New Orleans Auction Grand Reopening Catalogue by New Orleans Auction Galleries

NEW ORLEANS AUCTION GALLERIES Upcoming Auction

Lot Schedule

February 23 & 24, 2013

Watch Our Website for a Special January Event

Under New Ownership 510 Julia Street New Orleans, Louisiana 70130 (800) 501 - 0277 路 (504) 566 - 1849 Fax (504) 566-1851 website www.neworleansauction.com E-Mail info@neworleansauction.com Louisiana Auction License: AB- 363

(Estimated)

Friday November 30, 2012 Lots 1 - 416

1:00 2:00 3:00 4:00 5:00

2:00 3:00 4:00 4:15 5:15

100 200 300 400

1 -99 - 199 - 299 - 399 - 416

Saturday December 1, 2012 Lots 417 - 1162 10:00 - 11:00 11:00 - 12:00 12:00 - 1:00 1:00 - 2:00 2:00 - 3:00 3:00 - 4:00 4:00 - 5:00 5:00 - 5:30

417 - 516 517 - 616 617 - 716 717 - 816 817 - 916 917-1016 1017 - 1116 1117 - 1162

Sunday December 2, 2012 Lots 1163 - 1746 Online Bidding at www.liveautioneers.com

http://www.facebook..com/neworleansauction

11:00 - 12:00 12:00 - 1:00 1:00 - 2:00 2:00 - 3:00 3:00 - 4:00 4:00 - 4:45

1163 1263 1363 1463 1563 1663

1262 1362 1462 1562 1662 1746

The hammer came down. The auction broke into applause. And at our September auction, the glorious blue and gold Baccarat chandelier that came to New Orleans Auction Galleries from Donna and Robert Bruni of Texas by way of my good friend, Guyla Pircher Harris, sold for a record amount of $98,400.00. Guyla persuaded the Brunis to consign the chandelier months before I purchased NOAG; however, sadly she passed away three weeks after the NOAG sale went through. I know that somewhere, somehow, Guyla was smiling down on us that day. It was a special moment--one I will never forget. Now, with two successful auctions under our collective belts, we are looking forward to our grand reopening preview party and December auction. As a special treat, Joanne King Herring, who was portrayed by Julia Roberts in the movie, Charlie Wilson’s War, agreed to be our celebrity guest. When you read her autobiography, “Diplomacy and Diamonds,” please know this book’s fascinating stories include just the tip of the iceberg about her amazing life to date. There isn’t enough space to list the countless accomplishments, awards, and honors credited to this wonderful woman. I met Joanne after arriving in Houston following Hurricane Katrina, and like so many people, I was working hard to make the best of a life changing event. While I didn’t actually lose my house or my things, I lost the place I called my home and the life I knew. Truthfully, I was feeling pretty pathetic. Then I met Joanne who introduced me to her friends, invited me to parties and became my friend. And this is the kind of loyal friend she is; if you loan her 10 cents, she insists on giving back 15 cents. If you’re sick, you’ll find a treat on your doorstep. If you’re having a moment in time when you feel so bad all you can see are your shoes, she calls to cheer you up. I had the privilege of traveling to Europe with Joanne and nothing in my Mississippi-public school education prepared me for dinner with royalty. One night I was seated by a charming gentleman and in trying to make conversation, I asked him what he did for a living. He smiled broadly, said he was a farmer, and we had a good talk about cows and such. After dinner I told Joanne about this lovely farmer gentleman and she gave a hearty laugh and said, “Darling, you were talking to the largest royal landowner in England, Lord...” I had to laugh at myself. So while I may have a bit to learn, one of our NOAG team members is ahead of the curve in his experiences. I would like to congratulate Ashton Thomas, NOAG’s president, for recently earning his auctioneer’s license from the Louisiana State Auctioneer Licensing board. Ashton and I have worked together for 14 years and I think we make a pretty good team. We were working on the sale of the auction last May, sitting in our attorney’s office, and I was feeling pretty dejected after running into a series of challenges, one of which was finding the right person to run the auction. I looked up at Ashton and suddenly I had not just an idea, but a great idea! “Ashton, why don’t you become NOAG’s president? You have skills I don’t have! Yes, this could work!” He accepted and it’s working! We’re now on to our best auction to date! I can’t tell you how excited I am about NOAG’s Grand Reopening Preview Party, Nov. 29 and our December Auction starting at 1:00 p.m., Friday, Nov. 30. We have 1750 possible Christmas gifts to offer including some grand Asian art and some excellent estate jewelry. One piece in particular is a rare and early carved jade bowl on stand dating to the Ming Period which came from the collection of my good friend Joanne King-Herring, as well as an early portrait by the famous Scottish artist Sir Henry Raeburn (which carries a very interesting provenance) also from the Herring collection. Other important works of art include Helen M. Turner’s “The Moth” and three large canvases by Thomas Downing. And for those clock and “timepiece” enthusiasts we are featuring a special clock session on Sunday immediately following the jewelry session. Start the season with the best holiday party in New Orleans where you’ll not only have a wonderful time, but you can start your holiday shopping! See you on Nov. 29, 5 p.m. sharp! Susan D. Krohn, CEO

Grand Re-Opening Auction Friday, November 30, 2012 1:00 p.m. Lots 1 - 416 Saturday, December 1, 2012 10:00 a.m. Lots 417 - 1162 Sunday, December 2, 2012

11:00 a.m. Lots 1163 - 1746

Late-Evening Preview Thursday, November 29, 2012 5:00 p.m. to 8:00 p.m.

Two-Week Exhibition Begins Saturday, November 17, 2012 through Friday, November 30, 2012 9:00 a.m. to 5:00 p.m. (Excluding Sundays) 5

Property From The Collection of Joanne King Herring Houston, Texas Estate of Zoe B. Talbert Tyler, Texas Estate of James Julius Killough, III Houston, Texas Property From The Collection of Nita W. Biskamp Beaumont, Texas Property From Williamson Designs, Inc. New Orleans, Louisiana Property From The Bienville Shop, New Orleans, Louisiana Fine Clocks From A Private Collection Austin, Texas Property From A Private Estate Lafayette, Louisiana Property From Private Collections Houston, Texas Property From Numerous Other Southern Estates And Collections 6

Estate of Zoe B. Talbert, Tyler, Texas

Born in Quinlan, Texas, Mrs. Talbert’s

early education set her on the path to her future devotion to the arts. She studied music at The Hockaday School and Southern Methodist University. Realizing the importance of a well-rounded education, she also attended Texas State College for Women and The University of Texas Law School. Here she met and married the state representative from Smith County, Eugene Talbert. Together they moved to Tyler, Texas where her passion for the arts soon further manifested itself.

She organized the first Children’s Theater and the Women’s Symphony League of Tyler. She

devotedly and energetically served on the boards of countless cultural and social organizations throughout her long life. At the time of her death, she was the Director Emeritus of the Sam Houston Society for the Preservation of the Governor’s Mansion.

She resided at what is known as the Fair-Talbert House, one of the pre-eminent mansions in Ty-

ler’s Historic District, designed by Shirley Simons, Sr. and landscaped by Maurice P. Shamburger. During her life there, she assembled a peerless collection of fine antique furniture, porcelain, silver and art. Here she tirelessly entertained her many friends as well as hosting elegant fund raisers. Images of the spectacular grounds are in the Garden Club of America collection at the Smithsonian Museum.

New Orleans Auction Galleries is honored to offer property from this distinguished

collection.

Estate of James Julius Killough, III, Houston, Texas

Born on a west Texas ranch, Mr. Killough was destined for a

life of world travel, design and collecting. He graduated from The University of Texas, Austin, with a degree in architecture. He served in the United States Navy; he was stationed in New York City where he was aide to Admiral “Bull” Halsey. Upon discharge from the Navy, he worked for prominent Manhattan architect, Edward Durrell Stone, and attended post-graduate courses at Princeton University.

His travels then took him to Hong Kong, then still a Brit-

ish Crown Colony, where he resided for 14 years. His ongoing love of Chinese porcelains and his keen eye led to the creation of his important collection. His Hong Kong penthouse was featured on the cover of Architectural Digest.

Mr. Killough returned to Texas via London and continued

collecting, venturing into contemporary art. This home was also featured on the cover of Architectural Digest.

Called “J.J.” by his friends, he was known as a great ballroom

dancer and a wonderful guy with a wicked sense of humor.

New Orleans Auction Galleries is honored to offer property from this important collection.

Session I Friday, November 30, 2012 1:00 p.m. Lots 1 - 416

3 Elaborate Chinese Carved Dark Green Jade Covered Vase, 20th century, the even spinach-colored stone carved in high relief as the figure of Shou Lao holding his staff with a double gourd, attended by an acolyte and standing before an ancient pine tree with undercut entwined branches, alongside the tree are the figures of a sika deer, a crane and a cluster of flowers, the fitted lid carved and undercut as pine branches and two figures of cranes, fitted, carved wooden stand, h. 9‑1/8”, including stand. [1800/2500]

4 Chinese Jade Brush Pot, 20th century, spinach green color, surface carved in high relief with dragons and clouds, h. 8‑1/2”, dia. 4‑3/4”. [2500/4000] Illustrated 5 Chinese Hardstone Carving, 20th century, the Bowenite stone with a carved central figure of Shou Lao with an attendant in a grotto, fitted stand, h. 9”. [600/900]

6 Japanned Black Lacquer Cabinet, 19th century, fitted with two cabinet doors, each with elaborate polychrome avian foliate scenes, opening to an arrangement of ten drawers, all with oriental landscapes, raised on a later stand of square legs ending in Greek-key carved feet, h. 49‑1/2”, w. 38‑1/2”, d. 19‑3/4”. [800/1200] Illustrated 1 Four Chinese Jade Saucer Dishes, 19th century, stone of a highly translucent forest green color, well drawn six-character Ch’ien Lung mark in Kaishu script on each, dia. 4‑1/8”. [2500/4000] Illustrated 2 Chinese Jade Covered Jar, 20th century, the celadon colored stone with brown markings, and with archaicstyle decoration of flanges and Kuci dragons, with dragon mask jump rings and a kylin finial, fitted stand, h. 14”. [5000/8000] Illustrated

4 7 Chinese Jade Water Coupe, 20th century, grey stone with russet markings carved as a phoenix, l. 3”. [900/1200] 8 Chinese Jade Pendant, 18th century, carved in the form of a horse, monkey and bee for the rhebus “instantly become a high official”, with good, even white color, l. 1‑1/2”. [300/500] Illustrated

9 Chinese Jade Pendant, probably Ming period (1368‑1644), white with one side weathered russet, carved and pierced as a bat, w. 2”, l. 4”. [400/600] 10 Chinese Jade Buckle, 18th century, rectangular form, carved in relief with a figure of a Buddhist priest, stone of a white color with brown cloud like areas, w. 2”, l. 3”. [400/600]

15 Pair of Chinese Export Porcelain Plates, 19th century, rare decoration of the immortal Li Tieh Kuai with borders of aquatic grasses and sea life, dia. 8‑1/4”. [200/400] 16 Chinese Jade Carving, 20th century, carved pair of rams in a celadon-colored stone, l. 2‑3/4”. [2000/4000] Illustrated

11 Chinese Jade Archaic Ritual Disk, probably Ming period (1368‑1644), Pi with a relief kylin on one side and comma marks on the reverse, stone of a celadon color with russet areas, dia. 4‑1/2”. [500/800] Illustrated 12 Chinese Jade Bowl, 18th century, stone with a highly translucent greenish/white color with russet spots, fitted stand, dia. 5”. [0] 13 Chinese Ying Ching Wine Cup, Sung dynasty, 10th to 13th century, pale celadon color, dia. 6‑1/8”. [150/300] 14 Chinese Stoneware Bowl, Yao Chou style ware, impressed decorat of children and flowers beneath a dark celadon glaze, dia. 7‑3/4”. [500/800] Illustrated

17 Carved Chinese Jade Horse, 19th century, the stone of clean white color, l. 1”. [100/200] 18 Good Chinese White Jade Snuff Bottle, (1750‑1820), the slightly greenish white jade with traces of ochre skin from the original pebble carved in a flattened rectangular shape, the face carved in low relief with a scene of two monkeys among pine trees, one holding a peach, the other hitting a bee’s nest with a pole, one tree trunk and the bee’s nest picked out in traces of the ochre skin, the bottle well-hollowed and resting on a neatly carved foot, stopper lacking, h. 2‑3/4”. [3000/5000]

19 Chinese Jade Carving, 20th century, the stone of a dark celadon green color depicting a pair of geese with branches of foliage on a wavy ground, l. 9‑3/4”. [500/800]

22 Chinese Jade Pendant, 20th century, pale green jade with darker markings, octagonal shape with a moveable center, surface carved with the triagrams and characters of the zodiac, dia. 2”. [100/150] 23 Chinese Jade Pendant, 20th century, the stone of a grey-white color and carved as a pair of geese with foliage, dia. 2”. [500/800] 24 Chinese Porcelain Jar, late 19th century, oviform with famille rose decoration of children playing, h. 12”. [300/500]

20 Chinese Jade Pendant, 18th century, surface carved and pierced with a ling-chih, foliated dragon and phoenix, good white color, well carved, l. 2‑1/4”. [300/500] 21 Chinese Bowenite Censer, 20th century, sea green color, handles, feet and finial carved with dragons, fitted stand, l. 4”. [200/400]

25 Chinese Jade Cup, early 20th century, white stone with grey spots, surface carved with Tao Tieh masks, h. 3‑1/4”. [1500/2500] Illustrated 26 Pair of Jade Seal Paste Boxes, round form, surface carved with a poem and inlaid with gold, dia. 1‑5/8”. [2500/4000] Illustrated 27 Chinese Ivory Carving, early 20th century, standing image of the eleven-headed Kuan Yin with two attendants, h. 25”. [7000/10000] Illustrated

28 Chinese Ivory Carving, early 20th century, scene of combat between an elephant and two lions, l. 7”. [300/500]

29 Two Chinese Ivory Carvings, early 20th century, each carving of a woman with flowers, h. 3” to 4”. [150/300] 30 Ivory Carving, 19th century, India, ornate barge with an elephant prow and peacock stern driven by twelve oarsmen, l. 18‑3/8”. [1200/1800] Illustrated

31 Chinese Ivory Censer, early 20th century, surface carved with dragons, h. 7‑1/2”. [800/1200] 32 Japanese Ivory Group, 19th century, study of a wood cutter with a child, h. 7”. [600/900] 33 Pair of Chinese Ivory Carvings, early 20th century, man and woman holding flowers and peaches, h. 13‑5/8”. [3000/5000] Illustrated

34 Lot of Two Bone Carvings, a Japanese dragon candle holderwith an engraved dragon, together with a carving of a female divinity, h. 8” to 14”. [75/125] 35 Chinese Ivory Carving, early 20th century, standing female figure holding a fan, h. 8”. [200/400] 36 Chinese Ivory Scene of an Empress in a StagDriven Chariot, early 20th century, h. 15”, w. 7”, l. 14”. [2000/4000] Illustrated 37 Chinese Ivory Scene of an Emperor in a StagDriven Chariot, early 20th century, h. 15”, w. 7”, l. 14”. [2000/4000] 38 Pair of Decorative Covered Jars, with a wood frame inset with bone plaques in a design of children playing, polychrome decoration, h. 37”. [2000/4000] Illustrated

39 Japanese Carved Ivory Group, 19th century, cormorant fisherman with a child, h. 7‑1/2”, l. 9”. [800/1200]

48 Chinese Porcelain Baluster Vase, early 20th century, mille fleur decoration, Ch’ien Lung mark, h. 15”. [2000/4000] Illustrated

40 Chinese Carved Ivory Group, early 20th century, the carving depicting a historical scene of two figures at a wine table and a screen, with stained details, wooden stand, h. 9‑1/2”, including stand, w. 9”. [800/1200]

49 Chinese Porcelain Vase, ca. 1930, famille rose decoration of women and children in a garden with a poem on the reverse, h. 17‑1/4”. [75/125] 50 Chinese Porcelain Covered Jar, 19th century, oviform, surface decorated with women and children in famille rose enamels, h. 9”. [300/500]

41 Chinese Carved Ivory Group, 20th century, carved with two figures having wine at a rootwood table with a decorative screen at the back, the figures with stained details, fitted wood stand, h. 9‑3/4”, w. 8”. [800/1200]

51 Chinese Porcelain Figure, late 19th/early 20th century, scene of a female immortal grooming Shao Lao, the God of Longevity, surface decoration of brocade patterns in famille rose enamels, h. 14‑1/2”. [300/500]

42 Chinese Ivory Carving, 19th century, standing figure of the Goddess of Mercy, Kuan Yin, fitted stand, h. 16”. [1200/1800] Illustrated

43 Chinese Ivory Carving, early 20th century, male figure holding flowers, stained details, h. 19‑1/4”. [2500/4000] Illustrated 44 Two Bone Inros, 20th century, surfaces carved in relief with a horse and bird, l. 2‑1/4”. [100/200] 45 Pair of Peking Glass Vases, bottleshaped in monochrome pink color, h. 9”. [125/250] 46 Chinese Porcelain Water Pot, 19th century, beehive shape and with a peach bloom glaze, carved decoration of dragon rondels, h. 3‑1/2”, dia. 5”. [250/400] 47 Pair of Canton Enamel Saucers, 18th century, China, famille rose decoration with roses and foliage on a yellow ground, signed, dia. 4‑1/4”. [125/250]

52 Chinese Porcelain Covered Jar, possibly early 20th century, hexagonal shape, Kuei Kung “devil's work” with double walls, the interior with landscapes in blue enamel, surface finely painted with birds and flowers, borders of bats, flowers and brocade patterns, top in the shape of a stylized lotus with a lotus finial, h. 6‑3/4”. [600/900] Illustrated 53 Chinese Porcelain Plate, 20th century, black ground with floral scrolling in famille rose enamels, dia. 8‑3/4”. [125/250] 54 Chinese Enameled Hand Warmer, 20th century, lobated body and finely painted decoration of reserves of birds and flowers on a floral scrolled yellow ground, Ch’ien Lung mark on the base, dia. 5”. [300/500]

55 Chinese Porcelain Famille Rose Censer, 19th century, decoration of the “hundred flowers” on a gold ground, six-character Ch’ien Lung mark on the base, h. 4”, dia. 5”. [300/500]

58 Chinese Enameled Glass Vase, 20th century, the bottleform vase with decoration of reserves with children playing on a yellow ground with floral scrolling, Ch’ien Lung mark on the base, h. 7‑1/4”. [300/500] 59 Pair of Chinese Porcelain Bowls, 20th century, finely painted sepia landscapes on a sgraffito yellow ground with floral scrolling, dia. 5‑3/4”. [5000/8000] Illustrated 60 Chinese Figure of a Standing Woman, cloisonne body with head and hands of ivory, h. 13‑1/2”. [400/700]

56 Pair of Chinese Porcelain Vases, 19th century, pilgrim flask form with relief peach-shaped reserves decorated with bats and peaches, yellow ground decorated with floral scrolling, h. 10‑3/4”. [800/1200] Illustrated 57 Chinese Enameled Glass Vase, 20th century, Ku Yuch Hsuan type, decoration of scholar, Ch’ien Lung mark on the base, h. 8‑1/2”. [400/700]

66 Chinese Porcelain Tea Cup Set, 19th century, cup stand and cover, underglaze blue decoration of a fruiting vine, h. 5”, dia. 4”. [100/200]

67 Chinese Porcelain Saucer Dish, transitional period (1600‑1650), underglaze blue decoration with a cockeral and butterfly, flame borders, dia. 6”. [125/250]

61 Pair of Chinese Double Gourd Vases, 19th century, underglaze blue decoration of the immortal on a red ground, h. 11‑1/2”. [1000/1500] Illustrated 62 Chinese Porcelain Vase, 19th century, peach bloom glaze, cylindrical form with an indented mouth and foot, mounted as a lamp and fitted with a custom ecru shade, h. 31”, overall. [300/500]

63 Chinese Peking Glass Censer, 20th century, cameo-carved from blue to a gold-flecked red ground with a design of bats surrounding Shou characters with flanking kylin Ch’ien Lung mark on the base, h. 8‑1/4”. [600/900] 64 Chinese Peking Glass Vase, 20th century, cameo carved from blue to silver-flecked turquoise in a design of birds and flowers, with Ch’ien Lung mark on the base, h. 9”. [600/900] 65 Chinese Export Porcelain Set of Eight Blue-and-White Coffee Cups and Saucers, made in a willow-type pattern in a fitted presentation case, 8”, w. 13”, d. 13”. [250/400]

8 16

68 Chinese Stoneware Figure, early 20th century, Shih Wan ware, standing image of Li Tieh Kuai, mounted as a lamp and fitted with a shaped and paneled ecru silk shade, h. 23‑1/2”, overall. [125/250] 69

69 Chinese Export Porcelain Ch’ien Lung Period Garniture Vase, fourth quarter 18th century, serpentine sided with orange diapering and blue bordered panels of Mandarin decoration, h. 12”, w. 5‑1/4”, d. 3‑1/4”. [1000/1500] Illustrated 70 Large Pair of Chinese Blue, White and Iron-Red Vases, each of baluster-form with four loop handles around the tubular neck, decorated in underglaze blue and iron-red with alternating panels of landscapes, birds and dragons among clouds against a ground of hawthorne blossoms, cracked ice, sea shells and Chinese antiques, domed covers, h. 33”. [900/1200] Illustrated 71 Pair of Chinese Porcelain Vases, 19th century, powder blue ground with iron-red fish, h. 10”. [200/400]

72 Pair of Chinese Porcelain Bowls, late 19th/early 20th century, iron-red decoration of the san luo (three fruits, pomegranates, Buddha's hand citrons, and peaches) with hats and Shou characters, dia. 3”. [100/200]

73 Chinese Porcelain Punch Bowl, 18th century, export ware, underglaze blue decoration of flowers and diaper pattern borders, h. 6‑3/4”, dia. 15‑1/4”. [300/500] 74 Pair of Chinese Blue-and-White Porcelain Plates, 19th century, foliate edge with underglaze blue decoration of the “hundred antiques” with floral borders, dia. 8‑3/8”. [50/80] 75 Pair of Chinese Blue-and-White Porcelain Bowls, ca. 1800, export ware, in the Nanking pattern, dia. 6‑1/8”. [100/200]

76 Pair of Chinese Porcelain Jars, late 19th century, the baluster-form covered jars with underglaze blue decoration of birds and flowers, h. 17‑1/2”. [400/700] Illustrated

80 Chinese Porcelain Plate, 19th century, underglaze blue and red decoration of a figure of an immortal holding a scroll reading “Hsuan Te Nien Chih”, borders of stylized lotus scrolls and ju-i monochrome blue back with the mark Ta Ming Hsuan Te Nien Chih, dia. 11‑3/8”. [200/400]

77 Three Lamp Finials, including two cinnabar lamp finials and one hardstone finial, together with a hardstone pendant and a 19th century cinnabar vase, vase h. 4”. [50/80] 78 Chinese Export Porcelain Candle Holder, ca. 1800, reclining elephant with a brown enamel surface and underglaze blue accents, h. 5-3/4", l. 7”. [1800/2500] Illustrated 79 Chinese Porcelain Vase, Hsuan Te mark but probably 18th century, lobated body, heaped and piled decoration of ling-chih with petal borders, h. 7‑1/2”. [250/400] Illustrated

86 Chinese Drum-Shaped Porcelain Stand, 19th century, underglaze blue decoration of the immortals, Ming Chia Ching mark at the top, h. 7‑1/2”. [200/400]

87 Four Chinese Porcelain Water Coupes, 19th century, blue-and-white decoration of floral scrolling and landscapes, h. 2”. [100/200] 88 Chinese Round Porcelain Box and Cover, 20th century, underglaze blue decoration of dragons, pearls and clouds, Kuang Hsu mark on the base, dia. 8”. [700/1000] 89 Pair of Chinese Export Porcelain Blue-and-White Crackle Glaze Hat Stands, 19th century, now mounted as lamps, the pierced stands depict smoking censers, tables and pots of flowers floating on a white ground, fitted with ecru lamp shades, h. 27”, overall. [300/500]

81 Chinese Brush Holder, Yung Ching mark but probably 19th century, peach bloom glaze, vasiform with two spur feet, h. 2‑1/2”. [250/400] Illustrated 82 Pair of Chinese Blue-and-White Porcelain Hat Stands, 19th century, underglaze blue decoration of women and children in garden scenes, h. 11‑1/4”. [300/500]

90 Chinese Porcelain Plate, late 19th century, domestic ware, celadon ground with underglaze blue decoration of a landscape, four-character Ch’eng Hua mark on the base, dia. 11”. [800/1200]

83 Chinese Rectangular Porcelain Dish, 19th century, underglaze blue decoration of butterflies and sprigs of foliage, w. 7”, l. 9‑3/4”. [100/200] 84 Chinese Porcelain Bottle Vase, 20th century, underglaze blue decoration of crane roundels, h. 8‑1/2”. [500/800] 85 Chinese Porcelain Dice Bowl, Hsuan Te mark and possibly of the period, heaped and piled decoration of stylized lotus scrolling, dia. 11‑5/8”. [1000/1500] Illustrated

85 detail

91 Chinese Porcelain Plate, Chia Ching mark and period, “Sweet White” ware with surface engraved with dragons (An Hua), dia. 10”. [400/700] Illustrated

92 Chinese Copper Red Dish, Hsuan Te mark but probably K’ang Hsi period (1662‑1722), dia. 8‑1/8”. [200/400] Illustrated 93 Pair of Chinese Export Plates, ca. 1870, decoration of fish and shrimp, stylized floral borders, dia. 10”. [150/300] 94 Chinese Blanc de Chine Figural Group, late 19th/early 20th century, Ti Hua figure of four female immortals on a rustic raft, h. 12”, l. 9”. [400/700] Illustrated 95 Chinese Blanc de Chine Cup, 18th century, molded in the form of a faceted octagonal rhinoceros horn-shaped bowl, h.2‑3/4”, w. 3”, l. 5”. [100/200]

96 Pair of Chinese Porcelain Cups, 19th century, molded in the shape of silver ingots, l. 5‑3/4”. [100/200] 97 Pair of Chinese Porcelain Dogs, 18th century, h. 2‑3/4”, l. 4‑1/4”, without stands. [200/400]

98 Blanc de Chine Figure, late 19th/early 20th century, China, figure of Samantabadhra seated on a lotus throne on the back of an elephant, Te Hua ware, h. 15‑3/4”, l. 11”. [400/700] Illustrated

103

103 detail

99 Blanc de Chine Figure, late 19th/early 20th century, Te Hua figure of Manjushri seated on a lotus throne on the back of a lion, h. 15‑1/2”, l. 11”. [400/700] Illustrated

103

100 Pair of Chinese Blanc de Chine Figures, late 19th/early 20th century, Ti Hua ware, deer with baskets of flowers on their backs standing on rectangular rocky outcrops, h. 13‑3/4”. [300/500] Illustrated 101 Chinese Porcelain Bowl, 19th century, dia. 11‑1/4”. [100/200]

100

105

102 Chinese Porcelain Plate, Ming period (1368‑1644), dia. 10”. [200/400] 103 Very Rare Chinese Scholars Porcelain Desk Set, Hung Hsien mark (1915‑1916) and of the period, a nine piece set consisting of a brush pot, seal paste box, brush rest, inkstone, brush washer, water coupe, incense burner, paper weight and ink rest, all finely painted in sepia with slight colour with scholars and landscapes, the largest 4‑5/8” in height, all contained in a fitted box, also with a pillow with an embroidered monogram of Elizabeth II, h. 7”, w. 9‑1/2”, l. 24‑1/2”. Yuan Shih Kai, a high official in former Ch’ing Dynasty (ended 1911), proclaimed himself emperor with the reign title Hung Hsien in 1915, but died in the following year ending Imperial rule in China. [3000/5000] Illustrated 104 Chinese Color and Ink Scroll Painting by Liu Haisu (1896‑1994), “Autumn Lotus”, executed in brilliant colors against a shaded gray background depicting red and white lotus blossoms, lapis blue and malachite green lotus leaves against shaded gray background foliage with stalks and buds emerging from water, h. 88‑3/8”, l. 32‑7/8”. Liu Haisu was something of a child prodigy, entering painting school in Shanghai at age 14 under the guidance of Zhou Xiang. When he was 17, he opened the first school of fine arts in modern China along with Wu Shiguang, creating something of a scandal as his school was co-educational and pioneered the use of human body models. This earned him the appellation of “artist traitor”. He visited Europe twice and corresponded with Picasso and Matisse and was influenced by them and their artistic theories. He passed away in August, 1994. [700/1000]

105 Chinese Porcelain Potpourri, two pieces of Chinese monochrome turquoise porcelain, a double diamond vase and brushrest with French ormolu mounts, h. 15”. [12000/18000] Illustrated 106 Chinese Porcelain Baluster Vase, early 18th century, probably Yung Cheng period (1722‑1735), Tou Tsai decoration of foliated dragons in underglaze blue and various enamel colors, fitted hardwood stand, h. 17‑1/2”. Provenance: On loan by the consignor to The Museum of Fine Arts, Houston, Texas and exhibited there in the 1970’s. Accompanied by a document to that effect. [1500/2500] Illustrated

106

107 Pair of Chinese Cloisonne Animals, Ch’ien Lung period (1735‑1736), kylin with scales of blue and turquoise, blue head with red squares, gilt accents, h. 8‑1/4”, l. 11‑1/2”. [1500/2500] Illustrated

107

108

110 Pair of George III-Style Giltwood Mirrors in the Chinese Chippendale Taste, each with a shaped rectangular plate surmounted by a pagodaform crest, surrounded by a molded and annulated frame with applied foliate branch designs and with a pierced pendant centered by a swan, h. 62”, w. 34”. [3000/5000] Illustrated 111 French Chinoiserie Painted Panel, fourth quarter 18th century, depicting two figures on a bridge under an umbrella, unsigned, 21” x 13”. Presented in a later molded giltwood frame. [150/300] Illustrated

109

112 Pair of Chinoiserie Polychrome Occasional Tables, late 19th century and later, each with a hinged hexagonal top with a decorative gilt border and centered by two oriental figures, opening to a storage space, the paneled tapering base with two handles and raised on a tripartite scrolling base, h. 22‑1/2”, dia. 21”. [600/900] 113 George III Mahogany Games Table, late 18th century, in the Chinese Chippendale taste, the rectangular top with a foliate-carved edge, hinged and opening to a larger surface, above a blind-fret-carved frieze, raised on chamfered square legs, h. 29”, w. 36”, d. 18”. [1800/2500] Illustrated

110

108 Chinese Sweetmeat Services Set, 19th century, twelve fitted dishes of canton enamel decorated in famille rose with figures in gardens, rosewood case, dia. 17”. [2500/4000] Illustrated 109 Chinese Porcelain Vase, 19th century, baluster form with relief decoration of the hundred antiques with famille rose enamels, Ju-i borders, h. 17‑1/2”. [1400/1800] Illustrated

114

111 114 Queen Anne-Style Ebonized Cabinet, the triangular pediment and annulated frieze above a case fitted with two astragal-glazed doors, the lower section fitted with two cabinet doors, painted with an elaborate figural orientalist scene, raised on turned bulbous feet, h. 78”, w. 36”, d. 18”. [1400/1800] Illustrated 115 George III-Style Black-Lacquered and Polychrome Tripod Table, third quarter 19th century, in the chinoiserie taste, the tilting circular top featuring a gesso and polychrome oriental landscape, raised on a turned columnar standard to three splayed cabriole legs ending in pad feet, h. 29”, dia. 29”. [600/900] Illustrated

115 113

121 Queen Anne-Style Ebonized Sunderland Table, the narrow top with two long rounded leaves, each with gilt and polychrome avian foliate patterns, raised on tapering circular legs ending in pad feet, h. 27‑1/4”. [250/400]

116 George III-Style Mahogany Child’s Wing Chair, late 19th century, the domed back joined by padded sides and outscrolled arms to the padded seat, raised on square tapering legs, h. 34‑1/2”. [500/800] Illustrated

122 Pair of Ebonized and Polychrome Chinoiserie Collector’s Cabinets, 20th century, each with a stepped rectangular top above two doors, one opening to two banks of eight drawers, the other opening to two banks of fifteen drawers, raised on tall square legged stands, the whole with gilt and polychrome floral and foliate avian scenes, h. 49‑1/2”, w. 20‑1/4”, d. 9‑1/2”. [2500/4000]

117 After Alain Manesson Mallet (French, 1630‑1706), suite of four celestial maps from Description de L’Univers, published Paris, 1683, sight 7‑3/8” x 4‑5/8”. All glazed, handsomely matted and framed. [500/800] 118 After Friedrich Bernard Werner (German, 1690‑1776), “Panoramic View of Paris” and “Panoramic View of London”, pair of hand colored engravings, printed by “Edizioni Ponte Vecchio”, fourth quarter 20th century, sight 12‑3/4” x 33”. Both glazed, handsomely matted and framed alike. [500/700]

116

119 George III-Style Mahogany Side Table, in the Chinese Chippendale style, the rectangular top with egg-and-dart molding above a conforming frieze fitted with two side drawers, each with blind fret carving, raised on square legs ending in molded feet, h. 30”, w. 48‑1/2”, d. 23”. [300/500] Illustrated 120 George III-Style Mahogany Tripod Table, early 20th century, the tilting rectangular top with shaped corners, raised on a turned vasiform standard to three splayed legs, h. 28‑1/2”. [200/400]

119

126 Watercolor Miniature on Ivory of a Hunt Scene, fourth quarter 19th century, English, the watercolor depicting a rider adorned in a riding habbit with a pack of hounds jumping a fence, with riders in the distance, mounted in an engine-turned bezel behind beveled glass, the whole in a brown leather case with gilt-incised trim, with a brown velvet liner with stamped decoration, h. 5‑1//2”, w. 6‑1/2”. [200/400] Illustrated

124

125

123 Set of Eight Chippendale-Style Mahogany Executive Chairs, the chairs raised on beaded Marlborough legs with cross stretchers, with mahogany arms and serpentine crests, upholstered in faux black leather, h. 40”. [800/1200]

127 Three Pieces of Japanese Lacquer Ware, ca. 1900, comprised of a glove box decorated with geishas on a balcony waving to a crowd below, h. 1‑3/4”, w. 3‑3/4”, l. 12”, a box decorated with a procession of men, one holding a gun, another holding an umbrella and one dancing, h. 1‑3/4”, w. 7‑1/2”, d. 6”, and a bowl decorated with men engaged in various activities, including drumming, brandishing a samurai sword, dancing and transporting a package, h. 4”, including stand, dia. 6‑1/4”. [100/200]

126

124 Chinese Export Ebonized Desk, early 20th century, the rectangular top with an elaborate gilt and polychrome oriental landscape within bands of geometric and foliate patterns, above a case fitted with a central drawer flanked to either side by a drawer over two small cupboard doors, all decorated en suite, the back and sides paneled, raised on square legs ending in shaped feet, h. 32”, w. 53‑1/2”, d. 25”. [3000/5000] Illustrated 125 Pair of Regency Papier-Mache Fan-Shaped Fire Screens, first quarter 19th century, English, the turned giltwood handles support the chinoiserie screens, gilt scrollwork decorates the conforming corners, embossed gilt foil decorates the sides, the panels depicting a Chinese couple strolling in a garden under a willow tree, one carrying a parasol and the other a fan, the backs covered in their original embossed green material, h. 14”, w. 9‑1/2”. [200/400] Illustrated

128 Aesthetic Movement Folding Mirror, fourth quarter 19th century, the three-part faux bamboo frame opening to reveal a triple mirror, the outside panels artfully printed to resemble Japanese lacquer ware, with a pattern of geishas and plum branches, with cranes overhead and a scroll to one side, h. 13‑1/2”, w. closed 13”, open 33”. [300/500] Illustrated

130 George III-Style Mahogany Desk, early 20th century, the rectangular top with an inset gilt-tooled leather writing surface and a recessed center section to both sides, above a conforming frieze fitted with a central drawer and flanked to either side by a bank of four short graduated drawers, the rear fitted with two cupboard doors, raised on plinth bases, h. 29”, w. 51”, d. 29‑1/2”. [800/1200] 131 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded and dentillated cornice above a blind fret-carved frieze and a case fitted with two short drawers and three long graduated drawers, flanked to either side by canted fret-carved pilasters, the lower section fitted with a brushing slide over three long graduated drawers, raised on bracket feet, h. 73‑1/2”, w. 42”, d. 20”. [1500/2500] Illustrated

128

129 Regency Ebonized Papier Mache Tray, first quarter 19th century, the rounded rectangular tray with a full raised edge and with an elaborate gilt landscape scene in the chinoiserie taste, raised on a like decorated stand on cabriole legs ending in pad feet, h. 31”, w. 29‑1/2”, d. 22‑1/2”. [1500/2500] Illustrated

131

132 Framed Shadowbox of Italian Plaster Grand Tour Cameos, third quarter 19th century, designed to illustrate tourist destinations and classical archeology, both obscure and famous, including the Three Graces, Dionysus and Jesus Christ, mounted on brown silk in an American walnut ebonized frame of the same period, h. 25‑1/2”., w. 31‑1/2”. [150/300]

129

133 George III-Style Mahogany Stool, early 20th century, in the Chinese Chippendale taste, the padded square seat above a blind fret-carved frieze, raised on cabriole legs headed by foliate carving and ending in pad feet, h. 17”, w. 18”, d. 18”. [300/500] Illustrated

134 Louis-Philippe Giltwood Over-Mantle Mirror in the Neoclassical Taste, third quarter 19th century, French, the rectangular frame with notched corners, set with an old mirror plate and molded with roping on the outer edge of the ogee molding, with a beaded interior edge, h. 72‑3/4”, w. 43”. [800/1200]

138

135 George III-Style Mahogany Side Table, in the Chinese Chippendale style, the rectangular top with molded edge above a blind fret-carved frieze, raised on tapering square pierced legs ending in carved square feet, h. 32”, w. 43”, d. 20‑1/2”. [400/700] Illustrated 136 French Brass Plate Stand, ca. 1900, vertical supports set with cabriole feet and support three pierced plate holders, the curved top set with swags of bellflowers held with bowknots, a ring holder top serves as a carrying handle, h. 33‑1/2”, dia. 14”. [100/200]

133

139 137 Edwardian-Style Mahogany and Silverplate Tray Table, mid-20th century, the canted rectangular removable tray top with a full pierced silverplate gallery with raised end handles, centered by an inlaid silverplate shield, raised on a stand of tapering square legs joined by an X-form stretcher, h. 21‑1/2”, w. 24‑1/2”, d. 16‑1/2”. [800/1200] 138 Pair of Japanese Red Kutani Ware Vases, 19th century, now mounted as lamps, finely painted with mythological scenes, h. 14”. [500/800] Illustrated 135

139 Contemporary Mahogany Bar, the rectangular top bisected and hinged opening to a paneled interior above a case fitted with two doors fitted with wine racks, glass holders and various shelves and holders, raised on a plinth base, h. 40”, w. 36”, d. 18”. [800/1200] Illustrated

141 Pair of Queen Anne-Style Polychrome Sidechairs, each with a back-scrolled crest above a baluster-form splat featuring a polychrome figural oriental landscape, the padded seat raised on cabriole legs ending in scrolled toes, h. 38‑1/2”. [400/700] Illustrated

141

140 Unusual Continental Marquetry Inlaid Mahogany Games Table, early 20th century, the circular top with an inlaid string banding, and a cornucopia band surrounding a central griffin inlaid medallion, spinning to reveal a baize-lined center section with side recessed segments for gaming pieces, the center section removing to reveal a compartmented storage area, raised on tapering square legs joined by an X-form stretcher, h. 30”, dia. 42‑1/2”. [1200/1800]

146

142 142 George III Polychrome Hanging Corner Cupboard, late 18th century and later, in the chinoiserie taste, the cornice above a case fitted with a single paneled door with elaborate hinges, the whole with polychrome scenes in the orientalist taste, h. 47‑41/2”, w. 33‑1/2”, d. 18‑1/2”. [1800/2500] Illustrated

147

148 George III-Style Mahogany Tea Table, early 20th century, the rectangular top with a full raised edge above an arched frieze, raised on cluster column legs joined by an X-form stretcher and ending in block feet, h. 26‑1/2”, w. 32‑1/4”, d. 21‑3/4”. [500/800] 149 Regency-Style Ebonized Etagere, fitted with five shelves, each with a three-quarter pierced brass gallery, one fitted with a single drawer, supported by turned uprights with gilt accents, all with gilt accents in the chinoiserie taste, raised on casters, h. 74”, w. 16‑1/2”, d. 16‑1/2”. [400/700] Illustrated

149

143 Queen Anne-Style Polychrome Stool, 19th century, the shaped and padded rectangular top above a conforming frieze with gilt and polychrome accents in the chinoiserie taste, raised on cabriole legs joined by a shaped X-form stretcher and ending in pad feet, h. 20”, w. 20”, d. 16”. [500/800]

144 Chinese Cinnabar and Black-Lacquered Panel, 19th century, of shaped rectangular form, the raised central section depicting gilt oriental figural landscapes, now raised on a conforming polychrome faux bamboo stand with gilt ring accents, h. 22”, w. 25‑1/2”, d. 22‑1/2”. [300/500]

150 Anglo-Indian Bamboo and Black-Lacquered Writing Stand, early 20th century, the domed back above a single narrow shelf and a lower shelf over a pair of sliding cupboards, with a hinged slanted surface below, opening to a void interior, raised on bamboo legs joined by a decorative stretcher and ending in splayed feet, h. 44”, w. 18”, d. 13‑1/2”. [250/400] 151 Chinoiserie Black-Lacquered Papier-Mache Etagere, third quarter 19th century, the rectangular top with raised edge and crimped corners, above two smaller staggered shelves and a like lower shelf, all with gilt orientalist scenes, supported by ebonized faux bamboo uprights and ending in splayed legs, h. 32”, w. 16”, d. 12”. [300/500] Illustrated 152 Queen Anne-Style Lacquered and Polychrome Side Table, 19th century, in the chinoiserie taste, the rectangular top with an elaborate polychrome and gilt figural landscape in the Orientalist taste, above a conforming paneled frieze over an ogee-molded apron, raised on cabriole legs, the whole richly accented with polychrome floral and geometric patterns, h. 32”, w. 44”, d. 19‑1/2”. [1200/1800] Illustrated

145 Louis XV-Style Polychrome Occasional Table, early 20th century, in the chinoiserie taste, the kidney-form top with polychrome figural accents, above a conforming case fitted with three drawers, joined to a like-shaped lower shelf by square supports, raised on splayed legs, h. 28‑1/2”, w. 17‑1/2”, d. 12‑1/4”. [400/700] 146 Chippendale-Style Centennial Mahogany Wing Chair, late 19th century, the padded rectangular back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs headed by shell and double eagle carving and ending in ball-and-claw feet, h. 44”. [500/800] Illustrated 147 Pair of George III-Style Mahogany Occasional Table in the Chinese Chippendale Taste, each with a dished top over an open shelf flanked and backed by fruitwood panels, raised on chamfered legs, h. 29”, w. 17‑3/4”, d. 13‑1/2”. [1800/2500] Illustrated

152

156 Abraham Munting (Dutch, 1620‑1683), “Amygdalus Nana”, hand colored copperplate engraving, 1702, from Naauwkeurige Beschryving Der Aardgewassem, 12‑1/2” x 8‑1/4”. Attractively glazed, matted, and framed. [200/400]

155

153 Scottish Victorian Fitted Rosewood and Brass Dressing Case, third quarter 19th century, the rosewood box outlined with brass inlay and with triple brass line inlay framing the brass shield-shaped escutcheon, the green velvet-lined interior fitted with a variety of cut-glass perfume bottles, ointment and cosmetic jars, with silver-plated caps, a hidden lower drawer lined with gilt-trimmed velvet, divided for jewelry, the Moroccolined lid with a pocket for papers, signed by both the maker, J. Weller, Case Makers and Cutlers and the likely retailer, T. Forgie, 95 Buchanan St, Glasgow, h. 7‑1/4”, w. 12‑1/4”, d. 9‑1/4”. [200/400]

157 157 Basil Besler(German, 1561‑1629), “Condilla Foetida”, hand colored copperplate engraving, 1641, from Hortus Eystettensis, 2nd edition, image 18‑3/4” x 15‑1/2”, attractively glazed, matted, and framed. [700/1000]

154 Regency Burl Elm Center Table, first quarter 19th century, the tilting rounded rectangular top with ebonized string banding, raised on a turned vasiform standard to a concave platform on splayed legs ending in ebonized paws on casters, h. 30”, w. 36‑1/2”, d. 30”. [1200/1800]

158 After John Gerard (English, 1545‑1612), second quarter 17th century, a group of three hand colored woodcuts including, “The Little Wilde Date Tree”, inscribed and numbered “LIB.3./1519”, “The Orange Tree”, inscribed and numbered “LIB.3/1463”, and “The Great Red Artichoke”, inscribed and numbered “LIB.2/1153”, all from The Herball Generall Histoire of Plants , 1633 edition amended and supplemented by Thomas Johnson (c. 1600‑1644), each sight 12‑1/2” x 7‑1/4”. Attractively glazed, matted, and framed alike. Provenance: The Bienville Shop, New Orleans, LA. [100/200]

155 Georgian-Style Polychrome Corner Cabinet, 20th century, in the chinoiserie taste, of bowed form, the domed and pierced cornice centered by an acanthine carving and above a case fitted with two cupboard doors over a lower section fitted with a single drawer, raised on bracket feet, the whole with polychrome scenes of figural oriental landscapes and floral scenes, h, 73”, w. 22”, d. 14”. [500/800] Illustrated 160 pair

159 Group of Eight French Hand Colored Lithographs of Animals,1833‑1836, from Ouvres Completes de Buffon, by George Louis Leclerc, Comte de Buffon (French, 1707‑1788), engraved by G.P.Van Den Burggraaff (Belgian, 1801‑1850), including “Le Kinkajou/Le Potot ou Kinkajou Potot”, “Le Loup/Le Loup Noir”, and “Le Belier/ La Brebis”, among others, each sight 8‑1/2” x 5‑1/2”, all matted. [200/400] 160 After Pierre Joseph Redoute (Belgian/French, 1759‑1840), “Convallaria Majalis” and “Smilacina Racemosa”, pair of hand colored engravings from Les Liliacees, published Paris, 1802‑1816, sight 20” x 13”. Both glazed, French matted and framed alike. [500/800] Illustrated 161 Moses Harris (British, 1730‑c. 1788), Plate XXX and Plate XVII from The Aurelian or Natural History of English Insects Namely Moths and Butterflies Together with Plants, pair of hand colored engravings, sight 12‑1/2” x 9‑1/2”. Both glazed, attractively French matted and framed alike. [400/700]

164

162 Peshawar Ikat Carpet, 9’2” x 12’6”. [3000/5000] 163 Oushak Carpet, 7’8” x 10’4”. [2000/4000] 164 Mid-20th Century Fine Silk Pictorial Tabriz Carpet, 6’ x 9’11”. [1200/1800] Illustrated 165 SemiAntique Persian Mashad Carpet, 10’ x 12’5”. [1200/1800] 166 Kerman Carpet, 5’9” x 17’6”. [1400/1800] Illustrated

168 166

167 Caucasian Shirvan Carpet, 5’ x 6’4”. [500/800]

174 Chinese Carved Wooden Image of the God of War Kuan Ti, 19th century, with traces of lacquer remaining, h. 9‑1/4”. [100/200]

168 Antique Tabriz Carpet, 7’3” x 10’. [1800/2500] Illustrated previous page

175 Japanese Lacquered Box, 19th century, gold lacquer with Maki-e decoration of a palace and garden silver edge protector, interior opens to two small boxes, with the same decoration, fitted in a plain Hinoki wood collectors box, h. 2‑1/2, w. 4”, l. 5‑1/2”. [1800/2500] Illustrated

180

169 Uzbek Kazak Runner, 2’8” x 10’8”. [500/800] 170 Persian Heriz Carpet, 7’ x 8’7”. [1800/2500] 171 171 Semi-Antique Peking Chinese Carpet, 6’ x 9’1”. [1000/1500] Illustrated 172 Chinese Polychrome and Parcel-Gilt Side Table, early 20th century, the paneled rectangular top above a deep and elaborately pierced avian and prunus frieze, the side en suite, raised on square legs joined by a box stretcher, h. 30”, w. 27‑1/2”, d. 15”. [300/500]

176

173 Pair of Carved Wooden Figures with Buddhist Divenities, ca. 1930, China, surface painted in red, blue, white and green, h. 31”. [0]

176 Two Japanese Lacquered Boxes, Meiji period (1868‑1912), weathered wood with Maki-e decoration of cranes, interior black lacquered with gold tortoises, one h. 5‑1/2”, w. 16”, l. 12”, the second h. 2‑3/4”, w. 9‑3/4”, l. 9”. [1500/2500] Illustrated 177 Chinese Display Cabinet, 20th century, rosewood, lantern shaped with shaped shelves and cabriole legs, h. 22”, w. 13”. [500/800]

175

178 Japanese Lacquer Food Tray, 19th century, Nashiji ground with Takugawa heraldic mons in gold Maki-e, h. 9”, w. 16”, l. 16”. [900/1200]

192

192 detail 179 Japanese Lacquer Box Cover, 18th century, gold lacquer with a heraldic emblem (Mon), sides and interior decorated with cranes and pine trees, w. 10‑1/4”, l. 9‑1/2”. [900/1200] 180 Japanese Writing Box, Meiji period, ca. 1900, black lacquer with Maki-e decoration of cranes and pine trees, Nashiji interior, Suzuribaki with inkstone water dropper, paper knife and two brushes, Hinoki wood collectors case, w. 5‑1/2”, l. 9‑1/4”. [1400/1800] Illustrated

183

181 Japanese Bone Inro, 20th century, the surface carved and gilt with chickens and rose bushes, w. 2‑1/2”, l. 4”. [150/300] 182 Chinese Eggshell Bowl, 20th century, decoration of dragons and flowers on a yellow ground, dia. 5‑1/2”. [300/500] 183 Chinese Agate Snuff Bottle, surface carved with peanuts, coral stopper, l. 2”. [800/1200] Illustrated

184 Jade Snuff Bottle, the yellow stone carved as a peanut, l. 2‑5/8”. [250/400]

192 detail

185 Rock Crystal Carving, carved as a peanut, bat and cash coin, l. 2‑3/4”. [125/250] 186 Chinese Peking Glass Vase, yellow color carved in relief with a historical scene, h. 10‑3/4”. [500/700] 187 Chinese Banded Agate Snuff Bottle, well hollowed, l. 2‑1/4”. [600/900] 188 Lot of Eight Chinese Porcelain, late 19th/early 20th century, iron-red decoration of bats, Shou characters and floral scrolling, including three plates, and five bowls, plates, dia. 10”, bowls dia. 4‑14” to 4‑1/2”. [100/200] 189 Pair of Cylindrical Chinese Porcelain Vases, early 20th century, now mounted as lamps, decorated primarily in orange with scenes of the immortals, fitted with salmontrimmed shaped and paneled silk shades, h. 27”, overall. [300/500] 190 Pair of Chinese Porcelain Vases, 20th century, iron-red decoration with dragons and pearls, h. 4‑3/4”. [200/400] 191 Chinese Porcelain Vase, 20th century, of rouleau form, decorated with fish above a white-capped ocean, h. 6”. [125/250] 192 Rare Pair of Palace Tiles From the Forbidden City, black pottery inscribed with a Ch’eng Te date (1506‑1521) and the names of the commissioners, now mounted on custom rosewood stands with giant’s arms stretchers, h. 17”, w. 26‑1/2”, d. 26‑1/2”. [20000/40000] Illustrated

196 Chinese Rosewood Brush Pot, 20th century, surface inlayed with birds and flowers in mother-of-pearl and various colored soapstone, h. 7”. [500/800] 197 Chinese Bronze Brush Rest, 19th century, cast as a fivepeaked mountain, l. 3‑1/2”. [150/300] 198 Chinese Hanging Scroll, 19th century, ink and colours on paper, a scene of the famous poet Li Po with attendants, unsigned but with three seals, h. 41”, w. 21‑3/4”. [200/400] 199 Chinese Hanging Scroll, 20th century, ink and colors on paper, scene of a girl by a lotus pond, h. 26”, w. 19”. [150/300]

193

194

193 Attributed to Wu Guanzhong (Chinese/French, 1919‑2010), “Untitled”, color and ink on paper, signed and stamped lower right and stamped upper left, sight 26‑1/2” x 26”. Glazed, matted and framed. [2500/4000] Illustrated 194 Large Pair of Chinese Decorative Export Covered Ginger Jars, each of conventional shape with waisted bodies and conforming domed covers with stylized foo dog finials, glazed all over in a rich black glaze, h. 22‑1/2”. [800/1200] Illustrated 195 Pair of Chinese Cherry Amber Carvings, early 20th century, study of a pair of birds on flowering prunus trees, h. 12”. [0]

200 Chinese Hanging Scroll, 20th century, ink and colors on silk, scene of Shao Lao with children, h. 35”, w. 17”. [200/400] 201 Pair of Chinese Wall Plaques, early 20th century, figures of a mandarin and his consort, ivory faces and bodies of polychromed soapstone, rosewood frames, h. 46”, w. 30”. [500/800] Illustrated 202 Chinese Hares Fur Bowl, probably early Ming period, 14th century, dia. 7‑1/8”. [2500/4000] Illustrated

201

203 Chinese Archaic-Style Jade Pendant, 19th century, carved in the form of an ancient han coin, the stone of a brown color with yellow areas, l. 2‑1/4”. [0]

204 Chinese Hornbill Belt Hook, 19th century, yellow color with a large area of red carved as a dragon, l. 2‑3/4”. [0] 205 Chinese Archaic-Style Axe Blade, 19th century, reverse-carved with the characters Tao Juo, rust colored stone, l. 4‑1/4”. [0] 206 Chinese Hanging Scroll, 20th century, ink and colors on silk, scene of children playing, h. 48”, w. 25”. [200/400] Illustrated 207 Chinese Rosewood Brush Pot, 20th century, finely carved with a scholarly gathering in a forest, h. 5‑1/2”. [500/800] Illustrated 208 Pair of Chinese Wall Plaques, 18th/19th century, lacquered surface inlaid with motherof-pearl and ivory, one with a peach tree and cranes, and the other with butterflies and a flowering prunus tree, h. 43”, w. 24”. [600/900] 209 Unusual Chinese Carved and Ebonized Cocktail Table, the top formed from a carved panel featuring figures walking among pagoda structures, raised on carved square legs ending in shaped feet, h. 13‑1/2”, w. 38‑3/4”, d. 24‑1/4”. [500/800]

210

206 210 Chinese Hanging Scroll, 20th century, ink and colors on silk, Hsi Wang Mu playing a flute beneath a flying phoenix, h. 47”, w. 25”. [200/400] Illustrated

212

211 Chinese Hanging Scroll, ink and colors on silk, landscape with pavilions, h. 50”, w. 25”. [200/400] 212 Pair of Chinese Carved and Painted Foo Dogs, surface lacquered in green, red, black and gold, l. 19”. [1400/1800] Illustrated

202 207

213 Chinese Architectural Element, early 20th century, wood carved and pierced with various figures, surface lacquered and gilt, h. 11”, l. 20”. [75/125]

222

214 Pair of Chinese Carved Soapstone Foo Dogs, 19th century, surface lacquered in red and black with gilt, h. 6”, l. 6‑3/8”. [100/200]

221 Pair of Porcelain Saucer Dishes, marked Ch’ia Ch’ing (1796‑1820) and probably of the period, decoration of stories from “Tales of the West” in iron-red, turquoise glazed backs, dia. 5‑3/8”. [200/400] 222 Heroic Bronze Image, 19th century, Thailand, Ayutaya style figure of a Buddhist man in embroidered robes, traces of gilt remaining with surface verdigris, h. 63”. [2000/4000] Illustrated

215 Chinese BlackLacquered Storage Box, late 19th century, of shaped circular form, the lid with elaborate dragon amongst cloud designs centering a calligraphic pattern, lifting off to a void interior, the sided with panel paintings of oriental landscapes, raised on a later stand of molded square legs, h. 27”, dia. 20”. [400/700] Illustrated 216 Pair of Chinese Rosewood Occasional Tables, early 20th century, each with a rectangular banded and paneled top above a like stretcher shelf, raised on square legs ending in fret-carved feet, h. 31‑1/2”, w. 16‑1/2”, d. 12”. [250/400]

215

217 Pair of Chinese Porcelain Cylindrical Vases, Now Mounted as Lamps, early 20th century, the rust ground decorated with gilt characters and flowers, now faded, h. 27‑1/2”, to top of finial. [125/250] 218 Chinese Snuff Bottle, pale celadon jade with lobated sides, well-hollowed, h. 2”. [400/700] 219 Chinese Porcelain Brush Pot, 20th century, finely painted with a scene of three-rams, Hsien Feng mark on the base, h. 7”. [300/500] 220 Japanese Stoneware Bowl, 19th century, red Kutani type with decoration of the seven sages of the bamboo grove and brocade patterns, exterior decorated with an extensive poem, signed “Kozan Kutani”, dia. 8‑1/2”. [100/200]

223

223 Japanese Bronze Sculpture, Meiji period (1868‑1912), depicting an eagle taking a dove on a rocky outcrop, with a verdigris patina, h. 50”, w. 38. [700/1000] Illustrated

228 Pair of Chinese Rosewood Carvings, 19th century, carved as a pair of immortals with chained foo dogs, the surface inlaid with silver wire and glass eyes, with the charachter for “sun” in the upper corner, h. 13”. [200/400] 229 Eight Chinese Stoneware Figures, 20th century, Yi Hsing ware, h. 2”. [50/80] 230 Chinese Stoneware Flask, Sung period 10th to 13th century, Ch’i Ch’ou ware, brown glaze with a wax re [200/400] 231 Chinese Pottery Figure, early 20th century, figure seated on the back of an elephant, San Tsai glaze of blue, purple and straw colors, h. 7”, l. 5‑1/4”. [50/80]

225

224 Pair of Chinese Porcelain Hat Stands, Now Mounted as Lamps, early 20th century, the hexagonal lamps decorated with a figure of a Chinese male holding a bird on one side and characters on the rear, fitted with ecru hexagonal silk shades, h. 26‑1/4”, overall. [250/400] 225 Chinese Tortoiseshell Box, 19th century, finely carved in high relief with figures in a palace garden, dia. 3”. [1800/2500] Illustrated 226 Chinese Tortoiseshell Box, 19th century, finely carved in high relief with figures in a palace garden, dia. 3‑1/4”. [2000/4000] 227 Ch9inese Tzutan Brush Pot, 20th century, deeply carved with a scholar in a mountain forest, h. 7‑1/2”. [500/800] Illustrated

227

233 232 Chinese Bronze Vase, the pierced feet decorated with Chinese scrollwork and supports the sides, decorated with raised dragons and clouds, loop handles mounted on the side, the square, flaring neck decorated with scrollwork matching the foot, h. 12‑1/2”, w. 8”, d. 8”. [300/500] 233 Chinese Carved Wooden Box, 20th century, octagonal form with a finely carved central panel inlaid with boxwood with a dragon and wave motif, the sides carved with a repeating Wan pattern lattice, dia. 10”. [400/700] Illustrated

234 Pair of Chinese Stained Hardwood Chairs, 20th century, each with a domed and eared crest above a splat with calligraphic and horse carving, joined to the paneled seat by outscrolled arms, raised on rounded legs joined by a box stretcher, h. 47”. [400/700] Illustrated 235 Chinoiserie Black Lacquered Occasional Table, 20th century, the square top with a gilt figural Oriental scene, joined by shaped supports to a lower floral-patterned shelf, raised on bent square legs, the whole with gilt accents in the chinoiserie taste, h. 30”, w. 15”, d. 15”. [400/700] 236 Chinese Hung Mu Luo Han Chuan Bed, 19th century, the trisected back with a shaped crest and with carved panels, the lower sides paneled en suite, the banded top raised above a shaped apron on shaped paw feet, h. 42”, d. 47”, l. 72”. [1500/2500] Illustrated

237 Pair of Contemporary Chinese Ebonized and Mahogany Armoires, each fitted with two short cupboard doors paneled over two deeper banded doors with decorative hardware, opening to a shelved interior with two small drawers, over a paneled apron, raised on square legs, h. 95”, w. 47”, d. 21”. [500/800] 241

234

238 Chinese Hardwood Pedestal, the paneled square top above a molded frieze with pendant pierced scroll apron, raised on tall square legs joined by a box stretcher, h. 48”, w. 14”, d. 14”. [100/200] 239 Mahogany King Size Headboard, in the Chinese taste, the molded frame with a center rondel pierced with Chinese characters and pierced scrollwork fills the field on either side, h. 41‑1/2”, w. 80”. [200/400] 240 Pair of Chinese Hardwood Occasional Table, 20th century, each with a paneled circular top with a bead applied edging, raised on an open bulbous body to a pierced base on shaped feet, h. 18”, dia. 16”. [150/300]

241 Large Chinese Stoneware Vase, early 20th century, Kuang Tung ware, carved in the form of the trunk of an ancient prunus tree in flower with a long poem on one side, surface glazed in blue-green with flowers in pink, h. 28”, w. 17”, d. 10”. [400/700] Illustrated 242 Chinese Mahogany Cocktail Table, early 20th century, partially composed of antique elements, the rectangular top with an inset trisected panel with inlaid mother-of-pearl oriental landscape scenes, raised on square legs, h. 19‑1/2”, w. 32‑3/4”, d. 19‑1/2”. [150/300]

236

243 Chinese Carved Buffalo Horn, 20th century, surface carved in relief with dragons, l. 13”. [700/1000] Illustrated

244 Bronze Bust of a Temple Dancer, early 20th century, Thailand, with a fitted stand, h. 8”. [200/400] 245 Pair of Chinese Red Lacquered Lidded Storage Boxes, late 19th century, of octagonal form, the canted and domed lid opening to an interior with a lift-out tray and open interior, raised on a conforming stand of cabriole legs, the whole with polychrome designs in scrolling foliate, avian and calligraphic patterns, h. 36‑1/2”, dia. 20‑1/2” [800/1200] 246 Unusual Japanese Carved Wooden Figure of a Seated Demon Slayer, 17th/18th century, the seated figure with glass eyes seated on a rockwork shelf wearing Indian-style clothes and holding a raised sword, the figure surrounded by carved wooden flames, the entire piece with traces of painted and gilded decoration, h. 35‑3/4”. [1500/2500]

250

247 Chinese TangStyle Glazed Pottery Horse, depicted with its head lowered, with a russetcolored body contrasting with a dark mane, the saddle and harness with raised Chinese patterns, the whole presented on a plinth base, h. 17‑1/2”, l. 23”. [600/900] Illustrated

243

252 Pair of Chinese Porcelain Baluster Vases, early 20th century, now mounted as lamps, the orange decoration depicts peonies and scrollwork on a white ground, fitted with large ecru silk shade, h. 30‑1/2”, overall. [0] 253 Chinese Porcelain Baluster Vase, 20th century, ironred decoration of lotus plants, h. 6‑1/2”. [125/250] 254 Two Framed Japanese Woodblock Prints, probably 19th century, both framed in the same frame, one depicting a lady in an informal kimono holding a pipe and standing at a balustrade, the other depicting a courtesan in elaborate multi-layered kimono on a ground of calligraphy, both signed and having the publisher’s name, double matted, glazed and framed in a textured black frame, h. 23‑5/8”, l. 30”. [150/300]

248 Lot of Six Chinese Root Amber Snuff Bottles, 20th century, h. 3”, largest. [100/200] 249 Pair of Canton Enamel Saucer Dishes, 18th century, China, square form with cut corners, grissaille decoration of the hundred antiques and floral scroll borders, w. 4”, l. 4”. [75/125] 250 Chinese Smoky Quartz Snuff Bottle, well hollowed, h. 2‑1/4”. [500/800] Illustrated 251 Oriental Hardwood Coffer, of rounded rectangular form, the lid with a carved bamboo and avian scene opening to a hinged interior, the sides and front with similar carving, h. 24”, w. 41”, d. 20‑1/4”. [300/500]

247

255 Framed Japanese Woodblock Triptich, the three panels forming a continuous scene of a samurai, his lady and a servant, the samurai clad in black seated on a mat, his lady in elaborate robes seated on a pile of cushions and the servant in a kimono serving a delicacy to the lady, all in front of a bonsai and food dishes ready for cooking, signed, glazed and matted, h. 20‑1/4”, l. 34‑1/4”. [150/300]

264

256 Chinese Malachite Snuff Bottle, 20th century, surface carved in relief with a crane and folaige, h. 2‑1/8”. [50/80] 257 Pair of Porcelain Ornaments, late 19th/early 20th century, S. China, molded as cranes in pine trees, h. 8”. [100/200] 258 Small Chinese Teapot. early 20th century, Yi Hsing ware, enamel decoration of flowers, spout and handle in gilt, signed with a seal on the bottom, l. 5”. [200/400] 259 Chinese Pottery Figure of a Foo Dog, 19th century, San Tsai glazed figure in green, brown and straw colors, mounted as a lamp, fitted with a tan oval shade, h. 20‑1/2”, overall. [125/250]

265

263 Pair of Chinese Porcelain Dogs, 19th century, surface with a copper red glaze, h. 4”, l. 3‑1/4”. [100/200] 264 Pair of Chinese Rock Crystal Carvings, 19th century, figures of phoenixes and peonies, each presented on a fitted rosewood stand mounted on custom brushed and polished steel base, carving h. 8‑1/4”, overall h. 14”. Provenance: Loyd-Paxton, Dallas, Texas. [4000/7000] Illustrated 265 Pair of Chinese Porcelain Vases, early 20th century, mille fleur decoration on a ruby ground, faux jump rings with animal masks, mark Ta Ching Nien Chih, h. 12”. [800/1200] Illustrated

260 Chinese Soft Paste Bowl, 19th century, egg and spinach glaze, dia. 6‑3/4”. [300/500] 261 Chinese Stoneware Ewer, T’ang period (618‑920), marbleized ware with a leaf green glaze and strap handle, h. 3‑3/4”, w. 5‑3/4”. Provenance: Michael Teller, Williamsburg, Virginia. [400/700] 262 Japanese Silvered Bronze, early 20th century, standing figure of Padmapani, h. 15”. [300/500]

266 Chinese Buddhist Altar Ornaments, 19th century, repousse gilt-copper with enamels of turquoise, blue and red, presented on a custom molded gilt and patinated steel base, figure h. 12”, overall h. 16”, w. 14‑1/4”, d.; 5‑1/4”. Provenance: Loyd-Paxton, Dallas, Texas. [2000/4000] Illustrated 267 Pair of Japanese Porcelain Vases, early 20th century, decoration of birds and flowering trees on a blue ground, h. 11‑1/2”. [150/300] 268 Pair of Chinese Porcelain Vases, 19th century, of pilgrim-flask-form, underglaze blue decoration of reserves of birds and flowers with floral scroll borders, ground enameled yellow and mauve, h. 10”, w. 7”. [250/400]

269 Chinese Porcelain Vase, early 20th century, square form, dark blue ground with famille rose reserves of immortals and floral bouquets, mounted as a lamp with a square ecru silk shade, h. 33‑1/2”, overall. [150/300]

274

266

272 Chinese Porcelain Plate, ca. 1900, decoration of women and children on a turquoise ground, “ice” borders with lotus scrolling and ling-chih on a magenta ground, Yung Cheng mark on the base, dia. 12”. [300/500] 273 Chinese Porcelain Plate, ca. 1900, famille rose decoration of lotus scrolls, bats and resonance stones on a turquoise ground, yellow borders of Jur-i, Ch’ien Lung mark on the base, dia. 11‑5/8”. [300/500]

270 Chinese Export Porcelain Polychrome Ginger Jar, 19th century, mounted as a lamp, decorated with scattered flowers, and a turquoise neck border of pink scrollwork and peonies, on a pierced black lacquer stand, h. 27”, overall. [200/400]

274 Chinese Cloisonne Censer, 20th century, stylized lotus scrolling on a turquoise ground, animal form feet, handles and finial, Ch’ien Lung mark on the base, h. 11‑1/2”. [400/700] Illustrated

271 Pair of Chinese Rosewood Tabourets, mid-20th century, each of hexagonal form, the tops centered by a foliate-patterned cloisonne panel, above a molded frieze, raised on an open-paneled base with open fretwork banding to bun feet, h. 18‑1/2”, dia. 15‑1/2”. [300/500] Illustrated

271

275

275 Chinese Cloisonne Vase, 20th century, garlicmouthed bottle form, surface decorated with a kylin, the body decorated with stylized floral scrolling on a dark turquoise ground, h. 10‑1/4”. [300/500] Illustrated 276 Chinese Porcelain Vase, early 20th century, cylindrical form, relief decoration with the “hundred antiques” and floral sprigs, now drilled and mounted as a lamp, with custom ecru fringed silk shade, vase h. 12”, overall h. 24”. [400/700]

277 Pair of Chinese Ginger Jars on Stands, 19th century, decoration of flowering trees on stripes of turquoise, blue, yellow and mauve, globular form, together with a pair of carved rosewood stands, h. 8”. [500/800]

280

280 Thai Bronze Bell, 19th century, the gold and black lacquer decoration of Buddhist angels and Ramayana scenes, presented on a custom clear and black lucite base, bell h. 14”, overall h. 21”, w. 10‑1/2”, d. 6‑1/2”. Provenance: Loyd-Paxton, Dallas, Texas. [1000/1500] Illustrated 281 Japanese Porcelain Vase, late 19th/early 20th century, decoration of two doves in a flowering cherry tree, h. 11‑1/4”. [100/200]

278 Chinese Enameled Silver Bird, 20th century, l. 3”. [200/400]

282 Chinese Carved Ivory Tusk on Stand, early 20th century, surface carved and pierced with dragons, pearls and clouds, l. 22”. [2500/4000] Illustrated

279 Pair of Large Chinese Colorful Export Ginger Jars, 20th century, the green ground body decorated with orange and gilt promenading figures with pink dragons and peonies, bats and butterflies overhead and trimmed with orange and blue scrollwork borders, h. 23‑3/4”. [300/500]

283 Chinese Ivory Carved Figure, 20th century, the Buddhist figure of a heavenly general, ivory and bone plaques over a wooden base, h. 30”. [1800/2500] Illustrated

285

283

284 Chinese Mammoth Ivory Carving, 20th century, image of the Goddess Kuan Yin seated in a grotto, h. 6”. [400/700] 285 Pair of Chinese Ivory Figures, 20th century, ivory over a wooden core, figures of a Ch’ing dynasty emperor and empress, h. 17”. [500/800] Illustrated

282

286 Chinese Mammoth Ivory Carving, scene of two children stained details, carved fitted rosewood stand, l. 7‑1/2”. [500/800] Illustrated 287 Chinese Ivory Carving, early 20th century, standing figure of a fisherman, h. 8”. [400/700]

289

288 Pair of Chinese Ivory Wrist Rests, 19th century, interior carved with figures in a palace garden, reverse carved with bamboo and butterflies, l. 7‑5/8”. [4000/7000] Illustrated 289 Chinese Ivory Carving, early 20th century, study of a cat with a flowering peony and a butterfly, h. 8”. [1200/1800] Illustrated

286

294 Japanese Ivory Carving, 19th century, depicting a farmer harvesting grapes, h. 5‑1/2”. [250/400]

288

290 Large Chinese Quartz Carving, early 20th century, figure of the water moon viewing Kuan Yin in princely garments, h. 19‑1/2”, w. 15”. [10000/15000] Illustrated

293

291 Chinese Jade Carving, 20th century, the stone of a greylavender color, infused with yellow, carved as the Paramirvana of the Buddha, l. 7”. [200/400]

290

292 Chinese Marine Ivory Carving, 19th century, figure of a child holding a ju-i, h. 3‑5/8”. [100/200] 293 Japanese Ivory Carving, 19th century, finely carved okimono of a monkey with a trumpet and two frogs on top of a skull with a snake at the base, h. 4‑1/2”. [300/500] Illustrated

295 Chinese Ivory Carving, early 20th century, a standing figure of Shao Lao with a staff, holding a peach, h. 8” [200/400] 306

