May 21-22 Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries

m ay 2 1 - 2 2 , 2 0 1 6

Lot 173

Exhibition:

E v e n i n g Re c ep t i o n :

May 9 - 20, 2016 9:00 a.m. - 5:00 p.m.

Thur sday, May 19, 2016 5:00 - 8:00 p.m.

Monday - Saturday, Closed Sunday

S ess i o n I :

S ess i o n II :

Saturday, May 21, 2016 10:00 a.m. CDT, Lots 1 - 580

Sunday, May 22, 2016 10:00 a.m. CDT, Lots 581 - 1061

10:00 - 11:00

581 - 661

11:00 - 12:00

100 - 199

11:00 - 12:00

662 - 740

12:00 - 1:00

200 - 299

12:00 - 1:00

741 - 840

1:00 - 2:00

300 - 399

1:00

2:00

841 - 940

2:00 - 3:00

400 - 499

2:00

3:00

941 - 1040

3:00 - 4:00

500 - 580

3:00

3:15

1041 - 1061

F e a t u r i n g P r o pe r t y F r o m : M e r r y l I s r a e l Ar o n N e w O r le a ns, L o uis ia na T he Pe r s o na l C o lle c t io n o f Ar t hur Silv e r m a n N e w O r le a ns, L o uis ia na Es t a t e o f Je a n M c K e nz ie D ia z Syd ney, A us t r a lia a nd N e w O r le a ns, L o uis ia na

New Orleans Auction Galleries 5 0 4 - 5 6 6 - 1 8 4 9 | 8 0 0 - 5 0 1 - 0 2 7 7 | 3 3 3 S T. J O S E P H S T R E E T, N E W O R L E A N S , L O U I S I A N A 7 0 1 3 0 NEWORLEANSAUCTION.COM | INFO@NEWORLEANSAUCTION.COM La Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount For Prompt Payments Made By Cash, Check, Or Wire)

M a r c h 1 2 - 1 3 , 2 0 1 6 E s t a t es A u c t i o n E v e n i n g Re c ep t i o n

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Ric har d and Lori Ec ker t, Chuc k and Kim Satter lee Douglas Dr a per, Susan D. Sar ofim and Ric k K ue bel Astrid Van Dyke and Sandr a Chunn Isa belle Dissar d-Cooper, Pe g Haar and Svetlana Cr ouc h Pam and Lar r y Pic kett Bur ke, Andr ea Finklestein, Paul and Mar y Anne Mur phy Cher yl Miltenber ger and Eugenie Mar tin

L E TT E R F ROM TH E C E O It Girls. We love them. We hate them. We love to hate them. Yet, sometimes we want to be them. What is an "It Girl?" It’s a term, believed to have originated in British upper class society around the turn of the century, often used to reference a beautiful, stylish young woman who possesses sex appeal without overtly flaunting her sexuality. It's a way of declaring someone worthy of your attention without defining, exactly, what makes that attention worthy. “It Girls” who come to mind are Princess Diana; Paris Hilton; Catherine, Duchess of Cambridge (aka Kate Middleton); and any one of the Kardashians. These girls are it. One of the original, if not the first, “It Girl” was Marie Antoinette, the 14-year-old Austrian princess who is summoned to the French court to marry the clueless Louis XVI and produce an heir, defying both royalty and commoners by living like a rock star, which served, in part, to seal her fate.

As I mentioned in my letter in the March catalog, New Orleans Auction Galleries was proud to host the opulent, Versailles-like photo shoot for VIE Magazine's March-April issue. I'm not sure Marie Antoinette could have been more beautiful than 17-year-old Slidell, Louisiana, model Miranda Abney, nor dressed better than in the sumptuous creations she wore by up-and-coming designer Tieler James, of Abita Springs, Louisiana. NOAG was thrilled to offer the plush backdrop of a French court along with a number of stunning French pieces from our estates during the shoot. Miranda, along with male model Simba Tang, an architecture student, won the title of Sheila Goode Model of the Year at South Walton Fashion Week in Northwest Florida. And Tieler, who captured first place on Lifetime’s “Project Runway: Threads,” episode five, was winner of the event’s Emerging Designer competition. All of us think our May preview will be pretty special and a no-miss. Join us and meet VIE Magazine's “It Girl”, model Miranda Abney and designer James Tieler, two of Louisiana's fashion super stars during our preview party, Thursday, May 19, 5-8 pm while you are checking out our nearly 1,100 auction items.

We are revving up the excitement at our upcoming May sale. For you Blue Dog collectors who perhaps have run out of wall space to hang more art, or those of you thinking about adding a work by the late Louisiana artist George Rodrigue, we have the ultimate collectable and one-of-a kind creation: the Blue Dog Hog. Rodrigue used a HarleyDavidson Fat Boy motorcycle as his canvas. The Blue Dog Hog features six of Rodrigue’s iconic Blue Dogs, as well as two Red Dogs flanking the tank’s center console. It is signed on both sides of the tank and it comes with a matching helmet that includes two Blue Dogs and Rodrigue’s signature. It is fully functional if you’re dreaming of riding the open highways on your Blue Dog Hog. Rodrigue’s Blue Dog is constantly surprising and delighting us. I am sure you’ll want to see this impressive and just plain fun Rodrigue work! Although not a rider himself, Rodrigue related to the seduction of the open road and the notion of freedom and Americana attached to motorcycles, according to Rodrigue’s wife, Wendy Rodrigue. What a true honor to have been selected to handle the collection of Merryl Israel Aron, a New Orleans legend. Her magnificent art collection includes works by Jean Beraud, Louis Marie De Schryver, Vittorio Matteo Corcos and numerous others. I invite you to come view the vast array of spectacular items offered in the May sale. We are open for exhibition May 9-20 from 9 a.m. to 5 p.m., Monday through Saturday. And don’t miss the preview party; it’s where all the “It Girls”, and “It Guys”, and one Blue Dog Hog will surely be! See you on May 19!

Susan D. Sarofim CEO

Merryl Israel Aron New Orleans, Louisiana

Merryl Silverstein Israel Aron, a philanthropist, collector and amateur golf champion was a New Orleans legend. She won dozens of local and regional amateur golf championships and played with such famous golfers as Ben Hogan, Jimmy Demaret, and Babe Didrikson Zaharias. "I got to know people of all ages playing golf," she said in an oral history for her family. "It was the most gratifying life to be able to play amateur golf, not to be pressed to turn professional. That never occurred to me." Mrs. Aron, a native New Orleanian, won 12 city championships, the first in 1933 and the last in 1954. That, she said, was her greatest accomplishment in a career in which she won seven state championships, two Gulf Coast championships, and two Deep South championships. "She was strong, and straight as an arrow," said Ann Israel, her daughter-in-law. "That ball went where she wanted to hit it." Once, during a state championship, Mrs. Aron said a man walked up to her and said, "I really enjoyed watching you play this match, since I used to watch your mother play years ago." "Thanks," she replied. "That's nice of you, but I must tell you, I'm Mother." Through golf, she met and befriended many people. Once, she said, she and Adm. William "Red" Raborn were stuck in a barn for three hours during a rainstorm on the Lakewood Country Club golf course when he was director of the Central Intelligence Agency. "I learned a great deal about the CIA" from talking to him, she said. Mrs. Aron played with Zaharias, a trailblazer for women athletes, shortly before Zaharias returned to Texas and learned she had colon cancer. Mrs. Aron struck up friendships with Bob Hope and Bing Crosby, and during World War II, the three of them played golf around the country to sell war bonds. Once, Mrs. Aron said, she and Hope were in a New Orleans hospital visiting Marines whose supply ship had been blown up by a German submarine at the mouth of the Mississippi River. "One of the Marines, a young boy, died smiling while Bob was cracking jokes," she said. There was more to Mrs. Aron than golf. She married two of the city's foremost businessmen and philanthropists: Sam Israel Jr., who died in 1982, and, a year later, his cousin Jack Aron, who died in 1994. Merryl Silverstein married Sam Israel Jr. when she was 18. "Maybe other people had more formal education than she did, but no one had more common sense than my mother-in-law," Ann Israel said. While Sam Israel was overseas in World War II, his wife helped run the New Orleans headquarters of Leon Israel & Bros., Inc., a coffee brokerage. And because the company did plenty of business in South America, "they got her to christen a lot of ships," Ann Israel said. Mrs. Aron and her husbands were deeply involved in philanthropy. Among the recipients of their generosity were Touro Infirmary and Tulane University. The Merryl and Sam Israel Jr. Environmental Sciences Building stands on Tulane University's Uptown campus. Mrs. Aron received the Judah P. Touro Award and was named to Tulane's William Preston Johnson Honor Roll of Donors. Mrs. Aron, who also was active in historic preservation, served on the board of the Hermann-Grima House. Mrs. Aron passed away December 2015 at her home in New Orleans. She was 102 years old. New Orleans Auction Galleries is honored to have been selected to handle property from the collection of Merryl Israel Aron.

Lot 175

The Personal Collection of

Arthur Silverman new orleans, louisiana

“So much of what has happened to me in my life was almost accidental… I never dreamed that I’d be a professional artist and that I’d have two successful careers. Its just been a wonderful ride.” Arthur Silverman 2009 New Orleans Homes and Lifestyles

A native of New York City, Arthur Silverman is a 1947 graduate of Tulane University’s School of Medicine. While working as a urologist, he spent his free time experimenting with various sculptural techniques. Encouraged by his friends Enrique Alferez and Jules Struppeck, both sculptors active in the New Orleans artistic community, Silverman eventually made the decision to give up his practice and concentrate full time on his art. Silverman’s works are sophisticated explorations of geometric elements, specifically the tetrahedron, which is most simplistically described as a three-dimensional solid defined by four equilateral triangles. He has taken this basic geometric shape and twisted, stretched, and truncated it, in his creation of spatially complex, multi-sided sculptures. As the artist himself explained in a 2007 article in Science News, “The tetrahedron is very exciting visually. It’s very difficult to anticipate what you are going to see. Every step around a piece gives you a different view…I find that the unique geometric relations intrinsic to the tetrahedron persist in the final sculpture, notwithstanding all the manipulations I carry out…One must actually see, feel, and walk around these works in order to experience them in their totality.” Thus these works demand, and are best appreciated by, an active viewer, one who will take the time to engage with the sculptures by viewing them from myriad vantage points. As it became more difficult for Silverman to work on a large scale, he began to create small-scale sculptures out of painted board. These are no less complex than his earlier works, reveal the same explorations of geometric space, and require the same effort and interaction of the viewer. New Orleans Auction Galleries is honored to have the opportunity to offer at auction works from the personal collection of the artist.

THE Estate of

Jean McKenzie Diaz Sydney, Australia and New Orleans, Louisiana

Jean McKenzie Diaz was born in Sydney, Australia on May 5, 1924 to Janette and Frank McKenzie. She moved to New Orleans in 1944 after meeting her husband, Dr. Walter Palmer Diaz who was stationed in New Guinea. The two remained married for 65 years until Walter’s death. After Jean’s best friend lost her husband at a relatively young age, they both decided to begin a business venture together, opening The Renaissance on Magazine Street in New Orleans in 1967. The two began purchasing imported French silk flowers from New York and selling the arrangements in their store. Eventually the shop grew to include antique furniture and decorative items. The Renaissance remained open for 25 years, closing in 1983. Jean was extraordinarily creative – she loved sewing and would make all of her children’s clothes and either make or modify her own outfits. She is remembered as a beautiful, thoughtful and generous person. New Orleans Auction Galleries is pleased to offer a fine selection of silver and antique furniture from the Estate of Jean McKenzie Diaz.

Lot 91

Se s sion I : S at u r day, M ay 2 1 , 2 0 1 6 Lots 1 - 5 8 0

Lot 90

4 Spanish Provincial Mahogany Side Table, 19th century, of “guard room” form, the long narrow top raised on angled bobbin-turned legs joined by scrolling iron stretchers and ending in block-and-ball feet, h. 32”, w. 43”, d. 14‑3/4”. [800/1200] 5 Suite of Four Continental Oak Sidechairs, 19th century, each with a padded square back flanked by foliate-carved stiles headed by lion shield finials, the padded seat raised on turned and block legs joined by an H-form stretcher and ending in bulb feet, h. 39”. [500/800]

1 Brussels Hand-Woven Tapestry, 18th century, the central motif of Lot and his daughters, with an overall acanthine border, 113” x 90”. [4000/7000] Illustrated

2 Continental Mahogany Settee, 18th century, the rectangular tapestry back depicting musical courtiers and surmounted by gilt masque finials, joined by flat arms to the padded tapestry seat, raised on square legs joined by a shaped and pierced front stretcher, h. 57”, w. 48”, d. 23”. [1000/1500] Illustrated 3 Pair of Italian Mahogany Armchairs, 19th century, in the Renaissance taste, each with a padded square back flanked to either side by a masque finial over a male figural support, joined by acanthine-carved arms to a heraldic lion hand rest, the padded seat raised on scrolling legs joined by an H-form stretcher and ending in paw feet, h. 45‑1/2”. [500/800] Illustrated

6 Continental Provincial Fruitwood Draw-End Table, 19th century, the rectangular top with side latches, removing to allow the draw ends to release, raised on turned bulbous legs joined by an H-form stretcher and ending in block feet, h. 25”, w. 31”, l. 66”. [1000/1500] Illustrated 7 After Andrea del Sarto (Italian, 1486‑1530), “St. John the Baptist”, 19th century, oil on canvas, 35‑1/2” x 26”. Framed. [2500/4000] Illustrated

8 Continental Embossed Leather Three-Panel Floor Screen, first quarter 20th century, in the Baroque taste, with muted polychrome decoration of bold scrolled panels with mixed flower bouquets, h. 79”, w. 72”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [700/1000] Illustrated

9 Pair of Italian Polychrome Cabinets, late 19th century, each with a rectangular shield- and foliate-painted top above a foliate- and gadroon-carved frieze above a case fitted with two doors, each with an inset painted figural panel in the Medieval taste, raised on a molded plinth base, h. 40‑1‑2”, w. 50‑1/2”, d. 15”. [3000/5000] Illustrated 10 Unusual Pair of Italian Carved Giltwood Three-Light Sconces, first quarter 20th century, in the Baroque taste, on scroll-carved backplates set with trumpet-form candle branches with incised decoration, h. 22”, w. 10‑1/4”, d. 8‑1/4”. [700/1000] Illustrated 11 Italian Gilt-Metal Three-Light Lantern in the Baroque Taste, 20th century, with a reeded and domed lower portion and matching top, the hexagonal lantern with scroll-edged panels and applied pierced scrollwork, the top accented with cherubs, h. 47”, dia. 11”. [1400/1800] Illustrated

9 pair

12 Continental Carved Mahogany Commode, mid-19th century, with earlier elements, of monumental proportions, the rectangular top above a case fitted with two small drawers over two long drawers, the whole elaborately carved in scrolling foliate, avian and figural designs, the sides with shield-carved panels, raised on lion masques ending in paw feet, h. 44‑1/2”, w. 72”, d. 25‑1/2”. [1500/2500] Illustrated

13 Pair of Patinated Bronze Planters Cast as Blackamoors, resting on scroll-footed bases trimmed with beading, the male and female figures dressed in embroidered drapery and wearing necklaces and turbans, the leaf-molded planters perched on their heads, h. 56‑1/2”, w. 15”, d. 15”. [1000/1500] Illustrated 14 Venetian Dragon-Carved Fantasy Mirror, second quarter 20th century, the menacing dragon carved with spread wings, his talons clutching the beveled mirror, h. 39‑1/2”, w. 31”. [1500/2500] Illustrated

15 Italian Carved Wood Figural Stand, fourth quarter 19th century, composed of rosewood and other woods, the standard carved as a turbaned putto eating grapes, and supporting the serpentine-sided rosewood top, raised on a trio of carved cabriole legs, h. 36‑1/2”, dia. 12‑1/2”. [700/1000] Illustrated

16 Pair of Flemish Oak Fauteuils a la Reine, late 19th century, each with a domed and padded back joined by acanthine-carved downswept arms to the padded seat, raised on floral block legs joined by a pierced scrolling front stretcher and ending in claw feet, h. 45‑1/2”. [1000/1500] Illustrated

17 Pierre Vervou (Belgian, 1822‑1913), “Busy Market Scene Outside the Town Gate”, oil on canvas, signed lower left, 26‑1/4” x 39‑1/2”. Framed. [1400/1800] Illustrated

18 Italian Baroque Parcel-Gilt and Painted Architectural Fragment, ca. 1700, possibly part of an altar, now mounted as a mirror with gilt and blue faux-marbre-painted pilasters framing the mirror plate, the overhanging upper cornice with rounded corners and decorated with like fauxmarbre and carved red and gilt “fringe”, h. 66”, w. 47‑1/2”, d. 13”. [2000/4000] Illustrated 19 Italian Baroque-Style Polychrome and Parcel-Gilt Commode, 19th century, the rectangular top banded and with an incised scrolling pattern, above a conforming case fitted with three drawers, all paneled and with painted figural scenes, possibly Biblical, the sides paneled, raised on carved masque feet, h. 34‑1/2”, w. 30”, d. 16”. [2500/4000] Illustrated

20 Pair of Continental Oak Armchairs, 18th century, in the Gothic taste, each with a central finial and side heraldic lion finials above a tall narrow back with piercings and carvings in the Gothic taste, joined by rounded arms terminating in carved scholarly figural hand rests, to the cushioned wooden seat, raised on ring-turned circular legs joined by a box stretcher and ending in bun feet, h. 50”. [1200/1800] Illustrated

21 Pair of Italian Walnut Censors, fourth quarter 18th century and earlier, the covers pierced around the outer edge and mounted with polychrome figures of St. Michael, likely earlier than the bases, supported on hoof-footed cabriole legs, the legs and shelf skirt carved with raised anthemia, the lower portions of the amphora-form censors carved with gadrooning, h. 68‑1/2”, dia. 18”. [6000/9000] Illustrated 22 Pair of Carved, Painted and Parcel-Gilt Musical Cherubs, 20th century, in the Baroque taste, each figure with gilt wings and resting on a base with gilt tassels, one modeled strumming a mandolin and the other playing a horn, h. 21‑1/2”, w. 8‑1/2”, d. 7‑3/4”. [1200/1800] Illustrated 23 Pair of Baroque-Style Carved and Parcel-Gilt Figural Pricket Candlesticks, 20th century, on column-form bases with fluting, each with a putti-form standard supporting a green-painted leaf-carved candle branch set with triple pricketstyle candle holders, h. 47‑1/2”, w. 19”, d. 10”. [3000/5000] Illustrated

24 Italian Baroque Carved and Painted Wooden Architectural Fragment, 17th century, mounted as a mirror, with a pierced and scroll-carved surround decorated with a pair of winged angel heads flanking a scroll- and shell-carved finial, h. 18‑1/4”, w. 20”. [1200/1800] Illustrated

23 21

25 German KPM-Style Hand-Painted Porcelain Plaque, fourth quarter 19th century, of the Madonna delle Arpie, after Andrea del Sarto (Italian, 1486‑1530), carefully painted in polychrome colors, the artist capturing the serenity of the original, marked “Madonna delle Arpie” on the back in script, in a carved giltwood frame, plaque, h. 10”, w. 7‑1/4”, overall, h. 15‑1/4”, w. 12‑3/4”. [900/1200] Illustrated 26 German KPM-Style Hand-Painted Porcelain Plaque of the Sistine Madonna, fourth quarter 19th century, after Raphael Sanzio (Italian, 1483‑1520), in a giltwood shadowbox frame with a tooled gilt liner, with an old paper tag on the back, plaque, h. 7‑1/2”, w. 5‑3/4”, overall, h. 13”, w. 11‑1/2”. [900/1200] Illustrated 27 Italian Paint-Decorated Wooden Altar in the Baroque Taste, 18th century and later, with a fauxmarbre lower section, the altar with five niches separated by Corinthian capitals with silver gilt highlights, the larger central niche with a silver gilt shell decoration, h. 23‑1/2”, w. 42‑1/4”, d. 11”. [1000/1500] Illustrated

28 Set of Twelve Czech Panel-Cut Glass Tumblers, second quarter 20th century, probably Moser, the lower portion cut-to-clear, with gilt-lined panels, the bowls decorated with females playing the flute in a pastoral landscape, each signed “Berndt”, h. 6”, dia. 3‑1/2”. [700/1000] Illustrated

29 one of a pair

29 Pair of Giltwood Mirrors in the Northern Italian Baroque Style, 20th century, with bold, scrolled and pierced surrounds and a pedimentform crest decorated with flowerheads, h. 63‑1/2”, w. 55‑1/2”. [1500/2500] Illustrated 30 Unusual French Giltwood and Gilt-Metal SixLight Chandelier, first quarter 20th century, the giltwood base with reeding and borders of molded leaves and flowers, and set with scrolled candle arms with applied leaves, h. 19”, dia. 26‑1/2”. [600/900] Illustrated

31 Continental Polychrome Cabinet, late 18th century, the faux-marbre top banded and with projecting canted corners and concave sides, above a conforming case fitted with two central cupboard doors flanked to either side by a curved cupboard door, all paneled and featuring an elaborate floral arrangement, raised on bulbous feet, h. 39”, w. 68”, d. 24”. [2500/4000] Illustrated 32 Continental School (18th/19th Century), “Exuberant Still Life of Flowers in a Blue Urn, on a Marble Ledge”, oil on linen laid down on board, unsigned, 41‑1/8” x 60‑3/4”. Framed. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [1500/2500] Illustrated 31

33 Flemish Hand-Woven Tapestry, 19th century, the central motif of an ebullient floral bouquet in a vase, all set within an arch, an elaborate border incorporating floral and architectural vignettes, 137” x 99”. [5000/8000] Illustrated 35 34 Pair of Handsome Baroque-Style Giltwood Three-Light Sconces, second quarter 19th century, the shield-form backplates carved with foliage, scrollwork and flame finials, and set with fluted candle arms carved with leaves and terminating in leaf-carved candle sockets, marked “Made in Italy”, electrified, h. 19”, w. 13‑1/2”, d. 10”. [1000/1500] Illustrated

35 Giltwood Sunburst Clock, mid-20th century, probably Latin American, with gilded wooden “rays”, the clock set into a cove-molded and beaded surround, a glass door with a brass bezel covering the gilt-metal face, dia. 36”. [700/1000] Illustrated

36 Circle of Adriaen van de Velde (Dutch, 1636‑1672), “Pulling Into Port”, oil on canvas, faintly signed lower right, 16” x 23‑5/8”. Framed. [3000/5000] Illustrated

37 French Provincial Fruitwood Armoire, late 18th century, the molded and domed cornice with canted corners, above a conforming case fitted with two long doors, each with two shaped brass escutcheons, over three small drawers and a shaped apron, raised on shaped toes, h. 96”, w. 66”, d. 26‑1/2”. [1000/1500] Illustrated 38 Provincial Louis XV Oak Writing Table, early 19th century, the rounded rectangular top above a frieze fitted with two short drawers and a single small drawer to one side, raised on cabriole legs, h. 29‑1/2”, w. 32‑1/2”, d. 24‑1/2”. [1000/1500] Illustrated

39 Regence Mahogany Fauteuil, late 18th century, the triple-domed crest above the padded back, joined by padded arms to the like seat, raised on molded cabriole legs, upholstered in needlework with figural, animal and geometric patterns, h. 41‑1/2”. [1000/1500] Illustrated 40 Provincial Regence-Style Mahogany Commode, 19th century and later, the rectangular top with a molded edge and serpentine front, above a conforming case fitted with three long drawers, all tri-paneled and with carved scrolling foliate patterns and finely figured hardware, raised on scrolled toes, h. 39‑1/4”, w. 50”, d. 27”. [5000/8000] Illustrated

41 Continental Bronze Patinated Eleven-Light Chandelier, second quarter 20th century, in the Gothic taste, the two-tier frame with rope-twist trim and supporting candle arms on two tiers with molded chains, with a leaf-molded crown and matching lower finial, h. 39”, dia. 29”. [1000/1500] Illustrated

42 Provincial Louis XIV-Style Carved Oak Trumeau Mirror, fourth quarter 19th century, with fluted pilasters flanking the lower mirror, under an oil-on-canvas genre scene with a castle, a carved swag of flowers serving as the crest, h. 67”, w. 44‑1/2”. [700/1000] Illustrated

43 Henri Joseph Ferdinand Pieron (Belgian, 1856‑1912), “Landscape with a Farm and Cattle”, 1879, oil on canvas, signed and dated lower right, 39‑1/2” x 27. Handsomely framed. [1400/1800] Illustrated

44 Henry Schouten (Belgian, 1864‑1927), “Ewes and Lambs”, oil on canvas, signed lower left, 30‑1/4” x 43‑5/8”. Framed. [2000/4000] Illustrated

45 Arthur Heyer (German, 1872‑1931), “Landscape at Sunset with Cattle on a Farm”, oil on canvas, signed lower right, 29‑1/2” x 39‑3/4”. Framed. [3000/5000] Illustrated

46 Frans Van Leemputten (Belgian, 1850‑1914), “A Chestnut and a Grey in the Field”, oil on canvas, signed lower left, 26‑1/2” x 39‑1/2”. Presented in a deeply carved giltwood frame. [1500/2500] Illustrated

47 Henry Schouten (Belgian, 1864‑1927), “Donkeys”, oil on canvas, signed lower right, 17‑7/8” x 23‑5/8”. Framed. [1000/1500] Illustrated

48 Provincial Regence-Style Fruitwood Commode, 19th century, the rectangular top with a shaped front, above a conforming case fitted with two long drawers, raised on cabriole legs ending in gilt hoof feet, h. 31‑1/2”, w. 38”, d. 19”. [800/1200] Illustrated

49 Provincial Regence Fruitwood Commode, late 18th century, the slightly bowed top with a molded edge, above a conforming case fitted with three long drawers, all with three incised panels, raised on rounded feet, h. 32‑1/2”, w, 50”, d. 25”. [1000/1500] Illustrated 50 Rene George Sautin (French, 1881‑1968), “Village Normandie”, oil on wood panel, signed lower right, 23‑3/4” x 32”. Framed. [1000/1500] Illustrated

51 Pair of Louis XIII-Style Oak Fauteuils a la Reine, 19th century, each with a tall, domed, padded back joined by downswept arms to the padded seat, raised on shaped legs joined by an undulating H-form stretcher and ending in shaped toes, h. 49”. [1200/1800] Illustrated

52 Suite of Six Louis XV Sidechairs, late 18th century, each with a shaped and padded back surmounted by a floral crest, the padded seat raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 36”. [1200/1800] Illustrated 53 French Provincial Oak Tall Case Clock, early 19th century, with a porcelain face and an embossed brass surround depicting “Paul and Virginia”, the dial bearing the name “Gue Poret, a Bolbec”, with a twoweight time and strike movement, h. 95”, w. 20”, d. 10”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [700/1000] Illustrated

54 Henry Schouten (Belgian, 1864‑1927), “Poultry in the Barn”, oil on board, faint signature lower left, 31‑1/2” x 22”. Framed. [1500/2500] Illustrated

55 Provincial Louis XV-Style Walnut Armoire, early 19th century, the molded and canted cornice above a conforming case fitted with a foliate-basket-carved frieze over two doors, each inset with two shaped panels, above a like-carved and shaped apron, raised on scrolled toes, h. 93‑1/2”, w. 60”, d. 26”. [1000/1500] Illustrated 56 Provincial Louis XV-Style Oak Buffet, late 18th century, the rounded rectangular top above a conforming case fitted with two drawers over two paneled cupboard doors, with a scalloped apron below, raised on shaped toes, h. 38”, w. 55‑1/2”, d. 22‑1/2”. [800/1200] 57 Louis XV Mahogany Fauteuil, late 18th century, the shaped and padded back surmounted by a foliate crest and joined by padded scrolled arms to the like seat, raised on molded cabriole legs ending in scrolled toes, the whole upholstered in figural and floral-patterned needlework, h. 39‑1/2”. [600/900] Illustrated

58 Louis XVI Oak Fauteuil, late 18th century, the padded oval back within a molded frame, joined by padded scrolled arms to the like seat, raised on stopfluted tapering circular legs ending in toupie feet, h. 37‑1/2”. [600/900] Illustrated 59 Provincial Louis XV Mahogany and Mixed Woods Occasional Table, early 19th century, the rectangular top banded and with rounded corners and an inlaid scrolling and geometric central panel, above a frieze fitted with a single drawer, raised on molded cabriole legs ending in scrolled toes, h. 30”, w. 34‑1/2”, d. 23”. [500/800] Illustrated

60 French Provincial-Style Mahogany and Marble-Top Low Table, the rectangular inset marble top within a plain frieze and raised on cabriole legs ending in scrolled toes, h. 16‑1/2”, w. 40”, d. 24”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [600/900] Illustrated

62 French Provincial Polychrome Buffet, early 20th century, in the Louis XV style, the rectangular top with a molded edge and shaped front, above a conforming case fitted with two drawers over two paneled cupboard doors, raised above a floral-basket-carved urn on scrolled toes, h. 38‑1/2”, w. 51”, d. 17‑1/2”. [600/900]

61 Provincial Polychrome Cabinet, late 19th century and later, the molded cornice above a cabinet fitted with four doors, each fabric-backed and fitted with two grilled panels, the lower section fitted with four doors, each inset with a shaped panel, raised on a plinth base, h. 93”, w. 111‑1/4”, d. 21”. [2000/4000] Illustrated

63 Six-Piece Collection of Copper Cookware, second half 19th century, English and French, including five saucepans, h. 4‑1/2” to 7‑1/4”, dia. 8‑3/4” to 12‑1/4”, and a saute pan, h. 3‑1/2”, dia. 9‑3/4”, three pieces with dovetailed construction. Provenance: Personal collection of D. Didier, New Orleans, Louisiana. [600/900] Illustrated

64 Collection of Five Nineteenth-Century Copper Tea Kettles, English and Continental, three examples with flaps on the spouts, all with dovetailed bases, h. 8” to 11‑3/4”, w. 9‑1/2” to 13‑3/4”, and two examples with dovetailed bases and sides, one with an acorn knop, h. 11‑3/4”, w. 10‑1/4” to 11”. Provenance: Personal collection of D. Didier, New Orleans, Louisiana. [500/800] 65 Collection of Six Continental Glazed Faience Dishes, 19th/20th century, including a blue and yellow dish with classical figures, an Art Deco cobalt and white dish decorated with a deer, marked by the M. Mensaque Company, Seville, dia. 9‑3/4”, a pair of green and yellow bowls hand-painted with soldiers, h. 3”, dia. 13”, and two cabbage leaf bowls, signed indistinctly, h. 3”, w. 11‑1/4” to 14”, d. 11‑1/4” to 12‑1/2”. [500/800] 66 French Provincial Polychrome Shelf, the domed cornice above a floral-basket-carved frieze and over three graduated open shelves, all fronted by foliate carving, the urn-centered apron raised on scrolled toes, h. 60”, w. 37‑1/2”, d. 10‑1/2”. [700/1000] Illustrated

67 Assembled Pair of Portuguese Palissy Ware Pottery Chargers, 20th century, one decorated with a lobster and the other a crab, and with various crustaceans on the mottled green and brown rims, one impressed with a “Caldas da Rainha” mark, dia. 12‑1/2”. [700/1000] Illustrated 68 Danish Provincial Polychrome Hanging Cabinet, late 18th century, the overhanging cornice above a blind-fretcarved frieze over two paneled doors, each with floral accents and opening to a variety of open cupboards above a single drawer, raised on a molded base, h. 29”, w. 29‑1/2”, d. 12”. [600/900] 69 Pair of French Provincial-Style Carved Walnut Mirrors, mid-20th century, in the Louis XV taste, h. 36‑3/4”, w. 28‑3/4”. [700/1000] 70 Four French Terracotta Two-Handled Confit Pots, fourth quarter 19th century, with glazed interiors and partially glazed exteriors, h. 11”, dia. 7‑1/4”. [500/800] Illustrated

71 Four Assembled French Terracotta Two-Handled Confit Pots, fourth quarter 19th century, with glazed interiors and partially glazed exteriors, h. 10‑1/2” to 12‑1/4”, dia. 6‑3/4” to 7‑3/4”. [500/800] 72 Three Assembled French Terracotta Two-Handled Confit Pots, fourth quarter 19th century, with glazed interiors and partially glazed exteriors, h. 12‑1/2” to 13‑1/4”, dia. 7‑3/4” to 8‑1/2”. [500/800] Illustrated 73 Two French Provincial Fruitwood Occasional Tables, one with a rectangular top with shaped front above a frieze fitted with a single end drawer, raised on cabriole legs, h. 26”, w. 30”, d. 17”, and the other with a dished rectangular top above a shaped frieze fitted with a small front drawer, raised on cabriole legs, h. 26‑1/2”, w. 25”, d. 21‑1/2”. [500/800]

74 Continental Provincial Fruitwood Armchair, 19th century, the shaped crest above a waisted splat, joined by downswept arms on shaped uprights to the padded seat, raised on tapering square legs joined by a box stretcher, h. 40‑1/2”. [500/800] 75 Italian Neoclassical Provincial Fruitwood Games Table, mid-19th century, the parquetry paneled top hinged and opening to a like bi-paneled surface, above a frieze with pendant-carved wreaths, raised on fluted tapering circular legs ending in toupie feet, h. 30‑1/4”, w. 32”, d. 17‑1/4”. [500/800] Illustrated 76 Provincial Louis-Philippe Cherrywood Armoire, mid-19th century, the molded and canted cornice above a conforming case fitted with a deep frieze over two doors, each inset with a quarter-veneered panel, raised on molded block feet, h. 87”, w. 56”, d. 22‑1/2”. [1000/1500] Illustrated

77 Semi-Antique Mashad Carpet, 9’ 6” x 13’. [1000/1500] Illustrated

81 Peshawar Sultanabad Carpet, 7’ 8” x 12’. [1200/1800] Illustrated

78 Azeri Tribal Carpet, 8’ 4” x 9’ 9”. [1200/1800]

82 Agra Carpet, 8’ 8” x 12’ 3”. [1000/1500] Illustrated

79 Semi-Antique Sarouk Carpet, 10’ 2” x 15’ 4”. [1500/2500] Illustrated

83 Antique Persian Lavar Kerman Carpet, 8’ 10” x 11’. [3000/5000] Illustrated

80 Turkish Angora Oushak Carpet, 9’ 10” x 13’ 6”. [1400/1800] Illustrated

84 Semi-Antique Kashan Carpet, 10’ x 13’. [1000/1500] Illustrated

87 Semi-Antique Kashan Runner, 3’ 2” x 10’ 9”. [700/1000] Illustrated

85 Turkish Angora Oushak Carpet, 12’ 3” x 15’ 3”. [1800/2500] Illustrated

88 Turkish Angora Oushak Carpet, 9’ x 13’ 3”. [1200/1800] Illustrated

86 Fine Agra Serapi Runner, 2’ 8” x 21’. [1000/1500]

89 Peshawar Sultanabad Carpet, 8’ 8” x 11’ 8”. [600/900] Illustrated

90 Camille Joseph Etienne Roqueplan (French, 1800‑1855), “La Cueillette”, oil on canvas, signed lower right, 85” x 51”. Framed. Provenance: Christie’s, Paris, July 4, 2006, as lot 12; private collection. [8000/12000] Illustrated

91 Camille Joseph Etienne Roqueplan (French, 1800‑1855), “Le Chouchou”, oil on canvas, signed lower left, 85” x 47”. Framed. Provenance: Christie’s, Paris, July 4, 2006, as lot 11; private collection. [8000/12000] Illustrated

92 Louis XV-Style Parcel-Gilt Overmantel Mirror, ca. 1900, decorated with a molded surround, with shells at the corners and a serpentine crest with pierced rocaille ornament, on a blue-painted ground, h. 47‑3/4”, w. 64‑3/4”. [800/1200] Illustrated

94 Louis XV Giltwood Firescreen, fourth quarter 18th century, the molded serpentine frame ornamented with carved rocaille work, flowerheads and tendrils of leaves, and raised on cabriole legs, the Aubusson tapestry cover richly decorated with a basket and flowers, a parrot and a monkey against an arabesque ground, h. 39‑1/2”, w. 27‑3/4”, d. 13‑3/4”. [1200/1800] Illustrated

93 Regence-Style Elm and Marble-Top Commode, late 19th century, the thick, richly figured rouge royale marble top with a shaped edge, signed “Bartolini” underneath, above a conforming bombe case, fitted with two short drawers over two long drawers, the sides and drawers banded, raised on splayed legs ending in sabots, the whole accented with ormolu mounts and hardware, h. 32”, w. 53”, d. 23‑1/2”. [2500/4000] Illustrated

95 Louis XV-Style Giltwood Bergere avec Orielles, early 20th century, the padded back surmounted by a floral crest and joined by shaped and padded sides and downswept arms to the cushioned seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 47”. [1200/1800] Illustrated

96 Regence-Style Kingwood, Rosewood and Marble-Top Commode, late 19th century, the shaped marble top above a conforming bombe case fitted with two long drawers, both banded and with parquetry inlays centered by an oval ormolu-bound floral panel, raised on sabre legs ending in sabots, h. 34”, w. 50”, d. 22‑1/2”. [1800/2500] Illustrated

97 French Trumeau-Style Overdoor Panel, fourth quarter 19th century, decorated in parcel gilt on a fauxmarbre ground, the oil-on-artist’sboard depiction of a courting couple flanked by pilasters, h. 26‑3/4”, w. 51”. [1500/2500] Illustrated

100

98 French Fin de Siecle Giltwood Mirror in the Baroque Taste, fourth quarter 19th century, the giltwood surround entirely handcarved and decorated with acanthus leaves, grapes and flowerheads, the crest with a bowknot supporting a pierced and carved crown finial, h. 61‑1/2”, w. 45”. [3500/5000] Illustrated 99 Regence-Style Kingwood Vitrine, the stepped and molded top above a rounded rectangular case fitted with two doors, each inset with an upper arched glazed panel and a lower quarter-veneered panel, the sides en suite, opening to a mirrored interior and a lower storage space, raised on bracket feet, the whole richly ornamented with ormolu mounts, h. 63‑1/2”, w. 52”, d. 19”. [1200/1800] Illustrated 100 Swedish Gustavian Giltwood Cartel Clock, fourth quarter 18th century, the lower portion with an Ionic capital and a swag of acanthus leaves, below a pair of stop-fluted pilasters with pine-cone finials and swags of flowers under the clock, the case surmounted by a flower-basket finial, the dial signed “Stockholm” and an indistinct name, set with a silk-string suspension movement, h. 38‑1/4”, w. 21”. [2500/4000] Illustrated

101 Louis XV-Style Kingwood Bureau Plat, late 19th century, the shaped rectangular top with an inset leather surface and brass edging, above a frieze fitted with a central drawer flanked to either side by a short deep drawer, with faux drawers verso, raised on cabriole legs headed by espagnolettes and ending in sabots, the whole richly ornamented with ormolu mounts and millwork, h. 30”, w. 58”, d. 32”. [1400/1800] Illustrated 102 Unusual Pair of French Bronze Figural Two-Light Candle Holders, fourth quarter 19th century, on giltbronze scroll-footed bases, the patinated bronze Neptuneform standards supporting gilt-bronze leaf-molded candle sockets in each hand, h. 11”, w. 6‑3/4”, d. 5”. [800/1200] Illustrated 103 Transitional Louis XV-into-Louis XVI-Style Kingwood Tiered Table, late 19th century, the shaped ovoid top tier banded and quarter-veneered, and joined to a larger like-shaped lower mirrored tier by downswept supports, raised on cabriole legs ending in sabots, h. 35”, w. 34‑1/2”, d. 23”. [800/1200] Illustrated

104

104 French Gilt-Bronze and Enamel Jewel Casket, ca. 1900, on toupie feet, the sides and top decorated with raised arabesques on a stippled ground, the cover decorated with an enamel roundel depicting a young woman, indistinctly signed, the interior velvet-lined, h. 3”, w. 6‑1/2”, d. 4‑3/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated 105 Two German KPM-Style Hand-Painted Porcelain Plaques, ca. 1900, one depicting a beauty, after Angelo Asti (Italian, 1847‑1903), and the other a maiden in a lush garden, enamored of Cupid, h. 5‑3/4”, w. 3‑7/8” to 4”. [700/1000]

102

103

101

108

106

106 Pair of French Fin de Siecle Gilt-Bronze Five-Light Candelabra, fourth quarter 19th century, on pierced rococo-style bases, decorated with satyrs sitting on cushions and playing musical instruments, with leafmolded standards and drip pans set with foliate-molded candle cups, h. 20‑3/4”, w. 11‑1/2”, d. 9‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [800/1200] Illustrated 107 Louis XV-Style Giltwood Overmantel Mirror, fourth quarter 19th century, the ogee-molded frame decorated with inner beading and carved scrollwork on a diapered ground, the serpentine top framed with pierced scrollwork and a crest in the form of a wreath of flowers with bowknot-bound crossed quiver and torch, h. 74‑1/2”, w. 43‑1/2”. [1500/2500] Illustrated

107

108 Louis XV-Style Bronze and White Enamel Mantel Clock, second quarter 20th century, Swiss, resting on paw feet, the bronze base set with an enamel platform supporting the lyre-form clock, with a dial marked “Imperial, Swiss Made”, and with white enamel backing the strings and accenting the urn-form finial, h. 24‑1/2”, w. 12”, d. 7‑3/4”. [500/800] Illustrated

110

111

109

109 Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular marble top with turreted ends, above a conforming case fitted with a single frieze drawer faced as three-over-two long drawers, all paneled and with brass banding, raised on tapering circular legs ending in brass caps, h. 34‑1/2”, w. 51”, d. 23‑1/2”. [1500/2500] Illustrated

110 Outstanding Set of Eight French HandPainted Porcelain Topographical Plates, second half 19th century, with bleu marin ground borders punctuated with small landscapes and framed with tooled gilt scrollwork, each plate decorated with a chateau set into lush landscapes, each identified on the rear, most on Sevres blanks dated 1837, but probably not factory decorated, also with the Chateau de Tuileries mark and the Louis-Philippe mark, along with spurious crossed “L” marks, dia. 9‑1/2”. [1500/2500] Illustrated

111 Continental Rococo-Style Brass and Porcelain Eighteen-Light Chandelier, the brass vasiform standard decorated with scrollwork and molded feathers, and set with cobalt-ground porcelain decorated with flowers and raised gilt, set with six scrolled arms, each with three cobalt and gilt candle sockets, h. 38”, dia. 30‑1/2”. [1800/2500] Illustrated

112

113

114 French Gilt-Bronze Cartel Clock in the Louis XIV Style, fourth quarter 19th century, with a masque at the base, grillwork panels and a bronze urn-form finial, swags of laurel decorating each side, set with enameled numbers on the chapter ring, now with contemporary batterypowered works, h. 24‑3/4”, w. 10‑3/4”. [500/800] Illustrated 115 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table, late 19th century, the circular white marble top within a full pierced brass gallery, above a frieze fitted with two leatherinset candle slides and two small drawers, raised on fluted tapering circular legs ending in brass caps and casters, h. 31”, dia. 25‑1/2”. [500/800] Illustrated 114

112 French Fin de Siecle Gilt-Bronze and Cobalt Porcelain Clock Set, fourth quarter 19th century, in the Baroque style, comprising a clock and a pair of garnitures, the bronze bases with toupie feet and supporting swirl-molded coneshaped socles fitted with parcel-gilt porcelain urns with masque-molded bronze handles, the clock with a dome-form top and set with marked A D Mougin works and an enamel dial, clock, h. 21‑3/4”, w. 11‑1/4”, d. 8‑1/2”, urns, h. 15‑3/4”, w. 7‑1/4”, d. 4‑3/4”. [1000/1500] Illustrated 113 Pair of Louis XV-Style Bronze-Mounted Porcelain Lamps, first quarter 20th century, the cobalt ground urn-forms with horned satyr handles and floral swags, raised on a base molded with laurel leaves, base, h. 17”, overall, h. 32”, dia. 8‑1/4”. [1200/1800] Illustrated 115

116

117

116 Pair of Louis XIV-Style Bronze and Crystal ThreeLight Sconces, second quarter 20th century, with molded backplates and scrolled candle arms set in two tiers, the top tier set with glass spires, hung with sprays of various crystal drops, h. 17”, w. 13‑3/4”, d. 6”. [600/900] Illustrated

118

117 French Bronze and Crystal Eight-Light Chandelier, 20th century, in the Louis XIV taste, the bronze frame with two tiers, the lower tier interspersed with crystal spires, the upper tier set with spires, hung with sprays of drops, h. 31”, dia. 15”. [800/1200] Illustrated

118 Louis XV-Style Mahogany and Marble-Top Writing Table Branded "Henry Dasson", early 20th century, the shaped rectangular top with an inset marble surface, above a conforming frieze with chevron panels and centered to all sides by an ormolu masque, raised on cabriole legs headed by ormolu lion’s masques and ending in sabots, h. 32”, w. 59”, d. 31‑1/2”. [5000/8000] Illustrated

119

121 one of two

119 Pair of French Fin de Siecle Gilt-Bronze Candlesticks in the Rococo Taste, fourth quarter 19th century, on scroll-molded bases, decorated with windblown putti supporting rocaille-molded candle cups and standards, h. 9”, dia. 5‑1/2”. [1200/1800] Illustrated 120 Transitional Louis XV-into-Louis XVI Kingwood and Fruitwood Commode, late 18th century, the canted rectangular top banded and with chevron veneers and panels, above a conforming case fitted with two drawers, each inset with three veneer panels, raised on cabriole legs ending in sabots, h. 30”, w. 24‑1/2”, d. 16”. [700/1000] Illustrated

121 two of two

121 Italian School (17th Century), “Queen of Sheba Before Solomon” and “Aurora and Cephalus”, two red chalk on paper drawings, sheet sizes 13‑1/8” x 17‑3/8” and 15‑3/8” x 20‑3/8”, respectively. Both glazed, French matted and presented in giltwood frames. [1500/2500] Illustrated

120

124 French Fin de Siecle Giltwood Mirror in the Neoclassical Taste, fourth quarter 19th century, the bolection-molded surround with laurel leaves and berries, the bowed top with a cabochon-form finial flanked by sprays of pierced flowers, h. 62‑1/2”, w. 43”. [700/1000] Illustrated

122

125 Louis XV Polychrome Commode, mid-18th century, of bombe form, the shaped top above a conforming case fitted with two long drawers, retains remnants of a scrolling foliate pattern, raised on splayed legs, h. 34”, w. 35‑1/2”, d. 22‑1/2”. [1500/2500] Illustrated

124 123

122 Louis XV-Style Kingwood Bureau Plat, mid19th century, the rectangular top with a leather inset writing surface and brass edging, above a conforming frieze fitted with a central drawer flanked to either side by a deeper short drawer, all banded and quarter-veneered, raised on cabriole legs ending in sabots, h. 30”, w. 48”, d. 31”. [1000/1500] Illustrated 123 Louis XV-Style Gilt and Polychrome MarbleTop Commode, mid-19th century, the bowed marble top with a molded edge, above a bombe case fitted with two drawers, decorated in Chinoiserie gilt and gesso patterns, raised on sabre legs ending in sabots, h. 33‑1/2”, w. 32”, d. 15‑1/2”. [1500/2500] Illustrated 125

127

126

126 Impressive French Giltwood Cartel Clock, ca. 1772‑1800, with silk-string suspension works, the dial signed “Guenoux, Paris”, for Theodore Guenoux (Paris, active 1772‑1800), the eagle perched on a baton atop the clock case, a scythe to one side, h. 38”, w. 26‑1/2”. Provenance: Jeremy Ltd., London, England; Merryl Israel Aron, New Orleans, Louisiana. [2500/4000] Illustrated

127 Pair of French Bronze Figural Two-Light Sconces, fourth quarter 19th century, in the rococo style, the rocaille-molded and pierced backplates each set with a patinated bronze putto and a pair of scrolled and leaf-molded candle branches terminating in electric sockets set with frosted tulip-form shades, h. 11‑1/4”, w. 12‑1/2”, d. 6”. [1000/1500] Illustrated

128 Louis XV-Style Elm Poudreuse, 19th century, the trisected top with a central section opening to a mirrored and fabric-lined interior, flanked to one side by a hinged section opening outward to a fabric-lined storage space, the other side opening outward to a space fitted with three metaltopped glass vessels, two scent bottles and two porcelain boxes, over a frieze fitted with a single central drawer, raised on cabriole legs ending in sabots, h. 28”, w. 33‑1/2”, d. 20‑1/4”. [800/1200] Illustrated

128

129 Louis XIV-Style Bronze Twelve-Light Chandelier, 20th century, the baluster standard set with bold scrolled arms with beaded drip pans and leaf-molded candle cups, the ends of the branches set with leaves and masques, the upper tier of masques decorating the leaf-molded standard, h. 38”, dia. 42‑1/2”. [2500/4000] Illustrated 130 Small Louis XV-Style Gilt-Bronze-Mounted Parquetry Walnut Lady’s Desk, ca. 1900, the slant lid opening to reveal a fitted segmented interior, over a pair of drawers and a fullwidth drawer, raised on cabriole legs, h. 36”, w. 24‑1/4”, d. 16‑1/2”. [600/900] Illustrated

129

130

131 Napoleon III Giltwood Overmantel Mirror, third quarter 19th century, the surround with molded lotus leaves, and the crest with a laurel wreath and a spray of leaves on either side, h. 62‑1/2”, w. 39”. [700/1000] Illustrated

131

132 Louis XV Kingwood and Marble-Top Commode, mid-18th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with two long banded drawers, both with an inlaid floral spray, the sides quarter-veneered, raised on sabre legs ending in sabots, h. 33”, w. 46‑1/2”, d. 19”. [1500/2500] Illustrated 133 Louis XVI-Style Mahogany and MarbleTop Cabinet, early 20th century, the stepped rectangular marble top within a full pierced brass gallery, above a case fitted with a frieze drawer over a tambour cupboard with two cabinet doors below, each inset with a parquetry panel, raised on spiralribbed toupie feet, the back stamped “Cacaur Paris”, h. 59”, w. 28”, d. 14”. [800/1200] Illustrated 132

134

134 Napoleon III Gilt-Bronze and Porcelain Mantel Clock on a Conforming Giltwood Base, the clock decorated with a standing putto “holding” hand-painted porcelain plaques of noble women in each hand, the dial signed “Lenoir a Paris”, framed with pierced laurel leaves and berries, h. 18”, w. 11‑1/2”, d. 4‑3/4”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [1000/1500] Illustrated

