October 12-13 Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries

ESTATES AUCTION

October 12-13, 2019

Estates Auction

October 12-13, 2019

New Orleans Auction galleries

333 Saint Joseph Street, New Orleans, Louisiana 70130 www.neworleansauction.com | info@neworleansauction.com | 504-566-1849 LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyerâ&#x20AC;&#x2122;s Premium

Pictured Left: Lot 662 | Front and Back Covers: Lot 343

Exhibition:

September 30 - October 11, 2019 Monday - Friday, 9:00 a.m. - 5:00 p.m. Saturday, October 5, 10:00 a.m. - 3:00 p.m.

Preview Reception: Thursday, October 10, 2019, 4 - 6:00 p.m.

Featured Property:

Lot Schedule:

Please note that times are approximate

Saturday, October 12, 2019 Lots 1 - 500 10:00 - 11:00

11:00 - 12:00

101

200

12:00

1:00

201

300

100

1:00

2:00

301

400

2:00

3:00

401

500

The Bruce McCashin Collection Vero Beach, Florida The Estate of Sylvia Pugh Sullivan Houston, Texas

Sunday, October 13, 2019 Lots 501 - 971

The Estate of Frank Fasullo New Orleans, Louisiana

10:00 - 11:00

501

570

11:00 - 12:00

571

670

12:00

1:00

671

770

The Mark M. Johnson Collection Montgomery, Alabama The Estate of Susan Maddox Birmingham, Alabama

Lot 681

1:00

2:00

771

870

2:00

3:00

871

971

Letter From the CEO

ince 2016, many of us have lived in a world made a little less genteel and refined by the finale of “Downton Abbey,” the awardwinning PBS Masterpiece television show. Through six series of the historical British drama, how my heart thrilled to the sweeping score of each show’s opening. Settled in my comfy chair, I would happily escape into the stories of the aristocratic Crawley family and their decorous domestic staff, living on the sprawling Downton estate. Though they were separated by the rigid post-Edwardian upstairsversus-downstairs social class system, the characters were unified by plots filled with intrigue, scandal and passion.

Other collections include the Estate of Frank Fasullo, of New Orleans, featuring important porcelain pieces by Jacob Petit, as well as 19th-century American furniture; the Estate of Susan Maddox of Birmingham, Alabama; the Collection of Mark M. Johnson of Montgomery, Alabama, former Director of the Montgomery Museum of Fine Arts; and the Estate of Sylvia Sullivan, a beloved Houstonian.

Like so many Downton devotees, the recent opening of the highly anticipated movie promises to reunite me, if for only two hours, with the colorful cast I’ve long missed. And while “Downton Abbey,” the film, cannot compare with the series, I am thrilled at the opportunity to return to all things English.

The finale of the Downton series was, of course, reserved for the woman who always got the last word: the Dowager Countess.

If you are also a fellow Anglophile, your chance to experience the beautiful and gracious British lifestyle need not end at the movie theater. New Orleans Auction Galleries is honored to offer in this auction – Saturday, Oct. 12 and Sunday, Oct. 13 – the collection of Bruce McCashin, of Vero Beach, Florida. A true collector, Bruce purchased his first antique at age 11, and acquired many of the items offered in our auction while in England and traveling across Europe. Our sale includes his collection of fine English antiques and paintings, as well as several family pieces, which I invite you to read about in the following pages.

The Dowager Countess: “If only we had the choice.”

And if you find your taste includes art in a more modern genre, NOAG has wrangled an exceptional find: a Blue Dog Cow, by one of NOAG’s favorite artists, George Rodrigue (lot 681, page 242). Neiman Marcus commissioned the notable late Louisiana artist to paint three cow statues to “graze” in the Michigan Avenue store’s flower garden during the famed 1999 Chicago Cow Parade. And we are delighted to offer a fabulous selection of modern and contemporary fine art, including works by Jeff Koons, Dale Chihuly, Helen Frankenthaler and Rodolfo Morales.

Isobel Crawley: “We’re going forward into the future, not back into the past.”

She’s right, of course. The past does inform us as we move forward, as I’m sure we will see in the movie; but, perhaps we should revere that fact. There’s no better time than at NOAG’s splendid preview party, Thursday, Oct. 10, 4 to 6 p.m. Surrounded by so many elegant and beautiful things from another time – 971 lots, to be exact – please join me for a cup of English tea or a glass of champagne in honor of the Dowager, while we celebrate what is sure to be a glorious future! See you on Oct. 10!

Susan D. Sarofim CEO P.S. Don’t forget, there are several ways to bid, including in person, online at NewOrleansAuction.com, or by phone. Need more information about how to bid with us? Just call 504-566-1849, and we will be glad to help!

H A P P E N I N G AT N O A G

1. Ashley Holtrey and David Austin Orser III; 2. Sandy Barrett and Janet Tallerine; 3. Taylor Eichenwald and Christa Ougel; 4. Facundo Marolla and Kevin Sparrow; 5. Shawn Reed and Burke Saucier; 6. Blake Boyd and Ginette Bone

Taylor Eichenwald, NOAG's Director of Marketing, speaks on a panel moderated by Phil Michaelson, CEO of LiveAuctioneers, at the 70th annual International Auctioneer's Association Conference in New Orleans. Pictured Right: Lot 159

CLICK HERE TO TAKE A TOUR OF THE COLLECTION

F E AT U R E D P R O P E R T Y Bruce McCashin Collection Vero Beach, Florida

Bruce E. McCashin was born in Green’s Farms, Connecticut - the oldest neighborhood in Westport - to prominent equestrians Arthur J. McCashin (1952 Olympic bronze medalist) and his wife Helen Wolcott née Bedford (ex-Master of Foxhounds of the Fairfield County Hounds). His early years were spent along the Gold Coast, and later Far Hills, New Jersey, enjoying the fruits of high society. The Bedford family emigrated from London to Brooklyn in 1848, and shortly thereafter, Frederick Thomas Bedford, Sr. (1823-1904) invested in farmland in Westport to grow onions. During the 1850s, onions were in great demand in New York City and also became an important crop in the 1860s at the onset of the Civil War as they were used to treat wounds. Edward Thomas “E. T.” Bedford (1849-1931), Bruce McCashin’s great-grandfather, was born in 1849 in Green’s Farms and attended Brooklyn Academy, where he met Robert Cheesebrough. Bedford assisted Cheesebrough to develop and sell a petroleum byproduct known today as Vaseline. Bedford also met John D. Rockefeller while living in Brooklyn, and after working as a salesman offering oil-related products, he became a Partner and Director at Standard Oil. After leaving the oil business, Bedford formed Corn Products Company from the New York Glucose Trust he had acquired. Their products included Karo, Mazola, Skippy and Hellmann's. McCashin attended The Lawrenceville School, then colleges in the United States and France before attending Yale University in his early 30s. He acquired his first antique at age eleven, but the catalyst to his serious pursuit of collecting was his education at Yale and time spent at the Yale Center for British Art under Duncan Robinson. McCashin also studied under some of the most renowned scholars and art historians, including Vincent Scully, one of the most influential and respected architectural historians, and William Kelly Simpson, professor of Egyptology and Curator of Egyptian and Ancient Near Eastern Art at the Museum of Fine Arts, Boston.

Following his time at Yale, McCashin set out on multiple modern “Grand Tours”, traveling twice to Egypt in as many years and throughout Europe, acquiring pieces along the way. London, where he had a residence, was also a frequent destination, and he became a regular client at the most venerable shops and galleries. While in England, Bruce tracked down pieces once owned by the Bedfords. Each piece of furniture acquired by McCashin was evaluated and meticulously restored by William J. Cook & Sons in England, whose clients include the Royal Family, museums and leading collectors. The Cooks also advised McCashin while he searched for each piece. McCashin’s collection demonstrates his eye for the exceptional and unique while focusing on 18th- through early 20th-century English antiques and fine art. As he grew up amongst a family dedicated to country pursuits and sports, many paintings in the collection feature sporting scenes, animals and rolling landscapes. His collecting sensibilities grew out of his parents’ interests and a tradition of American families of strong English heritage acquiring English antiques. The influence of the great collectors and patrons of the arts that he grew up surrounded by is evident in his impressive collection. New Orleans Auction Galleries is honored to offer fine art, antiques, silver and more from the Collection of Bruce McCashin. Left: McCashin dancing with Mrs. Charles W. (Jane) Engelhard, June 1965 at her daughter Susan’s "Coming Out" party at Cragwood Estate in Far Hills, New Jersey. Pictured in Vogue, September 1965. Right: McCashin at the Winter Junior Cotillion at the Plaza Hotel, December 1963. Pictured in The New York Times, January 1, 1964.

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

The Estate of

Sylvia Pugh Sullivan Houston, Texas

Sylvia Pugh Sullivan was born in Bay Springs, Mississippi and was a graduate of The University of Mississippi (Ole Miss). She married John M. Sullivan on June 2, 1958, only one day after their graduation. Over the years, Sylvia and John lived in New Orleans, Detroit, and Tokyo, but considered Houston, Texas their home. Sylvia had a career in advertising, public relations, and design. At J. Weingarten, Inc., she produced radio and television commercials, gave lectures and programs for the tri-state area served by the company. She then moved into Public Relations for banking at First City National Bank, where she served as Director of Special Events and Publicity for the First Citian, a special client organization. She then served as Director of Special Events for River Oaks Bank and The Numbered Account Society. In New Orleans, she served as Director of Advertising and Public Relations for Hibernia Bank. While living in Tokyo, she started a design company with clients such as G.E. and Conoco. In addition, she was a consultant for the International Homebuilders Division of the Mitsui Corporation. In Tokyo, she designed home interiors for several embassies near the resort city of Karuizawa. While living in Tokyo, Sylvia and John traveled frequently to other Asian countries, which she felt was an education in itself. Back in Houston, Sylvia served on a number of Boards, including: The Asia Society; Houston Grand Opera; the

Huffington Center for Aging; the Open Door Mission; and Recipe for Success. She served on the Boards of Theatre under the Stars; the Blaffer Gallery; Houston Community College; the Heritage Society; Society for Performing Arts; the Detroit Opera Studio; the New Orleans Opera; and Les Dames d'Aspen. Sylviaâ&#x20AC;&#x2122;s creativity and vision positioned her to lead many fundraising efforts and chair events for many of the organizations she was involved with. Sylvia was widely recognized for her civic and cultural efforts, including being commissioned Yellow Rose of Texas by the State of Texas in 1987 by then-governor William "Bill" Clements, Jr. and being honored as a Woman of Distinction by Houston's ABC Channel 13 in 2007. In addition, she and John were honored at the 25th Anniversary Celebration of the Westview School in Houston for high-functioning children with autism spectrum disorder and she received the Ann Morrow Lindberg Spirit of Excellence award from The Huffington Center on Aging. Sylvia and John Sullivan were also avid collectors of antiques and fine art. New Orleans Auction Galleries is honored to offer furniture, paintings and decorative art from the Estate of Sylvia Pugh Sullivan. New Orleans Auction Galleries is pleased to offer antiques and fine art from the Estate of Sylvia Pugh Sullivan.

Lot 370

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

The Estate of

Frank Anthony Fasullo New Orleans, Louisiana

A lifelong resident of New Orleans, Frank Anthony Fasullo was born August 17, 1940 to Anthony and Mary Fasullo. He attended the St. Louis Cathedral School of Grammar and Fortier High School. An avid collector of antiques and fine art, Frank's true passion was 19th-century American furniture and Jacob Petit porcelain. He took great pride in his important porcelain collection and the stories behind each piece. He humorously described his pursuit as “Porcelain Fever” to friends and fellow collectors, a testament to his vibrant sense of humor and the enthusiasm with which he approached each acquisition. Always on the hunt for the next great piece, once he discovered one, he would do anything in his power to add it to his collection. Frank was just as enamored with Jacob Petit as he was with the beauty of the porcelain itself. His knowledge of Jacob Petit’s life and work was impressive, and he considered some of the leading scholars and experts as personal friends. Frank is survived by his partner in life, Michael K. Arceneaux. New Orleans Auction Galleries is honored to offer fine furniture, paintings and porcelain from the Estate of Frank Fasullo.

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

The Collection of

Mark M. Johnson sat for this portrait in 1992 for renowned photgrapher Yousef Karsh, a longtime friend.

Mark M. Johnson

Montgomery, Alabama A native of Rochester, Minnesota, Mark M. Johnson grew up in Elgin, Illinois. Initially intending on a career in medicine, he eventually graduated from the University of Wisconsin, Whitewater, with a BA in art history in 1974. While an undergraduate, he enrolled in numerous studio courses, to learn as much as possible about the various processes and techniques of creating art. He received his MA in Art History and a Certificate in Museum Studies from the University of Illinois at Urbana-Champaign in 1974. For two years following his graduation, he was a Lecturer at the Art Institute of Chicago. In 1977, he began his prodigious museum career with a position as Curator at the Cleveland Museum of Art; this was quickly followed by positions as Assistant Director at the Krannert Art Museum, Champaign, Illinois and the Directorship of the Muscarelle Museum of Art, College of William and Mary, Williamsburg, Virginia. In 1994, Mark began his almost 25-year tenure as the Director of the Montgomery Museum of Fine Arts, Montgomery, Alabama. Arriving at the Museum with enthusiasm and a keen artistic vision, Mark soon oversaw an expansion of the museum’s grounds and exhibition spaces which would eventually include the Margaret Berry Lowder Gallery, the Sculpture Garden, and the Weil Atrium. He was instrumental in arranging major exhibitions

on subjects as diverse as the prints of James McNeill Whistler, African American artists, American paintings, and quilts, as well as on artists such as Rembrandt and Albrecht Durer. Mark was the author and editor of numerous books and of the museum’s highly regarded exhibition catalogues (most of which are still in publication). He was responsible for the creation of the museum’s collection of art glass; many of the artists in the collection are represented by works offered here. A collector and supporter of the art and artists, Mark’s personal collection includes works by many regional artists such as Cam Langley and Frank Fleming, as well as more internationally renowned contemporary artists such as Jeff Koons, Dale Chihuly, Kara Walker and Yousef Karsh. He befriended many of these artists, forming life-long relationships. One such artist was the photographer Karsh, whose studio and home Mark visited several times. Mark was a member of many professional art organizations, including the prestigious Association of Art Museum Directors. New Orleans Auction Galleries is honored to offer regional and contemporary art from the collection of Mark M. Johnson.

Lot 576

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

The Estate of

Susan Flynn Maddox Birmingham, Alabama

Susan Flynn Maddox was born August 21, 1939 in Fairfield, Alabama. Aside from her many years in the modeling and cosmetics industry in Birmingham, she was a member of the Independent Presbyterian Church and was an active supporter of local philanthropic organizations, including the Diabetes Society, Cancer Society and the Birmingham Heart Guild, serving as its President from 1992-1993. Susan and her husband, Russ Maddox, founded Russ Pharmaceuticals, a successful business, together in 1979. Russ and Susan loved to travel and were avid collectors, filling their impressive Mountain Brook, Alabama home with antiques and fine art. New Orleans Auction Galleries is pleased to offer English and French furniture, paintings, mirrors and decorative objects from the Estate of Susan Maddox.

SESSION I

Saturday, October 12, 2019 Lots 1-500

Lot 340

1 Monumental French Provincial Walnut Armoire 18th century, the heavily molded serpentine domed crest above a foliate-carved frieze centered by a shell crest, over two long doors, each inset with three shaped panels and opening to a fitted shelf and hanging space and two lower drawers, raised on large bun feet. h. 116”, w. 71”, d. 30‑1/2” $3,000‑$5,000 2 Provincial Regence Fruitwood and Marble-Top Commode 18th century, the rectangular marble top with a shaped front, above a conforming case fitted with three long drawers, all with shaped panels, raised on pointed toes. h. 37”, w. 49‑1/2”, d. 25” $1,200‑$1,800 3 Regence Provincial Fruitwood Commode 18th century, the slightly bowed and rounded rectangular top above a conforming bombe case fitted with three long drawers, each tri-paneled, over a pierced floral-carved apron, raised on splayed hoof feet. h. 35”, w. 45”, d. 24” $1,500‑$2,500

4 Provincial Louis XV-Style Cherrywood Refectory Table the rectilinear top with pullout leaves at each end, over a scalloped apron, raised on cabriole legs. h. 30‑1/2”, w. 36”, l. 90”, ext. l. 136” $1,500‑$2,500

5 Oreste Costa (Italian, 1851‑1901) “Still Life with Game, Fruit and Wine”, 1873 oval oil on canvas signed, dated and localized “Firenze” lower right. Presented in a conforming giltwood and gesso frame. 32” x 26”, framed 41‑1/2” x 34” Provenance: Private collection, Houston, Texas. $1,200‑$1,800 6 Provincial Louis XV Walnut Armoire 18th century, Lyon, the heavily molded and domed cornice above a paneled frieze centered by an inlaid floral basket, over two long doors, each inset with three shaped panels and divided by a paneled and floralinlaid splat, the interior fitted with three long shelves, raised above a shaped apron on scrolled feet on pegs. h. 103”, w. 68”, d. 23” $3,000‑$5,000

7 Provincial Regence Walnut Commode 18th century, the rounded rectangular top above a conforming case fitted with two short drawers over two long drawers, flanked to each side by fluted uprights, raised on cabriole feet ending in pointed toes. h. 32”, w. 50”, d. 21” $1,200‑$1,800 8 Arthur Trevor Haddon, R.B.A. (British, 1864‑1941) “Tending to the Wee Ones” oil on canvas signed lower right. Framed. 36‑1/8” x 28”, framed 42‑1/2” x 33‑1/2” $4,000‑$7,000

9 French Baroque-Style Silvered Bronze Chandelier second quarter 19th century, the standard with a fluted urn and set with scrolled candle arms with beaded drip pans and turned candle sockets, the lower section with classical masques and a cone-form pendant finial, the canopy with a sunburst design. h. 21”, dia. 23” $1,000‑$1,500 10 Regence-Style Fruitwood Commode the shaped top with rounded corners and a molded edge, above a conforming case fitted with two long drawers, each tri-paneled with foliate carving, raised on cabriole legs headed by acanthine carving and ending in scrolled toes. h. 34‑1/2”, w. 52‑1/2”, d. 22‑1/2” $1,200‑$1,800 8

11 French Provincial Oak Armoire early 19th century, the heavily molded cornice with projecting rounded corners, above a case fitted with a shell- and scroll-carved frieze over two long doors, each inset with two shaped panels divided by a carved band, raised above a heavily molded base on block feet, the interior lined in tan and red toile. h. 97”, w. 74”, d. 26” $1,500‑$2,500 12 Frank Fleming (American/Alabama, 1940‑2018) “Fruits and Vegetables” group of eight patinated bronzes including cucumber, pepper, figs, squash, okra and seed pods, each signed by the artist. largest l. 7‑3/8”

Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 13 French Provincial Walnut and Marble-Top Encoignure 18th century, the bowed marble top above a conforming case fitted with two cupboard doors, each inset with a shaped panel, over a carved shell-centered apron, raised on scrolled toes. h. 39‑1/2”, w. 29”, d. 19‑1/2” $1,000‑$1,500

14 Charles Ferdinand Venneman (Belgian, 1802‑1875) “The Peasant Dance” oil on beveled wood panel signed lower left. Framed. 23‑1/8” x 18‑1/4”, framed 26” x 20” $1,800‑$2,500 15 Geza Peske (Hungarian, 1859‑1934) “Up by the Bootstraps” oil on canvas signed lower right. Framed. 28” x 38”, framed 42” x 51‑1/2” $1,000‑$1,500

16 Provincial Louis XV-Style Fruitwood Farmhouse Table 19th century, the rectangular top with a molded edge and rounded cut corners, above a scalloped frieze, raised on cabriole legs ending in molded toes. h. 30‑1/2”, w. 38”, l. 81‑1/2” $1,400‑$1,800

17 Provincial Louis XV-Style Fruitwood Armoire mid-19th century, the domed cornice with canted corners, above a conforming case fitted with a dentillated frieze over two long doors, each inset with a shaped panel and with finely figured escutcheons, raised above a shaped apron on scrolled toes. h. 96”, w. 63”, d. 26” $1,000‑$1,500 18 Attributed to Theodore-Etienne-Pierre Rousseau (French, 1812‑1867)

“Paysage au Crepuscle avec Moulin a Vent” oil on canvas monogrammed lower left. Framed. 9‑1/2” x 15‑1/4”, framed 12” x 18” Provenance: Sold in these rooms, May 22, 1999, lot 405. $2,500‑$4,000 19 French Provincial Walnut Cabinet

mid-19th century, the rounded rectangular top above a conforming case fitted with two cupboard doors, each inset with a shaped panel, raised above a scalloped apron on cabriole feet ending in scrolled toes. h. 37‑1/2”, w. 49‑1/2”, d. 16‑1/2” $1,000‑$1,500 20 Provincial Louis XV Oak Side Table mid-18th century, the rectangular top with a molded edge and rounded corners, and mounted to a scalloped frame and fitted with a small drawer, raised on slender cabriole legs. h. 28”, w. 32”, d. 21” $1,200‑$1,800

21 Brushed Steel Pot Rack Chandelier 20th century, with two downlights in the center, the perimeter with alternating candle arms and pot hooks, each hook ornamented with a metal silhouette of a wild animal. h. 34”, w. 52”, d. 44” Provenance: Private collection, Houston, Texas. $1,000‑$1,500 22 Provincial Louis XV-Style Fruitwood Buffet a Deux Corps early 19th century, the rounded ogee-molded cornice above a paneled patera-carved frieze over two doors, each inset with a shaped panel, the lower section fitted with a single long drawer over two cupboard doors, each inset with a shaped panel, raised on scrolled toes. h. 91”, w. 53”, d. 20‑1/2”

$1,800‑$2,500 23 Collection of Three Partially Glazed Terracotta Olive Jars 19th century, French, by tradition found in New Orleans, the middle-sized example with remnants of a French label, “Dat tes, Muscades, File...”. h. 27” to 37”, dia. 16‑1/2” to 20‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,200‑$1,800

23 22

24 French Provincial Polychrome Buffet 19th century, the rounded rectangular top above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel, over a shaped apron, raised on molded legs ending in pointed toes. h. 43‑1/2”, w. 53‑1/2”, d. 23‑1/4” $1,200‑$1,800 25 French School (Fourth Quarter 19th Century) “Picnic by the Riverbank” oil on cradled panel illegibly signed lower right (Lepr?). Giltwood frame. 10” x 17‑1/2”, framed 17” x 24‑1/2”

Provenance: Blount Corporate Collection, Montgomery, Alabama. $1,000‑$1,500

26 25

26 Provincial Regence-Style Fruitwood Commode 19th century, the shaped and bowed top above a conforming case fitted with two short drawers over two long drawers, all with incised designs, raised on splayed legs. h. 29‑1/2”, w. 38‑1/2”, d. 22‑1/4” $1,000‑$1,500 27 Pair of Louis XIV-Style Oak Fauteuils the upholstered backs joined to molded arms with foliatecarved scroll ends, the molded seat rail over trumpet-form legs joined by a serpentine molded stretcher, the ivory upholstery trimmed with brass nails. h. 41” 27

$1,200‑$1,800

30 Jef Louis van Leemputten (Belgian, 1865‑1948) “A Flock of Sheep” oil on canvas signed lower right. Framed. 15” x 20”, framed 20” x 23‑1/2” $1,200‑$1,800 31 Henry Charles Fox (British, 1860‑1925) “Horses Grazing by the River”

oil on canvas signed lower right. Framed. 14” x 21”, framed 18‑1/2” x 25‑1/2” $1,000‑$1,500

28 Henry Schouten (Belgian, 1857‑1927) “Pausing to Rest” oil on canvas signed lower left. Framed. 31” x 23‑3/4”, framed 43‑1/2” x 35‑3/4”

$1,400‑$1,800 29 Henry Schouten (Belgian, 1857‑1927) “Horses Plowing the Field” oil on canvas signed lower left. Framed. 29” x 20‑1/2”, framed 37‑1/2” x 29‑1/2” $1,500‑$2,500 31

32 Emile van Damme-Sylva (Belgian, 1853‑1935) “Cattle Resting in the Pasture” oil on canvas signed lower right. Framed. 32” x 46”, framed 43‑1/2” x 58” $1,800‑$2,500 33 Albert Caullet (Belgian, 1875‑1950) “Cattle by a Stream” oil on canvas signed lower right. Framed. 40‑1/4” x 59‑1/4”, framed 46” x 66”

$3,000‑$5,000 34 Jan C. van der Heyden (Dutch, 1911‑1988) “Milking the Cows” oil on canvas signed lower right. Framed. 20” x 28”, framed 28‑1/2” x 36‑1/4” $1,200‑$1,800

35 Willem Vester (Dutch, 1824‑1871) “Dutch Landscape with Cattle” oil on canvas signed lower left. Framed. 12” x 18”, framed 18” x 23” $1,200‑$1,800 35

36 Frans van Leemputten (Belgian, 1850‑1914) “Leading the Cows to Market, Antwerp” oil on canvas signed lower left. Framed. 28‑1/4” x 39‑1/2”, framed 40‑1/2” x 52” $2,000‑$4,000

37 Ferdinand de Prins (Belgian, 1859‑1908) “Woman with Sheep and Cattle on a Country Road” oil on canvas signed lower right and en verso. Framed. 24” x 31”, framed 27‑1/2” x 34‑1/2” $1,500‑$2,500

38 Italian Baroque Giltwood Mirror first half 18th century, the pierced surround decorated with scrollwork and leaves, accented with swags of flowerheads, with carved putti on each side and in the grape-carved crest, the finial carved with a bird eating grapes, set with a beveled mirror plate. h. 60”, w. 40‑1/2” $1,800‑$2,500 39 Figural Carved Giltwood Stand the standard with a winged Psyche holding a scrolled top and terminating in beading, above a trio of scrolled leaf-carved feet. h. 47‑1/2”, dia. 12” $1,000‑$1,500 40 Pair of Flemish Baroque-Style Walnut Armchairs ca. 1900, each with an arched top rail, the upholstered back joined to molded arms with leaf carving, the arms on barley-twist supports, the legs joined by like stretchers, now in cut-velvet upholstery. h. 53‑1/2” $1,000‑$1,500

41 Pair of Italian Majolica Vases 20th century, in the 17th-century style, with scrolled serpentform handles, the bodies with scrollwork, female figures and putti, trimmed in yellow, marked “l’Antica di Deruta, Italy”. h. 28”, w. 14”, d. 8‑3/4” $1,000‑$1,500 42 Large Italian Tin-Glazed Platter 20th century, in the Renaissance style, decorated in blue and yellow with a central roundel depicting Leda and the Swan, with satyrs, putti, dragons and scrollwork, marked “L’Antica, di Deruta, Italy”. w. 33‑1/4”, d. 26” $1,000‑$1,500 43 Pair of Carved and Painted Putti fourth quarter 19th century, on gilded and fluted pedestals, the realistically painted putti poised as if playing instruments. h. 25‑1/2”, w. 7‑1/2”, d. 7”

$1,000‑$1,500 44 Baroque-Style Giltwood and Painted Applique fourth quarter 19th century, decorated with a painted angel’s head framed with bold pierced scrollwork and oak leaves, the lower section with a carved drop of carved pomegranates. h. 25”, w. 16” $1,200‑$1,800

45 Suite of Twelve Ammonite Fossils each mounted and presented in a silvered shadowbox frame and glazed. each overall 10” x 10” $1,500‑$2,500 46 Two Large Clam Shells prehistoric, each with layers of fossilization. h. 11” to 14‑1/2”, w. 30” to 34”, d. 19‑1/2” to 20‑3/4”

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 47 Pair of Flemish-Style Giltwood Stools early 20th century, each with a padded rectangular top raised on molded scrolling legs joined by a shell-centered H-form stretcher and ending in foliate scrolled feet. h. 17”, w. 19‑1/2”, d. 18‑1/2” $1,000‑$1,500

48 Exceptional, Monumental Italian Baroque-Style Giltwood Mirror fourth quarter 19th century, decorated with sculpted and pierced artichoke leaves accented with scrollwork, the crest and sides decorated with artichoke blossoms, set with an antique beveled glass. h. 73”, w. 53” $3,000‑$5,000

49 Italian Patinated Bronze and Marble Warwick Vase fourth quarter 19th century, the campana-form urn with twisted handles, after the 2nd century CE Roman marble excavated at Hadrian’s Villa, Tivoli, ca. 1770 (with reconstruction by Giovanni Piranesi [Italian, 1720‑1778)] and now conserved at the Burrell Collection, Glasgow, on a gray and tan mottled marble base. h. 14‑1/2”, w. 17‑1/4”, d. 12‑1/4” $1,200‑$1,800 50 Italian Walnut Cabinet ca. 1900, the upper section with a molded and domed cornice above two shaped paneled cupboard doors and three small drawers, the lower section with a serpentine banded top above a conforming case fitted with two cupboard doors, faced as three long tri-paneled doors, raised on large bun feet. h. 78”, w. 51‑1/2”, d. 26‑1/2” $1,400‑$1,800

51 Large Continental Oak Farmhouse Table early 20th century, in the Jacobean taste, the top framed and fitted with inset oak panels and pegged throughout, each end fitted with a drawer and raised on large turned legs joined by stretchers. h. 30”, w. 35‑1/2”, l. 79‑1/2” $1,200‑$1,800 52 Pair of Florentine Rococo Mirrors fourth quarter 18th century, Italian, each having an arched crest centered by a shell, and trimmed with flowers and flanked by scrollwork, the corners with rocaille work and scrollwork, the upper sides with trailing flowers, the base with cabochon-molded drops framed with rocaille work. h. 47”, w. 25” $1,200‑$1,800 52

53 Pietra Dura and Wrought Iron Center Table the square top inlaid with a variety of marble and hardstones in the Italian Baroque style, and supported by an iron base with scroll legs joined by like stretchers. h. 25‑1/2”, w. 48”, d. 48” $1,200‑$1,800 54 French Polychrome and Carved Wood Figure of “St. Thomas Aquinas” 19th century, the revered Doctor of the Church with one hand raised in benediction, in richly detailed robes with floral vine motifs enhanced with gold paint, on a later carved wood base. overall h. 42”, w. 15‑1/2”, d. 12” $2,000‑$4,000

55 Continental Black Metal Chandelier second quarter 20th century, the scrolled frame decorated with metal leaves and vines, and the molded metal candle sockets in the form of flowers, the whole hung with glass drops. h. 35”, dia. 25” $1,000‑$1,500

53 detail

56 Pair of Italian Baroque Silver-Gilt Sconces 18th century and later, composed of antique elements, the backplates trimmed with pierced rocaille- and scrollwork, the center ground with incised decoration, the volute- and rocaille-carved arms mounted with tole candle sockets and drip pans. h. 20‑1/2”, w. 13‑1/4”, d. 11‑3/4” Sotheby's, New York, New York, The Collection of Marsha and Robin Williams, October 4, 2018, lot 86. $1,000‑$1,500 57 Continental Baroque Carved Walnut Plaque

ca. 1700, with deeply carved scrollwork and leaves, the center with an inset stone lozenge. h. 29”, w. 19” $1,000‑$1,500 58 Monumental Continental Mahogany Armoire 18th century, the large molded cornice above a pair of framed and paneled doors, the base fitted with a long drawer and raised on large lathe-turned feet. h. 101”, w. 73”, d. 30” $2,000‑$4,000

59 Jacobean-Style Oak Refectory Table ca. 1900, the parquetry-inlaid top, with a pull-out leaf at each end, mounted to a carved apron and supported by a pair of large turned and carved standards joined by a stretcher. h. 30”, w. 40‑3/4”, l. 70”, ext. l. 112” $1,000‑$1,500 60 Pair of Monumental Baroque-Style Bronze Andirons fourth quarter 19th century, Continental, on scrolled feet, flanking molded shells, with urn-form reeded finials terminating in molded balls. h. 35‑3/4”, w. 21”, d. 10‑1/4” $1,200‑$1,800 61 Italian Renaissance Revival Carved Fruitwood Fantasy Rocking Chair fourth quarter 19th century, the crest with a maiden’s portrait bust above the backboard, with a central accented carved plaque and flanked by dragons, the armrests and sides depicting fully carved lions, the seat upholstered in tooled leather. h. 42”, w. 27”, d. 49”

$1,500‑$2,500 An apparently identical rocker, marked “Anti Brothers Vicenza Italy”, was exhibited in the 1892 World’s Columbian Exhibition, Chicago, Illinois.

62 Continental Oak Homme Debout Cabinet 19th century, the molded and dentillated cornice above a foliate masquecarved frieze, over two cabinet doors divided by a drawer, each with a carved banding surrounding a central carved masque within scrolling patterns, raised on a molded base on block feet. h. 85”, w. 40‑1/2”, d. 24” $1,200‑$1,800 63 Pair of Rococo-Style Carved Padauk Bracket Shelves fourth quarter 19th century, pierced and carved with scrollwork and flowerheads, the serpentine shelves with carved edges. h. 15‑3/4”, w. 11”, d. 5‑1/2” $1,000‑$1,500

64 Suite of Twelve Ammonite Fossils each mounted and presented in a silvered shadowbox frame and glazed. each overall 10” x 10” $1,500‑$2,500

65 Italian Neoclassical Fruitwood Commode 19th century, the rectangular top banded and with a chevron-veneered central panel, above a conforming case fitted with two long drawers, each with decorative banding and chevron veneers, the sides veneered en suite, raised on tapering square legs ending in brass caps. h. 33”, w. 51‑1/2”, d. 26‑1/2” $2,500‑$4,000 66 Continental Neoclassical Inlaid Fruitwood Side Stand 19th century, the inlaid and banded top on a case with a single drawer with figural inlay, over a door with urn and foliate inlay, flanked by columnar pilasters and raised on square block feet. h. 31‑1/2”, w. 22‑3/4”, d. 15” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500 67 Dutch Oak Marquetry-Inlaid Musical Tall Case Clock 18th century, the hood with turned and gilded finials, foliate inlay and fluted pilasters, the case inlaid throughout, the movement labeled “William Nightingale, London” and fitted with six graduated chiming bells and a single strike bell, triple train movement including a calendar dial. h. 97”, w. 19‑1/2”, d. 12”

$2,500‑$4,000

68 Pair of Unusual Italian Giltwood Mirrors mid-20th century, in the Venetian rococo taste, each with a cove-molded surround decorated with scrollwork and rocaille work, and set with a bold, pierced crest. h. 63‑1/2”, w. 16‑1/2” $1,200‑$1,800 69 Venetian Carved, Painted and Parcel-Gilt Blackamoor

first quarter 20th century, Italian, dressed in a brocade gilt gown and wrapped with a turquoise fringed sash, standing on a marbleized base and pedestal carved with arcading and columns, holding aloft a scalloped pedestal. h. 72‑1/4”, w. 21”, d. 14” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,800‑$2,500 70 Carved, Painted and Parcel-Gilt Venetian Blackamoor mid-20th century, Italian, the female figure dressed in a feathered skirt, a quiver on her back, her head with a plumecarved pedestal, on a contemporary black base. h. 60‑1/2”, w. 15”, d. 15” $1,000‑$1,500 71 Handsome Venetian Polychrome Blackamoor Wall Bracket mid-20th century, the figure dressed in a colorful costume and a fringed wrap, the serpentine shelf with a gilt edge and carved with fluting, with a faux marbre top. h. 20”, w. 17”, d. 10‑1/2” $1,000‑$1,500 70

72 Giltwood Mirror of Baroque Inspiration mid-20th century, probably Italian, with a plume-carved finial set into the swan’s-neck pediment, the surround carved with cabochons framing mirror-backed scrollwork, medallions and sheaves of wheat, terminating in an oval panel decorated with polychrome flowers. h. 67‑1/2”, w. 36‑1/2”

$1,200‑$1,800 73 Pair of Impressive Italian Baroque-Style Giltwood and Metal Sconces second quarter 20th century, the backplates carved with pierced swags and set with flower-carved crests, with urns supporting scrolled candle arms decorated with molded leaves, terminating in star-form drip pans and cylindrical candle cups. h. 27”, w. 17‑1/2”, d. 8‑1/4” $1,200‑$1,800 74 Marble and Glass Table in the Neoclassical Taste the long beveled glass top raised on two marble supports in the form of addorsed griffins on a plinth base. h. 28‑1/2”, w. 95”, d. 30” $2,500‑$4,000

75 Pair of French Patinated Bronzes of a Lion and Lioness 20th century, the recumbent figures resting atop raised pawfooted brass bases, cast signature “Juliem” at proper right front of lion. tallest h. 10”, w. 18‑1/2”, d. 7” $2,000‑$4,000 76 Venetian Carved Polychromed and Parcel-Gilt Blackamoor Figure of a Gypsy on a Pedestal third quarter 19th century, her arm raised and holding a torchere, and cloaked with a colorful dress and strands of pearls h. 79”, dia. 18” Provenance: Le Petite Theatre, French Quarter, New Orleans, Louisiana; The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000 77 Venetian Mirror in the Baroque Taste fourth quarter 19th century, the oval mirror framed with panels of scroll-engraved mirror plate and trimmed with segments of ripple-molded sculpted glass in shades of mauve and pink, with sculpted flowers, the crest with a swan’s-neck pediment and “ears” framing the center decoration, all lined with colored glass scrolls, rippled glass trim and colored glass-sculpted flowers and leaves. h. 57”, w. 46”

Provenance: French Antique Shop, New Orleans, Louisiana; Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

78 Italian Rococo Oak and Marble-Top Side Table 18th century, the shaped rectangular marble top with a molded edge, above a conforming shaped and foliate-carved, fruit-centered frieze, raised on foliate- and floral-carved cabriole legs ending in scrolled toes on pegs. h. 33‑1/2”, w. 57”, d. 27” $1,500‑$2,500 79 Two Italian Mirrors in the Rococo Taste the smaller giltwood example, second half 18th century, with a pierced crest decorated with flowerheads and scrollwork, h. 24‑1/2”, w. 18‑1/4”, and the larger parcel-gilt example, first quarter 20th century, with a pierced flowercarved crest, the sides carved with scrollwork, on a green ground, h. 40‑1/2”, w. 23‑3/4”.

$1,000‑$1,500 80 Neoclassical-Style Inlaid Tilt-Top Table and Four Chairs ca. 1900, the chairs with the label of “Berkey & Gay Furniture”, Grand Rapids, Michigan, the table with an oval top with foliate inlay on a vasiform pedestal with outswept feet, h. 28‑1/2”, w. 54”, d. 43‑1/2”, and the mahogany, satinwood and mixed woods chairs each with a shaped crest rail over a splat with an oval panel, on tapering square legs with spade feet, h. 35‑1/2”. $1,000‑$1,500 78

81 Set of Twenty-Five George Jones & Sons Raised Gilt Dinner Plates second quarter 20th century, English, the octagonalshaped plates in pattern number 17789, marked on the back, along with the Jones crescent mark, “Made in England” and “John Wanamaker” retail mark. dia. 10‑3/4” $1,000‑$1,500 82 Italian Neoclassical Giltwood and Marble-Top Side Table 19th century, the rectangular marble top with projecting corners and central section, above a conforming frieze centered by a foliate-carved urn medallion, raised on stop-fluted tapering legs with foliate capitals, joined by an urn-centered X-form stretcher and ending in toupie feet. h. 36”, w. 56‑1/2”, d. 24”

$2,000‑$4,000

84 81

83 Pair of Continental Neoclassical Window Seats mid-19th century, each with a long padded seat flanked to each end by a padded, rounded upright with applied foliate ormolu accent, raised on splayed tapering square legs. h. 37‑1/4”, w. 41‑1/4”, d. 15‑3/4” $1,000‑$1,500 84 Italian Neoclassical Fruitwood Dining/Center Table

ca. 1800, the circular top over a line-inlaid apron, raised on tapering legs with like inlay. h. 30”, dia. 75‑1/2” $1,000‑$1,500

85 Unusual Italian Painted Mahogany and Brass Five-Part Surtout de Table mid-20th century, decorated in the Pompeiian style, with arabesques and trophies and landscapes in panels, with molded brass trim, raised on brass ball-and-claw feet. h. 2‑1/5”, w. 17‑1/4”, l. 83‑1/2” $1,000‑$1,500

86 Pair of Delft Polychrome Garniture Vases second half 18th century, Dutch, now mounted as lamps on custom stands, decorated with couples in 18th-century dress, framed with yellow and orange scrollwork, the covers with polychrome molded parrot knops, fitted with shades. h. 28”, w. 13‑1/4”, d. 13‑1/4” $1,000‑$1,500 87 Neoclassical-Style Polychrome Bookcase the rectangular, heavily molded cornice above an urn- and garland-carved frieze, over four open shelves, surrounded by a ribboned floral garland band, over two paneled cupboard doors, flanked by a like garland, raised on bracket feet. h. 97”, w. 54”, d. 18” $2,000‑$4,000

88 Monumental Painted Architectural Mirror in the Classical Taste fourth quarter 19th century, French, with pilasters carved with Corinthian columns over fluted bases, the mirror surround carved with acanthus leaves and corner medallions. h. 91”, w. 61‑1/4” $2,500‑$4,000

89 Pair of Baroque-Style Polychrome Stools 20th century, each with a rectangular padded cushion on a carved X-form base joined by shaped stretchers. h. 19”, w. 25”, d. 15” $1,200‑$1,800 90 Italian Carved Marble of “Autumn” 19th century, the classically draped and leaf-wreathed figure holding a scythe and sheaf of wheat. h. 64”, w. 18‑1/2”, d. 19‑1/2” Provenance: Louisiana Jockey Club, New Orleans, Louisiana; The Estate of Frank Fasullo, New Orleans, Louisiana. $3,000‑$5,000 This marble was one of the Four Seasons sculptures that adorned the front garden of the Luling Mansion (later the Jockey Club) in Bayou St. John, New Orleans. It can be seen in images of the estate from the late 19th to the early years of the 20th century.

91 Italian Marble of Lorenzo de’ Medici, Duke of Urbino first half 20th century, after the ca. 1530 tomb sculpture by Michelangelo (1475‑1564) in the Medici Chapels, San Lorenzo, Florence. h. 22‑1/2”, w. 8‑3/4”, d. 10‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,500‑$2,500 92 Venetian Engraved Glass Mirror 20th century, Italian, trimmed with pale amber reeded and spiralreeded glass, the cornice with a flower and a spray of leaves, a floral-engraved panel beneath, flanked by pierced scrollwork, set with crossetted corners, the primary plate framed with raised engraved mirrored sections trimmed with amber spiral-reeded glass. h. 59”, w. 40” $1,200‑$1,800 93 Pair of Venetian Murano Gilt-Flecked Blown Glass Torcheres 20th century, the fluted standards composed of vasiform and spherical elements, and set with scrolled arms with inverted umbrella-form lights, with a crown of volutes hung with drops. h. 85‑1/2”, dia. 24‑1/2” $2,000‑$4,000

94 Venetian Murano Blown Glass Chandelier 20th century, composed of ruby-trimmed, giltflecked glass, the standard set with two tiers of scrolled volutes, the inverted bell-form lower pan set with scrolled candle arms terminating in matching glass shades alternating with voluted scrolls. h. 42‑1/2”, dia. 44‑1/2” $1,200‑$1,800 95 Near Pair of Venetian Murano Glass Chandeliers 20th century, composed of ruby-trimmed, giltflecked glass, each standard set with voluted scrolls, the lower pan with scrolled candle arms terminating in sockets set with matching shades, alternating with lower voluted scrolls, one slightly taller. h. 30”, dia. 34” $1,200‑$1,800 94

96 Roman School (17th Century)

“The Worship of Venus”, after Tiziano Vecellio, called Titian oil on canvas unsigned, verso with an 18th-century label inscribed in French describing the painting and attributing it to Francesco Albani (Italian, 1578‑1660). In an elaborate 18th-century French giltwood frame. 69‑1/2” x 66‑1/2”, framed 89” x 79” Provenance: Christies’, London, South Kensington, UK, “Old Master and British Paintings”, November 2, 2016, lot 60. $40,000‑$70,000

97 After Guido Reni (Italian, 1575‑1642) “The Death of Cleopatra” oil on canvas unsigned. Presented in a carved and pierced giltwood frame. 49” x 38‑1/4”, framed 60” x 51” Provenance: Christie’s, South Kensington, March 6, 2012, lot 48. $5,000‑$8,000 98 French School (Fourth Quarter 18th Century) “Three Putti Frolicking” oil on canvas unsigned Framed. 13‑1/2” x 18‑1/4”, framed 19‑1/2” x 24‑1/4” $1,000‑$1,500 99 After Tiziano Vecellio (called “Titian”) (Venetian, 1488/90‑1576) “Flora” oil on canvas verso with multiple inscriptions. Giltwood frame. 32” x 25‑1/2”, framed 42” x 36”

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,500‑$2,500

100 Fritz Zuber-Buhler (Swiss/French, 1822‑1896) “A Spanish Beauty” oil on canvas signed lower left, verso with “Kurt E. Schon, Ltd., New Orleans” gallery label. Frame with artist plaque. 29” x 24”, framed 40” x 34‑1/2” Provenance: Kurt E. Schon, Ltd. Gallery, New Orleans, Louisiana. $15,000‑$25,000 101 Tony Robert-Fleury (French, 1837‑1911) “The Cardinal’s Recital” oil on canvas signed lower left, inscribed with artist’s name en verso stretcher, verso affixed with a Sotheby’s, New York, May 1978 catalog entry label. Framed. 33‑3/4” x 46”, framed 44” x 54” Provenance: Private collection, Houston, Texas. $2,500‑$4,000 100

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103 After Guido Reni (Italian, 1575‑1642) “Aurora” oil on canvas unsigned. Giltwood frame. 21” x 35”, framed 29” x 43” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

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102 French School (Second Quarter 19th Century) “Bacchante” oil on canvas unsigned. Period giltwood and gesso frame. 25” x 20”, framed 35” x 30‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000

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104 Italian School (18th Century) “Venus and Mars with Cupid in a Landscape” oil on panel, a tondo unsigned. Presented in a conforming giltwood frame. dia. 17‑1/2”, framed dia. 26” $1,000‑$1,500

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105 Semi-Antique Bidjar Carpet 4’ 6” x 6’ 11” $1,000‑$1,500 106 Semi-Antique Khotan Carpet 5’ 2” x 11’ $1,200‑$1,800 107 Antique Oushak Carpet 9’ 10” x 12’ $5,000‑$8,000

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108 Semi-Antique Bakhtiari Runner 3’ 6” x 11’ 7” $1,000‑$1,500 109 Kashan Carpet 10’ 2” x 14’ 3” $1,000‑$1,500 110 Agra Serapi Carpet 9’ 10” x 14’ $2,000‑$4,000

110

111 Agra Carpet 8’ x 10’ 2” $1,200‑$1,800 112 Turkish Angora Oushak Carpet 12’ 1” x 14’ 10” $2,000‑$4,000 113 Semi-Antique Agra Carpet 8’ x 10’ 3” $1,000‑$1,500

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114 Uzbek Sultanabad Runner 2’ 11” x 26’ $1,000‑$1,500 115 Laristan Serapi Carpet 8’ 6” x 11’ 6” $1,500‑$2,500

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116 Good Pair of Rock Crystal Obelisks 20th century, in the neoclassical taste, the tapered obelisks on square bases with stepped trim. h. 12‑3/4”, w. 3”, d. 3” Provenance: Bruce McCashin Collection. $1,500‑$2,500 117 Rock Crystal Bowl on Stand 20th century, Russian, the well-figured low rock crystal bowl supported on a Georgian-style silverplate dish cross. h. 5‑1/2”, dia. 15” Provenance: “Addiction”, Mykonos, Greece; Bruce McCashin Collection. $6,000‑$9,000

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118 Pair of Louis XVI-Style Rock Crystal and Silver Candlesticks

119 Pair of Louis XVI-Style Rock Crystal and Gilt-Bronze Candlesticks

ca. 1900, French, the ogee-molded bases decorated with laurel leaves supporting quiver-form reeded standards, mounted with candle sockets molded with laurel leaves and flowers, set with matching bobeches. h. 7‑1/2”, dia. 3‑1/2”

second half 19th century, French, the candle cups molded with laurel leaves and berries, the quiver-form standards reeded, and the ogee-molded bases decorated with beading and molded leaves. h. 7‑1/4”, dia. 3‑1/2”

Provenance: Bruce McCashin Collection.

