New Orleans Auction Galleries Feb, 2013 Catalogue by New Orleans Auction Galleries

After the papers were signed in June 2012, and I officially owned New Orleans Auction Galleries, I sat at my desk with a list of things to do and new things to learn. It was a long, intimidating list. However, there is one item included that the auction does with great regularity that I knew I could handle: giving parties. I love a good party, and I love to give a good party, so I started planning the December party in June while working on the other list. We knew we wanted a celebrity guest which was easy. I asked my friend, Joanne King Herring, an international figure and legendary party giver in her own right to join us. As Joanne said in her book, “Diplomacy and Diamonds: My Wars from the Ballroom to the Battlefield,” “Parties in the 1970s were elegant and opulent: black ties every night, limos, caviar, Champagne … oh, it was grand.” Her parties today have the same elegance, panache, and excitement and are unforgettable. And thus we worked to make our party grand, too! We had more than 300 guests for the December grand reopening and it was an evening none of us at the Auction will ever forget. And then the three-day auction was a tremendous success with 1.7 million in sales. What a way to end 2012. I would like to thank all of our consigners and buyers who had the courage to continue to work with NOAG through the trying years and the transition following the sale. It goes without saying: we could not have done it without you. With that fabulous close to the year behind us, when Ashton Thomas, NOAG’s president, our staff and I sat down to plan the 2013 auctions, we decided we should think a little outside of our regular box. Our first step toward that goal came when Ashton, along with Ehrhardt PR Group, arranged a partnership with Gambit Weekly, a New Orleans paper, for a special January auction, “Bidders, Brunch and Bubbles,” featuring six local designers who took our period pieces and combined them with contemporary collections to create six fresh, wonderfully imaginative vignettes. We featured Nomita Joshi-Gupta, Chet Pourciau, Shaun Smith, Elizabeth Sullivan, Jennifer Cheatham, and NOAG’s own designer, Lynn Bowker. The event included a Champagne brunch donated by Martin Wine Cellar, which judging by how fast the food disappeared, was a huge success! It was a privilege to be part of such an innovative effort that brought so many talented individuals together with the combined goal to show novice collectors how affordable many antiques are and how to combine these pieces with their own furniture. We have an exciting announcement to make for our next auction, which will be held Feb. 23 and 24. NOAG is working with the George Rodrigue Foundation of the Arts to raise funds for its mission: motivating and engaging students and educators and encouraging arts-infused and arts-integrated curriculums. The foundation hosts an Annual Scholarship Art Contest, an Education Center in New Orleans where they offer summer art camps along with educational development and special events as well as a host of other educational services. My favorite is George's Art Closet which distributes art supplies to schools all over Louisiana. We are delighted to have the opportunity to offer Rodrigue’s “My Yellow Oak.” The proceeds from this sale will be used to provide George’s Art Closet with supplies. Please join us at our February preview party, Feb. 21, 5:30 to 8 p.m. and at our two-day auction, Feb. 23 and 24. You may want to bid on “My Yellow Oak” for your collection and have the opportunity to support art education in Louisiana at the same time! It’s a win-win opportunity!

See you in February!

Susan D. Krohn CEO

5 4 Chinese Porcelain Covered Wine Jar, 20th century, Yuan style, heaped and piled underglaze blue decoration of figures in a landscape, h. 19‑1/2”. [200/400]

1 1 Wong Wang Fei (Hong Kong, b. 1940), “Landscape VI”, 1970, ink on paper, mounted as a scroll, signed and stamped, titled and dated verso, 92‑1/2” x 41”. Unframed. [400/700] Illustrated Wong Wang Fei studied Chinese ink painting and its history under Lui Shou Kwan in Hong Kong, before being accepted at the School of The Art Institute of Chicago where he received a Master of Fine Arts. He participated in numerous group exhibitions including “In Tao Arts Association”, 1968, 1970, and 1972 exhibitions, City Hall, Hong Kong; “Exhibition of Contemporary Hong Kong Art”, 1969‑1970, City Museum and Art Gallery, City Hall, Hong Kong; “Young Artists of Hong Kong 1970”, City Museum and Art Gallery, City Hall, Hong Kong; and “Art Now-Hong Kong, Ink Painting 1”, City Museum and Art Gallery, Hong Kong, which was featured in the Arts of Asia Magazine, September-October issue of 1971. 2 Wong Wang Fei (Hong Kong, b. 1940), “Blue Landscape”, color ink on paper mounted as a scroll, signed and stamped, 46” x 29”. Unframed. [300/500]

3 Large Chinese Porcelain Jar, 20th century, Yuan-style decoration of floral scrolling with wave and phoenix borders, h. 30”. [800/1200] Illustrated

5 Chinese Porcelain Vase, 20th century, the Ming-style bottle-shaped vase with underglaze blue decoration of an historical scene, h. 18”. [700/1000] Illustrated 6 Chinese Porcelain Stem Cup, 19th century, the cup with a dark blue glaze, and with a six-character Wan Li mark in Kai Shu script on the base, h. 4”. [400/700] 7 Chinese Blue and White Porcelain Hat Stand, late 19th century, the cylindrical form hat stand with underglaze blue decoration of the “Hundred Antiques”, now drilled and mounted as a lamp and fitted with a custom silk shade, overall h. 11”. [250/400] 8 Chinese Porcelain Vase, 20th century, the vase in underglaze blue decoration with peacocks in reserves on a floral scroll ground, h. 31‑1/2”. [200/400] 9 Pair of Chinese Blue-and-White Ginger Jars, early 20th century, each with a flat lid above a rounded body with a scene of buildings on a shoreline, h. 9‑1/2”. [150/300]

10 10 Chinese Porcelain Covered Jar, 20th century, underglaze blue decoration of a garden party, h. 10‑1/2”, dia. 10‑1/2”. [400/700] Illustrated

11 11 Pair of Chinese Porcelain Vases, late 19th century, square form with a round flaring neck, underglaze blue decoration of lotus flowers, now drilled and mounted as lamps, h. 20‑1/2”. [800/1200] Illustrated 12 Chinese Porcelain Brush Washer, early 20th century, the conch-shell-shaped washer with underglaze blue floral scrolling and an orange glazed well with a gold landscape, six-character Ch’ien Lung mark on the base, w. 2‑1/2”, l. 3‑1/2”. [300/500] 13 Group of Three Blue-and-White Chinese Vessels, late 19th/early 20th century, consisting of a ginger jar with a flat lid and a stylized landscape, h. 7‑1/2”, a ginger jar with a domed lid and prunus blossom designs, h. 6”, and a small hexagonal jardiniere with reticulated panels, h. 4”. [150/300] 14 Pair of Chinese Polychrome Fish Bowls/Tree Tubs, each of circular bulbous form, the lips with floral accents above the cobalt bodies with Koi accents, raised on ebonized X-form stands, h. 23‑1/2”, dia. 20‑1/2”. [1000/1500] Illustrated

17 White Porcelain Snuff Bottle, 19th/20th century, the vase-shaped bottle with blue and red paintings of archers on a field, well hollowed with a purple Peking glass top and brass spoon, h. 3”. [200/400] 18 Chinese Enameled Copper Snuff Bottle, 20th century, of flattened round form, decoration of reserves of birds and flowers, yellow borders with floral scrolls, four-character Ch’ien Lung mark on base, h. 3”. [100/200] 19 Chinese Porcelain Snuff Bottle, 20th century, transfer-decorated with children playing, Ch’ien Lung mark on the base, h. 3‑1/2”. [125/250]

15 Chinese Blue and White Porcelain Garden Seat, 20th century, the drum-shaped seat decorated with stylized lotus scrolls in underglaze blue, h. 17”. [250/400] 16 Chinese Porcelain Cup, 20th century, the finely painted cup with underglaze blue decoration of the three fruits, a Yung Cheng mark on the base, h. 2‑1/2”, dia. 3‑1/2”. [600/900] Illustrated

20 Anglo-Colonial Rosewood Settee, second quarter 19th century, the shaped caned back surmounted by a pagoda-form crest with floral patera, joined by outscrolled caned arms to the like seat, raised above a foliate-carved frieze and pierced-ring apron on reeded feet headed by floral patera and ending in casters with custom-upholstered bolsters and cushion, h. 37”, d. 27”, l. 91‑1/2”. [2500/4000] Illustrated

21 Two Chinese Stacking Food Boxes, 20th century, red and black lacquer inset with porcelain panels, h. 12”, w. 10”, d. 6”. [500/800] Illustrated

25 Pair of Chinese Rosewood Stands, 20th century, round with inset grey marble panels, h. 3”, dia. 5”. [250/400]

22 Chinese Stacking Food Box, 20th century, red lacquered surface with incised polychrome lacquered flowers, h. 19‑3/4”, w. 14”. [150/300]

26 Wood Grain Jasper Snuff Bottle, late 19th/early 20th century, the bottle with a flattened round shape, the grains in the stone resembling wood, well hollowed with a Peking glass goldstone top with a brass spoon, h. 3”. [200/400]

27 Leopardskin Jasper Snuff Bottle, late 19th/early 20th century, the bottle with a flattened oval shape, well hollowed with a matching top and carved ivory spoon, h. 2‑1/2”. [150/300]

23 Chinese Altar Table, 20th century, the elmwood table with two drawers over three, with burgundy lacquer, h. 40‑3/4”, w. 47”, d. 15‑1/4”. [300/500] 24 Three-Piece Suite of Chinese Rosewood Furniture, first half of the 20th century, comprised of a pair of chairs with a matching table, the pair of yoke-backed chairs finely carved and pierced with foliation, chair h. 39‑3/4”, table h. 30‑1/2”, w. 15‑3/4”, d. 22‑1/2”. [2000/4000] Illustrated

28 Chinese Art Jasper Snuff Bottle, late 19th/early 20th century, the bottle in a flattened round shape, well hollowed with a red jasper bloodstone top with a brass spoon, h. 3”. [200/400] 29 Fossilized Coral Snuff Bottle, late 19th/early 20th century, the bottle in a flattened oval shape, well hollowed with snuff residue inside, the sodalite top with a carved ivory spoon, h. 2‑5/8”. [150/300] 30 Chinese Porcelain Snuff Bottle, 19th century, the cylindrical-form bottle decorated in underglaze blue and red with an equestrian figure in a mountain landscape, a Yung Cheng six-character mark on the base, coral stopper, h. 3”. [400/700] Illustrated

31 Cobalt Blue Peking Glass Snuff Bottle, 20th century, the bottle in the shape of a vase, carved with stylized lotus and bats descending from the sky, well hollowed with snuff residue inside, with a red coral top and brass spoon, h. 2‑1/2”. [200/400]

32 Chinese Pink Quartz Snuff Bottle, late 19th/early 20th century, the oval-shaped bottle with frosted bands throughout, well hollowed with a red coral top and brass spoon, h. 3‑1/4. [200/400] 33 Marble Sculpture of a Dutch Girl, ca. 1900, Continental, figure depicted standing outside on a windy day, with wooden shoes, a billowing skirt and apron and holding a book with one finger held up in thought, h. 14”, w. 6‑3/4”, d. 6‑1/4”. [300/500]

35 Royal Worcester Partial Dessert Service, ca. 1900, English, the service consisting of twelve plates, dia. 9”, a pair of dishes, dia. 9‑1/4”, and a pair of fruit tazze, h. 6‑1/4”, dia. 9‑3/4”, decorated in the Adams revival style, the mauve borders hold swags of green bellflowers, a covered rose diapered urn decorates the center of each piece with scattered butterflies, marked “Royal Worcester 1900” along with the retailer, “Mortlock’s of Oxford Street” and “leadless glaze”. [1500/2500] Illustrated 36 Pair of Continental Hand-Painted Floral Dishes, fourth quarter 19th century, the scalloped dishes with a bleu de France border patinated with gilt cartouches, framing handpainted flowers on a rich, gilt ground, trimmed with a rococo raised gilt border, marked with a spurious gilt anchor in the Chelsea style, dia. 8‑1/2”. [400/700]

detail

34 Suite of Six George III-Style Mahogany Sidechairs, each with a shaped foliatecarved crest above a star and fleur-delis-carved splat, the padded seat raised above a fluted frieze on tapering circular fluted legs ending in toupie feet, h. 38”. [2500/4000] Illustrated

37 George III-Style Mahogany Writing Table, late 19th century, the shaped rectangular top with an inset gilt-tooled leather writing surface and floral guilloche-carved edge, above a conforming frieze fitted with two drawers, above an acanthine-carved frieze, raised on cabriole legs headed by acanthine carving and ending in pad feet, h. 31”, w. 42‑1/2”, d. 21‑1/2”. [600/900] Illustrated

38 George III-Style Mahogany Commode, in the Chippendale rococo taste, the shaped rectangular banded top above a case fitted with two long banded drawers above a pierced foliate-modeled giltwood apron, raised on cabriole legs ending in scroll toes, h. 34”, w. 43”, d. 24”. [2000/4000] Illustrated 39 Collection of Matching English Rockingham-Type Dinnerware, mid-19th century, with raspberry borders highlighted with a gilt scrollwork frame, and with shelledged panels of gilt and peach feather decoration, the collection comprised of an oval covered tureen with open handles, molded lid with an oak leaf and twig-molded knop matching the handles, h. 7”, w. 9‑1/4”, l. 13‑1/2”, a double lipped sauce boat with a matching serpentine stand, h. 4‑3/4”, w. 10‑1/4”, d. 6‑1/4”, six matching cups and saucers, h. 2‑3/4”, dia. 5‑1/2”, and six dessert dishes, dia. 5”, marked with a “513” gilt pattern. [300/500] Illustrated

41 detail

40 Victorian Flow Blue Partial Tea Set in the Imari Palette, fourth quarter 19th century, cobalt borders trimmed in gilt and punctuated with orange flowers decorate the set, the central panels depicting pots of flowers, the set comprised of twelve cups, h. 2”, and eleven saucers, dia. 5‑1/2”, eleven plates, dia. 7‑1/2”, a pair cake plates, dia. 9‑1/2”, and a cream jug, h. 4‑1/2”, marked with pattern number 988. [300/500] 41 Suite of Fourteen Early Victorian Mahogany Sidechairs, third quarter 19th century, each with a domed back above an interlaced oval splat, the padded seat raised on tapering circular fluted legs ending in toupie feet, h. 36”. [1000/1500] Illustrated

42 Suite of Four Victorian Mahogany Chairs, fourth quarter 19th century, each with a carved crest rail and central splat, raised on turned legs, h. 37”. [300/500]

43 Carved Lapis Lazuli Scarab Paperweight, Afghanistan, total approximate weight 676 carats, w. 1‑1/2”, l. 2‑1/2”. [600/900] Illustrated

44 Carved Rubellite Scarab Paperweight, total approximate weight 544 carats, w. 1‑3/4”, l. 2‑1/4”. [500/800] Illustrated 45

45 Carved Chalcedony Scarab Paperweight, total approximate weight 116 carats, w. 1”, l. 1‑1/2”. [150/300] Illustrated

47 Cast-Bronze Egyptian-Revival Jewel Box, molded as a chest with bas relief Egyptian-style hieroglyphics and images, with a beveled cover decorated to match and a velvet lining, marked with a lion in a shield, the same symbol and E.S. is on the key, h. 2‑1/2”, w. 4”, d. 2‑3/4”. [400/700] 48 Benjamin Williams Leader (British, 1831‑1923), “Landscape With a Riverside Cottage and a Figure Resting at the Fence”, oil on canvas, signed lower right “B.W. Leader”, 12” x 20”. Presented in a period giltwood and gesso frame. [2000/4000] Illustrated

48 46 Victorian Polished Steel Sphinx English Brewer’s Advertising Mascot, third quarter 19th century, Northernhay Brewery, Exeter, the recumbent mythological beast, cast in two halves and bolted through the plinth base, cast with the motto “Puritas Viresque”, h. 28‑1/2”, l. 40”, w. 12”. [1000/1500] Illustrated

This handsome figure was the trademark of the Northernhay Brewery, which opened around 1846 under the direction of John Hyett at the premises of the Devon & Exeter Foundry on New North Road, Exeter. Heyer was probably responsible for casting the large sphinx which appeared on the pediment of the building, adorned with the brewery’s motto “Puritas Viresque” (“Pure and Strong”). The brewery was assumed in 1869 by the Bristol firm of Charles Garton Russell & Co., which retained the sphinx logo. The company changed hands again briefly in 1900 before it was replaced by a tent and tarpauling manufacturing company. The building was demolished in November 1991, and was replaced by Longbrook House, a new block of offices for the Inland Revenue; the original sphinx, a long-time feature of the area, was refurbished and placed in a niche above the main entrance to the new building. The origin of the present lot is unknown, though undoubtedly it was used to promote the brewery’s wares at one of its retail venues.

49 Victorian Ebonized and Polychrome Center Table, third quarter 19th century, the circular tilting top featuring an elaborate scene of exotic birds in a lush floral landscape, raised on a bulbous standard to a circular base to scrolling feet, the base with floral accents, h. 28”, dia. 41‑1/2”. [600/900] Illustrated

49 52

50 Victorian-Style Ebonized and Mahogany Occasional Table, the circular top with a cut-out shaped edge and with gilt accents of a castle scene, raised on a ribbed and foliate standard to a circular base on scrolled toes, h. 26‑1/4”, dia. 21‑1/4”. [200/400]

51 Victorian Ebonized Papier Mache Center Table, third quarter 19th century, the tilting shaped ovoid top centered by an inlaid motherof-pearl floral spray within a gilt scrolling foliate banding, raised on a bulbous standard to a concave molded square base on scrolled toes, h. 27”, w. 28”, d. 23”. [500/800] Illustrated

52 Napoleon III Line-Strung, Brass and Porcelain Mounted Ebonized Cabinet, third quarter 19th century, the top with inlaid perimeter stringing and brass beading at the edge, the inlaid frieze centered by a porcelain plaque in the Sevres manner, the single door with a glazed panel flanked by inlay and gilt-brass mounts, h. 43”, w. 34‑1/4”, d. 14”. [600/900] Illustrated

53 Pair of Victorian Marble, Bronze and Cut-Glass Cornucopia Vases, third quarter 19th century, English, the black marble plinths support bronze moose heads holding the vases, which are cut in a honeycomb pattern with a serpentine scalloped edge, h. 7”, w. 8”, d. 4‑3/4”. [500/800] Illustrated

54 54 English Staffordshire Partial Dessert Service, second quarter 19th century, the Rockingham-style set with tan borders framed in gilt scrolls surrounding a white field decorated with scattered polychrome flowers, the set comprised of fourteen dessert plates, dia. 9‑1/4”, and a pair of oblong footed comports with handles in the form of bowknots, w. 8‑3/4”, l. 12‑1/2”, unmarked except for the pattern number “478”. [400/700] Illustrated

55 Hand-Painted Continental Fish Set, ca. 1900, probably Limoges, comprised of an oblong fish platter, w. 10‑1/2”, l. 24”, a sauceboat, h. 5”, w. 8‑1/4”, d. 6”, and eight plates, dia. 9‑1/4”, all molded with gilt shell edges and hand-painted with fish and flora on a salmon ground. [800/1200] Illustrated

56 Set of Twelve Copeland Spode Artist-Signed Cabinet Plates, ca. 1937, English, the cream-colored plates with a simple gilt trim and hand-painted reserve panels, each hand-painted with a different fish identified on the rear, each signed “Spode Copeland’s China England” on the rear and most signed “J. Fenn”, dia. 9‑1/2”. [1000/1500] Illustrated

58 Wedgwood Jasperware Jardiniere, ca. 1891‑1914, English, the dark blue body decorated with swags of grape vines supported by ringed lion’s heads, over neoclassical figures representing the arts, impressed Wedgwood and England on the base, h. 8”, dia. 9‑1/4”. [200/400] 59 Large Victorian Blue and White Jasperware Cheese Dish, fourth quarter 19th century, English, both the rounded base and lower portion of the cover bordered with bands of oak leaves and acorns, the sides of the cover decorated with putti in various musical pursuits alternating with trees, urns and pots of flowers, the acorn-form knop framed with anthemia, h. 11”, dia. 10‑1/2”. [300/500]

60 English Design Reform Movement Silver Chest, fourth quarter 19th century, the stepped lid centered by decorative inlay and lifting to a lined tray, the front fitted with two like-inlaid drawers opening to four further lined tray drawers, raised on a conforming stand with similarly inlaid end supports joined by a stretcher and ending in runner feet, h. 39”, w. 28‑1/4”, d. 24”. [700/1000]

56 57 Pair of Vienna-Style Framed Cabinet Plates, ca. 1900, the plates depicting a seated male smoking, his beer mug at hand, the mauve borders decorated with raised gilt scrollwork and flowers, outlined in beading, set in rococo-style gilded frames, encased in black shadowboxes, h. 17”, w. 17”, d. 3”. [300/500]

64 Continental School (First Quarter 20th Century), “Still Life With Roses, Daisies and Hydrangeas”, oil on canvas, indiscernibly signed lower right, 31” x 25‑1/2”. Framed. [500/800]

65 French School (First Quarter 20th Century), “Floral Bouquets With a Blue Ribbon”, pair of oval oils on canvas, unsigned, 36” x 23‑1/2”. Presented in matching giltwood frames. [1500/2500] Illustrated

61 English Mahogany Metamorphic Sidechair, late 19th century, in the gothic taste, the back with crocket finials and a quatrefoil and arch-pierced splat, the wooden seat hinged and opening to form a four-rung library ladder, raised on square legs, h. 35”, [400/700] Illustrated

65 one of two

66 A. Klein (German, 19th Century), “Still Life with Peaches and Grapes”, oil on canvas, dated “August 1874” and signed lower right, 20 3/4” x 24 1/4”. Framed. [300/500]

62 Victorian-Style Cast-Iron Garden Bench in the Gothic Taste, with an arched back in gothic tracery patterns, flanked by stylized foliage, joined to scroll arms, the seat modeled as iron slats, the scroll apron centered by a classical masque, h. 43”, w. 52”, d. 20”. [500/800] 63 Jean Baptiste Robie (Belgian/British, 1821‑1910), “Floral Still Life With a Bird’s Nest on a Marble Ledge”, oil on canvas, signed lower left “J. Robie”. Framed. [3000/5000] Illustrated

67 Victorian Rosewood Stool, third quarter 19th century, the concave rectangular padded seat above a conforming molded frame, raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 18”, w. 22”, d. 17‑1/2”. [800/1200] 63

72 72 Angora Oushack Carpet, 9’ x 12’. [6000/9000] Illustrated 73 Turkish Angora Oushak Carpet, 9’ x 12’. [2000/4000] 68 Pate-sur-Pate Minton Aesthetic Pottery Vase, fourth quarter 19th century, the brown base designed to mimic an Oriental vase stand, and is bolted to the main vase, the baluster vase with a pink/grey body decorated with trailing pate-sur-pate vines and leaves, interrupted by a blue band of gilt-trimmed plum branches and blossoms, the sides set with elephant head handles grasping gilt rings, inscribed “MINTONS” on the base of the main vase, between it and the stand, h. 11‑1/4”, w. 9”. [1800/2500] Illustrated

74 Hand-Knotted Wool Agra Carpet, 9’ x 12’. [3000/5000] Illustrated

69 Chinese Export Lacquer and Pewter Tea Caddy, mid-19th century, the rectangular caddy decorated on the cover with a temple set within a grove of pine and willow trees, with floral decorated corners, two pewter liners with covers engraved with flowers and scrollwork and ivory knops, h. 4”, w. 8”, d. 5‑1/2”. [150/300] 70 Unusual Victorian Lacquerwork and Steel Letter Box, third quarter 19th century, English, the box resting on steel ogee feet, the molded sides with steel trim and a pierced steel lock surround, the slant lid trimmed in pierced steel fretwork, and a central steel cartouche matching the keyhole surround, the compartmented interior lined with gilt foil paper, the inkpot compartments with faceted steel knobs on their covers, h. 5”, w. 7‑1/2”, d. 4”. [500/800] 71 Donegal Carpet, 6’7” x 10’. [1800/2500]

79 76 75 Donegal Runner, 3’3” x 10’6”. [900/1200] 76 Tabriz Carpet, 7’4” x 11’1”. [2500/4000] Illustrated 77 Louis-Philippe-Style Aubusson Carpet, 7’ x 10’. [800/1200] 78 Angora Oushack Carpet, 9’9” x 14’5”. [7000/10000] 79 Turkish Angora Oushak Carpet, 9’2” x 12’. [1500/2500] Illustrated

83 83 Semi-Antique Persian Tabriz Carpet, 6’6” x 9’3”. [1200/1800] Illustrated 84 Turkish Carpet, 9’ x 12’. [500/800] 85 Antique Persian Heriz Carpet, 7’8” x 10’6”. [2000/4000] Illustrated 86 Donegal Carpet, 4’3” x 6’8”. [800/1200] 87 Heriz Carpet, 10’8” x 13’2”. [4000/7000] Illustrated

80 Semi-Antique Kirman Carpet, 8’9” x 11’8”. [700/1000]

88 Semi-Antique Tabriz Carpet, 10’5” x 14’8”. [1200/1800]

81 Turkish Angora Oushak Carpet, 4’2” x 6’2”. [500/800]

89 Hand Woven Wool/ Silk Tapestry, 2’2” x 6’. [2000/4000]

82 Heriz Carpet, 7’7” x 10’9”. [2500/4000]

90 Semi-Antique Lilhan Carpet, 4’6” x 6’8”. [500/800] Illustrated next page

91 Louis XVI-Style Polychrome Four-Fold Screen, late 19th century, each panel with a polychrome wooden frame and stretched with canvas, depicting an oval medallion of a landscape suspended from a ribbon garland, over a floral basket and scene of cherubs over a swag-painted panel, the reverse with like painted panels, h. 75”, w. 128”. [3000/5000] Illustrated

93 Louis XVI-Style Polychrome Bed, early 20th century, the headboard padded and upholstered, surmounted by a ribbon and foliate-carved crest, joined by shaped scrolling foliate-carved rails to the padded footboard, all flanked by fluted uprights and raised on tapering fluted square legs, h. 49”, inside w. 56”, inside l. 72”, outside w. 60”, outside l. 78”. Provenance: Ken McKay, Baton Rouge, Louisiana. [800/1200]

92 Louis XVI-Style Polychrome Settee, mid-19th century, the padded rectangular back with foliate end finials, joined by padded downswept arms to the like seat, raised on tapering circular stop-fluted legs headed by floral block capitals and ending in peg feet, h. 37”, w. 68”, d. 26‑1/2”. [600/900] Illustrated

94 Louis XVI-Inspired Cut and Pressed Glass and Brass Twelve-Light Chandelier, third quarter 20th century, the prism-hung canopy over a segmented shaped glass stem joined to six brass arms with glass faces and florets, the two tiers of lights each draped with faceted glass teardrop prisms, the arms joined by beaded swags, h. 20”, dia. 26”. [400/700] Illustrated

95 Louis XVI Polychromed Trumeau Mirror, 18th century, the oil on canvas scene depicting Poseidon with a sailing vessel in the background, h. 50”, w. 28”. [500/800] Illustrated

98 Pair of Louis XVI-Style Polychrome Stools, early 20th century, each with a square padded top above a laurel garland and patera-carved frieze, raised on tapering circular legs headed by foliate bands and ending in ball feet, h. 20”, w. 18”, d. 18”. [800/1200] Illustrated

96 Pair of Continental Bronze Argente Two-Light Sconces, first quarter 20th century, in the Louis XVI taste, the backplates with a flat-column standard with vasiform finial, from which emanate a pair of acanthus scrolling arms, each terminating in a cylindrical nozzle with gadrooned drip-pan and detachable beaded bobeche, h. 11”, w. 6‑1/4”, d. 3‑1/4”. [250/400]

97 detail

97 Suite of Six Louis XVI Polychrome Fauteuils, late 19th century, each with a tapering padded rectangular back surmounted by a molded crest and foliate finials, joined by padded scrolling arms to the like seat, raised on tapering circular stop-fluted legs ending in toupie feet, h. 35”. [900/1200] Illustrated

101 Pair of French Louis XVI-Style Giltwood Mirrors, ca. 1900, each with an outer frame of egg-and-dart molding, containing the segmented antique glass, the inner lunette executed in a scale pattern, and the upper divisions bobbin-molded, h. 18”, l. 46”. [1200/1800] Illustrated 99

101 pair

99 Pair of Louis XVI-Style Polychrome Fauteuils, late 18th century, each with a padded medallion back within a molded frame, joined by scrolling arms to the like seat, raised on stop-fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 32”. [2500/4000] Illustrated 100 Louis XV-Style French Gilt-Bronze Sconce, the scroll-bordered backplate molded with cartouches, bellflowers, swags and strapwork, mounted with four scrolled candle branches, which are set with reeded drip pans and candle cups mounted with electrified candles with wax sleeves, hung with oval prisms and faceted crystal balls, h. 24”, w. 24”, d. 1‑1/2”. [300/500] Illustrated

102 Pair of Louis XVI-Style Kingwood and Marble-Top Semaniers, early 20th century, each with a rectangular top with projecting canted corners above a conforming case fitted with seven drawers, all banded, the central ones with an inlaid sunburst pattern, raised on tapering square legs ending in brass caps, h. 57”, w. 28”, d. 15”. [800/1200] Illustrated

102

100

105 Pair of French Kingwood and Marble-Top Encoignures, mid-19th century, each with a bowed and variegated marble top above a conforming case fitted with two cabinet doors, each one banded and quarterveneered, raised on bracket feet, h. 30”, w. 25”, d. 17‑1/2”. [1000/1500] Illustrated

103 103 Louis XVI-Style Polychrome Fauteuil, early 20th century, the padded tapering rectangular back surmounted by an annulated crest and floral finials, joined by padded acanthine-carved arms to the padded seat, raised on tapering circular stop-fluted legs ending in toupie feet, h. 37”. [400/700] Illustrated

105

106 Louis XV-Style Polychrome and Parcel-Gilt Bed, early 20th century, the shaped headboard surmounted by a shell and foliate crest over a shaped floral-patterned panel, joined by shaped rails to the lower footboard, featuring a shaped panel with a scene of courting courtiers in a pastoral landscape, all raised on foliate scrolled feet, h. 53”, inside w. 49”, inside l. 79”, outside w. 55”, outside l. 84”. [600/900] Illustrated

104

104 Pair of Belle Epoque French Bronze-Mounted Covered Garniture Urns, fourth quarter 19th century, the Louis XVI-style bronze bases with laurel leaf trimming below fluted conical feet, the yellow ground bodies decorated with neoclassical figures in an Arcadian landscape, one depicting a couple adjacent to a fountain, the other a male serenading a female in a garden, the obverses depict a lake of swans in a garden, the bronze ram’s head handles holding laurel wreaths, the covers decorated with hand-painted flowers and set with a bronze pinecone knop, h. 18‑1/4”, w. 10”, d. 6‑1/2”. [1800/2500] Illustrated

106

107 107 Pair of French Belle Epoque Gilt-Bronze and Walnut Three-Light Mantel Garnitures, fourth quarter 19th century, the turned bronze feet support conical burl walnut bases decorated with oak leaf and acorn bead trimmed borders of gilt bronze, the walnut urn-form standards hung with swags of gilt-bronze flowers supported by bow knots, the engine-turned gilt-bronze necks of the urns support gilt-bronze roses and leaves, three roses on each garniture fitted with candle sockets, h. 17.5". [250/400] Illustrated

108

108 Louis-XVI Paris Porcelain Period Cabaret Tray, 1781-1789, by the Duc d’Auvergne factory, rue de Bondi, of reverse serpentine square form, decorated with a central panel of a gilt bird on a branch within a red and gilt sprigged border, all on a gridded field of gilt sprigwork with berry centers, marked with a rouge de fer factory mark, w. 11‑1/2”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 327, no. 6. [800/1200] Illustrated

109 Follower of Francois Boucher (French, 1703‑1770), “Pastoral Landscape With a Shepherd and Shepherdess”, oil on canvas, fourth quarter 19th century, unsigned, 45” x 30”. Presented in a Louis XVI-style giltwood frame. [700/1000] Illustrated 109 110 German School (Third Quarter 19th Century), “Portrait of an 18th Century Gentleman, possibly Wolfgang Amadeus Mozart”, oil on canvas, unsigned, 25” x 20”. Presented in a Rococo-style frame. Provenance: The Estate of Joseph and Arlene Meraux, New Orleans, Louisiana [500/800] 111 Louis XV-Style Kingwood Side Table, late 19th century, the rounded rectangular top with inset leather surface and corner ormolu mounts, above a frieze fitted with a single shaped drawer, raised on cabriole legs headed by foliate mounts and ending in sabots, h. 28”, w. 20‑1/2”, d. 17”. [900/1200] Illustrated

111

112 Louis XV-Style Kingwood Side Table, early 20th century, the rectangular top quarter-veneered and with an intricately inlaid scrolling pattern, above a concave case fitted with two long drawers, raised on cabriole legs ending in sabots, the whole accented with ormolu mounts, h. 29‑1/2”, w. 20‑1/2”, d. 14”. [200/400]

113

113 Louis XV-Style French Gilt-Bronze Cartel Clock, fourth quarter 19th century, scrollwork ornamented with grapes and grape leaves frame the wall clock, a pair of putti serve as the finial, grillwork fills the voids created by the scrollwork, the dial set with enamel numerals in the chapter ring of the molded bronze dial, h. 32”, w. 17‑1/4”, d. 4‑3/4”. [1000/1500] Illustrated

114 Tiffany-Retailed Louis XV-Style French Gilt-Bronze Mantel Clock, ca. 1900, on a pierced, scrollfooted stand, the clock with cabriole legs, a lower grillwork panel and serpentine sides molded with leafage and shell-work, scrollwork piercing forming the finial, the enamel dial behind a convex glazed door, with delicately molded giltbronze hands, stamped both by Tiffany and the maker, Samuel Marti, h. 13‑1/2”, w. 9”, d. 5‑1/2”. [500/800] 115 Louis XV-Style Kingwood Bureau Plat, 20th century, the shaped rectangular top with an inset leather surface and brass banding, above a frieze fitted with a central drawer with a foliate-modeled ormolu panel, flanked to either side by a smaller drawer, raised on cabriole legs headed by ormolu acanthine scrolls and joined by ormolu millwork to paw feet, h. 30”, w. 62”, d. 34”. [4000/7000] Illustrated

116

116 Pair of French Bronze and Marble Louis XV-Style Three-Light Candelabra, a notched-corner marble base supporting a gilt-bronze column-form plinth, edged with acanthus leaves and bellflowers in the flutes, with an egg-and-dart top molding, supporting a patinated-bronze putto with garlands of ivy on the body and hair, holding the leaf-molded scrolling gilt candle branches, set with fluted and leaf-molded candle cups and beaded bobeches, h. 23‑1/2”, w. 10‑1/2”, d. 7‑3/4”. [1400/1800] Illustrated

117 French Louis XV-Style Bronze Figural Mount, fourth quarter 19th century, depicting a putto sitting on a fringed shawl embroidered with leaves and flowers, h. 13”, w. 11‑1/4”, d. 2‑3/4”. [250/400]

115

118 Suite of Eight Louis XV-Style Mahogany Fauteuils, 20th century, each with a shaped padded back surmounted by a foliate shell ormolu crest, joined by padded arms to the like seat, raised on cabriole legs headed by an ormolu mount continuing to sabots, h. 44”. [2500/4000] Illustrated

118

120 French Giltwood Looking Glass, 19th century, having a floral wreath cartouche and foliate scrolls terminating in cornucopia at the upper corners, h. 42”, w. 33”. [800/1200] Illustrated

118 detail

119 Louis XV-Style Gilt-Metal Mounted and MarquetryInlaid Kingwood Chest, the serpentine griotte rouge marble top over a case with a trio of conforming drawers, each with foliate and floral inlay, the returns with parquetry panels, h. 33‑1/2”, w. 25‑1/4”, d. 14”. [1000/1500] Illustrated

120

119

121 Pair of Louis XV Molded Brass Candlesticks, fourth quarter 18th century, French, the stepped serpentine bases support ribbed vase-shaped standards and matching candle cups, all retaining traces of original silvering, h. 9‑1/2”, dia. 5”. [250/400]

122 Pair of Tournai Chargers, third quarter 18th century, Belgian, soft paste porcelain, with serpentine gilt shell edges and molded, the sides painted with swags of bellflowers framing cobalt roses alternating with mauve bowknots supporting polychrome swags of flowers, the center panel, in a gilt shell edge, depicting a banquet of hand-painted flowers, marked with gilt crossed swords surrounded by four small crosses, the mark used from 1757, dia. 15”. Provenance: Earle D. Vandekar. [1400/1800] Illustrated

122

122 detail

125 Bell Epoque Louis XV-Style Oval Enamel Box, ca. 1900, French, the hand-painted box on a bleu de roi ground, the sides decorated with reserve panels depicting musical instruments, framed with gilt scrollwork and diapering, an engine-turned bronze bezel latches the lid to the base, hand-painted with a courting couple wearing 18th century costume, sitting in a garden, framed in raised gilt scrollwork, the interior lined with yellow watered silk, h. 2‑3/4”, w. 7‑1/2”, w. 5‑1/2”. [200/400]

123 Regence-Style Kingwood and Marble-Top Commode, mid-18th century, the shaped Rouge Royale marble top with molded edge above a conforming case fitted with two short drawers over two long drawers, all banded and quarter-veneered, raised on splayed legs, h. 35”, w. 51”, d. 24”. [1500/2500] Illustrated 124 German Art Nouveau Jardiniere, E & A Muller, the oval body planted with an art nouveau beauty, depicted in the center of sculpted orchids decorating the front, the sides with a bleu de France ground decorated with polychrome enamel bleeding heart vines, the sides and rim decorated with sinewy sculpted art nouveau flowers and tendrils, marked with an underglaze green “Corona” with a star, a shield and an M, in addition to impressed pattern numbers, h. 6‑3/4”, w. 11‑1/2”, d. 6”. [200/400]

126

123

126 Raised Gilt Paris Porcelain Tea Set, second quarter 19th century, the set comprised of a teapot, h. 7”, a coffee pot, h. 8‑1/2”, a sugar basin, h. 4‑1/4”, a waste bowl, h. 4‑1/4”, and seven cups with eight saucers, h. 3”, dia. 5‑3/4”, the bleu de France ground bodies decorated with panels of birds and butterflies, framed in raised scrollwork, unusual raised gilt designs of anthemia and medallions adorn the teapot, sugar basin, coffee pot and cream jug. [800/1200] Illustrated

127 Set of Twelve Raised Gilt Service Plates, first quarter 20th century, Czechoslovakia, wide raised gilt borders depict scrollwork and flowers on a stippled ground, the inner bleu celeste border framed with a small interior raised gilt border, marked “Crown Imperial, Czechoslovakia”, dia. 10‑1/2”. [400/700]

131

128 Pair of French Antique Engravings of Silver Patterns, each sheet 18” x 24 1/2”. Attractively float-mounted and framed. [300/500]

131 Sevres Petit Dej euner Set, fourth quarter 19th century, French, the set consisting of a cabinet tray, w. 12”, d. 12”, an inverted pear-shaped coffee pot, h. 6‑3/4”, a covered sugar bowl, h. 4‑3/4”, and four demitasse cups with saucers, h. 5”, dia. 3‑1/4”, all decorated with a bleu celeste ground, the set with white borders decorated with gilt ivy meanders, and reserve panels of two putti holding a laurel wreath around a crowned LP, all in gilt, each piece with three overglaze marks; a blue rondel marked “Sevres, 1844”, a green oval S.40, and a rouge de fer Chateau de Tuilleries rondel mark. [1000/1500] Illustrated

129

129 George III Mahogany and Various Exotic Woods Side Table, in the Hepplewhite manner, the serpentine top centered by a large inlaid floral spray within a floral lattice background, above a conforming shaped frieze, raised on cabriole legs, h. 35‑1/2”, w. 48”, d. 26‑1/2”. [1200/1800] Illustrated

132 Rare Antique Chinese Straw Hat of Conical Form, Qing Dynasty, together with an additional cobalt glass and brass-mounted finial, h. 8”, dia. 10”. [500/800] Illustrated

132

130 Twelve French Gilt-Brass and Ivory Place Card Holders, first quarter 20th century, the pierced, leafmolded holders decorated with ivory portraits of women from French court, each identified and under glass, h. 1”, w. 3/4”. [100/200]

133 133 Fine Chinese Imperial Yellow Kesi Woven and Embroidered Silk Dragon Robe, Qing Dynasty(1644‑1911), the dragons finely stitched with gold thread, l. 64”. [5000/8000] Illustrated 134 Pair of Chinese Linen and Embroidered Silk “Lotus Shoes”, 19th century, the soles finely quilted, created to fit the bound feet of an upper class Chinese lady, h. 2‑1/4”, l. 5”. [100/200]

135 Mounted and Framed Silver Alloy Asian Wedding Necklace, having concentric chased rings and spiral pendants, h. 17”, w. 17”, overall. [250/400] Illustrated 136 Two Chinese Ceremonial Court Robe Collars, first quarter 20th century, Qing dynasty, made of cutwork, embroidered and beaded silk, the polychrome dollars decorated with scrollwork and flowers, with various elements attached with beadwork, dia. 21‑1/2” and 25”. [600/900]

135 137 Chinese Woven and Embroidered Pleated Silk Skirt, late Qing dynasty, having dragon motifs against the jade green silk outer layer, and having a robin’s egg blue silk lining, l. 36”. [500/800]

138 Chinese Color and Ink Scroll Painting, a delightful abstract vision of a rural Chinese village with clustered buildings in the background and birds in flight, a willow tree in the foreground, the painting drawing the eye to discover all the aspects of the artist’s vision which is rendered simply and boldly, l. 70‑5/8”, w. 31‑3/4”. [200/400] 139 Chinese Ink Scroll Painting, a dramatic ink wash on paper painting in the artist’s classic style depicting a range of high peaked mountains with a vertical central river running through a deep, eroded gorge, the river with a group of river men in their boats navigating the river and with two rural villages, one on each side of the river with the shading of the mountains, bears the signature Li Keran, l. 68‑1/4”, w. 24‑5/8”. [200/400] 140 Chinese Woven Kesi Silk Panel, 19th century, depicting flying dragons amongst the clouds, w. 18”, l. 60”. [500/800] Illustrated

140

144 Pair of Porcelain Covered Jars, 20th century, the oval-form jars with underglaze blue decoration of a long poem in Chinese characters, h. 14”. [500/800] 145 Chinese Blue-and-White Pottery Storage Jar, early 20th century, the knopped lid above a tapering circular body, decorated with a floral and foliate band over a like-decorated body, h. 11‑1/2”. [100/200] 146 Chinese Altar Table, 19th century, the rosewood (Hung Mu) ornately-carved table, pierced with birds, flowers, kylin, deer and bamboo, foo dog mask legs ending in dragon carp, heavily inlaid with carved mother-of-pearl and inset with grey marble plaques, h. 54”, w. 109”, d. 23‑3/4”. [8000/12000] Illustrated

142

141 Four Chinese Wall Plaques, 20th century, each with a black lacquer inset with female figures carved from marble, bone and mother-of-pearl, h. 36”, w. 12”. [300/500] 142 Chinese Porcelain Wine Ewer, 20th century, finely made study of an early Ming period underglaze blue decorated vessel, h. 11‑1/4”. [6000/9000] Illustrated 143 Group of Eight Chinese Blue-and-White Earthenware Dishes, 20th century, consisting of an assembled set of six rice bowls, all with scrolling foliate patterns, h. 2‑1/2”, dia. 5‑1/4”, largest, and a nested set of two dishes, each of circular form with a raised canted edge, dia. 10‑1/4”, largest. [75/125]

147 Chinese Altar Table, 19th century, the rosewood (Hung Mu) ornatelycarved table, pierced with birds, flowers, kylin, deer and bamboo, foo dog mask legs ending in dragon carp, heavily inlaid with carved motherof-pearl and inset with a grey marble plaque, h. 36‑1/2”, w. 45”, d. 45”. [6000/9000] Illustrated 148

146 148 Unusual Chinese Export Porcelain Imari Vase, the body decorated with alternating vertical bands of decoration, trails of peonies on a white ground and a cobalt ground overlaid with gilt grid work, punctuated with floral cartouches, the neck decorated with blue fretwork, h. 30‑1/4”, dia. 11‑3/4”. [400/700] Illustrated

147

149 Chinese Porcelain Covered Box, 20th century, the cobalt blue glaze gilt-decorated with bats, Shou and wan characters with three fruits, Hsien Feng mark on the base, dia. 7”. [600/900]

156 Translucent White Peking Glass Snuff Bottle, 20th century, the round-shaped bottle with a single red glass overlay of an Imperial three-toed dragon, well hollowed with snuff residue inside, with a red coral top and brass spoon, h. 2‑3/4”. [200/400] 157 Chinese Glass Snuff Bottle, 19th century, the cameo carved from red to snowflake, surface-carved with water dragons, green glass stopper, h. 2‑1/4”. [300/500] Illustrated 158 White Peking Glass Snuff Bottle, late 19th/early 20th century, the bottle in a flattened round shape with a single red glass overlay of ducks on water on one side and ducks jumping from the water with lotus leaves on the other, well carved and hollowed with a red coral top and brass spoon, h. 2‑1/2”. [150/300]

150

150 Chinese Canopy Bed, 19th century, the rosewood bed finely carved and pierced with a squirrel and grape design and archaic scrolling, with lion’s paw feet and two drawers carved with foo dog masks, h. 95‑1/2”, w. 81”, d. 55”. [5000/8000] Illustrated 151 Pair of Chinese Corner Chairs, early 20th century, the rosewood chairs with back splats carved as vases of flowers, h. 32”. [500/800] 152 Pair of Chinese Chairs, 19th century, the elmwood chairs with circular seats with matting and cabriole legs, back splats carved and pierced with floral elements, h. 37”. [150/300] 153 Chinese Stained Hardwood Low Table/Bench, 20th century, the low rectangular banded top above a frieze accented with cloud and coin-carved patterns, raised on square legs headed by bat carving and ending in a fret foot, h. 19”, w. 61‑1/2”, d. 16‑1/2”. [400/700]

159 Chinese Glass Snuff Bottle, 19th century, Suchon school, five color type cameo carved from red, yellow, blue, green and pink on a snowflake ground with a design of gold fish and aquatic plants, h. 2‑3/4”. [200/400] 160 White Peking Glass Snuff Bottle, 20th century, of flattened oval shape, with a single green glass overlay of fish swimming, well hollowed with a Peking glass top and ivory spoon, h. 3”. [150/300] 161 White Peking Glass Snuff Bottle, 20th century, the bottle with a cylindrical vase shape, with two glass overlays in brown and white of birds and flowers, well hollowed with a red carnelian top with a brass spoon, h. 3”. [150/300] 162 Japanese Ivory Snuff Bottle, carved in the form of an old scholar on the back of a ram, h. 2‑3/4”. [250/400] 163 Chinese Four Panel Black Lacquered Coromandel Folding Screen, 20th century, one side with bamboo decor, the other side with birds perched on foliate sprays, h. 72”, w. 64”. [200/400]

154 Chinese Bi-Fold Room Divider, early 20th century, the carved frame of foliate design and the crests featuring birds and vines, the panel with applied carved bone and mother-of-pearl flowers and birds, h. 77‑1/2”, w. 68”. [500/800] 155 Near Pair of Chinese Architectural Elements, 19th century, the elmwood surface carved in relief with figures in garden scenes and floral decoration, lacquered in red, black and gold, mounted as mirrors, h. 55‑1/2”, w. 16‑3/4”. [200/400] 157

166 Chinese Rosewood Bed, 19th century, the base carved and pierced with bamboo, birds and grapes, h. 18‑1/2”, w. 62”, d. 79”. [2000/4000] Illustrated

167 Chinese Porcelain Fish Bowl, 20th century, in famille rose decoration of the “Hundred Deer”, h. 16”, dia. 18‑1/2”. [1200/1800] Illustrated

164

164 Pair of Black Lacquered Chinoiserie-Decorated Turned Wooden Jars, 19th century, each retaining their original lids and both bearing a signature under the bottom, h. 10‑1/2”, dia. 8”. [600/900] Illustrated 165 Pair of Chinese Patinated-Bronze Candlesticks, the scrolled feet molded with bat heads, wings on domed feet support baluster-form sticks wrapped with clinging dragons on a script-molded ground, scalloped drip pans sit under the candle cups, h. 19‑3/4”, dia. 5‑3/4”. [300/500] Illustrated 166 165 168 Chinese Porcelain Rice Cup, the rim with Greekkey enameled decor, the bowl sides depicting a dragon amongst the clouds, the underfoot signed, together with a turned wooden stand, h. 2‑1/2”, dia. 4”, without stand. [200/400]

167

172 Pair of Chinese Porcelain Bowls, Hung Hsien mark (1915) and probably of the period, with famille rose enamel decoration of rabbits in a landscape, dia. 4‑1/2”. [500/800] Illustrated 173 Chinese Porcelain Vase, 18th century, the celadon vase with panels of brocade patterns in underglaze red and blue, now drilled and mounted as a lamp, h. 15‑1/2”. [600/900] 174 Chinese Celadon Bowl, 10th century, Yao Chou ware, the bowl with sgraffito combed scrolling, dia. 5‑1/2”. [500/800] Illustrated

170

175 Chinese Porcelain Basin, 19th century, the basin with famille verte decoration of a historical scene, flowers and landscapes, dia. 11‑1/2”. [600/900]

169 Chinese Porcelain Cup, 20th century, the ribbed body with a finely painted scene of a landscape in iron-red, six-character Tao Kuang mark on the base, dia. 3‑1/4”. [500/800]

170 Chinese Porcelain Brush Washer, 19th century, the pomegranate-shaped washer, surface decorated in famille verte enamels with a scene of Li Po drinking, sixcharacter Yung Cheng mark on the base, h. 5”. [600/900] Illustrated

171 Chinese Porcelain Vase, 20th century, the doublegourd-form vase with a grey celadon ground decorated with flowers, a molded iron-red scarf tied about the waste with gilt bats, Ch’ien Lung mark on the base, h. 7‑1/2”. [1500/2500] Illustrated

172

176 Two Chinese Porcelain Bowls, 19th century, one with a cover, famille rose decoration and with rabbits, a pheasant and trees, cup with hallmark in red, and the other with sprigs of flowers, dia. 4‑1/2”. [250/400] 177 Chinese Porcelain Box, late 19th century, with green enamel decoration of a phoenix and floral scrolling, dia. 4”. [300/500]

174 171

181 Chinese Agate Snuff Bottle, 18th/19th century, the finely carved surface in relief with kylin, the interior very well hollowed, h. 1‑3/4”. [400/700] 182 Chinese Snuff Bottle, 18th/19th century, the moss agate very well hollowed, coral stopper, h. 2‑1/2”. [200/400]

178 Chinese Jade Snuff Bottle, 19th century, the bottle well hollowed in a bright greencolored jade, with a tourmaline stopper, h. 2‑1/2”. [1400/1800] Illustrated

183 Chinese Mongol-Style Snuff Bottle, late 19th/early 20th century, the base metal inset with cabochons of coral and turquoise, shagreen body, h. 3‑1/2”. [150/300] 184 Chinese Molded Gourd Snuff Bottle, Ch’ien Lung mark and probably of the period (1735‑1796), the pear-shaped bottle surface-decorated with the “Hundred Antique’s on a diapered ground, coral stopper, h. 2‑1/4”. [250/400] Illustrated

178

186 188

184 179 Chinese Jade Snuff Bottle, 18th/19th century, the stone of a celadon color with a large area of russet skin, very well hollowed, the sides carved with faux foo dog jump rings, agate stopper, h. 2”. [600/900] 180 Shadow Agate Snuff Bottle, late 19th/early 20th century, the oval-shaped bottle of grey/brown colored bands, well hollowed and with stylized mock handles on the shoulders, agate top with ivory spoon, h. 3”. Provenance: The Collection of Ted Adameck and Dennis Marlow Auction of 1992. [1200/1800] Illustrated 180

185

187

185 Chinese Ivory Snuff Bottle, 19th century, the surface carved in relief with reserves of women in garden scenes with engraved floral borders, h. 2‑3/4”. [700/1000] Illustrated 186 Chinese Snuff Bottle, 18th/19th century, carved bamboo rod with a silver-mounted mouth, well hollowed, later carnelian stopper, h. 2‑3/4”. [250/400] Illustrated 187 Very Fine Chinese Tourmaline Snuff Bottle, 19th century, the stone with a deep rubellite color, the surface carved in high relief with flowering trees, birds, a scholar, crane and deer, with a brocade stand, l. 2‑3/4”. [3500/5000] Illustrated 188 White Peking Glass Snuff Bottle, late 20th century, the bottle of a flattened oval shape, painted with a yellow ground and a cricket on either side, very well hollowed with a yellow Peking glass top and brass spoon, Ku Yuch Hsuan mark on the base, h. 3”. [150/300] Illustrated

189 Chinese Amethyst Snuff Bottle, 19th century, the amethyst with pronounced zig-zag banding, well hollowed with an agate stopper, h. 2‑3/4”. [400/700] 190 Chinese Snuff Bottle, 18th/19th century, the red-toned quartz very well hollowed, surface carved in high relief with a pine tree, a deer, a monkey and a ju-i scepter, amethyst stopper set in gilt metal, h. 2‑1/4”. [300/500] 191 Queen Anne Walnut Lowboy, 18th century, the rectangular top quarter-veneered and with a bowed front above a conforming frieze fitted with a single drawer over two small drawers centering a drop finial, raised on cabriole legs ending in pad feet, h. 29‑3/4”, w. 33”, d. 21”. [1200/1800] 192 Queen Anne-Style Walnut Lowboy, early 19th century and later, the rectangular top banded and quarter-veneered above a case fitted with a central drawer flanked to either side by a small deeper drawer, all banded, raised on cabriole legs ending in pad feet, h. 28‑1/4”, w. 29”, d. 18‑1/2”. [500/800] 195

195 Framed and Shadowboxed Needlework Panel, fourth quarter 18th century, probably English, depicting a shepherdess with her crook in the foreground and her suitor, with a flock of brown and white sheep, houses and a Chinese Chippendale garden gate in the background, all framed by trees, trimmed with braid and frame, now in a black and gilt contemporary frame on a silk matte, h. 32”, w. 28‑1/2”. [500/800] Illustrated 196 British School (19th/20th Century), “Cattle at a Watering Hole”, oil on canvas, signed and dated lower left “T. Davis ‘05”, 12” x 18”. Handsomely framed. [700/1000] Illustrated

193

193 Queen Anne-Style Walnut Cabinet-on-Stand, 19th century, the molded cornice above a case fitted with two banded cabinet doors, opening to a variety of drawers flanking a central cupboard, raised on a stand fitted with a single drawer on cabriole legs ending in pad feet, h. 48‑1/4”, w. 23‑1/2”, d. 15‑1/2”. [400/700] 194 George III-Style Mahogany Firescreen, late 19th century, the adjustable screen of rectangular form and with a needlework scene of courtiers, the reverse beaded and paneled, h. 59”, panel, 24” x 17‑1/2”. [700/1000]

196

197 British School (19th Century), “Gothic Ruins”, pair of oils on canvas, unsigned, 24” x 30”. Both presented in matching, later faux-veneer and parcel-gilt frames. [800/1200]

198 Queen Anne-Style Mahogany Drop-Leaf Table, 19th century, the rectangular top with rounded ends and two drop leaves, lifting to a circular surface, raised on tapering circular legs ending in pad feet, h. 28‑1/4”, d. 41‑1/4”, l. 14”, ext. l. 42”. [400/700]

199 Queen Anne-Style Mahogany Tea Table, early 19th century, the rounded rectangular dished top with indented corners, above a scalloped frieze, raised on cabriole legs headed by scrolled knees and ending in pad feet, h. 28”, w. 28”, d. 19”. [1200/1800]

202 202 Circle of Jonathan Richardson (British, 1665‑1745), “Portrait of a Lady, Half-Length in a Yellow Dress, Within a Painted Oval”, oil on canvas, unsigned, 29” x 25”. Framed. [3000/5000] Illustrated

200

203 Georgian-Style Prism-Hung Cut and Pressed Glass Five-Arm Chandelier, the stem with curved glass leaves supporting two tiers on octagonal-cut glass beaded swags, over a canopy with cut spears and beads draped to join each arm, the arms of S-form, with prism-hung bobeches and electrified candles, h. 34”, dia. 27”. [800/1200] Illustrated

200 George III-Style Mahogany Writing Table, the rectangular top with an inset leather writing surface and a carved edge, above a conforming case fitted with two paneled drawers, raised on tapering circular legs ending in pad feet, h. 29”, w. 42”, d. 25”. [1000/1500] Illustrated

201 George III Mahogany Sidechair, 18th century, the back posts and crest rail with foliate carving, the central splat depicting a soldier, raised on cabriole legs ending in trifid feet, h. 39”. [200/400]

203

204

204 Pair of Georgian Revival Sconces, ca. 1900, E.F. Caldwell & Company, New York, the cartouche-form backplates molded with scrolls and shell-form crests, the scrolled arms support candle sockets with beaded edges above acanthus knops, impressed with a “C” in a lozenge, drilled for electricity, h. 18”, w. 11‑1/2”, d. 5”. [800/1200] Illustrated 205 George III Faux Bois and Marble-Top Side Table, late 18th century and later, the rectangular verde antico marble top above a conforming frieze with a gilt-accented fret-carved design, raised on square legs with gilt banded accents, h. 33‑1/2”, w. 49‑1/4”, d. 25‑1/4”. [1200/1800] Illustrated

