NOAG Interiors Online Auction | June 18, 2019

NOAG interiors

summer online-only auction offering ďŹ ne and decorative art, furniture, carpets, lighting, mirrors and more

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | 504.566.1849 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyer’s Premium

ABOUT NOAG INTERIORS NOAG Interiors is an online-only auction offering fine and decorative art, furniture, carpets, lighting, mirrors and more. Leave advance bids or bid live during the sale on our partner bidding sites, liveauctioneers and invaluable.

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1 Turquoise-Painted Iron Armillary Sphere early 20th century, the copper-lined sphere band numbered along the interior and supported by an archer standing on an iron plinth drilled for mounting. h. 32‑1/2”, dia. 21” Provenance: Private collection, Houston, Texas. $400‑$700

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2 Rookwood Faience Architectural Tile 1900‑1948, decorated in a Gothic-inspired style with four purple fleurs-de-lis on a turquoise ground, custom framed in a modern quarter-sawn oak frame in the Arts and Crafts style, made by David Hunter Studio. tile h. 5‑1/2”, w. 5‑1/2” $100‑$200 3 Verre-de-Soie Art Glass Vase Attributed to Steuben early 20th century, having an iridescent blue rim, unsigned. h. 12”, dia. 7‑1/2” $400‑$700

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4 Verre-de-Soie Art Glass Footed Bowl Attributed to Steuben early 20th century, with an inverted rolled rim, unsigned. h. 3‑1/4”, dia. 12” $100‑$200

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6 Verre-de-Soie Art Glass Bowl Attributed to Steuben early 20th century, having a polished pontil, unsigned. h. 3”, dia. 5‑1/2” $75‑$125 7 Three Signed Steuben Crystal Bowls third quarter 20th century, New York, including a center bowl, h. 3‑1/2”, dia. 13”, and two smaller bowls, h. 3‑1/2”, dia. 4‑1/2” and 7‑1/2”.

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Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $250‑$400

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5 Large Verre-de-Soie Art Glass Shallow Bowl Attributed to Steuben

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early 20th century, having a ground and polished pontil, unsigned. h. 2”, dia. 12”

8 Pair of Steuben Pulled Feather Art Glass Shades

$100‑$200

early 20th century, of lily form and having a gold iridescent interior, the rims bearing the fleur-de-lis marking. h. 5‑1/4”, dia. 6” $75‑$125

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9 Large Steuben Gold Aurene Glass Vase first quarter 20th century, the exterior surface with red and violet highlights, the rim an iridescent blue, translucent overall, signed “Aurene/2933” around the polished recessed pontil. h. 11‑1/2” $400‑$700 10 Steuben Gold Aurene Perfume Bottle with Teardrop Stopper early 20th century, the bottom of the foot etched “Aurene 1414”. h. 7‑3/4” $100‑$200

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11 American Art Glass and Patinated Brass-Mounted Table Lamp early 20th century, attributed to L. C. Tiffany, the gold Aurene glass baluster, formerly a footed vase, now converted to a table lamp. glass h. 15‑1/2”, overall h. 27” $500‑$800

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12 Pair of Tall Quezal Gold Aurene Ribbed Art Glass Electric Shades early 20th century, the rims etched “Quezal”. h. 7”, dia. 4‑3/4” $75‑$125

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13 L. C. Tiffany Favrile Glass Bowl and Frog early 20th century, the bowl with a leaf and vine motif and bearing the etched signature “5840L L. C. TiffanyFavrile”, the frog bearing the same etched markings. h. 4”, dia. 10” $100‑$200

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14 After John James Audubon (American, 1785‑1851) “Scarlet Ibis, No. 80, Plate 397” offset lithograph on paper accompanied by a printed sheet on Scarlet Ibis.

Matted, glazed and framed. sheet 26” x 38‑1/2”, framed 37‑3/4” x 44‑1/2” $700‑$1,000 15 Colette Pope Heldner (American/Louisiana, 1902‑1990) “Swamp Idyl (Louisiana Bayou Country)”

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oil on canvas signed lower left, signed and titled en verso.

Framed.

24‑1/4” x 36‑1/4”, framed 30” x 41‑1/2” $1,200‑$1,800 16 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Quartered”, 1981 serigraph on paper pencil-signed, titled, dated and numbered “103/135” lower margin.

Matted, glazed and framed. sight 30‑1/4” x 33”, framed 40‑1/2” x 42‑1/2” Provenance: Arthur Roger Gallery, New Orleans, Louisiana. $500‑$800

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18 George Valentine Dureau (American/Louisiana, 1930‑2014) “Male Nude” charcoal on paper signed lower center.

Matted, glazed and framed. sight 22” x 13”, framed 29‑1/2” x 20‑3/4” $500‑$800

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17 Robert Gordy (American/Louisiana, 1933‑1986) “Female Nudes”, 1968 marker on paper signed and dated lower right.

Matted, glazed and framed.

21” x 16”, framed 27” x 21” $800‑$1,200

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19 William Tolliver (American/Mississippi, 1951‑2000) “Untitled - Figures in Black and Gold” gold paint on paper signed lower right.

Matted, glazed and framed. sight 26‑1/2” x 19”, framed 31‑1/2” x 23‑1/4” Provenance: Ahlers & Ogletree, Atlanta, Georgia, January 6, 2018, lot 267; Private collection. $1,000‑$1,500

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20 Baker Two-Seat Sofa of generous proportions, with padded rolled arms and four loose cushions and two loose pillows, upholstered in Brunschwig & Fils “Glenrinnes Lodge” cotton fabric. h. 30‑1/2”, w. 88‑1/2” Provenance: Private collection, Houston, Texas. $700‑$1,000 21 Martha Simkins (American/Texas, 1866‑1969) “Highland Park Lady”, 1945 oil on canvas signed and dated upper left, backing with provenance and “Irving Arts Center” exhibition labels.

Unframed.

30” x 25” Provenance: Ex-collection of Edward and Muriel Denari, Euless, Texas.

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Exhibited: Martha Simkins Rediscovered, 24 September-16 Nov. 2003, Irving Arts Center, Irving, Texas. $700‑$1,000 22 Shirley Thomson Smith (American, b. 1929) “Seated Figure”, 1980 faux marbre patinated bronze cast signature, dated and numbered “18/30” along back edge of figure, on a beveled lucite base. sculpture h. 7‑5/8”, overall h. 9”, w. 8‑3/4”, d. 8” Provenance: Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $300‑$500

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24 Arthur McCall (American/Texas, 20th Century) “Windmill on a Texas Ranch” oil on canvas signed lower right.

Framed.

16” x 20”, framed 24” x 28” Provenance: J. R. Mooney Galleries, San Antonio, Texas. $600‑$900 25 Richard B. Copeland (American, 20th Century) “Self-Propelled Canada Goose”, 1984 assemblage of carved oak and iron signed and dated “5‑84” along proper right edge of goose. overall h. 76”, w. 59‑1/2”, d. 12”

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23 Chet Engle (American/California, 1918‑1994)

Provenance: Deaccessioned property of a Southern institution. $400‑$700

“Veiled Sun” oil on board signed lower right, verso with “O’Brien Art Emporium, Scottsdale, Arizona” label printed with artist name and title of work.

Framed.

18” x 14”, framed 26” x 20” Provenance: O’Brien’s Art Emporium, Scottsdale, Arizona; Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $300‑$500

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27 American School (20th Century) “Two Hunting Dogs by Tree with Pheasant and Birds” oil on wood panel inscribed “Alexander Pope” lower left .

Framed.

30” x 24”, framed 36‑1/2” x 30‑1/2” $1,000‑$1,500

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26 David Hagerbaumer (American/California, 1921‑2014) “Canadian Geese”, 1968 watercolor signed lower right, a “Bendann Art Galleries, Baltimore, MD” label with artist, title and date and printed artist’s biography en verso.

Matted, glazed and framed. sight 21” x 29”, framed 30” x 38” $500‑$800

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28 Arthur McCall (American/Texas, 20th Century) “The Other Parishioners” oil on canvas signed lower left.

Framed.

22” x 28”, framed 31‑1/2” x 37‑1/2” $600‑$900

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29 G. Patrick Riley (American/Oklahoma, 20th Century) “Body Meditation #2”, 1971 assemblage of bamboo, wire, armadillo carapace, leather and ginger root h. 120”, w. 68” Provenance: Deaccessioned property of a Southern institution.

The mixed media artist Patrick Riley creates complex assembled masks and sculptures, referencing the motifs and symbols of earlier cultures. Inspired by his childhood visits to the museum on the campus of St. Gregory’s University in his native Oklahoma, where he was first exposed to African ritual masks and the art of taxidermy, he utilizes the various natural materials available. $300‑$500

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31 Don Wright (American/Louisiana, 1938‑2007) “Clowns”, 1973 oil on canvas signed and dated lower right.

Framed.

36” x 24”, framed 37” x 25” $400‑$700

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30 Lenard Kester (American/California, 1917‑1997) “Clown Holding Balloons” oil on canvas signed lower right.

Framed.

20” x 16‑1/4”, framed 27” x 23” $250‑$500

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32 Romare Bearden (American/North Carolina, 1911‑1988) “The Lantern”, 1979 color lithograph on paper signed in plate and numbered “A.P.” lower margin.

Glazed and framed. sheet 28‑1/2” x 20”, framed 42‑1/4” x 32‑1/4” $400‑$700

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33 Malou Flato (American, b. 1953)

34 Malou Flato (American, b. 1953)

“China Bench”

“China Bench”

watercolor on paper signed lower right, titled lower left.

Glazed, float-mounted and framed.

8‑1/2” x 36‑3/4”, framed 16‑1/2” x 45‑1/2”

watercolor on paper signed lower right, titled lower left.

Glazed, float-mounted and framed.

8‑1/2” x 36‑3/4”, framed 16‑1/2” x 45‑1/2”

Provenance: Arthur Roger Gallery, New Orleans, Louisiana.

$500‑$800

$500‑$800

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35 Robert Cottingham (American, b. 1935) “Ice”, 1975 lithograph signed and dated lower right, numbered “20/50” and blind-stamped lower left.

Float-mounted, glazed and framed. sheet 29‑5/8” x 22”, framed 32‑1/2” x 24‑5/8” $500‑$800 36 Pace Collection Waterfall Armchair 20th century, the design by Charles Hollis Jones, with a Pace label, with curved Lucite arms, upholstered in gray mohair. h. 31‑1/2” $500‑$800 37 Soleil Round Mirror by Hickory Chair from the Atelier collection, with an antique silver leaf finish. dia. 48”

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$400‑$700

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38 George Rodrigue (American/Louisiana, 1944‑2013) “I See You, You See Me”, 1993 silkscreen signed and numbered “24/35” lower left.

Unframed. sheet 17‑1/2” x 25” $2,000‑$4,000

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39 George Rodrigue (American/Louisiana, 1944‑2013) “Pick of the Litter, Black”, 1996 silkscreen signed and numbered “2/75” lower left.

Matted, glazed and framed. sight 21‑1/2” x 27‑1/2”, framed 28‑1/2” x 34‑1/2” $1,200‑$1,800

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40 George Rodrigue (American/Louisiana, 1944‑2013) “You Can’t Drown the Blues”, 2000 silkscreen signed lower right, numbered “202/500” lower left.

Matted, glazed and framed. sight 18” x 26”, framed 28” x 36” $800‑$1,200

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42 George Rodrigue (American/Louisiana, 1944‑2013) “Rodrigue, A Man and His Dog”, 1993 silkscreen signed and numbered “87/90” lower right, copyrighted lower left.

Matted, glazed and framed. sight 22‑1/2” x 15‑1/2”, framed 30‑1/2” x 23‑1/4” $800‑$1,200

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41 George Rodrigue (American/Louisiana, 1944‑2013) “You Ain’t Nothin’ But a Hound Dog” silkscreen signed lower left, numbered “54/90” lower right.

Matted, glazed and framed. sight 22‑1/2” x 27‑1/2”, framed 31‑1/2” x 36” $1,000‑$1,500

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43 George Rodrigue (American/Louisiana, 1944‑2013) “Party Animal”, 1995 silkscreen signed lower left, numbered “17/35” lower right.

Matted, glazed and framed. sight 31‑1/2” x 20‑3/8”, framed 39‑1/2” x 27‑3/4” $1,200‑$1,800

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44 George Rodrigue (American/Louisiana, 1944‑2013) “Takin’ Care of Business”, 2000 silkscreen signed lower left, numbered “48/350” lower right.

Matted, glazed and framed. sight 21‑1/2” x 17”, framed 30‑1/4” x 26” $1,200‑$1,800 45 George Rodrigue (American/Louisiana, 1944‑2013) “Honesty”, 2003 silkscreen signed lower left, numbered “208/500” lower right.

Matted, glazed and framed. sight 26‑1/2” x 20”, framed 35‑1/2” x 28‑1/2” $1,000‑$1,500

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46 George Rodrigue (American/Louisiana, 1944‑2013) “Night Watch, Nantucket”, 2004 silkscreen signed lower left, numbered “22/150” lower right.