299 Chinese Stone Seal, 20th century, surface carved with figures in a landscape, no seal impression, h. 4‑3/4”. [150/300] 300 Chinese Soapstone Seal, 20th century, finely carved kylin finial, seal impression intact, stone of an amber color, h. 2‑1/4”. [250/400] 301 Chinese Soapstone Seal, 20th century, the stone of a yellow color and finial carved as a dragon with a pearl, base with a Ch’ien Lung inscription, h. 5‑3/4”. [200/400] 302 Chinese Carved Ivory of a Boat, 19th century, carved with a scene of a fisherman’s boat with various figures at their occupations, l. 7”. [300/500] 303 Chinese Carved Ivory Figure of Shou Lao, 20th century, the figure depicted standing and holding a staff and a branch of peaches, h. 6‑1/2”. [200/400] 304 Pair of Chinese Ivory Carvings, the carvings of two fisherman, h. 7‑3/8”. [300/500]

308

305 Chinese Ivory Carving, early 20th century, scene of a woman with two children in a garden, h. 7‑1/2”. [350/500] 306 Lady’s Fourteen-Karat Yellow Gold Carved Shell Cameo Pin, the pin signed “G. Noto” on the back. [400/700] Illustrated

311

296 Standing Figure of a Military Official, molded synthetic material, mounted as a lamp, fitted with a shaped and paneled ecru linen shade, h. 32”, overall. [100/200] 297 Chinese Carved Soapstone Mountain, 20th century, the stone of a butterscotch color, finely carved with a scholar, children and pine trees, h. 8‑1/4”. [300/500] 298 Chinese Soapstone Mountain, 20th century, the stone of an amber color, h. 2”. [250/400]

312

307 Lady’s Fourteen-Karat Yellow Gold Shell Cameo with Diamond, ca. 1920, the cameo with a filigree border and with a single European-cut diamond bezelset in the hair, with a total approximate weight of 0.10 carats. [450/700]

313

316

312 Lady’s Fourteen-Karat Yellow/White Gold, Diamond and Garnet Bar Pin, ca. 1890, the pin comprised of a central round cabochon-cut garnet, yellow/orange in color, and finished with sixteen single-cut diamonds. [450/700] Illustrated 313 Vintage Lady’s Ten-Karat Yellow Gold Stick Pin, ca. 1880, the hand-assembled pin with a micro-mosaic on top of goldstone and with a twisted edge border. [600/900] Illustrated 314 Vintage Fourteen-Karat Yellow Gold, Platinum, and Sapphire Stick Pin, the pin with a single sapphire with an approximate total weight of 0.96 carats, and finished with a single pearl. [200/400] 315 Collection of Eight Stick Pins, including a fourteenkarat rose/white gold pin with an oval-shaped amethyst and two European-cut diamonds, a fourteen-karat yellow gold pin with a carved lapis scarab, a nine/ten-karat gold pin with a cushion-cut peridot, a nine/ten-karat yellow gold pin with an elongated oval bloodstone, a ten-karat yellow gold pin with a round-cut amethyst, a ten-karat yellow gold pin with a square amethyst, a fourteen-karat yellow gold pin with a pearl, and a fourteen-karat yellow gold pin with a round-cut ruby. [800/1200] 316 Three Men’s English Seal Fobs, the first a rose gold oval-shaped carnelian and bloodstone cabochon-cut watch fob, the second a nine-karat yellow gold harp design fob with a cabochon-cut carnelian, and the third a fifteen-karat yellow gold triple design fob with a carnelian, bloodstone and hand-engraved side. [450/700] Illustrated 317 Fourteen-Karat Yellow Gold Money Clip, the money clip with a carved image of a terrier inside a domed crystal. [600/900]

308 Lady’s Fourteen-Karat Yellow Gold, Diamond and Angel Skin Coral Cameo Ring, the ring composed of a handmade carved coral cameo, with two rose-cut diamonds at the top and bottom, size 8. [500/800] Illustrated

318

309 Pair of Fourteen-Karat Yellow Gold and Angel Skin Coral Pendant Ear Clips, the large oval nugget designed ear clips mounted with coral cabochons measuring 12.0mm x 19.0mm and smaller nugget pendants mounted with 8.0mm x 10.0mm coral cabochons. [1800/2500] 310 Rococo-Style Parcel-Gilt Dressing Mirror, probably Florentine, cabriole legs with voluted ends, support the lyre-shaped frame, the molded mirror frame with stippled edges and a pierced leaf and scroll crest, decorated in white with gilt edges, h. 19”, w. 13”, d. 7”. [250/400] 311 Lady’s Fourteen-Karat Yellow Gold Antique American Bangle Bracelet, ca. 1880, the hinged bracelet in the shape of a buckle. [500/800] Illustrated

318 Gentleman’s Fourteen-Karat Yellow Gold Garnet Cuff Links, the two oval faceted garnets with a total approximate weight of 5.00 carats, each bezel-set and surrounded by gold beads. [700/1000] Illustrated

319 Victorian Gold and Garnet Brooch, the brooch set with eight rose-cut garnets and four faceted pear-shaped garnets. [300/500] 320 Lady’s Eight/Nine-Karat Gold Lorgnette, ca. 1880, the lorgnette with a hand-engraved handle and opera glasses. [450/700] Illustrated 321 Lady’s Fourteen-Karat White Gold Lorgnette, ca. 1910, the lorgnette with five round-cut diamonds on the bale with an approximate total weight of 0.06 carats, and with hand-engraved edges. [400/700] 322 Lady’s Fourteen-Karat Yellow Gold Lorgnette, ca. 1910, the lorgnette with decorative filigree around the eye glass. [400/700]

320

326 Lady’s Eighteen-Karat White Gold and Green Tourmaline Cross Pendant with Chain, the pendant composed of 1.15 carats of green tourmaline in the shape of a cross, together with an eighteen-karat white gold chain, l. 16”. [250/400] 327 Vintage Lady’s FourteenKarat Yellow/ White Gold and Diamond Ring, the ring with a single elongated table-cut diamond surrounded by twenty-two European-cut diamonds, size 7. [600/900]

325

328 Lady’s Eighteen-Karat Yellow Gold, Brown Quartz and Diamond Ring, the ring with a central cabochon-cut brown quartz with an estimated total weight of 7.00 carats, flanked on each side with round-cut diamonds with an approximate weight of 0.15 carats, size 10. [900/1200] 329 Rare Eighteen-Karat Yellow Gold Vintage Butterfly Brooch, ca. 1930’s, the handmade pique-a-jour brooch composed of nine rose-cut diamonds, made in Italy. [4000/7000] Illustrated

323 Louis XV-Style Stamped Brass Box, serpentine sides and lid depict frolicking cupids in rococo scrolled panels, on a stippled ground, stamped “ALPACCA” on the base, h. 2‑1/2”, w. 7‑1/4”, d. 5‑1/2”. [125/250] 324 Continental Oval Bronze Picture Frame, the frame with a surround of topaz “jewels”, with a gilt-bronze liner decorated with delicate engine turning and a raised notched pattern, resting on ball feet, the back velvet-lined, h. 4‑3/4”, w. 3‑3/4”. [125/250] 325 Arts and Crafts Fourteen-Karat White/Yellow Gold, Diamond and Tsavorite Hair Comb, the five stylized maple leaves set with 245 full-cut round tsavorite with an approximate total weight of 2.45 carats, and seventy-five full-cut diamonds with an approximate total weight of 0.25 carats. [1000/1500] Illustrated

329

330 Lady’s Platinum, Diamond and Green Quartz Pendant Necklace, the carved oriental green quartz pendant attached to a platinum link chain, with a bezelset triangular-cut diamond with an approximate total weight of 0.22 carats, three round brilliant-cut diamonds melees and six rose-cut diamonds with an approximate total weight of 0.30 carats, l. 20‑1/2”. [3000/5000] Illustrated

334 Lady’s EighteenKarat Yellow Gold and Emerald Ring, the ring with a single cabochoncut emerald with an approximate weight of 3.80 carats, the band with a satin finish, size 8. [1000/1500]

331 Lady’s Fourteen-Karat Yellow Gold and Serpentine Ring, the ring composed of one oval-shaped cabochon serpentine measuring 12.0mm x 16.0mm, light green in color, in a freeform mounting, size 7. [300/500] 332 Ladies Fourteen Karat Yellow Gold, Emerald and Diamond Ring, composed of a central square-cut emerald with an approximate weight of 1.25 carats, surrounded by sixteen round brilliant-cut diamonds and with twenty-two round brilliant-cut diamonds on the sides, with an estimated total diamond weight of 1.36 carats, size 6‑1/2. [1800/2500] 333 Lady’s Ten- and Fourteen-Karat Yellow Gold, Emerald, Sapphire and Pearl Ring, the ring with five stackable bands, with cultured pearls, round-cut sapphires and round-cut emeralds, the bands attached at the back, size 8‑1/4. [250/400]

330

335 Unusual Lady’s Eighteen-Karat White Gold and Diamond Dragon Bracelet, the bracelet depicting four dragons composed of roundcut diamonds with an approximate total weight of 3.37 carats, l. 7”. [4000/7000] Illustrated

335

336 Lady’s Fourteen-Karat White Gold, Platinum and Diamond Wedding Set, comprised of an engagement band with one round-cut diamond with an approximate weight of 0.90 carats and an I color and VS1 clarity, together with a matching band, size 7‑3/4. [1200/1800] 337 Lady’s Fourteen-Karat White Gold and Diamond Engagement Ring, the ring composed of a central radiant-cut diamond with an approximate weight of 1.10 carats, with an H color and a VS2 clarity and with ten round-cut diamonds flanking each side, with a total approximate weight of 0.10 carats, size 5. [2500/4000] 340

338 Lady’s Tiffany & Company Platinum, Diamond and Ruby Ring, the platinum cross-over ring set with a single round old European-cut diamond with an approximate total weight of 0.40 carats, the round faceted ruby with an approximate total weight of 0.35 carats, stamped “Tiffany & Co.”, size 6‑1/2. [2500/4000]

339 Fourteen-Karat Yellow Gold and Diamond Heart Pendant with Chain, the pendant composed of fortyeight round-cut diamonds with an approximate total weight of 1.50 carats, together with a fourteen-karat yellow gold herringbone chain. [1800/2500]

344

340 Lady’s Fourteen-Karat White/Yellow Gold and Diamond Necklace, the free flowing gold back ribbon pendant set with twenty-eight rose-cut diamonds mounted in silver with an attached drop with eighteen rose-cut diamonds and a single tear drop baroque pearl, total approximate diamond weight is 0.14 carats, together with a fourteen-karat white gold chain, l. 20”. [1800/2500] Illustrated previous page 341 Sterling Silver and Pearl Reef Brooch, the circular brooch composed of ten 5.0mm cream-colored cultured pearls separated by hand-engraved leaves. [500/800] 345 Lady’s White/Rose-Colored Pearl Necklace, composed of 7.0mm pearls with a light pink luster and with a fourteen karat yellow gold clasp set with a 6.0mm pearl, l. 18”. [500/800] 346 Good Strand of Cream/White Pearls, composed of 8.0mm round pearls with good luster and with a fourteen karat gold clasp, l. 30”. [1200/1800]

342

342 Lady’s Eighteen-Karat White Gold, Tahitian Pearl and Diamond Ring, the single 11.0mm Tahitian bouton pearl flanked by bows set with twenty-eight round brilliantcut diamond melees and two radiant-cut diamond melees for an approximate total weight of 0.20 carats, size 6‑1/2. [800/1200] Illustrated 343 Single Strand of Cream-Colored Cultured Pearls, the 9.50mm to 10.0mm pearls with a good luster and finished with a silver decorative clasp, l. 18”. [250/400] 344 Lady’s Fourteen-Karat Yellow Gold, Ruby, Emerald, Jasper and Pearl Necklace, the long necklace composed of 168 graduated ruby beads with an approximate total weight of 165.00 carats, six emerald beads with an approximate total weight of 5.00 carats, six 6.0mm cultured pearls, three 6.0mm jasper beads and twenty-seven yellow gold beads, and with a yellow gold African mask attached to a yellow gold medallion from a single strand of beads, l. 29‑1/2” plus 5” drop. [2500/4000] Illustrated

347 Single Strand of Lavender-Colored Cultured Pearls, the 9.5mm to 10.0mm pearls with a good luster and finished with a gold-tone decorative clasp, l. 18”. [250/400] 348 Lady’s Fourteen-Karat White Gold, Diamond and Pearl Ring, the three 6.0mm cultured pearls separated by three white gold leaves set with a single-cut diamond melee, with one round brilliant-cut diamond melee mounted in the center of the ring, total approximate diamond weight is 0.10 carats, size 6‑1/2. [500/800]

351

349 Lady’s Eighteen-Karat Yellow Gold Multi-Strand Pearl Choker, the eleven strands of 2.5mm cultured cream-colored pearls attached to a yellow gold hook and eye clasp, l. 17”. [700/1000]

350 Eighteen Karat Yellow Gold, Diamond and Emerald Bar Pin, composed of a central square-cut emerald weighing approximately .75 carats, flanked by six mine-cut diamonds with an estimated total weight of .10 carats, en suite with a Marshall Field and Company box. [600/900] 351 Lady’s Fourteen-Karat Rose/Yellow/White Gold, Diamond and Blue Enamel Bar Pin, ca. 1840, the pin composed of a single European-cut diamond and thirty-one rose-cut diamonds, finished with two pearls. [500/800] Illustrated 352 Lady’s Fourteen-Karat Yellow/White Gold, Sapphire and Pearl Bar Pin, ca. 1910, made in Germany, the pin with a central 6.5mm rose pearl with a high luster and two round-cut sapphires. [200/400] 353 Lady’s Eighteen-Karat Rose/Green/Yellow Gold, Diamond and Sapphire Bar Pin, ca. 1900, the pin with a central cabochon-cut sapphire and two European-cut diamonds with an approximate total weight of 0.06 carats. [250/400]

357

355 Lady’s Vintage Fourteen-Karat Yellow/Rose/Green Gold, Moonstone and Sapphire Tiffany-Style Brooch, the brooch with a central sapphire surrounded by seven moonstones. [3500/5000] Illustrated 356 English Nine-Karat Yellow/White Gold Blue Zircon Brooch, the gracefully crafted floral brooch with yellow gold leaves and stems with three white gold flowers, each set with a blue zircon with an approximate total weight of 0.35 carats. [500/800] 357 Eighteen-Karat White Gold, Diamond and Sapphire Bar Pin, the exquisitely crafted pin set with 212 round brilliant-cut diamonds with an approximate total weight of 1.10 carats, one oval faceted blue sapphire with an approximate total weight of 0.90 carats and forty squarecut blue sapphires with an approximate total weight of 0.70 carats. [3500/5000] Illustrated

358 354

354 Unusual Lady’s Eighteen-Karat White Gold, Diamond and Blue Topaz Ring, the dome-shaped ring with four calibrated-cut blue topaz on each side of the ring, and with 91 round-cut diamonds bordering each topaz, with a total approximate diamond weight of 1.17 carats, size 7‑1/4. [1800/2500] Illustrated

355

358 Lady’s Eighteen-Karat White Gold, Blue Sapphire and Pave Diamond Ring, the pave diamond ring shank and diamond-set head set with approximately 152 round brilliant-cut diamonds with an approximate total weight of 0.30 carats, and with an oval full-cut blue sapphire with an approximate total weight of 3.00 carats, size 7‑1/2. [3000/5000] Illustrated

359

362 Lady’s Platinum Purple Sapphire and Diamond Ring, the custom-designed ring composed of a single purple sapphire with an approximate total weight of 1.90 carats and eighteen European-cut diamonds with an approximate total weight of 0.30 carats, size 4‑1/2. [3500/5000] Illustrated 363 Victorian-Style Fourteen-Karat Yellow Gold, Diamond, and Star Ruby Ring, the central cabochon star ruby with an approximate total weight of 2.03 carats, surrounded by ten old mine-cut diamonds with an approximate total weight of 1.30 carats, the ring accented with cobalt blue enamel, size 8‑1/4. [2000/4000] Illustrated

359 Exceptional Lady’s Eighteen-Karat Yellow Gold, Platinum, Diamond and Sapphire Ring, the ring comprised of one oval-shaped blue sapphire with an approximate total weight of 2.40 carats and one cushioncut pink sapphire with an approximate total weight of 3.75 carats, the ring finished with six yellow tapered baguettecut diamonds with an approximate total weight of 0.70 carats and eight white tapered baguette-cut diamonds with an approximate total weight of 0.90 carats, size 5. [6000/9000] Illustrated 360 Lady’s Fourteen-Karat White Gold, Sapphire and Diamond Pendant with Chain, the oval pendant showcasing round-cut blue sapphires with an approximate total weight of 0.50 carats, surrounded by a border of micro pave diamonds with an estimated total weight of 0.25 carats, together with a white gold chain, chain l. 16”. [2000/4000]

363

364 Man’s Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, the ring composed of a single cabochoncut ruby with an approximate total weight of 4.95 carats, flanked by two round-cut and bezel-set diamonds with an approximate total weight of 0.50 carats, size 10‑1/2. [1000/1500] 365 Lady’s Fourteen-Karat White Gold Double Strand Pearl Necklace, the hand-knotted strands of 3.0mm graduating to 7.0mm lightly rose-colored cultured pearls attached to a white gild filigree clasp, l. 19‑1/2”. [600/900]

367 362

361 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, the ring with a central prong-set rectangular cushion-mixed-cut natural tanzanite, measuring 10.0mm x 7.0mm x 5.7mm and with a total approximate weight of 3.63 carats, and set within a diamond bezel supported by diamond shoulders, with thirty-two prong-set round brilliant-cut diamonds, with an approximate total weight of 0.37 carats, size 7‑1/2. [2500/4000]

366 Lady’s Eighteen-Karat White Gold and Pink Tourmaline Bracelet, composed of forty-four squarecut pink tourmalines with an approximate total weight of 15.76 carats, designed by J.W.I., l. 7”. [1400/1800] 367 Lady’s Eighteen-Karat Yellow Gold and Diamond Flower Brooch, the brooch composed of thirty-seven moveable flowers with single-cut diamond centers, total approximate diamond weight is 0.37 carats. [2000/4000] Illustrated 368 Lady’s Fourteen-Karat Yellow Gold and Diamond Rose Brooch, the large rose set with one round brilliantcut diamond with an approximate total weight of 0.16 carats and three round brilliant-cut diamond melees with a total approximate weight of 0.18 carats. [1500/2500] Illustrated

370

369 Victorian Ten-Karat Yellow Gold and Natural Pearl Collar Pin, the daintily crafted pin set with natural bouton pearls with good luster. [600/900]

372

370 Victorian Turquoise and Pearl Brooch, the giltpeacock brooch set with Persian blue turquoise cabochons and natural baroque pearls. [1200/1800] Illustrated

368 374

371 Eighteen-Karat Yellow Gold, Diamond and Turquoise Pendant, the navette-shaped mesh pendant set with a pear-shaped Persian blue turquoise cabochon, with fourteen round brilliant-cut diamond melees and three marquise-cut diamond melees for an approximate total weight of 0.35 carats. [800/1200] 372 Long Single Strand of Multi-Colored Baroque Pearls, the pearls with a good luster, l. 36”. [400/700] Illustrated

373 Single Strand of Multi-Colored Baroque Pearls, the cultured pearls with a nice luster and finished with a goldtone decorative clasp, l. 18”. [200/400] 374 Lady’s Retro Eighteen-Karat Tri-Color Gold Ring, heavy yellow gold body, mounted with a rose gold dome pyramid trimmed with a white gold cruciform border, size 6‑1/2”. [1200/1800] Illustrated

375 Collection of Six Citrine and Smoky Quartz Crystals, comprised of an oval-shaped smoky quartz with an approximate total weight of 39.47 carats, a small round light smoky quartz with an approximate total weight of 53.45 carats, a medium round lemon citrine quartz with an approximate total weight of 172 carats, a large round lemon citrine quartz with an approximate weight of 218 carats, a pear-shaped lemon citrine quartz with an approximate weight of 151 carats and an oval-shaped lemon citrine quartz with an approximate weight of 269 carats. [700/1000]

382

376 Cartier Fourteen-Karat Yellow Gold Saint Catherine Pendant, ca. 1925‑1935, the pendant with a central image depicting the saint, and surrounded by a border with three round-cut rubies with an approximate total weight of 0.12 carats and three round-cut diamonds with an approximate total weight of 0.12 carats. [600/900] 377 Lady’s Eighteen-Karat Yellow Gold, Citrine and Diamond Cross Pendant with Chain, the pendant with one central round-cut diamond with an approximate weight of 0.05 carats, surrounded by 2.41 carats of citrine, which make up the cross, together with a eighteen-karat yellow gold chain, l. 18”. [500/800] 378 Lady’s Fourteen-Karat Rose Gold, Amethyst and Citrine Bangle Bracelet, the bracelet composed of one cushion-cut amethyst with an approximate total weight of 3.19 carats and one cushion-cut citrine with an approximate total weight of 3.22 carats, engraved with “T.B. Starr”. [700/1000] 379 Three Afghan Alpaca Silver Intaglio Tribal Rings, the largest with an oval carnelian intaglio of a horse, the mount decorated with wirework banding and collet-set turquoises, w. 2” the next largest with an oval carnelian intaglio of an Arabic inscription, the mount chased with mythological beasts,w. 1‑3/4”, the smallest with a green hardstone intaglio of an Arabic inscription, the mount with wirework scrolls, w. 1‑1/8”. [1500/2500] Illustrated

379

383

380 Pair of Eighteen-Karat Yellow Gold, Silver and Roman-Style Coin Ear Clips, the circular yellow gold frames mounted with a silver Roman-style coin. [900/1200] 381 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Elks Watch Fob, the Elks fraternal order fob set with one single-cut diamond with an approximate total weight of 0.03 carats and highlighted with red, white and blue enamel and a single elk’s tooth. [250/400] 382 Suite of Four Louis XVI-Style Beechwood Fauteuils, 19th century, each with a padded tapering rectangular back surmounted by a molded crest and foliate finials, joined by padded scrolling arms to the like seat, raised on tapering stop-fluted circular legs ending in toupie feet, h. 34‑1/2”. [1200/1800] Illustrated

383 Louis XV-Style Polychrome Side Table, early 19th century, the shaped rectangular top with an inset leather surface surrounded by a polychrome floral banding, above a frieze with like decoration centered by an oriental figure, the back fitted with a fabric screen, raised on cabriole legs, h. 27”, w. 26‑1/2”, d. 15‑1/2”. [1000/1500] Illustrated 384 Louis XV-Style Polychrome Fauteuil, late 19th century, the domed and caned back with a partial fabric overlay, joined by scrolling arms to the cushioned caned seat, raised on molded cabriole legs ending in scrolled toes, h. 36‑1/2”. [500/800]

386

385 Louis XV-Style Fruitwood Games Table, late 19th century, the square top with an inset leather surface and corner recessed wells for gaming pieces, above a conforming frieze fitted with a single drawer, raised on cabriole legs headed by scroll knees and ending in pointed pad feet, h. 30”, w. 38”, d. 38”. [500/800]

387 386 Provincial Louis XV-Style Polychrome Sidechair, mid-19th century, the domed crest centered by a shell and foliate crest over two like-shaped rails, the cushioned seat raised on cabriole legs headed by shell carving and ending in hoof feet, h. 39‑1/2”. [400/700] Illustrated 387 Directoire-Style Polychrome Secretaire A’abattant, 19th century and later, the stepped rectangular top above a pyramidal frieze and a case fitted with a drop-front opening to an interior fitted with a variety of drawers, cubbyholes and a central cupboard, with three long drawers below, flanked to either side by applied palmetto patterns, raised on block feet, h. 55”, w. 51”, d. 19‑1/2”. [3000/5000] Illustrated

389 388 French Provincial Fruitwood Games Table, late 19th century, the canted square top with an inset floral needlepoint panel, above a scalloped frieze fitted with corner pull-out slides and a small drawer to each side, raised on cabriole legs, h. 29”, w. 31”, d. 31”. [400/700] 389 Pair of Louis XVI-Style Polychrome Bergeres, late 19th century, each with a domed and padded back within a molded frame, joined to the cushioned seat by padded scrolling arms, raised on tapering fluted circular legs ending in toupie feet, h. 34‑1/2”. [800/1200] Illustrated

390 Louis XV-Style Kingwood Writing Table, early 20th century, the rectangular top banded and quarter-veneered and with raised corners, above a frieze fitted with a pullput leather writing surface, pushing back to an interior fitted with drawers and compartments, raised on cabriole legs ending in sabots, h. 31”, w. 48”, l. 24”. [1400/1800] Illustrated

391

390

391 Louis XVI-Style Polychrome Bergere, late 19th century, the padded and domed back and downswept arms within a molded frame, raised on tapering circular legs headed by foliate carving and ending in toupie feet, h. 37”. Provenance: Frederick P. Victoria, New York, New York. [1200/1800] Illustrated

393

392 Set of Six Louis XVI-Style Painted Sidechairs, ca. 1900, French, the fluted and turned legs supporting seat rails ornamented with gadrooning and carved corner blocks, the molded oval backs gadrooned to match, and with blue and cream silk covers secured with brass nail heads, h. 37”. [800/1200] Illustrated

392

393 Jean Lefort (French, 1875‑1954), “Gathering Shells”, oil on wood panel, signed lower left, 7‑1/2” x 9‑3/4”. Framed. [1000/1500] Illustrated

394 Andre Chalet (French, b. 1954), “Young Girl on Beach”, oil on wood panel, signed lower right, 7 1/4” x 9”. Framed. [500/800] Illustrated 395 Claude-Marie Buford (French, b. 1946), “A Day at the Beach”, oil on wood panel, signed lower left, 20” x 24”. Framed. [1000/1500] Illustrated 396 John Crimmins (American, b. 1963),”East Hampton Beach”, oil on canvasboard, signed lower right, 8” x 10”, framed [250/400] 397 Louis XVI-Style Polychrome Sidechair, the domed and molded cornice above a guilloche and ribbed splat, the round padded seat raised on tapering fluted circular legs ending in toupie feet, h. 39”. [200/400]

394

400

395 398 Pair of French Faux Zinc Molded Flame Finials, a round tapered foot supports the lobed base with an inverted cove supporting the flame, h. 15”, dia. 9”. [200/400] 399 Pair of Continental Classical Revival Giltwood and Gilt-Metal Sconces, leaf-molded wall plates support scrolled candlearms decorated with applied leaves, and supporting foliate-form wood and metal candlecups, giltwood tassels hang from the end of each arm, h. 22”, w. 18‑1/2”, d. 6‑1/4”. [400/700] 400 Pair of Provincial Polychrome Garden Topiaries, of pyramidal form of slatted construction, each topped by a bulbous finial and raised on slatted square base, h. 84”, w. 16”, d. 16”. [700/1000] Illustrated

403 Pair of Neoclassical-Style Distressed Wood and Galvanized Metal Planters, of tapering square form, raised on paw feet, h. 23”, w. 16”, d. 16”. [300/500] 404 French Provincial Polychrome Vitrine, early 20th century, the molded rounded rectangular cornice above a conforming case fitted with a dentillated cornice over two long doors, each inset with an upper grilled panel and a lower floral basket carved panel, raised on block feet, h. 80”, w. 58”, d. 23”. [2500/4000] Illustrated 405 Pair of Louis XVI-Style Polychrome Sidechairs, each with a slightly domed padded tapering rectangular back above a cushioned seat, raised on tapering circular fluted legs ending in toupie feet, h. 38”. [300/500]

412

404 401 Provincial Louis XV-Style Polychrome Fauteuil, the shaped and caned back surmounted by a foliate crest, joined to the caned seat by shaped foliate carved arms, raised on cabriole legs joined by a shaped X-form stretcher and ending in foliate toes, h. 40‑1/2”. [300/500] 402 Continental Provincial Oak Writing Table, mid-19th century, the rectangular top with a foliate and pateracarved edge above a frieze fitted with two drawers, raised on barley twist legs joined by a turned H-form stretcher and ending in foliate block and toupie feet, h. 29”, w. 54‑1/2”, d. 31”. [1000/1500] Illustrated

402

406 Two Fringed Silk Pillows with RenaissanceStyle Embroidered Decoration, one depicting a dancing couple in a garden, accompanied by a troop of musicians, the other depicting a seated woman weaving while a standing male holds a duck tethered to a yarn winder, w. 14”, l. 20” and h. 16”, l. 22”. [300/500] 407 Provincial Polychrome Occasional Table, the rectangular top centered by a nautical landscape, above a frieze fitted with a single drawer, raised on square legs joined by stretchers, h. 23”, w. 23‑1/2”, d. 16‑1/4”. [200/400]

409

412 Meissen Figure of a Swan, 1934‑1950, the swan resting on a white base molded with aquatic grass and highlighted with green, the swan depicted seated with his head turned, the black feet, feathers and beak are deftly articulated, carefully delineated detail depicts the beak and feathers around the eye, marked in underglaze blue with crossed swords, h. 3‑1/2”, w. 9”, d. 5‑1/2”. [400/700] Illustrated 413 John P. O’Neill (American/Louisiana, b. 1942), “Various Bird Studies”, watercolor on paper, signed and dated lower left “John P. O’Neill, 1990”, sight 29” x 21”. Glazed, attractively matted and framed. [1400/1800] Illustrated

411

414 John P. O’Neill (American/Louisiana, b. 1942), “Two Bluebirds On a Branch”, watercolor on paper, signed and dated lower right “John P. O’Neill, 1991”, sight 23” x 19”. Glazed, matted and framed. [900/1200] 415 John Costin (American/Florida, Contemporary), “Great Heron”, hand colored etching, signed in pencil lower right “J. Costin”, titled in pencil lower left, sight 39” x 27”. Glazed, handsomely matted and framed. [500/800]

408 Pair of French Provincial-Style Polychrome Bedside Cupboards, each with a rounded square top with molded edge above a conforming case fitted with an open compartment over a single drawer, raised on cabriole legs ending in scrolled toes, h. 27‑1/4”, w. 15”, d. 13”. [200/400]

416 Xavier de Callatay (Belgian/Louisiana, 1932‑1999), a collection of twenty two pencil and ink drawings, pastels, and watercolors including portraits and animal sketches, all monogrammed, several with titles, inscriptions, or dates, sizes ranging from 5‑3/4” x 8‑3/4” to 12‑1/2” x 20‑1/2”. All matted, three framed. [700/1000]

409 Louis XVI-Style Polychrome Settee, the domed and padded back within a molded frame and with foliate finial ends, joined by closed padded arms to the cushioned seat, raised on circular tapering stop-fluted legs headed by floral block capitals and ending in toupie feet, h. 38‑1/4”, w. 64”, d. 25”. [800/1200] Illustrated 410 Contemporary Polychrome Metal and Mirrored Occasional Table, the inset circular mirrored top raised on three scrolling supports, joined by a tripartite stretcher, h. 28”, dia. 24”. [400/700] 411 Pair of Faux Stone and Wirework Five-Light Candelabra, a carved base supports an urn-carved standard, painted to resemble stone, twisted wire branches hung with faux stone tassel mounted with painted and turned candle cups and petal-form silver leaf metal drip pans, h. 22”, w. 21‑1/2”, d. 5”. [200/400] Illustrated

413

Session II Saturday, December 1, 2012 10:00 a.m. Lots 417 - 1162

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

417

417 Collection of Ephemera Related to “Charlie Wilson’s War”, including Joanne King Herring’s personal, unsealed DVD of Charlie Wilson’s War (Mike Nichols, 2007) in which Herring was portrayed by Julia Roberts in a Golden-Globe nominated performance, a DVD of the History Channel of The True Story of Charlie Wilson, an autographed copy of Herring’s autobiography Diplomacy and Diamonds (New York: Center Street, 2011), and a tumbler from U.S. Senator Kay Bailey Hutchison (R-TX, 1993‑present) who, along with Herring and U.S. Representative Charles “Charlie” Wilson (D-TX, 1973‑1996), supported CIA operations to drive the Soviets from Afghanistan. [100/200] Illustrated Joanne King Herring pictured with Charlie Wilson (left) and Senator John Tower (right).

418

418 Iranian Pottery Moon Flask, a tapered foot supports the cobalt ground flask, decorated with gilt Moorish panels of raised sanding, and red and white blossoms with green leaves and vines, the narrow neck mounted with gilt handles molded with leafy terminals, h. 13‑1/4”, w. 8‑1/4”, d. 3”. The flask was presented to Joanne King Herring by the Shah of Iran, Mohammed Reza Shah Pahlavi. [100/200] Illustrated

She's been dirt poor; she's been filthy rich. Rich was more fun. She married three times, divorced twice, found her true love and lost him to cancer. At twenty-one, she was told she would soon die. She lived. Doctor's said she'd never be able to have children. She had 'em. She bargained with God, dictators, and Democrats. She's partied with princes, presidents, premiers, Barbara Walters, Anwar Sadat, Margaret Thatcher, Tom Hanks, and Francisco Franco... though, not all at the same time. She captivated powerful men with her feminine charm, and then persuaded them toward unlikely political alliances through her formidable intelligence. She waltzed with Prince Philip in Buckingham Palace, dressed in men's clothes and smuggled herself in a barrel across the Pakistani border, threw a Roman-themed party so extravagant it was featured in Life magazine, and survived a Soviet gunship attack in the mountains of Afghanistan. Joanne King Herring, the Houston socialite portrayed by Julia Roberts in the film Charlie Wilson's War, is far more colorful, funny, and likable than any screenwriter could have guessed. The former Texas television anchor is known for her improbable fight with Mujahedeen against the former Soviet Union. She hosted The Joanne King Show on television for fifteen years. She served as an honorary consul to both Pakistan and Morocco for ten years, has been knighted by the King of Belgium, and received the Quaid-e-Azam award, the highest honor given by the nation of Pakistan. She is also the recipient of the Freedom Foundation at Valley Forge Award. She has served on the board of directors for UNICEF, the National Gallery of Art in Washington, D.C., LTV, Henredon Furniture, and the Lindbergh Fund, and was co-chairman of the Special Olympics, with Henry Kissinger, in New York City. Born in a men's world of limited choices, Joanne King Herring blazed a trail with allies as unlikely as Charlie Wilson, Pierre Cardin, and President Ronald Regan... and in doing so, forged new paths for women in Pakistan, Afghanistan, and America. New Orleans Auction Galleries is pleased to feature a number of Joanne's acquired treasures for auction.

419 Ironstone Well and Tree Platter in the Amherst Japan Pattern, second quarter 19th century, English, decorated in the Imari taste, the orange and blue decoration depicting pots of flowers and a pagoda in a garden, bearing the blue printed “Amherst Japan Stone China” mark, w. 17‑1/4”, w. 21‑1/2”. [150/300] Illustrated 420 Japanese Imari Charger, late 19th century, with a central foo dog and floral medallion, surrounded by spiraling panels with various foliate and geometric patterns, the whole highlighted with gilt accents, dia. 18”. [300/500] Illustrated

419

422

420

421

421 Pair of Japanese Satsuma Censer-Form Covered Vases, first quarter 20th century, foo dog feet support the bodies decorated with raised enamel Japanese figures, mounted with foo dog handles and matching lids, with a knop in the form of a foo dog grasping a ball, h. 20‑1/2”, w. 17‑1/4”, d. 7‑1/4”. [300/500] Illustrated

422 Chinese Jade Bowl, Ming period (1368‑1644), surface carved with three free standing chih lung, stone of a celadon green color with brown areas, russet markings, and natural fissures, with fitted stand, w. 8”. [2500/4000] Illustrated

423 Chinese Export Rose Medallion Porcelain Wash Basin, third quarter 19th century, the rim of roses and blue scrollwork framing Mandarin scenes in a garden on one side, an interior on the other, finely detailed with gilt highlights, h. 5”, dia. 16”. [200/400] Illustrated

423

425 424

425 Chinese Export Monumental Porcelain Covered Box in the Rose Medallion Pattern, serpentine sides decorated with panels of Mandarin decoration alternating with panels of roses and butterflies, the conforming lid with like decoration, surrounding a sculpted handle in the form of pomegranates with their leaves and stems on a gilt ground, h. 9‑3/4”, dia. 15‑1/4”. [300/500] Illustrated 426 Chinese Cloisonne Covered Fish Tureen, the oval tureen with patterns of fish and aquatic plants on the sides, molded foo dog handles, and a lid with a raised blue fish on a green ground of aquatic plants, h. 5‑3/4”, d. 6‑3/4”, l. 13”. [200/400] Illustrated

424 Louis XVI-Style Mahogany Cabinet, early 20th century, in the chinoiserie taste, the raised center section with a molded cornice above an ormolu guilloche-carved frieze over a single cupboard door inset with an ebonized and incised panel with a polychrome oriental scene, flanked to either side by a recessed paneled section with turreted ends, the sides inlaid with like ebonized panels, raised on tapering toupie feet ending in ormolu lotus toes, the back bearing an indistinct French label, h. 58”, w. 53”, d. 16‑1/2”. [800/1200] Illustrated 426

427 Pair of French Gilt-Bronze Three-Light Candelabra, fourth quarter 19th century, the round egg-and-dart molded bases support quiver-form standards, with faux arrow tops forming the finial, scrolled leaf-molded candle arms support leaf-molded drip pans set with beaded and fluted candle cups, h. 8‑1/2”, w. 7‑1/2”, d. 7‑1/2”. [300/500] Illustrated

427

428

429

428 French Giltwood Trumeau Mirror, 19th century, all within a molded frame with foliate corner accents, the upper portion with a canvas depicting a mounted medieval lady and her page falconing in a castle landscape, the lower section with a mirror plate, h. 59”, w. 28‑1/4” [700/1000] Illustrated

429 Large Gilt-Bronze and Prism Hung Four-Light Applique, early 20th century, the frame with four tall candelabra sockets, crystal spear-form finials and draped with faceted crystal pendalogues, h. 38”, w. 23”, d. 11”. [500/800] Illustrated

430

430 French Gilt-Brass Two-Light Chandelier, early 20th century, featuring a centralized putto amongst reticulating and twisted floral branches, electrified with a single socket above and below the putto, h. 27”, w. 19”, d. 8”. [300/500] Illustrated

431

431 Pair of French Gilt-Bronze Louis XVI-Style Candelabra, fourth quarter 19th century, the round bases bead-molded and laurel-leaf-molded, around raised leaf-molded fluting, the tapered standard with molded guilloche capitals, set with rope twist scrolled candle arms set with molded leaves, leaf-molded, inverted drip pans set with fluted candle cups molded with laurel leaves and set with beaded bobeches, the central candle cup set with a removable pierced scrolled finial molded with fruit, h. 30‑1/4”, w. 12‑1/2”, d. 15” [800/1200] Illustrated

432

432 Pair of Regency-Style Two Arm Gilt- and PatinatedBronze Appliques, 20th century, the backplates depicting two arrows piercing a circular wreath and central hemisphere, h. 12‑1/2”, w. 9”, d. 4‑1/2”. [200/400] Illustrated 433 Pair of Giltwood Carved Phoenix Birds in the Style of Thomas Chippendale, third quarter 19th century, English, each carved and pierced rocaille ornament with a festoon of fruit supporting the pair of opposing birds, h. 18”, w. 7‑1/2”, d. 6‑1/4”. [500/800] Illustrated

433

434

434 Pair of English Carved Giltwood Eagle Wall Brackets in the Regency Style, fourth quarter 19th century, each spread wing eagle perched on rocks atop upturned acanthus leaves, with a pinecone finial, against a serpentine backplate, with a serpentine shelf, h. 18”, w. 20”, d. 9”. [500/800] Illustrated

437

435

437 Charming French Art Deco Opalescent Powder Jar, second quarter 20th century, decorated with molded powder puffs, h. 1‑3/4”, dia. 5‑3/4”. Provence: Greta Garbo estate . [300/500] Illustrated

435 Contemporary Lalique Igor Caviar Bowl, the outer ice bowl resting on three frosted dolphin-form feet signed Lalique, the inner frosted caviar bowl, also signed, suspended in a silver plated tripod frame, and capped with a domed cover molded with a dolphin knop, h. 10”, dia. 8”. [500/800] Illustrated

438 (two of three)

436 Pair of Signed Baccarat Crystal Candlesticks, the quadripartite candlesticks with tapered bases with flaring candle cups, h. 6‑3/4”. [200/400] Illustrated

439

438 Two Lalique Birds and an Opalescent Sabino ThreeBird Group, the Lalique birds engraved “Lalique France” on a ground base, h. 3‑1/4”, w. 2‑1/4” to 4”, l. 4‑1/4” to 5‑1/4”, the Sabino birds, made of opalescent glass in the art deco manner, with a ground base and a molded Sabino Paris mark, h.5‑1/2”, w. 4‑1/4”, d. 4”. [200/400] Illustrated

439 Lady’s Fashion Rhinestone Turtle Bracelet, the hinged bangle bracelet in the shape of a tur tle and encrusted with rhinestones. [200/400] Illustrated

8 58

442 Attributed to Sir Henry Raeburn, RSA (Scottish, 1756‑1823), “Portrait of a Gentleman”, oil on canvas, 36” x 28”. In a period carved, gessoed, and giltwood frame. Provenance: Christie’s East, November 11, 1980, as lot 127; Collection of Joanne King Herring, Houston, TX.

440

With its limited but sophisticated color palette, dark background, and bold brushwork, this fine portrait is reminiscent of some of Sir Raeburn’s most celebrated works. The stark interplay of light and dark emphasizes the delicate yet decisive modeling of the figure’s features, helping to create a sense of personality and character. This portrait was at the center of a national art controversy; stolen from Ms. Herring in the early 80's, it appeared for sale at a prominent auction company almost twenty years later. After a lengthy and heated court battle, this lovely portrait was finally returned to its rightful owner. [7000/10000] Illustrated

440 Three Interesting Mask Pins, the first an Asian man with oval-shaped amethysts, the second a mask with triangular-shaped citrines, and the third a green mask designed by KJL, h. 1-3/4" to 2-3/4". [150/300] Illustrated

441 pair

442 441 Dutch School, (Third Quarter 19th Century), “A Game of Dice”, “Smoking Break”, pair of oils on tin, each 8” x 6‑3/4”. In matching carved and gessoed wood frames. [500/800] Illustrated

443 Circle of Jacopo Carucci, called Pontormo (Italian, 1494‑1557), “Portrait of an Artist”, oil on canvas, unsigned, 54” x 40”. Presented in a late 19th century giltwood frame. [2000/4000] Illustrated 444 William Roxby Beverly (British, 1811‑1889), “Sea Piece with Shipping Boats”, watercolor and gouache on paper, unsigned, titled in pencil en verso of paper, “Henry J. Murcott/6 Endel Street, Long Acre/London W.C.” label en verso, 8‑3/4” x 12‑1/4”. Presented in the original glazed, carved wood frame. Provenance: Christie’s London, 4 March 1889; private collection. The Endel street address on the framer’s label reveals that the frame was produced 1878 or later; prior to that date, the business was at a different location. [800/1200] Illustrated 445 Attributed to Jules Augustus Morein (American/ active Charleston, ca. 1830‑1850), “The Abbots Ford Locker”, graphite and watercolor on paper, illegibly inscribed and dated in pencil lower left “1840”, sight 8‑1/4” x 12‑3/4”. Glazed, attractively matted and framed. [400/700] 443 446 William Thomas Wood, R.W.S. (British, 1877‑1958), “The River Appledore, Sea & Light House”, watercolor on paper, signed and dated lower left “William T. Wood, 1940, Appledore”, sight 10‑1/2” x 14‑1/2”. Glazed, handsomely matted and framed. [400/700]

447 Attributed to Walter Heath Williams (British, 1835‑1906), “Figures in a Landscape", "Figures in Front of a Cottage”, pair of oils on canvas, unsigned, canvas verso stamped “Prepared by Windsor & Newton Limited”, 8” x 12”. Each presented in a giltwood and gesso exhibition frame. [600/900] Illustrated

444

448 John Gray (British, act. 1880s), “The River Clyde at Bowling, Scotland”, oil on canvas, signed and dated “188(?)” lower right, 21” x 30”. Framed [700/1000] Illustrated. 449 George III-Style Silver Gilt Looking Glass, in the Chippendale taste, the broken arch pediment centered by foliate carving and flanked by flame finials, with rectilinear mirror plate and scalloped bottom rail, h. 46‑1/2”, w. 26”. [400/700]

447

450 George III-Style Mahogany Secretary Chest, mid19th century, the rectangular top above a case fitted with an oval paneled drop-front secretary drawer, opening to a variety of drawers and cubbyholes, over three long graduated drawers, raised on shaped bracket feet, h. 40‑1/2”, w. 44”, d. 22‑1/2”. [800/1200]

451 Good Hepplewhite Mahogany String-Inlaid Sideboard, ca. 1800, the back section with a row of alternating stationary and sliding panels, the shaped-front deck with string-inlaid borders above three central drawers and bottle drawers at each end, raised on square tapered legs ending in spade feet, h. 45‑1/2”, w. 79‑1/2”, d. 23”. [2500/4000] Illustrated 452 Handsome Thirty-Eight-Piece English Armorial Porcelain Partial Dinner Service, ca. 1845, probably by the Minton’s Pottery, the partial service comprised of thirty dinner plates, dia. 10”, six soup plates, dia. 10”, an oblong footed divided vegetable serving bowl, w. 13”, and an oblong platter en suite, l. 14‑1/2”, all centered with the Crest of Gordon of Invergordon, the motto reading in Latin “With Heart and Hand”, all marked with the lavender transfer-printed underglaze garter of James Jackson of Birmingham and the impressed underglaze Minton date symbol for 1845, the richly gilded claret borders with a mid-band of turquoise and gold. [1000/1500] Illustrated

448

452

455

453 George III-Style Prism-Hung Molded and Blown Glass Eight-Light Chandelier, the stem and bowl in faceted crosshatched decor, the S-form arms supporting cut bobeches and candles, supporting cut and faceted pendalogues, draped with graduated octagonal-cut glass beads, h. 34”, dia. 29”. [600/900] 454 Mahogany Floor Lamp, the standard in the form of a spiral staircase with banister, fitted with a custom embossed shade, h. 69‑1/2”. [1400/1800]

451

455 George III Mahogany Cellarette, early 19th century, of octagonal form, the lid opening to a conforming metal liner, the case with brass banding, raised on a later stand of tapering square chamfered legs, h. 27”, dia. 20”. [700/1000] Illustrated

460 Three Chinese Export Porcelain Cans, 18th century, famille rose decoration of figures in garden scenes, two with underglaze blue borders, h. 6”, tallest. [250/400]

456

461 George III Mahogany Highboy, fourth quarter 18th century and later, the molded cornice with canted corners above a conforming case fitted with three short drawers over three long graduated drawers, the lower section fitted with a central drawer over a decorative arch, flanked to either side by a short deep drawer, raised on cabriole legs ending in padded feet, h. 66”, w. 43”, d. 21‑1/2”. [1000/1500] Illustrated

457 456 Suite of Eight George III-Style Mahogany Dining Chairs in the Chippendale Taste, early 20th century, comprised of two armchairs and six sidechairs, each with a scalloped crest rail and ribbon splat, the seat rail centered by a carved shell and raised on cabriole legs with foliatecarved knees and ball-and-claw feet, h. 40”. [2000/4000] Illustrated 457 Chinese Export Porcelain Armorial Tankard, mid18th century, the cylindrical tankard with a gilt fret border, and an armorial variant of the arms of Talbot, depicting “a Talbot Passant”, h. 6”. [100/200] Illustrated 458 Chinese Export Porcelain Bowl, 18th century, cut corner square form, famille rose decoration of women and children, w. 10”, l. 10”. [100/200] 459 Chinese Export Porcelain Bowl, 18th century, underglaze blue borders with figures in famille rose enamels, dia. 8”. [125/250]

461

462 Pair of Chippendale-Style Giltwood Mirrors, the pierced scrolled feet support rectangular frames set with carved corner blocks and inset mirrors, a pair of carved volutes with pierced rocaille and shell-work serve as a crest, with matching side ornaments, pierced, carved and gilded leaves and flowers complete the ensemble, h. 58‑1/4”, w. 35”. [1000/1500] Illustrated

463 George III-Style Walnut Desk, 20th century, the rectangular top banded and with highly figured veneers, above a frieze fitted with a central drawer flanked to either side by two small drawers, all with herringbone banding, raised on cabriole legs ending in pad feet, h. 30‑1/2”, w. 48”, d. 26”. [2500/4000] Illustrated

462 (pair)

466 Queen Anne-Style Mahogany Tea Table, 19th century, the rounded rectangular top above an arched frieze centered by an applied shell to either side, raised on cabriole legs headed by acanthine carving and ending in paneled pad feet, h. 28‑1/2”, w. 31‑1/2”, d. 16”. [400/700] 467 George III-Style Mahogany Dumbwaiter, early 20th century, consisting of two graduated circular tiers, each with a dished edge, the lower one able to rotate, the whole raised on a turned and spiral fluted vasiform standard to three splayed cabriole legs to pad feet on casters, h. 32”, dia. 24”. [400/700]

463

464 George III-Style Mahogany Tripod Table, 19th century, the tilting circular top with a birdcage support raised on a turned vasiform standard to three splayed cabriole legs ending in pad feet, h. 28”, dia. 34‑1/2”. [200/400]

465

465 Pair of George II-Style Fruitwood Armchairs, early 20th century, each with a padded rectangular back joined to the like seat by shaped and scrolling arms, raised on cabriole legs ending in pad feet, upholstered in figural and floral patterned needlework, h. 36”. [600/900] Illustrated

468

468 Chinese Porcelain Punch Bowl, 18th century, famille rose enamel, finely painted decoration with European hunt scenes on an orange ground with an armour pattern in gilt, dia. 16”. [2500/4000] Illustrated 469 Pair of Chinese Porcelain Vases, ca. 1800, famille rose figures in palace scenes with underglaze blue borders on an armour pattern ground, dragon handles and foo dog finials, h. 13‑3/4”. [700/1000] Illustrated 468 verso

468 interior

469A Chinese Jade Book, 20th century, mottled white stone engraved and colored with gold engraved wooden cover, w. 3”, l. 6”. [500/800]

469

470 Queen Anne Mahogany and Marble-Top Side Table, 18th century and later, the rectangular Sarrancolin marble top with molded edge above a conforming ogee-molded frieze, raised on tapering circular legs ending in pad feet, h. 32”, w. 33”, d. 19‑1/2”. [1000/1500]

473 After Jean Cousin the Younger (ca. 1522‑1595), L’Art du Dessin, Paris: Chez Jean, n.d. [ca. 1790], folio, designs by Pierre-Thomas LeClerc (b. 1740), twelve pages of text and twenty-four plates, in publisher’s blue paper, the front with paper label in Dutch “Anatomische Teckenkundige voor Beelden”, 15‑1/2” x 10” [Brunet (1861) II: 340 (earlier eds.)]. Likely first published in 1595 - earlier reported editions of 1571 and 1589 have never surfaced and are likely apocryphal - Cousin’s Livre de Pourtraiture is one of the most famous and important works of artistic anatomy. Considered one of the cornerstones of the French school of painting, it went through several editions before the plates became unusable in the mid-18th century. Several artists engaged to preserve the work for future generations by designing and engraving new editions, such as that published by Chereau in 1778, and the present edition drafted by French historical painter and portraitist Pierre-Thomas Le Clerc and engraved by Gilles-Jacques Petit (b. 1759). [150/300]

471 471 George III Walnut Chest on Chest, late 18th century, the molded cornice above a case fitted with two short drawers over three long graduated drawers, the lower section fitted with three long graduated drawers, all banded and with finely figured veneers, raised on shaped bracket feet, h. 66‑1/4”, w. 41”, d. 22‑1/2”. Provenance: Rothschild’s, New Orleans, Louisiana. [1500/2500] Illustrated 472 Late George III Mahogany Secretary/Bookcase, early 19th century, the molded cornice above a case fitted with two astragal-glazed doors, the lower section fitted with a drop-front secretary drawer opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, raised on a plinth base, h. 83”, w. 43”, d. 23”. [1000/1500] Illustrated

472

475 Bertrand d’Argentre (1519‑1590), Commentarii in Patrias Britonum Leges, Paris: Nicholas Buon, 1621, third edition, in 2 volumes (complete), folio, in full brown leather with cut and tinted edges, the spine with raised bands and red and black panels, with gilt lettering and decoration, 13‑1/2” x 8‑1/2” [Brunet (1862) II: 367; Kerviler I: 604.9.3]

474

474 Marc-Jean Bourgery (1797‑1849), Traite Complet de l’Anatomie de l’Homme, vol. II (of eight), “Myologie”, Paris: C.A. Delaunay, 1831, folio, one hundred lithographic plates (nos. 60‑159) with accompanying text, in tan quarter leather with marbleized boards and deckle edges, the spine with gilt lettering and ruling and paper label, “Muscles”, 18” x 13‑1/4” [Wellcome II:214; Heirs of Hippocrates: 1569; Brunet (1860) I: 1179]. Bourgery’s Anatomie is widely regarded as one of the most beautifully illustrated surgical anatomies ever produced. Much of its reputation is owed to NicholasHenri Jacob (1781‑1871), a pupil of David’s, who drew the over 700 illustrations from which the lithographs were executed. Jacob’s drawings were made from dissections, and anatomical preparations, some by the famous French physiologist Claude Bernard (1813‑1878). [200/400] Illustrated

476

Breton jurist and historian Bertrand d’Argente was a fiercely provincial scholar who refused to leave his native Brittany even when offered a position at the court of Henri III. As a jurist, he denounced other jurisdictions as ignorant of Breton custom and legal precedent. He viewed French law as intrusive and harsh, and his works of Breton history and law read as some of the earliest tracts espousing individual liberty. His 1580 Histoire de Bretagne was seized by the order of Henry III and did not appear until 1588 in heavily censored edition. The first edition of the present work - a collection of essays and commentaries on Breton legal and social tradition was in 1608. A second edition followed in 1613, but this third edition is considered the best and most desirable, even according to his posthumous adversary Pierre Henin (1621‑23‑1692); see D.L. Miorcec de Kerdanet Vie de Bertrand d’Argentre (Renne: Duchesne, 1820), p. 17. Included with the present lot is an early 18th century folio legal document pertaining to the estate of Joannes Dobbelaere of Middelburg. [200/400] 476 Charles-Paul Landon (1760‑1826), Vies et Oeuvres des Peintres les Plus Celebres Paris: the author, later Treuttel & Wurz, 1803‑1827, printed by Chaignieau aine, quarto, eight volumes (comprising 16 of the original 25) including Raphael (8 volumes in four), Buonarotti, Bandinelli et Volterre and Badinelli (2 volumes in one), Correge et Parmesan (2 volumes in one), Le Sueur et Jouvenet (2 volumes in one) and Albani, Guide, Titian, Veronese and De Vinci (2 volumes in one), each with a large number of engravings (some fold-out) of the works of the old masters, presented in green half leather with gilt double fillet and marbleized boards and endpapers, all edges cut and gilt, the spine with raised bands and gilt lettering and panel decoration, the inside front boards with armorial bookplate of Frances Mary Richardson Currer (1785‑1861), 11‑3/4” x 8‑3/4” [Brunet (1862) III: 814]. This handsome and ambitious work of the Empire and Restauration was an effort to create a visual catalogue of the works of the old masters. In addition to the biographical texts by Landon, the books showcase the talents of a number of important engravers of the period, chief among them Charles-Pierre-Joseph Normand (1765‑1840). A significant number of the engravers were women, including Therese-Elenore Lingee, nee Lefevre (b. 1753), Mlle. Julie Ribault (1789‑ca. 1839), and Landon’s daughters Louise Charlotte Landon, Mme. Soyer (fl. 1812‑1841) and Pauline Landon. This is quite fitting in that the set bears the bookplate of England’s most eminent 19th century female bibliophile, Frances Mary Richardson Currer of Eshton Hall; the set appears on page 111 of C.J. Stewart’s 1833 catalogue of Currer’s library. Her collection was sold by Sotheby’s in 1862 after her death. [400/700] Illustrated

477 Thomas Fuller (1608‑1661), The Church History of Britain, London: John Williams, 1655, first edition, folio, in a Victorian/Edwardian “Oxford” binding of full tan calf, with beveled boards and gilt fillet and dentelle, the spine with raised bands and red panel with gilt lettering, ruling and panel decoration, with marbleized endpapers, the edges cut and gilt, 13‑1/4” x 9‑3/4” [Gibson XXV.1a; STC 2415; Bailey/Axon 25]. Churchman and Historian Thomas Fuller was unique among his contemporaries in his ability to navigate the complicated religious and political landscape of the Commonwealth, and to maintain sufficient patronage throughout. Church History of Britain is his magnum opus; in prose clever, learned and not infrequently witty, he recounts, among other things, the English Mission of Parsons and Campion, the executions of John Fisher and Thomas More (whom Fuller says “wore a feather in his cap and wagg’d it too often”), the Gunpowder Plot, the history of the University of Cambridge and the Regicide of Charles I. This fine copy of the first edition retains all five of the rare engraved plates, though in a variant collation (as is the index) than given in Strickland Gibson’s definitive bibliography. [200/400] 478 Richard Brown (fl. 1804‑1845), Principles of Practical Perspective, London: Leight & Sons, 1835, second edition, royal quarto, two parts in one, with one hundred plates designed by Brown and engraved by Thomas Lord Busby (fl. 1804‑1837), in tan half calf with marbleized boards and decorative gilt fillet, the spine with raised band and black panel, with gilt lettering and ruling and blind paterae panel decoration, the free flyleaf with armorial bookplate of Donald Butler of the Little Cloister, 12‑3/4” x 10”. A nice copy of Brown’s important work on perspective for artists and architects of the Regency, known for its precise and attractive illustrations. [75/125]

479 W. Somerset Maugham (1874‑1965), Strictly Personal First Edition, New York: Doubleday, Doran & Co., 1941, crown octavo, first and limited edition, 235 of 505, signed by the author on the limitation page, with photogravure fontispiece portrait of the author by George Platt Lynes, in plum buckram boards, beveled, the front blocked in blind with the author’s symbol, the spine with black leather label with gilt lettering and decoration, the top edges cut and gilt, the rest uncut, overall 8‑5/8” x 6‑1/8” [Stott A60a]. Originally serialized in the “Saturday Evening Post” in April 1941 and augmented by an article from the October 1940 “Redbook”, Strictly Personal recounts Maugham’s flight from France during the early days of WWII and is one of the author’s rare forays into first-person autobiographical narrative. This handsome signed and limited first edition was published on September 3, 1941, followed by the regular trade edition two days later and the English edition on March 2, 1942. [100/200]

480

480 Edwardian Tortoiseshell Box, ca. 1900, English, the rectangular box with an ivory-lined opening, set with a spring-mounted catch, the bottom lined with embossed paper, and set on turned ivory feet, h. 1‑1/2”, w. 5”, d. 3‑1/2”. [400/700] Illustrated 481 Magnifying Glass with Sterling and Tortoiseshell Handle, the tapered handle, with a ferrule hallmarked by William Ellis & Co., Sheffield, England, 1927‑28, the inset tortoiseshell inlaid with a silver scrolled cartouche with flowers and a bellflower drop, h. 8”, w. 3‑1/2”. [100/200] 484 482 English Victorian-Style CottageForm Faux Tortoiseshell Tea Caddy, the house front inlaid with ivory windows and a door, scratch decorated to simulate diamond panes, the roof-form lid opening to reveal a two-compartment interior lined with lead foil, the lid with velvet lining, h. 7‑3/4”, w. 7”, d. 5‑1/2”. [1200/1800]

487

487 detail 486 American Chippendale Cherry Dished-Top Table, 18th century and later, the period-style dished top on an antique tripodal base with turned pedestal and snake feet, h. 27‑1/8”, dia. 21‑1/4”. [300/500]

483 English Victorian Calamander Wood Letterbox/ Standish, third quarter 19th century, the drawer mounted base surmounted by an ebonized pen tray, a pair of cutglass inkpots flanking a taper stick, and a cylinder top lidded letter box, mounted with a Jasperware cameo depicting the muses a toilette, mounted on a brass strapwork backplate with decorative nail heads matching the hinges, escutcheon plate, inkpot surrounds, pen tray plate and drawer pull, h. 9‑1/2”, w. 12”, d. 9”. [400/700] 484 George III-Style Mahogany Settee, early 20th century, the domed triple-back, above three quatrefoil pierced splats, joined by shepherd’s crook arms to the padded seat, above a floral-carved apron, raised on cabriole legs headed by acanthine carving and ending in scrolled toes, h. 37”, d. 23”, l. 72”. [2500/4000] Illustrated previous page 485 Pair of George III-Style Mahogany Corner Chairs, early 20th century, each with a rounded scrolled back above two foliate urn splats, the padded seat raised on cabriole legs headed by C-scrolls and ending in pad feet, h. 32”. [800/1200]

487 Assembled New Hall Tea Set Pattern 425 Chinoiserie Tea Set, first quarter 19th century, each piece decorated with Chinese export style scenes of a group in a Chinese courtyard with mountains in the background, diapered pink borders punctuated with cartouches of landscapes alternating with flowers, decorated primarily in shades of orange with pink borders, despite being produced at slightly different dates, each piece has the “425” pattern number, except the cups and saucers, which was a New Hall practice, the set includes an oval covered teapot, h. 6‑1/2”, w. 5”, l. 10‑1/4”, an oblong cream jus, h. 3‑1/4”, w. 3‑1/4”, l. 6”, a commode sided cream jug, h. 4‑1/2”, w. 4‑1/4”, d. 3‑1/4”, six tea cups, some with variations in handle design and decoration, h. 2‑1/4”, six saucers, dia. 5‑1/4”, three coffee cups, one with a handle variation sitting on a tea saucer, h. 3”, three saucers, dia. 5‑1/2”, a waste bowl, h. 3”, dia. 6”, a tea plate dia. 8‑1/2”, two slightly later tea cups with angled handles, h. 2‑1/2”, and two Chinese coffee cups with a similar pattern, h. 2‑3/4”. [400/700] Illustrated 488 Rare New Hall Pattern 425 Chinoiserie Punch Bowl, first quarter 19th century, English, the exterior decorated with panels depicting a group of Chinese women strolling between buildings, set on a pink diapered ground punctuated with orange decorated panels, the interior central panel depicting three Chinese figures in a landscape, surrounded by diapered puce panels decorated with flora, the elaborate upper border decorated with a Chinese red border with paintings of birds and flowers, and complex puce diapered panels with scrolled edges and swags of flowers alternating with floral cartouches, h. 4”, dia. 10”. [300/500] Illustrated

489 George III-Style Double Dome Mahogany Secretary/Bookcase, 18th century and later, the period base with a tooled leather slant-lid writing surface opening to a complex fitted interior, having a central document door flanked by secret leather-bound pull-out compartments and stepped drawers to each side, the far right lower drawer fitted with two inkwells, the sides of the case mounted with brass handles, the upper case of later date and having a pair of arched raised-panel doors opening to a coordinating interior as the base, the top featuring a carved and gilded wooden eagle in the center, h. 96”, w. 40”, d. 23”. [3500/5000] Illustrated

489 interior

490 Queen Anne-Style Mahogany Wing Chair, mid-19th century, the tall padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs joined by a turned H-form stretcher and ending in pad feet, h. 47”. [500/800 ] 491 Pair of George III-Style Stained Fruitwood Armchairs, each with a shaped and earred crest above an elaborately pierced and interlacing splat topped by eagle’s heads, joined by shaped scrolling arms to the padded seat, raised on cabriole legs headed by floral carving and ending in ball-and-claw feet, h. 39‑1/2”. [700/1000]

489

488

488 interior

492 Pair of George III Mahogany Sidechairs, mid19th century, each with a domed and padded back above the padded seat, raised on chamfered ribbon-carved square legs joined by a an H-form quatrefoil pierced stretcher, h. 38‑1/2”. [600/900] 493 Chinese Brush Pot, 20th century, wood with an historical scene in black, gold and red lacquer, h. 8‑1/4”. [300/500]

495 495 Five Piece Chinese Porcelain Garniture Set, ca. 1800, famille rose decoration of baskets of flowers with underglaze blue floral borders consisting of two covered jars and three vases, h. 13‑1/2”, largest. [600/900] Illustrated 496 Chinese Porcelain Punch Bowl, 18th century, underglaze blue borders enclosing floral sprigs in famille rose enamels, dia. 10‑1/4”. [300/500]

494 Pair of Chinese Tzu Tan Game Piece Containers, 20th century, finely carved with cursive character poems, dia. 5”. [400/700]

498

501

497 Chinese Export Porcelain Plate, ca. 1900, rare portrait decoration of a European man with the initials HVE above, floral borders, dia. 8”. [150/300] 499

498 Indian Carved Ivory Box, 19th century, of rectangular form, with an elephant finial, h. 4‑1/2”. [200/400] Illustrated 499 Large Chinese Hardstone Carving, 20th century, tan-mottled deep blue sodalite study of a reclining camel, h. 13”, l. 21”. Provenance: Loyd-Paxton, Dallas, Texas. [9000/12000] Illustrated 500 Japanese Boxwood Carving, 19th century, a study of four monkeys with a peach, l. 2‑1/2”. [100/200]

501 Ch’ien Lung Period (1736‑1795) Chinese Export Porcelain Tureen, fourth quarter 18th century, the oval body with blue and white borders of lotus flowers, scrollwork and crosshatched panels and a blue foo dog finial, the ground decorated in the famille rose palette with figures in a Chinese garden pavilion, with chickens in the yard, pink peonies frame each side, h. 8”, d. 9‑1/2”, l. 13‑3/4”. Provenance: Denys Cowell, Brighton, England. [500/800] Illustrated

502

502 Pair of Chinese Export Porcelain Punch Bowls, 18th century, famille rose decoration of figures in landscapes on an armour pattern ground, dia. 10‑1/4”. [600/900] Illustrated

509

503 Chinese Porcelain Punch Bowl, 18th century, famille rose decoration of figures in garden scenes on an armour pattern ground, dia. 10‑3/8”. [200/400] 504 Chinese Porcelain Punch Bowl, 18th century, famille rose decoration of figures in garden scenes on an armour pattern ground, dia. 10‑3/8”. [200/400]

506

507 Chinese Export Rose Medallion Porcelain Oval Platter, ca. 1900, with panels of roses alternating with Mandarin figures and a central peony rondel, stamped “Chine” on the rear, w. 14‑1/4”, l. 17”. [300/500] 508 Chinese Export Porcelain Wash Basin, fourth quarter 19th century, in the rose medallion pattern, decorated with panels of Mandarin figures alternating with panels of peonies, butterflies and ho-ho- birds, h. 6‑1/4”, dia. 18‑1/2”. [500/800] 505 Pair of Chinese Export Rose Medallion Vases, late 19th century, of tapering cylindrical form, with gilt Foo dog handles, raised figural patterns, with conforming stands, h. 9‑1/2”. [150/300]

509 Pair of Chinese Large Porcelain Vases, Ch’ien Lung period (1735‑1736), hexagonal form with scenes of figures in palace gardens, diaper and archaic gilt borders, foo dog finials, h. 22”. [1000/1500] Illustrated

506 Chinese Export Rose Medallion Porcelain Teapot, fourth quarter 19th century, in the traditional Chinese form with wrapped wire handles, decorated with panels of peonies and Mandarin panels, separated by rondels, h. 5‑3/4”, w. 6‑1/2”, d. 4‑1/2”. [400/700] Illustrated

510 Lot of Two Chinese Export Plates, 19th century, including a rose mandarin plate with a reserve of figures in a landscape and gilt border with flowers and butterflies, together with a rose medallion plate, dia. 6”. [100/200]

516 Japanese Porcelain Charger, late 19th/early 20th century, decoration of a gold dragon with green, purple and yellow clouds, dia. 18”. [500/800] 512

517 Set of Four Chinese Export Porcelain Rose Medallion Plates, second quarter 19th century, the finely detailed panels of mandarin figures alternating with panels of peonies, birds and butterflies, around a peony and ho-ho bird rondel center, the gilt ground decorated with butterflies and scrollwork, dia. 8‑1/2”. [200/400] 518 Pair of Chinese Rectangular Covered Vegetable Dishes, 20th century, with enameled decoration of figures in garden scenes, the base with four character K’ang Hsi marks, l. 10‑1/2”, w. 8‑1/2”. [400/700] 519 Three Pieces of Chinese Export Porcelain, ca. 1870, “hundred butterfly” pattern, including a bowl and two shallow bowls, dia. 8” to 9‑5/8”. [250/400] 520 Pair of Blue-and-White Chinese Porcelain Ginger Jars, 19th century, now mounted as lamps, decorated with hand-painted pomegranates against a ground of trailing vines, h. 30”. [900/1200] Illustrated 521 Pair of Chinese Ginger Jars, 19th century, underglaze blue decoration with later European clobbered enamel work, h. 7”. [200/400]

511 Pair of Chinese Porcelain Plates, ca. 1830, rare decoration of reserves with birds, borders of the “hundred antiques”, dia. 8”. [200/400]

522 Chinese Embroidered Uncut Silk Panel with Coat Borders, late 18th century, the white ground with embroidery of cranes and orchids, painted inscription of one side, w. 34”, l. 28”. [200/400]

512 Monumental Pair of Chinese Export Rose Medallion Palace Vases, each of baluster form with foliate and avian bands and raised panels of Mandarin figures, the whole with richly gilded accents, raised on conforming rosewood stands, h. 60”. [3000/5000] Illustrated

523 Pair of Porcelain Vases, ca. 1910, France, baluster form with covers, probably Sampson & Company, famille verte decoration of flowers and birds with lotus plants on brocade grounds, h. 21”. [400/700]

513 Chinese Export Porcelain Rose Medallion Covered Vegetable Tureen, fourth quarter 19th century, mandarin panels decorate the outside panels, with peony end panels, scattered peonies decorate the interior, the lid mounted with a gilt pinecone knop, h. 5‑1/2”, w. 9‑1/2”, d. 8‑1/4”. [300/500] 514 Lot of Eleven Pieces of Chinese Rose Medallion Porcelain, ca. 1900, crest of Portugal with the inscription, “Palace of the Governor of Macao” in Portuguese, including a hot water dish, dia. 9‑1/2”, a covered vegetable dish, h. 6”, w. 8”, a vegetable lid, w. 9‑1/2”, d. 8”, and eight plates, dia. 8‑1/2”. [300/500] 515 Pair of Chinese Export Paneled Vases, 19th century, in famille verte enamels, the panels depicting a pair of female musicians and a mountainous riverscape alternating with avian and floral designs, on conforming wood bases, now mounted as lamps, top of socket h. 16‑1/2”. [250/400]

520

524 Chinese Porcelain Covered Jar, Ch’ien Lung period (1735‑1736), famille rose decoration of figures in palace scenes on a floral underglaze blue ground, gilt dragon handles and foo dog finial, h 18”. [500/800] Illustrated

524

525 Chinese Cloisonne Vase, 20th century, the archaicstyle vase, decorated with Tao Tieh masks and lotus scrolling on a turquoise ground, Ch’ien Lung mark on base, h. 11”. [4000/7000]

533 Pair of Chinese Porcelain and Enamel Decorated Tree Tubs, 20th century, having overall floral decorated sides against a turquoise ground, h. 15”, dia. 16”. [1500/2500] 534 Chinese Reverse Glass Painting, Ch’ien Lung period (1736‑1795), oval form with original frame, decoration of a mandarin and his consort in a lakeside garden, h. 14”, w. 18”. [3500/5000] Illustrated

526 Chinese Cloisonne Low Bowl on Stand, the exterior decorated with peonies and birds on a white ground, the interior decorated with plum branches and birds, h. 4”, dia. 11‑3/4”. [150/300] 527 Four Pieces of Chinese Porcelain, including a pair of bowls, 19th century, famille rose decoration of the gods of longevity, on the interior and on the exterior, various figures on a celadon ground, dia. 6‑5/8”, a shaped dish with a decoration of dogs and birds in a landscape, h. 2‑1/2”, w. 11”, d. 9”, and a teapot with applied floral decoration, h. 5”. [125/250] 528 Chinese Porcelain Charger, Kuang Hsu mark (1875‑1908) and of the period, famille rose decoration of foliated dragons, dia. 20”. [500/800] Illustrated