206

205

206 George III Oak and Brass-Mounted Tall Case Clock, ca. 1800, having a paint-decorated face with various castle and European village scenes, the movement featuring time and strike along with a calendar wheel, h. 90”, w. 20‑1/2”, d. 10‑1/2”. [1800/2500] Illustrated

210 207 Pair of Italian Pottery Chinoiserie Figures on Stands, of male and female seated Mandarin figures, the inverted stands molded with lattice panels alternating with stippled panels, the male serenading the female on the liu qin, both seated on pillows decorated with applied flowers, stamped “Made in Italy”, h. 56‑3/4”, w. 15”, d. 15”. [1000/1500] Illustrated

209 Five Pieces of English Porcelain, the pearlware can, fourth quarter 18th century, probably Bristol or Liverpool, decorated with hand-painted mandarin figures in a landscape, h. 6”, dia. 4”, together with a Prattware pearlware tea bowl and saucer, first quarter 19th century with yellow and blue flowers on a green, orange and brown vine, h. 2‑1/4”, dia. 5‑1/2” and a porcelain grisaille-decorated English tea bowl and saucer, ca. 1800, hand-painted with two-tone grey leaves with a gilt line border, h. 2”, dia. 5‑1/2”. [250/400] 210 Set of Seven Chinese Export Porcelain Soup Plates with Eight Matching Dinner Plates, ca. 1800, a fretted mauve border frames a mauve meander and polychrome sprigging on the sides, and a center medallion comprised of a gray, mauve and orange pinwheel set in a wreath of roses, dia. 9”. [900/1200] Illustrated

207

211 Pair of Porcelain Bottle-Form Lamps in the Chinese Imari Style, molded wooden bases support the flat-sided vases, decorated in the Imari palette with orange and blue, with plum branches and peonies, and with panels outlined in blue, h. 29‑1/2”, dia. 5‑1/2”. [600/900]

208

208 Set of Fourteen Chinese Export Porcelain Dinner Plates, ca. 1800, possibly for the Continental market, the gilt and red diapered border, enhanced with gilt and polychrome sprigging and a red meandering border and with an unusual central decoration of a grisaille feathered hat siting over a cypher, floating in a landscape with buildings in the background, dia. 9‑1/2”. [1200/1800] Illustrated

212 George III-Style Mahogany Center/Dining Table, the circular top centered by an inlaid burl panel and above a plain frieze, raised on a turned standard to four splayed and reeded legs ending in brass paws on casters, h. 30”, dia. 73”. [1200/1800] Illustrated 213 George III-Style Mahogany Chest, late 19th century, the rectangular top with molded edge above a case fitted with two short drawers over three long graduated drawers, flanked to either side by a fluted pilaster, raised on bracket feet, h. 35”, w. 35‑1/2”, d. 19‑1/2”. [500/800] 212

214 Chinese Export Porcelain Garden Seat, 20th century, in high glaze with birds amongst the foliage against a black ground, h. 18”, dia.13”. [150/300] 215 Chinoiserie-Decorated Victorian Dressing Glass, mid-19th century, English, with a black ground and gilt pagodas with Mandarin figures, with a serpentine front and scrolled mirror, h. 16”, w. 14”, d. 6‑1/2”. [200/400]

218 George III Green-Lacquered Hanging Bowfront Corner Cabinet, fourth quarter 18th century, fitted with two cupboard doors, each with elaborate figural oriental scenes, on a molded plinth base, h. 42‑1/2”, w. 27”, d. 18”. [500/800] 219 Ebonized and Polychrome Four-Fold Japanned Screen, 19th century, the screen within a delicately rendered floral and foliate band, depicting an all-over Oriental figural landscape with various exotic structures, the reverse tri-paneled, each panel with avian and foliate scenes, presented on an ebonized custom electrified stand, of paneled angled form with gilt accents, screen, h. 78”, w. 102”, stand, h. 17”, l. 83”. Provenance: An elegant Fifth Avenue home, New York, New York. [3000/5000] Illustrated

216

216 Queen Anne-Style Polychrome Occasional Table, in the chinoiserie taste, the scalloped rectangular top above a frieze fitted with a single side drawer, raised on cabriole legs headed by ebonized Orientalist accents and ending in scrolled pad feet, h. 25”, w. 27‑1/2”, d. 20‑1/2”. [1400/1800] Illustrated 217 Tole Peinte Table Lamp, first quarter 20th century, probably French, in the shape of a Doric column on a plinth, the black painted column trimmed in brown, with chinoiserie-style temples, lotus flowers and birds, fitted with a shade, h. 31” [250/400]

219

220 Queen Anne-Style Ebonized Looking Glass, the domed plate within a molded frame with foliate and geometric gilt and polychrome patterns in the chinoiserie taste, h. 37‑1/2”, w. 20”. [300/500]

221

225 224 After Jean-Francois Neufforge (Flemish, 1714‑1791), collection of four architectural engravings from Recueil elementaire d’architecture, sight each 14” x 9”. Presented in pairs in two frames. [400/700] 225 Continental School (Fourth Quarter 18th Century), “Portrait of a Officer in a Fur-Trimmed Hussar Jacket”, oil on canvas, unsigned, 27‑1/2” x 20”. Framed. [500/800] Illustrated

221 Pair of Standing Figures in a Full Suite of Armor, early 20th century, each gripping a facsimile of a medieval weapon, and each standing on a square wooden pedestal, h. 83‑1/2”, w. 23”, d. 23”. [2000/4000] Illustrated

226 George III-Style Mahogany Dining Table, the rounded rectangular top banded and raised on two pedestals, each with a foliate-carved vasiform standard to three splayed fluted legs headed by foliate carving and ending in brass paws on casters, with two 22” leaves, a felt-covered custom table protector included, h. 30”, d. 46”, l. 76”, ext. l. 120”. [1800/2500] Illustrated

222 Suite of Four Hand-Colored Engraved Maps, by Homann Heirs, published Nuremberg, 1736/1750, of various princedoms of Silesia (Poland), sight 24” x 34”. All glazed and framed. [600/900] 223 Suite of Four Hand-Colored Engraved Maps, of various European countries, the maps dating between 1799‑1803, belonging to a never finished project for the atlas of the so called Societa Calcograhia, a collaboration between two major Venetian publishers of the 18th century, Antonio Zatta and Giuseppe Antonio Remondini, sight 21” x 29‑1/2” and 30” x 22”. Each glazed and framed. [600/900]

226

232 George III-Style Mahogany Gainsborough Chair, early 20th century, the padded rectangular back with a shaped top, joined by padded out-scrolled arms to the like seat, raised on chamfered legs with rope carving, h. 41”. [1500/2500] 233 George III-Style Mahogany Gainsborough Chair, in the Chinese Chippendale taste, the domed and padded rectangular back joined by padded fret-carved arms to the like seat, raised on like-carved square legs joined by a pierced H-form stretcher, h. 42”. [500/800] Illustrated

228

227 George III Mahogany Side Table, late 18th century, the rounded rectangular top above a frieze fitted with a single drawer, over a shaped apron, raised on square legs, h. 28”, w. 30”, d. 19‑1/4”. [300/500] 228 English Regency Tortoiseshell Tea Caddy, first quarter 19th century, of block front design, sitting on maple bun feet with a conforming base molding, the front lock set with a silver escutcheon, the ivory trimmed lid set with a decorative silver plate echoing the shape of the box, the interior retaining its knobbed tortoise lids and remnants of the original paktong lining, h. 5‑1/4”, w. 8”, d. 5‑1/4”. [1800/2500] Illustrated

234 Queen Anne-Style Mahogany Wing Chair, late 19th century, the padded back with a back-scrolled crest, joined by shaped sides and scrolled arms to the cushioned seat, raised on cabriole legs joined by an H-form stretcher and ending in pad feet, h. 44”. [300/500] 235 George III-Style Mahogany Wing Chair, 20th century, the domed and padded back joined by shaped sides and outscrolled arms to the padded seat, raised on chamfered square legs joined by an H-form stretcher, h. 41” [200/400]

229 George III Inlaid Satinwood Tea Caddy, ca. 1800, English, the octagonal caddy outlined in ebony stringing with a barber pole inlaid oval on the facade under the keyhole escutcheon, the top beautifully inlaid with a sand-shaded conch shell in an oval panel, the foil-lined interior retaining its lid, h. 4‑1/2”, w. 5‑1/2”, d. 3‑3/4”. [300/500] 230 Tortoiseshell and Ivory Whist Case, fourth quarter 19th century, London, the rectangular case mounted with a spring-loaded catch, the rounded edge cover mounted with an oval silver cartouche, signed “Lund Marker, 56 & 56 Cornhill, London” on the ivory lid trim, the fitted interior retaining two rosewood and ivory labeled “Whist” markers, with two packs of Victorian playing cards, signed “de la Rue & Co., London”, the backs decorated in the Moorish fashion with a Moorish cartouche holding flowers on a gilt ground on a field of gilt-on-green foliate decoration with pink edges, h. 3‑1/4”, w. 4‑3/4”, d. 3‑1/2”. [700/1000] 231 Continental Ebony, Gilt-Bronze and Mahogany Magnifying Glass, ca. 1900, the oval end cap decorated with gilt-bronze vines on an ebony field with engraved end panels, the handle sides mahogany with inlaid gilt-bronze bordering the ebonized end, glass mounted in a brass bezel, dia. 4”, l. 10‑3/4”. [250/400]

233

240 J.A.C. Pettitt (British, 19th/20th Century), ”Rough Weather in the North Sea”, 1910, signed lower left, titled lower right, signed, titled, and dated en verso of canvas, 20” x 30 1/4”. Framed. Provenance: Sold in these Galleries June, 3, 2006 as lot 429. [300/500] 241 Attributed to David Ericson (American, 1869/70‑1946), “Sunset Sail”, oil on panel, unsigned, verso inscribed "Address of: David Ericson, Zence, A.N. Poste Restante, France” and “this picture is the property of Mrs. Gladys M. Congalton, Duluth, Minn.”, 12” x 10”. Presented in a Rococo-style gilwood frame. [800/1200] 242 Arup Jensen (Danish, 1906‑1956), “Copenhagen Harbor”, oil on canvas, signed lower right “Arup Jensen”, 32” x47”. Framed. [600/900] 237 236 George III-Style Mahogany Wing Chair, early 20th century, the padded rectangular back and shaped sides joined by outscrolled arms to the cushioned seat, raised on chamfered square legs, h. 38”. [200/400] 237 Hugh Boycott-Brown (British, 1909‑1990), ”Square Rigger in Stormy Weather”, oil on canvas, signed lower right, 24” x 30”. Attractively framed. [800/1200] Illustrated 238 J. Hamilton Dukes (British, 19th/20th Century), “Choppy Seas”, oil on canvas, signed lower right, 24 1/4” x 20”. Framed. [300/500] 239 British School (Fourth Quarter 19th Century), “Ships on a Stormy Sea”, oil on canvas, unsigned, 36” x 60”. Framed. [600/900] Illustrated

244

243 Robert Stewart (British, 20th Century), “Mountainous Lake With Boaters”, oil on canvas, signed lower right “Robt. Stewart”, 18” x 23”. Presented in a period giltwood and gesso frame. [300/500] 244 Irish George III-Style Twelve-Light Cut and Pressed Glass Chandelier, the stem and bowls in diamond decor, the canopy hung with shaped pendalogues, with two tiers of S-form arms, each hung with like-pendalogues and joined by swags of octagonal faceted beads, h. 25”, dia. 33‑1/2”. [700/1000] Illustrated

239

245

245 Victorian Mahogany Tripod Table, mid-19th century, in the George III taste, the tilting dished floriform top on a birdcage support, raised on a turned and spiral-ribbed standard to three splayed cabriole legs ending in pad feet, h. 27‑1/2”, dia. 25”. [400/700] Illustrated 246 Fruitwood Architectural Model of a Spiral Staircase, the stairs with a balustered rail and raised on a circular base, h. 41‑1/4”, dia. 18‑1/2”. [1000/1500] Illustrated

246

247 Pair of AdamsStyle Giltwood Sconces of Italian Origin, the leaf-carved and turned backplate mounted with interlaced bands of bellflowers surrounding gilt pateras and leaves, the scrolled, leaf-carved candle branches mounted with swags of bellflowers, ornamented with gilt-metal leaves and terminate in turned giltwood candle cups, h. 43‑3/4”, w. 15‑1/2”, d. 6”. [800/1200] Illustrated

247 248 George III-Style Giltwood Looking Glass, in the Adam taste, the oval plate surrounded by a scrolling avian crest and within an annulated and gadroon-carved frame, each side issuing a foliate patterned candle arm, h. 41‑1/2”, w. 34”. [500/800] Illustrated

248

252 George III-Style Mahogany Tripod Table, 19th century, the tilting square top raised on a turned baluster-form standard to three splayed cabriole legs ending in pad feet, h. 28”, w. 20‑1/2”, d. 19”. [200/400]

249 George III-Style Mahogany Drum Table, the circular top with an inset gilt-tooled leather surface, above a conforming case fitted with four drawers, raised on a turned and spiral-ribbed standard to four splayed and reeded legs ending in brass paws, h. 28”, dia. 36‑1/2”. [400/700]

255

250 Pair of George III-Style Mahogany Demi-Lune Side Tables, early 20th century, each with a demilune top above an inlaid edge and plain frieze, raised on square tapering legs headed by bellflower inlays, h. 30‑1/4”, w. 47‑1/2”, d. 22‑1/2”. [600/900] 251 Pair of George III-Style Mahogany Torcheres, each with a circular dished top raised on a graduated reeded standard with wheat sheaf carving, raised on four splayed cabriole legs headed by wheat sheaf carving and ending in pad feet, h. 62”, dia. 31”. [1400/1800] Illustrated

254 253

256

257

253 Assembled Set of Twelve Chinese Export Green Fitzhugh Porcelain Dessert Plates, fourth quarter 19th century, the moth-bordered plates having a central decoration with a medallion variant surrounded by four panels of peonies, dia. 8”. [700/1000] Illustrated 254 Assembled Set of Fourteen Chinese Export Green Fitzhugh Porcelain Dinner Plates, ca. 1900, all with a center medallion and four panels of decoration, each exhibiting slight differences in size, thickness, slope of sides and color, dia. 9‑1/2”. [900/1200] Illustrated 255 Chinese Export Green Fitzhugh Porcelain Platter, fourth quarter 19th century, the moth-bordered platter having a central decoration with a medallion variant surrounded by four panels of peonies, l. 14”, w. 11”. [900/1200] Illustrated 256 Pair of Chinese Export Green Fitzhugh Porcelain Dinner Plates, fourth quarter 19th century, the moth-bordered plates having a central medallion variant surrounded by four panels of peonies, dia. 10”. [300/500] Illustrated 257 Pair of Chinese Export Green Fitzhugh Porcelain Dishes, fourth quarter 19th century, the mothbordered dishes having a variant of the central medallion surrounded by four panels of peonies, dia. 9‑1/2”. [500/800] Illustrated

251

258 Ginori Porcelain and Gilt-Bronze Ice Bucket, made in the style of an 18th century wine cooler, ornamented with scattered polychrome sprigs of various fruits and flowers, trimmed with a blue shell-edged border, a gilt-bronze engine-turned ring seals the insulated liner, the lid decorated to match with a fruit form knop, marked: “Richard Ginori Pittoria Italy”, h. 6‑1/4”, dia. 8”. [450/700]

259 “Dr. Wall” Worcester Sauce Boat, third quarter 18th century, English, marked with a hand-painted open crescent mark, and with a molded shell edge border and shell-molded panels, decorated with hand-painted Chinese figures on one side and floral painting on the other side and on the interior, h. 2‑1/4”, w. 2‑3/4”, l. 5”. [125/250] 260 George III-Style Mahogany Tea Table, the rectangular top with a full pierced gallery above a plain frieze, raised on chamfered square legs joined by a scrolling domed X-form stretcher, h. 27‑1/2”, w. 32”, d. 21”. [800/1200] 261 Pair of Chinese Chippendale-Style Sidechairs, of large proportions, each with a domed crest above a pierced fret-work patterned back, the cushioned wooden seat raised on pierced square legs joined by an H-form stretcher, h. 43‑1/2”. [300/500] 262 Good Pair of George III Sterling Silver Baronial Tureens, hallmarked London, 1786‑1787, by Edward Furnell, each of navette form with upswept ends, with gadrooned rim and outscrolled acanthus frond handles, the steeply domed lid with vasiform finial, the whole raised on an oval foot with gadrooned banding, engraved on the body and lid with the arms of Bridgeman quartering Newport, Wilbraham and Mathews, with Simpson in pretence, h. 10”, l. 14‑3/4”, w. 7‑3/4”, 114.20 total t. oz. [12000/18000] Illustrated The elaborate arms here are those of Henry Bridgeman, First Baron Bradford (1725‑1800). The quarterings are those of his four grandparents, Sir John Bridgeman, 3rd Bt., and his wife Ursula Mathews, and Richard Newport, 2nd Earl Bradford, and his wife Mary Wilbraham. The arms in pretence are those of his wife, Elisabeth Simpson, daughter and heir of the Rev. John Simpson of Stoke and Balworth, whom he married on July 12, 1755. He was educated at Queen’s College Cambridge, and succeeded his father, Sir Orlando Bridgeman, as 4th Baronet in 1764. He was awarded a Doctor of Laws by Cambridge in 1769 and a Doctor of Civil Laws by Oxford in 1793. He served for 20 years as M.P. for Ludlow and Wenlock, and was elevated to the peerage as the 1st Baron Bradford upon his retirement in 1794. He also served as clerk of the household to George, Prince of Wales until the Prince’s accession as George III in 1760. Baron Bradford died in London on June 5, 1800.

263 George III Sterling Silver Sugar Basket, hallmarked London, 1777‑1778, by Burrage Davenport, the ovoid body reticulated with horizontal latticework with wrigglework ovolo banding, raised on a domed foot en suite, with twist swing handle and beaded edging, fitted with a conforming cobalt glass liner, h. 4‑1/4” (6‑1/2” with handle), dia. 4‑1/4”, 5.40 t. oz. (excluding liner). [600/900] 264 Pair of George II Sterling Silver Tablespoons, hallmarked London, 1751‑1752, by John Gorham, in the traditional “Hanoverian” pattern, engraved with a crest of a tower, l. 8”, 4.18 total t. oz. [200/400] 265 Four English and American Sterling and Silverplate Sugar Tongs, 18th to 20th century, all bow-style, including sterling pieces a late Georgian example by Stephen Adams, London, with beaded edge and leaf grips, engraved with a crest of a greyhound statant, l. 5‑1/2”, a Gorham “Paris” example, l. 5‑1/4”, and a Reed & Barton “Columbia” example, monogrammed “R”, l. 4”, and an Edwardian silverplate example by H. Fisher & Co., Sheffield, in the Louis XV taste, l. 5”, 3.92 total t. oz. (sterling pieces only). [250/400] 266 Three European Sterling and Silverplate Serving Pieces, including a late Georgian “Old English” potato fork, hallmarked London, 1803‑1804, by Solomon Hougham, engraved with a crest of a popinjay displayed, l. 11‑3/8”, 3.21 t. oz., a silverplate “Old English” platter spoon, first quarter 20th century, by Mappin Bros., Sheffield, l. 11‑1/4”, and an unmarked continental silverplate “Fiddle Thread” platter spoon, first quarter 20th century, l. 10‑1/2”. [125/250] 267 Pair of Late George III Sterling Silver “Berry” Spoons, hallmarked London, 1801‑1802, by George Wintle, in the traditional “Old English” pattern, later decorated with chased foliage on the handles and repousse fruit on the bowls, the bowls gilt, l. 9”, 3.79 t. oz. [100/200]

262

262 detail

271 Good Pair of Regency Old Sheffield Plate Wine Coolers, first quarter 19th century, by R. Gainsforth, Sheffield, each of campana form, with a well-detailed rocaille rim and band, with opposing coquille handles, raised on a domed foot en suite, complete with collar and liner, h. 9‑1/2”, dia. 8‑1/4”, w. 9‑1/4”. [600/900] Illustrated 272 Victorian Sterling Silver Toast Rack, hallmarked London, 1849‑1850, by Edward, John & William Barnard, the rounded rectangular frame with six slots formed by seven wirework partitions, with a central addorsed scroll handle, the whole raised on scroll feet, monogrammed on the handle “ADM”, l. 6‑1/4”, w. 4‑1/4”, h. 5”, 7.71 t. oz. [800/1200]

268

268 Good George III Sterling Silver Centerpiece, hallmarked London, 1791‑1792, by William Holmes, of oval form, the frame decorated with a band of chased Vi truvian scrolls with beaded edges, raised on four legs, each comprised of a beautifully-detailed dolphin entwined among seaweed, the seaweed extending to form a peaked stretcher, all raised on four cavetto plinth feet, fitted with a later glass bowl with diamond-cut panels, h.9‑1/4”, l. 13‑1/4”, w. 8‑3/4”, 52.92 t. oz. (excluding bowl). [8000/12000] Illustrated 269 Pair of George IV Sterling Silver Servers, hallmarked London, 1821‑1823, by William Edwards, in the traditional “Fiddle” pattern, including a platter spoon and potato fork, monogrammed “HSB”, l. 11‑1/2”, 10.09 total t. oz. [300/500] 270 William IV Scottish Sterling Silver Fish Slice, hallmarked Glasgow, 1833‑1834, by George White, in the traditional “Fiddle” pattern, the scimitar-shaped blade with pierced and wrigglework fish, monogrammed “S”, l. 11‑3/4”, 4.82 t. oz. [600/900]

271

273 Victorian Sterling SilverMounted Etched Glass Claret Jug, hallmarked Birmingham, 1867‑1868, by John Clemmons, the ovoid glass body etched with wide bands of roses and gadrooning and above a circular star-cut foot, the slender neck clad in a silver mount with embossed “vintage” edging and decorated with a wrigglework diaper pattern, the hinged lid with a cast lion sejant finial to a strapwork opening mechanism inside the grapevine crested arched handle, h. 12‑3/4”, w. 5‑1/2”. [2500/4000] Illustrated

273

274 Two Late Victorian Silverplate Crumbers, fourth quarter 19th century, Sheffield, the first by Biddon Bros., in the traditional “Fiddle” pattern, the blade engraved with leafy scrolls centering a crest of a griffin’s head couped, l. 11‑3/4”, the second unmarked but with sterling ferrules by S. Biggin & Sons, with shaped ivory handle and rocaille finial joined by a beaded acanthus boss to the a blade engraved with an ivy- and fern-mantled oval cartouche, l.14‑1/4”. [100/200]

275 Three Cheese Scoops, 19th century, including an American coin (.900) silver scoop in the “Leaf” (also “Shell”) pattern by John Polhamus, Albert Coles et al., l. 9”, 2.37 t. oz., and two Victorian silverplate examples with ivory handles, one with sliding push, l. 10‑3/4”, one with carved handle, l. 9‑3/4”, [150/300]

278 Early Victorian Old Sheffield Plate Kettle-on-Stand, second quarter 19th century, of inverted pear form, the domed and hinged lid surrounded by shell-and-scroll banding, with short, gadrooned “gooseneck” spout, scroll-mounted carved ivory swing handle and raised on four floral-crested scroll feet, all above a circular stand en suite, centering a spirit burner and raised on scrolling legs with palmette feet, overall h. 11” (14‑1/4” with handle), l. 11‑1/4”, w. 7‑1/2”. [200/400] 279 Seven Sterling Silver Salt Spoons, 19th/20th century, including a pair of Regency “Old English” salt shovels, hallmarked London, 1810‑1811, by Thomas Wilkes Barber, with engraved crest, l. 4‑1/4”, a near pair of Victorian “Fiddle” salt spoons, monogrammed “B”, hallmarked London, one 1856‑1857, by Hayne & Carter, l. 4‑1/4”, the other 1858‑1859, by James Beebe, l. 4”, and three Tiffany & Co. “Rat Tail” salt spoons with gilt bowls, l. 2‑3/4”, 2.37 total t. oz. [100/200] 280 Pair of Victorian Sterling Silver Platter Spoons, hallmarked London, 1860‑1861, by George W. Adams (Chawner & Co.), in the traditional “Fiddle Thread and Shell” pattern with diamond heel, engraved with a crest of a cubit arm with dagger erect and the monogram “ABD”, all in a navette, l. 12”, 11.89 total t. oz. [300/500] 281 Victorian Sterling Silver Vegetable Dish, hallmarked London, 1857‑1858, by Robert Garrard, of squat cylindrical form with rounded base and opposing addorsed acanthus handles, with detachable liner, engraved on the body and the liner with a crest: “out of a ducal coronet, an arm in armour embowed, holding a sword,” h. 3‑1/4”, dia. 7‑1/2”, w. 10‑1/4”.42.63 total t. oz. [1200/1800]

276

282 Late Victorian Sterling Silver Sugar Bowl, hallmarked Birmingham, 1897‑1898, by Henry Matthews, of broad oval form, the body decorated with embossed rococo scrolls, the shaped rim with applied reed-and-ribbon edge and handles, the whole raised on four openwork scrolling feet, the interior gilt, h. 3‑1/4”, l. 6”, w. 3‑3/4”, 6.24 t. oz. [150/300]

276 Elkington & Co. Silverplate and Ostrich Egg Centerpiece, 1873, Birmingham, in the form of a pair of palm trees above a rocky crag, supporting an ostrich egg, h. 14”. [250/400] Illustrated

283 Victorian Silverplate Vegetable Dish, 1869, by Elkington & Co., Birmingham, of rounded rectangular form, with three compartments and egg-and-dart edging, engraved with a baronial crown on one interior side and the dual crests of Lindsay of Crawford and Balcarres on the other, l. 16‑1/2”, w. 7”. [125/250]

277 Late Victorian Silverplate Kettle-on-Stand, fourth quarter 19th century, by James Dixon & Sons, Sheffield, the lobed, inverted pear-shaped body decorated with engraved flowers and rococo scrolls, with a paneled spout, a hinged, domed lid with floriform finial and an ivoryinsulated, scroll-mounted swing stirrup handle, fixed with two chained pegs to a reticulated ogee-domed frame raised on three openwork scroll legs and trefid feet joined by a wirework stretcher to a spirit burner, h. 13‑3/4” (17” with handle), l. 12”, w. 8”. [250/400]

The distinctive dual crest and baronial crown suggest that this piece belonged to one of the Barons Wigan, a courtesy title used by the eldest son of the Earl of Crawford and Balcarres. Given the date of this piece, the likeliest candidate is the astronomer James Ludovic Lindsay (1847‑1913), who was permitted to use the title upon his father’s accession to the earldoms in 1869. Lindsay, founder of the Royal Observatory in Edinburgh and the Bibliotheca Lindesiana at Haigh Hall, himself inherited the earldoms in 1880.

287 Edwardian Silverplate Epergne, first quarter 20th century, in the neoclassical taste, the circular cavetto frame with gadrooned banding and raised on three flat column legs with lion’s paw feet, joined by a rounded, concave square stretcher fitted with a short standard with four scrolling, reeded arms, each terminating in am acanthus frond-supported gadrooned receptacle, fitted with one large and four smaller molded glass bowls of later date, h. 14‑1/2”, w. 23‑1/4”, d. 18‑1/2”. [1400/1800] Illustrated

285

284 Anglo-American Silverplate Supper Platter, fourth quarter 19th century, of rounded rectangular form, with gadrooned rim and integral rocaille handles, the plateau with three wells, one for a roast and two for vegetables, the whole raised on four leaf-crested scroll feet, l. 25‑3/4”, w. 15‑1/4”. [200/400] 285 Victorian Silverplate Hot Water Urn, fourth quarter 19th century, of bublous oval form, with milled laurel banding and opposing palmettemounted crest handles, the fitted domed lid with flower basket finial, all raised on four reeded flat columns crested by lion’s masques and ending in paw feet, above a rounded concave rectangular plinth centering a spherical burner, raised on four spherical feet, the body with a Regency sterling silver cartouche (applied later) hallmarked London, 1810‑1811, by Thomas Hayter, with the arms and motto of Gardener of Wallingham, h. [300/500] Illustrated 286 George V Silverplate Drinks Tray, second quarter 20th century, of rounded rectangular form, with reticulated gallery and opposing shell-crested stirrup handles, the plateau engraved with a shaped cartouche within a band of trailing grape vines, the whole raised on flattened spherical feet, l. 10‑1/2”, w. 18‑1/4”. [125/250]

288 Victorian Scottish Silverplate Inkstand, fourth quarter 19th century, by Hamilton, Crichton & Co., Edinburgh, of oval form, with central columnar taperstand raised above three lion’s masque-crested, haunched paw feet, flanked by a pair of cane-cut ovoid ink and water wells with hinged silverplate caps, between to pen trays engraved with circular cartouches and ferns, the frame with leaf-and-dart and gadrooned banding, raised on four flattened spherical feet, h. 6‑1/4”, l. 11‑5/8”, w. 8‑7/8”. [200/400] 289 Edwardian Silverplate Tray, first quarter 20th century, by Harrison Brothers & Howson, Sheffield, of oval form with pierced gallery and integral handles, the plateau with concentric flat-embossed scrolling bands, raised on four flattened spherical feet, h. 2‑1/8”, w. 20”, d. 13‑1/2”. [125/250] 290 Edwardian Silverplate Tray, first quarter 20th century, of oval form, with pierced rim and applied “vintage” rim, with opposing handles en suite, the plateau flat-embossed with a wide floral rococo band, l. 28‑1/2”, w. 17‑1/2”. [500/800]

287

293

294 George V Three-Piece Sterling Silver Coffee Service, hallmarked London, 1933‑1934, by Pairpoint Brothers, including a baluster-form coffeepot, h. 9‑1/4”, and a squat ovoid open sugar bowl, dia. 5”, and cream jug, dia. 3‑3/4”, each engraved on the shoulder with a band of rococo shells and scrolls on an imbricate ground and raised on a molded foot-ring, the coffeepot with “duck’s beak” spout, hinged, domed lid with figural melon finial and ivoryinsulated crested handle, the sugar bowl and creamer with acanthus-crested scroll handle(s), 41.66 total t. oz. [1200/1800] Illustrated 295 Edwardian Silverplate Entree Dish, first quarter 20th century, by Ellis-Barker, Birmingham, of rounded rectangular form, with a wide rocaille rim in the William IV manner, with fitted lid and the lyrifom finial handle detaching permitting the lid to be inverted for use as a liner or second dish, h. 6‑3/4”, l. 12”, w. 8‑3/4”. [300/500]

291 Three Edwardian Silverplate Tablespoons, first quarter 20th century, by Cooper Bros., Sheffield, in the traditional “Old English” pattern, l. 8‑1/4”. [40/70]

297

292 Edwardian Silverplate Vegetable Dish, first quarter 20th century, of squat cylindrical form with rounded base and opposing addorsed acanthus scroll-mounted turned ivory handles, the cavetto-domed lid with gadrooned medallion and ivory “pineapple” finial and opening to reveal the fitted liner, the whole with narrow gadrooned edging, h. 6‑1/2”, dia. 8‑3/4”, w. 11‑1/4”. [150/300] 293 George V Sterling Silver Epergne, hallmarked Sheffield, 1912‑1913, by Martin, Hall & Co., comprising an oval pierced cavetto frame raised by four scrolling arms above a domed serpentine-lobed base with pierced lattice banding and four acanthus scroll feet, the arms each with a dangling basket with lobed strap handle and reticulated en suite, the central frame fitted with an associated pierced basket (hallmarked Birmingham, 1905‑1906, by Henry Matthews), h. 10‑3/4”, l. 17‑1/4”, w. 16”, 84.88 total t. oz. [7000/10000] Illustrated

294

296 Edwardian Silverplate Drinks Tray, first quarter 20th century, of rounded rectangular form with reticulated gallery and gadrooned and beaded edging, l. 12”, w. 6”. [50/80] 297 Pair of English Sterling Silver Candlesticks, hallmarked London, 1956‑1957, by Richard Comyns, in the early Georgian taste, each with a baluster standard above a cavetto-domed foot and surmounted by a cannon-form nozzle, monogrammed on the base, “CS”, h. 10”, dia. 5‑1/4”, weighted. [1800/2500] Illustrated

298 298 English Sterling Silver Creamer and Sugar Bowl, hallmarked London, 1966‑1970, by Richard Comyns, retailed by Cartier, in the George I taste, each octagonally paneled, the creamer of baluster shape with crested double-scroll handle, h. 3‑1/2”, l. 4‑1/2”, the sugar bowl with a fitted lid inverting for use as a spoon/teaball tray, dia. 4”, 16.14 total t. oz. [300/500] Illustrated

299 299 Anglo-American Four-Piece Sterling Silver Presentation Coffee Service, dated 1935, including a George V three-piece coffee set in the George I taste, hallmarked Birmingham 1934‑1935, by Ellis & Co. Ltd., including a coffeepot with scrolling ivory handle and conical spout, h. 9”, an open sugar bowl with acanthus crested handles, dia. 3‑3/4”, and a cream jug with pointed spout and crested handle, dia. 3‑1/4”, each of conical form with molded base and rim, and a square “Chippendale” tray by Currier & Roby, New York, w. 14‑1/4”, each piece monogrammed “L”, the underside of the tray engraved with a presentation inscription “to R.H. Lewis / from the Rund Manufacturing Company”, 82.17 total t. oz. [2000/4000] Illustrated

300 300 English Six-Piece Sterling Silver Vanity Set, hallmarked Birmingham, 1954‑1955, by Atkin Brothers, including a hand mirror, l. 11”, a pair of handled brushes, l. 9”, a pair of clothes brushes, l. 6”, and a mitre-cut glass powder jar, dia. 3‑3/4”, decorated with a guilloche ground and engraved scrolling border. [400/700] Illustrated

301

301 Good English Sterling Silver Triptych Vanity Mirror, hallmarked Birmingham, 1954‑1955, by Atkin Brothers, with a large central panel, 24” x 17”, and two hinged flanking panels, 21‑3/4” x 8‑1/2”, each of rectangular form with serpentine-canted crest, with narrow engraved foliate edging and conforming beveled mirrored plate, the frame and easel stand of ebonized wood. [7000/10000] Illustrated 302 English Sterling Silver Mirror, hallmarked Sheffield, 200, by Carr’s of Sheffield, of rectangular form, heavily embossed with rococo scrolls, the crested top centering a cartouche, with beveled mirrored plate and indigo velvet-covered wood frame with easel support, h. 16‑1/2”, w. 10‑1/2”. [300/500]

305 Continental Mahogany Center Table, 20th century, the rounded rectangular top with rosewood banding and inlaid brass stringing, above a like-banded frieze, raised on scrolling X-form end supports, joined by a turned and bulbous stretcher and ending in casters, h. 30”, w. 71”, d. 35”. [2000/4000]

303 Pair of Continental Satyr-Form Wood and Composition Wall Brackets, fourth quarter 19th century, decorated in contrasting ebonizing and gilt, carved goat-footed and horned satyrs support the half round shelves, h. 21‑1/2”, w. 13‑3/4”, d. 12‑3/4”. [4500/7000] Illustrated 304 Continental Polychrome Wood Three-Fold Screen, early 20th century, each fold of domed form with a floral polychrome accented frame, the central embossed panel with oval portrait medallions after various renaissance masters, within a field of foliate scrolling and fleur-de-lis patterns, raised on shaped feet, h. 60‑1/2”, w. 54”. [500/800]

306

306 Italian Walnut Cupboard, 19th century, the rectangular top with molded edge above a dentillated frieze and case fitted with a single drawer over two paneled cupboard doors, flanked to either side by paneled uprights, raised on bracket feet, h. 36‑1/4”, w. 31‑1/4”, d. 13‑1/2”. [1000/1500] Illustrated

303

307 After Luigi Rossini (Italian, 1790‑1857), “Veduta dell’ Arco di Settimo” and “Veduta del Campidoglio Romano”, pair of black and white engravings, sight 15” x 22”. Both glazed , handsomely matted, and framed. [700/1000] Illustrated 308 Carved and Painted Polychrome Figure of Zeus, ca. 1800, Continental, depicted standing on a rocky knoll, draped and holding a symbol of fire, h. 23‑1/2”, w. 14‑3/4”, d. 10‑1/2”. [500/800]

307 311 Pair of Continental Neoclassical-Style Mahogany Stools, early 20th century, each with a padded rectangular top raised on X-form end supports with scrolling foliate and acanthine-carved accents, ending in well carved ball-and-claw feet, h. 18”, w. 23‑1/2”, d. 20”. [1400/1800] Illustrated

311

310

312 Giltwood Coat of Arms, depicting a variation of the Hapsburg eagle, the central shield with a silver gilt fluted surround, with a raised center depicting a green plant, a giltwood and silver gilt crown serves as a finial, h. 23”, w. 16”. [600/900] Illustrated

309 Large Continental Gilt-Brass Hall Lantern, late 19th century, the circular front holder, now fitted with three electric sockets and featuring winged angel heads along the rim, h. 38”, dia. 18”. [400/700] 310 Iberian Carved Walnut Hall Chair, third quarter 19th century, in the Renaissance taste, the rectangular padded back flanked to either side by lion finials and caryatid figures, joined to the padded seat by downswept arms ending in ram’s-head hand rests, the apron with foliate carvings centered by a satyr, joined to the box stretcher by fluted and bulbous circular uprights, raised on turned bun feet, the whole upholstered in period embroidered velvet, h. 42‑1/2”. [200/400] Illustrated 312

313 Italian Walnut Savanarola Chair, 18th century, the fabric back joined to the like slung seat by scrolling downswept arms, raised on an X-form folding base ending in fluted runner feet, h. 38”. [1000/1500]

318

314 Italian Tin-Glazed Tureen and Stand in the Rococo Taste, the serpentine undertray decorated with handpainted polychrome fruit, holding a conforming compote with pierced handles, the matching lid with a putto serving as a knop, h. 13‑1/2”, w. 15”, d. 13”. [150/300] 315 Continental Mahogany Jardiniere, early 20th century, of rectangular form, the galleried upper section above a paneled lower section with decorative guilloche banding, retains the copper liner, raised on tapering turned circular legs, h. 29”, w. 42‑1/2”, d. 19‑1/2”. [400/700] 316 Pair of Unusual Cold-Painted Brass Three-Light Sconces, first quarter 20th century, probably Continental, the cartouche-shaped backplate trimmed with molded polychrome fruit, hung with tassels and trimmed with strapwork, a shell serves as the finial, three candle arms fitted with art nouveau-style drip pans and candle cups in a copper finish, fitted for electricity, h. 26”, w. 13‑1/2”, d. 6‑3/4”. [800/1200]

318 Patinated Metal Bust of Dante, ca. 1900, Continental, supported by a cove-molded green marble base, the bust depicts Dante in his usual stoic pose, marked Dan tes on either side of his neck, h. 15”, w. 17‑1/2”, d. 11”. [1400/1800] Illustrated 319 Green Marble Grand Tour Souvenir Oil Lamp, carved to imitate the early oil lamps excavated from sites such as Pompeii, sitting on paw feet with a reeded bowl, having a leaf-carved rim and matching lid, and a pair of leaf-carved wick holders, h. 4”, w. 5‑3/4”, d. 7”. [250/400]

317

317 Iberian Oak Cabinet, 19th century, the molded cornice above a case fitted with three banks of five drawers, all with molded edges and inlaid with scrolls and mythical beasts, raised on a molded plinth, h. 26”, w. 27”, d. 15‑3/4”. [1500/2500] Illustrated

320 Italian Mixed Metals and Bronze Lawn Ornament, with the label “1902 Sab de Angelus & Fils”, for the bronze foundry, Sabatino de Angelis & Fils, Naples, with three scroll arms joined to a square standard capped by a female mask, on a rectilinear base with a bowed front, the base with copper serpentine lines amongst silver metal leaves and berries, on paw feet, h. 46”, w. 23”, d. 25”. [2000/4000] Illustrated

320

321

321 Rococo-Style Tinted Silver Gilt Venetian Mirror, a leaf-molded drop serves as the base of the pierced, scrollmolded frame, which surrounds the shieldshaped mirror set with an old mercury plate, molded leaves frame the plate, which is crowned with a molded swan’s neck pediment and a spray of carved leaves, h. 22”, w. 16”. [500/800] Illustrated

323 Pair of Flemish Fruitwood Fauteuils a la Reine, 19th century, each with a tall padded rectangular back joined by downswept double-scrolled arms to the padded seat, raised on bulbous legs joined by a shaped X-form stretcher and ending in block feet, upholstered in period needlework of scenes of a fanciful landscape, h. 49”. [1000/1500] Illustrated

323

322 Pair of Bronze Pricket Sticks, fourth quarter 19th century, scrolled feet support the tripartite bases with scrolled edges on a stippled ground, baluster-turned stems molded to match, with leaf-molded drip pans, h. 9”, dia. 3”. [300/500] Illustrated

324

322

324 Large Italian Wrought-Iron Eight-Light Chandelier, the twisted rods joined to scrolling arms with foliate mounts, h. 46”, dia. 41‑1/4”. [700/1000] Illustrated

328 Pair of Brass Altar Sticks, mid-19th century, paw feet support the tripartite bases with scrolled corners and cartouches depicting Jesus, Mary and Joseph, a turned base supports the fluted standards, surmounted with fluted flared drip pans, h. 31‑1/2”, w. 8‑1/2”, d. 8‑1/2”. [150/300]

329

326 325 Pair of Wrought-Iron and Gilt-Metal-Mounted Three-Light Torcheres, first quarter 20th century, each with a trio of electric candles on gilt foliate-modeled bobeches, the standard with a central rod amidst three shaped wrought straps joined to the stem with floral roundels and stamps, on a wooden base with ball feet, h. 65‑1/2”, dia. 16”. [400/700] 326 After Julius Schiller (German, 1580‑1627), two hand-colored engraved celestial maps from the Coelum Stellatum Christianum, published in 1627, depicting Crown of Thorns and the Holy Sepulchre, sight 9‑3/4” x 10”. Both glazed and framed. Provenance: Bowen & Bossier, Inc. Antiques, Shreveport, Louisiana. [200/400] Illustrated

327

327 Pair of Italian Giltwood Altar Sticks, second quarter 19th century, the paw feet support tripartite bases decorated with incised leaves, and crosshatched panels, reeded bases support leaf-molded and tapered standards, with leaf-molded capitals surmounted with tole candle cups, h. 25‑1/4”. [250/400] Illustrated

329 Continental Figural Reliquary, fourth quarter 18th century, probably depicting St. Anthony of Padua, the octagonal base with an oval inset mirror in the front, figure dressed in brown and red robes, holding a book in one hand, the other extended, h. 18‑1/4”, w. 11‑1/2”, d. 9‑3/4”. [1200/1800] Illustrated 330 Ecclesiastical Giltwood Tabernacle Canopy, third quarter 18th century, Continental, the bonnet top form with a scrolled pediment supporting an oval scroll-framed cartouche inscribed “JHS” with a cross, ball finials decorate each side, h. 12‑1/4”, w. 25‑1/4”, d. 13”. [400/700] Illustrated

330

333 Cuzco School (Fourth Quarter 18th Century), “The Immaculate Conception”, mixed media on unstretched linen, sight 40” x 26”. Glazed, handsomely matted and framed. [300/500] Illustrated

331

334 Cuzco School (Fourth Quarter 18th Century), “Musician Archangel”, mixed media on unstretched linen, sight 44” x 27‑1/2”. Glazed, handsomely matted and framed. [300/500] Illustrated 335 After Sir Joshua Reynolds (British, 1723‑1792), “Venus Chiding Cupid”, oil on panel, unsigned, 7‑1/2” x 6‑5/8”. Presented in a giltwood and gesso frame. [400/700]

331 Painted, Carved and Gilded Ecclesiastical Figure of the Virgin Mary, 19th century, probably Italian, depicted kneeling with a painted and gilded robe, her arms crossed and her face downcast in reflection, h. 15”. [400/700] Illustrated 332 Latin American Santos Figure of Mary and the Christ Child, 18th century, the carved wood painted figure with polychrome decoration, seated and holding the child, now mounted on an Italian painted and gilded baroque miniature chair, with cabriole legs, a plank seta, a scrolled and pierced splat and a shell-carved and gilded crest, with an old red velvet pillow back rest, h. 20‑1/2”, w. 13”, d. 10‑1/2”. [300/500]

334 336 Continental School (Fourth Quarter 20th Century), “Virgin and Child”, oil on panel, indiscernibly signed lower right, dated lower left “Aug 1970”, 12” x 8”. Framed. [250/400] 337 Maria Schoffmann (Austrian, 1859‑1941), “Christ Wearing a Crown of Thorns”, oil on panel, signed lower right “Schoffmann”, 11” x 9”. Framed. [400/700]

333

344 Continental Carved Pine Figure of the Virgin Mary, 19th century, depicted robed, head turned to one side, one arm raised and the other at her side, both now partially missing, h. 43‑1/2”, w. 16‑1/2’, d. 10‑1/4”. [600/900] 345 Italian Rococo Giltwood Looking Glass, mid-19th century, the rounded rectangular plate surmounted by a pierced scrolling foliate crest, surrounded by a foliate scrolled frame, h. 60”, w. 27”. [500/800] Illustrated

340

338 A Russian Icon of a Saint, mixed media on canvas adhered to wood panel, figure with one hand raised in blessing, the other holding the gospels, 12 1/2’ x 10”. [400/700] 339 Russian Icon of a Bishop, mixed media on canvas adhered to wood panel, figure with one hand raised in blessing, the other holding the staff of office, 12 1/2” x 10”. [400/700] 340 Baroque-Style Giltwood Mirror, American, the bolection-molded frame deeply carved in pierced scrollwork, surrounding the antique mirror plate, labeled by APF master frame makers of New York, h. 14‑1/4”, w. 12”. [250/400] Illustrated 341 Pair of Italian Giltwood Altar Sticks, first quarter 20th century, now mounted as lamps, metal bases support the scroll footed sticks, with scroll-molded edges, applied scrollwork and piercing, the flaring upper standard support leaf-molded candle cups, now wired for electricity, h. 42‑1/5”, w. 6‑1/4”, d. 6‑1/4”. [300/500] 342 Carved Softwood Figure of a Nun. ca. 1900, Continental, depicted in a long, flowing habit, hands clasped, her head gazing heavenward, h. 16”. [200/400] 343 Continental Carved Pine Figure of Saint Anthony, 19th century, depicted in his cassock, a skull at his feet, his rosary beads at his belt and holding one hand to his heart, h. 49‑3/4”, w. 15‑1/2”, d. 15”. [600/900]

345

348 Dutch Republic .875 Silver Stuffing Spoon, hallmarked Rotterdam, 1786, by Anthony Huys, Sr., in the traditional “Hanoverian” pattern with double drop, l. 15”, 7.14 t. oz. [800/1200]

346

349 French Consular First Standard (.950) Silver Fish Slice, 1798‑1809, Paris, by Ambroise Mignerot, the scimitar shaped silver blade engraved with a fish and decorated with bright-cut leaf-and-dart and pierced scroll banding, joined by a silver ferule to a turned wooden handle, l. 14‑1/4”. [300/500] 350 Twelve Pieces of Napoleon III First Standard (.950) Silver Flatware, 1865‑1872, by Henin Freres, Paris, in the traditional “Double Filet” [“Fiddle Thread”] pattern, including four place spoons, l. 8‑1/2”, five place forks, l. 8‑1/2”, and three teaspoons, l. 5‑3/4”, each monogrammed “FF”, 26.49 total t. oz. [600/900]

346 Early Rheinish Silver Communion Beaker, first quarter 18th century, Aachen, unidentified maker “PG”, of flaring cylindrical form, with molded band above oval repousse “cabochons”, engraved at the rim with scrolling foliate banding above an armorial of a water-well with a crest of a demi-urcheon, monogrammed “H/DB”, the underside monogrammed “IP”, h. 3‑1/8”, dia. 3”, 3.34 t. oz. [300/500] Illustrated 347 18th Century Russian Parcel-Gilt Silver Tankard, 1750, Moscow, by Petr Semenov, assayer Ivan Shagin, of cylindrical form engraved with three cartouches depicting the story of St. George and the dragon, each separated by leafy scrolls, above a molded band and domed foot, the flat-domed hinged lid engraved with fruits and flowers, the bifurcated billet hinged to the cast double “C”-scroll handle, h. 6‑1/4”, l. 5”, dia. 4‑5/8”, 16.01 t. oz. [1800/2500] Illustrated

347

352

351 French Restauration First Standard (.950) Silver Cruet Frame, marked Paris, 1819‑1838, by D. Garreau (working 1818‑1834), of circular form with a pierced palmette-banded gallery and gadrooned rim, with three circular receptacles, each with pierced gallery and leaf-and-dart rim raised above a pierced and embossed scene of a pair of neoclassical temple worshippers, separated by three smaller stopper holders en suite, all surrounding a central acanthus-mounted standard with addorsed cornucopia ring handle, the whole raised on three winged lion’s masque-crested paw feet, dia. 10‑5/8”, h. 12‑3/4”, 35.88 t. oz., fitted with three step-cut glass bottles with lobed stoppers of later date, h. 8‑1/2”. [3500/5000] 352 Maison Puiforcat First Standard (.950) Silver Tray, fourth quarter 19th century, of serpentine oval form, with molded rim and opposing rocaille-mounted stirrup-shaped handles, l. 31‑1/2”, w. 20‑3/8”, 154.64 t. oz. [9000/12000] Illustrated

356 19th Century Continental Silver Holy Water Font, possibly Italian, marked “AR”, the backplate richly decorated with a central medallion of St. John the Baptist surrounded by acanthus scrolls and floral swags, crested by a pair of cherubim, the font with foliate calyx, engraved floral swags and hinged lid, h. 9‑3/4”, w. 6‑3/4”, d. 2‑1/2”, 11.18 t. oz. [150/300]

353

357 Italian .800 Silver Dresser Box, third quarter 20th century, by Perrugia & Co., Alessandria, in the rococo taste, of rectangular form, with lobed and shaped sides, decorated with engraved rococo scrolls on a matte ground, with crested rocaille feet at the corners, the conforming hinged lid domed and engraved en suite, centering a oval lapis flat cabochon and opening to reveal the gilt interior, h. 3‑1/2”, w. 9”, d. 6”, 34.01 t. oz. [800/1200] Illustrated

353 Good German .800 Silver Rococo Revival Center Bowl, first quarter 20th century, by Bruckmann & Sohne, Heilbronn, of oval form, with elaborately shaped rim, decorated with embossed rococo scrolls on a reticulated lattice ground and centering “cabochon” cartouches crested by cherubim masques, the narrow ends with openwork rococo scroll handles surmounted by figures of putti, the whole raised on a conforming foot embossed and pierced en suite, h. 11‑1/2”, l. 19”, w. 9‑1/4”, 49.06 t. oz. [1800/2500] Illustrated 354 Unusual German Three-Piece .800 Silver Rococo Revival Table Garniture, first quarter 20th century, Hanau, comprising a pair of cornucopia vases, h. 8‑1/2”, l. 11‑1/2”, and a single addorsed cornucopia vase, h. 10‑1/4”, w. 14”, all decorated with embossed rococo scrolls and medallions of Bacchic putti astride lions, with a central figure of a putto, raised on cast rococo scroll supports, 72.47 total t. oz. [5000/8000] Illustrated 355 German 12 Lot (.750) Silver Ladle, third quarter 19th century, Rostock, in the traditional “Fiddle” pattern, with rounded, chamfered shoulders and “cauldron” bowl, l. 16”, 4.31 total t. oz. [200/400]

357

358 Good Japanese Sterling Silver Compote, first quarter 20th century, K. Uyeda, Tokyo, of octagonally paneled form, the panels engraved with realistic bamboo, raised on a waisted standard with “bamboo ring” knop and stepped foot, h. 6‑1/2”, dia. 8”, 20.06 t. oz. [1200/1800] 359 Georg Jensen Sterling Silver “Acorn” Sugar Tongs, the pattern designed in 1915 by Johan Rohde (1856‑1935), Copenhagen, with the post-1945 Jensen mark, l. 3‑1/2”, 0.84 t. oz. [600/900]

354

360 Three Pieces of Georg Jensen Sterling Silver “Acorn” Flatware, the pattern designed in 1915 by Johan Rohde (1866‑1935), Copenhagen, including a jam spoon with the Jensen mark in use ca. 1910‑1925, l. 4‑3/4”, and an ice cream spoon, l. 5‑3/4” and a cheese plane, l. 8‑1/4”, both with the post-1945 Jensen mark, the latter with stainless steel blade, 1.73 total t. oz. (excluding cheese plane). [200/400] 361 Pair of Georg Jensen Sterling Silver “Acorn” Salad Servers, the pattern designed in 1915 by Johan Rohde (1866‑1935), Copenhagen, with the post-1945 Jensen mark, with stainless steel bowl and tines, l. 10”. [150/300]

368 Georg Jensen Sterling Silver “Cactus” Jam Spoon, the pattern designed in 1930 by Gundorph Albertus (1887‑1954), Copenhagen, l. 5‑1/4”, 1.15 t. oz. [50/80] 369 Three Pieces of Scandinavian Modern Silver Flatware, mid-20th century, including a Thorvald Marthinsen “Vidar” silverplate sauce ladle, l. 5‑3/4”, a P.C.L. Frigast “Rigsmonster” letter opener with sterling silver handle and stainless steel blade, l. 8‑3/8”, and a Hans Hansen “Avresolv #18” cheese knife with sterling silver handle and stainless steel blade, l. 7‑1/4”. [100/200]

362 Georg Jensen Sterling Silver “Acanthus” Cake and Pie Server, the pattern designed in 1917 by Johan Rohde (1856‑1935), Copenhagen, with the post-1945 Jensen mark, l. 9‑3/4”, 3.60 t. oz. [125/250] 363 Georg Jensen Sterling Silver “Beaded” Cake and Pie Server, the pattern designed in 1916 by Georg Jensen (1866‑1935), Copenhagen, with the post-1945 Jensen mark, l. 10”, 3.85 t. oz. [125/250] 364 Georg Jensen Sterling Silver “Old Danish” Cake Knife, the pattern designed in 1947 by Harald Nielsen (1892‑1977), Copenhagen, with the post-1945 Jensen mark and stainless steel blade, l. 9‑3/4”. [100/200] 365 Georg Jensen Sterling Silver Bowl Number 17A, designed in 1912 by Johan Rohde (1856‑1935), Copenhagen, with the Jensen mark in use 1933‑1934, h. 4‑1/8”, dia. 4‑3/8”, 5.98 t. oz. [300/500] Illustrated

365

370

370 Alfredo Sciarotta (1907‑1985) Sterling Silver Bowl, third quarter 20th century, Newport, Rhode Island, for Black, Starr & Gorham, New York, New York, of oval form, with slightly asymmetrically upswept ends, raised on a foot ring formed for four “S”-scrolling wires of square section, h. 4”, l. 10‑1/4”, w. 5‑1/4”, 14.46 t. oz. [300/500] Illustrated

371 Pair of Alfredo Sciarotta (1907‑1985) Modernist Sterling Silver Candelabra, third quarter 20th century, Newport, Rhode Island, each comprised of a single thick scrolling wire of square section, each apex of the scroll surmounted by an inverted bell-form candle nozzle, h. 5”, l. 8‑5/8”, w. 4‑3/4”, 17.55 total t. oz. [400/700] Illustrated

366 Georg Jensen Sterling Silver Ornamental Pattern #21 Cold Cut Fork, Copenhagen, with the Jensen mark in use 1933‑1944, l. 5‑1/4”, l. 7‑1/4”, 0.57 t. oz. [60/90] 367 Georg Jensen Sterling Silver “Rope” Pickle Fork, the pattern designed in 1916 by Georg Jensen (1866‑1935), Copenhagen, with the Jensen mark in use ca. 1915‑1930, l. 7‑1/4”, 0.70 t. oz. [60/90]

371

372 Pair of Mexican Modernist Sterling Silver Candleabra, third quarter 20th century, by Liceves, Mexico City, each comprising three thick tubes joined at one end by stylized berries and scrolling out and around, each terminating upwards in a deep candle nozzle, h. 5‑3/4”. l. 3‑1/4”, w. 6‑1/4”, 38.38 total t. oz. [500/800] Illustrated 373 Mexican Sterling Silver Syrup Jug and Underplate, third quarter 20th century, by Sanborn Hermanos, Mexico City, in the Spanish Colonial taste, the jug of tapering cylindrical form, with geometrically fluted spout and flat scrolling handle, the hinged, domed lid with baluster finial, presented on a serpentine-lobed circular plate with molded rim, overall h. 4‑1/4”, dia. 4‑3/4”, 14.27 total t. oz. [300/500]

372

376

375 Neoclassical-Style Fruitwood Commode, the rectangular top above a case fitted with two long drawers, each with decorative banding, raised on square tapering legs, h. 35‑1/4”, w. 44”, d. 19‑1/2”. [500/800] 376 Directoire-Style Fruitwood Writing Table, early 20th century, the rounded rectangular top with an inset leather writing surface above a conforming frieze fitted with two small drawers, raised on curule-form end supports joined by a turned stretcher and ending in ormolu toupie feet, h. 30”, w. 39‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated

374 Italian Neoclassical Fruitwood and Burl Wood Commode, mid-19th century, the banded rectangular top with ebonized edge above a conforming case fitted with three long drawers, the lower two with decorative banding, raised on tapering square legs, h. 31‑1/2”, w. 47‑1/2”, d. 25‑1/2”. [1500/2500] Illustrated