Matted, glazed and framed. sight 16‑1/2” x 16‑1/2”, framed 24‑5/8” x 24‑5/8” $1,000‑$1,500 45

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47 47 Pair of Tapestry and Silk Decorative Pillows

19th century and later, the tapestry panels trimmed with wool and silk onion-style fringe and backed with tan dupioni silk. h. 12”, w. 17” $400‑$700 49

50 Ron Barsano (American/New Mexico, b. 1945) “Seated Nude”, 1973 oil on canvas signed lower left, signed, titled, dated and localized “Taos” en verso, artist identified and titled on “Talisman Gallery, Bartlesville, Oklahoma” label on frame backing Framed.

18” x 14”, framed 26” x 22” Provenance: Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $300‑$500 48

48 Rudy Torrini (American, 20th Century) “Reclining Female Nude” sanguine charcoal and graphite on paper pencil-signed, dated and stamped lower center.

Matted and glazed in a float-mounted frame.

12” x 17‑5/8”, framed 17‑5/8” x 25‑3/4” Provenance: Collection of Leon Amar, Palm Beach, Florida. $300‑$500 49 Art Deco-Style Bronze and Plate Glass Center Table the base depicting a nymph holding a ball in her outstretched hand and supporting a circular glass top. h. 31”, dia. 37” $1,200‑$1,800 50

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51 Wallace Bassford (American, 1900‑1998) “Bouquet Rouge”, 1960 “Springtime” oil on canvas board oil on canvas the first signed and dated lower right, also signed, dated and titled en verso and on “Grand Central Art Galleries, New York” exhibition label on stretcher; the second signed lower right, and signed and titled en verso; together with a photo of the artist in his studio, gifted by the artist’s niece in a letter on frame backing.

9” x 6‑1/4”, 16” x 12”, and sight 19‑1/2” x 19‑3/8”, respectively.

The first two framed; the third matted, glazed and framed. framed 15‑1/2” x 13‑1/4”, 22‑1/4” x 16‑1/2”, and 23‑3/8” x 23‑3/8” Provenance: Collection of Leon Amar, Palm Beach, Florida. $700‑$1,000 52 American School (First Quarter 20th Century) “Still Life with Wine Glass, Flowers and Assorted Fruit” oil on canvas indistinctly signed lower right, artist copyright stamp en verso.

Framed.

30” x 24”, framed 35‑1/2” x 29‑1/2” $800‑$1,200

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53 American Rococo Revival Mahogany and Marble-Top Cabinet

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third quarter 19th century, probably Alexander Roux, New York, the figured marble top with projecting ovolo corners, on a conforming case with a pair of drawers over a pair of doors, each door panel mounted with carvings depicting trophies of the hunts and flanked by columnar pilasters with carved capitals. h. 35”, w. 58”, d. 22‑3/4”

55 Percival De Luce (American, 1847‑1914)

$600‑$900

“Portrait of a Girl with Chestnut Curls”

54 American Rococo Revival Rosewood and Marble-Top Console

oil on canvas signed upper right, later inscription by artist’s daughter en verso.

Framed.

12‑1/2” x 9‑1/2”, framed 15‑1/2” x 12‑1/2”

third quarter 19th century, attributed to J. H. Belter, New York, the shaped white marble top over a conforming frieze with a projecting drawer flanked by concave panels, raised on cabriole legs with leaf and fruit carving above the leaves and joined by a floral- and scroll-carved stretcher. h. 32‑1/4”, w. 49‑1/4”, d. 18” $800‑$1,200

A native of New York, and grandson of the Londonborn artist Thomas Thompson (1776‑1852), Percival De Luce was raised in a family that appreciated and encouraged his artistic aspirations. He studied with Thomas Seir Cummings (1804‑1894) and Edwin White (1817‑1877) at the School of the National Academy of Design before traveling to Europe where he attended the Royal Academies of Antwerp and Brussels and the Academie Julien in Paris. This rigorous and thorough training is evident in the delightful portrait of a young girl presented here. The painterly brushstrokes of the white collar, the delicately modeled features of the face, and the minimal yet rich color palette are all indicative of a master portraitist.

A frequent exhibitor at the National Academy of Design, De Luce was named an Associate of that august Institution in 1897. The Percival De Luce Memorial Collection is conserved at Northwest Missouri State University. $700‑$1,000

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56 American Rococo Revival Rosewood and Faux Rosewood Secretary Bookcase third quarter 19th century, in two parts, the bonnet top over a pair of glazed doors, the base with a slant lid with applied carving and three drawers below. h. 91‑1/2”, w. 39”, d. 21‑1/2” $400‑$700 57 American Queen Anne Cherry Tea Table 18th century, the rectangular top with an applied molded edge, and raised on cabriole legs ending in slipper feet. h. 26‑1/2”, w. 31”, d. 20” $1,200‑$1,800

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58 American Chippendale Cherry Three-Drawer Chest late 18th century, the case with a bank of three graduated drawers, each with contrasting ebony and blonde wood stringing around their perimeters, flanked by fluted and canted corners, raised on ogee bracket feet. h. 32”, w. 32‑3/4”, d. 18‑1/4” $700‑$1,000

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59 Group of Eleven Prints from Harper’s Weekly including seven hand-colored engravings dating from 1869‑1890, and four later prints after Frederic Remington (1861‑1909).

Each matted, glazed and framed. sights 10” x 15” to 13‑5/8” x 20‑1/2”, framed 18” x 24” to 23‑3/8” x 30” $800‑$1,200

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60 American Colonial Revival Brass, Iron and Steel Fireplace Set ca. 1900, including a pair of andirons, h. 23‑1/2”, w. 9‑1/2”, d. 24”, a pierced fender, h. 11‑1/2”, w. 62‑1/4”, d. 10”, and three fire tools, l. 30” to 38”.

Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $400‑$700 61 American Classical Mahogany Drop-Leaf Table ca. 1825, New York, the single-board top flanked by shaped drop leaves, over a frieze fitted with a single drawer, raised on a foliate-carved vasiform pedestal joined to legs with like carving and paw feet. h. 28”, w. 26‑1/2”, d. 39”, ext. w. 49” $700‑$1,000

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62 American Classical Mahogany Work Table ca. 1830, the central lift top opening to reveal an adjustable writing board, flanked by raised ends, each with rounded fronts and backs, opening to reveal a pull-out tray over a yarn well, each now upholstered in striped floral brocade, on a trestle-form base with turned columns and scroll feet, the stretcher with a footrest in like upholstery. h. 29”, w. 27”, d. 17” $800‑$1,200

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63 American School (Mid-19th Century)

64 American Classical Rosewood Sofa ca. 1825, probably Boston, the back with a carved top rail joined to closed arms on reeded supports with foliate carving and capped by carved rosettes, continuing to a figured and paneled seat rail and raised on foliate- and scroll-carved feet. h. 37‑5/8”, w. 84”, d. 25‑1/2”

“Pendant Portraits of Husband and Wife” 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”

$600‑$900

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $500‑$800

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65 American Late Classical Mahogany and Marble-Top Pier Table second quarter 19th century, the gray marble top over an ogee-form drawer, the base with scrolled supports and raised on animal paw feet. h. 35”, w. 40‑1/2”, d. 19” $500‑$800

66 Unique Holograph Book “Regarding Farming, Gardening Etc.” ca. 1827, by “Messrs. Andrews”, a lengthy English manuscript text with a one-page collage of printed garden designs, and several other pages of hand-drawn basket, garden, hothouse, forcing pit, fowl coop and other designs, handsomely bound in full embossed black leather, the later spine with raised bands and gilt lettering and rule, with black embossed endpapers en suite, the edges cut, gilt and embossed, the clasp and one brass hinge lacking.

9‑7/8” x 7‑3/4”

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The horticultural methods detailed in this fascinating volume date it fairly closely to around 1827; for instance, Wilmot’s Pine[apple] Pit and Atkinson’s Melon Pit are discussed in the Gardener’s Magazine in 1826 and 1827, respectively, and the drawing of the propagating shelf of the Clapton Nursery is clearly copied from an article in the January 1827 issue of the same. $700‑$1,000

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67 Dom Antoine Augustin Calmet, O.S.B. (1672‑1757), “Commentary” Commentaire Litteral sur Tous les Livres de l’Ancien et du Nouveau Testament(Paris: Pierre Emery, 1707‑1716), first edition, crown octavo, eight volumes (of twenty-three), including Genesis (1707), Exodus & Leviticus (1708), Isaiah (1714), Ezekiel & Daniel (1715), Twelve Minor Prophets (1715), Matthew (1715), Mark & Luke (1715) and the Pauline Epistles (1716), in full brown leather, the flat spines with raised bands and brown panels with gilt lettering and decoration, with marbled endpapers and cut and tinted edges [Kapsner 2253]. leaf 10” x 7‑3/8”, overall 10‑1/2” x 8” $200‑$400

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68 Pierre Francois Xavier de Charlevoix, S.J. (1682‑1761), Histoire et Description Generale de la Nouvelle France Paris: Nyon fils, 1744; first edition, crown octavo, three volumes (of three), in full tan leather, the later flat spine with raised bands and red and green panels with gilt lettering and decoration, with marbled endpapers and cut and tinted edges, with 20 maps (of 27; all Louisiana/New Orleans maps lacking) and 22 plates of 96 botanical specimens.

[Sabin 12135; Clark, Old South I 59.4; Howes C307; Graff 650; Sommervogel 1077] 10” x 7‑5/8” Notes: Detailed bibliographic description available on request. $300‑$500

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70 Nicolas de Larmessin III (French, 1640‑1725) “Les Oyes de Frere Philippe”, after Nicolas Lancret etching unsigned, bottom inscribed with artist’s and engraver’s names.

Matted, glazed and framed. pl. 12” x 14‑1/2”, framed 20‑1/2” x 22‑1/4” Provenance: Lucullus, New Orleans, Louisiana. $600‑$900

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69 After Nicolas Bonnart (French, ca. 1638‑1718) “Cuisine de la Trappe”, from the series Les Jours de la Trappe, ca. 1700 copper engraving monogrammed “G” lower right, possibly for Guerard publisher.

Matted, glazed and framed. pl. 10‑1/4” x 10”, framed 18‑3/4” x 18” Provenance: Lucullus, New Orleans, Louisiana. $200‑$400

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71 Claude Mellan (French, 1598‑1688) “Bust of Christ as Savior”, ca. 1652 “Christ as an Infant Surrounded by Cherubim”, ca. 1662 each copper engraving on laid paper each signed and inscribed in plate.

Each unframed.

17‑1/2” x 12‑1/2” and 17‑1/2” x 11‑7/8”, respectively $400‑$700 72 French Gilt-Bronze Encrier ca. 1900, in the rococo taste, molded with shells and rocaille work, the pair of ink pots with pierced covers and glass inserts. h. 3‑1/2”, w. 9‑1/2”, d. 4‑1/2” $150‑$300 73 After Jean-Auguste-Dominique Ingres (French, 1780‑1867)

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“Napoleon I on His Imperial Throne”, 1806 oil on wood panel unsigned.

Presented in an elaborate giltwood frame.

15‑3/4” x 11‑3/4”, framed 22‑1/2” x 18‑1/2” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $500‑$800

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74 Pair of Louis XV Bronze Candelabra mid-18th century, with seamed construction and removable candle branches. h. 15”, w. 9”, d. 5‑1/2” $400‑$700 75 Suite of Four French Hand-Colored Engravings of Carriages 18th century, from Denis Diderot’s (1713‑1784) Recueil de Planches, sur les Sciences, les arts Liberaux et les arts Mechanique, published Paris, 1762, after Robert Benard (1734‑1777), engraved by Jacques Raymond Lucotte (ca. 1733‑1804).

Attractively glazed and framed alike. each sight 15” x 18‑1/4”, framed 22‑1/2” x 26”

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$800‑$1,200 76 Louis XV-Style Ormolu-Mounted Maple Bureau Plat with an inset leather top, the scalloped apron with a band of three drawers, each with figural mounts, the cabriole legs with maiden head mounts and ormolu sabots. h. 31‑1/4”, w. 51‑1/4”, d. 27‑1/2” $500‑$800

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77 Suite of Three French Hand-Colored Engravings ca. 1900, by Armand Guerinet and JeanCharles de la Fosse, including plates 32, 33 and 42.