528

529 Chinese Rectangular Porcelain Box, 19th century, famille verte decoration, very rare crest of the governor of Macao, inscription in ink on the base and cover, h. 3”, w. 4”, l. 8”. [200/400] 530 Chinese Export Plate, ca. 1800, with famille rose floral decoration, dia. 9‑1/8”. [50/80] 531 Chinese Porcelain Stacking Box, 19th century, decorated with floral scrolling on turquoise, yellow, mauve, blue and orange grounds, h. 6‑1/2”. [300/500] 532 Chinese Ginger Jar Mounted as a Lamp, alternating yellow, pink and blue vertical panels decorated with scrollwork and peonies, the cover decorated to match, foo dog head handles mounted on the shoulders, h. 36” to finial, dia. 10‑1/2”. [100/200]

534

535 Aubusson Carpet, 10’ x 14’. [4000/7000] 536 Antique Caucasian Runner, 3’3” x 16’9”. [700/1000] Illustrated 537 Indian Carpet, 9’ x 11’4”. [700/1000] 538 Persian Serapi Carpet, 9’9” x 13’8”. [4000/7000] Illustrated 539 Coarse Weave Needlepoint Carpet, 8’ x 10’. [700/1000] Illustrated 540 Agra Zeiglar Mahal Runner, 3’2” x 19’7”. [800/1200] 541 Persian Carpet, 11’5” x 17’5”. [700/1000]

538

548 Semi-Antique Heriz Runner, 3’1” x 11’11”. [700/1000] 549 Turkish Carpet, 5’ x 8’. [400/700] 550 Persian Serapi Carpet, 10’ x 14’. [4000/7000] Illustrated

536 542 Needlepoint Carpet, 20’ 10” x 13’ 8”. [300/500] 543 Antique Megri Carpet, 7’ x 8’2”. [1800/2500] Illustrated 544 Agra Serapi Carpet, 9’ x 11’9”. [1500/2500] Illustrated 545 Persian Sultanabad Carpet, 8’7” x 11’7”. [2500/4000] 546 Persian Sultanabad Carpet, 10’ x 16’6”. [4000/7000] Illustrated 547 Persian Kashan Carpet, 10’3” x 13’9”. [2500/4000]

539

543

544

546

550

552 Triptych-Form Painted Persian Mirror Case, lushly patterned doors with an outer surface decorated with a Moorish arched panel on an ivory ground, with lotus flowers, peonies, birds and vines, set against red ground panels with gilt painted birds and flowers, and a blue border with gilt vines, the interior with green ground Moorish arches with like decoration to the front, against red ground sides decorated with gilt vines and ivory paisleys, the interior central panel with a mirror in a red and blue cove-molded frame, h. 36”, w. 21”, closed. [600/900] Illustrated

551 Gilt-Bronze Gothic Revival Hall Lantern, fourth quarter 19th century, probably English, the inverted body with trefoil piercings on a stippled ground, molded gothic fretwork and a crenellated edge decorate the medial and top borders, quatrefoil-molded chains suspend it from the matching original canopy, now electrified, h. 31”, dia. 13‑3/4”. [500/800] Illustrated

551

552

553

553 Middle Eastern Turquoise-Glazed Pottery Bowl, sgraffito-decorated through a black overglaze with a border of Islamic script over a row of flower sprigs, h. 3‑1/4”, dia. 8”. [500/800] Illustrated

556

554 Green Glazed Middle Eastern Lekythos, used for oil, the vase-form jug with incised rouletting on its shoulder and ring-turned on the neck under the lip, with a single handle, h. 8‑1/4”. [500/800] 555 Middle Eastern Pointed Tile, glazed with a turquoise ground, dark blue borders and a field of Islamic script, h. 8‑1/4”, dia. 7”. [400/700] 556 Pair of Middle Eastern Pottery Bowls, turquoise glazed with hand-painted black decoration highlighting the rim, h. 2‑3/4”, dia. 4‑3/4”. [600/900] Illustrated

557 Middle Eastern Pottery Ewer, the white body decorated with black rondels and panels with zig-zag decoration, the head and neck molded to resemble a chicken, h. 12”, dia. 6‑1/4”. [1200/1800] Illustrated

563 Middle Eastern Brass Teapot, the bottle-shaped body with a vertical neck with a domed cap, an angular spout and a loop handle, decorated with hunters on horseback pursuing their prey on a field of scrollwork, h. 18‑1/2”. [500/800] Illustrated

557

558 Middle Eastern Pottery Low Bowl, decorated with blue and green, the border of goats and trees surrounds a seated child in Middle Eastern costume, h. 1‑1/2”, dia. 9‑1/2”. [400/700] 559 Middle Eastern Iznik-Style Bottle Vase, the white body decorated with black edged blue flowers and tendrils and a reclining sheep, h. 11‑3/4”, dia. 5‑3/4”. [125/250]

564 Middle Eastern Brass Magic Bowl, the footed bowl with exterior decoration of Moorish panels inscribed with Islamic script, the interior with a raised center rondel and overall script pattern, h. 2‑3/4”, dia. 7‑1/2”. [600/900]

561

560 Persian Blue-and-White Pottery Vessel, of octagonal form, the side panels scroll-decorated with arcaded tops, the demi cover depicting a figure smoking a hookah, h. 4‑1/4”, dia. 8‑3/4”. [400/700] 561 Vienna Bronze Cold-Painted Figure of a Moor Warrior Astride a Camel, ca. 1900, bearing the impressed mark for Bergman, “2607” and “Geschutzt”, h. 8‑3/4”. Illustrated in Joseph Zobel, Antique Vienna Bronzes (Atglen, PA: Schiffer, 2008, p. 158. [600/900] Illustrated 562 Middle Eastern Terracotta Charger, glazed white and brown with a border of Islamic script and a segmented circle in the middle, dia. 15‑1/2”. [500/800]

565 Middle Eastern Brass Planter, the bowl molded with a grid of six pointed stars and hexagons, with scrollwork, Moorish cartouches decorate the vertical lip, h. 5‑1/4”, dia. 6‑1/4”. [500/800]

563

566 Chinese Nickel Bronze Image of a Buddha, 20th century, the many-armed tantric figure with three faces, the surface with gilding and color, h. 9”. [100/200]

567

571 Two Framed Hand-Colored and Parcel-Gilt Decorated India Prints, 19th century, one depicting female figures in traditional costume with a leaf and vine border, sight h. 11‑1/2”, w. 9”, and the other with warriors and various other figures praying and attendants serving a reclining figure, sight h. 9‑1/4”, w. 5‑3/4”. [600/900] 572 Pair of Middle Eastern Pottery Water Buffalo, decorated with red, yellow and brown glazed geometric patterns, h. 9”, l. 18”. [900/1200]

573

567 Pair of Persian Tinned Copper Palace Urns, stepped bases with ribbed knops support vases decorated with scalloped panels of birds, vines, flowers and Moorish-style cartouches, on a field of raised scrollwork with a punched ground, the ribbed and scalloped flaring necks decorated with birds, h. 49”, dia. 16”. [2000/4000] Illustrated 568 Near Pair of Easter European Two-Light Brass Candelabra, first quarter 20th century, the domed bases support scroll-pierced candle brackets set with cups and drip pans and flanking a pierced and engraved doubleheaded eagle, h. 14”, w. 11‑3/4”, d. 4‑3/4”. [125/250] 569 Middle Eastern Pierced Steel Plaque, ends shaped Moorish arches, pierced in a pattern of Islamic script and scrolling tendrils, h. 8‑1/2”, l. 24‑1/4”. [1200/1800] Illustrated

569

570 Middle Eastern Framed Tiles, decorated with a turquoise ground and block Moorish arches, with swirling tendrils and flowers, one side pierced in a Moorish pattern, in a black contemporary frame, w. 5”, l. 17‑1/2”. [400/700] Illustrated 570

573 Jimbiya, Arabian Peninsula, 19th century, with a ridged double-edged blade in an ornately worked silveredcopper scabbard and hilt, presented on an oval stepped and beaded brushed and patinated steel stand, overall h. 13‑1/2”, w. 11”, d. 3‑3/4”. Provenance: Loyd-Paxton, Dallas, Texas. [1000/1500] Illustrated 574 African Ivory Horn, first quarter 20th century, Central Africa, l. 16”. [800/1200] 575 Antique Leather-Bound Copy of the Koran, bound in maroon leather, the cover with a gilt stamped border and gilt stamped Moorish escutcheons with strapwork details, a protective flap covers the page ends, the text on the first page is gilt-bordered, and with a crest of a Moorish arch decorated with flowers, h. 7”, w. 5‑1/4”, d. 1‑3/4”. [1500/2500]

577

579 William and Mary-Style Walnut Occasional Side Table, late 19th century, the rectangular top banded and with decorative geometric veneers, above a frieze fitted with a single drawer and with a central pendant finial, raised on turned cup and cover legs joined by a molded and shaped X-form stretcher and ending in bun feet, h. 28‑1/2”, w. 24‑1/2”, d. 17‑1/2”. [500/800] Illustrated

578

580 Two Needlework Pillow or Seat Covers, one with chocolate brown looped fringe,depicting a Chinese man carting water for a garden, h. 21”, w. 26‑1/2”, the other a young noblewoman riding through the garden in a goat cart, h. 21‑1/2”, w. 28”, both incorporating gros-point and petit- point on a ground of chocolate brown with irregular widths. [400/700]

576 Two Pottery Jars, 19th century, Persian, with underglaze blue landscape decoration, h. 9”. [200/400] 577 Jacobean-Style Giltwood Mirror, the giltwood scalloped edge with a beaded lining and decorated with a segmented mirror, the raised inner frame comprised of lunetted mirror sections alternating with cobalt mirror lozenges outlined in beading, a giltwood mirrored chain serves as the inner lining, h. 27”, w. 23”. [600/900] Illustrated 578 William and Mary-Style Walnut Table, partially composed of antique elements in the 17th century style, the rectangular top centered by an oval burlwood panel and surrounded by a pattern of oyster veneers, above a frieze fitted with a single drawer, veneered en suite, raised on large barley-twist legs joined by an “H”-form stretcher and ending in block and ball feet, h. 28‑1/2”, w. 40”, d. 27”. [3500/5000] Illustrated

579

581 Circle of Godfrey Kneller (British, 1646‑1723), “Portrait of a Lady Holding a Sprig of Flowers, Seated in a Landscape”, oil on canvas, unsigned, 50” x 40”. Presented in a contemporary giltwood frame. [1200/1800] Illustrated 582 Circle of Pierre Mignard the Elder (French, 1612‑1695), “Portrait of a Gentleman Holding a Gold Box”, oil on canvas, unsigned, 28” x 22‑1/2”. Presented in an ebonized frame. [2500/4000] 583 Georgian Figured Walnut Chest in the Queen Anne Taste, 18th century and later, the figured top edged with herringbone inlay and crossbanding, the case with two over three graduated drawers on bun feet, the drawers with engraved brass batwing pulls and brass escutcheons, re-veneered, h. 35”, w. 38”, d. 23”. [800/1200] Illustrated

581 587 Antique Brass Twelve-Light Dutch Baroque-Style Chandelier, the lower ball set under a tier of six scrolled candle arms mounted with round drip pans and turned candle cups, the turned upper standard supports the upper tier of six, mounted with electrified faux candles, h. 35”, dia. 25‑1/4”. [600/900]

583

584 Georgian Brass Foot Bath, first quarter 19th century, English, the oval and banded shape, usually found in creamware, constructed of heavy brass and seamed on one side with a rolled rim, h. 9”, d. 12‑1/2”, l. 19‑1/4”. [125/250]

585

585 Pair of Continental Brass Candlesticks in the 17th Century Style, fourth quarter 19th century, bell foot supporting a tapered turned standard, fitted with a round drip pan, and turned candlecups with mid-ribs, h. 10‑1/2”. [200/400] Illustrated 586 Dutch Baroque-Style Brass Twelve-Light Chandelier, a lowering ring hangs from the lower brass ball under a tier of six scrolled candle arms mounted with round drip pans and ring-turned candle cups, the turned upper standard supports a tier of six matching arms of smaller scale, suspended from a brass hanging ring and mounted with electric faux candles, h. 28”, dia. 25‑1/4”. [500/800]

588 Follower of Anthonie Palamedes (Dutch, 1601‑ ca. 1673), “Three Cavaliers”, oil on panel, fourth quarter 19th century, unsigned, 12” x 9”. Presented in an ebonized frame. [500/800]

589 Japanned Pewter Triple-Spout Hot Water Urn, fourth quarter 18th century, probably Dutch, sitting on cabriole legs with gilt sprigs, decorated with a woman or man on horseback wearing a cloak on one side, and a cow on the other, the body with scattered gilt sprigs and lunetted gilt leaves, a running fret border decorates the neck and the dome top highlighted with gilt decoration, h. 18”, w. 11‑1/2”, d. 11‑1/2”. [300/500] Illustrated 590 Hermann Huisken (German, 1861‑1899), “Off to Market Gracht, Holland”, oil on canvas, signed and dated lower right “H. Huisken ‘95”, 26” x 18”. Presented in a period ebony frame. Literature: E. Benezit, Dictionnaire des Peintres, Sculptures, Dessinateurs et Graveurs, U. Theime & Becker, Allgemeines Lexikon Der Bildenden Kunstler, Philip Hook and Mark Poltimore, Popular Nineteenth Century Painting: A Dictionary of European Genre Painters. [2500/4000] Illustrated

589

590

591

591 Dutch Fruitwood Linen Press, early 18th century, the double-domed and heavily molded cornice above a case fitted with two bi-paneled doors, the sides paneled and with applied decorative patterns, the lower section of bombe form and fitted with two short drawers over two long drawers, the corners and sides with like applied patterns, raised on bracket feet, h. 88”, w. 57”, d. 21”. [2500/4000] Illustrated 592 Dutch Mahogany Bombe Chest, early 19th century, the rounded rectangular top with a recessed center section, above a bombe case fitted with four long velvetlined drawers, all with highly figured hardware, raised on splayed legs ending in sabots, h. 32”, w. 35”, d. 21”. [600/900]

595 Dutch School (20th/21st Century), “Fisherman’s Family in Front of a Cottage On the Beach”, oil on panel, unsigned, 12” x 16”. Framed. [200/400] 596 Follower of Hermanus Koekoek, Sr. (Dutch, 1815‑1882), “Merchant Ships Anchored Offshore, at Low Tide”, oil on panel, 20th/21st century, unsigned, 12” x 16”. Presented in a contemporary Rococo-style giltwood frame. [200/300] 597 French School (Fourth Quarter 19th Century), “Still Life With Baskets of Plums, Grapes and Strawberries” and “Still Life With a Basket of Grapes and Peaches”, pair of oils on canvas, each signed “Constantin”, 23” x 32”. Both presented in matching period giltwood and gesso frames. [5000/8000] Illustrated

593 593 L. Yartner (Continental, Third Quarter 19th Century),”Intrigue”, oil on canvas, signed lower left, 32‑1/4” x 19‑3/4”. In an elaborate period carved, gessoed, and giltwood frame. [1200/1800] Illustrated

597 pair

599

594 Follower of Bartholomeus Johannes Van Hove (Dutch, 1790‑1880), “Dutch Canal Scene”, oil on panel, 20th/21st century, unsigned, 12” x 16”. Presented in a contemporary giltwood frame. [200/400]

598 Anton Mauve (Dutch, 1838‑1888), “Country Road With a Wagon”, charcoal on paper, inscribed lower right “Atelier A. Mauve”, sight 11” x 16”. Glazed, matted and framed. [400/700]

601

599 English Oak Stool, 19th century, the padded rectangular top removing to an open storage space, above a deep shaped frieze, raised on cabriole legs ending in pointed toes, h. 19”, w. 19”, d. 16‑1/2”. [300/500] Illustrated 600 George III Oak Slant Lid Desk, third quarter 18th century, the dovetailed case with a fold-down writing deck, the interior fitted with two banks of four drawers each and a central open cubby, the lower case with three long drawers, raised on bracket feet, h. 43‑1/2”, w. 41”, d. 22”. [500/800] 601 Chinese Blue-and-White Porcelain Meat Platter and Mazarin, ca. 1800, decorated in the Fitzhugh pattern and bearing the Beale Family crest, w. 17‑1/4”, l. 20”. [700/1000] Illustrated

602 Chinese Export Porcelain Blue Fitzhugh Sauce Tureen, second quarter 19th century, the oval tureen with twisted handles and a sunflower-form knop, together with an associated undertray, h. 6”, w. 8”, d. 6‑1/4”. [500/800] Illustrated

602

603 Chinese Export Porcelain Blue-and-White Dish, first quarter 19th century, the rim with gilt trim and a fret border, the field decorated with the traditional panels with loosely defined edges around a rondel, dia. 9‑1/2”. [300/500] 604 Chinese Porcelain Dish, export ware, oval shape with indented corners, underglaze blue canton pattern, l. 8”. [50/80] 605 Chinese Porcelain Tureen, 18th century, octagonal rectangular form, underglaze blue Nanking decoration, boar’s head finial and with a leaf-shaped handle, w. 9”, l. 14”. [500/800] Illustrated

605 606 Chinese Export Porcelain Can, late 18th/early 19th century, foliate edge with an applied double strap handle, underglaze blue Nanking-style decoration, h. 6‑1/4”. [150/300] 607 Chinese Porcelain Tureen, 18th century, octagonal rectangular form, underglaze blue decoration of oxen, trees and deer, floral scroll borders, boar’s head handles and a foo dog finial, w. 9”, l. 14”. [400/700]

608 English Oak Welsh Dresser, early 19th century and later, the molded cornice above a scalloped frieze and three open shelves and a single small drawer, the lower section fitted with three drawers, raised on balusterform legs, h. 77”, w. 71‑1/2”, d. 20”. [1500/2500] Illustrated 609 English Oak Corner Cabinet, 19th century, the molded cornice above a case fitted with two bi-paneled doors opening to a shelved interior, the lower section fitted en suite, raised on bracket feet, h. 82”, w. 38”, d. 21”. [600/900] Illustrated

608

611

609 612 610 George III-Style Oak Stand, third quarter 19th century, the quarter-sawn square top with rounded corners, raised on a turned column on a tripodal base in the Queen Anne taste, h. 24‑3/4”, w. 17”, d. 17”. [200/400] 611 Chinese Porcelain Tureen and Platter, late 19th century, underglaze blue Fitzhugh decoration, tureen h. 9”, l. 14”, platter l. 17”. [400/700] Illustrated

613

616 Continental Silverplate Coffeepot, third quarter 19th century, in the Louis XVI taste, the bulbous body raised on four “fiddle thread”-crested pad feet and with hinged-flap “duck’s beak” spout and turned wooden handle, the hinged domed lid with plain billet and finial, h. 7‑1/4”, dia. 4”, l. 8‑1/4”. [400/700]

617 Napoleon III First Standard (.950) Silver Dressing Mirror, third quarter 19th century, by Auguste-Louis Fiziane, Paris, of cartouche form, composed of robust rococo scrolls, the elaborate cresting extending over the plate in the form of openwork acanthus scrolls and floral swags centering cabochon cartouche surmounted by three putti, the lower edge similarly centering a pair of Bacchic putti, with a conforming plate and wood back with engraved silverplate easel support, monogrammed on the cartouche “BA”, conjoined, h. 16‑1/2”, w. 15”. [5000/8000] Illustrated

615

612 Chinese Export Porcelain Blue Fitzhugh Pattern Soup Tureen and Undertray, first quarter 19th century, the oval tureen decorated in a familiar pattern of a center rondel and four conforming panels, with twisted handles with molded grape terminals, the fitted lid with sunflower finial, the tureen h. 10”, l. 13‑1/4”, the tray l. 14‑1/2”, w. 11‑1/2”. Provenance: Herb Schiffer Antiques, Exton, Pennsylvania. [1800/2500] Illustrated

617

613 Six Pieces of Chinese Export Porcelain, ca. 1800, underglaze blue Fitzhugh decoration, including two shrimp dishes, a hot water dish and three platters, dia. 9‑1/2”, smallest. [400/700] Illustrated 614 Lot of Twenty Pieces of Chinese Export Porcelain, ca. 1800, underglaze blue decoration in the Fitzhugh pattern, h. 2‑1/4”, dia. 5”. [250/400] 615 Pair of Louis XVI Old Standard (.958) Silver Sauceboat Stands, marked Paris 1781‑1783, by RenePierre Ferrier, each of oval forms, the narrow ends shaped by addorsed serpentine scrolls, the edge decorated with engraved floral and foliate garland surrounding the recessed oval plateau, the edge beaded with acanthus crests at the narrow ends, l. 9‑1/2”, w. 6‑1/4”, 25.14 total t. oz. [1200/1800] Illustrated

620

618 French First Standard (.950) Silver Jewelry Box, first quarter 20th century, by Antony Solomon, Paris, fl. 1901‑1912, rue St. Honore, of rectangular form, the ebony frame clad in silver decorated with beribboned floral swags on an engine-turned ground, the hinged lid set with a painting of an 18th century courting couple, signed “Jany”, within a canted rectangular reedand-ribbon frame with beveled glazing, opening to reveal the goldenrod silk and velvet lining, retaining the original tasseled key, h. 2‑1/2”, w. 7‑1/2”, d. 5‑1/4”. [1000/1500] 620 detail

619 French Gentleman’s First Standard (.950) Silver, Glass, Ebony and Leather Traveling Dressing Case, late 19th century, Gustav Keller Freres, fl. Paris,1881‑1922, the rectangular leather case opening to reveal a toothbrush holder, two cylindrical and one rectangular dresser jars, two tall and one short dresser bottles and a cologne bottle, all with fluted panel glass bodies and silver caps, along with two hairbrushes, a clothes brush, a hat brush, a shaving brush, a shoe horn and leather strop, all with carved ebony body, the silver caps engraved, the ebony pieces silver-inlaid with a monogram, “L” with a count’s crown, all pieces held by leather straps, overall 5‑3/4” x 13” x 11”. [200/400] 620 Impressive Franco-Italian Two Hundred and Twenty-Piece Set of .800 Silver Flatware, first quarter 20th century, by Henri Soufflot, Paris and Domenico Cravanzola, Rome, retailed by Moggi & Bertolotti, Milan, in a “fiddle”-shaped pattern decorated with flowers and “whiplash” lines, including forty-eight dinner forks, l. 8‑1/2”, sixteen dessert forks, l. 7‑1/4”, eighteen seafood/cocktail forks, l. 8‑1/2”, eighteen teaspoons, l. 5‑1/2”, eighteen tablespoons, l. 8‑1/4”, eighteen dessert spoons, l. 7‑1/4”, thirty-six dinner knives with steel “Old French”-shaped blades, l. 10”, thirty-six dessert knives with “Old French”-shaped blades, eighteen steel, l. 8‑1/2” and eighteen plated steel, l. 8”, a master butter knife with filled handle, l. 7‑5/8”, a serving spoon, l. 1‑1/4”, a two-piece salad serving set with gilt bowls, l. 10‑1/2” & 10‑3/4”, a berry spoon with coquille bowl, l. 8‑7/8”, a saupoudreuse, l. 8‑1/4”, two sauce ladles, l. 7‑1/2”, bow-style sugar tongs, l. 5‑1/2”, a manche a gigot, l. 8‑3/4”, bow-style asparagus tongs, l. 9‑1/4” and a soup/punch ladle, l. 13”, each piece with conjoined monogram “PC”, 336.94 total t. oz., presented in a large oak canteen with hinged lid and fall front revealing four red-baize-lined fitted drawers, the padded lid interior with gilt retailer’s stamp. The only piece in this set with a guarantee mark is the manche a gigot, which bears the French first standard “Minerva” mark for .950 fineness; it is accompanied by the maker’s mark of Henri Soufflot, active 1884‑1910 in Paris. All the other pieces are marked with a French-style lozenge maker’s mark of Domenico Cravazola, active ca. 1871‑1913 in Rome. As it was perfectly legal in France to export unmarked silver provided the pieces were assayed, bundled and attached with a silk cord and wax disk bearing the proper marks, it was not uncommon for continental merchants to stamp imported pieces with their own marks. That is likely the case here, as no additional marks were required on Italian silverware of the time, assay having been made voluntary in 1872. Indeed, while Cravanzola was a large, old and important firm, they were by this time primarily jewelers specializing in military and civil medals; it is very possible that their silverware was ordered from the larger French manufactories. Whatever the case, whether of French or Italian manufacture, the minimum fineness permitted in both countries was .800 (i.e., 80% pure silver and 20% alloy); this set is assuredly at least this standard, and quite possibly the higher standard of .950, as suggested by the manche a gigot. [18000/25000] Illustrated

622

621 Gilt Metal Cloisonne Box, probably Russian, early 20th century, of rectangular form with canted lid, decorated with polychrome cloisonne flowers, leaves and scrolls in the traditional Muscovite manner, the interior silvered, h. 2‑1/4”, w. 4”, d. 2‑7/8”. [125/250] 622 Good Alexander III 84 Zolotnik (.875) Silver Gilt and Cloisonne Spoon, marked Moscow, 1888, by Gustav Klingert, with elliptical bowl and spiral twist stem, the bowl reverse decorated with polychrome cloisonne enamel in the traditional Muscovite manner, with imbricate and geometric banding on the stem and finial en suite, l. 7”, 2.77 t. oz. [400/700] Illustrated

623 Continental Silverplate Confiture Bowl, second half 19th century, of hemispherical form, decorated with a cast band of openwork laurel wreaths, with filigree rim and cast birds of paradise handles, the domed lid decorated with navette cabochons on an openwork scroll ground centering a figural heron finial and opening to reveal the opaque cornflower blue glass bowl, raised on an openwork scroll and filigree foot, presented on a scalloped circular underplate with engraved scroll banding, overall h. 8‑1/2”, dia. 7‑1/4”. [600/900]

624

624 German .800 Silver Chalice, fourth quarter 19th century, by J. D. Schleissner & Sohne, Hanau, in the Jacobean taste, the ovoid body decorated with four embossed panels, one with the arms of James I, the others with mythological beasts, above a baluster stem embossed with thistles and a domed foot embossed with roses, with embossed inscriptions around the rim and foot, h. 7‑3/4”, dia. 4‑1/4”. This cup is a good example of the mischief caused by the “historismus” silver wares produced in Hanau in the late 19th and early 20th centuries. A pair of identical cups appeared in the church plate of South Leith Kirk in Scotland in 1912, one with the story that it was purchased at auction around 1893 after its discovery in a hidden cupboard of a Hessian landgravine, the other purchased by the Kirk session clerk Dr. James Mitchell on a visit to Homburg. (The Rev. Mitchell does not appear to have been suspicious of discovering a second, identical early 17th century “English” communion cup on the continent.) Another example appeared in a private collection, photographed and discussed in the January, 1902 edition of “The Connoisseur”. These (and other) examples are invariably assigned a speculative provenance connecting them English branches of Hessian nobility, e.g. James I’s daughter, Elizabeth Stuart, Queen of Bohemia (1596‑1622), or George III’s daughter Elizabeth, Landgravine of Hesse-Homburg (1770‑1840). The original, if any, has not survived; the complete lack of documentation of the cup before the late 19th century coupled with the several reported examples since suggest that the design is one of the many convincing historical pastiches produced in Hanau at the turn of the last century. [700/1000] Illustrated

625 German .800 Silver Standing Salt Cellar and Pepper Caster, first quarter 20th century, by J.D. Schleissner, Hanau, in the Baroque taste, each with a figural standard of a putto above a waisted foot decorated with alternating radiant dolphins and cornucopias, the salt with a hemispherical bowl decorated with rococo cartouches on an openwork scroll ground, the liner lacking, h. 5‑1/2”, the baluster-form pepper caster decorated en suite on a closed ground, the pierced domed cap with figural putto finial (detached but present), h. 8‑1/2”, 10.61 total t. oz. [100/200]

626

629 Pair of German .800 Silver Candelabra, the pattern introduced in 1909, by Koch & Bergfeld, Bremen, retailed by Carl Becker, Cologne, each with a baluster standard above a serpentine-lobed domed base and surmounted by an inverted bell-form nozzle, the whole decorated with rococo spiral fluting, the nozzle fitted with a superstructure of central finial in the form of a torch, flanked by a pair of acanthus scrolling arms terminating in a drip-pan and nozzle en suite, h. 12”, dia. 5‑1/4”, w. 44”, weighted. [1800/2500] Illustrated 630 Pair of Continental Silverplate Wine Coolers, second quarter 19th century, each of cylindrical form with rounded bottom and flared rim, with raised grapevine banding and opposing Bacchus masque ring handles, with a fitted cavetto collar and liner decorated with gadrooned edging, the whole raised on a waisted foot-ring, h. 4‑3/4”, dia. 4‑1/4”, w. 9‑1/4”. [3500/5000] 631 Maison Puiforcat Sterling Silver Condiment Bowl, 1983‑1992, Paris, of saucer form with molded rim, raised on a squat cylindrical foot of Japonaise inspiration, modeled as a woven basket with applied floral mons, h. 2‑1/4”, dia. 5‑3/4”, 13.69 t. oz. [800/1200]

626 German .800 Silver Fruit Bowl, first quarter 20th century, probably Georg Roth, Hanau, of serpentine lobed oval form, with bead-and-bobbin edge, the rim pierce with paterae and bouquet banding, the sides with elaborately pierced anthemia and cornucopiae, the plateau embossed with a pastoral scene of frolicking putti, l. 12”, w. 9‑3/4”, 16.13 t. oz. [1000/1500] Illustrated 627 Schweizerdeutsch .930 Silver “William Tell” Souvenir Serving Spoon, first quarter 20th century, probably Hanau, Germany, with cast openwork twining acanthus stem, with a figural finial of William Tell and his son above a cartouche with the arms of Uri canton on one side and Switzerland on the other, with an acornshaped bowl embossed with an abbreviated view of the Kulturkloster in Altdorf, l. 10‑1/2”, 3.79 t. oz. The figural finial here is after the William Tell Monument in Altdorf, canton Uri, the traditional home of the Swiss national hero. The monument was created by Swiss sculptor Richard Kissling (1848‑1919) following a national competition, and dedicated on August 28, 1895. The Altdorf Kultursloster, also known as the Kloster Allerheiligen [Monastery of All Saints], is a 16th century Alpine Capuchin monastery and prominent Altdorf landmark. [100/200] 628 Dutch Second Standard (.833) Silver Salad Serving Set, marked s’-Gravenhage, 1920, by J.M. van Kempen, including a salad serving fork and spoon, each with a cast openwork stem, the fork with figural sailing ship finial and embossed coastal scene bowl, the spoon with figural milkmaid finial and embossed windmill bowl, l. 9‑1/4”, 4.50 total t. oz. [125/250]

632 Unusual Art Deco Silverplate Expanding Trivet, mid-20th century, in three sections and expanding by concertina action, pierced with triangles and hexagons, l. 7‑1/2” closed, 16” open. [50/80] 633 Large Louis XV-Style Giltwood Looking Glass, the tall pierced foliate-carved crest above a shaped rectangular plate with a larger one below, each within a molded frame with applied scrolling and floral patterns, with an acanthine pierced pendant, h. 89‑1/2”, w. 40”. [800/1200]

629

634

635 Transitional Louis XV-intoLouis XVI-Style Kingwood and Exotic Woods MarbleTop Commode, the breakfront rectangular verde antico marble top above a conforming case fitted with a long frieze drawer with applied ormolu guilloche panels, above two long drawers, centered by a floral-inlaid panel, raised on cabriole legs ending in sabots, h. 34”, w. 49‑1/2”, d. 20”. [500/800]

636 Louis XV-Style Rosewood Writing Desk, early 19th century, the rectangular top with an inset writing surface, above a conforming case fitted with a central compartmented drawer flanked to either side by three short drawers, raised on cabriole legs, h. 31‑1/2”, w. 54‑1/2”, d. 27”. [1400/1800] 637 Louis XV-Style Kingwood Desk, early 20th century, the shaped rectangular top with an ormolu banding with an inset leather surface above a conforming frieze with three drawers, all banded and quarterveneered, raised on cabriole legs ending in sabots, h. 29‑1/2”, w. 43‑1/2”, d. 23”. [1800/2500]

638

634 Pair of Louis XV-Style Kingwood and Marble-Top Commodes, early 20th century, each with a shaped and bowed variegated gray and tan marble top above a conforming bombe case fitted with two long drawers, quarter-veneered and with inlaid scrolling foliate and avian patterns, raised on splayed legs ending in sabots, h. 33”, w. 43”, d. 23‑1/2”. [5000/8000] Illustrated

638 Petite Louis XV-Style Ormolu-Mounted Floral Inlaid Rosewood Writing Desk, early 20th century, the case of unusual bombe form and having an inlaid floral spray across the top deck, lid and drawer front, the edges, knees and feet trimmed in cast-brass ormolu mounts, the interior fitted with four drawers and a felt-lined writing surface, h. 39‑1/2”, w. 29‑1/2”, d. 18‑1/2”. [1000/1500] Illustrated 639 Pair of Paris Porcelain-Style Vases, in the Chinoiserie taste, each with a dramatic Chinese parasol-shaped lip above a body decorated with a painting of a Chinese man sitting between a raised gilt peony and a potted plant, the bulbous portion decorated with raised gilt scrollwork and butterflies, over an octagonal foot in form of an inverted Chinese parasol, h. 12‑3/4”, dia. 6‑1/2”. [200/400] 640 Transitional Louis XV-into Louis XVI-Style Ebonizedand Marble-Top Commode, late 19th century, the shaped rectangular breche d’Aleps marble top above a conforming case fitted with two long drawers, the front and sides with gesso and gilt figural designs in the orientalist taste, raised on tapering legs ending in sabots, h. 32‑1/2”, w. 35‑1/2”, d. 17”. [2000/4000]

642 Napoleon III Giltwood Mantle Mirror in the Rococo Taste, third quarter 19th century, of ovoid form, the mirror plate in a molded and beaded frame beneath a pierced foliate-and-scroll-carved crest with a putti perched at the front edge, the foliate carving extending to shells at the side and carving at the base, h. 74”, w. 55”, d. 9”. [3000/5000] Illustrated 643 Napoleon III Giltwood Mirror, mid-19th century, the oval segmented frame with molded laurel leaves and an egg-and-dart molding, the lower edge ornamented with pierced scrollwork and acanthus leaves, with scroll-molded cartouches forming the segment divisions, the pierced and scroll-molded crest, decorated with acanthus leaves, putti and grapes, the center set with a beveled mirror plate, h. 63‑1/2”, w. 41”, d. 5". [2000/4000]

641

641 Pair of Belle Epoque French Rosso Antico and GiltBronze Seven-Light Candelabra, fourth quarter 19th century, each with scroll feet supporting the tripartite bases, set with panels of guilloche pattern bronze and trimmed in laurel leaves, hoof-footed legs support the inverted marble standards, mounted with a ring and decorated with goat’s heads grasping laurel swags, the scrolled candle branches molded with stippled leaves, and circular drip pans support fluted candle cups trimmed with molded leaves, h. 33”, w. 13‑1/2”, d. 13‑1/2”. [14000/18000] Illustrated

642

644 Louis XV-Style Giltwood and Marble-Top Console, early 20th century, the shaped and bowed Griotte Rouge marble top with molded edge and above a pierced foliatecarved frieze, raised on cabriole legs headed by shield carving, joined by an urn-centered X-form stretcher and ending in scrolled toes, h. 34”, w. 41”, d. 22”. [600/900] Illustrated

644

645 Partial Set of French Cut and Gilded Crystal Stemware, late 20th century, possibly St. Louis, comprised of eleven water goblets, h. 7”, thirteen red wines, h. 6‑7/8” and fourteen white wines, h. 6‑3/8”, total 38 pieces. [600/900] Illustrated

648 Impressive Belle Epoque Giltwood Mirror, French, fourth quarter 19th century, the bold, deeply sculpted scrollwork and crosshatching interspersed with three dimensional flowers, sides decorated in the baroque manner, the outer edge and the interior liner decorated with delicate leaf moldings, h. 46”, w. 32”. [900/1200] Illustrated

645

646 Pair of Louis XVI-Style Mirrored Giltwood Sconces, molded with laurel wreaths decorating the bases of the guilloche-molded giltwood backplates, with a pierced bowknot crest, the scrolled candle arm molded with lotus leaves, supports a crimped tin drip pan and a pricket candle holder, h. 17‑1/2”, w. 10”, d. 8‑1/2”. [400/700] 647 Exuberant Pair of French Classical Revival GiltBronze Sconces, laurel branches hang from the harpform backplates, supported by bowknots mounted with a mask, scrolled candle branches mounted with acanthus leaves and set with grape- and grape-leaf-molded drip pans and fluted and reeded candle cups with leaf-molded bobeches, h. 36‑1/4”, w. 17‑1/2”, d. 12‑3/4”. [6000/9000] Illustrated

648

649 Charles Verlat (Belgian, 1824‑1890), “The Reluctant Scholar”, 1866, oil on wood panel, signed and dated lower right, 22‑1/4” x 16‑3/4”. Framed. [4000/7000] Illustrated

647 649

652 Suite of Four Louis XVI-Style Giltwood Fauteuils, late 19th century, each with a padded oval back within a ribbon-carved frame surmounted by a foliate bow crest, joined to the padded seat by scrolling acanthine arms, raised on tapering fluted circular legs ending in toupie feet, upholstered in floral-patterned Aubusson tapestry, h. 39”. [7000/10000] Illustrated 653 Fine Pair of French Polished Brass Chenets, fourth quarter 19th century, one depicting a seated man on a cushion-form base raised on large animal paw feet, the other depicting a seated female figure on an identical base, h. 17”, w. 15”, d. 11”. [900/1200]

652

650 Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular Sainte Anne des Pyrenees marble top with turreted corners above a conforming case fitted with a triple paneled compartmented frieze drawer over two long paneled doors, all with brass banding, raised on tapering circular feet ending in pegs, h. 34”, w. 50‑1/2”, d. 24”. [1000/1500] 651 Louis XVI-Style Mahogany and Marble-Top Center Table, late 19th century, the circular Breche d’Aleps marble top within a brass banding, above a conforming frieze fitted with a single drawer and with floral guilloche inlays, raised on tapering fluted circular legs ending in brass caps, h. 29”, dia. 21”. [500/800]

655 open

654

655

658 Louis XVI-Style Fruitwood and Marble-Top Commode, mid-19th century, the rectangular variegated gray marble top with canted corners above a conforming case fitted with a single long frieze drawer with faux dentillation, over two long drawers, inlaid with oval panels, raised on square tapering legs, h. 32‑1/2”, w. 36”, d. 17‑1/2”. [3000/5000] Illustrated 659 Pair of Louis XVI-Style Mahogany and Marble-Top Bouillotte Tables, early 20th century, each with a circular Brocattelle violette d’Espagne marble top within a full pierced brass gallery, above a frieze fitted with two candlesticks and two small drawers, raised on tapering circular fluted legs ending in pegs, h. 29”, dia. 25‑1/2”. [700/1000] Illustrated 658

654 Brass and Crystal Louis-Philippe-Style Eight-Light Chandelier, a pear-shaped glass prism hangs from the central standard which is sheathed in molded, reeded glass, scrolled brass arm supports set with leaf-molded glass drip pans and turned candle cups, double strands of prism swags hang between branches and festoons of prisms hang from the canopy to the branches, h. 39‑3/4”, dia. 20‑1/2”. [600/900] Illustrated 655 Louis XVI-Style Mahogany and Exotic Woods Desk/Dressing Table, early 20th century, the rectangular top with brass banding and an inlaid latticepatterned surface centered by an oval medallion featuring an elaborate scene of various classical symbols such as a caduceus, Mercury’s cap, etc., hinged and opening to a beveled oval mirror and two lattice inlaid hinged side compartments, the front fitted with a faux central drawer flanked to either side by a faux over real short drawer, raised on tapering square legs ending in brass caps, h. 30”, w. 36‑1/2”, d. 21‑1/2”. [9000/12000] Illustrated

659

656 French Gilt-Bronze Classical Revival Glove Box, the base decorated with molded leaves and ribbons, supporting a body decorated with molded flora on a stippled ground, the beveled lid corners decorated with molded leaves and bound reeding, the top with a stippled surface ornamented with an oval painting of a courting couple in a garden, and lined in burgundy velvet, signed “L. Etat”, h. 4”, w. 12‑1/2”, d. 4‑3/4”. [700/1000]

660 Louis XVIStyle Giltwood Looking Glass, early 20th century, the rectangular plate surmounted by a floral wreath and torchere crest and surrounded by an annulated and floral ribbon-carved frame, h. 68”, w. 40‑1/2”. [1200/1800] Illustrated

657 Set of Eight Rosenthal Raised Gilt, Hand-Painted Cabinet Plates, before 1933, Bavaria, raised gilt trims the apple green ground borders, decorated with gilttrimmed reserve panels of flowers, a wide gilt border of intertwined raised gilt leaves, outlines the center reserve panel of hand-painted flowers, dia. 10‑1/2”. While the mark is not included in the Rosenthal knowledge base, the inclusion of Bavaria rather than Germany, helps date it. Marked with Opington’s New York retail mark. [250/400]

660

664 Niek van der Plas (Dutch, b. 1954), “Beachscene”, oil on wood panel, signed lower right, 12” x 16”. Framed. [1500/2500] Illustrated 665 Pair of Louis XVI-Style Kingwood and Marble-Top Encoignures, mid-19th century, each with a Rouge Royale marble top above a case fitted with a single banded and quarter-veneered cupboard door, raised on block feet, h. 36”, w. 26‑1/2”, d. 15”. [700/1000] 666 Napoleon III Fruitwood Games Table, late 19th century, in the Louis XVI taste, the rectangular top quarter-veneered, double-banded and centered by an urn inlay hinged and opening to a like-banded interior centered by an inlaid floral spray, above a banded apron, raised on tapering square legs, h. 31‑1/2”, w. 33‑3/4”, d. 17”. [1200/1800] 661

662

663

661 Niek van der Plas (Dutch, b. 1954), “Venice”, oil on wood panel, signed lower right, signed and titled en verso, 14” x 18”. Framed. [1800/2500] Illustrated 662 Niek van der Plas (Dutch, b. 1954), “Florida Beach”, oil on wood panel, signed lower right, signed and titled en verso, 7” x 9‑1/2”. Framed. [1000/1500] Illustrated 663 Niek van der Plas (Dutch, b. 1954), “Field of Flowers, de Zanderij”, oil on wood panel, signed lower right, signed and titled en verso, 9‑1/2" x 11‑1/4". Framed. [1000/1500] Illustrated

664

671 Pair of Louis XVI-Style Kingwood and Marble-Top Chests, early 20th century, each with a shaped rouge royale marble top above a conforming case fitted with two drawers, each banded and with floral inlay, raised on slightly splayed legs ending in sabots, h. 32”, w. 26”, d. 13”. [300/500] 672 Louis XVI-Style Mahogany Bureau Plat, mid-19th century, the rectangular top with an inset leather writing surface, above a conforming frieze fitted with a central drawer flanked to one side by two small drawers and to the other by a deep drawer, raised on tapering fluted circular legs headed by an annulated ormolu band and ending in toupie feet, h. 29‑1/2”, w. 51”, d. 29‑1/2”. [1400/1800]

669

673 Suite of Six Creme Peinte and Parcel-Gilt Sidechairs, late 19th century, each with a double caned rectangular back within a molded frame, above the caned seat, the cane with polychrome diamond patterns, raised on tapering stop-fluted circular legs headed by floral block capitals and ending in toupie feet, h. 38”. [1200/1800] Illustrated

667 Louis XVI-Style Mahogany and MarbleTop Occasional Table, early 20th century, the rectangular Carrara marble top with a three-quarter pierced brass gallery, above a case fitted with three drawers, each paneled and with brass banding, joined to a lower shelf by turned bulbous uprights, raised on tapering circular legs ending in brass caps and casters, h. 30”, w. 19”, d. 12‑1/2”. [700/1000]

674

668 Louis XVI-Style Argente Looking Glass, 20th century, the rectangular plate surmounted by a crest consisting of an oval plaque of a classical woman flanked by griffins and issuing a ribbon swag, within a ribbon-modeled frame and with ribbed urn-form pendants, h. 65”, w. 29‑1/2”. [900/1200] 669 Louis XVI-Style Mahogany Bureau de Dame, late 19th century, the superstructure with a Carrara marble top within a pierced brass gallery, above a roll-top opening to a variety of drawers and cubbyholes, above a pull-out leatherinset writing surface, above a single paneled frieze drawer, raised on tapering circular legs ending in brass caps and casters, h. 37”, w. 29”, d. 17”. [1200/1800] Illustrated 670 Louis XVI-Style Mahogany Bureau de Dame, late 19th century, the rectangular top quarter-veneered and with a threequarter pierced-brass gallery, over three small drawers, above a cylinder bureau opening to a pull-out leather writing surface and a variety of drawers and cubbyholes, over a single long drawer, raised on tapering circular fluted legs ending in cap feet, h. 39‑1/2”, w. 29" , d. 16‑1/2”. [1400/1800]

673

677

674 Suite of Four Louis XVI-Style Polychrome and Parcel-Gilt Chairs, consisting of two fauteuils and two sidechairs, each with a padded oval back within a ribbon-carved frame, the padded seat raised on tapering circular stop-fluted legs ending in toupie feet, h. 40”. [1000/1500] Illustrated previous page

678 French Belle Epoque Giltwood Looking Glass, ca. 1900, the rococo-style frame incorporating deeply carved oak leaves and acorns against an acanthus leaf molded liner, h. 44”, w. 30‑3/4”. [500/800] Illustrated

675 Pair of Louis XVI-Style Giltwood Sidechairs, early 20th century, each with a caned back surmounted by a floral crest, the caned seat raised on circular tapering spiralfluted legs ending in toupie feet, h. 35‑1/2”. [125/250]

680 Meissen-Style Dresden Porcelain Six-Light Chandelier, made and signed by Paul Thieme of Potschnappel, the central standard in the form of a ball, mounted with a leaf-molded vase decorated with scattered flowers, both hand-painted and applied, scrolled arms decorated with applied flowers support leaf-molded drip pans and candle cups, h. 26‑1/2”, dia. 26‑3/4”. [1000/1500] Illustrated

679 Good French Provincial Fruitwood and Rosewood Inlaid Marble-Top Bombe Commode, 18th century, having three long drawers with inset rosewood banding, the scalloped apron with a carved shield, raised on cabriole legs, pegged construction throughout, retains its original drawer locks and key, h. 36”, w. 42”, d. 24”. [3500/5000] Illustrated

676 Louis XVI-Style Giltwood Foot Stool, ca. 1900, French, the tapered fluted legs terminating in leafcarved corner blocks support the leaf-carved frame, covered in pink velvet, h. 6”, w. 9‑1/2”, d. 12”. [200/400] 677 Louis XVI-Style Parcel-Gilt and Polychromed Pedestal, early 20th century, the fluted column adorned with giltwood floral swags, on a stepped base with laurel leaf and ribbon carving, h. 47‑1/4”, base dia. 15‑1/2”, top dia. 9‑3/4”. [900/1200] Illustrated

678

681 Louis XIV-Style Giltwood Stool, late 19th century, the padded rounded rectangular top above a shaped frieze, raised on acanthine-carved cabriole legs ending in scrolled toes, h. 17”, w. 24‑1/2”, d. 17‑1/2”. [900/1200]

679

682

682 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded medallion-form back within a molded frame, joined by padded scrolling arms to the like seat, raised on tapering circular stop-fluted legs ending in toupie feet, h. 35”. [1200/1800] Illustrated

680

683 Transitional Louis XV-into-Louis XVI-Style Polychrome Commode, 19th century and later, the rectangular top with a shaped front above a case fitted with three long drawers, all with ornately modeled hardware, raised on shaped feet ending in scrolled toes, h. 33‑1/2”, w. 38”, d. 17‑1/2”. [1800/2500] Illustrated

683

684

684 Good One Hundred and Twenty-One Piece Set of Hache & Cie. Porcelain Dinnerware, fourth quarter 19th century, Vierzon, France, with scalloped edge, the delicate pattern with a gilt- and black-threaded lavender band and six pairs of pendant arabesques (the smoothrimmed cups and saucers with three pairs), including eleven dinner plates, dia. 9‑3/8”, eleven dessert plates, dia. 8‑1/2”, twenty-three salad plates, dia. 7‑78”, eleven soup plates, dia. 9”, ten fruit bowls, dia. 5‑1/8”, seven condiment bowls, dia. 5‑1/8”, twelve teacups, dia. 3‑3/4”, twelve tea saucers, dia. 6‑5/8” eleven demitasse cups, h. 2‑3/8”, eleven demitasse saucers, dia. 4‑5/8” and a pair of footed dessert stands, h. 3‑1/2”, dia. 9”, all but the dessert stands and saucers with elaborate conjoined monogram “AFC” in gilt, red and black, all pieces stamped on the underside in overglaze grey or rouge with the Ad. Hache & Pepin Lehalleur [Fils] mark in use from 1878 or in brown with the Alfred Hache & Cie. mark in use from 1889, some additionally in green with “H & PL/V” or “AH & Cie./ France”, respectively. The firm of Hache & Cie. was located in Vierzon on the Cher River and in the department of the same name. Successors to the firm of Petry & Ronsse (which itself could be traced back to the early days of the Restauration), the company was founded in 1845 by brothers-in-law Adolphe Hache and Leon Pepin-Lehalleur. The new industrialized manufacturing techniques introduced by Hache & PepinLehalleur, coupled with the region’s rich supplies of clay and firewood, established Vierzon as a major porcelain manufacturing center of France . Pepin-Lehalleur retired in 1872, succeeded in the firm by his sons, after which the firm was known as Hache & Lehalleur fils. Following Adolphe Hache’s retirement in 1885, he was succeeded by his son and son-in-law as Alfred Hache, Jullien & Cie., known from 1893 simply as A. Hache & Cie. These vvvvv companies received numerous exhibition awards, including silver medals in Paris in 1858 and 1867, a prize medal in London in 1862, gold medals in Paris in 1867 and 1878, diplomas of honor in Vienna in 1872 and Paris in 1889. Adolphe Hache was awarded the Legion d’Honneur in 1886, and Alfred Hache served as the President of the Ceramics Jury in the Paris Exposition of 1900. See Chavagnac & de Grollier, Histoire des Manufactures Francaises de Porcelaine (Paris: Picard & fils, 1906), pp. 694‑695, for a brief history of the company and their marks. [1000/1500] Illustrated

685 Twelve Royal Berlin Dinner Plates and Matching Soup Plates, fourth quarter 19th century, German, the porcelain plates molded with a swirled basketweave and the borders decorated with delicate gilt swags and bellflowers, marked with the blue scepter underglaze and the KPM rouge de fer mark incorporating the Catholic orb, plates dia. 9‑3/4”, soups dia. 9‑1/4”. [800/1200] 686 Pair of Louis XV-Style Eight-Light Patinated-Brass and Crystal Candelabra, ca. 1900, the round bases support a standard fitted with molded glass sleeves, eight scrolled candlearms fitted with electrified candlecups and beaded drip pans, decorated with a latticework basket of glass beaded prisms terminating at the top, fitted with brass arms holding swags of prisms and crowned with a lobed, pointed glass finial, electrified and fitted with faux candles, h. 40”, dia. 22‑1/2”. [2500/4000] Illustrated

686

691 Paul Renard (French, 1941‑1997), “Gare de l’Est”, gouache and color on paper, signed lower right, sight 10‑3/4” x 18‑1/4”. Glazed, matted, and framed. [1500/2500] Illustrated

687

692 French School (Second Quarter 20th Century), “Paris, La Seine et Notre Dame”, oil on canvas, signed lower left “Chuceo”, signed and titled verso canvas, 24‑1/2” x 30”. Presented in a giltwood and gesso frame. [500/800]

687 Lalique, France, “Verone” Glass Vase, 1980s, the flared sides depicting frosted birds among scrolls, engraved underneath: “Lalique-France” , h. 7‑1/2”, dia. 11”. [600/900] Illustrated

688

688 Collection of Seven Lalique, France, Frosted Glass Birds, late 20th century, in a variety of attitudes, all engraved underneath: “LaliqueFrance”, h. 3”-3‑3/4”. [250/400] Illustrated

693 Antal Jancsek (Hungarian, b. 1907), “Streetscene”, oil on canvas, signed lower right, 24‑1/4” x 34”. Framed. [800/1200] Illustrated 694 French School (Second Quarter 20th Century), “Chalais Street Scene With Shop Keepers”, oil on linen, unsigned, verso inscribed “Mauxion, Chalais”, 14” x 18”. Framed. [125/250]

691

689 Collection of Five Lalique, France Frosted and Clear Glass Bird-Related Items, late 20th century, comprised of a small oval footed vase, h. 5”, circular ring tray, h. 3‑3/4”, love bird paperweight, h. 1‑5/8” and a pair of small compotes, h. 3‑1/4”, dia. 5‑1/2”, all engraved underneath: “Lalique-France”. [250/400] 690 Lalique, France, “Elizabeth” Footed Glass Bowl, late 20th century, depicting molded and frosted plump birds among leafy branches, engraved underneath: “LaliqueFrance”, h. 5‑3/8”, dia. 5‑3/4”. [200/400]

693

695

701 Louis XV-Style Polychrome Bed, the domed and paneled headboard surmounted by a foliate shield crest, joined by shaped and paneled shell-carved side rails to the lower paneled footboard, centered by an applied foliate medallion, raised on scrolled toes, h. 61‑1/2”, inside w. 57”, outside w. 61”, inside l. 81”, outside l. 85”. [500/800] 702 Pair of Louis XV-Style Polychrome Fauteuils, each with a shaped padded back surmounted by a floral crest, joined by scrolling padded arms to the like seat, raised on molded cabriole legs ending in scrolled toes on casters, h. 37”. [800/1200] 703 Louis XVI-Style Parcel-Gilt Trumeau Mirror, ca. 1900, the vertical gilded mirror frame with a scoopmolded frame with a lotus-molded liner, a bas relief giltmolded covered handled urn above the mirror on a grey ground, and a gilt dents-de-loop molding serving as the top frieze, h. 44”, w. 9‑1/2”. [400/700]

695 Pair of Louis XVI-Style Polychrome Fauteuils, early 20th century, each with a padded and domed back surmounted by a floral crest and within a ribbon-carved frame, joined by padded and scrolling arms to the padded seat, raised on tapering circular fluted legs ending in toupie feet, h. 42”. [1000/1500] Illustrated 696 Louis XVI-Style Polychrome Trumeau Mirror, early 20th century, the upper section with a painted canvas panel of cherubs holding a floral garland, over a rectangular mirror plate, each within an annulated frame, the whole flanked by canvas uprights with foliate swags and sprays, within an imbricate carved frame, h. 88‑1/2”, w. 65”. [6000/9000] Illustrated

704 Ivory Billiards Ball on an Ebonized Stand, 19th century, the ivory bun feet support the ebonized wooden stand, with a square base and tapered standard trimmed with an ivory ring, the cue ball supported by an ebonized cup, h. 8‑1/4”, w. 3‑1/2”, d. 3‑1/2”. [100/200]

697 Louis XVI-Style Polychrome Fauteuil a la Reine, the tall domed back joined by downswept molded shell and acanthine arms to the padded seat, raised on like-carved cabriole legs joined by an H-form stretcher and ending in scrolled toes, h. 43”. [700/1000] 698 Pair of Louis XVI-Style Polychrome Fauteuils, each with a caned medallion back within a molded frame, joined by padded acanthine arms to the padded seat, raised on tapering fluted circular legs ending in toupie feet, h. 40”. [800/1200] 699 Louis XVI-Style Polychrome Settee, 19th century, the padded rectangular back joined to the padded seat by downswept closed arms, raised on fluted tapering circular legs ending in toupie feet, h. 37‑1/2”, w. 41”, d. 22‑1/2”. [1000/1500] 700 Painted and Gilded Napoleon III Mirror, third quarter 19th century, French, the complex ogee interior portion molded with acanthus leaves and trimmed with a gilt border, the outside molding with molded flowers held with gilt crossed ribbons, retains its distressed mirror plate, h. 48”, w. 30‑1/2”. [600/900]

100

696

705 Victorian Ebonized and Parcel-Gilt Occasional Table, third quarter 19th century, the shaped ovoid top with a raised and molded edge, centering a painting of Prince Albert under a glass panel, raised on a ribbed bulbous standard to a molded circular base on scrolled toes, h. 24”, w. 23‑1/2”, d. 20‑1/2”. [450/700]

710 Pair of English Victorian Brass Candlesticks, 1886‑1887, each with beehive turned standard supporting mid drip pans under raised diamond-patterned elements supporting the candlecups, marked “Reg no 527673” on the base, h. 17‑1/4”, dia. 5‑1/4”. [125/250] Illustrated 711 Pair of Victorian-Style Brass Candlesticks, the ribbed and domed bases support a beehive standard fitted with a scalloped edge drip pan, the upper portion contains a diamond-patterned knop and candlesocket with a flared rim, h. 18‑1/4”. [75/125]

710

707 706 Watercolor Miniature on Ivory of a Hunt Scene, fourth quarter 19th century, English, depicting a rider adorned in a riding habit with a pack of hounds jumping a fence, with riders in the distance, mounted in an engineturned bezel behind beveled glass, the whole in a brown leather case with gilt-incised trim, with a brown velvet liner with stamped decoration, h. 5‑1/2”, w. 6‑1/2”. [200/400] 707 Robert Sanderson (British, 1848‑1908), “The New Litter”, oil on panel, signed lower left, 9” x 7”. Presented in a period giltwood frame. [800/1200] Illustrated 708 Edwardian Mahogany Handkerchief Game Table, early 20th century, the square segmented top rotating and opening to a baize-lined surface, above a frieze fitted with a single drawer, raised on tapering square legs ending in brass caps on casters, h. 30‑1/2”, w. 20”, d. 20”. [350/500] 709 Edwardian Mahogany Chest, early 20th century, in the Georgian style, the rectangular top with a molded edge above a conforming case fitted with a brushing slide over three long drawers, raised on bracket feet, h. 34”, w. 41‑3/4”, d. 2‑1/4”. [500/800]

712

712 Pair of English Victorian “Good Luck” Candlesticks, fourth quarter 19th century, signed “Good Luck” with a horseshoe on the base, each with turned supports decorated with a central knop of incised bull’s eyes flanked by beading, fitted with pushups, h. 12‑1/2”. [250/400] Illustrated

101

713 Pair of English Victorian Brass Candlesticks, mid19th century, domed bases decorated with incised ribbing support turned standards and flaring candlecups with likeribbing, fitted with push-ups, h. 12‑1/4”. [200/400] 714 Victorian Brass Jardiniere, ca. 1900, probably English, sitting on raised paw feet, the sides decorated with scrolled panel separated with flowers, and an upper engraved border, set with lion’s head ring handles, h. 14”, dia. 15”. [250/400]

718 Minton “Scinde” Pattern Partial Dinner Service, ca. 1918, English, decorated in the Imari taste with orange and cobalt peony and scroll decorated borders, the set comprised of twelve dinner plates, dia. 10”, twenty luncheon plates, dia. 9”, four bread and butter plates, dia. 8”, a handled covered vegetable dish with a fruit form knop, h. 7”, w. 11‑3/4”, d. 10‑1/4”, and five platters, w. 8‑3/4” to 17”, l. 10‑1/2” to 13‑3/4”. [700/1000] Illustrated 719 Set of Twelve Royal Worcester Cream Soup Bowls and Liners, ca. 1904, English, retailed by Ovington Bros., New York, the design incorporates cobalt borders decorated with gilt tracery, and cream panels of gilt scrolls and fleur-de-lis with swags of roses and vines, marked with both retailer and the Royal Worcester mark for 1904, h. 2”, dia. 6‑3/4”. [500/800] 720 Louisiana School (20th Century), “Evnious Blackcap B, 6th International Grand Champion, 1939”, oil on canvas board, signed lower right “Clarence Miller”, 12” x 15”. Presented in a exhibition frame. Provenance: Kolb Restaurant, New Orleans, Louisiana. [300/500]

716

715 Pair of English Brass St. Bernard Bookends, the dogs depicted with casks of brandy at their necks, each on a molded base, h. 7‑1/4”, w. 9”, d. 2”. [100/200] 716 Victorian Mahogany Drop-Leaf Table, third quarter 19th century, the rectangular top with floral inlays and crimped corners, with two bowed like-inlaid drop leaves, above a frieze fitted with a single side drawer, raised on tapering circular fluted legs ending in turned toupie feet, h. 29”, w. 27”, d. 22‑1/2”, ext. l. 45”. [900/1200] Illustrated

717 Victorian Walnut Work Table, third quarter 19th century, the turtleform top with highly figured veneers above a conforming case fitted with a compartmented frieze drawer over a pull-out storage well, raised on turned bulbous fluted legs joined by an arched foliate stretcher and ending in splayed shaped legs to foliate toes on casters, h. 28‑1/2”, w. 27‑1/2”, d. 17‑1/2”. [350/500]

102

718

723

721 After Edwin Landseer (British, 1802‑1873), “Shoeing the Bay Mare”, oil on panel, fourth quarter 19th century, unsigned, 12” x 9‑1/2”. Presented in a period giltwood and gesso frame. [300/500] 722 Victorian Upholstered Mahogany Armchair in the Turkish Revival Taste, late 19th century, the back and arm supports of spring steel construction, the tufted barrel-form back wrapping to join closed arms with serpentine seat rail and cabriole legs on porcelain casters, h. 35”. Provenance: Bardith I, New York, New York. [250/400] 723 Unusual Late Victorian Mirror, fourth quarter 19th century, English, the square corner blocks molded with leaves, the upper and lower frame decorated with an Indiastyle strapwork running fret, framed in raised beading, morning glories and vines decorate the sides, h. 34”, w. 78‑1/2”. [300/500] Illustrated 724 Victorian Mahogany Candle Stand, mid-19th century, the circular top with a beaded edge, on a tapering twistturned baluster-form column joined to a turned base, the underside of the base weighted with inset lead, h. 27”, dia. 10‑3/4”. Provenance: Joseph Lombard, New York, New York. [200/400]

725

726

725 Unusual Brass and Damascene Steel Strong Box, mid-19th century, probably English, the box bordered in brass, the side panels and lid tooled with gothic strapwork panels and flowers, the lid mounted with a gilt-bronze rococo revival bail pull, the lid interior in Japanned black and decorated with a floral bouquet, and the well lined with blue silk and trimmed with gilt foil, h. 4‑1/2”, w. 8‑1/2”, d. 6”. [300/500] Illustrated 725A Polished Bronze Figure of a Peasant Girl, Eutrope Bouret (1833‑1906), fourth quarter 19th century, French, now mounted as a lamp on a marble base, depicting a barefoot aproned peasant girl resting on her rake, a sheaf of wheat at her feet, signed “Bouret” on the base, h 16-1/2" figure only. [150/300]

726 Bohemian Majolica Pedestal, Brothers Urbach, TurnTeplitz, 1882‑1912, supported on leaf-molded scrolled feet, the base decorated with reserve panels,with raised and incised flowers on a white ground, the tapered pedestal decorated with matching floral panels contained in brown scrollwork, lion’s heads on navy panels decorate the sides, the top section with additional floral panels alternating with molded leaves and scrolls, made in three sections and stamped “BU” on the base along with a pattern number, h. 41‑1/2”. [1000/1500] Illustrated 727 Pair of Brass and Tin Carriage Lanterns, fourth quarter 19th century, probably English, the painted iron screw plate and bracket supports the cylindrical brass and painted tin standard, mounted with the square lamp, two sides of the lantern mounted with beveled glass panels, and the remaining sides set with interior silver-plated reflectors, matching the silver-plated candle socket, the ventilated cap composed of brass-trimmed painted tin, molded to mimic roof tiles on a turret, h. 19”, w. 6”, d. 12”. [200/400]

728

728 Exuberantly Carved Mother-of-Pearl Jewel Box, probably Syrian, the cut-cornered box with raised side panels of bas relief applied branches, leaves and flowers, with pyramidal borders, raised applied flowers and leaves create the border with a crosshatched ground, a raised central lozenge features a bird on a carved scroll ground, carved scrolls, leaves and applied roses decorate the remainder of the top, lined in red velvet, h. 4‑1/2”, w. 16”, d. 13”. [1000/1500] Illustrated

103

730 Miniature Portrait on Ivory of a Gentleman, first quarter 20th century, depicting an elderly gentleman in a bow tie, set into an ivory frame trimmed in quartz with a molded brass bezel, h. 5‑1/2”, w. 4‑3/4”. [100/200] 731 Edwardian Mahogany Wardrobe, early 20th century, in the Georgian taste, the molded and dentillated cornice above a case fitted with two paneled doors with decorative banding, opening to an interior fitted with a hanging space, cupboard and various cubbyholes, raised on a plinth base, h. 78”, w. 59”, d. 23”. [500/800] Illustrated

731 729 English Cast-Iron Vintage Pattern Dressing Mirror, fourth quarter 19th century, possibly Coalbrookdale, the round pierced foot supporting the oval adjustable mirror, all cast with grapes and grape leaves, the mirror retains an old mirror plate, h. 29‑1/2”, w. 17”. [500/800] Illustrated

729

732 Eugene Meeks (American/New York, 1843‑1916), “A Toast in the Wine Cellar”, oil on canvas, signed lower right “Eugene Meeks”, verso with a painting of a woman’s profile, 20” x 15‑3/4”. Presented in a molded giltwood frame. [700/1000] Illustrated 733 Edwardian Rosewood Banded Mahogany Kneehole Desk in the Georgian Taste, first quarter 20th century, the top and drawer faced with rosewood banding, the frieze with a pair of drawers, each pedestal end with a bank of three graduated drawers, raised on bracket feet, h. 32‑1/2”, w. 46‑1/4”, d. 23”. [400/700] 734 Edwardian-Style Mahogany Games Table, mid-20th century, the shaped rectangular top hinged and opening to a larger surface, above a frieze with decorative banding and inlaid urn panels, raised on tapering square legs headed by bellflower inlays, h. 29‑3/4”, w. 35‑1/2”, d. 18”. [600/900] 732

104

735 Fritz Wagner (German, 1896‑1939), “The Amusing Correspondence”, oil on canvas, signed and inscribed “Munich” lower right, 25‑3/4” x 31‑1/2”. Framed [8000/12000] Illustrated 736 Edwardian Satinwood Demi-Lune Side Table, ca. 1900, the demi-lune top featuring rosewood banding and a decorative floral band centering a fruit still life, hinged and opening to a baize-lined interior, above a floral garland decorated frieze, raised on tapering square legs ending in spade feet, h. 28‑1/2”, w. 38”, d. 17”. [3000/5000] Illustrated 737 Edwardian Polychrome Armchair, ca. 1900, the domed rectangular slatted back with a central portrait medallion surmounted by Prince of Wales feathers, joined by downswept arms to the padded seat, raised on tapering square legs with delicate bellflower accents, h. 35‑1/2”. [400/700] Illustrated 735 737

736

738

738 Pair of Five-Light Candelabra, first quarter 20th century, the domed bases support beehive turned standard and scrolled, pierced candle arms, turned candle sockets fitted with scalloped drip pans, drilled for electrification, h. 18‑1/2”, w. 17‑1/2”, d. 8”. [300/500] Illustrated

105

739 Edwardian Mahogany Wing Chair, early 20th century, in the Georgian taste, the tall slightly domed back joined by shaped sides and rounded arms to the cushioned seat, raised on chamfered square legs, h. 47”. [250/400] 740 Edwardian Mahogany and Leather-Upholstered Club Chair, early 20th century, the padded rectangular back joined by outscrolled arms to the cushioned seat, raised on square legs, the whole with brass tack accents, h. 34”. [700/1000] Illustrated

740

744 743 Figural Bronze Umbrella Stand, in the form of a seated whippet grasping a quirt in its mouth, and with an integral drip pan, h. 29‑1/2”, w. 10”, d. 16”. [800/1200] Illustrated 744 Louis Basset (French, b. 1948), “At the Track”, oil on wood panel, signed lower right, 23” x 19‑1/2”. Framed. [800/1200] Illustrated 741 Edwardian Mahogany Occasional Table, early 20th century, the kidneyform top with foliate-carved edge and inset leather surface, above a conforming frieze fitted with a single drawer, raised on tapering square legs headed by bellflower carving, h. 29”, w. 33”, d. 19”. [400/700] 742 Pair of Edwardian Mahogany and Leather Upholstered Club Chairs, early 20th century, each with a padded, scrolled, back-tufted and joined by rounded arms to the padded seat, the front with brass tack accents, raised on tapering square legs, h. 34”. [800/1200]

106

743

745 Three Vintage English Equestrian Objects, comprised of a black velvet riding hat labeled “Gold Top, Styled by Godfrey’s, Made in England”, h. 6‑3/4”, w. 8”, l. 11”, a bamboo riding crop with a bone handle and a plated leather switch, w. 4”, l. 21‑1/2”, and a horsehair whip with a rope-turned rosewood handle, inlaid with bone, l. 27‑1/2”. [75/125] 746 American Swagger Stick, ca. 1900, made by Robert F. Simmons Co., Attleboro, MA, the gold-filled cap marked “RFS & Co.” and impressed with leaves and fluting, attached to the tapered mahogany stick, mounted with a brass end cap, l. 17‑1/4”. [100/200] 747 Victorian Cane and Horn Walking Stick, fourth quarter 19th century, the black-trimmed antler serving as the handle and mounted with a nickel silver end cap, l. 36”. [100/200] 748 Extensive Collection of Butterflies and Moths, stored in three hinged cork-lined wood boxes, the largest with a removable cork-lined tray, h. 4‑3/4", w. 23‑3/4”, d. 18”, the smaller pair, h. 4”, w. 17‑1/4”, d. 13”. [200/400]

749 755 Pair of French Painted Porcelain Shih Tzus, probably Limoges, raised on plinths decorated with gilt rocaille on a cobalt ground, the dogs depicted sitting with one raised paw and their tongues out, signed with a Sevres-style mark and “Modele et decoration exclusive a la main”, h. 7”, w. 4‑3/4”, d. 3‑1/2”. [200/400]

749 Set of Twelve Johnson Bros. “Pareek” Pattern Earthenware Dinner Plates, after 1913, English, the blue ground border divided into alternating panels of tan scrollwork with red and blue enamel “jewels” and tan baskets of red and blue flower “jewels”, marked “Pareek, Johnson Brothers, England”, dia. 10‑1/2”. [600/900] Illustrated 750 Set of Twelve Royal Doulton Service Plates, 1902‑1922, English, a narrow white and gilt border frames the cobalt and gilt decoration, a crosshatched ground is punctuated with scroll-sided cartouches, decorated with swags of flowers, with the Royal Doulton underglaze mark, signed “used 1902‑22” and “R A.8990. H.782”, dia. 10‑1/4”. [400/700] 751 Set of Twenty-Four KPM Dinner and Bread and Butter Plates, comprised of twelve dinner plates, dia. 9‑1/2”, and twelve bread and butter plates, dia. 6”, all decorated with a gilt scalloped border and shell edges interspersed with rococo scrolls, all highlighted in bleu royale, marked with a blue underglaze scepter and KPM’s crossed orb in rouge defer. [450/700] 752 Set of Wedgwood Fine China “Whitehall” Dinner Service, third quarter 20th century, white ground with gilt vine and berry band, comprised of eight dinner plates, dia. 10‑3/4”, eight salad/dessert plates, eight bread and butter plates, two oval open vegetable bowls, l. 10”, a pair of oval platters, l. 13‑1/2”, a pair of oval platters, l. 21‑1/4”, a gravy boat with attached underplate, eight coffee cups and sixteen saucers, total 55 pieces. [300/500] 753 Set of Eight Royal Worcester Crested Service Plates, 1891, English, embellished on the rim with the gilt crest of the Cook Family of Scotland, the severe white plates have the mark used only in 1891, the crest made of a gilt banner proclaiming “Tutum Monstrat Iter [he shows the way]” over an unfurled map of Scotland, dia. 10‑1/2”. [100/200] 754 Set of Eight Wedgwood Porcelain Demitasse Cups and Saucers, 1890‑1900, English, composed of white porcelain, the cups with gilt handles and an octagonal design, with conforming saucers, a brown printed mark of the Portlan Vase (no stars) over Wedgwood Etruria, England, h. 2‑1/4”, dia. 4‑1/4”, all in a silk-lined presentation box with ivory toggle fasteners, vh. 6”, w. 13”, d. 13”. [200/400]