133

135 137

136

135 Rare Sevres Royal Period Hand-Painted Soft-Paste Dish, ca. 1759, French, decorated on a bleu celeste ground, the borders with alternating panels of handpainted flowers with rocaille work and raised sprigs, the inner border decorated with panels of diapering and vermicelli, dia. 12”. [1000/1500] Illustrated 136 Louis XVI-Style Porcelain and Gilt-Metal Occasional Table, 19th century, the circular top with a large porcelain charger in the “Sevres” taste featuring a central medallion of Louis XVI surrounded by portrait medallions of various noble personages, raised on three annulated shaped supports ending in hoof feet, h. 29”, dia. 19‑1/2”. [3000/5000] Illustrated

138

137 Pair of Sevres-Style Bronze and Porcelain SevenLight Candelabra, fourth quarter 19th century, resting on paw feet, the bronze bases supporting vasiform standards, hand-painted on a bleu celeste ground, decorated with cherubs on the obverse and painted trophies on the reverse, set with bronze winged masque handles, set with Louis XIV-style candle arms, h. 24‑1/2”, dia. 14”. [1500/2500] Illustrated 138 Napoleon III Kingwood Jardiniere Table, late 19th century, in the Louis XV taste, the rectangular top with a central foliate-inlaid panel, removing to a metal liner, all within a pierced brass gallery and molded edge, above a frieze with shaped panels and central “Sevres”-style porcelain plaques, raised on cabriole legs ending in sabots, h. 30”, w. 32”, d. 19”. [1000/1500] Illustrated

139

139 Very Unusual Paris Porcelain and Bronze Temple, second half 19th century, French, on a bleu celeste et bleu mazarin base decorated with gilt dolphins in panels, with beaded corner corbels, under an open section set with bronze columns, based on the Temple of the Winds, the domed roof set with patinated bronze scrollwork and a pineapple finial, marked “E.B. Paris” on the base, h. 18”, w. 6”, d. 6”. [1000/1500] Illustrated

140

140 Pair of Louis XV-Style Ebonized Cabinets, early 20th century, each with a rounded rectangular cornice, above a case fitted with two doors, each inset with two shaped glazed panels, raised on cabriole toes ending in sabots, h. 72‑1/2”, w. 40”, d. 16”. [1500/2500] Illustrated 141 Louis XV-Style Ebonized Bureau Plat, late 19th century, the shaped rectangular top with an inset leather surface and within a molded brass edging, above a frieze fitted with a central drawer flanked to either side by a small deeper drawer, raised on cabriole legs ending in sabots, h. 30‑1/2”, w. 47‑1/2”, d. 25‑1/2”. [1400/1800] Illustrated

141

143

142

142 Continental Alabaster Figure of a Water Carrier, first quarter 20th century, on a stepped onyx plinth, overall, h. 27‑1/8”, w. 9‑3/4”, d. 8”. [1000/1500] Illustrated 143 Napoleon III Liqueur Case, third quarter 19th century, with a serpentine front and elaborately veneered with oval cabochons composed of rosewood, kingwood, mahogany and various exotic veneers, the front and cover inlaid with mother-ofpearl ovals, fitted with a rosewood tray, gilt-brass bamboo fittings, and with four engraved liqueur bottles and sixteen liqueur glasses, h. 10‑1/2”, w. 12‑3/4”, d. 10”. [1000/1500] Illustrated

144

144 Napoleon III Inlaid Mahogany Liqueur Case, third quarter 19th century, the serpentine-front case set with chased brass, mother-of-pearl and rosewood rococo cartouches on both the front and top, the lid and front lifting to reveal a fitted interior, with a lift-out rosewood tray with gilt-bronze fittings, four engraved liqueur bottles and twelve matching glasses in the fitted tray, h. 10‑1/2”, w. 12‑3/4”, d. 9‑1/2”. [700/1000] Illustrated 145 Napoleon III Ebonized and Burl Center Table, late 19th century, the octagonal burl top with an ebonized and geometric banding, and raised on fluted circular legs joined by an X-form urn-centered stretcher and ending in toupie feet, h. 26”, dia. 32”. [500/800] Illustrated 145

146 148

146 Napoleon III Mahogany and Mixed Woods Tiered Table, late 19th century, the banded circular top with a central parquetry panel and a full pierced brass gallery, joined by shaped supports to two like lower shelves, raised on splayed legs ending in sabots, h. 30‑1/2”, dia. 16‑1/2”. [700/1000] Illustrated 147 Louis XVI-Style Kingwood and MarbleTop Cabinet, late 19th century, the canted rectangular marble top within a three-quarter pierced brass gallery, above a conforming case fitted with two cupboard doors, faced with leather book spines, over two taller cupboards, each inset with a grilled panel, raised on shaped legs ending in sabots, h. 41”, w. 28”, d. 13”. [500/800] Illustrated 148 French Marble, Bronze and Glass Banquet Lamp in the Neoclassical Taste, fourth quarter 19th century, the gray mottled marble base supporting three bronze goatheaded monopodia joined by floral swags and supporting the panel-cut glass tank, the burner set with a period frosted and cut ball-form shade and a period chimney signed by the Parisian maker, h. 27‑3/4”, dia. 6‑1/2”. [700/1000] Illustrated

147

150

151

149 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table, late 19th century, the circular gray marble top within a full pierced brass gallery, above a frieze fitted with two leather-inset candle slides and two small drawers, raised on tapering square legs headed by diamond capitals and ending in ebonized block feet, h. 29‑1/2”, dia. 28”. [800/1200] Illustrated 150 Napoleon III Bronze and Marble Figural Mantel Clock, third quarter 19th century, the black marble base with inverted sides decorated with fluting and gilt-bronze rope trim, and supporting a patinated bronze figure of a putto playing pan pipes over the clock, set with marked “Marti” works, h. 18‑1/4”, w. 14”, d. 7”. [1000/1500] Illustrated

152

151 Napoleon III Ebonized and Boulle Cabinet, third quarter 19th century, the rectangular top above an ormolu foliate-applied frieze, with a single cabinet door below, inset with an arched glazed panel surrounded by boulle patterns, raised on shaped bracket feet, h. 46”, w. 32‑1/2”, d. 13”. [1800/2500] Illustrated

149

152 Napoleon III Ebonized Liqueur Case, third quarter 19th century, with a serpentine front, the brass-inlaid case with kingwood cartouches on both the front and top, set with a rosewood lift-out tray with gilt-bronze fittings, with four ivy-engraved liqueur bottles and fifteen matching glasses, h. 10‑3/4”, w. 12‑3/4”, d. 9‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated

154

153 153 Louis van der Pol (Dutch, 1896‑1982), “Reading at the Cafe”, oil on canvas, signed lower right, 39‑1/2” x 32”. Framed. [2000/4000] Illustrated 154 Pair of Louis XVI-Style Mahogany Fauteuils, early 20th century, each with a padded square back surmounted by a gadroon-carved crest, joined by padded acanthine-carved arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 37”. [500/800] Illustrated 155 Pair of Transitional Louis XV-into-Louis XVIStyle Kingwood and Marble-Top Commodes, late 19th century, each with a canted Breche d’Alep marble top above a conforming case fitted with five drawers, all banded and with inlaid foliate accents, raised on cabriole legs ending in sabots, h. 32‑1/2”, w. 14”, d. 9‑3/4”. [500/800] Illustrated

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156 Paul Renard (French/Dutch, 20th Century), “Paris in the Evening”, oil on canvas, signed lower left, 12” x 20”. Framed. [1500/2500] Illustrated

157 J. Valois (French, 20th Century), “Danseuse Vedette”, oil on canvas, signed lower right, 21‑1/2” x 11”. Presented in an attractive polychrome and parcel-gilt frame. [1000/1500] Illustrated

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158 French Gilt-Bronze Pierced Fan-Form Firescreen, third quarter 20th century, in the rococo taste, resting on a leaf- and rocaille-molded foot, marked “V.C.” on the base, with a matching molded and pierced frame, a knob on the top, h. 26”, w. 38‑1/2”. [1200/1800] Illustrated

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159 Napoleon III Mahogany Center Table in the Rococo Taste, third quarter 19th century, the serpentine top over a conforming apron centered by floral, foliate and scroll carving, raised on cabriole legs joined by serpentine stretchers, joined by a shell-carved finial, h. 31”, w. 47”, d. 29”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [1200/1800] Illustrated

160 French Patinated Metal Sculptural Group of “The Pride”, 20th century, after Antoine-Louis Barye (French, 1796‑1875), cast signature along edge of self-base, inscribed “Copyright by FG” and with French manufactory mark along back edge, h. 23‑1/2”, w. 26”, d. 11”. [1000/1500] Illustrated 161 French Patinated Bronze of an Owl in Flight, 20th century, after Jules Moigniez (French, 1835‑1894), cast signature on side of self-base, on an oval marble plinth, overall, h. 34‑1/4”, w. 24”, d. 17”. [1200/1800] Illustrated

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162 Labeled French Cast Iron “Twig” Pattern Hall Stand, mid-19th century, the lower portion of the back decorated with molded Zouaves in battle, the upper portion molded with branches and leaves, set with coat hooks and an oval mirror, three candle branches serving as the finial, labeled “Corneau Freres Charleville” on the flower-molded base below the shell-molded umbrella pans, h. 82‑1/2”, w. 28”, d. 17‑3/4”. [1000/1500] Illustrated

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163 Louis XVI-Style Mahogany Dining Table, 20th century, the ovoid top bisected and opening to accommodate six 9” leaves, above a bellflower-carved frieze, raised on tapering circular legs ending in foliatecarved feet, h. 29”, w. 50‑1/2”, l. 44”, extended l. 98”. [1000/1500] Illustrated

164 Carved White Marble Bust of Madame du Barry, fourth quarter 19th century, probably French, on a square socle, h. 31”, w. 21”, d. 11”. [1000/1500] Illustrated

165 Louis XVI-Style Mahogany and Marble-Top Bouillotte Table, late 19th century, the circular white marble top within a full pierced brass gallery, above a chevron-veneered frieze fitted with two small drawers, raised on tapering circular legs ending in peg feet, h. 31”, dia. 20”. [500/800] Illustrated

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166 Napoleon III Ebonized and Slate-Top Cabinet, third quarter 19th century, the canted rectangular slate top above a conforming case fitted with a frieze centered by an avian pietra dura panel above a single cupboard door with a like panel, raised on bracket feet, the whole richly mounted with ormolu mounts and millwork, h. 42”, w. 30”, d. 15‑1/2”. [1800/2500] Illustrated

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167 Large Napoleon III Ebonized Jewelry Casket, third quarter 19th century, with reverse serpentine sides, mounted with Sevres-style porcelain plaques depicting baskets of flowers, the corners with bronze putti over elaborately scrolled feet, set with a flower-decorated porcelain plaque with a bleu celeste border, with a velvet-lined interior, h. 9‑1/4”, w. 18”, d. 10‑3/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated

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168 168 Antal Berkes (Hungarian, 1874‑1938), “The Yellow Omnibus”, ca. 1920, oil on canvas, signed lower right, verso with “Magyar Nemzeti Galeria, Budapest” label, 29‑1/2” x 39‑1/2”. Framed. [6000/9000] Illustrated

169 169 Antal Berkes (Hungarian, 1874‑1938), “Promenade Along the Seine”, ca. 1915, oil on canvas, signed lower left, 31” x 39”. Framed. [4500/7000] Illustrated

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171 171 Andre Gisson (American/French, 1921‑2003), “Champs-Elysees”, oil on canvas, signed lower right, 24” x 30”. Framed. [2000/4000] Illustrated

170 French Gilt-Bronze, Glass and Marble Figural Centerpiece, fourth quarter 19th century, the marble base below a gilt-bronze base with two putti and a satyr in the midst of a Dionysian feast, and supporting an oval green cut glass bowl with a diamond-cut base and a paneled top, set with bronze vine-form handles, h. 12”, w. 10‑1/2”, d. 6‑3/4”. [500/800] Illustrated

172 Jean Beraud (French, 1849‑1935), “Une Parisienne”, ca. 1880, oil on canvas, signed lower right “Jean Beraud”, verso with a “Richard Green, London, U.K.” gallery label and a letter of inclusion in the Catalogue Raisonne de l’oevre de Jean Beraud by Patrick Offenstadt, Fondation Wildenstein, Paris, 14” x 10”. Presented in a period giltwood frame. Provenance: Richard Green Gallery, London, U.K; Christie’s, New York, May 27, 1992, lot 60; Merryl Israel Aron, New Orleans, Louisiana. [150000/250000] Illustrated

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Jean Beraud initially began his career as a portraitist before finding his metier as a chronicler of middle-class urban life. His frequently rain-drenched street scenes depict the sophisticated, bustling denizens of Paris as they complete their often prosaic errands. A quintessential Belle Epoque painter, Beraud’s subjects can be viewed as feminized versions of the flaneur or boulevardier so prevalent in the writings and art of the early 19th century. With his somewhat panoramic compositions, Beraud creates a sense of immediacy and vitality in these visual explorations of contemporary, everyday city life. As with the painting presented here, he intends for the viewer to perceive - to react to - a specific moment caught in time. To achieve this effect, Beraud had a cab specially rigged as a mobile studio, allowing him the ability to paint plein air scenes of the busy avenues and boulevards, unhindered by the activity around him. As a contemporary, the artist and journalist Henry Bacon (1839‑1912) wrote in his “Glimpses of Parisian Art”: “A cab... attracted our attention. Presently up went the curtain, and the familiar head of Beraud appeared. At his invitation, we thrust a head into the miniature studio to see his latest picture. His canvas was perched upon the seat in front, his color-box beside him...”

Beraud studied law at the Lycee Bonaparte (now Lycee Condoret) before entering the atelier of the Academic painter Leon Bonnat (1833‑1922). He had his debut at the Paris Salon in 1827, receiving a 3rd class medal in 1882 and a 2nd class medal in 1883; this last obtained for him the status of “hors concours”, essentially allowing him the privilege of submitting to the Salon “at will”. He was elected a chevalier of the Legion d’ honneur in 1887 and was named an officier in 1894. References: Bretell, Richard R.; Tucker, Paul Hayes; Lee, Natalie H. Nineteenth and Twentieth Century Paintings in the Robert Lehman Collection. 2009. Princeton: The Princeton University Press in association with the Metropolitan Museum of Art. pp. 56‑59.; Bacon, Henry. “Glimpses of Parisian Art”. The Century Illustrated Monthly Magazine, Volume XXI, New York, 1886.

173 Vittorio Matteo Corcos (Italian, 1859‑1933), “Due Damme Eleganti”, oil on canvas, signed upper right, 42” x 22‑3/8”. Presented in a giltwood frame. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [40000/70000] Illustrated

173 Vittorio Corcos was considered one of the pre-eminent Italian portrait painters of his time, along with Giovanni Boldini (1842‑1931) and Giuseppe De Nittis (1846‑1884), his close friend and mentor. Most admired for his carefully composed paintings of elegantly attired society women, Corcos’ polished portraits seemingly revel in the treatment of the various textures of flesh and fabric, and reveal a meticulous attention to detail. Frequently giving only cursory attention to backgrounds and settings, he instead emphasizes the physicality of his sitters, often having the figures take up the entirety of the canvas and frequently having them directly - even boldly - confront the viewer. As seen with the painting offered here, this creates a sense of immediacy and intimacy and reflects the prevailing character of Belle Epoque Europe. Born into a Sephardic family in the Tuscan seaport of Livorno, a city long known for its thriving and unrestricted Jewish community (and which, years later was to be the birthplace of Amadeo Modigliani), Corcos showed early promise as an artist. At the age of sixteen he enrolled at the Academia di Belle Arti in Florence, to study under Enrico Pollastrini (1817‑1876). A grant sponsored by his hometown gave him the opportunity to travel to Naples where he spent a year working with Domenico Morelli (1823‑1901).

In 1880 he moved to Paris where he was taken under the wing of Giuseppe De Nittis, who introduced the young man to many of the artistic and literary luminaries of the time (including Edgar Degas, Edouard Manet, Emile Zola, and Gustave Flaubert), and to the influential firm of Maison Goupil. Corcos entered into a lucrative contract with Goupil, producing portraits and doing illustrative work. He also spent several years in the studio of Leon Bonnat (1833‑1922) before returning permanently to Italy in 1886, where he made his home in Florence; he continued to make work excursions to Paris and London for the remainder of his life. References: Mann, Vivian B. Gardens and Ghettos: The Art of Jewish Life in Italy. 1989. New York: Jewish Museum. p. 332.; Morris, Roderick Conway. A Reassessment of Corcos, Sensuality and Subtlety Intact. October 8, 2014. International New York Times.; Palazzo Zabarella. Dreaming of the Belle Epoque. artapartofculture.net. N.p., September

174 174 Louis-Marie de Schryver (French 1862-1942), “Les Premieres Fleurs”, 1887, oil on canvas, signed and dated lower right, 40” x 67”. Presented in a handsome giltwood frame. Provenance: the private collection of the Narrangasett Hotel, under the auspice of the hotel proprieter, L. H. Humphreys, 1890-1908; Christie’s, New York, New York, May 27, 1992, lot 61; Merryl Israel Aaron, New Orleans, Louisiana. Exhibited: Paris Salon of 1887, no. 2164. Illustrated: Dumas, F. Exposition des Beaux-Arts, Salon de 1887: Catalogue Illustre. Paris: Lodovie, Bachet Editeur, 1887, p. 296. Literature: Enault, Louis. Salon- 1887. Paris: Imp. E. Bernard et Cie., 1887, p. 7.; King, Moses and M.F. Sweetser. Kings Handbook of the United States. Buffalo, NY: Moses King Corporation Publishers, 1892,pp. 772-773; Industries and Wealth of the Principal Points in Rhode Island, being the city of Providence, Pawtucket, Central Falls, Woonsocket, Newport, Narragansett Pier, Bristol & Westerly. New York: A. F. Parsons Publishing Co., 1895, pp. 771-773. [300000/500000] Illustrated

“The flowers, these divine paritions of nature, are they not the true companions of these pretty women? How we must praise and be grateful to Mr. Schryver for having ensembled fresh flowers, ravishing colors and young seducive women in the same canvas. One only knows which of the two to truly prefer. … They are so beautifl that one would gladly stop to offer them flowers. M. Schryver has lavished a pleasing perfume of taste and elegence on this peice that makes you view these two Parisian femmedu-mondes in turn as aristocrats.”-- Louis Enault review of “Les Premieres Fleurs” at the Paris Salon of 1887.”

As Enault’s overwhelming praise of “Les Premieres Fleurs” demonstrates, this still-life of figural and floral beauties and the one in lot 175 epitomize the French Belle Epoque- a period of bourgeoning wealth and leisurely pursuits. Paris at the turn of the century was the epicenter of commerce and opportunity. With the Industrial Revolution, came shops, theaters, cafes and bars, and the grand boulevards, designed by Baron Haussmann in the 1850s, to accommodate the flourishing economy. Young women and men from the provinces flocked to the city in pursuit of a brighter future. Women found work as au pairs or as saleswomen in the fashionable department stores and boutiques, and enjoyed a level of freedom from the social strictures imposed on wealthy “respectable” women, who seldom frequented public places without the companionship of men. Some of these women,

like the ones pictured here with their fine dresses and hats, found fortune as actresses, courtesans, or by marrying well, while others fell into far more ignoble métiers, that fellow Impressionists Edouard Manet and Edgar Degas captured in bar room scenes. As Enault’s review illustrates, Schryver focused instead on the opportunity the city offered by showcasing women, independent of their “true” social class, as models of Parisian fashion; their clothing, like the flowers they behold, are an arrangement of the finest specimens sold on the grand boulevards. As a true Impressionist, Schryver repainted the same scene multiple times, capturing the flower vendors and their patrons in various lights and times of day, on different boulevards that illustrated the architectural splendor of the city.

175 175 Louis-Marie de Schryver (French 1862-1942), “La Marchande de Fleurs, Avenue de L'Opera”, 1910-1911, oil on canvas, signed and dated lower right, 22" x 32-3/4”. Presented in a giltwood frame affixed with artist plaque. Provenance: Sotheby’s, London, March 23, 1988, lot 241; Merryl Israel Aaron, New Orleans, Louisiana. [150000/250000] Illustrated

176 Eugene Galien-Laloue (French, 1854‑1941), “Seine”, gouache and watercolor on paper, signed lower left, 7‑1/2” x 12”. Glazed, matted and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [6000/9000] Illustrated 176

177 Felix Janse (French, 19th/20th Century), “Paris in Autumn”, oil on canvas, signed lower right “Paris/Felix Janse/1893”, 25‑3/4” x 22”. Framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [3000/5000] Illustrated 177

178 Alan Maley (American/British, 1931‑1995), “Victorian Trio”, oil on canvas, signed and dated lower left “Maley 88”, and en verso, 24” x 36”. Presented in a giltwood exhibition frame. Provenance: Merryl Israel Aron, New Orleans, Louisiana [1000/1500] Illustrated 178

179 Eduardo Ferrer Comas (Spanish, 1892‑1978), “Flower Gatherers”, oil on canvas, signed and dated lower right “E. Ferrer 1916”, 29‑5/8” x 25‑5/8”. Framed. Provenance: Christie’s, New York, May 22, 1990, lot 228; Merryl Israel Aron, New Orleans, Louisiana. [4000/7000] Illustrated 179

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181 Thirty-Nine-Piece Herend “Rothschild Bird” Teaset, post-1948, Hungarian, hand-painted with birds and butterflies, the set comprised of a teapot with a bird knop, h. 6”, w. 10‑1/2”, a cream jug, h. 4”, a sugar bowl, h. 4‑1/4”, twelve dessert plates, dia. 7‑1/4”, and twelve cups, h. 2”, with twelve saucers, dia. 5‑1/4”. [1000/1500] Illustrated

180 Italian Rococo-Style Giltwood Mirror, with an elaborate molded surround, the upper portion with a flower-basket finial and pierced flowers trailing down each side of the swan’s-neck pediment, and the lower portion with scrollwork and a pendant shell finial, h. 60”, w. 32‑1/2”. [800/1200] Illustrated 182 Italian Polychrome Commode, late 18th century and later, in the rococo taste, the slightly bowed faux-marbre top above a conforming bombe case fitted with two long drawers, fronted with a large medallion with painted floral and avian patterns, raised on cabriole legs, h. 34”, w. 39”, d. 17‑1/2”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [700/1000] Illustrated

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183 183 Francois Brunery (Italian, 1849‑1926), “The Cardinal’s Delight”, oil on cradled wood panel, signed lower right, 24” x 19‑3/4”. Presented in an exceptional antique gesso and carved giltwood frame. [10000/15000] Illustrated A native of Turin, Brunery moved to Paris to study under Jean-Leon Gerome (1824‑1904) and Leon Bonnat (1833‑1922). A regular exhibitor at the Paris Salon, he soon gained recognition as one of the leading exponents of the “Cardinal School” of painting, a particularly French, slyly anti-clerical genre which depicted members of the clergy in unflattering, compromising situations. These paintings, as evidenced by the work depicted here, were subtle and clever, and appeared on the surface as light-hearted portrayals of the clergy at leisure.

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184 Pair of Northern Italian Giltwood Mirrors in the Rococo Taste, ca. 1900, of small size, decorated with pierced rocaille scrollwork and flowers, h. 29‑1/2”, w. 12”. [700/1000] Illustrated 185 Italian Polychrome, Parcel-Gilt and Marble-Top Console Table, late 18th century, in the rococo taste, the shaped marble top above a conforming paneled and scrollcarved frieze centered by a shell-form shield, and raised on shaped foliate-carved legs joined by a like stretcher and ending in ball-and-claw feet, h. 32‑1/2”, w. 32‑1/2”, d. 21”. [1000/1500] Illustrated 186 Pair of Italian Giltwood, Gilt-Metal and Mirrored Two-Light Sconces, ca.1900, in the rococo taste, each with a pair of gilt-metal candle arms mounted on the lower portion, the arched mirrors framed with pierced scrollwork and flowerheads, with a shell-form finial, h. 29”, w. 12‑3/4”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [700/1000] Illustrated

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187 Italian Polychrome and Onyx-Top Console Table, mid-19th century, the rectangular onyx top above a molded frieze with pendant scrolls centering a carved putti head, and raised on molded C-scroll legs joined by an urn-centered stretcher and ending in block feet, h. 34‑1/2”, w. 54”, d. 16”. [1000/1500] Illustrated 188 Continental Hand-Painted Four-Panel Floor Screen, fourth quarter 19th century, painted on coarsely woven canvas with springtime scenes of villages with blooming trees, framed with blue rococo scrollwork and trimmed with blue swags of flowers, on a terracotta ground, overall, h. 76‑1/2”, w. 100”. [700/1000] Illustrated 189 Pair of Italian Neoclassical Polychrome Commodes, 19th century and later, each with a rectangular top featuring a central scrolling urn pattern, above a conforming case fitted with two long drawers, each with like-painted designs, raised on tapering square legs, h. 32‑1/4”, w. 41”, d. 18‑1/2”. [2500/4000] Illustrated

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190 Handsome Pair of Majolica Pedestals in the Renaissance Revival Style, fourth quarter 19th century, marked by Rorstrand, Sweden, decorated in brown, green and gilt on an ivory ground, on flat plinths set with pawfooted molded bases, the tapered standards molded with leaves, flowers and cartouches, the tops of the plinths molded as Corinthian capitals with gilt-trimmed acanthus leaves framing the central masques wearing crowns of leaves, the molded top trimmed in green, signed with both impressed and printed marks, h. 47”, w. 13”, d. 13”. [3000/5000] Illustrated

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191 Pair of Neoclassical-Style Cast Metal Garden Urns, 20th century, of campana form and decorated with scrollwork and flowerheads, the handles terminating in goat’s heads, h. 27‑1/2”, dia. 24”. [800/1200] Illustrated 192 Pair of Cast Stone Campana-Form Garden Urns on Pedestals, the urns adorned with masques, swags and handles, and raised on paneled square pedestals, overall, h. 54‑3/4”, w. 29”, d. 22”. [1000/1500] Illustrated 193 Antonio Frilli (Italian, 1860‑1920), “Gleaner”, ca. 1900, carved marble figure with downcast eyes holding a sheaf of wheat under one arm and a few strands in one hand, signed “A. Frilli, Firenze” on the rear of the base, h. 38”, w. 11”, d. 9‑3/4”. [2000/4000] Illustrated Frilli was a popular Florentine sculptor specializing in delicately modeled marble and alabaster figures. In 1860, he established his atelier on the Via dei Fossi, Florence, where it is still in existence. 194 Unusual Continental Giltwood and Walnut Mirror, first quarter 19th century, the giltwood surround decorated with a guilloche of small molded leaves, on a walnut backing, h. 51‑1/2”, w. 28‑3/4”. [800/1200] Illustrated

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195 Henri Gaston Darien (French, 1864‑1926), “Portrait of a Beauty Wearing a Coral Necklace”, oil on canvas, signed and dated “1890 Paris” upper right, 16” x 12”. Presented in a period giltwood and gesso frame. [1200/1800] Illustrated 196 Continental Patinated Metal Sculpture of a Young Boy, 20th century, on a cove-molded marble plinth, overall, h. 34”, w. 13‑1/2”, d. 11”. [800/1200] Illustrated 197 Italian Walnut Bombe Commode, early 19th century, the shaped top above a bombe case fitted with two drawers, raised on cabriole legs ending in sabots, h. 28”, w. 21”, d. 15”. [700/1000]

198 Pair of Italian Walnut and Fruitwood Bombe Commodes, late 18th century, each with a shaped, banded and quarter-veneered top above a conforming bombe case fitted with two drawers, each banded, the sides banded en suite, raised on molded cabriole legs headed by acanthine carving and ending in scrolled toes, h. 32‑1/2”, w. 39”, d. 18‑1/2”. [2500/4000] Illustrated 199 Hand-Painted Porcelain Plaque of Dutch Genre Painter Salomon Koninck, ca. 1887‑1890, Dresden, the unusually well-painted plaque depicting Koninck reading outside, with a landscape in the background, made by the Ambrosius Lamm firm, marked with a lamb over Dresden and “Der Eremit S. Koninck, Dresden Galeric”, mounted in a giltwood frame, plaque, h. 7‑3/4”, w. 6”, overall, h. 12”, w. 11”. [1200/1800] Illustrated

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200 Continental Walnut, Fruitwood and Marble-Top Commode, late 18th century, the double-bowed top with an inset marble with a molded edge, above a conforming case fitted with three long drawers, all banded and with two inlaid panels, raised on cabriole legs ending in peg feet, h. 35‑1/2”, w. 48”, d. 26”. [1800/2500] Illustrated 201 Pair of Continental Giltwood and Faux-Marbre Pedestals, early 20th century, each with a stepped top above a giltwood paneled standard to a conforming base, h. 36”, w. 27”, d. 17‑1/2”. [800/1200] Illustrated 202 Pair of Italian Carved and Polychrome-Painted Blackamoors, mid-20th century, the bases on acanthuscarved scrolled feet, the male and female blackamoors dressed in silver gilt tunics and supporting gilt cornucopia with silver gilt fruit, h. 28‑1/4”, w. 17‑1/2”, d. 17‑1/2”. [1800/2500] Illustrated 203 Italian Parcel-Gilt Mirror in the Baroque Taste, third quarter 18th century, decorated with gilt on a black ground, the surround carved with bold scrollwork and flowerheads, the crest with a black and gilt ground decorated to mimic piercing, with a shell-form finial flanked by leaf-form piercing, h. 48”, w. 28‑1/2”. [1000/1500] Illustrated

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204 Carved and Painted Blackamoor-Form Pedestal, second quarter 20th century, the figure standing on faux-marbre rocks, draped in a gilded gown and wearing gilt earrings and a necklace, a faux-marbre platform balanced atop his red turban, h. 66”, w. 21”, d. 23‑1/2”. [1400/1800] Illustrated 205 Pair of Italian Carved and Painted Blackamoor Brackets, second quarter 20th century, the polychrome-painted Blackamoor backplates set against a carved drapery, under bronze-painted serpentine shelves with molded edges, h. 14‑3/4”, w. 15‑1/4”, d. 10‑1/4”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [600/900] Illustrated Illustrated

206 Italian Mahogany Settee, 18th century, possibly Venetian, the shaped and domed padded back within a molded frame, joined by elegantly outswept padded arms to the like seat, raised on cabriole legs ending in scrolled toes, h. 41‑1/2”, w. 83”, d. 20‑1/2”. [2000/4000] Illustrated 207 George Vivian (British, 1798‑1873), “Venetian Canal”, oil on canvas, signed lower right, 20” x 30”. Presented in a giltwood frame affixed with artist plaque. [1500/2500]

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208 Italian Neoclassical Fruitwood Commode, early 19th century, the rectangular top with decorative banding, above a conforming case fitted with three long drawers, each inlaid with a delicate swag, raised on tapering square legs, h. 33‑1/2”, w. 48‑1/2”, d. 21‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [2500/4000] Illustrated 209 Italian Beaded, Metal and Crystal Fifteen-Light Chandelier, 20th century, in the Maria Theresa style, the glass bead-lined frame with candle arms set with molded bobeches on two tiers, and festoons of glass beads hung between the branches, further ornamented with aubergine drops, h. 37”, dia. 33”. [2500/4000] Illustrated

210 Italian Walnut and Mixed Woods Sorrentino Center Table, early 19th century, the tilting circular top with geometric banding and edge, centered by a marquetry-inlaid panel of a child’s riding lesson, within an inlaid parquetry field, raised on a large turned bulbous standard to three splayed shaped legs, the base with decorative chevron and geometric inlaid patterns, h. 31”, dia. 58”. Provenance: Lucullus, New Orleans, Louisiana. [3000/5000] Illustrated

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211 Italian Neoclassical Fruitwood and Walnut Bureau, late 18th century, the slant-front quarter-veneered and centered by a parquetry oval panel, opening to an inset leather writing surface, a variety of drawers and cubbyholes and a storage well, over two small end drawers and a long drawer, all with parquetry veneers, raised on tapering square legs, h. 37”, w. 34‑1/2”, d. 17‑1/2”. [1800/2500] Illustrated 212 Continental Mahogany Games Table, 19th century, the demi-lune banded top with a parquetry inlay, hinged and opening to a baize-lined surface, above a conforming frieze with ormolu mounts in the Empire taste, raised on tapering square legs ending in foliate feet, h. 30”, w. 31”, d. 15”. [700/1000] Illustrated

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213 Italian Neoclassical Mahogany Commode, early 19th century, the rectangular top above a conforming case fitted with four long drawers, all flanked by fluted pilasters, raised on tapering square legs, h. 35‑1/2”, w. 45”, d. 22”. [2000/4000] Illustrated 214 Continental Tole Figural Clock, 19th century, on a wooden base, the painted tole figure of a man modeled carrying a functioning wag-on-the wall clock in one hand and extra pendulums in the other, and a faux clock on his back, h. 14‑1/2”, w. 6‑1/4”, d. 3‑3/4”. [500/800] Illustrated

215 John Haynes Williams (British, 1836‑1908), “Before the Bullfight”, 1878, oil on canvas, signed and dated lower right, 22” x 37‑1/4”. Presented in a gesso and giltwood frame. [4000/7000] Illustrated

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A native of Worcestor, Haynes-Williams studied in his hometown and in Birmingham before moving to London. An admired painter of genre scenes, he exhibited yearly at the Royal Academy from 1863‑1897 and was a member of the Royal Birmingham Society of Painters, the British Institution, and the New Watercolor Society. He spent some time in Andalusia, where he painted scenes of the active Bullfighting community. The work presented here depicts the moments before the fight, when the matador is receiving the adoration of his fans. An extremely popular artist during his lifetime, many of his paintings were re-produced as engravings and photogravures for journals and other publications.

216 Italian Walnut and Mahogany Kneehole Desk, late 18th century, the rectangular top with an inset leather surface and shaped front, above a conforming case fitted with a central slide and drawer over a recessed kneehole cupboard, flanked to either side by two short deep drawers, all quarterveneered and with decorative panels, raised on cabriole legs ending in peg feet, h. 30‑1/2”, w. 44”, d. 24”. [1000/1500] Illustrated

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217 Pair of Continental NeoclassicalStyle Mahogany and Mixed Woods Commodes, 20th century, each with a banded canted rectangular top with geometric panel inlay, above a conforming case fitted with two drawers fronted by like inlay, raised on cabriole legs, h. 29”, w. 24‑1/2”, d. 15‑3/4”. [1000/1500] Illustrated

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218 Italian Neoclassical Walnut and Fruitwood Commode, early 19th century, the rectangular top banded and inset with two quarter-veneered square panels, the sides paneled en suite, above a conforming case fitted with three long drawers, each inset with three burled panels, raised on tapering square legs, h. 36‑1/2”, w. 51”, d. 25‑1/2”. [3500/5000] Illustrated 219 Giuseppe Pitto (Italian, 1857‑1928), “Italian Market Scene”, oil on canvas, signed lower right, 19‑1/8” x 27”. Framed. [1000/1500] Illustrated 220 Northern Italian Walnut and Fruitwood Secretary, early 19th century, the broken serpentine crest above a deep star-inlaid frieze over two arched doors, each inset with a glazed panel, the lower section fitted with a banded like-inlaid slant front opening to a variety of drawers and cubbyholes, over three long serpentine drawers, all banded and inlaid en suite, flanked to either side by shaped uprights and raised on block feet, h. 93”, w. 44”, d. 24”. [1500/2500] Illustrated

221 221 Pair of Dutch Painted Wood Dummy Boards, first quarter 19th century, depicting children, one male and one female, wearing wooden shoes, the girl dressed in a large skirt and hat of the region, the boy in knee socks, breeches, a scarf and hat, h. 37‑1/2”, w. 14‑3/4” and 20‑1/2”, d. 8”. [1000/1500] Illustrated

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222 Pair of Black Forest Carved Walnut Baskets, fourth quarter 19th century, the chip-carved bases supporting Tyrolean figures, one male and one female, with baskets balanced on their heads, h. 18‑3/4”, dia. 9‑1/2”. [800/1200] Illustrated 223 Belgian School, in the Manner of Emile Claus (1st Quarter 20th Century) , “Morning Promenade Near the Village”, oil on canvas, spuriously signed “Emile Claus” lower right , verso with a period label “L. Goddyn/Rue aux Laines/27 Bruges”, 31‑3/4” x 39‑1/4”. Framed. [2000/4000] Illustrated 224 Pair of Dutch Silverplated TwoLight Sconces, 20th century, in the Baroque taste, each cartouche-form backplate decorated with a grotesque masque, the scrolled candle arms set with fluted drip pans and cylindrical candle cups, h. 21”, w. 12‑1/4”, d. 6‑3/4”. [600/900] Illustrated

223

225 Continental Fruitwood Commode, early 19th century, the banded serpentine top above a conforming case fitted with three long banded drawers, raised on shaped bracket feet, h. 31”, w. 48‑1/2”, d. 25‑1/2”. [1200/1800] Illustrated

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226 Pair of Blown and Enameled Green Glass Pokals, Bohemian or German, one dated 1658, each enameled in bright red and yellow Masonic decoration, the dated cup with three figures holding a shield with Masonic emblems, the other divided in a grid with Masonic arches and columns, each panel with a scene, h. 17”, dia. 6”. [800/1200] Illustrated 227 Three-Piece Black Forest Marquetry-Inlaid Parlor Group, late 19th century, comprised of a table, h. 30‑1/4”, dia. 25‑1/2”, and a pair of chairs, h. 37”, the tilt-top table centered by an inlaid panel depicting an eagle, and goats on a mountaintop, and the sidechairs each with a shaped and pierced foliate-carved back centered by an oval panel featuring inlaid game animals, the wooden seats with like inlay, raised on shaped legs headed by floral carving and ending in scrolled toes. [1500/2500] Illustrated

228 Austrian Patinated Bronze of “Soldat zu Pferd”, 20th century, after Friedrich Gornik (Austrian, 1877‑1943), cast signature on self-base, on a green marble base, overall, h. 26‑1/4”, w. 25”, d. 10‑1/2”. Provenance: Christie’s New York, March 29‑30, 2016, as lot 442. [700/1000] Illustrated 229 Collection of Three “Musterschutz” German Character Steins, probably by Schierholz and Sohn, depicting Von Bismarck, Bismarck in retirement and Frederick III, each executed in various shades of tan and white, the helmet covers lifting with molded pewter thumbpieces, each marked “Musterschutz” and with various impressed and painted numbers, h. 7” to 8”, w. 3‑1/2” to 4”. [800/1200] Illustrated

230 Six Pieces of Russian and Soviet .875 Silver Niello Tableware, 19th and 20th centuries, including a footed beaker, Moscow, 1877, the maker’s mark rubbed, h. 3‑1/4”, a pear-shaped cruet, Moscow, 1891, by Vasily Ivanov, h. 9‑1/2”, a “Persian”-style cruet, Kiev, 1899‑1908, by the unidentified “LK”, h. 9‑1/8”, an unmarked napkin ring, dia. 2‑1/8”, unmarked sugar tongs, l. 5‑5/8”, and a sugar basket, Yerevan, 1955, by the Armenian Goldsmith’s Artel, dia. 4‑1/4”, 28.22 total t. oz. [1800/2500] Illustrated 231 Large German Jugendstil .800 Silver Centerpiece, first quarter 20th century, by Bruckmann & Sohne, Heilbronn, the openwork tapering standard formed of scrolling “whiplash” lines extending downward to form a shaped navette-form vase and upward to form a central socket, the standard flanked by a pair of dancing classical maidens, the socket fitted with a circular dish with openwork Vitruvian scroll rim, h. 17‑1/4”, dia. 12‑1/2”, 67.06 t. oz. [1200/1800] Illustrated

232 Large WMF Silverplate-Mounted Cut Glass Punch Pot, first quarter 20th century, by the Wurttembergische Metallwarenfabrik, Geislingen, Germany, the large acorn-shaped glass pot cut with fans and diamond bands and engraved with flowers, the fitted lid with knop finial, mounted in a silverplate lyre-form frame above a circular beaded and ogee-shaped plinth base, h. 23‑1/2”, dia. 12‑1/2”, w. 13‑1/2”. [2000/4000] Illustrated 233 Set of Twelve German Sterling Silver Figural Place Card/Menu Holders, first quarter 20th century, probably Georg Roth, Hanau, in the form of a putti band, each figure playing a different instrument before a stage flambeau, all on a circular base with rococo scroll feet, h. 2‑1/4”, dia. 1‑1/2”, 14.13 total t. oz. [500/800] Illustrated

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234 Continental Silverplate Ewer and Basin, first quarter 20th century, in the Louis XV taste, the ewer with urnshaped body with cylindrical collar and shaped spout, the squared handle crested with the figure of a reclining classical maiden, h. 14‑3/4”, l. 9‑3/4”, dia. 7‑1/2”, the basin of squat thistle form, dia. 19‑1/4”, both decorated with spiral fluting, acanthus banding and rococo scroll rim. [800/1200] Illustrated 235 Continental Silvered Bronze Centerpiece, fourth quarter 19th century, in the form of a boat steered by a putto and led by a swan, with acanthus-scrolled bow and stern, decorated with applied floral swags, raised on a shaped rectangular base with gadrooned band and four acanthus scroll plinth feet, h. 11”, w. 8‑1/4”, l. 19‑1/4”. [2000/4000] Illustrated

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236 Large Pair of Continental Silvered Bronze Candelabra, first quarter 20th century, in the rococo taste, each in the form of a floral-banded cornucopia, raised on a wasted standard and elaborate footed rocaille base, and surmounted by a bouquet of flowers from which emanate ten scrolling acanthus branches, each terminating in a foliate drip-pan and candle nozzle en suite, marked on the underside “Ges:Gesd / No. 157”, h. 26‑1/2”, dia. 15‑1/4”. [4000/7000] Illustrated 237 French First Standard (.950) Silver Water Pitcher, first quarter 20th century, the maker’s mark rubbed, in the Louis XVI taste, the pear-shaped body decorated with spiral fluting, with chased acanthus calyx and rim, elaborate bifurcated and crested rococo scroll handle and mascaron-mounted “duck’s beak” spout, h. 9‑3/8”, dia. 6‑1/4”, l. 8‑5/8”, 25.76 t. oz. [600/900] Illustrated

238 detail

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238 Good Cased Forty-Eight-Piece Set of French Belle Epoque First Standard (.950) Silver Flatware, fourth quarter 19th century, by Tallois et Mayence, active 1888‑1905, Paris, in the traditional “Louis Quinze” pattern, including a dozen each place forks, l. 8‑3/8”, place spoons, l. 8‑3/8”, place knives, l. 8‑1/4”, and dessert knives, l. 8‑1/4”, the knives with pointed plated steel blades, each piece engraved with a crest of a dove in flight with Hebrew letters above, 66.11 total t. oz., presented in the original fitted carmine suede-lined, black textured cloth-covered wooden case with lift-out tray, the interior lid stamped in gilt with the maker’s name, the exterior lid with brass handle escutcheon engraved with the crest en suite, 4‑1/4” x 13” x 12”. [900/1200] Illustrated

238 detail

239 Pair of French Belle Epoque First Standard (.950) Silver Sauceboats-on-Stand, fourth quarter 19th century, by Boin-Taburet, Paris, each of serpentine-sided batteau form with everted spouts on the ends and reed-andacanthus handles on the sides, the handles extending downward to form four acanthusscroll feet, the whole fixed to a conforming underplate, the boat and stand both with molded rim, monogrammed “SS” addorsed, h. 4”, l. 10‑1/4”, w. 6‑7/8”, 59.96 total t. oz. [900/1200] Illustrated 239

240 French First Standard (.950) Silver Ewer, first quarter 20th century, by Tetard Freres, Paris, in the Louis XIV manner of Jean Ecosse, the helmet-form body with “strapwork” calyx on a matte ground, with molded banding, the squared handle with classical masque crest, the whole raised above a knopped stem and domed, gadrooned circular foot, h. 10”, dia. 5‑1/2”, l. 9‑1/2”, 35.86 t. oz. [700/1000] Illustrated 241 Christofle Belle Epoque Silverplate Plateau, 1892‑1894, Paris, in three sections, the square center section, l. 20”, w. 20”, the cartouche-shaped ends, l. 15”, w. 20”, with a molded serpentine-shaped frame fitted with a conforming mirrored plate and raised on scrolling paw feet, overall, l. 50”, w. 20”. [2000/4000] Illustrated The unusual shape of the plateau permits its use in one, two or three sections, including a right-angle corner configuration. 240

241

242 Contemporary Three-Piece ParcelGilt Silverplate and Cut Glass Table Garniture, Sheffield, England, including an epergne-on-plateau with a central openwork acanthus frond standard surrounded by four scrolling arms and above a circular base with reticulated band and patera-banded rim, fixed to a rectangular plateau with demi-lune projecting ends, banded en suite and raised on four acanthus-mantled dolphin’s masque feet, the narrow ends fitted with a pair of shallow bowls, the corners with gilt figures of putti, the whole fitted with seven cut glass bowls, overall, h. 14‑3/4”, l. 25‑1/2”, w. 12‑3/4”, together with a pair of trumpet vases en suite, h. 17‑1/4”, dia. 7‑1/4”. [5000/8000] Illustrated 242

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243 Italian Sterling Silver Table Box, fourth quarter 20th century, marked “Buccellati / Italy”, of short cylindrical form, the fitted lid radiant-gadrooned centering a turned burlwood finial, h. 5”, dia. 6‑3/4”, 27.37 t. oz. [2000/4000] Illustrated

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244 Rare Judith Leiber Limited Edition Sterling Silver Foo Dog Table Box, 1992, with cabochon emerald eyes and cabochon ruby nostrils, hinged and opening to a silver-gilt interior bearing an oval disc stamped “Judith Leiber, Sterling”, the underside with engraved “JLO-901‑11‑1992”, presented on a conforming cloudform wooden stand, box, h. 3‑3/4”, w. 5‑3/4”, d. 4”, manufactured for Judith Leiber by Fulvio Casamonti of Impruneta, Italy, 17.68 t. oz. [1500/2500] Illustrated 245 “Ancestor” Chinese Watercolor on Paper, possibly Ming Dynasty (1368‑1644), depicting two immortals resting under a pine tree, one leaning his arm on a pot and the other holding a fan, framed, h. 76‑1/2”, w. 40‑1/2”. [1500/2500] Illustrated 246 Chinese Pottery Sancai Roof Tile, probably early Qing Dynasty (1644‑1911), in the form of a leaping warrior, with two smaller figures of a man and a woman appearing beside the feet of the larger figure, glazed in tri-color “sancai” glaze, affixed to a painted pottery base of a later period, h. 21‑1/2”, w. 13‑1/2”, d. 5”. [1000/1500] Illustrated 246

247 Chinese Yellow-and-Green-Glazed Porcelain Dragon Vase, Meiping, 20th century, the vase incised with a five-clawed dragon set among swirling ruyi clouds, depicted in pursuit of a flaming pearl over crashing waves, all in green on a yellow ground, an apocryphal mark of Xuande in underglaze blue on the underside, h. 11”, dia. 8”. [1000/1500] Illustrated 248 Chinese Sang de Boeuf Balustre Vase, ca. 1900, now mounted as a lamp, with a carved wooden base and cap, fitted with an ecru silk shade, vase, h. 18”, overall, h. 33”, dia. 7”. [600/900] Illustrated

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249 Pair of Chinese Export Porcelain Figures of Phoenix Birds, ca. 1900, the polychromedecorated and gilt-trimmed birds molded with carefully detailed feathers, h. 25‑1/2”, dia. 6‑1/4”. [1500/2500] Illustrated

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250 Two Chinese Porcelain Figures of Fu Xing, Republic period (1912‑1949), second quarter 20th century, the figures of the god of happiness each dressed in pale blue robes with floral scroll decoration, one figure’s beard made of horse hair, h. 18‑1/4”, w. 5‑1/4”. [1000/1500] Illustrated

253 Chinese Blue and White Porcelain Pitcher, Qing Dynasty (1644‑1911), probably 18th century, drilled and mounted as a lamp on an ebonized wood base, decorated with bands of floral scrolls and lappets, the vessel with a curved handle and a delicately molded spout, h. 11‑3/4”, w. 7”. [700/1000] Illustrated

251 Pair of Chinese Polychrome Pottery Foo Dogs, 20th century, comprising a male and female, each on a lotus base, h. 13‑1/2”, w. 11”. [1000/1500]

254 Korean Blue and White Porcelain Jar, Joseon Dynasty (1392‑1910), probably mid/late 18th century, the large white porcelain vessel decorated with auspicious crane, pine, deer and ruyi clouds in underglaze blue, h. 14‑1/4”, w. 12”. A similar piece can be found in the Asia Society, New York Collection of Mr. and Mrs. John D. Rockefeller. [1500/2500] Illustrated

252 School of Dai Xi (Chinese, 1801 – 1860),"Mountainous Landscape", ink on paper, mounted on a silk scroll, signed and inscribed on left side, h. 67-1/2", w. 10-1/4". [1000/1500] Illustrated

255 Japanese Arita Ware Imari Hand-Painted Fish Bowl, fourth quarter 19th century, decorated with hand-painted fish on the interior, and plum branches and swallows on the exterior, a hand-painted “Fukagawa” mark on the bottom, h. 9”, dia. 14‑1/2”. [1500/2500] Illustrated

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256 Chinese School (19th Century), "Scholars and Sages", ink on paper, mounted on a silk scroll, inscribed with a seal, w. 13-1/2", l. 167-1/2". [1000/1500] Illustrated 257 Attributed to Huang Junbi (Chinese, 1898‑1991), “Autumn Landscape”, ca. 1950s, ink and color on paper, inscribed and signed with two artist seals, mounted as a scroll, 52” x 26‑1/4”. [2000/4000] Illustrated

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258 Chinese Watercolor on Paper Scroll, late Imperial period, 18th century, decorated with a vertical mountainscape nestled with houses, bamboo and trees dotting the landscape, a figure with a staff standing in the foreground, on a later silk backing, h. 63‑1/2”, w. 19”. [1000/1500] Illustrated 259 Chinese School (Late 19th/Early 20th Century), “Sparrows in a Scholar’s Garden”, ink and color on paper, mounted on silk as a hanging scroll and cut/framed, sight 59” x 16”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [1000/1500] Illustrated

260 261

260 Chinese Porcelain Qingbai Vase, Ming Dynasty (1368‑1644), 17th century or earlier, the ovoid jar decorated with a band of peony scrolls over a key-fret border, above a pattern of ruyi clouds, covered in a very pale bluish glaze, with a carved and pierced wooden stand, vase, h. 9‑1/2”, overall, h. 11‑1/4”, w. 9‑1/2”. [1000/1500] Illustrated

261 Pair of Chinese Celadon Vases Mounted as Lamps, Qianlong period, 18th century, decorated with medallions of dragons and clouds, with a meander border, in a sea-green color, on pierced wooden bases, mounted with silk shades, base, h. 16”, overall, h. 28‑3/4”, dia. 14”. [600/900] Illustrated

262 Chinese Longquan Celadon Vase, Qing Dynasty (1644‑1911), probably 18th century, the finely molded vase with a splayed lip and sloped form with molded floral-spray decoration, two elephant-head lugs, each with a mock loose-ring, and an unglazed foot, h. 12”, w. 8”. Provenance: Austin Auction Gallery, Austin, Texas, February 21, 2016, lot 706, Vermeer and Griggs Collection. [1800/2500] Illustrated

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263 Chinese Yaozhou Celadon Carved Bowl, Northern Song Dynasty (960‑1127), the rounded bowl rising from a straight foot rim carved with peony sprays, h. 2‑1/2”, dia. 4”. A lidded vessel of similar decoration was sold at Christie’s, New York, on March 26, 2010, lot 1332. [800/1200] Illustrated

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264 Chinese Longquan Celadon Cut-Corner Bowl, probably Ming Dynasty (1368‑1644), the olive-green-glazed celadon dish with a center reserve depicting a dragon pursuing a flaming pearl, the four interior side reserves decorated with floral sprays and foo dogs, set among peony bushes, the underside burnt orange, h. 3‑1/2”, w. 14‑3/4”. [1200/1800] Illustrated

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265 Important Chinese Longquan Celadon Mallet-Form Vase, Song Dynasty (960‑1279), the fine vessel with a dish mouth rim over a cylindrical neck decorated on either side with a phoenixform handle, the vase with angled shoulders covered with a soft greenish glaze, and a burnt-orange underglaze foot, h. 7‑1/4”, w. 3‑1/2”. [1400/1800] Illustrated A vase resembling this one sold at Christie’s, Hong Kong, on October 30, 2001, lot 777. 266 Two Similar Carved Ming Dynasty Longquan Celadon Vases, 15th century, now mounted as lamps, with green-painted Chinesestyle bases, the vases with swirling flowers, one lower portion fluted and the other with painted leaves, fitted with ecru silk shades, vase, h. 22‑1/2”, overall, h. 35”, w. 7”, d. 7”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated 267 Chinese Green-Glazed Pottery Six-Necked Vase, Liulianping, 20th century, the unusual vessel with five doublegourd vases surrounding the central and tallest double-gourd vase, covered with a rich green craquelure glaze, h. 11‑1/2”, dia. 8‑1/4”. [800/1200] Illustrated

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268 Chinese Celadon Jade, late Qing Dynasty (1644‑1911)/early Republic period (1912‑1949), late 19th/early 20th century, in the form of a standing phoenix with four suspended rings, on a carved wooden stand, jade, h. 11‑3/4”, w. 5”. [1000/1500] Illustrated 269 Chinese Carved Jade Ewer, in the form of a qilin with a thick rounded body and fanned tail, h. 13‑1/2”, w. 9‑1/2”. [1200/1800] Illustrated 270 Chinese Sea-Green Jade Double Vase, early Republic period (1911‑1949), the large vase carved with a pierced dragon and a turtle on one side, fish on the front and a pierced dragon and fish on the cover, the smaller vase with a ring handle, sitting on a dragon turtle, on a carved wooden stand, jade, h. 11”, w. 7‑1/4”, d. 3”. [1500/2500] Illustrated

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271 Chinese Jade Urn, decorated with carved taotie forms, a foo dog lug on either side of the vessel’s neck, each with a suspended ring, the lid with foo dog finial and handles, h. 14‑1/2”, w. 9”. [1200/1800] Illustrated

272 Chinese Jade Figure of a Phoenix Bird, 19th century, the phoenix in a flowering tree, with two birds underneath, the pale jadeite with some mottled dark green in the phoenix, on a carved wooden stand, jade, h. 10‑3/4”, w. 6‑3/4”, d. 2”. [1000/1500] Illustrated

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273 Chinese Celadon Jade Carving of Shoulao, Qing Dynasty (1644‑1911), the god of longevity depicted with his attendant in a mountain pine forest on the steps of a temple, some brownish inclusions, with a carved and ebonized wooden stand, jade, h. 4”, w. 3‑1/2”. [600/900]

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274 Unusual South Asian Jade Elephant, 20th century, the elephant mounted with “jewels” and gilded wire, sitting on a matching stand, h. 5‑3/4”, w. 5‑1/2”, d. 3‑1/4”. [1000/1500] Illustrated

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275 Chinese Carved Spanish Jade Vase, 20th century, the flattened tapered vase carved with female immortals, and set with flower-carved ring handles and a flower-carved cover, h. 13‑3/4”, w. 8‑1/2”, d. 3”. [1200/1800] Illustrated 276

276 Chinese Jade Bi Disk, possibly Ming Dynasty (1368‑1644), the celadon jade bi disk with brown inclusions and carved surface decoration, the top flanked with two kui dragons, dia. 3‑1/2”. [700/1000] Illustrated

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277 Group of Two George III Mahogany Tripod Tables, fourth quarter 18th century, each with a tilting dished piecrust top raised on a turned and spiral-ribbed columnar standard to three splayed legs ending in pad feet, h. 30”, dia. 27” and h. 27”, dia. 29‑1/2”. [500/800] Illustrated 278 George III Mahogany Tea Table, fourth quarter 18th century, the canted rectangular top banded and above a conforming waisted frieze, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 28‑3/4”, w. 27”, d. 17”. [1000/1500] Illustrated

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279 Giuseppe Filippo Liborati Marchi (Italian/British, 1735‑1808)/ Workshop of Sir Joshua Reynolds (British, 1723‑1792), “Portrait of a Member of the Jameson Family, County Cork, Ireland, Possibly William Jameson, Esq.”, 1773, oil on canvas, signed and dated upper right “Marchi 1773/ March 17”, sitter holding letter inscribed “To Messrs. Hugh Jameson & Sons, Cork”, one arm resting on book titled “Lex Mercatoria (Merchant Law)”, 30‑1/2” x 25‑1/4”. Framed. [8000/12000] Illustrated 279 The Roman-born Marchi spent almost the entirety of his career in the studio of Sir Joshua Reynolds (1723‑1792). The elder artist encountered the young man during a tour of Italy in 1850; impressed by the artistic skill and promise of the then-15‑year-old boy, Reynolds encouraged Marchi to accompany him back to England. Under the sponsorship of Reynolds, Marchi studied at St. Martin’s Lane Academy; founded in 1735 by William Hogarth (1697‑1764), it was the precursor of the Royal Academy Schools. He then continued his studies with Reynolds, and is considered to be the first of Reynolds' pupils (a list which would include Sir Thomas Lawrence and Sir Henry Raeburn). Marchi eventually attained the status as the artist’s chief assistant, responsible for much of the preparatory work including the priming of canvases and the painting of backgrounds and draperies. He was deemed so knowledgeable about Reynolds’ technique and process that he was considered the only person capable of restoring and conserving the master’s paintings. In addition to his studio work for Reynolds, Marchi was an accomplished copyist and was known for his exceedingly detailed and precise mezzotints, many of which were reproduced in the most prominent journals of the day. During his one break with his mentor, Marchi set up his own portrait studio in Swansea in 1768 - the endeavor lasted less than a year and he eventually returned to Reynolds’ studio. Marchi exhibited portraits and engravings at the Society of Artists of Great Britain, of which he was a member, serving as Director in 1775. Few examples of Marchi’s autonomous portraits are known to exist, and all share many of the same compositional elements of his employer’s work. The date of the portrait offered here, 1773, reveals that it was completed not during Marchi’s brief foray at running his own studio, but during a time when he was active in Reynolds studio.