Matted, glazed and framed alike. each sight 11” x 7”, framed 20” x 15‑3/4” $250‑$400

78 Louis XV-Style Painted Leather Screen 19th century, composed of four serpentinetop panels, depicting idealized scenes of country life. overall h. 83‑1/2”, w. 90” $400‑$700

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81 Louis XV-Style Giltwood Firescreen late 19th century, the floral tapestry screen surmounted by a floral crest and within a molded frame, raised on splayed end supports ending in scrolled toes. h. 40”, w. 26” $300‑$500

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79 Louis XV-Style Giltwood and Marble-Top Console 19th century, the carved apron with a central shell and flanked by a bird to each side, raised on cabriole legs. h. 34‑1/2”, w. 67”, d. 17” $700‑$1,000 80 Pair of French Restauration Gilt-Bronze Candlesticks second quarter 19th century, the engine-turned candlesticks with matching bobeches and vasiform reeded standards. h. 12”, dia. 5‑1/4”

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$700‑$1,000

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83 Duchoiselle (French, 19th/20th Century) “La Lecon d’Astronomie” patinated bronze cast signature along front edge, now presented under a glass dome and atop a carved wood base. sculpture h. 11”, w. 10‑1/2”, d. 5”; base h. 2”, w. 16”; dome h. 14‑1/2” $700‑$1,000 84 Early French Provincial Carved Oak Armoire late 18th century, with a removable molded cornice above a pair of framed and paneled doors with relief-carved motifs of birds and flowering trees. h. 87”, w. 57”, d. 25‑1/2” 82

$200‑$400

82 Provincial Louis XV-Style Mahogany Games Table late 19th century, with swivel action and having a shaped and molded top and flared cabriole legs, with book-matched veneers throughout. h. 29”, w. 36”, d. 19” Provenance: Jas A. Gundry Antiques, Houston, Texas; Private collection, Houston, Texas. $600‑$900

83

30

84

85 Provincial Louis XV-Style Mahogany Sofa by Henredon of generous proportions, with a scalloped and arched back, downswept arms and raised on carved legs. h. 44”, w. 77”, d. 35” $700‑$1,000 86 Paul Simonet (French, act. 19th Century) “Still Life with Strawberries” oil on canvas signed lower right.

Framed.

11‑1/2” x 14‑1/8”, framed 15” x 17‑1/2” Provenance: Lucullus, New Orleans, Louisiana. $700‑$1,000

86

87 Collection of French Hand-Blown Glass Champagne Flutes mid-19th century, including seven examples with each having quarter-paneled bowls into paneled stems, with a mounded and star-cut foot, h. 6‑3/4”, ten with each having smooth bowls and stems, with a star-cut foot, h. 6‑3/4”, and fourteen with each having half-paneled bowls and double knop stems, h. 7”, all with round and polished pontils. $600‑$900

87

85

31

88 Provincial Painted Bread Cabinet on Stand in the French country style, with a fall-front door adorned with floral carving, gardening motifs and musical reliefs, the cabinet resting on a stand with an open shelf and turned legs. h. 35”, w. 40”, d. 17‑1/2” $500‑$800

89 Suite of Eight Provincial Louis XV/XVI-Style Painted Dining Chairs each with a rounded back with polychrome cane, molded compass-form seat upholstered in green floral brocade and fluted tapering circular legs. h. 35‑1/2”

88

$400‑$700

90 Provincial Louis XV-Style Fruitwood Desk the top with a molded edge, over a central drawer and kneehole opening flanked by pairs of deep drawers, raised on cabriole legs. h. 29‑3/4”, w. 60”, d. 27‑1/2” $150‑$300

89

32

90

91 French Carved and Parcel-Gilt Chandelier second quarter 20th century, in the Louis XV style, the fivelight chandelier with a vasiform, fluted standard, leaf- and swag-carved, the lower portion carved with laurel leaves, set with leaf-carved scrolled candle arms terminating in beaded candle holders. h. 23‑1/2”, dia. 19” $700‑$1,000 92 French Provincial-Style Bleached Mahogany Buffet a Deux Corps 20th century. h. 92‑1/2”, w. 59”, d. 19” $400‑$700 93 Louis XV-Style Giltwood Mirror

91

fourth quarter 19th century, the rectangular surround lined with rocaille work, the corners lined in scrollwork, the crest decorated with a seashell and trimmed with flowerheads, and the lower edge with pierced rocaille work. h. 49”, w. 35‑1/2” Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas. $700‑$1,000

93

92

33

94 Provincial Oak and Fruitwood Cabinet comprised of antique elements, the molded cornice above a case fitted with three pairs of long upper cabinet doors, each bi-paneled and opening to a shelved interior, the lower section fitted with three pairs of paneled doors, raised on a plinth base. h. 78”, w. 94‑1/2”, d. 19‑1/2” $600‑$900

95 Provincial Louis XV-Style Beechwood Fauteuil with a molded back, joined to open arms, a loose seat cushion and molded serpentine seat rail extending to cabriole legs, the cushion tufted. h. 39” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $400‑$700 95

34

94

96 Louis XV-Style Giltwood Mirror fourth quarter 19th century, the arched crest with scrollwork and rocaille work, with a molded surround and cut corners, decorated with cabochons and scrollwork. h. 58‑1/2”, w. 31” Provenance: Estate of Audry and Sherwood Bailey, Sr., Pass Christian, Mississippi. $400‑$700

97 Louis XV-Style Fruitwood Sofa late 19th century, the triple-domed back with foliate shellcarved crests over a padded back, joined by scrolling outswept arms to the padded seat, raised above a foliate shell-carved apron on molded cabriole legs ending in scrolled toes. h. 43”, w. 73”, d. 26” $500‑$800

98 Louis XV-Style Giltwood and Marble-Top Pier Mirror Base

96

third quarter 19th century, with a conforming white marble top over a shaped frame with scrolled and foliate motifs, raised on cabriole legs. h. 13‑1/2”, w. 40”, d. 14” $150‑$300

98

97

35

100 Louis XV-Style Kingwood Work Table early 20th century, the hinged, shaped rectangular top banded and with parquetry veneer, and opening to a mirrored interior and a lift-out compartmented tray, above a shaped ormolu-applied frieze with a pull-out storage well below, raised on cabriole legs ending in sabots, the interior bearing the label “Tahan, Paris”. h. 30”, w. 22‑1/2”, d. 16” $75‑$125

99

99 Pair of Louis XV-Style Gilt-Bronze Candelabra fourth quarter 19th century, with bell-shaped feet decorated with scrollwork and vasiform standards decorated to match, the candle socket fitted with scrolled candle branches terminating in leaf-molded candle cups and scrolled bobeches. h. 13‑1/4”, w. 10‑3/4”, d. 5‑1/4” $400‑$700

100

101 Pair of Bronze Candelabra in the Renaissance Revival Taste fourth quarter 19th century, French, the molded standards on scrolled feet decorated with bronze mounts, the bases with masques and pierced anthemia, the scrolled candle arms set with pierced drip pans and reeded candle cups. h. 20‑1/2”, w. 8‑3/4”, d. 8‑3/4” Provenance: Estate of Audry and Sherwood Bailey, Sr., Pass Christian, Mississippi. $200‑$400

101

36

102 Diminutive French Boulle-Work Clock in the Louis XV Taste fourth quarter 19th century, having a porcelain dial with a time and strike movement, the back of the brass movement marked “P.L tre”. h. 11‑1/2”, w. 6‑1/2”, d. 4” $500‑$800 103 Louis XV-Style Creme-Peinte and Parcel-Gilt Settee early 20th century, in 19th-century floral Aubusson upholstery. h. 42”, w. 57”, d. 25” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi.

102

$700‑$1,000 104 French Porcelain Seau a Glace first half 20th century, having slightly tapering sides and a rounded rim, with opposing knop handles, decorated to the exterior with distinctive gilt stripes. h. 11‑1/4”, w. (at widest point) 14” $200‑$400

104

103

37

105 Louis XV-Style Giltwood Sunburst Mirror 20th century, the circular convex mirror glass with a flowermolded surround, the straight “rays” alternating with curved “rays”. dia. 31” $700‑$1,000 106 Louis XV-Style Burlwood and Mahogany Bureau Plat with an inset leather top, the apron with a central drawer flanked by serpentine drawers, raised on cabriole legs, with gilt-lacquered ormolu mounts throughout. h. 32”, w. 42‑1/2”, d. 22” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $700‑$1,000 105

107 Pair of Louis XV-Style Gilt-Bronze Sconces mid-20th century, molded with rocaille work and leaves, the candle cups and drip pans molded to match. h. 22‑1/2”, w. 16”, d. 7” $700‑$1,000 108 French Aesthetic Marble and Bronze Clock Set fourth quarter 19th century, decorated with gilt and silver-gilt incising, the clock with an urn-form finial, the works marked

by Japy Freres, h. 15‑1/2”, w. 11‑1/2”, d. 7”, and the matching two-light candelabra with molded candle cups and pierced anthemia finials, h. 17”, w. 8‑1/4”, d. 4‑1/4”.

106

38

107

$200‑$400

108

109 Transitional Louis XV/XVI-Style Kingwood and MarbleTop 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. $800‑$1,200 110 French Patinated Bronze and Crystal Chandelier in the Louis XVI taste, fitted with six candelabra sockets and various pendalogues and spears. h. 36”, dia. 19” Provenance: Lucullus, New Orleans, Louisiana. $700‑$1,000

110

111 Pair of Louis XVI-Style Polychrome Fauteuils 19th century, each with a padded medallion back within a molded frame, joined by padded arms on bulbous uprights to the padded seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 34‑1/2” $600‑$900

109

111

112 Louis XIV-Style Parcel-Gilt Mirror fourth quarter 19th century, framed with carved scrollwork and flowerheads, the pierced crest with a central pierced carving of flowerheads, mounted on a painted back with old mirror glass. h. 20‑1/2”, w. 14” $700‑$1,000 112

39

113 Pair of Gilt-Bronze and Blanc-de-Chine Candelabra second quarter 20th century, French, the two-light candelabra in the rococo taste, with pierced bronze stands set with porcelain chinoiserie figures and bronze candle sockets. h. 8‑3/4”, w. 8”, d. 5‑1/2” $400‑$700 114 Louis XVI-Style Kidney-Form Desk the inset marble top edged by a brass gallery, above a frieze fitted with a single drawer, raised on fluted legs joined by a shaped shelf, with ormolu mounts throughout. h. 20”, w. 29‑1/2”, d. 17‑1/2” $700‑$1,000

113

114

115 Louis XVI-Style Kingwood and Marble-Top Cabinet late 19th century, the D-form marble top above a conforming case fitted with a central drop front, opening to a leatherinset surface and drawers and cubbyholes, over a tambour cupboard opening to two small drawers, flanked to either side by a drawer over a tall cupboard door, raised on tapering square legs ending in brass caps, the whole accented with decorative banding and quarter veneers. h. 47‑3/8”, w. 43‑1/2”, d. 17‑1/2”

115

$200‑$400 116 French Classical-Style Slate and Verde Marble Mantel Clock early 20th century, with a porcelain dial and open escapement, the back of the brass movement bearing the “L. Marti Medaille De Bronze” stamp. h. 11‑1/2”, w. 19”, d. 6” $300‑$500 116

40

117 French Gilt- and Patinated Bronze Figural Tazza first quarter 20th century, in the Neo-Grec taste, the circular dish embossed with scenes of classical figures, above a kneeling figural standard and a foliate base. h. 11”, dia. 17‑1/2” $500‑$800 118 Dramatic Pair of French Etched and Incise-Painted Plate Glass Doorway Panels 20th century, each panel of thick black glass with an etched design and painted details. h. 78‑3/4”, w. 10‑3/4” Provenance: Lucullus, New Orleans, Louisiana. $400‑$700

117

118

119 French Bronze and Crystal Figural Centerpiece 20th century, with a gilt-bronze foot and trimming, the patinated bronze nude figure supporting the crystal bowl. h. 16‑1/4”, dia. 13‑1/2” $300‑$500

119

41

120 After Auguste Moreau (French, 1834‑1917) “Putto avec Canard” patinated bronze 20th century, cast signature, foundry mark, and inscribed “Copyright 1906” along self-base, on a marble plinth. h. 12‑1/4”, w. 6‑1/2”, d. 7‑1/2” $400‑$700 121 Pair of French Porcelain Urns Converted to Table Lamps first half 20th century, in the Sevres style, each decorated with Napoleonic scenes, mounted on tiered gilt-metal bases. overall h. 21‑1/4”, w. 8‑3/4”, d. 7‑1/2” Provenance: Private collection, Houston, Texas. $400‑$700 120

121

122 Louis XIV-Style Giltwood Mirror 20th century, the serpentine sides inset with mirror panels trimmed with scrollwork, the crest decorated with a mirrorbacked giltwood flower in a roundel, the lower edge with a shell. h. 48‑1/2”, w. 31‑1/2” $700‑$1,000

122

42

123 Petite Painted Tole and Stamped Metal Floral Chandelier first half 20th century, the central shaft with vines and flowerheads, having five outstretched arms fitted with candelabra sockets. h. 21” (not including chain), dia. 16” Provenance: Lucullus, New Orleans, Louisiana. $600‑$900 124 John Pieron (French/American, Mid-20th Century) “Marchand des Fleurs” 123

oil on canvas signed lower right.

Framed.

