Cakebread Designer Auction by New Orleans Auction Galleries

Please note that the following are estimates only and the actual time each lot is offered may vary.

Saturday 10:00 am June 8, 2013 Lots 1-549 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-3:30

1-99 100-199 200-299 300-399 400-499 500-549

Sunday 10:00 am June 9, 2013 Lots 550-1106 10:00-11:00 550-649 11:00-12:00 650-749 12:00-1:00 750-849 1:00-2:00 850-949 2:00-3:00 950-1049 3:00-3:30 1050-1106

1 Chippendale-Style Mahogany Veneered and ParcelGilt Pierced Mirror, fourth quarter 19th century, h. 35‑1/2”, w. 19‑1/4”. [200/400] 2 George III-Style Mahogany Footstool, early 20th century, the top with floral needlework, h. 19”, w. 24”, d. 18”. [200/400] 3 Continental Upholstered Ottoman on Casters, 19th century, with peg construction and retaining the original casters, now upholstered in crewel work, h. 17”, dia. 23”. [125/250] 4 George III-Style Mahogany Stool in the Chippendale Taste, early 20th century, raised on cabriole legs with balland-claw feet, now upholstered in gold and crimson cut velvet, h. 19‑1/4”, w. 23”, d. 18”. [75/125]

12 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”. [500/800] 13 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”. [1500/2500]

5 Pair of Georgian Revival Anglo-Irish Cut Glass Candelabra, ca. 1900, each with two gilt-bronze scrolled arms supporting cut glass drip pans and candle cups, both hung with prisms, a central cut glass pinecone and a diamond-cut stepped base, h. 13‑1/4”, w. 13‑1/4”, d. 3‑1/4”; together with a cut glass boudoir lamp, of like date, with a Brilliant Period base and an Argand-type shade, attributed to Pairpoint, Boston, Massachusetts, h. 18‑1/4”, dia. 5‑1/2”. [500/800] 6 Irish George III-Style Cut and Pressed Glass Twelve-Light 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”. [300/500] 7 Georgian-Style Mahogany Armchair, ca. 1800, the tall padded rectangular back joined to the padded seat by reeded arms, raised on tapering square legs joined by an H-form stretcher, h. 43‑1/2”. [500/800] 8 George III-Style Mahogany Wing-Back Armchair in the Chippendale Taste, ca. 1900, with cabriole legs eagle-carved at the knees, now upholstered in cowhide upholstery, h. 49”. [1200/1800] Illustrated 9 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”. [100/200] 10 Queen Anne Mahogany Drop-Leaf Table, late 18th century, h. 28”, w. 36”, d. 15”, extended, l. 44”. [200/400] 11 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”. [700/1000]

14 George III-Style Mahogany Cabinet, 19th century and later, the shaped rectangular top with guilloche-carved edge, above a conforming case fitted with two doors, each with decorative banding, raised above a floral ogeemolded apron on cabriole legs ending in scrolled toes, h. 39”, w. 38‑1/2”, d. 21”. [300/500] 15 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”. [100/200] 16 Pair of George III-Style Mahogany Dining Chairs in the Chippendale Taste, each with a shell-carved crest rail and carved splat, the front seat rail with an applied shell and raised on cabriole legs, upholstered in ivory moire, h. 39‑3/4”. [150/300]

17 Pair of George III-Style Mahogany Dining Chairs in the Chippendale Taste, each with a shell-carved crest rail and carved splat, the front seat rail with an applied shell and raised on cabriole legs, upholstered in striped brocade with an ivory ground, h. 40”. [150/300] 18 Suite of Eight George III-Style Dining Chairs, early 20th century, comprised of two armchairs and six sidechairs, each with a shaped crest above a foliate-carved pierced and interlacing splat, the padded seat raised on cabriole legs headed by shield carving and ending in scrolled toes, h. 40”. [800/1200] Illustrated 19 Monumental George III-Style Mahogany Dining Table, 20th century, the rounded rectangular top banded and raised on three pedestals, each of turned baluster form, to four splayed cabriole legs ending in pad feet, h. 29‑1/2”, w. 54”, l. 166”. [1500/2500] 20 George III-Style Mahogany Dining Table, early 20th century, the rounded rectangular top with molded edge and raised on two pedestals, each with a fluted graduated standard to three splayed cabriole legs headed by acanthine carving and ending in ball-and-claw feet, with five 12” leaves, h. 30”, w. 42”, l. 70”, extended l. 106”. [800/1200]

28 Japanese Imari Porcelain Vase, fourth quarter 19th century, h. 6”, dia. 5‑1/2”. [150/300] 29 Three Imari Plates, comprised of a Japanese plate with a reticulated border, ca. 1900, dia. 8‑3/4”; and two Chinese plates, fourth quarter 18th century, dia. 9” and 9‑1/2”. [150/300] 30 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”. [800/1200] 31 Georgian-Style Polychrome Corner Cabinet, 20th century, in the chinoiserie taste, fitted with a single paneled door featuring a figural oriental landscape, opening to a shelved interior, raised on scrolled feet, h. 47‑1/4”, w. 26‑1/2”, d. 15‑1/2”. [150/300]

21 Hepplewhite-Style Inlaid Mahogany Sideboard, 20th century, h. 37”, w. 72”, d. 24”. [300/500] 22 George III-Style Line-Strung, Banded and Inlaid Mahogany Corner Table, 20th century, the top with a light wood perimeter banding and raised on tapering Hepplewhite legs, h. 27‑1/4”, w. 47‑1/2”, d. 35‑3/4”. [300/500] 23 Japanese Imari Porcelain Baluster-Form Vase, ca. 1900, h. 9‑3/4”. [150/300] Illustrated 24 Pair of Japanese Imari Porcelain Leaf-Form Dishes, fourth quarter 19th century, w. 8‑1/4”, l. 8”. [100/200] 25 Two Pieces of Japanese Imari Porcelain, fourth quarter 19th century, including an oval fluted dish, w. 8‑1/2”, l. 10‑1/2”; and a circular fluted plate, dia. 8‑3/4”. [150/300] 26 Japanese Imari Porcelain Charger, first quarter 20th century, dia. 14‑1/2”. [150/300] 27 Five-Piece Collection of English Ceramics in the Imari Palette, comprised of a Spode oval platter, w. 7‑1/2”, l. 10‑3/4”; a Spode plate, dia. 8”; a pair of Clews oval dishes, l. 7‑1/2”; and a Ridgway tureen stand, mid19th century, w. 15‑1/2”, dia. 11”. [200/400]

32 Regency Tole Tea Canister, second quarter 19th century, h. 16‑1/2”, dia. 8‑3/4”. [200/400] 33 Good Japanese Woodblock Print, 19th century, depicting a geisha carrying a lantern and holding an open umbrella, as the rain and wind blows her kimono, framed, h. 22‑1/4”, w. 19‑1/4”. [200/400] 34 Hand-Painted Glazed Pottery Seated Monkey, 20th century, decorated in the Kakiemon style, h. 13‑1/2”, w. 10‑1/2”, d. 11”. [100/200]

35 Pair of Monumental Stone-Clad “Tusks”, trimmed in brass, h. 68”, base, w. 14”, d. 14”. [300/500] Illustrated

40 Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200] 41 Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200] 42 G. Roy (British, 20th Century), “Three Horses”, oil on canvas, signed lower right, 20” x 24”. Framed. [400/700] Illustrated

36 Pair of George II-Style Armchairs, each with a shaped back, upholstered in gray-blue pearlized leather, h. 41”. [400/700] 37 Suite of Four George II-Style Mahogany Armchairs, each with shaped open arms, upholstered in gray-blue pearlized leather, h. 39”. [400/700] 38 Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200] 39 Pair of Chippendale-Style Mahogany Executive Chairs, with serpentine crests, curved arms and Marlborough legs with cross stretchers, upholstered in faux black leather, h. 40”. [100/200] 42

43 G. Roy (British, 20th Century), “Pair of Horses”, oil on canvas, signed lower right, 20” x 24”. Framed. [600/900] 44 British School (Contemporary), “Black Stallion”, oil on wood panel, 8” x 10”, unsigned. Framed. [100/200] Illustrated 45 British School (Contemporary), “Saddled Horse”, oil on wood panel, unsigned, 8” x 10”. Framed. [100/200] 46 British School (Contemporary), “Haying”, oil on wood panel, unsigned, 24” x 20”. Framed. [300/500] 47 A Decorative English Print of a Hunt Scene, sight 18” x 23‑1/2”. Attractively matted, glazed and framed. [100/200] 52 52 British School (Contemporary), “Two Dogs”, oil on canvas, unsigned, 8” x 10”. Framed. [100/200] Illustrated 53 British School (20th Century), “Portrait of a Terrier”, pastel on paper, unsigned, sight 9” x 12”. Glazed, matted and framed. [100/200] 54 George III-Style Mahogany Secretary Chest, mid19th century, the rectangular top above a case fitted with an oval paneled drop-front secretary drawer, opening to a variety of drawers and cubbyholes, over three graduated long drawers, raised on shaped bracket feet, h. 40‑1/2”, w. 44”, d. 22‑1/2”. [500/800]

51 48 British School (Contemporary), “The Hunt”, oil on wood panel, unsigned, 16” x 12”. Framed. [200/400] 49 American School (20th Century), “Black Beauty”, oil on canvas, illegibly signed lower right, 16‑1/4” x 20”. In a cove-molded frame. [200/400] 50 British School (Contemporary), “Waiting”, oil on canvas, unsigned, 8” x 10”. Framed. [100/200] 51 British School (Contemporary), “On the Scent”, oil on wood panel, unsigned, 16” x 12”. Framed. [200/400] Illustrated

55 George III-Style Mahogany Kneehole Architect’s Desk, mid-19th century, the rectangular top with an inset leather surface, hinged and lifting to an adjustable easel back, above a case fitted with a single frieze drawer opening to a retractable leather-inset writing surface, over two banks of three graduated drawers flanking a central kneehole paneled cupboard door, raised on bracket feet, the sides with brass handles, h. 33”, w. 48”, d. 23”. [1000/1500] 56 George III Oak Slant-Lid Desk, ca. 1800, the lid opening to reveal a compartmentalized interior, the case with a bank of four graduated drawers, h. 39‑3/4”, w. 36”, d. 21‑1/4”. [400/700] 57 George III Rosewood Tea Caddy, first quarter 19th century, outlined with stringing and set with an oval pull on its cover, having a pair of tea compartments with hinged lids flanking a round compartment to hold a mixing bowl, h. 6”, w. 12”, d. 5‑3/4”. [200/400]

58 Two George III Tea Caddies, ca. 1800, each with cut corners, the mahogany example with a cone-shaped escutcheon, an oval pull and outlined with stringing, h. 5”, w. 7‑1/2”, d. 5”; the rosewood example outlined in cross banding and having two fitted compartments with conforming matching lids, h. 5‑1/4”, w. 7‑1/2”, d. 4‑1/2”. [200/400] 59 Three Victorian Tortoiseshell and Bone Boxes, ca. 1900, including a spectacles case with a silverplate escutcheon, l. 5‑1/2”, and two snuff boxes, l. 2‑1/2” and 2‑3/4”. [200/400] 60 Three Victorian Tortoiseshell Boxes, ca. 1900, including a round velvet-lined ring box trimmed in ivory, dia. 1”, and two snuff boxes accented with bone, l. 2‑1/4” and 3‑1/4”. [200/400] 61 Three Victorian Bone Snuff Boxes, ca. 1900, possibly Scottish, two with ring-pull tops, h. 1‑3/4” to 2”. [200/400] 62 George III-Style Mahogany Tripod Table, early 20th century, the tilting rectangular top with shaped corners and raised on a turned vasiform standard to three splayed legs, h. 28‑1/2”. [100/200] 63 George III-Style Mahogany Tilt-Top Stand, mid-19th century, the rectilinear single-board top on a vasiform tripodal pedestal, h. 28”, w. 28”, d. 20‑3/4”. [250/400] 64 George III-Style Oak Tilt-Top Breakfast Table, 20th century, h. 30”, dia. 48”. [300/500]

70 Three Pieces of Pewter, including a pair of English bread and butter plates, fourth quarter 18th century, dia. 6‑3/4”; and a neoclassical-style bread tray, first quarter 20th century, w. 8‑1/2”, l. 12”. [100/200] 71 Two Pieces of Pewter, including a French spouted flagon, marked 19th century, h. 7‑3/4”; and a lidded ale jug, possibly American, second quarter 19th century, h. 7‑3/4”. [100/200] 72 Pewter Lidded Flagon, in the 17th-century style, h. 25”, dia. 6”. [100/200] 73 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”. [800/1200] 74 Continental Pine Six-Step Library Ladder, ca. 1900, with a maker’s patent designation on the hardware, h. 60”, w. 27”, d. 43”. [250/400] 75 George III Stained Pine Butler’s Tray on Stand, ca. 1800, fitted with brass corners, the sides with hand holds, h. 29”, w. 33”, d. 19”. [150/300] 76 Japanese Tri-Part Color Woodblock Print, depicting a battle scene, signed and narrated in calligraphy, sight 13‑1/2” x 29”. Glazed, matted and framed. [200/400]

65 Georgian Oak and Mahogany Tilt-Top Tea Table, ca. 1800 and later, the mahogany circular tilt-top on an oak tripodal pedestal, h. 26‑1/2”, raised, h. 43‑1/2”, dia. 29‑1/2”. [150/300]

77 Japanese Woodblock Triptych, “Running Steam Locomotive in Yokohama Bund” by Utagawa Ando, Hiroshige III (1842‑1894), depicting a train at the wharves with people in the foreground and vessels in the background, signed on the upper right, framed, h. 21‑1/2”, w. 36‑1/2”. [700/1000]

66 George III-Style Inlaid Mahogany Tilt-Top Tea Table, 20th century, the shaped top with inlaid stringing, and raised on a fluted tripodal base with ball-and-claw feet, raised, h. 45”, lowered, h. 29”, dia. 30”. [300/500]

78 Suite of Three Draft Drawings For Emaki Scrolls, 19th century, illustrating scenes from a traveler’s voyage, sight 9‑1/2” x 14‑1/2”. All glazed, matted and framed. [100/200]

67 George III-Style Mahogany Table Lamp, 20th century, the double-socket lamp raised on a turned and bulbous standard, the dished circular table top raised on a like standard to three splayed cabriole legs ending in pad feet, h. 63”, dia. 18”. [100/200]

79 Japanese School (20th Century), “Bird on a Plum Branch”, colors on silk, signed at right, overall dimensions 34” x 19‑1/4”. Silk-matted, glazed and framed. [200/400]

68 English Pewter Cheese/Cake Plate, 18th century, dia. 10”. [100/200] 69 Pair of Pewter Chalices, in the 19th-century style, h. 8‑3/4”. [200/400]

80 Japanese School (20th Century), “Floral Still Life”, color on paper, signed upper right, overall dimensions 43‑1/4” x 24”. Silk-matted and framed. [200/400] 81 Japanese Painting on Silk of a Bird in a Flower Garden, overall dimensions 38‑1/4” x 20”. Silk-matted, glazed, and presented in a contemporary silver-gilt frame. [200/400]

82 Japanese School (20th Century), suite of four kabukithemed woodblock prints, including samurai, puppets and onnagata, overall 37‑3/4” x 17”. All framed together. [100/200] 83 Japanese School (20th Century), “Farmer Gazing at the Sun”, pen and ink on paper, signed lower left, overall dimensions 38” x 23‑1/4”. Silk-matted and mounted in a contemporary frame. [200/400] 84 Open Lot 85 Indian School (20th Century), “The Adored”, mounted ink and color on paper, 9‑1/2” x 6”. Glazed, matted and framed. [100/200] 86 Chinese Pottery Parrot, now mounted as a lamp on a wooden base, parrot, h. 16‑1/2”, overall, h. 29‑1/2”. [50/80] 87 Chinese Green Pottery Jar, now mounted as a lamp on a wooden base, jar, h. 12”, overall, h. 25‑3/4”. [100/200] 88 Decorated Celadon Figure of Confucius, now mounted as a lamp on a conforming wooden base, figure, h. 11”, overall, h. 23”. [100/200] 89 Chinese Porcelain Vase, now mounted as a lamp on a wooden base, vase, h. 18”, overall, h. 29”. [100/200] 90 Japanese Porcelain Vase, in the Imari palette, now mounted as a lamp, vase, h. 15‑1/4”, overall, h. 29‑3/4”. [75/125] 91 Chinese Pottery Figure of a Male Holding a Shoe, now mounted as a lamp, figure, h. 13‑1/4”, overall, h. 25‑3/4”. [100/150] 92 Pair of Chinese Cloisonne Vases, now mounted as lamps with wooden bases and covers, vase, h. 11‑1/2”, overall, h. 24‑1/2”. [100/200] 93 Chinese Hardstone Carving, 20th century, the greenand-brown stone carved in the round and depicting a pine tree with two doves and two cranes, on a conforming wooden stand, overall, h. 8”. [100/200] 94 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”. [100/200] 95 Chinese Celadon-Glazed Vase, of tapering square form, the glaze with craquelure, h. 11‑3/4”, w. 4‑1/2”, d. 4‑1/2”. [200/400]

96 Pair of Chinese Celadon Baluster Vases, h. 15”, dia. 10”. [300/500] 97 Chinese Patinated Metal Figure of Kwan Yin, h. 15‑1/2”, w. 5”, d. 9‑1/2”. [75/125] 98 Japanese Bronze and Cast Iron Usubata, Meiji Period (1868‑1912), modeled in the form of a tasseled money pouch on a flower cart, the flower-arranging section removable, h. 10‑1/2”, l. 13‑3/4”. [100/200] 99 Southeast Asian-Style Bronze Candle Holder, pulled on a two-horse cart, h. 24‑3/4”, w. 9”, l. 14‑3/4”. [125/250] 100 Chinese Bronze Buddha Head, 20th century, h. 16”. [300/500] 101 Burmese Architectural Elements, late 19th/early 20th century, each piece carved and pierced with geometric motifs, and inlaid with mirror panels and lacquered red and gold, h. 24‑1/2”, w. 25”. [600/900] 102 Thai Carved Wooden Architectural Element, late 19th/early 20th century, of spire form and carved with horses, traces of paint remaining, h. 75”, w. 6‑1/2”, d. 5‑3/4”. [500/800] 102A Chinese Carved Ivory Elephant Bridge, l. 10‑1/2”. [150/300] 103 Chinese Interior-Painted Snuff Bottle, 20th century, the bottle carved in the form of a turtle, l. 4”. [150/300] 104 Chinese Interior-Painted Snuff Bottle, the decoration depicting playful kittens, h. 2‑1/2”. [150/300] 105 Chinese Jadeite Snuff Bottle, 20th century, the stone of a bright green color with yellow markings, in a flattened oval form, h. 2”. [150/300] 106 Chinese Black-Lacquered Elmwood Cabinet, 20th century, with two doors over two drawers, and a moonshaped face plate and mounts, h. 71”, w. 42‑1/2”, d. 23”. [500/800] 107 Chinese Elmwood Two-Door Cabinet, 20th century, with a lacquered surface, a carved apron with archaic scrolling and a moon-shaped face plate, h. 74‑1/2”, w. 40‑1/2”, d. 23”. [300/500]

114 Three-Piece Suite of Chinese Rosewood Furniture, first half 20th century, comprised of a pair of chairs and a matching table, the yoke-backed chairs finely carved and pierced with foliation, chair, h. 39‑3/4”, table, h. 30‑1/2”, w. 15‑3/4”, l. 22‑1/2”. [1200/1800] 115 Suite of Four Chinese Stained Hardwood Sidechairs, early 20th century, in the Ming style, each with a shaped crest over a fruit-carved back, the paneled seat raised on square legs joined by an H-form stretcher, h. 40‑1/2”. [400/700] 116 Chinese Polychrome Apothecary Cabinet, early 20th century, the rectangular top with full raised edge above a case fitted with four banks of four small drawers over two drawers, all compartmented and with calligraphic inscriptions on the fronts, raised on square legs, h. 46‑1/2”, w. 33‑1/2”, d. 19‑1/2”. [300/500] 117 Chinese Black-Lacquered Apothecary Cabinet, 19th century with later elements, having forty-two brassmounted drawers labeled with the original contents beneath an open gallery, h. 70”, w. 40‑1/4”, d. 19‑3/4”. [600/900] 111

108 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”. [500/800]

118 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”. [400/700]

109 Chinese Four-Panel Screen, 20th century, each panel of shadowbox form, and having carved hardstone inlaid scenes of birds and flowers, h. 72”, w. 72”. [1000/1500]

119 Chinese Bamboo Root Display Shelf, late 19th/early 20th century, having nine shelves within an ornately shaped section of root, h. 67”, w. 42‑1/2”, d. 24”. [500/800]

110 Japanese-Style Painted Paper Folding Screen, in a faux lacquer frame, h. 36”, w. 72”. [100/200]

120 Chinese Gouache on Paper, fourth quarter 19th century, sight 55‑3/4” x 33‑1/2”. Glazed and framed. [500/800]

111 Chinese Black-Lacquered Four-Panel Coromandel Folding Screen, 20th century, one side with bamboo decor, the other side with birds perched on foliate sprays, h. 72”, w. 64”. [150/300] Illustrated

121 Chinese School (20th Century), group of three woven silks depicting dragons, immortals and foo dogs, sizes range from 23” x 21” to 46” x 44”. All glazed and framed alike. [300/500]

112 Chinese Rosewood Bed, 19th century, the base carved and pierced with bamboo, birds and grapes, h. 18‑1/2”, w. 62”, l. 79”. [1200/1800]

122 Two Chinese Silk Embroideries in Gilt-Bamboo Frames, h. 20‑1/4”, w. 10” and 11”; together with a painting depicting Krishna combing Radha’s hair, h. 8”, w. 6‑1/2” (three total pieces). [100/200]

113 Chinese Rosewood and Marble-Top Stand, early 20th century, h. 24”, dia. 14”. [200/400]

123 Chinese Ming-Style Porcelain Vase, 20th century, the bottle-shaped vase with underglaze blue decoration of an historical scene, h. 18”. [300/500] Illustrated

128 Three Pieces of Chinese Cloisonne, comprised of a dish, dia. 12”, a bowl, dia. 4‑1/2”, and a smaller bowl, dia. 3‑3/4”. [100/200] 129 Pair of Chinese Cloisonne Garniture Vases, decorated with cranes and lotus flowers on a blue ground, h. 12‑1/4”, dia. 5”. [300/500]

123

130 Pair of Chinese Export Sang-de-Boeuf Porcelain Baluster Vases, h. 9”, dia. 3‑1/4”. [200/400] 131 Large Bamboo and Mixed Woods Birdcage, early 20th century, the wrought iron hook joined to the cage with brackets carved with dragons and birds, retaining four crackle porcelain food and water cups, the whole resting on four carved feet, h. 64”, dia. 31”. [200/400] 132 Chinese Bronze Censer, with panels depicting children at play, h. 21”, w. 14‑1/4”, d. 8‑1/2”. [150/300] 133 Pair of Chinese Sang-de-Bouef Porcelain Baluster Vases, h. 18‑3/4”, dia. 7‑1/4”. [150/300]

124 Chinese Export Blue-and-White Porcelain Tree Tub, decorated with peonies and phoenix birds, h. 15”, dia. 18”. [300/500] 125 Pair of Porcelain Covered Jars, 20th century, each ovalform jar with underglaze blue decoration of a long poem in Chinese characters, now mounted as lamps, h. 14”. [300/500] 126 Pair of Chinese Enamel Vases, h. 7‑1/4”. [75/125] 127 Two Chinese Enameled Vases, h. 6‑1/4” and 10”. [75/125]

134 Four-Piece Group of Chinese Export Porcelain, comprised of a pair of plates, fourth quarter 18th century, dia. 9”; a dish, ca. 1800, dia. 8”; and a rice bowl, 19th century, dia. 7”. [150/300] 135 Chinese Export Porcelain Reticulated Fruit Basket and Matching Undertray, fourth quarter 19th century, h. 4”, w. 8”, l. 9‑1/4”. [500/800] Illustrated 136 Two Chinese Porcelain Vases Mounted as Lamps, one decorated with female figures and Chinese characters on the reverse, on a pierced wooden base, vase, h. 15‑1/4”, overall, h. 31”; and the other decorated with peafowl and peonies, on a wooden base, vase, h. 18‑1/2”, overall, h. 24”. [300/500]

135 137 Two Pieces of Chinese Porcelain, comprised of a round dish, 19th century, dia. 11”; and a bowl, 20th century, dia. 6”. [200/400] 138 Large Spanish Colonial-Style Carved and Gilded Doorway Surround, h. 100”, w. 62”. [400/700]

138A Massive Spanish Colonial-Style Giltwood Four-Post Canopy Bed, 20th century, approximate h. 108”, w. 69”, d. 87”. [1500/2500] Illustrated 139 Carved and Painted Santos Figure Depicting Jesus Christ, 19th century, of Latin American origin, h. 29”, w. 16‑1/4”, d. 5‑1/2”. [300/500] Illustrated

139

138A

140 Carved, Painted and Parcel-Gilt SantosStyle Figure of St. Joseph, of Latin American origin, h. 23”, w. 9‑1/2”, d. 6”. [300/500] Illustrated 141 Carved, Painted and Parcel-Gilt Santos Figure of the Christ Child Carrying a Globus Cruciger, 19th century, on a carved and gilded stand of later origin, h. 22‑1/2”, w. 7”, d. 5”. [200/400] 142 Latin American Carved and Inlaid Bone and Hardwood Altarpiece, bone obelisks flank Mary in an arched opening, under the crucifix holding Jesus Christ, h. 28”, w. 7‑1/4”, d. 4‑3/4”. [125/250] 143 Latin American Santos-Style Polychrome Figural Carving, depicting the Virgin of Immaculate Conception, h. 16”, w. 6‑1/2”, d. 3‑3/4”. [150/300]

140

144 Life-Sized Latin American Carved, Polychrome and Parcel-Gilt Figure of Our Lady of Guadalupe, the figure supported by angels on a tapered plinth, h. 75”, w. 23”, d. 19‑1/2”. [800/1200] 145 Santos-Style Carved, Painted and Gilded Angel, on an ebonized wooden platform, h. 19”, w. 9‑1/2”, d. 8‑1/4”. [100/200] 146 Santos-Style “Cage Doll” Figure, with articulated arms, of Latin American origin, h. 22‑1/2”, w. 8”, d. 7‑1/2”. [100/200]

147 Latin American Carved and Painted Ecclesiastical Figure of the Christ Child, ca. 1900, mounted on a Spanish Colonialstyle carved and parcel-gilt pedestal, h. 42‑3/4”, w. 15”, d. 19‑3/4”. [400/700] Illustrated

147

148 Portrait Labeled “Antonio Mendoza”, in the Spanish Colonial style, the carved giltwood frame set with mirror plate and blue glass highlights, h. 24”, w. 28‑1/2”. [200/400] 149 Peruvian Giltwood Mirror, decorated with reverse panels painted with cockerels, conquistadors, and the Madonna and Child, h. 37‑1/2”, w. 19‑1/2”. [300/500]

156 Near Pair of Latin American Carved and Pierced Giltwood Panels, with roundel centers, one finished with a conforming giltwood frame, the other unfinished, h. 50”, w. 36”. [300/500] Illustrated 157 Suite of Four Classical-Style Hand-Carved Spanish Cedar Architectural Brackets, fourth quarter 19th century, h. 13‑1/4”, w. 6”, d. 19”. [300/500] 158 Set of Four Latin American Masque- and AcanthusCarved Architectural Brackets, fourth quarter 19th century, composed of Spanish cedar, h. 22‑3/4”, w. 9‑1/4”, d. 26‑1/2”. [500/800] 159 Suite of Four Latin American Masque-Carved Spanish Cedar Architectural Brackets, first quarter 20th century, in the Baroque style, h. 23‑1/2”, w. 9”, d. 26‑1/4”. [500/800] 160 Pair of Latin American Masque-Carved and Painted Architectural Brackets, fourth quarter 19th century, composed of Spanish cedar and oak, h. 23‑1/2”, w. 9‑1/2”, d. 27‑1/2”. [300/500]

150 Two Similar Latin American Polychrome and ParcelGilt Carved Wall Ornaments, in the Baroque style, h. 10‑1/4” and 11‑1/4”, w. 13” and 9‑1/2”. [150/300] 151 Pair of Baroque-Style Carved and Gilded Looking Glasses, decorated with polychrome-painted putto masques, h. 31”, w. 21‑1/2”. [300/500] 152 Latin American Carved, Polychrome and Parcel-Gilt Altarpiece, the figures of Mary and the Christ Child sitting between rope-twist columns, h. 36‑1/2”, w. 28‑1/2”, d. 4‑1/2”. [400/700] 153 Latin American Robustly Carved Giltwood Hanging Altar, supporting a demon-like figure of red-painted wood with a dolphin tail and gilt bat wings, h. 51‑3/4”, w. 30”, d. 8‑3/4”. [500/800] 154 Pair of Giltwood Two-Light Sconces, in the Spanish Baroque style, carved with shells and scrollwork, h. 18”, w. 11”, d. 11‑1/4”. [200/400] 155 Pierced and Painted Metal Quadripartite Folding Firescreen, in the Rococo Revival taste, h. 29‑1/2”, w. 49”. [200/400]

156 (Near Pair) 161 Spanish Colonial-Style Oak and Mahogany Armchair, late 19th century, the back and seat in russet walnut upholstery, having open arms with scroll ends and turned legs, h. 39‑1/4”. [100/200]

169

170 Group of Three Latin American Carved and Stained Spanish Cedar Boxes, ca. 1900, the largest with carved initials on the lid and raised on cabriole legs, h. 17”, w. 21”, d. 13‑1/2”; another with a dome top and brass carrying handles, h. 8‑1/2”, w. 12”, d. 8”; and one bulbous-sided box carved with Art Nouveau initials, h. 6‑1/2”, w. 12‑3/4”, d. 7”. [300/500] 171 Group of Three Latin American Scroll-Carved and Stained Boxes, composed of Spanish cedar, h. 5‑3/4” to 6‑1/4”, w. 11” to 14‑1/2”, d. 8” to 9‑3/4”. [200/400] 172 Latin American Spanish Colonial-Style Wooden Trunk, with iron-mounted corners, handles, lock and escutcheon, h. 18”, w. 35”, d. 20‑1/2”. [100/200] 173 Pair of Continental Metal Two-Light Sconces, second quarter 19th century, h. 16”, w. 12”, d. 5‑1/2”. [50/80]