377 Biedermeier Birch Work Table, first quarter 19th century, the rectangular top case fitted with a frieze drawer opening to a compartmented interior, over a faux drawer, raised on a turned and bulbous standard with ebonized accents, to three splayed supports ending in ebonized toes, h. 30”, w. 19‑1/2”, d. 16‑1/4”. [400/700] 378 Biedermeier-Style Tiger Maple and Brass-Mounted Side Table, early 20th century, having a pair of drawers and now with a later plate mirror top, h. 22‑1/2”, w. 18‑1/2”, d. 12‑1/2”. [200/400] 379 Pair of Baker Furniture Blonde Wood Occasional Tables, each with a banded ovoid top centered by a circular burl wood panel, above a conforming frieze fitted with a pull-out slide over a single drawer, joined by plank supports to a conforming stretcher shelf, h. 24‑3/4”, w. 24‑1/2”, d. 18”. [700/1000]

374

380 Pair of Neoclassical-Style Mahogany, Ebonized and Marble-Top Side Tables, each with a demi-lune marble top above a plain frieze, raised on ebonized fluted shaped supports to a smaller demi-lune shelf, raised on paneled tapering square legs ending in peg feet, h. 32”, w. 36”, d. 17”. [600/900]

383 Pair of Continental Neoclassical Rondels, ca. 1900, deep egg-and-dart and beaded border frames the views of putti, on one a pair of putti hold symbolic instruments and on the other one putto holds a wreath of flowers over the other’s head, now mounted in contemporary conforming giltwood frames, dia. 21”. [800/1200] Illustrated

382

384 381 Diminutive Italian Walnut Commode and Provincial Neoclassical-Style Fruitwood Side Table, the commode, mid-19th century, in the neoclassical taste, the quarter-veneered and banded top above a case fitted with a single drawer over a cupboard door, both banded and with chevron veneers, raised on tapering square legs, h. 26”, w. 13”, d. 10‑1/4”, and the side table, 19th century, the rectangular top with canted corners above a conforming paneled frieze with applied carved urn accents and corner foliate carvings, raised on tapering fluted square legs, h. 28”, w. 26‑1/4”, d. 14”. [600/900]

384 Biedermeier Kingwood Reading Stand, early 19th century, the rounded rectangular top quarter-veneered and fitted with a central hinged panel with an easel back, flanked to either side by a hinged panel opening to a storage space, raised on shaped end supports to like runner feet, h. 28”, w. 38‑1/2”, d. 16‑1/4”. [1000/1500] Illustrated 385 Pair of Paris-Style Neoclassical Covered Urns, each urn resting on a fluted, conical gilt-trimmed base, the obverse depicting neoclassical buildings in a park, framed with gilt scrollwork, the reverse decorated with gilt scrollwork, winged and gilt-decorated figures serve as handles, the gilt coves with scrollwork borders and leafmolded knops, marked with spurious Sevres signatures, h. 17‑1/2”, w. 9”, d. 7”. [900/1200] Illustrated

383

382 After Antonio Canova (Italian, 1757‑1822), “Venus Italica”, Marble Bust, mid-19th century, resting on a cove-molded socle, the head and shoulders bust depicting the Medici Venus, h. 24‑1/2”, w. 15‑3/4”, d. 10”. [1500/2500] Illustrated

385

389 Pair of Continental Landscape Paintings, including Louis Ritschard (Austrian, 1817‑1904), “Well and Vesterhorn von Meyringer”, oil on canvas, signed lower left, titled in pencil en verso, 4 3/4” x 6 1/2”, and P. Mourlot (Austrian, 19th c.), “Chateau d’Amboise, Loire”, oil on canvas, signed lower right, 4 3/4” x 6 1/2”. In matching period frames. [300/500] Illustrated 390 Pierre Rochard (French/American, 1869‑1950), “Pres Ranpont”, oil on canvas, signed lower left “Pierre Rochard”, 11” x 15”. Presented in a giltwood and gesso exhibition frame. [300/500]

389 one of two

386 Two Paris Porcelain Cups and Saucers Attributed to Dante Freres, first quarter 19th century, French, the cup with ornithological decoration depicting a landscape with a ruby-throated black and gray bowl, identified on a rock as “La Happe Noir d’Amerique”, in the Dante manner, h. 2‑1/4”, dia. 5”, the second cup in a documented Dante shape, decorated with a gilt, gridwork and an apricot band, h. 5‑3/4”, dia. 5‑1/4”. [150/250] 387 Paris Porcelain Sauce Tureen on Stand, ca. 1800, French, Directoire period, of serpentine form with integral stand, and a twig-form knop, with early classical decoration consisting of swags of green leaves and gilt sprigging with red bellflowers, hung from swagged scrollwork, unsigned, h. 5‑1/2”, w. 9‑1/4”, d. 5‑3/4”. [250/400] 388 French Empire-Style Swan Cup and Saucer, fourth quarter 19th century, of German origin, the saucer with an unglazed biscuit border molded with anthemia, the gilt and white cup with a swan’s head and neck molded handle contrasting with biscuit molded wings against a gilt body, h. 5”, dia. 6‑1/2”. [250/400] 393

391

391 French Empire-Style Tole and Brass Eight-Light Chandelier, the blue painted ring-form body decorated with cut-cornered reserve panels of putti with urns alternating with foliate medallions, crowned with a pierced brass fret, set with rope twist candle branches and matching tole candle cups, fitted with electrified candles, and hung from chains and a matching painted canopy, h. 38”, dia. 33‑1/2”. [700/1000] Illustrated 392 Unusual Empire-Style Brass Calendar, fourth quarter 19th century, the engine-turned trimmed base set with a vase-turned standard, holding the hemispherical calendar support, the round brass perpetual calendar with an outer ring engraved 1 to 31, a ring of months and signs of the zodiac with steel hands, h. 12”, w. 6‑3/4”, dia. 5‑1/2”. [150/300]

393 Baltic Neoclassical Mahogany Etagere, mid-19th century, the stepped cornice with projecting canted corners and a gilt-gadroon-carved frieze, above two open bowed shelves with a mirrored back supported by gilt-accented columnar supports, the lower section fitted with a single cupboard door with an applied ormolu wreath, raised on ring-turned square feet, h. 70‑3/4”, w. 33”, d. 17”. [3000/5000] Illustrated 394 Baltic Neoclassical Mahogany Looking Glass, mid-19th century, the molded cornice above a frieze with a brass diamond applied pattern, the rectangular plate within a molded frame with corner brass accents, h. 43‑1/2”, w. 29”. [1400/1800] Illustrated

396 398 Pair of French Empire-Style Picture Frames, the round engine-turned frame crowned with finials in the form of a Napoleonic wreath tied with a bowknot, h. 8”, dia. 6‑1/2”. [250/400] 399 Empire-Style Fruitwood Jardiniere, early 20th century, the hexagonal top with an inset circular tole liner, above a conforming paneled frieze with ormolu mounts in the Empire taste, raised on fluted circular legs and a central ormolu caryatid to a concave triangular base raised on bun feet, h. 44”, dia. 28”. [2500/4000] Illustrated

394

395 Baltic Neoclassical Mahogany Cabinet, mid-19th century, the rectangular top above a case with an applied giltwood patera, above a single cupboard, centered by a recessed scrolling foliate and palmetto mount, raised on a plinth base to block feet, h. 32”, w. 31”, d. 16”. [700/1000] 396 French Patinated-Metal Figure of Napoleon Bonaparte, ca. 1900, depicted astride a horse, preparing to lead his troops, the horse with carefully delineated bridal and saddle, Napoleon gesturing forward with his sword at his side, mounted on a later black marble base, h. 16”, w. 14”, d. 7”. [800/1200] Illustrated 397 Unusual 19th Century Brass Seal Depicting Napoleon, the brass base with a leaf-molded edge, securing the heavy steel seal with an intaglio image of Napoleon Bonaparte, w. 3‑1/2”, d. 3‑1/2”. [200/400]

399

403 Pair of Tole Column-Form Lamps in the French Neoclassical Style, ball feet support an anthemionbordered base depicting figures in landscapes, the column-form standard decorated with painted sprigging and anthemia, the capitals lotus-shaped and decorated in black on a yellow ground, h. 33”, w. 6”, d. 6”. [200/400]

400 Malachite-Clad Tazza on Stand, 19th century, probably Russian, the square plinth trimmed with ogee molding, supports the tazza of classical form, h. 10‑3/4”, dia. 9‑3/4”. [3000/5000] Illustrated

400

404 Empire-Style Mahogany and Marble-Top Side Table, early 20th century, the rectangular verde antico marble top inset into a molded edge, above an ormolu-mounted frieze, joined by a paneled back and tapering square supports to a concave stretcher, raised on ormolu paw feet, h. 36”, w. 25‑1/2”, d. 18”. [500/800] Illustrated

401 Continental Malachite Box, the rectangular covered box composed of brightly figured malachite, h. 2‑1/2”, w. 6”, d. 4”. [900/1200]

402 Pair of French Malachite and Gilt-Bronze NeoclassicalStyle Lamps, reeded bun feet support the square malachite bases, holding round malachite plinths banded with engine-turned bronze decoration, the bronze anthemia-molded plinth cups support Doric columns decorated with bands of engine turning and set with engine-turned capitals, h. 36”. [3500/5000] Illustrated

404

402

405 Empire-Style Mahogany Lamp Table, 20th century, the lamp standard raised on an urn-form base and ebonized caryatid supports, attached to a tripartite table top joined by shaped supports to the like-shaped plinth, h. 62”, [400/700] 406 Empire-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular Sainte Anne des Pyrennes marble top above a conforming case fitted with a frieze drawer over three long drawers, with a plinth drawer beneath, all with annulated ormolu banding flanked to either side by stop-fluted columns with ormolu foliate accents, raised on tapering lotusmounted feet, h. 36‑1/2”, w. 51”, d. 24”. [1000/1500] Illustrated 407 Empire-Style Mahogany Dining Table, 20th century, the rectangular top opening to accommodate two leaves, above an ormolu-mounted frieze, raised on square legs headed by scrolls and ending in block feet on ormolu foliate toes, with a central large support, h. 32”, w. 46”, l. 95”. [1000/1500]

408 Bronze of “Venus de Milo”, 19th century, probably French, unmarked except for a single “M” or “W” inscribed on the underside, the bronze of the iconic ancient marble with a rich patina, h. 23”, w. 6‑1/4”, d. 4‑1/2”. [1500/2500] Illustrated

409 Roman-Style Neoclassical Marble Bust, probably Italian, composed of contrasting white and green marble, the white socle supporting a green marble tunic with a white marble head, h. 38”, w. 24”, d. 8”. [400/700]

408

412

412 Empire-Style Kingwood Center Table, the circular table with inlaid Greek-key banding and scrolling foliate patterns, raised on a like-inlaid graduated tripartite base with ormolu mask accents, raised on ormolu paw feet, h. 32”, dia. 40”. [1000/1500] Illustrated

410 Bronze Torso of a Youth, in the classical style, the nude male torso mounted on a contemporary base, h. 26‑3/4”, w. 13‑3/4”, d. 7‑3/4”. [1800/2500] Illustrated 411 French Painted Tole Bathtub, 19th century, of coffin form, each end fitted with a handle, the sides ornamented with an “X” centered by a roundel, h. 28‑1/2”, l. 60”, d. 23‑1/2”. [700/1000]

410

413 Brass and Tole French Empire-Style Bouillotte Lamp, the pan base, trimmed in engine turning and pierced with anthemia, the turned standard decorated with engine turning and supports three empire-style rhyton-form candle arms molded with empire decoration, the square standard supports a black and gold tole shade, h. 30”, dia. 16‑1/2”. [500/800] Illustrated 414 French Gilt-Bronze and Tole Bouillotte Lamp, second quarter 20th century, the pan-shaped base trimmed in engine turning and pierced with anthemia, the fluted and leaf-molded standard supports three empire-style molded candle arms fitted with electrified candles, the central standard supports a green tole shade trimmed with gilt scrollwork, and supported by an arrow-form holder, h. 27‑1/2”, dia. 15‑3/4”. [400/700] Illustrated

415 and 416

417 Pair of French Cut-Glass and Bronze Empire-Style Lamps, acorn feet support the round cut bases, molded bronze feathers support the diamond-cut vase-shaped standard, crowned with gilt- metal downturned leaves, h. 28‑1/2”, dia. 7‑1/2”. [800/1200] Illustrated

413 414

415 Pair of Empire-Style Gilt-Brass Three-Light Sconces, first quarter 20th century, the torch-form backplates with eagle-decorated lower portions, green ground bodies bound with gilt brass “ribbons” and flame finials, supporting three leaf-molded candle arms with engineturned cups, hung with glass teardrop prisms, fitted with electrified candles, h. 18”, w. 8‑3/4”, d. 6‑1/4”. [200/400] Illustrated 416 Pair of Empire-Style Gilt-Brass Three-Light Sconces, first quarter 20th century, the torch-form backplates with eagle-decorated lower portions, green ground bodies bound with gilt brass “ribbons” and flame finials, supporting three leaf-molded candle arms with engineturned cups, hung with glass teardrop prisms, fitted with electrified candles, h. 18”, w. 8‑3/4”, d. 6‑1/4”. [200/400] Illustrated

417

418 Empire-Style Mahogany Firescreen, 19th century, the raised crest with ormolu gadroon frieze and foliate end finials above a fabric screen, raised on splayed cabriole legs ending in foliate sabots, h. 46”, w. 24‑1/2”. [800/1200] Illustrated

418

420 Empire Mahogany Bergere, early 19th century, the backswept padded back joined by closed arms on maiden’s head uprights to the cushioned seat, raised on square tapering legs ending in paw feet, h. 35”. [1000/1500] Illustrated

419 Empire-Style Burl Elm Chest, 20th century, the molded cornice above a case fitted with a frieze drawer over seven long drawers, flanked to either side by an engaged pilaster headed by an ormolu maiden’s head and ending in feet, the whole raised on block legs to paw feet, h. 72”, w. 45‑1/2”, d. 19‑1/2”. [900/1200] Illustrated

420

421 Charles X Mahogany Fauteuil, first quarter 19th century, the rectangular back surmounted by a slightly domed crest, joined by scrolling arms to the seat, raised on sabre legs headed by palmettos and ending in scrolled toes, h. 36”. [250/400] 422 Directoire-Style Polychrome Window Seat, the padded rectangular seat flanked to either side by armrests with turned crests over phoenix-carved frieze and foliate splats, raised on sabre legs, h. 30‑1/4”, w. 30”, d. 15‑1/4”. [1200/1800] 419

425 Empire-Style Ormolu-Mounted Mahogany Triple-Section Armoire, early 20th century, the stepped cornice over a long mirrored door, flanked by a pair of narrower, shallow doors fitted with mirrored panels, the doors flanked by pilasters with figural metal mounts, h. 96”, w. 88”, d. 25”, [1000/1500] 426 Pair of Empire-Style Gilt-Metal-Mounted Mahogany Bedside Cupboards, early 20th century, each with metal-mounted backsplash over a marble-top case fitted with a single cupboard door, on turned feet, h. 46”, w. 20‑1/2”, d. 16”. [900/1200] 427 Pair of Empire-Style Mahogany Twin Beds, early 20th century, each headboard with a rounded crest flanked to either side by raised giltwood urn finials, joined to the paneled footboard by shaped rails, the footboard with flaming urn finials and fronted by ormolu-mounted columns, raised on block feet, h. 49”, inside w. 33”, inside l. 80”, outside w. 40”, outside l. 90‑1/2”. [600/900]

423 423 Empire-Style Gilt-Metal-Mounted Mahogany Dressing Bureau, early 20th century, in two parts, the upper section with a beveled mirror flanked by pilasters with figural capitals, the marble top case fitted with a single frieze drawer over three recessed drawers, h. 86”, w. 51”, d. 24‑1/2”, [700/1000] Illustrated

428 Regency Rosewood Center Table, first quarter 19th century, the rounded square top banded and with decorative stringing, raised on a graduated square standard to a concave base on splayed legs ending in brass paws on casters, h. 29‑1/4”, w. 30‑1/4”, d. 30‑1/4”. [1200/1800] Illustrated

424 Empire-Style Gilt-Metal-Mounted Mahogany Bedstead, early 20th century, comprised of a pair of twin beds joined to accommodate a contemporary king-sized mattress, the headboards with molded corners with an ormolu mount, the head and footboard panels centered by a mount in the form of a Napoleonic wreath and flanked by pilasters with figural mounts, h. 74‑1/2”, inside w. 78”, inside l. 77‑1/2”, outside w. 84”, outside l. 83”, [800/1200] Illustrated

428

429 Regency Rosewood Side Table, first quarter 19th century, the highly figured rounded rectangular top above a frieze fitted with a single drawer to one side and a faux drawer to the other, raised on paneled graduated supports to runner feet on rounded toes, h. 28‑1/4”, w. 36”, d. 19‑1/2”. [700/1000] 424

430 Regency Mahogany Center Table, first quarter 19th century, the octagonal top above a conforming frieze fitted with four drawers and four faux drawers, raised on a turned standard to four splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 47”, d. 47”. [3000/5000] Illustrated 431 Regency Needlework Memento Mori, first quarter 19th century, British, executed on a watercolor ground, depicting a churchyard with two mourners at a tomb, two women in the foreground, and a lakeside chapel with mountains in the distance, mounted in a gilt cove-molded frame, h. 23”, w. 28”, overall. [300/500]

430

435 Pair of Regency Ebonized Armchairs, early 19th century, each with a caned crest above an X-form splat centered by an oval panel with a painted classical scene, joined to the caned seat by flat arms, raised on square tapering legs ending in spade feet, h. 32‑1/2”. [700/1000] Illustrated 436 Regency Mahogany and Brass Planter, first quarter 19th century, the tripartite base set on ball feet, supporting a turned standard under the flaring mahogany basket-form holder, the brass inset seamed and mounted with a brass carrying handle, h. 20”, dia. 13”. [250/400]

434 432 Pair of English Brass Candlestick-Form Table Lamps with Blue Tole Shades, feet support the turned standards, with ring bell and vase-shaped elements, the old tole shade painted dark blue, h. 37‑1/2”, dia. 18”. [300/500] 433 Unusual Pair of Regency-Style Brass, Marble and Alabaster Candlesticks, fourth quarter 19th century, brass bases support alabaster plinths, mounted with black marble columns on leaf-molded bases and beaded capitals, sprays of prisms sitting under engine-turned and beaded candle cups fitted with leaf-molded bobeches, h. 13‑1/2”, dia. 5‑1/2”. [250/400] 434 Attributed to George Watson (Scottish, 1767‑1837), “Portrait of a Seated Young Gentleman”, oil on canvas, unsigned, 35‑3/4” x 27‑1/2”. Framed. Provenance: Sotheby’s Colonnade, October 9, 1996 sale. [1000/1500] Illustrated

435

437 Regency Giltwood Convex Looking Glass, first quarter 19th century, the circular plate surmounted by an eagle on a rocky crag and foliate crest, surrounded by a molded and annulated frame with a foliate pendant, h. 46‑1/2”, dia. 28”. [2500/4000] Illustrated

437 438 Regency-Style Giltwood and Granite Side Table, the rectangular gray granite top above a conforming dentillated frieze centered by an urn-carved panel, raised on tapering circular fluted legs headed by foliate carving and ending in toupie feet, h. 37”, w. 55‑1/2”, d. 17‑1/2”. [400/700] Illustrated

439 Regency Ebonized Cabinet, first quarter 19th century and later, the rectangular top with a shelved superstructure and gilt scene, in the Orientalist manner, above a case fitted with a single door, inset with a grille panel, the sided with figural scenes, raised on a plinth base, h. 46‑1/2”, w. 26‑1/2”, d. 12”. [800/1200]

440

440 Regency Mahogany Secretary Bookcase, first quarter 19th century and later, the molded cornice above two astragal-glazed doors, the lower section fitted with a secretary drawer opening to a baize-lined surface and a variety of drawers and cubbyholes, over three long graduated drawers, raised on splayed bracket feet, h. 91‑1/2”, w. 45”, d. 21‑1/2”. [2000/4000] Illustrated

438

441 Regency-Style Stained Wood Etagere, of square form, fitted with four tiers, all with reeded edges, the central one fitted with a drawer, joined by turned supports and raised on turned feet, h. 72‑1/2”, w. 16‑1/2”, d. 16‑1/2”. [900/1200]

444 Regency-Style Rosewood and Faux Bois Credenza, late 19th century, the superstructure with a pierced three-quarter brass gallery over two shelves held by brass supports and a mirrored back, the breakfront top above a conforming case fitted with two central doors inset with grilled panels flanked to either side by a paneled cupboard door, raised on a plinth base, h. 61”, w. 71”, d. 16”. [1000/1500] Illustrated

442 442 After Sir Thomas Lawrence (British, 1769‑1830), “Portrait of Douglas Bloomfield, Second Baron Bloomfield”, oil on canvas, unsigned, 30” x 25”. Framed. Provenance: Christie's New York, February 8, 2011 [300/500] Illustrated

444

445 Regency-Style Mahogany Double Pedestal Dining Table, 19th century, each pedestal with a turned standard mounted to a platform with four outcurved legs ending in brass paw feet, accompanied by two 12” skirted leaves, the underside now fitted with runners, h. 29‑1/2”, d. 48‑1/2”, l. 48‑1/2”, ext. l. 73”. [1000/1500]

443

443 Late Regency Mahogany Pembroke Table, second quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with a single end drawer and a faux end drawer, raised on four turned supports to a rectangular base, to four splayed legs ending in brass caps and casters, h. 28‑1/4”, w. 43‑5/8”, d. 22‑1/2”, extended l. 42‑7/8”. Provenance: Godolphin House, Helston, Cornwall, England. [500/800] Illustrated

446 Crown Derby “Olde Avesbury” Porcelain Breakfast Set, ca.1940, decorated with brown outlined pattern of pheasants with polychrome decoration, the set comprised of a coffee pot, h. 8‑1/2”, a teapot, h. 6‑3/4”, a covered sugar bowl, h. 5‑1/4”, dia. 6‑3/4”, a cream jug, h. 5”, dia. 2‑1/2”, twelve scalloped breakfast plates, dia. 8‑3/4”, twelve tea cups and saucers, h. 2‑1/2”, dia. 6”, a jam pot with saucer, h. 3‑1/2”, dia. 4‑3/4”, and eleven coffee cups with twelve saucers, h. 2”, dia. 4‑3/4”. [400/700] Illustrated

446

447 Set of Four Worcester Flight, Barr and Barr Hand-Painted Porcelain Dinner Plates, ca. 1813‑1840, English, decorated in the Imari palette, depicting orchids with cobalt stems and leaves, orange and pink blossom, highlighted with delicate flowers of gilt, impressed “FBB” under a crown, dia. 9‑1/2”. [200/400] 448 Two Pairs of Ashworth Imari Palette Ironstone Plates, fourth quarter 19th century, English, one pair incorporates salmon pink along with the traditional orange and blue and with both printed and impressed marks, the other pair incorporates blue and orange with iron-red and has indistinctly impressed marks, dia. 10‑1/4”. [150/300] 449 Seven-Piece Collection of Imari Palette Ironstone Plates, fourth quarter 19th century, English, the three dessert plates with cobalt and orange borders and a basket of flowers in the center, marked by an unidentified maker, dia. 6‑3/4”, together with two pairs of similar dinner plates with Imari decoration over black transfer printing, with cobalt and orange flourishes on an Imari pattern, one impressed “Ashworth”, the other “JDL Co.”, dia. 10‑1/2”. [125/250] 450 Set of Sixteen English Creamware Dinner Plates, first quarter 19th century, decorated in the neoclassical style, the yellow ground borders with a gray edge, and black hand-painted decoration of sprigging alternating with laurel wreaths containing painted leaves, dia. 9‑3/4”. [300/500] 451 Campaign-Style Mahogany Partner’s Desk, 20th century, the rectangular top with a three-quarter gallery and inset leather writing surface, above a frieze fitted with a single long drawer faced as three drawers, raised on two pedestals, each fitted with three graduated drawers, raised on bun feet, h. 32”, w. 55‑1/2”, d. 29”. [1400/1800] Illustrated

452

452 Regency Mahogany Pembroke Table, early 19th century, the highly figured rectangular top with two rounded drop leaves, above a frieze fitted with a single end drawer and a faux drawer, raised on a turned vasiform splat to four splayed and reeded legs ending in brass caps and casters, h. 28”, d. 36”, l. 25‑1/2”, ext. l. 45‑1/2”. [800/1200] Illustrated 453 Regency-Style Burl Maple Cocktail Table, early 20th century, the highly figured rounded rectangular top above a single frieze drawer flanked to either side by gilt scrolling patterns, raised on end supports to gilt paw feet, h. 20”, w. 36”, d. 17‑1/2”. [200/400] 454 John Gould and H. C. Richter (British, 19th Century), “Gorgeted Partridge” and “Striped-Breasted Partridge”, pair of hand colored lithographs, sight 14‑1/2” x 17‑1/2”. Each glazed, handsomely matted and framed. [500/800]

455 John Gould and W. Hart (British, 19th Century), “Phasianus Colchicus”, hand colored lithograph, sight 14” x 21”. Glazed, French matted and presented in a molded giltwood frame. [350/500] 456 William IV Mahogany Center Table, mid-19th century, the circular top within a brass banding, raised on a concave triangular standard to three large foliate-scroll carved feet, h. 31‑1/2”, dia. 37‑1/2”. [500/800] Illustrated next page

451

457 William IV-Style Mahogany Cheval Mirror, second quarter 19th century and later, the slightly domed plate within a molded frame, raised on shaped supports above a scalloped stepped plinth to scrolled feet, h. 67”, w. 29”. [500/800]

462 Neoclassical-Style Mahogany Fireplace Surround, second quarter 20th century, the top with gadrooned edge over a foliate-carved panel supported by fluted columns, the firebox opening fitted with a gilt-metal-mounted screen, h. 39‑1/4”, w. 55”, d. 16”. [500/800] Illustrated 463 Regency Mahogany Library Steps, first quarter 19th century, fitted with three steps, all with leather-inset treads, the top one with a lift-top, the middle one with a pull-out lift-top, raised on ring-turned circular legs, h. 25‑1/2”, w. 17‑1/2”, d. 27‑1/2”. [800/1200] 464 William IV Decorated Rosewood Box, second quarter 19th century, English, the rectangular box set with an ivory escutcheon with bird’s eye maple cross-banded edges with ebonized corner blocks, h. 4”, w. 11”, d. 7”. [100/200]

456

458 Impressive Pair of William IV Patinated-Bronze Three-Light Candelabra, second quarter 19th century, English, the tripartite bases decorated with gilded fluting, scrolled feet under the leaf-molded gilded lower standard, three delicate patinated reeded standards terminating in gilt lotus leaves, serving as the upper standard and supporting three gilded leaf-molded candle branches set with leaf-molded drip pans and cylindrical cups, flame finials set in the upper faux candle cup, h. 25”, w. 8‑3/4”, d. 8‑3/4”. [500/800] Illustrated

465 Marble Bust of a Gentleman, ca. 1842, English school, the waist length figure wrapped in a cloak, h. 11‑1/4”, w. 7‑1/4”,d. 4‑1/4”. [300/500]

458

466 English Opaline and Brass Lamp Standard, mid-19th century, now mounted as an electric lamp, design registered 1845, the leaf-molded brass base stamped with an English registry mark, the iron underplate signed indistinctly, the opaline standard molded in a pattern of overlapping elongated leaves, capped with molded gilt-bronze leaves, h. 27”, w. 7‑1/4”, d. 7‑1/4”. [250/400]

459 Pair of English William IV Bronze Candlesticks, second quarter 19th century, resting on patinated tripartite bases trimmed in scrollwork and shells, paw feet support gilt-bronze fluted standard supports, the fluted vase-shaped standard with lotus-molded gilt capitals, the leaf-molded patinated candle cups set with leaf-molded gilt bobeches, h. 9‑1/2”. [125/250] 460 English Bronze Gothic Revival Lamp Standard, ca. 1840, mounted with a Victorian banquet font, the gilded molded base supports a border of quatrefoils, beneath a cluster column standard, the leaf-molded pierced breather sits under the cut-glass font, set with a duplex burner and glass shade, now electrified, h. 31‑1/4”, dia. 6‑1/2”. [300/500] 461 Pair of Cut-Glass and Brass Two-Light William IV Sconces, second quarter 19th century, English, the simple tombstone molded backplates with dovetail joints to hold the candle branches, which are scrolled and notched with brass fillings and tulip-form surrounds, h. 9‑1/4”, w. 12”, d. 7‑1/4”. [250/400]

462

467 William IV Mahogany Library Chair, second quarter 19th century, the padded rectangular back joined by outscrolled arms to the cushioned seat, raised on turned tapering circular legs ending in brass caps and casters, h. 40”. [1400/1800] Illustrated 468 Pair of English Porcelain Raspberry Ground Garniture Vases, second quarter 19th century, the baluster-turned vases decorated with gilt anthemion drops and bellflower garlands, with handles on their necks, marked pattern number 3/.202, h. 6‑3/4”, w. 4”, d. 2‑3/4”. [150/300]

472

471 Two Similar Blue Staffordshire Pearlware Tea Bowls and Saucers, the first example ca. 1810‑1825, decorated with a basket of flowers on a stippled ground, signed with an impressed Adams circular mark with a crown in the center, the second example unsigned and decorated with a covered urn in a border of floral cartouches, h. 3‑1/4”, dia. 5‑3/4”. [150/300] 472 Continental Rosewood Stool, mid-19th century, the padded square inset top above a shaped frieze with applied floral medallions, raised on curved legs joined by a turned X-form stretcher and ending in shaped feet, h. 20”, w. 17‑1/2”, d. 17‑1/2”. [800/1200] Illustrated 473 Late William IV Rosewood Occasional Table, second quarter 19th century, the circular top raised on a bulbous paneled and foliate-modeled standard to a tripartite base to circular feet, h. 28‑1/2”, dia. 17‑1/2”. [300/500] 467

469 Three Pieces of Ashworth Ironstone China, fourth quarter 19th century, English, comprised of a platter with two matching plates, decorated with a willow-type pattern, executed in Chinese red transfer printing, colored with green, pink and blue and gilt-trimmed, impressed “Ashworth Real Ironstone China” in addition to a transfer mark, platter l. w. 17‑1/2”, l. 14”, plates dia. 9‑1/2”. [250/400]

474 Anglo-Indian Pierced and Carved Ivory Box, second quarter 19th century, decorated with applied ivory banding, some with green stained incised decoration, some pierced in a leaf pattern over a foil ground, the lid with slanted sides, decorated to match the base, the interior lined with old linen, h. 4‑3/4”, w. 9”, d. 6‑1/4”. [900/1200] Illustrated

470 Pair of Enoch Wood Historical Blue Staffordshire Plates, ca. 1818‑1846, English, in the “Landing on Plymouth Rock” pattern, with cartouches proclaiming “American Independent July 4, 1776” and “Washington Born 1732 Died 1799”, one with the impressed mark, the other with a printed mark, dia. 10”. [100/200] 474

476 Anglo-Colonial Mahogany Wardrobe, second quarter 19th century, the broken pediment with ormolu mounts, above a case fitted with two long doors, each inset with an upper oval panel and a lower rectangular panel, all banded, flanked to either side by spiral reeded pilasters, raised on bulbous feet, h. 88‑1/2”, w. 52”, d. 24”. [1200/1800] Illustrated 477 Anglo-Indian Coffer, ebony carved with palmettes and floral scrolling, h. 16”, w. 21”, d. 13”. [300/500]

475

475 North African Inlaid Hardwood Dresser, late 19th century, the rectangular top with a raised superstructure and two end drawers, with front projecting corners above a case fitted with a single long drawer over two cupboard doors, each centered by a scene of courtiers on horseback, flanked to either side by a barley-twist upright, raised on unusual turtle feet on a plinth, the whole elaborately inlaid with ebonized banding and geometric patterns, h. 47”, w. 51”, d. 26”. [700/1000] Illustrated

478

478 Elaborate Collage of Antique Indian Wedding Dress Fragments, late 18th/early 19th century, the intricate needlework and embroidery featuring gold threads and miniature pearls, h. 35”, w. 23”, sight. Framed. [800/1200] Illustrated 479 Provincial Louis-Philippe Fruitwood Fauteuil, mid19th century, the padded rectangular back surmounted by a shaped crest, joined by padded arms to the rush seat, raised on square legs joined by stretchers, h. 33‑1/2”. [150/300]

476

481 Provincial Louis-Philippe Fruitwood Armoire, mid-19th century, the domed and molded cornice with projecting canted corners, above a conforming case fitted with two doors, each inset with three panels, raised on tapering ring-turned circular feet, the whole with ebonized accents, h. 98”, w. 60”, d. 27”. [1000/1500] Illustrated 482 Empire-Style Mahogany Armoire, partially composed of antique elements, the molded cornice above a case fitted with two bi-paneled doors, flanked to either side by engaged ormolu-mounted pilasters, raised on turret feet, h. 75‑1/2”, w. 45‑1/2”, d. 16”. [500/800] 483 Charles X Elm Fauteuil, first quarter 19th century, the padded rectangular back surmounted by a curved crest and joined by scrolling arms to the padded seat, raised on sabre legs ending in scrolled toes, h. 35”. [300/500] 480

480 Louis-Philippe Walnut Commode, second quarter 19th century, the rectangular top with banded edge and canted corners above a conforming case fitted with a paneled frieze drawer over three long drawers with a concealed plinth drawer below, raised on molded bracket feet, h. 37”, w. 49‑1/2”, d. 21”. [800/1200] Illustrated

484 484 Continental School (19th Century), “Pastoral Landscape With an Aqueduct in the Distance”, oil on canvas, unsigned, 26” x 36”. Presented in a Rococo-style giltwood frame. [700/1000] Illustrated 485 Louis Ritschard (Austrian, 1817‑1904), pair of oils on wood panel, including “Tell’s Capelle”, signed lower left, titled en verso, 4 3/4” x 6 3/4”, and “Naublacj”, signed lower left, titled en verso, 4 3/4” x 6 3/4”. In matching period frames. Ritschard was one of the pseudonyms of Hubert Sattler. [300/500] 486 After Moritz-Michael Daffinger (Austrian, 1790‑1840), “Napoleon II, Emperor of the French”, color lithograph, sight 8‑1/2” x 7”. Glazed and presented in a silvered frame with an oval liner. [500/800] 481

490 Pair of French Restauration Gilt-Bronze Figural Candelabra, second quarter 19th century, possibly depicting Apollo and Daphne, the tripartite bases support gilt paw feet on a leaf-molded base, supporting a leafmolded standard, while the patinated figures perched aloft a semi-sphere on one foot, and holding aloft leaf-molded candle branches with lotus drip pans and reeded candle cups with matching bobeches, h. 20‑1/2”, w. 7”, d. 8‑1/4”. [600/900] Illustrated

487

491 French Restauration Bronze Candelabra, second quarter 19th century, the octagonal base and tapered plinth decorated with laurel leaves and raised lozenges holds the figural standard, an allegorical figure of America, the Indian princess dressed in a feathered skirt and headdress, supports scroll-molded candle arms with leaf-molded cups and molded bobeches, h. 20‑3/4”, dia. 8‑1/4”. [250/400]

487 Empire Mahogany and Marble-Top Center Table, second quarter 19th century, the circular dished Bleu Turguin marble top above a plain frieze, raised on a paneled vasiform standard to three scrolled supports with ormolu foliate and patera mounts, to bun feet on casters, h. 29‑1/4”, dia. 38”. [2000/4000] Illustrated 488 Restauration Giltwood Looking Glass, mid-19th century, the large rectangular plate within a molded frame with carved patera, palmetto and caduceus accents, h. 71”, w. 53‑1/2”. [1500/2500] 489 Restauration Polychrome Looking Glass, first quarter 19th century, the rectangular plate surrounded by a molded frame with corner and side patera and palmetto accents, h. 49”, w. 19”. [300/500]

493 492 Two French Figural Two-Light Candelabra, the first, second quarter 19th century, with a bronze base on gilt cabriole legs supporting a patinated caryatid-form standard, which support leaf-molded scrolled candle branches and engine-turned candle cups, now attenuated, h. 14‑1/4”, w. 9”, d. 4‑1/4”, the second, third quarter 19th century, Napoleon III and composed on a gilt ring-turned foot supporting a white marble plinth set with a patinated-bronze Mandarin figure holding a gilt cornucopia set with a pair of tole candle cups and drip pans, h. 13”, w. 5‑3/4”, d. 3”. [200/400]

490

493 French Restauration Sienna Marble and Bronze Figural Clock, second quarter 19th century, the marble plinth trimmed with an anthemion-molded bronze base, the plinth mounted with a pair of bronze columns with flame finials supporting a leaf-molded swag, the clockworks mounted with a silvered dial behind a beveled glass door, set in a bronze bezel, flanking the clock stands a patinated-bronze male figure clad in classical robes with outstretched arms, placing a laurel wreath on the clock, two bronze feathers nearby, h. 17‑1/4”, w. 13‑1/4”, d. 4‑1/2”. [1500/2500] Illustrated

494 Pair of Restauration Mahogany Fauteuils, second quarter 19th century, the padded back surmounted by a scrolling crest, joined by downswept reeded arms to the padded seat, raised on sabre legs headed by palmetto carving, h. 36‑1/2”. [1800/2500] 495 Louis-Philippe Walnut Secretaire Abbatant, second quarter 19th century, the rounded rectangular top above a conforming case fitted with a frieze drawer over a drop-front opening to a variety of drawers and cubbyholes surrounding an arched open cupboard, with ebonized accents over three long drawers, raised on rounded feet, h. 64”, w. 44‑1/2”, d. 23”. [2000/4000] Illustrated

499 Pair of SixLight French Bronze and Sienna Marble Restauration Candelabra, second quarter 19th century, a contemporary wooded base supports the tripartite sienna plinth, scrolled bronze feet support a leafmolded nozzel holding the sienna marble standards, with scrolled and leaf-molded 499 appliques and lotus leaf capitals, the candle branches terminating in masks and supporting lotus-molded drip pans and leaf-molded bobeches, now electrified, h. 41‑1/2”, dia. 11”. [1200/1800] Illustrated 500 Two Pairs of Brass Candlesticks, early 19th century, the taller pair is French Restauration, second quarter 19th century, the turned sticks decorated with bands of engine-turned decoration, h. 11”, the shorter pair is English, William IV period, the leaf-molded bases support an elaborately-molded standard decorated with reeding, fluting, and gadrooning, leading to a spray rose-molded prism holder, under a candle cup with rose-molded bobeches, h. 9‑1/2”. [300/500]

495

501 Pair of Louis-Philippe Brass Candlesticks, second quarter 19th century, French, the round bases decorated with molded acanthus leaves, an engine-turned base supports the reeded standards and the candle cups decorated to match with reeding and molded acanthus leaves, h. 8”. [200/400] Illustrated

496 Pair of Louis-Philippe Mahogany Fauteuils, second quarter 19th century, each with a rectangular back surmounted by a slightly domed crest, joined by scrolling arms to the padded seat, raised on sabre legs, h. 36”. [400/700] 497 Louis-Philippe Mahogany Fauteuil, second quarter 19th century, the rectangular back surmounted by a highly figured crest, joined to the padded seat by scrolled arms, raised on turned bulbous legs, h. 34”. [250/400] 498 Pair of Neoclassical-Style Mahogany Pedestals, each of square paneled form, with a stepped circular surface, raised on a plinth base, h. 21”, w. 19‑1/4”, d. 19‑1/4”. [200/400]

501

504 French Restauration Patinated-Bronze and Mirror Plate Plateau, second quarter 19th century, raised on leaf-molded feet, the flaring fretted rim cast in a gothic revival pattern, with a reeded bezel holding the mercury glass mirror plate, h. 2”, w. 10”, l. 13”. [250/400]

505 Pair of Neoclassically-Inspired Cast-Iron Garden Urns, each having scroll arms with roundels and graduated bellflowers, the tapering bodies adorned in the Adamesque taste, on socle bases, the surfaces with bronze patination, h. 29‑1/4”. w. 22”, d. 17”. [300/500]

502

502 Attributed to Francois Joseph Navez (Belgian, 1787‑1869), “Half-Length Portrait of a Young Man In a Double-Breasted Jacket”, oil on canvas, unsigned, 24” x 20”. Framed. [1000/1500] Illustrated

503 “The Dying Gaul” Bronze, fourth quarter 19th century, Continental, after the now lost Hellenistic original, and known through later Roman copies, depicting a dying, nude Celtic soldier, his sword and horn abandoned on the ground, h. 11‑3/4”, d. 11‑1/4”, l. 22‑1/2”. [1000/1500] Illustrated

506

506 Provincial Louis XV-Style Fruitwood Settee, early 20th century, of box form, the shaped and domed padded back and sides surmounted by a molded frame, the tri-cushioned seat raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 43”, d. 33”, l. 79”. [1500/2500] Illustrated

503

510 Faience Vase in the Eighteenth-Century Style, French, the flat-fronted vase with curved sides on cabriole legs, with a yellow ground with scrollwork borders, and cobalt ground floral-decorated cartouches supporting baskets of flowers, scrollwork handles decorated in yellow and green, signed indistinctly, h. 11‑3/4”, w. 6‑1/2”, d. 3‑1/2”. [150/300]

507

507 Continental Faience Covered Urn, probably Spanish, the white-bodied urn trimmed with cobalt rippled moldings, decorated with raised orange swags and tassels, applied flowers, and applied scrolled handles around the necks, a domed cover decorated with applied flowers, h. 15”, dia. 8‑1/4”. [250/400] Illustrated 508 Faience Chevrette in the 18th Century Style, decorated with a blue shell edge and panels of flowers hung from bowknots in raspberry cartouches, with a border of green diapering, the yellow and raspberry-decorated handle molded in the form of a dragon, h. 7‑1/2”. [200/400] 509 Faience Jardiniere in the 18th Century Style of Touen, French, of oval form and sitting on scrolled feet, the lower edge decorated with shells and scrollwork, the sides decorated with floral swags hanging from scrolled borders, under the shell-molded and pierced upper edge, all decorated in traditional faience colors of cobalt, yellow, orange and green, marked “FF/1090”, h. 6‑3/4”, w. 14”, d. 8”. [200/400] Illustrated

512

511 Faience Dish in the Style of 18th Century Rouen, France, of oval form on scrolled feet, with scroll-molded shell edges, decorated in green, cobalt, yellow and orange, the central panel hand-painted with polychrome MontSaint-Michel, h. 4‑3/4”, w. 14‑1/4”, d. 11‑3/4”. [150/300]

509

512 French Provincial Oak Vasselier, mid-19th century, the molded cornice and shaped frieze over three open shelves, the lower section with a rounded rectangular top over a case fitted with two small drawers over two slightly domed cupboard doors, each inset with a shaped panel and with a star inlay, raised on scrolled toes, h. 84”, w. 41”, d. 26”. [1000/1500] Illustrated

515 Provincial Louis XV-Style Fruitwood Table, 19th century, the rounded rectangular top with a molded edge above a conforming shaped frieze fitted with two end drawers and with shell and foliate carving, raised on cabriole legs headed by foliate carving, joined by an X-form stretcher and ending in scrolled toes, h. 30”, w. 46”, d. 31”. [400/700]

513

513 Louis XVI-Style Fruitwood Bergere, mid-19th century, the low domed and padded back within a molded frame, joined by downswept arms to the cushioned seat, raised on stop-fluted tapering circular legs headed by floral block capitals and ending in toupie feet, h. 29‑1/2”. [400/700] Illustrated

514 Continental Oak Commode, 18th century, in the rococo taste, the serpentine top above a conforming case fitted with three long graduated drawers, over a deep foliate-carved and pierced apron, raised on molded cabriole feet, h. 33‑1/2”, w. 49”, d. 27”. [800/1200] Illustrated 514

516 Pair of Louis XV Walnut Sidechairs, late 18th century, each with a shaped padded back surmounted by a floral crest, the padded seat raised above a floral-carved shaped apron on molded cabriole legs ending in scrolled toes, h. 37‑1/2”. [800/1200] Illustrated

516

517 Louis XV-Style Fruitwood Fauteuil, early 20th century, the padded and shaped back surrounded by a molded frame, joined by molded and padded arms to the padded seat, raised on cabriole legs ending in scrolled toes, upholstered in chinoiserie and floral patterned needlework, h. 36‑1/2”. [400/700]

519 Provincial Regence-Style Oak Commode, 19th century, the rounded rectangular top above a conforming case fitted with two short drawers over two long drawers, all with incised accents, raised on block feet, h. 32‑1/2”, w. 49”, d. 24”. [1000/1500] Illustrated 520 Louis XVI-Style Mahogany Bergere and Ottoman, 20th century, the bergere with a padded back within a molded frame with side finials, joined by closed downswept arms to the padded seat, raised on tapering fluted circular legs ending in toupie feet, h. 38”, together with a matching ottoman, h. 15‑1/2”, w. 32‑1/4”, d. 28”. [1000/1500] Illustrated

518 520 518 Provincial Louis XV-Style Fruitwood Buffet a Deux Corps, early 19th century, the domed and molded cornice above a case fitted with a foliate patera and branch-carved frieze over two doors, each inset with a glazed panel, the lower section fitted with two cupboard doors, each inset with a shaped panel, over a shaped shell-carved apron, raised on scrolled toes, h. 99‑1/2”, w. 62‑1/2”, d. 20‑1/2”. [1200/1800] Illustrated

519

521 French Three-Panel Polychromed Folding Screen, 20th century, the panels with carved foliate swags, h. 76”, w. 48” [400/700] Illustrated

521

522 Continental Terracotta Tile, now mounted as a lamp, contemporary molded metal supports hold the self-framed tile, impressed with a flower and berries with an olive outer frame under a white flower on a light green ground, h. 22‑1/4”, w. 11‑1/2”, d. 6”. [200/400] 523 Louis XVI-Style Oak and Marble-Top Bedside Commode, late 19th century, the rounded square top with a shaped backpiece and inset marble top, above a case fitted with a single drawer over a paneled cupboard door, centered by an inlaid floral vase, opening to a lined interior, raised on tapering fluted circular legs, h. 31”, w. 15‑1/4”, d. 15‑1/4”. [200/400]

525

525 French Provincial Fruitwood Jardiniere, 20th century, of rectangular form, retains the conforming metal liner, the body paneled, joined by bulbous uprights to a lower stretcher shelf, raised on like legs ending in toupie feet, h. 29‑1/2”, w. 26‑1/2”, d. 12”. [500/800] Illustrated

524

524 French Provincial Oak and Cherrywood Armoire, mid-19th century, the molded, rounded, rectangular cornice above a case fitted with a scroll-carved frieze and two doors, each inset with two shaped panels and with foliate-carved designs, raised on shaped feet, h. 89‑1/2”, w. 53”, d. 25”. [1500/2500] Illustrated

526 526 Unique Continental Polychromed Carved Wood and Wire-Mounted Birdcage, now converted to a chandelier, the interior with a suspended brass rod with four electric sockets, h. 36”, dia. 22”. [1200/1800] Illustrated

530 P. Renard (French, 20th Century), “Autumn Street Scene”, oil on board, signed lower left, 23-3/4” x 14-3/4”. Framed [1000/1500] 531 Regence-Style Walnut Commode, 18th century and later, the shaped rectangular top above a bombe case fitted with three long drawers, raised on shaped scrolled feet, h. 33”, w. 44”, d. 26”. [1800/2500] Illustrated

527 527 Paul Renard (French, 1941‑1997), “Busy Winter Street Scene, Paris”, gouache on paper, signed lower left “P. Renard”, sight 10‑1/2” x 18”. Glazed, linen matted and handsomely framed. [1500/2500] Illustrated

531

528

532 Set of Six Haviland Oyster Plates, 1892‑1903, French, the scalloped gold and white plates with a gilded shell edge and flourishes of gilt in the center, both impressed and printed with the Theodore Haviland Limoges mark incorporating the legion of honor medal, dia. 8‑1/4”. [600/900] Illustrated

528 Paul Renard (French, 1941‑1997), “Snowy Street Scene”, watercolor and gouache on paper, signed lower right, sight 22” x 29-1/2”. Attractively matted and framed. [2000/4000] Illustrated

532 533 Provincial Louis XV-Style Oak Armoire, 20th century, the molded and domed cornice above a floral basket carved frieze with two doors below, each inset with two shaped panels, above a shaped apron, raised on scrolled toes, h. 80‑1/2”, w. 47”, d. 21‑1/2”. [700/1000]

529 529 Johannes Josephus Hovener (Dutch, b. 1936), “Carnival”, oil on canvas, signed lower right “J. J. Hovener”, 24” x 31‑1/2”. Handsomely framed. [1500/2500] Illustrated

534 French Provincial Fruitwood Side Table, late 18th century, the rectangular top with a molded edge and inset gilt-tooled leather writing surface, above a frieze fitted with one end drawer, raised on molded cabriole legs, h. 27‑1/2”, w. 31‑1/2”, d. 20”. [800/1200]

535 Collection of Paris Porcelain Apothecary Jars, second quarter 19th century, the smallest pair with paintings of the herbs identified on the front, with matching lids, decorated with sprigs of the plant, h. 5”, the next pair with the names of the drugs painted in a gilt and mauve wreath of laurel leaves, h. 7‑1/4”, and a jar made for a store in Mexico, with a drug name in a cartouche decorated with a red and gilt drape, anchors, shells and druggist supply bottles, marked “Drogueria Universal Mexico Paris”, h. 10‑1/4”. [300/500] 536 Paris Porcelain Apothecary Jar, 19th century, now mounted as a lamp, the bleu de France ground cartouche flanked by a female figure and a male figure (Aesculapius), the Roman god of medicine, the lower cartouche illustrating a physician attending a patient in bed, on an Oriental-Style ebonized base, h. 21”, dia. 6”. [150/300]

542 French Provincial Fruitwood Wine Table, 19th century, the tilting oval top raised on plank end supports and a swinging support, to runner feet, h. 28”, w. 63”, d. 43”. [500/800] 543 French Provincial Polychrome Vasselier, the molded rectangular cornice above three open shelves, the lower section fitted with two cupboard doors, each inset with a shaped panel, raised on a plinth base, h. 77‑1/2”, w. 53‑1/2”, d. 19‑1/2”. [1000/1500] Illustrated

537 Collection of Paris Porcelain, fourth quarter 18th century and later, including a pair of tasse a litrons, decorated with hand-painted bouquets of flowers on both cups and saucers, overall h. 3‑1/4”, dia. 5‑1/2” a lobed dish, the border decorated with a mauve and green hand-painted vine and gilt monogram at the center, dia. 8‑1/2”, three gilt and white tasse a citrons by Locre, decorated with gilt sprigging, singed with the Locre underglaze blue crossed arrows, overall h. 3”, dia. 5”, and a pair of dessert plates, second quarter 19th century, decorated with a border of red and green pomegranates alternating with gilt sprigging, dia. 7‑1/2”. [150/300] 538 French Sarraguemines Creamware Partial Dinner Service, ca. 1960‑1982, made in the rococo-style with burgundy trimmed and molded borders, decorated with bunches of polychrome flowers, the set comprised of two round covered soup tureens with fruit-form knops and scrolled handles, h. 9”, dia. 9‑1/2”, two open vegetable bowls, dia. h. 5”, 10‑1/2”, three round graduated chop plates, dia. 12” to 13‑1/4”, three low round footed fruit stands, dia. 9‑1/2”, a footed compote, h. 5‑1/2”, dia. 9‑1/2”, a small oval platter, w. 6‑1/2”, l. 10‑1/2”, a square platter, w. 10‑1/2”, l. 12‑3/4”, a sauce tureen on stand, h. 4‑1/2”, w. 6‑1/2”, l. 10‑1/4”, forty-three dinner plates, dia. 9‑1/2”, eleven soup plates, dia. 9‑1/2” and two luncheon plates, dia. 9”. [500/800] 539 Provincial Regence-Style Walnut Commode, late 18th century, the rectangular top with a serpentine front and molded edge above a conforming case fitted with three long drawers, raised above a shaped apron on bracket feet, h. 38‑1/2”, w. 53”, d. 28”. [500/800] 540 French Provincial Oak Coffee Table, partially constructed of antique elements, the rectangular top with molded edge above a shaped frieze, raised on slightly splayed legs, h. 18”, w. 50”, d. 23”. [400/700] 541 French Provincial Walnut Sidechair, late 19th century, the flat crest above a molded splat and wooden seat, raised on bulbous and block legs, joined by stretchers and ending in bulbous feet, h. 37”. [100/200]

543

544 Fanciful Six-Light Polychrome Chandelier, the central rod issuing scrolling foliate stems ending in faceted crystal buds, the lower cap issuing six like-dressed arms terminating in foliate bobeches and sockets, h. 30”, dia. 33”. [300/500] 545 Pair of Meissen Figures, 1954‑1955, German, depicting a couple in 18th century costume, each on a base decorated with gilt scrolls and applied flowers, the female in a skirt hand-painted with flowers, carrying a basket of molded flowers, sculpted feathers in her hat, the male holding a staff and with a flower painted waistcoat and a tricorn hat, marked with underglaze blue crossed swords in addition to year symbols next to modelers numbers, h. 5‑3/4”. [250/400]

549 Provincial Louis XV-Style Fruitwood Fauteuil, the shaped padded back surmounted by a floral crest and within a molded frame, joined to the padded seat by like arms, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 35”. [200/400]

546 Provincial Polychrome French Looking Glass, 19th century, of Regency inspiration, the top with an applied peaked facade mounted to the upper frieze, the mirror plate flanked by turned half columns, h. 48”, w. 22”. [300/500] Illustrated

550 Provincial Louis XV-Style Walnut Fauteuil, late 19th century, the shaped padded back surmounted by a floral crest and within a molded frame, joined by scrolling arms to the padded seat, raised above a floral-carved apron on molded cabriole legs ending in scrolled toes, h. 38”. [200/400]

547 French Provincial Fruitwood Settee, late 19th century, the padded and triple-domed back joined by padded arms on turned uprights to the cushioned 546 shaped seat, above a double-tiered stretcher, raised on turned and bulbous block legs ending in toupie feet, h. 40”, d. 25”, l. 71”. [2000/4000] Illustrated

551 Set of Four Signed Paris Porcelain Cabinet Plates, 1817‑1833, French, decorated with a complex guilloche bordering an apple green band and a wreath of anthemia framing superbly detailed polychrome flora, each signed “Feuillet” in gilt script, dia. 9”. [400/700] Illustrated

551

552 Pair of Louis XV Brass Candlesticks, third quarter 18th century, each with a dome base decorated with molded rococo scrolls which are repeated on the vaseshaped standard, cylindrical candle cups molded with a mid-rib, h. 10”, dia. 5‑1/4”. [400/700] Illustrated 553 Chinese Canopy Bed, 19th century, the e lmwood canopy ornately carved with phoenixes, birds and flowers, and with a latticed back and cabinet base with four drawers and double doors, surface lacquered in red and black with considerable gilt, h. 108”, w. 86”, d. 58”. [4000/7000] Illustrated next page 547

548 Provincial Louis XV-Style Polychromed Armoire, late 19th century, the molded and rounded cornice above a case fitted with a fluted frieze and two long doors, each inset with two shaped panels and with floral bouquet and patera carving, the shaped apron raised on scrolled toes, h. 82‑1/2”, w. 59”, d. 25”. Provenance: Purchased by the consignor from Lucullus, New Orleans. [2000/4000]

552

556 Burmese Occasional Table, 19th century, wood and leather with red and gold lacquer inset with multi-colored mirror inlays, and two other elements joined together as a lamp, h. 63”. [500/800] Illustrated

553 556 554 Chinese Ebonized and Polychrome Altar Table, 20th century, the narrow top with raised ends above a frieze fitted with three small drawers, all with foliate-carved fronts, raised on cluster faux bamboo legs, h. 39‑1/2”, w. 51”, d. 10‑1/2”. [300/500]

555

557 Chinese Carved and Pierced Rosewood Stand, sitting on short pad feet, the base set with a drawer decorated with bas relief-carved dragons and set with a leafform brass pull, the pierced gallery top decorated with panels of scrollwork and peonies, double gourd finials set at the four corners, h. 8”, w. 14‑1/2”, d. 9‑3/4”. [600/900] Illustrated

555 Chinese Polychrome and Parcel-Gilt Panel, 19th century, of rectangular form, featuring a carved and pierced scene of dragons among clouds centering a larger dragon, within a Greek-key carved frame, h. 21‑1/4”, w. 70”. [1000/1500] Illustrated

557

562 Pair of Chinese Carved and Painted Wood Figures, 20th century, the standing figures of a man and a woman marked with the names and places of acupuncture points on the body, h. 40”. [400/700] 563 Chinese Rosewood Vase, 20th century, carved as a section of an ancient gnarled flowering tree with two birds, h. 9‑1/2”. [200/400]

558

564 Chinese Musical Instrument, 20th century, the sevenstringed instrument surface covered in brown lacquer with an historical scene in gold, the matching case with floral decoration, both with extensive inscriptions in seal characters and cursive script, l. 46”. [3000/5000] Illustrated

558 Chinese Carved Jade Boulder, 20th century, the grey jade with russet markings, carved as a mountain open to two scholars in a mountain landscape, with a fitted hardwood stand, w. 5‑1/2”, l. 7”, without stand. [5000/8000] Illustrated 559 Chinese Jade Panel From a Scepter, 19th century, the white stone carved with Shou characters and the precious emblems, framed in a carved and pierced wooden frame, h. 4‑1/2, w. 5‑1/2”, jade only. [1400/1800] Illustrated

564

565 Chinese “Butterfly” Zither, 19th century, the lacquered wood with metal strings and brass frets, the interior drawers containing strikers of bamboo and brass in the form of a hammer with the makers name, w. 12”, l. 29”. [600/900] 566 Graduated Set of Four Carved and Polychromed Chinese Drums, 20th century, each with carved stylized dragons in gilt and ebonized decor against a red lacquered ground, together with a wooden mallet with a leatherbound head, h. 6” to 21”, drums, l. 21‑1/2”, mallet. [300/500] 567 Pair of Chinese Stained Hardwood Yoke Back Armchairs, 19th century, in the Ming style, the plank splat and downswept arms to the paneled seat, raised on circular legs joined by a box stretcher, h. 32”. [800/1200] Illustrated