$1,000‑$1,500

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120 Pair of French Bagues Gilt-Metal and Glass Sconces

121 Pair of French Bagues Gilt-Metal and Glass Sconces

mid-20th century, each decorated with a bird sitting atop a flowerpot flanked by gilt-metal candle arms set with glass candle cups, the upper portion decorated with meandering vines with glass leaves. h. 15‑3/4”, w. 11‑1/2”, d. 5”

Provenance: Christie’s, London, March 17, 2015, lot 125; Bruce McCashin Collection.

$1,500‑$2,500

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122 Pair of 18th-Century Handwoven Tapestry Panels allegories of abundance with lush-winged birds and urns overflowing with fruits and foliage, backed in green fabric and bordered in rust velvet, together with two pillows composed of portions of the original larger tapestry, bordered and backed in crimson velvet and with multicolored fringe. panels 90‑1/2” x 18‑3/4” and 88” x 19‑1/2”, respectively; pillows 22” x 22” Provenance: Galerie Jabert-Tapisserie, Village Suisse, Paris, France; Bruce McCashin Collection. $1,800‑$2,500

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123 Charles X Bronze Dore et Patine Clock

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first quarter 19th century, the dial framed with a pair of cornucopia and a crest in the form of a swan’s head and wings, resting on a pair of patinated bronze dolphins, and set with a silk-string suspension movement signed “Jadin a Paris”, on a wooden base. h. 11‑1/2”, w. 7‑1/2”, d. 4‑1/4” Provenance: Bruce McCashin Collection. $1,000‑$1,500

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124 Pair of Continental Bronze and Glass Stands 20th century, in the neoclassical taste, the bronze bases inspired by antique censer stands, with paw feet, the X-form stretcher sides with wreath mounts and the legs with molded leaves, set with thick glass tops. h. 56”, dia. 14‑1/2” Provenance: Bruce McCashin Collection. $1,000‑$1,500 125 Pair of Exceptional Regency Argand Lamps first quarter 19th century, each decorated with a hippocampus-form mount, the fluted rhyton-form tanks with scroll-molded ends and dolphin-form finials, on rectangular bases, now electrified and mounted with shades. h. 28‑1/2”, w. 11‑1/4”, d. 6” Provenance: Bruce McCashin Collection. $1,200‑$1,800

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126 Collection of Four Italian Patinated Bronze Grand Tour Souvenirs fourth quarter 19th century, including a seated figure of Lorenzo de’ Medici, h. 15”, w. 6‑1/4”, d. 6‑1/2”, and a pair of bookends depicting figures of “Dawn” and “Dusk”, h. 5‑1/2”, w. 6”, d. 3‑1/4”, all three pieces after Michelangelo Buonarroti (Italian, 1475‑1564), from the tombs of Lorenzo de’ Medici; together with a figure of the “Rape of the Sabine Women”, after the ancient Roman original, h. 14‑1/2”, w. 7‑3/4”, d. 7‑1/4”. Provenance: Bruce McCashin Collection. $1,000‑$1,500

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127 Italian Patinated Bronze of the “Elder Furietti Centaur” 4th quarter 19th century, after the Roman marble excavated in 1736 at the site of Hadrian’s Villa, Tivoli (itself after a 2nd century BCE Hellenistic bronze) and now conserved at the Musei Capitolini, Roma, a “Fonderia Nelli/Roma” foundry inscription along self-base, now mounted on a mottled mauve and black marble base. h. 16‑3/4”, w. 9”, d. 4‑1/2” Provenance: Bruce McCashin Collection. Literature: Haskell, Francis and Penny, Nicholas. Taste and the Antique - the Lure of Classical Sculpture, New Haven: Yale University Press, 1981, pp. 176‑178. $1,000‑$1,500 128 Pair of Clear “Jeweled” Irish Regency Mirrors first half 19th century, the surrounds with alternating ebonizing and cove molding with incised crosshatching, the ebonized elements decorated with paste “diamonds”. h. 20”, w. 16” Provenance: Philip Colleck, Ltd., New York, New York; Bruce McCashin Collection. 127

$2,000‑$4,000

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129 Florentine Contemporary Steel-Inlaid and Stained Elm Trestle Table bench made by i. Vassalletti, the laser-cut steel-inlaid top in the Impruneta pattern, based on damask by Antico Setificio Fiorentino, on a double pedestal base, each with scroll supports with carved bellflowers and leaves, centered by mirror plates. h. 31‑1/4”, w. 39‑1/2”, l. 97” $7,000‑$10,000 Provenance: Bruce McCashin Collection. Reportedly one of five tables to be crafted by i. Vassalletti. A second edition of this table exists in the collection of Stefano Ricci. Accompanying this table is a signed and numbered 6 of 10 cased copy of the book Francesco Perini Utoppia Di Un Creotore, by Perini. 129 detail

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130 Italian Patinated Bronze and Marble Napoleonic Grand Tour Column fourth quarter 19th century, modeled after Trajan’s Column, a statue of Napoleon on the top, the column with four eagles around the foot, the base with a bronze fence. h. 25‑1/2”, w. 6‑3/4”, d. 6‑3/4” Provenance: Bruce McCashin Collection. $1,500‑$2,500 131 Italian Grand Tour Bronze Head of a Roman Centurion 19th century, after the Antique, the helmet with the distinctive plume and bas-relief scrollwork, flowers and lions. h. 15”, w. 8”, d. 11‑1/2” Provenance: Bruce McCashin Collection. $1,000‑$1,500 132 Collection of Bronze, Marble and Plaster Objets d’Art

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first half 19th century, including a bronze profile of William IV after Sir Francis Chantrey (English, 1781‑1841), in its original rosewood and bronze frame, labeled and dated “1827”, h. 8”, w. 8”; a patinated profile of William IV in a giltwood frame, h. 5”, w. 4‑1/4”; a small bronze bust labeled “William IV”, h. 5‑1/2”, w. 2‑1/4”, d. 2”; a marble roundel depicting Queen Victoria, probably Italian, in a velvet and brass frame, h. 6”, w. 6”; a terracotta “great seal of the realm”, depicting William IV in a giltwood frame, dia. 9‑1/2”; and a collection of plaster and red wax Grand Tour souvenirs in a tiger maple shadowbox frame, h. 11”, w. 8‑1/2”. Provenance: Bruce McCashin Collection. $1,500‑$2,500

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133 Fine Suite of Six Italian Neoclassical Giltwood Armchairs fourth quarter 18th century, Rome, each with a concave back with husk-carved perimeter molding and foliate carving, and centered by a panel of overlapping molded elliptical elements, the open arms terminating in carved rosettes, the seat rail with laurel leaf stems centered by a bloom, the lower edge with carved molding, raised on fluted tapering square legs, each now upholstered in hand-woven Impruneta patterned silk and linen brocade by Antico Setificio Fiorentino. h. 34‑1/4”, w. 23”, d. 19 1/2” Provenance: Sotheby’s, London, UK, Arts of Europe, November 6, 2014, lot 128; Bruce McCashin Collection. Literature: Giacomo Wannenes, Mobili d’Italia L’Ottocento, Milan: Arnoldo Mondadon Ed., 1987, see similar figures 71, 75 and 76. $7,000‑$10,000 This pattern was reportedly the preferred upholstery of Lorenzo de’ Medici in 15th-century Florence.

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134 Directoire-Style Giltwood and Eglomise Barometer third quarter 19th century, French, the foil-backed eglomise dial signed by Brochard fils and mounted in a hexagonal giltwood surround surmounted by a giltwood lyre finial set with a thermometer. h. 33‑1/2”, w. 20” Provenance: Bruce McCashin Collection. $1,200‑$1,800 135 Pair of Neoclassical-Style Polished Brass Floor Lamps 20th century, the fluted standards with Corinthian capitals, and raised on stepped bases with wreath-form mounts and paw feet, mounted with drum-form shades. h. 69”, dia. 17”

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Provenance: Christies’s, London, UK, July 21, 2015, lot 163; Bruce McCashin Collection. $2,000‑$4,000 136 Alexander the Great Gold Stater Macedonian Empire, 336‑323 B.C. Obverse: Helmeted head of Athena, right Reverse: Nike standing left, holding wreath and stylis; [in Greek] “ALEXANDER” presented in an “eyeglass” frame suspended from a wire so that it can revolve within a maroon velvet-lined gilt and glazed shadowbox frame, the reverse with certificate of authenticity from Cardow Jewelers, St. Thomas, Virgin Islands. coin dia. 19 mm; framed 8‑1/4” x 8‑1/4” $1,000‑$1,500

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137 Italian Grand Tour Souvenir of the “Column of Phocas” fourth quarter 19th century, composed of siena and black marble, the stepped base supporting a Corinthian column mounted with a bronze figure of the emperor, after the antique monumental sculpture at the Roman Forum. h. 20‑1/2”, w. 7‑1/2”, d. 7‑1/2” Provenance: Piraneseum, San Francisco, California; Bruce McCashin Collection. $2,000‑$4,000 138 Two Italian Grand Tour Souvenirs fourth quarter 19th century, each composed of siena and black marble, one of the Temple of Castor and Pollux, h. 17‑1/2”, w. 5‑3/4”, d. 5‑3/4”, and the other of the Temple of Vespasian and Titus, h. 17‑1/2”, w. 8‑1/4”, d. 3‑1/4”. Provenance: Piraneseum, San Francisco, California; Bruce McCashin Collection. $5,000‑$8,000 139 Two Musterschutz Pottery Wall Plaques

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pre-1891, German, one plaque with a faux bronze finish, depicting the Trevi Fountain, Rome, marked “Musterschutz” and “JM”, and the other polychrome plaque depicting the Temple of Concordia, marked “JM” on the back. dia. 12‑1/2” and 12‑3/4” Provenance: Freeman’s, Philadelphia, Pennsylvania, May 25, 2017, lot 217A; Bruce McCashin Collection. $800‑$1,200

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140 Pair of Empire-Style Ebonized Pedestals 19th century, each with a circular dished top raised on three circular supports, headed by a gilt goat’s-head capital, joined by a tripartite stretcher and ending in splayed hoof feet. h. 50‑1/2”, dia. 12” Provenance: Lyon & Turnbull Auctioneers, Edinburgh, Scotland, UK, April 20, 2016, lot 216; Bruce McCashin Collection. $1,000‑$1,500 141 Collection of Five 19th-Century Florentine Oval Portraits of Famous Artists all oils on board, including a pair by C. L. Romoli of “Anthony Van Dyck” and “Peter Paul Rubens”, former with a hand-inscribed gallery label and both in matching period giltwood carved and incised frames, each 8‑1/2” x 6‑1/2”, framed 14‑1/2” x 12‑1/2”; together with “Leonardo da Vinci”, “Benvenuto Cellini” and “Michelangelo Buonarroti”, each hand-inscribed en verso and with “The Dumini Gallery” label, each presented in a period giltwood frame with beading and “artist palettes” raised decoration, each panel 8‑1/2” x 7”, framed 12‑1/2” x 27”. Provenance: Bruce McCashin Collection. $1,500‑$2,500

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142 Northern Italian School (17th Century)

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“Female Saint Holding a Book, Possibly St. Catherine” gilt bronze now mounted on a square black marble presentation base. sculpture h. 11”, w. 6‑1/2”, d. 4”; base h. 3‑1/8” Provenance: Purchased in Florence, Italy; Bruce McCashin Collection. $8,000‑$12,000 143 Unusual Inlaid Wood, Brass and Mother-of-Pearl Mirror fourth quarter 19th century, English, the circular mirror inlaid with rosewood roping outlined in brass, inlaid with mother-of-pearl, on an ebonized ground, the outside edge with a molded bronze frame, the back with a presentation tender inscription dated “September 16, 1953”. dia. 17‑3/4” Provenance: Bruce McCashin Collection. $1,000‑$1,500

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144 Specimen Marble, Maltese Granite, Brass and Iron Side Table late 19th century, the circular marble top inlaid with a central Maltese cross and a variety of marble specimens, on a base with steel columns with brass ring capitals and brass undulate feet, the legs joined by curved stretchers. h. 19”, dia. 24” Provenance: Lyon & Turnbull Auction, Edinburgh, Scotland; Bruce McCashin Collection. $1,000‑$1,500

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145 Two Italian Marble Campana-Form Urns with Carpet Boules 19th century, including a portoro urn supporting a white marble sphere inlaid with verte antique, black, siena, and rosso antico marble and mother-of-pearl, h. 16‑3/4”, dia. 7‑1/2”, and a verde alpi marble urn supporting a sphere inlaid with siena, black and verte antique marble and mother-of-pearl, h. 13”, dia. 6‑1/2”. Provenance: Gallori Turchi Antichita , Florence, Italy; Bruce McCashin Collection. $1,500‑$2,500 145

146 Two Italian Marble Stands with Carpet Boules 19th century, including a yellow breccia marble campana-form urn supporting a sphere composed of yellow, black, brown and white marble, h. 14”, dia. 6”, and a shaped black marble stand supporting a sphere composed of black, brown, white and pink marble, h. 7”, dia. 3”. Provenance: Gallori Turchi Antichita, Florence, Italy; Bruce McCashin Collection. $1,500‑$2,500 146

147 Four Italian Marble Campana-Form Urns with Carpet Boules 19th-20th century, including a pair of verde alpi marble urns supporting white marble spheres with brown veins, h. 10‑1/2”, dia. 6‑1/4”, a rosso francia marble urn with a gray- and white-veined marble sphere, h. 10‑3/4”, dia. 5‑1/4”, and a rosso antico marble urn with a granular silver-toned mineral sphere, probably pyrite, h. 11‑3/4”, dia. 5‑1/4”. Provenance: Galleria Romanelli, Florence, Italy; Bruce McCashin Collection. $1,500‑$2,500 147

148 Two 19th-Century British School Pencil Drawings on Paper including a “Campfire Scene”, attributed to William Shayer, Sr. (1787‑1879), unsigned, together with “Country Cottage”, by Edward Williams (1781‑1855), monogramed and dated “May 1820” lower right. Both matted, glazed and framed alike. sights 11‑1/2” x 5‑1/2”; 11” x 8‑1/2”, framed 18‑1/4” x 12‑1/2”; 20” x 17‑1/2”, respectively Provenance: Bruce McCashin Collection. $1,000‑$1,500 149 John “Warwick” “ Smith (British, 1749‑1831)

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“Secluded Cottage by a Rocky Coast” watercolor on paper a "Saxon Fine Art, Bedfordshire" label en verso Matted, glazed and framed. sight 5” x 7‑1/8”, framed 15” x 17” Provenance: Saxon Fine Art, Bedfordshire, England; Dickins Auctioneers, Buckingham, UK, March 10, 2010, lot 145; Bruce McCashin Collection. $1,000‑$1,500 150 John Faulkner, R.H.A. (Irish, 1835‑1894) “Figures by Avoca Bridge, County Wicklow”, 1871 watercolor on paper signed and dated lower left. Frame with artist plaque. sight 26” x 44‑1/4”, framed 30” x 49” 149

Provenance: Bruce McCashin Collection. $1,000‑$1,500

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151 Attributed to William Shayer, Sr. (British, 1787‑1879) “Traveler and Milkmaid on a Country Road” oil on canvas unsigned. Framed. 28” x 36”, framed 33‑1/4” x 41‑1/8” Provenance: Bruce McCashin Collection. $4,000‑$7,000

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152 William Shayer, Sr. (British, 1787‑1879) “The Wayside Inn” oil on canvas Frame with artist plaque. 24” x 36”, framed 29‑3/4” x 41‑5/8” Provenance: Knoedler Gallery, New York, New York, 1924; thence by descent; Bruce McCashin Collection. $4,000‑$7,000 152

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153 George Morland (British, 1763‑1804) “Gypsy Encampment” oil on canvas signed mid-left. Framed. 28” x 36”, framed 35‑1/2” x 43‑1/2” Provenance: Bruce McCashin Collection. $18,000‑$25,000

154 William Shayer, Sr. (British, 1787‑1879) “The Landing Stage” oil on wood panel signed mid-left in post. Framed. 11‑3/4” x 15‑7/8”, framed 20” x 24‑1/2” Provenance: Colonel F. G. Bailey; Christie’s, London, UK, March 10, 1922, lot 73; Christie’s, London, UK, sale of July 7, 2016, lot 97; Bruce McCashin Collection. $3,000‑$5,000 154

155 School of John Martin (British, 1789‑1854) “Northumberland” oil on panel bearing a signature and title en verso. Frame with artist plaque. 14‑1/2” x 19‑1/4”, framed 18‑1/2” x 23‑1/4” Provenance: Bruce McCashin Collection. $3,000‑$5,000

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156 James Ward (British, 1769‑1859) “Scenes from the Country Life” collection of three oils on panel the two smaller examples signed lower left, the larger monogrammed lower left. All framed alike. smaller pair 5” x 6‑1/2”, framed 6‑1/2” x 7‑3/4”; larger 6” x 9”, framed 7‑3/4” x 10‑3/4” Provenance: Rogers Jones & Co., Cardiff, Wales, UK; Bruce McCashin Collection. $1,000‑$1,500 156

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158 Two Reed & Barton Silverplate “Sunny Jim” Pitchers

157 Unusual Good George III Sterling Silver Tea Set hallmarked London, 1786‑1788, by Robert Hennell I, including an oval barrel-form teapot, h. 5‑1/2”, l. 10‑1/4”, a vasiform sugar urn, h. 6‑1/2”, w. 5‑3/4”, and a cream jug, h. 5‑3/8”, w. 5‑1/4”, each decorated with incised “staves” and reeded bands, the teapot with flush-fitted domed lid, conical spout and wood finial and crested handle, the cream and sugar with arched reeded handle(s), gilt interior and pedestal foot above a square plinth base. 33.30 total t. oz. Provenance: J. H. Bourdo-Smith, Ltd., London, UK; Bruce McCashin Collection. $1,800‑$2,500

second and third quarters 20th century, Taunton, Massachusetts, each of circular form and embossed on each side with a smiling face. h. 6‑1/4”, l. 8‑1/2”, w. 6‑1/4” Provenance: Bruce McCashin Collection. $1,500‑$2,500 The precise origins of the “Sunny Jim” pitcher, Reed & Barton’s model 5640, are unknown, but it was clearly inspired by the stoneware pottery jugs of the English company Martin Brothers, which featured detailed, expressive full faces. It was marketed in popular magazines in the 1920s and 1930s, and date marks on some examples show that it was produced well into the 1950s. It was probably in production until around 1980, but even so it remains an uncommon piece. There were at least three slightly variant styles over the years. The earliest featured no flared rim at the handle and had the code “7HP” (presumably seven half pints), and later examples had a flared rim at the handle and the capacity code “4 PT.”; both styles are represented in the present lot. In the third variant, which was probably at the end of its production, the handle arched higher and was attached to the rim only at a small area at outermost area of the scroll.

159 Fine and Rare George II Sterling Silver Tureen hallmarked London, 1752‑1753, by Charles Frederick Kaendler (1712‑1778), of oval form, the body decorated with a side band of applied rose garlands connecting opposing putto masque-crested rococo cartouches, scroll-mounted gadrooned stirrup handles and four stag-masque-crested scroll feet, the fitted, domed lid decorated with a gadrooned band with floral-mantled acanthus scrolls and surmounted by a dramatic scene of a large eagle which has seized the net of a hunter and is seizing the hare and fowl within, with gathered vegetables strewn about, fitted with a silverplate liner and engraved on the cartouches with an armorial with six quarterings, among them Astley, Corbet, Apifer and Gray. h. 9‑3/4”, l. 14”, w. 9‑1/4”; 109.70 t. oz. h. 10”, l. 14”, w. 9‑1/4”; 109.70 total t. oz. (excluding liner) Provenance: Bruce McCashin Collection. Formerly the property of Reginald Basil Astley (1862‑1942) of Weir House, Alresford, Hampshire, as identified on the accompanying 1932 bill of sale from London antiquarian silver dealer Walter H. Willson to Frederick Thomas Bedford (1877‑1963) of Green’s Farms, Westport, Connecticut. Literature: Peter Cameron, “Henry Jernegan, the Kandlers, and the Client Who Changed his Mind”, The Silver Society Journal 8 (Autumn 1996) pp. 487‑501. Arthur G. Grimwade, London Goldsmiths, 1697‑1837: Their Marks and Lives, 3rd ed. (London: Faber & Faber, 1990), p. 567. Beth Carver Wees, English, Irish, & Scottish Silver at the Sterling and Francine Clark Art Institute (Manchester, Vermont: Hudson Hills, 1997), pp. 289‑290. $30,000‑$50,000

The work of silversmith Charles Frederick Kandler has been known for centuries for its fine quality modeling and extravagant rococo detail, but his identity remained a mystery until the late 20th century, when he was discovered to be not one but two men: German brothers Charles and Charles Frederick Kandler. They were born Carl Rudolf Kaendler (baptized March 5, 1695) and Carl Friedrich Kaendler (baptized April 20, 1712) in Fischbach, Saxony, near Dresden, the sons of Lutheran pastor Johann Joachim Kaendler (1655‑1736) and his wife Johanna Salome. The elder brother was apprenticed to Dresden court silversmith Johann Jacob Irminger in 1710. (Around this time, Irminger was commanded by Augustus, King of Saxony to supply designs for the porcelain factory in the royal castle of the Albrechtsburg in Meissen. Ten years later, another Kaendler brother, Johann Joachim Kaendler (1706‑1775), was apprenticed to sculptor and carver Benjamin Thomae (1682‑1781); he would go on to become the most important modeler at Meissen and perhaps in all of 18th-century Europe.) The elder Kaendler, assuming he served a standard sevenyear apprenticeship with customary journeyman period, probably completed his training around 1725, which coincides neatly with the registration of the silver mark of one “Charles Kandler . . . in St. Marten’s Lein” [sic] on August 29, 1727 in London Goldsmith’s Hall. He was in partnership with James Murray, who died two months later, whereupon Kandler registered a mark in his own name. Kandler’s shop created some of the most important and extravagant silver pieces of the era, including the extraordinary 1734 Jernegan Wine Cistern, now conserved in the Hermitage in St. Petersburg and widely considered to be the largest extant piece of antique silver in the world. This piece was one of the elder Kandler’s last, for on September 10, 1735 a new set of marks was entered in Goldsmith’s Hall for “Mr. Charles Frederick Kandler”. This was for many years assumed to be the elder Charles, but it is now known to be the younger Carl Friedrich, who probably traveled to England with and was trained by his brother. As there is no burial record, will or other evidence of the death of Charles the elder, but all records after late 1735 seem to refer to Charles Frederick, it is assumed that Charles returned to Germany, perhaps because of the death of his father around that time. Charles Frederick quickly took on a number of apprentices, and the output of his workshop continued to be of the highest quality, such as the fine floral and figural candelabrum in the Ashmolean Museum (later copied by Paul deLamerie). Charles Frederick Kaendler marked twice, and had but one surviving son, Charles (1737‑1807), who continued the family workshop until his death.

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160 Pair of English Sterling Silver Pheasant Table Garnitures hallmarked London, 1976, by Edward Barnard & Sons Ltd., comprising a cock and hen, realistically posed and detailed. l. 9”; 26.25 total t. oz. Provenance: J. H. Bourdo-Smith, Ltd., London, UK; Bruce McCashin Collection. $3,000-$5,000 160

161 George IV Old Sheffield Plate Tureen first quarter 19th century, of bulbous circular form with robust acanthus-mounted gadrooned handles and rocaille feet, and gadrooned rim quartered by acanthus-mantled shells and palmettes, the domed lid with gadrooned bands and reed-and-acanthus ring handle, lifting to reveal a detachable fitted liner, engraved on the body with the arms of Westenra quartering Cairnes for Baron Rossmore of Monaghan, Ireland. h. 11”, dia. 12‑1/4”, w. 13‑3/4” Provenance: Chiswick, London, July 19, 12016, lot 147; Bruce McCashin Collection. $1,000‑$1,500 162 George III-Style Mahogany Wake Table of Diminutive Scale

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19th century, the top flanked by curved drop leaves supported by fly legs, the straight legs with beaded edges. h. 30‑1/8”, w. 16‑3/4”, l. 80‑3/4”, ext. w. 45” Provenance: Bruce McCashin Collection. $1,200‑$1,800

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163 Pair of George II-Style Giltwood Mirrors second quarter 19th century, English, the mirror plates with scroll- and shell-carved ogee surrounds, the swan’s-neck-form crests with Prince-of-Wales feathers flanking carved masques and the corners with gadrooned scrollwork, on a stippled ground decorated with shallow leaves and flowers. h. 55‑1/4”, w. 23” Provenance: Bruce McCashin Collection. $2,500‑$4,000 164 Pair of Louis XV-Style Giltwood and Mirrored Sconces mid-20th century, probably Italian, the oblong backplates lined with ribbon-bound carved acanthus leaves, with shell-form rocaille-carved crests, pierced and mirror backs, and leaf-carved scrolled candle arms, electrified and mounted with shades. h. 31”, w. 10‑1/2”, d. 11” Provenance: Bruce McCashin Collection. $1,000‑$1,500 165 Large Pair of Chinese Porcelain Vases Converted to Occasional Tables fourth quarter 20th century, each of baluster form with a soft foliate rim, and applied gilt-painted foo dogs and lizards to the neck, the body decorated with a panoramic scene depicting the Hongs of Canton, between key-pattern and foliate borders, the base with an apocryphal six-character Guangxu reign mark, each fitted with a circular glass top. h. 36‑5/8”, dia. 20”

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Provenance: Bruce McCashin Collection. $800‑$1,200

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166 Rare Chinese Canton Famille Rose Porcelain Clock second quarter 19th century, Qing Dynasty, fitted with an English movement signed “James Murray, Royal Exchange, London”, the enameled case decorated with various motifs including flowers, butterflies and scrollwork, the side panels depicting court scenes and the arched top with a Greek-key border, fitted with a brass single train fusee movement and anchor escapement, the dial engraved with Roman numeral chapters. h. 14‑1/2”, w. 11”, d. 6” Provenance: Bruce McCashin Collection. $3,000‑$5,000 Clocks and clockmaking are widely recognized to have been introduced to China by European missionaries in the 16th century; however, it was not until the Qing dynasty, regarded as a golden age for the arts in China, and driven in particular by the fierce interest and intellect of Emperors Kangxi (1662‑1722) and Qianlong (1735‑1795) that clocks and clockmaking became established among the rich fabric of decorative arts in the country. Owning these mechanical wonders quickly became somewhat of a status symbol, and a fascination with them spread rapidly throughout the Imperial court. Through a combination of ostentatious gifts from ambassadors during the 17th-19th centuries, and imported examples, largely sourced from London and Paris, the Imperial collection is estimated to at one time have held over 4,000 clocks, watches and other similar mechanical pieces, all of exquisite quality. The Hall of Clocks and Watches, now a museum within The Forbidden City, currently houses more than 1,500. As the desire for such pieces took hold and spread throughout China, an impressive network of domestic workshops, housed primarily in Suzhou and Guangzhou (formerly Canton), was established. However, the appetite for European movements was undiminished, and demand for these pieces led to some sublime designs, targeting the Chinese craving for the rare and the exceptional. As the Chinese market has matured in recent years, clocks and timepieces have maintained their position as highly collectible and sought after. This beautiful example, combining Chinese Famille Rose porcelain with an English James Murray movement, perfectly encapsulates the artistry of East meets West design.

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167 Pair of Chinese Export Oval Marine Paintings 19th century, each an oil on canvas, unsigned. Presented in seashell-decorated giltwood frames. each 6” x 7‑1/2”, framed 11‑1/2” x 13” Provenance: Lyon & Turnbull, London, UK, January 25, 2017, lot 253; Bruce McCashin Collection. $1,000‑$1,500 168 Attributed to James Mallord William Turner, R.A. (British, 1775‑1851) “Boats - A Study” graphite and wash on paper unsigned, a “Spink/St. James’s/London” inventory label and a “Pitt & Scott, Ltd/London” storage label en verso. Matted, glazed and framed. sheet 4‑1/2” x 6”, framed 13‑5/8” x 15‑1/2” Provenance: Spink & Son, Ltd, London, UK; Clars Auction Gallery, Oakland, California, October 17, 2015, lot 2202; Bruce McCashin Collection. $2,000‑$4,000

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169 Sir Thomas Lawrence, P.R.A. (British, 1769‑1830) “Portrait of Miss Mary Isabelle Bloxham, the Artist’s Niece”, ca. 1825 pencil and chalk on parchment or vellum unsigned. Matted, glazed and framed. sight 8‑3/4” x 6‑3/4”, framed 16” x 14” Provenance: Bloxham family, England; Scott & Fowles, New York, New York; Bruce McCashin Collection. Exhibited: London, Edward Gallery, Exhibition of Sixty Drawings by Sir Thomas Lawrence, P.R.A., April 23, 1913, no. 12. Literature: Patmore, Peter George and Lawrence, Thomas, Sir Thomas Lawrence’s Cabinet of Gems, London: Ackerman & Co., 1837, illus. opposite p. 22; Edward Gallery, Exhibition of Sixty Drawings by Sir Thomas Lawrence, London: Bemrose & Sons, Ltd., 1913, p. 8.; Garlick, Kenneth “A Catalogue of the Paintings, Drawings, and Pastels of Sir Thomas Lawrence”, The Thirty-Ninth Volume of the Walpole Society, Glasgow: University Press, 1964, p. 216 no. 2.; “Lawrence Drawings Sold” The New York Times, August 2, 1913. Together with a copy of the exhibition catalogue from 1913. $2,000‑$4,000 The sitter of this fine drawing was the daughter of Thomas Lawrence’s beloved sister, Anne. Anne and her husband, the Reverend Richard Bloxam, had ten children, all of whom were sketched by Lawrence numerous times over the years. These very personal and intimate sketches were gathered into a small book Thomas Lawrence’s Cabinet of Gems, where they were delicately rendered in stipple and soft ground etching by Frederick Christian Lewis in 1837. This book, and its etchings, proved immensely popular, and the print of the drawing offered here can be found in such collections as the British Museum.

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170 Attributed to John Opie (British, 1761‑1807) “Portrait of a Lady, by Repute Mrs. John White” oil on canvas with “Arnold Wiggins & Sons/London” and “Scott & Fowler/New York” labels and a handwritten expository note en verso. Framed. 29‑1/2” x 24‑1/2”, framed 37‑5/8” x 32‑1/2” Provenance: Mr. George White, Esq., Ashley House, Epsom, Surrey, UK; Arnold Wiggins & Sons Ltd., London, UK; Scott & Fowler, New York, New York; Knoedler Galleries, New York, New York, ca. 1923; Bruce McCashin Collection. $6,000‑$9,000 171 Pair of Mahogany Armchairs one period Regency, ca. 1800, the other a later benchmade copy, each with a delicate reeded scroll pateracarved top rail, the shaped curved, closed arms on segmented spherical and paneled supports, with reeded front and outswept rear legs ending in brass cup casters, the back, arms and seat caned, together with seat cushions upholstered in Impruneta silk and linen brocade by Antico Setificio Fiorentino. h. 37”

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Provenance: Sotheby’s, London, UK, October 28, 2014, lot 124; Bruce McCashin Collection. $1,800‑$2,500

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172 Pair of Chinoiserie Polychrome Bedside Commodes 19th century and later, each with a canted rectangular top above a conforming case fitted with a frieze drawer over three recessed drawers, raised on bracket feet, the whole richly decorated in gilt and polychrome chinoiserie patterns. h. 30”, w. 16”, d. 17” Provenance: Bruce McCashin Collection. $2,000‑$4,000 173 William IV Mahogany Child’s High Chair mid-19th century, the curved and downswept crest and sides around a caned back and seat, raised on turned bulbous legs with a footrest, attached and raised on a square base to splayed tapering square legs ending in casters. h. 37”, w. 16”, d. 16”

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Provenance: Bruce McCashin Collection. $1,000‑$1,500 174 Jacques Gamelin (French, 1738‑1803) “Inconsolable Boy” and “A Confidante” pair of tondo oils on panel former signed and dated “1780” mid-right, each inscribed with artist’s name and dates en verso. Framed alike. each dia. 8‑1/4”, framed dia. 10” Provenance: Bruce McCashin Collection. $1,000‑$1,500

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175 Pair of English Regency Revival Giltwood Convex Mirrors fourth quarter 19th century, each with a covemolded surround lined with ribbon-bound reeding on the outside and laurel leaves on the inside, and set with ebonized spherules and a reeded liner. dia. 22‑1/2” Provenance: Miles Griffiths Antiques, Ltd., North Yorkshire, UK; Bruce McCashin Collection. $1,500‑$2,500 176 William IV Rosewood Collector’s Cabinet

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second quarter 19th century, the rectangular top with projecting ends, above a conforming case fitted with a single frieze drawer over two grilled cupboard doors opening to two banks of nine graduated drawers, flanked to either side by an engaged foliate-headed upright, raised on a plinth base. h. 41‑1/2”, w. 42‑1/2”, d. 20” Provenance: Christie’s, London, UK, March 17, 2015, lot 319; Bruce McCashin Collection. $2,000‑$4,000 177 Pair of Louis XIV-Style Gilt-Bronze Sconces third quarter 19th century, with exceptional satyr-masque backplates, the scrolled candle arms and drip pans decorated with carefully molded leaves on a stippled ground, now electrified. h. 15”, w. 9”, d. 9‑1/2”

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Provenance: Bruce McCashin Collection. $1,200‑$1,800

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178 Pair of Brass Dolphin-Form Andirons and a Fan-Form Firescreen ca. 1886‑1900, the andirons made by Bradley and Hubbard, Meriden, Connecticut, and marked “B&H, patent 9512”, h. 17”, w. 8‑1/2”, d. 19”, together with a 19th century Irish fanform firescreen decorated with a lion’s-head masque, h. 13”, w. 22‑1/2”. Provenance: Bruce McCashin Collection. $1,500‑$2,500

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179 Late Regency Mahogany Daybed second quarter 19th century, the long padded top flanked to either end by a padded and scrolling armrest, hinged and opening to a storage space, raised on an ogee-molded plinth base, upholstered in velvet and Impruneta silk and linen brocade by Antico Setificio Fiorentino. h. 28”, w. 31”, l. 74” Provenance: Duke’s Auctioneers, Dorset, UK, February 18, 2016, lot 202; Bruce McCashin Collection. $1,800‑$2,500 180 Associated Pair of Large Japanese Imari Porcelain Chargers first half 20th century, each decorated with hexagonal and floral panels containing children playing in a garden setting and a basket of auspicious objects beside the sea, all within dense floral and foliate borders, the reverse with a continuous blossoming vine design. dia. 22” and 22‑1/2”

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Provenance: Bruce McCashin Collection. $1,000‑$1,500

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181 Regency Rosewood Drum Table first quarter 19th century, the banded circular top with an inset gilttooled leather surface, above a conforming case fitted with four drawers and four faux drawers, raised on a graduated paneled support to a concave tripartite base on carved feet and casters. h. 29”, dia. 25‑1/2” Provenance: Bruce McCashin Collection. $1,000‑$1,500 182 Twelve Neoclassical Pressed Brass Tie-Backs second quarter 19th century, English, the collection including eight acanthus-molded tie-backs, dia. 3‑1/2”, a pair of matching tiebacks, dia. 4‑1/4”, and a pair of scroll-molded tie-backs, dia. 4‑1/4”. Provenance: Bruce McCashin Collection. $800‑$1,200 183 Pair of Louis-Philippe Rosewood Mantel Garnitures second quarter 19th century, marquetry-inlaid with roses on the facade and an inlaid medallion in the center of the urn. h. 10‑1/4”, dia. 5‑1/2”

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Provenance: Bruce McCashin Collection. $1,000‑$1,500 184 Pair of Louis-Philippe Rosewood and String-Inlaid Mantel Garnitures second quarter 19th century, each with an inlaid medallion in the urn. h. 10”, dia. 5‑3/4” Provenance: Bruce McCashin Collection. 182

$1,000‑$1,500

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185 Pair of Regency Mahogany Stools first quarter 19th century, in the manner of Gillows, Lancaster, each with a padded square top raised on ribbed tapering circular legs, headed by a turned capital and ending in toupie feet. h. 20‑1/2”, w. 14‑1/2”, d. 14‑1/2” Provenance: Sotheby’s, London, UK, “The Arts of Europe”, November 6, 2014, lot 272; Bruce McCashin Collection. $1,000‑$1,500 185

186 Pair of Handsome French Gilt-Bronze and Marble Figural Gilded Age Lamps 19th century, the Empire-style lamps with bases decorated with bas-relief mounts of classical figures framed with delicate engine turning, the standards with figures of The Three Graces standing on verde antique marble bases, mounted with shades. h. 28‑1/4”, dia. 12” Provenance: Village Suisse, Paris; Bruce McCashin Collection. $1,500‑$2,500 187 Four-Piece Collection of Fenton Prattware Pottery Dessert Dishes mid-19th century, English, transfer-decorated with polychrome scenes after major English artists and with oak leaf and acorn borders, including a pair of kylix-form oval dessert dishes, w. 12‑1/2”, d. 8‑3/4”, and a pair of plates, dia. 9‑1/2”, each marked with the name of artwork and artist, three pieces marked “Pratt, Fenton”. Provenance: Bruce McCashin Collection. $800‑$1,200

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188 Diminutive Regency Rosewood Credenza first quarter 19th century, the narrow rectangular top above a conforming case fitted with a plain frieze over two grilled panel doors with fabric backing, raised on turned legs ending in peg feet. h. 32”, w. 37”, d. 9‑1/4” Provenance: Bruce McCashin Collection. $1,000‑$1,500 189 Rare Regency Mahogany Metamorphic Library Armchair early 19th century, of the Morgan & Sanders patent type, with a concave top rail over a reeded splat, the reeded scroll arms joined to a caned seat raised on molded saber legs and retaining a rare detachable hand-hold with iron mounts, folding to form a four-step stool, now with a loose seat cushion in Impruneta silk and linen brocade by Antico Setificio Fiorentino. h. 57”, w. 21”, d. 23”

188

Provenance: Gildings Auctioneers, Leicestershire, UK, November 24, 2015, lot 537; Bruce McCashin Collection. Literature: Morgan & Sanders published the present design in July 1811 in Ackermann’s Repository of Arts. It is reportedly the first advertisement for a piece of English “patent” furniture. $2,500‑$4,000

189

189 detail

190 Pair of Regency Mahogany Kettle Stands first quarter 19th century, in the manner of Gillows, Lancaster, each with a square top with a full shaped gallery, raised on stop-fluted slender, tapering legs ending in brass caps and casters. h. 27”, w. 11‑1/4”, d. 11‑1/4” Provenance: Adam’s Auctioneers, Dublin, Ireland, October 11, 2016, lot 171; Bruce McCashin Collection. $2,000‑$4,000 191 Unusual Pair of Chinese Export-Style Hong Vases 20th century, now mounted as lamps, decorated with scenes of the Hongs of Canton, and set with handles of pomegranates and blossoming flowers, on hardwood stands, mounted with shades. h. 26‑1/2”, dia. 16”

191

Provenance: Bruce McCashin Collection. $1,000‑$1,500 192 Set of Four Bronze and Jade Sconces second quarter 20th century, possibly E. F. Caldwell, composed of gilt bronze decorated with green enamel, the backplates set with pierced jade medallions, the drip pans and candle cups of Chinese inspiration. h. 16‑1/4”, w. 10”, d. 4‑1/4” Provenance: Bruce McCashin Collection. $1,000‑$1,500

190

192 192 detail

193

193 Pair of George III-Style Scagliola and Polychrome Demilune Tables ca. 1900, in the manner of Robert Adam, each with a white scagliola top with black fan and lunette decor, over a fluted frieze centered by a carved urn, and a floral rosette above fluted legs with spade feet. h. 30”, w. 32”, d. 14‑1/2” Provenance: Garner’s Fine Art, Antiques & Interiors, Uppingham, UK; Bruce McCashin Collection.

193 detail

$2,500‑$4,000 194 Pair of Miniature Giltwood Girandole Mirrors fourth quarter 19th century, probably English, in the Regency taste, each with a cove-molded surround set with gilt spherules and a reeded liner. dia. 12‑1/4” Provenance: Bruce McCashin Collection. $800‑$1,200

194

195 Regency Figured and Burled Elm Writing/Games Table first quarter 19th century, the banded rectangular top hinged and opening to an adjustable hinged back, with removable book support, the top removing to reveal a sunken inlaid backgammon board, above a slide-out inlaid chess board, slotting into the top, each end fitted with a hinged demi-lune compartment, one opening to an open interior, the other to a pen tray and two compartments, joined to a stepped lower shelf by scrolling supports, the whole raised on splayed legs ending in brass caps on casters. h. 29”, w. 29”, d. 19” Provenance: Bruce McCashin Collection. 195

$2,000‑$4,000

195 detail

196 Pair of Regency Polychrome and Parcel-Gilt Benches first quarter 19th century, in the manner of Thomas Hope, each stool with a low back with scroll ends, the concave seat on a creme-peinte curule base, the legs joined by turned stretchers, now upholstered in cranberry and gold Uccellini silk damask by Antico Setificio Fiorentino h. 25‑1/2”, w. 22”, d. 17” Provenance: Dreweatts, Donnington Priory, Newbury, UK, June 16, 2015, lot 52; W. J. Cook & Sons, Hungerford, UK; Bruce McCashin Collection. $1,200‑$1,800

196

197 Pair of Regency Polychrome and Parcel-Gilt Benches first quarter 19th century, in the manner of Thomas Hope, each stool with a low back with scroll ends, the concave seat on a creme-peinte curule base, the legs joined by turned stretchers, now upholstered in cranberry and gold Uccellinie silk damask from Antico Setificio Fiorentino . h. 25‑1/2”, w. 22”, d. 17” Provenance: Dreweatts, Donnington Priory, Newbury, UK, June 16, 2015, lot 52; W. J. Cook & Sons, Hungerford, UK; Bruce McCashin Collection. $1,500‑$2,500

197

198 Late Regency Rosewood and Giltwood Commode ca. 1825, probably Irish, the rectilinear rosewood top over a foliate- and scrollcarved apron, raised on scroll-caved legs on paw feet. h. 30‑3/4”, w. 29‑1/2”, d. 14” Provenance: Sheppard’s Irish Auction House, Durrow, County Laois, Ireland, October 20, 2015, lot 460; Bruce McCashin Collection. $1,800‑$2,500

198

199 Unusual Large English Regency Giltwood and Ebonized Mirror first quarter 19th century, the octagonal frame set with spherules, with a carved eagle finial set on a plinth rising from a shell and flanked by carved dolphins, the lower portion with a central star decorated with a carved water leaf drop, flanked by bold carved leaves set with thistles, now set with a beveled mirror plate. h. 58‑1/2”, w. 29” Provenance: Northeast Auctions, Portsmouth, New Hampshire, March 22, 2015, lot 116; Bruce McCashin Collection. $7,000‑$10,000

199

200 Late Regency Channel Islands Crotch Mahogany Chest second quarter 19th century, the rectangular top above a conforming case fitted with four graduated long drawers, raised above a shaped apron on large bulbous feet. h. 39”, w. 41‑1/2”, d. 16‑1/2” Provenance: Sotheby’s, London, UK; Bruce McCashin Collection. $1,000‑$1,500

200

201 Pair of Regency Mahogany Armchairs first quarter 19th century, each with a cushioned caned back, joined by caned sides to the like cushioned seat, raised on turned tapering circular legs ending in brass caps and casters. h. 36‑1/4” Provenance: Bruce McCashin Collection. $1,500‑$2,500 202 Pair of Late Regency Rosewood and Mahogany Occasional Tables first quarter 19th century, each with a satinwood banded and elongated octagonal top, raised on a ring-turned and ribbed standard to a concave tripartite base on scrolled toes. h. 29‑1/2”, w. 17‑1/2”, d. 13‑1/2”

201

Provenance: John Nicholson, Surrey, UK, December 12, 2014, lot 1523; Bruce McCashin Collection. $1,000‑$1,500 203 William IV Mahogany Cellarette second quarter 19th century, the stepped rectangular top with a gadrooned edge, and hinged and opening to a compartmented interior, the case fitted with a single drawer, raised on ring-turned tapering circular legs ending in brass caps and casters. h. 31”, w. 29”, d. 19‑1/4” Provenance: Bruce McCashin Collection. $1,200‑$1,800 204 Pair of Paris Porcelain Cachepots

202

second quarter 19th century, decorated with polychrome flowers in giltoutlined scrolled panels on a mazarine blue ground with gilt flowers and vines, with gilt foo dog head handles, retaining the original underplates. h. 7‑1/2”, dia. 8‑1/2” Provenance: Bruce McCashin Collection. $800‑$1,200

203 204

205 detail

205 Louis XVI-Style Mahogany and Parquetry Serving Table late 19th century, the banded rectangular top with a full low gallery and parquetry panel, joined to a like lower shelf by tapering brass line-inlaid supports ending in brass caps and casters, each side with an expandable projecting shelf, all with like parquetry panels. h. 29”, w. 25‑1/2”, d. 17‑1/2”

205

Provenance: Bruce McCashin Collection. $1,000‑$1,500 206 William IV-Style Mahogany Bench the cushioned caned rectangular top above a conforming reeded frieze, raised on ribbed tapering circular legs ending in brass caps and casters. h. 19‑1/2”, w. 48‑1/2”, d. 28” Provenance: Bruce McCashin Collection. $1,000‑$1,500

206

206 detail

207

207 Regency Mahogany Bench

208 Regency Mahogany Davenport

first quarter 19th century, in the manner of Gillows, Lancaster, of large proportions, the long, rounded rectangular seat raised on turned and ribbed tapering circular legs ending in toupie feet. h. 17”, w. 77‑1/2”, d. 17‑1/2”

second quarter 19th century, in the manner of Gillows, Lancaster, the top with a three-quarter brass gallery above a slanted, hinged leather-inset writing surface, opening to two small drawers and two faux drawers, each side fitted with a pull-out slide, one side fitted with a pull-out compartmented drawer, hinged to fit flush with the side, all over a pull-out storage well, raised on turned, ribbed tapering circular legs ending in brass caps and casters. h. 34‑1/2”, w. 19‑1/2”, d. 21‑1/2”

Provenance: Bruce McCashin Collection. $2,000‑$4,000

Provenance: Bruce McCashin Collection. $1,500‑$2,500

208 detail

208

209 detail

209

209 Pair of Regency Mahogany Tub Chairs first quarter 19th century, attributed to Gillows, Lancaster, each with an arched caned back and surmounted by a backswept crest, joined by downswept sides to the cushioned caned seat, raised on ribbed tapering circular legs ending in brass caps and casters, upholstered in Impruneta silk and linen brocade by Antico Setificio Fiorentino. h. 36‑1/4”

210 Edward Algernon Stuart Douglas (British, 1848‑1918) “The Fox Hunt”, 1906 pair of oils on canvas signed and dated lower right. In matching frames with artist plaques. each 24” x 12”, framed 28” x 16”

Provenance: Sotheby’s, London, UK, November 6, 2014, lot 268; Bruce McCashin Collection.