162 Spanish Colonial Ebonized Prie-Dieu, 19th century, the armorial-carved back splat joined to twist-turned stiles, the legs ending in knuckled paw feet, h. 31‑3/4”, w. 16‑1/4”, d. 14‑1/4”. [100/200]

174 Provincial Spanish Walnut Side Table, late 18th century, the overhanging rectangular top above a frieze fitted with a single drawer, raised on turned bulbous legs joined by a box stretcher and ending in block and bun feet, h. 32”, w. 42”, d. 22‑1/2”. [300/500]

163 Latin American Carved Baroque-Style Chest, first quarter 20th century, composed of Spanish cedar, h. 17”, w. 35”, d. 21”. [200/400] 164 Baroque-Style Gilded and Painted Valuables Chest, resting on ball-and-claw feet, h. 10‑1/2”, w. 20”, d. 12‑1/2”. [150/300] 165 Baroque-Style Giltwood Casket of Latin American Origin, first quarter 20th century, composed of Spanish cedar, h. 7”, w. 12‑1/2”, d. 9”. [100/200] 166 Spanish Colonial Dome-Top Bombe-Form Valuables Box, first quarter 20th century, covered in tooled and painted leather, h. 8”, w. 14”, d. 7‑3/4”. [75/125] 167 Peruvian Embossed and Tooled Leather Domed Trunk, early 20th century, in the Spanish Colonial style, donned with arabesques, h. 18‑1/4”, w. 26”, d. 18‑1/2”. [250/400] 168 Spanish Colonial Carved and Polychromed Blanket Chest, 19th century, the lift top, front and sides with a carved cartouche amidst flora and scrolls, on bracket feet, h. 22”, w. 36”, d. 21‑3/4”. [200/400] 169 Continental Polychromed and Parcel-Gilt LiftSeat Bench, early 20th century, h. 35”, w. 44”, d. 18”. [300/500] Illustrated

175 175 Cuzco School (18th Century), “Guardian Angel”, oil on paper mounted on board, unsigned, 9” x 6‑1/2”. Attractively framed. [100/200] Illustrated

176 Peruvian School (Late 18th/Early 19th Century), “Virgin and Child”, oil on canvas, unsigned, 25‑3/4” x 21”. In a carved and painted wood frame. [300/500] 177 Italian School (Fourth Quarter 18th Century), “Mary Magdalene with a Skull”, oil on canvas, unsigned, 25” x 19”. Presented in a Charles X giltwood and gesso frame. [350/500] 178 Spanish School (19th Century), “Portrait of a Noblewoman”, oil on canvas, unsigned, 17” x 13”. Presented in an opulently carved wood frame. [200/400] 179 Spanish Colonial School (19th Century), “Portrait of a Luminary”, oil on canvas, unsigned, overall dimensions 21” x 18‑1/2”. In a densely carved and gilt-washed wood frame. [100/200] 180 Cuzco School-Style (Early 20th Century), “Holy Family on Flight into Egypt”, oil on canvas, inscribed “Dc. Abrahams/Callo Sanchez/Cusco/1(?)87” on banner lower left, 38” x 51”. In a carved and gilt-washed wood frame. [500/800] Illustrated

183 South American Double-Sided Altarpiece, fourth quarter 19th/first quarter 20th century, depicting “Crucifixion” on one side and “Virgin and Child on a Crescent Moon” on the other side, presented within a Baroque-style carved, arched frame on a stepped plinth base, h. 36”, w. 23”, d. 10”. [400/700] 184 Continental School (20th Century), pair of oils on canvas, “Adam” and “Eve”, each illegibly signed lower right, 59” x 32”. In matching carved and pierced giltwashed frames. [700/1000] 185 Collection of Five Continental Works on Paper, including a graphite and ink sketch of a “Reclining Nude”, signed illegibly and dated “1977” lower right, sight 3‑3/4” x 6”; a watercolor depicting “Italian Rooftops”, signed illegibly lower left, sight 10‑1/2” x 7‑3/4”; a graphite study of a “Wooded Landscape with a Waterfall”, unsigned, sight 4” x 4‑1/2”; an etching of “Christ on the Cross”, sight 9‑3/4” x 6‑3/8”; and a charcoal of “Madonna and Child”, after Raphael (Italian, 1483‑1530), 19” x 13”. All glazed and framed. [300/500]

186 South American School (20th Century), “Madonna” oil on canvas, unsigned, 19” x 15”. In a gilt-washed wood frame. [200/400] 187 Italian Carved Alabaster Rope-Twist Pedestal, ca. 1900, h. 39‑3/4”, dia. 12”. [400/700] 188 Alabaster Bowl-Form Chandelier, first quarter 20th century, h. 4‑3/4”, dia. 13‑1/2”. [200/400] 189 Twelve-Light Alabaster and Gilt-Metal Mermaid-Themed Chandelier, the lower bowl conceals six lights, and the six arms fitted with lobed alabaster shades, h. 58”, dia. 36”. [1000/1500]

180 181 South American School (First Quarter 20th Century), “St. Joseph and the Christ Child”, oil on tin, unsigned, 14” x 10”. Mounted on a pine board. [200/400] 182 South American School (Mid-20th Century), “Portrait of a Cardinal”, oil on canvas, unsigned, 42‑1/2” x 32”. In an attractive carved and pierced wood frame. [300/500]

190 Patinated Metal and Alabaster Twelve-Light Chandelier, of neoclassical inspiration, with six arms surrounding a bowl concealing six additional lights, h. 33‑1/2”, dia. 34‑1/2”. [300/500] 191 Italian Empire-Inspired Faux Travertine Armchair, of generous proportions, in beige brocade, h. 46”. [300/500] 192 Italian Tin-Glazed Porcelain Tureen and Undertray, in the rococo taste, the serpentine undertray decorated with hand-painted polychrome fruit, the conforming tureen with pierced handles and signed “Italy” in handpainted block letters, the matching lid with a putto serving as a knop, h. 13‑1/2”, w. 15”, d. 13”. [100/200]

193 Carved Marble Tabouret, second quarter 20th century, probably Italian, h. 26”, dia. 12”. [200/400] 194 Decorative Composition Compote with Silver-Leafed Bowl, fitted with gilded glass balls, h. 22”, dia. 23”. [100/200]

201

200 Baroque-Style Giltwood Mirror, with incised names of Italian cities in the area surrounding the beveled mirror plate, h. 64‑1/2”, w. 47”. [300/500] 201 Italian Carved Giltwood Looking Glass, early 20th century, with a fruit basket crest, and grapevine and leaf motif throughout, h. 55”, w. 32”. [700/1000] Illustrated 202 Unusual Gilded Composition Mirror of Classical Inspiration, h. 46‑1/2”, w. 12‑1/2”. [100/200] 203 Contemporary Two-Piece Bedroom Suite of Neoclassical Inspiration, comprised of a tall-post bedstead, with a padded headboard and twist-carved column/posts, h. 92”, w. 90”, l. 100”, and a dressing bureau with a beveled looking glass, h. 91”, w. 73”, d. 20”. [800/1200] Illustrated 204 Set of Brown Silk Pleated Curtains with Complementary Valances, including four panels, h. 98”, w. 136”, a pair of brocade valances with swags and jabots, trimmed in beaded fringe, h. 48”, w. 66”, and a matching double valance, h. 48”, w. 105”. [400/700]

195 Pair of Metal Dancing Putti, raised on octagonal black stone bases, overall, h. 41”, w. 17‑1/2”, d. 23‑1/4”. [200/400] 196 Spanish Colonial Ebonized and Embossed Leather Savonarola Chair, early 20th century, the carved back centered by a circular leather panel depicting a carriage, the leather sling seat with an embossed roundel centered by a lion, h. 35”. [150/300] 197 North African Mother-of-Pearl-Inlaid Savonarola Chair, late 19th century, inlaid throughout with motherof-pearl and ebony six-point stars, h. 38”. [100/200] 198 Square Sunburst Mirror, with gilt “rays” alternating with mirror plate, h. 15”, w. 15”. [350/500] 199 Giltwood Sunburst Mirror, with scale-patterned “rays”, dia. 23‑1/2”. [400/700]

203

210 Italian Neoclassical-Inspired Bowfront Occasional Chest, with a pair of drawers over a door, in a faux distressed burlwood finish, h. 29‑3/4”, w. 28‑1/2”, d. 23”. [200/400]

219

205 Set of Fringe-Trimmed Green and Gold Striped Curtains with Matching Valances, including four panels, h. 122”, w. 68”, and three valances, h. 24”, w. 42”, together with a faux marbre and partial gilt rod and rings, l. 120”. [300/500] 206 Set of Iridescent Coral Silk Curtains and Valances, including two pleated single-width valances with swags and jabots, h. 7‑3/4”, l. 48‑1/2”, a double-width cornice board with two swags and matching jabots, h. 7‑3/4”, l. 105”, set with gilt composition curtain rods and four panels of matching curtains, h. 113”, w. 138”. [300/500] 207 Group of Post Modern-Style Curtain Valances and Hardware, the group including two leaf-patterned mottled gold and silver flat valances (formerly draped over tiebacks), w. 52”, l. 214”, and w. 52”, l. 360”, together with two oval gold and white mottled composition oval tiebacks, h. 13”, dia. 8”, four matching oval tiebacks, h. 8”, w. 5‑3/4”, two matching scrolled appliques, h. 6”, l. 13”, five lengths of matching curtain rods, l. 65”, 73‑1/2”, 59‑1/2”, 77”, 60”, and 63”, seven matching curtain rod finials, l. 7”, and two panels of silver brocade curtains, w. 76”, l. 100”. [300/500] 208 Set of Four Faux Bois and Tassel-Hung Lambrequins, each with projecting cyma-molded cornices over scalloped panels depicting a neoclassical jardiniere containing ferns, one, h. 36”, w. 126‑1/2”, d. 3”, and three, h. 36”, w. 60”, d. 3”, the matching curtains comprised of six panels of pleated bronze open weave curtains trimmed with brown and blue braid and ribbon fringe, each panel, h. 102”, w. 45”. [300/500] 209 Set of Curtains and Valances, including three burgundy and gilt brocade swags and jabots trimmed with fringe and supported by gilt composition tiebacks, h. 48”, l. 149”, and four panels of iridescent red/black satin textured curtains stitched in a lozenge pattern, h. 112”, w. 53”, together with four burgundy and gold braided curtain tassels. [500/800]

211 Italian Neoclassical-Style Parcel-Gilt, Wrought-Metal and Faux Stone Cabinet, the central projecting bowed top over a pair of doors, flanked by similar single door cupboards, raised on paw feet, h. 38‑3/4”, w. 76”, d. 19”. [300/500]

212 Italian Neoclassical-Style Faux Travertine Console, the bowed top supported by a pair of allegorical winged pedestals, each with ram’s heads and joined by wrought iron scrollwork, h. 36‑1/4”, w. 69”, d. 22”. [300/500] 213 Group of Three Carved, Painted and Gilded Florentine Trays, 20th century, w. 12‑1/4” to 15‑1/4”, l. 18‑1/4” to 23”. [100/200] 214 Interesting Classical-Style Faux Marble-Painted Pedestal, early 20th century, h. 31‑1/2”, w. 20”, d. 20”. [150/300] 215 Italian Neoclassical-Style Travertine and MarbleVeneered Pedestal, executed in various specimen “marbles”, together with a spiral-reeded composition jardiniere, h. 44‑1/4”, w. 14”, d. 14”. [200/400] 216 Pair of Italian Neoclassical-Style Parcel-Gilt and Mirror-Mounted Pedestals, each with a circular top and tapering columns, the top and columns with inset distressed mirror plates, h. 36‑1/2”, w. 12”, d. 12”. [300/500] 217 Pair of Italian Gilt-Metal Sconces, leaf-molded with flower-form drip pans and backplate, electrified, h. 17‑3/4”, w. 14‑1/2”, d. 9‑1/4”. [200/400] 218 Italian Neoclassical-Style Brass and Alabaster UrnForm Ornament, h. 12”, w. 11”, d. 6‑1/2”. [100/200] 219 Line-Strung, Parquetry Inlaid and Parcel-Gilt Mahogany Console Table, of Rococo Louis XV inspiration, the top with parquetry veneers, raised on cabriole legs with fruit and scroll carving, h. 33‑1/8”, w. 63”, d. 19‑1/2”. [300/500] Illustrated

220 Italian Neoclassical-Style Stained Wood and Wrought and Cast Metal Desk, the leather-painted top over a conforming foliate- and cross-hatched-carved frieze, raised on wrought metal scroll legs with lion-head and paw-foot mounts, the apron fitted with a frieze drawer, h. 30‑1/2”, w. 62”, d. 36”. [300/500] 221 Italian Neoclassical-Style Center Table, the circular figured bonded marble top on a laminated apron with ormolu mounts, supported by a trio of faux stone caryatids, h. 33‑1/2”, dia. 36”. [200/400] 222 Interesting Four-Piece Group of Small Items, comprising an Italian silver-plated neoclassical plaque, h. 9‑1/2”, w. 9‑1/2”; a sewing box, fourth quarter 19th century, l. 4‑1/2”; a brass chamberstick, dia. 4”; and a brass telescope in a mahogany case, l. 6‑1/2”. [100/200] 223 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 paneled tapering square legs, h. 34”. [500/800] 224 Italian Neoclassical-Style Line-Strung and Marquetry Inlaid Chest, the serpentine top edged with banding and centered by an inlaid floral urn, the conforming case with a bank of three drawers, h. 35‑1/4”, w. 43‑3/4”, d. 21‑1/2”. [200/400] 225 Italian Giltwood Looking Glass, late 19th century, the rectangular plate within a molded frame surmounted by a crown crest issuing curtain swags over a lattice-pierced cornice, h. 49”, w. 34”. [800/1200]

227 Italian School (20th Century), “Santa Francesca Romana and Arco Romano” and “Landscape with Figures and Farmhouse”, ink and wash on paper, sight 7” x 10‑1/4” and 12” x 8‑1/4”. Attractively matted, glazed and framed. [200/400] 228 Italian School (20th Century), pair of architectural fantasies, ink and wash on paper, sight 7” x 4‑1/2” and 7‑3/4” x 9”. Attractively matted, glazed and framed. [200/400] 229 Italian School (20th Century), “Lagoon Capriccio” and “Gondolas and Figures”, pen, ink and wash on paper, sight 6‑3/4” x 8‑1/2” and 9‑1/4” x 13‑1/2”. Attractively matted, glazed and framed. [200/400] 230 Italian School (20th Century), “Venetian Capriccio” and “Roman Capriccio”, ink and wash on paper, sight 6‑3/4” x 19‑1/4” and 8‑1/4” x 5‑1/2”. Attractively matted, glazed and framed. [200/400] 231 British School (Third Quarter 19th Century), “Head of a Bull”, graphite on paper, in the style of Edwin Landseer (1802‑1873), illegibly titled bottom center, sight 7” x 8”. Framed. [300/500] 232 Italian School (20th Century), group of three caricatures, “Punchinello”, “Frock-Coat”, and “Rear View”, ink and wash on paper, sight of two 6‑1/2” x 4”, sight of third 7‑1/4” x 4‑1/4”. Attractively matted, glazed and framed. [200/400] 233 Collection of Three American Works on Paper, first quarter 20th century, depicting female figure studies, two ink on paper, unsigned, and one graphite on paper, illegibly signed lower left, sight varying 26‑3/4” x 18‑3/4” to 30” x 18”. All glazed, matted and framed. [300/500] 234 American School (20th Century), “Studies of a Woman Wearing a Shift”, ink on paper, bearing a signature lower left “Raphael Soyer”, sight 17‑1/4” x 23‑1/4”. Glazed, matted and framed. [100/200] 235 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. [500/800]

226 226 Italian School (20th Century), “Piazza Trinita dei Monti Roma” and “Santa Maria della Salute”, ink and wash on paper, sight 6‑3/4” x 10‑3/4” and 8” x 10‑3/4”. Attractively matted, glazed and framed. [200/400] Illustrated

236 J. F. Jackson (British, Late 19th/Early 20th Century), “Marsh Scene”, 1924, graphite on paper, signed and dated “19/10/24” lower right, sight 13‑1/2” x 23”. Glazed, matted and framed. [100/200] 237 Continental School (Second Quarter 20th Century), “African Village Scene”, signed lower right “D. Molyneux 34”, sight 8” x 10”. Glazed, matted and framed. [75/125]

238 Russian School (Fourth Quarter 20th Century), “Horse-Drawn Carriage” and “Caught in the Storm”, pair of watercolors on paper, each signed in Cyrillic and dated “96” lower left, each sight 7‑1/4” x 10‑3/4”. Attractively matted and framed. [200/400] 239 Directoire-Style Inlaid Mahogany Corner Cabinet, early 20th century, h. 78”, w. 29”. [400/700] 240 Pair of Directoire-Style Polychrome Sidechairs, 19th century, the rectangular back centered by an urn-carved medallion splat, the padded seat raised on turned tapering circular legs ending in toupie feet, h. 35‑1/2”. [1200/1800] 241 Directoire-Style Painted and Parcel-Gilt Console, stamped “Edward Garret XVIII & XIX Century Reproductions”, the rectilinear granite top and conforming frieze with a floral-carved roundel flanked by scrolls, h. 31‑1/2”, w. 22‑1/2”, d. 14‑1/2”. [350/500] 242 Directoire-Style Fruitwood and Ebonized Dressing Mirror, bronze-mounted columns support the pediment top, h. 35‑1/2”, w. 24‑3/4”, d. 10‑1/2”. [200/400] 243 Pair of Directoire-Style Bronze Side Tables, with mirror inserts, h. 18”, w. 13”, d. 12”. [150/300] 244 Directoire-Style Polychrome Window Seat, the padded rectangular seat flanked to either side by armrests with turned crests over phoenix-carved friezes and foliate splats, raised on sabre legs, h. 30‑1/4”, w. 30”, d. 15‑1/4”. [500/800] 245 Northern European Giltwood and Polychrome Looking Glass, second quarter 20th century, in the neoclassical taste, the rectangular beveled plate surmounted by a swag-and-urn crest flanked to either side by griffins, within a molded and annulated frame with a pendant foliate finial, h. 74”, w. 26”. [400/700] 246 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”. [1000/1500] 247 Pair of Carved and Gilded Wooden Obelisks, trimmed in black, h. 40‑3/4”, w. 8”, d. 8”. [100/200] 248 Pair of Napoleon III Gilt-Bronze and Ochre Marble Sphinx-Form Garniture Figures, third quarter 19th century, h. 5”, w. 3‑1/2”, l. 8”. [600/900]

249 Empire-Style Mahogany Bookcase, the molded cornice with turreted corners above a conforming case fitted with two bi-paneled grilled doors, raised on a plinth base, h. 71”, w. 46‑1/2”, d. 15”. [400/700] 250 Empire-Style Mahogany Pier Mirror and Cabinet, early 20th century, the mirror with a molded cornice above an ebonized diamond panel with a basket ormolu mount, the beveled bisected plate below, with corner mounts and a brass candlearm to each side, h. 79‑1/2”, w. 30‑1/2”, the base concave cabinet fitted with two doors, each with an ebonized panel, raised on bracket feet, h. 22‑1/4”, w. 34‑1/4”, d. 21‑1/4”. [800/1200] 251 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”. [7000/10000] Illustrated

251

252 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 giltaccented 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”. [1800/2500] 253 Ormolu-Mounted and Boulle-Inlaid Black-Lacquered Tall Chest, second quarter 20th century, the case with seven drawers, the sides with boulle decor, h. 47‑3/4”, w. 26‑1/4”, d. 14‑1/2”. [400/700] 254 Pair of Neoclassical-Style Brass Candlesticks, mounted as lamps on marble bases and fitted with electrified faux wax candles, h. 16‑1/2”, dia. 3‑3/4”. [300/500]

258 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 fluted tapering square legs with gilt accents, h. 34”, w. 37‑1/2”, d. 18”. [1200/1800] 259 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”. [500/800]

262

255 Neoclassical-Style Metal and Marble Pedestal, early 20th century, the revolving square marble top raised on four ribbed tubular Corinthian columnar supports to a circular base on a stepped square plinth, h. 40”, w. 11‑3/4”, d. 11‑3/4”. [300/500] 256 Baltic Neoclassical Mahogany Side Table, mid-19th century and later, the stepped rectangular top above a paneled frieze with ormolu mounts, joined by shaped supports to a shaped plinth base, h. 32”, w. 37”, d. 17‑12”. [500/800]

257

260 Empire Walnut Commode, early 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed drawers, flanked to either side by an engaged pilaster headed by a maiden’s head, all drawers paneled and with brass banding, raised on square legs ending in banded feet, h. 33‑1/4”, w. 23‑3/4”, d. 16”. [400/700] 261 Continental Parquetry Work Reversible Game Board, third quarter 19th century, composed of various woods, the obverse with an initialed cypher sitting in a field of tromp l’oeil three-dimensional parquetry cubes, the reverse having a checked game board with an inlaid border of flowers, butterflies and playing cards, w. 19”, l. 19”. [300/500] 262 French Bronze Figure Depicting “The Sleeping Ariadne”, fourth quarter 19th century, stamped “Reduction Mecanique, A. Collas, Brevete”, on a conforming wooden base, h. 15‑3/4”, w. 6”, l. 20”. [1000/1500] Illustrated

257 Pair of Bronze Blackamoor-Form Torcheres, set with electric lights and fitted with flame-form opaline glass shades, raised on octagonal polished stone bases, torchere, h. 48‑1/2”, base, h. 3‑1/2”, w. 15”, d. 11”. [1500/2500] Illustrated

263 Neoclassically Inspired Mahoganized Bench, with a leatherette cushion, h. 23‑1/2”, w. 52”, d. 19‑1/2”. [150/300]

264 Neoclassical-Style Faux Crocodile Skin Curule-Form Bench, the ends of the arms hung with carved tassels, h. 27‑1/2”, w. 58”, d. 14”. [150/300] 265

270 Empire-Style Fruitwood and Marble-Top Credenza, the rectangular inset grand antique marble top above a conforming case fitted with three frieze drawers over three central drawers, flanked to either side by a paneled cupboard door, raised on stylized paw feet, the whole with decorative mounts in the Empire taste, h. 26‑1/4”, w. 55‑1/2”, d. 15‑1/2”. [450/700] 271 Pair of Napoleon III Bronze and Porcelain Moderator Lamps, third quarter 19th century, the pierced bronze bases support the white-ground lamp bases, decorated with hand-painted reserve panels of frolicking putti en grisaille on bleu royale grounds, framed in rococo scrollwork, with hand-painted floral garlands decorating the remainder of each lamp base, set with bronze branchform handles, base, h. 18‑1/2”, overall, h. 33‑1/2”, w. 12”, d. 6‑3/4”. [500/800] Illustrated

271

265 Pair of Bronze and Marble Neoclassical-Style Urns, fourth quarter 19th century, now mounted as lamps, coved Belgian marble bases support the inverted laurel leaf-molded bases, bas-relief scenes of frolicking putti decorate the sides, with goat’s head handles holding swags of laurel leaves under the fluted necks, h. 34”. [700/1000] Illustrated 266 Neoclassical-Style Patinated Brass Candlestick Lamp, the tapered and fluted standard with a gadrooned border under a drip cup supporting the leaf-molded candle cup, raised on a black marble base, fitted with an electrified faux candle and a black parchment clip-on shade, h. 22‑1/2”, dia. 10‑1/4”. [50/80] 267 Set of Three Elaborately Hand-Colored Engraved Folio Plates, depicting ancient Greek kraters, second quarter 19th century, presented in two-color gold-striped black mats within scroll-carved antiqued giltwood frames, h. 13”, w. 9‑1/2”. [200/400] 268 Continental Brass Shell-Form Tazza, fourth quarter 19th century, the stem depicting a dolphin intertwined with seaweed and supporting a shell-form dish, h. 4‑1/2”, w. 4‑1/2”, d. 4‑1/4”. [200/400] 269 Napoleon III-Style Ormolu-Mounted and Marquetry Inlaid Mahogany Cabinet, with floral marquetry and a pair of doors with convex panels flanked by figural mounts, h. 42‑1/2”, w. 43‑1/2”, d. 16”. [300/500] Illustrated

269

272 French Bronze Bust of Napoleon, first quarter 20th century, on a green marble base, signed “R. Somme” on the side and “d’epres Davide; Dahling, H. Vernet” on the rear, h. 15‑1/4”, w. 10‑1/2”, d. 5‑1/4”. [1000/1500] Illustrated

272

273 French Bronze Bust of Napoleon, fourth quarter 19th century, inscribed “Lambert” on the rear, h. 7‑1/2”, w. 4”, d. 2‑1/4”. [250/400]

274 Five-Piece Napoleon III Fruitwood Parlor Suite, third quarter 19th century, in the Louis XV taste, consisting of a settee, h. 35‑1/2”, w. 47”, d. 25”, a pair of fauteuils, h. 35‑1/2”, and a pair of sidechairs, h. 36‑1/2”, all with gilt foliate-modeled crests and padded seats raised on molded cabriole legs ending in scrolled toes. [1500/2500] 275 Napoleon III-Style Brass-Inlaid and Ebonized Corner Vitrine, ca. 1900, the bowed front with a conforming door and glazed panel over a recessed panel, adorned throughout with inlaid brass arabesques, h. 68”, w. 22”, d. 16”. [300/500]

279 Pair of Empire-Style Bronze-Mounted Mahogany and Marble-Top Side Tables, 20th century, h. 25”, dia. 22”. [1400/1800] 280 Empire-Style Parcel-Gilt and Mahoganized Occasional Table, the top with an inset glass panel, the base with winged giltwood caryatids, h. 26”, dia. 22”. [150/300] 281 Biedermeier-Style Fruitwood Center Table, the circular top with sunburst veneers and decorative banding and inlay, raised on ebonized double-column supports to a concave tripartite base, h. 29‑1/2”, dia. 31‑1/2”. [700/1000] 282 Contemporary Empire-Style Ebonized and ParcelGilt Side Table, h. 30‑1/2”, dia. 18”. [100/200] 283 Empire-Style Mahogany Firescreen, 19th century, the raised crest with an 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”. [500/800] Illustrated 284 Fine Neoclassical Cherrywood Settee, early 19th century, the arms of swan form and ending in carved paw feet, pegged construction, h. 34‑1/2”, w. 33”, d. 20”. [300/500] 285 Gilt-Metal and Pressed Glass Eight-Light Chandelier, in the French Empire style, h. 40‑1/2”, dia. 31‑1/2”. [400/700] 283

276 Pair of French Empire-Style Gilt-Bronze Sconces, the arrow-form branches emanate from lion’s head backplates, the engine-turned and anthemion-molded candle cups are fitted for electricity with opaline candle sleeves, h. 5‑1/2”, w. 11‑1/2”, d. 10‑1/2”. [700/1000] 277 Suite of Four French Black-Detailed Gilt-Brass Three-Light Appliques, second quarter 20th century, in the Restauration style, each cylinder-form applique pendant from a tasseled cord looped over a boss, each facade centered with an openwork anthemion in gilded brass, fitted for electrical wiring, h. 26‑1/2”, w. 13‑3/4”, d. 8‑1/4”. [500/800] 278 Pair of Empire-Style Brass and Iron Chenets, fourth quarter 19th century, each having vertical acanthus leaves crowned with a female masque wearing a feathered headpiece, the cast iron billet bars set with pierced rococo log straps and joined with a rope twister fender bar terminating in flame finials, h. 12”, w. 19”, d. 17‑1/4”. [75/125]

286 Gilt-Metal Eight-Light Chandelier, in the French Empire style, h. 52”, dia. 29”. [200/400] 287 French Empire-Style Brass and Glass Centerpiece Bowl, the brass base with torch-bearing caryatids supporting a glass bowl holding a collection of molded gilt balls, h. 13‑1/2”, dia. 16”. [150/300] 288 Pair of Empire-Style Mahogany Sidechairs, late 19th century, each with a rectangular crest and splat above a padded seat, raised on shaped legs with ormolu winged lion’s head mounts to paw feet, the whole accented with ormolu mounts in the Empire taste, h. 34‑1/2”. [1200/1800] Illustrated 289 Continental Bronze and “Jeweled” Photograph Frame, the oval frame with a surround of topaz “jewels”, the gilt-bronze liner decorated with delicate engine turning and a raised notched pattern, resting on ball feet, the back lined in velvet, h. 4‑3/4”, w. 3‑3/4”. [75/125]

288

293 Belle Epoque Gilt-Bronze Mirror, ca. 1900, in the Louis XIV style, set with a beveled mirror plate, h. 37‑1/4”, w. 22‑1/2”. [100/200] 294 Unusual Belle Epoque Painted Mirror, ca. 1900, with a pierced foliate- and flower-molded crest, h. 49”, w. 54”. [100/200] 295 Belle Epoque Gold-Finished Metal Centerpiece of Rococo Design, ca. 1900, depicting Neptune with his underwater chariot, the boat with a collection of glass grapes, electrified, h. 26”, w. 32”, d. 28”. [300/500] 296 Bronze and Cut Glass Hurricane Lamp, the bronze Rococo Revival tripartite base molded in a hunt theme and supporting a glass shade cut in the Brilliant style, h. 24‑1/4”, dia. 8‑1/2”. [100/200] 297 Belle Epoch Brass and Onyx Stand, ca. 1900, h. 31”, w. 15”, d. 15”. [100/200] 298 Three-Piece Neoclassical-Style Garniture Set, composed of a reeded and fluted tazza, h. 11”, w. 8”, d. 7”, and a pair of seated sphinx-form candlesticks, h. 8‑3/4”, w. 4‑1/4”, d. 2‑3/4”, all with a pewter ground. [400/700] 299 Pair of Neoclassical-Style Carved and Painted Wooden Urns, decorated with swags of beadwork, in a worn finish, h. 16‑3/4”, dia. 5‑3/4”. [400/700] 300 Pair of Continental Gray-Painted Tole Balusters, now mounted as lamps on ebonized bases, h. 23‑1/2”, w. 10‑1/2”, d. 10‑1/2”. [100/200] 301 Pair of Neoclassical-Style Faux Travertine Pedestals, each with a rectilinear top over dentillated and anthemion moldings, the body adorned with a pair of dolphins beneath a shell, h. 36”, w. 25”, d. 18”. [1500/2500]