24” x 20”, framed 34” x 30” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $600‑$900 125 Louis XVI-Style Beechwood Sofa late 19th century, with a carved top rail and stiles joined to shaped open arms with beaded scroll ends, a bound seat rail and tapering fluted and stop-fluted front legs, retaining antique needlework upholstery depicting an allegorical scene. h. 44”, w. 82‑1/2”, d. 26” $600‑$900

124

125

43

127

126 Louis XVI-Style Mahogany and Marble-Top Bureau Cylindre late 19th century, the rectangular marble top within a threequarter pierced brass gallery over three small drawers, the lower paneled cylinder opening to three small drawers and a pull-out leather-inset surface, with three drawers below, all drawers banded and with ormolu millwork, raised on tapering circular legs ending in brass caps h. 43‑1/2”, w. 37‑1/4”, d. 19‑1/2”

126

$300‑$500 127 Pair French Gilt-Bronze Candlesticks mid-19th century, now mounted as lamps. overall h. 21‑3/4” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $400‑$700 128 Bertoldo Taubert (French, 1915‑1974) “Jeune Fille et Enfants” oil on canvas signed lower right, titled, signed and stamped en verso, “Findlay Galleries, Chicago” label on frame backing.

Framed.

16‑1/4” x 11”, framed 24” x 18‑1/4” Provenance: Collection of Leon Amar, Palm Beach, Florida. $600‑$900 128

44

129

130 Louis XVI-Style Polychrome Two-Drawer Commode

129 Louis XVI-Style Giltwood Settee 19th century, the floral- and ribbon-carved top rail centered by an avian-carved crest, the back joined to open arms with foliate carving, a bowed seat rail and turned legs, upholstered in gold-striped brocade. h. 39‑1/2”, w. 60”, d. 22” $400‑$700

the front with applied floral decoration, raised on tapered square legs. h. 34‑1/2”, w. 49”, d. 21” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $500‑$800 131 French Carved Giltwood Eight-Light Chandelier first half 20th century, the upper standard with a carved pineapple finial, the lower hub with eight carved arms fitted with candelabra sockets. h. 35” (not including chain), dia. 26” Provenance: Lucullus, New Orleans, Louisiana. $800‑$1,200

130 131

45

132 French School (First Quarter 20th Century) “Spring Siesta” oil on canvas unsigned, “Douane, Paris” supplier stencil en verso.

Framed.

22‑1/2” x 29”, framed 27” x 33‑3/4” $800‑$1,200

132

133 Pair of Louis XVI-Style Bronze Sconces second quarter 20th century, the tapered backplates molded with acanthus leaves and laurel swags, and set with flame finials on urns hung with swags, the scrolled arms with molded acanthus leaves and fluted drip pans and candle sockets. h. 21”, w. 14‑1/2”, d. 10” $600‑$900

133

134 Paris Porcelain Gilt and Matte Blue Urn second quarter 19th century, with carefully detailed gilding and leopard-head handles. h. 9‑3/4”, w. 5‑3/4”, d. 3‑1/4” $400‑$700

134

46

135

136

135 Pierre-Eugene Duteurtre (French, 1911‑1989) “Scene de Plage” oil on canvas signed lower left, signed and titled en verso.

Framed.

18‑1/4” x 21‑1/2”, framed 22‑1/2” x 26” Provenance: Collection of Leon Amar, Palm Beach, Florida. $400‑$700

136 Louis XVI-Style Mahogany and Marble Top Side Table early 20th century, the shaped top with an inset Breche d’Alep marble, above a single drawer and raised on turned and fluted legs. h. 27‑12”, w. 22‑1/2”, d. 15” $200‑$400

137 French Empire Gilt-Bronze Figural Candelabrum first quarter 19th century, modeled with a figure of “Victory” supporting grape-molded candle cup holders. h. 13‑1/2”, w. 7‑1/4”, d. 4‑3/4” $500‑$800

137

47

138 After Louis Hottot (French, 1829‑1905) “Young Lady of Fashion with Opera Glasses” patinated bronze cast signature along proper left edge, on a green marble base. overall h. 25‑1/2”, w. 7‑1/2”, d. 9‑1/2” $300‑$500

139 Louis XVI-Style Mahogany and Marble-Top Cabinet second half 20th century, the marble slab top with a molded edge and rounded corners, above a case with a drawer over a paneled door flanked by pilasters with gilt-bronze capitals, the rounded ends with two open marble-topped shelves with brass galleries. h. 35”, w. 52”, d. 19‑1/2” $600‑$900 138

139

48

140

140 Three-Piece French Marble and Bronze Clock Set

141 Pair of French Bronze and Crystal Sconces

fourth quarter 19th century, in the Renaissance Revival taste, the clock and urns composed of black and rosso antico marble, accented with gilt incising, and raised on bronze paw feet, the clock dial flanked by “caryatids” and with an exposed escapement. clock h. 18‑1/4”, w. 13‑1/2”, d. 7‑1/2”, urns h. 16”, w. 6‑7/8”, d. 4‑1/2”

first quarter 20th century, with oblong backplates decorated with pierced scrollwork and beading, the scrolled candle arms supporting turned candle cups with reeding, set with crystal bobeches hung with prisms, swags of crystal drops hung from the arms. h. 19”, w. 15”, d. 12”

Provenance: Private collection, Chicago, Illinois.

Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas.

$700‑$1,000

$600‑$900

141

49

142 Louis XVI-Style Polychrome and Parcel-Gilt Stool having a red velvet cushion over a polychrome molded frieze, raised on tapering fluted legs with leaf-carved capitals. h. 18‑1/2”, w. 20‑3/4”, d. 15‑1/2” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $300‑$500

142

143 Large Louis XVI-Style Polychrome and Parcel-Gilt Recamier 20th century, with a carved and fluted post at the head end, and raised on turned and fluted legs. h. 40”, w. 30”, l. 89” $700‑$1,000

143

508

144 145

144 Pair of Louis XVI-Style Mahogany Side Chairs early 20th century, each with a medallion back, ribbon-carved crest, serpentine rail and stop-fluted tapering legs. h. 36” $100‑$200 145 Louis XVI-Style Ormolu-Mounted Marble and Onyx Pedestal mid-20th century, the shaped top with various segmented marble veneers and mounted to a tapered standard and platform base. h. 32”, dia. 21” Provenance: Lucullus, New Orleans, Louisiana. $700‑$1,000 146 French School (20th Century) “Nature Morte”

146

oil on canvas signed and dated “05” lower right, inscribed “a ma Niece M. Carliez de ma profinde amitie, Mars 05 E. Got” en verso canvas.

Framed.

36” x 25‑1/2”, framed 41‑3/4” x 30‑1/2” $800‑$1,200

51

147 Partial Set of French Stemware fourth quarter 19th century, possibly Baccarat, each with a paneled and notchcut bowl above an inverted panel-cut teardrop stem on a panel-cut hexagonal foot, comprising eight champagne flutes, h. 7‑1/4”, thirteen sherry wines, h. 5”, twelve cordials, h. 3‑3/4”, and nine liqueurs, h. 3‑3/4”. $600‑$900

147

148 Pair of Louis XIV-Style Gilt-Brass and Cut Glass Sconces 20th century, each four-light sconce dressed with various pendalogues and crystal chains. h. 18”, w. 14”, d. 12” $600‑$900 148

52

149

149 After Bernard Cathelin (French, 1919‑2004)

150 Suite of Four Fruitwood and Leather Fauteuils a la Reine in the Louis XIV style, each with an upholstered back, open arms with scroll ends and turned legs joined by an H-form stretcher. h. 45‑1/4”

“Untitled” offset lithograph signed in plate and dated “69” lower left.

Matted, glazed and framed. sight 27” x 34‑1/2”, framed 33‑1/2” x 41”

$500‑$800

$200‑$400

150

53

151 French School (21st Century) “Entering the Cathedral” oil on beveled wood panel unsigned.

Framed.

12” x 15‑5/8”, framed 18‑1/2” x 21‑1/2” $300‑$500

151

152 French School (21st Century) “Parisian Street Scene” oil on beveled wood panel unsigned.

Framed.

12” x 15‑5/8”, framed 18‑1/2” x 21‑1/2” $300‑$500

152

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153

153 French Gilt-Bronze, Mahogany and Glass-Top Occasional Table mid-20th century, the mahogany platform base supporting a gilt-bronze urn-form pedestal molded with putti and ram’shead handles, and fitted with a beveled edge glass top. h. 19‑3/4”, dia. 23‑3/4” $100‑$200

154

154 Unusual Italian Baroque-Style Giltwood Mirror

155 Pair of Italian Carved and Gilded Wooden Figural Brackets

ca. 1900, possibly Venetian, the crest with a bust against a pierced frame of leaves and scrollwork, flanked by a pair of female figures, the surround decorated with pierced scrollwork and rocaille work, scattered with flowerheads. h. 49”, w. 31‑1/2”

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” $300‑$500

$1,000‑$1,500

155

55

156 Giltwood Armchair in the Italian Rococo Taste ca. 1900, with a shell-, foliate- and scroll-carved crest rail, open arms, and shaped seat rail and legs ending in French toes. h. 36‑1/4” $500‑$800

156

157 Parcel-Gilt and Charcoal-Painted Mirror 20th century, in the Italian rococo taste. h. 46‑3/4”, w. 30‑3/4” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $400‑$700

157

56

159

158 Italian Rococo-Style Giltwood Looking Glass the shaped mirror plate in a conforming frame with foliate and scroll decor. h. 45”, w. 29‑1/2”, d. 5” $600‑$900

158

159 Florentine Giltwood Bracket Shelf 20th century, in the rococo taste, heavily carved and gilded. h. 10‑1/2”, w. 10‑3/4”, d. 6‑1/4” $100‑$200

160 Pair of Contemporary Busts of Classical Scholars 20th century, decorated with gilt wreaths. h. 11‑1/2”, w. 4”, d. 2‑3/4” $75‑$125

160

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161 Italian School (Fourth Quarter 16th/First Quarter 17th Century) Two Rare Prints including Antonio Tempesta (1555‑1630), “Gideon Choosing His Soldiers”, from Battles of the Old Testament, ca. 1590‑1610, etching, 28” x 12”; Paolo Farinati (1524‑1606), “The Multiplication of Bread and Fish”, ca. 1603, aquaforte, 18‑1/4” x 20‑1/2”, each signed and inscribed in plate.

The first matted, glazed and framed; the second unframed. framed 19‑1/2” x 35‑1/2” $400‑$700

161

162 Italian Neoclassical Polychrome and Parcel-Gilt Mirror ca. 1800, the giltwood crest composed of a basket of fruit flanked by swans supporting swags of flowers, the upper tablet decorated with applied carved trophees and an eagle, and flanked by reeded giltwood urns, the mirror plate aperture with carved medallions in the corners. h. 42‑1/2”, w. 16‑1/4” $400‑$700

162

58

163 Pair of Raised Gilt Porcelain Urns in the Neoclassical Taste 20th century, each decorated with 18th century-costumed figures in a garden, on a blue ground, mounted with ram’shead handles grasping wreaths, the molded and gilt bases with spurious crossed swords marks. h. 24‑1/2”, w. 11”, d. 6” $700‑$1,000

164 Italian Neoclassical-Style Polychromed Demi-lune Chest the case with a pair of drawers over a pair of doors, adorned with foliate, floral and ribbon painting throughout. h. 36‑1/2”, w. 49”, d. 20”

163

$700‑$1,000

164

59

165 Pair of Neoclassical-Style Cast Iron Garden Urns each of campana form with egg-and-dart rim, foliate swag body and handles, and raised on tapering square bases. h. 42”, dia. 22” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $700‑$1,000

165

166 Pair of Neoclassical-Style Variegated Marble Pedestals each with a square top over a segmented column, constructed of highly figured gray and red marble. h. 51”, w. 12”, d. 12” $800‑$1,200

166

60

168 167

167 Giovanni Molteni (Italian, 1898‑1990)

168 Pair of Italian Parcel-Gilt Sconces

“Wooded Landscape”, 1961 oil on canvas signed and dated lower right, handwritten label with artist en verso frame.

Framed.

20” x 26”, framed 25‑3/4” x 31‑1/2”

mid-20th century, with cornucopia backplates fitted with fruit, the arms hung with prisms. h. 27”, w. 12”, d. 7” $600‑$900

$500‑$800

169 Pair of Venetian-Style Polychrome Cabinets each with a serpentine top with canted corners, above a conforming case with a drawer over a paneled door, scalloped apron and shaped legs. h. 39‑1/2”, w. 32”, d. 20” $500‑$800

169

61

170

171

170 Italian School (20th Century) “Village Market Scene” oil on canvas signed “G. Valardi” lower right.

Framed.

23‑3/4” x 31‑5/8”, framed 27‑1/2” x 35‑1/2”

172 Pair of Italian Baroque-Style Giltwood Sconces first quarter 20th century, with cornucopia-shaped arms, carved with leaves and scrollwork, the candles set with wreaths of fruit, the backplates carved with acanthus leaves. h. 7‑1/4”, w. 7”, d. 17” $700‑$1,000

$700‑$1,000

171 Italian Walnut and Bronze Mirror 20th century, in the neoclassical taste, with a central pitch pediment, the mirror plate flanked by tapered sides crowned with bronze classical busts. h. 32‑1/2”, w. 14‑1/2” $600‑$900

172

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173

173 Pair of Italian Looking Glasses in the grotto taste, each with an oval plate surmounted by a nautilus and coral crest, surrounded by a frame richly encrusted with various types of shells in a banded pattern. h. 34”, w. 25” $400‑$700

174 Three Art Prints of Napoleon Bonaparte 20th century, including a facsimile of Napoleon’s coronation after the etching

by Desnoyers; together with two color bookplates after portraits by Delaroche and Borely.