Provenance: Cadogan Gallery, London, UK, 1980s; Bruce McCashin Collection.

$2,500‑$4,000

$5,000‑$8,000

210

211

211 Attributed to John Leech (British, 1817‑1864)

212 Good Regency Mahogany Tray

“Don’t Move There! We Shall Clear You!” and “Old ‘Ard There! Old ‘Ard! Where are You a Gallopin to! Do You Think You can Catch a Fox!” pair of watercolors on paper unsigned, each with a title en verso and a printed label with an artist name. Matted, glazed and framed alike. each sight 4” x 8‑1/4”, framed 9‑1/2” x 12” Provenance: Bruce McCashin Collection.

first quarter 19th century, of oval form, the tray of exotic tigerstriped mahogany with intricate multi-layered banding and raised gallery, surrounding an inlaid oval panel depicting a patridge shooting scene with three hunters and two hounds, after George Morland (British, 1763‑1804), each end with a brass handle, raised on a bench-made stand crafted by William Cook Antiques, UK, with tapering square legs ending in spade feet. h. 20”, w. 31”, d. 21‑1/2” Provenance: Bruce McCashin Collection. $2,500‑$4,000

$1,000‑$1,500

212 212 detail

213 Continental Patinated Bronze of a Fox 20th century, the figure modeled on the alert with partially raised tail and tilted head. h. 9‑1/2”, w. 12”, l. 26” Provenance: Bruce McCashin Collection. $1,000‑$1,500

213

214 John Alfred Wheeler (British, 1852‑1932) “Snarling Fox” oil on canvas monogramed lower right. Framed. 10” x 12”, framed 16‑1/4” x 18” Provenance: Bruce McCashin Collection. $1,500‑$2,500

214

215 Circle of Sir Edwin Henry Landseer, R.A. (British, 1802‑1873) “Fox - Study” watercolor on paper unsigned. Glazed and framed. sight 4‑5/8” x 6‑1/4”, framed 9‑3/4” x 11‑1/4” Provenance: McTear’s Auctioneers, Glasgow, Scotland, UK, November 17, 2017, lot 1277; Bruce McCashin Collection. $1,000‑$1,500

215

216

216 John Frederick Herring, Sr. (British, 1795‑1865)

217 Jean Victor Adam (French, 1801‑1866)

“Family of Waterfowl”

“Cattle in a Landscape” and “Two Horses and a Dog in the Barnyard”

oil on canvas signed lower left. Framed. 15‑1/2” x 20‑1/4”, framed 23‑1/4” x 28”

pair of oils on academy board each signed lower left. Matching giltwood frames. each 4” x 5”, framed 7” x 7‑1/2”

Provenance: Clars Auction Gallery, Oakland, California, April 17, 2016, lot 2223; Bruce McCashin Collection.

Provenance: Thomaston Place Auction Galleries, Thomaston, Maine, July 25‑26, 2017, lot 597; Bruce McCashin Collection.

$4,000‑$7,000

$1,500‑$2,500

217

218 Pair of Regency Gilt-Bronze and Marble Figural Candelabra second quarter 19th century, each with a carefully detailed tree mounted with a pair of leaf-molded candle sockets and drip pans, and a horse trampling a serpent wrapped around the tree. h. 12”, w. 11‑3/4”, d. 4‑1/4” Provenance: Lyon & Turnbull Auctioneers, Edinburgh, Scotland, UK, April 20, 2016, lot 250; Bruce McCashin Collection. $1,500‑$2,500

218

219 James Ward (British, 1769‑1859) “Mare and Foal” oil on cradled wood panel Frame with artist plaque. 18‑3/4” x 21‑3/4”, framed 25‑3/4” x 30” Provenance: Bruce McCashin Collection. $1,000‑$1,500

219

220 John Frederick Herring, Jr. (British, 1815‑1907) “Farmyard with Three Horses” oil on canvas signed mid-right. Frame with artist plaque. 12” x 17‑3/4”, framed 17‑5/8” x 23‑1/2” Provenance: Estate of Timothy A. Chisholm, Toronto, Ontario; Waddington’s, Toronto, Ontario, December 8, 2009, lot 73; Bruce McCashin Collection. $3,000‑$5,000 220

221 Two 19th-Century British School Graphite Sketches on Paper including “Study of Horse’s Head” by John Frederick Herring, Sr. (1795‑1865), signed and dated “1852”, together with “Study of Elk and Deer” by Henry Alken (1744‑1850), unsigned. Both matted, glazed and framed. sights 10‑1/2” x 7”; 9” x 7‑1/2”, respectively, framed 18” x 14‑1/2”; 16‑1/2” x 14‑1/2”, respectively Provenance: Bruce McCashin Collection. $1,000‑$1,500 221

222 John Frederick Herring, Jr. (British, 1815‑1907) “Pulling the Log” and “At Rest” pair of watercolors on paper each signed. Glazed and framed alike. each sight 9‑3/4” x 13‑1/2”, framed 11‑1/4” x 15‑1/4” Provenance: Morgan Evans & Co., Anglesey, UK, October 26, 2017, lots 560 and 561; Bruce McCashin Collection. $2,000‑$4,000 222

223 William and James Charles Ward (British, 19th Century) “Speckled Cock and Hen”, 1852 “Silver Spangled Cock and Hen”, 1855 pair of oils on canvas each signed and dated lower right. Framed. each 8‑1/2” x 11”, framed 11” x 14‑1/2” Provenance: Stonebeck House, Bath, UK; Sworders Fine Art Auctioneers, London, UK, March 1, 2016, lot 304; Bruce McCashin Collection. $1,000‑$1,500

223

224 Rosa Bonheur (French, 1822‑1899) “Esquisses de Lapins, de Chou et de Carrots” oil on wood panel signed upper mid-center. Framed. 9‑7/8” x 5”, framed 12‑3/4” x 8‑1/4” Provenance: Hotel des ventes Legros, Verviers, Belgium, September 21, 2017, lot 372; Bruce McCashin Collection. $1,500‑$2,500

224

225 John Emms (British, 1843‑1912) “Simplicity”, 1873 oil on canvas signed and dated lower left, verso with a hand-inscribed label with title of work and artist name. Framed. 14‑1/4” x 12”, framed 17‑1/2” x 15‑1/2” Provenance: McTear’s Auctioneers, Glasgow, Scotland, UK, July 29, 2018, lot 451; Bruce McCashin Collection. $2,000‑$4,000

225

226 Rosa Bonheur (French, 1822‑1899) “Esquisse de Tete de Vache”, 1894 oil on wood panel signed and inscribed “nace du Cantal” lower left. Frame with artist plaque. 11‑1/4” x 9‑1/4”, framed 18‑3/4” x 17” Provenance: Dallas Auction Galleries, Dallas, Texas, May 25, 2011, lot 103; Bruce McCashin Collection. $2,000‑$4,000 226

227

227 Rosa Bonheur (French, 1822‑1899) “Charrette aux Chevaux”, 1866 ink and graphite on paper pencil-signed and dated lower right. Matted, glazed and framed. sight 5‑5/8” x 13”, framed 9‑5/8” x 17‑1/8” Provenance: Richmond Art Collection deaccession; Bruce McCashin Collection. $1,000‑$1,500

228

228 Two French Patinated Bronzes first quarter 20th century, including “Mouton”, after Isidore Bonheur (French, 1827‑1901), cast signature along edge of self-base, and “Mouton Broutant”, after Rosa Bonheur (French, 1822‑1899), cast signature along edge of self-base. former h. 7‑3/8”, w. 10”, d. 4”, latter h. 4‑3/8”, w. 8”, d. 3‑5/8” Provenance: Bruce McCashin Collection. $1,000‑$1,500 229 Attributed to Rosa Bonheur (French, 1822‑1899) “Shepherdess and Her Flock” oil on wood panel signed lower left and indistinctly inscribed/localized lower right. Framed. 7‑3/4” x 6”, framed 13‑1/2” x 11‑1/4” Provenance: Bruce McCashin Collection. $2,000‑$4,000 229

230 Victorian Silverplate Centerpiece third quarter 19th century, by James Dixon & Sons, Sheffield, in the form of four palm trees on a lush rocky mound, the central tree surmounted by a palm leaf vase, the three surrounding trees with palm fronds scrolling to end in three glass baskets and pendant date clusters, the base with a lozenge-shaped cartouche engraved with a crest: “upon a log, an eagle or rising, charged on the breast and each with a fleur-de-lis”. h. 26”, w. 19‑1/2”, base w. 14” Provenance: Bruce McCashin Collection. $1,200‑$1,800 231 Collection of Federico Buccellati and Other Italian Sterling Silver Fruit fourth quarter 20th century, Milan, including, by Del Vallino for Federico Buccellati, a fig, a pear, an apple, a lemon a mandarin orange, a raspberry cluster, an artichoke, and a carambola, together with a Mabuti for Buccellati grape basket box, and an unmarked small pumpkin box with English import marks for 1974, presented with the original box for the Federico Buccellati items. 10 plus box dia. 2” to 6‑1/2”; box 10” x 12” x 12”; 53.82 total t. oz.

230

Provenance: Bruce McCashin Collection. $7,000‑$10,000

231 detail

231

232 Late Victorian Sterling Silver Punch Bowl hallmarked London, 1898‑1899, by Sibray, Hall & Co. (Job Frank Hall), of hemispherical form with spiral gadrooned calyx and wavy foliate-peaked band, raised on a domed foot ring en suite. h. 7”, dia. 11”; 40.92 t. oz. Provenance: Bruce McCashin Collection. $1,000‑$1,500 233 American Aesthetic Period Sterling Silver Bread Basket

232

1886, by Dominick & Haff, New York, New York, retailed by J. E. Caldwell & Co., Philadelphia, Pennsylvania, of rounded rectangular form with upswept ends and beaded rim, decorated with pierced and reticulated fans and ovolo banding. h. 3‑3/4”, l. 12”, w. 9‑3/8”; 22.97 t. oz. Provenance: Freeman’s, Philadelphia, Pennsylvania, Sale 1618, November 28, 2018, lot 283; Bruce McCashin Collection. 233

$800‑$1,200 234 Old Sheffield Plate Wine Cooler first quarter 19th century, of gadrooned campana form with “vintage” rim, acanthus calyx and Bacchic masque-mounted handles, raised on a gadrooned pedestal of tapering square section, above a plinth base with four scroll, flower and acanthus-crested lion’s paw feet. h. 16‑1/2”, dia. 9‑1/2” Provenance: Bruce McCashin Collection. $1,000‑$1,500

235 detail 234

235 Early Victorian Sterling Silver Salver hallmarked London, 1845‑1846, by Edward, Edward Jr., John & William Barnard, of circular form with elaborate “Chippendale” rim accented with acanthus leaves and raised on four Spanish scroll feet, the plateau engraved and chased with a broad floral scroll band centering the arms of Griffiths. h. 1‑3/4”, dia. 20”; 82.95 t. oz. Provenance: Bruce McCashin Collection. $2,000‑$4,000

235

236 Northumbrian Regency Sterling Silver Salver hallmarked Newcastle, 1811‑1812, by John Robertson II & John Walton, of rounded rectangular form, with gadrooned rim decorated with shell-and-scroll motifs on the corners and sides, raised on four fluted triangular feet, the plateau with a pricked “vintage” scroll band and engraved with an armorial. h. 1‑1/2”, l. 16”, w. 12‑1/2”; 52.64 t. oz. Provenance: Bruce McCashin Collection. $2,000‑$4,000 237 Hermes “Attelage” Stainless Steel Flatware Set contemporary, Paris, including eight seven-piece place settings and six serving pieces, no monograms, presented in the original Hermes orange and chestnut boxes and twill pouches. 62 pieces

236

Detailed list of pieces available on request. Provenance: Bruce McCashin Collection. $5,000‑$8,000 Hermes’ “Attelage” design recalls the company’s origin as luxury saddlers and tack makers, with its handle in the form of a harness buckle hook used in tandem carriage-driving.

236 details

237 details

237

238

238 Pair of William IV Gillow Mahogany Bedside Cupboards second quarter 19th century, each with a hinged upper section, above the hinged pot cupboard, the sides each with a pierced handle, raised on tapering ribbed legs ending in brass caps and casters, the inside front rail of one example stamped “Gillow”. h. 29‑3/4”, w. 22”, d. 20”

239

Provenance: Sotheby’s, London, UK, Arts of Europe, November 6, 2014, lot 273; Bruce McCashin Collection. $2,500‑$4,000 239 Pair of English Flint Enamel Stoneware Lions mid-19th century, possibly Rockingham, of Medici form, treacle glazed and on molded bases. h. 8‑3/4”, w. 10‑3/4”, d. 4‑1/2” Provenance: Bruce McCashin Collection. $800‑$1,200 240 American Federal Mahogany Washstand in the Sheraton Taste first quarter 19th century, the shaped backpiece and sides above a bowed top, now inset with a functioning faucet and French provincial dough bowl wash basin, above a conforming frieze fitted with a small drawer to either end, over a skirted shelf with a single drawer below, raised on bulbous turned legs ending in ball feet. h. 38‑1/4”, w. 19‑1/4”, d. 15‑1/4” Provenance: Skinner Auctioneers and Appraisers, Boston; Bruce McCashin Collection. $1,000‑$1,500

240

241 Pair of William IV Mahogany Side Tables second quarter 19th century, possibly Irish or Scottish, each with a rounded rectangular top with gadrooned edge, above a conforming annulated frieze, raised on foliate-carved C-scroll legs joined by a shaped stretcher shelf and ending in paw feet on casters. h. 30‑1/2”, w. 52”, d. 20‑1/2” 242

Provenance: Dreweatts, Donnington Priory, Newbury, UK, October 13, 2015, lot 339; Bruce McCashin Collection. $2,500‑$4,000 242 Set of Three Rare Continental Porcelain Wine Bottle Holders ca. 1800, the set comprised of a seau a liqueur with its original interior strainer, and a pair of bottle stands, each with unusual upper decoration of bas-relief scrollwork on an olive green ground and leaf-molded handles, the center portions decorated with panels of flowers and birds on an aubergine ground, the bases with aubergine marbleizing. h. 8” to 9‑1/2”, w. 8” to 11‑1/2”, d. 5” to 5‑1/2”

242A details

Provenance: Bruce McCashin Collection. $1,800‑$2,500 242A Pair of Early Victorian Rosewood Low Occasional Tables third quarter 19th century, each with a scalloped circular top featuring a gilt and polychrome tropical avian scene, raised on a baluster-form standard to a tiered circular ribbed base on scrolled toes. h. 22‑1/2”, dia. 15” Provenance: Bruce McCashin Collection. $1,000‑$1,500

242A

241

243

245 244

243 Circle of Tobias Stranover (Romanian, ca. 1684‑1756) “Mrs. Churchill’s Bullfinch” oil on wood panel Sotheby’s inventory label and old handwritten note (dated 1942) en verso. Framed. 7‑1/4” x 5‑1/4”, framed 11‑1/2” x 9‑1/2” Provenance: Gift of Sir George L. Gower to Mrs. Winston Spencer Churchill, London, England; Sotheby’s, London, “Daughter of History: Mary Soames and the Legacy of Churchill”, December 17, 2014, lot 218; Bruce McCashin Collection. $4,000‑$7,000 This delightful gem of a painting was presented to Lady Churchill in commemoration of the Prime Minister’s visit to Egypt in 1942.

244 Unusual Continental Grape-Carved Giltwood Mirror second half 19th century, the bold, pierced frame depicting a section of grape arbor carefully carved with vines, leaves, bunches of grapes and parrots. h. 45”, w. 25‑1/2”, d. 4‑3/4” Provenance: Bruce McCashin Collection. $5,000‑$8,000 245 Rare Victorian Oak Lazy Susan fourth quarter 19th century, English, the top with a carved border of oak leaves and acorns, with a faceted skirt carved with flowerheads and leaves, the stationary base set on carved paw feet. h. 4”, dia. 23” Provenance: Bruce McCashin Collection. $800‑$1,200

246 Pair of Very Large Chinese Famille Noir Porcelain Floor Vases second half 20th century, each of baluster form with flared lip, decorated with phoenix and cranes amid blossoming foliage, having applied pomegranate branch handles. h. 54‑3/4”, dia. 20” Provenance: Bruce McCashin Collection.

247 details

$1,500‑$2,500 247 Pair of William IV Rosewood Occasional Tables second quarter 19th century, each with an ebonized scalloped circular top, featuring a polychrome floral spray, above a gilt foliate and spiral-ribbed standard to a concave tripartite base with inlaid brass accents and an annulated edge, raised on ribbed ball feet. h. 26‑1/4”, dia. 15‑1/2” Provenance: Bruce McCashin Collection. $1,000‑$1,500 248 George III-Style Satinwood and Mahogany Dumbwaiter late 19th century, with two circular tiers, each with a finely figured full arched gilt-lacquered brass gallery, supported by turned brass supports, raised on a graduated ribbed standard to three splayed ribbed legs ending in brass caps on casters. h. 42”, dia. 24”

247

Provenance: George Subkoff Antiques, Westport, Connecticut; Bruce McCashin Collection. $1,000‑$1,500

248

246

249 Pair of Victorian Staffordshire Pottery Newfoundlands fourth quarter 19th century, English, the brown and white dogs with glass eyes and gilt collars. h. 11”, w. 13”, d. 4‑1/4” Provenance: Bruce McCashin Collection.

249

$800‑$1,200 250 Manner of John Emms (British, 1843‑1912) “The Wounded Hound” oil on canvas Framed. 25” x 30‑1/2”, framed 30‑3/8” x 35‑5/8” Provenance: Sean Eacrett Auctions, Ballybrittas, Ireland, September 30, 2017, lot 589; Bruce McCashin Collection. $2,000‑$4,000 251 John Alfred Wheeler (British, 1852‑1932) “Two Terriers”

250

oil on board signed lower right. Giltwood frame with artist plaque. 8‑3/4” x 11”, framed 15” x 17” Provenance: Bruce McCashin Collection. $1,500‑$2,500 252 Attributed to Samuel Alken, Sr. (British, 1756‑1815) “Two Dogs Fighting” oil on canvas unsigned. Giltwood frame with artist plaque. 8‑1/4” x 11‑3/4”, framed 12” x 15”

251

Provenance: Cheffins, UK, November 29‑30, 2017, lot 588; Bruce McCashin Collection. $1,000‑$1,500

252

253 John Emms (British, 1843‑1912) “Foxhound Puppy” and “The Old Hound” former oil on canvas; latter oil on artist board latter signed and dated “76” lower left, each with a “John Noott” gallery label. Framed alike. each 6” x 8”, framed 10‑1/4” x 12‑5/8” Provenance: John Noott Galleries, Broadway, UK; Bruce McCashin Collection. $4,000‑$7,000

254 John Emms (British, 1843‑1912) “Spaniel with Mallard Duck” oil on canvas signed lower left. Framed. 8‑3/4” x 8‑3/4”, framed 18” x 18”

253

Provenance: By family repute, a gift from Queen Victoria to a lady-in-waiting; thence by family descent; Bearnes Hampton & Littlewood, Exeter, UK, April 29‑May 1, 2014, lot 397; Bruce McCashin Collection. $3,000‑$5,000

254

255 Exceptional Pair of Paris Porcelain Vases second quarter 19th century, French, probably Jacob Petit, now mounted as lamps, the vases decorated with a hunting dog on one and a deer on the other, in carefully detailed landscapes framed in gilt scrollwork on a matte blue ground, the reverse decorated with tooled gilt dog’s heads framed with tooled wreaths, resting on custom lamp stands and mounted with shades. vase, h. 9‑1/2”, overall h. 24‑1/4”, w. 13”, d. 9‑1/2” Provenance: Bruce McCashin Collection. 255

$1,000‑$1,500

256

256 Pair of Handsome English Mintons Majolica Jardinieres ca. 1873‑1891, molded with putti-form handles holding swags of laurel leaves, alternating with lion’s heads, on a cobalt ground, the upper portion with a border of oak leaves and acorns, one impressed “Mintons”, with an indecipherable date code. h. 10‑1/4”, w. 9‑1/4”, d. 9” Provenance: Marche aux Puces, Paris, France; Bruce McCashin Collection. 257

$1,000‑$1,500 257 William IV Rosewood Etagere second quarter 19th century, in the manner of George Smith, and possibly crafted by Gillows, Lancaster, the rectangular top with a three-quarter brass spindled gallery and joined to two lower shelves by supports of lotustopped fluted uprights with flanking scrolling designs, the lower shelf over a concealed drawer, raised on ribbed bun feet to casters. h. 39”, w. 21‑1/2”, d. 18‑1/4” Provenance: Hansons Auctioneers, Etwall, Derbyshire, UK, October, 22 2015, lot 2141; Bruce McCashin Collection. $1,200‑$1,800 258 Frank Brangwyn, R.A. (British, 1867‑1956) “Portrait of a Moroccan Elder” gouache and oil on paper signed en verso. Framed. sight 24” x 18”, framed 31‑1/2” x 25‑1/2” Provenance: Goya Subastas, Madrid, Spain, April 27, 2015, lot 134; Bruce McCashin Collection. $1,500‑$2,500 258

100

259 Sir Alfred James Munnings, P.R.A. (British, 1878‑1959) “A Boer Sniper”, 1900 oil on panel monogramed, titled and dated lower right. Frame with artist plaque. 11” x 6”, framed 13‑3/4” x 8‑3/4” Provenance: Keys Fine Art, Aylsham, Norfolk, UK; David Cook, Norfolk, UK; acquired from David Cook by present owner; Bruce McCashin Collection. $8,000‑$12,000 A Boer sniper is a militiaman from one of the two self-governing Dutch speaking Republics in South Africa-ZAR/Transvaal and the Orange Free State, who fought against the British in the Second Boer War (1899‑1902) over the Empire’s control over the region.

259

260 Frank Brangwyn, R.A. (British, 1867‑1956) “Rowing by the Riverfront Docks” oil on canvas signed lower right. Framed. 21‑1/2” x 30‑1/2”, framed 28‑1/8” x 37” Provenance: Sotheby’s, Chicago, Illinois, October 19, 1999, lot 1435; Bruce McCashin Collection. $3,000‑$5,000

260

101

261

261 Leather “Even-Arm” Chesterfield Sofa

262 Leather “Even-Arm” Chesterfield Sofa

with a rolled back and arms, diamond tufted in soft camelcolored leather, the underside bearing the label “A. Rudin Designs, Los Angeles, Ca.”. h. 30”, w. 93”, d. 40”

$1,200‑$1,800

262

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263 Pair of Ghidini Brass and Agate Table Lamps 20th century, Italian, on oval brass bases, with two light sockets behind each agate slice, and one on the top, mounted with shades. h. 32‑1/4”, w. 17‑1/4”, d. 8‑1/4” Provenance: William Cook Antiques, Hungerford, England; Bruce McCashin Collection. 265

$2,500‑$4,000 264 Suite of Nine Agate Slices each mounted and presented in a black and matte gold shadowbox frame and glazed. each 10‑1/2” x 10‑1/2” $1,000‑$1,500 265 Collection of Six Gem-Quality Rock Crystal Obelisks Trimmed in Semi-Precious Stones 20th century, the obelisks trimmed with tiger eye, carnelian, lapis lazuli, obsidian, malachite and turquoise, in a silk-lined presentation case. obelisk h. 5”, w. 1”, d. 1” Provenance: Nardi, Venice, Italy; Bruce McCashin Collection. 265 detail

$1,200‑$1,800

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263

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266 Giovanni Boldini (Italian, 1842‑1931) “Market Scene”, 1888 ink on paper signed and dated lower right. Matted, glazed and framed. sight 6” x 9”, framed 14‑3/8” x 18‑3/8” Provenance: Bruce McCashin Collection. $1,500‑$2,500

266

267 William Newenham Montague Orpen, R.A., R.H.A. (British/Irish, 1878‑1931) “Self-Portrait of the Artist with His Wife Grace” conte crayon on paper signed lower right. Matted, glazed and framed. sight 11‑3/4” x 11‑1/4”, framed 18‑1/2” x 17‑3/4” Provenance: Bruce McCashin Collection. $2,500‑$4,000

267

268 Eugene Joseph Constant Pierre Petit (French, 1839‑1933) “On the Scent” oil on canvas signed lower left. Framed. 15” x 18”, framed 21” x 24” $4,000‑$7,000

268

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269 Sidney Richard Percy (British, 1821‑1886) “Evening near Glencoe by the Trossachs”, 1877 oil on canvas signed and dated lower left, titled on frame. Framed. 10” x 18”, framed 19‑1/2” x 27‑1/4” $1,500‑$2,500

269

270 Paul Henry Schouten (Belgian, 1860‑1922) “Hunting Dogs” oil on canvas signed lower right. Framed. 31‑1/2” x 39‑1/2”, framed 38‑1/2” x 46‑1/2” $1,200‑$1,800

270

271 Edouard Joseph Dantan (French, 1848‑1897) “On the Scent” oil on canvas signed lower left. Framed. 25‑3/4” x 36”, framed 31” x 42” $2,000‑$4,000

271

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272 Jean Lefort (French, b. 1948) “Five St. Bernard Puppies” oil on canvas signed lower left. Framed. 31” x 39”, framed 37” x 46” $1,400‑$1,800 273 Charles H. D. Boland (Belgian, b. ca. 1850) “Un Sujet de Meditation”, 1886 oil on panel signed and dated lower right and signed, titled and dated en verso. Period gilt frame. 11‑3/4” x 9”, framed 20‑1/2” x 17‑3/4”

272

$1,500‑$2,500

273

275

274 William-and-Mary-Style Oak Chest 18th century, the rectangular top above a conforming case fitted with four long drawers, each tri-paneled and with raised and molded geometric patterns, raised on incised bun feet. h. 42”, w. 45‑1/2”, d. 26‑1/2” $1,500‑$2,500 275 Early English Carved Oak Bench 18th century, in the Jacobean taste, the back framed with four shaped raised panels and a relief-carved crest rail, with a padded cushion and raised on block-and-turned legs joined by stretchers. h. 44”, w. 75”, d. 26” $1,000‑$1,500 274

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276 Suite of Twelve English Oak and Fruitwood Ladderback Chairs consisting of two armchairs and ten side chairs, each with a scalloped laddered back with side acorn finials, the rush seats raised on block and turned legs joined by a like H-form stretcher and ending in bulb feet. h. 45” $1,500‑$2,500 277 John Theodore Heins (British, 1697‑1756) “Portrait of a Gentleman at His Desk”, 1739 oil on canvas signed and dated along lower right edge. Modern frame. 49‑1/2” x 39”, framed 56‑3/4” x 47” $3,000‑$5,000 278 George III Walnut Kneehole Desk

277

late 19th century, the banded rectangular top with crimped corners, above a case fitted with a central drawer over a recessed kneehole cupboard, flanked to either side by a bank of three small drawers, all banded, raised on bracket feet. h. 27‑1/2”, w. 29‑1/2”, d. 19” $2,000‑$4,000

278

276 detail

276

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279

279 George III-Style Walnut Chest 18th century and later, the banded rectangular top above a case fitted with two short drawers over three graduated long drawers, all banded and with decorative inlaid stringing, raised on bracket feet. h. 34‑1/2”, w. 37‑1/2”, d. 22‑1/2” $1,000‑$1,500 280 Pair of Chinese Blue and White Double-Gourd Vases

281 Associated Pair of Chinese Blue and White Porcelain Lidded Bowls each with a Guangxu mark (1875‑1909) and possibly of the period or later, the bowls of shallow form with everted lip, cradling the conforming covers, decorated to the exterior with floral and foliate sprays, one cover with a calligraphic inscription. h. 3‑1/4”, dia. 6‑1/2” $1,000‑$1,500

20th century, each decorated to the exterior with five-claw dragons chasing the flaming pearl amid stylized clouds, the base unglazed and unmarked. approx. h. 20”, dia. 9‑1/2” $1,000‑$1,500

281

280

108

282 detail

282

282 Queen Anne-Style Walnut Secretary Bookcase 18th century and later, the molded and double-domed crest with gilt flaming finials and above two paneled domed doors opening to an interior richly fitted with a variety of drawers, cubbyholes and cupboards, over two small candle slides, the lower section fitted with a banded slant front opening to a leather writing surface and a variety of drawers and cubbyholes surrounding a central cupboard, over four graduated long drawers, raised on bun feet. h. 88”, w. 36‑1/2”, d. 19‑1/2” $1,500‑$2,500

283 Suite of Eight George III-Style Mahogany and Burl Wood Dining Chairs consisting of four armchairs and four side chairs, each with a domed cornice above a shaped scroll- and patera-carved splat, the padded seat raised on cabriole legs headed by foliate carving and ending in pad feet, each bearing the label of “Smith & Watson, New York, Cabinetmakers & Chairmakers since 1907”. h. 39” $1,200‑$1,800

283 283 detail

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284

284 American Queen Anne Cherry High Chest third quarter 18th century, New England, in two parts, the upper section with a projecting cornice and two drawers over a bank of four graduated drawers, the base with a wide drawer over a bank of three drawers, a scalloped apron and raised on cabriole legs with pad feet. h. 71‑1/4”, w. 39”, d. 20‑1/2” $1,000‑$1,500 285 Fine George III-Style Mahogany and BrassMounted Musical Tall Case Clock fourth quarter 19th century, the hood with a broken-arch pediment, the fluted columns with brass stop-fluting, the mid-section with similar one-quarter columns, the face with engraved details and rotating moon dial, the movement set with eight bells and five spring chimes playing either Westminster or Whittington chimes. h. 92”, w. 23‑1/2”, d. 15” $1,200‑$1,800 286 George III Mahogany Mule Chest late 18th century, the rectangular hinged and banded top opening to a storage space, the body fitted with three faux short drawers over two banks of two longer drawers, raised on ogee-molded bracket feet. h. 33‑1/2”, w. 61‑1/2”, d. 21‑1/2” $1,000‑$1,500

285 detail

285

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287 Queen Anne-Style Mahogany Wing Chair 20th century, with rolled armrests, reversible cushion and raised on short Queen Anne-style legs. h. 51”, w. 33”, d. 31” $1,000‑$1,500 288 English Oak Server 19th century, in the Queen Anne taste, the rectangular top with a molded edge, above a conforming case fitted with three short drawers over a shaped apron, raised on cabriole legs ending in pad feet. h. 32”, w. 77‑1/4”, d. 20‑3/4” $1,000‑$1,500

287

288

290

289 Queen Anne Oak Highboy 18th century, the molded and dentillated cornice above three short drawers and three graduated long drawers, the lower section fitted with a long drawer over a short drawer to each side, raised on cabriole legs ending in spade feet. h. 22”, w. 39‑1/2”, d. 21‑1/2” $1,000‑$1,500 290 Irish Georgian-Style Mahogany Armchair 19th century, the carved eagle-head crest above a shaped shieldcentered splat with foliate and shell carving and flanking eagles’ claws, joined by scrolling arms to the shaped slip-in seat, raised on cabriole legs headed by a grotesque masque and ending in claw feet. h. 39‑1/2” $1,000‑$1,500 289

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291 Eugene Pechaubes (French, 1890‑1967) “Coming Home from the Hunt” oil on canvas signed lower left. Framed. 18” x 21‑1/2”, framed 27” x 30” $1,000‑$1,500 291

292 Queen Anne-Style Mahogany Cabinet-on-Stand 19th century, the flat molded cornice above two domed doors, each with mirrored panels surrounded by eglomise segmented panels in the chinoiserie taste, the lower section fitted with a central drawer flanked to either side by a deeper small drawer, raised on cabriole legs ending in pad feet. h. 78‑1/2”, w. 40”, d. 16‑1/2” $1,000‑$1,500

292

293 George III Mahogany Chest late 18th century, the rectangular top with a recessed bowed center section, above a conforming case fitted with five graduated long drawers flanked to either side by five graduated short drawers, raised on ogee-molded bracket feet. h. 41”, w. 53‑1/2”, d. 21‑1/2” $2,500‑$4,000 294 George III-Style Mahogany Settee 19th century, the padded camel back joined by outscrolled arms to the padded seat, raised on foliate-carved cabriole legs ending in ball-and-claw feet, the whole with brass tack accents and upholstered in a pastoral-patterned tapestry. h. 36”, w. 85”, d. 30”

293

$1,000‑$1,500

294

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295 Vincent de Vos (Belgian, 1829‑1875) “Hounds at Rest” oil on canvas signed lower right. Framed. 25‑1/4” x 31‑1/4”, framed 33‑3/4” x 38‑3/4” $1,800‑$2,500 296 George III-Style Mahogany Sideboard 20th century, the long rectangular top with a slight serpentine front, above a conforming case fitted with a central cutlery drawer, flanked to one side by a single shallow drawer over a deep drawer and to the other by a single deep drawer faced as two, raised on chamfered tapering square legs ending in spade feet. h. 36”, w. 86”, d. 27”

295

Provenance: Manheim Galleries, New Orleans, Louisiana; Private collection, Houston, Texas. $1,000‑$1,500 297 Suite of Eight George III-Style Mahogany Dining Chairs early 20th century, consisting of two armchairs and six side chairs, each with a carved crest rail with tassels and a pierced and carved center splat, raised on Marlborough legs joined by stretchers. armchair h. 39”, w. 27”, d. 20”; side chair h. 39”, w. 21”, d. 18”

296

$1,000‑$1,500

297

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298 George III Mahogany Silver Table late 18th century, in the Chinese Chippendale taste, the rectangular top within a pierced gallery and above a conforming blind fret-carved frieze, raised on paneled tapering square legs ending in spade feet. h. 30”, w. 31‑1/2”, d. 22” $800‑$1,200 299 George III Mahogany Chest-on-Chest fourth quarter 18th century, in the Chinese Chippendale taste, the lattice-pierced broken swan’s-neck pediment flanked to either side by an urn finial, above a dentillated and blind fretcarved frieze with two short drawers and three graduated long drawers below, flanked to either side by a stop-fluted column with brass Corinthian column, the lower section with a foliatecarved edge over three graduated long drawers, raised on gadroon- and foliate-carved bracket feet. h. 82‑1/2”, w. 47‑1/2”, d. 22‑3/4”

298

$3,500‑$5,000 300 Pair of George II-Style Giltwood Mirrors ca. 1900, English, each with an ogee surround carved with scrollwork and bellflowers on a latticed ground, the crest with a pierced shell set into the swan’s-neck pediment carved with lion’s heads grasping bellflower swags, the lower portion carved with a winged angel’s head flanked by carved scrollwork. h. 46‑3/4”, w. 26” $1,800‑$2,500

300 299

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301 Pair of George III-Style Mahogany and Mixed Woods Servers early 20th century, each with a D-form banded top with projecting center section, above a conforming case fitted with two central banded drawers flanked to either side by a banded cupboard door, raised on tapering square legs with inlaid decorative stringing. h. 34”, w. 48”, d. 19‑1/2” $1,000‑$1,500 302 Edouard Joseph Dantan (French, 1848‑1897) “On the Scent” “Searching the Skies” pair of oils on canvas former signed lower left, latter signed lower right. Framed alike. each 21‑3/8” x 25‑1/2”, framed 28” x 31‑1/2” $3,000‑$5,000 302

301

303 Pair of George III-Style Mahogany Demi-lune Tables 19th century, each with a sunburst-veneered bowed top centered by a foliate patera and with an inlaid swag banding, above a conforming chevron-veneered frieze, raised on tapering square legs ending in ring-turned feet. h. 32‑1/2”, w. 44‑3/4”, d. 20” $1,200‑$1,800 303

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304 George III Mahogany Secretary Bookcase fourth quarter 18th century, the molded and modified Greek-keycarved frieze above two astragal-glazed doors, the lower section fitted with a banded drop front opening to a variety of drawers and compartments around a central cupboard, over four graduated long drawers, raised on ogee-molded bracket feet. h. 88”, w. 42‑1/2”, d. 22” $1,200‑$1,800 305 George III Mahogany Dining Table 19th century, the D-end top raised on three pedestals, each with a turned columnar standard to three splayed cabriole legs ending in reeded feet on casters, with two 12” leaves. h. 29”, w. 44”, l. 74”, extended l. 98” $1,200‑$1,800 306 Suite of Eight George III-Style Mahogany Dining Chairs 19th century, consisting of two armchairs and six side chairs, each with an earred foliate-carved crest above two pierced interlocking splats, the padded seat raised on chamfered square legs joined by a box-form stretcher, upholstered in rooster-patterned tapestry. h. 38‑1/2”

304

$1,000‑$1,500

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306

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307 Pair of Queen Anne-Style Mirrored Wood and Brass Sconces mid-20th century, the red-ground chinoiserie decoration with Mandarin figures and animals, the lower portions set with candle arms with turned sockets and reeded drip pans. h. 27‑3/4”, w. 8‑3/4”, d. 6‑1/2” $1,000‑$1,500 308 Georgian Polychrome and Faux Tortoise Corner Cabinet 19th century, in the chinoiserie taste, the molded and canted cornice above a conforming case fitted with two tri-paneled cupboard doors opening to a shelved interior, the lower section fitted with a candle slide over two paneled cupboard doors, raised on low bracket feet, the whole with gilt and polychrome accents in the chinoiserie manner. h. 83‑1/2”, w. 44”, d. 23” $2,000‑$4,000

307

309 Attributed to Samuel Bough, R.S.A. (British, 1822‑1878) “Figures Resting in a Rural Landscape with a View of Ruins in the Background” oil on canvas indistinctly signed lower right. Unframed. 23” x 19” $1,000‑$1,500

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310 Suite of Eight George III-Style Mahogany Dining Chairs late 19th/early 20th century, comprised of a pair of armchairs and six side chairs, each with a ribbon back, dished seat and banded legs joined by H-form stretchers, with pegged construction throughout. h. 39‑1/4” Provenance: Estate of Elizabeth “Betsy” Parish, Houston, Texas.

312 George III Mahogany Sideboard 19th century, the shaped and banded rectangular top with a bowed center section, above a conforming case fitted with a central cutlery drawer flanked to one side by two drawers and to the other side by a cupboard door faced as two drawers, raised on reeded tapering square legs ending in block feet. h. 36‑1/2”, w. 72”, d. 27” $1,000‑$1,500

$1,200‑$1,800 311 George III-Style Mahogany Dining Table the rounded rectangular top with a molded edge and raised on three pedestals, each with a ribbed vasiform support to three splayed ribbed legs ending in foliate brass caps on casters. h. 29‑1/2”, w. 54”, l. 114” Provenance: Manheim Galleries, New Orleans, Louisiana; Private collection, Houston, Texas. $1,400‑$1,800 312

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313 George III Mahogany Secretary Bookcase 18th century, the molded rectangular cornice above a conforming case fitted with two doors, each inset with a mirrored panel, the lower section fitted with a slant front opening to a variety of drawers and cubbyholes surrounding a central cupboard, over two short drawers and three graduated long drawers, raised on bracket feet. h. 87”, w. 41‑1/2”, d. 22” $2,000‑$4,000 314 Pair of George III-Style Wing Chairs with Ottomans each chair with a tufted back and seat, closed arms and Marlborough legs, the stools with like upholstery and legs. chair h. 43”, ottoman h. 15‑1/2”, w. 22‑1/2”, d. 18‑3/4” $1,500‑$2,500

313

314

315 Eugene Joseph Constant Pierre Petit (French, 1839‑1933) “Duck Hunting in an Autumnal Landscape” oil on canvas signed lower right. Framed. 15” x 18”, framed 22” x 28”

315

$2,000‑$4,000 316 Robert Cleminson (British, 1864‑1903) “End of the Hunt” oil on canvas signed lower right. Framed. 36” x 58”, framed 46” x 68” $2,500‑$4,000 316

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317 George III Mahogany Secretary late 18th century, the upper case with a dentillated pediment above a pair of raised panel blind doors, the slant lid opening to an elaborate fitted interior, and four graduated long drawers below. h. 84”, w. 39”, d. 23” $1,200‑$1,800 318 George III-Style Mahogany Sideboard 20th century, in the Hepplewhite taste, the projecting center with a drawer with an oval satinwood panel over a deep drawer with faux tambour decor, the curved corners with a single door, raised on fluted tapering legs. h. 37”, w. 70”, d. 22” $1,000‑$1,500

317

318

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319

319 Regency-Style Banded Mahogany Triple-Pedestal Dining Table

320 Suite of Ten George III-Style Mahogany Dining Chairs consisting of two armchairs and eight side chairs, each with a shaped foliate-carved crest above a pierced interlocking splat, the padded seat raised on chamfered square legs joined by an H-form stretcher. h. 36‑1/2”

20th century, the top with a reeded edge and banded in blonde mahogany, and raised on turned pedestals with downcurved reeded legs ending in brass paw feet with casters, accompanied by two 24” leaves. h. 29‑1/2”, w. 44”, l. 102”, ext. l. 150”

Provenance: Private collection, Houston, Texas.

$1,000‑$1,500

$1,200‑$1,800

320

121

321 Semi-Antique Sarouk Carpet 9’ 3” x 15’ 6” $1,000‑$1,500 322 Turkish Oushak Carpet 7’ 6” x 10’ 8” $1,000‑$1,500 323 Semi-Antique Malayer Carpet 4’ 2” x 6’ 7” $1,200‑$1,800

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325

324 Nain Carpet 10’ x 14’ 3” $4,000‑$7,000 325 Semi-Antique Heriz Runner 3’ 5” x 13’ 5” $1,500‑$2,500 326 Semi-Antique Bidjar Carpet 11’ x 15’ $3,000‑$5,000

326

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327 Heriz Carpet 8’ x 11’ $1,000‑$1,500 328 Semi-Antique Lavar Kerman Carpet 13’ 8” x 18’ 8” $5,000‑$8,000

327

328

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329

329 Turkish Sultanabad Carpet 10’ x 14’ $1,200‑$1,800 330 Semi-Antique Karaja Runner 3’ 3” x 14’ 6” $1,000‑$1,500

330

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331

331 Gustave Edouard le Senechal de Kerdreoret (French, 1840‑1920)

332 Guy Arthur Wiggins (American, b. 1920)

“Le Treport”

“Twilight at the Plaza Hotel”

oil on panel signed “le Senechal” and titled lower right, inscribed with title en verso. Framed. 9‑1/2” x 12‑1/2”, framed 14‑3/4” x 17‑1/2”

oil on canvas signed and titled en verso. Framed. 18” x 24”, framed 22” x 28‑1/2” Provenance: Sotheby’s, New York, March 3, 2010, lot 145.

