New Orleans Auction October Catalogue by New Orleans Auction Galleries

Important Estates Auction Saturday, October 6, 2012 10 a.m.- Lots 1-783 Sunday, October 7, 2012 11 a.m.- Lots 784-1474

Two-Week Exhibition Begins Saturday, September 23 through Friday, October 5, 9 a.m. to 5 p.m. (Excluding Sundays)

Late-Evening Preview Thursday, October 3 5:30 p.m. to 8:00 p.m.

Featuring Property from: Historic Daffodil Hill The Estate of Kirby McNabb Murfreesboro, Tennessee The Estate of Philip William Pfeifer III Tinicum Township, Pennsylvania A Private Collector Hattiesburg, Mississippi A Private Collector Austin, Texas A Private Collector New York, New York Property from Numerous Other Southern Estates and Private Collections

Daffodil Hill, Murfreesboro, Tennessee New Orleans Auction Galleries is proud to offer the contents of Daffodil Hill, the estate of Kirby McNabb, Murfreesboro, Tennessee. This Historic Italianate Mansion was built by Captain Edwin Arnold on the eve of the Civil War. Kirby McNabb purchased the property in 1998 and began a painstaking and methodical restoration. McNabb restored and furnished his residence in

accordance to the standards of the National Registry of Historic Homes. McNabb chose the Classical Empire era as his theme to furnish his home, and would search for the most appropriate items while on this travels as a salesman. Interested parties may inquire into the sale of his historic property by contacting Sam Coleman of Fridrich & Clark Realty, LLC. Nashville, TN. 615-327-4800.

Session I

Saturday, October 6, 2012 10 a.m.- Lots 1-783

1 John Broadwood and Sons, London, Semi-Grand Rosewood Piano, bearing the stenciled serial number 43364, h. 38”, w. 54”, l. 90”. [1500/2500] Illustrated

2 Pair of English Victorian Five-Light Cut-Glass Candelabra, fourth quarter 19th century, each with a petal-form cut-fluted base supporting a tapering standard cut in the honeycomb pattern, with four flute-cut scrolled branches, holding honeycomb-cut and tulip-shaped candle cups with matching drip pans, hung with cut-glass spearpoint prisms, the central candle cup raised on another honeycomb-cut standard cut to match, h. 24”, w. 13‑1/4”, d. 13‑1/4”. [2000/4000] Illustrated

6 Edwardian Inlaid Rosewood Fold-Open Handkerchief Table, late 19th century, the top with four fold-open leaves opening to a games table with felt lining and in-carved pockets, one side fitted with a drawer, raised on slender cabriole legs joined by a stretcher with raised shelf, h. 30”, w. 22”, ext. w. 30‑1/2”, d. 22”, ext. d. 30‑1/2”. [1200/1800] Illustrated

3 Exceptional Royal Crown Derby Lidded Bottle Vase, 1886‑1887, the lobed body richly decorated in Japonesque floral pattern in the Imari palette, with raised gilt-work, the neck and lid molded with raised flowers, medallions and strapwork, on a blue ground and decorated with gilt, printed mark in red for Royal Crown Derby over date mark for 1886‑87, along with “542” and “2246n”, h. 12‑3/4”, dia. 5‑1/2”. Derby produced this form and pattern for Tiffany. [800/1200] Illustrated

4 Pair of Minton Porcelain Aesthetic Movement Covered Vegetable Tureens, ca. 1872, English, decorated with gilt and platinum raised decoration depicting a rooster, butterflies and plum branches, while the other depicts a fence, bamboo and birds, the scrolled handles pierced with gilt highlights, impressed Minton’s along with the year cypher, h. 6‑1/4”, l. 11‑1/2”. [700/1000] Illustrated 5 English Staffordshire Partial Dessert Service, second quarter 19th century, the Rockingham-style set with tan borders framed in gilt scrolls surrounding a white field decorated with scattered polychrome flowers, the set comprised of fourteen dessert plates, dia. 9‑1/4”, and a pair of oblong footed comports with handles in the form of bowknots, w. 8‑3/4”, l. 12‑1/2”, unmarked except for the pattern number “478”. [500/800]

7 Suite of Five Edwardian Mahogany Dining Chairs, early 20th century, consisting of one armchair and four sidechairs, all with a slightly domed back above a lyreform splat centered by a star-inlaid panel, the padded seat raised on tapering circular stop-fluted legs joined by an X-form stretcher, h. 38‑1/2”. [400/700]

10 4

8 Collection of Rockingham-Style Dinnerware, mid19th century, English, all with turquoise trim, the group is comprised of five comports with gilt-trimmed bases, h. 2‑1/2” to 10‑1/2”, a matching pair of covered sauce tureens with gilt-trimmed scrolled handles and pierced scrolled knops, h. 8”, d. 7”, w. 7‑1/2”, a footed covered entree dish with turquoise borders decorated with giltedged bands of pale pink, the handles pierced and molded scrolls, repeated in the border, h. 8”, w. 12‑1/2”, d. 11”, and a marked Royal Worcester oval sauce boat stand, w. 9”, d. 6‑3/4”. [200/400]

9 Set of Twelve English Raised Gilt Service Plates, first quarter 20th century, fully gilded, the flower and leaf border frames the strapwork panels on a stippled ground, and the central decoration of strapwork and beading, marked “Crown Sutherland, England”, dia. 10‑1/4”. [200/400] 10 Chinoiserie Three-Fold Screen, each panel paper covered front and back with printed scenes of Oriental figures in a fanciful landscape engaged in various tasks, h. 68”, w. 49”. [800/1200] Illustrated 11 Edwardian-Style Mahogany Settee, early 20th century, each triple back caned and centered by a baluster-form splat centered by a portrait bust, joined by scrolling arms to the caned seat, raised above a palmetto painted frieze on tapering square legs ending in block feet, h. 38”, d. 25”, l. 65”. [800/1200] Illustrated

12 Unusual Edwardian Mahogany Desk/Collector’s Cabinet, early 20th century, the rectangular top with inset leather surface and with two like-inset 13‑1/2” drop leaves, above a case fitted with a single long drawer over a shallow kneehole flanked to either side by a cupboard door inset with grille panels and opening to shallow shelves, the other side fitted with two grilled cupboard doors, opening to narrow shelves, raised on a plinth base, h. 30”, w. 50‑1/2”, d. 32”. [700/1000] Illustrated

16 Collection of Tools, comprised of a leather and brass tape measure, ca. 1900, signed “Chesterman, Sheffield, England”, h. 1‑1/2”, dia. 6”, a steel and brass sight level, 20th century, signed “Swift and Anderson Inc., Boston, Mass”, w. 1”, d. 1”, l. 5‑1/4”, a brass bookshaped box, possibly English, h. 1‑1/4”, w. 5‑3/4”, d. 3‑3/4”, and a steel and brass compass, ca. 1900, probably English, l. 6‑3/4”. [100/200]

13 Provincial English Fruitwood Corner Chair, 19th century, the tall galleried upper tier above a round-about back, the padded seat raised on tapering square legs joined by a box stretcher, h. 42‑1/2”. [100/200] 14 Group of Two Cut-Glass Beverage Dispensers, early 20th century, the first with a tall knopped lid above a bulbous body, with a cut band of diamond patterns and an acid-etched “RX”, the waisted standard above a thumbprint accented base, h. 32”, the other with a flared lid above a tapering body with “Scotch” in gilt, raised on two paneled waisted standards, the brass spigot engraved “Lumley & Co. Ltd.”, h. 20”. [400/700] 15 Collection of Four 19th Century Wooden Boxes, the first, third quarter 19th century, an English dresser box of walnut veneer and with “Anna” inlaid and enhance with red on the cove-molded lid, which is mounted with a mirror when opened, h. 7‑1/4”, w. 11‑1/2”, d. 7‑3/4”, the second, a regency two-compartment tea caddy in mahogany trimmed in a chevron pattern inlay which outlines the lid and decorates the front in a pattern of figure eights, the lid inlaid “FR” and “1821” on the underside, h. 5”, w. 7‑1/2”, d. 5”, the third, fourth quarter 19th century, a continental dome-topped leather-covered box, stamped with a lattice pattern and decorated with nail heads, h. 5”, w. 9‑1/4”, d. 4”, and the fourth, fourth quarter 19th century, a continental dome-topped leather-covered box, stamped in a pattern of medallions and quarter-fans, h. 4‑3/4”, w. 7‑1/2”, d. 4”. [200/400]

17 Unusual Edwardian Mahogany Revolving Stand, early 20th century, fitted with three graduated tiers, each of concave tripartite form and with spindled galleries supported by bulbous uprights, the whole raised on a columnar standard to three splayed legs, h. 38”, dia. 23”. [700/1000] Illustrated

18 Continental Ivory, Bronze and Antler Smoking Set, fourth quarter 19th century, the antlers and ivory tusk sections joined by a gilt-bronze frame, the scrolled bronze carrying handle is crowned by a coldpainted stag’s head sitting above the antlers, a gimbaled brass fluid lamp serves as a lighter, h. 7”, w. 16‑1/2”, d. 9‑3/4”. [2500/4000] Illustrated

20 22 Good Collection of Fifteen Armorial Academic Prize Bindings, 1770‑1915, most in full leather with some in half-leather, each with a gilt-stamped English, Scottish or Irish academic armorial or badge, including examples from Bromsgrove School, Aldenham School, Harrow School, Hulme Grammar School, the Charterhouse School, the Edinburgh Institution, the University of Glasgow, the University of Aberdeen, Jesus College, Cambridge, Trinity College, Dublin and St. Patrick’s College, the largest 9” x 6”, the smallest 6‑1/4” x 4”. Detailed list and descriptions available on request. [100/200] Illustrated

19 Wood, Paper and Cast-Iron Weber World Globe, 1900‑1907, Chicago, bearing an analemma “showing the Sun’s declination and position in the ZODIAC for every day of the Year” along with isothermal lines, raised on a cast-iron tripod stand with paw feet and scroll-molded legs, supporting the iron meridian, the wooden horizon band paper-labeled with the zodiac and months of the year, the cartouche marked: “12 inch globe, C.F. Weber Co., Successor to A.H. Andrews Co., Chicago”, h. 21‑1/2”, overall dia. 19”. [250/400] 20 Unusual Mahogany Games Table, of oval form, the oval top with a removable game board, reversing to a wooden surface, removing to a recessed backgammon board, above a case inset with two tiers of faux leather bindings, each end with a pull-away chair with a padded barrel back and seat, the central section fitted with a lower cupboard containing gaming pieces, on a plinth base, h. 31”, w. 50”, d. 24‑1/2” [1000/1500] Illustrated 21 Fifty-Five Easton Press Science Fiction Full Leather Bindings, 1986‑2002, Norwalk, Connecticut, including twenty-nine volumes in their “Masterpieces of Science Fiction” series, including signed examples by Ray Bradbury, Anne McCaffrey and George Zebrowski; and twenty-six volumes of their “Science Fiction Signed First Edition Series”, each in a limited and numbered edition signed by the author, all volumes in full leather of various colors, each with different gilt stamped decorations, with gilt edges, register ribbon and raised bands, most retaining their original loose enclosures and certificates of authenticity, the largest 10‑1/4” x 7‑3/8”, the smallest 8‑3/4” x 6”. Complete list of titles available on request. [300/500]

23 W. Somerset Maugham (1874‑1965), Twenty-Five Books, including first editions of Gentleman in the Parlour, The Narrow Corner, For Services Rendered, Sheppy, Christmas Holiday, The Mixture as Before, The Hour Dawn, Then and Now, Creatures of Circumstance and Catalina, first trade editions of AH King, The Razor’s Edge and A Writer’s Notebook, first English editions of Theatre (second issue), Up at the Villa and Strictly Personal, first American editions of Then and Now, Creatures of Circumstance and Catalina, a first edition thus of Here and There, an early edition of Cakes and Ale, a book club edition of Catalina, two early paperback editions of Quartet and The Narrow Corner, and a copy of Raymond Toole Stott’s 1950 Maughamania: A Bibliography of the Works of W. Somerset Maugham, many retaining the original dust jacket. Complete bibliographic listings available on request. [100/200]

24 English Pine Folding Pole Library Ladder, 19th century, of fold-up construction, and rounded plank form, fitted with a brass latch to facilitate conversion to an eight rung latter, h. 104”, w. 12‑1/2”. [700/1000] Illustrated previous page

25 Plaster Painted Orb on Stand, the orb painted with gold stars on a blue ground, and resting on a Victorian ironstone scale stand, signed “Herbert Brothers Weighing Machines, London”, in black transfer print, under the foot, h. 19”, dia. 11‑1/2”. [100/200] 26 Brass and Wood Standing Floor Telescope, the 39” tube with a lens cover decorated with concentric rings, the telescopic brass-mounted base with adjustable legs, secured with knurled brass thumb pieces, and resting on brass feet, h. 55”. [700/1000] Illustrated 27 Miniature Ivory Painting, 19th century, India, the scene of a jeweled young woman in a sari, in an English black lacquer frame, h. 2‑1/2”, w. 2”, sight. [100/200] 28 Anglo-Indian Bamboo Dressing Stand, late 19th century, the superstructure fitted with a decorative crest over two short shelves to one side and a beveled mirror to the other, the lower section with an avianpatterned lacquered top above a single frieze drawer and an arrangement of four shelves, raised on splayed legs, h. 61”, w.21‑1/2”, d. 12‑1/2”. [300/500]

33 29 Anglo-Indian Three-Fold Bamboo Folding Screen, early 20th century, each panel with a patterned bamboo crest above a mirrored plate, raised on tubular legs, h. 49”, w. 60”. [150/300] 30 Anglo Indian William IV Calamander Wood and Ivory Workbox, second quarter 19th century, the austere blocked case containing a lushly inlaid compartmentalized interior, complete with “secret” drawers, the underside of the lid inlaid with an incised ivory profile portrait of an Indian male framed with flowers and leaves, various compartments are calamander, wood, ebony or incised ivory, all with inlaid borders, the rear section containing a faux compartment over hidden compartments, ivory thread winders and access to hidden areas under the forward compartments, h. 6‑3/4”, w. 16”, d. 12‑3/4”. [2500/4000] Illustrated

31 Near Eastern Hardwood Occasional Table, the circular top with an intricate banded inlay of floral and scrolling patterns centering an inlaid scene of a courting couple in an exotic landscape, raised on a bulbous acanthine-carved standard to a molded and carved circular base, h. 26”, dia. 21”. [400/700]

38 English Victorian Rosewood and Mother-of-Pearl Barometer, fourth quarter 19th century, labeled by Negretti and Zambra, London, with directions for setting, the banjoshaped case bordered with a pierced inlaid mother-of-pearl foliate fret, terminating in a swan’s neck pediment with a brass finial, a level with a scrollengraved steel surround, set in the bottom, the engraved steel dial with an engraved globe in in its center, the throat with a thermometer on a steel plate and a circular hygrometer, h. 44‑1/2”, w. 12‑1/2”, d. 2‑1/4”. [1000/1500] Illustrated

32 Moroccan Polychrome Cabinet, early 20th century, of rectangular form, fitted with two long doors opening to a shelved interior, the doors paneled and with polychrome geometric and floral accents, raised on bracket feet, h. 55‑1/2”, w. 26‑1/2”, d. 9‑1/2’. [500/800] 33 Continental School (Third Quarter 19th Century), “Reclining Beauty”, oil on tin, unsigned, 9‑3/4” x 7‑3/4”. Presented in a molded frame with a giltwood liner. [1000/1500] Illustrated

39 Edwardian Mahogany Bookcase, fourth quarter 19th century, the upper section with three glazed doors and removable cornice above, the base with a row of three drawers above three raised panel doors, h. 102‑1/2”, w. 65‑1/2”, d. 15”. [1000/1500]

40 Unusual Campaign-Style Butler’s or Camp Table, the rectangular tray with a full shaped raised edge, lifting off to a base consisting of two fold-out leaves, each with an attachable tapering turned support, the central section with strap supports for the tray, raised on an X-form base ending in brass caps, a similar table is illustrated on page 112 in Nicholas A. Brawer’s British Campaign Furniture / Elegance under Canvas,/ 1740‑1914 (New York, New York: Harry N. Abrams, Inc., 2001), h. 30”, d. 21”, l. 30‑1/2”, ext. l. 91‑1/2”. [400/700] Illustrated

34 34 Joseph Reusch (German, 1887‑1976), “Oriental Girl at Night”, oil on canvas, signed and dated lower right “Jos. Reusch 1924”, 40” x 27”. Framed. [900/1200] Illustrated 35 Suite of Four Indian Gouache on Paper Paintings, second quarter 20th century, depicting various figures in a landscape, sight 8” x 3‑1/2”. All glazed, handsomely matted and framed. [600/900] 36 Pair of Indian Gouache on Paper Paintings, second quarter 20th century, depicting hunting scenes, within a decorative border, sight 11” x 6‑3/8”. Both glazed, handsomely matted and framed. [400/700] 37 Jacob Lawrence Van der Meide (European, 1910‑1987), “Mediterranean Coastal Sunset”, oil on canvas, signed lower right “J.L.v.d. Meide”, 27‑1/2” x 47‑1/2”. Presented in a giltwood frame. [600/900]

42 Victorian Ebonized Work Table, third quarter 19th century, in the Chinoiserie taste, the molded rectangular top with a polychrome scene of an Oriental landscape, hinged and opening to a liftout compartmented tray over a storage space, the ogee-molded frieze above a pull-out fabric storage basket, raised on turned circular supports to runner feet, h. 28”, w. 18‑1/4”, d. 12‑1/2”. [300/500] 43 Victorian Ebonized Fancy Chair, third quarter 19th century, the shaped and elaborately pierced back with gilt accents and mother-of-pearl inlays, the rush seat raised on bulbous turned legs joined by a like front stretcher and ending in splayed feet, h. 34”. [100/200] 44 Victorian Ebonized Fancy Chair, third quarter 19th century, the ovoid back centered by a pierced oval splat, the caned seat raised on turned legs joined by a like stretcher and ending in splayed legs, h. 35‑1/2”. [300/500] 45 English Victorian Papier-Mache Tea Caddy, mid-19th century, of block front design, the lid inlaid with scattered mother-of-pearl flowers, the lock with a mother-of-pearl escutcheon and the lidded two-compartment interior with a mother-ofpearl knob, h. 4‑1/4”, w. 6”, d. 4‑3/4”. [75/125]

41 Pair of Victorian Ebonized Chairs, late 19th century and later, each with padded tufted rectangular back and sides, raised on an ebonized curule-form base with ormolu millwork, ending in scrolled toes with acanthine ormolu mounts, h. 31”. [1500/2500] Illustrated 46

46 Victorian Ebonized and Papier-Mache Occasional Table, third quarter 19th century, the tilting shaped ovoid top centered by a polychrome floral spray, raised on a bulbous turned standard to a dished circular base on bulbous feet, h. 27”, w. 27”, d. 23‑1/2”. [800/1200] Illustrated

47 Pair of Telescopic Brass Ecclesiastical Seven-Light Candelabra, ca. 1700, probably English, the turned base fitted with a knurled thumbpiece for vertical adjustments, an upper level thumbpiece adjusts the accordion action candle branches, which can be oriented to slant to one side or to be moved up and down from the center, the straight candle branches with turned cup supports mounted with shell-and anthemionmolded drip pans and cylindrical cups, h. 19‑1/4”, ext h. 26‑1/2”, w. 21‑3/4”, d. 8”. [400/700] 48 Alfred Stevens (British, 1817‑1875), “L’Amateur Dans L’Atelier”, oil on canvas, signed lower right “A. Stevens”, reverse with a “Arthur Tooth & Sons, Ltd., London, UK” bill of sale to the original owner, Mrs. Theodore Francis Turner of Syosset, NY, 18” x 15”. Presented in a giltwood and gesso frame with a linen liner. Provenance: Private collection, NY. [10000/15000] Illustrated

49 British School (Third Quarter 9th Century), “Portraits of a Man and Woman On a Balcony, View of a Lakeside Landscape in the Background”, pair of oils on canvas, both unsigned, reverse canvas of each stenciled “G. Rowney & Co. Manufacturers, 51 Rathbone Place, London”, 48” x 36”. Both presented in matching giltwood and gesso frames with arched windows. [1000/1500] Illustrated 50 Sir John Watson Gordon, R.A. (Scottish, 1790‑1864) “Portrait of Roger Aytoun and His Son William Edmundstoune Aytoun at the Age of Four”, oil on canvas laid down on masonite, 36” x 28”, ink-inscribed label bearing title and partial artist name, bears a framemaker label: “Aitken Dottson/May 1842/Edinburgh”, presented in a period molded wood frame. [700/1000] 51 Continental Jigsaw Work Cathedral Clock, ca. 1900, composed of varnished pine with gilt highlights, and red silk lining, the gates open, along with the doors, to reveal the clockworks, the rose window above the doors serves as the clock face, below the open tower, the quarter-round sides crowned with balconies, h. 48‑1/2”, w. 22‑1/2”, d. 8‑1/2”. [500/800] Illustrated

52 Victorian Mahogany Gout Stool, third quarter 19th century, the padded rectangular seat with a raised extended padded end, raised on bulbous feet, h. 17”, d. 15‑1/2”, l. 32”. [150/300]

53 Pair of Cast-Iron and Marble-Top Occasional Tables, each with a circular Carrara marble top supported by a figure of a whippet raised on a plinth base, h. 31”, dia. 16”. [900/1200] Illustrated

53 57 Pair of Painted Terracotta Terriers, depicted with alert expressions and in a seated position, h. 26”, w, 10”, d. 16‑1/2”. [1200/1800] 58 Pair of Chinese Porcelain Vases, 20th century, the vase in a double-gourd form with mille fleur decoration in famille rose enamels, h. 7‑1/2”. [900/1200] Illustrated

54 Victorian-Style Polychrome Metal Garden Table, the circular top raised on a cluster base to four scrolling legs ending in pad feet, h. 28‑1/2”, dia. 28”. [300/500]

55 Victorian-Style Polychrome Metal Garden Table, the circular top raised on four supports joined by a circular stretcher and ending in splayed legs ending in peg feet, h. 30”, dia. 32”. [500/800] 56 William IV Adjustable Brass Fire Fender, second quarter 19th century, English, the cove-molded base set with a central brass rail on turned supports, cast threedimensional whippets sit on the side plinths, h. 5‑3/4”, d. 3‑1/4”, l. 34”. [600/900] Illustrated

59 Pair of Chinese “Chicken Fat” Yellow Glass Vases, 19th century, the glass of even egg yolk yellow color, Qianlong mark on the bottom, h. 6-5/8". [800/1200] Illustrated

60 Chinese Export Porcelain Cup and Saucer, 18th century, molded in the form of an open flower with applied decoration, surface decorated with famille rose enamels, cup dia. 2‑3/4”, saucer, dia. 4”. [150/300] 61 Pair of Chinese Large Fish Bowls, 19th century, famille rose decoration of birds and flowers, lion mask handles with gilt-bronze rings, h. 16‑1/2”, dia. 25”. [7000/10000] Illustrated 62 Chinese Dragon Bowl, Tao Kuang mark (1820‑1850) and of the period, the bowl with a yellow ground with aubergine dragons, dia. 6”. Ex coll. Ralph Chait Galleries, New York, New York [300/500] 63 Four Chinese Snuff Bottles, 19th century, all in iron-red, h. 2-7/8" - 3-1/2". [300/500] 64 Two Chinese Jade Carvings, 20th century, comprised on an axe-shaped pendant with an archaic-style chih-lung in white stone, together with a green and amber plaque carved with the dragon gate, l. 3”. [200/400] Illustrated 65 Chinese Jade Carving, 19th century, the celadon-grey stone with brown marking, carved in the study of a pair of peaches, l. 2‑1/2”. [1000/1500] Illustrated

66 Group of Four Chinese Jade Pendants, three pendants, 20th century, carved with foo dogs and plants, and one pendant, 19th century, in an archaic-style with tubular bead, h. 1‑1/2” to 3”. [150/300] 65

67 Chinese Demi-Lune Table, 19th century, bamboo, h. 34‑1/2”, w. 37‑1/2”, d. 17”. [350/500] Illustrated

61 68 Pair of Japanese-Style Floor Lanterns, 20th century, with mahogany frames and rice paper-covered glass shades, h. 23”. [600/900] 69 Chinese Bamboo Bench, 19th century, Elmwood seat, the back inset with Shou medallions, h. 37”, w. 43‑1/2”, d. 18‑1/2”. [600/900] Illustrated

70 72 Two Chinese Storage Ewers, late 19th / early 20th century, each with three lugs, a spout and strap handles, turquoise glazed surface, h. 14” and 14‑1/2”. [250/400] 73 Fossil of a Pair of Trilobites, Chinese inscription on the front with a Chinese carved wooden base, h. 9‑1/2”, w. 10‑1/2”. [300/500] 74 Chinese Tou Tsai Plate, Yung Cheng mark (1722‑1735) and possibly of the period, decoration of dragons, pearls and clouds, dia. 10”. [300/500] Illustrated

70 Chinese Eight-Panel Screen, late 19th / early 20th century, the screen with scenes of the immortals in enamels and underglaze blue, wooden frame, h. 24‑1/2”, l. 49”. [1200/1800] Illustrated 71 Lot of Two Chinese Pottery Jars, 19th century, Tzu chou ware, the turquoise glazed surface with impressed black decoration, one with birds and archaic scrolling, the other with Hsi Hsuang and Shou characters, h. 8” and 11”. [250/400] Illustrated

75 Chinese Porcelain Covered Jar, 19th century, baluster form with famille verte decoration of a historical scene, h. 18”. [800/1200] Illustrated

76 Chinese Porcelain Saucer Dish, early 20th century, decoration of green dragons on a yellow ground and with a scalloped edge, a six-character Ch’ien Lung mark on the base, dia. 5‑1/4”. [200/400] 77 Chinese Porcelain Bowl, 20th century, Su Fe ware with impressed interior decoration, dia. 7‑1/2”. [400/700] Illustrated

78 Chinese Porcelain Bowl, 20th century, Shu Fu ware with a celadon glaze, decoration of a dragon on the interior, dia. 6‑3/4”. [400/700] Illustrated 79 Chinese Porcelain Plaque, Republican period, ca. 1920, scene of an immortal with a basket of flowers together with a poem and a single seal, w. 7‑1/4”, l. 14‑1/4”. [700/1000] Illustrated

83 Chinese Porcelain Bowl, 19th century, Claire du Lune glaze of pale blue, with a five-character mark on the base in ink, dia. 4‑1/2”. [300/500] 84 Chinese Porcelain Vase, 20th century, the drum-shaped vase with a celadon-glazed surface, a six-character Ch’ien Lung seal mark on foot, h. 6‑3/4”. [700/1000] Illustrated 85 Chinese Pair of Porcelain Vases, early 20th century, each vase in a double-gourd form with famille rose decoration of floral scrolls on a lime green ground, and with a six-character Chi’en Lung mark on the base, h. 10‑1/4”. [1500/2500] Illustrated

80 Chinese Porcelain Censer, 14th century, Ying Ching ware, the body carved with floral decoration and with a tripod base, h. 5”, dia. 4”. [300/500] Illustrated 81 Chinese Porcelain Censer, 14th century, Lung Chuan ware, tripod base with flanges, pale celadon color and with edge fritting, h. 4”, dia. 6”. [500/800] Illustrated 82 Chinese Porcelain Garden Seat, 20th century, the drum-shaped seat with pierced cash coin designs in Patesur-Pate decoration of lime green lotus, scrolling on a white ground, h. 17‑1/2”, dia. 12‑1/2”. [200/400]

87 Thirty-Four Decorative Bindings of Encyclopedia and Journals, 1860‑1900, including a complete 1868 English of Chambers’s Encyclopedia in half leather and an 1894/95 American set, in maroon cloth, with bound volumes of Lady’s Home Magazine, Argosy, The Quiver and Eclectic, et al., the largest 11‑1/2” x 9”, the smallest 8‑5/8” x 5‑3/4”. Detailed list available on request. [250/400] Illustrated 88 Sixty-Seven Small Half- and QuarterLeather Bindings, 1808‑1911, primarily in English but some in German, French and Italian, with works by Defoe, Schopenhauer, Racine, Rousseau, Voltaire, Sophocles and Scott, et al., the largest 7‑3/8” x 5‑1/8”, the smallest 4‑3/8” x 2‑7/8”. Detailed list available on request. [200/400] Illustrated

86 Continental Renaissance Revival Mahogany Partner’s Desk, early 20th century, the rectangular top with molded edge and inset leather writing surface, above a frieze fitted to either side with a central drawer flanked to either side by three short drawers, all with decorative carved fronts, raised on fluted tapering legs ending in block and ball-and-claw feet, h. 30”, w. 57”, d. 37”. [800/1200] Illustrated

89 Italian Giltwood Neoclassical Mirror, fourth quarter 18th century, the corner blocks set with medallions mounted with leaf-molded mirror rests, the frame inset with mirror glass incised with vines, the pierced crest comprised of an oval mirror held by a swag of bellflowers and nestled in grapes and a bold pierced bowknot serving as the finial, mounted with an antique mirror plate, h. 45‑1/4”, w. 12‑1/4”. [1200/1800] Illustrated

90 Fifty-Seven Small Full-Leather Bindings, 1773‑1929, most in English but some in French and one in German, including works by Homer, Cicero, Chesterfield, Gray, Johnson, et al., the largest 7‑1/2” x 4‑3/4”, the smallest 5” x 3‑1/8”. Detailed list available on request. [200/400]

91 Thirty Full-Leather Bindings, 1810‑1904, most in English, but some in French and one in Spanish, including several legal tracts, Botta’s War of Independence and Crowe and cavascelle’s LIfe of Titian et al., the largest 10" x 6‑3/4”, the smallest 7‑1/2” x 5”. Detailed list available on request. [250/400]

92 Thirty Halfand QuarterLeather Bindings, 1825‑1947, most in English but some in French and Latin, including works by BulwerLytton, Disraeli, Scott, Anquetil, Dickens, Irving and Pliny the Younger, et al., the largest, the largest 9” x 5‑3/4”, the smallest 7‑1/4” x 5”. Detailed list available on request. [250/400]

93 Continental Polychrome Wood Three-Fold Screen, early 20th century, each fold of domed form with a floral polychrome accented frame, the central embossed panel centered by oval portrait medallions after various renaissance masters, within a field of foliate scrolling and fleur-de-lis patterns, raised on shaped feet, h. 60‑1/2”, w. 54”. [600/900] Illustrated 94 Brass Six-Light Chandelier in the Style of Italian Renaissance Oil Lamps, a turned and leaf-molded finial supports the “oil lamp” pan, which conceals electric candle sockets, the turned double cone standard terminating in a bold ring and hook motif, h. 37”, dia. 17”. [500/800] Illustrated

95 Near Pair of Italian Neoclassical Walnut and Oak Commodes, early 19th century, each with a rectangular top with molded edge above a case fitted with two long drawers, each with inlaid scrolling patterns, raised on tapering stop-fluted circular legs ending in toupie feet, h. 32‑1/2”, w. 34‑3/4”, d. 18”. [3500/5000] Illustrated

96 Pair of Continental Pinewood Carvings in the Oriental Style, depicting a dragon with a curled tail, on carved and pierced scrollwork “waves”, against a reeded classical staff terminating in carved anthemia, h. 3”, w. 11”. [500/800] Illustrated 97 Italian-Style Giltwood Sunburst Mirror, the round mirror plate center framed with mirror-set giltwood scallops, the edge decorated with giltwood “rays” alternating with mirror plate rays, dia. 21”. [400/700] Illustrated

99 99 Fine Continental Wool Needlepoint Panel, 18th century, with a central petit point cartouche of three figures beneath a flowering tree, one brandishing a palm frond, with a seascape below centered by a mermaid, the background worked in twelve stitches per inch in a treillage and sprig pattern, elegantly matted and presented in a later giltwood frame, sight h. 18‑1/8”, w. 14‑1/4”, overall h. 27‑1/4”, w. 23‑1/4”. [1400/1800] Illustrated

100

98 Italian Neoclassical Fruitwood Occasional Table, late 19th century, the circular top quarter-veneered and with a slightly raised edge, above a plain frieze, raised on tapering square legs joined by a tripartite stretcher and ending in splayed legs, h. 23”, dia. 16‑1/2”. [500/800]

102

103 Country French Rustic Wine Tasting Set, polished roots support a copper-bound wooden wine keg carved with grapes, brass tastevin hang interspersed among the branches, h. 13‑3/4”, w. 14‑1/2”, d. 9”. [200/400] 104 Set of Seven Continental Enamel Cranberry Goblets, ca. 1900, possibly Moser, the colorless foot decorated with enamel scrollwork and gilt vermicelli decoration, the stems decorated with gilt concentric rings, the bowls decorated with larger gilt polychrome enamel scrollwork on a gilt vermicelli ground, with a scalloped gilt border highlighted with enamel, h. 6‑3/4”. [700/1000] Illustrated

105 Italian Neoclassical Polychrome Side Table, late 19th century and later, the rectangular faux ochre marble top above a paneled frieze with applied scrolling foliate designs, raised on tapering square paneled legs headed by bellflower carving ending in foliate feet, h. 34‑1/2”, w. 41”, d. 15‑3/4”. [800/1200] Illustrated

104

100 Pair of Rococo Three-Light Sconces in the Venetian Style, the brown cartouche-shaped backplates decorated with applied gilt scrollwork and flowers, with an applied central putto mask, the leaf-molded lower edge supporting three scrolled gilt-metal candle arms, decorated with wirework vines and flowers, and terminating in flowerform candle cups, h. 22”, w. 11‑1/2”, d. 10‑1/2”. [2500/4000] Illustrated 101 Set of Eight Blown and Sculpted Venetian Wine Goblets, composed of colorless, gold flecked glass, the domed foot supports a stem decorated with applied pink flowers and veined leaves, which support an unadorned bowl, h. 7”. [400/700] Illustrated 102 Extensive Service of Moser Cut, Gilded and Colored Stemware, second quarter 20th century, Czechoslovakia, each piece with a gilded foot ring, cut, faceted and gilded stems and with gilt-sprigging and vermicelli borders surrounding colored cut-panels, the set comprised of nine wine goblets with mauve panels, h. 8‑1/4”, six wine goblets with cranberry panels, h. 8‑1/4”, twelve champagne coupes with cranberry panels, h. 5”, five brandy sniffs with amber panels, h. 5‑1/2”, six vodka cups with cranberry panels, h. 2‑1/2”, ten cocktail glasses with cranberry panels, h. 4‑1/4”, six sherry glasses with green panels, h. 4‑1/4”, and four sherry glasses with mauve panels, h. 4‑1/4”. [2500/4000] Illustrated

105

101

106 Continental Blown, Intaglio-Cut and Gilded Stemware, ca. 1900, the set comprised of eleven hock glasses, with ribbed, domed feet and ribbed stems with applied punties, and lobed green shaded bowls with engraved and gilt flowers, h. 7‑3/4”, dia. 3”, eight clear glass champagne coupes, engraved and gilded to match, h. 4‑1/2”, dia. 3‑3/4”, and a single impressive ceremonial goblet with a domed foot, a ring-blown stem and a bowl engraved with the same gilt flora, interspersed with gilt diapered panels, h. 9‑3/4”, dia. 4‑1/4". [300/500]

110

107 Pair of Continental Silver-Gilt and Giltwood Finials, 19th century and later, the round silver-gilt base holding graduated lobed giltwood flattened spheres, topped with silver-gilt flame finials, h. 16‑1/4”, dia. 6‑3/4”. [800/1200] Illustrated 108 Italian-Style Giltwood and Marble-Top Center Table, the circular Carrara marble top raised on a large tripartite base with shield and acanthine designs and raised on ball-and-claw feet, h. 29‑1/2”, dia. 42”. [1200/1800] 109

110 Pair of Painted and Gilded Angels, second quarter 19th century, the angels retaining worn remnants of brown and red painted robes, gilded wings, cuffs and collars and flesh-colored faces, depicted in a seated position with outstretched hands, h. 14”, w. 8‑1/2”, d. 7”. [3000/5000] Illustrated 111 After Bartolome Esteban Murillo (Spanish, 1618‑1682), “Mystical Betrothal of St. Catherine”, oil on canvas, 19th century, unsigned, 30” x 35”. Presented in a Baroque style frame. [2000/4000] Illustrated 112 Leo Perlberger (Austrian, 1890‑1935), “Destruction of Sodom and Gomorrah”, oil on canvas, signed lower left “Perlberger”, 40” x 29”. Presented in a molded giltwood frame. [1400/1800] Illustrated

107

109 Gilded and Painted Terracotta Plaque of Mary and the Christ Child, ca. 1900, probably Italian, the gilt base decorated with bas relief scrollwork, with a leaf-molded and beaded gilt surround, and a lunette top decorated with a central medallion, the polychrome Madonna and child, depicted with gilt halos, and Mary sitting on a gilded seat, winged cherubic heads look down from the sky, h. 41‑1/2”, w. 23‑3/4”. [700/1000] Illustrated

113 Painted Rococo Mirror in the Venetian Style, the cartouche-form mirror with scroll-molded edges, with a pierced floral decorated finial, the patinated surface displays traces of silver gilt, h. 32‑1/2”, w. 17”. [300/500] 114 Pair of Italian Carved Wooden Pricket Sticks, fourth quarter 18th century, the altar sticks gessoed and painted, with three paw feet supporting a base of eagle heads on scrolled bases, the turned standards interspersed with carved acanthus leaves leading to the flat candle support, h. 22”, w. 6‑3/4”, d. 6‑3/4”. [150/300] 115 Continental Bronze Art Nouveau Cigar Box, ca. 1900, molded with scrollwork and flowers, on a stippled ground with a green patina, set with a lid handle and a ring catch over a faux lock, lined with camphor wood, h. 3‑1/2”, w. 8‑3/4”, d. 6”. [600/900] Illustrated 111 115

116 Rococo Giltwood Mirror in the Venetian Style, bordered with bold, pierced scrollwork and flowers, terminating in a shell-molded finial, mounted with an aged mirror plate, h. 34‑1/2”, w. 25”. [350/500] Illustrated 117 Continental Iron Torchere, second quarter 20th century, the four cabriole legs decorated with applied leaves, the support with two mid ribs holding a wide flat candle cup with a ribbed rim, h. 59‑1/4”, dia. 6‑1/4”. [100/200]

116

112

118 Pair of Unusual Continental Carved Fruitwood Sidechairs, late 19th century, the shaped back carved and featuring the Tree of Life flanked by two satyr figures, the padded embossed leather seat raised on barley-twist legs ending in ball feet, h. 35”. [500/800] Illustrated

120

119 Pair of Continental Gothic-Style Stepped Pedestals, partially composed of antique elements, each with three levels, the fronts paneled and with carvings in the Gothic taste and with columnar uprights, h. 23‑1/2”, w. 34”, d. 17”. [1000/1500] Illustrated 120 Continental Three-Fold Canvas Screen, early 20th century, each fold slightly domed, all three with a polychrome scene of medieval courtiers on horseback in a stylized landscape, h. 67‑1/2”, w. 61‑1/2”. [1800/2500] Illustrated 121 Italian Wrought Iron and Marble Torchere, early 20th century, the circular top within a foliate-modeled band, raised on a twisted iron standard to a tripartite base with scrolling floral patterns with gilt accents, the three scroll feet raised on a circular Verde Antico marble base, h. 56”. [200/400]

118

123 Italian-Style Mahogany Floor Lamp, 20th century, the acanthine cap above a ribbed standard, to a tripartite base heavily carved in foliate and shield patterns to scroll and paw feet, h. 75”. [150/300] 124 Patinated Metal Bust of James Inglis Hamilton (1742‑1803), ca. 1900, probably continental, mounted on a marble base and signed “G. Forge” on its integral socle, the portrait of the Scottish soldier depicted wearing a laurel wreath in his hair with a sashed medal around his neck, marked “J. Hamilton 1743” on the back, h. 14”, w. 8‑1/4”, d. 5‑3/4”. [300/500]

122 Continental Polychrome Metal and Marble Console Table and Mirror, the mirror with a domed cornice with a floral crest above a polychrome heraldic shield flanked by griffins, the trisected plate within a molded frame, the table with a slightly bowed Verde Antico marble top above a conforming pierced polychrom floral frieze, raised on X-form end supports ending in scrolled toes, mirror, h. 63”, w. 43”, table, h. 34”, w. 49‑1/4”, d. 19‑1/2”. [1800/2500] Illustrated

119

122

128 One Hundred and Twenty-Two Scandinavian Leather Bindings, 1752‑1938, with works in Swedish, Danish and Norwegian, including a full leather copy of the second extant Danish translation of Historica Danica, large collections of works by Hall Caine and Rudyard Kipling, a full set of the 1916‑1924 Store Nordiske Konversations Leksikon (a Danish encyclopedia), and three large, handsome “eggshell” bindings, et al., the largest 10” x 8”, the smallest 7” x 4‑5/8”. Detailed list available on request. [300/500] 129 French Staff Officer’s Sword, early 2nd Empire, the blade slightly earlier and bearing a Paris address and maker’s mark, the articulated counterguard with pushbutton release engraved with original owner’s armorial, spinal-carved horn grip, the white blade nicely etched with floral designs and scrolls, no scabbard, nice chasing and gilding to the guard, which is decorated with a helmet and, surmounting a swag of laurel and oak leaves, all superimposed on a of tricolor flags, l. 34‑1/2”. [300/500] 130 Collection of Three Daggers, comprised of an Indonesian kris with a meteor iron (Pamir) blade, carved wood grip and figured wood sheath, l. 19‑1/2”, a PihaKaetta with a gold-inlaid blade with brass overlay, chased and engraved with a scabbard of painted wood, l. 11‑1/2” and an Indonesian kris with a four wave meteor iron blade lacking the gandja, with a richly-carved bone grip and plain white brass-mounted wood scabbard, l. 19‑4/1”. [600/900]

125 Dutch Patinated-Bronze Twelve-Light Two-Tier Chandelier in the Baroque Style, a double masked finial grasping a ring, sitting under the six scrolled candle arms with wide fluted drip pans and cylindrical candle cups, a turned standard supports the top row of cups, a cast fullfigured putto serves as the standard finial, supporting the ceiling chain, h. 30”, dia. 25”. [800/1200] 126 Sixty-Two Leather Bindings, 1897‑1980, including large collections of Bret Harte and George Eliot, a complete set of the 1958 Standard Home Library of the World’s Greatest Literature, thirteen volumes of Harvard Classics, and single volumes of Dana and Hardy, the largest 8‑5/8” x 5‑3/4”, the smallest, 8‑1/4” x 5‑1/2”. Detailed descriptions available on request. [150/300] 127 Twenty-Four Oversized Decorative Bindings, 1888‑1934, with volumes in English, Swedish, Spanish and French, including two volumes of Hubert-Robert’s watercolor illustrations, a volume of Swedish natural history photography, bound volumes of Revue Illustre, l’Illustration and Good Housekeeping, et al., the largest 15‑1/2” x 11‑1/2”, the smallest 10‑1/2” x 8”. Detailed list available on request. [300/500]

131

131 Collection of Four Knives, comprised of a 20th century Argentinean gaucho knife mounted with .800 silver and gold overlaid grip and scabbard, l. 11‑1/4”, a mid-20th century small Jambiya in a silver-inlaid iron scabbard, probably from the western Mediterranean, l. 8‑5/8” and two Turkish Yhatagans, ca. 1900, the larger with a silvered-brass scabbard, both with inlaid bone grips, l. 18‑1/4” and 14”. [500/800] Illustrated

132 Continental Steel and Bronze Medieval-Style Strong Box, fourth quarter 19th century, bronze paw feet support the strap-decorated case with matching bronze handles and corners, applied steel spear heads decorate the corners of the cover and the hinges, a bronze shieldmolded lid knob operates the catch, the interior now lined with brown suede, h. 3‑3/4”, w. 9‑1/4”, d. 7”. [1500/2500] Illustrated 133 Italian-Style Giltwood Sunburst Mirror, the round center plate bordered with a scalloped giltwood border inset with mirror plates, pointed giltwood rays alternating with leaf-molded rays inset with mirror plates, dia. 24”. [300/500] Illustrated 134 Italian Painted Terracotta Bust of a Classical Gentleman, ca. 1900, medallion stamped on the interior “MA ni Fat Ti V RA Dl Si GNA”, h. 18‑1/2”, w. 21”, d. 11‑1/2”. [200/400] 135 Pair of Diminutive Italian Polychrome Commodes, late 19th century and later, in the rococo taste, each with a shaped top above a conforming bombe case fitted with two drawers, raised on cabriole legs, the whole richly accented with polychrome scrolling patterns and floral sprays. h. 23”, w. 21‑1/2”, d. 14‑1/2”. [600/900] Illustrated

133

136 Swiss Organette Music Box in an Aesthetic Case, ca. 1900, the single cylinder instrument with an organette as part of its works, the case Japanned with a black ground, lushly decorated figures outside in a garden with phoenix birds, all in gilt and silver gilt, bordered in scrollwork and flowers, h. 8‑3/4”, w. 19‑1/2”. d. 10‑3/4”. [900/1200] Illustrated 137 Swiss “Concerta” Marquetry Inlaid Three-Cylinder Music Box by Mermod Freres, fourth quarter 19th century, the burl walnut-veneered case with a covemolded base molding, marquetry banded side panels decorated with a lozenge-shaped inlaid cartouche and a matching lid, the three cylinders play six tunes each, including six from the Mikado, and are documented on the original play card attached to the inside of the cover, fitted with a Jacot safety check, patented in 1888, bearing a retailer’s label from Born and Music Box Specialist, Pelham, New York, h. 10‑1/2”, w. 30”, d. 16”. [6000/9000] Illustrated

132

138 Italian Giltwood Looking Glass, late 19th century, the rectangular plate surmounted by a tall crest with a central lyre flanked by scrolling patterns, within a molded frame with corner shield and acanthine accents, h. 46”, w. 21‑1/2”. [1800/2500] Illustrated

135

139 Floris Pieter Florentius Nicolaas Jacobus Arntzenius (Belgian/Dutch, 1864‑1925) “Evening Street Scene”, oil on board, signed lower left, 8‑1/4” x 6‑1/4”. Presented in a period giltwood and gesso frame. Provenance: Private collection, Denver, Colorado. [2000/4000] Illustrated

140

139 140 Charles Henry Leickert (Belgian/Dutch, 1816‑1907) “Winter Scene With a Man Ice Skating”, oil on panel, signed lower left “Ch. Leickert”, 6‑5/8” x 9‑3/8”. Presented in a giltwood and gesso frame. Provenance: Private collection, Denver, Colorado. [2000/4000] Illustrated

137

136 138

144 Continental School (Fourth Quarter 19th Century), “Winter Scene With a Man Walking by the Canal”, oil on canvas, signed lower left “Cv. Wickevcorff”, 27” x 26”. Presented in a contemporary frame. [250/400] 145 Bernardus Johannes Blommers (Dutch/American, 1845‑1914), “Interior Scene With Family at Supper”, watercolor on paper, signed lower right “Blommers”, sight 13” x 15”. Glazed, matted and framed. [2000/4000]

141

146

146 Brass Dutch-Style Twenty-Seven Light Three-Tier Chandelier, the ball-mounted standard with a ring finial, mounted with cylindrical candle cups and flat drip pans on scrolled arms, on three tiers, mounted with faux wax candles, electrified, h. 44”, dia. 43”. [1000/1500] Illustrated

143 141 Bernardus Johannes Blommers (Dutch, 1845‑1914) “Children Playing on the Beach”, oil on panel, signed lower right “Blommers”, 9‑1/8” x 11‑5/8”. Presented in a 19th century giltwood and gesso frame. Provenance: By oral tradition purchased by the family of the present owner at the Veerhoff Galleries, Washington, D.C. [4000/7000] Illustrated 142 Johannes Christiaan Karel Klinkenberg (Dutch, 1852‑1924), “View of a Delft Canal”, oil on canvas, signed lower right “Klinkenberg”, 16” x 24”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated 143 Henri Jacques Bource (Belgian, 1826‑1899), “Two Fishermen With Their Catch”, oil on panel, signed lower right “Henri Bource”, 17‑3/4” x 15”. Presented in a period giltwood and gesso frame. [2500/4000] Illustrated 142

147 Olga Ciardi (Italian, 19th Century), “Anthony Van Dyck’s Self-Portrait”, after Anthony Van Dyck (Belgian/ British, 1599‑1641), oil on canvas, signed lower right “Olga Ciardi, Firenze”, signed on the reverse canvas “Ciardi Olga”, 30” x 22‑1/2”. Unframed. [1400/1800] Illustrated 148 Dutch Walnut Display Cabinet, early 19th century, the shaped and arched molded cornice centered by a foliate scroll, above a conforming single paned door, flanked to either side by a canted paned panel, above a kettle-form base fitted with three long drawers, flanked to either side by an arched cupboard door, raised on hairy paw feet, h. 75”, w. 43”, d. 16”. [1500/2500] Illustrated

148

147 151 Collection of Two Hand Colored Engravings, depicting classical scenes , second quarter 18th century, one by Elisha Kirkall (British, 1681/2‑1742), dedicated to “Her Grace the Duchess of St. Alban’s” and one by Michael Van der Gucht (Flemish, 1660‑1725), dedicated to “Her Grace the Duchess of Roxburghe”, sight 14” x 8‑3/4”. Both glazed, French matted and presented in giltwood frames. [200/400]

149 Ebonized Continental Wall-Mounted Hat Rack, third quarter 19th century, the oval picture back set with a needlepoint picture of a little boy carrying an umbrella and a man’s hat, the oval frame set with three cloak hooks on its base and swinging hat racks on its side, back-lined with period European newspaper, h. 11‑1/4”, w. 12‑1/2”, d. 5‑1/2”. [200/400] 150 German School (18th Century), “Figure Studies”, suite of three pen and ink on paper sketches, sight 7‑3/4” x 5‑3/4”. All glazed, matted and presented in giltwood frames. [800/1200] Illustrated 150 suite of three

152 John Chapman (British, 18th/19th Century), “Egbert, The First King of England” and “Edward III”, pair of mezzotints, published by John Wilkes, London, 1803, sight 10‑1/2” x 8”. Both glazed and framed. [125/250] 153 Pieter de Jode, the Younger (Flemish, 1601‑1674), “Erycius Puteanus” and “Luchinus Vicecomes”, pair of engravings, sight 12” x 7‑1/2”. Both glazed, French matted and framed. [150/300]

157 154 Victorian Bronze Figure of a Knight, third quarter 19th century, English, now mounted as a lamp, depicted standing, dressed in chain mail and a tunic, his sword at his side and a shield at his back, h. 21‑1/4”, w. 4‑1/2”, d. 5‑1/2”. [500/800] 155 Pair of Provincial English Fruitwood Sidechairs, late 18th century, in the George III style, the domed crest centered by shell carving and above a vasiform splat, the padded seat raised on cabriole legs ending in pointed toes, h. 40”. [700/1000] Illustrated 158

155

156 Group of Figural Cast-Iron, the first a Victorian castiron lion-form door stop, mid-19th century, English, h. 15”, w. 10", d. 3”, the second a Victorian hitching post head, ca, 1900, possibly American, depicting a horse head grasping a ring over molded acanthus leaves, h. 13‑1/2”, w. 5‑1/2”, d. 5”, and the third a Victorian-style door stop in the form of a full-bodied pig on a carrying handle, h. 2”, w. 10”, d. 3”. [150/300] 157 William-and-Mary-Style Walnut Cabinet, partially composed of antique elements, the rectangular top quarter-veneered and double-banded and centered by a diamond pattern, above a case fitted with three small drawers over three long graduated drawers, now converted to a single cupboard door, raised on barley-twist legs joined by a shaped box-form stretcher and raised on bun feet, h. 33”, w. 23‑1/2”, d. 14”. [900/1200] Illustrated 158 After William Hogarth (English, 1697‑1764), ca. 1900, Italian enamel on copper after the self portrait with his pug of 1746, depicted on a stack of books with his palette and dog, mounted in pierced and gadrooned giltwood frame, h. 9‑1/4”, w. 8‑3/4”. [900/1200] Illustrated

161 Pair of Painted Tole Architectural Lanterns, of hexagonal form, painted in gros rouge with gilt trim, the front doors and side panels with arcaded openings, the hipped roof tops pierced with stars, and a molded and folded leaf forming the carrying handle, wired for electricity with faux candles, h. 19‑3/4”, w. 10‑1/2”, d. 7‑1/2”. [600/900] Illustrated

161

162 Painted Canvas Vessel with Armorial Decoration, decorated with the arms of the British Monarch, probably Victorian, the vertically ribbed container with a leather handle and carfully painted and gilded decoration, h. 25‑1/2”, dia. 8”. [300/500]

159 Patinated-Bronze Six-Light Chandelier in the DutchStyle, the large ball base, terminating in turned finials, mounted with six scrolled candle arms set with bold candle cups, a crowned figured of the Virgin Mary sitting atop the arms, h. 36”, dia. 35”. [800/1200] 160 Collection of English Porcelain in the Imari Palette, comprised of a soup tureen, fourth quarter 19th century, with a gilt-trimmed knop and handles and a border or orange and blue flowers on a brown decorated ground, h. 7‑1/4”, w. 13”, d. 7‑1/4”, a teapot stand in the same pattern, w. 7‑1/2”, d. 5‑1/4”, six earthenware dinner plates, mid-19th century, gilt-trimmed in the Imari palette and bearing a “2033” pattern number, dia. 10‑1/2”, three Imari soup plates, second quarter 19th century, ironstone, dia. 8”, two luncheon plates, ca. 1900, richly decorated and gilded, signed “Hammersley”, dia. 9”, a wastebowl of similar date, signed “Copeland”, dia. 6”, a single Derby coffee can, ca. 1800, h. 2‑1/2”, dia. 2‑1/2”, and an unmarked pudding dish, mid-19th century, dia. 7”. [200/400]

165

166 163 Collection of Continental Papier-Mache and Other Snuff Boxes with Polychrome Decoration, 19th century, including a first quarter 19th century oval tortoiseshell and silver snuffbox, l. 2‑3/4”; three short circular boxes, all second quarter 19th century, the lids variously decorated with a woman in Tyrolean costume and holding a rake, dia. 3‑1/4”, a an exterior view with two figures and structure, dia. 2‑3/4”, and dramatic architectural view, dia. 3‑1/4”, (the latter with turned oak body and papier-mache lid); two cylindrical boxes with rouned lids, both third quarter 19th century, one decorated in gilt on the lid with stars and a cartouche with the legend “God Bless the Queen” and dated June 1837, h. 2‑7/8”, dia. 3‑1/4”, the other faintly decorated in gilt in the Japonaise taste with figures of samurai, h. 2‑1/2”, dia. 2‑3/4”, two rectangular boxes with rounded ends, both fourth quarter 19th century, one decorated with a polychrome figure of a cossack hiking in the snowy woods, l. 4”, the other with gilt decoration in the Eastlake taste, l. 2‑1/2”, a recangular box, fourth quarter 19th century, decorated with a polychrome portrait of a Victorian lady, l. 3‑3/8”, and an oval example, also fourth quarter 19th century, trimmed in gold and decorated with an oval agate in a molded bezel and surrounded by silver and gold pique flowers, l. 4”. [150/300]

169 Carolean Walnut Armchair, 17th century and later, the pierced and scrolling crest above a caned splat within downswept arms to the caned seat, raised on shaped legs joined by a pierced stretcher and ending in scrolled toes, h. 55”. [800/1200] Illustrated 170 Provincial English Oak and Fruitwood Sidechair, early 19th century, the shaped crest above a balusterform splat, the padded seat raised on cabriole legs joined by an H-form stretcher and ending in ball-and-claw feet, h. 41‑1/2”. [400/700]

169

168 164 Molded Polychrome Plaster Bust of William Shakespeare, ca. 1900, molded with an integral socle in a painted plaster finish, h. 21”, w. 14”, d. 8”. [70/125] 165 Virginia Metalcrafters Brass Eight-Light Chandelier in the Dutch Style, the ball standard fitted with a ring finial, supports eight scrolled candle arms, decorated with molded leaves, cylindrical candle cups sit in cove-shaped drip pans, h. 24”, dia. 42‑1/2”. [500/800] Illustrated

171 German Copper Arts and Crafts Sugar and Creamer, first quarter 20th century, both with angular pierced brass handles covered in patterned cane, and with a silverplated interior, stamped “Wurttemberg”, h. 2‑3/4”, w. 6”, d. 3‑3/4”. [200/400]

166 Louis Toussaint (German, 1826‑1887), “The Young Artist”, oil on canvas, signed and dated lower left “Louis Toussaint 1867”, 29” x 25”. Presented in a giltwood frame. [1400/1800] Illustrated

167 After Harry Roseland (American, 1868‑1950) “Boiling the Water”, oil on canvas, second quarter 20th century, 21” x 30”. Framed. [200/400] 168 Philip Richard Morris (British, 1833‑1902) “Waiting for the Fleet”, oil on canvas, 30” x 20”, signed lower right: “Philip Morris”. Presented in a carved giltwood frame. Reference: Johnson & Greutzner, British Artists: 1880‑1940. [1000/1500] Illustrated

174

172 Avery Mahogany and Brass Scale, the mahogany base holds a faceted vaseshaped standard with pierced lyre scale supports, fitted with brass scales and including a stack of weights, signed “Aver, ER” with impressed crown on lead back, h. 28‑3/4”, w. 21‑1/2”, d. 11”. [400/700] 173 Interesting Carved Oak Wall Plaque, early 20th century, in the form of an ironbanded barrel keg, the panel depicting a miser of sorts with grapes and vines along the perimeter and a carved inscription “Skinflint’s” across the bottom, h. 25”, w. 18”, d. 5”. [250/400] 174 Regency-Style Oak Breakfast Table, the circular banded top raised on four turned columnar supports to a canted stretcher, raised on splayed legs, h. 30”, dia. 72”. [500/800] Illustrated

181 183

182 175 Pair of English Porcelain Plates in the Imari Palette, first quarter 19th century, the scalloped borders contain ho ho birds and chrysanthemums, with a central panel depicting pots of flowers on a Chinese stand, marked pattern number 304, dia. 10”. [70/125] 176 Set of Four Georgian-style Rummers, of English origin, composed of Bristol green glass, signed “William Yeoward” and based on 18th century patterns, h. 5‑1/2”, w. 4”. [150/300] 177 Suite of Four Provincial George III-Style Sidechairs, 18th century, the slightly domed back above a pierced vasiform splat, the padded needlework seat, raised above a scalloped apron on cabriole legs joined by an H-form stretcher and ending in pad feet, h. 39‑1/2”. [700/1000] Illustrated 178 Dutch School (17th Century), “Busy Mediterranean Harbor Scene With Merchant Ships”, oil on canvas, unsigned, 13” x 19‑1/2”. Presented in a attractive giltwood and gesso frame. [2000/4000] Illustrated

178

179 British School (Fourth Quarter 19th Century), “Card Game”, oil on canvas, signed lower left “L. Barlet”, 25‑5/8” x 19‑3/4”. Presented in a Regence style giltwood frame. [450/700] 180 Follower of David Taniers the Younger (Flemish/ Belgian, 1610‑1690), “Outdoor Tavern Scene”, oil on canvas, unsigned, 7” x 8‑/12”. Presented in a giltwood Rococo style frame. [500/800] 181 Set of Eleven Chinese Export Blue-and-White Dinner Bowls, early 19th century, in the Fitzhugh pattern and having a gilded rim, dia. 9‑3/4”. [600/900] Illustrated