Each matted, glazed and framed. sights 10‑1/2” to 19” x 8‑1/4” to 14”, framed 13‑1/4” to 16” x 11‑1/4” to 21‑1/4” $300‑$500

174

63

175 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” Provenance: Private collection, Mobile, Alabama. $400‑$700

175

176 Napoleon III Burl and Fruitwood Bureau de Dame third quarter 19th century, the superstructure fitted with a central mirrored cupboard, flanked to either side by a lower bank of three small drawers, all surrounded by a partial pierced brass gallery, the shaped lower section centered by an inset leather surface and above a frieze fitted with a single drawer, raised on cabriole legs ending in sabots, the whole accented with delicate inlaid scrolling patterns and ormolu mounts. h. 47‑1/2”, w. 44”, d. 26” $600‑$900

176

64

177 Biedermeier Burl Fruitwood Cabinet 19th century, the molded and stepped cornice above a singleglazed cupboard door, flanked to either side by columnar uprights with ebonized columns, the lower section fitted with a single paneled cupboard door, raised on ebonized bun feet. h. 77”, w. 32‑1/4”, d. 19‑1/2” $1,000‑$1,500

178 Pair of Biedermeier-Style Walnut Side Chairs each with an arched top rail over a pierced scroll and finialmounted splat, slip seat and tapering square legs. h. 38‑1/4” $200‑$400

177

178

65

179 Biedermeier Burl Walnut Secretary

180 Biedermeier Mahogany and Satinwood-Inlaid Mirror

mid-19th century, the domed cornice above two doors, each with a shaped glazed panel, over three short drawers, the central one concave, and one long drawer, over a faux tambour roll-top opening to an inset leather surface and drawers and a central cupboard, over a long frieze drawer over three long recessed drawers, flanked to either side by a fluted upright, raised on turned turret feet. h. 69‑1/2”, w. 38”, d. 24‑1/2”

second quarter 19th century, the peaked crest above an inlaid paneled frieze and mirror below. h. 47”, w. 23” $500‑$800 Provenance: Lucullus, New Orleans, Louisiana.

$300‑$500

180

179

66

181

181 Set of Eight Royal Vienna-Style Porcelain Cabinet Plates

182 Vienna-Style Porcelain Cabinet Plate

fourth quarter 19th century, German, each decorated with tooled gilt on a bleu de France ground, the neoclassical scenes signed by various artists, with the subject matter identified on the backs, including Musik of Amor, Amor Captive, Reading Autumn, Musik of Shepherd, Lady Sheffield and At the Source, signed with gold and blue “beehive” decorator marks. dia. 10‑1/2”

ca. 1900, the border with urn-centered pastel scrolls alternating with gilt birds, the reserve depicting Horaz and Genius in a sylvan landscape, signed illegibly in gilt overglaze, the reverse with underglaze blue beehive and titled in red overglaze script: “Horaz und Genius”. dia. 9‑1/2” $300‑$500

$500‑$800

182

67

183 Biscuit Porcelain Figure of The Three Graces ca. 1888‑1916, German, the figures dancing around a tree intertwined with flowers, signed in blue on the top of the platform “Richard Klemm, Dresden”. h. 21”, dia. 9” $800‑$1,200

183

184 Two Parian Classical Figures of Ruth and Rebekah Continental or British, first quarter 20th century, each modeled standing on a classical-style plinth base, with associated hardwood stands, unmarked. tallest h. 15”, w. 3” d. 4” (excluding stand) $300‑$500

184

68

185 Continental School (20th Century) “Still Life of Flowers in a Vase” oil on canvas signed “B. Maximillian” lower right.

Framed.

36” x 24”, framed 44” x 32” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $400‑$700 186 Pair of Dutch School Still Lifes fourth quarter 19th century, each chromolithograph on paper heightened with oil, later laid down on canvas and backed by panel.

Framed alike. each 29” x 24”, framed 34” x 29” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $300‑$500

185

186

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188

187 Continental Cream-Lacquered and Gilt Mirror late 18th century, the shaped and molded arched frame decorated with delicate flowers, trailing vines and treillage, with molded gilt edging, set with a conforming beveled mirror plate. h. 34‑1/2”, w. 16” Provenance: Jas A. Gundry Antiques, Houston, Texas; Private collection, Houston, Texas. $600‑$900

187

188 Continental Embossed Brass-Clad Firebox late 19th/early 20th century, with a lift top, the lid and front depicting a genre scene with shell and foliate border. h. 18”, w. 26”, d. 17‑1/2” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $300‑$500 189 Two Continental Mahogany and PaintDecorated Trunks on Stands 19th century, each with a faceted and domed top, dovetailed corners and mounted to a cabriole-leg stand, the front of each trunk with painted flowers and initials. h. 45”, w. 35”, d. 19” and h. 40”, w. 34”, d. 18‑1/2” $75‑$125

189

70

190 Spanish-Style Embossed Metal Trunk 19th century, the ends with bail handles, fitted with wooden rollers. h. 28”, w. 41”, d. 20” $500‑$800

191 Pair of Spanish-Style Polychrome Oak and LeatherCovered Armchairs 19th century, with downswept arms and shaped legs and stretchers. h. 37”, w. 22”, d. 21”

190

$600‑$900

191

71

192 Continental Trumeau Mirror mid-19th century, with a giltwood rococo surround and scrollwork and flowers at the corners of the ogee frame, the painting depicting a couple in the mountains, the male on a slope and the female on a terrace. h. 55‑1/2”, w. 30” $700‑$1,000

192

193 Continental Fruitwood Armchair 18th century, in the Renaissance style, the tall, padded rectangular back surmounted by a domed and molded crest centered by a figure of the god Mercury, flanked to either side by carved sphinx uprights, joined to the cushioned wooden seat by flat arms on putti uprights, raised on fluted columnar legs joined by an H-form stretcher and ending in bun feet. h. 48‑1/2” $900‑$1,200 193

72

194 Pair of Baroque-Style Gilt- and Patinated Bronze Candlesticks Converted to Table Lamps 20th century, French, each modeled with a putto figure holding the foliate stem of the candlestick on a tiered plinth base with swag detail, each indistinctly signed on the base. tallest overall h. 24” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $500‑$800

194

195 Unusual Pair of Silver-Gilt Mirrors in the Baroque Taste fourth quarter 19th century, with leaf-carved crests, the mirror plates framed with beading, on scrolled, leaf-carved and pierced feet. h. 23‑1/2”, w. 18‑1/2” $700‑$1,000 195

73

196

196 After Dutch/Flemish Old Masters (17th Century) Two portraits each oil on copper including Rembrandt, “Man in a Red Plume”, 1635 and Van Dyck, “Self-Portrait”, 1632.

Framed alike. each 12” x 9”, framed 18” x 15” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $700‑$1,000

197 Dutch School (17th/18th Century) Three Engravings/Etchings each on laid paper each signed and/or inscribed in plate including David Vinckboons (1576‑1629), “Le Goute Espagnol”, engraving, 13” x 9‑5/8”, Willem de Broen (1705‑1748), “Holy Family with Zachariah, Elizabeth and John the Baptist”, engraving, 8‑1/8” x 10‑1/4”, and Nicolaes Berchem (1620‑1683), “Shepherd Among Sheep and Cattle”, etching, 10” x 7‑1/2”.

Each matted, glazed and framed. framed 12‑5/8” x 15‑5/8” to 18‑1/2” x 15‑1/2” $400‑$700

197

74

198

198 Hans Schaufelein (German, 1480‑1540) “Dancing Couple (IV)” from Wedding Dancers woodblock on laid paper with snake and shield watermark Sammlung Linz stamp (Lugt, 2010) en verso, 9‑5/8” x 7‑5/8”; together with Adriaen van de Venne (Dutch, 1589‑1662), “Spring”, copper engraving, signed in plate, 4‑3/8” x 5‑5/8”, and Jacob Jordaens (Dutch, 1593‑1678), “Drunken Silenus”, etching laid down on card, signed in plate, 5‑3/4” x 8‑3/4”.

Each matted, glazed and framed. framed 10‑1/8” x 12‑1/4” to 15‑1/2” x 12‑1/2” Literature: Briquet, 1014‑5515. $400‑$700

199 After Willem van Herp the Elder (Dutch, 1614‑1677) “Flemish Collation”, ca. 1765 “Flemish Entertainment”, ca. 1764 each engraving and etching each engraved by Isaac Taylor the Elder, published by J. Boydell, London.

The first unframed, the second matted, glazed and framed. each 18‑1/4” x 20‑1/2”, framed example 26” x 28” $400‑$700

199

75

200

200 Pair of Rococo-Style Giltwood Mirrors ca. 1900, each with a pierced scrollwork surround decorated with flowerheads, the crest with lovebirds perched on scrollwork. h. 41‑1/2”, w. 20‑1/4” $1,000‑$1,500

201 Pair of Rococo-Style Gilt-Metal Candlesticks ca. 1900, Continental, the standards molded with intertwined dolphins. h. 10”, w. 5‑1/2”, d. 4‑1/2” $75‑$125 201

76

202 Continental Hand-Painted Four-Panel Screen mid-20th century, executed on heavy canvas, depicting flower-filled urns and vases above bead-draped scrolls, on an ochre ground edged in green, the reverse undecorated ochre. panel h. 68”, w. 20”, overall w. 80” $400‑$700

202

77

203 Vintage French Framed Wallpaper Panel mid-20th century, hand-painted on a mottled taupe ground, depicting a bird perched on a stylized flower- and pomegranate-laden branch above stylized chrysanthemum blooms, presented in a soft-gilt carved frame and glazed. overall h. 66”, w. 18‑1/2” $500‑$800

204 Pair of Chinoiserie-Style Gilt-Bronze and Mirror Glass Two-Light Candelabra second quarter 20th century, the standards with pagoda finials over mirrors etched with phoenixes, issuing arms with prismhung bobeches, on gadrooned rectangular stem feet. h. 14‑3/4”, w. 11”, d. 2‑1/4” $150‑$300 205 Pair of Chinoiserie Tole Tea Canisters Converted to Table Lamps first quarter 20th century, decorated with theatrical figural scenes on a green ground, numbered “3” and “4” within gilt cartouches. h. 20‑3/4”, dia. 9” Provenance: Private collection, Houston, Texas. $500‑$800

204

203

78

205

206

206 Pair of Chinoiserie-Decorated Louis XVI-Style Commodes

207 Chinoiserie-Decorated Tole Tray on Stand

with the brass plate “John Widdicomb Company, Grand Rapids Est. 1858”, each with a pair of block-front drawers, ormolu mounts and cabriole legs, with polychromed decor on a faux burlwood ground. h. 31‑3/4”, w. 38”, d. 16”

19th century and later, the period tray inset in a later conforming faux bamboo stand. h. 21”, w. 21”, d. 17”

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

$500‑$800

Provenance: Private collection, Houston, Texas.

$1,200‑$1,800

207

79

208

210 Adam-Style Giltwood Mirror ca. 1840, of shield form and surmounted by a flaming crest and ram’s heads. h. 56‑1/2”, w. 29” $500‑$800

209

208 Two 19th-Century Canes including a silver-clad cane with elaborate decoration, l. 36‑3/4”, and an ebony walking stick with gold-filled rococoscroll crop handle, monogrammed “TMS”, l. 35‑5/8. $300‑$500

209 Continental Book Easel first quarter 20th century, the wooden A-frame surmounted with a giltwood classical figurehead. h. 25‑3/4”, w. 16‑1/4”, d. 12” $300‑$500

210

80

211 German Ornate Cast Iron and Maple Mangle second half 19th century, the top of the cast arched plate stamped “GESETZLICH / GESCHUTZT”. h. 53”, w. 40”, d. 24” Provenance: Lucullus, New Orleans, Louisiana. $700‑$1,000

211

212 Patinated Metal and Marble Jardiniere 20th century, with Greek-key pierced sides supporting the black marble planter and eagle-decorated legs terminating in paw feet. h. 31‑1/2”, dia. 12‑1/2” $400‑$700

212

81

213

213 Karl Perl (Austrian, 1876‑1965)

214

“Harlequin” patinated bronze 20th century, incised signature and artist’s cipher along side edge, on a marble plinth. overall h. 9‑3/8”, w. 8‑1/4”, d. 4‑1/4” Provenance: Successions of Lois Chalona Hawkins and H. Lloyd Hawkins, Jr., New Orleans, Louisiana. $400‑$700

214 After Halfdan Hertzberg (Norwegian, 1857‑1890) “Le Siffleur - The Whistler” patinated bronze first quarter 20th century, cast signature along back of self-base, artist plaque with title along front, interior of base marked “17763”, after the model exhibited at the Exposition Universelle of 1889. h. 15”, w. 5‑1/2”, d. 6” Provenance: Successions of Lois Chalona Hawkins and H. Lloyd Hawkins, Jr., New Orleans, Louisiana. $400‑$700

215 Jose Acevedo (Spanish, 1850‑1905) “Matador”, 1881 watercolor signed and dated mid-left, a “Real Academia de Bellas Artes de San Fernando” label with artist and typewritten artist’s biography in Spanish en verso.

