/4” x 27” $1,200‑$1,800 455 Charles Euphrasie Kuwasseg (French, 1833‑1904)

453

“Fishermen in the Village Harbor” oil on canvas signed and dated “1880” lower left. Framed. 7‑1/2” x 10‑1/4”, framed 16‑5/8” x 19‑1/8” $1,200‑$1,800

455

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454

456 Provincial Regence Fruitwood Commode 18th century, the rounded rectangular top above a bombe case fitted with three long drawers over a pierced pendant apron, raised on splayed feet ending in scrolled toes. h. 33‑1/2”, w. 48”, d. 23‑1/2” $1,000‑$1,500 457 Provincial Louis XV-Style Fruitwood Window Seat the long padded seat flanked to either end by a padded arm surmounted by a foliate-carved out-scrolled crest, above a shaped foliate-carved apron, raised on cabriole legs ending in foliate toes. h. 29‑1/2”, w. 51‑1/2”, d. 21‑1/2” $1,200‑$1,800 458 Louis XV-Style Fruitwood Fauteuil

459

early 20th century, the padded back surmounted by a foliate shell crest, joined by padded arms to the like seat, raised on cabriole legs headed by a shield carving and ending in scrolled toes. h. 40‑1/2” $1,200‑$1,800 459 Fritz van der Venne (German, 1873‑1936) 457

“The Farmers” oil on canvas signed and localized “Munchen” lower right. Framed. 20‑1/4” x 28‑3/4”, framed 29‑3/4” x 37 “ $2,000‑$4,000

458 456

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460 Cornelis Verschuur (Dutch, 1888‑1966) “The Hay Cart” oil on canvas signed lower right. Framed. 16” x 27‑3/4”, framed 21‑5/8” x 35‑1/2” $1,000‑$1,500

461 Henry Schouten (Belgian, 1864/67‑1927)

460

“Equipe de Boeufs” oil on canvas signed lower right. Framed. 31‑1/2” x 24”, framed 39‑1/2” x 32” $1,500‑$2,500 462 Henry Schouten (Belgian, 1864/67‑1927) “A Donkey Ride in the Country” oil on canvas signed lower left. Framed. 39‑1/2” x 31‑1/2”, framed 46‑1/4” x 38‑1/4” $1,400‑$1,800

462 461

463 Henry Schouten (Belgian, 1864/67‑1927) “Vaches en Bord de Mer” oil on canvas signed lower right. Framed. 31‑1/4” x 45‑3/4”, framed 36‑1/4” x 50” $2,500‑$4,000 463

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464 Provincial Regence Fruitwood Commode late 18th century, the slightly bowed top with rounded corners, above a conforming bombe case fitted with three long drawers, each tri-paneled, over a shaped foliatecarved apron, raised on short cabriole legs ending in scrolled toes. h. 33”, w. 47‑1/2”, d. 24‑1/2” $1,000‑$1,500

464

465 French Provincial Fruitwood Armoire late 19th century, the domed and molded cornice above a paneled frieze, over two long doors, each inset with two shaped chevron-veneered panels, raised above a scalloped apron on pointed toes. h. 100”, w. 59”, d. 25‑1/2” 465

$1,000‑$1,500

466 French Provincial Fruitwood Coffer late 18th century, the banded and hinged rectangular top opening to a void storage space, the front tri-paneled, the whole raised on cabriole feet. h. 28‑1/2”, w. 61”, d. 29” $1,000‑$1,500 466

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469 Johannes Jacobus Heppener (Dutch, 1826‑1898) “Wash Day” oil on board signed lower left. Framed. 23‑1/2” x 38”, framed 29” x 43‑3/4” $2,000‑$4,000 470 Emile van Damme-Sylva (Belgium, 1853‑1935) “Cows Grazing in the Fields” 468

467 Provincial Regence Fruitwood Commode late 18th century, the serpentine top with a molded edge, above a conforming tapering case fitted with three long drawers, the sides each inset with two shaped panels, raised on upturned toes on peg feet. h. 34”, w. 40”, d. 24”

oil on canvas signed lower right. Framed. 25‑3/4” x 21‑1/2”, framed 31‑1/4” x 27‑1/2” $1,200‑$1,800

$1,000‑$1,500 468 Herman Frederik Carel Ten Kate (Dutch, 1822‑1891) “A Herd of Deer”, 1853 oil on canvas signed and dated lower left. Framed. 21‑1/4” x 26”, framed 28” x 33‑1/2”

469

$2,000‑$4,000

467

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470

472

471

471 Virginie de Sartorius (Belgian, 1828‑1908) “Still Life of Fruit in a Basket” oil on canvas signed and dated “1856” lower right. Framed. 38‑1/2” x 24‑1/2”, framed 50” x 36‑3/4” $4,000‑$7,000 472 Pair of Louis XV-Style Fruitwood Bergeres each with a shaped and domed padded back joined by closed padded arms to the cushioned seat, raised on cabriole legs ending in scrolled toes. h. 34” $1,000‑$1,500 473 French Provincial Oak Armoire 19th century, with a deeply molded, removable crown molding above a pair of framed, paneled and carved doors, raised on short cabriole legs. h. 80”, w. 59”, d. 22‑1/2” $1,000‑$1,500 473

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474 Provincial Regence Walnut Commode 18th century, the rectangular top with a slightly bowed front, above a conforming case fitted with three long drawers, raised above a shaped apron on pointed toes. h. 35”, w. 51”, d. 15” $1,500‑$2,500 475 Henry Schouten (Belgian, 1864/67‑1927) “Pink and Red Roses” oil on canvas signed with a pseudonym “M. Claes” lower right. Framed. 22” x 28”, framed 29‑5/8” x 35” $1,200‑$1,800 476

477

476 Pair of Regence Ambitiously Carved and Painted Appliques first quarter 18th century, with carved eagles atop leaf- and scrollwork-carved bases, the upper portions with cascades of carved flowers held by scrolls. h. 56”, w. 13‑1/4”, d. 4” 475

Provenance: Private collection Mobile, Alabama $1,000‑$1,500 477 Louis XV Polychrome Armoire late 18th century, the rounded rectangular cornice above a conforming case with a floral basket frieze over two long doors, each inset with two shaped panels and a band of floral carving, raised above a shaped apron on foliate-carved feet. h. 92”, w. 63‑1/2”, d. 24” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 709, page 530. Shown in situ page 531, the master bedroom, “Holly Hill”; Private collection, Mobile, Alabama. $1,000‑$1,500

474

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478 Constantin Kluge (French, 1912‑2003) “Paris, Early Evening” oil on canvas signed lower right. Framed. 23‑3/4” x 30”, framed 30‑1/2” x 36‑1/2” $1,200‑$1,800 479 Niek van der Plas (Dutch, b. 1954) “Venice”

478

481

oil on wood panel signed lower left. Framed. 9‑1/2” x 11‑3/4”, framed 17‑1/4” x 19‑1/4” $1,400‑$1,800 480 Niek van der Plas (Dutch, b. 1954) “A Day at the Beach” oil on wood panel signed lower right and en verso. Framed. 7‑1/4” x 9‑1/4”, framed 14‑3/4” x 17”

479

$1,200‑$1,800 481 Niek van der Plas (Dutch, b. 1954) “Naples Beach” oil on wood panel signed and titled en verso, signed lower right. Framed. 20” x 23‑1/2”, framed 26” x 30” $2,000‑$4,000 482 Niek van der Plas (Dutch, b. 1954) “Beach Scene with Sailboats” oil on wood panel signed lower right. Framed. 27‑1/2” x 44”, framed 35‑3/8” x 52‑3/4” $4,000‑$7,000 482

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483 Provincial Louis XVI Fruitwood Commode a Vantaux late 18th century, the rectangular top with turreted corners, above a conforming case fitted with three paneled drawers over three paneled cupboard doors, flanked and divided by fluted uprights, raised on fluted tapering circular legs to brass caps. h. 40‑1/2”, w. 66”, d. 19‑1/2” Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 573, page 429. Shown in situ page 426, the dining room, “Holly Hill”; Private collection, Mobile, Alabama. $2,500‑$4,000 485

484 Belle Epoque Petite Marble-Top Side Cabinet early 20th century, with a cast brass gallery and conforming marble top, the front fitted with three drawers, each with painted scenes and flanked by a curved cabinet door on each side with painted maidens, raised on turned and fluted tapering legs. h. 35”, w. 25”, d. 13” $800‑$1,200 485 Pair of French Belle Epoque Gilt-Bronze and Marble Candelabra fourth quarter 19th century, the marble column-form bases decorated with swags of flowers, the standards decorated with children, one with a dog and the other a cat, the candle branches molded with grapes and leaves and the beaded drip pans set with lotus-molded candle cups. h. 21‑3/4”, w. 10‑3/4”, d. 7” $1,000‑$1,500

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486 Large S. Marti Gilded Age Gilt-Bronze and Marble Clock Garniture fourth quarter 19th century, retailed by Tiffany & Co., the clock decorated with a figure of Cupid holding a hammer to “strike” the drummounted clock, the works stamped “S. Marti et Cie, Medaille D’Argent 1889, Made in France” and “Tiffany & Co.”, the matching garnitures decorated with figures, one of Cupid and one of a naiad. clock h. 17‑1/2”, w. 12‑3/4”, d. 6‑3/4” $3,000‑$5,000 487 French Alabaster Statue of Cupid on a Pedestal ca. 1900, the figure with bound hands, gazing down forlornly, signed indistinctly, h. 28‑1/2”, dia. 8‑3/4”, on a fluted and stop-reeded pedestal carved with a Greek Key, h. 42‑1/2”, dia. 12‑1/2”. $1,000‑$1,500 488 Louis XVI-Style Polychrome, Parcel-Gilt and Marble-Top Console and Trumeau Mirror early 20th century, the mirror with a carved flower basket cartouche over an oval oil-on-board of frolicking putti, adorned with carved floral swags and a beveled mirror, h. 86”, w. 53‑1/2”, the console with an inset marble top on a conforming base raised on turned and reeded legs joined by shaped stretchers and a central flame finial, h. 40”, w. 55”, d. 20”. Provenance: Private collection, New Orleans, Louisiana. $2,500‑$4,000

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489 Continental Bronze and Porcelain Centerpiece ca. 1900, in the form of a gilt-bronze sleigh driven by a patinated putto, with a Neptune head in the front and a putto with a shell horn heralding its approach, the pierced porcelain body hand-painted with flowers. h. 10”, w. 4‑1/2”, l. 14‑3/4” $1,000‑$1,500

490

489

490 Charming French Gilt-Bronze Chandelier fourth quarter 19th century, the eightlight chandelier with a turned standard supported by a cupid hovering from above, the candle arms molded with acanthus leaves terminating in leafmolded sockets, the lower ball-form finial bowknots supporting swags of fruit. h. 41”, dia. 31” $1,000‑$1,500

491 Monumental Belle Epoque Giltwood Overmantel Mirror fourth quarter 19th century, Italian, the three-part mirror with side panels divided in two, framed in carefully executed rocaille work, the bold serpentine crest decorated with a kidney-shaped matte gilt panel with bright gilt scrollwork, outlined with incising, labeled by C. Bournique, Napoli. h. 95‑1/2”, w. 74‑1/2” $4,000‑$7,000

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492 Monumental Belle Epoque Giltwood Overmantel Mirror fourth quarter 19th century, Italian, the three-part mirror with side panels divided in two, framed in carefully executed rocaille work, the bold serpentine crest decorated with a kidney-shaped matte gilt panel with bright gilt scrollwork, outlined with incising, labeled by C. Bournique, Napoli. h. 95‑1/2”, w. 74‑1/2” $4,000‑$7,000 493 Diminutive Pair of French Bronze and Marble Lamps in the Beaux-Arts Taste first quarter 20th century, the bases with engine turning and molded lotus leaves, the satyr-head handles set on the sides and topped with rope-twist scrolls, the bronze-framed shades with fringe-trimmed pleated silk and palmette-pierced shade holders. h. 20”, dia. 12”

493

Provenance: Private collection Mobile, Alabama $1,000‑$1,500

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494 After Henri Honore Ple (French, 1853‑1922) “La Nymphe” polished bronze cast signature along edge of selfbase. h. 30‑1/2”, w. 16”, d. 11” $1,200‑$1,800

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495 French Gilt-Bronze Cartel Clock in the Louis XV Style ca. 1900, decorated with a lion’s pelt hanging beneath the enamel dial, framed by ram’s heads, set with a draped urn finial, the lower edge molded with guttae and acanthus leaves. h. 27‑1/2”, w. 15”, d. 5” $1,200‑$1,800 496 After Francisque Joseph Duret (French, 1804‑1865) “Neapolitan Dancer with Tambourine” “Neapolitan Dancer with Castanets” pair of pendant patinated bronzes third or fourth quarter 19th century, cast by AugusteMaximilien Delafontaine (French, 1813‑1892), each with cast signature and foundry inscription on selfbase, marked “AD” along edge of base. h. 17”, w. 6” to 6‑1/2”, d. 5” Provenance: Private collection, Connecticut.

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$1,800‑$2,500 Duret was an academically trained sculptor whose most popular and familiar works reveal his deep love and appreciation for the antiquities of the Classical Age. The son of an artist, he trained with his father and studied under Francois-Joseph Bosio, before traveling to Europe where he soon immersed himself in the history, culture and artistic traditions of the region. The original models for the works presented here (part of his debut exhibition at the Paris Salon of 1838), bear a resemblance in form and composition to the Dancing Satyr, a 1st/2nd century CE Roman sculpture (itself a copy of the 2nd century Hellenistic work), now conserved at the Uffizi Gallery, Rome, and the Dancing Faun, a 2nd century BC Greco-Roman sculpture, now conserved at the National Archaeological Museum in Naples. Duret’s figures, however, exhibit more freedom from the somewhat controlled postures of his inspiration; his dancers turn, twist and contort, revealing exuberant expressions and easily conveying to the viewers their pleasure and enthusiasm for the dance in which they are so completely engrossed.

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497 After Francisque Joseph Duret (French, 1804‑1865) “L’Improvisateur” bronze first quarter 20th century, modeled as a young Neapolitan boy in the guise of Bacchus, playing a mandolin, cast signature along edge of self-base, a “Stan Levy Imports” tag at back edge. h. 17”, w. 8”, d. 7” $1,000‑$1,500

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498 After Antonin Mercie (French, 1845‑1916) “David, Vainqueur de Goliath” patinated bronze fourth quarter 19th century, cast signature, a “Reduction Mecanique/Collas” stamp and an “F. Barbedienne/Fondeur/Paris” foundry inscription along back of self-base, after the 1872 gold medal winning sculpture now conserved at the Musee d’Orsay, Paris. h. 28‑3/4”, w. 14”, d. 10” According to the 1886 F. Barbedienne catalogue, this is reduction #3 (out of 5) with a height corresponding to 73 cm. $1,000‑$1,500

499 After Jean Jules Salmson (French, 1823‑1902)

498

“William Shakespeare” patinated bronze 20th century, cast signature along along self-base. h. 25”, w. 11”, d. 12” $1,200‑$1,800 499

500 After Jean Jules Salmson (French, 1823‑1902) “Sir Anthony van Dyck” patinated bronze 20th century, cast signature along edge of self-base, titled on portfolio. h. 25”, w. 11”, d. 12” $1,200‑$1,800 500

501 After G. Gueyton (French, 19th Century) “The Young Mozart” patinated bronze cast signature on self-base. h. 26”, w. 12‑3/4”, d. 10” $1,000‑$1,500 501

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502 French Giltwood Pier Mirror and Jardiniere ca. 1900, the mirror surround with ribbon-wrapped reeding, the lower corners pierced with laurel leaves, and the cupid’sbow crest decorated with sprays of flowers, together with the matching jardiniere, on fluted legs decorated with a crossed quiver and torch, with a metal liner. h. 86‑1/2”, w. 42”, d. 15‑1/4” $1,000‑$1,500 503 Napoleon III Giltwood Mirror of Louis XVI Inspiration third quarter 19th century, French, the oval mirror with a segmented surround, framed with beaded giltwood, the outer edge with carved gadrooning, the crest decorated with lovebirds carrying a quiver of arrows and a torch, flanked by laurel sprays. h. 54”, w. 38” $1,200‑$1,800 504 Unusual French Gilt-Bronze Chandelier the twelve-light chandelier with a leaf-molded standard set with scrolled candle arms terminating in ram’s heads, each hung with flower-form candle sockets set with molded glass drip pans. h. 43‑1/2”, dia. 28”

503

$1,500‑$2,500

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505 Impressive Gilded Age Bronze Clock fourth quarter 19th century, the central urn-form clock case mounted with a dial marked “Masse, Paris”, flanked by figures of putti symbolizing “arts” and “sciences”, the fluted base with a globe, books and a sextant symbolizing “education”, now with a battery-powered movement. h. 25‑1/2”, w. 31”, d. 10‑1/2” $1,500‑$2,500 506 D. La Monaca (Italian/French, 20th Century) “Oath of Love” chryselephantine inscribed “Serment d’aimer toute la vie” on book, cast signature and localized “France” along back of selfbase, on a carved marble plinth. h. 14”, w. 10‑1/4”, d. 6‑1/2”

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$1,800‑$2,500 507 Pair of French Gilt-Bronze-Mounted Marble Revolving Pedestals ca. 1900, the mottled brown marble bases set with gilt-bronze Corinthian capitals and laurel-molded bases, on tan marble tops, the hardware stamped “G.K.”, along with engraved Roman numerals “III” and “VIII”. h. 47”, dia. 9‑1/2” $1,200‑$1,800

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508 Pair of Cast Iron Retrievers in the Napoleon III style, seated on integral oval bases with game birds at their feet. h. 39”, w. 40”, d. 16‑3/4” $2,500‑$4,000 508

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509 Pair of French Marble and Bronze Lamps mid-20th century, the urn-form lamps composed of mauve, gray and white mottled marble, mounted with masquedecorated handles supporting swags of molded leaves, with guilloche-decorated bronze and marble bases. h. 24‑1/2”, dia. 7‑1/2” $1,200‑$1,800 510 Napoleon III Fruitwood Bergere Frame third quarter 19th century, the domed back surmounted by a ribbon and musical crest, joined by acanthine-carved arms to the seat, raised on spiral-fluted tapering circular legs ending in toupie feet. h. 44”

511

Provenance: Private collection Mobile, Alabama $1,400‑$1,800 511 Pair of Beaux-Arts-Style Bronze and Enamel Sconces the masque-molded and enameled standards hung from bowknots, with tasseled finials, set with spiral-reeded candle arms, the drip pans and candle sockets decorated with lotus and scrollwork enamel. h. 41”, w. 25”, d. 11‑1/2” $1,500‑$2,500 512 Pair of French-Style Palace-Scale Bronze-Mounted Porcelain Vases

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20th century, the Chinese-style cobalt vases set with bronze upper trim molded with laurel leaves, and raised on Baroquestyle pierced bronze bases. h. 40‑1/2”, dia. 14‑1/2” $2,000‑$4,000

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513 Suite of Three Napoleon III Oil-on-Canvas Wall Panels third quarter 19th century, the center panel decorated with a lapis bottle vase with flowers and fruit, set into a gilt-trimmed “niche”, on a shelf with floral swags, h. 72”, w. 40‑1/4”, the side panels decorated with classical urns with flowers and trim matching the center panel, h. 71‑3/4”, w. 30‑1/4”. $3,500‑$5,000

513

514 Napoleon III-Style Burl Walnut and Ebonized Parlor Cabinet the D-form top with a molded ebonized edge, above a conforming case fitted with a central paneled cupboard door flanked to either side by a bowed paneled cupboard door, all with inlaid scrolling foliate urn panels and ormolu millwork, raised on ebonized toupie feet. h. 43‑1/2”, w. 71‑1/2”, d. 17‑1/4” $1,000‑$1,500

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515 London-Retailed French Bronze and Marble Mantel Clock fourth quarter 19th century, the base trimmed with a molded bronze laurel wreath, the clock with a column-form case set with a dial marked by the London retailer, the works marked by Raingo Freres, Paris, the bold bronze “Warwick Vase” finial decorated with classical busts. h. 18‑1/2”, w. 9”, d. 9” $800‑$1,200

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516 Ludwig Hans Fischer (German, 1848‑1915) “Cleopatra’s Barge” oil on canvas laid down on board signed lower right “Ludwig Hans Fischer, Wien”. Framed. 35” x 51”, framed 37” x 53” $5,000‑$8,000 517 School of Jean-Leon Gerome (French, 1824‑1904) “Le Prisonnier” oil on wood panel signed lower left, after the original in the Musee des Beaux-Arts, Nantes.

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Framed. 17‑1/4” x 29”, framed 29‑1/4” x 41‑1/4” $2,500‑$4,000 518 Pair of Egyptian Revival Patinated Bronze and Marble Garniture Figures third quarter 19th century, the classically draped figures leaning against columnar supports, each holding a book and stylus, one with a small mummy in her hand, on breche d’Alep marble bases. h. 14‑1/2”, w. 8‑1/4”, d. 8‑1/4” $800‑$1,200

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519 After Marcel Debut (French, 1865‑1933)

521 Napoleon III Ormolu-Mounted Ebonized, Boullework and Marble-Top Cabinet third quarter 19th century, the shaped white marble top with a cast brass egg-and-dart under-molding, the front fitted with a single door with a convex oval boullework panel and flanked by figural brass mounts. h. 43”, w. 44”, d. 18‑1/2” $1,500‑$2,500

“Pulcinella” patinated and gilt-painted bronze cast signature on self-base. h. 32‑1/2”, w. 14”, d. 14” $1,000‑$1,500

520 Fine French White Marble Roundel of Napoleon III third quarter 19th century, the Emperor sculpted in high relief and in profile, now in a custom-made easel-form mahagony and ebonized wood presentation frame. roundel dia. 30”, frame h. 42‑1/2”, w. 37”, d. 21‑1/2” Provenance: Ronald Wright, Brussels, 1998; Collection of Christopher Forbes (VP of Forbes Publication), New York, New York, 1998‑2016; Osenat Auction, Paris, March 5, 2016, lot 277; Collection of the Count of Raban, 2016‑present. $5,000‑$8,000

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522 Napoleon III-Style Boulle and Ebonized Desk 20th century, the superstructure with a stepped cornice above two glazed cupboards, over two drawers, the lower section with a hinged writing surface and storage well above a shaped apron centered by an ormolu putti mount, raised on cabriole legs headed by ormolu masques and ending in sabots, the whole with boulle panels and ormolu mounts and millwork. h. 54‑1/2”, w. 35‑1/2”, d. 19‑1/2” $1,200‑$1,800 523 Set of Seventeen LeatherBound Volumes on Art and Artists various authors, Paris: Finest-Sa/ Editions Pierre Terrail, 1992‑2004, published in association with Centre Nationale du Livre, including volumes on Pompeii, Early Flemish Painting, Picasso, and Van Gogh among others, giltdecorated maroon leather boards with small central full-color print, gilt lettering on spines. 12‑1/8” x 9‑5/8”

524

$1,000‑$1,500 524 French Molded Glass Chandelier

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20th century, the six-light chandelier with a reeded vasiform standard hung with glass prism rings, and set with spiral-reeded candle arms with prism rings and glass candle sockets, alternating with spiral-twist glass scrolls. h. 35”, dia. 33” $1,400‑$1,800 525 Impressive Patinated and GiltBronze Figure of “Venus” second quarter 20th century, the goddess of love partially draped, with a jewelry casket at her feet, in the manner of AlbertErnest Carrier-Belleuse (French, 1824‑1887), incised signature at back of self-base, presented on a solid square marble pedestal with fluted sides and acanthine decorations. sculpture h. 49”, w. 18”, d. 14”, pedestal h. 33‑1/2”, overall h. 82‑1/2” $1,500‑$2,500

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526 Pair of Napoleon III Ebonized and Boulle Games Tables third quarter 19th century, each with a shaped rectangular top hinged and opening to a banded baize-lined gaming surface, above a conforming frieze centered by an ormolu masque, raised on cabriole legs headed by caryatid mounts and ending in sabots, the whole richly accented with boulle-work panels. h. 31”, w. 35‑1/2”, d. 18” $1,800‑$2,500 527 Charles Fournier (French, 1803‑1854)

528 Charles Fournier (French, 1803‑1854) “Jeune Femme avec une Sculpture” oil on wood panel signed lower left. Framed. 12‑3/4” x 10‑1/4”, framed 18” x 15‑1/2” $1,500‑$2,500

“Jeune Femme Buvant de The” oil on wood panel signed lower left. Framed. 12‑3/4” x 10‑1/4”, framed 18” x 15‑1/2” $1,500‑$2,500

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529 Exceptional Capodimonte Molded and Polychrome Vase first quarter 20th century, possibly German, decorated with carefully molded and enameled scenes from the Napoleonic wars, the panels framed with goddesses and putti, satyrs supporting the upper rim, the faceted base with brackets and scrollwork, signed with an underglaze blue crowned “N”. h. 33‑1/4”, dia. 17” $2,000‑$4,000 530 French Jeweled Gilt-Bronze Encrier in the Renaissance Style fourth quarter 19th century, the bronze with engraved arabesque scrollwork and set with neoclassical carved malachite stones alternating with cabochon garnets, the pair of vasiform inkpots retaining original glass liners and set with putti-form knops, an enamel-decorated goose with wings set with rock crystal bands standing on the front plinth. h. 7‑3/4”, w. 11‑1/4”, d. 7‑3/4” Provenance: Private collection Mobile, Alabama $1,000‑$1,500

529

531 After Henri Honore Ple (French, 1853‑1922) “Nymph” alabaster the maiden dressed in a flowing gown, sitting on a rocky outcropping, holding aloft a flower, incised signature along one side. h. 34‑1/2”, w. 13”, d. 10” $1,000‑$1,500

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532 Peshawar Carpet 9’ 10” x 13’ $2,500‑$4,000 533 Turkish Angora Oushak Carpet 8’ 8” x 12’ $1,000‑$1,500 534 Laristan Sultanabad Carpet 8’ x 10’ 3” $1,400‑$1,800

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532

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539 Heriz Carpet

535 Semi-Antique Heriz Carpet

8’ 4” x 11’ 2”

12’ x 9’ 2”

$900‑$1,200

$2,500‑$4,000 536 Bamboo Silk Carpet

540 Peshawar Sultanabad Carpet

9’ x 12’

12’ x 19’ 4”

$1,000‑$1,500

$1,500‑$2,500

537 Agra Sultanabad Carpet

541 Peshawar Sultanabad Carpet

10’ 1” x 13’ 8”

8’ 9” x 11’ 7”

$2,000‑$4,000 538 Bamboo Silk Sultanabad Carpet 8’ 10” x 12’

542 Semi-Antique Kerman Carpet 8’ 6” x 11’ 6”

$1,000‑$1,500

$1,200‑$1,800

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$1,200‑$1,800

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session Ii Sunday, July 29, 2018 10:00 a.m. CDT Lots 543-1050

Pictured: Lot 1009

543

543 Baroque Pearl and Lapis Lazuli Necklace 14k yellow gold, the three-strand necklace composed of white baroque freshwater pearls with a high luster, ranging in size from 10.5 mm to 11.5 mm and gold spacers, finished with a carved lapis lazuli cabochon in the form of a scarab. l. shortest to longest strand 16” to 21”, clasp size 1‑5/8” x 1”, total weight 37.0 grams $2,000‑$4,000 544 Lapis Lazuli and Diamond Earrings 18k yellow gold, the dangle earrings set with lapis lazuli hoops and studs weighing approximately 9.14 carats in total, accented with round brilliant- and baguette-cut diamonds weighing approximately 0.67 carats in total. l. 1‑3/8”, total weight 9.7 grams $1,400‑$1,800 545 Baroque Pearl and Lapis Lazuli Bracelet 14k yellow gold, the three-strand baroque freshwater white pearl bracelet with a high luster, finished with a lapis lazuli cabochon carved in the form of a scarab. l. 8”, clasp size 1‑3/8” x 1‑3/4”, total weight 57.0 grams $1,200‑$1,800

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546 Pearl and Diamond Earrings 18k white gold, each earring mounted with a baroque pearl pendant suspended from a cluster of princess-cut diamonds weighing approximately 2.00 carats in total. l. 1‑1/8”, total weight 9.1 grams $6,000‑$9,000 547 South Sea Pearl Choker 14k yellow gold, the hand-knotted silver-white pearls with a good luster, ranging in size from 11.5 mm to 12.0 mm, finished with a gold clasp. l. 16”, total weight 74.0 grams $1,200‑$1,800 548 Pearl and Diamond Earrings 18k white gold, the earrings each set with a white South Sea pearl drop with a good luster, suspended from mountings set with round brilliant-cut diamonds weighing approximately 6.63 carats in total, approximate color E-G and clarity VS1‑SI1. l. 2”, total weight 28.0 grams $4,000‑$7,000

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549 Beautiful Sapphire and Diamond Butterfly Necklace 18k white gold, the multi-strand freshwater pearl necklace finished with a butterfly pendant/clasp, mounted with round-cut treated pink and blue sapphires weighing approximately 16.36 carats in total, and round brilliant-cut diamonds weighing approximately 4.60 carats in total. pendant size 2‑1/2” x 3‑1/2”, necklace l. 15‑1/2”, total weight 67.0 grams $3,000‑$5,000 550

551

550 Natural Pink Sapphire and Diamond Ring platinum, the ring mounted with a natural oval-cut pink-purple sapphire weighing 1.49 carats, GIA report #2183163671, accented by round brilliant-cut diamonds weighing approximately 0.89 carats in total. size 7‑1/4, total weight 6.1 grams

551 Multicolored Sapphire and Diamond Ring 18k yellow gold, the ring mounted with oval-cut green, pink, blue, yellow, orange and blue-green treated sapphires weighing approximately 13.48 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.55 carats in total. size 7, total weight 12.0 grams