A portrait by Reynolds of Marchi is conserved in the Reynolds Room of the Royal Academy of Arts Collection. The sitter of this painting, familially identified by the salutation on the letter he is holding as a member of the Jameson family of Cork, is likely one of the two known sons of Hugh Jameson, William or Edward. The Council Book of the Corporation of the City of Cork has a notation dated February 13, 1769, requesting that firstly William Jameson and secondly Edward Jameson be admitted as freemen after having served out their apprenticeship with their father Hugh Jameson. Since it is customary for the eldest son to be listed first, and since it is known that Edward was born in 1752 - thus making him slightly too young to be the sitter - it is most likely that William is the sitter presented here. The Hugh Jameson & Sons Company was a prominent and successful importation and distribution company (probably of stone and other building materials based on notations and bills) working out of Morrison’s Island, the thriving mercantile and commerce community located outside of the old walled city of Cork. The family and the business flourished for generations, and there are mentions of both in the city and business journals of the times. The ancestral vault is in the crypt of the Church of the Holy Trinity, Cork, and Hugh, William, and Edward Jameson were interred there. References: Waterhouse, Ellis. British 18th Century Painters. Suffolk: Antique Collectorís Club, 1981.; Hubbard, Elbert. Little Journeys to the Homes of the Great. Volume IV. Library of Alexandria, 1916.; Caulfield, Richard. The Council Book of the Corporation of the City of Cork: From 1609‑1643 and 1690‑1800. Surrey: J. Billing & Sons, 1876.; Lucas, Richard. The Cork Directory for the Year 1787. Cork: J. Cronin.

280 Pair of George III Mahogany Sidechairs, late 18th century, possibly Irish, each with a foliate-carved doubledomed crest above a pierced and interlacing ribbon-carved splat, the padded seat above a foliate-carved apron and raised on cabriole legs ending in carved dolphin feet, h. 39”. [2500/4000] Illustrated 281 Pair of English Hand-Painted Porcelain Fruit Coolers with Liners, second quarter 19th century, gilt-trimmed on a cobalt ground, decorated with baskets of flowers on one side and baskets of fruit on the other, and flowers on the covers, h. 11”, dia. 7”. [2000/4000] Illustrated

282 George III Mahogany and Marble-Top Side Table, fourth quarter 18th century, the rectangular marble top above a plain frieze with a shell-centered ogee-molded apron, and raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, h. 31‑1/2”, w. 47”, d. 22”. [3000/5000] Illustrated

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283 George II-Style Giltwood Mirror, second quarter 19th century, English, with a molded surround, the scrolled frame decorated with shells and rocaille work on a stippled ground, the scrolled crest with an eagle finial, h. 45‑1/2”, w. 28‑1/2”. [800/1200] Illustrated 284 George III Mahogany Chest, late 18th century, the rectangular top with a molded edge, above a conforming case fitted with two short drawers over three graduated long drawers, raised on shaped bracket feet, h. 40”, w. 43”, d. 21”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [700/1000] Illustrated

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285 George III Mahogany Secretary Bookcase, fourth quarter 18th century, the molded cornice above a case fitted with two astragal-glazed doors, the lower section fitted with a drop-front drawer opening to a baize-lined writing surface and a variety of drawers and cubbyholes, over three graduated long drawers, raised on bracket feet, h. 86”, w. 43”, d. 20”. [1200/1800] Illustrated

286 George III Mahogany Bowfront Sideboard, first quarter 19th century, the banded bowed top above a conforming case fitted with a central compartmented cutlery drawer, flanked to one side by two drawers and to the other by a single deep drawer, raised on lineinlaid tapering square legs to spade feet, h. 35”, w. 70”, d. 32‑1/2”. [800/1200] Illustrated 287 Exceptional Chinese Export Punch Bowl, fourth quarter 18th century, in the famille rose palette, the exterior decorated with richly detailed panels of Mandarin scenes on a “Y” diapered ground, the interior with an unusual border of orange foo dog heads and scrollwork, the center reserve panel with a Mandarin scene and a puce scrolled border, on a carved stand, h. 7”, dia. 11‑1/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

288 Two George III Mahogany Tripod Tables, fourth quarter 18th century, the smaller table with a tilting circular top with a molded raised edge, and supported by a turned spiral-ribbed columnar standard to three splayed legs headed by acanthine carving and ending in pad feet, h. 27”, dia. 20”, and the larger table with a tilting circular top raised on a ring-turned and spiral-fluted standard to three splayed legs headed by foliate carving and ending in ball-and-claw feet, h. 30”, dia. 29”. [500/800] Illustrated 289 English Japanned Dressing Mirror in the Queen Anne Style, 20th century, with a bolection front drawer under a slant lid interior, the mirror with a molded surround, decorated with raised gilt Mandarin figures on a Chinese red ground, h. 38‑1/2”, w. 17”, d. 12‑1/4”. [500/800] Illustrated

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290 Scott Leighton (American, 1849‑1898), “Hunters at Rest”, oil on canvas, signed and dated “’90” lower left, verso with “Red Fox Fine Art, Middleburg, Virginia” label, 8” x 12”. Framed. [1000/1500] Illustrated 291 Frederick Marryat (1792‑1848), Novels, London: J. M. Dent and Boston: Little, Brown, 1896, complete in twentytwo volumes, edited by R. Brimley Johnson, duodecimo, in red half leather on marbled boards, the spines with gilt lettering, date and Tudor rose decoration, the top edges cut and gilt, with marbled endpapers, 7‑5/8” x 5‑1/4”. [800/1200] Illustrated

292 John Torrey Morse (1840‑1937), ed., American Statesmen, New York and Boston: Houghton-Mifflin, 1899, thirty-one volumes (of thirty-two), the “Standard Library” edition, duodecimo, in red half leather on marbled boards, the spines with gilt lettering, rule and decoration, the top edges cut and gilt, with marbled endpapers, the inside front board with bookplate of Marburg, engraved 1902 by William Fowler Hopson (1849‑1935), 7‑5/8” x 5‑1/4”. [800/1200] Illustrated

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293 Pair of Georgian-Style Giltwood Two-Light Sconces, second quarter 20th century, probably Italian, on tassel-carved backplates decorated with eagles on carved acanthus leaves, the wire candle arms decorated with gilt medallions terminating in giltwood sockets, electrified, h. 35‑1/2”, w. 14‑1/2”, d. 8”. [500/800] Illustrated 294 Fine English Mahogany Breakfront Vitrine, ca. 1900, in the Chinese Chippendale taste, with carved astragal-glazed doors and pierced fretwork galleries, raised on a base adorned with blind fretwork-decorated legs and aprons, h. 89”, w. 69”, d. 17”. [3000/5000] Illustrated

8 86

295

295 George III Mahogany Armchair, fourth quarter 18th century, in the Chinese Chippendale taste, the pierced patterned back joined by scrolling arms to the generous padded seat, raised on square legs with carved circular accents, joined by an H-form stretcher, h. 34”. [700/1000] Illustrated

296 Late George III Mahogany Breakfront, early 19th century, the molded and overhanging cornice above a case fitted with two central glazed doors flanked to either side by a narrow glazed door, above a lower section fitted with four conforming cupboard doors, all inset with a shaped flamed panel, raised on a plinth base, h. 109‑1/2”, w .59‑1/2”, d. 17‑3/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [3000/5000] Illustrated

298 Pair of George III Mahogany Chests, mid-19th century, each with a square top with a molded edge, above a conforming case fitted with three graduated drawers, raised on bracket feet, h. 34”, w. 25”, d. 23‑1/4”. [800/1200] Illustrated

297 George III Mahogany Chest-On-Chest, fourth quarter 18th century, the molded cornice above a frieze centered by an inlaid oval panel of a lion rampant holding a Union Jack shield, over two short drawers and three graduated long drawers, flanked by canted dot-inlaid sides, the lower section fitted with three long drawers, raised on bracket feet, h. 76”, w. 41‑1/2”, d. 20”. [800/1200] Illustrated

298

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301

299 George III Mahogany Armchair, early 19th century, the tall, padded, domed back joined by shaped foliatecarved arms to the padded seat, raised above a guilloche-carved frieze on cabriole legs ending in foliate scrolled toes, h. 44”. [500/800]

303

300 George III Mahogany and Marble-Top Side Table, early 19th century, the rectangular marble top above a frieze fitted with a single long drawer, raised on cabriole legs headed by acanthine and bellflower carving and ending in ball-and-claw feet, h. 29”, w. 36”, d. 18”. [500/800]

302 Japanese Imari Porcelain Basin, fourth quarter 19th century, the interior decorated with green panels on a blue ground, with gilt scrollwork, and a green “pond” with stylized fish on the bottom, and the exterior with orange panels on a white ground, h. 4‑1/4”, dia. 12‑3/4”. [1200/1800] Illustrated

301 Monumental Chinese Chippendale-Style Polychrome Vitrine Cabinet, 20th century, with a large open pagodaform structural crest flanked to either side by smaller like structures, the central section fitted with a single arched door flanked to either side by a recessed lower cabinet, above a conforming deeply fret-carved frieze, raised on foliate-carved cluster-column legs to plinth bases, h. 121”, w. 65”, d. 23‑1/2”. [3000/5000] Illustrated

303 George III Mahogany Slant Lid Desk, fourth quarter 18th century, the slant front opening to a variety of drawers and cubbyholes surrounding a central cupboard and an inset leather writing surface, over two short drawers and three graduated long drawers, raised on bracket feet, h. 41‑1/2”, w. 45”, d. 23”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1200/1800] Illustrated

304 John H. “Jock” Wilson (British, 1774‑1855), “Burntisland, Scotland”, 1835, oil on canvas, signed and dated lower left, 30” x 50”. Framed. [3000/5000] Illustrated 305 George III Fruitwood Chest, late 18th century, the top with a cross-banded perimeter, the case with a bank of four drawers with banded edges, raised on bracket feet, h. 37”, w. 41”, d. 18”. [700/1000] Illustrated 306 Two English Regency Tortoiseshell TwoCompartment Caddies, second quarter 19th century, the larger example on ball feet, the front with a metal oval cartouche initialed “B”, the cover with unusual decoration of contrasting darker tortoiseshell “crossbanding”, h. 7”, w. 7”, d. 4‑1/4”, and the smaller example with a domed cover, the panels of tortoiseshell divided with metal, h. 5‑3/4”, w. 6‑1/2”, d. 3‑3/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated

307 George III-Style Mahogany Chest, of diminutive proportions, the rectangular top with a molded edge and canted corners above a conforming case fitted with four long drawers, raised on a plinth base, h. 27‑1/2”, w. 28”, d. 18”. [600/900] 308 Three-Piece Derby Porcelain Garniture Set, first quarter 19th century, English, in the Imari palette, with gilt snake-form handles, the campana-form urns with red “D” and crown marks, h. 6‑1/2” to 7‑3/4”, dia. 5‑1/2” to 6‑1/2”. [800/1200] Illustrated

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311 309

310

309 Regency Black-Lacquered Papier-Mache Tray, early 19th century, the ovoid tray with an elaborate gilt border surrounding a heraldic emblem, now raised on a a modern conforming ebonized stand with gilt accents, the tray bearing a handwritten label en verso, h. 18‑1/2”, w. 30”, d. 24”. [700/1000] Illustrated 310 William IV Mahogany and Marble-Top Side Table, second quarter 19th century, the rectangular marble top with a D-shaped front, above a conforming frieze fitted with two paneled drawers with a central panel, joined by ribbed front uprights headed by lion’s head capitals to a concave lower shelf, the whole raised on paw feet, h. 33”, w. 60”, d. 24”. [1500/2500] Illustrated

311 Unusual English Regency Japanned Shelf Clock, first quarter 19th century, the case decorated in the chinoiserie fashion with trees and houses, the steel dial signed “Baker Appleby”, probably for Henry Baker I (1761‑1826), one of the succession of five clockmakers from the Baker family of Appleby, Magna, England, h. 15‑1/2”, w. 10”, d. 5‑1/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated

312 Pair of Late Regency Mahogany Cellarettes, first quarter 19th century, each with a rectangular top centered by a brass knop, opening to a metal-lined interior, the body graduated with carved front pilasters, the sides with lion masque handles, raised on sabre legs ending in brass caps and casters, h. 22”, w. 23”, d. 17”. [3500/5000] Illustrated

314 Regency-Style Mahogany Bowfront Chest, late 19th century, the bowed top above a conforming case fitted with two short drawers over three graduated long drawers, raised on bracket feet, h. 41”, w. 40‑1/2”, d. 20‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [700/1000] Illustrated

313 Circle of Sir William Beechey (British, 1753‑1859), “Portrait of a Lady with a Pendant Watch Fob and Coral Bead Necklace”, oil on canvas, unsigned, 23” x 19”. Framed. [1000/1500] Illustrated

315 Pair of Victorian Elm Work Tables, third quarter 19th century, each square top with rounded drop leaves, above a frieze fitted with a compartmented drawer over a pull-out fabric storage well, raised on a waisted support to a circular plinth on four splayed legs ending in casters, h. 28‑1/2”, w. 17”, d. 16”, extended w. 29”. [1500/2500] Illustrated

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318 319

316 Regency-Style Giltwood Three-Part Overmantel Mirror, ca. 1900, English, with reeded columns on each side, the tablets decorated with molded swags of flowers held by bowknots, the cove-molded upper frieze with acorn drops, set with beveled mirror plates, h. 41‑3/4”, w. 70”. [600/900] Illustrated 317 Collection of Dutch Market Japanese Imari, first quarter 19th century, with ship and figural decoration, comprising a pair of plates, dia. 9‑1/4”, and six rice bowls, h. 2‑3/4”, dia. 4‑1/2”, four with lids (twelve total pieces). [1000/1500] Illustrated

318 Regency Brass-Mounted Mahogany Campaign Wine Table, first quarter 19th century, the bisected and folding demi-lune top with a reeded edge, and supported by tapering ring-turned legs with brass-top caps and screw hardware, h. 34‑1/8”, w. 57‑5/8”, d. 24”. Provenance: The Estate of Lillian Pulitzer Smith, New Orleans, Louisiana. For a similar example, see Nicholas A. Brawer, British Campaign Furniture: Elegance Under Canvas, 1740‑1914 (New York: Abrams, 2001), pp. 136‑137. [600/900] Illustrated 319 Late Regency Mahogany Work Table, second quarter 19th century, the top fitted with a pierced brass gallery, over a pair of paneled drawers, on a trestle base with turned stretchers and saber-form legs ending with brass paw cups, h. 29”, w. 24”, d. 16”. [600/900] Illustrated

320 Regency-Style Giltwood Tabernacle Mirror, 20th century, English, with fluted Corinthian pilasters on each side and a leaf-molded frieze, h. 54‑3/4”, w. 42‑1/2”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [600/900] Illustrated

322 William IV Faux-Bois Chest, second quarter 19th century, the stepped, rounded rectangular top with painted banding, above a conforming case fitted with two short drawers over three graduated long drawers, raised on bun feet, h. 43”, w. 38”, d. 19‑1/2”. [1000/1500] Illustrated

321 William IV Tortoiseshell Work Table, second quarter 19th century, the octagonal top opening to a lift-out compartmented tray, lifting to a pleated fabric storage well, raised on a paneled standard to a molded octagonal base raised on casters, h. 29‑1/2”, dia. 15”. [3000/5000] Illustrated

323 English Mahogany Cock-Fighting Chair, early 19th century, of traditional form, the rounded back above a pierced Gothic arch splat, the back fitted with a movable easel back reading/writing surface, fitted with two small compartmented side drawers, the padded leather seat raised on ribbed tapering circular legs ending in toupie feet on casters, h. 33”. [4000/7000] Illustrated

321

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322

detail

328

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324

324 William IV Mahogany Server/Side Table, second quarter 19th century, the rectangular top with a projecting center section, above a conforming frieze fitted with a single long drawer, raised on large bulbous turned and ribbed tapering circular legs ending in bulbous toupie feet, h. 37‑1/2”, w. 77”, d. 23”. [1200/1800] Illustrated 325 Pair of English Painted Tole Tea Canisters, second half 19th century, now mounted as lamps, decorated with gilt and black Chinese characters framed with matching borders and the number “13”, overall, h. 24‑1/4”, dia. 9”. [500/800] 326 Pair of English Regency-Style Painted Metal Chestnut Urns, ca. 1900, decorated with hand-painted flowers in an oval panel on a black ground, and festoons of hand-painted flowers, set with lion’s head ring pulls, h. 12”, w. 6‑1/2”, d. 4‑1/2”. [500/800]

327 Pair of William IV Mahogany Hall Chairs, second quarter 19th century, each with an ovoid back centered by a painted heraldic shield, the deep shaped wooden seat raised on pierced and shaped supports, joined by a stretcher, h. 37”. [600/900] 328 William IV Mahogany Center Table, second quarter 19th century, the tilting circular top with a molded edge and raised on a paneled columnar standard to a concave tripartite base, to scrolled toes on casters, h. 30‑1/2”, dia. 54”. [900/1200] Illustrated 329 Pair of William IV Patinated and Gilt-Bronze Candlesticks, second quarter 19th century, on tripartite bases, the gilt scrollwork supporting the patinated tapered standards set with shell-molded candle cups and gilt-bronze scroll-molded bobeches, h. 10‑1/2”, dia. 5”. [600/900] Illustrated

330 William IV Mahogany Linen Press, second quarter 19th century, the molded cornice above two paneled doors, opening to pull-out shelves, the lower section fitted with two short drawers over two graduated long drawers, raised on large bulbous feet, h. 82”, w. 48‑1/2”, d. 21”. [800/1200] Illustrated 331 English Bloor Derby Topographical Warwick-Form Urn, ca. 1811‑1848, gilt-trimmed on a brilliant green ground, the hand-painted view depicting “Pass of the Trosach’s Loch Katrine”, as identified on the bottom, with gilt intertwined vine-molded handles set on each side, grapes and grape leaves trimming the top edge, under the molded and beaded rim, marked “Bloor Derby” in a circular crown mark on the bottom, h. 9‑1/2”, dia. 10‑1/2”. [1500/2500] Illustrated 332 William IV Mahogany and Rosewood Side Table, second quarter 19th century, the long rounded rectangular top with rosewood banding above a frieze fitted with three like-banded drawers, raised on ribbed tapering circular legs ending in peg feet, h. 32”, w. 83‑1/2”, d. 17‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

333 Anglo-Colonial Rosewood Settee, mid-19th century, the tripartite back with three curved rails above a ribbed and X-form pierced splat, joined by downswept arms on urn-form uprights to the caned seat, raised on ribbed tapering circular legs ending in toupie feet, h. 32‑1/2”, w. 64”, d. 21‑1/2”. [900/1200] Illustrated 334 Pair of William IV Patinated and Gilt-Bronze ThreeLight Candelabra, second quarter 19th century, on a lotus-molded standard set with a gilt eagle, under a large spray of drops, the adjustable side arms molded with cornucopias of flowers, now electrified, h. 18‑1/2”, w. 13‑1/2”, d. 4‑1/4”. [500/800] 335 William IV Gothic Revival Rosewood Settee, second quarter 19th century, the back with five pierced arched splats, tapering in height from the center, joined by closed arms terminating in quatrefoil hand rests, to the padded seat, raised on cluster-column legs ending in casters, h. 42”, w. 77”, d. 27‑1/2”. [2500/4000] Illustrated

332 331

333

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337

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336

336 Persian Bidjar Runner, 2’ 9” x 16’ 9”. [1200/1800] Illustrated 337 Agra Sultanabad Carpet, 10’ 2” x 14’ 1”. [2500/4000] Illustrated 338 Antique Kerman Carpet, 10’ 6” x 12’ 8”. [1200/1800] Illustrated

339 Antique Afshar Carpet, 4’ x 5’. [600/900] 340 Turkish Angora Oushak Carpet, 12’ 1” x 16’ 3”. [3000/5000] Illustrated 341 Antique Persian Kerman Carpet, 11’ 6” x 16’ 5”. [5000/8000] Illustrated

342

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349

342 Semi-Antique Persian Carpet, 7’ 6” x 10’ 7”. [800/1200] Illustrated

346 Bamboo Silk Bakshaish Carpet, 9’ x 11’ 7”. [1500/2500] Illustrated

343 Turkish Angora Oushak Carpet, 7’ 9” x 10’ 1”. [900/1200]

347 Turkish Angora Oushak Carpet, 9’ x 12’. [1200/1800]

344 Turkish Angora Oushak Carpet, 9’ 3” x 12’. [1200/1800] Illustrated 345 Semi-Antique Kerman Palace Carpet, 11’ 9” x 16’ 8”. [6000/9000] Illustrated

348 Antique Persian Mahal Carpet, 8’ 7” x 12’ 5”. [2500/4000] Illustrated 349 Antique Persian Mahal Carpet, 9’ x 12’ 7”. [2500/4000] Illustrated

350 French Fin de Siecle Giltwood Mirror in the Louis XVI Taste, fourth quarter 19th century, with fluted colonnettes flanking the acanthus-decorated surround, the carved crest with sprays of acanthus leaves and a wreath of flowers with crossed torch and quiver, h. 68‑1/4”, w. 44”. [1500/2500] Illustrated

352 Pair of Louis XVI-Style Polychrome and Marble-Top Console Tables, mid-19th century, each with an inset rectangular marble top within an annulated and molded frieze, raised on fluted tapering circular legs joined by an urn-centered stretcher and ending in toupie feet, h. 33‑3/4”, w. 35”, d. 12”. [2000/4000] Illustrated

351 Rare French Gold and White Porcelain Pedestal, 19th century, probably Paris and likely made during the Restauration period, the pedestal exhibiting outstanding modeling and gilding, the foot in the form of an inverted Corinthian column capital, and holding the tapered pedestal with reeded panels of acanthus leaves alternating with anthemia and laurel leaves, the compote-form top also reeded, formerly mounted as a lamp, possibly intended as a torchere stand, h. 47”, w. 14”, d. 14”. [1200/1800] Illustrated

353 Tiffany-Retailed Three-Part French Bronze and Marble Clock Set, first quarter 20th century, in the Louis XVI style, the clock on a bowfront white marble base with inset gilt-bronze vines holding a conforming clock decorated with scrollwork, the sides incorporating leaf-molded brackets, a basket of flowers serving as the finial and supporting festoons of fruit, the works marked by the maker, “Marti”, as well as “Tiffany & Co.”, h. 16‑1/2”, w. 10‑1/4”, d. 3‑3/4”, the round en suite threelight candelabra with marble bases matching the clock, twisted candle arms and central fruit finials, h. 11‑1/4”, dia. 7‑1/4”. [1500/2500] Illustrated

351

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357 354

355

356 354 Napoleon III Well-Cast Gilt-Bronze Candlestick, third quarter 19th century, now mounted as a lamp, on a verde antico marble base, the Louis XV-style candlestick with a grape-molded base and a swirled vasiform standard molded with acanthus leaves under a grape-molded drip pan, fitted with a pleated, fringed silk shade, h. 29‑1/2”, dia. 11”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [600/900] Illustrated 355 French Bronze and Crystal Six-Light Chandelier, second quarter 20th century, in the Baroque taste, the bronze frame set with scrolled candle arms alternating with scrolled arms, and set with crystal spires and sprays of drops, an additional spray of drops creating the corona, h. 31”, dia. 19”. [1800/2500] Illustrated

356 Louis XVI-Style Polychrome Settee, early 19th century, the padded and domed back joined by padded closed arms to the cushioned seat, raised on fluted tapering circular legs headed by floral capitals and ending in toupie feet, h. 39”, w. 71”, d. 23”. [800/1200] Illustrated 357 Unusual Pair of Chinoiserie-Decorated Polychrome Vases, third quarter 19th century, probably French, inspired by earlier Chinese export vases, with flowerdecorated bases on a cobalt ground with gilt vermicelli, the obverses with hand-painted panels of Mandarin figures and the reverses with vases of flowers, the covers set with Mandarin knops, h. 18”, w. 6‑1/4”, d. 4‑1/2”. [800/1200] Illustrated

361

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358 360

358 Rare Pair of Limoges Chinoiserie Vases, ca. 1858‑1878, on scrollwork-decorated claret grounds, the vases with pate-sur-pate panels of chinoiserie figures on a celadon ground and gilt elephant head handles on either side, marked “HA & Co” in a celadon pad mark on one vase, h. 15”, dia. 6‑1/4”. [800/1200] Illustrated 359 Pair of Louis XVI-Style Giltwood Fauteuils, early 20th century, each with a padded oval back within a rope- and foliate-carved frame with a ribbon crest, joined by rounded arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 38”. [1000/1500] Illustrated

100

360 Transitional Louis XV-into-Louis XVI-Style Mahogany, Kingwood and Marble-Top Commode, late 19th century, the rectangular top with rounded corners and a projecting center section, above a conforming case fitted with two drawers, both with parquetry panels, raised on cabriole legs ending in sabots, h. 34”, w. 42”, d. 20”. [1000/1500] Illustrated 361 Continental Gilt-Metal Eight-Light Chandelier, mid20th century, with a reeded lower portion and a vasiform frame, decorated with applied leaves, lilies and roses, h. 27”, dia. 22‑1/2”. [600/900] Illustrated

362

364

362 Francois Joseph Huygens (Belgian, 1820‑1908), “Floral Still Life”, oil on panel, signed and dated lower left “FHuygens 49”, verso with a “Red Fox Fine Art, Middleburg, Virginia” label, 20” x 16”. Handsomely framed. [1500/2500] Illustrated 363 Circle of Hubert Robert (French, 1733‑1808), “Fishing for Eels” and “At the Water Fountain”, pair of red chalk drawings on laid paper, unsigned, sight 10‑3/8” x 8‑1/2”. Both glazed, French-matted and presented in matching ribbon-carved giltwood frames. [2500/4000] Illustrated

363 Pair

365

364 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded domed back within a foliate-carved frame with like finials, joined by padded arms to the like seat, raised above a fluted apron on stopfluted tapering circular legs ending in toupie feet, h. 37”. [1000/1500] Illustrated 365 Napoleon III Eighteen-Karat Gold and Porcelain Perfume Flacon, third quarter 19th century, the gold mounts by Eugene Maillot, active 1840‑1865, Paris, the baluster-shaped porcelain body painted en grisaille with a courting couple in a pastoral scene, with gold “Gothic” engraved base and hinged collar, h. 3‑1/2”, dia. 1‑1/4”. [3000/5000] Illustrated

101

366 Louis XV-Style Mahogany Writing Table, early 19th century, the rectangular top with an inset leather writing surface, above a frieze fitted with a frieze drawer flanked to either side by two small drawers, all with scrolling inlay, raised on cabriole legs ending in sabots, h. 30”, w. 52‑1/2”, d. 28”. [1000/1500] Illustrated 367 Louis XVI-Style Mahogany and Onyx-Top Center Table, ca. 1900, branded “Krieger”, the circular onyx top within a three-quarter pierced brass gallery, above a conforming frieze fitted with polychrome “faille” brass panels, and a single drawer, raised on fluted tapering circular legs headed by ormolu capitals and ending in peg feet, h. 30”, dia. 22‑1/2”. [1500/2500] Illustrated

368 Louis XVI-Style Giltwood Bergere, mid-19th century, the padded domed back within a molded and annulated frame, joined by padded sides and scrolled arms to the cushioned seat, raised on fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 36”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [700/1000] Illustrated 368A Large Signed KPM Hand-Painted Porcelain Plaque, fourth quarter 19th century, German, depicting a mother and child, the plaque mounted in a pierced giltwood frame decorated with scrollwork, oak leaves and acorns, impressed with a baton, “KPM” and numbers on the back, plaque, h. 10‑3/4”, w. 9”, overall, h. 16‑3/4”, w. 15”. [2500/4000] Illustrated

367 368A

366 368

102

369 Pair of German “KPM” Hand-Painted Porcelain Covered Vases, fourth quarter 19th century, in the neoclassical style, trimmed with gilt and featuring couples in 18th-century costume on the obverse and bouquets on the reverse, with a red orb overglaze mark and a blue scepter underglaze mark, h. 18”, w. 10‑1/4”, d. 7‑1/4”. [1200/1800] Illustrated 370 Louis XVI-Style Polychrome Bergere avec Orielles, early 20th century, the padded back joined by shaped sides and padded arms to the cushioned seat, raised on fluted tapering circular legs headed by gilt foliate carving and ending in toupie feet, h. 42‑1/2”. [1000/1500] Illustrated

373

371 Unusual Niderviller White Faience Figural Group, fourth quarter 19th century, decorated with a peasant girl washing her feet after harvesting wheat, a group of young hunters peering at her, all in 18th-century costume, impressed “Niderviller” and an interlaced “CC” under a crown, h. 18‑1/2”, dia. 7”. [500/800] 372 Louis XVI-Style Polychrome and Marble-Top Center Table, 20th century, the circular marble top with a molded edge, above a medallion-carved frieze, raised on four molded legs joined by an X-form stretcher and ending in toupie feet, h. 29”, dia. 29‑1/2”. [800/1200] Illustrated 373 Andrea Fortini (Italian, 1902‑1977), “After a Day’s Catch on the Mediterranean”, oil on canvas, signed lower right, 24” x 36”. Presented in an antique giltwood and gesso frame. [1000/1500] Illustrated

369

372 370

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375

377 374 French Brass and Porcelain Four-Light Chandelier, second quarter 20th century, of small size, the oval brass latticework mimicking a basket, set with scrolled metal candle arms terminating in tulip-form candle cups, the arms and sides decorated with sculpted polychrome porcelain flowers, h. 19”, w. 15”, d. 8‑1/2”. [500/800] 375 Meissen-Style Porcelain and Bronze Clock, fourth quarter 19th century, in the rococo taste, resting on a scroll-molded bronze base set with a glass “pond”, with a female porcelain mandolin player overlooking the pond, among gilt-metal branches and leaves set with encrusted flowers, the clock set in the front of the “tree”, a porcelain bird serving as the finial, h. 17”, w. 13”, d. 9”. [1500/2500] Illustrated

104

376 French Gilt-Bronze and Porcelain Two-Light Bouillotte Lamp, first quarter 20th century, of rococo inspiration, the pierced base and standard decorated with bronze leaves interspersed with porcelain flowers, the candle sockets molded with gilt-bronze leaves, set with a parchment shade, h. 25”, dia. 13”. [600/900] 377 German Automaton of a Bird in a Gilded Cage, 20th century, the brass cage with a singing red bird, sitting on a perch with vines and leaves, marked “Germany” on the bottom, h. 14”, dia. 5‑3/4”. [600/900] Illustrated

378

380

378 Pair of Louis XVI Giltwood Fauteuils, early 20th century, each with a padded rectangular back surmounted by a floral ribbon crest, joined by padded acanthine-carved arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 39”. [1500/2500] Illustrated 379 Petite French Gilt-Bronze Six-Light Chandelier, 20th century, in the Louis XVI style, the fluted and leafmolded standard holding scrolled branches set with cut crystal bobeches and pear-form drops, electrified, h. 14”, dia. 12‑3/4”. [600/900] Illustrated

381

380 Louis XV-Style Polychrome Folio Stand, late 19th century, the canted and double-caned sides flanking a single divider, above a shell- and foliate-carved apron, raised on molded cabriole legs headed by shell carving, joined by an H-form stretcher and ending in scrolled toes, h. 34”, w. 20‑1/2”, d. 17”. [600/900] Illustrated 381 Pair of Louis XVI-Style Giltwood and Marble-Top Cabinets, early 20th century, each with an inset oval marble top within a guilloche-carved frame, above a conforming case fitted with caned panels and a single cupboard door with an applied colorful floral wreath, raised on fluted circular legs ending in toupie feet, h. 28‑1/2”, w. 20‑1/2”, d. 17”. [1200/1800] Illustrated

105

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382 Italian Painted Metal and Porcelain Six-Light Chandelier, first quarter 20th century, decorated to resemble espaliered roses, and set with metal leaves and vines interspersed with white porcelain roses, the arms also set with metal leaves, h. 18‑1/2”, dia. 16”. [600/900] 383 Set of Twelve Hand-Painted Polychrome Plates in the Louis XVI Style, 20th century, probably French, decorated with ribbons, festoons of flowers and bouquets in the center, trimmed with gilt borders, marked with overglaze blue crossed arrows, dia. 10‑1/4”. [1200/1800] Illustrated

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384 Louis XVI-Style Polychrome and Marble-Top Side Table, early 19th century, the demi-lune marble top above a paneled frieze with applied carved foliate and ribbon designs, raised on fluted tapering circular legs headed by acanthine carving and ending in bulb feet, h. 31‑1/2”, w. 46‑1/2”, d. 23”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1200/1800] Illustrated 385 Pair of Louis XVI Fruitwood Bergeres, late 18th century, each with a padded domed back surmounted by a ribbon crest, joined by padded sides and scrolling arms to the cushioned seat, raised above a ribbon-carved apron on fluted tapering circular legs ending in toupie feet, upholstered in yellow Scalamandre silk damask, h. 37”. Provenance: Royal Antiques, New Orleans, Louisiana. [1000/1500] Illustrated

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386 Louis XV-Style Kingwood and Marble-Top Commode, early 20th century, the marble top with a bowed and molded edge, above a bombe case fitted with two long drawers, each with inlaid scrolling floral patterns, raised on sabre legs ending in sabots, h. 34”, w. 36”, d. 15‑1/2”. [500/800] 387 Pair of Belle Epoque Gilt-Bronze and Marble TwoLight Candelabra, fourth quarter 19th century, on fluted column-form marble bases, the gilt-bronze standards in the form of a male and female child, each holding a pot of flowers, the candle “branches” set with flowers holding candle sockets, h. 16‑3/4”, w. 8”, d. 4‑3/4”. [1000/1500] 388 Set of Six French Gilt-Bronze Two-Light Sconces, second quarter 20th century, in the Louis XVI taste, in two sizes, on swag-form backplates, the arms molded in the form of ribbon-bound reeds, h. 12” to 14‑1/2”, w. 6‑3/4” to 8”, d. 3‑3/4” to 5‑3/4”. [900/1200] Illustrated

389 Louis XVI-Style Mahogany and Marble-Top Writing Table, early 20th century, the rectangular marble top with turreted corners, above a conforming frieze fitted with a single long drawer, the frieze paneled with applied ormolu beading and laurel leaf garland, raised on tapering circular legs entwined with ormolu grapevines joined by an X-form stretcher and ending in foliate cap feet, h. 30‑1/2”, w. 43”, d. 27”. [2000/4000] Illustrated 390 Louis XVI-Style Mahogany Bergere avec Orielles, third quarter 19th century, the padded back surmounted by a stepped panel crest with side pineapple finials, joined by padded downswept sides and arms on fluted uprights to the cushioned seat, raised on fluted tapering circular legs ending in brass caps, h. 43”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [1200/1800] Illustrated

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391 Louis XIV-Style Bronze and Crystal Nine-Light Chandelier, second quarter 20th century, composed of polished bronze, the candle arms set with three candle sockets, each hung with crystals, alternating with arms hung with sprays of drops, the upper portion with a crystalclad standard hung with two tiers of sprays of drops, h. 41”, dia. 20‑1/2”. [2000/4000] Illustrated 392 French Gilt-Bronze Mantel Clock in the Louis XV Style, fourth quarter 19th century, the lower portion of the case almost entirely composed of pierced scroll and rocaille work, a putto playing a flute and a cupid flank the standard holding the works, the crest decorated with sprays of flowers and an urn finial, the works marked by the retailer, G. Philippe, Palais Royale, h. 20”, w. 22”, d. 6‑3/4”. [2500/4000] Illustrated 393 Louis XVI-Style Mahogany and Marble-Top Center Table, early 20th century, the inset oval marble top within a molded frame, above a conforming frieze with annulated millwork and ormolu swags, raised on fluted tapering circular legs ending in ormolu foliate pad feet, h. 31”, w. 42‑1/2”, d. 28”. [1500/2500] Illustrated

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394 Handsome French Gilt-Bronze Boudoir Frame, ca. 1900, in the Louis XVI taste, the weighty, carefully constructed frame molded with acanthus leaves bound with silver crossed ribbons, h. 11‑1/4”, w. 9‑3/4”. [800/1200] Illustrated

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395 Niek van der Plas (Dutch, b. 1954), “Amsterdam Canal Scene”, oil on panel, signed lower right and en verso, 13‑3/4” x 18”. Attractively framed. [2000/4000] Illustrated 396 Unusual Louis XVI-Style Bronze and Crystal TwelveLight Chandelier, second quarter 20th century, with a vasiform cut glass insert and bronze drapery hung from medallions supporting the arms, the lower tier with scrolled arms termating in sphinx heads holding the molded candle cups, the upper arms leaf-molded, h. 33”, dia. 35”. [1200/1800] Illustrated

397

397 Louis XVI-Style Polychrome and Marble-Top Console Table, early 20th century, the rectangular top with a D-front, above a conforming floral guilloche-carved frieze, raised on fluted shaped legs headed by foliatescroll capitals and ending in toupie feet, h. 33‑1/2”, w. 40”, d. 18”. [2000/4000] Illustrated 398 Pair of Paris Porcelain Vases, second quarter 19th century, French, the faceted urns with Chinese-inspired modeling to the base and rim, hand-painted with Mandarin figures on the base, the main panels depicting figures in a garden and the other panels with Gothic and “jewel” painting, with spurious overglaze blue “J.P.” marks to the base, h. 15‑3/4”, w. 8”, d. 3‑1/2”. [500/800] Illustrated

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399 Exceptional Pair of Paris Porcelain Vases, the chinoiserie-inspired vases each with gilt swan’s-head handles and decorated with Gothic figures surrounded by various figures in Gothic panels, the top and base with flowers on a black ground, h. 15‑1/2”, w. 7‑1/2”, d. 3‑1/2”. [500/800] Illustrated 400 Transitional Louis XV-into-Louis XVI-Style Kingwood, Parquetry-Inlaid and Marble-Top Commode, second quarter 20th century, the rectangular marble top with rounded front corners, the case with bronze mounts and fitted with three long drawers, the lower two with a central inlaid floral medallion, h. 35”, w. 39‑1/4”, d. 19”. [1000/1500] Illustrated

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401 Louis XV Kingwood Occasional Table, late 18th century, the rectangular top with shaped corners and an inlaid marquetry panel, above a shaped frieze fitted with a single drawer, raised on cabriole legs, h. 29”, w. 23”, d. 20”. [700/1000] Illustrated 402 Louis XV-Style Polychrome Bergere, early 19th century, the tall padded back surmounted by a foliate crest, joined by padded arms to the cushioned seat, raised on molded cabriole legs ending in scrolled toes, h. 40‑1/2”. [700/1000] Illustrated

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403 Rare Napoleon III Porcelain Coffee Set in its Original Traveling Case, third quarter 19th century, probably Paris, hand-painted with scenes from the Renaissance on a vert pale ground with bamboo-decorated borders, the set comprised of an oval tray featuring a scene of a concert, w. 20‑1/2”, d. 16‑1/2”, a coffeepot, h. 8‑1/4”, w. 7‑3/4”, a covered hot milk jug, h. 6‑1/4”, w. 5‑3/4”, a sugar bowl, h. 5‑3/4”, w. 6”, seven of the original nine coffee cups decorated with hand-painted panels of Renaissance genre scenes, h. 2‑1/2”, and nine saucers, dia. 2‑1/2”, in its original silk-lined fitted traveling case, covered in stamped leatherette. [3000/5000] Illustrated

404 Louis XV-Style Kingwood Games Table, third quarter 19th century, the banded square top with a central parquetry inlay, above a conforming frieze fitted with a small central drawer to each side and a pull-out candle slide to each corner, raised on cabriole legs ending in sabots, h. 28”, w. 31”, d. 31”. [800/1200] Illustrated 405 Set of Eight Royal Copenhagen Flora Danica Plates, four dated 1937, one dated 1959 and three indistinct, hand-painted with various fruits, each with gilttrimmed and pierced borders, each fully marked, dia. 9”. [1500/2500] Illustrated

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406 Jacob Petit Schneeballen Bottle, mid-19th century, French, with a ground of tiny white flowers, decorated with vines of various fruits, and scattered with birds, the cover decorated with encrusted flowers and a pair of birds, h. 15‑1/2”, dia. 6‑1/4”. [600/900] 407 Group of Six Chinese Paintings, fourth quarter 19th century, inks and color on paper, including five palace interiors and garden court scenes, and an imperial boating party, sight 4‑1/4” to 6‑1/2” to 7‑1/4” to 9‑1/4”. Glazed, sight-matted and framed. [1500/2500] Illustrated

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408 Pair of Chinese Export Porcelain Bough Pots, first quarter 19th century, the turquoise grounds decorated with flower trellises, the sides with panels of Mandarin figures and baskets of flowers under the handles, drilled for lamps, h. 10”, w. 9”, d. 9”. [1000/1500] Illustrated 409 Pair of Chinese Famille Rose Porcelain Bottle Vases, Qing Dynasty (1644‑1911), and possibly of the period, the large pair of bottle vases with a turquoise ground, enameled around each globular body with floral scroll decoration with butterflies and peonies, the undersides bearing a mark of Daoguang (1821‑1850) in underglaze blue, h. 21”, w. 12”. [1500/2500] Illustrated

410 Handsome Set of Five Chinese Export Porcelain Lotus Cups and Saucers, 19th century, both the cups and saucers raised on molded lotus foliage and realistically painted, h. 2”, dia. 4‑1/4” (ten total pieces). [1500/2500] Illustrated

412 Chinese Export Famille Rose Porcelain Punch Bowl, mid18th century, hand-painted with bold polychrome water lilies on the interior, and peonies and other flowers on the exterior, h. 6‑1/2”, dia. 15‑3/4”. [3000/5000] Illustrated 413 Chinese Famille Rose Porcelain Rouleau Vase, probably Republic period (1912‑1949), the elegant vessel with a blue and white key-fret pattern along the mouth rim, over a cylindrical body decorated in relief with the “hundred antiques” motif, h. 16‑5/8”, w. 8”. [1000/1500] Illustrated

411 Chinese Export Porcelain “Lotus” Punch Bowl, fourth quarter 18th century, with a gilt scroll border, the interior with famille rose peonies and a blue cracked ice border, h. 4‑1/2”, dia. 10‑1/4”. [1000/1500] Illustrated

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417 414 Suite of Four Chinese Export Paintings, 19th century, depicting “Mandarin Figures”, each gouache on paper, sight 11‑1/2” x 6‑3/4”. All glazed, handsomely matted and framed alike. [1000/1500] Illustrated 415 Chinese Export Vase in the Famille Verte Palette, 19th century, decorated with butterfly and flower borders, the reserve panels with figures under pine trees, h. 14”, dia. 4‑1/4”. [1200/1800] Illustrated

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416 Chinese Famille Verte Porcelain Rouleau Vase, Qing Dynasty (1644‑1911), 19th century, the large vase enameled in the Kangxi style, decorated with a scene of figures on a terrace, one kneeling figure paying his respects to his seated elders, the underside marked with two concentric circles in underglaze blue, h. 18”, w. 6‑3/4”. [800/1200] Illustrated 417 Pair of Chinese Famille Verte Porcelain Vases, Qing Dynasty (1644‑1911), 19th century, now mounted as lamps on wooden bases, the vases decorated with lotus scrollwork and reserves depicting figures in garden landscapes, vase, h. 17‑1/4”, overall, h. 32‑1/2”, w. 7”. [1000/1500] Illustrated

418 Impressive Chinese Famille Rose Porcelain Vase, Qing Dynasty (1644‑1911), 19th century, the large vase with a splayed lip over a tapering body, decorated in vibrant enamels of a scene of birds and butterflies in a verdant garden, the dragon enameled in blue and pink, wrapping around the neck of the vessel, h. 24‑1/2”, w. 10”. [2000/4000] Illustrated