757

756 Two Victorian Staffordshire Figural Flat-Back Spill Vases with a Stafford-Style Spaniel-Form Jug, the vases, third quarter 19th century, one depicts a leaping hound chasing a rabbit on the base, he stands against a trunk forming the vase which has bocage around its opening and in two limbs, h. 9‑1/2”, w. 8‑1/2”, d. 2‑1/4”, and the other depicts a stag standing protectively over a fawn, against a tree trunk spill vase, molded with flowering vines, h. 9‑1/4”, w. 5‑3/4”, d. 2”, each vase decorated in realistic polychrome colors, together with a jug in the form of a spaniel sitting on his hind legs, wearing a tricorn hat decorated with fruit and leaves, h. 10”, w. 4”, d. 5‑1/2”. [250/400] 757 Pair of Victorian Silverplate Candelabra, third quarter 19th century, by Smith, Sissons & Co., Sheffield, each with a baluster standard decorated with acanthus frond calyx and banding, above a domed foot en suite and surmounted by an urn-form nozzle with acanthus frond calyx, fitted with a superstructure of a smaller standard flanked by a pair of scrolling reeded arms, all terminating in nozzles en suite, with circular drip-pans and detachabe bobeches, with narrow beaded and reed-and-ribbon banding throughout, h. 22‑1/4”, dia. 5‑1/2”, w. 14”. [3500/5000] Illustrated

107

758 Victorian Silverplate Hot Water Urn, second quarter 19th century, in the early Georgian taste, the ovoid body decorated with repousse floral swags, with addorsed acanthus-scroll mounted turned bone handles, dolphin’s head tap and carved spatulate key, the fitted, steeply domed lid with “pinecone” finial, raised on a waisted base decorated en suite and raised on rocaille-scroll feet joined by a wavy pierced gallery, the entire body detaching from the base by means of a “bayonet” fitting sleeve to reveal the fire box, retaining the original billet, [300/500] Illustrated

758

760 Victorian Silverplate Sugar Basket, fourth quarter 19th century, by Atkin Brothers, Sheffield, of oval form with upswept ends, gadrooned around the lower half below a repousse floral scroll band and gauffered rim, raised on a conforming oval foot, the rim en suite, with beaded swing handle, h. 4‑1/4” (6‑1/2” with handle), l. 5‑3/4”, w. 5” [75/125] 761 Victorian Silverplate Revolving Vegetable Dish, fourth quarter 19th century, by Atkin Brothers, Sheffield, of oval form, with opposing reeded handles and raised on four reeded flat-column legs ending in paw feet, the domed lid decorated with spiral gadroons above an embossed rococo scroll band centering opposing cartouches revolving to reveal two trays, one pierced, one solid, above a hot water reservoir, h. 3‑3/4”, w. 14”, d. 10‑1/4”. [200/400]

762

759 Two Victorian Reticulated Silverplate and Cobalt Glass Sugar Baskets, fourth quarter 19th century, in the Georgian taste, each with an ovoid bowl and fitted cobalt glass liner, the larger example by Hawksworth, Eyre & Co., pierced with stylized geometric foliate banding and raised on an acanthus-domed foot, with rope twist edge and openwork scroll swing handle, h. 5‑1/4” (71/2”), dia. 4”, the smaller example unmarked, pierced with latticework and ovolo banding above a fluted lower third, raised on a domed boot, with swing handle and beaded edging throughout, h. 4” (5‑1/2”), dia. 3”. [125/250]

766

762 Rare Victorian Sterling Silver Cruet Frame for One, hallmarked London, 1863‑1864, by George Fox, the frame comprised of four cylindrical receptacles centering a raised fifth receptacle, decorated with openwork scrolls, with a beaded rim and crested double-scroll handle, all centering a circular cartouche, the receptacles fitted with five diamond and navette cut-glass bottles, including a pair of oil and vinegar bottles with glass stoppers and a pepper caster, a mustard pot and a cayenne bottle with silver fittings, engraved on the cartouche with the crest of a hind at gaze (Annabell, Halyburton, McCorquodale et al.), h. 4‑1/2”, w. 3”, d. 3‑3/4”, 4.88 t. oz. (frame only) [200/400] Illustrated 763 Set of Four Early Victorian Silverplate Candlesticks, second quarter 19th century, each with a tapering standard of oval section raised above a conforming baluster knop and molded and cavetto-domed base, surmounted by an urn-form nozzle fitted with a detachable oval bobeche, the standard and foot decorated with a wide band of flower-centered lozenges on a hatched ground, h. 12‑1/2”, l. 6‑1/4”, w. 5”. [1800/2500]

108

769 Edwardian Silverplate Charger, first quarter 20th century, by William Adams, Birmingham, of circular form, the gadrooned rin quartered by shells and scrolls, with recessed plateau monogrammed “B”, dia. 12‑1/2”. [100/200]

772

773

770

771 764 Set of Four Victorian Sterling Silver Salt Cellars, hallmarked London, 1850‑1851, by Francis Pontet, each of hemispherical form decorated with applied paterae and laurel swags, with gadrooned edge and raised on a domed foot edged en suite, h. 2‑1/2”, dia. 3”, 20.25 total t. oz. [1800/2500] 765 Victorian Silverplate Fish Serving Set, fourth quarter 19th century, including a fish serving fork, l. 9‑3/4”, and knife, l. 13”, each with a baluster-shaped handle with embossed bellflowers, cabochon and acanthus bud finial, with engraved and pierced scroll tines/blade. [75/125] 766 Victorian Cut-Glass and Silverplate Biscuit Box, fourth quarter 19th century, by Atkin Brothers, Sheffield, of oval form, the glass body decorated with vertical notched prisms centering a band of star lozenges and fluted at the top and bottom edges, fitted with a silverplate collar and hinged, domed lid engraved with floral swags and centering a gadrooned oval finial, the whole fitted into a conforming silverplate stand with reticulated gallery and gadrooned rim, raised on four claw-and-ball feet, h. 7‑1/4”, w. 6‑3/4”, l. 8‑3/4”. [200/400] Illustrated 767 Pair of Victorian Silverplate Candlesticks, fourth quarter 19th century, in the Adam taste, each of elongated octagonal section, with a tapering standard above a steeply domed foot en suite and surmounted by an urnform nozzle fitted with a detachable conforming bobeche, the whole decorated with gadrooning and narrow reeded banding, h. 12‑3/4”, l. 6‑1/2”, w. 5‑1/4”. [100/200] 768 Victorian Silverplate and Ivory Cased Fish Set, 1896, by Walker & Hall, Sheffield, including twelve fish forks, l. 7‑5/8”, and twelve fish knives, l. 8‑1/23”, the forks with four silverplate tines, the knives with scimitar-shaped silverplate blades flat-stamped with fish, foliage and “aesthetic” scrolls, all with plain spatulate ivory handles, presented in a lavish royal purple velvet- and ruched satinlined fitted mahogany case, 2‑1/2” x 14” x 10”. [250/400]

770 Victorian Silverplate Egg Frame, 1895, by Walker & Hall, Sheffield, of navette form, with embossed acanthus scroll rim and raised on four flattened spherical feet, the plateau fitted with four retaining pegs, each with an egg cup decorated en suite, with scalloped rim and arched handle, all surrounding a pointed arch handle fitted with four egg spoons with acanthus-engraved “Old English” handles (one spoon lacking), overall h. 6‑1/2”, w. 5‑1/4”, l. 10”. [100/200] Illustrated

771 Amusing Edwardian Sterling Silver and Enamel Salt and Pepper Stand, hallmarked London, 1909‑1910, by Blackburn & Co., the navette-shaped stand raised on four “V”-shaped wirework feet, the recessed oval plateau with a pair of hemispherical receptacles fitted with ovoid salt and pepper shakers realistically enameled in the form of plover’s eggs, overall h. 2”, w. 3”, l. 6”, 2.96 t. oz. (excluding shakers). [50/80] Illustrated 772 George V Silverplate Egg Cooker, first quarter 20th century, by Roberts & Belk, Sheffield, of ovoid form, the lid with a figural finial of a nesting bird, and opening to reveal the removable four-egg frame, the whole raised on three scrolling legs joined by a circular plinth centering a removable burner, h. 10‑1/2”, w. 5‑1/2”, dia. 4‑1/2”. [200/400] Illustrated 773 George V Silverplate Egg Frame, first quarter 20th century, by James Dixon & Sons, Ltd., Sheffield, of circular form, splayed rim and raised on four flattened spherical feet, the plateau fitted with four retaining pegs alternating with four crescent-shaped receptacles, the pegs fitted to an egg cup with banded foot, the receptacles fitted with egg spoons with Art Deco chevroned handles, all centering a plain standard with ring handle, overall h. 7‑3/4”, dia. 6”. [100/200] Illustrated 774 Set of Six Edwardian Cluster Column Candlesticks, first quarter 20th century, in the Georgian taste, each with a cluster columnar standard above a cavetto-domed square base decorated with urns and acanthus fronds and gadrooned edges, surmounted by a nozzle formed by acanthus fronds emerging one from each nozzle and fitted with a detachable egg-and-dart-banded square bobeche, [300/500]

109

775 Edwardian Sterling Silver Standish, hallmarked London, 1906‑1907, by the Goldsmiths & Silversmiths Co. Ltd., of rectangular form, with a pierced, wavy three-quarter gallery with urn-andlaurel banding and reed-and-ribbon edge, cornered by baluster uprights raised on lion’s paw feet, the plateau fitted with a pair of square receptacles and a pen cradle, above a frieze pens drawer, the receptacle fitted with two later cubic glass inkwells with canted edges and sterling caps, h. 3‑3/4”, w. 10‑1/2”, d. 5‑1/4”, 36.33 t. oz. (excluding glass inkwells). [700/1000] Illustrated

775

779 Good Anglo-American Silverplate Drinks Cart, second quarter 20th century, the rectangular top with long handle on one end and a short turned wooden handle on the other, raised on four acanthus-crested cabriole legs, joined by a platform stretcher and terminating in claw-and-ball feet above large casters, h. 36”, l. 3‑1/2”, w. 31”. [1000/1500] Illustrated

779

776 Edwardian Sterling Silver and Mother-of-Pearl Cased Dessert Set, hallmarked London, 1907‑1908, by John Collard Vickery, including twelve dessert forks, l. 6‑1/2”, and twelve dessert knives, l. 8”, the forks with three sterling tines, the knives with pointed sterling blades, all with pointed mother-of-pearl handles with stepped threading, presented in an indigo baize-lined fitted mahogany case (lacking the lift-out tray), 2” x 11‑1/2” x 10”. [400/700]

780 George III-Style Mahogany Side Table/Silver Chest with Silverplate Flatware Set, second quarter 20th century, the bowed top with molded edge above a case fitted with four drawers, raised on paneled tapering legs ending in casters, the drawers fitted, lined in Pacific cloth, labeled and containing one hundred and seventeen pieces of Frank Cobb & Co., Sheffield, silverplate flatware in a “Chippendale”-style pattern, design number 754218, registered 1930, including twelve table forks, l. 7‑1/2”, twelve fish forks, l. 6‑3/4”, eleven teaspoons, l. 5‑1/8”, six tablespoons, l. 8‑1/4”, twelve soup spoons, l. 7‑1/2”, eleven dessert spoons, l. 6‑7/8” six coffee spoons, l. 5”, twelve table knives, l. 9‑3/4” and twelve dessert knives, l. 8‑1/2”, all with faux ivory handles and “blunt”-shaped stainless steel blades, twelve fish knives, l. 8”, a two-piece beef carving set, l. 10‑1/4” and 12‑3/4”, and a poultry carving knife, l. 12‑1/2”, all with faux ivory handles and stainless steel blades/tines, a two-piece fish serving set, l. 8‑1/4” and 11”, a soup ladle, l. 10‑1/4”, two sauce ladles, l. 6‑1/4”, a salt spoon, l. 3” and two mustard spoons, l. 3‑5/8”, overall h.30”, w. 36”, d. 9‑1/2”. [500/800] Illustrated

777 Set of Four Edwardian Silverplate Bread Trays, first quarter 20th century, probably W. L. Dickson & Co., each of shaped oval form with serpentine lobed sides, the sides embossed with gadrooned edge and floral and rococo scroll banding, the plateau embossed with a central gadrooned navette cartouche banded en suite, l. 12‑3/8”, w. 8‑3/4”. [150/300] 778 George V Silverplate Vegetable Dish, first quarter 20th century, by William Hutton & Sons, Sheffield, of circular form, with beaded rim and detachable baluster handle of lobed section, the fitted ogee-domed lid with annulated addorsed scroll ring handle and opening to reveal the detachable triple partition, h. 6‑3/4”, dia. 10‑3/4”, l. 17‑3/4”. [125/250]

110

780

781 Contemporary Silverplate Hot Water Urn, in the Adam taste, the ovoid body with two high-arched reeded strap handles and tap of octagonal section with spatulate key, the steeply waisted lid with pierced ventilation and urn-form finial, the whole raised on four Prince-of-Wales crested reeded strap legs ending in hooved feet above a concave square base centering an urn, h. 22‑1/2”, w. 12‑1/2”, d. 12”. [250/400]

785

782 Large George V Silverplate Plateau, first quarter 20th century, of circular form, the deep ogee-molded rim decorated with engraved leafy scrolls centering opposing shield-form cartouches, fitted with a conforming a mirrored plate, the whole raised on four large acanthus feet, h. 4‑1/2”, dia. 22‑1/2” [300/500] 783 George V Silverplate Tray, second quarter 20th century, of shaped rectangular form, the everted rim decorated with a feather-engraved pierced gallery and applied “vintage” edge, with opposing rocaille handles, the plateau engraved with an outer conforming and inner navetteshaped rococo band, l. 29”, w. 18”. [300/500]

786 Anglo-American Silverplate Sugar Trolley, first half 20th century, the fluted sugar bowl with scalloped rim and raised on a pair of functional spoked wheels and “T”-bar handle, l. 8‑1/2”, w. 5‑1/4”. [75/125] 787 George V Sterling Silver and Abalone Pill Box, hallmarked Sheffield, 1910‑1911, by Latimer & Sons, of circular form, decorated with milled rococo scrolls and cartouches, the hinged lid centering a painted miniature of an 18th century lady of fashion surrounded by openwork scrolls on an abalone ground and opening to reveal the gilt interior, dia. 5‑5/8”. [400/700]

788

788 Contemporary English Sterling Silver Punchbowl, hallmarked London, 2010, by “SA Ltd.”, in the Victorian taste, of hemispherical form, with shaped shell-andscroll rim, the body decorated with repousse leafy scrolls and lattices between rococo cartouches, all on a textured ground, raised on a domed foot en suite, the interior gilded, h. 11”, dia. 16”, 118.64 t. oz. [5000/8000] Illustrated

784 Two Silverplate Dish Crosses, one English, early 20th century, the other Italian, mid-20th century, each of traditional form, with Union shell feet and dish rests connected by C-scrolls to the adjustable frame, w. 12‑1/4” and 13‑1/2”. [100/200] 785 English Silverplate Centerpiece, mid-20th century, of concave lozenge form, with a pierced scrollwork gallery raised on four scrolling wirework legs, fitted at the corners with conical receptacles and joined by scrolling wire and strapwork with a central large and two small flanking receptacles, the receptacles fitted with trumpet-form vases with wavy rims, h. 14”, l. 21”, w. 16”. [200/400] Illustrated

789

789 detail

111

790 Italian Provincial Polychrome Armoire, mid-19th century and later, the molded cornice above a case fitted with two long doors each paneled and with a painted “C” scroll and foliate pattern, the sides en suite, over a single long drawer, raised on bracket feet, h. 91”, w. 67‑1/2”, d. 28”. [2500/4000] Illustrated

792

790 789 Ninety-Six Piece Set of English Parcel-Gilt Sterling Silver Flatware, hallmarked London, 1985‑1992, by Cornelius J. Vamder. Ltd., in the “Royal Husk, Gold Accent” pattern, including twelve dinner forks, l. 7‑7/8”, thirteen salad forks , l. 7”, eleven teaspoons, l. 6‑1/8”, twelve dessert/soup spoons, l. 7‑1/4”, two sugar spoons, l. 5‑5/8”, eighteen demitasse spoons, l. 4‑3/8”, thirteen dinner knives with stainless steel “New French”-shaped blades, l. 10‑1/4”, thirteen butter spreaders with filled handles, l. 6‑1/4”, a slotted serving spoon, l. 8‑3/4”, and a sauce ladle, l. 7‑1/4”, no monograms, 141.34 total t. oz. , presented in a Christofle “Imperial” case with four fitted drawers with Pacific cloth lining and cover, 11‑1/2” x 19‑1/4” x 15‑1/4”. [6000/9000] Illustrated previous page

793 791 Iberian Oval Scenic Tin-Glazed Platter, the border with blue and red bands of flowers edged with yellow sponging, the center with hand-painted views of a park with a town in the background, w. 26‑1/2”, d. 20‑1/2”. [600/900] 795

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792 Venetian-Style Beaded Basket SixLight Chandelier, first quarter 20th century, the central basket lined with alternating colorless and green strands of beads, hung with a ball finial, a scalloped crown of beads finishes the top, the scrolled arms wrapped in strings of beads and strung beads create baskets around the faux candles, festoons of green and colorless beads drape from the arms, h. 29‑1/4”, dia. 30‑3/4”. [600/900] Illustrated

800 796 Continental Baroque Miniature Secretary, fourth quarter 18th century, comprised of various veneers, including fruitwood and walnut over a pine secondary, the reverse serpentine base resting on cabriole feet and with one large drawer made to appear as three, the desk portion opening to reveal a conforming single drawer, the upper door set with an old mirror plate opening to reveal an interior now mounted with a spoon rack, a swan’s neck pediment and a flat flame finial crowns the top, h. 27‑3/4”, w. 13‑1/2”, d. 9”. [800/1200] 797 Pair of Louis XVI-Style Giltwood Mirrors, fourth quarter 19th century, the oval mirrors set with old mercury mirror plates, with a pierced border decorated with scrolls and fruit, the mirror plate bordered by bold beading, fitted with iron sconce bracket holders, h. 27”, w. 17”. [800/1200]

798 Set of Fourteen Molded, Blown and Etched Rummers, first quarter 20th century, probably German, the traditional green conical bases with ringed stems and inverted pear-shaped bowls etched with grapes, grape leaves and vines, h. 5‑1/2”, dia. 3”. [250/400] 799 Set of Eight Molded, Cut and Etched Continental Goblets, second quarter 20th century, the cranberry molded goblets flashed with notch-cut bases, the bowls with flute-cut borders under swags of bellflowers hung from cut medallions, h. 7”, dia. 4‑1/2”. [200/400]

801

800 Gold-Tone Metal and Enamel Picture Frame, of rectangular form, decorated with scrolled crest and corner blocks, highlighted with white enameling, the edges set with alternating “rubies” and “turquoise”, on an easel back, h. 8‑1/2”, w. 5‑1/2”. [300/500] Illustrated

793 French School (Second Quarter 19th Century), “Allegorical Depiction of Abundance”, oil on canvas, unsigned, 27‑3/4” x 21‑7/8”. Framed. [800/1200] Illustrated 794 French School (Fourth Quarter 19th Century), “Bacchanalian Cherubs Frolicking in a Wooded Landscape”, oil on panel, unsigned, 26” x 21”. Presented in a giltwood frame. [500/800] 795 Italian Polychrome Lady’s Desk, early 19th century, possibly Florentine, the rectangular top with ornate floral polychrome patterns, above a conforming frieze fitted with a central drawer flanked to either side by two small drawers, all paneled and with floral designs, the reverse paneled, raised on cabriole legs ending in pad feet, h. 33‑1/2”, w. 48”, d. 23‑1/2”. [3000/5000] Illustrated

803

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805

804 Engraved Venetian Footed Vase, the flat base supports a gold-flecked ball stem supporting the vase, engraved with cross-hatched and scrolled escutcheons decorated with engraved flowers, signed “Inciso a Murano, Piolin”, h. 14”, dia. 6‑1/2”. [150/300] 805 Italian Rococo-Style Giltwood and Marble-Top Console and Mirror, early 20th century, the mirror with a rectangular plate surmounted by a scrolling foliate crest and surrounded by a like pierced frame, the console with a bowed coral marble top with projecting corners above a conforming pierced floral- and foliate-carved frieze, raised on scrolling legs joined by a shell-centered stretcher and ending in hoof feet, mirror h. 57”, w. 48”, console h. 35”, w. 46”, d. 16”. [1500/2500] Illustrated 806 Italian Rococo-Style Giltwood and Marble-Top Console and Mirror, early 20th century, the mirror with a rectangular plate surmounted by a scrolling foliate crest and surrounded by a like pierced frame, the console with a bowed coral marble-top with projecting corners above a conforming pierced floral- and foliate-carved frieze, raised on scrolling legs joined by a shell-centered stretcher and ending in hoof feet, mirror h. 57”, w. 48”, console h. 35”, w. 46”, d. 16”. [1500/2500]

801 Renaissance-Style Brass Casket, the winged dragon feet support the bas relief-molded sides and top, an overall pattern of scrollwork on a stippled ground depicting a female on horseback being led by a nude warrior, with a shepherd and his sheep in the foreground and a falconer to one side, a couple wrestle a bear on the facade, while a griffin escapes carrying a baby in his mouth, similarly fanciful scenes decorate the sides and back, indistinctly signed, h. 5‑1/2”, w. 10-1/2”, d. 6”. [125/250] Illustrated previous page 802 Gilt-Brass, Glass and Enamel Box, Czechoslovakian, the pierced body decorated with swirling roses and leaves, while the lid is decorated with pierced strapwork, lozenges and medallions, set with enameled flowers, “rubies”, jade and lapis lazuli cabochons, set with a green cut-glass liner, the lid stamped “Made in Czechoslovakia” on the underside, h. 3‑1/4”, w. 3‑1/2”, d. 2‑1/2”. [200/400] 803 Beveled and Engraved Venetian Mirror, the frame outlined with rope twist glass rods of gold threaded glass, blown and molded leaves and rosettes decorate the corners, and rosettes define the four corners of the central beveled glass panel, which has beveled surrounds decorated with engraved scrolls and flowers, h. 39‑1/2”, w. 31‑1/4”. [700/1000] Illustrated previous page

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807

807 Pair of Italian Carved Wood Polychrome Blackamoors, the black serpentine plinths trimmed with gilt acanthus leaves on the corners and gilt cove molding around the base and top, the figures resting on sculpted supports and dressed in gilt jackets decorated with blue scrollwork, green and red striped pantaloons and red boots decorated with silver scrollwork, h. 60”, w. 24”, d. 14‑1/2”. [3000/5000] Illustrated

813 Napoleon III-Style Bronze Console, the serpentine marble top supported by four legs, each capped by Leontine masks with a ring in the mouth, a foliate decorated “C” scroll and tapering reeded columns joined by a low shelf, on lion’s paw feet, h. 33”, w. 24”, d. 13”. [400/700] Illustrated

808 Pair of Continental Pierced Giltwood Mirrors, fourth quarter 19th century, each with an outer frame composed of scrollwork, interspersed with grapes and grape leaves, retaining much of the original two-tone gilding, the liners cove-molded with raised central beading, h. 25‑1/2”, w. 20”. [1200/1800] 809 Garniture Ewer in the Etruscan Style, ca. 1900, probably American, made of nickeled brass, the fluted base body molded with scrollwork, the lip anthemiamolded and the pierced, scrolled handle terminating in a masque, h. 15‑1/2”, w. 6‑3/4”, d. 4”. [100/200]

812

813

814 Continental School (Third Quarter 19th Century), “Spanish Beauty Holding Cherries”, oval oil on canvas, unsigned, 21” x 18”. Presented in a conforming polychrome and parcel-gilt floral molded frame. [300/500] Illustrated

810 Impressive Pair of Continental Bronze Chenets, fourth quarter 19th century, with opposing neoclassical figures, one of a god with a staff, the other of a goddess, probably Diana, carrying a quiver of arrows, the body consisting of a satyr’s mask flanked with dolphins sitting on feet in the form of turtles, h. 27”, w. 14”. [500/800]

814

811 Italian Polychrome and Parcel-Gilt Chest, mid-20th century, probably Florentine, the shaped rectangular top above a case fitted with three small drawers to one side and a cupboard to the other, the whole with incised scrolling foliate designs, raised on cabriole legs ending in peg toes, h. 27‑1/2”, w. 24‑1/2”, d. 13”. [300/500] 812 Pair of Italian Giltwood Rococo Mirrored Two-Light Sconces, each with mirrored backplates and a scrolled surround with a pierced shell-form crest, fitted with a pair of scrolled gilt-metal candle branches fitted with fluted drip pans and candle cups, decorated with gilt metal vines and leaves, h. 10‑1/4”, w. 10‑1/4”, d. 3‑1/4”. [150/300] Illustrated

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817-821

821 United States Army 1840 Militia Sword, the plain model is of the Militia type and with a widely adopted pattern, also used by Fraternal organizations, no scabbard, bone grip, l. 35‑1/2”. [300/500] Illustrated 822 English Oak Cupboard, early 20th century, the molded cornice above a case fitted with a single cupboard door, inset with a panel of two carved knights, the sides with linen-fold paneling, joined by a like-paneled back and spiral fluted uprights to a stretcher shelf, raised on bracket feet, h. 52”, w . 22‑1/2”, d. 16‑1/4”. [500/800]

815 Pair of Nickel Plated Brass Beaux Arts Andirons, ca. 1900, French, in the Louis XVI taste, serpentinemolded bun feet support the strapwork-molded base, with pierced, tassel-form skirt, the vase-form standard serpentine-molded, with applied strapwork cartouches at the widest point, the acorn-shaped finials fluted and rope-twist-molded, formerly fitted with billet bars, h. 25”, w. 11‑3/4”, d. 8‑1/4”. [300/500]

823

816 Pair of Eastern European-Style Three-Light Brass Sconces, the turned ball backplate crowned with a double-headed eagle and a support ring, scrolled and pierced candlearms fitted with round drip pans and candlecups, h. 18”, w. 14”, d. 9‑1/2”. [300/500] 817 United States Army, N.C.P. Sword, Model 1840, marked “Made by Ames, Mfg. Co. Chicoppe, Mass/ as/f, 1864” on opposite side of the ricasso, no scabbard, l. 38”. [300/500] Illustrated 818 Japanese Short Sword, Wazikashi length with good temper line, the unsigned Tang has been shortened, as shown by two piercings for the securing peg, army-style mounted hilt, the scabbard comprised of the bottom half of a resting scabbard with suspension hardware added later, early blade, l. 34”. [300/500] Illustrated 819 1850 Foot Officer’s Saber, l. 36”. Sabers of this pattern commonly carried during the war between the States by both sides. The blade, while of the correct configuration, appears to be of an earlier period. It was not unprecedented for heirloom blades to be re-mounted for later use during the war. [300/500] Illustrated 820 Hybrid Sword, ca. 1800, blade of an earlier broadsword form, possibly German, unmarked, l. 38”. [300/500] Illustrated

824

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829

827 Mediterranean-Style Wrought-Iron Eight-Light Chandelier, of medieval inspiration, the circular candle ring mounted with four adjustment hooks and set with four pairs of candle cups electrified with faux candles, pierced voluted arms decorate the interior, rope twist rings and hanging bars connect the base to the arched pierced canopy top, h. 49”, dia. 37”. [300/500] 828 Wrought-Iron, Tole and Cast-Brass Telephone Cabinet on Stand, early 20th century, trapezoidal case with a hinged front door opening to reveal a storage niche with a concealed sliding back door to facilitate wires, the face, crest and sides adorned with applied brass fretwork modeled as urns, arabesques, foliage and avian heads, on a wrought-iron base with low U-form stretcher, h. 48‑1/4”, w. 17‑1/2”, d. 10”. [250/400] 829 Fine Pair of Italian Figural Carved, Gilded and Painted Wood Candlesticks, fourth quarter 18th century, the bombe bases faintly marbleized with gilt trim, the draped classical figures with gilt robes, trimmed in black and supporting gilt torchieres mounted with pricket sticks, h. 30”, w. 13”, d. 5‑3/4”. [6000/9000] Illustrated

823 Pair of Vintage Italian Terracotta Busts, mid-20th century, the painted black wooden plinths support the classically-inspired busts, which have tapered bases with incised decoration, white craquelure glazed faces and curled hair decorated with blue, yellow and green and held in place with a band, h. 20‑1/2”, w. 8‑1/4”, d. 8‑1/4”. [700/1000] Illustrated 824 Ambrose Andrews (American/New York, 1805‑1859), “Arcadian Landscape With Worshippers of Pan”, oil on canvas, signed lower left “A. Andrews”, 38” x 54”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated 825 After Guido Reni (Italian, 1575‑1642), “Aurora”, oil on canvas, third quarter 19th century, unsigned, 36” x 73‑1/2”. Presented in a period elaborately molded giltwood and gesso frame. [2000/4000] 826 Continental School (Fourth Quarter 19th Century), “Portuguese Harbor Scene”, oil on canvas, unsigned, 37” x 52”. Presented in a period molded giltwood frame. [500/800]

830 830 Spanish Colonial School, (Fourth Quarter 18th Century), “Portrait of a Saint, Possibly Santo Domingo”, dark-robed figure holding a skull, crucifix, and rosary, set within a floral bordered landscape, 29‑1/4” x 18‑1/4”. Unframed. [800/1200] Illustrated

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831 Italian School, (t19th Century), “The Archangel Gabriel Heralding the Day of Judgment”, oil on canvas, unsigned, now mounted as a wall hanging, overall dimensions 19‑3/4” x 15‑1/2”. [400/700] Illustrated 832 Continental Carved and Painted Winged Putti, fourth quarter 18th century, a pair of carved volutes support the wings and head, painted in flesh tones, h. 7‑1/2”, w. 7‑1/2”. [100/200] 833 Pair of Antique Continental Ecclesiastical Music Sheets, including “Primam Augusti” and "Primam Octobris”, printed in red and black ink on heavy paper, each 17‑1/4” x 10‑1/2”. Presented in attractive painted and gilt decorated double-sided frames. Provenance: The Bienville Shop, New Orleans, Louisiana. [200/400]

831

835

834

834 Nicolo Barabino (Italian, 1832‑1891), “Madonna of the Lemons”, oil on canvas, signed lower right, 17” x 8‑3/4”. In an antique carved and gessoed wood frame. Barabino was celebrated for his delicately rendered Madonna and Child paintings of which the present lot is a fine example. Each painting in the series differs slightly in setting and symbolism while maintaining a characteristic composition. The wonderful treatment of the drapery, the attention to background details, and the soft palette are all indicative of the artist’s style. Barabino attended the Accademia di Belle Arti in Florence. He designed the lunette cartoons for the mosaics in Florence Cathedral and worked as a fresco painter. Reference: Benezit, Dictionnaire des peintres, Librairie Grund, vol, p. 715. [2500/4000] Illustrated

118

837 Italian Walnut Bureau, late 18th century, the rectangular top above a slant front opening to drawers and cubbyholes flanking a central cupboard, the lower section with a serpentine front and fitted with three long drawers, the whole with inlaid banding accents and raised on bulbous feet, h. 41”, w. 41‑1/2”, d. 20”. [2000/4000] Illustrated

838 Cased Fedorovskaya Icon, 19th century, Russian, the case fitted with a door protecting the icon, a gilt-brass oklad covers all but the hands, faces, and feet of the child and mother, called the mother of God, the oklad with repoussed scrolled corners, and images of Mary’s gown and hood, the halo surrounding both her face and that of the Christ child, h. 9”, w. 7‑1/4”, d. 2‑1/4”. [700/1000] Illustrated

837

835 Pair of French Empire-Style Parcel-Gilt Torcheres, fourth quarter 19th century, the base ornamented with leaf-carved molding and supported on carved feet, ring turnings leading to the tapered standards, with reeded bases, carved gilded leaves, and gilt fluting on a white ground, the flaring capitals with matching carved and gilded leaves, set with tin candle sockets and crimped tin drip pans, with old gilt surface, h. 42‑1/2”, w. 9‑1/2”, d. 9‑1/2”. [1400/1800] Illustrated 836 Pietra Dura Marble and Stone Inlaid Top, the circular black slate top with central floral and leaf inlay, the perimeter with inlaid malachite ribbon and floral sprays, dia. 25”. [2000/4000]

838

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MANNERISM The word mannerism derives from the Italian “maniera”, meaning “style” or “manner”. Giorgio Vasari (1511‑1574), the painter, historian, architect and author of the famous “Lives of the Most Excellent Painters, Sculptors, and Architects” (1568) describes the period in which he worked as “la maniera moderna”, or the “modern style”. Although as a stylistic label “Mannerism” is subject to much debate, from the late 19th century on, art historians have commonly used the term to describe art that follows Renaissance classicism and precedes the Baroque. It is identified by elongated proportions, highly stylized poses, lack of clear perspective and a penchant for the theatrical. As a result the style is sometimes referred to as “anticlassical” (classical here meaning harmonious and balanced). Mannerism was a direct reflection of Europe’s tumultuous political and religious landscape, which included the Reformation, the plague and the sack of Rome. The early Florentine Mannerists, especially the students of Andrea del Sarto (1486‑1530), Jacopo da Pontormo (1494‑1557) and Rosso Fiorentino (1491‑1540) are notable for exaggerated and elongated figures in precariously balanced poses, irrational settings and theatrical lighting. They did not strive to imitate nature as their greatly revered predecessor Raphael, but were reaching for the emotional reaction of the viewer, reflecting the growing self-consciousness of the artist. This approach is reminiscent of the Greek icons and Gothic altarpieces whose main purpose was to inspire awe and devotion. "Madonna del Libre”, a painting done after a lost work by Jacopo Carucci, usually known as Jacopo da Potormo, named after the Tuscan town where he was born, is an excellent example of the Mannerist style. Here, in the central figures of Madonna and Child, the artist has forsaken the use of correct proportions for the sake of design and theatrical impact on the viewer. Madonna and Child are an interwoven, womb-shaped group placed in a Florentine landscape lacking clear perspective. The scene to the right of the central theme, involving a saint, a grape-bearing figure and a woman reading in the doorway is a mysterious one and seems disjointed from the crimson-clad Madonna holding a large book, nude Christ child splayed on her lap mirroring the image of “Pieta”). Pontormo, also a portraitist initialed a new sophisticated style of portraiture, marked by appreciation for intellectual complexity, coupled with elegance and reserve.

840 840 Studio of Frans Francken III(Flemish, 1607‑1667), “The Road to Calgary”, oil on canvas laid down on cradled wood panel, 37-3/4” x 50”. In an elaborately carved wood frame. Provenance: Purchased by present owner from the Chateau de Belcastel, France. The overall composition, drapery style, and treatment of the facial features all suggest this was created for the Spanish market. [10000/15000] Illustrated

839 Circle of Jacopa Carucci, called Pontormo (Italian, 1494‑1557), “Madonna del Libro”, oil on cradled wood panel, 34‑3/4” x 28‑1/2”. In a period Florentine carved and giltwood frame. Provenance: Purchased by present owner from the Chateau de Belcastel, France. [15000/25000] Illustrated

839

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841 Continental Neo-Renaissance Two-Piece Bedroom Suite, fourth quarter 19th century, the armoire of triple section form, the dentillated and carved cornice over a projecting center section, each door fitted with a mirror plate, the central door flanked by carved Atlantes over a foliate and floral bracket, h. 101‑1/2”, w. 105”, d. 29‑1/2”, the bed comprised of a pair of narrow beds joined by panels to approximate king-size, the headboards each with a carved and dentillated cornice over carved masks of children, and centered by an urncarved panel, the footboards similarly modeled with a carved standing putti in each panel, h. 62”, inside l. 80”, inside w. 76”, outside l. 82”, outside w. 88”. [2000/4000]

842

842 Provincial Mahogany and Fruitwood Refectory Table, 19th century and later, the rectangular top banded and with diamond-panel veneers, raised on ribbed foliate-carved cup and cover supports ending in runner feet and joined by a stretcher, h. 29”, d. 32‑1/2”, l. 90”. [1500/2500] Illustrated 843 Pair of French Giltwood Rococo-Style Wall Brackets, made as a true pair, the backplates of pierced interlocking molded “C” scrolls, the shelves with molded edges and notched corners, h. 10”, w. 8”, d. 4‑3/4”. [100/200] 844 Large Continental Figural-Carved Walnut Mirror and Console, late 19th century, in the neo-renaissance taste, in two parts, the arched-and-beveled mirror plate in a molded and floral-carved frame with a cartouche flanked by winged griffin, on a base with straight front and canted sides, the frieze centered by a carved fleur-de-lis, with griffin-carved front columns on paw feet, the columns joined by a concave shelf and backed by a carved panel, h. 129”, w. 57‑1/2”, d. 19‑3/4”. [1500/2500] 846

849

845 Steel-Mounted Dome-Top Box with Leather Cover, Continental, elaborately pierced strapwork hinges in the renaissance taste engraved with satyr head masques decorate the top, the two part expansive escutcheon plate uses an engraved wolf’s head on the upper portion, a pair of winged dragons battle snakes on the lower portion, with a central bearded human masque, echoed in the side handles, h. 8‑3/4”, w. 13‑1/4”, d. 10”. [600/900] 846 Italian School (Fourth Quarter 19th Century), “Water Carrier in a Roman Campana”, oil on canvas, illegibly signed lower right, 39” x 29”. Presented in a giltwood frame. [1200/1800] Illustrated 847 Italian Stained Pine Looking Glass, late 19th century, the circular plate within a molded banding with deeply carved corner mask accents among scrolling foliate patterns within a laurel leaf-carved band and shell-carved frame, h. 45‑1/2”, w. 54”. [2500/4000]

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850 Unusual Continental Fruitwood Steps, 19th century, fitted with three steps, supported by side carved griffin figures, h. 24”, w. 18‑1/2”, d. 20‑1/2”. [350/500] 851 Grotto-Style Shell-Encrusted Looking Glass, the distressed rectangular plate surmounted by a frame richlyencrusted with various shells, h. 46”, w. 29”. [300/500] 852 Chinese Four-Panel Screen. 20th century, each panel of shadowbox form, having carved hardstone inlaid scenes of birds and flowers, h. 72”, w. 72”. [1200/1800] Illustrated

853

852

848 Continental Walnut Round Corner China Closet, ca. 1900, the fluted feet with turned side bosses support the piece, the three doors fitted with conforming beveled glass and with a scrolled carved rococo border, matching applied carving on the base, the tops of the doors with applied scrollwork and shells alternating with crosshatched panels, the molded cornice with a leaf-carved upper edge, the center interior compartment lined with brown watered silk, and the sides mirrored, h. 77”, w. 66”, d. 21”. [1400/1800] 849 Black Forest Carved Lindenwood Bench, late 19th century, the rectangular seat with incised scrolling foliate patterns, supported to each end by a well-carved figure of a bear, with inset glass eyes, h. 24”, w. 31”, d. 10”. [1500/2500] Illustrated previous page

853 Pair of Chinese Wall Plaques, 19th century, hardstone inlay of the “hundred antiques” in jade, coral, carnelian, lapis and rose quartz from a screen reset as plaques, h. 39‑1/2”, w. 13”. [4000/7000] Illustrated 854 Massive Carved Green Jade Fish Bowl, 20th century, the upper rim featuring a school of Koi fish along the border, h. 13”, w. 31”, d. 24”. [2000/4000] Illustrated

854

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855 Lot of Five Japanese Ivory Vases, Meiji period (1868‑1912), finely carved in Chinese style with reserves of birds and flowers and borders of scrolling lotus, one example with a cover having a foo dog finial, each presented on a conforming carved wood stand, ivory h. 9‑3/4” to 15”. Provenance: Loyd-Paxton, Dallas, Texas. [7000/10000] Illustrated

856

858 Chinese Hanging Scroll, 18th century or earlier, ink and colors on silk of an autumn landscape, finely painted, with old museum numbers, h. 60”, w. 23”. [500/800] Illustrated

859 Chinese Shadow Agate Snuff Bottle, carving of a fisherman, well hollowed, h. 2”. [600/900] 856 Large Chinese Ebonized and Parcel-Gilt Throne Chair, early 20th century, the back constructed of vertical panels each with Greek-key decor, and a pierced and carved gilded crest, the arm posts depicting warriors and various figures on horseback, the underseat panel with a painted floral spray, the whole resting on an ebonized platform, h. 43”, w. 34”, d. 25”, without platform. [500/800] Illustrated

858

857 Large Pair of Framed Chinoiserie Panels, early 20th century, each depicting various villagers and huts in a lush forested landscape, and set against a gilded background, h. 43”, w. 24”. [700/1000] Illustrated

855

857 pair

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862 Large Japanese Tokonami Redware Vase, Meiji period, fourth quarter 19th century, of baluster form, the bowl depicting flying dragons amongst the clouds, h. 19”. [800/1200] Illustrated 863 Japanese Brazier, early 20th century, comprised of persimmon and other hardwoods, copper lined, h. 13”, w. 14‑3/4”, l. 27”. [300/500]

861

860

860 Chinese Elaborately Embroidered Silk Panel, 19th century, decoration of the “hundred birds”, presented in a bamboo-carved rosewood frame set in a custom cut-steel frame and stand, panel h. 18”, w. 15‑1/4”, overall h. 25‑1/2”, w. 24‑1/2”, d. 3‑1/4”. Provenance: LoydPaxton, Dallas, Texas. [5000/8000] Illustrated 861 Pair of Chinese Carved Covered Jars, early 20th century, cherry amber carved in the form of archaic ritual bronze vessels, h. 12”. [400/700] Illustrated

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864 Japanese Large Framed Mirror, black wooden frame carved with dragons and pearls, h. 72”, w. 37”. [1000/1500] Illustrated 864

862

865 Good Suite of Four Chinese Painted Porcelain Panels, 20th century, each depicting village scenes in a mountainous landscape, two signed in the upper left corner, two signed in the upper right corner, presented in elaborately carved hardwood frames, h. 64‑1/2”, w. 20”. [7000/10000] Illustrated 866 Chinese Four Panel Lacquered Wood Screen, early 20th century, inset with jadeite panels of lavender green colors, engraved and gilded with female figures, birds and flowers, h. 77”, w. 64”. [10000/15000] Illustrated

865 867 Chinese Hanging Scroll, 20th century, ink and colors on paper, scene of two women in a garden, h. 52”, w. 26”. [300/500] 868 Impressive Japanese Folding Screen of Ten Panels, 19th century, ink, colors and gilt on paper, scene of celestial phoenixes and swirling clouds, h. 64”, w. 24”. [3000/5000] Illustrated 869 Lot of Four Paintings, including a pair of Suchou blue and green style paintings, 19th century, China, with scenes of a palace garden, h. 32”, w. 12‑1/2”, a 20th century landscape, ink on paper, h. 30”, w. 13”, and a Meiji period (1868‑1912) ink and slight colors on silk with a scene of a rustic cottage, h. 16”, w. 14”. [200/400] 870 Lot of Four Paintings, including a pair of scrolls, 19th century, Japan, Kano school, ink on paper, the two temple fools, h. 45”, w. 25”, together with two 20th century Chinese painting, ink and color on paper, a woman in a lotus garden, h. 52”, w. 26”, and a landscape, h. 41”, d. 22”. [200/400]

866

868

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873

873 Collection of Four Chinese Imperial Yellow Silk Occasional Pillows, each embellished with an antique Chinese embroidered panel, comprised of a circular pair, dia. 12”, a square, h. 13”, w. 13” and a rectangle, h. 17”, w. 15”. [100/200] Illustrated

880 877 874 Group of Three Chinese Scrolls, 20th century, ink on paper and ink and colors on paper includes a landscape, h. 26”, w. 13”, a wisteria and calligraphy, h. 53”, w. 24”, and bamboo and calligraphy, h. 54”, w. 26”. [300/500]

871 Lot of Four Chinese Paintings, 19th/20th century, ink and colors on paper, two of Manjushri the Buddha of the future and one of the historical Buddha, together with a Tigress and cup, h. 60”, w. 29”. [200/400]

875 Open Lot 872 Pair of Chinese Scrolls of Calligraphy Couplets, early 20th century, signed and with two seals, 53” x 12”. [400/700]

876 Karaja Runner, 3’5” x 11’. [200/400] 877 Peshawar Zeiglar Mahal Carpet, 8’ x 10’2”. [1200/1800] Illustrated 882

126

880 Turkish Angora Oushak Carpet, 12’2” x 14’2”. [2000/4000] Illustrated 881 Turkish Angora Oushak Carpet, 9’10” x 14’6”. [3000/5000] 882 Persian Kerman Carpet, 10’1” x 13’6”. [2500/4000] Illustrated

886 878 Persian Carpet, 9’ x 11’8”. [1800/2500] 879 Agra Zeiglar Mahal Runner, 2’11” x 14’9”. [600/900]

883 Semi-Antique Aubusson Needlepoint Carpet, 10’9” x 11’6”. [1000/1500] 884 Semi-Antique Persian Heriz Carpet, 6’5” x 9’9”. [1000/1500] 888

885 Peshawar Sultanabad Carpet, 8’1” x 9’10”. [900/1200] 886 Persian Serapi Carpet, 11’2” x 16’3”. [6000/9000] Illustrated 887 Aubusson Needlepoint Carpet, 8’ x 10’. [800/1200] 888 Aubusson Tapestry Panel, 4’ x 10’1”. [1200/1800] Illustrated 889 Turkish Carpet, 4’ x 5’. [300/500] 890 Sultanabad Carpet, 11’6” x 15’4”. [1500/2500] Illustrated 890

127

891 Turkish Angora Oushak Carpet, 8’6” x 10’. [1200/1800] Illustrated 892 Empire-Style Mahogany Vitrine, the palmetto modeled ormolu cornice above a case fitted with an undulated modeled frieze over two brass-bound glass doors opening to a shelved interior, flanked to either side by ormolu-mounted ebonized pilasters, raised on a plinth base, h. 73”, w. 67”, d. 28”. [1500/2500] Illustrated 893 Empire-Style Mahogany Vitrine, the palmetto modeled ormolu cornice above a case fitted with an undulated modeled frieze over two brass-bound glass doors opening to a shelved interior, flanked to either side by ormolu-mounted ebonized pilasters, raised on a plinth base, h. 73”, w. 67”, d. 28”. [1500/2500] Illustrated

892 895 Cabinet Tray with a Portrait of Napoleon, after 1914, Austrian, painted in polychrome after the painting by Francois Pascas Simon Girard (French, 1770‑1837), and signed by the maker, Franz Dorfl of Vienna, Napoleon depicted as the emperor in maroon and ermine capes, wearing a laurel wreath on his head and carrying an eagle-headed staff, dia. 12”. [800/1200] Illustrated

891

894 Empire-Style Mahogany Cabinet, the palmettomodeled ormolu cornice above an undulating frieze and a case fitted with an open display space over three banks of four removable leather covered boxes with drop fronts, all flanked by locking and hinged ebonized pilasters with ormolu mounts, opening to a narrow display space, raised on a plinth base, h. 73”, w. 67”, d. 21‑1/2”. [1500/2500] Illustrated

893

128

896 Hand-Painted Dresser Box Depicting Napoleon’s Retreat From Russia, first quarter 20th century, French, the sides decorated with a border of lozenges inset with Napoleonic eagles on an empire green ground, the border repeated on the lid, around the scene of Napoleon and his officers watching the city burn from snow-covered battlements, the inside of the lid with a gilt crown over an N and “Incendie de Moscov” in red, the gilt marks repeated on the base and accompanied by a Berlin retailer’s label, h. 3‑3/4”, dia. 6”. [400/700] 897 Napoleon III Ebonized and Marble-Top Cabinet, third quarter 19th century, the bowed and shaped Griotte Rouge marble top above a conforming case fitted with an elaborately inlaid foliate garland frieze, above a single cupboard door with an elaborate brass and motherof-pearl inlay of an urn surrounded by scrolling foliate patterns, raised on bracket feet, the whole accented with ormolu millwork, the back with the label “Mon. ROLL G. MALIN, MILLAN & CIE SUCCESSEURS 42 Fg St. Antoine, PARIS”, h. 42-3/4", w. 43-3/4", d. 17-3/4". [900/1200]

895

894

901 Pair of Empire-Style Brass and Iron Chenets, fourth quarter 19th century, the design employs vertical acanthus leaves crowned with a female masque wearing a feathered hairpiece, the cast-iron billet bars set with pierced rococo log straps and joined with a rope twister fender bar terminating in flame finials, h. 12”, w. 19”, d. 17‑1/4”. [300/500]

902

898 Napoleon III Opaline Neo-Grec Vase, third quarter 19th century, French, the inverted foot mirrored in the trumpet top, each decorated with terracotta-colored anthemia, the upper portion with a black Greek-key border and raised gilt swagging, h. 15‑1/2”, dia. 7”. [400/700] 899 Pair of French Empire Style Picture Frames, the round engine-turned frames crowned with finials in the form of a Napoleonic wreath tied with a bowknot, h. 8”, dia. 6‑1/2”. [250/400] 900 A Trio of Napoleonic Wall Ornaments, a 19th century engraving of Napoleon, after the painting by Francois Pascal Simon Girard (French, 1770‑1837), in a contemporary giltwood frame with a green leather matte decorated with an “N” in a laurel wreath, h. 14”, w. 12”, accompanied by a pair of bronze dore mounts of an “N” in a laurel wreath, framed in contemporary ebonized and gilt neoclassical frames, h. 11‑1/4”, w. 10‑1/2”. [100/200]

902 Empire Mahogany Tub Chair, early 19th century, the low domed crest with applied ormolu mask and patera accents above a lyre-form splat, joined by downswept arms to the padded seat, raised on tapering square legs ending in ormolu paw feet, h. 30”. [1800/2500] Illustrated

129

905

904

907 Empire-Style Bronze Bouillotte-Style Hanging Six-Light Lamp, the molded foliate hangs under the plate supporting the candle cups, set with faux candles, a rope twist standard joins the light to the canopy, pierced chains holding the shade, the brass frame mounted with gilt laurel leaf wreaths and scrollwork, all backed with a pleated shade, h. 37”, dia. 23”. [900/1200] Illustrated

908 Pair of Empire-Style Polychrome Fauteuils, late 19th century, each with a padded medallion back within a guilloche-carved slip and an annulated rectangular frame, joined by padded acanthine arms to the like seat, raised on tapering circular bound reeded legs ending in lotus-carved feet, h. 40”. [2000/4000] Illustrated

903 Empire-Style Mahogany Tub Chair, early 20th century, the rounded and paneled crest above double-caned back and sides, the cushioned caned seat raised on paneled tapering square legs headed by ormolu patera and ending in brass caps, h. 28‑1/2”. [200/400] 904 Malachite-Clad Tazza, mid-19th century, possibly Russian, malachite clad on a stone core, the square base mounted with a cylindrical plinth and a vase-shaped bowl support, the bowl with a molded edge and a segmented malachite surface, h. 8‑3/4”, dia. 7”. [2500/4000] Illustrated 905 Pair of Neoclassical-Style Malachite-Clad Obelisks, the stepped bases support square plinths with raised panels, and surmounted with projecting molding supporting the tapered obelisks, h. 19‑1/2”, w. 5”, d. 5”. [6000/9000] Illustrated 906 Two Matching Malachite and Bronze Bibelots, both the lidded box and egg-shaped paperweight decorated with coin-like bronze rondels, decorated with bas relief classical profiles, egg dia. 2”, l. 2‑3/4”, box h. 1‑5/8”, w. 3”, d. 2‑5/8”. [150/300]

130

909 Pair of French Empire-Style Two-Light Gilt-Bronze Sconces, first quarter 20th century, the quiver and arrow form backplates mounted with leaf-molded scrolled candle arms set with engine-turned candle cups and matching drip pans, h. 17‑1/2”, w. 8‑1/2”, d. 4‑1/4”. [200/400]

907

910 Empire-Style Mahogany and Marble-Top Side Table, early 20th century, the rectangular verde antico marble top with molded edge above an ormolu-mounted frieze, joined by a mirrored back and tapering square supports, headed by ormolu maidens, to the plinth base, h. 37”, w. 43‑1/4”, d. 19‑1/2”. [1000/1500] Illustrated

908

911 Pair of Empire-Style Giltwood Sidechairs, late 19th century, each with a rectangular back with an eagle-carved lyre-form splat, the padded seat raised on square tapering legs in the form of caryatids, h. 34‑1/2”. [1200/1800] 912 Empire-Style Mahogany Looking Glass, 19th century, the molded cornice above an ormolu swag applied frieze and a beveled domed plate, over a rectangular plate flanked to either side by an engaged ormolu-mounted pilaster, h. 68‑1/2”, w. 47”. [1800/2500] Illustrated 913 Suite of Eight Empire-Style Mahogany Armchairs, all with a backswept crest with applied ormolu paterae above the padded rectangular back, joined by scrolling arms to the padded seat, raised on tapering fluted circular legs ending in ormolu reeded feet, the whole accented with ormolu mounts in Empire patterns, h. 38‑1/2”. [3000/5000]

914

914 Pair of French Empire-Style Gilt-Bronze Lamps, the tripartite black platforms support the paw feet, with anthemia drops between them, lotus leaves ornament the legs, holding the tapered fluted standard with a beaded capital, the flaring beaded drip pans support the leafmolded candle cups, fitted with faux electric candles, h. 14”, w. 6‑1/2”, d. 6‑1/2”. [1400/1800] Illustrated

910

912

131

915 Pair of Empire-Style Gilt-Bronze and Cut-Glass Candlesticks, the round leaf-molded bases support Egypto-revival standards composed of three women in Egyptian masks with bronze feet and faces, on a cutglass body, the reeded and guilloche-molded candle cups fitted with leaf-molded bobeches, h. 10‑3/4”, dia. 5‑1/4”. [1000/1500]

916

916 Empire Revival Mahogany and Parcel-Gilt Bergere, late 19th century, the paneled barrel-form crest above a padded back joined by downswept arms and exuberantly modeled maiden’s bust hand rests to the padded seat, raised on realistically-modeled paw feet, h. 38‑1/2”. [3500/5000] Illustrated

920

917 Pair of French EmpireStyle GiltBronze Sconces, the oblong backplates molded with acanthus leaves and anthemia, an engineturned bezel holds the arm mounting cap, the scrolled arms with voluted foliate molded terminals leading to full-bodied swans, molded candle cups mounted on their heads, h. 16”, w. 12”, d. 7”. [800/1200]

921

918 Pair of Pietra Dura Stone Obelisks, inlaid with onyx, malachite, rouge marble and various colored stones in bold, geometric patterns on all sided, raised on white granite bases supporting grey granite plinths, h. 23”, w. 5”, d. 5”. [200/400] 919 Collection of Four Framed Red Wax Intaglio Grand Tour Souvenirs, third quarter 19th century, Italian, the first a velvet-lined shadowbox with the center oval intaglio depicting a chariot driver, surrounded by six neoclassical heads, h. 12‑3/4”, w. 11‑1/4”, the remaining three, in miniature gilt frames with linen liners and depicting classical heads, h. 7‑1/4” to 8”, w. 7” to 7‑1/2”. [150/300] 920 Directoire-Style Polychrome Recamier, 19th century, the long padded rectangular seat flanked to one end by a padded side with a molded crest and carved bellflower frieze, raised on turned bulbous and splayed legs, h. 39‑1/2”, w. 57”, d. 28”. [1200/1800] Illustrated 921 French Giltwood Restauration Barometer, first quarter 19th century, the ogee-molded frame molded with corner medallions and laurel branches, a matching giltwood lyre mounted with a thermometer serves as the finial, the cream painted dial signed by the maker, Sclon Toricelli, h. 34‑1/2”, w. 19‑1/2”. [1200/1800] Illustrated

132

922 Pair of Berlin-Style Hand-Painted Cabinet Cups with Saucers, ca. 1900, Austrian, each cup decorated with an oval portrait of a Fin-de-Siecle beauty, signed “Constance”, the cream ground cups decorated with apple green bands and gilt scrollwork, bordered with burgundy bands decorated with gilt chains, the saucers decorated to match, marked with a blue “beehive” and “Austria”, and a printed “W” in a green wreath over Austria, probably Heinrich Winterling of Mark Leuthen, cup h. 2‑1/2”, saucer dia. 5”. [150/300]

926

923 Large Turned and Polished Onyx Pedestal, 20th century, in five sections with a square plinth-form base and platform top, h. 32”, w. 14”, d. 14”. [500/800] 924 Composition Figural Bust of a Youthful Caesar Augustus on a Pedestal, modeled after the first century “Augustus of Prima Porta”, now at the Vatican, on a fluted columnar base, h. 58”, w. 15”, d. 11”. [1500/2500]

925 927 French Empire Revival Trumeau Mirror, ca. 1900, the green ground painted frame decorated with an oval oak leaf and acorn wreath, swan and ribbon bound gilt wreath in the center with molded gilt medallions in the corner and a gilt-molded upper edge, h. 42‑1/2”, w. 69‑3/4”. [2500/4000] Illustrated

925 Directoire-Style Polychrome Fauteuil, 19th century, the back-scrolled padded tapering rectangular back joined by padded arms on baluster-form uprights to the padded seat, raised on bulbous circular legs ending in toupie feet, h. 33‑1/2”. [700/1000] Illustrated 926 Pair of French Bronze Dore Restauration Sconces, second quarter 19th century and later, the modern backplate supports griffin-form arms, terminating in molded leaves, bold wings set on either side of the eagle’s head, which supports a palmette-form standard with a leaf-molded drip pan and a vase-shaped candle cup with anthemia and lotus flowers, now set with electric faux candles, retaining a rich gilt surface with tooled highlights, h. 15‑1/4”, w. 5”, d. 8”. [2500/4000] Illustrated

927

133

928 Empire-Style Polychrome and Marble-Top Center Table, the circular ochre and specimen marble top banded, and with floral inlays, raised on a foliate- and palmetto-carved standard to a tripartite base on winged paw feet, h. 28‑1/2”, dia. 27”. [3000/5000] Illustrated

931

928

929 Pair of Directoire-Style Polychrome Sidechairs, 19th century, the rectangular back centered by an urncarved medallion splat, the padded seat raised on turned and tapering circular legs ending in toupie feet, h. 35‑1/2”. [1800/2500] Illustrated

934

929 930 Directoire-Style Polychrome Sidechair, 19th century, the paneled backswept crest above an urn-and garland carved frieze with a diamond-patterned splat below, the padded seat raised on ring-turned tapering circular legs ending in toupie feet, h. 36‑1/2”. [700/1000] 931 After Claude Michel Clodion (French, 1738‑1814), fourth quarter 19th century, terracotta sculpture of a satyr in pursuit of a sleeping nymph, the plinth with a molded edge supporting the bateau-form piece with a leaf-molded foot, sides with bas relief Bachanalian scenes, a winged female forms the figure head, and the nude nymph lies prone aboard deck, while the satyr perches on the stern, h. 13‑1/4”, w. 8‑1/2”, d. 16”. [6000/9000] Illustrated

134

932 Pair of Faux Limestone Neoclassical Urns Mounted as Lamps, the plaster urns sitting on cove-molded bases supporting urns decorated with acanthus leaf-molded bases, cabochons in “C” scrolls on the body and the acanthus leaf handles, h. 35”, w. 14”, d. 8‑1/4”. [300/500]

936

933 Neoclassical-Style Polychrome Occasional Table, the octagonal top featuring various classical motifs centering a scene of a classical figure and dog, raised on three splayed square supports joined by a tripartite shelf and ending in shaped toes, h. 30”, w. 15”, d. 15”. [200/400] 934 Italian Neoclassical-Style Ivory Painted Chest, the top over rope and scalloped moldings, the case with three drawers, each with a spherical raised panel centering shaped panels, the drawers flanked by fluted columns, raised on tapering fluted legs, h. 35”, w. 41”, d. 19”. [900/1200] Illustrated 935 Neoclassical-Style Polychrome and Onyx-Top Console Table, early 20th century, the shaped and bowed onyx top above a conforming paneled and foliatepatterned frieze centered by a cornucopia-flanked classical bust medallion and with pendant floral swags, raised on three scrolling supports joined by an urn stretcher and ending in scrolled toes, h. 36‑1/2”, w. 24‑1/2”, d. 17”. [350/500]

937

938

936 Set of Eight Gilt-and Patinated-Bronze French Restauration Tiebacks, second quarter 19th century, scalloped gilt-bronze backplates, patinated and fluted arms, terminating with a small band of lotus leaves and a spray of gilded acanthus leaves, the acanthus leaves now mounted with lights, dia. 4‑1/4”, l. 8”. [500/800] Illustrated 937 Belle Epoque Marble Pedestal, fourth quarter 19th century, Italian, the octagonal base supports a cavettomolded capital set with a reeded and stop-fluted column topped with a doric capital, bound in the center with a band of relief-carved vines, leaves and fruit, made in six sections, h. 39‑1/2”, w. 13”, d. 13”. [1000/1500] Illustrated 938 An Italian Bronze of Mercury, 19th Century, after Giovanni di Bologna, called Giambologna (Italian, 1529‑1608), the wing footed god balancing on the head of a zephyr, on a variegated marble plinth, h. 20‑3/4”, l. 4‑1/2”, d. 8”. [1000/1500] Illustrated 939 Regency Mahogany Corner Washstand, first quarter 19th century, the bowed top with a rounded backpiece and fitted with openings for wash basin and other implements, above a like-shaped shelf fitted with a central small drawer and two faux drawers, raised on sabre legs joined by a stretcher, h. 46‑1/2”, w. 26”, d. 17”. [300/500] 940 Regency Mahogany Chest, first quarter 19th century, the banded rectangular top above a conforming case fitted with two frieze drawers over two short drawers and three long graduated drawers, flanked to either side by reeded pilasters, the drawers all with inlaid string banding, raised on splayed bracket feet, h. 43”, w. 47”, d. 21”. [900/1200] 941 Regency Mahogany Side Table, first quarter 19th century, the rounded rectangular top above a conforming paneled frieze fitted with a single drawer and accented with brass banding, raised on like-banded end supports to splayed acanthine-carved reeded legs ending in brass paws on casters, h. 28", w. 27”, d. 18‑1/2". [800/1200]

135

943

945

944 English Regency Inlaid Banjo Barometer, first quarter 19th century, the mahogany case outlined with stringing, with a steel faced level on the bottom, an engraved steel faced barometer in the primary panel, a thermometer above, and a hygrometer in a brass bezel, below a swan’s neck pediment crest, h. 41‑1/2”, w. 12”. [700/1000] 945 Pair of Regency Carved and Painted Family Crests, second quarter 19th century, English, carved in the form of a wolf’s head on a ducal coronet, the red and gilt coronet with a border of raised cabochons, the open-mouthed wolves with tan fur, and red lined lips and ears, h. 15‑3/4”, w. 11”, d. 12”. The crest was employed by a number of families; Allen, Bromflete, Clibborn, et al. [8000/12000] Illustrated 946 Set of Four Regency-Style Polychrome Armchairs, late 19th century, each with a paneled crest over a shaped splat centered by an urn-painted panel, joined to the padded seat by downswept arms and vasiform uprights, raised on tapering circular legs joined by an H-form stretcher and ending in toupie feet, h. 33”. [2000/4000] Illustrated

942 Regency Rosewood and Marble-Top Credenza, first quarter 19th century, the variegated green marble top of breakfrontform, above a conforming case fitted with four cabinet doors, each inset with a grille panel and separated by engaged pilasters headed by gilt maiden’s heads, and ending in gilt toes, raised on a plinth base, h. 32‑1/2”, w. 45‑1/2”, d. 14‑1/4”. [700/1000] 943 Late Regency Walnut Parcel-Gilt Marble-Top Credenza, second quarter 19th century, the breakfront Carrara marble top above a conforming case fitted with four glazed cupboard doors, each with decorative carved banding and flanked to either side by a recessed ribbed and acanthine-carved pilaster, the whole raised on a plinth base, h. 35”, w. 92‑1/2”, d. 19‑1/2”. [1200/1800] Illustrated

136

946

948

947 Pair of Regency Polychrome Sidechairs, early 19th century, each with a curved crest with delicate floral accents, the padded seats raised on tapering circular fluted legs ending in toupie feet, h. 35”. [700/1000]

948 Chamberlain’s Worcester “Thumb and Finger” Partial Tea and Coffee Set, first quarter 19th century, English, in the Imari taste, each piece marked with the pattern number 276, the set comprised of a teapot, h. 6”, w. 10‑1/4”, d. 5‑1/4”, a sugar base, h. 4‑3/4”, w. 7”, d. 4”, a cream jug, h. 4‑1/2”, w. 5‑1/4”, d. 3‑1/4”, seven coffee cups, h. 2‑1/2”, dia. 2‑3/4”, nine tea cups, h. 2‑1/4”, dia. 3‑1/4”, and seven saucers, dia. 5‑1/4”. Reference: Geoffrey Godden, Chamberlain-Worcester Porcelain 1788‑1852, pp 11 and 23, pls 120 and 144. [400/700] Illustrated

949 Derby Porter Mug in the Imari Taste, second quarter 19th century, decorated with alternating panels of orange and blue flora on a white ground, and scrolled cobalt panels decorated with orange flowers and gilt scrollwork, raised ribs separate upper and lower borders from the body, marked with a variant of the hand-painted crown over a “D”, and including workmen’s numbers, h. 5”, w. 6‑3/4”, d. 5‑1/4”, together with the “yellow dragon” shell-form dessert dish, first quarter 19th century, unsigned but attributed to Coalport, the yellow dragon in the central panel accompanied by panels of lion’s and phoenix birds, in the Imari palette, w. 8‑1/4”, d. 8”. [125/250]

950 Pair of Unusual English Porcelain Lozenge-Shaped Dishes, first quarter 19th century, with heavy gilt borders outlining the serpentine sides, hand-painted in rich cobalt, with Nanking-style borders and with willow-type scenes with pagodas and willow trees on islands, h. 1‑3/4”, w. 10‑3/4”, d. 8‑3/4”. [200/400]

951 Four Pieces of Japanese Imari, late 19th century, comprised of a lobed petal-form dish with a central foliate medallion surrounded by figural, foliate and geometric panels, dia. 13”, together with a pair of small bowls, each of paneled form, dia. 6”, and an Imari bowl in the traditional palette and with a scalloped edge , dia. 7‑1/2”. [125/250]

952 Chinese Export Lacquered Table and Writing Box, first quarter 19th century, the pillar and claw table with paw feet, gilt balls and a turned standard supporting an octagonal birdcase tilt top, all decorated with black and gilt lacquer, the cut cornered writing box, decorated with Mandarin scenes of people strolling among pagodas and garden pavilion, sides mounted with rosette and ball brass handles, two side drawers with ivory knobs, the center drawer opening to reveal a writing surface with a lacquered scene of Foo Dogs playing, h.35‑1/2”, w. 24”, d. 16‑3/4”. [600/900]

137

953

955 Suite of Four Regency Mahogany Side Chairs, early 19th century, each with an incurved paneled crest rail above a feather-carved slat with an inlaid circular medallion, reeded posts, slip seat and square tapered legs, h. 34”, w. 20”. [300/500] 956 Regency Revival Anglo-Irish Amber Footed Cut-Glass Bowl, fourth quarter 19th century, the square, star-cut base set with a stem supporting the strawberry-cut, double-lobed bowl, and with a fancut scalloped rim, h. 9‑1/2”, dia. 9”. [400/700] 957 Assembled Set of Four Regency Anglo-Irish Cut-Glass Wine Rinsers, second quarter 19th century, gadrooned on the lower half, three engraved with the crest of Coksey (on a garb, a cock proper), h. 3‑3/4” to 4‑1/4”, dia. 4‑1/4” to 4‑1/2”. [100/200]

958 Collection of English Regency Cut-Glass Wine Rinsers, second quarter 19th century, comprised of three matching bowl-form rinsers, simply decorated with bold star-form cut bases, h. 2‑1/2”, dia. 5”, a cylindrical rinse with cut panels on the lower edge, diamond cutting above and a cut lip, h. 3‑3/4”, dia. 4‑1/4”, and a bowl-form rinse with similar decoration, h. 3‑3/4”, dia. 4‑3/4”. [100/200]

962 953 Suite of Eight Regency-Style Mahogany Dining Chairs, consisting of one armchair and seven sidechairs, each with a brass foliate-inlaid crest above a like-inlaid paneled splat, the padded seat raised on sabre legs, h, 32”. [1400/1800] Illustrated 954 Regency-Style Mahogany Banquet Table, of double pedestal form, the top with rounded corners and reeded edge, each tilting on its tripodal pedestal with vasiform column and acanthus-carved and reeded sabre legs ending in brass cap and casters, together with a central leaf, h. 29‑1/4”, w. 46‑3/4”, l. 68‑1/2”, ext. l. 86‑1/2”. [1500/2500]

138

964

965 963 Regency-Style Mahogany Bookcase, the molded cornice with projecting corners above a case with a patera-applied frieze over open adjustable shelves, flanked to either side by ebonized tapering engaged pilasters headed by maiden’s heads and ending on a plinth base, h. 78‑1/2”, w. 53”, d. 20‑1/2”. [700/1000]

965 binding

959 Two Regency-Style Cut-Glass Wine Decanters, the first, an Anglo-Irish claret jug, fourth quarter 19th century, with a diamond-cut body, and with a notch-cut handle and mushroom stopper, h. 10‑1/4”, w. 4‑1/2”, d. 4”, and the second, with a body cut with grapes alternating with flowers, with engraved details, a ring-cut neck and stopper decorated with a star cut, h. 10‑1/2”, dia. 4‑1/4”. [100/200] 960 Two Regency Cut-Glass Decanters, second quarter 19th century, Anglo-Irish, the cylindrical bodies with a lower border of vertical cutting under a central band of diamond cutting, the necks faceted and the mushroom stoppers strawberry cut, h. 9‑1/2”, dia. 4‑1/2”. [150/300] 961 Regency-Inspired Giltwood Looking Glass, the mirror plate beaded on two edges, the reeded frame with leaf overlay, h. 32‑1/2”, w. 24”. [400/700] 962 Regency-Style Mahogany Etagere, late 19th century, the molded cornice above two banks of four graduated shelves over two short drawers, all flanked by paneled shaped sides, the lower section fitted with two grilled cupboard doors raised on a plinth base, h. 74”, w. 53”, d. 16”. [1500/2500] Illustrated

964 Regency-Style Mahogany Bookcase, the molded cornice with projecting corners above a case with a patera-applied frieze over open adjustable shelves, flanked to either side by ebonized tapering engaged pilasters headed by maiden’s heads and ending on a plinth base, h. 78‑1/2”, w. 53”, d. 20‑1/2”. [700/1000] Illustrated

965 John Gould (British, 1804‑1881), A Monograph of the Trochilidae, or Family of Humming-Birds, Volume V, published by the author, London 1861, containing seventy-six very fine hand colored lithographs heightened with gum arabic, late three-quarter leather binding with gilt tooling, 21” x 15”. John Gould was a British ornithologist and artist who had a successful career in which he served as official taxidermist to King George IV and established himself as Queen Victoria’s favorite illustrator of birds. His finest work, A Monograph of the Trochilidae, published in five volumes, represents Gould’s ambitious effort to create a comprehensive guide to all the varieties of hummingbirds with a high degree of accuracy, detail, and beauty. He drew rough pencil or watercolor sketches which were based on the specimens in his own collections and from his travels, and these were used as the guide for the lithographic plates. [20000/40000] Illustrated 966 John Gould and H. C. Richter (British, 19th Century), “The Earl of Derby’s Parakeet” (Palaeornis Derbianus), hand colored lithograph from The Birds of Asia, sight 20” x 14”. Glazed, handsomely matted and framed. [300/500]

139

971 Regency-Style Bronze Sconce, the oval backplate supporting a patinated bronze hand, bearing a bronze cornucopia with fluted sides and a beaded edge, h. 6‑1/2”, w. 8”, d. 4”. [350/500] Illustrated 972 Pair of William IV Giltwood Tiebacks, second quarter 19th century, English, the lotus-molded arms with acorn finials support a pierced spray of seedpods and flowers, on brass fastening brackets, h. 10”, w. 7”. [500/800] 973 Set of Four Regency-Style Brass Candle Holders, ca. 1900, English, the oval tapered bases support tapered standards with incised ribbing on the bases, the flaring tops fitted with candlesockets, h. 6”. [100/200]