$3,000‑$5,000

$1,500‑$2,500

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552 Diamond, Sapphire, Ruby and Pearl Butterfly Brooch the 10k gold back with a silver and gold top, set with rosecut diamonds weighing approximately 0.20 carats in total, accented by oval-cut sapphires weighing approximately 0.30 carats in total and round-cut rubies weighing approximately 0.12 carats in total, the center mounted with four blister pearls. size 1‑1/8” x 7/8”, total weight 6.3 grams $1,400‑$1,800 553 Gold and Gemstone Charm Bracelet 14k yellow gold, the vintage charm bracelet with eight charms set with various gemstones, including garnets, turquoises, amethysts, rubies, sapphires, moonstones, coral and pearls. l. 7‑1/2”, total weight 137.9 grams $2,500‑$4,000 554 Multi-Stone Mirror Pendant with Chain 14k yellow gold, the miniature mirror pendant mounted with faceted round- and oval-cut treated rubies weighing approximately 2.00 carats in total, round-cut treated sapphires weighing approximately 0.80 carats in total and round-cut diamonds weighing approximately 0.40 carats in total, l. 4‑1/4”, suspended from a 30” gold rope chain. total weight 41.2 grams

555 Diamond and Ruby Fringe Bracelet 18k yellow gold, the braided multi-strand bracelet set with single-cut diamonds weighing approximately 0.45 carats in total, and accented on the ends of the tassels with round-cut rubies weighing approximately 0.75 carats in total. inside circumference 7”, total weight 140.0 grams $3,000‑$5,000 556 Amethyst and Diamond Bangle Bracelet gold vermeil, the hinged bracelet mounted with a roundcut treated amethyst weighing approximately 28.88 carats, accented by single-, rose- and round brilliant-cut diamonds weighing approximately 4.00 carats in total. inside circumference 6‑3/4”, total weight 50.0 grams $2,500‑$4,000

$1,000‑$1,500

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558 detail

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559 Peridot, Tanzanite and Diamond Bracelet gold vermeil, the bracelet mounted with round-cut peridots weighing approximately 9.24 carats in total, oval-cut tanzanites weighing approximately 4.62 carats in total, accented throughout with white to light brown rose-cut diamonds weighing approximately 3.62 carats in total. w. 1‑1/4”, l. 8”, total weight 77.0 grams $1,000‑$1,500 560 Peridot and Diamond Jewelry Suite 18k white gold, the pendant and earrings mounted with ovaland pear-cut peridots weighing approximately 4.00 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.25 carats in total, the pendant suspended from a 17” gold chain. pendant l. 1”, earring l. 1‑1/4”, total weight 13.8 grams $1,000‑$1,500 559

557 Beautiful Amethyst and Peridot Convertible Necklace and Earring Suite 14k yellow gold, the detachable pendant mounted with a cushion-cut treated amethyst weighing approximately 38.31 carats, surrounded by a halo of baguette-cut treated peridots weighing approximately 8.96 carats in total, l. 2”, suspended from a necklace mounted with a central row of emerald-cut treated amethysts weighing approximately 97.82 carats in total, flanked on either side by a row of baguette-cut treated peridots weighing approximately 85.92 carats in total, l. 17‑1/2”, the matching earrings mounted with cushion-cut treated amethysts weighing approximately 14.60 carats in total, surrounded by a border of baguette-cut treated peridots weighing approximately 6.96 carats in total, l. 3/4”. total weight 24.0 grams $4,000‑$7,000 558 Large Amethyst Cocktail Ring 18k yellow gold, the ring mounted with an emerald-cut amethyst weighing approximately 73.00 carats. size 6, total weight 26.8 grams $1,200‑$1,800 560

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564 Tanzanite and Diamond Bracelet sterling silver, the bracelet mounted with three rows of round-cut tanzanites weighing approximately 55.5 carats in total, flanked on either side by a row of round-cut diamonds weighing approximately 1.80 carats in total. w. 5/8”, l. 7‑1/8”, total weight 64.4 grams $1,400‑$1,800 565 Beautiful Sapphire, Tsavorite Garnet and Diamond Bracelet 18k white gold, the wide bracelet mounted with ovaland round-cut natural and treated sapphires weighing approximately 18.90 carats in total, oval- and round-cut Tsavorite garnets weighing approximately 16.45 carats in total and round brilliant-cut diamonds weighing approximately 1.35 carats in total. w. 3/4”, l. 7‑1/2”, total weight 72.1 grams 562

561 Tanzanite and Diamond Ring with Earrings 18k white gold, the heavy ring with a satin finish, mounted with a central radiant-cut tanzanite weighing approximately 2.00 carats, flanked on either side by round brilliant-cut diamonds weighing approximately 0.06 carats in total, size 7‑1/4, the pair of earrings mounted with trillion-cut tanzanites weighing approximately 0.40 carats in total. total weight 14.6 grams $1,000‑$1,500 562 Tanzanite and Diamond Bracelet sterling silver, the bracelet mounted with marquise-cut tanzanites weighing approximately 20.1 carats in total, alternating with marquise-shaped sections mounted with round-cut diamonds, weighing approximately 4.90 carats in total. w. 1”, l. 7‑1/4”, total weight 67.9 grams

$10,000‑$15,000 566 Diamond and Tsavorite Garnet Earrings 14k white gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 0.29 carats in total and calibrated-cut tsavorite garnets weighing approximately 1.12 carats in total. l. 3/4”, total weight 3.0 grams $1,500‑$2,500 567 Garnet Bangle Bracelet 14k rose gold, the hinged bracelet mounted with oval-cut garnets weighing approximately 9.75 carats in total. inside circumference 7‑1/4”, total weight 17.2 grams $700‑$1,000

$1,200‑$1,800 563 Tanzanite and Diamond Ring 14k yellow/white gold, mounted with a square cushion-cut tanzanite weighing approximately 6.14 carats, accented on the mounting and ring shank with round brilliant-cut diamonds weighing approximately 1.09 carats in total. size 7, total weight 11.9 grams $4,500‑$7,000

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568 Coral, Diamond and Onyx Ring 10k yellow gold, the ring mounted with a coral cabochon measuring 19.0 mm x 14.0 mm, accented by round brilliant-cut diamonds weighing approximately 0.54 carats in total, and a black onyx border. size 8, total weight 27.0 grams $1,800‑$2,500 569 Gold and Onyx Bracelet and Rings 14k yellow gold, the wide flexible bracelet designed with alternating wide black onyx bars and gold strips, w. 1‑1/2”, l. 7‑1/2”, accompanied by a pair of black and gold onyx bands, size 8‑1/2. total weight 163.3 grams $2,000‑$4,000 570 Henry Dunay Hammered Gold Ring 18k yellow gold, the bold, highly polished and hammered ring with a twisted design, marked “Dunay” under the adjustable spring ring guard. size 8, total weight 50.8 grams

571 Italian “Roman Coin” Necklace 18k yellow gold, the tapering curbed link necklace mounted with an ancient Roman copper coin set in a pendant with round brilliant-cut diamonds weighing approximately 0.24 carats in total. l. 20”, total weight 107.1 grams $1,500‑$2,500 572 Gold Cuff Bracelet 18k yellow gold, the heavy, wide, hinged cuff bracelet designed with an Egyptian procession in high relief. w. 1‑1/4”, inside circumference 6‑1/2”, total weight 127.8 grams $3,000‑$5,000

$1,800‑$2,500

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573 Van Cleef & Arpels Gold and Diamond Evening Bag 18k yellow gold, the woven bag embossed with quatrefoil motifs, the flap highlighted by round brilliant-cut diamonds weighing approximately 4.69 carats in total, opening to reveal a fitted mirror, with a double chain strap, stamped “Van Cleef & Arpels, NY, 38496, 18k”, together with a suede Van Cleef & Arpels bag/cover. h. 4”, w. 7‑1/2”, d. 2‑1/8”, total weight 528.0 grams $7,000‑$10,000 574 Van Cleef & Arpels Diamond Ear Clips 18k yellow gold/platinum, the ear clips mounted with a cluster of round brilliant-cut diamonds weighing approximately 2.75 carats in total, framed by onyx and gold ropework, stamped “Van Cleef & Arpels NY” and “43827”. dia. 1”, total weight 30.1 grams Provenance: Sotheby’s, New York, “Property from the Estate of Brooke Astor”, September 24‑25, 2012, lot 857, page 623; Private collection, Mobile, Alabama. $4,000‑$7,000

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575 David Webb Pearl, Diamond and Enamel Ring 18k yellow gold, the ring mounted with a white mabe pearl with a low luster, accented by a swirling border mounted with round brilliant-cut diamonds weighing approximately 2.52 carats in total, approximate color E-F and clarity VVS2‑VS1, finished on the shank with black enamel, stamped “David Webb, 18k”. size 7‑1/2, total weight 28.0 grams $3,000‑$5,000

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576 Stunning Diamond and Ruby Ring 18k yellow gold, the bold and large domed ring mounted with round brilliant-cut diamonds weighing approximately 7.76 carats in total, approximate color E-G and clarity VVS2‑VS1, accented on each side with a marquise-cut treated ruby weighing approximately 3.47 carats in total. size 6, total weight 35.6 grams $6,000‑$9,000

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577 Unusual Gold and Green Beryl Ring 18k yellow gold, the ring mounted with a large cushion cabochon-cut green beryl weighing approximately 67.25 carats, accented on each side by a faceted triangle-cut green quartz weighing approximately 4.00 carats in total. size 9, total weight 65.0 grams $6,000‑$9,000 578 Large Aquamarine Ring 18k yellow gold, the ring mounted with three emerald-cut aquamarines weighing approximately 38.02 carats in total. size 6‑1/4, total weight 31.9 grams $3,000‑$5,000 579 Aquamarine and Diamond Ring 18k white gold, the ring mounted with a pear-cut treated aquamarine weighing approximately 6.01 carats, flanked on either side by baguette-cut diamonds weighing approximately 0.38 carats in total. size 7, total weight 8.0 grams $2,500‑$4,000 580 Aquamarine and Diamond Pendant on Chain platinum, the pendant mounted with a pear-cut aquamarine weighing 25.48 carats, GIA report #1166680367, accented by round brilliant-cut diamonds weighing approximately 1.55 carats in total, l. 2‑1/4”, suspended from an 18” platinum chain. total weight 26.7 grams

581 Aquamarine and Diamond Ring 18k white gold, the ring mounted with an oval-cut treated aquamarine weighing approximately 11.42 carats, accented on either side by baguette- and round brilliant-cut diamonds weighing approximately 0.49 carats in total. size 7, total weight 7.0 grams $4,000‑$7,000 582 Aquamarine and Diamond Earrings 18k white gold, the dangle earrings mounted with emeraldcut aquamarines weighing approximately 12.53 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.31 carats in total. l. 1‑3/8”, total weight 8.4 grams $4,000‑$7,000 583 Aquamarine and Diamond Earrings 18k white gold, the earrings mounted with emerald-cut aquamarines weighing approximately 7.08 carats in total, accented by pear-shaped, marquise-shaped and roundshaped rose-cut diamonds weighing approximately 1.67 carats in total, approximate color E-G and clarity SI1‑I2. l. 1‑1/4”, total weight 9.0 grams $1,400‑$1,800

$8,000‑$12,000

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584 Turquoise, Sapphire and Diamond Earrings 14k yellow gold, the earrings mounted with pear- and ovalshaped turquoise cabochons weighing approximately 11.33 carats in total, accented by round-cut sapphires weighing approximately 0.36 carats in total and round brilliant-cut diamonds weighing approximately 0.52 carats in total. l. 1‑1/2”, total weight 13.3 grams

587 Turquoise and Diamond Bangle Bracelet Suite sterling silver, including two hinged bracelets mounted with a row of oval-shaped turquoise cabochons flanked on either side by a row of single-cut diamonds, and a hinged bracelet mounted with rose-cut diamonds, with an approximate total diamond weight of 4.50 carats for all three. inside circumference 7” to 7‑1/4”, total weight 103.1 grams

$1,800‑$2,500

$1,200‑$1,800

585 Victorian Turquoise and Pearl Bracelet 10k yellow gold/silver, the hinged dome bracelet mounted with turquoise cabochons and one mabe pearl measuring approximately 6.7 mm in diameter. inside circumference 6‑1/4”, total weight 55.0 grams

588 Turquoise and Diamond Bangle Bracelet sterling silver/gold vermeil, the large hinged bracelet mounted with a polished blue turquoise weighing approximately 33.00 carats, and single-cut diamonds in the round weighing approximately 16.86 carats in total. w. 1‑5/8”, inside circumference 6‑3/4”, total weight 121.0 grams

$1,000‑$1,500 586 Turquoise and Diamond Necklace and Earrings Suite sterling silver, the necklace and earrings mounted with oval turquoise cabochons measuring 16.0 mm x 22.0 mm, each framed with a border of rose-cut diamonds weighing approximately 2.50 carats in total. necklace l. 20”, earring l. 2‑1/8”, total weight 91.0 grams $1,000‑$1,500

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$2,000‑$4,000 589 Turquoise and Diamond Ring sterling silver/gold vermeil, the ring mounted with an ovalshaped turquoise cabochon measuring approximately 27.0 mm x 18.0 mm, surrounded by a border mounted with roundcut diamonds weighing approximately 1.09 carats in total. size 6‑1/2, total weight 19.0 grams $1,000‑$1,500

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590 Ruby and Diamond Necklace 14k yellow gold, the necklace mounted with pear-cut treated rubies weighing approximately 50.95 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 6.86 carats in total. l. 18”, total weight 40.7 grams $5,000‑$8,000 591 Ruby and Diamond Ring 14k yellow gold, the ring mounted with an oval-cut treated ruby weighing approximately 3.81 carats, framed by a border of round brilliant-cut diamonds weighing approximately 0.25 carats in total. size 7, total weight 4.0 grams $1,000‑$1,500 592 Ruby and Diamond Bracelet 14k yellow gold, the bracelet mounted with oval-cut treated rubies weighing approximately 24.80 carats in total, each surrounded by a halo of round brilliant-cut diamonds weighing approximately 2.18 carats in total. l. 7”, total weight 21.1 grams $2,500‑$4,000

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594 Ruby and Diamond Bracelet 18k white gold, the bracelet mounted with oval-cut treated rubies weighing approximately 22.27 carats in total, each accented by a frame of marquise- and baguette-cut diamonds weighing approximately 9.75 carats in total. l. 7”, total weight 28.0 grams $35,000‑$50,000 595 Diamond and Ruby Ring 18k yellow gold, the ring mounted with a central round brilliantcut diamond weighing 0.34 carats, color K and clarity SI2, EGL report #910066805D, surrounded by a row of trapezoidal-cut rubies weighing approximately 0.30 carats in total, accented by a double halo of round brilliant-cut diamonds weighing approximately 0.27 carats in total. size 6‑1/2, total weight 3.2 grams

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593 Natural Ruby and Diamond Ring platinum, the ring mounted with an oval-cut natural ruby weighing 1.11 carats, GIA report #6187386878, accented by round brilliant-cut diamonds weighing approximately 0.37 carats in total. size 7‑3/4, total weight 6.71 grams $2,500‑$4,000

$1,500‑$2,500 596 Ruby and Diamond Earrings 18k white gold, the earrings mounted with round-cut treated rubies weighing approximately 1.84 carats in total, and round brilliant-cut diamonds weighing approximately 0.66 carats in total, approximate color E-G and clarity SI1‑SI2. l. 1‑1/4”, total weight 7.0 grams $1,000‑$1,500

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597 Pearl, Emerald and Diamond Necklace 18k yellow gold, the four-strand necklace composed of 9.0 mm to 10.0 mm baroque round ivory-colored pearls with an excellent luster, finished with a clasp mounted with a sugarloaf treated emerald weighing approximately 36.84 carats, framed by two rows of round brilliant-cut diamonds weighing approximately 5.92 carats in total, approximate color E-F and clarity VS1‑SI1. length, shortest strand to longest 16” - 20”, clasp size 1‑1/2” x 1‑5/8”, total weight 261.4 grams $10,000‑$15,000

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598 Pearl, Emerald and Diamond Bracelet 14k yellow gold, the four-strand bracelet composed of 6.5 mm to 7.0 mm white pearls with a very good luster, separated by gold bars accented with round brilliant-cut diamonds weighing approximately 0.35 carats in total, the clasp mounted with a sugarloaf treated emerald cabochon weighing approximately 18.07 carats in total, framed by a row of round brilliant-cut diamonds weighing approximately 2.37 carats in total, approximate color E-F and clarity VVS2‑VS1. w. 1”, l. 7‑1/2”, total weight 25.0 grams $3,000‑$5,000

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599 Seaman Schepps Emerald Necklace 18k yellow gold, the four-strand necklace composed of graduated tumbled and polished emerald beads, finished with a clasp mounted with a cabochon-cut rock crystal under an overlapping twisted gold grid. l. shortest to longest strand 17‑1/2” to 22‑1/4”, total weight 324.3 grams

603 Rubellite and Diamond Bangle Bracelet 18k yellow gold, the bracelet mounted with two shield-cut rubellite tourmalines weighing approximately 27.76 carats in total, accented by round brilliant-cut diamonds weighing approximately 7.02 carats in total, approximate color E-G and clarity VVS2‑VS1. inside circumference 6‑3/4”, total weight 78.0 grams

$4,000‑$7,000

$8,000‑$12,000

600 Iradj Moini Multi-Strand Emerald, Sapphire and Ruby Bracelet gold vermeil, the eight-strand bracelet composed of tumbled and polished treated emerald beads, finished with a clasp mounted with two oval-shaped emerald cabochons weighing approximately 2.78 carats in total, purple, pink and yellow round-cut treated sapphires weighing approximately 5.36 carats in total and five cabochon-cut treated rubies weighing approximately 25.50 carats in total. l. 8”, total weight 112.0 grams $1,000‑$1,500 601 Multi-Stone Necklace and Earrings Suite gold vermeil, the necklace and earrings mounted with sliced and rose-cut diamonds weighing approximately 24.59 carats in total, oval-cut treated sapphires weighing approximately 21.78 carats in total, oval-cut treated rubies weighing approximately 17.78 carats in total and oval-cut treated emeralds weighing approximately 17.54 carats in total. necklace l. 20”, drop 2”, earring l. 2”, total weight 99.0 grams

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$1,400‑$1,800 602 Tourmaline and Diamond Ring 18k white gold, the ring mounted with an oval-shaped pink tourmaline cabochon weighing approximately 5.35 carats, accented by round brilliant-cut diamonds weighing approximately 1.50 carats in total. size 6, total weight 9.0 grams

604 Multicolored Tourmaline Bangle Bracelet gold vermeil, the hinged bracelet mounted with round-cut multicolored tourmaline stones weighing approximately 5.00 carats in total. w. 7/8”, inside circumference 7”, total weight 55.5 grams

$1,200‑$1,800

$1,000‑$1,500

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605 Hermes “Birkin 40” Natural Ostrich Handbag 1999, with gold hardware, the forward strap plate and zipper labeled, the lock body covered with matching ostrich, the strap reverse side blind-stamped boxed “C” and “4C”, the upper front edge stamped in gold, “Hermes/Paris/Made in France”, the interior lined in matching chevre leather with a long zippered pocket opposite a long open slip pocket, resting on four conical feet, includes a labeled herringbone linen dustbag and plastic packet containing rain protection. h. 11‑1/4”, l. 16”, d. 8”, handle drop: 4” Provenance: Private Collection, Mobile, Alabama $7,000‑$10,000

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606 Hermes “Birkin 35” Chocolat Fjord Leather Handbag 2008, with gold hardware, the lock, forward strap plate and zipper labeled, the strap reverse side blind-stamped boxed “L” and “4E”, the upper front edge stamped in gold “Hermes/Paris/Made in France”, the interior lined in matching chevre leather with a long zippered pocket opposite a long open slip pocket, resting on four conical feet, includes a labeled herringbone linen dustbag, small drawstring bag and plastic packet containing rain protection. h. 10‑3/4”, l. 14”, d. 7‑1/2”, handle drop 4” Provenance: Private Collection, Mobile, Alabama $5,000‑$8,000

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607 Hermes “Birkin 35” Gold Togo Leather Handbag 2011, presented in the original box with cloth protection in place, with gold hardware, the lock, forward strap plate and zipper labeled, the forward strap reverse side blind-stamped boxed “O” with an “X” to the left and “24.S”, the clochette and lock enclosed in the original small linen drawstring pouch, the upper front edge stamped in gold, “Hermes/Paris/Made in France”, the interior lined in matching chevre leather with a long zippered pocket opposite a long open slip pocket, resting on conical feet, includes a labeled herringbone linen dustbag, plastic packet containing rain protection and a length of chocolate brown Hermes ribbon. h. 10‑3/4”, l. 14”, d. 7‑1/2”, handle drop: 4” Provenance: Hermes of Paris, Palm Beach, Florida; Private Collection, Mobile, Alabama $6,000‑$9,000 607

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608 Hermes “Birkin 40” Blue Jean Togo Leather Handbag 2008, with ruthenium hardware, the lock, forward strap plate and zipper labeled, the strap reverse side blind-stamped boxed “L” and “161S”, the upper front edge stamped in silver, “Hermes/Paris/Made in France”, the interior lined in matching chevre leather with a long zippered pocket opposite a long open slip pocket, resting on four conical feet, includes a labeled herringbone linen dustbag. h. 11‑1/4”, l. 16”, d. 8”, handle drop: 4” Provenance: Private Collection, Mobile, Alabama $5,000‑$8,000

609 Three Opal and Diamond Bangle Bracelets sterling silver, the hinged bracelets mounted with a central row of oval-shaped opal cabochons weighing approximately 27.00 carats in total, flanked on either side by a row of rose-cut diamonds weighing approximately 2.00 carats in total. inside circumference 7‑1/8”, total weight 104.2 grams $1,200‑$1,800 610 Long Opal Necklace 18k yellow gold, the necklace mounted with cabochon-cut opals measuring approximately 4.00 mm in diameter and weighing approximately 42.50 carats in total. l. 32”, total weight 12.0 grams $2,000‑$4,000 611 Opal and Diamond Ring 14k yellow gold, the ring mounted with an oval cabochon-cut opal weighing approximately 5.32 carats, accented by round brilliant-cut diamonds weighing approximately 0.65 carats in total. size 7‑1/4, total weight 5.2 grams $1,400‑$1,800

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612 Spectacular Emerald and Diamond Ear Clips platinum, the earrings mounted with emerald-cut treated emeralds weighing approximately 28.6 carats in total, surrounded by a border of round brilliant-cut diamonds weighing approximately 8.20 carats in total, approximate color E-F and clarity VS1‑VS2. l. 1‑1/8”, total weight 36.6 grams $20,000‑$40,000

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613 Emerald and Diamond Necklace 18k white gold, the pendant mounted with an emerald-cut treated emerald weighing approximately 11.20 carats, framed by baguette- and trapezoid-cut diamonds and suspended from a bail mounted with an emerald-cut diamond, with an approximate total diamond weight of 1.54 carats, l. 1”, the whole suspended from an 18” chain mounted with four bezelset diamonds weighing approximately 0.26 carats in total. total weight 11.0 grams

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$25,000‑$40,000 614 Diamond and Emerald Brooch platinum, the large brooch mounted with three Europeancut diamonds weighing approximately 1.72 carats in total, approximate color E-G and clarity SI1‑SI2, and round brilliant-, single- and baguette-cut diamonds throughout weighing approximately 5.49 carats in total, approximate color E-G and clarity VS1‑VS2, accented with baguette- and square-cut treated emeralds weighing approximately 2.48 carats in total. size 1‑1/2” x 3”, total weight 32.0 grams

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$4,000‑$7,000 615 Beautiful Emerald and Diamond Ring 18k white gold, the ring mounted with an emerald-cut treated emerald weighing approximately 5.23 carats, accented by round brilliant-cut diamonds weighing approximately 1.26 carats in total. size 6‑3/4, total weight 10.0 grams $12,000‑$18,000

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616 Stunning Natural Emerald and Diamond Ring platinum, the ring mounted with a large cabochon-cut emerald weighing approximately 27.54 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 4.41 carats in total, approximate color E-F and clarity VVS1‑VVS2. size 7, total weight 16.0 grams $25,000‑$40,000 617 Stunning Emerald and Diamond Necklace platinum, the necklace mounted with oval-cut treated emeralds weighing approximately 26.73 carats in total, accented with round brilliant-cut diamonds weighing approximately 11.31 carats in total. l. 17‑1/2”, total weight 84.8 grams $18,000‑$25,000 618 Emerald and Diamond Earrings platinum, the earrings each mounted with an oval-cut treated emerald weighing approximately 3.54 carats in total, accented by round brilliant-cut diamonds weighing approximately 1.01 carats in total. l. 1‑1/2”, total weight 10.7 grams $3,500‑$5,000

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619 M. Christoff Diamond Earrings 14k white gold, the earrings mounted with round brilliantcut diamonds weighing approximately 2.48 carats in total, approximate color E-G and clarity SI1‑SI2. l. 1‑1/4”, total weight 6.0 grams $1,800‑$2,500 620 Diamond Stud Earrings 18k white gold, the earrings mounted in the center with pearshaped rose-cut diamonds weighing approximately 0.44 carats in total, approximate color E-F and clarity VS2‑SI2, framed by a double border of round brilliant-cut diamonds weighing approximately 0.56 carats in total, approximate color E-F and clarity SI2‑I2. l. 1/2”, total weight 3.0 grams $1,400‑$1,800 621 Diamond Earrings 18k white gold, the earrings designed as “flowers” and mounted with round brilliant-cut diamonds weighing approximately 1.47 carats in total, approximate color E-G and clarity VS2‑SI2. l. 1/2”, total weight 4.0 grams $3,500‑$5,000

622 Lady’s Hamilton Diamond Watch 14k white gold, the twenty-two jewels manual-wind mechanical movement signed “Hamilton, U.S.A., 757, 22 jewels”, the white dial signed “Hamilton”, the case and band set with single-cut diamonds and round brilliant-cut diamonds weighing approximately 2.35 carats in total, case without crown 14.0 mm x 19.0 mm. l. 6‑5/8”, total weight 21.0 grams $700‑$1,000 623 Diamond Ring 18k white gold, the ring set with a central round brilliant-cut diamond weighing 2.05 carats, color H and clarity SI3, EGL report #1655001725, mounted to a band set with two rows of princess-cut diamonds, flanked to either side by a row of round brilliant-cut diamonds, with an approximate total weight of 2.95 carats. size 6‑1/4, total weight 11.8 grams $12,000‑$18,000 624 Diamond Dangle Earrings 14k white gold, the earrings mounted with round brilliantcut diamonds weighing approximately 3.06 carats in total. l. 1‑1/2”, total weight 10.0 grams $1,000‑$1,500 625 Beautiful Rose-Cut Diamond Earrings 18k white gold, the earrings mounted with oval and round rosecut diamonds weighing approximately 1.99 carats in total. l. 1/2”, total weight 3.9 grams $1,400‑$1,800

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626 Diamond Necklace and Earrings gold vermeil, the necklace and earrings mounted with sliced diamonds surrounded by a border of rose-cut diamonds, with an approximate total diamond weight of 26.36 carats. necklace l. 17‑1/2”, earring l. 1‑1/2”, total weight 52.0 grams $1,200‑$1,800 627 Wide Diamond Bangle Bracelet sterling silver, the large, tapering hinged bracelet mounted with rosecut diamonds in the round, weighing approximately 6.00 carats in total. w. 5/8” to 1‑3/4”, inside circumference 7‑1/4”, total weight 73.5 grams $1,500‑$2,500 628 Diamond Bracelet and Earrings sterling silver/10k yellow gold, the bracelet mounted with sliced diamonds weighing approximately 9.01 carats in total, l. 7”, and the dangle earrings mounted with slice and rosecut diamonds weighing approximately 10.06 carats in total. bracelet l. 7”, earring l. 2‑1/2”, total weight 39.0 grams $1,000‑$1,500

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629 Sapphire and Diamond Necklace 18k white gold, the necklace with a tassel pendant and mounted with round-cut treated sapphires weighing approximately 20.81 carats in total and round brilliant-cut diamonds weighing approximately 13.78 carats in total. pendant l. 2‑1/2”, necklace l. 17”, total weight 88.0 grams $6,000‑$9,000 630 Sapphire and Diamond Earrings 18k white gold, the chandelier-style earrings mounted with round- and pear-cut treated sapphires weighing approximately 10.98 carats in total, and round brilliant-cut diamonds weighing approximately 0.71 carats in total. l. 3”, total weight 16.0 grams $3,500‑$5,000 631 Sapphire and Diamond Earrings 18k white gold, the dangle earrings mounted with pear-cut treated sapphires weighing approximately 4.41 carats in total, accented with round brilliant-cut diamonds weighing approximately 1.03 carats in total, approximate color E-G and clarity VS1‑VS2. l. 3/4”, total weight 6.0 grams $5,000‑$8,000

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632 Sapphire and Diamond Bracelet 18k white gold, the bracelet mounted with ovalcut treated sapphires weighing approximately 13.00 carats in total, and baguette- and round brilliant-cut diamonds weighing approximately 3.19 carats in total. l. 7”, total weight 15.9 grams $7,000‑$10,000

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633 Iolite, Emerald, Sapphire and Diamond Convertible Necklace/Brooch 14k/18k yellow gold, the brooch/pendant mounted with a central round cabochon-cut emerald weighing approximately 6.38 carats, surrounded by a spray mounted with round brilliant-cut diamonds weighing approximately 4.84 carats in total, approximate color E-F and clarity VVS2‑VS1, and pearcut treated sapphires weighing approximately 5.94 carats in total, and with a dangling free-form faceted iolite measuring approximately 29.0 mm x 18.0 mm, designed to be removed from the seventeen-strand iolite necklace to be worn as a brooch. pendant/brooch l. 3”, necklace l. 16”, total weight 154.0 grams $3,000‑$5,000 634 Sapphire Ring and Earrings Suite 18k yellow gold, the large domed ring and teardrop-shaped earrings mounted with round-cut treated sapphires weighing approximately 23.33 carats in total. ring size 7, earring l. 1‑1/2”, total weight 34.0 grams $1,000‑$1,500 635 Sapphire and Diamond Ring 18k yellow gold, the ring mounted with an oval-cut treated sapphire weighing approximately 7.60 carats, surrounded by a halo of baguette-cut diamonds weighing approximately 0.24 carats in total. size 7, total weight 6.64 grams $1,000‑$1,500 636

636 Patek-Philippe Sapphire and Diamond Wristwatch 18k yellow gold, the custom-made Swiss case and bracelet set with oval-cut sapphire cabochons weighing approximately 10.50 carats in total and round brilliant-cut diamonds weighing approximately 1.60 carats in total, the eighteen-jewels rectangular manual-wind mechanical movement signed “Patek-Philippe & Co., Geneve, No 945295”, the round silver dial signed “Patek-Philippe, Geneve”, the case marked with Swiss hallmarks for 18k and the maker hallmark “CF” inside a diamond shape, and case numbers “659828, 3073”, case without crown 22.5 mm in diameter. l. 7‑1/4”, total weight 72.5 grams 634

$3,000‑$5,000

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637 Stunning Fred Leighton Gemstone and Diamond Bib Necklace ca. 1950s, 18k yellow gold, the bold necklace mounted with an array of natural ruby, sapphire and emerald cabochons in various sizes, interwoven with carved emerald stones and round brilliantcut diamonds, with an approximate total ruby weight of 111.85 carats, total sapphire weight of 201.12 carats, total emerald weight of 342.39 carats and total diamond weight of 46.50 carats, approximate color E-G and clarity VVS1‑VS2. inside l. 17”, outside l. 22”, widest w. 2‑3/4”, total weight 289.0 grams $150,000‑$300,000 This necklace is one of five similar necklaces that were offered by Fred Leighton. One of the five offered was worn by Amy Adams at the 2009 Academy Awards when she was nominated for Best Supporting Actress. Beyonce also wore the necklace in the November 2008 issue of InStyle magazine.