420 Empire Mahogany Breakfront Cabinet, 2nd Quarter 19th century, the molded cornice above a case fitted with a central cabinet door with an applied ormolu wreath mount, flanked to either side by a slender concealed cupboard, fronted by two square uprights, the lower conforming section with a white marble top over a central frieze drawer, joined by square supports to a plinth shelf base, the whole richly accented with ormolu mounts in the Empire taste, h. 74‑1/2”, w. 37‑1/4”, d. 19”. [2500/4000] Illustrated

419 Empire-Style Mahogany Breakfront Cabinet, late 19th century, the molded cornice above a case fitted with a central tall cabinet door with an inset domed and beveled glass panel, with applied ormolu angel corner accents, flanked to either side by a narrow cabinet door inset with a beveled glass panel, raised on a molded base to large gilt paw feet, h. 86”, w. 79”, d. 19‑1/2”. [3000/5000] Illustrated

421 French Empire-Style Gilt-Bronze-Mounted Mahogany Mirror, ca. 1900, the arched and beveled mirror plate flanked by pilasters with bronze mounts and capitals, and trumpeting angels holding wreaths, the frieze with a pierced bronze lozenge flanked with stars, h. 80‑1/2”, w. 52”. Formerly used in the French Embassy, Washington, D.C., and later in the collection of pop star Michael Jackson, El Cerrito, California. [1800/2500] Illustrated

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422 Empire-Style Mahogany and Marble-Top Bureau Cylindre, mid-19th century, the rectangular marble top above three small drawers with a cylindre secretary below, opening to a pull-out baize-lined surface and a variety of drawers and cubbyholes, over a single frieze drawer and two recessed long drawers, flanked to either side by an ebonized ormolumounted columnar standard, raised on block feet, h. 51”, w. 52”, d. 25‑1/2”. [500/800] Illustrated

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423 Impressive French Neoclassical-Style Giltwood Cornice, mid-19th century, decorated with acanthus leaves under a bold border of flowers bound with crossed ribbons, the top inverted with a rope-twist border, h. 16”, w. 104‑3/4”, d. 9‑1/2”. [800/1200] Illustrated 424 Set of Four French Gilt-Brass Patriotic Medallions, second quarter 19th century, two depicting Napoleon, in ebonized frames, probably original, now on stone backs in giltwood frames, h. 14‑1/4”, w. 14‑1/4”. [1000/1500] Illustrated

425 French Patinated Bronze of “Napoleon a Cheval”, first quarter 20th century, after Louis Marie Morise (French, 1818‑1883), inscribed “Marion, fec.” along side of self-base, on a rectangular marble plinth with bronze monogram, overall, h. 12‑1/2”, w. 9”, d. 3‑3/4”. [1400/1800] Illustrated 426 French Patinated Bronze of Napoleon, 20th century, after Emile Guillemin (French, 1841‑1907), inscribed “Il sut vivre en heros et mourir en grand homme/5 Mai 1821”, h. 11‑1/4”, w. 3‑3/8”, d. 3‑3/4”. [500/800] Illustrated

427 French Patinated Bronze of “Napoleon a Cheval”, first quarter 20th century, after Louis Marie Morise (French, 1818‑1883), on a black marble plinth, overall, h. 13‑1/2”, w. 13”, d. 5‑1/4”. [800/1200] Illustrated 428 Handsome French Bronze and Siena Marble Napoleonic Encrier, fourth quarter 19th century, on scrolled feet, the marble base with an inset pen tray, with a bronze bust of Napoleon in the center, on a marble base with a bronze wreath, flanked by engine-turned inkpots with eagle finials, h. 11‑1/2”, w. 18‑1/2”, d. 12”. [1800/2500] Illustrated

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429 Empire-Style Mahogany Chest, late 19th century, the rectangular top above a case fitted with a frieze drawer over five recessed long drawers, raised on sabre feet headed by ormolu palmetto mounts, h. 62”, w. 41‑1/2”, d. 21‑1/2”. [700/1000] Illustrated

431 Empire-Style Mahogany and Marble-Top Cabinet, early 20th century, the long rectangular verde antico marble top above a conforming case fitted with three drawers over four cupboard doors, all the doors with applied ormolu torcheres, and divided and flanked by ormolu-mounted columnar uprights, raised on paw feet, h. 42”, w. 88‑1/2”, d. 23‑1/2”. [2000/4000] Illustrated

430 Continental Empire Mahogany and Parcel-Gilt Pier Mirror, second quarter 19th century, with monopodia on paw feet, terminating in female heads flanking the mirror, the upper table decorated with swans drinking from a fountain, the coved cornice gilded and fluted, h. 59‑1/2”, w. 37‑1/2”. [1200/1800] Illustrated

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432 Continental School (19th Century), “Dionysus in the Sanctuary of Apollo, Surrounded by the Thiads”, oil on canvas, unsigned, 53” x 34‑1/2”. Framed. [3500/5000] Illustrated 433 Royal Vienna Hand-Painted Charger, ca. 1900, German or Austrian, the hand-painted reserve panel depicting The Three Graces, and with an elaborate raised gilt border decorated with cranes on bleu royal roundels, with scrollwork on pale blue panels, and a gilt meander on an aubergine border, with a blue “beehive” mark, in a contemporary giltwood shadowbox frame lined with aubergine suede, overall, h. 18‑3/4”, w. 18‑3/4”, charger, dia. 13”. [700/1000] Illustrated

434

434 Pair of Napoleon III Bronze Dore et Patine and Marble Five-Light Candelabra, third quarter 19th century, in the Empire taste, now mounted as lamps, on Siena marble bases decorated with gilt-bronze wreaths, the bronze candelabra on tapered and reeded column-form standards terminating in Corinthian capitals and holding arms set with candle cups and drip pans, h. 38‑1/4”, dia. 14”. [1000/1500] Illustrated 435 Pair of Empire-Style Giltwood and Ebonized Bergeres, early 20th century, each with a padded backswept crest and back, joined by downswept arms on ebonized griffins to the padded seat, raised on tapering circular legs headed by a ball capital and ending in peg feet, h. 34”. [3000/5000] Illustrated

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436 French Silvered Brass Bouillotte Lamp, second quarter 20th century, the beaded base decorated with engine turning and supporting a fluted standard with four scrolled candle arms set with engine-turned candle cups, the black tole shade held to the standard with an adjustable arrowmolded thumbscrew, electrified, h. 38‑1/4”, dia. 18”. [500/800] 437 Pair of Terracotta Architectural Urns in the Rococo Taste, ca. 1900, on fluted ribbon-bound bases, the inverted pear-form urns set with four leaf-molded handles and tapered fluted mock covers, h. 21‑1/4”, dia. 12”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated

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437 438 Late Louis-Philippe Mahogany and Marble-Top Pier Table, mid-19th century, with a later conforming verdigris marble top, the front legs carved in the form of ram’s heads and terminating in cloven hoof feet, mounted to a platform base raised on scroll feet, h. 37”, w. 52”, d. 23”. [1200/1800] Illustrated 439 William IV Mahogany Dressing Glass, second quarter 19th century, set with a bowfront drawer in the base, the mirror supports carved with lotus leaves and termating in eagle heads, the mirror with a bolection-molded frame, h. 24”, w. 30‑1/2”, d. 14”. [700/1000] Illustrated 440 Louis-Philippe Giltwood Mirror in the Rococo Taste, mid19th century, with a cabochon-molded surround, the crest with a pierced shell-form finial, flanked by putti holding sprays of flowers set with a beveled mirror plate, h. 47”, w. 32‑1/2”. [1800/2500] Illustrated

441 Empire-Style Mahogany Jardiniere, late 19th century, the rectangular top with a conforming lift-out metal compartment, above a deep frieze with applied ormolu wreath mount, joined by square ebonized legs with ormolu band accents to a plinth shelf, h. 35”, w. 38‑1/4”, d. 19”. [3000/5000] Illustrated

443 Empire Mahogany Lit du Jour, early 19th century, the headboard and footboard each with a columnar crest rail above a panel fronted by an ormolu-mounted columnar standard, joined by convex rails, raised on tall block feet raised on casters, h. 45”, inside, w. 48”, l. 78”, outside, w. 50”, l. 80”. [1000/1500] Illustrated

442 Pair of Empire-Style Mahogany Occasional Tables, each with a circular top with a recessed center section, above a fluted frieze, joined by supports to a flame-urncentered triangular stretcher, continuing to splayed legs ending in hoof feet, h. 28”, dia. 16‑1/2”. [1200/1800] Illustrated

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444 Pair of French Restauration Patinated Bronze SixLight Candelabra, second quarter 19th century, now mounted as lamps, on gilt paw feet, the bases molded with putti supporting the Corinthian column standards, with oil lamp-form candle holders hung with chains, overall, h. 38‑3/4”, dia. 8‑1/4”. [500/800] Illustrated

446 Empire-Style Mahogany, Gilt-Metal and Slate-Top Center Table, 20th century, the circular top in a fauxmarbre finish, above a plain conforming standard, raised on three gilt winged swan supports to a concave tripartite base, h. 31”, dia. 35‑1/2”. [1000/1500] Illustrated

445 Empire-Style Mahogany and Ebonized Center Table, 19th century, the rectangular top with shaped corners and raised on four large supports in the form of winged lions on an X-form stretcher base, h. 31”, w. 52”, d. 29”. [1800/2500] Illustrated

447 Empire-Style Mahogany and Parcel-Gilt Gondola Chair, 20th century, the deep curved crest above a padded back, joined by downswept wing-carved sides to the padded seat, raised on square legs ending in gilt paws, h. 39”. [1500/2500] Illustrated

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448 French Belle Epoque Carved Giltwood Mirror in the Neoclassical Style, fourth quarter 19th century, the ogee-form frame decorated with acanthus leaves on the inner portion and ribbon-bound oak leaves and acorns on the outer edge, set with a beveled mirror plate, h. 63‑1/2”, w. 48‑1/2”. [700/1000] Illustrated

450 Pair of French Restauration Bronze Dore et Patine Six-Light Candelabra, second quarter 19th century, now mounted as lamps, the tapered column standards with leafy capitals wrapped in snakes, issuing conforming scrolled arms, the tripartite bases supporting paw feet , base, h. 22‑1/2”, overall, h. 35”, dia. 10”. [1000/1500] Illustrated

449 Pair of Barbedienne III Gilt-Bronze Garniture Urns in the Neo-Grec Style, third quarter 19th century, on black marble bases, the urns decorated in bas relief with neoclassical scenes, each mounted with a pair of dolphinform handles, formerly mounted as lamps, one stamped “F. Barbedienne”, for the Parisian founder Ferdinand Barbedienne, h. 18‑1/4”, w. 7”, d. 5‑1/2”. [1800/2500] Illustrated

451 Pair of Contemporary Iron and Galvanized Metal Side Tables, of Directoire inspiration, each with a long rectangular top with a brass-tack-accented edge, and raised on X-form end supports joined by a like lionmasque-centered stretcher and ending in paw feet, h. 40‑1/2”, w. 48”, d. 17‑1/2”. [1000/1500] Illustrated

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452 Continental Bronze Planter in the Form of a Classical Brazier, 20th century, probably Italian, on a square base, with monopodia-form legs terminating in ram’s heads and hung with swags, supporting the bowl-form top, h. 43”, dia. 16”. [1200/1800] Illustrated 453 Pair of Bronze and Marble Table Lamps in the Grand Tour Style, 20th century, after the Antiques, the marble bases supporting paw-footed, tapered, pierced lamp standards decorated with ram’s heads and swags of leaves around flower-molded fire pots, overall, h. 35‑1/2”, w. 7‑1/4”, d. 7‑1/4”. [800/1200] Illustrated

454 Pair of Empire-Style Polychrome and Marble-Top Side Tables, early 20th century, each with an inset deeply canted marble within a molded and reeded frieze, joined to a lower shelf by paneled reeded uprights headed by Egyptian maiden head capitals and raised on a plinth shelf, h. 44”, w. 43‑1/2”, d. 17‑1/2”. [3000/5000] Illustrated 455 Louis XVI-Style Ebonized, Polychrome and Marble-Top Secretaire a Abattant, third quarter 19th century, in the manner of Rene Dubois, the rectangular marble top with canted corners, above a conforming case fitted with a frieze drawer over a paneled drop front opening to an inset leather surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, raised on tapering square legs ending in brass caps, the cupboard and sides all with grisaille-painted panels of classical figures and motifs, h. 50‑1/2”, w. 28‑1/2”, d. 13”. [2000/4000] Illustrated

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459 457 Pair of Mottahedeh Basalt Garniture Urns in the Neoclassical Style, 20th century, Italian, on trumpetform bases, the urns with cartouches decorated with eagles, between lion’s head handles and swags of bellflowers, marked on the bottom, h. 22‑1/2”, dia. 7‑3/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated 458 Pair of Monumental Neo-Grec Silvered Bronze Figural Seven-Light Candelabra, third quarter 19th century, Jean-Louis Gregoire (1840‑1890), cast as maenads in diaphanous gowns with opposing raised torcheres and flanked by dolphins, signed on self-bases, mounted on stepped pedestals inset with cabochons, on scrolled feet, h. 42‑1/4”, w. 11‑1/2”. [30000/50000] Illustrated

458

detail 456 Continental Polychrome and Faux-Marbre Cabinet, partially composed of antique elements, in the neoclassical taste, the rectangular top above a conforming case fitted with a paneled drawer over a like cupboard, flanked to either side by fluted pilasters, raised on heavily molded block feet, h. 35‑1/2”, w. 27‑1/2”, d. 15‑1/2”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [700/1000]

Jean-Louis Gregoire, the son of a master metal and silver engraver, studied at the Ecole des Beaux-Arts in Paris. Gregoire excelled as a sculptor working in the Neoclassical tradition, exhibiting regularly at Salon from 1867 until his death in 1890. He received numerous accolades for his work and became one of the first Associates of the Artistes Francais. The work offered here exemplifies the best of Gregoireís mature style. While dancing Bacchantes and maenads are recurring subjects in Gregoireís work, this pair represents a stunning mixture of Classical mythology; the sheer billowing gowns (chiton) accentuated by the use of contrapposto are loosely modeled after the famed 1st c. CE Parian marble of Aphrodite of Frejus in the permanent collection of the Louvre Museum. The inclusion of the dolphins, a symbol often associated with Aphrodite/Venus, further elevates these maiden revelers to revered goddesses of beauty illuminated by their torcheres. 459 Continental Patinated Bronze of “Perseus with the Head of Medusa”, ca. 1900, after the 1545 sculpture by Benvenuto Cellini (Italian, 1500‑1571) now at the Piazza della Signoria in Florence, on an elaborate pedestal with figures of Minerva, Mercury, Giove (Jove), and Diana set within arched niches on all four sides, on a stepped marble plinth, overall, h. 20‑1/4”, w. 5”, d. 4‑1/2”. [1000/1500] Illustrated

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460 460 Pair of French Patinated Bronze Figures of Mercury and Venus, fourth quarter 19th century, on handsome cove-molded red and yellow mottled marble bases, each supported by a wind deity and carrying a torch, Mercury holding a caduceus and Venus a body strigil, h. 18‑1/4”, dia. 4‑1/2”. [1200/1800] Illustrated

462 Italian Neoclassical-Style Alabaster Statue of a Female Bather, fourth quarter 19th century, in the style of Antonio Canova (1757‑1822), standing contrapposto, holding her gown, and looking over her shoulder, h. 31”, dia. 8‑1/2”. [700/1000] Illustrated

461 Pair of French Marble and Patinated Bronze Mantel Garnitures, fourth quarter 19th century, now mounted as lamps, the urn-form lamps decorated with Egyptianform columns trimmed in gilt, base, h. 11”, overall, h. 23”, dia. 5‑1/2”. [500/800] Illustrated

463 Italian Carved Stone Bust of “Augustus Caesar”, fourth quarter 19th century, after the Antique, on an olive-green stone plinth, overall, h. 22”, w. 9”, d. 10”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated

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467 465 464 Continental Carved and Painted Soft Wood Bust of Augustus, Emperor of Rome, first quarter 20th century, Augustus modeled wearing battle gear with his robe and wearing the laurel wreath of victory on his head, h. 23”, w. 15‑1/2”, d. 8‑1/4”. [1000/1500] Illustrated 465 Table Lamp Mounted with a Nineteenth-Century Alabaster Head, the head on a custom-fitted contemporary wood and stone base, base, h. 15‑1/2”, overall, h. 25‑1/4”, w. 5‑1/2”, d. 7”. [800/1200] Illustrated

466 Pair of Continental Terracotta Busts on Socles, 20th century, one of Diana and the other the Apollo Belvedere, after the Antiques, h. 29‑1/2”, w. 16”, d. 10”. [2500/4000] Illustrated 467 Louis-Philippe Mahogany Tripod Table, mid-19th century, the circular dished top raised on a ribbed urn-form standard to three splayed legs headed by foliate carving and ending in paw feet, h. 27”, dia. 31”. [600/900] Illustrated

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468 Italian Grand Tour Krater Urn, fourth quarter 19th century, decorated in Attic red and black, with rows of athletes holding swags, under a border of anthemia, h. 13‑1/4”, dia. 7”. [500/800] Illustrated 469 Pair of English Glazed Terracotta Amphora-Form Urns, third quarter 19th century, in the Neo-Grec style, now mounted as lamps, decorated in terracotta and black, the primary panels with charioteers, under a border of white and blue anthemia, set with scrolled handles, urn, h. 14‑1/2”, overall, h. 25‑1/2”, dia. 6”. [600/900] Illustrated

470 Exceptional Paris Porcelain Hand-Painted Centerpiece in the Neo-Grec Style, third quarter 19th century, French, on a trumpet-form base with a bleu royale border, decorated with a black and Attic red Greek border, the outer sides of the top with polychrome figures on a blue ground, with a Greek-key on the interior sides, a pair of Grecian soldiers, executed in attic red and black, doing battle against a faux stone rose ground, h. 13”, dia. 9‑1/4”. [800/1200] Illustrated 471 Empire-Style Mahogany Lit du Jour, mid-19th century, the long cushioned seat flanked to either end by padded outswept arms, raised on ring-turned tapering circular legs, h. 30‑1/2”, w. 27”, l. 81”. Provenance: The Estate of John Murray Forbes, Boston, Massachusetts and Montecito, California. [800/1200] Illustrated

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472 Biedermeier Mahogany Side Table, second quarter 19th century, the rectangular top above a conforming case fitted with a frieze drawer over a rounded cupboard, joined by ring-turned supports to a lower drawer, raised on block feet, h. 33”, w. 28‑1/2”, d. 16”. [600/900] Illustrated 473 Pair of Handsome William IV-Style Bronze and Metal Four-Light Chandeliers, fourth quarter 19th century, the pans decorated with pinecone finials on medallions, set with gilded arms with scrollwork and reeding, with leaf-molded chain holders, h. 31”, dia. 26”. [2000/4000] Illustrated

474 Restauration-Style Three-Piece Mahogany Salon Suite, second half 20th century, consisting of a pair of fauteuils and a settee, all with padded backswept backs joined to the padded seat by downswept arms on carved dolphin uprights, raised on sabre legs, fauteuils, h. 35‑1/2”, settee, h. 35‑1/2”, w. 51‑1/2”, d. 25‑1/2”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [900/1200] Illustrated

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475 Louis XVI-Style Fruitwood Bouillotte Table, late 19th century, the circular white marble top within a pierced brass gallery, over a frieze fitted with two candle slides and two small drawers, raised on tapering square legs ending in block feet, h. 28‑1/2”, dia. 25”. [500/800]

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476 Louis-Philippe Gilt-Bronze Figural Mantel Clock, second quarter 19th century, with a leaf-molded base on toupie feet, the clockworks set into a classical figure of a woman reading a book, reclining on a Louis XVI recamier, h. 14‑1/4”, w. 13‑3/4”, d. 5‑3/4”. [500/800] Illustrated

478 Biedermeier Fruitwood Window Seat, second quarter 19th century, the padded seat flanked to either side by a padded in-scrolled armrest, raised on a frieze inset with two medallion-painted panels on one side and a painted lyre on the other, raised on large foliate-carved tapering circular feet, h. 32”, w. 46”, d. 26”. [800/1200] Illustrated

477 Handsome Pair of French Restauration Bronze Dore et Patine Four-Light Candelabra, now mounted as lamps, on tripartite bases set with scroll feet, the conforming tapering standards decorated with molded leaves and scrollwork, the upper standards above the molded arms, supporting the upper candle sockets, now mounted with electrical fittings, h. 34‑1/2”, dia. 10”. [800/1200] Illustrated

479 Exceptional Pair of Gilt-Bronze-Mounted Kylix-Form Malachite Urns, second half 19th century, probably Russian, raised on rectangular plinths, the trumpet-form bases supporting the urn bowls, mounted with giltbronze egg-and-dart-molded rims, set with intertwined snake handles, h. 14‑1/4”, w. 17‑1/2”, dia. 13‑3/4”. [18000/25000] Illustrated

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480 Meissen Polychrome Porcelain Figure of Czarina Elizabeth of Prussia, ca. 1860‑1922, German, after the model by J. J. Kandler, the Czarina on a rearing stallion, a turbaned pate in attendance, on a base with encrusted flowers, with the pommel-ended underglaze crossed swords mark on the bottom, and impressed “144” in addition to a decorator’s mark, h. 9‑1/2”, w. 9”, d. 4”. [500/800] Illustrated 481 Maison Jansen Louis XVI-Style Mahogany and Marble-Top Occasional Table, early 20th century, the circular top with a full pierced brass gallery and inset marble surface, above a paneled frieze with ormolu millwork banding, raised on paneled tapering square legs ending in brass caps, the underside of the table signed “Maison Jansen”, h. 24”, dia. 22”. [700/1000] Illustrated

482 Pair of French Alabaster and Gilt-Metal Urn-Form Lamps, second quarter 20th century, the bases molded in the form of partial columns supporting alabaster urns, set with scrolled gilt-metal arms, overall, h. 29‑1/2”, w. 7‑3/4”, d. 7‑3/4”. [600/900] Illustrated 483 Italian Neoclassical Burled Fruitwood Bureau, early 19th century, the slant front opening to a variety of drawers and cubbyholes surrounding a central arched cabinet, over two short drawers and two long drawers, raised on tall tapering square legs, h. 43”, w. 40”, d. 18‑1/2”. [600/900] Illustrated

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485 484 484 Biedermeier-Style Satinwood Bookcase, early 20th century, the molded cornice above an upper section fitted with two doors, each inset with a grille panel, the lower section fitted with two paneled cupboard doors, raised on a plinth base, h. 85”, w. 58‑1/2”, d. 22”. [1200/1800] Illustrated 485 Italian Giltwood Pier Mirror, 20th century, in the neoclassical taste, with a scrolled lower edge, the crest with a pierced bowknot crest flanked by fluted urns, h. 54”, w. 18‑3/4”. [700/1000] Illustrated

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486 Pair of Italian Carved Giltwood Musical Trophies, mid-20th century, in the neoclassical taste, the ribbonbound swag-form backplates supporting various musical instruments over carved laurel wreaths, marked “Palladio, Made in Italy” on the back, h. 33‑1/4”, w. 8‑1/2”. [600/900] Illustrated 487 Unusual Italian Neoclassical Overmantel Mirror, first quarter 19th century, decorated with gilt elements on a green ground and circassian walnut veneers, the covemolded feet with swags, the sides of the mirror plate with matching panels with medallions and palmettes, and the crest with lozenges and urns joined with swags, h. 31”, w. 65”. [1200/1800] Illustrated

488 French Restauration Gilt-Bronze Figural Mantel Clock, second quarter 19th century, on scrolled feet, the case decorated with a lotus-molded ogee molding below leaf-molded sides, the figure depicting Jesus Christ with an eagle, representing St. John, standing atop a book inscribed “Parables de St. Jean”, the silk string suspension works marked “Laporma et fils”, h. 21‑1/4”, w. 13‑3/4”, d. 5‑3/4”. [1500/2500] Illustrated 489 Pair of Hand-Painted Porcelain Baluster Vases, mid19th century, Paris or Limoges, decorated with carefully rendered oval portraits of pairs of little girls, framed with gilt and blue scrollwork with red details, the reverse painted with flowers, h. 19‑1/2”, dia. 8‑1/4”. [2000/4000] Illustrated

490 Victorian Rosewood Work Table, third quarter 19th century, the turtle-form top hinged and opening to a padded needlework panel and various compartments, nine lidded, above a slide-out fabric storage well, joined by four scrolling supports to a bobbin-turned standard to three splayed legs ending in upturned toes, h. 29‑1/4”, w. 21‑1/4”, d. 17”. [500/800] Illustrated 491 Victorian Mahogany Etagere Cabinet, third quarter 19th century, the superstructure with two graduated shelves joined by scrolling supports, the rectangular top above a single frieze drawer over two cupboard doors, each inset with a shaped glazed panel, raised on a plinth base, h. 59”, w. 38‑1/2”, d. 15”. [500/800] Illustrated

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492 British School (Mid-19th Century), “Portrait of a Young Girl”, oil on board, unsigned, 39‑1/2” x 26‑1/2”. Presented in a giltwood frame. [1500/2500] Illustrated 493 Napoleon III Brass-Inlaid Liqueur Set, third quarter 19th century, with a serpentine front, the walnut-veneered case trimmed with inlay and crossbanding, with chased brass scrollwork inlay on both the top and front, the case opening to reveal a carefully fitted rosewood tray with a gilt-brass handle, and four wheel-cut and engraved liqueur bottles with sixteen matching glasses, h. 10‑3/4”, w. 12‑3/4”, d. 9‑1/2”. [1500/2500] Illustrated

494 Victorian Ebonized Papier-Mache Occasional Table, third quarter 19th century, the stylized shell-form top with a fruit and floral still life, raised on a ribbed and bulbous standard to a molded circular base to three splayed scrolled feet, the base with gilt foliate accents, h. 25”, w. 16”, d. 13‑1/2”. [700/1000] Illustrated 495 Pair of English Brass, Metal and Glass EagleDecorated Carriage Lamps, fourth quarter 19th century, with nickel-plated torchere-form molded bases, the lamps composed of brass-trimmed black tole, set with octagonal lanterns, the large panes decorated with cutting, the smaller colored panes in red and blue, with nickel-plated displayed eagle finials, h. 33”, w. 6”, d. 6”. [700/1000] Illustrated

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496 Early Victorian Satinwood and Mahogany Drop-Leaf Table, third quarter 19th century, the banded top with bowed ends and two ovoid drop leaves with like banding, above a frieze fitted with a single end drawer and a faux end drawer, raised on a bulbous turned standard to four splayed legs ending in acanthine-carved feet on casters, h. 28‑1/4”, w. 18”, d. 30”, extended w. 38”. [800/1200] Illustrated 497 George III Mahogany and Satinwood Partner’s Desk, late 19th century, the banded rectangular top with an inset writing surface, above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted with a paneled cupboard to one side and three graduated drawers to the other, all banded, raised on bracket feet, h. 29”, w. 59”, d. 36”. [2000/4000] Illustrated

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498 Victorian Mahogany Tripod Table, late 19th century, the piecrust top with a raised edge and supported by a bulbous foliate-carved pierced standard to three splayed legs ending in up-scrolled toes, h. 25‑1/4”, dia. 19”. [500/800] Illustrated 499 Thomas Hewer Hinckley (British, 1813‑1896), “Deer in Landscape”, 1860, oil on canvas, signed and dated lower right, verso with “North Carolina Museum of Art, Raleigh, North Carolina” inventory and exhibition labels, 36” x 28‑1/2”. Framed. Provenance: Lock Galleries, New York; Mr. and Mrs. Dreyfus, New York; Gifted to North Carolina Museum of Art; Sold to benefit the North Carolina Museum of Art, Christie’s New York, August 28, 2012, lot 120; private collection. [5000/8000] Illustrated

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500 Charles Dickens (1812‑1870) Set with Autograph Letter, Writings, Riverside Press, Boston: Houghton Mifflin, 1894, the “Large Page” Edition, number 12 of 500, complete in thirty-two volumes, the first volume with laid-in Dickens autograph letter on folded notepaper dated June 26, 1852 from Tavistock House to an unidentified recipient regarding some notes and a “legend”, also mentioning “Miss Burdett Coutts” (Angelina Georgina Burdett-Coutts, 1st Baronet Burdett-Coutts), signed “Faithfully Yours, Charles Dickens” with elaborate paraph, the set edited by Edwin Percy Whipple, with engravings (some tinted) by Browne, Cruikshank, Leech et al., octavo, in full green leather with gilt decoration and gilt edge rule, the interior boards in full green leather with inset red panel and gilt decoration, the spines with raised bands and gilt lettering, rule and decoration, with red moire endpapers and green register ribbon, the top edges cut and gilt, 8‑7/8” x 6‑1/4”. [3000/5000] Illustrated

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501 Victorian Mahogany Lectern, third quarter 19th century, the top with a leather-inset slanted surface opening to a compartmented interior, each side fitted with a small rectangular drop leaf, the front fitted with seven paneled drawers, with side locking mechanism, raised on toupie feet on casters, h. 51”, w. 28‑1/2”, d. 18‑1/4”. [1500/2500] Illustrated 502 Pair of Victorian Walnut and Fruitwood Etageres, late 19th century, each with a rectangular burled top with a three-quarter pierced brass gallery, joined by paneled bulbous supports to two lower shelves and a single paneled drawer, raised on waisted square feet to brass caps on casters, h. 39”, w. 21”, d. 15”. [800/1200] Illustrated

503 Pair of Aesthetic Porcelain Vases, fourth quarter 19th century, English, attributed to Christopher Dresser, probably made by Minton, the turquoise blue ground vase “tied” with an obi, decorated to mimic cloisonne, the borders trimmed with Japanese meanders, unmarked, h. 6”, w. 5”, d. 4”. [700/1000] Illustrated

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505 504 Charles Bell Birch, A.R.A. (British, 1832‑1893), “Bust of a Distinguished Gentleman”, 1881, marble, inscribed “CB Birch/A.R.A./Sc. 1881” along back truncation, on a socle base, h. 28”, w. 20”, d. 9‑1/2”, presented on a faux-marbre composite columnar plinth, h. 40”, overall, h. 68”. Provenance: Personal collection of D. Didier, New Orleans, Louisiana. [2000/4000] Illustrated A native of London, Birch attended the School of Design, Somerset House, before moving to Berlin to study under acclaimed German sculptor Christian Daniel Rauch (1777‑1857) at the Akademie der Kunste. Upon his return to England, Birch served over a decade as the principal assistant in the studio of John Henry Foley, R.A. (1818‑1874), during which time he was awarded a significant financial prize (sources debate whether it was £500 or £600) from the Art Union of London for a sculpture of a nymph. He exhibited regularly at the Royal Academy and was elected an Associate of that organization in 1880. Birch gained a reputation as an adept sculptor and was most appreciated for his approach to portraiture. His numerous public commissions include the monumental statues of Benjamin Disraeli (1883), St. George’s Hall, Liverpool, and Queen Victoria (1896), Blackfriars Bridge, London.

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504 505 Japanese Imari Punch Bowl, fourth quarter 19th century, set with French bronze mounts, decorated with orange peonies and a blue border with gilt trim, h. 9”, w. 17‑3/4”. [1000/1500] Illustrated 506 Henry Schouten (Belgian, 1864‑1927), “Retrievers”, oil on canvas, signed lower left, 23‑5/8” x 30”. Framed. [1200/1800] Illustrated

507 Edwardian Rosewood Etagere, ca. 1900, the broken swan’s-neck pediment above a frieze with two beveled mirror panels flanking an inlaid urn panel, over a central beveled mirror flanked to either side by two shaped shelves, the lower bowed section fitted with an open central spindled gallery with a mirrored back, flanked to either side by an urn-inlaid paneled cupboard, joined to a lower shelf by turned uprights, raised on toupie feet, h. 101‑1/2”, w. 55”, d. 18”. [1500/2500] Illustrated 508 Set of Twelve Mintons Fish Plates, ca. 1894, English, decorated by Albert H. Wright, with raised gilt borders, depicting trailing flowers, each plate hand-painted with various aquatic scenes, each initialed “A.H.W.”, impressed with “Mintons” and its swan-form “1894” date mark, marked by the retailer, Davis Collamore and Co., New York, dia. 9”. [1000/1500] Illustrated

510 Continental Patinated Metal Bust of an Orientalist Male, fourth quarter 19th century, on a tapered base with Middle Eastern strapwork decoration, the mustached figure dressed in a turban, h. 28”, w. 15”, d. 8”. [800/1200] Illustrated 511 Middle Eastern Copper Circular Tray, molded with Islamic patterns, with a silver center medallion and some silver accents in one area, all in the form of script, dia. 30‑1/2”. [700/1000] Illustrated

509 Collection of Three Painted Terracotta Figures of Dogs, fourth quarter 19th century, probably German, including two seated dogs, one a spaniel and the other a Saint Bernard, h. 9‑3/4”, w. 5‑1/2” and 6”, and a reclining Bullmastiff, h. 6”, w. 12‑1/2”, all with glass eyes, unmarked. [1000/1500] Illustrated

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512 George II Irish Sterling Silver Harp-Handled Cup, hallmarked Dublin, 1728‑1729, the maker’s mark rubbed, of traditional form, with molded banding and domed foot, engraved, on the body, with the arms of Cuthbert opposing the badge of Beamish of Willsgrove, and under the foot with presentation inscription “Bequeathed to his beloved Sister A. J. M. Beamish by Wm Cuthbert of Bloomfield”, h. 9‑1/2”, dia. 7”, w. 12‑1/4”, 43.08 t. oz. [4000/7000] Illustrated The inscription and arms here relate to William Cuthbert, Esq. (d. ca. 1824) of Bloomfield, co. Cork, who married, in 1777, Rose Beamish (1753‑1834), the daughter of Captain William Beamish (ca. 1710‑1772) of Willsgrove. Rose’s brother, William Beamish, Jr. (1760‑1828) married, in 1789, Anne Jane Margaret de la Cour (1769‑1852), the recipient of this bequest. Thus, Cuthbert’s “sister” was, in fact, his wife’s sister-in-law.

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512 detail 513 Good George IV Irish Sterling Silver Salver, hallmarked Dublin, 1822, by William Nolan, retailed by Jacob West, of circular form, with rococo-scroll rim, the plateau flat-chased with a broad band of fruit and flowers quartered by classical masques, raised on four scrollcrested paw feet, the central cartouche engraved with the arms of Denny of Tralee Castle, co. Kerry, dia. 14”, 44.56 t. oz. [3500/5000] Illustrated 514 Pair of George III Irish Sterling Silver Sauceboats, hallmarked Dublin, no date letter but third quarter 18th century, the maker’s mark rubbed, each of batteau form with inverse fluting and beading, with crested treble scroll handle and raised on three wild man masque-crested scroll-and-shell feet, engraved under the spout with the badge of Stanley, h. 4‑1/4”, l. 8‑1/2”, w. 4‑1/2”, 20.32 total t. oz. [2500/4000] Illustrated

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515 George III Sterling Silver Mug, hallmarked London, 1781‑1782, by Edward Fernell (1747‑1802; free 1769), of traditional baluster form, with crested double-scroll handle and beaded foot ring, h. 5‑1/2”, dia. 3‑3/4”, l. 5‑1/2”, 12.59 t. oz. [500/800] Illustrated 516 Unusual Pair of George II Sterling Silver Sauceboats, hallmarked London, 1756‑1757, by William Shaw and William Priest, each of batteau form and decorated with a repousse band of ribboned floral swags below a gadrooned rim, with an elaborately detailed figural dolphin handle and raised on a similarly impressive figural sea turtle base, engraved under the spout with an armorial, the baron unidentified (argent a fess chequy or and azure between three birds azure) but impaling Majendie, h. 6‑7/8”, l. 8‑5/8”, w. 4”, 46.64 total t. oz [1800/2500] Illustrated

517 Set of Four Regency Old Sheffield Plate Covered Entree Dishes, first quarter 19th century, each of oval form with flat foliate rim, the fluted, domed lid with large oak leaf-mounted ring handle, engraved on the rim with a coat of arms (gules, on a fess argent three demi-savages between nine crosses crosslet), h. 7”, l. 12‑3/4”, w. 10‑1/4”. [2500/4000] Illustrated 518 Impressive Regency Old Sheffield Plate Banquet Plateau, first quarter 19th century, in five rectilinear sections, the center, l. 24”, the two flanking, l. 20”, and the ends with rounded corners, l. 15”, with gadrooned rim above molded sides and raised on robust paterae-and-scroll lion’s paw feet, fitted with a mirrored plate, one edge of each section engraved with a crest of an eagle rising, each section with wooden under-base inscribed “B x CCLXXXI”, one end section additionally inscribed “William Adamson [indecipherable] Newcastle”, configurable in a variety of lengths, the maximum 94”, w. 16”. [20000/40000] Illustrated

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519 William IV Old Sheffield Plate Tureen, second quarter 19th century, of oval bulbous form, with robust acanthus handles and feet, the fitted, domed lid with large acanthus bud finial, engraved on the lid with the crest and motto of Jameson and monogrammed on the body “S”, h. 10”, l. 15”, w. 8”. [1000/1500] Illustrated 520 Collection of Sixty-Eight Antique and Vintage Bottle Tickets, early 19th century and later, including examples in sterling silver, silverplate, porcelain, celluloid and enameled brass and tin, labeling a variety of spirits (Madeira, Claret, Lisbon, Menthem Whiskey, Rum, Bourbon, etc.) and pharmaceuticals and potions (Bicarbonate of Soda, Witch Hazel, Iodine, Eye Lotion, etc.”, the smallest w. 3/4”, the largest w. 2‑3/4”. Detailed list available on request. [1000/1500] Illustrated

521 Victorian Four-Piece Coffee and Tea Set, London 1850‑1852, by James Charles Edington (1803‑1873; free 1824), including a coffeepot, h. 10‑1/2”, l. 9”, a teapot, h. 8”, l. 9‑7/8”, an open sugar bowl, h. 6‑3/4”, w. 6‑1/2”, and a cream jug, h. 6‑5/8”, l. 4‑3/8”, each with a bulbous body and tall waisted collar above four cabochon-crested acanthus scroll feet, decorated with repousse flowers and scrolls on an imbricate ground all centering a cartouche of a village scene with applied bas-relief figures, opposing a cartouche with an engraved crest of a unicorn’s head erased, with peaked double-scroll handles, 93.76 total t. oz. [4000/7000] Illustrated 522 Victorian Silverplate Standish, third quarter 19th century, by W. & S. Ward, Manchester, of shaped rectangular form with gadrooned rim and acanthus-andshell corners, fitted with a pair of silverplate-capped cut glass inkwells between a pair of pen trays, the whole raised on four lion’s paw feet, h. 3‑3/4”, l. 11‑3/4”, d. 9‑1/4”. [500/800] Illustrated

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523 Victorian Cased Twenty-Seven-Piece Sterling Silver Gilt and Porcelain Dessert/Fish Set, hallmarked 1880‑1881, by Hilliard & Thomason, Birmingham, including nine each forks, l. 4‑1/4”, fruit knives, l. 8”, and fish knives, l. 9”, the tines and fruit blades gilt, all with engraved trailing ivy decoration, fitted by annulated ferrules to white Meissen-style porcelain pistol-grip handles with painted floral decoration, presented in the original indigo satin- and velvet-lined fitted mahogany case with two lift-out trays, 3‑3/4” x 12‑3/4” x 10‑1/2”. [1200/1800] Illustrated 524 Large Victorian Sterling Silver Goblet, hallmarked London, 1886‑1887, by Charles Stuart Harris (1830‑1918), the ovoid body with gadrooned lower half, above a waisted stem with broad annulated knop and a trumpeting gadrooned and annulated base, h. 10‑5/8”, dia. 4‑1/2”, 13.26 t. oz. [700/1000] Illustrated

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525 George III-Style Mahogany Side Table, early 20th century, the rectangular top with a molded edge, above a conforming fluted frieze fitted with a central garlandcarved drawer, raised on carved tapering square legs ending in spade feet, h. 31”, w. 60”, d. 24”. [600/900] Illustrated 526 Unusual Contemporary Polychrome and Marble-Top Dining Table, in the Georgian taste, comprised of a center section and two independent D-end console tables, with a trisected marble top above a plain frieze, raised on turned urn-form pedestals to splayed reeded legs on brass caps, h. 30‑1/2”, w. 36”, l. 95”. [1000/1500] Illustrated

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527 Arthur Heyer (German, 1872‑1931), “Yellow Ball of Yarn”, oil on canvas, signed lower left, 16” x 19‑3/4”. Framed. [1000/1500] Illustrated 528 Suite of Eight Provincial Louis XV-Style Fruitwood Armchairs, each with a domed and molded crest above a caned back, joined by shaped and scrolling arms to the padded seat, raised on cabriole legs ending in peg feet, h. 40”. [2000/4000] Illustrated

529 George III-Style Mahogany Dining Table, the banded and rounded rectangular top with two 24” leaves, raised on two pedestals, each with a turned columnar standard to three splayed and reeded legs ending in brass caps and casters, h. 30”, w. 48‑1/2”, l. 72”, extended l. 120”. [1000/1500] Illustrated

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530 George II-Style Parcel-Gilt Mirror, early 20th century, the gilt and black surround with egg-and-dart carving and decorated with festoons of bellflowers on each side and carved medallions in each corner, the broken pediment leaf-carved and the finial with pierced scrollwork and a cabochon-shaped center panel, h. 43”, w. 26‑3/4”. [800/1200] Illustrated 531 Edwardian Mahogany Sideboard, late 19th century, in the George III taste, the brass plate rail above a banded top with shaped front, over a conforming case fitted with a central baize-lined cutlery drawer flanked to one side by a cupboard and to the other by a deep cellarette drawer, raised on tapering square legs, h. 44‑1/2”, w. 65”, d. 24”. [1000/1500] Illustrated

531

532 Edwardian Paint-Decorated Satinwood Desk, ca. 1925, the rectilinear top with an inset tooled leather writing surface, the perimeter with painted flora and vines, the frieze with a central drawer flanked by deeper drawers, raised on tapering square legs and adorned with painted flora and swags throughout, h. 30”, w. 51”, d. 27”. [700/1000] Illustrated 533 Minton Partial Dessert Service, ca. 1901, richly trimmed with gilt, most pieces marked with the Minton’s mark, some with impressed date marks and with the retailer mark, J. J. Freeman Co., Toledo, Ohio, the service including eleven plates, dia. 9”, ten demitasse cups, h. 2”, and ten saucers, dia. 4‑1/4”. [1000/1500] Illustrated

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536 537 534 Edwardian Giltwood Overmantel Mirror in the Adam Taste, first quarter 20th century, divided by pilasters set with Corinthian capitals, the mirror plates decorated with overhanging festoons of acanthus leaves, and the frieze with carved medallions and leaves, supporting a pierced crest decorated with delicate pierced scrollwork, draped urns and pierced anthemia, h. 59‑1/2”, w. 66‑1/2”. [1000/1500] Illustrated 535 Continental Leather Chinoiserie Four-Panel Floor Screen, first quarter 20th century, the tobacco brown ground decorated with polychrome panels of Mandarin figures at pagodas, birds and moths on prunus branches, and pots of flowers, overall, h. 78‑1/2”, w. 80”. [800/1200] Illustrated

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536 Pair of Edwardian Ebonized Armchairs, ca. 1900, in the Regency style, each with a carved crest centered by a musical-motif-painted panel, joined by flat arms on curved uprights to the cushioned caned seat, raised on tapering circular legs ending in toupie feet, h. 32”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated 537 George III-Style Ebonized Breakfront, 20th century, in the chinoiserie taste, the molded and broken swan’sneck pediment above a case fitted with two central arched astragal-glazed doors, flanked to either side by a like canted door, the conforming lower section fitted with four drawers over four cupboard doors, the whole with gilt and polychrome designs in the chinoiserie taste, h. 87‑1/2”, w. 71‑1/2”, d. 16”. [500/800] Illustrated

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538 Pair of Italian Florentine Parcel-Gilt Four-Light Sconces in the Chinoiserie Taste, mid-20th century, decorated with Mandarin figures descending stairs above backplates set with candle arms, h. 29”, w. 14‑3/4”, d. 5‑3/4”. [500/800] Illustrated 539 Pair of Edwardian Neoclassical-Style Fireplace Fenders, first quarter 20th century, the base with square platforms on either side, all trimmed with brass fluting, the fender rod connecting to molded brass holders on each side, h. 13”, w. 61”, d. 7‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated

540 Pair of Mahogany, Faux-Bois and Ebonized Cabinets, early 20th century, in the Adam taste, each with a rectangular top with deeply canted corners and three ebonized panels with gilt floral accents, above a conforming case fitted with three drawers over four paneled cupboard doors, each inset with an ebonized panel with like accents, raised on toupie feet, the whole with gilt band accents, h. 32”, w. 56”, d. 25”. [3000/5000] Illustrated

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543 541 Wang Qi (Chinese, 1776‑1840), ink on fan-shaped paper, depicting a “Mountainous Landscape with a Footbridge”, inscribed and with an artist seal, mounted on silk, fan, 6‑7/8” x 19‑1/2”, overall sight, 13‑1/2” x 25‑1/2”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1500/2500] Illustrated 542 Zhu Jianqiu (Chinese, 1890‑1965), ink and color on fan-shaped paper, depicting a “Figure Fishing”, inscribed and with two artist seals, mounted on silk, fan, 7” x 20‑3/8”, overall sight, 13‑1/2” x 25‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1500/2500] Illustrated

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543 Cai Jia (Chinese, 1686‑1779), ink and color on fanshaped paper, depicting a “Landscape with a Monastery”, inscribed and with two artist seals, mounted on silk, fan, 7” x 20‑1/2”, overall sight, 13‑1/2” x 25‑1/2”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [6000/9000] Illustrated

544

detail

545

detail

544 Wang Li (Chinese, 1813‑1879), ink and color on fanshaped gold paper, depicting “Birds in Flight Over Pine Branches”, inscribed and with an artist seal, mounted on cream paper, fan, 7‑1/8” x 20‑3/4”, overall sight, 13‑1/2” x 25‑1/2”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1500/2500] Illustrated 545 Zhu Lu (1553‑1632), ink and color on fan-shaped gold paper, depicting “Wild Grasses”, inscribed and with two artist seals, mounted on cream paper, fan, 7” x 20”, overall sight, 13‑1/2” x 25‑1/2”. Glazed and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [4000/7000] Illustrated 546 Pair of Chinese Export Palace-Sized Vases, 20th century, on black-lacquered stands with pierced skirts and cabriole legs, vase, h. 38”, dia. 18”, overall, h. 77‑1/2”. [2000/4000] Illustrated

546

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551 548

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547 Chinese Zitan-Stained Inlaid Scroll Box, Qing Dynasty (14644‑1911), probably 19th century, the rectangular box with sliding lid inlaid with hardstone and mother-of-pearl depicting a pair of cranes on a rocky outcrop beneath a spreading pine, ruyi clouds swirling behind the two birds, h. 3‑1/8”, w. 17‑1/8”, d. 3‑1/2”. [1000/1500] Illustrated 548 Chinese Six-Panel Coromandel Lacquer Folding Screen, Qing Dynasty (1644‑1911), probably 19th century, the black carved and painted lacquer folding screen depicting figures on an elegant terrace depicting the wedding party of scholar, Liu-Yi, the reverse with cranes and vine-wrapped pink limbs on a rocky outcrop, accompanied by a Certificate of Antiquity, Hong Kong, 1985, each panel, h. 84”, w. 16”, overall, w. 96”. [1000/1500] Illustrated

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549 Japanese Cloisonne Vase, late Meiji period (1868‑1912), decorated with cranes on a black ground, h. 12”. [2000/4000] Illustrated 550 Chinese Patinated Bronze Planter, ca. 1900, with pierced handles and a pierced rim, the body decorated with panels of dragons on a carefully detailed and molded ground, h. 15”, w. 24‑1/2”. [1200/1800] Illustrated 551 Japanese Meiji Period Fitted Lacquer Case of Trays, ca. 1900, the cover decorated with a raised gilt foo dog on a stippled roundel, with mother-of-pearl-inlaid phoenix birds in the corners, the exterior inlaid with scrollwork and diapering, with shaped openings, h. 13‑3/4”, w. 14‑1/2”, d. 9”. [1200/1800] Illustrated

552

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553

552 Sino-Tibetan Gilt-Bronze “Tara”, 19th century, the serene female Bodhisattva figure decorated with semi-precious “jewels”, h. 18‑3/4”, w. 9‑1/2”, d. 7‑1/4”. [1800/2500] Illustrated 553 Asian-Style Yellow-Glazed Pottery Bodhisattva, 20th century, on an ebonized base, h. 18‑1/4”, w. 6‑1/4”, d. 6”. [800/1200] Illustrated 554 Framed Tibetan Polychrome Thangka, 19th century or earlier, painted on canvas, the lower portion painted with four imposing deities, a tara figure painted in the central medallion, with Buddhas floating on clouds in the upper portion, in a contemporary giltwood frame with a silk matte, h. 39”, w. 27‑3/4”. [2000/4000] Illustrated

555

555 Chinese Sterling Silver Gilt and Enamel Vase, mid-20th century, in the 18th-century Chinese taste, with flattened spherical body and waisted neck, the body decorated with overlain filigree scrolls with applied enamel flowers and butterflies and applied filigree blooms, the collar with “gem” enameled band, with scrolling handles, h. 6‑1/5”, dia. 5”. [700/1000] Illustrated

151

556 Chinese Export Polychrome Cylindre Desk, late 19th century, the molded cornice above two paneled cabinets, the center section fitted with a cylinder opening to a pull-out writing surface and a variety of drawers and cubbyholes, raised on two pedestals, each fitted with three short drawers, raised on square legs, the whole richly decorated with polychrome figural scenes in the chinoiserie taste, h. 84”, w. 54”, d. 31”. [800/1200] Illustrated

558 Chinese Rosewood and Marble-Top Side Table, late 19th century, the scalloped circular top with a conforming inset rouge marble, and with pierced and carved aprons, raised on legs with stylized carved dolphins and ending in paw feet, h. 23”, dia. 18‑1/2”. [500/800] Illustrated 559 Asian Hardwood Altar Cabinet, 20th century, the rectangular top with rounded raised ends, above a case fitted with two drawers over two cabinet doors, the whole elaborately carved in cloud and dragon patterns, raised on block feet, h. 35”, w. 65”, d. 17‑1/2”. [3000/5000] Illustrated

557 Chinese Carved Rosewood and Marble-Top Stand, late 19th century, the scalloped round top with an inset rouge marble and relief-carved border, with profusely pierced and floral-carved aprons and raised on tall cabriole legs, h. 33”, dia. 16”. [600/900] Illustrated

560 Chinese Brown- and Olive-Glazed “Yue Ware” Pottery Jar, Northern Song Dynasty (960‑1127), the ovoid body with incised decoration between applied horizontal banding, the shoulder mounted with lug handles, h. 13‑1/2”, dia. 8”. [1500/2500] Illustrated

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561 Southeast Asian Bronze Drum, mounted on a mahogany base for use as a cocktail table, molded in a coiled pattern, with a star in the center of the top and pierced handles at the sides, h. 16‑3/4”, dia. 27‑1/2”. [800/1200] Illustrated

563 Japanese Bronze Urn, Meiji period (1868‑1912), mounted as a lamp with two dragon-form handles, the reserves depicting birds and flowers, with a lacquered shade and white motherof-pearl finial, urn, h. 20”, overall, h. 35”, w. 14”. [1500/2500] Illustrated

562 Two Patinated Metal Koi Fish Fountain Sculptures, one modeled jumping, h. 24‑1/2”, w. 10”, d. 20”, and the other swimming, h. 16‑1/2”, w. 13”, d. 19‑1/2”. [800/1200] Illustrated

564 Four Chinese Porcelain Plaques, 20th century, each of the finely painted porcelain panels depicting a scene of birds and flowers, each in a pierced and carved frame decorated with auspicious symbols, inscribed and marked “Liu Yucen” (1904‑1969), plaque, h. 28‑5/8”, w. 8‑1/4”, overall, h. 47”, w. 14”. [1200/1800] Illustrated

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567 565

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565 Exceptional Chinese Porcelain Pug-Form Incense Burner, 18th century, carefully detailed and very thinly potted, the black and white dog with an interior incense holder, the mouth acting as the smoke chamber, on a carved rosewood base, h. 4”, w. 7‑1/2”, d. 4‑1/4”. [1500/2500] Illustrated 566 Fine Japanese Boxwood Okimono Depicting Animals of the Zodiac, Meiji period (1868‑1912), the finely rendered group of creatures carved fully in the round, the underside marked with a two-character maker’s name inscribed in a rectangular cartouche, h. 5‑3/8”, w. 3‑1/2”. [1000/1500] Illustrated 567 Japanese Boxwood Okimono of Monkeys, Meiji period (1868‑1912), the whimsical depiction with nine monkeys clamoring up a rocky ledge and overlooking crashing waves, out of the reach of an incised octopus, the underside bearing a mark of Jigaku in a rectangular cartouche, h. 8‑1/2”, w. 4”. A similar object by Jigaku was sold at Bonham’s, London on May 12, 2009, lot 104. [1200/1800] Illustrated

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568 Handsome Japanese Meiji Period Cinnabar Box, ca. 1900, the exterior sides carved with leaves and flowers, the cover with a central panel with landscape decoration with a border of leaves and flowers, some leaves executed in green or brown, the interior fitted with a gold and brown lacquer tray, h. 7”, w. 17‑1/2”, d. 13”. [1000/1500] Illustrated 569 Korean Metal-Mounted Elmwood Tansu Chest, 19th century, the highly figured elmwood case with dramatic metal mounts, the double cabinet doors over one short drawer, all resting on scroll-decorated rails, h. 30‑5/8”, w. 35‑5/8”, d. 17‑1/8”. [500/800] Illustrated

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571

570 570 Exceptional and Large Japanese Cloisonne Enamel Vase, Meiji period (1868‑1912)/Taisho period (1912‑1926), late 19th/early 20th century, the sumptuously decorated vase with petal banding along the splayed mouth rim over a cylindrical neck with two dragon handles, covered with floral roundels and dragon and phoenix medallions against a russet kinseki ground, the body of the vase decorated with alternating pale blue and green panels, each containing a dynamically articulated dragon and phoenix, the panels set against a black kinseki ground, a dragon-form mark incised on the underside, h. 18‑1/4”, w. 9”. [3000/5000] Illustrated 571 Japanese Cloisonne Enamel Vase, Meiji period (1868‑1912), ca. 1895, the finely rendered vessel with a flared lip, edged with a floral pattern over a slender neck with banded decoration over a red floral scroll border with butterfly reserves, over alternating panels of dragons and phoenixes, the panel punctuated with delicate kinseki ornamentation, over a splayed foot, all against a pale taupe ground, h. 9‑3/4”. [1000/1500] Illustrated

572 Fine and Large Japanese Couched Silk Embroidered Panel, Meiji period (1868‑1912), ca. 1900, depicting a peaceful springtime scene of ducks drifting across a tranquil temple pond, the lush landscape replete with tall pampas grasses, pine trees, willows, and flowering prunus boughs, backed with cream silk satin and edged with gold silk cord, h. 71‑1/4”, w. 63”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [1000/1500] Illustrated 573 Pair of Chinese Embroidered Silk Sleeve Panels, Qing Dynasty (1644‑1911), 18th/19th century, two strips of cream-colored silk, from the sleeves of a fine robe, each finely embroidered incorporating the revered blind stitching technique, each panel with a scene of figures in a lush landscape replete with willow and pine trees and scholar’s rocks, with a wooden wall mount, 20” x 3‑1/2”. Unframed. Provenance: TK Antiquities, Williamsburg, Virginia. [900/1200] Illustrated

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576

574 Pair 574 Pair of Chinese Embroidered Silk Sleeve Panels, Qing Dynasty (1644‑1911), late 19th century, two lavishly embroidered silk sleeves, each with reserves of birds and flowers against a gold couched-stitch ground, an ivorycolored border embroidered with auspicious characters in gold-wrapped threads, matted with teal silk and framed, sleeve sight 20‑1/2” x 6”, overall, h. 31”, w. 14”. Provenance: Diane Genre, New Orleans, Louisiana and New York, New York. [800/1200] Illustrated

156

575 Large Chinese Cloisonne Enamel Vase, Qing Dynasty (1644‑1911), late 19th/early 20th century, the pearshaped vessel with unglazed key-fret pattern at the mouth rim, over a body decorated with deer, pine branches, peonies, chrysanthemums and cranes in vibrant enamels, with red deer-head-form lugs on either side of the vessel, the interior and underside with a blue ground, h. 19‑1/2”, w. 17”. [1000/1500] Illustrated 576 Pair of Chinese Cloisonne Enamel Cranes, Qing Dynasty (1644‑1911), late 19th/early 20th century, the censers depicting recumbent cranes with extended tail feathers, each enameled in vibrant colors against a red ground, h. 8‑1/2”, w. 10‑1/2”. [1000/1500] Illustrated

577 Chinese Cloisonne Covered Box, 19th century, decorated with green and mauve foo dogs on a white ground, the bezel with an incised meander, the interior decorated with fish and flowers, and with a jade-inset cover, h. 4‑1/4”, w. 9”, d. 7‑3/4”. [1000/1500] Illustrated 578 Pair of Chinese Hardstone Trees in Cloisonne Enamel Planters, 20th century, the petals of green, coral, white, purple and turquoise-colored hardstone, h. 10‑1/4”, w. 5”. [1000/1500] Illustrated 579 Japanese Plique-a-Jour Bowl, Meiji period (1868‑1912), 19th century, with a metal-enclosed rim, decorated with chrysanthemums on a green ground, over three rounded feet, h. 3‑1/4”, dia. 6‑1/8”. [1000/1500] Illustrated 580 Elyse Ashe Lord (British, 1900‑1970), “The New Moon”, watercolor on silk, 15‑3/4” x 10‑3/4”. Glazed and framed. Provenance: W. Russell Button, Inc., Chicago, Illinois. [1000/1500] Illustrated Lord specialized in Chinese scenes and this watercolor was the basis for her color etching of the same name.