290 Rococo Revival Giltwood Overmantel Mirror, mid19th century, probably American, h. 45‑1/2”, w. 37”. [300/500] 291 Napoleon III Rosewood Sidechair in the Rococo Taste, third quarter 19th century, with a shell- and scrollcarved crest, and raised on cabriole legs, h. 40”. [50/80] 292 Continental Brass and Crystal Encrier, fourth quarter 19th century, the rectangular base with pierced floral borders, side handles and beaded feet, and fitted with a pair of swirl pattern crystal ink pots, possibly Baccarat, capped with brass domed reeded covers, h. 6”, w. 15‑1/2”, d. 7‑1/4”. [300/500]

302 Pair of Neoclassical-Style Molded Fiberglass Pedestals, supporting matching urns with faux palms, h. 104”, w. 22”, d. 19”. [200/400] 303 Pair of Giltwood Altar Sticks in the Restauration Taste, h. 39”, dia. 7‑1/2”. [200/400] 304 Carved, Painted and Distressed Single Altar Stick, in the French Restauration taste, h,. 23”, dia. 9‑1/2”. [100/200] 305 Louis-Philippe Mahogany Firescreen, mid-19th century, the rectangular fabric screen surmounted by a shaped and pierced scrolling crest, flanked to either side by ribbed uprights, raised on splayed supports on casters, h. 33”, w. 21‑1/2”. [400/700]

306 Louis-Philippe Mahogany Dressing Table, second quarter 19th century, the oval mirror within a lyre-form support with swan-neck finials, the table with a rounded rectangular top above a conforming frieze fitted with a compartmented drawer, raised on scrolling legs joined by an urn-centered finial and ending in scrolled toes, h. 57”, w. 33”, d. 18‑1/4”. [500/800] 307 Provincial Louis-Philippe-Style Fruitwood Buffet, the long rectangular top banded and above a conforming case fitted with two ogee-molded drawers over two paneled cupboard doors, raised on block feet, h. 42”, w. 72‑1/2”, d. 21‑1/2”. [600/900] 308 Louis-Philippe-Style Gilded Mirror, in a coved and fluted frame, set with a beveled mirror plate, h. 45”, w. 32”. [150/300] 309 Restauration Giltwood Looking Glass, second quarter 19th century, the rectangular plate within a heavily molded frame featuring gadroon, patera and palmetto accents with a scrolling foliate slip, h. 38”, w. 34‑1/2”. [200/400] 310 Bokhara Runner, 2’ 6” x 9’ 2”. [100/200] 311 Sultanabad Carpet, 12’ x 18’ 2”. [2500/4000] 312 Isfahan Carpet, 13’ x 9’ 8”. [400/700] 313 Semi-Antique Sarouk Carpet, 5’ 4” x 6’ 9”. [200/400] 314 Gabbeh Carpet, 5’ 2” x 7’ 8”. [300/500] 315 Kilim Carpet, 7’ 9” x 9’ 10”. [400/700] 316 Chinese Savonnerie-Style Silk Carpet, 8’ x 10’ 2”. [300/500] 317 Chinese Savonnerie-Style Silk Carpet, 6’ 8” x 10’ 2”. [300/500] 318 Chinese Modern Carpet, 6’ x 9’. [200/400] 319 Persian Kashan Carpet, 10’ x 13’ 1”. [500/800] 320 Jaipur Carpet, 6’ x 9’ 2”. [300/500] 321 Chinese Classical-Style Runner, 4’ 6” x 18’. [100/200]

322 Peshawar Sultanabad Carpet, 4’ x 6’. [200/400] 323 Peshawar Zeiglar Mahal Runner, 2’ 7” x 10’. [600/900] 324 Kashmir Tabriz Runner, 2’ 6” x 12’ 3”. [600/900] 325 Turkish Angora Oushak Carpet, 6’ 3” x 8’ 9”. [700/1000] 326 Turkish Angora Oushak Carpet, 8’ 1” x 9’ 10”. [1000/1500] 327 Two Pieces of European Table Lighting, second quarter 19th century, including an English gimbaled brass whale oil lamp, now electrified, base, h. 11”, overall, h. 21”; and a French Restauration candlestick now mounted as a lamp, base, h. 9‑1/2”, overall, h. 22‑1/2”. [150/300] 328 Six-Piece Collection of English Brassware, comprised of a milk pail-form bank, h. 3‑1/2”; a coal scuttle, h. 4‑3/4”; a pair of miniature taper sticks, h. 3”; a watch case, ca. 1900, l. 3‑1/4”; and a crumber with a hollow handle, l. 12”. [150/300] 329 English Copper Ale Muller, 19th century, h. 11‑3/4”, dia. 6”, l. 13‑1/4”. [150/300] 330 Victorian Copper Stock Pot, ca. 1900, lidded with an iron swing handle, h. 11‑3/4”, dia. 10‑1/2”. [300/500] 331 Three Middle-Eastern Copper Cooking Pots, comprised of a tapered pot with lug handles, h. 8‑1/4”, dia. 11‑1/2”; a large pot with a swing handle, h. 8‑1/2”, dia. 9‑1/2”; and a small pot with a swing handle, h. 5”, dia. 4‑3/4”. [200/400] 332 Collection of Victorian Brass Counter Weights, ca. 1900, comprised of three lead-filled weights, h. 3” to 3‑3/4”; together with a mid-19th-century snuffer tray, w. 4‑1/2”, l. 9”. [100/200] 333 Group of Four Shadowboxes, two displaying brass keyhole escutcheons in assorted sizes and two displaying various keys, h. 8” to 10”, w. 6” to 8”. [125/250] 334 Six-Piece Collection of English Brassware, comprised of a William IV door knocker, first quarter 19th century, h. 7”, w. 3‑1/4”; a Georgian Revival door knocker, h. 6‑1/4”, w. 3‑1/4”; a Victorian key-form corkscrew, l. 8”; an Eastlake doorbell pull, fourth quarter 19th century, dia. 3‑1/4”; and a pair of door/shutter hooks, l. 10‑1/4”. [200/400]

335 English Brass Repousse Coal Scuttle, first quarter 20th century, h. 19‑3/4”, w. 16‑1/2”, d. 10‑3/4”. [200/400] 336 Victorian Tubular Brass and Plate Glass Suspended Butcher Shop Shelves, fourth quarter 19th century, h. 52”, w. 10”, l. 44”. [300/500] 337 Pair of English Brass Butcher Shop Shelf Supports, fourth quarter 19th century, designed to be suspended and hold three shelves, h. 63”, w. 10‑1/2”. [300/500] 338 English Brass Butcher Shop Shelf Frame, ca. 1900, with bell-shaped supports, h. 14”, d. 8‑3/4”, l. 49‑1/2”. [200/400] 339 Suite of Four Victorian Oak Dining Chairs, second half 19th century, each with molded stiles with scroll tops and fluted trumpet legs, now upholstered in forest-green leather, h. 33‑3/4”. [300/500] 340 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”. [150/300] 341 Pair of Chippendale-Style Mahogany Sidechairs, early 20th century, each with a molded and shaped crest rail, and tapering legs with double-knuckled paw feet, h. 41‑3/4”. [200/400] 342 English Rococo Revival Cast Iron Dressing Mirror, third quarter 19th century, retaining an old gilt and red-painted surface, along with a period mirror plate, molded and pierced with oak leaves and acorns, the easel back ratcheted to adjust the mirror, h. 19‑1/2”, w. 13”, d. 11‑1/2”. [150/300] 343 Collection of Five Victorian Brass Chain-Link Picture Frames, fourth quarter 19th century, comprising an oblong example, h. 10”, w. 6”; an oval example, h. 8”, w. 6”; two circular examples, dia. 6” and 11‑1/2”; and an inverted, oblong example, w. 4‑1/4”, l. 5‑1/2”. [200/400] 344 Two Bronze Medals, including “Benedicite”, 1908, by George-Henri Prud’homme (French, 1873‑1947), 3‑3/4” x 2‑7/8”; and the “James Cardinal Gibbons Jubilee” medal, 1911, by Joseph Maxwell Miller (American, 1877‑1933), dia. 2‑3/4”. [100/200] 345 Continental Gilt-Metal Figure of a Male in 18th-Century Dress, ca. 1900, h. 26‑1/2”, dia. 6‑3/4”. [200/400]

346 Five-Piece Group of Antique Porcelain Pipes, including two treen pipes, two plain pipes and one depicting a fox, l. 2” to 13”. [100/200] 347 Group of Five Continental Antique Pipes, including a stoneware pipe, a hand-painted pipe, a pipe with a Tyrolean scene, ca. 1897, and two plain porcelain pipes, l. 2” to 7‑1/2”. [100/200] 348 Group of Seven Continental Antique Pipes, including a commemorative brown stoneware pipe, two porcelain pipes, a burl pipe, two treen pipes and a friar pipe, l. 2” to 12”. [100/200]

350 349 Continental Marble Sculpture of a Dutch Girl, ca. 1900, the 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”. [150/300] 350 Watcombe Terracotta Figure of “Winter”, ca. 1867‑1901, with the printed mark on the base “Watcombe Torquay”, h. 20‑1/2”, dia. 7”. [500/800] Illustrated

351 Collection of Four Vintage Leather-Covered Boxes, including one with a dome top and brass nailheads, the top embossed with the arms of Chile, h. 4”, w. 7”, d. 3‑1/2”; a smaller one with a dome top embossed with a portrait of Sir Francis Drake, h. 3”, w. 3‑3/4”, d. 2‑1/2”; a round box decorated with gilt-incised fretwork on the sides, the top with a border of gilt-incised scrollwork, lined with red silk, h. 1‑1/2”, dia. 3”; and a square box with a black stamped gothic cartouche with gilt-incised panels and scrollwork, the hinged lid lined with brown silk, h. 1‑1/4”, w. 3‑1/4”, d. 3‑1/4”. [100/200]

360 Victorian Giltwood Frame in the Rococo Revival Style, second quarter 19th century, h. 41‑1/2”, w. 34”. [150/300] 361 Pair of Satin Grosgrain Striped Pillows, with gold fringe, w. 16”, l. 16”. [75/125] 362 Victorian Mahogany Stool, mid-19th century, the padded rectangular needlework seat raised on cabriole legs, h. 15‑1/4”, w. 26”, d. 20‑1/2”. [75/125] 363 English Majolica Cuspidor, fourth quarter 19th century, h. 2‑1/2”, dia. 9‑3/4”. [100/200]

364 352 Nickel-Plated Brass Telescope, with a leather-covered body, on a tripod wooden stand, h. 18”, dia. 2‑1/2”, l. 17”. [150/300]

364 James Pollard (British, 1792‑1867), “Regent Circus Coaching Scene”, oil on canvas, signed and dated lower left “J. Pollard 1822”, 32” x 40”. Framed. [2000/4000] Illustrated

353 Victorian Tole Tea Caddy, fourth quarter 19th century, now mounted as a lamp on a wooden base, the caddy marked “10” between black borders of vines and anthemia, h. 25”, dia. 11‑1/4”. [125/250] 354 Victorian Carriage Lamp, fourth quarter 19th century, now electrified, h. 18”, w. 6‑1/4”, d. 5”. [150/300] 355 Victorian Papier-Mache Tea Caddy, mid-19th century, signed “Henry Clay”, decorated with gilt and motherof-pearl, with a lidded two-compartment interior lined with lead-foil, stamped “Clay, King St. Covent Garden”, h. 6‑1/2”, w. 9‑1/2”, d. 6‑1/2”. [500/800] 356 Pair of Victorian Ebonized Papier-Mache Sidechairs, third quarter 19th century, each with a rounded backscrolled crest above a polychrome floral splat, the caned seat raised on cabriole legs, the whole with delicate gilt and mother-of-pearl accents, h. 35‑1/2”. [400/700] 357 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”. [100/200]

365 365 John Charles Maggs (British, 1819‑1896), “The Nimrod Coach Entering Bath”, oil on canvas, signed lower left, 33” x 44”. Presented in a giltwood exhibition frame. [2500/4000] Illustrated 366 Continental School (First Quarter 20th Century), “The Boating Party”, oil on panel, unsigned, 13” x 18”. Framed. [200/400]

358 Pewter Book-Form Flask, third quarter 19th century, engraved in the Eastlake style, h. 10”, w. 6‑1/4”, d. 3”. [200/400] 359 Victorian Ebonized and Gilt Frame, fourth quarter 19th century, mounted as a mirror, h. 13‑3/4”, w. 16”. [50/80]

367 British School (Fourth Quarter 19th Century), “Expansive Landscape with Cattle Grazing in the Foreground”, oil on canvas, illegibly signed lower left, 46” x 56”. Framed. [1000/1500] Illustrated 368 Scottish School (17th Century), “Alexander, Fourth Lord Elphinstone, High Treasurer of Scotland”, oil on canvas, with later inscription lower left, 30” x 25”. Framed. [300/500] 369 Karl Spilling (German, 19th/20th Century), “Portrait of a Girl and a Boy”, pair of oval pastels on paper, both signed and dated “K. Spilling 1926”, sight 23” x 17‑1/2”. Both glazed, matted and framed. [150/300] 370 Three-Piece Group of Assorted Pottery, fourth quarter 19th century, comprised of a Wedgwood majolica plate, dia. 8‑1/2”; a transfer-printed earthenware plate, dia. 8‑1/4”; and a German jam pot stand, l. 11”. [100/200] 371 Bavarian Porcelain Tureen and Undertray, 20th century, of Meissen inspiration, signed “Kuba Porzellan Bavaria Germany”, tureen, h. 10‑1/2”, w. 13”, d. 7”, undertray, l. 14‑1/2”, w. 10”. [100/200] 372 Victorian Porcelain Sherry Casket, fourth quarter 19th century, fitted with the original cover and the wooden and pewter top, marked by Sanders and Sons, 473 Oxford Street, London, h. 11‑1‑4”, w. 8‑1/2”, d. 9‑1/2”. [200/400] 373 Two-Piece Group of Porcelain, consisting of a French Samson covered urn, second quarter 20th century, h. 8‑1/2”, dia. 6”; and an English pearlware sugar basin, ca. 1800, h. 5”, w. 6”, d. 3‑3/4”. [50/80] 374 Set of Six English Porcelain Dinner Plates, fourth quarter 19th century, the pink-ground border surrounding a panel trimmed in roses with a gilt Gothic center medallion, dia. 9”. [250/400] 375 Two French Blue-Ground Porcelain Vases, now mounted as lamps, the larger, second quarter 19th century, with scrolled handles, base, h. 12”, overall, h. 16‑1/2”; the smaller, ca. 1900, with bronze handles and mounts, base, h. 10‑1/2”, overall, h. 22”. [200/400] 376 Victorian Staffordshire Figural Group, fourth quarter 19th century, the figure with a flat back, h. 9”, w. 8”, d. 2‑1/4”. [150/300] 377 Victorian Staffordshire Figure, fourth quarter 19th century, depicting Little Red Riding Hood, h. 11‑3/4”, w. 6‑1/2”, d. 3‑3/4”. [200/400]

367

378 Victorian Staffordshire Toby Jug, fourth quarter 19th century, h. 11‑3/4”. [200/400] 379 Five-Piece Collection of Pottery and Porcelain Table Figures, 19th century and later, h. 7” to 11‑3/4”. [200/400] 380 English Staffordshire Lithophane, second quarter 19th century, now mounted as a lamp, lithophane, h. 10”, overall, h. 22”, w. 8‑1/4”, d. 6”. [75/125] 381 Group of Two Porcelain Jugs, consisting of a “begging spaniel” jug, mid-19th century, h. 12”; and a flint enamelglazed jug, third quarter 19th century, h. 8”. [100/200] 382 Royal Albert Bone China Partial Dinner Service, ca. 1983, in the “Holyrood” pattern, comprised of five dinner plates, dia. 10‑1/2”, ten salad plates, dia. 8”, five bread and butter plates, dia. 6‑1/4”, five saucers, dia. 5‑1/2”, five cups, h. 3”, five soup plates, dia. 9”, a covered vegetable tureen, h. 5”, dia. 8‑1/4”, five two-handled cream soups, dia. 4”, four cream soup underplates, dia. 6”, a gravy boat, h. 3‑3/4”, l. 7”, a gravy boat stand, w. 5‑1/2”, l. 8”, a cream jug, h. 4‑3/4”, dia. 3”, a covered sugar bowl, h. 4‑1/4”, dia. 4‑1/4”, and two graduated oval platters, w. 10‑1/2”, l. 12‑3/4”, and w. 12‑1/2”, l. 16”. [300/500] 383 Interesting Embossed Faux Leather and Polychromed Lidded Box/Bench, h. 19”, w. 17”, d. 17”. [200/400]

384

392 British School (First Quarter 19th Century), “Valle Crucis Abbey”, watercolor on paper, unsigned, verso with two labels inscribed with the title of work and dated “1796 or 1798”, sight 16‑1/2” x 24”. Glazed, matted and framed. [100/200] 393 Walter Langley (British, 1852‑1922), “Fisherman on the Road, Cottage and Seashore in the Background”, watercolor on paper, signed lower right “W. Langley”, sight 12” x 9‑5/8”. Glazed, attractively matted and framed. [700/1000]

384 Pair of Edwardian-Style Leather-Upholstered and Mahogany Club Armchairs, each with a tufted back and scroll arms, bowed front seat rail and tapering turned legs with rubber casters, h. 34‑1/2”. [3000/5000] Illustrated 385 Edwardian Mahogany and Satinwood Sideboard, early 20th century, the banded rectangular top above a case fitted with two central drawers flanked to either side by a drawer over a cupboard door, centered by an oval medallion of a classical figure, raised on tapering square feet, h. 37‑1/2”, w. 60”, d. 21”. [1000/1500]

394 Collection of Two Landscape Paintings, one an oil on canvas depicting a lakeside landscape, first quarter 20th century, illegibly signed lower left, 15” x 10”, and the other a watercolor on paper depicting a wooded interior, unsigned, sight 20” x 14”. Both framed. [200/400] 395 British School (20th Century), “The Thatched Cottage in Spring”, watercolor on paper, unsigned, sight 19” x 28”. Attractively matted and framed. [300/500]

386 Edwardian Cast Iron Garden Bench, ca. 1900, the ends joined by wooden slats, h. 29”, w. 49”, d. 29”. [200/400] 387 Wrought Iron Strapwork Jardiniere, early 20th century, with extended lip, cylindrical body and circular base, h. 31‑1/4”, dia. 19”. [100/200]

389

388 Victorian Cast Iron “Good Luck” Footstool, fourth quarter 19th century, probably American, upholstered in red leather, the surround retaining a worn gilt-shellac surface and inscribed “Rest Your Feet Here”, h. 5‑3/4”, w. 10”, d. 11‑1/2”. [250/400] 389 Pair of Painted Cast Iron Whippet-Form Pedestals, with marble tops, h. 31”, dia. 16”. [500/800] Illustrated 390 Albert Kinsley (British, 1852‑1945), “Mountainous Landscape”, watercolor on paper, signed lower left “A. Kinsley”, sight 9‑1/2” x 14”. Glazed, double-matted and attractively framed. [350/500] 391 H. Wood (British, 20th Century), “Cottage Path” , oil on wood panel, signed lower right, 7‑3/4” x 16”. Attractively framed. [400/700]

396 Continental School (20th/21st Century), “Garden Scene at Springtime”, oil on canvas, signed illegibly lower right, 24” x 20”. Presented in a giltwood frame. [200/400]

403

401 Two 19th-Century British Sterling Silver “Fiddle” Serving Pieces, including a George IV sugar sifter, hallmarked London, 1820‑1821, by Eley & Fearn, l. 6‑1/4”, and an early Victorian Scottish mustard spoon, hallmarked Glasgow, 1840‑1841, by John Muir, Jr., l. 5‑1/4”, both with gilt bowls, 1.80 total t. oz. [125/250]

404

402 Two Pieces of English Sterling Silver Tableware, both Sheffield, including a small footed bowl, hallmarked 1906‑1907, by James Dixon & Son, with “cabochon” banding, h. 3”, dia. 4‑3/4”, 3.53 t. oz.; and an ivoryhandled crumber, hallmarked 1921‑1922, by Atkin Brothers, l. 12‑3/4”. [200/400] 397 Fred Fitch (British, 1880‑1925), “Sussex Village Scene”, watercolor on paper, signed and dated lower right, verso affixed with a label inscribed in German with the title, artist’s name and date “1888”, sight 22‑1/2” x 34”. Glazed, matted and framed. [150/300]

403 Two English Silverplate Entree Dishes, late 19th and early 20th century, including a Victorian oval example on stand by Atkin Brothers, Sheffield, h. 9”, l. 12”; and an Edwardian rectangular example by “N&S”, l. 12”. [250/400] Illustrated

398 British School (Contemporary), “Village Path”, oil on canvas, unsigned, 12” x 16”. Handsomely framed. [200/400]

404 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] Illustrated

399 British School (Fourth Quarter 20th Century), “Wooded Landscape with a View of an Abbey”, oil on canvas, unsigned, 36” x 48”. Framed. [300/500] 400 Twenty-Six Pieces of English Cutlery and Silverplate Flatware, late 19th- to mid-20th centuries, including six A. Jordan mother-of-pearl and steel dessert knives, l. 8‑3/4”; six Elkington ivory and steel dinner knives with sterling silver ferrules and finials, l. 11‑1/4”; a two-piece cased Thomas Turner & Son fish serving set with figural handles, l. 8‑3/4” and 11‑3/4”; a Viner’s “Old English” cream ladle, l. 5‑1/4”; a John Nowill & Sons “Fiddle” sugar sifter, l. 5‑1/2”; an I. Guide & Co. “Fiddle” sauce ladle, l. 6‑1/2”; a Cooper Brothers “King’s” platter spoon, l. 12‑1/4”; a Maple & Co. “Fiddle” soup ladle, l. 13‑3/4”; a two-piece “Fiddle Thread” salad serving set, l. 8‑3/4”; and a five-piece Chase faux ivory and steel cutlery set, including a carving knife, l. 10‑1/4”, carving fork, l. 9”, and three steak knives, l. 9”. [300/500]

405 Five Pieces of Early 19th-Century French First Standard (.950) Silver Small Tableware, including a Consular tastevin by Marie-Francoise Lefevre, veuve Desmarais, dia. 3”, and four Louis-Philippe gilt “Double Filet” teaspoons by Theophile-Desire Pinchon, l. 5‑1/2”, 5.07 total t. oz. [125/250]

408 Three Silverplate Serving Trays, 20th century, all with rococo scroll decoration, including an English circular waiter, dia. 15”; a Towle oval tea tray, l. 30‑1/4”; and a Continental rectangular tea tray, l. 31”. [300/500]

406

409 Three Large Silverplate Buffet Pieces, 20th century, including an English baluster-form coffee urn, h. 24‑3/4”, w. 17”; an Italian cylindrical coffee urn, h. 27‑1/2”, w. 13”; and an English rectangular hot plate, l. 24‑1/2”, w. 9‑3/8”. [400/700] Illustrated 410 Georg Jensen Sterling Silver “Bittersweet” Cake Knife, the pattern designed in 1940 by Gundorph Albertus (1887‑1954), Copenhagen, with stainless steel scimitarshaped blade, l. 10‑1/2”. [100/200] 411 Thorvald Marthinsen “Lillemor” .830 Silver Serving Fork and Spoon, mid-20th century, Tonsberg, Norway, l. 9” and 9‑1/4”, 4.05 total t. oz. [100/200] 412 Two Silver Serving Tongs, 20th century, including sterling silver continental modernist “wishbone” sugar tongs, l. 6”, 1.80 t. oz., and silverplate Atkin Bros. Art Deco asparagus grips, l. 4‑1/4”. [100/200] Illustrated 406 Forty-Eight Pieces of French Silverplate “Fiddle Thread” Flatware, mid-20th century, Paris, including a twenty-four-piece fish set by S. A. Argental, with twelve forks, l. 6‑3/4”, and twelve knives, l. 8”; and twentyfour gilt demitasse spoons by Andre Caploun, l. 3‑3/4”. [200/400] Illustrated

412

407 Five Pieces of Continental Silver Tableware, including four mid-20th century J. Roca, Barcelona, Spanish first standard (.915) silver leaf dishes, l. 3‑1/4”; and a third quarter 19th-century 12 lot (.750) silver “Fiddle Thread” serving spoon, l. 10‑1/4”; 9.77 total t. oz. [200/400]

409

413 Russian Silvered Brass Samovar, ca. 1900, probably Tula, the conical body with shaped panels separated by broad gadroons, with openwork scroll handle mounts and branch, and turned wooden handles, branch finial and strobile grips, with detachable crown plate, the whole raised on four thick hoofed feet, h. 20‑1/4”, w. 15”, d. 13”. [300/500] Illustrated 414 Egyptian First Standard (.900) Silver Footed Candy Dish, marked Cairo, 1959‑1961, circular with rococo rim, dia. 8”, 9.06 t. oz. [150/300]

415 Peruvian Sterling Silver Footed Fruit Bowl, 20th century, Camusso Plateria, Lima, of oval rococo form, l. 12‑1/2”, 11.50 t. oz. [200/400]

413

421 Daniel Derveaux (French, 20th Century), “Napoleon”, color lithograph, sight 13‑1/4” x 19‑1/4”. Attractively matted, glazed and framed. [100/200] 422 Large Contemporary Mixed Media on Canvas, depicting Versailles’ Hall of Mirrors, presented in a molded giltwood frame with a linen liner, overall dimensions 60” x 46”. [100/200] 423 Continental School (Fourth Quarter 20th Century), “Venice, The Grand Canal”, oil on wood panel, unsigned, 11‑3/4” x 16”. Framed. [150/300] 424 American School (20th/21st Century), “Venetian Canal Scene”, oil on canvas, unsigned, 28” x 19”. Framed. [200/400] 425 Karl Eugene Felix (Austrian/American, 1837‑1906), “Venetian Canal Scene”, oil on canvas, signed lower left “K. E. Felix”, 20” x 30”. Presented in a period rococo-style giltwood and gesso frame. [1500/2500]

416

416 Edwardian Silverplate Hot Water Urn, first quarter 20th century, of ovoid form, with faux ivory insulators, complete with the original billet chamber, h. 18”, w. 10‑1/2”. [250/400] Illustrated 417 Contemporary Large Decorative Wall Panel, depicting playful monkeys in a tropical landscape, 72” x 28”. [100/200] 418 A Decorative Print of a Feline, “Ginger”, illegibly signed in pencil lower right, 14‑3/4” x 21”. Attractively matted and framed. [100/200] 419 Collection of Three Offset Chromolithographs, including a French 19th-century fashion plate, sight 10‑1/2” x 7”; “The Polish Rider”, after Rembrandt van Rijn (Dutch, 1606‑1669), sight 7‑1/2” x 8‑3/4”; and one depicting a snow-covered landscape, sight 10” x 7‑3/4”. All glazed and framed. [50/80] 420 A Decorative Architectural Print of the Grand Canal, Venice, sight 19‑1/4” x 27‑1/4”. Attractively matted, glazed and framed. [100/200]

426 Nicholai Gloutchenko (Russian/French, 1902‑1977), “Venetian Gondolier”, oil on canvas panel, signed lower right “Gloutchenko 74”, 8‑1/2” x 11‑1/4”. Presented in a deeply molded giltwood and gesso frame. [700/1000]

430 Pair of American Rococo Revival Gilt-Metal SixBranch Wall Bracket Candelabra, third quarter 19th century, each with a foliate wall plate and scrolled arm supporting a cluster of five arms and a central candle socket, h. 11”, w. 12‑1/2”, d. 17”. [500/800] Illustrated 431 Pair of Spanish Baroque-Style Gilt-Metal Sconces, employing caryatid supports and fitted with alabaster shades, h. 11‑1/4”, w. 7‑1/4”, d. 9”. [200/400] 432 Baroque-Style Carved, Parcel-Gilt and PolychromeDecorated Bracket, the shelf supported by a caryatid head, h. 36‑1/2”, w. 13‑1/4”, d. 9‑3/4”. [400/700] 433 Baronial-Style Black- and Gilt-Painted ThirteenLight Chandelier, the crown-form canopy supporting wrought arms joined to a hexagonal ring with pairs of lights on scroll arms, h. 46”, dia. 44”. [900/1200] 434 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] 427

427 Continental School (Fourth Quarter 19th Century), “Fixing the Sled”, oil on canvas, unsigned, 26” x 20”. Presented in the period giltwood frame. [450/700] Illustrated

430

428 Baroque-Style Giltwood Bench, the rectilinear tufted burgundy and gold bench cushion on a foliate- and scrollmolded base, h. 21‑1/4”, w. 58‑1/2”, d. 18”. [500/800] Illustrated 429 Pair of Gilt and Ebonized Composition Single-Light Sconces-in-Hand, h. 19”, w. 3‑1/2”, d. 12”. [100/200]

435 Baroque-Style Giltwood Library Table, the rectilinear top edged with foliate carving and centered by faux painted “leather”, the frieze with foliate decor and centered by satyr masques, raised on a trestle base, h. 35”, w. 66”, d. 35”. [700/1000] Illustrated

428

436 Baroque-Inspired Parcel-Gilt Mahogany Vitrine, ca. 1900, the foliate-carved crest over a door with a beveled glazed panel, the interior back and sides fitted with beveled mirror plates, the door flanked by stiles with foliate carving capped by leonine masques, h. 69”, w. 24”, d. 17‑1/2”. [400/700]

437 Baroque-Style Giltwood and Mirrored Torchere, the circular top on a standard modeled with applied mirror glass, h. 68”, dia. 26”. [300/500]

445 Baroque-Inspired Stand and Giltwood Pier Mirror, with a projecting cornice over an arched and beveled mirror plate, fitted with smaller beveled plates about the perimeter, with a demi-lune shelf over a single drawer, h. 83”, w. 29”, d. 12”. [200/400]