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Amy Adams wearing a similar necklace by Fred Leighton at the 2009 Academy Awards

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638 Tutti Frutti-Style Bracelet 18k yellow gold, the three-strand gold rope bracelet mounted with a cluster of carved treated sapphires weighing approximately 21.06 carats in total, carved treated emeralds weighing approximately 7.65 carats in total, carved and roundcut treated rubies weighing approximately 23.70 carats in total and accented throughout with round brilliant-cut diamonds weighing approximately 1.38 carats in total. l. 7”, total weight 85.0 grams $2,500‑$4,000 639 Cartier Panther Wristwatch 18k yellow gold, the case and bracelet marked “Cartier, Quartz, 18K, Swiss Made, 8839686, XXX”, the double deployant hidden clasp marked “Cartier, 18K, Swiss Made”, with Swiss hallmarks, the ivory-colored dial with black Roman numerals and signed “Cartier” and with the Cartier signature in the Roman numeral VII, the quartz movement is a sweep second with date, together with a red “Cartier” travel pouch case with extra links, case without crown 29.0 mm x 38.0 mm. inside circumference 6‑1/4”, total weight 100.5 grams

640 Woven Gold Bracelet 14k yellow gold, the wide curved bracelet with a woven design. w. 7/8”, l. 7”, total weight 69.0 grams $1,500‑$2,500 641 Unusual Diamond Ring 18k yellow gold, the ring designed with “claws” holding the domed section in the center, mounted with round brilliantcut diamonds weighing approximately 3.77 carats in total, approximate color E-G and clarity VVS2‑VS1. size 6‑1/2, total weight 17.9 grams $2,000‑$4,000

$5,000‑$8,000

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642 David Yurman “Chainmail” Tahitian Pearl Necklace 18k yellow gold/sterling silver, the interwoven necklace set with eleven Tahitian pearl pendants ranging in size from 11.0 mm to 12.5 mm, marked with the David Yurman logo and “D.Y., 925, 750”. l. 16”, total weight 149.0 grams $1,400‑$1,800 643 Lady’s Rolex Datejust Wristwatch 18k yellow gold/stainless steel, the mechanical self-winding quick-set date movement with a satin silver dial signed “Rolex, Oyster Perpetual, Datejust, Superlative Chronometer Officially Certified”, set with single-cut diamond markers, the gold bezel set with round brilliant-cut diamonds, with an approximate total diamond weight of 1.00 carat, the two-tone jubilee band with deployant clasp, signed “Rolex, Steelinox, 05, Swiss Made, 62523 D.18”, case #69173, serial #E187,XXX, case without crown 26.0 mm x 32.5 mm. inside circumference 7”, total weight 54.0 grams $1,800‑$2,500 644

644 John Hardy Diamond Dot Bracelet 18k yellow gold/sterling silver, the wide cuff bracelet mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total, marked “925, 18K” and with the John Hardy logo. w. 1‑7/8”, inside circumference 6‑1/2”, total weight 128.8 grams $1,800‑$2,500 645 Corum Lady’s Diamond Cuff Watch the large 18k white gold rectangular case and dial mounted with pave-set single-cut diamonds and the 14k white/yellow gold cuff mounted with round brilliant-cut diamonds, with an approximate total diamond weight of 7.00 carats, with a manual wind mechanical movement, the case marked “Corum, 18k, Swiss, 55282, 179855”, case without crown 41.0 mm x 32.0 mm. inside circumference 6‑3/8”, total weight 99.0 grams $3,000‑$5,000 645

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646 Belle Epoque-Style Diamond Earrings 14k yellow gold, the earrings mounted with round brilliantcut diamonds weighing approximately 1.58 carats in total, approximate color G-I and clarity SI1‑SI2. l. 3/4”, total weight 8.0 grams

650 Wide Diamond Bangle Bracelet gold vermeil, the hinged bangle bracelet mounted with a row of sliced diamonds, accented with rose-cut diamonds, weighing approximately 1.56 carats in total. w. 2”, inside circumference 7‑1/4”, total weight 96.8 grams $1,000‑$1,500

$1,400‑$1,800 647 Diamond Cuff Bracelet in the Buccellati Style 18k yellow gold, the hinged cuff bracelet with a Florentine finish and mounted with European- and round brilliantcut diamonds weighing approximately 1.24 carats in total, approximate color E-G and clarity VS1‑SI1. inside circumference 7‑1/4”, total weight 54.0 grams $2,000‑$4,000 648 Diamond and Pearl Earrings and Brooch 18k yellow gold, the earrings with a foliate design and set with 4.5 mm round cultured pearls and round brilliant-cut diamonds, and the brooch, also of foliate form, set with single-cut diamonds, with an approximate total diamond weight of 0.55 carats for both pieces. brooch size 1‑3/8” x 2‑5/8”, earring l. 1‑3/8”, total weight 31.2 grams $1,000‑$1,500

651

651 Front-to-Back Diamond Hoop Earrings 18k white gold, the earrings mounted with round- and baguette-cut diamonds weighing approximately 1.60 carats in total. dia. 1‑1/4”, total weight 8.9 grams $1,200‑$1,800 652 Diamond Bangle Bracelet gold vermeil, the bracelet mounted with a central row of sliced diamonds, accented by round-cut diamonds, with an approximate total weight of 4.00 carats. w. 1‑1/2”, inside circumference 7‑1/4”, total weight 85.76 grams $1,000‑$1,500

648

653 Rose-Cut Diamond Ring 18k yellow gold, the ring mounted with a cluster of round and pear rose-cut diamonds weighing approximately 1.75 carats in total, approximate color F-G and clarity VVS1‑VS1. size 7, total weight 5.22 grams $1,200‑$1,800

649 Two Gold and Diamond Hair Combs 18k yellow gold, the curved combs decorated with ribbon swags mounted with round brilliant-cut diamonds weighing approximately 1.00 carat in total. w. 2‑3/4”, total weight 42.0 grams $1,200‑$1,800

654 Rose-Cut Diamond Pendant with Chain 18k yellow gold, the pendant mounted with pear and round rose-cut diamonds and round brilliant-cut diamonds, weighing approximately 1.40 carats in total, approximate color F-G and clarity VVS1‑VS1, l. 1”, suspended from an adjustable 18k gold chain. l. 16” to 17”, total weight 4.13 grams $1,200‑$1,800

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655 Stunning Marquise-Cut Diamond Ring platinum, the ring mounted with a marquise-cut diamond weighing approximately 17.60 carats, approximate color M and clarity SI1. size 6‑3/4, total weight 11.4 grams $150,000‑$300,000 656 Custom-Made Diamond Bracelet platinum, the center of the bracelet mounted with graduated marquise-cut diamonds weighing approximately 6.35 carats in total, approximate color G-J and clarity SI2‑I1, accented by pear-, marquise-, baguette- and round brilliant-cut diamonds weighing approximately 11.02 carats in total, approximate color G-I and clarity VS2‑I1. l. 7‑3/4”, total weight 44.0 grams $12,000‑$18,000 657 Diamond Ring-Dant platinum, the ring designed to detach from the shank and convert to a pendant, mounted with a pear-cut diamond weighing approximately 0.79 carats, approximate color F and clarity VS2, surrounded by a border of round brilliant-cut diamonds and baguette-cut diamonds, weighing approximately 2.36 carats in total, approximate color E-G and clarity VVS2‑VS2. size 7‑1/2, total weight 11.7 grams $3,000‑$5,000

655

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658 Custom-Made Diamond Bracelet 18k white gold, the flexible bracelet mounted with princess-, baguette- and round brilliant-cut diamonds weighing approximately 12.16 carats in total, approximate color E-F and clarity VVS2‑VS2. l. 7”, total weight 33.0 grams $7,000‑$10,000 659 Beautiful Diamond Engagement Ring platinum, the ring mounted with an emerald-cut diamond weighing approximately 5.00 carats, approximate color L and clarity VVS2, flanked on either side by a baguette-cut diamond weighing approximately 0.36 carats in total. size 6‑1/2, total weight 6.0 grams

659

$18,000‑$25,000 660 Diamond Eternity Band platinum, the band mounted with emerald-cut diamonds weighing approximately 9.87 carats in total, approximate color H-I and clarity VVS2‑VS1. size 7, total weight 11.1 grams $6,000‑$9,000 660

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661 Pink Diamond Ring 18k white gold, the ring mounted with a central pearcut pink diamond weighing approximately 0.59 carats, approximate clarity SI2, framed by a halo of round brilliant-cut pink diamonds weighing approximately 0.11 carats in total, the outside border mounted with pear- and baguette-cut white diamonds, further accented on the ring shank with round brilliant-cut white diamonds, with an approximate total weight of 2.00 carats, approximate color E-F and clarity VVS2‑VS2. size 7, total weight 7.0 grams

665 Whimsical Diamond Ring 18k rose gold, the ring with a free-form floral design and mounted with round brilliant-cut diamonds weighing approximately 1.23 carats in total. size 7, total weight 9.6 grams $1,500‑$2,500

$15,000‑$25,000 662 Pearl, Pink Sapphire and Diamond Necklace 18k white gold, the necklace mounted with oval-shaped white baroque pearls with a good luster, measuring 11.0 mm x 9.0 mm to 12.0 mm x 9.0 mm, on a chain set with white pearls measuring 3.5 mm to 4.0 mm and six bezelset round brilliant-cut diamonds weighing approximately 0.19 carats in total, the whole set with three oval-shaped beads and one irregular-shaped drop, all mounted with round-cut treated pink sapphires weighing approximately 21.43 carats in total. l. 18”, drop l. 3‑1/2”, total weight 31.0 grams $4,000‑$7,000 663 Morganite and Diamond Ring 14k rose gold, the ring mounted with a square cushion-cut morganite weighing approximately 6.73 carats, accented by round brilliant-cut diamonds weighing approximately 0.83 carats in total. size 7‑1/4, total weight 8.76 grams $1,500‑$2,500

666

666 Diamond Butterfly Pendant with Chain 18k rose gold, the pendant and chain mounted with a marquise-cut and round brilliant-cut diamonds weighing approximately 0.90 carats in total. l. 18”, total weight 4.0 grams

664 Morganite and Diamond Pendant with Chain 14k rose gold, the pendant mounted with an ovalcut morganite weighing approximately 6.78 carats, surrounded by a halo of white and brown round brilliantcut diamonds weighing approximately 1.71 carats in total, l. 1‑1/4”, suspended from an 18” rose gold chain. total weight 6.9 grams

$2,500‑$4,000

$2,000‑$4,000

$4,000‑$7,000

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667 Diamond Dangle Earrings 18k white/rose/yellow gold, the earrings composed of interlocking circles mounted with round brilliant-cut diamonds weighing approximately 4.10 carats in total. l. 2‑1/2”, total weight 15.6 grams

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668 Multicolored Diamond Bracelet 18k white gold, the three-row bracelet mounted with pearand oval-cut diamonds in light yellow, yellow, brown and dark brown, and weighing approximately 7.22 carats in total, approximate clarity VS2‑I1, each surrounded by a border of round brilliant-cut white and light brown diamonds weighing approximately 6.38 carats in total, approximate clarity VS2‑SI2. l. 7‑1/2”, total weight 39.0 grams

671 South Sea Pearl and Diamond Ring 18k yellow gold, the ring mounted with a 14.6 mm golden South Sea pearl with a very good luster, accented on the ring shank with round brilliant-cut diamonds weighing approximately 1.03 carats in total. size 7, total weight 12.2 grams $1,500‑$2,500 672 South Sea Pearl Necklace 14k yellow gold, the necklace composed of graduated golden South Sea pearls measuring 10.00 mm to 14.00 mm, with a very good luster, finished with a gold clasp. l. 18”, total weight 76.8 grams

$10,000‑$15,000 669 Diamond Pendant on Chain 18k white gold, the pendant mounted with a central oval-cut light yellow diamond weighing approximately 1.51 carats, approximate clarity VVS2, surrounded by a halo of round-cut yellow diamonds weighing approximately 0.10 carats in total and a row of round brilliant-cut white diamonds weighing approximately 0.28 carats in total, l. 1/2”, suspended from an 18” chain bezel set with four round brilliant-cut diamonds weighing approximately 0.12 carats in total. total weight 6.0 grams

$1,400‑$1,800 673 South Sea Pearl and Diamond Ring 18k yellow gold, the ring mounted with a golden South Sea pearl with an excellent luster, measuring approximately 13.0 mm in diameter, accented by round brilliant-cut diamonds weighing approximately 1.24 carats in total. size 7‑1/2, total weight 8.5 grams

$3,500‑$5,000 670 Bold Moonstone and Diamond Ring 18k white gold, the ring mounted with a cabochon-cut moonstone weighing approximately 52.44 carats, accented by a swirl of round-cut white, greenish-yellow and light brown diamonds weighing approximately 2.06 carats in total. size 5‑1/2, total weight 31.0 grams

$1,500‑$2,500

$2,000‑$4,000

$700‑$1,000

674 Fifteen-Strand Baroque Pearl Necklace sterling silver, the rose-colored baroque freshwater pearl necklace with a very good luster, finished with a sterling silver clasp. l. 21‑1/2”, total weight 652.0 grams

668

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675 Emerald and Diamond Cufflink/Stud Set 18k yellow gold, the pair of swivel-back cufflinks and four shirt studs designed as three-dimensional cubes, mounted with round brilliant-cut diamonds weighing approximately 2.00 carats in total and emerald- and table-cut treated emeralds weighing approximately 2.00 carats in total, accompanied by a Tiffany & Co. black onyx tie tack, stamped “Tiffany & Co. 18K”. cufflink l. 1/2”, total weight 30.4 grams $1,500‑$2,500 676 Gentleman’s Cat’s Eye Chrysoberyl and Diamond Ring 18k yellow gold, the ring mounted with a round cabochon-cut cat’s eye chrysoberyl weighing approximately 18.20 carats, accented on each side by a baguette- and round brilliant-cut diamond weighing approximately 1.15 carats in total. size 10, total weight 22.0 grams $1,500‑$2,500 677 Onyx and Diamond Cufflink/Stud Set 14k yellow gold, the rectangular swivel-back cufflinks and three square shirt studs with black onyx inserts with a single round brilliant-cut diamond in the center of each, with an approximate total diamond weight of 0.15 carats, accompanied by one gold-filled mother-of-pearl square stud. cufflink size 5/8” x 3/4”, total weight 25.2 grams

681 Three Pairs of Cufflinks including a pair of Yiorgos Poniros triangular-shaped swivelback cufflinks mounted with round brilliant-cut diamonds weighing approximately 0.20 carats in total, 18k white gold, l. 7/8”, a pair of black onyx swivel-back cufflinks mounted with round brilliant-cut diamonds weighing approximately 0.22 carats in total, 14k yellow gold, l. 1/2”, and a pair of engraved cufflinks, 18k white gold, dia. 1/2”. $1,000‑$1,500 682 Gentleman’s Onyx and Diamond Ring 14k white gold, the ring mounted with round brilliant-cut diamonds weighing approximately 0.31 carats in total. size 10‑1/2, total weight 11.90 grams $1,200‑$1,800

$1,400‑$1,800 678 Gentleman’s Jade and Onyx Ring 14k yellow gold, the rectangular mounting with a 12.3 mm x 9.8 mm green jade inside a gold bezel framed by black onyx. size 11, total weight 15.4 grams $1,000‑$1,500 679 Gentleman’s Diamond and Yellow Sapphire Ring 14k yellow gold, the ring depicting “Moses” with the stone tablets, set with round-cut treated yellow sapphires weighing approximately 0.40 carats in total and round brilliant-cut diamonds weighing approximately 0.25 carats in total. size 9‑3/4, total weight 21.8 grams Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,400‑$1,800 680 Two Pairs of Cufflinks 18k yellow gold, including a pair of Tiffany & Co. barbell-style cufflinks with 9.5 mm round black onyx ends, with a Tiffany & Co. suede pouch and outer box, together with a pair of swivelback cufflinks set with an Austrian One Ducat gold coin. total weight 25.2 grams $1,000‑$1,500

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683 Gentleman’s Diamond Ring 18k yellow gold, the ring designed as an eagle mounted with a transitional-cut diamond in its mouth and a pear-cut diamond for the eye, weighing approximately 0.17 carats in total. size 10, total weight 12.0 grams Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,200‑$1,800

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676

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681

679

680 682

245

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684

687 686

689

690

691 688

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684 Gentlemen’s Sapphire and Diamond Ring 14k yellow/white gold, the ring mounted with an oval-cut treated sapphire weighing approximately 3.70 carats, surrounded by a halo of round brilliant-cut diamonds weighing approximately 0.35 carats in total. size 9‑1/2, total weight 19.0 grams

688 Unusual Gemstone Ring 14k rose gold, the ring mounted with a cushion-cut treated blue topaz weighing approximately 18.94 carats, accented by two round-cut treated green tourmalines and one round-cut treated pink tourmaline, weighing approximately 4.26 carats in total. size 9, total weight 18.0 grams

Provenance: Estate of John Elliot Bradshaw, Houston, Texas.

$1,400‑$1,800

$1,000‑$1,500

685 Gold and Diamond Cufflink/Stud Set 14k yellow gold, the engraved swivel-back cufflinks and four shirt studs set with round brilliant-cut diamonds weighing approximately 1.00 carat in total. cufflink dia. 3/4”, total weight 16.4 grams

689 Gentleman’s Emerald and Diamond Ring 18k yellow gold, the ring mounted with an oval-cut treated emerald weighing approximately 2.16 carats, accented on either side by a European-cut diamond weighing approximately 1.13 carats in total. size 11‑1/2, total weight 13.0 grams

$1,000‑$1,500 686 Gentleman’s Natural Sapphire Ring 18k white gold, the ring mounted with an oval-cut natural sapphire weighing approximately 6.06 carats. size 11, total weight 29.0 grams $2,000‑$4,000 687 Gold and Ruby Cufflink/Stud Set 14k yellow gold, the pair of swivel-back cufflinks and three shirt studs designed with concentric circles, each with a round-cut ruby at the center, with an approximate total weight of 0.30 carats, together with a golf club tie bar set with a 3.0 mm round cultured pearl. cufflink dia. 3/4”, total weight 27.5 grams $1,200‑$1,800

$1,500‑$2,500 690 Gold and Emerald Cufflinks 18k yellow gold, the swivel-back hexagonal-shaped cufflinks set with table-cut treated emeralds weighing approximately 1.20 carats in total. l. 5/8”, total weight 11.6 grams $1,000‑$1,500 691 Two Men’s Gemstone Rings the first example, 18k yellow gold, mounted with an ovalshaped citrine cabochon weighing approximately 7.50 carats, size 11, and the second example, 14k yellow gold, mounted with an oval-shaped lapis lazuli cabochon weighing approximately 7.00 carats, size 11‑1/4. total weight 28.9 grams $1,200‑$1,800

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692 School of Adriaen Jansz van Ostade (Dutch, 1610‑1685) “Merrymakers” oil on canvas unsigned. In a modern frame. 19‑1/2” x 18‑1/2”, framed 23‑3/4” x 23” Provenance: Estate of Marianne Hochuli, Houston, Texas. $1,500‑$2,500

692

694 School of Frans van Mieris the Elder (Dutch, 1635‑1681) “The Courting Couple” oil on wood panel unsigned. Framed. 14” x 10”, framed 18” x 14‑1/2” Provenance: Estate of Marianne Hochuli, Houston, Texas. $1,500‑$2,500

693

693 Circle of Frans van Mieris the Elder (Dutch, 1635‑1681) “The Shrimp Seller” oil on cradled wood panel unsigned, remnants of a red seal en verso, typewritten label with artist name en verso, with “A Galeria Vendome, S. Paulo” label. Framed. 13” x 11”, framed 17‑3/4” x 15‑1/2” Provenance: Estate of Marianne Hochuli, Houston, Texas. $4,000‑$7,000

694

248

695 Manner of Nicolas Poussin (French, 1594‑1665) “Classical Landscape” oil on canvas unsigned, verso with a “Louisiana State Museum” label with a Nicolas Poussin attribution and title. Presented in an antique giltwood and gesso frame. 33‑3/4” x 45‑3/4”, framed 45‑1/8” x 56‑1/4” Provenance: The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, Louisiana. $1,500‑$2,500 695

696 Regis Francois Gignoux (American, 1816‑1882) “Ice Harvesting” oil on canvas signed lower right. Presented in a period giltwood frame affixed with artist plaque. 9” x 13‑1/4”, framed 13‑1/2” x 17‑1/2” Provenance: Christie’s, New York, September 30, 1988, lot 13. $6,000‑$9,000

696

249

697 Dutch School (17th/18th Century) “Expansive Landscape with a Shepherd and His Herd on a Hill” oil on canvas bearing a signature lower center “M-Hobbema”. In an antique giltwood and gesso frame. 40‑5/8” x 46‑7/8”, framed 51” x 59” $3,000‑$5,000

697

698 Follower of Eugene Verboeckhoven (Belgian, 1798/99‑1881) “Shepherd with His Cattle and a Dog, at Rest” oil on canvas unsigned. Framed. 18” x 26”, framed 20‑1/2” x 31” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

698

699 Manner of Pieter Gerardus van Os (Dutch, 1776‑1839) “Shepherdess at Rest with Her Herd” oil on canvas unsigned. In an antique giltwood frame. 25‑1/2” x 36‑1/4”, framed 28‑1/4” x 38‑3/4” $3,000‑$5,000

250

699

701 Jacob van Strij (Dutch, 1756‑1815) “Herding Cattle Across the Water” oil on wood panel signed lower right. In an antique frame. 15‑1/4” x 19”, framed 22‑1/4” x 26‑1/2” $1,200‑$1,800 700

700 Manner of Pieter Gerardus van Os (Dutch, 1776‑1839) “Herder on a Country Path with His Herd” oil on canvas unsigned. In an antique giltwood frame. 26” x 36‑1/2”, framed 28‑1/2” x 38‑3/4” $3,000‑$5,000

701

702 Henri Joseph Gommarus Carpento (Belgian, 1820‑1874) “Outside of the Inn” oil on canvas signed lower right. Framed. 22‑1/2” x 19‑1/2”, framed 26‑1/2’ x 23‑1/2” $2,000‑$4,000 702

251

704 Pair of Baroque-Style Giltwood and Silver Gilt Candlesticks probably Italian, with bold carving, pierced feathers and swags of bellflowers and scrollwork, each centered with a silver gilt flower, the candle socket bases carved with eggand-dart molding. h. 22‑1/2”, w. 13‑3/4”, d. 5” Provenance: Private collection Mobile, Alabama $1,000‑$1,500

703

703 Spanish Baroque-Style Giltwood Mirror fourth quarter 19th century, with a flat scroll-carved gilt fillet against the beveled gilt plate, the angled frame carved with bold, pierced scrollwork. h. 44‑3/4”, w. 38‑1/2” $800‑$1,200

704

705 Spanish Walnut Desk late 17th/early 18th century, the banded rectangular top above a frieze fitted with a central drawer flanked to either side by a deeper short drawer, verso and the sides with foliate floral-carved panels, raised on baluster-form legs joined by an H-form stretcher and ending in block-and-bun feet. h. 31”, w. 66”, d. 30” $1,000‑$1,500 705

252

706 Continental Silver Gilt Chandelier in the Baroque Taste mid-20th century, the turned standard decorated with fluting and carved leaves, and terminating in a bell-form pendant finial, the scroll-carved arms set with carved candle sockets. h. 39”, dia. 38‑1/2” $1,000‑$1,500 707 Carved, Painted and Giltwood Figure of Salvator Mundi ca. 1700, probably Italian, the figure of Christ, Savior of the World, standing on a giltwood baroque stool decorated with scrollwork and gadrooning, and set with a carved wooden “cushion” with corner tassels. h. 30‑1/4”, w. 13‑3/4”, d. 11‑1/4” $1,200‑$1,800 708 Latin American Cage Doll Depicting a Priest 20th century, with articulated arms and a slatted base, the face carved with a beard. h. 30‑3/4”, dia. 11”

706

$800‑$1,200

707 708

253

709 Italian Carved Wooden Altar Figure of Saint Sebastian fourth quarter 19th century, his body pierced with giltwood arrows and tied to a tree, standing on a mound of carved grass, a molded metal sunburst over his head. h. 43‑3/4”, w. 20”, d. 10‑1/2” $1,200‑$1,800 710 Continental Oak Draw-End Table late 19th century, the banded rectangular top with two draw ends, above a gadroon-carved frieze, raised on bulbous turned and cup-and-cover legs joined by a molded X-form stretcher and ending in block feet. h. 30‑1/2”, w. 37‑1/2”, l. 65‑1/2”, ext. l. 100” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. Used as a favorite writing table for Mr. Bradshaw as he penned many of his countless best-selling books. $1,000‑$1,500

709

710

254

711 Continental Richly Carved Oak Buffet a Deux Corps in the Henri II Manner early 20th century, the molded and canted cornice above a gadroon- and imbricate-carved frieze, with two glazed doors below, flanked to either side by foliate masque-carved uprights, the lower section fitted with two acanthine-carved drawers over two cupboard doors, each centered by a carved floral urn, flanked by like uprights, raised on molded block feet. h. 96”, w. 57‑1/2”, d. 26‑1/2” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $2,500‑$4,000 712 Continental Richly Carved Oak Buffet a Deux Corps in the Henri II Manner early 20th century, the molded and canted cornice above a gadroon- and imbricate-carved frieze, with two glazed doors below, flanked to either side by foliate masque-carved uprights, the lower section fitted with two acanthine-carved drawers over two cupboard doors, each centered by a carved floral urn, flanked by like uprights, raised on molded block feet. h. 96”, w. 57‑1/2”, d. 26‑1/2” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $2,500‑$4,000 713 Fritz Wagner-Hohenberg (German, 1902‑1976)

711

“Important Correspondence” oil on canvas signed lower right. Framed. 21‑3/4” x 27‑3/4”, framed 27‑1/2” x 33‑1/8” $1,500‑$2,500

713 712

255

714 Domenico Capra, Il Vero Riparo Bologna: Giacomo Monti, 1685 first edition, pot quarto, in period paper boards, with seven woodcut plates, the rare first edition of one of the seminal studies of flood control on the Po river. [Riccardi I: 236] 20.6 cm x 16.0 cm Detailed bibliographic description available on request.