177

182 Chinese Porcelain Soup Tureen, 19th century, “Fitzhugh”-style decoration in underglaze blue with an overglaze blue enamel lion crest, with a bud finial and braided strap handles, h. 11”, dia. 13‑1/2”. [2500/4000] Illustrated

186

183 Set of Eighteen Chinese Export Blueand-White Shallow Bowls, early 19th century, in the Fitzhugh pattern and having a gilded rim, dia. 7‑3/4”. [800/1200] Illustrated previous page

189 Chinese Porcelain Vase, K’ang Hsi period (1662‑1722), the oval shaped Hu with sheep’s head handles, archaicstyle decoration of Tao Tieh masks and cicada motifs, drilled and mounted as a lamp, h. 15”. [400/700] Illustrated

184 Chinese Porcelain Blue-and-White Vase, 19th century, the vase with underglaze blue decoration of kylin and clouds, truncated and mounted as a lamp, h. 14‑1/2”. [100/200] 185 Pair of Japanese Hexagonal Dishes, early 20th century, underglaze blue transfer decoration of figures in a landscape with floral borders, w. 12”, l. 12”. [100/200] 186 Chinese Porcelain Vase, Transitional period ca. 1670, Rolwagen form, underglaze blue decoration of a kylin in a garden, h. 17‑3/4”. [1500/2500] Illustrated 187 Chinese Porcelain Fish Bowl, 19th century, Yu Kang with underglaze blue decoration of dragons and flaming pearls, dia. 19”. [700/1000] Illustrated 188 Fossil Ivory Skull, 20th century, the skull inlaid with various insects in carnelian, turquoise, sodalite and other semi-precious stones, signed, h. 3‑1/4”. [2500/4000] Illustrated

188

187

190 Attractive Pair of Chinese Blue-and-White Framed Porcelain Panels, 20th enetury, Qing style, each panel depicting a mountainous river landscape with village and figures, and a pierced carved wooden panel above and below with a central bat design, both porcelain panels signed upper right, h. 34‑1/2”, w. 16”. [300/500] 191 Chinese Porcelain Covered Box, 20th century, fan-shaped with a foo dog finial, underglaze blue decoration of children playing, six-character Wan Li mark on the base, h. 7”. [300/500] 192 Chinese Porcelain Plate, 20th century, Mingstyle underglaze blue decoration of a dragon, scroll borders, dia. 6‑1/4”. [300/500]

189

193 Pair of Chinese Porcelain Garden Seats, 19th century, the drum-shaped seats in underglaze blue decoration with birds and flowers, the top pierced with a cash coin motif, h. 21”. [500/800] Illustrated

196 Group of Four Japanese Hexagonal Dishes, early 20th century, underglaze blue transfer decoration of figures in a landscape with brocade borders, w. 12”, l. 12”. [350/500] 197 Pair of Chinese Porcelain Vases, 19th century, the sides decorated with molded foo dogs, decoration of phoenixes and peonies in underglaze blue on a pale celadon ground, h. 16‑1/2”. [600/900] 198 Chinese Porcelain Brush Pot, 20th century, the square-form pot with indented corners, underglaze blue decoration of birds in a flowering tree, six-character Ch’ien Lung seal mark on the base, h. 7‑1/4”. [300/500] Illustrated

194

198

199 Chinese Porcelain Brush Pot, 19th century, cylindrical form, underglaze decoration of a hunt scene, h. 6”. [300/500] Illustrated

193 199

194 Japanese Porcelain Garden Seat, 19th century, Arita ware, barrel-shaped with underglaze blue floral decoration, h. 23”. [500/800] Illustrated 195 Chinese Porcelain Jar, early 20th century, underglaze blue stylized floral decoration, replaced wooden cover, h. 8”. [200/400]

200

206

204 Pair of Chinese Porcelain Boxes, 20th century, the frogshaped boxes with surfaces decorated with underglaze blue patterns, l. 11”. [2000/4000] Illustrated

200 Chinese Porcelain Vase, early 20th century, the vase in underglaze blue decoration with vases of flowers, fruit and butterflies on a pale celadon ground, h. 23”. [450/700] Illustrated

205 Chinese Porcelain Bowl, Wan Li mark and of the period (1573‑1619), begging bowl shape, underglaze blue decoration of a scholar looking out at a garden pond, and with ju-i borders, dia. 7”. [300/500] Illustrated 206 Chinese Embroidered Robe, early 20th century, the red ground with a decoration of dragons, pearls and clouds. [800/1200] Illustrated

201 Chinese Porcelain Vase, early 20th century, the vase in underglaze blue decoration with vases of flowers on a pale celadon ground, h. 23”. [400/700]

205

202 Chinese Porcelain Bowl, early 20th century, underglaze blue decoration of auspicious characters in ju-i-shaped cartouches with lotus scrolling, interior with a ju-i border and a central Shou character, six-character Ch’ien Lung mark on the base, dia. 5‑1/4”. [150/300] 203 Chinese Porcelain Bowl, 20th century, underglaze blue decoration of squirrels and grapes, six-character Ch’ien Lung seal mark on the base, dia. 9”. [200/400]

204

207 Chinese Porcelain Jar, 19th century, barrel-shaped with underglaze blue decoration of dragons, pearls and clouds on a brocade ground, K’ang Hsi mark on the base, h. 7”, dia. 7‑1/2”. [200/400] 208 Chinese Porcelain Box and Cover, early 20th century, underglaze blue decoration of floral scrolling and butterflies, six-character K’ang Hsi mark on the base, dia. 6‑1/2”. [200/400]

209 Chinese Porcelain Vase, early 20th century, bottleshaped with a pronounced waist, underglaze blue decoration of the San Duo (3 fruits), with archanthus leaves around the neck, h. 12”. [5000/8000] Illustrated

212

210 Chinese Stoneware Bowl, 18th/19th century, threecolor ware, San Tsai glaze “egg and spinach” type, dia. 5‑1/2”. [400/700]

209

214 Chinese Export Tea Pot, ca. 1800, the pot with a strap handle, and with a strawberry finial, with blue floral sprig decoration, h. 5”, l. 8‑1/2”. [200/400] 215 Group of Five Pieces of Chinese Porcelain, 19th/20th century, including a Tou Tsai cup with children playing and a Cheng Hua mark, a famille rose cup with a Yung Cheng mark, a wine pot and two other cups, cups, dia. 2‑63/4”, pot, h. 3‑1/4”. [300/500]

213

211 Chinese Export Cocoa Pot, early 19th century, very rare soft paste, decorated in a Nanking pattern in underglaze blue with a strap handle, no cover, h. 8‑1/2”. [200/400] 212 Chinese Porcelain Wine Pot, 20th century, Mingstyle heaped and piled underglaze blue with a design of a dragon, six-character Hsuan Te mark on the base, h. 5‑1/2”. [300/500] Illustrated 213 Chinese Porcelain Garden Seat, 20th century, the drum-shaped seat with underglaze blue decoration of foo dogs, ribbons and clouds, lion mask handles, h. 21”. [1200/1800] Illustrated

216 Pair of Early George III Sterling Silver Candlesticks, hallmarked London, 1766‑1767, probably Thomas Whipham, each in the form of a Corinthian column with an openwork capital, raised a stepped and gadrooned square base and surmounted by a detachable bobeche en suite, h. 13‑1/2”, w. 5”, 32.15 t. oz. [4000/7000] Illustrated 217 George III Sterling Silver Toast Rack, hallmarked London, 1799‑1800, by Lewis Pantin, Jr., the barrelshaped frame fitted with nine wirework hoops forming six toast slots flanked by a pair of circular condiment bottle receptacles, surmounted by a ring finial and raised on four-”tenpin” form feet, h. 4‑5/8”, l. 6‑3/4”, w. 3‑3/4”, 5.65 t. oz. [200/400]

216

218 George III Sterling Silver Cruet Frame, hallmarked London, 1779‑1780, by Robert Hennell, of oval form, the pierced gallery and plain bottom over a wooden base, the knopped standard with ring handle and openwork brace, fitted with eight paneled and hatched-edge bottles with silver fittings, including a pair of oil and vinegar bottles, a pair of casters, and four condiment, bottles, the whole raised on four lion’s paw feet, engraved on the body with a crest of a female demi-savage, h. 9‑1/4”, l. 7‑1/2”, w. 5‑1/4”. [900/1200] 219 Regency Sterling Silver Pap Boat, hallmarked London, 1819‑1820, by William Bennett, of traditional “teardrop” form. with gadrooned rim and shell-and-scroll heel, l. 6‑1/8”, w. 3”, 2.76 t. oz. [500/800] 220 Late Georgian Sterling Silver Well-and-Tree Platter, hallmarked London, 1806‑1807, by William Stroud, of serpentine lobed oval form, with gadrooned rim, the plateau with a well and cruciform “tree” separated by a straining partition, the whole raised on four spherical feet, engraved on the long sides with the arms of Egerton impaling Sykes, h. 3‑1/4”, l. 24‑3/8”, w. 14‑5/8”, 143.39 t. oz. The arms here are those of Wilbraham Egerton (1781‑1856), High Sheriff (1808) and M.P. (1822‑1831) of Cheshire, and his wife Elisabeth Sykes (1777‑1853), daughter of Sir Christopher Sykes, Bt. and Elizabeth Tatton. As the couple were married on January 11, 1806, this handsome and substantial platter very probably formed part of their wedding service. [9000/12000] Illustrated

220

221 Pair of Regency Bateman Family Sterling Silver Casters, hallmarked London, 1818‑1819, by Peter and Anne Bateman, each of baluster form and raised on a square plinth foot, the lattice-engraved pierced cap with urn-form finial, h. 6”, dia. 2‑1/8”, 6.37 total t. oz. [300/500]

222 Fine George IV Phillip Rundell Sterling Silver Gilt Wine Cooler on Stand, hallmarked London, 1821‑1822, for Rundell, Bridge and Rundell, after designs by John Flaxman and Thomas Stothard, of campana form, the lower section gadrooned, with a pair of figural handles in the form of reclining putti on reeded and entwined tendrils extending to form realistic grapevine banding on the body, with and ovolo rim, raised above a leaf-and-dartbanded foot and presented on a plinth base decorated with grapevines and leaf-and-dart banding en suite and a pair of opposing satyr masques, engraved on the body with the arms of Seely of Lincoln, and around the cooler base “Rundell Bridge Et Rundell Aurifices Regis Londoni”, h. 18‑1/4”, w. 10‑1/4”, d. 9‑3/4”, 181.33 t. oz. The design for this lot recalls one by Flaxman in the collection of the Victoria and Albert Museum, although the cherubic figures suggest the hand of Stothman. The 1821 date suggests a connection to the coronation of George IV in that year; a strikingly similar gold cup by Rundell with oak-branch motifs was commissioned by the King for the Earl of Ormonde in gratitude for his assistance in the ceremony. (See Christopher Hartop, Royal Goldsmiths: The Art of Rundell & Bridge, 1797‑1843 (Cambridge: Adamson, 2005), p. 76, fig. 66. The arms here are those of the Seely family of Lincolnshire. At the time the cup was made - presumably for eighteen-year-old Charles Seely, Jr. (1803‑1887), later liberal M.P. 1847‑48 and 1861‑85 - the family had not been formally granted these arms, but evidently had been using them as an affectation. It was not until Charles’ son - also Charles (1833‑1915) and also M.P. - was elevated to the baronetage in 1896 that the Seelys were granted arms, incorporating into them the elements long used by the family. [45000/70000] Illustrated

222

222 detail

225

226

227 Victorian Silverplate Revolving Vegetable Dish and Two Later Asparagus Tongs, the dish dated by design registry November 4, 1870, of oval form, with a naturalistic currule “branch” frame, the domed lid engraved with ferns and revolving by means of an ivory button to reveal a pair of dishes, one pierced, over a hot water reservoir, h.8”, w. 13”, d. 9‑1/4”, accompanied by two individual asparagus tongs of later date, l. 5” [200/400]

223 George IV Carved Ivory and Steel, second quarter 19th century, the ivory handles gadrooned and with handsomely carved lion’s head finial, the steel blade stamped “GR” over “Chief”, the cutler’s mark rubbed but probably “Allison”, l. 15‑1/2”. [150/300] 224 Victorian Four-Piece Silverplate Coffee and Tea Set, third quarter 19th century, by Martin, Hall & Co. and Roberts & Belk, Sheffield, including a coffeepot, h. 9”, l. 9”, a teapot, h. 6‑3/4”, l. 11‑1/4”, an open sugar bowl h. 5”, l. 8‑1/4”, and a cream jug, h. 5‑3/4”, l. 4‑1/4”, each with an apple-shaped body decorated with elaborate repousee rococo scrolls, flowers and cartouches and raised on an openwork ring of four acanthus scroll feet, the pots with paneled “gooseneck” spouts, ivory-insulated crested scroll handles and flush domed lids with melon finials, the cream jug with waisted neck, integral spout and crested handle, the sugar bowl with opposing crested handles. [300/500] 225 Pair of Victorian Sterling Silver Waiters, hallmarked Sheffield, 1844‑1845, by Creswick & Co., each of shaped circular form with elaborate rococo-scroll rim and raised on three scrolling feet en suite, the plateau engraved with a wide band of rococo scrolls, flowers and latticed cartouches, the center later engraved with a monogram of a ducally crowned “S” and flanked by the arms of the Greek royal family in use from 1936, dia. 10‑1/4”, 36.39 total t. oz. [1800/2500] Illustrated

226 George IV Three-Piece Sterling Silver Tea Set, hallmarked London, 1827‑1828, by Charles Thomas Fox, including a teapot, h. 5‑3/4”, l. 10‑1/2”, an open sugar bowl, h. 4‑1/4”, w. 81/2”, and cream jug, h. 4‑1/4”, w. 6”, each of squat melon form decorated on the shoulder with a wide repousse band of acanthus darts and flowers on a matte, arabesque-bordered ground, with flower and shell-crested reeded handles and four roccaille feet, the teapot with floral and acanthus spout and hinged, domed lid with floriform finial, 40.96 total t. oz. [1000/1500] Illustrated

228

231

228 Victorian Silverplate Centerpiece, fourth quarter 19th century, in the manner of Elkington, depicting a greyhound beneath a tree, all on a rocky crag, the tree branches surmounted by a glass bowl decorated with pointed flutes, h. 21‑1/2”, dia. 12‑1/4”. [500/800] Illustrated 229 Victorian Sterling Silver Fish Knife, hallmarked London, 1869‑1870, by George A. Adams (Chawner & Co.), in the “Plantagenet” pattern, the scimitar-shaped bladed pierced with rococo scrolls, l. 11‑3/4”, 3.98 t. oz. (including filled handle). [200/400] 230 Victorian Twelve-Piece Ivory and Close Plate Dessert Service, fourth quarter 19th century, by Martin, Hall & Co., Sheffield, including six dessert forks, 7‑1/4”, and six dessert knives, l. 8‑1/2”, the tines/blades engraved with acanthus scrolls, each with carved spatulate ivory handle with acanthus crest, presented in the original fitted indigo baize-lined fitted mahogany case, 3‑1/4” x 11‑3/4” x 10‑1/4”. [125/250]

235

233

233 Edwardian Sterling Silver Presentation Bowl, hallmarked Birmingham, 1909‑1910, by William Hutton & Sons, Ltd., in form of a small monteith, of hemispherical form, with molded band and rim, the latter with applied putto masques, with lion’s masque stirrup handles, raised on a domed foot, engraved on the body, “Presented / by / The Marquis of Granby / to the / Hanger Hill Golf Club / for / Annual Competition”, h. 5‑1/4”, dia. 7‑1/4”, 18.84 total t. oz. [800/1200] Illustrated 234 Pair of George V Sterling Silver Candlesticks, hallmarked Sheffield, 1926‑1927, in the neoclassical taste, each with a standard of tapering concave square section, decorated with navette-shaped paterae and embossed “bright-cut” edging, above a square cavetto-domed foot en suite and surmounted by an inverted bell-form nozzle fitted with a detachable circular bobeche, the whole with narrow floral edge-banding throughout, h. 12‑1/4”, w. 5”, weighted. [550/800]

231 Edwardian Sterling Silver Four-Piece Coffee and Tea Set, hallmarked Sheffield, 1904‑1905 and 1910‑1911, by James Dixon & Sons, including a coffeepot, h. 7‑1/4”, l. 8‑1/2”, a teapot, h. 5‑1/4”, l. 10‑1/2”, an open sugar bowl, h. 3‑1/2”, w. 7”, and a cream jug, h. 3‑3/4”, l. 5‑3/4”, each of rounded and cavetto-canted rectangular section, with a wide reeded band and gadrooned edge, the pots with crested square wooden handles, hinged lids with wooden finials and “gooseneck” spouts of square section, the sugar bowl and cream jug with reeded strap handle(s), each engraved on the body with the crest of Kay, et al. (“a griffin’s head erased, in its beak a key”), 42.50 total t. oz. (including wooden fittings). [900/1200] Illustrated 232 Edwardian Sterling Silver Basket, hallmarked London, 1901‑1902, by Josiah Williams & Co. (Jackson & Fullerton, Bristol), of oval form, with an everted and gadrooned base below an embossed floral band and gauffered edge, with a swing handle and raised on four openwork acanthus scroll feet, h. 2‑1/2” (7‑3/4” with handle), l. 10”, w. 71/2”, 11.25 t. oz. [300/500]

235 Pair of George V Britannia Standard (.958) Silver Casters, hallmarked London, 1935‑1938, by Peter Guille, Ltd., in the William & Mary Taste, of “lighthouse” form, decorated with molded banding and gadrooned edges, the bayonet-fitted caps pierced with baskets and grape clusters, the urn-form finial centering cut card work, engraved on the body with a crest “out of a marquess’ crown, a leopard’s head”, h. 6”, dia. 2‑3/4”, 21.28 total t. oz. [1200/1800] Illustrated 236 Collection of Three English and American Sterling and Silverplate Boxes, 20th century, including a George V sterling silver jewelry box of rounded and concave navette form, hallmarked Birmingham, 1911‑1912, by T. H. Hazlewood, with velvet lining, raised on crested lion’s paw feet, the lid monogrammed “AEB”, w. 7”, d. 4‑1/4”, a rectangular American sterling silver cigarette box with gadrooned rim and cedar lining, the lid monogrammed “EDH”, the interior lid with engraved presentation signatures, w. 3‑3/4”, d. 3‑1/4”, and an oval English silverplate biscuit box with gadrooned rim, w. 7‑3/4”, d. 6”, 13.50 total t. oz. (sterling boxes only but including velvet and cedar linings). [100/200]

237 237 Semi-Antique Persian Carpet, 4’10” x 6’9”. [400/700] Illustrated

245 239 Persian Kerman Carpet, 10’ x 13’4”. [3500/5000]

238 Mamluk Carpet, 8’2” x 9’9”. [1000/1500]

240 Semi-Antique Nichols Carpet, 4’1” x 6’11” [300/500]

248

253

241 Persian Silk Qum Carpet, 5’1” x 8’1”. [3000/5000] 242 Agra Carpet, 9’ x 12’. [5000/8000]

259

243 Louis Phillipe-Style Aubusson Needlepoint Carpet, 7’9” x 9’11”. [1000/1500] 244 Kashan Carpet, 7’3” x 10’4”. [600/900] 245 Agra Serapi Carpet, 9’ x 12’3”. [1400/1800] Illustrated 246 Persian Tabriz Carpet, 5’5” X 10’2”. [2000/4000] 247 Aubusson Needlepoint Carpet, 8’6” x 12’. [700/1000] 248 Turkish Oushak Carpet, 8’1” x 10’. [1000/1500] Illustrated 249 Shiraz Carpet, 5’8” x 11’4”. [400/700]

250 Agra Serapi Carpet, 9’2” x 11’10”. [1400/1800] 251 Sumak Carpet, 8’8” x 12’4”. [300/500] 252 Semi-Antique Hamadan Carpet, 5’ x 8’2”. [700/1000] 253 Persian Isphahan Carpet, 10’2” x 13’6”. [1400/1800] Illustrated 254 Heriz Runner, 3’9” x 9’8”. [300/500] 255 Aubusson Needlepoint Carpet, 9’10” x 13’3”. [300/500] 256 Persian Serapi Carpet, 13’3” x 16’4”. [8000/12000] Illustrated 256

257 French Aubusson Tapestry, 18th century, depicting the “Marriage of Joseph” with a gathering of well-wishers in a foliate landscape, the border with floral swags and foliate scrolls and a coat of arms in the upper corners, signed by the weaver along the lower right edge “FVRGAVD DE LAVERGNE. FECIT 1788”, presumably Pierre Fugaud de la Verge, h. 83”, w. 149”. [25000/40000] Illustrated 258 Pair of Unusual Three-Light French Gilt-Bronze Sconces, fourth quarter 19th century, the pierced rococo backplate supports three “rustic” patterned branches decorated with applied leaves and buds, leaf-molded candle cups resting on beaded, leaf-molded drip pans, h. 18”, w. 15”, d. 12”. [700/1000] 257 259 Louis XVI-Style Giltwood Settee, late 19th century, the slightly domed and padded back surrounded by a floral garland frame and surmounted by a double avian crest, joined to the padded seat by like scrolling foliate-carved arms, raised on spiral-reeded tapering circular legs ending in toupie feet, h. 44‑1/2”, w. 61”, d. 25”. [1200/1800] Illustrated previous page

260 French Belle Epoch Ochre Silk Moire Valence, 1890‑1900, with scalloped, fringed and tasseled front edges, centered by a sepia paper print of two 18th century women singing and being accompanied by a gentleman playing a lute, framed with hand-made metallic lace, trailing hand-made cotton lace ribbons and bows holding swags of French ribbon-embroidered flowering vines, with a beaded and metallic thread flower-filled basket suspended from a lace bow at each end, backed with ochre silk, h. 13‑1/4”, l. 95”. [500/800] Illustrated

260

263

261 Pair of Continental Porcelain Scent Bottles, first quarter 20th century, the flat base molded with scroll supports under the lozenge-shaped bottles, decorated with gilt shields, the edge decorated with pierced scrollwork unifying the stoppers, marked “RPM” for Royal Porcelain Manufacturer, h. 8‑1/2”, w. 5‑3/4”, d. 3‑1/2”. [300/500]

266 Maria Theresa-Style Nineteen-Light Chandelier, the glass-clad serpentine arms support candle cups in two levels, ribbed cut-glass drip pans fitted with electric candles, swags of cut-glass prisms join the arms, with cartouche-shaped prisms hung at the junctures and along the arms, the pattern repeated at the top, a single light sits in the center void above the faceted ball finial, h. 32”, dia. 34‑1/2”. [1200/1800] Illustrated 267 Adrien Moreau (French, 1843‑1906), a charming oval oil-on-panel portrait of a young girl with a white ruff and a blue hair ribbon, ca. 1885, the upper edge of the panel inscribed and signed “A mon ami Lebrasseur/ Adrien Moreau” and monogrammed at left “CL”, probably a portrait of Monsieur Lebrasseur’s daughter, 6‑3/4” x 5”. Presented in a handsome period Florentine carved and gilded wooden frame in the baroque style on a custom plaited wire stand. [1400/1800] 268 Pair of Louis XVI-Style Giltwood Window Seats, each with a cushioned seat flanked to either end by padded outscrolled arm rests, above a fluted frieze, raised on fluted tapering circular legs ending in toupie feet, h. 35‑1/2”, w. 43”, d. 19”. [5000/8000] Illustrated

265

266

262 Napoleon III Giltwood Looking Glass, third quarter 19th century, of cenotaph form, the slightly domed rectangular plate within a molded giltwood frame with foliate modeled slip, h. 64”, w. 42”. [500/800] 263 Franz Bohumil Doubek (Czech, 1865‑1945), “Allegory of Harvest”, oil on canvas, signed lower right “F. Doubek”, 26” x 20”. Framed. [700/1000] Illustrated

264 After Sir Joshua Reynolds (British, 1723‑1792), “Venus Chiding Cupid”, oil on panel, unsigned, 7‑1/2” x 6‑5/8”. Presented in a giltwood and gesso frame. [500/800] 265 Louis XVI-Style Polychrome Trumeau, mid-19th century, the upper portion with a charming panel painting of cherubs at work making arrows, the lower mirrored plate surmounted by a shell and scrolling crest and within a molded frame, h. 60”, w. 33”. [1500/2500] Illustrated

268

269

270

272

269 Continental HandPainted Porcelain and Silver-Gilt-Overlaid Petit Dejeuner Set, fourth quarter 19th century, the set comprised of a tray, w. 13”, l. 17”, a coffee pot, h. 6‑1/2”, a sugar bowl, h. 5”, a covered cream jug, h. 4‑1/2”, and two demitasse cups and saucers, h. 3”, each piece with a yellow border decorated with silver-gilt pierced decoration of scrollwork, swags and diapered scrolled panels, the white field decorated with hand-painted flowers, the spouts and handles mauve overlaid with silver-gilt decoration. [3500/5000] Illustrated

270 European Porcelain Miniature, ca. 1900, depicting a woman in a powdered wig and 18th century dress, mounted in a gilt-bronze frame ornamented with green and white enamel strapwork, and outlined in paste “diamonds” with a mask-molded finial, h. 4‑1/4”, w. 3”. [200/400] Illustrated

271 French Champleve Enamel and Onyx Table Barometer, ca. 1900, the scalloped keyhole-shaped onyx backplate mounted with a conforming enamel surround, decorated with scrollwork, diapering, vines and berries, the base set with a steel-faced barometer, the chapter ring in French, the throat set with a mercury thermometer, h. 15‑3/4”, w. 8”, d. 1‑3/4”. [3000/5000] Illustrated

271

272 Porcelain Bulb Pot Base in the English Neoclassical Style, the half round pot with giltshell feet and a gilt-scrolled border, the central panel depicting two men and a dog rowing near a rocky coast with a lush landscape, a mauve rondel of a cupid on either side, framed with black swags, bowknots and bellflowers, all on a pale green ground, the bold upper rim serpentine and decorated with a stippled gilt fan, h. 8”, w. 11‑3/4”, d. 6‑1/2”. [700/1000] Illustrated

276

273 Gilt-Bronze and Porcelain French Mantel Clock, fourth quarter 19th century, made by Japy Freres and signed on the works, the Louis XIV-style case with turned beaded feet, a bold base of alternating reeds and flutes, the front porcelain panel with a clock dial with putti in the center and with a panel of classical maidens in an Arcadian landscape below, against a pink ground, rounded side panels depict swags of flowers and birds held by a bow knot, the bronze top set with an oval of molded acanthus leaves, supporting an oval porcelain and bronze urn finial with Greek-key handles and a flame-molded top, h. 17”, w. 10‑1/4”, d. 4‑1/2”. [1500/2500] Illustrated

274 Louis XVI-Style Giltwood and Marble-Top Center Table, late 19th century, the inset rectangular Sarrancolin marble top above an annulated and floral guilloche-carved frieze with a pendant torchere and portrait medallion, raised on tapering square paneled legs headed by bellflower carving, joined by a shaped X-form stretcher and ending in toupie feet, h. 36”, w. 49‑1/4”, d. 26”. [4500/7000] Illustrated

273 275

274

275 Paris-Style Shell-Form Encrier, ca. 1900, German, the square base molded with biscuit anthemia, supporting the gilt and white shell, set with a covered inkpot, and covered pounce pot, and two quill holders, marked with an underglaze stamped cobalt “RPM” under an eagle, h. 3‑1/2”, w. 6‑1/2”, d. 2”. [700/1000] Illustrated

279 278 Set of Five Sevres-Style Portrait Plates, fourth quarter 19th century, French, the bleu celeste ground decorated with floral enameled border panels, framed in gilt scrollwork, the central hand-painted portraits, identified on the rear, depicting Anne, d’Autriche, Louis XV, Prince de Conde, Madame de Maintenon and Madame Grignon, with Sevres type spurious marks, along with a red “Chateau de Dreux” mark, dia. 9‑1/4”. [400/700]

277

281

276 Rare American Louis XVI Revival Giltwood Tete-aTete, late 19th century, of traditional form, each side with a padded shield-form back surmounted by an annulated floral scrolling crest, joined by acanthine padded arms to the padded seat, raised on fluted acanthine-carved circular legs ending in India Comb Rubber casters, upholstered in period tapestry in pastoral scenes, the underlying wood cherry, h. 41”, w. 53”, d. 35”. [2000/4000] Illustrated previous page 277 Pair of Celeste Bleu Glazed Figures Depicting a Couple in 18th Century Costume, fourth quarter 19th century, French, depicted standing on a rocky plinth, the figures trimmed in gilt, the female holding a parrot perched on her finger and the male stands and gestures, signed in the Sevres style with interlacing L’s, h. 6‑1/2” and 7”. [500/800] Illustrated

280

279 Pair of Sevres-Style Portrait Urns, fourth quarter 19th century, French, now mounted as lamps, depicting Louis XVI and Marie Antoinette, each with a bleu celeste ground, round tapered bases decorated with acanthus leaves and bellflowers, leading to a body with hand-painted portraits, framed with molded acanthus leaves, the reverse panels decorated with the corresponding initials and decorated with gilt crowns, the sides decorated with beaded supports holding leaf-molded bronze ring handles, h. 27”, w. 8‑3/4”, d. 4‑3/4”. [2000/4000] Illustrated 280 French Gilt-Bronze and Marble Neoclassical-Style Dressing Mirror, ca. 1900, the scrolled gilt-bronze feet support the grey marble base, tapered and reeded giltbronze supports contain the beveled mirror, crowned with a bowknot and a dove, electrified candle arms at each side of the mirror, h. 17”, w. 15”, d. 6”. [900/1200] Illustrated 281 Edouardo Leon Garrido (Spanish, 1856‑1949), “Portrait of a Young Woman in Blue, Holding a Flower”, oil on canvas, signed upper left “L. Garrido”, 10‑1/2” x 7‑1/2”. Presented in a attractive giltwood frame with an exhibition plaque. [1800/2500] Illustrated 282 Pair of George III-Style Polychrome Armchairs, early 20th century, in the Adam taste, each with a padded shield-form back within an annulated frame, joined by high downswept arms to the padded seat, raised on tapering circular reeded legs ending in toupie feet, h. 37”. [800/1200] Illustrated 283 Louis XVI-Style Polychrome Trumeau, 20th century, the molded cornice above a polychrome panel of a boating scene, with a shaped rectangular plate below, within a molded frame, h. 51‑1/2”, w. 32”. [400/700] 284 Pair of Wool/Silk Tapestries, 2’6” x 7’6”. [3000/5000] Illustrated

282

284 285 Louis XVI-Style Looking Glass, the rectangular plate surmounted by a frieze with an applied giltwood urn issuing laurel branches and arrows, the plate within a molded frame, h. 50‑1/2”, w. 27”. [500/800] 286 Louis XVI-Style Polychrome Settee, early 20th century, the tall rectangular back within a brass tack banding and molded frame, joined by padded arms and turned uprights to the cushioned seat, raised on tapering turned circular legs ending in toupie feet, h. 44”, w. 51‑1/2”, d. 20”> [1400/1800] 287 Louis XV-Style Giltwood Settee, mid-19th century, the shaped rectangular back within a molded frame and with a foliate crest, joined by padded outscrolled arms to the padded seat, raised on molded cabriole legs, headed by foliate carving and ending in scrolled toes on casters, h. 36”, w. 55”, d. 23”. [1000/1500] 288 Louis XVI-Style Mahogany and Gilt-Bronze Mounted Armoire, ca. 1900, the arched crest with cast gilt-bronze ribbon cartouche and applied beading above a pair of beveled mirror doors flanked by fluted columns, the interior fitted with five adjustable shelves and a belt of drawers, h. 102‑1/2”, w. 56”. d. 22”. [700/1000]

291 Louis XVI-Style Eight-Light Bronze and Crystal Chandelier, the foliate decorated bronze core with a bell-shaped crystal finial, mounted with scrolled candle arms, cups and drip pans fitted with faux candles and silk shades, the arms support swags of button prisms and pendalogues, with molded glass sleeves covering the standard, h. 41”, dia. 21”. [700/1000] Illustrated

289 Diminutive Louis XVI-Style Mahogany Occasional Table, the circular top quarterveneered and within an ormolu banding, above a string-inlaid frieze, raised on tapering square legs ending in brass caps, h. 18‑1/2”, dia. 16”. [500/800]

290

290 Louis XVI-Style Eight-Light Bronze and Crystal Chandelier, the foliate decorated bronze core with a bell-shaped crystal finial, mounted with scrolled candle arms, cups and drip pans fitted with faux candles and silk shades, the arms support swags of button prisms and pendalogues, with molded glass sleeves covering the standard, h. 41”, dia. 21”. [700/1000] Illustrated

292

291

292 Gilt-and Patinated Bronze, Glass and Silk Musical Jewel Casket, ca. 1900, French, created in the form of a carousel, resting on gilt ball feet, supporting Greek-key banding, roped banding and gilt columns separating glass windows etched with neoclassical crossed mallions, the gilt faux door flanked with brick-patterned silvered plinths topped with gilt horses, and a silvered fan resting over the doors, the gilt basket weave “roof” hinged opening to reveal an old tufted pink silk interior, a pierced gilt cupola holds a silvered neoclassical trumpeter, the lever on the base operates a music box hidden underneath, h. 13‑1/2”, dia. 9‑1/2”. [2500/4000] Illustrated 293 Louis XVI-Style Giltwood Looking Glass, early 20th century, the oval plate surmounted by a ribbon and floral garland crest and within an annulated frame, h. 38”, w. 30”. [500/800] 294 Louis XVI-Style Mahogany and Marble-Top Sideboard, early 19th century, the bowed Carrara marble top with projecting corners and within a full pierced brass gallery, above a conforming frieze fitted with a single drawer with an inset pierced ormolu panel joined by bulbous fluted uprights to a like-shaped lower shelf, raised on tapering circular feet ending in brass ball caps, h. 37‑1/2”, w. 57”, d. 22”. [3000/5000] Illustrated

295 Pair of French Bronze and Marble Louis XV-Style Three-Light Candelabra, a notched-corner marble base supporting a gilt-bronze column-form plinth, edged with acanthus leaves and bellflowers in the flutes, with an egg-and-dart top molding, supporting a patinated-bronze putti with garlands of ivy on the body and hair, holding the leaf-molded scrolling gilt candle branches, set with fluted and leaf-molded candle cups and beaded bobeches, h. 23‑1/2”, w. 10‑1/2”, d. 7‑3/4”. [1800/2500]

297

296 American Louis XVI-Inspired Silver Leaf and Giltwood Pier Mirror, third quarter 19th century, the period mirror plate with arched top beneath an open carved crest depicting a shell flanked by floral swags, the plate edged with egg-and-dart decor, the silver leaf naturally tarnished to provide dark contrast to the original gilt surface, h. 101”, w. 45‑1/2”, d. 4”. [1000/1500]

298

297 Impressive French Gilt-Bronze and Porcelain Mantel Garniture Set, fourth quarter 19th century, the bronze clock case of Louis XIV-form, with reeded bun feet supporting the casket-shaped case, the lower edge decorated with a leaf-molded cartouche, and two small painted porcelain panels, with matching large panels decorating the front and sides, in the Japonesque-style with superbly detailed birds and plum branches on a gilt ground, the enamel dial painted to match with a butterfly, and the lidded urn finial with a lion’s head handles, together with matching garniture vases with swag handles and conical bronze covers, the bodies painted to match on brass, depicting birds and flowering branches, clock, h. 21”, w. 10‑-1/4”, d. 6‑3/4”, vases, h. 13”, w. 5‑1/2”, d. 4”. [2000/4000] Illustrated

298 Napoleon III Porcelain Jardiniere, third quarter 19th century, probably Paris, the oval-form jardiniere with tooled-gilt scrolling cartouche-shaped feet, decorated with blue anthemia, matching anthemia alternating with bellflowers decorate the platinum ground lower border, tooled gilt borders frame the handpainted reserve panels of roses, signed “P. Hartwig”, h. 7‑1/2”, w. 13”, d. 7”. [900/1200] Illustrated

294

299 Pair of Napoleon III Gilt-Bronze-Mounted Platinum Porcelain Cups, third quarter 19th century, the notchedcorner acanthus-molded base holding a fluted conical foot, blue and white hand-painted putti decorate the obverse, with blue and white flora on the reverse, the scrolled side handles terminate in molded heads, and a pierced scrolled border finishes the top, h. 8‑3/4”, w. 6‑3/4”, d. 4‑3/4”. [900/1200] Illustrated

299

300

301

302

300 Louis XV-Style Giltwood Looking Glass, mid-19th century, the domed plate surmounted by a tall angled crest of scrolling foliate and floral design, surrounded by a molded frame with lower applied acanthine scrolls, h. 75‑1/2”, w. 35”. [500/800] Illustrated 301 Louis XVI Marble and Bronze Calendar Clock, fourth quarter 18th century, French, mounted on gilt-bronze feet, the clock base decorated with horizontal reeded side panels trimmed in gilt roping, and a central painted panel of putti trimmed in roping, the enameled dial, signed “Calame”, with a moon phase movement and a chapter ring including the calendar, gilt-bronze musical trophies sitting to one side, the clock figure, titled “L’etude”, depicting a draped female figure reading a book, the case set with a silk string suspension movement, h. 17”, w. 14‑1/2”, d. 5”. [4000/7000] Illustrated

302 Set of Twelve Haviland Limoges Decorated Oyster Plates, 1890‑1900, French, the shell-molded giltrimmed plates decorated with scattered transfer-printed lavender and green flowers, stamped “CFM/GDM France, Gerard Duf raisseix & Morel” in underglaze green, and the stamp for Haviland in overglaze red, dia. 8‑5/8”. [3000/5000] Illustrated

303

303 Near Pair of Tall CutCrystal and Gilt-BrassMounted Adjustable Organ Lamps, late 19th century, possibly Waterford, each with a diamond-cut oil font mounted to an adjustable brass shaft and having cut-glass sleeves and brass fittings, mounted to a circular brass base with extended paw feet, h. 57” and 60”. [1800/2500] Illustrated 304 Napoleon III Argente and Polychrome Looking Glass, third quarter 19th century, the rectangular plate with a shaped crest, surrounded by an annulated and molded frame, h. 61”, w. 37‑1/2”. [500/800] Illustrated

304

305

305 Old Limoges Porcelain Centerpiece Bowl Made by Haviland, mid-19th century, French, the oval foot rim of both bright and matte gilt, impressed in a pattern of leaves, dual-tinted biscuit figures of women in neoclassical dress and pink, swirling scarves support the burgundy bordered bowl, the gilt-edged obverse panel decorated with hand-painted putti dressing a goat with flowers, the reverse panel decorated with gardening trophies, scythens, rakes, a watering can, a butter churn and a sunbonnet nestled in roses, a pair of white doves overhead, the side panels displaying swags of tooled gilt ivy, scrollwork and anthemia, impressed “H & C” on the base, h. 12”, w. 16”, d. 9‑1/4”. [1200/1800] Illustrated 306 Pair of Louis XVI-Style Polychrome Fauteuils, early 20th century, each with an oval caned back surmounted by a floral crest, joined by padded scrolling arms to the padded seat, raised on tapering circular fluted legs ending in toupie feet, h. 38”. [500/800]

311 Hughes Claude Pissaro (French, b. 1935), “Pink House”, oil on paper, study for “La Villa Rose”, signed lower left, reverse with a certificate of authenticity issued by the artist, 12” x 9‑1/2”. Glazed, matted and framed. [2000/4000] Illustrated 312 Paul Renard (French, 1941‑1997), “Parisian Winter Street Scene”, oil on canvas, signed lower right “P. Renard”, 31‑1/4” x 39‑1/4”. Presented in a giltwood frame. [3000/5000] Illustrated 313 Willem Heytman (Dutch, b. 1950), “Autumnal Busy Street Scene”, oil on canvas, signed lower right “Heytman”, 23‑1/2” x 20”. Presented in a attractive Rococo style frame. [600/900] 307 307 Lucien Delarue (French, b. 1925), “View of Paris With Seine”, oil on canvas, signed lower right “Delarue”, 24” x 32”. Presented in a pierced and molded giltwood frame with a linen liner. [1000/1500] Illustrated 308 Gabriel Spat (American, 1890‑1967), “Le Treport”, (La Manche, France), oil on board, signed lower left, reverse stamped and affixed with “Janet Fleisher Gallery” label, 6‑3/4” x 12‑1/2”. Presented in a period exhibition frame. [1200/1800] Illustrated 309 Gabriel Spat (American, 1890‑1967), “Bois de Boulogne” (Rue des Acacias), oil on board, unsigned, reverse with artist label, typed with artist’s name and title of work, 9‑1/4” x 13‑1/4”. Presented in a period exhibition frame. [1000/1500] Illustrated 310 Bernard Lamotte (American/New York, 1903‑1983), “Interior Scene With Two Women By a Window”, gouache on paper, signed lower right “Bernard Lamotte”, illegibly inscribed lower center, sight 13‑1/2” x 9‑1/4”. Glazed, matted and framed. [600/900]

308

309

311

318 Chinese Porcelain Wine Cup, late 19th century, famille verte decoration of children playing, a sixcharacter K’ang Hsi mark on the base, dia. 3‑1/4”. [150/300] 319 Chinese Porcelain Water Coupe, 19th century, peach bloom glaze, with a sixcharacter Ming Chia Ching mark in underglaze blue on the base, dia. 4”. [200/400] 320 Chinese Porcelain FlambeGlazed Vase, early 20th century, the square Hu shape with lugs at the neck and relief pearls on the body, with a flambe glaze of purple and blue, Ch’ien Lung mark on the base, h. 12”. [400/700] Illustrated

312 314 Rene Rambert (French, 19th/20th Century), “Paris on a Wet Evening”, oil on panel, signed lower right “R. Rambert”, 23‑3/4” x 19‑1/2”. Presented in a giltwood and gesso frame with a linen liner. [800/1200]

321 Japanese Stoneware Vase, 19th century, molded decoration of cranes and clouds, thick aubergine-colored glaze, h. 9‑1/2”. [250/400]

315 315 Chinese Porcelain Famille Rose Vase, late 19th century, decoration of birds and flowers in famille rose enamels on a floralscrolled ruby ground, bat-shaped handles, drilled for a lamp, traces of a Ch’ien Lung mark remaining, h. 12‑3/4”. [300/500] Illustrated 316 Chinese Porcelain Vase, early 20th century, the bottle-form vase in Clairi du Lune monochrome pale blue color, sixcharacter Ch’ien Lung mark on the base, h. 9”. [100/200] 317 Pair of Japanese Blue-Glazed FishForm Wall Pockets, vertically molded, with deep scales, back pierced for wall hanger, h. 8”, w. 4‑1/4”, d. 1‑1/4”. [500/800]

320

322 Chinese Porcelain Shallow Bowl, Ming period (1368‑1644), the exterior brown, with a glazed blue interior and with a relief design of dragons and clouds, dia. 6”. [200/400] Illustrated 323 Chinese Silvered Copper Bowl, ca. 1920, the surface and interior decorated with purple, blue and turquoise enamels, the exterior with women and children in a garden scene, dia. 6‑3/4”. [200/400] 324 Chinese Porcelain Stem Cup, 19th century, the cup with a dark blue glaze, and with a sixcharacter Wan Li mark in Kai Shu script on the base, h. 4”. [800/1200] Illustrated 325 Lot of Four Chinese Silk Embroideries, 20th century, in designs with seasonal flowers on a yellow ground, brocade mounts, h. 50”, w. 17”. [10000/15000] Illustrated

325

322

324

326 Chinese Four-Panel Screen, 19th century with later elements, lattice work carved, pierced and lacquered with figures, mythical animals and archaic scrolling, h. 10’, w. 7’10”. [2500/4000] Illustrated 327 Chinese Lute Table, 19th century with later elements, the apron carved with bats and archaic scrolling, h. 32‑1/2”, w. 13‑1/2”, l. 42”. [1000/1500] Illustrated 328 Burmese Tapestry, late 19th / early 20th century, scene of the Parnervana of the Buddha, framed, w. 41”, l. 16”. [150/300]

325

327

326

330

332

335 Japanese Ivory Carving, 19th century, study of a fisherman, signed on the base in a cinnabar cartouche, h. 7”, without pole. [500/800] Illustrated 336 Two Chinese Ivory Carvings, 19th century, figures of a standing and seated Mi Lu Fu, h. 4”, largest. [200/400] 337 Japanese Ivory Carving, late 19th century, study of a farmer with a basket of flowers and a water pail, h. 11”. [1000/1500] Illustrated 338 Lot of Two Ivory Carvings, 19th century, one a Chinese carving of the immortal Li Tung Pin and the other a Japanese carving of a comorant fisherman feeding his bird, h. 5” and 4‑1/2”. [200/400] 339 Pair of Chinese Ivory Plaques, early 20th century, carved in the form of masks, h. 4‑3/4”. [150/300] 340 Japanese Ink on Silk, ca. 1871, scene of a lotus plant, signed with a seal reading “Tsunenoba”, the back side bearing a paper label indicating Ex-collection: Janette Ostier, glazed and framed, w. 9”, l. 16‑3/4”. [2500/4000] Illustrated

329 Pre-Columbian Stone Cradle, probably Costa Rica, surface-carved with interlocking lines, traces of ochre on the surface, h. 13”, w. 12”, l. 28‑1/2”. [600/900] Illustrated

334

330 Chinese Ivory Carving, early 20th century, standing figure of an immortal holding a basket of flowers, engraved and colored details, h. 11”. [800/1200] Illustrated 331 Chinese Ivory Tablet, 18th/19th century, officials memorandum tablet Hu, surface-carved in relief with a scene of the immortals at Po Shan, l. 19”. [300/500] 332 Chinese Ivory Carving, early 20th century, the standing figure of a woman holding a branch of flowers and a fan, engraved and colored floral decoration, h. 10‑3/4”. [800/1200] Illustrated

329

333 Pair of Chinese Ivory Carvings, early 20th century, figures of caparisoned horses with inset cabochons, h. 7”, l. 7”. [800/1200] 334 Lot of Seven Japanese Ivory Carvings, the carvings depicting the seven Gods of Luck, finely carved with stained and colored details, each signed within a cinnabar cartouche, h. 6‑1/2”. [2500/4000] Illustrated

346

347

340

345

335 337 341 Two Japanese Ivory Carvings, Netsukes of a woman and a man with a child and a large water jar, h. 2”. [100/200] 342 Three Chinese Bone Carvings, 20th century, figures of the gods of longevity, prosperity and harmony, fitted carved stand, h. 6‑1/4”. [150/300] 343 Chinese Porcelain Plaque, 20th century, decoration of a long poem with three seals, rosewood frame, h. 24‑1/2”, w. 12”. [1400/1800] 344 Chinese Altar Table, 19th century, Ironwood with weathered surfaces, h. 33‑1/2”, w. 96”, d. 20‑1/2”. [700/1000] 345 Chinese Elmwood Altar Table, 20th century, the rectangular top having a wide framed and molded edge and raised on tall square legs joined by stretchers, h. 35”, w. 47”, d. 15‑1/2”. [500/800] Illustrated

349 Chinese Porcelain Bowl, early 20th century, the bowl in a tea dust glaze and with a Ch’ien Lung mark on the base, dia. 8”. [150/300] 350 Oriental Polychrome Storage Box, early 20th century, of paneled octagonal form, the octagonal lid centered by an Oriental landscape, the bulbous body with alternating diamond pattern pastoral scenes, h. 17‑1/2”, dia. 14”. [500/800] 351 Group of Three Chinese Roof Tiles, 20th century, South China, to include an equestrian figure and two actors, glazed surfaces, h. 9‑1/2” to 10”. [200/400]

352

348

346 Chinese Ivory Figure, early 20th century, the figure standing with a woman in court costume, h. 13”. [1000/1500] Illustrated previous page

355

356

347 Chinese Ivory Carving, early 20th century, the standing figure of a military official in court costume, h. 13”. [1000/1500] Illustrated previous page 348 Pair of Japanese Ivory Vases, 19th century, the surfaces carved with floral patterns and scrolling, h. 4”. [1500/2500] Illustrated

357 355 Miniature Painting of “Bataille de Rivoli” on Ivory, French, depicting Napoleon’s 1797 key victory against the Austrians in Northern Italy, Napoleon depicted on horseback, amid his troops, looking down into a valley, mounted with a gilt-brass liner against a velvet matte tagged “Batille de Rivoli” in gilt-brass, the rectangular brass frame decorated with an embossed border of laurel leaves and a beaded edge, an eagle grasping a rondel emblazoned with “N” and a laurel leaf serves as a finial, h. 8‑1/4”, w. 7‑3/4”. [900/1200] Illustrated

352 Suite of Empire-Style Dining Chairs, early 20th century, consisting of two armchairs and four sidechairs, each with an ormolu-mounted crest above a padded base, the padded seat raised on square tapering legs headed by foliate-patterned capitals and ending in like sabots, h. 35‑1/2”. [1000/1500] Illustrated 353 Empire-Style Mahogany Looking Glass, 20th century, the molded cornice with a ormolu floral wreath crest above a guilloche patterned frieze, the oval panel upper section above a rectangular plate, h. 62”, w. 49”. [800/1200] 354 Pair of Napoleon III Bronze and Marble Garnitures, third quarter 19th century, the black marble blocks mounted with gilt cartouches and gilt-bronze scrolled corner appliques, resting on a rococo gilt-bronze base, the urn with a fluted gilt-bronze foot and a turned patinatedbronze standard, supporting a bronze Kylix, molded on the underside with acanthus leaves, and mounted with scrolled, gilt-bronze handles, h. 12”, w. 8”, d. 5‑1/2”. [200/400]

356 Set of Fourteen Transfer-Printed French Earthenware Plates, ca. 1900, the green borders employ a cartouche of the Napleonic eagle alternating with a cartouche “N” on a diapered ground, the black printed center decoration primarily depicts his battles, transfer marked “Digoin France” with a shield marked “Digoin & Sarreguemines”, dia. 7‑1/2”. [500/800] Illustrated 357 Continental Horn and Silver Snuff Box, second quarter 19th century, the bicorn-shaped box carved in bas relief with the Place Vendome Column, erected to commemorate Napoleon’s victory at Austerlitz, h. 1‑1/2”, w. 3‑1/4”, d. 1”. [500/800] Illustrated 358 Collection of Small Continental Neoclassical Busts, 19th century, the first, a cast-iron bust of Napoleon, possibly made in Berlin, depicted in his military uniform and mounted on an oak plinth, h. 6‑1/4”, the second, a Louis-Philippe bronze encrier, the square base with four quill holders and an ink pot holder decorated with engine turning, the lid mounted with a bust of Homer, h. 6”, and the third, a French bust of Henry IV, the column-form white marble plinth supporting the patinated-bronze bust, mounted on a polished bronze socle and with a brass name plate attached to the front, h. 6‑3/4”. [100/200]

359 Empire-Style Mahogany Dining Table, 20th century, the rectangular top opening to accommodate leaves, above an ormolu-mounted frieze, raised on square legs headed by scrolls and ending in block feet on ormolu foliate toes, with a central large support, h. 32”, w. 46”, l. 95”. [1500/2500] Illustrated 359

360 Seven-Light French GiltBronze and Crystal NeoclassicalStyle Chandelier, first quarter 20th century, strung with button prisms, concealing three interior light sockets, the central gilt-bronze ring decorated with ribbons and laurel leaves and mounted with leafmolded candle cups above applied gilt-bronze masks, the upper portion topped with a giltbronze acanthine corona, with wax faux candles and silk shades, h. 35‑1/2”, dia. 25”. [1400/1800] Illustrated

360

364 French Designs For Six Silver Serving Dishes, 19th century, black and white lithograph, each piece identified and numbered, sheet size 18” x 24”. Glazed and framed. [250/400] 365 Suite of Four Engravings of Various Chippendale Furniture Designs, from Thomas Chippendale’s The Gentleman and Cabinet Maker’s Director, published 1754, sight 9‑1/4” x 14‑1/2”. All glazed, attractively matted and framed. [200/400] 366 Pair of Empire-Style Mahogany Window Seats, by Maitland-Smith, each with a cushioned rectangular seat flanked to either end by a bulbous ribbed hand rail with gilt foliate accents, raised on splayed legs ending in gilt paw feet, h. 26”, w. 30”, d. 21”. [1200/1800] Illustrated 367 Empire Mahogany Bergere, early 19th century, the backswept padded back joined by closed arms on maiden’s head uprights to the cushioned seat, raised on square tapering legs ending in paw feet, h. 35”. [1000/1500]

361 Luigi Rossini (Italian, 1790‑1857), “Veduta del Campidoglio Romano” and “Veduta dell’ Arca di Settimo”, pair of engravings, sight 14‑3/4” x 22”. Both glazed, matted and presented in ebonized, parcel-gilt frames. [600/900] Illustrated 362 Two French Architectural Engravings, from Plans Et Dessins Tires de la Belle Architecture, Leipzig, 1800, sight 17‑1/4” x 10‑1/2”. Both glazed, handsomely matted and framed. [100/200] 363 Two French Copperplate Engravings of Classical Statues, from Musee Francais; Receuil Des Plus Beaux Tableaux, Statues, et Bas-Reliefs Qui Existaient Au Louvre Avant 1815, Paris 1829, sight 15‑1/4” x 11‑1/2”. Both glazed, matted and framed. [100/200] 361 pair

366

368 Pair of Empire-Style Mahogany Twin Beds, early 20th century, each headboard with a rounded crest flanked to either side by raised giltwood urn finials, joined to the paneled footboard by shaped rails, the footboard with flaming urn finials and fronted by ormolu-mounted columns, raised on block feet, h. 49”, inside w. 33”, inside l. 80”, outside w. 40”, outside l. 90‑1/2”. [800/1200]

373 five-piece suite

369 Empire-Style Mahogany Dressing Table, early 20th century, the circular mirror within an ormolu slip and mahogany frame, held by a demi-lune support, the rectangular top above a frieze fitted with a single drawer, raised on ormolu-mounted columnar supports, joined by a concave stretcher shelf, h. 55”, w. 25”, d. 16‑1/2”. [500/800] 370 Pair of Napoleon III Cast-Iron Chenets en Fonte, late 19th century, each modeled as a bust of Marianne, an allegory of Liberty and Reason and a National Emblem of France, each with a foundry mark “CF” set in an anvil, h. 8”, w. 4”, d. 19‑1/2”. [125/250] 371 Continental Classical Revival Metal and Wood Table Lamp, ca. 1900, the square stepped base supporting the tapered beechwood support, a square metal cap mounted with a female head under a petal-form bobeche, fitted with a double lamp socket, h. 41”, w. 7”, d. 7”. [300/500] 372 Empire-Style Burl Elm Chest, 20th century, the molded cornice above a case fitted with a frieze drawer over seven long drawers, flanked to either side by an engaged pilaster headed by an ormolu maiden’s head and ending in feet, the whole raised on block legs to paw feet, h. 72”, w. 45‑1/2”, d. 19‑1/2. [1200/1800]

373 five-piece suite

373 Empire-Style Mahogany Five-Piece Bedroom Suite, early 20th century, consisting of a bed, an armoire, a dresser and two bedside cupboards, the king size bed with a two-part headboard of paneled construction with ormolu mounts, the footboard of like construction, raised on bulbous feet, h. 74‑1/2”, inside w. 78”, inside l. 77‑1/2”, outside w. 84”, outside l. 83”, the armoire, with a stepped cornice over three long mirrored doors, h. 96”, w. 88”, d. 25”, the dresser with a beveled mirror backpiece, above a marble-top case fitted with a single frieze drawer over three recessed drawers, h. 86”, w. 51”, d. 24‑1/2”, and the bedside cupboards with a paneled backpiece above a marbletop case fitted with a single cupboard door, all with ormolu mounts in the Empire taste, h. 46”, w. 20‑1/2”, d. 16". [3500/5000] Illustrated previous page 374 Pair of French Gilt-Bronze and Marble Mantel Garnitures, fourth quarter 19th century, the doublestepped marble bases, divided by bronze ribbon molding and cove-molded, supporting neoclassical bronze lamps, complete with a burning flame, supporting winged cupids bearing aloft a butterfly, the lamps with scrolled handles terminating in a cast medallion, h. 9”, w. 7‑1/2”, d. 4‑1/4”. [2500/4000] Illustrated

377

379

374

375 Tiffany & Co. Brass “Chocolate” Box, ca. 1900, French, the box applied with neoclassical figures, anthemia and wreaths and with applied bowknots and a medallion on the lid, all resting on ball feet, the lock marked “Mson Boissier”, the Parisian chocolatier, and the base impressed “Tiffany Co. Paris”, h. 3”, w. 4”, d. 4”. [500/800] Illustrated 376 Pair of Empire-Style Silverplate Sconces, ca. 1900, the cartouche-form backplate mounted with a swan supporting the pierced scrolled arms, terminating in winged caryatid heads mounted with reeded bobeches, electrified, h. 8‑3/4”, w. 11‑1/2”, d. 4‑3/4”. [500/800]

375

377 Empire-Style Mahogany Overmantle Looking Glass, early 20th century, the rectangular plate surmounted by a foliate quiver crest and flaming urn finials, flanked to either side by fluted pilasters, h. 48”, w. 36”. [800/1200] Illustrated

382

383 Empire-Style Kingwood Center Table, the circular table with inlaid Greek-key banding and scrolling foliate patterns, raised on a like-inlaid graduated tripartite base with ormolu mask accents, raised on ormolu paw feet, h. 32”, dia. 40”. [1500/2500] Illustrated 384 Empire-Style Mahogany, Gilt-Bronze and Crystal Desk Set, first quarter 20th century, the mahogany tray mounted with a gilt-bronze acanthus leaf border, the carved pen indentation fronts a letter holder mounted with a laurel wreath, anthemia, a pair of griffins tending a fire pot and an eagle grasping branches, a pair of cutglass inkpots sitting in balustraded gilt-bronze holders, one fitted with an ink pot, the other an ink brush, the giltbronze caps acanthus-molded with pinecone finials, h. 10”, w. 17”, d. 9‑1/4”. [1800/2500] Illustrated

378 Set of Eight French Gilt-Bronze Drapery Holders/ Tiebacks, ca. 1900, in the Louis XVI style, holder cast with quiver and arrow form wall brackets, acanthus-molded arms, and acanthus-molded facades mounted with laurel wreaths and crossed torch and quiver motif, gilded with tooled highlights throughout, h. 10”, w. 3”, d. 8‑1/4”. [600/900]

385 Empire-Style Mahogany Armoire, partially composed of antique elements, the molded cornice above a case fitted with two bi-paneled doors, flanked to either side by engaged ormolu-mounted pilasters, raised on turret feet, now converted to a television cabinet, h. 75‑1/2”, w. 45‑1/2”, d. 16”. [600/900]