438 Near Pair of Carved Giltwood and Mirror-Inset Floor Lamps, h. 52”. [300/500] 439 Tall Giltwood Nine-Arm Candelabrum Torchere, 20th century, h. 84”, dia. 30”. [300/500] Illustrated 440 Suite of Three Graduated Molded Pottery ThreeLight Candelabra, in the baroque style, finishe3d in rubbed gilt and white paint, h. 16”, to 27”, w. 7” to 17”. [150/300] 441 Pair of Baroque-Style Metal and Composition ThreeLight Candelabra, finished in bronze and silver gilt, fitted for electricity, h. 26”, w. 12‑1/2”, d. 5”. [100/200]

439

442 Four Decorative Pillows, including two velvet pillows with gilt scrollwork, h. 22”, w. 22”, a crushed velvet pillow with a bronze decorated leaf border, h. 21‑1/2”, w. 21‑1/2”, and a velvet pillow with a gilt cloth crowned wreath over a fleur-de-lis, h. 17‑1/2”, w. 17‑1/2”. [100/200] 443 Pair of Venetian Baroque-Style Bronzed and Painted Mirrors, h. 26”, w. 16”. [350/500] 444 Baroque-Style Painted Composition Mirror, the molded frame with beading and egg-and-dart trim, h. 70”, w. 34”. [100/200]

446 Baroque-Style Polychrome and Parcel-Gilt Caryatid-Form Wall Bracket, h. 25‑3/4”. [300/500] 447 Italian Baroque-Style Molded Composition Bracket, on a pylon base, h. 30‑3/4”, w. 9”, d. 5‑3/4”. [100/200] 448 Pair of Large, Exuberantly Modeled Armchairs in the Rococo Taste, each with foliate carving throughout, upholstered in gold damask, h. 44”. [300/500] 435

449 Italian Polychrome and Parcel-Gilt Chest, mid-20th century, probably Florentine, the shaped rectangular top above a case fitted with three small drawers to one side and a cupboard to the other, the whole with incised scrolling foliate designs, raised on cabriole legs ending in peg toes, h. 27‑1/2”, w. 24‑1/2”, d. 13”. [150/300]

455 Venetian-Style Beveled, Etched and Cut Glass Octagonal Mirror, the central beveled plate framed by cut foliate scroll and banded plates, h. 52”, w. 42‑1/4”. [900/1200] 456 Continental Silk Embroidery of St. Francis, fourth quarter 19th century, the face, hands and feet handpainted, backed by finely woven linen, sight 13‑1/4” x 11”. In a period carved wood oval frame. [100/200] 457 Molded and Painted Plaster Figure of Mary, 20th century, depicted holding the Christ Child, h. 68”, w. 19”, d. 15”. [800/1200] Illustrated 458 Molded and Painted Plaster Figure of Jesus Christ, 20th century, on a cloud-form plinth, h. 66‑3/4”, w. 23‑3/4”, d. 17‑1/2”. [800/1200]

450

459 Molded and Painted Figure of Saint Vincent, 20th century, depicted with a baby and a small child, h. 63”, w. 24”, d. 24”. [800/1200] 460 Molded and Painted Plaster Figure of a Nun, 20th century, h. 59”, w. 21‑1/2”, d. 18‑1/2”. [800/1200]

450 Provincial Italian Polychrome Commode, 18th century and later, the rectangular faux marble 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”. [1800/2500] Illustrated 451 Pair of Italian-Style Giltwood Hall Chairs in the Rococo Taste, each high back of foliate and scroll form with a pair of upholstered panels, on boldly modeled cabriole front legs, h. 62‑1/4”. [700/1000] Illustrated

451

452 Venetian Beveled and Engraved Glass Mirror, the frame outlined with rope-twist glass rods of gold threaded glass, blown and molded leaves and rosettes decorate the corners, and rosettes define the four corners of the central beveled glass panel, which has beveled surrounds decorated with engraved scrolls and flowers, h. 39‑1/2”, w. 31‑1/4”. [500/800] 453 Venetian Looking Glass, ca. 1900, in the 18th-century rococo style, composed of clear and mauve blown glass, the scrolled sides ornamented with flowers and retaining traces of gilt highlights, scrolled sprig engraving decorates the area around the beveled edge mirror plate, h. 30‑1/4”, w. 17”. [150/300] 454 Venetian-Style Beveled, Etched and Cut Glass Octagonal Mirror, the central beveled plate framed by cut foliate scroll and banded plates, h. 52”, w. 42‑1/4”. [900/1200] Illustrated

461 Pair of Restauration-Style Gilt-Brass Altar Sticks, third quarter 19th century, h. 34‑1/2”, dia. 11”. [100/200] 462 Pair of Cast Brass Reeded Altar Candlesticks, early 20th century, h. 33”. [100/200]

457

469 Italian Neo-Renaissance Mahogany Sideboard, first quarter 20th century, the top with a splash and a shelf on carved brackets, the case with a band of three drawers over three doors, h. 62”, w. 81”, d. 26”. [500/800] 470 Continental Burled Elm Games Table, third quarter 19th century, the highly figured fold-over top over a frieze fitted with a pair of drawers, h. 29”, w. 34‑1/2”, d. 18‑1/4”, extended l. 36‑1/2”. [400/700] 471 Continental Carved Oak Three-Panel Screen in the Neo-Renaissance Taste, late 19th century, richly carved with scrolling foliage, griffins, masques and fruit, h. 80”, w. 60”. [1000/1500] 472 Tuscan-Style Illuminated Wine Cabinet, with a distressed patina and “wrought” metal, fitted with two doors and a drawer, h. 75‑1/2”, w. 34”, d. 20”. [150/300]

454

463 Continental Reverse Painting, first quarter 19th century, depicting the “Sacred Heart of Jesus”, h. 14‑1/4”, w. 10”. [150/300] 464 Russian Icon Depicting Deisis, 19th century, with border of St. Dimitri and St. Barbara, h. 6”, w. 5‑1/2”. [75/125] 465 Russian Icon on Wood, 19th century, depicting the Christ Child with Saints Boris and Gleb, h. 6”, w. 5”. [75/125] 466 Pair of Neo-Renaissance-Style Parcel-Gilt and Fruitwood Stands, each with a circular top supported by a segmented fluted and foliate-carved column, h. 48‑1/4”, w. 12”, d. 12”. [300/500] 467 Near Pair of Renaissance-Inspired Giltwood Torcheres, each with a circular top over a segmented foliate and fluted standard, h. 54” and 55‑1/2”, dia. 23”. [400/700] 468 Pair of Neo-Renaissance-Style Bronze-Finished Pedestals, each with a circular top over a fluted and foliate-modeled column, h. 36‑1/4”, w. 14”, d. 14”. [300/500]

457

473 Louis XVI-Style Giltwood and Composition Hanging Bed Crown, hung with fringed iridescent coral silk decorated with gilt sprigging, and lined with gold silk decorated with lozenges and beads, h. 147”, w. 36”, d. 31”. [200/400] 474 Molded Composition Shield-Shaped Cartouche, with gilded highlights, h. 50‑1/2”, w. 28‑3/4”. [200/400] 475 Contemporary Tuscan-Style Texture-Painted and Silver-Leafed Six-Piece Bedroom Suite, including a king-sized bed, h. 67”, w. 96”, l. 93”, a large dresser, h. 39”, w. 70”, d. 23”, a wall mirror, h. 60”, w. 43”, an entertainment cabinet, h. 86”, w. 54”, d. 30”, and a pair of side commodes, h. 31”, w. 32”, d. 20”. [500/800] 476 Contemporary Wrought Iron and Faux Leather Tall Table, the circular top finished to simulate leather, raised on a patinated wrought iron base, h. 42”, dia. 35‑1/2”. [200/400] 477 Faux Leather and Burlwood Bombe Occasional Table, on a wrought iron base, the case with a bank of three drawers, h. 32”, w. 23‑1/2”, d. 19”. [100/200] 478 Large Anglo-Indian-Style Coffee Table, with inset glass in a frame base and apron depicting turning vines, leaves and critters, with a scalloped apron and cabriole legs, h. 20‑3/4”, w. 51”, d. 51”. [100/200] 479 Italian Tin-Glazed Terracotta Wall Fountain in the Baroque Taste, the water emanating from a neoclassical masque on a scrolled cartouche, h. 62”, w. 27”, d. 17”. [500/800]

484 G. Roy (British, 20th Century), “Cows at the Creek”, oil on wood panel, signed lower right, 7‑3/4” x 16”. Attractively framed. [600/900] 485 G. Roy (British, 20th Century), “Cows in a Pasture”, oil on canvas, signed lower right, 20” x 24”. Framed. [600/900] 486 G. Roy (British, 20th Century), “New Member of the Flock”, oil on wood panel, signed lower right, 9‑3/4” x 7‑3/4”. Attractively framed. [400/700] 487 Continental School (Contemporary), “Wooded Interior with Flock of Sheep”, oil on wood panel, unsigned, 12” x 16”. Framed. [200/400] 488 Continental School (Contemporary), after WilliamAdolphe Bouguereau (French, 1825‑1905), “Girl with a Lamb”, oil on wood panel, unsigned, 15‑5/8” x 12”. Framed. [200/400] 489 Continental School (Contemporary), “Barnyard Scene with Peacock and Fowl”, oil on wood panel, unsigned, 20” x 24”. Framed. [300/500] 490 Octavia Gayden Roberts (20th Century), “Chicks with an Oyster Shell”, oil on canvas, monogrammed lower right, 13‑1/2” x 9‑1/2”. Framed. [500/800] 491 Continental School (Contemporary), “Barn Scenes with Poultry”, two oils on wood panel, unsigned, 8” x 10”. Framed. [200/400]

480 Carved Marble Bust of a Young Woman, ca. 1900, probably Italian, signed “Rossini”, h. 23‑1/2”, w. 15‑1/2”, d. 7‑1/2”. [150/300]

492 British School (Contemporary), “Cattle at a Watering Hole”, oil on panel, unsigned, 12” x 16”. Framed. [300/500]

481 Attributed to Lambert Lombard (Flemish, 1506‑1566), “Bull”, gouache on paper, unsigned, reverse with an attribution on a Russell Hartley Fine Paintings label, 7‑1/2” x 9‑1/2”. Glazed, matted and framed, the mat bearing a printed label with the artist’s name and dates. [800/1200]

493 After Harry R. Hall (British, Active 1895‑1902), “Highland Cattle”, chromolithograph, sight 12” x 17‑1/2”. Glazed, matted and framed. [50/80]

482 British School (Contemporary), “Landscapes with Cattle”, pair of oils on canvas, unsigned, 8” x 10”. Framed alike. [200/400] 483 British School (Contemporary), “Cows by Stream” and “The Herd”, pair of oils on wood panel, each illegibly signed lower right, each 8” x 10”. Attractively framed alike. [200/400]

494 Group of Victorian Fireplace Accessories, 19th century, including a Georgian-style tool holder, a shovel with a pierced end, w. 5‑1/4”, l. 26”, a poker, l. 24”, and a pair of fire tongs, w. 3”, l. 24”, all steel, and a pair of wrought iron andirons, h. 21”, w. 10‑1/2”, d. 16‑1/2”. [75/125] 495 William and Mary-Style Carved, Painted and Inlaid Beechwood Valuables Box, 19th century, h. 12”, w. 22”, d. 14”. [150/300]

496 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”. [600/900] 497 Elizabethan-Style Oak Firescreen, early 20th century, of diminutive proportions, h. 27‑1/2”, w. 22‑1/2”. [100/200] 498 Elizabethan Oak Gateleg Side Table, early 20th century, h. 28”, open, w. 24‑1/2”, l. 37”. [200/400] 499 William and Mary-Style Mahogany Side Table, early 20th century, h. 25”, w. 24”, d. 14”. [100/200] 500 Two Pairs of Continental Figural Oak Bookends, each set depicting the figure of a seated monk in hooded robes, h. 9‑1/2”, w. 5”, d. 6”. [75/125] 501 English Oak Looking Glass, partially composed of antique elements, the rectangular plate with a guillochecarved crest and pendant, h. 23‑1/2”, w. 22‑1/4”. [150/300] 502 Group of Three English Stools, 19th century, including an ebonized ash Windsor stool, h. 11”, w. 13”, d. 13”; an oak or elm miniature bench, h. 17‑1/4”, w. 16‑3/4”, d. 11”; and a hand-hewn circular stool with a dished seat, h. 13”, dia. 13‑1/2”. [200/400] 503 Group of Three English Elm Octagonal Tripodal Stools, 19th century, each with shaped splayed legs, h. 11” to 14‑1/4”. [150/300] 504 Group of Two English Stools, 19th century, composed of a hand-hewn stool, h. 11”, w. 7”, d. 9”; and an oak stepstool, h. 9‑1/4”, w. 14”, d. 7”. [100/200] 505 Victorian Ash and Pine Stool, late 19th century, with a plank pine top and turned legs, h. 18‑1/4”, w. 20”, d. 16”. [150/300] 506 Group of Three Child’s Chairs, late 19th century, h. 17‑1/2” to 29”. [150/300] 507 English Waxed Pine Three-Step Stool, late 19th century, of nailed and tennoned construction, h. 19”, w. 12”, d. 14”. [75/125]

508 Pair of Elizabethan-Style Mahogany Sidechairs, 20th century, h. 38”, w. 17”, d. 19”. [300/500] 509 William and Mary-Style Oak Stool, of pegged construction with turned and block feet, upholstered in the manner of floral crewelwork, h. 18”, w. 36”, d. 21”. [150/300] 510 Edwardian Elm Windsor Armchair, ca. 1900, with a braced bow back and dished saddle seat, h. 32‑1/2”. [150/300] 511 George III-Style Mahogany Dressing Table, the shaped rectangular top hinged and opening to a variety of hinged compartments and central storage, raised above a concave stretcher shelf on square legs, h. 23‑1/2”, w. 26‑1/2”, d. 19‑1/2”. [75/125] 512 Tin-Glazed Terracotta Garden Seat, in the form of stacked pillows, decorated in the Delft manner, h. 13‑1/2”, w. 15”, d. 15”. [400/700] 513 Dutch-Style Marquetry-Inlaid Side Table, early 20th century, the top and sides with floral inlay, the front having a tambour slide above a single drawer, h. 24‑1/2”, w. 20‑1/2”, d. 13”. [300/500] 514 Georgian Needlework Picture, ca. 1800, depicting a sheep shearer and a little girl with a lamb, in a period frame, now stripped, h. 22”, w. 19”. [100/200] 515 Traditional Steel-Bladed Sword, mounted with a walnut and brass handle, in a leather scabbard, l. 35‑1/4”. [75/125] 516 George III Mahogany Tripod Table, 19th century, the tilting rounded rectangular top on a turned and bulbous standard to three splayed legs, h. 30”, w. 28‑3/4”, d. 22‑3/4”. [200/400] 517 Regency Mahogany Canterbury, 19th century, raised on tall chamfered legs, h. 22”, w. 17‑1/2”, d. 15‑1/2”. [200/400]

524 Regency-Style Mahogany Etagere, late 19th century, the molded cornice above two banks of four graduated shelves over two short drawers, all flanked by paneled shaped sides, the lower section fitted with two grilled cupboard doors, raised on a plinth base, h. 74”, w. 53”, d. 16”. [700/1000] Illustrated 525 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”. [400/700] 526 English Regency Decoupage Writing Box, first quarter 19th century, decorated with landscapes and trimmed with leaves, the interior lined with blue paper, h. 6”, w. 8‑1/4”, l. 11‑1/2”. [400/700] 518

518 Regency Rosewood Work Table, first quarter 19th century, the rounded rectangular top above a conforming frieze fitted with a single drawer over a pull-out storage well, raised on pierced end supports joined by a turned stretcher and ending in turreted feet, h. 28‑1/2”, w. 22‑1/4”, d. 15‑3/4”. [400/700] Illustrated

526A Collection of Three English Boxes, including two ca. 1900 boxes, a faux bois-painted box in a rosewood pattern, h. 2‑1/2”, w. 6‑3/4”, d, 4”, and an inlaid mahogany box with patera on the cover, h. 4‑1/2”, w. 9‑1/2”, d. 7”; and a second quarter 19th-century rosewood box with maple crossbanding and ivory escutcheon, h. 4”, w. 11‑1/4”, d. 7”. [75/125]

519 Late Regency Rosewood Games Table, second quarter 19th century, the fold-over top with a felt playing surface, molded and scroll frieze, turned pedestal and concave base, h. 29”, w. 36”, d. 17‑1/2”, extended l. 35”. [300/500] 520 Regency Mahogany Drum 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”. [2000/4000] 521 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”. [500/800] 522 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”, w. 48‑1/2”, l. 48‑1/2”, extended l. 73”. [500/800] 523 Early Victorian Mahogany Drop-Leaf Table, third quarter 19th century, the rectangular top with rounded ends and two ovoid drop leaves, raised on ribbed tapering square legs, h. 28”, w. 48”, d. 21”, extended, l. 65”. [300/500]

524

527 Pair of Molded Wax Figural Groupings of Classical Inspiration, first quarter 19th century, probably English, in contemporary gilt shadowbox frames, h. 10‑1/4”, w. 10‑1/4”. [75/125]

533

528 English Miniature Portrait on Ivory, second quarter 19th century, h. 4”, w. 3”. [150/300] 529 William IV Papier-Mache Wine Coaster, second quarter 19th century, dia. 5‑1/2”. [50/80] 530 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 tapering square legs ending in spade feet, h. 32‑1/2”. [500/800]

531 533 Large English Potpourri Urn, Attributed to Derby, first quarter 19th century, decorated with gilt grape leaves on a cobalt ground, the base pierced to hold a burner, the bowl mounted with gilt ram’s head handles, with three superbly painted floral baskets on marble slabs, the pierced cover decorated to match, formerly with a removable knop, h. 10”, dia. 9”. [600/900] Illustrated 534 Fine Pair of Paris Porcelain Cachepots and Stands, second quarter 19th century, decorated with brightly colored hand-painted passion flowers and mounted with faux lion’s head ring pulls, h. 6‑3/4”, dia. 6‑1/4”. [300/500] 535 Three-Piece Group of Pottery, including an English pearlware shell-edge sauceboat, ca. 1800, l. 8”; a Continental spongeware saucer, dia. 5‑7/8”; and a Continental cut sponge plate, dia. 9”. [50/80] 536 Pair of English Mulberry Ironstone Plates, mid19th century, in the “Sydenham” pattern, signed by J. Clementson, dia. 9‑1/2”. [100/200]

531 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 stop-fluted tapering square legs headed by patera capitals and ending in spade feet, h. 53”. [1000/1500] Illustrated 532 Regency-Style Mahogany Library Chair, the curved and padded rectangular back within a molded frame, joined by closed padded arms and turned bulbous uprights to the cushioned seat, raised on turned tapering circular legs ending in brass caps and casters, h. 39”. [500/800]

537 Two Similar Blue Staffordshire Pearlware Tea Bowls and Saucers, ca. 1810‑1825, the first example decorated with a basket of flowers on a stippled ground and 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”. [100/200] 538 Four Pieces of Porcelain, including an English Wadeheath double jam pot, 20th century, h. 5”, l. 8”; a Delft plate, 20th century, signed, dia. 9”; a Noritake tray, w. 6”, l. 9”; and a Chinese export undertray, l. 6‑1/2”. [50/80]

539 Set of Ten Staffordshire Pottery Luncheon Plates, second quarter 20th century, signed “Myott, Staffordshire”, and artist signed “A. Robert”, w. 8‑1/2”, d. 8‑1/2”. [100/200] 540 English Rockingham-Type Porcelain Partial Dessert Service, third quarter 19th century, comprised of a teapot, h. 7”, dia. 6‑1/2”, a covered sugar bowl, h. 7”, w. 7”, a cream jug, h. 5‑1/4”, w. 4‑3/4”, a waste bowl, h. 3‑1/4”, dia. 5‑3/4”, a pair of cake plates, dia. 9‑1/2”, twelve dessert plates, dia. 6”, nine teacups, h. 2‑3/4”, and eleven saucers, dia. 5‑1/2”. [400/700] 541 Cast Bronze Garden Fountain, depicting a classical maiden pouring water, h. 68”. [2000/4000] Illustrated

547

545 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 sides with figural scenes, raised on a plinth base, h. 46‑1/2”, w. 26‑1/2”, d. 12”. [500/800] 546 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”. [500/800]

541

542 Oval Sunburst Mirror, with leaf-patterned “rays” alternating with mirrored “rays”, h. 30”, w. 26‑3/4”. [400/700] 543 Pair of Italian Regency-Style Gilded Composition Brackets, h. 16”, w. 12”, d. 7”. [300/500]

547 Continental School (18th Century), “Italianate Landscape with Figure Fishing” and “Italianate Landscape with Family Returning from Market”, two oils on canvas laid on board, both unsigned, each 18” x 21‑1/2”. Both framed. [600/900] Illustrated 548 Continental School (20th Century), “Dance of the Nymphs”, oil on canvas, signed lower right “Ch Martens”, 32” x 27”. Framed. [125/250] 549 French School (Fourth Quarter 19th Century), “Nymphs in a Wooded Landscape”, oil on canvas, unsigned, 20” x 27‑1/2”. Presented in an attractive giltwood and gesso floral-molded frame. [200/400]

544 Late Regency Mahogany Bowfront Chest, second quarter 19th century, with two over three drawers, raised on bracket feet, h. 43‑1/4”, w. 48”, d. 23‑1/4”. [500/800]

Sunday Session II 550 Pair of Fourteen-Karat Yellow Gold and Amethyst Dangle Earrings, each set with an oval faceted amethyst with an approximate weight of 5.00 carats. [125/250] 551 Fourteen-Karat Yellow Gold and Amethyst Ring, set with a round faceted amethyst with an approximate total weight of 5.00 carats, size 7‑3/4. [150/300] 552 Pair of Fourteen-Karat Yellow Gold Earrings, marked “Italy”, 13.9 dwt., l. 3”. [250/400] 553 Two Fourteen-Karat Yellow Gold Bracelets, 26.9 dwt., l. 8” and 9”. [300/500] 554 Fourteen-Karat Yellow Gold and Amethyst Ring, set with seven oval faceted amethysts, averaging 2.00 carats each, size 7. [200/400]

560 Fourteen-Karat White Gold and Fancy Light Yellow Diamond Ring, set with a central marquise-cut fancy light yellow diamond with an approximate total weight of 1.62 carats, bordered by twenty round brilliant-cut yellow diamonds with an approximate total weight of 0.32 carats, and finished on the outside border and shank of the ring with seventy-four brilliant-cut diamonds with an approximate total weight of 0.69 carats, size 8. [4000/7000] Illustrated 561 Fourteen-Karat White Gold and Fancy Light Brown Diamond Ring, set with a radiant-shaped-cut fancy light brown diamond with an approximate total weight of 1.09 carats, surrounded by 124 bead-set round brilliant-cut diamonds with an approximate total weight of 0.90 carats, size 7‑1/2. [3000/5000] 562 Pair of Ten-Karat Yellow Gold and Smoky Quartz Earrings, each set with a round smoky quartz with an approximate weight of 5.5 carats. [100/200] 563 Antique Eighteen-Karat Yellow Gold and Diamond Ring, ca. 1900, with a central old mine-cut diamond surrounded by eight smaller diamonds, total diamond weight approximately 0.75 carats, all in “buttercup” prongs to a threaded shank, 1.5 dwt., size 6. [200/400]

555 Pair of Fourteen-Karat Yellow Gold and Amethyst Dangle Earrings, each set with a faceted pear-shaped amethyst, total approximate weight 16.00 carats each, l. 2‑1/4”. [250/400] 556 Ten-Karat Yellow Gold and Amethyst Stick Pin, the custom-designed pin with two pear-shaped amethysts and fifty-one round-cut amethysts, with a total approximate weight of 7.62 carats, 8 dwt., l. 2”. [100/200]

560

557 Ten-Karat White Gold and Diamond Black Cord Wittnauer Wristwatch, with seventy-two single-cut diamond melees and eight diamond baguettes, with an approximate total weight of 0.50 carats, l. 6‑1/2”. [150/300] 558 Fourteen-Karat White Gold, Black and White Diamond Pendant with Chain, the pendant set with a fancy black round brilliant-cut diamond with an approximate total weight of 3.63 carats, surrounded by eighty-one single-cut diamonds with an approximate total weight of 0.52 carats, chain, l. 16”, pendant, l. 1”. [1800/2500] 559 Platinum and Diamond Wedding Band, set with twenty single-cut diamond melees with an approximate total weight of 0.20 carats, size 6‑1/2. [100/200]

564 Fourteen-Karat Yellow Gold, Ruby and Diamond Pendant with Chain, set with a single oval ruby with an approximate total weight of 9.74 carats, surrounded by twelve round rubies with an approximate total weight of 0.72 carats, and twelve round brilliant-cut diamonds with an approximate total weight of 0.66 carats, necklace, l. 18”, pendant, l. 1”. [1500/2500]

565 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, set with an oval ruby with an approximate total weight of 9.85 carats, surrounded by twenty-six round rubies with an approximate total weight of 2.62 carats and sixteen round brilliant-cut diamonds with an approximate total weight of 1.05 carats, size 8. [1800/2500] Illustrated

565

570 Fourteen-Karat White/Yellow Gold, Aquamarine and Diamond Pendant with Chain, set with an oval aquamarine with an approximate weight of 1.75 carats, suspended in an oval frame set with twenty-eight diamonds with an approximate total weight of 0.22 carats, chain l. 18”, pendant, l. 3/4”. [800/1200] 571 Two Fourteen-Karat Yellow Gold and Garnet Bracelets, one with a rope trim and set with nineteen oval garnets with an approximate total weight of 14.25 carats, and the other set with sixteen oval garnets with an approximate total weight of 24.0 carats, l. 7” and 7‑1/4”. [300/500] 572 Two Fourteen-Karat Yellow Gold Bangle Bracelets, the near pair engraved and hinged, 15.7 dwt., dia. 2‑3/4”. [200/400] 573 Pair of Fourteen-Karat Yellow Gold and Garnet Earrings, each set with an approximate 1.00‑carat navette garnet, surrounded by six small round garnets, l. 3/4”. [100/200]

566 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, mounted with a central prong-set ovalcut treated ruby, measuring 18.61 mm x 14.55 mm and with an approximate total weight of 14.70 carats, surrounded by a border of thirty-two prong-set round brilliant-cut diamonds with an approximate total weight of 0.68 carats and fifty prong-set round faceted rubies, set in a border on the outside edge and on the shoulders of the band, with an approximate total weight of 2.00 carats, size 7‑1/2. [2000/4000] 567 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, comprised of a central prong-set ovalcut treated ruby, measuring 15.40 mm x 10.43 mm x 6.95 mm and with an approximate total weight of 8.43 carats, surrounded by a border of twenty prong-set round brilliant-cut diamonds with an approximate total weight of 0.46 carats and a border of twenty prong-set round faceted rubies with an approximate total weight of 1.47 carats, size 7‑1/2. [2000/4000]

574 Fourteen-Karat Yellow Gold Bracelet, marked “Italy”, 18.1 dwt., l. 8”. [300/500] 575 Fourteen-Karat Yellow Gold, Diamond and Garnet Ring, set with approximately 1.25 carats of brilliant-cut diamonds and sixteen small round garnets, surrounding a single navette garnet, size 6‑1/2. [250/400] 576 Fourteen-Karat Yellow Gold, Garnet and Pearl “I Love You” Bracelet, l. 7”. [125/250] 577 Single Strand of Freshwater Rice Pearls, l. 34”. [50/80]

569

568 Fourteen-Karat Yellow Gold, Emerald and Diamond Necklace, set with twenty-one step-cut emeralds with an approximate total weight of 14.25 carats and numerous round brilliant-cut diamonds with an approximate total weight of 5.44 carats, necklace, l. 17” pendant l. 1‑1/2”. [7000/10000] 569 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, set with a central oval mixed-cut emerald with an approximate total weight of 7.17 carats, and forty-two round brilliant-cut diamonds bordering the emerald and down the sides of the shank with an approximate total weight of 1.33 carats, size 7‑1/2. [4500/7000] Illustrated

578 American Indian Silver and Turquoise Squash Blossom Necklace, l. 23‑1/2”. [125/250]

589 Fourteen-Karat Yellow Gold, Jadeite and Diamond Ring, set with a single oval-shaped jadeite cabochon measuring 18.00 mm x 15.00 mm x 7.85 mm, surrounded by sixty-four brilliant-cut diamonds with an approximate total weight of 0.80 carats, size 7‑1/2. [1800/2500]

579 Fourteen-Karat Yellow Gold and Carved Turquoise Ring, the large 29.0 mm x 40.0 mm turquoise cabochon carved with an owl in relief, size 8. [250/400] 580 Two Strands of Disk-Shaped Freshwater Pearls, l. 50” and 54”. [100/200] 581 Pair of FourteenKarat Yellow Gold and Pearl Earrings, each set with a baroque pearl. [50/80]

582 Pair of Fourteen-Karat Yellow Gold Dangle Earrings, 12.6 dwt., l. 3”. [200/400] 583 Large Strand of Shell-Shaped Freshwater Pearls, l. 62”. [100/200] 584 Fourteen-Karat Yellow Gold, Baroque Pearl and Diamond Ring, set with ten round brilliant-cut diamond melees with an approximate total weight of 1.00 carat, size 8‑1/2. [250/400] 585 Double-Strand Baroque Pearl Necklace, with a fourteen-karat yellow gold and diamond clasp, set with fifty-one single-cut diamond melees, l. 17”. [300/500] 586 Fourteen-Karat Yellow Gold and Diamond Geneve Wristwatch, set with six round brilliant-cut diamond melees with an approximate total weight of 0.10 carats, l. 6‑1/2”. [250/400] 587 Pair of Fourteen-Karat Yellow Gold, Diamond and Mabe Pearl Dangle Earrings, each earring set with forty round brilliant-cut diamond melees with an approximate total weight of 0.50 carats each, l. 2”. [300/500] 588 Fourteen-Karat White Gold, Sapphire and Diamond Ring, set with a treated mixed-cut sapphire with an approximate total weight of 8.69 carats, and set with diamonds around the border and shank of the ring, with an approximate total weight of 0.97 carats, size 7. [1500/2500] Illustrated