714 detail

$1,000‑$1,500 715 Continental Walnut Hall Chair third quarter 19th century, in the baronial taste, the padded rectangular back joined by scrolling foliate-carved arms on scrolling uprights to the padded seat, raised on side double-scrolled legs joined by a floral-carved front stretcher and ending in scrolled toes. h. 47” $1,000‑$1,500 716 Hand-Woven Verdure Tapestry of a Shepherd in a Lush Park first quarter 19th century, with an allover border in deep russets, reds and tans. 95” x 68”

714 detail

$1,500‑$2,500

715 716

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717 Continental Baroque-Style Carved Oak Symphonion Musical Tall Case Clock fourth quarter 19th century, with a fourteen-day brass timeand-strike movement signed “LENZKIRCH 957732”, with a coil spring gong and playing the disc music box on the hour, with a nighttime on/off switch and speed regulator lever on the left side, with fourteen 13‑5/8” discs. h. 87”, w. 23”, d. 15” $3,500‑$5,000 718 Pair of Flemish Fruitwood Fauteuils a la Reine early 20th century, each with a rectangular domed back joined by shell-carved arms to the padded seat, raised on scrolling legs joined by an undulating H-form stretcher and ending in in-scrolled toes. h. 44” $1,000‑$1,500 717

719 Pair of Ebonized Wood and Brass Cushion Mirrors fourth quarter 19th century, Dutch or Flemish, trimmed with ebonized pie crust molding and decorated with molded, pierced brass surrounds, the corners and pediments with roses and scrollwork, on a mirrored ground. h. 52”, w. 33” $1,800‑$2,500

719

257

720 French Enamel Plaque of the Darmstadt Madonna fourth quarter 19th century, after a 1526 painting by Hans Holbein the Younger, depicting Jakob Meyer zum Hasen, his first wife, who had already died, his current wife and daughter grouped around the Madonna and Jesus, in a carved giltwood frame. h. 18”, w. 15‑1/2” $1,000‑$1,500

720

721 Follower of Giotto di Bondone (Italian/Florence, 1276‑1337) “Virgin and Child with Saint Lawrence” tempera and gold leaf on wood panel probably early 20th century. Presented in a Gothic-style, carved and polychrome frame composed of antique elements. 28‑1/2” x 35‑5/8”, framed 62” x 50” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,500‑$2,500

721

722 Italian School (18th Century) “Portrait of a Female Saint” oil on canvas unsigned. In an antique giltwood frame. 22‑3/8” x 17‑3/8”, framed 30” x 25‑1/8” $1,000‑$1,500

722

258

723 Florentine School (18th Century) “Rest on the Flight into Egypt” oil on wood panel unsigned, verso with multiple labels. Framed. 20‑1/2” x 15‑1/2”, framed 27” x 22‑1/4” $1,000‑$1,500

723

724 Continental School (18th Century) “The Infant Christ and Saint John the Baptist with a Lamb” oil on canvas unsigned. Framed. 28‑1/2” x 38‑1/2”, framed 35‑1/2” x 45‑1/2” $2,000‑$4,000

724

725 Bolognese School (17th Century) “Study of Three Putti” pen and brown ink and wash over traces of black chalk unsigned. Unframed. sheet 8‑3/4” x 6‑1/2” Provenance: Sotheby’s, New York, February 1‑2, 2013, “Old Master and 19th Century European Paintings and Drawings, Including Property from the Estate of Giancarlo Baroni”, lot 595; Private collection, Mobile, Alabama. $1,500‑$2,500

725

259

727 After Carlo Dolci (Italian, 1616‑1686) “Mary Magdalene” oil on canvas unsigned. Framed. 30” x 24”, framed 39‑1/4” x 34” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $800‑$1,200 728 Adrien Dauzats (French, 1804‑1868) “St. Sauveur Cathedral, Bruges, Belgium”, 1836 726

oil on linen signed and dated twice lower left, titled in period script on stretcher. Framed. 58‑1/4” x 42‑3/4”, framed 61‑1/2” x 46” $8,000‑$12,000

727

726 William Smith Jewett (American, 1812‑1873) “I Know That My Redeemer Liveth”, 1864 oil on canvas signed, dated and titled en verso exposed area of original canvas. Presented in an elaborate, period gesso and giltwood frame with oval aperture. 36” x 29”, framed 50” x 42” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. From The Book of Job 19:25 -“For I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth”. $1,500‑$2,500 728

260

729 French School (19th Century) “Madonna” oil on canvas unsigned. Framed. 16” x 12‑3/4”, framed 21‑1/2” x 18” $1,000‑$1,500

729

730 Adolphe Joseph Thomas Monticelli (French, 1824‑1886) “Adoration of the Magi” oil on cradled wood panel unsigned. Framed. 19‑1/2” x 28‑1/2”, framed 26” x 35” Provenance: Sotheby’s, New York, “Important 19th Century European Paintings and Sculpture”, Nov. 10, 1998, lot 28. $7,000‑$10,000

730

261

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731

731 Pair of French Gilt-Bronze Bough Pots in the Renaissance Style fourth quarter 19th century, the oval bronze vases molded with flowers and leaves on a stippled ground, and set with fitted tole liners and pierced tole covers. h. 10‑1/2”, w. 12”, d. 6‑1/4” Provenance: Private collection Mobile, Alabama $1,000‑$1,500 732 Continental Gilt-Bronze Jewelry Casket in the Renaissance Taste mid-20th century the pulvinated case resting on paw feet, with winged monopodia on each corner, the sides molded with angels and scrollwork, the cover with a portrait medallion against a field of scrollwork, opening to reveal a fabric-lined interior. h. 7‑1/2”, w. 8”, d. 5‑1/2” $800‑$1,200 733 Carved, Gilt and Polychromed Wooden Crucifix fourth quarter 18th century, probably Italian, the polychrome figure of Christ nailed to a simple wooden cross set into a larger giltwood cross carved with pierced scrollwork and flowerheads, a small oval mirror set in the lower portion. h. 37‑1/2”, w. 23‑1/4”

733

$1,000‑$1,500

$1,500‑$2,500 734 KPM Porcelain Plaque and KPM-Style Porcelain Plaque fourth quarter 19th century, both hand-painted, the KPM plaque depicting “Ruth”, carrying wheat in a field, impressed “KPM” with a scepter and incised “203‑145”, along with graphite handwritten details, signed “E. Massenburg”, h. 8‑1/8”, w. 6”, and the KPM-style plaque depicting the “Sistine Madonna”, after Raphael (Italian, 1483‑1520), signed “Wagner”, h. 8‑3/4”, w. 7”, both in giltwood frames after Renaissance tabernacles, with composite pilasters framing the plaques, and medallion-decorated cove-molded crests.

734 8 262

736

735

735 After Willem Drost (Dutch, 1633‑1659) “Daniel’s Second Vision”, 18th century oil on canvas unsigned, after the ca. 1650 painting restored by Sir Joshua Reynolds and now conserved at the Staatliche Museen, Berlin. Framed. 39‑1/2” x 47‑3/4”, framed 48‑3/4” x 57‑1/2” $3,000‑$5,000 736 Continental Ebonized, Bone and Marquetry-Inlaid Side Cabinet late 19th century, the rectangular top and base with an alternating ebonized wood and bone striped inlay, the front fitted with one drawer above a fold-down door disguised as two drawers, above three more drawers, each inlaid with floral sprays and flanked by spiral-twist columns. h. 33”, w. 17‑1/2”, d. 16” $1,000‑$1,500 737 Large Wrought and Cast Iron Hanging Lantern

737

20th century, of cage form with a domed top, ornamented with cast finials and masques, the body with swags of garland, the hanging hoop held in a clenched fist, the interior fitted with four electric sockets. h. 72” (excluding chain), w. 26”, d. 26” $1,500‑$2,500

263

738

739

738 Continental Polychrome and Ebonized Cabinet the rectangular top with a bowed center section and projecting corners, featuring an elaborate gilt and polychrome figural Orientalist landscape, above a conforming case fitted with a central drawer over cabinet, flanked to either side by a smaller drawer over cabinet, all with like polychrome scenes, the sides en suite, raised on tapering square legs to block feet. h. 38‑1/2”, w. 62‑1/2”, d. 21” $1,000‑$1,500 739 Continental Polychrome and Ebonized Cabinet the rectangular top with a bowed center section and projecting corners, featuring an elaborate gilt and polychrome figural Orientalist landscape, above a conforming case fitted with a central drawer over cabinet, flanked to either side by a smaller drawer over cabinet, all with like polychrome scenes, the sides en suite, raised on tapering square legs to block feet. h. 38‑1/2”, w. 62‑1/2”, d. 21” 740

$1,000‑$1,500

740 Continental Japanned Cabinet 20th century, of rectangular form, fitted with two cupboard doors, each with a gilt and gesso scene of figural Orientalist landscapes and with decorative hardware, the sides en suite, opening to an interior fitted with a variety of drawers and cubbyholes around a central cupboard, the lower three drawers fitted for cutlery, raised on a giltwood stand with a guilloche frieze over a masque-centered apron with pendant swags, raised on cabriole legs ending in foliate feet. h. 62”, w. 42‑1/2”, d. 25” $2,000‑$4,000

264

740 detail

741 Pair of Flemish-Style Fruitwood Armchairs 20th century, each with a domed crest above a shaped splat, joined by padded arms to the shaped and padded slip-in seat, above a conforming shell-carved apron, raised on cabriole legs joined by a shaped stretcher and ending in ball-and-claw feet. h. 45‑1/2” $1,000‑$1,500 742 Monumental Fruitwood and Burl Banquet Table ca. 1900, the ovoid table banded and with a gadroon-carved edge, raised on large cabriole legs headed by foliate shield carving and ending in ball-and-claw feet, with two 12” leaves and one 24” leaf. h. 31‑1/2”, w. 47‑1/2”, l. 94”, ext. l. 142”

741

$1,800‑$2,500 743 Impressive Dutch Tin-Glazed Delft Urn fourth quarter 19th century, decorated with scenes of windmills and boats, the base with dolphins, the handles with molded satyr heads, with a spurious “AR” mark on the base. h. 20”, w. 11”, d. 9” $800‑$1,200 744 Pair of Continental Overlay Glass, Bronze and Marble Rhyton Vases mid-19th century, the cobalt overlay paneled vases set into bronze ram’s heads on Portoro marble bases. h. 10”, w. 8‑1/2”, d. 6” $1,000‑$1,500 743

742 744

265

745 Pair of Continental Gilt-Bronze and Cobalt Overlay Glass Dessert Stands third quarter 19th century, the graduated “plates” cut with lotus leaves and bull’s eyes, with masquemolded bronze bases and vasiform standards carefully molded with scrollwork, the finials decorated with grapes and a pineapple. h. 23‑1/2”, dia. 8‑1/2” $1,200‑$1,800

745 748

748 Black Forest-Style Carved Hardwood Egret fourth quarter 19th century, possibly Swiss, the masterfully carved bird standing on rocks with carved vegetation, above a mound of ivy and grass, one rock signed “FM”. h. 27‑1/2”, w. 8‑1/2”, d. 7‑1/2” 746

$1,500‑$2,500

746 Continental Fruitwood and Mahogany Bombe Cabinet 20th century, the shaped top with a molded edge, above a conforming bombe case fitted with two short drawers over two cupboard doors, all with painted scrolling foliate patterns, flanked to either side by molded scrolling uprights, raised on cabriole feet ending in scrolled toes. h. 40‑1/2”, w. 64”, d. 23‑1/2” $900‑$1,200 747 Continental Mahogany and Mixed Woods Center Table in the 19th-century style, the circular top with a central avian-inlaid panel within a floral band and with radiating floral-inlaid panels, raised on a columnar standard to shaped scrolling legs ending in like toes. h. 29”, dia. 62‑1/2” $2,000‑$4,000

747

266

749 Baroque-Style Painted and Parcel-Gilt Mirror with an eagle-carved crest decorated with a harvest scene, the ogee-molded faux bois and giltwood surround holding a mirror plate with medallions and cut with panels, the lower edge scroll-carved and pierced. h. 60‑3/4”, w. 24‑3/4” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,000‑$1,500 750 Continental-Style Polychrome Secretary 19th century and later, the domed and molded cornice with two ball finials, above two arched doors opening to an interior elaborately fitted with various cupboards, drawers and cubbyholes, over two candle slides, the lower section fitted with a slant front opening to drawers and cubbyholes, flanking a central cupboard, over three frieze drawers over two recessed cupboard doors, flanked to either side by a bank of three graduated short drawers, all with shaped front, raised on bun feet, the whole elaborately decorated with scenes and patterns in the Orientalist taste. h. 96”, w. 49‑1/2”, d. 23” $4,000‑$7,000

749

750

750 detail

267

751 Vladimir Naiditch (Russian, 1903‑1980) “Promenade” oil on canvas monogramed lower right, signed lower left. Framed. 21‑1/2” x 18”, framed 29” x 25” $1,000‑$1,500

751

752 Iwan Trusz (Russian, 1869‑1940/1) “Dusk” oil on canvas signed lower right. Framed. 18‑1/2” x 30‑1/2”, framed 24‑1/2” x 36‑1/4” $2,000‑$4,000

752

753 Emmanuel Mane-Katz (Russian/American, 1894‑1962) “The Four Rabbis” oil on canvas signed lower left. Framed. 13‑3/4” x 15”, framed 22” x 26‑5/8” Provenance: Previous collection of Michel Michelet, Los Angeles, California. $3,000‑$5,000

753

268

754

754 Ivan Fedorovich Choultse (Russian/French, 1877‑1939) “Winter Day in St. Moritz” oil on canvas signed lower right, stretcher with “Galerie du Carlton, Cannes” and “Artisana, Geneve” gallery labels. Framed. 21‑1/2” x 25‑3/4”, framed 31‑1/2” x 35‑1/4” Provenance: Estate of Dr. Vladimir Sokolovsky (1916‑2003), Chicago/Palatine, Illinois; Private collection, Chicago, Illinois. $20,000‑$40,000

269

755 Four 18th- and 19th-Century Continental Silver Goblets and Beakers including a Swedish beaker, Gavle, 1791, by Sven Dahlstrom (1754‑1904; master 1778), of tapering cylindrical form, decorated with chased soldiers and foliate banding, h. 3‑1/8”, an unmarked late 18th-century goblet, probably German, thistle-form, parcel gilt with lobed base, decorated with chased scrolls on a matte ground, h. 5‑7/8”, an Austrian goblet, Vienna, 1840, by Christian Sander, Sr. (ca. 1788‑1874), thistle-form, monogrammed “MR”, crowned, h. 4‑1/2”, and an Austrian beaker, Vienna, fourth quarter 19th century, by V. Mayer’s Sohne, cylindrical with engraved scrolling foliate band, monogrammed “EC”, conjoined, h. 3”. 12.69 total t. oz.

755

$1,000‑$1,500 756 Three Pieces of French Silver Tableware including a hot milk pot, 1819‑1838, Paris, the maker’s mark rubbed, first standard (.950) silver, pear-shaped with wooden handle, h. 6”; a footed bowl, dated 1847, Provincial, possibly Le Puy, maker “JBA”, second standard (.800) silver, hemispherical with domed foot and scrolled handle, inscribed “Francoise Depernant an 1847”, dia. 5‑1/4”; and a chocolate pot, first quarter 20th century, Paris, by George Falkenberg, first standard (.950) silver, in the Louis XV taste, pear-shaped with spiral gadroons and turned wood handle, h. 7‑1/4”. 30.75 total t. oz. (including wooden handles)

756

$1,200‑$1,800 757 French Silver Covered Sugar Bowl and Underplate mid-19th century, by Martial Fray (1811‑1884), Paris, first standard (.950) silver, the bowl waisted and lobed with fluting and gadroons, with acanthus-crested handles and domed foot en suite, the fitted lid with leaf-and-bud finial, all on a conforming underplate. overall h. 6‑3/4”, dia. 7‑3/8”; 21.26 total t. oz.

757

$1,000‑$1,500 758 Four-Piece Buccellati Sterling Silver Tea Set second half 20th century, in the Ottocento taste, including a teapot, h. 8‑3/4”, a hot water pot, h. 9”, a covered sugar urn, h. 6‑1/2”, and a cream jug, h. 5‑1/2”, each with a serpentinelobed, pear-shaped body and crested wooden handle, with domed lids en suite and raised on a conforming foot. 64.29 total t. oz. (including wooden handles) $1,500‑$2,500 758

270

759

760

760 Two German Sterling Silver Gilt Cabinet Figures

759 Three Pieces of Portuguese Silver including a pair of candlesticks, first quarter 19th century, Lisbon, by Manuel Inacio de Macedo, 9 dinheiros (.750) silver, each of baluster form with serpentine-lobed circular base and scalloped nozzle, decorated with chased banding, together with a charger, third quarter 20th century, Lisbon, Jose Pereira Reis’ successors, retailed by Joalharia Mergulhao, .833 silver, circular with molded, serpentine-lobed rim. candlesticks h. 8”, charger dia. 14‑3/4”; 63.59 total t. oz.

second quarter 20th century, probably Hanau, retailed by Israel Freeman & Son, each in the form of an armored knight holding a shield, one with halberd and morion, the other with sword and crown, each above a canted square plinth base, pierced and set with colored glass “gems”. h. 4‑3/4”; 9.33 total t. oz. $1,000‑$1,500

$1,500‑$2,500 761 French Silver Gilt Dessert Set second quarter 19th century and later, by Pierre Queille and successors, first standard (.950) silver gilt, in a finely detailed Bacchic pattern, the front with Bacchus and fruit basket, the reverse with swan and cornucopia, both with thyrsus stem and palmette heel, including eighteen each dessert forks, l. 7‑1/4”, spoons, l. 7‑1/2”, and knives, l. 8‑3/8”, the latter with filled handles and silver blades, presented in a 19th-century inlaid mahogany writing box with lift-out tray, the interior re-fitted to hold the set, lined with maroon velvet and marbled paper, 5‑3/4” x 14” x 10”. 61.26 total t. oz. (excluding knives) $3,000‑$5,000

761 details

761

271

762

762 French Fourteen-Piece Silver and Glass Vanity Set first quarter 20th century, by Auguste Girardeau, Paris, with first standard (.950) silver fittings decorated with finely incised threading and monogrammed “OF”, with fluted glass bodies, including two large round jars, dia. 2‑7/8”, two medium round jars, dia. 2‑1/2”, three small round jars, dia. 1‑3/4”, one tall round powder jar with silver puff bowl, dia. 3”, two small square cologne bottles, w. 2”, a large cologne bottle, w. 2‑1/4”, a tall rectangular jar, w. 2‑5/8”, a toothbrush box, l. 7‑1/4”, and a clock, h. 2‑7/8”. 14 pieces 16.21 total t. oz. (weighable silver) $1,000‑$1,500 763 Maison Odiot Bronze Argente Candelabrum third quarter 19th century, Paris, the tapering standard with imbricate panels separated by reeded columns, the latter crested by bifurcated acanthus fronds with fluted scrolling arms, each terminating in a fluted and ovolo-banded nozzle with detachable beaded bobeche, all surrounding a central urn-form capital with goat’s masques and oak-leaf swags with flammiform finial, the whole raised on a fluted domed base with laurel-and-ribbon band. h. 21‑1/2”, w. 14”, base dia. 7‑1/4”

763

$1,000‑$1,500 764 Fine Maison Puiforcat “Bougainville” First Standard Silver Flatware Set second quarter 20th century, Paris, .950 silver, including two dozen eleven-piece place settings and nineteen serving pieces, monogrammed “F” (on the handle) and “L” (on the heel), presented in the original fitted, gray suede-lined oak case with lift-top, fall front and five drawers with brass “campaign”style fittings, 13‑1/4” x 20‑3/4” x 15”. 283 pieces 411.95 total t. oz. Detailed list of pieces available on request. $20,000‑$40,000

764

272

764 detail

765 French Belle Epoque Silver Centerpiece ca. 1900, Paris, by Boin-Taburet, first standard (.950) silver, in the rococo taste, oval with shaped and everted rim, reticulated and decorated with applied floral swags and rocaille scrolls, raised on an integral waisted foot and fitted with the original conforming silverplate liner. h. 4‑1/2”, l. 15‑3/8”, w. 9”; 38.81 t. oz (excluding silverplate liner) $1,500‑$2,500 766 Two Pairs of Continental Bronze Argente Candelabra

765

fourth quarter 19th century, in the Louis XV taste, each with a baluster-form standard and scrolling base, one pair with two arms and central nozzle, the other with three arms and central acanthus scroll finial. h. 16‑3/4” and 17” $1,500‑$2,500 767 Portuguese Four-Piece Silver Coffee and Tea Set third quarter 20th century, Viuve de A. Cabral, Lisbon, .833 silver, including a coffeepot, h. 12‑3/4”, a teapot, h. 11”, a covered sugar bowl, h. 8‑3/4”, and a cream jug, h. 7”, in the neoclassical taste, each with an urn-form body with fluted calyx and engraved floral and foliate banding, with steeply domed fluted lids and vasiform finials, the pots with crested wood handles and thin, beaded “gooseneck” spouts. 96.09 total t. oz. (including wooden handles)

767

$2,000‑$4,000

766

273

768 Pair of Asian Sterling Silver Convertible Candelabra 20th century, marked “Old Friend/Sterling”, each with an unusual base comprising two tripodal stands, the lower above a floral repousse column and base, the upper with a vasiform nozzle fitted with a detachable circular bobeche fitted with a short standard flanked by scrolling arms and a central tripod, all ending in vasiform nozzles with fixed bobeches, the central nozzle with detachable flammiform finial. as candlesticks, h. 10‑3/4”, dia. 4‑3/8”, as candelabra, h. 18‑1/4”, w. 13‑3/4”; weighted $1,000‑$1,500 768

769 Hans Hansen “Charlotte” Sterling Silver Flatware Set the pattern designed in 1955 by Karl Gustav Hansen (1914‑2002), Kolding, Denmark, retailed by H. Nils, New York, New York, including eight sevenpiece place settings (one dinner fork lacking), with an additional dozen each salad forks and large teaspoons and fourteen serving pieces, no monograms, presented in a fitted, Pacific cloth-lined, mahogany-stained wooden case with lift-top and single drawer, 6‑3/4” x 17” x 12‑1/4”. 93 pieces 84.12 total t. oz (weighable silver) $1,400‑$1,800

769

274

769 detail

770

770 Edward Henry Potthast (American, 1857‑1927) “A July Day”

771

oil on canvas signed lower right, old handwritten note en verso stretcher with artist’s name and address, titled on old label en verso frame. Framed. 6‑1/4” x 9”, framed 12” x 14‑1/2” $10,000‑$15,000 771 George Benjamin Luks (American, 1867‑1933) “Nude” oil on canvas signed lower left. Framed. 32” x 19”, framed 40” x 27” $5,000‑$8,000 772 Wayman Adams (American, 1883‑1959) “Portrait of the Soprano Dorothy Kirsten” oil on canvas signed lower right. Framed. 80” x 68”, framed 84” x 74” Provenance: Estate of Wayman Adams and descended in family; Private collector. $4,000‑$7,000 772

275

773

773 Indiana Gyberson (American/French, 1875‑1944) “Model in an Exotic Costume” oil on board signed lower left. Framed. 16” x 12”, framed 22‑1/2” x 18‑5/8” $1,000‑$1,500

774

774 Gail Sherman Corbett (American, 1871‑1952) “Rainy Day on the Boulevard” oil on canvas signed lower right “G. Sherman”. Framed. 36” x 23‑3/4”, framed 43‑1/2” x 31‑3/4” $1,000‑$1,500 775 Cesar Villacres (Ecuadorian, act. Paris/New York, 1880-1941) “Paris, Champs Elysees” oil on canvas signed lower right. Framed. 20” x 24”, framed 26‑3/4” x 30‑3/4” $1,000‑$1,500 775

276

776 Dines Carlsen (American, 1901‑1966) “Candle Stick” oil on board signed lower right, verso with “Brett Mitchell Collection, Inc.” label with artist name, title and provenance. Framed. 32” x 24”, framed 38” x 30” Provenance: Estate of Florence B.G.S. Carlsen, Wife of the Artist, Falls Village, Connecticut $1,000‑$1,500

776

777 Francis John McComas (Australian/California, 1875‑1938) “Cliff Dwellings” watercolor on paper signed lower left. Framed. 20” x 24”, framed 28‑1/2” x 32‑1/2” $6,000‑$9,000

777

778 Hobart Nichols (American, 1897‑1955) “Winter Landscape” oil on canvas board signed lower right. Framed. 18” x 15‑1/2”, framed 21” x 18‑1/2” $1,000‑$1,500

778

277

779 E.E. Cummings (American/New York/New Hampshire, 1894‑1962) “Mountain Road” oil on canvas unsigned, dated en verso “Sept. 6 ‘47”. Framed. 30” x 40”, framed 31” x 41” Provenance: Watson/deNagy Co., Houston, Texas; Meredith Long & Co., Houston, Texas; Corporate collection of FreeportMcMoRan, New Orleans, Louisiana. $1,000‑$2,000 While best known for his innovative avant garde poetry, Edward Estlin Cummings was also a passionate visual artist and considered painting his “twin obsession”. The Armory Show that toured the U.S. in 1913 played a pivotal role in his artistic development. Of all the artists included in that exhibition, it was Cezanne who made the deepest impression on Cummings, not only stylistically but also with the subjects he chose to paint. As Cezanne lovingly painted his native Provence, Cummings did so with his studies of Mount Chocorua, near his parents’ home in the White Mountains of New Hampshire. As a poet and a painter, he was drawn to a multitude of subjects, though nature played the most prominent role in his work.

779

780 Randolph LaSalle Coats (American, 1891‑1957) “Still-Life: the Russian Samovar”, 1928 oil on canvas signed lower left, dated and titled on old label en verso canvas. Framed. 30” x 30”, framed 34‑1/2” x 34‑3/4”

780

$1,000‑$1,500

781 Dimitri Berea (American/French/Romanian, 1908‑1975) “The Garden Swing” oil on canvas signed and dated lower left. Framed. 29” x 36”, framed 38” x 45” $2,000‑$4,000

278

781

782 Sandi Lebron (American, Late 20th/Early 21st Century) “Children and Their Dog, Puppies and Cat on a Fence” oil on canvas signed lower center. Framed. 15‑1/4” x 20‑3/4”, framed 23‑1/4” x 30‑1/4” $1,500‑$2,500

782

783 Theodore Saint-Amant Cunningham (American/Texas, 1899‑1976) “The Horseshoe Country Store, Texas” oil on canvas board signed lower left, typewritten label with artist identified en verso. Framed. 11‑3/4” x 16”, framed 15‑1/4” x 19‑1/4” $1,000‑$1,500

783

784 Eric Sloane (American/Connecticut, 1905‑1985) “Spring Storm” oil on canvas board signed lower left, titled en verso board. Framed. 22‑3/4” x 28‑1/4”, framed 30‑1/4” x 35‑3/4” $10,000‑$15,000

784

279

785

786

785 Pierre Laprade (French, 1875‑1931/32) “Paysage” oil on board signed lower left, hand-inscribed label en verso. Framed. 18” x 21”, framed 26‑1/4” x 29” $1,000‑$1,500 786 William R. Hollingsworth, Jr. (American/Mississippi, 1910‑1944) “The Shadow of the Law”, 1943 watercolor on paper signed upper left and lower right, signed, titled and dated en verso, “Eugene O’Karma, Atlanta, GA” label with title en verso. Framed. 11‑1/4” x 15‑1/2”, framed 17” x 21” $3,000‑$5,000 787 Noel Rockmore (American/Louisiana, 1928‑1995) “Papa John”, 1963 oil on canvas signed, titled and dated upper right. “E. L. Borenstein Collection” catalogue sheet and remnant of “The Vincent Price Collection” label en verso. Framed. 40” x 18”, framed 40‑3/4” x 19” Provenance: Previously in the collection of Larry E. Borenstein, New Orleans, Louisiana. $2,000‑$4,000 787

280

788 788 Paul Ninas (American/New Orleans, 1903‑1964)

“The Shore”, 1954 watercolor and mixed media on paper signed and dated lower right. Framed. 790

sheet 15‑1/2” x 20‑1/2”, framed 22” x 26‑1/2” $1,500‑$2,500

790 Clementine Hunter (American/Louisiana, 1886/87‑1988)

789 Purvis Young (American/Florida, 1943‑2010)

“Red, Yellow and Blue Bird”

“Procession”

three oils on canvas boards each monogramed lower right, two framed examples with “La Belle Galerie, New Orleans, LA” labels. Two framed, one unframed. all approximately 4” x 5‑3/4”, framed 6‑1/8” x 8‑1/8”

oil on found wood unsigned. Framed. 18‑1/4” x 48”, framed 28‑1/4” x 58‑3/4”

$1,000‑$1,500

789

281

791 Pair of Contemporary Upholstered Club Chairs each with a padded square back joined by downswept sides to the cushioned seat, raised on tapering square legs. h. 30‑1/2” $1,000‑$1,500 792 Gilt-Bronze, Marble and Glass Pedestal Cocktail Table 791

20th century, in the French neoclassical taste, with green marble bases supporting acanthusmolded covered urns with scrolled arms, supporting the beveled glass top. h. 23‑3/4”, w. 61”, d. 20” $1,000‑$1,500 793 Suite of Eight Henredon Fruitwood Side Chairs

792

each with a padded back-scrolled crest above a padded back and seat, raised on incised sabre legs. h. 39‑1/2” $1,500‑$2,500 794 Art Deco-Style Patinated Bronze Figure of an Archer 20th century, the classically draped figure kneeling and with taut bow, on a shaped selfbase. h. 24”, w. 24‑1/2”, d. 9” $1,000‑$1,500

794

793

282

795 Harold James Youngman (British, 1886‑1968) “Dowsing for Water” patinated bronze 20th century, cast signature along edge of self-base, on a marble plinth. overall h. 29‑1/4”, w. 11‑1/2”, d. 18” $1,000‑$1,500 796 Robert Wyland (American, b. 1956) “Turtle Dance”, 1990s patinated and cold-painted bronze cast signature, dated "199?", copyright-marked, and numbered “137/200” along back edge, on a black marble base, incised signature on base. overall h. 30”, w. 26”, d. 21”

795

$1,500‑$2,500 797 Pair of Oversized Chocolate Leather Pub Chairs and Ottoman second quarter 20th century, the chairs with a loose cushion back and seat, h. 36”, w. 42”, d. 40”, and the rectangular ottoman with an integral padded cushion, h. 17”, w. 30”, d. 23”, all raised on turned legs.

796

$1,200‑$1,800 798 Russian Patinated Bronze of a Bear 20th century, illegible cast signature in Cyrillic along self-base. h. 10‑1/4”, w. 6”, d. 6‑1/2” $1,000‑$1,500

798

797

283

799 Leather-Upholstered and Mahogany Chesterfield Sofa 20th century, with a padded, rounded and tufted back and sides above the tri-cushioned seat, above a brass-tackaccented front, raised on squat bun feet. h. 29”, w. 86”, d. 33‑1/2” $1,000‑$1,500

799

800 Leather-Upholstered and Mahogany Chesterfield Sofa 20th century, with a padded, rounded and tufted back and sides above the tri-cushioned seat, above a brass-tack-accented front, raised on squat bun feet. h. 29”, w. 86”, d. 33‑1/2” $1,000‑$1,500 800

801 Large Art Nouveau-Style Bronze and Silvered Bronze Vase decorated with three water nymphs holding hands, with shell-form combs in their hair. h. 27‑1/2”, dia. 10‑1/2” $1,500‑$2,500

801

284

803

804

802

802 Highly Unusual Art Deco Cast Bronze Vitrine first quarter 20th century, the domed top with graduated scrolls and floral rosettes, the case with a single door opening to three plate-glass shelves, the interior with a mirrored back. h. 74”, w. 26”, d. 26” $1,000‑$1,500 803 Rare Wedgwood Fairyland Lustre Coffee Can and Saucer ca. 1915‑1930, in the “Nizami” pattern, from a design by Daisy Makeig-Jones, composed of bone china, the cup decorated with a Persian scene of an old man kneeling under a tree, with gazelles in the background, all on a ground trimmed with Persian-inspired gilt borders, h. 2‑1/8”, and the saucer with like decoration, dia. 2‑5/8”, each with the brown Portland Vase mark and “Made in England”.