384

379 Neoclassical-Style Blush Marble Wall Fountain, the domed backpiece above a demi-lune basin with a rounded lip and ribbed body, h. 28‑1/2”, w. 24‑1/2”, d. 17‑1/2”. [700/1000] Illustrated 380 Continental Neoclassical Mahogany and MarbleTop Encoignure, mid-19th century, the bowfront Rouge Royale marble top above a conforming case fitted with a single drawer over two cupboard doors, flanked to either side by engaged ormolu-mounted pilasters, raised on block feet, h. 39‑1/2”, w. 37‑1/2”, d. 26‑1/2”. [1000/1500] 381 Contemporary Empire-Style Giltwood Looking Glass, the beveled rectangular plate surmounted by a triangular mirrored crest centered by an ormolu eagle, the sides of mirrored panels with laurel wreath and classical maiden mounts, the whole within a narrow giltwood frame, h. 59‑1/2”, w. 39‑1/2”. [1000/1500] 382 Continental Bronze and Crystal Five-Light Chandelier, first quarter 20th century, the oval bronze body with draped border, mounted with Egypto revival winged owl, and inset with large faux rock crystal jewels, three prism-hung brass lights mounted to the interior, and a pair of scroll armed brass lights with draped brass rims mounted on each side, all hung with long, thin prisms of the period, the chain composed of brass fleur-de-lis alternating with prisms, attaching to a bronze canopy, h. 38”, w. 47”, d. 17‑1/2”. [3000/5000] Illustrated 383

387

387A Pair of French Louis XVI-Style Giltwood Mirrors, ca. 1900, each with an outer frame of egg-and-dart molding, containing the segmented antique glass, the inner lunette executed in a scale pattern, and the upper divisions bobbin-molded, h. 18”, l. 46”. [1400/1800] 388 Continental School (Second Quarter 19th Century), “Portrait of a Family Beside an Open Window”, oil on canvas, illegibly signed lower left, 38” x 27”. Presented in a period giltwood and gesso frame. [1500/2500] Illustrated 389 Follower of Jean Auguste Dominique Ingres (French, 1780‑1867), “Portrait of a Gentleman”, oil on board, unsigned, 9” x 8”. Presented in a Charles X giltwood frame. [500/800]

386 Continental Neoclassical Polychrome Looking Glass, 19th century, the molded cornice above a gilt patera and foliate-applied frieze, the rectangular plate within a molded frame and flanked to either side by fluted and turned foliate modeled pilasters with gilt accents, h. 43‑1/4”, w. 54”. [800/1200] 387 Pair of Restauration Mahogany Fauteuils, second quarter 19th century, the padded back surmounted by a scrolling crest, joined by downswept reeded arms to the padded seat, raised on sabre legs headed by palmetto carving, h. 36‑1/2”. [2000/4000] Illustrated

388

390 Baltic Neoclassical Mahogany Cabinet, mid-19th century, the rectangular top above a case with an applied giltwood patera, above a single cupboard, centered by a recessed scrolling foliate and palmetto mount, raised on a plinth base to block feet, h. 32”, w. 31”, d. 16”. [1000/1500] Illustrated

390

391 Collection of Four Bronze and Glass Articles, comprised of a second quarter, 19th century bronze Louis-Philippe lamp stand with an anthemion-molded base supporting an “S” scroll handle decorated with acanthus leaves, supporting an engine turned lamp ring, now fitted with a blue opaline posey holder, h. 8‑1/4”, dia. 4”, a first quarter 20th century bronze and glass compote in the Louis XVI-style, the round base decorated with beading and acanthus leaves, the crystal bowl engraved with swags of leaves and bow knots, the rim mounted with a bronze ring decorated with beading and swags of flowers, h. 6‑3/4”, dia. 8‑3/4”, and a pair of first quarter 20th century brass wall pockets, cartoucheshaped and edged with diapering and scrollwork, the fronts decorated with cast ram’s heads holding swags of beads, h. 6‑3/4”, w. 7‑1/4”. [100/200]

394

394 French Neoclassical-Style Two-Light Gilt-Bronze Sconces, the urn-shaped backplates molded with acanthus leaves and fluting, mounted with scrolled candle arms supporting stippled candle cups with beaded rims and acanthus bases, and resting on leaf-molded drip pans, drilled for electricity, h. 10‑1/4”, w. 11‑1/2”, d. 6”. [800/1200] Illustrated 395 Continental Mahogany Jardiniere, early 20th century, of rectangular form the galleried upper section above a paneled lower section with decorative guilloche banding, retains the copper liner, raised on tapering turned circular legs, h. 29”, w. 42‑1/2”, d. 19‑1/2”. [500/800] Illustrated 396 Directoire Mahogany Writing Table, late 18th century and later, the rectangular top with a slanted leather inset surface, hinged and opening to an open interior, one side fitted with an unusual hinged double-compartmented drawer, joined by columnar uprights to two lower galleried rectangular shelves, raised on tapering circular legs, h. 31”, w. 22”, d. 14”. [400/700]

393

392 Continental Neoclassical Walnut Side Table, second quarter 19th century, the rounded rectangular top above a conforming frieze fitted with a single drawer, raised on scrolling supports joined by a concave stretcher shelf and raised on bulbous feet, h. 32‑1/2”, w. 28”, d. 17‑1/2”. [700/1000] 393 Continental Neoclassical Mahogany Work Table, second quarter 19th century, the rectangular top hinged and opening to a compartmented interior, above a cove-molded frieze fitted with a single drawer, raised on X-form end supports carved as swan’s necks, joined by a bobbin-turned stretcher and raised on ribbed feet, h. 29”, w. 20‑1/2”, d. 14‑1/4”. [700/1000] Illustrated 395

397 Louis-XVI-Style Figured Mahogany and GiltBrass-Mounted Dining Table, mid-20th century, in the Maison Jansen taste, the oval top opening to a two part pop up leaf, raised on turned and tapered fluted legs, h. 30‑1/4”, d. 41‑1/4”, l. 67”, ext. l. 91”. [700/1000]

401

398 Bruno Zach (Austria, 1891‑1945), “The Caress”, the bronze retaining an old patinated surface and depicting a young woman scantily clad in flapper costume, embracing the male anatomy, h. 7‑1/4”, w. 5‑1/4”, d. 3‑1/2”. [900/1200] 399 Continental White Marble Statue of Mercury, fourth quarter 19th century, probably Italian, mounted on a cove-molded grey marble base, Mercury, messenger to the gods, is depicted in his winged helmet standing nude, his cloak to one side, a purse grasped in his hand, h. 30”, dia. 10‑1/2”. [800/1200] Illustrated 400 Continental Molded Patinated Copper Figure of “Eve”, fourth quarter 19th century, the square plinth supporting the standing nude figure, holding the apple, her cloak resting on an adjacent tree stump, depicted with classical face and hair, h. 24‑1/4”, w. 9”, d. 5‑3/4”. [300/500]

401 After Auguste Joseph Peiffer (French, 1832-1886) Pair of Napoleon III Bronze Figures Depicting Demeter and Hera, third quarter 19th century, French, Demeter, goddess of the harvest, standing next to a column bearing fruit and wheat, carrying a cornucopia, a cock at her side, Hera, goddess of marriage and fertility, carries a scepter, and with a column draped with leopard skin at her side, she is depicted standing adjacent to a peacock, each finely detailed and cast, and retaining a rich bronze patina, both signed: "PEIFFER" at the column plinth, h. 21”, w. 10”, d. 6‑1/2”. [6000/9000] Illustrated 402 Follower of Giovanni Paolo Pannini (Italian, 1691‑1765), “Capriccio With Fishermen in Classical Ruins” and “Capriccio With Peasants in Classical Ruins”, pair of oval oils on canvas, both unsigned, 27” x 22”. Both presented in matching oval giltwood frames. [600/900]

399

403 Neoclassical-Style Polychrome Fauteuil, late 19th century, the shaped crest with palmetto accents, above a pierced rounded splat centered by a polychrome lion’s mask, joined by downswept arms to the cushioned caned seat, raised on turned circular legs, the whole with gilt accents, h. 36‑1/2”. [150/300] 404 Collection of Continental Neoclassical Decorative Articles, 19th century, comprised of a French bronze and cut-glass vase, supported by a tapered stand trimmed with engine-turning leading to a ribbed bronze bowl, mounted with handles, and with a cased blue cut-to-clear cut-glass top in a lattice pattern with stars, h. 8‑1/2”, dia. 4‑1/4”, a pair of neoclassical marquise-shaped mounts, the bronze engine-turned frames with biscuit porcelain plaques depicting caryatids carrying baskets of fruit, h. 7‑1/4”, w. 3‑1/4”, an ebonized wooden letter opener with a stamped brass crown finial, w. 1‑3/4”, l. 14‑1/4”, a steel key surmounted by a brass easel, w. 1‑1/2”, l. 3”, a black marble and bronze renaissance revival encrier with a round base and bronze paw feet supporting the marble pot, mounted with griffin-form handles, the bronze lid decorated with strapwork and with a modified fleur-delis finial, h. 6‑1/4”, w. 4‑3/4”, d. 3‑1/2”, a baroque-style bronze encrier with bold paw feet supporting winged cupids, the lid molded with masks and with an eagle displayed finial, h. 6”, dia. 4‑3/4”, and a Napoleonic blotter with a field of stamped brass stars decorated with eagles and anthemia, and with double-sided eagles on a round knop serving as the handle, h. 3‑1/2”, dia. 2‑3/4”. [150/300]

406 405 Restauration-Style Fruitwood Fauteuil,19th century, the paneled crest above a padded back, joined by reeded foliatecarved arms to the padded seat, raised on sabre legs, professionally covered in period style diamond-patterned woven horsehair upholstery, h. 37‑1/2”. [700/1000] Illustrated

406 Three-Piece Napoleon III Gilt and Patinated-Bronze-Mounted Marble Clock Garniture in the Neo-Grec Taste, comprised of a figural-mounted clock and a pair of flanking urns, the clock dial marked in gilt lettering “G.B. Levy Rue Sevigne 29”, the clock mounted with a bronze depicting a standing centurian grasping his shield, beside a pedestal with an urn and laurel sprig, the clock of Belgian black marble, with gilt incising, the projecting face flanked by bronze-mounted turreted ends, raised on winged paw feet, each urn on a circular pedestal base with similar classically adorned bronze bands, each lidded urn with a pair of leontine masks clutching a ring at its mouth, h. 23”, w. 17”, d. 9”, clock, h. 16”, dia. 6”, urns. [1400/1800] Illustrated

407

407 Pair of Continental Neoclassical-Style Mahogany Stools, early 20th century, each with a padded rectangular top raised on X-form end supports with scrolling foliate and acanthine-carved accents, ending in nicely carved ball-and-claw feet, h. 18”, w. 23‑1/2”, d. 20”. [2000/4000] Illustrated

405

408 Pair of Napoleon III Bronze and Marble Mantel Garnitures, third quarter 19th century, French, made in the form of patinated and gilt neoclassical ewers, with black marble bases supporting a tapering foot molded with laurel leaves supporting a body decorated with bas relief neoclassical profile portraits of women in a molded cartouche and suspended by a bowknot from the wavedecorated shoulder, the neck featuring gilt beading and grape leaves on a fluted ground, the scrolled handles terminate with a molded masque, the shell-form spout molded with laurel leaves and trimmed in gilt, h. 15‑1/4”, w. 4‑1/4”, d. 3‑1/2”. [350/500] Illustrated following page

409 Pair of Regency Revival Helmet-Form Two-Light Sconces, the carved ebonized helmets ornamented with carved eagles over the visors and gilt trim mounted with dramatic carved giltwood plumes, brass candle arms set with fluted candle cups and foliate drip pans, h. 26”, w. 18‑3/4”, d. 9”. [900/1200] Illustrated

409

410 Continental Mahogany Center Table, 20th century, the rounded rectangular top with rosewood banding and inlaid brass stringing, above a likebanded frieze, raised on scrolling X-form end supports, joined by a turned and bulbous stretcher and ending in casters, h. 30”, w. 71”, d. 35”. [3000/5000] Illustrated

408

411

410

411 French Neoclassical Revival Eight-Light Gilt-Bronze Chandelier, ca. 1900, the quiverform standard terminating in a pinecone finial, supports scrolled leaf-molded candle arms set with swirl-molded candle cups on molded drip pans, a gilt-bronze fluted Corinthian column joins the standard to the hanging chain, fitted with wax candles, electrified, h. 37”, dia. 30”. [1500/2500] Illustrated

412 Continental School (Second Quarter 19th Century), “Portrait of a Man in a White Military Uniform”, oil board, unsigned, 14” x 10‑1/2”. Presented in a contemporary ebonized and parcel-gilt frame. [450/700] 413 Continental Neoclassical Walnut and Marble-Top Center Table, the variegated taupe marble top inlaid with a gaming board, raised on three ring-turned columnar supports to a concave tripartite base on scrolling feet, h. 30”, dia. 25‑1/2”. [250/400] 414 Neoclassical Continental Walnut and Marble-Top Center Table, mid-19th century, the circular Portor marble top above a highly figured frieze, raised on turned columnar legs joined by a concave lower stretcher on block feet, h. 32”, dia. 27”. [1000/1500] Illustrated

417

417 Pair of Charles X Gilt-Bronze and Sienna Marble Six-Light Candelabra, second quarter 19th century, French, now fitted as lamps, the stepped tripartite marble bases holding scroll foot bases supporting acanthusmolded standard sockets, the marble standards capped with lotus leaf capitals, supporting scrollmolded arms set with fluted candle cups ornamented with lotus leaves, beaded bobeches and reeded drip pans, h. 34”. [1800/2500] Illustrated

418 Biedermeier-Style Blonde Elm Tray Table, early 20th century, the removable tray top of large canted rectangular form, with a raised edge and centered by an inlaid star pattern, raised on tapering square legs joined by a likeinlaid stretcher, h. 28”, w. 36”, d. 24‑1/2”. [800/12000] Illustrated

414

415 Continental Alabaster Urn-Form Lamp, second quarter 20th century, the stepped base supports an urnform body decorated with carved leaves and a conical neck, the whole in a brown and grey alabaster, h. 23‑1/2”, dia. 4”. [200/400] 416 Pair of French Gilt-Bronze Restauration Candlesticks, Now Mounted as Lamps, each lamp with a black marble base supporting the round brass foot, molded with acanthus leaves, the standard with grapes and grape-leaf molded spherule supporting the reeded standard, h. 20‑1/2”, dia. 11‑1/2/”. [200/400]

418

421 Pair of Napoleon III Gilt-Bronze Lamps, third quarter 19th century, the cove-molded ebonized bases support a border of laurel leaves and berries under a fluted, beaded conical foot, the ovoid bodies mounted with swags of flowers and pierced, acanthus-leaf-molded handles, the fluted neck molded with fleur-de-lis, h. 30‑1/2”, w 9‑1/2”, d. 6‑1/2”. [2000/4000] Illustrated

420

424

422 Biedermeier-Style Burl Wood and Ebonized Tripod Table, 19th century, the tilting circular top raised on an ebonized turned standard to three splayed cabriole legs ending in pad feet, h. 28”, dia. 23‑1/2”. [300/500]

423 French Empire-Style Gilt-Bronze and Cut-Glass Centerpiece Bowl, fourth quarter 19th century, the tripartite base supporting a central pineapple-molded finial, with three monopedia on hoof feet, crowned with bearded men’s heads and connected with gilt-bronze floral swags, an engine-turned bronze ring with molded acanthus leaves supports the flared cut-glass bowl, the bowl decorated with gothic arches and the sheaf-of-wheat pattern, and the upper edge finished with an engineturned gilt-bronze ring, h. 10‑1/4”, dia. 7”. [150/300] 424 Paris Porcelain Figural Corbeille, first quarter 19th century, the oval base trimmed in gilt supported by molded paw feet, the center of the base decorated with a gilt medallion flanked by biscuit figures of winged, draped angels supporting the gilt bateau-shaped pierced basket, h. 14‑1/2”, w. 14”, d. 7". [1000/1500] Illustrated

419 Pair of Biedermeier Ash Armchairs, early 19th century, each with a padded outscrolled back, joined to the padded seat by like arms, raised on tapering ring-turned circular legs, h. 39”. [800/1200] 420 Continental Neoclassical-Style Satinwood Center Table, partially composed of antique elements, the tilting highly-figured starburst inlaid top with ebonized banding, raised on a bulbous and gadroon-carved standard to a circular base on paw feet, h. 28‑1/2”, dia. 51‑1/2”. [4500/7000] Illustrated

421

425 French Neoclassical Gilt-Plaster Rondel, ca. 1897, depicting a couple in neoclassical dress and a woman in the background harvesting wheat, matted in tan velvet with a cove-molded gilt frame, with convex glass, signed “La Bonoz 1897” and “Paris France”, dia. 10‑1/2”. [125/250]

427 Empire-Style Polychrome and Giltwood Looking Glass, the triangular crest above a paneled frieze with a central applied laurel wreath, the rectangular plate flanked to either side by engaged pilasters, each centered by an ormolu and ebonized sconce in the form of a Blackamoor, h. 65”, w. 46”. [1200/1800] 428 Pair of Crystal, Marble and Bronze Table Lamps, probably Baccarat, the black marble bases with white veins supporting reeded glass plinths set with reed-molded glass urns, set with bronze molding and pineapple-form giltbronze finials, h. 37”. [2500/4000] Illustrated

428

426 Pair of French Gilt-Metal Planters, in the Neoclassical taste, standing on cabriole legs with incised decoration, the rectangular bases ornamented with an applied rope molding, with vertical molded leaf sides, finished in gilt, the front skirts decorated with an applied scrolled vine, h. 13‑3/4”, w. 18”, d. 9‑1/2”. [400/700]

431 429 Neoclassical-Style Marble Pedestal, fourth quarter 19th century, the fluted upper section on a cylindrical column on a base with egg-and-dart carving on a square plinth, h. 43”, w. 16”, d. 16”. [300/500]

430

430 French Painted Tole Bathtub, 19th century, of coffin form, each end fitted with a handle, the sides ornamented with an “X” centered by a roundel, h. 28‑1/2”, l. 60”, d. 23‑1/2”. [1400/1800] Illustrated 431 Neoclassical-Style Architectural Terracotta Plaque, of rectangular form, depicting a winged bird above scrolling acanthine patterns, h. 24‑1/2”, w. 19”. [600/900] Illustrated 432 Neoclassical-Style Granite Urn, the circular broadly molded lip above a bulbous body, the waisted standard on a socle base, h. 14”, dia. 12”. [300/500]

433 Pair of Neoclassically-Inspired Cast-Iron Garden Urns, each having scroll arms with roundels and graduated bellflowers, the tapering bodies adorned in the Adamesque taste, on socle bases, the surfaces with bronze patination, h. 29‑1/4”. w. 22”, d. 17”. [400/700] Illustrated 434 Pair of Victorian-Style Cast-Iron Garden Urns on Stand, each of campagna form with scroll handles, lobed body and tapering square base with arabesque-adorned panels, h. 43”, w. 30‑1/2", d. 22”. [200/400] 435 Pair of Victorian-Style Cast-Iron Garden Urns on Stands, 20th century, each of modified tazza form, on a tall pedestal with pierced paneled sides, h. 30‑3/4”, dia. 14”. [150/300] 436 Pair of Neoclassical-Style Cast-Iron Garden Urns with Tole Liners, each of campagna form with eggand-dart rim, fluted and lobed body, h. 30‑1/2”, dia. 26”. [400/700] Illustrated

439

433

437 Large Late Victorian Cast-Iron Garden Urn in the Neoclassical Taste, ca. 1900, of campagna form with a fluted and lobed body on a stepped square base, h. 52”, dia. 27‑1/2”. [200/400] 438 Pair of Neoclassical-Style Polychrome Garden Urns, of campagna form, each with a modeled lip above a ribbed body, the waisted standard to a socle base, h. 28”, dia. 20”. [200/400] 439 Good Austrian Biedermeier 15 Lot (.937) Silver Gilt Table Mirror, 1832, by Stephan Mayerhofer (1772‑1852), Vienna, the rectangular plate within a narrow frame embossed with roses, the lower edge with a cutwork monogram of a crowned “T” projecting onto the plate, all held by coquille pegs to an “H”-form frame, the uprights in the form of gadrooned columns with spherical acanthus capitals and baluster bases, raised on four acanthus frond feet and joined by a knopped stretcher en suite, h. 25‑1/4”, w. 27‑3/4”, d. 7‑1/2”. [7000/10000] Illustrated 440 Continental Bronze Argente Vase, second half 19th century, in the Empire manner, the trumpet-shaped vase held in a gadrooned circular frame raised on three imbricate and acanthus legs, crested by displayed swans holding chain swags in their beaks, raised above a concave and canted triangular plinth base decorated with incised scrolling panels and gadrooned banding, the whole supported by three winged lion’s paw feet, h. 16‑3/4”, dia. 6‑1/4”. [400/700]

436

441 French Consular First Standard (.950) Silver Fish Slice, 1798‑1809, Paris, by Ambroise Mignerot, the scimitar shaped silver blade engraved with a fish and decorated with bright-cut leaf-and-dart and pierced scroll banding, joined by a silver ferule to a turned wooden handle, l. 14‑1/4”. [400/700]

442 Alexander III 84 Zolotnik (.875) Silver Three-Piece Tea Set, Moscow, 1892, by Vasily Efimovich Baladanov, including a teapot, h. 5‑1/4”, l. 6”, a covered sugar bowl, h. 5”, w. 5‑3/4”, and cream jug, h. 3‑1/2”, l. 4”, each with a squat baluster-shaped body below a short cylindrical neck and raised on a plain foot ring, the neck decorated with engraved geometric banding, the body with elaborate engraved cartouche, the teapot with an engraved “gooseneck” spout, hinged domed lid with ivory-button toupie finial and an ivory-insulated handle, the sugar bowl with two handles and a fitted lid en suite, the cream jug with beaked spout and single handle, each piece monogrammed on the cartouche “H” (Latin), 23.59 total t. oz. [1000/1500] Illustrated

443

442

444 French Third Republic First Standard (.950) Silver Saupoudreuse, fourth quarter 19th century, Paris, the coquille-shaped bowl pierced with slipped trefoils, the “King’s” shape handle decorated with threaded scrolls, monogrammed “JR”, l. 8‑3/8”, 2.05 t. oz. [200/400] 445 Pair of Baccarat Crystal and Bronze Argente Compotes, first half 20th century, each with a silvered bronze standard in the form of two putti kneeling and holding aloft a laurel wreath, the wreath fitted with a diamond-pattern crystal bowl with scalloped edge, the whole raised on a shaped crystal plinth with radiant diamond pattern on the underside and supported by silvered bronze toupie feet, one plinth marked on the underside with the acid-etched Baccarat mark, h. 8”, dia. 7‑3/4”. [4000/7000] Illustrated 446 Pair of French Bronze Argente Candelabra, fourth quarter 19th century, each with a tapering fluted standard with acanthus calyx raised above a steeply domed and fluted base with laurel and beaded banding and surmounted by an urn-form nozzle with acanthus calyx and beaded rim into which fits the superstructure of four scrolling acanthus arms each terminating in a reed-andacanthus banded drip pan and fluted and ovolo-banded nozzle with detachable beaded bobeche, the arms centering a laurel-draped urn with detachable flammiform finial, h. 21”, w. 13‑1/2”, d. 10‑1/4”. [3500/5000]

443 Impressive Pair of Napoleon III First Standard (.950) Silver Candelabra, third quarter 19th century, by Crosville & Glachant, active 1861‑1867, Paris, each with an elaborate standard comprising three openwork acanthus scrolls accented by shells and bellflowers, the scrolls centering and each terminating in a circular drip pan and waisted, spiral-gadrooned nozzle fitted with a shaped detachable bobeche, the whole raised above a concave, torus-canted triangular base decorated with panels, scrolls and rocaille arches, handsomely chased and detailed throughout, h. 17‑1/2”, w. 11‑1/4”, 257.78 total t. oz. [18000/25000] Illustrated

445

447 Pair of Napoleon III Christofle Silverplate Candelabra, third quarter 19th century, Paris, in the Louis XVI taste, each with a fluted baluster standard decorated with laurel banding, raised above a cavetto-domed base en suite and surmounted by a fluted and leaf-anddart-banded urn-form nozzle with a detachable laureltrimmed bobeche, into which fits the superstructure of an an acanthus bud centered by a second fluted standard surrounded by four acanthus-scroll arms, all terminating in an acanthus drip-pan and a fluted and laurel-banded urnform nozzle with detachable beaded bobeche, h. 18‑1/2”, w. 13”, d. 9‑1/4”. The lower half of this pair appears in Christofle’s 1862 catalogue on page 139, flambeau #1651, “Louis XVI a guilandes”, and was available in both silverplate and gilt. The branches (sold separately) are shown on page 141, girandole #1686, “Louis XVI”, available in the same finishes and with anywhere from two to six arms. It is to be noted that this pair is nearly contemporaneous with the catalogue, as shown here by Christofle’s first series of unique serial numbers in the 223000‑255000 range, dating the set to around 1858‑1861; at the time, this particular configuration would have sold for 270 francs. [2500/4000] Illustrated

448

447A 447

448 Continental Silver Covered Jug, ca. 1900, probably German, the tapering cylindrical body decorated with a scene in relief of putti gathering the grape harvest, with a scrolling putto-crested handle, the hinged lid decorated with a Bacchus masque, with a “duck’s beak” spout and plinth base, the interior gilt, h 51.89 t. oz. [3000/5000] Illustrated 449 Continental .800 Silver Fruit Bowl, first quarter 20th century, of hemispherical form, with everted rim, the body embossed and pierced with alternating panels of fruit bouquets and natures mortes, h. 3‑1/4”, dia. 9”, 11.4 t. oz. [200/400]

447A Christofle Third Republic Silverplate Tray, third quarter 19th century, Paris, of oval form with beaded rim and reed-and-ribbon handles, the plateau with an engine-turned ground, centering an oval cartouche and quartered by semicircular arabesques, l. 30”, w. 20‑1/2”. This model likewise appears in the 1862 catalogue: page 96, plateau ovale #1154, “bord perles, anges rubans”. Originally offered in seven sizes and four finishes, the configuration of the present lot was the most expensive version of this model available, being in the largest size and the most costly “guilloche” finish; it bears Christofle’s unique serial number 527818 (second series), dating it to around 1871‑1872. [1500/2500]

450

456

453 Pair of German .800 Silver Candlesticks, first quarter 20th century, in the rococo taste, each with a baluster standard decorated with embossed rococo cartouches of frolicking putti, above a shaped square base pierced with bouquets and scrolls on a lattice ground and surmounted by a campagna-form nozzle fitted with a detachable concave hexagonal bobeche, h.10‑3/4”, w. 5”, 21.03 total t. oz. [500/800]

458 457

454 Good German Silvered and Parcel-Gilt Bronze Cigar Box, first quarter 20th century, Ehrhard & Sohne, Schwabisch-Gmund, in the neoclassical manner, in the form of a Roman sarcophagus, the lid decorated with a relief mural of Roman citizenry with pamette banding, the sides with relief murals of charioteers, the hinged lid opening to reveal the camphor-lined interior, retaining the original key with the Ehrhard & Sohne logo, h. 3‑3/4”, w. 7‑3/4”, d. 4‑1/4”. [600/900]

450 Continental Silver and Glass Table Screen, first quarter 20th century, probably Wolf & Knell, Hanau, of triptych form, each panel of cenotaph form, with a silver reed-and-ribbon banded frame with openwork rococo scroll crest and apron, fitted with a conforming wheelengraved glass panels, the central one rococo cartouche and flowers, the flanking ones with flowerbasket and scrolls, h. 10”, w. 14‑3/4”. [500/800] Illustrated

455 German Mannerist-Style .800 Silver Figure of an Ostrich, first quarter 20th century, probably Gebruder Gutgesell, Hanau, in the early 17th century Nuremberg manner of Johannes Clauss, the body of the bird formed of a real ostrich egg, mounted by silver straps to the hinged, moveable wings, neck, tail and legs, on an oval base with gauffered rim, h. 20‑1/2”, w. 6‑1/4”, l. 9‑1/4”. [7000/10000]

451 German .800 Silver Cream and Sugar Set, first quarter 20th century, including a cream jug, h. 3‑7/8”, dia, 2‑3/4”, and an open sugar bowl, h. 2‑3/4”, w. 5‑1/4”, each of thick baluster form, decorated in the round with a repousse pastoral scenes, with shaped rococo rim and cast acanthus scroll handle(s), 11.76 total t. oz. [300/500]

456 Pair of German .800 Silver Figural Salt Cellars, first quarter 20th century, probably Hanau, in the Nuremberg mannerist taste, each in the form of a stork with its foot resting on an oval cradle, the cradle with addorsed griffin’s head brace and decorated with fruit swags and ram’s masque crest, with gilt interior, the whole raised on an oval stand with pierced gallery of shells and swags, h. 2‑3/4”, l. 3”, w. 2”, 5.53 total t. oz. [700/1000] Illustrated

452 German .800 Silver Bride’s Basket, ca. 1900, by Heinrich Zwernemann, Hanau, the waisted body of oval section and with large quarter-lobed rim with beaded edge, the whole pierced and embossed with flower baskets and fruit on a galleried ground, with swing handle, h. 7‑3/4” (12‑3/4” with handle), l. 7‑3/4”, w. 6‑1/4”, 13.82 t. oz. [500/800]

457 Continental Bronze Argente Receiving Tray, first quarter 20th century, probably German, of rectangular form, the everted rim decorated with addorsed seadragon’s heads and mascarons separated by Vitruvian scroll panels, with addorsed sea-dragon handles, the plateau centered with an oval cartouche decorated in relief with a pastoral scene of putti harvesting grapes, l. 17‑1/4”, w. 9”. [300/500] Illustrated

461

458 Austrian Third Standard (.800) Silver and Glass Claret Jug, fourth quarter 19th century, by Bruder Frank, Vienna, in the rococo taste, the glass jug with bulbous body and baluster neck, both with raised spiral gadroons, with an elaborate rococo silver collar with hinged lid and scrolling handle, raised on a silver base with four acanthus feet, monogrammed on the collar “CP” conjoined, h. 10‑3/4”, dia. 4‑1/2”. [600/900] Illustrated previous page

459 Nineteen-Piece Assembled Set of Austrian Third Standard (.800) Silver Flatware, fourth quarter 19th century, Vienna, including six forks, l. 8”, five tablespoons, l. 8‑1/4” and a teaspoon, l. 6”, by Ladislaus Jarosinski, all in a spatulate shape with upper rib, six knives, l. 10‑1/2”, by Gedlitzka & Sohne, in a “violon” shape with blunt-shaped steel blades, and an older 13 lot (.813) tablespoon, 1840, by Franz Bergerhofer, in a spatulate shape, l. 8‑1/4”, 27.71 total t. oz. (excluding knives) [400/700]

461 French Art Nouveau Figural Silverplate Candelabrum, fourth quarter 19th century, by Victor Saglier, Paris, retailed by Maison Eugene Flocon, Oman, Algeria, with a figural standard of Fortuna, draped in flowing robes and carrying her cornucopia, raised above an elaborate shaped and waisted base decorated with robust acanthus and scrolls, her cornucopia fitted with a superstructure of one central and six surrounding scrolling acanthus branches, each terminating in an openwork circular drip pan and waisted nozzle en suite, h. 27‑1/4”, w. 10”. [3000/5000] Illustrated

462

462 Pair of Continental Silvered Bronze Vases, ca. 1900, in the Neoclassical taste, each of amphora form, the body of decorated in relief with Bacchante figures, the handles in the form of realistically detailed olive branches, raised above a square plinth on four flattened spherical feet, h. 10‑1/2”, w. 3‑1/4”. [1200/1800] Illustrated

464 460 Dutch Second Standard (.833) Silver “Wedding” Spoon, marked 1910, Groningen, no maker’s mark, the figural handle in the form of a windmill with spinning blades, with a cast openwork stem of putti and scrolls, the bowl with elborately pieced scrolls and lattice and centering a pastoral scene of a cowherd and his flock, l. 6‑1/4”, 3.98 t. oz. [200/400]

463 Two-Piece German Jugendstil .800 Silver and Gilt Stainless Steel Fish-Serving Set, first quarter 20th century, by Franz Mosgau, Berlin, including a fish-serving knife, l. 11”, and fork, l. 10‑3/8”, each with a shaped and filled .800 silver handle decorated with sinuous water lilies, the scimitar-shaped blade and four-pronged tines of gilt stainless steel and etched en suite. [100/200] 464 Danish .830 Silver Three-Piece Coffee Set and Tray, marked 1926, Copenhagen, by Fritz S. Heimburger, including a coffeepot, h. 9‑1/8”, dia. 5”, an open sugar bowl, h. 3‑1/25”, dia, 4‑1/2”, and a creamer, h. 3‑3/4”, dia. 4‑3/4”, and a tray, l. 12”, w. 9‑1/4”, the hollow ware each with a pear-shaped body decorated with spiral serpentine gadroons, the coffeepot with a hinged, domed lid, “gooseneck” spout “S”-scroll handle with ivory insulators, the sugar bowl with with two, the cream jug with one “S”-scroll handle(s) en suite, all raised on foliatecrested pad feet, the tray of oval form with serpentinelobed and molded rim, each monogrammed on the underside “EK”, conjoined, 43.91 total t. oz. [800/1200] Illustrated

465 Carl M. Cohr “Elite” .830 Silver and Stainless Steel Cake Server, 1949, Fredericia, Denmark, with a scimitarshaped stainless steel blade, l. 10‑1/2”. [75/125] 466 Forty Pieces of Italian .800 Silver Flatware, 1834‑1944, Michelangelo Clementi Fabbrica Argenteria, SLC, Casalecchio de Reno, Bologna, in a threaded baroque pattern, including eight place forks, l. 8‑1/4”, eight salad/ luncheon forks, l. 6‑3/4”, eight place spoons, l. 8‑3/8”, eight place knives, l. 9‑3/4” and eight luncheon knives, l. 8‑3/8”, both with stainless steel “New French”-shaped stainless steel blades, no monograms, 55.7 total t. oz., presented in a fitted wooden case, 3‑1/4” x 16” x 11‑1/2”. [1800/2500]

467

468 467 Pair of Italian .800 Silver Figural Candlesticks, third quarter 20th century, by Galileo Paoli, Florence, each with a figural standard in the form of a baroque dolphin, above a beaded and cavetto-domed base and surmounted by a circular drip pan and inverted bell-form nozzle, both beaded en suite, h. 7‑1/2”, dia. 4”, 20.83 total t. oz. [500/800] Illustrated 468 Mario Buccellati (1891‑1965) .800 Silver Table Lighter, third quarter 20th century, Milan, in the form of a large, realistically detailed snail shell, the underside concealing a chrome butane lighter, h. 3”, l. 3‑1/2”, 3.40 t. oz. [300/500] Illustrated 469 Good French First Standard (.950) Silver Fruit Bowl, first quarter 20th century, by Risler & Carre, Paris, of hemispherical form, decorated with chased Vitruvian wave band, the waisted foot with narrow beaded and imbricate banding at the top and bottom, respectively, h. 4‑3/4”, dia. 7‑3/4”, 17.88 t. oz. [1000/1500] Illustrated 470 Set of Twelve French Gilt Metal Demitasse Spoons, mid-20th century, in a threaded shell pattern, l. 3‑1/2”. [200/400]

469

471 Spanish First Standard (.915) Silver Three-Piece Coffee and Tea Set, mid-20th century, including a coffeepot, h. 7‑1/4”, l. 7‑1/4”, a teapot, h. 6”, l. 8”, and a covered sugar bowl, h. 5‑1/4”, w. 4‑1/2”, each with a pear-shaped body decorated on the lower half with a wide embossed rocaille band and raised on four openwork cartouche feet, the ports with crested scroll handles, hinged domed lids with acorn finials and acanthusmounted “gooseneck” spouts, the sugar bowl with opposing stirrup handles and fitted lid en suite, each piece monogrammed on the body “NJ”, 32.79 total t. oz. [500/800]

478 Frank Norie (American, 19th Century), “Coming Ashore At Night”, watercolor on paper, signed lower right “F. Norie”, reverse with a “Bourne Gallery” label, sight 6” x 11”. Glazed, matted and framed. [300/500] 479 Marianne Lucy Trench, A. R. B. A. (British, 1888‑1940) “At The Fountain-Florence”, watercolor on paper, signed lower left “M.L. Trench”, reverse with the Savage Gallery label bearing the title of work, sight 10‑3/8” x 14”. Glazed, attractively matted and framed. [600/900] 480 Samuel Prout (British, 1783‑1852), “English Cottages”, ink wash on paper, signed lower left “S. Prout”, sight 7‑1/4” x 10‑3/4”. Glazed, matted and presented in a exhibition frame. [400/700]

473 472 Pair of Asian Jadeite and Silver Goblets, mid-20th century, each with a jadeite baluster stem and circular foot, carved with trailing flowers, and a plain inverted bellform silver bowl, h. 6”, dia. 3‑3/4”. [1200/1800] 473 Walter Langley (British, 1852‑1922), “Fisherman On the Road, Cottage and Seashore in the Background”, watercolor on paper, signed lower right “W. Langley”, sight 12” x 9‑5/8”. Glazed, attractively matted and framed. [800/1200] Illustrated 474 William Henry Harford (British, 19th/20th Century), “Highlands Landscape With a Mountain Brook”, watercolor on paper, signed lower right “W. Harford”, sight 12‑7/8” x 19‑1/4”. Glazed, matted and framed. [300/500] 475 Circle of Paul Sandby (British, 1730‑1809), “Remembrance of the Past”, watercolor on paper, unsigned, reverse with a “Jeremy North’s Gallery, North Carolina” gallery label, sight 5” x 8‑5/8”. Matted and unframed. [500/800]

477

476 Arthur Sucker (British, 1857‑1902), “Village Bridge”, watercolor on paper, signed lower left “Arthur Sucker”, sight 9” x 18‑1/2”. Glazed, matted and presented in a giltwood frame. [400/700] 477 Anthony Vandyke Copley Fielding (British, 1787‑1855), “Fishing Boats at Low Tide”, pencil and watercolor on paper, signed lower right “Copley Fielding”, reverse with a “Simkins and Browne, Notthingham” label, sight 6‑3/4” x 10”. Glazed, matted and presented in a giltwood frame. [700/1000] Illustrated

481

481 Thomas Charles Leeson Rowbotham (British, 1823‑1875), “Italian Lake Landscape With Figures on a Path”, watercolor and gouache on paper, dated lower right “1866”, sight 6‑3/4” x 18‑3/8”. Glazed, attractively French matted and presented in a giltwood frame. [800/1200] Illustrated 482 William Widgery (British, 1822‑1893), “Cows Walking at Dusk”, watercolor on paper, signed lower left “W. Widgery”, sight 16” x 27‑1/2”. Matted and unframed. [300/500] 483 British School (19th Century), “Expansive Landscape With Grey Clouds”, watercolor on paper, unsigned, sight 6” x 13”. Glazed, handsomely matted and framed. [200/400] 487

484 Albert Kinsley (British, 1852‑1945), “Mountainous Landscape”, watercolor on paper, signed lower left “A. Kinsley”, sight 9‑1/2” x 14”. Glazed, double-matted and attractively framed. [400/700]

488

485 Henrietta Anne Fortescue (British, ca. 1765‑1841) “The Castle of Golling”, ink and graphite on paper, signed and dated lower right “H. A. Fortescue Aug. 26th, 1820”, titled lower center, with an extensive artist’s biographical label affixed to mat verso, sight 12‑3/4” x 19”. Matted and unframed. [500/800] 486 After Daniel Maclise (Irish/British, 1806‑1870), “Portrait of a Young Gentleman”, pastel and graphite on paper, inscribed lower right “Copies Feb. 1907”, reverse with a “Alfred J. Mucklow Picture Frame Maker & Dealer in Works of Art, London” label, sight 18” x 12”. Glazed and presented in a period giltwood frame. [300/500]

487 William IV Mahogany Estate Desk, second quarter 19th century, the superstructure fitted with a central galleried shelf flanked to either side by a bank of three small drawers with side locks, above a central leatherinset slanted surface, hinged and opening to a storage space, flanked to either side by a like-inset surface above three frieze drawers, raised on two banks of three short graduated drawers on plinth bases, h. 43‑1/2”, w. 54”, d. 27‑1/4”. [800/1200] Illustrated

488 Collection of Five English Wooden Boxes, the first, first quarter 19th century, a Regency jewel box in burl walnut with an ivory escutcheon and resting on bun feet, the interior with a tray over a larger compartment, h. 7‑1/2”, w. 11”, d. 9”, the second, a Victorian burl walnut box decorated with bands of marquetry and matching shield-shaped mother-of-pearl escutcheons and lid decorations, lined with marbleized paper, h. 4‑1/2”, w. 9‑3/4”, d.6‑3/4”, the third, third quarter 19th century, a burl walnut box decorated with a criss-cross pattern of contrasting veneer and ebony, framing a brass nameplate, h. 3”, w. 7”, d. 5‑3/4”, the fourth, first quarter 20th century, an art deco cigarette box in burl walnut with a contrasting sunburst pattern on the lid and a rounded top, h. 2”, w. 5”, d. 3‑3/4”, and the last, 20th century, a mahogany cufflink box with an ivory nameplate on the cover and a springmounted catch, h. 1‑1/2”, w. 6”, d. 4‑1/4”. [200/400] Illustrated

489 Continental Ebony, Gilt-Bronze and Mahogany Magnifying Glass, ca. 1900, the oval end cap decorated with gilt-bronze vines on an ebony field with engraved end panels, the handle sides mahogany with inlaid gilt-bronze bordering the ebonized end, glass mounted in a brass bezel, dia. 4”, l. 10‑3/4”. [300/500] Illustrated

489

490

490 Gilt-Bronze, Ebony and Fruitwood Magnifying Glass, ca. 1900, the round fruitwood handle with an ebonized end, bordered with ebony and gilt-bronze vines on the side, and decorated with a dragon on a field of vines on the end, glass mounted in a brass bezel, dia. 4”, l. 10‑3/4”. [300/500] Illustrated 491 Gilt-Bronze and Mother-of-Pearl Magnifying Glass, fourth quarter 19th century, the round handle impressed with roses and pierced with mother-of-pearl insets, the vase-shaped handle molded with roses, and initialed “MTR” on its end cap, glass mounted in brass bezel, dia. 4‑1/2”, l. 13”. [75/125]

492

494 Collection of Two British Sporting Prints, including “The Meet at Blagdon”, a hand colored engraving after a painting by John Wray Snow (1801‑1854) and “The Royal Cortege In Windsor Park”, a hand colored engraving after a painting by Richard Barrett Davis (1782‑1854), sight 23‑1/2” x 33”. Both glazed and handsomely framed. [450/700] 495 After William & Henry Barraud (British, former 1810‑1850, latter 1811‑1874), “Mr. William Long on Bertha”,offset chromolithograph, sight 19” x 21”. Glazed, double-matted and presented in a contemporary giltwood frame. [100/200] 496 After Benjamin Marshall (British, 1768‑1835), “To Sir John Shelley Bart. This Print of his Celebrated Pointer (Sancho)”, color mezzotint engraving by Charles Turner, published March 20, 1808, London, sight 14‑1/2” x 20”. Glazed, matted and handsomely framed. [500/800] Illustrated

493

492 Bronze Lion Mounted as a Lamp, fourth quarter 19th century, British, the lion depicted sitting on his hind legs grasping the lamp standard, mounted on a later figured green marble plinth, h. 27‑1/2”, w. 6”, d. 8”. [250/400] Illustrated 493 Regency Mahogany Bed Steps, first quarter 19th century, consisting of three steps, all of bowed form and with inset leather surfaces, the upper two hinged and opening to storage spaces, raised on bulbous turned circular legs, h. 25‑1/2”, w. 29”, d. 18‑1/2”. [900/1200] Illustrated

497 After Dean Wolstenholme (British, 1757‑1837), “Stag Hounds” and “Harriers”, two aquatint engravings, published London, 1812, sight 18‑1/4” x 23‑1/4”. Both glazed, handsomely matted and framed. [100/200] 498 Suite of Four British Hand Colored Lithographs, of various cattle from Professor Low’s Illustrations of the Breeds of the Domestic Animals, London, 1840, sight 12” x 16”. All glazed, French matted and presented in handsome faux-burlwood frames. [500/800] Illustrated 499 Chinese Porcelain Punch Bowl, late 19th century, decoration of landscapes in sepia with famille rose floral sprigs and borders, dia. 15‑3/4”. [400/700]

498 suite of four 501 Regency Rosewood Side Table, first quarter 19th century, the highly figured rounded rectangular top above a frieze fitted with a single drawer to one side and a faux drawer to the other, raised on paneled graduated supports to runner feet on rounded toes, h. 28‑1/4”, w. 36”, d. 19‑1/2”. [900/1200] Illustrated

500

496

500 William IV Mahogany Firescreen, second quarter 19th century, the shaped bead and needlework screen in floral and geometric patterns, supported on a turned and bulbous vasiform splat to a circular base, h. 58”. [400/700] Illustrated

501

503

505 Regency-Style Mahogany Bedside Commode, 19th century, the bowed top hinged and opening to a pot cupboard with turned wooden lid, the front fitted with four faux drawers, raised on splayed bracket feet, h. 27‑1/2”, w. 23‑1/2”, d. 15‑1/2”. [250/400] 506 Regency-Style Mahogany Chest, early 19th century, the bowed top with molded edge above a conforming case fitted with two short drawers over three long graduated drawers, raised on bracket feet, h. 40”, w. 36”, d. 19‑1/2”. [800/1200] Illustrated

502 504

502 Regency Mahogany Cupboard, first quarter 19th century, of columnar form, the circular top with a full pierced brass gallery above a case fitted with a single door opening to a shelved interior, raised on a plinth base, h. 33‑1/2”, dia. 15‑1/4”. [400/700] Illustrated 506

503 Set of Six Cauldon Raised Gilt Porcelain Cream Soups and Underplates, 1905‑1920, England, bordered with running laurel leaves in raised gilt, framing gilt cartouches accented with raised gilt beads, marked “Cauldon England” and “Gillian Collsmore Fifth Ave & 30th St, New York”, h. 2‑1/2”, dia. 5‑3/4”. [250/400] Illustrated 504 Regency Dressing Glass, first quarter 19th century, English, composed of mahogany and resting on ebonized bun feet, the top edge and sides trimmed in brass, above three drawers, the middle drawer fitted with an ivory escutcheon, the oval mirror supported by conforming supports terminating in a scroll, h. 25”, w. 28", d. 9‑1/4”. [600/900] Illustrated

507

508 Suite of Twenty Hand Colored Engravings from Universal System of Natural History, by Ebenezer Sibly (1751‑1800), published London, Champante and Whitrow (1794‑1799), including two frontspieces and eighteen hand colored engravings, sight 4‑5/8” x 7‑3/8” and 7‑5/8” x 4‑5/8”. All glazed, matted and framed. [2000/4000] Illustrated this page and following page

507 William IV Mahogany Leather Covered Library Chair, second quarter 19th century, the padded and tufted rectangular back adjustable, joined by padded arms to the tufted seat, the ribbed frieze fitted with a pull-out footrest, raised on turned bulbous legs ending in toupie feet on casters, h. 42”. [700/1000] Illustrated

508 suite of twenty

508 suite of twenty 508 suite of twenty

511 English Tortoiseshell Carriage Clock, ca. 1900, set on brass ball feet with a brass ogee base molding, with an engine-turned steel face, brass bezel and beveled glass, the rounded top set with a giltbronze acanthus-leaf-molded carrying handle, h. 8‑1/4”, w. 4”, d. 2‑3/4”. [1400/1800] Illustrated

508 suite of twenty

509 Regency-Style Stained Wood Etagere, of square form, fitted with four tiers, all with reeded edges, the central one fitted with a drawer, joined by turned supports and raised on turned feet, h. 72‑1/2”, w. 16‑1/2”, d. 16‑1/2”. [1200/1800] Illustrated

508 suite of twenty

510 English Regency Tortoiseshell Tea Caddy, first quarter 19th century, of block front design, sitting on maple bun feet with a conforming base molding, the front lock set with a silver escutcheon, the ivory trimmed lid set with a decorative silver plate echoing the shape of the box, the interior retaining its knobbed tortoise lids and remnants of the original paktong lining, h. 5‑1/4”, w. 8”, d. 5‑1/4”. [2000/4000] Illustrated 509

511

512 510

513

512 Tortoiseshell and Ivory Whist Case, fourth quarter 19th century, London, the rectangular case mounted with a spring-loaded catch, the rounded edge cover mounted with an oval silver cartouche, signed “Lund Marker, 56 & 56 Cornhill, London” on the ivory lid trim, the fitted interior retaining two rosewood and ivory labeled “Whist” markers, with two packs of Victorian playing cards, signed “de la Rue & Co., London”, the backs decorated in the Morrish fashion with a Moorish cartouche holding flowers on a gilt ground on a field of gilt-on-green foliate decoration with pink edges, h. 3‑1/4”, w. 4‑3/4”, d. 3‑1/2”. [900/1200] Illustrated 513 Tortoiseshell Table Box, with rounded corners, a gently rounded cover and a beaded lip where the cover rests on the base, h. 1‑1/2”, w. 5‑1/2”, d. 3‑3/4”. [400/700] Illustrated 514 William IV Mahogany Recamier, second quarter 19th century, with one outscrolled and padded arm above a shaped padded partial back, the long wooden seat cushioned and with a conforming bolster, raised on large tapering ribbed legs ending in casters, h. 33”, w. 76" d. 24”. [700/1000] Illustrated

514

515 Collection of English Wooden Boxes, 19th century, comprised of a mahogany writing box trimmed with rosewood cross-banding, fitted with a cylinder lock signed “I. Bramah, 184 Picadilly”, the interior lined with green velvet and marbleized paper and with a removable tray over fitted compartments, h. 4‑1/4”, w. 11‑1/2”, d. 9‑3/4”, a Victorian rosewood and brass lap desk with an unsigned brass nameplate on the top and a matching escutcheon, the felt-lined interior with a pen compartment and one original crystal and brass inkpot, the lock signed “VR” with a crown, h. 5”, w. 13‑3/4”, d. 9‑1/4”, a burl walnut Victorian box with matching lid decoration and escutcheon of inlaid abalone and mother-of-pearl in a lozenge shape, h. 4‑1/2”, w. 9‑3/4”, d. 6‑3/4”, and a burl walnut box with rounded edges, h. 2‑3/4”, w. 8‑3/4”, d. 6‑1/2”. [200/400] 516 Regency Rosewood Sarcophagus-Form Tea Caddy, second quarter 19th century, the tea caddy with two lidded compartments and a center compartment for a mixing bowl, resting on bun feet, h. 6‑3/4”, w. 12‑1/4”, d. 5‑3/4”. [100/200]

517 English Regency Tea Caddy, first quarter 19th century, the caddy composed of mahogany with a lozenge-shaped escutcheon, resting on delicate brass ball-and-claw feet, h. 5‑1/4”, w. 8‑3/4”, d. 5‑1/4”. [150/300]

521

518 Two English Regency Sarcophagus-Form Tea Caddies, second quarter 19th century, the larger, mahogany with rosewood crossbanding and resting on brass bun feet, the compartments lined with later felt, h. 6‑1/2”, w. 10‑1/4”, d. 5‑3/4”, the smaller, rosewood with brass ball feet and a round brass escutcheon, the two compartment lidded interior with remnants of lead foil lining, h. 5”, w. 8”, d. 4‑1/2”. [200/400] 519 William IV Mahogany Tea Caddy, second quarter 19th century, English, the caddy with a sarcophagus cover and ivory escutcheon, the interior with two lidded compartments with ivory knobs and a center mixing bowl, resting on bun feet and mounted with lion’s head ring pull handles, h. 7”, w. 12‑1/2”, d. 6‑3/4”. [250/400]

522

520 520 Regency-Style Mahogany Library Steps, composed of four spiraling rungs, each with an inset leather surface, supported by a turned standard surmounted by a brass finial, raised on casters, h. 66”. [400/700] Illustrated 521 Suite of Twelve Late Regency Mahogany Chairs, second quarter 19th century, composed of one armchair and eleven sidechairs, each with a foliate-carved crest surmounted by backswept ears, the padded seat raised on turned tapering circular legs ending in toupie feet, h. 33”. [2000/4000] Illustrated

522 Impressive Minton Porcelain Hand-Painted Dessert Service, ca. 1854, English, the set comprised of twelve hand-painted dessert plates and six comports, all with pierced and molded Gothic inspired borders of pairs of stylized flowers inset in an arcaded pierced fret, trimmed in bleu celeste and gilt, each dessert plate with a different subject, identified in red script on the back, four with birds, The Grey Wagtail, The Goldfinch, The Golden Oriole, and The Pine Grosbeak, possibly by Joseph Smith, and eight with botanicals, Filbert, Apple, Verbena, Hollyhock, Cherry, Fuschia, Peace (which appears to be a peach), and one unidentified, dia. 9”, the six compotes decorated with gothic inspired central gilt medallions incorporating the same flowers, four compotes raised on round bases with C-scrolls holding aloft the main dish and two compotes on low borders, all decorated with the same blue and gilt flowers, h. 2‑1/2” to 6‑1/4” and dia. 9” to 10”. While the service is not marked Minton, several pieces are marked pattern number “9372”, which corresponds to this pattern and was introduced between 1848‑1851. Most are marked with the symbol for 1854. Various other unidentified impressed and painted symbols and letters appear on some bases, probably referring to the precise month of manufacture, decorator or gilder. [1200/1800] Illustrated

523 Regency Mahogany and Brass Planter, first quarter 19th century, the tripartite base set on ball feet, supporting a turned standard under the flaring mahogany basketform holder, the brass inset seamed and mounted with a brass carrying handle, h. 20”, dia. 13”. [300/500] 524 English Victorian Brass-Bound Decanter Box, mid19th century, the calamander wood box, fitted with a signed Bramah cylinder lock, with a rectangular brass cover escutcheon and purple velvet lining, and with four molded and blown crystal decanters in the divided interior, attributed to Baccarat and fitted with faceted stoppers, h. 10‑1/2”, w. 9‑3/4”, d. 9‑3/4”. [400/700] 525

525 Pair of Chinese Brass-Mounted Porcelain Vases, 20th century, the vases with a turquoise ground with scrafitto scrolling and famille rose decoration of birds in flowering trees, with a six-character Ch’ien Lung seal mark in red, signed, h. 14‑1/2”. [4000/7000] Illustrated 526 Chinese Peach Bloom Vase, 19th century, with a sixcharacter K’ang Hsi mark on the base, h. 8‑1/2”. [300/500] 527 Chinese Porcelain Cricket Box and Cover, 19th century, the rounded rectangular-form box with a pierced top with a cash coin motif, the surface decorated with children, birds and flowers in famille rose enamels, l. 5‑1/2”. [200/400] 528 Chinese Porcelain Vase, ca. 1910, famille rose decoration of the “Hundred Antiques”, drilled at the bottom as a lamp, h. 9‑1/2”. [200/400]

531

530 529 Chinese Porcelain Plate, early 20th century, famille rose decoration of the island of the immortals, Tao Kuang mark on the base, dia. 10”. [300/500] 530 Chinese Porcelain Vase, early 20th century, the vase decorated with children in famille rose enamels on a turquoise ground, now mounted as a lamp with brass, h. 15”. [300/500] Illustrated

531 Pair of Chinese Famille Rose Porcelain Vases, early 20th century, the vases decorated with birds, flowering trees, a fence and fantastic rocks, borders of Ju-i, acanthus leaves, thunder meanders and floral scrolling on a turquoise ground, with a six-character Ch’ien Lung mark in red on the base, h. 15”. [1200/1800] Illustrated 532 Two Chinese Porcelain Bowls, 19th century, one with a cover, famille rose decoration and with rabbits, a pheasant and trees, cup with hallmark in red, and the other with sprigs of flowers, dia. 4‑1/2”. [250/400]

535 Chinese Swatow Ware Jar, 17th century, red and green decoration of children playing, h. 8”. [500/800] Illustrated

533

536 Chinese Porcelain Vase, 20th century, of bottle form, decorated with a flowering peach tree on a coral red ground, a six-character Ch’ien Lung seal mark on the base, h. 8”. [200/400] 537 Pair of Provincial Chinese Elm Sidechairs, early 20th century, each with a triangular back above a woven rope seat, raised on splayed square legs, h. 36‑1/4”. [400/700] 538 Chinese Altar Table, 19th century, in three parts, the carved Elmwood table with archaic scrolling, h. 55‑1/2”, l. 90”. [2500/4000] Illustrated

535

540

533 Chinese Porcelain Vase, 20th century, the double-gourd-form vase in famille rose enamel decoration of squirrels and grapes, six-character Yung Cheng mark on the base, h. 9”. [300/500] Illustrated 534 Chinese Export Porcelain Tazza and Dish, 19th century, the tazza with famille rose floral decoration, made for the Thai market (Bencharong), dia. 4‑1/2”, together with a Chinese porcelain shaped dish with famille rose decoration of a scene from “Dream of Red Chambers”, l. 8‑1/2”. [150/300]

538

541 545 Set of Twelve Cauldon Porcelain Service Plates, 1905‑1920, the plates with raised gilt laurel leaves framing the cobalt border decorated with gilt swags and beading, signed “Cauldon, England” and marked by the retailer “Davis Collamore & Co. Ltd., Fifth Ave & 37 ST, New York”, dia. 10”. [800/1200] Illustrated 546 Set of Twelve Raised Gilt Porcelain Service Plates, first quarter 20th century, English, retailed by Spaulding & Co. of Chicago, the cobalt and cream borders decorated with raised gilt floral sprigs and swags of flowers, with flat gilded lotus leaves, dia. 10‑1/2”. [500/800] Illustrated

539 Chinese Octagonal Tabouret, late 19th century, surface-carved with flowers, rosewood inset with a rouge marble top, h. 24‑1/2”. [350/500] 543 540 Pair of Chinese Porcelain Vases, ca. 1800, the vase a flattened oval lobated form with a flaring mouth, decorated in famille rose with women and children, surface further decorated with an applied grape and squirrel design, h. 14‑1/2”. [3500/5000] Illustrated 541 Continental Rosewood Triple-Back Settee, 19th century, possibly Portuguese, the back with tall broken shell-centered crests above splats in the form of urns issuing floral arrangements, joined by padded scrolled arms to the shaped padded seat, raised on cabriole legs ending in ball-and-claw feet, h. 52”, w. 71”, d. 22”. [1500/2500] Illustrated 542 Circle of George Lance (British, 1802‑1864), “Tropical Bounty”, oil on canvas, unsigned, 20” x 24”. Presented in a period giltwood and gesso frame. [400/700] 543 Irish Chippendale-Style Mahogany Armchair, late 19th century, the earred crest with foliate and shell carving above a pierced splat, joined by scrolling eagle’s head arms to the padded seat, raised above a shaped shellcarved apron on cabriole legs ending in paw feet, h. 41”. [1800/2500] Illustrated 544 Pair of Porcelain Cobalt and Gilt DoubleGourd-Shaped Vases, fourth quarter 19th century, English, probably Minton, the cylindrical plinth supports a conical paneled foot, lined with beading and tooled gilt, the lobed body decorated to match the foot, and tied with a pair of tooled gilt bowknot handles, h. 11”. [2000/4000] Illustrated

544

545

546

547 Blown, Cut and Engraved Lead Crystal Urn in the Bohemian Style, the square base supports a faceted stem holding the urn, a diamond-cut lower bowl resting under the engraved section, decorated with engraved stags, birds, dogs and diapered cartouches, h. 10‑1/4”, dia. 6”. [200/400]

549

550 Queen Anne-Style Mahogany Dining Table, 18th century, composed of two D-ends and a central drop leaf table, the ovoid top raised above a plain frieze on tapering circular legs ending in pad feet, h. 28”, w. 42”, l. 93”, ext. l. 129”. [1500/2500] Illustrated 551 George III-Style Mahogany Firescreen, late 19th century, the adjustable screen of rectangular form and with a needlework scene of courtiers, the reverse beaded and paneled [900/1200] Illustrated