$2,500‑$4,000

$7,000‑$10,000

332

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334

333 Guy Arthur Wiggins (American, b. 1920) “St. Patrick’s Cathedral in Winter” oil on canvas signed lower right, signed and titled en verso. Framed. 28” x 22”, framed 33” x 26‑3/4” Provenance: Sotheby’s, New York, September 27‑28, 2011, lot 403. $12,000‑$18,000 334 Constantin Kluge (Russian/French, 1912‑2003) “Boulevard Saint Germain, Paris” oil on canvas signed lower right. Framed. 29” x 36”, framed 37‑1/2” x 45‑1/8” $4,500‑$7,000

333

127

335 Yvonne Canu (French, 1921‑2008)

335

337

337 Claude Firmin (French, 1864‑1944)

“Sechage des filets a Honfleur”

“A Provencal Town”, 1904

oil on canvas signed lower right, signed, titled and with an inventory number en verso, verso with a partial “Le Monde Galleries, New York” label. Framed. 18‑1/4” x 21‑3/4”, framed 29” x 33”

oil on panel signed and dated lower right. Framed. 18” x 14‑3/4”, framed 25‑1/2” x 22‑1/4” $4,000‑$7,000

Provenance: Le Monde Galleries, New York, New York; Alice Fine, Tucson, Arizona; Christie’s, New York, February 11, 2009, lot 71. $8,000‑$12,000

336 Dietz Edzard (German/Paris, 1893‑1963) “Venice, Window View of the Grand Canal with Flowers and Mandolin” oil on canvas signed lower left. Framed. 28” x 40”, framed 35‑1/4” x 46‑1/2” $7,000‑$10,000

336

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338 Edouard Cortes (French, 1882‑1969) “En Attendant La Pratique”, ca. 1920‑1930 oil on panel signed lower left. Gold leaf frame. 9‑1/4” x 9‑1/4”, framed 17‑1/4” x 17‑1/4” Provenance: Private collection, California; Roughton Galleries, Dallas, Texas; Private collection, Florida. Literature: Nicole Verdier, Edouard Cortes, Catalogue Raisonne, Vol. I (Paris: Contexte, 2009), p. 234, no. 307. $5,000‑$8,000

339 339 Pierre Louis Leger Vauthier (French, 1845‑1916)

“Femme dans les Champs” oil on canvas with “Mon. Hess L. Besnard Gerant” stamp verso with “Atelier Pierre Vauthier” red seal. Framed. 18” x 12‑3/4”, framed 24” x 18” $4,000‑$7,000 338

340 Albert Goguet Mantelet (French, 1858‑1958) “Les Premiers Bains de Mer sur la Plage du Bourg-Dault”, ca. 1890 oil on linen signed lower right. Framed. 21‑1/4” x 31‑7/8”, framed 32‑1/2” x 43” Provenance: Tradart, Deauville, France, May 22, 2016, lot 18. $10,000‑$15,000

340

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341 Gustave-Henri Colin (French, 1828‑1910) “Hippodrome de Longchamp”, 1896 oil on wood panel signed lower right, localized and dated en verso. Framed. 10‑3/8” x 13‑3/4”, framed 16‑1/4” x 19‑1/4” $4,000‑$7,000

341

342 Andre Derain (French, 1880‑1954) “Nu” oil on canvas signed lower right. Framed. 13‑1/4” x 10‑1/2”, framed 23” x 19‑1/2” Provenance: Christophe Joron-Derem, Paris, France, December 11, 2014, lot 112. $3,000‑$5,000

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343 Jean-Louis-Marcel Cosson (French, 1887‑1956)

344 Jacqueline Marval (French, 1866‑1932)

“Les Danseuses” and “Le Foyer des Danseuses”

“Dans le Jardin”, ca. 1920

pair of oils on panel each signed lower right, latter titled en verso. In matching giltwood frames. each 10‑1/2” x 13‑1/2”, framed 17” x 20”

oil on panel unsigned. Framed. 12‑1/4” x 15‑3/4”, framed 18” x 22”

$10,000‑$15,000

$7,000‑$10,000

344

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345 Pair of French Sevres-Style Potpourri Urns first quarter 20th century, now mounted as lamps, handpainted with flowers and decorated with raised gilt on a mazarine blue ground, the sides mounted with handles depicting winged female figures, mounted with shades. h. 25‑1/2”, w. 12”, d. 7” $1,200‑$1,800 346 Pair of French Gilt-Bronze and Lapis Lazuli NeoclassicalStyle Plaques fourth quarter 19th century, one depicting Plato, the other depicting Moliere, in bas-relief, the portraits mounted on lapis lazuli and set into oval bronze frames with pierced bowknot crests. h. 13”, w. 10‑1/4”

345

$1,500‑$2,500 347 French Gilt-Bronze and Lapis Lazuli Encrier ca. 1900, in the Baroque taste, the bronze casket molded with acanthus leaves and swagging, concealing the inkpots, and resting on a conforming lapis panel framed with gilt-bronze decorated with lion’s-head mounts and supported on paw feet. h. 5‑1/4”, w. 11‑1/2”, d. 9” $1,200‑$1,800 348 Louis XIV-Style Inlaid Mahogany and Ormolu-Mounted Triple-Pedestal Dining Table

347

the top with a marquetry-inlaid border and opening to accommodate two 20‑inch leaves, mounted to three downswept pedestals with a brass ram’s head at each corner and ending in brass paw feet. h. 31‑1/2”, d. 52”, l. 110”, ext. l. 150” $3,000‑$5,000 346

348

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349 French Gilt-Bronze Chandelier of Baroque Inspiration first quarter 20th century, the leaf-molded bronze frame decorated with fringed swagging, the leaf-molded scrolled candle arms set with bold beaded drip pans, the lower pan with egg-anddart molding and a leafmolded cone-form pendant finial, mounted with a set of alabaster shades. h. 36”, dia. 34” $1,800‑$2,500

351

350 Impressive Regence-Style Giltwood Mirror fourth quarter 19th century, French, the upper section with a gadrooned surround and a shell-molded crest, the sides with plumed helmets and a scroll-carved inner surround, the lower portion with leaf-carved inner and outer surrounds, the corners with shells, pierced scrollwork and flowerheads, set with a beveled mirror plate. h. 93‑3/4”, w. 46‑1/2”

349

Provenance: Private collection, Houston, Texas. $2,500‑$4,000 351 Pair of Louis XIV-Style Gilt-Bronze Candelabra fourth quarter 19th century, the pierced bases decorated with swags of laurel leaves and berries, the scrolled brackets with molded acanthus leaves, the upper standard set with scrolled candle arms molded with leaves and delicate medallions, terminating in fluted candle cups, set with rose-molded finials. h. 30‑1/2”, w. 11‑1/2”, d. 8‑3/4” $1,000‑$1,500 352 Pair of Louis XIV-Style Giltwood Stools each with a padded square top above a conforming lattice-carved frieze, raised on tapering square legs headed by a foliate capital and ending in ribbed feet. h. 21”, w. 17”, d. 16” $1,500‑$2,500

352

350

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353 Gilt-Bronze, Crystal and Glass Chandelier of French Neoclassical Inspiration 20th century, twenty-four lights, with a molded glass-clad standard, the scrolled bronze candle arms decorated with medallions and terminating in molded glass prism rings, hung with strands of drops from the top and swags of drops between the arms. h. 34‑1/2”, dia. 32‑1/2” Provenance: Private collection, Houston, Texas. $1,500‑$2,500 354 Pair of Louis XIV-Style Carved and Painted Torchere Stands 20th century, the tapered standards carved with flowerheads and bellflowers, the trumpet-form tops with fret-carved edges and feather-carved supports, raised on leaf-carved scrolled feet. h. 51‑1/2”, dia. 13”

353

$3,000‑$5,000 355 Louis XVI-Style Polychrome and Marble-Top Console Table early 20th century, the rectangular marble top with canted corners, above a conforming dentillated and guilloche-carved frieze centered by a shield paneled drawer and pendant fruit garlands, raised on molded scroll legs joined by a fruited urncentered stretcher and ending in bun feet. h. 35”, w. 51‑1/4”, d. 23‑1/4” $1,400‑$1,800 356 Pair of Louis XIV-Style Bronze, Rock Crystal and Crystal Sconces

355

mid-20th century, on bronze leaf-molded brackets, the standards clad with cut and molded crystal, the leaf-molded candle arms terminating in cut crystal sockets, hung with cut crystal and rock crystal drops on the prism rings and two tiers of sprays of drops. h. 32‑1/2”, w. 16‑1/2”, d. 9‑1/2” $2,500‑$4,000

356

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357 Pair of Louis XV-Style Polychrome Fauteuils each with a shaped padded back surmounted by a scrolling foliate crest, joined by padded arms to the like seat over a shaped apron, raised on cabriole legs ending in scrolled toes on pegs. h. 44‑1/2” $1,000‑$1,500 358 Louis XV-Style Polychrome Armoire early 20th century and later, the molded and domed cornice centered by a foliate shield carving, above a case fitted with two arched doors, each inset with a shaped beveled mirrored plate and a lower floral-carved oval panel, above a shield-centered apron, raised on foliate scrolled toes. h. 100”, w. 50‑1/2”, d. 23”

357

$1,000‑$1,500 359 Louis XV-Style Polychrome LeatherUpholstered Low Bergere late 19th century, of generous proportions, the padded and shaped back within a molded frame and joined by downswept arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes. h 31”, w. 41‑1/2”, d. 33” $1,000‑$1,500

359

358

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360 Suite of Four Pressed Hydrangea Macrophylla Botanicals of various colors, all identified lower center and monogramed “S.W.” lower right. All matted, glazed and presented in giltwood frames. overall 31‑1/2” x 21‑1/2” $1,200‑$1,800 361 French Rococo-Style Gilt-Bronze and Porcelain Boudoir Lamp first quarter 20th century, designed as a pierced gilt-bronze pergola, the light in the top, the exterior with sculpted porcelain flowers, a Chelsea-style porcelain shepherd with his sheep inside. h. 12‑3/4”, w. 6‑1/4”, d. 5‑1/2” $1,000‑$1,500 362 French Fin-de-Siecle Giltwood Mirror fourth quarter 19th century, in the Louis XV taste, the pierced rocaille-carved crest decorated with a bird and flowerheads, flanked by putti on each side, the lower section of the ogee surround carved with rocaille- and scrollwork, set with a beveled mirror plate. h. 52”, w. 31”

361

$1,500‑$2,500

362

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363 Pair of Louis XV-Style Giltwood Fauteuils early 20th century, each with a padded shaped back surmounted by a foliate shell crest, joined by padded arms to the like seat, raised on cabriole legs headed by a floral capital and ending in scrolled toes. h. 37”

364

$1,000‑$1,500 364 French Gilt-Bronze Gasolier of Louis XVI Inspiration

365 Louis XV-Style Giltwood Settee

ca. 1900, the standard decorated with acanthus leaves and reeded spherules, and set with scrolled arms terminating in molded volutes, decorated with a molded pierced ring with ribbon-bound torches and swags of laurel leaves. h. 44”, w. 22‑1/2”

19th century, the padded curved back surmounted by a molded frame and floral crests, joined by downswept sides to the padded seat, raised on molded cabriole legs ending in scrolled toes. h. 37”, w. 58”, d. 24”

$1,000‑$1,500

$800‑$1,200

365

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366 Napoleon III Giltwood Settee third quarter 19th century, in the Louis XV taste, the padded trisected back surmounted by a foliate shield crest, joined by padded scrolling arms to the padded seat, raised on molded cabriole legs ending in scrolled toes. h. 46”, w. 65”, d. 28” $1,000‑$1,500

366

367 Semi-Antique Aubusson Carpet 10’ 7” x 18’ 6” $6,000‑$9,000

367 8 138

368 Three Jacob Petit Paris Porcelain Double Nodders mid-19th century, French, each depicting a wizard and his mistress, the wizards wearing pointed hats and dressed in similar embroidered robes with yellow grounds and medallions on their chests, the women with diadems and Middle Eastern-inspired attire, each signed “J.P.” in underglaze blue. h. 12‑1/4” to 14‑1/2”, w. 6‑1/2” to 7”, d. 3” to 3‑1/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 369 Pair of Jacob Petit Paris Porcelain Vases mid-19th century, French, in two parts, depicting sea deities riding framboise-ground dolphins, the deities supporting cornucopiaform vases painted with flowers, the vases molded with leaves and cattails, the dolphins inspired by Meissen, signed “J.P.” in underglaze blue. h. 18‑3/4”, w. 10‑1/2”, d. 5‑1/2”

368

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $800‑$1,200 370 Exceptional Jacob Petit Paris Porcelain Two-Part Vase mid-19th century, French, decorated with a figure of Neptune sitting astride a shell on a dolphin, the vase behind him molded with cattails and decorated with trailing encrusted flowers, a tree trunk vase to one side, the pierced base with molded shells above the scrolled feet, signed “J.P.” in underglaze blue. h. 18‑3/4”, w. 9‑1/2”, d. 9‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $900‑$1,200 371 Paris Porcelain and Bronze Dore Small Centerpiece

369

mid-19th century, French, possibly by Jacob Petit, the oval bowl decorated with flowers trimmed with ribbons and crossed scrolling “twig” handles, mounted on a bronze dore base supported by a pair of draped neoclassical figures, above a pierced rococo base. h. 8”, w. 10”, d. 5‑1/2” $1,400‑$1,800

371

370

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372 Three-Piece Collection of Jacob Petit Paris Porcelain second quarter 19th century, French, including a pair of figural sweetmeat baskets in the Meissen style, h. 10‑1/2”, w. 12‑1/2”, d. 5‑1/2”, and a basket of flowers, with an encrusted floral cover on a basketweave base, based on Coalbrookdale baskets, h. 5‑3/4”, w. 10‑1/4”, d. 5‑1/4”, each signed “J.P.” in underglaze blue.

372

374 Jacob Petit Paris Porcelain Figural Mantel Clock

$900‑$1,200

mid-19th century, French, the Rococo Revival case pierced and decorated with gilt scroll and rocaille work, a pair of enfants in 18th-century costume flanking a panel of painted flowers beneath the dial, the dial signed “Jacob Petit, Paris”, and the base signed “J.P.” in underglaze blue. h. 20”, w. 12‑3/4”, d. 7”

373 Pair of Jacob Petit Paris Porcelain Potpourri Vases

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana.

second quarter 19th century, French, in the Rococo Revival taste, the bases decorated with figures of courting couples in 18th-century costume, the pierced bleu celeste-ground vases with “cupid” knops, inspired by Sevres, standing on matching pedestals, signed “J.P.” in underglaze blue. h. 17‑1/2”, w. 8”, d. 9‑3/4”

$1,000‑$1,500

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana.

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

373

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374

375 Georgi Alexandrovich Lapchine (Russian, 1885‑1950) “Vue de Notre-Dame de Paris et Le Petit Pont” oil on linen signed lower right. Framed. 13‑7/8” x 10‑7/8”, framed 20‑3/4” x 17‑1/2” $2,500‑$4,000 Georges Lapchine (born Georgii Aleksandrovich Lapshin) was a gifted landscape/still life painter, who perfected the lighting and palette of the Post Impressionist-style. His street/monument scenes are as prolific as his rural landscapes and floral still-lifes; all employ his characteristic rich texture rendered through impastos of color ochre, ivory, sienna, phthalo and ultramarine blues loosely applied with broad brushwork and palette knife. Originally from Russia, Lapchine first studied in Moscow in the Art School of Stroganov and in France in F. Kormon’s studio, before permanently moving to Paris in 1924. Lapchine exhibited annually from 1925 to 1940 in the prestigious Salon des Independents, and held numerous other exhibitions and engagements, including the Societe des Artistes Francais, the Great Exhibition of Russian Art and Turgenev’s artistic community. Lapchine was equally involved in the performing arts; he was a tenor and sang Russian opera, and worked in the theaters as a stage designer, creating scenes for the Paris Music Hall, the Folies Bergere and Sesame in Monte Carlo.

375

The Notre Dame Cathedral, an architectural chef d’oeuvre of Paris and Christendom, was equally mastered by the virtuoso of Lapchine. He painted the Cathedral in a handful of small ~8” x 10” studies, each time capturing a different angle and light of the edifice on the Ile de la Cite. The painting offered here is not only the largest and most complete painting by Lapchine of the Notre Dame to be offered at auction (according to Artnet and Artprice), but it also depicts one of the most famous angles of the West facade from the Petit Pont.

376 Jules Eugene Pages (American, 1867‑1946) “Notre Dame” oil on canvas signed lower left, verso with “Kendall Fine Art” and “The Collection of Paul & Kathleen Bagley” labels. Framed. 18” x 24”, framed 29‑1/2” x 32‑1/2” Provenance: Bonhams, California, June 8, 2004, lot 4256. $12,000‑$18,000

376

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377 Louis XV-Style Giltwood Bergere avec Oreilles 20th century, the padded trisected back surmounted by a floral crest, joined by downswept arms and padded handrests to the cushioned seat, raised on molded cabriole legs headed by a floral capital and ending in scrolled toes. h. 44” $1,000‑$1,500

377

378 Baccarat Gilt-Bronze and Crystal Chandelier ca. 1900, the gilt-bronze frame set with candle arms in two tiers, the upper ones on swirl-molded vasiform holders, and the lower ones on scrolled arms, each set with molded glass bobeches marked “Baccarat” in raised letters, the corona hung with swags of crystal drops, with like swags between the arms. h. 32”, dia. 23‑1/2” $15,000‑$25,000 378

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379 Louis XVI-Style Giltwood and Marble-Top Center Table 19th century, the rectangular marble top with projecting corners and center sections, above a conforming annulated guillochecarved frieze, centered on each side by a floral patera with pendant laurel garlands, and raised on shaped legs headed by scroll and foliate carving, joined by a shaped tri-dolphin carving and ending in scrolled foliate toes. h. 38”, w. 60”, d. 35” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $3,000‑$5,000

379 detail

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380 Louis XV-Style Marble Fireplace Surround the shaped marble top over a scalloped face centered by a carved shell flanked by foliage and flowers, the serpentine legs with like carving, on a rectilinear marble hearth. firebox h. 32”, w. 39‑1/2”, base h. 1‑3/4”, w. 59‑1/4”, d. 11‑3/4”, overall h. 42”, w. 58‑1/4”, d. 12” $1,500‑$2,500 381 Exceptional Louis-Philippe Gilt-Bronze Clock second quarter 19th century, in the rococo taste, the pierced case decorated with pierced scrollwork and rocaille work, the dial set with an enameled chapter ring, the silk-string suspension works marked “Nicolas Douillon”, the crest with a delicately molded bouquet of leaves and flowers. h. 22‑3/4”, w. 14”, d. 7” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 382 Louis XV-Style Gilt-Bronze-Mounted Nightstand the brass gallery over a parquetry top of mixed woods, the serpentine case with a pair of drawers, the upper drawer fitted with a fold-out looking glass, raised on cabriole legs joined by a low parquetry shelf. h. 29”, w. 17”, d. 13”

381

$1,200‑$1,800

382 380

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383 Rococo-Style Giltwood Mirror mid-20th century, the shield-shaped mirror framed with pierced scrollwork and accented with flowerheads and leaves, the mirror plate lined with rocaille work. h. 52‑1/2”, w. 35” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,000‑$1,500 384 Pair of French Gilt-Bronze Candelabra in the Rococo Revival Taste each with a pierced circular base and standard molded with leaves, the scrolled arms molded with leaves and berries, with matching candle cups and drip pans. h. 31”, dia. 18‑1/2” $2,500‑$4,000 385 French Gilt-Bronze Chandelier first quarter 20th century, in the Louis XV taste, the standard wrapped with molded leaves and flowerheads, the rocaillemolded arms set with floriform drip pans and candle cups molded with lattice- and rocaille work. h. 27”, dia. 18‑1/2” $1,000‑$1,500

383

384 385

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386 Antal Berkes (Hungarian, 1874‑1938) “The Flower Market in Spring” oil on board signed lower right. Framed. 16” x 20”, framed 21” x 24‑3/4” $1,500‑$2,500 387 Paul Renard (French, 1941‑1997) “Winter Evening, Paris” gouache on paper signed lower right. Matted, glazed and framed. sight 10‑1/2” x 17‑1/2”, framed 19” x 25‑1/2” $1,000‑$1,500

386

388 Louis XV-Style Fruitwood Bergere early 20th century, the arched and carved top rail centered by a painted female bust in a glazed frame, and joined to molded wings extending to closed arms and a serpentine front seat rail and cabriole legs. h. 43” $1,200‑$1,800

387

146

388

389 Pair of French Rococo-Style Terracotta Busts of Children third quarter 19th century, after Paul Duboy (French, 1830‑1887), the children in 18th-century costume, wearing impressive plumed hats, with integral socles, one signed “Paul Duboy” in script on the back. h. 19‑1/2”, w. 8‑1/2”, d. 8” $1,500‑$2,500 390 Signed Linke Louis XV-Style Kingwood Occasional Table late 19th century, the shaped rectangular top banded and with parquetry inlay within a brass band, above a conforming frieze fitted with a single drawer, raised on cabriole legs headed by ormolu foliate capitals and ending in sabots, one ormolu mount signed “F. Linke”. h. 29‑1/2”, w. 36”, d. 22” $4,000‑$7,000 391 Baccarat Gilt-Bronze and Crystal Chandelier second quarter 20th century, the standard clad with reeded glass and supporting gilt-bronze scrolled candle arms terminating in molded glass bobeches marked “Baccarat” in raised letters and fitted with bronze sockets, strands of drops hung from the corona to the branches and between the branches, with a cone-form cut glass pendant finial. h. 35‑1/2”, dia. 22”

391

$18,000‑$25,000

389

390

390 detail

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392 Louis XV-Style Mahogany Commode early 20th century, the rectangular top with projecting corners and a three-quarter pierced brass gallery, above a conforming case fitted with three drawers, all with applied ormolu mounts, raised on cabriole legs ending in sabots, the whole with decorative inlaid stringing. h. 31”, w. 25‑1/2”, d. 20” $1,200‑$1,800 393 Six-Piece Louis XV-Style Giltwood Salon Suite late 19th century, consisting of two fauteuils and four side chairs, all with a slightly domed and padded back surmounted by a foliate shield crest, the padded seat raised above a like-carved frieze on cabriole legs headed by a foliate capital and ending in scrolled toes, all upholstered in floral-patterned tapestry. fauteuil h. 40”, side chair h. 37‑1/2”

392

Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $1,200‑$1,800 394 Louis XV-Style Carved Carrara Marble Fireplace Surround 19th century, the shaped deck with a molded edge and resting on a shaped header with a carved shell cartouche. h. 42”, w. 67”, d. 14”, firebox opening h. 43”, w. 54” $3,000‑$5,000

394

393

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395 Louis XV-Style Giltwood and Onyx-Top Console Table 19th century, the shaped onyx top above a conforming floral- and foliate-carved frieze, centered by a shell shield, raised on molded C-scroll legs joined by a shell-centered stretcher and ending in foliate scrolled toes. h. 37‑1/2”, w. 62”, d. 23‑1/2” $1,500‑$2,500 396 French Bronze Gasolier in the Neoclassical Taste fourth quarter 19th century, the turned and leafmolded standard decorated with sprays of wheat, and set with leaf-molded scrolled arms decorated with medallions and set with beaded, leaf-molded drip pans and matching candle sockets, the upper portion with a vasiform leaf-molded corona. h. 46‑1/2”, dia. 33” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,000‑$1,500 397 Louis-Philippe Aubusson Carpet 9’ x 12’ $1,000‑$1,500 397

395

396

149

398 French Rococo-Style Gilt-Bronze Candelabrum fourth quarter 19th century, now mounted as a lamp, decorated with molded rocaille work and set with an adjustable bronze-trimmed fabric candle shade, on a steel standard set with a pierced finial. h. 20‑3/4”, w. 9‑1/2”, d. 4” $1,000‑$1,500 399 Suite of Eight Louis XV-Style Mahogany Side Chairs 20th century, each with a padded shield-form back surmounted by an ormolu foliate crest, the padded seat raised on cabriole legs headed by ormolu capitals and ending in sabots. h. 44‑1/2”

398

$2,000‑$4,000 400 Pair of Louis XV-Style Kingwood Occasional Tables late 19th century, each with a banded and shaped rectangular top quarter-veneered and with an inlaid foliate spray, all within a brass band, above a case fitted with two drawers joined to a banded lower shelf by cabriole supports ending in sabots. h. 28”, w. 18”, d. 13” $1,400‑$1,800

400

399

150

401 Louis XV-Style Kingwood Occasional Table 19th century, the banded and shaped rectangular top quarter-veneered and with projecting corners, above a frieze fitted with a single drawer, raised on slender cabriole legs headed by ormolu mounts and ending in sabots. h. 28‑3/4”, w. 16”, d. 12‑1/2” $1,200‑$1,800 402 Rare Hand-Painted Porcelain Bourdaloue second quarter 18th century, possibly Du Paquier, Vienna, Austria, decorated on one side with a dragon and on the other with a quail on a tree, in front of a fence, with a molded masque on the front. h. 3‑3/4”, w. 9”, d. 5”

401

$1,000‑$1,500 403 Transitional Louis XV/XVI-Style Kingwood and Marble-Top Occasional Table 403

early 20th century, the circular marble top within a full pierced brass gallery, above a conforming frieze fitted with a single drawer, joined to a lower quarter-veneered shelf by cabriole supports ending in sabots. h. 29‑1/2”, dia. 16‑1/4” $1,000‑$1,500 404 French Gilt-Bronze and Crystal Chandelier 20th century, of Baroque inspiration, thirty-six lights, the standard clad with molded glass, the gilt-bronze frame set with scrolled arms supporting candle cups and bronze floriform drip pans on three levels, hung with cut glass drops and interspersed with molded glass finials, the upper portion with two sprays of cut glass drops. h. 58”, dia. 41” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

402 404

151

405 Louis XV Giltwood Barometer third quarter 18th century, composed and signed by Jean Ruscon, the painted wooden dial framed with carved rocaille work, the thermometer framed with a pierced band of laurel leaves, the crest with a reeded urn with carved flowerheads, with a cone-carved lower drop. h. 39”, w. 13‑1/2” $1,400‑$1,800 406 Pair of Louis XV-Style Giltwood Bergeres avec Oreilles 20th century, each with a trisected padded back surmounted by a floral shell crest, joined by downswept sides and padded scrolling arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes on pegs. h. 40”

407

405

$2,500‑$4,000 407 Louis XV-Style Kingwood Occasional Table early 20th century, the circular top with an inlaid foliate design within a full pierced brass gallery, above a conforming frieze fitted with a single drawer, joined to a like lower shelf by cabriole supports ending in sabots. h. 28”, dia. 18‑1/2” $1,000‑$1,500

406

408 Pair of Transitional Louis XV/XVI-Style Kingwood and Marble-Top Music Cabinets early 20th century, each with a rectangular Breche d’Alep marble top within a three-quarter pierced brass gallery, above a conforming case fitted with a frieze drawer over two faux tambour cupboard doors, the interiors fitted with vertical dividers for sheet music, raised on slight cabriole legs ending in sabots. h. 33‑1/4” and 32‑3/4”, w. 24”, d. 13‑3/4” $1,200‑$1,800

408

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409 Pair of Louis XV-Style Bronze Candelabra ca. 1900, the candlestick bases decorated with scrollwork and shells on a stippled ground, the scrolled branches, candle cups and drip pans molded with acanthus leaves. h. 24”, dia. 11‑3/4” $1,000‑$1,500 410 French Gilt-Bronze and Crystal Chandelier second quarter 20th century, in the Louis XVI taste, the bronze frame set with scrolled arms supporting floriform prism-hung drip pans and turned candle sockets, the frame hung with graduated sprays of crystal drops, with an interior spear-point finial and a corona of sprays of drops crowning the top. h. 26”, dia. 19”

409

$1,000‑$1,500 411 Italian Walnut and Marble-Top Commode 18th century, the bowed marble top with projecting corners, above a conforming case fitted with two long drawers, each banded and with a central medallion panel, raised on tapering square legs ending in sabots. h. 32”, w. 42‑1/2”, d. 21” $1,200‑$1,800 412 Handsome Louis XV-Style Gilt-Bronze Dressing Mirror fourth quarter 19th century, the pear-shaped mirror molded with scroll- and rocaille work, the crest engraved with initials, the sides mounted with a pair of matching adjustable candle arms, supported by a pierced easel back. h. 26‑1/2”, w. 17”, d. 6” $1,000‑$1,500 410

412

411

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414

413 Louis XV-Style Giltwood and Slate-Top Console Table 20th century, of tall form, the shaped top on a pierced and carved frame centered with shell and laurel leaf swags, raised on cabriole legs joined by a cartouche-carved stretcher, presented in a dramatic gold-leaf surface. h. 39”, w. 38”, d. 20”

413

$1,500‑$2,500

414 French Rococo-Style Bronze Firescreen and Chenets first quarter 20th century, the screen with a pierced frame, the center decorated with cupids fanning the “flames of love”, h. 28‑1/4”, w. 26”, d. 9‑3/4”, and the chenets decorated with patinated bronze putti, h. 20‑1/2”, w. 13”, d. 4‑1/4”. $1,000‑$1,500

415 Pair of Belle Epoque Bronze and Marble Figural Candlesticks fourth quarter 19th century, French, now mounted as lamps, on marble bases with cut corners and laurel-molded mounts, the standards modeled as patinated bronze putti holding aloft gilt-bronze cornucopia-form candle holders, now fitted with pleated shades. h. 36‑3/4”, dia. 12‑1/2”

415

$1,800‑$2,500

416 Regence-Style Ebonized and Marble-Top Commode 20th century, in the chinoiserie manner, the shaped rectangular marble top above a conforming bombe case fitted with two drawers, both with gilt scenes of a chinoiserie landscape, raised on splayed legs ending in sabots, the whole with ormolu mounts. h. 34”, w. 47‑1/2”, d. 21‑1/2” $2,000‑$4,000 416

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417 French Gilt-Bronze and Crystal Chandelier second quarter 20th century, in the Louis XIV taste, the bronze frame set with scrolled arms supporting floriform prism-hung drip pans and turned candle sockets, the frame hung with graduated sprays of crystal drops, with an interior spear-point finial and a corona of sprays of drops crowning the top. h. 31”, dia. 17‑1/2” $1,000‑$1,500 418 French Gilt-Bronze, Marble and Tole Bouillotte Lamp first quarter 20th century, the cupid-molded standard on a marble base supporting two trumpet-form candle arms, set with delicate leaf-molded candle cups, the tole shade on an adjustable support pole. h. 30‑3/4”, w. 12‑1/2”, d. 9” $1,000‑$1,500

417

419 Louis XV-Style Kingwood, Burlwood and Marble-Top Commode 20th century, the shaped marble top above a conforming bombe case fitted with two drawers, each inset with a burled panel, the sides en suite, raised on splayed legs ending in sabots. h. 28‑1/2”, w. 33‑1/4”, d. 17‑1/4” $1,200‑$1,800 420 Pair of French Gilt- and Patinated Bronze Candelabra fourth quarter 19th century, the circular bases decorated with rocaille work and butterflies, and supporting patinated bronze putti holding leaf-molded candle arms with matching candle cups, bobeches and drip pans. h. 21‑1/2”, dia. 10‑3/4” $1,500‑$2,500

418

420

419

155

421 Gilt-Bronze Mantel Clock by Henry Marc, Paris second quarter 19th century, the rocaille-molded case decorated with sea motifs, including Poseidon at the crest, a putto riding a hippocampus under the dial, and a cupid holding a swag of flowers, surrounded by various shells and coral at the “grotto” base, the silkstring suspension works marked “Hry Marc, Paris”. h. 19‑1/2”, w. 15”, d. 7” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 422 Louis XV-Style Ormolu-Mounted Black Chinoiserie and Marble-Top Commode

423

421

of bombe form, the serpentine variegated marble top over a pair of conforming drawers, the whole black-lacquered and with gilt chinoiserie decoration, with foliate and scroll-molded gilt ormolu mounts, the corners with shell- and leaf-carved mounts, raised on cabriole legs with gilt-bronzemounted scroll feet. h. 34”, w. 60‑1/2”, d. 23” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,500‑$2,500 423 Miniature Louis XV-Style Japanned and Marble-Top Commode 20th century, French, the serpentine mottled brown marble top above a conforming case with two drawers decorated with flowering branches, the sides en suite, fitted with bronze handles and mounts. h. 9”, w. 14‑1/4”, d. 7‑1/2”

422

$800‑$1,200 424 Louis XV-Style Ebonized Bureau Plat early 19th century, the brass-bound shaped rectangular top with an inset leather writing surface, above a frieze fitted with a kneehole, flanked to either side by a small drawer, raised on molded cabriole legs headed by espagnolettes and ending in sabots. h. 29‑1/2”, w. 59”, d. 32” $2,500‑$4,000

156

424

425 Dietz Edzard (German/Paris, 1893‑1963) “Violin and Violets”, 1956 oil on canvas signed lower right, dated lower left. Giltwood frame with artist plaque. 23‑1/2” x 28”, framed 33” x 38‑1/2” x 28”, framed 33” x 38‑1/2” $3,000‑$5,000

425

426 Continental Maria Theresa-Style Crystal and Glass Chandelier 20th century, twenty-four lights, the scrollwork frame clad with molded glass and supporting glass prism rings and lights on two tiers, swags of crystal drops and mauve flowers hung with large drops decorating the arms, a matching spray of drops forming the corona, a mauve spherical drop hung in the center. h. 36”, dia. 35‑1/2” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

426

157

427 Axminster Carpet 11’ 11” x 15’ Provenance: Tajzoy, Houston, Texas. $1,500‑$2,500 428 Louis XIV-Style Mahogany and Marble-Top Commode early 20th century, the rectangular marble top with projecting corners, above a conforming case fitted with a single frieze drawer over two long drawers centered by an inlaid floral arrangement flanked to either side by a parquetry panel, raised on splayed legs ending in ormolu paw feet, the whole heavily accented with ormolu mounts and millwork. h. 34‑1/4”, w. 54”, d. 22” $1,800‑$2,500 429 French Bronze-Mounted and Parquetry-Inlaid Wall Cabinet, Stamped G. Durand fourth quarter 19th century, the doors and sides inlaid with various flowers on a kingwood panel lined with inlay, the top with a pierced gallery, the lower portion with an open bracketed shelf decorated with an inlaid skirt mounted with a gilt-bronze medallion, the back stamped “G. DURAND” for French cabinetmaker GervaisMaximilien-Eugene Durand (1839‑1920). h. 30‑3/4”, w. 15‑3/4”, d. 6‑3/4”

427

$1,000‑$1,500

428 429

158

430 Louis XV-Style Kingwood and Inlaid Side Table 19th century, of bombe form with a floral-inlaid top and sides, the door opening to a fitted interior with four drawers, raised on slender cabriole legs. h. 30”, w. 11”, d. 11” $1,000‑$1,500 431 French Painted and Parcel-Gilt Trumeau Mirror third quarter 19th century, in the rococo style, the top decorated with an oval oil-on-canvas landscape framed in carefully detailed gilt scrollwork flanked by swags of flowers, the mirror framed with gilt rocaille work and pierced latticework, all on a celadon green ground. h. 70‑1/2”, w. 36” $1,000‑$1,500 432 Pair of Louis XVI-Style Polychrome Bergeres 19th century, each with a padded and domed back joined by scrolling padded arms to the cushioned seat, raised on stop-fluted tapering circular legs headed by floral capitals and ending in toupie feet. h. 37‑1/2”

430

431

$1,400‑$1,800 433 Louis XVI-Style Argente Wood Settee 20th century, of molded box form, with padded back and sides above the padded seat, the front with like end sections, raised on stop-fluted tapering circular legs ending in toupie feet, upholstered in taupe damask. h. 35”, w. 74”, d. 27” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $800‑$1,200 432

433

159

434

434 Louis XVI-Style Argente Wood Settee 20th century, of molded box form, with padded back and sides above the padded seat, the front with like end sections, raised on stop-fluted tapering circular legs ending in toupie feet, upholstered in taupe damask. h. 35”, w. 74”, d. 27” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $800‑$1,200

435 English Needlepoint Carpet 8’ x 11’ 8” $1,000‑$1,500

436 Louis XVI-Style Polychrome and Marble-Top Console Table 19th century, the shaped griotte rouge marble top over a conforming carved frieze and raised on turned and carved tapering circular legs. h. 39‑1/2”, w. 43”, d. 19‑1/2” $2,500‑$4,000

436

160

435

438

437

437 Louis XVI-Style Polychrome, Parcel-Gilt and Marble-Top Center Table early 20th century, the inset oval marble top within a rope-carved frame, raised on turned and stop-fluted legs joined by a shaped and carved stretcher. h. 32”, w. 30”, d. 26” $1,500‑$2,500 438 French Glass-Trimmed Gilt-Bronze Chandelier mid-20th century, of Empire inspiration, the vasiform molded standard set with two tiers of scrolled candle arms pierced with medallions, and set with bronze candle cups and prism rings, the rings and standard hung with prisms, the lower portion with a spherical crystal drop. h. 29”, dia. 23” $1,000‑$1,500 439 Pair of Directoire Polychrome and Parcel-Gilt Fauteuils

439

late 18th century, each with a curved and padded back, and raised on turned legs, covered in fine Aubusson upholstery. h. 33‑1/2”, w. 21”, d. 19” $1,200‑$1,800 440 Louis XVI-Style Polychrome and Marble-Top Side Table 19th century, the bowed marble top with an ormolu annulated edging, above a conforming paneled frieze, raised on fluted tapering circular legs headed by foliate block capitals and ending in foliate-carved, turned and ribbed toupie feet. h. 37‑1/4”, w. 46‑1/2”, d. 20‑1/2” $2,500‑$4,000

440

161

442

441 French Painted and Parcel-Gilt Boiserie Mirror fourth quarter 19th century, with framed pilasters on each side, ornamented with applied pierced rocaille work, the mirror plate with a finger-molded surround, decorated with an applied scrollwork crest, with carved leaves in the center, on a taupe ground. h. 69‑1/2”, w. 45”

441

$2,000‑$4,000 442 Louis XVI-Style Mahogany and Marble-Top Commode 20th century, the rectangular marble top with projecting canted corners, above a conforming case fitted with two long parquetryveneered drawers, raised on paneled tapering square legs ending in brass caps. h. 39”, w. 48”, d. 20‑1/4”

443

$1,800‑$2,500 443 French Baccarat-Style Cut Glass and Gilt-Bronze Centerpiece mid-20th century, the gilt-bronze frame set with putti-form handles and paw feet, the upper rim molded with delicate beading. h. 5‑1/2”, w. 24‑1/4”, d. 10‑1/4” $1,000‑$1,500 444 French Gilt-Bronze-Mounted Cut Glass Lamp fourth quarter 19th century, possibly Baccarat, mounted as an electric lamp, the leaf-molded base with a diamond-point cut glass plinth decorated with bronze wreaths, and supporting a tapered cut glass standard terminating in a gilt-bronze Egyptian capital and set with a fluted cut glass font, now fitted with a shade. h. 36‑3/4”, dia. 18” $1,000‑$1,500 444

162

446

445 French Gilt-Bronze-Mounted Cut Glass Urn second half 19th century, now mounted as a lamp on a custom parcel-gilt and ebonized stand, the campana-form urn with palmette- and strawberry-cut designs, with an engine-turned bronze upper ring and Bacchanalian masque handles supporting grape and grape leaf borders, fitted with a pleated shade. h. 31‑3/4”, w. 5‑1/2”, dia. 16”

445

447 Pair of Gilt-Bronze-Mounted Cut Glass Garniture Urns first quarter 20th century, of rococo inspiration, the urns panel cut and gadrooned, and raised on pierced scrollmolded bases, the handles leaf-molded and decorated with beading, the covers with cone-form molded bronze knops. h. 24”, w. 8”, d. 5‑1/4”

$1,000‑$1,500

$2,000‑$4,000

446 Louis XVI-Style Mahogany and Marble-Top Server

448 Pair of Louis XVI-Style Bronze Chenets

late 19th century, the D-form marble top with projecting corners, above a conforming case fitted with a single long drawer, with applied ormolu foliate panels, joined by square uprights and a paneled back to a lower open shelf, raised on tapering square legs, the whole accented with ormolu mounts and millwork. h. 39‑1/2”, w. 61”, d. 20”

third quarter 19th century, French, with covered fluted urns hung with laurel swags and decorated with wreaths of flowers, terminating in supports with cone-form finials and set with medallions and fluted legs. h. 17”, w. 16”, d. 8‑3/4” $1,200‑$1,800

Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,800‑$2,500

448 447

163

449

450

449 Louis XVI-Style Giltwood and Marble-Top Side Table 19th century, the rectangular white marble top above a conforming fluted and acanthine-carved frieze centered by a foliate roundel, raised on tapering circular legs headed by a foliate capital and ending in toupie feet. h. 36”, w. 45‑1/2”, d. 22‑1/2” $3,500‑$5,000 450 Pair of Louis XVI-Style Giltwood Fauteuils 20th century, of generous proportions, each with a padded oval back within a laurel-carved frame, joined by padded arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 40‑1/4” $1,000‑$1,500 451 Belle Epoque Giltwood Mirror fourth quarter 19th century, the outer edge molded with giltbound flowers, the inner edge lined with beading, the corners with acanthus leaves, the exceptional pierced crest decorated with bagpipes and a garden hat, with swags of flowers hanging over the mirror plate. h. 65‑1/2”, w. 37”

451

$1,500‑$2,500 452 Louis XIV-Style Kingwood and Marble-Top Cabinet 20th century, the D-form marble top above a conforming case fitted with a central frieze drawer flanked to either side by a bowed drawer, all inset with ormolu-framed porcelain plaques depicting courtiers at leisure, over a central cupboard door, flanked to either side by a bowed cupboard, all with decorative inlay, raised on large brass paw feet. h. 36”, w. 61”, d. 21‑1/2” $1,500‑$2,500

452

164

453 454

453 Louis XVI-Style Giltwood and Marble-Top Center Table late 19th century, the inset “turtle”-form marble top above a conforming pierced frieze centered by a torchere panel and with pendant floral garlands, raised on stop-fluted tapering circular legs joined by an urncentered X-form stretcher and ending in toupie feet. h. 32”, w. 48‑1/2”, d. 29‑1/2” Provenance: Collection of Reuben L. “Buzz” Harper, Natchez, Mississippi. $1,200‑$1,800 454 French Gilt-Bronze and Red Griotte Marble Mantel Clock fourth quarter 19th century, in the Louis XVI taste, the marble body carved with coved molding and fluting, and decorated with delicately molded bronze mounts depicting ribbon-bound cornucopias of flowers, scrollwork and acanthus leaves, the top finial with a crossed quiver and flaming torch set into a laurel wreath, signed “Raingo Freres a Paris” on the enamel dial. h. 17‑1/2”, w. 12‑1/2”, d. 5‑3/4”

455

$2,000‑$4,000 455 Louis XVI-Style Mahogany and Marble-Top Pedestal Table early 20th century, the rectangular inset marble top within a brass banding and above a conforming frieze with a pierced scrolling foliate ormolu panel, raised on splayed legs joined by a raised X-form stretcher and ending in ormolu hoof feet. h. 39‑1/2”, w. 16‑1/2”, d. 12‑3/4” $1,000‑$1,500 456 Louis XVI-Style Mahogany and Marble-Top Center Table early 20th century, the circular marble top within a full pierced brass gallery, above a conforming frieze, paneled and fitted with a single drawer, each panel with an applied scrolling foliate ormolu mount, raised on fluted tapering circular legs joined by a finial-centered X-form stretcher and ending in foliate peg feet. h. 31”, dia. 26‑1/4”

456

$1,200‑$1,800

165

457 French Belle Epoque Gilt-Bronze Chandelier first quarter 20th century, exhibiting a mixture of Rococo and Art Nouveau designs, the ball-form body wrapped with latticework and supported on a standard with a vine of flowers, the arms set on two tiers, with pierced latticework on the top tier and scrollwork and leaves on the bottom tiers. h. 61‑1/2”, dia. 31” $1,000‑$1,500 458 French Gilt-Bronze and Pottery Aesthetic Three-Piece Clock Set

458

fourth quarter 19th century, the gilt-bronze case and matching garnitures set with beautifully rendered panels depicting various birds, the clock with a gilt-bronze bird-on-nest finial, and set with a signed Samuel Marti movement, the ogee-molded giltwood stands likely original. clock h. 16‑1/4”, w. 9‑1/2”, d. 6‑1/4”, garnitures h. 13”, w. 5‑1/4”, d. 5” $1,000‑$1,500

457

459 Pair of Louis XVI-Style Giltwood Bergeres avec Oreilles 20th century, each with a trisected padded back surmounted by a floral crest, joined by downswept sides and scrolling padded arms to the cushioned seat, raised on stop-fluted tapering circular legs ending in toupie feet. h. 43” $2,500‑$4,000

460

460 French Belle Epoque Giltwood Mirror fourth quarter 19th century, with a center oval surround and crossetted corners, the crest with a pierced wreath framed with sprays of ivy and flowers, the surround lushly carved with flowerheads, the lower edge with pierced ribbon-bound cattails and trophies. h. 46”, w. 32” $1,800‑$2,500

166

459

461

462

461 Louis XVI Fruitwood and Marble-Top Side Table late 18th century, the bowed marble top with projecting corners, above a conforming foliate-pierced frieze with pendant floral garland, raised on fluted tapering circular legs joined by a floral urn-centered, dentillated stretcher and ending in toupie feet. h. 34”, w. 43‑1/4”, d. 20‑1/2” $1,500‑$2,500 462 Pair of Louis XVI-Style Giltwood Fauteuils early 20th century, each with a padded and domed back within a ribbonand floral-carved frame, joined by padded acanthine-carved arms to the padded seat, raised on spiral-fluted tapering circular legs ending in toupie feet. h. 40‑1/2” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,400‑$1,800 463 Petite Louis XV-Style Kingwood Parquetry-Inlaid and Gilt-BronzeMounted Side Table

463

early 20th century, in the manner of Francois Linke, of kidney form with a pierced gilt-bronze gallery, the front fitted with a spring-loaded drawer, a shaped shelf below, raised on slender legs ending in gilt-bronze paw feet. h. 31”, w. 20”, d. 12” $1,500‑$2,500 464 Pair of Barbedienne Foundry Gilt-Bronze Candlesticks fourth quarter 19th century, French, in the rococo taste, the standards molded with shells, the bases with intertwined scrollwork, the edge of each base stamped “F. Barbedienne”. h. 12‑1/4”, dia. 6‑1/4” $1,000‑$1,500 464

167

465 Louis XVI-Style Mahogany and Marble-Top Commode early 20th century, the rectangular white marble top with turreted corners, above a conforming case fitted with a frieze drawer faced as three small drawers, over two long drawers, all with decorative brass banding, flanked to either side by brassfluted columns and raised on bun feet. h. 29”, w. 50”, d. 23‑1/2” $1,000‑$1,500

466 Suite of Six Louis XVI-Style Polychrome Side Chairs early 20th century, each with an oval padded back with a molded frame, serpentine seat and raised on turned and fluted legs. h. 36‑1/2”

467

$1,000‑$1,500

467 Silver Giltwood and Glass Chandelier 20th century, Continental, the silver-gilt turned wood standard set with silvered metal scrolled candle arms terminating in molded glass prism rings, the standard and arms hung with swags of glass drops. h. 30”, dia. 23” $1,000‑$1,500 465

466

168

468 Paul Sormani Louis XVI-Style Parquetry and BronzeMounted Table 20th century, the lock engraved “P. Sormani 10 r Charlot Paris”, the brass gallery flanking a parquetry and floralinlaid top over a frieze fitted with a single drawer with bronze moldings and figured wood panel, raised on inlaid tapering square legs. h. 30”, w. 25‑3/4”, d. 15‑3/4”

468 detail

$2,500‑$4,000

468

468 detail

469 French Empire-Style Brass-Mounted Bookcase/Cabinet ca. 1900, the molded cornice over a paneled frieze, with a pair of doors with arched glazed panels, flanked by fluted columns with bronze Ionic capitals, on a base with a pair of pull-out shelves over paneled doors, the doors flanked by similar columns and opening to reveal a partitioned interior with shelves on one side and a bank of drawers on the other, adorned with brass moldings throughout. h. 100‑1/4”, w. 47‑1/2”, d. 21” $1,000‑$1,500 469

169

471

472

470 Louis XVI-Style Mahogany and Marble-Top Bureau Cylindre early 20th century, the rectangular marble top within a three-quarter pierced brass gallery, above three small drawers, over a paneled cylinder opening to a pull-out leather-inset writing surface and a variety of drawers and cubbyholes, with a central drawer flanked by two smaller drawers to each side below, raised on fluted tapering circular legs ending in brass caps. h. 48”, w. 54”, d. 26‑1/2” $3,000‑$5,000 471 Royal Copenhagen “Flora Danica” Round Fruit Basket ca. 1900, model 3532, with vine handles, the interior depicting “Ribes nigrum L.”, fully marked. h. 3‑1/4”, bowl dia. 7‑1/4”, w. 8‑1/4” Provenance: Private collection, New Orleans, Louisiana.