559

560 Chinese Jade Carving, 20th century, the disc with relief carving of the animals of the zodiac, the stone of yellow/ white color, dia. 3‑1/4”. [3000/5000] 561 Chinese Carved Rosewood Group, late 19th / early 20th century, the scene of Mi Lo Fu with playing children, fitted hardwood stand, l. 7‑1/2”. [100/200]

567

568 Chinese Kang Table, 20th century, the rosewood table with foliate feet, the apron carved with stylized dragons, h. 5‑3/4”, d. 12‑3/4”, l. 23‑1/2”. [100/200]

574 Chinese Table Screen, 20th century, the circular soapstone plaque inlaid with birds and flowers in lapis, jade, turquoise, coral and agate, carved wooden stand, h. 15”, dia. 10”, without stand. [700/1000] Illustrated

569 Chinese Elmwood Stool, 20th century, with elephant trunk legs, woven inset, h. 16”, w. 23”, d. 22‑1/2”. [200/400] 570 Chinese Elmwood Cabinet, 20th century, the cabinet with a black lacquered surface with two doors over two drawers, and with a moon-shaped face plate and mounts, h. 71”, w. 42‑1/2”, d. 23”. [800/1200] Illustrated

574

575 Chinese Jade Carving, 20th century, the stone of a celadon and grey color, carved in the shape of a foo dog with ling-chih, l. 3”. [2000/4000] Illustrated 576 Chinese Jade Camel, 20th century, the dark green stone with russet markings, h. 4‑1/2”, l. 7‑1/2”. [400/700]

570

571 Small Chinese Cabinet, 20th century, the elmwood cabinet with a black lacquered surface, with two doors over two drawers, and moon-shaped brasses, h. 63”, w. 38”, d. 22”. [400/700] 572 Chinese Two-Door Cabinet, 20th century, the elmwood cabinet with a black lacquered surface, a carved apron with archaic scrolling and a moon-shaped face plate, h. 74‑1/2”, w. 40‑1/2”, d. 23”. [500/800] 573 Pair of Small Chinese Chests, 20th century, the twodoor type elmwood chests with black lacquered surfaces, and foliate brass mounts, h. 25”, w. 27‑1/4”, d. 21”. [300/500]

575

577 Carved KuangHsü Serpentine Figure, of a windswept beauty in the 18th-century style, c. 1900‑1905, on an elaborately carved Chinese hardwood display stand, overall h. 9‑1/2”. [200/400] Illustrated 579 578 Chinese Jade Scepter, early 20th century, the stone of a yellow-green color, surface-carved with ling-chih in relief, l. 10”. [1000/1500] Illustrated

583 Moss Agate Snuff Bottle, late 19th/early 20th century, the bottle with a flattened round shape, well hollowed with a red jasper bloodstone top with a brass spoon, h. 3”. [200/400] 584 Chinese Tiger Eye Snuff Bottle, late 19th/early 20th century, the flattened round-shaped bottle very well hollowed, with a matching top and stained ivory spoon, h. 2‑1/2”. [150/300]

577

578

579 Chinese Jade Carving, 19th century or earlier, the white stone with black markings, carved in the shape of a cat with flowers and foliage, l. 2”. [1200/1800] Illustrated 580 Chinese Carved Jade Elongated Mountain Carving, carved as one of the weird limestone southern mountains, the pale green stone with russet skin carved as flowering trees, presented on a wooden stand, h. 4‑1/4”. [100/200] 581 Chinese Jade Carving, 19th century or earlier, the white jade with dark brown markings in the study of a cat, l. 2”. [800/1200] 582 Chinese Jade Seal, 18th century or earlier, the chicken bone stone with a tortoise finial, the seal impression intact with traces of vermilion seal paste worn into the stone, dia. 1‑1/2”. [600/900]

585 Chinese Snuff Bottle, 20th century, the body comprised of sections of joined amber-like material, h. 3”. [200/400]

586 Chinese Porcelain Plume Holder, 20th century, Tou Tsai decoration of dragons and clouds, sixcharacter Yung Cheng mark, h. 3”. [600/900] Illustrated

586

587 Framed Chinese Porcelain Plaque, late Qing dynasty, garden scene with maiden and her attendant, signed along the upper right corner with colophon and artist’s red mark, h. 15”, w. 10”, plaque, h. 22‑1/2”, w. 16”, overall. [300/500] Illustrated 588 Chinese Porcelain Bowl, first quarter 20th century, with a blue sgraffito ground with rondels of landscapes in famille rose enamels, Ch’ien Lung mark on the base, dia. 6‑1/4”. [150/300]

591 591 Chinese Couch, 19th century, Luo Han Chuan, the surfaces decorated in gold, red and black with historical scenes and longevity emblems, the back and sides shaped as an open scroll and the scroll feet ornately carved, h. 34‑3/4”, d. 49‑1/2”, l. 79‑1/2”. [3000/5000] Illustrated 592 Chinese Table Screen, 19th century, the rosewood carved with archaic scrolling and kuei dragons, the panel now replaced with a mirror, h. 29‑1/4”, w. 19‑3/4”, d. 11‑1/2”. [300/500] 593 Chinese Rosewood Weapons Rack, early 20th century, the fan-shaped rack with supports and finials carved and pierced with dragons, inset with eight ceremonial weapons with shafts carved as bamboo, h . 97”, w. 68”. [3000/5000] Illustrated

587

589 Chinese Export White Porcelain Bowl, 20th century, in “Thousand Bats” decor, signed under the base, h. 3‑1/2”, dia. 8‑1/2”. [200/400] 590 Chinese Porcelain Covered Box, 20th century, iron-red decoration of the eight precious emblems and floral scrolling, foo dog finial, Ch’ien Lung mark on the base, dia. 6‑1/2”. [300/500] 593

594 Louis XVI-Style Polychrome and Parcel-Gilt Looking Glass, late 19th century, the foliate, bellflower and feather crest above a canvas panel depicting a group of figures at a table, above the rectangular plate, with a lattice pattern frieze and flanked to either side by a pair of engaged fluted and ring-turned columns, h.62‑1/2”, w. 52”. [1800/2500] Illustrated

595 Louis XVI-Style Kingwood and Marble-Top Commode, late 18th century, the rectangular variegated gray and tan marble top with rounded corners, above a conforming case fitted with three small drawers, all banded and with decorative inlay over two long banded drawers, raised on tapering fluted circular legs ending in toupie caps, h. 32‑1/2”, w. 50”, d. 23‑1/4”. [2500/4000] Illustrated

596

596 Two Similar French Busts, fourth quarter 19th century, Continental, one terra cotta, and depicting the self portrait of Charles Antoine Coysevox and the other, tinted plaster and probably depicting Jean-Baptiste Moliere, h. 27”. [700/1000] Illustrated

594

595

597

597 Pair of Louis XV-Style Mahogany Chairside Tables, early 20th century, each with an oval top with a three-quarter pierced brass gallery centering an inlaid floral spray, above a conforming case fitted with three small drawers, raised on delicate cabriole legs, h. 28”, w. 17”, d. 12‑1/2”. [500/800] Illustrated

600

600 Paris Porcelain Figural Corbeille, first quarter 19th century, the oval base trimmed in gilt supported by molded paw feet, the center of the base decorated with a gilt medallion flanked by biscuit figures of winged, draped angels supporting the gilt bateau-shaped pierced basket, h. 14‑1/2”, w. 14”, d. 7”. [600/900] Illustrated

598

598 Two Pairs of Engraved Portrait Miniatures, 19th century, including a pair of reproduction engravings of the Earl of Granville and Percy, Earl of Northumberland, both set in English lacquered miniature frames with convex oval glazing within a brass bezel, suspended by brass hangers supported by molded acorns and leaves, h. 6”, w. 4” , and a pair of aquatints of Louis XVI and Marie Antoinette set in round giltwood frames, dia. 4‑1/4”. [250/400] Illustrated 599 Louis XVI-Style Parquetry-Inlaid Kingwood Games Table, mid-19th century, the rectangular lattice-inlaid top hinged and opening to a baize-lined surface, above a like-inlaid frieze fitted with a single drawer opening to a baize-lined surface and two ink pots, hinged and opening to a mirrored compartment interior, raised on tapering square legs, h. 30‑1/2”, w. 27”, d. 17‑1/2”. [1000/1500] Illustrated

599

601 Sevres Three-Piece Coffee Set, fourth quarter 19th century, French, the gilt and white set comprised of a coffee pot, h. 8‑1/4”, a cream jug, h. 4‑1/2”, and a sugar basin, h.4‑3/4”, all decorated with the crowned initial of Louis-Philippe, framed in a laurel wreath, and trimmed with a running border of gilt ivy leaves, each of inverted pear form with pierced handles, decorated with raised notches, marked with an underglaze green “5.76” in an oval, an overglaze rouge de fer Chateau de Fontainbleu mark, and an overglaze blue Sevres Louis-Philippe mark. [400/700] Illustrated

601

604 Louis XVI-Style Giltwood Looking Glass, early 20th century, the rectangular plate surmounted by a scrolling urn crest, surrounded by an annulated molded and foliate-carved frame with a pendant swag, h. 44”, w. 21”. [400/700] Illustrated

602

602 Paris Porcelain Encrier, 1817‑1834, signed “Feuillet” in gilt script, apparently a royal commission, with gilt initial cypher under a British ducal crown, of rectangular form, trimmed in gilt notching, with integral pens trays in two sides, a central pounce pot decorated with raised anthemia, four quill apertures, and a pair of ink pots retaining their original double-dolphin-handled covers, h.4”, l. 11‑1/4”, w. 6‑7/5”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 335, no. 109. According to de Guillebon, Feuillet produced many armorial pieces for royal families. [400/700] Illustrated

603 604 603 Louis XVI-Style Fruitwood Settee, late 19th century, the domed and padded back surmounted by a floral crest and within a foliate-carved frame, joined by downswept arms to the like seat, raised above a fluted apron on tapering stop-fluted legs ending in bulbous feet, h. 38‑1/2”, d. 28”, l. 79‑1/2”. [900/1200] Illustrated

605 Pair of Louis XVI-Style Giltwood Window Seats, each with a cushioned seat flanked to either end by padded outscrolled arm rests, above a fluted frieze, raised on fluted tapering circular legs ending in toupie feet, h. 35‑1/2”, w. 43”, d. 19”. [4500/7000] Illustrated 606 Suite of Three Gilt-Metal and Mirrored Nesting Tables, in the Louis XVI Style, each with an inset rectangular mirrored top raised on tubular reeded legs joined by stretchers and ending in tall toupie feet, h. 18”, w. 24”, d. 14”. [100/200] 605

607 Royal Copenhagen “Flora Danica” Porcelain Serving Dish, mid-20th century, pattern 20, item 3540, with a stem handle, crenellated gilt rim and polychrome floral center, identified as “Platanthera rotundifolia Lindl” on the reverse and fully marked, h. 2‑1/4”, l. 8‑1/2”, w. 6‑3/4”. [300/500] Illustrated 608 Royal Copenhagen “Flora Danica” Porcelain Pickle Dish, mid-20th century, pattern 20, item 3544, with a gilt crenellated rim and polychrome floral center, identified as “Stellaria Arigynum Vill.” on the reverse and fully marked, h. 2‑1/4”, l. 8‑1/8”, w. 4‑5/8”. [300/500] Illustrated 609 Royal Copenhagen “Flora Danica” Porcelain Dinner Plate, mid-20th century, pattern 20, item 3553, with a gilt pierced rim and polychrome floral center, identified as “Hieracieum umbellatum L” on the reverse and fully marked, dia.10”. [200/400] Illustrated 610 Three Royal Copenhagen “Flora Danica” Porcelain Items, mid-20th century, comprised of a small bowl, pattern 20, item 3590, with a gilt crenellated rim and polychrome floral center, identified as “Silene acaulis L.” on the reverse, dia. 5‑3/4”, a chocolate cup, pattern 20, item 3512, with a gilt rim and polychrome floral body, identified as “Corrigiola littoralis L.”, h. 2‑1/2” and a saucer, pattern 20, item 3597, with a gilt crenellated rim, dia. 5‑3/8”, all pieces fully marked. [125/250] Illustrated

611 Louis XVIStyle Giltwood Looking Glass, mid-19th century, the rectangular plate surmounted by a foliate urn crest issuing foliate swags, surrounded by a fluted frame with scrolling foliate pendant feet, h. 72”, w. 28‑1/2”. [1500/2500] Illustrated

609

611

610

607 608

613 Art Deco Burlwood Server, early 20th century, in the Louis XVI taste, the backpiece surmounted by an ormolu floral basket crest above a rounded beveled mirror plate, the case with a marble top above a case fitted with three drawers over three paneled cupboard doors, raised on tapering circular legs, h. 65”, w. 51‑1/2”, d. 19”. [1200/1800] 614 Louis XVI-Inspired Gilt-Metal Mounted and Line Strung Mahogany Dressing Mirror, early 20th century, the central beveled looking glass with a shell and floral ormolu crest, flanked by a pair of cabinet supports, each with an inset bowed marble top above a conforming case fitted with a single paneled drawer over a like cupboard door, raised on tapering bulbous circular legs ending in brass caps, the central mirror supporting a pair of shaped adjustable swing mirrors h. 75”, w. 52 1/4”, d. 16”. [800/1200] Illustrated

612 612 Art Deco Burlwood Cabinet, early 20th century, in the Louis XVI taste, the cornice centered by an ormolu floral basket mount above an open space with mirrored back, flanked to either side by an ormolu-mounted column and a glazed cabinet, the lower section with a bowed breakfront marble above a conforming case fitted with three drawers over three paneled cupboard doors, the central one with an inlaid floral spray, raised on tapering circular legs, h. 83‑1/2”, w. 63”, d. 22”. [1500/2500] Illustrated

615 Collection of Four French Chromolithographs, including three examples of monograms and coats of arms from an album Chiffres Modernes Fougeadoire by A. Fougeadoire, Paris and the “City of Paris Coat of Arms”, sheet size of two 10” x 13”, sight of third 8‑1/2” x 5‑3/4”. One framed. [200/400] 616 Collection of Two French Chromolithographs, 19th century, including a “Lettres” plate from Journal-Maneul de Peintures, by Pierre Chabat, and “Emaux, Metauc, Coleurs & Fourrures” from Chiffres Modernes Fougeadoire, by A. Fougeadoire, Paris, sight former 16” x 10”, sheet size latter 10” x 13”. Both glazed and attractively framed. [100/200]

617 Louis XVIInspired Prism Hung, Faceted Cut-Glass and Brass Chandelier, of modified basket form, the upper section draped with graduated octagonal cut-glass beads joined to a metal ring, faced with faceted cutglass squares, the ring and a smaller inner ring ornately dressed with assembled cut-glass beads and cut and faceted pendalogues of various shapes and sizes, h. 36”, dia. 15”. [500/800] Illustrated 614

617

618 French Tapestry, early 19th century, depicting a courting couple of courtiers in a pastoral landscape, within a scroll banding, h. 46”, w. 64”. [500/800] Illustrated

618

619

621 Louis XVI-Style Rosewood, Kingwood and MarbleTop Commode, fourth quarter 19th century, the rectangular Saint-Pons marble top with a molded edge, above a conforming case fitted with two long drawers, each with three inlaid and banded panels, the sides inlaid en suite, raised on tapering square legs ending in brass caps, h. 34‑1/4”, w. 41‑3/4”, d. 19‑1/2”. [400/700]

619 Baltic Neoclassical Mahogany and Marble-Top Commode, late 18th century, the rectangular marble top above a conforming case fitted with two long drawers, each with brass banding, raised on tapering fluted square legs with gilt accents, h. 34”, w. 37‑1/2”, d. 18”. [1800/2500] Illustrated 620 Louis XVI-Style Fruitwood and Mahogany Side Table, early 20th century, the rectangular top with brass banding and a three-quarter pierced brass gallery surrounding an inset leather writing surface, above a frieze fitted with a single drawer, with a floral diamond inlaid panel, raised on tapering paneled square legs ending in brass caps, h. 29”, w. 28‑1/4”, d. 16”. [400/700] Illustrated

622

622 Pair of French Belle Epoque Gilt-Bronze and Porcelain Candelabra, fourth quarter 19th century, the bronze bases with ribbed bun feet supporting a base decorated with gilt reeding, the conical foot fluted and supporting the Chinese-style blue vase that forms the body, mounted with ram’s head handles supporting giltbronze swags of flowers, the base capped with a floriatemolded bronze cover supporting gilt-bronze branches of lilies and carnations, some of which have candlecups, h. 21‑1/2”, w. 15‑1/4”, d. 6”. [2000/4000] Illustrated

620

623

623 Two Enameled Automation Music Boxes, Continental, the first example, fourth quarter 19th century, the bomber sided case decorated with scrollwork and flowers, the lid bright-cut with bleu de France enamel corners, polychrome gothic enamel panels of flora and enamel ivy encircling the enamel panel depicting a beautifully rendered Tyrolean landscape, the oval panel opens to reveal a singing mechanical bird, feathered and sitting on a pierced scrollwork ground, h. 10”, w. 3‑3/4”, d. 2‑1/2”, the second example, first quarter 20th century, also bombe form with gilt brass, the case sides decorated in geometric patterns, the cobalt ground enamel lid floral-decorated with raised gilt trim, and a central enamel panel, depicting a group of people in 18th century costume in a garden, the panel opens to reveal a mechanical singing bird, which springs up when opened, on a pierced scrollwork ground, marked “EB” and metal on base, h. 1‑3/4”, w. 4‑1/4”, d. 3”. [5000/8000] Illustrated

628 Transitional Louis XV-into-Louis XVI-Style Fruitwood Desk, early 20th century, the rounded rectangular top above a conforming frieze fitted with a single frieze drawer flanked to either side by two small drawers, raised on cabriole legs, h. 31‑1/2”, w. 52”, d. 28”. [600/900] 629 Samson Armorial Punch Bowl, first quarter 20th century, French, decorated in the Chinese export style, decorated with panels of stylized peonies and other flowers outlined with raised white panels, a gilt fret trims the upper edge, mounted in a gilt-bronze leaf-molded foot ring, h. 6‑1/4”, dia. 9”. [400/700] Illustrated

624 Pair of French Louis XV Brass Candlesticks, fourth quarter 18th century, the molded serpentine base supports a panel molded tripartite standard with an arched top, fitted with a hexagonal candle cup, h. 9‑1/2”. Provenance: Au Vieux Paris Antiques, Breaux Bridge, Louisiana. [300/500] 625 Pair of Large French Tapestry Pillows, one depicting a red parrot, the other a pair of lovebirds, both in a floral bower on a tan ground, both backed with bronze silk and trimmed with silk tape, fringe and small pompoms, h. 24”, w. 24”. [500/800]

629

626 Group of Eight Assorted Large Tassels, in combinations of ivory, burgundy, forest green and gold, tassel l. 11”, including doubled cord l. 27”. [100/200] 627 Louis XVI-Style Fruitwood Desk, early 20th century, the rectangular top with an inset gilt-tooled leather surface above a case fitted with two frieze drawers over four small drawers to one side and three drawers over four small drawers to the other side, all paneled and with brass banding, raised on tapering square paneled legs ending in pad feet, h. 31‑1/2”, w. 54”, d. 36”. [500/800] 629 detail

630 Pair of Faux Rock Crystal and Metal Leaf Two-Light Sconces, in the Louis XVI style, the sconces in the form of pots of flowers, the vase-form backplates support standards of flowers and leaves, leafmolded candle branches with matching drip pans and bobeches hung with drips and mounted with flowers, h. 29”, w.11”, d. 5‑1/4”. [1500/2500] Illustrated

630

631 Hand Woven Wool and Silk Tapestry, 2’7” x 6’5”. [2000/4000] Illustrated 632 Hand Woven Wool and Silk Tapestry, 2’4” x 5’. [2000/4000] Illustrated 633 NeoclassicalStyle Blush Marble Wall Fountain, the domed backpiece above a demi-lune basin with a rounded lip and ribbed body, h. 28‑1/2”, w. 24‑1/2”, d. 17‑1/2”. [500/800] 634 NeoclassicalStyle Granite Urn, the circular broadly molded lip above a bulbous body, the waisted standard on a socle base, h. 14”, dia. 12”. [200/400]

635 Plaque for the 1879 Paris Exposition des Sciences Appliques a L’Industrie, in the form of overlapping medals, decorated with allegorical figures of science and industry, as well as, the date and place, the organization was formed to create a link between industry and fine arts, h. 12‑1/4”, w. 28”. [500/800] 636 Unusual GiltMetal Four-Light Table Lamp, first quarter 20th century, the scrolled and pierced base holds the vaseshaped standard, the central light, with a flameshaped globe, sits atop the standard, surrounding it with three scrolled arms set with electric sockets, h. 25”, dia. 14”. [300/500]

637

632

637 Pair of French Empire-Style Cut-Glass and Brass Table Lamps, square black tole bases support cutglass plinths trimmed in brass leaf molding, supporting strawberry pattern cut-glass vase-shaped columnar supports, with leaf-molded feet and engine-turned capitals, h. 24”, w. 5”, d. 5”. [1400/1800] Illustrated

631

638 French Empire Revival Bronze and Cut-Glass Lamp, a fluted bronze foot supports the domed diamond-cut base, a fluted bronze stem supports the diamond-cut vase-shaped body, mounted with masque-molded bronze loop handles, the cut-glass cover supports the lamp standard, h. 32‑1/4”. [1800/2500]

643 Pair of Continental Neo-Grec Painted Stone Rondels, decorated en grisaille with Roman soldiers’ heads on a tan ground, the convex stone rondels are velvet-matted in contemporary giltwood frames, dia. 17‑3/4”. [400/700]

639 Pair of Continental Brass and Glass Candle Lamps, fourth quarter 19th century, the brass bases with round feet and standards decorated with impressed designs of floral bands on a stippled ground, the standards with spring-loaded candle sockets, the vase-shaped shade with cranberry flashed upper rims and a pattern of cut and engraved stars and floral sprigs, h. 16‑1/4”, dia. 4‑3/4”. [200/400]

640

644

644 Napoleon III Giltwood Looking Glass, third quarter 19th century, in the Louis XV taste, the shaped and domed beveled plate and surmounted by a foliate shell-carved crest and within a molded an annulated frame, h. 71‑1/2”, w. 42”. [1000/1500] Illustrated

640 Good Pair of French Vermeil-Mounted Limoges Enamel Vases, first quarter 20th century, by Auguste Jean, active 1909‑1934, Paris, each with a flattened spherical base and tall tapering neck, the necks enameled with courting galants in a wooded landscape, the reverses with white and the bases with teal guilloche enamel, with .800 silver-gilt rim and foot-ring, h. 7‑1/4”, dia. 3”. [3000/5000] Illustrated

645 Henry Schouten (Belgian, 1864‑1927), “Shepherd With His Flock”, oil on canvas, signed lower right “Henry Schouten”, 20” x 28‑1/2”. Presented in a Rococo-style giltwood and gesso frame. [2000/4000] Illustrated

641 French Art Nouveau Panel, oil on canvas, a young maiden entering a floral garden, monogrammed and dated lower right “LDB 1903”, unframed, h. 57”, w. 27‑1/2”. [300/500] 642 Enamel and Bronze Napoleon III Miniature Tazza, third quarter 19th century, raised on scrolled feet supporting the turned base, the pink ground enamel body with a beaded bronze rim surrounding a complex border incorporating turquoise and opal “jewels” with rouge tracery, hand-painted lilies of the valley decorate the center, h. 2‑1/2”, dia. 4”. [600/900] 645

646 French School (Fourth Quarter 19th Century), “Wooded River Landscape With a Fisherman”, oil on canvas, signed lower right “Barsalou”, 15” x 18”. Presented in a period giltwood frame. [300/500]

648 Renaissance Revival Marble and Cast-Metal Mantel Clock, fourth quarter 19th century, scrolled cast-metal lion’s head feet support the black and mottled green marble base, decorated with incising, the pierced metal clock case decorated with scrollwork and griffin handles, the movement set with an enamel dial with Roman numeral chapter ring, the urn-shaped finial scroll-molded and supports trailing pierced scrollwork, h. 15‑1/2”, w. 11”, d. 5‑1/2”. [200/400] 649 Napoleon III Giltwood Bergere, late 19th century, in the Louis XV taste, the padded trisected back and sides surmounted by a shell and foliate crest, the padded seat raised on molded cabriole legs ending in scrolled toes, h. 26”. [500/800] 650 Belgian School (Third Quarter 19th Century), “Expansive Landscape With Cattle Watering and a Shepherd With His Flock”, oil on canvas, indiscernibly signed and dated “1875” lower right 29” x 41”. Framed. [3000/5000] Illustrated

646 647 Napoleon III Ebonized and Boulle Bureau de Dame, third quarter 19th century, the superstructure with a three-quarter pierced brass gallery above two cupboard doors, each with a raised shaped Boulle panel, over two small drawers, flanked to either side by ormolu caryatids, the lower section fitted with a drop-front writing drawer, raised on cabriole legs headed by maiden’s head mounts and ending in sabots, the whole accented with Boulle panels, h. 49‑1/2”, w. 30”, d. 20‑1/2”. [800/1200] Illustrated

650 651 Xeno Munninghoff (Dutch, 1873‑1944), “Autumnal River Landscape With Laborers”, oil on canvas, signed lower right and verso “Xeno Munninghoff”, 13‑3/4” x 21‑1/2”. Framed. [500/800] Illustrated

647

651

654 French Bronze Statue of a Classical Warrior, probably Perseus, fourth quarter 19th century, h. 21”, l. 20”, d. 10”. [1000/1500] Illustrated

655 Pair of Exceptional Patinated-Bronze and Sienna Marble Napoleon III Two-Light Candelabra, third quarter 19th century, French, the sienna marble blocks support the individually sculpted patinated-bronze pan figures of putti with goat’s feet, grasping limb-molded candle branches with integral drip pans, and Louis XV-style fluted candle cups with beaded bobeches, h. 13‑1/4”, w. 10”, d. 4‑1/2”. [1000/1500] Illustrated

653

652 Jacobus Freudenberg (Dutch, 1818‑1873), “Visit by the Fence”, oil on canvas, signed lower right “J. Freudenberg”, 24‑3/4” x 30”. Framed. [700/1000]

653 Alfred Stevens (British, 1817‑1875), “L’Amateur Dans L’Atelier”, oil on canvas, signed lower right “A. Stevens”, reverse with an “Arthur Tooth & Sons, Ltd., London, UK” bill of sale to the original owner, Mrs. Theodore Francis Turner of Syosset, NY, 18” x 15”. Presented in a giltwood and gesso frame with a linen liner. Provenance: Private collection, NY. [8000/12000]

654

655

656 Belle Epoque Bronze Putto, ca. 1900, French, on ball feet with a walnut base, with a beaded border at the molded support under the patinated-bronze putti, h. 5‑1/4”, dia. 3”. [200/400]

657 Pair of Napoleon III Neo-Grec Bronze and Marble Garniture Urns, third quarter 19th century, French, the black marble bases trimmed in rouge marble, the vases made of alternating black marble, rouge marble, and bronze, the urn bodies decorated with bas-relief-molded bronze classical figures, the top mounted with scrolled bronze handles, h. 10”, w. 3‑1/2”, d. 3‑1/2”. [200/400]

658 Impressive Sarreguemines Majolica BronzeMounted Urn, ca. 1865‑1880, French, the cast-bronze elements, which fully embrace Victorian eclecticism, have a pierced base employing bird’s feet, medieval helmets and cartouches, the Majolica body flute and cobalt glazed, with pale ribs and a raised gilt shoulder border employing with reverse strapwork and raised gilt flowers, the winged dragons gilt-bronze handles under gothic canopies with beaded finials, the gilt-bronze neck rim employs swags of bellflowers on a stippled ground, and a scalloped edge with molded anthemia, covered with a brass cap, base impressed “Sarreguemines Majolica”, h. 28‑3/4”, w. 15‑3/4”, d. 11”. [3000/5000] Illustrated 659 Cobalt Ground Neoclassical Urn Mounted as a Lamp, fourth quarter 19th century, probably German, a square base supporting the vase, mounted with bronze goat’s head handles, now electrified, h. 26‑3/4”, w. 6‑1/4”, d. 4‑3/4”. [150/300]

660

660 French Bronze of “Althea” by Lalaouette, 19th century, signed on the plinth, gowned figure with one arm raised and holding a dagger, h. 27”. [3000/5000] Illustrated 661 Pair of Brass Busts of Roman Emperors, fourth quarter 19th century, Continental, each mounted on turned fruitwood bases, one labeled and depicting Otho, and the other labeled Civlius, possibly depicting Claudius, each clad in elaborate Imperial robes, h. 12‑3/4”, w. 6”, d. 4‑1/2”. [400/700] 662 Bronze and Marble “Mercury” Table Lamp, first quarter 20th century, the round marble plinth supports the wing-footed Mercury, supported on one foot, and holding aloft an electrified candle in a wax sleeve, h. 20”, w. 7”, d. 4‑1/2”. [200/400] 658

665 French Impressionist School (Fourth Quarter 19th Century), “Summer Landscape With a Village in the Distance”, oil on canvas, unsigned, verso with painted out, partially discernable inscription “Paysage de....” 14” x 20”. Presented in an attractive, contemporary giltwood frame. Provenance: Private collection, New Orleans, Louisiana; Heritage Auction Gallery, May 15, 2012, Estate of Graham Williford sale. [2500/4000] Illustrated

665 663 Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu-applied frieze, above a case fitted with two doors, each inset with two quarter-veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [1000/1500] Illustrated 664 Empire-Style Mahogany Armoire, 20th century, the domed and molded crest above an ormolu-applied frieze, above a case fitted with two doors, each inset with two quarter-veneered panels, above a single drawer, raised on bun feet, h. 83”, w. 51‑1/2”, d. 24”. [1000/1500] Illustrated

666

666 Robert Cusner (Belgian, 19th/20th Century), “Landscape With a Pond and Village in Distance”, oil on canvas, signed lower right “R. Cusner:, 18” x 23‑1/2”. Framed. [400/700] 667 F. Sun (Continental, 20th Century), “The Salon”, watercolor on paper, signed lower right, sight 8” x 9”. Attractively glazed, matted, and framed. [100/200]

668

663 and 664

668 Attrivuted to Jan Stanislawski (Polish, 1860‑1907), “Ukranian Landscape”, oil on board, partial signature visible lower right, verso with artist’s name and indiscernible title of work, 5‑1/2” x 9‑1/4”. Framed. [900/1200] Illustrated

669 Marie Laurencin (French, 1885‑1956), “Visage de Femme”, 1947 and “Jeunne Femme”, two etchings, former initialed in plate lower right, reverse affixed with a letter from the artist, latter initialed in pen lower right margin, former sight 8‑1/2” x 6”, latter sight 5” x 3‑3/4”. Both glazed, matted and framed. [300/500]

670

673 Pair of French Bronze Belle Epoque Garniture Urns, now mounted as lamps, square patinated bases support a fluted column-form base trimmed with molded and pierced flowers, gilt paw feet support patinated urns set with laurel leaf swags and pierced handles, the fluted, gilded neck supports a patinated cover with a foliate, gilded ornament, h. 25”, w. 7”, d. 6”. [900/1200] Illustrated

670 Anton Mauve (Dutch, 1838‑1888), “Seated Boy With a Pipe”, graphite and crayon on paper, signed lower right “A Mauve”, verso with a Cleveland Museum of Art inventory label, sight 12” x 8”. Framed. Exhibited: The Cleveland Museum of Art, AugustDecember 1970. [1000/1500] Illustrated

671 After Mary Cassatt (American, 1844‑1926), “Looking Into the Hand-Mirror”, drypoint etching, unsigned, image 8” x 5‑3/4”. Glazed, attractively matted and framed. [500/800]

673

672 Bronze Bust of “Diana”, after Jean-Antoine Houdon, fourth quarter 19th century, probably French, figure with her hair held by a half moon, retaining its rich brown patina, inscribed “Houdon Sculpt” on rear, h. 27”, w. 16”, d. 9‑3/4”. [700/1000] Illustrated 672

674 Pair of Moderation-Style Brass Rococo Revival Lamps, masks and strapwork decorate the base, while putti in a landscape play musical instruments on the mail body, the collar and neck scroll-molded, h. 25”, dia. 5”. [150/300] 675 Continental Brass Letter Holder, ca. 1900, in the renaissance revival style, resting on leaf-molded feet, with scrollwork decorated pen holders below letter compartments formed by pierced scrollwork panels, supported by a scroll-decorated carrying handle, h. 7‑3/4”, w. 9‑1/2”, d. 5‑1/2”. [150/300] 676 Continental Brass and Crystal Encrier, fourth quarter 19th century, the rectangular base raised on beaded feet, decorated with pierced floral borders and supported with side handles, swirl pattern crystal ink pots, possibly Baccarat, capped with dome brass reeded covers, h. 6”, w. 15‑1/2”, d. 7‑1/4”. [500/800]

677 Unusual Pair of Baluster Vases, mid19th century, probably Limoges, with pate-sur-pate decoration, the bleu-deFrance ground decorated with hunt-themed pate-sur-pate, on one side a 677 hunting dog retrieves a duck from a stand of cat tails, scattering the flock, on the other side, a wolf stalks a pheasant in a stand of cat tails, the decoration framed in gilt scrollwork, matching decoration on the rear, now mounted as lamps on blue painted wooden bases, h. 39”. [900/1200] Illustrated 678 Pair of Belle Epoque Bronze and Alabaster Cassoulettes, fourth quarter 19th century, French, in the Louis XV-Style, the bronze bases decorated with a pierced guilloche, molded leaves support the alabaster sides, set with bronze lion’s heads and laurel swags, conical caps pierced to disperse incense, reverse to support candles with a bronze fluted candle cup and bobeche, h. 8‑1/4”, dia. 3”. [400/700] Illustrated 679 Pair of Belle Epoque Bronze and Marble Garniture Urns, ca. 1900, French, turned feet support marble bases decorated with oak leaves and acorns tied in bowknots with a beaded rim, under plinths decorated with swags of flowers held with bowknots, leaf-molded bronze feet support marble urns with goat’s head handles and engineturned bronze rims, h. 10‑1/4”, dia. 4‑1/4”. [300/500]

680 Qashqai Carpet, 5’3” x 8’2”. [1000/1500] 681 Turkish Angora Oushak Carpet, 6’4" X 9’2”. [700/1000] 682 Peshawar Sultanabad Carpet, 12’ x 18’. [1500/2500] Illustrated

682

683 Turkish Angora Oushak Carpet, 9’4” x 13’6”. [2500/4000] Illustrated 684 Kerman Carpet, 10’ x 13’4”. [4000/7000] 685 Louis-Philippe-Style Needlepoint Carpet, 8’ x 10’. [500/800] 686 Persian Heriz Runner, 3’8” x 15’1”. [500/800]

678

690

100

693 Pair of Hand Woven Wool/Silk Tapestries, 2’6” x 7’5”. [3500/5000] 694 Semi-Antique Persian Tabriz Carpet, 6’10” x 9’7”. [600/900]

683 687 Sarouk Carpet, 8’ x 10’. [700/1000] 688 Peshawar Ikat Carpet, 9’ x 12’4”. [3000/5000] 689 Donegal Carpet, 4’9” x 7’10”. [900/1200] 695 695 Semi-Antique Persian Heriz Carpet, 8’6” x 11’9”. [1800/2500] Illustrated 696 Empire-Style Aubusson Carpet, 9’ x 12’. [1200/1800] Illustrated

692 690 Turkish Angora Oushak Carpet, 8’ x 10’. [1500/2500] Illustrated 691 Semi-Antique Kashan Carpet, 9’7” x 13’4”. [600/900] 692 Donegal Carpet, 8’4” x 13’4”. [3000/5000] Illustrated

696

101

699

697

699 Burmese Carved Wooden Figure of a Donor, surface of white, black and gold lacquer inlaid with glass, h. 25”. [500/800] Illustrated 700 Burmese Wooden Sculpture, 20th century, the standing figure of a monk holding a begging bowl, the surface with gold and black lacquer, h. 30‑1/2”. [100/200]

697 Burmese Betel Nut Box, late 19th century, the basket work with carved elements, surface-lacquered gold and red and inset with glass jewels, Hamsa bird finial, h. 37”. [400/700] Illustrated

698 Burmese Architectural Elements, late 19th/early 20th century, each piece carved and pierced with geometric motifs inlaid with mirror panels and lacquered red and gold, h. 24‑41/2”, w. 25”. [1000/1500] Illustrated

698

102

701 Carved Wooden Architectural Element, late 19th/ early 20th century, Thailand, spireshaped and carved with horses, traces of paint remaining, h. 75”, w. 6‑1/2”, d. 5‑3/4”. [800/1200] Illustrated

702 Tibetan Stone and Silver Encrusted Conch Shell, decorated with a silver Buddha cameo, framed with concentric rings of turquoise alternating with coral and lined with silver, the edges decorated with silver-lined turquoise leaves on a coral ground, h. 3‑3/4”, w. 3‑3/4”, l. 6‑1/4”. [100/200]

701

703 Buddhist Icon, 18th/19th century, Tangka of Yama, with mineral pigments on heavy cloth, h. 21”, w. 14‑1/2”. Framed. [900/1200] Illustrated

707 Chinese Bronze Buddha Head, 20th century, h. 16”. [500/800]

708 Chinese School, “Figures and Dragon”, watercolor and mixed media on paper, signed lower right, sight 65” x 26”. Framed. [800/1200] Illustrated

703 704 Buddhist Icon, 18th/19th century, Tibet, the Tangka of Mount Meru with lineage figures and mineral pigments on heavy cloth, h. 21”, w. 14‑1/2”. Framed. [900/1200]

705 Burmese Painting on Silk, 20th century, featuring a dancing ceremonial figure, 64” x 44”. [200/400]

706 Chinese Bronze Buddha Head, 20th century, mounted to a cube-form ebonized wooden base, h. 22”, head, h. 32”, overall. [600/900] Illustrated

706

708

103

709 Chinese Stoneware Figure, 20th century, the grey glazed figure of the goddess of mercy Kuan Yin, h. 4”. [400/700] Illustrated 709

710 Chinese Soapstone Dish, carved in the form of a lily pad, with lotus blossoms, buds and reeds to the side, h. 2”, w. 10”, d. 7‑1/4”. [200/400] 711 Japanese Stoneware Vase, Meiji ware (1868‑1912), Satsuma ware, decorated with dancing figures molded in high relief with polychrome enamels and gilt, h. 18‑1/2”. [1800/2500] Illustrated

712 Japanese Stoneware Bowl, 19th century, Satsuma ware, the bowl with a foliated shape and a decoration of dragons and clouds, flowers and chidori plovers above crashing waves, with considerable use of Gosu-blue, dia. 9‑3/4”. [500/800]

713 713 Pair of Japanese Hanging Panels, late 19th/early 20th century, the lacquered surface inlaid with birds in flowering trees in bone and mother-of-pearl, gold framed, h. 39‑1/2”, w. 26”. [1500/2500] Illustrated

711 713

104

717 Pair of Japanese Stoneware Vases, 19th century, Satsuma ware, the pilgrim flask-form vases with reserves of children and various brocade borders, carved stands, h. 9‑3/4”, without stands. [2500/4000] Illustrated

714 Japanese Stoneware Bowl, 19th century, Satsuma ware, decorated with birds and flowers with a phoenix at the center, dia. 6‑1/4”. [400/700]

717

715 715 Japanese Stoneware Vase, 19th century, Satsuma ware, the bottle-shaped vase with applied tassels, decorated with scholars and Buddhist saints, h. 10‑1/2”. [500/800] Illustrated

718 Pair of Japanese Stoneware Vases, 19th century, Satsuma ware, decorated with children playing and various brocade patterns, now mounted as lamps, h. 14‑1/2”. [500/800] Illustrated

716 Japanese Molded and Gilt-Brass Mirror, early 20th century, the outer framed decorated with a border of pressed grapes and grape leaves, molded dragons decorate the area around the mirror plate, the back set with nickel-plated fillings, h. 11‑1/2”, w. 8‑3/4”. [150/300] Illustrated

716 718

105

721

719 Japanese Lacquered Box, 19th century, the box with gold lacquer decoration of the “three friends” pine prunus and bamboo on a black ground, gilt copper mounts, h. 6”, w. 6”, l. 7”. [600/900] Illustrated 720 Set of Three Japanese Wedding Cups, 19th century, the lacquered wood cups in three graduated sizes, with gold lacquer design of the three friends (pine, prunus, and bamboo) on a red ground, dia. 3‑1/4” to 4‑3/4”. [400/700] Illustrated

722

719 720

721 Japanese Footed Lacquered Bowl, Meiji period (1868‑1912), the bowl with a scarlet lacquered body with silver and gold stylized cranes in high relief, and a silver rim, h. 5”, dia. 5‑3/4”. [800/1200] Illustrated

723

724 Japanese Ivory Box, Meiji period (1868‑1912), the surface and cover carved in high relief with dragons among swirling clouds, with eyes inlaid in mother-of-pearl, h. 3”, dia. 3‑1/2”. [2500/4000] Illustrated

722 Japanese Round Lacquered Box, 18th century, Nashiji ground with Hiramaki decoration of heraldic mons and foliate scrolling, dia. 5‑1/4”. [700/1000] Illustrated 723 Five Rectangular Japanese Trays, 19th century, decorated with sprigs of flowers in gold on a sprinkled gold ground, w. 5‑1/2” to 8”. [400/700] Illustrated

724

725 Two Chinese Ivory Carvings, the first a snuff bottle carved as a melon and the second a figure of a scholar beneath a pine tree, l. 4”. [100/200]

726 Carved Chinese Ivory Figure, depicting a sleeping male figure with a woven basket, carved and painted, signed on the bottom, h. 3”. [300/500] Illustrated

726

106

727 Chinese Ivory Carving, early 20th century, the standing figure of a woman holding a branch of flowers and a fan, engraved and colored floral decoration, h. 10‑3/4”. [800/1200] Illustrated

728 Chinese Carved Ivory Figure, depicting a kneeling female musician, carved and painted, signed on the bottom, h. 3‑1/2”. [300/500]

727

729 Pair of Japanese Ivory Brooches, Meiji period (1868‑1912), the surfaces carved and stained as a courtier and a geisha, with silver backings, l. 2‑1/4”. [400/700]

730 Chinese Ebonized and Gilt-Decorated Trunk, early 20th century, of rectangular form, the lid and sides with gilt floral sprays, the front with a dragon and phoenix among clouds, raised on an ebonized stand of molded square legs, h. 25‑1/4”, w. 33‑1/2”, d. 24”. [400/700] Illustrated

731

731 Chinese Lacquered Bamboo and Wrought-Iron Lunch Basket, fourth quarter 19th century, comprised of five intricately woven split bamboo compartments, the cover and carrying stand reinforced and embellished with wrought-iron elements and a carrying handle, the top secured in place with an iron pin, h. 15‑3/4” not including the handle, w. 10‑1/2”, d. 5‑1/2”. [300/500] Illustrated

732 Pair of Chinese Pillar Plaques, 19th century, the black and gold lacquer carved with Shou characters and dragons and engraved with Confucian admonitions, h. 101‑1/2”, w. 14”. [1000/1500] Illustrated 730

732

107

736 Chinese Porcelain Wine Cup and Saucer, 20th century, the mustard-yellow glaze with green glazed chih lung, six-character K’ang Hsi marks on the cup and saucer, dia. 4”. [800/1200] Illustrated

733 733 Chinese Lacquered and Polychromed Eight Panel Screen, 20th century, depicting garden scenes incorporating structures, people and natural life, h. 84”, w. 16”, each panel. [600/900] Illustrated 734 Pair of Chinese Lamp Stands, 20th century, h. 70‑1/2”, w. 11”, light d. 7‑1/2”. [400/700]

736

737 Pair of Chinese Porcelain Saucer Dishes, the mustard-yellow-colored dishes decorated with an aubergine and green dragon, Kuang Hsu mark and possibly of the period, dia. 4‑1/4”. [600/900] Illustrated

735

737

735 Pair of Chinese Polychrome End Tables, each with a square top featuring a scene of koi among lily pads against a gilt ground, raised on molded square legs joined by a pierced stretcher shelf, h. 24”, w. 24‑3/4”, d. 24‑3/4”. [500/800] Illustrated

738 Chinese Polychrome Cabinet, the rectangular banded top above a conforming case fitted with two drawers over two paneled cupboard doors, raised above a paneled frieze on square legs, h. 34”, w. 37‑1/2”, d. 19‑1/2”. [400/700] 739 Chinese Porcelain Dish, K’ang Hsi mark and possibly of the period, San Tsai glaze decoration of the three fruits on a dragon engraved ground, dia. 9‑3/4”. [500/800]

108

742 Chinese Jumu Wood Altar Table, late 19th century, the banded rectangular top above a case fitted with two small paneled drawers over a paneled and shaped frieze, raised on rounded legs, h. 30‑1/2”, w. 38”, d. 19”. [200/400] 743 Near Pair of Chinese Kang Cabinets, early 20th century, each elmwood cabinet with two drawers and with a lacquered surface, h. 15” to 16”, w. 13‑1/4” to 13‑3/4”, d. 13‑1/4” to 13‑3/4”. [200/400] 744 Chinese Stained Hardwood Cabinet, late 19th century, the banded rectangular top above a case fitted with two small drawers over two paneled cupboard doors, raised on plank legs, h. 32‑3/4”, w. 32”, d. 20”. [300/500]

740 740 Chinese Pine and Elm Wood Cupboard, early 20th century, of rectangular form, fitted with two sets of sliding doors, one set slatted and paneled, the other set grilled and paneled, and seven small drawers, the lower section fitted with two slatted and paneled sliding doors raised on a plinth base, h. 67‑1/2”, w. 72”, d. 19”. [800/1200] Illustrated 741 Chinese Elm Cabinet, 20th century, the rectangular top bisected and hinged and opening to a drop-front shelved interior, over two cupboard doors, opening to an interior fitted with an upper drawer and two tiers of wine racks, the whole with decorative incised brass hardware, h. 41”, w. 37‑1/2”, d. 22‑1/4”. [400/700] Illustrated

746 745 Chinese Polychrome Demi-Lune Side Table, the demi-lune top paneled and above a shaped frieze, raised on cabriole legs ending in pad toes, h. 34”, w. 35”, d. 17”. [400/700] 746 Chinese Apothecary Cabinet, 19th century with later elements, the cabinet with a black lacquered surface, with forty-two drawers labeled with the original contents beneath and with an open gallery and brass mounts, h. 70”, w. 40‑1/4”, d. 19‑3/4”. [1200/1800] Illustrated

741

747 Pair of Chinese Terracotta Hat Stands, now mounted as lamps, the hardwood bases with scrolled feet support the lobed stands, which have a stippled ground decorated with raised dragons highlighted with brown, h. 31‑1/2”. [250/400]

109

748 Chinese Brush Pot, 20th century, the persimmon wood pot in a cylindrical wasted form, h. 5‑1/2”, dia. 4‑1/2”. [1200/1800] 749 Chinese Bamboo and Hardwood Three-Piece Suite, early 20th century, consisting of two armchairs and a table, the chairs each of box form and with a decorative pierced splat, the wooden seat raised on bamboo legs joined by a box-form stretcher, h. 36”, the later square table fitted with two tiers and raised on clustered bamboo legs, h. 31”, w. 16”, d. 16”. [300/500] 750 Chinese Bamboo Root Display Shelf, late 19th/early 20th century, with nine shelves with ornately-shaped section of root, h. 67”, w. 42‑1/2”, d. 24”. [1000/1500] 751 Stoneware Puzzle Vase, 20th century, Thailand, the black glazed vase surface decorated with monkeys and floral elements, h. 5‑1/2”. [100/200] 756

752 752 Chinese Stained Softwood Storage Basket, early 20th century, of circular tiered form, the circular lid removing to two stacked compartments, with a tall handle, h. 21”, dia. 16”. [150/300] Illustrated

756 Good Chinese Bronze Altar Food Vessel and Cover (DOU), Qianlong mark and period (1736‑1795), the circular bowl raised on a flared base cast with archaic style decoration and having a conforming domed cover with twisted loop handles, the base with a cast six-character Qianlong reign mark in a line on the foot, the interior of the domed cover with a cast six-character Qianlong seal, the interior of the base with a pasted paper label with calligraphy, h. 10”, dia. 6‑1/4”. [1500/2500] Illustrated

753 Chinese Stoneware Water Buffalo, 20th century, Yi Hsing ware, four-character Ch’ien Lung mark on the base, h. 7”, l. 12‑1/2”. [600/900] Illustrated 754 Chinese Stoneware Jar, Ming period (1368‑1644), Tsu Chou ware, the cream-colored glaze decorated with a Shou character and floral scrolling in black, h. 5‑3/4”. [250/400] 755 Chinese Stoneware Bowl, Ming period (1368‑1644), soft Ting ware, the cream-glazed bowl carved with a sgraffito lotus scroll, with a copper edge, dia. 6‑1/4”. [500/800]

110

753

757 Chinese Gilt-Bronze Paperweight, 20th century, study of a foo dog, h. 3‑1/”, l. 4”. [200/400] 758 Japanese Bronze Censer, ca. 1920, champleve enamel with stylized floral decoration, kylin finial, h. 9‑1/2”. [250/400] 759 Chinese Stoneware Saucer, Ming period (1368‑1644), Chun ware blue green surface, dia. 4‑1/2”. [400/700] 761

760 Chinese Porcelain Bowl, Yuan period (1279‑1368), Ying Ching ware, the exterior carved with lotus scrolls, dia. 7”. [300/500] 761 Pair of Chinese Stoneware Vases, early 20th century, in the form of a moon flask, each vase with applied dragon handles, “oatmeal” ware with famille verte historical scenes, the bottom with an incised Ch’eng Hua mark, h. 17”. [500/800] Illustrated 762 Pair of Chinese Soapstone and Brass Table Lamps, first quarter 20th century, the round brass bases decorated with scrollwork and flowers on a stippled ground, set with carved soapstone figures, the male depicting the immortal Shou Lao, the female depicting Kwan Yin, h. 28‑1/2”. [450/700] Illustrated

762

763 Chinese Carved Soapstone Figure, 20th century, the seated figure of a Luohan holding a scroll, h. 5”. [500/800]

764 Japanese Hanging Scroll, 18th/19th century, the scroll with ink and colors on silk of sparrows in a snowcovered tree with flowering camellias, a harbinger of spring, brocade mounts, w. 21”, l. 50”. [500/800] Illustrated

765 Chinese Porcelain Bowl, early 20th century, famille rose decoration of quail and millet with a poem, Ch’ia Ch’ing mark on the base, dia. 10‑1/4”. [800/1200]

764

111

770 Pair of Chinese Porcelain Vases, late 19th century, the roleau-shaped vases with famille rose decoration of historical scenes, h. 17‑3/4”. [600/900] Illustrated

766

766 Pair of Chinese Porcelain Vases, 19th century, rose mandarin ware with famille rose decoration of reserves with figures in garden scenes with borders of birds and flowers, and lion mask faux jump rings, now drilled and mounted as lamps, h. 14”. [1800/2500] Illustrated

770

771 Chinese Porcelain Bowl, early 20th century, the famille rose decoration of the three friends, (pine, prunus, and bamboo), Ch’ia Ch’ing mark on the base, dia. 6‑1/4”. [300/500] 772 Chinese Famille Rose Plate, 20th century, decorated with peaches and flowering plants, Tao Kuang mark on the base, dia. 8‑1/2”. [400/700] Illustrated 767

767 Two Chinese Export Porcelain Famille Rose Plates, fourth quarter 18th century, the soup plate with scalloped borders, pink diapered sides and scroll edged cartouches of crosshatching alternating with flowers, the panel depicting a finely rendered bouquet of roses held in a bowknot, picked out on gilt, the plate with a scalloped edge and a pink diapered border trimmed with a shell edge and scrollwork, the fret bordered central panel depicting roses and peonies, dia. 9”. [200/400] Illustrated 768 Chinese Famille Rose Plate, 20th century, decorated with actors and their lines from opera, dia. 8‑1/4”. [400/700] 769 Chinese Porcelain Vase, 20th century, the vase with famille rose decoration with monkeys and peaches, company mark on the base, h. 19‑1/2”. [200/400]

112

772

777 Pair of Chinese Porcelain Covered Jars, 20th century, in the rose medallion style, h. 20”. [125/250]

773 Chinese Porcelain Dish, 20th century, the dish with famille rose decoration of the “Hundred Birds”, Ch’ia Ching mark on the base, dia. 9‑3/4”. [300/500]

778 Chinese Export Reverse Glass Painting, ca. 1870, of a woman holding a chin stringed instrument, gilt frame, h. 23”, w. 15‑1/2”. [1000/1500] Illustrated

774 Pair of Chinese Porcelain Vases, 19th century, the vases with famille rose decoration of theatrical scenes in reserves with borders of birds, flowers, insects and fruit , now truncated, drilled and mounted as lamps, h. 21”. [900/1200] Illustrated 774

779 Chinese School, 18th/19th century, “Double Ancestor Portrait”, mixed media on paper, sight 46” x 36”. Framed. [500/800]

775 Nine Chinese Stoneware Wine Pots, 19th century, Yi Hsing ware, the surface decorated with polychrome enamels in floral patterns, h. 4‑3/4”, tallest. [400/700]

776 Pair of Chinese Porcelain Vases, 20th century, famille rose decoration of the immortals, with lion mask handles, h. 9‑1/4”. [400/700] Illustrated

776 778

113

783 781 785

787

780 782 780 Pair of Chinese Porcelain Wall Pockets, 19th century, underglaze blue decoration of the hundred antiques, h. 6”, w. 4”, d. 2”. [900/1200] Illustrated 781 Chinese Porcelain Vase, 20th century, the octagonalform vase decorated in famille rose with reserves of the immortals on a stylized lotus ground, h. 14‑1/4”. [600/900] Illustrated

784

786

788 Chinese Export Porcelain Vase, 18th century, famille rose decoration of women and children in a pastoral setting, underglaze blue borders of floral scrolling, h. 16”. [900/1200] Illustrated

782 Pair of Chinese Porcelain Vases, 20th century, the beaker-form vases in famille rose decoration of birds and flowers with underglaze blue borders, h. 7‑1/2”. [400/700] Illustrated 783 Chinese Porcelain Vase, early 20th century, the vase with molded sides, underglaze blue “cracked ice” decoration with famille verte historical scenes, h. 13‑1/4”. [300/500] Illustrated 784 Chinese Porcelain Brush Pot, 20th century, famille verte decoration of landscapes, birds and flowers, h. 6”, dia. 7”. [500/800] Illustrated 785 Chinese Porcelain Planter, 20th century, famille rose decoration of the “Hundred Antiques”, h. 7‑1/2”, dia. 9”. [400/700] Illustrated 786 Pair of Chinese Porcelain Vases, 20th century, with applied dragon handles, famille rose decoration of the hundred antiques, Shen Te Tang mark on the base, h. 7”. [300/500] Illustrated 787 Large Chinese Porcelain Cup, 20th century, underglaze blue decoration of dragons and clouds, six-character Jia Jing mark on the base, h. 4‑1/2”, dia. 4‑3/4”. [600/900] Illustrated 788

114

791 Chinese Porcelain Covered Jar, 19th century, the jar in famille rose decoration with dragon roundels on a peony scrolled pink ground, carved and pierced fitted rosewood cover, h. 5‑3/4”. [125/250] 792 Chinese Porcelain Wine Cup, 20th century, the cup with famille rose decoration of flowers, six-character Yung Cheng mark on the base, dia. 2‑1/2”. [1200/1800] Illustrated

789 789 Chinese Porcelain Planter, 19th century, the square graduated-form planter with a molded basketweave turquoise-glazed surface and famille rose flowers, reserves of birds and flowers on a yellow ground with lime green borders, Ch’ien Lung mark, h. 8‑1/4”, w. 8‑1/4”, d. 8‑1/4”. [400/700] Illustrated 790 Chinese Porcelain Vase, ca. 1920, the square-form vase with a green ground, decorated with famille rose enamels of vases and flowers, now drilled and mounted as a lamp, h. 16”. [300/500] Illustrated

792

793 Chinese Export Oval Porcelain Platter, 19th century, with famille rose decoration with a bird in a flowering tree, w. 12”, l. 14‑1/2”. [250/400] 794 Chinese Porcelain Vase, 20th century, the celadon glaze with phoenix-shaped jump rings, surface-molded with peony scrolling, h. 17”. [100/200] 795 Lady’s Stamped Tiffany Eighteen-Karat Yellow Gold Oak Leaf Design Vintage Pin, the pin composed of twenty-three round brilliant-cut pave-set diamonds with an approximate total weight of 0.45 carats, and with an elongated blue turquoise, l. 2”. [3000/5000] Illustrated

790

795

115

796 Lady’s Eighteen-Karat Yellow Gold and Diamond Starburst Pin/Pendant, the pendant set with eightynine European-cut diamonds with an approximate total weight of 2.68 carats, l. 1‑1/4”. [800/1200] Illustrated

798

799 Eighteen-Karat Yellow Gold Cartier Ingot Pendant with Chain, the pendant with a half an ounce of a gold bar dangling from a twenty-four link design fourteen-karat gold chain, chain l. 24”, ingot l. 3/4”. [1400/1800] 796