967 pair

967 After Joseph Wolf (British, 1820‑1899), “Hodgson’s Eared Pheasant” and “White Eared Pheasant”, pair of hand colored lithographs by J. Smit, sight 17‑3/8” x 22”. Both glazed, handsomely presented in Florentine-style mats and antiqued crimson frames. [800/1200] Illustrated

974 Pair of Regency-Style Brass Two-Light Sconces, the backplates in the form of cornucopia brimming with flowers, and supporting scrolled, leaf-molded arm supports fitted with leaf-molded candlecups on drip pans molded with leaves and pineapples, hung with cut-glass spear-point prisms, h. 11”, w. 9‑3/4”, d. 5”. [300/500]

968 Edward Lear (British, 1812‑1888), “Marsh Harrier”, hand colored lithograph, sight 13‑3/4” x 20”. Glazed, handsomely matted and framed. [400/700]

971

969 John Gould (British, 1804‑1981), “Turtle Dove”, hand colored lithograph from Birds of Great Britain, published 1862‑1873, sight 19‑3/4” x 13”. Glazed, handsomely matted and framed. [400/700] 970 Regency-Style Mahogany and Marble-Top Bookshelf, 19th century, the long Carrara marble top above two banks of open adjustable shelves, flanked to either side by free-standing ormolu-mounted columns, raised on a plinth base, h. 37”, w. 64”, d. 16”. [2500/4000] Illustrated

970

140

975 Regency-Style Mahogany and Brass Library Ladder, the brass-edged steps supported by mahogany ends with beaded edges and volluted feet and handles, and set with hinges to fold flat, h. 57‑3/4”, w. 32‑3/4”, d. 15‑1/2”. [300/500]

978

978 Regency-Style Mahogany Library Chair, the curved and padded rectangular back within a molded frame, joined by closed padded arms and turned bulbous uprights to the cushioned seat, raised on tapering turned circular legs ending in brass caps and casters, h. 39”. [800/1200] Illustrated

976 Regency Mahogany Beau Brummell, first quarter 19th century, the rectangular top bisected and opening to an interior fitted with a central mirror with an easeled back, flanked to either side by a variety of lidded cupboards, some removable, the front fitted with a faux long drawer over an actual drawer, raised on tapering square legs ending in brass caps, h. 35”, w. 25‑1/2”, d. 20‑1/4”. [500/800] 977 William IV Mahogany Cheese Caddy, second quarter 19th century, English, supported on brass casters, the dual-compartmented hemispherical caddy with sides carved with lotus flowers and a raised, scrolled edge, the ends vase-and spool-turned, h. 8‑1/2”, w. 15‑3/4”, d. 8‑3/4”. [250/400] Illustrated

979

977

979 Continental Faux Bois Bookcase-on-Cabinet, mid19th century, the molded cornice above two glazed doors, each with an overlaid Gothic pattern, the lower section fitted with a single long drawer above two like-glazed doors, each with a fabric screen, raised on bulbous feet, h. 89”, w. 43‑1/2”, d. 21”. [2000/4000] Illustrated

141

980 Attributed to William Etty, RA (British, 1787‑1849), “Pensive Male Nude”, oil on board, red chalk sketch and “Spencer A. Samuels & Company, LTD/New York, NY label en verso, 24" x 18 1/4”. In the original carved wood frame. Provenance: Spencer A. Samuels & Company, New York; Private collection. [2500/4000] Illustrated

981 William IV-Style Mahogany Writing Table, the banded rectangular top with molded edge and inset leather writing surface, above a frieze fitted with three drawers to one side, raised on turned and tapering circular legs ending in toupie feet, h. 31”, w. 60”, d. 37”. [1800/2500] Illustrated

982 Mason’s Ironstone Forty-Nine Piece Partial Dinner Service, second quarter 19th century, English, the border utilizes scroll-sided black panels of gilt sprigging and an orange flower with pink ground panels of floral decoration and yellow panels of Chinese scrollwork, the central panel depicting an abstract leaf background with orange, pink and blue lotus flowers and peonies, and polychrome scrolls and leaves, the set comprised of a hexagonal soup tureen on a stand with cobalt handles and a flower-form knop, h. 12”, w. 13”, d. 10”, a pair of scroll-footed entree dishes, h. 9‑3/4”, w. 16”, d. 9‑1/2”, a pair of covered vegetable dishes, h. 6‑1/2”, w. 11‑1/2”, d. 10”, a covered sauce tureen on a stand, h. 7”, w. 7”, d. 6‑1/4”, a sauce boat on a stand, h. 3‑1/2”, w. 7”, d. 6‑1/4”, a nest of six graduated platters, w. 8” to 16‑1/2”, l. 9‑3/4” to 21”, ten dinner plates, dia. 10”, ten soup plates, dia. 10”, eight broth/custard, dia. 9‑1/4”, four bread and butter plates, dia. 7‑3/4”, and an oval pierced mazarine, w. 10‑1/2”, l. 14‑1/2”, marked with the angled, flat-topped crown printed “Mason’s Patent Ironstone China” mark of the 1840’s, many pieces marked with the handpainted pattern number 7903. [1200/1800] Illustrated

980

981

982

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989

983 Pair of Mason’s Iron “Muscovy Duck” LeafShaped Dishes, second quarter 19th century, English, the ribbed and scalloped dishes with a shell edge decorated in mauve and yellow, and a green crosshatched border decorated with peonies and lotus blossoms, the center panel depicting a lush display of lotus blossoms and leaves in a duck pond, with a green border punctuated with decorated Chinese red panels, with the Mason’s jeweled crown mark printed in black, w. 9”, l. 10”. [100/200]

984 Set of Four Ashworth Ironstone Soup Plates, 1860‑1890, English, decorated in the Imari taste with orange peonies, blue leaves and gilt trim, impressed “Ashworth REAL IRONSTONE CHINA”, along with a printed ironstone China blue shield mark, dia. 10”. [150/300]

985 Set of Three Hicks and Meigh Ironstone Dinner Plates with a Matching Soup Plate, 1813‑1822, English, decorated in the Imari taste, pattern number 13, with a blue printed Royal Arms Stone China No. 13 mark, dia. 9‑1/2”. Reference: Geoffrey A. Godden/Godden’s Guide to Ironstone, Stone and Granite Wares, p 252‑260. [150/300]

989 Collection of English Cobalt-Rimmed Plates, comprised of ten Coalport dinner plates, 1891‑1920, with gilt and cream scrolled borders against a cobalt ground, rimmed with delicate gilt-scrolled tracery, a circle of hand-painted roses surrounds a gilt tracery medallion on the panel, signed “Coalport”, dia. 9”, seven Coalport plates with a scalloped gilt rim against a cobalt ground border, edged with hand-painted flowers alternating with gilt tracery, a gilt sprig decorates the center, marked with Coalport and retailer, Gillman Collamore, New York, dia. 9”, and ten Cauldon plates, 1905‑1920, with scalloped gilt edges, decorated with sprigs on cobalt panels, and gilt scroll-molded cartouches containing hand-painted flowers serving as the border, retailed by Rich & Briggs Co, Boston, and marked “Cauldon”, dia. 9”. [600/900] Illustrated

986 Pair of Mason’s Ironstone Soup Plates, second quarter 19th century, English, decorated with a willow-type pattern in orange and blue, with a green clobbered border, printed with a brown jeweled crown mark, dia. 10‑1/4”. [100/200]

987 Set of English Hand-Painted Cups and Saucers, second quarter 19th century, English, the set comprised of twelve teacups, h. 2‑1/4”, dia. 3‑1/2”, twelve coffee cups, h. 2‑1/2”, dia. 3” and eleven saucers, dia. 6”, all with gilttrimmed panels of hand-painted flowers against a cobalt border, alternating with sets of cornucopias and sprays of leaves. [300/500]

988 Set of Ten English Porcelain Hand-Painted Dinner Plates and Three Matching Soup Bowls, second quarter 19th century, the scalloped cobalt borders, edge in gilt scrollwork and overlaid with gilt-trimmed flowers and leaves, each center panel decorated with different handpainted flowers, unsigned, but pattern marked: “5654”, total 13 pieces, dia. 10”. [250/400]

990

990 William IV Mahogany Secretary Cabinet, mid-19th century, the rectangular top with rounded corners, above a case fitted with a secretary drawer opening to a drop-front leather inset writing surface and a variety of drawers and cubbyholes, over two cupboard doors, each inset with a grilled panel, the whole flanked to either side by turned ribbed uprights, raised on tapering circular legs, h. 36”, w. 36‑1/2”, d. 19‑1/2”. [1500/2500] Illustrated

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994 Collection of Thirteen English Staffordshire Poodles, Victorian and later, comprised of a pair of standing poodles on pink and green bases with cranberry trim, marked “England”, h. 4”, a pair of seated poodles with “confetti” ears and tail, h. 5‑3/4”, a pair of poodles with sanded ears, neck and tail, and lustre collars, signed “29” on the bases, h. 6‑1/4”, a pair of miniature poodles, seated with rough sanded ears, neck and tail, marked “Staffordshire Ware”, “England” and “PU” in a circle, h. 3”, a pair of seated poodles with fine sanded ears, neck and tail, with remnants of gilt on the collar, h. 7‑1/4”, a Victorian flatback quill and spill holder, decorated with a pair of poodles with sanded decoration, seated in front of the tree spill holder, and with the quill aperture in front, h. 6”, and a pair of seated pearl-ware poodles with two puppies, on cobalt-glazed bases, h. 4”. [200/400]

992

991 Regency Revival Silvered Metal Mirror, first quarter 20th century, Continental, the oval frame decorated with a running band of molded laurel leaves, punctuated with a molded medallion applied to the top, bottom and sides, a pierced bowknot and ribbons serve as the crest, h. 36‑3/4”, w. 26”. [600/900] Illustrated 992 William IV Mahogany Voltaire Chair, second quarter 19th century, the upholstered shaped back joined to closed arms, fronted by “S” scroll carved supports, with molded seat rail and raised on lotus-carved legs, now in tufted beige upholstery, h. 43”. [1800/2500] Illustrated 993 Pair of Hand-Painted English Garniture Vases, second quarter 19th century, probably Minton, the square gilt-decorated base supports the swirl fluted base, trimmed with gilt laurel leaves bound with turquoise “ribbon”, the lower body decorated with alternating gilt and white molded laurel leaves, the central portion decorated with hand-painted terracotta-colored profiles in the Neo-Grec manner, framed in superbly molded gilt oak leaves and acorns, trimmed with side sprays of leaves and overlaid with swags of white and gilt leaves and roses, all of great quality, the inverted necks fluted with white panels of gilt-decorated molded leaves, the lip with a series of gilt medallions bound with turquoise “ribbons”, h. 12‑1/2”, dia. 7‑1/2”. [700/1000] Illustrated

144

993

995 Set of Twelve Derby Plates and a Matching Platter, 1825‑1848, English, molded gadrooned borders, highlighted with gilt surround cornflowers alternating with leaves and gilt sprigging, the central panels decorated with “fleur jette” roses and cornflowers, marked “Bloor Derby” in underglaze rouge de fer, plates, dia. 10”, platter d. 10”, l. 13‑1/4”. [400/700] 996 John Ridgway and Company Well and Tree Ironstone-Type Platter, 1830‑1856, English, the Japantype pattern depicting a scrolled and gilt-sprigged orange and blue border, the central decoration depicts a Chinese junk with a pair of boatmen, with “islands” of flowers floating on the edge, printed with the Ridgway Imperial Stone China mark, incorporating the royal arms and J.R., w. 18”, l. 21”. [125/250] 997 Pair of English Miniature Stafford Spaniels, mid-19th century, depicted reclining on a blue plinth, each black and white dog with a gilt anchor mark, h. 1”, w. 1‑1/4”, d. 1”. [100/200]

1002 1000 Danish Mahogany Secretary Bookcase, second quarter 19th century, the pierced scrolling foliate pediment above a molded cornice, with two astragal-glazed doors below, with an upper Gothic-patterned overlay, the lower section fitted with two small drawers over a rectangular top with central inset writing surface, over two paneled cupboard doors flanked to either side by reeded columnar uprights, raised on a plinth base, h. 89”, w. 52‑1/2”, d. 23”. [1200/1800] 1001 Pair of William IV Four-Light Gilt-Bronze Sconces, second quarter 19th century, English, oval, leaf-molded backplates support scrolled leaf-molded arms, leafmolded drip pans support reeded candle cups, h. 8‑1/2”, w. 10”, d. 11‑3/4”. [150/300]

1003

998 Pair of William IV Parcel-Gilt Rosewood Pedestal Cabinets, second quarter 19th century, each with a black granite top over a single door with a pleated fabric panel framed by gilt moldings, and flanked by pilasters, on a projecting molded plinth base, h. 39‑3/4”, w. 18‑1/2”, d. 13”. [800/1200] 999 Edwardian Mahogany Wardrobe, early 20th century, of breakfront form, the molded cornice above a case fitted with two central bi-paneled doors opening to a shelved interior over two banks of three drawers, flanked to either side by a like-paneled door opening to two pull-out drawer shelves, raised on a plinth base, h. 78‑1/2”, w. 101”, d. 24”. [1500/2500]

1002 William IV Mahogany Chest, second quarter 19th century, the rectangular top with a bowed center section above a conforming case fitted with a plain frieze over two short drawers and three long graduated drawers, all flanked to either side by a reeded pilaster, raised on toupie feet, h. 44”, w. 42”, d. 21”. [900/1200] Illustrated 1003 Regency Rosewood and String-Inlaid Drop-Leaf Sofa Table, first quarter 19th century, the top with two short drop leaves and an inlaid satinwood border, the front side fitted with two drawers, each trimmed with a beaded brass edging, mounted to a turned standard with four outstretched legs ending in brass toes with casters, h. 28‑1/2”, w. 35”, d. 28”, ext. w. 55”. [1400/1800] Illustrated 1004 Regency-Style Mahogany Sofa Table, late 19th century, the rectangular top with inlaid string banding and two rounded drop leaves, above a conforming frieze fitted with two drawers, raised on end supports joined by a stretcher and ending in splayed legs to brass caps and casters, h. 28”, d. 24‑1/2”, l. 39”, ext. l. 59”. [600/900]

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1005

1005 George II Sterling Silver Warwick Cruet Frame, hallmarked London, 1746‑1747, by Samuel Wood, of traditional cinquefoil form raised on four acanthusscroll legs and union shell feet, with five circular molded receptacles faced by a rococo cartouche, all surrounding a central baluster standard with stirrup-ring handle, fitted with one large, h. 6‑1/2”, and two small, h. 5‑1/2”, baluster-form casters, all with intricately pierced caps and vasiform finials, and two glass cruet bottles cut in a fluted, diamond and square panel pattern with cylindrical sterling caps with domed tops, the frame cartouche, casters and cruet caps all engraved with a crest of a boar’s head couped, h. 7‑1/4”, overall h. 9”, w. 6‑1/2”, d. 6‑1/4”, 36.97 total t. oz. (excluding glass bottles). [6000/9000] Illustrated 1006 George II Sterling Silver Tureen, hallmarked London 1758‑1759, the maker’s mark rubbed (?W), of bulbous oval form, decorated with elaborate repousse wavy flutes and gadroons with pendant grapevine banding all centering a rocaille cartouche, the shaped rim gadrooned and quartered by acanthus scrolls, the whole raised on four acanthus crested scroll feet, with gilt interior, engraved on the cartouche with the arms of Penton, h. 7‑1/4”, l. 14‑1/2”, w. 10”, 56.97 t. oz. [1400/1800] Illustrated 1007 Early George III Sterling Silver Tea Caddy, hallmarked London, 1762‑1763, by John Parker I & Edward Wakelin, of bombe form, the fitted domed lid with toupie finial, the whole raised on openwork rococo feet and apron and decorated with fine annulated edging, h. 6”, w. 3‑1/2”, d. 2‑1/2”, 8.81 t. oz. [1800/2500]

146

1008 Good Pair of Early George III Sterling Silver Covered Vegetable Dishes, hallmarked London, 1764‑1765, by Thomas Heming, each of slightly concave rectangular form with incuse corners, with opposing addorsed acanthuscrested handles and gadrooned rim, the fitted lid with stirrup finial and gadrooned rim en suite, the lid engraved with the arms of Bateman quartering Searle, overall h. 2‑3/4”, l. 10‑1/2”, w. 6‑1/2”, 44.75 total t. oz. Thomas Heming (1722/23‑1801) was apprenticed on March 7, 1738 to Edmund Bodington and turned over the same day to noted Huguenot goldsmith Peter Archambo. There is no record of his freedom, but he entered his first mark in June, 1745. The then-fading French influence of his Huguenot training was evident in his graceful designs, and his popularity was such that he was appointed principal goldsmith to George III in 1760; as such, he was responsible for supplying plate and regalia for the king’s coronation the following year. He was relieved of the appointment in 1782 after accusations of excessive pricing. During this time, however, he received numerous important commissions, among them Queen Charlotte of Denmark and Speaker Sir John Cust, 3rd Baron. The arms on this fine pair of dishes are those used by the children of Lord Mayor of London Sir James Bateman (1660‑1718) and his wife Esther Searle. As both of his sons had died by the time these dishes were made - William having been made a viscount in 1725 and James apparently without issue - the likeliest owner was his daughter Anne Bateman (1691‑1773), who married first William Western and second George Dolliffe. [3500/5000] Illustrated

1006

1008

1009 Good George III Sterling Silver Cake Basket, hallmarked London, 1781‑1782, probably John Buckett, of oval form with wavy rim, decorated with pierced scrollwork panels below a band of paterae and laurel swags on a reticulated ground, accented throughout with beaded banding, with conforming swing handle and oval foot ring en suite, h. 4” (11” with handle), l. 13‑1/2”, w. 11”, 26.75 t. oz. [7000/10000] Illustrated

1009

1010 Large George III Sterling Silver Platter-on-Stand hallmarked London, 1781‑1782, by John Crouch & Thomas Hannam, of oval form, the everted rim decorated with pierced and beaded-edge gallery and set with twelve applied putto medallions, raised on four spatulate feet en suite with the gallery, the plateau engraved with a circular laurel cartouche and the arms of Milnes of Ashford-inthe-Water with another in pretence, l. 28”, w. 21‑1/2”, 186.47 t. oz., presented on a later mahogany stand with conforming top raised on square supports joined by an X-form stretcher and ending in splayed legs, h. 19”, w. 26”, d. 20”. [35000/50000] Illustrated

1011

1011 George III Sterling Silver Cream Jug, hallmarked London, 1792‑1793, by John Beldon, of “helmet” form, with molded strap handles and domed square plinth foot, the body decorated with brightcut and wrigglework banding, floral swags and “arrow” gadroons, with circular wrigglework cartouche and stamped beaded rim, h. 5”, l. 4‑1/4”, 2.76 t. oz. [125/250] Illustrated

1012 Good George III Sterling Silver Cake Basket, hallmarked London, 1792‑1793, by Robert Hennell, of oval form, the reeded edge with bright-cut floral banding, with recessed scalloped rim with pierced gallery and wrigglework banding, with pierced gallery foot ring and reeded swing handle, engraved at the center with the arms of Gale with Dalton in pretence, h. 4” (11‑1/4” with handle), l. 14‑1/2”, w. 10‑1/4”, 22.12 t. oz. The arms here are those of Henry Gale (1744‑1821) of Scruton Hall, the son of Roger Henry Gale and Catherine Crowe. He inherited Scruton Hall upon the death of his father in 1768, and on April 3, 1779 he married Mary Dalton (1750‑1845) only daughter and heir of Francis Dalton and his wife Mary Tasker. The couple had only three surviving daughters of their six children, the eldest of whom, Harriet (1783‑1839), assumed the arms of her father impaled with those of her husband, Lt. Col. Foster Lechmere Coore (1790‑1837) and, in 1821, the family seat Scruton Hall. [6000/9000]

1010 1010 detail

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1015 George III Irish Sterling Silver Sugar Basket, hallmarked Dublin, 1799, by John Stoyte, of navette form, with upswept fluted ends, decorated with engraved floral paterae and wrigglework banding above opposing navette-shaped cartouches en suite, raised on a waisted stem above a conforming foot, with reeded swing handle, one cartouche engraved with the crest of Taylor, Marquess of Headfort, h. 5‑1/4” (8‑1/2” with handle), l. 7‑5/8”, w. 5”. [1200/1800] Illustrated 1016 George III Irish Sterling Silver Ladle, hallmarked Dublin, 1782, by “MS”, in the traditional “Old English” pattern, the handle with upper mid-rib and decorated with bright-cut edging and cartouche, with circular coquille bowl, l. 12‑1/4”, 3.66 t. oz. [150/300]

1016

1015 1017

1017 George III Irish Sterling Silver Teapot Stand, hallmarked Dublin, 1800, by Daniel Eagan, of navette form, with molded rim and raised on four threaded spatulate feet, the plateau engraved with a pricked and hatched band, centering a rubbed crest, l. 8”, w. 5‑1/2”, 6.75 t. oz. [900/1200] 1018 Late George III Sterling Silver Beer Mug, hallmarked London, 1806‑1807, by John Emes, of traditional tapering cylindrical form, with molded rim and reeded banding, with notched scroll handle of square section, engraved with the arms and motto of Massey, h. 5‑3/4”, dia. 4‑1/4”, l. 6‑3/4”, 19.86 t. oz. [1400/1800]

1013 Good George III Three-Piece Sterling Silver Tea Caddy and Sugar Urn Set, hallmarked London 1791‑1792, by John Kidder, including a pair of tea caddies, h. 7‑3/4”, w. 5”, and a sugar urn, h. 9”, w. 6”, each with an urn-form body of dodecagonal section with alternating flutes and panels, raised on a domed foot and square plinth, with reeded edge and opposing arched reeded handles, the conforming fitted lid steeply waisted and with acorn finial, 31.31 total t. oz. [7000/10000] Illustrated

1019 Set of Four Late George III Sterling Silver Candlesticks, hallmarked Sheffield, 1807‑1810, by John Roberts & Co., each with a baluster standard of treble serpentine-lobed section, above a conforming knop and foot decorated with rocaille cresting, surmounted by a conforming vasiform nozzle fitted with a shaped bobeche, engraved on the bobeche with the crest and motto of Vernon and the monogram “SCV”, the standard engraved with a later crest of a falcon and the monogram “SBC”, h. 12‑1/4”, dia. 6‑1/4”, weighted. [10000/15000]

1014 Pair of Late George III Sterling Silver Casters, hallmarked London, 1807‑1808, by Alexander Field, each with on ovoid body with reeded banding and engraved with pricked and wrigglework scrolls on the shoulder, the tall waisted cap pierced and with spherical finial, the whole raised on a square plinth base, h. 6”, dia. 2‑1/4”, weighted. [1200/1800]

1020 Three Regency Scottish Sterling Silver Tablespoons, hallmarked Edinburgh, two 1816‑1817, by Matthew Craw, one 1818‑1819, by the unidentified “RS”, in the traditional “Fiddle and Shell” pattern, engraved on the handle with a crest of a unicorn’s head erased, l. 6‑1/2”, 2.70 total t. oz. [100/200]

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1021 Fine Late George III Matthew Boulton Sterling Silver Epergne with Old Sheffield Plate Plateau, the epergne hallmarked Birmingham, 1803‑1804, the oval frame with molded rim and rope-twist banding, raised on four laurelfaced flat columnar legs with lion’s masque capitals flanked by acanthus scroll cresting and terminating in lion’s paw feet, joined by a flat wirework stretcher centering a domed oval patera with flowering “pineapple” finial and fitted with four reeded scrolling arms, each terminating in an oval wirework frame, the frames fitted with one large and four surrounding glass bowls, h. 13‑1/4”, l. 17‑1/4”, w. 15”, presented on a matching Old Sheffield plate plateau of rounded rectangular form, with rope-twist-banded frame en suite and raised on four lion’s paw feet, l. 24‑1/4”, w. 17”, 65.33 t. oz. (epergne only, excluding glass). The design elements of this handsome epergne can be traced to several illustrations in Boulton’s second pattern book (ca. 1790‑1813) conserved in the Birmingham City Archives. The lion-crested flat-column laurel legs, for instance, correspond to the “epergne stand” pattern number 2345 on page 177, while the flanking acanthus scrolls and stretcher elements are taken from “stand” pattern number 2256, page 139. The rope-twist molding shared by both the sterling epergne and fused plate plateau is taken from yet another design: number 2284 on page 150. Boulton’s genius in combining such diverse, mechanically reproduced pattern elements into an aesthetically pleasing whole was very much at the root of his success and fame as one of the pillars of the Industrial Revolution. [12000/18000] Illustrated 1022 Important William IV Paul Storr Sterling Silver Gilt Centerpiece Candelabrum, hallmarked London, 1834‑1835, London, with a central baluster stem above an elaborately shaped and scrolled domed base with rocaille feet, decorated with acanthus scrolls and imbricate panels surmounted by an integral waisted nozzle into which fits a superstructure of an openwork acanthus frond baluster surrounded by four scrolling arms with robust dimensional acanthus scrolls, the arms and baluster all terminating in a shaped circular drip pan and urn-form nozzle with detachable bobeche, all decorated with shell-andacanthus banding, h. 26”, w. 17”, dia. (at base) 8‑1/2”, 128.93 t. oz. [40000/70000] Illustrated

1022

1022 detail

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1023 1024

1026

1027 Regency Mahogany and Old Sheffield Plate Standish, first quarter 19th century, by Matthew Boulton, Birmingham, the mahogany case with molded lower edge and single frieze drawer, with spherical silverplate pull and feet, the top clad with a central taperstand flanked by cubic glass ink and water wells with silverplate caps, all between two pens trays, overall h. 6‑3/4”, w. 11‑1/2”, d. 9‑1/4”. [500/800] 1028 William IV Old Sheffield Plate Covered Vegetable Dish, second quarter 19th century, of circular form, the molded rim quartered by flowerand-acanthus motifs, the ogeedomed lid with addorsed scroll handle mounted en suite, the lid with “rubbed in” plaque engraved with an armorial, h. 6”, dia. 10”. [125/250]

1023 Large Pair of Matthew Boulton Old Sheffield Plate Candelabra, first quarter 19th century, Birmingham, each with a tapering standard with acanthus frond calyx above a knopped base with fluted and gadrooned banding, surmounted by an urn-form nozzle with acanthus calyx, into which fits a superstructure of a second inverted and knopped standard flanked by a pair of reeded scrolling arms, the baluster terminating in a large nozzle, the arms with smaller nozzles with circular drip pans, all with detachable bobeches en suite, engraved on the primary standard with a crest, “on a cap of maintenance, a lion passant” (for Paddy?), h. 25‑3/4”, w. 17”, dia. 6‑1/4”. [1000/1500] Illustrated 1024 Good William IV Old Sheffield Plate Tureen-onStand, second quarter 19th century, of oval form and ogee vertical section, decorated with gadroons and raised on four robust shell-and-acanthus feet with opposing handle en suite, the fitted gadrooned and domed lid with oak branch-mounted handle, the whole above an oval stand with raised oak leaf-banded plateau, gadrooned sides and opposing integral addorsed acanthus scroll handles, overall h. 10‑1/4”, w. 14”, l. 20-1/4". [7000/10000] Illustrated

1033

1025 Early Victorian Old Sheffield Plate Salver, second quarter 19th century, of rounded square form with gadrooned gallery and rim with shell-and-scroll corners, raised on four large lion’s paw feet, the plateau engraved with a crest of an arm in armour embowed, holding a lance (Pearce et al.), w. 14”. [200/400] Illustrated 1026 Pair of William IV Old Sheffield Plate Entree Dishes, second quarter 19th century, each of rounded rectangular form with shaped acanthus, shell and scroll border, the steeply domed lid decorated with acanthus fronds separated by C-scrolls and extending with gadrooning to meet at the acanthus-mounted ring handle, h. 7‑1/2”, w. 9‑1/2”, l. 12‑1/2”. [2500/4000] Illustrated

150

1035

1034 George III-Style Mahogany Side Table, late 19th century, the rectangular top with molded edge above a conforming frieze, raised on cabriole legs, headed by acanthine carving and ending in ball-and-claw feet, h. 28‑1/4”, w. 44”, d. 26”. [600/900] 1035 Chinese Porcelain Punch Bowl, 18th century, finely painted with figures in palace scenes in famille rose enamels with foliate borders on a gilt ground, dia. 15‑1/4”. [700/1000] Illustrated 1036 George III-Style Mahogany Center Table, 20th century, the circular top banded and with a molded edge, raised on an urn-form standard to four splayed legs headed by acanthine carving and ending in paw feet, h. 31”, dia. 51”. [150/300] 1037 George III-Style Mahogany Stool, late 19th century, the padded rectangular top with brass tack accents, raised on cabriole legs ending in ball-and-claw feet, h. 19‑1/2”, w. 19‑1/2”, d. 16”. [250/400] 1038

1029 Old Sheffield Plate Vegetable Dish, first quarter 19th century, by Matthew Boulton, Birmingham, of squat cylindrical form with acanthus-mounted addorsed scroll handles, with an electroplated lid of later date, with lyriform finial, h. 5‑3/4”, dia. 7‑1/4”, w. 9‑1/2”. [75/125] 1030 Pair of Early Victorian Old Sheffield Plate Platters, second quarter 19th century, by Creswick & Co., Sheffield, each of shaped oval form, with an elaborate gadrooned shell-and-scroll rim, with recessed oval plateau, l. 17‑3/4”, w. 13”. [250/400] 1031 Early Victorian Old Sheffield Plate Platter, second quarter 19th century, of oval form with unusual scrolling gadroon rim, l. 22”, w. 17”. [200/400]

1038 British School (18th Century), “Spaniel in a Wooded Landscape”, oil on canvas laid down on wood panel, unsigned, 29” x 23‑1/2”. Unframed. Provenance: Howard Kaplan, French Country Store, New York, New York. [800/1200] Illustrated 1039 British School (Third Quarter 20th Century), "English Setter With His Catch”, oil on panel, signed illegibly lower right, 20” x 16”. Presented in a mahoganystained, parcel-gilt frame. [700/1000] 1040 Anton Karssen (Dutch, b. 1945), “The New Toy”, oil on beveled wood panel, signed lower right, 12‑1/4” x 19‑3/4”. Framed. [2500/4000] Illustrated

1032 Early Victorian Silverplate Tureen, second quarter 19th century, of oval form, with gadrooned rim and addorsed rocaille scroll handles, the fitted lid with center dome and melon finial, the whole raised on a waisted navette-shaped foot with gadrooned edge, h. 8‑1/2”, l. 16‑1/4”, w. 8‑3/4”. [150/300] 1033 George III Mahogany Kettle Stand, early 18th century, the piecrust top raised on a turned, bulbous and spiralreeded standard, to three splayed cabriole legs headed by acanthine carving, ending in paw feet, h. 21‑1/4”, top dia. 9‑1/2”, base dia. 18‑1/2”. [1500/2500] Illustrated

1040

151

1041 Anton Karssen (Dutch, b. 1945), “Two Puppies”, oil on wood panel, signed lower left, 14-1/4” x 14-1/2”. Framed. [1500/2500] Illustrated 1042 British School (Fourth Quarter 19th Century), “Black and White Spaniel in a William IV Chair”, oil on canvas, unsigned, 14” x 17”. Presented in a birds-eye maple frame with a silvered liner. [600/900] Illustrated 1043 British School (First Quarter 20th Century), “King Charles Spaniel in a Louis XV Chair”, oil on oval paper, unsigned, 9” x 11”. Presented in a giltwood frame with an oval mat. [300/500] 1044 McCafferty (American, 20th Century), “Portrait of Honey”, oil on canvas, signed and titled lower left, 20” x 16”. Attractively framed. [200/400]

1041

1042

1045 1047

1045 British School (First Quarter 20th Century), “Portrait of a Pekingese Dog With a Blue Ribbon”, oil on canvas, illegibly signed and dated “1912” lower right, stamped canvas verso “G. Rowley & Co., London. W. Quality B.”, 11‑3/4” x 14”. Presented in a period giltwood and gesso frame. [500/800] Illustrated 1046 Pair of Georgian-Style Cut-Glass Sconces, fourth quarter 19th century and later, secured with a brass backplate, each base supports a pair of notched candlearms fitted with cut-glass candle sockets and prism-hung drip pans on either side of a faceted cut-glass arm terminating in a swan’s head, each set with a vertical cut-glass sphere hung with swags of prisms, h. 21‑1/2”, w. 21”, d. 9”. [400/700]

152

1051 Chinese Export Shaped Porcelain Dish, 18th century, blue enamel borders with gilt ecclesiastical arms in the center, w. 7”, l. 8”. [300/500] 1052 Chinese Porcelain Bowl, ca. 1830, a handled porringer with rose mandarin decoration in famille rose enamels, w. 7‑1/2”. [1000/1500]

1050

1053 George III Mahogany Drop-Leaf Table in the Chippendale Taste, third quarter 19th century, the top flanked by a pair of deep, single-board drop leaves, each supported by a fly leg, the cabriole legs with shell-carved knees and ball-andclaw feet, partially composed of period elements, h. 28‑1/4”, w. 48”, d. 22‑1/2”, ext. l. 65”. [700/1000] Illustrated

1053

1047 Pair of George III-Style Mahogany Armchairs, 19th century, possibly Irish, each with a domed and padded back splat joined to the like seat by outscrolled foliate arms, raised on cabriole legs headed by eagle’s head carving and ending in ball-and-claw feet, h. 42”. [700/1000] Illustrated 1048 Suite of Six British Sporting Illustrations (Fourth Quarter 19th Century), all hand colored lithographs with humorous captions in the lower margins, sight 5” x 22”. All glazed and handsomely framed. [300/500]

1054 George III Mahogany Tripod Table, fourth quarter 18th century and later, the tilting pie crust top with a dished edge and raised on a turned and fluted vasiform standard to three splayed acanthinecarved legs ending in foliate scrolled toes, h. 28”, dia. 27‑1/4”. [800/1200]

1055 Chinese Export Porcelain Punch Bowl, 18th century, famille rose decoration of phoenixes and flowering peony, interior decorated with floral scrolling, dia. 13‑3/4”. [700/1000] Illustrated 1056 Chinese Export Porcelain Punch Bowl, 18th century, famille rose decoration of figures in a landscape, dia. 12‑1/4”. [200/400]

1049 James Howie (British, 17981‑1858), “Chestnut Stallion in a Landscape With a View of a Country Manor”, oil on canvas, signed and dated lower right “J. Howie 1829”, 19‑1/2” x 25”. Presented in a burlwood frame with a gilt liner. Provenance: Henry Stern Antiques, New Orleans, LA. [700/1000] 1050 Pair of George III-Style Mahogany and MarbleTop Side Tables, early 20th century, each with a rectangular Carrara marble top above a cove-molded frieze centered by a shell carving and fitted with one drawer, raised on cabriole legs headed by bellflower carving and ending in hairy paw feet, h. 30”, w. 43‑1/2”, d. 16‑3/4”. [1500/2500] Illustrated

1055

153

1057 Chinese Export Porcelain Punch Bowl, rare decoration of Buddhist saints and Taoist immortals in famille rose enamels, dia. 14”. [250/400]

1062 Three Chinese Export Porcelain Cans, 18th century, famille rose decoration of figures in garden scense and floral patterns, h. 6”, tallest. [200/400]

1058 Chinese Porcelain Punch Bowl, 18th century, finely painted famille rose enamel scene of figures in a palace garden, dia. 15‑5/8”. [600/900]

1063 Pair of Porcelain Saucer Dishes, ca. 1800, Chinese export ware, with famille rose decoration of deer, borders with flowers and butterflies, dia. 6”. [150/300] 1064 Pair of Chinese Export Plates, 18th century, octagonal form, famille rose decora`vtion of bok choy and flowering trees, dia. 8‑5/8”. [200/400] Illustrated

1064

1059

1065 Chinese Export Porcelain Punch Pot, mid-18th century, Ch’ien Lung period, fitted with a gilt crabstock handle and spout, decorated with gilt scroll bordered panels depicting Mandarin figures in various activities, the cover with panels decorated with ho ho birds and landscapes, h. 8”, w. 12”, d. 6”. [200/400]

1059 George III-Style Deep Red Leather and Mahogany Wing Chair, 19th century, the padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on cabriole legs ending in ball-and-claw feet, h. 46”. [700/1000] Illustrated 1060 George III-Style Mahogany Print/ Architech's Cabinet, the rectangular top with a molded edge and inset leather surface, above a case fitted with six long drawers, the back and sides paneled, raised on bracket feet, h. 36”, w. 54”, d. 36”. [1500/2500]

1061

154

1061 Chinese Porcelain Vase, 19th century, trefoil shape with famille rose decoration of flowers, birds and butterflies, h. 12”, without stand. [300/500] Illustrated

1066

1066 George III-Style Mahogany Partner’s Desk, 20th century, the rectangular top with molded edge and inset leather writing surface, above a frieze fitted with five short drawers to each side, raised on two pedestals, each fitted with an arrangement of five drawers to one side and a paneled cupboard opening to three drawers to the other side, raised on plinth bases, h. 30”, w. 60”, d. 53”. [2000/4000] Illustrated

1067 Mahogany Chippendale-Style Double Pedestal Executive Desk, fitted with three top drawers over three side drawers on each side, all mounted with brass rosette and bail handles, and the top with an inset green leather top, with a gilt-tooled Greek-key border, h. 31”, w. 68”, d. 29‑1/4”. [400/700]

1068 pair

1069 Suite of Twelve George III-Style Mahogany Dining Chairs, early 20th century, in the Sheraton taste, consisting of two armchairs and ten sidechairs, all with a paneled crest above a foliate-carved X-form splat, the padded seat raised on tapering square legs ending in spade feet, h. 35‑1/2”. [2500/4000] Illustrated

1069

1068 Pair of George III-Style Giltwood Looking Glasses, late 19th century, in the Adam taste, each with an oval plate surmounted by an urn crest issuing a floral spray and garlands, within a molded and annulated frame with a foliate pendant, h. 51‑1/2”, w. 27‑1/2”. [1500/2500] Illustrated

1070 George III Marquetry Inlaid and Line-Strung Mahogany Sideboard in the Hepplewhite Taste, fourth quarter 18th century, of demi-lune form, the top with perimeter cross-banding and stringing, over a central drawer flanked by deep drawers, each fitted with a pullout flatware tray, and each flanked by tapering legs with inlaid paterae over bellflowers, with spade feet, the ends fitted with doors, h. 37‑1/2”, w. 72”, d. 34”. [1800/2500] Illustrated

1070

155

1071 George III Satinwood Demi-Lune Side Table, demi-fourth quarter 18th century and later, the doublebanded demil-lune top accented with finely painted fruit garlands, above a conforming frieze with inlaid faux fluting, raised on square tapering legs headed by floral sprays, h. 30”, w. 42”, d. 16‑3/4”. [600/900] Illustrated 1072 George III Cross-Banded and Line-Strung Triple Section Dining Table, ca. 1800, the ends of demilune form, the central section with a pair of deep drop leaves, the top with crossbanding and stringing about the perimeter edge, the apron with checkered inlay at its lower edge, on tapering legs ending in brass cap casters, the top and leaves each modeled from a single board, h. 29”, d. 41‑1/2”, l. 41‑1/2”, ext. l. 112”. [1200/1800] Illustrated 1073 Chinese Porcelain Cider Jug, ca. 1830, rose mandarin decoration of an historical scene, h. 11”. [700/1000] Illustrated

1071

1074 Ch’ien Lung Period (1736‑1795) Chinese Export Porcelain Tureen, fourth quarter 18th century, constructed with notched corners, boar’s head handles and a scrolled knop, with famille rose decoration of panels of Chinese figures in a garden on a matte pink diapered ground, punctuated with small panels of sprigging and florals, h. 9”, w. 12‑1/2”, d. 8‑3/4”. [400/700]

1073

1072 detail

1075 Lot of Eight Pieces of Chinese Export Porcelain, ca. 1800, famille rose decoration of figures in palace gardens, including two cups, two saucers, two bowls and two plates. [200/400]

1072

156

1076 Chinese Export Porcelain Green Fitzhugh Wash Basin, third quarter 19th century, the interior sides decorated with quartets of panels and rondels, with a single rondel and four panels in the bottom, h. 4‑1/2”, dia. 14‑3/4”. [700/1000] Illustrated 1077 Set of Eight Chinese Export Porcelain “Fitzhugh” Green Dinner Plates, fourth quarter 19th century, decorated with a center rondel depicting a flower and foo dogs, tightly defined panels of peonies decorate the sides, the border incorporates moths and diapered panels, dia. 9‑1/2”. [300/500] 1078 Chinese Export Porcelain Plate, ca. 1850, grape borders surround a reserve of phoenix and flowering peony, dia. 9‑5/8”. [100/200] 1079 Chinese Export Porcelain Luncheon Plate, ca. 1830, in the green Fitzhugh pattern, dia. 8‑3/4”. [100/200] 1080 Pair of Chinese Export Porcelain Green Fitzhugh Dinner Plates, ca. 1900, four detailed panels surround the central rose decorated rondel, dia. 9‑3/4”. [300/500] 1081 Chinese Export Porcelain Luncheon Plate, ca. 1830, Mulberry Fitzhugh design with an initial rondel at the center, dia. 7‑3/8”. [100/200] 1082 Pair of George III-Style Mahogany Armchairs, early 20th century, in the Sheraton taste, each with a carved crest above a rectangular back fitted with three lotuscarved splats, joined by flat arms to the padded seat, raised on molded tapering square legs, h. 37”. [400/700]

1085

1076

1083 Georgian Rolled Gilt Paper Shadowbox Frame, fourth quarter 18th century, the blue paper-lined beechwood shadowbox containing an oval frame with swirled patterns of rolled gilt paper flowers and tendrils, w. 14‑3/4”, d. 11”. [200/400] 1084 Pair of Blown and Cut-Glass Compotes, the cylindrical bowls of the compotes decorated with scattered cut stars, and supported by a round foot, h. 8‑1/2”, dia. 6‑1/2”. [400/700] 1084A Two Pairs of French Crystal Scent Bottles, ca. 1900, the swirl molded bottles with matching stoppers signed Baccarat, France, h. 4‑1/4”, dia. 2‑1/2”, the silver capped pair with panel-cut sides and silver caps with raised scrollwork on a stippled ground, h. 4‑1/4”, dia. 2”. [250/400] 1085 Pair of Chinese Export Porcelain Rose Medallion Baluster Vases, third quarter 19th century, mounted as lamps, panels of mandarin figures alternate with panels of roses and butterflies, on a gilt ground decorated with roses and butterflies, mounted with gilt foo dog handles and a molded lip, h. 32”. [3000/5000] Illustrated 1086 Small Chinese Export Porcelain Ginger Jar, Now Mounted as a Lamp, fourth quarter 19th century, polychrome mandarin decoration set between green and pink borders, mounted on a cabriole leg, pierced black lacquer base, fitted with a pleated silk shade, h. 16‑1/2”, overall. [100/200] 1087 Pair of Chinese Export Porcelain Baluster Vases, ca. 1900, decorated with panels of Mandarin decoration alternating with panels of peonies and birds, the neck decorated with raised rings, h. 10‑1/4”. [250/400] 1088 George III-Style Mahogany Settee, in the Adam taste, the shaped crest above a back consisting of six shield form foliate-carved splats, joined to the padded seat by downswept arms, raised on turned and bulbous legs ending in toupie feet, h. 33‑1/2”, d. 26”, l. 80”. [600/900] 1089 George III-Style Polychrome Mantle, in the Adam Taste, early 20th century, the molded and bead-applied cornice above a frieze with applied urns and a classical procession, the opening flanked to either side by two fluted engaged Corinthian columns, raised on a molded base, h. 47”, w. 63”, d. 12”. [500/800]

157

1090 George III-Style Mahogany Side Table, 20th century, the rectangular top with a shaped front and projecting canted corners, above a conforming fluted frieze centered by an urn-carved drawer, raised on tapering square stopfluted legs ending in block-on-ball feet, h. 33‑1/2”, w. 64”, d. 26”. [1200/1800] 1091 George III Mahogany Linen Press, fourth quarter 18th century, the molded and dentillated cornice above a case fitted with two paneled doors, opening to pull-out shelves, the lower section fitted with two short drawers over two long graduated drawers, raised on shaped bracket feet, h. 77‑1/2”, w. 48”, d. 23”. [1000/1500] Illustrated 1094

1094 After Anton Mauve (Dutch, 1838‑1888), “Herding the Flock”, painting on Holland tile, composed of twelve separate tiles, signed lower left, inscribed “Holland” with leaf marking lower right, set within a wood lattice backing, sight 16‑3/4” x 22‑3/4”. Presented in a fine cove-molded carved wood frame. [1200/1800] Illustrated 1095

1095 Lot of Three Chinese Porcelain Plates, 18th century, underglaze blue borders, famille rose arms of Hodgson impaling Warren, dia. 9‑1/4”. [300/500] Illustrated 1091

1092 Late George III Mahogany Chest, early 19th century, the rectangular top with molded edge above a case fitted with a plain frieze over two short drawers and three long graduated drawers, flanked to either side by engaged fluted pilasters, raised on ogee-molded bracket feet, h. 38‑1/2”, w. 43”, d. 21‑1/2”. [700/1000] 1093 Henry Schouten (Belgian, 1864‑1927), “Paysage avec Vaches”, oil on canvas, signed lower right, remnants of old red wax export stamp en verso on stretcher, 23‑3/4” x 35‑1/4”. In a period carved, gessoed, and giltwood frame. [2000/4000] Illustrated

1093

158

1098 Pair of Carved Wood Lions, fourth quarter 19th century, executed in the Medieval style, carved with an open mouth and protruding tongue, with looped tail “handles”, based on early bronze jugs, h. 13‑3/4”, w. 5‑1/4”, l. 18‑1/2”. [800/1200]

1096 George III Walnut and Oak Chest on Chest, late 18th century and later, the molded cornice above a case fitted with two short drawers over three long graduated drawers, the lower section fitted with three long graduated drawers, all drawers banded, raised on bracket feet, h. 66‑1/4”, w. 42‑1/2”, d. 23”. Provenance: Rothschild’s, New Orleans, Louisiana. [1500/2500] Illustrated

1099 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with reeded edge raised on two pedestals, each with a turned urn-form pedestal to three splayed reeded legs ending in brass caps and casters, together with two leaves, h. 29‑1/2”, d. 49”, l. 72”, ext. l. 120”. [1000/1500] 1100 Suite of Twelve George III-Style Mahogany Dining Chairs, ca. 1900, consisting of two armchairs and ten sidechairs, each with a pierced central splat below a shaped and carved crest rail, raised on cabriole legs ending in ball-and-claw feet, h. 38”. [2500/4000] Illustrated

1100

1096 1101 George III Mahogany Armchair, early 19th century, in the Chippendale taste, the earred and shaped acanthine-carved crest above a pierced and carved splat, joined by shaped foliate arms to the padded seat, raised on stop-fluted square legs joined by an H-form stretcher, h. 37‑1/2”. [300/500]

1097 Pair of Bronze Leontine Garden Figures, each in the form of a recumbent lion with full mane, h. 22”, w. 41‑1/2”, d. 18‑1/2” [1500/2500] Illustrated

1097

159

1102 George III-Style Mahogany “Gainsborough” Chair, 19th century, the padded rounded rectangular back joined to the like seat by padded downswept arms, raised on square legs joined by an H-form stretcher, h. 37”. [900/1200]

1103

1106 Pair of Chinese Covered Vases, ca. 1800, famille rose decoration of figures in garden scenes, underglaze blue floral borders, h. 7”. [100/200]

1107 Rose Medallion Vase, Now Mounted as a Lamp, fourth quarter 19th century, the Chinese export rose medallion baluster vase, with gilt foo dog handles and gilt dragons on the shoulder, now mounted with a hardwood base and cap, h. 12” to top of vase. [300/500]

1108 George III-Style Mahogany Sideboard, early 20th century, the bowed top above a conforming case fitted with a central cutlery drawer over two cupboard doors, flanked to either side by a drawer over cupboard, all inlaid with an urn within an oval panel, raised on a square tapering base, h. 39”, w. 64”, d. 27”. [1200/1800] Illustrated

1109 Pair of George III-Style Fruitwood Demi-Lune Side Tables, each banded and with a sunburst inlay, above a conforming frieze, raised on tapering square legs, h. 33”, w. 45‑1/2”, d. 18‑1/2”. [1000/1500]

1103 Large Pair of Palace Vases, in the rose medallion style, h. 31”. [500/800] Illustrated

1110 George III Mahogany Bowfront Side Table, fourth quarter 18th century and later, the bowed top above a conforming dentillated frieze fitted with two swing-out drawers, raised on tapering square legs, h. 29”, w. 30‑1/2”, d. 16‑1/4”. [500/800]

1104 Chinese Porcelain Punch Bowl, 18th century, famille rose decoration of figures in landscapes on a diapered ground, ornate floral borders, dia. 10‑1/4”. [200/400]

1105 Chinese Imari Porcelain Soup Plate, late 18th century, with gilt and foliate patterns in the traditional palette, dia. 9”, together with a pair of Japanese Imari plates, late 19th century, each with a central floral basket medallion and scalloped edge, dia. 8‑1/2”. [125/250]

160

1108

1113 Suzanne Hurel (French, 1876‑1956), “A Quiet Corner”, oil on canvas, signed lower right “S. Hurel”, 18” x 15”. Presented in a giltwood and gesso frame. Provenance: Joseph Lombardo Antiques, New York, New York . [600/900] Illustrated

1111

1113 1114 Louis XVI-Style Fruitwood Settee, 20th century, the domed and padded back surmounted by a laurel leaf crest, joined by padded and reeded arms to the padded seat, raised on tapering circular stop-fluted legs headed by floral block carving and ending in toupie feet, h. 40‑1/2”, w. 48‑1/2”, d. 28”. [1200/1800]

1111 French Provincial Walnut Armoire, mid-19th century, the heavily molded cornice above a case fitted with a foliate-inlaid paneled frieze centered by a star-inlaid panel, over two long doors, each inset with three shaped panels over a foliate-inlaid apron, raised on molded block feet, h. 95”, w. 69”, d. 29”. [3000/5000] Illustrated

1112 Pair of Louis XVIStyle French Walnut Fauteuils, early 20th century, each with a padded back surmounted by a ribbon and torchere crest and flanked by fluted finial-capped uprights, joined to the padded seat by foliatecarved arms, the whole raised on fluted turned legs ending in toupie feet, covered in Scalamandre silk upholstery, h. 42‑1/2”, w. 26”, d. 24”. [500/800] Illustrated

1112

1115 Pair of Louis XVIStyle Polychrome Fauteuils, each with a padded canted rectangular back surmounted by a gadrooncarved crest and foliate finials, joined by padded arms on spiral-fluted uprights to the padded seat, raised on circular tapering fluted legs ending in bulb feet, h. 38”. [700/1000]

161

1118 Louis XV-Style Walnut and Parcel-Gilt Fauteuil, third quarter 19th century, the padded back surmounted by a gilt foliate and floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs ending in scrolled toes, upholstered in period needlework, h. 37”. [300/500]

1116 French Provincial Fruitwood Rafraichissoir, the rounded rectangular top with two inset metal bottle holders, also with a variegated marble surface, above a conforming frieze fitted with a single drawer, joined to a lower stretcher shelf by shaped supports ending in brass caps on casters, h. 29”, w. 25‑1/2”, d. 19‑1/4”. [500/800] Illustrated

1116

1117 French Provincial-Style Oak Farmhouse Table, the rectangular top within a banded edge and above a shaped frieze, raised on cabriole legs, h. 30”, w. 81”, d. 36”. [400/700] Illustrated 1121

1117

162

1119 Louis XV-Style Fruitwood Fauteuil, early 20th century, the shaped and padded back within a molded frame and surmounted by a cartouche crest, joined by scrolling arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 35”. [300/500] 1120 Suite of Seven Provincial Transitional Louis XV-intoLouis XVI-Style Fruitwood Sidechairs, each with a rectangular caned back surmounted by a shell and foliate crest, the caned seat raised on cabriole legs headed by acanthine carving joined by a shaped X-form stretcher and ending in scrolled toes, h. 38”. [800/1200] 1121 French Provincial Walnut Armoire, mid-19th century, the rounded ogee-molded cornice above a conforming case fitted over a foliate-carved frieze over two long doors, each inset with three shaped panels, above a pierced foliate-carved apron, raised on scrolled toes, h. 96”, w. 60”, d. 20‑1/2”. [3000/5000] Illustrated

1122

1122 Bart Schouten Leroy (Dutch, 1941‑2001), “Still Life with Crimson and Yellow Flowers”, oil on wood panel, signed lower left, 9‑1/4” x 7‑1/4”. Framed. [500/800] Illustrated

1124

1123 Third Republic Faux Bamboo Night Stand in the Aesthetic Taste, with an inset travertine top, the frieze with a drawer over an open shelf, with a cupboard below, h. 34”, w. 15‑1/2”, d. 15‑1/8”. [250/400] 1124 Louis XVI-Style Fruitwood Settee, the rectangular curved back surmounted by a guilloche-carved crest with end foliate finials, joined by reeded arms on vasiform uprights to the caned seat and guilloche apron, raised on tapering circular legs ending in toupie feet, h. 40”, w. 48”, d. 21”. [700/1000] Illustrated

1125 1125 Provincial Louis XV-Style Oak Buffet, 20th century, the rectangular top with a shaped front edge above a case fitted with four drawers over four paneled cupboard doors, raised above a shaped shell-carved apron on scrolled toes, h. 39‑1/2”, d. 21‑1/2”, l. 97”. [2000/4000] Illustrated

163

1126 Louis XIV-Style Fruitwood Fauteuil, early 20th century, the domed and padded back joined by padded acanthine-carved arms to the like seat, raised above a foliate shell-carved apron on cabriole legs ending in scrolled toes, h. 41”. [800/1200] Illustrated 1126

1129 Four Piece Group of Middle Eastern Copper Cookware, the first pan with a repousse owl and a tree with a crosshatched border and sides, with brass swing handles, dia. 16‑1/2”, the second decorated with a pair of repousse fishes and incised flower sprigs, and with oval brass handles, dia. 11”, the third with a repousse rooster and an incised scalloped border, with brass handles, dia. 9”, and the fourth decorated with a pair of fish, a scalloped border and brass handles, dia. 9”. [150/300] 1130 Three Mexican Brass-Trimmed Hammered Copper Serving Dishes, Made in Tiaquepaque, Mexico’s traditional center of copper work, each marked “Cobre”, Spanish for copper, “Tiaquepaque, FCS” and a letter, the set includes an oval platter, w. 12‑3/4”, l. 18”, a notched corner rectangular dish, w. 9”, l. 15”, and a low vegetable dish, w. 10”, l. 11”. [100/200]

1127 French Provincial Fruitwood Buffet, late 18th century, the rectangular top with canted corners above a conforming case fitted with two drawers over two paneled cupboard doors, above a scalloped apron, raised on shaped feet, h. 40”, w. 58‑1/2”, d. 25”. [2000/4000] Illustrated 1128 Group of Seven Middle Eastern Copper Vessels, comprised of a vase-shaped water jug decorated heavily with repousse in patterns incorporating Moorish designs on all sides, the neck collar with rings attached to a hook and chains, h. 11”, w. 6‑1/4”, d. 4‑1/4”, a hammered cooking pot with a dovetailed joint and an iron swing handle, h. 6”, dia. 9‑1/4”, a vase-shaped mug with hammered horizontal dash decoration, a loop handle and a folded rim, h. 7‑3/4”, w. 9”, d. 6‑1/4”, a covered cooking pot with tapered sides, handles and a cover with a doublelooped handle, h. 6‑1/4”, dia. 10‑1/2”, a bucket with an inverted horizontal mid rib, and an iron swing handle, h. 8”, dia. 8‑1/4”, a balance with a flat pan, supported by straps with crosshatching leading to a ring hold, h. 18”, dia. 13‑3/4”, and an inverted hammered mug with two raised mid ribs and a pierced brass loop handle, h. 7”, w. 8‑3/4”, d. 8‑1/4”. [125/250]

164

1127

1134

1135 French Provincial Fruitwood Table, late 19th century, the rectangular top above a frieze fitted with two side drawers, raised on tapering square fluted legs, h. 29‑1/2”, d. 31‑1/2”, l. 71”. [500/800] 1136 Provincial Louis-Philippe-Style Fruitwood Buffet, the long rectangular top banded and above a conforming case fitted with two ogee-molded drawers over two paneled cupboard doors, raised on block feet, h. 42”, w. 72‑1/2”, d. 21‑1/2”. [1500/2500] Illustrated 1136 1131 Two Victorian English Copper Vessels, fourth quarter 19th century, the helmet-shaped coal scuttle with a cavetto-molded base, a copper swing handle and a molded copper side handle, h. 17”, w. 10‑1/4”, d. 13”, the copper peat/ember bucket with molded brass cabriole legs, h. 6”, dia. 12”. [100/200] 1132 Group of Seven Middle Eastern Copper Articles, comprised of two large pans, hammered and tin-lined, with brass handles, h. 5‑1/2”, w. 27”, d. 22‑1/2”, a balance with a flat pan base, crosshatched strap supports and a ring top, h. 20”, dia. 15”, an inverted hammered mug with two raised ribs and a scrolled brass handle, h. 5”, w. 8‑1/2”, d. 7‑3/4”, a two-handled container with a horizontal dash pattern, strap handles and a rolled rim, h. 8‑1/2”, w. 14”, d. 8”, a vase-shaped water jug with incised Arabic lettering on the shoulder and ring handles on a chain, h. 10‑1/2”, dia. 6”, and a hammered cooking pot with dovetailed construction and an iron swing handle, h. 6‑1/4”, dia. 9‑1/4”. [125/250]

1137 Pair of Louis XV Fruitwood Fauteuils, late 18th century, each with a shaped padded back surmounted by a foliate-shield crest and joined to the padded seat by downswept foliate-carved arms, raised on molded cabriole legs headed by foliate carving and ending in scrolled toes, h. 39”. [1800/2500] Illustrated

1137

1133 Green-Glazed French Terracotta Planter, a turned foot supports the vase-shaped planter, which is glazed with mottled green, the incised script mark at the top of the shoulder reads “La Madeleine, Anduze”, h. 23‑1/2”, dia. 10‑3/4”. [100/200] 1134 French Provincial Fruitwood Games Table, early 20th century, the rounded rectangular top centered by an inlaid gaming board, above a frieze fitted with two long doublesided drawers for gaming pieces, raised on slightly shaped cabriole legs, h. 30”, w. 33‑1/4”, d. 24‑1/2”. [500/800] Illustrated

1139

165

1142 Continental Provincial Pine Cabinet, mid-19th century, the molded cornice above a case fitted with a single bi-paneled door over an open storage space, flanked to either side by an engaged fluted pilaster, the lower section fitted with two drawers over a paneled cupboard door, flanked en suite, raised on a plinth base, h. 81‑3/4”, w. 46”. [1500/2500] Illustrated

1144

1142 1138 Leon Petit (Belgian, 1885‑1965), “Afternoon Respite”, oil on board, signed lower left “L. Petit”, 11” x 14”. Presented in a period giltwood and gesso frame. [300/500] 1139 Provincial Oak and Fruitwood Refectory Table, 19th century, the long rectangular top with banded ends, raised on turned columnar legs joined by an H-form stretcher base, h. 30”, d. 38‑1/2”, l. 101‑1/2”. [4000/7000] Illustrated previous page 1140 Two European Hewn Wooden Dough Bowls, 19th century, the first example of pine, h. 6‑1/2”, d. 15‑1/2”, l. 20‑1/2”, and the second example in birch with one carved and one applied handle, h. 6‑1/2”, d. 16‑1/2”, l. 22”. [100/200] 1141 Pair of Meissen Figural Taper Sticks, third quarter 19th century, German, the raised gilt scrollwork borders the bases, holding a sitting squirrel eating a nut, the pierced tulip-form candle cup highlighted with gilt and pink, on a pierced leaf-form green drip pan, which rests on each tail, marked with an underglaze blue pommel sword, h. 4‑1/2”. [300/500] 1147

166

1143 Victorian Majolica Cheese Dish, the flared base fitted with a cylindrical cover, the sides with a faux bois molded and enameled ground, decorated with raised polychrome blackberries, along with their stems, leaves and blossoms, both the top of the base and cover with a turquoise ground, and with blackberries on the vented cover, which has a twig-form handle, impressed “J. Holdcracft” and “2” on the base, h. 12”, dia. 11”. [400/700] 1144 Pair of French Glazed Terracotta Neoclassical-Style Planters, the turned vase-shaped planters decorated with molded swags and medallions, the worn glaze is mottled green and brown, the incised signature reads “La Madeleine, Anduze”, h. 21”, dia. 14”. [400/700] Illustrated

1152

1145 Provincial Louis XV-Style Fruitwood Bench, the shaped and padded rectangular top above a conforming foliate and shell-carved frieze, raised on cabriole legs, headed by foliate carving and joined by shaped X-form stretchers and ending in foliate toes, h. 20”, w. 48‑1/2”, d. 19‑1/4”. [500/800] 1146 Provincial Pine Farmhouse Table, early 20th century, the long rectangular top overhanging above a frieze fitted with a single side drawer, raised on square legs joined by an H-form stretcher, h. 30”, d. 29”, l. 75”. [800/1200] 1147 French Provincial Fruitwood Vasselier, second quarter 19th century, possibly Brittany, the deep ogee-molded crown with canted corners above four open shelves, all fronted with balustered spindle galleries, the lower section fitted with two drawers over two cupboard doors, each inset with a shaped panel and inlaid with floral sprays, raised on scrolled toes, the lower shelf scalloped and with a carved apron bearing an inlaid date “1836”, h. 84‑1/2”, w. 55”, d. 26”. [1000/1500] Illustrated

1150 Vintage Mexican Tooled Leather Dressing Case, mid-20th century, covered in Western American-style tooled leather depicting flowers and leaves on a stippled ground, the lid fitted with a mirror and holding straps, the leather interior with a sliding upper tray and side pouches and straps, labeled by Artmex on the lid, h. 7‑1/2”, d. 8”, l. 13‑3/4”. [125/250] 1151 Regence-Style Mahogany Settee, early 20th century, the domed and padded back joined by reeded downswept arms to the padded seat, raised on shaped “S”-scrolled reeded legs joined by “H”-form stretchers, h. 47”, w. 59”, d. 32”. [800/1200] 1152 Provincial Fruitwood Refectory Table, 19th century, the rounded rectangular top raised on four turned columnar supports joined by scrolling iron stretchers and ending in shaped runner feet, h. 28”, l. 78”. [2500/4000] Illustrated

1148 Rene De Baugnies (Belgian, 1869‑1962), “Avignon Winter Landscape”, oil on canvas, signed lower left “Rene de Baugnies”, 18” x 13”. Presented in a period giltwood frame. Literature: E. Benezit, Dictionnaire des Peintres, Sculptures, Dessinateurs et Graveurs, U. Theime & Becker, Allgemeines Lexikon Der Bildenden Kunstler. [500/800] 1149 Collection of Four Vintage Leather Covered Boxes, including one with a dome top and brass nailheads, the top embossed with the arms of Chile, h. 4”, w. 7”, d. 3‑1/2”, a smaller one with a dome top embossed with a portrait of Sir Francis Drake, h. 3”, w. 3‑3/4”, d. 2‑1/2”, a round box decorated with gilt-incised fretwork on the sides, the top with a border of gilt-incised scrollwork, lined with red silk, h. 1‑1/2”, dia. 3”, a square box with a black stamped gothic cartouche with gilt-incised panels and scrollwork, the hinged lid lined with brown silk, h. 1‑1/4”, w. 3‑1/4”, d. 3‑1/4”. [200/400]

1153

167

1153 Unusual Provincial Elm and Fruitwood Wine Tasting Table, partially composed of antique elements, the tilting circular top covered in a polychrome canvas featuring a starburst inlay, raised on end and swinging supports to shaped runner feet, h. 31”, dia. 59‑1/2”. [2000/4000] Illustrated previous page

1155 Hermann Lismann (German, 1878‑1943), “Landscape With a Village”, oil on canvas, signed lower left “H. Lismann”, reverse stretcher with a partial label inscribed “Hermann Lismann, Paris”, 17” x 22”. Framed. [600/900] 1156 Louis XV Fruitwood Fauteuil, late 18th century, the shaped and slightly domed crest within a molded frame and surmounted by a floral crest, joined by scrolling padded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 34”. [300/500] 1157 French Provincial Oak Buffet a Deux Corps, mid-19th century, the rounded rectangular molded cornice above a case fitted with two doors each inset with two panels, the lower section fitted with a small central drawer over a panel flanked to either side by a paneled cupboard door, raised on cabriole legs ending in shaped feet, h. 92‑1/2”, w. 61‑1/2”, d. 23‑1/2”. [2500/4000] Illustrated

1154 1154 Georges d’Espagnat (French, 1870‑1950), “ Along the Seine”, oil on canvas, initialed lower left, an “Arthur Lenars & Cie/Transports Internationaux” label en verso on stretcher, 18” x 21‑3/4”. Framed. [10000/15000] Illustrated

1157

1158 Pair of French Glazed Terracotta Confit Jars, ca. 1900, the classic turned jars with loop handles and a flaring lip, glazed yellow and brown, with amber rims, now greatly exfoliated, one drilled for a lamp, h. 11”, w. 11‑1/2”, d. 8‑3/4”. [200/400] 1160

168

1159 Provincial Fruitwood and Oak Desk, late 19th century, the rounded breakfront rectangular top with an inset leather writing surface, above a conforming case fitted with a central drawer flanked to either side by a small drawer, raised on two pedestals fitted with four short drawers each, all paneled, the whole raised on scrolled toes, h. 28”, w. 39‑1/2”, d. 25‑1/2”. [400/700] 1160 Clara Fairfield Perry (American, 1870‑1941), “The Summer Garden”, oil on board, signed lower right, 24” x 25”. Framed. [1200/1600] Illustrated

1161 thirteen-piece suite

1161 Fine Louis XV-Style Figured Walnut Dining Table and Twelve Chairs, early 20th century, bearing the manufacturer’s label “Berkey and Gay Furniture Co., Grand Rapids, Mich.”, consisting of an inlaid extension dining table with two skirted leaves and four non-skirted leaves, book-matched throughout, h. 30”, d. 60”, l. 62”, ext. l. 124”, together with the matching suite of dining chairs, two armchairs, h. 45”, w. 28”, d. 23”, and ten sidechairs, h. 42”, w. 23”, d. 22”. Provenance: By tradition, the suite of furniture descended through the Oscar Mayer Meat Company family of Chicago, Illinois. [10000/15000] Illustrated 1162 Louis XV-Style Walnut Marble-Top Sideboard, early 20th century, of console form, bearing the label of “Berkey and Gay Furniture Co., Grand Rapids, Mich.”, fitted with a large drawer with compartments and partitions for flatware and silver, found en suite with the preceeding lot, h. 38‑1/2”, w. 88”, d. 25‑1/2”. [3000/5000] Illustrated

1161 table top

1162

169

Session III Sunday, December 2, 2012 11:00 a.m. Lots 1163 - 1746

1163 Lady’s Eighteen-Karat Yellow Gold, Diamond, Ruby and Emerald Bumble Bee Pendant, the customdesigned pendant comprised of twenty-eight round-cut diamonds with an approximate total weight of 1.08 carats, forty-five round-cut rubies with an approximate total weight of 4.40 carats, and two round cabochon emeralds with an approximate total weight of 0.11 carats. [2000/4000] Illustrated

1163

1167 Lady’s Eighteen-Karat Yellow Gold English Tourmaline and Peridot Ring, the large cushioncut red tourmaline with an approximate total weight of 7.16 carats, flanked by two cushion-cut peridots with an approximate total weight of 10.30 carats, English hallmarks and maker’s mark “W.T. LTD”, size 7‑1/2. [6000/9000] Illustrated 1168 Lady’s Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, the ring composed of five cushion-cut rubies with an approximate total weight of 0.25 carats, and sixteen European-cut diamonds with an approximate total weight of 0.48 carats, size 6‑1/2 . Provenance: Waldhorn’s, New Orleans, Louisiana. [700/1000] 1169 Lady’s Eighteen-Karat White/Yellow Gold and Diamond Pendant with Chain, the pendant with a central pear-shaped light fancy yellow diamond with an approximate total weight of 2.04 carats, bordered by twenty-two round-cut diamonds and one round-cut diamond with an approximate total weight of 0.60 carats, together with a fourteen-karat white gold chain, l. 18”. [7000/10000] Illustrated

1164 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, comprised of a central prong-set oval-cut ruby, measuring 15.40mm x 10.43mm x 6.95mm and with an approximate total weight of 8.43 carats, surrounded by a border of twenty prong-set round brilliant-cut diamonds with an approximate total weight of 0.46 carats and a border of twenty prong-set round faceted rubies with an approximate total weight of 1.47 carats, size 7‑1/2. [1200/1800] 1165 Eighteen-Karat Two-Tone Yellow and White Gold Diamond Ring, the featured diamond mounted in an eighteen-karat yellow gold basket and set within an inner eighteen-karat yellow gold diamond bezel and eighteenkarat white gold diamond bezel, supported by diamond set shoulders, the central “champagne”-colored prongset round brilliant-cut diamond, measuring 7.29mm x 7.25mm x 4.13mm and weighing 1.32 carats, surrounded by twenty-four fancy yellow, prong-set round brilliant-cut diamonds with an approximate total weight of 0.20 carats, and seventy-eight prong-set round brilliant-cut diamonds with an approximate total weight of 0.44 carats, size 7‑1/4. [6000/9000] Illustrated 1166 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, the ring mounted with a central prong-set oval-cut ruby, measuring 18.61mm x 14.55mm and with an approximate total weight of 14.70 carats, surrounded by a border of thirty-two prong-set round brilliant-cut diamonds with an approximate total weight of 0.68 carats and fifty prong-set round faceted rubies, set in a border on the outside edge and on the shoulders of the band, with an approximate total weight of 2.00 carats, size 7‑1/2. [2500/4000]

172

1165

1167

1170 Men’s FourteenKarat Yellow Gold, Diamond and Citrine Ring, the ring of domed design, with a central oval citrine with an approximate total weight of 3.97 carats and flanked by two round-cut diamonds on each side with an approximate total weight of 0.86 carats, size 10‑1/2. [1400/1800]

1173 Fourteen-Karat White/Yellow Gold, Ruby and Diamond Ring, the ring comprised of a prong-set oval-cut ruby, measuring 20.45mm x 18.18mm x 6.50mm and with an approximate weight of 26.78 carats, surrounded by thirteen round brilliant-cut diamonds with an approximate total weight of 0.66 carats, and thirteen round faceted rubies with an approximate total weight of 1.06 carats, size 7‑1/4. [2000/4000]

1169

1174 Eighteen-Karat White Gold and Fancy Brown Diamond Ring, the ring composed of a central prong-set radiant-cut fancy brown diamond, measuring 7.38mm x 6.35mm x 5.00mm and weighing approximately 2.07 carats, and set within a diamond bezel, supported by an elaborate diamond under gallery and diamond set shoulders, comprised of numerous pave-set round brilliant-cut diamonds with an approximate total weight of 1.25 carats, size 7. [8000/12000]

1172

1175 Eighteen-Karat White Gold and Diamond Wedding Set, the set includes a diamond engagement ring with a central prong-set round brilliant-cut diamond, measuring 7.10mm x 7.00mm and with an approximate weight of 1.30 carats, set within a diamond bezel accented by diamond shoulders, complete with a matching band, each set with seventy-one bead- and bezel-set round brilliantcut diamonds with an approximate total weight of 0.72 carats, size 7. [6000/9000] Illustrated 1176 Pair of Lady’s Eighteen-Karat White Gold, Opal and Diamond Earrings, the earrings with an elongated design, each with a pear-shaped and round-cut opal, surrounded by eighty-four round-cut diamonds, total approximate opal weight is 5.50 carats and total approximate diamond weight is 2.84 carats. [6000/9000]