551

548 Cut-Glass and Brass Lamp, probably Waterford, the diamond-cut baluster-shaped body resting on a brass Chinese-style platform, fitted with a paneled ecru silk shade, top of finial h. 27”. [250/400] 549 Georgian-Style Gilt-Bronze and Crystal Eight-Light Chandelier, the glass-molded and bronze standard supports eight gilt-bronze scrolled arms on the lower level, and prism-hung arms on the upper four levels, the flower head-shaped prisms holding triple-headed spear-cut prisms in Regency design, h. 48”, dia. 31‑1/2”. [600/900] Illustrated

552 George III-Style Mahogany Side Table, the rectangular top with gadrooned edge above a conforming frieze centered by a shell- and foliate-carved panel and with a foliate pendant band, raised on cabriole legs ending in balland-claw feet, h. 29”, w. 39‑1/2”, d. 25”. [600/900] 553 Queen Anne-Style Mahogany Tea Table, early 19th century, the rounded rectangular dished top with indented corners, above a scalloped frieze, raised on cabriole legs headed by scrolled knees and ending in pad feet, h. 28”, w. 28”, d. 19”. [1800/2500] Illustrated

550

554 George III-Style Mahogany Armchair, early 20th century, in the rococo taste, of generous proportions, the padded back with shaped top, joined by padded scrolling arms to the padded seat, above a foliate-scroll-carved frieze, raised on cabriole legs ending in scrolled toes, h. 37‑1/2”. [300/500]

555

556

555 Queen Anne-Style Ebonized Secretary. in the Chinoiserie taste, the broken bonnet-form cornice accented with central and end urn-form finials, above a case fitted with two doors, each inset with an arched panel depicting an Oriental landscape, the lower section fitted with a like-decorated slant-front opening to a variety of drawers and cubbyholes, over a single frieze drawer over two small drawers and two long drawers, raised on bun feet, h. 87”, w. 40”, d. 23‑1/2”. [3000/5000] Illustrated 556 George III-Style Giltwood Looking Glass, the domed plate surmounted by a shell and foliate crest and latticepatterned frieze, surrounded by a gadroon-molded frame with lower corner patera accents, with a foliate shield-form pendant, h. 50‑1/2”, w. 32‑1/2”. [600/900] Illustrated

553

557 George III-Style Mahogany Writing Table, the rectangular top with an inset red leather writing surface, above a conforming frieze fitted with three drawers, raised on square tapering legs ending in spade feet, h . 30”, w. 60”, d. 32”. [1800/2500]

561 Two Pieces of Japanese Porcelain, late 19th century, Imari ware, decorated in brocade patterns and floral scrolling, the tray with shaped ends, w. 9‑1/2”, l. 16”, and together with a scalloped edge bowl, dia. 13‑1/2”. [150/300] 562 Lot of Twelve Japanese Porcelain Imari Ware, various shaped dishes and serving plates, all with floral and brocade patterns, w. 6‑1/4” to 9”. [100/200] 563 Set of Ten Japanese Porcelain Plates, 19th century, Imari ware, all with floral and brocade decoration, some with scalloped edges, dia. 7” to 10”. [150/300] 564 Impressive Japanese Imari Vase, first quarter 20th century, white cartouches of gilt dragons, phoenix birds and a fence with plum branches, set against a blue ground richly decorated with gilt leaves, scrollwork and white and orange lotus flowers, h. 26”, dia. 12”. [3500/5000] Illustrated 565 Pair of Japanese Shaped Porcelain Serving Dishes, 19th century, Imari ware, of hexagonal form with floral decoration, w. 10”, l. 13”. [100/200] 558 558 Continental Ebonized and Polychrome Four-Fold Japanned Screen, 19th century, the screen within a delicately rendered floral and foliate band, depicting an all-over Oriental figural landscape with various exotic structures, the reverse tri-paneled, each panel with avian and foliate scenes, now mounted on an ebonized custom electrified stand, of paneled angled form, with gilt accents, screen, h. 78”, w. 102”, stand, h. 17”, l. 83”. Provenance: An elegant Fifth Avenue home, New York, New York. [3500/5000] Illustrated

559

564

559 Gilt-Bronze and Porcelain Ewer, third quarter 19th century, the Chinese Imari vase mounted as a ewer, the pierced scrollwork base supporting the vase, a leaf-molded giltbronze handle crowned with a dragon-form thumb piece, the neck decorated with grapes and grape leaves on a stippled ground, and a molded Bacchanalian mask decorates the spout, h. 16‑1/4”, w. 7”, d. 5”. [1800/2500] Illustrated 560 Group of Five Japanese Porcelain Vases and Covered Jars, Imari ware, all in floral and brocade patterns, three drilled and mounted as lamps, h. 4‑1/2” to 9”. [100/200]

566 Japanese Porcelain Punch Bowl, 19th century, Imari ware, decoration of birds and flowers with brocade patterns, dia. 18‑1/2”. [500/800] Illustrated 567 Group of Three Japanese Porcelain Jardinieres, 19th century, Imari ware, all molded with floral and brocade decoration, two with ribs and one with a bow, dia. 5‑1/2” to 8‑1/2”. [150/300] 566

568 Two Japanese Porcelain Bowls, 19th century, Imari ware, each of octagonal form with finely painted floral and brocade decoration, dia. 8‑1/4” and 9‑1/2”. [150/300]

572

570

569 Unusual George III Mahogany Dressing Cabinet, early 19th century, the graduated rectangular top hinged and opening to an interior fitted with compartments for a was basin and other various implements, retaining three wooden vessels, above a case fitted with two cupboard doors, raised on a plinth base, h. 32”, w. 38‑1/2”, d. 18”. [500/800]

570 Queen Anne Mahogany Triple-Top Game Table, 18th century, the rectangular top hinged and opening to a larger wooden surface, further opening to a baizelined surface with recessed wooden wells for gaming pierces, raised on tapering circular legs ending in pad feet, h. 29‑/4”, w. 30‑1/4”, d. 15”. [1400/1800] Illustrated

571

571 Suite of Twelve George III-Style Mahogany Dining Chairs in the Chippendale Taste, comprised of a pair of arm chairs and ten side chairs, each with a shaped foliate-carved crest rail over an open ribbon-carved splat, scalloped seat rails and cabriole front legs with foliate carving at the knoll and ball-and-claw feet, the slip seats in faux leopard upholstery, h. 41”. [1500/2500] Illustrated

572 Pair of George III-Style Mahogany Torcheres, each with a circular dished top raised on a graduated reeded standard with wheat sheaf carving, raised on four splayed cabriole legs headed by wheat sheaf carving and ending in pad feet, h. 62”, dia. 31”. [2000/4000] Illustrated previous page

576

573

575

574 George III Mahogany Chest, fourth quarter 18th century, the rectangular top banded and with satinwood stringing, above a conforming case fitted with two short drawers over three long graduated drawers, raised on shaped bracket feet, h. 36”, w. 38‑1/2”, d. 21‑1/2”. [600/900] 575 Twelve-Light George III-Style Two-Tier Cut-Glass Chandelier, the lower cut-glass pan holds scrolled glass candle arms set with cut-glass scalloped candle cups and flat drip pans hung with prisms, the upper standard encased in vase-shaped cut-glass, terminating in a cutglass canopy, electrified, h. 47”, dia. 33”. [800/1200] Illustrated 576 British School (Third Quarter 19th Century), “Rower on River Thames, With View of Henley-on-Thames, Oxfordshire”, oil on canvas, unsigned, reverse inscribed “Henley Thames”, 7” x 10”. Framed. [500/800] Illustrated

573 English Victorian Staffordshire Garden Seat, fourth quarter 19th century, barrel-shaped and pierced like Chinese export examples, the “flow blue” decoration contrasting borders of white flowers on a cobalt ground, with panels of white ground decorated with bold cobalt flowers and scrollwork, and the barrel ”bands” decorated with raised “nailheads”, h. 19”, dia. 13”. [400/700] Illustrated

578

581 James Christie Prowett (British, 19th/20th Century, d. 1946), “A View of Keir Hill, Dumfries, Scotland”, oil on canvas, signed lower left “J.C. Prowett”, reverse frame with a hand inscribed label, bearing a partial title and artist’s name, 24” x 30”. Presented in a period giltwood and gesso frame. [3500/4000] Illustrated 582 British School (Fourth Quarter 18th Century), “Portrait of a Gentleman”, identified on the reverse as Captain James Arthur, oval oil on tin, unsigned, further inscribed illegibly on the reverse, 10” x 8”. Presented in a oval giltwood frame. [400/700]

580

583 George III-Style Mahogany Sidechair, 19th century and later, the shaped crest above an intricately carved and pierced splat, joined by scrolling arms to the padded seat, raised on chamfered legs joined by an X-form stretcher, h. 36”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [400/700] 584 George III-Style Mahogany Gainsborough Chair, early 20th century, the padded rectangular back with a shaped top, joined by padded out-scrolled arms to the like seat, raised on chamfered legs with rope carving, h. 41”. [2500/4000] Illustrated

584 581 577 W. H. Day (British, 19th/20th Century), “Wooded Landscape With Figures on a Path”, oil on canvas, signed lower left, 24” x 12”. Presented in a period giltwood and gesso frame. [800/1200] 578 George F. Buchanan (British, fl. 1848‑1864), “Mountainous Landscape With a Loch and Castle Ruins”, oil on canvas, signed and dated lower left “G. F. Buchanan 1861”, 24” x 38”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated 579 Frank E. Jamieson (British, 1834‑1899), “Mountainous Landscape With a Brook”, oil on canvas, signed lower right “F. E. Jamieson”, 20” x 30”. Presented in a period frame. [400/700] 580 Benjamin Williams Leader (British, 1831‑1923), “Landscape With a Riverside Cottage and a Figure Resting at the Fence”, oil on canvas, signed lower right “B.W. Leader”, 12” x 20”. Presented in a period giltwood and gesso frame. [2500/4000] Illustrated

587 George III-Style Giltwood Looking Glass, in the Adam taste, the oval plate surrounded by a scrolling avian crest and within an annulated and gadroon-carved frame, each side issuing a foliate patterned candle arm, h. 41‑1/2”, w. 34”. [600/900] Illustrated

587

588 George III-Style Mahogany Drum Table, the circular top with an inset gilt-tooled leather surface, above a conforming case fitted with four drawers, raised on a turned and spiral-ribbed standard to four splayed and reeded legs ending in brass paws, h. 28”, dia. 36‑1/2”. [600/900]

589

591

592

585 Forty Pieces of Imari-Patterned Dinnerware, made in Japan and retailed by Gumps, the set comprised of eight dinner plates, dia. 10‑1/2”, eight bread and butter plates, dia. 7‑1/2”, eight salad bowls, dia. 7‑1/2” and eight cups, dia. 3‑1/4” with eight saucers, dia. 6”. [400/700] 586 Pair of Mason’s Ironstone Covered Garniture Vases, ca. 1900, Flying Bird Pattern, the faceted vases decorated in the Imari palette with phoenix birds, chrysanthemums and plum trees printed in blue and enameled in green, orange and gilt, gilt-trimmed cobalt handles molded as dragons, h. 20”, dia. 7‑1/2”. [1800/2500]

589 George III Mahogany Bedside Commode, fourth quarter 18th century, the rounded rectangular top with full raised edge and pierced handles above a case fitted with a tambour cupboard, above two faux drawers, pulling out to reveal a hinged leather inset surface, opening to a storage interior, raised on square legs, h. 31”, w. 19‑1/2”, d. 16‑1/2”. [400/700] Illustrated 590 Pair of George III-Style Mahogany Settees, each with a padded domed back joined to the cushioned seat with outscrolled arms, raised on cabriole legs ending in ball-and-claw feet, h. 36”, w. 58”, d. 30‑1/2”. [700/1000]

593

591 Regency-Style Giltwood and Marble Side Table, the rectangular Portor marble top above a conforming gadroon- and wave-carved frieze, raised on a winged eagle on a rocky crag support to a recessed rectangular base, h. 32”, w. 40”, d. 20‑1/2”. [1800/2500] Illustrated

592 Pair of Georgian-Style Anglo-Irish Cut-Glass Covered Sweet Meat Dishes, fourth quarter 19th century, square block-cut bases supporting a faceted, knobbed stem, the strawberry-cut bowls with scalloped fan-cut borders, and with domed lids to match with blockcut knops, h. 11‑1/4”. [1000/1500] Illustrated 593 Large George III-Style Mahogany Rent Table, 19th century and later, the circular top with an inset cognac leather surface and a central lidded compartment, above a frieze fitted with eight drawers, raised on a square pedestal, all sides paneled, one a cupboard door, raised on a plinth base, h. 30‑1/2”, dia. 60‑1/2”. [1800/2500] Illustrated 594 Hand-Painted Copeland Spode Porcelain ThreePiece Mantel Garniture, 1833‑1847, each garniture with oval, gilt-rimmed feet supporting an inverted pearshaped body decorated with panels of fruit in a gilt-scrolled panel on one side, and flowers on the other, all on a buff ground, mounted with oval handles, terminating in gilt oak leaves and acorns hanging from molded bellflowers, the molded necks with gilt-trimmed fluting, supporting gilt cornucopias and a gilt and white gadrooned edge, the domed covers painted to match with fruit and flowers and are set with gilt Prince-of-Wales’ feathers knops, marked “5375” and “Copeland & Garrett Late Spode Felspar Porcelain” in a green printed mark, h. 11‑1/4” to 13‑1/2”. [2000/4000]

598

595

595 Pair of George III Satinwood Games Tables, each with hinged demi-lune top with rosewood banding, sunburst veneers and decorative string inlay, opening to a baize-lined interior, above a paneled frame, raised on tapering square legs ending in spade feet, h. 29‑1/2”, w. 36‑1/2”, d. 17‑1/2”. [2000/4000] Illustrated

598 Two Rose Medallion Beaker Vases, ca. 1870, surface decorated with famille rose enamels with alternate panels of figures in palace scenes and fruits and flowers, h. 15‑1/2” and 16”. [1200/1800] Illustrated previous page

602 group of three 609 596 George III-Style Mahogany Bookcase, second quarter 20th century, the narrow rectangular top above a case fitted with four astragal-glazed doors, opening to adjustable shelves, raised on splayed bracket feet, h. 55”, w. 60‑1/2”, d. 14‑1/4”. [700/1000] 597 George III-Style Mahogany Writing Table, early 20th century, the rectangular top with an inset leather writing surface above a conforming frieze fitted with two drawers, raised on tapering square legs, h. 30”, w. 46”, d. 25”. [300/500]

607 599 George III Mahogany and Various Exotic Woods Side Table, in the Hepplewhite manner, the serpentine top centered by a large inlaid floral spray within a floral lattice background, above a conforming shaped frieze, raised on cabriole legs, h. 35‑1/2”, w. 48”, d. 26‑1/2”. [1400/1800] 606

600 Dunhill Inlaid Mahogany Cigar Humidor, inlaid with a conch shell on the cover and mounted with brass batwing pulls, resting on an integral Hepplewhite-style stand, labeled “Alfred Dunhill of London, New York, Paris”, lined accordingly, h. 21”, w. 14‑1/2”, d. 10‑1/2”. [500/800] 601 George III Mahogany Kneehole Desk, late 18th century, the banded rectangular top with molded edge above a case fitted with a single long drawer over a shaped pendant drawer and recessed cupboard, flanked to either side by a bank of three graduated short drawers, all banded, raised on bracket feet, h. 32”, w. 36”, d. 19‑1/4". [1200/1800] 602 Collection of Three Prints, including “Le Chat Aux Fleurs”, etching on wove paper by Edouard Manet (French, 1832‑1883), signed in plate, sheet 13‑3/4” x 9‑3/4”, “Le Parc Monceau”, etching on thin laid paper by Pierre Bonnard (French, 1867‑1947), signed in plate, sheet 17” x 13”, and “Inferno”, from Divine Comedy, a heliogravure on Rives paper, watermarked “Les Heures Claires”, by Salvador Dali (Spanish/French, 1904‑1980), unsigned, sheet 13” x 10‑1/4”. All unframed. [800/1200] Illustrated 603 Marie Lurencin (French, 1885‑1956), “Visage de Femme”, 1947 and “Jeunne Femme”, two etchings, former initialed in plate lower right, reverse affixed with a letter from the artist, latter initialed in pen lower right margin, former sight 8‑1/2” x 6”, latter sight 5” x 3‑3/4”. Both glazed, matted and framed. [600/900] 604 Francisco Goya (Spanish, 1746‑1828), “The Little Prisoner” (D. 31), etching, printed by Delatre, Paris for the Gazette Des Beaux-Arts, 1867, unsigned, sight 5‑5/8” x 4‑3/8”. Glazed, matted and framed. [500/800] 605 Paul Cezanne (French, 1839‑1906), “Portrait de Peintre A. Guillaumin au Pendu” (C. 2), etching on cream laid paper, 1873, unsigned, from the 1923 printing of Les Peintres Impressionistes de Duret, sight 7‑1/2” x 5‑1/2”. Glazed, matted and framed. [500/800] 606 Pierre August Renoir (French, 1841‑1919), “Baigneuse Debot, A Mi-Jambes”, etching on laid paper, unsigned, sheet 13” x 10”, “Femme Nue Couchee”, tourne a droite, drypoint on cream wove paper, unsigned, sheet 10” x 12‑3/4”, and “Claude Renoir”, la tete baisee, lithograph on wove paper, signed in plate, sheet 13” x 9‑7/8”. All unframed. [800/1200] Illustrated

607 Mary Cassatt (American, 1845‑1926), “Sara Smiling” (B. 195), drypoint etching on thin cream wove paper, c. 1904, unsigned, sheet 12” x 9”. Glazed and framed. [800/1200] Illustrated 608 Raoul Dufy (French, 1877‑1953), “Bather”, etching, c. 1930, signed in pencil and stamped lower right, numbered lower left “21/75”, sheet 19‑3/4” x 25‑3/4”. Glazed and framed. [500/800] 609 Raoul Dufy (French, 1877‑1953), “Bather with Sailing Boats”, etching, c. 1930, signed in pencil and stamped lower right, numbered lower left “25/75”, sheet 19‑3/4” x 25‑1/4”. Glazed, matted and framed. [700/1000] Illustrated 610 Marc Chagall (Russian/French, 1887‑1985), “Self Portrait”, frontspiece from The Lithographs of Marc Chagall, Vol. I (M. 282), color lithograph, unsigned, sheet 12‑3/8” x 9‑3/8”. Glazed and framed. [500/800] 611 Henri Matisse (French, 1869‑1954), “Nude” and “Head of a Girl”, two black and white lithographs, both signed and dated in stone, sheet 14” x 11”. Both glazed and framed. [600/900] 612 Reuben Nakian (American, 1897‑1986), “Untitled”, etching and chine calle, signed in pencil lower right “Nakian”, numbered lower left “17/75”, sight 18‑1/2” x 25‑1/4”. Glazed, matted and framed. [200/400] 613 Jacques Villon (French, 1875‑1963), “The Swimmer”, etching, second state, trial proof, signed in pencil lower right “Jacques Villon”, sheet 12‑3/4” x 9‑3/4”. Glazed and framed. [400/700] 614 Jules Pascin (French, 1885‑1930), “Le Divan”, hand colored etching, stamped lower right “Atelier Pascin”, sight 7‑3/8” x 9‑3/8”. Glazed, matted and framed. [300/500] 615 Salvador Dali (Spanish/French, 1904‑1989), two “Don Quixote” etchings, one numbered lower left “125/250”, both identified in pencil lower margins, sight 13‑1/4” x 10‑1/4”. Both glazed and framed. [600/900]

616 Forged and Hand-Wrought Steel and Glass Coffee Table, 1995, the rectangular top with inset glass and raised on tapering tubular legs ending in ball feet, the top edge and x-stretchers in a rope twist design, the stretchers centered by a disc bearing a brass signature plaque: “Darryl A. Reeves / 504‑944‑5941 / October ‘95”, h. 19‑1/2”, l. 44”, d. 24‑1/4”. Provenance: Custom made for the consignor by New Orleans, Louisiana blacksmith, Darryl A. Reeves. [500/800] Illustrated

617

617 After Romain de Tirtoff Erte (Russian/French/ American, 1892‑1990), “Amazon”, enameled bronze sculpture, depicting a dramatic female with a red cape, headdress and tunic, astride a prancing horse carrying a shield, signed “Erte”, stamped “343/375 ART RENNAISANCE 1985”, h. 17‑1/4”, d. 5‑1/2”, l. 15”. Provenance: Dyansen Gallery, San Francisco, California, accompanied by original documentation. [700/1000] Illustrated

618

620

616

618 After Romain de Tirtoff Erte (Russian/ French/American, 1892‑1990), “Belle Du Bal”, enameled bronze sculpture, in typically dramatic Erte style, depicting a woman of color, wearing a gilt-beaded silver gown with a dramatic lavender train, stamped “479/500 1988 Seven Arts Ltd. London”, h. 18”, w. 13‑1/4”, d. 5‑1/2”. Provenance: Dyansen Gallery, San Francisco, California, accompanied by original documentation. [2000/4000]

619 Cut-Glass Hall Chandelier, spear-cut prisms of alternating length decorate the outside, while double ball prisms decorate the inside, with a single electrical socket, h. 9”, dia. 10”. [125/250] 620 Contemporary Glass and Burnished Steel Side Table, of Directoire inspiration, the rectangular glass top raised on a curule-form back with central ram’s head accents, and joined by a stretcher modeled as antlers, ending in hoof feet, h. 27”, w. 42”, d. 24‑1/4”. [200/400] Illustrated 621 Two Pieces of Mid-Century Steuben Glass, Corning, New York, the “Cornucopia” vase designed in 1964 and the “Coronet” bowl in 1953, each signed in Steuben engraved script, vase, h. 7‑1/2”, w. 4‑1/4”, d. 4‑3/4”, bowl, h. 3”, dia. 8‑3/4”. [200/400] 622 Orrefors “Selena” Bowl, mid-20th century, designed by Sven Palmquist, composed of heavy pearlized glass, and with a ground pontil marked “Orrefors”, h. 9‑3/4”, dia. 2‑1/2”. [75/125] 623 Orrefors Crystal Bowl, 20th century, Swedish, the bowl blown and cut, signed “Orrefors 99 0395‑141”, h. 5‑3/4”, dia. 9‑1/2”. [100/200]

628 626 Orrefors “Selena” Bud Vase, mid-20th century, designed by Sven Palmquist, composed of heavy pearlized glass, and with a ground pontil marked “Orrefors PU 3030/17”, h. h. 4”, w. 9‑1/4”. [75/125] 627 Pablo Picasso (Spanish/French, 1881‑1973), “Woman’s Face”, white earthenware clay, 1953, stamped on the reverse “Madoura Plein Feu” and “Edition Picasso”, marked “Edition Picasso”, 15‑1/4” x 12‑5/8”. Reference: A. Rame, No. 220. [2500/4000] Illustrated 627

624 Lalique Glass Cat Sculpture, 20th century, French, molded and frosted with a polished base, signed “Lalique France”, along with a paper label, “Made in France”, h. 8”, w. 3‑1/2”, d. 5‑1/4”. [250/400] 625 Impressive and Large Pair of Polished Buffalo Horns on Stands, the large horns, polished and displayed on square Lucite bases, h. 29”, stand w. 7”, stand d. 7”. [125/250]

628 After Pablo Picasso (Spanish/French, 1881‑1973), “Danseuse Naine” from the Barcelona Series (Cz. 234), color offset lithograph, 1966, signed in pencil lower right “Picasso”, numbered lower left “22/60”, published by Museo Picasso, Barcelona, sight 25” x 15‑5/8”. Glazed, matted and framed. [4500/7000] Illustrated 629 Georges Braque (French, 1882‑1963), “Les Couples” from Lettera Amorosa (V. 187, p. 53), color lithograph, 1963, unsigned, sight 12‑1/4” x 9‑3/8”. Glazed, matted and framed. [400/700]

630 Marc Chagall (Russian/French, 1887‑1985), “L’Ange” and “L’Acrobat Vert”, two color lithographs, unsigned, latter signed in stone “Marc Chagall”, sight 12” x 9‑1/4”. Both glazed, matted and framed. [800/1200] Illustrated 631 Marc Chagall (Russian/French, 1887‑1985), “Miriam, the Sister of Moses, Dances with Her Companions to Celebrate the Deliverance of Israel” from The Bible (C. Books 30), hand colored etching, 1931‑1939, published by Teriade, Paris, initialed in pencil lower right “M. Ch.”, numbered lower left “37/100”, sight 13” x 10‑1/4”. Glazed, matted and framed. [2800/4000] Illustrated

631 636 Alexander Calder (American. 1898‑1976), “Card Players” and “Three Card Players”, two color lithographs, 1975, published in Derriere Le Miroir, Paris, unsigned, sheet 14‑3/4” x 21‑3/4”. Both glazed and framed. [300/500] 637 Ben Shahn (American, 1898‑1969), “Blind Botanist”, color lithograph, signed lower right “Ben Shahn”, sight 25‑3/4” x 19‑3/4”. Glazed, matted and framed. [600/900]

630 group of two 632 Marc Chagall (Russian/French, 1887‑1985), “The Artist Over Paris” (M. 992), color lithograph, 1981, unsigned, published by Maeght, Paris, sheet 14‑3/4” x 20‑1/4”. Framed [400/700] 633 Victor Vasarely (Hungarian/French, 1906‑1997), “Procion I”, color screenprint on blindstamped paper, 1970, signed in pencil lower right “Vasarely”, numbered lower left “63/289”, sheet 26” x 26”. Glazed and framed. [700/1000] 634 Victor Vasarely (Hungarian/French, 1906‑1997), “Untitled”, color screenprint, signed in pencil lower right “Vasarely”, numbered lower left “47/250”, sight 17‑1/4” x 13‑1/4”. Glazed and framed. [300/500] 635 Henri Matisse (French, 1869‑1954), “Sorrows of the King”, color lithograph after a gouache decoupee, initialed in plate lower right, published by Mourlot in Verve, 1958, sight 13” x 15‑3/4”. Glazed, matted and framed. [400/700] 638

641

638 Joan Miro (Spanish/French, 1893‑1983), “Composition V” from the Je Travaille Comme un Jardinier series (M. 354), color lithograph, 1963, signed in pencil lower right “Miro”, numbered lower left “31/40”, sight 15” x 12‑1/4”. Glazed, matted and framed. [1400/1800] Illustrated

640 Salvador Dali (Spanish/French, 1904‑1989), “Aragne” and “The Spirit”, two color woodcuts from The Divine Comedy, both unsigned, both inscribed lower margin in pencil “Salvador Dali, original woodcut”, sight 12‑1/4” x 9‑1/4”. Both glazed, matted and framed. [600/900]

639 Salvador Dali (French/Spanish, 1904‑1989), “My Wife Nude Contemplating Her Own Flesh Becoming Stairs, Three Vertebrae of a Column, Sky and Architecture”, dry point etching, signature stamped lower right, numbered 232/235, sight 24” x 19‑1/2”. Glazed, matted and handsomely framed. [550/800]

641 Franz Kline (American, 1910‑1962), “Untitled”, ink on paper, signed in pencil lower right “Kline”, 10” x 12‑3/4”. Unframed. Provenance: Private collection, New York; Estate of Mrs. Gladys Backman, SC; Stable Gallery, New York, NY. [80000/120000] Illustrated

100

642 Patrick Boudon (French, 1944‑1988), “Untitled Abstract”, mixed media on board, signed lower right “Patrick Boudon”, 24” x 33”. Presented in a molded giltwood frame. [1000/1500] Illustrated 643 Hendrika Antonia van Diest (Dutch, b. 1948), “Woman With a Wine Glass”, oil on board, signed and dated lower right “V. Diest ‘92”, sight 38” x 27”. Glazed and framed. [1000/1500] Illustrated 644 Hendrika Antonia van Diest (Dutch, b. 1948), “Abstract Figures”, gouache on paper, signed and dated lower right “H. van Diest ‘86”, sight 18” x 23”. Glazed and framed. [500/800]

645

645 Dame Elisabeth Frink, R.A. (British, 1930‑1993), “Chinese Horse IV (Rolling)”, patinated bronze, signed and numbered “Frink 7/8”, h. 8”, l. 16‑1/2”. Provenance: Private collection, New Orleans, LA. [20000/40000] Illustrated 648 Blown and Cut Contemporary Glass Globe Vase, Jason Guerard, Asheville, North Carolina, from his “chaos” series, with an etched and textured ground, with swirling polished appliques of blue and raspberry, signed “Guerard” in etched bottom signature, h. 7‑1/2”. [400/700] Illustrated

642 646 Paul Jenkins (American/French, 1923‑2012), “Phenomena Tides of Change”, oil on canvas, 1975, signed lower left, signed, titled and dated on the reverse stretcher, 50” x 60”. Framed. [20000/40000] Illustrated 647 Patrick Boudon (French, 1944‑1988), “Untitled Abstract”, mixed media on paper, signed and dated “75” lower right, sight 24” x 30”. Glazed, matted and framed. [600/900] 643

101

646

649 Serge Roche (French, 1898‑1988) Marble, Painted Wood and Composition Plaster Shell-Form DemiLune Console Table, mid-20th century, the wood and composition elements painted a rich cream matching the marble top, h. 32”, w. 37‑3/4”, d. 14‑3/4”. [1500/2500] Illustrated

648

649

102

650 Mid-Century Modern Lucite Nesting Tables, third quarter 20th century, consisting of three graduated tables, all of rounded form, h. 18”, w. 18”, d. 14‑1/2”. [500/800] Illustrated 651 Scandinavian Crystal Vase, mid-20th century, indistinctly signed, the blown and cut-crystal vase, with a mushroom-shaped top and cut with incised lines, h. 9”, dia. 4‑1/2”. [50/80] 652 Contemporary Figural Glass Sculpture, depicting a stylized female nude, number 20 in an edition of 100, signed illegibly, h. 21‑3/4”. [300/500]

650

653 653 Philip and Kelvin Laverne Acid-Etched, Enameled and Patinated Bronze Table Top or Wall Plaque, 1960’s, in the classical taste, comprised of two bronzeframed panels depicting classical figures, the wood back slightly stepped with a matching bronze frame to accommodate a table base, along with two bronze supports to enable hanging, signed in enamel: “LAVERNE”, h. 48‑1/4”, w. 48‑1/4”. [2000/4000] Illustrated 654 Large Snapping Turtle Shell, the segmented natural shell in mottled brown and grey tones, stand not included, w. 11”, l. 14”. [75/125] Illustrated 655 Large Snapping Turtle Shell, the natural segmented shell mottled grey, black and brown, stand not included, w. 12‑1/4”, l. 15‑1/2”. [75/125] Illustrated

654 655

656 Large Burled Hardwood Log and Slab Low Table, 20th century, in a style inspired by George Nakashima, the highly polished irregularly-shaped top supported by a gnarled tripodal base, h. 18”, w. 85”, d. 57”. [3500/5000] Illustrated 657 Interesting Burled Hardwood Cross-Section Cut Log Coffee Table, 20th century, in a style inspired by George Nakashima, the polished and finished top mounted to a gnarled tree-trunk-form tripodal base, h. 19”, d. 22”, l. 42”. [600/900] 658 Monumental Log and Slab Low Table, late 20th century, the crotch-cut and burlwood top of irregular shape, one side carved depicting a gnarling mountain lion atop a rocky crag, with a contiguous tripodal base, h. 34”, w. 70”, d. 59”. [1500/2500]

103

663 French Art Nouveau Poster, “Moteur Ceres”, lithograph poster, printed by Pichot, Paris, ca. 1900, sight 53” x 38”. Glazed and presented in a contemporary silvered frame. [500/800] 664 Charles Lucien Leandre (French, 1862‑1930), lithograph poster, signed in print “C. Leandre”, printed by Chaix & G. de Malherbe, Paris, 1900, sight 30‑1/2” x 45‑1/2”. Glazed, attarctively matted and presented in a contemporary silvered frame. [500/800]

660 659 Cast-Stone, Copper, Glass and Gnarled Wood Hibachi on Stand, late 20th century, the circular glass top over a section of gnarled stump, the interior fitted with a conforming copper-clad liner, on a columnar cast-stone base, h. 31”, dia. 31” [1000/1500] 660 French Art Deco Design For a Triumphal Arch, titled “Arc de Triomphe, pour Reception Officielle”, graphite and watercolor on paper, signed and dated lower right “JArnot 1927” and stamped with seal of Ecole Nationale D’Art Decoratif, Nice, sight 36‑1/4” x 22‑3/4”. Glazed, attractively matted and framed. [800/1200] Illustrated

662

661 Leonetto Cappiello (French, 1875‑1942), “Le Thermogene”, lithograph poster, sight 36” x 27‑1/2”. Glazed, matted and presented in a contemporary silvered frame. [400/700] 662 Paul Balluriau (French, 1860‑1917), “L’Eclair”, lithograph poster, printed by Delattre & Juliot, Paris, ca. 1900, sight 31” x 23”. Glazed, linen-matted and presented in a contemporary gitlwood frame. [600/900] Illustrated

104

656

670

671

669

669 Lalique “Beautreillis” Pattern Bowl, introduced in 1927, French, colorless and wheel-engraved “R. Lalique France” on the base, the bowl with a foot molded in cabochons in a basketweave pattern, h. 6”, dia. 7‑1/4”. [1400/1800] Illustrated 670 Lalique, France, Dark Amber Glass “Malesherbes” Vase, second quarter 20th century, molded with upright overlapping leaves, signed: “R. Lalique, France, 1014”, h. 9‑1/2”. [3000/5000] Illustrated

665 671 LeGras Cameo Glass Vase, first quarter 20th century, French, the tear drop-shaped vase with carved mauve vines and fruit, cut to reveal lavender base, the Legras signature carved into the design, etched “Made in France” on the bottom, h. 6‑3/4”, dia. 4‑1/2”. [600/900] Illustrated 672 Jerzy Nowosielski (Polish, 1923‑2011), “Seated Partial Nude With Sunglasses”, oil on canvas, signed and dated on the reverse canvas “J. Nowosielski 1971”, 21‑1/2” x 18”. Framed. [7000/10000] Illustrated

665 Large Pair of Contemporary Onyx Floor Lights, the rectangular lamps composed of fitted slabs of brown and cream onyx, four-light lamp standards enclosed in the interior, h. 39‑1/2”, w. 15‑3/4”, d. 7‑1/2”. [4000/7000] Illustrated 666 Contemporary Semi-Precious Stone-Clad Box, possibly cat’s eye, the carnelian-colored stone with white veins, cut in squares and assembled in a pattern, h. 1‑1/2”, w. 6”, d. 4‑3/4”. [500/800] 667 Carved Horn Bowl, the oblong bowl composed of striated brown and grey horn, h. 4‑3/4”, w. 8‑1/2”, d. 12”. [300/500] 668 Round Footed Horn Bowl, composed of brown and gray striated horn and resting on a hemispherical foot, the interior polished, h. 3‑1/2”, w. 7‑1/4”, d. 6‑3/4”. [300/500]

672

105

673 Contemporary Marble and Onyx Center Table, the ovoid rouge marble top raised on figured onyx split column supports, each fluted and raised on a molded socle base, h. 29‑1/2”, w. 60”, d. 41”. [1000/1500] Illustrated 674 Contemporary Blonde Wood Cocktail Table, the rectangular top raised on square legs, completely veneered in chevron patterns, h. 16”, w. 55‑1/2”, d. 24‑1/2”. [300/500] 675 Pair of Gilt-Iron Two-Light Sconces in the Arts and Crafts Style, the backplate with a faux hammered design, in the form of tassels with side scrolls, the arms set with candle cups and “hammered” drip pans, electrified, h. 14‑1/4”, w. 10‑1/2”, d. 4”. [200/400]

676

678 676 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Large Head”, oil on canvas, c. 1940, signed lower left “Harvey Sherman Harris”, titled, dated and signed on the reverse stretcher, 20” x 16”. Presented in a carved wood frame. Provenance: Private collection, New Orleans, Louisiana. Born in Hartford, Connecticut, Harvey Harris attended Hartford Art School throughout his childhood and young adulthood. In the 1940, upon meeting the famed American artist Thomas Hart Benton in his home, he enrolled in the Kansas City Art Institute. According to the artist’s autobiography, Benton, upon perusing Harris’s work said “You can sure draw, kid, much like Reginald Marsh”. Upon being discharged from the army in 1943, he enrolled and earned an MFA and BFA from Yale University where he studied with Joseph Albans and Willem de Kooning. He taught at Louisiana State University for over twenty years and achieved regional and national acclaim as an artist. In 1945, he won a competition to illustrate Thomas Wolfe’s limited edition of “Look Homeward Angel” and in 1986, the Rockefeller Foundation commissioned him to design set and costumes for Louisville Philharmonic Symphony. [700/1000] Illustrated

677 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Head of Old Man”, charcoal on paper, c. 1940, unsigned, sight 16” x 12”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [250/400] 673

106

678 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Standing Nude”, gouache on pink paper, c. 1940, signed lower right “Harvey Sherman Harris”, sight 18” x 1‑3/4”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [400/700] Illustrated

679 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Grand Nude”, graphite on paper, c. 1940, signed lower right “Harvey Sherman Harris”, sheet 23‑3/4” x 18‑1/2”. Glazed and framed. Provenance: Private collection, New Orleans, Louisiana. [400/700] Illustrated 680 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Woman in a Floral Patterned Skirt”, charcoal on paper, c. 1940, signed lower right “Harvey Sherman Harris”, sheet 23” x 18‑1/2”. Glazed and framed. Provenance: Private collection, New Orleans, Louisiana. [300/500] 681 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Seated Nude, Arms Raised”, charcoal on paper, c. 1940, unsigned, sight 17‑1/2” x 11‑3/4”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [250/400] 686 684 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Nude, Right Hand on Table”, charcoal on paper, c. 1940, signed lower right “Harvey Sherman Harris”, sight 22‑3/4” x 17‑3/4”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [250/400]

679 682 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Nude With One Arm Raised”, charcoal on paper, c. 1940, unsigned, sight 18” x 11‑3/4”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [250/400] 683 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Nude With One Foot on a Chair”, charcoal and graphite on paper, c. 1940, unsigned, sight 18” x 12”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [250/400]

690

107

685 Harvey Sherman Harris (American/Baton Rouge, 1915‑1999), “Seated Nude”, charcoal on paper, c. 1940, unsigned, sight 16” x 11‑3/4”. Glazed, matted and framed. Provenance: Private collection, New Orleans, Louisiana. [250/400] 686 Diana, Princess of Wales (1961‑1997) Autographed Letter, dated August 1992, on Kensington Palace letterhead, the typewritten letter expressing the Her Royal Highness’ support for AIDS research and thanking the Foundation for Educational Research for presenting her with their 1992 Humanitarian Award, signed “Diana”, sight 8‑1/2” x 6‑3/4”, along with a second typewritten letter signed by Patrick Jephson, the Princess of Wales’ Private Secretary, dated October 22, 1992, on St. James’ Palace letterhead, acknowledging the receipt of the award, thanking the Foundation’s representative Mr. Patrick F. Lee and apologizing for having been unable to attend the ceremony, sight, 9‑1/2” x 7‑1/2”, presented together in a red, black and cream triple mat, in a gilt-threaded black frame and glazed, 21‑1/2” x 27‑1/2”. [300/500] Illustrated

692 694 suite of nine 689 Beautiful Tanned Reindeer Fur Rug, Finland, the luxurious tanned fur hide with soft markings, 51” x 43”. [150/300] 690 Stanislaw Ignacy Witkiewicz (Polish, 1885‑1939), “Portrait of a Young Man”, pastel on paper, signed and dated lower left “Witkacy 1938”, sight 24” x 18‑1/2”. Glazed, matted and framed. [3000/5000] Illustrated

687 Large Carved African Figure, 20th century, bas reliefcarved with snakes and a pair of eyes, depicted with a protruding belly button and elongated neck with concentric rings, a clay attached to its neck, h. 31‑3/4”. [300/500] 688 Two Carved African Figures, 20th century, the first carved with crosshatching and wears a conical hat with vertical ear pieces, h. 24”, the other wearing a cylindrical garment with a checked pattern and with a forward peaked hair style, h. 25”. [150/300]

108

691 Russian School (20th Century), “Landscape As Seen Through an open Window”, oil on canvas, titled in Russian and signed in cyrillic alphabet reverse stretcher “G. Gomelv Ivanechko”, 25‑1/2” x 33”. Presented in a giltwood and gesso frame. [600/900] 692 Post-Modern Eight-Light Verdigris-Patinated-Metal and Sand-Blasted Glass Chandelier, 20th century, inspired by a Louis XV design, the scrolled frame set with turned candle cups and flat drip pans, strung with ball prisms and pendalogues, h. 40”, dia. 28”. [400/700] Illustrated 693 Pair of Attractive Obelisks, each completely encrusted in blue limpet shells and within a tapering ebonized base, h. 27‑1/2”. [150/300]

697 After Joan Miro (Spanish, 1893‑1983), suite of four lithographic posters, including “Galerie Maeght, Miro, Sobreteixims”, 1973, sheet 32‑1/2” x 22”, “Berggruen, Hommage a Joan Prats: 15 Lithographies Originale de Joan Miro”, 1972, sheet 29‑1/2” x 23”, “Unesco, Miro, Droits de L’ Hommage”, sheet 28‑3/4” x 21‑1/4”, and “Miro Bronzes, Hayward Gallery”, 1972, sheet 35” x 22”, and a chromolithograph by Alexander Calder (American, 1898‑1976), “Untitled”, initialed and dated “74” in plate lower right, sheet 27” x 22”. All unframed. [800/1200] 698 Pablo Picasso (Spanish/French, 1881‑1973), “Pour Fernand Mourlot”, color lithograph, 1957, signed in stone, sheet size 15” x 11”, “The Youth Dancers”, color lithograph, 1961, signed in stone, sheet 25‑3/8” x 19‑3/8”, “Galerie Craven, Collages, Aquarelles, Gouaches”, lithographic poster, 1958, sheet 26” x 18‑1/2”, “XXXII Festival D’Avignon, Cinquante Anne De Lithographie Aux Ateliers Mourlot, Au Palais Des Papes”, lithographic poster, 1978, sheet 29‑5/8” x 20”, and “Musee D’Art Moderne-Ceret, Picasso Et La Tauromache”, lithographic poster, 1982, sheet 35” x 23‑1/8”. All unframed. [1000/1500] Illustrated 699 After David Hockney (British, b. 1937), “Modern Museum of Art, Santa Ana”, lithographic exhibition poster, 1989, sheet 36” x 26”. Unframed. [800/1200] 700 Niek van der Plas (Dutch, b. 1954), “Canal Grande, Venice”, oil on panel, signed lower right “Van der Plas”, signed and titled on the reverse, 13‑1/2” x 18”. Presented in a attractive Rococo style frame. [1800/2500] Illustrated 696 suite of two

694 After Marc Chagall (Russian/French, 1887‑1985), suite of nine lithographic exhibition posters, including “La Ruche Et Montparnasse”,1979, sheet 28” x 21”, “Marc Chagall, Peintures Bibliques Recentes”, Musee National Message Biblique, Nice, 1977, sheet 30” x 20”, two “Chagall, Galerie Maeght”, 1962, sheet 28” x 21”, “Ceret, Marc Chagall, Oeuvres Graphiques”, Musee D’Art Moderne, 1968 , sheet 28‑3/4” x 20”, “Marc Chagall, Grand Palais”, 1969‑1970, sheet 28” x 20”, “Chagall, Galerie Maeght”, 1972, sheet 30” x 20”, “Marc Chagall, Kiallitas Mucsarnok”, Budapest 1972, sheet 34” x 22”, “From the Collection, Museum of Art Kibbutz Ein Harod”, Israel, 1979, sheet 33” x 34‑5/8”, and “Le Couple a L’Arbre’, black and white lithograph, unsigned, sheet 12‑1/2” x 9‑1/2”. All unframed. [2000/4000] Illustrated previous page 695 Collection of Two French Lithographic Posters, including “L’ Atelier de Braque, Musee du Louvre”, Mourlot, 1961, after Geroge Braque (French, 1882‑1963), sheet 20‑3/4” x 29‑3/4” and “L’ Atelier Mourlot”, Mourlot, 1984, after Fernand Leger (French, 1881‑1955), sheet 20‑1/2” x 28‑1/2”. Both unframed. [700/1000] 696 After Henri Matisse (French, 1869‑1954), two lithographic posters, including “Henri Matisse, Oeuvres Graves”, Maeght Editeur, 1999, sheet 30" x 20”, and “Travail Nice Joie”, sheet 39” x 25”. Both unframed. [1400/1800] Illustrated

698

109

701 Vasiliy Nicholayevich Gribennikov (Russian, b. 1951) “Venetian Canal”, signed and dated lower right “Gribennikov, V. 2008”, signed, titled an dated in Cyrillic on the reverse, 13‑1/2” x 19‑1/2”. Handsomely framed. [800/1200] Illustrated 702 Vasiliy Nicholayevich Gribennikov (Russian, b. 1951) “In the Port”, signed and dated lower right “Gribennikov, V. 2010”, signed, titled an dated in Cyrillic on the reverse, 13‑1/2” x 19‑1/2”. Handsomely framed. [800/1200] 703 Niek van der Plas (Dutch, b. 1954), “Children Playing in the Sand”, oil on panel, signed lower right “Van der Plas”, 6‑1/2” x 8‑3/4”. Presented in a Rococo style frame with a linen liner. [1000/1500] Illustrated

700

704 Jean Helleu (French, 1894‑1985), “Coastal Landscape With a Sailboat”, possibly coast of Deuville, Normandy, France oil on panel, signed lower left “Jean Helleu”, 13” x 18‑1/4”. Framed. [400/700] 705 Niek van der Plas (Dutch, b. 1954), “Beach Scene”, oil on panel, signed lower right “Van der Plas”, 6‑1/2” x 7‑1/4”. Presented in a Rococo style frame with a linen liner. [800/1200] Illustrated 706 American School (Contemporary), “Looking for Seashells”, oil on canvas, unsigned, 20” x 24”. Presented in a attractive giltwood frame. [300/500] 701

703

110

705

710 English Victorian Majolica Asparagus Dish, fourth quarter 19th century, the polychrome glazed earthenware molded to resemble an asparagus nest sitting in a basket of grape leaves, marked with a roman numeral II, h. 3‑3/4”, w. 10‑1/2”, l.15‑1/4”. [150/300] 711 Provincial Oak Refectory Table, 18th century, the rectangular top above a plain frieze, raised on turned bulbous legs joined by a box-form stretcher and raised on bun feet, h. 30”, w. 73”, d. 37‑1/2”. [1200/1800] Illustrated 712 Pair of Provincial Louis XVI-Style Fruitwood Fauteuils, late 19th century, each with three scalloped ladderbacks surmounted by finials, joined to the cushioned rush seat by rounded arms on turned uprights, raised on turned circular legs joined by an H-form stretcher and ending in toupie feet, h. 37”. [900/1200]

707 707 French Provincial Fruitwood Buffet a Deux Corps, mid-19th century, the molded cornice with canted corners above a conforming case fitted with a floral-basket-carved frieze over two doors, each inset with a shaped panel, the conforming lower section fitted with two cupboard doors, each inset with a shaped panel, raised on scrolled toes, h. 83”, w. 57”, d. 20‑1/2”. [2000/4000] Illustrated 708 Giovanni Sandrucci (Italian, 1828‑1897), “The Bird Nest”, oil on canvas, signed upper center “G. Sandrucci”, 23” x 31‑1/2”. Presented in a giltwood exhibition frame. [1500/2500] Illustrated 709 Collection of French TinLined Copper Cookware, comprised of a large saucepan with dovetailed construction, the lid stamped “Bazaar Francais New York”, h. 7”, dia. 11”, l. 23”, an u-lidded saucepan from the same retailer, h. 4‑1/2”, dia. 8‑1/2”, l. 15‑1/2”, a small lidded saucepan, h. 3‑1/2”, dia. 6‑1/25”, l. 12‑1/2”, and a lidded skillet, h. 2‑1/4”, dia. 9‑1/2”, l. 18‑1/2”. [250/400]

708

711

111

716 Victorian Figural Yellow Ware Pottery Cigar and Match Holder, third quarter 19th century, probably Continental, molded with a young sleeping hunter, his gun at his side, larger cigar holder and smaller match holder molded with cat tails, a rabbit peeking at the boy, indistinctly stamped “EB” and “2374” on the bottom, h. 6‑3/4”, w. 8”, d. 5‑3/4”. [200/400] 717 Ferdynand Ruszczyc (Polish, 1870‑1936) “Herding Cattle”, watercolor on paper, signed lower right “F. Ruszczyc”, sight 13‑3/4” x 9‑3/4”. Glazed, matted and framed. [2000/4000] Illustrated

713

718 Frans Pieter Ter Meulen (Dutch, 1843‑1927), “Shepherd and Flock”, watercolor on paper, signed lower right “Ter Meulen”, sight 13” x 15‑1/2”. Glazed, matted and framed. [400/700]

715 713 Suite of Eight Louis XVI-Style Fruitwood Sidechairs, each with a domed crest above a pierced lyre-form splat, the rush seat raised on bulbous stop-fluted legs joined by an X-form stretcher and ending in toupie feet, h. 37”. [1500/2500] Illustrated 714 Provincial Empire Fruitwood Daybed, late 19th century, each end with a shaped crest above a double wheat sheaf splat, raised on splayed legs, h. 36‑1/2”, d. 36”, l. 79”. [400/700] 715 French Provincial Fruitwood Bureau, early 20th century, the slant front with two shaped panels, opening to cubbyholes and a central cupboard, above three long drawers, all with shaped fronts, raised on scrolled toes, h. 44”, w. 44”, d. 22”. [1000/1500] Illustrated

112

717

719

719 Louis XV Michel Cresson Walnut Canape, mid-18th century, the triple arched back surmounted by foliate crests, joined by padded arms to the shaped cushion seat, above a shaped-shell carved apron, raised on cabriole legs ending in scrolled toes, the seat rail signed “M. Cresson”, h. 40”, w. 76”, d. 23”. Michel Cresson (1709‑1781), Master: 8/30/1740) was a second generation of a prominent family of cabinet makers, including his father Jean Cresson, his uncle Charles Cresson and his younger brother Louis Cresson. Michel and Louis’s furniture, in the Louis XV style is noteworthy for its ample proportions and sculptural quality. Cresson was granted commissions by the Prince de Conde to make chairs for his Paris residence, the Palace Bourbon and his chateau in Chantilly. Commissions from the Marquis de Sourches include the Chateau d’Abondant. Examples of his work are represented in several museum collections including the Louvre. [5000/8000] Illustrated

722

720

720 Pair of Louis XVI Walnut Fauteuils, early 19th century, each with a padded oval back within a molded frame, joined by padded scrolling arms to the padded seat, raised on tapering circular fluted legs ending in toupie feet, h. 36”. [1400/1800] Illustrated 721 Louis XVI-Style Fruitwood Fauteuil, early 20th century, the padded medallion back within a ribboncarved frame and surmounted by a bow crest, joined by padded foliate arms to the like seat, raised on tapering fluted circular legs ending in toupie feet, h. 35”. [300/500]

113

722 Regence-Style Fruitwood Fauteuil, late 19th century, the padded and slightly domed back joined by scrolling acanthine-carved arms, the padded seat raised on cabriole legs ending in scrolled toes, h. 42”. [800/1200] Illustrated

725 Louis XV-Style Polychrome CastIron and MarbleTop Console Table, early 20th century, the bowed Breche d’Aleps marble top above a pierced frieze, raised on scrolling legs headed by leaf capitals and ending in scrolled toes joined by a stretcher, h. 33‑1/2”, w. 39”, d. 13”. [700/1000]

723 French Hand-Painted Linen Tapestry Panel, late 18th century, the scene depicting a chateau with a large tree and a bird in front of a window, mounted with Velcro on the bottom, w. 57”, l. 88”. [2000/4000] Illustrated 724 Provincial Louis XV-Style Oak Lectern, mid-19th century, the slanted rectangular top with molded edge, above a three-sided case,all with an inset shaped fabric panel within scrolling foliate patterns, raised on splayed carved feet, h. 34”, w. 29”, d. 20”. [1400/1800]

726 Transitional Louis XV-intoLouis XVI-Style Polychrome Settee, 19th century, the shaped rectangular padded back surmounted by a foliate and floral crest, joined by scrolling padded arms to the shaped seat, raised on shaped molded legs ending in scrolled toes, h. 43”, w. 62‑1/2”, d. 24”. [1400/1800] Illustrated

728

723 727 French Beechwood Barometer in the Renaissance Revival Style, fourth quarter 19th century, the banjoshaped instrument ornamented with pierced and carved scrollwork and flower and applied cabochons, a shell serves as the finial, a brass bezel surrounds the barometer dial which is labeled in French, the neck set with a mercury thermometer on a gilt-bronze ground, h. 31‑1/2”, w. 13‑3/4”, d. 3‑1/4”. [250/400] 726

728 Louis XV-Style Walnut Bergere-avec-Orielles, early 20th century, the domed and padded back and downswept arms within an annulated frame surmounted by a floral crest, the cushioned seat raised on annulated and molded cabriole legs ending in scrolled toes, h. 42”. [800/1200] Illustrated 729 Pair of Provincial Louis XV-Style Fruitwood Fauteuils, early 20th century, each with a shaped caned back surmounted by a foliate and floral crest, joined by bellflower-carved arms to the caned seat, raised on molded cabriole legs headed by carving, joined by a shaped X-form stretcher and ending in scrolled toes, h. 38”. [500/800]

114

734

731

730 Louis XIV-Style Fruitwood Fauteuil-a-la-Reine, early 20th century, the domed and padded back joined by downswept foliate-carved arms to the padded seat, raised on cabriole legs headed by bellflower carving and ending in scrolled toes, h. 46”. [1400/1800] 731 Unusual Pine Sedan Chair, 19th century, of traditional form, the slightly domed crest above a case fitted with a single door, the interior fitted with a plank seat and armrests, h. 65”, w. 25”, d. 27‑1/4”. [800/1200] Illustrated 732 Continental Walnut Coffer, 19th century, the hinged rectangular top opening to a storage interior, the front inset with two floral- and foliate-carved panels, the sides with iron handles, raised on bun feet, h. 22‑1/2”, w. 49‑1/2”, d. 19‑1/2”. [1000/1500] Illustrated

733 French Provincial Faux Bois Long Case Clock, late 19th century, the molded cornice above the shaped hood opening to an enameled face within a brass repousse band, signed “Trouchu Laurent, a Messac”, the kettle-form case fitted with a single door opening to the brass repousse pendulum, raised on splayed feet, the case with polychrome floral accents, h. 90”, w. 19”, d. 11‑1/2”. [1800/2500] Illustrated

733

732

115

734 Albert Nikolayevitch Benois (Russian, 1852‑1936), “Landscape With Ruins of a Farmhouse”, watercolor on paper, signed lower left in cyrillic, sight 14” x 19”. Glazed, matted and framed. [3000/5000] Illustrated

735

735 Pair of Northern European Pine Demi-Lune Side Tables, second quarter 19th century, each with a highly figured top above a frieze of banded construction, raised on cabriole legs ending in shaped toes, h. 30”, w. 46”, d. 21”. [800/1200] Illustrated

736 Attributed to Lambert Lombard (Flemish, 1506‑1566), “Bull”, gouache on paper, unsigned, reverse with an attribution on a Russell Hartley Fine Paintings label, 7‑1/2” x 9‑1/2”. Glazed, matted and framed, mat bearing a printed label with the artist’s name and dates. [1500/2500] Illustrated 737 Elizabeth Blackwell (British, 1707‑1758), “Dactilus Palma” and “Coddam-Pulli et Carcapuli”, two hand colored engravings, sight 12‑1/2” x 9”. Both glazed, attractively French matted and presented in giltwood frames. [400/700] 736

741

738 Pair of Louis XV-Style Fruitwood Fauteuils, mid-19th century, each with a shaped padded back surmounted by a floral crest, joined by scrolling padded arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 34”. [800/1200] 739 French Painted Tole Foot Bath, fourth quarter 19th century, mounted with mark-molded scrolled handles, the exterior faux bois and the interior ivory, h. 9‑1/4”, w. 19‑1/4”, d. 14‑1/4”. [350/500] 740 Group of Four Stylized Floral Needlepoint Accent Pillows, each with a tobacco ground and backed with slate-blue velvet, h. 18”, w. 19”. [400/700] 741 Louis XV-Style Fruitwood Fauteuil, early 20th century, the padded and shaped back surrounded by a molded frame, joined by molded and padded arms to the padded seat, raised on cabriole legs ending in scrolled toes, upholstered in chinoiserie and floral patterned needlework, h. 36‑1/2”. [600/900] Illustrated

116

742 French Provincial Fruitwood Armoire, early 19th century, the molded cornice above a case fitted with two doors, each tri-paneled, above a scalloped apron with central medallion, raised on shaped toes, h. 73”, w. 57”, d. 20”. [1500/2500] Illustrated 743 Suite of Eight Provincial Louis XV-Style Oak Sidechairs, each with a scalloped crest centered by a floral basket, over two like-shaped splats, the rush seat raised on cabriole legs joined by a scalloped front stretcher and ending in splayed feet, h. 36”. [700/1000] Illustrated 744 Flemish Mahogany Fauteuil a la Reine, late 19th century, the tall slightly domed and padded back joined by downswept arms on scrolling uprights to the padded seat, raised on scrolling legs joined by a shaped front stretcher and ending in scrolled toes, upholstered in needlework in the chinoiserie taste, h. 50‑1/2”. [700/1000] 745 Louis XV-Style Fruitwood Fauteuil, 20th century, the shaped and padded back within a molded frame, joined by scrolling arms to the padded seat, raised on cabriole legs, h. 34”. [200/400]

742

746

744

743

117

748 Pair of Louis XV Walnut Sidechairs, late 18th century, each with a shaped padded back surmounted by a floral crest, the padded seat raised above a floral-carved shaped apron on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [1200/1800] Illustrated

747

748

749 Provincial Scandinavian Pine and Polychrome Bench, late 19th century, of box form, the back and sides with shaped splats, the long seat retaining polychrome panels above a fluted frieze, raised on tapering square legs, h. 30”, d. 21”, l. 118”. [500/800] Illustrated

750 Pair of Delft Tin-Glazed Covered Ginger Jars, in the early 18th century style, the faceted and fluted sides decorated with flower filled cartouches on a diapered ground, the conforming lids with pointed knops, signed “Delft”, h. 13‑1/4”, dia. 7”. [500/800] 751 Provincial Polychrome Shutters, 19th century, each of the two panels with two tiers of metal spindles, retains traces of polychrome and original hardware, h. 37‑1/2”, overall w. 42”. [250/400]

752

746 Pair of Louis XV-Style Fauteuils, late 18th century, each with a slightly domed and padded back surmounted by a floral crest, joined by padded and scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 36‑1/2”. [2500/4000] Illustrated 747 Louis XV-Style Polychrome Center Table, the stepped rounded rectangular top above a scalloped foliate-carved frame fitted with a single side drawer, raised on cabriole legs ending in scrolled toes, h. 29‑1/2”, w. 57”, d. 32”. [800/1200] Illustrated