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Lot 892

Se s sion I I S u nday, M ay 2 2 , 2 0 1 6 Lots 5 8 1 - 1 0 6 1

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582 584

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581 Eighteen-Karat White Gold and Diamond Ring, mounted with a marquise-cut diamond, with an approximate weight of 0.50 carats, approximate color I and clarity I1, and thirty-four single-cut diamonds, with an approximate color G-I and clarity SI1‑I2, size 8, 2.2 grams total weight. [1000/1500]

584 Fourteen-Karat White Gold, Tanzanite and Diamond Necklace, with an emerald-cut tanzanite, with an approximate weight of 2.41 carats, surrounded by twentysix round-cut diamonds and an additional two round-cut diamonds on the chain, with an approximate total weight of 0.18 carats, approximate color E-F and clarity VS2‑SI1, l. 18”, 3.0 grams total weight. [1000/1500] Illustrated

582 Interesting Eighteen-Karat White Gold and Black and White Diamond Bracelet, composed of a single row of black faceted round diamonds, finished with a clasp in the shape of a skull, mounted with black and white roundcut diamonds, with an approximate total diamond weight of 2.50 carats, l. 7”, 12.0 grams total weight. [2000/4000] Illustrated

585 Eighteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with a square cushion-cut tanzanite, with an approximate weight of 2.62 carats, and thirty-six round brilliant-cut diamonds bordering the stone and down the shank of the ring, with an approximate total weight of 0.94 carats, approximate color G-H and clarity SI1‑SI2, size 7‑1/2, 3.9 grams total weight. [2500/4000] Illustrated

583 Eighteen-Karat White Gold and Diamond Earrings, each set with nine round brilliant-cut diamond clusters, with an approximate total weight of 0.94 carats for the pair, approximate color E-F and clarity VS2‑SI1, dia. 1/4”, 2.0 grams total weight. [2000/4000] Illustrated

586 Eighteen-Karat White Gold and Diamond Dangle Earrings, the drop dangle earrings mounted with 112 round brilliant-cut diamonds, with an approximate total weight of 1.80 carats for the pair, approximate color E-F and clarity VS1‑VS2, l. 1‑1/4”, 6.0 grams total weight. [2500/4000] Illustrated

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587 Eighteen-Karat White Gold and Diamond Ring, with a squared dome design, mounted with ninety-six round brilliant-cut diamonds, with an approximate total weight of 0.97 carats, approximate color G-I and clarity VS2‑SI2, size 7‑1/2, 10.0 grams total weight. [2500/4000] Illustrated 588 Eighteen-Karat White Gold, Tanzanite and Diamond Ring, mounted with an elongated cushion-cut tanzanite, with an approximate total weight of 9.25 carats, accented by four round brilliant-cut diamonds and six tapered baguette-cut diamonds, with an approximate total weight of 0.81 carats, approximate color E-F and clarity VVS1‑SI1, size 7‑1/2, 8.0 grams total weight. [6000/9000] Illustrated 589 Fourteen-Karat White Gold and Diamond Ring, the bypass-designed ring accented on the ends by twentyfour round brilliant-cut diamonds, with an approximate total weight of 0.21 carats, size 8, 2.0 grams total weight. [500/800]

590 Unusual Platinum and Diamond Bracelet, the flexible bracelet composed of three rows of bezel-set round-cut diamonds, with an approximate total weight of 3.24 carats, approximate color G-I and clarity VS2‑SI2, l. 7‑1/2”, 22.0 grams total weight. [4000/7000] Illustrated 591 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with an oval-cut tanzanite, with an approximate weight of 4.05 carats, accented in a flower-style halo with 104 round brilliant-cut diamonds, with an approximate total weight of 0.84 carats, size 7‑1/2, 5.1 grams total weight. [2500/4000] Illustrated 592 Fourteen-Karat White Gold, Tanzanite and Diamond Earrings, the elegant dangle earrings each mounted with an oval-cut tanzanite, with an approximate total weight of 5.95 carats for the pair, accented by 404 round brilliantcut diamonds, with an approximate total weight of 1.68 carats for the pair, approximate color G-I and clarity I1‑I2, l. 1‑3/4”, 8.3 grams total weight. [2500/4000] Illustrated

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593 Fourteen-Karat White Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 1.23 carats, approximate color G and clarity I1, accented by eighty-six round brilliant- and baguette-cut diamonds, with an approximate total weight of 0.63 carats, approximate color G-I and clarity SI1‑I1, size 7‑1/2, 4.0 grams total weight. [4000/7000] Illustrated

162

594 Fourteen-Karat White Gold and Diamond Necklace, composed of five flower pendants, each with six round brilliant-cut diamond clusters, with an approximate total weight of 1.36 carats, approximate color D-E and clarity VS2‑SI2, l. 18”, 5.0 grams total weight. [3500/5000] Illustrated

595 Eighteen-Karat White Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 0.51 carats, approximate color J and clarity I1, accented with fifty-eight round brilliant-cut diamonds, with an approximate total weight of 0.88 carats, approximate color H-J and clarity I1‑I2, size 7‑1/2, 2.2 grams total weight. [2000/4000] Illustrated

596

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600 598 599

596 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with an oval-cut tanzanite, GIA report #2155788070, with a total weight of 6.83 carats, surrounded by forty-four round-cut diamonds, with an approximate total weight of 1.49 carats, size 8, 6.0 grams total weight. [4500/7000] Illustrated 597 Fourteen-Karat White/Yellow Gold, Tanzanite and Diamond Ring, set with an oval-cut tanzanite, GIA report #2155887199, with a total weight of 5.68 carats, surrounded by forty baguette-cut and 136 round-cut diamonds, with an approximate total diamond weight of 1.06 carats, size 6‑1/2, 13.0 grams total weight. [5000/8000] Illustrated

598 Eighteen-Karat White Gold and Diamond Earrings, composed of square-, baguette- and round-cut diamonds, with an approximate total weight of 1.12 carats for the pair, approximate color E-I and clarity VVS1‑VS1, l. 1/4”, 4.0 grams total weight. [1800/2500] Illustrated 599 Eighteen-Karat White Gold and Diamond Ring, composed of three baguette-, two square-, and sixtytwo round-cut diamonds, with an approximate total weight of 0.78 carats, approximate color E-I and clarity VVS2‑VS1, size 7, 5.0 grams total weight. [1400/1800] Illustrated

600 Rolex Eighteen-Karat White Gold Midsize Datejust President with Diamond Dial, the mechanical automatic quick-set calendar movement with a blue dial with diamond markers and marked “Rolex, Oyster Perpetual, Datejust, Superlative Chronometer Officially Certified”, the eighteen-karat white gold Rolex president band with a deployment clasp, model #68279, serial #7, 622, XXX, diameter, 31.0 mm, inside circumference, 6‑3/8”, together with a Rolex box. [14000/18000] Illustrated

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601 Gold Vermeil, Opal and Diamond Earrings, each dangle earring mounted with an oval-shaped opal cabochon, measuring approximately 6.0 mm x 7.5 mm, accented by approximately 260 rose-cut diamonds, with an approximate total weight of 2.60 carats, l. 2‑1/4”, 12.2 grams total weight. [500/800] Illustrated 602 Beautiful Silver/Gold Vermeil, Opal and Diamond Necklace, composed of thirty-three oval links, each mounted with an oval cabochoncut black opal, with an approximate total weight of 18.25 carats, and surrounded by a halo of nineteen round faceted diamonds, with an approximate total weight of 3.90 carats, l. 16”, 50.5 grams total weight. [700/1000] Illustrated

164

603 Sterling Silver, Fourteen-Karat Yellow Gold, Opal, Ruby and Diamond Bracelet and Earrings, the sterling silver wide cuff bracelet mounted with nineteen oval faceted opals, ranging in size from 1.00 carat to 1.50 carats, twenty round faceted rubies, with an approximate total weight of 1.00 carat, and approximately 278 faceted diamonds, with an approximate total weight of 0.90 carats, inside circumference, 6‑3/4”, 33.4 grams total weight, together with a pair of fourteen-karat yellow gold, opal and diamond earrings, each mounted with a round faceted opal, with an approximate total weight of 1.90 carats for the pair, surrounded by a halo of round-cut diamonds, with an approximate total weight of 0.15 carats for the pair, dia. 3/8”, 2.7 grams total weight. [600/900] Illustrated 604 Sterling Silver, Carved Ruby and Diamond Necklace, the three-strand necklace composed of carved, treated ruby beads, ranging in size from approximately 7.0 mm to 8.0 mm, with an approximate total weight of 533.0 carats, interspersed with seventeen sterling silver roundels mounted with rose-cut diamonds, with an approximate total weight of 2.72 carats, finished with a large double-sided lobster-claw clasp mounted with approximately 100 rose-cut diamonds, with an approximate total weight of 1.00 carat, shortest to longest strand, l. 18” to 22”, 187.5 grams total weight. [600/900] Illustrated

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605 Fourteen-Karat Yellow Gold, Ruby and Diamond Bracelet, composed of seventeen square cushion-cut treated rubies, with an approximate total weight of 63.85 carats, surrounded by 342 round brilliant-cut diamonds, with an approximate total weight of 2.08 carats, approximate color I-K and clarity I2‑I3, l. 7‑1/2”, 26.2 grams total weight. [3000/5000] Illustrated

606 Fourteen-Karat Yellow Gold, Ruby and Diamond Necklace, composed of thirty-five step-cut treated rubies, with an approximate total weight of 156.20 carats, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 5.04 carats, approximate color I-K and clarity I1‑I3, l. 17”, 66.6 grams total weight. [6000/9000] Illustrated

607 Eighteen-Karat White Gold, Ruby and Diamond Bracelet, composed of fifty-four oval-cut rubies, with an approximate total weight of 12.42 carats, bordered on each side by round brilliant-cut diamonds, with an approximate total weight of 1.90 carats, approximate color G-I and clarity SI1‑SI2, l. 7‑1/2”, 19.0 grams total weight. [4500/7000] Illustrated

165

608 Stunning and Unusual Custom-Made Fourteen-Karat White Gold, Ruby and Diamond Earrings, the dangle earrings articulated and draped like fabric, mounted with four pear-shaped rubies and 138 ovalshaped rubies, with an approximate total weight of 50.84 carats, and 130 round brilliant-cut diamonds, with an approximate total weight of 2.31 carats, approximate color G-I and clarity VS1‑SI2, l. 4”, 54.0 grams total weight. [20000/40000] Illustrated

608

609

609 Platinum, Ruby and Diamond Ring, mounted with a central European-cut diamond, with an approximate weight of 1.60 carats, approximate color H and clarity VS1, flanked on each side by three square-cut rubies, with an approximate total weight of 0.24 carats, size 7‑1/4, 6.0 grams total weight. [14000/18000] Illustrated

610

610 Stunning Platinum/EighteenKarat White Gold, Ruby and Diamond Earrings, in the Art Deco style, mounted with 114 calibratedcut rubies, with an approximate total weight of 6.00 carats, and seventyeight European- and round-cut diamonds, with an approximate total weight of 2.75 carats, approximate color H-O and clarity VS2‑SI2, l. 3”, 16.0 grams total weight. [12000/18000] Illustrated

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611 Patek Philippe Lady’s Stainless Steel “Twenty-Four” Diamond Wrist Watch, the quartz calendar movement with a black dial with ten diamond markers and signed “Patek Philippe”, the case set with thirty-six round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, the Patek Philippe band with a double deployment clasp, model #4910, case, 25.0 mm x 30.0 mm, inside circumference, 6‑1/4”, together with the inner and outer boxes and booklets. [8000/12000] Illustrated

612 Fourteen-Karat White Gold, Pink Sapphire and Diamond Ring, mounted with a central cushion-cut pink sapphire, with an approximate weight of 1.17 carats, flanked on each side by an oval-shaped diamond and fifty round brilliant-cut diamonds, with an approximate total diamond weight of 0.97 carats, approximate color G-I and clarity VS2‑SI1, size 7‑1/4, 5.0 grams total weight. [3000/5000] Illustrated 611

612

613 Eighteen-Karat Yellow/White/ Rose Gold, Pink Sapphire and Diamond Bracelet, the flexible bracelet mounted with 112 freeform-cut pink sapphires, with an approximate total weight of 97.92 carats, bordered and accented with 136 round brilliantcut diamonds, with an approximate total weight of 8.52 carats, approximate color E-G and clarity VS2‑SI2, w. 1‑1/2”, l. 7”, 97.0 grams total weight. [35000/50000] Illustrated

613

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614 Eighteen-Karat Yellow Gold, Pink Sapphire and Diamond Ring, with nine sections, each mounted with an oval-cut treated pink sapphire, with an approximate total weight of 3.69 carats, and a halo of round brilliant-cut diamonds around each stone, with an approximate total weight of 0.54 carats, approximate color E-F and clarity VS1‑SI1, size 8, 6.0 grams total weight. [1800/2500] Illustrated 615 Fourteen-Karat Yellow Gold, Multicolored Sapphire and Diamond Necklace, composed of seventy-eight oval-cut multicolored sapphires, with an approximate total weight of 26.48 carats, and 251 round brilliant-cut diamonds, with an approximate total weight of 1.55 carats, l. 17”, pendant, l. 1‑1/4”, 28.5 grams total weight. [3500/5000] Illustrated

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616 Sterling Silver, Sapphire and Diamond Necklace, composed of graduated polished treated sapphire beads, measuring approximately 15.0 mm x 20.0 mm to 17.0 mm x 25.0 mm, separated by nine roundels, each mounted with four oval-shaped sapphires, with an approximate total weight of 6.48 carats, and sixteen rose-cut diamonds, with an approximate total weight of 0.90 carats, finished with a large double-sided sterling silver lobster clasp mounted with approximately 100 rose-cut diamonds, with an approximate total weight of 4.00 carats, l. 20”, 201.2 grams total weight. [600/900] Illustrated 617 Fourteen-Karat Yellow Gold, Sapphire and Diamond Ring, mounted with an emerald-cut sapphire, with an approximate weight of 2.19 carats, accented by baguetteand round-cut diamonds, with an approximate total weight of 0.65 carats, approximate color E-G and clarity VVS2‑VS2, size 7, 5.0 grams total weight. [2500/4000] Illustrated

620

619 618

618 Fourteen-Karat Yellow Gold, Sapphire and Diamond Bracelet, composed of twenty-one cabochon-cut treated sapphires, with an approximate total weight of 7.78 carats, alternating with forty-two round brilliant-cut diamonds, with an approximate total weight of 0.30 carats, approximate color G-I and clarity SI1‑SI2, l. 7‑1/2”, 10.01 grams total weight. [1800/2500] Illustrated 619 Custom-Made Fourteen-Karat Gold Vermeil, Sapphire and Diamond Pendant Necklace, the necklace composed of a pendant mounted with a central oval-cut treated sapphire, with an approximate weight of 5.14 carats, fourteen pear-shaped and eight round-cut treated sapphires, with an approximate total weight of 6.42 carats, and seventy-three rose-cut diamonds, with an approximate total weight of 0.82 carats, approximate color I-K and clarity I1‑I2, suspended from a necklace composed of graduated treated oval-shaped sapphire beads, finished with a gold vermeil clasp mounted with eighty-three rosecut diamonds, with an approximate total weight of 0.67 carats, approximate color I-K and clarity I2‑I3, l. 18”, pendant, l. 1‑1/2”, 74.6 grams total weight. [600/900] Illustrated

620 Rolex Gentleman’s Stainless Steel Date Wristwatch, the mechanical automatic quick-set calendar movement with a blue dial marked “Rolex, Oyster Perpetual, Date, Superlative Chronometer, Officially Certified”, the stainless steel Rolex oyster band with a deployment clasp, model #15200, serial #W292, XXX, diameter, 34.0 mm, inside circumference, 7‑1/2”, together with a Rolex box. [4500/7000] Illustrated

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621 Stunning Custom-Made Eighteen-Karat White Gold, Pink and Blue Sapphire and Diamond Pendant/Brooch, in the form of an orchid with a movable center, mounted with 419 round-cut blue sapphires and 213 round-cut pink sapphires, with an approximate total weight of 10.11 carats, and 193 round brilliant-cut diamonds, with an approximate total weight of 3.21 carats, approximate color G-I and clarity VVS2‑VS2, l. 2‑1/2”, 32.0 grams total weight. [6000/9000] Illustrated

623

622 Eighteen-Karat White Gold, Multicolored Sapphire and Diamond Bracelet, the flexible link bracelet composed of eighty-five oval-shape multicolored sapphires, with an approximate total weight of 36.94 carats, and eighty-five round brilliant-cut diamonds, with an approximate total weight of 1.08 carats, approximate color H-I and clarity VS1‑SI1, l. 7”, 43.0 grams total weight. [10000/15000] Illustrated 623 Spectacular Eighteen-Karat Yellow Gold, Emerald, Multicolored Sapphire and Diamond Earrings, composed of twenty-six round-cut emeralds, with an approximate total weight of 2.81 carats for the pair, pink, yellow and blue pear-, oval- and round-cut sapphires, with an approximate total weight of 27.71 carats for the pair, and 170 round brilliant-cut diamonds, with an approximate total weight of 9.17 carats for the pair, approximate color G-I and clarity VS1‑SI1, w. 1‑1/2”, l. 3”, 46.0 grams total weight. [30000/50000] Illustrated 622

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624 Spectacular Custom-Made Eighteen-Karat Rose Gold, Kunzite and Diamond Necklace, the bold bib necklace composed of emerald-, pear-, oval- and cushioncut kunzites, with an approximate total weight of 509.16 carats, accented throughout by 108 round brilliant-cut diamonds, with an approximate total weight of 4.90 carats, approximate color G-I and clarity VS1‑VS2, l. 19‑1/2”, 251.0 grams total weight. [25000/40000] Illustrated 625 Beautiful Eighteen-Karat White/Rose Gold and Pink and White Diamond Ring, the wide-domed ring mounted with fifty-four round brilliant-cut very light pink diamonds, with an approximate total weight of 4.59 carats, approximate clarity SI1‑I1, and bordered by thirty-eight round brilliant-cut white diamonds, with an approximate total weight of 0.62 carats, approximate color H-I and clarity VS1‑SI1, size 7, 12.0 grams total weight. [9000/12000] Illustrated 625

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626 Eighteen-Karat Rose/White Gold and Pink and White Diamond Earrings, the dangle earrings mounted with seventy-two very light pink round-cut diamonds and sixty-six round brilliant-cut diamonds, with an approximate total weight of 0.66 carats, approximate clarity VS2‑I1, l. 1”, 4.0 grams total weight. [1400/1800] Illustrated 627 Eighteen-Karat Rose Gold and Diamond Ring, the stylized ring mounted with 256 single-cut diamonds and thirteen round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, approximate color G-I and clarity SI1, size 7‑1/2, 7.0 grams total weight. [1800/2500] Illustrated

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628 Italian Eighteen-Karat Yellow Gold, Morganite and Diamond Jewelry Suite, including a necklace composed of a pear-shaped morganite pendant, with an approximate weight of 20.0 carats, mounted in a leaf-patterned setting, mounted with round brilliant-cut diamonds, on a matching necklace, with an approximate total weight of 4.86 carats, approximate color E-F and clarity VVS2‑VS1, l. 16”, pendant, l. 2”, together with a pair of matching earrings, each mounted with a pear-shaped morganite, with an approximate total weight of 13.0 carats for the pair, and sixty round brilliant-cut diamonds, with an approximate total weight of 0.61 carats, approximate color E-F and clarity VVS2‑VS1, l. 2”, 50.0 grams total weight. [15000/25000] Illustrated 629 Fourteen-Karat Rose Gold and Diamond Hoop Earrings, the inside and outside hoops with a cluster in the shape of a flower at the post, the hoops curving out and mounted with 118 round-cut diamonds, with an approximate total weight of 1.79 carats for the pair, l. 1‑1/2”, 7.0 grams total weight. [1400/1800] Illustrated

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630 Sterling Silver, Diamond and Sapphire Bracelet, the hinged cuff bracelet with a yellow gold overlay and mounted with sixteen round cabochon-cut yellow and light pink treated sapphires, with an approximate total weight of 11.68 carats, and 238 rose-cut diamonds, with an approximate total weight of 1.39 carats, approximate color I-K and clarity I1‑I3, inside circumference, 7”, 32.0 grams total weight. [500/800] Illustrated 631 Fourteen-Karat Yellow Gold, Pearl and Tourmaline Earrings, each earring set with a bezel-set coin-shaped pearl measuring approximately 14.00 mm in diameter, the bottom pearl with “rays” of bezel-set oval-shaped tourmalines and aquamarines, with an approximate total weight of 3.50 carats for the pair, l. 2”, 10.0 grams total weight. [500/800] Illustrated 632 Eighteen-Karat Yellow/White/Rose Gold and Diamond Rolling Ring, the three interlocking bands mounted with very light pink, yellow and white round brilliant-cut diamonds, with an approximate total weight of 4.35 carats, approximate clarity VS1‑SI1, size 7‑1/2, 12.0 grams total weight. [6000/9000] Illustrated

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633 Custom-Made Eighteen-Karat White Gold and Pink and White Diamond Ring, in a freeform design and mounted with seven pear-, five cushion-, one marquise- and six oval-cut brownish/pink diamonds, with an approximate total weight of 1.45 carats, approximate clarity VS1‑SI2, and 112 round brilliantcut diamonds, with an approximate total weight of 1.12 carats, approximate color G-I and clarity VS1‑SI1, size 7, 9.0 grams total weight. [4000/7000] Illustrated 634 Eighteen-Karat Rose Gold, Morganite and Diamond Earrings, with oval- and round-cut morganites, with an approximate total weight of 5.14 carats for the pair, and round-cut diamonds, with an approximate total weight of 1.42 carats for the pair, l. 2”, 12.0 grams total weight. [2500/4000] Illustrated

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635 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with an oval-cut morganite, with an approximate weight of 7.29 carats, and 112 round-cut diamonds in a halo around the stone and down the shank of the ring, with an approximate total weight of 0.48 carats, size 7‑3/4, 7.0 grams total weight. [1400/1800] Illustrated

637 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, set with a triangle-mixed-cut morganite, with an approximate weight of 8.68 carats, and 105 round brilliant-cut diamonds in a border around the stone and on the gallery of the ring, with an approximate total weight of 0.53 carats, size 8, 7.5 grams total weight. [1800/2500] Illustrated

636 Fourteen-Karat Rose Gold, Morganite and Diamond Pendant with Chain, the pendant mounted with a triangular-mixed-cut morganite, with an approximate weight of 9.89 carats, surrounded by a halo of ninetythree round brilliant-cut diamonds, with an approximate total weight of 0.49 carats, suspended from a fourteenkarat rose gold chain, l. 18”, 11.2 grams total weight. [2500/4000] Illustrated

638 Eighteen-Karat Rose Gold and Diamond Bangle Bracelet, the hinged bracelet composed of open oval links mounted with 238 round brilliant-cut diamonds, with an approximate total weight of 1.59 carats, approximate color D-E and clarity VS1‑VS2, inside circumference, 8”, 19.0 grams total weight. [5000/8000] Illustrated

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639 Bulgari Gentleman’s Eighteen-Karat Yellow Gold “Diagano” Diver Watch, the mechanical automatic calendar movement in a heavy eighteen-karat gold waterproof case with rotating elapsed time bezel, with a black dial marked “Bulgari, automatic, chronometer, officially certified”, the black rubber adjustable band with an eighteen-karat yellow gold double deployment clasp, model #SD38G, serial #L, XXX, diameter, 41.0 mm. [7000/10000] Illustrated 640 Eighteen-Karat Yellow Gold and Diamond Necklace, the delicate necklace with five bezel-set pear-shaped rosecut diamonds, with an approximate total weight of 1.00 carat, approximate color F-G and clarity SI2‑I1, suspended from an eighteen-karat yellow gold chain, l. 17”, 1.0 gram total weight. [600/900] Illustrated

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641 Interesting Eighteen-Karat Rose Gold, White/Black Diamond and Tsavorite Garnet Ring, in the form of a cheetah, mounted with 301 black and white roundcut diamonds, with an approximate total weight of 1.84 carats, approximate color G-I and clarity VS1‑VS2, and two round-cut tsavorite garnets accenting the eyes, with an approximate total weight of 0.18 carats, size 7‑3/4, 9.0 grams total weight. [2500/4000] Illustrated 642 Hublot Gentleman’s Eighteen-Karat Yellow Gold Chronograph Watch, the heavy water-resistant eighteen-karat gold watch with an automatic calendar mechanical chronograph movement with a black dial marked “Hublot, MDM, Geneve”, the rubber band with an eighteen-karat gold double deployment clasp, model #1810.3, serial #296758, case diameter, 40.0 mm, inside circumference, 7‑1/2”, with inner and outer Hublot boxes. [4000/7000] Illustrated

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643 Eighteen-Karat Rose Gold, Diamond and Black Onyx Ring, the band mounted with 126 round-cut diamonds, with an approximate total weight of 4.68 carats, approximate color E-F and clarity VS1‑VS2, and eighteen square- and trianglecut black onyx stones, w. 9.0 mm, size 7‑1/2, 6.0 grams total weight. [4500/7000] Illustrated 644 Spectacular Eighteen-Karat Yellow Gold and Multicolored Diamond Necklace, composed of a variety of multi-cut and colored diamonds, including white, light pinks, yellows, greens, and a fancy light to fancy purplish pink diamond, GIA report #5131307264, with an approximate total weight of 68.81 carats, l. 17‑1/2”, 86.0 grams total weight. [45000/70000] Illustrated

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645 Eighteen-Karat White/Yellow Gold and Yellow and White Diamond Ring, mounted with one cushion-, two round-, eight marquise- and seven pear-cut fancy faint yellow diamonds, with an approximate total weight of 3.80 carats, approximate clarity VVS2‑VS1, bordered by thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.41 carats, approximate color G-I and clarity VS1‑VS2, size 7, 8.0 grams total weight. [6000/9000] Illustrated 645

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646 Eighteen-Karat White/Yellow Gold and Yellow and White Diamond Ring, mounted with a central cushion-cut fancy yellow diamond, with an approximate weight of 1.03 carats, approximate clarity SI1, surrounded by twenty-four round faint yellow diamonds, with an approximate total weight of 0.24 carats, approximate clarity SI1, and twenty-four round brilliant-cut white diamonds, with an approximate total weight of 0.90 carats, approximate color E-F and clarity VS2‑SI1, size 7‑1/2, 6.0 grams total weight. [7000/10000] Illustrated 647 Beautiful Custom-Made Eighteen-Karat Yellow Gold and Diamond Earrings, the large domed earrings mounted with rows of round brilliant-cut diamonds, with an approximate total weight of 15.97 carats for the pair, approximate color D-E and clarity VVS2‑VS1, l. 1‑1/4”, 32.0 grams total weight. [8000/12000] Illustrated

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648 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 1.05 carats, approximate color F and clarity SI1, size 6, 5.0 grams total weight. [3000/5000] Illustrated 649 Eighteen-Karat Yellow Gold and Diamond Bangle Bracelet, the hinged bracelet composed of open oval links mounted with 238 round brilliant-cut diamonds, with an approximate total weight of 1.59 carats, approximate color D-E and clarity VS1‑VS2, inside circumference, 8”, 19.0 grams total weight. [5000/8000] Illustrated 650 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 0.71 carats, approximate color I and clarity I2, surrounded by six round brilliant-cut diamonds, with an approximate total weight of 0.24 carats, approximate color G-I and clarity SI1‑SI2, size 8‑1/2, 6.2 grams total weight. [1400/1800] Illustrated

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651 Eighteen-Karat Yellow Gold and Diamond Earrings, each earring with a four-pointed star design and mounted with seventy-two round-cut diamonds, with an approximate total weight of 1.09 carats for the pair, approximate color G-I and clarity VS1‑VS2, l. 1”, 30.0 grams total weight. [600/900] Illustrated 652 Eighteen-Karat Yellow Gold and Diamond Quatrefoil Pendant on Chain, the pendant pave-set with eighty-two round brilliant-cut diamonds, with an approximate total weight of 1.11 carats, approximate color G-Q and clarity SI1‑I2, attached to an eighteen-karat yellow gold chain, l. 18”, 9.0 grams total weight. [1400/1800] Illustrated 653 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 1.40 carats, approximate color F and clarity SI1, size 7‑3/4, 6.0 grams total weight. [3500/5000] Illustrated

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654 Fourteen-Karat Yellow Gold, Mabe Pearl and Diamond Ear Clips, each earring mounted with a pink/ rose-colored mabe pearl with a medium luster, measuring approximately 15.0 mm, surrounded by a halo of roundcut diamonds, with an approximate total weight of 2.00 carats for the pair, approximate color G-I and clarity VS1‑SI1, l. 3/4”, 22.0 grams total weight. [600/900] Illustrated 655 Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 0.35 carats, approximate color K and clarity I1, accented on each side with six channel-set round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, approximate color H-I and clarity SI1‑SI2, size 6‑3/4, 4.4 grams total weight. [800/1200] 656 Vendorafa Lombardi Eighteen-Karat Yellow Gold Cuff Bracelet, the wide and heavy hinged bracelet with an open rope-twist design, w. 2”, inside circumference, 6‑7/8”, 143.8 grams total weight. [4000/7000] Illustrated

657 Stunning Asprey Eighteen-Karat Yellow Gold, Peridot and Diamond Necklace, composed of forty-two strands of round peridot beads, finished with a clasp in the form of a sunflower, mounted with ten round brilliant-cut diamonds, with an approximate total weight of 1.45 carats, approximate color E-F and clarity VS1‑SI1, l. 17”, w. 2”, 73.0 grams total weight. [7000/10000] Illustrated 658 Verdura Eighteen-Karat Yellow Gold, Peridot and Diamond Earrings, each earring mounted with twenty-two ovalcut peridots, with an approximate total weight of 34.56 carats for the pair, and 214 round brilliant-cut diamonds, with an approximate total weight of 4.00 carats for the pair, approximate color D-E and clarity VVS1‑VVS2, l. 1”, 33.0 grams total weight. [14000/18000] Illustrated

657

659 Fourteen-Karat Yellow Gold, Tsavorite Garnet, Orange Sapphire and Diamond Earrings, the elegant earrings in the form of wings and mounted with forty-six round-cut Tsavorite garnets, with an approximate total weight of 0.40 carats, sixteen reddish-orange sapphires, with an approximate total weight of 0.15 carats, and seventy round brilliant-cut diamonds, with an approximate total weight of 0.26 carats, approximate color F-G and clarity VS1‑VS2, l. 2”, 6.0 grams total weight. [2000/4000] Illustrated

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660 Eighteen-Karat White Gold and Tsavorite Garnet Tennis Bracelet, composed of eighty round-cut Tsavorite garnets, with an approximate total weight of 3.04 carats, l. 7”, 10.0 grams total weight. [2000/4000] Illustrated 661 Fourteen-Karat White Gold, Tsavorite Garnet and Diamond Ring, mounted with a central cushion-cut tsavorite garnet, with an approximate weight of 2.63 carats, surrounded by ten round brilliant-cut diamonds, with an approximate total weight of 0.15 carats, approximate color G-I and clarity VS2‑SI2, size 7, 7.0 grams total weight. [6000/9000] Illustrated

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662 Custom-Made Fourteen-Karat Gold Vermeil, Emerald and Diamond Pendant Necklace, the pendant composed of an elongated oval-shaped, faceted, treated emerald, with an approximate weight of 27.30 carats, surrounded by twelve round-cut treated emeralds, with an approximate total weight of 1.56 carats, and sixty-six rose-cut diamonds, with an approximate total weight of 0.42 carats, approximate color I-K and clarity I2‑I3, suspended from a necklace composed of twenty-six oval faceted, treated emeralds, finished with a gold vermeil clasp mounted with seventy-two rose-cut diamonds, with an approximate total weight of 0.46 carats, approximate color I-K and clarity I2‑I3, l. 18”, pendant, l. 2”, 135.0 grams total weight. [600/900] Illustrated 663 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an oval-cut emerald, with an approximate weight of 8.42 carats, with four pear-shaped diamonds at the top, bottom and sides, and sixteen round brilliant-cut diamonds in a halo around the stone, with an approximate total weight of 1.25 carats, approximate color E-F and clarity VS2‑SI2, size 7‑1/2, 8.0 grams total weight. [3000/5000] Illustrated

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664 Eighteen-Karat White Gold, Emerald and Diamond Earrings, mounted with two emerald-cut emeralds, with an approximate total weight of 1.04 carats for the pair, and forty round brilliant-cut diamonds, with an approximate total weight of 0.20 carats for the pair, approximate color G-I and clarity SI1‑SI2, l. 1/2”, 2.0 grams total weight. [1400/1800] Illustrated 665 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with a central emerald-cut emerald, with an approximate weight of 3.48 carats, accented by two straight baguette-cut diamonds and sixty-two round brilliant-cut diamonds, with an approximate total weight of 1.05 carats, approximate color E-G and clarity VVS1‑SI1, size 7‑1/2, 7.0 grams total weight. [14000/18000] Illustrated 666 Eighteen-Karat White Gold, Emerald and Diamond Earrings, the drop dangle earrings mounted with ten oval-cut emeralds, with an approximate total weight of 5.30 carats for the pair, and fifty-eight round brilliant-cut diamonds, with an approximate total weight of 0.35 carats for the pair, l. 1‑1/2”, 9.0 grams total weight. [2000/4000] Illustrated

667 Eighteen-Karat White Gold, Emerald, Sapphire and Diamond Ring, mounted with a central oval-cut emerald, with an approximate weight of 0.72 carats, accented by fifty-eight round brilliant-cut diamonds, with an approximate total weight of 0.40 carats, approximate color E-F and clarity VS1‑VS2, and fifty-two round-cut sapphires, with an approximate total weight of 0.62 carats, size 7, 4.0 grams total weight. [3500/5000] Illustrated 668 Fourteen-Karat White Gold, Emerald and Diamond Bracelet, composed with ten oval-shaped emeralds, with an approximate total weight of 2.20 carats, and 160 round brilliant-cut diamonds, with an approximate total weight of 1.48 carats, approximate color E-F and clarity VS1‑SI1, l. 7”, 11.0 grams total weight. [5000/8000] Illustrated 669 Eighteen-Karat White Gold, Emerald and Diamond Earrings, each earring mounted with a pear-shaped emerald, with an approximate total weight of 1.30 carats for the pair, accented with round brilliant-cut diamonds, with an approximate total weight of 0.42 carats for the pair, l. 7/8”, 4.0 grams total weight. [1400/1800] Illustrated

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670 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut emerald, with an approximate weight of 3.97 carats, flanked on either side by a triangle-cut diamond, with an approximate total weight of 0.40 carats, and six round brilliant-cut diamonds, with an approximate total weight of 0.12 carats, approximate color H-I and clarity SI1‑SI2, size 7‑1/2, 6.0 grams total weight. [8000/12000] Illustrated 671 Fourteen-Karat White Gold, Emerald and Diamond Ring, mounted with a rectangular-cut treated emerald, with an approximate weight of 8.52 carats, accented by twenty-eight round brilliant-cut diamonds, with an approximate total weight of 1.41 carats, approximate color G-I and clarity SI2‑I2, size 8, 4.7 grams total weight. [3000/5000] Illustrated

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672 Gold Vermeil/Sterling Silver, Emerald and Diamond Necklace, composed of eight strands of faceted 3.0 mm x 4.0 mm treated emerald beads, with an approximate total weight of 560.0 carats, finished with a double-sided large lobster clasp, mounted with fourteen oval-cut emeralds, with an approximate total weight of 3.08 carats, and 200 single-cut diamonds, with an approximate total weight of 1.00 carat, approximate color I and clarity I1‑I2, l. 17”, 104.4 grams total weight. [600/900] Illustrated 673 Sterling Silver/Gold Vermeil, Diamond and Emerald Pendant Earrings, each earring with a light and airy design, and set with approximately 226 irregular faceted diamonds, with an approximate total weight of 1.50 carats for the pair, and eight pear-shaped emeralds, with an approximate total weight of 3.20 carats for the pair, l. 2‑5/8”, 14.2 grams total weight. [500/800] Illustrated

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674 Sterling Silver, South Sea Baroque Pearl and Diamond Necklace, composed of twenty-six South Sea baroque pearls, measuring 13.00 mm to 14.00 mm, accented with a large lobster-claw pendant clasp, and a removable enhancer with seven smaller South Sea baroque pearls, measuring 10.00 mm, finished with a freeform bead, the pendant clasp and freeform bead mounted with 150 rose-cut diamonds, with an approximate total weight of 1.00 carat, approximate color I and clarity SI2‑I2, l. 18”, enhancer, l. 5‑1/4”, 131.4 grams total weight. [500/800] Illustrated 675 Sterling Silver, South Sea Baroque Pearl and Diamond Earrings, each in the form of a snake wrapped around a South Sea baroque pearl, measuring 14.00 mm in width, the snakes mounted with 304 rose-cut diamonds, with an approximate total weight of 1.95 carats for the pair, approximate color I and clarity SI2‑I2, l. 2”, 19.0 grams total weight. [500/800] Illustrated

676 Rolex Cosmograph Daytona Stainless Steel Chronograph, ca. 2006 1/2, the white dial marked “Rolex Oyster Perpetual, Superlative Chronometer, Officially Certified, Cosmograph” and “Daytona” in red, the automatic movement is the sought-after in-house Rolex manufactured movement, reference #116520, serial #Z, 268, XXX, case size 40.0 mm, inside circumference, 7‑3/4”. [12000/18000] Illustrated 677 Fourteen-Karat White Gold, Pearl and Diamond Earrings, each earring with a 9.00 mm pink/rose-colored baroque pearl with a high luster, accented by twentytwo round brilliant-cut diamonds, with an approximate total weight of 0.14 carats for the pair, approximate color G-I and clarity VS1‑SI1, l. 1”, 5.0 grams total weight. [3000/5000] Illustrated

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678 Beautiful Eighteen-Karat White Gold, Diamond and Pearl Necklace, composed of nine elongated white baroque pearls with a medium luster, measuring approximately 8.00 mm x 11.00 mm, each suspended from a necklace mounted with 273 round brilliant-cut diamonds, with an approximate total weight of 3.25 carats, approximate color G-I and clarity VS1‑SI1, l. 15”, 38.0 grams total weight. [9000/12000] Illustrated

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679 Pair of Eighteen-Karat White Gold, Baroque Pearl and Diamond Earrings, the dangle earrings each composed of a pink/rose baroque pearl with a high luster, measuring 7.00 mm each, accented by twenty-one round brilliant-cut diamonds, with an approximate total weight of 0.28 carats for the pair, approximate color E-G and clarity VS1‑SI1, l. 1‑1/4”, 5.0 grams total weight. [1200/1800] Illustrated

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680 Eighteen-Karat White Gold and Diamond Bangle Bracelet, the hinged bracelet composed of open oval links mounted with 238 round brilliant-cut diamonds, with an approximate total weight of 1.59 carats, approximate color D-E and clarity VS1‑VS2, inside circumference, 8”, 19.0 grams total weight. [5000/8000] Illustrated

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681 Fourteen-Karat White Gold and Diamond Solitaire Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 2.00 carats, approximate color H and clarity SI1, size 5‑1/2, 3.0 grams total weight. [9000/12000] Illustrated 682 Stunning Platinum and Diamond Tennis Bracelet, composed of thirty-eight Asscher-cut diamonds, with an approximate total weight of 19.48 carats, approximate color H-I and clarity VVS2‑VS1, l. 7”, 28.0 grams total weight. [80000/120000] Illustrated

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683 Stunning Platinum and Diamond Ring, the ballerinastyle ring mounted with a central emerald-cut diamond, with an approximate weight of 2.97 carats, approximate color E and clarity SI1, surrounded by a spray of twentyeight baguette-cut diamonds, with an approximate total weight of 1.82 carats, approximate color D-E and clarity VVS2‑VS1, size 7, 8.0 grams total weight. [18000/25000] Illustrated 684 Eighteen-Karat White Gold and Diamond Hoop Earrings, the huggie-style earrings mounted with fiftytwo round-cut and thirty-eight baguette-cut diamonds, with an approximate total weight of 1.89 carats for the pair, approximate color E-F and clarity VS1‑SI1, l. 3/4”, 11.0 grams total weight. [4500/7000] Illustrated

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685 Platinum and Diamond Solitaire Ring, mounted with a round transitional-cut diamond, with an approximate weight of 3.10 carats, approximate color J and clarity VS2, size 11, 11.0 grams total weight. [12000/18000] Illustrated

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686 Fourteen-Karat White Gold, Sapphire and Diamond Bracelet, composed of twelve oval-shaped sapphires, with an approximate total weight of 3.50 carats, and 156 round brilliant-cut diamonds, with an approximate total weight of 2.51 carats, approximate color G-I and clarity VS1‑SI1, l. 7‑1/2”, 17.0 grams total weight. [6000/9000] Illustrated 687 Eighteen-Karat White Gold and Diamond Hoop Earrings, the large inside/outside hoop earrings composed of fancy-shaped rose-cut diamonds, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 11.05 carats, approximate color D-E and clarity VS1‑SI1, l. 1‑3/4”, 18.0 grams total weight. [15000/25000] Illustrated

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688 Eighteen-Karat White Gold, Sapphire and Diamond Ring, in a flower design and mounted with nine ovalshaped sapphires, with an approximate total weight of 2.17 carats, accented with eighty-one round-cut and eight baguette-cut diamonds, with an approximate total weight of 0.77 carats, approximate color D-E and clarity VVS2‑VS2, size 7, 5.0 grams total weight. [4500/7000] Illustrated

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689 Interesting Eighteen-Karat White Gold and Diamond Necklace, with a design of meandering flowers, the necklace and flowers mounted with round brilliant-cut diamonds, with an approximate total weight of 4.03 carats, approximate color E-G and clarity SI1‑SI2, l. 16”, drop, l. 2‑1/2”, 36.0 grams total weight. [3000/5000] Illustrated 690 Pair of Eighteen-Karat White Gold and Diamond Pendant Earrings, each dangling pendant earring set with fifty-four round brilliant-cut diamonds, with an approximate total weight of 1.70 carats for the pair, l. 1‑7/8”, 11.8 grams total weight. [3000/5000] Illustrated

691 Beautiful Fourteen-Karat White Gold, Sapphire and Diamond Necklace, composed of fifty-one ovalcut treated sapphires, with an approximate total weight of 27.54 carats, alternating with 102 round brilliant-cut diamonds, with an approximate total weight of 2.02 carats, approximate color G-I and clarity SI1‑SI2, l. 16”, 26.0 grams total weight. [5000/8000] Illustrated

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692 Eighteen-Karat White Gold and Diamond Ring, the center of the ring mounted with one baguette-cut and nine trapezoid-cut diamonds, with an approximate total weight of 1.04 carats, surrounded by a halo of round brilliantcut diamonds, with additional diamonds on the ring shank, with an approximate total weight of 0.89 carats, approximate color D-E and clarity VVS2‑SI1, size 7‑1/2, 8.0 grams total weight. [5000/8000] Illustrated

694 Fourteen-Karat White Gold and Diamond Ring, composed of four central round brilliant-cut diamonds, with an approximate total weight of 2.32 carats, approximate color E-F and clarity VS1‑VS2, and eight round brilliant- and single-cut diamonds, with an approximate total weight of 0.27 carats, approximate color E-I and clarity VS1‑VS2, size 8‑1/2, 5.0 grams total weight. [6000/9000] Illustrated

693 Pair of Eighteen-Karat White Gold and Diamond Pendant Earrings, each elegant chandelier dangling pendant earring set with ninety-five round brilliant-cut diamonds, with an approximate total weight of 2.00 carats for the pair, l. 2‑1/2”, 8.9 grams total weight. [3000/5000] Illustrated