1171 Eighteen-Karat White Gold and Diamond Ring, composed of a central prong-set princess-cut diamond, measuring 5.50mm x 5.10mm x 4.00mm and weighing approximately 1.03 carats, set within a diamond bezel and supported by diamond-set split shoulders composed of forty-eight prong- and bead-set round brilliant cut diamonds with an approximate total weight of 0.35 carats and fourteen color-enhanced yellow prong-set round brilliant-cut diamonds, with an approximate weight of 0.10 carats, size 7. [3500/5000] 1172 Eighteen-Karat White Gold and Diamond Ring, the ring with a central prong-set emerald-cut diamond, set in a twenty-two-karat yellow gold basket, measuring 5.93mm x 5.24mm x 3.44mm and with an approximate total weight of 1.03 carats, set within a tiered diamond bezel, supported by diamond-set shoulders with 170 prong-set round brilliant-cut diamonds with an approximate total weight of 0.51 carats, size 7. [5000/8000] Illustrated

1175

173

1177 Lady’s Fourteen-Karat Yellow Gold Victorian Ring, ca. 1915‑1920, the ring comprised of a carnelian double-headed cameo, with green and black enamel and seed pearls, size 6‑1/2. [900/1200] Illustrated 1178 Men’s Fourteen-Karat Yellow Gold Carved Woodstone Cameo Ring, the rectangular ring with excellent carving, size 11. [1000/1500] 1179 Lady’s Eighteen-Karat Yellow Gold and Garnet Ring, ca. 1880, the ring with a central garnet carved in the shape of a scarab, size 6‑1/2. [600/900] 1184

1181 Lady’s Fourteen- and Eighteen-Karat Yellow Gold and Enamel Folding Mirror, ca. 1900, the decorative mirror with green enamel, l. 3‑1/2”. [1200/1800] 1177

1180 Lady’s Fourteen-Karat Rose Gold, Diamond, Emerald and Mexican Opal Necklace, the long chain composed of twenty-six alternating Mexican opal cabochons with an approximate total weight of 59.84 carats, twenty-six alternating emerald cabochons with an approximate total weight of 58.00 carats, and fifty-three round brilliant-cut diamond melees with an approximate total weight of 1.60 carats, l. 71”. [9000/12000] Illustrated

1180

174

1182 Lady’s Fourteen-Karat Yellow/Rose Gold Slide Bracelet, the bracelet with an arrangement of different slides and multiple stones. [1000/1500]

1186

1183 Lady’s Ten-Strand Angel Skin Coral Necklace with Diamond and Garnet Clasp, the necklace finished with a beautiful bow-shaped fourteen-karat yellow gold clasp, adorned with thirty-four round-cut garnets with an approximate total weight of 8.50 carats and twelve round-cut diamonds with an approximate total weight of 0.36 carats, l. 17”. [500/800]

1187 Lady’s Eighteen-Karat Yellow Gold and Blue Lapis Piaget Watch, the watch with thirty-six round-cut diamonds with an approximate total weight of 1.08 carats, on a flexible interwoven bracelet, l. 6‑1/2”. [1800/2500] 1188 Spectacular Lady’s Fourteen-Karat Yellow Gold and Diamond Dinner Ring, composed of thirteen marquisecut diamonds and fourteen round-cut diamonds, with an approximate total diamond weight of 3.46 carats, size 7‑3/4”. [2500/4000] Illustrated 1188A Lady’s Fourteen-Karat White Gold and Diamond Necklace, the flexible link necklace composed of 81 bezelset round-cut diamonds with an approximate total weight of 9.00 carats, l. 15”. [10000/15000] Illustrated

1188

1184 Eighteen-Karat Yellow Gold Enameled Diamond Crucifix with Chain, the crucifix decorated with green translucent enamel and set with a rose-cut diamond with an approximate total weight of 0.03 carats, together with a textured and twisted chain, l. 32‑1/2”. [4000/7000] Illustrated 1185 Pair of Fourteen-Karat Yellow Gold and Faux Emerald Earrings, the ethnological floral design blossoms composed of rough shaped garnet beads and bezel-set faux emerald stones. [1000/1500]

1188A

1189 Lady’s Fourteen-Karat Yellow Gold and Diamond Coin Brooch, the brooch composed of one Liberty 1925 coin with twenty round-cut diamonds with an approximate total weight of 7.00 carats, double dragons frame the coin with two round-cut emeralds depicting their eyes. [3500/5000] Illustrated

1189

1190 Lady’s Fourteen-Karat Yellow Gold Sculptured Charm Bracelet, the chain-link bracelet composed of three casted white gold charms and eleven casted yellow gold charms, l. 7‑1/2”. [2500/4000]

1186 Man’s Eighteen-Karat Yellow Gold Patek Philippe Geneve Watch, the watch with a black dial and a sapphire crystal, with a flexible link bracelet. [4500/7000] Illustrated

175

1191 Stunning Pair of Platinum and Diamond BallerinaStyle Earrings, each set with a central round-cut diamond with an approximate total weight of 1.00 carat, and with eighteen baguette-cut diamonds radiating from the center stone, with an approximate total weight of 3.00 carats, total approximate diamond weight for the pair is 8.01 carats. [14000/18000] Illustrated

1193 Lady’s Fourteen-Karat White Gold Filigree, Diamond and Faux Emerald Bracelet, the flexible hinged link bracelet set with one single-cut diamond melee with an approximate total weight of 0.20 carats and two squarecut faux emeralds, l. 7”. [900/1200] 1194 Art Deco Platinum and Diamond Bow Brooch, the handmade brooch comprised of round-cut diamonds and straight baguette-cut diamonds with an approximate total weight of 9.00 carats. [9000/12000] Illustrated

1191

1195 Lady’s Art Deco Custom-Designed Platinum, Diamond and Sapphire Bracelet, the flexible bracelet composed of 110 European-cut and single-cut diamonds with an approximate total weight of 9.50 carats and thirtyfive elongated rectangular sapphires with an approximate total weight of 2.50 carats, l. 8”. [12000/18000] Illustrated

1192 Stunning Art Deco Vintage Platinum and Diamond Pin, the hand-made pin of European-cut diamonds with an approximate total weight of 4.25 carats. [9000/12000] Illustrated

1192 1196 Beautiful Art Deco Eighteen-Karat White Gold, Platinum and Diamond Brooch/Pendant with Chain, the pendant with a round brilliant-cut central diamond with an approximate total weight of 2.20 carats, surrounded by European-cut diamonds with an approximate total weight of 5.50 carats, very well-crafted workmanship and stamped “Black Star & Frost”, together with an eighteen-karat gold chain. [14000/18000] Illustrated

1195 1196

1198 1194

1197

176

1197 Eighteen-Karat White Gold and Pave Diamond Lizard Pin, the pin composed of 130 round-cut diamonds with an approximate total weight of 2.54 carats and with two round-cut cabochon rubies for the eyes. [3000/5000] Illustrated 1198 Vintage Lady’s Fourteen-Karat Yellow Gold Hand-Assembled Diamond and Pearl Brooch, the brooch composed of 175 European-cut diamonds with an approximate total weight of 3.15 carats and with Mobe pearls. [2000/4000] Illustrated

1199 Fourteen-Karat White Gold, Tahitian Cultured Pearl and Diamond Ring, the ring featuring a black Tahitian cultured pearl, 13.5mm in size, set within a two-tiered diamond lattice gallery, composed of thirty-six prong-set round brilliant-cut diamonds with an approximate total weight of 3.12 carats, size 7. [4000/7000] Illustrated

1204 1201 Pair of Fourteen-Karat White Gold and Diamond Pendant Earrings, composed of two pearcut diamonds with an approximate total weight of 0.60 carats, and two smaller pear-cut diamonds with an approximate total weight of 0.25 carats, forty-two baguette-cut diamond melees with an approximate total weight of 1.20 carats and thirty-one round brilliantcut diamonds with an approximate total weight of 0.25 carats. [6000/9000]

1200 Lady’s Fourteen-Karat White Gold and Diamond Vintage Stick Pin, the pin composed of a central European-cut diamond, flanked with five pear-shaped diamond, total approximate diamond weight is 0.85 carats. [400/700]

1199

1203

1202 Eighteen-Karat White Gold and Diamond Ring, the ring comprised of a central prong-set round brilliant-cut diamond measuring 6.10mm in diameter and with an approximate total weight of 0.96 carats, supported by diamond set split shoulders with forty-six prong-set round brilliant-cut diamonds with an approximate total weight of 0.34 carats, size 7. [3000/5000] 1203 Pair of Fourteen-Karat White Gold, Diamond and Pearl Ear Clips, the elegantly crafted floral ear clips set with seventy-two round brilliant-cut diamond melees with an approximate total weight of 1.50 carats, each clip set with four 5.0mm and one 7.0mm white/grey-colored cultured pearls. [3000/5000] Illustrated 1204 Pair of Eighteen-Karat White Gold, Diamond and Tahitian Pearl Pendant Earrings, the two 14.0mm Tahitian pearls set to a pave diamond mount, suspended from graduating diamond set links attached to the pave diamond earrings, with 153 round brilliant-cut diamond melees with an approximate total weight of 1.04 carats. [5000/8000] Illustrated

1205

1205 Beautiful Opera Length Pearl Necklace, the necklace composed of 8.0mm knotted white-colored pearls with a beautiful lustre, l. 70”. [400/700] Illustrated

177

1208

1209 Lady’s Art Deco Platinum, Diamond and Black Onyx Ring, the ring with an oval shape and with a central European-cut diamond surrounded by black onyx, and bordered by one row of single-cut diamonds and one row of European-cut diamonds, total approximate diamond weight is 2.90 carats, size 8‑1/2. [4000/7000] Illustrated 1210 Lady’s Eighteen-Karat White/Yellow Gold and Dangling Diamond Necklace, the necklace with an interwoven circle design, and comprised of eleven round-cut diamonds with an approximate total weight of 2.75 carats, l. 17”. [7000/10000] Illustrated 1211 Spectacular Lady’s Eighteen-Karat Yellow Gold, Diamond and Blue Enamel Bangle Bracelet, the bracelet with 170 round-cut diamonds with an approximate total weight of 5.65 carats and 38 baguette-cut diamonds with an approximate total weight of 2.50 carats. [2500/4000] Illustrated

1209

1210

1206 South Sea Cultured Pearl Necklace, the necklace comprised of a single strand of graduated pearls, white in color with a low to medium luster, ranging in size from 11.0mm to 16.0mm, and finished with a fourteen karat white gold clasp, l. 16”. [2500/4000] 1207 Lady’s Cream-Colored Pearl Necklace, the necklace with 100 8.0 mm pearls with high luster, finished with a fourteen-karat yellow gold clasp, l. 36”. [250/400] 1208 Lady’s Fourteen-Karat Yellow/White Gold and Diamond Necklace, the necklace composed of thirtysix flat semi-faceted diamonds, each surrounded with European-cut diamonds, with a total approximate diamond weight of 13.00 carats, l. 18”. [8000/12000] Illustrated

8 178

1211

1212 Lady’s Eighteen-Karat White Gold and Diamond Band, the 11.00mm width ring with five rows of round-cut diamonds with an approximate total weight of 3.50 carats, size 7. [3000/5000] Illustrated

1216 Fourteen-Karat Yellow Gold, Fire Opal and Diamond Pendant with Chain, the pendant with a central fire opal measuring 14.00mm x 14.00mm x 8.70mm and weighing approximately 8.11 carats, set within a tiered diamond bezel with thirty-six prong-set round brilliant-cut diamonds with an approximate total weight of 0.96 carats, together with a fourteen-karat yellow gold chain with rhodium accents, l. 18”. [3000/5000] 1217 Vintage Lady’s Eighteen-Karat Yellow Gold and Diamond Ring, the custom-designed ring composed of nine European rose-cut diamonds in a floral cluster, size 8. [700/1000]

1213

1212

1213 Lady’s Eighteen-Karat White Gold and Cognac Diamond Necklace, the necklace composed of 77 round cognac diamonds with an approximate total weight of 31.0 carats, l. 30”. [14000/18000] Illustrated 1214 Pair of Pearl and Citrine Pendant Earrings, the tear drop citrine with juxtaposed facets, suspended from a square-shaped cultured pearl by citrine beads and a cultured pearl. [400/700] 1215 Beautiful Graduated Strand of Tahitian “Chocolate” Cultured Pearls, composed of thirty-five pearls, ranging in size from 11.0mm to 12.5mm, and with a fourteen-karat white gold scalloped clasp, l. 17”. [1800/2500]

1218 Exquisite Estate Lady’s Eighteen-Karat Yellow Gold, Diamond, Ruby and Sapphire Brooch, ca. 1970’s, made in Italy, the handmade brooch depicting a parrot set with diamonds, rubies, blue sapphires and yellow sapphires. [4000/7000] 1219 Lady’s Fourteen-Karat Yellow Gold Bead Necklace, the alternating smooth and twisted 11.0mm yellow gold beads separated by smaller 7.0mm smooth beads, l. 34”. [3000/5000]

1220

1220 Eighteen-Karat White Gold and Diamond Ring, comprised of a prong-set decagon-cut diamond, measuring 6.54mm x 6.47mm x 4.32mm and with an approximate weight of 1.33 carats, supported by diamond-set shoulders with two prong-set round brilliant-cut diamonds and completed by eight prong-set round brilliant-cut diamonds on the band with a total approximate weight of 0.69 carats, size 7. [12000/18000] Illustrated

179

1221 Lady’s Eighteen-Karat Yellow/White Gold, Amethyst and Diamond Ring, the ring composed of a central emerald-cut amethyst with an approximate total weight of 15.25 carats, 224 round-cut yellow sapphires bordering the amethyst and flanking the sides of the band, with an approximate total weight of 4.00 carats, and 136 round-cut diamonds mounted on the prongs of the ring and flanking the sides of the band, with an approximate total weight of 0.83 carats, size 7‑1/2. [3000/5000] Illustrated

1223

1221

1222 Fourteen-Karat Yellow Gold, Kunzite and Diamond Ring, the ring set with a central featured prongset rectangular cushion-mixed-cut natural kunzite, measuring 20.00mm x 17.50mm x 12.80mm and with an approximate weight of 36.84 carats, set within an elaborate diamond lattice with 370 bead-set round brilliant-cut diamonds with an approximate total weight of 2.09 carats, size 7‑1/2. [4000/7000]

1226

1223 Stunning Lady’s Eighteen-Karat White/Yellow Gold, Amethyst, Diamond and Ruby Necklace, the necklace featuring thirteen fancy-shaped gem quality amethysts with exceptional color saturation and a total estimated weight of 350 carats, surrounded by pave-set round rubies and pave-set round full-cut brilliant diamonds, stamped “Made by Kanaris”. 1.18", drop 3".[18000/25000] Illustrated 1224 Custom-Made Eighteen-Karat White Gold, Sapphire and Diamond Leaf Pin, the leaf of the pin composed of a 0.26 carat rose-cut diamond, surrounded by 8.40 carats of round-cut sapphires, and with six round-cut diamonds with an approximate total weight of 0.08 carats, forming the stem. [2500/4000] 1225 Lady’s Eighteen-Karat White Gold, Pink Sapphire and Diamond Cross Pendant with Chain, the pendant with one central princess-cut diamond with an approximate weight of 0.17 carats, surrounded by 1.00 carat of pink sapphires, which make up the cross, together with an eighteen-karat white gold chain, l. 16”. [500/800] 1226 Custom-Made Eighteen-Karat Yellow Gold, Pink Sapphire and Diamond Leaf Pin, the leaf of the pin composed of a 0.26 carat rose-cut diamond, surrounded by 8.40 carats of round-cut pink sapphires, and with six round-cut diamonds with an approximate total weight of 0.08 carats, forming the stem. [2500/4000] Illustrated

180

1227 Lady’s Eighteen-Karat Yellow Gold and Diamond Pin, the check-shaped pin composed of twenty-three round-cut diamonds with an approximate total weight of 1.25 carats. [1800/2500]

1232

1228 Pair of Fourteen-Karat Yellow Gold and Diamond Earrings, comprised of a single round-cut diamond and with an approximate total weight of 0.62 carats. [800/1200] 1229 Lady’s Fourteen-Karat Yellow Gold Cross-Over Pave Diamond Ring, the two stylized folded coils with 95 round brilliant-cut pave diamond melees, with an approximate total weight of 1.80 carats, size 6‑3/4. [1400/1800]

1232 Beautiful Lady’s Art Deco Platinum and Diamond Brooch, composed of two pear-shaped diamonds, surrounded by marquise, round and baguette diamonds, which radiate from the center in a soft wispy design, total approximate diamond weight is 3.75 carats. [3000/5000] Illustrated

1230

1230 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant with a central prong-set square step-cut natural tanzanite measuring 10.50mm x 10.50mm x 7.40mm and weighing approximately 10.35 carats, set within an elaborate diamond lattice gallery, completed by a hinged, snap locking bail, with eighty prong-, bead- and bezel-set round brilliant-cut diamonds with an approximate total weight of 1.70 carats, together with a fourteen-karat white gold chain, l. 18”. [9000/12000] Illustrated 1231 Fourteen-Karat White Gold, Sapphire and Diamond Pendant with Chain, the pendant with a central pear- and mixed-cut color-enhanced sapphire, measuring 22.00mm x 15.60mm x 8.93mm and weighing approximately 24.74 carats, surrounded by round brilliant-cut diamonds with an approximate total weight of 2.21 carats, together with a white gold chain, l. 17”. [6000/9000]

1233 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Necklace, the pendant featuring a prong-set oval mixed-cut natural tanzanite, measuring 17.00mm x 13.20mm x 11.73mm, with an approximate weight of 19.53 carats, surrounded by 230 prongand bezel-set round brilliant-cut diamonds, with an approximate total weight of 4.20 carats, and completed by a white gold chain, l. 17”. [14000/18000] Illustrated

1233

1234 Fourteen-Karat Diamond Tennis Bracelet, the bracelet comprised of thirty-six prong-set round brilliant-cut diamonds, with an approximate total weight of 7.02 carats, l. 7”. [4500/7000]

181

1238 Fourteen-Karat White Gold, Sapphire and Diamond Pendant with Chain, the pendant comprised of a central color-enhanced pear- and mixed-cut sapphire measuring 17.70mm x 13.70mm x 817mm and with an approximate total weight of 15.00 carats, surrounded by round brilliant-cut diamonds with an approximate weight of 1.45 carats, l. 18”. [4000/7000] 1239 Pair of Eighteen-Karat White Gold, Diamond and Sapphire Earrings, each set with an oval blue sapphire with an approximate total weight of 2.75 carats, bezel-set with a round brilliant-cut diamond melee, the white gold pendant set with a round brilliant-cut diamond melee with an approximate total weight of 0.04 carats [4500/7000]

1235

1235 Fourteen-Karat White Gold and Diamond Tennis Necklace, the necklace composed of ninety-seven graduated, prong-set round brilliant-cut diamonds, with an approximate total weight of 17.32 carats, l. 17”. [7000/10000] Illustrated

1240 Fourteen-Karat Yellow Gold, Alexandrite and Diamond Ring, the ring composed of a central prong-set oval-cut alexandrite, measuring 5.23mm x 3.79mm x 2.89mm and weighing approximately 0.46 carats, surrounded by sixty-two bead-set round brilliant-cut diamonds with an approximate total weight of 0.53 carats, size 7‑1/2. [1800/2500]

1236 Eighteen-Karat White Gold, Diamond and Moonstone Headband, the flexible band set with 154 round brilliant-cut diamonds, together with a detachable brooch, the stylized brooch set with 179 round brilliant-cut diamonds and a cabochon moonstone with an approximate total weight of 2.25 carats, total approximate diamond weight is 7.10 carats. [7000/10000] 1237 Fourteen-Karat White Gold Sapphire and Diamond Necklace, the necklace featuring a series of sapphire and diamond bezels, composed of forty-three prong-set ovalmixed-cut natural blue sapphires, measuring 6.70mm x 4.90mm x 3.19mm and with a total approximate weight of 36.78 carats, and 773 prong-set round brilliant-cut diamonds with an approximate total weight of 5.95 carats, l. 18”. [6000/9000] Illustrated

1241

1241 Lady’s Platinum Emerald-Cut Diamond and Baguette Engagement Ring, comprised of a central emerald-cut diamond with an approximate weight of 1.50 carats, with a G to H color and VS clarity, with two tapered baguette diamonds with an approximate total weight of 0.20 carats, size 6. [12000/18000] Illustrated 1242 Pair of Fourteen-Karat White Gold, Diamond and Onyx Earrings, the curved black onyx mounted into the white gold frames with applied white gold flowers and butterflies set with forty-four round brilliant-cut diamond melees with an approximate total weight of 0.29 carats. [1000/1500]

1237

182

1244 Art Deco Platinum and Diamond Bracelet, the bracelet composed of eighty-three antique mine-cut diamonds, with an approximate total weight of 4.10 carats, l. 6‑1/2”. [7000/10000] Illustrated 1245 Eighteen-Karat White Gold and Diamond Ring, the ring comprised of a central shield-cut diamond with an approximate weight of 0.81 carats, with I color and S1 clarity, with round-cut diamonds flanking the ring with an approximate total weight of 0.28 carats, size 7‑1/4. [4000/7000] Illustrated

1243

1244

1243 Lady’s Eighteen-Karat White Gold, Diamond and Black Onyx Bracelet, the bracelet composed of alternating links of black onyx and pave-set diamonds, total approximate diamond weight is 6.83 carats, l. 8”. [9000/12000] Illustrated

1245

1246

1246 Beautiful Lady’s Hand-Assembled Platinum and Diamond Necklace, the necklace with 121 graduating round-cut diamonds with a G to I color and a VVS2 to VS2 clarity, with an approximate total weight of 13.50 carats, l. 16”. [10000/15000] Illustrated

183

1247 Beautiful Lady’s Fourteen-Karat White Gold and Opal Necklace, the necklace composed of three graduated strands of opals, with exceptional opalescence, with a total approximate weight of 249 carats, finished with a diamond clasp, l. 19”. [8000/12000] Illustrated 1248 Lady’s Eighteen-Karat White Gold, Emerald and Diamond Necklace, the necklace composed of thirteen freeform polished emerald nuggets with an approximate total weight of 440 carats, each emerald capped with a white gold cap containing round pave-set diamonds, total approximate diamond weight is 7.40 carats and finished with a diamond ball clasp, l. 19”. [10000/15000] Illustrated 1249 Pair of Fourteen-Karat White Gold, Diamond and Jade Earrings, the carved circular oriental jade flower set to the stud with a round single-cut diamond melee link with an approximate total weight of 0.25 carats, and with a carved green jade leaf with a pentagonal-cut diamond drop with an approximate total weight of 0.20 carats. [1400/1800]

1247

1251 Eighteen-Karat White Gold, Emerald and Diamond Ring, the ring composed of a central prong-set rectangular step-cut emerald, measuring 10.05mm x 9.20mm x 5.98mm and weighing approximately 4.78 carats, set within a diamond bezel and supported by an elaborate white gold under gallery with diamond ribbons and diamond shoulders, comprised of 160 prong-set round brilliant-cut diamonds with an approximate total weight of 0.70 carats, size 7. [3500/5000] Illustrated

1248

1250 Fourteen-Karat White Gold, Emerald and Diamond Drape Motif Necklace, the necklace featuring graduating emerald and diamond bezel pendants, supported by a chevron-shaped drape motif ribbon of diamonds, comprised of twelve prong-set oval- and mixed-cut natural emeralds with approximate total weight of 16.68 carats, surrounded by numerous prong-set round brilliant-cut diamonds with an approximate total weight of 6.99 carats, l. 18”. [18000/25000] Illustrated

184

1250

1252 Fourteen-Karat White/Yellow Gold, Emerald and Diamond Ring, comprised of a central emerald-cut emerald, measuring 8.25mm x 6.21mm and weighing approximately 1.78 carats, surrounded by forty-eight round brilliant-cut diamonds with an approximate total weight of 0.98 carats, size 7‑1/2. [1200/1800] 1253 Lady’s Fourteen-Karat Yellow Gold, Diamond and Emerald Bracelet, the double-strand rope bracelet set with twenty-eight round brilliant-cut diamond melees, with an approximate total weight of 1.00 carat and twenty-eight full-cut emeralds with an approximate total weight of 1.00 carat, l. 6‑1/2. [1200/1800] 1254 Pair of Fourteen-Karat Yellow Gold Tutti-Frutti Pendant Earrings, composed of twelve round rubies with an approximate total weight of 5.40 carats, twelve navette blue sapphires with an approximate total weight of 5.50 carats and six pear-cut emeralds with an approximate total weight of 2.40 carats. [1800/2500]

1251

1257 Lady’s Eighteen-Karat White Gold, Blue Topaz and Diamond Cross Pendant with Chain, the pendant with one central round-cut diamond with an approximate weight of 0.05 carats, surrounded by 6.39 carats of blue topaz, which make up the cross, together with an eighteen-karat white gold chain, l. 18”. [500/800] 1258 Lady’s Fourteen-Karat Yellow Gold Retro TiffanyStyle Ruby and Aquamarine Necklace, the necklace composed of sixteen oval-shaped aquamarines with an approximate total weight of 10.88 carats and sixteen round-cut rubies with an approximate total weight of 1.12 carats, l. 14”. [3000/5000] 1259 Four Chinese Hair Ornaments, 19th century, gilt metal set with kingfisher feathers, jade, tourmaling, coral and pearls, the largest l. 4‑1/2”. [100/150] Illustrated 1259A Three Women’s Hair Pins, late 19th/early20th century, China, the filigree gilt-metal set with kingfisher feathers, jade, coral, tourmaline and pearls, appx. l. 6”. [100/200] 1260 Chinese Hair Ornament, 19th century, depicting three phoenixes with flowers, in gilt metal set with kingfisher feathers, glass cabochons and seed pearls, l. 5‑1/2”. [200/400] 1261 Chinese Gilt-Brass Filigree Kingfisher Hair Pin, 19th century, bearing two stamped signatures, w. 4”. [100/200]

1255 Lady’s Eight-Strand Fourteen-Karat Yellow Gold and Amethyst and Diamond Necklace, the eight strands of amethyst beads finished with a fourteen-karat gold clasp containing a central rectangular cushion-cut amethyst with an approximate total weight of 50.0 carats, surrounded by round-and baguette-cut diamonds with an approximate diamond weight of 1.83 carats, l. 18”. [600/900] 1256 Lady’s Fourteen-Karat White Gold, Diamond, Blue Sapphire, Opal and Cats Eye Long Chain, the chain set with forty-two round brilliant-cut diamond melees with an approximate total weight of 1.26 carats, fortyone blue sapphire cabochons with an approximate total weight of 50.20 carats, forty-one opal cabochons with an approximate total weight of 22.67 carats and forty cats eye cabochons with an approximate total weight of 33.50 carats, l. 70”. [9000/12000]

1259

185

1262 Interesting Blue Agate and Flourite Necklace, composed of graduating top drilled discs of agate, separated by faceted circular flourite stones, finished with a silver toggle, l. 16”. [100/200]

1273

1263 Striking and Bold Sliced Pyrite Necklace, composed of graduated slices of pyrite separated by sterling silver beads, finished with a silver toggle, l. 18”. [100/200] 1264 Peruvian Opal Necklace, composed of faceted free-form stones and finished with a silver toggle, l. 16”. [75/125] 1265 Unusual Carved Rock Crystal Necklace, the large rock crystal stones with a stylized skull carved on one side, and separated by sterling silver beads, finished with a silver toggle, l. 17”. [125/250] 1266 Brilliant Swarovski Crystal Ring, the large faceted domed crystal ring with the Swarovski mark, size 8. [75/125]

1271 Judith Leiber Gold Alligator Gusetted Frame Clutch/Shoulder Evening Bag, with exterior flap closure centered by a rhinestone and enamel tiger, a front and back slip pocket, the frame with a pink quartz and rhinestone top closure, the gold kidskin-lined interior with a scalloped slip pocket below a gilt-brass label: " Judith Leiber/New York”, retains the gold kidskin coin purse, small swivel mirror and tasseled comb, the toggle strap removable, h. 5‑1/4”, w. 9”, d. 3”, strap drop 19‑3/4”. [1400/1800] Illustrated

1271

1272 Judith Leiber Multi-Metallic Snake and Lizard Drawstring Disco Pouch, 1979, the pouch topped with rhinestone-set ring tabs holding the strap, the ecru satin-lined interior bearing a gilt-brass label: “Judith Leiber”, includes a satin coin purse and oval mirror, retains the original box and a dust bag, h. 5”, dia. 8”, strap drop 21‑1/2”. [300/500]

1267 Bold Rock Crystal Faceted Nugget Necklace, composed of slightly graduated and faceted rock crystal stones, and finished with a sterling silver ornate toggle, l. 18”. [150/300] 1268 Lady’s Double-Strand Rock Crystal Necklace, the free-form tear drop-shaped stones in two slightly staggered strands and finished with a toggle clasp, l. 18”. [100/200] 1269 Lady’s Rose Quartz Faceted Rondel Necklace, the quartz faceted rondels, in white/rose to deep burgundy tones, finished with a gold clasp, l. 16”. [75/125] 1270 Lady’s Two Strand Citrine Necklace, composed of two strands of long free-form citrine beads, with beautiful color and finished with a gold-toned clasp, l. 16”. [100/200]

186

1276

1273 Two Judith Leiber Snakeskin Frame Clutch/ Shoulder Bags, the large pale celadon example with gathered vertical skins, the gilt-brass frame topped with matching snakeskin and a top closure, the interior lined with black faille having a zipper pocket and a scalloped slip pocket below a gilt-brass label: “Judith Leiber”, with a matching snakeskin convertible strap, h. 7‑1/2”, w. 12‑1/2”, d. 1‑1/2”, strap drop 18‑1/2”, the gray example with gathered vertical skins, the chevron-stamped and snake-inset gunmetal frame with a flip over onyx-set closure, the gray satin-lined interior with two scalloped slip pockets, one below a gunmetal label: “Judith Leiber”, includes a gray satin coin purse, gunmetal swing mirror and tassled gunmetal comb, with a gunmetal convertible strap, h. 5‑1/2”, w. 10‑1/4”, d. 1‑1/2”, strap drop 19‑3/4”. [400/700] Illustrated 1274 Judith Leiber White Ostrich Gusseted Shoulder Evening Bag, 1979, the front gathered and topped with an ivory and cut-stone-inset silver frame and top closure, the ecru satin-lined interior with a scalloped slip pocket below a silver label: “Judith Leiber”, includes a satin coin purse, silver swing mirror, an oval mirror and silver tasseled comb, with a silver chain, retains the original box and dust bag, h. 5‑3/4”, w. 6‑1/4”, d. 2”, strap drop 19”. [500/800] 1275 Small Emilio Pucci, Leather-Edged Multi-Colored Silk Satin Baguette Handbag, gathered throughout, with a magnetized interior flap closure, a silver tone chain strung across the front with rhinestone-inset “PUCCI”, the interior lined with black fabric and bearing a black cloth label: “Emilio Pucci/Firenze”, a Pucci dust bag included, h.5”, w. 9”, d. 1‑3/4”, strap drop 4”. [250/400] 1276 Judith Leiber Deep Plum Alligator Gusseted Frame Clutch/Shoulder Bag, 1993‑1995, the gilt-brass frame with an amethyst and rose quartz cube push closure at one corner, the plum kidskin-lined interior with a small zippered pocket and a scalloped slip pocket below a giltbrass label: “Judith Leiber”, includes a matching coin purse, a swing mirror and small comb, with a matching alligator convertible strap, retains the original price tag, box and dust bag, h. 6”, w. 9”, d. 2‑1/2”, strap drop 20”. [1400/1800] Illustrated

1279

1277 Giuseppe Zanotti Chocolate Brown Pearlized Lizard and Satin Evening Bag, of scalloped and gathered form, the front set with a cluster of cabachon and tiny cut stones, with a magnetized interior flap closure, the interior lined with white satin bearing a brass label: “ Guiseppe Zanotti/ Made in Italy”, the rigid handles stitched, includes a dust bag, h. 9‑1/2”, w. 9”, d. 2”, handle drop 3‑1/4”. [400/700] 1278 Vintage Judith Leiber Black Satin and Patchwork Embroidery Shoulder Bag, 1974, the bag with various examples of embroidery separated by narrow vertical black satin bands, with a faceted onyx-set top closure, the black satin-lined interior with a scalloped slip pocket below a gilt-brass label: “Judith Leiber”, the gilt textured metal chain convertible, h. 7”, w. 7‑3/4”, d. 1”, strap drop 24‑1/4”. [300/500] 1279 Dramatic Metallic-Embroidered Purple Silk Faille Full-Length Evening Coat, the ombre white to purple ground decorated with peacocks of gold, bronze and silver metallic thread, with a mandarin collar, four covered button closure and flared sleeves, lined in purple silk, back length 69”. [700/1000] Illustrated 1280 Geoffrey Beene, New York, Full Length Natural Wild Mink Coat, size 4‑6, swing body with notched collar, full ragland sleeves and two on-seam pockets, lined in chocolate brown silk, labeled: “Geoffrey Beene/New York” and “Goldin-Feldman”, back length 49”. [1200/1800] Illustrated

1280

1281 Guy Laroche, Paris, Lunaraine Mink Stroller, size 4‑6, with stand up collar and bishop’s sleeves, lined in chocolate brown silk twill, labeled: “Guy Laroche/ Paris New York” and “Karabelas/New York”, back length 27”. [400/700] 1282 Black-Brown Mink Stole, size 4, the back centered with a point, both ends gathered with mink tail tassels, lined with black silk, labeled: “Chudiks/ Birmingham”, stole length 68”. [300/500]

187

188

1283

1283 A Magnificant Paul Sormani Gilt Bronze And Marble Architectonic Mantel Clock, third quarter 19th century, based on Michelangelo’s “Night and Day” sculpture from the tomb of Giuliano de Medici in the Family Chapel in San Lorenzo, Italy, h. 21”, l. 36‑1/4”, d. 7‑1/4”.

1284

Bowing to Victorian modesty, the Sormani figures are clothed; they retain a bright bronze dore finish. The sienna marble plaque mounted between them reads “Michel-Ange Anno 1474‑1564 Rome”. The gray marble case, carved of a solid block of marble is in the form of a voluted pediment, the figures resting on each side. The voids of the pediment are inset with sienna marble. The 30‑day movement has a bronze dial, signed Sormani, Paris, and enamel chapter ring. It is flanked by lion’s head mounts joined with laurel swags and trailing bow knots. [40000/70000] Illustrated

1284 Paris Porcelain Rococo Revival Mantel Clock, Attributed to Jacob Petit, mid-19th century, sitting on bold scrolled feet, the apple green ground decorated with raised gilt, floral polychrome panels decorate the base and the lower panel of the clock body, which is molded with voluptuous pierced scrollwork and crowned with a basket of fruit, the enamel dial signed by Henri Marq, Paris, h. 14‑1/2”, w. 9”, d. 5”. [1000/1500] Illustrated

189

1285

1286 Napoleon III Paris Porcelain Figural Clock, third quarter 19th century, the base plinth with a central panel decorated with applied flowers, flanked by side panels decorated with hand-painted torches, the clock plinth pierced in the Schneballen style, and set with a “handle” of a molded polychrome lion’s head grasping a wreath of sculpted flowers on one side, the other with a free standing cupid, a wreath of sculpted flowers in his hair, and dabbing a palette with his brush, preparing to “paint” the landscape of Italian scenes sitting atop the clock on a porcelain easel, set with an enamel dial, covered with a glass door, h. 13”, w. 9‑3/4”, w. 3‑3/4”. [900/1200] Illustrated 1287 Large Ansonia, New York, Onyx and Gilt-Bronze Mounted Mantel Clock of Temple Form, ca. 1900, the face featuring an open escapement with a ribbon draped bower and sleeping child, h. 17‑1/2”, w. 20‑1/2”, d. 8”. [900/1200] Illustrated

1286

1285 French Porcelain Mantel Clock, mid-19th century, probably old Limoges, in the rococo revival style, with a gilt-edged, scrolled and pierced case decorated with appliqued flowers, set with an enamel dial and brass bezel, resting on period giltwood scrollwork base, the works signed “Bal et Louri”, h. 14‑1/4”, w. 9‑1/2”, d. 5‑1/2”. [400/700] Illustrated

1287

1288 Massive American Late Classical Revival Carved Mahogany Nine Tube Tall Case Clock, late 19th century, Grand Rapids, Michigan, the bonnet top hood with carved pineapple finials, the case having floral- and acanthus-carved columns and circular wreaths at the lower panels, the eight-day movement with time, quarter hour chime, and hourly strike, featuring Westminster and Whittington chimes, an engraved plate above the case door reads “Movement & Case Designed & Manufactured by The Grand Rapids Clock & Mantel Co. Grand Rapids, Mich.”, h. 106‑1/2”, w. 31”,d. 19”. [15000/25000] Illustrated

190

1289

1288

1289 George III Mahogany Tall Case Clock, ca. 1800, the hood with a broken arch pediment and central brass eagle finial, having a painted face with the maker’s name “Fletcher Leeds”, probably Tobias Fletcher (1751‑1813) of Leeds, England, an eight day time and strike movement, h. 93”, w. 24”, d. 10”. [1400/1800] Illustrated

1290

1290 Regence Boulle Bracket Clock, first-quarter 18th century, the dial with enamel numerals on the chapter ring, the bronze face molded with strapwork and a crowning cock, scrolled bronze feet support the case, the scroll and strapwork molded door mounted with a Figure of Justice on a scrolled cartouche, the upper edge of the case flanked with mask ornaments and lined with bronze scrollwork, with a shell in the center, a gilt putto on a sphere serves as a finial on the mansard roof, the square pillared works signed “Roguelon a Paris, Etienne Roguelon”, h. 41‑1/2”, w. 19‑3/4”, d. 9‑1/2”. [2000/4000] Illustrated

191

1292

1291 William and Mary Style Bronze-Mounted Ebonized Bracket Clock, first quarter 20th century, set with a triple fusee German movement which chimes either eight bells or four gongs, scrolled bronze feet support the case, which has a bronze mount of a masque flanked by cornucopia on the base, the leaf-molded bronze door set with beveled glass, the chamfered corners set with mounts of masques and flowers, the stepped upper plinth mounted with a gilt-bronze finial in the form of Mercury, retailed by Bailey, Banks and Biddle, Philadelphia, h. 22‑3/4”, w. 13”, d. 9‑3/4”. [3000/5000] Illustrated

1291

192

1292 French Empire-Style Marble and Gilt-Bronze Mantel Clock, fourth quarter 19th century, the mottled green marble case set with bronze ball feet, pierced bronze appliques of swans, laurel leaves and putti decorate the base, the central top portion set with a stippled arch-top bronze plate, the engine-turned clock face with an enameled chapter ring, allegorical figures of Hope in the form of cupids holding anchors flank the dial, and a caduceus with crossed cornucopias of flowers serves as the finial, signed “AD Nougin” on clock works, h. 10‑1/2”, w. 9‑1/4”, d. 3”. [1000/1500] Illustrated

1293

1293 Gustav Becker, Embossed Triple Weight Vienna Regulator Wall Clock, fourth quarter 19th century, having an ornate crest with turned finials, porcelain banded dial with Roman numeral chapters, embossed face, weights and pendulum, h. 58‑1/2”. [1500/2500] Illustrated 1294 Unusual French Hanging Clock by Japy Freres, fourth quarter 19th century, comprised of Delft-style porcelain and gilt metal, the lower acornshaped portion decorated with windmills in a country scene, and with a lower finial of laurel leaves and a pine cone, the fluted gilt-metal throat mounted with a laurel wreath, which attaches the lower section to the porcelain sphere, decorated to match the base, holding the clock, set with a cream-colored porcelain chapter ring around a pierced center and mounted with a glass cover in an engine-turned bezel, lion’s head handles and a pierced anthemion finial complete the ensemble, h. 17”, w. 7‑3/4”, d. 4‑1/4”. [500/800] Illustrated

1294

1295

1295 French Champleve Enamel Clock Set, first quarter 20th century, a green onyx floor supports tapered turquoise enameled columns suspending the clock works, flanked by a pair of enamel spear-point finials, and topped with an onyx-bodied scrolled handle urn finial, the matching urns with onyx bases and bodies, and enameled feet and necks, the enamel dial marked by the retailer, JW Benson, Ludgate Hill, London, clock h. 15”, w. 8‑3/4”, d. 4”, urns h. 11”, dia. 3‑1/2”. [3000/5000] Illustrated

1297

1296 Louis XVI GiltBronze Cartel Clock, fourth quarter 18th century, the scrollsided case with a grape finial hanging from the medallion-molded lower edge of the case, the lower glass window, overhung with swags of laurel leaves and flanked by bellflower laurel drops, an engine-turned bezel surrounds the glass door covering the enamel dial, molded “C” scrolls frame the door, a female masque sits atop the works, against a mansard top, a bronze urn with ring handles and a pine cone knop serves as the finial, signed “L. Prince a Paris”, h. 28‑1/4”, w. 15”, d. 4‑1/4”. [1000/1500] Illustrated

1296

1297 French Champleve Enamel Clock Set, first quarter 20th century, the clock with a cove-molded base supporting free standing columns with enamel bases depicting flowers in lozenge-shaped panels, with fluting and Corinthian capitals, the clock suspended in the beveled glass case, the exposed escapement stands in front of an enamel rondel, corner finials of pine cones frame the enamel mansard cover, mounted with a covered finial with leaf decoration and scroll handles, the bronze chapter ring, marked by the London retailer, JW Benson, Ludgate Hill, London, h. 18‑1/4”, w. 9‑3/4”,d . 8‑1/4”, the en suite urns raised on enamel-trimmed square plinths, the reeded urns pierced with scrolled handles and with domed lids trimmed in enamel matching the clock roof and molded leafform knop, h. 14‑1/2”, w. 5‑1/2”, d. 5‑1/2”. [5000/8000] Illustrated

193

1298

1298 Edwardian Inlaid Mahogany Five-Tube Tall Case Clock, fourth quarter 19th century, having a broken arch pediment with a brass steeple finial, the triple train eight-day movement featuring Westminster Chimes on the quarter hour and strike on the hour, h. 94”, w. 20”, d. 13”. [1800/2500] Illustrated 1299 Georgian-Style Musical Bracket Clock, first quarter 20th century, sitting on paw feet, the base trimmed in bronze leaf molding, bronze masque corbels trim the chamfered corners flanking the door, trimmed with bronze shell and scroll spandrels, the brass face with a steel chapter ring, bronze spandrels and settings for chime/silent, slow/fast and a chime on eight bells or Westminster, gilt pine cone finials trim the top, the case sides mounted with giltbronze carrying handles and fitted with a triple fusee movement, h. 29‑1/2”, w. 17”, d. 12”. [3000/5000] Illustrated

1300 French Rosso Antico and Patinated-Bronze Neo-Grec Clock Set, fourth quarter 19th century, the rare conical clock with a marble base on winged lion’s paw feet, set with works mounted with a marble chapter ring, behind an elaborate oak leaf and acorn-molded bronze bezeled door, the patinated-bronze figure of Penelope, faithful wife of Ulysses, known for weaving while awaiting his return, holds a skein of wool which continuously “unwinds” into an aperture above the works, running the clock, Penelope is signed by Auguste Bonnetaud Nadaud (French, 1835‑1889), h. 41”, w. 13‑1/2”, d. 11”, the en suite side ornaments depicting maidens supporting water pots crowned with gilt-bronze finials on marble bases matching the clock, h. 30”, w. 8‑1/4”, d. 8‑1/4”. [50000/80000] Illustrated

194

1299

1300

1301 Rare French Gilt-Bronze and Rosso Antico Annular Clock and Garniture Urns, fourth quarter 19th century, the clock with a marble base supporting a leaf-mounted fluted bronze foot under the marble body, mounted with molded gilt handles, a stationary cupid points his arrow at the time, calculated by revolving enameled chapter rings, the marble lid mounted with bronze beading and a gilt grape-form knop, h. 12”, w. 4‑1/2”, d. 4‑1/2”, the urns with cut-cornered bases on a giltbronze foot, leaf-molded gilt-bronze handles mounted with swags of flowers on each side, the bronze neck with pierced fluting alternating with molded guilloches on a stippled ground, the ogee-molded covers mounted with grapeform knops, h. 10‑1/4”, w. 4‑3/4”, d. 3‑1/2”. [10000/15000] Illustrated

1302 French Restauration Bronze Dore Portico Clock, second quarter 19th century, Paris, resplendent with a near-mint bronze dore finish, the clock rests on bun feet with an engine-turned mid-rib, the base finished with egg-and-dart molding, four tooled Doric columns support an entablature decorated with a medallion supported by ribbons, the bezel molded with laurel leaves and berries, the enamel dial with a gilded chapter ring and hands, and signed “a Paris”, h. 20‑1/4”, w. 11‑3/4”, d. 7‑1/4”. [1800/2500] Illustrated

1301

1303

1303 Louis-Phillipe Gilt-Bronze and Porcelain Mantel Clock, third quarter 19th century, made and retailed by Rollin, Paris, the Rococo-Rtevival-style case with a pierced and scrolled base supporting a body mounted with Paris porcelain plaques, hand-painted with putti holding doves and flanking the central clock works, the enamel dial and works signed “Rollin a Paris”, the figural top with two putti holding a dove, with an open cage to tone side and a dove resting on the ground on the other side, h. 13‑1/4”, w. 13‑1/2”, d. 4‑3/4”. [800/1200] Illustrated 1302

195

1305

1304

1305 Georgian Mahogany Tallcase Clock, fourth quarter 18th century, the bonnet fitted with a swanneck pediment and brass finials with glazed door over a finely engraved brass face by James Nemess, Johnshaven, Scotland, the case with a flame-mahogany door over a plinth base with a fine line of inlay over bracket feet, h. 85”, w, 18”, d. 8”. [1000/1500] Illustrated

1304 Louis XVI Gilt-Bronze and White Marble Clock by Festeau le Jeune, fourth quarter 18th century, the white marble base mounted in engine-turned feet, with a bas relief plaque of frolicking putti flanked by acanthus-molded ogee moldings, the enamel dial decorated with swags of roses and leaves and flanked by leaf-molded corbels decorated with laurel swags, the urn finial decorated with molded acanthus leaves on a stippled ground and raised on hoof-footed legs with ringed goat’s head finials, capped with a basket of fruit, mounted with a silk string movement, h. 24‑1/2”, w. 21‑1/2”, d. 8‑3/4”. [1500/2500] Illustrated

1306

196

1306 Impressive Louis XVI-Style Gilt-Bronze Belle Epoque Clock Set, fourth quarter 19th century, the clock r esting on scrolled dragon feet, with a pierced skirt depicting anthemia, the case facade set with a strapwork panel overlaid with a swag of laurel leaves, the bronze dial with enamel numerals on the chapter ring, the mansard roof cross-hatched with scrolled corners, and a bronze urn finial with scrolled handles and leaf drops, the case signed by the retailer L. Barbaste Paris, and the works by Marti, h. 29”, w. 17”, d. 6”, the matching seven-light candelabra with scrolled dragon feet supporting a pierced base overlaid with laurel swags, a covered cup standard supports scrolled candle arms set with strapwork-trimmed scalloped drip pans, and leaf-molded candle cups, now fitted with gilt-trimmed panel-cut bobeches, h. 28‑1/2”, w. 15”, d. 15‑1/2”. [2500/4000] Illustrated

1307

1308 American Colonial Revival Waltham Clock Company, Mahogany Single Tube Tall Case Clock, ca. 1900, the hood with a broken arch pediment and featuring a turned and carved urn-form flame finial, having an eight-day movement with time and strike on a single long tube, the rotating moon dial depicting painted scenes of a cabin and seascape, h. 95”, w. 24”, d. 15”. [1800/2500] Illustrated

1308

1307 Napoleon III Alabaster Mantel Clock, third quarter 19th century, French, the ball feet support the tapered base molding, supporting two ogee alabaster scrolls, the clock works set in an alabaster cylinder, the enamel chapter ring framing a view of the works, with a pendulum in the form of a girl on a swing, the whole resting on a period ebonized base with conforming glass dome, the works signed “Chappemat Brevette”, overall dome h. 12”, w. 9‑1/2”, d. 5‑1/2”. [900/1200] Illustrated

1309

1309 Wedgwood Black Jasperware Clock, ca. 1900, the lower edge with leaf-molded sprigging, the bas sprigging on the facade depicting the judgement of Paris, with guilloche corners and an urn decorated with goat’s heads holding swags of flowers decorates the top, marked “Wedgwood, England”, the glass dial works set with a beveled glass in a nickel-plated bezel, h. 8‑1/2”, w. 5‑1/4”, d. 2‑3/4”. [1500/2500] Illustrated

197

1310 German Egyptian Revival Three-Piece Clock Set, third quarter 19th century, black and tan marble clock containing a marble face in the central block, flanked by rusticated marble pylons, bronze sphinxes seated on either side, a large bronze reclining sphinx acts as primary ornament, the base and central block additionally ornamented with incised Egyptian designs, the matching black marble obelisks incised with Pharaohs, serpents and falcons, and other related ornament, labeled “F.L. Losner, 23 Potsdammerstrasse, Berlin”, possibly the retailer, clock h. 18", w. 19", d. 6‑1/2”, obelisks h. 18”, w. 3”, d. 3”. [4000/7000] Illustrated

1311 Empire-Style Bronze Mount French Tall Case Clock, ca. 1900, the molding of the bombe base mounted with bowknots, below a panel mounted with a putto driving a chariot, the corners inset with gilded reeding and mounted with bronze acanthus leaves, the waist mounted with a bronze outlined lozenge decorated with pierced anthemia and baskets of flowers, carved gilt scrollwork at the corners of the doors, the works set with a brass face with a steel chapter ring and gilt-bronze rococo spandrels, flanked by carved female masques with bellflower drops, the serpentine crest decorated with gilded scrollwork and a painted armorial cartouche, h. 85‑1/2”, w. 25”, d. 15”. [6000/9000] Illustrated

1311

198

1310

1312 French Empire-Style Lyre-Form Gilt-Bronze and Cut-Glass Clock, fourth quarter 19th century, paw feet support the gilt-bronze base, ornamented with cast anthemia and lotus leaves and supporting a reeded cut-glass plinth rising to the strawberry-cut lyre base, trimmed with gilt-bronze anthemia and lotus leaves, the horizontally reeded cutglass lyre terminating in gilt-bronze swan’s heads, the silk string clock works set in a floral-molded bezel with an engine-turned clock face and enameled numerals in the chapter ring, and a pierced sunburst masque set in a ring of laurel leaves serves as the finial, h. 23‑3/4”. [1000/1500] Illustrated 1312

1313

1313 Impressive French Figural Clock, fourth quarter 19th century, the black marble and patinated-metal base supporting a pair of cupids, signed “A Carrie”, for Auguste Joseph Carrie (1800‑1875),the patinated-metal cupids holding a ball aloft, the ball set with clock works signed by Japy Freres, and set with “handles” of bowknots holding plant buds and terminating with a pine cone finial. h. 32‑3/4”, dia. 12”. [1000/1500] Illustrated

1314 French Art Nouveau Marble Mantel Clock, fourth quarter 19th century, the bronze finished statue of a winged female in a diaphanous gown, the green marble case with works signed “A.D. Mougin”, the enamel dial painted with garlands of flowers, and fixed with a tag reading, “L’Abeille par Campagne”, h. 27”, w. 14”, d. 8‑1/2”. [500/800] Illustrated

1315

1314

1315 Fine French Empire Gilt- and Patinated-Bronze Figural Mantle Clock, first quarter 19th century, the face with the plaque “Robin 11th Du Roi & De La Dauphine”, depicting Psyche leaning against a crag, a butterfly perched on her shoulder, the rock centered by a gilt face with an ovoid maker’s plaque, the perimeter edged in a ring of finely-cast flora, mounted on a rectilinear base with applied wreaths, foliate scrolls and butterflies, on bracket feet, the works with a silk suspension movement, h. 23‑1/2”, w. 15‑1/2”, d. 5‑3/4”. Robert Robin was the greatest French horologist of the late 18th century, clockmaker to Louis XVI. Two of his sons became clockmakers of comparable skill, Nicholas-Robert and Jean-Joseph Robert. The present clock is probably from the latter’s shop. [2500/4000] Illustrated

199

1317

1317 Napoleon III Lacquered Bronze Figural Mantel Clock, third quarter 19th century, depicting the chariot of Telemachus, with the New York retailer’s mark of Starr & Marcus, active 1865‑1877, the clock face modeled as the wheel of a chariot pulled by a rearing team of horses, the chariot driven by Telemachus, with the goddess Athena standing behind him, dressed for battle, on a plinth base with applied trophies flanked by wreaths, the corner posts modeled as reeded columns, the casting after an Empire period model, h. 17‑5/8”, w. 20‑1/2”, d. 5”. [2000/4000] Illustrated

1316

1316 Impressive Napoleon III Gilt-Bronze Mantel Clock, third quarter 19th century, the scrolled and pierced feet support a serpentine platform mounted with a snarling dragon and pierced scrollwork, the stippled, tapered clock support flanked by a cupid holding a wine cup on one side and a cupid holding a covered urn on the other, grapes drip from one side while morning glories trail from the other in the rococo manner, the clock set in a grape-molded bezel around a face decorated in rocaille bas relief, with enameled numerals in the chapter ring, a cupid calming a snarling lion with a pierced scrolled background serves as the finial, h. 25‑1/2”, w. 21”, d. 8”. [2000/4000] Illustrated

1319

1318 George III Mahogany Tall Case Clock, fourth quarter 18th century, the hood with a broken arch pediment and fan-inlaid rosettes, the painted face featuring a moon dial and floral decorated corners, and flanked by double-fluted columns, the case with full fluted columns flanking the door and the base with fan-inlaid corners and raised on ogee bracket feet, the movement featuring time, strike and calendar date, h. 90”, w. 22”, d. 10”. [1000/1500] 1319 Louis-Philippe French Rosewood Clock Set, mid-19th century, the clock with marquetry inlay of scrolling vines and leaves, a Chinese man with scratch work detail smoking a pipe decorates the lower central facade, with scrollwork inlaid vines and flowers decorating the corners, the painted tin dial covered with a brass surround door, the pagoda top inlaid with scrolled vines and a Chinese-style umbrella, the matching tazzas with bases inlaid with vines and scrollwork under a Chinese umbrella, medallions inlaid in the centers of the bowls, clock, h. 16”, w. 8”, d. 6”, tazzas, h. 6”, w. 10‑1/4”, d. 5‑3/4”. [1200/1800] Illustrated

200

1320

1320 Interesting Continental Walnut with Satinwood Inlay Tall Case Clock, 19th century, the hood with an intricate fretwork crest, the case with classical inlaid figures, lions and floral motifs, h. 95”, w. 20‑1/2”, d. 14‑1/2”. [800/1200] Illustrated 1321 Austrian Walnut OpenWell Tall Clock Case, late 19th century, the hood with a circular convex glass and ornate crest above, the open mid-section of the case with a fretwork back panel, lacking the movement, weights and pendulum, h. 96‑1/2”, w. 23”, d. 13”. [500/800] 1322 Napoleon III Painted and Inlaid Wall Clock, third quarter 19th century, serpentine case decorated with ebonized fluting alternating with faux bois, the enamel dial signed “L.M. NTANGERAND, MACON” and set in a pattern of inlaid stars and bellflowers, executed in ebony, mother-ofpearl and walnut, h. 24‑1/4”, w. 18‑3/4”, d. 5”. [350/500] Illustrated

1322

1325 Assembled Pair of Ansonia Clock Garniture Ewers, ca. 1900, made in the Renaissance Revival style, resting on paw feet with strapwork decorated moorflask bodies and caryatid mounts, the nickel finish version with a pierced body, and the brass version stamped “National Products Corp Chicago” on the base, h. 14”, w. 6‑1/2”, d. 5‑3/4”. [400/700]

1323 Art Deco Specimen Stone Clock Set, first quarter 20th century, the variegated marble, onyx and granite cover the clock base and matching side plinths, the chrome-plated lozenge-shaped dial set in a matching bezel, a painted and patinated figure of a flapper tugging a goat, a clock ornaments the top, clock h. 15‑1/2”, w. 17‑1/2”, d. 4‑1/4”, plinths h. 6‑1/4”, w. 4”, d. 3”. [300/500] 1324 Architectural-Style Gallery Clock with Antiqued Finish, a copper finish brass bezel contains the black dial with roman numerals, set with a battery powered movement, dia. 30‑1/2”. [150/300] Illustrated 1324

201

1339

1330

1334 Turkish Angora Oushak Carpet, 9’1” x 12’3”. [2000/4000]

1326 Antique Persian Runner, 3’7” x 12’3”. [400/700] 1327 Open Lot

1335 Turkish Angora Oushak Carpet, 9’4” x 11’8”. [1400/1800]

1328 Antique Silk Qum Carpet, 3’7” x 5’1”. [1500/2500] Illustrated 1329 Peshawar Serapi Carpet, 7’10” x 9’10”. [1000/1500]

1336 Semi-Antique Kerman Carpet, 11’10” x 17’5”. [1500/2500]

1330 Persian Tabriz Carpet, 9’8” x 12’11”. [2000/4000] Illustrated

1337 Heriz Carpet, 8’2” x 8’7”. [1200/1800] Illustrated 1338 Uzbek Kazak Carpet, 4’2” x 6’6”. [300/500]

1331 Caucasian Kurd Carpet, 3’8” x 8’4”. [100/200]

1339 Semi-Antique Oushak Carpet, 8’8” x 11’6”. [4000/7000] Illustrated

1332 Peshawar Sultanabad Runner, 2’7” x 14’. [800/1200]

1340 Lilihan Carpet, 7’7” x 10’5”. [1000-1500]

1333 Antique Oushak Carpet, 12’2” x 12’10”. [3000/5000] Illustrated 1333

202

1341 Antique Oushak Carpet, 10’5” x 13’. [8000/12000] Illustrated 1342 Semi-Antique Mashad Carpet, 11’8” x 13’8”. [700/1000] 1343 Antique Sarouk Carpet, 4’4” x 6’7”. [800/1200] 1344 Mahogany String Holder, first quarter 20th century, probably American, the turned tripod base supports a vase-turned standard with a turned cross arm, the holder in the form of a spherical lidded bowl with a notched rim, h. 31”, w. 9‑1/2”, d. 9‑1/2”. [150/300]

1346

1347 American Late Classical-Style Flame Mahogany Corner Cabinet, in two parts, the upper half with a dentillated cornice molding above a pair of framed and paneled doors separated by a brass mullion strip, the base with a pair of paneled doors and raised on bracket feet, h. 86‑1/2”, w. 55”, d. 27”. [800/1200] Illustrated

1341 1345 American Sheraton Maple Wash Stand, second quarter 19th century, the top with a recessed band of drawers, the backsplash and gallery returns with scroll ends, a single frieze drawer and turned legs, the drawers with turned knobs with star inlay, h. 40”, w. 40”, d. 19”. [250/400] 1346 American Chippendale Cherry Oxbow Chest, second half 18th century, New England, the top affixed to the case via dovetails, the front of serpentine form with four graduated drawers, raised on ball-and-claw feet, h. 37”, w. 42”, d. 20‑1/2”. [2000/4000] Illustrated

1347

203

1350

1350 Chinese Export Porcelain Plate, ca. 1800, rare decoration of an American eagle with the motto “E Pluribus Unum” on an orange Fitzhugh ground, dia. 9‑3/4”. [300/500] Illustrated 1351 Lot of Ten Chinese Porcelain Luncheon Plates, ca. 1830, export ware, in the orange Fitzhugh pattern, dia. 8”. [300/500] Illustrated 1352 Chinese Export Orange Fitzhugh Plate, ca. 1830, dia. 9‑3/4”. [100/200]

1348 Pair of American Brass and Iron Colonial Revival Andirons, ca. 1900, the paw feet support the faceted and turned standards, a faceted acorn with a mid-rib and an acorn knop serve as the finial, the left and right cast-iron billet bars set with turned brass log straps, h. 22‑1/2”, d. 9‑1/2”, l. 20”. [200/400]

1353 American Federal Style Hepplewhite Card Table, ca. 1900, the top with ovolo corners, raised on tapered legs, top and bottom edges decorated with checked crossbanding, cut corner line inlay decorating the side panels, the legs inlaid with pateras and string of bell flowers, h. 28‑1/2”, w. 34”, d. 16‑3/4”. [500/800]

1351

1349 American Federal Line-Strung Mahogany Sideboard in the Hepplewhite Taste, first quarter 19th century, with a broad central drawer over a pair of recessed doors, the ends with a drawer over a door, all with line-stringing, raised on tapering legs with cuffs at their feet, h. 41”, w. 51”, d. 20‑1/2”. [1400/1800] Illustrated

1354 American Sheraton Mahogany TripleSection Banquet Table, first quarter 19th century, in the style of Norfolk, VA, the D-form ends joined by a center section with single-board top and leaves, the leaves supported by fly legs, on tapering turned legs with ring turnings and ball feet, h. 28‑5/8”, w. 47”, l. 68”, ext. l. 107‑1/2”.

1349

204

By family tradition, George Nicholas of Hermitage plantation, Albemarle County, VA, personally selected the Santo Domingue mahogany from which to have this table crafted. [1500/2500]

1355 Pair of Anglo-American-Style Cut and Engraved Hurricane Shades, each decorated with panels of cut flowers and leaves framed in cut vines, cut sprigs of leaves decorate the tops, h. 14”, dia. 5”. [300/500] 1356 Pair of Blown and Cut Hurricane Lamps, the round blown bases fitted with candlesockets, the integral globe-form shades cut with sprigs of leaves alternating with hummingbirds feeding on flowers, the tops with a flared lip, h. 11‑1/2”, dia. 8‑1/4”. [250/400] 1357 American Federal Cherry and Figured Cherry Chest, first quarter 19th century, in the Sheraton taste, the case with three-over-four drawers, each with cock-beaded perimeters, carefully selected crotch-cut veneers, and period brass oval pulls, flanked by reeded pilasters, the perimeter of the top adorned with similar reeding, the whole on turned feet, h. 48‑3/4”, w. 42”, d. 20‑1/4”. [500/800] 1358 American Late Classical Mahogany Center Table, second quarter 19th century, the circular marble top over a conforming apron, supported by a tapering crotchveneered column pedestal joined to a concave base on scroll feet, h. 27”, dia. 39”. [1200/1800] Illustrated

1360

1360 British School (Second Quarter 19th Century), “Portrait of a Cleric in His Robes”, oil on canvas, unsigned, 31” x 25”. Presented in a period giltwood and gesso frame. [800/1200] Illustrated 1361 Southern School (Second Quarter 19th Century) “Portrait of a Lady With a Lace Cap and Collar”, oil on canvas, dated “1834” and indistinctively initialed lower right, 23‑1/2” x 19‑1/2”. Presented in a giltwood and gesso frame. [1200/1800] 1362 British School (Second Quarter 19th Century), “Portrait of a Matron Wearing an Elaborate Lace Hat”, oil on canvas, unsigned, 30” x 25”. Presented in a giltwood and gesso frame. [500/800]

1358

1359 Pair of Paris Porcelain Garniture Urns, second quarter 19th century, reserve panels with Italian landscapes on one side and domestic scenes on the other, one with a sad mother and child with a letter and the other with a distraught man and woman, each mounted with swan’s head handles, h. 13”, w. 6‑1/2”, d. 5”. [500/800]

1363 Pair of Anglo-American-Style Blown and Cut Hurricane Shades, the vase-shaped shades decorated with branches and berries, and flowers with crosshatched centers alternating with thistles, h. 20‑1/4”, dia. 7‑1/4”. [300/500] 1364 Pair of Blown and Cut Hurricane Lamps, the round bases fitted with candlesockets, the integral vase-shaped shades decorated with hummingbirds feeding on flowers with swirling stems and leaves, h. 9”, dia. 5‑3/4”. [200/400]

205

1365 Regency-Style Giltwood Mantle Mirror, late 19th century, the tripartite rectangular plate surmounted by a molded cornice with drop ball finials over a latticepatterned frieze centered by a drapery-carved panel, flanked to either side by an acanthine cluster column, with a molded base, h. 28‑1/2”, w. 57”. [700/1000] Illustrated 1366 American Late Classical Mahogany Dressing Bureau, second quarter 19th century, the top with a recessed band of drawers supporting a mirror plate on cymamolded frame, its supports joining in an arch, the case with a molded drawer over a graduated bank of three drawers, raised on bracket feet, h. 84”, w. 43”, d. 20‑1/2”. [600/900]

1365

1367 American Late Classical Mahogany Drop-Leaf Table, third quarter 19th century, school of Isaac Vose, Boston, the rectangular top with two rounded drop leaves above a frieze fitted with a single end drawer, raised on columnar end supports to runner feet joined by a stretcher and ending in scrolled toes on casters, h. 29‑1/4”, w. 42”, d. 21”, ext. w. 50”. [700/1000] 1368 American Late Federal Canterbury, second quarter 19th century, probably of Boston origin, the primary wood mahogany, secondary white pine and poplar, the turned legs resting on period brass casters, the exterior of the case decorated with a silhouette of a laurel wreath pattern, h. 18‑1/2”, w. 17‑3/4”, d. 13”. [400/700] 1369 American Late Classical Mahogany Four Post Canopy Bed, second quarter 19th century, the headboard with two framed panels and trimmed with ribbon molding, mounted to square tapered posts and a molded canopy above, h. 88”, inside w. 56‑1/2”, inside l. 75”, outside w. 68”, outside l. 83”. [1800/2500] 1370 An American Quilt in the Bear Paw Pattern, early 20th century, probably Ohio, lilac and black cotton on a cream cotton backing, 59” x 83 1/2”. Provenance: Underground Antiques, New York, New York. [400/700] 1371 American Late Classical Mahogany Secretary/ Bookcase, second quarter 19th century, in two parts, the upper section with a molded cornice over a pair of glazed and mullioned doors, the upper row of the glazed panels with gothic arches, on a base with a fold-out writing surface over a full width projecting drawer, and a pair of lower drawers flanked by detached columns, on scroll feet, h. 71”, w. 41”, d. 21‑1/2”. [700/1000] 1372 American Classical Revival Mahogany Table, fourth quarter 19th century, the rectilinear top over a frieze with scroll-carving and drop-palmettes, raised on canted, foliate-carved C-scroll legs ending in dolphin heads, h. 27‑1/2”, w. 42”, d. 21‑1/2”. [300/500]

1373

206

t 1373 After John James Audubon (American, 1785‑1851), “Wood Ibis”, No. 44, Plate CCXVI, from Birds of America, hand colored engraving by Robert Havell, the elephant folio watermarked “J. Whatman/1836”, sheet 38‑1/4” x 25‑1/4”. Unframed. [55000/80000] Illustrated

1374

1374 After John James Audubon (American, 1785‑1851), “Long Tailed Duck”, No. 63, Plate CCCXII from Birds of America, hand colored engraving, by Robert Havell, the elephant folio paper watermarked “J. Whatman/1837”, sheet 25” x 37‑7/8”. Glazed and framed. [7000/10000] Illustrated 1375 After John James Audubon (American, 1785‑1851), “Forked-tailed Flycatcher”, No. 34, Plate CLXVIII, from Birds of America, hand colored engraving by Robert Havell, the elephant folio watermarked “J. Whatman/1835”, sheet 37‑1/2” x 25”. Unframed. [2500/4000] Illustrated

1375

1376

1376 After John James Audubon (American, 1785‑1851), “Black-bellied Plover”, No. 67, Plate CCCXXXIV, from Birds of America, hand colored engraving by Robert Havell, the elephant folio watermarked “J. Whatman/1836”, sheet 38‑3/8” x 25‑1/2”. Unframed. [2000/4000] Illustrated

207

1379 After John James Audubon (American, 1785‑1851), “Crested Titmouse”, hand colored engraving on J. Whatman paper, by R. Havell, Plate XXXIX from Birds of America, London, sight 23” x 15‑1/4”. Glazed, attractively matted and framed. [800/1200] 1380 Open Lot 1381 Pair of McKenney & Hall Hand Colored Lithographs, including “A Chippewa Widow” and “Moa-Na-Hon-Ga, An Ioway Chief”, published by Frederick W. Greenough, Philadelphia, 1838, sight 19” x 13”. Both glazed, attractively matted and framed alike. [400/700]

1377

1377 After John James Audubon (American, 1785‑1851), “Pine Creeping Warbler”, No. 28, Plate CXL, from Birds of America, hand colored engraving by Robert Havell, the elephant folio watermarked “J. Whatman/1832”, sheet 39” x 26”. Unframed. [2000/4000] Illustrated 1378 After John James Audubon (American, 1785‑1851), “Yellow Red-poll Warbler”, No. 29, Plate CXLV, from Birds of America, hand colored engraving by Robert Havell, the elephant folio watermarked “J. Whatman/Turkey Hill/1832”, sheet 39” x 26”. Unframed. [2000/4000] Illustrated

1378

208

1382 Helen M. Turner (American/Louisiana, 1858‑1958), "The Moth", oil on canvas, 1918, signed and dated lower right, 27‑1/2” x 19‑1/2”. Framed. Provenance: Family of Sitter, Montclair, New Jersey; Private Collection, New Orleans, Louisiana. Exhibited: National Academy of Design, 1918; Helen M. Turner: The Woman’s Point of View, Morris Museum of Art, Augusta, Georgia and Huntsville Museum of Art, Huntsville, Alabama, illustrated on page 28 of the exhibition catalog. To be included in Kaycee Benton’s forthcoming catalogue raisonne of Helen M. Turner. One of the most significant American Impressionist painters, Turner has long been admired for her evocative interior scenes of women and children. Employing a cool, rich color palette and an energetic, but controlled, brushstroke, her luminous paintings reveal a complex interplay of light and shadow. In the portrait presented here, the tonalist quality of the painting is enhanced by the thick application of paint, allowing the shadows to gently merge with the contours of the figure. Though inspired by the works of the great French impressionists, Turner was almost exclusively American trained. She studied at the Art Student’s League in New York under Douglas Volk 0000 (1856‑1935) and Kenyon Cox (1856‑1919), continuing with Volk at the Women’s Art School of Cooper Union. Turner spent several summers in Italy with William Merritt Chase (1849‑1916), joining that artist’s select study group. In 1906 Charles Curran (1862‑1941) introduced Turner to the artist’s colony in Cragsmoor, New York where she soon maintained a studio and home, becoming an active and influential member of the summer community. Turner was a member of the New Orleans Art Association, New York Watercolor Club, and the National Association of Portrait Painters, among others. Her many awards include the Shaw Memorial Prize of the National Academy of Design in 1913, the Altman Prize of the National Academy of Design in 1921, and the gold medal at the National Art Club in 1927. She was elected an associate of the National Academy of Design in 1913 and was awarded full Academician status in 1921, the first Louisianan to receive that prestigious honor. Reference: Faquin. Helen M. Turner: The Woman’s Point of View. 2010, Memphis: Dixon Galleries and Gardens. [75000/125000] Illustrated

209

1384 Paul Sawyier (American/Kentucky, 1865‑1917), “Fly Fishing”, watercolor on paper, signed lower right “Paul Sawyier”, sheet 20” x 13”. Unframed. Provenance: Private collection, New Orleans, LA.