749

118

752 Pair of White Glazed Cast Stone AcanthusMolded Architectural Corner Blocks, probably French, deeply modeled acanthus leaves meet at the corner and dramatically curl down from the top, h. 10‑1/4”, w. 10‑3/4”, d. 10”. [600/900] Illustrated

759 Andrew Millrose (British, 19th Century), “Three Bulls Watering in a Wooded Landscape”, oil on canvas, signed lower left “Millrose”, 22” x 36”. Presented in a giltwood frame. [500/800]

753 753 Italian Polychrome and Marble-Top Encoignure, 19th century, in the neoclassical taste, the Breche du Benou Jaune marble top with canted corners, above a conforming case fitted with a single paneled door, featuring a polychrome bird on a branch, raised on tapering paneled square legs, h. 37”, w. 29‑1/2”, d. 19”. [2500/4000] Illustrated 754 Italian Neoclassical Polychrome and Faux Marbre Side Table, late 18th century and later, the shaped demilune faux Sienna marble top above a frieze with pendant scrolls, raised on tapering slightly splayed square legs, h. 29‑1/4”, w. 35‑14/2”, d. 18”. [600/900] Illustrated

756

755 Russian School (Second Quarter 20th Century), “Expansive Landscape With a Farm and Cattle”, oil on canvas, illegibly signed and dated “33” lower right, 24” x 30”. Presented in a giltwood frame. [500/800] 756 Henri-Joseph Harpignies (French, 1819‑1916) “Wooded Landscape with a Stream, Sheep and Two Figures at a Fence”, oil on canvas, signed lower right “H. J. Harpignies”, 24” x 16”. Presented in a giltwood and gesso frame. Provenance: Private collection, Denver, Colorado. [4000/7000] Illustrated 757 P. Van Waeyenberge (Belgian/British, 19th/20th Century), “Autumnal Landscape”, oil on canvas, signed lower right, 9‑3/4” x 12‑1/2”. Presented in a giltwood exhibition frame. [600/900] 758 Alexander Rene Veron (French, 1826‑1897) “Chasseur et Son Chien Dans La Foret de Fontainebleu”, oil on panel, signed and dated lower left “1866 R. Veron”, titled on the reverse, 21‑1/2” x 13”. Framed. [800/1200]

754

119

762 Continental School (Second Quarter 20th Century), “Mountainous Lakeside Village”, oil on canvas laid on panel, unsigned, 22‑1/2” x 34”. Presented in a giltwood frame. [300/500] 763 Follower of Claude Lorrain (French, 1600‑1682), “Pastoral Landscape With Figures”, oil on canvas, unsigned, 21‑1/2” x 26”. Presented in a molded giltwood frame. [200/400] 764 Jaipur Kashan Runner, 2’7” x 17’9”. [800/1200] 765 Angora Oushak Carpet, 6’ x 9’. [3000/5000] 766 Semi-Antique Sarouk Carpet, 10’4” x 14’8”. [1200/1800] Illustrated 760

767 Peshawar Sultanabad Carpet, 9’ x 12’. [1800/2500] 768 Semi-Antique Lilihan Runner, 2’8” x 15’. [300/500] 769 Tabriz Carpet, 10’ x 14’. [6000/9000] Illustrated 770 Uzbek Kuba Carpet, 6’10” x 9’3”. [900/1200]

766 760 Anton Karssen (Dutch, b. 1945), “Two Puppies in the Pen”, oil on canvas, signed lower right “A. Karssen”, 15” x 21‑1/2”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated 761 French School (First Quarter 20th Century), “Hen and Rooster in a Barnyard”, oil on canvas, signed lower left “Fabrequettes”, 29” x 36”. Presented in a molded giltwood frame. [500/800]

120

769

774

782

777 Tabriz Carpet, 9’8” x 13’8”. [500/800]

771 Three Semi-Antique Persian Carpets, Sultanabad, 3’5” x 5’; Prayer Rug, 3’3” x 5’7”; and Tabriz, 2’4” x 3’7”. [200/400]

778 Semi-Antique Malayer Carpet, 4’5” x 6’9”. [200/400]

772 Turkish Oushak Carpet, 8’ x 10’. [1000/1500]

779 Persian Kerman Carpet, 9’6” x 12’. [3000/5000] Illustrated

773 Sarouk Carpet, 9’ 1” x 12’ 11”. [500/800]

780 Aubusson Carpet, 8’ x 10’. [2000/4000]

774 Angora Oushak Carpet, 10’ x 14’. [7000/10000] Illustrated

781 Persian Turkaman Carpet, 6’4” x 11’. [1800/2500]

775 English Needlepoint Carpet, 8’6” x 11’3”. [1500/2500]

782 Agra Carpet, 10’ x 14’. [5000/8000] Illustrated

776 Semi-Antique Peking Carpet, 3’ x 5’1”. [200/400]

783 Semi-Antique Persian Tabriz Carpet, 10’1” x 16’3”. [2000/4000] 779

121

Session II Sunday, October October 7, 7, 2012 2012 Sunday, 11 784-1474 11 a.m.a.m.- Lots Lots 784-1474

784 Lady’s Eighteen-Karat Yellow Gold, Diamond and Yellow Sapphire Dinner Ring, composed of a central cushion-cut yellow sapphire measuring approximately 12.0mm x 10.0mm x 7.4mm and surrounded by fourteen mine-cut diamonds with a total weight of approximately 1.75 carats, size 5‑3/4. [800/1200] Illustrated

788 789

785 Lady’s Eighteen-Karat White Gold and Diamond Ring, the ring with a central prong-set cushion-cut diamond weighing approximately 0.85 carats and measuring 7.63mm x 4.78mm, color G, clarity SI-1, set within a diamond bezel, supported by diamondset shoulders, comprised of ninety-six bead-set round brilliant-cut diamonds with an approximate weight of 1.05 carats, size 7. [6000/9000] Illustrated 786 Lady’s Twenty-Two-Karat Yellow Gold and Eighteen-Karat White Gold Diamond Ring, the prong-set round brilliant-cut featured diamond weighing approximately 2.01 carats and measuring 8.12mm x 8.01mm, color L, clarity SI-1, set within a two-tiered inner yellow gold diamond bezel with twenty-four round brilliantcut irradiated yellow diamonds with an approximate weight of 0.15 carats, and with an outer white gold diamond bezel supported by diamond-set split shoulders with seventy-eight prong-set round brilliant-cut diamonds with an approximate weight of 0.45 carats, size 7‑1/2. [14000/18000] Illustrated

784 791

787 Lady’s Eighteen-Karat White Gold and Diamond Ring, the featured prong-set round brilliant-cut diamond weighing approximately 1.02 carats and measuring 6.20mm x 6.00mm, color K, clarity I-1, set within fortytwo prong-set round brilliant-cut diamonds in a diamond bezel, accented by diamond-set shoulders, with an approximate weight of 0.30 carats, size 7. [3500/5000] Illustrated 788 Lady’s Fourteen Karat Yellow Gold Smoky Quartz Brooch, the star-shaped flower brooch mounted with a round faceted smoky quartz, total approximate weight is 8 carats. [150/300] Illustrated

786

785

787

789 Lady’s Fourteen-Karat Yellow Gold and Smoky Quartz Dinner Ring, the large emerald-shaped smoky quartz stone is stepped-cut and measures approximately 18.7mm x 17.0mm x 16.6mm, size 9‑1/4. [400/700] Illustrated 790 Pair of Fourteen-Karat White Gold, Diamond and Yellow Sapphire Earrings, the dangling heart-shaped pendants and studs composed of twenty yellow sapphires with a total approximate weight of 3.25 carats, the chains attaching the studs to the pendants set with a diamond, approximate total diamond weight is .02 carats. [600/900]

126

791 Lady’s Fourteen-Karat White Gold and Diamond Tennis Bracelet, the flexible bracelet set with thirtyseven prong-set round brilliant-cut diamonds with an approximate weight of 6.68 carats, l. 7‑1/4”. [4500/7000] Illustrated

795

792 Lady’s Eighteen-Karat White Gold and Diamond Ring, the ring with a central prong-set brilliant-cut diamond weighing approximately 0.81carats, J color, SI-2 clarity, surrounded by sixteen prong-set round brilliant-cut diamonds and sixteen channel-set baguettecut diamonds, total diamond weight approximately 1.51 carats, size 7. [2500/4000] Illustrated

794 Pair of Fourteen-Karat White Gold and Diamond Earrings, each composed of twenty-seven round brilliantcut diamonds, and with a total approximate diamond weight of .25 carats. [600/900] 795 Lady’s Eighteen-Karat White Gold and Cognac Diamond Ring, the ring with a central prong-set round brilliant-cut fancy cognac diamond weighing approximately 2.15 carats and measuring 8.12mm x 805mm, set within 122 bezel- and bead-set round brilliant-cut white diamonds in a lattice gallery, with an approximate weight of 1.34 carats, size 7. [7000/10000] Illustrated

792

793

796

796 Lady’s Fourteen-Karat Yellow Gold and Diamond Cocktail Ring, composed of one centrally set Europeancut diamond weighing .72 carats and fifteen round brilliant-cut diamonds weighing approximately .15 carats each, total diamond weight is approximately 3.00 carats, size 7. [3000/5000] Illustrated 793 Pair of Fourteen-Karat White Gold and Diamond Solitaire Earrings, each composed of one triangle-cut diamond with an approximate weight of .50 carats, total approximate diamond weight is 1.00 carat. [2000/4000] Illustrated

797 Pair of Vintage Pennino Gold-Tone and Rhinestone Ear Clips, the flowing asymmetrical-shaped flower ear clips composed of round and navette-cut rhinestones, signed “Pennino”. [75/125]

7 2 1

799

802 Gentleman’s White Gold and Diamond Solitaire Ring, the ring with a round European-cut diamond weighing approximately .90 carats, size 8. [2500/4000] Illustrated

798

798 Lady’s Silver Gilt Diamond Bracelet, composed of 117 foil backed table-cut diamonds randomly shaped, the clasp set with two single-cut diamonds, total approximate diamond weight is 25.0 carats. [6000/9000] Illustrated 799 Fabulous Eighteen-Karat White Gold, Diamond, Sapphire and South Sea Pearl Dog Collar Necklace, the basketweave necklace composed of two horizontal rows of 252 square-cut blue sapphires weighing approximately 10.0 carats, with forty-two vertical rows of 252 round brilliant-cut diamonds, forty-one single round brilliant-cut diamond pendants, twenty-one dome pave diamond pendants with approximately 315 round brilliant-cut diamonds and twenty-one diamond and pearl pendants, total approximate diamond weight is 7.00 carats, and with twenty-one near round white luster South Sea pearls measuring approximately 9.50mm in diameter, l. 13‑1/2”. [10000/15000] Illustrated 800 Lady’s Antique Platinum and Gold Diamond Brooch, the spike-shaped brooch set with 19 antique mine-cut diamonds, the largest approximately .35 carats, total approximate diamond weigt is 2.25 carats. [3000/5000] Illustrated 801 Antique Platinum and Diamond Bar Pin, composed of sixteen old mine-cut diamonds with an approximate total weight of 4.35 carats. [3000/5000] Illustrated

803 Lady’s Art Deco Platinum Diamond Ring, the round European-cut diamond weighing approximately .75 carats centrally mounted on a pierced cage, each side with four diamonds melees tapering down the shank and six diamond melees rolling back and under to form the elongated cage which is set with three diamond melees on each side of the larger stone, total diamond weight approximately 1.15 carats, size 6. [2500/4000] Illustrated 804 Lady’s Art Deco Platinum and Gold Bar Pin with Diamond and Simulated Sapphires, the pin set with 12 round brilliant-cut diamonds weighing approximately 1.80 carats, alternating with 9 square-cut simulated blue sapphires. [600/900] Illustrated

801

804

800 802

128

803

805 Lady’s Art Deco Platinum Diamond and Simulated Blue Sapphire Bracelet, first quarter 20th century, the straight line bracelet set with four alternating segments of square-cut and diagonal-cut simulated sapphires and round brilliant-cut diamonds, total diamond weight approximately .88 carats, l. 7”. [900/1200] 806 Lady’s Fourteen-Karat Yellow Gold, Diamond and Ruby Necklace, the flexible necklace featuring a series of bezels with forty-three prong-set oval mixed-cut natural rubies with 773 prong-set round brilliant-cut diamonds, total ruby weight approximately 48.86 carats, total diamond weight approximately 7.29 carats, completed by a concealed clasp, l. 18”. [6000/9000] Illustrated 807 Lady’s Fourteen-Karat Yellow Gold, Diamond and Ruby Ring, the ring set with a central cushioncut ruby with an approximate weight of 14.52 carats, surrounded by twenty round brilliant-cut diamonds with an approximate weight of 1.44 carats, size 8‑1/4. [2000/4000] Illustrated

808

807

806

810 Lady’s Fourteen-Karat Yellow Gold and Yellow Sapphire Pendant with Chain, the pendant with a large oval yellow sapphire, mounted in a six-prong cage, measuring 18.8mm x 15.3mm, together with an Italian 14K gold rope chain, l. 24”, chain. [700/1000] 811 Lady’s Fourteen-Karat Yellow Gold and Peridot Bracelet, the straight line bracelet composed of thirtythree round faceted peridots with an approximate weight of 15.0 carats, l. 7”. [400/700] 812 Heavy Fourteen-Karat Yellow Gold Mogul-Style Necklace with Emeralds and Rubies, the Easterninspired necklace composed of ninety-two round faceted rubies weighing approximately 2.75 carats and one 128 round faceted emeralds weighing approximately 4.00 carats, l. 15”. [2000/4000] Illustrated

809

808 Pair of Eighteen-Karat Yellow Gold, Diamond and Ruby Drop Earrings, each composed of an oval-cut ruby weighing approximately 1.00 carat each, surrounded by tapered baguette rubies and round brilliant-cut diamonds dangling from the diamond baguettes and rubies on the post, total approximate diamond weight is 3.00 carats, and total approximate ruby weight is 5.30 carats. [3000/5000] Illustrated 809 Impressive Lady’s Eighteen Karat Yellow Gold Tutti-Frutti Necklace, the necklace composed of carved rubies, amethysts, sapphires, aquamarines, green quartz, emerald cabochons, cultured pearls and single-cut diamonds, l. 16”. [10000/15000] Illustrated

812

129

813 Lady’s Fourteen-Karat Yellow Gold, Diamond and Emerald Bracelet, the bracelet with seventeen prong-set oval mixed-cut graduated emeralds with an approximate weight of 6.64 carats, surrounded by 165 round brilliantcut diamonds with an approximate weight of 3.29 carats, l. 7”. [3000/5000] Illustrated

813

815 Lady’s Eighteen-Karat White Gold, Diamond and Emerald Ring, the ring with a central prong-set rectangular cushion-cut emerald with an approximate weight of 2.39 carats and measuring 8.10mm x 7.45mm, set within a bezel and supported by an elaborate under gallery and shoulders set with thirty-four prong-set round brilliant-cut diamonds with an approximate weight of 0.34 carats, size 7‑1/2. [2000/4000] 816 Lady’s Fourteen-Karat White Gold, Emerald and Diamond Dinner Ring, composed of a large stepped emerald-cut emerald with an approximate weight of 10.0 carats, and measuring 15.7mm x 13.3mm x 5.6mm, surrounded by fifty-eight round brilliant-cut diamonds with an approximate weight of .58 carats, size 7‑1/2. [2000/4000] Illustrated 817 Pair of Eighteen-Karat White Gold, Diamond and South Sea Pearl Earrings, the matched white/grey pearls measuring 13.2mm each and with a high luster, set with three round brilliant-cut diamonds and one marquisecut diamond, total approximate diamond weight is .66 carats for both. [3000/5000] Illustrated

816

814

818 Beautiful Graduated Strand of White/Cream Pearls, the pearls ranging from approximately 11.5mm to 15mm in diameter, the spherical white/cream colored pearls with good luster forming a dramatic strand, l. 34”. [700/1000]

814 Pair of Fourteen-Karat White Gold and Green Jade Pendant Earrings, the cabochon jade measuring 14.3mm x 10.0mm, surrounded by sixteen round brilliantcut diamonds, attached to the earclip by two diamond links, the earrings with screw-back ear clips, with a center round brilliant-cut diamond, surrounded by eight round brilliant-cut diamonds, approximate total diamond weight is 3.00 carats. [3000/5000] Illustrated

130

819 Lady’s South Sea Cultured Pearl Necklace, the necklace comprised of a single strand of graduated South Sea Pearls, white in color, ranging in size from 10.0mm to 17.5mm, the pearls with a medium to high lustre, and with a fourteen-karat white gold clasp, l. 16‑1/2”. [1800/2500] 820 Eighteen-Karat White Gold, Diamond, Blue Sapphire and Tahitian Pearl Brooch, the brooch composed of seventy-five single-cut diamonds with an approximate weight of .20 carats, the body of the dragonfly composed of a black Tahitian pearl approximately 12mm and with two blue sapphire cabochon eyes, approximately 3mm each, for the eyes. [400/700] Illustrated

821 Single Strand of South Sea Pearls with a FourteenKarat White Gold Diamond Clasp and Rondels, the assortment of rose, near white, lavender and creamcolored pearls ranging in size from 11.5mm to 12.5mm in diameter, with six fourteen-karat gold rondels with seven single-cut diamonds, the clasp with thirty-two single-cut diamonds, total approximate diamond weight is .33 carats, l. 18”. [5000/8000] Illustrated

820

817

822 Single Strand of South Sea Natural Pearls with a Fourteen-Karat White Gold and Diamond Clasp, the pearls white in color with a good luster, ranging in size from 11.5mm to 14.0mm in diameter, and with an off-round shape, the fourteen-karat white gold clasp set with sixtyseven sigle-cut diamonds and four round brilliant-cut diamonds, total approximate diamond weight is .25 carats, l. 18”. [7000/10000] Illustrated 823 Single Strand of Colored Cultured Pearls, composed of near round pink-rose colored pearls with high luster and delicate feminine color, l. 17‑3/4”. [200/400] 824 Lady’s “Chocolate” Tahitian Cultured Pearls, a graduated strand of “chocolate” pearls with a good lustre ranging in size from 10.5mm to 13.0mm, with a fourteenkarat white gold clasp, l. 17”. [1800/2500]

821

825 Unusual Triple Strand of Multi-Colored Cultured Pearls, the three strands of 7.0 mm pearls divided into groups of white, pink and lavender pearls, each group distinctive and separate colors, l. 19”. [200/400] 826 Lady’s Platinum, Diamond and Pearl Ring, composed of one 6mm pearl and two 5mm pearls surrounded by thirty-six single-cut diamonds with an approximate weight of .20 carats, size 7. [300/500] 827 Antique Lady’s Eighteen-Karat Rose Gold, Diamond and Pearl Ring, composed of a 6mm white pearl and one mine-cut diamond with an approximate weight of .87 carats and with eight smaller mine-cut diamonds on the ring shaft, total approximate diamond weight is 1.00 carats, size 7‑1/4. [700/1000]

822

131

828 828 Antique FourteenKarat Yellow Gold, Diamond, Peridot, Garnet and Pearl Brooch, the two interlocking dragons brooch with a cushion-cut garnet weighing approximately 3.00 carats, two pear-cut peridots weighing approximately 1.50 carats each, two baroque pearls and nine mine-cut diamonds, with an approximate total diamond weight of .35 carats. [600/900] Illustrated

832 Lady’s Fourteen-Karat Yellow Gold and Diamond Bracelet, the pineapple tasseled bracelet composed of five strands attached to a sliding clasp, the clasp set with eight round brilliant-cut diamonds with an approximate total weight of .50 carats, l. 6‑3/4”. [1800/2500] 833 Lady’s Fourteen-Karat Yellow Gold Slide Bracelet, composed of eleven slides separated by yellow gold beads, the slides set with different gems (pearls, amethyst, moonstone, ruby, synthetic stones and a painted porcelain portrait). [700/1000] Illustrated

833

834 Antique Eighteen-Karat Yellow Gold Filigree Necklace and Earring Set, the hand-crafted necklace composed of eighteen-karat gold filigree wire of rosettes and tassels set with natural baroque pearls with matching earrings, necklace l. 14”. [3000/5000] Illustrated

831

829 Eighteen-Karat Yellow Gold, Pearl and Amethyst Pendant, the pendant composed of thirty-eight pearls measuring approximately 3.0mm to 4.0mm in diameter, and with a round faceted amethyst with an approximate weight of .35 carats. [300/500] 830 Pair of Antique Yellow-Gold Filled Cameo Pendant Earrings, the carved landscape pear-shaped cameo is approximately 25.0mm x 13.0mm, the earwires a later replacement. [250/400] 831 Antique Fourteen-Karat Yellow Gold, Emerald and Ruby Brooch, the intertwining serpent brooch with a pear-cut bezel-set emerald weighing approximately 1.00 carat, with two single-cut bezel-set ruby eyes, weighing approximately .10 carats. [600/900] Illustrated

8 132

834

835 Contemporary Gold-Tone and Anodized Metal Necklace with Rhinestones, the anodized chain with alternating gold-tone links set with four rhinestones and cruciform gold-tone and anodized links set with thirty-six rhinestones, l. 36”. [100/200] 836 Lady’s Fourteen-Karat Yellow Gold Lorgnette with Chain, the lorgnette with a cast leaf pattern on the handle and bridge, attached to long chain with an extension, l. 27”, extension, 2‑1/2”. [200/400]

837

839

842 Pair of Oriental Jade and Silver Pendant Earrings, composed of circular green and white jade dangling from filigree silver, the screwback ear clips mounted with a bezel-set jade cabochon. [150/300]

837 Fourteen-Karat Yellow Gold, Silver and Diamond Brooch, composed of nine mine-cut diamonds, weighing from .15 carats to .80 carats, with a total approximate diamond weight of 2.00 carats. [800/1200] Illustrated 838 Lady’s Platinum and Diamond Patek Philippe and Company Wrist Watch, with eighteen jewels, eight adjustment rectangle movement in a hinged unmarked platinum case set with forty-two single-cut diamonds weighing approximately .33 carats total, the bracelet gold filled, the movement serial number “196895”, the dial and movement signed “Patek Philippe & Co”. [300/500]

843 Pair of Oriental Jade and Gilt-Silver Pendant Earrings, the bell-shaped engraved green jade pendants dangling from filigree gilt silver, the screwback ear clips mounted with a bezel-set jade cabochon. [150/300] 844 Lady’s Fourteen-Karat Gold and Silver Rose-Cut Diamond Bangle Bracelet, the bracelet with numerous illusion-set rose-cut diamond tablets and bead-set singlecut diamonds with an approximate total weight of 4.83 carats, l. 7”. [4000/7000] Illustrated

839 Double Strand Angel Coral Necklace with Diamond Clasp, the necklace composed of knotted 8mm spherical blush-colored beads, the large fourteen-karat yellow gold curly clasp set with thirty-six single-cut diamonds with an approximate total weight of .36 carats, l. 20”. [2500/4000] Illustrated 840 Lady’s French Eighteen-Karat Yellow Gold Bracelet, composed of interlocking links, l. 7‑1/2”. [300/500] 841 Miriam Haskell Three-Strand Faux Pearl and Nephrite Necklace, composed of rose-colored faux pearls graduating from 6mm to 8mm, separated by olivegreen nephrite tubes, clasp stamped “Miriam Haskell, Patent 3427891”, l. 33”. [200/400]

844

133

849 Eight Pieces of Vintage AngloAmerican Sterling Silver Jewelry, first half, 20th century, including a pair of “forget-me-not” link bracelets, l. 6‑1/2”, an Edwardian hinged bangle bracelet, hallmarked Sheffield, 1902‑1903, w. 2‑1/2”, a rectangular snuffbox, l. 1‑1/4/”, an openwork heart pendant, w. 1”, a trapezoidal scent bottle, h. 1‑3/4”, a scarf tie, dia. 3/4”, and a pair of chained heart-form sweater clips, l. 5‑3/4”, [60/90]

846

845

847

850 Double Strand Rice Pearl Choker with FourteenKarat White Gold Diamond Pendant, the double strand necklace of fresh water pearls with a sterling silver clasp and with a fourteen-karat white gold flower pendant set with sixty single-cut diamonds with an approximate total weight of .37 carats, l. 16”. [100/200] Illustrated

851

845 Pair of Art Deco Platinum and Diamond Dress Clips / Brooch, the dress clips held together by a removable fourteen-karat white gold frame, composed of 182 minecut, single-cut and brilliant-cut diamonds and fourteen baguette-cut diamonds with a total approximate diamond weight of 3.50 carats. [1500/2500] Illustrated 846 Lady’s Art Deco Platinum Diamond Bracelet, the bracelet composed of 39 antique mine-cut diamonds, the largest approximately 1.00 carat, total diamond weight is approximately 7.62 carats, l. 7”. [3000/5000] Illustrated 847 Contemporary Anodized Silver, Diamond and Ruby Cuff Bracelet, composed of two interlocking snakes set with approximately 882 single-cut diamonds with an approximate total weight of 5.45 carats, four rubies set as the eyes of the snakes weighing approximately .07 carats, the anodized silver mesh cuff bracelet with snakes winding across the surface. [4000/7000] Illustrated 848 Sterling Silver Choker and Earring Set, the choker with a free flowing fabric design with matching ear clips, necklace l. 16”. [400/700] 850

134

851 Lady’s Fourteen-Karat Yellow Gold, Diamond and Aquamarine Ring, the ring featuring a prong-set square step-cut natural aquamarine with an approximate weight of 4.81 carats and measuring 10.90mm x 10.70mm, set within a diamond bezel accented by diamond-set shoulders and gallery, total diamond weight approximately 1.05 carats, size 7‑1/2. [2500/4000] Illustrated 852 Sterling Tassel Necklace with Moonstones, Diamonds and Black Onyx, the chain composed of seventy-eight Dutch-cut moonstones attached to a sphere set with approximately 154 Dutch-cut moonstones, dangling from the sphere is a tassel with moonstone beads, being held together by a sterling and black onyx cap with approximately 154 single-cut diamonds with an approximate total weight of .38 carats, l. 28”. [2000/4000] Illustrated

855

853

854

853 Lady’s Fourteen-Karat White Gold, Diamond and Tanzanite Ring, the ring with a prong-set oval brilliantcut natural tanzanite with an approximate weight of 5.37 carats and measuring 12.00mm x 9.70mm, within a diamond bezel and supported by tanzanite and diamond ribbons, total diamond weight approximately 1.84 carats, total tanzanite weight approximately 5.87 carats, size 7‑1/2. [5000/8000] Illustrated

856

855 Lady’s Fourteen-Karat White Gold, Diamond and Tanzanite Ring, the ring with a central prongset rectangular cushion mixed-cut tanzanite with an approximate weight of 3.28 carats and measuring 8.40mm x 7.80mm, set with eighty-four prong-set round brilliantcut diamonds in a two-tiered diamond bezel, supported by diamond-set split shoulders, with an approximate weight of 0.81 carats, size 7‑1/2. [2000/4000] Illustrated 852

854 Fourteen-Karat White Gold, Diamond and Tanzanite Pendant with Necklace, the pendant with a prong-set triangular brilliant-cut tanzanite with an approximate weight of 7.88 carats, surrounded by a 115 prong-set round brilliant-cut diamonds, with a total weight of approximately 2.34 carats, together with a 17” white gold necklace, h. 1‑3/4” to top of bail, w. 1‑1/8”. [7000/10000] Illustrated

856 Lady’s Fourteen-Karat Yellow Gold, Bakelite, Pearl, Diamond and Sapphire Cuff Bracelet, the white Bakelite cuff mounted with a yellow gold ribbed medallion with fifty-six round brilliant-cut diamonds, and with a centrally set blue sapphire cabochon weighing approximately 2.0 carats, surrounded by twelve pearls set with single-cut diamonds, total approximate diamond weight is 1.29 carats. [2500/4000] Illustrated 857 Sterling Silver, Marcasite and Faux Lapis Lazuli Necklace, the articulated sterling chain with a pendant set with marcasites and a dyed faux lapis lazuli disc, l. 19”. [150/300]

135

858 Sterling Silver, Marcasite and Carnelian Necklace, the articulated sterling chain with a pendant set with an engraved piece of carnelian and marcasites, l. 19”. [150/300] 859 Lady’s Eighteen-Karat Yellow Gold, Diamond and Lapis Lazuli Dinner Ring, composed of fourteen single-cut diamonds with an approximate total weight of .15 carats, the carved melon-shaped lapis lazuli measuring 12.5mm x 13.6mm. [200/400] 860 Strikingly Bold Rock Crystal Necklace, the necklace with eleven graduated and faceted large rock crystal beads, toggle clasp, l. 19”. [125/250] Illustrated 861 Multi-Strand Freshwater Pearl Necklace, the necklace with six strands of freshwater pearls and randomly placed gold beads, round hook and eye clasp, l. 18”. [75/125] 862 Beautiful Long Dyed Mother-of-Pearl Necklace, the necklace composed of semi-round mother-ofpearl beads in taupe, brown and green tones, long enough to be doubled as a two-strand necklace, toggle clasp, l. 40”. [100/200] Illustrated 863 Fifteen Table Articles in the Form of Books, including a set of twelve composition stone drink coasters, decorated in the form of square marbleized leather bindings with gilt edges, 3‑3/4” x 4”, and a similar paperweight in the form of a red leather binding with gitl edges, fillet, lettering and ruling, 6‑1/4” x 4”, all by the Original Book Works Ltd., Gloucestershire, and two hollowed-out “secret compartment” bindings, one made from v. II of l’Abbe de Mably (Lyon: Delamolliere, 1792), in tan leather with elaborate gilt decoration, 8” x 5” x 1‑1/4”, the other made from two books joined at the boards, one the works of Bernardin St. Pierre (Paris: Mequignon, 1710), the other unidentifiable, with marbleized boards and leather spines, 6‑3/8” x 4” x 1‑5/8”. [100/200] Illustrated

870

863

862

864 Bold Slice Agate Necklace, the necklace with graduated slices of mottled agate in shades of brown, grey and black, each piece separated by a small gold bead, toggle clasp, l. 22”. [125/250] 865 Interesting Agate and Stick Pearl Necklace, the necklace composed of alternating natural agate slivers with fresh water stick pearls, toggle clasp, l. 18”. [125/250]

860

136

866 Sterling Silver and Banded Drusy Agate Necklace, composed of large faceted dyed agate stone with some exposed areas of the interior crystallization of the stone, the deep brown/black color enhanced with a deep purple, each bead separated by a sterling silver bead, toggle clasp, l. 18”. [100/200]

867 Beautiful Citrine and Amethyst Geode Necklace, the bold and chunky necklace with alternating lightly-faceted natural citrine and amethyst stones, and with a toggle clasp, l. 18”. [100/200]

872 Pair of Chinese Demi-Lune Tables, 19th century with later elements, Elmwood with red and black lacquer, archaic scroll galleries, h. 34”, w. 47”, d. 21‑3/4”. [1200/1800] Illustrated

868 Unusual Two-Strand Rock Crystal and Abalone TearDrop Necklace, the necklace composed of two strands of rock crystal chips, one slightly longer than the other, with tear-drop-shaped abalone pendants hung on each strand, toggle clasp, l. 18”. [100/200] 869 Contemporary Gold-Tone and Anodized Bracelet, the anodized circular links set with twelve rhinestones and alternating gold-tone links set with four rhinestones and one cabochon faux turquoise. [75/125] 870 Chinese Coromandel-Style Screen, 20th century, depicting figures in a palace setting, h. 7’, w. 10’8”. [600/900] Illustrated 871 Chinese Red and Black Lacquered Low Console Cabinet, 20th century, the front with a series of panels and drawers with incised carved and gilded motifs of flowers and birds, h. 22‑1/2”, w. 79”, d. 20”. [600/900]

875

873 Chinese Stem Cup, 20th century, Kuan ware, the celadon glaze with a pronounced crackle, a sixcharacter Cheng Hua mark on the inside of the foot rim, h. 3‑3/4”. [200/400]

874

874 Chinese Cast-Iron Water Basin, Ming period (1368‑1644), the surface cast with lotus blossoms and scrolling foliage, having four jump rings, raised on animal-form feet, h. 18‑1/2”, w. 25‑1/2”, l. 46‑1/2”. [700/1000] Illustrated

875 Chinese Round Box, 18th century, the finely woven basket work with borders and inlaid panel of lacquer work, decorated with dragons, clouds, pearls, thunder meanders and coin motifs in gold, black and red, dia. 9”. [1200/1800] Illustrated

872

876 Group of Four Chinese Carved Wooden Panels, early 19th century, all rectangular and with gilt and polychrome accents, now custom-framed in ebonized molded frames with gilt bands, h. 15‑1/2”, w. 23‑1/2”. [600/900]

137

878 882 Chinese Bamboo Brush Pot, early 20th century, carved with a scene of scholars in a landscape, h. 7”, dia. 5”. [200/400] Illustrated

883 Chinese Carved and Pierced Bamboo Brush Pot, 20th century, figure of a female immortal holding a lamp accompanied by two cranes in a forested mountain landscape, h. 8‑1/2”. [300/500] Illustrated

877

884 Chinese Carved Boxwood Brush Pot, 20th century, the surface carved as the trunk of a pine tree with branches in relief, h. 5‑1/2”. [700/1000] Illustrated 885 Chinese Carved Bamboo Brush Pot, late 19th / early 20th century, surface carved with a scholar seated beneath a willow tree, two-character seal mark on the side, h. 7”, [300/500] 886 Chinese Carved Rosewood Group, late 19th / early 20th century, the scene of Mi Lo Fu with playing children, fitted hardwood stand, l. 7‑1/2”. [150/300] 877 Japanese Lacquered Storage Box, Meiji period (1868‑1912), with Maki-e decoration of an oxcart in a garden of pines, prunus and bamboo in various shades of gold and browns, h. 6‑1/2”, w. 12”, l. 15‑1/2”. [1500/2500] Illustrated

887 Chinese Carved Hardwood Scepter, late 19th / early 20th century, Ju-i carved as a branch of ling-chih with two kylins, l. 23”. [200/400] 888 Chinese Carved Wooden Figure, 19th century, the seated figure with the hand raised in benediction and on a lotus throne, surface-lacquered red and black, h. 43”. [1200/1800] Illustrated

878 Japanese Lacquered Document Box, Meiji period (1868‑1912), gold Maki-e of chrysanthemum flowers and other foliage on a black ground, h. 3”, w. 3”, l. 14‑3/4”. [1400/1800] Illustrated 879 Japanese Lacquered Rosewood Box, Meiji period (1868‑1912), the body decorated with foliage on a burgundy ground, the black lacquered top with a maki-e decoration of grapes with insects of inlaid mother-of-pearl and horn, h. 4‑1/2”, w. 4‑1/2”, l. 6‑1/2”. [800/1200] 880 Chinese Carved Bamboo Brush Pot, early 20th century, the surface carved with a figure in a boat surrounded by pavilions in a mountainous wooded landscape, surface stained black, h. 5‑1/4”. [200/400] Illustrated 881 Chinese Carved Boxwood Brush Pot, 19th century, surface carved in relief with a pine and magnolia tree, h. 4‑3/4”. [400/700] Illustrated

138

883 882 884 880 881

888 889

894 Japanese Katana, Shin-Gunto in Army Mounts, the leather sleeve covers a black lacquered scabbard with brass mounts, signature on two sides of tang, l. 38”. [400/700] Illustrated

889 Chinese Carved Wooden Figure, 19th century seated figure of Amida Buddha on a lotus throne, surfacelacquered red and black, h. 43”. [1200/1800] Illustrated 890 Chinese Two-Door Cabinet, 19th century with later elements, elmwood with a burgundy lacquered surface, front carved with flowers and painted with a historical scene in gold, h. 68”, w. 34‑1/2”, d. 17”. [1800/2500] Illustrated 891 Unusual Oriental Hardwood and Marble-Top Cocktail Table, partially composed of antique elements, of square form, the central carved wood panel pierced in a scrolling foliate pattern, flanked to either side by a panel of charcoal granite above a shaped and pierced frieze, raised on block legs, h. 13”, w. 42”, d. 42‑1/2” [300/500]

890

894

892 Chinese Altar Table, 19th century, the elmwood table with rounded ends, the apron carved with floral carving, h. 36”, l. 102”. [2500/4000] Illustrated 893 Chinese Architectural Element, 19th century, surface-carved and pierced with dragons and floral scrolling, five inset lacquered panels decorated with landscapes in gold, surface enhanced with gilt and red lacquer with crushed mother-ofpearl, h. 24”, l. 73”. [600/900]

892

139

895 Chinese Stem Cup, 20th century, “Devil's Work” cup with floating stem, underglaze red decoration, h. 3‑3/4”, dia. 3‑1/4”. [200/400] 896 Chinese Porcelain Bowl, late 19th century, white with three underglaze red fish, Yung Cheng mark on the base, dia. 4‑3/4”. [150/300] 897 Cloisonne and Jade Pot of Flowers, Mounted as a Lamp, second quarter 20th century, the brass scroll-footed base supports the blue ground cloisonne pot, decorated with scrollwork and lotus flowers, the pot contains hardstone flowers and leaves on wire supports, fitted with a shade, h. 21”, w. 12”, d. 12”. [200/400] 898 Chinese Carved Equestrian Figure, 19th century, the figure of Kuan Ti, surface gessoed with remaining traces of black, red and gold lacquer, h. 15”, l. 13”. [250/400]

899

900 902 Sino-Tibetan Buddhist Image, 20th century, the figure of Kubera seated on the back of a Makala lion, parcel-gilt with cold gold-painted surface and additional color with engraved details and repousse accents, turquoise and coral inlays, h. 14‑1/2”. [800/1200] Illustrated 903 Japanese Satsuma Ware Pottery Vase, ca. 1950, decoration of the “Hundred Rakan”, h. 15‑1/2”, dia. 7‑1/2”. [300/500] Illustrated

902

899 Early Stone Temple Carving, 5th century, probably India, the shard depicting a goddess with a boar’s head, carved in deep relief, h. 9”, w. 6”, d. 2”. [600/900] Illustrated 900 Oriental Faux Bois and Hardstone Six-Fold Screen, 20th century, each panel with applied hardstone scenes of warrior engaged in various activities in a tree-filled landscape, with some gilt accents, the reverse with gilt floral spray patterns, h. 68”, w. 93”. [1800/2500] Illustrated 901 Pair of Chinese Roof Tiles, 20th century, South China, pair of figures riding kylins, glazed earthenware, h. 10‑1/2”, l. 11”. [300/500]

140

903 904 Chinese Carved Cinnabar Lacquered Box, early 20th century, scene of two figures in a garden, h. 1‑3/4”, w. 4”, l. 5‑3/4”. [100/200]

906 Chinese Gilt-Bronze Image, Ch’ien Lung reign (1735‑1796) and of the period, the seated figure of the Buddhist divinity Shadakshari-Lokeshvara in princely jewels on a double lotus throne, rubbing to gilt, traces of pigments remaining, base engraved with a double vajra, h. 8”. [1500/2500] Illustrated

906

905 Bronze Head of Divinity, third quarter 20th century, Nepal, parcelgilt decoration of silver inlay, the crown inset with a turquoise, h. 7‑1/2”. [500/800]

907 Agra Serapi Carpet, 8’ x 10’. [1000/1500] 908 Semi-Antique Nichols Carpet, 4’1” x 6’10”. [300/500] Illustrated 909 Semi-Antique Sumak Runner, 1’11” x 39’9”. [800/1200]

908

141

914

910 910 Tabriz Carpet, 8’ x 10’6”. [4000/7000] Illustrated

911

142

911 Angora Oushak Carpet, 10’ x 14’. [7000/10000] Illustrated 912 Tabriz Carpet, 10’3” x 14’2”. [1200/1800]

918

916 Laristan Veramin Carpet, 6’5” x 9’1”. [700/1000] 917 Semi-Antique Mahal Runner, 3’5” x 16’4”. [1000/1500] 918 Angora Oushak Carpet, 9’ x 12’. [6000/9000] Illustrated

919 Louis Philippe-Style Aubusson Needlepoint Carpet, 9’ x 12’. [1500/2500] 922 913 Agra Serapi Carpet, 10’ x 13’10”. [1800/2500] 914 Aubusson Carpet, 12’ x 16’. [5000/8000] Illustrated 915 Jaipur Tabriz Carpet, 8’9” x 11’7”. [1800/2500]

920 Angora Oushak Carpet, 6’ x 9’. [3000/5000] 921 Semi-Antique Persian Lilihan Runner, 2’5” x 38’5”. [3500/5000] 922 Antique Persian Heriz Carpet, 12’10” x 18’. [10000/15000] Illustrated

924 923 Persian Serapi Carpet, 12’8” x 16’7”. [8000/12000] Illustrated 924 Semi-Antique Serab Runner, 4’2” x 11’3”. [500/800] Illustrated

923

143

925 Caucasian Shirvan Carpet, 3’9” x 6’. [1000/1500] Illustrated 926 Chinese Kesi Panel, the silk panel with metallic thread and painted details, of phoenix birds in a garden, h. 36‑1/2”, w. 32”. [3000/5000] Illustrated 927 Large Japanese Altar Cloth, 19th century, the silk cloth with twenty-four karat gold thread, decorated with phoenixes and peonies, w, 43”, l. 90”. [150/300]

926 931 Chinese Agate Snuff Bottle, 19th century, grey agate with a white area carved with two immortals, very wellhollowed, carved coral stopper, l. 2‑1/4”. [800/1200] Illustrated

925 928 Collection of Chinese Kingfisher Feather Jewelry, 18th and 19th century, comprised of assorted earrings, hairpins and pendants, some set with coral and carnelian beads, tiny jade fish and butterflies and paste stones, twenty-seven total pieces. [300/500] 929 Chinese Carnelian Snuff Bottle, 19th century, surface-skin-carved as peanuts, body-carved with a swirling pattern, well-hollowed, coral stopper, h. 1‑3/4”. [800/1200] Illustrated 930 Two Chinese Snuff Bottles, 20th century, comprised of an agate bottle and a bottle decorated with iron-red lotus flowers, h. 2‑1/2” and 2‑3/4”. [250/400]

144

932 Chinese Agate Snuff Bottle, 20th century, the grey-colored stone with the white area carved in relief with cranes and a pine tree, l. 2‑3/4”. [300/500] 933 Chinese Agate Snuff Bottle, 19th century, rounded rectangular form with a design of a cat and flowing trees, h. 2‑1/4”. [300/500] Illustrated 934 Chinese Agate Snuff Bottle, 20th century, of flattened rounded form, well-hollowed, h. 2‑1/2”. [500/800] Illustrated

929

934

936

933 937

941 Chinese Snuff Bottle, 20th century, malachite, h. 1‑1/2”. [250/400] Illustrated

931

935

940

939 941 942 Chinese Canopy Bed, 19th century, South China, surface entirely carved and pierced with birds, flowers and historical figures, lacquered red and gold, h. 117”, w. 83”, d. 60”. [700/1000] Illustrated

935 Chinese Coral Snuff Bottle, 20th century, the pale-pinkcolored coral carved as a foo dog, h. 1‑3/4”. [400/700] Illustrated

942

936 Chinese Horn Snuff Bottle, early 20th century, suface inset with a plaque with a design of the Ho Ho Erh Hsien, the reverse with a poem, h. 2”. [300/500] Illustrated 937 Chinese Agate Snuff Bottle, early 20th century, skincarved with a boatman, h. 2‑1/4”. [400/700] Illustrated 938 Pair of Chinese Carved Agate Snuff Bottles, each with carved sides with flanges, very well hollowed, replaced stoppers, h. 2‑1/4”. [300/500] 939 Chinese Turquoise Snuff Bottle, early 20th century, surface-carved in high relief with cats, butterflies and a flowering tree, h. 2‑1/2”. [400/700] Illustrated 940 Chinese Cameo Glass Snuff Bottle, 19th century, rubycut-to-snowflake, with a pattern of the “nine cauldrons of Chou”, h. 2‑1/2”. [250/400] Illustrated

145

954

943 Tall Chinese Red Lacquered Bamboo Cabinet, 20th century, the sides and front with open bamboo grille panels, the upper section with a pair of doors above two side-by-side drawers over another pair of long doors, h. 71‑1/2”, w. 32‑1/2”, d. 14‑1/2”. [600/900] 944 Pair of Chinese Architectural Elements, 19th century, lattice work with cash coins, flowers and bats and surface decorated in red, gold and black lacquer, w. 31”, l. 31”. [400/700] 945 Pair of Chinese Red Lacquered Elmwood Chairs, 20th century, each with a straight crest rail supported by four turned spindles and mounted to a flat plank seat, raised on square legs joined by stretchers, h. 38”, w. 20‑1/2”, d. 16”. [500/800]

146

946 Chinese Cameo Glass Snuff Bottle, 20th century, the blue-cut-to-clear glass with a painted interior, decorated with warriors, h. 2‑3/4”. [100/200] 947 Pair of Chinese Peking Glass Snuff Bottles, the first, a 19th century yellow bottle carved as a caparisoned elephant and the second, a 20th century bottle carved with a dragon and phoenix, h. 2‑1/4” and 2”. [200/400] 948 Chinese Enameled Copper Snuff Bottle, 20th century, of flattened round form, decoration of reserves of birds and flowers, yellow borders with floral scrolls, four-character Ch’ien Lung mark on base, h. 3”. [200/400] 949 Chinese Polychromed Lacquered Panel, 19th century, historical scene with later mounting as a table, h. 20”, w. 14”, d. 20”. [600/900]

952 Chinese Rock Crystal Snuff Bottle, late 19th / early 20th century, well-hollowed, surface-carved in low relief with the emblems of the immortals, h. 2‑1/2”. [400/700] 953 Chinese Smoky Quartz Snuff Bottle, 19th century, well-hollowed and surface-carved with a leafy branch, h. 2”. [200/400] 954 Fine and Monumental Handcrafted Baccarat Full-Lead Crystal Forty-Eight Light Zenith Long Chandelier, designed by Philippe Starck, with colored glass featuring two tiers of graduated arms, the upper tier with sixteen alternating rope twist arms above a lower tier of thirty-two alternating arms, the top portion dressed with faceted fleur-delis and spear prisms and streams of beaded chains, accompanied by a certificate of authenticity and reference # 2516833, h. 78”, dia. 56”. [0] Illustrated

957

955 950 Japanese Woodblock Print, 20th century, depicting a coastal landscape, signed in calligraphy upper right and lower left, reverse with a “Vincent Price Collection” label, sight 13” x 8‑5/8”. Glazed, matted and framed. [200/400] 951 Collection of Three Japanese Woodblock Prints, early 20th century, consisting of a pair of village scenes with a mountainous background, signed upper left and inscribed across the top, sight 6” x 8‑1/4” and a winter scene depicting two figures crossing a bridge, signed lower left, sight 14” x 9”. All glazed, matted and framed. [300/500]

956 955 Wool Verdure Tapestry, with a forest scene with a bird in the foreground eating foliage and another bird in a tree, a forest and mountain castle scene in the background, linen-backed with tabs for hanging, h. 94‑1/2”, w. 81”. [8000/12000] Illustrated 956 Pair of Louis XVI-Style Polychrome Stools, early 20th century, each with a square padded top above a laurel garland and patera-carved frieze, raised on tapering circular legs headed by foliate bands and ending in ball feet, h. 20”, w. 18”, d. 18”. [900/1200] Illustrated

147

957 Louis XVI-Style Giltwood Bergere-avec-Orielles, early 19th century, the slightly domed and padded back surmounted by a floral basket crest, joined by shaped sides and downswept arms on bound ribbed uprights to the cushioned seat, raised on bulbous fluted legs headed by bellflower carving and ending in toupie feet, h. 42”. [1400/1800] Illustrated previous page 958 French Giltwood Plaque in the Neoclassical Style, ca. 1900, a cannon crossed with flags and staffs, and decorated with laurel leaves ornamented with an applied drum, w. 39”, d. 19”. [700/1000] Illustrated

958

963

962

959 959 Exceptional Pair of Paris Porcelain Garniture Urns, second quarter 19th century, now mounted as lamps, of flattened form, with polychrome panels, framed with tooled gilt, one depicting soldiers giving directions to a little boy and the other depicting a woman in Tyrolean costume, the reverse decorated with battle trophies, framed in a wreath of laurel leaves, superbly cast handles with alternating bright and matte gilt, and contrasting biscuit medallions in the center, h. 27”. [400/700] Illustrated 960 French Mahogany Bergere, 20th century, of Louis XVI inspiration, the shaped and padded back joined by downswept padded arms to the like seat, raised on bulbous legs headed by foliate carving and ending in toupie feet on casters, h. 35”. [200/400]

148

961 Napoleon III Boulle and Marble-Top Cabinet, third quarter 19th century, the rectangular Carrara marble top, above a conforming case fitted with an ormolu acanthine frieze over a single glazed cupboard door, flanked to either side by a boulle pilaster headed by a foliate mount, raised on bracket feet, h. 41‑1/2”, w. 27‑1/2”, d. 15‑1/2”. [500/800]

964 Opulent French Gilt-Bronze Three-Light Sconce, ca. 1900, the sconce with a helmeted satyr holding floral swags in one hand perched on a pair of winged griffins, while the other hand supports scrolled candle arms, fitted with scroll pierced drip pans and candle cups, a reeded urn flame pot serving as the finial, fitted for electricity, h. 18”, w. 15”, d. 7‑1/4”. [600/900] Illustrated 965 Continental Marble Bust of a Young Beethoven, fourth quarter 19th century, resting on an original marble socle, h. 23”, w. 14‑1/4”, d. 8”. [500/800] Illustrated

965

964

962 Jean Gauthern (French, 1840‑1890), “Blandan”, the bronze sculpture of Jean-Pierre Hippolyte Blandan (1819‑1842), the French hero of the Algerian conquest, he is depicted standing with his rifle, his sword at his side, the plinth inscribed “Blandan” on the front, and the artist’s signature on the left top of the plinth, h. 19‑3/4”, w. 6‑3/4”, d. 6‑3/4”. [2000/4000] Illustrated 963 Pair of French Silvered-Bronze Figures of Children, fourth quarter 19th century, the charming figures depicting children prancing about in costume and oversized hats, one child in Renaissance dress, the other wearing tattered clothes and an old hat, mounted on covemolded rouge marble bases, signed “Louis Kley”, h. 9‑1/2”, dia. 3‑3/4”. [1800/2500] Illustrated

149

966 four-piece suite

967 Louis XVI-Style Polychrome Bergere, the domed and padded back surrounded by a molded frame, joined by closed padded arms to the cushioned seat, raised on tapering circular stop-fluted legs ending in toupie feet, h. 38”. [600/900] Illustrated 966 four-piece suite

966 Napoleon III Four-Piece Rosewood Bedroom Suite, third quarter 19th century, consisting of a bed, armoire, dresser and bedside commode, the bed with paneled arched headboard and footboard, with shield and torchere crest, raised on bulbous feet, h. 58”, w. 59”, d. 83”, the armoire with a similar crest above a single mirrored door, h. 98”, w. 50”, d. 19”, the dresser with a crested mirror and two small drawers above a Carrara marble top, the case fitted with a single long drawer over two paneled cupboard doors opening to pull-out shelves, with two small drawers below, h. 73”, w. 54”, d. 23”, and the bedside commode with a marble top above a case fitted with a drawer over a drop-front cupboard with three drawers below, h. 36”, w. 20”, d. 15‑1/2”. [3000/5000] Illustrated

967 968 Set of Raised Gilt Dinner Plates, probably Carl Knoll, Fischern, Austria (1883‑1906), the cobalt borders with laurel-leaf gilt edges framing panels of delicate gilt scrollwork on a stippled gilt ground, the border punctuated with painted oval panels decorated with bellflowers, which are repeated in the central cobalt rondel, bordered with gilt ivy, marked with an underglaze blue beehive, dia. 9‑1/2”. [1200/1800] Illustrated 969 Pair of Samson Porcelain Covered Bronze-Mounted Cups, fourth quarter 19th century, French, engine-turned bronze feet hold the tapering cups, decorated with cobalt and gilt baskets of flowers framed with cobalt and gilt garlands, the upper border comprised of a cobalt and giltstar border over cobalt gilt swags of flowers, with covers painted to match, mounted with bronze rims and acornshaped engine-turned bronze knops, mounted with gilded porcelain scrolled handles, mark by Samson, h. 7‑1/2”. [1200/1800] Illustrated

150

969

971 Staffordshire Presentation Loving Cup, 1875, Together with a German Cup and Saucer, the two-handled cup with a finely detailed floral painting on the reverse and a presentation inscription on the obverse, “J.E. Cruse, Born Nov 17 1844, Presented in 1875”, on a royal blue ground, h. 4‑1/4”, and the gilt-trimmed cup and saucer, decorated with floral panels alternating with diapering, signed by Carl Hans Tuppeck, 1919‑1935, the signature in an underglaze blue caduceus over TPM. h. 3‑1/2”, dia. 6‑1/4”. [150/300]

970 Porcelain Figure of a Court Couple, VEB Oldest Volksted (1951‑present), the rococo base decorated with applied flowers and with a scrolled edge, the couple dressed in 18th century costume, the woman’s skirt decorated with flowers on a gilt ground, and with applied flowers on her bodice and in her hair, carrying a folded fan, and the man carrying a cane, signed in underglaze blue with the company mark and an impressed serial number, “V20253”, h. 8‑3/4”, w. 5”, d. 2‑3/4”. [75/125]

972 Pair of Louis XV Brass Candlesticks, third quarter 18th century, each with a dome base decorated with molded rococo scrolls which are repeated on the vase-shaped standard, cylindrical candle cups molded with a mid-rib, h. 10”, dia. 5‑1/4”. [500/800] 973 American Equestrian Gilt-Bronze Shadow Box Picture, third quarter 19th century, depicting “Black Eagle”, a renowned circus horse with The American Circus, Howes and Cushing, the gilt horse stands in a scrolldecorated plinth marked “Black Eagle”, and gilt-bronze oak leaves and acorns decorate the corners, fitted with a gilt liner and set in a later faux bois rosewood frame, the back retaining remnants of period newspaper, w. 31”, d. 27”. [500/800]

968

151

974 Important Napoleon III Ebonized, Gilt-Bronze and Hardstone Mounted Pedestal, third quarter 19th century, stamped “Befort Jeune” in multiple places, the front panel featuring an applied carved hardstone foliate spray of branches, blooming flowers and fruit with a bird perched in the center and a carved lapis stone ribbon at the top, the borders and moldings of ornamental cast-bronze, as well as the inset panels and corner mounts, h. 51”, w. 23”, d. 15‑1/2”. Befort Jeune, born Mathieu Befort Jeune (1813‑1880), was a Parisian cabinet maker and the son of Jean-Baptiste Befort. Their workshop was located at rue Neuve-Saint-Gilles from 1844 to 1880. The high quality of Befort Jeune’s work granted him purveyor to Napoleon III and Empress Eugenie. The firm also received a medal at the 1844 Exposition de Produits de l’Industrie Francais. Provenance: Lockwood-Mathews Mansion, Norwalk, Connecticut. By family tradition, this pedestal was acquired as part of the re-furnishing of the LockwoodMathews Mansion. The sixty-two room mansion is considered one of the earliest and finest surviving Second Empire style houses ever built in the United States. LeGrand Lockwood, who built the house, made his fortune in banking and the railroad industry. The mansion was completed in 1868 and furnished by the leading decorating firms of the time, which included the Herter Brothers and Leon Marcotte. The financial crash of 1869, followed by Lockwood’s death in 1872, resulted in foreclosure of the mansion and the public sale of all its furnishings. Charles Mathews purchased the property in 1876 and re-furnished it. Presumably, this pedestal was acquired as part of this re-furnishing project. The Mathews estate sold the mansion to the city of Norwalk in 1941 and the contents were then sold at public auction. The pedestal descended through the consignor’s family, who acquired it at this 1941 auction. [6000/9000] Illustrated

975

974

974 detail 975 Napoleon III-Style Kingwood and Ormolu-Mounted Occasional Table, early 20th century, the turtle-form top centered by an inset porcelain dish decorated with cherubs in the “Sevres” style, surrounded by corner floral porcelain plaques all within an ormolu banding, raised on shaped legs joined by a small stretcher and ending in a shaped platform base centered by a floral porcelain plaque, the whole heavily mounted with ormolu mounts and mill work, h. 29‑1/2”, w. 21‑1/2”, d. 17”. [2000/4000] Illustrated

152

978 French Giltwood Looking Glass, late 19th century, the rectangular plate within a molded giltwood frame, with side and corner floral bouquet and scrolling acanthine patterns, h. 62”, w. 39‑1/2”. [1400/1800] Illustrated 979 French School (First Quarter 20th Century), “Floral Bouquets With a Blue Ribbon”, pair of oval oils on canvas, unsigned, 36” x 23‑1/2”. Presented in matching giltwood frames. [2000/4000] Illustrated

976

976 Sevres Card Tray Mounted in a Gilt-Bronze Stand, ca. 1847, French, the oval hand-painted tray with celeste bleu borders decorated with gilt scroll-outlined panels of enamel flora, the central panel contained in an oval tooled gilt border, portraying three children dancing and playing a flute in a garden, marked with a printed green crown over “SV”, cyrillic letters and “1847”, the bronze stand, possibly of later origin, with a beaded rim, pierced and scrolled handles and cartouche feet hung with swags of flowers, h. 5”, w. 12”, d. 6”. [600/900] Illustrated 977 Continental Giltwood Classical Revival Corner Bracket, fourth quarter 19th century, three molded acanthus leaves, terminating in a renaissance revival finial, supporting the quarter-round shelf, with leaf-molded edges and double swags of flowers ensuing from foliatemolded blocks, the shaft velvet lined, h. 16”, w. 10‑1/2”, d. 10‑1/2”. [300/500] Illustrated

978

977

979 pair

153

980 Max Albert Carlier (Belgian, 1872‑1938), “Floral Still Life in a Green Vase”, oil on canvas, signed lower right “M. Carlier”, 35‑1/2” x 25‑1/2”. Presented in a period giltwood and gesso exhibition frame. [3500/6000] Illustrated

987

980

988

981 Pair of Louis XVI-Style Two-Light Candelabra, now mounted as lamps, the round bases decorated with beaded scrolled arms holding beaded drip pans and candle cups, the central standard sheathed with glass, set with sprays and swags of prisms and crowned with a tapered glass finial, electrified, h. 18‑1/2”, w. 12”, d. 3‑3/4”. [200/400] 982 French Gadroon-Molded Colorless Glass Wash Set, fourth quarter 19th century, the flaring bowl with a starmolded base, the vase-shaped ewer with an applied blown handle and a base matching the bowl, bowl, h. 4”, dia. 13”, pitcher, h. 9”, w. 9‑1/4”, d. 5‑1/4”. [150/300] 983 Cast-Metal Figure of Athena Mounting Her Steed, fourth quarter 19th century, Athena depicted in her crown, with a clinging gown, grasping the reins to pull herself up, her shield to one side, the horse rearing on his hind legs, h. 14‑1/4”, d. 5‑1/2”, l. 13”. [150/300] 984 Pair of Continental Rouge Marble and Patinated Metal Candlesticks, the rouge marble base set on scroll feet and mounted with cartouches, the marble plinth holds putti supporting swirling candlestands mounted with candle cups, h. 16‑1/4”, w. 8‑1/2”, d. 6‑1/4”. [900/1200]

154

985 Louis XVI-Style Bronze Belle Epoque Mantel Clock, fourth quarter 19th century, signed “Japy Freres”, the leafmolded feet support the base, the base decorated with a bunch of grapes and a horizontal band of bellflowers, the tapered body decorated in bas relief with a mask and swags, the bronze face decorated with molded acanthus leaves and a border of cabochons and with enameled numerals on the chapter ring, h. 15”, w. 9”, d. 5”. [150/300]