Glazed and framed. sight 11‑1/4” x 9‑1/4”, framed 15‑1/2” x 13‑1/2” $300‑$500

82

215

216

216 Pair of Continental Bronze-Mounted Porcelain Urns

217 Unusual Ebonized Iron and Brass-Mounted Fire Screen

second quarter 19th century, the obverses decorated with women holding prayer beads, and the reverses decorated with baskets of flowers, with leaf-molded bronze handles terminating in heads of Psyche, with bronze flared necks and leaf-molded bases. h. 21”, w. 14‑1/2”, d. 8‑1/4”

early 20th century, in the Adam taste, the top edge dressed with a molded brass rail, the sides and downswept venter bearing decorative brass mounts. h. 30”, w. 54”, d. 9” $200‑$400

$600‑$900

217

83

218 Contemporary Faux Tortoise and Bronze-Inset Coffee Table the circular top supported by four stylized supports and mounted to a shaped shelf below. h. 22”, dia. 40‑1/4” $600‑$900

218

219 Regency-Style Mahogany and Parcel-Gilt Stool 20th century, made by Maitland-Smith, of curule form and covered in faux leopard fur. h. 26”, w. 31”, d. 21” $300‑$500

219

220 Pair of Restauration-Style Gilt- and Patinated Brass Lamps 20th century, in the form of candlesticks, fitted with swirlpleated silk shades. h. 30‑1/2”, w. 6” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas.

220

84

$400‑$700

221

221 Suite of Fourteen Restauration-Style Mahogany Dining Chairs

222 Suite of Six Restauration Walnut Fauteuils mid-19th century, each with a padded back surmounted by a rounded crest, joined by scrolling arms to the padded seat, raised on sabre legs. h. 36”

comprised of four armchairs, h. 36‑1/4”, and ten side chairs, h. 33”, each with a scalloped scroll-carved crest rail, shaped stiles, bowed seat rail and scroll front legs with leaf carving at the knees and base.

$1,200‑$1,800

$1,000‑$1,500

222

85

223 Regence-Style Mahogany, Burl Wood and Marble-Top Commode the rectangular marble top with canted corners, above a bombe case fitted with two long drawers, raised on splayed legs to sabots, the whole accented with ormolu mounts. h. 35‑1/2”, w. 54”, d. 22” $600‑$900

224 Empire-Style Gilt-Bronze Bouillotte Lamp with three scrolled branches and bird-head terminals, on tapered stem and circular foot, with an adjustable green-painted tole shade surmounted by a wreath, electrified. overall h. 23”, dia. 12‑1/2”

223

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

225 Mark S. Joffe (Russian/American, 1864‑1941)

$400‑$700

“Zagorsk (now Sergiev Posad)” oil on canvas signed lower right, artist name and title typewritten in Cyrillic on exhibition label en verso, “Kennedy Galleries, New York” inventory label on frame backing.

Framed.

13‑1/8” x 18‑1/8”, framed 16‑1/4” x 20‑5/8” Provenance: Kennedy Galleries, New York; Trinity Auctions, Avon [Connecticut], July 30, 2009, lot 139; Private collection, New York. $500‑$800

224

86

225

226

226 Decorative Painting of Two Badly-Behaved Putti

227 Diminutive Fruitwood Commode/Side Table

20th/21st century, oil on canvas, signed lower left “Edwards”.

Framed.

20” x 24”, framed 35” x 39”

20th century, in the Directoire taste, the conforming top with canted corners, over a case fitted with a pair of reeded long drawers, raised on tapering square legs. h. 22”, w. 35‑1/2”, d. 18”

$400‑$700

Provenance: Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $300‑$500

227

87

228 Continental School (21st Century) “Sun-Drenched Landscape with Pond” oil on canvas unsigned.

Framed.

12” x 16”, framed 18” x 22” $300‑$500

228

229 Continental School (21st Century) “Sun-Drenched Landscape with Trees and Flowers” oil on canvas unsigned.

Framed.

12” x 16”, framed 18” x 22” $300‑$500

229

88

230 Monumental Continental Giltwood Lantern mid-20th century, the four-light lantern with an open scrolled frame, the lights mounted on scrolled arms, an acorn finial at the top and a pendant ball finial at the base. h. 55”, dia. 24‑1/2” $700‑$1,000

230

231 Associated Pair of Continental Gilt-Tole and Brass Candelabra first half 20th century, each nine-light candelabrum having arms arranged amid an elaborate design of grapevines and flowers, and raised on a pedestal-form base. h. 24”, w. 21‑1/2”, d. 8” $400‑$700

231

89

232

232 Three Continental Silverplate and Glass Claret Jugs

233 Continental School (19th Century)

first half 20th century, one of tapering conical form with wheelengraved ferns and double scroll handle, one of tapering oval section and wheel-engraved with floral cartouches, swags and monogram “K”, with squared handle with toupie finial, and one of ovoid form with molded “Brilliant”-style decoration, with double scroll handle and mascaron spout. h. 8‑3/4” to 10‑1/2”

“The Work Horse” oil on wood panel unsigned.

Framed.

16‑1/4” x 21‑1/2”, framed 22‑1/8” x 27‑1/2”

$150‑$300

Provenance: Estate of Dr. Carroll Ball, Jackson, Mississippi. $200‑$400

233

90

234 Contemporary Polychrome Bookcase/Cabinet in the Louis XVI taste, with an arched, molded crest over four doors having etched glass panels, over a base with two pairs of drawers over two pairs of doors, the upper portion fitted with adjustable glass shelves. h. 90‑1/2”, w. 79‑3/4”, d. 20‑1/2” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $600‑$900

234

91

235

235 Suite of Six Henry II-Inspired Painted Dining Chairs comprised of an armchair, h. 42‑1/2”, and five side chairs, h. 40”, each with a carved crest and cabriole legs. $300‑$500

236 Empire-Style Pier Mirror with Jardiniere Base ca. 1900, the polychrome, parcel-gilt and foliate-carved cornice over a frieze with gilt mounts and a beveled rectilinear mirror plate flanked by pilasters with figural capitals and paw feet, the lower section with an open well with tole liner, on carved paw feet. h. 96”, w. 60”, d. 17” $400‑$500

236

92

237 Continental School (21st Century) “Cloud Formation I” oil on canvas signed “Darius” lower right.

Framed.

20” x 24”, framed 22‑1/4” x 26‑1/4” $400‑$700

237

238 Continental School (21st Century) “Cloud Formation II” oil on canvas signed “Darius” lower right.

Framed.

20” x 24”, framed 22‑1/4” x 26‑1/4” $400‑$700

238

93

239 Interesting Georgian-Style Pressed Glass Chandelier early 20th century, the nine-light chandelier composed of antique elements. h. 50”, dia. 48” $400‑$700

239

240 English Oak Plate Rack early 19th century, the top with a molded cornice above a scalloped frieze, fitted with three grooved shelves and having fluted pilasters on each end. h. 42”, w. 64‑1/2”, d. 6” $600‑$900

240

94

243

241 English/French School (Second/Third Quarter 19th Century) “Bolberry Mill, Devon, England” “French Mill”, 1839 two graphite on paper drawings the first titled and indistinctly signed “Wm Bolyell(y)/Blylelly” lower right; the second dated in French “25 fevrier 1839” lower left.

Each matted, glazed and framed. sights 9” x 11‑3/4” and 11‑1/4” x 14‑1/4”; framed 20” x 22‑1/2” and 22‑3/8” x 24‑7/8”, respectively Provenance: Lucullus, New Orleans, Louisiana. $700‑$1,000

241

242 Near Pair of English Windsor-Style Yew Wood Armchairs 19th century, both with spindled and splat backs, single-board saddle seats and turned legs. h. 46”, w. 26”, d. 21” and h. 43”, w. 26”, d. 21” Provenance: Jas A. Gundry Antiques, Houston, Texas; Private collection, Houston, Texas. $700‑$1,000 243 James Mynde (British, 1702‑1771) “An Apple Mill”, ca. 1750 copper engraving artist and title printed lower margin, “plate 23, p. 254” printed upper right margin.

Matted, glazed and framed. sight 5‑3/4” x 8”, framed 15” x 17” Provenance: Lucullus, New Orleans, Louisiana. $200‑$400

242

95

245 244

244 English Mahogany Pembroke Table first quarter 19th century, having a rosewood-banded edge, one end fitted with a drawer, raised on tapering square legs. h. 27”, w. 29”, d. 36”, ext. w. 40” Provenance: Mill House Antiques, Woodbury, Connecticut; Private collection, Houston, Texas. $400‑$700

245 English Tunbridge Ware Writing Box third quarter 19th century, with a burr walnut veneer and bands of inlay flanking a mother-of-pearl escutcheon and top inlay, the interior with a gilt-stamped red Morocco writing surface. h. 5‑1/4”, w. 12”, d. 9” $300‑$500

246 English Oak Book Press on Stand mid-18th century, the press of pegged and dovetailed construction with a screw drive mechanism and six removable wooden plates, the base with a single frieze drawer supported by pegged and turned legs joined by an X-form stretcher with a beaded edge, raised on later bun feet. h. 68”, w. 28”, d. 19‑1/2” $500‑$800

246

96

247

247 Prideaux John Selby (British, 1788‑1867) Suite of six engravings from Illustrations of British Ornithology, 1821‑1834/1841‑1846 including “Velvet Scoter, Male & Female”, pl. XVII, “Grebes...”, pl. LXXIV, “Garganey Teal”, pl. LIII, “Bittern”, pl. VIII, “Sabines Snipe...”, pl. XXIV and “Tufted Pochard, Male”, pl. LXV. Each matted, glazed and framed alike. each sight 17‑1/4” x 22‑1/4”, framed 26‑3/4” x 31‑1/2” $800‑$1,200

97

248

248 Prideaux John Selby (British, 1788‑1867) Suite of six engravings from Illustrations of British Ornithology, 1821‑1834/1841‑1846 including “Common Wild Swan”, pl. XLVIII, “Crested Cormorant”, pl. LXXXVI, “Cinereous Eagle, Young”, pl. III, “Grouse, Male & Ptarmigan, Male”, pl. LIX, “Curlew”, pl. XIII and “Scooping Avocet”, pl. XX. Each matted, glazed and framed similarly. sights 21” x 17” to 23‑1/2” x 19‑1/2”, framed 26‑1/2” x 31‑1/2” to 33” x 29‑1/4” $800‑$1,200

98

249

249 Prideaux John Selby (British, 1788‑1867)

250 English Oak Coffer

Two hand-colored engravings from Illustrations of British Ornithology, 1821‑1834/1841‑1846

comprised of antique elements, with a hinged lift lid opening to a void interior, the front with three banded raised panels over two drawers, raised on bracket feet. h. 33”, w. 54”, d. 23”

including “Male Bustard”, pl. LXIV and “Female Bustard”, pl.

LXIV. Matted, glazed and framed alike. pl. 21‑1/2” x 15‑3/4”, framed 38” x 31”

$800‑$1,200

$700‑$1,000

250

99

251

251 After Thomas Brooks (British, 1818‑1891) Rescue on Rough Seas, “Departure” and “Return”, 1871 pair of engravings published by B. Brooks and Sons, London.

Each matted, glazed and framed. sight 21” x 36‑1/2”, framed 34‑3/4” x 50” Provenance: By repute, Estate of Fritz Bultman. $300‑$500 252 English Oak Bible Box on Stand third quarter 18th century, the lid with a molded front edge, chip-carved ends and branded on the interior “1765” with a dovetailed case, presented on a later conforming stand. h. 17”, w. 27”, d. 17” Provenance: Jas A. Gundry Antiques, Houston, Texas; Private collection, Houston, Texas. $300‑$500

100

252

253

253 English Oak Gateleg Table 18th century, of oval form with drop leaves, one end fitted with a drawer, raised on turned legs with pegged construction and joined by stretchers. h. 28”, w. 19”, d. 41”, ext. w. 53” Provenance: Private collection, Houston, Texas. $600‑$900 254 Group of Ten Chamberlain’s Worcester “Dragon in Compartments” Pattern Pieces first quarter 19th century and later, comprising a square dish, a cup and saucer, and various circular plates and dishes. square dish w. 8‑1/2”, d. 8‑1/2” Provenance: Private collection, Houston, Texas. $300‑$500

254

101

255 William Hogarth (British, 1697‑1764) “Humours of an Election”, et al. six engravings four from the “Humours of an Election” series (“An Election Entertainment”, “Chairing the Members”, “The Polling”, “Canvassing for Votes”), along with “A Midnight Modern Conversation” and “The Pool of Bethesda”.