695 Eighteen-Karat White Gold and Diamond Bangle Bracelet, the hinged bracelet with a stylized open design and mounted with approximately 300 round brilliantcut diamonds, with an approximate total weight of 1.20 carats, approximate color G-I and clarity VVS2‑VS2, inside circumference, 6‑1/2”, 29.0 grams total weight. [3500/5000] Illustrated

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696 Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with an oval-cut natural sapphire, GIA report #6177021639, with a weight of 1.31 carats, and 178 round brilliant-cut diamonds, with an approximate total weight of 1.31 carats, approximate color H-J and clarity I1‑I2, size 8‑1/2, 5.3 grams total weight. [3000/5000] Illustrated 697 Fourteen-Karat White Gold and Diamond Necklace with Earrings, the pendant mounted with a cluster of ten round brilliant-cut diamonds, with an approximate total weight of 0.18 carats, approximate color E-F and clarity SI1‑SI2, suspended from a fourteen-karat white gold chain, l. 18”, together with a pair of earrings, each mounted with a cluster of ten round brilliant-cut diamonds, with an approximate total weight of 0.30 carats for the pair, dia. 1/4”, 2.0 grams total weight. [600/900] 698 Eighteen-Karat White Gold, Fancy Dark Greenish-Blue and White Diamond Ring, mounted with a central round brilliant-cut treated fancy dark greenish-blue diamond, with an approximate weight of 1.11 carats, and forty-four round brilliant-cut white diamonds in a halo around the stone and down the ring shank, with an approximate total weight of 0.51 carats, approximate color G-I and clarity SI1‑I1, size 7‑3/4, 2.2 grams total weight. [1800/2500] Illustrated

696

701

699 Eighteen-Karat Rose/White Gold and Diamond Ring, mounted with a central oval-cut diamond, with an approximate weight of 0.64 carats, approximate color I and clarity SI3, on a band accented with twelve round brilliant-cut diamonds, with an approximate total weight of 0.21 carats, approximate color F and clarity SI1, size 7‑1/4, 2.5 grams total weight. [1500/2500] 700 Eighteen-Karat White Gold, Sapphire and Diamond Ring, mounted with five emerald-cut sapphires, with an approximate total weight of 1.79 carats, alternating with eight round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, approximate color H-I and clarity SI1‑SI2, size 5‑1/2, 6.0 grams total weight. [1800/2500] Illustrated 701 Fourteen-Karat White Gold, Sapphire and Diamond Bracelet, composed of twenty-four oval-cut sapphires, with an approximate total weight of 13.20 carats, and forty-eight round brilliant-cut diamonds, with an approximate total weight of 0.54 carats, approximate color G-I and clarity VS2‑SI1, l. 7”, 10.0 grams total weight. [1500/2500] Illustrated

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702

704

702 Fourteen-Karat White Gold and Diamond Stud Earrings, each stud earring mounted in a four-prong basket setting, one round brilliant-cut diamond with an approximate weight of 1.56 carats, approximate color K and clarity I1, and the other round brilliant-cut diamond with an approximate weight of 1.52 carats, approximate color K and clarity I1, 1.6 grams total weight. [6000/9000] Illustrated 703 Eighteen-Karat White Gold and Diamond Ring, mounted with a princess-cut diamond, with an approximate weight of 1.02 carats, approximate color J and clarity I1, accented on each side by twenty-four round brilliant-cut diamonds and twelve channel-set baguettecut diamonds, with an approximate total weight of 1.42 carats, approximate color G-I and clarity SI1‑SI2, size 7‑1/2, 13.6 grams total weight. [6000/9000] Illustrated 704 Eighteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with an emerald-cut aquamarine, with an approximate weight of 15.28 carats, accented by ten baguette-cut, six princess-cut and two round-cut diamonds, with an approximate total diamond weight of 0.45 carats, approximate color E-G and clarity VS1‑SI1, size 7‑1/2, 12.0 grams total weight. [4500/7000] Illustrated

190

705 Eighteen-Karat White Gold and Diamond Earrings, the cluster earrings each set with thirteen round brilliantcut diamonds, with an approximate total weight of 0.96 carats for the pair, approximate color G-I and clarity SI1‑SI2, dia. 1/4”, 2.0 grams total weight. [2000/4000] 706 Eighteen-Karat White Gold and Diamond Earrings, the drop dangle earrings mounted with 144 round brilliantcut diamonds, with an approximate total weight of 2.35 carats for the pair, approximate color E-G and clarity VS1‑VS2, l. 2”, 11.0 grams total weight. [3500/5000] Illustrated 707 Eighteen-Karat White Gold and Diamond Ring, set with a marquise-cut diamond, with an approximate weight of 0.75 carats, approximate color J and clarity I1, flanked by thirty round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 0.45 carats, approximate color G-J and clarity SI1‑I1, size 7‑1/2, 3.3 grams total weight. [2000/4000] Illustrated

709

708

708 Audemars Piguet Lady’s Stainless Steel Royal Oak Wristwatch with Diamond Bezel, the quartz calendar movement with a silver Grand Tapisserie dial marked “Audemars Piguet”, the stainless steel bezel set with thirtytwo round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, reference #G18978, serial #3, XXX, case, 33.0 mm x 42.0 mm, inside circumference, 6‑1/2”, together with the Audemars Piguet wood box. [12000/18000] Illustrated 709 Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a central oval-cut sapphire, with an approximate weight of 2.72 carats, surrounded by a halo of ten round brilliant-cut diamonds and twelve round brilliant-cut diamonds under the bridge of the ring, with an approximate total weight of 1.28 carats, approximate color E-F and clarity VVS2‑VS1, size 7, 4.0 grams total weight. [7000/10000] Illustrated

710

710 Rolex Gentleman’s Eighteen-Karat Yellow Gold and Stainless Steel Datejust Watch, the mechanical automatic calendar movement in a stainless steel case with an eighteen-karat gold fluted bezel with a champagne-colored dial marked “Rolex, Oyster Perpetual, Datejust, Superlative Chronometer, Officially Certified”, the stainless and eighteen-karat gold Rolex jubilee band with a deployment clasp, model #16013, serial #8,126, XXX, diameter, 36.0 mm. [1500/2500] Illustrated

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711 715

711 Eighteen-Karat Yellow Gold Necklace, composed of various hand-engraved circles, finished with a toggle clasp, l. 24”, 6.3 grams total weight. [6000/9000] Illustrated 712 Austrian Four Ducat Gold Coin Pendant, the 1915 re-strike coin with fineness of 98.6% purity, mounted in a fourteen-karat yellow gold bezel, dia. 1‑15/16”, 21.8 grams. [1500/2500] Illustrated 713 Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Ring, mounted with an oval-cut blue topaz, with an approximate weight of 3.00 carats, accented on each side by forty-four baguette-cut diamonds, with an approximate total weight of 0.85 carats, approximate color E-F and clarity VS2‑SI1, size 7‑1/4, 6.0 grams total weight. [1500/2500] Illustrated

192

714 Fourteen-Karat Yellow Gold, Blue Topaz and Diamond Ring, mounted with an oval-cut treated blue topaz, with an approximate weight of 6.82 carats, accented by six round brilliant-cut diamonds, with an approximate total weight of 0.34 carats, approximate color H-I and clarity SI1‑I1, size 5, 6.0 grams total weight. [1400/1800] Illustrated 715 Two Pieces of Mounted Gold Coin Jewelry, contemporary, both coins .900 fine, both mounts fourteenkarat gold, including a ring with a Mexican 2‑Peso piece mounted in a ropework frame to a wirework shank, size 6, and an Austrian 100‑Corona piece mounted in a scrolling wire frame, overall, dia. 1‑7/8”, 48.2 total grams. [1000/1500] Illustrated 716 Fourteen-Karat Yellow Gold, Turquoise and Diamond Ear Clips, each earring mounted with a turquoise cabochon measuring approximately 12.5 mm x 12.5 mm, surrounded by a halo of round-cut diamonds, with an approximate total weight of 0.65 carats for the pair, l. 5/8”, 8.0 grams total weight. [1200/1800] Illustrated

720

717

722

718 719

717 Fourteen-Karat Yellow/White Gold, Turquoise and Pink Sapphire Ring, mounted with a cabochon-cut turquoise, measuring approximately 14.0 mm x 13.0 mm, surrounded by fifty round-cut pink sapphires, with an approximate total weight of 0.50 carats, size 7‑3/4, 8.0 grams total weight. [1200/1800] Illustrated 718 Fourteen-Karat Yellow Gold, Ruby and Diamond Bracelet, the elegant bracelet composed of seven oval-cut treated rubies, with an approximate total weight of 25.30 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 6.08 carats, approximate color I-K and clarity I1‑I2, l. 7”, 29.8 grams total weight. [3500/5000] Illustrated 719 Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, the elegant dangle earrings each mounted with a square cushion-cut treated ruby, with an approximate total weight of 5.12 carats for the pair, accented by 176 round brilliant-cut diamonds, with an approximate total weight of 3.73 carats for the pair, approximate color I-K and clarity I1‑I3, l. 2”, 8.8 grams total weight. [2000/4000] Illustrated

721

720 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with a central oval-cut treated ruby, with an approximate weight of 11.80 carats, surrounded by a halo of alternating round-cut rubies and diamonds, with an approximate total ruby weight of 0.85 carats and an approximate total diamond weight of 0.60 carats, size 7‑1/2, 7.6 grams total weight. [900/1200] Illustrated 721 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 7.16 carats, accented by round brilliant-cut diamonds, with an approximate total weight of 0.54 carats, size 7‑3/4, 7.4 grams total weight. [1200/1800] Illustrated 722 Fourteen-Karat Yellow Gold, Ruby and Diamond Bracelet, composed of seventeen oval-cut treated rubies, with an approximate total weight of 19.25 carats, each surrounded by a halo of diamonds, with an approximate total weight of 3.33 carats, approximate color K-M and clarity I2‑I3, l. 7”, 14.9 grams total weight. [2000/4000] Illustrated

193

724 725

723

727

723 Fourteen-Karat White Gold, Ruby and Diamond Earrings, mounted with two oval-cut rubies, with an approximate total weight of 1.60 carats for the pair, and twenty-four round brilliant-cut diamonds, with an approximate total weight of 0.49 carats for the pair, approximate color H-I and clarity VS1‑VS2, l. 1/2”, 4.0 grams total weight. [3500/5000] Illustrated 724 Fourteen-Karat White Gold, Diamond and Ruby Ring, mounted with a central round brilliant-cut diamond, with an approximate weight of 0.80 carats, approximate color F and clarity SI1, and two round-cut treated rubies, with an approximate total weight of 1.43 carats, size 7, 4.0 grams total weight. [7000/10000] Illustrated 725 Beautiful Fourteen-Karat White Gold, Zircon and Diamond Ring, mounted with a central cushion-cut deep reddish-brown zircon, with an approximate weight of 7.32 carats, accented by sixty-four round brilliant-cut diamonds, with an approximate total weight of 0.44 carats, approximate color G-I and clarity VS2‑SI2, size 7‑1/2, 9.0 grams total weight. [1800/2500] Illustrated

194

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726

726 Cartier Eighteen-Karat Tri-Colored Gold Vendome Wristwatch, the unisex watch with a quartz movement, and a white dial with black Roman numerals with the secret “Cartier” signature in Roman numeral VII, the crown set with a blue sapphire cabochon, dia. (without crown) 30.0 mm, l. 36.0 mm, serial #810,032,XXX, case and dial signed “Cartier”, l. 8‑1/2”, 26.6 grams total weight. [700/1000] Illustrated 727 Eighteen-Karat Yellow Gold, Amethyst, and White and Brown Diamond Ring, mounted with a central ovalcut amethyst, with an approximate weight of 8.40 carats, accented by a double row of white round brilliant-cut diamonds, approximate color E-F and clarity VS1‑VS2, and 218 brown round brilliant-cut diamonds down the shank of the ring, with an approximate total diamond weight of 3.30 carats, size 8, 12.0 grams total weight. [4500/7000] Illustrated 728 Eighteen-Karat White Gold and Amethyst Tennis Bracelet, composed of eighty round-cut amethysts, with an approximate total weight of 2.55 carats, l. 7”, 10.0 grams total weight. [2000/4000] Illustrated

732

734

729

730

731

729 Fourteen-Karat Yellow Gold and Carved Amethyst Necklace, composed of graduated carved amethyst beads, ranging in size from 11.3 mm to 19.0 mm, with an approximate total weight of 580.0 carats, each separated by a gold roundel and finished with a fourteen-karat yellow gold clasp, l. 20”, 89.5 grams total weight. [500/800] Illustrated 730 Eighteen-Karat White Gold, Pink Spinel and Diamond Ring, mounted with an oval-cut pink spinel, with an approximate weight of 5.85 carats, flanked on each side by nine round brilliant-cut diamonds, with an approximate total weight of 0.33 carats, approximate color E-G and clarity VS1‑VS2, size 7, 15.0 grams total weight. [3000/5000] Illustrated 731 Custom-Made Eighteen-Karat Yellow/White Gold, Coral and Diamond Earrings, each earring mounted with a teardrop-shaped light pink coral cabochon, measuring approximately 18.5 mm x 11.8 mm, surrounded by a leaf-designed mounting set with fiftyeight round brilliant-cut diamonds, with an approximate total weight of 1.06 carats for the pair, approximate color E-G and clarity VS1‑VS2, l. 1‑1/2”, 23.0 grams total weight. [6000/9000] Illustrated

733

732 Pair of Eighteen-Karat White Gold, Coral and Diamond Earrings, with salmon-colored coral drops measuring 1” in length, accented by fifty-two round-cut diamonds, with an approximate total weight of 0.24 carats for the pair, l. 1‑3/4”, 6.0 grams total weight. [1200/1800] Illustrated 733 Fourteen-Karat Rose Gold and Coral Earrings, each earring mounted with a coral cabochon measuring approximately 14.0 mm x 10.0 mm, surrounded by a halo of round-cut diamonds, with an approximate total weight of 0.60 carats for the pair, l. 5/8”, 7.0 grams total weight. [1000/1500] Illustrated 734 Red Coral and Pearl Necklace, the five-strand necklace with 3.5 mm diameter coral beads, with eight roundels composed of 3.5 mm diameter cultured pearls and three large beads composed of red coral beads woven together, l. 16”, 58.7 grams total weight. [900/1200] Illustrated

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738

739

735 736

735 Waltham Lady’s Fourteen-Karat Multicolored Gold Pocket Watch, the 6 size hunting case box hinged watch decorated with green, rose and white gold, the lid with a rose gold cartouche surrounded by green and rose gold flowers, the back lid with a green gold songbird with green, rose and white gold flowers, the fifteen jewels nickelplated movement signed “American, Waltham Watch Co.”, serial #6, 033, XXX, case diameter, 1‑5/8”, 62.0 grams total weight. [700/1000] Illustrated 736 Fourteen-Karat Yellow Gold Necklace with Matching Ear Clips, the retro design snake link necklace with a flowing “scarf” dangling pendant, l. 15‑1/2”, the matching earrings en suite, l. 2”, 68.0 grams total weight. [700/1000] Illustrated 737 Antique American Fourteen-Karat Yellow Gold and Diamond Crescent Brooch/Pendant, fourth quarter 19th century, the “knife-edge” frame in the form of a crescent with fourteen loops, each with a small fleur-delys and a buttercup-set old mine-cut diamond (fourteen graduated diamonds approximately H-I color, VS2‑SI2 clarity, and 1.95 carats total weight), the reverse fitted with a curved pin with safety catch and retractable bail, l. 2”, total weight 16.0 grams. [1200/1800] Illustrated

196

738 Victorian Eighteen-Karat Gold Shell Cameo of Mary Magdalene, third quarter 19th century, probably an Italian cameo in an English mount, of oval form, the shell engraved in deep relief with The Magdalene shown bust-length and in three-quarter profile, bezel-set in a conforming gold frame decorated with meandering wirework, the reverse with a plain hook catch, 1‑3/4” x 2‑1/8”, 17.0 grams total weight. [500/800] Illustrated 739 Two Pieces of Victorian Fifteen-Karat Yellow Gold Jewelry, fourth quarter 19th century, including a lady’s stock pin in the Etruscan Revival style, of barbed bar shape, the circular center star set with three rosecut diamonds, with an approximate total weight of .08 carats, the arms decorated with beads and wirework, the reverse with a plain hook catch, w. 1‑7/8”, together with a gentleman’s swivel fob seal, with acanthus scroll neck and oval frame, swiveling by means of a push-lock mechanism and fitted with a bloodstone intaglio seal engraved with the arms of Whitehead of Easingwold, co. York, l. 1‑1/2”, 13.4 grams total weight. [700/1000] Illustrated

740 detail

740

740 detail

740 Important Three-Piece Eighteen- and FourteenKarat Gold and Onyx Cameo Demi-Parure, third quarter 19th century, Continental, augmented by Edward A. Tyler, New Orleans, including a large cameo brooch and pair of cameo cuff bracelets, the large brooch with a beautifully detailed black and white onyx cameo of a neoclassical maiden with braided hair and acorn earrings, presented in an eighteen-karat gold frame surrounded by fifty-three old mine-cut diamonds in reduced collet mountings, all within a rope-twist border, the reverse fitted with a plain hook catch, 2‑1/2” x 2”, together with a pair of cuff bracelets, each fitted with a similar onyx cameo, the profiles affrontee and mounted en suite with the brooch, each with twentyone diamonds, and affixed to a fourteen-karat gold cuff bracelet decorated in a pique design with black taille d’epargne enamel with bright-cut edges, with pawl catch and safety chain, the cameos overall 1‑1/8” x 2”, the cuff w. 7/8”, inside diameter 2‑1/4” (ninety-five diamonds total, approximately H-I color, VS2‑SI1 clarity, and 9.50 carats total weight), total weight 195.4 grams, the cuff bracelets presented in the original satin-lined and leather-covered wooden box with E. A. Tyler’s gilt retailer’s stamp, 1‑3/4” x 5‑3/4” x 3‑1/4”. Provenance: The Estate of Paul Emile Archinard, Murphy, North Carolina and New Orleans, Louisiana. [10000/15000] Illustrated

740 detail

This demi-parure is perhaps one of the finest jewelry suites to emerge at auction with such a strong New Orleans history. The cameos on the bracelets both have the remnants of a pin-hinge and hood clasp, showing that the set was originally a trio of brooches, probably of Continental manufacture: a very expensive Grand Tour souvenir, for which cameos from Italy and Idar-Oberstein were very popular. The bracelets themselves, however, show all signs of American manufacture - the black taille d’epargne enamel being appropriately somber for a society in mourning after the horrors of the Civil War. It it likely, then, that Boston-born and -trained jeweler Edward Augustus Tyler (1813‑1879) (who, after some unsuccessful ventures, settled in New Orleans in 1838 and by the time of the Reconstruction had become a wealthy and successful merchant) was asked to convert the smaller cameos to then-fashionable cuff bracelets. The results show his consummate skill, and explain why the cuffs are presented in Tyler’s original presentation box but the brooch is not. The suite is descended in the family of the late Paul Emile Archinard, whose maternal line was from Missouri. Given the date of the suite, it is very likely then that it belonged to one of his two paternal great-grandmothers - Philomena Melicert Boueming Archinard (1838‑1911) or Armantine Amelie du Bertrand Vienne (1834‑1914) - both of whom were in New Orleans and of appropriate age at the time the set was made.

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741 details

742 741 Pair of French Percussion Dueling Pistols, second quarter 19th century, signed LePage, Paris, with the original stocks and engraved tang, breechplug grip cap, triggerguard and lockplate, l. 14‑1/2”, presented in an associated brass-bound mahogany case, unfitted and lined in royal purple silk velvet, 2‑1/2” x 16” x 9‑3/4”. Provenance: The Estate of Paul Emile Archinard, Murphy, North Carolina and New Orleans, Louisiana. [3000/5000] Illustrated It is to be noted that Paul Emile Archinard’s fifth greatgrandfather, Francois Jean Archinard (1765‑1836), had two nephews, sons of his half-brother Richmond Edmond Cuny (1769‑1824), who served as surgeon and a supporter in the notorious “Sand Bar Duel” on September 19, 1827 between Samuel Levi Wells III (for whom the Cuny brothers were partisans) and Dr. Thomas Harris Maddox. The duelists deloped - both intentionally missing their target and shaking hands - but enmity among the partisans erupted into a free-for-all “battle with pistols, shot-guns, sword canes and knives, and when the smoke had cleared away thew were dead” - among them Archinard’s nephew Samuel Cholett Cuny (1800‑1827). For more information, see “A Log of Long Ago” in The Louisiana Genealogical Register, Vol. I, No. 3, January 1946, pp. 123‑125, and James L. Batson James Bowie and the Sandbar Fight (Madison, Alabama: Batson Engineering, 1992).

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742 American Classical Parcel-Gilt and BronzeMounted Rosewood Pier Table, ca. 1820, attributed to Duncan Phyfe, New York, the marble top over a frieze with later applied molding at its lower edge, supported by a pair of tapering columns with metal capitals and bases, the back with a mirror plate flanked by pilasters, raised on carved paw feet and gilt foliate brackets, h. 36‑1/2”, w. 42”, d. 20”. [1500/2500] Illustrated For a discussion of similar construction and front feet, see Duncan Phyfe: Master Cabinetmaker in New York, by Kenny, Brown, Bretter and Thurlow, pp. 86, 94‑95. 743 Fine American Classical Brass-Inlaid Mahogany Sofa, first quarter 19th century, school of Duncan Phyfe, the top rail with a row of five figure panels, each edged with brass stringing with reeded scroll arms and seat rail, supported by reeded sabre-form legs ending in brass paw cap casters, sumptuously upholstered in gold damask, h. 31”, w. 88”, d. 24‑1/2”. [2000/4000] Illustrated

744 Colonial Revival Giltwood Eagle-Decorated Convex Mirror, first quarter 20th century, probably American, with a pierced and scrolled lower decoration, the covemolded mirror surround set with spherules and a reeded and ebonized inner liner, the displayed eagle finial flanked by pierced scrollwork, h. 44‑1/4”, dia. 24‑1/4”. [600/900] Illustrated

745 American Classical Mahogany Secretary, ca. 1830, in two parts, the upper section with a projecting cornice over a pair of mirrored doors with a band of drawers below, the base with a molded drawer opening to reveal an adjustable writing surface with tooled leather top, and a pair of recessed paneled doors below, flanked by columns on carved paw feet, h. 66‑1/2”, w. 39‑1/2”, d. 22”. [1000/1500] Illustrated 746 Two American Work Tables, including a Sheraton mahogany table, first quarter 19th century, New England, with a cross-banded top with projecting ormolu corners, the frieze with a shallow drawer over a deep drawer, raised on shaped bobbin-turned legs on brass cup casters, h. 28‑7/8”, w. 21‑3/4”, d. 16‑1/4”, together with a classical mahogany table, ca. 1825, Philadelphia, the top with projecting ormolu corners, over a conforming case with a pair of banded and beaded drawers flanked by foliatecarved pilasters, and saber-form legs ending in brass cup casters, h. 29‑7/8”, w. 22‑3/4”, d. 16”. [800/1200] Illustrated

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747

747 Edward Troye (Swiss/American, 1808‑1874), “Lady Ridley Held by ‘Picayune’, a Black Boy of about Fifteen Dressed in a Top Hat and Eton Jacket,” 1836, oil on canvas, signed “E. Troye” and dated “Nov. 1836” lower right, 19‑3/4” x 24‑1/4”. Presented in a contemporary giltwood frame. Provenance: Painted for Ambrose Lecomte (1807‑1883), “Magnolia Plantation”, Natchitoches, Louisiana; thence by descent to Lecomte’s granddaughter Mrs. L. A. Cockfield (1883‑1978), Natchitoches, Louisiana, 1939; Robert De Blieux (1933‑2010), Natchitoches, Louisiana; Felix Kuntz (1890‑1971), New Orleans, Louisiana, thence by descent to his niece Karolyn Kunst Westervelt (1939‑2015), New Orleans, Louisiana. Illustrated: Mackay-Smith, Alexander. The Race Horses of America, 1832‑1872: Portraits and Others by Edward Troye. Saratoga Springs: National Museum of Racing, 1981. p. 86 and index. [20000/40000] Illustrated

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Edward Troye, the preeminent equestrian artist of 19th century America, depicted hundreds of race horses, chronicling some of the only visual records of the antebellum sport and its breed pedigree. Though born in Lausanne, Switzerland to French Protestant parents, Troye grew up in England and was reared in the traditions of the British sporting societies. Following a short jaunt in Jamaica as a sugar plantation manager, Troye immigrated to America, finding work as an animal illustrator in Philadelphia. These early forays led to the submission of three paintings to the annual exhibition at the Pennsylvania Academy of Fine Arts, which attracted the attention of horse enthusiasts, including his first patron John Charles Craig, the thoroughbred breeding magnate from Carlton Farm in Pennsylvania. Craig was pivotal in launching Troye’s career in the industry; his connections led to many commissions, including illustrations for The American Turf Register and Sporting Magazine- the nation’s first sporting periodical. All together the periodical features twentyone of Troye’s paintings as its frontispieces. Troye’s work greatly appealed to his affluent patrons because it emulated the stylistic conventions of British sporting depictions, particularly those of George Stubbs (17241806) and elevated flat and harness racing to an industry of gentry reflective of the purebreds it produced. By 1833, Troye had left Philadelphia, pursuing commission across the country that took him from major racetracks and races to wealthy breeders and owners. After an eight month sojourn in Alabama, where he painted six horses belonging to Colonel Crowell at Fort Mitchell, Troye arrived in the late fall of 1836 at Magnolia Plantation in Natchitoches, Louisiana—the setting for this painting. At the behest of Ambrose Lecomte II, the plantation owner, turfman and race horse aficionado, whose stables also produced the famed “Flying Dutchman”, “ Lecomte” and” Lady Brown”, Troye was commissioned to paint his champion mare “Lady Ridley.” True to his characteristic style, Troye composed the painting horizontally with the animal centrally framed against a backdrop of foliage and flanked by a jockey/groom or trainer. Troye’s uncluttered stylized approach, enabled him to focus on the horse’s physique from its withers to its hocks and tendons in its forearms and gaskins. Lavish attention was equally paid to the groom called “Picayune”another name for trivial or insignificant, which is an oxymoron given his fine dress, expression, and relative position to the horse. According to Jessica Dallow in her pivotal essay on Troye and antebellum sports illustrated, AfricanAmerican men in the racing industry occupied an ambivalent place between cherished chattel and revered athletes. Boys born of both free-men and slaves from the age of ten to fourteen years of age were handpicked for their physique, agility and acuity to train as grooms. They were rigorously instructed for seven years as apprentices in the art of training and riding horses for the turf before they were able to matriculate to jockey or trainer, and it was not uncommon for owners to handsomely pay for their grooms’ education in the field. After the abolition of slavery, African-American men excelled as athletes in horse racing; they won all the early runnings of the Kentucky Derby. “Picayune’s” Eaton jacket, stripped English waist coat and what Harry Worcester Smith described when he saw the painting in 1939, as a “black beaver top hat” further sanction the burgeoning wealth of the racing industry. In the words of Dallow,”the sartorial splendor, specifically the top hats and tails worn by trainers…evidences its (the industry’s) desire to perpetuate its noble lineage...that necessitated greater, more specialized, more stratified staff. This painting’s provenance is no less illustrious and intriguing than the picture it depicts. Magnolia Plantation, the setting that inspired the 1989 movie “Steel Magnolias” is nationally recognized as one of the South’s historic treasures. It was built by Lecomte in 1830, and then rebuilt in 1889 by his son-in-law Matthew Herzog after Federal troops burned it in 1864 while retreating from the battle at Mansfield. From Lecomte, the Troye painting passed to his youngest daughter Eliza Prudhomme (1840-1923) and her daughter Noelie Cockfield (1883-1978). Shortly after the death of Mrs.Cockfield’s husband Dr. Leroy Akron in 1947, the wo rk was acquired by the DeBlieux family, also related to the Prudhommes through Robert DeBlieux’s maternal grandmother (Ophelia Prudhomme Roubieu). Robert DeBlieux, an ardent historian and preservationist, served as the mayor of Natchitoches from 1976-1980, and was instrumental in founding of the Natchitoches Historic District. From DeBlieux, the Troye painting entered the esteemed art collection of Felix Kuntz, much of which is now conserved in the New Orleans Museum of Art.

References: Mackay-Smith, Alexander. The Race Horses of America, 1832-1872: Portraits and Other Paintings by Edward Troye. Saratoga Springs: National Museum of Racing, 1981. Dallow, Jessica. “Antebellum Sports Illustrated: Representing African Americans in Edward Troye’s Equine Paintings.” Nineteenth-Century Art Worldwide 12:2 (2013); Gould, Philip, Richard Seale and Robert DeBlieux. Natchitoches and Louisiana’s Timeless Cane River. Baton Rouge: LSU Press, 2002.

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748 Handsome Three-Piece English Bronze and Glass Argand Lamp, second quarter 19th century, in the Grecian style, signed “Messenger”, decorated with bold reeding and set with cut flint glass egg-and-dart pattern prism rings, the set comprised of a double-light lamp, h. 20‑1/2”, w. 16”, d. 8”, and a pair of single-light lamps, h. 18‑1/2”, w. 12‑1/2”, d. 6‑1/2”, the cut and engraved grape pattern shades probably Pairpoint, Massachusetts, ca. 1900, signed “Messenger & Sons, London & Birmingham” on the cast iron base weight and other interior elements. [2000/4000] Illustrated 749 American Classical Mahogany Fold-Open Games Table, first quarter 19th century, Boston, with reeded downswept legs ending in cast bronze feet, h. 29”, w. 36‑1/2”, d. 19”, extended l. 38”. [700/1000] Illustrated

750 Rare Eagle-Decorated Classical Mirror, second quarter 19th century, labeled “Fancy Hardware, D. Fraser Looking Glass and Picture Frame Manufacturer, No 68, Chatham-Street, New York...” with ring-turned balusterform pilasters, under a frieze decorated with medallions and a roundel of an eagle on a cannon, against a possible Indian bonnet, the cornice decorated with acorn drops, h. 38‑1/2”, w. 22‑3/4”. Provenance: Personal collection of D. Didier, New Orleans, Louisiana. [800/1200] Illustrated 751 American Classical Mahogany Worktable, ca. 1825, attributed to Anthony Quervelle (1789‑1856), Philadelphia, the cross-banded lift-top fitted with an interior looking glass and opening to reveal a segmented interior retaining its period red paper lining, over a pair of drawers on a trestle base with paired dolphin-carved supports and turned stretchers, h. 30‑3/4”, w. 24‑1/4”, d. 20‑1/4”. [2000/4000] Illustrated An apparently identical table, attributed to Quervelle, is illustrated in Boor’s, Philadelphia Empire Furniture, pp. 266‑267.

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752 Rare American Carved and Gilded Tobacco Trade Figure, second quarter 19th century, attributed to the Boston/Salem School of carved figures, on a black-painted platform, the figure retaining its original gilt surface, dressed in traditional Turkish attire and turban, holding a carved bundle of tobacco leaves, h. 66‑1/2”, w. 20”, d. 20”. [15000/25000] Illustrated By repute, this figure was used in an antebellum Mobile, Alabama tobacconist shop called “The Gilded Turk” which sold Turkish tobacco.

754

753 American Late Classical Mahogany Etagere, second quarter 19th century, with four shelves on ring-turned and baluster-form columns, on a case with a pair of drawers, raised on ribbed bun feet, h. 63‑1/2”, w. 24”, d. 24”. [700/1000] Illustrated 754 John Stobart (American, b. 1929), “Georgetown, Water Street in 1842”, oil on canvas, signed and dated lower right “Stobart, 1979”, verso with “Kennedy Galleries, Inc., New York, N.Y.” label, 20” x 30”. Framed. Provenance: Kennedy Galleries, Inc., New York, New York; Merryl Israel Aron, New Orleans, Louisiana. [18000/25000] Illustrated

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755 American Late Classical Mahogany Server/ Sideboard, second quarter 19th century, with a projecting serpentine drawer over paneled doors, flanked by scroll pilasters and raised on scroll feet, h. 44‑1/8”, w. 43”, d. 24”. [500/800] 756 Early American Queen Anne Pine and Maple Tavern Table, mid-18th century, the single-board top with breadboard ends, the base fitted with a single drawer and retaining its original red-painted surface, h. 28‑1/2”, w. 43”, d. 27‑1/4”. [1200/1800] Illustrated 757 American Colonial Cherry Dressing Table in the Queen Anne Taste, mid- to late 18th century, the case with a band of three drawers, the central drawer shellcarved, raised on cabriole legs on pad feet, formerly fitted as the base of a high chest, h. 30‑1/8”, w. 41‑1/4”, d. 21”. [700/1000] Illustrated

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758 George II-Style Parcel-Gilt and Mahogany Mirror, 20th century, with a carved giltwood surround and drapery festoons on each side, the swan’s-neck pediment ornamented in egg-and-dart molding, a scallop shell serving as the finial, h. 48”, w. 23‑3/4”. [700/1000] Illustrated 759 American Cherry Slant-Lid Desk in the Chippendale Taste, late 18th/early 19th century, the case of exposed dovetailed construction, the lid opening to reveal a fitted interior with a shell-carved central door, over a bank of four graduated beaded drawers, now on a base with cabriole legs and pad feet, h. 45‑1/2”, w. 39‑1/8”, d. 19‑1/4”. [1500/2500] Illustrated

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763

760 American Federal Mahogany Chest in the Hepplewhite Taste, ca. 1800, the rectangular top above a case fitted with four graduated beaded drawers with pierced brass bail pulls, a shaped apron and flare feet, h. 36‑1/2”, w. 39‑3/4”, d. 21‑1/4”. [500/800] Illustrated

762 Chinese Export Famille Rose Porcelain Wine Bottle Cooler, fourth quarter 18th century, with molded sides and a serpentine rim, with lancet borders and decorated with hand-painted sprigs of flowers, h. 8‑1/2”, dia. 8‑1/4”. [2000/4000] Illustrated

761 Unusual Chinese Export Basin in the Famille Rose Palette, third quarter 18th century, with raised flowers on the outer border, and a pink lancet inner border, the central panel decorated with a handsomely detailed vase of raised pink peonies and prunus branches, h. 3”, dia. 15”. [1000/1500] Illustrated

763 American Federal Line-Strung and Lozenge-Inlaid Mahogany Ovolo Games Table, ca. 1800, New England, supported by a fly leg and edged with a pair of inlaid lines, the apron centered by an inlaid oval, the corners with contrasting dark wood lozenges, raised on linestrung tapering legs with lozenge and teardrop inlay, with inlaid dart banding at the base, h. 28‑1/4”, w. 35‑1/4”, d. 17‑1/2”, extended d. 35”. [1000/1500] Illustrated

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764 detail 764 Previously Undocumented Kentucky Marquetry-Inlaid Cherry Tall Case Clock, first quarter 19th century, believed to be from the “Tuttle Group”, Mason County, Kentucky, heavily-inlaid throughout, the hood with a swan’s neck pediment ending in scrolls with inlaid four-point stars, the painted sheet-iron dial with a lunar calendar mechanism over a face adorned with spandrels of painted seashells, the inner door’s lower edge outlined with barber-pole inlay, flanked by square colonettes and the projecting frieze above the door, the waist centered by a door outlined with barberpole inlay and with an oval six-point star framed by oval stringing with three adjoining lines, the door flanked by vine inlay with leaves, and rounded buds emanating from an inlaid vase at their base, the cove waist molding capped by alternating blocks of light and dark wood, the base section with a central inlaid six-point star framed by a crossbanded roundel with inlaid dots and dark centers, the front edges of the waist with barber-pole inlay, the shaped skirt continuing to French feet with spurs, constructed of cherry except as noted, the back composed of a single board of pine beginning above the rear foot braces, rabbeted and nailed to the cherry sides, the top of the hood composed with walnut and Southern yellow pine boards lapped front and back and nailed into place, each side foot glued to a single vertical glue block, and the faceted blocks joining the floor of the clock to the feet and skirt, the works original, h. 96‑1/2”, w. 19”, d. 11”. [40000/70000] Illustrated The vine inlay on the present clock relates to similar inlay of furniture attributed to the Peter Tuttle group of Mason County, Kentucky. Similar inlay is illustrated on a chest in Wachs and Ramsey, The Tuttle Muddle: An Investigation of a Kentucky Case-on-Frame Furniture Group, page 60. The chest is now in the collection of the Speed Art Museum, Louisville, Kentucky. 764

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765 American Federal Holly-Inlaid Cherry Four-Drawer Chest, 19th century, Tennessee, with graduated linestrung and beaded drawers flanked by floral- and line-inlaid stiles, the apron with barber-pole inlay centered by an inlaid fan, raised on splayed legs, with pegged construction throughout, h. 39”, w. 40”, d. 21”. [2500/4000] Illustrated 766 Assembled Fourteen-Piece Chinese Export Famille Rose Porcelain Partial Tea Set, fourth quarter 18th century, decorated with gilt lancet borders, each piece decorated with a single seated female Mandarin figure in a landscape, framed within a puce and orange scrollwork border, the set including a teapot, h. 5”, w. 7”, a waste bowl, dia. 5‑1/2”, a rice bowl, dia. 4‑1/2”, and five handleless tea bowls with saucers, h. 1‑1/2”, dia. 4‑3/4”. [1000/1500] Illustrated

767 American Federal Marquetry-Inlaid and LineStrung Cherry Tambour Secretary, first quarter 19th century, the upper section with a line-strung door over a pair of tambour doors opening to reveal a fitted and compartmentalized interior, the sides of the upper case each with an inlaid tulip, the base with a slant lid with barber-pole and string inlay, and two-over-two drawers flanked by stiles and rails with tiger maple veneer, raised on tapering legs, poplar secondary woods throughout, h. 47‑3/4”, w. 37‑1/2”, d. 20”. [1400/1800] Illustrated This form is most often associated with New England. Similar desks were made in such diverse places as Garrand County, Kentucky and Coastal North Carolina. 768 American Federal Walnut and Inlaid Four-Drawer Chest, first quarter 19th century, with four graduated and string-inlaid drawers, the case with a chestnutinlaid border running down the sides, with an additional striped border along the top edge of the scalloped apron, h. 42‑1/2”, w. 42‑1/2”, d. 20”. [500/800] Illustrated

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769 Pair of Chinese Export Porcelain Tureens and Undertrays, ca. 1800, in the famille rose palette, with orange diapered panels, puce pomegranates and swags of flowers, and scattered sprigs of flowers on the reserve panels, with gilt-trimmed orange handles, h. 10‑1/2”, w. 10‑1/4”, d. 9‑1/2”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1400/1800] Illustrated 770 American Federal Cherry Tall Case Clock, first quarter 19th century, the swan’s-neck pediment centered by a brass finial, the polychromed wooden dial flanked by turned columns, the waisted door with beaded edges and flanked by chamfered corners terminating in lamb’s tongues, the base with a figured panel and shaped apron, raised on splay feet, the poplar back comprised of stacked horizontal boards, h. 106‑1/4”, w. 20”, d. 10‑1/2”. Provenance: The personal collection of Don Didier, New Orleans, Louisiana. [3000/5000] Illustrated

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771 American Federal Cherry, Walnut and Tiger Maple Chest, first quarter 19th century, with an oxbow top and a center bank of drawers, cross-banded with tiger maple and unusual elongated maple escutcheons, h. 41”, w. 39‑1/2”, d. 20‑1/4”. Provenance: From a Brewton, Alabama estate. [2500/4000] Illustrated

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772 Pair of American Federal Mahogany Inlaid Games Tables, first quarter 19th century, Philadelphia, each with shaped tops and string-inlaid borders, the tapered legs with graduated inlaid bellflowers, h. 29‑1/2”, w. 36”, d. 17‑1/2”, extended d. 35”. [500/800] Illustrated 773 Vernacular American Cherry Sugar Chest, second quarter 19th century, the lift top opening to reveal a storage well, with a single drawer below, raised on turned legs with ball feet, h. 24‑3/4”, w. 33”, d. 17‑1/4”. [700/1000] Illustrated

774 Pair of Colonial Revival Inlaid Mahogany Knife Urns, first quarter 20th century, labeled Berkey and Gay, on ogee bracket feet, the line-inlaid urns with acorn-form finials, the covers supported on central standards and opening to reveal fittings to hold knives, forks and spoons, h. 28”, dia. 9‑1/4”. [1500/2500] Illustrated 775 Collection of Five Chinese Export Porcelain Plates, second half 18th century, including a famille rose soup plate decorated with peonies, dia. 9”, a pair of armorial dinner plates with blue Fitzhugh-type borders and polychrome armorials, dia. 9‑1/2”, and a pair of famille rose plates decorated with flower-painted borders and panels with cranes, dia. 9‑1/4”. [1000/1500] Illustrated

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777

777 American Southern Fir Drop-Leaf Farm Table, first half 20th century, raised on tapered legs and with pegged construction, h. 30”, w. 24”, l. 84”, extended w. 46”. [800/1200] Illustrated

776

776 American Polychrome Pine Tall Case Clock, first quarter 19th century, by Silas Hoadley, Plymouth, Connecticut, the arched hood with three turned finials and with a time and strike movement, retaining its original redpainted surface, h. 92”, w. 19”, d. 10”. Hoadley began his clock-making career in partnership with Eli Terry and Seth Thomas. [1000/1500] Illustrated

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778 Scrimshaw Bone and Rosewood Ditty Box Handbag, the wooden top inset with four bone stars and rimmed with trailing vines secured with brass studs, the bone body engraved with tall ships and whales in a mountain-rimmed seascape, the lower rim engraved with diamonds and secured with brass studs, the wooden underside resting on four semi-round bone feet, with a swing handle and toggle closure, the interior lined with gimp-edged russet suede, h. 4‑1/4”, w. 8‑1/2”, d. 6”, handle drop: 5‑1/4”; together with a copy of Nina Hellman and Norman Brouwer’s A Mariner’s Fancy: The Whaleman’s Art of Scrimshaw (New York: Southport Street Museum, 1992), with a forward by Jack R. Aron and autographed by him on the forward page, and on pages 64‑65 of which similar ditty boxes are described and illustrated, trade paperback, 9” x 8”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated

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779 Antique Indian Agra Carpet, 6’ 2” x 9’ 9”. [3000/5000] Illustrated

781 Semi-Antique Tabriz Carpet, 8’ 10” x 11’ 6”. [800/1200] Illustrated

780 Persian Shiraz Carpet, 6’ 9” x 9’ 6”. [1000/1500]

782 Mahal Carpet, 7’ 6” x 10’ 7”. [600/900] Illustrated

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783 Turkish Angora Oushak Carpet, 8’ x 10’. [900/1200] Illustrated 784 Semi-Antique Tabriz Carpet, 9’ 8” x 13’ 2”. [1500/2500] 785 Bidjar Carpet, 9’ x 12’ 6”. [1000/1500] Illustrated

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788 786 Agra Serapi Runner, 2’ 6” x 30’ 4”. [800/1200] 787 Persian Bidjar Carpet, 8’ 1” x 10’ 5”. [1000/1500] Illustrated 788 Semi-Antique Heriz Carpet, 9’ 9” x 12’ 11”. [1000/1500] Illustrated

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789 Antique Persian Qashqai Carpet, 4’ x 7’. [800/1200] 790 Semi-Antique Persian Runner, 3’ 9” x 18’ 10”. [700/1000] Illustrated

792 Lyell Carr (American, 1857‑1912), “Black Mountain”, Georgia, oil on canvas, signed and titled lower right, 27‑1/4” x 34”. Framed. [1500/2500] Illustrated

791 791 August Norieri (American/Louisiana, 1860‑1898), “Southern Cabin Scene”, oil on canvas, monogrammed lower right, 7‑1/2” x 12‑1/2”. Presented in a contemporary giltwood frame. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [8000/12000] Illustrated August Norieri, a native of New Orleans, trained under Andres Molinary from 1880‑1881, before setting up his own studio. From the early 1880s, he exhibited regularly with the National Academy of Design and the Artists’ Association of New Orleans. Though he is best known for his Mississippi River scenes that capture the bustling maritime port at the turn of the century, Norieri was also an accomplished portraitist and genre painter. The oeuvre offered here is one of these rarities, as there are only a few known Louisiana landscapes by the artist. The cabin set amidst a clearing of pine and oak trees, from which the structure was probably hewn, is a picture window into a quiet AfricanAmerican domicile; the young child plays on the porch, while the man labors beneath a covered work bench. One of the most telling features is the wattle and daub conical chimney - a remnant of African architecture that persisted in the American South, particularly the Carolina lowlands. In time, these chimneys were constructed as largely detached structures that leaned away from the home, and were often supported/propped up by sticks. In the event of a fire, these asymmetrical marvels of architecture were designed to fall away from the main structure, so as to not catch the highly flammable wooden and thatched roofs ablaze. Through Norieri’s painterly attention to detail, this seemingly modest scene becomes an equally important visual record of New Orleans’ architecture and heritage as the steampowered “floating palaces” that lined the city’s shores.

Lyell Carr spent the early years of his career in Chicago working as a painter and illustrator of domestic interiors. By the mid-1880s, he found his true vocation as a landscape artist, following his studies in Paris in 1884 at the Academie Julian under Jules-Joseph Lefebvre and Gustave Boulanger. After Carr returned from France, he executed several landscapes, which received widespread recognition. His rural scenes of the American South particularly appealed to wealthy patrons in the industrialized North. Hailed as agrarian pastorals, they aggrandized the daily life of agrarian laborers within a distinctly American genre and setting. Carr adopted the French Barbizon School’s, and to a lesser degree, the Impressionists’ fascination with the peasantry - impoverished sharecroppers and day laborers, who “earned their bread at the sweat of their brows.” In contrast to depicting them as massive figures, disfigured from hard labor, Carr tucked Southern laborers into golden fields offset by quaint settlements. The painting offered here is a fine example of this scenic effect. Outside the cabins nestled in the hollow of the Georgia Appalachians, a Black woman is seen hanging her wash. The bucolic scene is accentuated by the misty use of aerial perspective in the background that blurs the vast skies into the vista. Black Mountain, which is in Dawson County, is 100 miles from Haralson County in Georgia, where Carr spent many of his summers from the late 1880s. The region continued to inspire Carr's landscapes up until his death; as late as 1910 the American Art News in New York reported that Carr would be spending the summer at Black Mountain. Another painting of this mountain that closely resembles the composition of this one is conserved in the Johnson Collection in Spartansburg, South Carolina. References: Pennington, Estill Curtis and Martha Severens. Scenic Impressions: Southern Interpretations from the Johnson Collection. Columbia: USC Press, 2015; American Art News 7:31 (1910).

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793 Paul Poincy (American/New Orleans, 1833‑1909), “Uptown Street”, oil on canvas, indistinctly signed lower right, 8” x 10”. Framed. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [3000/5000] Illustrated 794 Edward Livingston (American/Louisiana, 1837‑1898), “Storm Over the Gulf”, 1878, oil on canvas, signed and dated lower left “E. Livingston 78”, 8” x 16”. Framed. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [2000/4000] Illustrated 795 Ellsworth Woodward (American/New Orleans, 1861‑1939), “End of the Work Day”, watercolor and graphite on paper, signed lower left, sight 15‑3/4” x 12”. Glazed, matted and framed. [1500/2500] Illustrated

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796 796 Sadie Irvine (American/Louisiana, 1887‑1970), “Moonlit Sailboat”, woodblock print in colors, signed in pencil lower right margin “S. Irvine”, sight 9‑1/2” x 6‑5/8”. Glazed, matted and framed. [1500/2500] Illustrated

797 C. Bennette Moore (American/ Louisiana, 1879‑1939), “Three Oaks Plantation”, hand-colored photograph, laid on board, signed lower right, 23‑3/4” x 30”. Framed. [1000/1500] Illustrated 798 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Pond With Water Lilies”, 1921, oil wash on paper, signed and dated lower left, sight 19‑1/4” x 29”. Glazed, matted and framed. [2500/4000] Illustrated 799 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Scene”, 1922, oil wash on paper, signed and dated lower left, sight 19‑1/4” x 29”. Glazed, matted and framed. [2500/4000] Illustrated

800

800 Knute Heldner (Swedish/New Orleans, 1875‑1952), “St. Louis Cathedral at Dawn”, 1936, oil on canvas, signed lower left, 24‑1/8” x 30‑1/8”. Framed. [14000/18000] Illustrated

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801 William Woodward (American/New Orleans, 1859‑1939), “California Landscape”, oil on canvas, signed and dated “25” lower right, 28” x 21‑3/4”. Presented in a period, gold-painted and lacquered frame. [4500/7000] Illustrated 802 William Steene (American, 1888‑1965), “Biloxi Shrimp Boat”, oil on canvas, signed lower left, 20” x 24”. Framed. [1000/1500] Illustrated 803 Alexander John Drysdale (American/ Louisiana, 1870‑1934), “Bayou Landscape at Dusk”, oil on board, signed and dated “1910” lower right, sight 11‑1/4” x 17‑5/8”. Glazed and presented in a stained cherry wood frame. Provenance: Gift of the artist; descended in family of original recipient. [1800/2500] Illustrated

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804 French School, Probably Cuba (Mid-19th Century), “Farm Settlement in a Valley”, oil on a Continental portable writing desk board with velvet backing and leather gilded trim, unsigned, erroneously attributed to “W. A. Walker/Florida” en verso, 10‑1/2” x 16‑3/4”. Framed. [1200/1800] Illustrated Cuba, the “Pearl of the Antilles” with its many beautiful ports, rich in commerce and narratives of piracy, was widely illustrated throughout the 19th century by French travelers and artists seeking Romantic adventure and fortune. As the leastexplored island of the archipelago until the early 19th century, Cuba became the next St. Domingue for French expatriates after the French Revolution. Jean-Jacques Ampere in his Promenade en Amerique (1855) compared Cuba, particularly the Yumuri Valley, to the “descriptions of Bernardin de Saint-Pierre in Paul et Virginie (1788), stating that “the ocean, the valley, the mountains and unaccustomed vegetation of the tropics throw you into an ecstasy filled with wonderment.” The painting offered here very much belongs to this romantic tradition. The serpentine composition that recedes back into the mountains through the juxtaposition of darks and lights, created through the back lighting of the sun setting on the horizon, is suggestive of a painter versed in French art, particularly in the Barbizon School tradition. The topography, the figures and architecture - the banana leaf thatched roofs and open lean-to style huts, closely resemble 19th-century depictions of rural settlements in the Yumuri Valley in Matanzas. The composition recalls the more accomplished works of the French-trained Chartrand brothers, who are regarded as masters of Cuban landscape painting; and it recalls the numerous “historical” lithographic views of the island that the National Museum of Fine Arts in Havana, and the Museum of Aquitaine in Bordeaux recently exhibited in a show titled “Voyageurs Français a Cuba” [French Travelers in Cuba]. It is interesting to note that many of these travelers and artists also sojourned to other “exotic” destinations like Florida and Louisiana, the settings for Rene Chateaubriandís action-packed “Indian” novels, Atala (1801) and Rene (1802). In similar pursuit, another Romantic, some time ago, mistakenly attributed this work to the American folk painter William Aiken Walker and to a mythical mountainous Florida.