470

$1,400‑$1,800 472 Louis XVI-Style Giltwood and MarbleTop Center Table ca. 1900, the figured inset green marble top with projecting corners, above a conforming guilloche-carved apron, raised on fluted legs with foliate-carved bases, joined by a shaped bracket stretcher. h. 29‑3/4”, w. 44”, d. 25‑1/2” Provenance: Estate of Victor and Marie Cascio, Monroe, Louisiana. $1,000‑$1,500

170

470 detail

473

473 Louis XVI Mahogany and Marble-Top Side Table late 18th century, the bowed marble top above a frieze fitted with a central drawer flanked to either side by a faux drawer, all paneled and with brass banding, raised on brass-fluted tapering circular legs ending in brass caps. h. 37”, w. 45”, d. 23‑1/2” $1,200‑$1,800 474 Pair of Louis XVI Beechwood Bergeres 18th century, each with a domed and caned back surmounted by a floral crest, joined by caned padded sides to the cushioned caned seat, raised above a floral-carved apron on stop-fluted tapering circular legs ending in toupie feet. h. 38”

474

475 Napoleon III Palissandre and Kingwood Bonheur du Jour third quarter 19th century, in the Louis XVI taste, the central beveled mirror surmounted by a domed crest and over a beveled glass-topped display drawer, flanked to either side by a galleried marble surface over four small brass banded drawers, the lower section with a paneled top sliding back to reveal a pull-out leather-inset writing surface, opening to a compartmented interior, raised on brass-fluted tapering circular legs ending in toupie feet, the whole finely accented with ormolu mounts and millwork and decorative inlaid stringing. h. 50”, w. 33”, d. 17‑1/2” $2,000‑$4,000

$1,000‑$1,500

475

475 detail

171

476 Pair of Napoleon III Silver Legumiers

478 German Silver Cello Box

third quarter 19th century, Paris, by Francois Durand (1782‑1859), first standard (.950) silver, each of serpentinelobed circular from, with shell-mounted addorsed acanthus scroll handles, the fitted, domed lid with ring handle en suite, opening to reveal a detachable fitted liner; engraved on the lid with an armorial of three hinds trippant and crest of a stag at gaze. h. 7‑1/4”, dia. 9‑3/8”; 116.72 total t. oz.

first quarter 20th century, by Karl Kurz, Kesselstadt, .800 silver, in the form of a cello, with putto scroll and decorated with embossed rococo scrolls and galants scenes, the body hinged and opening to a gilt interior. l. 12‑1/2”, w. 4”; 11.46 t. oz. $1,000‑$1,500

$2,000‑$4,000 476A Pair of French Silver Ewers ca. 1900, Atelier Puiforcat, Paris, first standard (.950) silver, each in the form of a stylized nautilus shell on a “barnacle” banded base, with a figural handle of Triton, the hinged lid with conch shell finial. h. 12‑1/2”, l. 6‑1/4”, w. 4‑1/4”; 76.04 total t. oz. $5,000‑$8,000 477 Bezalel Silvered Repousse Metal Plaque of Yom Kippur second quarter 20th century, presented within a silvered copper frame marked “Made in Palestine” lower left and (in Hebrew) “Jerusalem Bezalel” lower right, fixed to an ebonized wood mount. overall 8‑1/4” x 19‑7/8” 476A

$2,000‑$4,000

476

477 478

172

479 Assembled Set of Eight Soviet Causasian Silver Niello Tea Glasses third quarter 20th century, Kubachi, Dagestan (one Baku, Azerbaijan), the .875 silver podstakanniki in the “Flower Crescent” pattern, with openwork scrolls, squared handles and traditional Kubachi decoration in wrigglework and niello, some gilt, one with Cyrillic inscription, all fitted with plain cylindrical glasses. overall h. 6‑3/4”, dia. 2‑7/8”, l. 4”; 23.02 total t. oz. (weighable silver) $1,000‑$1,500

479

480 Pair of German .800 Silver Candelabra first quarter 20th century, by Bruckmann & Sohne, Heilbronn, .800 silver, in the rococo taste, each with a baluster standard above a domed base raised on three feet and surmounted by a waisted nozzle, into which fits a detachable superstructure with a central smaller standard surrounded by four openwork rococo-scroll arms, all terminating in a waisted nozzle with drip-pan and detachable bobeche, the whole decorated with embossed rococo scrolls and lattice panels. h. 21”, w. 12‑1/2”; 92.82 total t. oz. $1,200‑$1,800 481 Buccellati Sterling Silver “Millennium Globe” 2000, Milan, number 090 of 500, featuring a spinning globe mounted in an olive branch with dove final, above a tiger eye quartz base within a banded frame engraved with a quotation from Cicero: “Universus hic mundus sit una civitas communis deorum atque hominum existimanda est” [“The entire universe must be conceived as one community in which both gods and men are citizens”], the underside with title and limitation inscription. h. 9”, dia. 4‑1/2”; weighted

480

$1,000‑$1,500 482 Georg Jensen Sterling Silver Pitcher #407A designed by Georg Jensen (1866‑1935), Copenhagen, Denmark, with the post1945 Jensen mark, the ovoid body with cylindrical collar and everted rim, with openwork “grape cluster” foot ring and ebony handle mounted en suite. h. 9‑1/4”, l. 7‑1/4”, dia. 5”; 33.50 total t. oz. (including ebony handle) $3,500‑$5,000 481 482

173

483 484

483 Emilia Castillo Sterling Silver Center Bowl contemporary, Taxco, Mexico, of hemispherical form with hammered finish, with an applied rim of silver wirebound verdigris-enameled thick copper wire navettes with hardstone-inlaid flowers, raised on a foot ring of silver-bound verdigris-enameled copper wire rings. h. 5”, dia. 11‑3/4”; 63.03 t. oz. (including copper elements) $1,200‑$1,800 484 Franco Lapini Silverplate “Maialino” Covered Meat Dish contemporary, Florence, in the form of a piglet with glass eyes, the base with detachable conforming wooden carving board. h. 8‑1/2”, l. 26”, w. 11‑3/4”

486 Mexican Sterling Silver Tea Set third quarter 20th century, by C. Zurita, Mexico City, in the Danish Modern taste, including: a teapot, h. 7‑3/4”, l. 8‑1/2”; a creamer, h. 4”, l. 5”; a covered sugar bowl, h. 4‑1/4”, w. 5‑1/2”; and a tray, l. 19”, w. 12‑1/4” the hollowware with ovoid bodies, stylized “blossom” finials and arched handles with beaded mounts, the oval tray with handles en suite. 80.79 total t. oz.

$1,000‑$1,500

Provenance: Collection of Mark M. Johnson, Montgomery, Alabama.

485 Pair of Buccellati “Torchon” Sterling Silver Mugs

$2,000‑$4,000

contemporary, Milan, Italy. h. 5‑1/4”, dia. 3‑3/4”, l. 5‑1/4”; 28.97 total t. oz. $1,000‑$1,500

485

486

174

487

488

487 Gianmaria Buccellati Sterling Silver Pumpkin Box fourth quarter 20th century, Milan, by Ilario Pradella, the realistically detailed gourd with pumpkin-leaf feet and fitted lid. h. 5‑3/4”, dia. 5‑3/4”; 17.72 t. oz. $1,200‑$1,800 488 Two Continental Silver-Filled Pumpkins contemporary, each electroform bonded porcelainfilled gourd realistically modeled and detailed. dia. 6” and 7”; weighted $1,000‑$1,500

489

489 German Novelty Sterling Silver “Squirrel” Cocktail Shaker contemporary, Ludwig Neresheimer Co., Hanau, in the form of a realistically detailed European squirrel, its paw resting on a walnut, its mouth a faux spout fitted with a chained “stopper” with an acorn, the head fitted with glass eyes and detaching to reveal the detachable strainer. h. 6‑1/4”, l. 11‑1/2”; 29.20 t. oz. $4,000‑$7,000 490 German Novelty Sterling Silver “Owl” Cocktail Shaker contemporary, Ludwig Neresheimer Co., Hanau, in the form of a realistically detailed long-eared owl, its beak a faux spout fitted with a chained “stopper” with a frog on a lily pad, the head fitted with glass eyes and detaching to reveal the detachable strainer. h. 8”, w. 4‑1/4”; 30.68 total t. oz. $4,000‑$7,000

490

175

492 491

491 Semi-Antique Bidjar Carpet 9’ 4” x 11’ 8” $1,000‑$1,500

492 Agra Serapi Carpet 7’ 10” x 10’ $1,200‑$1,800

493 Esfahan Carpet 10’ x 14’ 7” $2,000‑$4,000

493

176

495

496

494 Agra Serapi Runner

495 Turkoman Carpet

496 Heriz Carpet

2’ 7” x 29’ 3”

8’ x 11’

10’ x 13’

$1,000‑$1,500

$2,000‑$4,000 494

177

497 Serapi Carpet 6’ 1” x 10’ 3” $1,000‑$1,500

497

498 Semi-Antique Bakhtiari Runner 3’ 3” x 13’ 6” $1,000‑$1,500

498

178

499 Laristan Mamluk Carpet 9’ x 11’ 10” $1,000‑$1,500

499

500 Tabriz Carpet 6’ 8” x 10’ $1,500‑$2,500

500

179

Lot 663

SESSION II

Sunday, October 13, 2019 Lots 501-971

502 501

504

503

506

507

505

501 South Sea Pearl Necklace 14k yellow gold, the necklace composed of 12.0 mm to 14.0 mm South Sea pearls with a pink/rose color and a good luster, finished with a gold clasp. l. 16”, total weight 2.0 grams $1,000‑$1,500 502 Diamond Ring 18k white gold, the ring mounted with a central European-cut diamond weighing approximately 0.54 carats, approximate color G and clarity VS1, accented with single-cut diamonds weighing approximately 0.05 carats in total. size 8, total weight 2.0 grams $1,400‑$1,800 503 Two Diamond Bracelets sterling silver, the hinged bracelets mounted with roundcut diamonds weighing approximately 7.60 carats in total. w. 5/16”, inside circumference 7‑1/4”, total weight 45.8 grams $1,000‑$1,500 504 Pair of Diamond Stud Earrings 14k white gold, the studs mounted with round brilliant-cut treated diamonds weighing approximately 2.00 carats in total, approximate color E-F and clarity I2‑I3. total weight 1.0 gram

505 Diamond Bracelet sterling silver, the flexible bracelet mounted with round-cut diamonds weighing approximately 7.80 carats in total. w. 5/8”, l. 7”, total weight 30.1 grams $1,000‑$1,500 506 Diamond Bracelet and Earrings Suite sterling silver, all mounted with slice-cut diamonds weighing approximately 6.76 carats in total. earrings l. 2”, bracelet l. 7”, total weight 24.0 grams $1,000‑$1,500 507 Pair of Whimsical Diamond Earrings sterling silver, the earrings mounted with round-cut diamonds weighing approximately 4.80 carats in total. l. 3”, total weight 19.2 grams $1,000‑$1,500

$2,500‑$4,000

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508 Diamond and Green Tourmaline Bracelet sterling silver, the bracelet mounted with slice-cut diamonds weighing approximately 4.89 carats in total and oval-cut green tourmalines weighing approximately 12.00 carats in total. l. 7‑1/2”, total weight 61.0 grams $1,000‑$1,500 509 Tanzanite, Tsavorite Garnet and Diamond Necklace sterling silver, the necklace mounted with oval-shaped tanzanites weighing approximately 10.24 carats in total, round-cut tsavorite garnets weighing approximately 8.36 carats in total and slice-cut diamonds weighing approximately 6.91 carats in total. l. 20”, total weight 135.0 grams $1,000‑$1,500 510 Tanzanite and Diamond Ring 18k white gold, the ring mounted with an oval cabochon-cut tanzanite weighing approximately 8.55 carats, nestled in a cluster of flowers, accented with round brilliant-cut diamonds weighing approximately 1.79 carats in total. size 7‑1/4, total weight 11.3 grams $1,500‑$2,500 511 Tanzanite and Topaz Necklace sterling silver/platinum, the necklace mounted with pear- and round-cut tanzanites weighing approximately 36.50 carats in total, and round-cut colorless topazes weighing approximately 1.30 carats in total. l. 17‑1/2”, pendant l. 1”, total weight 35.9 grams $1,200‑$1,800

515 Georgian Emerald and Diamond Ring 18k yellow gold/sterling silver, the ring mounted with three emerald-cut treated emeralds weighing approximately 3.32 carats in total, accented by rose-cut diamonds weighing approximately 0.40 carats in total. size 6‑1/2, total weight 11.0 grams $1,000‑$1,500 516 Pair of Emerald and Diamond Earrings 18k yellow gold, the earrings mounted with pear-cut treated emeralds weighing approximately 2.48 carats in total, accented by a row of round brilliant-cut diamonds weighing approximately 0.82 carats in total. l. 10/16”, total weight 3.6 grams $1,200‑$1,800 517 Emerald and Diamond Ring 18k white gold, the ring mounted with a sugarloaf treated emerald weighing approximately 8.52 carats, accented by pear-, marquise- and round brilliant-cut diamonds weighing approximately 1.90 carats in total. size 7, total weight 7.8 grams $9,000‑$12,000 518 Emerald and Diamond Ring 18k yellow gold, the ring mounted with an emerald-cut treated emerald weighing approximately 2.17 carats, accented by baguette- and round brilliant-cut diamonds weighing approximately 0.33 carats in total. size 7, total weight 4.7 grams

512 Tanzanite, Diamond and Rock Crystal Ring 14k yellow gold, the ring mounted with an oval cabochon-cut tanzanite weighing approximately 5.22 carats, set in a carved rock crystal border accented with round brilliant-cut diamonds weighing approximately 0.17 carats in total. size 6‑3/4, total weight 7.0 grams

$1,500‑$2,500

$1,000‑$1,500

519 Emerald Bracelet gold vermeil, the hinged bracelet mounted with round-cut treated emeralds weighing approximately 15.44 carats in total. w. 7/8”, inside circumference 7”, total weight 47.2 grams

513 Tanzanite and Diamond Ring 14k white gold, the ring mounted with a cushion-cut tanzanite weighing approximately 5.26 carats, accented with a double halo of round brilliant-cut diamonds weighing approximately 2.45 carats in total. size 7, total weight 14.0 grams $1,800‑$2,500 514 Pair of Tanzanite, Emerald and Diamond Earrings platinum, the earrings mounted with oval cabochon-cut tanzanites weighing approximately 23.09 carats in total, accented by oval- and round-cut treated emeralds weighing approximately 0.92 carats in total and round brilliant-cut diamonds weighing approximately 0.40 carats in total. l. 1‑1/4”, total weight 11.0 grams $1,800‑$2,500

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520 Unusual Green Quartz, Ruby and Diamond Bracelet gold vermeil, the bracelet mounted with treated oval-shaped green quartz stones weighing approximately 23.44 carats in total, accented with oval-cut treated rubies weighing approximately 2.10 carats in total and rose-cut diamonds weighing approximately 1.46 carats in total. w. 3/4”, l. 7‑1/2”, total weight 60.0 grams $1,000‑$1,500 521 Rubellite and Diamond Ring 14k yellow gold, the ring mounted with an oval-cut rubellite weighing approximately 2.79 carats, accented by round brilliant-cut diamonds weighing approximately 0.26 carats in total. size 7, total weight 6.0 grams $1,200‑$1,800 522 Pair of Ruby and Diamond Earrings 18k white/yellow gold, the earrings mounted with round-cut treated rubies weighing approximately 1.20 carats in total and round brilliant-cut diamonds weighing approximately 1.38 carats in total. l. 1‑3/4”, total weight 8.0 grams $1,800‑$2,500

524 Star Ruby and Diamond Ring 14k white gold, the ring mounted with a central star sapphire cabochon weighing approximately 2.65 carats, accented by oval-cut treated rubies weighing approximately 0.53 carats in total and round brilliant-cut diamonds weighing approximately 0.76 carats in total. size 7, total weight 5.3 grams $1,800‑$2,500 525 Whimsical Pair of Gem-Set “Butterfly” Earrings 14k yellow gold, the earrings mounted with various gemstones, including marquise-cut treated citrines, pear-cut treated peridots, round-cut treated amethysts and marquisecut treated rubies, weighing approximately 2.90 carats in total, accented by single-cut and round brilliant-cut diamonds weighing approximately 0.20 carats in total. l. 1”, total weight 9.0 grams $1,000‑$1,500 526 Ametrine Necklace 14k yellow gold, the necklace composed of polished marquise-shaped ametrines in various sizes, separated by fluted gold beads and finished with a gold clasp. l. 17”, total weight 76.6 grams $1,000‑$1,500 527 Large Ametrine Ring 18k yellow gold, the ring mounted with a square step-cut ametrine weighing approximately 22.55 carats. size 6‑3/4, total weight 27.7 grams Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,000‑$1,500 528 Pair of Gem-Set “Sputnik” Earrings 18k yellow gold, the earrings mounted with various round-cut gemstones, including amethyst, citrine, aquamarine, garnet, green tourmaline and zircon, weighing approximately 5.96 carats in total. l. 3/4”, total weight 5.0 grams $1,000‑$1,500

522

529 Pair of Gem-Set Earrings 18k yellow gold, the earrings mounted with round-cut aquamarines weighing approximately 0.06 carats in total, round-cut orange sapphires weighing approximately 0.06 carats in total and round-cut peridots weighing approximately 0.08 carats in total. l. 1‑1/2”, total weight 11.0 grams $1,000‑$1,500

523 Pair of Ruby and Diamond Earrings 18k white gold, the earrings mounted with oval-cut treated rubies weighing approximately 11.30 carats in total, accented at the top with round brilliant-cut diamonds weighing approximately 0.07 carats in total. l. 1”, total weight 10.0 grams $1,800‑$2,500

530 Whimsical Gem-Set Ring 18k yellow gold, the ring mounted with round-cut aquamarines weighing approximately 0.06 carats in total, round-cut amethysts weighing approximately 0.08 carats in total and round-cut peridots weighing approximately 0.04 carats in total. size 7, total weight 9.0 grams $1,000‑$1,500

187

531 Pair of “Stained Glass Window” Earrings 18k yellow gold, the delicate earrings each with a “window” of glass in red, blue and green. l. 1‑1/2”, total weight 8.9 grams $1,000‑$1,500 532 Pair of Sapphire and Diamond Earrings 18k yellow gold, the earrings mounted with pear-cut treated sapphires weighing approximately 1.20 carats in total and accented with round brilliant-cut diamonds weighing approximately 0.80 carats in total. l. 1”, total weight 4.7 grams

538 Pair of Turquoise, Aquamarine and Diamond Earrings 18k yellow gold, the earrings mounted with teardrop-shaped turquoise cabochons weighing approximately 7.94 carats in total, suspended from the tops mounted with round-cut aquamarines weighing approximately 0.92 carats in total, and accented throughout with round brilliant-cut diamonds weighing approximately 0.54 carats in total. l. 1‑3/4”, total weight 9.8 grams $1,400‑$1,800

$1,000‑$1,500 533 Pair of Sapphire and Diamond Earrings 14k yellow gold, the earrings mounted with round-cut treated sapphires weighing approximately 1.84 carats in total, accented with round brilliant-cut diamonds weighing approximately 0.63 carats in total. l. 3/4”, total weight 10.0 grams $1,000‑$1,500 534 Lapis Lazuli, Diamond and Emerald Bracelet 18k yellow gold, the hinged bracelet mounted with ribbed lapis lazuli accented with rows of round brilliant-cut diamonds weighing approximately 0.56 carats in total, and finished on the inside ends with round-cut emeralds weighing approximately 0.21 carats in total. inside circumference 6‑1/8”, total weight 43.4 grams

537

$3,000‑$5,000 535 Pair of Turquoise, Lapis Lazuli, Diamond and Crystal Earrings 18k yellow gold, the dangle earrings with a carved hexagonalshaped crystal, suspended between sections mounted with oval- and pear-cut turquoise cabochons weighing approximately 2.78 carats in total, each surrounded by a border of lapis lazuli, and accented by round brilliant-cut diamonds weighing approximately 0.47 carats in total. l. 2‑1/4”, total weight 13.0 grams $1,200‑$1,800 536 Pair of Turquoise Ear Clips 14k yellow gold, the ear clips mounted with cabochon-cut turquoises weighing approximately 22.44 carats in total. l. 3/4”, total weight 9.0 grams $1,000‑$1,500

539 Lapis Lazuli, Topaz, Aquamarine and Diamond Necklace 18k white gold, the pendant composed of lapis lazuli and mounted on the bottom with a square-cut treated blue topaz weighing approximately 2.06 carats, and on the top with a square-cut treated aquamarine weighing approximately 0.40 carats in total, accented by round brilliant-cut diamonds weighing approximately 0.06 carats in total, l. 2‑1/4”, suspended from an 18” white gold necklace accented with two square-cut treated aquamarines weighing approximately 0.38 carats in total. total weight 9.0 grams $1,000‑$1,500 540 Blue Topaz and Diamond Ring 14k white gold, the ring mounted with an emerald-cut blue topaz weighing approximately 3.82 carats, accented with round brilliant-cut diamonds weighing approximately 1.59 carats in total. size 6‑3/4, total weight 8.0 grams

537 Pair of Turquoise, Emerald and Diamond Earrings 18k white gold, the earrings mounted with pear- and round-cut turquoises weighing approximately 7.64 carats in total, accented with marquise-cut emeralds weighing approximately 0.54 carats in total and round brilliant-cut diamonds weighing approximately 1.30 carats in total. l. 1‑1/2”, total weight 11.0 grams

$1,200‑$1,800

$1,800‑$2,500

$1,000‑$1,500

8 188

541 Opal and Diamond Ring 14k yellow gold, the ring mounted with an oval cabochon-cut opal weighing approximately 4.47 carats, accented by round brilliant-cut diamonds weighing approximately 0.24 carats in total. size 6‑1/2, total weight 6.50 grams

534

531

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536

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542 Yellow and White Diamond Bracelet 18k white/yellow gold, the bracelet mounted with eight cushion-cut Fancy Yellow diamonds weighing approximately 1.46 carats in total, approximate clarity SI1‑SI2, and round-cut white diamonds weighing approximately 1.00 carat in total. l. 7‑1/2”, total weight 9.0 grams

546 Pair of Diamond Earrings 18k yellow gold, the earrings mounted with round brilliant-cut diamonds weighing approximately 0.88 carats in total. l. 1”, total weight 4.1 grams

$3,000‑$5,000

547 Diamond Ring 14k yellow gold, the ring mounted with a central round brilliant-cut diamond weighing approximately 1.30 carats, approximate color H and clarity SI1, set on a band mounted with a central row of baguette-cut diamonds, flanked on the top and bottom with a row of round brilliant-cut diamonds, with an approximate total weight of 1.20 carats. size 5‑1/2, total weight 10.0 grams

$1,200‑$1,800

$2,500‑$4,000 548 Diamond Ring 14k yellow gold, the ring mounted with a central round brilliant-cut diamond weighing approximately 0.46 carats, approximate color O and clarity I1, accented by round brilliantcut diamonds weighing approximately 0.21 carats in total. size 6‑3/4, total weight 4.0 grams 542

543 Yellow and White Diamond Necklace 18k white gold, the necklace mounted with oval-cut Fancy Yellow diamonds weighing approximately 3.89 carats in total, approximate clarity VS1‑VS2, accented with round brilliant-cut white diamonds weighing approximately 4.59 carats in total. l. 18”, total weight 16.0 grams $6,000‑$9,000 544 Fancy Yellow and White Diamond Ring 18k white gold, the ring mounted with an oval-cut Fancy Yellow diamond weighing approximately 0.45 carats, approximate clarity SI1, surrounded by a halo of round brilliant-cut Fancy Light Yellow diamonds weighing approximately 0.10 carats in total and accented on the outside halo and the ring shank with round brilliant-cut white diamonds weighing approximately 0.81 carats in total. size 6‑3/4, total weight 6.0 grams $2,500‑$4,000 545 Diamond Bracelet gold vermeil, the bracelet mounted with single- and round-cut diamonds weighing approximately 2.80 carats in total. l. 7”, total weight 35.0 grams $1,000‑$1,500

$1,200‑$1,800 549 Rose-Cut Diamond Ring 18k yellow gold, the ring mounted with a central light yellow rose-cut diamond weighing approximately 0.60 carats, surrounded by a double halo of round brilliant-cut white diamonds weighing approximately 0.36 carats in total. size 6‑1/2, total weight 4.0 grams $1,400‑$1,800 550 Diamond Necklace gold vermeil, the necklace mounted with slice-cut diamonds weighing approximately 16.34 carats in total. l. 16”, total weight 40.1 grams $1,000‑$1,500 551 Diamond Ring 14k yellow gold, the ring mounted with a central round brilliantcut diamond weighing approximately 1.00 carat, approximate color E and clarity SI2, surrounded by a halo of round brilliantcut diamonds weighing approximately 1.69 carats in total, approximate color E-G and clarity SI1‑SI2. size 5‑1/2, total weight 8.0 grams $3,000‑$5,000 552 Two Diamond Bangle Bracelets gold vermeil, the hinged bracelets mounted with baguette-cut diamonds weighing approximately 2.80 carats in total. inside circumference 7‑1/4”, total weight 27.7 grams $1,000‑$1,500

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553 Pair of Diamond Etruscan-Style Ear Clips 18k yellow gold, the earrings mounted with round brilliantcut diamonds weighing approximately 0.08 carats in total. l. 1‑1/4”, total weight 31.0 grams $2,000‑$4,000 554 Whimsical Gem-Set Ring 18k yellow gold, the wide band in the form of intertwined branches, mounted with a skull set with round-cut black and white diamonds weighing approximately 1.38 carats in total, accented by a flower and butterfly set with round-cut treated emeralds weighing approximately 0.27 carats in total and round-cut treated rubies weighing approximately 0.51 carats in total. size 7, total weight 18.0 grams $2,000‑$4,000

556 Black Onyx and Diamond Ring 18k white gold, the ring mounted with baguette- and round brilliant-cut diamonds weighing approximately 0.93 carats in total, accented by black onyx. size 7‑1/4, total weight 7.6 grams $1,200‑$1,800 557 Pair of Diamond Stud Earrings 18k white gold, the stud earrings mounted with round brilliantcut diamonds weighing approximately 1.40 carats in total, approximate color J-K and clarity SI1‑I1. total weight 1.5 grams $2,000‑$4,000 558 Diamond Necklace 18k white gold, the necklace mounted with round brilliant-cut diamonds weighing approximately 1.35 carats in total. l. 16”18”, total weight 6.9 grams $1,500‑$2,500 559 Pair of Diamond Earrings 18k white gold, the earrings mounted with round brilliantcut diamonds weighing approximately 1.06 carats in total. l. 1‑1/4”, total weight 4.6 grams $1,200‑$1,800

554

560 Rose-Cut Diamond Ring and Necklace 18k white gold, the necklace and ring mounted with rose-cut diamonds weighing approximately 1.55 carats in total. ring size 6‑3/4, necklace l. 16”-18”, total weight 4.3 grams $1,500‑$2,500

555 Onyx and Diamond Bracelet 14k yellow gold, the hinged bracelet mounted with black onyx accented by round brilliant-cut diamonds weighing approximately 0.65 carats in total. inside circumference 6‑3/4”, total weight 26.1 grams $1,800‑$2,500

561 Lady’s Rolex Diamond Datejust Watch stainless steel/14k yellow gold, the mechanical self-winding non-quick changing calendar movement with a refinished black dial set with baguette-cut and round brilliant-cut diamonds, and the after-market diamond bezel set with single-cut diamonds, with an approximate total diamond weight of 1.20 carats, the two-tone jubilee band with a Rolex deployant clasp with reference #132523‑D14, the case and band after-market, reference #6717, serial #6,700,XXX. inside circumference 7”, total weight 47.6 grams $1,800‑$2,500

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193

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194

562 Gentleman’s Edwardian Watch Chain 15k yellow gold, first quarter 20th century, with “wrigglework” filigree plaques separated by rope-twist discs, the spring-ring and swivel later replacements converting it to a neck chain. l. 24”, total weight 36.0 grams $1,000‑$1,500 563 Pair of Whimsical Cufflinks 18k/22k yellow gold, the cufflinks depicting frogs mounted with round-cut emeralds weighing approximately 0.33 carats in total, each mounted to a natural crystal matrix in the form of a lily pad. l. 1‑1/4”, total weight 24.0 grams $1,000‑$1,500

564 Pair of Ruby Cufflinks 14k yellow gold, the cufflinks each in the form of a bull’s head, mounted with round-cut rubies for the eyes, weighing approximately 0.56 carats in total. l. 1‑1/2”, total weight 35.0 grams $2,000‑$4,000 565 Morganite and Diamond Ring 18k rose gold, the ring mounted with an emerald-cut morganite weighing approximately 1.38 carats, flanked by a band mounted with round brilliant-cut diamonds weighing approximately 0.12 carats in total, set on a background mounted with crystal quartz surrounded by a border of black onyx. size 11, total weight 18.0 grams $1,500‑$2,500

195

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566 Turkish Silk Prayer Rug 3’ 3” x 5’ 4” $1,000‑$1,500 567 Antique Heriz Carpet 11’ 11” x 15’ 8” $3,000‑$5,000 568 Semi-Antique Part Silk Isfahan Carpet 13’ x 15’ $2,000‑$4,000

568

196

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571

569 Bamboo Silk Sultanabad Carpet 11’ 10” x 14’ 2” $1,400‑$1,800 570 Antique Tabriz Carpet 4’ 8” x 5’ 8” $1,000‑$1,500 571 Semi-Antique Heriz Runner 2’ 10” x 13’ 9” $1,200‑$1,800 570

197

572 Semi-Antique Karaja Runner 3’ 4” x 14’ $1,000‑$1,500

573

573 Semi-Antique Heriz Carpet 8’ 4” x 10’ 8” $1,000‑$1,500

572

198

574 Semi-Antique Kashan Carpet 14’ x 21’ $4,000‑$7,000

575 Antique Lavar Kerman Carpet 7’ 7” x 11’ $1,200‑$1,800

575

574

199

576 Jeff Koons (American, b. 1955) “Balloon Dog Red”, 1995 metallic-coated porcelain signed, dated and numbered “2268/2300” on The Museum of Contemporary Art, Los Angeles label at back, in the original presentation box. dia. 10‑1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $8,000‑$12,000 576

577 Takashi Murakami (Japanese, b. 1962) “Oval Atop the Ball Cosmos”, 2000 polychromed plastic from the Peter Norton Family Christmas Project, in original shipping container. h. 9‑5/8”, w. 7”, d. 7” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,200‑$1,800

577

578 Richard Jolley (American, b. 1952) “Orange Dog”, 2006 glass incised signature and dated along proper left edge. h. 5‑3/4”, w. 7‑1/2”, d. 4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. 578

200

$1,500‑$2,500

579 Rick Beck (American, b. 1960) “Screw and Nut”, 1999 cast glass from the “Tools” series, incised signature and dated along edge of nut. h. 8‑3/4”, w. 6”, d. 6” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 579

580 Jasper Johns (American, b. 1930) “Untitled”, 1977 hand-printed screenprint on parchment paper unsigned, from an edition of 3000, published by Brooke Alexander, Inc., New York. Matted, glazed and framed. sheet 10” x 10”, framed 19‑1/4” x 19‑1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 The print was selected for the cover of the Jasper Johns/ Screenprints catalogue.

580

581 William Wegman (American, b. 1943) “Weenie-Time”, 1994 mixed media with collage and engraving pencil-signed and dated lower right, numbered “A.P. 2/10” lower left. Float-mounted, glazed and framed. 16‑1/4” x 14”, framed 25‑1/8” x 23‑1/8” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500

581

201

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582 Jack Eugene Earl (American/Ohio, b. 1934) “Man Looking for His Hat”, 2002 ceramic incised signature and dated along back. h. 10‑1/2”, w. 10”, d. 6‑3/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 583 Richard Shaw (American/California, b. 1941)

584

“Dominos” porcelain and wood initialed on front label. h. 6”, w. 8‑1/2”, d. 2‑3/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 584 Enrique Chagoya (Mexican/California, b. 1953) “The Enlightened Savage”, 2002 screenprint in colors on paper adhered to aluminum cans set of ten in original presentation box, from the edition of 40, published by Trillium Press, San Francisco, each can pencilnumbered “7” and initialed along bottom edge. each can h. 4”, dia. 2‑5/8”, box h. 4‑5/8”, w. 16”, d. 6‑1/8” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,500‑$2,500

202

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585 David Gilhooly (American, 1943‑2013) “Jesus Burger”, 2004 porcelain sculpture signed and dated at back. h. 8‑1/2”, w. 8”, d. 7” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,500‑$2,500 586 Claes Oldenburg (American, b. 1929) 585

“New York City Pretzel”, 1994 five silkscreens on corrugated cardboard stamped with title, date and artist’s initials en verso; together with five pamphlets on the artist, including the exhibition catalogue for the 1969 retrospective at the Museum of Modern Art, New York, New York. each pretzel approx. 6‑3/4” x 7‑1/8” Provenance: Printed Matter, Inc., New York, New York; Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 587 Scott Prior (American, b. 1949) “Red Ball in Summer”, 2004 oil on wood panel unsigned, artist identified, titled and dated on “Nancy Hoffman Gallery, New York” label en verso. Framed. 8‑1/2” x 6”, framed 13‑1/4” x 10‑3/4” Provenance: Nancy Hoffman Gallery, 2006; Collection of Mark M. Johnson, Montgomery, Alabama. $2,000‑$4,000

587

586

203

588 David Bierk (Canadian, 1944‑2002) “A Eulogy to Earth, Moon at Twilight”, 1998 oil on copper mounted on wood panel an “Associated American Artists/New York” inventory label en verso. All mounted within a black carved wood frame. 18” x 18”, framed 22‑1/2” x 22‑1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,500‑$2,500

589 David Bierk (Canadian, 1944‑2002)

588

Limited Edition Book, 2002 original oil on copper painting affixed to front cover from an edition of 100, this numbered “60”, dated and signed on title page, published by the Montgomery Museum of Art, Alabama; presented in a custom-made black laminate box frame. book 10‑1/4” x 10‑1/4”, overall 11‑1/4” x 11‑1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,800‑$2,500

590 Kara Walker (American, b. 1969)

589

Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times leather-bound volume of offset lithographs and five laser-cut, pop-up silhouettes on wove paper edition of 4,000, published by the Peter Norton Christmas Project, Santa Monica, 1997, with the accompanying Christmas card, wrapping and box. 9‑1/8” x 8‑1/8” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,800‑$2,500

590

204

591

592

591 Stephen Scott Young (American, b. 1957) “Barricade” etching on paper pencil-signed lower right, titled lower center and numbered “Proof 3” lower left. Unframed. sheet 10‑1/4” x 11‑1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 592 Stephen Scott Young (American, b. 1957) “Angel, Exuma”, 1996 etching on paper pencil-signed lower right, titled lower center, dated and marked “AP” lower left. Unframed. sheet 11‑3/8” x 10‑1/4”

593 one of two

Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 593 Stephen Scott Young (American, b. 1957) “Ballerina I”, 2006 “Ballerina II” pair of etchings on paper former initialed lower right, marked “2‑2” and with expository inscription “2nd proof/2nd state/26 May 06/with plate tone for blacks”, latter marked “proof 2 state 3” with notation “line in left leg”. Both unframed. former sheet 10‑1/4” x 10‑1/2” and latter sheet 14” x 11” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 593 two of two

205

594 Kiki Smith (American, b. 1954) “Cat Head”, 1999 “Small Vessel” two unglazed porcelain sculptures former stamped in glazed interior “KS/1999/AD” and numbered “86/150”. former h. 2‑7/8”, w. 3”, d. 3‑1/4”, latter h. 4”, w. 3‑5/8”

594

Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 595 Jeff Koons (American, b. 1955) “Puppy”, 1998 glazed white porcelain edition of 3000, this example stamped in clay with number “1400”, date, signature and manufacturer’s mark at bottom, published by Art of This Century, New York and Paris, in the original presentation box. h. 17‑3/8”, w. 16”, d. 13” Provenance: James Cohan Gallery, New York, New York; Collection of Mark M. Johnson, Montgomery, Alabama. 595

$7,000‑$10,000

595 detail

596 Jim Dine (American, b. 1935) “Untitled - Scissors”, 1973 lithograph on paper from the “Ten Winter Tools” series, pencil-signed lower left, dated lower right, numbered “P/P 6/10” lower center, published by Petersburg Press, New York. Float-matted, glazed and framed. sheet 28” x 21‑1/2”, framed 31‑1/2” x 25‑1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 596

206

597 Richard Diebenkorn (American, 1922‑1993) “X”, 1986 etching with drypoint and aquatint pencil-monogrammed and numbered “48/50” lower center, lower right corner embossed with Crown Point Press watermark. Glazed in a float-mount frame. sheet 23” x 19”, framed 27‑1/4” x 23‑1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,500‑$2,500

597

598 Anna Skibska (Polish/Washington, b. 1959) “Untitled - Clear” stretched glass rods h. 6”, w. 6”, d. 6”

598

Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,500‑$2,500

599 Ginny Ruffner (American/Seattle, b. 1952) “Flowering Tornado”, 2003 metal and blown glass signed and dated on one hanging element. h. 9‑3/4”, w. 13”, d. 10” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $2,000‑$4,000

599

207

600 Sonya Blomdahl (American, b. 1952) large red and Kelly green incalmo glass vase signed and numbered “B4300” at bottom. h. 12”, dia. 11‑1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,200‑$1,800

600

601 Sonya Blomdahl (American, b. 1952) large brown and cobalt blue incalmo glass vase signed and numbered “B9899” at bottom. h. 10‑3/8”, dia. 9” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500

601

602 George Campbell “Cam” Langley (American/Alabama, 1948‑2013) “Floral Arrangement Plum”, 2006 blown glass signed and dated at bottom of vase, consisting of two green stems, three blooms, and a vase. largest stem h. 20”, largest bloom dia. 6” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500

602

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603 Dale Chihuly (American, b. 1941) Parrot Green Persian Set with Red Lip Wrap hand-blown glass Portland Press 2001 Studio Edition, comprising an undulating open form and a curving bulb-based organic form, the latter engraved “pp01” on the pontil and “Chihuly” on the bulb, accompanied by the Chihuly-designed plexiglass vitrine with black base along with a copy of Tina Oldknow’s Chihuly Persians, cleaning spray and cloth along with cleaning and lighting instructions, a “Portland Press 2001” catalogue and color cards depicting various Chihuly collections. Also included is the original custom-fitted shipping box. bowl h. 7”, w. 12”, bulb l. 8”

603 detail

Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. 603

$3,000‑$5,000 604 Sonja Blomdahl (American, b. 1952) apple green and orange incalmo glass vase signed and dated “2005” at bottom. h. 5‑1/8”, dia. 10” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500

604

605 Sonya Blomdahl (American, b. 1952)

605

yellow and mint incalmo glass vase signed and dated “2004” at bottom. h. 5‑1/2”, w. 10‑1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 606 George Campbell “Cam” Langley (American/Alabama, 1948‑2013) “Floral Arrangement Cahaba Lilies”, 2003 blown glass signed and dated at bottom of vase, consisting of five green stems, two blooms, and a vase. tallest h. 17”, largest dia. 6” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. 606

$1,000‑$1,500

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607

608

607 James Van Der Zee (American, 1886‑1983)

609 Yousuf Karsh (Armenian/Canadian, 1908‑2002)

“Couple in Raccoon Coats, Harlem, New York”

“George Bernard Shaw”

gelatin silver print later edition of 250 from the 1932 negative, signed, dated and localized in plate lower left, pencil-titled, inscribed and numbered “55” en verso, estate stamp lower right. Matted, glazed and framed. sheet 10” x 12”, framed 16‑7/8” x 21”

gelatin silver print signed lower left on mount. Matted, glazed and framed. sheet 19‑1/2” x 15‑3/4”, framed 30‑3/8” x 25‑5/8”

Provenance: Jackson Fine Art/A Photography Gallery, Atlanta, Georgia; Collection of Mark M. Johnson, Montgomery, Alabama.

Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500

$2,000‑$4,000

608 Yousuf Karsh (Armenian/Canadian, 1908‑2002) “Frank Lloyd Wright” gelatin silver print signed lower left on mount. Matted, glazed and framed. sheet 15‑1/2” x 19‑1/2”, framed 25‑1/4” x 29‑1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,500‑$2,500

609

210

610 Yousuf Karsh (Armenian/Canadian, 1908‑2002) “Georgia O’Keeffe” gelatin silver print signed lower left on mount. Matted, glazed and framed. sheet 19‑1/4” x 15‑1/2”, framed 30‑3/8” x 25‑5/8” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $4,000‑$7,000

610

611 Jun Kaneko (Japanese/Nebraska, b. 1942) “Untitled”, 1998 glazed ceramic signed and dated at back. 26” x 21‑1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $2,500‑$4,000

611

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613 614

612

612 French Bronze Chandelier of Neoclassical Inspiration first quarter 20th century, the urn-form standard decorated with a wreath of laurel leaves and pierced scrollwork trim, the scrolled branches and shade holders decorated with stippled acanthus leaves, mounted with star-cut frosted pendant shades. h. 46”, dia. 21” $1,000‑$1,500 613 Art Deco Bronze and Glass Chandelier second quarter 20th century, probably French, with an octagonal glass-lined body, the lower panel with cut flowers concealing two sockets, with eight downturned arms set with frosted, flower-molded glass shades, supported on an Art Deco-molded bronze frame. h. 45”, w. 32‑1/2”, d. 29‑1/2”

615

$1,000‑$1,500 614 French Bronze Electrolier first quarter 20th century, the oblong standard with reeding and set with three leaf-molded electric down lights hung with beaded prisms, and three gas sockets, decorated with ram’s heads and hung with swags of beaded prisms. h. 33‑1/2”, dia. 21” $1,000‑$1,500

212

615 Marble Bust of an Art Nouveau Jeune Fille signed by Virgile Morey (French, 1883‑1895), depicted in a wrap embellished with a rose, signed “V. Morey” on the side of the base. h. 24”, w. 12”, d. 8” $1,000‑$1,500

616 Art Nouveau Cast Bronze Floor Easel ca. 1900, Continental, with a lobed and pierced crest decorated with an Art Nouveau jeune fille, the supports molded with tulips and cattails, the supports molded with flowers, on an easel back. h. 66”, w. 22”, d. 25” $1,000‑$1,500 616A Impressive Art Nouveau Bronze and Stained Glass Electrolier ca. 1900, Continental or American, the upper portion of the nine-light electrolier with swirling Art Nouveau flowers, with matching flowers on the downturned electric sockets, fitted with art glass shades, the upturned gas jets molded as morning glories, the swirling Art Nouveau leaded panels depicting foliage and flowers. h. 59-1/2", dia. 40" $3,000‑$5,000 617 Continental Patinated Bronze of a Maiden ca. 1900, cast signature “C. Stotz” and dated “1898” along back edge of self-base, now on a shaped red griotte marble base. overall h. 20‑3/8”, w. 8”, d. 6‑1/2”

616A

$1,000‑$1,500 618 Pair of French Marble and Bronze Lamps first quarter 20th century, the mottled black and white marble bodies in the form of bottle vases, and mounted with pairs of mermaid-form bronze handles, on bronze bases molded with rocaille work and roses. h. 34‑1/2”, dia. 10‑1/2”

616

$1,000‑$1,500

617

618

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619

619 Pair of Edwardian-Style Leather Club Chairs and Ottomans upholstered in brown leather with black piping, each chair with a loose seat cushion and raised on turned legs with brass cup casters, each ottoman with a cushion affixed to a leather frieze and raised on like legs, the armchairs in the “Byerly” pattern and labeled “O. Henry House, Ltd.”. armchair h. 33”, ottoman h. 18”, w. 29‑1/2”, d. 22” $1,200‑$1,800 620 Continental Parcel-Gilt Fruitwood and Marble-Top Center Table

620

20th century, labeled Maitland-Smith, the circular top with marble-veneered wood in guilloche-starburst patterns, and raised above a conforming foliate-carved apron on fluted tapering circular legs headed by Ionic capitals and joined by a concave box stretcher. h. 31”, dia. 60” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,500‑$2,500 621 American Art Deco Painted Metal and Nickel-Plated Globe second quarter 20th century, marked “Nims & Knight, Troy, N.Y.”, on a nickel-plated Art Deco tripod base with green enameled accents, with a painted horizon band and a nickel meridian, the cartouche signed with the maker. h. 34”, dia. 16” $1,000‑$1,500

621

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622 Pair of Regency-Style Carved, Painted and Parcel-Gilt Wooden Sconces mid-20th century, decorated with blackamoors playing trumpets on leaf-carved brackets, the backplates decorated with palm trees on the upper portion and carved tasseled swags on the lower portion, the candle arms set with wooden drip pans and candle sockets. h. 30”, w. 13”, d. 10‑1/2” $1,000‑$1,500

623 Ida McClelland Stout (American/Chicago/Rome, 1881‑1927)

622

“Maiden” patinated bronze first quarter 20th century, cast signature and copyright marked at proper left edge of self-base, a “Roman Bronze Works, NY” foundry inscription along back edge, on a thin black base. overall h. 15‑1/2”, w. 4‑1/2”, d. 4” Provenance: Christie’s, New York, December 3, 1996, lot 174; Collection of Mark M. Johnson, Montgomery, Alabama. $1,500‑$2,500

624 Pair of Art Deco Leather Club Chairs ca. 1925, each with barrel-form arms, a loose seat cushion and trimmed with brass nails. h. 36” $1,000‑$1,500

623

624

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627

625

625 Pair of Lalique “Reverie” Crystal Bookends

627 Four Pieces of Signed Lalique and Steuben Glass

20th century, French, the molded and frosted bookends depicting kneeling, sleeping female nudes, with a “Lalique France” engraved mark. h. 8‑3/4”, w. 3‑1/4”, d. 5‑1/4”

20th century, French and American, the molded and frosted glass collection including a pair of Lalique “Angelots” candle holders, h. 5‑1/2”, dia. 2‑1/2”, a Lalique “Ophelia” covered bowl, h. 7‑1/4”, dia. 11‑1/4”, and a Steuben cire perdue “Aphrodite” sculpture after Gary Weisman (American, b. 1952), h. 3‑1/2”, w. 8‑3/4”, d. 5”.