Five matted, glazed and framed; the last matted and framed. sights 17‑3/4” x 22‑1/2” to 19‑1/4” x 23”, framed 24‑3/4” x 29‑1/4” to 28‑1/2” x 32” $400‑$700 255 Set of Six

102

256 Georgian-Style Mahogany Dining Table the rounded rectangular top with a reeded edge and above three pedestals, each with a turned columnar support to three splayed cabriole legs ending in pad feet. h. 28‑1/2”, w. 45”, l. 104” $400‑$700 257 Fifty-Four Pieces

257 Partial Set of Waterford “Lismore” Crystal Stemware comprising nineteen goblets, h. 7”, twenty-three claret wines, h. 5‑7/8”, and twelve white wines, h. 5‑3/4”.

Provenance: Private collection, Houston, Texas. $700‑$1,000 258 George III Mahogany and Pine Chest of Drawers late 18th century, the front fitted with a pair of side-by-side drawers over three graduated long drawers, raised on bracket feet. h. 41”, w. 36”, d. 19” Provenance: Private collection, Houston, Texas. $700‑$1,000

258

256

103

260 261

259 George III Mahogany Chest-on-Chest late 18th century, the molded and canted crest above a conforming case fitted with two short drawers over two long drawers, the lower section fitted with two graduated long drawers, raised on ogee-molded bracket feet. h. 56”, w. 46”, d. 22” Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas. $1,000‑$1,500 260 Henry Cooper (British, act. 1910‑1935) “Landscape with Houses by a Pond” oil on canvas signed lower right.

Framed.

12” x 20”, framed 14” x 21‑3/4” $500‑$800 Provenance: Lucullus, New Orleans, Louisiana.

261 Pair of Hand-Painted Porcelain Vases ca. 1900, probably English, painted with peacocks and set with rococo-molded handles, the cobalt grounds decorated with carefully detailed gilt insects, birds and snakes, drilled for lamps, unmarked. h. 11”, w. 8‑1/2”, d. 4‑3/4” $200‑$400

104

259

262 Diminutive George III-Style Mahogany Slant-Front Desk ca. 1900, in the Chippendale taste, the figured slant lid and drawers with blind fretwork-carved borders, on bracket feet. h. 38”, w. 25”, d. 17‑1/2” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $300‑$500 263 George III Mahogany Sideboard early 19th century, the rectangular breakfront top above a conforming case fitted with a central drawer, flanked to one side by a cupboard and to the other by a cellarette drawer, raised on ring-turned tapering circular legs ending in peg feet. h 36”, w. 68”, d. 28‑1/2”

262

$800‑$1,200 264 Joseph Paulman (British, 19th Century) “Windmill Above a Cove with Boats and Figures” oil on canvas signed and dated “1890” lower right.

Giltwood frame.

15” x 22”, framed 24” x 30‑3/4” $200‑$400

264

263

105

265 George III-Style Mahogany Chest 19th century, the banded and bowed top above a conforming case fitted with four graduated long drawers, all with inlaid line stringing, raised on bracket feet. h. 38”, w. 46‑1/2”, d. 24‑1/2” Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas. $700‑$1,000 266 English Polychrome Dummy Board 20th century, in the form of a cavalier with a sword. h. 41”, w. 20”, d. 10” $300‑$500 267 Pair of Bench-Made George III-Style Mahogany Side Chairs late 19th century, the shaped crest rail above pierced ribbon-form splats, raised on Marlborough legs, pegged construction. h. 39”, w. 22”, d. 18” 265

Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas. $700‑$1,000

267 266

8 106

268

268 British School (19th Century) “Young Boy with Mastiff” “Young Girl with Hound” pair of oils on copper each unsigned.

Framed.

10” x 8‑1/2”, framed 17” x 15” $800‑$1,200 269 George III-Style Mahogany Linen Press second half 19th century, in two parts, the upper section with a molded cornice over a pair of paneled doors, opening to reveal an interior fitted with a pair of linen drawers, the base with twoover-two drawers, all with banded perimeters, raised on bracket feet. h. 80‑1/4”, w. 47‑1/2”, d. 22” $800‑$1,200

269

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271

270 George III-Style Mahogany Sideboard

271 Eight-Piece Collection of English Coalport Topographical Porcelain

the bowed rectangular top above a conforming case fitted with a central drawer, flanked to one side by a deep drawer and to the other by a cupboard door, opening to baize-lined sliding cutlery trays, raised on tapering square legs ending in spade feet. h. 36‑1/2”, w. 72”, d. 25‑1/2”

ca. 1891‑1920, all with hand-painted, identified scenes on a cobalt ground richly decorated with giltwork, including four cabinet plates with T. Goode & Co., London retailer’s marks, dia. 8”, a three-handled goblet, h. 9”, d. 5‑3/4”, a covered urn with ram’s-head handles, h. 10‑1/4”, w. 5‑1/4”, d. 4”, a similar smaller urn, h. 7‑1/4”, w. 4”, d. 3”, and an urn with lion’s-head handles, h. 7”, w. 4‑1/4”, d. 3”.

Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas.

$300‑$500

$700‑$1,000

270

108

272 Pair of George III-Style Mahogany Side Tables 19th century, each with a bowed top above a case fitted with two graduated drawers, raised on slender tapering square legs. h. 31‑1/2”, w. 25‑1/2”, d. 17‑1/2” Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas. $500‑$800 273 British/American School (Fourth Quarter 19th/First Quarter 20th Century)

272

“The Immigrants” oil on canvas unsigned.

Framed.

14” x 12”, framed 22” x 20” $800‑$1,200 274 Pair of George III-Style Mahogany Bowfront Bachelor’s Chests each with a pair of drawers over a bank of three drawers, a work slide above the top drawer, a shaped apron and feet in the Hepplewhite taste. h. 31‑1/2”, w. 30”, d. 17” Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas. $800‑$1,200 273

274

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275 Two George III Armchairs late 18th/early 19th century, including a mahogany example with a pierced splat and scrolled knuckle grip, h. 38”, w. 28”, d. 21”, and a similar oak example, h. 38”, w. 26”, d. 20”. $300‑$500 276 George III-Style Mahogany Dining or Conference Table in the Chippendale taste, the top with a molded edge and carved apron, opening to accommodate two leaves, and raised on cabriole legs with foliate carving above the knees and ball-and-claw feet. h. 30‑1/4”, w. 47”, l. 76‑1/2”, ext. l. 123”

275

$600‑$900 277 Abraham Pether (British, 1756‑1812) “By the Shore at Dusk” oil on panel signed “A. Pether” lower left.

Framed and with artist plaque.

12” x 20”, framed 18” x 25” Provenance: Estate of Audry and Sherwood Bailey, Sr., Pass Christian, Mississippi. $400‑$700

277

276

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278

278 Suite of Six Chippendale-Style Mahogany Dining Chairs comprised of a pair of armchairs and four side chairs, each with an elaborately carved back, slip seat and cabriole legs ending in ball-and-claw feet. h. 41‑1/2” $600‑$900 279 George III-Style Mahogany Secretary Bookcase 20th century, the upper case with a dentillated overhanging molding above a pair of glazed doors and a row of four sideby-side drawers, the slant lid opening to a fitted interior, with four long drawers below and raised on ogee bracket feet. h. 79”, w. 38”, d. 19” $400‑$700

279

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280 David Cox (British, 1783‑1859) “Young Peasant Girls Attending Their Cattle” watercolor signed lower right.

Matted, glazed and framed. sight 10‑1/4” x 15”, framed 19” x 23‑3/4” $500‑$800 Provenance: Lucullus, New Orleans, Louisiana.

281 Pair of Hand-Colored Botanical Engravings 18th century, including “Polygonum” and “Aristolochia”.

Attractively matted, glazed and framed alike. each sight 15‑1/2” x 9‑1/2”, framed 27” x 20‑3/4” $300‑$500 280

281

112

282 Maitland-Smith William IV-Style Mahogany Bookcase the projecting top over three open shelves flanked by parcel-gilt reeded columns with foliate-carved tops and lotus-carved bases, on carved paw feet, the back retaining a Maitland-Smith label. h. 48‑1/4”, w. 40”, d. 17” $600‑$900

282

283 William IV Mahogany Linen Press second quarter 19th century, the upper case with an overhanging molding with lathe-turned details, above a pair of framed and paneled figured mahogany doors, the lower case fitted with similar doors and having a secret drawer below the base. h. 93‑1/2”, w. 52”, d. 22” $800‑$1,200

283

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284 Suite of Four British Hand-Colored Engravings of Sporting Scenes 17th century, after Arthur Foley (17th/18th century), engraved by Francis Barlow (1626‑1704), from Richard Blome’s (1635‑1705) The Gentleman’s Recreation in Two Parts, including “Partridge Hawks”, “Manning Hawks”, “Hunting Hare”, and “Earthing the Fox”.

All matted, glazed and framed alike. each sight 15‑1/2” x 9‑5/8”, framed 24‑5/8” x 17‑5/8” $700‑$1,000 Provenance: Lucullus, New Orleans, Louisiana.

285 British School (18th/19th Century) Two Equestrian Engravings including “Aaron and Driver Running the First Heat at Maidenhead”, ca. 1774‑1782, published Sayer and Bennett, London; and “Looby at Full Stretch”, 1735, published by Frank Babbage after John Sartorius, London.

Matted, glazed and framed alike.

Each plate 5‑1/2” x 7”; framed 11‑3/4” x 13‑3/4” $300‑$500 284

285

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286 William IV-Style Plum Pudding Mahogany Center Table the circular top with a molded edge, above a concave frieze, raised on a turned and ribbed columnar standard to four splayed legs ending in brass caps and casters. h. 28‑1/2”, dia. 48” Provenance: Estate of Audry and Sherwood Bailey, Sr., Pass Christian, Mississippi. $400‑$700 287 William-and-Mary-Style Oak Side Table 20th century, with a three-board overhanging top above a single drawer and raised on bobbin-turned legs joined by a box stretcher. h. 28‑1/8”, w. 30”, d. 18”

287

Provenance: Private collection, Houston, Texas. $400‑$700 288 Pair of English Cast Stone Gate Post Finials fourth quarter 19th century, the surfaces weathered to gray. h. 12‑1/2” $100‑$200

288

286

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289 Regency-Style Polychrome and Parcel-Gilt Ebonized Armchair the oval crest rail with a painted scene, over a fretwork splat, open arms and cane seat, now fitted with a loose cushion. h. 34‑1/2”, w. 21”, d. 22” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $500‑$800 290 Regency Mahogany Linen Press third quarter 19th century, the broad, molded overhanging cornice above a pair of arched and paneled doors, the upper case fitted with three pull-out galleried shelves, the lower case fitted with two side-by-side drawers above two long drawers. h. 89”, w. 51”, d. 25”

289

Provenance: Carl Moore Antiques, Houston, Texas; Private collection, Houston, Texas. $600‑$900

291

291 Pair of Regence-Style Gilt-Bronze Sconces second quarter 20th century, with inverted urn-form serpentine backplates, crowned with artichoke finials and hung with laurel swags, the scrolled candle arms molded with acanthus leaves, set with fluted drip pans. h. 15‑1/2”, w. 18‑1/2”, d. 7‑1/4” $700‑$1,000

290

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292 Regency Burlwood and Maple Hexagonal Work Table early 19th century, the hinged top bisected to lift at each end exposing a baize-lined interior, each end fitted with a drawer, and raised on a baluster-form pedestal joined to a tripodal base. h. 28”, w. 25‑1/2”, d. 22” $500‑$800 293 Pair of English Gothic Revival Cast Stone Crockets third quarter 19th century, each crocket spire shingle-carved and terminating in a fleurette, the surface deeply weathered to a tasteful gray. h. 22” $100‑$200

293

294 Pair of English Silverplate-Mounted Drinking Horns in the Victorian taste, the addorsed horns each mounted with an everted silverplate collar with openwork lower edge and fitted into a silverplate stand with oval arabesque cartouche collar above a knopped standard and ogee-domed circular base. h. 13‑1/4”, w. 10‑1/4”, base dia. 4‑1/4” Provenance: Private collection, Houston, Texas. $400‑$700 295 Victorian Rosewood Teapoy mid-19th century, the circular hinged top opening to a fitted interior. h. 30”, dia. 19” $400‑$700

292

294

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296 Three Pairs of Victorian Staffordshire Whippets second half 19th century, English, including two pairs seated, and a pair standing, holding rabbits in their mouths. seated pairs h. 6‑1/4” to 8‑3/4”, w. 3‑1/2” to 5”, standing pair h. 7‑1/2”, w. 6‑3/4” $300‑$500 297 Victorian Papier-Mache Tilt-Top Table mid-19th century, the scalloped top with motherof-pearl inlay, the center with an inlaid and painted nature morte scene, mounted to a turned standard and platform base. h. 27”, w. 25”, d. 21”

298

Provenance: Private collection, Houston, Texas. $400‑$700 298 Victorian Papier-Mache Tray mid-19th century, English, decorated with giltwood, mother-of-pearl and hand-painted flowers, within a shaped surround, raised on a custom faux bamboo stand. h. 20‑1/2”, w. 34‑1/2”, d. 24‑1/2” $500‑$800 299 Victorian Embossed Brass, Stenciled and Slate-Top Side Table third quarter 19th century, the octagonal slate top with a floral-painted still life and set into a conforming frame and mounted to an embossed brass stand. h. 27”, w. 19‑1/2”, d. 19‑1/2” $300‑$500

299

297

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300 Interesting Edwardian Inlaid Rosewood Drop-Front Desk/Portfolio Cabinet late 19th century, with a hinged lid opening to a small storage compartment, the drop lid opening to reveal a segmented interior and two swing-out inkwells and pen holders, raised on a trestle-form base joined by a turned stretcher. h. 45‑1/2”, w. 21”, d. 20” $700‑$1,000 301 Edwardian-Style Leather Chesterfield Sofa of traditional form with tufted back, seat and arms, on bun feet, upholstered in oxblood leather. h. 27‑3/4”, w. 74”, d. 33” $700‑$1,000 302 Contemporary Mahogany Office Credenza in the George III Style, having a row of three drawers across the top, and the kneehole flanked by a bank of three drawers on each side. h. 30‑1/2”, w. 71‑1/2”, d. 19”

300

$300 - $500

302

301

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303 Eight Mason’s Patent Ironstone China “Mandarin” Pattern Pieces ca. 1820 and later, comprising a platter, w. 14‑1/2”, d. 11‑1/4”, a scalloped dish, w. 9‑3/4”, d. 7‑3/4”, four salad plates, dia. 8”, and two side plates, 7‑1/4”, each piece marked on the reverse.