989

989 Pair of Meissen-Style Figures of a Shepherd and Shepherdess, first quarter 20th century, Sitzendorf Porcelain Manufactory, Thuringia, Germany, the round scroll-molded bases decorated with applied bocage, each figure with polychrome decoration in the Meissen palette and accompanied by a modeled sheep, h. 9" and 8", repspectively. [500/800] Illustrated 990 Royal Vienna Porcelain and Mirror Plate Plateau, fourth quarter 18th century and later, the porcelain sides and feet shell-edged and trimmed in fuschia, with feet decorated to match, the borders decorated with raised gilded scrolls and scattered hand-painted flowers, pine backing supports the mirror plate and edges, marked with the underglaze blue shield commonly called the beehive, found numerous times on the inside vertical edge of the porcelain, h. 3‑1/2”, w. 23‑1/2”, d. 19”. [300/500]

992

986 Pair of Neoclassical-Style Bronze Five-Light Candelabra, now mounted as lamps, ca. 1900, French, the leaf-molded tripartite bases raised on scrolled feet support standards in the form of caryatids, scroll-molded arm supports set with leaf-molded candle cups and drip pans, shell-molded bobeches, h. 38‑1/2”, w. 13”, d. 13”. [1000/1500] 987 Paris Porcelain Hand-Painted Casket-Form Clock, second quarter 19th century, decoration attributed to Schoelcher, the base of the clock decorated with an acanthus-molded matte gilt border, repeated in smaller scale at the top border, the facade decorated with a finely detailed view of a mother and two children, relaxing in a lakeside sheep meadow, the grand decorated with giltedged mauve rococo panels floating on a white field of scattered flowers, the case set with silvered dial period works, h. 12‑1/2”, w. 9‑1/2”, d. 7”. The same decoration appears on a Schoelcher tea set designed in 1834 and shown in Paris Porcelain by Plinval de Guillebun, page 233. [1500/2500] Illustrated 988 Transitional Louis XV-into-Louis XVI-Style Giltwood Bergere, late 19th century, the padded back with a curved recessed top surmounted by a wreath and torchere crest with side urn-form finials, joined by closed scrolling arms to the padded seat, raised on molded cabriole legs ending in scrolled toes on casters, h. 38”. [200/400] Illustrated

991 Sevres-Style Hand-Painted Petit Dejeuner Set, fourth quarter 19th century, French, each piece decorated with a green ground, the oval, lobed tray with pierced gilt-decorated handles, and an oval reserve panel of three figures in 18th century costume gardening, framed with gilt scrollwork, w. 13”, l. 17‑1/2”, together with an inverted pear-shaped teapot with two matching figures on the front and floral panels on the rear, h. 5”, a covered sugar bowl, h. 4‑3/4”, a footed cream jug, h. 4‑1/2” and a pair of cups and saucers, h. 3‑1/4”, all decorated to match, each piece bearing a Sevres-style blue overglaze mark. [1800/2500] 992 Meissen-Style Figure of a Shepherd, ca. 1900, probably Haas & Czjeck of Schlaggenwald, Germany, the rouge, scroll-decorated base holding the shepherd with a sheep and dog, the shepherd with a mauve shirt with a ruffled collar and a feathered hat, sculpted flowers applied to the base and his hat, and sculpted ribbons on his shoes and knee breeches, partially marked with underglaze blue crossed arrows, h. 10‑1/4”. [1800/2500] Illustrated

155

993 Bela Marx (Slovakian/Austrian, 1885‑1963) “Sunny Day in the Park”, oil on board, signed lower left “Marx Bela”, 17” x 15‑3/4”. Framed. [600/900] 994 Antoine Daens (French/Belgian, 1871‑1946), “Allegory of Spring”, oil on canvas, signed lower left, 39‑1/2” x 47‑1/4”. Presented in a giltwood frame. [4000/7000] Illustrated 995 Delphin Enjolras (French, 1857‑1945), “Lady in Pink Seated on a Bench, With Two King Charles Spaniels”, pastel on paper, signed lower right “E. Enjolras”, sight 35” x 25”. Glazed and framed. [2500/4000] Illustrated 996 Napoleon III Bronze and Porcelain Oil Lamp, the pierced scroll-footed base supports the pink ground body decorated with a polychrome panel of a courting couple with a dog in a garden on the obverse and an oval gilt panel framing polychrome flora on the reverse, the upper edge mounted with bronze trim depicting beading, grapes and grape leaves, now electrified, h. 35‑1/2”. [900/1200] Illustrated

995 997 French School (First Quarter 20th Century), “Venus and Cupid”, oil on canvas, signed and dated lower right “F. Collin, Paris 1915”, 23‑1/2” x 28”. Presented in a ovoid giltwood and gesso frame crested with a ribbon and floral spray molding. [500/800] Illustrated

156

994 998 Norvel H. Busey (American/New York, 19th/20th Century), “The Introduction”, oil on panel, signed and dated lower left “N.H. Busey 1927”, 18” x 21‑3/4”. Presented in a Rococo style frame. [1000/1500] Illustrated 999 Lushly Decorated Meissen Figural Standard, ca. 1900, now mounted as a lamp, the shell- and scroll-encrusted base, highlighted with pink and green, holding an array of putti engaged in harvest activities, a sleeping putti rests on a carefully modeled sheaf of wheat while another cherub picks apples and plums in a basket, a draped figure warms his hands over a fire pot, while a bacchanalian figure leans forward with his cup of wine, and a pair of putti hold a lush wreath of late summer flora, the central standard is shell-molded to match the base, handpainted with flowers and decorated with sculpted, polychrome flowers, signed with the underglaze blue crossed swords, as well as, an impressed “143” and “605”, h. 13‑1/4”, dia. 7‑1/2”. [700/1000]

996

1001 Continental Ivory Miniature Painting, 19th century or earlier, scene of a young woman in 17th century dress, giltmetal frame, w. 2‑1/2”, l. 2‑1/4”, sight. [150/300] 1002 Meissen-Style Porcelain Figural Group, fourth quarter 19th century, the scroll-molded plinth holding a horse attended by two winged putti and a nude maiden, applied polychrome flowers adorn the base, h. 5”, w. 6”, d. 3‑1/2”. [300/500]

997

1000 Collection of Belle Epoque Lady’s Dressing Table Accessories, first quarter 20th century, comprised of a watercolor of Madame Pompadour in a gilt-brass picture frame, h. 9‑1/2”, w. 6‑3/4”, a beveled, turtle-shaped hand mirror with an oval portrait of Madame Pompadour in a square frame on the reverse, h. 11”, w. 4‑1/2”, an oval jewel box with a round portrait on the lid, h. 1”, w. 2‑3/4”, d. 2‑1/4”, a rectangular jewel box, set with amethystcolored “jewels”, h. 1‑1/2”, w. 3‑1/4”, d. 2”, and a stamp box composed of stamped brass and set with an amethystcolored stone, w. 3”, d. 2”. [100/200]

1003

1003 Continental School (Fourth Quarter 19th Century), “Fruit and Floral Still Life”, oil on oval canvas, signed illegibly lower right, 29” x 23‑1/2”. Presented in a period giltwood and gesso frame. [700/1000] Illustrated

998

157

1004

1005 Continental Giltwood Looking Glass, late 19th century, the pierced and scrolling crest above a rectangular mirror plate and having foliate and shell-form motifs along the frame, h. 60”, w. 31”. [300/500] Illustrated 1006 Georges Jeannin (French, 1841‑1925), “Nature Morte”, watercolor on paper, signed and dated lower right “Jeannin Decembre 1883”, sight 27” x 19‑1/2”. Glazed and framed. [1800/2500] Illustrated 1007 Italian Creme Peinte and Parcel-Gilt Headboard, 19th century, in the Louis XV style, of domed form, the padded central section surmounted by an exuberant foliate shield crest and within a scrolling foliate frame, possibly a converted Supra Porta panel, h. 48”, w. 76”. [400/700]

1004 Three-Piece French Champleve Enamel and Onyx Clock Garniture, first quarter 20th century, the clock set with an ogee-molded onyx cap supporting an onyx covered cup finial with an enamel lid and scrolled handles over the case bordered by enamel-decorated columns with engineturned feet and Corinthian capitals, the clock dial with an enameled bezel and a gilt chapter ring, the works singed by Marti & Cie, Paris, hung with an enamel-decorated mercury-filled pendulum, the whole resting on enameled bronze feet, together with matching garniture vases with onyx bases and an enameled, conical foot, the onyx bodies set with gilt-bronze scrolled handles and enameled necks trimmed with engine turning, clock, h. 19‑1/2”, w. 12‑1/2”, d. 6‑3/4”, urns, h. 13‑3/4”, w. 5‑1/2”, d. 4‑1/4”. [6000/9000] Illustrated

1006

158

1005

1008 Impressive Pair of Gilt-Bronze Napoleon III TenLight Candelabra, third quarter 19th century, French, the oblong bases raised on pierced scrolled feet and decorated with applied swags of flowers, supporting a seated putti holding aloft a large cornucopia, with banana trees and banana-leaf-molded candle arms, and ten leaf-molded candle cups and banana-leaf-molded drip pans, h. 26”, w. 16”, d. 12”. [2000/4000] Illustrated 1009 French Patinated Bronze Figure of Cupid on a Marble Plinth, fourth quarter 19th century, the square plinth holding a finely modeled figure of a cupid seated on a draped block, the patinated figure holding a gilt-bronze bow, with a gilt-bronze quiver of arrows at his feet, and a gilt ring-mount holding the statue to the marble base, h. 18‑1/4”, w. 12”, d. 6‑1/4”. [2500/4000] Illustrated

1008

1010 French Gilt and Patinated-Bronze Putto, third quarter 19th century, now mounted as a lamp, the green faux mabre base supports a gilt-bronze grape-swagged plinth, supporting a putti holding a wine cup and grapes, his foot resting on a pierced gilt-bronze stippled scroll, h. 29”, w.12‑1/2”, d. 7”. [500/800] 1009

1012

1011 Gilt-Bronze Five-Light French Candelabra on a Marble Base, now mounted as a lamp, the black and white round base supports the scroll-molded foot, the pierced body made of intertwined flowers, gadrooned candle arms support leaf-molded cups and drip pans, h. 20‑3/4”, w. 10”, d. 10”. [400/700]

1012 Pair of Gilt-Bronze Belle Epoque Gas Sconces, fourth quarter 19th century, in the Louis XV style, the backplate in the form of a bold cartouche, framed with scrollwork, holding three scrollwork arms molded with oak leaves and acorns, the vase-shaped candle cups leaf-molded over stippled panels and retaining their gas keys, a deeply molded and pierced rococo cartouche serves as the finial, h. 20‑1/2”, w. 13”, d. 13‑3/4”. [1500/2500] Illustrated 1013 Paris Porcelain Garniture Urn, second quarter 19th century, the urn decorated on the obverse with three male figures and a female figure in Elizabethan costume, playing with a dog on a leash in front of a gothic structure, enclosed in a tooled gilt surround, the reverse decorated with an armorial device of a shield and crossed swords, enclosed in black wreaths on a periwinkle blue ground, the swan-form handles brightly gilded with matte gilt wings and a matte acanthus leaf underneath, h. 13”, w. 7”, d. 6”. [300/500]

159

1018

1015 Three-Piece Continental Porcelain Tea Set in the Rococo Revival Style, mid-19th century, the teapot with a pear-shaped body with a scrolled leaf-molded handle and spout, the body decorated with an enamel polychrome cartouche of a basket of flowers on a field of scrollwork, the lid decorated to match and with a flower-form knop, the sugar bowl and cream jug decorated to match, teapot, h. 10”, w. 7‑1/2”, d. 5”, sugar bowl, h. 5‑3/4”, w. 7‑3/4”, d. 5”, cream jug, h. 7‑1/4”, w. 6‑1/4”, d. 4‑3/4”. [150/300]

1021

1023

1022

1020

1014 Pair of French Garniture Vases, mid-19th century, probably Limoges, the flattened urn-form vases decorated with a bleu ground and pierced black handles decorated with gilt ivy leaves, the obverse decorated with a transfer polychrome panel of 18th century court figures on a terrace being tended by a servant, the panels set in a tooled gilt oval surrounded by a frame of gilt and white scrollwork, the reverse decorated with polychrome flowers, h. 16‑1/4”, w. 10”, d. 5”. [600/900]

160

1016 Pair of Rococo-Style Gilded Finials, the fluted bases with a gadrooned waist, leading to the fleurde-lis-shaped bodies, molded with fluting and beading, mounted with pointed and voluted finials, h. 7‑3/4”, w. 4‑1/4”, d. 2‑3/4”. [40/60] 1017 Pair of French Signed Gilt-Bronze Mounts, ca. 1900, the shell-shaped cartouche center molded with stalactites, winged putti molded on each side with an upper molding of oak leaves and acorns, impressed “AB” depose on the back, h. 5‑1/4”, w. 13”. [500/800] 1018 Large Chinese Bowenite Carving, 20th century, surface-carved and pierced with dragons, phoenixes and floral scrolling, carved fitted hardwood stand, h. 52”, without stand, w. 42”, d. 22”. [2000/4000] Illustrated

1019

1019 Chinese Jade Scepter, early 20th century, stone of a yellow-green color, surface-carved with ling-chih in relief, l. 10”. [1500/2500] Illustrated

1024

1020 Pair of Chinese White Glass Gu Vases, 19th century, the vase in a white jade color, Qianlong mark on the base, h. 6-5/8". [700/1000] Illustrated 1021 Chinese Jade Ritual Disk, 18th century, Pi with one side carved with a sinuous kylin and ling-chih, reverse with a brocade pattern, the white-colored stone with a slight green tone, dia. 2‑1/4”. [2000/4000] Illustrated 1022 Chinese Jade Pomander, late 19th / early 20th century, the greenish-white stone carved and pierced with lung-chih, Buddha’s hand citron’s and bats, l. 2‑1/2”. [1400/1800] Illustrated 1023 Chinese White Jade Plaque, 19th century, rectangular form, one side carved with a meeting of scholars, the other with a poem, top carved with archaic scrolling, l. 2‑1/2”. [1500/2500] Illustrated 1024 Chinese Jade Carving, 20th century, the disc with relief carving of the animals of the zodiac, the stone of yellow/ white color, dia. 3‑1/4”. [5000/8000] Illustrated 1025 Chinese Jade Water Coupe, 20th century, the celadoncolored stone in a double-gourd-form, with two wells and foliage, l. 4”. [1200/1800] Illustrated

1027

1028

1026 Set of Chinese Serpentine Cups, Saucers and Spoons, highly translucent celadon stone, the spoons with a carving of a dragon’s head, cups, dia. 2‑1/2”, saucers, dia. 4‑3/4”, spoons, l. 4”. [450/700]

1025

1027 Chinese Jade Carving, 19th century, the celadon-grey stone carved as a pair of seed pods and foliage, l. 2‑1/4”. [1000/1500] Illustrated 1028 Chinese Hardstone Vase, 20th century, the whitecolored stone with a slight lavender tone, carved in the form of a group of monkeys and bamboo, h. 5‑1/2”, l. 6”. [4000/7000] Illustrated

161

1031

1034 Chinese Jade Carving, 19th century, the celadon-colored stone with russet marking, carved with lotus plants, l. 1‑1/2”. [800/1200]

1030 1032

1035 Two Chinese Jade Carvings, 20th century, comprised of an archaic-style heart-shaped water coupe with chih-lung, together with a pendant with a crane and peaches, l. 2‑1/2” to 3”. [200/400] 1036 Chinese Jade Carving of a Resting Dog, 19th century, colored stone with a pronounced amber marking, l. 3”. [1500/2500] Illustrated

1029 Chinese Jade Carving, the pale celadon stone, carved with a squirrel and grapes, l. 1‑1/4”. [800/1200]

1033

1030 Chinese Jade Vase, 18th/19th century, pure white color, carving of two children with a jar, fitted hardwood stand, l. 1‑3/4”. [1800/2500] Illustrated 1031 Chinese Jade Carving, 20th century, the the greyishwhite stone carved as a study with fish and waves, h. 5”. [1200/1800] Illustrated 1032 Chinese Jade Tally, 20th century, the grey/white stone carved in two parts as a winged archaic tiger, l. 3‑1/2”. [1500/2500] Illustrated

1036

1033 Chinese Jade Water Coupe, 19th century, carved in the form of a peach with branches and foliage with two bats, the stone of a grey celadon color, w. 3‑1/2”, l. 4‑1/2”. [2500/4000] Illustrated

1037

1037 Chinese Jade Tray, 19th century, the rectangular-form tray in a dark forest-green color, with sterling silver feet and handles with floral studs (all early 20th century), Ch’ien Lung mark on the base, w. 8‑1/2”, l. 12”. [600/900] Illustrated 1038 Chinese Jade Incense Box, 19th century, the spinach jade inset with a white jade plaque, carved in relief with a bough of peaches, dia. 3”. [1800/2500] Illustrated

162

1039 1039 Japanese Plique-a-Jour Enamel Vase, mid-20th century, mille fleur decoration on a sea green ground, silver plate mounts, h. 5‑1/2”. [1800/2500] Illustrated 1040 Two Chinese Jadeite Carvings, 20th century, one a water coupe, l. 4”, and the other a snuff bottle, h. 2‑1/4”, both in stones of apple green color. [300/500]

1038

1042 Thomas Moran (American, 1837‑1926), “Morning”, black and white etching, signed and dated in plate lower right “T. Moran 1886”, signed in pencil lower left margin “T. Moran”, sight 17” x 22‑1/2”. Glazed and framed. [1500/2500] Illustrated

1041 1041 Chinese Carving of an Immortal, 19th century, the jadeite figure of Lan Tsai Ho, the stone of a bright green color with emerald markings, h. 6‑1/2”. [4500/7000] Illustrated

1043 Murray Lincoln Wade (American/California, 1876‑1961), “San Francisco Water Front, 1860” and “New York Water Front, 1875”, pair of ink and wash on paper, each titled, signed and dated “Wade ‘56”, sight 14” x 19”. Both glazed, matted and framed. [400/700]

1042

163

1048 John Whorf (American/Massachusetts, 1903‑1959), “Country Road” and a “New England Town Viewed From a Pond”, double-sided watercolor on paper, each side, signed lower right “John Whorf”, sight 19” x 24‑1/2”. Glazed, matted and framed. [3500/6000] Illustrated 1049 John La Farge (American, 1835‑1910), “Dionysus”, graphite and red crayon on paper, signed and dated lower left “John La Farge 1900”, sheet 14‑1/2” x 10‑1/2”. Glazed and framed. [2000/4000] Illustrated

1044

1049

1046 1044 William Trost Richards (American, 1833‑1905), “Seascape”, watercolor on paper, signed lower left “Wm T. Richards”, sight 13” x 19‑1/2”. Glazed, matted and framed. [1000/1500] Illustrated 1045 Armin Stern (German, 1883‑?),”Port Scene”, graphite and watercolor on paper, signed and dated lower right “Armin Stern, 13. 8. 24”, sight 9” x 11‑1/2”. Glazed and framed. [500/800] 1046 Herb Booth (American/Texas, b. 1942), “Winter Scene With a Grouse in Flight”, watercolor on paper, signed lower right “Herb Booth”, sight 14” x 21”. Glazed, matted and framed. [1200/1800] Illustrated 1047 George Carpenter (American, 1928‑2006), “Southwestern Town”, watercolor on paper, signed lower left, sight 13” x 19‑1/2”. Glazed, handsomely matted and framed. [300/500] 1048

164

1053 Charles Wilbert White (American, 1918‑1979), “Praying Figure”, graphite and charcoal on paper, signed “Charles White”, sight 9‑1/2” x 9‑1/2”. Glazed, attractively matted and framed. [3000/5000] Illustrated 1054 American Parcel-Gilt Silverplate Cream and Sugar Set, fourth quarter 19th century, including a covered sugar bowl, h. 5”, dia. 5”, and a cream jug, h. 5‑1/4”, l. 5”, each with a gilt-beaded wirework frame joined by acanthus- and medallion-crested cabriole legs, fitted with a glass body decorated with wheel-cut Greek Key banding, the sugar bowl with a later silverplate lid. [250/400]

1051

1050 Lois Fine (American, b. 1931), “Death and The Maiden”, etching with aquatint, signed and dated in pencil lower right “Lois Fine imp. ‘68”, titled lower left, sight 18‑1/8” x 10”. Glazed, matted and framed. [400/700] 1051 Grant Wood (American, 1892‑1942), “Midnight Alarm”, lithograph, signed in pencil lower right “Grant Wood”, pencil titled lower left and inscribed “original lithograph by Grant Wood U.S.A. 1892‑1942”, sight 13‑1/2” x 9”. Glazed, matted and framed. [1000/2000] Illustrated

1053 1055 Pair of Baltimore Sterling Silver and Cut Glass Cologne Bottles, first quarter 20th century, by the Hennegan-Bates Co., Baltimore, Maryland, each with a spherical glass body cut with hatched vertical flutes between oculus banding, with flared collar, the large flattened spherical stoppers completely clad in sterling silver embossed all over with flowers and foliage in the Baltimore manner, h. 5‑1/2”, dia. 3‑1/2”. [500/800] Illustrated

1052 Louis Macouillard (American, 1913‑1987) “California Street Cable Railroad Company”, black and white print, signed in plate “L. Macouillard”, sheet size 9‑3/4” x 12‑7/8”. [100/200]

1055

1056

1057

1056 American Sterling Silver-Mounted Cut Glass Bowl, 1897, the silver by the Gorham Corp., Providence, Rhode Island, the glass probably J. Hoare, Corning, New York, the hemispherical glass bowl with crosscut diamond panels and hobstar base, the applied silver rim embossed rococo scrolls and shells, h. 4‑1/4”, dia. 9‑1/4”. [250/400] Illustrated

165

1060 1060 Four American Sterling Silver Dishes, first quarter 20th century, including a Gorham oblong condiment dish decorated with embossed realistic poppies, monogrammed “LWS”, l. 7”, w. 5‑1/2”, a Whiting circular candy dish with embossed shells and swags, monogrammed “MM”, dia, 5‑1/2”, a Redlich square candy dish with steeply everted and shaped rococo rim, monogrammed “LMS”, w. 5‑1/2”, and a Kirk “Repousse” open sugar bowl, dia. 3‑1/2”, 16.33 total t. oz. [300/500] Illustrated

1057 American Eleven-Piece Cut Glass, Silverplate and Sterling Cordial Set, mid-20th century, including ten cut glass shot cups in a cane pattern and with silverplate rim, h. 2”, dia. 1‑1/2”, with a plain circular sterling waiter with everted edge and molded rim, dia. 7”, 5.91 t. oz. (waiter only). [100/200] Illustrated 1058 Fourteen Silver and Glass Dresser and Table Articles, late 19th/early 20th century, including a sterling desk seal, engraved “N”, l. 3‑3/4”, a La Pierre cut glass dresser jar with sterling cap, h. 2‑1/4”, a Brand-Chatillon sterlingmounted pressed glass votive candle holder, h. 2‑3/4”, a Charles May, Birmingham, 1891‑1892, sterling-capped cut glass cologne bottle, h. 4‑3/4”, a Tiffany silverplate card holder, h. 4‑1/2”, a Gorham sterling candlesnuff, l. 91/2”, a sterling handled nail file, l. 5‑1/2”, a sterling-handled ink eraser, l. 6”, a sterling-handled lady’s hat brush, l. 7”, a cut glass cologne bottle with Tennant sterling stand monogrammed “FES”, overall h. 5”, a Wallace “Grand Baroque” sterling cosmetic brush, l. 4‑3/4”, a sterling nib pen, l. 6‑1/2”, a silver-capped ruby glass double cologne bottle, l. 4”, and a sterling circular waiter with pierced rococo rim, monogrammed “ST”, dia. 7‑3/4”, 10.35 t. oz. (weighable silver). [100/200] 1059 Seven Miscellaneous Sterling Silver Table Articles, 19th and 20th century, including a Shreve, Crump and Low reed-and-ribbon edged bread and butter plate, monogrammed “CMH”, dia. 5‑3/4”, a Dominick & Haff neoclassical-style small compote, monogrammed “DLC”, h. 4‑1/4”, a Graff, Washbourne & Dunn candlesnuff, l. 10‑1/2”, a Towle julep cup, h. 4”, and three cut or paneled glass dresser jars with silver caps, including an International Silver powder jar complete with puff, the cap monogrammed “EGS”, h. 3‑1/4”, and unmarked cosmetic jar with embossed cap monogrammed “M”, h. 1‑7/8”, and a William IV cosmetic jar, the cap hallmarked London, 1835‑1836, by Thomas Dicks, monogrammed “M”, h. 2‑1/4”, 16.46 total t. oz. (silver only). [100/200]

166

1061 Three American Sterling Silver Deposit Glass Cologne Bottles, fourth quarter 19th century, Thiery & Croselmire, Newark, New Jersey, including a large cylindrical example, h. 7”, and two smaller spherical examples, h. 4” and 3‑1/4”, each with a flared collar and spherical stopper, decorated all over with cut and engraved floral scrolls, the larger spherical example monogrammed “MTP”. French-born jeweler and engraver Edward A. Thiery (b. 1840) and German-born metallurgist and refiner Charles F. Croselmire (1848‑1910), were awarded patent number 333697 on January 5, 1886 for their method of applying a layer of metal to an article by method of electrolysis and then engraving to the base layer underneath. They used the technique not only on glassware, but also on ivory and horn for the manufacture of cane handles and corkscrews. Their method was supplanted by John H. Scharling’s improved patent of 1892, which was adopted by both the Wymble Mfg. Corp. and the Alvin Corp. Croselmire sold his refining company in 1902 to Charles W. Englehard, which later became Fortune 500 company Englehard, manufacturers of the first catalytic converters. Croselmire died in 1910 in a notorious murder-suicide, in which he shot his wife, Henrietta, and then himself. His wife survived the attack, but Croselmire died after shooting himself in both the heart and the head. [200/400] Illustrated

1061

1062 19th Century Wood & Hughes Sterling Silver Ice Cream Slice, third quarter 19th century, New York City, New York, with a part-matte baluster finial, block knop and floral-engraved scimitar-shaped blade, the latter retaining traces of the original gilt, l. 10‑1/2”, 3.47 t. oz. [75/125] 1063 Gorham Nine-Piece Sterling Silver Gilt and Enamel Demitasse Service, fourth quarter 19th century, Providence, Rhode Island, pattern number 808, including eight demitasse spoons with bow-style sugar tongs, each with a thin, flat-back “spiral twist” stem and blue and green enameled floral finial, monogrammed “CS”, l. 3‑1/2”, 1.92 total t. oz. [75/125] 1064 Rare Whiting “Dresden” Sterling Silver Gilt and Enamel Pickle and Olive Set, the pattern designed in 1896 by Charles Osborne (1847‑1920), including a pickle fork and olive spoon, the handles enameled in various pastel and cream colors, l. 9”, 2.12 total t. oz. [75/125]

1067

1065 Three American Sterling Silver Dishes, first quarter 20th century and later, including a circular J.F. Fradley & Co. condiment dish, decorated with elaborately embossed leafy scrolls, dia. 4‑3/4” and an oblong Gorham Art Nouveau sweetmeat dish, decorated with embossed flowers and “whiplash” lines, monogrammed “S”, l. 9”, w. 5”, and a mid-century oval Alvin bread tray, l. 10‑1/2”, w. 6‑1/4”, 11.06 total t. oz. [150/300] 1066 American Silverplate Tray, second quarter 20th century, by the Wilcox division of International Silver, Meriden, Connecticut, in the rococo taste, of oval form, the “Chippendale”-shaped rim with applied rococo scrolls, with opposing rocaille handles, the plateau engraved with a wide band of rococo flowers, scrolls and cartouches, l. 26”, w. 17‑3/8”. [150/300]

1067 Pair of Frank M. Whiting “Talisman Rose” Sterling Silver Candlesticks, the pattern designed in 1937 by Charles F. Simms, North Attleboro, Massachusetts, each of baluster form decorated with repousse roses, h. 11”, dia. 6‑1/8”, weighted. This pattern was originally designed in 1937 (patented 1938) by Charles Franklin Simms (1888‑aft. 1942), a designer and factory superintendent at Concord Silversmiths at Concord, New Hampshire. Both Concord Silversmiths and Frank M. Whiting were assumed by the Ellmore Silver Corp, of Meriden, Connecticut around 1940, and who continued to produce patterns of both companies under the Whiting brand, including “Talisman Rose”. [1400/1800] Illustrated 1068 Set of Three Graduated Coquille-Form Silverplate Serving Dishes, third quarter 20th century, by the Amston Silver Co., Meriden, Connecticut, each with rococo-scroll rim and floral bouquet heel, raised on three nautilus-form feet, the largest 15” x 15‑1/2”, the smallest 9‑1/2” x 10”. [150/300] 1069 Seven Pieces of Miscellaneous Sterling Silver Tableware, first half 20th century, including a Dominick & Haff compote with Greek-key reticulated rim, h. 5‑3/4”, dia. 6‑1/2”, a rounded rectangular International Silver vegetable dish with leaf-and-dart rim, l. 8‑7/8”, w. 6‑3/4”, an unmarked small “Revere” bowl, h. 2‑3/4”, dia., 5”, an International Silver condiment bowl, dia. 4‑1/8”, a Manchester condiment bowl, dia. 5‑1/8”, a Webster Co. condiment bowl with reticulated rim, dia. 6”, and a Wallace & Son bottle coaster with reticulated rim and reeded edge, monogrammed “P”, dia. 7”, 20.83 total t. oz. (excluding weighted compote). [300/500] 1070 Eighteen Assorted Pieces of American Sterling and Other Flatware, 20th century, including American sterling pieces a Wood & Hughes “Fiddle Thread” tablespoon, l. 8”, a Frank Smith “Baronial” ice cream slice, l. 10‑5/8”, a Wallace “Berain” butter pick, l. 5‑3/4”, a Whiting “Bead” berry spoon, monogrammed “S”, l. 7” a Sterling Silver Mfg. Co. “La Tosca” pickle fork, l. 6”, a Wood & Hughes “Angleo” pie fork, monogrammed “WF”, l. 5‑7/8”, a Wallace “Lucerne” olive spoon, monogrammed “CW”, l. 6‑1/4”, a Durgin “Marechal Niel” ice cream fork, l. 5‑3/4”, a Wendell sugar shell in an unidentified Louis XV-style pattern, monogrammed “S”, l. 5”, a Manchester butter pick in an unidentified bead, shell and scroll pattern, l. 5”, a demitasse spoon in an unidentified Louis XV-style pattern, monogrammed on the bowl “C”, l. 4”, and a five o’clock spoon in an unidentified floral pattern, monogrammed “K”, l. 4‑1/4”, with a pair of Danish W. & S. Sorenson .830 silver salt spoons in a threaded “King’s” shape, l. 2‑1/4”, and a set of four Swedish Matsilver .830 silver demitasse spoons, 1950, in an ornate shell pattern, l. 3‑1/2”, 12.15 total t. oz. [200/400] 1071 Eleven Whiting “Imperial Queen” Sterling Silver Butter Spreaders, the pattern designed in 1893 by Charles Osborne (1847‑1920), Providence, Rhode Island, six monogrammed “S”, l. 5‑5/8”, 7.07 total t. oz. [100/200]

167

1075

1076 American Sterling Silver and Steel Two-Piece Carving Set, ca. 1900. including a carving knife with scimitar-shaped steel blade, l. 15”, and a carving fork with two steel tines and retractable guard, l. 11‑1/4”, each with a filled sterling handle in the rococo taste decorated with reeded edging and acanthus scrolls. monogrammed “WS”. [100/200] 1077 American Sterling Silver Cake or Pie Stand, first quarter 20th century, by the Roger Williams Silver Co., Providence, Rhode Island for Mermod, Jaccard & Kin, St. Louis, Missouri, of circular form, with broad reticulated rim and raised gallery, raised on a cavetto foot ring, the center engraved with a foliate-banded monogram “BSP”, h. 2‑1/4”, dia. 10”, 13.69 t. oz., fitted with a later Pyrex pie plate. [300/500]

1072 Ten Gorham “Chantilly” Sterling Silver Salad Forks, the pattern designed in 1895 by William Christmas Codman (1839‑1923), Providence, Rhode Island, monogrammed “S”, l. 5‑3/4”, 9.19 total t. oz. [150/300] 1073 Six Pieces of Wendell “Emperor” Sterling Silver Flatware, the pattern introducedin 1896, Chicago, Illinois, including five tablespoons, l. 7‑7/8” and a punch ladle with gilt bowl, l. 10‑3/4”, no monograms, 12.79 total t. oz. [200/400] 1074 Four Dominick & Haff “Mazarin” Sterling Silver Luncheon Forks, the pattern designed in 1892 by Gilbert Lafayette Crowell, Jr. (1868‑1932), monogrammed “W”, l. 6‑7/8”, 5.27 total t. oz. [75/125] 1075 Fifty-Two Pieces of Whiting “Colonial” Sterling Silver Flatware, the pattern designed in 1891 by Charles Osborne (1847‑1920), including seven dinner forks, l. 6‑7/8”, four seafood/cocktail forks, l. 5‑1/2”, ten teaspoons, l. 5‑3/4”, two tablespoons, l. 8‑1/4”, eight soup spoons, l. 5‑6/8”, five dessert spoons, l. 5”, six demitasse spoons, l. 3‑7/8”, and ten dinner knives with “Blunt”shaped plated steel blades, l. 9‑3/8”, most monogrammed “CES”, 36.01 total t. oz. (excluding knives). [800/1200] Illustrated

1078 Set of Twelve Sterling Silver and Porcelain Demitasse Cups and Saucers, first quarter 20th century, the silver frames by the Webster Co., North Attleboro, Massachusetts, the “Belleek” porcelain cups by Willets, Trenton, New Jersey, the silver frames of ovoid form decorated with tall embossed scroll banding at the rim and base, with and squared strap handle, the silver saucers en suite, the porcelain cups cream-colored with gilt-threaded rim, overall h. 2‑3/8”, dia. 3‑1/2”, 12.92 total t. oz. (excluding porcelain cups). [200/400] 1079 Set of Six Sterling Silver and Porcelain Ramekins, second quarter 20th century, the sterling frames by the Webster Co., North Attleboro, Massachusetts, the fired porcelain ramekins by Tressemanes & Vogt, Limoges, the cylindrical frames decorated with reticulated gallery and embossed paterae, with an openwork flat handle, the white ramekins of traditional form, overall h. 1‑5/8”, dia. 3‑5/8”, l. 5‑3/4”, 6.36 total t. oz. (frames only). [150/300] 1080 Set of Twelve Sterling Silver Sorbet Cups, second quarter 20th century, by the Webster Co., North Attleboro, Massachusetts, each with a broad circular bowl with in-curved rim and gilt interior, raised on a trumpeting standard with molded circular foot, h. 3”, dia. 3‑1/2”, 22.31 total t. oz. [400/700] Illustrated

1080

168

1081 Set of Twelve Sterling Silver Cordial Cups, second quarter 20th century, by the Webster Co., North Attleboro, Massachusetts, including six dessert wine cups, h. 3‑1/2”, dia. 2‑1/4”, and six liqueur cups, h. 3”, dia, 1‑1/2”, each of traditional bucket form with a straight stem and circular foot, 8.61 total t. oz. [100/200]

1084

1082 Set of Twelve Sterling Silver Bread and Butter Plates, first quarter 20th century, by Dominick & Haff, New York City, New York, each of circular form with recessed plateau and molded rim, dia. 6‑1/25”, 36.84 total t. oz. [800/1200] Illustrated 1083 American Sterling Silver Picture Frame, first quarter 20th century, ov oval form, the plain rim decorated with engraved rococo scrolls, the crest with monogram “KITC”, with open bracket feet, slightly domed glazing and green velvet “easel” back, h. 11”, w. 7‑1/4”. [70/125] 1084 Two Hundred and Forty Pieces of International “Orchid” Sterling Silver Flatware, the pattern designed in 1930 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, including twenty-four viande/grill forks, l. 7‑1/2”, nineteen salad forks, l. 6‑1/4”, nineteen seafood/ cocktail forks, l. 5‑1/2”, seven ice cream forks, l. 5‑1/2”, thirty teaspoons, 5‑3/4”, ten soup spoons, l. 6”, six dessert spoons, l. 7”, twelve cream soup spoons, l. 5‑1/2”, sixteen iced tea spoons, l. 7‑1/4”, twenty demitasse spoons, l. 4”, twenty one grille/viande knives with stainless steel “New French”-shaped blades, l. 8‑5/8”, three master butter knives, l. 7‑1/4”, twenty butter spreaders, l. 5‑5/8”, eight tablespoons, l. 8‑1/4”, a serving spoon, l. 9‑1/4”, a serving fork, l. 8‑3/4”, two two-piece salad serving sets, l. 8‑1/2” and 8‑3/4”, a two-piece beef carving set with stainless steel blades/tines, l. 9‑1/2” and 11‑1/4”, a twopiece poultry carving set with stainless steel blades/tines, l. 8‑7/8” and 10‑1/8”, two sauce ladles, l. 6‑1/4”, two cream ladles, l. 5‑5/8”, two sugar spoons, l. 6‑1/2”, two jelly spoons, l. 6‑1/4”, a tomato server, l. 8”, a cucumber server, l. 6‑1/4”, a cake server with stainless steel blade, l. 10”, a cheese server with stainless steel blade, l. 6‑1/4”, sugar tongs, l. 4”, a pickle fork, l. 5‑3/4”, and a lemon fork, l. 5‑3/4”, all but eight pieces monogrammed either “BDMcV” or “MNV”, 211.88 total t. oz. (excluding items with stainless steel fittings), presented in a fitted wooden case with pull-out tray, 5‑1/2” x 15‑1/2” x 11‑1/4”. [2000/4000] Illustrated 1085 American Sterling Silver Trumpet Vase, first quarter 20th century, by George A. Henckel, New York City, New York, with wavy molded rim and cavetto-domed foot, the body engraved with rococo swags, monogrammed, on the foot, “BS”, h. 16‑1/2”, dia. 5‑1/4”, weighted. [200/400]

1082

1086 Collection of Four American Sterling Silver Trumpet Vases, first quarter 20th century, including a LaPierre Mfg. Co. example of paneled form, monogrammed “BSP”, h. 10‑3/4”, an unmarked example of convex canted square section, h. 10‑1/4”, a Victor Siedman Mfg. Co. example of traditional form with engraved cartouche monogrammed “BSP”, h. 10‑3/8”, and an International Silver Co. example of slightly bulbous form with wavy rim, h. 13”, all weighted. [200/400] 1087 Two Pairs of American Sterling Silver Candlesticks, second quarter 20th century, the first pair each with a tapering standard of rounded square section with torusmolded corners, the panels decorated with engraved rococo cartouches, all above a cavetto-domed foot and surmounted by an urn-form nozzle with detachable circular bobeche, h. 10‑1/2”, the second pair each with a tapering standard of oval section with six panels separated by flued and decorated with “hammered” finish, all above a molded, domed foot and surmounted by an urn-form nozzle with detachable circular bobeche, h. 10”, all weighted. [200/400]

169

1088 Two American Sterling Silver Cream and Sugar Sets, first quarter 20th century, including a three-piece set by the Webster Co., North Attleboro, Massachusetts, in the Colonial Revival taste, including a cream jug, h. 5‑1/4”, l. 5‑1/2”, an open sugar bowl, h. 4‑1/2”, w. 7”, and waste bowl, h. 3‑1/2” x w. 4‑5/8”, each of serpentine-canted rectangular section with upswept ends, strap handle(s), and raised on a cavetto domed conforming foot, and a two-piece set by the International Silver Co., Meriden, Connecticut, in the Arts & Crafts taste, including a cream jug, h. 2‑1/2”, l. 4”, and an open sugar bowl, h. 2‑1/2”, w. 5”, each of tapering cylindrical form with canted rim and base, decorated all over in a “hammered” finish, 13.31 total t. oz. (5 pieces total). [200/400]

1092

1089 Set of Eight Sterling Silver Butter Pats, first quarter 20th century, by the Webster Co., North Attleboro, Massachusetts, each of circular form with deep molded and “hammered” finish plateau centering a cartoucheframed monogram “B.S.P.”, dia. 2‑1/2” [100/200]

1090

1093

1090 One Hundred and Twenty Pieces of International “Colonial, Hammered” Sterling Silver Flatware, the pattern introduced in 1923, Meriden, Connecticut, including nine dinner forks, l. 7‑7/8”, nine luncheon forks, 7‑1/4”, ten salad forks, l. 6‑1/4”, twelve seafood/cocktail forks, l. 5‑5/8”, eight teaspoons, l. 5‑3/4”, six tablespoons, l. 7”, eleven soup spoons , l. 5‑1/4”, seven iced tea spoons, l. 7‑1/2”, twelve demitasse spoons, l. 3‑7/8”, twelve dinner knives with stainless steel “Blunt”-shaped blades, l. 9‑3/4”, eleven butter spreaders, l. 5‑1/4”, twelve citrus spoons, l. 5‑3/4”, and sugar tongs, l. 4‑7/8”, most monogrammed “BSP”, 93.88 total t. oz. (excluding knives), presentd in a faux alligator, zip-top, Pacific cloth-lined, fitted case, 3” x 21‑1/2” x 13”. [1800/2500] Illustrated

170

1091 Mexican Two-Piece Sterling Silver Cream and Sugar Set, third quarter 20th century, by Sanborn Hermanos, Mexico City, including a cream jug and open sugar bowl, in the Spanish Colonial taste, each of lobed hemispherical form, the lobes alternately decorated with chased birds and flowers, with cast scrolling handle(s), h. 2‑1/4”, dia. 3‑1/4”, 9.32 total t. oz. [400/700]

1094

1095 Pair of American Brass Double Lemon Top Andirons, first quarter 19th century, probably New York, spurred cabriole legs on ball feet support the faceted base, mid-ribs enhance the lemon turnings, seamed brass, the laid iron billet bars set with ball log stops on brass billet bar covers, h. 24‑1/2”, w. 10‑1/2”, d. 20”. [300/500] 1096 Early American Pine and Ash “Continuous Arm” Bow-Back Windsor Chair, late 18th century, the back supported by nine turned spindles and three under each arm, and mounted to a single board saddle-shaped seat, raised on turned legs joined by an “H” stretcher, h. 39”, w. 22”, d. 18”. [400/700] Illustrated 1097 American Sheraton Deacon’s Bench, second quarter 19th century, made of stripped pine and poplar with eight turned legs, joined by stretchers, one board plank bottom, turned armed supports and straight rods supporting the arms and crest rail, h. 32‑1/2”, d. 14‑1/2”, l. 96”. [200/400] 1098 American Hepplewhite-Style Lazy Susan Table, the maple base with tapered legs set with a birch top, and a revolving lazy susan section, h. 30” to top, 33” to lazy susan, dia. 59”. [200/400]

1096

1092 Philadelphia Shell-Carved Chippendale Sidechair, fourth quarter 18th century, the chair resting on ball-andclaw footed front legs and faceted, through tenoned rear legs, the front set rail decorated with an incised tulip, the solid splat back terminating in a cupid’s bowknot crest with a carved center shell and with volute-carved ears, appears to retain the original yellow pine slip seat, , h. 39”, w. 21‑3/4”, d. 20‑1/2”. [3000/5000] Illustrated 1093 Philadelphia Chippendale Mahogany Ball-and-Claw Foot Sidechair, fourth quarter 18th century, the chair with with front carved cabriole legs, the seat frame with a molded edge, round, tenoned back legs support a shaped solid splat back with a cupid’s bowknot crest rail, shellcarved and volute-carved ears, h. 39‑1/2”. [2000/4000] Illustrated 1094 Pair of Georgian Revival Sconces, ca. 1900, E.F. Caldwell & Company, New York, the cartouche-form backplates molded with scrolls and shell-form crests, the scrolled arms support candle sockets with beaded edges above acanthus knops, impressed with a “C” in a lozenge, drilled for electricity, h. 18”, w. 11‑1/2”, d. 5”. [1000/1500] Illustrated

171

1101 American Two-Piece Pine and Poplar Corner Cupbord, first quarter 19th century, mid-Atlantic region, sitting on low bracket feet, the lower doors with fielded panels with molded edges, the upper section with a twelve-light single door, shaped shelves and molded cornice with vertical beading, h. 94”, w. 46”, d. 27”. [700/1000] Illustrated

1099 1099 New England Pine Two-Part Pewter Dresser, fourth quarter 18th century, the base on integral flat bracket feet, with out doors flanking three drawers, the upper section with shaped sides holding shelves and an ogee-molded applied cornice, h. 78”, w. 68‑1/2”, d. 18‑1/4”. [800/1200] Illustrated 1100 Painted Canvas Floor Cloth in the Style of an Alabama Quilt, decorated with polychrome squares variously depicting grapes, horses, peacocks, owls, strawberries, Hannibal the Elephant, and a host of flora and fauna, with an olive-green border, now mounted for wall hanging, h. 81”, w. 68”. [400/700]

1105

1101 1102 American Colonial Revival Figured Maple Dressing Table, first quarter 20th century, the rectilinear top with a molded edge, over a conforming frieze fitted with a single drawer, raised on tapering legs on pad feet, h. 29‑1/4”, w. 36‑3/8”, d. 18‑1/4”. [300/500] 1103 American Colonial Revival Figured Maple Slant Lid Desk, second quarter 20th century, the lid opening to reveal a shell-carved drawer flanked by storage niches, over a graduated bank of four drawers, on bracket feet, h. 40”, w. 35”, d. 18‑1/4”. [400/700] 1104 American Sheraton Maple Work Table, second quarter 19th century, the top flanked by drop leaves, each with rounded corners, and fitted with a single frieze drawer, raised on turned legs, h. 26‑5/8”, w. 16‑3/4”, d. 19”, ext. w. 30”. [125/250]

172

1105 Pair of South American Tooled Leather and Mahogany Folding Chairs of Modified Campeche Form, first quarter 20th century, each retaining its original leather seat and back with tooled foliate and scroll ornamentation framing a central panel, the arms with inset leather panels in like decor, on an X-form base, the sections joined, with brass hardware, h. 38‑1/4”. By tradition, this pair of chairs formerly graced the halls of a South American Consulate. [1200/1800] Illustrated 1106 American Southern Vernacular Pine Work Table, ca. 1900, the rectangular top having a beveled edge and mounted to a straight apron, the square tapering legs ending in out-curved splayed feet, discovered in the Galveston, Texas area, h. 27”, w. 29”, d. 18”. [300/500] 1107 American Late Federal Mahogany Tall Case Clock, first quarter 19th century, the painted face depicting a country cottage, time and strike movement with calendar dial, the case with rope-twist columns, arched hood and brass eagle finial, h. 85”, w. 21”, d. 10”. [700/1000] Illustrated

1107 1108 Rare Hand-Colored and Engraved Map, “Virginiae partis australis, et Floridae partis orientalis, interjacentiumgus regionum Nova Descripto”, by Willem Janszoon Blaeu, c. 1640. Matted and unframed. [1000/1500] Illustrated 1109 Plan of New Orleans, hand-colored engraved map by S. Augustus Mitchell, published 1872, sight 10” x 12”. Matted and unframed. [150/300] 1110 Large Engraved and Hand-Colored Framed Map of North America and the Arctic Continent, inscribed “An Accurate Map of North America Describing and distinguishing the British and Spanish Dominions on this great continent; according to the Definitive Treaty Conducted at Paris 10th Feb.y 1763. Eman Bown Geog. r to HIs Majesty and John Gibson Engraver”, 21‑1/2” x 48‑1/2”, sight. [500/800]

1111 Large Engraved, Hand-Colored and Framed Map of Florida, Mexico, New Mexico and Part of California, printed for Robert Sayer, No 53 Fleet Street, London, as the Act Directs 2nd, July 1775, sight 21‑1/2” x 48”. [500/800] Illustrated

1108

1112 Hand-Colored and Engraved County Map of the States of Arkansas, Mississippi and Louisiana, copyright 1886, by Wm. M. Bradley & Bro., sight 21” x 14”. Glazed, matted and framed. [400/700] 1113 Engraved, Hand-Colored and Framed Map of New Mexico, Louisiana, Florida and California, titled, “Le Nouveau Mexique, Avec La Partie Septen Trionale De L’ancien, Ou De La Nouveau Espagne, Par Mr. Bonne, IngenieurHydrographe de la Marine”, sight 9” x 15”. [200/400] 1111

173

1114 Hand-Colored, Engraved and Framed Map of Carolina, Louisiana, and Florida, including the Mississippi River, Lake Pontchartrain, Mobile Bay and part of Georgia, sight 13‑1/2” x 18”. [300/500] 1115 Hand-Colored, Engraved and Framed Map of Southeastern North American and Canada, including Louisiane, Mexique, Floride, The Great Lakes, and the east coast Atlantique states, titled “Etats Unis De L’Amerique”, sight 14‑1/2” x 20”. [200/400] 1116 Hand-Colored, Engraved and Framed Map of the New Governments, of East and West Florida, including part of Louisiana, a detail of the Bay of Santa Maria Galleries, Pensacola, and Georgia, sight 8” x 11”. [200/400] 1117 Framed Engraved and Hand-Colored Map of Central/ South Eastern North America, including part of Illinois, Louisiane, Virginie, Carolines, Georgie and Florida, titled “De La Louisiane, Et De La Floride, Par M. Bonne, (Ingenieur-Hudrog.phe de la Marine)”, sight 13‑1/2” x 9”. [300/500] 1118 Suite of Six Heraldic Engravings, first quarter 19th century, engraved by G. Aikman, Edinburgh, sight 10‑1/2” x 8”. All glazed, matted and attractively framed. [300/500] 1119 Joseph Edmondson (British, 18th Century), two hand colored engravings of heraldic crests of “George Baron Lyttelton” and “George Baron Vernon”, sight 17‑1/4” x 9‑3/4”. Both glazed, French matted and presented in ebonized, parcel-gilt frames. [400/700] 1120 Edouard Follet (French, Second Quarter 19th Century), “Les Oisifs” and “La Maison En Loterie”, two theatrical hand colored engravings, sight 9” x 5”. Both glazed, handsomely French matted and framed. [200/400] 1121 Two Currier and Ives Lithographs, of George and Martha Washington, legend lower margins, sight 19” x 15”. Both glazed and framed. [70/125] 1122 Suite of Three Engravings of American Presidents, including George Washington, James Polk and Andrew Jackson, first quarter 20th century, largest sight 28” x 17”, smallest 12‑1/2” x 10”. All glazed and presented in giltwood frames. [150/300] 1123 Frank Leslie’s Illustrated Newspaper Hand Colored Engraving, 19th century, of “The Banks ExpeditionRecapture of Baton Rouge, The Capital of Louisiana, December 17”, published 1863, sight 15” x 21”. Glazed, matted and framed. [200/400]

174

1124 Frank Leslie’s Illustrated History of The Civil War Illustration, of “Bank’s Expedition-Executive Officer Parker, Of The United States Gunboat ‘Essex’, Hosting the National Standard On the State Capitol, Baton Rouge, LA, On Its Occupation By The Federal Forces Commanded By General Grover, Wednesday, Dec. 17th 1863”, sight 7‑1/2” x 9‑1/4”. Glazed, handsomely matted and framed [400/700] 1125 Harper’s Weekly Illustration, 19th century, of “Sugar Plantation On the Bayou Teche, Louisiana”, hand colored engraving, sight 4‑3/8” x 9‑1/4”. Glazed, handsomely matted and framed. [200/400] 1126 Harper’s Weekly Illustration, 19th century, of “The World’s Exposition at New Orleans-Scenes In The City Park”, plate 770, Volume XXVIII, No. 1457, sight 9‑1/2” x 14‑3/4”. Glazed, handsomely matted and framed. [200/400] 1127 American Classical Mahogany Fold-Over Games Table, first quarter 19th century, Boston, the foldopen top above a shaped and figured mahogany frieze and supported by a large acanthus-carved pedestal mounted to a circular base with four down-curved legs ending in cast-brass paw feet, h. 30‑1/2”, w. 38”, d. 19”. Provenance: Rattle and Snap Plantation, Columbia, Tennessee. [1200/1800] Illustrated 1128 Pair of Engraved Glass Pale Aqua Hurricane Shades, each engraved with a fret of cat tails and sprays of cat tails alternating with wheat, framing medallions of diapered lozenges, h. 18‑1/4”, dia. 6‑3/4”. [300/500] Illustrated 1129 American Classical Revival Giltwood Convex Looking Glass, early 20th century, the deeply molded frame with twelve balls and featuring an American eagle clenching olive branches, a shield and arrows at the crest, h. 36”, w. 27”. [400/700] Illustrated 1130 American Classical Giltwood and Eglomise Looking Glass, first quarter 19th century, the projecting cornice with drop balls, the bisected mirror with an upper plate depicting the “Battle of the Constitution and Guerriere” and flanked by a spiral-reeded pilaster, the plates later replacements, h. 33‑1/4”,w. 21‑1/2”, d. 4”. [300/500] 1131 American Classical Mahogany Work Table, ca. 1825, the rectilinear top with canted corners, over a conforming case fitted with a shallow over a deep drawer, each now fitted with brass lion-head ring pulls, raised on a vasiform acanthus-carved pedestal on a tripodal base, the legs with foliate carving at the knees and paw feet, h. 31‑1/4”, w. 20‑1/4”, d. 15‑1/2”. [400/700]

1132 American Classical Mahogany Sofa, ca. 1825, the paneled and molded crest rail joined to scroll arms, the face of the arms with acanthus carving, reeding and floral rosettes, paneled and molded seat rail and carved paw feet with exuberantly modeled foliate-carved brackets, upholstered in striped salmon brocade, including a pair of bolsters in like upholstery, h. 32‑1/2”, w. 88”, d. 22‑1/2”. [400/700] Illustrated

1132

1133 American Classical Mahogany Games Table, ca. 1825, the fold-over top with rounded corners, over a conforming figured frieze on a tapering column with like-veneers, on foliate-carved and reeded paw feet, h. 31‑3/4”, w. 35‑1/2”, d. 17‑3/4”, ext. d. 35‑1/2”. [300/500] 1129

1134 American Late Classical Mahogany Work Table, second quarter 19th century, with three drawers raised on a tapering pedestal on carved paw feet, h. 29‑1/4”, w. 23”, d. 16”. [200/400]

1128 1127 1135 Colonial Revival Dressing Mirror in the Classical Style, the mahogany mirror with turned standards in sabre leg supports, the bolection-molded frame terminates in corner blocks ornamented with turned bosses, h. 22‑1/4”, w. 22‑1/2”, d. 9‑3/4”. [250/400]

175

1138 Bronze and Marble Solar Lamp, Attributed to Dietz, New York, mid19th century, the two-step Egyptian marble base divided by a leaf-molded bronze trim and supporting a fluted standard mounted with a leaf-molded tank, the period shade with a frosted ground and a panel of cut and etched grapes and leaves, with a ruffled top, wired for electricity, h. 21‑3/4”, dia. 6‑1/2”. [150/300]

1140

1140 detail

1136 Pair of Colorless Glass Two-Arm Candelabra, 20th century, probably Waterford, each with a tall central spear and cut-glass bobeche with crystal beaded swags and two extending arms, electrified, h. 22”, w. 17”, [800/1200] Illustrated 1137 Set of Four Blown-Glass Candle Lamps, created in the familiar hurricane shape, the flat bases hold vase-shaped shades, molded in the base with an integral candle nozzle, h. 17‑1/4”, dia. 6‑1/4”. [300/500] 1139

1136

1139 American Classical Mahogany Work Table, second quarter 19th century, the case with a bank of three graduated drawers, the upper drawer with an adjustable writing surface, each drawer with faceted cut-glass pulls, supported by a turned column joined to four saber-form legs ending in carved paw feet, h. 29”, w. 23”, d. 17‑1/2”. [500/800]

176

1140 American Late Classical Mahogany Pier Table, Philadelphia, second quarter 19th century, the rectilinear marble top over a conforming molded frieze with projecting banded panels at the corners, supported by carved scroll columns, each capped by a carved leontine head over acanthus carving, the sides of the columns carved in twining grape vines, leaves and clusters of the fruit, resting on paw feet on a low shelf with a central recessed ovoid marble panel and cove-molded front edge, the back fitted with a mirror plate flanked by columnar pilasters, and raised on carved paw feet, h. 43‑1/2”, w. 46”, d. 21”. In 1825 President Andrew Jackson purchased four related pier tables, also with distinctive carved scroll columns in vintage decor, from Anthony Quervelle, for use in the White House. For a discussion or related tables, see Boor Philadelphia Empire Furniture figures 101, 102, 107, 108 and 109, and Robert Smith “Philadelphia Empire Furniture by Anthony Quervelle” The Magazine Antiques, September 1964. Similar Leontine masks appear on a group of cellarettes often attributed to Joseph Barry. [2500/4000] Illustrated

1141 Impressive Anglo-American Giltwood and Ebonized Overmantle Mirror in the Regency taste, first quarter 19th century, the leaf-molded outer edge surrounds the double coved frame, divided by a bold triple reed edge, the upper tablet showcases a reeded and leaf-molded urn flanked by mirrored image griffins terminating in pierced scrollwork, all worked in gilt on an ebony ground, the inner liner molded with acanthus leaves, appears to retain its original mirror plate, The presence of white pine secondary woods exemplifies the fluid nature of design and materials in the early years of the 19th century, suggesting that this very British form may have been crafted somewhere in the United States, or conversely, that a British cabinetmaker had already become reliant on imported native American wood. h. 77‑1/2”, w. 81”, d. 7”. [5000/8000] Illustrated

1141

1142

1142 English Regency Bronze and Cut-Glass Two-Light Argand Lamp, second quarter 19th century, the round anthemia-molded base supporting the complex standard, molded with acanthus leaves and egg-anddart decoration, finished in alternating patinated-bronze and gilt, and topped with a cut-glass ring, hung with prisms, the two arms mounted with pierced and molded scrollwork, the breather cups molded with acanthus leaves, the urn-shaped cut-glass tank is strawberry cut and topped with a gilt-bronze eagle displayed on an engine-turned plinth, now electrified and mounted with reproduction cut and frosted shades, h. 24‑1/2”, w. 16”, d. 7”. [800/1200] Illustrated

177

1144 Pair of Berkey and Gay Colonial Revival Knife Urns, fourth quarter 19th century, the mahogany urns resting on bracket feet, the square bases support line-inlaid urns with rounded tops panels and domed covers with acorn-shaped finials, the interior divisions intact, branded “Berkey and Gay Furniture” in a round signature, h. 27‑1/2”, dia. 12”. [3000/5000] Illustrated

1143

1144

1147

1143 American Classical Mahogany Sideboard, first quarter 19th century, Eastern Virginia, the gallery with a reeded top edge, on a case with projecting band of drawers over recessed cupboard doors, the paired central doors and end doors all flanked by reeded columns, raised on tapering turned legs, h. 42‑3/4”, w. 75”, d. 23‑1/2”. [2000/4000] Illustrated

178

1145

1146 1145 American Late Classical Mahogany Banquet Table, fourth quarter 19th century, the circular top over a split pedestal opening to accommodate four 23‑3/4” skirted leaves with gadrooned edge, the aprons with crotch veneers, the pedestal with foliate carving and four acanthus-carved legs ending in paw feet, h. 29”, dia. 54”, ext. l. 148”. [4000/7000] Illustrated