804 Four English Wedgwood Fairyland Lustre Bowls ca. 1915‑1930, including an octagonal punch bowl with a hummingbird pattern on a blue ground and a flame orange interior, marked with the Portland Vase mark, “Wedgwood, Made in England”, and the pattern number “Z5294”, h. 4‑1/2”, dia. 9‑3/4”, a round bowl with a fruit pattern on a blue ground, and the same Wedgwood marks and pattern number “Z5457”, a ruffled flower-form bowl with a flame interior, decorated with butterflies, marked with the Wedgwood vase mark and “England”, h. 2‑1/2”, dia. 8”, and a small bowl with a dragon pattern, with the Portland Vase mark and the pattern number “Z4829”, h. 2‑1/8”, dia. 4”. $1,000‑$1,500

$2,000‑$4,000

285

805

805 Epstein Brothers Art Deco Burled Elm and Leather Parlor Suite

806

in the "Cloud" pattern, comprising a settee and two armchairs, after a design by Harry and Lou Epstein of London, each upholstered in ivory leather and fitted with loose seat cushions, the arms and backs trimmed with burled elm. Settee, h. 33-3/4", w. 67-1/2", d. 36", Armchairs, h. 33" $2,500‑$4,000 The Epstien firm, founded by a polish immigrant was in operation from 1895 until 1970. The Art Deco Cloud series was introduced in the 1930’s and remained in production at least into the 1950’s 806 Pair of Patinated Metal Peacock-Form Garden Sculptures 20th century, depicted standing, their tails down, with pierced crests. h. 24‑3/4”, w. 6”, d. 26‑1/2” $1,000‑$1,500

807 Large Pair of Patinated Metal Garden Sculptures of Cranes one with its neck turned back and the other gazing forward. h. 53” to 60‑1/2”, w. 6‑1/4”, d. 19‑1/2” to 28‑1/2” $2,000‑$4,000 807

286

808 Pair of Aviator-Style Leather Club Chairs with tubular quilted seats and backs and dramatic higharched arms. h. 29”, w. 30”, d. 33” $1,500‑$2,500

808

809

809 Bronze and Plate-Glass Cocktail Table the base molded as two tritons, mythological creatures with double fish tails, holding their hands up to support the beveled plate-glass top with canted corners. h. 20”, w. 36”, d. 26” $1,500‑$2,500

810 Life-Size Patinated Cast Bronze Figural Garden Sculpture late 20th century, depicting a boy pushing a young girl in a swing with a squirrel climbing one rope. h. 87”, overall w. 48” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,000‑$1,500 810

287

811

813

811 Pair of Vintage-Style Chocolate Leather Club Chairs late 20th century, labeled Mitchell Gold and Bob Williams, each with a padded back, removable seat cushion and rolled arms, raised on tapered block feet. h. 33”, w. 35”, d. 34” $1,500‑$2,500 812 Unusual Kidney-Form Leather Chesterfield Sofa mid-20th century, of curved form, with a diamond tufted seat and back, raised on turned bun feet, in camel-colored leather. h. 33”, w. 72”, d. 34” $1,200‑$1,800

812

813 Three Pieces of French Paul Millet LustreGlazed Pottery first quarter 20th century, including a pair of bronze-mounted amphora-form garnitures on hoof feet and with artichoke finials, h. 7”, dia. 4‑1/4”, and a brass-mounted serpentine covered box, marked “MP Sevres” on the bottom, h. 4”, w. 7‑1/4”, d. 5”. $1,000‑$1,500 814 Five-Piece Neoclassical-Style Silver-Leaf Table and Chairs in the style of Versace, the circular table with an inset plate-glass top supported by a turned pedestal with polished brass Greek-key trim, h. 29‑1/2”, dia. 43”, together with four armchairs with caned seats and padded cushions, h. 36‑1/2”, w. 21‑1/2”, d. 21”. $2,000‑$4,000

288

814

815 Pair of Contemporary Chrome and Upholstered Benches each with X-form end supports joined by a stretcher and a padded seat. h. 20”, w. 21”, d. 20” $1,000‑$1,500 815

816 Dino Rosin (Italian/Murano, b. 1948) “Violin” sculpted Calcedonia glass composed of blue glass with yellow and red striations, and a tan and black neck, on a black glass base retaining the original labels, along with an engraved signature on the base. h. 25‑3/4”, w. 8”, d. 4‑1/2” $2,000‑$4,000

816

The production of Calcedonia glass is a difficult technique which incorporates a precise amount of silver nitrate to produce the luminous, yet ultimately uncontrollable, striations of color. It was originally created in the mid-15th century in Murano, Italy; the technique was forgotten until the 19th century when it was briefly revived by the glass master Lorenzo Radi (1803‑1874). In the mid-70s, Loredano Rosin began to work with Calcedonia glass, believing the technique enhanced the smooth, fluid forms of the hand-sculpted glass. He trained his younger brother Dino in this difficult technique and, after Loredano’s death in 1993, Dino took over much of this work, at which he soon excelled. Dino Rosin began his glassmaking apprenticeship at the age of twelve, before joining the studio of his elder brothers in 1963. The resulting works, as exemplified by the delicate violin presented here, reveal the serendipitous nature of this technique with its streaks of unexpected colors.

817 Pair of Contemporary Argente Metal and Granite-Top Occasional Tables in the Victorian taste, each with a circular granite top raised on three supports joined by scrolling stretchers and ending in pad feet. h. 30‑1/2”, dia. 30” $1,000‑$1,500

817

289

818 Baccarat Twenty-Four-Light Stainless Steel and Crystal “Plume” Chandelier late 20th century, designed by Yves Savinel and Gilles Roze for Baccarat, with twenty-four borosilicate matte-white glass shades, a total of fortyeight ice-blue and olive-green “plume” crystal drops, and a signature Baccarat red “plume” crystal drop, all drops signed “Baccarat”. h. 39”, dia. 34‑1/4” $2,500‑$4,000

818

819 Tord Boontje “Blossom” Chandelier designed in 2002 and manufactured by Prearo Collezione Luce for Swarovski, the enameled steel “branch” encrusted with faceted pale pink and iridescent Swarovski crystals set with twinkling LED lights, suspended from a circular enameled steel ceiling mount, labeled on the ceiling mount. h. 39”, w. 34‑1/2” Provenance: Purchased directly from the Swarovski Crystal Palace Project; Private collection, New York, New York. $7,000‑$10,000

819

290

820 Mildred “Millie” Wohl (American/Louisiana, 1906‑1977) “Little One E”, 1973 oil on masonite signed, dated and titled en verso. Framed. 10” x 10”, framed 10‑7/8” x 10‑7/8” $1,000‑$1,500

821 Jan Gilbert (American/Louisiana, Contemporary) “An Offering to Nemesis”, 1984 mixed media on gallery-wrapped canvas signed, titled and dated en verso canvas. Unframed. 61‑1/4” x 60‑7/8” $7,000‑$10,000

821

822

822 George Dunbar (American/Louisiana, b. 1927) “Jatt”, 1978 collage on canvas signed and dated lower right. Framed. 8” x 10”, framed 8‑1/4” x 10‑1/4” $1,000‑$1,500

820

291

823 George Dunbar (American/Louisiana, b. 1927) “Acadia”, 1982 collage on canvas signed and dated lower right. Framed. 8” x 10”, framed 8‑1/4” x 10‑1/4” $1,000‑$1,500

823

824 George Dunbar (American/Louisiana, b. 1927) “Untitled, Coin du Lestin”, 1972 gold and silver leaf on board signed and dated lower right. Unframed. 12” x 11‑1/8” $2,000‑$4,000

824

825 Richard Johnson (American/New Orleans, b. 1942) “Abstract Image #1”, 2005 mixed media on wood panel, a diptych initialed “R.AJ.” lower right, initialed, titled and with “Cole Pratt Gallery, Ltd., New Orleans” label en verso. In a modern frame. 18‑1/4” x 35”, framed 20‑1/4” x 37‑1/4” $1,000‑$1,500 825

292

826 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Mythic Turret #7”, 1993 painted aluminum on a circular black base. sculpture h. 62”, overall h. 69‑1/2”, w. 21”, d. 12‑1/4” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection. Exhibited: “Ida Kohlmeyer - Standing Among Giants”, Louisiana Art and Science Museum, Baton Rouge, Louisiana, 2008/9 $20,000‑$40,000 One of New Orlean’s most beloved artists, Ida Kohlmeyer did not begin to pursue art seriously until she was well into her 30s, when she approached her studies with a vengeance. She attended John McCrady’s Art School in the French Quarter, took classes with Thomas Hart Benton at the Art Student’s League in New York, studied with Hans Hoffman in Provincetown, MA, and received her MFA from Tulane University. It was Hoffman who first exposed Kohlmeyer to the tenets of Abstract Expressionism and, influenced by this influential art movement, she egan to move away from the purely figural in her paintings and sculpture. Her works are exuberant explorations of color and shape, in which she incorporates her own idiosyncratic symbolic language that has proven enigmatically compelling.

826

827 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Composite 91‑6”, 1991‑95 oil on canvas signed, titled and dated on label en verso. In a period slate frame. 42” x 64”, framed 43” x 65” Provenance: Arthur Roger Gallery, New Orleans, Louisiana; Private collection, New Orleans. $20,000‑$40,000 827

293

828 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Untitled, Cluster Series”, 1975 mixed media on paper signed and dated lower right. Framed. sight 12‑7/8” x 12‑7/8”, framed 21” x 21” $5,000‑$8,000

828

829 Louise Guidry (American/Louisiana, b. 1930) “Now What” acrylic on board signed lower right. Unframed. 28” x 21‑1/4” $1,000‑$1,500

829

830 Louise Guidry (American/Louisiana, b. 1930) “Temple Wall” acrylic on gallery-wrapped canvas signed lower right. Unframed. 36” x 36” $1,800‑$2,500

830

294

831 Jan Gilbert (American/Louisiana, Contemporary) “Untitled” pleated paper collage h. 31”, w. 77”, d. 5”

831

$1,000‑$1,500

832 Jan Gilbert (American/Louisiana, Contemporary) “Untitled” pleated paper collage signed lower right. h. 52‑1/2”, w. 69”, d. 8‑1/4” $1,000‑$1,500

832

833 Arthur Silverman (American/New Orleans, b. 1923) “Geo Cloud #6” and “Untitled” two painted aluminum reliefs latter signed lower left and with “Galerie Simone Stern, New Orleans, LA” labels with artist and title en verso. Framed. 22‑1/2” x 38” and 24‑3/4” x 21‑1/2”, framed 23” x 38‑1/2” and 25‑1/4” x 22‑1/4” $1,000‑$1,500

833

295

834

834 Arthur Silverman (American/New Orleans, b. 1923) “Untitled, Red and Black Relief” carved and painted wood unsigned, inscribed "4-11-03/#7" en verso 12‑1/2” x 96‑5/8” $1,000‑$1,500

835 Thomas Merton (1915‑1968), ed. Monks Pond, Three Issues Trappist, Kentucky, 1968, Numbers 1 (Spring), 2 (Summer) and 3 (Fall) stab-staple bound letter-sized leaves. [Breit & Daggy 1.60.A-C] 28.0 cm x 21.8 cm $1,000‑$1,500 Monks Pond is a collection of poetry and short prose which from its inception was intended as a journal with a limited run; the present lot includes all but one of the original four rare issues. It was one of Merton’s last literary undertakings before his death in December of 1968, and comprised primarily poems, short prose and photography by Merton and his friends. Printed at the Abbey of Gethsemani on poor-quality paper and with a run of no more than 200 issues, copies of the journal issues are quite rare; even the facsimile omnibus edition published by the University of Kentucky Press in 1989 has become quite scarce and expensive. 835

296

836

836 Lewis Carroll (British, 1832‑1898) and Salvador Dali (Spanish, 1904‑1989) Alice’s Adventures in Wonderland, New York: Maecenus Press - Random House, 1969, limited edition portfolio with one color etching (facing frontispiece) and twelve color heliograves with woodcut remarque on wove Mandeure paper, signed by Dali on title page, this numbered 1,727/2,500 on colophon, in original linen-covered clamshell portfolio with toggle closures, leather spine with gilt lettering. sheets 17” x 11‑3/8”, overall 18‑1/2” x 13‑1/2” $4,000‑$7,000 837 Joan Miro (Spanish, 1893‑1983) “Maravillas con Variaciones Acrosticas en el Jardin de Miro (Number 14)” lithograph in colors signed lower right margin, marked “H.C.” lower left margin. Unframed. sheet 29‑1/2” x 20‑7/8” $1,500‑$2,500

837

297

838 Marc Chagall (Russian/French, 1887‑1985) “Idylle aux Champs” lithograph in colors signed in pencil lower right, numbered “47/50” lower left. Matted, glazed and framed. sight 16‑3/8” x 12”, framed 32‑1/4” x 27” $5,000‑$8,000

838

839 Leonard Edmondson (American/California, 1916‑2002) “Untitled Abstraction”, 1950 india ink on fine linen paper signed and dated lower right. Matted, glazed and framed. 11‑1/4” x 14”, framed 17‑1/8” x 20‑1/4” Provenance: Tobey C. Moss, Los Angeles, California; Private collection, New Orleans, Louisiana. $1,000‑$1,500 839

840 Marino Marini (Italian, 1901‑1980) “Cavalier sur Fond Gris”, 1957 lithograph in colors pencil-signed lower right and marked as artist proof lower left, a “Galerie Dominion/Montreal” label en verso. Matted, glazed and framed. sight 23‑3/4” x 16‑1/2”, framed 31‑1/2” x 23‑1/4” Provenance: Galerie Dominion, Montreal, Canada; Private collection, New Orleans, Louisiana. $1,000‑$1,500

298

840

841 Louis Schanker (American, 1903‑1981) “Figures” lithograph in colors pencil-signed lower right, artist’s cipher lower right in plate. Matted, glazed and framed. sight 12‑5/8” x 16‑1/4”, framed 22‑1/2” x 26” Provenance: Hirschl & Adler, New York, New York; Private collection, New Orleans, Louisiana. $1,000‑$1,500

841

842 Jesus Rafael Soto (Venezuelan, 1923‑2005) “Perceptions” silkscreen in colors pencil-signed and numbered “59/95” lower right. Matted, glazed and framed. sight 34” x 34”, framed 42‑1/2” x 42‑1/2” Provenance: Treadway Toomey Galleries, Cincinnati, Ohio, February 11, 2001, lot 799; Private Collection, New Orleans, Louisiana. $1,500‑$2,500 842

843 Howard Hodgkin (British, 1932‑2017) “In Tangier”, 1991 screenprint in colors pencil-initialed, dated and numbered “53/72” lower center. Float-mounted, glazed and framed. sheet 32‑1/2” x 35”, image 27‑1/4” x 29‑1/2”, framed 38” x 40‑1/2” Provenance: Galerie Simonne Stern, New Orleans, Louisiana; Private collection, New Orleans, Louisiana. $1,000‑$1,500

843

299

844 Helen Frankenthaler (American/New York, 1928‑2011) “Divertimento”, 1983 color lithograph signed and dated lower right, numbered “10/39” lower left. Matted and framed. sight 33‑1/2” x 23”, framed 44‑5/8” x 33‑1/2” $3,000‑$5,000

844

845 Tony Cragg (British, b. 1949) “Suburbs I”, 1990 aquatint signed and dated lower right, titled lower center and numbered “12/35” lower left. Matted and framed. sight 23‑1/2” x 22‑1/2”, framed 32‑1/2” x 31‑5/8” $1,000‑$1,500 845

846 Cindy Sherman (American, b. 1954) “Untitled - Madonna”, 1995/97 gelatin silver print signed and inscribed “1975/97” en verso. Matted, glazed and framed. sheet 10” x 8”, sight 7‑1/2” x 5‑1/2” $3,000‑$5,000

846

300

847 John Lahius (American, Contemporary) “Untitled” mixed media on wood board signed lower right edge. In a thin gallery frame. 70‑7/8” x 58”, framed 72‑3/8” x 59‑1/8” Provenance: Naomi Silva Gallery, Atlanta, Georgia. $2,000‑$4,000

847

848 Malcolm Rains (British/Canadian, b. 1947) “Pytiousa” oil on canvas signed lower right. Framed. 44” x 66”, framed 53‑3/4” x 73‑1/2” Provenance: Meyer Gallery, Santa Fe, New Mexico. $7,000‑$10,000 848

301

849 Charles William Smith (American, 1893‑1987) “Untitled, Abstract”, 1981 oil on canvas signed lower left, dated en verso “July 20 1981”. Framed. 16” x 20”, framed 17‑3/4” x 21‑3/4” $1,200‑$1,800 849

850 Charles William Smith (American, 1893‑1987) “Untitled, Abstract” oil on canvas signed lower center. Framed. 30” x 25”, framed 32” x 27” $1,800‑$2,500

850

302

852

851

851 Thomas Bruno (American/Louisiana, b. 1960) “Female Nude” patinated bronze cast signature along self-base, on a thin black stone base. overall h. 16”, w. 12”, d. 7‑1/2”

852 Patinated Bronze of a Seated Mother and Child 1957, monogrammed “JM” and dated along proper left side of self-base, on a carved wood plinth. overall h. 8‑1/2”, w. 3‑1/2”, d. 3” $1,200‑$1,800

$2,000‑$4,000 853 George Koras (Greek/New York, b. 1925) “Untitled”, 1966 patinated bronze cast signature, dated, and with artist’s mark along one side, on a carved wood plinth. overall h. 17‑1/4”, w. 21‑1/2”, d. 13‑1/2” A graduate of the Academy of Fine Arts in Athens, the Greek-born Koros arrived in the United States in 1955 to attend the Art Students League, New York City, where he worked as an assistant in the studio of Jacques Lipchitz (Lithuanian, 1891‑1973). He was a professor of sculpture at the State University of New York, Stony Brook for over 30 years, and was instrumental in expanding that institution’s Art Department. Koros has been the recipient of numerous fellowships and study grants which gave him the opportunity to travel and study throughout Spain and Italy. 853

$1,500‑$2,500

303

854 Emile-Antoine Bourdelle (French, 1861‑1929) “Grand Masque Tragique - Beethoven” patinated bronze ca. 1970 casting from the 1901 model, a “A. Valsuani Cire Perdue” foundry mark and numbered “VI” at proper right, with artist’s cipher lower left, from an authorized edition of ten. h. 29”, w. 18”, d. 20 Provenance: Musee Bourdelle, France; Private Collection, Chicago, Illinois. $8,000‑$12,000

854

855 Emile Antoine Bourdelle (French, 1861‑1929) “Le Violoncelliste” patinated bronze 1913, cast signature and an “Alexis Rudier Fondeur/Paris” foundry mark along self-base. h. 11‑7/8”, w. 1‑1/4”, d. 2” Provenance: Private Collection, New York, New York. $4,000‑$7,000

855

304

856 Francis Xavier Pavy (American/Louisiana, b. 1954) “Bonfire/Electric Lady”, 2000 carved wood relief with mixed media signed, titled and dated en verso. dia. 28” $1,500‑$2,500

856

857 Francis Xavier Pavy (American/Louisiana, b. 1954)

858 Francis Xavier Pavy (American/Louisiana, b. 1954)

“Jester with Swirling Dreams”, 1996

“Spiral Head”, 1988

oil on canvas signed, titled and dated en verso. Unframed. 24‑1/4” x 19‑1/2”

oil on canvas titled and dated en verso, “Simms Fine Art” gallery label en verso with artist name, title, medium and date. Unframed. 24” x 24‑1/4”

$1,200‑$1,800

857

858

305

860

859

859 Francis Xavier Pavy (American/Louisiana, b. 1954) “Alligator Luther Jr.”, 1995 oil on canvas signed, titled and dated en verso. Unframed. 28‑1/4” x 19‑1/4”

861

$1,400‑$1,800

306

860 Jaqueline Bishop (American/Louisiana, b. 1955)

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

“Egg Tempera”

“Love Electricity”, 2002

oil on canvas signed lower right. Framed. 12” x 32”, framed 12‑1/4” x 32‑1/2”

acrylic on canvas signed lower right, signed, titled and dated en verso. Framed. 16” x 20”, framed 25” x 29”

$1,000‑$1,500

$20,000‑$40,000

864 Douglas Bourgeois (American/Louisiana, b. 1951) “Little Objects Series #11”, 1999 gouache on Arches paper signed and dated lower right, verso with “Arthur Roger Gallery” label with artist, title and date. Float-mounted, glazed and framed. sheet 9‑1/2” x 7‑1/2”, framed 18‑3/4” x 15” $1,000‑$1,500

862

862 James Michalopoulos (American/Louisiana, b. 1951) “Untitled, French Quarter House”, 2005

864

oil on canvas signed lower right, signed and dated en verso. Framed. 34‑3/4” x 22‑1/2”, framed 37‑1/2” x 25‑1/2” $4,000‑$7,000

863 Douglas Bourgeois (American/Louisiana, b. 1951) “Little Objects Series #28”, 1999 gouache on Arches paper signed and dated lower right, verso with “Arthur Roger Gallery” label with artist, title and date. Float-mounted, glazed and framed. sheet 11” x 9”, framed 18‑7/8” x 15‑1/8” $1,000‑$1,500 863

307

866

865 Bo (James William) Bartlett III (American/Georgia, b. 1955) “Shrove Tuesday”

865

oil on canvas signed with a monogram “IGN” lower left. Framed. 44” x 36”, framed 47‑5/8” x 40‑3/8” $5,000‑$8,000 866 Valery Kosorukov (Russian/American, Louisiana, b. 1937) “In Class, Golden Autumn in Boston”, 1998 oil on canvas signed upper right, signed, titled and dated en verso. Framed. 24” x 30”, framed 30” x 36” $1,000‑$1,500 867 Jan Gilbert (American/Louisiana, Contemporary) “Untitled”, 1991 photography and mixed media collage signed and dated lower right. Flout-mounted in a light shadowbox. 57‑1/2” x 51‑1/4” $1,000‑$1,500

867

308

868

868 George Rodrigue (American/Louisiana, 1944‑2013) “Jolie Blonde”

869

pair of graphites on paper each signed lower right. Both matted, glazed and framed alike. sight 11‑1/2” x 9” and 12‑1/2” x 12‑1/2”, framed 16‑1/2” x 14” and 17‑5/8” x 17‑1/2” $1,000‑$1,500 869 George Dunbar (American/Louisiana, b. 1927) “Untitled” watercolor and crayon on paper signed along bottom. Matted, glazed and framed. sight 21‑1/4” x 15”, framed 35‑1/4” x 27‑1/2” $2,500‑$4,000

870

870 John Clemmer (American/Louisiana, 1921‑2014) “Landscape - Ringed I”, 1999 colored pencil on paper with artist label en verso. Float-mounted and presented in a plexiglass shadowbox frame. sheet 14” x 14”, framed 18” x 18” $1,000‑$1,500 871 Allison Stewart (American/Louisiana, b. 1941) “Lafitte 6”, 1999 mixed media on paper signed lower right, verso with Arthur Roger Gallery label with artist name, title and date of work. Float mounted, glazed and framed. sheet 23” x 22‑1/2”, framed 26‑1/2” x 27‑3/4”

871

$1,000‑$1,500

309

872 Valery Kosorukov (Russian/American, Louisiana, b. 1937) “After Rain”, 1994 oil on canvas signed lower right, signed, titled and dated en verso. Framed. 30” x 24”, framed 39” x 32‑3/4” $1,000‑$1,500 873 Louise Guidry (American/Louisiana, b. 1930) “Field of Yellow Flowers IV” acrylic on gallery-wrapped canvas signed lower right. Unframed. 30” x 30” $1,200‑$1,800 874 Louise Guidry (American/Louisiana, b. 1930)

872

“Summer Bouquet” acrylic on wood panel signed lower right. Unframed. 30” x 18” $1,000‑$1,500

874

873

310

875

876

878

875 Tabriz Carpet

877 Agra Mahal Runner

5’ 1” x 8’ 10”

2’ 8” x 21’ 5”

$1,000‑$1,500

876 Semi-Antique Hamadan Runner

878 Turkish Angora Oushak Carpet

3’ 10” x 13’ 3” $800‑$1,200

877

9’ 1” x 11’ 9” $1,000‑$1,500

311

879

881

880

883

881 Agra Serapi Carpet 11’ 9” x 14’ 8” 882

879 Semi-Antique Malayer Carpet 4’ 2” x 6’ 5” $1,000‑$1,500 880 Turkish Angora Oushak Carpet 11’ 10” x 15’ 1” $1,500‑$2,500

312

$2,000‑$4,000 882 Antique Feraghan Gallery Carpet 7’ 1” x 18’ 7” $1,000‑$1,500 883 Laristan Farahan Sarouk Carpet 8’ 2” x 10’ $1,200‑$1,800

885 884

886 887

884 Semi-Antique Heriz Carpet 13’ 8” x 10’ 1”

887 Antique Oushak Carpet

$3,000‑$5,000

14’ 3” x 15’ 8”

885 Agra Carpet

$6,000‑$9,000

12’ 3” x 18’ 3”

888 Silk Tabriz Carpet

$800‑$1,200

dia. 8’ 2”

886 Agra Carpet

$700‑$1,000

9’ 11” x 12’ 11” $1,200‑$1,800 888

313

889 Attributed to Charles Bridges (British/Virginia, 1672‑1747) “Portrait of a Seated Toddler Wearing a Pudding Cap” oil on canvas unsigned. Framed. 36” x 27‑1/2”, framed 41‑1/2” x 32‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $4,000‑$7,000 A somewhat elusive figure, little is known of the schooling or artistic training of Charles Bridges, though he worked in the British portrait tradition of artists such as Sir Godfrey Kneller. In his late 60s, he made the extraordinary decision to travel to Williamsburg, Virginia to set up a studio. Virginia was then the largest and wealthiest Colony, but had not yet received the influx of British artists that other American colonies had. This afforded Bridges a unique opportunity, and he quickly assumed the role of a “house” painter for many of the most influential and prosperous families, living with them while he completed the commissioned portraits of the various members. Several of the portraits attributed to Bridges during this time of members of the Grymes, Byrd and Ludwell families bear a striking resemblance to the portrait presented here. Two in particular - “Child with Dog” and “The Boys of the Grymes Family” (private collections) - reveal nearly identical white-feathered black velvet pudding caps. These caps, common in Britain and Colonial America, were padded headwear for toddlers to prevent injury; the ones depicted in these three portraits are very distinctive in design. The composition of the painting offered here, with a young child and his beloved pet dog set against a vague landscape, was one frequently employed by Bridges in his portraits of children. Bridges was not known to sign or date his portraits.

889

References: Hood, Graham Charles Bridges and William Dering: Two Virginia Painters, Virginia: The Colonial Williamsburg Foundation, 1978; Federal Writer’s Project Virginia: A Guide to the Old Dominion, New York: Oxford University Press, 1956; Howard, Samantha ,A New Theatre of Prospects: 18th Century British Painters and Artistic Mobility. 2010. University of York, Ph.D.