590 Fourteen-Karat Yellow Gold Geneve Quartz Wristwatch, l. 7‑1/2”. [500/800] 588

591 Fourteen-Karat Yellow Gold Baume and Mercier Wristwatch, the movement signed “Lucien Piccard”, l. 7‑1/2”. [600/900] 592 Fourteen-Karat Yellow Gold Locket with Rosary, the locket containing a miniature rosary and two cut-outs for photos, 24.6 dwt., h. 1‑3/4”, w. 1‑1/4”. [250/400] 593 Fourteen-Karat Yellow Gold and Sapphire Bracelet, with twelve round blue sapphires with an approximate total weight of 2.00 carats, l. 7‑1/2”. [300/500] 594 Fourteen-Karat White Gold, Tanzanite and Diamond Necklace, set with sixty-five oval and round tanzanites with an approximate total weight of 44.47 carats and ninety brilliant-cut round diamonds with an approximate total weight of 2.83 carats, l. 17”, pendant, l. 1‑1/2”. [6000/9000] 595 Fourteen-Karat White Gold, Tanzanite and Diamond Pendant with Chain, the pendant set with a central oval mixed-cut tanzanite with an approximate total weight of 3.16 carats, surrounded by fifty-one round brilliant-cut diamonds with an approximate total weight of 1.60 carats, chain, l. 18”, pendant, l. 1”. [2500/4000] 596 Fourteen-Karat White Gold, Tanzanite and Diamond Ring, set with a central oval mixed-cut tanzanite with an approximate total weight of 3.89 carats, surrounded by twelve round brilliant-cut diamonds with an approximate total weight of 1.07 carats, size 7‑1/2. [2500/4000] Illustrated

596

597 Beautiful Fourteen-Karat White Gold and Pearl Necklace, composed of 10.0 mm to 11.0 mm white/cream pearls with a high luster, finished with a fourteenkarat white gold ball clasp, l. 18”. [400/700]

598 Fourteen-Karat White Gold and Graduated SingleStrand South Sea Cultured Pearl Necklace, composed of thirty-three South Sea cultured pearls ranging in size from 9.00 mm to 15.00 mm, with a slightly green/white/ rose color and with a low/medium luster, finished with a plunger-style clasp, l. 16”. [1800/2500] 599 Fourteen-Karat Yellow Gold and Garnet Bangle Bracelet, set with seventeen round garnets, dia. 2‑1/2”. [100/200] 600 Fourteen-Karat Yellow Gold, Sapphire, Emerald, Ruby and Cultured Pearl Bangle Bracelet, with three blue sapphires, four emeralds and six rubies, each with an approximate weight of 0.01 carats, inside measurement, 6‑1/2”. [250/400] 601 Fourteen-Karat Yellow Gold, Emerald and Pearl Bangle Bracelet, set with thirty cultured pearls and ten emeralds with an approximate total weight of 0.10 carats, inside measurement, 6‑1/2”. [250/400]

609 Three Ivory and Silver Hinged Bangle Bracelets, inside measurement, 7”. [200/400] 610 Fourteen-Karat Yellow Gold, Diamond and Ruby Elephant Stick Pin, set with fifteen single-cut round diamond melees and one ruby, 2.9 dwt., l. 3/4”. [50/80] 611 Fourteen-Karat Yellow Gold and Jade Pendant, the large carved jade disc set in a gold wire frame, h. 2‑1/2”, w. 2‑1/4”. [100/200] 612 Mother-of-Pearl and Freshwater Pearl Necklace, finished with a sterling silver toggle clasp, l. 16”. [75/125] 613 Bold Rock Crystal Necklace, comprised of large faceted rock crystal nuggets, finished with a sterling silver toggle clasp, l. 18”. [100/200]

602 Fourteen-Karat Yellow Gold and Garnet Crucifix, set with forty-one round faceted garnets with an approximate total weight of 3.00 carats, l. 1‑1/2”. [100/200]

614 Striking Red Coral Branch Necklace, finished with a gold toggle clasp, l. 17”. [75/125]

603 Pair of Ten-Karat Yellow Gold and Cameo Earrings, bezel-set with black enamel, l. 1”. [75/125]

615 Silver and Polished Abalone Watch with a Matching Necklace, both comprised of polished whole abalone shells, necklace, l. 20”, watch, l. 8‑1/2”. [100/200]

604 Two Seed Pearl and Diamond Brooches and a Lady’s Pearl Ring, comprised of a ten-karat yellow gold crescent brooch set with seed pearls and a mine-cut diamond melee, a fourteen-karat yellow gold crown brooch set with seed pearls and three round diamond melees, and a fourteen-karat yellow gold ring set with a mabe pearl, size 7. [150/300] 605 Amazonite and Silver Necklace and Bracelet Set, each finished with sterling silver toggle clasps, necklace, l. 18”, bracelet, l. 8‑1/2”. [50/80] 606 Fourteen-Karat Yellow Gold, Topaz and Diamond Earrings, each with faceted oval topazes with an approximate total weight of 10.0 carats, surrounded by twenty-three round brilliant-cut diamond melees and four diamond baguettes with a total approximate weight of 0.25 carats each, l. 3/4”. [250/400] 607 Fourteen-Karat Yellow Gold, Diamond and Blue Topaz Bracelet, set with an oval topaz with an approximate total weight of 12.0 carats, and fifty round diamond melees with an approximate total weight of 1.00 carat, l. 7”. [250/400]

616 Contemporary Gold-Tone and Anodized Crystal Necklace, the gold-tone chain with alternating anodized links set with round faceted crystals, l. 38”. [50/80] 617 Contemporary Gold-Tone and Anodized Rhinestone Bracelet, the anodized circular links set with rhinestones and alternating elongated gold-tone links set with rhinestones, l. 8”. [40/70] 618 Three Pairs of Lady’s Fashion Earrings, comprised of a pair of fourteen-karat gold triangular-shaped earring jackets, a pair of gold-tone clip earrings with black cabochon accents, and a pair of dangling clip earrings with multiple strands of faceted black beads in different sizes radiating from the center in a waterfall pattern, h. 1” to 3”. [50/80] 619 Three Pairs of Lady’s Fashion Clip Earrings, comprised of a dangling pair adorned with gold sequins, a pair with four balls dangling from gold chains and encrusted with red rhinestones, and a domed pair encrusted with rhinestones in red, orange and pink, all bordered in black, h. 1‑1/4” to 3‑1/4”. [50/80]

608 Chinese Jade and Silver Filigree Bracelet, set with a carved green jade medallion measuring approximately 29 mm x 38 mm, l. 7”. [100/200]

620 Three Pairs of Lady’s Fashion Clip Earrings, comprised of a pair with fish dangling from a floral cluster, with ecru-colored enamel and rhinestone accents, and cabochons accenting the eyes and mouths; a pair with large round dangling hoops painted in green, orange, pink, yellow and purple, separated by overlapping borders painted in gold; and a pair composed of white leather in the shape of a flower with dangling leather pieces adorned with gold charms, studs, pearls and rhinestones; h. 3” to 3‑3/4”. [50/80]

621 Three Pairs of Lady’s Fashion Clip Earrings, comprised of a pair of Givenchy matte gold-toned clip earrings with hoops dangling from diamond-shaped tops, a pair of matte gold-toned dangling clip earrings in the shape of loose swirls, and a pair of clip earrings with faux tortoiseshell centers surrounded by matte gold-toned swirling patterns, h. 1‑1/2” to 2‑1/2”. [50/80] 622 Two Pairs of Lady’s Fashion Gold-Tone Clip Earrings, one pair in a solid snake-like shape, and the other a dangling pair with a mix of bright and matte gold-tones, h. 2” and 3‑1/2”. [20/40] 623 St. John Cognac Top-Stitched Leather Handbag, with two rolled and stitched handles attached ending in top stitched and d-ring trimmed long tabs, each side with a gusseted flap pocket, the zippered closure with an oval leather pull tab bearing a brass label stamped “ST. JOHN / MADE IN ITALY”, the coffee fabric-lined interior with a leather-trimmed zippered pocket stamped in gilt “ST. JOHN / MADE IN ITALY”, the bag resting on four brass feet, bag, h. 8‑1/2”, w. 15”, d. 4‑3/4”, handle drop: 8”. [200/400] 624 Ferragamo Camel Top-Stitched Pigskin Handbag, with polished brass hardware, having two rolled and stitched handles, the extended zippered closure with a top-stitched leather pull tab, one end brass-bound and stamped in script “Ferragamo”, the other end with a small hinged brass stirrup which can be attached to a brass eye to secure the zipper, the taupe logo fabric-lined interior comprised of two large center pouches, one pouch with two slip pockets flanking a gusseted center pocket, the other pouch with a zippered side pocket having a brass pull tab stamped in script “Ferragamo” and a leather tab stamped in gilt “Salvatore Ferragamo / MADE IN ITALY / AX-21 3385”, as well as a removable brass key ring attached to a top-stitched leather tab at one side, the bag resting on two top-stitched tabs each with two brass feet, a dust bag included, bag, h. 10”, w. 16”, d. 6‑1/2”, handle drop: 6‑1/2”. [300/500]

625

625 Chanel Olive Green Quilted Pebble Grain Leather Handbag, with two rolled and stitched handles, the front body with trapunto interlocking “Cs”, the other side with a slip pocket, zippered top closure with a brass pull tab stamped with interlocking “Cs”, the tan faille-lined interior with a zippered side pocket bearing a stitched leather tab stamped in gilt “CHANEL / MADE IN FRANCE”, the brass pull tab stamped with interlocking “Cs”, retains the numbered sticker and matching black authenticity card, the bag resting on five brass feet, a dust bag included, bag, h. 8‑1/2”, w. 14‑3/4”, d. 5”, handle drop: 4‑3/4”. [400/700] Illustrated

626 Alina Multi-Colored Patchwork Alligator “Vicenza” Handbag, with two rolled and stitched handles along with a detachable red alligator shoulder strap, the foldover 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] 627 Marc Jacobs Coral Quilted and Gathered Leather Handbag, with polished brass hardware, the handles rolled and stitched, the gusseted body gathered on both sides with knotted self laces, the lower body with a zippered small pocket on one side, the pull tab stamped “MARC JACOBS”, a small d-ring at both sides below the top zipper, one with a removable self strap holding a larger d-ring, the zippered closure with a brass pull tab stamped “MARC JACOBS”, the interior lined in taupe fabric with a coral leather-trimmed slip pocket at one side stamped on the leather in gilt “MARC JACOBS / MADE IN ITALY”, bag, h. 8‑1/2”, w. 14‑1/2”, d. 7”, handle drop: 4‑1/2”. [300/500] 628 Alina Caribbean-Green Ostrich Skin “Tremezzo” Handbag, with two logo-stamped buckled 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]

629 Group of Six English Engravings, 19th century, depicting paintings from the collection of the Duke of Devonshire, each sheet 11‑1/2” x 17”. Unframed. [100/200] 630 Joseph Edmondson (British, d. 1786), “The Names of All the Quarterings/George Baron Vernon” and “The Quarterings/George Baron Lyttelton”, two hand-colored copper-plate engravings from Baronagium Genealogicum, each sight 18‑3/4” x 11‑1/4”. Attractively matted, glazed and framed alike. [450/700] 631 Group of Three Hand-Colored Engravings of Scenes of Boston, 19th century, each sight 6‑1/2” x 8”. Attractively matted, glazed and framed. [100/200] 632 Pair of Continental Black and White Engravings, depicting indigenous man and woman, probably late 17th/ early 18th century, both sight 12” x 6‑1/2”. Both glazed, handsomely matted and framed. [450/700] 633 Pair of Woodblock Prints of Biblical Scenes, after Lucas Cranach, the Elder (German, ca. 1472‑1553), each with later handwritten inscriptions, each sight 5” x 6‑1/4”. Both glazed, handsomely matted and framed. [700/1000]

642 640 Pair of Italian Decorative Restrike Engravings, after the Antiques, titled in plates “Satirina Baccante” and “C. Cesare”, each sight 16” x 12”. Both glazed, triple-matted and presented in molded giltwood frames. [100/200]

634 Pair of French Engravings of Architectural Elements, 1733, from A Parallel of the Ancient Architecture with the Modern, Roland Freart, 4th Edition English translation by John Evelyn, sheet 14‑1/4” x 19‑1/4”. Framed [150/300]

641 Morris Henry Hobbs (American/New Orleans, 1892‑1967), pair of etchings, “The Bathers” and “Standing Nude”, each signed in pencil bottom center, sight 3‑1/2” x 2‑1/2”. Unframed. [100/200]

635 Pair of French Engravings of Architectural Elements, 1733, from A Parallel of the Ancient Architecture with the Modern, Roland Freart, 4th Edition English translation by John Evelyn, sheet 14‑1/4” x 19‑1/4”. Framed [150/300]

642 Charles Berninghaus (American/Taos, 1905‑1988), “Rio Grande”, oil on canvasboard, signed lower left, titled en verso, 16” x 20”. Framed. [1000/1500] Illustrated

636 After Jean-Francois Neufforge (Flemish, 1714‑1791), a collection of four architectural engravings from Recueil elementaire d’architecture, each sight 14” x 9”. Presented in pairs in two frames. [200/400] 637 Ernest C. Rost (American, 1866‑1940), “By the Lake”, 1890, etching, printed by Fishel, Adler, and Schwartz, New York, signed and dated in plate lower left, signed in pencil lower right, 10” x 24”. Unframed. [50/80] 638 Charles Paul Renouard (French, 1845‑1924), “A L’Opera”, suite of six etchings, signed in graphite lower left, sight varying from 7‑1/2” x 9‑1/2” to 12‑3/4” x 9‑3/4”. [300/500] 639 Frederick Owen (American, 1869‑1959), group of three nautical engravings, each signed in pencil lower right and titled lower left, two with inscriptions bottom center, one sight 11‑1/2” x 14‑3/4”, two sight 10‑3/4” x 12”. Glazed, matted and framed alike. [200/400]

643 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. [150/300] 644 American School (Second Quarter 20th Century), “Western Landscape”, oil on board, signed lower right “Alex Douliere”, 13‑1/2” x 17‑1/2”. Framed. [125/250] 645 Aloysius O’Kelly (American, New York, 1853‑1926), “Moonlit Western Landscape”, oil on canvas, signed lower right “A. O’Kelly”, 14‑1/2” x 21‑1/2”. Framed. [1500/2500] Illustrated 646 American School (20th Century), “Harvest”, oil on canvas, unsigned, 16‑1/4” x 20‑1/4”. Framed. [800/1200] 647 American School (Second Quarter 20th Century), “Canyon with a Mountainside Village”, oil on board, unsigned, 17‑1/2” x 26‑1/2”. Framed. [200/400]

648 American School (Second Quarter 20th Century), “Coastal Landscape”, oil on board, signed lower right “Michael Lynch”, 12” x 16”. Framed. [300/500] 649 Luis Ricardo Amendolla Gasparo (Mexican, 1939‑2000), “Portrait of a Gray-Haired Man with Blue Eyes”, oil on canvas, signed and dated lower right “Amendolla 76”, 28” x 22”. Framed. [500/800]

655 American Federal-Style Mahogany Cabinet, second quarter 20th century, with a brass plaque reading “W. & J. Sloane Saw-Kill Furniture”, the molded cornice over a pair of mullioned glazed doors, the base with a pair of drawers, h. 83”, w. 39”, d. 18‑1/2”. [400/700]

650 Three Wooden Collector’s Trays with Native American Arrowheads, found in Oklahoma and Arizona, h. 8‑3/4”, w. 12‑3/4”. [200/400] 650A Two Collector’s Cases Containing Native American Arrowheads, found in Oklahoma, presented in glazed mahogany frames, w. 12”, l. 15”. [200/400] 651 Painted and Bas-Relief-Carved Dummy Board, supported by an easel, h. 33‑1/2”, w. 12”. [75/125] 652 Nicely Detailed Model of a Clipper Ship, first quarter 20th century, probably American, mounted on a pine board painted to simulate waves, h. 20‑1/4”, w. 32‑1/2”, d. 11‑3/4”. [75/125] 653 An Antique French Map of “Golfe du Mexique”, including Louisiana, sight 30‑1/4” x 17‑1/2”. Matted and framed. [100/200] 654 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”. [300/500]

658

656 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”. [4000/7000]

657 American Sheraton Cherry Tall Post Bed, second quarter 19th century, the head posts supporting a headboard with a scrolling broken-arch crest, the foot posts joined by a turned blanket roll, the side rails later, h. 76”, inside w. 51”, inside l. 75”, outside w. 59”, outside l. 85”. [400/700] 658 American Classical Parcel-Gilt, Brass-Mounted and Stenciled Mahogany Parlor Cabinet, ca. 1825, the projecting cornice over a stenciled frieze and a sliding glazed door, the lower portion with a projecting drawer with stenciled face on turned, carved legs, formerly fitted as a piano, h. 74‑3/4”, w. 51”, d. 23‑1/4”. [1000/1500] Illustrated

645

674

667 Max Bohm (American, 1868‑1923), “Portrait of Dr. Albert R. Baker”, 1892, oil on board, signed and dated lower right, old inscription en verso, 10‑1/2” x 9”. In a period covemolded, gessoed and giltwood frame. [800/1200] 668 Clara Mamre Norton (American, 19th/20th Century), “The Flower Seller and Her Child”, oil on canvas, unsigned, fourth quarter 19th century, 16” x 33”. Presented in a giltwood exhibition frame with artist plaque. [700/1000]

659 American Classical Mahogany Sideboard, first quarter 19th century, probably New York, the case with projecting drawers over a pair of doors flanking a pair of narrow bottle drawers, h. 43”, w. 60”, d. 24”. [800/1200]

669 American School (Second Quarter 20th Century), “Reclining Nude”, oil on canvas, signed verso “D. M. Cooper”, 29” x 38”. Framed. [300/500]

660 Pair of American Classical-Style Mahogany Armchairs, 20th century, each of gondola form with scroll arms, a vasiform splat and saber legs, h. 36”. [100/200]

670 Pair of American Cast Iron Figural Andirons, third quarter 19th century, depicting African American males, with separate billet bars which dovetail to the front, h. 10”, w. 14‑3/4”, d. 21”. [200/400]

661 Pair of American Late Classical Mahogany Dining Chairs, 19th century, with molded crest rail, vasiform splat and saber legs, h. 34‑1/4”. [150/300] 662 American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the upper section with a pair of mullioned and glazed doors, the base with a fold-out writing surface, three drawers and scroll columns and feet, h. 66”, w. 48”, d. 21”. [400/700] 663 American Late Classical Mahogany Work Table, second quarter 19th century and later, with a single frieze drawer, and scroll feet, height reduced, h. 29”, w. 20”, d. 18‑1/2”. [100/200] 664 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”, extended l. 36”. [150/300] 665 Continental Alabaster Bust of a Woman in a Hat, first quarter 20th century, the figure depicted in a large feathertrimmed hat and raised on a tapered socle, indistinctly signed on the back, h. 21‑1/4”, w. 12‑3/4”, d. 7‑3/4”. [300/500] 666 Continental School (Fourth Quarter 19th Century), “Portrait of an Italian Beauty in Black”, oil on canvas, signed illegibly lower left, 20” x 16”. Unframed. [200/400]

671 Rare American Cast Iron and Polychrome Jockey Hitching Post, Trenton, New Jersey, ca. 1888, h. 47”, w. 20”, d. 20”. [1200/1800] 672 Pair of Cast Iron Garden Urns, late 20th century, each having swan-form handles and swags of floral decor, h. 28”, w. 22”, d. 14”. [600/900] 673 Pair of “Blue Bird” Cast Iron Garden Urns, 19th century, the bases bearing the label “The Kramer Bros FDY Co. Dayton, O”, h. 32”, dia. 20”. [400/700] 674 American Cast Iron Garden Suite in the “Renaissance Scroll” Pattern, ca. 1900, comprised of a settee and a pair of armchairs, the crests depicting Betsy Ross, with elaborate scroll backs, shaped seats and floral-molded cabriole legs, settee, h. 33”, w. 45”, d. 17”, armchairs, h. 33”. [800/1200] Illustrated 675 Pair of Cast Aluminum Garden Armchairs, second half 20th century, in the “Lyre and Rose” pattern, h. 32”. [200/400] 676 Pair of Victorian-Style Cast Iron Pedestals, the columns each modeled depicting trophies, h. 33”, w. 23‑1/2”, d. 23‑1/2”. [700/1000]

685

684 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. 39‑1/4”. [500/800] 685 American Rococo Revival Mahogany Center Table, third quarter 19th century, in the manner of Foster and Lee, the tortoise-form marble top over a conforming carved apron, with vasiform pedestal and dolphin-carved legs, h. 28‑1/2”, w. 39”, d. 27‑1/2”. [300/500] Illustrated

677 Pair of Victorian-Style Cast Iron Pedestals, the columns each modeled depicting trophies, h. 33”, w. 23‑1/2”, d. 23‑1/2”. [600/900] 678 American School (19th Century), “Portrait of a Gentleman”, pastel on paper, unsigned, sight 19‑1/4” x 16‑1/4”. Glazed and framed. [300/500] 679 American School (First Quarter 19th Century), “Portrait of a Young Gentleman”, oil on canvas, unsigned, 30” x 25”. Framed. [350/500] 680 American School (Second Quarter 19th Century), “Portrait of a Man Seated, Holding a Document”, oil on canvas, unsigned, 33” x 28”. Framed. [600/900] 681 American School (Fourth Quarter 19th Century), “Portrait of a Lady with a Lace Collar”, oval oil on canvas, unsigned, 28” x 23‑1/2”. Presented in an antique giltwood frame. [800/1200] 682 American School (Second Quarter 19th Century), “Portrait of Two Young Women, One Playing a Lute”, oil on canvas, unsigned, 27” x 27”. Presented in a giltwood and gesso frame with a circular window. [10000/15000] 683 American Rococo Revival Chestnut Sideboard, second quarter 19th century, in two parts, the upper section with a cabochon-centered foliate-carved crest over a serpentine shelf with shaped mirror below, the base containing its period variegated marble top and a pair of drawers over a pair of doors, all with shaped panels, the doors mounted with fruit carving, h. 86‑1/2”, w. 47‑1/2”, d. 18‑1/2”. [300/500]

686 American Rococo Revival Mahogany and MarbleTop Center Table, third quarter 19th century, attributed to Foster and Lee, with a tortoise-form marble top, the vasiform pedestal joined to dolphin and foliate-carved legs, h. 29‑3/4”, w. 39”, d. 27”. [400/700] 687 American Rococo Revival Mahogany Center Table, in the manner of Foster and Lee, the tortoise-form marble top over a conforming apron, the base with a vasiform pedestal and scrolling foliate-carved legs with dolphin heads, h. 28‑1/2”, w. 38”, d. 27‑1/2”. [300/500] 688 American Rococo Revival Mahogany Center Table, third quarter 19th century, in the manner of Foster and Lee, with a tortoise-form marble top, h. 29‑1/2”, w. 38‑3/4”, d. 27‑1/2”. [400/700] 689 Pair of American Rococo Revival Rosewood Armchairs, third quarter 19th century, the backs with a foliate- and cabochon-carved crest, with open arms, bowed seat rail and cabriole legs, now upholstered in green brocade, h. 39”. [300/500] 690 Diminutive American Rococo Revival Walnut Settee, third quarter 19th century, h, 32”, w. 50”, d. 25”. [50/80] 691 Rococo Revival Painted and Gilded Oval Ceiling Medallion, ca. 1900, w. 39”, l. 54‑1/2”. [200/400] 692 American Neoclassical Painted Chest of Drawers, second quarter 19th century, probably Baltimore, Maryland, h. 41”, w. 35”, d. 19”. [300/500]

693

696 Three-Light Gas and Electric Brass Chandelier, ca. 1900, the two upturned sockets, originally gas, fitted with opalescent ribbed cranberry ruffled edge shades, with a matching flame-shaped shade in the downturned facing electric socket, h. 28”, w. 12”, d. 9”. [300/500] Illustrated 697 Pair of Brass Wall Sconces, first quarter 20th century, mounted with blue satin glass ruffled edge shades, h. 6‑1/2”, w. 8‑1/2”, d. 10‑3/4”. [200/400]

693 Three-Piece American Girandole Set, mid-19th century, the “Paul and Virginia” model, mounted with a set of period coffin-shaped prisms, h. 18‑1/2”, w. 18”, d. 4”. [300/500] Illustrated

696

698 Vintage Clock and Microscope, consisting of a Schwartz brass and beveled glass electronic clock, of German origin, h. 10‑1/4”, w. 8”, d. 4”; and a Bausch and Lomb enameled iron and gilt-brass microscope, patented in 1925, h. 13”, w. 4”, d. 7”. [75/125] 699 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. [2000/4000] Illustrated

699

700 Large Paris Porcelain Vase, having a pink ground with gilt highlights, the obverse featuring a painted panel of a courting couple, h. 17”. [200/400]

694 Pair of Brilliant Period Cut Glass Table Lamps, first quarter 20th century, attributed to Pairpoint, Sagamore, Massachusetts, the standards cut with bull’s eyes and palmettes, and supporting silverplated lamp rings and Argand-type shades associated with Pairpoint, h. 16‑3/4”, dia. 5”. [200/400] 695 Late Victorian Two-Light Brass Chandelier, ca. 1900, in the Renaissance Revival style, mounted with ruffled and etched poinsettia pattern shades, h. 25‑1/2”, w. 17‑1/2”, d. 3”. [300/500]

701 Paris Porcelain PinkGround Garniture Vase, third quarter 19th century, h. 12‑3/4”, dia. 6‑3/4”. [100/200] 702 Large Paris Porcelain Handled Vase, fourth quarter 19th century, having a magenta ground with gilt highlights, the obverse with a painted cartouche of classical maidens, h. 16‑3/4”. [200/400]

703 Three Paris Porcelain Claret-Ground Vases, third quarter 19th century, the smaller vase drilled for a lamp, h. 10‑3/4” to 12‑1/2”. [300/500] 704 American Renaissance Revival Inlaid Banquet Table, third quarter 19th century, the circular top opening to accommodate four later skirted leaves, h. 30‑1/4”, dia. 48”, extended l. 135‑3/4”. [500/800]

710

705 American Renaissance Revival Walnut Dining Table, third quarter 19th century, the circular top on a shaped split pedestal with fruit-carved legs and scroll feet, h. 29‑1/4”, dia. 48”. [1000/1500] 706 Suite of Eight American Renaissance Revival Burled Walnut and Walnut Dining Chairs, third quarter 19th century, each with stiles with burled panels over fluted turning, a gently bowed front seat rail centered by a roundel with burled panels and turned legs, now lacking the upholstery, h. 35”. [400/700] 707 American Renaissance Revival Gilt-Incised Walnut Looking Glass, third quarter 19th century, the rectilinear mirror plate in a gilt-incised frame with a cartouche-carved crest, h. 56‑1/2”, w. 28”. [100/200] 708 American Renaissance Revival Burled Walnut and Walnut Sidechair, third quarter 19th century, h. 38‑1/2”. [200/400] 709 American Renaissance Revival Walnut Bed Tester, third quarter 19th century, with a cabochon- and floralcarved cartouche crest, the bowed front and concave sides how hung in quilted and fringed floral print fabric, h. 11”, w. 54”, d. 31”. [150/300]

710 American Renaissance Revival Burled Walnut and Walnut High-Back Bedstead, third quarter 19th century, the arched carved molded crest over an inset burlwood panel, the headposts with raised panels and roundels, the footboard with an arched top over raised and reversed burled panels, the headposts now reduced in height, h. 87”, inside, w. 59‑1/2”, l. 81”, outside, w. 68”, l. 91”. [2000/4000] Illustrated 711 American Victorian Oak Extension Table, ca. 1900, with shell-carved knees and scrolled corner brackets, the skirt incised with anthemia, raised on cabriole legs with pad feet, h. 28”, w. 50”, d. 38‑1/2”. [150/300] 712 American Late Victorian Walnut Bookcase-Armoire, fourth quarter 19th century, the projecting cornice supporting a foliate- and scroll-carved crest, over a pair of glazed doors, the base fitted with a pair of drawers, each with fruit- and foliate-carved pulls, h. 95”, w. 53” , d. 19”. [400/700] 713 American Oak Sectional Map Case, ca. 1900, with the brass plaque of Keuffel and Essen Co., New York, Hoboken, New Jersey, the molded cornice over two sections, each fitted with five deep drawers, h. 46”, w. 45‑1/2”, d. 35”. [250/400] 714 American School (Contemporary), “Quiet Harbor”, oil on canvas, signed lower right “Rampas”, 30” x 40”. Attractively framed. [800/1200] Illustrated

714

715 Judi Betts (American/Louisiana, b. 1936), “Nocturne”, watercolor, signed lower left “J. Betts”, sight 14‑1/2” x 21‑1/2”. Glazed, handsomely matted and framed. Provenance: Private collection, Birmingham, Alabama. [200/400] 716 American School (20th Century), “Boatyard”, watercolor on paper, illegibly signed lower left, sight 12” x 20‑1/2”. Glazed, matted and framed. [100/200] 717 American School (First Quarter 20th Century), “Sunset Sail”, oil on canvas, unsigned, 14” x 20”. Presented in a molded giltwood frame. [100/200] 718 American School (Third Quarter 20th Century), “Busy Harbor Scene”, oil on canvas, signed lower right “M. Headermann”, 24” x 36”. Framed. [350/500] 719 Continental School (Second Quarter 20th Century), “Fishing Village in Winter”, oil on board, unsigned, 18” x 14‑3/4”. Attractively framed. [150/300] 720 American School (Third Quarter 20th Century), “Autumnal River Landscape”, oil on canvas, signed lower right “Reynolds”, 40” x 50”. Framed. [200/400] 721 Boehm Limited Edition Figure of an Owl on a Stump, made in England, with a horsehead mark, h. 10‑1/2”, w. 6‑3/4”, d. 5”. [300/500] 722 Boehm Figure of a White-Faced Scops Owl on an Ivy-Covered Branch, limited edition, marked “no. 98”, h. 14‑1/2”, w. 9‑3/4”, d. 3‑3/4”. [400/700] Illustrated