1146 Jean Joseph Vaudechamp (French, 1790‑1866, active New Orleans 1831‑39) “Portrait of a Man and Woman, Presumably Baroness Louise Deconchy Receiving Word of Her Husband’s Death in Battle”, oil on canvas, signed and dated lower left “Vaudechamp, 1823”, 28‑3/4” x 23”, reverse label inscribed in pen and ink “Baronne Louise Deconchy, epouse du general d’ Empire Vincent Martel Deconchy (1768‑1823). Presented in the period giltwood and gesso frame. This rare work is one of the earliest surviving paintings to have surfaced by Jean Joseph Vaudechamp, painted in France six years after he began exhibiting at the Paris Salon, one year before he married his second wife, one year before the death of his teacher, Anne-Louis Girodet-Trioson, and two years before his first (and only known) state commission. Vaudechamp very rarely painted multiple figures in the same composition, either in France or Louisiana. This canvas is presumably a portrait of Baroness Louise Deconchy, wife of General Vincent Martel Deconchy who died on a battlefied in Spain in 1823. This could perhaps be a mourning portrait of the Baroness and her son or secretary, with the classicized bust of the deceased general on a plinth behind the writing desk. The younger man is holding an official letter in his hand visibly inscribed at the top “MEE Espagne”, again referring to the FrancoSpanish war. Regardless of the identity of the sitters, the portrait’s composition is a sophisticated one for the 33 year-old artist, as the figures face each other tete-atete. Even in the handful of multi-figural compositions he would create in New Orleans, the painter usually preferred to have figures frontal, playing to the viewers. Vaudechamp’s palette is brighter and slightly more acrid than the subdued one he would adopt in New Orleans after his 1832 arrival there. This work, like the Langres altarpiece and his later “Portrait of an Elegant Young Gentleman with Cane, presumed to be a Resident of New Orleans (Mr. Robley?)” reflects the artist’s difficulty when presenting a figure at more than bust-length, witnessed in particular by the lady’s lap and the extended leg. What he lacks in understanding of foreshortening, he more than makes up for in the handling of the face, fabric and details, seen in the design on the shawl draped over the chair. New Orleans Auction Galleries would like to thank William Keyse Rudolph, Ph.D., The Dudley J. Godfrey, Jr. Curator of American Art and Decorative Arts at the Milwaukee Art Museum for his generous contribution to cataloguing this lot. [14000/18000] Illustrated 1147 American Classical Parcel-Gilt and Mahogany Pier Table, ca. 1825, New York, the period white and mottled grey marble top over a crotch-veneered frieze, supported by columns with like-veneer and carved giltwood Corinthian capitals and bases, the concave low shelf backed by a looking glass flanked by pilasters with gilt capitals and bases, and raised on turned and ribbed legs, h. 35‑3/4”, w. 37‑1/4”, d. 19”. [1500/2500] Illustrated 1148 Pair of Neoclassical-Style Polychrome Cast-Iron Garden Urns of Campana Form, each with a modeled lip above a ribbed body, the waisted standard raised on a socle base to a graduated square stand, h. 20”, dia. 12‑1/2”. [100/200]

1149

179

1149 Pair of Neoclassical-Style Patinated Cast-Iron Garden Urns, of campana form, each with a modeled lip above a ribbed body with a handle to each side, the waisted standard raised on a socle base, h. 24”, dia. 20”. [300/500] Illustrated previous page

1155

1150

1162

1150 Neoclassical-Style Polychrome Cast-Iron Garden Urn, early 20th century, of campana form, the gadroonmodeled lip above a ribbed body, the waisted standard raised on a socle base, h. 18”, dia. 21”. [125/250] Illustrated

1151 Pair of Neoclassical-Style Cast-Iron Garden Urns, each with a geometric modeled lip above a ribbed body, the waisted standard to a socle base, h. 27”, dia. 19‑1/2”. [300/500] 1152 American Classical Mahogany Server, ca. 1825, Baltimore, the later white marble top over a pair of beaded and figured drawers, raised on four tapering columns joined to a concave low shelf, on bun feet, h. 37”, w. 36”, d. 20”. [700/1000] Illustrated 1153 American School (Second Quarter 20th Century), “Portrait of Elizabeth Taylor”, oil on canvas, signed and dated on the reverse “Annalu Taylor Tilts, June 1931”, inscribed verso “Portrait of Elizabeth Taylor, copy of picture painted in 1830”, 30” x 25”. Presented in a gold-painted frame. [150/300]

1152

180

1154 American School (First Quarter 19th Century), “Portrait of a Gentleman With a Jeweled Pin”, oil on canvas, unsigned, 28” x 22”. Presented in a late 19th century giltwood and gesso frame. [600/900]

1155 American Late Classical Mahogany Games Table, second quarter 19th century, the rectilinear figured fold-over top over a figured frieze, raised on four tapering turned columns joining a trestle base, the ends joined by a turned stretcher, raised on turned feet, h. 30”, w. 36”, d. 17‑3/4”, ext. l. 35‑1/2”. [500/800] Illustrated 1156 American Late Classical Mahogany Occasional Table, second quarter 19th century, school of Isaac Vose, Boston, the single board top flanked by a pair of drop leaves, raised on a turned pedestal joined to a concave platform on scroll feet, h. 29”, w. 20‑3/4”, d. 21‑1/2”, ext. l. 38‑1/2”. [200/400] 1157 American Late Classical Figured Walnut Stool, second quarter 19th century, of modified curule form, centered by an array of carved leaves, the corners mounted with roundels and sections joined by turned stretchers, h. 27‑1/2”, w. 19‑1/2”, d. 15‑1/2”. A pair of related stools is illustrated in Feld, Boston in the Age of Neoclassicism, page 72. [200/400]

1159 1158 American Late Classical Mahogany Stool, second quarter 19th century, the cushion upholstered in salmon brocade, on a cyma-molded frame with scroll feet, h. 7‑1/2”, w. 14‑1/4”, d. 15‑3/4”. [100/200] 1159 After John James Audubon (American, 1785‑1851), “Bullock’s Oriole, Baltimore Oriole, Mexican Goldfinch, Varied Thrush, Common Water Thrush”, hand color engraving, plate CCCCXXXIII from Birds of America, by Robert Havell, 1838, sight 24” x 16‑1/2”. Glazed, handsomely matted and framed. [1000/1500] Illustrated 1160 Alexander Wilson (Scottish/American, 1766‑1812), “Wilsons Phalarope, Piping Plover, Shinz’s Sandpiper” and “Cock of the Plains Female, Female Spotted Grouse”, two hand colored engravings from American Ornitology, 1808‑1814, sight 10‑1/2” x 13”. Both glazed, handsomely matted and frames. [400/700] 1161 John Gould (British, 1804‑1881), “Red Grouse”, hand colored lithograph, printed by C. Hullmandel, sight 13” x 20”. Glazed, handsomely matted and framed. [400/700]

1162 Twenty-Two Books of Tennessee Interest, including sixteen books by Charles Egbert Craddock [Mary Noailles Murfree] (1850‑1922), her biography by Edd Winfield Parks, three volumes of Tennessee: The Volunteer State, Safford’s Elements of the Geology of Tennessee, and the 1939 Register fo the Tennessee Walking Horse Breeder’s Association. Mary Noailles Murfree was born near Murfreesboro, Tennessee, the town named after her great-grandfather Henry Murfree. Although educated in Philadelphia, she spent her youth between Murfreesboro and Nashville, where her father was a prominent attorney, and summered in Beersheba Springs in the Cumberland Mountains. Influenced by the works of Walter Scott and George Eliot, she began writing in 1872, and was first published in Lippincott’s in 1874. Her first collection of stories was published in 1884, and it was not until the following year that her editor at Atlantic Monthly, Thomas Bailey Aldrich, discovered that “Mr. Craddock” was, in fact, Miss Murfree. She published eighteen novels and seven short story collections over the next twenty years. Her works are considered classics of the post-war “local color” genre, and she remains required reading for students of Appalachian culture. A detailed list her (and other) works in this lot is available on request. [150/300] Illustrated

181

1164 American Late Classical Mahogany Stool, mid-19th century, the leopard-print cushion on a cyma-molded frame, raised on ogee bracket feet, h. 10”, w. 17”, d. 17‑1/2”. [75 /125] 1165 American Classical Mahogany and Birdseye Maple Secretary Bookcase, second quarter 19th century, the upper section with a projecting cornice over a pair of mullioned glazed doors, the doors opening to reveal a trio of shelves over a row of storage niches, the base with projecting upper drawer, the interior fitted with storage compartments and a quill tray, formerly also fitted with a writing surface, the upper drawer over a pair of recessed drawers flanked by engaged columns edged with beading, and raised on reeded Sheraton legs on ball feet, h. 78‑1/2”, w. 43”, d. 24‑3/4”. [800/1200] Illustrated

1165

1163 American Late Classical Revival Cherry Stool, early 20th century, the cyma-molded frame raised on flaring bracket feet, the cushion upholstered in gold on black brocade depicting bees, h. 13‑3/4”, w. 16‑1/4”, d. 15‑3/4”. [100/200]

1167

1166 American Federal Cherry Mahogany and Tiger Maple Sewing Table, first quarter 19th century, of “Martha Washington” form, each end with a hinged lid opening to a storage cavity, the front with two tiger maple drawers, raised on turned and rope-twist carved legs, h. 29”, w. 31‑1/2”, d. 18”. [400/700] Illustrated

1166

182

1167 American Sheraton Figured Maple and Birch Tall Post Bed, second quarter 19th century, the ring-turned and shaped posts supporting a headboard with a pair of panels and scroll ends, joined to the foot posts with generous rails retaining their fittings for ropes, now fitted with a later tester frame stained to match, h. 81‑1/2”, w. 57”, l. 81”. [1500/2500] Illustrated

1168 American Sheraton Walnut Low Post Bed, second quarter 19th century, the posts with acorn finials over vasiform and ring turnings, the headboard with a spindle gallery, the footboard with a blanket roll, formerly fitted as a rope bed, h . 58‑1/2”, inside w. 51”, inside l. 78”, outside w. 55‑1/2”, outside l. 86”. [500/800]

1173 Pair of American Late Classical Mahogany Benches, second quarter 19th century, each with a back with a serpentine top rail, the cyma-molded apron edged with ribbon molding top and bottom, and raised on ogee bracket feet, now upholstered in striped violet brocade with laurel leaves, h. 28”, w. 47‑1/2”, d. 25”. [300/500] 1174 American Late Classical Mahogany Work Table, second quarter 19th century, the rectilinear top over a conforming case fitted with a pair of drawers, supported by a tapering pedestal joined to a low platform on scroll feet, h. 28‑1/2”, w. 16‑3/4”, d. 13”. [200/400] 1175 American Late Classical Mahogany Chest, mid-19th century, the top with a recessed pair of drawers, the case with a projecting molded drawer over three drawers flanked by a scroll column, raised on scroll feet, h. 45”, w. 42‑1/4”, d. 19‑1/4”. [200/400] 1176 After John James Audubon (American, 1785‑1851) “Republican Cliff Swallow”, plate 68, 1829, hand-colored etching and aquatint, from the Birds of America, Havell edition, sight 20” x 12‑3/4”. Glazed, matted and presented in a mid-19th century annulated gilt frame. [900/1200] Illustrated 1177 After John Gerrard Keulmans (Dutch, 1842‑1912), “Cecinus Vividis” and “Gecinus Sharpei”, two hand colored lithographs from A History of the Birds of Europe, published 1871‑1882 by Henry Eeles Dresser, sight 10” x 8”. Both glazed, handsomely matted and framed. [70/125]

1176 1169 American Late Classical Mahogany Dressing Bureau, second quarter 19th century, the corset-form looking glass supported by a wishbone frame with applied foliate carving, on a base with a serpentine marble top, the case with an upper drawer of like-form, over a bank of three recessed graduated drawers flanked by molded pilasters, raised on turned legs, h. 85‑1/2”, w. 45”, d. 23‑1/2”. [700/1000]

1178 Two Hand Colored Botanical Engravings, from Curtis’s Botanical Magazine, published London, 1805, sight 8" x 5”. Both glazed, handsomely matted and framed. [150/300]

1170 American Late Classical Mahogany Armoire, second quarter 19th century, the large double ogee cornice molding above a pair of framed and paneled doors, the ogee-form base raised on bracket legs, h. 94”, w. 72”, d. 28”. [1000/1500] 1171 Small American Late Classical Mahogany Stool, second quarter 19th century, the cushion in green and gold striped upholstery, the convex molded frame on bun feet, h. 5‑3/4”, w. 10‑1/2”, d. 13‑5/8”. [75/125] 1172 American Late Classical Mahogany Center Table, second quarter 19th century, the figured circular top supported by a tapering square pedestal joined to a concave base with scroll feet, h. 27‑5/8”, dia. 36”. [100/200]

1180

183

1182 William Tolliver (American/Mississippi/ Louisiana, 1951‑2002), “Portrait of a Man”, seriograph mounted on board, signed in print “William Tolliver”, 19” x 12‑1/2”. Glazed and framed. [300/500] 1183 Ella Tolliver (American/Mississippi, 20th Century), “Picking Cotton”, oil on canvas, signed and dated lowe right “Ella Tolliver 1990”, 11‑3/4” x 16”. Framed. [500/800] 1184 Ella Tolliver (American/Mississippi, 20th Century), “Going to Grandma’s”, oil on canvas, signed lower right “Ella Tolliver”, 20” x 16”. Presented in a polychrome and parcel-silvered frame with a linen liner. [600/900] 1185

1179 After Joseph Smit (Dutch/British, 1836‑1929), suite of four offset lithographs depicting various monkeys from the Proceedings of the Zoological Society, originally published London 1877, sight 8” x 5”. All glazed, handsomely matted and presented in mahogany-stained frames. [150/300] 1180 William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Spring Landscape”, oil on board, signed lower right “W. Tolliver”, sight 9” x 12‑3/4”. Glazed, attractively matted and framed. [2500/4000] Illustrated previous page 1181 William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Woman in a Field”, oil on canvas, signed lower left “W. Tolliver”, 16” x 12”. Framed. [2000/4000] Illustrated

1181

1185 James McConnell Anderson (American/ Mississippi, 1907‑1998), “Brown Pelicans”, oil on masonite, signed and dated lower right, “JMcCA 88”, sight 15” x 23”. Framed. [2500/4000] Illustrated 1186 James McConnell Anderson (American/ Mississippi, 1907‑1998), “Two Men in Pines”, oil on masonite, signed and dated lower right “JMcCA 97”, sight 15” x 23”. Framed. [2500/4000] Illustrated

1186

184

1191 James L. Kendrick III (American/Louisiana, 20th/21st Century), “French Quarter Courtyard”, oil on canvas, signed lower right “Kendrick III”, 20” x 16”. Presented in a giltwood and gesso frame with a linen liner. [300/500] 1192 Victorian-Style Cast-Iron Two-Tier Garden Fountain, early 20th century, marked Kramer Bros., Dayton, Ohio, the graduated bowls of tazza form, the upper on a foliate-modeled pedestal, the lower on a flaring fluted column joined to a stepped square base, h. 40‑1/2”, dia. 23”. [150/300] 1193 Anglo-American Cast-Iron Garden Stool, late 19th century, the corset-form back in open foliate and scroll decor, joined to a circular revolving seat, on a pedestal with pierced apron and four legs, h. 32‑1/2”. [700/1000] Illustrated

1187

1193

1187 Wiley Churchill (American/ Louisiana, 1900‑1987), “Lazy Fishin’, Bayou Bienvenue, LA”, watercolor on paper, signed lower right “Wiley Churchill”, titled in pencil on mat lower right, sight 17‑3/4” x 26‑3/4”. Glazed, matted and presented in a silvered frame. [2000/4000] Illustrated

1194 Group of Three Neoclassical-Style Polychrome CastIron Garden Urns, one of campana form with a gadroon lip, the body ribbed and with side handles, raised on a socle base, h. 16‑1/2”, dia. 14”, another example of tazza form with applied scrolling handles, raised on a two-part graduated square stand, h. 14‑1/2”, dia. 16”, and the final example also of tazza form and raised on a graduated square base, h. 13”, dia. 16”. [100/200]

1188 James L. Kendrick III (American/ Louisiana, 20th/21st Century), “Street Car”, oil on canvas, signed lower right “Kendrick III”, 18” x 24”. Presented in a silvered frame. [400/700]

1197

1195 Pair of Victorian-Style Cast-Iron Garden Urns, 20th century, each of campagna form, with foliate-molded handles, lobed and beaded body and a tall pedestal with pierced paneled sides, h. 34‑1/2”, w. 30”, d. 18‑1/4”. [200/400]

1189 James L. Kendrick III (American/Louisiana, 20th/21st Century), “The Shrimp Boat”, oil on canvas, signed and dated lower right “Kendrick III, 1978”, 11” x 14”. Presented in a polychrome frame with a linen liner. [300/500] 1190 James L. Kendrick III (American/Louisiana, 20th/21st Century), “Cafe Du Monde”, oil on canvas, signed lower right “Kendrick III”, 16” x 20”. Presented in a hardwood frame with a linen liner. [400/700]

185

1198

1196 American Rococo Revival Mahogany Armchair, mid-19th century, probably New York, with caned seat and back, of the type manufactured for the Caribbean and Southern markets, the corseted and molded back centered by an elongated cabochon, with shaped open arms, serpentine-molded seat rail and cabriole legs, h. 38‑1/2”. [100/200]

1203

1197 Pair of “Rip Van Winkle” Pattern Single Light Girandoles, mid-19th century, Boston, mounted on Egyptian marble bases and retaining most of their original gilt lacquer, the sleeping Van Winkle depicted with a setter and a female figure with her finger held to her lips, the tree-trunk-molded standard supports a reeded and fluted candle cup and an oval prism ring, molded with morning glories, supporting cut-glass prisms, h. 15‑1/2”, w. 5”, d. 5‑1/4”. [300/500] Illustrated previous page 1198 Three-Piece “Robinson Crusoe” Pattern Brass and Marble Girandole Set, mid-19th century, Boston, the square marble base supports figures of Robinson Crusoe reading the bible to Friday under a banana tree, scrolled arms support the candle cups and morning-glory-molded prism rings, hung with cut prisms, h. 18‑1/2”, w. 16”, d. 3‑1/2”. [200/400] Illustrated 1199 Pair of Boy-and-Dog Pattern Posey Holders, mid-19th century, Philadelphia, the marble plinths supporting the figural base, the vase holders molded with kissing birds on branches holding blue opaline vases with ruffled edges, h. 14‑1/2”, w. 5‑1/2”, d. 3‑1/4”. [150/300] 1202 1200 American Two-Light Sultana Model Brass and Marble Girandole, mid-19th century, the marble base holds a female Middle Eastern figure, the flower-decorated standard supports two scrolled candle arms fitted with leafmolded candle cups, h. 15‑1/2”, w. 11”, d. 3”. [200/400] 1201 Suite of Four Vernacular Sheraton Walnut Armchairs, possibly American , mid 19th century, each with a slightly domed back above a triple-arched back, joined by downswept arms to the caned seat, raised on tapering turned circular legs ending in toupie feet, h. 39”. [900/1200]

186

1202 Imposing American Sheraton Walnut “Plantation” Desk, mid-19th century, probably from the New Orleans Warerooms of James and/or William McCracken, the top centered by a slant lid with an inset tooled leather writing surface, backed by a gallery joined to flanking drawers over open storage niches, the gallery returns with scroll ends, each pedestal end with a bank of three graduated drawers, raised on tapering turned legs on ball feet, the sides and back paneled and finished, all drawers and panels edge in ribbon moldings, h. 41‑1/4”, w. 72‑3/8”, d. 35‑1/4”. By tradition, the present desk descended among the heirs of Transimond and Modeste Landry of New Hop Plantation, Ascension Parish, Louisiana. [3000/5000] Illustrated 1203 American Rococo Revival Walnut and Figured Walnut High Back Bedstead, third quarter 19th century, the octagonal posts capped by turned finials, the head posts supporting a tripartite paneled headboard with a foliate flanking scroll-carved crest, the footposts, joined by a crotch-veneered rail with scroll-sawn brackets, h. 91”, inside w. 59”, inside l. 75”, outside w. 64”, outside l. 81”. [800/1200] Illustrated 1204 American Rococo Revival Mahogany Dressing Bureau, mid-19th century, in two parts, the upper section with an oval looking glass supported by a frame with an intricately modeled pierce-carved crest depicting twining leaves, berries, scrolls and central flora, joined to the marble top with a C-scroll carved base, the serpentine case with a bank of four graduated drawers, each with applied scroll carving at the escutcheons, a scalloped apron and bracket feet, h. 80”, w. 42”, d. 20‑1/2”. [300/500]

1208 1207

1209

1205

1205 American Late Classical Rosewood and Faux Rosewood Armoire, of the type produced in or for the Antebellum New Orleans and Southern market, mid19th century, of generous proportions, with a projecting stepped cyma-molded cornice over a pair of paneled doors, the doors edged with ribbon molding, the doors opening to reveal a partitioned interior, raised on bracket feet, h. 92”, case w. 56”, cornice w. 67”, case d. 19”, cornice d. 24”. [1500/2500] Illustrated 1206 American Sheraton Cherry Drop-Leaf Table, second quarter 19th century, the rectangular top with two drop leaves with shaped corners, raised on turned bulbous legs ending in ovoid bun feet, h. 29‑1/2”, w. 42”, d. 19‑1/2”, ext. l. 47”. [300/500] 1207 American Bronze and Glass Solar Lamp, mid-19th century, the heavy bronze footed base ornamented with scrolls and strapwork, supporting the pillar-molded opaline standard, decorated with gilt scrolls and trailing vines, the lotus-leaf-molded font, mounted with an engine turned prism ring hung with “colonial” prisms and a fine period frosted and cut tulip-shaped shade, now electrified, h. 32”, dia. 7”. [300/500] Illustrated

187

1214

1209 American Glass, Bronze and Marble Solar Lamp, mid-19th century, the stepped marble base with molded gilt-bronze trim supports a glass standard, white-cut-toruby with thumbprints and fleur-de-lis, the leaf-molded tank mounted with a period ruffled, frosted, etched and cut shade decorated with a band of flowers, h. 30‑1/2”, dia. 6‑1/2”. [200/400] Illustrated previous page 1210 Southern School (Third Quarter 19th Century), “Portrait of a Young Boy”, unsigned, reverse inscribed “Painted by L.H. Keely, 1862”, 21” x 17”. Presented in the original giltwood frame. [500/800]

1208 American Mid-19th Century Marble, Bronze and Glass Solar Lamp, Dietz Brothers, New York, the doublestepped marble base separated with bronze trim, molded with dents-de-loup, a complex bronze cap molded with leaves and flowers supporting the white opaline pillarmolded standard, with alternating blue stripes and applied gilt scrolls, a leaf-molded breather supports the tanks, and the period ball shade frosted and cut with alternating panels containing sprays of leaves, hung with spearpoint prisms and now electrified, signed “Dietz Brothers”, “159 William Street, New York”, h. 31”, dia. 8”. [500/800] Illustrated previous page

1215

1211 William F. Wilson (American, Third Quarter 19th Century), “Portrait of a Bearded Man Holding a Letter”, oil on canvas, signed and dated lower right “W.F. Wilson, June 1875”, 34” x 27”. Presented in a giltwood frame. [300/500]

1217 six-piece suite

1212 American School (Fourth Quarter 19th Century), “Portrait of a Gentleman”, oil on canvas, unsigned, 24” x 20”. Presented in a period giltwood frame. [150/300] 1213 American Rococo Revival Rosewood Armchair, mid-19th century, of generous proportions, the pierced floral- and leaf-carved crest over a shaped back joined to open arms, with serpentine seat and cabriole legs, now upholstered in taupe brocade, h. 45‑1/2”. [200/400] 1214 American Rococo Revival Oval Giltwood Mantle Mirror, third quarter 19th century, the crest depicting a large shell in deep relief with outstretched scrolls and a central flower, h. 51”, w. 51”. [800/1200] Illustrated

188

1215 American Rococo Revival Laminated Rosewood Sidechair, third quarter 19th century, attributed to J. & J. Meeks, New York, the laminated and pierced back with a floral-carved crest over scrolls and foliage, the splat centered by a cluster of grapes, with bowed seat rail and cabriole front legs, the identical chair is illustrated in American Furniture of the 19th Century, by Eileen and Richard Dudrow, p. 94, h. 36”. [800/1200] Illustrated

1222

1216 Bas Relief Carved Marble Portrait, mid-19th century, an old paper label on the reverse identifies the subject and reads “Bas relief of Harriet Preusser (nee Agnew)”, h. 13‑1/2”, w. 13‑1/2”, frame, dia. 6”, portrait. [200/400]

1217 American Rococo Revival Rosewood Six-Piece Parlor Suite, third quarter 19th century, comprised of a double chairback settee, h. 42‑1/2”, w. 52”, d. 23”, an arm chair, h. 39‑1/4”, and four side chairs, h. 36”, each piece with a foliate-carved crest, and shaped back, the seat with a serpentine front seat rail centered by foliate carving, and cabriole legs ending in French toes. A very similar parlor suite, with less ornamentation, and attributed to the workshop of Charles A. Baudouine, New York, is in the collection of the Munson-Williams-Proctor Institute. The settee is illustrated in the Masterpieces of American Furniture from the Munson-Williams-Proctor Institute, as well as in the American Furniture of the 19th Century, 1840‑1880, by Eileen and Richard Dubrow, page 116 . [1400/1800] 1218 Exceptional Pair of French Figured Porcelain Fan Vases, mid-19th century, probably Limoges, scrolled rococo bases support asymmetrical flared vases, richly decorated with gilt edges, vermicelli scrollwork panels and a scrolled lavender cartouche, the male vase depicting a hunter in 18th century dress, his gun and dog at his side, in polychrome biscuit, the female vase with a woman in 18th century dress, dipping her toe into a pool of water, a discarded terracotta water jug at her side, decorated in polychrome on biscuit, both in an impeccable state of preservation, h. 13‑3/4”, w. 10‑3/4”, d. 4‑3/4”. [2500/4000] Illustrated 1219 Pair of French Flare Vases, third quarter 19th century, probably Limoges, each decorated with a molded figure in a bower of banana leaves, with molded floral “handles”, abundant gilt trim, and an upper edge decorated with molded swags of flowers, one vase depicting a molded figure of a boy with a basket of wheat, the other with a girl reposing with a fan, one with an impressed “CP” over “52” over “1”, each with an overglaze “P” in rouge de fer, h. 15‑3/4”, w. 12”, d. 6‑1/2”. [300/500]

1218

1220 Paris Porcelain Hand-Painted Centerpiece Bowl, mid-19th century, the oval bowl supported by a scrollmolded base with downturned acanthus leaves, the upper section painted in the round with a scene of a Scottish stag hunt in a lush landscape, with kilted hunters and leaping deer, the gilded upper edge scroll-molded, made in two parts and attached with a period nut and bolt, h. 13”, w. 14”, d. 7‑3/4”. [200/400] 1221 French Domed Miniature Centerpiece, third quarter 19th century, the oval ebonized base mounted with a gilt and white Limoges type miniature centerpiece holding an arrangement of dried silk flowers, all dome covered, h. 12‑1/2”, w. 7‑1/2”, d. 3‑3/4”. [300/500] 1222 Paris Porcelain Hand-Painted Partial Dessert Service, mid-19th century, French, each piece of the rococo-style set decorated with gilt-scrolled edges and hand-painted floral panels, comprised of thirty-seven dessert plates, dia. 8‑1/4”, four compotiers on stands, h. 5”, dia. 5”, on compotier on stand, h. 6”, dia. 9”, a round covered cream bowl on stand with a pierced rococo knop, a ladle notch on its cover and three masque molded handles crowned with shells, h. 9”, dia. 6‑1/2”, and twelve cups and saucers, h. 2‑1/2”, dia. 6”. [900/1200] Illustrated

189

1223 Collection of Floral Decorated Paris Porcelain, mid-19th century, composed of a pair of vases on scrolled feet and pierced scrolled handles, decorated with central panels of flora, h. 8‑1/4”, another pair of vases with integral scrolled foot bases and flaring upper section, decorated with birds and flowers, h. 6‑3/4”, a single fan vase decorated with a bird on a nest in a bower of flowers, h. 10”, a single rococo revival vase with molded handles in the form of ivy leaves, and with a central decoration of pink, blue and green scrolls on a gilt ground, with an exuberantly molded upper edge, h. 8‑3/4”, a single urn with swan handles and with matte white wings and gilt flourishes and floral bands, h. 9”, and a spill vase with a flat base supporting three paw-footed monopedia separating floral panels on a lattice ground, the flared rim paneled and scalloped, h. 5‑1/4”. [150/300] 1224 American Elizabethan Revival Walnut Occasional Chair, third quarter 19th century, the turned stiles joined to a pierce-carved back depicting foliate-carved scrolls beneath, floral crest with serpentine seat and scalloped aprons, on turned front legs, h. 42‑1/4”. [150/300] Illustrated

1227

1224

1225 American Rococo Revival Faux Rosewood Rocking Chair, third quarter 19th century, the corseted back with a floral- and foliate-carved crest, the back extending to closed arms on molded supports with serpentine seat rail, now in gold brocade, h. 36‑1/4”. [100/200]

190

1228 1226 Two Pairs of Figural Book Ends, the first pair, in the form of a bust of Abraham Lincoln on an acanthus-molded base, h. 8‑3/4”, w. 6‑1/4”, d. 3‑1/4”, the second pair, in the form of seated lions on a square plinth, composed of painted metal, the black bases supporting the painted gilt lions, h. 7‑3/4”, w. 3”, d. 4‑1/2”. [70/125]

1229 Nestor Hippoyle Fruge (American/Louisiana, b. 1916), “Cabin On the Bayou”, oil on canvas, signed lower right “NFruge”, 24” x 30”. Presented in a molded giltwood frame. [1500/2500] Illustrated 1230 Louisiana/Newcomb School (First Quarter 20th Century) “Royal Street Patio”, oil on canvas laid on board, signed lower right “Coron”, verso inscribed in pen and ink “Royal St. Patio, Delphine M. Coron, N. Orleans”, 7” x 5‑3/4”. Presented in a stained wood frame. [100/200]

1229

1231 Charles Whitfied Richards (American/Mississippi, 1906‑1992, active New Orleans 1927‑1992), “Fishermen On the Bayou”, oil on canvas, signed lower left “CRichards”, 20” x 24”. Presented in a handsome Arts and Crafts style frame. Charles Richards started his career at age fifteen as a copy boy for the Memphis Press and spent next several decades reporting for various newspapers, including New Orleans Item. Even though he illustrated his own newspaper stories, it wasn’t until 1945 that he turned to fine art full time. His works are found in numerous collections including the Historic New Orleans Collection and Ogden Museum of Art. [700/1000] Illustrated

1232 Alberta Kinsey (American/ Louisiana, 1875‑1968), “Still Life With a Vase and Stems of Roses”, oil on board, signed lower right “Alberta Kinsey”, 12‑1/2” x 26”. Framed. [700/1000] 1231 1227 Knute Heldner (Swedish/American, 1877‑1952, active New Orleans 1922‑1952), “Woodcutters”, oil on canvas, signed lower right “Knute Heldner”, 48” x 40”. Presented in a period giltwood frame. Provenance: This painting was taken from Tezcuco Plantation before the fire in May 2002. Reference: Jean Bragg Gallery, Knute Heldner and the Art Colony in Old New Orleans, 2000, illustrated on page 29. When Knute Heldner first came to America from Sweden in 1902, he came to Minnesota to the North Wods working as a lumber camp cook, among other menial jobs. “Woodcutters” is a record of this time, although he first began showing his artwork in 1915. Note: The figure on the far right is a self portrait of Knute. [5000/8000] Illustrated 1228 Knute Heldner (Swedish/New Orleans, 1877‑1952), “The Harbor, Paris”, oil on canvas, signed and titled “Paris” lower left, illegibly inscribed, and with a newspaper clipping remnant on the reverse, 21” x 25”. Presented in a period giltwood frame. [1800/2500] Illustrated

1233 Alexander John Drysdale (American/ Louisiana, 1870‑1934), “Louisiana Bayou With a Cypress Tree”, oil wash on board, signed lower right “A. J. Drysdale”, sight 19‑1/4” x 5‑1/2”. Glazed and presented in a contemporary ebonized and parcel-gilt frame. [3000/5000] Illustrated

1233

191

1234

1237 Angela Gregory (American/Louisiana, 1903‑1990), “Cloister-Milan” and “Venice”, two watercolors on paper, both signed lower right “Gergory”, both 13” x 9‑3/4”. Both glazed, attractively matted and framed. Reference: Jean Bragg Gallery, The Newcomb Style, 2002, illustrated on page 44. Taught first by her Newcomb-trained mother, Selina Bres Gregory and then Tulane professor William Woodward, Angela Gregory’s talents emerged in modeling. She received a scholarship to study sculpture in Paris under Antoine Bourdelle, the pupil of Auguste Rodin. Upon her return to United States, she received both public and private commissions for architectural sculpture. She was the first teacher of sculpture at Newcomb College and one of the first female artists of monumental sculpture in the United States. [700/1000] Illustrated

1235

1234 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou Landscape”, oil wash on board, signed lower right “A. J. Drysdale”, sight 9‑1/2” x 29‑1/2”. Glazed, matted and framed. [2000/4000] Illustrated 1235 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou Scene”, oil wash on board, signed lower left “A. J. Drysdale”, sight 18‑3/4” x 25‑1/4”. Glazed and presented in a molded giltwood frame. [2500/4000] Illustrated 1236 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou Landscape With an Oak Tree”, oil wash on board, signed lower right “A. J. Drysdale”, sight 5‑3/4” x 20”. Glazed and framed. [400/700]

1237 pair

192

1238 Ellsworth Woodward (American/ New Orleans, 1861‑1939), “The Old Trolley Stop, French Quarter” and “Madame John’s Legacy”, two restrike etchings, both initialed in plate, former sight 8‑1/4” x 12”, latter sight 8” x 10”. Both glazed and framed. [600/900]

1240

1238A Caroline Durieux (American/ Louisiana, 1896‑1989), “Les Messieurs”, color lithograph, signed in pencil lower right “Caroline Durieux”, pencil titled and numbered “5/12” lower left, sight 25” x 19”. Glazed and framed. [500/800]

1241 Shearwater Pottery Cast “Woman with Basket on Head” Figurine, ca. 1940, by James McConnell (Mac) Anderson, with an unusual alkaline blue overglaze, h. 6”. Illustrated in Stewart, Shearwater Pottery, p. 222 [400/700] 1242 Shearwater Pottery Cast Figures of “Sancho Panza and Mule”, ca. 1970, designed by Walter Inglis Anderson, Sancho Panza, h. 4‑5/8”, w. 4‑1/2”, the mule, h. 3‑3/8”, l. 8‑1/4”. Illustrated with variant decoration in Stewart, Shearwater Pottery, p. 235 [125/250] 1243 Shearwater Cast Fish Bowl by James McConnell (Mac) Anderson, ca. 1940, thrown by Peter Anderson, in the distinctive bronze glaze, the interior a pale celadon high-glaze, accompanied by a copy of Dod Stewart’s Shearwater Pottery (Slidell, Louisiana: Bristol, 2005), with a photograph of this bowl on page 105 having an incorrect height, h. 6‑1/4”, dia. 8‑1/4”. [3500/5000] Illustrated

1243

1239 Caroline Durieux (American/Louisiana, 1896‑1989), “Carnival Ball, New Orleans”, lithograph, signed in pencil lower right “Caroline Durieux”, pencil titled and numbered “19/20” lower left, sight 16” x 12‑3/4”. Glazed, matted and framed. [500/800] 1240 Newcomb College Vellum-Glazed Vase, ca. 1913, decorated by Cynthia Pugh Littlejohn (1890‑1959) and potted by Joseph Fortune Meyer (1848‑1931), the shallow relief carving in pine tree decor, fully inscribed on the underside, including registration mark “GB14”, shape number “212”, the “NC” cypher and the mark for a buff clay body with a semi-matte glaze, h. 9‑3/4”. [1500/2500] Illustrated

1244

1244 Shearwater Pottery Cast “Eels” Candlestick, ca. 1928, by James McConnell (Mac) Anderson, bronze glaze, h. 8”. Illustrated in Stewart, Shearwater Pottery, p. 193 [1800/2500] Illustrated

1245

1246

1245 Shearwater Pottery Cobalt Blue Vase, ca. 1950, cast by Peter Anderson, h. 8”. Illustrated in Stewart, Shearwater Pottery, p. 32 [800/1200] Illustrated 1246 Shearwater Pottery Bud Vase, ca. 1960, by Peter Anderson, in cobalt and chrome glaze, accompanied by a certificate of authenticity, h. 5‑3/4”. [300/500] Illustrated

193

1247 Shearwater Pottery Cast Brightly-Colored Dragon, fourth quarter 20th century, designed by Walter Inglis Anderson, from “Golden Apples of Hesperides” in the Fairy Tale Series, h. 8‑3/4”, l. 13”. Illustrated in Stewart, Shearwater Pottery, p. 234 [400/700] 1248 George Ohr Unglazed Water Jug, ca. 1893, Biloxi, Mississippi, the vase-shaped jug with a ring handle, a spout on one side and an air aperture on the other , stamped “George E Ohr, Biloxi, Miss” and the date incised in script, “March 3, 1893”, h. 10‑1/2”, w. 9‑1/2”, d. 6‑3/34”. [1500/2500] Illustrated

1249

1248

1251 Danny Crouse (American, 1938‑1992), “Against All Hope”, cover illustration for Harlequin Intrigue, issue #168, mixed media on paper laid on board, signed lower left “Crouse”, stamped on the reverse, 25” x 16”. Framed. [400/700]

1249 Florencio Molina Campos (Argentinian, 1891‑1959), “Gaucho In the Rain”, tempera on paperboard, signed and dated lower left “F. Molina Campos/934”, 13‑1/2” x 19‑3/4". Framed. Provenance: Private collection, California. [10000/15000] Illustrated 1250 Byron Galvez (Mexican, b. 1941), “Abstract Figure”, mixed media on paper, signed and dated lower right “Byron-01”, sight 25” x 19”. Glazed and framed. [900/1200] Illustrated

194

1250

1252 Francisco Tamariz (Mexican, 20th Century) “Portrait of a Girl on a Pony”, oil on board, signed lower right “Tamariz”, 16” x 12”. Framed. [150/300] 1253 Alvaro Mendoza (Mexican, Contemporary), “Balconies”, pair of oils on canvas, both signed lower left, sight 10” x 7‑1/2”. Both attractively presented in linen mats, within giltwood frames. [400/700] 1254 Mexican School (Second Quarter 20th Century), “Intervention of Santo Nina de Atocha”, oil on tin, with the accounts of the event inscribed lower margin, 9‑1/2” x 7‑1/4”. Mounted on linen board and framed. [200/400] 1255 Barry Hinchliff (British, 20th Century), “Street Scene, El Burgo, Spain”, oil on canvas, signed lower right “Hinchliff”, titled on the reverse attached artist label, 13” x 19”. Presented in a stained, molded frame. [300/500] 1258

1256 American Transitional Rococo-Revival-intoRenaissance-Revival Burled Walnut and Walnut Chest, third quarter 19th century, the marble top with a molded edge, the case with two-over-two drawers, each drawer with raised burled panels and carved pulls on bracket feet, h. 35”, w. 40‑1/2”, d. 19”. [100/200]

1257

1257 American Renaissance Revival Burled Walnut and Walnut Half Tester Bed, third quarter 19th century, probably Cincinnati, Ohio, the tester with burled panels of a shaped face adorned with a carved crest, raised on tapering posts with like-panels and carved roundels, the posts supporting an arched headboard with a cartouchecarved crest over a pair of arched figured panels, the wrap footboard with an oval panel with applied carving, h. 123‑1/2”, inside w. 60‑1/2”, outside w. 67”, inside d. 77”, outside d. 82”. [2500/4000] Illustrated 1258 American Renaissance Revival Giltwood Mantle Mirror, third quarter 19th century, the crest with a cabochon-carved cartouche flanked by scrolls, the corners with shell-carved finials, the gently arched mirror plate flanked by beaded, palmette and foliate-carved pilasters, h. 89‑1/4”, w. 48”, d. 11”. [800/1200] Illustrated 1259 American Renaissance Revival Giltwood Overmantel Mirror, third quarter 19th century, the front with a central projecting cartouche with a molded frame across the top, the frame with ornamental corner brackets and applied panels, h. 73”, w. 52”. [300/500]

195

1260 Pair of Victorian-Style Cranberry Glass Mantel Lustres, the conical bases and crenellated tops, decorated with gilt anthemia, scrollwork and diapered panels, with enameled flowers along the upper edge, hung with cut, spear-point prisms, h. 13‑1/4”, dia. 6‑1/2”. [500/800] Illustrated

1263

1261 American Renaissance Revival Burled Walnut and Walnut Library Table, Attributed to Thomas Brooks, Brooklyn, New York, the inset marble top with demi-lune ends, over a conforming frieze fitted with a single drawer and burled panels, raised on a trestle base with carved paw feet, joined by a stretcher centered by a finial, h. 28‑1/2”, w. 52‑1/2”, d. 29‑1/2”. [1000/1500] Illustrated

1260

1262 American Renaissance Revival Walnut Side Table, third quarter 19th century, the period oval white marble top on a conforming molded apron, raised on a quadruped base with center column and line incising, h. 29‑3/4”, w. 28‑1/2”, d. 22”. [100/200]

1261

196

1265

1263 Anglo-American Leather, Tubular and CastBrass Rocking Chair, third quarter 19th century, the design registered in England, ca. 1855, by RW Winfield and Company, and American version patented by Berg and Hoffman in 1867, this example utilizing a frame of shaped tubular brass joined with castbrass fittings, supporting a tufted leather sling seat, the arms with pads in like-upholstery, h. 42”. For a discussion of rocking chairs of this form, see Hanks, Innovative Furniture in America from 1800 to Present pp. 130‑131. [400/700] Illustrated

1266

1264 American Renaissance Revival Spring Steel, Burled Walnut and Walnut Palmer Patent Rocking Chair, the patent granted in 1870, the crests with a central carved medallion depicting a classical bust edged in Greek-key decor, the upholstered back joined to spring steel arm supports which return the reclined chair to its upright position, the whole on a cheval base, h. 43”. Theodore Palmer received an award for his “elastic arms” rocking chair at the 1876 Centennial Exhibition in Philadelphia, wherein the judges sited it for “originality in purpose”. For a discussion of Palmer’s Patent rocking chairs, see Hanks, Innovative Furniture in America from 1800 to Present pp. 34‑35. [500/800]

1265 American Renaissance Burled Walnut, Ebonized and Walnut Folio Stand, third quarter 19th century, New York, the adjustable ends centered by a roundel with a carved mask, supported by a base with beaded decor on the legs, the legs extending to ball-and-claw feet, ornamented with applied burlwood panels throughout, h. 48‑3/8”, w. 29‑3/4”, d. 22‑1/4”, ext. l. 43”. [1500/2500] Illustrated

1268

1269 1270

1266 Pair of American Louis XVI-Inspired Gilt-BrassMounted Ebonized Vitrines/Cabinets, third quarter 19th century, New York, each with a splash with a shelf on scroll-carved brackets and backed by a looking glass, with an arched, shell-carved crest, the top with projecting ovolu corners on a case with paneled canted corners flanking a door with a glazed panel, the apron with a concealed drawer, adorned with brass beading throughout, h. 74‑1/4”, w. 37‑1/4”, d. 19”. This pair of cabinets is illustrated in Grotz’s Antique Furniture Styles by George Grotz, and incorrectly identified as being of French origin. [3500/5000] Illustrated 1267 Pair of French Porcelain Garniture Vases, third quarter 19th century, the flaring square vases transfer printed in sepia and heavily painted in polychrome colors with neoclassical scenes of three women in Grecian costume in an Arcadian landscape, two holding musical instruments and the third with a theatre mask, mounted with scrolled burgundy handles, h. 12‑1/2”, w. 8”, d. 3‑3/4”. [250/400] 1268 Bronze, Marble and Glass American Solar Lamp, mid19th century, the double-stepped marble base separated by a leaf-molded bronze base, and mounted with molded bronze trim holding the green opaline standard, the pillarmolded standard decorated with gilt scrolls, a tulip-shaped leaf-molded breather supporting the tank, which is hung with faceted prisms, and a frosted and etched glass shade resting on a later elevated shade holder, h. 23”, dia. 5‑1/2”. [200/400] Illustrated

197

1271

1273 American Renaissance Revival Brass Spelter and Copper-Washed Three-Arm Gasolier, third quarter 19th century, of small size, retaining its gas keys, the shades lacking, previously electrified, h. 68‑1/2”, dia. 18‑1/2”. [250/400] 1274 19th Century Gorham Sterling Silver Fruit Bowl, 1889, Providence, Rhode Island, of hemispherical form, decorated with a wide band of embossed scrolling foliate gadroons and applied beaded bellflower rim, raised on a circular domed and gadrooned foot, the interior retaining traced of gilt and with anniversary presentation monogram “1886 / E & B / 1891”, h. 4‑3/4”, dia. 8‑1/2”, 16.53 t. oz. [800/1200] Illustrated 1275 Kirk “Repousse” Sterling Silver Serving Platter, mid-20th century, Baltimore, Maryland, oval form, the rim decorated with chased repousse flowers in the traditional manner, l. 18”, w. 12‑3/4”, 44.49 t. oz. [2500/4000]

1269 English Victorian Bronze, Glass and Onyx Banquet Lamp, fourth quarter 19th century, the round bronze base scroll-molded and pierced, supporting the onyx standard, mounted with an emerald green molded glass font, and a signed Duplex burner, with later fluted and etched clear-shaded-to-green shade, h. 29”, w. 7”. [100/200] Illustrated previous pge 1270 American Victorian Banquet Lamp, fourth quarter 19th century, the pierced and scrolled metal base with a gilt finish, marked “Pat applied for”, the alabaster standard supporting a frosted glass font decorated with enamel flowers, and mounted with a French burner, the later shade, shaded pink to cranberry with a fluted edge and etched patterns of flowers and leaves, h. 26”, dia. 8”. [100/200] Illustrated previous page

1274

1271 Triple Dial French Marble Clock, Barometer and Calendar, fourth quarter 19th century, the spare white marble case with a domed top, enclosing the clock with an exposed escapement on a white marble face, the lower portion set with a barometer and a moon phase calendar, printed in Spanish, indicating it was retailed in a Latin country, signed “Leroy A Paris”, h. 17‑1/2”, w. 16‑1/2”, d. 6‑1/2”. [4000/7000] Illustrated 1272 Continental Parcel-Gilt Mahogany Mantle Mirror in the Rococo Taste, late 19th century, the arched top with a cabochon-carved crest flanked by floral and foliate carving, the arched mirror plate with gilt molding at its perimeter, the base with foliate-carved brackets, h. 90‑1/2”, w. 60”. [300/500]

198

1279

1281

1276 American Sterling Silver Compote, fourth quarter 19th century, by Simpson, Hall and Miller, Wallingford, Connecticut, of circular form, the wavy rim deeply embossed with realistically detailed grape clusters and vines, raised on a trumpeting standard, the foot decorated en suite, monogrammed at the center “BSP”, h. 6”, dia. 10‑3/4”, 15.88 t. oz. [300/500] 1277 International “Frontenac” Sterling Silver Salad Serving Set, the pattern designed in 1903 by John Clulee (1865‑1928), Wallingford, Connecticut, monogrammed “F”, l. 8‑3/4”, 5.72 total t. oz. [400/700] 1278 Whiting “Lily” Sterling Silver Serving Fork, the pattern designed in 1902 by Charles Osborne (1847‑1920), Providence, Rhode Island, monogrammed “MRW”, l. 8”, 3.66 t. oz. [100/200] 1279 Large Reed & Barton “Francis I” Sterling Silver Compote, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, h. 5‑1/2”, dia. 11‑1/4”, 25.84 t. oz. [600/900] Illustrated 1280 Reed & Barton “Francis I” Sterling Silver Slotted Serving Spoon, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 8‑1/4”, 2.89 t. oz. [200/400]

1281 Grand Seven-Piece Reed & Barton “Francis I” Sterling Silver Coffee and Tea Set, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a kettle-on-stand, h. 13‑1/2”, l. 11”, coffeepot, h. 10‑1/2”, l. 10‑1/4”, teapot, h. 8‑1/4”, l. 10”, covered sugar bowl, h. 6‑1/2”, w. 8”, cream jug, h. 5‑3/4”, l. 6”, waste bowl, h. 4‑1/4”, w. 5‑1/4”, and tray, l. 30‑1/4”, w. 22‑1/4”, no monograms, 385.11 total t. oz. “Francis I” was named for French King Francis I (1494‑1547) and was inspired by the designs of the master of mannerism, Benvenuto Cellini (1500‑1571), who briefly served as Francis’ court goldsmith. (Cellini was suspicious of and disliked by the King’s court, and soon returned to his native Florence.) The pattern was designed by French-born Ernest Meyers, who spent at least three years working on the design, which included fifteen separate intricate flatware motifs. Meyers was not only a skilled designer, but a talented technician who received patents for a perspective drawing apparatus (1892), milling machines (1891 and 1894) and - most crucially for the minutely-detailed Francis I pattern - an improved die-cutting machine (1904). The pattern is one of the most popular ever produced, and has the distinction of having the most number of different pieces of any line. It is known as “The Pattern of the Presidents”, being used in the White House by both Woodrow Wilson and Dwight Eisenhower, as well as by Harry Truman on the presidential yacht the USS Williamsburg and by Gerald Ford in his private residence. The extraordinary set represented in the present lot is assuredly the most impressive and coveted assemblage of the entire line, containing both the scarce kettle-on-stand and the massive sterling tray (alone weighing over 150 troy ounces). [40000/70000] Illustrated 1282 Reed & Barton “Francis I” Sterling Silver Sauce Ladle, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, with gilt bowl, l. 6‑3/4”, 2.38 t. oz. [200/400]

199

??? 1285

1287 American Sterling Silver Flower Bowl, first quarter 20th century, by International Silver, Meriden, Connecticut, of circular form, the broad rim decorated with embossed and reticulated banding with embossed leaf-and-dart edge, raised on a cavetto foot ring and fitted with a domed , reticulated gilt-metal frog cover with urn-form finial, h. 4‑1/2”, dia. 10”, 12.86 t. oz. (excluding gilt metal cover). [200/400] 1288 Good American Sterling Silver Center Bowl, 1929, by Dominick & Haff, New York City, for Bailey, Banks & Biddle, Philadelphia, Pennsylvania, of hemispherical form with narrow reed-and-ribbon and laurel banding, with opposing fierce lion’s masque handles, with gilt interior and raised on a molded circular foot ring, h. 5”, dia. 9‑1/2”, w. 11‑1/4”, 29.90 t. oz. [1800/2500] Illustrated

1283 Reed & Barton “Francis I” Sterling Silver Salad Serving Set, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 9‑1/4”, 9.32 total t. oz. [600/900] 1284 Reed & Barton “Francis I” Sterling Silver Cold Meat Fork, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 7‑3/4”, 2.25 t. oz. [200/400] 1285 Thirty-Seven Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, including a dinner fork, l. 7‑3/4”, two luncheon forks, l. 7‑1/8”, two salad forks, l. 6”, a seafood/ cocktail fork, l. 5‑3/4”, a lemon fork, l. 4‑3/4”, twelve teaspoons, l. 8‑7/5”, four demitasse spoons, l. 4‑1/4”, two dinner knives with stainless steel “New French”-shaped blades, l. 9‑1/2”, two luncheon knives with stainless steel blades, one “New French”-shaped l. 9”, the other “Modern”-shaped, l. 8‑1/2”, a master butter knife, l. 7”, an infant feeding spoon, l. 5‑3/4”, a two-piece baby set, l. 4‑1/2”, a serving spoon, l. 9‑1/4”, a poultry carving knife with stainless steel blade, l. 10‑1/8”, two sugar shells, l. 6‑1/4”, a sauce ladle, l. 6‑1/2”, and a tomato server, l. 8”, no monograms, 42.50 total t. oz. (excluding items with stainless steel fittings), presented in a fitted wooden case, 3‑1/4” x 16” x 11‑1/4”. [1200/1800] Illustrated 1286 Five-Piece Wallace “Grand Baroque” Sterling Silver Coffee and Tea Set with “Baroque” Silverplate Tray, the pattern designed in 1941 by William S. Warren (1888‑1865), Wallingford, Connecticut, including a coffeepot, h. 10‑1/2”, l. 10‑1/4”, teapot, h. 9‑3/4”, l. 10‑1/4” covered sugar bowl, h. 7‑3/4”, w. 6‑1/2”, cream jug, h. 6‑1/4”, l. 5‑1/2”, and waste bowl, h. 4‑1/4”, dia. 4‑1/2”, the silverplate tray l. 28‑1/2”, w. 17‑1/2”, no monograms,109.64 total t. oz. (excluding tray). (6 pieces total.) [6000/9000] Illustrated

200

1286

1289 American Sterling Silver Sandwich Plate, second quarter 20th century, retailed by Tiffany & Co., New York, of circular form with applied rococo-scroll edge, the wide rim acid engraved and chased with realistically detailed grapevines and clusters, dia 12”, 21.60 t. oz. [1200/1800]

1288

1294 1293

1292

1295

1290 Tiffany & Co. Sterling Silver Footed Dish, the pattern introduced in 1913, New York City, New York, of circular form, the shallow bowl decorated on the inetrior with acidengraved floral-and-lattice banding and a central floral medallion, with in-molded rim and raised on a waisted foot-ring, h. 1‑3/4”, dia. 7‑1/4”, 9.71 t. oz. [400/700] 1291 Tiffany & Co. Sterling Silver Saccharin Jar, third quarter 20th century, New York City, New York, in the Danish Modern taste, the bowl of “Revere” form with gilt interior, and domed lid with flowerbud finial, h. 1‑3/4”, dia. 1‑3/4” complete with bow-style tongs, l. 1‑7/8” and circular underplate, cia, 2‑1/4”, 1.80 total t. oz. [75/125] 1292 Tiffany & Co. Sterling Silver Center Bowl, the pattern introduced in 1906, New York City, New York, of inverted bell form, the everted rim with shallow scalloped segments, raised on a plain foot-ring, monogrammed on the body “MED”, h. 1‑1/4”, dia. 9”, 32.47 t. oz. [1200/1800] Illustrated 1293 Tiffany & Co. Sterling Silver Bowl, third quarter 20th century, the steep-sided bowl to an everted rim shaped with cresting waves, h. 2‑1/4”m dia. 7”, 7.52 t. oz. [300/500] Illustrated 1294 Pair of Tiffany & Co. Sterling Silver Bowls, the pattern introduced in 1916, New York City, New York, part of Tiffany’s reproduction series of important American silver, this bowl after a late 18th century example by Ephraim Brasher (1744‑1797), New York, each of hemispherical form, with molded rim and ogee-molded foot-ring, monogrammed “TMT”, h. 3‑1/2”, dia. 7‑3/4”, 40.18 total t. oz. The original model for these bowls, one purportedly owned by Commodore Isaac Hull (1773‑1843) and with him as commander of the U.S.S. Constitution during the War of 1812, is part of the Clearwater Collection in the Metropolitan Museum of Art. Tiffany created this reproduction shortly after Alphonso T. Clearwater (1848‑1933) placed the bowl on permanent loan at the Metropolitan in 1913. See C. Louise Avery, American Silver of the XVII and XVIII Centuries (New York: Metropolitan Museum of Art, 1920), p. 121, and the Metropolitan Museum of Art Bulletin, vol. VIII, no. 1 (New York: January 1913), p. 18 [1500/2500] Illustrated

1296 1297

1295 Tiffany & Co. Sterling Silver Bowl, the pattern introduced in 1920, this example dated 1955, New York City, New York, part of Tiffany’s reproduction series of important American silver, this bowl after a ca. 1700 example by Joseph Conyers, Boston, of plain hemispherical form with simple foot ring, engraved on the body “1930 G 1955”, h. 4”, dia. 9”, 23.31 t. oz. This striking bowl, one of Tiffany’s most popular, is a testament to the endurance of American design. The late 17th/ early 18th century original was part of the collection of Connecticut bed linen and quilt manufacturer George Smith Palmer (1855‑1934), a pioneering figure in the study and collection of American decorative arts. Palmer began to divest himself of his important collection in 1918, donating his sixty-five best furniture pieces to the Metropolitan Museum of Art, followed by the sale of his silver collection in 1920 to Tiffany & Co. (The remainder was sold to antiquarian Israel Sack in 1928.) Tiffany immediately placed Palmer silver on exhibition and simultaneously created the model for this reproduction, the original of which appeared as number 18 in the 1920 exhibition catalogue. The bowl’s Puritan simplicity of design appealed to adherents of both the Colonial Revival fad of the 1920s and its avant-garde stylistic opposite, Art Deco, and remained equally popular throughout the period of mid-century modernism; Tiffany’s copy (as evidenced by the inscribed date on the present lot) thus remained in production for at least thirty-five years. Tiffany eventually sold the Palmer collection to Edsel Ford, where it formed the core of the silver collection at the Edsel and Eleanor Ford House in Grosse Pointe, Michigan. [900/1200] Illustrated 1296 Portuguese Tiffany & Co. Sterling Silver Center Bowl, mid 20th century, of shallow “bucket” form the lower half decorated with strapwork in the Huguenot taste, above a molded foot ring, h. 4‑1/2”, dia 9‑1/2”, 63.40 t. oz. [2500/4000] Illustrated

201

1297 Tiffany & Co. Mid-Century Modern Sterling Silver Salad Bowl, designed in 1940 by Olaf Wilford (1894‑1980), this example 1943‑1945, New York City, New York, in the pattern commonly called “Tomato” or “Pumpkin Vine”, of hemispherical form with ring foot, the body decorated with five applied vertical bands of stylized fruits, h. 3‑5/8”, dia. 9‑1/4”, 27.01 t. oz. Although without any formal pattern name, this was one of Tiffany’s most popular mid-century modern designs. Created originally by Norwegian-born Olaf Wilford as a pair of salad servers in 1937, the salad bowl was added in 1940 and exhibited at Tiffany’s “House of Jewels” pavilion at the New York World’s Fair of 1939‑1940. Additional serving pieces and holloware were added to the line throughout the 1940’s and 1950’s. A bowl identical to the present lot is conserved in the Jewel Stern American Silver Collection at the Dallas Musem of Art; for more information see her catalogue of the collection Modernism in American Silver (New Haven, Connecticut: Yale University Press, 2005), p. 177, fig. 8.16 [2500/4000] Illustrated previous page 1298 Tiffany & Co. Three-Piece Sterling Silver Demitasse Set, the pattern introduced in 1907, this set dated 1920, New York City, New York, in the Colonial Revival taste, including a coffeepot, h. 9‑1/2”, l. 7-3/4”, a covered sugar bowl, h. 5”, dia. 6‑1/4”, and “helmet”-form cream jug, h. 4”, dia. 4‑1/4”, with steeply domed lids, each piece monogrammed, on the body, “ABW”, and engraved on the foot “June 9, 1920”, 32.28 total t. oz. (including the wooden handle on the coffeepot). [1400/1800] 1299 Four Tiffany and Other Sterling Silver Butter Pats/ Nut Dishes, third quarter 20th century, including a Tiffany leaf-form example, l. 3‑1/4”, a Tiffany coquilleform example, l. 2‑3/4”, and a pair of Italian coquille-form examples, l. 3”, all with ball feet, 4.43 t. oz. [200/400] 1300 Tiffany & Co. Sterling Silver Bread Tray, the pattern introduced in 1921, New York City, New York, of oval form, with upswept ends and molded rim, monogrammed at the center “S de V”, l. 10‑1/2”, w. 7”, 12.47 t. oz. [500/800] Illustrated 1301 Set of Eight Tiffany & Co. Sterling Silver Cordials, the pattern introduced in 1915, New York City, New York, each with a rounded conical bowl raised on a short baluster stem above a circular foot, h. 4‑1/8”, dia. 2‑1/4”, 26.36 total t. oz. [1500/2500] Illustrated 1302 Tiffany & Co. Sterling Silver Trumpet Vase, the pattern introduced in 1912, New York City, New, the body engraved with opposing oval cartouches joined by delicate laurel and bellflowers swags, raised on a circular foot banded en suite, h. 9”, dia. 4”, 7.71 t. oz. [400/700] Illustrated