797 Lady’s Eighteen-Karat Yellow Gold and Diamond Necklace, the necklace composed of interwoven links, the lower half of the necklace set with round brilliant-cut diamonds with an approximate diamond weight of 7.50 carats, total approximate gold weight is 123.50 grams. [20000/40000] Illustrated

800 Lady’s Custom-Designed Fourteen-Karat Yellow Gold and Mother-of-Pearl Shell Earrings, the earrings adorned with ruby, sapphire and emerald cabochons. [1800/2500] Illustrated

800

798 Lady’s Fourteen-Karat Yellow Gold Cosmetic Case, the case set with two European-cut diamonds and two single-cut diamonds with a total approximate weight of 0.12 carats and with five elongated baguette-cut rubies, stamped: “7660” and the makers mark for Gutenstein Brothers, Inc., New York, approximately 3 oz. of gold excluding the mirror and contents, w. 2‑1/2”, l. 2‑1/2”. [1000/1500] Illustrated 801 Lady’s Eighteen-Karat Yellow Gold, Pearl and Diamond Bee Pin, the pin composed of two cultured pearls in the body of the bee and round brilliant-cut diamonds with an approximate total weight of 0.40 carats, l. 1”. [400/700] 802 Lady’s Fourteen-Karat White Gold and Diamond Engagement Ring, the ring composed of a single diamond with an approximate total weight of 0.50 carats, size 7‑3/4. [450/700] 803 Lady’s Tiffany Eighteen-Karat White Gold Ring, the ring with roman numeral, stamped “Tiffany”, size 7‑1/2. [600/900] 797

116

807 Lady’s Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, the ring composed of a single round-cut ruby with an approximate weight of 0.32 carats and two pear-shaped diamonds with an approximate weight of 0.36 carats, size 7‑1/4. [1000/1500]

804 Lady’s Platinum Diamond Wedding Band, the ring composed of eighteen round brilliant-cut diamonds with an estimated total weight of 0.22 carats, size 7‑1/2. [700/1000]

808 Lady’s Eighteen-Karat White Gold, Amethyst and Diamond Bracelet, the bracelet composed of eleven diamond-shaped links with forty-four squarecut amethysts surrounding a single central diamond, alternating with eleven diamond-shaped links with one hundred and twenty-one round brilliant-cut diamonds, total approximate amethyst weight is 13.50 carats and total approximate diamond weight is 0.65 carats, l. 7”. [1800/2500] Illustrated

805

809 Pair of Lady’s Eighteen-Karat White Gold, Platinum, Sapphire and Diamond Earrings, the earrings composed with two round-cut sapphires with a total approximate weight of 6.30 carats and surrounded by eight pear-shaped diamonds and eight heart-shaped diamonds, total approximate diamond weight is 4.76 carats, clip-on backs. [20000/40000] Illustrated 805 Lady’s Fourteen-Karat White Gold and Diamond Ring, the ring composed of a central princess-cut diamond with an approximate total weight of 0.79 carats and with six single-cut diamond flanking each side of the center stone with an approximate total weight of 0.18 carats, size 6. [2000/4000] Illustrated

810

806 Lady’s Fourteen-Karat Yellow and White Gold and Ruby Ring, the ring composed of an oval-shaped color-enhanced ruby with an approximate weight of 5.79 carats, surrounded by two rows of round single-cut diamonds with an approximate total weight of 0.88 carats, size 7‑3/4. [5000/8000] Illustrated

809

811 808

806

810 Lady’s Platinum Custom-Made Vintage “Crown” Ring, the ring composed of two cabochon-cut colorenhanced rubies with an approximate total weight of 10.00 carats, twenty round brilliant-cut diamonds with an approximate total weight of 0.50 carats, one cabochon emerald with an approximate total weight of 1.00 carats and fourteen sapphires with an approximate total weight of 1.00 carats, size 7‑1/4. [7000/10000] Illustrated 811 Lady’s Platinum, Diamond and Ruby Cigar Ring, the ring composed of a central round brilliant-cut diamond with an approximate weight of 1.04 carats, surrounded by one hundred round brilliant-cut diamonds with an approximate weight of 0.70 carats and fifty-six calibrated cut rubies with an approximate weight of 2.55 carats, size 8. [7000/10000] Illustrated

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817 Pair of Lady’s Platinum and Diamond Cluster Earrings, the earrings composed of twelve marquise-cut and two pear-shaped diamonds with a total approximate weight of 4.33 carats. [12000/18000] Illustrated

812 Lady’s Stamped Yellow and White Gold and Ruby Ring, the ring composed of a central oval-shaped ruby, flanked on either side with ten baguettecut rubies and two cabochon rubies set on the sides of the center stone, total approximate ruby weight is 2.63 carats, size 7. [6000/9000] Illustrated

818 Lady’s Platinum and Diamond Engagement Ring, the ring composed of a central round brilliant-cut diamond with an approximate total weight of 2.80 carats, with thirty round brilliant-cut diamonds flanking either side of the stone and on the crown and bridge of the ring with an approximate total weight of 0.65 carats, size 7‑1/2. [25000/40000] Illustrated 812

813 Lady’s Platinum and Diamond Engagement Ring, the ring composed of a round brilliant-cut diamond with an approximate total weight of 0.31 carats, and with two pear-shaped diamonds with an approximate total weight of 0.34 carats, size 7‑1/2. [1400/1800]

819 Stunning Lady’s Platinum and Diamond Custom-Made Bracelet, the bracelet composed of forty-five round-cut diamonds mounted in the center of the bracelet, bordered by forty-nine baguette-cut diamonds, 44 carat approximate total diamond weight, l. 7”. [30000/50000] Illustrated

818 814 Lady’s Eighteen-Karat White Gold, Pink Sapphire and Diamond Pendant with Chain, the bow pendant composed of a pear-shaped pink sapphire drop with square-cut pink sapphire accents, and with thirty-seven round brilliant-cut diamonds, 2.77 carats total approximate pink sapphire weight and 0.50 carats total approximate diamond weight, chain l. 16”. [2000/4000] Illustrated 815 Eighteen-Karat White Gold, Pink Tourmaline and Diamond Cross Pendant with Chain, the pendant composed of six tapered baguette-cut pink tourmalines with an approximate weight of 2.96 carats, one round brilliant-cut diamond mounted in the center with an approximate total weight of 0.11 carats, chain l. 18”. [700/1000]

814

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816 Lady’s EighteenKarat Rose Gold, Amethyst and Diamond Ring, the ring composed of a central cushion-cut amethyst with an approximate total weight of 15.50 carats, surrounded by forty round brilliant-cut diamonds in a halo design around the center stone and fifty-four round brilliant cut diamonds down both sides of the shank, total approximate diamond weight is 1.02 carats, size 7. [2000/4000]

820

821

817 819

820 Stunning Lady’s Platinum Diamond Ring, the ring composed of a central round brilliant-cut diamond with an approximate weight of 4.83 carats, J color, SI2, flanked on either side by two tapered baguette-cut diamonds with an approximate total weight of 0.40 carats, GIA certification 5131669344, size 7‑1/4. [60000/90000] Illustrated 821 Elegant Lady’s Custom-Made Platinum Vintage Diamond Brooch, the brooch composed of eight marquis-cut diamonds with an approximate weight of 5.25 carats, 126 baguette-cut diamonds with an approximate weight of 9.00 carats and twenty-two round brilliant-cut diamonds with an approximate weight of 4.75 carats, l. 3‑1/2”. [30000/50000] Illustrated

822 Lady’s Eighteen-Karat White Gold and Diamond Bow Pin, the pin composed of two hundred and ninety-one round brilliant-cut diamonds with an approximate total weight of 1.69 carats, l. 2”. [1800/2500] Illustrated 823 Lady’s Vintage Eighteen-Karat White Gold, Diamond and Emerald Necklace, the necklace composed of five oval-shaped emeralds with an approximate total weight of 6.00 carats and two hundred and forty-three round brilliant-cut diamonds with an approximate total weight of 14.00 carats, l. 15”. [20000/40000] Illustrated

822

827 Pair of Lady’s Eighteen-Karat White Gold and Diamond Dangle Earrings, the earrings composed of round brilliant-cut and baguette-cut diamonds with a total approximate weight of 2.00 carats. [3000/5000] Illustrated 824

828 Lady’s Fourteen-Karat White Gold and Diamond Ring, the ring composed of a central princess-cut diamond, flanked on either and under the bridge of the center stone by ten princess-cut diamonds, total approximate diamond weight is 5.50 carats, size 7‑1/4. [1000/1500]

823

824 Lady’s Eighteen-Karat Yellow Gold, Platinum, Emerald and Diamond Ring, the ring composed of a central round-cut emerald with an approximate total weight of 2.53 carats, surrounded by four pear-shaped diamonds with an approximate total weight of 1.01 carats and four round brilliant-cut diamonds with an approximate total weight of 0.60 carats, size 6‑3/4. [14000/18000] Illustrated

827

825 Lady’s Eighteen-Karat White Gold, Diamond and Rose Quartz Butterfly Pin, the pin composed of seventy-two round brilliant cut diamonds with a total approximate weight of 0.86 carats, l. 2‑1/2”. [1400/1800] 826 Lady’s Eighteen-Karat White Gold, Tourmaline and Diamond Cross Pendant with Chain, the pendant composed of seven emerald-cut green tourmalines with an approximate total weight of 4.75 carats and three round-cut pink tourmalines with an approximate total weight of 0.24 carats and with a four round brilliant-cut diamonds in the center of the cross with a total approximate weight of 0.05 carats, chain l. 18”. [900/1200]

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829 Lady’s Eighteen-Karat White Gold and Diamond Eternity Band, the ring composed of twenty-one round brilliant-cut diamonds with an approximate total weight of 2.68 carats, size 7. [2000/4000]

830

830 Striking Lady’s Fourteen-Karat White Gold and Diamond Ring, the ring composed of a central emerald-cut diamond with an approximate total weight of 6.02 carats, the center diamond flanked on either side by two straight baguette-cut sapphires with an approximate total weight of 0.30 carats and with forty round brilliant-cut diamonds bordering the top and bottom of the central stone and on the side of the ring shank with an approximate total weight of 0.40 carats, size 5. [30000/50000] Illustrated

833 Faberge 84 Zolotnik (.875) Silver Compact, 1898‑1909, Moscow, of circular form, decorated with a band of laurel, the hinged lid inset with a mirror and opening to reveal the gilt interior, the underside of the lid with applied medallion “Souvenir de Ruinart, Pere et Fils, Rheims”, retaining the original marabou feather powder puff, dia. 1‑5/8”, 0.83 t. oz. (including mirror). Provenance: Henri Adolphe Pecquet du Bellet (1852‑1924), by direct descent in the family to the consignor. [600/900] Illustrated Henri Adolphe Pecquet du Bellet de Verton was born in New Orleans on December 18, 1852, to Pierre Paul Pecquet du Bellet de Verton and his wife, Sarah Ann Elizabeth Moncure. The family also lived in Paris, and because of the family’s prominence in France and his fluency in the language, Henri Adolphe was given a consular appointment in Rheims by President Grover Cleveland. Upon the expiration of his commission in 1897, the champagne company Ruinard Pere et Fils offered him a position with their firm, selling and promoting their champagne to the Russian court and establishing a branch in St. Petersberg. Faberge was commissioned to supply him with these small souvenir bibelots, which were also manufactured with a hardstone lid as a pillbox for gentlemen. (For identical examples, see Eve Auction, Paris, December 2008 and Gelos Auction, Moscow, February 2009.) Pecquet du Bellet was a commander of the Red Cross during WWI, and died in Paris on October 2, 1924. The Pecquet du Bellet family was the subject of an exhibit in 1987‑1988 at the Museum of French and American Friendship at Chateau Blerancourt, Picardie and the Musee de Nouveau Monde in La Rochelle; the family papers are conserved in the Louisiana and Lower Mississippi Valley Special Collections at Louisiana State University, Baton Rouge, Louisiana.

831 Lady’s Vintage Platinum and Diamond Ring, the ring composed of three European-cut diamonds with an approximate total weight of 0.90 carats, surrounded by synthetic square-cut sapphires, size 5. [3000/5000]

832 Lady’s Eighteen-Karat White Gold Filigree and Diamond Ring, the ring composed of a central European-cut diamond with an approximate total weight of 0.52 carats with four single-cut diamonds flanking each side with an approximate total weight of 0.05 carats, size 7. [1400/1800] 833

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834

836 Lady’s Platinum, Eighteen-Karat Yellow Gold and Diamond Ring, the ring composed of a central radiant-cut yellow diamond with an approximate total weight of 0.70 carats, flanked on either side by two tapered baguette-cut diamonds with an approximate total weight of 0.15 carats and with hand-engraving on the sides of the ring, size 5‑1/2. [1500/2500] Illustrated 836

834 Daniel K., New York City, Lady’s Platinum and Diamond Wedding Ring Set, the ring composed of a single Ascher emerald-cut diamond with an approximate weight of 1.33 carats with eighteen round brilliant-cut diamonds flanking each side of the ring, together with a matching band with eighteen round brilliant-cut diamonds, engagement ring size 6‑1/2, wedding band size 7‑1/2. [7000/10000] Illustrated

835

837 Lady’s Three-Piece Custom-Designed Eighteen-Karat White Gold and Diamond Jewelry Set, the set comprised of a necklace with three round brilliant-cut diamonds on the clasp, l. 16”, a bracelet with three round brilliant-cut diamonds on the clasp, l. 8” and a pair of clip/pierced earrings. [4000/7000] Illustrated

835 Lady’s Eighteen-Karat Yellow Gold, Platinum, Yellow and White Diamond Pendant with Necklace, the pendant composed of two pearshaped and one marquis-cut diamond with an approximate total weight of 0.40 carats and a pear-shaped yellow diamond with an approximate weight of 0.77 carats and laser inscribed GIA certification 2121581810, chain l. 18”. [2500/4000] Illustrated 837

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838 Lady’s Eighteen-Karat White Gold and Rose-Cut Diamond Earrings, the custom-designed earrings each featuring a pear-shaped rose-cut diamond hanging from a round rose-cut diamond, all surrounded by round brilliant-cut diamonds, 3.52 carats total approximate diamond weight. [5000/8000] Illustrated 839 Lady’s Custom-Designed Eighteen-Karat White Gold and Diamond Dome Ring, the ring composed of seventy-six round brilliant-cut diamonds with an approximate weight of 0.51 carats, size 7‑1/4. [1000/1500] 840 Single Strand of South Sea Natural Pearls with a Fourteen-Karat White Gold and Diamond Clasp, the pearls white in color with a good luster, ranging in size from 11.5mm to 14.0mm in diameter, and with an off-round shape, the fourteen-karat white gold clasp set with sixty-seven single-cut diamonds and four round brilliant-cut diamonds, total approximate diamond weight is 0.25 carats, l. 18”. [6000/9000] 844 838

843 Lady’s Multi-Strand Fourteen-Karat Yellow Gold and Freshwater Pearl Necklace, the necklace composed of ten strands of freshwater pearls finished with a ribbed fourteen-karat yellow gold clasp, l. 18”. [200/400] 844 Lady’s Fourteen-Karat Yellow and White Gold and Sapphire Ring, the ring composed of a central greenish-grey oval-shaped sapphire with an approximate total weight of 14.75 carats, surrounded by eighty-two round single-cut diamonds which are also on each side of the shank, with an approximate total weight of 0.82 carats, size 7. [3000/5000] Illustrated 845 Lady’s Eighteen-Karat Yellow and White Gold and Yellow Diamond Ring, the ring composed of a central radiant-cut yellow diamond with an approximate weight of 0.41 carats, flanked on either side by six baguette-cut diamonds with an approximate total weight of 0.53 carats, size 7. [1800/2500] Illustrated

841 Single Strand of South Sea Pearls with a Fourteen-Karat White Gold Diamond Clasp and Rondels, the assortment of rose, near white, lavender and cream-colored pearls ranging in size from 11.5mm to 12.5mm in diameter, with six fourteen-karat gold rondels with seven single-cut diamonds, the clasp with thirty-two single-cut diamonds, total approximate diamond weight is 0.33 carats, l. 18”. [4000/7000] 842 Pair of Lady’s Fourteen-Karat Rose Gold and Rutilated Quartz Earrings, the earrings composed of oval-shaped rutilated quartz surrounded by round brilliant-cut diamonds with an approximate total weight of 0.50 carats. [1400/1800]

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845

846 Lady’s Antique Platinum and Diamond Band, the ring composed of five baguette-cut diamonds with an approximate total weight of 0.20 carats, size 6‑1/2. [500/800] 847 Lady’s Platinum Vintage Diamond Necklace, the necklace composed of fifty-nine kite-shaped diamonds and sixty epaulet diamonds, total approximate diamond weight is 40.0 carats, l. 17”. [70000/100000] Illustrated 848 Lady’s Eighteen-Karat White Gold and Diamond Leaf Pin, the pin composed of eighty-five round brilliant cut diamonds with a total approximate weight of 2.09 carats, l. 2”. [1400/1800]

852

851 Lady’s Fourteen-Karat White Gold and Diamond Pendant with Chain, the pendant composed of five round brilliant-cut diamond mounted in a cluster design with an approximate total weight of 0.95 carats, chain l. 18”. [900/1200] 852 Lady’s Silver, Gold Vermeil and Diamond Bangle Bracelet, the bracelet composed of large and small single-cut diamonds with an approximate total weight of 15.54 carats, size 9‑1/2. [7000/10000] Illustrated 853 Lady’s Eighteen-Karat Yellow and White Gold and Diamond Ring, the ring composed of five bezel-set round brilliant-cut diamonds with an approximate total weight of 1.50 carats, size 7‑3/4. [3000/5000] Illustrated 854 Lady’s Eighteen-Karat Yellow and White Gold and Diamond Wedding Band, the ring composed of four round brilliant-cut diamonds and three baguette-cut diamonds with a total approximate weight of 0.63 carats, size 7‑1/4. [700/1000]

847

849 Lady’s Eighteen-Karat White and Yellow Gold and Diamond Ring, the ring composed of four central princess-cut yellow diamonds with an approximate weight of 0.36 carats, surrounded by fifty round brilliant-cut diamonds with an approximate total weight of 0.48 carats, size 7. [1400/1800]

855 Lady’s Platinum and Diamond Ring, the ring composed of a round bezel-set brilliant-cut diamond with an approximate total weight of 0.25 carats, size 7‑3/4. [900/1200]

850 Lady’s Eighteen-Karat White Gold and Diamond Star of David Pendant with Chain, the pendant composed of eighteen round brilliant-cut and six baguette-cut diamond with an approximate total weight of 0.25 carats, chain l. 18”. [600/900]

853

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856 Lady’s Twenty-Two-Karat Yellow Gold Enamel Pendant with Chain, the flower-shaped pendant in multi-colored enamel hanging from an enamel-adorned section centered on the foxtail chain, finished with enamel accents at the clasp, l. 15”. [1400/1800] 857 Lady’s Eighteen-Karat Rose Gold and Diamond Heart Pendant with Chain, the pendant composed of ninety-eight round brilliant-cut diamonds with an approximate total weight of 1.26 carats, chain l. 16”. [1400/1800] 858 Eighteen-Karat Yellow Gold, Citrine and Diamond Cross with Chain, the cross pendant composed of five citrines with an approximate weight of 4.45 carats and nine round brilliant-cut diamonds with an approximate weight of 0.07 carats, chain l. 18”. [800/1200] 860

859 Lady’s Fourteen-Karat Yellow Gold Necklace, the interwoven necklace with a round clasp, l. 17”. [400/700] 860 Lady’s Eighteen-Karat Yellow Gold, Sapphire and Diamond Ring, the ring composed of a central oval-shaped sapphire with an approximate weight of 3.04 carats, surrounded by sixteen round brilliant-cut diamonds and twelve baguette-cut diamonds, total approximate diamond weight is 1.45 carats, size 7. [5000/8000] Illustrated

862 Lady’s Fourteen-Karat Yellow Gold and Diamond Wedding Set, the set composed of a central round brilliant-cut diamond with an approximate total weight of 0.46 carats, surrounded by six marquise-cut and two round brilliant-cut diamonds with an approximate total weight of 0.56 carats, the bands fused together at the back, size 6‑3/4. [900/1200]

861 Lady’s Eighteen-Karat Yellow Gold, Ruby and Diamond Ring, the ring composed of an oval-cut enhanced ruby with an approximate total weight of 2.30 carats, surrounded by twenty baguette-cut diamonds and six round brilliant-cut diamonds, total approximate diamond weight is 1.46 carats, size 7. [6000/9000] Illustrated

863 Custom-Made Eighteen-Karat Yellow Gold, Diamond, Ruby and Sapphire Guitar Pin, the body of the guitar with seventy-eight round brilliantcut diamonds with an approximate total weight of 0.80 carats, the bridge of the guitar with nine square-cut sapphires and two square-cut rubies, l. 2”. [1200/1800] 864 Lady’s Eighteen-Karat Yellow and White and Gold and Diamond Horse Pin, the pin composed of eighteen round brilliant-cut diamonds with an approximate total weight of 0.10 carats and with a round-cut ruby set in the eye of the horse, l. 1”. [500/800] 865 Lady’s Eighteen-Karat Yellow Gold Double Twin Poodle Pin, the pin with two round-cut rubies in each eye, l. 1‑1/4”. [400/700] 866 Eighteen-Karat Yellow and White Gold, Onyx Horse and Jockey Pin, the pin composed of sixty-six round pave-set brilliant-cut diamonds with an approximate total weight of 0.70 carats, and with a single ruby cabochon in the eye of the horse, l. 2”. [1000/1500] 861

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872 Lustrous Chocolate Brown Mink Coat, size 4‑6, vertical pelts, with a convertible shawl collar, slightly fitted at the waist with one front hook closure, inset tapering sleeves and two on-seam side pockets, lined in black silk, bearing a cloth label: “Rubenstein’s / Shreveport Bossier”, retains the Koslow’s tag stating that the coat has been cleaned and glazed, accompanied by a self mink tie and a dark brown kidskin tie, length from the shoulder: 45‑1/2”, sleeve length: 23” [600/900] Illustrated 873 Deep Chestnut Mink and Rainwear Fabric Reversible Coat, size 4‑6, with a notched spread collar and front hook closure, the set-in sleeves slightly gathered at the shoulder, with two on-seam side pockets, the reverse side of rain-resistant pale khaki fabric with two on-seam side pockets, one pocket bearing the label: “Gus Goodman / New York”, accompanied by a self mink tie and a chocolate brown kidskin tie, length from the rear neck: 44”, sleeve length: 22”. [500/800]

867

867 Lady’s Four-Piece Fourteen-Karat White Gold and Green Sapphire Jewelry Set, the set composed of a necklace, bracelet, earrings and ring, all set with oval- and pear-shaped green sapphires, with a total approximate weight of 68.32 carats, necklace l. 15”, bracelet l. 6”, ring size 8‑1/2. [8000/12000] Illustrated 868 Eighteen-Karat Yellow Gold Plique-a-Jour Enamel Butterfly Pin, the pin with multi-colored Plique-a-Jour enamel and with two round brilliant-cut diamonds in the body of the pin, l. 1‑1/2”. [900/1200] 869 Pair of Lady’s Fourteen-Karat Yellow Gold, Turquoise and Diamond Earrings, the earrings composed of turquoise in a drop shape, hanging from two white diamonds and one hundred and two black diamonds with an approximate total diamond weight of 1.11 carats. [1200/1800] 870 Pair of Lady’s Fourteen-Karat Rose Gold, Coral and Diamond Earrings, the earrings composed of reddish/orange coral in a drop design, hanging from one hundred and four round brilliant-cut diamonds with an approximate total weight of 1.10 carats. [1400/1800] 871 Lady’s Fourteen-Karat Yellow Gold, Coral, Black Onyx and Diamond Necklace, the necklace composed of twenty-seven round 14.00mm enhanced coral beads and twenty-two 10.00mm black onyx rondel beads, interspersed with six diamond rondels with an approximate total weight of 2.75 carats, l. 22”. [2500/4000]

872

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875 874

874 Alina Caribbean-Green Ostrich Skin “Tremezzo” Handbag, with two logo-stamped-buckle handles attached to silver rings, the body with a front slip pocket with magnetized closure, with two deep open bone nappa leather-lined pockets, one containing a slip pocket, the other containing a zippered pocket below the silver metal label stamped: “the logo / ALINA / MADE IN ITALY”, with a large zippered, bone nappa leather-lined central pocket, the body resting on four circular silver logo-stamped feet, a red dust bag included, h. 9‑1/2”, w. 15‑1/2”, d. 5”, handle drop: 9”. [2500/4000] Illustrated 875 Alina Orange Ostrich Skin Shoulder Bag, with two rolled and stitched straps attached to hammered gold rings, the rings secured with gold-studded tabs, the front and back body gathered at the shaped opening, the open pouch with a fold over strap ending in a shaped, studded and ringed hammered gold magnetized closure, the tan nappa leather-lined interior with a slip pocket on each side, one of these below a zippered pocket with the hammered gold label stamped: “logo / ALINA / MADE IN ITALY” above it, a red dust bag included, h. 14”, w. 13”, d. 5‑1/2”, strap drop: 8‑1/4”. [2500/4000] Illustrated 876 Chanel, Paris, Quilted Black Lambskin “2.55” Handbag, opening to a burgundy lambskin-lined flap-covered interior having a snap closure, the burgundy interior with interlocking trapunto “Cs” and “CHANEL” stamped in gilt above three half-gusseted pockets, the opposing side stamped in gilt: “MADE IN FRANCE”, a flat pocket lies in front of and behind the central interior, the outer top flap with an interior flat zippered pocket, the gold interlocking “Cs” exterior closure fully marked, with a small slip pocket on the rear exterior, the leather-laced gold chain convertible, dust bag included, h. 5‑1/2”, w. 9”, d. 2‑3/4”, Chain drop: doubled 7‑1/2”, extended 14”. [400/700] Illustrated

126

877 Two Judith Leiber Karung Convertible Frame Clutches of Art Deco Inspiration, the black example with a shirred front below a silver pierced bar inset with faux marcasites, rose quartz and onyx, two open pockets flank a center silver frame pocket with an onyxinset push closure, the textured side frame stamped: “Judith Leiber” in script, with a silver metal snake-link drop-in shoulder strap, the black satin-lined interior with a zippered pocket and a scalloped slip pocket below the silver label stamped: “Judith Leiber” in script, a tasseled silver comb included, h. 5‑1/4”, w. 9”, d. 2‑1/4”, strap drop: 19‑1/2”, the white example with a shirred front panel, the karung-covered frame with a faux-marcasite, rose quartz, chrysoprase and karung flip-over closure, the underside stamped: “Judith Leiber” in script, with a silver metal snake-link drop-in shoulder strap, the white satin-lined interior with a zippered pocket and a scalloped slip pocket below the silver metal label stamped: “Judith Leiber” in script, a tasseled silver comb, silver swing mirror and dust bag included, h. 5‑1/2”, w. 8‑1/4”, d. 2”, strap drop: 19‑1/4”. See Enid Nemy & John Bigelow Taylor, Judith Leiber: The Artful Handbag (New York: Harry N. Abrams, 1995), p. 103, top, for an identical example in black. [500/800]

876

881

879

883

878

882 880

878 Chanel, Paris, Quilted Red Satin and Lambskin Camera Bag, the front with trapunto interlocking “Cs”, the satin body piped in lambskin, the top inset with lambskin having a rhinestone and lambskin-tasseled zipper closure, the interior lined with matching lambskin having a zippered pocket stamped in gilt: “CHANEL”, the pocket interior bearing the authenticity number, stamped: “MADE IN ITALY” on the opposite side, with a leather-laced gold chain shoulder strap, dust bag included, h. 5”, w. 7‑1/2”, d. 3”, strap drop: 18”. [400/700] Illustrated 879 Judith Leiber Black Karung and Calfskin Convertible Frame Clutch, the front and back with alternating “pleated” karung and calf panels, the gold metal frame inset with matching karung, carnelian and onyx, topped with an onyx push down closure, with a removable stitched calf strap having toggle ends, the interior lined with black faille, one side with a scalloped slip pocket bearing the gilt-brass label stamped: “Judith Leiber” in script, the opposite side with a long flat zippered pocket, a faille coin purse and gold swing mirror included, h. 8”, w. 13”, d. 1”, strap drop: 18‑3/4. [400/700] Illustrated 880 Judith Leiber Ivory Karung and Lucite Convertible Frame Clutch, with two open pockets on either side of the rhinestone-inset lucite-topped frame center compartment, the cream satin-lined interior with one scalloped slip pocket below the silver label stamped: “Judith Leiber” in script, having a removable stitched karung shoulder strap, a matching coin purse, oval two-sided mirror and dust bag included, h. “, w. 8”, d. 1‑3/4”, strap drop: 23‑1/2”. [300/500] Illustrated

881 Judith Leiber Black Alligator Handbag, with gusseted sides and having two rolled and stitched handles ending in gold slanted rectangles, the expandable zippered closure extending down both sides, both ends secured with a gold metal flip down tab, the black calfskin-lined interior with three deep compartments, both sides with a scalloped slip pocket, one bearing a brass metal label stamped: “Judith Leiber” in script, includes a matching black kidskin coin purse and two-sided oval mirror, the bag resting on four small conical feet, dust bag included, h. 7‑3/4”, w. 14”, d. 2‑12/4”, handle drop: 6‑1/4”. [800/1200] Illustrated 882 Judith Leiber Gold Silk Brocade and Rhinestone Convertible Frame Clutch, the oriental brocade body with bamboo leaves and flowers accented with topaz rhinestones, piped in gold kidskin, the arched gold metal frame set with matching topaz rhinestones, the candlelight satin-lined interior with two scalloped slip pockets, one below the gilt-brass label stamped: “Judith Leiber” in script, with a textured gold metal removable shoulder strap, a gold kidskin coin purse, reversible oval mirror and dust bag included, h. 6”, w. 9‑1/2”, d. 1‑1/2”, strap drop: 12‑1/4”. [400/700] Illustrated 883 Two Judith Leiber Black Karung Snake Convertible Frame Clutches, the larger example with a gusseted shirred body and tubular reeded gunmetal and gold frame, the fold over closure ended with an inset basalt cameo of a classical head, with a stitched karung fold down shoulder strap, the black faille-lined interior with a scalloped slip pocket on one side below the gilt-brass label stamped: “Judith Leiber” in script and a zippered pocket on the opposite side, includes a matching coin purse and gold tasseled comb, h. 7”, w. 10‑3/4”, d. 2‑1/2”, strap drop: 19‑1/2”, the smaller example with a gusseted shirred body resting on four small ball feet, both sides of the frame with applied fluted arrows and a triangle all inset with semi-precious cabochons, a side pull spring closure and fold down stitched karung shoulder strap, the black faillelined interior with two scalloped slip pockets, one bearing the gilt-brass label stamped: “Judith Leiber” in script, h. 5‑1/2”, w. 8”, d. 2‑1/2”, strap drop: 19”. [400/700] Illustrated

127

887 Judith Leiber Black Satin and Needlework Convertible Frame Clutch, the body with alternating floral needlework panels and satin strips, the frame inset with needlework, with a drop-in gold metal shoulder strap, the black satin-lined interior with two scalloped slip pockets, one below the gilt-brass label stamped: “Judith Leiber” in script, the other with an applied leather label stamped in gilt: “Neiman-Marcus / by / Judith Leiber”, an oval two-sided mirror included, h. 6‑1/4”, w. 7‑1/2”, d. 1‑1/4”, strap drop: 19”. [200/400]

884 Two Judith Leiber Black Snakeskin Convertible Frame Clutches, the smaller example with a pleated body, the shaped frame with inset black snake and a flip over closure inset with tiny semi-precious cabochons, the black faille-lined interior with one zippered pocket below the gilt-brass label stamped: “Judith Leiber” in script, with a gold metal snake-link drop-in shoulder strap, h. 4‑1/4”, w. 9‑1/4”, d. 1‑3/4”, strap drop: 19‑3/4”, the larger example with a gusseted shirred body and two open pockets on either side of the center frame pocket, the frame with a snake-inset spiral around a grooved gold bar with a side-pull spring closure, two drop-in gold metal straps within the open side pockets, the black satin-lined interior with two scalloped slip pockets, one below the giltbrass label stamped: “Judtih Leiber” in script, one dust bag included, h. 5‑1/2”, w. 9”, d. 1‑3/4”, strap drop: 14‑1/2”. [400/700]

888 Two Vintage French Caviar-Beaded Evening Bags, mid-20th century, the red example with a beaded handle and “pearl and jewel”-set gilt-brass flip up spring closure, the candlelight satin-lined interior with a small mirror and three metallic thread-trimmed slip pockets, one labeled: “Made in France”, h. 5‑1/2”, w. 10‑1/4”, handle drop: 6”, the midnight blue example with a gilt-brass snake link handle and beaded floral-enameled rope-trimmed flip up spring closure, the midnight blue satin-lined interior with one slip pocket, h. 5‑3/4”, w. 9”, strap drop: 4‑1/2”. [100/200]

885

885 Judith Leiber Red Snakeskin “Cobweb” Convertible Frame Clutch, the top-stitched design covering the body on both sides, with an open compartment on either side of the center compartment each having a drop in gold metal segmented shoulder strap, the center compartment with a snap closure frame, the red faille-lined interior with a scalloped slip pocket bearing the gilt-brass label stamped: “Judith Leiber” in script on one side and a zippered pocket on the opposite side, includes a matching coin purse and two-sided oval mirror, h. 7”, w. 11‑3/4”, d. 3”, handle drop: 13‑3/4”. [400/700] Illustrated

889 Vintage Tapestry, Gilt-Brass and Enamel Evening Bag, mid-20th century, the front tapestry panel depicts three musical maidens, the reverse panel an elaborate classical garden, the finely detailed “jewel”-set gilt-brass frame enameled in cobalt and white, centered with a tiny cameo, the closure pierced, enameled and inset with a pearl, the bag perimeter trimmed in taupe grosgrain, the peach satin-lined interior with a matching coin purse and two slip pockets, one bearing the label: “Lester Bags / 669 Madison Avenue / New York”, h. 8”, w. 6‑1/2”, strap drop: 8‑1/2”. [100/200]

886 Alina Multi-Colored Patchwork Alligator “Vicenza” Handbag, with two rolled and stitched handles along with a detachable red alligator shoulder strap, the fold over top flap secured with a silver metal closure bearing the logo, the gusseted body with two front fold over flap gusseted pouches each secured with a tab inserted into a silver bar stamped: “ALINA”, the interior with two nappa leather pockets, one a slip pocket, the other gusseted and zippered below the silver label stamped: “the logo / ALINA / MADE IN ITALY”, a red dust bag included, h. 10‑1/2”, w. 14‑1/4”, d. 6”, handle drop: 3”, strap drop: 17‑3/4”. [2500/4000] Illustrated 886

128

890 Peshawar Mahal Runner, 2’10” x 10’3”. [400/700]

891 Agra Bakshaish Carpet, 8’2” x 10’7”. [1200/1800] Illustrated 892 Angora Oushack Carpet, 6’1” x 9’9”. [3000/5000] Illustrated

891

893 893 Agra Serapi Carpet, 8’1” x 10’. [1000/1500] Illustrated

894 Oushack Donegal Design Carpet, 9’ x 12’. [3000/5000]

892

129

899 Persian Hamadan Runner, 3’8” x 15’1”. [400/700]

895

902

895 Semi-Antique Persian Mashad Sheik Safi Carpet, 10’ x 13’10”. [2000/4000] Illustrated

900 Esfahan Carpet, 10’ x 16’2”. [4000/7000]

896 Donegal Carpet, 4’3” x 4’10”. [600/900]

901 Tirkaman Carpet, 6’9” x 10’3”. [1500/2500]

897 Oushak Carpet, 8’7” x 13’. [3000/5000] Illustrated

902 Oushak Carpet, 9’7" x 14’5". [2000/4000] Illustrated

898 Turkish Angora Oushak Carpet, 7’10” x 10’3”. [1200/1800]

903 Angora Oushack Carpet, 9’ x 12’1”. [6000/9000] Illustrated

897

130

903

904 Antique Persian Kirman Carpet, 10’ x 14’. [800/1200] Illustrated

907 Turkish Angora Oushak Carpet, 5’2” x 7’1”. [600/900] 908 Antique Oushak Carpet, 12’ x 13’6”. [12000/18000] Illustrated

904 905 Persian Hamadan Runner, 3’8” x 14’. [400/700]

908 909 Semi-Antique Persian Kirman Carpet, 10’8” x 15’. [1200/1800] Illustrated

906 906 Angora Oushack Carpet, 10’ x 14’9”. [8000/12000] Illustrated

909

131

910 Semi-Antique Caucasian Shirvan Carpet, 4’9” x 6’6”. [900/1200] 911 Antique Sarouk Carpet, 12’ x 18’. [1500/2500] Illustrated

912

911

912 American Provincial Painted Pine Chest, in the French Louis XV Taste, ca. 1750‑1800, the serpentine single-board top over a bank of three graduated drawers, each drawer face exhibiting losses at the perimeter ends exposing the dovetails, with a shell-carved apron and raised on stout cabriole legs, h. 36‑3/4”, w. 38‑1/2”, d. 21‑1/2”. [6000/9000] Illustrated Rarely found in North America, French-Canadian influenced commodes reflect eighteenth-century exploration, settlement and craftsmanship in Louisiana’s Upper Mississippi River Valley. A mid to late eighteenthcentury three-drawer white pine commode discovered in New York relates to two cedar and cherry examples of Louisiana’s Upper River Valley and now in the Missouri History Museum and the Holden Collection of Point Coupee, Louisiana. (See Francis J. Puig’s “Creole Furniture from the Upper Valley of Louisiana” in Jack D. Holden, H. Parrott Bacot and Cybele T. Gontar, Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835 (New Orleans: Historic New Orleans Collection, 2010), p. 438‑439. A third example, of butternut and white pine, is in the Museum of Fine Arts, Boston and was made in Montreal, Quebec, Canada (acc. no. 1994.83). Similar features include and arbalete, or crossbow facade, stylized acanthus or shell carving in the apron, raised side panels, a conforming to with molded edges, and rounded front stiles. These aspects are plentifully represented in pieces documented by Jean Palardy in Les Meubles Anciens du Canada Francais (Paris: Arts et Metiers Graphiques, 1963). Yet the present piece’s heavy cabriole-inspired feet, rather than claw-and-ball, terminate the front legs and the back feet are round. Original pegged, scrub plane, hand-wrought nails and adz marks are visible throughout. New Orleans Auction Galleries would like to thank Cybele T. Gontar for graciously providing the description of this lot. Mrs. Gontar is one of the authors of Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835.

132

913 North Carolina Walnut Stepback Cupboard/China Press, early 19th century, in two parts, the projecting molded cornice over a pair of six-light mullioned glazed doors, the base with a pair of drawers over a pair of paneled doors, raised on turned legs, in un-touched original condition, primarily yellow pine secondary woods with poplar drawer sides, h. 82”, w. 41‑1/2", d. 19”. [5000/8000] Illustrated

913

914 Large American Cast-Iron “Plantation” Bell, second half 19th century, the yoke stamped “32 Yoke”, together with a cast-iron stand secured to a wooden base, h. 43”, w. 38”, d. 28”, dia. 32”. [2000/4000] Illustrated 915 American Cast-Iron “Plantation Kettle” 19th century, with flared rim and mounted with a pair of integral “handles”, h. 19”, w. 32”, d. 28‑1/2”. [800/1200] 916 Vernacular Southern Cypress Farmhouse Table, 19th century, with a pegged top, the deep apron fitted with a single wide drawer, raised on tapering square legs, h. 30‑1/8”, w. 40‑1/2”, d. 23‑1/2”. [500/800]

914

919 American Federal Mahogany Butler’s Desk, circa 1800, the rectangular top above a case fitted with an oval-paneled drop-front secretary drawer opening to a leather inset writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, raised on shaped bracket feet, h. 43”, w. 45‑1/2”, d. 21”. [700/1000]

918

920 American Federal Banded Mahogany Chest in the Hepplewhite Taste, Southern, probably Virginia, the top and drawer edged with cross-beaded drawers, with scalloped apron and flare feet, h. 38‑1/4”, w. 38‑3/4”, d. 21‑3/4”. [1200/1800] Illustrated

917 Pair of American Painted Gourds, including “Early Autumn” and “Land, Sky, and Water”, each titled and signed “Andrea” at bottom, tallest h. 14”. [100/200]

918 American Federal Walnut Side Table, in the Hepplewhite taste, ca. 1800, Shenandoah Valley, VA, with a projecting top, one end fitted with a drawer with beaded perimeter and raised on tapering legs, h. 30”, w. 20‑1/4”, d. 33‑1/4”. [1800/2500] Illustrated

920

133

923 Edith Fairfax Davenport (American/Florida, 1880‑1957), “New Orleans Staircase”, 1923, oil on canvas, signed, inscribed, and dated lower left, 21-1/4” x 14”. Framed. Provenance: Private Collection, New Orleans. [3500/5000] Illustrated next page

921 921 New England Inlaid Cherry and Maple Letterbox, first quarter 19th century, probably Connecticut River Valley, the facade with a heart-shaped maple inlaid escutcheon, flanked by the initials A.B., the top with a cherry lozenge set with a period lion’s head ring pull, the interior divided to hold ink pots and other items, h. 4‑3/4”, w. 11”, d. 8”. [600/900] Illustrated

Edith Fairfax Davenoprt was born in Kansas City, but spent most of her career in Florida where she actively exhibited and was a member of various art organizations. She studied at the Academie Julian in Paris and is said to have been the first American woman officially admitted to the Ecole des Beaux Arts.

922 Marie Madeleine Seebold Molinary (American/Louisiana, 1866‑1948), “Chrysanthemums”, oil on canvas, signed upper right, 31-1/4” x 21”. Attractively framed. Provenance: Private Collection, New Orleans, Louisiana. Literature: Painting The Town: The Woodward Brothers Come to New Orleans, Jean Bragg Gallery, illustrated page 32. [50000/80000] Illustrated Although she painted portraits, genre scenes and landscapes, Marie Madeleine Seebold Molinary was known as “The Flower Painter of New Orleans”. The artist once stated: “Violets are my favorites, and next to them chrysanthemums.” Molinary grew up in a household whose patriarch, William Seebold was not only an eminent art connoisseur, promoter, and a gallery owner, but also someone who encouraged his daughter to begin formal art education at an early age. She studied at the Art Union, the Artists’s Association of New Orleans with Bror Andres Wikstrom and Andres Molinary (whom she married at his deathbed in 1915), later in New York with William Merritt Chase, and at the Art Institute of Chicago. She was the second woman member of the Artists’s Association of New Orleans and was involved with the Southern States Art League. An accomplished painter who exhibited regularly, Molinary also worked as a graphic designer, producing a number of invitations, programs, and backdrops for some of the Carnival organizations in New Orleans. She also taught art classes at the Delgado Museum of Art (now the New Orleans Museum of Art) as well as giving private lessons in her home. 922

134

925

923 924 Alberta Kinsey (American/Louisiana, 1875‑1952), “Brulatour Courtyard”, oil on canvas, signed lower right, 20” x 16”. Framed. Provenance: Private Collection, New Orleans. [3500/5000] Illustrated

925 Knute Heldner (American/Louisiana, 1875/77‑1952), “Birch Trees in Autumn”, oil on board, signed lower left “Knute Heldner”, 16” x 20”. Framed. [2000/4000] Illustrated

926 Knute Heldner (American/Louisiana, 1875/77‑1952), “Minnesota Moonlit Winter Landscape With a Cabin” and “Autumnal Wooded Landscape”, double-sided oil on board, one side signed lower right “Knute Heldner”, 11‑1/2” x 13‑1/2”. Framed. [1500/2500] Illustrated

926

924

135

927 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou Landscape”, oil wash on board, signed lower right “A. J. Drysdale”, sight 9‑1/2” x 29‑1/2”. Glazed and framed. [1500/2500] Illustrated 928 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Louisiana Bayou Landscape at Dusk”, oil wash on board, signed and dated lower right “A. J. Drysdale 1916”, sight 18‑1/2” x 28‑1/2”. Glazed and framed. [3000/5000] Illustrated

927

930 Carole Hardy Pigott (American/ Louisiana, Contemporary), “Winter Landscape With a Cabin”, watercolor on paper, 1978, signed and dated lower right, sight 15” x 28‑1/2”. Glazed, matted and framed. [450/700]

928

929 Alexander John Drysdale (American/ Louisiana, 1870‑1934), “Louisiana Bayou With a Cypress Tree”, oil wash on board, signed lower right “A. J. Drysdale”, sight 19‑1/4” x 5‑1/2”. Glazed and presented in a contemporary ebonized and parcel-gilt frame. [2000/4000] Illustrated

931 Wiley Churchill (American/ Louisiana, 1900‑1987), “Lazy Fishin’, Bayou Bienvenue, LA”, watercolor on paper, signed lower right “Wiley Churchill”, titled in pencil on mat lower right, sight 17‑3/4” x 26‑3/4”. Glazed, matted and presented in a silvered frame. [1500/2500] Illustrated

931 932 Judi Betts (American/Louisiana, b. 936), “The Porch", watercolor on paper, signed lower right “J. Betts”, sight 28” x 20‑3/4”. Glazed, attractively matted and framed. [500/800]

929

136

933 Southern School (Second Quarter 20th Century),”Bayou Scene”, oil on board, unsigned, 18” x 24”. In an attractive period carved wood frame. [200/400] 934 Colette Pope Heldner (American/Louisiana, 1902‑1990), “Swamp Idyl”, oil on canvas, signed lower left, 16” x 20”. Framed. [800/1200] Illustrated

936 936 Robert Rucker,(American/Louisiana, 1932‑2001), “Spring Garden”, 1971, oil on canvas, signed and dated lower right, 16” x 20”. Framed. [1400/1800] Illustrated

934

935 Colette Pope Heldner (American/Louisiana, 1902‑1990), “Swamp Idyl, Dusk”, oil on canvas, signed lower left, 16” x 20”. Framed. [800/1200]

937

937 Ella Miriam Wood (American/ Louisiana, 1888‑1976), “Flagship of the W.A. Bisso Towboat Line”,1917, oil on canvas, signed and dated lower right, 20” x 30”. Framed. Provenance: Private Collection, New Orleans. [8000/12000] Illustrated A native of Birmingham, Wood studied at the Newcomb Art School under Ellsworth and William Woodward where she was awarded the Fannie Estelle Holley Memorial Medal for proficiency in water-color painting. She later attended the Pennsylvania Academy of the Fine Arts and studied with William Merrit Chase in New York City. She is listed as one of the participants of the 1922 Exhibition of the Pennsylvania Academy of the Fine Arts. Upon returning to New Orleans, Wood received numerous commissions for portraits and scenes of local life; the present painting was likely one such commission. The Bisso Towboat Co., still in existence today, was founded by Joseph Bisso. A native of Grenoble France, Bisso moved to New Orleans as a young man, eventually joining the Confederate Navy. References: Ormond and Irvine, Louisiana's Art Nouveau: The Crafts of the Newcomb Style. 1976: Gretna, LA., Pelican Publishing; Catalog of the Sixth Exhibition of the Pennsylvania Academy of the Fine Arts. 1922: Chester Springs, PA; LIFE Magazine, August 13, 1956.

137

938

938 James Hardy III (British, 20th Century), “The Battle of Memphis”, oil on board, 24” x 36”, signed lower right. Framed. [700/1000] Illustrated The First Battle of Memphis, on June 6, 1862, was a strategically significant naval engagement which took place on the Mississippi River, well in view of the citizenry of the city. It resulted in a defeat of the Confederate Naval forces, the official surrender of the city, and presented the Union Navy with almost unrestricted shipping access of the River.

940 Russell Whiting (American/ Louisiana, b. 1955), “Female Figure With Oustretched Arms”, iron, steel and copper sculpture, h. 72”. [3000/5000] Illustrated

941 Charles Whitfield Richards (American/ Louisiana, 1906‑1992), “French Quarter Street Scene”, oil on canvas, signed lower left “CRichards”, 16” x 20”. Presented in a molded giltwood frame. Provenance: Private Collection, New Orleans, Louisiana. [5000/8000] Illustrated

940

939

939 James Hardy III (English, 20th Century), “Monitor Versus Merrimac”, oil on board, signed lower right “James Hardy”, 24” x 36”. Framed. [700/1000] Illustrated The Battle of the Monitor and the Merrimack, March 8/9, 1862, was one of the most significant naval confrontations of the Civil War and took place on the James River at the edge of the Chesapeake Bay. An attempt on the part of the Confederacy to break the Union blockade, it was the first time two ironclad warships met in the heat of combat. After two intense days of fighting, the battle ended in a stalemate; within the year, both ships had been destroyed.

941

138

942 Carel Lodewiijk Dake, the Younger (Dutch, 1886‑1946),”French Market, New Orleans”, oil on board, signed lower left, 17” x 21”. Framed. Provenance: Private Collection, New Orleans. [3000/5000] Illustrated

943 William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Woman in a Field”, oil on canvas, signed lower left “W. Tolliver”, 16” x 12”. Framed. [1500/2500] Illustrated

942

944

943

944 William Tolliver (American/Mississippi/Louisiana, 1951‑2000), “Spring Landscape”, oil on board, signed lower right “W. Tolliver”, sight 9” x 12‑3/4”. Glazed, attractively matted and framed. [1800/2500] Illustrated

139

947 Clarence John Laughlin (American/Louisiana, 1905‑1985), “A Strange Regard”, silver gelatin print, mounted on cream board, signed in ink lower right, titled and dated “1945” lower left on mount, numbered “40” and with artist’s studio stamp en verso, 9‑1/2” x 10”. Unframed. [1500/2500] Illustrated

945 945 Clarence John Laughlin (American/Louisiana, 1905‑1985), “The Enigma”, silver gelatin print, mounted on white board, signed in ink lower right, titled and dated “1941” lower left on mount, numbered “28” and with artist’s studio stamp en verso, 13‑1/2” x 10‑1/2”. Unframed. [2000/4000] Illustrated 946 Clarence John Laughlin (American/Louisiana, 1905‑1985), “Strange Dialogue”, silver gelatin print mounted on black board, signed in crayon lower right, titled and dated “1957” lower left on mount, numbered “38” and with artist’s studio stamp verso, 13‑1/2” x 11”. Unframed. [1500/2500] Illustrated

947

948 948 Clarence John Laughlin (American/Louisiana, 1905‑1985), “Final Paradise for Dead Birds”, silver gelatin print mounted on Crescent board, signed in crayon lower right, titled and dated “1951” lower left on mount, numbered “A-3” and with artist’s studio stamp verso as well as Neikrug Gallery Inc. hand stamp, 11” x 14”. Unframed. [1500/2500] Illustrated 946

140

949 George Rodrigue (American/ Louisiana, b. 1944), “House Maids”, oil on canvas, signed lower left “Rodrigue”, signed en verso canvas, titled en verso stretcher, stretcher with a “George Rodrigue Gallery” stamp, 20” x 16”. Framed. Provenance: Private Collection. [20000/40000] Illustrated

949

950 George Rodrigue (American/ Louisiana, b. 1944), “Blue Dog and Cypress”, acrylic on canvas, signed lower left, 14” x 18”. Attractively matted and framed. [8000/12000] Illustrated

950

141

951 George Rodrigue (American/Louisiana, b. 1944),”Looking for my Soulmate”, 1998, acrylic and oil on canvas, signed lower right, signed, dated and titled en verso of canvas, 11” x 14”. Attractively matted and framed. [7000/10000] Illustrated

952 George Rodrigue (American/Louisiana, b. 1944), “My Yellow Oak”, oil on canvas, 2002, signed lower left, signed, titled and dated verso canvas, 36” x 48”. Framed. [25000/40000] Illustrated

951

New Orleans Auction Galleries and The George Rodrigue Foundation of the Arts are pleased to offer this painting by George Rodrigue for the benefit of the Foundation’s ongoing mission of enriching art education in Louisiana’s schools. The purpose of the George Rodrigue Foundation of the Arts (GRFA) is the advocacy of the visual arts in the development and education of local youth. In addition to providing financial assistance in the arts and other areas, the GRFA creates, develops, and implements a series of unique educational programs such as Art Contest and George’s Art Closet. These programs are designed to enhance and expand art curriculums, even in the face of continuing state and federal cutbacks. The proceeds from the sale of “My Yellow Oak” will be used to provide art supplies for Louisiana schools.

952

142

953 Jack Wilkinson (American/Louisiana, 1913‑1974), “Nude In a Wicker Chair”, oil on canvas, 50” x 38‑1/2”. Presented in a box frame. [800/1200] Illustrated Jack Wilkinson studied at the University of Oregon and at the California School of Fine Arts where he became an assistant and apprentice to Maurice Sterne. He was awarded the J.D. Phelan Travelling Scholarship, which enabled him to travel extensively throughout Europe. He established a studio in Paris where he became influenced by Cezanne and Pissaro. Wilkinson had a long career at the art department of the University of Oregon, but after a 37‑year tenure, he moved to Louisiana State University where he was the art department head until his death in 1974.

955 955 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Dona Feisa Lirtiaga”, tempera on paper, 1977, signed and dated lower left, titled lower right, sight 15” x 11”. Glazed, matted and framed. [800/1200] Illustrated 956 Jose Maria Cundin (Spanish/New Orleans, b. 1938), “Seignor Garcia”, oil on canvas, signed and dated lower left “Jose Maria Cundin 1968”, 20” x 22”. Framed. [3000/5000] Illustrated

953 954 Rivet Hedderel (Louisiana, 1935‑1996), “Floral Still Life in a Glass Vase”, oil on canvas, signed and dated lower right “Rivet 90”, 30” x 24. Presented in a Louis XV-style polychrome frame with a linen liner. [400/700] Illustrated

956

957 Natalie Hays Hammond (American, 1904‑1985), “San Francisco Plantation, River Road”, 1950, watercolor on paper, signed lower right, titled and dated lower left, sight 6-3/4” x 5-1/4”. Matted. Provenance: Estate of Artist; Child’s Gallery, Boston, Massachusetts; Private Collector. [200/400] 954

143

958 Natalie Hays Hammond (American, 1904‑1985), “St. Michael’s Cemetery, St. John’s Parish”, 1950, watercolor on paper, signed lower right, titled and dated lower left, sight 5-1/2” x 4-3/4”. Matted. Provenance: Estate of Artist; Child’s Gallery, Boston, Massachusetts; Private Collector. [200/400]

963 Allison Stewart (Louisiana/Contemporary), “Abstract”, mixed media, unsigned, 34-1/4” x 23-1/2”. Matted and framed. [800/1200] Illustrated

959 Natalie Hays Hammond (American, 1904‑1985), “St. Louis Cemetery”, 1948, pencil and charcoal on paper, signed and dated lower right, sight 15” x 12-1/2”. Matted. Provenance: Estate of Artist; Child’s Gallery, Boston, Massachusetts; Private Collector. [200/400] 960 Morris Henry Hobbs (Louisiana, 1892‑1967), group of three etchings, including “Courtyard at St. Ann Street”, pencil signed lower right and titled lower left, “Wishing Well Patio”, pencil signed lower right and inscribed “1943‑ for Katherine Davis”, lower left, and “New Hampshire Woods”, pencil signed lower right, titled lower left, each 5” x 3-1/2”, including original shipping envelope. Two matted and framed. [600/900] 961 Margaret Wirstrom Evangeline (Louisiana, Contemporary),”Untitled Study”, 1985, pastel and pencil on paper, signed and dated lower right, sheet size 29-3/4” x 22-1/2”, Glazed, matted, and framed. [400/700]

963 964 Mitchell Long (American/Louisiana, Contemporary), “The Artist’s Kitchen”, oil on paper, 1999, signed lower right “Long”, sight 19” x 26‑3/4”. Glazed, handsomely matted and framed. [500/800]

962 Ida Kohlmeyer (Louisiana, 1912‑1997), “Abstract”, mixed media, unsigned, sight 25-3/4” x 19-3/4”. Framed. [2500/4000] Illustrated

962

144

965 Andree Ruellan (American, 1905‑2006), “Flambeau”, sanguine on paper, signed lower right, sight 20” x 13”. Matted and framed. Provenance: Artist to West School of Art Benefit; Private Collection, Connecticut. [800/1200] Illustrated

966 966 Maggie Hasbrouck (American/Georgia, Contemporary), “Summernight”, photoencaustic, 2001, signed, titled and dated verso, affixed with “The Lowe Gallery, Atlanta, GA” label, 36” x 48”. Framed. [2000/4000] Illustrated

965

Born to French-émigré parents in New York City, Ruellan was a self-trained child prodigy. At the age of nine she so impressed Robert Henri that he included her work in an exhibition he was having with George Bellows at St. Mark's Church in the East Village. At fifteen she was awarded a scholarship to The Arts Students League where she studied with Maurice Sterne, later following Sterne to Rome when he opened a drawing Academy there. In 1923 she traveled to Paris where she had her first solo exhibition; she was to remain in the city until after her marriage in 1930, when she and her husband, a fellow artist, returned to the United States. During the Depression, Ruellan traveled throughout the Southern states, spending several years in New Orleans. Enthralled by the vibrant atmosphere of the city, particularly evident during Mardi Gras, Ruellan painted numerous images of the African-American community. The present work reveals the artist's accomplished use of fluid strokes of ink to create form, an approach likely influenced by her study of the ancient Asian sumi brush technique. In her later years, Ruellan was an active member of the Woodstock Artists Association. References: New York Times Obituary, August 6, 2006; The New Georgia Encyclopedia; Andrew Landis, Andree Ruellan Ever Young.