1383 1383 Ellsworth Woodward (American/Louisiana, 1861‑1931),”The Chimney Sweep”, oil on canvas, signed lower left, 22‑1/4” x 10‑ 1/2”. In a silver-washed wood frame. Provenance: Private Collection, New Orleans, Louisiana. A native of Massachusetts, Ellsworth Woodward studied at the Rhode Island School of Design before accepting a position as professor of Art at Tulane University. Along with his brother William, Ellsworth was instrumental in the formation of the Newcomb College Art School; a beloved instructor, he was ultimately named the Director of the School in 1981 and was integral to the establishment of the renowned Newcomb Pottery. During his years at Newcomb, Woodward continued to evolve as an artist, eventually employing an expressive technique well suited to his subject matter. In the present work, broad but controlled brushstrokes and a deep tonal palette help imbue the young chimney sweeper with a sense of dignity and pathos. Dedicated to the success of the emerging art culture of his adopted city, Ellsworth Woodward was a founding member of the New Orleans Art Association and a trustee of the Isaac Delgado Museum of Art (now the New Orleans museum of Art), later assuming the directorship of that institution. [7000/10000] Illustrated

210

This watercolor of a man fishing in a creek (possibly Elkhorn Creek, Kentucky) is by one of the only Kentucky Impressionists working at the turn of a the 19th/20th century. Although he was born in Madison County, Ohio, Paul Sawyier spent his childhood and much of his adult life in Kentucky. Sawyier’s father encouraged his son’s artistic talent, and even hired a private tutor from Cincinnati for him. In 1884, after high school, Sawyier enrolled in drawing classes at the Cincinnati Art Academy where he studied under Thomas S. Noble. By 1885 he opened his own studio in Ohio with fellow artist, Avery Sharp, but unable to support himself, Sawyier returned to Kentucky in 1886. After a brief and unhappy career as a hemp salesman, he moved to New York City for further training at the Art Student’s League. In 1889 and 1890, he studied under William Merritt Chase and had the opportunity to observe the famous portrait painter John Singer Sargent. After the completion of his studies in New York, Sawyier returned to Kentucky. He made a living primarily by painting portraits of members of socially prominent families in the community. It was because of this experience that he developed an aptitude for watercolors and plein-air painting. He began to paint scenes of Elkhorn Creek and the Kentucky River, utilizing a small houseboat. Landscapes featuring rivers and lakes were prominent in Sawyier’s work since they were easily studied from his moveable home. Sawyier’s mature style fused the concepts of Impressionism with the atmospheric effects seen in many Tonalist works of the time, though he continued with portraiture as a means of income; one such work was exhibited at the St. Louis World’s Fair in 1904. Later in his career Sawyier utilized photography as a more modern take on painting in plein air. Although he remained in relative obscurity during his time, his reputation as an important Kentucky landscape artist has grown since his death. [10000/15000] Illustrated

1385 Elizabeth Shoumatoff (American, 1888‑1980), “Portraits of an American Industrialist and His Wife in a Landscape”, pair of watercolors on paper, former signed and dated lower left “Elizabeth Shoumatoff 1954”, sight 38‑1/2” x 28‑1/2”. Both glazed and framed alike. Elizabeth Shoumatoff was born into an aristocratic family in Tsarist Russia and emigrated to the United States in 1917. Her talent for portraiture brought her numerous commissions from some of the most prominent American and European families, including the Frick, du Pont, Mellon, Woodruff, Firestone and members of the Royal Luxembourg family. She is best known for her unfinished portrait of President Franklin D. Roosevelt as well as the portraits of President Lyndon B. Johnson and wife Lady Bird, which hang in the Whit House. [3000/5000]

1388 Victor Efimenko (Ukrainian, b. 1952), “Young Girl With Violin”, oil on wood panel, signed lower right, 36”x 24”. Framed. [600/900]

1386

1384

1386 Lajos (Louis) Jambor (Hungarian, 1884‑1955), “The Reflection”, oil on canvas, signed lower right, 31‑1/4” x 23‑3/4”. Framed. [5000/8000] Illustrated 1387 Philippe Swyncop (Belgian, 1878‑1949), “L’Espagnole”, 1935, oil on canvas, signed and dated lower left, inscribed “L’Association des Glaziers Belges A Son Secretaire Marcel Brabant. T’Emoignage d’estime et de Reconnaissance Expositiohn de Bruxelles, 1935” upper left, 39‑1/2” x 31‑3/4”. Framed. [3000/5000] Illustrated

1387

211

1390 Nicolas De Fer (French, 1646‑1720), “Carte De La Louisiane et De La Floride”, hand colored engraved map, c. 1760, sight 13” x 9”. Glazed, matted and framed. [600/900] 1391 Jacques Nicolas Bellin (French, 1703‑1772), of “Cours du Fleuve Saint Louis depuis ses Embuchers jusqu’a la Riviere d’Iberville et Costes Voisines”, hand colored engraved map, Paris, 1764, depicting the mouth of The Mississippi from Iberville River to Mobile Bay and Gulf of Mexico, prominently featuring New Orleans and Lake Pontchartrain, sight 9” x 15”. Glazed, handsomely matted and framed. [250/400] 1392 Robert de Vaugundy (French. 1688‑1766), “Embouchures du Fleuve St. Louis ou Mississippi”, hand colored engraved map, 1763, sight 9” x 7‑1/4”. Glazed, attractively matted and framed. [500/800] 1389

1389 Guillaume de L’Isle (French, 1675‑1726), “Carte de la Louisiane et du Cours du Missisippi”, black and white engraved map, 1744, sight 20” x 26”. Glazed, handsomely matted and framed. This is the first detailed map of the Gulf Coast region and the Mississippi River, as well as the first map to show Texas and identify New Orleans, founded in 1718. It represents travels of Spanish explorer Hernando de Soto in Florida and Southeast in 1539‑1542, Alonso de Leon in 1689 and French Canadian explorer Saint Denis in 1713 and 1716, among others. De L’Isle caused an outrage amongst British for extending French claim over The British territories, but in France, this choice earned him a title of “Premier geographic du Roi”. [1200/1800] Illustrated

1393 J. Lodge (British, 18th Century), “A Map of Part of West Florida”, hand colored engraved map, 1772, sight 7‑5/8” x 13‑5/8”. Glazed, matted and framed. [600/900] 1394 Robert M. Rucker (American/Louisiana, 1932‑2001), “Victorian House With a Live Oak”, oil on canvas, signed lower right “Robert M. Rucker”, 7‑1/2” x 9‑1/2”. Matted and framed. [700/1000] Illustrated 1395 Robert M. Rucker (American/Louisiana, 1932‑2001), “Jackson Square”, watercolor on paper, signed lower left “Rucker”, sight 9” x 22”. Glazed, matted and framed. [300/500] 1396 Robert M. Rucker (American/Louisiana, 1932‑2001), “Cottage Garden With a Blossoming Tree”, watercolor on paper, signed lower right “Robert M. Rucker”, sight 9‑1/2” x 13‑1/2”. Glazed, linen matted and presented in a metal frame. [300/500] 1397 Robert M. Rucker (American/Louisiana, 1932‑2001), “Texas Landscape With an Oil Drilling Platform”, watercolor on paper, signed lower right “Rucker”, sight 14‑1/4” x 10‑1/2”. Glazed, matted and framed. [200/400] 1398 Robert M. Rucker (American/Louisiana, 1932‑2001), “Bayou Scene With a Cabin”, watercolor on paper, signed lower right “Robert M. Rucker”, sight 9‑3/4” x 13‑3/4”. Glazed, linen-matted and presented in a metal frame. [500/800] 1399 Robert M. Rucker (American/Louisiana, 1932‑2001), “Stag and Hunter” and “Fisherman On the Bayou”, pair of watercolors on paper, both signed, sight 28” x 9‑1/2”. Both glazed, matted and framed en suite. [500/800]

1394

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1404

1401 1400

1405

1406

1402

1403

1400 Samuel Kirk & Son Baltimore Standard (.917) Silver Cream and Sugar Set, fourth quarter 19th century, Baltimore, Maryland, including a bulbous cylindrical cream jug with crested handle, h. 3”, dia. 2‑5/8”, and a squat covered sugar bowl with shell-and-scroll handles and acanthus bud finial, h. 2‑3/8”, dia. 4”, both decorated all over with repousse flowers in the Baltimore taste, 8.81 total t. oz. [800/1200] Illustrated 1401 Pair of American Sterling Silver Pepper Casters, first quarter 20th century, by Ritter & Sullivan, Baltimore, Maryland, retailed by Harris & Shafer, Washington, DC, each of baluster form and decorated all over with repousse flowers in the Baltimore manner, the pierced cap with toupie finial, the whole raised on three acanthus-crested claw-and-ball feet, monogrammed on the underside “PTV”, h. 5‑1/4”, dia. 2‑1/4”, 6.49 total t. oz. [350/500] Illustrated 1402 Pair of American Sterling Silver Salt Cellars, first quarter 20th century, by Ritter & Sullivan, Baltimore, Maryland, each of flattened spherical form with rococo rim, decorated all over with repousse flowers in the Baltimore manner, the whole raised on three lion’s masquecrested paw feet, monogrammed on the underside “PTV”, h. 1‑1/2”, dia. 2‑1/2”, 5.65 total t. oz. [350/500] Illustrated 1403 S. Kirk & Son Co. “Repousse” Berry Spoon, late 19th/early 20th century, Baltimore, Maryland, l. 8‑3/4”, [300/500] Illustrated 1404 Samuel Kirk & Son Co. Sterling Silver Waiter, dated 1900, Baltimore, Maryland, of circular form, the rim decorated with repousse flowers in the Baltimore manner, with leaf-and-dart edge and raised on three cast eagle claw-and-ball feet, the plateau engraved with a laurel wreath cartouche on a ground of fleurs-delys, the cartouche monogrammed and dated “S/1900”, dia. 10‑1/8”, 17.74 t. oz. [1000/1500] Illustrated

1405 American Sterling Silver Sauceboat, 1894‑1908, by Jacobi & Jenkins, Baltimore, Maryland, of traditional batteau form, decorated all over with repousse flowers in the traditional Baltimore manner, with acanthus-crested handle and raised on three scroll-and-pad feet, h. 3‑1/2”, l. 5‑3/4”, 4.17 t. oz. [125/250] Illustrated 1406 Samuel Kirk & Son Baltimore Standard (.917) Silver Cream and Sugar Set, fourth quarter 19th century, Baltimore, Maryland, including a baluster-form cream jug with crested handle and mascaron spout, h. 3‑3/4”, dia. 2‑3/4”, and a cylindrical covered sugar bowl with acanthus bud finial, h. 3‑1/4”, dia. 2‑1/4””, both decorated all over with repousse flowers in the Baltimore taste, 7.97 total t. oz. [350/500] Illustrated 1407 Two Large Pieces of American Silverplate Tableware, third quarter 20th century, including an unmarked tray of rectangular form with lobed corners, with applied shell-and-scroll rim and opposing handles en suite, the plateau engraved with a wide band of rocaille scrolls and latticework cartouches centering a monogram “G”, l. 30‑1/2”, w. 18‑1/2”, and an Oneida punch bowl of “Revere” form, h. 8‑1/4”, dia. 12”. [200/400] 1408 Reed & Barton “Regent” Silverplate Tray, 1938, Taunton, Massachusetts, of oval form, the molded rim decorated with rocaille motifs, with opposing shell and scroll handles, l. 1.26", w. 18".[200/400] 1409 American Silverplate Well-and-Tree Platter, designed in 1939 by Jean G. Theobald (1873‑1952), for the Wilcox Silverplate Co., Meriden Connecticut, of oval form, with a gadrooned floral rim and raised on four openwork acanthus scroll feet, l. 21”, w. 14‑3/4”. [250/400]

213

1412 Two American Sterling and Silverplate Coquille-Form Dishes, second quarter 20th century, New York, including a small sterling example by Graff, Washbourne & Dunn, with plain handle and spherical feet, l. 4‑3/4”, w. 5”, and large silverplate example by Victor Obler Co., with gadrooned handle and whelk-shell feet, engraved with faux crest of a lion rampant, l. 9‑3/4”, w. 9‑1/2”, 4.37 t. oz. (sterling example only). [150/300]

1410

1410 Collection of Four American Sterling Silver Photograph Frames, first quarter 20th century, including two rectangular examples, one by Unger Brothers, 8‑1/4” x 6‑1/8”, the other by Graff, Washbourne & Dunn, 3‑5/8” x 2‑7/8”, and two circular examples, one Webster Co. engraved “From a He and a She”, dia. 3‑1/4”, the other by I.N. Deitsch, dia. 2‑7/8”, all with plain molding, glazed and with velvet easel backs (stand lacking on the G.W & D. and Deitsch examples). [100/200] Illustrated 1411 Four American and Other Sterling Silver Dishes, third quarter 20th century, including a circular handwrought butter dish by William Waldo Dodge, Jr, (1895‑1971), Asheville, North Carolina, dia. 2‑1/5”, a Gorham salt cellar with three spherical feet, dia. 3”, a Mexican coquille-form butter pat, l. 2‑3/4”, and a Reed and Barton truncated oval bread tray with upswept ends, l. 11‑3/4”, w. 5‑7/8”, 6.75 total t. oz. [100/200]

1413 Two Pairs of American Sterling Silver Salt Cellars and Spoons, second quarter 20th century, including two pairs of salt cellars, one pair by Gorham, of bulbous “cauldron” form with molded rim and foot, dia. 2‑1/4”, the other pair by Wallace, of a reticulated squat cylindrical form, with beaded and gadrooned banding, dia. 2‑1/2”, all with fitted cobalt glass liners, with two pairs of salt spoons, one pair Gorham “Chantilly” with gilt bowls, l. 2‑3/4”, the other pair Dominick & Haff “Queen Elizabeth”, l. 3‑1/4”, the last monogrammed “SWW”, 5.07 total t oz. (excluding glass liners). [150/300] 1414 Set of Ten Frank M. Whiting “Empire” Dessert Spoons, originally designed in 1925 by Harry A. Malinowski (1896‑1994), for the Amston Silver Co., Meriden, Connecticut, l. 6‑1/4”, 5.20 total t. oz. [100/200] 1415 Set of Eight Durgin “Fairfax” Sterling Silver Gumbo Spoons, designed in 1910 by Barton Pickering Fairfax (1871‑1941), Concord, New Hampshire, monogrammed “I”, l. 6‑3/4”, 11.45 total t. oz. [300/500]

1416

1416 detail

214

1416 One Hundred and One Piece Set of Durgin “Colfax” Sterling Silver Flatware, designed in 1922 by Frederick Russell Roberts, Jr. (1867‑1936), including twelve dinner forks, l. 7‑3/4”, eleven salad forks, l. 6‑1/8”, ten seafood/cocktail forks, l. 5‑1/2”, twelve teaspoons, l. 5‑1/2”, nine soup/dessert spoons, l. 7”, seven cream soup spoons, l. 5‑7/8”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 9‑3/4”, a master butter knife, l. 6‑3/4”, twelve butter spreaders, l. 5‑1/2”, two slotted tablespoons, l. 8‑3/8”, two tablespoons, l. 8‑3/8” a serving spoon, l. 8‑5/8”, a serving fork, l. 7‑1/2”, a twopiece salad serving set with gilt tines/ bowl, l. 8‑1/2”, a jelly spoon, l. 6‑1/4”, a bonbon spoon, l. 4‑3/4”, a sugar spoon, l. 5‑3/4”, a sauce ladle, l. 6‑1/4”, a cream ladle, l. 5”, a tomato server, l. 6‑1/2”, and a lemon fork, l. 5‑3/4”, forty-four pieces variously monogrammed, 100.12 total t. oz. (excluding dinner knives), presented in a wooden case with fitted, Pacific cloth-lined interior, 3‑3/4” x 15‑3/4” x 12”. [1800/2500] Illustrated

1417 Four Pieces of American Sterling and Silverplate Tableware, first half 20th century, including a Webster sterling silver candlesnuff with filled spatulate handle, l. 9‑3/4”, an unmarked conical silverplate dinner bell with baluster handle, h.4‑1/2”, and two sterling silver tea strainers with turned wooden handles, one by Watson, with scalloped and beaded bowl, l. 7‑1/2”, the other by Watrous, with embossed “flowerbasket” bowl, l. 8”. [100/200]

1420

1418 Whiting “Portland” Sterling Silver Berry/Casserole Spoon, the pattern designed in 1913 by Charles Osborne (1847‑1920), Providence, Rhode Island, monogrammed “C”, l. 9”, 2.77 t. oz. [100/200]

1421

1419 Assembled American Sterling Silver Cream and Sugar Set, first quarter 20th century, including a helmetform cream jug by Towle, h. 4‑3/4”, l. 4”, and an ovoid open sugar bowl by Gorham, h. 4”, w. 4‑1/2”, each with beaded rim and gilt interior, engraved with “Lee” below the family crest of the Lees of Virginia: “a squirrel sejant, eating an acorn proper”, 7.39 total t. oz. [100/200]

1420 American Sterling Silver Coffeepot, second quarter 20th century, the marks rubbed, the “Persian”-style body with an octagonally paneled base and tall waisted neck, with scalloped and beaded rim, the hinged lid paneled en suite and with flammiform finial, with slender “gooseneck” spout and crested “S”-scroll handle, h. 9‑1/4”, l. 7‑1/2”, w. 3‑1/2”, 14.91 t. oz. [300/500] Illustrated 1421 American Sterling Silver Water Pitcher, dated 1967, Reed & Barton, Taunton, Massachusetts, the urn-form body with waisted neck and integral spout, with crested scroll handle and cavetto-domed foot ring, engraved on the underside “Lee / From Ma-Ma / 6‑14‑67”, h. 8‑3/4”, dia. 6”, l. 9‑3/4”, 23.85 t. oz. [300/500] Illustrated

1423

1422 American Silverplate Double Buffet Stand, second quarter 20th century, by the Continental Silver Co., Brooklyn, New York, comprising a pair of rounded rectangular entree dishes with ring handles which fit into a conforming hot water reservoir with opposing scrollmounted turned faux ivory handles on the narrow end, raised on a frame with four acanthus and cartouche-crested paw feet, the whole decorated with narrow gadroon edging, the frame with shell-and-scroll corners, overall h. 7”, l. 20‑1/4”, w. 12‑1/8”. [75/125]

215

1430

1423 Set of Nine American Sterling Silver Water Goblets, third quarter 20th century, eight by Wallace Silversmiths, Wallingford, Connecticut, each with an inverted bellform body and waisted stem to a domed circular foot, no monograms, the other by Fisher Silversmiths, Jersey City, New Jersey, in a nearly identical pattern, the Fisher example with presentation inscription “Texas Rose Festival 1955”, h. 6‑3/4”, dia. 3‑1/4”, 52.47 total t. oz. [600/900] Illustrated previous page

1428 Reed & Barton “Francis I” Sterling Silver Salad Serving Set, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including a salad tserving fork and spoon, l. 9‑1/4”, 8.94 total t. oz. [400/700] 1429 Pair of Silver Coquille-Form Dishes, 19th century, probably Spanish Colonial, one with a broad in-scrolled handle, l. 5‑1/4”, w. 4‑1/4”, the other with narrow in-scrolled handle with ring foot, l. 6”, w. 4”, 12.66 t. oz. [200/400]

1424 Set of Six American Sterling Silver Water Goblets, third quarter 20th century, by Wallace Silversmiths, Wallingford, Connecticut, each with an inverted bell-form body and waisted stem to a domed circular foot, monogrammed “MMP”, h. 6‑3/4”, dia. 3‑1/4”, 36.07 total t. oz. [500/800]

1430 Set of Twelve Mexican Sterling Silver Water Goblets, third quarter 20th century, Taxco, probably Hermanos Sanchez, each with an ovoid body and slightly everted rim, raised on a waisted stem and domed circular foot, h. 7‑3/8”, dia. 3‑1/8”, 67.26 total t. oz. [600/900] Illustrated

1425 Assembled Set of Eleven American Sterling Silver Highball Tumblers, second quarter 20th century, of traditional cylindrical form with everted rim, seven by the Manchester Silver Co., Providence, Rhode Island, three monogrammed “MCG”, three “RAC”, and one with a sailing trophy inscription of the Maryland Yacht Club, dated 1940, and four by Michael C. Fina, New York City, New York, no monograms, 50.15 total t. oz. [1200/1800] 1426 One Hundred and Forty-Four Pieces of Wallace “Grand Baroque” Sterling Silver Flatware, designed in 1941 by William S. Warrington (1888‑1965), Wallingford, Connecticut, including twenty-four dinner forks, l. 7‑1/2”, twenty-four salad forks, l. 6‑1/2”, thirty-six teaspoons, l. 6‑1/8”, twenty-four soup spoons, l. 6”, twenty-four dinner knives with stainless steel “Modern”shaped blades, l. 9”, and twelve butter spreaders with stainless steel “Spatulate”shaped blades, l. 6‑1/4”, no monograms, 160.56 total t. oz., presented in a dark green faux leather case with combination snap/zip closure and fitted Pacific cloth-lined interior, 3‑1/4” x 21‑5/8” x 12‑3/4”. [5000/8000]

216

1427 Five Wallace “Grand Baroque” Sterling Silver-Handled Serving Pieces, designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, all with stainless steel bowls/blades, including a pair of cranberry servers, l. 8‑3/4”, a platter spoon, l. 11‑1/2”, a casserole spoon with coquille bowl, l. 10‑1/4”, and a wedding cake/bread knife, l. 12‑1/2”. [200/400]

1431

1431 Mexican Three-Piece Sterling Silver Tea Set and Tray, third quarter 20th century, Mexico City, the tea set by Luella and including a teapot, h. 10”, l. 10‑1/4”, covered sugar bowl, h. 6‑3/4”, w. 6‑1/2”, and cream jug, h. 6”, l. 5”, each with a tapering body of slightly bulbous cavetto-canted square section above a circular domed foot, the teapot with “gooseneck” spout, hinged domed lid with paneled urn finial, insulated arch handle, the sugar bowl with fitted lid en suite and opposing arched handle, the cream jug with integral spout and arched handle, the tray by Juvenito Lopez Reyes, of oval form with opposing stirrup handles, l. 19‑3/4”, w. 11”, 99.67 total t. oz. (4 pieces total) [2000/4000] Illustrated 1432 Navajo Sterling Silver Salad Serving Set, second half, 20th century, including a salad serving fork and spoon, with stampwork decoration and collet-set turquoise cabochon, marked “M. Silver”, l. 10‑3/4”, 5.53 t. oz. [200/400] 1433 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou With Water Lilies”, oil wash on board, signed lower left “A.J. Drysdale”, sight 19” x 27”. Glazed and presented in a period frame. [3000/5000] Illustrated

1433

1434 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou at Sunset”, oil on board, signed lower right, 18” x 24”. Framed [2000/4000] Illustrated

1436

1434

1435 Rococo Revival Figured Mahogany Turtle-Top Center Table, third quarter 19th century, probably Austrian, the highly figured top with molded edge mounted to a floral-carved frame supported by in-curved legs joined by a carved stretcher and a turned-and-carved finial, h. 29‑1/2”, w. 48”, d. 33”. [600/900] 1436 Carrara Marble Garden Figure in the Form of a Seated Maiden, 19th century, the woman perched on a crag with floral swags, clad in a gown, feeding a bird perched upon her upper arm, on a stepped plinth base, the base bearing the signature “Jacque Pradier, 1820”, Swiss 1790‑1852, statue h. 32”, overall h. 43”, w. 16”, d. 13‑1/2”. [1200/1800] Illustrated

217

1437

1440 Important American Rococo Revival Gilt-Brass and Mixed Metal Six-Arm Gasolier, mid-19th century, attributed to Cornelius and Company, Philadelphia, the central stem featuring three graces symbolizing Art, Industry and Science, h. 70”, dia. 31”. A nearly identical chandelier is illustrated on the cover of 19th Century America, Furniture and Other Decorative Arts, and hangs in the American Wing at the Metropolitan Museum of Art, New York. [8000/12000] Illustrated

1438

1437 American Rococo Revival Rosewood Marble-Top Duchesse, Attributed to J. & J.W. Meeks, New York, mid-19th century, the shaped mirror supported by finely carved caryatids and mounted to a dished marble top, the case fitted with a single drawer and raised on spiralturned legs joined by a stretcher, h. 64”, w. 40”, d. 20”. [1500/2500] Illustrated 1438 Rare American Rococo Revival Laminated Walnut Hall Chair Attributed to John Henry Belter, New York, mid-19th century, the tall back with a carved fruit crest and “pin cushion”-form padded center, the lower back depicting hound’s heads facing outward to each side, raised on cabriole legs with carved masks and ending in paw feet, h. 49‑1/2”. [3000/5000] Illustrated 1439 American Rococo Revival Laminated Mahogany Rocking Chair, third quarter 19th century, the laminated concave back with open carved leaves, scrolls, fruit and vines, the back joined to open arms terminating in volutes with serpentine seat and cabriole legs, the upholstered covering now lacking, h. 41‑1/2”. [400/700]

218

1441 Springfield Armory Model 1860 Staff Officer’s Sword, Springfield, Massachusetts, fourth quarter 19th century, tooled decoration on the blade reads “US armory Springfield” among scrollwork and patriotic emblems, the handle leather- and wire-wrapped, the end cap a molded eagle as is one side of the guard, the other being shield-molded, the scabbard drag tip stamped “S.W,P.”, the military inspector’s initials, w. 4‑1/2”, l. 38‑1/2”. [500/800]

1444 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou, Dawn”, oil wash on paper, signed lower right, 20' x 30”. Glazed and framed. [2500/4000] Illustrated

1440 1443

1442 American Rococo Revival Rosewood Dressing Bureau, third quarter 19th century, the double serpentine top over a conforming case with four graduated drawers, the canted corners with foliatecarved brackets, each drawer centered by foliate- and scroll-carved escutcheons, h. 36‑1/8”, w. 43‑3/4”, d. 23”. [500/800] 1443 Imposing American Rococo Revival Rosewood Armoire, third quarter 19th century, the bonnet top with a boldly modeled pierced crest, with a cartouche centered by a cabochon edged with beads, flanked by foliate-carved scrolls, each corner with a beaded finial, the frieze with applied foliate carving, each of the double doors with a pair of panels segmented by a nail, the upper panel arched, the base fitted with a pair of drawers, h. 124”, w. 66”, d. 24”. [5000/8000] Illustrated 1444

219

1445 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou, Sunset”, oil wash on board, signed lower right “A.J. Drysdale”, sight 9‑3/4” x 29‑1/2'. Glazed, matted and framed. [1500/2500] Illustrated

1445

1449 American Rococo Revival Mahogany Marble-Top Center Table, third quarter 19th century, the shaped tortoise-form marble resting on a frame with floral- and shield-carved details and featuring a centralized egg at each end, the stretchers joined by a central floral carved basket, h. 28”, w. 45‑1/2”, d. 33‑1/2”. [1200/1800] Illustrated

1450 Pair of American Rococo Revival Gilt-Metal SixBranch Wall Bracket Candelabra, third quarter 19th century, each with a foliate wall plate and scrolled arm supporting a cluster of five arms and a central candle socket, h. 11”, w. 12‑1/2”, d. 17”. [1000/1500] 1449

1446 Ellsworth Woodward (American/Louisiana, 1861‑1931), group of three etchings including; “Judith Shadespear’s Cottage”, image 7‑1/2” x 11‑3/4”; “Cabildo Courtyard”, image 10” x 8”; and “Jackson Square”, image 9‑3/4” x 8”; all initialed in plate lower left. All glazed, matted, and framed alike [600/900] 1447 Ellsworth Woodward (American/Louisiana, 1861‑1931), a pair of etchings including; “The Oyster Fisherman”, image 6‑3/4” x 8”, initialed in plate lower left, and “The Section Gang”, initialed and dated “1931” in plate lower left, image 7” x 7‑7/8”. Both glazed, matted, and framed alike. [300/500] 1448 A Krewe of Rex Carnival Invitation, February 6, 1894, “Illustrations from Literature”, rectangular foldover card with vignettes of various well-known literary scenes, 13-1/2" x 13", glazed, matted and framed. [100/200]

220

1451 American Rococo Revival Chestnut Sideboard, second quarter 19th century, in two parts, the upper section with a cabochon-centered foliate carved crest over a serpentine shelf with shaped mirror below, the base containing its period variegated marble top and a pair of drawers over a pair of doors, all with shaped panels, the doors mounted with fruit carving, h. 86‑1/2”, w. 47‑1/2”, d. 18‑1/2”. [500/800]

1452

1453 1454 American Rococo Revival Walnut Center Table, third quarter 19th century, the ovoid top over a conforming apron, raised on cabriole legs with foliate carving above the knees and ending in French toes, h. 30”, w. 46”, d. 39‑1/2”. [300/500]

1455 Victorian-Style Cast-Iron Jardiniere, mid-20th century, in vintage decor, of rectilinear form, modeled as joined scrolls, grapes and leaves with a conforming tole liner, h. 13‑3/4”, w. 30‑1/2”, d. 7‑3/4”. [200/400]

1456 George Rodrigue (American/Louisiana, b. 1944), “Quicksilver”, silkscreen on silver metallic paper, 2007, signed lower left “Rodrigue”, numbered lower right “7/50”, sight 36” x 25”. Presented in a silvered frame. Literature: Cover illustration for George Rodrigue Prints: A Catalogue Raisonne, 1970‑2007. [4000/7000] Illustrated

1452 Pair of English Hand-Painted Porcelain Fruit Coolers, second quarter 19th century, possibly Derby, each resting on gilded bun feet, the bodies decorated with hand-painted flora on a white ground, with wide pink ground borders decorated with gilt flowers, set gilt handles, the deep lids with floral decoration on the interior, and pink on the exterior, and set with gilt scrolled handles, each complete with a separate liner, h. 9‑1/2”, dia. 7‑1/2”. [1800/2500] Illustrated 1453 American Rococo Revival Walnut Breakfront/ Bookcase, third quarter 19th century, the pierced crest carved depicting fruit, foliage and scrolls on a gadrooned cornice centered by a mask of Bacchus, the upper section with a projecting door with an arched glazed panel flanked by glazed doors, the conforming base with a trio of doors flanked by carved brackets, h. 114‑1/2”, w. 72”, d. 19”. [2500/4000] Illustrated

1456

221

1457 Dusty Griffith (American, b. 1970), “Sea of Faces II”, wax, acrylic and mixed media on plexiglass and panel, 2012, signed, titled and dated verso, 36” x 30”. Southern encaustic artist Dusty Griffith creates softly luminous paintings that inspire contemplation, spirituality and a sense of peacefulness in the viewer. “My motive is for the viewer to realize the principle that there is more than just what can be seen on the surface, both in art and in one’s life,” Griffith explains. His artistic vision is likened to the geometric abstraction of the late California painter Richard Diebenkorn, combined with the principles of color field painting as seen in the work of the Abstract Expressionist Mark Rothko. Griffith uses salvaged pieces of wood as the base for each painting, building up layers of depth by adding segments of Plexiglass which have been painted with encaustic in muted pastel tones. The process of breathing new life into repurposed materials expresses his philosophy of rebirth and new consciousness. Griffith has appeared in many solo and group exhibitions and his work is included in prominent public and private collections, namely Saks Fifth Avenue, Neiman Marcus, and The Inn at Blackberry Farm. It has also been featured in numerous publications and reviews such as Southern Accents Magazine, House Beautiful and The Atlanta Journal-Constitution. [3500/7000] Illustrated

1457

1460 Allison Stewart (American/New Orleans, b. 1941), “River Bend IV”, acrylic on canvas, 1988, signed lower right “Stewart”, titled, dated and signed canvas verso, 49” x 66”. Unframed. [6000/9000] Illustrated

1458 1458 Dusty Griffith (American, b. 1970), “Hereafter II”, wax, acrylic and mixed media on plexiglass and panel, 2012, signed, titled and dated verso, 34” x 30”. [3500/7000] Illustrated 1459 Richard Johnson (American/Louisiana, b. 1942), “It”, collage with acrylic, pastel and graphite on paper, initialed and dated in pencil lower right “RJ 85”, sight 14‑1/4” x 10‑1/4”. Glazed, attractively matted and framed. [600/900] Illustrated

222

1459

1461 Allison Stewart (American/New Orleans, b. 1941), “Rim Trail 23”, mixed media on paper, 1999, signed lower right “Stewart”, verso affixed with an Arthur Roger Gallery label, printed with artist’s name, title and year of work, 21‑3/4” x 21‑3/4”. Presented in a shadowbox style contemporary frame. [1800/2500] Illustrated

1460 1462 Allison Stewart (American/New Orleans, b. 1941), “Rim Trail 18”, mixed media on paper, 1999, signed lower right “Stewart”, verso affixed with an Arthur Roger Gallery label, printed with artist’s name, title and year of work, 21‑3/4” x 21‑3/4”. Presented in a shadowbox style contemporary frame. [1800/2500] Illustrated

1461

1463

1463 Allison Stewart (American/New Orleans, b. 1941), unknown title from “Rim Trail” series, mixed media on paper, 1999, signed lower right “Stewart”, 21‑3/4” x 21‑3/4”. Presented in a shadowbox style contemporary frame. [1800/2500] Illustrated

1462

223

1464 Robert Warrens (American/Louisiana, b. 1933), “Living With Art”, gouache on paper, ca. 1985, initialed lower right “RW”, sheet 29‑3/4” x 22”. Glazed, matted and framed. [500/800] Illustrated 1465 American School (Contemporary), “Untitled Abstract”, mixed media on canvas, signed lower right “N. Nygo”, 35” x 60‑1/2”. Unframed. [900/1200] Illustrated 1466 Anke Schofield (American, b. 1972), collection of five abstract oils on board, each signed “Anke”, sight ranging from 9‑3/4” x 9‑1/4” - 10‑1/2” x 14”. All presented in matching contemporary giltwood frames with linen liners. [800/1200] Illustrated 1467 American Victorian Silver Gilt Picture Frame, third quarter 19th century, the frame now mounted as a mirror, the bolection-molded outer edge against a cove-molded flat inner edge, all with original matte silver gilt surface, h. 36”, w. 30‑1/4”. [600/900]

1464

1468 American Renaissance Revival Inlaid and Burl Walnut Center Table, third quarter 19th century, the circular top with a picture frame molded edge and an inlaid central field depicting a basket of fruit, musical instruments and foliate sprays, the complex base with a central turned and line-carved standard flanked by a shaped buttress and mounted to a cross stretcher base, h. 29‑1/2”, dia. 27”. [2500/4000] Illustrated

1465

1469 Pair of Dresden Bronze-Mounted Sevres-Style Palace Urns, made by Richard Klemm, the cobalt ground bodies with raised gilt decoration, the inverted plinth decorated with alternating rondels embellished with scrolls and flora, the tapering foot with a scalloped border of crosshatched panels and sprigging, the bodies of the vase fancifully decorated in the round, a group of women in antebellum costume gathered in a garden on a riverbank, a neoclassical urn of flowers in the background, the neck set in a bronze ring decorated with a running guilloche, a rondel of scrollwork decorates the center of the neck and a pierced bronze gallery holds the domed lids, with bronze pine cone finials, the lids with a Sevres-style mark, and the Richard Klemm mark on the base, h. 43”, dia. 9”. [2000/4000] Illustrated

1466 group of five

224

1472 Schmidt and Company Austrian Fish Set, 1891‑1918, transfer-decorated with fish swimming among aquatic panels, and a blue faded border decorated with transfer printed sprigs of mauve flowers, the set comprised of a fish platter, w. 9‑1/2”, l. 24”, and twelve plates, dia. 9”, marked “Victoria Carsbad Austria”. [800/1200]

1469

1468

1470 Set of Eight Tiffany Retailed Minton Dinner Plates, English, decorated in the empire taste, with a raised gilt edge of medallions against a cobalt ground border decorated with raised gilt blossoms and laurel leaves in strapwork panels, stamped with the Minton mark and Tiffany retailers stamp, dia. 10‑1/2”. [600/900] 1471 Limoges Hand-Painted Fish Set, first quarter 20th century, French, the set comprised of a fish platter, w. 9”, l. 23”, ten plates, dia. 8‑1/2” and a sauce boat on a stand, h. 3‑1/4”, w. 6‑3/4”, l. 9‑1/4”, all with scalloped borders decorated with finely detailed gilt, the cobalt borders with scroll and swag decoration, and with various depictions of fish among aquatic plants, each of which is artist signed “L. Ruby”, made and signed by William Guerin & Co., Limoges, France, and marked by the retailer, Burley & Co. of Chicago. [1400/1800] Illustrated

1471 1473 Late Victorian Marble and Brass Pedestal, ca. 1800, the rotating top on a Carrera marble column with lacquered brass Corinthian capital and base, the column resting on a plinth, h. 31”, w. 13‑1/2”, d. 13‑1/2”. [800/1200]

225

1475

1477 William Rickarby Miller (American/New York, 1818‑1893), “West Point”, oil on canvas, signed and dated lower right “W. R. Miller, 1879”, 9” x 7”. Presented in a Beaux-Arts style giltwood exhibition frame. [2000/4000] Illustrated 1478 Pair of Napoleon III Moderator Lamps, third quarter 19th century, French, the Rococo Revival lamps with pierced bronze bases decorated with rocaille ornament alternating with molded flowers, the Paris porcelain hand-painted bases decorated with couples sitting in a garden with large bouquets of flowers, the bronze mid-rib and neck decorated with molded flora and scrollwork, wick controllers marked “Augusta”, now wired for electricity, h. 30”, dia. 7‑3/4”. [1500/2500] 1479 Overlay Glass Newel Post Finial, third quarter 19th century, probably Bohemian, a turned brass bezel supports the acorn-shaped finial, composed of colorless glass plated with blue and cut-to-clear in a thumb print pattern, with a cut star at the top, h. 9”, dia. 3‑1/2”. [250/400] 1480 Hawkes Cut-Glass and Sterling Silver Trumpet Vase, second quarter 20th century, Corning, New York, the silver base marked “Hawkes Sterling”, mounted with a trumpet-shaped cut-glass vase, engraved with the image of a phoenix on flowering plum branches, framed with bands of diamond point cutting, h. 14”, dia. 5‑1/4”. [600/900] Illustrated

1474 American Aesthetic Movement Marquetry Inlaid, Carpathian Walnut and Walnut Library Table, fourth quarter 19th century, the top with an inset leather top with Greek-key inlay about its perimeter, the frieze with a drawer on each side, each with raised burlwood panels over foliate-carved brackets joined to line-incised and fluted legs, the legs joined by an incised and foliate-carved stretcher centered by a finial, h. 29‑1/2”, w. 48”, d. 28”. [500/800] 1475 American Aesthetic Movement Giltwood Looking Glass, fourth quarter 19th century, the crest with spindle galleries and bellflower decor, the plate flanked by segmented columns, retaining its period to near-pristine burnished and matte gilt surface, h. 79‑1/4”, w. 46”, d. 8‑1/2”. [1200/1800] Illustrated 1476 American Aesthetic Movement Six-Light Combination Gas and Electric Chandelier, ca. 1900, the bulbous body with beaded swags and joined to three gas arms retaining their keys, swirl satin glass bobeches and candles, the stem joined to a trio of down electrical arms, each with an acid-etched molded cranberry to clear teardrop shades, h. 39‑3/4”, dia. 19”. [800/1200]

226

1477 1481 American Brilliant Period Cut-Glass Pitcher, ca. 1900, the inverted body with a lower border of hobstars and crosshatching, the pinwheel decoration on the sides contained in crosshatched panels, notch cutting decorates both the lip and handle, h. 8‑1/2”, w. 8‑1/2”, d. 5‑1/2”. [125/250]

1487 American Aesthetic Movement Rosewood Occasional Chair, fourth quarter 19th century, of “bustle bench” form, the scrolling crest rail with leaf and vine carving, the single open arm terminating in a carved mask, foliate-carved set rail and carved trumpet legs, h. 32”. [600/900] 1488 American Victorian Oak Extension Table, ca. 1900, raised on cabriole legs with pad feet, shell-carved knees and scrolled corner brackets, the skirt incised with anthemia, h. 28”, w. 50”, d. 38‑1/2”. [300/500] 1489 Pewter, Enamel and Crystal Picture Frame, signed Jay Strongwater, American, the base of the frame with enameled pewter orchids on the front and back, decorated with Swarovski crystals, the rear enameled brown and with a Jay Strongwater pewter label, h. 5”, w. 3‑3/4”, d. 1‑1/4”. [100/200]

1490

1490 Portrait of a Young Woman on Milk Glass, ca. 1900, American or English, carefully rendered in watercolor, the luminous portrait depicting a young woman seated in a white silk and lace dress on a marble bench, against marble walls, flowing hair framing her face, sight h. 23‑3/4”, w. 17‑1/4”. [400/700] Illustrated

1482 Pair of Monumental Cut-Glass Dresser Jars, in the American brilliant style, the sides decorated with cut palmettes alternating with Russian cut panels, the lids with hobstar centers and borders of palmettes alternating with Russian cut panels, h. 5”, dia. 8”. [600/900] 1483 Pair of Baccarat Crystal Candleholders, ca. 1900, French, the bases decorated with alternating matte etched strips and supporting matte draped putti, the drip pans matching the bases and hung with spear-point prisms, the candlecups molded with cabochons and reeding, bases marked with a raised Baccarat, h. 13‑1/4”, dia. 5”. [700/1000] 1484 Two Pieces of Cut-Glass Lead Crystal, the bowl, possibly Waterford, decorated with strawberry cutting with scattered stars, and with a notched rim and star-cut base, h. 7‑3/4”, dia. 9‑1/4”, and the vase cut with palmettes alternating with strawberry cutting and a notched rim, h. 10”, dia. 6”. [200/400] 1485 Sixty-Six Piece Floral Intaglio-Cut Glass Partial Stemware Service, first quarter 20th century, the service consisting of thirteen iced water goblets, h. 6‑3/4”, fourteen saucer champagnes, h. 6‑1/4”, fourteen white wine goblets, h. 6‑1/4”, sixteen red wine goblets, h. 8” and nine dessert wine goblets, h. 6”. [500/800] 1486 Fosteria Open Compote, ca. 1900, Moundsville, West Virginia, made in the “heavy drape” pattern of colorless glass, h. 9‑1/2”, dia. 10‑1/2”. [100/200]

1491 Set of Twelve Noritake Cream Soup Bowls and Underplates, ca. 1931, Japanese, the gilttrimmed scalloped borders outline the cream-colored sides, punctuated with cobalt panels, alternating with cobalt cartouches, trimmed with gilt-scrolled tracery, gilt swags decorate the exterior of the bowls, marked with the blue and yellow Maruki mark of 1931, h. 2‑1/4”, dia. 6‑3/4”. [250/400]

1480

1492 Pair of Royal Worcester Hand-Painted Cabinet Plates, ca. 1911, English, the scalloped borders decorated with raised gilt-scrolled cartouches alternating with raised gilt shells set on a pale pink ground, one plate decorated with plums and gooseberries, the other with apples and grapes, each luminously hand-painted, printed with the Royal Worcester mark for 1911, dia. 9‑1/8”. [300/500]

227

1493 Pair of Victorian-Style Satin Glass Mantel Lustres, composed of pink-over-white plated satin glass, decorated in lavender and gilt with a grid pattern on the lower portion and gadrooned decoration on the bowl, hung with cutglass spear-point prisms, h. 12‑1/2”, dia. 6”. [200/400]

1496

1498 Frank Lloyd Wright (1867‑1959), Buildings Plans and Designs, New York: Horizon Press, 1963, number 385D of 2500, containing one hundred loose elephant folio plates of drawings and plans by Wright and accompanying booklet by William Wesley Peters, presented in a buckram folio case with large printed title paper and grosgrain ribbon closures, 26” x 16‑1/4”. This facsimile edition of Wright’s legendary 1910 Ausgefuehrte Bauten und Entwuerfe was created at the architect’s behest: one of his last projects before his death. First published in Berlin to immediate success, the entire American edition was destroyed in the infamous arson and mass murder committed by Wright’s servant Julian Carlton at his Wisconsin studio “Taleisin” in 1914. A single complete copy survived in Wright’s personal library, and it was from that copy that the present limited edition was produced. [200/400] Illustrated

1494 American Victorian Painted Mirror, ca. 1900, the molded and pierced frame, decorated with scrollwork and rococo decoration, and with a distressed painted and silver gilt surface, fitted with a beveled mirror plate, h. 33‑1/2”, w. 23‑1/4”. [200/400] 1495 Near Pair of Brass-Mounted Painted Metal Travel Trunks, ca. 1925, each with stickers from hotels and steamer lines from a European Grand Tour, and each with the painted identification “C.W. Delaney Cin. O. U.S.A.”, the interior lined in linen, h. 15”, w. 24”, d. 9‑3/4”. [400/700] 1496 American Empire Revival Mahogany Armchair of Generous Proportions, ca. 1900, the tall back with a molded crest rail flanked by acanthus-carved stiles, the stiles extending to closed arms ending in volutes, the armed supports modeled with winged female busts, raised on scroll feet, now upholstered in russet woven leather, h. 47”. [1500/2500] Illustrated 1497 Unusual Messenger and Sons Copper, Brass and Iron Arts and Crafts Standing Oil Lamp, ca. 1900, English, the round iron base decorated with scrollwork and crosshatching, supports the iron adjustable standard bound with copper, the frame supports the ovoid copper font set with a brass burner, the brass shade raiser stamped “Messenger’s Patent”, the burner knob stamped “Jas. Woolbred & Co., London”, now fitted with a black tole chimney mounted shade, h. 65” (adjustable), dia. 13”. [300/500]

228

1498

1499

1499 Three Terracotta Architectural Tiles From Frank Lloyd Wright’s Iconic Imperial Hotel, Tokyo, Japan, 1916‑1923, designed in the Mayan revival style, the group comprised of two block tiles with a pyramidal pierced top, h. 4‑3/4”, w. 4‑3/4”, d. 4‑3/4”, and a flatter pierced tile from one of the hotel's lanterns, h. 8‑1/4”, w. 8‑1/2”, d. 2‑1/2”, together with a page from Modern Design, June, 1923, illustrating the hotel at the time of its opening and a 1957 menu from the hotel with an embossed Art Moderne cover. [200/400] Illustrated

1501

1500 Twenty-Six Books on New Orleans and the South, including five volumes of the New Orleans Architecture (some with multiple copies), Richard Sexton’s Vestiges of Grandeur and New Orleans: Elegance and Decadance, Monsignor Daigle’s Dictionary of the Cajun Language, Malcom Heard’s French Quarter Manual, Clarence John Laughlin’s Ghosts Along the Mississippi, and several others. Complete list available on request. [100/200]

1503

1501 Newcomb College Matte Glaze Pot with Matching Frog by Sadie Irvine, ca. 1918, the squat bowl with a blue-green matte glaze and a mauve edge decorated with a wild rice motif in low relief, both the body and the accompanying flower frog shaded in mauve, the base with the Newcomb mark, Sadie Irvine’s “S” cypher, registration number JH82, and shape number 258, h. 4”, dia. 6”. [1200/1800] Illustrated

1504 Good 19th Century American Four-Piece Coin (.900) Silver Tea Set, dated 1854, by James Bogert (1809‑1877) for Ball, Tompkins and Black, New York City, New York, including a teapot, h. 12”, l. 11‑3/4”, covered sugar urn, h. 9‑3/4”, w. 8‑1/2”, cream jug, h. 7‑1/4”, l. 5‑1/2”, and waste bowl, h. 5‑1/2”, dia. 6‑3/4”, each with an ovoid body paneled on the lower half, with a waisted collar, decorated with milled anthemion banding and raised on an ogee-molded domed foot, all but the waste bowl with Bogert’s distinctive spiked-scroll handle, the teapot with a “gooseneck” spout en suite with the handle, the teapot with hinged lid, the sugar urn with fitted lid, both domed and with cast floriform finial, each piece monogrammed on the body “ESK from JSK” and dated on the underside “1854”, 100.76 total t. oz. For the matching water pitcher sold earlier this year, see New Orleans Auction Galleries sale 1202 (May 19‑20, 2012), lot 1005. [4500/7000] Illustrated

1504

1502 Hammered Copper Arts and Crafts Inkwell, first quarter 20th century, probably American, possibly Newcomb College, the form carefully handcrafted with a repousse leaf design on the lid, the interior fitted with a cut crystal receptacle, h. 2”, dia. 4‑1/4”. [300/500] 1503 Tiffany Favrile Glass Ruffled Edge Bowl, ca. 1900, New York, composed of gold iridescent glass with a ruffled edge, and having a ground pontil marked base with an engraved “LCT” signature, h. 2‑1/4”, dia. 7‑3/4”. [300/500] Illustrated

229

1505 Three 19th Century American Silver Spoons, third quarter 19th century, including a pair of coin (.900) silver “Fiddle Swell” tablespoons retailed by Palmer & Bachelders, fl. Boston, Massachusetts, 1846‑1880, monogrammed “SH”, l. 9”, and a sterling silver “Pointed Thread” sugar shell retailed by Henry Semken, fl. Alexandria, Virginia and Washington, D.C., 1860‑1889, engraved with the crest and motto of the clan Cunningham, l. 6‑1/2”, 3.47 total t. oz. [100/200]

1509 Rare American Sterling Silver and Enamel New Orleans Souvenir Spoon, first quarter 20th century, by the Mechanics Sterling Co., Attleboro, Massachusetts, the handle cast on the obverse with the seal of the Mayoralty of New Orleans, “Old Hickory”, and the Robert E. Lee Monument, and on the reverse with the (old) State Capitol, a Creole cottage, and the Jackson monument, the bowl enameled with scene of cotton pickers in the field, l. 6”, 1.17 t. oz. [1000/1500]

1506 Four Pieces of American Silver and Silverplate Flatware, 19th century and later, including a Gilbert/ Cunningham/Cooper coin silver sauce ladle with shell bowl, twist stem and pointed handle, engraved “Philippi Hanover from Emeline Willet”, l. 8‑1/4”, a Plimoth Plantation sterling silver “Tudor” spoon, an E.H.H. Smith silverplate “Iris” cheese scoop, l. 7‑1/2”, and a William Rogers silverplate “Magnolia” serving spoon with leafform bowl, l. 8‑1/4”, 2.84 total t. oz. (excluding silverplate pieces). [100/200]

1510 American Sterling Silver Flower Bowl, 1897, by Dominick & Haff, New York City, New York, for J.E. Caldwell, Philadelphia, Pennsylvania, of lobed circular form, the broad rim realistically pierced and embossed, h. 2”, dia. 12‑1/4”, daisies, poppies, chrysanthemums and other flowers, monogrammed at the center “L”, h. 2”, dia. 12‑1/4”, 21.15 t. oz. [1200/1800]

1507 Good American “Aesthetic” Sterling Silver Ice Cream Slice, fourth quarter 19th century, by Bailey, Banks & Biddle, Philadelphia, Pennsylvania, with flat scroll handle and scimitar-shaped blade, decorated engraved and bright-cut flowers, ferns and “Japonaise” edging on a matte ground, monogrammed “EK”, l. 10‑3/8”, 4.05 t. oz. [125/250]

1511

1508 Antebellum New Orleans Retailed Coin (.900) Silver Platter, mid-19th century, probably New York, with retailer’s stamp of Hyde & Goodrich, active New Orleans, 1828‑1861, of oval form, with an applied “leaf-and-lobe” border and raised on four openwork rocaille feet, the plateau engraved with a wide band of elaborate rococo cartouches on a diapered ground, monogrammed at the center “IHA”, w. 13‑3/4”, l. 18”, 53.5 t. oz. [6000/9000] Illustrated

1508

1511 Good Pair of American Art Nouveau Sterling Silver Tazze, first quarter 20th century, by Black, Starr & Frost, of shaped circular form, decorated with a wide band of applied realistically detailed irises with “whiplash” foliage, raised on waisted stem and domed foot banded en suite, h. 3‑1/2”, dia. 9‑1/4”, 42.05 total t. oz. [1400/1800] Illustrated 1512 American Sterling Silver-Mounted Cut Glass Pitcher, 1901, the sterling mount by Gorham Corp., Providence, Rhode Island, the glass body of cylindrical form with flared base, cut with alternating vertical notched prisms and oculus panels, with up-pulled notched panel handle, the sterling collar with integral stpout and decorated with embossed floral shell-and-scroll banding, h. 9‑1/4”, dia. 4‑1/2”, l. 6”. [200/400]

230

1515

1513 Collection of Twelve American Sterling Silver Napkin Rings, late 19th/early 20th century, including four Webster examples, one cylindrical with beaded rim, engraved “Arthur”, h. 1”, one convex rectangular with torus rim, engraved “George”, h. 7/8”, one convex rectangular with everted rim and engraved “ribbon” banding, engraved “Arnold”, h. 3/4”, and one shaped rectangular form with engraved “ribbon” banding, engraved “Gene”, h. 1”, two Gorham examples, one waisted cylindrical with bead-and-bobbin rim, engraved “Nettie”, h. 1‑5/8”, the other cylindrical with engraved cartouche and banding, engraved “Evelina”, h. 1”; a cylindrical Towle example with pierced scroll rim, engraved “Margaret”, h. 1”, a bulbous cylindrical National Silver example with beaded rim, engraved “Sadie”, h. 1”, a cylindrical Wallace example with molded rim, engraved “Hattie”, h. 1”, and three unmarked examples, one waisted cylindrical with gadrooned rim, engraved “Cousin Carrie / Oct. 12th, 1876”, h. 1‑1/4”, one waisted cylindrical with beaded rim, engraved “Katherine”, h. 1‑1/4”, and one cylindrical with scrollwork rim, engraved “Lutie”, h, 1‑1/4”, 8.10 total t. oz. [400/700] 1514 Collection of Twelve Sterling and Other Silver Napkin Rings, late 19th/early 20th century, including an American Watrous sterling example, cylindrical with beaded edge, engraved “Newell / 1899”, h. 1”, a French Olier & Caron .950 silver example, cylindrical with applied shell-and-thread banding, engraved “Rene”, h. 1‑3/8”, a Norwegian .830 silver example, waisted cylindrical with beaded edge, engraved “Karen”, h. 3/4”, an Estonian .875 silver example, cylindrical with beaded edge, engraved “Sascha”, h. 7/8”, an Italian .800 silver example, oval with leaf-and-dart edge and applied gold cartouche, engraved “Piero”, h. 1‑3/8”, five unmarked (but probably sterling) silver examples, one cylindrical with molded rim and engraved cartouche “Stantia”, h. 1‑1/2”, one cylindrical with beaded rim and guilloche banding, engraved “Fred”, h. 1‑1/2”, one cylindrical with bright-cut and star banding, engraved “Olive”, h. 1‑1/4”, one octagonal with beaded rim and engraved floral banding, engraved “To C Bacon from Aunt Kate”, h. 1‑1/4”, and a waisted octagonal example with beaded rim and engraved pastoral decoration, engraved “Sarah Lispenard Stewart”, h. 1‑1/4”, cylindrical horn example with silver cartouche engraved “JM”, h. 1‑1/8”, and a cylindrical silverplate example with openwork scroll banding, h. 1‑1/4”, 6.94 total t. oz. (excluding horn and silverplate examples). [400/700]

1515 Fine Thirteen-Piece William B. Durgin Sterling Silver “Cattails” Chocolate/Demitasse Set, designed around 1902 by William E. Carlson, Concord, New Hampshire, including twelve chocolate/demitasse spoons, l. 4”, and a sugar spoon, l. 5‑3/4”, each with a finely detailed figural “cattail” handle and gilt “lilypad” bowl, 7.07 total t. oz. This delightful and popular pattern is recorded as having been introduced in 1898, although U.S. patent records show that the application for the design was filed on January 27, 1902, and the design patent number 35877 granted on April 2, 1902. Little is known about the designer William E. Carlson. The 1900 Federal Census for Concord, New Hampshire records that he was born in Sweden in January, 1860 and emigrated to the United States in 1883; his occupation is given as “designer and die cutter”. [500/800] Illustrated 1516 Good Set of Twelve Gorham Art Nouveau Sterling Silver Bread and Butter Plates, 1906‑1907, Providence, Rhode Island, each of circular form. the wavy rim embossed with realistically detailed poppies, dia. 6‑3/4”, 46.81 total t. oz. [2000/4000] Illustrated 1517 Reed & Barton “Love Disarmed” Sterling Silver Salad Serving Set, the pattern designed in 1899 by Charles A. Bennett, Taunton, Massachusetts, with gilt bowl/tines, l. 10‑1/2”, 15.88 total t. oz. [1200/1800]

1516

231

1518 Good 19th Century Tiffany & Co. Sterling Silver Loving Cup, designed in 1885 by Charles Osborne the example 1891‑1902, New York City, New York, the bucket-shaped body decorated with addorsed spiral flutes with “pearling”, with acanthus-fringed thick “whiplash” handles, the whole raised on a broad knopped circular domed foot with “pearl” fluting en suite between milled rose-shell-and-scroll bands, h. 9‑1/4”, w. 11”, dia. 6‑3/4”, 39.28 total t. oz. The distinctive features of this cup - the thick, sinuous handles, the chased “pearling” (a technique invented in 1880 by Tiffany’s artistic director Edward C. Moore, inspired by a design he found on a Japanese sword hilt), the rocaille banding - leave no doubt that it is from a design by Charles Osborne (1947‑1920). For similar characteristic designs by Osborne from the mid 1880’s, see John Loring Magnificent Tiffany Silver (New York: Abrams, 2001), pp. 169‑179. [3000/5000] Illustrated

1518

1519

1520 American Sterling Silver Yachting Trophy Bowl, dated 1901, by Black, Star & Frost, New York City, New York, of “Revere” form with molded rim, the domed foot lobed and pierced with rococo scrolls and lattice cartouches, inscribed on the body “Sewanhaka Corinthian / Yacht Club / Annual Race / First Prize / Won By / Elmina / June 29, 1901” and monogrammed on the underside “FFB”, h. 7‑1/2”, dia. 12‑1/4”, 37.68 t. oz. [2500/4000]

1519 Gorham Sterling Silver Center Bowl, 1914, Providence, Rhode Island, of circular form, the body hexagonally paneled and engraved on the interior with floral scroll and cartouche banding, with deeply everted reticulated rim cast and chased en suite, monogrammed center “VWR”, h. 2‑1/2”, dia. 11‑1/2”, 21.73 t. oz. [1000/1500] Illustrated

1521

1521 Pair of Tiffany & Co. Sterling Silver Tazze, the pattern introduced in 1907, New York City, New York, of scalloped circular form with applied molded shell rim, decorated with a very wide band of pierced and engraved arabesques, raised on a cylindrical stem flaring to a domed foot pierced and engraved en suite, monogrammed at the center “CC”, h. 4‑1/2”, dia. 8‑3/4”, 38.26 total t. oz. [3500/5000] Illustrated

1522 Tiffany & Co. Sterling Silver “Calla Lily” Trumpet Vase, third quarter 20th century, in the form of a calla lily blossom, raised on a circular domed foot, h. 8”, dia/ 2-3/4", 6.62 total t. oz. [500/800] 1523 Tiffany & Co. Sterling Silver Waiter, third quarter 20th century, New York, in the early Georgian taste, tof square form with molded rim and serpentinecanted corners, w. 14”, 44.81 t. oz. [2000/4000]

232

1526

1524 Large Tiffany & Co. Sterling Silver Platter, third quarter 20th century, of circular form with molded rim, 106.74 t. oz. [4500/7000] 1525 Two Pieces of Tiffany & Co. “Hampton” Sterling Silver Flatware, the pattern designed in 1931 by Charles B. Blake, New York City, New York, including bow-style sugar tongs, l. 4”, and a seafood/cocktail fork, l. 6”, 1.61 total t. oz. [100/200] 1526 Good Seventeen-Piece Tiffany & Co. Sterling Silver Mid-Century Modern Punch Service, 1939‑1956, New York City, New York, including a punch bowl, h. 8‑1/2”, dia. 15‑1/4”, platter, dia. 24”, and fifteen punch cups, h. 2‑1/2”, dia. 3‑1/8”, the bowl and cups of hemispherical form with slightly everted rim and cavetto foot ring, the cups with flat ring handle, all decorated with three threaded bands at the upper edge and a single threaded band on the foot, the circular plateau with triple-threaded rim en suite, each centered with a stylized monogram “OBM’R”, 365.75 total t. oz. [30000/50000] Illustrated

1527 Pair of Gorham Sterling Silver Candlesticks, 1947, Providence, Rhode Island, in the Regency taste, with baluster standard of rounded square section between knops, raised on a conforming domed foot and surmounted by an urn-form nozzle with conforming fitted bobeche, decorated throughout with gadrooned banding, h. 11‑3/4”, w. 5‑1/8”, weighted. [1000/1500]

1528 Forty Pieces of Towle “Celtic Weave Gold” Parcel Gilt Sterling Silver Flatware, designed in 1979 by Bert England, Newburyport, Massachusetts, including eight dinner forks, l. 7‑1/2”, eight salad forks, l. 6‑3/4”, eight teaspoons, l. 6”, eight place spoons, l. 7”, and eight dinner knives with stainless steel “Modern”-shaped blades, l. 8‑3/4”, no monograms, nine pieces still in the original polyvinyl packaging, 49.83 total t. oz., presented in a wooden case, the fitted interior lined in “Duratene” Pacific cloth and white satin, 3‑3/4” x 18‑3/4” x 11‑1/4”. [1200/1800] 1529 Five-Piece Towle “Louis XIV” Sterling Silver Tea and Coffee Set, the pattern designed in 1924 by Harold E. Nock (1875‑1952), Newburyport, Massachusetts, including a teapot, h. 8”, l. 10‑1/4” coffeepot, h. 10‑1/2”, l. 9‑3/4”, covered sugar bowl, h. 6‑1/2”, w. 7‑1/2”, cream jug, h. 6”, l. 5‑3/4” and waste bowl, h. 3”, dia. 4‑3/4”, no monograms, 80.25 total t. oz. [1500/2500] Illustrated

1529

233

1531 Louis XVI-Style Giltwood Mantle Mirror, ca. 1900, the beveled mirror plate in a frame with cabochons and beaded molding about the perimeter, the crest with a cartouche with a female mask, flanked by floral swags, h. 68”, w. 43‑1/2”, d. 5”. [2000/4000] Illustrated 1531

1530

1533 pair

1532 1530 Good Maison Forest Transitional Louis XV-intoLouis XVI Kingwood Vitrine, early 20th century, the rectangular top banded and quarter-veneered, above a cove-molded frame, over a case fitted with two doors each inset with an ormolu grilled panel and flanked to either side by ormolu mounts, raised on splayed feet ending in sabots, bearing a plaque reading “Forest Paris 31 r. Cambaceres”, h. 57”, w. 46‑1/2”, d. 18”. [6000/9000] Illustrated

234

1532 French School (Fourth Quarter 18th Century), “Portrait of a Young, Bare-Breasted Mother With Her Baby”, oval oil on canvas, unsigned, 44” x 34‑1/2”. Presented in a later giltwood and gesso frame. [800/1200] Illustrated

1535

1533 Pair of French Hand Colored Engravings, fourth quarter 18th century, consisting of “L’Oracle Des Amans”, printed by Henri Louis Basan and “La Bonne Mere”, after a painting by Jean-Honore Fragonard (1739‑1792), sight 24” x 19”. Both glazed and presented in charming giltwood frames with ribbon-molded crests. [1800/2500] Illustrated

1534

1536 1534 Pair of Louis XV-Style Gilt-Bronze Sconces, the pierced scrolled backplates support scrolled candle branches set with pierced scrolled drip pans and inverted pear-shaped candle cups with molded bobeches, fitted with faux electric candles, h. 22”, w. 13‑1/4”, d. 9”. [900/1200] Illustrated 1535 Pair of Louis XV-Style Lamps, the molded pine bases support tinted plaster figures of putti reclining on a cushion against a tree trunk, one cradling a dove and the other holding a bunch of grapes, h. 24” to finial. [500/800] Illustrated

1537

1536 Francesco Jocovacci (Italian, 1838‑1908),”Tasso and Leonora”, 1876, oil on beveled wood panel, signed, dated, and inscribed "Roma" lower left, 21‑1/2”x 17‑1/4”. Attractively framed. [2000/4000] Illustrated

235

1540 Walnut Veneered Musical Standing Jewel Box, cabriole legs inlaid with ebony lined panels support the box, with a lift-top inlaid with satinwood banded panels, outlined with ebony and a calamander veneered center panel, the red velvet lined interior with a jewel box to one side, h. 16‑1/4”, w. 11‑3/4”, d. 9‑1/2”. [100/200] 1541 Louis XVI-Style Giltwood Mirror, the reeded frame set with scrolled corbels on the lower sides, with a pierced crest of scrollwork and leafage with a center balloon finial recalling the beginning of hot air balloon travel during the period, h. 51”, w. 29”. [500/800] Illustrated

1541

1538 1537 Joseph Leopold Ratinckx (Belgian, 1860‑1937), “The Alchemist in His Study”, 1917, oil on canvas, signed and dated upper left, 29‑3/4” x 19‑3/4”. Framed. [1500/2500] Illustrated 1538 Continental School,(Third Quarter 19th Century), “Portrait of a Young Girl”, oil on wood panel, initialed “M.L.C.” lower right, 5‑ 1/2” x 5‑1/4’' . In an elaborate carved, gessoed, and giltwood frame. [1000/1500] Illustrated 1539 Regence-Style Kingwood and Exotic Woods MarbleTop Commode, 19th century, the shaped rouge royale marble top above a conforming bombe case fitted with two drawers, with an elaborate inlaid floral spray within a decorative banding, raised on splayed legs ending in sabots, the whole with nicely modeled ormolu mounts, h. 34”, w. 56‑1/2”, w. 24‑1/2”. [4000/7000] Illustrated

1542 Louis XV-Style Kingwood and MarbleTop Bureau de Dame, late 19th century, the superstructure with a rouge royale top with a pierced three-quarter brass gallery, above two central open shelves flanked to either side by two small quarter-veneered drawers, the top with a pull-out inset leather writing surface above two like veneered frieze drawers, raised on cabriole legs headed by sabots, h. 39‑3/4”, w. 37‑1/2”, d. 20‑1/4”. [1800/2500] Illustrated

1539

236

1543 Napoleon III-Style Bronze and Hardwood Jardiniere, the cut corners resting on turned feet and with bronze mounts on ionic columns, hung with molded swags, the sides mounted with gilt-bronze rococo handles in a light wood panel, set in an inlaid ebony line and mahogany crossbanding, the obverse and reverse inlaid with an oval cartouche accompanied by a floral spray set on a light wood background with mahogany crossbanding, bronze beading outlines the base and a bronze pierced gallery in a guilloche pattern sits on top, h. 8”, d. 10”, l. 15‑1/2”. [400/700] 1544 Louis XV-Style Kingwood Cabinet, late 19th century, the stepped rectangular top with a three-quarter pierced brass gallery above a case fitted with a pull-out slide over a tambour cupboard opening to a variety of small drawers, the tambour and sides all with a lattice and foliate patterned inlay, over a single drawer, raised on cabriole legs ending in sabots, h. 46”, w, 21”, d. 15”. [1000/1500]

1542

1546

1545

t1545 Pair of French Gilt-Bronze and Rouge Marble Lamps, ca. 1900, the pierced base with a marble stand supporting three hoof-footed monopedia, terminating in goat heads, the heads supporting the ovoid marble base, with a leafmolded gilt-bronze neck with three candle branches holding acanthus-molded drip pans and fluted candle cups, the shade holders finished with Chinese hardstone finials, h. 31”, dia. 7”. [600/900] Illustrated

1546 Continental Giltwood Louis XVI-Style Mirror, the reeded frame with molded corner blocks, with a pierced crest in the form of a flaming torch and quiver of arrows tied with a bowknot, and trailing branches of laurel leaves and berries, h. 38”, w. 28”. [500/800] Illustrated

237

1550 Baroque-Style Eight-Light Crystal Chandelier, scrolled brass candle arms supporting electrified faux candles, and stand among four tiers of scrolled arms hung with flat serpentine cut-glass prisms alternating with glass fruit, h. 34”, dia. 22‑1/2”. [1200/1800] Illustrated 1551 A French Bronze of “Le Pecheur”, after Duchoiselle (French, 19th century), cast signature at back, on a black marble plinth, h. 12‑ 3/4”, w. 14‑1/2”, d. 6‑1/4”. [800/1200] 1552 Louis XVI-Style Kingwood Occasional Table, the oval top with a three-quarter pierced brass gallery, banded and with a central lattice-pattern inlay, above a like-inlaid conforming case fitted with three drawers, raised on slender slightly splayed legs ending in sabots, h. 29‑1/2”, w. 24”, d. 17”. [1400/1800] Illustrated

1547

1547 Regence-Style Kingwood and Exotic Woods Marble-Top Commode, 20th century, the shaped rouge royale marble top above a conforming bombe case fitted with two long drawers, each with lattice-inlaid panels flanking a central sunburst panel, raised on splayed legs ending in sabots, h. 33‑1/2”, w. 48”, d. 20”. [2500/4000] Illustrated 1548 Set of Twelve Samson Harlequin Armorial Cabinet Plates, fourth quarter 19th century, the gilt frets decorate the edge with a border of famille rose type flowers in raised white outlined panels and framing the armorial crests, which are different on each plate, marked with a pseudo Chinese character on the back, dia. 9”. [1200/1800] Illustrated 1549 Set of Eight Bernardaud Service Plates, Limoges, France, simply decorated with a bold Chinese red border and gilt rim marked “Bernardaud, Limoges, France”, dia. 11‑1/2”. [250/400] 1550

1548

238

1552A Continental Giltwood Rococo-Style Mirror, fourth quarter 19th century, the asymmetrical mirror plate framed by three bold interlocking “C” scrolls, edged with deeply sculpted rococo ornament, the sides ornamented with gilt acanthus leaves, and a bold “C” scroll serving as the finial, the lower edge finished with a pierced scrolled giltwood flourish, h. 51”, w. 28‑1/2”. [600/900]

1557

1552

1553 Louis XV-Style Kingwood Occasional Table, early 20th century, the shaped rectangular top with an elaborate fan-patterned inlay with ebonized accents, above a conforming frieze fitted with a pull-out leather-inset side, and a single drawer to each side, raised on cabriole legs ending in sabots, h. 28‑1/2”, w. 31”, d. 18‑1/2”. [1800/2500] Illustrated 1554 Louis XV-Style Mahogany Vitrine Table, mid-20th century, the shaped rectangular top within an ormolu banding, hinged and opening to a fabric-lined display space, above a frieze with inset glazed panels, raised on cabriole legs ending in sabots, h. 30”, w. 43”, d. 24”. [300/500]

1555 Transitional Louis XV-into-Louis XVI-Style Mahogany and Marble-Top Commode, late 19th century, the shaped and bowed rectangular Breche Africaine marble top above a conforming case fitted with three drawers, raised on slightly splayed legs ending in sabots, h. 25‑1/2”, w. 21‑3/4”, d. 15”. [900/1200] 1556 Transitional Louis XV-into-Louis XVI-Style Kingwood and Burlwood Occasional Table, the circular top with a full pierced brass gallery and centered by a floral patterned porcelain plaque in the “Sevres” style, joined by shaped supports to a banded circular shelf raised on splayed legs ending in sabots, h. 30‑1/2”, dia. 19”. [2500/4000] 1557 Louis XV-Style Giltwood Looking Glass, mid-19th century, the domed rectangular plate surmounted by a crowned heraldic shield within a scrolling foliate crest, surrounded by a molded frame, h. 80”, w. 50‑1/4”, d. 8”. [2500/4000] Illustrated

1553

1558 Pair of Continental Gilt-Brass Tie Backs, mid-19th century, retaining most of their original two-color gilt, the cartouche-shaped front plates with scroll decorated edges, with oak leaves and acorns decorating the center, mounted with looped rear hooks, now mounted in shadowbox frames, h. 11‑1/2”, w. 9‑1/2”. [500/800]

239

1559 Set of Six Rococo Revival Gilt-Brass Tiebacks, mid19th century, French, the looped brass hook supports the leaf-form tiebacks, with morning glories and a “rustic” stem end, and retaining a superb original tooled giltlacquered surface, h. 4‑1/2”, w. 5”, l. 9”. [400/700] 1560 Louis XV-Style Giltwood and Marble-Top Console Table, the bowed rouge royale top with projecting corners above a conforming frieze centered by a foliate medallion, raised on C-scrolled legs headed by a female mask, joined by a shield-carved stretcher and ending in scrolled toes, h. 37”, w. 52”, d. 17”. [1500/2500] Illustrated 1561 French Louis XVI-Style Gilt-Bronze Firescreen, ca. 1900, the dolphin feet with pierced scrolls support the bronze frame, set with a screen, a female masque on a stippled strapwork cartouche and swags of flowers decorate the screen, the carrying handle scrolled and ornamented with bronze tassels, h. 25‑1/2”, w. 34”. [1400/1800] Illustrated 1561A French Louis XVI-Style Giltwood Looking Glass, fourth quarter 19th century, the crest centered by a cartouche in the grasp of putti, joined by floral garlands and flanked by urns, the mirror plate flanked by detached fluted columns, h. 84”, w. 36‑3/4”, d. 6”. [1200/1800] t 1562 Impressive Pair of French Louis XIV-Style EightLight Gilt-Bronze Candelabra, fourth quarter 19th century, the square bases raised on tapered feet and decorated with leaf-molded corner rondels, the vaseshaped standard with reeded bases and a central section decorated with swags of flowers held with bowknots, and handles terminating in tasseled cupid’s head masks, leaf-molded candle arms decorated with pierced scrollwork, beaded leaf-molded drip pans support fluted, leaf-molded candle cups mounted with beaded bobeches, h. 31”, w. 11‑3/4”, d. 10”. [3500/5000] Illustrated