202

1304

1303 Gorham Silverplate Cocktail Shaker, mid-20th century, Providence, Rhode Island, of tapering cylindrical form, with narrow torus band and “bun” straining cap with screw-top pouring spout, h. 6‑1/4”. dia. 3‑3/4”. [50/80] Illustrated 1304 Jeanne Dickson (American, 19th Century), “Portrait of a Young Girl”, oil on canvas, signed and dated lower left “Jeanne Dickson/1880”, 35‑7/8” x 24”. Framed. [3000/5000] Illustrated

1302 1300

1303 1301

1305 N. D. Elting (American, 19th Century), “Fishing”, oil on panel, signed and dated lower right “N.D. Elting 1890”, 9” x 12”. Framed. [500/800] 1306 N. D. Elting (American, 19th Century), “The Hay Harvest”, oil on panel, signed lower left “N.D. Elting”, 12” x 12‑3/4”. Framed. [600/900] 1307 French Silverplate-Mounted Fire-Polished Cameo Glass Bowl, first quarter 20th century, the glass by Verrieries d’Art Lorraine, the silverplate mount by Victor Saglier, Paris, of flattened spherical form, the bowl cameocut and fire-polished with a green on orange-to-white poppy decor , the silverplate rim decorated with openwork naturalistically embossed poppies en suite, the bowl with the Verrieries d’Art Lorraine mark in relief, the underside with the Victor Saglier mark incised, h. 5‑1/4”, dia. 7‑3/4”. [3500/5000] Illustrated

1307

1309 American School (Fourth Quarter 19th Century), “Portrait of a Child With a Walking Stick”, oil on canvas, unsigned, 36” x 25”. Presented in a giltwood frame. [300/500]

1310

1308 Cornelius Hankins (American, 1863/64‑1946), “Portrait of a Young Man Seated in a Landscape”, oil on canvas, signed lower right, 32” x 27”. Presented in a giltwood frame. [700/1000]

1310 American Aesthetic Movement Porphyry Stone and Marquetry Inlaid Rosewood Stand in the Japonesque Taste, fourth quarter 19th century, in the manner of Herter Brothers, with an inset porphyry top over a frieze of twining vine, floral and berry marquetry inlay, fitted with a single drawer, the pulls with finely cast rings joined to backplates secured by four exposed screws, on a trestle base with scroll supports, the stretcher with turned galleries over leaf and floral inlay, on scroll feet, h. 30”, w. 22‑1/8”, d. 15”. The present piece exhibits an unusual blending of Japonesque decorative motifs applied to a late classical form. It possibly was inspired by the available rare porphyry specimen incorporated in the top. A bedroom suite with a late classical-style sleigh bed is one of a handful of related pieces combining a neoclassical form with Japonesque motifs. That suite, formerly the property of Arabella Worsham Huntington is now in the collection of the Virginia Museum of Fine Arts. The Worsham suite has been associated with New York decorator George Schastey. Similar inlay to that on the frieze of the present table is illustrated in Howe, Frelinghuysen and Voorsanger, “Herter Brothers Furniture and Interiors for a Gilded Age” page 219 and 231 [2000/4000] Illustrated

203

1311 1313 French, Daum, Nancy-Style Cameo-Cut and Silvered Glass Vase, decorated with red and silvered thorny berry branches on an frosted yellow, clear and mottled-orange ground, signed: “Daum/ Nancy and the Cross of Lorraine”, h. 12‑1/2”. [3500/5000] Illustrated 1314 Thomas Webb Cameo Glass Vase, fourth quarter 19th century, English, the three-colored vase, signed with the “Gem” signature, decorated with flower branches and butterflies in white-over-red-overyellow, h. 8‑1/2”, w. 3‑1/2”. [6000/9000] Illustrated 1315 Thomas Webb Cameo Vase, fourth quarter 19th century, English, of double gourd shape, the shaded peach body decorated with leaves, flowers, buds and a butterfly, signed “Thomas Webb and Sons” on base, h. 7”, dia. 3‑1/2”. [6000/9000] Illustrated

1311 Impressive Pair of French Aesthetic Movement Bronze-Mounted Porcelain Garniture Vases, fourth quarter 19th century, scrolled gilt-bronze feet, incised with Japanese inspired decorating, supporting the ovalbodied bases, the dark green field lushly decorated with platinum and gilt-bodied birds, decorated with highlights of red, blue and white enamel, sitting on banana leaves among cobalt, red, blue and platinum flowers and cobalt and gilt dragon flies, the reverse decorated with pale-green, cobalt and platinum flowers, the scalloped gilt-bronze rim mounted with ring handles supported by gilt-bronze dragons, impressed mark: “S. Denis / 771”, h. 21”, w. 13”, d. 9‑1/4”. [5000/8000] Illustrated 1312 American Aesthetic Movement Giltwood Mantle Mirror, fourth quarter 19th century, the projecting cornice with a carved crest over an angled mirror plate oriented to reflect back into the room, the large central mirror flanked by shelves of carved columns and brackets, all backed by mirror plates, the upper mirrors canted to reflect into the room, all mirrors beveled and of the period, h. 78‑1/8”, w. 69”, d. 12”. According to the consignor, the present mirror graced the front parlor of one of two decrepit townhouses in the French Quarter near Bourbon street. The elderly woman that had inherited the house and resided there through much of her adult life repeatedly volunteered that “this was never a wh***house”. The interior of the adjoining house featured a bar in the first floor front parlor, and on the second floor, al long hallway with a row of numerous doors to narrow rooms. In July 2007, another local auction house sold an apparently identical mantle mirror that was reputedly from Josie Arlington’s infamous Storyville bordello. In 1917 when Federal officials imposed on the city to close the district, the trade in flesh went underground and was diffused throughout the city, particularly to the neighborhoods in the periphery of Storyville. [1400/1800] Illustrated

204

1312

1317

1316 Daum, France, Pate de Verre “Figs” Bowl, the clear bowl on an amber, lavender and green-edged foliate footed base scattered with deep plum figs, engraved in script under the foot: “Daum France”, presented in the original custom-padded box, retains the gray “Daum” sticker and information card, h.6‑1/4”, bowl dia. 9‑1/4”. [700/1000]

1317

1317 High Victorian Cerise Mousseline de Soie Coverlet and Pair of Pillow Shams, ca. 1875‑1900, elaborately appliqued and embroidered with tropical trees, foliage, flowers and birds, each piece bordered with hand-made bobbin lace threaded with ribbon, coverlet, w. 70”, l. 70”, shams, h. 37”, w. 32”. [1200/1800] Illustrated

1313

1315 1314

205

1320 Rare Pair of Superbly Executed Continental Aesthetic Movement Raised Gilt and Platinum Porcelain Garniture Vases, fourth quarter 19th century, the octagonal bases support a conical foot with strikingly decorated gilt-flutes on a platinum ground, the cream-glazed vase-shaped bodies decorated with raised gilt birds in flight and raised gilt and contrasting raised bronze plum branches, the lozenge-pierced rims platinum-glazed and edged in gilt, gilded handles in the form of a pair of snakes with molded scales, joined with gilt acanthus leaves, made in two parts and bolted together, h. 20‑1/2”, w. 10‑1/2”, d. 5‑3/4”. [3500/5000] Illustrated

1318

1320

1321 Alexander Alaux (Belgium/New Orleans, 1851‑1932), “Mrs. Omer Villere”, oil on canvas, signed lower right “A. Alaux”, 44” x 32”. Presented in a period giltwood frame. [2500/4000] Illustrated

1318 George Washington Nicholson (American, 1832‑1912), “Farmyard Scene With Two Women and Poultry”, oil on canvas, signed lower right “G. W. Nicholson”, 30” x 40”. Presented in a period giltwood and gesso frame. [4000/7000] Illustrated 1319 Southern School (Late 19th Century) “A Mississippi Delta Man”, oil on canvas, indistinctly inscribed lower left “W. Walken”, titled in pencil en verso, 18” x 24”. Presented in a giltwood frame. Provenance: Private collection, Birmingham, Alabama. [300/500] 1321

206

1322

1324 Hand-Painted Signed Limoges Game Set, fourth quarter 19th century, French, comprised of an oblong platter and eleven plates,each piece with a shell-molded edge lined with gilt and shading with salmon pink leading to a white field, decorated with hand-painted game birds in landscapes and highlighted with gilt flourishes, the set made and decorated by Deliniere & Co. of Limoges, and signed with both the manufacturer and decorator marks, platter, w. 11‑1/2”, l. 17‑1/2”, plates, dia. 9”. [600/900] Illustrated 1325 Hand-Painted Continental Fish Set, ca. 1900, probably Limoges, comprised of an oblong fish platter, w. 10‑1/2”, l. 24”, a sauceboat, h. 5”, w. 8‑1/4”, d. 6”, and eight plates, dia. 9‑1/4”, all molded with gilt shell edges and hand-painted with fish and flora on a salmon ground. [1000/1500] Illustrated

1322 Armitage-Herschell Polychromed Iron-Mounted Wooden Carousel Horse, ca. 1892‑1902, North Tonowanda, New York, the horse of small to medium size with flowing mane, retaining elements of its period polychromy, originally fitted for a late 1890’s track machine, and converted at a later date for use on a jumping style carousel, the tail and saddle horn later replacements, fire damage, now on a later base, h. 70”, including stand, l. 50”. The present horse exhibits charring to one side of its face from heat and flames at the 1988 fire at the Cabildo, Louisiana State Museum, New Orleans, Louisiana. In the wake of the fire, it was de-accessioned with other damaged properties and sold at the New Orleans Auction, St. Charles Gallery, October 4, 1997, lot 1105. [1800/2500] Illustrated 1323 Hand-Painted Austrian Fish Set, ca. 1900, comprised of a fish platter and eight plates, the borders decorated with a running morning glory vine and pink flowers, with hand-painted fish in the center, marked “Lewis Straus & Sons of New York” and “Carlsbad, Austria”, as well as the hand-painted numerals and letters from the decorator, platter, w. 9”, l. 20”, plates, dia. 8‑1/4”. [700/1000]

1326

1325

1324

207

1326 John Williamson (American/New York, 1826‑1885) “Mountainous River Landscape with Cattle”, oil on canvas, initialed lower right, 10” x 18”. Presented in a contemporary giltwood frame. Provenance: Private collection, Denver, Colorado. [2000/4000] Illustrated previous page 1332

1328 American School (Fourth Quarter 19th Century), “Wooded Interior With a Brook and an Egret”, oil on canvas, unsigned, 39‑3/4” x 27”. Presented in a period giltwood frame. [600/900] 1329 American School (19th Century), “Western Landscape With Snow Capped Mountains”, oil on canvas, unsigned, 22” x 36”. Presented in a giltwood and gesso frame. [400/700] 1330 American School (Fourth Quarter 19th Century), “Forest Fire”, oil on canvas, unsigned, 20” x 27‑1/2”. Presented in a period giltwood and gesso frame. [100/200] 1331 Walnut Cased American Wall Clock, ca. 1900, the flat molded door opens to reveal the brass dial with minute dial, marked with name of the retailer, ML Shehan, 785 8th Avenue, New York, the clock strikes and with a simple brass lead-filled pendulum, h. 6”, w. 17‑1/2”, d. 17‑1/2”. [300/500] 1332 Exuberantly Carved Mahogany Mercantile Cabinet Supported by an Allegorical Figure, ca.1900, probably New Orleans, the cabinet of demi-lune form, with a spindle gallery, the case with a pair of conforming doors, each crisply and deeply carved in the form of leaves, perhaps depicting tobacco leaves, supported by a standing allegorical guardian with animal hides at his shoulders and a band of feathers around each upper arm, a medallion at his chest, a skirt of layered elongated lappets, and greaves adorning his lower leg, on a pedestal fronted by a cartouche, the cabinet with poplar secondary woods, h. 94”, w. 27”, d. 17”. By tradition, the cabinet long-stood in a French Quarter retail establishment until closure of the business. The present cabinet appears to belong to a small group of fine, deeply carved furniture crafted in or for New Orleans patrons at the end of the 19th and beginning of the 20th century. At this writing, no scholarship is available exploring such exemplary work as the elaborately carved dining suites by Petit and Boh, or the Antonio Puccio tall case clock in the lobby of the Monteleone Hotel. [3000/5000] Illustrated 1333 Sheraton-Style Mahogany Pedestal, partially constructed of antique elements, with a circular top on a fluted column joined to a shaped base on turned legs, h. 33‑1/4”, dia. 10‑3/4”. [75/125] 1334 Late Classical Revival Mahogany Pedestal, the circular rotating top supported by a ring-turned and reeded column on a stepped base, partially composed of antique elements, h. 31”, top dia. 14”, overall dia. 15”. [75/125]

1327 Hudson River School (Second Quarter 19th Century), “A River Landscape With Sailboats”, oil on board, unsigned, 6‑1/2” x 12‑1/2”. Presented in a giltwood and gesso frame. [400/700]

208

1335 Group of Three Monumental American Blown, Molded and Cut-Glass Apothecary Display Bottles, fourth quarter 19th century, the tallest with a blown foot, a pontil marked body and a spear-cut faceted stopper, h. 43”, dia. 12‑1/2”, the smaller pair turn-molded with a polished foot rim and upper edge and closely related spearcut stoppers, h. 37”, dia. 10”. [2000/4000] Illustrated

1335

1340 Collection of Lead Crystal Bar Wares, comprised of three Waterford cut-glass decanters with matching stoppers, one example with a tapered body and signed and cut with lozenges and vertical rays, h. 12”, w. 3‑3/4”, d. 3‑3/4”, the ships decanter block-cut, h. 11”, dia. 7‑5/8”, and the barrel-shaped decanter cut with vertical rays, together with a cylindrical decanter cut in blocks and rondels, h. 11‑1/2”, dia. 4”, a brilliant-style decanter cut with leaves and flowers, h. 10‑1/2”, dia. 3‑1/2”, and with a pair of blown and pressed square ribbed decanters, ca. 1900, labeled “Gin” and “Rye” in frosted center panels and have pontil marks, h. 9‑1/4”, w. 3‑1/2”, d. 3‑1/2”, a cut-glass ice tub, possibly Waterford, cut in the strawberry and fan pattern and with voluted handles, h. 5‑1/5”, w. 7‑1/2”, d. 5‑1/2”. [200/400] 1341 Four Baccarat Graduated Blown and PressedGlass Amberina Perfume Bottles, fourth quarter 19th century, each bottle molded in a gadrooned pattern, with gadrooned globular stoppers, each base with a ground pontil, and with ground bottoms on each stopper, h. 5” to 8”. [500/800]

1336 American Figural Iron and Glass Banquet Lamp, fourth quarter 19th century, the lamp depicting a cupid standing on a scrolled plinth, supporting the glass font, hand-painted lavender flowers and green leaves decorate the shaded lavender front and related ball shade, the base stamped “Parafin Light Co.”, h. 23‑1/2”, dia. 8”. [150/300] 1337 American Brass, Onyx and Glass Table with Lamp, ca. 1900, the scroll leg table with a lower stretcher of pierced brass scrollwork, and a center spiral-reeded support, with a green and brown onyx top and a pierced scrollwork gallery, the attached lamp with a pierced paw foot base, a scrollwork-molded base with applied pierced decoration to its neck and an ionic capital, the white ball shade decorated with water lilies, h. 59”, dia. 16”. [100/200] 1338 Partial Set of Waterford “Curraghmore” Stemware, the faceted stems decorated with raised and faceted knobs, support a panel-cut bowl, the set comprised of six champagne flutes, h. 8‑1/4” and four goblets, h. 7‑1/2”. [600/900] Illustrated

1342 Continental Art Glass Vase, fourth quarter 19th century, possibly Moser, composed of pink glass cased in "marbelized" burgundy glass, and decorated with raised gilt branches and pinecones in the “mode Japonaise”, h. 16‑1/2”, dia. 8‑1/2”. [1500/2500] 1343 Three Pieces of Continental Colored Glass, fourth quarter 19th century, comprised of a bronze and glass trumpet vase, with a gilt-bronze and patinated base, now modified, decorated with a delicate pattern of finely detailed applied scrolls and a cabochon, the cranberry vase with an applied opaline snake encircling the base and the opaline rim, decorated with applied gilt flowers, h. 13‑3/4”, dia. 4‑1/2”, a compote with a round base and a flaring paneled bowl, with an ogee-cut edge, decorated with ruby flashed scrollwork and enamel flowers, h. 8”, dia. 9‑1/2”, and a small tazza, first quarter 20th century, wheel-cut with sprays of flowers and medallions encased in a flashed purple border, h. 3‑1/4”, dia. 6‑1/4”. [150/300]

1338

1339 Thirty-One Piece Set of Stemware in the “Atwater” Pattern, by Franciscan/ Tiffin, American, the pattern with faceted stems and with a cut thumbprint design on the bowls, the set comprised of seven red wine goblets, h. 8”, eight champagne coupes, h. 6‑3/4”, eight pilsner glasses, h. 7‑1/2”, and eight white wine glasses, h. 7”. [300/500]

209

1353 1344 Set of Six FloralDecorated German Oyster Plates, first quarter 20th century, made by Weimar Porzellan and marked with a shield emblazoned with “Weimar” over “Germany” in over the glaze green, blue shaded edges lead to a transfer decoration of pink and white flowers, the oyster sections shell-molded, dia. 8‑1/4”. [500/800]

1345 Collection of Nippon Vases, second quarter 20th century, one example with a ruffled top and a yellow ground, with raised decoration depicting an owl on tree branches in a scrolled cartouche, marked “Royal Nippon”, drilled for a lamp, h. 12‑1/2”, the second example decorated with pink and lavender gilt-highlighted peonies on a tan ground with leaf-molded gilt handles, marked with Morimura Bros. hand-painted stamp, h. 12‑1/2”, the third example with pink and yellow roses and tan handles, employing raised flowers, stamped, hand-painted Nippon with maple leaf, h. 11”, the fourth example with a yellow ground with pink and green flowers in panels highlighted with raised gilt and gilt handles, stamped, hand-painted Japan IE CO in a wreath, h. 12‑3/4”, together with the final example, a hand-painted bud vase with orchids, resting on a dolphin-molded base, h. 17”. [400/700] 1346 American School (First Quarter 20th Century), “Cow Between Road and Pond”, oil on canvas, signed lower right “K. Jiani”, 18” x 12”. Presented in a giltwood and gesso frame. [200/400]

1357

1347 Attributed to George Henry Yewell (American, 1830‑1923) “The Riva, Venice”, oil on canvas laid on panel, unsigned, reverse frame inscribed “ “The Riva” Venice, Geo. H. Yewell”, 5” x 7”. Presented in a period giltwood frame. [150/300] 1348 American School (19th Century), “River Landscape with Two Figures Rowing”, oil on canvas, 10” x 11”. Presented in a oval molded frame. [300/500]

1356

210

1349 Paula Bensliman (American, 20th Century) “Extensive View of a Camp in a Mountain Valley Landscape”, oil on canvas, signed and dated lower right “P. Bensliman 1952”, signed and dated on canvas verso, 28” x 24”. Framed. [300/500]

1360

1350 Continental Painted Plaster Sculpture, ca. 1900, “The Secret”, indistinctly signed on the rear and depicting a warmly dressed boy and girl, the boy’s arm around the girl’s neck, h. 17‑1/4”, w. 7‑1/2”, d. 6”. [250/400] 1351 Mason and Hamlin, Boston, Mahogany Grand Piano, 1902, Model A, the castiron inner frame marked “Mason & Hamlin, Continuous Bent Rim Duplex Scale Cap D’astro Bar”, h. 40”, w. 58”, l. 75”. [1000/1500] 1352 Bentwood Beechwood Hall Tree, Attributed to Michael Thonet, ca. 1900, the column supporting an upper tier of eight S-form hooks joined to a ring and with a finial above, the four shaped bentwood legs extending to end scrolls and joined by a ring, h. 77‑3/4”, dia. 26‑3/4”. [600/900] Illustrated 1353 Pine Hardwood and Iron Strapwork and Embossed Iron Domed Trunk, fourth quarter 19th century, the hinged top opening to reveal a compartmentalized interior, lined in paper printed in floral decor, h. 20", w. 27‑1/4”, d. 16‑3/4”. [100/200] 1354 American Late Victorian Walnut Spool Cabinet-onStand, ca. 1900, with molded top and canted corners, the conforming case with a bank of six drawers, each with an ovoid burlwood panel, on a later Sheraton base, h. 31‑1/2”, w. 29”, d. 18”. [300/500] 1355 American School (Contemporary), “Spring Landscape With Two Figures on a Path”, oil on canvas, unsigned, 24” x 36”. Presented in a handsome giltwood frame. [400/700] 1356 Benjamin Chambers Brown (American/California, 1865‑1942) “Sunlit California Landscape With Mountains”, oil on panel, signed lower right “Benjamin C. Brown”, 9‑1/4” x 19‑5/8”. Presented in a period carved, polychrome frame. Provenance: Private collection, Denver, Colorado. [3000/5000] Illustrated 1357 Aloysius O’Kelly (American, New York, 1853‑1926), “Moonlit Western Landscape”, oil on canvas, signed lower right “A. O’Kelly”, 14‑1/2” x 21‑1/2”. Framed. [2500/4000] Illustrated 1358 American School (Third Quarter 19th Century), “Expansive Valley Landscape With Grazing Cattle”, oil on canvas, signed and partially dated lower left “C.S. Cobb”, 20” x 30”. Presented in a period giltwood frame. [300/500]

1359 American School (First Quarter 20th Century), “Wooded Landscape”, oil on canvas, illegibly signed and dates “1900” on the reverse, 11” x 14”. Presented in a Louis XV style giltwood frame. [200/400] 1360 Extraordinary Collection of Over Four Hundred and Fifty Film Star Autographs with Photos, including such luminaries as Lauren Bacall, Jack Benny, Charles Boyer, Fanny Brice, Gary Cooper, Joan Crawford, Bette Davis, Kirk Douglas, Irene Dunne, Betty Grable, Rita Hayworth, Betty Hutton, Al Jolson, Shirley MacLaine, Frederic March, Victor Mature, Robert Mitchum, Anthony Quinn, Debbie Reynolds, Mickey Rooney, Barbara Stanwyck, Elizabeth Taylor, Robert Taylor, Gene Tierney, Orson Welles, Shelly Winters and Natalie Wood; horror film stars Boris Karloff & Elsa Lanchester, Lon Chaney, Jr., Vincent Price, Peter Lorre, Christopher Lee, Peter Cushing and Ricou Browning (“The Creature From the Black Lagoon”); noted character actors Willie Best, Pat Buttram, Judy Canova, Albert Dekker, William Demarest, Andy Devine, Sydney Greenstreet, Marjorie Main, J. Caroll Naish, Una O’Connor, Basil Rathbone & Nigel Bruce, Slim Pickens and S.Z. Sakall; “B” Western stars Rex Allen, “Wild” Bill Elliott, Gary Gray, William S. Hart, Gabby Hayes, Lash Larue, Jock Mahoney, Duncan “Cisco Kid” Renaldo, Roy Rogers & Dale Evans, Tex Ritter, Al “Fuzzy” St. John, Sonny Tufts and Chill Wills, plus approximately three hundred and fifty more, around a hundred and eighty matted, the rest in protective sleeves in several ring binders, along with two large framed collections of nine and twenty-eight autographs of Republic Pictures stars and a collection of “B” Western and Cowboy star ephemera. Detailed list available on request. [9000/12000] Illustrated

211

1361 Fifty-Four Assorted U.S. Army Insignia, World War II / Korean War Era, including officer’s and enlisted medical corps (three sterling silver), dental corps, ordnance, engineers, finance, artillery, transportation and chemical corps, with a pair of enameled warrant officer’s rank insignia, U.S. Navy Lt. (JG) and several “US” insignia. [50/90] 1362 Dorothy Dix (1861‑1951), Collection of Memorabilia, including two signed manuscript letters,one on engraved 3‑1/4” x 4‑1/2” engraved folio note card, the other on 4” x 5” engraved folio notepaper, both with the original envelopes postmarked December 1940 and January 1949, respectively, a typed transcription of a third Dix letter, 8‑1/2” x 11”, a copy of Harnett T. Kane & Ella Bentley Arthur’s Dear Dorothy Dix: The Story of a Compassionate Woman (New York: Doubleday, 1952), inscribed and autographed by both authors on the title page, dated October 1952, 8‑1/2” x 5‑1/2”, and a Bedon’s Studio, New Orleans photograph of Dix, inscribed, dated and autographed by Dix, 1946, mounted on a cream matte presented in a molded gilt frame and glazed, sight 9‑3/8” x 7‑1/2”, overall 15” x 12”. Pioneering journalist and advice columnist Dorothy Dix was born Elizabeth Meriwether on November 18, 1861 at Woodstock Plantation on the Tennessee/Kentucky border. She was educated at the Hollins Institute (now Hollins University) in Boutetourt Springs, Virginia and in 1882 married George Oglethorp Gilmer, her stepmother’s brother. The couple moved to New Orleans in the 1890’s, where George opened a turpentine distillery and Elizabeth met Eliza Jane Poitevent Holbrook Nelson (1843‑1896), owner of the Picayune and columnist there under the pseudonym “Pearl Rivers”. Nelson hired Gilmer, who began writing her popular pseudonymous advice column “Dear Dorothy Dix”. Under her pen name, Dix would become the most popular and widely read columnist in the world, with an estimated readership of over sixty million by the time of her death on December 16, 1951. Although she traveled the world and lived intermittently in New York (having been hired by William Randolph Hearst), her primary residence was in New Orleans, at the home she built in 1925 at 6334 Prytania, the corner of Exposition Boulevard. The collection here is that of Allen H. and Maizie N. Voorhies, close friends of Dix’s. One letter contains Christmas greetings, and the other a thank you for a gift. (The photograph similarly inscribed to “Maizie and Allen” - is by noted New Orleans African American photographer Arthur P. Bedou (1882‑1966). The Dorothy Dix Papers are conserved at the Felix G. Woodward Library at Austin Peay State University, Clarkesville, Tennessee; the Arthur P. Bedou Photographic Collection is conserved at the Xavier University Library, New Orleans, Louisiana. [150/300] 1363 Tom Wolfe (b. 1931), Bonfire of the Vanities, two copies of the first edition, Franklin Center, PA: Franklin Library, 1987, signed by the author on the free flyleaf, in full brown leather with gilt-stamped design my Martha Phillips, with gilt edges, marbleized endpapers and cream-colored register ribbon, the spine with raised band and gilt lettering and decoration, complete with the original Franklin Library enclosure, 9‑5/8” x 6‑1/2”. [200/400] Illustrated

212

1364

1363

1364 A. Hays Town (1903‑2005) The Architectural Style of A. Hays Town: 106 Preliminary Sketches, Baton Rouge: Amdulaine Publications Inc., 1985, first printing, introduction by Blanche Town Gladney, retaining the original color dust jacket, h. 11”. [800/1000] Illustrated 1365 Byron Levy (American/Louisiana, 20th/21st Century), “Santa Rosa Island”, watercolor on paper, 1993, signed, dated and titled lower right, sight 11‑1/2” x 18”. Glazed, matted and framed. [250/400] 1366 Philip Sage (American/Louisiana, 20th Century), “Ben” and “Sadie”, pair of etchings, after the paintings by William Aiken Walker (American/South Carolina, 1838‑1921), both numbered lower left and signed and dated lower right “Sage 73”, sight 10‑1/4” x 6”. Both glazed, attractively matted and framed. [200/400]

1367 Jose Maria Cundin (Spanish/New Orleans, b. 1938), “Untitled”, tempera and oil on illustration board, signed “Jose Maria Cundin”, 20” x 20‑3/4”. Unframed. A gift from the artist to the consignor in the late 1960's. [500/800] 1368 Jose Maria Cundin (Spanish/New Orleans, b. 1938), “Seignor Garcia”, oil on canvas, signed and dated lower left “Jose Maria Cundin 1968”, 20” x 22”. Framed. [4000/7000] Illustrated 1369 Noel Rockmore (American/Louisiana, 1928‑1995), “Outdoor Cafe Scene”, pastel on paper, signed lower right “Rockmore”, sight 23” x 35”. Glazed, attractively matted and framed. [1200/1800] Illustrated

1368

1370

1371 1370 Noel Rockmore (American/New Orleans, 1928‑1995) “View of the New York Skyline with the Artist Gifting a Bouquet of Flowers”, 1963, oil on board, signed and dated lower right “Rockmore ‘63”, 14” x 11‑1/4”. Handsomely framed. [1000/1500] Illustrated

1369

1371 Noel Rockmore (American/Louisiana, 1928‑1995), “No. 4, The Shepherd Boy”, oil on canvas, signed and dated lower right “Rockmore ‘82 December”, titled on the reverse, 36” x 24”. Presented in a giltwood frame. Exhibited: “Mardi Gras Backstage”, Paintings and Sculpture, Sandra Zahn Oreck Gallery, New Orleans, March 19, 1983‑May 2, 1983. Literature: Sandra Zahn Oreck Gallery, “Mardi Gras Backstage, Paintings and Sculpture, Exhibition Brochure, 1983, cover illustration. [2500/4000] Illustrated

213

1374 George Bauer Dunbar (American/ Louisiana, c. 1927), “Gold Heart”, gold leaf over red and black clay, signed liower center “Dunbar”, 11” x 8”. Presented in a shadowbox frame. [800/1200] Illustrated 1375 George Bauer Dunbar (American/ Louisiana, c. 1927), “Silver Heart”, silver leaf over black clay, signed lower center “Dunbar”, 11” x 9”. Presented in a shadowbox frame. [900/1200] Illustrated

1372 1376 Clyde Connell (American/Louisiana, 1901‑1998), “Notations #23”, 1983, ink and watercolor on paper, initialed upper right “C.C.”, sheet 5‑3/4” x 5”. Glazed, matted and framed. [600/900] 1377 Clyde Connell (American/Louisiana, 1901‑1998), “Notations #15”, 1983, ink and watercolor on paper, initialed lower right “C.C.”, titled, dated, signed and numbered in pencil on the reverse, sheet 6” x 5”. Glazed, matted and framed. [600/900]

1374

1372 Robert Gordy (American, Louisiana, 1933‑1986)”By The Sea”, serigraph, pencil signed and numbered 18/75, sight 28” x 55”. [800/1200] Illustrated 1373 George Bauer Dunbar (American/Louisiana, b. 1927) “Kitchen Still Life” mixed media on board, signed “Dunbar”, 18” x 23”. Unframed. [600/900] 1375

214

1378 Clyde Connell (American/Louisiana, 1901‑1998), “Notations #15”, 1983, ink and watercolor on paper, initialed lower right “C.C.”, titled, dated, signed and numbered in pencil on the reverse, sheet 5‑3/4” x 5”. Glazed, matted and framed. [600/900] Illustrated 1379 George Valentine Dureau (American/Louisiana, b. 1930), “Troy Brown”, silver gelatin print, signed lower right, titled lower left, sheet 19‑3/4” x 16”. Unframed. [300/500] 1380 George Valentine Dureau (American/Louisiana, b. 1930), “Emmett Johnson Painted”, silver gelatin print, signed lower right, titled lower left, sheet 19‑3/4” x 16”. Unframed. [300/500]

1378

1381 George Valentine Dureau (American/Louisiana, b. 1930), “Troy Joshua Brown”, silver gelatin print, signed and dated lower right “George Dureau 83”, titled and numbered “2/10” lower left, sight 18” x 14‑1/2”. Glazed, matted and framed. [400/700] 1382 George Valentine Dureau (American/Louisiana, b. 1930), “Female Nude, Wearing a Mask”, oil on canvas, signed lower right “Dureau”, signed on the reverse “George Dureau”, 30” x 24”. Unframed. [2000/4000] Illustrated

1382

215

George Schmidt is a painter of history, one who researches his subject matter meticulously and presents his viewer with the known facts, combined with wit and satire. The artist’s attention to detail and accuracy are evident in his note about the painting: “I feel confident to claim without fear of contradiction that my painting is probably the most accurate portrayal at present. Thanks in large part to my friend Tim Pickles, an authority on the battle and author of a book entitled “New Orleans, 1815, I have attempted to depict the brevity of this battle accurately. The battle was fought at dawn during one of the coldest winters in memory. It was short in length and small in number of participants. It lasted only two hours with the climax lasting a mere 15 minutes. The British reported 2,037 casualties. Andrew Jackson reported only 13.” The cinematic narrative style and grand scope of the canvas are appropriate for the heroic subject matter of the painting, which captures the event that effectively ended the war of 1812. New Orleans Auction Galleries is pleased to offer this important work in our September, 2012 sale, befitting of the 200th anniversary of Louisiana statehood [75000/125000] Illustrated

1383 George Schmidt (American/Louisiana, b.1944), “The Battle of New Orleans”, oil on canvas, signed and dated lower right “George Schmidt 06”, 40” x 181”. Provenance: Private collection, New Orleans, Louisiana. Exhibited: “Satire, Scandal, and Spectacle: The Art of George Schmidt”, Paul and Lulu Hilliard University Art Museum, University of Louisiana at Lafayette, January 21 through May 26, 2012. Reference: Paul and Lulu Hilliard University, University of Louisiana at Lafayette, Satire, Scandal, And Spectacle: The Art of George Schmidt, Exhibition Catalogue, 2012, illustrated on page 55.

1383 detail

216

1383 detail

217

1385 Khotan Carpet, 5’8” x 9’. [3000/5000] 1386 Persian Sarouk Carpet, 8’3” x 11’. [3000/5000] 1387 Turkish Oushak Carpet, 9’2” x 11’10”. [1400/1800] Illustrated 1388 Aubusson Needlepoint Carpet, 6’ x 9’. [200/400] 1389 Tabriz Carpet, 7’4” x 11’8”. [300/500]

1387 1384 Persian Kerman Carpet, 8’5” x 10’10”. [2500/4000]

1394 1390 Shiraz Carpet, 5’11” x 9’8”. [300/500] 1391 Heriz Runner, 1’6” x 7’8”. [100/200] 1392 Semi-Antique Persian Tabriz Carpet, 7’8” x 10’8”. [1000/1500] 1393 Two Kilim Carpets, 3’9” x 5’3” and 3’2” x 6’3”. [300/500] 1394 Semi-Antique Persian Kashan Carpet, 11’2” x 15’6”. [2500/4000] Illustrated 1395 Persian Kerman Carpet, 9’8” x 13’2”. [4500/7000] 1396

218

1403

1401 American Late Classical Mahogany Pier Table, second quarter 19th century, Philadelphia, the covemolded frieze on scroll supports, each with a foliate-carved ovoid panel at the base, the columns on a serpentine low shelf and backed by a looking glass, raised on spiral reeded feet, h. 37”, w. 39”, d. 18”. [700/1000] Illustrated 1402 Fine American Classical Mahogany Mixing Table, second quarter 19th century, the top on a cove-molded support over an arched frieze, one return fitted with a slide, the paneled door flanked by engaged scroll columns, on acanthus-carved paw feet, executed in well-figured mahogany veneers throughout, h. 33‑3/8”, w. 28‑1/2”, d. 18‑1/2”. [200/400] 1403 American Late Classical Mahogany Sofa, 19th century, the boldly carved crest rail depicting a fruit basket flanked by eagle’s heads joined to cornucopia with fruit and foliate and scroll carved ends, joined to scroll arms with foliate carving, a shaped apron and cornucopiacarved scroll legs, upholstered in crimson and gold with laurel wreath decor, accompanied by a pair of bolsters in like upholstery, h. 34”, w. 94”, d. 22‑1/4”. [800/1200] Illustrated

399

1396 Antique Peking Chinese Carpet, 9’1” x 11’9”. [1400/1800] Illustrated 1397 Aubusson Needlepoint Carpet, 8’6” x 10’5”. [300/500] 1398 Heriz Runner, 3’6” x 10’6”. [300/500] 1399 Semi-Antique Sarouk Carpet, 8’10” x 11’2”. [300/500] Illustrated 1400 Semi-Antique Tekkmon Carpet, 3’6” x 7’2”. [200/400] 1401

219

1405 1406

1404

1407

1406 American Bronze and Marble Solar Lamp, mid-19th century, the marble base supporting a tapered fluted standard, on a gilt-bronze rococo foot plate, the standard terminating in a small lotus-leaf-molded capital, the tank and standard retaining most of the original gilt lacquer, fitted with a frosted and cut shade attributed to Pairpoint Manufacturing Co., New Bedford, MA, and hung with faceted prisms, now electrified and raised on a brass base on paw feet, h. 20”, dia. 5‑3/4”. [200/400] Illustrated

1404 New England Bronze and Marble Solar Lamp, mid19th century, the two-step marble base divided with a leaf-molded bronze ornament, the fluted standard supporting a leaf-molded tank, mounted with a frosted and cut tulip-shaped shade, hung with faceted prisms, h. 20”, dia. 5‑1/4”. [200/400] Illustrated 1405 Patinated-Bronze Solar Lamp, mid-19th century, attributed to Dietz Companies, New York, the doublestepped base trimmed in molded lotus leaves on the lower edge and acanthus leaves on the upper edge, the vase-shaped standard molded with masks, scrollwork and cartouches on a fluted ground, molded, downturned leaves support the tank, and mounted with a fine period frosted and cut tulip shade depicting grapes and sprays of flowers, hung with spear-point prisms, h. 24‑3/4”. [200/400] Illustrated

1412

1407 American Bronze, Marble and Glass Solar Lamp, mid-19th century, the square marble base holding a scroll-molded and ribbed foot, supporting the urnshaped breather, the lotus-leaf-molded tank hung with “snowflake” prisms and mounted with a gothic-cut and frosted ball shade, now electrified, h. 14‑3/4”, dia. 6”. [150/300] Illustrated 1408 American Brass and Marble Solar-Style Table Lamp, the double-stepped marble base supporting a brass composite capital column standard on a shellmolded base, the faux front molded with acanthus leaves, mounted with a cut and frosted shade and hung with spear-point prisms, h. 21‑3/4”, dia. 8‑1/2”. [150/300] 1413

220

1409 Pair of Continental Spring-Loaded Brass and Crystal Hurricane Lamps, mid-19th century, the round base supports a cylindrical standard mounted with a scrolled handle, the flaring top hung with long prisms, mounted with an etched and cut shade, designed with a field of stars bordered with bellflowers, the upper folded rim finished in cranberry glass, h. 19”, dia. 6”. [150/300]

1413 American Late Classical Mahogany Marble-Top Mixing Table, second quarter 19th century, the front having an ogee-molded drawer concealed in the frieze below the marble deck, the side edges framed with S-scroll pilasters, flanking the bow-fronted door and raised on large scrolled feet, h. 36‑1/2”, w. 39‑1/2”, d. 19‑1/2”, [1000/1500] Illustrated 1414 American Mahogany Library Chair, second quarter 19th century, the mid-Atlantic padded rectangular back joined by padded arms and decorative pierced uprights to the seat, raised on slightly splayed legs ending in pointed toes, h. 41‑1/2”. [150/300] Illustrated

1415

1415 American Late Classical Walnut Armchair, second quarter 19th century, the shaped back with a molded crest rail, joined to open arms terminating in scroll ends, with molded front seat rail and sabre-form legs, now upholstered in gold and cream brocade with a crimson ground, h. 37‑3/4”. [200/400] Illustrated 1416 American Classical Mahogany Dressing Table, second quarter 19th century, in two parts, the looking glass in a crotch-veneered molded frame supported by turned and figured square columns on a recessed band of drawers, and fronted by a marble top, the case with two over a single drawer, the drawers all fitted with embossed brass pulls, on a trestle base, the supports with scroll ends, a convex stretcher and carved paw feet, h. 71”, w. 36‑1/4”, d. 19‑5/8”. [700/1000] Illustrated

1416 1410 Late Classical Miniature Chest, third quarter 19th century, the rectangular top above a case fitted with two short drawers over three graduated recessed drawers, flanked to either side by scroll uprights, raised on scrolled feet, h. 16‑1/2”, w. 15”, d. 9‑1/2”. [400/700] 1411 English Victorian Miniature Mahogany Dresser, third quarter 19th century, the oval mirror within a molded frame with a foliate crest, the rectangular top above a case fitted with a single drawer over two mirrored cupboard doors, raised on a plinth base, h. 21‑1/4”, w. 13‑3/4”, d. 7‑1/2”. [100/200] 1412 American Late Classical Mahogany Bookcase Cabinet, second quarter 19th century, probably Philadelphia, the projecting cyma- and cove-molded cornice over a pair of mullioned glazed doors, each retaining old wavy glass panels, on a base with a marble top and an ogee-molded drawer over a pair of recessed doors, each with figured raised panels and flanked by boldly modeled S-scroll columns, raised on shaped molded feet, h. 90‑1/4”, w. 50”, d. 26”. [1200/1800] Illustrated

221

1421 American Late Classical Mahogany Wash Stand, second quarter 19th century, the black and gold Egyptian marble top over a figured cyma-molded frieze, supported by a pair of cupboards, each with a molded door frame, surrounding a glazed panel, now backed by pleated fabric, the center section with a recessed looking glass in a molded frame, raised on ogee bracket feet, h. 32”, w. 36”, d. 16”. [300/500] Illustrated

1417

1417 American Late Classical Mahogany Armoire, second quarter 19th century, the projecting cornice over a pair of paneled doors, each with two recessed vertical figured panels, opening to reveal a bisected interior, one side fitted with a bank of shelves, the other with shelves and a pair of drawers, on a base with vasiform legs, h. 88‑1/2”, case w. 50‑1/2”, overall w. 61‑1/2”, case d. 19‑1/2”, overall d. 26”. [1000/1500] Illustrated

1422 Bronze, Marble and Glass Solar Lamp, mid-19th century, signed by J.G. Webb, New York, the marble base supporting a bronze foot, molded with acanthus leaves and cabochons, the fluted standard fitted with a grape and grape-leaf-molded capital and molded roses surrounding the breather, the tank mounted with a tag reading “Patented by JG Webb, NY Oct. 14, 1856” hung with colonial prisms and a later cut and frosted tulipshaped shade, h. 25‑1/2”, dia. 7”. [200/400] Illustrated

1418

1418 American Classical Giltwood Looking Glass, first quarter 19th century, the upper panel with a carved and gilded basket of fruit above a mirror plate, the frame with turned half columns and carved rosettes at the corners, h. 29‑1/2”, w. 13‑1/2”. [200/400] Illustrated 1419 Large American Late Federal Giltwood Looking Glass, second quarter 19th century, of tablet form, the frame with boldly turned half columns and the corners with blocks and rosettes, h. 63”, w. 34”. [400/700] 1420 American Federal Giltwood and Eglomise Tablet Mirror, first quarter 19th century, the overhanging cornice with nine gilded balls suspended to the underside, the reverse painted panel depicting a classical maiden with child on a recamier, h. 30‑1/2”, w. 16‑1/2”. [200/400]

1421

222

1423 American Astral-Style Lamp, fourth quarter 19th century, the double-stepped onyx base holding a reeded standard with fluted capitals, ornamented with molded acanthus leaves, the prism ring mounted with spear-point cut-glass prisms and fitted with a Pairpoint type frosted and cut-glass argand shade, now electrified, h. 21‑1/4”, dia. 5‑1/2”. [150/300] Illustrated

1424 1423

1422

1424 American Brass Solar Lamp, mid-19th century, probably New England, the square base supporting a fluted column-form standard, the breather an urn-form element and resting under the tank, mounted with a gothic cut ball shade and large cut-glass prisms, now electrified, h. 27”, dia. 7‑1/2”. [400/700] Illustrated

1427

1425 Solar-Style Gilt-Metal Table Lamp, the square plinth base decorated with a strapwork cartouche and supporting a square fluted standard, crowned with a Corinthian capital, mounted with a frosted and cut tulip-shaped shade attributed to Pairpoint Manufacturing Co., New Bedford, MA, 1880‑1929, h. 37”, dia. 9‑1/2”. [300/500]

1426 Three-Piece Brass and Marble Girandole Set in the Philadelphia Style, each comprised of a square marble plinth supporting a round brass base held in an egg-and-dart molding, supporting a tapering standard, scrolled pierced arms support the outer candle cups which are mounted on pierced leaf-form bobeches hung with cut prisms, h. 16‑1/4”, w. 15‑1/4”, d. 5‑1/2”, the single light ends wired for electricity and mounted with shades, h. 26‑1/2, w. 12”, d. 12”. [300/500] 1427 American Late Classical Mahogany Work Table, second quarter 19th century, the concave full width upper drawer fitted with an interior writing surface over a deep recessed bow-front drawer flanked by columns with Doric capitals, on a flaring columnar support joined to a base with a bow-front center and acanthus-carved and bun feet, h. 30”, w. 25”, d. 17‑1/2”. [400/700] Illustrated

1429 1428 American Late Classical Mahogany Wash Stand, second quarter 19th century, New York, the period rectilinear marble top over a molded frieze fitted with a single drawer, raised on S-scroll supports, each with applied flat turnings top and bottom, on a low shelf backed by a looking glass, on scroll feet, h. 30”, w. 27‑1/2”, d. 15‑3/4”. [200/400]

223

1429 Pair of American Late Classical Mahogany Games Tables, second quarter 19th century, each with a fold-over top over an ogee-molded frieze, raised on scroll supports joined to a stepped and figured base with cyma moldings and scroll feet, h. 27‑1/2”, w. 35‑1/2”, d. 17‑3/4”, ext. d. 35‑1/2”. [1500/2500] Illustrated previous page 1430 American Late Classical Mahogany Center Table, second quarter 19th century, the period rectilinear marble top with rounded corners, over a conforming crotch-veneered cyma-molded frieze, raised on octagonal columns joined to a low serpentine shelf, on scroll feet, h. 30‑3/4”, w. 30”, d. 20‑1/4”. [300/500] 1431 Classical-Style Onyx Pedestal, early 20th century, in five sections and having a square rotating top with canted corners, h. 46”. [300/500]

1440 1432 American Late Classical Mahogany Arm Chair, late 19th century, the gently arched crest rail over a shaped splat, the arms on scroll supports, with molded seat rail, dished slip seat and sabre front legs, the seat now upholstered in taupe and gold brocade, h, 36‑3/4”. [100/200]

1434

1433 American Late Classical Mahogany Work Table, second quarter 19th century, the case with a pair of drawers on a crotch-veneered vasiform column joined to a concave platform on scroll feet, h. 29‑1/4”, w. 21‑1/2”, d. 17‑1/2”. [300/500] 1434 American Late Classical Mahogany Pier Table, second quarter 19th century, the faux marble top over a figured cyma-molded frieze, on scroll supports joined to a square column with a cross-banded face, the curvate low shelf backed by a looking glass, raised on scroll feet, h. 38‑1/4”, w. 42”, d. 18”. [900/1200] Illustrated

1441

224

1435 Pair of American Late Classical Mahogany Sidechairs, late 19th century, each with a crest rail modeled in the form of a pair of abutting scroll ends, serpentine front seat rail and cabriole legs, now upholstered in seafoam-green brocade, h. 36”. [200/400]

1436 Diminutive American Late Classical Settee, second quarter 19th century, the back with crotch-veneered ogeemolded top rail, joined to scroll arms, raised on scroll legs, modified to its present proportions, h. 32”, w. 52”, d. 21”. [200/400]

1441 American Classical Mahogany Sideboard, ca. 1825, the projecting pair of cross-banded drawers over a pair of cupboard doors, each with a raised figured panel with a cross-banded perimeter, the doors flanked by figured turned columns with carved capitals, raised on acanthuscarved paw feet, h. 39”, w. 50”, d. 22”. [400/700] Illustrated 1442 American Late Classical Mahogany Banquet Table, mid-19th century, the circular top over a split tapering fluted pedestal, joined to a concave platform base on turned legs, together with six leaves, four skirted, extending to 100”, h. 29‑3/4”, dia. 48”, ext. l. 122”. [2000/4000] Illustrated 1443 Suite of Four American Late Classical Walnut and Crotch Walnut Dining Chairs, second quarter 19th century, the stiles extending to an arched molded top with crotch-veneered crest rail and splat, with serpentine seat rail and sabre front legs, the slip seats upholstered after the period fashion in striped brocade, h. 32‑1/2”. [100/200]

1444

1437 American Late Classical Mahogany Work Table, second quarter 19th century, the top flanked by drop leaves, the case with a pair of molded drawers, supported by a tapering columnar pedestal joined to a serpentine base with bun feet, h. 29”, w. 18‑1/12”, d. 17”, ext. w. 34”. [200/400] 1438 Single Light Henry Hooper, Boston, Bronze Argand Lamp, second quarter 19th century, the square base supports a turned standard holding the urn-shaped oil tank, crowned with a pineapple finial, the burner mounted with a tag reading “Manufactured by H.N. Hooper & Co. Boston”, the frosted trumpet shade with palmettes and stars, now wired for electricity, h. 17‑3/4”, w. 8”, d. 4‑3/4”. [200/400]

1444 American Late Classical Mahogany Mixing Table, second quarter 19th century, of generous proportions, the top over a projecting cyma-molded frieze, with a central arched bow-front panel flanked by curved ends joined to S-curve pilasters, each side fitted with a cupboard door, raised on scroll feet, h. 41‑1/2”, w. 43‑1/2”, d. 24‑1/8”. [1200/1800] Illustrated 1445 American Late Classical Mahogany Stool, second quarter 19th century, the octagonal top joined to a tapering fluted column with a serpentine base on bun feet, h. 20‑1/2”, w. 15”, d. 15”. [100/200]

1439 Neoclassical-Style Painted Brass Sconces, first quarter 20th century, possibly American, the tapered backplates ornamented with red painted bellflowers, and the urn finial with green painted leaves and red fluting with a flame finial, scrolled arms held in green painted swags, red candlecups mounted with green leaf-molded drip pans, electrified, h. 15”, w. 11‑1/4”, d. 5‑1/4”. [300/500] 1440 American Late Classical Mahogany Secretary/ Bookcase, second quarter 19th century, the projecting cyma- and cove-molded cornice over a pair of blind doors, each panel edged in ribbon molding, the doors opening to reveal an interior fitted with shelves and cubbyholes, and a band of drawers below, on a base with a slant lid with molded panels, fitted interior, over a serpentine drawer above a pair of drawers, flanked by scroll pilasters and raised on scroll feet, h. 97”, w. 49‑1/2”, dia. 21‑1/2”. [2000/4000] Illustrated

1442

225

1448 American Late Classical Mahogany Pier Table, second quarter 19th century, the figured and crest-banded top over a molded apron, raised on columns with Doric capitals joined to a shaped low shelf, the back fitted with a looking glass in a cymamolded frame, on bun feet, h. 36”, w. 39‑1/4”, d. 19‑1/4”. [500/800]

1455 1446 American Late Classical Mahogany Piano Stool, second quarter 19th century, the adjustable rotating seat with serpentine sides, raised on a highly figured vasiform square pedestal on a low base extending to four shaped legs, upholstered in floral needlepoint on a burgundy ground, h. 21”, w. 14‑1/2”, d. 14‑1/2”. [75/125]

1449 American Late Classical Mahogany Center Table, second quarter 19th century, the top of overall square form with serpentine ends, over a conforming figured apron, raised on a tapering square pedestal with ribbon and cyma moldings at its juncture with a figured and shaped square base on ogee bracket feet, h. 28”, w. 32‑1/2”, d. 33”. [100/200]

1447 American Late Classical Mahogany Stool on Low Table, second quarter 19th century, the square rotating and adjustable single-board top to a tapering column joined to a concave platform with three scroll feet, h. 13”, w. 14‑3/4”, d. 14‑3/4”. [100/200]

1450

1452

226

1454 Large American Late Classical Rosewood Stool, second quarter 19th century, the cushion with a serpentine front on a conforming cross-banded apron, raised on bracket feet, h. 12‑1/2”, w. 44”, d. 19”. [100/200] 1455 John Steuart Curry (American, 1897‑1946), “Boiling a Hog”, oil on canvas, signed and dated lower right “John Steuart Curry 1934”, 11‑1/2” x 18”. Presented in a period giltwood exhibition frame. Along with Thomas Hart Benton and Grant Wood, John Steuart Curry was hailed as one of the three great painters of American Regionalism. He is noted for his paintings depicting rural life in home state, Kansas. He worked briefly as an illustrator which is evident in the narrative nature of his art, including this particular painting. [12000/18000] Illustrated 1456 Elizabeth B. Latham (American/New York, Mid 20th Century), “Portrait of a Woman Holding a Sculpture”, oil on canvas, signed upper left “Elizabeth B. Latham”, inscribed on the reverse canvas “Latham”, 30” x 28”. Unframed. [700/1000]

1457 1450 Pair of American Late Classical Rosewood Armchairs of Gondola Form, second quarter 19th century, possibly Charles A. Baudouine, New York, each with a scroll- and foliate-carved crest, the stiles wrapping to form closed arms fronted by restoration-inspired scroll supports, the cabriole front legs ending in French toes, now upholstered in tufted blue brocade, h. 45”. [1200/1800] Illustrated 1451 American Late Classical Mahogany Game Table, second quarter 19th century, the fold-over cross-banded top with canted corners, over a like cyma-molded frieze, raised on a tapering, figured column joined to a concave platform on scroll feet, h. 29”, w. 42”, d. 21”, ext. d. 42”. [250/400]

1457 Arthur Frank Mathews (American/California, 1860‑1945), “Dante and Beatrice”, gouache on paper, signed lower right, sight 16‑3/4” x 14‑1/2”. Glazed, matted and framed. [3000/5000] Illustrated 1458 Susan M. Ketcham (American, 1841‑1929), “Oqunquit, Maine #113” and “Oqunquit, Maine #111”, pair of oils on board, both signed lower margins, titled and signed on the reverse, 8‑1/2” x 10”. Both presented in giltwood frames. [400/700] 1459 Susan M. Ketcham (American, 1841‑1929), “Oqunquit, Maine #110” and “Oqunquit, Maine #112”, pair of oils on board, both signed lower margins, titled and signed on the reverse, 8‑1/2” x 10”. Both presented in giltwood frames. [400/700]

1452 American Late Classical Rosewood Lady’s Screen/ Desk, second quarter 19th century, New York, the cornice with ribbon moldings over a fall front writing surface fitted with a beveled mirror plate, opening to reveal a baize-lined writing surface, and fitted with cubbyholes and storage bins, and with a drawer below, on a cheval base with scroll brackets mounted with turned roundels and scroll feet, ends joined by a small stretcher, h. 45‑3/4”, w. 26”, d. 5‑1/2”. [600/900] Illustrated 1453 American Late Classical Mahogany Armchair, Together with a Stool, second quarter 19th century, the armchair with a concave back with a floral- and foliate-carved crest, the back extending to closed arms terminating in scroll ends over foliate-carved supports, with serpentine front rail and cabriole legs, the stool executed in walnut and figured walnut, with bracket feet, both pieces now upholstered in floral brocade on a brown ground, chair, h. 46”, stool, h. 8”, w. 15‑3/4”, d. 10‑1/2”. [200/400] 1460

227

1462 Hildegard Rath (American, 1909‑1994), “Blossoming Tree”, oil on canvas, signed lower left, 28” x 36”. Framed. [600/900] 1463 American School (Contemporary), “Winter Port Scene”, oil on canvas, unsigned, 20” x 24”. Presented in a handsome giltwood frame. [300/500] 1464 Emile Albert Gruppe (American, 1896‑1978), “Seascape”, oil on board, signed lower right “E. Gruppe”, 9‑1/2” x 13‑3/4”. Presented in a polychrome and parcel-gilt gesso frame. [600/900] 1465 Emile Albert Gruppe (American, 1896‑1978), “December Dawn”, oil on board, signed lower left “E. Gruppe”, titled on the reverse, 9” x 13‑3/4”. Framed. [600/900]

1469

1466 Lynne E. Windsor (American/New Mexico, 20th Century), “(Hot) Yorkshire Water VI”, oil on panel box, signed lower right “Windsor”, signed and titled on the reverse, 14” x 14”. [500/800] 1467 Continental School (Contemporary), “Autumnal Landscape With a Winding Path”, oil on canvas, signed lower right “K. Pierre”, 39” x 29”. Presented in a molded giltwood frame. [700/1000]

1470 1460 Tod Lindenmuth (American, 1885‑1976), “Early Snowfall”, oil on canvas panel, signed lower left “Tod Lindenmuth”, signed and titled on the reverse, 13‑1/2” x 18”. Presented in a polychrome frame. [1000/1500] Illustrated previous page 1461 Hildegard Rath (American, 1909‑1994), “Landscape With a Barren Tree”, oil on canvas, signed lower left “Rath”, signed and dated on the reverse “Hildegard Rath, Dorset 1948”, 31” x 25”. Framed. [600/900]

228

1472

1468 Patricia Wallis (American/ California, b. 1944), “Bessie’s Best Side”, oil on canvas, signed lower left “P. Wallis”, signed lower left “P. Wallis”, signed, titled and dated “2002” on the reverse canvas, 12” x 16”. Presented in a molded, giltwood frame. [400/700] 1469 Matt Lamb (American/Irish, b. 1932), “Untitled”, oil on canvas, signed and dated “Lamb ‘02”, 29” x 39”. Framed. [3000/5000] Illustrated 1470 Monique Johannet (American, Contemporary), “Still Life”, oil on canvas,1978, signed, titled and dated on the reverse canvas, sight 50” x 40”. Framed. [2000/4000] Illustrated

1474

1471 Marco Eder (German, Contemporary), “Untitled”, mixed media on canvas, 26‑1/2” x 34‑1/2”. Unframed. [800/1200] 1472 Guillaume A. Azoulay (Moroccan, b. 1949), “O’Salto”, seriograph with gold leaf, signed lower right “Guillaume Azoulay”, titled, numbered “2/3” and dated “1988” lower left, sight 29” x 39”. Glazed, matted and framed. [2000/4000] Illustrated 1473 Ray Donley (American, b. 1950), “Untitled #8”, oil on canvas, signed and dated vero “Ray Donley III 1993”, reverse stretcher with a “Hall-Barnett Gallery Inc., New Orleans, LA” label, 50” x 40”. Unframed. [1500/2500] Illustrated 1474 Gustavo Duque (Colombian/New Orleans, Contemporary), “Black and White”, mixed media on canvas, signed and dated lower left G. Duque ‘08”, signed and titled on the reverse stretcher, 48” x 60”. Unframed. [2000/4000] Illustrated

1473

229