967

967 Gustavo Duque (Colombian/New Orleans, Contemporary), “Black and White”, mixed media on canvas, signed and dated lower left G. Duque " 08”, signed and titled on the reverse stretcher, 48” x 60”. Unframed. [1400/1800] Illustrated 968 Carl Rice Embrey (American/Texas, b. 1938), “Small Room”, acrylic polymer emulsion, watercolor, and tempera emulsion on panel, October 1966‑January 1967, signed lower left “C.R. Embrey”, titled, signed and dated on the reverse label, 13‑3/4” x 10‑1/2”. Presented in a custom shadowbox-style frame. [900/1200]

145

972 Jean Seidenberg (American/Louisiana, b. 1930), “In the Studio”, acrylic on canvas, 73” x 73”, accompanied by signed copy of artist’s monograph. Box frame. Provenance: Private Collection, New Orleans, Louisiana; purchased from artist. Literature: Jean Seidenberg, 2009: Louisiana Endowment for the Humanities, illustrated page 120. [25000/40000] Illustrated

969

969 George Bauer Dunbar (American/Louisiana, b. 1927), “Torso Fragments”, 24K gold leaf on red clay, 1992, verso with a Galerie Simonne Stern label, 17‑1/2” x 19”. Framed [3000/5000] Illustrated

972

970 970 George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled”, oil and mixed media on canvas, signed and dated lower right “Dunbar 84”, 46” x 56”. Framed. [8000/12000] Illustrated

971 George Bauer Dunbar (American/Louisiana, b. 1927), “Torso”, clay relief, 1990, signed and dated verso, 23” x 25‑3/4”. Framed. [8000/12000] Illustrated

971

146

973 Anglo-American Blown Glass Hurricane Shade, first quarter 19th century, a folded foot rim supports the vase-shaped shade, h. 20‑1/2”, dia. 7‑3/4”. [400/700] 974 Good Blown Leech or Fish Bowl, second quarter 19th century, the conical foot resting on a folded rim, the bowl with a flaring lip with a folded rim, h. 12‑1/2”, dia. 9”. [200/400] 975 Pair of Blown and Etched Hurricane Lamps, the blown mercury glass bases support the lamps, which have frosted sides decorated with etched urns of flowers in oval panels, glass candle sockets set in the interior, h. 18‑1/4”, dia. 7‑1/2”. [500/800] 976 American Sheraton Mahogany Library Table, first quarter 19th century, Mid-Atlantic, of octagonal form, with inset tooled leather work surface, the conforming apron with inset figured panels and a pair of drawers, raised on reeded tapering legs ending with cup casters, h. 30‑1/2”, w. 61‑1/2”, d. 47‑1/2”. [5000/8000] Illustrated

978 978 American Sheraton Mahogany Drop-Leaf Breakfast/Dining Table, first quarter 19th century, probably South Carolina, the single board top flanked by a pair of deep single-board drop leaves, each supported by a swing leg, the legs ring-turned and reeded, by tradition reportedly found on Wadmalan Island, South Carolina, h. 29”, w. 20‑1/4”, d. 45”, ext. l. 60”. [2500/4000] Illustrated

976

977 American Sheraton Reeded Mahogany Sofa, ca. 1815. Baltimore, the back with a reeded and rolled crest rail, joined to reeded closed arms on reeded baluster-form supports over inset panels with gothic arches and reeded legs ending with cap casters and bowed seat rail, h. 35‑35/8”, w. 80”, d. 30”. [3000/5000] Illustrated A nearly identical sofa in the collection of the Maryland Historical Society, was made in 1817 for Dr. William Hillery.

979

977

979 Fine American Sheraton Mahogany Stand, first quarter 19th century, Eastern Virginia, the projecting top over a pair of cock-beaded drawers, each with ebony diamond-form escutcheons and period embossed brass pulls, the drawers flanked by reeded panels, raised on reeded legs, yellow pine secondary woods throughout the case, the drawers with yellow pine, poplar and cherry secondary woods, a stand with similar legs has been used as a companion to Jefferson’s bed at Monticello, h. 28‑1/8”, w. 18‑1/8”, d. 13‑3/8”. [1800/2500] Illustrated

147

980 Exceptional Cornflower Pattern Paris Porcelain Platter, 1775‑1791, of serpentine form with dents de loup border , unusual both for its large scale and the exceptional quality of its decoration, h. 3”, l. 22”, w. 14‑3/4”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 340, no. 162. [800/1200] Illustrated

984 Collection of Four Signed Paris Porcelain Tasse Citron and Soup Coupes, fourth quarter 18th century, including a signed Queen’s Factory example, another rare Monsieur factory example, 1775‑1791, with bands of cornflowers, and a pair by Locres, 1773‑1844, h. 3”, dia, 5”. For the marks, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 344, no. 209 (Queen’s), p. 340, no. 165 (Monsieur), and p. 338, no. 143 (Locre). [300/500] 985 American Sheraton Mahogany Game Table, ca. 1820, Massachusetts, in the manner of Samuel McIntyre of Salem, the reeded fold-over top with ovolu corners and supported by a fly leg, the serpentine apron joined to legs with foliate-carved capitals over reeded legs, h. 30”, w. 37”, d. 18‑1/2”, ext. l. 37”. [900/1200] Illustrated

980

981 Two Pieces of Louis XV Cornflower-Decorated Paris Porcelain, fourth quarter 18th century, including a sauce tureen on stand, by the Duc d’Angouleme factory, of oval form, with integral stand attached by a brass screw and nut, overall h. 6”, l. 10”, w. 7‑1/4”, and a mustard pot, the mark rubbed but also probably Duc d’Angouleme, of barrel form, with applied fruit and leaf top, with a dents de loup border, overall h. 4”, l. 5‑3/4”, w. 4‑1/2”. For the tureen mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 327, no. 11. [300/500] 982 Paris Porcelain Shell Dish and Coffee Pot, fourth quarter 18th century, each decorated with cornflowers, the shell dish with a handle with shell edge and leaf molding, w. 9”, d. 9‑1/4”, coffee pot appears to have a partial Locre signature, with a serpentine handle and modeled spout with pointed knop, h. 6‑1/2”, w. 7‑3/4”, d. 4‑1/4”. [300/500] 983 Four Pieces of Cornflower Decorated Paris Porcelain, fourth quarter 18th century, including an ecuelle signed by Guerhard et Dihl, 1781‑1789, with square handles and berry-form knop, h. 4‑1/4”, dia. 5‑3/4”, dia. 7‑1/4”, a mustard pot, h. 4‑1/4”, dia. 4”, w. 6” and miniature sugar basin, h. 4‑1/4”, dia. 3‑1/4”, both by the Du d’Angouleme factory (the mustard pot lid of different origin), and an unmarked early bombesided double salt, l. 5‑1/4”, w. 2‑3/4”. See Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 328, no. 15, and 327, no. 4 for the Duerhard et Dihl and Duc d’Angouleme marks, respectively. [500/800] Illustrated

148

985

986 American Classical Mahogany Tilt-Top Stand, first quarter 19th century, the shaped single-board top on a beehive-turned pedestal joined to a tripodal base, h. 28‑5/8”, w. 28”, d. 18‑1/2”. [200/400]

983

988

987 Empire-Style Gilt-Metal and Bronze Patinated Six-Light Chandelier, with a trio of beaded and lotus-modeled chains joined as a leaf and berry cast ring supporting gilt arms with foliate bobeches and hung with cut-glass spears, a foliate-modeled bowl and pineapple finial, electrified, h. 27”, dia. 28”. [400/700]

989 Paris Porcelain Neoclassical Dinner Service for Eight, ca. 1810‑1834, French, made by Deroche, the partial service decorated with gilt borders of leaves and berries and with a green chain motif, most pieces signed, stenciled Deroche a Paris in black of Baltimore interest, probably found in Northern Baltimore county, the set comprised of a soup tureen with a molded acorn knop and anthemia-molded scroll handles, h. 12”, w. 14‑1/2”, d. 8”, a nest of four oval platters, w. 12” to 17‑3/4”, a pair of oval sauce tureens with integral stands, with masque handles and shell-form knops, h. 6‑1/2”, w. 10”, d. 5”, a square notched corner salad bowl, h. 3‑3/4”, w. 9‑1/2”, d. 9‑1/2”, a pair of square dishes, w. 9”, d. 9”, twelve dinner plates, dia. 9”, nine soup plates, dia. 8‑1/2”, two soup plates, dia. 9”, eight luncheon plates, dia. 8‑1/4”, and a sauce boat on stand, molded with a swan’s head handle, h. 7”, w. 11”, d. 6”. [5000/8000] Illustrated

988 American Neoclassical Gilt-Bronze-Mounted Mahogany Pier Table, second quarter 19th century, Philadelphia, the marble top over a frieze adorned with mounts depicting musical trophies and putti, raised on columns set in a demi-lune niche, each with a gilt-metal capital and base, the bowed shelf centered by a floral wreath mount, the gilt bun feet beneath moth mounts, h. 34‑1/2”, w. 43”, d. 19”. [1500/2500] Illustrated

989

989 detail

149

990 American Classical Parcel-Gilt and Ebonized Mahogany Game Table, first quarter 19th century, New York, the fold-over top with canted corners, on a conforming frieze adorned with a die-cut brass band at the lower edge, raised on four columns joined to a concave platform raised on winged paw feet, h. 29”, w. 37”, d. 18‑3/4”, ext. l. 37‑1/2”. [900/1200] Illustrated 991 Antique Model of a Clipper Ship, probably American, named “Matilda”, fully rigged but without sails, mounted on a black velvet floored contemporary walnut base in a plexiglass cover, h. 20‑1/2”, w. 26”, d. 11”. [300/500]

990

990 open top

992 William Pierce Stubbs (American, 1842‑1909), “The Howard Williams with Three Lighthouses in the Distance”, oil on canvas, signed and dated lower left “Stubbs 1879”, 24” x 36”. Framed. Provenance: Descended through the family of the Howard Williams. [4000/7000] Illustrated The three lighthouses seen in the distance of this painting, depicting the vessel “The Howard Williams”, are likely the so called Three Sisters, built in 1837 at a particularly dangerous stretch of The Cape Cod coastline. The original towers were built of brick and painted white with black lantern decks. In 1892, the Three Sisters, victims of coastal erosion, were replaced by three movable wooden towers. Due to the further encroachment of the sea, the central tower was moved back and the other two sold. The central tower was decommissioned in 1923 and eventually all three were acquired by The National Park Service and moved near Nauset Beach, a quarter of a mile from their original location.

992

150

993 Continental School (First Quarter 19th Century), “Portrait of a Child”, oil on panel, unsigned, 14‑1/2” x 12”. Presented in a later giltwood and gesso frame. [200/400] 994 “Venus Genetrix” Signed Sevres Biscuit Sculpture by Alexandre Brachard, 1810, French, modeled after a celebrated Venus Genetrix moved to the Louvre in 1803, 994 “The Aphrodite of Frejus”, depicting the Roman goddess Venus in her aspect of mother (genetrix) as honored by the Julio-Claudian dynasty of Rome, stamped “Sevres” on the front, inscribed A.B. on the rear plinth in script, and “A.B IV 10”, indicating it was the work of Alexandre Brachard and completed in 1810, h. 14‑1/2”, w. 6”, d. 6”. [2000/4000] Illustrated Brachard executed busts of both Napoleon (presented to Ferdinando III, Grad Duke of Tuscany) and Maria Louise, now in the collection of the Pitti Palace, Florence. See Svend Eriksen and Kirsten A. Piancenti, French Porcelain in the Pallazzo Pitti (Florence: Centre di Scalam 1973) pp.100‑101 and 114.

995 995 American Classical Mahogany Center Table, ca. 1825, probably Richmond, Virginia, the period circular marble top over a conforming apron with beaded lower edge, on a columnar pedestal joined to a molded circular platform with four acanthus-carved paw feet, h. 29”, dia. 35‑3/4”. [2000/4000] Illustrated

996

997 Rare Bronze Table Thermometer, commemorating completion of the Washington Monument in Baltimore, Maryland, designed by Robert Mills, ca.1830, the square plinth holding the Tuscan column standard with centigrade scale and French notations, h. 7‑3/4”, w. 2‑1/4”, d. 2‑1/4”. The monument was built in 1815, Washington was added in 1829. Similarly, the Maryland Historical Society owns an argand lamp in the form of the Battle Monument, made to commemorate its completion. [1000/1500] Illustrated

997

998 American Classical Mahogany Sideboard, ca. 1825, Baltimore, Maryland, the top with a reeded gallery and scroll ends, the case with a wide projecting center drawer flanked by narrower drawers, over a band of paneled doors, flanked by reeded pilasters with foliate-carved capitals, the apron reeded across the front and wrapping around on the returns, raised on beehive-turned legs, h. 46‑3/4”, w. 71‑1/2”, d. 24‑1/4”. [2000/4000] Illustrated

996 American Classical Ebonized and Mahogany “Drum” or Small Center Table, ca. 1820, Baltimore, Maryland, the top with an ebonized disc centering figured crotch-cut veneer arrayed in a “pie-wedge” pattern on a tripodal base with a vasiform pedestal joined to reeded sabre legs terminating in brass paw cup casters, h. 28‑1/4”, dia. 30”. [3000/5000] Illustrated

998

151

999 American Classical Giltwood Tripartite Looking Glass, second quarter 19th century, the back panel with a Baltimore newspaper covering, the mirror plates in a molded frame with egg-and-dart and foliate decor, h. 26‑1/2”, w. 43”. [400/700] 1000 Large American Late Classical Giltwood Mantel Mirror, mid-19th century, with the stenciled label, “from Samson Cariss Fancy Hardware & Looking Glass Store No. 138 & 110 Balt. St., Baltimore”, the period mirror plate set in a molded frame, h. 60”, w. 50”. [800/1200] 1001 American Classical Revival Tripartite Argente and Giltwood Mantel Mirror, ca. 1900, the projecting cornice over foliate-adorned pilasters, the central mirror plate flanked by narrow plates and pilasters of like form, h. 28”, w. 64”, d. 5”. [400/700] 1002 American Giltwood Mirror, second quarter 19th century, Mid-Atlantic, the peaked sides mounted with bunches of acanthus leaves, set with an old mirror plate and retaining an old gold leaf surface, h. 36‑1/2”, w. 24‑1/2”. [500/800] 1003 Fine American Classical Mahogany Armoire, ca. 1820, the Grecian pediment flanked by acroter, over a pair of bisected paneled doors, opening to reveal a petitioned interior, one half with an open niche for hanging apparel, the other with a bank of linen drawers centered by a medial belt of two drawers, the doors flanked by reeded pilasters with foliate-carved capitals, raised on bun feet, h. 79‑1/8”, w. 51‑1/4”, d. 19‑1/4”. [2000/4000] Illustrated

1004 Rare Empire Paris Porcelain Topographical Spill Vase, first quarter 19th century, French, a round gilt-trimmed plinth supports winged paw feet, finished in biscuit, the cylindrical vase with a superbly detailed view of the Pantheon, which is identified in the tooled gilt border framing it, the raspberry ground decorated with medallions, anthemia and gilt grillwork, h. 5”, dia. 2‑1/2”. [600/900] Illustrated

1004

1005 Paris Porcelain Neoclassical Urn, second quarter 19th century, French, decorated in all-over gilt with the exception of the reserve panel on the obverse, the standard-shaped urn with molded swan-form handles and the polychrome panel depicting a shepherdess watering her flock at a fountain, all contained in a tooled gilt border, h. 11”, w. 6‑1/4”, d. 3‑3/4”. [300/500] 1006 Paris Porcelain Campagna-Form Urn, second quarter 19th century, French, the square base and turned stem support the green ground body decorated with a handpainted reserve panel depicting a peasant woman with a goat on the obverse and a floral panel in a raised gilt panel on the reverse, the handles terminate with classical heads finished in contrasting matte gilt, h. 9‑1/4”, dia. 6‑3/4”. [300/500] 1007 Pair of Paris-Style Mantel Urns, each with bases and necks decorated with flowers alternating with green bands, the bodies with Italian hand-painted scenes, set with handles molded with winged figures, marked with a spurious Sevres-style mark, h. 12‑1/4”, w. 6‑1/4”, d. 4”. [400/700]

1003

152

1010 American Classical Mahogany Chest, second quarter 19th century, Baltimore, Maryland, the projecting fold-out upper drawer opening to reveal a fitted interior, over a bank of three graduated beaded drawers flanked by reeded pilaster with foliate-carved capitals, on bun feet, retaining period embossed brass pulls, h. 45”, w. 44‑1/4”, d. 20‑3/4”. [800/1200]

1008

1008 American Classical Mahogany Wash Stand, second quarter 19th century, Baltimore, Maryland, the inset marble top set in a reeded gallery with scroll ends, the rear of the top with a raised platform, the frieze with a molded drawer flanked by foliate-carved panels, raised on tapering turned columns joined to a concave base on bun feet, h. 33‑1/2”, w. 25‑1/2”, d. 23”. [1800/2500] Illustrated

1011 Paris Porcelain Cachepot, 1808‑1818, by Stone, Coquerel et Legros, Paris, in two-parts, the flaring upper section with integral shaped vine handles and decorated en grisaille with a transfer print of Poseidon on one side and Apollo in his chariot on the other, the base decorated with transfer-printed garlands of polychrome fruit, overall 7”, dia. 6.25”. For the mark, see Regine de Plinval de Guillebon, Porcelain of Paris, 1770‑1850 (New York: Walker & Co., 1972), p. 338, no. 136. [400/700] Illustrated

1009 American Classical Mahogany Wash Stand, second quarter 19th century, Baltimore, Maryland, probably John Needles, the inset King of Prussia marble top in a reeded gallery, the back with a raised platform, the case with a bank of two drawers over a narrower, deeper drawer, flanked by reeded pilasters and raised on turned legs with ball feet, h. 33”, w. 26”, d. 22‑3/4”. [1500/2500] Illustrated

1011

1009

153

1012 Set of Five Rare Paris Porcelain Tasse Litrons, 1808‑1818, attributed to Stone, Coquerel et Legros, transfer printed en grisaille with pairs of classical profiles under a classical border, the saucers with single profiles, identified on the underside: La Calomnie, Amphitrite, Endimyon, l’Esperance and Acteon, overall h. 2‑1/2”, dia. 5”. [400/700] Illustrated

1012

1013 Pair of Stone, Coquerel et Legros Paris Porcelain Cabinet Plates, 1808‑1818, transfer printed en grisaille with the subjects “Sylla abdique la pictature” and “Marcellus exhorte Pompei a defendre la Republique”, scenes from Roman history, within borders of black transfer-printer garlands of flowers, unmarked, dia. 5‑3/4”. [300/500]

1016 American Classical Mahogany Work Table, ca. 1825, New York, the fold-over top supported at the back by a pivoting slide, the case with a shallow drawer over a deeper drawer, each retaining period embossed brass pulls, on ring-turned and spiral-reeded Sheraton legs, h. 28‑1/2”, w. 22”, d. 17”, ext. l. 34”. [400/700]

1014 Two Stone, Coquerel et Legros d’Anisy Cabinet Plates, ca. 1809‑1818, Paris, France, the sepia-printed example with the full transfer print signature, with a sepia fretwork border trimmed with gilt and a view of Halswell, an English country house in Goathurst, Somerset, England, and labeled on the plate “Chateau de Halswell, Conte’ d Sommerset, Angleterre”, the plate depicts the house, a plowman and a horse and the green printed example with a grape and grape vine border, and a rondel of a fisherman with a fish, "Le Pecheur et le Petit Poisson”, the plate is not signed but firmly attributed, dia. 8‑3/4” and 9‑1/8”. [250/400] 1015 Pair of American Late Classical Faux Rosewood Sidechairs, Attributed to Duncan Phyfe and Sons, New York, second quarter 19th century, each with a yoked crest rail and shaped splat, the molded seat rail with applied roundels at each end, retaining its rare original faux rosewood finish, h. 33‑1/4”. For a discussion of Phyfe chairs with a yoked back similar to the present example, see Duncan Phyfe Master Cabinetmaker in New York by Kenny, Brown, Bretter & Thurlow, plates 49 & 50. A dining suite with an apparently identical splat and scrolling support rail, and with apron and feet like that in Plate 50, sold at New Orleans Auction, St. Charles Gallery in 2003. [700/1000] Illustrated

1017 1017 Carved Marble Lamb, fourth quarter 19th century, probably American, depicted reclining on a marble plinth, with its face looking up, patinated and dappled with moss, h. 16‑1/4”, w. 22‑1/4”, d. 8‑1/2”. [1200/1800] Illustrated 1018 American Late Classical Mahogany “Voltaire” Armchair, second quarter 19th century, the shaped back with a scrolled crest rail, open arms with S-scroll supports and baluster-form turned front legs, h. 39”. [800/1200]

1015

154

1021 English Patinated-Bronze Stand Argand Lamp, second quarter 19th century, mounted with a period shade, gilded bottom feet support the square base, molded acanthus leaves trimmed in gilt, form the standard, the vase-shaped font converted to kerosene, with a reeded and fluted base and gilt trim, the period ball shade with a frosted ground cut with oak leaves and acorns, h. 18‑1/2”, dia. 5‑3/4”. [500/800] 1022 American Late Classical Mahogany Game Table, second quarter 19th century, New York, the fold-over top over a paneled frieze, supported by a tapering column with concave faces on a concave base with scroll feet, h. 29‑3/4”, w. 35‑3/4”, d. 18”, ext. l. 36”. [300/500] 1019 1019 American Classical Mahogany Game Table, ca. 1825, the fold-over top over an apron centered by a foliate-carved tablet, raised on an acanthus-carved column joined to molded sabre legs ending in carved paw feet, h. 29”, w. 35‑3/4”, d. 18”, ext. l. 36”. [600/900] Illustrated

1023 American Classical Figured Maple Wash Stand, second quarter 19th century, probably Philadelphia, the gallery with shelves at each corner, the top cut-out to accommodate a basin, the bowed apron flanked by small drawers on molded scroll columns joined to a low shelf with molded drawer, raised on turned legs, h. 36”, w. 19”, d. 17”. [800/1200] Illustrated

1020 Pair of Patinated-Bronze and Bright Gilt Stand Argand Lamps, ca. 1825, probably French, square bases support cylindrical plinths with beaded gilt trim, decorated with birds drinking from a fountain, the fluted oil tanks, hung with Georgian prisms, retain their original burners, now mounted with period tulip-shaped argand shades, cut with running flowers on a frosted ground, h. 7‑1/2”, dia. 5”. [1000/1500] Illustrated

1023

1020

155

1024 American Late Classical Revival Mahogany Library Table, first quarter 20th century, the molded apron fitted with a pair of drawers, supported by baluster-form octagonal columns on a low platform with scroll feet, h. 30‑1/2”, w. 60”, d. 34”. [600/900] 1025 American Late Classical Mahogany Game Table, second quarter 19th century, the fold-over top over a cyma-molded frieze, raised on a shaped pedestal joined to a low platform with scroll feet, h. 28‑1/2”, w. 36”, d. 17‑3/4”, ext. l. 35‑1/2”. [300/500] 1026 American Late Classical Mahogany Banquet Table, fourth quarter 19th century, the circular top over a split pedestal opening to accommodate four 23‑3/4” skirted leaves with gadrooned edge, the aprons with crotch veneers, the pedestal with foliate carving and four acanthus-carved legs ending in paw feet, h. 29”, dia. 54”, ext. l. 148”. [3000/5000] Illustrated 1027 American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, the upper case with an ogee cornice molding above a pair of glazed arched glass doors, the base with a fold-down writing desk and a pair of blind doors below, h. 89”, w. 46”, d. 21”. [800/1200] Illustrated

1026 1028 Pair of Neoclassical-Style Cast-Iron Garden Urns, each of campagna form, with egg-and-dart-molded rim and a fluted body, h. 31‑1/2”, dia. 25”. [300/500] 1029 Jimmy Lee Sudduth (American/Alabama, 1910‑2007), “Books”, mixed media on board, signed upper left, 24” x 24”. Unframed. [450/700] 1030 Jimmy Lee Sudduth (American/Alabama, 1910‑2007), “Brown Cat”, mixed media on board, signed lower left, 24” x 24”. Unframed. [450/700] Illustrated 1031 Mose Ernest Tolliver (American/Alabama, 1919‑2006), “Two Chickens”, acrylic on wood panel, signed lower left, 11 1/4” x 28 3/4”. Unframed. [700/1000] Illustrated next page

1030 1027

156

1032 William Hemmerling (American/ Louisiana, 1943‑2009), “Little Pass, Notre Cote de Mer”, 2003, acrylic on wood panel, signed bottom right, inscribed, signed, and dated en verso, 42 3/4” x 16”. Unframed. Provenance: Purchased from the artist; Private Collection, New Orleans, Louisiana. [6000/9000] Illustrated 1033 William Hemmerling (American/ Louisiana, 1943‑2009), “Louisiana Strawberry Growers Association, 1930”, acrylic on wood panel, signed lower right, 26 1/2’ x 26 3/4”. Provenance: Purchased from the artist; Private Collector, New Orleans, Louisiana. [6000/9000] Illustrated

1031

1034 Byron Levy (American/Louisiana, 20th/21st Century), “Jazz Band”, mixed media on panel, signed lower right “Byron Levy”, 18” x 24”. Framed. [550/800] 1035 John Tarrell Scott (American/Louisiana, 1940‑2007) “Untitled”, mixed media on paper, signed “John T. Scott” and bearing signatures of other New Orleans artists along the edges, 30” x 22‑1/2”. Unframed. [600/900]

1033

1036 Louise Guidry (Louisiana, b. 1930), “Maui Cliffs”, encaustic on hand-made paper, signed lower right, sight 16” x 22”. Attractively matted and framed. Provenance: Collection of the artist. [800/1200] Illustrated

1032

1036

157

1037 Louise Guidry (Louisiana, b. 1930), “Yellow Abstract”, acrylic and mixed media on canvas, signed bottom center, 30” x 30”. Unframed. Provenance: Collection of the Artist. [1200/1800] Illustrated

1039 Louise Guidry (Louisiana, b. 1930), “Trees”, acrylic on canvas, signed lower left, 36 1/4” x 24 1/2”. Unframed. Provenance: Collection of the Artist. [1500/2500] Illustrated

A native of St. Martinville, Louisiana, Guidry has been painting since she was a child. Her works emphasize the balance of color and texture, often incorporating various media and techniques to achieve the desired effect.

1039 1037 1038 Janice R. Sachse (American/Louisiana, 1908‑1998), “Red Flowers”, watercolor on paper, signed lower left “JR Sachse”, sight 28” x 20‑1/2”. Glazed, matted and framed. [1800/2500] Illustrated

1038

158

1040 Charles Thysell (American, b. 1950), “The Quarry”, oil on canvas, unsigned, 34” x 28”. Handsomely framed. [400/700] Illustrated

1040

1044 Mark Bercier (American/Louisiana, b. 1950), “Key”, gouache on 19th century sheet music, signed and dated lower right “Bercier 2011”, sheet 12‑1/2” x 9‑1/2”. Glazed and attractively framed. [200/400]

1041 1041 James McConnell Anderson (American/Mississippi, 1907‑1998), “Brown Pelicans”, oil on masonite, signed and dated lower right, “JMcCA 88”, sight 15” x 23”. Framed. [1800/2500] Illustrated 1042 James McConnell Anderson (American/Mississippi, 1907‑1998), “Two Men in Pines”, oil on masonite, signed and dated lower right “JMcCA 97”, sight 15” x 23”. Framed. [1800/2500] Illustrated 1043 Mark Bercier (American/Louisiana, b. 1950), “Still Life with Healin", gouache on handmade paper, signed and dated lower left “Bercier 2012”, sheet 29‑1/2” x 21‑1/2”. Glazed and framed. [500/800] Illustrated Bercier is a prolific artist who uses his own visual language, composed of hieroglyphic-like symbols found in the background of his work. He explains: “For the past two decades I have been working with a language created from twenty-six images juxtaposed with twenty-six words, that do not necessarily go together. This personal iconography reflects my fascination with language, both visual and verbal, and our ways of communication, or lack thereof. It has taken taken me years to collect this language and incorporate it into my paintings, prints, drawings and sculpture. The language is called The Healin’ Symbols.”

1043

1045 Mark Bercier (American/Louisiana, b. 1950), “Sun”, gouache on 19th century sheet music, signed and dated lower right “Bercier 2011”, sheet 12‑1/2” x 9‑1/2”. Glazed and attractively framed. [200/400]

1046 Mark Bercier (American/Louisiana, b. 1950), “Fish”, gouache on 19th century sheet music, signed and dated lower right “Bercier 2011”, sheet 12‑1/2” x 9‑1/2”. Glazed and attractively framed. [200/400]

1042

159

1047 Tom Secrest (Louisiana, Contemporary), “Untitled”, acrylic on canvas, unsigned, 28” x 22”. Unframed. [1400/1800] Illustrated A native of Columbus, Ohio, Secrest has spent most of his life in Lafayette, Louisiana, where he was a professor of Visual Arts at the University of Louisiana until his retirement. An accomplished printmaker and draughtsman, Secrest's work seamlessly melds the psychological and fantastical. There is an intentional ambiguity as to subject, meaning, and symbolism, resulting in works which suggest the visionary and verge on the dystopian. This feeling is enhanced by his frequent use of self-portraiture in his compositions. As the artist himself has stated, "The issue of reality had little interest in me. To be the dreamer and escaping person has long been my way of living." His works are in numerous private and public collections, including the New York Public Library, the New Orleans Museum of Art, and the College of William and Mary. References: Hancock, Tom Secrest: Exhibition Catalogue , CUE Art Foundation. New York, 2008.

1048 1051 Tom Secrest (Louisiana, Contemporary), two charcoal and pastels on paper, including “Toppled”, signed bottom left, 12” x 9”, and “Toppled II”, signed lower right, 4 3/4” x 13 3/4”. Both unframed. [700/1000] 1052 Tom Secrest (Louisiana, Contemporary), two charcoal and pastels on paper, including “Tree”, signed lower right, 15” x 11”, and “Skull”, signed mid-right, 9” x 12”. [700/1000] 1053 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), pair of serpentine-form mantel bronzes, h. of tallest 17 1/4”. [400/700] Illustrated

1047

1048 Tom Secrest (Louisiana, Contemporary), “Untitled”, charcoal and pastel on paper, signed and dated “12” lower left, 24” x 18”. [700/1000] Illustrated 1049 Tom Secrest (Louisiana, Contemporary), “Untitled”, pencil and pastel on paper, 30” x 22”. Unframed. [700/1000] 1050 Tom Secrest (Louisiana, Contemporary), “Untitled”, charcoal and pastel on paper, signed lower right, 30” x 22”. [700/1000]

160

A native of New Orleans, Louisiana, Milling attended the John McCrady School of Fine Arts in the French Quarter and later studied at the Art Students League and the Sculptorís Workshop in New York. He was an instructor in the ancient lost-wax technique at the Sculpture Center in New York City for a number of years. Fascinated by religion, mythology, and the world of fantasy and fairytales, Milling's textural bronzes are fraught with symbolism and teem with an almost visceral sense of energetic tension. Known for his portraits of politicians, sports figures, and prominent New Orleanians, Milling's work can be found in the collections of Newcomb College of Tulane University, the Ogden Museum of Southern Art, the Louisiana State Capitol Memorial Hall, Louisiana State University, and the Italian American Renaissance Museum. 1054 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Ta-Da”, bronze, h. 8 3/4”, on a thin white marble base. [300/500]

1055 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Jack in the Box”, bronze, signed at foot, h. 6”, on a thin granite base. [300/500] Illustrated 1056 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Four Horsemen of the Apocalypse”, bronze, h. 37 1/2”, l. 39”, w. 18”. [2000/4000] Illustrated

1056

1061 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Erato 2”, the artist’s mark on the left shoulder, h. 18”. [500/800] 1053 1057 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Emmile”, bronze, artist’s mark on left buttock, titled at right foot, h. 8”. [200/300] 1058 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Original Sin”, bronze, artist’s mark on female figure’s left thigh, h. 15 3/4”, on a thin white marble base. [300/500] 1059 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Erato”, h. 11‑1/2”. [500/800]

1062 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Elephant Walk”, pair of bronzes, one signed at underbelly, each h. 3 1/2”. [150/250] 1063 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Unicorn”, bronze, artist’s mark on right flank, h. 9 1/4”. [200/300] 1064 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Peter Pan”, bronze, self-portrait of the artist, artist’s mark at hip, h. 14 1/4” on a rectangular plinth. [300/500] Illustrated

1060 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “The Temptation of Eve”, bronze figural group, h.16”. [500/800]

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1065 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Capricorn”, bronze, artist’s mark on right buttock, signed at right foot, h. 18”. [300/500]

1070 New York Coin (.900) Silver Chinoiserie Three-Piece Tea Set, dated 1853, by Eoff & Shepherd for Ball, Black & Company, comprising a teapot, h. 10”, covered sugar bowl, h. 9”, and cream jug, h. 8”, each with a pear-shaped body decorated with repousse Asian scenes centered by opposing rococo cartouches, the necks lobed and hinged to conforming domed lids, with handsomely chased and applied openwork spouts feet and finials, each piece engraved, on one of the cartouches: “To Hon. Fred.k A. Tallmadge/a Tribute of respect/by his friends/April 27, 1853”, 68.10 total t. oz. [1400/1800] Illustrated next page 1066

1066 Colo Milling (b. Robert Milling Gamble) (American/ Louisiana, 1939‑2007), “Rumplestilskin and Goldspinner” bronze group, h. 16”. [700/1000] Illustrated 1067 George Rodrigue (American/Louisiana, b. 1944), “Double Blue Dog”, color silkscreen, signed lower right, numbered 44/120 lower left, sight 14 1/2” x 18 1/4”. Attractively matted and framed. [500/800] 1068 George Rodrigue (American/Louisiana, b. 1944), “Mardi Gras Blue Dog”, color silkscreen, signed lower left, numbered 172/500 lower right, sight 25 1/2” x 18 3/4”. Matted and framed. [400/700]

Frederick Augustus Tallmadge was born in Litchfield, Connecticut, on August 29, 1792, the son of patriot Benjamin Tallmadge and his first wife, Mary Floyd. He studied at Yale and was admitted to the bar in 1811, moving to New York to establish his practice in 1813. After a successful legal career he entered into politics, serving as New York City Alderman (1834), Councilman (1836), New York State Senator (1837‑1840), New York City Recorder (1841‑1846 and 1849‑1852), U.S. Congressman (1846‑1848), New York City Police Superintendent (1857‑1862) and Clerk of the New York Court of Appeals (1862‑1865). He retired back to Litchfield in 1869, and died there on September 17 of that year. The present lot was presumably presented to him in appreciation of his second term as Recorder. (He was the first person elected to the office by popular ballot.) His tenure was marked by his controversial role in quashing the Astor Place Riots of 1849: a violent culture clash between New York’s elite and working class played out over, of all things, whether Shakespeare was better performed by British or American actors, and which left two dozen dead at the steps of the Astor Opera House. See Nigel Cliff, The Shakespeare Riots (New York: Random House, 2007).

1069 Fine American Coin (.900) Silver Presentation Pitcher, dated 1841, by Gale, Wood & Hughes, New York, New York, of inverted pear form, decorated with elaborate repousse rococo cartouches of neoclassical architecture, with a repousse acanthus from calyx below and milled leaf-and-berry band above, the flaring collar with integral spout engraved with flowers and rococo scrolls, with melon-knopped crested scroll handle, the whole raised above a knopped and domed foot en suite, the cartouche engraved with a presentation inscription “to Capt. Rich’d. B. Cleland / of British Steamer / Britannia” from the passengers of his May 1841 voyage from Liverpool to Boston, h. 15‑1/2”, l. 10‑1/2”, dia. 7”, 44.30 t. oz. [6000/9000] Illustrated The Britannia was the first ship of the Cunard line, whose maiden voyage was in July 1840. The trip ushered in the age of the luxury ocean liner, at the forefront of which Cunard would remain for the next hundred years. Glasgow-born Captain Richard B. Cleland (1809‑1891) was not at at the helm of that voyage, though he did captain Cunard’s second ship, the Caledonia on her maiden voyage of the same route in September 1840. He was evidently seconded to the Britannia by the spring of the following year, when twenty-one of his passengers were signatories on this magnificent pitcher, an elegant artifact of the earliest days of luxury sea travel. (Though there were those who were not so impressed; see the recollections of the Britannia’s most famous - and most famously miserable - passenger, Charles Dickens, whose January 1842 crossing on the steamship is covered in comical detail in his American Notes.

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1075 Fine American Five-Piece Coin (.900) Silver Tea and Coffee Service, second quarter 20th century, by Robert Dunlevy (1803‑1865), Philadelphia, Pennsylvania, including a hot water pot, h. 11‑1/4”, a coffeepot, h. 10‑1/2”, a teapot, h. 10‑3/8”, a sugar bowl, h. 10‑1/2”, and a cream jug, h. 8‑1/4”, each of squat inverted pear shape, decorated with a band of conjoined circular cartouches decorated with handsomely chased repousse thistles separated by acanthus fronds, with domed lids en suite with “fruitbasket” finals, “gooseneck” spouts decorated en suite, and richly crested “S”-scroll handles, all raised on a flare-knopped ogee domed foot, with milled floral banding at the collar and knop and milled leaf-anddart banding at the edge and base, 210.14 total t. oz. Provenance: (as stated on a card accompanying the lot) James R. Wilson “to whom it was given about the year 1835 by some gentlemen of Philadelphia as a token of appreciation of his tact and talent as a lawyer in managing a difficult business affair”, to his sister-in-law Jane Corning Townsend (Mrs. Guilford Reed Wilson), to her daughter Gertrude Corning Wilson (Mrs. William C. Francis), to their daughter, Florence G. Francis (Mrs. Tucker). [10000/15000] Illustrated

1070 1071 Good Set of Six Old Baltimore Standard (.896) Silver Teaspoons, first quarter 19th century, by Andrew Ellicott Warner (1876‑1870), Baltimore, Maryland, with long “fiddle” handles and pointed shoulders, engraved with an armorial, “sable, on a chevron argent between three griffin’s heads couped, a rose”, l. 5‑1/2”, 4.56 total t. oz. [150/300] 1072 Five Old Baltimore Standard (.896) Silver Tablespoons, first quarter 19th century, by Andrew Ellicott Warner (1876‑1870), Baltimore, Maryland, with long “fiddle” handles and pointed shoulders, monogrammed “JSJ”, l. 7”, 5.40 t. oz. [150/300]

Robert Dunlevy was born in Philadelphia on January 30, 1803, the son of ship captain Robert Dunlevy and his wife, Sarah Beck, and christened at St. Peter’s church there on June 29, 1803. There is no record of his apprenticeship, but he is first listed as a silversmith in the Philadelphia directory of 1830, and thereafter until 1867. He is occasionally listed in partnership with other silversmiths - Edward G. Shaw (1833), George Dowell (1843‑1846) and George K. Wise (1847‑1850) - but these partnerships appear to have been exclusive of his own shop, which is listed on Lodge Alley until around 1845, and thereafter on Chestnut Street. His was evidently a reasonably large concern; the 1860 census lists, in addition to himself and his son Craig, five apprentices and journeymen. He married English-born Claressa Lancaster around 1826 and had nine children; in addition to Craig, his sons Lewis and William also worked as silversmiths, though none evidently remained in the trade very long. Dunlevy died of tuberculosis on March 23, 1865. He was interred in Philadelphia’s now defunct Lafayette Cemetery on March 27, 1865.

1073 Baltimore Assay Period Standard (.917) Silver Ladle, 1821, by John & Robert Monteith, Baltimore, Maryland, with long “fiddle” handle, pointed shoulders and elliptical bowl, engraved with the monogram “T” surmounted by a crest of a raven rising, l. 13‑1/2”, 6.62 t. oz. [400/700] 1074 American Three-Piece Coin (.900) Silver Coffee Service, second quarter 19th century, by Taylor & Lawrie for Bailey & Kitchen, Philadelphia, Pennsylvania, including a coffepot, h. 11‑1/4”, covered sugar basin, h. 10”, and cream jug, h. 18”, each with a serpentine lobed ovoid body and everted milled acanthus rim, with a mushroomknopped and domed foot en suite, the pot with elaborate acanthus-mounted “gooseneck” spout and crested “S” scroll handle, with a hinged domed lid with large acanthus bud finial, the sugar basin with two crested handles and fitted lid, the cream jug with integral spout and single crested handle, each piece monogrammed “AB”, 89.38 t. oz. [4500/7000]

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1076 American Coin (.900) Silver Coffeepot, third quarter 19th century, by Isaac Speer (1809‑1879), Chicago, Illinois, of ovoid form, with waisted collar, robust “gooseneck” spout, crested “S”-scroll handle and hinged and domed lid with vasiform finial, the whole raised on an ogee-domed foot, decorated throughout with annulated banding, monogrammed on the body “MS”, h. 12‑3/4”, l. 10‑1/2”, w. 5‑3/4”, 30.86 t. oz. [1500/2500] Illustrated 1077 Four Pieces of American Coin (.900) Silver Flatware, 19th century, including a pair of “coffin fiddle” teaspoons by Caleb Warner (1784‑1861), Salem, Massachusetts, monogrammed “MS”, l. 5‑7/8”, bow-style “double fiddle” sugar tongs by John Schuyler Walter (1791‑1864), New York, New York, with shell grips, monogrammed “EGM”, l. 6‑1/4”, and a sugar spoon, by the Whiting Mfg. Co., North Attleboro, Massachusetts, with “fiddle” handle and shell bowl, monogrammed “MS”, l. 6‑7/8”, 3.15 total t. oz. [125/250]

1080 American Aesthetic Period Silverplate DoubleWalled Ice Water Pitcher, fourth quarter 19th century, of tapering conical form, flat-chased with circular cartouches and flora between milled floral bands, with 1080 palmettemounted crested handle and “duck’s beak” spout, domed lid with finial en suite, and plinth base, h. 13‑3/4”, dia. 7”. [150/300] Illustrated 1081 Good Gorham Sterling Silver Neoclassical Hot Water Urn, third quarter 19th century, Providence, Rhode Island, the body with hemispherical lower half and steeply domed and waisted upper half, with large palmette-mounted ring handles, the gadrooned and domed fitted lid surrounded by milled geometric banding on the body, the spherical handle of the downturned spigot adorned with beaded banding and three laurel wreaths, the whole above a reticulated base raised by four palmette-mounted sabre legs, engraved, on the back of the body, “B”, h. 14”, w. 8‑1/2”, d. 9‑1/2”, 57.48 t. oz. [1800/2500]

1076

1082 American Sterling Silver Fruit Bowl, first quarter 20th century, by the Whiting Mfg. Co., Providence, Rhode Island, in the Arts and Crafts taste, the hemispherical bowl with lobed calyx below a band of repousse “cabochons” on a hammered ground, with beaded rim and raised on a domed foot en suite, the interior gilt, h. 7‑1/2”, dia. 9‑1/2”, [1400/1800] Illustrated

1078 Five American Coin (.900) and Other Silver “Fiddle Thread” Spoons, 19th century, including coin pieces a tablespoon by M. W. Galt & Bro., working 1847‑1879, Washington, D.C., monogrammed “B”, l.8‑1/4”, a teaspoon by Henderson & Gaines, working 1841‑1865, New Orleans, Louisiana, l. 6”, and a pair of coffee spoons by Henry Peat Buckley (1822‑1903), New Orleans, Louisiana, monogrammed “SEH” and later “JHB”, l. 4‑3/8”, and a Baltimore standard (.917) egg spoon by Samuel Kirk (1793‑1872), engraved with a crest of a greyhound’s head erased and monogrammed “T”, l. 4”, 4.11 total t. oz. [125/250] 1079 Three Virginia Coin (.900) Silver Teaspoons, third quarter 19th century, by Joseph Moseley Freeman (ca. 1806‑1882), Norfolk, Virginia, in the traditional “Fiddle Thread” pattern, monogrammed “A”, l. 5‑3/4”, 2.37 total t. oz. [125/250]

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1083 American Sterling Silver Grape Stand, first quarter 20th century, by the Mauser Mfg. Co., New York, New York, the circular plate pierced and blind-stamped with Renaissance-style scrolls and cartouches, centered by a thin baluster standard terminating with a stirrup finial handle surrounded by three grape cluster hooks, h. 13”, dia 10”, 14.21 t. oz. [300/500]

1086

1084 1084 Henry Hammond Ahl (American, 1869‑1954), “Landscape With a Farm”, oil on board, signed lower left “Ahl”, 8” x 10”. Presented in an Arts and Crafts style frame. [800/1200] Illustrated 1085 Gordon Coutts (American, 1880‑1937), “Woodland Pond”, oil on canvas, signed lower left, 9 3/4” x 13 1/2”. In an antique cove-molded wood frame. [700/1000] Illustrated

1086 American Renaissance Revival Giltwood Mantle Mirror, third quarter 19th century, the crest with a cabochon-carved cartouche flanked by scrolls, the corners with shell-carved finials, the gently arched mirror plate flanked by beaded, palmette and foliate-carved pilasters, h. 69”, w. 53”, d. 7”. [500/800] Illustrated 1086A Antique French Gilt Bronze Encrier, with central figure of "Courage Militaire", after the ca. 1875 sculpture by Paul Dubois (1829‑1905) from the tomb of General Lemoriciere (1806‑1865) at Nantes, cast signature and inscribed "F. Barbedienne, Fondeur" at base, on a dark gray mottled red marble base, overall h. 15 1/2î. [1800/2500] 1087 American Globe on Cast-Iron Stand, ca. 1868‑1875, New York, made and signed by J. Schedler, New York and sold by bookseller S. Steiger, patented November 24, 1868, the cast-iron stand with a leaf-form feed, molded anthemia on the base and a vase molded support, the globe canted in calibrated full meridian in original gold paint, geographical entitles indicated in a variety of colors, h. 13”. [450/700] 1088 Silvered Brass Figural Tobacco Box, fourth quarter 19th century, French, molded to resemble a sailor sitting atop a packing crate, heavily constructed with a hinged lid, the “crate” mimics a nailed wooden crate, reinforced with rope, labeled “Havane, France Haut and Bas” on the top and bottom, and “Berqueta”, possibly the manufacturer, h. 8”, w. 4”, d. 5”. [400/700]

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1089 Pair of Unusual Napoleon III Gilt-Bronze Candlesticks, second quarter 19th century, scrolled feet support pierced, lily-molded bases, set with shellmolded supports holding patinated female figures adorned in laurel wreaths, supporting lily candle cups, h. 17‑1/2”, w. 7‑1/2”, d. 6”. [800/1200] Illustrated

1093 American Aesthetic Movement Lacquered-Brass SixArm Gasolier, fourth quarter 19th century, the conical stem joined to a bowl supporting six scroll-form arms, each arm joined by a shaped brass rod extender, to beneath the canopy, electrified, h. 33‑1/2”, dia. 39”. [700/1000] Illustrated

1089

1093

1090 Bronze and Marble Six-Light Napoleon III Candelabra, third quarter 19th century, French, on bronze paw feet, the black marble base decorated with gilt incising, a draped bronze caryatid figure supports six scrolled candle branches with incised drip pans and candle cups, now mounted as a lamp, h. 37”, dia. 13”. [400/700]

1094 Large Hexagonal Gilt-Brass Filigree Hall Lantern, early 20th century, the side panels fitted with rippled glass and the interior having three electric sockets, h. 34”, w. 13”, d. 13”, lantern only. [500/800] 1095 Gilt-Bronze Neoclassical Table Lamp, first quarter 20th century, possibly Edward Caldwell Co. of New York, bronze, numbered turtles serve as feet to the round base, which has a beaded rim and bas-relief-molded Bacchanalian decoration, a winged caryatid serves as the base to the standard which is alternately leafmolded, twisted and reeded, with an applied bronze bird, mounted with triple light sockets, h. 24‑1/2”, dia. 13‑3/4”. [500/800] 1096 Classical Revival Bouillotte Lamp Base, in the Caldwell Manner, first quarter 20th century, American, the beaded base supports a fluted three column form standard, set with leaf-molded candle branch drip pans and candle cups molded with a wave motif, fitted with faux electrified candles, h. 16”, w. 7‑1/4”. [300/500] 1097

1091 1091 Louis C. Girault (American/New Orleans, active 1970‑1892), “Bridge Over a River”, pastel on paper, initialed lower left “L. C. G.”, 8‑3/4” x 12”. Glazed and presented in a attractive period giltwood and gesso frame. [900/1200] Illustrated 1092 Majolica High Glazed Pedestal, early 20th century, the circular green glazed top, transitioning into gold and brown tones, h. 31‑1/2”, dia. 12”. [250/400]

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1097 Jane Sage Fuller (American, 1897‑1984), pair of cat-form bronze andirons, ca. 1924, individually sculpted andirons on oval plinths decorated in bas relief with images of mice and wheat, and dated two years after the 1922 discovery of King Tut’s tomb, a time when Egypto-mania was at the height of popularity, the andirons stamped by the foundry, Roman Bronze Works of New York, a connection documented in their archives, now held at the Amon Carter Museum, signed “Jane Fuller”, h. 19‑1/4”, w. 5‑1/4”, d. 23‑1/4”. [700/1000] Illustrated previous page 1098 Pair of E. F. Caldwell and Company Gilt-Bronze Candlesticks, first quarter 20th century, New York, in the Adams revival style and marked with a “C” in a lozenge, the oval electrified sticks elaborately decorated with leaf-molded bases, tapered standards decorated with swags of beadwork, leafmolded drip pans and fluted and beaded candle cups, fitted with faux electric candles, h. 9‑1/2”. [300/500]

1100 American Aesthetic Movement Ebonized Stand, the circular top on a tripodal base, each support in the form of an elephant head with contrasting light wood tusks, the trunks extending to a low serpentine shelf on bun feet, h. 34‑1/2”, dia. 16‑1/21”. [400/700]

1101

1101 Paris Porcelain Platinum Ground Charger, fourth quarter 19th century, surviving in a remarkable state of preservation, the platinum ground decorated with hand-painted roses surrounding a raised gilt cartouche decorated with anthemia, scrolls and chain work around a hand-painted view of a mill with a water wheel, initials on the rear, “PHL/aL”, unrecorded and probably refer to the artists who did the decoration, dia. 13”. [900/1200] Illustrated 1102 Pair of Paris Platinum Ground Earthenware Garniture Vases, fourth quarter 19th century, square, gilt-trimmed feet support the rounded vases decorated with beautifully detailed depictions of noblemen in Elizabethan dress, decorated on the reverse with faux coats-of-arms, retailed and marked by Bailey, Banks and Biddle, Philadelphia, h. 15‑1/2”, w. 8‑1/2”, d. 3‑1/2”. [1800/2500] Illustrated

1099 American Colonial Revival Mahogany Tall Case Clock, ca. 1900, bearing the engraved retailer’s label of Tiffany & Co., New York, the case with fluted quarter columns, the hood with a broken arch pediment, carved rosettes and brass finials, the movement featuring time and hour strike, h. 98”, w. 21”, d. 15‑1/2”. [7000/10000] Illustrated

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1102

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1103 Tiffany-Retailed Hand-Painted Soupiere in the Sevres Style, the hand-painted floral bouquets on a white ground decorate the sides, with a bleu celeste border decorated with a raised gilt flora edge, the matching cover with a melon-form knop, signed in hand-painted rouge de fer “Tiffany & Co/ Private Stock/ Hand Painted/ Made in France”, along with the decorator’s and gilder’s initials, h. 8”, w. 9‑1/2”, d. 8”. [400/700]

1106 1104 Ott and Brewer American Belleek Bowl, after 1883, Trenton, NJ, the aesthetic movement bowl molded with a cream-colored Japonesque ground and decorated with raised gilt flowers and leaves, and with a scalloped rim, marked in red, “Belleek” over a crown with a sword, over O&B, h. 3”, dia. 7‑1/2”. [100/200] 1105 Unusual Pair of Continental Art Glass Vases, first quarter 20th century, the serpentine-sided vases with a lozenge-shaped foot print, and decorated with stylized trees in a landscape with a meandering stream with swans, all in a matte finish with mottled decoration, h. 9”, w. 3”, d. 2‑1/2”. [350/500]

1106 French Champleve Enamel Mantel Clock, first quarter 20th century, the leaf-molded feet support the base, decorated with turquoise ground enamel panels, canted corners set with matching enamel colonettes, a matching border decorates the top edge of the case, an enamel mansard roof supports a gilt-bronze covered cup finial decorated with an enamel lid, the works behind a beveled glass door and set in an enameled bezel with an enamel dial, formerly hung with a pendulum, h. 18‑3/4”, w. 8‑1/2”, d. 7‑1/4”. [400/700] Illustrated 1107 Brass Carriage Clock, first quarter 20th century, possibly American, the unsigned example with bracket feet supporting the brass case, set with beveled glass panels, the works set with an enameled dial, a brass carrying handle completes the top, h. 6”, w. 3”, d. 2‑3/8”. [100/200] 1108 Stephen Maxfield Parrish (American/Pennsylvania, 1846‑1938) “New England Winter Landscape with Bridge Over a Frozen River”, oil on panel, signed lower right “Stephen Parrish”, 12” x 18”. Unframed. [1000/1500] Illustrated Stephen Parrish was the father of noted illustrator Maxfield Parrish. 1109 Classical Revival Carved Marble Floor Lamp Standard, ca. 1927, probably Italian, the bold paw feet support the cove-molded base, carved with swags, the tapered leaf-carved standard supports four interlocking carved putti, under the upper acanthus leaf-carved standard, h. 71”, dia. 17‑1/2”. Provenance: Saenger Theatre, New Orleans, Louisiana. [3000/5000] Illustrated

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1110 Samuel Johnson Woolf (American/New York, 1880‑1948), “Portrait of a Seated Young Lady in a Pale Yellow Dress”, oil on canvas, signed and dated upper left “S.J. Woolf 1910”, 40” x 30”. Glazed and presented in a Rococo-style giltwood and gesso frame. [1200/1800] Illustrated

1113

1113 James Calvert Smith (American, 1878‑1962) “Housatonic Valley, Salisbury”, oil on canvas, signed lower right, titled on reverse of frame, 25” x 38‑3/4”. Presented in a giltwood frame. [700/1000] Illustrated 1114 Shearwater Cast Fish Bowl by James McConnell (Mac) Anderson, ca. 1940, thrown by Peter Anderson, in the distinctive bronze glaze, the interior a pale celadon high-glaze, accompanied by a copy of Dod Stewart’s Shearwater Pottery (Slidell, Louisiana: Bristol, 2005), with a photograph of this bowl on page 105 having an incorrect height, h. 6‑1/4”, dia. 8‑1/4”. [1800/2500] Illustrated 1115 Shearwater Pottery Cobalt Blue Vase, ca. 1950, cast by Peter Anderson, h. 8”. Illustrated in Stewart, Shearwater Pottery, p. 32. [400/700] 1116 Shearwater Pottery Bud Vase, ca. 1960, by Peter Anderson, in cobalt and chrome glaze, accompanied by a certificate of authenticity, h. 5‑3/4”. [200/400]

1110

1111 Art Nouveau Alabaster Bust of a Woman, a coved socle supports the waist length likeness, the gowned figure with flowers on her shoulder, wearing a widebrimmed hat, her eyes downcast, h. 13”, w. 7‑3/4”, d. 3‑3/4”. [150/300] 1112 Oscar Bach Bronze and Mica Table Lamp, made after 1913, New York, in the arts and crafts style, the bronze conical base with a verdigris finish contrasting with gilt trim, and continuing on the lamp standard, retaining an original or old segmented mica shade and satyr-form pierced lamp finial, the Oscar Bach nameplate attached to the base, h. 34‑1/2”, dia. 16”. [400/700] 1114

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1119 Tiffany Studios Pine Needle Pattern Inkwell, first quarter 20th century, New York, made in the gold dore finish, the sides lined with caramel slag glass inserts, the rounded, hinged lid opening to reveal a pressed glass inkpot insert, signed “Tiffany Studios, New York, 845”, h. 3”, w. 3‑1/4”, d. 3‑1/4”.â [500/800] Illustrated 1120 Tiffany Studios Pine Needle Pattern Letter Holder, first quarter 20th century, New York, in the gold dore finish with caramel slag glass inserts, with serpentine top edges stamped “Tiffany Studios, New York, 1008”, h. 6‑1/2”, w. 10”. [800/1200] Illustrated 1121 Tiffany Studios Pine Needle Pattern Blotter, first quarter 20th century, New York, made with a curved bottom and with a caramel slag glass insert, in the gold dore finish, stamped “Tiffany Studios, New York, 995”, d. 2‑3/4”, l. 5‑3/4”. [300/500] Illustrated

1117

1117 San Ildefonso Pueblo Sunrise Brown Olla, ca. 2000, by Linda Dunlap (b. 1955), limited edition of 36, the stovepipe neck with stepped rim and demi-lune crest and decorated with avanyu (“eater serpent”) and threaded grey/black slip banding, signed sgrafitto on the underside "Linda Dunlap San Ildefonso Pueblo”, h. 7”, dia. 6‑1/2”. Provenance: purchased by the consignor at The Rancho de Chimayo Collection, Santa Fe, New Mexico. [1500/2500] Illustrated

1122 Tiffany Studios Pine Needle Pattern Pen Tray, first quarter 20th century, New York, executed in the gold dore finish and sitting on bun feet, with impressions for three pens, lined with caramel slag glass insert and stamped “Tiffany Studios, New York”, w. 9‑3/4”, d. 2‑3/4”. [700/1000] Illustrated 1123 Tiffany Studios Pine Needle Pattern Stamp Box, first quarter 20th century, New York, the rectangular box with caramel colored slag glass inserts, and an insert to hold stamps, executed in the gold dore finish, stamped “Tiffany Studios, New York, 801”, on the base, w. 4”, d. 2‑1/4”. [500/800] Illustrated

Linda Dunlap is a third generation Pueblo potter, the daughter of Carmelita Dunlap (1925‑2000), who was in turn a niece of the acclaimed Maria Martinez (1887‑1980), who is generally credited with the preservation and revival of the traditional craft of the Pueblo peoples. Carmelita is the last living protege of Maria Martinez; she won the Indian Market first prize and unprecedented twenty times, and was declared a National Treasure during the Nixon administration. She passed the craft on to five of her children: Martha Appleleaf (b. 1950), Jeanne Mountain Flower (b. 1953), Linda (b. 1955), Carlos, Jr. (1958‑1981) and Cynthia Starflower (b. 1959). Cynthia is credited with the revival of the “Sunrise Brown” pottery, executed here by her sister Linda with her distinctive stepped rim.