$1,000‑$1,500

626 Pair of Lalique “Six Danseuses” Table Lamps

628 Pair of Lalique “Luxembourg” Crystal Bowls

ca. 1931‑1945 and later, the cylindrical bases decorated with swags of molded flowers, the shades with swags of flowers and dancers in diaphanous gowns, one shade original and the other of possibly later manufacture. h. 10‑1/2”, dia. 9‑1/4”

20th century, French, the molded and frosted bowls with putti dancing with garlands of laurel leaves, signed “Lalique” in engraved script on the bottom. h. 8‑1/4”, dia. 11”

$2,500‑$4,000

626

216

$1,500‑$2,500

628

629 Mario Korbel (Czech/American, 1882‑1954) “Dancer” patinated bronze second quarter 20th century, cast signature along back edge of self-base, Roman Bronze Works foundry inscription “RBC” and marked “1053” at back and side edges, now on a shaped black base, a “Conner-Rosenkranz, New York” gallery label at bottom. overall h. 5‑3/8”, w. 2‑1/2”, d. 1‑3/4” Provenance: Conner-Rosenkranz, New York, New York; Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 629

630 Mario Korbel (Czech/American, 1882‑1954) “Kneeling Figure” patinated bronze second quarter 20th century, cast signature along front edge, a “Roman Bronze Corp. N.Y.” foundry inscription along back edge, a “Conner-Rosenkranz, New York” gallery label at bottom. h. 5‑1/8”, w. 4”, d. 2‑1/4” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500 630

631 French Gilt-Brass and Glass Plafonnier Light second quarter 20th century, the gilt frame decorated with meandering molded laurel and berries, the beaded crystals concealing three light sockets, set with a gilt cone-form pendant finial. h. 12”, dia. 17” $1,200‑$1,800

631

217

632

632 French Wrought Metal Garden Table and Four Chairs

633 Pair of “Windsor”-Style Painted Wooden Tree Tubs

mid-20th century, the chairs with swan’s-neck crests, the backs decorated with volutes and leaves, the seats with molded strapwork, h. 37‑1/2”, w. 19‑1/2”, d. 17”, and the circular glass-top table decorated with grapevines, h. 30‑1/2”, dia. 44‑1/2”.

20th century, with ball finials on each corner, the sides with ogee-molded panels, with metal liners and drainage holes. h. 39‑3/4”, w. 31‑1/4”, d. 31‑1/4” $2,000‑$4,000

$1,000‑$1,500

633

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634 Michael Eastman (American, b. 1947) “Horse #226” chromogenic print on paper pencil-signed lower right, titled lower left and numbered “1/23” lower center. Matted, glazed and framed. sight 36‑1/2” x 28”, framed 48” x 38‑1/4” $2,000‑$4,000

634

635 Michael Eastman (American, b. 1947) “Horse #5” chromogenic print on paper pencil-signed lower right, titled lower left and numbered “1/14” lower center. Matted, glazed and framed. sight 48” x 39”, framed 59‑1/2” x 50‑1/4” $2,000‑$4,000

635

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636

637

636 French Trunk on Stand

638 Daum Pate de Verre Glass Gingko Vase

mid-20th century, the top and front of the trunk covered in zebra skin, set with two drawers with campaign-style handles, raised on a steel and brass stand in the Maison Jansen taste. h. 20”, w. 29”, d. 15‑1/2”

20th century, French, decorated with molded gingko leaves, with an engraved “Daum France 42/425, JBSB” signature. h. 13‑1/2”, dia. 9‑1/2”

$1,000‑$1,500 637 Pair of Mies van der Rohe “Brno” Flat Bar Arm Chairs

$1,000‑$1,500 639 Three Pieces of Signed Molded and Frosted Glass

1970s, for Knoll International, the brass-plated steel frames with arm pads, upholstered in celadon linen velvet. h. 31‑1/2”, w. 23‑1/4”

20th century, including a Lalique “Versailles” urn-form vase, h. 13‑1/2”, dia. 9‑1/2”, a Steuben “Regal Lion” intaglio sculpture, h. 6‑1/2”, w. 5‑3/4”, d. 2‑3/4”, and a Lalique “Venise” vase with two lion’s heads, h. 6‑1/2”, w. 8‑1/4”, d. 3‑3/4”.

Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas.

$1,000‑$1,500

638

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641

640

641 Pair of Chrome X-Form Stools in the manner of Maison Jansen, each upholstered in faux leopard print. h. 17”, w. 21‑1/2”, d. 16”

640 French Baccarat Cut Crystal Trumpet Vase

$1,200‑$1,800

20th century, decorated with intaglio-cut calla lilies, signed with the circular decanter mark, the script “Baccarat” mark and “12/25”. h. 15”, dia. 8‑1/4”

642 Pair of Chromed Steel Club Chairs

$1,000‑$1,500

fourth quarter 20th century, after a design by Milo Baughman, each of barrel form, the U-shaped steel cantilevered frames wrapping around and supporting a tufted back and seat cushion, now upholstered in tan microsuede. h. 26” $1,000‑$1,500

642

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644

644 Yolanda Paulsen (Mexican, Contemporary) “Leaf”, 1998 bronze incised signature, dated and numbered “9/9” at back edge. h. 4‑1/2”, w. 30”, d. 14‑1/2”

643

$1,000‑$1,500

643 Blair Buswell (American, b. 1956) “Driver”, 1993

645 Pair of Gilt-Metal and Plate-Glass Two-Tier Side Tables

patinated bronze cast signature, copyright-marked, dated and numbered “8/50” along side edge of self-base. h. 18”, w. 8‑1/2”, d. 6‑3/4”

of neoclassical taste, each of rectangular form and fitted with a plate-glass top and medial shelf, the ends with an ornamental panel, the legs joined by stretchers. h. 26”, w. 24”, d. 14”

$1,000‑$1,500

645

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646 Collection of Eight Sand Dollars

647 Modern Figured Elm Daybed

each presented in an attractive, contemporary shadowboxstyle frame. each overall 9” x 9”

late 20th century, of Biedermeier inspiration, the low headand footboard of sleigh form, joined to low rails and raised on stepped block feet, constructed utilizing carefully selected dramatically grained veneers throughout, the mattress and under-frame upholstered in tan microsuede. h. 34”, w. 29”, l. 84”

$1,000‑$1,500

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648

649 Susanne Vertel (American, b. 1954)

648 Interesting Leather and Glass-Top Table with Four Chairs

“Spring”, 1990

20th century, the circular plate-glass top over a conforming leather-upholstered frame with four downswept steel legs joined by curved stretchers, h. 29”, dia. 40”, together with four leather-covered armchairs of matching form, h. 34”, w. 20‑1/2”, d. 19”.

verdigris-patinated bronze incised signature, copyright-marked, dated and numbered “11/20” along edge. h. 28”, w. 18”, d. 16‑1/2”

$1,200‑$1,800

$1,000‑$1,500

649

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650 Alcoholics Anonymous, Rare Pre-Publication “Multilith” Edition Newark, New Jersey: Works Publishing Co., n.d. [1939], 80 letter-size multilith pages, (title page/foreword [n.p.], primary text [pp. 1‑76], “Alcoholic Foundation”/order statement [n.p.]; personal stories [pp. 1‑79], comb-bound in card stock cover, the front cover stamped “Eddie DeSodier”. 11” x 8‑1/2” $4,500‑$7,000 This year marks the 80th anniversary of the publication of Alcoholics Anonymous, the basic text of the group of the same name, which is widely regarded as one of the most important self-help books of the 20th century. The copyright names William G. Wilson (1895‑1971) - “Bill W.” - as its author, although there were many additions, revisions and amendments to his basic text by dozens of the earliest members of the organization. A.A. dates its beginning very precisely to June 10, 1935, when Dr. Robert Smith (“Dr. Bob”; 1879‑1950) - drank one last beer after a night of being gradually weaned off alcohol by Bill W. They had met a month earlier when Bill W. was on a business trip to Akron, Ohio and found himself tempted to drink. Instead, he used his connections with the Oxford Group, a Christian fellowship, to find a fellow alcoholic to talk to about his plight. Their mutual support enabled them to remain sober, and together they sought out other alcoholics to help, gradually incorporating some of the principles of the Oxford Group into their nascent self-help group. By late 1937, the two A.A. Groups - in Dr. Bob’s Akron and Bill W.’s New York - had about 40 sober members, and they decided to publish a “textbook” of their program of recovery. The preliminary text was written primarily by Bill W., and about 100 multilith copies were made for distribution among the early members for their input, as well as for sale to raise money for the manuscript’s publication.

650

As with so much of early A.A. history - as might be expected from an organization founded upon anonymity and made up of autonomous groups - there are conflicting details on this multilith edition, often called the “original manuscript”. The initial printing was probably sometime between early December, 1938 and mid-January, 1939, and while the initial print run is often said to be 100 copies, the exact number is not known. There were at least two, and perhaps as many as four, separate printings. All copies contain the primary text followed by personal stories of the early members, though not all contain the two separate index pages for these sections; similarly, “Alcoholics” is misspelled “Alcoholic’s” on the title page of some copies (including the present lot, which does not contain the indices, and contains “ghost” impressions of the comb binding-holes on some pages showing that it is certainly a second-generation printing). The final text as printed in the first edition of April 1939 differs significantly from this “original manuscript”. The heavily annotated multilith belonging to Bill W., which served as the publication text and contains the changes agreed upon by dozens of early A.A. members, sold last year for $2.4 million to Indianapolis Colts owner Jim Irsay. A few other copies have surfaced - most notably those of early A.A. members James Burwell (“Jim B.”, 1898‑1974) and Clarence H. Snyder (“Clarence S.”, 1902‑1984) - but they remain quite rare, with perhaps less than twenty still in existence.

650 detail

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651

651 Pair of Mid-Century Modern-Style Leather and Aluminum Lounge Chairs with Ottomans

652 Eight-Piece Suite of Mid-Century Modern “Clam Shell” Patio Furniture

each with a laminated plywood frame on a swivel cast aluminum base, and upholstered in pleated distressed brown leather, labeled “Edison”. armchair h. 32‑1/4”, ottoman h. 18‑1/2”, w. 23”, d. 26”

second half 20th century, after a design by Maurizio Tempestini for Salterini, comprised of six chairs, h. 26‑1/2”, a settee, h. 30‑1/2”, w. 43”, d. 21”, and a center table, h. 26”, dia. 36”, each in distinctive clamshell/orange-slice form with mesh steel seat, back and tabletop, on wrought iron frames.

$2,000‑$4,000

$1,000‑$1,500

652

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653 Glenna Goodacre (American, b. 1939) “Bust of a Young Woman” patinated bronze cast signature and numbered “3/25” along proper left shoulder truncation, on a conforming carved wood base. overall h. 23”, w. 9‑1/2”, d. 10‑1/2” $1,000‑$1,500 The subject of this bust bears a resemblance to the artist’s daughter Jill, who sat for several of her mother’s sculptures. 654 Contemporary Bronze Floor Lamp ca. 2003, American, after Thomas Corbin (Missouri, b. 1954), decorated with a bronze nude bust of a woman on a tapered, stippled standard, marked on the round base and mounted with a shade. h. 66”, w. 18‑3/4”, d. 14‑1/4” $1,000‑$1,500 655 Tom Knapp (American, 1925‑2016) “Turtle”, 1987 patinated bronze incised signature, dated, copyright-marked and numbered “9/10” along back. h. 19”, w. 39”, d. 18” $1,000‑$1,500

654

655

653

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656 Rodolfo Morales (Mexican, 1925‑2001) “Plaza de Los Suenos” oil on linen signed lower right, verso with exhibition labels from the Instituto Nacional de Bellas Artes and Estella Shapiro. Framed. 53‑7/8” x 68‑7/8”, framed 68‑1/4” x 83” Provenance: Morton Subastas Auction, Mexico City, Mexico, October 1, 2015, lot 141. Exhibited: Instituto Nacional de Bellas Artes, Mexico City, 1980, no. 217; Estella Shapiro Gallery, Mexico City, Mexico, 1982. Literature: Copy of a Certificate of Authenticity issued by the Fundacion Cultural Rodolfo Morales, dated April 10, 2014. Rodolfo Morales, Gobierno del Estado de Veracruz, Mexico, 1992, no. 142. Rita Eder, Pintores de Oaxaca, CONACULTA, Museo de las Culturas de Oaxaca.... $120,000‑$180,000

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657 Carlos Musso (Uruguayan, b. 1955) “Abstract Nude”, 2004 oil on board unsigned. Framed. 24” x 32”, framed 29” x 37” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

657

658 Amalia Nieto (Uruguayan, 1910‑2003) “Composicion a Fondo Naranje”, 1961 mixed media on paper signed lower right. Unframed. sheet 14” x 26‑1/2” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

658

659 Aurelino dos Santos (Brazilian, b. 1942) “Santa Barbara”, 1966 gouache on paper mounted on canvas signed and dated lower right, titled and dated en verso. Framed. 18” x 15”, framed 19” x 16” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

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659

660

660 Remo Bianchedi (Argentinian, b. 1950)

661 Eduardo Cardozo (Uruguayan, b. 1965)

“Funkciones Son Acciones”, 2005

“A la Vista del Espectador”, 2005

acrylic and collage on canvas titled upper center. Unframed. 41” x 46”

mixed media on canvas signed lower right, verso with “Galeria Sur” label. Unframed. 34‑1/4” x 63”

Provenance: Private collection, Houston, Texas.

Provenance: Galeria Sur, Uruguay; Private collection, Houston, Texas.

$1,000‑$1,500

$4,000‑$7,000

661

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662 Helen Frankenthaler (American/New York, 1928‑2011) “Untitled”, 1975 acrylic on paper signed and dated lower left, verso with “Janie C. Lee Gallery, Houston, Texas” label. Matted, float-mounted, glazed and presented in a custom brass frame. 22” x 30”, framed 28” x 36” Provenance: Janie C. Lee Gallery, Houston, Texas; Private collection, Houston, Texas. $60,000‑$90,000

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Helen Frankenthaler is one of the most influential second generation post WWII Abstract painters, and her work played a pivotal role in the transition from Abstract impressionism to Color field painting. Over her long career, which spanned six decades, she produced a diverse body of work, experimenting with paint, ceramics and textiles. She is most known for her “stain” painting technique, achieved by pouring thinned paint directly onto raw unprimed canvas. Her influence on contemporary art is profound and can be seen even today in the works of the numerous emerging artists for whom color and employment of loose gestural drawing can be directly traced to Frankenthaler’s paintings, prints and works on paper.

663

663 James Drake (American/Texas, b. 1946) “Praetorian Guard”, 1985 conte crayon, pencil, charcoal and watercolor on paper signed and titled bottom center and right, verso with “Texas Gallery, Houston, TX” label. Float-mounted, glazed and framed. 40” x 69‑3/4”, framed 43‑1/2” x 73” Provenance: Texas Gallery, Houston, Texas; Private collection, Houston, Texas. $7,000‑$10,000 664 Arnulf Rainer (Austrian, b. 1929) “Untitled”, 1974 pencil on paper unsigned, verso with a gallery inventory label. Matted, glazed and framed. 12” x 8‑3/4”, framed 25” x 20‑3/4” Provenance: Private collection, Houston, Texas. $2,500‑$4,000 664

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665 Michael Schulze (German, b. 1952) “Pegasus” three sculptures and three watercolors the sculptures composed of plaster over a metal and mesh armature and with movable wings, the watercolors signed in pencil lower right. watercolors sheet size 17” x 12”, sculptures h. 23”, dia. 12” Provenance: Private collection, Houston, Texas. $2,500‑$4,000

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666 DeWitt Godfrey (American, b. 1960) “Untitled Abstract” charcoal on paper unsigned, verso with “Butler Gallery, Houston, TX” label. Glazed and presented in a conforming gallery frame. dia. 22”, framed dia. 24” Provenance: Butler Gallery, Houston, Texas; Private collection, Houston, Texas. $1,500‑$2,500

666

667 DeWitt Godfrey (American, b. 1960) “Untitled Abstract”, 1986 charcoal on paper unsigned, verso with “Butler Gallery, Houston, TX” label. Glazed and presented in a custom gallery frame. 22” x 22”, framed 24‑1/2” x 24‑1/2” Provenance: Butler Gallery, Houston, Texas; Private collection, Houston, Texas. $1,500‑$2,500

667

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668 Robert Natkin (American, 1930‑2010) “Untitled” acrylic on paper from the “Apollo Series”, signed lower left. Matted, glazed and framed. sight 24‑1/2” x 30‑1/4”, framed 35” x 40‑1/2” Provenance: Hollander Gallery, New York, New York; Private collection; Wilson-Smith Fine Art, New Orleans, Louisiana; Private collection. $4,000‑$7,000

668

669 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997) “Untitled Abstract”, 1983 mixed media on canvas signed and dated lower right. Thin gallery frame. 47” x 44‑1/2”, framed 49‑1/2” x 45‑1/2” Provenance: Purchased at these galleries December 7, 2014, lot 830. $18,000‑$25,000 669

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671 Dorothy Hood (American/Texas, 1919‑2000) “Untitled” oil and collage on paper signed upper left. Matted, glazed and framed. sight 30” x 19”, framed 37” x 26” Provenance: Private collection, Houston, Texas. $5,000‑$8,000

671

670 Jose-Maria Cundin (Spanish/Louisiana, b. 1938) “Untitled Figure” polyester resin sculpture with cloth on a thin presentation base. h. 33”, w. 25”, d. 11‑3/4” Provenance: Purchased from the artist. $6,000‑$9,000

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672 Derek Boshier (British/American, b. 1937) “The Guardian”, 1987 linocut signed and dated lower right, numbered “1/15” lower left. Float-mounted, glazed and framed. 64” x 40‑1/2”, framed 66‑1/4” x 42‑3/4” Provenance: Private collection, Houston, Texas. $5,000‑$8,000 673 Andy Warhol (American, 1928‑1987) “Mammy, from Myth’s Portfolio”, 1981 color screen print with diamond dust on Lenox Museum Board signed lower right and numbered “AP 20/30”, edition of 200 includes 30 Artist Proofs (AP). Glazed and framed. sheet 38” x 38”, framed 41‑1/2” x 41‑1/2” Provenance: Private collection. Literature: Feldman and Schellman, Andy Warhol Prints: A Catalogue Raisonne, 3rd ed. ( New York: D.A.P., 1997) no. 262, pp. 119‑120. 672

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$20,000‑$40,000

673

674 George Valentine Dureau (American/Louisiana, 1930‑2014) “David Kopay” double 120 mm color negative blow up same negative blown up twice, each photo laid down back to back on mat board, each photo signed lower right center in marker. Matted, glazed and framed. photo 30” x 30”, framed 31‑1/2” x 31‑1/2 Provenance: Private collection, New Orleans, Louisiana. $1,000‑$1,500 From 1964‑1971, David Kopay played as a running back for the San Francisco 49ers, Washington Redskins, New Orleans Saints and Detroit Lions. Three years after he retired in 1972, Kopay became the first NFL player to publicly come out as gay, challenging stereotypes of masculinity in professional sports that stymied his future coaching positions on college and national football leagues. In 1977, Kopay wrote an autobiography on his experience in coming to terms with his sexual orientation that instantly became a New York Times national best-seller, inspiring younger generations of homosexual, bi and transgender young men and women. The continued success of the book enabled Kopay to establish with the proceeds a $1 million dollar endowment to the University of Washington Q [Queer] Center. Kopay continues to be a pillar of support in the LGBTQ community; he is a board member on the Gay and Lesbian Athletics Foundation, Ambassador for the Federation of Gay Games and motivational speaker for athletic engagements that promote awareness and support for gender and sexuality differences in sports. While playing for the New Orleans Saints in 1971, Kopay befriended George Dureau, who took a series of nude studies/photographs of the football player. After Kopay came out, a limited edition of twenty-five 14” x 14” silver gelatin prints, signed by both Kopay and Dureau, were released. The color negatives were later printed in the much larger format seen here and signed by Dureau.

674

675 New Orleans Saints Inaugural Season Autographed Football the Rawlings tan and white football with autographs of 38 members of the Saints 1967 first season roster: Danny Abramowicz [WR], Tom Barrington [RB], Charlie Brown [RB], Vern Burke [TE], Jackie Burkett [LB], Bo Burris [DB], Bill Cody [LB], Lou Cordileone [DT], Gary Cuozzo [QB], Ted Davis [LB], John Douglas [DB], Charlie Durkee [K], Jim Garcia [DE], John Gilliam [WR], Jimmy Heidel [DB], Jerry Jones [OT], Billy Kilmer [QB], Kent Kramer [TE], Earl Leggett [DT], Obert Logan [DB], Don McCall [RB], Tom McNeill [P], Ray Poage [TE], Walter Roberts [WR], George Rose [DB], Dave Rowe [DT], Bill Sandeman [OT], Brian Schweda [DE], Dave Simmons [LB], Steve Stonebreaker [LB], Eli Strand [OG], Jim Taylor [RB], Joe Wendryhoski [C], Ernie Wheelwright [RB], Dave Whitsell [DB], Fred Whittingham [LB], Del Williams [OG] and Gary Wood [QB]; together with a ticket for the 1990 Superbowl XXIV, 49ers v. Broncos, held in New Orleans, presented in a lucite block. football l. 11‑3/4”, dia. 6‑1/2”; ticket case 3/4” x 7” x 3‑7/8”

675

$1,000‑$1,500

239

676 James Drake (American/Texas, b. 1946) “The Raft of Medusa” mixed media Xerox and collage on paper no visible signature. Glazed and presented in a custom, integrated handforged metal frame. sight 26” x 38”, framed 30” x 42” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

676

677 Melissa Miller (American/Texas, b. 1951) “Dog Demon”, 1991 acrylic on paper signed lower right, verso with “Texas Gallery, Houston, Texas” gallery label. Matted, glazed and framed. 8‑1/2” x 7”, framed 19‑1/2” x 16” Provenance: Texas Gallery, Houston, Texas; Private collection, Houston, Texas. $1,000‑$1,500

677

678 Victor Vasarely (French/Hungarian, 1906‑1997) “Turkiz (Positive)” acrylic on wood relief “Editions Denise Rene, Paris” label with title, date, ed. “49/50” and signed by the artist en verso. Unframed. 15” x 14‑1/4” $1,500‑$2,500

678

240

679 Manner of Werner Drewes (American, 1899‑1985) “Untitled Composition” oil on canvas bearing signarture “Drewes” lower left. Framed. 25‑1/4” x 20‑1/4”, framed 30‑3/4” x 25‑3/4” $3,000‑$5,000

680 Willem Heytman (Dutch, b. 1950) “Reims-Gueux Race, 1932” oil on canvas signed lower left, inscribed and initialed en verso. Framed. 29‑3/4” x 41‑1/8”, framed 35” x 50” $1,800‑$2,500

679

680

241

The Cow Parade was a program created by the city of Chicago as a creative and fun means of raising money for charities; local businesses were encouraged to sponsor artists to paint life-size fiberglass cow sculptures. After a brief exhibition period, these cows were to be auctioned off. The program was a resounding success, and the amount raised went far beyond the city’s expectations. The prominent retailer Neiman Marcus commissioned famed Louisiana artist George Rodrigue to paint three life-size sculptures to be displayed in front of the store’s iconic Michigan Avenue location. The Rodrigue cows made over $150,000 for the American Cancer Society. Of the three cows, one is in a private collection, the second is owned by the Rodrigue family, and the third is being offered here.

681 George Rodrigue (American/Louisiana, 1944‑2013) “Black Tie Dogs” acrylic on fiberglass sculpture signed along proper left flank. h. 56‑1/8”, w. 93‑1/2”, d. 25” Exhibited: Chicago Cow Parade, 1999, Chicago, Illinois. $75,000‑$125,000

681

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682

682 George Rodrigue (American/Louisiana, 1944‑2013) “Boxed Out”, 2000 acrylic on canvas signed lower right, signed, dated and titled en verso. Framed. 48” x 36”, framed 58” x 46” $50,000‑$80,000

243

683

683 William “Bill” Hemmerling (American/Louisiana, 1943‑2009) “The Loving Cup - YALE” acrylic on wood panel signed lower right. 16‑1/2” x 60” Provenance: Hemmerling Gallery, New Orleans, Louisiana. $3,000‑$5,000 684 Joan Miro (Spanish, 1893‑1983) “Maravillas con Variaciones en el Jardin de Miro”, 1975 color lithograph signed in print lower right. Matted, glazed and framed. 19‑5/8” x 14‑1/8”, framed 30‑5/8” x 22‑3/4” Literature: Cramer books, 211 $1,000‑$1,500 684

685 Melissa Miller (American/Texas, b. 1951) “Third Person”, 1986, from She Dreams Series, collaborative work with Mississippi author Beverly Lowry (b. 1938) gouache and ink on paper signed lower right by both Miller and Lowry, verso with “Texas Gallery, Houston, TX” label. Float-mounted, matted, glazed and framed. 12” x 14‑3/16”, framed 21” x 23” Provenance: Texas Gallery, Houston, Texas; Private collection, Houston, Texas. $4,000‑$7,000

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686 Dorothy Hood (American/Texas, 1919‑2000) “The Interrupted Orbit” oil on canvas signed and titled en verso. Framed. 37” x 52”, framed 41‑1/2” x 56” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $5,000‑$8,000

686

687 Mel Chin (American, b. 1951) “The Flag of the Agricultural Revolution” color woodcut on handmade Ysai/Yamato wood grain paper edition of 30, printed by Vinalhaven Press (Printers: Randy Hemminghaus and Jonathan Higgins), signed and titled en verso. Unframed. sheet 25” x 33‑1/2” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

687

245

688 Michael Tracy (American, b. 1943) “Untitled”, ca. 1989 mixed media on paper unsigned. Float-mounted, glazed and framed. 20” x 32”, framed 21‑3/4” x 34” Provenance: Purchased directly from the artist, 1989; Private collection, Houston, Texas. $1,500‑$2,500

688

689 Khristo Polandov (Russian, 20th Century) “Breakfast”, 1972 oil on canvas signed and dated lower left. Framed. 42” x 56”, framed 45‑1/2” x 59” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

689

690 Barnaby Fitzgerald (American/Texas, b. 1953) “Straw Hair”, 1995 oil on canvas signed and dated lower right, signed, titled and dated en verso, “Meredith Long & Company, Houston, TX” label en verso. Framed. 32” x 36”, framed 33‑1/2” x 37‑1/2” Provenance: Meredith Long & Company, Houston, Texas; Private collection, Houston, Texas. $4,000‑$7,000

246

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691

691 Elemore Madison Morgan, Jr. (American/Louisiana, 1931‑2008) “Woodcock Woods/Live Oak”, 1993 mixed media on paper monogrammed and dated lower right. Matted, glazed and framed. sight 9‑1/2” x 25”, framed 17” x 32‑1/2” $4,000‑$7,000

692 Maximiliano Pruneda (American/New Mexico, b. 1948) “Moon Pool” acrylic, gold leaf and mixed media on masonite three-part construction, each within an integral wood support, signed, titled and with display instructions en verso. approximately 135” x 143” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas.

692

$1,000‑$1,500

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693

694

693 Semi-Antique “Tree of Life” Tabriz Carpet 9’ 4” x 13’ 4” $1,800‑$2,500

694 Antique Oushak Carpet 10’ 4” x 14’ $8,000‑$12,000

695 Semi-Antique Kerman Carpet 9’ 8” x 16’ $1,200‑$1,800

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697

696 Laristan Sultanabad Runner 2’ 9” x 22’ $1,000‑$1,500 697 Semi-Antique Hamadan Runner 3’ 5” x 13’ 4” $1,000‑$1,500

696

249

698 Agra Serapi Carpet 9’ x 12’ 6” $1,000‑$1,500

699 Heriz Carpet 12’ x 18’ $2,000‑$4,000

698

250

699

700 Nain Carpet 8’ 2” x 11’ 10” $1,500‑$2,500

701 Antique Serapi Carpet 10’ x 11’ 6” $9,000‑$12,000

702 Antique Shirvan Carpet 4’ x 5’ 5” $1,500‑$2,500

700

701

702

251

705 Rare Colonial Georgia Map of the New Ebenezer Settlement [Plan Von Neu Ebenezer...] hand-colored engraving by Matthias Seutter (German, 1678‑1757), for Samuel Urlsperger’s Ausfuhrliche Nachtricht von den Saltzburgischen Emigranten, published Augsburg, 1747. Unframed. pl. 19‑3/4” x 22‑3/8”, sh., 21‑1/4” x 24‑3/8” Provenance: Descended in a New Orleans family. $5,000‑$8,000

703

New Ebenezer was an early Georgia colony established by Lutherans seeking religious freedom after being exiled from Catholic Salzburg, Austria. In 1734, they arrived in Georgia, and re-settled two years later at the site of this map along the Savannah River. New Ebenezer was the first capital of Georgia and prospered in textiles (silk mills) until the American Revolution. Today, New Ebenezer is recognized as an archaeological site listed on the National Register of Historic Places. Jerusalem Lutheran Church, one of the few remaining structures, is the oldest continuous Lutheran Church in America. The first plate of the map delineates the town laid out in square grids with the markets, church, school, forts, fields and outlying Yamacraw Indian territory. The second plate charts the coastline from Charleston, South Carolina and Augusta, Georgia in the north to St. Augustine, Florida in the south, and is inset with a smaller map of St. Simon and Jekyll islands. At the bottom of the plate is a diagram of the Ebenezer mill detailing its process.

704

703 American Vernacular Poplar and Pine Tavern Table probably late 19th century and later, the Colonial Revival table with a thirteen-sided top with a molded edge and the name of each of The Thirteen Colonies carved in the end block, on a turned base, the legs joined by stretchers. h. 28‑1/2”, dia. 42” $1,000‑$1,500 704 American Chippendale Mahogany Chest late 19th century, New England, with four graduated beaded drawers flanked by fluted pilasters, raised on ogee bracket feet. h. 36‑1/2”, w. 41‑3/4”, d. 21‑3/4” $1,000‑$1,500

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705

707 American Chippendale Cherry Chest late 18th century, New England, the case with four graduated reeded drawers, each with inlaid escutcheons and brass ball pulls, raised on ogee bracket feet. h. 44”, w. 42”, d. 20‑1/2” $1,000‑$1,500 708 Southern Yellow Pine and Cypress Farm Table 19th century, the four-board plank top mounted to a rectangular base with mortised and pegged joints, the top refinished and fastened with square nails, the base retaining traces of its original painted surface. h. 29‑1/2”, w. 36”, l. 80” $1,200‑$1,800

706

706 American Queen Anne Cherry Slant-Lid Desk on Stand third quarter 18th century, with a dovetailed case, the slant lid opening to a fitted interior with a central shellcarved document door, flanked by small drawers and cubbies, the lower section with four graduated long drawers and fitted on a scalloped base with Queen Anne legs. h. 45‑1/2”, w. 41”, d. 19” $1,200‑$1,800

707

708

253

710

709

709 “Louisiana and Mississippi” from a New American Atlas by Henry Schenck Tanner (American, 1786‑1858), handcolored engraving, published London, 1820. Unframed. 29‑1/2” x 27‑1/8” $1,500‑$2,500 710 American Federal Birdseye Maple and Mahogany Game Table in the Sheraton Taste ca. 1800, probably Northern Massachusetts or New Hampshire, the serpentine fold-over top supported by a fly leg, the conforming apron with a central inlaid panel framed by marquetry banding, with similar inlaid banding on the edge of the top and the lower edge of the apron, extending to wrap around the legs and along the returns, raised on ring-turned and reeded tapering legs. h. 29‑3/4”, w. 37”, d. 18‑3/4”, ext. l. 37” $1,000‑$1,500 711 American Federal-Style Mahogany Secretary Bookcase late 19th/early 20th century, in two parts, the upper section with a marquetry-inlaid broken-arch pediment over a pair of doors with eglomise panels, on a base with a fold-out desk with a fitted interior over three drawers, raised on flare feet. h. 82”, w. 38”, d. 19‑1/4” $1,000‑$1,500

254

711

712 Jacques Nicolas Bellin (1703‑1772), West Indian Maps from the Petit Atlas, v. I [Paris]: J. N. Bellin, 1764. “L’Amerique septentrionale et les Isles Antilles”, telliere folio, a fragmentary copy with flyleaf, title page, half title page, two leaves of introductory material, dedication page and two leaves of the table, and retaining 34 (of 102) maps and plans, 22 folio and 12 half sheet, mostly of Hispaniola, Guadeloupe, Martinique, Grenada, Barbados and other islands of the Lesser Antilles, but including “Suite du Cours du Fleuve St. Louis dupuis le Riviere d’Iberville jusqua celle des Yasous et les Parties connues de la Riviere Rouge”; i.e. the Mississippi River between Bayou Manchac and the Yazoo River and known parts of the Red River. [Phillips 3508] leaves 30.4 cm x 21.3 cm, full sheets 42.6 cm x 30.4 cm Detailed list of maps available on request. $2,000‑$4,000 713 Fine American Classical Mahogany Sideboard

712

early 19th century, school of Joseph Barry, Philadelphia, the King of Prussia stone top with a paneled backboard and brass edge gallery, the case with a projecting band of drawers over paneled doors, the doors flanked by fluted and stop-fluted columns with foliate-carved capitals, raised on beehiveturned legs with brass ball feet. h. 51”, w. 73‑1/2”, d. 25‑1/2” $4,000-$7,000

713

255

714

714 detail

714 American Classical Brass-Inlaid Mahogany DropLeaf Table ca. 1820, attributed to Duncan Phyfe or a competitor of equal rank, the single-board top flanked by like drop leaves with canted corners, the frieze fitted with a single drawer, the lower edge with an ebony band with inlaid paired brass line stringing, supported by turned baluster-form and foliate-carved columns on a concave base, raised on acanthus-carved and gilt paw feet. h. 29‑1/4”, w. 24‑3/4”, d. 36”, ext. w. 47” $1,500‑$2,500

715 American Classical Mahogany Tall-Post Bed ca. 1825, Philadelphia, school of Anthony Quervelle, each segmented turned post with acanthus and foliate carvings, ring turnings and square bases retaining period roundel-form bolt covers, the head posts supporting an anthemion- and leaf-carved headboard over a pair of panels. h. 88‑1/4”, inside w. 51‑1/2”, l. 74‑1/2”, outside w. 59‑1/2”, l. 83” $2,000‑$4,000

715

256

716 Rare French Gilt-Bronze Sinumbra Lamp second quarter 19th century, with a dolphin’s head resting on the leaf-molded base, decorated with pierced scrollwork, the tail with molded fins and pierced scrollwork, supporting a lotus-molded tank holder, mounted with a painted tole tank and a period frosted cut glass shade. h. 38”, dia. 10‑3/4” Provenance: The Service Collection, Grant Oakes, Warren, Ohio; The Estate of Frank Fasullo, New Orleans, Louisiana. $1,500‑$2,500

716

718

717 American Classical Mahogany Armoire ca. 1825, New York, the projecting cornice over a figured frieze, the paneled doors joined by a brass molding and opening to reveal a segmented interior fitted with drawers and shelves, the doors flanked by pilasters with carved Ionic capitals, raised on foliate-carved paw feet, one side of the case fitted with a paneled door and shallow hanging compartment. h. 87‑1/2”, w. 68‑1/4”, d. 26‑1/4” $2,000‑$4,000 718 American Classical Mahogany Game Table ca. 1825, New York, the fold-over top with canted corners, over a conforming frieze, raised on an acanthine-carved vasiform pedestal joined to shaped legs with like carving and ending in hairy-paw feet. h. 28”, w. 36”, d. 17‑1/4”, ext. l. 35” $1,000‑$1,500 717

257

719 American Classical Parcel-Gilt Mahogany Game Table ca. 1820, the figured and cross-banded fold-over top over a frieze with paired brass line stringing on its lower molding, raised on rosewood columns with foliate-carved capitals, on a concave base raised on leaf-carved paw feet. h. 29‑1/2”, w. 36”, d. 18” (closed) Provenance: Formerly from the McGehee collection, Dr. Dubs House, Natchez, Mississippi, to the current owner. $1,000‑$1,500 720 English Bronze Argand Chandelier second quarter 19th century, in the Grecian taste, with an amphora-form font, the loop with handles terminating in masque mounts, the burners on molded supports, set with argand-type frosted and cut glass shades. h. 39‑1/2”, dia. 22‑1/2” 720

$1,000‑$1,500 721 American Classical Mahogany Sideboard ca. 1820‑1830, school of Anthony Quervelle, Philadelphia, of double-pedestal drop-center form, the mirrored back flanked by cornucopia-carved brackets, the central marble top over a work slide retaining its period oilcloth work surface, a molded drawer and convex fan-carved door below, flanked by pedestals with a drawer over a paneled door, each flanked by columns with carved capitals, on foliate-carved and turned feet. h. 59‑1/2”, w. 73”, d. 23” $3,000‑$5,000

719

258

721

722 American Classical Mahogany Tilt-Top Center Table ca. 1825, Philadelphia, school of Quervelle, the top with figured sunburst mahogany veneers, extending to purpleheart lunettes and a rosewood band, raised on a vasiform pedestal with swags and joined to a concave base on paw feet with foliate-carved brackets. h. 29”, dia. 41‑1/2”, h. with top lifted 53‑1/4” Literature: A drawing of a similar table top from the sketch book of Anthony Quervelle is illustrated on page 107 of Boor, Philadelphia Empire Furniture. $1,800‑$2,500 723 American Classical Mahogany Work Table second quarter 19th century, Philadelphia, with a pair of molded drawers raised on a segmented turned pedestal on a concave base supported by foliate-carved paw feet. h. 29‑1/2”, w. 21‑1/2”, d. 15‑3/4” $1,000‑$1,500

722

724 American Classical Mahogany Breakfast Table second quarter 19th century, Philadelphia, the fold-over top over a molded frieze with leaf-carved corner blocks, and raised on a foliate-carved pedestal on a concave base supported by carved paw feet. h. 29‑1/2”, w. 48‑1/2”, d. 24‑1/4”, ext. l. 48‑1/2” $800‑$1,200 725 Pair of Gilt-Bronze Figural Candelabra mid-19th century, probably Cornelius, American, the standards in the form of caryatids from the Temple of the Winds, supporting leaf-molded scrolled candle arms set with lotus-molded drip pans and candle cups with molded edges. h. 17‑1/4”, dia. 7‑3/4” Literature: The caryatids match those on a labeled Cornelius lamp illustrated in 19th Century Elegant Lighting, by Gerald T. Gowitt, p. 162.

723

$1,000‑$1,500

724

725

259

728

727

726 Unusual American Late Classical Mahogany Bookcase/ Cabinet/Clock second quarter 19th century, mid-Atlantic states, in two parts, the upper section with a foliate-, scroll- and grape-carved cornice centered by a clock face, over a pair of mullioned doors with a drawer below, the doors flanking a projecting door with Gothic tracery and a mirrored lower panel, the whole adorned with columns at the ends, on a base with a projecting bank of drawers over paneled doors and a central bank of drawers, raised on turned and ribbed melon-form feet. h. 95‑1/4”, w. 58”, d. 24” $5,000‑$8,000 727 American Late Federal Mahogany Game Table in the Manner of Samuel McIntire ca. 1825, Salem, Massachusetts, the molded fold-over top supported by a fly leg, the bowed and serpentine frieze flanked by projecting corners with foliate-carved panels on a stippled ground, raised on reeded legs with crisp foliate carving and ring turnings at the top. h. 29”, w. 37”, d. 17‑5/8”, ext. l. 35‑1/2” $1,000‑$1,500 728 American Classical Mahogany Sideboard ca. 1825, possibly by Michael Allison, New York, the scroll backboard edged in foliate carving and like-carved rosettes, the ends with figured columns capped by ebonized pineapple carvings, the case with a central drawer over a paneled door, flanked by inlaid brass-strung pilasters and paneled doors, the ends with acanthus-carved pilasters, raised on carved paw feet. h. 56‑1/4”, w. 61‑1/4”, d. 25” Provenance: Didier, Inc., New Orleans, Louisiana, to the current owner. $2,000‑$4,000

260

726

729 American Federal Mahogany Drop-Leaf Table and Six Chairs the table, ca. 1825, with shaped leaves, one end fitted with a drawer, and raised on a platform base supported by hairy-paw legs, h. 28”, w. 24”, d. 35”, ext. w. 48”; and the chairs, late 19th century, in the manner of Duncan Phyfe, New York, each with a drapery swag-and-ribbon-carved crest rail, and raised on turned and reeded legs, h. 37”, w. 19”, d. 19”. $1,000‑$1,500

730 Jacob Petit Paris Porcelain Petit-Dejeuner Set

730

second quarter 19th century, French, including a tray, w. 14‑1/2”, d. 14‑1/2”, a teapot, h. 5‑1/2”, w. 7”, a sugar bowl, h. 5‑1/2”, w. 6‑3/4”, a cream jug, h. 4‑3/4”, w. 6”, and a pair of cups, h. 2‑1/4”, with saucers, dia. 5‑1/2”, each molded with cattails and coral, and shellform panels of fruit and flowers, the knops and tray handles molded as coral, each piece signed “J.P.” in underglaze blue. Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

729

261

731 Rare Jacob Petit Paris Porcelain Veilleuse second quarter 19th century, French, in the form of a Gothic Revival tower, the sides mounted with religious lithophanes, used as a night light and bedside tea warmer, the corner turrets used to hold sticks of incense, signed “J.P.” in underglaze blue, on a marble plinth, under a glass dome. h. 20‑1/2”, w. 11‑1/2”, d. 7‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. Literature: A veilleuse of the same form is illustrated in Faience et Porcelaine de Paris, XVIII-XIX Siecles, by Regine de Plinval de Guillebon, p. 322. $1,500‑$2,500

731

732

732 American Classical Mahogany Cabinet/Mixing Table second quarter 19th century, New England, probably Boston, the marble top with canted corners, above a conforming case with a cove-molded projecting single drawer, over a pair of paneled doors, each with X-form ornaments, the doors flanked by canted pilasters with lotusand leaf-carved capitals and bases. h. 34‑1/2”, w. 43‑3/4”, d. 25” $1,000‑$1,500

262

731 detail

733 Briggs Patent American Classical Rosewood Banquet Table ca. 1845, Boston, the circular top opening by way of a patented accordion mechanism to accommodate four leaves, supported by a split cluster-column base joined to four scroll legs with anthemion-carved ends, the table stamped “C. Briggs 11631 Patent”. h. 29‑1/2”, dia. 54”, ext. l. 118‑1/2” Provenance: Ex. The Stanley Weiss Collection, Providence, Rhode Island. $3,000‑$5,000 Cornelius Briggs was granted patents for an extension dining table mechanism in 1843 and 1845. The present table employs the hand-crank mechanism awarded patent no 3.249, September 1, 1843, in which Briggs asserts his crank and pulley extension mechanism that employs a unique center leg that retains its position as the table is extended and employs distinctive spring latches to hold the closed table together and lays claim to the tables’ singular “...combination of a pulley with a ratchet, wheel, paul, cord & c...”.