804

References: Joseph, Yvon. Four French Travelers in Nineteenth-Century Cuba. New York: Peter Lang Publishing, 2008, see appendix for Ampere’s travelogue; Voyageurs Français à Cuba, Dossier de Presse. Havana: National Museum of Fine Arts, 2013; Mialhe, Frédéric. Album Pintoresco de la Isla de Cuba [Picturesque Album of the Island of Cuba]. Havana: B. May y Ca., c. 1855.

805 Pair of Brass Torchere Lanterns, 20th century, in the style of 19th-century street lamps, with hexagonal bases holding tapered standards terminating in Corinthian capitals, set with glass lanterns, electrified, h. 101”, dia. 15”. [1500/2500] Illustrated

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806 Albert Bierstadt (American, 1830-1902), "Study of a Tree in Woodlands Laden with 'California Spanish Moss'", ca. 1863-1868, oil on paper laid on "Beaver Board", signed lower left, a "Hirschl and Adler Galleries, New York, NY" label en verso, 22" x 15-3/4". Framed. Provenance: Kenneth Lux Gallery, New York, New York (loaned to Hirschl and Adler Galleries in 1977); Sotheby's, New York, New York, October 25, 1979, lot 94; Estate of James G. Coatsworth, Houston, Texas.

806 Albert Bierstadt's epic Western landscapes, accentuated by dramatic lighting, captivated the imagination of 19th century collectors, because the artist depicted the rugged American wilderness in the Rocky Mountains and Pacific Coast through the rosy tinted lens of “romantic pantheism.” For Bierstadt, the landscape was a sublime experience; it was a reflection of God's creation that simultaneously awed and terrified people, and it was a medium for spiritual transcendence that both sanctioned and abated manifest destiny. Bierstadt poignantly articulated this sentiment in an 1863 letter to John Hay, wherein he described his first reflections of California as pure wonderment: “We are now here in the garden of Eden I call it. The most magnificent place I was ever in, and I employed every moment painting from nature.” The “carpe diem” urgency Bierstadt expresses in his letter is at the heart of his work executed during the Civil War era. His views of the unchartered West provided an escapist reprieve from the war torn East. Since American identity is historically allied with its frontier, which was geographically and financially rooted in the felling of its virgin wood, these scenes offered hope in the form of American expansionism for rebuilding the nation.

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The plein-air study offered here is a vignette in the annals of this master narrative; it is a tour-de-force of harmony, comprised of colors from the opposite spectrum of the color-wheel. The tree with its sprawling arms thrusts upward toward the heavens beyond the picture plane, and the burnt oranges in its bark sings against the cobalt sky and resonate with the verdant foliage. The inclusion of “California Spanish Moss” on the background trees is yet another unifying factor. The moss, now a state symbol, is actually a lichen, a nurturing symbiotic fungus, that adorns coastal oaks and conifers. The bold confidence with which this study was executed bespeaks of what Bierstadt experienced while sketching, before he fine-tuned these studies of raw beauty into polished misty landscapes. Nowhere is this better visualized than in Bierstadt's painting “Pioneers of the Woods” (ca. 1863), in the High Museum of Art in Atlanta. The striking resemblance in palette and composition between these paintings strongly suggests that this work was a study for “Pioneers of the Forest.” References: Anderson, Nancy. Albert Bierstadt: Art and Enterprise. Manchester, VT: Hudson Hills Press, 1991. pp. 178‑194.

807

807 United States House of Representatives Carved Oak Desk, designed by Capitol architect Thomas Ustick Walter and crafted for the 1857 House of Representative remodeling project, the slant lid with an inset leather top, fronting a lift-top quill and inkwell compartment, with a gallery centered by a carved shield adorned with a field of three stars over vertical stripes, on a trestle base with scroll brackets and scroll legs, the supports with a cartouche with a carved star framed by beading, joined by a central shelf, the backboard elaborately ornamented with a pair of similar star-carved cartouches flanking a latticeand roundel-carved panel, h. 36”, w. 29‑5/8”, d. 20‑1/4”. [6000/9000] Illustrated The present desk was designed by Thomas Ustick Walter for the 1857 renovation of the House Chamber. Due to the size of the order, several firms were commissioned for the manufacture of pieces for the remodeling, including Bembe and Kimbel of New York, Hammitt Desk Manufacturing Company of Philadelphia, and Doe, Hazelton and Company of Boston. A number of them were double-compartment desks for two people. The present desk is one of the single-person versions. They remained in service until an 1873 remodeling, when the desks were either given to Representatives or sold.

808

808 United States House of Representatives Carved Oak Armchair, designed by Capitol architect Thomas Ustick Walter and crafted for the 1857 House of Representatives remodeling project, the back centered by a carved shield beneath a trio of stars, and flanked by laurel and oak leaves, the stiles and brackets with foliate carving, the seat rail guilloche-carved, raised on lotus-carved turned legs, retaining its summer seat frame, originally fitted with caning and not with leather, the chairback also upholstered in old tufted leather, old surface throughout, h. 40‑3/8”. [5000/8000] Illustrated One of 262 chairs designed by Thomas Ustick Walter for the 1857 remodeling of the House Chamber, the production of the chairs was executed by several firms. The chairs remained in service until an 1873 remodeling, at which time they were either given to the Representatives or sold. Noted photographer Mathew Brady used a chair from this group as a prop in his studio, and captured countless famous personages, including Civil War heroes and five presidents in his chair. An image of Abraham Lincoln in the chair suggests that at least one of these chairs made it out of the possession of the House Chamber prior to the 1873 disbursement.

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811 Pair of French Aesthetic Bronze and Marble Four-Light Candelabra, third quarter 19th century, on marble bases, supported on paw feet decorated with anthemia, the standards molded and incised, as are the candle cups, the central cups fitted with removable crane-molded finials, h. 29”, dia. 10‑1/4”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [600/900] Illustrated

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809 New Orleans Schoolgirl Embroidery of “Moses in the Nile”, 1873, completed by Mary A. Thomas, St. Mary’s School, New Orleans, Louisiana, needlepoint and petit point in wool, titled, dated and signed along bottom edge, sight 45” x 37”. Now presented in a glazed shadowbox frame. [800/1200] Illustrated St. Mary’s School was a Catholic institution located in the then town of Carrollton (annexed by New Orleans in 1874) that was home to some of the many orphans flooding the region. The young girls who resided at the school were taught general studies with an emphasis on the fine and practical arts. 810 American Renaissance Revival Rosewood Dressing Bureau, third quarter 19th century, probably New York, in two parts, the arched mirror in a conforming frame with foliate and scroll carving, on a marble-top base with projecting ormolu corners, the case with a shallow drawer over a pair of drawers, with scalloped apron below, the digits “6955” written below the marble, h. 95‑1/4”, w. 48”, d. 23‑3/4”. [800/1200] Illustrated

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813 American Neo-Grec Marquetry-Inlaid and Polychromed Rosewood Cabinet, ca. 1867‑1871, attributed to Herter Brothers, New York, the spindle gallery flanking a top with rosewood border around a blank for a silk velvet surface, over a frieze with stylized leaf- and scroll-inlaid banding, the single door centered by a scroll bracket over a carved winged child’s head in an ebonized panel with polychromed ribbon, vine, leaf and floral decor, the perimeter of the door framed by micro-mosaic-banded inlay, raised on trumpet legs with Ionic capitals joined by a low shelf, found en suite with the following lot, h. 53”, w. 26‑1/4”, d. 15‑7/8”. [6000/9000] Illustrated

813 detail 812 American Neo-Grec Marquetry-Inlaid and Polychromed Rosewood Cabinet, ca. 1867‑1871, attributed to Herter Brothers, New York, the spindle gallery flanking a top with a rosewood border flanking a blank retaining elements of its original purple silk velvet surface, over a frieze with stylized leaf- and scroll-inlaid banding, the single door centered by a scroll bracket over a winged child’s head in an ebonized panel with polychromed ribbon, vine, leaf and floral decor, the perimeter of the door framed by micro-mosaic banded inlay, raised on trumpet legs with Ionic capitals, joined by a low shelf, found en suite with the preceding lot, h. 53”, w. 26‑1/4”, d. 15‑7/8”. [6000/9000] Illustrated

The winged child’s head on the present cabinet relates to those on a cabinet that was part of the collection of 19th-century robber baron Jay Gould. The cabinet is presently on exhibition at the Metropolitan Museum of Art. Gould also owned a suite of Herter parlor furniture with upturned heads as support for the arms on chairs. The Gould furniture remains in the possession of his former home, Lyndhurst in Tarrytown, New York. Several groups of those chairs have surfaced, including the armchairs in suites sold in these galleries in October of 2011 and October of 2010. A number of related tall, slender Herter cabinets have surfaced, including a music cabinet illustrated in D’Ambrosio,Masterpieces of American Furniture from the Munson-Williams-Proctor Institute, a double-door variant made for the DeForest family of New York, now in the Foote collection, and another doubledoor version from the 1871 Beatty commission. As was the custom with Herter, each of these bespoke pieces is embellished differently.

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814 French Bronze and Marble Aesthetic Vase, third quarter 19th century, on a brown and gray mottled marble base, the trumpet-form vase decorated with incising and mounted with a pair of Pan-form handles, scroll-molded and resting on paw feet, h. 23‑1/2”, w. 8”, d. 6”. [600/900] 815 American Renaissance Revival Burled Walnut and Walnut Lady’s Desk, ca. 1869‑1871, attributed to Herter Brothers, New York, the upper section with a shaped crest rail over a center door, flanked by pilasters and open shelves, the shaped and incised slant lid opening to reveal a fitted interior, and a frieze drawer below, raised on octagonal trumpet legs joined by a stretcher, with carefully selected burlwood veneers throughout, h. 55‑1/4”, w. 33”, d. 20”. [1800/2500] Illustrated A more elaborate desk utilizing the same case and form is illustrated and discussed in Howe, Frelinghuysen and Voorsanger, Herter Brothers: Furniture and Interiors for a Gilded Age, pp. 152‑153. That piece is in the collection of the Museum of Fine Arts, Houston. As was the custom with the firm, their case pieces were embellished differently to create a unique piece for each client. In addition to the inlaid maple one at Houston, this form has also surfaced in inlaid rosewood, ebonized and walnut examples, as well as another burled walnut one with different decoration.

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816 Carl Probst (Austrian, 1854‑1924), “Portrait of a Classical Beauty”, oil on canvas, signed and dated “96” mid-left, 11‑3/4” x 8‑3/8”. Presented in a handsome, period, giltwood and gesso frame. [2000/4000] Illustrated 817 American Renaissance Revival Burled Walnut and Walnut Hall Tree, third quarter 19th century, the gently arched crest centered by a carved cartouche, over a mirror plate flanked by segmented burlwood pilasters with carved capitals, the marble-top base with a single drawer flanked by fluted columns, h. 114”, w. 55”, d. 18”. [1000/1500] Illustrated

818 American Neo-Grec Gilt-Bronze, PorcelainMounted and Ebonized Marquetry-Inlaid Burl Walnut Cabinet, third quarter 19th century, attributed to Alexander Roux, New York, the case with a raised center section flanked by lower concave wings, the center with a classical maiden’s head flanked by gilt-incised grain and stalk over a single door with an oval plaque, flanked by inlaid pilasters depicting twining stalks of grain, the door flanked by a pair of floral- and foliate-inlaid concave panels, h. 50”, w. 50”, d. 19‑1/2”. [3000/5000] Illustrated A similar labeled double-door cabinet, with identical bronze capitals and grain-inlaid pilasters, is in the collection of the Metropolitan Museum of Art, New York.

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819 Fine Gueret Freres Marble-Mounted Walnut Cabinet on Stand in the Renaissance Taste, third quarter 19th century, with the firm’s stenciled label, the scrolling broken-arch pediment centered by a carved finial with serpent handles, the frieze with intricately carved trophies, over a pair of glazed doors flanked by fluted capitals, and a pair of doors, the panels of each door with allegorical figures depicting the sciences, one marked “Physica” and the other “Chymia”, on a base of breakfront form, with a band of drawers, each with a fold-out face and opening to reveal fitment as a desk, the central door with an elaborate nickel lock plate engraved “Gueret Freres Fab ts de Meubles Paris”, raised on tapering columns with Ionic capitals, the lower shelf with parquetry veneers, raised on bun feet, adorned throughout with panels of Griotte Rouge and Vert Patricia marble, h. 95”, w. 72”, d. 28”. [5000/8000] Illustrated Gueret Freres, from its inception in 1853, attended numerous international exhibitions and fairs. Among their honors was an award at the 1867 Universal Exposition for perfection in the fabrication of carved furniture. Their works are now in a number of important collections including the Victoria and Albert Museum, London, the Musee d’Orsay, Paris, and the Canadian Center of Architecture in Montreal. The quality of their work was recognized in the United States, where the leading decorative arts firm of Herter Brothers engaged the firm to contribute to its commissions, most notably Thurlow Lodge, the Milton Slocum Latham residence in Menlo Park, California. The stenciled label lists the firm’s address as 216 Rue de Lafayette, suggesting this piece was crafted sometime after 1870 when they took residence at that address. 819

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820 Renaissance Revival Carved Walnut Banquet Table, third quarter 19th century, the circular split-pedestal top over an apron with shaped brackets, raised on a dolphincarved pedestal joined to a dentillated-shaped low base on carved paw feet, with four period 12” leaves, h. 30‑3/4”, dia. 49”, extended l. 97” with present leaves, will extend to 133” with additional leaves. [2000/4000] Illustrated

822 Rosewood Center Table in the Rococo Revival Taste, third quarter 19th century, the inset marble top set in a shaped frame, over a conforming apron with a molded button edge and drop beads, raised on turned columns joined to shaped scroll feet, h. 29”, w. 42‑1/2”, d. 36”. [500/800] Illustrated

821 Carl C. Brenner (American, 1838‑1888), “Portrait of a Young Woman in a Garden”, oil on canvas, signed lower right, 63‑3/4” x 36‑1/2”. Framed. [3000/5000] Illustrated

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823 American Renaissance Revival Walnut and MixedWoods-Inlaid Partners Library Table, third quarter 19th century, probably Grand Rapids, Michigan, the top with a central inlaid reserve depicting musical instruments and the outer borders with floral reserves, the apron fitted with a working drawer along with a faux drawer along each long side, raised on trumpet turned legs, h. 30”, w. 48”, d. 27”. [1500/2500] Illustrated

824 824 American Aesthetic Movement Pottery Vase, ca. 1886‑1890, attributed to the Faience Manufacturing Company, Greenpoint, New York, the pierced gilt scrollwork lid on a body with a vermiculite band on the neck over a body in flat and raised gilt floral, leaf and vine decor, the base with vermiculate and mottled cobalt bands, h. 15‑3/4”, dia. 7”. [1000/1500] Illustrated

826

A similar vase, lacking the lid the present vase retains, is in the collection of the Mint Museum in Charlotte, North Carolina. That vase is also impressed with mold/model number “1074”. It retains an “FMCo” monogram. Illustrated in Veith’s, Aesthetic Ambitions: Edward Lycett and Brooklyn’s Faience Manufacturing Company, pp 68‑69. The Faience Manufacturing Company operated from 1881‑1892 in Greenpoint, Brooklyn, New York. In 1884, the firm hired noted china painter Edward Lycett as Art Director. Under Lycett’s direction the firm produced pottery to equal the finest Aesthetic Movement wares of its English competitors, such as Minton, Crown Derby and Royal Worcester. In addition to its own showrooms, their product was sold by exclusive jewelers and department stores such as Tiffany and Black, Starr and Frost in New York, Bailey, Banks and Biddle, the Caldwell Company in Philadelphia, Stowell and company in Boston and Nathan, Dohrmann Company in San Francisco. 825 American Aesthetic Movement Pottery Vase, ca. 1886‑1890, attributed to the Faience Manufacturing Company, Brooklyn, New York, of Persian form, with the Japonesque ornament, the gilt rim over flat and raised paste decoration depicting flowers, leaves and vines in gilt and copper glaze simulating mixed metals, over a vermiculite band, with deep blue at the base, the underside of the vase impressed “651” and with the number “93”, h. 15”, dia. 6‑1/2”. [1000/1500] Illustrated A nearly identical vase, with Mellon family provenance was featured on the Pittsburg edition of the Antiques Roadshow in January 2012. That vase is impressed “651” and also has the printed monogram “FMCo”. A similar vase, in private New Orleans collection, retains it vermiculite and gilt spherical lid also is sstamped “651” and retains its “FMCo” and “93” marks.

825

826 American Aesthetic Movement Walnut Collector’s Cabinet, fourth quarter 19th century, Philadelphia, the paneled backboard joined to spindled side galleries, on a case with a glazed slant-lid door opening to reveal an angled display surface in period crimson silk velvet, over a pair of beveled glazed doors flanked by spiral-reeded columns with Corinthian capitals and a carved owl perched atop each, an interior lock marked “Pat. Sep. 29, 74”, h. 67‑1/2”, w. 20‑1/2”, d. 50”. [3000/5000] Illustrated

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827 Exuberant Pair of Royal Dux Porcelain Guitarists, ca. 1900, Austrian, on bases decorated with lush leaves and blossoms, the figures’ fin de siecle costumes featuring bows, lace and furbelows of the period, each with the pink unglazed Eichner period mark, h. 31‑1/2”, w. 8‑3/4”, d. 8‑3/4”. [700/1000] 828 Italian “Capodimonte” Molded and Hand-Painted Table Box, first quarter 20th century, in the Baroque style, the top and front decorated with polychrome cherubs, and the borders trimmed with flowers, with an underglaze blue crowned “N” mark, h. 3‑3/4”, w. 7”, d. 6”. [700/1000] 829 Warren W. Sheppard (American/New Jersey, 1858‑1937), “After the Storm”, oil on canvas, signed lower right, verso with a label inscribed “From the Estate of Thomas Elston Thorne, art instructor at the College of William & Mary”, 21‑1/2” x 31‑1/4”. Presented in a handsome, original, giltwood and gesso frame affixed with an artist plaque. [3000/5000] Illustrated

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831 830 Edward Diers (American, 1871‑1947), Rookwood vellum-glazed pottery landscape vase “932E”, 1916, fully marked, h. 8‑1/8”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [700/1000] Illustrated 831 Handel Table Lamp with Reverse-Painted Shade, first quarter 20th century, Connecticut, in the Arts and Crafts style, the patinated copper base marked “Handel, 5298” on the bottom, decorated with panels of stylized leaves, the bell-form shade in polychrome, painted with figures and buildings in a pastoral landscape, h. 21‑3/4”, dia. 12‑1/2”. [500/800] Illustrated 832 Bergman Cold-Painted Vienna Bronze Squab, ca. 1900, Austrian, the realistically painted bird with an incised “B” within a double-handled urn and impressed “Geschutzt” underneath the tail, h. 5‑3/4”, l. 7‑1/2”. [900/1200] Illustrated

833 Wilbur H. Lansil (American, 1855‑1897), “The Hay Wagon”, oil on canvas, signed and dated “1896” lower left, 23‑1/2” x 38”. Presented in a handsome giltwood frame. [1000/1500] Illustrated 834 Frederick Judd Waugh (American, 1861‑1940), “Along the Maine Coast”, oil on board, signed lower right “Waugh”, verso with “Kennedy Galleries, Inc., New York, N.Y.” and “William Macbeth, New York, N.Y” gallery labels, 10” x 14”. Presented in a giltwood frame with a linen liner. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [3000/5000] Illustrated

835 Suite of Eight American Late Victorian Oak Dining Chairs, fourth quarter 19th century, each with a carved broken-arch crest with gargoyle-carved ears, raised on bobbin-turned legs, comprised of six sidechairs, h. 44‑1/2”, and two armchairs, h. 47”. [1500/2500] Illustrated 836 American Late Victorian Mahogany Bookcase of Classical Inspiration, fourth quarter 19th century, of tripartite form, the central glazed door flanked by reeded and foliate-carved pilasters and projecting ends, each fitted with a glazed door, raised on foliate- and shell-carved feet, the back stenciled “Mahogany 206” in the manner of R. J. Horner, h. 73‑1/2”, w. 78”, d. 16‑1/2”. [1500/2500] Illustrated

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839 837 Mettlach Polychrome Stoneware Palace Vase of Japanese Inspiration, post-1885, Villeroy and Boch, German, the body decorated with the moon rising over a pond of water lilies, with a bird on an iris against a cloudy night sky, the neck decorated with molded butterflies, and the lower border with molded flowers, marked with an impressed “Mettlach”, as well as the castle used as its insignia, and scattered numbers, h. 29‑3/4”, dia. 11‑1/4”. [2000/4000] Illustrated 838 Frederick DeBourg Richards (American, 1822‑1903), “Loch Achray with a View of Ben Venue, Scotland”, 1875, oil on canvas, signed and dated lower right, verso inscribed “Loch Achray/W Benvenue/ Scotland”, 22‑1/2” x 36”. Framed. [2000/4000] Illustrated 839 Suite of Eight American Late Victorian Oak Dining Chairs, fourth quarter 19th century, comprised of a pair of armchairs and six sidechairs, in the manner of R. J. Horner, each with a carved crest, the arms terminating in leonine heads, scalloped apron and cabriole legs ending in carved paw feet, armchair, h. 50‑1/4”, sidechair, h. 48‑1/4”. [1200/1800] Illustrated

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841 840 Glass, Gilt-Metal and Marble “Directoire” Table Lamp, Attributed to Pairpoint, fourth quarter 20th century, Massachusetts, the standard with a marble base, scrolled supports and a cornucopia finial, mounted with a hexagonal, reverse-painted Arts and Crafts-style shade, the shade panels decorated with painted peonies and leaves alternating with panels of single flowers, h. 24‑1/2”, dia. 15”. [1200/1800] Illustrated 841 Julia Bacon (American/Massachusetts, 1861‑1901), “Woman with Muff”, pastel on paper, signed and dated “1896” lower left, 47‑1/2” x 28‑1/4”. Framed. Provenance: Christie’s New York “East”, November 20, 1990, Lot 105. [1800/2500] Illustrated

842 Alexander Theobald Van Laer (American, 1857‑1920), “Springtime Landscape with a Homestead”, oil on canvas, signed lower right “A. T. Van Laer”, 20” x 27”. Presented in a handsome, period, giltwood and gesso frame. [2000/4000] Illustrated 843 Carl Kauba (Austrian, 1865‑1922) Cold-Painted Vienna Bronze Figure of an American Indian Warrior, ca. 1900, retaining an old painted surface, the Indian modeled firing his rifle while astride his galloping steed, signed in script on the base, h. 11‑3/4”, w. 14”, d. 3‑3/4”. [7000/10000] Illustrated 843

844 Everett Shinn (American/New Jersey, 1876‑1953), “Nude in Interior”, graphite drawing, sight 4‑3/4” x 7‑3/8”, retains gallery label en verso “Kraushaar Galleries, Inc., New York”, and a partial label en verso “Davis Gallery, New York”, museum exhibition label en verso “McNay Art Museum, Collector’s Gallery XXVI”. Glazed, matted and framed. Provenance: The estates of David and Eula Wintermann. Accompanied by the original bill of sale from Kraushaar Galleries, Inc., New York, dated June 1, 1994. [1000/1500] Illustrated 845 American Patinated Bronze of a Bronco Buster, 20th century, after Frederic Remington (American, 1861‑1909), inscribed “copyright by Remington” along self-base, h. 22”, w. 16”, d. 13”. [500/800] Illustrated 842

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846 Newcomb College Arts and Crafts Matte-Glazed Pottery Bowl, New Orleans, Louisiana, ca. 1916, decorated by Cynthia Littlejohn (Pugh), with misty depictions of live oaks and Spanish moss, the bowl marked with Newcomb’s impressed “NC”, the “1916” registration number, “IF7” and Cynthia Littlejohn’s initials, as well as “49”, probably the shape number, h. 6‑1/4”, dia. 7‑1/2”. [2500/4000] Illustrated 847 A. Hays Town (1903‑2005), The Architectural Style of A. Hays Town: 106 Preliminary Sketches, Baton Rouge: Amdulaine Publications, Inc., 1985, first printing, introduction by Blanche Town Gladney, retaining the original color dust jacket, h. 11”. Provenance: The Estate of Karolyn Kuntz Westervelt, New Orleans, Louisiana. [600/900] Illustrated 847

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850 Arthur Silverman (American/ New Orleans, b. 1923), “Untitled”, aluminum geometric hanging sculpture, h. 26”, w. 31”, d. 8‑3/4”. Provenance: Collection of the artist. [8000/12000] Illustrated

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848 George Bauer Dunbar (American/ Louisiana, b. 1927), “Untitled”, 1980, from the Rag series, signed and dated lower right, 41‑5/8” x 77‑5/8”. Presented in a thin gallery frame. Purchased directly from the artist by the present owner. [10000/15000] Illustrated 849 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Annular”, 1963, oil on canvas, signed lower right, 46” x 58”. Presented in a thin gallery frame. [12000/18000] Illustrated 849

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851 Arthur Silverman (American/New Orleans, b. 1923), “Untitled”, painted board sculpture, on a black rectangular base, presented on a white-painted metal base, sculpture, h. 36”, w. 22‑5/8”, d. 12”, base, h. 48”. Provenance: Collection of the artist. [1500/2500] Illustrated 852 Arthur Silverman (American/New Orleans, b. 1923), “Untitled”, painted board sculpture, on a black rectangular base, presented on a white-painted metal base, sculpture, h. 42‑1/2”, w. 25‑5/8”, d. 12‑3/8”, base, h. 48”. Provenance: Collection of the artist. [1500/2500] Illustrated 853 Arthur Silverman (American/New Orleans, b. 1923), group of seven geometric sculptures, painted board, h. from 10” to 25‑1/4”. Provenance: Collection of the artist. [1000/1500] Illustrated 854 Arthur Silverman (American/New Orleans, b. 1923), group of six geometric sculptures, painted board, h. from 10‑1/2” to 22‑1/4”. Provenance: Collection of the artist. [1000/1500] Illustrated 852

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855 Richard Johnson (American/Louisiana, b. 1942), “Three Stems”, 1999, acrylic and ink on paper laid on plexiglass, signed and dated lower right, verso with “Galerie Simonne Stern” label, 43‑5/8” x 31‑1/2”. Framed. Provenance: Collection of Arthur Silverman, New Orleans, Louisiana. [1000/1500] Illustrated 856 Arthur Silverman (American/New Orleans, b. 1923), “Relief - Tactile”, carved and painted wood bas-relief, 35” x 53‑3/4”. Provenance: Collection of the artist. [2000/4000] Illustrated 857 Richard Johnson (American/Louisiana, b. 1942), “Untitled”, acrylic on canvas, initialed lower right, 58” x 69‑1/2”. Presented in a thin gallery frame. Provenance: Collection of Arthur Silverman, New Orleans, Louisiana. [2000/4000] Illustrated

858 858 Arthur Silverman (American/New Orleans, b. 1923), “Bronze Jeans”, 1974, bronze, initialed and dated along proper left back truncation, on a wooden plinth, presented on an aluminum base, sculpture, h. 19”, w. 18”, d. 8”, base, h. 38”. Provenance: Collection of the artist. [8000/12000] Illustrated

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859 Ida Rittenberg Kohlmeyer (American/Louisiana, 1912‑1997), “Trio”, 1955, woodblock print, signed and dated in pencil lower right, titled lower left, numbered “4/10” lower center, sight 27‑3/4” x 20”. Glazed, matted and framed. [1500/2500] Illustrated

860 Robert Rector (American/Mississippi, b. 1946), “Untitled”, 2005, acrylic on canvas, signed and dated lower right, 54” x 66”. Presented in an attractive gallery frame. [2000/4000] Illustrated 861 Jere Allen (American/Mississippi, b. 1944), “Figural Abstraction”, oil on canvas, signed lower mid-left, 60” x 48”. Framed. [1000/1500] Illustrated Jere Allen, a former Professor of Art at the University of Mississippi (Ole Miss) in Oxford, MS, is an internationally recognized artist, known for his rich figurative compositions that elucidate the psychology of the object or sitter through the use of anthropomorphic shapes, symbols and bold colors. Allen describes his approach to painting as a “reactive method in the search for an elusive notion that has perplexed me for many years. The (pictures) that stem from personal, social, political realities are often a foil to assist in the realization of feelings generated by that evasive notion.

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862 Jose Maria Cundin (Spanish/ Louisiana, b. 1938), “Historia Frenologica de Rosita Camargo”, February 1969, oil on canvas, signed and dated lower right, signed, dated and titled en verso, 44” x 40”. Presented in a thin, polychrome artist frame. Provenance: Acquired directly from the artist; private collection, New Orleans, Louisiana. [15000/25000] Illustrated

862

The Historia Frenologica (Phrenological History/Story) of Rosita Camargo was completed one month before Cundin exhibited a series of paintings devoted to the life of Rosita Camargo at the 331 Gallery on Chartres Street in March of 1969. Rosita, Cundin’s favorite persona in the late 1960s/early 1970s, debuted in New Orleans in 1966. Over the next several years, this woeful, little rotund caricature and her insipid and villainous consorts captured both the gallery windows and hearts of New Orleanians, regularly appearing at the 331, the Bienville Gallery and Galerie Simonne Stern. According to Cundin, Rosita and her gang are foils for humanity--with their virtues, sins, and general stupidity, they reflect the many facets of the human condition. Nowhere is this better illustrated than in the painting offered here. Divided into four vignettes, each section tells a disparaging narrative about the neuroses and libidos of love, from a phrenological overview of Rosita’s simpleton mind to the nervous, amorous ticks of Augustin. Lastly, Rosita is led to the “mesas of pleasures” by a pig, not by her lover. As one art critic noted in his review of the 331 exhibit, the porcine faces of Cundin’s figures often resemble the swine upon which they sit. In hindsight, these anthropomorphic innuendos to “pigs” may also reflect the beatnik generation and political tenor of the late 1960s, as the TimesPicayune wrote in its prologue to the 1969 exhibit at the 331 Gallery “He (Cundin) says that, like the hippie, he is ‘only doing his thing’, and that his style of art expression is the only one natural for him.” References: “Galleries Schedule Special Shows - Cundin Paintings.” TimesPicayune 16 March 1969: 3.10; “Cundin Show.” Times-Picayune 23 March 1969; “Cundin Exhibition to Open: Rosita Makes Her Return.” Times-Picayune 14 June 1970: 60.

863 863 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Untitled Portrait in Profile”, 1985, oil and pastel on paper, signed and dated upper right, sight 7‑3/4” x 5‑7/8”. Glazed, matted and framed. [1200/1800] Illustrated

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864 James Michalopoulos (American/ New Orleans, b. 1951), “Calibration of Lunification”, acrylic on canvas, signed lower left, 31‑1/2” x 23‑1/2”. Framed. [5000/8000] Illustrated 865 Earl Hebert (American/Louisiana, 1942‑2006), “Courir Mardi Gras”, oil on canvas, signed and dated “89” lower right, 24” x 30”. Unframed. [2000/4000] Illustrated

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866 George Rodrigue (American/Louisiana, 1944‑2013), “I Am Just a Regular Red-Blooded American”, 1996, acrylic on canvas, signed lower right, 36” x 48”. Framed. Provenance: Private collection, Dallas, Texas. [50000/80000] Illustrated

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Following the NYC exhibition, the bike returned, in 1995, to Louisiana. …..but not to Butte la Rose, where George had painted it in the swamp at his camp on the Atchafalaya River, but rather to the New Orleans French Quarter, where it caused no end of frustration for our sales staff. Every passerby fancied a photo-op on the Blue Dog Hog, similar to the Chicago cows of the late 1990s and the Rodrigue Steinway of 2012. To this day, few people realize the vastness of George’s interests within his art. The spectacular bike surprised the public. Too often he’s dismissed as “the guy who paints the Blue Dog,” as though he lacks variety within his work.

867 George Rodrigue (American/Louisiana, 1944‑2013), “Blue Dog Hog”, 1994, acrylic on a 1993 Harley-Davidson Falstaff Fat Boy motorcycle, titled and signed on both sides of the fuel tank, h. 4’, w. 8’, d. 32”, accompanied by a “Blue Dog Helmet”, 1994, acrylic on a Harley-Davidson helmet, signed and titled, h. 9‑1/2”, w. 11”, d. 13”. Provenance: George Rodrigue Gallery, New Orleans, Louisiana; Private collection, Wisconsin; by descent to present consignor. Exhibited: The Time is Always Now Gallery, New York, New York, 1994. [175000/250000] Illustrated

George Rodrigue’s Blue Dog Hog premiered in 1994 in a New York City gallery called The Time is Always Now. This unique three-dimensional artwork dazzled at the center of the warehouse-type space, with George’s paintings, some as large as fifteen feet across, surrounding the bike. The exhibition coincided with the release of the book Blue Dog (1994, Viking Penguin), George’s first U.S. publication on the Blue Dog Series, and his first major book since The Cajuns of George Rodrigue (1976, Oxmoor House). Excited about the book, the space, and the big city, George painted and created specifically for the show. Every piece was large-scale to take advantage of the colossal interior. The Blue Dog Hog, intended by George as the exhibition’s showstopper, sat on a riser in the center of the room. I remember George lifting his petite publishing agent, Roz Cole, onto the riser during the star-studded and slammed opening night party, accessed by tracking blue paw prints for blocks throughout SOHO. At age sixty-six, Roz, a lifelong New Yorker and former MGM recording star, donned the hand-painted helmet over her bouffant-style wig, threw her bare legs and black stilettos over the seat of the Harley, and posed for half the night with a glass of red wine in one hand while waving her other hand in the air, as though she rode a mechanical bull. (I also recall her light blue VW bug parked out front, and how we all marveled that she actually drove to the exhibition and found a parking space). “This is terrific!” shouted Roz from atop the bike. Not one of the hundreds of folks in attendance, including actor Matt Dillon and artist/photographer Peter Beard, left the party without taking her picture.

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The truth is, however, that his career cannot be divided neatly into 25 years of Cajuns and 25 years of Blue Dogs. Rather, it’s 50 years of creative development ---on his canvas, in his personal interests, and within his community. Just as he remained loyal to his childhood friends and his home state, he also remained true to his subjects. He didn’t abandon one style for another; instead he kept adding. This is the heart of the revolving exhibitions (since February 2014) currently within George’s galleries, focusing on themes such as Graveyards, Music, Sports, Politics, and Mardi Gras. In each case, the paintings, borrowed from private collections, span decades, pulled from both the Cajun and Blue Dog Series, and yet tied together by George’s lifelong interests. Similarly, the Blue Dog Hog incorporates all three Rodrigue identifiers. The Oak Trees, prominent within his paintings and sculptures since the late 1960s, stretch like Oak Alley's promenade along the back fender. The Blue and Red Dogs, prevalent since the early 1990s, echo each other throughout the composition. The equally distinctive rolling red “Rodrigue" signatures are a strong design element within George’s Cajun posters of the 1970s and 80s, as well as within many of his Blue Dog silkscreens. “I was never the best draftsman in art school,” George often recalled. “But I always had the best ideas.” Transforming these ideas into tangible works of art proved challenging. In the case of the Hog, for example, George dissembled the bike before painting it, piecing his design together like a puzzle before rebuilding the motorcycle. The red dog and signatures clearly relate to the bike’s rear brake light, reinforcing George’s focus on design and concept. Just as important is the emphasis on the bike’s chrome details, an obsession for George since the 1950s, and an element increasingly important within his work, especially within late series such as Swamp Dogs, Hollywood Stars, and a brilliant collection of mixed medias on shiny metal. ….proving once again that George enjoyed the challenge of growing creatively within the repetition of his favorite ideas. “I know there’s going to be a Blue Dog in it,” he often said, referencing a blank canvas (or in this case, a motorcycle), “but beyond that, I haven't figured it out." "And that’s where the challenge lies. That’s what keeps it fun for me.” -Wendy Rodrigue

New Orleans Auction Galleries would like to thank Wendy Rodrigue for writing the note for this lot and for including the above write-up on her blog, Musings of an Artist's Wife.

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868 George Rodrigue (American/Louisiana, 1944‑2013), “At the Cathedral Oak”, oil on canvas, signed lower left, signed and dated en verso, titled on stretcher, 40” x 30”. Framed. [25000/40000] Illustrated 869 Enrique Alferez (Mexican/New Orleans, 1901‑1999), “The Travelers”, plaster, unsigned, h. 26”, w. 22”, d. 8”. Provenance: Personal collection of D. Didier, New Orleans, Louisiana. [1500/2500] Illustrated

869

240

872 three-piece suite

870

870 Pair of French Art Deco Chrome and Rosewood Torchere Lamps, second quarter 20th century, each with a funnel-shaped chrome shade supported by a tapering column mounted to a circular base, electrified, h. 75”, dia. 24”. [5000/8000] Illustrated 871 French Art Deco-Style Walnut-Veneered and Ebonized Console, the top supported by an arched base with a boldly reeded front and fitted with a single drawer, h. 29”, w. 56”, d. 16”. [2000/4000] Illustrated 872 Three-Piece Shanghai Deco Rosewood and Leather Parlor Suite, second half 20th century, comprised of a sofa, h. 38”, w. 84”, d. 33”, and two armchairs, h. 37‑1/2”, each with a curved half-round arm joined to a shaped frame fitted with a panel on demi-lune feet, of solid rosewood construction throughout, upholstered in buff leather. [3000/5000] Illustrated

871

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874

875

876 873 Pair of French Art Deco-Style Macassar Ebony Circular Side Tables, the tops supported by four curved staves mounted to a circular base, h. 26”, dia. 26”. [3500/5000] Illustrated 874 Pierre Guillaume (Dutch, b. 1954), “Pantai Goa Lawah”, 2005, oil on canvas, signed and dated lower right, signed, dated and titled en verso, 43‑1/2” x 51‑1/4”. Framed. [3000/5000] Illustrated 875 French Art Deco Walnut and Ebonized Console Table, second quarter 20th century, the rectangular top with a single long drawer below, the sides in-curved at the bottom and joined by a pair of chrome tubes, h. 29”, w. 36”, d. 18”. [1500/2500] Illustrated

242

876 French Art Deco Marquetry-Inlaid and Palisander Cabinet, ca. 1925, labeled by Louis Majorelle, of stepped form, the central beveled glazed door in a steel frame with contrasting brass hinges, over an open niche in motherof-pearl, bird’s-eye and acajou parquetry, the interior cupboards fitted with drawers, the case with the banded stamp “Majorelle Nancy”, h. 70‑1/2”, w. 77‑1/2”, d. 19”. [4000/7000] Illustrated Louis Marjorelle rose to prominence in the early years of the 20th century as among France’s premier cabinetmakers and designers, with an operation based in Nancy, the center of France’s Art Nouveau design. Marjorelle distinguished himself for employing quality hardwoods and particular attention to proportion, traits which were a natural fit as Art Deco supplanted Nouveau.

878 Paul Jacoulet (French/Japanese, 1902‑1960), “Les Bons Piments Rouges!” and “La Perruche Morte Celebes”, two colors woodblocks, each signed, stamped and titled, sight 18” x 13‑3/4”. Both glazed and framed alike. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1500/2500] Illustrated

878 two of two

878 one of two

879 Paul Jacoulet (French/Japanese, 1902‑1960), “Belle de Yap et Orchidees” and “Premier Amour”, two color woodblocks, each signed, stamped and titled, sight, former 18‑1/4” x 13‑7/8”, latter 13‑3/8” x 17”. Both glazed and framed alike. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1500/2500] Illustrated 880 Unique Mid-Century Modern Glass, Aluminum and Mahogany Floor Lamp, mid-20th century, the standard comprised of 31 cylindrical solid glass tubes, fitted into a circular mahogany base and top, an additional cylindrical lamp mounted to the top comprised of small cylindrical rods housed in aluminum hubs, the standard and top lamp illuminate independently, h. 46‑1/2”, dia. 14‑1/2”. [1000/1500] Illustrated By tradition, this lamp was made for the “Deco Modern” home built for the Harrison family, founder of Harrison Steel, Attica, Indiana.

879 one of two 879 two of two

880 877 Fine Pair of French Art Deco-Style Rosewood and Circassian Walnut-Veneered Chests of Drawers, mid-20th century, of unusual inverted pyramidal form, with three graduated drawers with chrome handles, h. 34”, w. 42”, d. 17‑1/2”. [5000/8000] Illustrated

877

243

883 881

882

881 French Art Deco Bronze of a “Caryatid”, first quarter 20th century, h. 26”, w. 8”, d. 6”. Provenance: Collection of Mario Villa, New Orleans, Louisiana. [700/1000] Illustrated 882 Fine French Art Deco Macassar Ebony and Circassian Walnut Console Table, attributed to Andre-Leon Arbus (1903‑1969), the top supported by large “C”-scroll brackets, joined by a chrome bar and fitted with chrome feet, h. 30”, w. 70”, d. 17‑1/2”. [4000/7000] Illustrated

244

883 Pair of Art Deco Gilt-Bronze Two-Light Sconces, second quarter 20th century, probably American, mounted on lozenge-form backplates, the scrolled supports holding the half-round grillwork with mica shade inserts, each concealing a light bulb, h. 13‑1/4”, w. 6‑1/2”, d. 3”. [600/900] Illustrated

884

884 detail

887

888

884 Set of Six French Art Deco Lacquered Hardwood Dining Chairs, second quarter 20th century, of highly polished European hardwood, possibly by Dominique, Paris, h. 43”. Provenance: Jon Vaccari Design, New Orleans, Louisiana. [2000/4000] Illustrated 885 Pair of Art Deco-Style Hammered Metal Circular Mirrors, the surrounds decorated with pierced scrollwork and various other Art Deco patterns, dia. 30”. [1500/2500] 886 Set of Eleven Lalique Molded and Frosted Crystal Cherub Salad Plates, 20th century, French, decorated with an intaglio frosted cherub within an interlaced frosted vine border, marked “Lalique, France” in block letters, dia. 8‑1/4”. [600/900]

889 887 Pair of Boch Freres Art Deco Vases, second quarter 20th century, designed by Charles and Catteau, Belgian, of ovoid form, decorated with black and green Art Deco patterns on a white ground, marked with the “Boch Freres” printed mark, incised “Greg Keramis” in script, signed “Ch. Catteau” in script and “D.1000” in paint, h. 12”, dia. 6‑1/4”. [1200/1800] Illustrated 888 French Art Deco Macassar Ebony and Ebonized Bench, second quarter 20th century, the seat tufted in gray mohair, and raised on tapered legs trimmed and ending in brass tapered caps, h. 19”, w. 63‑1/2”, d. 16”. [1800/2500] Illustrated 889 Gold Iridescent Ribbed Glass Bottle Vase, Attributed to Louis Comfort Tiffany, New York, first quarter 20th century, with a button pontil on the base, h. 19‑1/2”, dia. 7‑1/2”. [1000/1500] Illustrated This distinctive vase closely relates to one in the collection of the Mingei International Museum, San Diego, California.

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892

892 Dale Chihuly (American, b. 1941), “Radiant Persian Pair”, Portland Press, Seattle, Washington, 2003, both of undulating glass with golden yellow ribbons and black lips, one example signed on the exterior side “Chihuly” in script, presented in the original acrylic display box and accompanied by a book, Tina Oldknow’s Chihuly Persians (Seattle: Chihuly Workshop, 1992) and a Chihuly “Seaforms” packet including a bottle of liquid glass cleaner with cloth, retains the original foam-fitted shipping box with rope handles, glass, h. 6‑1/4” and 6‑1/2”, dia. 9”-10”, acrylic box, h. 14”, w. 12‑1/2”, d. 12‑1/2”. Provenance: Arthur Roger Gallery, New Orleans, Louisiana. [5000/8000] Illustrated

890

891

890 Italian Art Deco-Style Rosewood, Satinwood and Ebonized Games Table, mid-20th century, the top fitted with a reversible game board with checkers on one side and backgammon on the other, h. 29‑1/2”, w. 44‑1/2”, d. 30‑1/2”. [3000/5000] Illustrated

246

891 French Art Deco Mahogany and Circassian WalnutVeneered Side Table, second quarter 20th century, the circular top with a molded and ebonized edge, and supported by a cylindrical standard with a chrome ring at its base and three fan-form legs, h. 23”, dia. 27”. [1500/2500] Illustrated

893 French Art Deco-Style Macassar Ebony-Veneered and Chrome-Mounted Drinks Cart, second half 20th century, with two shelves and trimmed with a chrome frame, fitted with casters, h. 23‑1/2”, w. 32”, d. 17‑1/2”. [1000/1500] Illustrated 894 Pair of French Art Deco Glass and Metal Vases, composed of molded aubergine-colored glass, decorated with metal bellflower vines and leaves on an acid-etched ground, h. 9”, dia. 7”. [800/1200] Illustrated

895 French Art Deco-Style Walnut and Macassar EbonyVeneered Shelf/Console, with alternating off-center shelf supports and exhibiting a highly polished finish, h. 36”, w. 59”, d. 13”. [2500/4000] Illustrated 896 American Art Deco Brass, Gilt-Metal, Marble and Glass Floor Lamp, second quarter 20th century, on a marble-inset gilt-metal base, the reeded standard resting on molded gilt-metal feet, a patinated metal roundel supporting the bell-form shade holder set with an Aurenestyle iridescent gold art glass shade, h. 59‑3/4”, w. 11”, d. 8‑1/4”. [600/900] Illustrated

894

893

895 896

247

898 899

897

897 Contemporary Parquetry Mahogany Fold-Over Breakfast Table, of neoclassical inspiration, on a curule base and retaining its “Global Views” maker’s label, h. 30”, w. 35‑1/8”, l. 23‑1/2”, extended l. 47”. [800/1200] Illustrated 898 Hu Yongkai (Chinese, b. 1945), “The Art of Seduction”, gouache, watercolor and ink on paper, signed and inscribed, 28‑1/2” x 28‑3/4”. Glazed, matted and framed. [1500/2500] Illustrated 899 Joseph Cohen (American/Contemporary), “Drawing #13”, 2010, mixed media on paper, unsigned, sheet 30” x 22”. Float-mounted, glazed and framed. [1000/1500] Illustrated

248

900

900 Jesus Rafael Soto (Venezuelan, 1923‑2005), “Vibrations”, acrylic and steel sculpture, from the Jai Alai series, signed and numbered “14/300” at base, h. 20‑1/2”, w. 16”, d. 6”. [5000/8000] Illustrated

905

901

903 901 John H. Fincher (American, b. 1941), “May 4th”, 1980, acrylic on paper, signed and dated lower left, titled upper left, handwritten note by artist en verso backing, sight 28” x 20‑1/4”. Glazed, matted and framed. [1000/1500] Illustrated 902 Marta Colvin (Chilean/French, 1907‑1995), “Sans Titre”, carved and painted wood articulated sculpture, incised signature along bottom side, now on a black square wood base, overall, h. 17‑3/4”, w. 7”, d. 4‑1/4”. [5000/8000] Illustrated 903 Marta Colvin (Chilean/French, 1907‑1995), “Sans Titre”, patinated bronze, incised signature on self-base, h. 7‑5/8”, w. 3‑1/2”, d. 3‑3/8”. [800/1200] Illustrated

902

904

904 Marta Colvin (Chilean/French, 1907‑1995), “Sans Titre”, patinated bronze, incised signature on self-base and numbered “IV/VII”, h. 10‑1/2”, w. 2‑3/8”, d. 2‑3/8”. [800/1200] Illustrated 905 Joan Mitchell (American, 1926‑1992), “Champs (Grey, Black and Yellow)”, 1991, lithograph in colors, signed in pencil lower right, numbered “74/125” lower left, sheet size 30” x 22”. Glazed, float-mounted and framed. [1500/2500] Illustrated

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907 Francisco Zuniga (Costa Rican/Mexican, 1912‑1998), “Compasion”, 1980, bronze, signed, dated, and numbered “I/VI” along back edge, presented on a carved wooden base, overall, h. 12‑1/4”, w. 12”, d. 8‑5/8”. Provenance: Purchased from the artist through Galeria Misrachi, Mexico City, Mexico; private collection, New Orleans, Louisiana. Exhibited: “Seldom Seen”, Arts Council of New Orleans. [12000/18000] Illustrated 907

906 906 Joan Miro (Spanish, 1893‑1983), “Quelques Fleurs Pour Mes Amis”, 1964, lithograph in colors on Japon paper, signed in pencil lower right “Miro”, inscribed in pencil lower left “E.A.”, sheet 16” x 12‑3/4”, published by Societe Internationale d’Art XXe Siecle, Paris, Mourlot 407. Glazed, handsomely matted and framed. [1000/1500] Illustrated

250

A native Costa Rican who spent most of his life in Mexico, Zuniga was acclaimed for his distinct, stylized approach to sculpture and painting. The son of a sculptor of religious figures, he spent years working in his father’s studio, learning the rudiments of direct carving. After a brief attendance at the local art school, Zuniga moved to Mexico where he became associated with what is now known as the Escuela Nacional de Pintura, Escultura y Grabado (referred colloquially as la Esmerelda), first as a student then later as Professor, a position he would maintain for over 30 years. He befriended Guillermo Ruiz, who had founded the school in 1927, and the sculptors Romolo Rozo and Luis Ortiz Monasterio. Reminiscing about his earliest months in Mexico, Zuniga wrote to a friend: “I recall the first years following my arrival in MexicoÖUltimately I spent most of my days in the Museum of History and Archaeology; I went to the Museum every day to study and draw. I was enraptured by the works in stone, with something akin to fear and enchantmentÖI observed the powerful dimensions; the planes; the stylized massÖ” Inspired by Pre-Columbian artifacts and influenced by the various artistic movements then prevalent - including German Expressionism - Zuniga adapted a style of sculpture which emphasized a visual examination of form and space, resulting in works imbued with a sense of strength and resilience. Concentrating on the curves of the human figure, his softly abstracted figures are often hunched or crouching, enveloped in drapery which simultaneously protects them and exposes their inherent human vulnerability. References: Reich, Sheldon and Zuniga, Francisco. Francisco Zuniga, Sculptor. Tucson: University of Arizona Press, 1980.; Stewart, Virginia. 45 Contemporary Mexican Artists - a Twentieth Century Renaissance. Stanford: Stanford University Press., 1951, pp. 134‑137.