1124 Tiffany Studios Pine Needle Pattern Hinged Note Pad Cover, first quarter 20th century, New York, executed in the gold dore finish, with a hinged lid and stamped “Tiffany Studios, New York, 1022”, w. 4‑3/4”, l. 7‑3/4”. [800/1200] Illustrated

1120 1118 Tiffany Studios Pine Needle Pattern Blotter Corners, first quarter 20th century, New York, made in the gold dore finish, each stamped “Tiffany Studios, New York, 997”, h. 5‑3/4”, w. 5‑3/4”. [400/700] Illustrated

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1124

1125 Charles Dickens (1812‑1870), The Posthumous Papers of the Pickwick Club, First Edition in book form, London: Chapman and Hall, 1837, mixed early issues, octavo, in three quarter red morocco with buckram boards and marbleized endpapers, with gilt fillet, the spine with raised bands and gilt lettering, ruling and decoration, the top edge gilt, with marbleized endpapers, extra illustrated with thirty-nine original watercolor sketches by “Kyd” [Joseph Clayton Clark (1857‑1937)] an engraved portrait of the author, and thirteen plates from the 1894 edition by T. Ohwhyn and colored by Pailthorpe, front board and preliminaries of volume I detached but present, overall 8‑1/8” x 5‑3/8””. [Smith I: 3 (pp. 19‑27); Eckel: pp.23‑50; Engel: 20] [300/500] Illustrated

1125

1126 Charles Dickens (1812‑1870), Dombey & Son, First Edition in book form, London: Bradbury and Evans, 1848, octavo, in three quarter red morocco with buckram boards and marbleized endpapers, with gilt fillet, the spine with raised bands and gilt lettering, ruling and decoration, probably George Bayntun, the edges cut and gilt, with marbleized endpapers, and Dickens centenary tribute stamp mounted on the flyleaf, extra illustrated with thirty inserted plates, overall 8‑1/2” x 6”. [Smith I: 8 (pp. 70‑73); Eckel: pp.71‑74.] [300/500] Illustrated 1127 Thirty-Five Books on New Orleans and Other Architecture and Interiors, including six volumes of the New Orleans Architecture series, Malcom Heard’s French Quarter Manual, Richard Sexton and Randolph Delehanty’s New Orleans: Elegance and Decadence, and eight other works on New Orleans and its environs, with Mills Lane’s Architecture of the Old South omnibus edition and three state-specific volumes, Louisiana, North Carolina, and South Carolina, plus works on antebellum Alabama and Maryland homes, the architects McKim, Mead & White and James Dakin, period bed hangings and wallpaper, and other topics. Complete list available on request. [100/200] 1128 Three Books on Male Nude and Portrait Photography and Art, including Herb Ritts, Work (New York: Little Brown & Co., 1996), John Cheim, ed. Bruce Weber (New York: Alfred A. Knopf, 1989) and Cecile Beurdeley, L’Amour Bleu (New York: Rizzoli, 1978). [100/200]

1129 American Sterling Silver Sauce Boat, third quarter 20th century, by the Ellmore Silver Co., Meriden, Connecticut, in the Georgian taste, of oval form with everted pout and serpentine-shaped rim, with crested double-scroll handle and raised on four shell-crested scroll-and-pad feet, h. 4‑3/4”, l. 7‑1/2”, w. 3‑3/4”, 6.75 t. oz. [150/300] 1130 One Hundred and Fifty-Six Piece Set of Durgin/ Gorham “Fairfax” Sterling Silver Flatware, the pattern designed in 1910 by Barton Pickering Jenks (1870‑1941), Concord, New Hampshire, including eight dinner forks, l. 8”, eight luncheon forks, l. 7‑1/4”, sixteen salad forks, l. 6‑1/8”, twelve seafood/cocktail forks, l. 5‑1/2”, thirty-two teaspoons, l. 5‑3/4” (six 5‑1/2”), eight tablespoons, l. 8‑3/8”, eight dessert spoons, l. 7‑1/8” seven cream soup spoons, l. 8‑1/2”, eight iced tea spoons, l. 5‑3/4”, eight demitasse spoons, l. 4‑1/8”, eight dinner knives with stainless steel “Old French”shaped blades, l. 9‑5/8”, eight luncheon knives with stainless steel “Old French”-shaped blades, l. 9‑1/4”, fifteen butter spreaders, l. 5‑1/2”, a buffet fork, l. 8‑5/8”, a cold meat fork, l. 7‑3/8”, a two-piece carving set with stainless steel blade/tines, l. 9‑7/8” and 8‑7/8”, a cheese server with stainless steel blade, l. 6‑1/2”, a jelly spoon, l. 6‑1/4”, a sauce ladle, l. 6‑3/8”, a sugar spoon, l. 5‑7/8”, a cucumber server, l. 6‑5/8”, and a pickle fork, l. 5‑5/8”, forty-one pieces monogrammed “I” and seventy-seven pieces monogrammed “P”, 138.64 total t. oz., presented in a fitted, Pacific cloth-lined wooden case, 3‑1/4” x 18‑1/2” x 11”, together with a Durgin/Gorham “Colfax” salad fork, l. 6‑1/4”, 0.96 t. oz. [3000/5000] 1131 Eleven Reed & Barton “Hepplewhite” Sterling Silver Salad Forks, the pattern designed in 1907 by Charles A. Bennett, Taunton, Massachusetts, monogrammed “S”, l. 6”, 11.06 total t. oz. [200/400] 1132 Twelve Pieces of Wallace “Nile” Sterling Silver Flatware, the pattern designed in 1908 by Charles A. Bennett, Wallingford, Connecticut, including six dinner forks, l. 7”, and six dinner knifes with “Old French”-shaped plated steel blades, l. 8‑1/2”, monogrammed “S”, 7.65 total t. oz. [200/400] 1133 Pair of American Sterling Silver Candlesticks, third quarter 20th century, by Fisher Silversmiths, Jersey City, New Jersey, each with a baluster standard above a domed and gadroonbanded foot and surmounted by an urn-form nozzle with fixed, gadrooned bobeche, h. 8‑1/4”, dia. 4‑1/2”, weighted. [200/400] Illustrated

1133

171

1134 American Sterling Silver FivePiece Coffee & Tea Service, first quarter 20th century, by Reed & Barton, Taunton, Massachusetts, in the Colonial Revival taste, including a coffeepot, h. 10”, teapot, h. 8‑3/4”, covered sugar bowl, h. 7‑1/2”, cream jug, h. 5‑3/4”, and waste bowl, h. 4‑1/2”, each of tapering canted rectangular section, with stepped and squared handles, tall conforming waisted lids, the pots with “gooseneck” spouts en suite, each piece monogrammed “R”, 68.03 total t. oz. [1500/2500] Illustrated 1135 One Hundred and Seventy-Three Piece-Set of Tiffany & Co. “Gramercy/Hamilton” Sterling Silver Flatware, the pattern designed in 1921 by Arthur LeRoy Barney (1884‑1955), New York, New York, including twelve dinner forks, l. 7‑5/8”, twelve luncheon forks, l. 7”, twelve salad forks, l. 6‑3/4”, twelve seafood/cocktail forks, l. 6”, twenty-four teaspoons, l. 6”, twelve dessert spoons, l. 7”, twelve cream soup spoons, l. 6‑3/4”, twelve iced tea spoons, l. 7‑1/2”, twelve demitasse spoons, l. 4‑3/4”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 10”, twelve luncheon knives with stainless steel “New French”-shaped blades, l. 9‑1/4”, a master butter knife, l. 6‑3/4”, twelve butter spreaders, l. 6”, four tablespoons, l. 8‑1/2”, a serving fork, l. 8‑5/8”, a salad serving fork with gilt bowl, l. 10‑1/8”, a two-piece carving set with stainless steel blade/tines, l. 14” and 10‑3/4”, a cold meat serving fork, l. 8‑3/4”, a buffet fork, l. 9”, a sugar spoon, l. 5‑3/4”, a tomato server, l. 7‑3/4” a cream ladle, l. 6‑7/8”, a sauce ladle, l. 7‑1/4”, a cheese knife with stainless steel blade, l. 7‑1/8”, and a cake knife with stainless steel blade, l. 10‑1/4”, one hudred and fifty-five pieces monogrammed “R”, 218.05 total t. oz. (excluding pieces with stainless steel fittings), presented in a pair of Hagerty blue Pacific cloth fitted and zippered drawer liners. [6000/9000] Illustrated

1134

1136 American Sterling Silver Bread Basket, first quarter 20th century, by Frank M. Whiting, North Attleboro, Massachusetts, of navette form, with reticulated rim and and fixed strap handle, monogrammed “BD”, h. 5‑3/4”, l. 13”, w. 6‑1/2”, 9.58 t. oz. [200/400] 1137 One Hundred and Eighty-Seven Piece Set of Reed & Barton “Cotillion” Sterling Silver Flatware, the pattern designed in 1938 by George Logan Turner, Taunton, Massachusetts, including twelve dinner forks, l. 7‑5/8”, twelve luncheon forks, l. 7‑1/8”, twelve salad forks, l. 6‑1/4”, twelve seafood/cocktail forks, l. 5‑1/2”, twelve ice cream forks, l. 5‑1/4”, twelve fish/dessert forks, l. 6‑1/8”, twelve teaspoons, l. 6”, twelve soup spoons, l. 6‑3/4”, twelve bouillon spoons, l. 5‑1/2”, twelve cream soup spoons, l. 6‑1/8”, twelve iced tea spoons, l. 7‑3/4”, twelve demitasse spoons, l. 4‑1/2”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 9‑1/2”, twelve luncheon knives, with stainless steel “New French”-shaped blades, l. 8‑7/8”, twelve butter spreaders, l. 6‑3/8”, two serving spoons, l. 8‑7/8”, a two-piece salad serving set, l. 8‑3/4”, a small two-piece carving set with stainless steel blade/tines, l. 10‑1/4” and 8‑7/8”, and a cheese/pate server with stainless steel blade, l. 6‑1/2”, one hundred and eighty-two pieces monogrammed “S”, 178.89 total t. oz. (excluding pieces with stainless steel fittings), [4000/7000] 1138 American Sterling Silver Bowl, first quarter 20th century, of serpentine-lobed hexagonal form, with elaborately shaped and embossed floral scroll rim, h. 2‑1/2”, dia. 9‑1/2”, 8.68 t. oz. [350/500] 1139 Reed & Barton “Francis I” Sterling Silver Center Bowl, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, with the Reed & Barton date mark for 1956, engraved “Anniversary 1960”, l. 15‑1/4”, w. 10‑1/2”, 31.83 t. oz. [800/1200] Illustrated next page

1135

172

1141 Reed & Barton “Francis I” Sterling Silver Sandwich Plate, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/4”, 15.05 t. oz. [400/700] 1142 Reed & Barton “Francis I” Sterling Silver Bread Tray, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, with the Reed & Barton date mark for 1951, l. 10‑3/4”, w. 7‑1/2”, 13.70 t. oz. [300/500] Illustrated 1143 Reed & Barton “Francis I” Sterling Silver Strawberry Fork, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, l. 4‑3/4”, 0.51 t. oz. [40/70] 1139

1140 Eighty-Nine Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twelve luncheon forks, l. 7‑1/4”, twelve salad forks, l. 6‑1/8”, twelve seafood/cocktail forks, l. 5‑1/2”, twelve teaspoons, l. 5‑7/8”, twelve dessert/place spoons, l. 7‑1/4”, twelve luncheon knives with stainless steel blades, nine with “New French”-shaped blades, l. 9‑1/8”, and three with “Modern”-shaped blades, l. 8‑7/8”, twelve butter spreaders with sterling blades, l. 5‑3/4”, one sugar shell, l. 6‑1/4”, one sauce ladle, l. 6‑1/2”, one salad-serving fork, l. 9‑1/4”, and a two-piece carving set including a knife, l. 10‑1/2”, and fork, l. 8‑1/2”, both with stainless steel blade/tines, two pieces (one luncheon fork and one dessert/place spoon) monogrammed on the reverse, the remaining eighty-seven pieces without monograms, 108.99 total t. oz. (excluding pieces with stainless steel blades/tines). [4500/7000] Illustrated

1144 Two American Sterling Silver Cake Servers, mid-20th century, including a Reed & Barton “Francis I” example with sterling blade and filled handle, l. 10‑1/2”, and an unmarked cast and pierced example in the Dutch taste, l. 9‑3/4”, 3.15 t. oz. (latter example only). [150/300]

1142

1145 American Silverplate Platter, first quarter 20th century, by the Paul Revere Silver Co., Boston, Massachusetts, of oval form with large, naturalistic applied “vintage” rim, l. 20‑1/4”, w. 14‑3/4”. [125/250]

1146 Three American Sterling Silver Dishes, first quarter 20th century, all of oval form, including a pair of Whiting candy dishes with reticulated sides, l. 5‑1/4”, w. 3‑7/8”, and a Mauser waiter with applied floral art nouveau edge, monogrammed “Q”, l. 8”m w, 5‑1/2”, 9.25 total t. oz. [200/400]

1140

173

1147 Eighty-Three Pieces of Reed & Barton “English Provincial” Sterling Silver Flatware, the pattern introduced in 1965, Taunton, Massachusetts, including twelve dinner forks, l. 7‑1/2”, twelve salad forks, l. 6‑1/2”, twelve teaspoons, l. 6”, twelve soup spoons, l. 6‑3/4”, twelve iced tea spoons, l. 7‑1/8”, twelve luncheon knives with stainless steel “Modern”-shaped blades, 9”, a master butter knife with stainless steel scimitar-shaped blade, l. 7‑1/4”, three tablespoons, l. 8‑1/2”, a slotted tablespoon, l. 8‑1/2”, a cold meat fork, l. 8‑1/2”, a sauce ladle, l. 7”, a sugar shell, l. 6‑1/8”, a lemon fork, l. 5”, a pickle fork, l. 5‑3/4”, and a cake server with stainless steel blade, l. 11”, no monograms, 95.23 total t. oz.. (excluding pieces with stainless steel fittings), presented in a fitted, blue Pacific cloth lined case, 3‑1/4” x 15‑3/4”, x 11‑1/4”, together with eight International Deep Silver silverplate “Wakefield” demitasse spoons, l. 4‑1/4”. [1500/2500]

1152 Sixty-Three-Piece Set of Gorham “English Gadroon” Sterling Silver Flatware, the pattern designed in 1939 by Frederick Russell Woodward (1888‑1988) and Axel Herman Staf (1869‑1941), Providence, Rhode Island, including eight dinner forks, l. 7‑1/2”, eight salad forks, l. 6‑1/4”, eight seafood/cocktail forks, l. 5‑1/4”, twelve teaspoons, l. 5‑3/4”, eleven soup spoons, l. 6‑1/4”, eight demitasse spoons, l. 4‑1/4” and eight dinner knives with stainless steel blades (four “New French”-shaped and four “Modern”-shaped), l. 9‑1/2”, no monograms, 57.23 total t. oz. (excluding dinner knives), presented in a fitted, plum Pacific cloth-lined case, 5‑1/4” x 14‑1/4” x 10‑3/4”. [1200/1800]

1148 Five American Sterling Silver Reticulated Cake or Sandwich Plates, first half 20th century, including examples by Meriden Britannia, monogrammed “RBS”, dia. 9‑3/4”, R. Wallace & Sons, dia. 9‑1/2”, Webster, monogrammed “R”, dia. 9”, Gorham, dia. 9”, and Roger Williams, monogrammed “S”, dia. 8‑3/4”, 34.78 total t. oz. [700/1000] 1149 Two American Sterling Silver Fruit Bowls, first quarter 20th century, both circular, including a Gorham example with embossed rococo scroll and bead-and-bobbin banding on the rim, dia. 9‑1/4”, and an Alvin example with reticulated rim and embossed rococo scroll edge, dia. 9”, 15.17 total t. oz. [300/500] 1150 Good Set of Eight American Sterling Silver Shell Dishes, second quarter 20th century, by Currier & Roby, New York, New York, each of coquille form, raised on three spherical feet, l. 1‑1/4”, w. 4‑3/4”, 41.21 toal t. oz. [2500/4000] 1151 Good Set of Eighteen Sterling Silver Service Plates, second quarter 20th century, by Shreve & Co., San Francisco, California, each of serpentine-lobed circular form, with recessed circular plateau and applied laurel, acanthus and bead edge, monogrammed on the rim, “RSV”, dia. 10‑3/4”, 311.93 total t. oz. [12000/18000] Illustrated

1153

1153 International Silver “Prelude Chased” Sterling Silver Water Pitcher, the pattern designed in 1939 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, h. 9”, l. 8‑3/4”, dia. 5”, 22.31 t. oz. [500/700] Illustrated 1154 Wallace “Grand Baroque” Sterling Silver Medium Compote, designed in 1941 by William S. Warren (1888‑1965), Wallingford, Connecticut, h. 5‑1/4”, dia. 6‑1/2”, 7.13 t. oz. [300/500]

1155 Seventy-Five Pieces of Wallace “Sir Christopher” Sterling Silver Flatware, the pattern designed in 1936 by William S. Warren (1888‑1965), including twelve place forks, l. 7‑1/4”, twelve salad forks, l. 6‑1/4”, twelve teaspoons, l. 6”, twelve cream soup spoons, l. 6”, twelve place knives with stainless steel “New French”-shaped blades, l. 9” twelve butter spreaders, l. 6‑1/4”, a serving fork, l. 7‑3/4”, a tablespoon, l. 8‑1/4”, and a sugar spoon, 6”, no mongrams, 87.71 total t. oz. [5000/8000] 1151

174

1156 Two American Sterling Silver Serving Spoons, first half 20th century, including a Reed & Barton “Marlborough” berry spoon, l. 9‑1/4”, and a Frank M. Whiting “Florence/ Victoria” casserole spoon, l. 8‑3/4”, no monograms, 6.75 total t. oz. [100/200] 1157 Pair of Gorham “Imperial Chrysanthemum” Dessert Spoons, the pattern designed in 1894 by William Christmas Codman (1839‑1923), Providence, Rhode Island, monogrammed “O”, l. 6‑3/4”, 2.70 t. oz. [75/125]

1160

1158 Reed & Barton Five-Piece Silverplate “Winthrop” Coffee and Tea Set with Associated Gorham Tray, the tea set with the Reed & Barton date mark for 1942 (the waste bowl 1955), Taunton, Massachusetts, including a coffeepot, h. 12‑1/4”, a teapot, h. 10‑3/4”, a sugar bowl, h. 8”, a cream jug, h. 7‑1/8”, and a waste bowl, h. 3‑1/2”, the Gorham tray of “turtleback” form with applied rococo scroll edge, integral handles and engraved rococo banding on the plateau, l. 27”, w. 1‑3/4”. (6 pieces total.) [300/500] 1159 American Sterling Silver Water Pitcher, mid-20th century, by Preisner Sterling Co., Wallingford, Connecticut, the ovoid body, stepped shoulder, crested “S”-scroll handle, flaring collar, integral spout and ogee-domed foot ring, h. 8‑5/8”, l. 8‑1/2”, dia. 5‑1/2”, 16.65 t. oz. [400/700] Illustrated

1160 Set of Fifteen Sterling Silver Water Goblets, mid-20th century, by Preisner Sterling Co., Wallingford, Connecticut, each with an inverted bell-form body and trumpeting stem and foot, h. 6‑1/4”, dia. 3‑1/4”, 54.91 total t. oz. [1000/1500] Illustrated 1161 American Silverplate Drinks Tray, third quarter 20th century, by Dodge, Inc., Los Angeles, California, of rectangular form, with gadrooned rim and opposing rocaille handles, l. 25‑7/8”, w. 11‑1/4”. [100/200] 1162 Eighty-Six Piece Set of Lunt “Chased Classic” Sterling Silver Flatware, designed in 1936 by Frederick William Koonz (1868‑1958), Greenfield, Massachusetts, including twelve dinner forks, l. 7‑7/8”, twelve salad forks, l. 6‑1/4”, eight seafood/cocktail forks, l. 5‑1/2”, eleven teaspoons, l. 6”, six cream soup spoons, l. 6‑3/8”, eight iced tea spoons, l. 7‑3/8”, twelve dinner knives with stainless steel “New French”-shaped blades, l. 8‑3/4”, a master butter knife, l. 7‑1/8”, twelve butter spreaders, l. 6”, a tablespoon, l. 8‑1/2”, a slotted tablespoon, l. 8‑1/2”, a cream ladle, l. 5” and a sugar spoon, l. 5‑7/8”, sixty-eight pieces monogrammed “I”, 83.59 total t. oz. (excluding dinner knives), presented in a fitted, Pacific cloth lined wooden case, h. 4‑1/4”, w. 15”, d. 13‑1/4”. [2000/4000] 1163 Set of Six Alvin “Bridal Bouquet” Sterling Silver Demitasse Spoons, designed in 1832 by Axel Herman Staf (1869‑1941), Providence, Rhode Island, monogrammed on the reverse “S”, l. 4‑1/4”, 2.44 total t. oz. [60/90]

1159

1164 Six American and Continental Silver Table Articles, first half 20th century, including a French first standard (.950) powder jar by Andre Delpy, working Paris, 1905‑1933, of circular form, with guilloche engraving and gilt interior, the lid glazed over a gouache on paper of flowers in a basket, dia. 4‑1/2”, an American sterling silver box by Hausmann’s, New Orleans, of plain rectangular form with hinged lid and gilt interior, w. 3”, an American wheel engraved glass salad dressing bottle with sterling stopper, monogrammed “B”, h. 7‑1/4”, and three American paneled glass cosmetic jars with sterling lids, one by Foster & Bailey and set with a faux amethyst, h. 1‑1/2” to 1‑3/4”, 11.44 t. oz. (weighable silver). [300/500]

175

1165 1165 Charles Demuth (American, 1883‑1935), “Cyclamens”, 1919, watercolor on paper, signed and dated lower left, sight 11 1/2” x 8 1/4”. Matted and framed. [20000/40000] Illustrated

1166 one of two 1166 Arthur Dudley (British, fl. 1890‑1907), “Still Life With a Basket of Cherries, Green Pottery Vase, and Oranges” and “An Orange Branch”, pair of watercolors on paper, both signed lower right “A. Dudley”, each sight 10” x 29”. Both glazed, handsomely matted and framed. [800/1200] Illustrated

176

1167 Henry Alexander Ogden (American/ New York, 1856‑1936), “Colonial Courtship” and “The Mayor and First Lady”, pair of watercolors on paper, both signed “H. A. Ogden”, each sight 12‑1/2” x 8‑1/2”. Both glazed and presented in period Federal-style giltwood and gesso frames. [900/1200] Illustrated

1167

A skilled watercolor artist, Henry Alexander Ogden is known for his depictions of Colonial domestic and social life, paying particularly close attention to accurate renderings of dress, uniforms, customs and architecture. He began working for Leslie’s Illustrated Magazine as a staff artist at the age of seventeen and was commissioned by The Quartermaster General of the U.S. to provide paintings of U.S. Army uniforms from pre-revolution to present times. He was a member of the New York Historical Society and the Illustrators Society. References: Ray Davenport, Davenport’s Art Reference, Walt Reed, The Illustrator in America, 1860‑2000, Peter Hastings Falk, Who Was Who in American Art, 1564‑1975. 1168 After Edward Henry Potthast (American, 1857‑1927), “Woman with Lorgnette”, pencil on paper, unsigned, image 11” x 7”, verso with a “Hammer Galleries/ New York” label along with an inventory label attributing work to Potthast. Attractively glazed, matted and framed. [200/400]

1169 Knute Heldner (American/Louisiana, 1875/77‑1952), “Elderly Woman Knitting”, charcoal, graphite and crayon on paper, signed in pencil lower right “Knute Heldner”, sight 9‑3/4” x 7‑1/2”. Glazed and framed. [500/800]

1170

1172 1173 English Oak Writing Table, 19th century, the rectangular top with shaped corners above a frieze with carved Gothic arches and a single side drawer, raised on cluster column quatrefoil legs ending on square bases, h. 29”, w. 62”, d. 38”. [1200/1800] Illustrated

1170 Thomas Hart Benton (American, 1889‑1975), “Flood”, lithograph, signed lower right, signed in plate lower left, AAA Publishers, sight 10” x 12 3/4”. Matted and framed. [700/1000] Illustrated

1173

1174 Pair of Cast-Iron Garden Benches in the Gothic Taste, late 20th century, each with an elaborately pierced back centered by quatrefoils amidst crocheted arches, the seat comprised of open joined hexagons with a geometrically modeled perimeter, h. 34”, w. 55‑1/2”, d. 20‑1/2”. [900/1200] Illustrated 1171 1171 Thomas Hart Benton (American, 1889‑1975), “ A Drink of Water”, lithograph, signed lower right, signed in plate lower left, AAA Publishers, sight 10 3/4” x 14 3/4”. Matted and framed. [800/1200] Illustrated 1172 Six-Arm Cast-Brass Gothic-Style Chandelier, early 20th century, the upper portion featuring a kneeling angel on a bulbous turning, h. 29”, dia. 21”. [600/900] Illustrated

1174 pair

177

1175 American Cast-Iron Dressing Mirror, ca. 1860, the leaf-form feet support the flag decorated standards on the mirror, made virtually on the eve of the Civil War, the pierced mirror frame supported by hoop-skirted females standing on olive branches, symbolizing the hope for peace, accompanied by a pair of mirror stands, now fitted with a light holder, h. 2‑1/2”, w. 13‑1/2”, d. 6‑1/2”. Ref: Donald Pierce, Art and Enterprise: American Decorative Arts, 1825‑1917, the Virginia Crawford Carroll Collection (Atlanta: High Museum of Art, 2006), p. 48. [500/800] Illustrated 1176 American Rococo Revival Gilt-Brass and Mixed Metal Six Arm Gasolier, mid-19th century, probably Cornelius & Baker, Philadelphia, h. 26”, dia. 34”. [700/1000] Illustrated

1175

1179 Pair of Old Limoges Fan Vases, third quarter 19th century, French, made in the typical fan form, the flaring vase set with pierced gilded handles molded with laurel wreaths and berries, the central reserve panel decorated with hand-painted flowers, the top is rocaille-molded and gilded, h. 15”, w. 13’, d. 6”. [400/700]

1176 1177 American Rococo Revival Gilt-Brass and Crystal Six-Arm Chandelier, mid-19th century and later, h. 30”, dia. 27”. [600/900] 1178 Monumental Pair of Paris-Style Rococo Revival Garniture Vases, leaf-molded gilt and white feet support the bases decorated with gilt and white scrollwork borders against a cobalt ground with gilt rocaille decoration, the bodies of the flared vases with fluted bases and pierced cobalt and gilt handles, framing reserve panels handpainted with a trio of French soldiers on horseback on the obverse, and polychrome flowers on the reverse, pierced lattice work edged with gilt scrollwork forms the upper edge, h. 31‑1/2”, w. 27‑1/2”, d. 10”. [3000/5000] Illustrated

1178

178

1180

1183 Paul Cornoyer (American, 1864‑1923), “Still Life With Peaches, Grapes and Watermelon”, oil on canvas, signed lower left “Paul Cornoyer, St. Louis”, 22” x 33‑1/2”. Presented in a period giltwood and gesso frame. [3500/5000] Illustrated 1180 American Rococo Revival Rosewood Marble Top Etagere Attributed to Thomas Brooks, Brooklyn, New York, third quarter 19th century, the upper structure with a central arched mirror flanked by open shelves to each side with mirrored backs and a floral carved crest above, the base retaining its original white marble above a central drawer and mirrored cabinet door below, each end with open shelves, h. 88”, w. 53”, d. 21”. [1500/2500] Illustrated previous page

1183

1181 detail

1181 American Solar Lamp with Period Double Turban Shade, mid-19th century, Boston, the double step base with a gilt-bronze leaf molding, the cobalt glass standard decorated with gilt scrollwork and mounted with a grape-molded breather and a leaf-molded tank, all retaining a bright gilded surface, the double turban shade cut with gothic panels, leaves and crosshatched ovals, h. 21”, dia. 6‑1/4”. [800/1200] Illustrated

1181

1182 American Rococo Revival Rosewood Cabinet, third quarter 19th century, the black and gold Egyptian marble chest with canted corners, the conforming case with a pair of doors and fitted with an arched mirror plate, the upper corners with applied foliate and cabochon carvings, on bracket feet, h. 38”, w. 48”, d. 22”. [1000/1500] Illustrated

1184 Southern School (Third Quarter 19th Century),”Portrait of Three Siblings”, pastel on paper, unsigned, sight 18 3/4” x 15 1/4”. In an antique gilt lined carved and gessoed giltwood frame. [200/400] 1185 American School (Fourth Quarter 19th Century), “Oval Portrait of a Girl, Holding a Bouquet of Flowers”, oil on canvas, unsigned, 27” x 21”. Presented in a period giltwood and gesso frame. [400/700] 1186 Rare Pair of American Lyriform Three-Light Girandoles, second/third quarter 19th century, composed of silvered brass and white marble, dressed throughout with large period cut glass prisms, presented on oblong white marble bases of block form, h. 19”, w. 17‑1/2”. [200/400]

1182

179

1189

1187

1187 Paris Porcelain Figural Garniture Vase, mid-19th century, decorated with a bleu de France ground, the conical foot decorated with two putti, a male with Bacchanalian headdress, and a female, all resting against a gilt and white basketwork ground below a cartouchemolded stem, the main body with a hand-painted panel of a courting couple in 18th century costume in a garden, framed in gilt scrollwork, the reverse decorated with handpainted roses framed in gilt scrollwork, the pierced handles decorated with a knot of gilt laurel leaves, and the pierced gilt and white fretwork lip decorated with anthemia, marked with a spurious Sevres signature, h. 15‑1/4”, w. 16”, d. 10”. [900/1200] Illustrated 1188 Steinway and Sons Rosewood Parlor Grand Piano, third quarter 19th century, New York, of rectilinear form, the end folding back to reveal a keyboard and sheet music stand in the form of a lyre flanked by arabesques, raised on generous cabriole legs with a carved shield at the knee and ending in French toes, h. 38”, w. 81”, d. 39‑/4”. [800/1200] Illustrated

1189 Continental Carved Mahogany Breakfront in the Rococo Taste, late 19th century, the molded cornice centered by a broken arch pediment with an elaboratelymodeled cartouche, foliate and floral carved pierced crest, over a gadrooned and carved frieze, the projecting center with a door with arched glazed panel and swag tracery, flanked by turned columns and a pair of narrow doors with like decor, the base fitted with a drawer in each section, scalloped apron and scroll feet, h. 112”, w. 102”, d. 27”. [3500/5000] Illustrated 1190 American Gilt-Bronze Solar Lamp, second quarter 19th century, Boston, the marble base holds a plinth, tapered standard, breather and tack, all retaining original stripe-decorated gilt, the period ball shade frosted and cut with grapes alternating with medallions of acorns and leaves, h. 27”, dia. 7‑1/2”. [600/900] Illustrated 1191 American Brass and Marble Solar-Style Table Lamp, the double-stepped marble base supporting a brass composite capital column standard on a shell-molded base, the faux front molded with acanthus leaves, mounted with a cut and frosted shade and hung with spear-point prisms, h. 21‑3/4”, dia. 8‑1/2”. [75/125]

1188

180

1190

1192 Pair of Cranberry Cased Bohemian-Style Engraved Garniture Vases, the round bases decorated with scrollwork supporting flaring vases with fluted lower sections, and upper sections decorated with rococo cartouches, castles and leaping stags, h. 14‑1/2”, dia. 6”. [500/800] Illustrated

1197 Enameled and Gilded Bohemian Compote, third quarter 19th century, the emerald-green body with a faceted foot decorated with panels of gilt scrollwork, the lower edge of the body is opaline plated, cut to reveal green panels decorated with gilt scrollwork, the side with panels plated with opaline glass enamel with hand-painted landscapes and flowers against panels of gilt scrollwork, h. 6‑1/2”, dia. 8”. [400/700]

1192 1198

1193 Pair of Cranberry Cased Bohemian-Style Engraved Bottle Vases, the base engraved with a detailed stag grazing in the woods, the neck depicting a hunting dog in the woods, h. 13”, dia. 4‑1/4”. [400/700] 1194 Pair of Cranberry Cased Bohemian-Style Engraved Claret Jugs, cut to clear decoration depicting a castle, and a leaping stag in the woods, separated by rococo diapered cartouches, the necks with fluting alternating with scrollwork, and matching stoppers, h. 16‑1/2”, dia. “. [500/800] 1195 Set of Brilliant-Type Ruby Cut Stemware, the rubyplated glass cut to clear with star-cut bases, notched stems and bowls decorated with cut swags, the set comprised of thirteen red wine goblets, h. 8‑3/4”, nine white wine goblets, h. 7‑1/4” and eleven champagne coupes, h. 6‑3/4”. [300/500]

1196

1196 Pair of French Crystal Hurricane Lamps, first quarter 20th century, possibly Baccarat, a beaded rim supports a base molded with bulls’ eyes, the vaseshaped reeded stem holds a matching prism ring hung with spear-point prisms, the shades engraved with floral borders and decorated with cranberry flashed flowers, h. 21‑1/4”, w. 3‑1/2”. [200/400] Illustrated

1198 Islamic Blue Glass Mosque Light, in the classic vaseshaped form, decorated with scrollwork and flowers on the bottom and lower edge, with chain suspension locks alternating with enameled calligraphy on the sides, more calligraphy appearing on the flaring neck bordered with gilt scrollwork, h. 11”, dia. 9”. [3500/5000] Illustrated 1199 Middle Eastern Covered Vessel, of waisted cylindrical form, with bands of incised calligraphy and symbols, along with pointed arch cartouches, the conforming lobed, domed lid decorated en suite, with patinated surface overall, h. 4‑3/4”, dia. 4‑1/4”. [500/800] 1200 Middle Eastern Patinated Metal Oil Lamp, the bottleform body above a conical foot, mounted with a spurred handle on one side and a lipped wick holder on the other, h. 10‑1/4”, w. 5‑1/4”. [250/400] 1201 Iznik-Style Glazed Pottery Charger, of Middle Eastern origin, the cobalt border decorated with purple and white alternating flowers, scrolled stylized flowers, leaves and buds in blue-green and purple decorate the center on a white field, dia. 13‑1/2”. [150/300] Illustrated

1201

181

1202 Continental ColdPainted Bronze Orientalist Bust, first quarter 20th century, mounted on a molded onyx plinth, the bust depicts a turbaned Arabian male, retaining most of its original painted surface, h. 12‑1/2”, w. 13‑1/2”, d. 8‑3/4”. [1800/2500] 1203 Middle Eastern Carved Rosewood Panel, divided into three bands, the panel utilizes reliefcarved rondels of two sizes, Islamic script, alternating with symbols, fills both rondels and the space between, h. 9‑1/2”, l. 54‑1/2”. [1200/1800]

1205

1206

182

1204 Inlaid Hanging Wooden Planter of Middle Eastern Origin, the wooden bowl, possibly from a root, bone-inlaid with birds, flora and script with stylized flowers on each end, hanging from a heavy brass chain, h. 15”, w. 12‑1/2”, d. 5”. [400/700] 1205 Cold-Painted Metal Orientalist Bust, ca. 1900, Continental, the bracket feet support the square tapered base, pierced with ottoman arches and decorated with bas relief Oriental scrollwork, the female form posed with her head cocked to one side and her eyes downcast, wearing a headdress and elaborate beaded jewelry decorated with enamel and “coins” and with more “coins” outlining her forehead below the jewelry affixed to her scarf, h. 28‑1/2”, w. 12”, d. 7‑1/4”. [900/1200] Illustrated

1206 Silverplate Middle Eastern Hanging Lantern, first quarter 20th century, terminating in a ring finial, the bowl-shaped base decorated with convex rondels joined with a running border, all incised with strapwork decoration, the upper border pierced in strapwork patterns, and mounted with scrolled chain supports ornamented with pierced leaves, the conical center support holds a large candle socket with a pierce shade holder, the rod-form “chains” are made to match, h. 49”, dia. 24‑1/2”. [1200/1800] Illustrated 1207 Provincial Louis XV-Style Fruitwood Day Bed, late 19th century, the long cushioned seat flanked to either end by padded outscrolled arms surmounted by a floral crest and fronted by a scrolling molded frame, raised on shaped cabriole legs ending in scrolled toes, h. 37”, d. 37”, l. 93”. [1000/1500] Illustrated

1207 1208 Provincial Pine Welsh Dresser, 19th century, in the Pennsylvania Dutch style, the molded cornice above three open shelves, the lower section fitted with two tri-paneled cupboard doors all with chevron-patterned reeded banding, raised on a plinth base, h. 77”, w. 52”, d. 17‑1/2”. [800/1200] Illustrated

1208

1209 Pair of Provincial Louis-Philippe Fruitwood Bergeres, late 19th century, the padded rectangular back joined by closed arms and bulbous uprights to the cushioned seat, raised above a fluted frieze on bulbous legs joined by an H-form stretcher and ending in toupie feet, h. 35”. [400/700] 1212 1210 Provincial Louis XV-Style Fruitwood Buffet, late 18th/early 19th century, the rectangular top with canted corners above a conforming case fitted with a single central frieze drawer over two cupboard doors, each inset with a shaped panel, above a shaped shell-carved frieze, raised on scrolled feet, h. 40”, w. 52”,d. 24”. [900/1200] Illustrated

1212 Ninety-Four Piece Partial Set of Haviland Limoges Schleiger Pattern “701A” Dinnerware, ca. 1893‑1930, French, decorated with brown, green and blue scrolled borders, the set comprised of twelve dinner plates, dia. 9‑3/4”, eleven salad plates, dia. 7‑1/2”, twelve bread and butter plates, dia. 6”, twelve soup bowls, dia. 7‑1/2”, twelve custard dishes, dia. 5”, fourteen coffee cups, h. 2”, dia. 3‑1/4”, twelve saucers, dia. 5‑1/4”, a double-lipped gravy boat on stand, h. 3”, dia. 6‑1/4”, a pair of covered vegetable tureens, h. 5”, w. 10‑1/4”, a dome top butter dish with insert, h. 4”, w. 8‑1/4”, a cream jug, h. 2‑3/4”, w. 4‑3/4”, a sugar bowl, h. 3”, dia. 6‑1/4”, and three graduated oval platters, w. 5” to 8‑1/4”, l. 8” to 11‑3/4”, dual marks indicate it was both made and decorated by Haviland. [400/700] Illustrated

1210

1211 Provincial Louis XV-Style Fruitwood Chaise Longue, early 20th century, one end with a padded back surmounted by a foliate shell crest joined by downswept padded arms to the long padded seat, the lower end crested en suite, raised on molded cabriole legs ending in scrolled toes, h. 41”, d. 27‑1/2”, l. 81”. [700/1000] Illustrated

1213

1213 Pair of Louis XV-Style Fauteuils, late 18th century, each with a slightly domed and padded back surmounted by a floral crest, joined by padded and scrolling arms to the padded seat, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 36‑1/2”. [1500/2500] Illustrated

1211

183

1217 French Provincial Oak Armoire, mid-19th century, the molded and rounded rectangular cornice above a case fitted with two doors, each inset with two shaped panels, raised on large bun feet, h. 79”, w. 58”, d. 19‑1/2”. [1200/1800] Illustrated

1214

1214 Joseph Raymond Paul Gayrard (French, 1807‑1855), bronze of a borzoi on a rouge marble plinth, the oval plinth echoes the shape of the sculpture, which depicts a reclining dog, signed “Gayrard” near his tail, h. 3”, w. 4”, d. 7‑1/4”. [500/800] Illustrated 1215 Provincial Louis XV-Style Fruitwood Fauteuil, the domed and caned back within a molded frame, joined by flat arms to the cushioned caned seat, raised on cabriole legs, h. 32”. [200/400]

1217

1218 Pair of Louis XV-Style Fruitwood Fauteuils, mid-19th century, each with a shaped padded back surmounted by a floral crest, joined by scrolling padded arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 34”. [700/1000] Illustrated

1216

1216 Pair of Louis XV-Style Fruitwood Fauteuils, mid-19th century, the rectangular caned back surmounted by a shell and foliate crest, joined by foliate-carved arms to the cushioned caned seat, raised on cabriole legs, headed by shield carving, joined by an X-form stretcher and ending in scrolled toes, h. 37‑1/2”. [400/700] Illustrated 1218

184

1219 Jacques Francois Carabain (Belgian, 1834‑1892), “Italian Village Scene”, oil on canvas, signed lower right “J. Carabain”, 21‑1/2” x 16”. Presented in an exhibition frame. [5000/8000] Illustrated

1219 1220 Italian School (Second Quarter 20th Century), “Mid Day Promenade On the Steps” and “Lively Market Scene Outside the City Gates”, two watercolors on paper, former signed lower center “De Fioloia”, latter signed lower left “Giuliani”, each sight 12” x 6‑1/4”. Both glazed and presented in matching attractive giltwood frames. [1200/1800] Illustrated

1221 1221 Leonce de Joncieres (French, 1871‑1947), “Village Street Scene With Figures Returning From Market”, oil on canvas, signed lower right “L de Joncieres”, 14” x 9‑1/2”. Presented in a attractive giltwood and gesso frame. [1400/1800] Illustrated

1222

1220 one of a pair

1222 Continental School (Fourth Quarter 19th Century), “Picking Flowers At the Edge Of The Wood”, oil on canvas, partially discernable signature lower right , 24” x 16”. Presented in a molded giltwood frame. [700/1000] Illustrated

185

1227 Pair of Spanish Baroque-Style Wrought-Iron and Stained Fruitwood Floor Lamps, second quarter 20th century, each with a brocade shade concealing a trio of lights on wrought-iron brackets, on a segmented turned standard joined to scrolling wrought-iron legs, h. 70”, dia. 24”. [400/700] Illustrated

1225 1223 Alessandro Sani (Italian, 1870‑1950), “Market Day”, oil on board, signed lower right “A. Sani”, 17” x 24”. Framed. [800/1200]

1227

1224 Continental School (Third Quarter 19th Century), “Gypsies in the Medieval Ruins”, oil on canvas, indistinctly signed lower right, 26” x 30”. Framed. [400/700] 1225 French Provincial Oak Cabinet, early 19th century, the carved overhanging cornice above a case fitted with four cabinet doors divided by two drawers, all with elaborately carved geometric and foliate patterns, raised on plank feet, h. 75‑1/2”, w. 62”, d. 28‑1/2”. [1000/1500] Illustrated

1226 Louis XIIIStyle Mahogany Fauteuil, late 19th century, the domed and padded rectangular top joined by downswept arms to the padded seat, raised on turned block and bulbous legs joined by a like H-form stretcher and ending in bulb feet, h. 44”. [200/400] Illustrated

1226

186

1228 French Provincial Fruitwood Cabinet, early 19th century, the molded cornice above a case fitted with two cupboard doors divided by a large drawer, all with decorative geometricmodeled panels, raised on block feet, h. 83”, w. 44”, d. 29”. [1000/1500] Illustrated 1228

1229 Near Pair of Metal and Mirror Table Plateaus, each decorated with cut and sculpted three dimensional flowers, the round plateau with a silvered finish on the metal, h. 3”, dia. 23”, and the oval example with an oxidized surface, h. 3”, w. 22”, l. 27”. [200/400] 1230 Third Republic Brass Thirteen-Light Chandelier, late 19th century, the ring joined to a canopy by a trio of chains and centered by an oil font, now electrified, the lower bowl joined to the ring by foliate and scroll-modeled arms supporting a dozen candles, now electrified, h. 70”, overall, dia. 24”. [700/1000] Illustrated

1236 1234 Two Pieces of European Copper Kitchenware, first quarter 20th century, the tin-lined copper ladle with a cast-iron handle, h. 15‑3/4”, dia. 7”, together with a copper cylindrical cooking vessel, h. 6‑3/4”, dia. 9‑3/4”. [100/200] 1235 Provincial Polychrome Shutters, 19th century, each of the two panels with two tiers of metal spindles, retains traces of polychrome and original hardware, h. 37‑1/2”, overall w. 42”. [150/300] 1236 Italian-Style Giltwood and Marble-Top Center Table, the circular Carrara marble top raised on a large tripartite base with shield and acanthine designs and raised on balland-claw feet, h. 29‑1/2”, dia. 42”. [800/1200] Illustrated

1230

1231 French Provincial Oak Bureau Cabinet, partially composed of antique elements, the paneled slant front opening to a fitted interior, over a single drawer and paneled cupboard door, raised on shaped feet, h. 42‑1/2”, w. 22”, d. 14‑1/4”. [400/700] 1232 Unusual Oak and Fruitwood Pedestal, partially composed of antique elements, the square top raised on a large turned wooden standard, formed from an industrial screw, raised on a molded octagonal base to a plinth, h. 45‑1/4”, w. 12”, d. 12”. [200/400] 1233 Unusual Fruitwood and Oak Pedestal, partially composed of antique elements, the octagonal top raised on a standard formed from an old industrial screw to a molded, stepped, canted square plinth, h. 43”, w. 18”, d. 18”. [300/500]

1237 Painted and Silver Gilt Mirror in the Baroque Venetian Style, scrolled decoration in tinted silver gilt surround the mirror, with a broken pediment at the top, the ground painted pale green and an egg-and-dart molded frame surrounds the degraded mirror plate, h. 32”, w. 13‑3/4”. [500/800] Illustrated 1237

187

1238 Italian Neoclassical Giltwood Looking Glass, 19th century, the crest with a floral urn, cartouche and a rectangular mirror plate below, h. 41”, w. 24”. [400/700] 1239 Pair of Continental Silver-Gilt and Giltwood Finials, 19th century and later, the round silvergilt base holding graduated lobed giltwood flattened spheres, topped with silver-gilt flame finials, h. 16‑1/4”, dia. 6‑3/4”. [700/1000] Illustrated

1239

1240 Provincial Italian Polychrome Commode, 18th century and later, the rectangular faux marbre top with a serpentine front, above a conforming case fitted with two bi-paneled drawers, raised on cabriole legs ending in sabots, h. 32”, w. 36‑1/2”, d. 20”. [2500/4000] Illustrated

1242

1242 Painted Venetian-Style Mirror, sitting on scrolled supports, the molded, shield-shaped frame with an inner reeded liner, the upper portion shell-edged and crowned with a pierced leaf carving, the frame painted white and trimmed in faded red with scattered floral painting, h. 29”, w. 16”. [400/700] Illustrated

1243 Italian Polychrome and Faux Marbre Console Table, 18th century and later, the breakfront rectangular top with an inset faux ochre marble surface above a pierced swag frieze centered by a torchere-carved single drawer, raised on molded rope-carved legs centere d by an urn-form stretcher and ending in foliate feet, h. 35”, w. 41‑1/2’, d. 20‑1/2”. [500/800]

1240

1241 Pair of Italian Neoclassical Polychrome Fauteuils, 19th century, each with a tapering rectangular padded back, joined by scrolling arms to the padded seat, raised on tapering paneled square legs, h. 34”. [800/1200] Illustrated 1241

188

1245

1244 Italian Neoclassical-Style Polychrome Sidechair, having a lyre-form back, and woven rush seat of generous proportions, h. 37‑1/2”, w. 24”, d. 19”. [300/500]

1247 Italian Giltwood Looking Glass, 18th century, having a shell-form cartouche and floral ears at the shoulders, h. 46‑1/2”, w. 24”. [400/700] Illustrated

1245 Large Continental Carved, Parcel-Gilt and Polychromed Architectural Cartouche, 19th century or earlier, the central panel bearing a carved date of 1798, h. 76”, w. 87”. [1500/2500] Illustrated

1247

1248

1246

1246 Italian Giltwood and Marble-Top Console Table, early 20th century, the shaped marble top above a conforming frieze centered by a cherub’s head medallion flanked to each side by floral carving and lattice-patterned panels, raised on cabriole legs headed by foliate shells and joined by an elaborate foliate and floral carved and pierced stretcher, ending in scrolled toes, h. 32”, w. 42‑1/2”, d. 19”. [2000/4000] Illustrated

1248 Bronze Figure of Apollo, fourth quarter 19th century, raised on a cove-molded bronze plinth with a mounting aperture, depicted wearing sandals with a goatskin over his shoulder, one arm raised, h. 25”. [700/1000] Illustrated

189

1249 Set of Eight Blown and Gilded Bavarian Rummers, fourth quarter 19th century, domed feet support knopped stems decorated with applied gilt punties, the bowls decorated with gilt bands decorated with polychrome leaves, bordered with a gilt fret, h. 4”. [450/700] Illustrated 1250 Italian Burl Walnut Bombe Chest, early 20th century, in the rococo taste, the serpentine top inset with a shaped banded panel and above a bombe case fitted with three drawers, the sides also inset with banded panels, raised on splayed legs, h. 34‑1/2”, w. 43”, d. 22‑1/2”. [1800/2500] Illustrated

1249

1253 Pair of Italian Polychrome and Ebonized Blackamoors, early 20th century, of a male and female figure, each loosely garbed in brightly-colored and gilt garments in the Florentine manner, each holding aloft a torchere, raised on ebonized square pedestals inset with faux porphyry panels to a socle base, h. 86”. [5000/8000] Illustrated 1250

1251 Latin American Reverse Painted Mirror, the segmented mirror, trimmed in giltwood, with an outer frame of red ground, reverse panels of flowers and scrollwork, the inner frame depicts angels, flowers and scrollwork on a white ground, with decoration in the Baroque style, h. 25‑1/2”, w. 22”. [800/1200] Illustrated

1253 1254 Attributed to August Hermann Knoop (German, 1856‑1900), “In the Artist’s Studio”, oil on panel, unsigned, verso with a “G. M. Long, Ltd. Fine Art Galleries, London” label, inscribed with the artist’s name and title of work, 12‑3/4” x 9‑1/2”. Presented in a period giltwood and gesso frame. [600/900] Illustrated

1251

1252 Continental Giltwood and Marble Rococo-Style Wall Bracket, the wall bracket formed from pierced rocaille scrollwork supporting the serpentine giltwood shelf, which has a conforming brown and red marble top with a molded edge, h. 19”, w. 25”, d. 10”. [250/400]

190

1254

1257 Otto Poertzel (German, 1876‑1963), “Minstrel and the Maiden”, bronze, figures with ivory heads and arms, signed at base, mounted on a later marble and onyx decostyle plinth, h. 21‑1/2”, w. 16”, d. 7‑3/4”. [2500/4000] Illustrated

1256

1255 Continental School (Fourth Quarter 19th Century), “The Jewelry Box”, oil on canvas, indistinctly signed lower left, 18” x 12”. Presented in a giltwood and gesso frame. [500/800] 1256 Continental Mahogany Wing Chair, 19th century, the high domed and padded back joined by shaped sides and padded arms to the like seat, raised above a fluted frieze on square tapering stop-fluted legs headed by patera capitals and ending in spade feet, h. 53”. [1800/2500] Illustrated

1258

1258 Continental Rosewood and Walnut Secretary, mid18th century and later, the domed and molded cornice above a shield-carved frieze over two doors, each with an applied banded panel and opening to a shelved interior, the lower section fitted with a banded drop front opening to a series of drawers above a serpentine case fitted with three long drawers, raised on foliate-carved scrolled toes, h. 91”, w. 49”,d. 28‑1/2”. [8000/12000] Illustrated

1259 Pair of Continental Marble Figures of Women, now mounted as lamps, ca. 1900, the brass bases support the figures, one carrying a lute, the other a basket of flowers, h. 29”, w. 7”, d. 9”. [500/800]

1257

191

1267 Aubusson Carpet, 7’8” x 9’7”. [700/1000] 1268 Donegal Carpet, 8’5” x 11’4”. [2500/4000] 1269 Qashqai Carpet, 4’10” x 7’9”. [2000/4000] 1270 Oushak Carpet, 8’9” x 13’8”. [3500/5000] Illustrated 1271 Aubusson-Style Needlepoint Carpet, 9’1” x 11’8”. [300/500] 1272 Persian Heriz Runner, 4’ x 17’. [400/700]

1266

1273 Donegal Carpet, 4’3” x 6’2”. [700/1000]

1260 Tabriz Carpet, 8’4” x 11’8”. [2000/4000] 1261 Donegal Carpet, 3’6” x 11’. [1000/1500] 1262 Persian Isphahan Carpet, 9’10” x 13’8”. [1400/1800] 1263 Sultanabad Carpet, 10’2” x 14’ 3”. [1000/1500] 1264 Donegal Carpet, 4’ x 8’. [900/1200] 1265 Turkish Angora Oushak Carpet, 8’3” x 9’8”. [1200/1800] 1266 Kashan Carpet, 8’4” x 11’6”. [2500/4000] Illustrated

1270

192

1274 Semi-Antique Persian Mahal Carpet, 10’8” x 17’10”. [1200/1800]

1278 Arthur Wardle, RI RBC (British, 1864‑1949), “Mischief-Makers”, oil on canvas, signed lower right, titled en verso of canvas, 37‑1/2” x 18”. Attractively framed. [20000/40000] Illustrated

1275

1275 Turkish Angora Oushak Carpet, 9’9” x 14’. [3000/5000] Illustrated 1276 Verdure Tapestry, 6’3” x 8’10”. [700/1000]

1278

1277 1277 Semi-Antique Aubusson-Style Needlepoint Carpet, 11’6” x 18’. [600/900] Illustrated

Considered one of the pre-eminent British animal painters of his day, Wardle was a completely self-taught artist. A native of London, he exhibited his first work at the Royal Academy at the young age of sixteen. Acclaimed for his depictions of dogs and exotic animals, Wardle was equally proficient in oil, pastel, and watercolor. Combining a quick, painterly brushstroke with a rich color palette, Wardle created works teeming with a sense of energy. A popular artist for commissions of show and breed dogs, Wardle approached the paintings of individual dogs in much the same way portraitists approached their subjects, with a certain degree of idealization. In comparison to his more rigidly composed compositions of purebred dogs, Wardle's animal genre scenes have a spirited, almost quixotic, appeal. In the work represented here, he deftly captures the playful quality of the central figure of the collie. His works are in the Victoria and Albert Museum, the Tate Gallery, the Leeds City Art Gallery, and numerous private collections. His paintings and watercolors were used to illustrate several books including, A History and Description of the Collie, Modern Dogs, and Show Dogs. References: Bowron, Rebbert, et al. Best in Show. 2006. New Haven: Yale University Press; Wood. Victorian Painters:Volume II The Text. 1998: Antique Collector's Club.