890 Colonial American School (ca. 1800) “Portrait of a Member of the Knight Family of North Carolina and Georgia” oil on canvas unsigned, old handwritten label en verso stretcher. Framed. 30” x 25”, framed 37” x 30‑3/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $4,000‑$7,000

314

890

891

891 American School (Late 18th/Early 19th Century) “Pendant Portrait of Husband and Wife” pastels on paper on canvas unsigned. In matching antique frames. each 23” x 19”, framed 27” x 23” Provenance: Mississippi; Morton M. Goldberg Auction Galleries, Inc., Louisiana Purchase Auction, October 27, 1990, lot 277; Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

892 William Jennys (American, 1774‑1859) “Portrait of a Gentleman” oil on canvas signed en verso, typewritten label identifying artist. Framed and with artist plaque. 27‑1/2” x 17”, framed 32” x 23” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. 892

$5,000‑$8,000

315

893

894

893 Pair of American Queen Anne Walnut Side Chairs ca. 1745‑1760, Philadelphia, each with a shaped yoke-form crest rail, a central back splat and compass-form slip seat, raised on cabriole legs ending in trifid feet. h. 39” $2,500‑$4,000 894 American Chippendale Walnut Slant-Lid Desk third quarter 18th century, the drop front opening to a complex fitted interior with a central document door flanked by various cubbies with scalloped dividers and serpentine drawers, the case with four graduated long drawers and raised on ogee bracket feet. h. 44”, w. 39‑1/2”, d. 23” $1,200‑$1,800 895 American Federal Figured Maple Four-Post Bed

895

first quarter 19th century, the turned head posts joined by a shaped headboard, the foot posts turned and spiral-carved, supporting a flat frame tester. h. 82”, inside w. 55‑1/2”, l. 78”, outside w. 60‑1/2”, l. 84” $700‑$1,000

316

897

896 American Chippendale-Style Figured Mahogany High Chest of Drawers mid-19th century, in the style of Thomas Affleck, Philadelphia, in two parts, the upper section with a molded broken arched pediment with carved rosettes and three flame finials, fitted with a central drawer with a relief-carved shell and acanthus appliques, flanked by two smaller drawers and above four graduated long drawers, the lower case with a long drawer above three side-by-side drawers, the center drawer matching the center drawer in the upper case, with an elaborately shaped skirt with applied carvings, raised on cabriole legs with shell-carved knees and ending in ball-and-claw feet, retaining its original brass hardware. h. 93”, w. 44”, d. 22”

896

$2,500‑$4,000 897 Pair of Colonial Revival Brass and Glass Hurricane Sconces third quarter 20th century, with scalloped backplates and turned bases, fitted with glass hurricane shades engraved with flowers and wheat. h. 23‑1/2”, w. 11”, d. 9‑3/4” Provenance: The historic Warwick Hotel, Houston, Texas. $1,200‑$1,800 898 American Wood, Metal and Fabric Model of the Racing Yacht America 20th century, the carefully detailed model with a painted hull, mahogany deck, sails and rigging, it won the renamed First America’s Cup in 1851 and flies the ensign flag, in a custom mahogany case. h. 33‑1/2”, w. 38‑1/2”, d. 10‑1/2” $1,000‑$1,500

898

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899 Charles Robert Patterson (American, 1878‑1958) “In Company” oil on canvas signed lower left, “Quester Gallery, Stonington, CT” label with artist and title en verso. Framed. 49” x 54”, framed 58” x 63” $4,000‑$7,000 900 Rare American Cast Iron Wafer Iron first quarter 19th century, decorated with the seal of the United States, incorporating a shield grasped by an eagle, the outside marked “No. 2”, on each side. dia. 5‑1/2”, l. 26‑1/2” $1,000‑$1,500 901 Early American Pine Step-back Pewter Cupboard

899

early 19th century, in two parts, the upper section with open shelves and scalloped sides, the base fitted with three drawers above a pair of raised panel cabinet doors. h. 76”, w. 53”, d. 18” $1,000‑$1,500 900

902 Pair of Colonial Revival Inlaid Mahogany Knife Urns first quarter 20th century, probably Potthast, Baltimore, with serpentine covers and fitted interiors, with vertical line inlay and crossbanding. h. 27‑3/4”, w. 8”, d. 8” $1,000‑$1,500

901

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903 American Wood, Brass and Fabric Model of the Corsair 20th century, the Corsair was an American steam yacht owned by J. P. Morgan and constructed at the Bath Iron Works, this carefully detailed model with a painted hull, mahogany deck and rigging, encased in a large custom mahogany case. h. 57”, w. 57”, d. 16” $1,200‑$1,800

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904 American Federal Mahogany Inlaid Huntboard first quarter 19th century, probably Northern Virginia or Western Maryland, the solid figured mahogany top with an inlaid leading edge over a row of three drawers with line-strung borders and fan-inlaid corners, each bank with a large bottle drawer disguised as two drawers, the tapered legs with inlaid and graduated bellflowers, and ending in inlaid cuffs. h. 41”, w. 57‑1/2”, d. 25‑1/2” $1,000‑$1,500

904

905 American Late Federal Tiger Maple and Cherry Tall Chest first quarter 19th century, the upper section with a protruding bank of five drawers above three graduated long drawers, flanked by spiral-twist columns. h. 56”, w. 42”, d. 22” $700‑$1,000

905

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906 American Federal Mahogany Four-Post Bed first quarter 19th century and later, the turned and reeded posts with acanthus-carved details, the paneled headboard with a peaked crest and acanthus-carved motifs. h. 95”, inside w. 54”, l. 72”, outside w. 67”, l. 82” $800‑$1,200

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907 American Federal Inlaid Mahogany Sideboard first quarter 19th century, New York, of desirable size, the shaped top above a central section fitted with a single long drawer disguised as side-by-side drawers and a pair of cabinet doors below, flanked by curved doors on each side and raised on slender tapered legs. h. 40‑1/2”, w. 69”, d. 27” 907

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$1,000‑$1,500

908 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Silhouette Portrait of David Austin Sayre (1825‑1870)”, Lexington, Kentucky, May 25, 1844 paper cut-out on lithograph signed by Sayre lower left, further signed, dated and localized by Edouart. Glazed in a period bird’s-eye maple frame. sight 10” x 7”, framed 13‑3/4” x 10‑3/4” Provenance: Peggy McClard American and Folk Art, Houston, Texas; Estate of Dr. Carroll Ball, Jackson, Mississippi. $800‑$1,200 David Sayre, a celebrated Kentucky statesman, was a prominent silversmith, banker and educator. In 1823, he added a brokerage office to his successful silver-plating business and created the banking house David A. Sayre and Company. Sayre, best known for his philanthropy, was instrumental in the formation of many Kentucky colleges. He established the Sayre Female Institute (now the Sayre School in Lexington), the first endowed college for women in America. He was one of the founding members of the University of Kentucky (formerly the Agricultural Society of Fayette County), and built the library at Centre College in Danville, Kentucky. In addition to higher education, Sayre contributed significantly to the development of public charities, including churches, missions and orphanages. A life-sized statue of Sayre was erected in Lexington Cemetery, where he is buried.

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909

909 Louisiana School (First Quarter 19th Century) Two Historic New Orleans Portrait Miniatures each watercolor and gum arabic including “Mary Minor Kenner (ca. 1786‑1814), Wife of Planter and Politician William Kenner (1776‑1823)", unsigned, frame backing with typewritten description identifying the sitter and Duncan Kenner Brent’s card, sight 2‑1/8” x 1‑7/8”; and Ambrose Duval (French/New Orleans, ca. 1778‑1860), “Portrait of a Young Man in a Navy Coat with White Waistcoat and Stock”, signed lower right, 2‑3/4” x 2‑1/4”. Each glazed in an oval frame. framed 5” x 4‑3/4” and 3‑3/8” x 2‑3/4”, respectively Provenance: The Kenner portrait with sitter’s son Duncan Kenner (1813‑1884), thence by descent through the sitter’s great-grandson Duncan Kenner Brent (1877‑1934), son of Rosella Kenner (1849‑1928) and General Joseph L. Brent (1826‑1905). Both portraits, Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,200‑$1,800 Exhibited: By family repute, the Kenner portrait was borrowed/ exhibited in the first half of the 20th century by the National Gallery of Art in Washington, D.C., and by the Metropolitan Museum of Art, New York, in concert with the “Carrington miniatures”.

Little is known of Mary Minor proper, the sitter of this fine portrait miniature. She married William Kenner at the age of fourteen in 1800 and died fourteen years later. Her husband was a founding father of the city, and their four sons were major planters, who developed the New Orleans suburb of Kenner, after whom the city was named. William Kenner, a native of Virginia, was a prominent New Orleans planter, businessman and politician, who was involved in the brokerage of the Louisiana Purchase of 1803. Collectively, their sons owned Belle Grove, Pasture, Oakland and Ashland Plantations, and sold portions of the land for the Kenner property and for the New Orleans/Jackson Mississippi Railroad. The French-born Ambrose Duval was one of the earliest and most successful portrait miniaturists working in New Orleans in the early 19th century. In 1805 he painted the famous portrait of William Claiborne, the first governor of Louisiana, now conserved in the Historic New Orleans Collection. In addition to portraiture, he advertised his services when he arrived in 1803 as a teacher and naturalist painter of landscapes and flowers. His predilection for the latter made him an astute ornithologist. By 1829, he had amassed an extensive collection of preserved birds in his Bourbon Street studio, which he lent to his friend John James Audubon for his study of Birds of America.

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910

910 American School (First Quarter 19th Century) “Portrait of Two Boys and a Girl”, ca. 1815 watercolor and gouache on card unsigned. Glazed in a period figured cherry frame. sight 4” x 3‑1/2”, framed 8‑1/4” x 6‑7/8” Provenance: Collection of Edward Grosvenor Paine (1911‑1994), London, New York and New Orleans; (Frame) Laurel Hill Plantation, Natchez, Mississippi; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Antiques. (June 1989): 1357. $1,500‑$2,500 911 American School (First Quarter 19th Century) Three Fine Portrait Miniatures

912 American School (First Half 19th Century) “Pair of Portrait Miniatures of Aaron Burr (1756‑1836) and His Wife Eliza Bowen Jumel (1775‑1865)”, ca. 1834‑1840 each watercolor and gouache each unsigned. Both matted and glazed in matching giltwood frames. sights 3‑3/4” x 2‑3/4”, framed 8‑1/4” x 7‑1/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 Aaron Burr, the former third Vice President of the United States and ornery politician, best known for shooting Alexander Hamilton, lived a long, vigorous life, marrying Eliza Jumel - the wealthy socialite - at the spry age of seventy-seven in July 1833. Jumel, the widow of the affluent French merchant Stephen Jumel, left Burr after four months of marriage due to his plunder and mismanagement of her fortune; not coincidentally, she chose Alexander Hamilton’s son as her divorce attorney. In late 1833, probably to commemorate his marriage, Burr commissioned James van Dyck to paint his portrait, and possibly Jumel’s also. Burr sat for van Dyck on six separate occasions. When the portrait was complete in January 1834, Burr had already split from Jumel and the portrait was not paid for, which prompted van Dyck to offer it to the public with the terse description on the back: “For Sale. Aaron Burr, painted in 1834, in six sittings by James van Dyck. If not satisfactory, return to 18 Centre St. Room No. 3”. According to the New York Historical Society, where the van Dyck portrait of Burr is now conserved, multiple copies and prints of the portrait were made, especially after Burr’s death in 1836. These two watercolor portraits, particularly the Burr, are believed to be period copies of probably one of the van Dyck studies and/or other extant portraits.

each watercolor and gum arabic/gouache including William Doyle (1769‑1828), “Gentleman with a Riding Glove”, 1813, signed and dated right edge, sight 2‑3/8” x 1‑7/8”; a “Bearded Gentleman”, sight 3‑1/8” x 2‑1/2”; and “John Paine, (Probably) of Massachusetts”, sitter’s name inscribed on frame backing, sight 3‑1/8” x 2”. The first two glazed in oval rolled gold-plated pendants, the Doyle with plaited hair en verso; and the third glazed in a purple velvet shutter frame. All three together in a wood and glass presentation case Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 912

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913

913 American/Continental School (First/Second Quarter 19th Century) Five Portrait Miniatures of Children each watercolor and gouache including “Profile of Elizabeth Neville Bowerman (b. 1809) of Baltimore, Maryland”; “Girl Holding Flower in Landscape”, verso with cobalt glass and pearl surround centering a locket of hair; “Infant with Red and White Lace Sash”, frame backing inscribed “Cui-cui”; “Girl in Purple Chiffon Dress”; and “Girl in Pale Blue Dress with Blue Plaid Belt”. The first three glazed in rolled gold-plated oval frames, overall 3‑5/8” x 2‑5/8”, 3‑5/8” x 2‑5/8” and 2‑3/4” x 2”, respectively. The last two in brass surrounds mounted in ebonized frames, surrounds dia. 2‑1/2” and 2‑3/4”, overall 5” x 4‑3/4” and 5‑1/4” x 5”, respectively. All five together in a glass and wood presentation case, 12” x 18”. Provenance: Bowerman portrait, the sitter’s son General Richard Neville Bowerman (1831‑1920), Maryland; thence by descent. All five portraits, Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

Born in New York City, David and James Codwise were sons of George Codwise, a merchant and ship owner who was engaged in West Indies trade, and his wife, Anna Maria Van Ranst Codwise. David graduated from Columbia University in 1798, became a successful lawyer, and married New York socialite Martha “Patty” Livingston. A man of cultivated taste, David Codwise built Cottage Orne, designed by architect Alexander Jackson Davis in 1835 near New Rochelle, New York. The plan for the Cottage Orne was published in Davis’ book Rural Residences, Etc. in 1837 and the original plan is in the Metropolitan Museum of Art collection. Martha Codwise was a founding member of The Women’s Hospital in 1855 which was “intended exclusively for the treatment of diseases peculiar to women.” David’s elder brother James Codwise married Rebecca Rogers, daughter of John and Agnes Rogers of Mt. Victory Plantation, St. Croix, West Indies in 1797. James and Rebecca inherited her father’s sugar plantation and slaves. The two brothers remained close despite the distance and their differing perspectives on slavery. In 1818, Rebecca Codwise traveled with her children from St. Croix to visit her brother and sister-in-law in New York City. David and Martha Codwise did not have any children of their own, but were instrumental in the raising of his brother’s children. With mounting debts and creditors, James and Rebecca lost the sugar plantation and many of their slaves by 1848. The couple continued to live on the island and ran a boarding house. Several of their children eventually left St. Croix and moved to Alabama and Michigan. The conflicting viewpoints on slavery remained in the Codwise family dynamics and during the Civil War, three of the grandsons served in the war, two on the side of the Confederacy and one with the Union forces. The brothers commissioned prominent American artists for their portraits. David selected Rembrandt Peale, the son of famed artist Charles Wilson Peale and an acclaimed artist, to paint a distinguished and elegant portrait of him with book in hand and seated in front of a swagged curtain. While James and Rebecca selected John Trumbull, renowned artist and student of Benjamin West, to paint their pendant portraits that are in the New York Historical Society collection.

914 Attributed to Rembrandt Peale (American, 1778‑1860) “David Codwise (d. 1864)” oil on cradled wood panel unsigned, handwritten inscriptions and label identifying artist and sitter and his home address “27 St. Mark’s Place, New York City”. In a period frame with artist and sitter plaque. 33‑1/2” x 26‑1/2”, framed 42” x 34‑1/4” Provenance: This portrait was in the collection of noted Aurora, Illinois businessman, art collector and native Tennessean, James M. Cowan (1858‑1930). Cowan donated 63 pieces of art from his collection to Nashville’s city art museum the Parthenon in 1927. This portrait descended in the Cowan family and sold at Cowan’s Historic Americana Auction, February 18, 2006; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: “The Sons and Daughters of James Codwise: Children of the West Indian Planter, 1796‑1873,” Columbia University, Student Exhibits. $4,000‑$7,000 914

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915 John Neagle (American/Philadelphia, 1796‑1865, active New Orleans early 1820s) "Portrait of John Wandell (ca. 1790-1868)", 1833 oil on canvas signed and dated mid-right, “Kennedy Galleries, Inc., N.Y.” labels with artist and sitter en verso, handwritten inscription identifying previous owner with provenance. Framed. 30” x 25”, framed 39‑1/2” x 34‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 John Neagle traveled through Kentucky and visited New Orleans in 1819 to 1820 in search of portrait commissions. Eventually settling in Philadelphia, Neagle was introduced to the city’s leading portraitist, Thomas Sully and married his stepdaughter. Neagle enjoyed a successful career as portraitist of prominent members of the community. Additionally, he painted the portraits of his fellow artists, architects and colleagues. The “A. M’Elroy’s Philadelphia Directory” of 1839 lists John Wandell as a gilder, and he may have become acquainted with Neagle through his work with frames.

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John Wandell was born in New York around 1790, though precisely where and to whom remains a mystery, as do his early years and education. However, his life in Philadelphia is well-documented, beginning with his marriage on March 8, 1817 at the First Reformed Church of Philadelphia to Eliza Burt, who was born October 8, 1795 in Cumberland County New Jersey to Moses Burt (1772‑1832) and Lovicy Westcott (1766‑1863). The following year, Wandell first appears as a carver and gilder in the Philadelphia directory at 2 North Alley Street, and subsequent directories show a progressively prospering business. By 1840 he had purchased a residence at 149 North Fourth Street, and his business was located on High (now Market) Street. His business grew and moved northward as the city itself expanded, relocating to Callowhill Avenue (and including furniture) in 1846 and to Girard Avenue in 1851. He joined his son John Wandell, Jr. (1827‑1864) in a cloth business on South Second Street in 1852, ultimately retiring from both businesses in 1859 and moving to Chelten Avenue in Germantown, where he died on October 8, 1868. He, his wife and several children are buried in Laurel Hill Cemetery in Philadelphia. The last of his seven children, Elizabeth Burt Wandell (Mrs. William M.) David, died in 1911. 916 Attributed to Henry Inman (American, 1801‑1846) “Portrait of President William Henry Harrison (1773‑1841)” oil on canvas unsigned. Framed and with artist plaque. 30” x 25”, framed 40‑1/4” x 35‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,500‑$2,500

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918 917

917 American School (19th Century)

918 American/Southern School (Mid-19th Century)

“Portrait of a Gentleman”

“Portrait of a Handsome Gentleman”

oil on canvas unsigned. In a period giltwood frame. 36” x 28”, framed 45‑1/2” x 37‑3/4”

oil on canvas unsigned, “Edward Dechaux, New York” canvas stamp en verso. In a period frame. 27” x 22”, framed 36” x 31”

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

$1,000‑$1,500

919 American School, Possibly South Carolina (First Quarter 19th Century) “Portrait of a Young Gentleman, Possibly Charleston, South Carolina” oil on wood panel unsigned, with a label attribution to Charles Fraser (1782‑1860) and with a provenance of “Schindler’s Antiques, Charleston, 1970”. In a period birdseye maple frame. 12‑3/4” x 10‑1/2”, framed 16‑5/8” x 14‑5/8” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500 919

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920 John Neagle (American/Philadelphia, 1796‑1865, active New Orleans early 1820s) "William J. Burns (b. 1779)", 1824 oil on canvas according to typewritten note en verso “Prior to relining, dated and inscribed to Wm. J. Burns Esq. My savior in New Orleans - J. Neagle 1824”. In an antique giltwood frame. 30” x 25”, framed 37” x 32” Provenance: Collection of Gretchen and Alonzo Lansford, former director Delgado Museum of Art, 1948‑1957 (now New Orleans Museum of Art); Neal Auction Company, June 11, 2005, lot 569; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: [Thomas Fitzgerald], “John Neagle, the Artist”, in Lippincott’s Magazine, Vol. 1, No. 5, May 1868, Philadelphia. William Dunlap, History of the Rise and Progress of the Arts of Design in the United States (New York: G.P. Scott & Co., 1834), v. II, pp. 372‑377. $2,000‑$4,000 While the identity of William J. Burns of Frankfort, Kentucky remains elusive, the circumstances of Neagle’s portrait of him is well-documented. William Dunlap’s 1834 History of the Rise and Progress of the Arts of Design in the United States includes a biography Neagle peppered with anecdotes from the artist himself, who assisted Dunlap with the work, providing much information on Neagle’s mentors, Gilbert Stuart and Thomas Sully. Dunlap records Neagle’s ill-fated journeyman trip to Lexington, Kentucky in 1818, where he was dumbfounded to find a very accomplished portraitist Matthew Harris Jouett (1788‑1827) - already in residence.

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He decided to travel downriver to New Orleans, but was depleted of finances. Says Dunlap: “The young painter in this dilemma was accosted by one who had known him in Philadelphia, and finding that he was awkwardly situated, frankly offered him assistance. The offer of the loan of a few dollars was accepted, and the youth once more afloat, was wafted with the current towards the great commercial emporium of the west.” In a footnote, he adds: “The name of this friend was Burn, and the painter afterward presented him with his portrait, probably of $100 price, for the three dollars then lent him”. In 1868, two years after Neagle’s death, Philadelphia-based Lippincott’s magazine published a lengthy memorial of the artist by Thomas Fitzgerald, and it adds much color to the meeting between Neagle and Burns: While waiting for the stage [at Frankfort] he was accosted by a townsman named Joseph Burns, saying: “Is this not John Neagle, of Philadelphia?” “My name is Neagle, sir,” was the reply. “Which way are you going?” asked Burns. “I hardly know,” said Neagle; “but I had some thought of trying to make my way to New Orleans.” “God bless you! I am going the same way. Meeting a man from Philadelphia is like meeting a friend. We will go together!” Fitzgerald recounts the rest of Neagle’s voyage with the flamboyant, avuncular Burns (“Cheer up, my boy, for I am loaded with money!”), noting that the latter was annoyed when Neagle sold some of his wardrobe to the ship’s captain and that “on their arrival in New Orleans, Burns procured a dozen portraits for Neagle to paint”.

921

The typed note on the back of this portrait identifies the sitter as “an unidentified member of the Bisland/Lambdin/Sessums family of Edgewood Plantation near Natchez”, and notes that the portrait was “obtained from a Mrs. Powers (a Sessums) of Vidalia [Louisiana]” 921 Attributed to James Reid Lambdin (American, 1807‑1889) “Portrait of a Woman, Possibly Jane McClary Bisland (18221824), Member of Bisland, Lambdin and Sessums Families of Edgewood Plantation, Natchez, Mississippi” oil on canvas unsigned, typewritten label identifying artist, sitter and provenance, and “Ford’s Gallery, Jackson, Mississippi” label en verso. In a modern frame with period interior oval aperture. 30” x 24”, framed 37” x 31‑1/2” Provenance: Descended in the family of sitter; Estate of Dr. Carroll Ball, Jackson, Mississippi, through Guercio’s Antiques, Natchez, Mississippi, 1989. Literature: Patti Carr Black, Art in Mississippi 1720‑1980 (Jackson, MS: University Press of Mississippi, 1998) pp. 50‑52. Ruth Irwin Weldner, The Lambdins of Philadelphia (Philadelphia: Schwarz Gallery, 2002). $1,000‑$1,500

The artist James Reid Lambdin’s connection to Edgewood was very close indeed; the Greek Revival plantation house was built by his brother Samuel Hopkins Lambdin (1811‑1902) in 1859/60. James Lambdin had received an invitation from Anne Dunbar (Mrs. Samuel) Postlethwaite to make a professional visit to Natchez in 1830 (owing in part to the promotions of John J. Audubon, who briefly shared a studio with Lambdin in Pittsburgh), and he painted there from late December 1830 until May 1831. His brother Samuel, who had worked as commander of the steamboat Ohioan, settled in Natchez in 1835, becoming a partner in the plantation supply business Lambdin & Bennett. James Lambdin continued to visit his brother in Natchez, executing portraits for several prominent families including the Bislands, Beltzhoovers and Stantons. It is likely, then, that the sitter is Samuel Hopkins Lambdin’s wife, Jane McClary Bisland (1822‑1894). The young woman’s dress and cascading crimped curls point to a mid-1840s date, and the prominent wedding band on her left hand suggests a newlywed; Jane McClary Bisland (daughter William and Mary Witherspoon Bisland) married Samuel Lambdin in Natchez on January 5, 1842, when she was 19. The Mrs. “Sessums/ Powers” of Vidalia has not been identified, but it is to be noted that there is an Elizabeth Power (nee Sessions) of Vidalia who is a direct descendant of Samuel and Jane Bisland Lambdin through their daughter Louise Lambdin (Mrs. Louis) Winston.

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922 French Empire Gilt-Bronze Figural Clock by Deniere Pere first quarter 19th century, Paris, by Jean-Francois Deninger, known as Deniere (1775‑1866), decorated with a cupid riding a swan, the bird’s tail supporting the clock, the dial signed “Deniere Fab.t de Bronzes”, the oval base decorated with a pair of birds drinking from a bowl resting on molded swags, set with a silk string suspension movement. h. 7‑1/4”, w. 8‑1/4”, d. 6” $1,500‑$2,500

923 Stylish Pair of Paris Porcelain Urns Decorated by Halley ca. 1800, French, decorated with baskets of flowers on a tan ground with mauve arabesque painting, with swan-form handles, an orange medallion painted with a kylix under each handle, raised on faux marbre bases, signed “Halley” in gilt script. h. 13‑3/4”, w. 5‑1/2”, d. 4”

922

$1,200‑$1,800

924 Exceptional Paris Porcelain Solo Cabaret Set first quarter 19th century, attributed to Nast, decorated with a grid of gilt flowers on a cobalt ground, the set including a coffeepot with “masque” decoration on the spout and handle, h. 7‑3/4”, w. 5‑1/4”, d. 3‑1/2”, a covered sugar bowl, h. 5‑1/4”, w. 4‑1/4”, d. 3‑1/4”, and a cup and saucer, h. 3‑1/2”, dia. 5‑1/2”, unmarked. $1,000‑$1,500

923

924

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925 Bronze Dore George Washington Allegorical Mantel Clock ca. 1815‑1830, Paris, the case with an enamel dial, flanked by a standing figure of George Washington grasping his sword in one hand, a scroll in the other, the case surmounted by an eagle modeled after the one on the “Great Seal of the United States”, the period silk thread suspension now converted to the later steel spring suspension. h. 12‑1/2”, w. 8‑3/4”, d. 4‑1/2” Provenance: By family repute, the clock was acquired by Indiana farmer and War of 1812 veteran William A. Hart (1789‑1858); his son, Samuel McHenry Hart (1816‑1898), who is interred in Magnolia Cemetery, Baton Rouge, Louisiana; his son Robert A. Hart (1858‑1939), who became a land developer and eventual mayor of Baton Rouge. In 1904, Hart purchased the French Creole house Magnolia Mound, now a house museum maintained by the city of Baton Rouge; Magnolia Mound, along with its contents (including the clock) was sold in 1929 to Hart’s niece Marie Blanche Duncan (1876‑1958); the clock descended to her cousin Anna Belle Hart (Mrs. John T.) Anderson (1907‑1996); her nephew Winder Hart Dunbar (1930‑2015); Private collection, Baton Rouge, Louisiana. $15,000‑$25,000 925

The present clock, after a design by Parisian bronzier Jacques Nicolas-Pierre-Francois Dubuc, is part of a group of commemorative clocks created for the American market that celebrated the new republic and the recent conclusion of the War of 1812. An 1815 letter from Dubuc to an American discussed his intention to produce these clocks in two sizes. There are a number of variations of the Dubuc clock, most of which are either approximately 15” or 20” high (both are larger than the present clock). The figure of Washington is based on John Trumbull’s 1792 painting, “Washington Before the Battle of Trenton”. The banner declaring “First in War, First in Peace, First in the Hearts of his Countrymen”, and the eagle perched atop the works, appear to be common elements to all. Examples of this smaller-scaled clock rarely surface. Period correspondence by Dubuc indicates that his intention was to make this clock in two sizes. It is unclear whether this third, smaller clock is a later form by Dubuc, or the work of a competing bronzier, who sought to capitalize on the success

of the model. Similar examples to the present clock are, or have been, in the collections of the Metropolitan Museum of Art, New York; the Chrysler Museum, New York, and The White House, Washington, D.C. Examples of the larger forms are conserved by several institutions, including the Metropolitan Museum of Art, New York; Winterthur Museum, Delaware; White House, Washington, D.C.; and the U.S. Department of State DiplomaticReception Rooms, Washington, D.C. References: Kenny, Peter. “Going for the Gold - Two French Ormolu Washington Clocks at Classical American Homes Preservation Trust”. Classical American Homes Preservation Trust, Winter 2015. Web. 6 July 2018; “Recent Discoveries” (discussion of recent scholarship by Lara Pascali on the Dubuc clocks); Winterthur Museum Collection, Undated. Web. 1 July 2018; Snellenburg, Jonathan, “George Washington: A Survey of Memorial Clocks”, Antiques and Fine Art, Winter 2001. Web. 1 July 2018.