908 908 Romare Bearden (American, 1911‑1988), “Family”, screenprint in colors, pencil-signed lower right, titled lower left and numbered “97/180” lower center, sight 19‑3/4” x 15‑3/8”. Matted, glazed and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [2000/4000] Illustrated

909

909 Larry Rivers (American, 1923‑2002), “The Last Civil War Veteran”, 1978, color lithograph, pencil-signed, dated, marked “A/P” and numbered “7/15” lower right, sight 24‑1/2” x 25‑3/4”. Matted, glazed and framed. Provenance: 927 Gallery, New Orleans, Louisiana; Frank Gagnard, New Orleans, Louisiana. [1200/1800] Illustrated Between 1959 and 1961, Larry Rivers painted two versions of a painting inspired by a LIFE magazine article and photograph documenting the final days of the last Civil War veteran. He was to later produce several lithographs of this scene - each varying in slight details, but maintaining the same general composition. In discussing his fascination with this image, Rivers stated, “....There was this one guy left from the Civil War. Now he was a media thing immediately...So I began getting interested in him and I did paintings. Then he died...and it turned out maybe he lied...But this was covered up...and (he) was buried with honors.” This subject, and the eventual revelation of the story as a lie, clearly appealed to Rivers, an artist known for his appreciation of irony and the manipulative abilities of art. Reference: Hunter, Sam. Larry Rivers. New York: Abrams, 1969.

910 Justin Garcia (American/Houston/Contemporary), “Imagination”, acrylic on gallery-wrapped canvas, signed lower right, 44” x 24”. Unframed. [1000/1500] Illustrated 910

251

913 detail 911

913

912

911 Beulah Barnes Weaver (American, 1882‑1957), “Baltimore Street Scene”, 1929, oil on canvas, signed lower left, dated en verso, 25‑1/4” x 32”. Framed. Provenance: Private collection, Mobile, Alabama. [2000/4000] Illustrated 912 Elizabeth (LIZO) Shahenian (Armenian/ American, b. 1950), “In Memory of Holocaust”, oil on canvas, signed “LIZO” lower right, 48” x 48”. Framed. [1000/1500] Illustrated

252

914 913 Edgar Negret (Colombian, 1920‑2012), “Totem”, 1978, painted aluminum, signed, titled and dated at bottom interior, h. 18‑5/8”, w. 7”, d. 7”. Provenance: Purchased from the artist; private collection. [5000/8000] Illustrated 914 John Tarahteeff (American/California, b. 1972), “Sailors on Leave”, 2011, acrylic on canvas, signed and dated en verso canvas, 18‑3/4” x 20‑3/4”. Handsomely framed. Provenance: Nuart Gallery, Santa Fe, New Mexico. [1000/1500] Illustrated

915 915 Andy Warhol (American, 1928‑1987), “Marilyn Monroe”, screenprint in colors, 1967, signed en verso in pencil, stamp-numbered “135/250”, printed by Aetna Silkscreen Products, Inc., New York, 35‑1/8” x 35‑5/8”. Floatmounted and framed. [50000/80000] Illustrated

253

916 Alexander Calder (American, 1898‑1976), “Spiral Rouge et Bleu”, lithograph in colors, signed in pencil lower right, numbered “48/75” lower left, sight 42‑5/8” x 28‑1/2”. Framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

917 Wook-Kyung Choi (Korean, 1940‑1985), “Untitled”, oil on canvas, 27‑1/2” x 24”. Stretched. Provenance: Estate of the artist. [3000/5000] Illustrated This work exemplifies Choi’s mastery of the use of color and reflects her personal interpretation of abstract expressionism.

916

917

918 Wook Kyung Choi (Korean, 1940‑1985), “Nude”, 1960s, acrylic on canvas, 32‑1/4” x 20‑1/2”. Stretched. Provenance: Estate of the artist. [2000/4000] Illustrated The work presented here was created at a time when Choi was experimenting with various ways of depicting the human figure, from Academically inspired to expressionistic.

918

254

920

919

919 American Coin (.900) Silver Salver, third quarter 19th century, by Vincent Laforme (1823‑1893) for Lincoln & Foss (active 1848‑1857), Boston, Massachusetts, of circular form with milled leaf-and-dart rim and raised on three acanthus bracket feet, the plateau engraved with a wide rococo scroll band centering the monogram “EHW”, dia. 14”, 33.10 t. oz. [1000/1500] Illustrated 920 Rare Storr & Mortimer, New York, Coin Silver (.900) Waiter, 1839‑1841, of circular form with milled floral and foliate rim and three shell-and-scroll bracket feet, the plateau engraved with a wide band of rococo scrolls on an imbricate ground, dia. 12‑1/4”, 38.21 t. oz. [1800/2500] Illustrated The important London firm of Paul Storr (1771‑1844) and John Mortimer (d. 1871) operated a short-lived manufactory in New York between 1839 and 1841. (Even though Storr had retired in late 1838 and had been succeeded by his remaining partners Mortimer & Hunt, the American branch was conducted under the firm’s old name.) A January 1841 advertisement in Bentley’s Miscellany states that they will “receive regularly by the steam vessels the patterns as they are produced from their manufactory in London” but also that “having completed their arrangements are now enabled to manufacture here every description of Plate and Jewellery”. The present lot - bearing no English hallmarks and distinctly American in style - was evidently one of these made in the United States for Storr & Mortimer. The American venture proved unsuccessful, however, probably owing to stringent American import duties, and closed by the end of 1841.

921

921 American Sterling Silver Ewer, 1905, by the Whiting Mfg. Co., Providence, Rhode Island, the ovoid body decorated with embossed floral rococo scrolls on a trellised ground and centering a cartouche, with waisted collar and integral spout, crested “s”-scroll handle and raised on a domed foot decorated en suite, monogrammed “LK”, h. 14‑3/4”, l. 9‑1/2”, dia. 6”, 40.01 t. oz. [1800/2500] Illustrated

255

922

924

923

922 Good Set of Twelve Gorham Art Nouveau Sterling Silver Bread-and-Butter Plates, 1901, Providence, Rhode Island, of shaped square form with scrolling edge, the broad rim embossed with poppies at the corners, monogrammed “LMB” conjoined, w. 6‑1/2”, 71.99 total t. oz. [1000/1500] Illustrated 923 Rare Reed & Barton .950 Silver Art Nouveau Asparagus Tray, ca. 1900, of shaped rectangular form, with undulating “whiplash” edge, the rim decorated with repousse floral scrolls, with a conforming lift-out tray pierced en suite with the rim, l. 12‑1/2”, w. 8‑3/4”, 27.54 t. oz. [600/900] Illustrated Reed & Barton, in response to their competitor Gorham’s “Martele” line of hand-crafted Art Nouveau silver, produced a similar, unnamed line for a short time. This lot is a fine example made - like Martele - in the higher purity of .950 silver instead of the traditional .925 sterling. These hand-made Reed & Barton pieces are quite rare (much more so than Gorham Martele pieces), and this particular form - the asparagus tray - rarer still.

256

925

924 Seventy-Eight-Piece Set of Gorham “Chantilly” Sterling Silver Flatware, the pattern designed in 1895 by William Christmas Codman (1839‑1923), Providence, Rhode Island, including a dozen five-piece place settings, with an additional nine place pieces and nine serving pieces, no monograms, 75.44 total t. oz., presented in a fitted, Pacific-cloth lined composition wood case with single drawer, 5‑1/8” x 14‑5/8” x 10‑3/4”. [1000/1500] Illustrated 925 Five-Piece Gorham “Chantilly-Duchess” Sterling Silver Coffee and Tea Set, 1951‑1952, Providence, Rhode Island, including a coffeepot, h. 10‑1/4”, a teapot, h. 8‑3/4”, a covered sugar bowl, h. 6‑3/4”, a cream jug, h. 5‑3/4”, and a waste bowl, h. 4‑3/8”, with hand-chased decoration, no monograms, 88.55 total t. oz. [2500/4000] Illustrated

926 Two Pieces of Gorham “Chantilly-Duchess” Sterling Silver Hollowware, 1948‑1950, Providence, Rhode Island, including a circular vegetable bowl and sandwich plate, 27.64 total t. oz., together with an identical silverplate “Chantilly” sandwich plate, all dia. 10‑1/4” (three total pieces). [600/900] Illustrated 927 Set of Twelve Gorham Sterling Silver Bread-andButter Plates, 1900, Providence, Rhode Island, of convex square form, with applied winged and shell-crested cabochon rim, monogrammed “PAH”, w. 6‑1/2”, 55.29 total t. oz. [800/1200] Illustrated 928 Good Pair of American Sterling Silver Fruit Stands, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, each of lobed circular form decorated with embossed and pierced realistically detailed grapevines among arched trellises, raised above a waisted stem and domed foot en suite, monogrammed “ALW”, h. 4‑3/4”, dia. 9”, 25.01 total t. oz. [600/900]

926

930

929

929 Good “Baltimore Rose” Sterling Silver Tureen, first quarter 20th century, retailed by Hennegen Bates Co., Baltimore, Maryland, of oval form, with four robust acanthus-crested scroll feet, stirrup handles, and fitted domed lid with floriform finial, the whole decorated all over with well-detailed floral and foliate repousse in the traditional Baltimore manner, h. 7‑1/2”, l. 12‑3/4”, w. 7‑1/4”, 69.72 t. oz. [1800/2500] Illustrated 930 Stieff “Colonial Williamsburg” Sterling Silver Coffeepot, 1939‑1948, Baltimore, Maryland, of “lighthouse” form with domed lid, vasiform finial, crested ebonized wood handle and conical right-angle spout, h. 11‑1/2”, l. 7‑1/2”, dia. 4‑3/8”, 34.36 t. oz. (including wooden handle). [1000/1500] Illustrated

927

In 1939, Colonial Williamsburg contracted Stieff to make a line of high-quality reproduction American Colonial silverware. Introduced in a luxurious catalogue in 1940, this coffeepot appears on page ten, with a notation that it is after a 1715 piece by New York Silversmith Charles Le Roux (1689‑1763) presumably the near-identical example conserved in the Yale University collection. The 1940 price was $90, equivalent to about $1,500 today.

257

931

933 933 detail

934

931 Tiffany & Co. Sterling Silver “Revere” Bowl, third quarter 20th century, New York, of traditional form, with slightly everted rim and ogee-domed foot ring, h. 5”, dia. 10‑1/4”, 30.76 t. oz. [500/800] Illustrated 932 Tiffany & Co. Sterling Silver Covered Entree Dish, the pattern introduced in 1901, New York, New York, in the Colonial Revival taste, of “turtleback” form with molded rim, the fitted, domed lid with detachable stirrup handle, h. 4‑3/4”, l. 11‑3/4”, w. 9”, 46.14 t. oz. [600/900] 933 Good Eighty-Four-Piece Tiffany & Co. “Florentine” Sterling Silver Flatware Set, the pattern designed in 1900 by Paulding Farnham (1859‑1927), New York, New York, including a dozen seven-piece place settings, no monograms, 141.51 total t. oz., presented in the original Tiffany fitted, brick red suede-lined, brass-bound oak case, 3‑5/8” x 19” x 14‑1/2”. Detailed list available on request. [6000/9000] Illustrated

258

935

934 Tiffany & Co. Sterling Silver “Clover” Fruit Bowl, the pattern introduced in 1898, New York, this example before 1902, monogrammed “EL”, dia. 10‑1/4”, 18.22 t. oz [500/800] Illustrated 935 Tiffany & Co. Sterling Silver “Clover” Fruit Bowl, the pattern introduced in 1898, New York, this example before 1902, dia. 11‑1/4”, 25.78 t. oz [1000/1500] Illustrated

936 940

938

936 Seven-Piece Gorham Sterling Silver Coffee and Tea Set, 1897‑1900, Providence, Rhode Island, including a kettleon-stand, h. 11‑1/4”, a coffeepot, h. 9‑3/4”, a teapot, h. 8”, a covered sugar bowl, h. 6‑1/4”, a cream jug, h. 6”, a waste bowl, h. 3‑3/4”, and an octagonal tray, w. 20‑1/2”, the hollowware of navette form with waisted collars, hemispherical domed lids and “gooseneck” spouts, with engraved rinceaux and wrigglework banding and engraved cartouches, the plateau engraved en suite, all monogrammed “H”, the tray dated on the underside “June 19‑1901”, 181.90 total t. oz. [4000/7000] Illustrated 937 Seventy-Six-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, the pattern designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, including a dozen five-piece place settings and eight each demitasse spoons and butter spreaders, no monograms, 85.42 total t. oz. Detailed list of pieces available on request. [2500/4000] 938 Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowl, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 21.33 t. oz. [700/1000] Illustrated

941

939 Pair of Reed & Barton “Francis I” Sterling Silver Sandwich Plates, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 32.40 total t. oz. [1000/1500] 940 Thirty-Five-Piece Reed & Barton “Francis I” Sterling Silver Luncheon Set, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, complete with eight four-piece place settings and three serving pieces, nine pieces monogrammed, 43.39 total t. oz. Detailed list of pieces available on request. [1000/1500] Illustrated 941 Pair of Reed & Barton “Francis I” Sterling Silver Oval Vegetable Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 12‑1/2”, w. 10”, 38.89 total t. oz. [1000/1500] Illustrated

259

942

943

944

942 Set of Nine Sterling Silver Julep Cups, mid-20th century, by the Alvin Corporation, Providence, Rhode Island (one Lunt Silversmiths, Greenfield, Massachusetts), of traditional tapering cylindrical form, with reeded rim and base, h. 3‑5/8”, dia. 2‑7/8”, 35.35 total t. oz. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [500/800] Illustrated 943 Fifty-Eight-Piece Set of Gorham “Greenbriar” Sterling Silver Flatware, the pattern designed in 1938 by James Russell Price (1907‑1974), Providence, Rhode Island, including eight six-piece place settings (two salad forks lacking) with an additional eight place pieces and four serving pieces, no monograms, 53.63 total t. oz., presented in a fitted, Pacific cloth-lined mahogany case with retailer’s stamp of Coleman E. Adler, New Orleans, Louisiana. Detailed list of pieces available on request. [900/1200] Illustrated

260

945

944 Set of Twelve International “Wedgwood” Sterling Silver Service Plates, the pattern designed in 1925 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, dia. 10”, 160.10 total t. oz. [2500/4000] Illustrated 945 Set of Twelve International “Wedgwood” Sterling Silver Wine Goblets, the pattern designed in 1925 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, the interiors gilt, h. 6‑3/8”, dia. 3‑1/8”, 68.37 total t. oz. [1000/1500] Illustrated

948

946

949

946 Sixty-Three-Piece Set of Wallace “Sir Christopher” Sterling Silver Flatware, the pattern designed in 1936 by William S. Warren (1888‑1965), Wallingford, Connecticut, including eight seven-piece place settings with an additional four place pieces and three serving pieces, monogrammed “JMD”, 74.9 total t. oz. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. Detailed list of pieces available on request. [1000/1500] Illustrated 947 Fifty-Piece Set of Towle “Madeira” Sterling Silver Flatware, the pattern designed in 1948 by Samuel Loring DuBois Ayres, Jr. (1913‑1997), Newburyport, Massachusetts, including eight six-piece place settings and two serving pieces, no monograms, 49.88 total t. oz. Detailed list of pieces available on request. [800/1200] Illustrated 948 Peruvian Silver Filigree Sahumador, 19th century, in the form of a turkey, with a hinged spherical body and articulated wings, fixed to a serpentine-lobed underplate raised on three pad feet, h. 7‑1/4”, dia. 6‑3/4”, 25.65 t. oz. [2000/4000] Illustrated

950

949 Ten Pieces of Mexican Spanish Colonial-Style Sterling Silver Tableware, second half 20th century, Mexico City, including five bread-and-butter plates by Juvenito Lopes Reyes, circular and serpentine-lobed, dia. 6‑1/4”, and five lobed bowls with repousse rose banding, one by Casa Prieto with bird-crested scroll handles, w. 5”, the rest unmarked including a pair, each with three pad feet, dia. 6‑1/2”, one with rose-crested ring handles, w. 7‑3/4”, and one with “s”-scroll handles, w. 5‑1/2”, 62.56 total t. oz. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [700/1000] Illustrated 950 Mexican Sterling Silver Tray, third quarter 20th century, by Gonzalo W. Moreno, Mexico City, of rectangular form with applied foliate scroll rim and stirrup handles en suite, 26‑1/4” x 15‑3/4”, 87.80 t. oz. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [2000/4000] Illustrated

261

951

952

954 953

951 Mexican Sterling Silver Punchbowl and Charger, third quarter 20th century, the punchbowl of hemispherical form with large “grape cluster” handles and raised on an ogee-domed circular foot, h. 8‑3/4”, dia. 11‑1/4”, w. 14‑1/2”, the charger of circular saucer form, dia. 14”, 103.04 total t. oz. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [1000/1500] Illustrated 952 Extensive Partial Set of Baccarat Tulip-Form Stemware, 20th century, French, including twelve red wine goblets, h. 9‑1/4”, eleven white wine goblets, h. 8‑1/2”, twelve champagne flutes, h. 8‑3/4”, and twelve aperitif glasses, h. 7‑1/2”. [900/1200] Illustrated

262

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953 Galle Cameo Glass Art Nouveau Vase, ca. 1900, French, the bell-form vase decorated with amber flowing flowers and leaves, signed “Galle” in cameo at the base, a ground pontil on the bottom, h. 7‑3/4”, dia. 2‑1/4”. [900/1200] Illustrated 954 French Bronze-Patinated Cast Metal Sculpture of a Nymph, ca. 1900, after Emmanuel Villanis (French, 1858‑1914), cast signature at self-base, h. 23‑1/2”, w. 13”, d. 12”. [1000/1500] Illustrated 955 Daum Cameo and Enamel Decorated Vitrified Vase, first quarter 20th century, decorated with a winter scene of a forest of bare trees accented with snow, signed “Daum Nancy” in enamel, along with a Croix de Lorraine in the ground pontil on the base, h. 13‑1/2”, dia. 5”. [800/1200] Illustrated

956 French Patinated Bronze of “Diane”, first quarter 20th century, after Emmanuel Villanis (French, 1858‑1914), cast signature at proper left shoulder truncation, h. 22‑1/2”, w. 12”, d. 7”. [1500/2500] Illustrated 957 Continental Metal Sculpture of a Crowing Cockerel, mid-20th century, the carefully detailed bird on a faux-bois plinth, probably of an earlier date, h. 19”, w. 12”, d. 8”. [800/1200] Illustrated

959 Contemporary Japanese Granite Bench, the slab seat supported by pedestal ends with scroll arms, h. 26”, w. 55”, d. 14‑1/2”. [800/1200] Illustrated 960 Collection of Three Bleached and Dried Turtle Shells, mounted for wall hanging, h. 10” to 11”, w. 6” to 7”. [500/800] Illustrated

958 Contemporary Japanese Granite Bench, the canted slab back and seat supported by ends with an arched base, h. 35”, w. 48”, d. 18‑1/2”. [700/1000] Illustrated

960

957

956

958

959

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961 963

962

961 Patinated Metal Bust of the Norse God, Odin, 20th century, depicted in a winged helmet with an eagle on the front, sitting on a black-laminated wooden base, h. 27‑1/2”, w. 15‑3/4”, d. 9‑3/4”. [800/1200] Illustrated 962 Nickel-Plated Steel and Cast Brass-Mounted Campaign-Style Bed, mid-20th century, attributed to Maison Jansen, France, the headboard and footboard of sleigh form with metal rails all adorned with cast brass rosettes, h. 40”, w. 37”, l. 76”. [500/800] Illustrated

264

963 Murano Red and Gilt Glass Six-Light Chandelier, 20th century, Italian, the ribbed, vasiform standard set with giltflecked flowerheads and supporting six arms with ruffled bobeches, alternating with delicate gilt-flecked swirling leaves, h. 32”, dia. 28‑1/2”. [1500/2500] Illustrated

964 Contemporary Pine, Oak and Iron Table, the large rectangular top with parquetry patterns, and raised on spiral-twisted and openwork iron legs joined by an X-form stretcher and ending in stepped block feet, h. 31‑1/2”, w. 38”, l. 96”. [1500/2500] Illustrated

966 Pair of Murano Ribbed Pink Glass Lamps, 20th century, Italian, on stepped acrylic bases, the bulbous tapering standards supporting the font-shaped upper portions, both decorated with gold particulate, overall, h. 23”, dia. 7”. [500/800] Illustrated

965 Pair of Venetian-Style Arched Mirrors, 20th century, the surrounds decorated with engraved flowers and cut decoration, the crests with butterfly-form engraved and cut finials with sprays of matching flowers, h. 51‑1/2”, w. 24‑1/2”. [600/900] Illustrated

967 Niek van der Plas (Dutch, b. 1954), “Summer Vacation”, oil on panel, signed lower right and en verso, 13‑3/4” x 17‑3/4”. Attractively framed. [2000/4000] Illustrated

965 pair

967

964 966

265

968 Contemporary Glass Cocktail Table, the edge beveled, and the ends wrapping to form the legs, h. 10‑3/4”, w. 27‑1/4”, d. 44”. [700/1000] Illustrated

971 Contemporary Glass and Polished Brass Cocktail Table, the mirrored glass top over a frieze adorned with knobs affixed to plates, the ends with handles, raised on shaped legs with pad feet, h. 16”, w. 39‑1/4”, d. 14‑1/4”. [700/1000] Illustrated

969 Manolo Borromeo (Italian, 20th Century), “New Mexico”, ca. 1950, oil on wood panel, signed and with a partially visible date lower right, verso with a “B. Tartaglia & C., Roma, Casa di Spedizioni” label, 39” x 31‑1/2”. Presented in the original exhibition frame. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated 970 Attributed to Enrique Alferez (Mexican/New Orleans, 1901‑1999), “Birds in Flight”, cast cement, approximate h. 55”, w. 50”, d. 35”, presented with a cement spike base, h. 40”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1000/1500] Illustrated

971

969 970

968

266

972 William Anzalone (American/Texas, b. 1935), “The Barn-Afternoon Clouds”, 2001, oil on canvas, signed lower right, signed, dated, and titled verso stretcher, a “Meredith Long & Company/Houston, Texas” label en verso, 30” x 40”. Framed. [2000/4000] Illustrated 973 William Anzalone (American/Texas, b. 1935), “Morning Meadow”, 2001, oil on canvas, signed lower right, signed, titled and dated verso stretcher, a “Meredith Long & Company/Houston, Texas” label en verso, 24” x 36”. Framed. [1200/1800] Illustrated

976 Carol Anthony (American/New Mexico, b. 1943), “Untitled”,1984, crayon and pastel on board, signed and dated lower left, verso with “Meredith Long & Company/Houston, Texas” label, 13” x 14”. Glazed, float-mounted and framed. [1200/1800] Illustrated

974 Carol Anthony (American/New Mexico, b. 1943), “Untitled”,1984, crayon and pastel on board, signed and dated lower left, verso with “Meredith Long & Company/ Houston, Texas” label, 13” x 14”. Float-mounted and framed. [1200/1800] Illustrated 975 Carol Anthony (American/New Mexico, b. 1943), “Untitled”,1984, crayon and pastel on board, signed and dated lower left, verso with “Meredith Long & Company/ Houston, Texas” label, 13” x 14”. Float-mounted and framed. [1200/1800] Illustrated 974

975 972

973

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981

977 Dennis Blagg (American/Texas, b. 1951), “Flat Top”, oil on canvas, 18” x 36”. Framed. [1800/2500] Illustrated 978 Mary Kay Forgason (American, Contemporary), “Fields”, oil on canvas, signed lower left, verso with “Jack Meier Gallery, Houston, Texas” label, 36” x 48”. Unframed. [1000/1500] Illustrated 979 Terry Fenton (Canadian, b. 1940), “Half as Much”, “Fore and Aft”, and “Leitmotif”, 1996, collection of three oils on canvas, each with a “Meredith Long & Company/ Houston, Texas” label en verso, each 18‑1/2” x 30”. Each glazed, matted and framed. [1500/2500] Illustrated

268

980 Bruce Brainard (American/Utah/Idaho, b. 1962), “Planted”, oil on linen, signed and dated lower right, 20” x 60”. Framed. [1000/1500] Illustrated 981 Rachel Hovnanian (American, 20th Century), “Beach Path”, 2002, oil on canvas, signed lower right, verso with a “Meredith Long & Company/Houston, Texas” label, 36” x 48”. Framed. [1000/1500] Illustrated

982 American Gothic Revival Mahogany Center Table/ Sofa Table, mid-19th century, probably J. & J.W. Meeks, New York, the rectilinear marble top with canted corners, over a conforming cyma-molded apron with ribbon molding, Gothic arches and acorn-form drop finials, on a trestle base with scroll supports of lyre form, scroll stretcher and feet, h. 50‑1/4”, w. 39‑1/4”, d. 21”. [700/1000] Illustrated 983 Rare Jacob Petit Porcelain Swan-Form Encrier, second quarter 19th century, Paris, on a shell-molded base decorated with gilt on a bleu celeste ground, the interior set with two inkpot holders, the cover in the form of a biscuit swan nesting on a bed of polychrome-painted flowers with molded gilt and white leaves, signed “J.P.” in underglaze blue on the base, h. 7”, w. 6‑1/4”, d. 5”. [700/1000] Illustrated

984 American Gothic Revival Mahogany Center Table, mid-19th century, the period oval marble top over a scalloped apron, raised on twist-turned columnar legs joined to a shaped platform base with trefoil feet, h. 30”, w. 41‑1/2”, d. 32‑1/2”. [2000/4000] Illustrated 985 Louisiana School (Second Quarter19th Century), “Portrait of a Young Girl in a Blue Dress”, oil on canvas, unsigned, inscribed “Luc ples” en verso, 30” x 25”. Framed. [1000/1500] Illustrated

983 985

982

984

269

988

989

986 986 Fine English Gothic/Elizabethan Rosewood Butler’s Bureau, mid-19th century, the upper portion with a swivel mirror, above the lower case fitted with three ogee-molded drawers over a straight drawer, the upper drawer fitted with a central leather-covered writing slide and flanked by a wood slide on each side, h. 85”, w. 42”, d. 21‑1/2”. [1500/2500] Illustrated 987 Unusual Pair of Gothic Revival Strap Metal FourLight Architectural Lanterns, first quarter 20th century, possibly American, with scrolled lower finials under the square bodies of the lanterns, and pierced Gothic “towers” with pagoda-form roofs hanging from ring holders, h. 46”, w. 23”, d. 23”. [500/800]

270

988 American Rococo Revival Rosewood and Marble-Top Center Table, third quarter 19th century, the circular top with a conforming inset black marble, the aprons with pronounced carved panels and oval medallions, raised on cabriole legs joined by a stretcher and turned finial, h. 29”, dia. 36”. [1000/1500] Illustrated 989 American Antebellum Southern Market Mahogany Full Tester Bed, third quarter 19th century, stamped “C LEE” for Charles Lee of Manchester, Massachusetts, the projecting molded tester raised on posts with convex vertical ribs, supporting an arched and paneled shell-carved crest, and joined by scalloped rails, the rails and posts with the impressed stamp of Charles Lee, h. 114”, inside w. 59”, l. 78”, outside w. 70 1/2”, l. 87 1/2”. [5000/8000] Illustrated

992

990

991

990 Frederick Volck (German/American, 1833‑1891), “Robert E. Lee”, bronze, after the 1863 terracotta, inscribed “Frederick Volck/1863/Richmond, Virginia” at back, on a round black marble plinth, overall, h. 19”, w. 11”, d. 9‑1/4”. [3000/5000] Illustrated Volck was born in Germany but as a young man moved to Virginia where he was employed by the Confederate Naval Ordnance and Hydrography Department. His brother Adalbert, a satirist and caricaturist, was also actively involved in the Confederacy. Volck’s sculpture of General Lee was commissioned during the war and was primarily intended as a means of increasing and continuing support for the war effort and the Confederate cause.

991 American Rococo Revival Carved Walnut and Marble-Top Hall Stand, third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the crest centered by a carved stag head over an arched looking glass set in an elaborately carved oak leaf, vine and acorn frame, on a serpentine marble top, and an apron centered by a carved cabochon, the low shelf fitted with a pair of cast iron drip basins beneath corresponding cut-outs on the marble top, h. 107‑1/2”, w. 53”, d. 17‑1/4”. [10000/15000] Illustrated 992 William H. Hoyt (American, 1815‑1862), “Still Life with Raspberries, a Silver Milk Jug and a Glass of Sugar, on a Marble Slab”, oil on canvas, monogrammed and dated “1858” lower right, canvas stenciled “Prepared by Charles Roberson/99 Long Acre London”, 14” x 18”. Presented in a contemporary giltwood frame. [2500/4000] Illustrated

271

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994

993 William H. Hoyt (American, 1815‑1862), “Still Life with a Basket of Peaches on a Marble Slab”, oil on canvas, signed and dated “1858” lower right, 14” x 18”. Presented in a contemporary giltwood frame. [2500/4000] Illustrated 994 Pair of American Rococo Revival Laminated Rosewood Sidechairs, attributed to J. H. Belter, New York, in a variant of the “Tuthill King” pattern, each with an applied floral- and leaf-carved crest over a corsetform back flanked by pierced carving, serpentine seat and cabriole legs, now upholstered after the period fashion in tufted claret brocade, h. 38‑1/2” and 38‑3/4”. [2000/4000] Illustrated

272

995 Pair of Bohemian White-Cut-to-Cranberry Glass Vases, third quarter 19th century, in the Gothic Revival style, the gilt-trimmed vases cut with panels and quatrefoils, h. 13”, dia. 4‑3/4”. [1800/2500] Illustrated

996 American Rococo Revival Walnut Bed, third quarter 19th century, the headboard crest with a cartouche with a cluster of grapes in the grasp of a pair of carved putti, over a group of three arched fretwork panels, the rails joined to a wrap footboard with a cabochon-centered cartouche, h. 82”, inside, w. 71”, l. 51‑1/4”, outside, w. 58‑1/4”, l. 79”. [2500/4000] Illustrated 997 Pair of Bohemian Ruby Glass Mantel Lustres, the gilt-trimmed lustres decorated with swags of white and pink flowers and hung with spear-point prisms, h. 14‑1/2”, dia. 7‑1/2”. [800/1200] Illustrated 998 American Rococo Revival Rosewood Dressing Bureau, mid-19th century, probably New York, the shaped mirror in a conforming frame with a shell-carved crest, supported by foliate- and floral-carved scroll brackets on a serpentine case with a marble top, over a bank of four conforming drawers, raised on bracket feet, h. 78‑1/2”, w. 40”, d. 23”. [1000/1500] Illustrated

998

997

996

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999

999 American Rococo Revival Rosewood Work Table, third quarter 19th century, attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, the lifting top opening to reveal a segmented bird’s-eye maple interior, the top with a concealed storage compartment, over a frieze drawer, raised on cabriole legs with foliate and floral carving at the knees, each corner with a carved cabochon, h. 31”, w. 23‑1/4”, d. 17‑1/2”. [600/900] Illustrated 1000 Collection of Three Paris Porcelain Hand-Painted Jacob Petit-Style Vases, mid-19th century, including one vase decorated with a pair of birds on the primary reserve panel, on an olive vert ground, attributed to Petit, h. 12‑1/2”, w. 7‑1/2”, and two vases with rich gilding on a bleu celeste ground, in the Petit manner, the larger with a reserve panel decorated with a courting couple in 18th-century costume, h. 12‑1/4”, w. 7‑3/4”, and the smaller vase with floral panels, h. 11‑1/2”, w. 7”. [600/900] Illustrated

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1001 Southern Antebellum Market Mahogany Tester Bed, third quarter 19th century, the molded cornice raised on turned tapering posts supporting a paneled headboard, with a shell-carved crest flanked by scrolls, h. 105”, inside, w. 57”, l. 74”, outside, w. 80”, l. 90”. [2000/4000] Illustrated 1002 American Rococo Revival Rosewood Center Table, third quarter 19th century, Philadelphia, the oval brescia marble top over a shaped apron centered by leaf carving, raised on cabriole legs joined by serpentine stretchers with a melon-form finial, h. 31”, w. 45”, d. 28”. [1000/1500] Illustrated

1003 Carolean-Style Mahogany Sidechair, 19th century, the fruit basket crest above a scrolling floral lattice-carved frieze above a caned back, the padded seat raised on molded cabriole legs headed by acanthine carving joined by an X-form stretcher and ending in foliate toes, h. 50”. [600/900] Illustrated 1004 Chinese Export Nanking Blue and White Porcelain Platter, ca. 1800, with a cracked ice border, decorated with willow-style pagodas on islands, w. 20”, d. 17‑1/2”. [1000/1500] Illustrated

1005 Chinese Export Blue and White Soup Tureen, ca. 1800, with boar’s head handles and Fitzhughstyle borders, decorated in the willow style, h. 8‑1/2”, w. 11‑3/4”, d. 8‑1/2”. [1800/2500] Illustrated 1006 French Baroque-Style Bronze Six-Light Chandelier, the standard molded with a fluted urn with leaf-molded, scrolled brackets terminating in busts, and set with molded candle arms with bellflowers and terminating in beaded drip pans and fluted candle cups, the lower portion of the standard with scrolled brackets terminating in female heads, sitting on paw feet, h. 33‑1/2”, dia. 29‑1/2”. [1500/2500] Illustrated

1004

1006

1005

1003

275

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1008 1007 English Oak Gate-Leg Table, 20th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on a turned baluster-form gate-leg support and ending in block-and-ball feet, h. 30”, w. 59”, l. 29”, extended l. 74”. [700/1000] Illustrated 1008 English Oak Two-Part Dresser, late 18th century, the upper section with three through-mortised shelves and plate grooves, the base fitted with various drawers and cabinets, with pegged construction, h. 79”, w. 62”, d. 20”. [1000/1500] Illustrated

276

1009 Queen Anne-Style Elmwood and Fruitwood Kneehole Desk, mid-19th century, the superstructure with a banded top over six small banded drawers, over an inset leather writing surface and like-inset sides, over a recessed kneehole and cupboard flanked to either side by three graduated short drawers, each side fitted with a bank of five graduated short drawers, the top one false, raised on bun feet, h. 37”, w. 42”, d. 25‑1/2”. [800/1200] Illustrated 1010 Queen Anne Oak Lowboy and Stool, the 18th-century table with a rectangular top above a frieze fitted with a single drawer, and raised on tapering circular legs ending in pad feet, h. 29”, w. 31‑1/2”, d. 19‑1/2”, and the early 20th-century stool with an inset padded rectangular top above a plain frieze, and raised on cabriole legs ending in pad feet, h. 20‑1/2”, w. 16”, d. 12”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [600/900] Illustrated

1011 Pair of Edwardian Carved and Silver Gilt Two-Light Sconces, first quarter 20th century, in the Adam taste, the draped urnform backplates terminating in flame-form finials, and set with fluted arms and reeded candlecups, h. 18”, w. 11‑1/4”, d. 6‑1/2”. [1200/1800] Illustrated 1012 George III Mahogany Triple-Top Games Table, fourth quarter 18th century, the rectangular top with crimped corners, hinged and opening to a larger gaming surface, further opening to a leather-lined surface, raised on tapering circular legs ending in pad feet, h. 30”, w. 29”, d. 13‑1/2”. [800/1200] Illustrated

1013 Alfred de Breanski, Sr. (British, 1852‑1928), “Departing Day”, oil on canvas, signed lower left, signed and dated en verso canvas, 40” x 69‑1/2”. Provenance: Private collection, Mississippi; previously in the collection of “The Junius R. Ward House (a.k.a. Erwin House)”, Erwin, Mississippi. [10000/15000] Illustrated Born into a London family of painters, de Breanski had a long and successful career as a landscape artist, frequently depicting scenes of the Welsh and Scottish countryside. A precocious talent, he debuted at the age of twenty at the Royal Academy Exhibition of 1872; he was to continue to exhibit there until 1918. The work presented here reveals de Breanski at his most masterful: the setting sun in the center of the canvas which creates a radiating rosy-gold haze; the compositional juxtaposition of the gnarled tree at the left, the gently grazing sheep in the forefront, and the cozy thatched roof cottage in the distance; and the accomplished manner in which the various textures - bark, leaves, grass, rocks - of the natural world are carefully worked. Not merely a landscapist, de Breanski was a chronicler of a specific aspect of British rural life of the late 19th century, one which was soon to be irrevocably altered by the calamitous events of the early 20th century. 1014 George III-Style Walnut and Mahogany Bachelor’s Chest, 19th century, the rectangular top banded, hinged and opening to a larger surface, above a conforming case fitted with four graduated long drawers, raised on bracket feet, h. 29”, w. 28‑1/4”, d. 13”. [1000/1500] Illustrated

1014 1011

1013

1012

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1018

1015 Pair of Irish Georgian Mahogany Armchairs, 19th century, each with a domed and padded back joined by padded acanthine-carved scrolling arms to the padded seat, the pierced shaped apron raised on foliate-carved cabriole legs joined by an H-form stretcher and ending in scrolled toes, h. 44‑1/2”. [800/1200] Illustrated

1017 Victorian Mahogany Tripod Table, mid-19th century, in the Georgian taste, the tilting circular top with a full raised edge and four recessed ovoid compartments for gaming pierces, and raised on a turned and spiral-fluted columnar standard to three splayed legs ending in ball-and-claw feet, h. 28”, dia. 30”. [1000/1500] Illustrated

1016 George III-Style Mahogany Server, 20th century, in the Chinese Chippendale taste, the rectangular top with a floral- and ribbon-carved edge above a blind fret-carved frieze, raised on cabriole legs headed by foliate shield carving and ending in ball-and-claw feet, h. 31”, w. 72”, d. 34”. [1000/1500] Illustrated

1018 Chinese Export Gilt-Bronze-Mounted Porcelain Vase, the mid-18th-century vase decorated with handpainted panels on a powder blue ground, featuring figures, grapes, peonies, bamboo and prunus, and set with French gilt-bronze mounts, first quarter 20th century, including an egg-and-dart-molded base, h. 27”, dia. 7”. [2500/4000] Illustrated

278

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1021

1022 1020

1019 Pair of Chinese Export Gilt-Bronze-Mounted Vases, fourth quarter 19th century, the rococo-style porcelain vases decorated with panels of hand-painted flowers in vases, with French gilt-bronze mounts, h. 9”, dia. 3‑3/4”. [1200/1800] Illustrated 1020 George III-Style Mahogany Chest, mid-19th century, the rectangular top with a molded edge, above a case fitted with two short drawers over three graduated long drawers, raised on ogee-molded bracket feet, h. 41‑1/2”, w. 41”, d. 19”. [700/1000] Illustrated 1021 Pair of English Molded Glass and Metal Two-Light Candelabra, second quarter 20th century, in the Regency taste, with molded diamond-point bases and rope-twist arms, supporting molded prism-hung drip pans and candle cups, the central standards set with molded feathers in lieu of candles, electrified, h. 19‑1/2”, w. 13‑1/2”, dia. 4‑3/4”. [700/1000] Illustrated

1022 George III Mahogany Games Table, fourth quarter 18th century, the rectangular top with a molded edge, hinged and opening to a leather-lined surface, above a frieze fitted with a single end drawer and a faux drawer, raised on chamfered square legs, h. 29‑1/2”, w. 36”, d. 18”. [500/800] Illustrated 1023 George III Giltwood Mirror, first quarter 19th century, with an inner liner of molded lotus leaves, retaining its rare shallow beveled mirror plate, h. 28‑1/2”, w. 16‑3/4”. [600/900]

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1024 Sir Walter Scott (1771‑1832), The Waverley Novels, New York: Waverley Book Co., 1898, eighteen volumes (of twenty-four), the Kensington edition, octavo, in brown half calf with embossed fillet on marbled boards, the spines with raised bands and gilt lettering, rule and decorations, the top edges cut and gilt, with marbled endpapers, 8” x 5‑3/4”. [600/900] Illustrated 1025 Set of Nine Swedish Leather Decorative Bindings, Malmo: Baltiska Forlaget, 1925, including works by Ivan Turgenev, Karl Emil Franzos, Gustav Frenssen, Honore de Balzac and H. Rider Haggard, Swedish text, in uniform crown octavo bindings, tan half calf with embossed fillet on marbled boards, the spines with raised bands, brown panels and gilt lettering, rule and decoration, the edges cut, the top edge tinted, 7‑1/2” x 5‑1/4”. [600/900] Illustrated

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1026 Albert Engstrom (1869‑1940), Works, a collection of the works of the noted Swedish author and artist, including his satirical cartoons, Stockholm: Albert Bonniers, 1939‑1950, compete in twenty-five volumes, crown octavo, in brown mottled half calf on marbled boards with embossed fillet, the spines with raised bands, brown panel, gilt rule and lettering and black decoration, the edges cut, the top edges gilt, 7‑1/2” x 5‑1/4”. [600/900] Illustrated 1027 Thirty-Five Decorative Half-Leather Bindings of American Authors, including Schouler’s History of the United States and collected works of Alexander Hamilton, John Fiske and Ralph Waldo Emerson, the largest 9‑5/8” x 6‑1/2”, the smallest 8‑7/8” x 5‑3/8”. Detailed list of titles available on request. [700/1000] 1028 Twenty-Five Decorative Half-Leather Bindings of English and Continental Interest, including Guizot’s History of France, and works by de Maurepas, Chatterton and others, the largest 9‑7/8” x 7‑1/2”. Detailed list of titles available on request. [700/1000] Illustrated

1029 Asian Export Lap Desk, third quarter 19th century, probably Japanese, composed of brass-bound hardwood, the lid with a hinged storage tray, the main body fitted with a liftout writing box, adjacent to a hinged compartment, mounted with carrying handles on each side, h. 6‑1/4”, w. 17”, d. 10‑3/4”. [700/1000] Illustrated 1033

1033 Suite of Eight George III-Style Mahogany Dining Chairs, late 19th century, in the Sheraton taste, consisting of two armchairs and six sidechairs, each with a domed crest above a pierced wheatsheaf-carved splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 37”. [800/1200] Illustrated

1029

1030 George III-Style Mahogany Breakfront Bookcase, mid-19th century, the molded cornice above a drop finial-carved frieze, over a case fitted with four astragal-glazed doors, the lower section with a banded top over three drawers and four cupboard doors, all inset with an oval panel, raised on a plinth base, h. 95‑1/2”, w. 65”, d. 19”. [2500/4000] Illustrated 1031 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with two 18” leaves, raised on two pedestals, each with a spiral-ribbed and turned standard to three splayed and reeded legs ending in brass paws on casters, h. 29”, w. 47”, l. 48”, extended l. 84”. [800/1200] 1032 Pair of Georgian-Style Cut and Molded Glass Three-Light Sconces, 20th century, on chromed backplates with gadrooned edges, each with three molded arms holding prismhung bobeches and vasiform candle cups, strung with festoons of drops, electrified, h. 20‑1/2”, w. 17‑1/2”, d. 7‑1/2”. [600/900]

1030

281

1037 1035

1034

1036

1034 George III-Style Mahogany Sideboard, early 19th century, the banded and bowed top above a conforming case fitted with a central drawer flanked to one side by two drawers and to the other by a single deep drawer, raised on tapering square legs ending in spade feet, h. 35‑1/2”, w. 60”, d. 28‑1/2”. [700/1000] Illustrated

1036 George III Oak Chest, fourth quarter 18th century, the rectangular top with a molded edge, above a conforming case fitted with two short drawers over three graduated long drawers, raised on bracket feet, h. 35”, w. 39‑1/4”, d. 20‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [800/1200] Illustrated

1035 Handsome Japanese Imari Charger, probably 18th century, with a scroll- and flower-decorated border, the central panel decorated with a pine tree, bamboo and cranes, dia. 15”. [1000/1500] Illustrated

1037 Five-Piece Collection of Chinese Export Garnitures, 20th century, in the tobacco-leaf style, including a pair of beaker vases, h. 8”, dia. 4‑1/2”, and three ginger jars, h. 9‑1/2”, dia. 3‑3/4”. [1000/1500] Illustrated

282

1040

1039 1038 George III Mahogany Secretary Bookcase, fourth quarter 18th century, the dentillated and pierced broken swan’s-neck pediment above two astragal-glazed doors, in Gothic patterns, the lower section fitted with a pull-out secretary drawer opening to a variety of drawers and cubbyholes, over a carved gadroon banding and two paneled cupboard doors opening to a compartmented folio holder to one side, raised on a plinth base, h. 99”, w. 47”, d. 21”. [2000/4000] Illustrated 1039 George II Japanned Tall Case Clock, ca. 1728‑1739, London, England, composed of oak Japanned with chinoiserie designs, the door decorated with pagodas and Mandarin figures on bridges, the brass dial with pierced brass spandrels, with a steel chapter ring, and an upper steel nameplate cover reading “Alex. Giroust, Coventry Street, London”, h. 92‑1/2”, w. 20‑1/2”, d. 10‑1/2”. [1400/1800] Illustrated 1040 George III Ebonized Chest, early 19th century, the rectangular top with a gilt and polychrome scene in the chinoiserie manner, above a conforming case fitted with two short drawers over three graduated long drawers, all decorated en suite, raised on bracket feet, h. 37”, w. 41”, d. 22‑1/2”. [1500/2500] Illustrated 1038

283

1041 English Chippendale-Style Giltwood Pier Mirror, second quarter 20th century, the handsome pierced surround carved with rocaille work and flowerheads, the crest decorated with incised diapering and a shell finial, the upper plate set with an eglomise black- and gilt-painted Mandarin scene, h. 87‑1/2”, w. 39‑1/2”. [1500/2500] Illustrated 1042 George III Ebonized Chinoiserie Cabinet, early 19th century, the broken molded cornice above a case fitted with two doors, the lower section fitted with two cabinet doors, raised on bun feet, the whole richly decorated with gilt and polychrome figural scenes in the chinoiserie taste, h. 88”, w. 39”, d. 20”. [1000/1500] Illustrated 1043 Chinese Export Lacquered Secretary Dressing Cabinet, early 19th century, the scrolling crest centered by a shell carving and above two doors opening to a variety of drawers and cupboards surrounded by a central mirrored cabinet, over a removable box section, the top bisected and opening to various storage compartments, two lidded, over a single long drawer, the box removing to a plain surface, raised on cabriole legs ending in paw feet, the whole richly decorated in delicate gilt patterns in the chinoiserie taste, h. 61‑1/2”, w. 26”, d. 25‑1/2”. [1000/1500] Illustrated

1042

284

1041

1043

1044

1046

1045 1044 Turkish Angora Oushak Carpet, 10’ x 13’ 10”. [1500/2500] Illustrated 1045 Turkish Angora Oushak Runner, 2’ 7” x 28’ 10”. [800/1200] Illustrated 1046 Semi-Antique Persian Heriz Carpet, 10’ 4” x 13’ 2”. [3500/5000] Illustrated 1047 Antique Persian Qashqai Carpet, 5’ 10” x 9’ 3”. [3000/5000] 1048 Turkish Angora Oushak Carpet, 8’ 10” x 12’. [1200/1800] Illustrated 1048

285

1049 Semi-Antique Kerman Carpet, 11’ 9” x 15’ 6”. [3000/5000] Illustrated 1050 Turkish Angora Oushak Carpet, 8’ x 11’ 4”. [1400/1800] Illustrated 1051 Antique Persian Lavar Kerman Carpet, 8’ 2” x 11’ 5”. [3000/5000] Illustrated

1049

1050

286

1051

1054

1052

1052 Turkish Angora Oushak Carpet, 8’ 1” x 10’. [900/1200] Illustrated 1053 Turkish Angora Oushak Carpet, 10’ 1” x 13’ 9”. [1400/1800] 1054 Antique Persian Tabriz Carpet, 8’ 7” x 11’ 4”. [3000/5000] Illustrated 1055 Fine Agra Serapi Carpet, 9’ 1” x 13’ 4”. [1800/2500] Illustrated 1056 Karabagh Runner, 3’ x 15’. [700/1000] Illustrated 1057 Turkish Angora Oushak Carpet, 8’ 9” x 11’ 9”. [1000/1500]

1055

1056

287

1058 Turkish Angora Oushak Carpet, 12’ 1” x 14’ 10”. [1800/2500] Illustrated 1059 Antique Kerman Carpet, 9’ 9” x 13’ 9”. [2000/4000] Illustrated

1059

1058

288

1060 Antique Oushak Carpet, 13’ 9” x 17’ 7”. [3000/5000] Illustrated 1061 Semi-Antique Silk Prayer Carpet, 2’ 10” x 4’ 7”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [600/900] Illustrated

1061

1060

289

Conditions of Sale: ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED.

1. Introduction (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG; • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot; • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction; • “Buyer’s Premium” is defined in Section 4 below; • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction; • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction; • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges; • A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below; • The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot; • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot; • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms.

2. Before the Auction (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARANTY AGAINST REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion.

(c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/ or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer.

3. At the Auction (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/ or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid).

(iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.

(d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever.

4. After the Auction (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 25% of the Hammer Price (discounted to 22% if the method of payment is by check, cash, or wire transfer by the end of the day on the fifteenth calendar day following the conclusion of the Auction) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or 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. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation.

(f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction. (g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved. (i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5.Copyright The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it.

6. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

7. Data Collection In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure.

8. Law and Jurisdiction The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

New Orleans Auction Galleries Susan D. Sarofim

Tessa Steinkamp

Ashton Thomas

CEO

Director of Auctions

President

FINE ARTS:

FURNITURE:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

consignments

Director of Fine Arts Continental and American; Prints and Maps

Michele M. Carolla

British and American; Sculpture

DECORATIVE ARTS: Ireys Bowman

Continental and English

Nicole Casi, PhD

American, Continental and English

Continental and English

Greg S. Kowles

American, Continental and English

BOOKS, MANUSCRIPTS & EPHEMERA:

Charles C. Cage Jewelry:

Thomas Halverson American

Kim Lemon FINE CARPETS & TEXTILES:

Josh Broussard

Southern Regional

Sean Ranson

a d m ini s t r at ion Burke

Colleen Ryan

Taylor Eichenwald

Charles C. Cage

Nicole Casi, PhD

Christa Ougel

Research

Graphic Designer

Denise Haik

Gary Michael Gittelson

Office Administration

Photographer

Justin Gray

Alexis Kopituk

Cord McPhail

Grace Connors

auctioneers

consultants

ope r at ion s

Tessa Steinkamp #1265

Ellen McKenzie

Cedric Roberts | Sean Ranson

Designer

Office Manager

Administrative Assistant

Ashton Thomas #1833 Michael DeGeorge #1774 Taylor Eichenwald #1922

Director of Human Resources

Photographer

English and Continental Furniture

Ira Savoie

Independent Certified Gemologist Appraiser

Felicia S. Yao Asian Arts

James Callahan Robin Ruiz #1114

Asian Arts

Marketing & Public Relations

Graphic Designer

Manager of Cakebread Auctions

Bennie Amos | Eddie Daigrepont Emmitt Kendrick, Jr. Gerald Hampton | Juanita Bazile Sol Carter | Thomas Johnson David Abney | James Collins