723 Boehm Figure of an Owl Eating a Moth, made in England, signed with a horsehead mark, h. 6‑1/2”, w. 4‑1/4”, d. 3‑3/4”. [300/500] 724 Boehm “Owl” Covered Box, composed of Belleek-type porcelain, marked and numbered “700‑2”, h. 3”, w. 5‑1/4”, d. 4‑1/2”. [100/200] 725 Iron and Brass Doll Bed, ca. 1900, probably American, the cast iron bed frame fitted with brass finials, h. 19‑1/4”, w. 14‑1/2”. [100/200] 726 Classical Revival Mahogany Kidney-Form Desk, first quarter 20th century, the shaped top over a conforming frieze with a concave drawer flanked by a pair of convex drawers, raised on cabriole legs with paw feet, h. 31‑1/4”, w. 49”, d. 27”. [300/500] 727 American Oak Dining Table in the Arts and Colonial Revival Inspiration, early 20th century, with a circular top, an octagonal central pedestal and turned legs, h. 31‑1/2”, dia. 49”. [200/400] 728 American Eastlake Victorian Walnut Side Table, fourth quarter 19th century, h. 28‑1/2”, w. 19”, d. 14”. [50/80] 729 Victorian Gilt-Bronze Three-Light Gasolier Wall Sconce, fourth quarter 19th century, the scrolled arms ornamented with lion’s heads, the Louis XV-style backplate of cartouche form in a surround of laurel leaves, the top socket now mounted with a glass spire, the three sockets with electrified candles, h. 15‑3/4”, w. 15‑1/4”, d. 12‑1/2”. [350/500] 730 Two Molded Glass Toilette Bottles, both labeled, h. 6”, w. 3‑1/4”, d. 2”. [20/40]

722

731 Group of Seven American Vintage Glass Canisters, second quarter 20th century, each labeled, h. 4‑1/2” to 6‑1/4”. [60/90] 732 Pair of Monumental Cut Glass Dresser Jars, in the American Brilliant style, the sides decorated with cut palmettes alternating with Russian-cut panels, the lids with hobstar centers and borders of palmettes alternating with Russian-cut panels, h. 5”, dia. 8”. [300/500] 733 Set of Ten Crystal Shrimp Cocktail Dishes, first quarter 20th century, engraved with thistles, h. 4”, dia. 5‑1/4”. [150/300]

734 Group of Four Lead Crystal and Cut Glass Decanters, 20th century, including two Baccarat examples, one square, h. 9‑3/4”, w. 4”, d. 4”, the other globular and with a matching stopper, h. 10‑3/4”, dia. 3‑1/2”, both signed “Baccarat”; a cylindrical fluted decanter, signed “St. Louis, France”, h. 10‑1/4”, dia. 4‑3/4”; and an unsigned cylindrical star-cut decanter, h. 11‑1/2”, dia. 4”. [150/300] 735 Pair of William IV Cut Glass Decanters, second quarter 19th century, with matching stoppers, h. 10‑1/4”, dia. 4”. [100/200] 736 Two Continental Tripodal Stands, including an iron and steel plant stand, first quarter 20th century, h. 30”, dia. 10‑3/4”; and an iron stand fitted with a glass vase, h. 37‑1/2”, dia. 12”. [100/200] 737 American Aesthetic Period Silverplate and Glass Fruit Stand, fourth quarter 19th century, Pelton Bros., St. Louis, Missouri, the silverplate stand with a domed base raised on four palmette feet and fitted with a pale cranberry glass inset with ruffled edge and opalescent ribbing, h. 9‑1/2”, dia. 10”. [100/200] 738 Six-Piece Collection of Cut Glass, including a William IV decanter, second quarter 19th century, h. 11”; a Victorian thumbprint-cut decanter, mid-19th century, h. 9‑3/4”; a pair of signed Baccarat cognac decanters, h. 8‑1/4”; a Waterford-type decanter, h. 12‑1/4”; and a Brilliant-type jug, h. 7‑1/2”. [200/400]

745 Willie White (American/New Orleans, 1908‑2001), “Birds in Flight” and “Bird and Flower”, marker on poster board, each 8‑3/4” x 13‑3/4”. Unframed. [100/200] 746 Mose Ernest Tolliver (American/Alabama, 1919‑2006), “Pelican”, acrylic on a triangular wood panel, signed, 10” x 22”. Provenance: Private collection, New Orleans, Louisiana. [250/400] 747 Haitian Beadwork Embroidery Depicting “La Sirene”, with a fabric backing, sight 21” x 19”. Glazed, float mounted and framed. [300/500] 748 Mose Ernest Tolliver (American/Alabama, 1919‑2006), “Bird on a Branch”, acrylic on a wood panel, signed, 12” x 12‑1/2”. Provenance: Private collection, New Orleans, Louisiana. [250/400] 749 Mose Ernest Tolliver (American/Alabama, 1919‑2006), “Blue Cow”, acrylic on a wood panel, signed, 7‑3/4” x 14”. Provenance: Private collection, New Orleans, Louisiana. [250/400]

739 American Blown and Enamel-Decorated Cut Glass Bride’s Basket, fourth quarter 19th century, in a silverplate frame by E. G. Webster and Sons, Brooklyn, New York, h. 11‑3/4”, w. 13‑3/4”, dia. 10‑3/4”. [300/500] 740 Cowan Pottery Seahorse Vase, ca. 1925‑1931, Rocky River, Ohio, marked, h. 7”, w. 6‑7/8”, d. 1‑1/2”. [100/200] 741 Contemporary Framed Tile Wall Plaque, depicting a monkey in a banana tree, the frame ornamented with painted metal leaves and flowers, h. 32”, w. 26‑1/2”. [200/400] 742 Bronze Figure of a Female en Deshabille, depicted clutching a cloak, mounted on a white-veined black marble base, the whole resting on a black stone base, h. 53”, dia. 15”. [1000/1500] 743 Three Figural Objects, including a pair of brass “The Thinker” bookends, h. 7‑1/4”, w. 3”, d. 3‑1/2”, and a cast stone Uffizi lion, h. 6”, l. 6‑1/2”. [50/80] 744 Polychrome Carousel Bench, early 20th century, the foliate- and floral-adorned carriage with a pair of fancy plank seats and wooden spoke wheels, h. 36‑1/4”, w. 44”, d. 32”. [350/500]

750 750 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 collection, New Orleans, Louisiana. [4000/7000] Illustrated

751 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. [4000/7000] Illustrated

757 Waven Boone (Louisiana/Contemporary), “View of a Shed, Crosscut Saw and a Washtub”, watercolor, signed lower right “Waven Boone”, retains label en verso “Heritage Galleries, Lafayette, Louisiana”, sight 19‑1/2” x 15‑1/2”. Glazed, matted and framed. Provenance: Private collection, Birmingham, Alabama. [150/300] 758 Sixteen Books on Medieval Through Renaissance History, including works on the Plantangenets, the Medici, the Borgias and others. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

752 Francis X. Pavy (American/ Louisiana, b. 1954), “Bangura”, oil on canvas, signed, titled, dated “1990”, and bearing an inventory number verso, 11‑3/4” x 9‑3/4”. Framed. [500/800] Illustrated 751 753 Mose Ernest Tolliver (American/Alabama, 1919‑2006), “Shark”, acrylic on a wood panel, signed, 7” x 22”. Provenance: Private collection, New Orleans, Louisiana. [250/400] 754 Horace Clark (American/Illinois, 20th Century), pair of gouaches on paper, “Figural Study, Sea Shore”, 1959, signed and dated lower left, and “Figural Study, Tennis Player”, 1958, signed and dated lower right, each 13‑3/4” x 10‑1/4”. Attractively glazed and framed alike. [200/400] 755 American School (Fourth Quarter 20th Century), “Reclining Male Nudes”, pair of watercolors on paper, both illegibly signed lower right, sight 13‑1/2” x 17” and 19‑1/2” x 13”. Both glazed, matted and framed. [150/300] 756 Noel Rockmore (American/Louisiana, 1928‑1995), “Kabuki Still Life”, watercolor on paper, signed and titled lower left, sight 21‑1/2” x 26‑1/2”. Glazed and presented in an ebonized, faux bamboo frame. [450/700]

752 759 Thirteen Art and Culture Books on Medieval and Renaissance Women and Family. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200] 760 Fourteen Art Books, covering various museums and collections. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200] 761 Group of Twelve General Art Reference Books. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200] 762 Twenty-Five Miscellaneous References on Photography, Sculpture and Textiles, Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

763 Seven Reference Works on Chinese Export Porcelain. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

775 A Hand-Painted Silk Textile, probably by Kate Blee (British, b. 1961), in shades of navy and emerald, sight 56” x 26”. Mounted, glazed and framed. [100/200]

764 Sixteen Books, Catalogues and Journals on Japanese Art and Culture. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200]

776 A Hand-Painted Silk Textile, probably by Kate Blee (British, b. 1961), in shades of navy, royal blue and orange, sight 52” x 24”. Mounted, glazed and framed. [100/200]

765 Twelve Books on Boston, its Famous Citizens and Environs. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200] 766 Set of Ten Swedish Leather-Bound Books, ca. 1927, h. 7‑1/2”, w. 5‑1/4”. [40/70] 767 Forty-Seven Miscellaneous Catalogues and Monographs of American Artists. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200] 768 Approximately One Hundred and Twenty-Five Miscellaneous Art Catalogues, Monographs and Journals, including around sixty Marlborough catalogues, fourteen Andre Emerich Catalogues, twenty-two Metropolitan Museum of Art Bulletins, various studies and guides from the National Gallery of Art and more. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. The copies of the College Art Association Art Bulletin included in this lot contain Ms. Sullivan’s series of articles on Duccio’s “Maesta”. [100/200] 769 Thirty-Six Important Sotheby’s and Christie’s Sale Catalogues of Impressionist and Modern Art. Provenance: The reference library of Ruth Wilkins Sullivan, Fort Worth, Texas. [100/200] 770 Framed Poster Depicting “Gone with the Wind”, depicted in a period setting, h. 42”, w. 51‑1/2”. [50/80] 771 Framed Collection of Las Vegas Memorabilia, including photographs of Frank Sinatra and Elvis Presley, and ephemera from The Sands, presented in a shadowbox frame, h. 30‑1/2”, w. 26‑1/2”. [200/400] 772 Framed Lithographed Reproduction of a Poster, advertising Charlie Chaplin’s “A Dog’s Life”, h. 43‑1/2”, w. 29”. [50/80] 773 Louise Guidry (American/Louisiana, b. 1930), “Rie’s Dream II”, acrylic on canvas, signed lower right, 30” x 24”. Unframed. [900/1200] 774 Louise Guidry (American/Louisiana, b. 1930), “Tree Shapes”, acrylic and mixed media on hand wove paper, signed lower right, sheet 28” x 19‑1/2”. Mounted, glazed and framed. [900/1200]

777 A Hand-Painted Silk Textile, by Kate Blee (British, b. 1961), in shades of blue and orange, signed and dated “1991” lower left, sight 33” x 34”. Mounted, glazed and framed. [100/200] 778 Byron Levy (American/ New Orleans, Contemporary), “Coastal Sunset”, oil on canvas, signed and dated lower right “Byron Levy 84”, 48” x 48”. Unframed. [1500/2500] 779 Southern School (Late 19th Century), “A Mississippi Delta Man”, oil on canvas, indistinctly inscribed lower left “W. Walken”, titled in pencil en verso, 18” x 24”. Presented in a giltwood frame. Provenance: Private collection, Birmingham, Alabama. [200/400] 780 Robert Cook (American, b. 1948), “Scarlet Sisters”, giclee on canvas, signed in print lower right, signed and numbered verso “R Cook 16/195”, 40” x 22”. Framed. [500/800] 781 Lee White (American/Atlanta, 20th Century), “Untitled”, mixed media on paper, signed lower right, sheet 30‑1/4” x 22”. Float mounted. [500/800] 782 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”. [300/500] 783 Tom Secrest (Louisiana, Contemporary), “Untitled”, charcoal and pastel on paper, signed lower right, 30” x 22”. [300/500] 784 Tom Secrest (Louisiana, Contemporary), “Untitled”, pencil and pastel on paper, 30” x 22”. Unframed. [300/500] 785 Tom Secrest (Louisiana, Contemporary), “Untitled”, acrylic on canvas, unsigned, 28” x 22”. Unframed. [700/1000] 786 Collection of Four 20th-Century Lithographic Posters, including three after Marc Chagall (Russian/ French, 1887‑1985), of varying sizes; and one after Andy Warhol (American, 1928‑1987), printed for “Colorado State University, Fort Collins, Colorado, September 1‑23, 1981”, 35” x 25”. All unframed. [600/900]

787 After Henri Matisse (French, 1869‑1954), two lithographic posters, including “Henri Matisse, Oeuvres Gravees”, Maeght Editeur, 1999, sheet 30” x 20”, and “Nice Travail et Joie”, sheet 39” x 25”. Both unframed. [1000/1500] 788 After David Hockney (British, b. 1937), “Modern Museum of Art, Santa Ana”, lithographic exhibition poster, 1989, sheet 36” x 26”. Unframed. [700/1000] 789 After Joan Miro (Spanish, 1893‑1983), suite of four lithographic posters, including “Galerie Maeght, Miro, Sobreteixims”, 1973, sheet 32‑1/2” x 22”; “Berggruen, Hommage a Joan Prats: 15 Lithographies Originales de Joan Miro”, 1972, sheet 29‑1/2” x 23”; “Unesco, Miro, Droits de l’Homme”, sheet 28‑3/4” x 21‑1/4”; and “Miro Bronzes, Hayward Gallery”, 1972, sheet 35” x 22”; together with a chromolithograph by Alexander Calder (American, 1898‑1976), “Untitled”, initialed and dated “74” in plate lower right, sheet 27” x 22”. Five total pieces; all unframed. [700/1000]

791 After Marc Chagall (Russian/French, 1887‑1985), suite of nine lithographic exhibition posters, including “La Ruche et Montparnasse”,1979, sheet 28” x 21”; “Marc Chagall, Peintures Bibliques Recentes”, Musee National Message Biblique, Nice, 1977, sheet 30” x 20”; two “Chagall, Galerie Maeght”, 1962, sheet 28” x 21”; “Ceret, Marc Chagall, Oeuvres Graphiques”, Musee d’Art Moderne, 1968, sheet 28‑3/4” x 20”; “Marc Chagall, Grand Palais”, 1969‑1970, sheet 28” x 20”; “Chagall, Galerie Maeght”, 1972, sheet 30” x 20”; “Marc Chagall, Kiallitas Mucsarnok”, Budapest, 1972, sheet 34” x 22”; “From the Collection, Museum of Art Kibbutz Ein Harod”, Israel, 1979, sheet 33” x 34‑5/8”; and “Le Couple a l’Arbre”, black and white lithograph, unsigned, sheet 12‑1/2” x 9‑1/2”. All unframed. [1500/2500] 792 Collection of Two French Lithographic Posters, including “L’Atelier de Braque, Musee du Louvre”, Mourlot, 1961, after Georges Braque (French, 1882‑1963), sheet 20‑3/4” x 29‑3/4”; and “L’Atelier Mourlot”, Mourlot, 1984, after Fernand Leger (French, 1881‑1955), sheet 20‑1/2” x 28‑1/2”. Both unframed. [600/900] 793 Group of Five Exhibition Posters, including Picasso, Warhol and Chagall, dimensions of largest 39‑1/2” x 25‑1/2”. All unframed. [200/400] 794 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] 795 American School (20th Century), “The Boxer Jack Johnson”, oil on canvas, illegibly signed, 38” x 28”. Unframed. [100/200] 796 George Valentine Dureau (American/New Orleans, b. 1930), “Battiste”, silver gelatin print, signed in ink lower right, titled and marked artist’s proof lower left, sheet 18‑1/2” x 16”. Unframed. [600/900] 797 American Glazed Pottery Sculpture of a Male Torso, clad in a mended and textured shirt, h. 25‑1/4”, w. 23”, d. 5”. [200/400]

790 suite of five 790 Pablo Picasso (Spanish/French, 1881‑1973), “Pour Fernand Mourlot”, color lithograph, 1957, signed in stone, sheet size 15” x 11”; “The Youth Dancers”, color lithograph, 1961, signed in stone, sheet 25‑3/8” x 19‑3/8”; “Galerie Craven, Collages, Aquarelles, Gouaches”, lithographic poster, 1958, sheet 26” x 18‑1/2”; “XXXII Festival d’Avignon, Cinquante Annees de Lithographie aux Ateliers Mourlot, au Palais des Papes”, lithographic poster, 1978, sheet 29‑5/8” x 20”; and “Musee d’Art Moderne-Ceret, Picasso et la Tauromachie”, lithographic poster, 1982, sheet 35” x 23‑1/8”. Five pieces, all unframed. [800/1200] Illustrated

798 Waylande Gregory (American, 1905‑1971), “Holly Zausner”, glazed pottery bust, signed and titled at back of neck, set upon a natural stone base, h. 18‑1/2”, w. 11”, l. 14‑1/4”. [300/500] 798 Cast Steel Newel Post Lamp in the Form of a Cavalier, ca. 1900, with a slag glass shade, h. 47”, w. 13”, d. 14”. [500/800] 799 Debbie Fleming Caffery (American/New Orleans, b. 1948), “Gator Love”, 1995, silver gelatin print, titled, dated, numbered “24/25”, and signed in pencil en verso, sheet 23‑3/4” x 20”. Matted and framed. [500/800]

800

804 Fourteen Pieces of Miscellaneous American Sterling Silver Tableware, late 19th- to mid-20th centuries, including a pair of Duhme & Co. “Fiddle Swell” teaspoons, engraved “Wood”, l. 5‑3/4”; a pair of Wendell Mfg. Co. “Fiddle Swell” teaspoons, monogrammed “KP”, l. 5‑7/8”; a pair of Webster Co. napkin rings, monogrammed “R” and “M”, dia. 1‑3/4”; a John Hasselbring porringer, monogrammed “LPM”, l. 5‑1/2”; an Amston porringer, l. 5‑1/2”; a Webster Co. colonial revival cheese spade with stainless steel blade, l. 5‑3/8”; a Durgin “Fairfax” lettuce fork, l. 8‑3/4”; a pair of Dominick & Haff “Pointed Antique” sauce ladles, l. 5‑1/4”; an F. M. Whiting “Adams” sauce ladle, l. 5”; and a Reed & Barton “Windsor” card tray, l. 10‑1/2”, w. 5‑1/2”; 20.70 total t. oz. (excluding cheese spade). [200/400]

803

805 Eleven Pieces of Samuel Kirk & Son and Other Sterling Silver Tableware, first half 20th century, including a pair of Kirk footed cauldron salts, dia. 2‑1/4”, and matching spoons, l. 3‑1/4”; a Kirk ball-footed candy dish, dia. 5‑3/4”; a Kirk “Repousse” letter opener, l. 5‑3/4”; a pair of unmarked Baltimore-style salts, dia. 2‑3/4”; a pair of Krider “Queen’s” pattern salt spoons, l. 3‑3/4”; and a Frank W. Smith “Federal Cotillion” salt spoon, l. 3‑3/4”; 14.40 total t. oz. [250/400] Illustrated

800 Four American Sterling and Silverplate Art Nouveau Dishes, ca. 1900, all with embossed floral or scroll decor, including sterling pieces: a Gorham circular bowl, dia. 5‑1/2”, an Alvin oblong bowl, l. 7‑1/2”, and an unmarked circular bowl, monogrammed “L”, dia. 6”; and a Queen City Silver oblong swing-handle basket, l. 12”; 7.07 total t. oz. (sterling pieces only). [250/400] Illustrated 801 Two Pieces of American Sterling Silver Tableware, 20th century, including a 1947 Reed & Barton “Burgundy” bonbon bowl, l. 7‑3/4”, and a Manchester circular sandwich plate, monogrammed “W”, dia. 10‑1/4”, 16.33 total t. oz. [300/500] 802 Three American Sterling Silver Serving Pieces, 20th century, including a Wendell “Athenia” ladle, l. 12”, 7.46 t. oz.; and a Frank M. Whiting “Adams” two-piece salad serving set with wooden fittings, l. 11”, no monograms. [150/300]

803 American Art Nouveau Sterling Silver Cup, ca. 1900, by Towle Silversmiths, Newburyport, Massachusetts, of inverted pear form with applied floral banding, h. 4”, l. 4‑1/2”, 7.58 t. oz. [150/300] Illustrated

805

806 Two Pairs of American Sterling Silver Salt Cellars, 20th century, of footed cauldron form with repousse decoration, including a Gorham pair, dia. 2‑3/4”, and a pair by S. Kirk & Son, dia. 2‑5/8”, the latter with the original salt spoons, l. 3”, 8.80 total t. oz. (six total pieces). [150/300]

809

807 Seven Pieces of American Art Nouveau Sterling SilverHandled Dessert Flatware, ca. 1900, including six dessert knives, l. 7‑1/2”, and a cake breaker, l. 10‑1/4”, all with stainless steel blades. [125/250]

815

810 Twenty-One Pieces of Assorted American Sterling Silver Tableware, including 19th-century pieces: six Louis Seewald (1831‑1904), Seneca, Ohio, engraved “Medallion” blank teaspoons, l. 5‑1/2”, and two Wood & Hughes “Fiddle Thread” teaspoons, retailed by Max Kuhner, Vicksburg, Mississippi, monogrammed “L & F M”, l. 8‑1/4”; and 20th-century pieces: four Wallace “Waverly” teaspoons, monogrammed “G”, l. 5‑1/2”, three Gorham “Poppy” demitasse spoons, monogrammed “AR”, l. 3‑3/4”, four F. M. Whiting circular butter pats, dia. 2‑1/2”, and a pair of unmarked, lobed butter pats, dia. 2‑1/2”; 13.36 total t. oz. [200/400] 811 Two American Art Nouveau Sterling Silver Eyeglass Cases, first quarter 20th century, including a La Secla, Fried & Co. example with floral and scroll engraving, monogrammed “AIW”, l. 5”; and a Clarence A Vanderbilt example with acid-engraved “poppy” decor, monogrammed “CCS”, l. 4”; 4.43 total t. oz. [100/200]

808 Eight American Sterling Silver Teaspoons, first quarter 20th century, by Bigelow, Kennard & Co., Boston, Massachusetts, in the traditional “Old English” pattern, monogrammed “S”, l. 5‑5/8”, 5.65 total t. oz. [100/200] 809 Nineteen Pieces of Miscellaneous Silver and Silverplate Tableware, 20th century, including American sterling silver pieces: Tiffany “Audubon” sugar tongs, l. 4‑1/2”, enameled Watson “Bead” sugar tongs, l. 3‑1/2”, a Towle “Lafayette” serving fork, l. 8‑1/2”, a Davis & Galt scroll-edge sauce ladle, l. 6‑1/4”, an unmarked colonial revival buffet knife with steel blade, l. 14”, a Peter L. Krider circular butter pat, dia. 3”, four International Silver beaded oval butter pats, l. 3‑1/2”, and six unmarked reticulated circular nut dishes, dia. 3‑3/8”; with a pair of German .800 silver rococo-style salt cellars, l. 2‑1/4”, and an English silverplate egg frame with four cups, dia. 7‑1/4”; most monogrammed, 14.27 total t. oz. (excluding knife and egg frame). [300/500] Illustrated

812 Whiting “Lily” Sterling Silver Berry Spoon, the pattern designed in 1902 by Charles Osborne (1847‑1920), Providence, Rhode Island, monogrammed “M”, l. 9”, 3.79 t. oz. [150/300] 813 Three Sterling Silver-Handled Carving Sets, first half 20th century, all with stainless steel fittings, including a Gorham “King Edward” three-piece banquet set in the original box, l. 10‑3/4” to 16‑1/2”; a French two-piece Louis XVI-style set, l. 10‑3/4” and 12‑3/4”; and an unmarked two-piece neoclassical-style set, monogrammed “D”, l. 9” and 10‑1/2” (seven total pieces). [200/400] 814 Sixteen Pieces of Reed & Barton “Columbia” Sterling Silver Flatware, the pattern introduced in 1914, Taunton, Massachusetts, including eight dinner forks, l. 7‑1/8”, and eight demitasse spoons, l. 4‑1/4”, all monogrammed “M”, 13.95 total t. oz. [250/400] 815 International Wilcox “DuBarry” Silverplate Tea Tray, 20th century, Meriden, Connecticut, l. 32”, w. 20‑3/4”. [300/500] Illustrated

816 Eight-Piece Cased International “Royal Danish” Sterling Silver Bar Set, the pattern designed in 1934 by Alfred G. Kintz (1885‑1963), including two bar spoons, l. 9‑1/4” and 12‑1/4”, a lemon fork, l. 6”, an olive fork, l. 7‑1/4”, a double jigger, l. 4‑1/2”, a bottle opener, l. 5”, a corkscrew, l. 4‑1/2” (the latter two with stainless steel fittings) and a muddler with turned wood fitting, l. 6‑1/4”, 7.26 total t. oz. (excluding items with steel or wood fittings), presented in the original tan leather case, 2” x 13‑1/4” x 8‑3/4”. [125/250] Illustrated 817 American Sterling Silver Horse Show Trophy Bowl, dated 1929, G. H. French & Co., North Attleboro, Massachusetts, with presentation inscription of the American Remount Association, Hawaiian Division, dia. 10”, 17.81 t. oz. [300/500]

816

818

818 Four American Silverplate Serving Dishes, 20th century, all oval, including two unmarked pieces: a sauceboat-on-stand, l. 8‑1/2”, and a covered vegetable dish, 12‑1/2”; and two footed well-and-tree platters: one Rogers & Bro., l. 16‑1/2”, the other J. W. Robinson, l. 18‑1/2”. [150/300] Illustrated 819 Five American Silverplate Serving Dishes, 20th century, all circular, including an Oneida “Revere”-style saucebowl-on-stand, dia. 7‑1/2”; a William Rogers “Spring Flowers” candy dish, dia. 7‑3/8”; an Oneida sandwich plate, dia. 10‑1/2”; a William Rogers galleried drinks tray, dia. 15”; and a Gorham neoclassical-style fruit bowl, dia. 10‑1/2”. [150/300]

820

820 Sixty-Two Pieces of Silverplate “Fiddle Thread” Flatware, 20th century, by International Silver, Meriden, Connecticut, including eight dinner forks, l. 7‑3/4”, eight salad forks, l. 6‑1/2”, eight seafood/cocktail forks, l. 5‑3/8”, eight teaspoons, l. 5‑1/2”, eight dessert/soup spoons, l. 7‑1/8”, eight dinner knives with stainless steel “New French”-shaped blades, l. 9‑1/4”, seven butter spreaders, l. 6‑1/8”, a master butter knife, l. 6‑3/8”, a tablespoon, l. 8‑1/8”, a serving spoon, l. 8‑3/4”, two serving forks, l. 8‑3/4”, a sauce/gravy ladle, l. 6”, and a sugar spoon, l. 5‑1/2”, presented in an unusual painted faux granite “Gothic”-style case with fitted, violet Silverseal cloth-lined fitted interior, 3‑1/4” x 20‑1/4” x 11‑1/4”. [200/400] Illustrated 821 American Silverplate Tray and Platter, 20th century, both unmarked and with rococo decoration, the tray, l. 22‑1/2”, the platter, l. 18”. [150/300] 822 Large Abalone Shell Dish, the shell presented on a silver-leafed wooden stand, h. 7‑1/2”, w. 8‑1/4”, d. 6‑1/4”. [60/90] 823 Two Beautiful Silver-Leafed Nautilus Shells on Stands, h. 12” and 20‑1/2”. [100/200] 824 Pair of Abalone Shell Garnitures, the shells with beautiful iridescence and luster, set on silver-leafed stands, h. 9”. [50/80]

825 Group of Five Shadowboxes, each displaying various shells, h. 8” to 10”, w. 6” to 8”. [150/300]

835

826 Daum Nancy Art Deco Table Lamp, second quarter 20th century, mounted on a signed Louis Katona gilt-iron base, with acid-etched Art Deco designs, with a two-light standard and interior light, the base with an intaglio signature reading “Daum Nancy” with the Cross of Lorraine, the base signed “L. Katona / Beaux Arts / France”, vase, h. 14‑1/2”, overall, h. 27”, dia. 6‑1/4”. [600/900] 827 French Art Deco-Style Iron and Art Glass Four-Light Chandelier, the primary shade signed “Muller Freres, Luneville”, h. 36”, dia. 23”. [800/1200] 828 Art Deco-Inspired Four-Shelf Baker’s Rack/Etagere, the shelves with glass insets and supported by serpentine front legs, h. 73‑1/4”, w. 40‑1/4”, d. 15‑1/4”. [300/500] 829 French Pierced Polished Steel Console Table, second quarter 20th century, decorated with a molded brass leaf and set with a mottled tan stone top, h. 36”, w. 20‑3/4”, d. 11‑3/4”. [200/400] 830 Art Deco-Style Glass and Steel Lighted Wall Bracket Console, h. 18‑1/2”, w. 50‑1/4”, d. 11‑5/8”. [1000/1500] 831 Art Deco-Style Brass Framed Looking Glass, late 20th century, h. 48”, w. 24”. [200/400] 832 Post-Modern “S” Scroll Metal and Lucite Floor Lamp, h. 73”, dia. 20‑1/4”. [150/300] 833 Pair of Art Deco-Style Copper-Finished Double Candle Holders, h. 30‑1/2”, w. 13‑1/4”, dia. 9”. [100/200] 834 Venetian Glass Twelve-Light Chandelier of Secessionist Inspiration, in gold-flecked glass, the segmented stem joined to a bowl with long arms terminating in a bowl-form bobeche fitted with an electric candle, h. 33‑1/2”, dia. 53‑1/2”. [5000/8000] 835 Pair of Contemporary Parcel-Gilt and Ivory-Painted Recamiers, each of S-scroll form, with shell-form rear legs and black and gold cut velvet upholstery, h. 31”, w. 32”, l. 68”. [1000/1500] Illustrated