304

Provenance: Private collection, Houston, Texas. $300‑$500 304 Pair of Chinese “Rose Medallion” Pattern Porcelain Sauce Tureens first quarter 20th century, each having a domed cover with a floral-form finial, twist handles and a raised, slightly splayed foot, decorated with panels depicting figural scenes and butterflies, birds and insects amid floral borders. h. 6”, w. 9”, d. 6” $400‑$700 305 Pair of Chinese Imari Porcelain Beaker Vases 20th century, now mounted as lamps with shades. h. 23‑1/4”, w. 10‑1/4”, d. 3‑1/2” $150‑$300

305

303

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307

306 Pair of Chinese Porcelain Vases Mounted as Table Lamps

306

each of baluster form, decorated with figural panels surrounded by a scrolling floral design on a red ground, mounted on a hardwood base, with a single bulb fixture. h. 35‑3/4” (including fixture ), w. 7‑1/2” $400‑$700 307 Chinese Famille Rose Porcelain Ginger Jar first quarter 20th century, decorated with Mandarin scenes, including an altar. h. 10‑1/2”, dia. 8” Provenance: Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $500‑$800 308 Pair of Small Chinese Famille Rose Porcelain Dishes possibly Yongzheng period (1723‑1735), each dish of circular form with slightly everted and flared lip, decorated with scenes of scholarly figures with auspicious objects, depicted in copper red and black, each having an indistinct four-character mark to the base, one of the dishes with a Bailly-Pommery & Ass. label. h. 7/8”, dia. 4‑3/4”

308

$700‑$1,000 309 Chinese Porcelain “Chicken” Bowl Republican period (1912‑1949), of circular form with steep, slightly flared sides and flared rim, the exterior decorated with multiple roosters, the base with a four-character “shende tang zhi” mark in copper red. h. 3‑3/4”, dia. 7‑3/8” $600‑$900 309

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310

310 Group of Three Chinese Marble-Top Occasional Tables first half 20th century, each carved hardwood table with a rounded rouge marble top set within a conforming frame, two examples with a lower tier. h. 23‑1/2”, dia. 26”, h. 22‑1/2”, dia. 27‑1/2” and h. 18”, dia. 22” $1,000‑$1,500 311 Chinese Famille Rose Porcelain Dish

311

Qing Dynasty, first half 19th century, of octagonal form, decorated with a rooster and chicks next to flowering rockwork within floral borders. dia. 8‑1/2” $100‑$200 312 Chinese Famille Rose Porcelain Plaque first quarter 20th century, late Qing/early Republic period, the circular plaque painted with a scene of a river meandering through mountains, with a boat, pagoda top, and figure in the foreground, with a calligraphic inscription to the upper right, mounted within a hardwood frame carved with butterflies and flowers. plaque dia. 10”, framed h. 13‑3/4”, w. 12‑1/2” $500‑$800

312

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313 Chinese Famille Noire Porcelain Vase 20th century, of baluster form with trumpet neck, decorated to the exterior with various panels and cartouches depicting mythical creatures, with hawthorn blossoms in the surround. h. 22‑1/2” $150‑$200 314 Chinese Black Lacquer Low Table first half 20th century, decorated with floral and foliate designs on a black lacquer ground, with gilt detail. h. 12‑1/2”, w. 50‑1/4”, d. 17‑1/2” Provenance: Estate of Margaret “Pat” Breen, Houston, Texas. $300‑$500

313

315 Group of Nine Chinese Porcelain Figures 19th century, comprising the eight Daoist immortals and Shoulao, all modeled standing, wearing a vibrantly painted robe and holding their traditional attribute. each approx. h. 9‑1/2”, w. 2‑3/4”, d. 1‑3/4” Provenance: Purchased from Solveig & Anita Gray, London. $500‑$800

315

314

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316 Chinese Export Porcelain Cider Jug mid-19th century, decorated in the famille rose palette with floral sprays within blue and white borders, with a central monogram “JMP”, having a later applied metal handle wrapped in rattan. h. 9‑1/4”, w. (at widest point) 9” $400‑$700 317 Group of Ten Chinese Export Porcelain “Fitzhugh” Pattern Dishes

316

second half 19th century, each decorated with motifs of auspicious objects amid floral sprays surrounding a central medallion, all within Fitzhugh borders. dia. 9‑3/4” $400‑$700 318 Chinese Famille Rose Porcelain Dish Qing Dynasty, mid-19th century, having a pinched foliate rim, decorated with floral sprays and ribbon detail. dia. 9” $100‑$200

318

317

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321

319 Chinese Famille Rose Export Porcelain Charger Qing Dynasty, second half 19th century, having a slightly everted broad rim, asymmetrically decorated with a pagoda beside a river and peonies blossoming from rockwork. dia. 14” $500‑$800 320 Pair of Blue and White Porcelain “Cherry Blossom” Table Lamps

319

fourth quarter 20th century, each of cylindrical form, mounted on hardwood stands. h. 14‑1/4” $300‑$500 321 Group of Three Chinese Jardiniere Stands second half 19th century and later, each with a marble top and carved and pierced apron. h. 24‑1/2”, dia. 15‑1/2”, h. 24”, dia. 16” and h. 35‑1/2”, dia. 19” $1,000‑$1,500

320

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322 Framed Chinese Painting on Silk second half 20th century, ink and color on silk, depicting a bird of prey perched on rockwork amid blossoming flowers, with a three-character inscription to the lower right. h. 50”, w. 19”, framed h. 52‑1/4”, w. 21” $200‑$400

323

323 Chinese White Hardstone Tripod Incense Burner and Cover

322

likely 20th century, the body of compressed globular form, flanked by qilin-form loop handles, the domed cover with liondog finial, the whole raised on three short legs. h. 6‑1/2”, w. 7‑1/2”, d. 8‑1/2” $150‑$300 324 Chinese Bronze Ritual Tripod Food Vessel (Ding) possibly Eastern Zhou period (770‑221 BC), having a compressed globular form, the body encircled with a single bow string band, with opposing upswept, squared handles, the slightly domed cover with three evenly spaced finials, the whole raised on three zoomorphic-form legs. h. 4‑3/4”, w. 7”, d. 6” $1,000‑$1,500

324

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325 Chinese Carved Buffalo Horn 20th century, densely caved with figural and animal scenes throughout. h. 17”, w. 4‑1/2”, d. 4‑1/4” Provenance: Estate of Jean and Jack Kelley, Tulsa, Oklahoma. $300‑$500 326 Pair of Chinese Cloisonne Candlesticks and a Vase 20th century, each decorated with polychrome lotus leaves and flowers on a turquoise ground, the edges with a black fret. h. 12‑1/2” to 15”, dia. 3” to 4‑1/2” $800‑$1,200 327 Gracie, New York, Framed Chinoiserie Wallpaper Panel 20th century, with a shimmering silver ground, depicting a heron poised beneath a willow with a river, tower and palm trees in the distance, presented in a contemporary silvered frame. overall h. 59‑3/4”, w. 37‑1/4” $500‑$800

327

326

325

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328 Cliff Lee (Austrian/Taiwan, b. 1951) “Cabbage Vase” kaolin clay of globular form, with delicately incised leaves in overlapping design, forming a narrow neck, with all-over celadon glaze, sitting on a base of upturned leaves, signed and dated “95” to the base. h. (on base) 10”, dia. 6‑3/4” $1,000‑$1,500 329 Cliff Lee (Austrian/Taiwan, b. 1951) “Melon Vase” kaolin clay of globular form, having delicate, vertical ridges constricting to a narrow neck, with all-over celadon glaze, signed and dated “95” to the base. h. 7‑1/4”, dia. 7”

328

$800‑$1,200 330 Japanese School (Fourth Quarter 19th Century) “Ukiyo-e Scene” color woodblock inscribed with characters/text throughout.

Matted, glazed and framed. sight 13‑3/4” x 24”, framed 22‑1/2” x 37‑1/2” Provenance: Collection of Leon Amar, Palm Beach, Florida. $400‑$700

329

330

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332 Japanese Imari Porcelain Fish Bowl ca. 1900, the exterior decorated with panels of birds, the interior with swimming gold fish. h. 19”, dia. 21” $200‑$400

332

331 Pair of Large Japanese Kutani Porcelain Floor Vases likely first half 20th century, each of baluster form with a broad ruffled lip, decorated with figural panels surrounded with a flowerhead design. h. 32”, w. 13” $600‑$900

331

129

333 Group of Three Japanese Imari Porcelain Pieces first quarter 20th century, comprising a charger decorated with floral scenes, dia. 18”, and an associated pair of dishes, each with a scalloped rim and decorated with a floral basket design, dia. 14‑1/2”, all with hardwood presentation stands. $500‑$800 334 Japanese Imari Porcelain Bowl with Hardwood Stand

334

fourth quarter 19th/first quarter 20th century, the steep-sided bowl with scalloped rim, decorated with alternating panels depicting phoenix, butterflies and flowers. h. 5”, dia. 12‑1/4” $500‑$800 335 Pair of Japanese Imari Porcelain Vases fourth quarter 19th century, decorated with pine trees shading a bride and orange and gilt peonies in the foreground, with cobalt-outlined panels of floral decoration on the top and bottom, signed. h. 15”, dia. 6‑3/4” $500‑$800

335

333

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336

336 Pair of Large Japanese Imari Porcelain Temple Jars 20th century, of baluster form with domed lid and shi-shi finial, decorated with panels of peonies in vases, alternating with figures in a summer house, overhung with flowering trees. h. 21”, dia. 9‑1/2” $500‑$800

338

337 Pair of Japanese Imari Porcelain Dragon Vases fourth quarter 19th/first quarter 20th century, each heavily potted vase encircled by a raised dragon over a floral design in copper red. h. 8‑1/2”, dia. 5‑1/2” $400‑$700 338 Pair of Japanese Kutani Porcelain Vases Converted to Table Lamps first half 20th century, each vase of baluster form, decorated with panels depicting figural scenes, and peacocks in a garden setting. overall h. 28‑1/2”, dia. 6” $400‑$700 337

131

339 Peshawar Sultanabad Carpet 3’ 8” x 5’ 8” $200‑$400 340 Tabriz Carpet 10’ x 14’ $500‑$800 341 Semi-Antique Kerman Carpet 4’ 11” x 7’ 5” $600‑$900

339

340

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341

342 Uzbek Kazak Carpet 9’ 9” x 12’ 3” $800‑$1,200 343 Semi-Antique Heriz Carpet 8’ x 10’ Provenance: Estate of Audry and Sherwood Bailey, Sr., Pass Christian, Mississippi. $400‑$700 344 Semi-Antique Turkish Carpet 8’ 4” x 11’ 7” $700‑$1,000

343

342

344

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345 Diamond Tennis Bracelet 14k yellow gold, the bracelet composed of round brilliantcut diamonds weighing approximately 5.14 carats in total, approximate color E-G and clarity SI1‑I1. l. 7‑1/4”, total weight 16.0 grams $1,200‑$1,800 346 Sapphire and Diamond Bracelet sterling silver, the bracelet mounted with pear-shaped sliced treated sapphires weighing approximately 10.56 carats in total, and slice-cut diamonds weighing approximately 2.55 carats in total. w. 3/4”, l. 7‑1/2”, total weight 59.0 grams $400‑$700 347 Multi-Gemstone Earrings sterling silver, the earrings mounted with oval-cut treated sapphires weighing approximately 1.78 carats in total, oval-cut treated emeralds weighing approximately 0.66 carats in total, round-cut treated pink sapphires weighing approximately 0.96 carats in total and accented with rosecut diamonds weighing approximately 3.07 carats in total. l. 2‑1/2”, total weight 13.9 grams $600‑$900

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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 Denise Haik Christa Ougel Office Administration Graphic Designer Gary Michael Gittelson Bettina Bausa Photographer Graphic Designer 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 Theadrow Mark