193

1279 Anton Karssen (Dutch, b. 1945), “Supper Time”, oil on canvas, signed lower left “A. Karssen”, 20” x 16”. Handsomely framed. [2000/4000] Illustrated

1283 1282 American School (Third Quarter 20th Century), “Bird Dog With Catch”, oil on canvas, unsigned, 12” x 17”. Framed. [300/500] 1283 S. Pearce (British, 19th Century), “The Meet”, oil on canvas, signed lower right, titled bottom center, 16” x 24”. Framed. [500/800] Illustrated

1279 1280 Anton Karssen (Dutch, b. 1945), “St. Bernard Puppy”, oil on canvas, signed lower right “A. Karssen”, 14” x 18”. Presented in a giltwood and gesso frame. [2000/4000] Illustrated 1281 Circle of Marie Therese Bernard de Jaham (American/Louisiana, 1869‑1916), “Portrait of a St. Bernard”, oil on canvas, unsigned, 20” x 14”. Presented in a period oak frame. [300/500] 1284 1284 Louis Basset (French, b. 1948), “On the Race Track”, oil on panel, signed lower right “L. Basset”, 19‑1/2” x 27‑1/2”. Presented in a molded polychrome frame. [1200/1800] Illustrated 1285 Australian School (Second Quarter 20th Century), “White Horse”, oil on canvas, unsigned, “Ophelia Fine Arts/ Oxford Street/ NSW Australia’ stencil en verso of canvas, 20” x 16‑1/4”. Framed. [300/500] 1286 Fred Thurlby (British, 20th Century), “Tally-ho”, 1926, oil on canvas, signed and dated lower right, titled lower center, 16” x 20”. Framed. [500/800]

1280

194

1290 Patinated Metal Figure of a Mourning Woman, first quarter 20th century, Continental, g rasping her head in her hands, the mark “cire perdue” refers to “the wax” casting process, on a green marble base, h. 14‑1/4”. [400/700] 1291 Edwardian-Style Satinwood Pembroke Table, the shaped rectangular top with a foliate and ribbon banding and central cherub-painted panel and two shaped drop leaves, above a frieze fitted with a single end drawer, raised on tapering square legs, h. 29”, d. 29‑3/4”, l. 20”, ext. l. 40‑1/2”. [500/800] Illustrated

1287 1287 J. H. Shaw (British, active 1890s), “Stallion”, 1891, oil on canvas, signed and dated lower left, 13-1/4” x 19-1/4”. In an antique cove-molded wood frame. [500/800] Illustrated

1292 Louis XVI-Style Mahogany Center Table, early 20th century, the ovoid top with inlaid foliate banding centering a globe and other implement-inlaid panels, issuing a sunburst pattern of bellflowers, above a conforming frieze, joined to a concave stretcher shelf by tapering square legs ending in spade feet, h. 30”, w. 35‑3/4”, d. 26‑1/2”. [400/700]

1288 Carved Hardwood Figure of a Menacing Bulldog, probably Continental, the realistically carved dog depicted crouching as if poised to attack, his mouth open and ears back, h. 9‑1/2”, w. 6”, l. 17‑1/2”. [250/400] 1289 Pair of Stone and Metal Canine-Form Art Deco Bookends, second quarter 20th century, Continental, possibly composed of silvered bronze, each depicted seated with one paw raised, on molded green marble plinths, with marble book supports behind, h. 5‑1/2”, w. 5‑1/2”, d. 3‑1/2”. [350/500]

1293

1293 Edwardian Satinwood Vitrine, early 20th century, the molded cornice above a floral-painted frieze, above a case fitted with two doors, each with an astragal-glazed upper section and a paneled lower section, centered by a polychrome urn, raised on tapering square legs ending in spade feet, h. 65‑1/2”, w. 42”, d. 15‑1/4”. [500/800] Illustrated

1291

195

1294 One Hundred and Twelve Piece Rosenthal “Eminence” Pattern Dinner Service for Fourteen, Germany, decorated with cobalt borders decorated with raised gilt bellflowers, the set comprised of fourteen dinner plates, dia. 10‑1/2”, fourteen salad plates, dia. 7‑3/4”, fourteen bread and butter plates, dia. 6‑1/4”, fourteen cream soup bowls and underplates, h. 2‑1/4”, dia. 6‑1/4”, fourteen soup bowls, dia. 8”, and fourteen coffee cups and saucers, h. 1‑3/4”, dia. 4‑3/4”. [500/800] Illustrated 1294 1295 Partial Spode Bone China Dinner Service,1976‑1989, English, Lancaster Cobalt pattern, the design incorporates a serpentine, gilded edge on a cobalt border trimmed with contrasting white leaves and enhanced with a raised gilt border of scrolls and medallions, the plain white center reserve panel decorated with a gilt fret, the set comprised of eight dinner plates, dia. 10‑3/4”, eight salad/dessert plates, dia. 7‑3/4”, eight handled cream soups with six underplates, h. 2‑1/2”, dia. 7”, six cups and saucers, h. 2”, dia. 6”, together with six Spode Chancellor cobalt dinner plates, dia. 10‑3/4”, and six bread and butter plates in a closely related pattern of the same shape and palette, dia. 6‑1/4”. [500/800]

1298 Set of Eleven Pickard Decorated Bavarian Service Plates, 1925‑1930, the raised gilt outer edge frames a wide cream border decorated with gilt scrollwork and edged with dark green, the inner gilt border depicting scrolled strapwork, made and marked by Heinrich & Co., Selb, Bavaria and the decorator’s mark for 1925‑30, Pickard, in a gilt shield with a rampant lion, dia. 11”. [400/700]

1296 Set of Ten Tiffany Retailed Royal Doulton Luncheon Plates, ca. 1902‑1922, the scalloped edge and raised gilt border with a royal blue ground, decorated with baskets of flowers suspended from bowknots, connected with swags of beading and festooned with gilt sprigging, marked with the Royal Doulton and Tiffany marks, as well as the decorator and gilder, dia. 9”. [400/700] Illustrated 1297 Set of Eleven Aynsley “Aristocrat” Pattern Service Plates, 1939‑1959, English, the cobalt borders decorated with reserve panels of hand-painted flowers, matching the floral central panel, all trimmed in gilt scrollwork decoration, marked with the Aynsley bone china signature, and the pattern name: “Aristocrat 7700 cobalt blue”, dia. 10‑1/2”. [450/700]

1299

1299 Edwardian Mahogany Sofa Table, early 20th century, in the George III style, the banded rectangular top centered by an inlaid shell panel and with two rounded drop leaves, above a frieze fitted with two drawers to one side and two faux drawers to the other, all paneled and with inlaid decorative banding, raised on bobbin-turned supports joined by a like stretcher and raised on splayed legs ending in brass caps and casters, h. 28‑1/4”, d. 26”, l. 37”, ext. l. 58”. [600/900] Illustrated

1300 Pair of Chinese-Style Painted Figural Lamps, footed ebonized bases support cast-metal male and female Mandarin figures holding buckets, each wearing black robes with yellow coats, trimmed in Chinese red, with a Chinese red hat, the support standards hung with Chinese style bells, mounted with shades, h. 35”, w. 18”, d. 11‑1/2”. [400/700] 1296

196

1306 Edwardian Suite of Three Mahogany Nesting Tables, early 20th century, all with a rectangular top with decorative inlaid banding and a central oval patera, raised on turned circular legs to runner feet, h. 26”, w. 23‑1/2”, d. 15”. [250/400] 1307 Three Molded Glass Fly Catches and a Collection of Mounted Beetles in Shadow Boxes, the fly catches, first quarter 20th century, the first example a beehive shape in pale green, resting on three peg feet, h. 8‑1/4”, the second example decorated with molded flies, h. 8‑1/4”, and the third example in “sun purple”, h. 5‑1/2”, together with six shadowboxes holding a variety of beetles, identified and handsomely mounted in hardwood cases, h. 8”, w. 6”, largest. [125/250] 1308 Albertosaurus Hip Bone, Cretaceous period, Judith River Formation, Montana, l. 27”. [700/1000]

1301 1301 Gilt-Metal, wrought iron and Brass Chandelier of Art Nouveau Inspiration, second quarter 20th century, the lotus-modeled chains supporting a frame with a bejeweled bowl, the rim of which supports six arms with electrified candles, the center sprouting wrought-iron stems and leave with ivory porcelain flowers, h. 36”, w. 28”. [500/800] Illustrated 1302 Set of Ten Cut-Glass Goblets, the notched bases and stems support bowls cut with a notched latticework pattern, h. 7”. [200/400] 1303 Eighteen Piece Partial Service of Steuben Stemware, mid-20th century, Corning, New York, made in Steuben’s “Georgian bucket shape”, with square bases, baluster stems and unadorned bowls, the set comprised of ten champagne coupes, h. 4‑3/4”, two red wine goblets, h. 6”, a white wine goblet, h. 5‑3/4”, three sherry glasses, h. 5‑3/4”, and a pair of water goblets, h. 7”, one now shortened, each piece engraved “Steuben” on the base. [400/700] Illustrated

Albertosaurus (“Alberta lizard”) is a genus of carnivorous theropod in the same family as Tryannosaurus rex, though smaller (about 30 feet in length) and characterized by distinctive bony crests above its eyes. First discovered in 1884 in the Red Deer valley by Joseph B. Tyrell, a geologist searching for coal seams, its range appears to have been limited to the western United States and Canada, centering Montana and southern Alberta. Even so, it is one of the best documented of tyrannosaurids, with fossils of over thirty individuals recovered, including twenty-six at a single site, providing both evidence of pack behavior and a unique opportunity for the study of dinosaur ontogeny and population biology. 1309 Collection of Ratite Eggs in Tall Glass Displays, including nine emu eggs, two cassowary eggs, three rhea eggs and an ostrich egg, with two glass domes on turned exotic wood bases, one oval, overall h. 17”, w., 13”, d. 7”, and one circular, overall h. 30‑1/2”, dia. 12‑7/8”, and a tall cylindrical glass vase, h. 19‑3/4”, dia. 5‑1/2”. [200/400] 1310 English Oak Desk, early 20th century, in the Elizabethan taste, the rectangular top with an inlaid leather surface above a frieze fitted with a central drawer over kneehole, flanked to either side by a small drawer over a deeper drawer, all with carved scrolling foliate patterns, raised on ribbed cup and cover legs joined by box form stretchers and ending in block feet, h. 29”, w. 57” d. 32”. [500/800]

1304 Set of Gorham-Retailed Crystal Stemware, made in Germany, pressed in latticework and notches, the set comprised of twelve iced tea goblets, h. 7”, and ten water goblets, h. 7‑1/4”. [250/400] 1305 Edwardian Mahogany DrinksTrolley, early 20th century, the elongated octagonal top with a full pierced brass gallery, a central glazed panel and a push handle at one end, above a conforming glazed case fitted with a single side drop-front door, raised on large wheels and casters, h. 34‑1/2”, w. 32”, d. 16‑1/2”. [400/700]

1303

197

1312 Painted Stone Figure of a Man in Elizabethan Costume, ca. 1900, dressed in a tunic and ruff, a staff in one hand, h. 16”. [200/400] 1313 Carolean Walnut Armchair, 17th century and later, the pierced and scrolling crest above a caned splat within downswept arms to the caned seat, raised on shaped legs joined by a pierced stretcher and ending in scrolled toes, h. 55”. [700/1000] Illustrated 1314 Caroleon-Style Mahogany Armchair, late 19th century, the shaped crest centered by a crown carving flanked by scrolls and finials, the bisected caned back flanked by barley-twist uprights and joined to the cushioned and caned seat by downswept arms, raised on saber legs joined by a scroll-and-crown front stretcher, h. 45‑3/4”. [100/200]

1311 1311 Large Elizabethan Revival Oak Tester Bed, early 20th century, with a paneled back and turned posts, supporting a paneled tester, the footboard paneled near its base, crafted to accommodate a contemporary queen size mattress, h. 88”, w. 68”,ext. l. 87‑1/2”, inside w. 60‑1/2”, inside l. 79”. [1200/1800] Illustrated

1316 1315 Pair of Carolean-Style Walnut Sidechairs, 19th century, each with a padded seat, raised on bulbous and block legs joined by turned stretchers and ending in bun feet, h. 40”. [700/1000] 1316 After Sir Peter Lely (Dutch/British, 1618‑1680), “Portrait of Barbara Villiers, Countess of Catlemaine and Duchess of Cleveland”, oil on canvas, unsigned, 50” x 40”. Presented in an attractive giltwood and gesso frame. [1200/1800] Illustrated

1313

198

1319 Pair of Brass Queen Anne-Style Two-Light Table Lamps, raised bases support brass stands mounted with pairs of scrolled candle arms fitted with drip pans, rib-molded candle cups and electrified standards, the conforming black painted shades made of brass, h. 25”, w. 17”, d. 8”. [300/500] 1320 Dutch Walnut Display Cabinet, early 19th century, the shaped and arched molded cornice centered by a foliate scroll, above a conforming single paned door, flanked to either side by a canted paned panel, above a kettle-form base fitted with three long drawers, flanked to either side by an arched cupboard door, raised on hairy paw feet, h. 75”, w. 43”, d. 16”. [1000/1500] Illustrated

1317 1317 George II-Style Patinated-Brass Twelve-Light Chandelier, the stem with graduated spheres supporting two tiers, each with six scroll arms, fitted with electric candles, h. 36”, dia. 36”. [500/800] Illustrated 1318 Dutch Ebonized Cushion-Form Looking Glass, 19th century, the beveled rectangular plate surmounted by a triangular pediment with repousse brass scrolling foliate patterns, surrounded by a frame of canted mirrored panels, all with brass repousse accents, h. 37”, w. 23‑1/2”. [1200/1800] Illustrated

1320 1318

199

1321 Nest of Three Chinese Export Blue Fitzhugh Porcelain Platters, ca. 1800, traces of gilt highlight the blue diapered borders, the central medallion surrounded by loosely defined floral panels, l. 10‑1/4” to 13‑1/2”, w. 7‑1/5” to 10‑1/2”. [700/1000] Illustrated

1321 1322 Pair of Chinese Export Blue Fitzhugh Porcelain Dinner Plates, ca. 1800, a gilt-edged diapered border with blue fret frames four panels around a medallion center, dia. 9‑3/4”. [250/400] Illustrated

1325 Pair of Dutch Marquetry and Walnut Queen AnneStyle Sidechairs, 19th century, each with a domed crest above a baluster-form splat with an inlaid bird on branch design, the padded shaped seat inset into a mask design, raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 44‑1/2”. [300/500] Illustrated

1322

1323 Chinese Export Blue Fitzhugh Porcelain Sauce Tureen and Stand, first quarter 19th century, an oval undertray holds the tureen, which has twisted handles terminating in molded berries and leaves, the oval cover crowned with an oval knop, h. 6”, w. 8‑1/4”, d. 6‑1/4”. [400/700] Illustrated 1324 Pair of Dutch Queen Anne-Style Marquetry and Mahogany Sidechairs, 19th century, each with a shaped crest above a vasiform splat with floral, foliate and moth inlays, the shaped inset and shaped seat raised on cabriole legs ending in ball-and-claw feet, h. 45‑1/2”. [300/500]

1326

1326 Dutch Queen Anne-Style Walnut Tea Table, 19th century, the quarter-veneered rectangular top with a shaped raised edge, above an ogee-molded frieze fitted with a single drawer, raised on cabriole legs headed by acanthine carving and ending in ball-and-claw feet, h. 28‑1/2”, w. 34”, d. 22‑1/2”. [2500/4000] Illustrated

1323

200

1327 Dutch Oak Corner Secretary, early 19th century, the molded and domed cornice above a single glazed door opening to a shelved interior, the lower section fitted with a slant front secretary opening to six small drawers over two banded and paneled cupboard doors, raised on bun feet, h. 79”, q. 37”, d. 24”. [800/1200] Illustrated

1329 Mottahedeh Blue-and-White Porcelain Oblong Dish with Domed Cover, in the Chinese export taste, the base with a leaf-molded edge and diapered borders punctuated with rondels of floral decoration, with a central reserve panel of flowers framed with a blue fret, the conforming cover decorated to match, marked “Mottahedeh”, h. 8‑3/4”, w. 11”, l. 16”. [250/400] 1330 Dutch Delft Ginger Jar, fourth quarter 18th century, now mounted as a lamp, the lobed body decorated in the chinoiserie taste, with figures strolling in a garden, and birds in the trees, mounted with a contemporary wooden base and cover, and fitted with a shade, h. 21”, dia. 10”. [250/400]

1331

1331 British School (First Quarter 18th Century), “Half Length Portrait of a Lady”, oil on canvas, unsigned, 30” x 25”. Framed. [300/500] Illustrated

1327

1328 Two Chinese Export Graduated Reticulated Porcelain Trays, ca. 1800, traces of gilt edge on the reticulation of the blue diapered borders, the central panels decorated with a medallion and four loosely defined panels of flowers, l. 8‑1/4” to 9‑1/2”, w. 7‑1/4” to 8‑1/2”. [800/1200] Illustrated

1328

201

1332 English Pottery Vase, early 20th century, underglaze blue transfer decoration with flowers, h. 19”. [100/200] Illustrated 1333 Dutch School (Fourth Quarter 19th Century), “Courtship in a Tavern” and “Man With a Broken Pitcher”, pair of enhanced prints laid on board, each sight 5‑1/2” x 4”. Each presented in matching period veneered, molded frames with giltwood liners. [400/700] 1334 Continental School (Fourth Quarter 19th Century), “Nature Morte”, pair of oils on board, unsigned, 12” x 10”. Both presented in ebonized and parcel-gilt frames. [450/700]

1338 1338 Pair of Chromed Steel and Black Leather “LC3 Grand Comfort” Armchairs, after Le Corbusier (Charles Edouard Jenneret, 1867‑1965), the loose cushions supported by double-web strapwork, the underside of each with a sticker “Made in Italy”, h. 26”, w. 41”, d. 28”. [700/1000] Illustrated

1339

1332

1335 Follower of Godfried van Schalcken (Dutch, 1643‑1706), “Lace Making By Candlelight”, oil on panel, probably 19th century, inscribed lower left “G. Schalcken Pinxt”, 14” x 11‑1/2”. Presented in a later exhibition frame. [500/800]

1339 Baccarat “Orion” Pattern Decanter and Double Old Fashioned Set, the signed cylindrical decanter decorated with cut bulls’ eye’s and a matching disc-form stopper, h. 13”, dia. 3‑1/2”, together with six signed, matching double old fashioned, h. 4‑1/4”, dia. 3‑1/4”. [250/400] Illustrated 1340 Set of Baccarat Harcourt Pattern Finger Bowls and Underplates, cut in a wide notched pattern, the set comprised of twenty finger bowls, dia. 4‑3/4”, and eighteen matching underplates, dia. 6‑1/4”. [300/500] Illustrated

1336 Follower of David Teniers II (Flemish/ Belgium, 1610‑1690), “Tavern Scene With a Woman Reading a Letter”, oil on panel, unsigned, 9” x 13‑1/2”. Presented in a parcel-gilt frame. [300/500] 1337 Jeremias Wolff (German, 1663‑1724), “Mars”, black and white engraving, sight 14” x 8‑1/2”. Glazed, double-matted and attractively framed. [100/200]

202

1340

1346 Pair of Contemporary Chrome and Black Lamps, the black lacquered bases decorated with a single chrome inverted bull’s eye, matching chrome base molding and a chrome cap, fitted with conforming black shades, h. 22‑1/4”, w. 18”, d. 10‑1/2”. [200/400] 1347 Victor Vasarely (Hungarian/French, 1906‑1997), “Untitled”, color screenprint, signed in pencil lower right “Vasarely”, numbered lower left “47/250”, sight 17‑1/4” x 13‑1/4”. Glazed and framed. [200/400] 1342 1341 Crystal Wine Bucket, probably French, the tapered bucket molded with thumb prints and pointed lozenges, faceted handles mounted on the sides and an impressed star decorates the base, h. 8‑3/4”, dia. 7‑1/2”. [200/400] 1342 Contemporary Steel and Glass Cocktail Table, the square glass top with canted corners and stepped edge, raised on double scroll legs joined by a pierced X-form stretcher with brass ball and bow accents, h. 18”, w. 40”, d. 40”. [500/800] Illustrated 1343 Contemporary Glass and Gilt-Metal Cocktail Table, the broadly beveled square glass top above a concave frieze, raised on crescent-form legs joined by a scrolling X-form stretcher, h. 16‑1/2”, w. 36”, d. 36”. [400/700] 1344 Fifty-Six Piece Partial Service of Baccarat Massena Pattern Stemware, the set comprised of twelve water goblets, h. 7‑1/2”, four bordeaux goblets, h. 7‑1/4”, five white wine goblets, h. 6‑1/2”, twelve claret glasses, h. 6”, eight aperitif glasses, h. 5‑1/2”, six sherbert glasses/champagne coupes, h. 5‑1/2”, eight champagne flutes, h. 8‑1/2”, and a decanter with a matching stopper, h. 9‑1/4”. [700/1000] Illustrated 1345 Three French Lead Crystal Decanters, the tall f aceted example with a tapered body and matching stopper, signed “Baccarat”, h. 17”, dia. 4”, the shorter paneled decanter, also signed “Baccarat”, h. 9”, dia. 4‑3/4”, and the globe-shaped decanter cut with notches and bulls’ eye’s, with a notch-cut matching stopper, unsigned, h. 8‑3/4”, dia. 4‑1/2”. [200/400]

1350

1348 Alexander Calder (American, 1898‑1976), “Card Players” and “Three Card Players”, two color lithographs, 1975, published in Derriere Le Miroir, Paris, unsigned, sheet 14‑3/4” x 21‑3/4”. Both glazed and framed. [200/400] 1349 Marc Chagall (Russian/French, 1887‑1985), “Self Portrait”, frontspiece from The Lithographs of Marc Chagall, Vol. I (M. 282), color lithograph, unsigned, sheet 12‑3/8” x 9‑3/8”. Glazed and framed. [300/500]

1350 Joan Miro (Spanish/French, 1893‑1983), “Composition V” from the Je Travaille Comme un Jardinier series (M. 354), color lithograph, 1963, signed in pencil lower right “Miro”, numbered lower left “31/40”, sight 15” x 12‑1/4”. Glazed, matted and framed. [1200/1800] Illustrated

1344

203

1351 Georges Braque (French, 1882‑1963), “Les Couples” from Lettera Amorosa (V. 187, p. 53), color lithograph, 1963, unsigned, sight 12‑1/4” x 9‑3/8”. Glazed, matted and framed. [200/400]

1354 Balthus (French, 1908‑2001), “Jeune Fille Endormie”, lithograph, signed in pencil lower right, pencil numbered lower left “50/50”, sight 30” x 22”. Glazed, handsomely matted and framed. [600/900]

1352 After Georges Dola (French, 1872‑1950), “Theatres Des Varietes, La Chauve-Souris”, color lithograph, printed by Ch. Wall, sight 29‑1/2” x 22”. Glazed, matted and framed. [300/500]

1355 Pair of Molded Plaster Sconce Covers After Serge Roche (French, 1898‑1988), cast to resemble palm fronds, the flaring wall-hung covers open at the top to emit light, h. 31”, w. 17‑1/2”, d. 10”. [1000/1500] Illustrated

1353 1353 Fritz Rehm (German, 1871‑1928), “Cigaretten Laferme Dresden” chromolithograph, a “Martin Lawrence Gallery” label en verso , sight 12‑1/2” x 8‑1/2”. Glazed, attractively matted and framed. [400/700] Illustrated

1356 Monumental Burnished Steel and Cast-Iron Lantern of Art Deco Inspiration, the harp centered by a stepped bright metal center with flame finial, with a cast ring depicting anthemion scrolls, lotus leaves and pineapple, the lower section with a ribbed glass shade framed by a yoke with foliate accents and a pineapple finial, h. 89”, dia. 33”. [500/800] Illustrated

1356 1357 Art Deco Burl Walnut Secretaire Abbatant, first quarter 20th century, the rectangular top with projecting canted corners, above a conforming case fitted with a single drawer over a panel-inlaid drop-front opening to a mirrored interior, over three graduated drawers, raised on tapering square legs, h. 56”, w. 23‑1/2”, d. 17‑1/4”. [900/1200]

1355

204

1358 Italian Art Deco Circassian Walnut and Calamander Sideboard, second quarter 20th century, the back retaining a fragmentary paper label of “Fratelli Mariani, Sorrngo, the case of tripartite form, each section with a drawer over a door, the center section flanked by an arched niche mounted with a sphere on boldly reeded legs, the cylindrical pulls of aluminum with bone ends, h. 39”, w. 70‑1/2”, d. 21‑1/2. [500/800]

1359 1359 Polished Quartz Geode on Stand, the turned mahogany stand supports a grey and white polished geode which is opened to reveal a mauve crystaline interior, h. 7‑3/4”. [500/800] Illustrated 1360 Red Onyx Box, composed of squares of red onyx with white veins, with a hinged lid and an interior lined with black felt, h. 1‑1/2”, w. 6”, d. 4‑1/2”. [450/700]

1362

1362 Lalique “Female Bathers” Vase, the flared, cylindrical vase molded with impressed female nude bathers and clear “waves”, signed “Lalique, France”, h. 9‑1/2”, dia. 7‑1/2”. [800/1200] Illustrated 1363 Set of Six Lalique Angel Goblets, frosted, molded angel heads at the tops of the stems leading to engraved wings on the bowls, signed “Lalique, France”, h. 8”, dia. 2‑3/4”. [250/400] 1364 Lalique Nemours Pattern Frosted Crystal Bowl, designed with a grid of impressed molded flowers with black enamel centers, unsigned, h. 4”, dia. 10”. [1000/1500] Illustrated

1361

1361 Waylande Gregory (American, 1905‑1971), “Holly Zausner”, glazed pottery bust, signed and titled at back of neck, set upon a natural stone base, height 18 1/2”, length 14 1/4”, width 11”. [500/800] Illustrated

1364

205

1365 Collection of Five Lalique Crystal Articles, the collection includes a matching lion’s head molded ashtray, h. 2”, dia. 5‑1/2”, a lighter urn, h. 3‑3/4”, dia. 3‑3/4”, a swan ring tray, with a pair of frosted swan’s over a “pool”form holder, h. 3‑1/4”, dia. 3‑3/4”, a stemmed and frosted anemore, h. 4”, w. 4”, d. 4”, and a small flower-form frosted bowl, h. 1‑1/4”, dia. 3‑1/2”, each signed “Lalique, France” except the flower and flower bowl. [700/1000] 1366 Pair of Lalique Crystal “Mesanges” Candle sticks on Hexagonal Feet, the circular frosted stems molded as two birds in a wreath of flowers, with a frosted hexagonal candle cup, signed “Lalique, France”, h. 6‑3/4”, dia. 5”. [400/700] 1367 Lalique Apple-Form Crystal Bottle, made for Nina Ricci, the apple-form bottle with a stem-form stopper, signed “Lalique, France”, h. 5‑3/4”, dia. 4‑1/4”. [500/800] 1368 Pair of Art Deco-Style Chrome-Plate and Faux Rock Crystal Table Lamps, chrome-plated ball feet support the hexagonal base, the standard made of faceted “crystals” alternating with cabochon-form “crystals”, separated with silver gilt medallions, h. 30‑1/2”, dia. 7‑3/4”. [1800/2500] Illustrated

1369

1369 Continental Silver Overlay Art Glass Vase, first quarter 20th century, the smoky goblet-form vase decorated with silver overlay patterns of blossoms and leaves, with incised details, h. 14”, dia. 8”. [400/700] Illustrated

1370

1368

206

1370 Jim Dine (American, b. 1935), “Ravenna”, hand colored etching, 1988, edition AP, numbered, signed and dated lower left, 78‑1/2” x 51‑1/4”. Glazed and framed. [8000/12000] Illustrated

1371 Philippe Francois Nault (French/New Orleans, b. 1948), “Abstract With Yellow”, 1988, acrylic on brown paper grocery bag, unsigned, 37 1/2” x 47 1/2”. Framed. Provenance: X-Art Gallery, New Orleans, Louisiana; Private Collection. [1200/1800] Illustrated This work was a part of a series of assemblages created from brown paper bags obtained from local French Quarter businesses and was completed in conjunction with a large-scale street art project at Lafayette Square in 1988 entitled “E Pluribus Unum, Black and White Street Melody.” 1371 1372 Alfredo (Alfred) de Georgio Crimi (Italian/New York, 1900‑1994), “Portrait of the Artist Chen Chi”, oil on canvas, signed lower right, a “St. Lawrence University/ New York” accession label en verso, 66” x 30”. Framed. Provenance: Gift of artist to St. Lawrence University, Canton, New York; Private Collection. Exhibition History: Richard F. Brush Art Gallery, St. Lawrence University, Canton, New York. [2000/4000] Illustrated

The Sicilian-born Crimi studied at the National Academy of Design and the Institute des Beaux-Arts before becoming a muralist for the WPA. This portrait of Chen Chi, his fellow National Academician, was likely completed in the mid-50s. A native of China, Chi was an instructor at the University in Shanghai. In 1947 he moved to New York as a part of a cultural exchange program between China and the United States; he stayed in the city for the remainder of his life, eventually becoming a United States citizen. Chi traveled throughout the country, working at various times in Chicago, New Orleans and San Francisco. In 1999, the Chen Chi Art Museum was opened in Shanghai; the president of China, a collector of the artistís work, officiated. Chi was invited to create a work in honor of the 50th anniversary of the People's Republic of China.

1373 1373 Theodor Klotz-Durrenbach (Austrian, 1890‑1959), “Floating Figures”, oil on canvas, signed lower right “Klotz”, verso stretcher with a partial label, inscribed “Klotz-Durrenbach”, 43‑1/2” x 19‑3/4”. [1800/2500] Illustrated 1372

207

1374 Mary Finley L. Fry (American/California, 1908‑1964), “Industrial Landscape” and “Abstract Still Life With an African Mask”, double-sided oil on panel, both sides signed “Mary L. Finley Fry”, 24” x 20”. Unframed. [1200/1800] Illustrated

1381 Cluthra Art Glass Vase, Attributed to Steuben, second quarter 20th century, shaded from cloudy-clear to pink, with distinctive Cluthra bubbles in patterns, pontil marked, unsigned, h. 8”, dia. 4‑3/4”. [400/700] 1382 Akop Gurdjan (Armenian/French, 1881‑1948), “Tauromache a Cheval”, terracotta sculpture, signed at edge of base, height 11‑1/4”, length 10‑1/2”, width 3‑1/4”. Gurdjan studied in Paris at the Academie Julian and at Auguste Rodin’s workshop. [1000/1500] Illustrated next page

1374 1375 Leonardo Neirman (Mexican, b. 1932), “Untitled”, seriograph, signed in pencil lower right “Neirman”, pencil numbered lower left “116/300”, sight 22” x 28‑1/2”. Glazed, double-matted and presented in a contemporary frame. [300/500] 1376 American School (Contemporary), “Abstract Composition in Red”, oil on canvas, signed lower right “M. Moss”, 20” x 16”. Presented in a crimson-polychrome frame. [100/200] 1377 American School (Contemporary), “Winter Port Scene”, oil on canvas, unsigned, 20” x 24”. Presented in a handsome giltwood frame. [200/400] 1378 Milton H. Greene (American, 1922‑1985), “Marilyn Monroe in The Seven Year Itch”, black and white photograph, unsigned, sight 15‑1/2” x 11‑1/2”. Glazed, matted and framed. [300/500] 1379 Eva Stettner (American, Contemporary), “Torso Fragment” and “Fragment of a Woman’s Back”, two Rakufired clay wall sculptures, former mounted inside an artistmade shadowbox frame, signed and dated “1984” verso, latter signed and dated “1986” verso, former 23” x 21”, latter 26” x 17”. [400/700] Illustrated 1380 Collection of Five Continental Art Glass Paperweights, comprised of a cobalt and gilt-swirled egg-shaped weight signed by Archimede Seguso, Murano, Italy, h. 4‑1/2”, an egg-shaped green weight with bubble-form decoration, h. 4‑3/4”, a millefiori weight on a stand with blue and yellow rods and bearing the numbers “1832”, h. 5‑1/2”, a weight on a stand with a clear pedestal decorated with a chain-cut border, supporting a navy ball with a blue and white glass snake, h. 4‑3/4”, and a millefiori weight decorated with red, yellow and blue, h. 1‑1/4”. [800/1200] Illustrated

208

1379 1383 Pair of Continental Copper Art Deco Architectural Panels, second quarter 20th century, one bas relief plaque depicts several antelope on a hammered ground, while the other depicts two bulls on a hammered ground, h. 11‑3/4”, w/ 11‑3/4”. [600/900] 1384 Terracotta Nude Male Torso, the surface in an antique bronze patina, h. 34”. [300/500]

1380

1389 Grotto-Style Polychrome Looking Glass, the beveled plate surmounted by an elaborate fan-form crest composed of various shells, surrounded by a frame of patterned shells, with a lower coral and shell design, h. 56”, w. 31‑1/2”. [1000/1500] 1390 Cast-Stone, Copper, Glass, and Gnarled Wood Hibachi on Stand, late 20th century, the circular glass top over a section of gnarled stump, the interior fitted with a conforming copper-clad liner, on a columnar cast-stone base, h. 31”, dia. 31” [600/900]

1382

1385 Two Wood Artist’s Mannequins first half 20th century, each fully articulated, the larger h. 26”, the smaller h. 12”. [200/400]

1387

1391 Two Similar African Masks, possibly Baule tribe, Ivory Coast, elongated faces depict men with beards and distinctive animal ears, ebonized surface, h. 16‑3/4”, w. 9‑1/4”, and h. 16”, w. 7‑3/4”. [200/400]

1386 1386 Harry Callahan (American, 1912‑1999), “Untitled”, dye transfer print, signed in pencil lower right “Harry Callahan”, image 9‑1/2” x 14”. Glazed, matted and framed. [1500/2500] Illustrated

1392 Two African Tribal Masks, possibly Balue tribe, Ivory Coast, one appears to be a cross between a man and an animal, with human eyes and nose, h. 15”, w. 8‑1/4”, the other depicting an elongated human face with a tall hairpiece, h. 15‑3/4”, w. 6‑1/2”. [200/400]

1387 Harry Callahan (American, 1912‑1999), “Untitled”, gelatin silver print, signed in pencil lower right, image 6” x 6”. Glazed, matted and framed. [1500/2500] Illustrated

1388 Harry Callahan (American, 1912‑1999), “Untitled”, dye transfer print, signed in pencil lower right “Harry Callahan”, image 9‑1/2” x 14”. Glazed, matted and framed. [1500/2500] Illustrated

1388

209

Index of Artists and Printmakers

February 23 & 24, 2013

Crimi, Alfred de Georgio 1372

Ahl, Henry Hammond 1084

Cundin, Jose Maria 955, 956

American School 1168, 1185, 1282, 1376, 1377

Cusner, Robert 666

Anderson, James McConnell 1041, 1042

Cuzco School 333, 334

Australian School 1285

Daffinger, Moritz-Michael (after) 486

Balthus 1354

Dake, Carel Lodewiijk, the Younger 942

Basset, Louis 1284

Davenport, Edith Fairfax 923

Belgian School 650

De Jaham, Marie Therese Bernard (circle) 1281

Benton, Thomas Hart 1170, 1171

De Joncieres, Leonce 1221

Bercier, Mark 1043, 1044, 1045, 1046

De Neufforge, Jean-Francois (after) 224

Betts, Judi 932

Demuth, Charles 1165

Boucher, Francois (follower) 109

Dine, Jim 1370

Boycott-Brown, Hugh 237

Dola, Georges (after) 1352

Braque, Georges 1351

Drysdale, Alexander John 927, 928, 929

British School 196, 197, 239, 1331

Dudley, Arthur 1166

Dukes, J. Hamilton 238

Calder, Alexander 1348

Dunbar, George Bauer 969, 970, 971

Callahan, Harry 1386, 1387, 1388

Duque, Gustavo 967

Carabain, Jacques Francois 1219

Dutch School 1333

Cassatt, Mary (after) 671

Chagall, Marc 1349

Embrey, Carl Rice 968

Churchill, Wiley 931

Ericson, David (attributed) 241

Continental School 225, 336, 484, 993, 1222, 1224, 1255, 1334

Evangeline, Margaret Wirstrom 961

Continetal School 64

Fei, Wong Wang 1, 2

Cornoyer, Paul 1183

French School 65, 615, 616, 646, 665

Coutts, Gordon 1085

Freudenberg, Jacobus 652

Index of Artists and Printmakers

February 23 & 24, 2013

Fry, Mary Finley L. 1374

Kinsey, Alberta 924

Fuller, Jane Sage 1097

Klein, A. 66

Klotz-Durrenbach. Theodor 1373

Gayrard, Joseph Raymond Paul 1214

Knoop, August Hermann (attr) 1254

German School 110

Kohlmeyer, Ida 962

Girault, Louis C. 1091

Gould and Hart 455

Laughlin, Clarence John 945, 948

Gould and Richter 454

Laughlin, John Clarence 946, 947

Greene, Milton H. 1378

Laurencin, Marie 669

Gregory, Waylande 1361

Lawrence, Thomas (after) 442

Guidry, Louise 1036, 1037, 1039

Leader, Benjamin Williams 48

Gurdjan, Akop 1382

Lely, Peter (after) 1316

Levy, Byron 1034

Hammond, Natalie Hays 957, 958, 959

Long, Mitchell 964

Hardy, James 938, 939

Hasbrouck, Maggie 966

Mauve, Anton 670

Hedderel, Rivet 954 Heldner, Colette Pope 934, 935

Milling, Colo 1053, 1054, 1055, 1056, 1057, 1058, 1059, 1060, 1061, 1062, 1063, 1064, 1065, 1066

Heldner, Knute 925, 926, 1169

Miro, Joan 1350

Hemmerling, William 1032, 1033

Moilinary, Marie Madeleine Seebold 922

Hobbs, Morris Henry 960

Mourlot, P. 389

Hovener, Johannes Josephus 529

Munninghoff, Xeno 651

Italian School 1220

Nault, Philippe Francois 1371

Navez, Francois Joseph (attributed) 502

Jensen, Arup 242

Neirman, Leonardo 1375

Karssen, Anton 1279, 1280

Ogden, Henry Alexander 1167

Index of Artists and Printmakers

February 23 & 24, 2013

Shaw, J. H. 1287

Parrish, Stephen 1108

Smith, James Calvert 1113

Pearce, S. 1283

Southern School 933, 1184

Pettitt, J.A.C. 240

Stanislawski, Jan 668

Pigott, Carole Hardy 930

Stettner, Eva 1379

Stevens, Alfred 653

Rehm, Fritz 1353

Stewart, Allsion 963

Renard, P. 530

Stewart, Robert 243

Renard, Paul 527, 528

Stubbs, William Pierce 992

Reynolds, Joushua (after) 335

Sudduth, Jimmy Lee 1029, 1030

Richards, Charles Whitfield 941

Sun, F. 667

Richardson, Jonathan (circle) 202

Ritschard, Louis 389, 485

Teniers, David II (follower) 1336

Robie, Jean Baptiste 63

Thurlby, Fred 1286

Rochard, Pierre 390

Thysell, Charles 1040

Rodrigue, George 949, 950, 951, 952, 1067, 1068

Tolliver, Mose Ernest 1031

Rossini, Luigi (after) 307

Tolliver, William 943, 944

Rucker, Robert 936

Ruellan, Andree 965

Van Schalcken, Godfried (follower) 1335

Vasarely, Victor 1347

Sachse, Janice R. 1038

Sani, Alessandro 1223

Wardle, Arthur 1278

Schiller, Julius (after) 326

Whiting, Russell 940

Schoffmann, Maria 337

Wilkinson, Jack 953

Schouten, Henry 645

Wolff, Jeremias 1337

Scott, John Tarrell 1035

Wood, Ella Miriam 937

Secrest, Tom 1047, 1048, 1049, 1050, 1051, 1052

Woolf, Samuel Johnson 1110

Seidenberg, Jean 972

Index of Artists and Printmakers

February 23 & 24, 2013

Glossary The Artistâ&#x20AC;&#x2122;s Name: In New Orleans Auction Galleries opinion, a work by the artist. Attributed to: In New Orleans Auction Galleries opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In New Orleans Auction Galleries opinion, a work by a follower of the artist. Circle of: In New Orleans Auction Galleries opinion, a work of the period of the artist and showing his influence. Manner of: In New Orleans Auction Galleries opinion, a work in the style of the artist, p ossibly of a later period. After: In New Orleans Auction Galleries opinion, a copy of the work of the artist. Signed: Has the signature which in New Orleans Auction Galleries opinion is that of the artist. Bears Signature: Has a signature which in New Orleans Auction Galleries opinion might be the signature of the artist. Dated: Is so dated and in New Orleans Auction Galleries opinion was executed at about that date. Bears Date: Is so dated and in New Orleans Auction Galleries opinion may have been executed at about that date.

NEW ORLEANS AUCTION GALLERIES

REQUEST FOR CONDITION REPORTS (DEADLINE: Thursday, February 21, 2013, AT 5:00 P.M.) Condition reports are completed in the order in which they are received. Please allow ample time for large requests. Condition reports will not be given verbally. Photo requests will only be processed for items not illustrated in our catalog or website (www.neworleansauction.com). Detail photographs will be provided at our discretion.

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NEW ORLEANS AUCTION GALLERIES

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– Authorized Release Form – Name: ______________________________________________________________________ Business Name: ____________________________________________________________ Telephone(s): _____________________________________________________________ Email Address: ___________________________________________________________ I authorize: _______________________________________________________ to pick up items New Orleans Auction No.:______________________________ or Sale Date:_________________ Lot #(s): ___________________________________________________________________ _____________________________________________________________________________ Please sign below:

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Customers, Please Note: Deadline for Absentee/Telephone Bidding Guidelines for Telephone Bidding 5:00 p.m. Central - Thursday, February 21, 2013

estimate on each item. Deadline for Condition Report Requests 5:00 p.m. Central - Thursday, February 21, 2013

We Accept VISA and MasterCard for Invoices Up to $25,000 There will be a buyerâ&#x20AC;&#x2122;s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold. Items in the catalogue are sold as is, where is. On the fall of the auctioneerâ&#x20AC;&#x2122;s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final. Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

CONDITIONS OF SALE ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED. 1. INTRODUCTION (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG. • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG. • A “Bid” is a bid made by a party at the Auction to purchase a Lot. • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding). • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction. • “Buyer’s Premium” is defined in Section 4 below. • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction. • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction. • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges. • A “Lot” is specific item of property offered for sale at Auction. • The “Reserve” is defined in Section 3 below. • The “Purchase Price” is defined in Section 4 below. • A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot. • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot. • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot. (c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms. 2. BEFORE THE AUCTION ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES (a). WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY WARRANTY AGAINST REDHIBITORY DEFECTS IS

WAIVED AND EXCLUDED. NOAG and Seller provide absolutely no warranty against redhibitory defects, including without limitation: (x) any defects rendering a Lot useless or its use inconvenient; and (y) any defects diminishing the usefulness of a Lot; and any such warranties are waived and excluded. In addition, NOAG and Seller provide no warranties, guarantees, or representations as to whether a Lot is fit for its ordinary use, fit for Buyer’s intended use or for Buyer’s particular purpose. (iii) No warranty against eviction. ANY WARRANTY AGAINST EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer is evicted from possession of whole or part of the Lot, neither NOAG nor Seller have any duty whatsoever to return any part of the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk and peril as to third parties who may claim rights in the Lot after the Sale. (iv) No warranty as to authorship. NOAG does not make any express or implied warranty as to authorship of works of art and fine art. No statement in the Catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. (v) No warranty of peaceful possession, etc. The following warranties are waived and excluded: the absence of hidden defects, peaceful possession, and ownership. NOAG and Seller provide absolutely no warranty that the Lot is free from hidden defects, or for peaceful possession, or for ownership. (vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law, any express or implied warranty of any kind whatsoever is excluded by this Section 2(a). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to (b). examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. Catalogue and other descriptions. (c). (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (d). (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any

oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer. 3. AT THE AUCTION Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to (a). place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse (b). admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. Absentee bids / Telephone bids. (c). (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid). (iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in (d). its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction

in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below (e). which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or (f). through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse (g). any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the (h). Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn (i). from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever. 4. AFTER THE AUCTION (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 23% of the Hammer Price (discounted to 20% if the method of payment is by check, cash, or wire transfer) up to and including a Hammer Price of $200,000 and 10% of the amount by which the Lot’s Hammer Price exceeds $200,000; and (iii) Any applicable Louisiana, state, local, and federal or other taxes, calculated as required by law. Any documentation of tax exemption must be provided by the Bidder contemporaneously with the execution of the attached registration form. Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG (b). for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 801 Magazine Street, New Orleans, Louisiana 70130, Telephone number: 504-566-1849. Payments may be made by certified check, cash, wire transfer, or credit card (Visa, Mastercard, and American Express). Payments will be accepted by non-certified check only in NOAG’s sole discretion, from Buyers that have been qualified by NOAG in NOAG’s sole discretion. Title to the Lot does not pass to the Buyer until the full amount of the Purchase Price has been tendered and received by NOAG in good cleared funds, even in circumstances where the Lot has been released to the Buyer. Credit Cards. Your signature on this form constitutes permission to charge the full amount of the (c). Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the

full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full (d). payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or (e). import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day (f). on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction.

Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good (g). cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for

such amount. Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the (h). responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section (i). 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5. COPYRIGHT The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it. 6. SEVERABILITY If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law. 7. DATA COLLECTION In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure. 8. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of 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.

This Form Must Be Submitted by 5 p.m., Thursday, February 21, 2013

absentee / telephone bid form

NEW ORLEANS AUCTION GALLERIES

Paddle #_______________ 801 Magazine Street, New Orleans, LA 70130

Name (Please Print): ______________________________________________ Date: ____________ Business Name: _____________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): ________________________ Address: __________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: ________ Telephones: Work (_____)___________ Home (_____)____________ Fax (_____)___________ E-mail Address: _____________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalog. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale. See previous pages for the complete Conditions of Sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: ________________ Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number) I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ________________________________ Please fax this completed form to: 504-566-1851 or E-mail to info@neworleansauction.com

This Form Must Be Submitted by Thursday at 5:00 p.m.

absentee/telephone bid form (continued) Name (Please Print):

Lot #

______________________________________

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

Page No. 1

02/05/2013 13:54:56 Prices Realized for Sale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

Lot# 1 5 6 8 9 10 11 12 13 14 15 17 18 19 20 21 23 25 28 29 30 31 34 35 36 37 40 41 42 45 46 47 49 50 51 52 54 55 56 58 60 61 62 64

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

2,460 676 861 1,230 676 399 11,070 1,476 307 553 430 215 3,444 615 922 153 584 1,722 522 153 1,845 922 73 338 4,920 2,337 861 861 1,476 184 10,147 276 276 461 5,166 1,845 615 1,353 5,904 369 492 1,599 492 676

65 66 67 69 71 73 74 75 76 77 78 79 80 81 82 83 85 86 89 91 92 93 95 96 97 98 99 100 101 102 103 106 107 109 110 111 112 115 116 117 118 119 121 124

276 98 110 1,107 338 307 36 153 1,476 98 1,968 4,428 5,166 1,968 2,091 215 17,220 2,706 2,214 1,845 2,460 153 276 461 738 2,091 799 369 215 276 25,830 7,380 7,072 984 3,690 276 615 615 553 615 615 522 246 2,952

125 127 131 132 134 135 137 138 139 143 149 150 153 154 155 158 159 160 163 164 166 167 169 172 173 174 176 179 181 183 185 186 188 189 190 192 193 194 195 197 201 204 208 214

276 184 4,182 1,107 861 430 922 1,107 861 553 676 246 430 1,353 553 98 276 799 2,337 1,722 1,476 584 584 399 492 215 1,722 1,107 153 922 123 492 338 2,952 184 18,450 2,706 1,968 615 153 553 1,107 676 307

215 216 217 218 219 220 221 223 226 228 230 233 234 236 237 240 241 242 246 247 248 249 251 256 257 259 261 262 263 265 266 267 268 269 270 271 272 273 277 278 279 280 283 284

922 1,107 123 522 338 73 215 2,460 2,214 215 184 492 461 6,150 522 1,230 461 123 1,722 615 123 123 307 49 153 676 861 369 98 922 5,412 153 492 246 307 1,230 492 221 738 215 2,706 1,107 2,214 676

285 286 287 289 290 291 292 293 294 295 298 299 300 301 302 303 304 305 306 310 311 315 317 320 321 322 325 333 334 340 342 343 347 349 351 354 358 360 366 367 368 387 389 391

676 584 430 1,353 9,840 153 98 522 276 338 307 184 430 184 338 215 430 492 369 276 553 861 615 492 399 430 1,168 246 1,168 2,091 2,460 338 184 799 553 2,029 3,198 1,845 2,091 2,706 1,845 3,444 1,722 1,599

Lot# 393 395 396 398 400 403 404 408 409 410 411 417 418 419 420 422 423 424 426 427 430 431 432 433 434 435 437 438 439 439A 439B 439G 440 441 443 444 445 447 448 452 453 454 455 456

Realized

Lot#

Realized

1,168 1,353 307 215 1,045 553 3,198 215 922 522 215 430 1,045 184 338 4,182 461 1,845 215 338 1,722 1,476 369 1,476 1,599 1,230 584 307 246 246 92 246 615 584 2,152 922 369 676 1,168 1,230 615 1,476 615 2,214

457 458 459 460 461 462 464 465 466 467 468 469 471 472 473 474 475 476 477 478 479 480 481 483 486 487 488 490 493 494 495 496 497 498 500 501 502 503 504 505 507 509 510 511

307 215 246 553 984 1,230 307 861 430 430 6,765 1,722 1,230 1,107 153 369 246 799 307 153 98 615 215 461 338 738 307 738 338 522 1,845 861 522 522 184 553 922 246 307 430 338 8,610 98 1,968

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Page No. 2

02/05/2013 13:54:57 Prices Realized for Sale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

Lot#

Realized

Lot#

Realized

Lot#

Realized

513 514 515 517 520 521 522 523 524 525 526 527 528 529 530 531 532 534 536 539 540 541 544 548 549 551 552 553 557 558 560 561 562 563 564 566 567 569 570 571 572 573 575 577

338 738 1,722 276 1,722 246 215 369 1,353 4,674 153 676 17,220 399 55 369 215 4,182 922 799 1,168 799 1,476 738 492 922 676 492 1,230 922 369 1,045 1,353 584 676 98 3,198 11,070 922 676 984 1,107 1,722 738

579 580 581 583 584 585 586 587 589 592 593 596 599 601 602 603 604 605 606 607 611 612 613 614 619 621 622 623 624 625 627 628 632 635 639 641 642 643 644 645 646 647 648 650

553 399 1,476 984 492 276 492 615 338 615 1,353 246 338 1,599 676 307 246 799 153 861 399 1,845 1,722 584 215 215 615 615 676 246 98 123 184 922 1,230 16,605 3,444 3,198 922 1,230 461 6,150 1,107 1,845

651 653 654 657 658 659 660 671 672 673 675 676 677 679 683 684 686 687 688 689 690 691 692 694 696 697 699 700 701 702 703 704 705 706 707 708 710 711 712 713 714 715 717 720

584 984 922 492 3,444 922 1,353 461 1,230 1,722 215 307 1,722 4,182 2,091 984 2,460 1,230 799 369 399 1,845 553 338 7,072 799 1,599 615 584 984 1,107 98 492 215 922 369 215 98 369 215 522 153 369 615

Lot# 721 722 723 724 725 725A 726 727 729 730 731 732 734 737 738 739 742 743 744 745 747 748 750 752 753 755 758 759 760 762 765 766 767 770 771 773 774 775 776 777 778 779 780 781

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

307 246 584 246 553 184 1,107 184 615 98 492 799 615 430 307 246 1,230 922 2,706 73 184 246 522 461 153 184 676 215 153 738 123 430 153 184 369 73 799 1,045 492 184 98 2,214 492 399

782 783 784 785 786 790 793 797 798 799 801 804 805 807 809 810 812 813 814 815 818 819 823 825 826 827 830 831 832 834 838 842 843 844 846 849 851 853 855 856 860 861 863 864

738 307 73 153 73 2,952 922 922 399 153 369 153 1,845 3,444 98 492 215 1,230 338 1,168 399 338 1,845 2,152 584 369 861 492 738 2,706 738 1,722 110 1,599 1,353 3,198 738 4,674 14,760 3,198 4,059 922 307 1,230

873 879 881 884 889 891 892 893 894 895 897 898 899 900 902 903 904 906 907 909 913 916 918 919 920 921 925 927 928 930 931 933 934 935 936 938 941 942 943 946 947 948 949 950

98 615 5,658 1,045 738 2,337 1,722 1,722 1,722 922 922 369 492 98 2,091 215 3,690 246 1,107 522 3,690 3,690 615 553 1,353 2,706 799 2,952 3,444 799 7,072 215 1,599 369 2,091 1,168 861 1,045 1,353 2,337 799 1,107 184 246

951 952 955 957 958 959 960 963 964 966 968 970 971 973 975 977 981 982 983 984 986 987 988 992 993 994 995 996 1001 1002 1004 1006 1007 1011 1016 1018 1023 1025 1027 1028 1029 1035 1036 1038

184 676 399 799 98 153 246 1,353 2,091 492 430 2,460 492 98 1,230 461 2,091 2,706 153 123 73 307 246 2,091 738 369 369 246 123 861 738 2,706 1,845 399 307 1,476 4,674 153 553 98 55 2,214 153 922

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Page No. 3

02/05/2013 13:54:57 Prices Realized for Sale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

Lot#

Realized

Lot#

Realized

1040 1041 1043 1044 1045 1046 1047 1048 1049 1050 1051 1052 1053 1055 1056 1057 1058 1059 1060 1061 1062 1063 1064 1065 1066 1067 1069 1070 1071 1072 1073 1074 1075 1077 1078 1079 1080 1081 1082 1084 1085 1086 1087 1088

3,198 1,845 307 246 676 615 738 307 984 1,968 221 676 615 2,460 215 338 1,599 922 1,230 861 430 246 676 1,168 1,845 369 7,995 2,214 738 1,230 799 1,722 215 676 215 110 369 799 461 492 2,767 73 307 615

1089 1092 1093 1094 1095 1096 1100 1103 1104 1106 1109 1110 1112 1113 1115 1116 1117 1118 1119 1120 1124 1125 1126 1127 1129 1130 1131 1132 1133 1134 1135 1138 1140 1141 1144 1146 1147 1148 1150 1156 1157 1158 1159 1160

492 676 2,214 1,353 738 1,722 2,952 522 399 399 1,045 861 584 1,168 799 799 861 615 369 922 799 2,214 1,107 1,845 369 184 73 98 110 738 1,845 461 215 369 553 1,168 1,599 492 123 369 2,952 338 369 1,045

Lot# 1161 1162 1163 1164 1166 1168 1170 1177 1178 1183 1186 1187 1188 1189 1191 1197 1198 1199 1200 1205 1207 1211 1212 1221 1225 1228 1232 1234 1246 1248 1253 1254 1255 1257 1259 1259A 1260 1261 1263 1264 1265 1267 1268 1269

Realized

Lot#

Realized

Lot#

Realized

Lot#

Realized

11,685 3,444 2,460 2,214 2,706 799 1,476 984 1,107 676 7,072 2,706 2,952 5,658 15,375 3,567 5,904 4,182 430 1,353 738 4,920 3,075 3,321 584 984 3,936 5,166 12,300 11,070 1,476 2,060 2,460 553 676 676 1,599 246 123 153 184 153 215 73

1270 1271 1272 1273 1274 1276 1277 1278 1280 1281 1282 1285 1286 1288 1289 1290 1291 1293 1294 1295 1296 1298 1299 1302 1303 1304 1305 1306 1307 1312 1313 1314 1315 1316 1317 1319 1321 1323 1324 1326 1329 1330 1331 1332

86 1,968 307 1,168 676 2,706 492 492 1,722 553 738 461 1,230 29,520 1,476 3,690 3,444 1,845 584 2,952 1,599 2,337 6,457 2,091 1,045 6,150 1,476 4,182 1,353 3,198 2,952 1,107 3,444 3,936 2,337 1,230 799 1,353 276 430 922 2,214 110 1,045

1333 1334 1336 1337 1338 1339 1343 1344 1346 1350 1351 1352 1355 1356 1357 1359 1360 1361 1362 1363 1364 1366 1370 1371 1374 1379 1381 1382 1383 1384 1385 1388 1389 1390 1391 1394 1395 1396 1397 1398 1399 1401 1402 1405

3,444 2,460 1,845 1,353 338 4,674 922 153 2,214 2,952 2,091 399 399 246 522 738 861 1,353 553 522 799 676 553 1,045 7,995 738 461 92,250 8,610 27,060 1,845 615 4,428 676 369 1,045 399 307 184 615 922 430 430 338

1408 1410 1411 1412 1413 1414 1415 1416 1417 1418 1419 1420 1421 1422 1423 1424 1425 1427 1428 1429 1430 1431 1432 1434 1436 1438 1439 1440 1441 1444 1445 1446 1447 1448 1456 1457 1458 1459 1461 1462 1464 1465 1466 1470

246 215 246 153 307 123 399 2,952 73 73 215 430 676 73 1,476 1,045 1,476 215 615 276 1,968 2,952 276 2,214 4,920 3,444 522 9,532 584 2,952 3,690 615 307 276 4,674 3,690 3,690 615 1,845 1,845 492 984 861 738

Lot# 1473 1475 1476 1479 1480 1484 1485 1489 1490 1491 1493 1494 1495 1497 1498 1499 1500 1501 1502 1504 1506 1507 1511 1512 1513 1515 1516 1525 1527 1528 1529 1531 1532 1535 1536 1537 1538 1540 1541 1543 1545 1549 1551 1552A

Realized 1,045 1,476 922 246 615 184 553 246 615 246 184 215 369 307 799 4,920 615 1,353 399 6,150 73 215 1,476 307 399 922 2,214 98 1,168 1,476 2,952 2,435 1,722 676 2,337 1,476 1,107 98 738 615 676 461 1,353 861

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Page No. 4

02/05/2013 13:54:58 Prices Realized for Sale 1205 Nov 30 - Dec 2, 2012 Grand Opening Sale

Lot# 1554 1555 1556 1557 1558 1559 1560 1561 1561A 1562 1563 1564 1566 1568 1569 1570 1572 1575 1576 1577 1578 1579 1580 1581 1582 1583 1585 1588 1589 1591 1592 1595 1597 1598 1602 1604 1605 1606 1607 1608 1609 1610 1611 1612

Realized

Lot#

Realized

Lot#

Realized

399 984 2,952 2,952 492 1,107 2,091 2,214 2,460 5,166 3,936 984 861 922 2,952 522 1,353 399 1,230 1,476 1,168 3,690 3,444 492 861 922 4,428 1,722 246 307 676 984 98 307 307 1,230 492 338 369 3,690 3,444 3,936 307 1,845

1613 1614 1616 1617 1623 1624 1625 1626 1627 1628 1629 1630 1633 1637 1640 1641 1643 1645 1647 1648 1649 1651 1652 1653 1654 1655 1656 1657 1658 1659 1660 1665 1666 1667 1668 1670 1671 1672 1673 1674 1675 1676 1677 1682

738 430 430 1,968 3,198 1,968 1,107 1,968 1,599 984 1,722 2,460 738 2,214 215 1,353 3,444 338 1,599 676 338 922 922 615 73 73 799 738 738 98 2,214 338 492 338 276 3,936 3,444 984 3,690 430 553 676 12,300 184

1683 1684 1689 1692 1693 1698 1699 1700 1701 1702 1706 1707 1708 1711 1713 1714 1715 1719 1723 1726 1727 1729 1731 1732 1736 1738 1740 1741 1742 1743 1744 1746 1747 1748

184 399 123 1,230 1,230 184 246 9,225 5,904 430 738 984 307 1,107 34,440 86,100 13,530 676 492 3,198 676 553 922 922 1,845 153 461 1,845 1,599 1,476 1,107 676 123 2,091

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