836 Contemporary Chaise Longue, upholstered in a traditional paisley shawl motif, h. 33”, w. 34”, l. 72”. [300/500] 837 Art Nouveau-Inspired Bronze-Toned Chaise Lounge, with arched back and scroll arms, in carved floral decor, h. 41”, w. 29”, d. 68”. [200/400] 838 Lucio Pozzi (American/Italian, b. 1935), “Kuna”, color monoprint, signed and dated lower right “Pozzi 1987”, titled lower left, 33” x 29‑1/4”. Unframed. [500/800] 839 Darrel Austin (American, 1907‑1994), “Little Explorer”, oil on canvas, signed and dated lower right “Darrel Austin ‘54”, verso frame with a “Perl’s Galleries, New York, NY” label, 8” x 10”. Framed. [300/500] 840 Barbara Gallagher (American, 1933‑2006), “Floral Still Life with Pink Hydrangeas”, giclee print, signed lower right, numbered lower left “294/500”, sight 28” x 21”. Glazed, matted and framed. [200/400] 841 Lucio Pozzi (American/Italian, b. 1935), “Onflow”, color monoprint, signed and dated lower right “Pozzi 88”, titled lower left, 36” x 28”. Unframed. [500/800] 842 Zhao Bao Cheng (Chinese, 20th/21st Century), “Wooded Landscape”, oil on canvas, initialed lower right, 18” x 21”. Framed. [300/500] 843 Zhao Bao Cheng (Chinese, 20th/21st Century), “Floral Arrangement in Lilac”, oil on canvas, signed lower right “Bao Cheng”, 18” x 22”. Framed. [300/500] 844 American School (20th Century), pair of double-sided oils on board, each with a front depicting a “Floral Still Life” and a reverse with a “Village Scene”, both signed lower right, 27” x 23”. Both framed. [600/900]

845 Italian School (20th Century), “Floral Still Life”, oil on canvas, signed lower left “Salvi”, 16” x 13”. Framed. [400/700] 846 Continental School (18th/19th Century), “Floral Still Life in a Classical Urn”, oil on canvas, unsigned, 24” x 29”. Framed. [350/500] 847 Painted Metal Tripartite Firescreen, with pierced scrollwork set over a mesh back, h. 35‑3/4”, w. 54”. [100/200] 848 Contemporary Wrought Iron and Brass-Mounted Wine Rack Console Table, fitted with a glass top, h. 30‑1/2”, w. 36”, d. 16”. [75/125] 849 Two Tropical-Themed Occasional Pieces, consisting of an iron and composition tray-form table, h. 25‑1/2”, w. 22”, d. 16‑1/2”; and a stand in the form of a bronze palm tree supporting a glass compote, h. 23”, dia. 17”. [100/200] 850 Pierced Gong-Shaped Medallion on Stand, of Oriental inspiration, h. 29”, w. 24”, d. 6‑1/4”. [100/200] 851 Stained Wood and Wrought and Cast Iron Stand, with a circular top on wrought legs, joined with cast-metal foliate brackets and a caned low shelf, h. 30”, dia. 13‑3/4”. [100/200] 852 Unusual Pair of Boudoir Lamps, employing bronze painted star-form bases, the sinuous standards supporting Medusa-inspired decorative elements, with matching shades, overall, h. 37‑1/4”, dia. 10”. [100/200]

857 Contemporary Glass and Argente-Painted Breakfast Table of Neoclassical Inspiration, the circular glass top supported by a pedestal with four gently scrolled legs, each adorned with a shell and anthemion, on a plinth base, h. 29”, dia. 60”. [400/700] 858 Suite of Six Contemporary Silver Gilt Armchairs of Neoclassical Inspiration, each with a shaped back, low foliate-carved scroll arm supports and tapering paneled legs, h. 45”. [700/1000] 859 Contemporary Three-Piece “Hickory-White” Pickled Oak Bedroom Suite, including a queen-sized bedstead, h. 56”, w. 71”, l. 90”, a broad dressing cabinet, h. 48”, w. 58”, d. 20”, and a side table, h. 28”, w. 32”, d. 18‑1/2”. [500/800] 860 Mid-Century Modern Blonde Wood Stool, mid-20th century, the tufted and padded ovoid seat raised on six supports to a broken oval stretcher, h. 17”, w. 24‑1/2”, d. 16”. [200/400] 861 Contemporary Overstuffed Sofa with Eight Pillows, h. 31”, w. 93”, d. 48”. [200/400] 862 Contemporary Overstuffed Settee with Five Pillows, h. 31”, w. 72”, d. 48”. [200/400] 863 Contemporary Overstuffed Settee with Matching Ottoman and Five Pillows, settee, h. 31”, w. 62”, d. 48”, ottoman, h. 18”, w. 43”, d. 23”. [300/500]

853 Pair of Polychromed Pottery Pendant Lanterns, mid20th century, the pierced tops and sides depicting tropical wildlife, electrified and fitted with brass hanging chains and canopies, lantern, h. 8”, overall h. to top of canopy, 26”. [100/200] 854 Dutch Rococo-Inspired Polychrome and Parcel-Gilt Bombe Commode, the marble top over a foliate-carved giltwood frieze, the case with three drawers, scalloped apron and cabriole legs, h. 33”, w. 36‑1/2”, d. 17‑3/4”. [500/800] 855 Pair of Contemporary Overstuffed Armchairs, covered in white canvas upholstery, h. 38”, w. 40”, d. 40”. [0] 856 Pair of Art Deco-Inspired Upholstered Armchairs, each with a trisected back, the face in upholstery depicting tigers, the verso in leopard print fabric, on a swivel base, h. 35”. [300/500]

864

864 Contemporary Upholstered Stool of Ovoid Form, upholstered in melon damask, h. 18”, w. 34”, d. 46”. [150/300] Illustrated 865 Large Contemporary Composition, Cast Iron and Glass-Top Coffee Table, of Tuscan inspiration, h. 21‑1/2”, w. 50”, d. 50”. [100/200]

874 Edward Adam Kramer (American/New York, 1866‑1941), “Wooded Landscape with a Pond”, oil on canvas, signed lower left “Edward Adam Kramer”, 20” x 24”. Framed. [300/500] 875 Hildegard Rath (American, 1909‑1994), “Two Horses”, 1951, oil on canvas, signed “Hildegard” lower right, 39” x 42”. Framed. [500/800] 876 Vilko Seferov (Croatian, 1895‑1974), “Autumn in Motovun”, tempera on paper, 1969, signed and dated lower left, titled verso, sheet 20” x 14”. Glazed and framed. Accompanied by an illustrated book of works by the artist. [400/700] Illustrated

873 866 Contemporary Giltwood Looking Glass, the beveled rectangular plate with a paneled and beveled mirrored banding, all within a molded frame with argente accents, h. 45‑1/2”, w. 32”. [200/400] 867 Contemporary Polychrome and Marble-Top Cocktail Table, the rectangular pieced marble top with projecting corners, and raised above a deep pierced frieze on cabriole legs ending in paw feet, h. 18”, w. 48”, d. 38”. [75/125] 868 George III-Style Gilt-Finished Composition Pier Mirror, h. 93‑3/4”, w. 33‑1/2”. [150/300] 869 Continental School (20th Century), “Abstract Still Life”, oil on board, signed illegibly lower left, 31‑1/2” x 25‑1/2”. Framed. [200/400] 870 Byron Levy (American/New Orleans, Contemporary), “Swamp in Spring”, oil on canvas, signed and dated lower right “Byron Levy 07”, 36‑1/2” x 36”. Unframed. [900/1200] 871 American School (Second Quarter 20th Century), “Blue Still Life”, oil on canvas, signed lower left, signed and dated “Summer 1934” verso, 25” x 28”. Framed. [200/400] 872 Don Wright (American/Louisiana, 1938‑2007), “View of Oak Trees in a Sunny Landscape”, 1976, oil on canvas, signed and dated lower left “Don Wright ‘76”, 16” x 12”. Framed. Provenance: Private collection, Birmingham, Alabama. [400/700] 873 American School (Contemporary), “Lunch in the Garden”, oil on canvas, unsigned, 33” x 33”. Framed. [800/1200] Illustrated

876 877 Walter Vaes (Belgian, 1882‑1958), “Blue and Green Landscape”, oil on panel, signed lower right “Walter Vaes”, 10” x 13‑1/2”. Attractively framed. [150/300] 878 Orrefors Lead Crystal Bowl, Swedish, in the fleur pattern, signed “Orrefors” and having a pattern number in engraved script, h. 4‑1/4”, dia. 6‑1/4”. [200/400] 879 Lalique Contemporary Vase, made in France, of ovoid form, the colorless glass with an amber/green plant bud decorating the facade, signed “Lalique France”, h. 14”, w. 9‑3/4”, d. 5‑1/2”. [500/800]

880 Group of Four Vintage Blown Glass Sculpture Bowls, mid20th century, h. 6‑3/4” to 12‑3/4”, w. 9‑3/4” to 17”. [300/500]

892

881 Group of Three Green-OverWhite Plated Pillar-Molded Blown Glass Vases, mid-20th century, h. 10‑1/2” to 15‑1/2”, dia. 7” to 9‑1/2”. [100/200] 882 Set of Moser-Style Gilt and Enamel-Decorated Stemware, first quarter 20th century, including six goblets, h. 6”, two liqueur glasses, h. 3‑1/2”, two vodka cups, h. 4”, and a punch cup, h. 2”. [400/700] 883 Eight-Piece Collection of Continental Vintage Blown Glass, including an amethyst-shaded swirled and ribbed baluster vase, h. 13‑1/2”, dia. 7”; a colorless-to-amethyst cornucopia-form vase, h. 12”, w. 10‑3/4”, d. 6”; a green sculptured bowl, h. 9‑1/2”, dia. 11”; an orange/red vase, h. 10”, w. 8”, d. 4‑1/4”; a green vase, h. 8”, dia. 4‑1/4”; a green basket decorated with white petals on the side, h. 7‑1/2”, dia. 5‑3/4”; a colorless and amber centerpiece, h. 10‑3/4”, w. 12‑1/2”, d. 3‑1/2”; and a blue basket with a ruffled edge, h. 10‑1/4”, dia. 8‑1/2”. [200/400] 884 Italian Swirled Iridescent Blown Glass Charger, dia. 19‑1/2”. [100/200]

886 Pair of Hammered Copper and Brass Lamps, mid-20th century, fitted with paisley metallic-thread fabric shades, h. to top of finial 17”. [250/400] 886A Contemporary Tinned Metal Lamp, of ginger jar shape with vertical reeding and a cover, now mounted as a lamp, h. 19‑3/4”, dia. 8‑3/4”. [50/80] 887 Contemporary Lamp of Neoclassical Inspiration, the faux marble base supporting a gilt-metal caryatid standard, mounted with a leopard-print shade, base, h. 20”, overall, h. 28‑1/2”, w. 7‑1/2”, d. 7‑1/2”. [100/200] 888 Contemporary Gilded Pottery Table Lamp, with a black sgraffito-decorated central panel, mounted with a matching shade, base, h. 18”, overall, h. 30”, w. 12‑1/2”. [100/200] 889 Wood and Metal Industrial Artifact, now mounted as a lamp, base, h. 23”, overall, h. 42”, dia. 6‑3/4”. [50/80] 890 Contemporary Tapering Fluted Pottery Lamp, with gilt finish, h. 25”, dia. 7‑3/4”. [75/125] 891 Pair of White-Painted Architectural Elements, fourth quarter 19th century, now mounted as lamps, base, h. 14‑1/2”, overall, h. 19‑1/2”. [125/250]

885

885 Unusual Post-Modern-Style Single Light Chandelier, with combined smoked and mirrored prisms with orbs of “diamonds”, h. 11‑1/4”, dia. 9‑1/2”. [125/250] Illustrated

892 Faux Zebra Rug, made by Minuano, Brazil, and labeled on the back, w. 74”, l. 76”. [500/800] Illustrated 893 Pair of Molded Composition Lamps, each depicting an Indian-inspired monkey on an elephant’s back, h. 35”, w. 10”, d. 5”. [100/200]

894 African Carved and Painted Mask, Yohure type, Ivory Coast, the mask with horns on top, h. 12‑1/4”, w. 7”, d. 6‑1/2”. [150/300]

916

895 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”. [75/125] 896* Two African Tribal Masks, possibly Baule 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”. [75/125] 897 Bronze Figure of a South African Female, depicted wearing neck rings in the style of the Ndebele people, decorated with polychrome enamels, h. 38‑1/2”, w. 11‑3/4”, d. 10”. [300/500] 898 Terracotta Nude Male Torso, the surface in an antique bronze patina, h. 34”. [150/300] 899 Pair of Articulated Wooden Human Hands, mid-20th century, probably English, l. 11”. [150/300] 900 Pair of Chinese Carved Wood Buddha Hands, mid20th century, delicately modeled and having lotus-form cuffs, l. 8”. [100/200] 901 Pair of Gold-Leafed Springbok Skulls, each retaining their natural horns, h. 17”, w. 7”. [125/250] 902 Dramatic Gold-Leafed Skull of a Wildebeest, retaining the horns which have been left natural, h. 25”, w. 23”. [150/300] 903 Gold-Leafed Skull of a Red Hartebeest, retaining the horns, left natural for a dramatic contrast, h. 26”, w. 9”. [150/300] 904 Striking Polished Buffalo Horn Centerpiece, composed of polished buffalo horns in various colors and sizes, mounted to a stained walnut base, h. 22”, w. 14”, d. 11‑3/4”. [150/300] 905 Whimsical Composition and Iron Tall Table, of bar height, with a shaped top supported by a pedestal in the form of an elephant with two opposing heads, the legs joined by a metal foot rail, h. 43”, w. 52”, d. 28”. [200/400] 906 Suite of Four Polychromed and Argente Stools, of Italian neoclassical inspiration and counter height, h. 42”, w. 23”, d. 19”, seat, h. 30”. [300/500]

907 Suite of Six Wrought Metal and Banded Leather Counter Stools, with animal print seat cushions, h. 45‑3/4”. [400/700] 908 Ebonized Looking Glass, 20th century, the rectangular plate within a rounded ebonized frame with corner foliateincised silvered accents, h. 33”, w. 27”. [300/500] 909 Postmodern Giltwood Bull’s-Eye Mirror, in a fluted and molded surround, dia. 44”. [100/200] 910 Cove-Molded Giltwood Mirror, decorated with bronzefinished molded overlapping banana leaves, set with a beveled mirror plate, h. 67‑1/2”, w. 55”, d. 6‑1/4”. [150/300] 911 Art Deco Stained Oak and Brass-Mounted Looking Glass, early 20th century, h. 41”, w. 26”. [200/400] 912 Contemporary Burnished Steel and Glass Side Table, of Directoire inspiration, the rectangular glass top raised on a curule-form base with central ram’s head accents and joined by a stretcher modeled as antlers, ending in hoof feet, h. 27”, w. 42”, d. 24‑1/4”. [40/70] 913 Contemporary Chrome and Lucite Pastry Trolley, the interior fitted with a white marble top and shelf, h. 43”, w. 45”, d. 28”. [150/300] 914 Pair of Chrome-Banded Lucite Obelisks, mid-20th century, h. 17‑3/4”. [125/250]

925 William Majors (American, 1930‑1982), “Ecclesiastes”, 1965, etching, signed and dated in pencil lower right, numbered “2/10”, from the “Ecclesiastes” series, sheet 18‑1/2” x 19‑1/2”. Unframed. [100/200] 915 Modern Three-Tiered Clear Acrylic Stand, late 20th century, each shelf with a gallery, supported by uprights at each corner, h. 28”, w. 20”, d. 12”. [250/400] 916 Pair of Whimsical Polychromed Molded Plywood and Steel Chairs, each in a form depicting a stylized seated man and woman, h. 50”. [400/700] Illustrated 917 Eleco Electronic Slot Machine, type A, Super Time Country Club Edition, h. 32”, w. 16‑1/2”, d. 17”. [400/700] 918 “Golden Nugget” One-Armed Bandit Manual Slot Machine, in a retro brass and enameled metal case, h. 25‑1/2”, w. 18”, d. 16”. [500/800] 919 Retro Popcorn Trolley Cart, composed of metal and glass, set with an electric popper, h. 64‑1/2”, w. 19”, d. 27”. [300/500] 920 Framed Collection of “Dances with Wolves” Memorabilia, including an autographed poster, photographs and a uniform buckle, h. 34”, w. 42”. [200/400] 921 Framed Collection of Jack Nicholson Movie Memorabilia, including reproductions of movie posters and a signed copy of an Oscar award, all in a shadowbox frame, h. 26‑1/2”, w. 27”. [200/400] 922 Leonard Baskin (American, 1922‑2000), “Andrea Mantegna”, etching with aquatint, artist’s proof, pencil signed lower right, titled lower left, sight 28‑1/2” x 20”. Attractively matted, glazed and framed. [200/400] 923 Arnold Belkin (Canadian, 1930‑1992), “Untitled”, black and white lithograph, signed in plate “Belkin”, pencil signed and dated lower right margin “Belkin, 1962”, sight 12” x 8‑5/8”. Glazed, matted and framed. [150/300] 924 David A. Bumbeck (American, b. 1940), “Parasol”, etching, artist’s proof, signed in pencil lower right, titled in pencil lower left, 12‑1/2” x 9‑1/2”. Framed. [100/200]

926 Charles Crodel (French, 1894‑1973), “Massacre of the Innocents”, lithograph, pencil signed lower right “Ch. Crodel”, dated in pencil lower left “1924”, sheet size 12” x 16”. Unframed. [50/80] 927 Alfred Kubin (Austrian, 1877‑1959), “Das Hochmoor”, lithograph, pencil signed lower right “Kubin”, signed and titled in plate, sheet size 16” x 12”. Unframed. [50/80] 928 Yvonne Davis (American, 20th Century), “Crow’s Feet”, hand-colored etching, signed in pencil lower right, titled lower left, and numbered “27/200”, sight 5‑3/4” x 7‑1/4”. Attractively matted, glazed and framed. [100/200] Illustrated 929 Itzchak Tarkay (Israeli, b. 1935), “Untitled, Seated Woman”, color serigraph, signed in plate lower right, numbered lower left “131/350”, 26” x 22‑1/2”. Glazed, attractively matted and framed. [100/200] 930 Itzchak Tarkay (Israeli, b. 1935), “Untitled, Three Women”, color serigraph, signed in pencil lower right margin, numbered lower left “32/250”, 13” x 16”. Glazed, attractively matted and framed. [100/200] 931 Barbara Gallagher (American, 1933‑2006), “Women with Parasols”, giclee print, signed lower right, numbered lower left “283/500”, sight 33‑1/2” x 22”. Glazed, matted and framed. [200/400] 932 Barbara Gallagher (American, 1933‑2006), “Three Women In Kimonos”, giclee print, signed lower right, numbered lower left “61/350”, sight 23‑3/4” x 30”. Glazed, matted and framed. [400/700] 933 Leroy Neiman (American, 1921‑2012), “Celebrity Bash”, color serigraph, signed lower right, numbered “589/600”, sight 28” x 38”. Attractively matted and framed. [150/300] 934 Guillaume A. Azoulay (Moroccan, b. 1949), “O’Salto”, serigraph with gold leaf, signed lower right “Guillaume Azoulay”, titled, numbered “2/3”, and dated “1988” lower left, sight 29” x 39”. Glazed, matted and framed. [500/800] 935 Contemporary Decorative Print of a Woman in Black, sight 25” x 36”. Glazed, handsomely matted and framed. [100/200]

940 Fine Louis XV-Style Inlaid and Ormolu-Mounted Dining Set, comprised of an extension table with two additional 24‑inch skirted leaves, h. 31”, w. 51”, l. 106” (without leaves), together with two armchairs and eight sidechairs, h. 43”. [3000/5000] Illustrated 941 Pair of Louis XV-Style Marble-Top Commodes, marquetry inlaid and ormolu mounted, h. 34”, w. 48”, d. 18”. [500/800] 942 Louis XV-Style Kingwood and Marble-Top Side Cabinet, early 20th century, the upper doors with leather bindings, the lower doors with brassing wire grillwork, h. 43”, w. 29”, d. 15‑1/2”. [200/400] 943 Large Louis XV-Style Ormolu-Mounted and Parquetry-Inlaid Marble-Top Commode, late 20th century, h. 37”, w. 57”, d. 20”. [400/700]

936 936 French School (First Quarter 18th Century), “Portrait of a Courtier and His Wife”, pair of oval oils on canvas, both unsigned, 39‑1/2” x 30”. Attractively framed. [3000/5000] Illustrated 937 French Handwoven Tapestry, depicting a floral tableau of an urn, column and drapery, set within a floral border, h. 87”, w. 73”. [1000/1500] 938 French Handwoven Floral Tapestry, depicting two robust floral bouquets, h. 122”, w. 92”. [1000/1500]

940

939 Louis XV-Style Fruitwood Firescreen, third quarter 19th century, the gros point and needlepoint screen surmounted by a floral crest and within a molded frame, raised on splayed supports headed by acanthine carving and ending in scrolled toes, h. 40‑1/2”, w. 25‑1/2”. [200/400] 940

952

944 Louis XVI-Style Mahogany and Marble-Top Commode, mid19th century, the rectangular variegated gray marble top with canted corners, above a conforming case fitted with three long drawers, flanked to either side by a fluted pilaster, raised on tapering square legs, h. 35”, w. 47”, d. 26”. [400/700] 945 Dutch NeoclassicalStyle OrmoluMounted, Polychromed and Inlaid Credenza, of serpentine form and having a faux rouge royal marble top, h. 43‑1/2”, w. 74”, d. 18”. [800/1200]

946 Provincial Louis XV-Style Mahogany Display Cabinet, 20th century, the scrolling foliate crest above a central glazed cupboard, flanked to either side by set-back beveled mirrored panels, the lower section fitted with a drop-front compartment over a glazed cupboard, raised on scrolled feet, the whole accented with foliate scrolling designs, h. 98”, w. 50”, d. 16‑1/4”. [1200/1800] 947 “L’Age d’Or” Patinated Metal Figure, depicting a fluteplaying shepherd with his dog, in the manner of Henri Fugere (French, 1872‑1944), h. 25‑3/4”, w. 17‑1/4”, d. 8‑3/4”. [200/400] 948 Louis XVI-Style Kingwood Occasional Table, the oval top with a three-quarter pierced brass gallery, banded and with a central lattice-pattern inlay, above a like-inlaid conforming case fitted with three drawers, raised on slender, slightly splayed legs ending in sabots, h. 29‑1/2”, w. 24”, d. 17”. [900/1200] 949 Louis XV-Style Polychrome Occasional Table, early 20th century, in the chinoiserie taste, the kidney-form top with polychrome figural accents, above a conforming case fitted with three drawers, joined to a like-shaped lower shelf by square supports, raised on splayed legs, h. 28‑1/2”, w. 17‑1/2”, d. 12‑1/4”. [200/400]

956

950 Belle Epoque Parcel-Gilt Trumeau Mirror, fourth quarter 19th century and later, the upper panel depicting Psyche surprising the sleeping Cupid, with a giltwood and painted frame, h. 71”, w. 39”. [800/1200] 951 French Giltwood Trumeau Mirror, 19th century, all within a molded frame with foliate corner accents, the upper portion with a canvas depicting a mounted medieval lady and her page falconing in a castle landscape, the lower section with a mirror plate, h. 59”, w. 28‑1/4”. [500/800]

952 Louis XVI-Style Giltwood Looking Glass, mid-20th 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”. [1000/1500] Illustrated 953 Continental Belle Epoque Mirror in the Venetian Taste, ca. 1900, set with a beveled mirror plate, h. 36‑1/2”, w. 39‑1/2”. [300/500] 954 Two Belle Epoque Gilt-Bronze Mirror Frames, ca. 1900, in the Louis XVI style, one h. 42”, w. 25” (the mirrored plate lacking); the other h. 22”, w. 15‑3/4”. [200/400] 955 Louis XV-Style Composition Looking Glass, of cartouche form, h. 32”, w. 20”. [100/200] 956 Large Louis XV-Style Giltwood Looking Glass, the tall pierced foliate-carved crest above a shaped rectangular plate with a larger one below, each within a molded frame with applied scrolling and floral patterns, with an acanthine-pierced pendant, h. 89‑1/2”, w. 40”. [500/800] Illustrated

957 French Carved Giltwood Frame, second quarter 20th century, in the Louis XV style, h. 41”, w. 32”. [200/400] 958 Polished Brass Triptych Mirror in the Renaissance Revival Style, ca. 1900, probably French, h. 16‑1/4”, w. 19‑1/2”. [400/700]

963 Pair of Brass-Plated Metal Three-Light Sconces, in the Louis XV style, h. 25”, w. 14”, d. 3‑1/2”. [100/200] Illustrated

963

959 Louis XVI-Style Polychrome and Giltwood Trumeau, early 20th century, the molded cornice above a rectangular canvas depicting a courting couple within a pastoral landscape, surmounted by a floral crest, over a rectangular plate within an annulated frame with ribbon crest, h. 59‑1/2”, w. 31‑1/2”. [1200/1800] Illustrated

959

960 Pair of Continental Neoclassical Gilt-Metal ThreeLight Sconces, decorated with sprays of leaves supporting swags of prisms, h. 24‑1/2”, w. 17”, d. 10”. [1400/1800] 961 Pair of Gilt-Bronze Four-Light Sconces in the NeoGrec Style, fourth quarter 19th century, now electrified, h. 14‑1/2”, w. 10‑1/2”, d. 12”. [250/400] 962 Whimsical Brass, Abalone and Crystal Four-Light Wall Sconce, each arm adorned with a polished abalone shell bobeche and finished with tear-drop-shaped crystals dangling from small whole polished abalone shells, electrified, h. 24”, w. 27”, d. 12”. [125/250]

965

964 Pair of Louis XVI-Style Molded and Parcel-Gilt TwoLight Sconces, h. 13”, w. 11‑1/2”, d. 5‑1/2”. [350/500] 965 Pair of Polychrome-Painted Wooden Panels, decorated in the Directoire style with caryatids supporting fountains and arabesque flourishes, h. 94‑1/2”, w. 20‑1/2”. [1500/2500] Illustrated 966 Louis XVI Carved and Painted Cartouche, 18th century and later, h. 37”, w. 32”. [100/200] 967 Louis XVI-Style Carved and Painted Canopy, decorated with carved and pierced swags, with a wreathform finial, formerly mounted with lights, h. 11‑1/2”, w. 29‑1/4”, d. 19‑1/2”. [100/200] 968 Pair of Faux Boulle-Painted Panels, in the Louis XIV style, with conforming gilt frames, h. 48‑1/2”, w. 38”. [200/400]

976 Belle Epoque Bronze Putto, ca. 1900, the patinated bronze figure resting on a gilt-bronze beaded plinth above a walnut base with gilt-bronze ball feet, h. 5‑1/4”, dia. 3”. [150/300] 977 Antique French Gilt-Bronze and Marble Encrier, with a central figure of ìCourage 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 ìF. Barbedienne, Fondeurî at base, on a dark gray-mottled red marble base, overall, h. 15‑1/2î. [1400/1800] 978 Louis XVI-Style Faience Urn, hand-painted with neoclassical ruins, now mounted as a lamp on a turned wooden base, urn, h. 19‑1/4”, overall, h. 32”. [100/200] 979 Two Pairs of Meissen-Style Garniture Urns, the larger pair marked “Sitzendorf Porcelain Manufactory”, post 1954, h. 14”, and the smaller pair marked by Bros. Voigt and Alfred Voigt VEB Sitzendorf Porcelain Manufactory, post 1887, h. 9”. [300/500]

969 Molded Roundel-Form Wall Plaque, with gilt scrollwork on a faux stone ground, d. 4‑1/2”, dia. 38”. [75/125]

980 Set of Eleven French Coffee Cups with Saucers, fourth quarter 19th century, probably Limoges, cup, h. 3‑1/4”, saucer, dia. 5‑3/4”. [100/200]

970 Pair of Louis XV-Inspired Giltwood Stools in the Rococo Taste, early 20th century, with scalloped apron, the cabriole legs beneath lion masques, h. 19‑1/2”, w. 24”, d. 19”. [400/700]

981 French Porcelain Seated Putto, ca. 1900, in the Meissen style, the mark illegible, h. 7‑1/2”, w. 5‑1/2”. [75/125]

971 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”. [700/1000] 972 Pair of Louis XV-Style Giltwood Stools, each with scalloped shell- and foliate-carved aprons, raised on cabriole legs, h. 20”, w. 21”, d. 20”. [300/500]

982 Old Limoges Hand-Painted Floral Partial Tea Set, mid-19th century, including a teapot, h. 7‑1/2”, three dessert plates, dia. 7‑1/4”, three saucers, dia. 5”, and six cups, dia. 3‑1/2”. [100/200] 983 Three Pieces of Hand-Painted Old Limoges, including a waste bowl, dia. 8”, a cream jug, h. 7”, and a sugar base without the lid, dia. 5‑1/2”. [100/200]

973 Pair of Faux Sienna Marble and Faux Bronze Urns, in the Louis XIV taste, h. 26”, w. 13”, dia. 11”. [100/200]

984 Limoges Raised-Gilt Porcelain Jardiniere, first quarter 20th century, signed “Perlam France” and “Limoges France”, h. 4”, w. 6‑3/4”, l. 12‑1/2”. [200/400]

974 Pair of Molded Brass Footed Cachepots, in the French taste, h. 10‑1/4”, dia. 7”. [50/80]

985 Franco-Bohemian Two-Part Reticulated Porcelain Compote, h. 8‑1/4”. [100/200]

975 Louis XVI-Style Parcel-Gilt Book Rest, 20th century, with a gilt medallion on the back and trimmed in carved “fringe”, h. 14”, w. 13‑1/4”, d. 12‑1/2”. [100/200]

986 Louis XVI-Style Porcelain Covered Garniture Urn, the gilt-highlighted and molded urn with reserve panels decorated en grisaille with a neoclassical grouping on the obverse and an 18th-century barnyard scene on the reverse, the cover decorated to match, h. 20”, w. 11”, d. 7‑1/2”. [400/700]