734

734 Pair of Jacob Petit Paris Porcelain Rhyton-Form Vases second quarter 19th century, French, each decorated with swags of encrusted flowers, the ground with raised gilt flowers, the vase molded with medallions and scrollwork, signed “J.P.” in underglaze blue. h. 9”, w. 7”, d. 3‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $900‑$1,200 733 detail

733

263

735 Pair of Paris Porcelain Rhyton-Form Vases mid-19th century, French, decorated with flowers and molded with dolphin’s heads, signed “MD” in underglaze blue for Margaine, the blanks probably by Jacob Petit and the decoration by Margaine. h. 10‑1/4”, w. 7‑1/4”, d. 5‑1/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 736 Three-Piece Jacob Petit Paris Porcelain Figural Clock Set

735

second quarter 19th century, French, the clock decorated with delicately painted flowers on a black ground and outlined in gilt scrollwork, a satyr masque in the center, unsigned, h. 19‑3/4”, w. 11‑1/4”, d. 6”, and the three-light candelabra decorated with a girl and boy, respectively, the standard with molded gilt-trimmed leaves, signed “J.P.” in underglaze blue, h. 21‑1/4”, w. 13‑1/2”, d. 4‑1/4”. Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 737 Margaret Mitchell (1900‑1949), Gone With The Wind</I> Autographed First Edition New York: Macmillan, 1936. First edition, first printing (May 1936). Octavo, in gray cloth with blue lettering on front spine, signed “Margaret Mitchell” in ink on the flyleaf, with facsimile dust jacket. 8‑1/2” x 6”

736

$3,000‑$5,000

264

737

737 details

740 Monumental American Victorian Cast Iron Garden Urn second half 19th century, the bold, fluted bowl supported by scrollwork terminating in griffin heads, molded with shells, on a tripod base. h. 48”, dia. 47” Provenance: Soule College, located in the Buckner Mansion, 1410 Jackson Avenue, New Orleans, Louisiana; The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000

738

740

738 Pair of American Cast Iron “Fern” Pattern Armchairs the backs and arms decorated with ferns, a pair of pierced lozenges in each corner, the seats with scrolled strapwork, with sabre-form front legs, the bases decorated to match. h. 32”, w. 22‑1/4”, d. 21” $1,000‑$1,500 739 Pietro Giorgi (Italian, 19th/Early 20th Century) “Young Girl in a Lace Bonnet” carved alabaster ca. 1900, incised signature at back, now presented on a black marble square columnar plinth. sculpture h. 41”, w. 16”, d. 16”, base h. 42‑1/2” $2,500‑$4,000

739

265

741

741 Pair of “Medallion” Pattern Cast Iron Benches

742 Pair of Gothic Revival Cast Iron Garden Benches

20th century, the medallion backs each decorated with a seated classical maiden, a bird perched on her finger, against a ground of pierced vines and scrollwork, with slatted iron seats, the sabre-form legs with hoof feet. h. 40”, w. 63”, d. 23‑1/2”

20th century, after 19th-century French originals, elaborately pierced, the backs with quatrefoils and Gothic arches, the seats in a hexagonal grid, and the sides and seat rail with Gothic patterns. h. 33‑1/2”, w. 54‑1/4”, d. 21”

$1,500‑$2,500

$1,000‑$1,500

742

266

743

743 American Gothic Revival Rosewood and Marble-Top Center Table ca. 1845, after a design by Alexander Jackson Davis, and probably executed by Alexander Roux, New York, the hexagonal marble top over a conforming apron with ripple molding along its top edge, and a scalloped lower edge with acorn pendants, supported by cluster-column posts on a base with trefoil feet, retaining tracery hanging lanterns between columns. h. 28‑1/2”, w. 36‑3/4”, d. 36‑3/4” $10,000‑$15,000 The present table is among an elite group of American Gothic Revival furniture, the most notable of which is a table that was purchased for the villa Belmead in Powhatan County, Virginia, about 1845. That table sold in these galleries in 2000, and is now in the collection of the Art Institute of Chicago. Other examples of this form are in the collections of the High Museum of Art, Atlanta, Georgia (The Virginia Carroll Crawford Collection), The Detroit Institute of Arts, The Virginia Museum of Fine Arts, and The Museum of Fine Arts, Boston. 744 American Gothic Revival Oak Armchair mid-19th century, possibly by J. & J. W. Meeks, New York, the pierced back adorned with arches, quatrefoils and trefoils, supported by spiral-turned stiles, the arms on like supports. h. 58‑1/2” Literature: A similar armchair is illustrated in Howe and Warren, The Gothic Revival Style in America, 1830‑1870, plate 26. $1,200‑$1,800 744

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745 Antebellum Alabama Coin Silver Water Pitcher 1851‑1859, by Jones, Ball & Poor, Boston, Massachusetts for G. L. & J. R. Poor, Selma, Alabama, the pear-shaped body decorated with repousse water lilies centering a circular cartouche, with beaded rim and spout, crested handle and molded foot-ring, engraved, on the cartouche “LEY”. h. 11‑1/2”, l. 9‑1/2”, dia. 6‑3/4”; 27.41 t. oz. $1,000‑$1,500 The exact relationship between the firm of George Lewis (1816‑1884) & James R. (b. 1824) Poor, which was active between 1851 and 1859 in Selma, Alabama, and that of Jones, Ball & Poor of Boston was unknown for some time, though its existence was well-established through pieces such as this, on which the Selma firm’s marks over-stamp the Boston ones. It is now known that George and James were the younger brothers of Nathaniel Colesworthy Poor (1808‑1895) of Jones, Ball & Poor, all the sons of Isaac Poor (1778‑1870) and Deborah Colesworthy (1787‑1860), and the younger brothers moved to Alabama to open a southern branch of the Boston manufactory. They returned to Massachusetts before the outbreak of the Civil War; George died there on February 13, 1884, but what became of James remains a mystery.

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746 Fine 19th-Century Tiffany & Co. Coin Silver Kettle-onStand 1857, by Grosjean & Woodward, New York, New York, the pear-shaped body decorated with beautifully detailed chased repousse “oak and ivy” decoration on an imbricate ground centering opposing cartouches, with trefoil banding at the upper edge, the hinged, domed lid, swing stirrup handle and “gooseneck” spout all en suite, the latter with openwork “branches”, all hinged, with two chained locking pins, to a stand with four oak leaf-crested scrolling feet joined to a burner receptacle (the burner lacking) and separated by cast openwork “oak and ivy” aprons, inscribed (on one cartouche) “L.F.M. / from / my Father”. h. 14‑1/2” (16‑1/4” with handle), dia. 7‑1/2”, l. 9‑1/4”; 60.16 t. oz. Provenance: Lucia Frances Minter (Mrs. William) Weaver (1839‑1886), mistress of Emerald Place Plantation, near Selma, Dallas county, Alabama, presented to her by her father, Col. William Thomas Minter (1805‑1865) on the occasion of her marriage on June 2, 1857. $5,000‑$8,000 Lucia Frances Minter was born on September 13, 1839 in Eastwood, Dallas county, Alabama, the daughter of William Thomas Minter (1805‑1865) and his wife Susan Amanda Bell (1819‑1855). Her father was a Georgia native who settled in Selma in 1830, where he was a large plantation owner and served as sheriff. On June 5, 1857 at St. Luke’s Church in Cahaba, Alabama, Lucia married William Minter Weaver (1829‑1898), and the couple honeymooned in New York; this handsome kettle-on-stand was her father’s wedding present to her. She became the mistress of her husband’s Emerald Place Plantation, where the couple had six children. Her father and father-in-law (Philip J. Weaver, 1797‑1865) both died in the defense of Selma during the Civil War, but Emerald Plantation survived. Lucia died there, at the young age of 46, on June 3, 1886, and is buried in the historic Old Live Oak Cemetery in Selma. The connection between the Minter/Weaver families and Tiffany extends well beyond the present lot, however. Lucia and William’s daughter, Clara Minter Weaver (Mrs. William) Parish (1861‑1925) was one of Tiffany’s most prominent stained glass designers. She designed the Tiffany windows for St. Michael’s in New York, as well as several churches in Alabama, including those at St. Paul’s Episcopal in Selma, one of which is dedicated to her mother, Lucia Frances Minter Weaver.

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746

746 detail

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747 Good Gorham Coin Silver Neo-Grec Centerpiece dated 1867, Providence, Rhode Island, the central columnar standard faced with two neoclassical maiden’s masques and flanked by full figures of neoclassical maidens, supporting a shallow circular bowl with gilt interior with ribbonmounted terminal handles and two applied cartouches, the whole raised on a circular plinth supported on four block feet, each faced with a neoclassical maiden’s masque, monogrammed and dated on the cartouches “EJB” and “Anniversary / June 5, 1867”. h. 12‑5/8”, dia. 10‑1/2”; 78.41 t. oz $3,000‑$5,000

747

747 detail

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748

748 Two Matching Philadelphia Coin Silver Medallion Vegetable Dishes third quarter 19th century, by Peter L. Krider Co., each of oval form, decorated with engraved palmettes and raised on four bracket feet, the rim with applied medallions of wasps on the sides and larger medallions of classical waterbearers on the ends, one monogrammed “ARB” and with gilt interior, the other with no monogram and plain interior. h. 3”, l. 12‑1/4”, w. 7”; 34.49 total t. oz. $1,800‑$2,500 749 American Egyptian Revival Sterling Silver Centerpiece

748 details

third quarter 19th century, by Ball, Black & Co., New York, New York, the tapering standard with large spherical knop surrounded by three scrolling legs, each crested with a pharaonic masque, supporting a hemispherical bowl and raised on a conforming plinth base. h. 13”, dia. 10‑3/4”; 40.35 t. oz. $1,800‑$2,500

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749

271

750 S. Kirk & Sons Five-Piece Silver Tea Service

750

751 Large Pair of Victorian-Style Silverplate Epergnes

fourth quarter 19th century, Baltimore, Maryland, Baltimore standard (.917) silver, including a hot water urn, h. 13‑1/4”, w. 12‑1/2”, a teapot, h. 8‑1/4”, l. 10‑1/2”, a covered sugar urn, h. 9”, w. 8‑1/4”, and a cream jug, h. 8‑1/2”, l. 5‑1/2”, together with an associated Kirk third quarter 19th century waste bowl, h. 5‑1/2”, dia. 6‑1/4”; the urn and teapot of flattened spherical form, the sugar urn and creamer of vase form, all with tall, squared handles with ram’s masque crests and pendant floral mounts, swan finials and raised on a pedestal foot, the pot with elaborated acanthus-and-shell “swan’s neck” spout, the hot water urn with bird-crested stirrup key, the waste bowl with shallow bucket-form bowl on a pedestal foot; all richly decorated with elaborate repousse flowers in the traditional Baltimore taste and monogrammed “F”. 157.05 total t. oz.

mid-20th century, by the Goldfeder Silver Co., Yalesville, Connecticut, each with a canted and concave triangular base raised on three robust acanthus feet, centering a pigeage tub within a scrolling grapevine standard with six branches around a large openwork grapevine banded basket, the branches each terminating in a smaller basket en suite, the base with a putto reaching to pick the grapes. h. 24‑1/4”, dia. 20‑1/4” $2,000‑$4,000

$5,000‑$8,000

751

272

752 Tiffany & Co. “Wave Edge” Sterling Silver Flatware Set the pattern designed in 1884 by Charles T. Grosjean (1841‑1888), New York, New York, including a halfdozen six-piece place settings and two serving pieces, variously monogrammed. 38 pieces 51.52 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,200‑$1,800 753 Whiting “Lily” Sterling Silver Flatware Set the pattern designed in 1902 by Charles Osborne (1847‑1920), Providence, Rhode Island, partially retailed by Charles D. Peacock, Chicago, Illinois, the assembled set including a dozen five-piece place settings (with luncheon forks in place of salad forks) with an additional twenty-seven place pieces and eight serving pieces (one of later re-cast), variously monogrammed, presented in a Pamilla cloth-lined, lifttop, fitted Gorham case with flaps, 3” x 15‑3/4” x 11”. 95 pieces plus case 128.26 total t. oz (weighable silver) Detailed list of pieces available on request. $2,500‑$4,000

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753 detail

753

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754 Gorham “Buttercup” Sterling Silver Flatware Set the pattern introduced in 1899, Providence, Rhode Island, including a dozen six-piece dinner settings and five four-piece dessert settings, with an additional thirteen place pieces and sixteen serving pieces, no monograms. 121 pieces 117.4 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,800‑$2,500

755 Partial Set of Reed & Barton “Francis I” Sterling Silver Flatware the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including forty-one place pieces and two serving pieces, most monogrammed “ESF”, presented in a blue silversmith’s cloth-covered zippered drawer insert, 19” x 12”. 43 pieces plus tray 49.40 total t. oz. (weighable silver) Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. 754

Detailed list of pieces available on request. $1,000‑$1,500

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756 Gorham “Queen Charlotte” Sterling Silver Tea Set 1926‑1928, Providence, Rhode Island, including: a teapot, h. 3‑1/4”, l. 9‑3/4”; a coffeepot, h. 9”, l. 9‑3/4”; a kettle-on-stand, h. 13”, l. 8‑1/2”; a creamer, h. 4‑3/4”, w. 5‑1/2”; a sugar bowl, h. 5‑3/4”, w. 7‑1/4”; a waste bowl, h. 3”, dia. 4‑1/2”; and an oval tray, l. 12‑1/2”, w. 18‑1/2” each piece monogrammed “S” 252.20 total t. oz. $3,500‑$5,000 757

757 Large Gorham Sterling Silver Centerpiece Bowl 1915, Providence, Rhode Island, model A9444, of circular form, the deeply everted rim decorated with an openwork band of embossed and chased acanthusmantled cartouches separated by flower baskets, with oakleaf-and-ribbon edge, raised on a domed foot-ring en suite and fitted with the original detachable silverplate liner and flower grille, monogrammed, on one cartouche “RP, conjoined. h. 7”, dia. 20”; 109.64 t. oz. (excluding liner and grille) $2,000‑$4,000 758 Gorham “Strasbourg” Sterling Silver Flatware Set the pattern designed in 1897 by William Christmas Codman (1839‑1923), Providence, Rhode Island, including a dozen eight-piece luncheon settings, with an additional dozen teaspoons, eight demitasse spoons, a two-piece infant set, and nine serving pieces, no monograms. 127 pieces 115.50 total t. oz. (weighable silver)

758

Detailed list of pieces available on request. $2,000‑$4,000

756

275

759

759 Set of Twelve Sterling Silver Water Goblets mid-20th century, by International Silver, Meriden, Connecticut, model P661, with inverted bell-form body and pedestal stem, no monograms. h. 6‑3/4”, w. 3‑3/8”; 47.43 total t. oz. $1,000‑$1,500

760 Tuttle “Onslow” Sterling Silver Flatware Set the pattern introduced in 1931, Boston, Massachusetts, this set 1974‑1975, including a dozen six-piece place settings, no monograms, presented in a fitted, maroon velvet-lined, brown faux leather case with zip top, 3‑1/2” x 21‑1/4” x 12‑3/4”. 72 pieces plus case 85.67 total t. oz. Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. Detailed list of pieces available on request 760

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$1,500‑$2,500

761 Reed & Barton “French Renaissance” Sterling Silver Flatware Set the pattern designed in 1941 by George Logan Turner (1874‑1951), Taunton, Massachusetts, including a dozen four-piece place settings with an additional twenty-one place pieces and three serving pieces, no monograms, presented in a turquoise baize-lined, fitted, cherry-stained case with lift-top, 3” x 14‑1/2” x 11”. 72 pieces plus case 79.71 total t. oz. (weighable silver) Detailed list of pieces available on request. $1,000‑$1,500 762 Partial Set of Oneida-Heirloom “Stanton Hall” Sterling Silver Flatware the pattern designed in 1951 by Grosvenor Noyes Allen (1874‑1954), Sherrill, New York, including seventy-five place pieces and three serving pieces, no monograms. 78 pieces 88.578 total t. oz. (weighable silver) Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. Detailed list of pieces available on request

762

$1,200‑$1,800

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761 detail

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763 Pair of Rare Jacob Petit Paris Porcelain Hydriai mid-19th century, French, based on ancient pottery wine and water jugs, decorated with molded scrollwork and handpainted flowers, with arching handles molded with grapes, the center with pierced venting, with two spouts, one with a masque and the other a molded eagle, each marked “J.P.” in underglaze blue. h. 9‑1/2”, w. 7‑1/2”, d. 5‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 765 765

763

764 American Rococo Revival Rosewood Secretary Bookcase third quarter 19th century, the arched top with an elaborate carved flower-basket crest, flanked by turned and carved finials, above a pair of arched doors and serpentine fall-front writing surface, opening to a fitted interior, the shaped base with a single drawer above a pair of cabinet doors. h. 112”, w. 51”, d. 25” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $5,000‑$8,000 765 F. de Korff (19th Century) “Pendant Portraits of Husband and Wife on a Terrace” pair of oils on canvas each signed and dated “1850” lower left and lower right, respectively. Matching giltwood frames. each 25‑3/4” x 21‑1/2”, framed 31‑1/2” x 26‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,500‑$2,500

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764

766 American Rococo Revival Rosewood Etagere/ Hall Stand third quarter 19th century, probably New York, the upper shelf with a deeply carved fruit, floral and leaf crest over a mirror plate, the serpentine console base with a frieze with like carving, on carved brackets joined to a low serpentine shelf, the back with a mirror plate. h. 58‑1/2”, w. 43”, d. 18” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000

766

767 American Rococo Revival Rosewood Cabinet-Base Etagere third quarter 19th century, New York, possibly by Alexander Roux, the upper section with a pierced crest with carved birds’ heads above two shaped graduated shelves, supported by elaborate pierced and carved brackets, the base with a pair of carved doors with floral details. h. 71”, w. 52”, d. 22” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000

767

279

768 Pair of Jacob Petit Paris Porcelain Ewers mid-19th century, French, in the Renaissance taste, with dragon-molded spouts, entwined serpent handles and sculpted busts overlooking painted panels decorated with flowers and figures in Renaissance dress, the bases molded with grapes, signed “J.P.” in underglaze blue. h. 14”, w. 4”, d. 5” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. Literature: An identical pair in a different color are illustrated in Porcelaine de Paris, by Regine de Plinval de Guillebon, p. 253. $1,000‑$1,500

770

769 American Rococo Revival Rosewood Cabinet-Base Etagere 768

third quarter 19th century, probably New York, the upper section with a pierced floral-carved crest over a pair of graduated shelves, each on S-scroll carved brackets and backed by a looking glass, on a marbletop base with projecting rounded corners, the case with a pair of drawers over a pair of doors with glazed panels. h. 63”, w. 45‑1/2”, d. 22” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

770 Rare Jacob Petit Paris Porcelain Bronze-Mounted Garniture Urn mid-19th century, French, the green ground decorated with flowers and raised gilt grapes and grape leaves, on a pierced gilt-bronze base with rocaille work and flowerheads, set with bronze “twig” handles, the pierced rim decorated with grapes, the cover with a bronze cone-form knop, signed “J.P.” in underglaze blue. h. 17‑3/4”, w. 10‑3/4”, d. 7‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $800‑$1,200

280

769

771 Jacob Petit Paris Porcelain Campana-Form Urn second quarter 19th century, French, the handles molded with classical masques and volutes terminating in griffins, the green ground decorated with raised giltwork and handpainted with an upper panel of children gathering wood, based on Meissen’s “Cries of Paris”, the lower with a figure in a landscape, the base with molded shells and scrollwork, signed “J.P.” in underglaze blue. h. 21‑1/2”, w. 12‑1/4”, d. 9‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

771

772

772 American Rococo Revival Rosewood and Marble-Top Center Table third quarter 19th century, New York, possibly Alexander Roux, the shaped gray-veined white marble top on a conforming base with foliate-carved aprons and drop finials, the legs with floral-carved knees joined by shaped stretchers centered by an elaborate floral-carved basket. h. 29‑1/2”, w. 32‑1/2”, l. 47” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $3,000‑$5,000 773 American Rococo Revival Rosewood Writing Desk third quarter 19th century, bearing the stenciled label of Alexander Roux, New York, in the drawer, along with a partial paper label on the back, the pierced crest above a horizontal mirror and pair of mirrored cabinet doors, the fall-front lid opening to a fitted interior, raised on tall cabriole legs. h. 76”, w. 38”, d. 19” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000 773

281

776 Two Pairs of Paris Porcelain Vases, Attributed to Jacob Petit second quarter 19th century, French, each decorated with raised gilt, including a pair of open urns with panels of troubadour figures painted on the obverse and flowers on the reverse, with scroll-molded handles, together with a pair of potpourri urns with rope-twist handles and pierced covers with floriform knops, the obverses with panels of hand-painted flowers. h. 13‑1/2” to 14‑1/4”, w. 7” to 9‑1/4”, d. 5” to 6” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 775

774 “Margaine” Porcelain Figural Mantel Clock second quarter 19th century, French, in three parts, the scrolltrimmed base decorated with raised gilt grapes on a green ground, the figures depicting a family in Renaissance dress, enjoying a musical evening, with a singer and lute player, a boy in the back playing with a dog, signed “MA” in underglaze blue, the blank attributed to Jacob Petit and the decoration to Margaine. h. 22”, w. 12‑1/2”, d. 11‑3/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000 775 Pair of Paris Porcelain and Gilt-Bronze Ewers mid-19th century, French, attributed to Jacob Petit, with winged griffin-form handles and mounts in the Renaissance style, the green ground decorated with panels of birds, garden hats and flowers, trimmed with raised gilt. h. 14”, w. 6”, d. 4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. 774

$1,000‑$1,500

282

776

777 American Rococo Revival Rosewood and Marble-Top Etagere third quarter 19th century, probably by Thomas Brooks, Brooklyn, New York, the upper section with a pierced foliate crest above a central mirror, flanked by narrow mirrors to each side and shaped shelves, the base with its original white marble top above a serpentine drawer and cabinet below. h. 98”, w. 60”, d. 21” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,500‑$2,500 778 Philadelphia Gilt-Bronze Chandelier mid-19th century, probably Cornelius & Baker, the trumpetform standard decorated with pierced scrollwork, the body and scrolled arms with piercing, rocaille work and flowers, the molded chains decorated with putti, set with cut glass shades. h. 25”, dia. 28” $1,000‑$1,500

778

779 American Rococo Revival Walnut Etagere third quarter 19th century, the shaped mirror with an elaborate carved and pierced crest and separated by a medial shelf, the base with a serpentine marble top over a conforming frieze with cabochon, shell and scroll carving, raised on cabriole legs with foliate and cabochon carving, the legs joined by a stretcher with an open leaf- and scrollcarved finial. h. 85”, w. 47”, d. 19‑1/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

777

779

283

780 Impressive American Rococo Revival Rosewood Armchair third quarter 19th century, with an elaborate foliate- and shell-carved crest, corset-form padded back, rolled knuckle grips and floralcarved apron. h. 52‑1/2”, w. 26‑1/2”, d. 28” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,200‑$1,800 781 Pair of Jacob Petit Paris Porcelain Vases second quarter 19th century, French, inspired by Staffordshire vases, in the form of tree trunks, each with encrusted flowers, one vase with a deer and birds and the other with a setter and birds, both poised on the forest floor molded with bracken and mushrooms, each signed “J.P.” in underglaze blue. h. 14‑1/4”, w. 8‑1/2”, d. 6‑3/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana.

781

$1,000‑$1,500 782 American Rococo Revival Rosewood Dresser third quarter 19th century, the arched mirror in a conforming frame, on a support with a pierced fret, scroll-carved crest and scrollcarved brackets, the base with a serpentine marble top over three graduated conforming drawers and carved bracket feet. h. 87‑1/2”, w. 48”, d. 25‑1/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

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782

783 New Orleans Market Mahogany and Rosewood Half-Tester Bed, Attributed to the New Orleans Warerooms of Prudent Mallard third quarter 19th century, the serpentine tester on clustercolumn posts supporting a paneled headboard with open carved crest, the headboard joined to a footboard with like panel and posts, the serpentine rails with upholstered top edges. h. 126”, inside w. 63”, l. 83”, outside w. 69”, l. 95” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $4,000‑$7,000

783

285

784 New Orleans Market Rococo Rosewood and Faux Rosewood Dressing Table third quarter 19th century, the oval looking glass with a period cabochon-, leaf- and scroll-carved crest, supported by brackets with like carving, on a base with a serpentine marble top over a conforming drawer, raised on fruit-carved cabriole legs joined by pierced serpentine stretchers. h. 46”, w. 47‑1/2”, d. 26” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $5,000‑$8,000 A dressing table in the iconic bedroom suite attributed to Prudent Mallard at Lansdowne, Natchez, Mississippi, shares apparently identical legs and mirror supports with the present dressing table.

784

785 New Orleans Market Rosewood Night Stand, Attributed to the Warerooms of Prudent Mallard third quarter 19th century, the period dished marble top on a case with a drawer over a paneled door, veneered and finished on four sides. h. 34”, w. 19‑3/4”, d. 19‑3/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 While distinctly American in size and woods employed, its form and the dished marble exemplifies the lingering restrained Louis-Philippe influence in furniture crafted for this market.

785

286

786 New Orleans Market Rosewood Armoire, Attributed to the New Orleans Warerooms of Prudent Mallard

787 Rare Bronze Dore and Porcelain Clock, Attributed to Jacob Petit

third quarter 19th century, the cabochon-carved crest flanked by open fretwork over a beaded and paneled frieze and a single mirrored door and drawer below, raised on distinctive scroll-edged bracket feet. h. 134”, w. 57”, d. 23‑1/4”

second quarter 19th century, Paris, France, richly decorated with Rococo Revival dore trim, the base with grape-trimmed Silenus masques forming the feet, the clock with pierced scrollwork, rocaille work and stippling, the porcelain body covered in delicately hand-painted flowers on a gilt stippled ground. h. 20‑1/2”, w. 15‑3/4”, d. 8‑1/2”

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $5,000‑$8,000 An armoire with similar form and decorative details is conserved in the Louisiana State Museum 1850 House. That suite is accompanied by an 1869 bill of sale.

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 788 Pair of Franco-Bohemian Rococo Revival Porcelain Cachepots mid-19th century, each with carefully painted floral panels, the crest and handles molded with rigorous rocaille gilt decoration, each on matching gilt-decorated saucers with pierced centers. h. 9‑3/4”, w. 10‑1/4” $1,000‑$1,500

787

786

788

287

789 Philadelphia Gilt-Bronze Gasolier mid-19th century, probably Archer and Warner, the bowl, finial and chains molded with grapes and stippled grape leaves, the gas keys molded with matching leaves, set with cut and frosted glass shades. h. 32”, dia. 25‑1/2” $1,200‑$1,800 790 Gilt-Bronze Gasolier, Attributed to Cornelius and Baker mid-19th century, Philadelphia, the standard with a pair of Grecian figures, the trumpet-form body decorated with masques and pierced anthemia, and supporting rococomolded arms decorated with masques of gods, set with lotusmolded shade holders and cut and frosted glass shades. h. 36”, dia. 27” $1,200‑$1,800 790

789

791 American Rococo Revival Rosewood Double-Door Bookcase third quarter 19th century, with an elaborate pierced and carved flower-basket crest flanked by large finials, above a pair of glazed doors and scalloped base, the interior fitted with adjustable shelves. h. 119”, w. 64”, d. 18” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $5,000‑$8,000

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791

793 Large, Exuberant Pair of Franco-Bohemian Porcelain Fan Vases mid-19th century, the Rococo Revival vases decorated with tinted parian sculpted birds and hand-painted panels, one depicting a family outside with a dog and a burro, and the other a mother bathing her children, molded with gilt leaves, all decorated with a ground of gilt flowers. h. 22‑1/2”, w. 12”, d. 5‑1/2” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 794 American Rococo Revival Laminated Rosewood Side Chair 792

third quarter 19th century, attributed to John H. Belter, New York, in a variation of the pattern commonly referred to as Fountain Elms, with an applied flower-basket crest and pierced frame with acorns and flowers, flower-carved apron and knees, and raised on cabriole legs. h. 37”, w. 18”, d. 18” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,800‑$2,500

793

792 American Rococo Revival Rosewood and Marble-Top Center Table third quarter 19th century, the conforming, thick Brocatelle Violette d’Espagne marble top over a carved frame with robust fruit on the aprons and knees, the legs joined by a shaped and carved stretcher centered with a carved fruit basket finial. h. 30”, w. 46”, d. 29” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $3,000‑$5,000

794

289

795 American Rococo Rosewood Half-Tester Bed by C. Lee

796 Jacob Petit Paris Porcelain Clock

third quarter 19th century, crafted for the New Orleans and Southern market by the Manchester, Massachusetts workshop of Charles Lee, and with the maker’s incised stamp “C LEE”, the beaded serpentine tester raised on tapering turned posts supporting a paneled headboard with a shell-, fruit- and cabochon-carved crest. h. 111”, inside w. 64”, l. 77”, outside w. 67”, l. 84”

mid-19th century, French, in two parts, decorated with grapes and flowers, signed “J.P.” in underglaze blue, presented under a glass dome on an ebonized wooden base. h. 20‑3/4”, w. 12”, d. 7”

Provenance: The present bed belonged to prominent New Orleanians Walter and Anita Howard Parker, while they were in their Louisiana colonial home at 924 East Moss Street, Bayou St. John, also referred to today as the “Blanc-Labatut-ParkerErlanger House”. By family tradition, the present and following bed remained in the house until the early 1970s and has descended through the family to the present. In recognition of Walter Parker’s work as president of the Bayou St. John Improvement Association from 1927‑1950, the Dumaine Street Bridge in the neighborhood was named “The Walter Parker Memorial Bridge”.

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500

$3,000‑$5,000

796

290

795

797

797 William Aiken Walker (American/South Carolina, 1839‑1921) “Biloxi’s General View after Storm of October 2nd, 1893” oil on canvas signed lower left, pencil-titled and inscribed “Painted on Oct. 5th, 93 whilst ...on the way to New Orleans on Tug JuliusElbert.” Framed. 12” x 20”, framed 16” x 24” Literature: To be included in John Fowler’s forthcoming catalogue raisonne. $15,000‑$25,000 Without a national weather service in place, the “Great October Storm” was only first observed on September 27, 1893, in the northwest Caribbean Sea. As the storm moved to the northwest, it quickly strengthened into a hurricane. On the morning of October 2nd, the hurricane struck southeast Louisiana destroying the small fishing community of Cheniere Caminada, west of Grand Isle. After crossing the northern Gulf of Mexico, the hurricane advanced to the Mississippi coast in the evening hours causing considerable damage.

On October 6th, 1893, The Atlanta Constitution newspaper reported the aftermath of the “Great October Storm”: “At Biloxi nothing escaped the fury of the elements. On every side could be seen the wrecks of boats, piers and bathhouses." Out of more than 100 boats on the front bay little and big, only three rode the storm safely, and the beach is strewn with wrecks of all descriptions. On the back bay only one or two weathered the gale. Not a single wharf is standing on either the front or back bay.” A frequent visitor to Biloxi, William Aiken Walker was well acquainted with the coastal community. Walker personally witnessed the storm’s destruction as he traveled by tugboat to New Orleans. He painted the view of the bay just days after the hurricane, where he accurately documented the damaged including an uprooted tree, beached boat on the shore and the remnants of the wharves. The artist also included signs of recovery with a surviving lighthouse and the steamboat and sailing boats in the distance.

291

798

798 George Rodrigue (American/Louisiana, 1944‑2013) “George Rodrigue’s Boat”, 1993 oil on canvas signed lower right, signed, titled, dated and with a sketch of a “Blue Dog” en verso. Framed. 20” x 24”, framed 27” x 31” $18,000‑$25,000 799 Clarence Millet (American/Louisiana, 1897‑1959) “Chartres St., New Orleans” oil on canvas laid on board signed lower left, titled and signed en verso. Framed. 24” x 20”, framed 31‑1/2” x 27‑1/2” Provenance: Estate of Thomas J. McMahon, Abilene, Texas; purchased in New Orleans ca. 1930; by descent to the present owner. $10,000‑$15,000

292

799

800 Walter Inglis Anderson (American/Mississippi, 1903‑1965) “Horn Island” watercolor and graphite on paper unsigned. Matted, glazed and framed. 8‑1/2” x 11”, framed 16‑1/2” x 18‑1/2” $8,000‑$12,000 801 Shearwater Art Pottery Plate decorated by Walter Inglis Anderson with three girls and a cat. dia. 9‑1/8”

801

Literature: Accompanied with a copy of a 1992 letter by Mary Anderson Pickard confirming the authenticity of the plate. $1,200‑$1,800 802 Shearwater Art Pottery Plate ca. 1960s, decorated by Walter Inglis Anderson with Hooded Merganser ducks. dia. 10‑1/8” Literature: Accompanied with a copy of a 1992 letter by Mary Anderson Pickard confirming the authenticity of the plate. $1,200‑$1,800

802

800

293

803

803 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Louisiana Bayou with a Pirogue” oil wash on board signed lower left. Matted and framed. sight 18‑1/2” x 27”, framed 29” x 37” $2,000‑$4,000

294

804 Alexander John Drysdale (American/Louisiana, 1870‑1934) “Louisiana Bayou” oil wash on board signed lower right. Matted, glazed and framed. sight 13‑3/4” x 19‑1/4”, framed 24‑1/4” x 29‑1/2” $1,200‑$1,800

804

805 Cornelius & Baker Bronze and Zinc Gasolier post-1858, Philadelphia, decorated with a zinc figure of Benjamin Franklin, the main body suspended from the pierced Rococo Revival canopy on ropetwist supports, the bronze arms molded with leaves, and set into the contrasting bronze and zinc scrolldecorated body, set with frosted glass shades cut with Greek-key ornamentation. h. 35”, dia. 28” $1,000‑$1,500

805

295

806 William Merritt Chase (American, 1849‑1916) “Portrait of Louis Windmuller (1835‑1913)”, 1902 [sic?] oil on canvas signed far left center. Framed. 51‑1/2” x 38”, framed 67‑1/2” x 55” Provenance: In theory, City Reform Club, New York, 1901‑ before 1949; Private collection; Private collection, Texas, 2010‑ Exhibited: In theory, Boussod, Valadon and Co., New York, April-May, 1901; Society of American Artists, Twenty-Fourth Annual Exhibition, March 29‑May 4, 1902, New York, no. 16; Retrospective of the Work of William Merritt Chase, National Arts Club, New York, January 5‑19, 1910, no. 65; William M. Chase Memorial Exhibition, Metropolitan Museum, New York, February 19‑March 18, 1917, no. 20. Literature: D. Frederick Baker confirmed the authenticity of this work in a January 8, 2014 art research report prepared for Sotheby’s, New York. Ronald Pisano, William Merritt Chase, Portraits in Oil , vol. 2 (New Haven: Yale UP, 2006) p. 179, OP. 349; Katharine Metcalf Roof, The Life and Art of William Merritt Chase (New York: Charles Scribner’s Sons, 1917); “Portrait By W. M. Chase: The Reform Club Honors Its Treasurer with An Oil Painting” The New York Times 9 June 1901: p. 7. Online; Portraits By WM M Chase” The New York Times 9 April 1901: p. 9. Online. $20,000‑$40,000 Louis Windmuller, the sitter of this portrait, exemplifies the American Dream. At eighteen, he immigrated to New York, and over the next sixty years built a lucrative career as a merchant, banker and philanthropist involved in numerous social reform clubs and civic betterment committees, including the eponymous City Reform Club of New York, founded by President Theodore Roosevelt, on whose board Windmuller served for many years as Treasurer. At or around 1901, the Reform Club honored its Treasurer with a portrait by William Merritt Chase, and this is where the story becomes convoluted. Ronald Pisano’s catalogue raisonne of the artist’s work states that the portrait of Windmuller was painted by Chase in 1902 and that it was first exhibited in 1902 at the Society of American Artists, Twenty-Fourth Annual Exhibition. D. Frederick Baker in his follow-up art research report prepared for Sotheby’s, New York, in 2014 confirms the date stating, “It is dated by the first exhibition in which it appeared, The Society of American Artists, 14th [sic] annual exhibition, 1902, lent by the Reform Club of New York...”, but the portrait was first exhibited in the Spring of 1901 at Boussod, Valadon and Co., New York, and a handful of periodicals from The New York Times to the Pittsburgh Daily Post describe it in great detail. The New York Times article titled “Portrait By W. M. Chase: The Reform Club Honors Its Treasurer with An Oil Painting”, dated April 9, 1901, suggests that the portrait was indeed commissioned by the Reform Club, and reports that “he is seated in an easy pose, with his hands clasped in front of him and his fingers interlaced. The hands are almost as notable as the face and the painter has bestowed no less care on one than the other.”

296

The article continues to speculate on the meaning of palmistry and “general expressions of pervasive bonhomie.” No measurements of this portrait were recorded by Boussod, Valadon or by the reviewers, nor were they recorded in the two subsequent exhibitions at the “Society of American Artists, Catalogue of the Twenty-Fourth Exhibition,” 1902 and the “Retrospective of the Work of William Merritt Chase, National Arts Club,” 1910. In each of the three exhibits the portrait of Windmuller was lent by the Reform Club. In 1917, it was lent again by the Club for the Metropolitan Museum’s “Memorial Exhibition”, where the measurements and locations of the signature were recorded in entry no. 20 as 54” x 44” and signed lower right. The portrait was not exhibited and thus not catalogued or measured again until it resurfaced at market in 2010. In the 1949 Centennial Exhibition of Chase’s work at the John Herron Art Museum, the painting’s current location was unknown; its provenance listed - “formerly Reform Club, New York, N.Y.” Additional exhibitions and the Pisano’s catalogue raisonne list the Metropolitan Museum’s information. In Frederick Baker’s evaluation and report of the Windmuller portrait, he exalts it: “Upon reflection, I believe it to be one of his finest portraits... And it was painted when Chase was at the “top of his game.”... I seldom comment on works in such an effusive manner, however, I feel this painting to be extraordinary.” Since the portrait does not comply with the 1917 measurements supplied by the Metropolitan Museum, Baker states that the painting must have been cut down to 51‑1/4” x 38” and that the signature was removed and that a faint “wimpy” signature was later applied to the far left center, but the painting has not been relined and the original primed white canvas is visible around the stretchers. According to the condition report prepared by Fine Art Conservation Services in San Antonio, Texas, the current “wimpy” signature is “beneath the varnish” and did not indicate an additive pigment under UV and IR lighting. With the exception of some small scattered areas of inpainting, no other restorative work was noted. None of the senior specialists at Sotheby’s or the William Merritt Chase Catalogue Raisonne Project contest this portrait as being the work of Chase; they are stymied over why it does not comply with the 1917 entry supplied by the Metropolitan Museum. What connotes a “wimpy signature”? If the portrait has not been cut down, the signature does not float, is it as equally plausible that the cataloger wrote the wrong measurements and location on the incorrect card? Could the Reform Club have commissioned two near-identical portraits that they deaccessed between 1917 and 1949? Cataloging mistakes abound in early catalogues, perpetuating new ones for scholars and discerning collectors alike to unravel. This extraordinary portrait that belies the man of mettle it portrays recalls the palmistry riddle The New York Times reviewer attributed to Windmuller’s interlaced fingers and “pawky” expression.

806

297

807

807 detail

807 American Renaissance Revival Walnut Extra Grade Wooton Patent Secretary third quarter 19th century, Indianapolis, Indiana, with an elaborate carved gallery above a flip-open hidden compartment and two large swinging banks fitted with open cubbyholes and shelves on the left and drawers on the right, the central section with a fold-down writing deck and fitted interior. h. 79”, w. 46”, d. 33” $12,000‑$18,000 808 Brass and Patinated Metal Gasolier in the Renaissance Revival Taste fourth quarter 19th century, with a handled urn standard, the arms decorated with incising and set with conical finials, the gas keys with molded shells, set with frosted and cut glass shades. h. 52”, dia. 32” $1,000‑$1,500

808

298

809 Rare, Monumental American Renaissance Revival Walnut Astronomical Regulator Clock third quarter 19th century, attributed to George Jones, New York, referred to as a “Regulator #8”, the upper crest with a Minerva head above a carved stag’s head, having a brass face, three-vial mercury pendulum and single brass weight. h. 130”, w. 42”, d. 18” $30,000‑$50,000

810

810 American Neo-Grec Gilt-Bronze Gasolier third quarter 19th century, the fluted standard decorated with anthemia and medallions, and supporting curved, incised arms set with urn-form finials, the burner holder molded to resemble classical oil lamps, set with molded ruffled glass shades decorated with flowers and arabesque scrollwork. h. 36”, dia. 29” $1,000‑$1,500

809

299

811 Hagspiel & Ruschpler, Dresden, Amboyna Baby Grand Piano ca. 1875‑1879, bearing the script serial number 11461, and a tag “Manufactured for Paterson & Sons Music Sellers to the Queen Edinburgh & Glasgow.” h. 37‑1/2, w. 54”, l. 71” $1,500‑$2,500

812 Pair of Patinated Bronze Allegorical Figures of America and Britannia ca. 1900, each of a classically draped woman, America with a star-adorned sash and Britannia holding aloft a book, each now on a square metal base. each h. 35‑1/2”, w. 16”, d. 15” $2,500‑$4,000 812

811

300

813 Silverplate and Glass Gasolier third quarter 19th century, probably American, the standard with an upper ring of pierced ivy leaves, decorated with graduated tiers hung with spear-point prisms, the gas arms with pierced keys set with prism rings and molded, ruffled shades decorated with flowers and arabesque scrolls. h. 52”, dia. 27” $1,000‑$1,500

813

814

814 Albion Harris Bicknell (American, 1837‑1915) “Sunset Landscape” oil on wood panel signed lower right. Framed. 15” x 21”, framed 22” x 28‑1/4” $1,500‑$2,500 815 Granville Redmond (American/California, 1871‑1935) “In the Moonlight” oil on canvas signed lower left. Framed. 16” x 22”, framed 24‑1/2” x 30‑1/2” Provenance: Bonhams, California, December 12, 1996, lot 3241. $30,000‑$50,000 815

301

816 817

816 American Rococo Revival Elizabethan Quarter-Sawn Oak Dining Table fourth quarter 19th century, the circular top with a carved edge, the apron with carved grape-and-leaf motif, mounted to an octagonal pedestal with similar carvings and supported by large spiral-twist columns, the base with four outstretched legs ending in bun feet, accompanied by six 12” leaves. h. 31”, dia. 54” $1,800‑$2,500 817 American Brass and Glass “Jeweled” Kerosene Chandelier fourth quarter 19th century, the prism-hung standard supporting a pierced ring set with polychrome glass jewels, the molded glass kerosene fonts mounted with “daisy and button”-type molded glass shades. h. 41”, w. 23‑1/2” $1,000‑$1,500 818 Exceptional Monumental Neo-Grec Giltwood Mirror third quarter 19th century, French or American, the scrolled corners carved with bunches of flowers, the edges carved with flowerheads, egg-and-dart and dentilation, the centers of the sides with trailing ivy on a sanded ground, the inner liner with a ribbon-bound beading and a molded Moorish arch. overall h. 67”, w. 52”, rabbet h. 44”, w. 28‑1/2” $3,000‑$5,000

302

818

819 James Abbott McNeill Whistler (American/British, 1834‑1903) “Eagle Wharf”, 1859 etching signed and dated in plate lower center. Matted, glazed and framed. plate 5‑3/8” x 8‑1/2”, framed 14” x 16‑1/2” $1,000‑$1,500 820 Edouard Manet (French, 1832‑1883) “Le Chanteur Espagnol”, ca. 1861 etching on cream-colored laid paper with “Van Gelder Zonen” watermark signed in plate upper right, edition Strolin. Matted, glazed and framed. plate 11‑5/8” x 9‑5/8”, framed 17‑7/8” x 11‑3/8” $1,000‑$1,500

819

820

303

821 Steinway & Sons, New York, Model L Ebonized Baby Grand Piano and Bench ca. 1927‑1928, bearing the serial number 226788, with a capo d’astro patent, duplex scale patent, tubular metallic action frame patent and patent grand construction. h. 39”, w. 57”, l. 71” $3,000‑$5,000 822 Michele Vedani (Italian, 1874‑1969) “Native American on Horseback” patinated bronze second quarter 20th century, cast signature and dated “1930” on self-base, now on a carved wood base. overall h. 19‑3/8”, w. 23‑1/4”, d. 14‑1/4”

822

$1,200‑$1,800

821

304

823

823 Alfred J. Jansen (Dutch, 1859‑1935)

824

“Steamship with Double Funnel, Pulling into the Port of Antwerp” oil on canvas board signed, dated and localized lower right. Framed. 24‑3/4” x 40”, framed 32” x 48” $1,800‑$2,500 824 American Eastlake Brass and Glass Gasolier fourth quarter 19th century, with a central light and three scrolled arms, the tubular frame set with a ring molded with scrolled vining on a stippled ground, the upper portion with sheet brass sunflowers, set with ruby-plated glass shades decorated with gilt dragons. h. 55”, dia. 24” $1,000‑$1,500 825 American Victorian Bronze and Glass Hall Lantern fourth quarter 19th century, the polished bronze frame decorated with scrollwork and set with a swirled opalescent glass shade, now with three electric light sockets. h. 36”, dia. 6” $1,000‑$1,500

825

305

828

826

826 St. Louis Five-Arm Candelabrum and Four Matching Candlesticks 20th century, French, composed of molded crystal with gilt filigree decoration, each with a trumpet-form base and prismhung drip pans, the candelabrum electrified and set with hurricane shades and a sphere finial. candelabrum h. 33”, dia. 22”, candlesticks h. 10‑3/4”, dia. 4‑3/4” $2,000‑$4,000 827 French Baccarat-Style Cranberry-Flashed Chandelier 20th century, the cut glass vasiform standard hung with spear-point prisms and supporting rope-twist arms hung with cranberry bells terminating in swirled candle sockets and matching drip pans, hung with cut glass spear-point prisms. h. 43”, dia. 36” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $3,000‑$5,000 828 Joan Potter (American, b. 1945) “Still Life with Flowers and Ceramics” oil on canvas signed lower right. Framed. 28” x 25”, framed 34‑1/2” x 31‑1/2” $1,000‑$1,500

306

827

829 Emile Albert Gruppe (American/Massachusetts, 1896‑1978) “Autumnal Landscape with Birch-Lined Path” oil on canvas signed lower right, verso with “Wally Findlay Galleries” label. Framed. 30” x 36”, framed 36” x 42” $3,000‑$5,000

829

830 Frederick Judd Waugh (American/New Jersey, 1861‑1940) “Study for Waves” oil on masonite signed lower right and en verso. Framed. 12” x 16”, framed 15‑1/4” x 19‑3/4” Together with the retrospective book Frederick J. Waugh, American Marine Painter by George R. Havens. $4,000‑$7,000

830

307

833 French Brass and Longwy Pottery Hall Gasolier fourth quarter 19th century, in the Aesthetic taste, the standard with scrolled strapwork, the pottery base with a turquoise ground and decorated with peonies, in a brass frame decorated with ivy and acorns, set with a pair of similar period Aesthetic shades acid-etched with flowers. h. 29‑3/4”, w. 21”, d. 9” $1,000‑$1,500