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926 Continental Carved Giltwood Eagle ca. 1800, the bird poised with wings down, perched on a giltwood sphere, mounted to a painted hemispherical base. h. 33‑1/2”, w. 20”, d. 7‑1/2” $1,400‑$1,800

927 Exceptional Pair of Paris Porcelain and Marble Urns Attributed to Dagoty first quarter 19th century, French, on black marble bases, the gilt urns decorated with biscuit swags of flowers and scattered cobalt classical details picked out in gilt, on a matte ground. h. 13‑3/4”, w. 7”, d. 5‑1/2” $1,500‑$2,500

928 American Classical Parcel-Ebonized Mahogany Cellarette

926

ca. 1825, of sarcophagus form, the lift top over a tapering body and cove-molded base, raised on leaf-carved paw feet. h. 27‑1/2”, w. 26”, d. 19‑1/2” $1,000‑$1,500

927

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929 American Classical Giltwood Tabernacle Mirror attributed to Isaac Platt (1793-1875), New York, second quarter 19th century, in two parts, the surround decorated with reeding and lotus leaves, the corners with carved and pierced acanthus leaves. h. 59”, w. 33” $1,000‑$1,500 930 French Empire Premiere Bronze Dore Figural Mantel Clock first quarter 19th century, with figures of Cupid and Psyche flanking the clock and in bas-relief on the base, mounted with a silk-string suspension movement. h. 20”, w. 14”, d. 4‑3/4” $1,000‑$1,500 931 American Classical Gilt and Polychrome-Stenciled Mahogany Dressing Table ca. 1825, New York, the top with a stenciled perimeter and edge, on a case with two drawers over a wide drawer, each with gilt stringing and anthemions, raised on a foliate-carved pedestal joined to like legs ending in carved paw feet. h. 35”, w. 36‑3/4”, d. 18‑3/4” $1,200‑$1,800

929

931

930

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932 Two Pairs of Porcelain Urns first quarter 19th century, including a rare pair of large French grisailleprinted urns with neoclassical decoration, attributed to the Limoges firm of Allaud, h. 12‑1/2”, w. 6‑1/4”, d. 4‑1/4”, and a small pair of English urns with hand-painted landscapes, h. 7‑1/4”, w. 5”, d. 3‑3/4”. $800‑$1,200 933 American Classical Parcel-Gilt and Ormolu-Mounted Rosewood and Mahogany Pianoforte New York, by Robert (1791-1869) and William (ca. 1794-1879) Nunns, first quarter 19th century, the crossbanded top with a lift and fold-back lid, exposing the keyboard and stenciled decor, flanked by a pair of low sheet music drawers, and raised on ring-turned and reeded legs with embossed brass collars, labeled “Manufactured by Robert & William Nunns for Dubois & Stodart, New York”. h. 33‑3/4”, w. 68”, d. 27”

932

$1,000‑$1,500 934 Twelve-Piece Collection of Derby Porcelain early 19th century, including a three-part topographical campagna-form garniture set, h. 6‑3/4” to 8”, dia. 5‑1/2” to 6‑1/2”, two pairs of Bloor Derby vases with topographical decoration, h. 9”, w. 6‑1/2”, d. 4‑1/4”, a single campanaform urn with topographical decoration, h. 8‑1/4”, dia. 6‑3/4”, a pair of Japan-decorated pastille burners, h. 4‑1/4”, dia. 5”, an unmarked vase decorated with a grouse, h. 7‑1/2”, w. 5”, d. 3‑1/2”, and a rare potpourri urn with cover, h. 4‑3/4”, dia. 2‑3/4”. 933

$1,000‑$1,500 935 American Late Classical Stenciled Mahogany Work Table second quarter 19th century, probably New York, the hinged rectangular top opening to a fitted interior and supported by a pair of carved cornucopia of lyre form and mounted to an oval platform raised on four outstretched carved paw feet. h. 30”, w. 22”, d. 17” $1,000‑$1,500

934

332

935

936 American Classical Parcel-Gilt and Stenciled Mahogany Pier Table New York, probably by J. & J. W. Meeks, second quarter 19th century, the marble top over a frieze centered by fruit- and foliate-stenciled decor, raised on marble columns with carved giltwood capitals, on a concave base, the back with a looking glass flanked by marble pilasters, on cornucopia-carved paw feet. h. 37‑3/4”, w. 44”, d. 20‑1/4” $2,500‑$4,000 937 Collection of Three Louis-Philippe Portico Clocks 936

second quarter 19th century, the largest example composed of ebonized wood with gilt-bronze mounts, the dial with an enameled chapter ring, h. 22”, w. 11‑1/2”, d. 7”, the middle example composed of black marble with gilt-bronze mounts and dial, h. 20‑3/4”, w. 11”, d. 5‑3/4”, and the smallest example composed of ebonized wood with gilt-bronze mounts and a silvered dial, h. 19‑1/2”, w. 10”, d. 5‑1/2”. $1,000‑$1,500 938 American Classical Parcel-Gilt Mahogany Pier Table second quarter 19th century, the slab marble top over an arched frieze raised on figured columns with carved capitals and bases, the shaped low shelf fronting a mirror plate, raised on crisply carved and shaped feet. h. 36‑1/2”, w. 42”, d. 20” $1,000‑$1,500 939 Four Handsome Paris Porcelain Garniture Vases

937

second quarter 19th century, including a vase with a plumcolored ground and winged angel-head handles with biscuit heads, a panel with a superbly rendered castle scene, a marbleized base and grisaille trim, h. 12‑3/4”, w. 5‑1/2”, d. 4‑1/2”, a large gilt vase decorated with a deer and sheep in a landscape with farm buildings, h. 12‑1/2”, w. 5‑1/2”, d. 4”, and a small pair decorated with religious scenes, h. 10‑1/4”, w. 5‑1/4”, d. 3‑1/2”. $800‑$1,200

938 939

333

940 Two Pairs of Paris Porcelain Urns second quarter 19th century, the larger pair decorated on the obverse with polychrome scenes of Zeus and Hera on one urn and Cupid and Psyche on the other, and on the reverse with depictions of classical ruins, h. 16”, w. 8‑1/4”, the smaller pair with caryatid-form handles and decorated on the obverse with hand-painted polychrome figures in Renaissance costume, and on the reverse with “Italian” landscapes, h. 10‑3/4”, w. 4‑1/4”, d. 3‑1/4”. $800‑$1,200 941 American Classical Mahogany Console Table second quarter 19th century, Philadelphia, the reeded marble top over a molded frieze with a central foliate-carved tablet, and like panels at the corners, raised on leaf-carved scroll supports on a shaped base with a pineapple-carved finial, raised on carved paw feet, the marble top associated with the base. h. 32”, w. 48‑1/2”, d. 21‑3/4” $1,000‑$1,500

940

942 French Empire Premiere Gilt-Bronze Figural Mantel Clock first quarter 19th century, decorated with the Muse of Music plucking a lyre, a torch piercing a wreath of flowers nearby, on a base decorated with swans, lyres and roses, the dial signed “Souriau, Rue Faydeau, No 20, Pres La Bourse”, mounted with a silk-string suspension movement. h. 21”, w. 13‑1/2”, d. 5” $800‑$1,200 943 American Classical Mahogany Sofa ca. 1825, of scroll form with dolphin-carved arms, the turned crest rail with foliate-carved scroll ends, the apron with panels above cornucopia-carved paw feet, upholstered in silk brocade. h. 33‑1/2”, w. 90”, d. 25”

941

942

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$1,200‑$1,800

943

944 American Late Classical Figured Mahogany Pier Table second quarter 19th century, Boston, the rectangular top above an ogee-molded frieze and supported by bold, deeply fluted columns in the front. h. 31”, w. 42‑1/2”, d. 19” $1,500‑$2,500

944

945 Group of Four Argand Lamps Attributed to Cornelius and Company, Philadelphia second quarter 19th century, including two double-arm lamps and a pair of single lamps, with Gothic window-molded bases, the tanks decorated with applied pierced and scrolled handles and artichoke finials, set with frosted and cut glass shades and prisms. h. 18‑1/2” to 19‑1/2”, w. 9‑1/2” to 14‑1/2”, d. 7” to 8” $1,000‑$1,500 946 American Classical-Style Giltwood Convex Mirror early 20th century, the crest with a large displayed eagle clinching four arrows, the circular shadowbox frame with thirteen round balls with a foliate tail below. h. 44”, w. 26” 946

$800‑$1,200

945

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The majority of this extraordinary collection of portrait silhouettes and miniatures was selectively culled over several decades for Dr. Ball by two of the most prominent dealers in the genre- Peggy McClard in Houston, Texas, and Hanes and Ruskin in Olde Lyme, Connecticut. Even more importantly, most of the silhouettes by Auguste Edouart offered here were from the artist’s personal collection that was salvaged from the wreckage of his ship the Oneida after it sunk off the island of Guernsey in 1849. Auguste Edouart, a French émigré, sought refuge in England following the French Revolution, where he began his career as a “hair picturist”, snipping and braiding elaborate lockets of hair into mourning portraits and art. His versatility with scissors, by happenstance, led him to silhouettes after he won a heated debate with a friend that mechanically cut silhouettes were not more effective than hand-cut ones. To prove his point, he cut a portrait with crisp precision and extraordinary likeness in under two minutes, earning him his first commission of its kind. Edouart’s silhouettes were so exact, even down to the hair-style and cutout white of the gentlemen’s collars, Edouart rarely embellished them with chalk, gouache or gold as many less accomplished silhouettists did. Some silhouettes were on plain white card, more elaborate ones appeared on lithographic interiors; the rarest and most valuable of all were placed on fine sepia inkwash backgrounds Edouart painted in situ. Over the next twenty-four years, he cut thousands of silhouettes in the U.K. and the U.S., earning him the reputation as one of the most accomplished silhouette artists of his time. Ten of these prolific years were spent in the U.S., capturing the physiognomy and fashion of the most important politicians, socialites and entrepreneurs of the time, including six former presidents, Henry Wadsworth Longfellow and Madame Jumel- whose portrait miniature, along with her ex-husband’s (Aaron Burr), is offered at sale in one of the succeeding lots. Though Edouart worked mostly in Pennsylvania, Massachusetts and New York, he traveled south to Kentucky and Louisiana. When Edouart cut a silhouette, he doubled the paper, creating a copy for his own collection, which he then placed on card. On the backs of each, he typically dated and localized the work, and often wrote the sitters’ names. By the time he left America in 1849 on the ill-fated Oneida bound for England, his work filled twenty-one folios, many of which contained several hundred silhouettes. Much of his lifetime work was lost with the ship. Numerous folios were rescued, though badly damaged by water. Devastated, Edouart gave them to the Lukis family with whom he resided and convalesced after the shipwreck. Years later in 1911, Mrs. F. Nevill (Emily) Jackson placed an advertisement in a London paper seeking silhouettes for research. The Lukis family sold her sixteen of the folios. Jackson meticulously photographed and indexed the albums, and restored them. She removed the black paper cut-outs from the damaged cards, pressed them and placed them on new cards. Since Edouart listed the sitters’ names and dates and locations on the backs of his silhouettes, Jackson cut holes (called keyholes) in the new cards so Edouart’s descriptions could be seen. When possible, she also cut the description from the bottom of the original page/card and pasted them to the bottom of the new ones. The American folios, which comprised six of the sixteen Mrs. Jackson acquired from the Lukis family, were purchased by the New York dealer Arthur S. Vernay, who broke up the folios and matted and framed them with double glass frames. Vernay sold the majority of them in a three week sale in 1913. The rest were dispersed over time. Additional American folios were gifted to the Metropolitan Museum in New York and the National Portrait Gallery in Washington, D.C.; and Mrs. Jackson donated some of the British folios to museums in the U.K.

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947 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Large Portrait Silhouette of the Families of Dr. John Clarke (1773‑1846) and of Ferdinand Andrews (b. 1794)”, Saratoga Springs, New York”, 1840 paper cut-outs on sepia ink/wash signed, localized and dated “Aug. 1840” lower center, frame backing with “E. Grosvenor Paine” sales label and label with information from Mrs. F. Nevill Jackson’s book. Glazed in a period bird’s-eye maple frame. sight 15‑1/2” x 35‑1/2”, framed 21‑1/2” x 41‑1/2” Provenance: Collection of Edward Grosvenor Paine (1911‑1994), London, New York and New Orleans; L. F. Antique Show, 1977; Hanes & Ruskin Antiques, Old Lyme, Connecticut, 2012; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. F. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, pp. 192, 198‑199. $3,000‑$5,000

947

Born in Yorkshire, England, “Doctor” John Clarke immigrated to the United States as a young child shortly after the American Revolution. An entrepreneur by nature, Clarke is credited with inventing the first soda fountain in New York City in 1819. He is, however, best known as the father of bottled spring water, and one of the pioneering developers of Saratoga Springs, New York. In 1823, he purchased the Congress Spring in Saratoga Springs, developed the Park around it, transforming the swamp into a safe and equitable public space. In 1826, Clarke partnered with fellow New York businessman Thomas Lynch to bottle and mass produce the mineral water. “Lynch and Clarke” water, which became “John Clarke” after Lynch’s death in 1833, was immensely successful with distribution throughout the United States and Europe. Clarke relocated to Saratoga Springs ca. 1828 to better oversee the company’s burgeoning production, and quickly recognized the city’s tourism potential. In addition to bottled water, he implemented the first waterworks system and co-founded the Saratoga and Schenectady Railroad in 1832. Clarke purchased extensive tracts of land throughout the town and surrounding county (much of which is now Skidmore College), and planned Circular Street, where he erected the famous Greek Revival Clarke Mansion, built by John Hodgman in 1830-1832. Clarke married Eliza Bryar White, the widow of New York

attorney Charles White, in 1829. In addition to Eliza’s four children (William, Mary, Charles and Louisa), the couple had three children (Eliza, Thomas and George). Though none of the elder children are known to have married into the Putnam-Andrews family, Clarke had several business ventures with the family. Ferdinand Andrews was a grocer/publisher with ties to Saratoga Springs and Boston; he thus likely supplied and marketed the bottle mineral water. Clarke would have been more directly engaged with the family of Andrews’ wife- Nancy Putnam. The Putnams (Nancy’s father Gideon and brother Rockwell) were among the first developers of the Saratoga Springs. They designed the city around the three springs, and “tubed” them for public use; they built Congress Hall Hotel, and they jointly invested in the springs and railroad with Clarke. Individual silhouette portraits of John Clarke and Ferdinand Andrews are conserved at the Metropolitan Museum. Portraits of Clarke/White and Andrews family are listed in Mrs. F. Nevill Jackson’s index of Edouart’s work, even though she did not register/indicate, which were group portraits. In addition to this silhouette, with the parlor depicted in the background, at least one other Clarke family portrait with a sepia/inkwash background of a drawing room in Circular Mansion, was cut by Auguste Edouart in 1840, and sold for $18,960 at James D. Julia Auction, August 24-26, 2016, as lot 2160.

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948 Auguste Edouart (French, active U.K., U.S., 1789‑1861) Three Portrait Silhouettes of Distinguished Bostonians, 1840‑1841 each paper cut-out with sepia/ink wash ground including “Dr. Charles Fletcher”, 9‑1/2” x 7‑3/8”, “Margaret Baker”, 10‑1/4” x 7‑7/8”, and “Samuel Nicholson”, 9‑7/8” x 7‑1/2”, each signed, dated, localized and inscribed with sitter’s name. Each glazed and framed. framed 11‑1/2” x 9‑1/2”, 12‑1/2” x 10‑1/2” and 11‑3/4” x 9‑3/4”, respectively Provenance: Nicholson silhouette, Hanes and Ruskin, Old Lyme, Connecticut. All three silhouettes, Estate of Dr. Carroll Ball, Jackson, Mississippi.

948

$1,000‑$1,500 949 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Silhouette Portrait of Mr. Horace Gray, Esq., “Father of the Boston Public Garden” (1800‑1873), His Wife and Children”, 1841 paper cut-outs and ink wash on card signed and dated lower margin, dated, localized and sitters identified en verso in period script. Glazed and framed. sight 8‑1/2” x 12”, framed 10” x 13‑1/2” Provenance: Doyle, New York, May 1, 2007, lot 3172; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 206.

949

$1,000‑$1,500 950 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Portrait Silhouette of Samuel Shaw Howland (1790‑1853) and His Brother Gardner Green Howland (1787‑1851) in Their Law Office in Washington Square, Lower Manhattan”, Saratoga, Aug. 11, 1840 paper cut-outs on sepia/ink wash signed, dated and localized lower right, sitters’ names inscribed and titled on typewritten label en verso. Matted, glazed and framed. sight 11‑1/4” x 9‑1/4”, framed 18‑7/8” x 15‑7/8” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 209. $1,000‑$1,500 950

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951 Auguste Edouart (French, active U.K., U.S., 1789‑1861) Two Silhouette Portraits of New York Clergy paper cut-outs and gouache on lithographs including “(By Repute) Reverend Benjamin Clarke Cutler, D.D., Rector of St. Anne’s Church, Brooklyn, on a Garden Terrace”, Saratoga, Aug. 14, 1844; and “(Probably) A Young Reverend in the Library Rectory Overlooking the Church”, Saratoga, Aug. 4, 1843. Each signed, dated and localized lower center left. Each glazed in a period wood frame. sights 10‑1/4” x 6‑3/4” and 10‑3/4” x 7”, respectively; each framed 13‑3/4” x 10‑1/2”

951

Provenance: Hanes and Ruskin Antiques, Old Lyme, Connecticut; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Reverend Cutler in Mrs. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 200. $1,000‑$1,500 952 Attributed to William Henry Brown (American, Charleston/Philadelphia, 1808‑1883) Two Silhouette Portraits of Pennsylvania Politicians paper cut-outs accented with gouache on lithographs, each unsigned, including “Francis R. Shaunk (1788‑1848), 10th Governor of Pennsylvania, 1845‑1848”; and “General George Potts (1806‑1872), House of Representatives, 1840‑1844, and 1st Mayor of Altoona, 1870‑1872”. Each glazed and framed, the second in a period frame. each sight 13‑3/4” x 11‑1/8”, framed 17‑3/4” x 15” and 18” x 16”, respectively

952

Provenance: Silhouette of General Potts descended in the family through 1932; Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,500‑$2,500 953 Attributed to William Henry Brown (American, Charleston/Philadelphia, 1808‑1883) “Silhouette Portraits of Two Gentlemen” paper cut-outs on lithographs each unsigned. Glazed in near matching period bird’s-eye-maple frames. each sight 13‑1/2” x 9‑1/2”, framed 16‑1/2” x 12‑1/2”. Provenance: Peggy McClard American and Folk Art, Houston, Texas; Estate of Dr. Carroll Ball, Jackson, Mississippi.

953

$800‑$1,200

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954 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Portrait Silhouette of Spinning Dowager Susannah Willes Holyoake (1763‑1850), Britannia Square, Worcester”, 1837 paper cut-out on lithograph signed and dated lower left, further signed, dated, localized and inscribed with sitter’s identity on frame backing in period script. Glazed in a period bird’s-eye maple frame. sight 10‑1/2” x 7”, framed 13‑1/4” x 9‑3/4” Provenance: Peggy McClard American and Folk Art, Houston, Texas; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. F. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921. $1,000‑$1,500

954

955 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Portrait Silhouette of Thomas Greaves Cary, Esq. (1824‑1886), His Wife Mary and Children Richard and Emma”, Boston, Massachusetts, February 15, 1842 paper cut-outs on card sitters identified in keyhole cut-outs en recto and en verso. Glazed in a bird’s-eye maple frame. sight 11” x 13”, framed 13‑1/2” x 15‑1/2” Provenance: Collection of Mrs. F. Nevill Jackson (1861‑1947), London, U.K.; Arthur S. Vernay (1877‑1960), New York, New York; Estate of Grace Shorter (1909‑1990), South Salem, New York; Peggy McClard American and Folk Art, Houston, Texas; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. F. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 197. $1,000‑$1,500

955

340

Thomas Greaves Cary (1824‑1888) was a prominent member of Boston society. His father, Thomas Sr., was a Massachusetts state senator (1846‑1847 and 1852‑3), and president of the Boston Athenaeum and the Perkins Institute for the Blind. Cary’s son, Richard, served as a captain in the 2nd Massachusetts Infantry Regiment, Company G, and was killed in the 1862 Battle of Cedar Mountain in Culpeper County, Virginia. The Thomas Greaves Cary Papers and the Richard Cary Letters are conserved at the Massachusetts Historical Society.

956 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Silhouette Portrait of S. Stephen Matlack (1833‑1899) of Camden, New Jersey and His Dog ‘Rush’”, 1840 paper cut-out and watercolor/ink wash signed, titled and dated lower center, sight 10” x 8‑3/4”; together with William Seville (British, 1797‑1866), “Silhouette Portrait of a Family”, cut-out heightened with gold, “Mr. Seville” label en verso, inscribed with sitters’ initials, paper embossed with “Thomas Creswick” seal, sight 8” x 10‑1/4”. Each glazed in a period bird’s-eye-maple frame. framed 13‑1/2” x 15‑1/2” and 12” x 11”, respectively Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $1,000‑$1,500

956

957 Auguste Edouart (French, active U.K., U.S., 1789‑1861) “Portrait Silhouette of Major-General James Jay Mapes (1806‑1866) and His Family”, New York, New York, Aug. 18‑20, 1839 paper cut-outs on card presented in two pieces, the wife Sophia and daughters Mary, Sophy and Louisa at their recital in one frame, and Mapes playing with his son Charles in the other, each piece with sitters identified lower margin and further inscribed, dated and localized through “keyhole cuts” en verso, “Arthur S. Vernay” label on glass backing of the first silhouette. Each glazed and framed. sights 11‑5/8” x 19‑5/8” and 9‑5/8” x 11‑5/8”, framed 14‑1/2” x 22‑1/2” and 10‑3/4” x 12‑3/4”, respectively Provenance: Collection of Mrs. F. Nevill Jackson (1861‑1947), London, U.K.; Arthur S. Vernay (1877‑1960), New York, New York; Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Mrs. F. Nevill Jackson, Ancestors in Silhouette Cut by Auguste Edouart. New York: John Lane Co., 1921, p. 214. $1,200‑$1,800

957

Professor James Jay Mapes was a distinguished chemist and inventor of agricultural farming and production, best known for inventing a series of sugar refining apparati from both cane to sugar and West India molasses to sugar. His daughter Mary Mapes Dodge (1831‑1905) - third girl from the left in the larger silhouette - was a celebrated American children’s author and editor of numerous publications and papers, including the St. Nicholas Magazine - one of the most successful children’s journals during the second half of the nineteenth century. Sophy Mapes Tolle (1834‑1899) became a portrait and floral painter, and her brother Charles Victor 1836‑1916) followed in the footsteps of his father and became an agriculture scientist and engineer.

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958

958 Pair of Antique Cast Iron “Fern and Blackberry” Pattern Garden Chairs

959 Set of Four Patinated Bronze Garden Figures of the Seasons

late 19th century, after a design by Coalbrookdale, each with a pierced wrap-around back and arms in the form of fern leaves, with a shaped grillwork seat and splayed legs with fern leaf brackets. h. 33”, w. 24”, d. 24”

20th century, the figures wearing classical gowns, two with laurel wreaths in their hair and two with diadems, each carrying her seasonal attribute - autumn with wheat, spring with flowers, summer with fruit, and autumn with grapes. h. 69”, dia. 23”

Provenance: Private collection, Mobile, Alabama

Provenance: Estate of John Elliot Bradshaw, Houston, Texas.

$1,000‑$1,500

$5,000‑$8,000

959

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960

960 Pair of Gothic-Style Cast Iron Garden Benches 20th century, after a design by Wood & Perot, with trefoil and quatrefoil grillwork backs and honeycomb pattern seats. h. 33”, w. 55”, d. 20” $1,000‑$1,500

961 Elaborate Bronze Two-Tier Fountain in the Baroque Taste 20th century, decorated with a musical theme, the lower pedestal with three dancing putti supporting a pan decorated with lion’s heads, the upper pan supported by putti playing musical instruments, with a pair of putti plucking a harp, a nozzle for spraying water at the top. h. 111‑1/2”, dia. 44” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $3,000‑$5,000

961

343

962 Fine Philadelphia Neoclassical Coin Silver Ewer first quarter 19th century, by Simon Chaudron (1758‑1846), the ovoid body decorated with a finely chased palmette-band calyx and leaf-and-dart banded shoulder, with displayed eagle and laurel cartouche and palmette-mantled paterae, the waisted collar with integral spout and decorated with repousse palmette and anthemion, the hinged lid with applied leaf-andlaurel finial, the steeply arched flat handle with applied snake mounted to a large patera at the rim and an acanthus-frondcrested ram’s masque on the body, the whole raised above a steeply domed chased acanthus-banded foot on a square plinth, with milled leaf-and-dart, annulated, laurel and ovolo banding throughout, the cartouche engraved “AMC” and “a Gift of Gratitude”. h. 12‑5/8”, l. 8‑1/2”, dia. 7”; 60.20 t. oz.

962 detail

Literature: A nearly identical ewer by Chaudron was shown in the 1993‑1994 exhibition Classical Taste in America 1800‑1840 in Baltimore, Charlotte and Houston, item number 114., and is illustrated in the exhibition catalogue by Wendy A. Cooper Classical Taste in America 1800‑1840 (New York: Abbeville Press for the Baltimore Museum of Art, 1993), p. 150. $1,800‑$2,500 963 Six-Piece Philadelphia Coin Silver Tea Set third quarter 19th century, by Conrad Bard & Son (fl. 1849‑1859), including a coffeepot, h. 12‑1/4”, a teapot, h. 11‑1/2”, a hot water pot, h. 11‑1/2”, a covered sugar urn, h. 9‑1/2”, a cream jug, h. 8‑1/8”, and a waste bowl, h. 5”, each with an ovoid body decorated with repousse floral swags and applied Greek-key band and annulated rim, the pots with “gooseneck” spouts, hinged domed lids with vasiform finials and crested S-scroll handles, all above a domed pedestal foot en suite, monogrammed “EBR”. 148.4 total t. oz. $4,000‑$7,000

962

963

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964

965

965 detail

966 American Empire Three-Piece Coin Silver Tea Set

964 Five-Piece Philadelphia Coin Silver Tea Set

dated 1831, mark of Achilles Tallman (1808‑1834), New York, New York, including a teapot, h. 10”, l. 13”, a covered sugar bowl, h. 9”, w. 9‑3/4”, and a cream jug, h. 6‑1/2”, l. 7‑1/4”, each with a bulbous circular body decorated with fluted and lozenge-crested gadroons, with milled floral banding, acanthus-crested handles and basket-of-flowers finials. 78.08 total t. oz.

second quarter 19th century, by William Seal (1775‑1853) for Samuel Williamson (1772‑1843), including a coffeepot, h. 10‑1/2”, a teapot, h. 9‑1/2”, a covered sugar bowl, h. 7‑1/4”, h. 5‑5/8”, and a waste bowl, h. 5‑1/4”, each with a lobed melonform body and decorated with a milled diapered torus band, the pots with square-sectioned “gooseneck” spouts, squared handles and melon-domed hinged lids with toupie finials, all raised on a domed pedestal base banded en suite. 112.84 total t. oz.

$1,000‑$1,500 Achilles Tallman (sometimes Taulman) was born in New York City on August 18, 1808, the son of Harmanus Tallman (1772‑1826) and Ann Coleman (1774‑1864), and was baptised two months later on October 2 at the Reformed Dutch Church on Sugar Loaf Street. Nothing is known of his education or career, other than he is listed as a watchmaker on Fulton Street from 1829 to 1833. He was likely then the retailer of this set rather than its maker, though it does bear his rare mark. He never married, but was perhaps endeavored to that goal given his sponsorship of two separate Civic Balls on New Year’s Eve 1830 and February 11, 1831 as advertised in the New York Evening Post (“Dancing to commence at 8 o’clock precisely”). He died at the very young age of 25 on January 22, 1834 and is buried in the family plot at Snyder Cemetery, Valley Cottage, Rockland County New York.

$3,000‑$5,000 965 Good Pair of American Coin Silver Entree Dishes 1852‑1861, by Eoff & Shepard for Ball, Black & Co., New York, New York, each of circular form and decorated with repousse rinceaux banding, milled laurel rim, and acanthus-mounted stirrup handles, the fitted, domed lid with repousse rococo scrolls and applied petunia finial, the whole raised on four monopodal griffin feet. h. 6‑1/4”, dia. 10‑1/4”; 92.25 total t. oz. $2,000‑$4,000

966

345

967 Good Collection of Five New Orleans and Richmond, Virginia Coin Silver Mugs third quarter 19th century, with examples by Edward Augustus Tyler (1813‑1877), Henry Peat Buckley (1822‑1903) and Adolphe Himmel (1825‑1877) of New Orleans, and Mitchell & Tyler (fl. 1845‑1866) of Richmond, Virginia, and two examples with inscriptions. h. 3‑3/4” to 4‑5/8”; 25.05 total t. oz.

967

Detailed descriptions available on request. $1,000‑$1,500 968 Good Collection of Ten American Coin and Sterling Silver Mugs dated 1852 to 1903, including five coin examples and five sterling examples, New York and Philadelphia, the makers including Wood & Hughes, Morgan Morgans, Jr., Peter L. Krider, Daniel I. Tenney, George W. Shiebler and others, with presentation inscriptions. h. 1‑7/8” to 4”; 44.57 total t. oz. Detailed descriptions available on request. $1,000‑$1,500 969 Rare Tiffany & Co. Sterling Silver and Antler “Pine Cone” Chafing Dish the pattern introduced in 1897, New York, New York, this example before 1902, of circular form with milled acanthus scroll banding and antler coronet and brow-tine handle, the fitted domed lid with antler coronet handle finial, raised on a conforming base with three antler coronet and brow-tine legs joined by flat stretchers to a central silverplate spirit burner, all the antlers in mounts decorated with realistically detailed pine cones and needles. h. 9”, dia. 8‑1/2”, l. 14‑3/4”; 67.66 t. oz. (including antlers but excluding burner)

969

$4,000‑$7,000

968

346

970 detail

970

970 Gorham “Versailles” Sterling Silver Flatware Set the pattern designed in 1888 by Florent Antoine Heller (1839‑1904), Providence, Rhode Island, an assembled set comprising a dozen seventeen-piece place settings with an additional dozen teaspoons, variously monogrammed, presented in a fitted, Pacific cloth-lined wooden case with lift-top and two drawers, 13” x 20‑1/2” x 14‑1/2”. 216 pieces 224.68 total t. oz. (weighable silver) Detailed list of pieces available on request. $7,000‑$10,000

971 Two Louisville, Kentucky Coin Silver Julep Cups third quarter 19th century, one by William Kendrick, h. 3‑5/8”, dia. 3”, the other by Peter Lewis Krider (1820‑1895) of Philadelphia for Joseph Werne, Jr. (1837‑1903), h. 3‑1/4”, dia. 2‑7/8”, each of traditional tapering cylindrical form with molded rim and base. 8.51 total t. oz.