1561

240

1560

1561A

1563 Pair of Louis XVI Polychrome Fauteuils, 18th century, each with a padded medallion back within a molded frame, joined by rounded and padded scrolling arms to the like seat, raised on tapering circular stop-fluted legs headed by floral block carving and ending in toupie feet, h. 32”. [2500/4000] Illustrated

1563

1562

1566 1568 1566 Pair of Meissen Golden Orioles, first quarter 20th century, German, the birds perched on white tree trunks, highlighted with scattered polychrome flora, and branches with applied leaves, one bird depicted with his wings closed, the other partially open, detail carefully articulated, especially the feet and beaks, the yellowbodied birds with black wings and black eye patches, marked with “Pommel sword (1850‑1924)” in underglaze blue and two incised numbers, “820X” and “299”, h. 10-1/4". [400/700] Illustrated 1564 Louis XVI-Style Polychrome Settee, early 20th century, the padded and slightly domed back within a dentillated and patera-carved frame, joined by downswept arms to the padded seat, raised on circular tapering stopfluted legs ending in bulbous feet, h. 37‑1/2”, d. 27”, l. 78”. [700/1000] 1565 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a domed padded and slightly tapering rectangular back joined by scrolling padded arms to the like seat, raised on tapering circular fluted legs ending in toupie feet, h. 33‑1/2”. [1000/1500]

1567 Set of French Bronze and Cut-Glass Empire-Style Taste Vins and Vodka Cups, made in the Baccarat style, composed of six taste vins, cut in the strawberry pattern and mounted with snake-form handles, h. 1‑1/2”, dia. 3‑1/2”, and six vodka cups, cut to match and mounted with leaf-molded bronze rims, h. 2‑1/2”, dia. 2‑1/4”. [400/700] 1568 French Baccarat-Style Cut-Glass and Gilt-Bronze Jewel Casket, the box and cover decorated with strawberry cutting, the bronze lock set into an anthemionshaped escutcheon, the whole resting on bronze paw feet with an anthemia-molded border, h. 5‑1/4”, w. 4‑1/4”, d. 3‑1/4”. [700/1000] Illustrated

241

1569 Louis XVI-Style Polychrome Commode, 19th century and later, the rectangular top bi-paneled and above a case fitted with three long drawers, all with guilloche and imbricate-carved panels, raised on tapering square legs, h. 33‑1/2”, w. 50‑1/2”, w. 26”. [2500/4000] Illustrated

1569

1572 1571

1573 1570 Louis XVI-Style Giltwood Window Seat, late 19th century, the low caned back centered by a pierced foliate patera medallion, joined by taller outscrolled arms to the padded seat, raised on circular tapering fluted legs ending in toupie feet, the whole with applied filigree accents, h. 28‑1/2”, w. 52”, d. 18”. [250/400] 1571 Transitional Louis XV-into-Louis XVI-Style Creme Peinte and Parcel-Gilt Trumeau, the molded cornice above a panel painting of courtiers in a pastoral landscape, the rectangular domed plate beveled and domed and within a molded frame with shell and foliate crest, all against a creme peinte ground, h. 88”, w. 43‑1/2”. [2000/4000] Illustrated

242

1572 Louis XVI-Style Polychrome and Marble-Top Console Table, late 19th century, the bowed Carrara marble top above a conforming frieze with pierced scrolling foliate panels, raised on tapering fluted circular legs headed by acanthine carving joined by an urn-centered stretcher and ending in foliate toes, h. 37”, w. 39‑1/2”, d. 15‑1/2”. [1200/1800] Illustrated

1574 Royal Copenhagen Blue and White Coffee Pot, second quarter 20th century, Danish, molded with a subtle basketweave pattern, hand-painted florals decorate the front, the spout painted with a blue shell edge and a single blue sprig, the cover with like decoration, the scrolled knop and handle with blue highlights, marked with Royal Copenhagen signatures and the painter’s marks in lower case, h. 10‑1/2”, w. 8”, d. 4‑1/2”. [125/250] 1575 Chinese Imperial Blue Bottle Vase, Mounted as a Lamp, the French gilt-bronze rococo base, pierced and scroll-molded with a beaded edge, the bottle with two incised lines on the shoulder, the gilt-bronze mounting cap is leaf-molded, h. 30”, to finia top. [400/700]

1577

1576 Imposing Cobalt Porcelain Garniture Urn with GiltBronze Mounts, ca. 1900, French, raised on a square bronze plinth with leaf-molded corners, the round foot set with gilt-bronze rope twists, the base of the urn resting on gilt-bronze-molded leaves, the sides decorated with swags of bellflowers hung from bowknots and interspersed with gilt sprigs, h. 24”, w. 15”, d. 9‑1/2”. [1200/1800] 1577 French Bronze and Porcelain Louis XV-Style Centerpiece Bowl, fourth quarter 19th century, the raised base decorated with crosshatching, supports a standard decorated with swirled fluting and alternating beading, the bowl decorated with oval reserve panels hand-painted with a couple gathering roses in an Arcadian landscape on the obverse, in a tooled gilt panel with empire gilt-tooled details on a bleu royale ground, and with flora in a rococo surround on the reverse, set with bronze scrolled handles meeting a bronze rim decorated with a pierced guilloche and beadwork, h. 12‑1/4”, w. 16‑1/2”, d. 11‑3/4”. [600/900] Illustrated 1578 Bell Epoque Bronze, Porcelain and Mother-of-Pearl Picture Frame, ca. 1900, the sides decorated with both flat and raised scrollwork, set with two oval porcelain plaques, a classical figure on the lower plaque and two putti on the upper plaque, mother-of-pearl plaques with mounts of musical instruments on opposing sides, “garnets” and “opals” set on the sides and bronze roping surrounds the opening, h. 8”, w. 6‑1/4”. [500/800] Illustrated

1578

1573 Pair of Louis XV Inspired Brass and Porcelain Lamps, mid-20th century, the molded, stepped base decorated with egg-and-dart beaded molding, the pierced standard leaf-molded and supporting three scrolled candlearms decorated with applied molded scrolls, like decoration on the prism-hung bobeches and candlecups, fitted with faux candles and electric sockets, the center with a prism-hung bowl of molded porcelain flowers with brass leaves, fitted with shades, h. 30”, dia. 16‑1/4”. [1200/1800] Illustrated

1579

243

1579 Louis XV-Style Kingwood Bureau Plat, early 20th century, the rectangular top with an inset leather surface within an ormolu banding with corner accents, above a conforming frieze fitted with a central drawer flanked to either side with a short drawer, raised on cabriole legs ending in sabots, h. 30”, w. 61”, d. 34‑1/2”. [3000/5000] Illustrated previous page

1580

1581 1581 Louis XV-Style Giltwood Mirror, ca. 1900, French, the leaf-molded feet support the frame with serpentine lower and upper edges, raised strapwork surround the mirror plate, overlaid on the sides with applied sprigs of flowers and leaves, and with roses and leaves flanking a pineapple which forms the crest, h. 32‑1/2”, w. 26”. [400/700] Illustrated 1582 Louis XVI-Style Polychrome Bench, the long padded rectangular seat above a dentillated frieze, raised on tapering fluted circular legs ending in toupie feet, h. 21”, w. 51”, d. 15‑1/2”. [400/700] 1583 Pair of Louis XVI-Style Giltwood Stools, each with a padded square top above a dart-carved frieze, raised on tapering fluted circular legs ending in bulbous feet, h. 19”, w. 15‑1/2”, d. 15‑1/2”. [250/400]

1580 Hand-Painted Sevres-Style Urn in the Louis XV Manner, ca. 1900, the gilt-bronze foot supports the raised gilt-decorated bleu celeste base, a scrolled gilt mount supports the inverted pear-shaped body, the obverse hand-painted with a nymph en deshabille, with two cupids clutching bows, above a discarded quiver of arrows, the reverse with a view of neoclassical ruins in a misty landscape, the bleu celeste neck and cover match the foot decoration, scrolled gilt-bronze handles mounted on the sides, a Sevres-style interlaced “L” mark with “France” under the cover and signed “E Grisard”. h. 31”, w. 14”, d. 9”. [2500/4000] Illustrated

244

1584 Louis XVI-Style Polychrome Firescreen, early 20th century, the ovoid screen with a needlework floral panel, within a molded and annulated frame and surmounted by a floral crest, supported by a ribbon-carved frame and raised on splayed supports ending in scrolled toes, h. 41”, w. 25”, d. 13‑1/4”. [600/900] 1585 Suite of Ten Louis XVI-Style Walnut Chairs, early 19th century, consisting of four armchairs and six sidechairs, each with a padded tapering rectangular back surmounted by a gadroon-carved crest and end finials, above the cushioned seat, raised on tapering fluted circular legs ending in toupie feet, h. 36‑1/4”. [4000/7000]

1586 Dutch Kingwood Marquetry and Marble-Top Cabinet, 20th century, in the late 18th century taste, the bowed St. Anne des Pyrenees marble top above a conforming case fitted with a single drawer over a tambour cupboard, the sides with elaborate floral inlays, raised on shaped legs to sabots, the whole with floral marquetry accents, h. 34‑1/2”, w. 35‑1/2”, d. 18”. [1200/1800] Illustrated 1587 Louis XVI-Style Polychrome Canterbury, early 20th century, fitted with four lattice-patterned dividers centered by a gilt-accented lyre, above a single fluted drawer, raised on toupie feet ending in brass caps and casters, h. 24”, w. 22”, d. 16”. [800/1200] 1588 Pair of Louis XV-Style Giltwood Fauteuils, early 20th century, each with a padded domed back surmounted by a floral foliate crest, joined by padded molded arms to the padded seat, raised above a floral-carved apron on molded cabriole legs ending in scrolled toes on casters, h. 34‑1/2”. [1500/2500] 1589 Two Limoges Hand-Painted Boxes, mid-20th century, French, the spherical box with a base decorated with reverse swags of flowers, a border of pink diapering with gilt scroll edges and a cobalt and gilt panel, the brass bowknot catch and edge molding serving as the line where the mirror image decorates the top, h. 4”, dia. 4‑1/2”, the grand piano on gilt cabriole legs and decorated to match, h. 1‑3/4”, w. 2”, d. 3‑1/4”, each signed “Limoges, France Peint Main, F.D.”. [100/200] Illustrated 1590 KPM Reticulated Hand-Painted Basket, fourth quarter 19th century, German, thinly potted with flaring, basketweave sides trimmed in gilt, with gilt wrapping the handles and rim, the base marked in overglaze rouge de fer with crossed orb and “KPM” under the blue scepter mark, h. 3‑3/4”, w. 11”, d. 7‑1/4”. [400/700] 1591 Sevres-Style Porcelain Casket in the Louis XV Style, the serpentine box with a bleu celeste ground, a running border of gilt leaves decorate the base, the front and sides with painted reserve panels, the front with a garden hat and hunting horn, the sides with floral painting, separated with panels of crosshatching, the lid hand-painted with swags of flowers on conforming reserve panels, with an oval central panel of flowers, all on a crosshatched ground, marked in the Sevres style, h. 5‑1/2”, w. 11”, d. 7‑1/2”. [300/500] 1592 Sevres-Style Hand-Painted Jardiniere, ca. 1900, French, the oval body decorated with reserve panels of winged putti in a bed of roses on one side, and figures dressed in 18th century costume in an Arcadian landscape on the other, both in tooled gilt surrounds, the celeste bleu ground decorated with gilt-scrolled rocaille devices with crosshatched panels, and with an overglaze Sevres-style mark, “France” and “S.H1” in an oval, h. 4‑1/4”, w. 12‑1/2”, d. 9‑1/4”. [300/500]

1586

1593 French Enamel Jewel Box, first quarter 20th century, the pierced bronze cabriole legs support the piece, which has bombe sides, the top enameled with a turquoise ground, trimmed in white beading, and decorated with a gilt scrollwork cartouche accent with white, red and black beading, lined in beige satin, h. 2‑1/4”, w. 4‑1/4”, d. 3‑1/4”. [400/700] 1594 Bright-and-Matte Gilt Paris Porcelain Dessert Stand, the edge of the upper cup with gilt tooling and the lower edge decorated with a magenta ground, signed, “Schoelcher” in rouge-de-fer script, h. 16”. [800/1200] 1595 Set of Four Meissen-Style Allegorical Figures of Continents, the first depicting Africa, with an African astride a grinning lion, dressed in feathered leggings, with an elephant head hat, h. 11‑3/4”, w. 10”, d. 5‑1/2”, the second with an Asian seated upon a resting camel, on a pink and gilt saddle in floral sprig-decorated robes and an ottoman-style hat, h. 11‑1/2”, w. 9‑1/2”, d. 4”, the third of an Indian princess sitting on an alligator, wearing a feathered skirt and headdress, with a parrot and a cornucopia of flowers, h. 11‑1/2”, w. 12”, d. 5”, and the fourth of a European seated before a white horse, books and a globe at her feet, wearing a crown and holding a globus cruciger, which symbolizes Christ’s dominion over the world, h. 11‑3/4”, w. 12‑1/2”, d. 5‑1/2”. [600/900]

245

1596 Louis XV-Style Cut-Glass and Brass Eight-Light Chandelier, the brass frame hung with a faceted ball finial and lushly hung with serpentine prisms interspersed with cut and molded grape-form prisms, the central standard sheathed in faceted cut-glass turnings, the exterior decorated with lattice-form glass rods with foliate glass medallions at the joints, h. 39”, dia. 20‑3/4”. [700/1000] Illustrated

1596

1597 Pair of Louis XV-Style Two-Light Bronze and Marble Candelabra, fourth quarter 19th century, the molded bronze base supports a gray marble standard, supporting bronze candlearms set with drip pans and tulip-form candlecups, scrolled arms support sprays of prisms on the sides and top, and a lavender prism hanging from each arm, h. 12‑1/2”, w. 10”, d. 5‑1/2”. [100/200] 1598 French Louis XV-Style Bronze and Crystal Candelabra, ca. 1900, the fluted and leaf-molded domed foot supports a reeded and fluted lower standard, the glass sheathed upper standard supports two tiers of scrolled candle branches fitted with leaf-molded candle cups and matching bobeches on molded drip pans hung with prisms, and with prisms hanging in a sprig from the top, under the molded glass spear finial, h. 24”, w. 10”, d. 10”. [300/500] 1599 Pair of Louis XV-Style Bronze Three-Light Sconces, French, the scroll-molded backplates support scrolled candle arms decorated with applied scrollwork, scrollmolded drip pans mounted with cut-glass drop-form prisms and electrified faux candles, h. 22‑1/2”, w. 16”, d. 9‑1/2”. [100/200]

1600

1601 Louis XVI-Style Mahogany Bergere, late 19th century, the canted rectangular back within a molded frame and with ormolu finials, joined by closed scrolling arms to the padded seat, raised on tapering fluted circular legs ending in toupie feet, the whole with acanthine-patterned ormolu accents, h. 39”. [450/700] 1602 Trompe L’Oeil Painted Panel, painted to resemble a portion of a room, depicting a marbleized wainscot panel, decorated with swags of bellflowers, below a niche holding an urn of flowers and framed by a pair of ionic pilasters, mounted with brass wall hangers, h. 80”, w. 30”. [300/500] 1603 Pair of Sevres-Style Urns Mounted as Lamps, the pear-shaped lobed bodies decorated with alternating cascades of raised gilt bellflowers on a white ground and raised gilt roses on an apple green ground, resting on a conforming wooden base with matching decoration, h. 29‑1/2”, w. 7”. [600/900]

1600 Jacob Petit Figural Encrier, French, mid-19th century, the green fringed hassock with a pink cushioned top serves as the base, the orange-colored tassels echoed in the collar of the dog, which serves as a handle, two pierced pounce pots fitted in frontal apertures, along with two pen holders, signed “J.P.” in blue on the base, h. 6”, w. 13”, d. 8‑1/4”. [2500/4000] Illustrated

246

1604 Pair of Neoclassical-Style Crystal, Brass and Marble Lamps in the Baccarat Manner, the black marble bases support reeded, brass-capped plinths, with reeded column standards supporting empire-style scroll-molded candle branches, fitted with pleated shades and wreath-form lamp finials, h. 38”. [500/800] 1605 Bisque Bust of Hermes, mid-19th century, French, after the sculpture by Praxiteles, the bust of the curly-haired Olympian God depicted from the chest up, and with an integral socle, h. 9‑3/4”, w. 6‑3/4”, d. 6”. [450/700]

1608

1606 Gilt-Brass and Glass Empire Revival Jewel Box, ca. 1900, French, the scrolled paw feet support the brass-framed glass box, pierced anthemia ornament the corners, beading and bellflowers trim the frame, the lid with a pair of classical maidens holding aloft a crown over a laurel wreath framed eagle, a Napoleonic symbol, a blue silk cushion lines the interior, h. 2‑1/2”, w. 6‑1/4”, d. 4‑3/4”. [300/500] 1607 French Prism-Hung Domed Hall Light, second quarter 20th century, a molded gilt-bronze prism ring mounted with vertical gilt-bronze acanthus leaves, supporting strands of prisms forming a dome concealing a triple socket light chain hung from a molded bronze canopy, h. 18‑3/4”, dia. 14‑1/4”. [250/400] 1608 Pair of Baltic Neoclassical-Style Polychrome Chairs, 19th century, each with a domed and padded back within a foliate frame, joined by downswept arms ending in lion’s head terminals to the padded seat, raised on tapering circular fluted legs headed by lotus carving and ending in molded feet, h. 32”. [2500/4000] Illustrated 1609 KPM Plaque of Diana, fourth quarter 19th century, German, the goddess of the hunt depicted disrobing to prepare to bathe in a pool, her dogs and a quiver of arrows at her side, incised with the scepter mark over KPM, linen matted in a contemporary giltwood frame, h. 16”, w. 12”. [3000/5000] Illustrated

1610 Cut-Glass and Bronze Eight-Light Chandelier in the Swedish Neoclassical Style, the candle arm ring set with continuous cut-glass prisms, mounted with scrolled arms, round drip pans and beaded candle cups, festoons of prisms hang from the arms to the arm ring, the open center mounted with a standard supporting three tiers of prism sprays, hung with festoons of prisms, and terminating in a lower ball finial, h. 33”, dia. 27‑1/4”. [1500/2500] Illustrated

1610

1609

1611 Neoclassical-Style Brass and Crystal Chandelier, second quarter 20th century, scrolled brass candle arms emanating from a central brass plate, set with tulip-form candle cups and brass drip pans hung with prisms, swags of prisms hanging between the arms and between the chains, a spray of prisms serves as the canopy, h. 28”, dia. 20‑1/2”. [300/500]

247

1612 Marguerite de Namarga (French, Third Quarter 19th Century.), “Academic Study of the Head of a Roman Warrior”, 1860, pencil on paper, signed and dated lower left, sight 17‑1/4' x 14”. Attractively glazed and framed. [1800/2500] Illustrated

1617

1613 Nicolas Eustache Maurin (French, 1799‑1850), “Conquest of Mexico by Hernando Cortes”, pair of chromolithographs, each sight 16” x 23”. Both glazed, eglomise-matted and presented in attractive Charles X giltwood and gesso frames. [400/700] 1614 Charles William Cain (British, 1893‑1962), “Daughters of Israel, Baghdad”, etching and drypoint, initialed in plate lower left, titled and further inscribed in pencil on mat lower center, sight 15” x 10”. Glazed, matted and framed. [400/700]

1618

1612

1615 Italian School, (First Quarter 19th Century),”The Sibyl”, graphite and chalk on paper, unsigned, 17‑3/4” x 18-1/2”. Attractively glazed, matted, and framed. [200/400] 1616 Continental Neoclassical Fruitwood DropLeaf Table, second quarter 19th century, the rectangular top quarter-veneered and centered by a star inlay, with two drop leaves, raised on tapering square legs ending in square feet, h. 27‑1/2”, w. 28”, d. 18”, ext. l. 32”. [400/700]

248

1622

1617 Biedermeier-Style Blonde Fruitwood Window Seat, late 19th century, the long padded seat flanked to either end by a padded outscrolled arm, raised on tapering square legs, h. 27”, w. 51”, d. 15”. [1200/1800] Illustrated 1618 Pair of Charles X Fruitwood Child’s Fauteuil, mid-19th century, each with a padded back surmounted by a panel crest, joined by downswept scrolling arms to the padded seat, raised on sabre legs, h. 33”. [2500/4000] Illustrated 1619 Empire Walnut Commode, early 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed drawers, flanked to either side by an engaged pilaster headed by maiden’s heads, all drawers paneled and with brass banding, raised on square legs ending in banded feet, h. 33‑1/4”, w. 23‑3/4”, d. 16”. [800/1200] 1620 Unusual Biedermeier Elm Desk, mid-19th century, the kidney-form top with a raised back edge above a conforming case fitted with a central frieze drawer flanked to either side by a small drawer, over an ormolu-applied panel, the sides each fitted with two drawers, raised on shaped legs joined by side stretchers, h. 33”, w. 48‑1/2”, d. 25‑1/4”. [1200/1800] 1621 Pair of Continental Neoclassical-Style Side Tables, 20th century, each with a rectangular top with ormolu banding and centered by an elaborate polychrome paterae design, above a conforming frieze, raised on tapering paneled end supports headed by foliate ormolu mounts and ending in runner feet to pegs, h. 29‑1/2”, w. 39‑1/4”, d. 19‑1/2”. [1800/2500] 1622 Pair of Neoclassical Fruitwood Marble-Top Commodes, mid-19th century, each with a rectangular marble top with canted corners above a conforming case fitted with four long drawers flanked to either side by a fluted pilaster, raised on tapering square feet, h. 34”, w. 32‑1/2”, d. 21”. [5000/8000] Illustrated 1623 Empire-Style Gilt-Bronze and Mahogany GraniteTop Table, late 19th century and later, the circular variegated granite top within an ormolu banding, joined by winged swan supports to two lower shaped shelves, the upper with a full pierced brass gallery, the lower with ormolu mounts, raised on paw feet, h. 32”, dia. 21‑1/2”. [3000/5000] Illustrated

1623

1626 French Gilt-Bronze and Crystal Empire-Style Six-Light Chandelier, a leaf-molded bronze acorn finial hangs from the diamond point molded glass pan base, set with a bronze leaf-molded ring mounted with lotus scrolled candle branches bearing drip pans and candle cups with electrified candles, the arms alternate with standing pierced laurel wreaths, gilt-bronze chains hold the fixture from a crown-form canopy of acanthus leaves, h. 26”, dia. 20‑1/2”. [700/1000] Illustrated

1626

1624 Mixed Suite of Seven Biedermeier Elm and Fruitwood Dining Chairs, second quarter 19th century, consisting of one armchair and six sidechairs, all with a ribbed fan-form crest above the padded seat, raised on tapering square sabre legs, h. 38”. [1800/2500] 1625 Louis-Philippe Center Table, mid-19th century, the tilting circular dished top raised on a turned and ribbed vasiform standard to a ribbed circular base to three shaped legs ending in scrolled toes, h. 29”, dia. 39”. [1000/1500]

249

1631 Continental Neoclassical Mahogany Commode, mid-19th century, the rectangular quarter-veneered top with a decorative triple banding, above a conforming case fitted with a long frieze drawer, with decorative banding and scroll inlay, over two long drawers, with like banding and centered by a foliate urn medallion, raised on tapering square legs, h. 35”, w. 42”, d. 20”. [3500/5000] Illustrated 1632 Pair of Bronze and Marble Neoclassical-Style Urns, fourth quarter 19th century, now mounted as lamps, coved Belgian marble bases support the inverted laurel leaf-molded bases, bas relief scenes of frolicking putti decorate the sides, with goat’s head handles holding swags of laurel leaves under the fluted necks, h. 34”. [800/1200] Illustrated 1633 Neoclassical-Style Faux Marbre Pedestal, of columnar form, the circular top above a fluted slightly graduated standard to a molded circular plinth, h. 49”. [700/1000] Illustrated

1627 1627 Biedermeier Elm and Marble-Top Side Table, second quarter 19th century,the rectangular charcoal marble top above a frieze with end foliate and fruit ormolu mounts, joined by a paneled back and shaped supports to a concave stretcher base on ebonized feet, h. 36”, w. 40‑1/2”, d. 19”. [1200/1800] Illustrated 1628 Baltic Neoclassical Mahogany Looking Glass, second quarter 19th century, the domed and earred crest above a deep plain frieze, the rectangular plate flanked to either side by ormolu mounted columns, h. 68”, w. 32”. [900/1200] 1629 Biedermeier Walnut Settee, second quarter 19th century, the domed triple-back settee padded and joined to the padded seat by downswept sides, raised on tapering square sabre legs, h. 34”, d. 15”, l. 65”. [1500/2500]

1630 Suite of Eight Charles X Mahogany Sidechairs, second quarter 19th century, in the Gothic taste, each with a domed back with arch and trefoil design, the padded seat raised on shaped sabre legs, ending in scrolled toes, the whole accented with decorative string inlay, h. 31‑1/2”. [2000/4000] Illustrated

1630

250

1631

1632 1636 Neoclassical-Style Italian Carved Giltwood Wall Plaque, the musical-themed plaque depicting a violin, French horn, flute and a pair of trumpets tied with a bowknot trailing oak leaves and acorns, labeled “Paladio Made in Italy” on the rear, h. 41”, w. 14‑1/2”. [400/700]

1634 Pair of Classical Revival Brass and Marble Candlestick Lamps, green marble bases support the beaded domed bases, the standard fluted and reeded with bellflowers, beaded bobeches set with electrified faux wax candles, h. 13‑1/2”. [300/500] Illustrated

1637 Neoclassical Mahogany Pier Mirror, second quarter 19th century, the stepped cornice above a gilt foliate cornice over a mask-applied frieze, the rectangular plate within a gilt foliate slip and flanked to either side by free-standing columns, with pendant gilt paw feet, h. 71”, w. 34‑1/2”. [1800/2500] Illustrated

1633

1635 Empire-Style Mahogany Bookcase, the molded cornice with turreted corners above a conforming case fitted with two bi-paneled grilled doors, raised on a plinth base, h. 71”, w. 46‑1/2”, d. 15”. [800/1200]

1634

1637

251

1641 Louis-Philippe Parcel-Gilt and Mahogany Pier Table, second quarter 19th century, the rectilinear top with a raised figured slab over a step-down molded edge, the frieze centered by a figured panel, on turned columns with giltwood capitals and bases joined to a low concave platform base, h. 34”, w. 33‑1/2”, d. 17”. [1200/1800] Illustrated

1643

1642 Continental Faux Bois and Marble-Top Side Table, early 19th century, the rectangular Sainte Anne marble top above a conforming frieze, with applied gilt stars and decorative molding, raised on tapering circular legs with ring-turned feet, h. 31”, w. 41”, d. 19‑1/2”. [1200/1800]

1638 Neoclassical-Style Patinated-Brass Candlestick Lamp, a black marble base supports the gadrooned and leaf-molded base, the tapered and fluted standard with a gadrooned border under a drip cup supporting the leaf-molded candle cup, fitted with an electrified faux candle and a black parchment clip on shade, h. 22‑1/2”, dia. 10‑1/4”. [150/300]

1643 Pair of Baltic Neoclassical-Style Mahogany and Parcel-Gilt Fauteuils, early 20th century, each with a shaped and earred crest joined by scrolling and ribbed arms to the padded seat, raised on sabre legs, h. 37‑1/4”. [2500/4000] Illustrated

1639 Baltic Empire-Style Ebonized Occasional Table, mid19th century and later, the circular top above a conforming frieze, raised on splayed supports and a central support headed by gilt eagle’s heads and resting on a circular plinth base, h. 27‑1/2”, dia. 22”. [450/700] 1640 Continental Terracotta Blackamoor-Form Card Carrier, German, 1887‑1895, the round base supports the standing male figure holding a round tray, impressed “U & C”, “J. Uffrecht & Co, Halden Sleben, Prussia”, h. 16‑1/4”, dia. 6‑1/2”. [70/125]

1641

1644 Continental Neoclassical Mahogany Secretaire Abbatant, second quarter 19th century, the stepped top above a case fitted with an ogee-molded drawer over a drop front opening to an interior fitted with various drawers and cubbyholes and a central paneled cupboard, over three long drawers, raised on block feet, h. 63”, w. 42”, d. 22‑1/2”. [900/1200] 1647

252

1645 Louis XVI-Style Gilt-Metal Four-Light Chandelier, a pierced voluted finial suspended below four arms with pierced voluting supporting bull’s eye molded drip pans and integral candle form light sockets, the guillochemolded turned standard supports a voluted canopy mounted with a ring hook, h. 26”, dia. 16”. [300/500]

1646 Continental Neoclassical Mahogany Desk, second quarter 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a central drawer flanked to either side by two short drawers, raised on tapering square legs ending in brass caps, h. 31‑1/4”, w. 51‑1/4”, d. 27‑1/2”. [1500/2500] 1647 Baltic Neoclassical Mahogany Center Table, second quarter 19th century, the tilting ovoid top banded and with a central quarter-veneered panel, raised on four turned columnar supports to a stepped base on bun feet, h. 30‑1/4”, w. 45‑3/4”, d. 37”. [1400/1800] Illustrated

1651

1648

1650 Biedermeier Revival Mahogany Looking Glass, ca. 1900, the period arched mirror plate in a cyma-molded frame, with a crotch-veneered cove-molded base, h. 56”, w. 26”, d. 3”. [200/400] 1651 Bronze Continental Figures of Mercury and Atalanta on Marble Bases, ca. 1900, the molded black marble bases set with bas relief and depicting frolicking putti, Mercury on one foot and wearing his winged helmet and Atalanta poised in the opposite direction, h. 21”, d. 5”. [800/1200] Illustrated

1652 Lalique, France, “Ganymede” Glass Champagne Bucket, ca. 1970, depicting cavorting nudes among grape leaves, in clear and frosted glass, engraved underneath: “Lalique-France”, h. 8‑7/8”, w. 10”. [500/800] Illustrated

1648 Emile Louis Picault (French, 1833‑1915), “Cloire et Fortune, per laborem, [fame and fortune through labor]”, bronze sculpture retaining patinated finish, the draped figure standing over a sheaf of wheat and a hammer, signed by the foundry, “BL Paris, Vrai Bronze baranti”, h. 11‑1/2”. [500/800] Illustrated 1649 Pair of French Restauration Brass Candlestick Holders, second quarter 19th century, the round bases molded with swirled acanthus leaves and flowers, the standards with engine-turned vasiform bases, surmounted by like-shaped candle cups and bobehces with engineturned trims, h. 10‑1/4”, dia. 4‑3/4”. [300/500]

1652

253

1653

1657 Pair of Anglo-Irish-Style Cut-Glass Open Urns, the stepped feet support tapering faceted stems, the bowls decorated with swirled cutting, h. 12”, dia. 8”. [500/800] Illustrated 1658 Anglo-Irish-Style Cut-Glass Open Compote, the stepped foot supports a tapering, faceted stem, the wide bowl decorated with swirled cutting, h. 10‑1/2”, dia. 15‑1/2”. [600/900] 1659 Set of Six Val St. Lambert Crystal Dessert or Salad Plates, 20th century, Belgian, each with a molded pattern of rays and with ground pontil centers, signed “VSL” in etched block letters, dia. 8”. [100/200]

1653 Lalique, France, “Olga” Glass Caviar Bowl and Liner, late 20th century, the handles frosted and fashioned as stylized sturgeon heads, the bowl and liner engraved underneath: “Lalique-France”, h. 4‑3/4”, w. 8‑3/4”. [300/500] Illustrated 1654 Two Pieces of Signed Steuben Glass, 20th century, Corning, New York, both colorless, the first a low candlestick with ring feet supporting a wide drip pan with a candlesocket, h. 3”, dia. 5‑1/2”, the second a flared bowl, h. 3”, dia. 5”. [70/125] 1655 Blown, Molded and Cut Orrefors Crystal Vase, 20th century, Swedish, the tulip-form vase of colorless glass with a polished base signed “Orrefors” in script, h. 8‑1/4”, dia. 6”. [70/125] 1656 Lalique, France, “Champs Elysee” Glass Centerpiece Bowl, ca. 1975, depicting a large frosted and clear cluster of leaves, engraved underneath: “Lalique-France”, h. 7‑1/2”, l. 18”. [500/800] 1660 suite of ten

1660 After Andy Warhol (American, 1928‑1987), “Marilyn”, suite of ten screenprints published by Sunday B. Morning, unsigned, each stamped verso in black “printed by Sunday B. Morning” and “fill in your own signature”, sheets 36” x 36”. Unframed. [2000/4000] Illustrated

1657

254

1661 George Barris (American, b. 1928), “Feelin’ the Surf”, lithographic poster of a image of Marilyn Monroe taken in 1962 at Santa Monica Beach, published in 1981 by Barris/Monroe Weston Editions, signed lower right margin “George Barris”, sight 26” x 20‑3/4”. Glazed and framed. [700/1000]

1662 Lawrence Schiller (American, b. 1936), “Marilyn Monroe at the Pool”, digital pigment print, c. 2007, signed lower right, numbered lower left “74/75”, 37” x 25”. Glazed and framed. This is one of the last photographs taken of Marilyn Monroe, on the set of her final, never-finished movie, Something’s Got to Give. The nude shots were not published until recently and are captured in Lawrence Schiller’s book “Marilyn & Me: A Photographer’s Memories”. In his book Schiller recollects “At Poolside Marilyn took off her blue bathrobe, hiding her body as she slid into the water. A few moments later when she raised herself from the water, I could see that her panties were gone. She’s done it! And she was having fun.” [8000/12000]

1664

1663 After Pablo Picasso (Spanish/French, 1881‑1973), “Cote d’Azur”, color offset lithograph, printed by Mourlot, Paris, sight 41” x 28‑1/2”. Glazed and framed. [300/500] 1664 John T. Scott (American/Louisiana, 1940‑2007), “Through Lulu White’s Window”, painted wood sculpture, height 12‑1/2”, length 36”. Provenance purchased from artist: Exhibited in “Circle Dance: John T. Scott Retrospective” at the New Orleans Museum of Art, May 7‑July 10, 2005. Known for his innovative and vibrant abstract sculptures, Scott was inspired by the history of New Orleans, specifically the African-Caribbean influences which have long permeated its culture and traditions. His work incorporates references to the city’s tumultuous and flamboyant past, but in an energetic and boldly configured manner. With the work presented here, Scott makes a sly allusion to the infamous Basin Street Mahogany Hall brothel run by the colorful and indomitable Madame Lulu White. Though she died in obscurity and poverty, White was one of the most successful African American businesswomen of her day, maintaining proprietorship of the profitable and popular brothel until its forced closure in 1917. One can only imagine what a viewer would see by peeping through the window of White’s establishment. Though Scott’s earliest artistic training was classical and academic in nature, he was soon enthralled by the seemingly endless possibilities of sculpture. Encouraged by the kinetic sculptor George Rickey (1907‑2002), he began to experiment with more abstract constructions. Scott graduated from Xavier University, where he later spent forty years as a professor of art, and attended the Michigan State University, where he studied under Charles Pollack (1902‑1988). He was a 1992 recipient of the prestigious MacArthur Foundation Grant. Reference: New Orleans Museum of Art, “Circle Dance: John T. Scott Retrospective”, 2005. New York Times Obituary, September 4, 2007. [5000/8000] Illustrated 1665 After Charles Beglia (French, 1887‑1963), “Nice Carnival, 1954”, lithographic poster, sight 38‑1/2” x 23”. Glazed, handsomely matted and framed. [300/500]

1670

1666 Contemporary Lexan and Glass Occasional Table, the inset glass top on a cylindrical pedestal with the unjoined ends, h. 20”, dia. 16”. [300/500] 1667 Contemporary Lexan Occasional Table, of cantilevered “U” form, the base on like casters, h. 23”, w. 15”, d. 13‑1/2”. [200/400] 1668 Murano Blown Glass Bowl, Italian, the low bowl decorated with concentric rings of interior bubbles, which grow in size as they move up the ball, in colorless gilt-flecked glass, signed “ARS Cenedrese, Murano”, h. 5‑1/2”, dia. 11‑1/4”. [150/300] 1669 Art Deco Daum Transparent Green Cut-Glass Vase, second quarter 20th century, signed on the base “DAUM, Cross of Lorraine, Nancy France”, h. 7‑1/4”. [200/400] 1670 Victor Salmones (Mexican, 1937‑1989), “Manantial - Fountain of Youth”, bronze, signed at edge of right thigh, now functioning as a fountain, h. 53”. [2000/4000] Illustrated

255

1671

1676

1671 English Art Deco Patinated Bronze Garden Figure of a Kneeling Archer, ca. 1900, h. 44”, w. 37‑1/2”. [2000/4000] Illustrated

1673 Roland Digital Intelligent Ebonized Baby Grand Piano and Bench, model KR-1070, h. 39”, w. 58”, l. 64”. [3000/5000]

1673

1672

1672 Contemporary Gilt-Metal and Glass Occasional Table of Neoclassical Inspiration, the “India table” designed by Jan Showers, the circular glass top supported by a ring joined to four C-form legs, the legs joined by a central ring, h. 27”, dia. 31‑1/2”. [800/1200]

256

1674 Brass and Glass Two-Tier Serving Trolley, each glass shelf with rounded corners and a beaded perimeter, the lower shelf with reeded handles and fitted to lift off the frame, h. 25”, w. 27‑3/4”, d. 17‑1/2”. [250/400] 1675 Gilt Wrought-Iron and Glass Three-Tier Trolley, one end fitted with a finely reeded handle, the inset glass shelves supported by wrought legs, segment bisected by a twisting iron, on spoked casters, h. 38”, w. 32”, d. 18”. [300/500]

1677

1676 Hollywood Regency Giltwood Looking Glass, second quarter 19th century, of rectilinear form, the beveled mirror plate in a reeded frame, h. 42”, w. 32‑1/4”. [500/800] Illustrated 1677 Dessin Fournir Eighteen-Light Chandelier, composed of twenty-two karat gilded iron, the large Duveaux model is a post-modern design consisting of interlocking mirror image “D”’s alternating with pierced fleur-de-lis set with six sets of triple candle arms, the faceted and tapered support chains gilded to match the base, h. 66”, dia. 57”. [10000/15000] Illustrated

1678 Dennis Akervik Coelho (American, Contemporary), “Toxic Rebirth”, acrylic on canvas, signed lower right, verso with a label inscribed with artist’s name, title and dimensions of work, 60” x 20”. Unframed. [4000/7000] Illustrated 1679 Contemporary Ebonized Metal Floor Candelabrum, 1980’s, with eight candle stands of staggered height, resting on a reticulated abstract base, h. 53‑3/4” with candles. [300/500]

1680 Colo Milling (Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Reaching”, bronze sculpture, h. 11-3/4”, l. 8-1/2”, d. 5-1/2”. Provenance: Purchased from artist by present owner. [600/900] 1681 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Starting”, bronze sculpture, h. 10-1/2”, l. 8-1/2”, d. 6-3/4”. Provenance: Purchased from the artist by present owner.A native of New Orleans, Milling studied at the Art Student’s League and the Sculptor’s Workshop in New York. Known for his portraits of local politicians, sports figures, and other luminaries, his work can be found in the collection of Tulane University, the Ogden Museum of Southern Art, and the Louisiana State Capitol Memorial Hall [600/900] 1682 Contemporary Marble and Glass Cocktail Table, the square glass top raised on a square variegated charcoal pedestal, h. 16”, w. 44”, d. 44”. [200/400] 1683 Contemporary Variegated Charcoal Marble Pedestal, of square form, h. 30”, w. 14”, d. 14”. [200/400]

1678

257

1684 Pair of Contemporary Oak and Brass Display Cabinets, each with two front doors set with beveled glass, surface-mounted brass hinges and matching door latches, the sides set with beveled glass and the lighted interiors backed with mirrors, h. 82‑1/4”, w. 31‑1/2”, d. 15”. [400/600] 1685 Maggie Hasbrouck (American, Contemporary), “Magnolia Bloom”, photoencaustic, 2011, signed, dated and titled on the reverse, reverse with “The Lowe Gallery, Atlanta, GA”, exhibition label, 36” x 48”. Presented in a custom shadowbox-style frame. [3000/5000] Illustrated

1685

1686 Maggie Hasbrouck (American, Contemporary), “Pumpkin Flowers With Butterflies”, photoencaustic, 2009, signed, dated and titled on the reverse, reverse with the “Bill Lowe Gallery, Atlanta, GA” exhibition label, 48” x 60”. Presented in a custom shadowbox-style frame. [2000/4000]

1690

1687 Elijah Pierce (American, 1892‑1984), “Billie Holiday”, mixed media, signed and dedicated on the reverse “Elijah Pierce for Miriam Brofsky”, 15” x 11”. [800/1200] 1688 American School (Contemporary), “Autumnal Landscape”, acrylic on canvas, signed lower right “Lister”, 48” x 38”. Handsomely framed. [900/1200] 1689 Three Book Sculptures, late 20th century, created by Cristina Corradi Bonino, the pages of each book artfully folded, presented in a wood-framed glass display box, overall h. 18‑1/4”, w. 16‑3/4”, d. 10”. [150/300] 1690 French Art Deco-Inspired Contemporary Mahogany Armchair, of generous proportions, the back joined to a downswept arm support, on tapering square legs, fitted with a loose seat cushion, crafted by Dessin Fournir, Eyton Bergere #2005, h. 40‑1/2”. [1500/2500] Illustrated 1691 Contemporary Pickled Oak Dining Table, the square slab top with a chamfered edge, supported by a rectilinear column on a stepped plinth base, h. 30‑1/2”, w. 48”, d. 48”. [500/800]

1692

258

1692 Contemporary Vellum and Oak Low Table by Mattaliano, with vellum panels applied to a wood frame, rounded corners and fluted oak feet, the underside with the metal plate “Mattaliano Chicago, Illinois”, h. 16‑1/2”, w. 32”, d. 19”. [1000/1500] Illustrated

1695 pair

1693

Etts is a surrealist sculptor, known for images of body parts, especially hands. His work is included in the Smithsonian Institution. [1200/1800] Illustrated 1694 Unusual Galvanized Metal Occasional Table, the circular top raised on a shaped pedestal base, h. 23‑3/4”, dia. 14”. [250/400] 1695 Rare Pair of Art Deco Fountain-Form Chandeliers, first quarter 20th century, probably French, ball finials hang from the cut and acid-etched art deco lower shade, which is secured in a molded bronze shade ring, along with the lower tier of sprays of prisms simulating water, the upper tier, a smaller version of the lower, supported by an oblong tubular bronze standard, both it, the leafmolded shade holder and the leaf-molded organic-form canopy harken to the slightly earlier secessionist design movement, the lower bowls conceal twelve light sockets, the upper bowls six, one of the pair pictured in “The Chandelier Through the Centuries”, by Kerri McCafferty, h. 46”, dia. 37”. [10000/15000] Illustrated

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1697

1698 Abalone-Encrusted Impala Skull with Horns, the skull covered with a mosaic of abalone shell pieces, giving it a beautiful luster, the horns left natural, h. 27‑1/4”, w. 17‑1/4”, d. 9‑1/2”. [150/300] 1699 Unusual Silver-Leafed Wildebeest Skull with Horns, the skull with curving horns and ornaments with a silver leaf finish, h. 23‑1/2”, w. 18‑1/2”, d. 8‑1/4”. [200/400]

1701

1696 Contemporary Cast-Stone and Glass Triple Pedestal Banquet Table, the top of two pieces of three-quarter thick glass, supported by a trio of flaring pedestals with canted corners and cyma-form plinth bases, the pedestals crafted by Stone Yard Inc., CA, h. 29‑3/4”, w. 56”, d. 128”. [2000/4000] Illustrated

1700

1697 Amador Braojos (Spanish, b. 1947), “Toro”, 1994, multi-media sculpture, body composed of sterling silver and varicolored obsidian, black obsidian for the horns, quartz crystals for the base, height 25 1/4”, length 25”, depth 15 1/2”. Accompanied by a letter of authentication from the artist. Braojos studied in Madrid with metalworkers and master jewelers before expanding into sculpture. This early training is evident in his deft handling of the precious and semi precious materials he uses in his works. The artist frequently incorporates minerals into his sculpture in such a way as to enhance their natural beauty, as seen with the stunning crystal base of the work offered here. Long interested in the iconography and mythology of the Ancient World, Braojos here references the famous bull of Knossos, a symbol of power, virility, and strength. Braojos has exhibited throughout the world including Paris, Majorca, Milan, and Frankfurt, and was on the judiciary board of the 2012 MinerlART Design Competition held in Germany. [12000/18000] Illustrated

1696

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1700 John Dickinson (American, 1920‑1982), Galvanized Tin and Brass Side Table, ca. 1975, model number 107, unsigned, h. 24”, w. 29‑1/4', d. 28‑1/2”, top w.20‑1/4”, d. 20‑1/4”. Provenance: Purchased by the consignor in the late 1970s at the John Dickinson & Associates showroom, & Vise Versa, New York, New York. [7000/10000] Illustrated

1707

1701 John Dickinson (American, 1920‑1982), White-Painted Plaster and Galvanized Tin Table Lamp, ca. 1975, model number 105, overall h. 32”. Provenance: Purchased by the consignor in the late 1970s at the John Dickinson & Associates showroom, & Vise Versa, New York, New York. [5000/8000] 1702 David Caton (American/Texas, b. 1955), “Untitled #13”, oil on paper, 1979, verso affixed with a Max Hutchinson Gallery label, inscribed with the artist’s name, title, date and dimensions of work, 29‑1/2” x 39‑1/2”. Presented in a shadowbox style frame. [400/700] 1703 Jeffrey Cook (American/Louisiana, 1961‑2009), “Untitled”, oil and mixed media on paper, signed lower left, 22” x 30”. Unframed. [300/500] 1704 Gregory Grenon (American, 20th/21st Century), “Personal Details", oil on plexiglass within an artist designed polychrome three-dimensional wood frame, titled and dated “1988” bottom, signed and dated on the glazed surface “G.M. Grenon 88”, h. 6‑1/4”, w. 7”, d. 3‑3/8”. [300/500] 1705 Daniel Butler (American, 1898‑1997), “Marsupial With Baby”, oil on tin, initialed “D.B”, 11” x 19”, together with R.A. Miller (American/Georgia, 1912‑2006), “Flag”, oil on tin, signed lower left “R.A. Miller”, 13” x 17”. Provenance: Gasperi Gallery, New Orleans, LA. [600/900] 1706 Joseph Stella (American, 1880‑1946), “Two Leaves”, collage with natural leaves on paper, reverse with a “Pensler Galleries, Washington DC” and “Zabriskie Gallery, New York City” exhibition labels, 6‑1/16” x 2‑13/16”. Glazed, attractively matted and framed. [600/900] 1707 Suite of Four Emeco “Kong” Pattern Brushed Aluminum Barstools, Designed by Phillipe Starck, comprised on a pair of single arm stools and a pair of armless stools, the gently concave elliptical back joined to a saddle seat on tapering legs connected by a low stretcher, each chair engraved on the back “Emeco Starck”, h. 39‑3/4”. After a design created by Starck for the Restaurant Kong in Paris, the single arm chair reputedly was designed to make it easier to slip on and off the chair. [500/800] Illustrated

1708 Contemporary Teak and Polished Cast-Aluminum “Robinwood” Garden Chair, designed by Phillipe Starck and executed by Sutherland, the ovoid aluminum back extending to splayed rear legs joined to a dished seat and tapering front legs crafted from teak, the underside of the chair impressed “Sutherland”, h. 35”. [300/500] 1709 Contemporary Steel, Iron and Glass Cocktail Table, the rectangular glass top above two elaborately patterned and pierced iron panels, raised on square legs, h. 19”, w. 48”, d. 43”. [400/700] 1710 Polychromed and Mirrored Occasional Table, the circular top with an inset mirrored surface, raised on a heavily turned graduated circular standard, h. 22”, dia. 16”. [300/500] 1711 Pair of Contemporary Steel and Brass Sidechairs, attributed to Mario Villa, New Orleans, Louisiana, the rectilinear frames with abstract brass swag and tassel pierced designs, mounted with upholstered slip seats, h. 35‑1/2”. [500/800] 1712 Pair of Rococo Revival Cast-Iron Architectural Elements Mounted as Lamps, ca. 1900, Continental, the vertical fluted posts joined with pierced “C” scrolls terminating in cockerell heads, mounted with shades, h. 40”. [900/1200]

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Modernism A picture is a flat surface with paint on it-nothing more. Frank Stella In 1964, the influential art critic and historian Clement Greenburg (1909‑1994) curated a traveling exhibition of emerging artists, concentrating on those painters who were shifting away, stylistically and ideologically, from the abstract expressionist painters of the previous generation. While many of the artists included in the exhibit had begun their careers producing works that fell easily within the definition of abstract expressionism, they had begun to pull away from it. Those painters began to experiment with an increasingly formalistic style, emphasizing sparseness, geometric shapes, and bold colors, creating paintings more constrained and orderly than the work that preceded them. There was a movement away from not only the identifiably figural but also from the suggestion or allusion of the figural. The idea of narrative as an essential component of a painting was tossed out; as the painter Mark Rothko once stated; “A painting is not a picture of an experience; it is an experience.” Greenberg referred to this type of art as post-painterly abstraction, a term he borrowed in part from Swiss art historian Heinrich Wolfflin, who used the term “malerisch” (painterly) to describe works that blurred the lines between color and form; post-painterly therefore implies the opposite- a linear sharpness, an emphasis on the edges. One of the young artists included by Greenberg in the exhibition was the California Color Field painter Thomas Downing, represented by lots 1713-1715 . Downing’s work reveals an emphasis on the expressive power of color, with the canvas as an undefined space. Employing stark geometric figures against an often raw canvas, the artist creates a flat composition which hints at a sense of vibrancy by the meticulous and precise placement of the areas of color. Downing attended the Pratt Institute and studied with Kenneth Noland (1924‑2010) at Catholic University. A grant from the Virginia Museum of Fine Arts enabled him to study at the Academie Julien in Paris. While the movement had its origins in the Unites States, it soon began to influence artists in Europe. These artists incorporated aspects found in abstraction, but integrated their specific world view and experiences. A native of Barcelona, Joan Hernandez Pijuan’s works as seen in lots 17161725, reveal a delicate balance between schematic composition and an almost impressionistic use of color gradation. The artist’s emphasis is on the completed composition as a hand-wrought construct and not as a narrative conduit; the viewer responds on a visceral emotional level, not as a reaction to a fleeting narrative. The result is a work of intensely controlled order. The artist has maintained that his goal is a state of tension bordering on vibration; this is especially apparent in his paintings where the layers of paint and the closely structured brushwork create a sense of depth and vitality. Pijuan attended the Escuela Superior de Bellas Artes de Barcelona and L’Ecole des Beaux-Arts in Paris, where he studied engraving. He was a professor at the University of Barcelona and was named a Fellow of the Royal Academy of Fine Arts of San Fernado. Pijuan was the recipient of numerous awards, including the prestigious Madrid National Fine Art Prize. References: Greenberg, “Post Painterly Abstraction”; 1964. Exhibition Catalogue, Post Painterly Abstraction, 1964. Hernadezpijuan.org.

1713 Thomas Downing (American/Washington D.C., 1928‑1985), “Untitled”, oil on canvas, signed verso canvas, 70” x 69‑3/4”. Unframed. Provenance: Purchased directly from the artist by the current owner. [10000/15000] Illustrated

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1714 1714 Thomas Downing (American/Washington D.C., 1928‑1985), “Grid Five”, oil on canvas, 1969, signed, titled and dated verso canvas, 77” x 128”. Unframed. Provenance: Purchased directly from the artist by the current owner. [8000/12000] Illustrated

1715 Thomas Downing (American/Washington D.C., 1928‑1985), “Djema”, oil on canvas, 1972, signed, titled and dated verso canvas, 84‑3/4” x 147”. Unframed. Provenance: Purchased directly from the artist by the current owner. [7000/10000] Illustrated

1715

263

1716 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Triptych of Montargull”, three oils on canvas, one canvas signed and titled verso, each 63‑3/4” x 53‑1/8”. Each presented in an aluminum frame. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. [40000/70000] Illustrated

1719 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Study for Triptych of Montargull”, graphite on paper, 1985, titled, signed and dated lower right, 37‑3/8” x 13”. Unframed. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. [600/900]

1717 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Colors for Triptych of Montargull (1)”, oil on canvas, signed and titled verso, 18‑1/2” x 15”. Presented in an aluminum shadowbox frame. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. [5000/8000] Illustrated

1716

1718 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Colors for Triptych of Montargull (2)”, oil on canvas, signed and titled verso, 18‑1/2” x 15”. Presented in a aluminum shadowbox frame . Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. [5000/8000] Illustrated

1717

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1720 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Blues-Greens”, oil on canvas, 1978, signed, titled an dated verso, 76‑3/4” x 38‑1/4”. Presented in an aluminum frame. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. [20000/40000] Illustrated

1718

1722 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Six Moments to Define Light in a Landscape”, six watercolors on paper, mounted on poster board, signed and dated lower right “Hernandez Pijuan 1977”, titled upper center, overall 28‑1/2” x 40”. Unframed. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas. Literature: Maria Teresa Blanch, Human and Pictorial Significance in the Landscapes of Hernandez Pijuan, Galerie Joan Prats, Barcelona, 1979. [2000/4000] Illustrated 1723 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Shadow”, gouache and lead pencil on paper, signed and dated lower right ‘Hernandez Pijuan ‘77”, sight 8‑1/8” x 11‑3/4”. Glazed, matted and framed. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist.. [500/800]

1720

1721

1721 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Six Moments to Define Space in a Landscape”, six lead pencils on paper, mounted on poster board, signed and dated lower right “Hernandez Pijuan 1977”, titled upper center, overall 28‑1/2” x 40”. Unframed. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. Literature: Maria Teresa Blanch, Human and Pictorial Significance in the Landscapes of Hernandez Pijuan, Galerie Joan Prats, Barcelona, 1979. [2000/4000] Illustrated

1722

265

1724 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Four Pears With Color Scale”, graphite and watercolor on paper, signed and dated lower right “Hernandez Pijuan 1977”, sight 25” x 19”. Glazed, matted and framed. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. [1200/1800] Illustrated 1725 Joan Hernandez Pijuan (Spanish, 1931‑2005), “Two Apples With Color Scale”, graphite and watercolor on paper, signed and dated lower right ‘Hernandez Pijuan 1977”, sight 16‑3/4” x 12”. Glazed, matted and framed. Provenance: Collection of Nita W. Biskamp, Beaumont, Texas, purchased directly from the artist. [600/900] 1726 William Anzalone (American/Texas, b. 1935), “Busy Beach Scene”, oil on canvas, signed lower right “Anzalone”, verso stretcher with a partial “Long & Company, Houston, Texas” label, 50” x 72”. Framed. [3000/5000] Illustrated

1726

1729 Robert Gordy (American/Louisiana, 1933‑1986), “Study for Stairs”, charcoal on paper, 1965, initialed and dated lower center “RG ‘65”, reverse with an exhibition label, sheet 19” x 26”. Glazed, matted and framed. Exhibited: "Robert Gordy Paintings and Drawings", New Orleans Museum of Art, 1981. + [500/800] 1730 Caroline Durieux (American/Louisiana, 1896‑1989), “Shelter”, color lithograph, pencil signed lower right, numbered “19/20” and titled in pencil lower left, sight 13‑1/2” x 19”. Glazed, matted and framed. [500/800] 1731 Serapi Carpet, 10’2” x 13’9”. [700/1000] 1732 Karaja Runner, 2’3” x 8’8”. [400/700]

1724 1727 Tony Green (American/Louisiana, b. 1954), “Marina de Venezia”, oil on board, signed lower left, signed and titled verso, 6” x 24”. Framed. [600/900] 1728 Noel Rockmore (American/Louisiana, 1928‑1995), “Kabuki Still Life”, watercolor on paper, signed and titled lower left, sight 21‑1/2” x 26‑1/2”. Glazed and presented in an ebonized, faux-bamboo frame. [700/1000] Illustrated 1728

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1735 Shiraz Runner, 3’5” x 6’9”. [200/400] 1736 Aubusson Carpet, 7’9” x 10’. [1800/2500] 1737 Antique Karabagh Carpet, 4’ x 10’2”. [1800/2500] 1738 Bokara Runner, 2’7” x 9’1”. [150/300] 1739 Chinese Carpet, 8’3” x 12’. [1200/1800]

1741 1733 Bidjar Runner, 3’9” x 14’2”. [500/800] 1734 Alliri Carpet, 8’2” x 13’2”. [3000/5000]

1742 1740 Sultanabad Carpet, 10’2” x 13’2”. [300/500] 1741 Semi-Antique Persian Kirman Carpet, 12’ x 16’10”. [1500/2500] Illustrated 1742 Turkish Angora Oushak Carpet, 8’3” x 10’1”. [1200/1800] Illustrated 1743 Antique Oushak Carpet, 6’7” x 7’9”. [1400/1800] 1744 Hamadan Carpet, 5’ x 7’2”. [300/500] 1745 Turkish Angora Oushak Carpet, 8’ x 10’. [1200/1800] Illustrated 1745

1746 Kerman Carpet, 11’8” x 16’. [600/900]

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Index of Artists and Printmakers

A American School 1465, 1688 Andrews, Ambrose 824 Anzalone, William 1726 Audubon, John James (after) 1373, 1374, 1375, 1376, 1377, 1378, 1379

November 30-December 2, 2012 Costin, John 415 Crimmins, John 396 D Dâ&#x20AC;&#x2122;Espagnat, Georges 1154 De Baugnies, Rene 1148 De Callatay, Xavier 416

De Namarga, Marguerite 1612

Barabino, Nicolo 834

Dickinson, John 1700, 1701

Barris, George 1661

Downing, Thomas 1713, 1714, 1715

Basset, Louis 744

Drysdale, Alexander John 1433, 1444, 1445

Beglia, Charles (after) 1665

Drysdale, John Alexander 1434

Besler, Basil 157

Durieux, Caroline 1730

Beverly, William Roxby 444

Dutch School 441, 595

Braojos, Amador 1697

British School 1038, 1039, 1042, 1043, 1045, 1048, 1360, 1362 Buford, Claude-Marie 395 Butler, Daniel 1705 C Cain, Charles William 1614 Carucci, Jacopa , called Pontormo (cir.) 839 Carucci, Jacopo (circle) 443 Caton, David 1702 Chalet, Andre 394 Clodion, Claude Michel (after) 931 Coelho, Dennis Akervik 1678 Continental School 692, 814, 826, 1538 Cook, Jeffrey 1703 268

Efimenko, Victor 1388 Etts, Richard 1693 Etty, William (attr.) 980 F Francken, Frans (studio) 840 French School 111, 597, 694, 793, 794, 1532, 1533 G Gerard, John (aft.) 158 Gordy, Robert 1729 Gould, John 965, 969 Gray, John 448 Green, Tony 1727 Grenon, Gergory 1704 Griffith, Dusty 1457, 1458

Index of Artists and Printmakers

November 30-December 2, 2012

Guanzhong, Wu 193

Maurin, Nicolas Eustache 1613

Mauve, Anton 598

Harris, Moses 161

Mauve, Anton (after) 1094

Hasbrouck, Maggie 1685, 1686

McKenney & Hall 1381

Howie, James 1049

Meeks, Eugene 732

Huisken, Hermann 590

Mignard, Pierre, the Elder (circle) 582

Hurel, Suzanne 1113

Miller, R.A. 1705

Miller, Willam Rickarby 1477

Italian School 831, 846, 1615

Milling, Colo 1680, 1681

Munting, Abraham 156

J. Gould & H.C. Richter 966

Jacovacci, Francesco 1536

Oâ&#x20AC;&#x2122;Neill, John P. 413, 414

Jambor, Lajos (Louis) 1386

Jancsek, Antal 693

Palamedes, Anthonie (follower) 588

Johnson, Richard 1459

Perry, Clara Fairfield 1160

Petit, Leon 1138

Karssen, Anton 1040, 1041

Picasso, Pablo (after) 1663

Kneller, Godfrey (circle) 581

Picault, Emile Louis 1648

Koekoek, Hermanus Snr. (follower) 596

Pierce, Elijah 1687

L Landseer, Edwin (after) 721

Pijuan, Joan Hernandez 1716, 1717, 1718, 1719, 1720, 1722, 1723, 1724, 1725

Lear, Edward 968

Leclerc, George Louis 159

Raeburn, Henry (attr.) 442

Lefort, Jean 393

Ratinckx, Joseph Leopold 1537

Leroy, Bart Schouten 1122

Redoute, Pierre Joseph (after) 160

Louisiana School 720

Renard, Paul 691

Reni, Guido (after) 825

Mallet, Alain Manesson (after) 117

Rockmore, Noel 1728 269

Index of Artists and Printmakers

November 30-December 2, 2012

Rodrigue, George 1456

Wolf, Joseph (after) 967

Rucker, Robert M. 1394, 1396, 1397, 1398, 1399

Wood, William Thomas 446

Rucker. Robert M. 1395

Woodward, Ellsworth 1383, 1446, 1447

Sanderson, Robert 707

Yartner, L 593

Sawyier, Paul 1384 Schiller, Lawrence 1662 Schofield, Anke 1466 Schouten, Henry 1093 Scott, John T. 1664 Shoumatoff, Elizabeth 1385 Southern School 1361 Spanish Colonial School 830 Stella, Joseph 1706 Stewart, Allison 1460, 1461, 1462, 1463 Swyncop, Philippe 1387 T Turner, Helen M. 1382 V Van der Plas, Niek 661, 662, 663, 664 Van Hove, Bartholomeus J. (follower) 594 Verlat, Charles 649 W Wagner, Fritz 735 Warhol, Andy (after) 1660 Warrens, Robert 1464 Werner, Friedrich Bernard (after) 118 Williams, Walter Heath (attributed) 447 270

Index of Artists and Printmakers

November 30-December 2, 2012

Glossary The Artistâ&#x20AC;&#x2122;s Name: In New Orleans Auction Galleries opinion, a work by the artist. Attributed to: In New Orleans Auction Galleries opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In New Orleans Auction Galleries opinion, a work by a follower of the artist. Circle of: In New Orleans Auction Galleries opinion, a work of the period of the artist and showing his influence. Manner of: In New Orleans Auction Galleries opinion, a work in the style of the artist, p ossibly of a later period. After: In New Orleans Auction Galleries opinion, a copy of the work of the artist. Signed: Has the signature which in New Orleans Auction Galleries opinion is that of the artist. Bears Signature: Has a signature which in New Orleans Auction Galleries opinion might be the signature of the artist. Dated: Is so dated and in New Orleans Auction Galleries opinion was executed at about that date. Bears Date: Is so dated and in New Orleans Auction Galleries opinion may have been executed at about that date.

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NEW ORLEANS AUCTION GALLERIES

REQUEST FOR CONDITION REPORTS (DEADLINE: THURSDAY, November 29 AT 5:00 P.M.) Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion.

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Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Thursday, July 26, 2012 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, November 29, 2012

We Accept VISA and MasterCard for Invoices Up to $25,000 There will be a buyer’s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold.

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Items in the catalogue are sold as is, where is. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final. Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

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.

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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 ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES (a). 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 WARRANTY 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). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to (b). 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. Catalogue and other descriptions. (c). (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 276

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. Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (d). (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 Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to (a). 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). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse (b). 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. Absentee bids / Telephone bids. (c). (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”).

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(ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid). (iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in (d). 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. Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below (e). 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. No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or (f). 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. Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse (g). 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. Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the (h). 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. Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn (i). 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 278

(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 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer) 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. Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG (b). 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, 801 Magazine 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. Credit Cards. Your signature on this form constitutes permission to charge the full amount of the (c). 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. Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full (d). 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 anti-terrorism 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. Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or (e). 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. Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day (f). 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.

Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good (g). 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 279

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. Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the (h). 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. Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section (i). 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 280

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.

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This Form Must Be Submitted by Thursday at 5:00 p.m.

absentee / telephone bid form

NEW ORLEANS AUCTION

282

GALLERIES

Paddle #_______________ 801 Magazine Street, New Orleans, LA 70130

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. See previous pages for the complete Conditions of Sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: ________________ Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number) 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 23% 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, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ________________________________ Please fax this completed form to: 504-566-1851 or E-mail to info@neworleansauction.com

This Form Must Be Submitted by Thursday at 5:00 p.m.

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ 283

This Form Must Be Submitted by Thursday at 5:00 p.m.

absentee / telephone bid form

NEW ORLEANS AUCTION

284

GALLERIES

Paddle #_______________ 801 Magazine Street, New Orleans, LA 70130

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

Signature (Required): ________________________________ Please fax this completed form to: 504-566-1851 or E-mail to info@neworleansauction.com

This Form Must Be Submitted by Thursday at 5:00 p.m.

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ 285

NEW ORLEANS AUCTION

CATALOGUE ORDER FORM

GALLERIES

Please Print, Complete and mail or Fax New Orleans Auction Galleries 801 Magazine Street, New Orleans, LA 70130 Phone: (504) 566-1849 • Fax (504) 566-1851 Email: info@neworleansauction.com www.neworleansauction.com

NAME ________________________________________________________________________________________ STREET ADDRESS ______________________________________________________________________________ CITY _________________________________________________________________________________________ STATE ________________________________________ ZIP ____________________________________________ BUSINESS PHONE ______________________________________________________________________________ HOME PHONE ________________________________________________________________________________ FAX PHONE __________________________________________________________________________________ E-MAIL _______________________________________________________________________________________ PLEASE INDICATE YOUR METHOD OF PAYMENT

Annual Subscription (Domestic) Annual Subscription (International) (6 issues) - $300.00 Single Catalogue for Upcoming Auction (Domestic) $25.00 Single Catalogue for Upcoming Auction (International) $50.00

CHECK MADE PAYABLE TO NEW ORLEANS AUCTION GALLERIES VISA

MASTERCARD

Credit Card Number ________________________________ Expiration Date ____________________________________ _ Amount $ ________________________________________ _

I do not wish to subscribe at this time, but please include me on your mailing list.

Signature _________________________________________ Office Use: Mail Code __________ Sub. End Date

YOUR SATISFACTION IS IMPORTANT TO US. IF YOU HAVE ANY PROBLEMS WITH YOUR ORDER PLEASE CALL (504) 566-1849. PLEASE VISIT US ONLINE WWW.NEWORLEANSAUCTION.COM FOR MORE INFORMATION. 286

Page No. 1

11/14/2012 12:38:24 Prices Realized for Sale 1204 October 6-7, 2012 Major Estates Auction

Lot# 1 2 3 4 7 8 9 11 13 15 16 17 19 20 21 22 23 24 25 26 27 28 29 31 32 33 34 37 38 39 40 43 45 49 50 53 55 56 57 60 62 63 64 67

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

1,722 1,968 1,230 799 522 276 1,045 922 184 676 276 1,230 553 1,168 2,337 338 307 1,230 98 615 369 553 123 430 492 984 799 676 1,107 1,168 676 98 153 984 922 3,198 615 1,230 1,353 123 4,182 307 307 369

69 70 71 72 74 75 76 80 81 83 85 86 87 88 89 90 91 92 94 95 97 98 101 104 105 106 110 111 113 114 115 116 118 123 125 126 128 133 135 136 137 138 141 143

615 1,353 276 276 861 861 615 369 584 215 1,722 1,599 338 799 2,091 184 276 399 584 3,690 492 1,045 522 799 1,107 338 6,457 3,444 307 430 615 399 615 123 922 123 399 461 1,107 4,182 6,150 2,952 2,706 2,214

151 152 155 156 158 159 160 163 164 166 167 168 174 175 176 178 179 180 181 183 184 185 186 187 188 189 193 198 199 204 205 206 207 208 209 210 212 218 221 223 225 226 228 230

338 123 984 492 1,045 922 307 430 123 4,674 307 861 615 246 184 1,968 492 1,168 1,476 2,091 98 98 1,599 1,045 2,706 1,045 676 615 615 2,214 307 1,353 215 184 5,658 369 369 984 369 153 2,214 1,230 799 246

231 234 235 236 237 245 248 249 251 253 254 255 258 260 262 263 265 266 270 274 275 276 278 279 284 286 288 290 291 293 296 297 299 300 303 304 305 306 307 308 311 312 315 316

1,107 615 1,599 307 799 1,845 1,168 1,476 799 1,599 338 676 861 584 584 799 1,845 1,230 307 5,412 738 2,214 3,690 2,214 3,444 1,476 984 1,045 922 676 3,444 2,337 922 799 1,968 1,722 1,599 922 1,107 1,230 1,230 3,198 1,353 399

318 319 320 322 323 329 330 331 332 333 334 335 336 338 344 346 347 349 351 352 354 355 357 358 362 363 364 365 369 370 375 378 388 392 397 398 399 400 402 403 404 405 406 408

215 215 430 338 184 1,722 861 1,230 861 861 2,214 492 153 153 861 1,353 1,230 246 461 984 399 1,045 553 307 153 98 276 246 492 98 615 1,230 2,214 1,168 738 1,045 1,722 369 738 123 430 799 3,444 492

411 413 414 415 416 417 418 419 422 423 425 426 428 429 434 435 436 437 438 440 442 446 449 450 451 453 456 457 459 461 464 466 467 468 471 475 477 480 483 487 488 490 491 492

1,845 461 1,599 184 553 2,091 861 1,107 399 215 123 522 2,952 338 492 123 922 184 215 461 2,706 3,444 307 676 307 584 738 399 584 3,567 1,476 2,337 799 492 861 553 799 430 215 984 922 307 246 522

493 494 495 496 497 498 499 500 505 506 507 508 511 513 515 516 517 518 519 520 521 522 524 525 526 527 529 530 531 532 533 535 536 537 540 542 545 546 548 549 550 557 560 561

1,476 738 98 492 153 799 1,168 584 276 1,045 861 2,214 1,476 307 276 110 369 369 615 461 1,968 1,353 461 4,920 861 184 307 399 1,353 246 369 553 215 369 5,412 369 1,968 861 307 799 1,722 2,706 461 369

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NEW ORLEANS Susan Krohn CEO Consignments

Tessa Steinkamp - Director of Consignments Ireys Bowman - Continental and English Decorative Arts; Vintage Couture Greg S. Kowles - American, Continental, and English Furniture and Decorative Arts Jelena Restovic James - Continental Paintings and Works on Paper; Natural History Prints Michele M. Carolla - British and American Paintings and Works on Paper; Photography Thomas Halverson - American Furniture and Decorative Arts Sean Ranson - Fine Carpets

Consultants / Cataloguers

Charles C. Cage - Silver; Books, Manuscripts, and Ephemera

James Callahan - Asian Art

Ellen McKenzie - English and Continental Furniture

Ira Savoie, Independent Certified Gemolist Appraiser Bryce Reveley - Textiles and Vintage Couture

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AUCTION GALLERIES Ashton Thomas President

Administration

Colleen Ryan - Director of Human Resources

Charles C. Cage - Office Manager

Kim Lemon - Customer Service Manager

Christa M. Ougel - Graphic Designer / Advertising

Denise Haik - Graphic Designer / Exhibition Staff

Liz Ferguson - Graphic Designer

Burke - Designer

Ellen McKenzie - Graphic Designer

Lynn Bowker - Interior Design / Exhibition Staff

Gary Michael Gittelson - Photography

Operations

Michael S. Knight - Director of Operations

Cedric Roberts / Bennie Amos / Emmitt Kendrick, Jr. / Eddie Daigrepont / Darius Carter

Auctioneers:

Ashton Thomas Robin Ruiz Tessa Steinkamp C. Davin Boldissar 291

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