831

831 Franco-Japanese Carved Birch Desk fourth quarter 19th/first quarter 20th century, in the manner of Gabriel Viardot, Paris, having carved and pierced scrolling fretwork surmounting an Irimoya-form roof, over two short drawers decorated in the Shibayama style, next to painted lacquer and mother-of-pearl inlay panels, atop a rectangular desk with scroll-form ends, raised on four slender cabriole legs terminating in claw feet, with a carved and pierced frieze centered by a single drawer. h. 47”, w. 36”, d. 22”

832

$1,000‑$1,500

832 American Brass and Glass Gas Hall Lantern fourth quarter 19th century, with a cranberry “coinspot” pattern shade set into a scalloped brass shade holder, now with four electrical sockets. h. 29‑1/2”, dia. 7‑1/2” $1,000‑$1,500

308

833

834 Jose Vives-Atsara (American/Texas, 1919‑2004) “La Casa Blanca”, Catalonia, Spain oil on canvas signed lower right, signed, titled and localized en verso. Frame with artist plaque. 9” x 12”, framed 17‑1/2” x 20‑1/2” Provenance: Private collection, Houston, Texas. $1,500‑$2,500

834

835 Jose Vives-Atsara (American/Texas, 1919‑2004) “Las Casas del Lago”, Catalonia, Spain oil on canvas signed lower right, signed, titled and localized en verso. Frame with artist plaque. 18” x 24”, framed 28” x 34‑1/2” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

835

836 Noe Perez (American/Texas, b. 1958) “Spring Landscape with Barn”, 2005 oil on canvas signed lower left, signed, titled and dated en verso. Framed. 16” x 20”, framed 22” x 25‑1/2” Provenance: Private collection, Houston, Texas. $1,000‑$1,500

836

309

837 Jose Vives-Atsara (American/Texas, 1919‑2004) “Indian Woman, Mexico” oil on canvas signed lower left, signed and titled en verso. Framed. 40” x 30”, framed 48” x 38” Provenance: Private collection, Houston, Texas. $2,000‑$4,000

838 Louis Oscar Griffith (American/Indiana, 1875‑1956) “Along the Creek, Nashville, Ind” oil on canvas board signed lower right, signed en verso, and titled and dated on a “Hoosier Salon Exhibition” label. Framed. 16” x 20”, framed 21‑1/2” x 25‑1/2” $1,000‑$1,500

837

838

310

839 Samuk Carpet 8’ 7” x 10’ $7,000‑$10,000

840 Semi-Antique Bakshaish Carpet 10’ x 14’ 4” $12,000‑$18,000

839

840

311

841 Two Turkish Silk Prayer Carpets 3’ 5” x 5’ and 3’ 3” x 5’ $1,000‑$1,500

842 Antique Malayer Runner 3’ 3” x 20’ $1,200‑$1,800

841 one of two

312

841 two of two

842

844

843 Antique Malayer Runner

844 Antique Oushak Carpet

3’ x 11’ 2”

10’ x 13’ 4”

$1,000‑$1,500

$4,000‑$7,000

843

313

845

846

845 Kerman Carpet 8’ 7” x 12’ 1” $1,000‑$1,500

846 Antique Serapi Carpet 9’ 6” x 12’ 2” $5,000‑$8,000 847 Semi-Antique Heriz Carpet 7’ 8” x 8’ 9” $1,500‑$2,500

847

314

848 Semi-Antique Serapi Carpet 9’ 8” x 13’ $2,000‑$4,000

849 Pair of Empire-Style Mahogany Beds early 20th century, each with a backscrolled headboard with a rounded crest and a central ormolu mount featuring a torch within a wreath, joined by ormolu-mounted rails to the lower, like-mounted, paneled footboard, raised on block feet. h. 49”, inside w. 43”, l. 88”, outside w. 45‑1/2”, l. 92” $1,000‑$1,500

848

849

315

850 French Empire-Style Red Tole and Gilt-Bronze Chandelier first quarter 20th century, the red tole body set with bronze candle arms molded with satyr masques, and a leaf-molded cone-form pendant finial, hung from a lotus-molded canopy with scrolled chains. h. 30”, dia. 25” h. 30”, dia. 25” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,200‑$1,800 851 Restauration Mahogany Dressing Bureau second quarter 19th century, the rectilinear mirror in a molded frame on figured columns with gilt-lacquered bronze capitals and bases on a curved drawer affixed to a case of like form with a bank of three drawers, flanked by similar columns. h. 77”, w. 36”, d. 22” $1,000‑$1,500

850

852

852 Directoire-Style Fruitwood and Marble-Top Cabinet 19th century, the circular marble top above a cylindrical case fitted with a single cupboard door centered by an ormolu urn mount and flanked to either side by an ormolu torchere, raised on a plinth base. h. 27‑1/2”, dia. 15” $1,200‑$1,800

851

316

853 Pair of French Neo-Grec Patinated Metal Urn-Form Lamps third quarter 19th century, now mounted as lamps, the urns decorated with neoclassical figures in bas-relief, the handles molded with scrollwork and medallions, on red griotte marble bases, mounted with pleated shades. h. 27‑1/2”, w. 14‑3/4”, d. 11‑1/2” $1,000‑$1,500

855 853

854 Empire Polychrome and Parcel-Gilt Fauteuil early 19th century, having a classically carved crest rail above the padded back, scrolled arms, and carved seat rail, raised on carved legs ending in paw feet. h. 42”, w. 26”, d. 22” Provenance: The Estate of Oleg Cassini, New York. $2,000‑$4,000

855 Contemporary Chromed Steel and Petit Granit Gueridon of Empire inspiration, the stone top on shaped legs with ram’s-heads capitals and hoof feet, joined by a central shelf with a stone top, and low curved stretcher with a floral roundel. h. 28‑1/2”, dia. 28‑1/2” $2,500‑$4,000

854

317

856 French Restauration Marble Bathtub first half 19th century, with a rolled edge and a raised seat, similar to Napoleon’s famous tub. h. 24”, w. 64”, d. 29” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000 857 French Neoclassical-Style Crystal Chandelier first quarter 20th century, possibly Baccarat, the basket-form chandelier with a corona decorated with glass bells and swags of drops, the strands concealing five interior light sockets, the lower section with molded glass medallions and cut spears, over tiers of prisms terminating in a bell-form finial. h. 37‑1/2”, dia. 15” $1,000‑$1,500

857

858 Pair of French Empire-Style Bronze Sconces second quarter 20th century, with pierced anthemion backplates, the arms molded with leaves and scrollwork terminating in medallions, set with laurel-molded drip pans. h. 16‑1/4”, w. 12‑3/4”, d. 6‑3/4” $1,000‑$1,500

858

856

318

859 Empire-Style Mahogany and Marble-Top Pier Table 20th century, the rectangular marble top above an ormolu-mounted frieze, and supported by shaped legs ending in brass paw feet resting on a platform base. h. 34”, w. 47”, d. 14” $1,000‑$1,500 860 Pair of Empire-Style Gilt-Bronze Occasional Tables each with a circular marble top within an ormolu band, raised on three shaped supports, each headed by a ram’s head, with applied foliate banding, joined by a tripartite stretcher and ending in hoof feet. h. 29‑1/2”, dia. 26‑1/2” $1,000‑$1,500 860

861

861 Collection of Three Bronze and Paris Porcelain Tazzas second quarter 19th century, French, attributed to Jacob Petit, the collection including a single tazza with birds and flowers on a gilt-bronze standard, h. 7”, dia. 9”, and a pair of tazzas with Restauration gilt- and patinated bronze bases featuring birds and porcelain tops, h. 6‑1/2”, dia. 6”. Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. 862

$800‑$1,200

862 Pair of Exceptional Jacob Petit Paris Porcelain Urns mid-19th century, French, the campana-form urns decorated with panels of courting couples in Arcadian landscapes on the obverses, and roses and morning glories on the reverses, all on a green ground with raised gilt decoration, the plinth bases with raised gilt crossed torches and quivers, signed “J.P.” in underglaze blue. h. 17”, w. 8‑1/2”, d. 5‑1/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. Literature: Urns of the same form, in the collection of the Musee de l’Ariana, Geneva, are illustrated on pages 239 and 241 of Porcelaine de Paris, by Regine de Plinval de Guillebon. $1,000‑$1,500

859

319

863 Pair of Handsome Louis-Philippe Giltwood Overmantel Mirrors third quarter 19th century, with rounded and notched corners, the surround with egg-and-dart decoration and a beaded liner, the crest with a shell finial framed with pierced scrollwork, each side with carved tendrils of leaves and flowers. h. 76‑1/2”, w. 54” $9,000‑$12,000

864 863 one of two

864 detail

864 Empire-Style Mahogany and Mixed Woods Center Table 20th century, the circular top with a full molded ebonized gallery surrounding a quarter-veneered scrolling and foliateinlaid top, above a conforming inlaid frieze, joined by ormolu dolphin supports to a concave base on bun feet, the whole accented with ormolu mounts and millwork. h. 30”, dia. 33” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,500‑$2,500

320

863 two of two

866 865

866 French Empire Bronze Dore Figural Mantel Clock ca. 1800, the clock mounted in a drum played by a monkey dressed as a harlequin, a nearby chair holding a monkey soldier with a rifle and tricorn hat, the lozenge-form base decorated with mounts depicting acrobats, mounted with a silk-string suspension movement. h. 12‑1/4”, w. 11‑1/4”, d. 3‑1/2” $1,000‑$1,500 867 Charles X-Style Brass-Mounted Mahogany and Marble Table 20th century, the octagonal figured marble top within a brass gallery, above a fluted column joined to a large top of like form, on a pedestal base with reeded brass panels and roundels. h. 29‑3/4”, w. 36‑1/2”, d. 36‑1/2” $1,000‑$1,500

867

868 Suite of Four Empire-Style Mahogany Chairs

865 Pair of Empire-Style Polychrome Stools each with a circular padded top above a conforming plain frieze and pendant swag apron, raised on hairy legs ending in paw feet. h. 23”, dia. 16”

20th century, decorated with ormolu mounts, the domed, barrelform, caned back surmounted by a molded crest, the caned seat raised on tapering circular legs joined by an X-form stretcher and ending in brass caps, the underside stamped “Sormani”. h. 33‑1/2”

$1,800‑$2,500

$800‑$1,200

868

321

869 Large Louis-Philippe Giltwood Overmantel Mirror mid-19th century, the crest with a shell set into pierced scrollwork, flanked by flowers, with swags of flowerheads, grapevines and grapes hanging over the upper portion of the mirror plate, the surround tooled with grape leaves and vines on a matte ground, with a rope-twist outer rim and beading lining the mirror plate. h. 64”, w. 52” $1,500‑$2,500

869

871 Louis-Philippe Mahogany and Marble-Top Center Table

870

mid-19th century, the circular dished marble top above a conforming frieze, raised on a paneled bulbous standard to four molded legs to paw feet on casters. h. 28‑1/2”, dia. 38‑1/2” $1,000‑$1,500

870 Three-Piece French Gilt-Bronze-Mounted Porcelain Garniture Set mid-19th century, in the Rococo Revival taste, comprised of a covered urn with griffin-form handles and supported by dolphins on a rococo base, the cover with a dolphin knop and the body with a hippocampus mount, h. 20‑1/2”, w. 8‑1/4”, d. 4‑1/2”, together with a pair of ewers, each with a swanform handle and matching rococo base, and the body with a seahorse mount, h. 13‑1/4”, w. 5‑1/2”, d. 3‑1/2”. Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $2,000‑$4,000

322

871

872 Louis-Philippe Mahogany Daybed mid-19th century, the long cushioned and bolstered seat flanked to either end by outswept sides with foliate carving, above an ogee-molded base, raised on foliate-carved bracket feet. h. 36”, w. 32‑1/2”, l. 81” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 873 Pair of Carved Circassian Walnut Swan’s-Head Desk Lamps second quarter 20th century, Continental, the carved wings supporting the adjustable neck, the bill set with a circular carved socket holder, the convex base with a lotus-carved surround. h. 12”, w. 8‑1/2”, d. 8” $1,000‑$1,500

874

874 Impressive Louis-Philippe Giltwood Overmantel Mirror mid-19th century, the crest with rocaille shells and flowers flanked with pierced scrollwork and morning glories, the sides molded with grapes and leaves, and the mirror plate lined with beading. h. 72”, w. 48‑1/2” 873

$1,500‑$2,500

872

323

875 Jacob Petit Paris Porcelain Figure of Napoleon mid-19th century, French, the glazed figure standing on a column-form base with a domed cap, the base decorated with an “N” in raised gilt, framed with laurel leaves, the framboise-ground cap with raised gilt Napoleonic bees and tendrils of leaves, the underside signed “J.P.” in underglaze blue. h. 19”, dia. 5‑1/4” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,000‑$1,500 876 Two Jacob Petit Paris Porcelain Bulb Pots second quarter 19th century, French, on identical blanks, with shell-molded bulb holders and anthemion-molded and pierced rims, the paw feet with lion’s-head masques and delicate pierced skirts, one with a portrait of Madame de Sevigne on the obverse and troubadours on the reverse, and the other with botanical and ornithological decoration, each signed on the bottom “J.P.” in underglaze blue. h. 9‑1/2”, w. 6”, d. 6”

875

876

Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $800‑$1,200 877 Louis-Philippe Burl Elm Center Table mid-19th century, the circular top within an ebonized edge and raised on a paneled vasiform standard to a concave four-part base with ebonized banding, raised on scrolled block feet. h. 27”, dia. 40” $1,000‑$1,500

878

878 Louis-Philippe Walnut and Marble-Top Pier Table mid-19th century, the rectangular marble top with projecting paneled corners, above a conforming frieze fitted with a single paneled drawer, joined by a mirrored back and scrolling supports to a shaped stretcher shelf, raised on splayed paw feet. h. 35”, w. 42”, d. 20‑1/2” $1,000‑$1,500

877

324

879

880

879 Miniature Restauration-Style Rosewood-Veneered and Marble-Top Commode 19th century, French, the mottled gray marble top above a case with four drawers with turned wooden pulls and raised on cove-molded feet. h. 11”, w. 13”, d. 7‑1/4” $800‑$1,200 880 Miniature French Empire-Style Mahogany Commode fourth quarter 19th century, decorated with columns mounted with engine-turned bronze mounts, and giltbronze pulls and escutcheons. h. 14‑3/4”, w. 18‑1/2”, d. 9‑3/4”

881

$800‑$1,200 881 Miniature Continental Biedermeier Commode fourth quarter 19th century, in the Empire style, decorated with turned Doric columns, the body with burled ash veneer, on block feet. h. 14”, w. 15‑3/4”, d. 9‑3/4” $800‑$1,200 882 Louis-Philippe Walnut and Marble-Top Commode mid-19th century, the rectangular canted marble top above a conforming case fitted with a frieze drawer over three long drawers, raised on bracket feet. h. 39‑1/2”, w. 49‑1/2”, d. 23” $1,200‑$1,800

882

325

883 Louis-Philippe-Style Giltwood Mirror 20th century, the serpentine crest with a pierced ribbon-bound bouquet of flowers, with trailing flowers and leaves on each side, the cove-molded frame with a beveled mirror plate lined with beading. h. 64”, w. 37” $1,000‑$1,500 884 Niek van der Plas (Dutch, b. 1954) “A Day at the Beach” oil on panel signed lower left and incised signature en verso. Framed. 15‑3/4” x 11‑3/4”, framed 23‑1/2” x 19‑1/2” $1,500‑$2,500

883

885

885 Niek van der Plas (Dutch, b. 1954) “A Day at the Beach” oil on panel signed lower left and incised signature en verso. Framed. 5‑1/2” x 6‑1/2”, framed 10‑1/4” x 11‑1/4” $1,000‑$1,500

884

326

886 James Miller (British, b. 1962) “Powering Through the Waves” oil on canvas signed lower left, titled and signed en verso stretcher. Framed. 28” x 40”, framed 35‑1/2” x 45‑1/2” $3,000‑$5,000

886

887 Jacques “Lejeune” Renard (French, 1930‑2003) “La Femme” oil on canvas signed lower right. Framed. 31‑3/4” x 24‑3/4”, framed 39‑1/2” x 32” $2,000‑$4,000

887

327

889 Empire-Style Giltwood and Marble-Top Center Table the circular marble top above a conforming foliate- and patera-carved frieze, raised on three scrolling supports headed by acanthine capitals with pendant fruit garlands to a tripartite base raised on paw feet. h. 32”, dia. 44‑1/2” $1,500‑$2,500

888

888 Gino Martini (Italian, b. 1935) “Pensive Woman Beside Tree” oil on canvas signed lower left. Framed. 30‑1/4” x 24‑1/4”, framed 36‑5/8” x 30‑3/4” $1,000‑$1,500

890

890 Fin-de-Siecle Giltwood Mirror fourth quarter 19th century, the arched crest decorated with a masque of Minerva, flanked by pierced, trailing flowers, the notched corners accented with carved scrollwork, the coved surround decorated with flowerheads and leaves on a stippled ground, the beveled mirror plate outlined with beading. h. 72”, w. 45” $1,800‑$2,500 889

328

891 Pair of Louis XV/XVI-Style Bronze-Mounted Malachite Side Cabinets early 20th century, each with a brass gallery on a case with a bank of three drawers, the upper drawer adorned with bronze laurel swags, raised on bronze-mounted cabriole legs, the drawer flanked by ram’s-head mounts, the malachite cladding later. h. 31‑1/4”, w. 25‑3/4”, d. 19‑3/4” $10,000‑$15,000 892 Pair of Bronze-Mounted Glass Covered Vases mid-20th century, probably French, the emerald green overlay vases cut with vertical fluting and bellflowers, mounted with domed covers with pinecone knops, the sides decorated with swags of flowers supported with bowknots, the reeded handles with roses, the bronze feet with molded acanthus leaves. h. 29”, dia. 8” 892

$1,000‑$1,500 893 After Adele d’Affry Marcello (Italian, 1836‑1879) “Bust of Bianca Capello” patinated bronze fourth quarter 19th century, sitter identified across front, cast signature along side and an “F. Barbedienne, Fondeur” mark and inscription and numbered “661” along back of self-base. sculpture h. 13‑3/8”, overall h. 17‑1/2”, w. 9”, d. 5” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. This bronze model is listed in the F. Barbedienne catalogue of 1886, p. 83. $1,000‑$1,500

893

891

329

894 After Antonin Mercie (French, 1845‑1916) “Jeanne d’Arc” patinated bronze first quarter 20th century, cast signature at back of selfbase, on a black marble base. overall h. 20‑1/4”, w. 7”, d. 5‑1/4” $1,000‑$1,500

895 Napoleon III Ebonized and Boulle Parlor Cabinet third quarter 19th century, the D-form top with a projecting center section, above a conforming case fitted with a Boulle paneled frieze over a single cupboard door, centered by an oval Boulle panel, flanked to either sided by a bowed and glazed cupboard door opening to shelves, raised on a plinth base. h. 46”, w. 72”, d. 17‑1/2” $1,000‑$1,500 894

895

330

896 Diminutive George III Sterling Silver Chinoiserie Hot Water Urn hallmarked London, 1779‑1780, by Carter, Smith & Sharp, the vasiform body with arched reeded handles, pedestal stem and plinth base, tall waisted lid, acorn finial, lion’s masque spout and lyre key, decorated with repousse flowers and rococo scrolls on a matte ground, centering a vignette of a Mandarin and his wife having tea; engraved with the crest of a demi-lion rampant holding a mullet. h. 14‑1/2”, w. 7‑1/2”, d. 7‑3/4”; 32.86 t. oz. $1,200‑$1,800

898

897 Two Pairs of George III Sterling Silver Candlesticks hallmarked London, one pair 1782‑1783, by John Schofield, the other 1797‑1798, by Henry Chawner and John Eames, each with a tapering fluted standard above a steeply domed base and surmounted by a fluted inverted bell-form nozzle with detachable bobeche, the whole with delicate beaded banding. h. 11‑1/2”, dia. 5‑3/8”; 63.48 total t. oz. $4,000‑$7,000 898 Pair of Regency Sterling Silver Sauce Tureens hallmarked London, 1814‑1815, by William Eaton, each of oval form with beaded rim, arched handles, and chased laurel calyx, the fitted, cavetto-domed lid chased with laurel leaves and beaded en suite, the whole on a conforming foot-ring, each engraved with an armorial on the body and crest on the lid. h. 6”, l. 9‑1/2”, w. 4‑3/4”; 52.24 total t. oz.

896 detail

898 detail

$1,500‑$2,500

897

896

331

899 Fine Pair of Victorian Sterling Silver Candelabra hallmarked London, 1867‑1868, by Hunt and Roskell, each with a gadrooned rope-twist standard above a domed square plinth base with gadrooned band and surmounted by a Corinthian capital nozzle fitted with a superstructure of a short standard and four scrolling arms en suite, each terminating in a gadrooned square drip-pan and baluster-form nozzle, engraved on two sides of the base with the arms and on each drip-pan with the crest of Murray, Earl of Dunmore. h. 24‑3/4”, w. 18‑3/4”, d. 13”; 278.35 total t. oz. $4,000‑$7,000 The arms here are presumably those of Charles Adolphus Murray, 7th Earl of Dunmore (1841‑1907), who inherited the earldom as a toddler upon the death of his father, Alexander Murray, the 6th Earl, in 1845. The hallmarks show that this fine pair of candelabra was made shortly after the Earl’s marriage to Lady Gertrude Coke (1847‑1943) in 1866. 899

900 Good Pair of Victorian Sterling Silver Stirrup Cups hallmarked London, 1883‑1884, by William Leuchars, of rhyton form, each with a base in the form of a winged griffin’s head, the cup with repousse feather calyx. h. 5‑1/2”, l. 6”; 25.46 total t. oz. $2,000‑$4,000 For another pair by Leuchars from the collection of Dame Nellie Melba, see Sotheby’s Australia, Melbourne, March 31, 2015, lot 88.

899 detail

900

332

901

901 “Wellington Coaster” Sterling Silver and Silverplate Wine Trolley hallmarked London, 1977, maker’s mark “RFE”, limited edition number 23 of 50, after the 1826 original presented to the Duke of Wellington by George IV, comprising two silverplate wine coasters with turned wood bases and beaded rims, the gallery formed of single-faced replicas of James Mudie’s 1820 National Medals, fitted to a sterling silver trolley frame with functioning wheels and horn handle, presented in the original cornflower blue satinlined navy pasteboard case with gilt arms of the Duke of Wellington. h. 4”, l. 16‑3/4”, w. 7‑3/4”; case 5‑1/4” x 18‑1/4” x 10” $1,200‑$1,800 902 George V Silverplate Plateau first quarter 20th century, in three sections, with a central rectangular portion and two “D”-shaped ends, with a balustrade gallery above a band of tasseled swags, each section raised on four toupie feet and fitted with a conforming wooden base and mirrored plate. overall 48” x 21‑3/4”

901 detail

$1,000‑$1,500

902

333

903 Japanese Six-Panel Floor Screen 20th century, ink and color on paper, within silk mounts on a wood and lacquer frame, depicting scenes of scholars with students and attendants in a terraced garden setting, beside a river, the reverse with a Mon badge motif design. h. 67‑1/2”, w. 148‑1/2” $2,000‑$4,000

904 Four Chinese Hardstone-Inlaid Panels second half 20th century, each inlaid with jadeites, quartzes and other hard stones and molded resins, depicting various birds amid blossoming branches and rockwork, framed. h. 40‑1/2”, w. 24”, d. 2‑1/4” Provenance: Private collection, Houston, Texas. $1,200‑$1,800

904

334

903

905

906 906

905 Chinese Peach Bloom-Glaze Porcelain Vase probably fourth quarter 19th century, or later, the ovoid-form body supporting a slender ribbed neck with flared lip, with allover peach bloom-glaze, flecked with greens and deep pinks, the base with apocryphal six-character Kangxi mark. h. 8”, dia. 3‑1/4”

907 Japanese Six-Panel Floor Screen 20th century, paper on a wood and lacquer frame with silk mounts, the reverse covered with red paper, painted with a continuous scene of a festival day in a mountainous village beside a river. h. 67‑1/2”, w. 145”

$1,000‑$1,500 906 Two Chinese Painted Silk Panels

Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas.

19th century, each panel centered with circular figural scenes painted on silk, mounted within rectangular sectional hardwood screen frames, with carved and pierced giltwood additions. h. 30‑3/4”, w. 19‑3/4”

$1,000‑$1,500

$1,500‑$2,500

907

335

908

908 Chinese Bronze Ritual Wine Flask (Bianhu) Warring States period (475‑221 BC), the cast body of flattened oval form, with garlic-head neck, raised on a tapering pedestal base, decorated to the exterior with an intricate design of inlaid gold and silver depicting stylized animal and bird designs. h. 11‑1/2”, w. 13‑1/4”, d. 4”

909 909

Provenance: Dallas Auction Gallery, April 30, 2008, lot 144. $1,000‑$1,500 Technical Examination Report, by Pieter Meyers (head of conservation, LACMA), dated November 2008, available on request. 909 Two Chinese Silk Paintings of Birds second half 20th century, color and ink on silk, one example depicting a pair of phoenix and a pair of cranes, and the other with a male and female peacock, each signed and with multiple decorative seals. Mounted and framed. h. 54”, w. 31”, framed h. 63‑1/2”, w. 36” Provenance: Private collection, Houston, Texas. $1,000‑$1,500 910 Japanese Carved Wood Figure of Amida Nyorai possibly second half 18th century, the carved wood figure applied with lacquer and cut gold foil (kirikane), modeled seated on a lotus throne in lalitasana, on a styled rockwork base. h. 12”, w. 7‑1/2”, d. 6‑1/4” $3,000‑$5,000 910

336

912

913

911 Georgian-Style Ebonized and Polychrome Secretary in the Chinoiserie taste, the broken swan’s-neck pediment above two arched doors, opening to a scarlet interior elaborately fitted with drawers and cubbyholes, over two small candle slides, the lower section fitted with a slant-front opening to a like-fitted interior, over two short and two graduated long drawers, raised on bracket feet, the whole with polychrome accents in the chinoiserie manner. h. 85”, w. 40‑1/4”, d. 23” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,400‑$1,800 912 Four-Piece Japanese Wakasa-Nuri Lacquer Desk Set second half 20th century, comprising a circular tray, dia. 10‑3/4”, a bowl, dia. 3‑1/4”, an arched box and cover, h. 1‑1/2”, w. 9‑1/2”, d. 4‑1/2”, and a box and cover with fitted tray, h. 2‑1/2”, w. 7‑3/4”, d. 5‑1/4”, each piece decorated with stylized floral designs and other motifs on a black lacquerground. $1,000‑$1,500 913 Japanese Carved Wood Figure of Amitabha (Amida Nyorai) possibly 18th century, or later, the carved wood figure applied with lacquer and cut gold foil (kirikane), depicted standing, wearing traditional robes, on a lotus base, the hands (now lost) likely held in vitarka mudra and dhyana mudra, respectively. h. 15‑3/4”, w. 6‑1/4”, d. 6‑1/2” $2,500‑$4,000

911

337

914 Japanese Wood Carving of Sho-Kannon second half 19th century or later, the carved wood body applied with lacquer and cut gold foil (kirikane), modeled standing, wrapped in traditional flowing robes, on a later associated lotus throne base. h. 19‑1/2”, w. 8”, d. 6‑1/2” $1,000‑$1,500

915 Georgian-Style Ebonized Partner’s Desk 19th century, the rounded rectangular top with an inset leather surface, above three frieze drawers to either side, raised on two pedestals, each fitted with three drawers to one side and a paneled cupboard door to the other, raised on bracket feet, the whole with gilt accents in the chinoiserie taste. h. 29”, w. 59‑1/2”, d. 38” $1,200‑$1,800

916 George III Ebonized Bookcase 19th century, in the chinoiserie manner, the molded rectangular cornice above a case fitted with two astragalglazed doors, raised on bracket feet, the whole with gilt accents in the chinoiserie manner. h. 71‑1/2”, w. 50‑1/2”, d. 15‑1/2” $1,200‑$1,800 916

914 915

338

917 Chinese Twelve-Panel Coromandel Screen second half 20th century, the polychrome lacquer screen depicting figures in a terraced garden setting, within dragonpattern borders surrounded with auspicious symbols and fan designs, the reverse with birds amid blossoming trees and rockwork. h. 108”, w. 240” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas.

919

$1,000‑$1,500 918 Pair of Chinese Famille Rose Porcelain Vases Converted to Table Lamps first quarter 20th century, each of baluster form, decorated with various panels and cartouches containing figural scenes, and birds, butterflies and insects, with four applied foo dog heads, mounted on a hardwood base with inturned scroll feet, complete with shades. overall h. 34‑3/4” $1,000‑$1,500 919 Large Chinese Famille Rose Porcelain Punch Bowl second half 19th century, having flared sides and a raised foot, finely decorated to the interior and exterior with figural court scenes, within borders of floral sprays, auspicious objects, ruyi bats and butterflies. h. 8”, dia. 20‑3/4” $1,000‑$1,500

918

917

339

921 Pair of Victorian Brass, Tole, Glass and Nickel-Plated Carriage Lights fourth quarter 19th century, the faceted sides set with cut glass panels and decorated with molded brass trim, with brass eagle finials, the quiver-form tapered bases with molded trim and acorn-form pendant finials. h. 37”, w. 7‑1/4”, d. 7‑1/4” $1,000‑$1,500

921

920 Regency-Style Burl Walnut and Parcel-Gilt Extension Table made by Smith & Watson, New York, the circular top with a gilt and gadrooned edge, and mounted to an octagonal faceted pedestal and shaped platform base supported by gilt scrolled feet, accompanied by two 19” leaves. h. 30”, dia. 60”, ext. l. 98” $2,500‑$4,000

340

920

920 detail

922 Regency Giltwood, Gilt-Bronze and Hardwood Harp first quarter 19th century, London, England, signed by Christian Erard, the giltwood fluted pillar decorated with winged classical figures and palmettes, the lower pillar with anthemia, supported on paw feet decorated with griffins. h. 66‑3/4”, w. 29‑1/2”, d. 16” Provenance: The Estate of Frank Fasullo, New Orleans, Louisiana. $1,800‑$2,500

924

923 Suite of Twelve Hepplewhite-Style Polychrome and ParcelGilt Dining Chairs consisting of two armchairs and ten side chairs, of shield-back form, with carved wheat and drapery swags on the back, raised on tapering square legs ending in spade feet. armchair h. 39”, w. 24”, d. 20”, side chair h. 39”, w. 20”, d. 20” $3,000‑$5,000 924 English Neoclassical Parcel-Gilt Gasolier second quarter 19th century, the turned standard supporting scrolled arms with cupids holding torches, sitting on the branches with pierced scrollwork below, the burners molded in the form of classical oil lamps, set with frosted and cut glass shades. h. 22‑1/2”, dia. 29” $1,000‑$1,500

922

923

341

926

925

925 Pair of Regency-Style Ebonized, Parcel-Gilt and MarbleTop Side Tables each with a circular marble top over a rim with stylized gilt waves, and supported by in-curved legs joined by a circular medial shelf and further out-curved legs ending in gilt paw feet resting on a triangular platform base. h. 28‑1/2”, dia. 24” $1,200‑$1,800 926 Regency-Style Painted and Parcel-Giltwood Convex Mirror 20th century, the outer giltwood coved surround framing a paint-decorated Greek-key on a white ground and a reeded lining. dia. 36‑3/4” $1,200‑$1,800 927 Monumental English Bronze and Paper Candle Shade second quarter 19th century, labeled on the bottom by “B. Davis”, the patinated bronze base cast in the Gothic Revival taste, the tubular folding shade holder retaining original bright gilt lacquer, the green paper folding shade with a decorative border. h. 52”, w. 13‑1/2” $1,000‑$1,500

342

927 detail

927

928 Regency Mahogany Cabinet on Stand mid-19th century and later, the upper case in three sections with glazed doors and fitted with later plate glass shelves, mounted to an open base with turned legs. h. 83”, w. 99‑1/2”, d. 19” $1,200‑$1,800 929 Late Regency Mahogany Breakfast Table second quarter 19th century, the tilting, circular satinwoodbanded top raised on a bulbous ribbed and turned standard to a concave square banded base, raised on ribbed up-scrolled feet. h. 29‑1/2”, dia. 54”

930

$1,000‑$1,500 930 Pair of Regency Revival Cut Glass and Gilt-Bronze Girandoles fourth quarter 19th century, extensively decorated with strawberry-cut glass and hung with prisms, each with a pair of candle holders flanking a cone-form finial, all mounted with glass prism rings, mounted with gilt-bronze arms molded with scrollwork. h. 18”, w. 14‑1/4”, d. 4‑1/2” $1,200‑$1,800 929

928

343

931 Victorian Mahogany Bookcase/Cabinet in the Gothic Taste mid-19th century, the projecting cornice over a pair of glazed doors, each with Gothic tracery and carving, on a base with a pair of doors over paneled doors, the doors flanked by beaded panels, on turned feet. h. 84‑1/4”, w. 54‑1/4”, d. 18” $1,000‑$1,500 932 Rare William IV Tortoiseshell Octagonal Tea Caddy second quarter 19th century, on bun feet, with ogee-molded sides and a hinged cover, the interior with twin covered compartments, retaining remnants of original foil lining. h. 6‑3/4”, dia. 7‑1/4” $1,000‑$1,500 933 Pair of Colonial Revival Inlaid Mahogany Knife Urns ca. 1900, probably Baltimore, likely made by Potthast, the molded lift-off covers with urn-form knops, lined with barberpole inlay, the interiors with knife slots. h. 26‑1/2”, dia. 8‑1/2”

932

934 William IV Rosewood Library Table second quarter 19th century, the rounded rectangular top above a frieze fitted with a single drawer to each side, centered by a small carved acanthine panel, raised on tapering cylindrical supports to paw feet on casters. h. 29”, w. 54”, d. 27‑1/2” $1,500‑$2,500

$1,000‑$1,500

934

344

933

931

936 935

935 After Sir Edwin Henry Landseer, R.A. (British, 1802‑1873) “Portrait of a Lady with a Fan” oil on canvas inscribed and indistinctly signed “E. Marrelais”? Framed. 24” x 20‑1/4”, framed 33‑1/2” x 27‑1/2” $1,000‑$1,500 936 Pair of Italian Regency-Style Giltwood Eagle Sconces mid-20th century, with pierced bowknot crests, the eagles framed with sprays of wheat, set with spiral-carved candle arms and matching candle sockets, decorated with carved medallions, the backs with “Made in Italy” labels. h. 44‑1/4”, w. 12”, d. 10‑1/4” $1,000‑$1,500

938

937 Edwardian-Style Polychromed Satinwood and Maple Console Table the figured top with floral painting around its perimeter, over a frieze with a drawer in like decor, on tapering square legs adorned with like stringing and rosewood banding. h. 31‑1/2”, w. 40”, d. 17‑1/2” $1,000‑$1,500 938 Regency Mahogany Double-Pedestal Dining Table 19th century, with a wide banded inlaid top mounted to two turned pedestals with downswept legs ending in brass paw feet fitted with casters, accompanied by two 23” leaves. h. 29”, dia. 56”, ext. l. 102” $1,000‑$1,500

937

345

940

939 William IV Mahogany Sideboard

940 Spectacular Partial Dinner Service, Attributed to Coalport

second quarter 19th century, the D-form top with projecting turret corners and central section, above a conforming case fitted with a central cutlery drawer flanked to one side by a spiral-ribbed upright and cupboard door and to the other side by a spiral-ribbed upright and a cellarette drawer, all with inlaid ebonized foliate accents, raised on ribbed tapering circular legs ending in brass caps and casters. h. 40”, w. 83”, d. 34”

second quarter 19th century, English, the decoration probably by Thomas Rose, each piece with gadrooned edges, the cobalt-ground borders decorated with rococo gilt-edged flower panels and leafy tendrils, each piece with central panels decorated with flowers, the service including a pair of covered vegetable tureens, h. 8”, w. 12”, d. 8‑1/4”, a tureen stand, l. 16”, d. 11”, a pair of sauce tureens and stands, h. 7”, w. 9‑1/4”, d. 6‑1/4”, a nest of eight graduated platters, w. 8‑1/4” to 15‑1/4”, l. 11” to 21”, thirty-eight dinner plates, dia. 10‑1/4”, twenty-one soup plates, dia. 10‑1/4”, and twenty-one luncheon plates, dia. 9”.

$1,500‑$2,500

$1,000‑$1,500

939

346

941

943 Edwardian Inlaid Mahogany and Mixed Woods Chest-onChest comprised of antique elements, with a molded cornice above an inlaid frieze, the upper case with two side-by-side drawers over three graduated long drawers, the base with three graduated long drawers, each with rosewood banding and brass pulls. h. 75‑1/2”, w. 43”, d. 21” $1,500‑$2,500

942

941 Pair of Victorian Rosewood, Faux Rosewood and MarbleTop Console Tables mid-19th century and later, each with a shaped white marble top above a scrolling foliate-carved frieze, raised on large scrolling legs headed by acanthine carving and ending in paw feet. h. 33”, w. 48‑1/4”, d. 16‑1/2” Provenance: Private collection, Houston, Texas. $2,000‑$4,000 942 Pair of Cut Glass Sconces in the Waterford Taste 20th century, each with two scrolled notch-cut arms terminating in cut glass candle cups set with prism rings, the top decorated with scrolls, hung with prisms. h. 21”, w. 15”, d. 8‑1/2” $1,000‑$1,500 943

347

944 Regency-Style Brass-Mounted Mahogany and Leather Center Table 20th century, labeled “Maitland Smith”, the circular top with inset tooled leather, the frieze with paterae-mounted panels and drawers faced in like leather decor, on a vasiform and scroll pedestal joined to a concave base with brass paw feet. h. 29‑1/2”, dia. 40” Provenance: Estate of Sylvia Pugh Sullivan, Houston, Texas. $1,000‑$1,500

945

944

945 Unusual English Bronze and Cut and Frosted Glass Gasolier third quarter 19th century, the standard composed of prismhung cut and frosted glass vasiform sheaths and canopies, with four prism rings and a cut and frosted glass lower pan and acorn-shaped finial, with umbrella-form cut and frosted glass shades. h. 46‑3/4”, dia. 38‑1/2” $1,000‑$1,500

946 English Cut and Frosted Glass Gasolier third quarter 19th century, the prism-hung vasiform frosted glass standard hung with strands of drops to the blown glass candle arms, set with cut glass prism rings, the trumpet-form lower section with an acorn finial. h. 41‑1/2”, dia. 26‑1/2” $1,000‑$1,500 946

348

947 Victorian-Style Mahogany Desk the shaped rectangular top trisected and inset with three leather surfaces, above a central recessed drawer flanked to either side by a bank of four graduated drawers, with a like faux drawer arrangement verso, with corner lion-masque accents, raised on acanthine-carved scrolled toes. h. 32”, w. 72”, d. 42‑1/2” $2,000‑$4,000

948 Early Victorian Mahogany Center Table third quarter 19th century, the tilting circular top with a gadrooned edge, above a conforming frieze, raised on a bulbous turned acanthine-carved standard to a concave square base ending in acanthine-carved scrolled feet on casters. h. 29”, dia. 50”

949

$1,000‑$1,500

949 Large Japanese Imari Porcelain Charger first quarter 20th century, with asymmetric panels containing a landscape scene and chrysanthemums within geometric borders, the reverse with floral motifs surrounded by a fluid scrolling foliate design. dia. 24” $1,000‑$1,500

948

947

349

952 Large English Carved Mahogany Nine-Tube Tall Case Clock ca. 1900, the movement signed “Elliott, London”, with Whittington and Westminster chimes, the hood with a carved pineapple finial, the center door with a carved wreath and foliate decor, raised on carved paw feet. h. 110”, w. 29”, d. 16‑1/2” $2,000‑$4,000

951

950

950 Associated Pair of Japanese Imari Porcelain Dishes first half 20th century, each with a central design of birds fluttering around a tree, the surround with alternating panels depicting Shishi and blossoming peonies amid geometric patterns, one example with a four-character Arita mark to the base. dia. 16” $1,000‑$1,500

951 Carved Mahogany Console Table in the Manner of William Kent 20th century, the rectangular overhanging top above a blind fretwork frieze centered with a carved lion’s masque, and raised on cabriole legs ending in paw feet. h. 29”, w. 55”, d. 21‑1/2” Provenance: Private collection, Houston, Texas. $1,400‑$1,800

952

350

953

953 Rococo Revival Lushly Decorated Brass and Metal Gasolier

954 Victorian-Style Brass, Iron and Marble-Top Conservatory Side Table

third quarter 19th century, English or Continental, the canopy decorated with a cartouche and gargoyles, the lower section with freestanding cranes, the pierced and molded arms decorated with volutes terminating in classical busts, set with acid-etched ruffled glass shades. h. 37”, dia. 28”

the long rectangular marble top above a conforming pierced scrolling frieze with brass foliate accents, raised on two end supports, each centered by a fruit basket and ending in scrolled toes. h. 34”, w. 76”, d. 22‑1/2” $1,200‑$1,800

$1,000‑$1,500

954

351

955

955 Kate Oliver (British, ca. 1902) “Family Tea”, 1937 oil on canvas initialed “K. E. O.” and dated lower right, “Robert Sielle, Exhibition Agents, Fitzroy Square, W.I.” and “Aitken Dott & Son, Carvers and Gilders, Edinburgh” labels en verso. 30‑1/4” x 40”, framed 37” x 47‑1/2” $4,000‑$7,000 956 Jeka Kemp (French/Scottish, 1876‑1967) “Sculptor with Her Plaster Model” watercolor on paper signed mid-left. Matted, glazed and framed. sight 25” x 25”, framed 36” x 35” $1,500‑$2,500 956

352

957

957 William McTaggart (British, 1835‑1910) “Children Shrimping” oil on canvas signed and dated “1893” lower right center in waves, a “Frost & Reed, London” framers and restorers label dated 1960 on stretcher. Framed. 14” x 20”, framed 18‑1/4” x 24‑1/8” Provenance: Christie’s, London, UK, September 22, 1978, lot 119; Christie’s, South Kensington, UK, February 25, 2009, lot 943; Private collection, Texas. $3,000‑$5,000 958 Anglo-Japonesque Carved and Stained Maple Settee ca. 1900, the pierced crest above a padded back, the arm fronts with dragon’s heads and raised on cabriole legs ending in paw feet. h. 37‑1/2”, w. 35”, d. 20” $1,000‑$1,500

958

353

959 Marguerite (Rosa) Milward (British, 1873‑1953) “Bust of an Eastern Elder” patinated bronze cast signature along proper left edge. h. 22”, w. 9”, d. 6‑1/2” Provenance: Collection of Mark M. Johnson, Montgomery, Alabama. $1,000‑$1,500

959

960

960 North African Hardwood Games Table late 19th century, the rectangular top hinged and opening to a baize-lined surface, further opening to an inlaid chessboard and recessed backgammon board, raised on shaped legs joined by an X-form stretcher, the whole richly inlaid in various woods and mother-of-pearl in geometric patterns. h. 35”, w. 34‑1/4”, d. 17‑1/4” $1,000‑$1,500 961 Swahili High-Backed Chair (Kiti Cha Enzi) East African, probably 19th century, the hardwood chair having wide armrests flanking a squared seat, with caned panels embellishing the high back and foot-rest, having a bone-inlaid crest of foliate design. h. 50‑1/2”, w. 29‑1/2”, d. 22” Provenance: Purchased from Whisnant Galleries, New Orleans, Louisiana. $1,200‑$1,800 961

354

962

962 Persian Pictorial Carpet 9’ 10” x 12’ 6” $1,000‑$1,500

963 Agra Serapi Runner 2’ 6” x 26’ 2” $1,000‑$1,500

963

355

965

964 Turkish Runner 3’ x 10’ 6” $1,200‑$1,800

965 Semi-Antique Heriz Carpet 9’ 1” x 12’ 5” $1,200‑$1,800

964

356

967

966 Agra Sultanabad Runner 5’ 10” x 15’ 8” $1,500‑$2,500

967 Semi-Antique Silk and Wool Isfahan Carpet signed. 9’ 6” x 12’ 10” $5,000‑$8,000

966

357

968 Bokhara Carpet 3’ 11” x 6’ 8” $1,000‑$1,500

969 Agra Sultanabad Carpet 13’ 8” x 15’ 9” $2,000‑$4,000

968

358

969

970

970 Turkish Sultanabad Carpet 9’ x 11’ 10” $1,000‑$1,500

971 Uzbek Shirvan Runner 4’ x 23’ 10” $1,200‑$1,800

971

359

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. Rev. 01/04/17

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires] by the end of the day on the fifteenth calendar day following the conclusion of the Auction - note that there is no discount for LiveAuctioneers and Invaluable bidders) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

Rev. 01/04/17

New Orleans Auction Galleries

333 Saint Joseph Street, New Orleans, LA 70130 | 504-566-1849 | Fax: 504-566-1851 | info@neworleansauction.com

ABSENTEE / TELEPHONE BID FORM Name (Please Print): ______________________________________________

Date: ______________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________ E-mail Address: _________________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: _____________ CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3% of this 25%. Note that there is no discount for LiveAuctioneers and Invaluable bidders. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________________________________________ Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

Susan D. Sarofim CEO

Tessa Steinkamp Director of Auctions

Ashton Thomas President

Jelena Restovic James Director of Fine Art

Ireys Bowman General Consignments

Greg S. Kowles General Consignments

Kim Lemon Fine Jewelry Specialist

Michele Carolla Fine Art Specialist

Nicole Casi, PhD Fine Art Specialist

Rebecca Moss Asian Arts Specialist

Thomas Halverson American Furniture Specialist

Burke Designer

Taylor Eichenwald Marketing & Public Relations

Charles C. Cage Silver Specialist & Office Manager

Colleen Ryan Director of Human Resources

AUCTIONEERS

CONSULTANTS

Tessa Steinkamp, #1265 Ashton Thomas, #1833 Taylor Eichenwald, #1922 Michael DeGeorge, #1774

Ellen McKenzie English & Continental Furniture Ira Savoie Independent Certified Gemologist Appraiser Claudia Kheel Fine Art

ADMINISTRATION Christa Ougel Denise Haik Office Administration Graphic Designer Gary Michael Gittelson Bettina Bausa Graphic Designer Photographer Grace Connors Manager of Online Auctions

OPERATIONS Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson Theadrow Mark