971

$1,000‑$1,500

347

973 Pair of Reticulated Sterling Silver Bottle Holders first quarter 20th century, by George A. Henckel & Co., New York, New York, cylindrical with hinged split shoulders opening to accept a bottle, the whole decorated with reticulated scrolls. h. 9‑1/4”, dia. 4‑3/4”; 31.79 total t. oz. Provenance: Private collection Mobile, Alabama $1,000‑$1,500

972

972 American Sterling Silver-Mounted Wall Mirror first quarter 20th century, by Dominick & Haff, New York, New York, rectangular, the maroon velvet-covered frame mounted with an embossed and reticulated silver mount, decorated with birds among foliate scrolls, the top crested with a cartouche supported by putti and monogrammed “MSP”, fitted with a conforming beveled mirror. 27‑1/2” x 19‑1/2”

973

$1,000‑$1,500

974 Reed & Barton “Florentine Lace” Sterling Silver Flatware Set 974 detail

the pattern designed in 1885, this set third quarter 20th century, Taunton, Massachusetts, retailed by Lane Crawford, Hong Kong, comprising a dozen twelve-piece place settings (two teaspoons slightly larger), and fourteen serving pieces, no monograms, presented in a fitted dark green chinoiserie case with lift-top, mechanical action drop front, lift-out tray and three drawers, with Lane Crawford label, 12” x 21‑1/2” x 14‑1/2”. 158 pieces 155.16 total t. oz. (weighable silver) Detailed list of pieces available on request. $4,000‑$7,000

974

348

975 American Sterling Silver Tea Tray second quarter 20th century, retailed by Marshall Field’s, Chicago, Illinois, of oval form, decorated with embossed and incised rococo and lattice cartouches with floral swags, with handles en suite, monogrammed “ALD” conjoined. 30” x 19‑3/4”; 156.58 t. oz. $3,000‑$5,000 976 Kirk “Repousse” Sterling Silver Flatware Set mid-20th century, Baltimore, Maryland, including nine four-piece place settings with nine additional place pieces and twenty-two serving pieces, some monogrammed, together with five pieces of Stieff “Rose”. 67 Kirk plus 5 Stieff 87.84 total t. oz. (weighable silver)

975

Detailed list of pieces available on request. $1,500‑$2,500 977 Six-Piece “St. James” Sterling Silver Tea Set mid-20th century, by M. Fred Hirsch, Jersey City, New Jersey, including a kettle-on-stand, h. 14”, a coffeepot, h. 11‑1/2”, a teapot, h. 10‑3/4”, a covered sugar bowl, h. 7‑3/4”, a cream jug, h. 6‑1/2”, and a waste bowl, h. 5”, each with an ovoid body decorated with hand-chased rococo cartouches and scrolls. 138.61 total t. oz Provenance: Private collection, Mobile, Alabama $2,000‑$4,000

976

977

349

978 detail

978

978 Frank W. Smith “Fiddle Thread” Sterling Silver Luncheon Flatware Set introduced in 1902, Gardner, Massachusetts, including a dozen seven-piece place settings (six salad forks lacking), with an additional dozen teaspoons and fifteen assorted place pieces and twelve serving pieces, monogrammed “M”, presented in a fitted, Pacific cloth-lined wooden case with lift top, three drawers and brass fittings, 15” x 18‑1/2” x 13”. 117 pieces 107.25 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,500‑$2,500 979 Wallace “Old Atlanta” Sterling Silver Flatware Set the pattern designed in 1899 by Henry Leslie Wallace (1851‑1920), this set fourth quarter 20th century, Wallingford, Connecticut, including two dozen seven-piece place settings (eight soup spoons lacking and some iced tea spoons slightly larger), with an additional two dozen teaspoons and twentyone other place pieces, no monograms. 205 pieces 201.90 total t. oz. (weighable silver) Provenance: Private collection Mobile, Alabama $3,000‑$5,000

979

350

980 Set of Twelve International “Lord Saybrook” Sterling Silver Water Goblets mid-20th century, Meriden, Connecticut, no monograms. h. 6‑5/8”, dia. 3‑3/8”; 69.18 total t. oz. $1,000‑$1,500

980

981 Set of Sixteen Wallace Sterling Silver Water Goblets mid-20th century, by Wallace Silversmiths, Wallingford, Connecticut, pattern #14, each with an inverted bellform bowl, and trumpeting stem to an ogee-domed foot, no monograms. h. 6‑3/4”, dia. 3‑1/2”; 95.23 total t. oz. $1,400‑$1,800

981

982 B. Kieselstein-Cord “Moon” Sterling Silver Ice Bucket Set fourth quarter 20th century, including a wine cooler and a small ice bucket, each of tapering bucket form with flat fitted lid, with crescent “man in the moon” handles and finial, the cooler retaining the Berdorf Goodman retailer’s label. cooler h. 10‑3/4”, dia. 8”, w. 12‑1/2”, bucket h. 4‑3/4”, dia. 5‑1/2”, w. 9”; 107.08 total t. oz. 982

$1,800‑$2,500

351

983

983 American School (Mid-19th Century)

984 American School (Mid-19th Century)

“Pendant Portraits of Husband and Wife”

“Portrait of a Young Woman”

oil on canvas unsigned. Presented in period matching gilt frames with oval apertures. each 30” x 25”, framed 40‑1/4” x 35‑1/4”

oil on canvas unsigned. In a period giltwood and gesso frame. 27” x 22”, framed 42” x 33‑1/2” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

$1,000‑$1,500

$1,500‑$2,500

984

352

985 John Neagle (American/Philadelphia, 1796‑1865, active New Orleans early 1820s) "Portrait of Mrs. Negus (1789-1879) with Her Granddaughter Sarah Negus (1840-1915)", 1851 oil on fine linen signed, dated, localized and sitters identified en verso canvas, old handwritten note attached to stretcher, Philadelphia supplier stamp en verso canvas. Framed. 23‑1/2” x 20‑1/4”, framed 52‑1/4” x 44‑3/4” Provenance: J. Engle Negus, Esq., Philadelphia, Pennsylvania; by descent in family; Estate of Dr. Carroll Ball, Jackson, Mississippi. $7,000‑$10,000 The sitters, both named Susan Engle Negus, are the mother and daughter of James Engle Negus (1809‑1884) of Philadelphia and Somerset, New Jersey. His mother was born Susan Engle in Philadelphia on June 18, 1789, the daughter of patriot, lawyer and later Speaker of the Pennsylvania House James Engle (1757‑1821) and his wife Margaret Adam (1760‑1821). She married tavern keeper John Negus (1784‑1823) in 1808, and their son James was born in Philadelphia on June 2, 1809. He became a prosperous merchant and chief weigh-clerk at the U.S. Mint in Philadelphia, and married Isabella Van Syckel (1814‑1892) of Mercer County New Jersey in 1835. Their first daughter Susan Engle Negus, named after her grandmother, was born on November 3, 1840 in Philadelphia and baptized there on April 7, 1841 at the Tenth Presbyterian Church. (At the time of this portrait in 1851, grandmother Susan E. Negus would have been 62 and granddaughter Susan 11.) In June of 1854, James Engle Negus was exposed with uncharacteristic and inexplicable short-weighting at the Mint and, when confronted, confessed to the depredation of $14,000 in gold. He made full and immediate restitution and moved with his family to Bound Brook, Somerset County New Jersey, where he eventually became a rehabilitated and respected country gentleman. His mother died there on February 22, 1879, and he on August 17, 1884. Susan Engle Negus the younger never married but traveled extensively and was active in both the Daughters of the American Revolution and the Mayflower Society. She died on July 16, 1915 in Atlantic City. She, her father, and her grandmother are all buried in Woodlands Cemetery in Philadelphia.

985

986 American School (19th Century) “Portrait of a Young Woman” oil on canvas handwritten label en verso with an attribution to W. B. Wright (American/Geneva, N.Y., act. 1841) and identifying the sitter to a member of the John Hampden Randolph Family of Nottoway Plantation, White Castle, Louisiana. In a period frame. 33” x 27‑3/4”, framed 42” x 36‑1/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

986

$1,200‑$1,800

353

987

987 American School (19th Century) "Harrison Jones (1818-1854) and His Wife Susan Matilda Constant Jones (1828-1899) of Caldwell's Landing, Rockland County, N.Y." pair of oils on canvas unsigned, each with handwritten note identifying sitters and latter with “Edwd. Dechaux, N.Y.” canvas stamp en verso. In matching period giltwood and gesso frames. each 34” x 27”, framed 46” x 39” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. Literature: Gazlay Family History - Rev. Silas Constant and 56 of his descendants, www.gazlayfamilyhistory.org/ book. $1,500‑$2,500

354

New York provisioner Harrison Jones was born around 1818 in Connecticut (or New York - accounts differ) and on September 9, 1846 married Susan Matilda Constant at the Reformed Church of Cortlandtown in Montrose, Westchester county New York. She was born on April 22, 1828 in Peekskill, the daughter of Lewis Constant and Eliza Nelson, later of Caldwell’s Landing, Rockwell county, New York. The couple had four children, three of whom survived into adulthood. Sadly, Harrison Jones died on March 20, 1854 while on a business trip to Jacksonville, Florida. Susan Constant Jones never remarried, and lived in Westchester county until about 1880, when she and her children moved to Greenfield, Massachusetts. She died there on August 1, 1899; she and her husband are both buried in Green-Wood Cemetery in Brooklyn, New York. Her two sons Harrison Jones, Jr. (1849‑1935) and Albert W. Jones (1853‑1929) were prominent stationers in Greenfield; they retired and sold their stationery company in 1922. They, nor their sister Florence L. Jones (1851‑1913), ever married or had children.

988

988 American School (19th Century) "Handsome Pendant Portraits of a Husband and Wife" oil on canvas unsigned. In period matching giltwood and gesso frames. each 30” x 25”, framed 41” x 36‑1/4” Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $2,000‑$4,000

355

989

989 Two Pairs of Paris Porcelain Mantel Figures mid-19th century, each polychrome figure in an elaborate Renaissance costume and standing on an integral molded blue-ground base with painted flowers. h. 17‑1/2”, w. 7”, d. 4‑3/4” and h. 13‑1/2”, w. 5‑1/2”, d. 4‑3/4”

990

$800‑$1,200 990 American School (Third Quarter 19th Century)

991 Four-Piece American Rococo Revival Laminated Rosewood Parlor Suite

“Venus and Cupid” oil on canvas unsigned. Presented in a period giltwood frame. 32” x 26”, framed 43” x 34”

third quarter 19th century, attributed to J. & J. W. Meeks, in the pattern commonly referred to as “Hawkins”, consisting of a settee, h. 46”, w. 65”, d. 40”, an armchair, h. 48”, w. 26”, d. 25”, and a pair of side chairs, h. 41‑1/2”, w. 19”, d. 20”; together with an associated laminated mahogany side chair of later date, h. 44‑1/2”, w. 21”, d. 20”.

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi.

$5,000‑$8,000

$1,500‑$2,500

991

356

992 Two Similar Signed Jacob Petit Porcelain Encriers mid-19th century, French, each decorated with the figure of a dog, on identically molded bases with leaf-molded ink and pounce pots, one with hand-painted floral panels, each with raised gilt on a green ground. h. 9‑1/4”, w. 9‑1/2”, d. 5‑1/2” $1,200‑$1,800 993 French Rococo Revival Paris Porcelain Clock Set mid-19th century, attributed to Jacob Petit, comprising a clock and a pair of vases, each with a celeste blue ground decorated with hand-painted flowers and raised gilt, the clock mounted with a silk-string suspension movement. clock h. 14‑3/4”, w. 9”, d. 5”, vases h. 10‑3/4”, w. 7‑3/4”, d. 4”

993

$1,000‑$1,500 994 American Rococo Revival Giltwood Overmantel Mirror mid-19th century, with molded scrollwork at the corners, the serpentine pierced crest decorated with rocaille work, molded scrollwork and delicate urns of flowers and leaves. h. 82”, w. 54” $1,000‑$1,500 995 Three Pairs of Paris Porcelain Rhyton-Form Garniture Vases mid-19th century, including a pair with green grounds, signed “MA” in underglaze blue, for Margaine, h. 10”, w. 8‑1/2”, d. 5‑1/2, a pair with blue grounds decorated with hand-painted flowers, signed “Jacob Petit”, h. 9”, w. 7”, d. 4”, and a pair with aubergine grounds with hand-painted flowers and eagle-head terminals, h. 7‑3/4”, w. 6”, d. 3‑3/4”. $800‑$1,200

992

994

995

357

996 American Rococo Revival Figured Walnut Four-Post Bed mid-19th century, probably Philadelphia, the double paneled headboard with an ornately scrolled and carved crest, the rails with a central carved cartouche, lacking its tester. h. 103”, inside w. 62”, l. 77”, outside w. 72”, l. 88” $1,500‑$2,500

997 Pair of American Rococo Revival Laminated Rosewood Armchairs third quarter 19th century, attributed to J. H. Belter, New York, each with a concave back with a floral- and leaf-carved crest, open arms, serpentine seat and cabriole legs, in the pattern known as “Rosalie without Grapes”. h. 42‑1/2”

997

$1,800‑$2,500

998 Two Colonial Revival Sinumbra-Style Metal and Glass Lamps including a silverplate example with a fluted standard over molded leaves, hung with prisms, on a marble base, h. 32‑3/4”, dia. 11‑1/2”, and a polished brass example with a vasiform standard, hung with prisms, on a stepped base, h. 26‑1/2”, dia. 10”, each with a handsome frosted and cut glass sinumbra shade. $1,000‑$1,500

996

358

998

999

999 Four-Piece Assembled Jacob Petit Porcelain Garniture Set mid-19th century, French, including a Rococo Revival-style clock decorated with hand-painted flowers, the clock and base with an underglaze blue “JP” mark, h. 13‑3/4”, w. 9‑1/2”, d. 5‑1/4”, a pair of vases decorated with scenes of courting couples on the obverse and hand-painted flowers on the reverse, h. 13‑1/4”, w. 7‑1/2”, d. 4”, and a Rococo Revivalstyle vase decorated with a panel of hand-painted flowers on the obverse and a panel of raised gilt on the reverse, signed “Jacob Petit”, h. 11‑1/2”, w. 7”, d. 4‑1/2”.

1001

$1,000‑$1,500

1001 American Brass and Blown and Wheel-Cut Glass Hanging Hall Lantern

1000 American Rococo Revival Chickering & Sons Rosewood Square Grand Piano

20th century, of hourglass form with engraved floral sprays, the interior fitted with three candelabra electric sockets. h. 24”, dia. 10”

ca. 1880‑1885, American, with bold fruit-carved cabriole legs and bearing the serial number 57903 and the stamped factory number 6079 throughout, professionally restored and re-strung. h. 39”, w. 84”, d. 43”

$1,000‑$1,500

A similar instrument by Chickering is preserved in the collection of The First White House Association, Montgomery, Alabama. $1,500‑$2,500

1000

359

1002

1002 Pair of American Giltwood Window Pelmets fourth quarter 19th century, the arched centers set with pierced bowknot crests and aesthetic medallions on each end. h. 11‑1/2”, w. 66”, d. 8‑1/2” $1,000‑$1,500 1003 American Rococo Revival Giltwood Pier Mirror mid-19th century, with a lunette-form top, the cove-molded surround decorated with bold molded and pierced scroll and rocaille work, the base with a cove-molded and beaded foot. h. 86‑1/2”, w. 37‑1/4” $1,000‑$1,500 1004 Pair of Bohemian Vases in the Orientalist Taste mid-19th century, the lobed vases mounted on Ottoman Empire-style giltbronze bases and drilled for lamps, decorated with hand-painted panels of courting couples in landscapes on a celadon ground, with "Orientalist" shaped borders. h. 18”, dia. 7” $800‑$1,200

1004

360

1003

1005 After Frederic Sackrider Remington (American, 1861‑1909)

1008 Conrad Arthur Thomas (American, 1858‑1932)

“Coming Through the Rye” patinated bronze 20th century, cast signature along edge of self-base. h. 27”, w. 31”, d. 26”

“Camping on the Banks of a River” oil on canvas signed lower right. Framed. 41” x 29‑3/4”, framed 47” x 36”

$1,500‑$2,500 1006 American Longhorn Armchair early 20th century, with a diamond tufted back, padded headrest and seat. h. 38”, w. 32”, d. 30” $1,000‑$1,500

$4,500‑$7,000

1008

1007 American Rococo Revival Walnut and Marble-Top Sideboard third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, and bearing the retailer’s label of George Croome & Co., Boston, the upper structure featuring a carved stag’s head above a curved shelf supported by pierced brackets, the base with a white marble deck above a pair of sideby-side drawers over two cabinet doors. h. 70”, w. 65”, d. 22” $1,500‑$2,500

1005

1006

1007

361

1009

1009 Hermann Ottomar Herzog (German/American, 1832‑1932) “Droving the Herd at Sunset”, 1878 oil on canvas signed and dated lower right, faintly dated on effaced brass artist plaque, frame backing with antique “Kane’s, Philadelphia” label. Presented in a giltwood frame. 16” x 24”, framed 25‑5/8” x 33‑5/8” Provenance: Private collection, New Jersey. $20,000‑$40,000 Hermann Herzog’s epic landscapes, accentuated by dramatic lighting, captivated the imagination of 19th- and 20th-century collectors, because the artist depicted the rugged Alps and vast rivers and plains of the American wilderness through the rosy-tinted lens of “romantic pantheism.” For Herzog, the landscape was a sublime experience; it was a reflection of God’s creation that simultaneously awed and terrified people, and it was a medium for spiritual transcendence that both sanctioned and abated manifest destiny. In the 1870s, Herzog’s ethereal tonalist views of American pastorals and the precipices of the uncharted West provided an escapist reprieve from the war-torn East.

362

In this painting, the low horizon and immense sky that engulf more than half the picture plane in a haze of pink cause the last rays of light to naturally blur into an atmospheric perspective that only Herzog, an accomplished Barbizon/Hudson River School artist, could truly capture through the bravura of reverse lighting - where the landscape is ethereally lit from behind, casting the foreground into warm shadows. Nowhere is this stunning effect better visualized than in the silhouettes of the cattle, the ashen roiling clouds and umber trees. As The Philadelphia Press lauded his work: “His faculty of choosing the most effective illumination... assisted by the rapidity of execution which enables him to seize and fetter the most transient phenomena of light and shade - of clouds that pass and of water - amount to genius and make his pictures unique among landscapes.” References: Illustrated Catalogue of Paintings, Works of Hermann Herzog to Be sold by Auction. New York: American Art Galleries, 1888; Herman Herzog, 1831‑1932. New York: Chapellier Galleries, 1971.

1010 Julian Walbridge Rix (American/California, 1850‑1903) “Sheep Grazing in Mountainous Landscape” oil on canvas signed lower right. Framed. 31‑3/4” x 22”, framed 37‑1/2” x 27‑1/2” $1,000‑$1,500 1011 American Carved Walnut Tall Case Clock fourth quarter 19th century, attributed to Daniel Pabst, Philadelphia, the case with incised carved details throughout, the brass movement and dial unmarked, featuring a time-and-strike movement with a spring gong. h. 93”, w. 25‑1/2”, d. 11‑1/2”

1010

$1,000‑$1,500 1012 Rare Brunswick-Balke Collender Co. Marquetry-Inlaid, Ebonized and Cast Iron “Monarch” Billiards Table ca. 1880, now converted to a pool table, bearing the serial number 22067, the aprons with geometric inlay in the aesthetic taste, on a goldpainted cast iron base modeled as lions. h. 33”, w. 59”, l. 109” $5,000‑$8,000

1011

1012

363

1013 Napoleon III Bronze and Marble Clock third quarter 19th century, decorated with a patinated bronze figure of “Rebecca at the Well”, the cove-carved black marble case decorated with gilt-bronze mounts, with signed Vincenti et Cie works. h. 25‑1/2”, w. 14‑3/4”, d. 9‑1/4” $1,500‑$2,500 1014 Forty-Three U.S. Mint Presidential and Eight Other Medals including bronze U.S. Mint-issued medals of the first fortythree presidents, from George Washington to George W. Bush, each 3” and presented in three glazed lift-top and blue foam-lined wood cases, 2” x 12” x 18”, together with five Napoleonic copper medals, two Scottish copper academic medical medals, and a Belgian bronze medical conference medal, 1‑3/8” to 2‑3/4”, presented in a burgundy jerseybacked glazed wood frame, 13‑1/4” x 17‑1/4”. 50 medals total in 4 cases/frames

1013

Detailed list of all medals available on request. $1,000‑$1,500

1014

1015 Royal Bonn Porcelain Palace Urn ca. 1875‑1890, Bonn, Germany, decorated with carefully painted flowers on a sky-blue ground, trimmed with molded neoclassical ornament, accented in gilt, the main body revolving on the matching base, painted to resemble a forest floor, marked with a brown Royal Bonn shield-shaped mark, along with decorator’s numbers. h. 48‑3/4”, dia. 11” $800‑$1,200 1016 Large French Spelter Figural Double-Ball Clock/Barometer

1015

late 19th century, the figure signed “A. Carrier”, after AlbertErnest Carrier-Belleuse (1824‑1887), the figure holding a brass sphere in each hand, one with a spring-driven time-andstrike clock, the other a Holosteric barometer, mounted to a conforming marble base. h. 47”, w. 20”, d. 17” $3,000‑$5,000

1016

1017 Belle Epoque Glass, Marble, Bronze and Brass Vitrine early 20th century, the upper section with curved glass panels in a cast metal frame adorned with fluted columns and fleursde-lis, on a marble top with a molded edge, the lower case with curved glazed corners and like decor, on a mahogany base with a pair of drawers, raised on brass feet. h. 57‑1/2”, w. 50‑1/4”, d. 23‑1/2” Provenance: By oral tradition, the present display case was found in a New Orleans store. $2,000‑$4,000 1018 French Bronze and Champleve Enamel Three-Piece Clock Set

1018

post-1911, the temple-form clock decorated with Middle Eastern inspired enamel, with a column-supported roof dome, columns on the sides and an arcade along the front base, h. 17‑1/4”, w. 8‑1/4”, d. 7”, the pair of five-light candelabra on column-form supports and decorated with engine turnings, h. 16‑3/4”, dia. 8‑3/4”. $2,500‑$4,000 1019 American Figured Walnut Dining Table in the Renaissance Taste early 20th century, bearing a metal tag from Tobey Furniture Co., Chicago, the rectangular top opening to accommodate forty-four inches of leaves, two eleven-inch skirted leaves present, and mounted to an elaborate trestle-form base with turned columns, flame finials and carved paw feet. h. 30”, w. 45”, l. 72”, ext. l. 94” $1,200‑$1,800

1017

1019

1020 Agra Serapi Carpet 10’ x 13’ 7” $1,500‑$2,500 1021 Turkish Transitional Carpet 9’ 4” x 12’ $1,000‑$1,500 1022 Esari Carpet 8’ 11” x 12’ 1” $2,000‑$4,000

1020

1021

1022

1023 1025

1023 Tabriz Carpet 5’ 1” x 8’ 7” $800‑$1,200 1024 Tabriz Carpet 8’ 8” x 11’ 10” $1,000‑$1,500 1025 Laristan Floral Carpet 9’ 1” x 12’ 1” $1,800‑$2,500 1026 Turkish Angora Oushak Runner 2’ 6” x 29’ 8” $1,000‑$1,500

1024

1026

1027 Chinese Carpet 12’ 2” x 18’ 2” $1,000‑$1,500 1028 Turkish Tabriz Carpet 9’ 3” x 11’ 10” $1,000‑$1,500 1029 Turkish Carpet 9’ x 12’ 3” $1,000‑$1,500

1029

1028

1027

1030 Mashad Carpet 10’ 6” x 13’ 5” $1,000‑$1,500 1031 Semi-Antique Persian Kerman Carpet 12’ x 15’ 4” Provenance: Samir Elhelou Oriental Rugs, Lafayette, Louisiana; Private collection. $4,000‑$7,000

1030

1031

1032 Large Chinese Embroidered Wall Panel second half 20th century, the black rectangular-form panel comprised of three fabric sections, embroidered in silk threads in golds, browns and blues to depict a scene of Fu, Shou and Lu in a garden setting, surrounded by flowering trees and fruits, with Ruyi bats flying overhead, with other deities approaching with auspicious offerings, mounted and framed. h. 50‑3/4”, w. 91”, framed h. 55‑1/4”, w. 95‑1/4” $1,000‑$1,500 1033 Large Thai Gilt-Lacquer Bronze Figure of Buddha Maravijaya probably late Rattanakosin period, fourth quarter 19th/ first quarter 20th century, modeled seated in dhyanasana on a three-tier throne, with hands posed in bhumisparsha mudra, wearing robes with geometric floral design. h. 34‑1/2”, w. 24‑1/2”

1033

$2,500‑$4,000 1034 Pair of Thai Gilt-Bronze Figures of Buddha Shakyamuni probably late Rattanakosin period, first quarter 20th century, modeled after the Ayutthaya style, each standing on a later block base, with hands pressed together in namaskara mudra, wearing traditional robes decorated throughout with a geometric floral design. h. 40‑1/2”, w. 13” $2,000‑$4,000

1034

1032

1035 Large Pair of Japanese Satsuma Porcelain Vases with Hardwood Stands first quarter 20th century, each of baluster form, with pedestal base and everted lip, mounted with gilt fish-form handles to either side of a short neck, decorated to the exterior with scenes of Kwan Yin standing on a lotus throne, holding a large blossoming lotus flower, surrounded by arhats and attendants, with two-character mark in copper red to the base, possibly ‘Seizan’. h. 31‑3/4”, w. 16”, with stands h. 37‑1/4” $2,000‑$4,000

1036

1036 Two Japanese Satsuma Porcelain Pieces first half 20th century, comprising a koro and cover, raised on tripod legs and mounted with shishi-form handles and finial, decorated to the exterior with various Arhats, between floral and geometric pattern borders, together with a compressed baluster-form vase, similarly decorated with seated Arhats, the base indistinctly marked. h. 20”, w. 20” and h. 15‑1/2”, w. 13” $1,000‑$1,500

1037

1038

1037 Pair of North African Hardwood and Mother-of-Pearl-Inlaid Stools 20th century, each with a padded square top above a conforming frieze, raised on bracket feet, the whole with intricate inlays in scrolling foliate patterns. h. 12”, w. 25‑1/2”, d. 25‑1/2” $1,000‑$1,500 1038 Monumental Japanese Satsuma Porcelain Vase with Hardwood Stand first quarter 20th century, of baluster form with slightly splayed foot and ruffle lip, with applied butterfly-form loop handles with molded tassel detail, decorated to the exterior with opposing panels depicting figures in armor and figures at leisure on terraces, all within geometric pattern borders. h. 37‑1/2”, dia. 16” (excluding stand) $1,000‑$1,500 1035

1039 Pair of Large Chinese Cloisonne Cockerels 20th century, modeled standing, their mouths crowing, decorated with scrollwork and polychrome tails, standing on stump-form bases decorated with mountains and pine trees. h. 39‑1/2”, w. 15”, d. 8” $700‑$1,000 1040 Chinese Embroidered Table Screen fourth quarter 19th/first quarter 20th century, the rectangular silk panel embroidered with silk threads depicting various birds perched amid branches and blossoming foliage, mounted within an intricately carved and pieced frame supported on a similarly worked stand, raised on twin foo-dogform feet. overall h. 33‑1/4”, w. 22‑3/4” $1,000‑$1,500 1041 Two Chinese Hardwood and Marble-Top Stands

1040

early 20th century, including a rosewood example with a serpentine top and a floral-carved edge with an inset marble, raised on cabriole legs with carved fish and birds and joined by a medial shelf, h. 32”, w. 22”, d. 22”, along with a teakwood example of circular form with an inset marble top and carved legs, h. 18”, dia. 18‑1/2”. $1,000‑$1,500 1042 Group of Three Chinese Hardwood Jardiniere Stands late 19th- and 20th-century examples, each with a marbleinset top and carved and pierced frieze over four slender legs joined by stretchers of various styles. h. 32” to 35‑1/2”, w. 17” to 22” $1,000‑$1,500 1039

1041

1042

1043 Chinese Carved Jadeite Fish with Hardwood Stand probably first half 20th century, the fish modeled from deep green stone, curled upright on its tail with mouth open, amid broiling waves around the base, the body carved with scales and having a ridged fin running down the spine, the whole cut through with a celadon tone inclusion, the stone transitioning to paler green, and celadon and lavender tones above the head, carved to represent various deities and a toad amid stylized clouds, fruits and flowers interspersed with cash coin symbols. with stand h. 26‑1/2”, w. 15‑1/2” Provenance: Estate of John Elliot Bradshaw, Houston, Texas. $1,500‑$2,500 1044 Chinese Blue and White Porcelain “Fish” Vase possibly Ming Dynasty, Jiajing period (1521‑1567), of baluster form and heavily potted, having a short neck with slightly flared lip, decorated to the exterior with four fish amid various marineplant life, and lotus sprays, the foot encircled with a border of stylized waves, the shoulders with floral lappets, the neck with scrolling floral design, the base unglazed. h. 14”, dia. 10‑1/2”

1043

Provenance: Purchased from the Estate of Mrs. Eben Richards, Washington, D.C., 1990. Previously acquired through Sydney Moss, July 10, 1970. With an M. H. Soames Collection sticker to base. Exhibited: Paper exhibition labels for Royal Academy of Arts, London, International Exhibition of Chinese Art 1935‑36, and Oriental Ceramic Society Exhibition 1952, #168. $3,000‑$5,000 1045 Impressive Chinese Embroidered Panel or Banner probably first half 20th century, the long, rectangular-form red silk panel backed with linen, finely embroidered in silk threads of blues, greens, whites, reds and browns, depicting scenes of cranes and deer beside a stylized rushing river guarded by a foo dog, all amid hanging foliage and stylized clouds, with scrolling foliate borders to three sides. 28” x 125‑3/4” 1044

$1,000‑$1,500

1045

1046 Chinese Turquoise-Glaze Porcelain Bottle Vase first quarter 20th century, having an elegant, slender neck, tapering slightly to an ovoid-form body, with allover speckled turquoise glaze, lightening to paler hues towards the slightly flared lip of the neck. h. 21‑1/4”, w. 9” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. $1,500‑$2,500

1046

1047 Chinese Powder-Blue Glaze Porcelain Bottle Vase Qing Dynasty, mid-19th century, having a slender neck over a teardrop-form body, raised on a slightly splayed foot, the exterior with all-over rich powder-blue glaze. h. 20”, w. 11” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. $1,000‑$1,500

1047

1048 Group of Three Chinese Sang-de-Boeuf Porcelain Vases first half 20th century, one of baluster form with shallow neck and splayed foot, and two of ovoid form, each with an even deep scarlet “sang-deboeuf” glaze to the exterior. h. 15‑3/4” to 16‑1/2”, w. 8‑3/4” to 10” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. $1,000‑$1,500

1048

1049 Chinese Clair-de-Lune Glaze Porcelain Basin fourth quarter 19th/first quarter 20th century, of straightsided circular form with broad, flattened lip, having an all-over sky-blue glaze with lavender tones, the base unglazed and unmarked, with hardwood stand. h. 4”, dia. 15” Provenance: From the collection of Buford and Veda Nichols, Houston, Texas. 1050

$1,200‑$1,800

1050 Mughal-Style Floral-Carved Jade and Wootz Steel Dagger early 20th century. l. 14‑1/2” $1,000‑$1,500

1049

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction - note that there is no discount for LiveAuctioneers and Invaluable bidders) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

ABSENTEE / TELEPHONE BID FORM Name (Please Print): ______________________________________________

Date: ______________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: _____________ CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________________________________________ Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

Jelena Restovic James Director of Fine Art

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Fine Jewelry Specialist

Michele Carolla Fine Art Specialist

Nicole Casi, PhD Fine Art Specialist

Rebecca Moss Asian Arts Specialist

Thomas Halverson American Furniture Specialist

Burke Designer

Taylor Eichenwald Marketing & Public Relations

Charles C. Cage Silver Specialist & Office Manager

Colleen Ryan Director of Human Resources

AUCTIONEERS

CONSULTANTS

Tessa Steinkamp, #1265 Ashton Thomas, #1833 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

Ellen McKenzie English & Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser Claudia Kheel Fine Art

ADMINISTRATION Christa Ougel Denise Haik Office Administration Graphic Designer Gary Michael Gittelson Bettina Bausa Graphic Designer Photographer Grace Connors Manager of Cakebread Auction

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney

New Orleans Auction galleries

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