987

987 Paris PorcelainStyle French Empire Porcelain Urn, now mounted as a lamp, with a tapered base and gilt accents, and fitted with a shade, h. 38”. [200/400] Illustrated 988 Suite of Six Louis XV-Style Polychromed Dining Chairs, comprised of four sidechairs and two armchairs, each with a foliate- and floralcarved crest over a shaped back, upholstered in cream brocade adorned with fleurs-de-lis, h. 39‑1/4”. [500/800] Illustrated

991 Louis XVI-Style Polychrome Sidechair, early 20th century, the curved crest above a padded splat, the circular, revolving seat raised on fluted tapering circular legs ending in toupie feet, h. 37”. [200/400] 992 Pair of Louis XVI-Style Polychromed and Parcel-Gilt Armchairs, ca. 1900, each with a floral- and bow-carved crest, open arms on foliate-carved supports, and tapering fluted legs, h. 39‑3/4”. [500/800] Illustrated 993 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 fluted tapering circular legs ending in toupie feet, h. 38”; together with a matching ottoman, h. 15‑1/2”, w. 32‑1/4”, d. 28”. [700/1000]

992

989 Provincial Louis XV-Style Polychrome Fauteuil, the shaped and caned back surmounted by a foliate crest, joined to the caned seat by shaped foliate carved arms, raised on cabriole legs joined by a shaped X-form stretcher and ending in foliate toes, h. 40‑1/2”. [100/200] 990 Louis XV-Style Fruitwood Lady’s Dining Table Stool/Child’s Chair, early 20th century, the low back with molded stiles and crest rail with floral carving, h. 22”. [100/200]

988

994 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded medallion-form back within a molded frame, joined by padded scrolling arms to the like seat, raised on stop-fluted tapering circular legs ending in toupie feet, h. 35”. [400/700] Illustrated

997 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”. [300/500]

994

998 Petite Louis XV-Style Ormolu-Mounted and Floral Inlaid Rosewood Writing Desk, early 20th century, the case of unusual bombe form and having an inlaid floral spray across the top deck, lid and drawer front, the edges, knees and feet trimmed in cast brass ormolu mounts, the interior fitted with four drawers and a felt-lined writing surface, h. 39‑1/2”, w. 29‑1/2”, d. 18‑1/2”. [500/800]

995 Louis XVI-Style Painted, Parcel-Gilt and OrmoluMounted Occasional Table, the circular marble top over a conforming frieze, raised on fluted tapering square legs, h. 26‑1/2”, dia. 30”. [400/700]

999 Louis XV-Style Kingwood and Marble-Top Bureau de Dame, late 19th century, the superstructure with a rouge royal marble top with a pierced three-quarter brass gallery, above two central open shelves flanked to either side by two small quarter-veneered drawers, the top with a pullout inset leather writing surface above two like-veneered frieze drawers, raised on cabriole legs headed by sabots, h. 39‑3/4”, w. 37‑1/2”, d. 20‑1/4”. [1000/1500]

995A Group of Twelve Decorative Clamp-on Lamp Shades, h. 3". [100/200] 995B Group of Twelve Decorative Clamp-on Lamp Shades, h. 3". [100/200]

1000 Louis XV-Style Kingwood Writing Table, early 20th century, the rectangular top banded and quarter-veneered and with raised corners, above a frieze fitted with a pullput leather writing surface, pushing back to an interior fitted with drawers and compartments, raised on cabriole legs ending in sabots, h. 31”, w. 48”, d. 24”. [800/1200]

995C Group of Twelve Decorative Clamp-on Lamp Shades, h. 3". [100/200] 996 Louis XV-Style Oak, Mahogany and Kingwood Parquetry Inlaid Poudreuse, 19th century, fitted with a central mirror flanked by fold-out bins, the apron with a band of drawers, h. 28”, w. 30”, d. 18”. [300/500]

1001 Louis XV-Style Ormolu-Mounted and Inlaid Bureau Plat, 20th century, with an inset leather writing surface, one side fitted with drawers, h. 32”, w. 70”, d. 38”. [2000/4000] Illustrated

1001

1004 Louis XV-Style Ormolu-Mounted Oak Prie-Dieu, ca. 1900, of generous proportions, the edges with ormolu and brass mounts, upholstered in forest-green velvet, h. 41‑1/2”, w. 27”, d. 26‑1/2”. [300/500] 1005 Tuscan-Inspired Faux Travertine, and Cast and Wrought Metal Low Table, with an inset glass top, h. 22”, w. 50”, d. 50”. [150/300] 1006 Contemporary Faux Mahogany and Simulated Marble-Top Occasional Table, h. 24‑1/2”, w. 25‑1/2”, d. 25‑1/2”. [100/200]

1011 1002 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”. [3000/5000]

1007 Patinated Metal and Prism-Hung Two-Tier Chandelier, of rococo inspiration, h. 44”, dia. 25‑1/4”. [500/800] 1008 Suite of Three French-Style Five-Light Hall Lights, in the form of miniature prism-hung basket-form chandeliers, finished in bronze, h. 20”, dia. 6‑3/4”. [100/200] 1009 Gilt-Metal and Cut Glass Six-Light Chandelier, in the French style, h. 51”, dia. 34”. [400/700] 1010 Pair of Blue Brocade Pillows, with tasseled trim, w. 16”, l. 16”. [75/125] 1011 Niek van der Plas (Dutch, b. 1954), “Beach Umbrellas”, oil on panel, signed lower right “Vander Plas”, stamped verso, 11” x 13”. Presented in an attractive Louis XV-style frame. [1200/1800] Illustrated 1012 Niek van der Plas (Dutch, b. 1954), “Reading on the Beach”, oil on panel, signed lower right “Vander Plas”, stamped verso, 11‑3/8” x 9”. Presented in an attractive Louis XV-style frame. [1000/1500] Illustrated 1013 Claude-Marie Buford (French, b. 1946), “Picnic on the Beach”, oil on panel, signed lower right “Buford”, 24‑1/2” x 20‑1/2”. Presented in a rococo-style giltwood and composition frame with a linen liner. [1000/1500] Illustrated

1012 1003 Louis XV-Style Gilt-Brass and Bronze-Mounted, Marquetry-Inlaid Two-Tier Table, each circular top in floral-leaf inlay, the upper surface joined to the base with scrolling mounts capped by winged caryatids, on cabriole legs joined by shaped X-form stretchers with a gilt-bronze foliate finial, h. 35‑1/2”, w. 31‑1/4”, d. 29‑3/4”. [800/1200]

1014 French School (20th Century), “Sur La Plage”, oil on canvas, signed lower left “M. Fourniels”, signed and titled verso canvas, 14” x 18”. Presented in a giltwood frame with a linen liner. [800/1200] Illustrated 1015 Jean Lefort (French, b. 1948), “Children Playing on the Beach”, oil on panel, signed lower right “J. Lefort”, 11‑1/2” x 16”. Framed. [800/1200]

1016 Andre Chalet (Belgian, b. 1946), “Treasure Seekers”, oil on panel, signed lower left “A. Chalet”, 7” x 9‑1/2”. Presented in a charming Louis XVI-style frame. [400/700] 1017 Geoffrey Lewis (American, 20th Century), “The Boatmen”, oil on board, unsigned, verso with a “Maxwell Galleries, San Francisco, CA” label, 9” x 11”. Presented in a parcel-gilt frame with a linen liner. [300/500]

1021 1018 After Adolph Artz (Dutch/French, 1837‑1890), “Children at Seaside”, oil on panel, signed lower right “Artz”, 7” x 10‑1/2”. Framed. [300/500] 1019 Uzbek Kazak Carpet, 4’ 10” x 6’ 10”. [450/700] 1020 Uzbek Kazak Carpet, 5’ 6” x 6’ 7”. [450/700]

1013

1021 Louis-Philippe Aubusson Carpet, 9’ x 12’. [1000/1500] Illustrated

1022 Louis-Philippe Aubusson Carpet, 8’ x 10’. [700/1000] 1023 Louis-Philippe Aubusson Carpet, 6’ x 9’. [500/800] 1024 Antique Persian Sarouk Carpet, 10’ 10” x 14’. [1200/1800] 1025 Malayer Carpet, 3’ 11” x 6’ 3”. [400/700] 1026 Hamadan Carpet, 5’ x 9’. [300/500]

1014

1038 Pair of Decorative Botanical Prints, sight 26‑1/4” x 18‑1/2”. Attractively matted, glazed and framed. [200/400] 1039 Collection of Three French Chromolithographs of Seashells, 19th century, each sight 9” x 7”. All glazed, handsomely matted and presented in burlwood frames. [500/800] 1040 Pierre Joseph Buc’hoz (French, 1731‑1807), a set of four copper-plate engravings of botanicals, each sight 13” x 8‑1/4”. Attractively matted, glazed and framed alike. [900/1200]

1036 pair

1041 After John James Audubon (American, 1785‑1851), “Brown Pelican”, offset chromolithograph, 20th century, sight 18” x 14”. Glazed, matted and framed. [100/200]

1027 Semi-Antique Kashan Carpet, 9’ 7” x 13’ 4”. [300/500] 1028 Antique Persian Kerman Carpet, 10’ x 14’. [400/700] 1029 Malayer Carpet, 4’ 9” x 6’ 6”. [300/500] 1030 Turkish Angora Oushak Carpet, 9’ 3” x 12’ 2”. [1400/1800] 1031 Chinese Carpet, 9’ x 12’. [300/500] 1032 Chinese Aubusson-Style Carpet, 8’ 8” x 11’ 11”. [300/500] 1033 Kilim Carpet, 8’ 1” x 12’ 4”. [200/400] 1034 Tabriz Carpet, 7’ 4” x 11’ 8”. [150/300] 1035 Collection of Five British Hand-Colored Engravings of Whales, second or third quarter 19th century, engraved by J. Stewart, from Naturalist’s Library - Mammalia, each 3‑3/4” x 6‑1/4”. Matted and framed alike. [150/300] 1036 John Gould and H. C. Richter (British, 19th Century), “Odontophorus Pachyrhynchus” and “Odontophorus Columbianus”, two hand-colored lithographs, printed by C. Hullmandel, sight 14” x 21”. Both glazed and framed. [700/1000] Illustrated 1037 Collection of Four Chinese Paintings on Silk, 20th century, depicting various flowers, mounted on brocade fabric, 13‑3/4” x 10”. All matted and framed, three glazed.. [400/700]

1045 pair 1042 Pair of Sir William Jardine Hummingbird Prints, from The Naturalist’s Library, published in Edinburgh,1833, including a “Northern Humming Bird” and a “Magnificent Humming Bird”, both hand-colored engravings, each sight 6‑1/2” x 4‑1/2”. Both glazed, attractively matted and framed. [350/500] 1043 After Francois Levaillant (French, 1753‑1824), “The Bouquet Parrot” and “The Female Red-Faced Parrot”, pair of 20th-century limited edition prints, each sight 21” x 15‑1/4”. Both glazed and framed. [350/500]

1044 Circle of Aert Schouman (Dutch, 1710‑1792), “Green Parrot on a Branch”, watercolor on paper, unsigned, 13‑1/4” x 10”. Glazed, matted (the hand-colored mat inscribed “Schouman” lower center) and presented in a charming giltwood and gesso frame. [300/500] 1045 Pair of French Botanical Chromolithographs, first quarter 20th century, sight 18‑3/4” x 13”. Both glazed, attractively matted and framed. [600/900] Illustrated 1046 After John Gould (British, 1804‑1881), “Baza Gurneyi” from The Birds of New Guinea and the Adjacent Papua Islands, London, 1875‑1888, and “Aquila Naeria” from Birds of Great Britain, London, 1862‑1873, two handcolored lithographs, each sight 20” x 13‑1/2”. Both glazed, handsomely matted and framed. [600/900] Illustrated

1046 pair 1050 John Gould and H. C. Richter (British, 19th Century), “Metallura smaragdinicollis” and “Urosticti Benjamini”, two hand-colored lithographs, sight 18‑3/4” x 11‑3/4”. Both glazed, handsomely matted and framed. [200/400]

1047 pair 1047 Moses Harris (British, 1733‑ ca. 1788), pair of handcolored engravings of butterflies, sight 12‑1/2” x 9‑1/2”. Attractively matted, glazed and framed. [450/700] Illustrated 1048 Johann Wilhelm Weinmann (German, 1683‑1741), pair of hand-colored botanical engravings from Phytanthoza Iconographia, each sight 14” x 9‑1/4”. Attractively matted, glazed and framed. [700/1000] Illustrated 1049 Two British Hand-Colored Botanical Engravings, from The Universal Herbal, by Thomas Green, printed 1816‑1824, each sight 7” x 9”. Both glazed, Frenchmatted and presented in giltwood frames. [350/500] 1048 pair

1065 1056 Continental Faience Covered Urn, probably Spanish, the white-bodied urn trimmed with cobalt rippled moldings, and decorated with raised orange swags and tassels, applied flowers and applied scrolled handles around the neck, the domed cover decorated with applied flowers, h. 15”, dia. 8‑1/4”. [150/300] 1057 Two Majolica Oyster Plates, fourth quarter 19th century, one an English turquoise example, dia. 9”, and the other a French green example, dia. 9‑1/2”. [150/300] 1058 Set of Six Limoges-Style Oyster Plates, with pinkglazed shell-form oyster indentations, dia. 10‑1/4”. [200/400] 1059 French Faience-Style Hand-Painted Partial Dinner Service, 20th century, comprised of eight dinner plates, dia. 10”, eight salad plates, dia. 7‑3/4”, eight bread and butter plates, dia. 6”, eight saucers, dia. 6‑1/4”, and seven cups, dia. 4”, marked “Longchamp”. [150/300] 1060 Raoul Dufy (French, 1877‑1953), “Bather”, etching, ca. 1930, signed in pencil and stamped lower right, numbered lower left “21/75”, sheet 19‑3/4” x 25‑3/4”. Glazed and framed. [300/500]

1051 Continental School (Third Quarter 20th Century), “Floral Still Life in a Neoclassical Urn”, hand-colored engraving, sight 16” x 15‑3/4”. Glazed and presented in a parcel-gilt and polychrome frame. [100/200] 1052 After Basilius Besler (German, 1561‑1629), “Leucoium bulbosum Autumnale tenufolium”, handcolored engraving, probably 17th century, sight 19‑3/4” x 15‑1/2”. Glazed, matted and presented in an attractive parcel-gilt and polychrome frame. [300/500] 1053 Continental Majolica Ewer, fourth quarter 19th century, made in two parts, signed “DB” underfoot in script, h. 11‑3/4”, w. 6”, d. 5”. [200/400] 1054 Glazed Pottery Water Bottle, possibly French, set with three lug handles and corresponding air vents, h. 12”, dia. 6‑1/4”. [100/200] 1055 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-hued handle modeled in the form of a dragon, h. 7‑1/2”. [100/200]

1061 Mary Cassatt (American, 1844‑1926), “Sara Smiling” (B. 195), drypoint etching on thin cream wove paper, ca. 1904, unsigned, sheet 12” x 9”. Glazed and framed. [600/900] 1062 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”. [500/800] 1063 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a domed, padded and slightly tapering rectangular back joined by scrolling padded arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 33‑1/2”. [400/700] 1064 Provincial Louis XV-Style Pickled Oak Armoire, 19th century, with a molded cornice over a pair of doors, the doors fitted with woven wire panels, the interior painted and fitted with five adjustable shelves, h. 88”, w. 58‑1/4”, d. 20‑1/2”. [800/1200] 1065 French Provincial Fruitwood Armoire, mid-19th century, the domed and molded cornice above a case fitted with a floral basket and garland-carved frieze over two tripaneled doors, raised on shaped legs, h. 97”, w. 63”, d. 24”. [900/1200] Illustrated

1066 French Provincial Walnut Armoire, mid-19th century, the heavily molded cornice above a case fitted with a foliate-inlaid paneled frieze centered by a star-inlaid panel, over two long doors, each inset with three shaped panels over a foliate-inlaid apron, raised on molded block feet, h. 95”, w. 69”, d. 29”. [1500/2500] Illustrated

1070 Pair of Provincial Louis XV-Style Walnut Fauteuils, late 19th century, each with a padded rectangular back surmounted by a tall shell crest, joined by scrolling padded arms to the like seat, raised on molded cabriole legs headed by foliate shield carving and ending in peg toes, h. 34‑1/4”. [500/800] Illustrated 1071 Pair of Louis XV-Style Oak Sidechairs, fourth quarter 19th century, now in russet leather upholstery, h. 36‑1/2”. [150/300] 1072 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”. [50/80] 1073 Victorian Mahogany Stool, third quarter 19th century, the floral needlepoint upholstery over a molded edge apron extending to cabriole legs, h. 18”, w. 38”, d. 25”. [200/400] 1074 French 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”. [500/800] 1075 Carved Mahogany Open Arm Wing Chair, early 20th century, h. 39”, w. 33”, d. 32”. [150/300]

1066

1067 Pair of Provincial Louis XV-Style Fruitwood Fauteuils, late 19th century, each with a padded and rounded back within a molded frame, joined by scrolling arms to the padded seat, raised on molded cabriole legs ending in scrolled toes, h. 35”. [500/800] 1068 Pair of Louis XV-Style Polychrome Fauteuils, each with a shaped and padded back surmounted by a scrolling foliate and floral crest, joined by padded arms to the like seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, h. 40”. [500/800] 1069 Provincial Louis XV-Style Oak Bedside Commode, late 19th century, the rectangular top with a slightly bowed top above a conforming case fitted with two drawers, each paneled and with foliate carving, above a shaped apron, raised on cabriole legs ending in upturned toes, h. 26‑1/2”, w. 25”, d. 15‑1/2”. [300/500]

1076 French Moderator Lamp with a Japanese Pottery Base, fourth quarter 19th century, base, h. 14”, overall, h. 24”. [150/300]

1070

1084 Four-Piece Collection of Copper Cookware, including four saute pans with iron handles and one with a brass handle, h. 2‑1/2” to 4”, dia. 5‑1/2” to 7‑3/4”. [150/300] 1085 French Copper Braising Pot, fourth quarter 19th century, stamped “6V” on the side and “H” on the handle, h. 6”, dia. 11”. [250/400] 1086 French Copper Sauce Pan, first quarter 20th century, signed “Gaillard, Paris, Faubourg St. Denis” and “31”, h. 7‑1/2”, dia. 12‑1/4”, l. 24‑3/4”. [300/500]

1093

1087 French Hammered Copper Sauce Pan, first quarter 20th century, stamped “Gaillard, Paris, Faubourg St. Denis” and “34”, h. 8‑1/4”, dia. 14”, l. 29”. [300/500]

1077 Pair of French Restauration Brass Candlesticks, second quarter 19th century, fitted with side-mounted “push-ups”, the top of the domed foot trimmed with engine turning, h. 6‑3/4”, dia. 3‑1/2”. [200/400]

1088 French Copper Warming Pan, ca. 1900, the pierced lid engraved with stars, clouds and palmettes, stamped by the coppersmith Letelier Havard in the Village of Dieu, the lid opening with a brass shell-form thumb latch, h. 5‑1/4”, dia. 10‑1/4”, l. 36‑1/2”. [50/80]

1078 Two Pairs of European Candlesticks, including an assembled pair of tripartite-form altar sticks, second quarter 19th century, h. 13”, and a pair of brass Corinthian column candlesticks, first quarter 20th century, h. 6”. [100/200]

1089 Three Pieces of Copper Cookware, including a hammered tin-lined “fait tout”, h. 3‑1/4”, dia. 8‑1/2”; and two hammered tin-lined graduated sauce pans, h. 4‑1/4” and 4‑1/2”, dia. 7‑1/4” and 9”. [150/300]

1079 Contemporary Faux Mahogany and Simulated Marble-Top Sofa Table, h. 30”, w. 48”, d. 18”. [200/400] 1080 Provincial Fruitwood Side Table, late 19th century, the rectangular top with raised edge above a conforming case fitted with a single frieze drawer and joined by tapering square legs to a stretcher shelf, h. 28”, w. 22”, d. 17‑1/2”. [100/200] 1081 Unusual Provincial Elm and Fruitwood Wine Tasting Table, partially composed of antique elements, the tilting circular top covered in a polychrome canvas featuring a starburst inlay, raised on end and swinging supports to shaped runner feet, h. 31”, dia. 59‑1/2”. [700/1000] 1082 Louis XV-Style Oak Side Table, 20th century, with a scalloped top and fitted with a drawer, h. 28‑1/2”, w. 36”, d. 23”. [150/300] 1083 French Copper Planter, first quarter 20th century, h. 6”, w. 9”, l. 32‑1/4”. [300/500]

1090 French Copper Kugelhopf Mold, first quarter 20th century, h. 4‑1/4”, dia. 11‑1/2”. [150/300] 1091 Turned and Painted Wooden Bowl with a Collection of Fruit, 19th century, the stone, wooden and plaster fruit of various ages, bowl, h. 7‑3/4”, dia. 12”. [250/400] 1092 Two Pieces of Continental Pottery, comprised of a terracotta lekythos, h. 11‑1/2”, and a Middle Eastern pottery dish, dia. 9”. [60/90] 1093 Antique French Iron and Slate-Top Baker’s Table, 19th century, h. 31”, w. 41”, d. 27”. [300/500] Illustrated 1094 Delphin Massier Majolica Frog, ca. 1900, French, with a painted, underglazed brown mark “Delphin Massier. Vallauris (H.M.), h. 6‑3/4”, w. 8‑1/2”, l. 13‑1/4”. [400/700] 1095 French Provincial-Style Terracotta Hen on Nest, the paint-decorated hen depicted resting in a woven nest, h. 13”, w. 14‑1/2”, d. 6‑1/4”. [150/300]

1096 Patinated Bronze Turtle Sculpture, h. 7‑1/2”, w. 15”, l. 20‑1/2”. [150/300] 1097 Brass and Painted Metal Seated Monkey Sculpture, h. 29‑3/4”, w. 21”, d. 17‑3/4”. [200/400] 1098 Two Pottery Figures, one depicting a pig, h. 15”, w. 22”, d. 7”, and the other a dog, h. 12”, w. 13”, d. 6”. [600/900] 1099 Pair of Pottery Figures of Seated Terriers, h. 26”, w. 10‑1/2”, d. 22‑1/2”. [800/1200] 1100 Wrought Iron Oval Hanging Pot Rack, decorated with silhouettes of moose, rabbits and pointers, h. 18‑1/2”, w. 40‑1/2”, d. 22‑1/2”. [300/500] 1101 Wrought Iron Oval Hanging Pot Rack, decorated with silhouettes of moose, rabbits and pointers, h. 18‑1/2”, w. 40‑1/2”, d. 22‑1/2”. [300/500] 1102 Tole and Limed Wood Two-Tier, Twelve-Light Chandelier, of classical inspiration, h. 40”, dia. 39”. [500/800] 1103 Provincial Louis XV-Style Oak Six-Panel Screen, each with an upper wire mesh panel over a raised lower panel, h. 78‑1/4”, each panel, w. 18”. [400/700] 1104 Pair of Louis XVI-Inspired Ebonized and Giltwood Tub Chairs, with leatherette upholstery edged with tacks, h. 33‑1/4”. [200/400] 1105 Bacchanalian-Themed Patinated Metal Wine Casket, depicting a putto astride a wine barrel, a bottle and cup in his hand, h. 28‑3/4”, w. 15‑1/2”, d. 18”. [300/500] 1106 French Wrought Iron Jardiniere Stand, first quarter 20th century, h. 38‑3/4”, dia. 18”. [300/500]

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Cakebread

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CONDITIONS OF SALE ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY DEFECTS) ARE WAIVED. 1. INTRODUCTION (a). These Conditions of Sale (“Conditions of Sale”) contain all the terms governing Auctions (defined below) conducted by Cakebread Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries (“NOAG”), and all the terms under which NOAG and the Seller (defined below) of a Lot (defined below) contract with the Buyer (defined below). These Conditions of Sale may be amended by posted notices or oral announcements made during the Auction. (b). Under these Conditions of Sale, the following capitalized terms are defined as follows: • An “Auction” is a public auction conducted by NOAG, at which Bidders may place Bids to purchase one or more Lots offered for sale by NOAG. An Auction takes place over one or more days and includes separate auctions of one or more Lots within an event conducted by NOAG. • The “Auctioneer” is the auctioneer calling the Auction conducted by NOAG. • A “Bid” is a bid made by a party at the Auction to purchase a Lot. • A “Bidder” is (i) a person making a Bid at the Auction (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through electronic or internet means, or through telephone bidding). • A “Buyer” is the party that commits to purchase a Lot by submitting the Winning Bid at Auction. • “Buyer’s Premium” is defined in Section 4 below. • “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots offered at Auction. • The “Estimates” are the high and low estimates of value for each Lot set forth in the Catalogue presented by NOAG in connection with the Auction or otherwise set forth and/or announced at the Auction. • The “Hammer Price” for a Lot is the amount of the Winning Bid at the Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges. • A “Lot” is specific item of property offered for sale at Auction. • The “Reserve” is defined in Section 3 below. • The “Purchase Price” is defined in Section 4 below. • A “Sale” of a Lot occurs when a Winning Bid is declared at Auction for the Lot. • The “Seller” of a Lot is the party who consigned the Lot with NOAG for purposes of selling the Lot, or is otherwise the seller of the Lot. • The “Winning Bid” is, as to a particular Lot, the Bid recognized by the Auctioneer as the highest and best Bid for that Lot. (c). Except as otherwise stated, NOAG acts as consignment agent for the Seller. The contract for the sale of the Lot is therefore made between the Seller and the Buyer. (d). By bidding at the Auction as a Bidder or Buyer, and/or by your signature below, you agree to be bound by these terms. 2. BEFORE THE AUCTION (a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR IMPLIED WARRANTIES WHATSOEVER. (i) NEITHER NOAG NOR THE SELLER PROVIDES ANY GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION, GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION OF THE LOT. All Sales and Auctions are without any representation or warranty of any kind by NOAG or the Seller. Bidders and Buyers are responsible for satisfying themselves concerning the condition of the Lots and the matters referred to in the catalogue entry, the Condition Report, or in any other statement or writing provided. All Sales are final and are “AS IS WHERE IS.” (ii) No warranty of redhibition. ANY 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). (b). Examination of property / Condition Reports. Prospective Buyers and Bidders are strongly advised to examine personally any property in which they are interested, before the Auction takes place. As a convenience, Bidders may request that NOAG produce a Condition Report (“Condition Report”) for a Lot, which, if produced, will provide additional detail concerning the condition of the Lot as observed by NOAG’s staff. NOAG reserves the right to decline to produce a Condition Report for any specific Lot, for any reason and in NOAG’s sole discretion. (c). Catalogue and other descriptions. (i) All statements made by NOAG as to condition, authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, or historical relevance, whether in the Catalogue entry for the Lot, in the Condition Report, and/or in a bill of sale, or made orally or in writing elsewhere, are qualified statements of opinion only and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by NOAG of any kind. References in the Catalogue entry or the Condition Report to damage or restoration are for guidance only and should be evaluated by personal inspection by the Bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. (ii) Without limiting the foregoing, none of the Seller, NOAG, or any of NOAG’s officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any Lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any Lot. (iii) Any Estimates provided should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Any written or oral appraisal, Estimate or other statement of NOAG or our representatives with respect to the estimated or expected selling price of any Lot of Property is a statement of opinion only and shall not be relied upon by Bidders or prospective Bidders as a prediction or guarantee of the actual selling price. (iv) NOAG shall not be liable for any errors or omissions in catalogue or other descriptions of the Property. Neither NOAG nor the Seller is responsible in any way for errors and omissions in the catalogue, or any supplemental material. (d). Further acknowledgement. As a Bidder and prospective Buyer, you further agree and acknowledge that: (i) You are not relying on NOAG’s skill or judgment in selecting to purchase any Lot; (ii) No oral or written statements in the Auction Catalogue, Condition Report, or elsewhere are the cause of or reason behind your purchase of any Lot; and you would have incurred such purchase regardless of any

oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (iii) NOAG did not and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why you decide to purchase any Lot; (iv) Your purchase of any Lot is not intended to gratify a nonpecuniary interest; and (v) NOAG did not know, nor should it have known, that any oral or written statement about a Lot in the catalogue, Condition Report or elsewhere would cause a nonpecuniary loss to a Buyer. 3. AT THE AUCTION (a). Registration before bidding / Bidding requirements. In order to be accepted as a Bidder and allowed to place a Bid, all Bidders must meet all of the following requirements: (i) A Bidder must complete and sign the attached registration form and provide identification to NOAG; (ii) NOAG may require the production of bank or other financial references or any other additional information; (iii) When making a Bid, a Bidder is accepting personal liability to pay the Purchase Price in full in the event that the Bidder submits the Winning Bid, unless it has been explicitly agreed in writing with NOAG before the auction of the Lot that the Bidder is acting as agent on behalf of an identified third party acceptable to NOAG, and that NOAG will only look to that principal for payment (iv) All Bids are to be made in U.S. currency unless agreed upon between NOAG and the Bidder; and (v) At NOAG’s sole discretion, NOAG may require any Bidder to post a cash deposit in an amount set by NOAG at its sole discretion. Such deposit may include, without limitation, a deposit of 25% of the Maximum Bid (or another amount set in NOAG’s sole discretion) in the case of Absentee Bids (defined below). (b). Refusal of admission / Rejection of Bidders. NOAG has the right, at its complete discretion, to refuse admission to the premises or participation in any Auction. NOAG reserves the right to reject any Bidder for any reason whatsoever and in NOAG’s sole discretion. (c). Absentee bids / Telephone bids. (i) As a convenience to Bidders, NOAG may allow a Bidder to submit an absentee bid (“Absentee Bid”) or telephone bid (“Telephone Bid”) by filling out (in full) the section of the attached registration form marked “Absentee Bids / Telephone Bids.” In order to submit an Absentee Bid or Telephone Bid for an Auction, that registration form must be filled out and submitted to NOAG no later than 5:00 p.m. central time on the last business day before the commencement of the Auction. (NOAG reserves the right to accept late Absentee Bid or Telephone Bid submissions in NOAG’s sole discretion.) All Absentee Bid submissions must include a maximum bid amount (“Maximum Bid”). (ii) If an Absentee Bid is submitted and accepted, at the time of the auction of the affected Lot, the Auctioneer or other NOAG staff will place the Absentee Bid at the amount of the opening bid amount, and will increase the amount as necessary until the earlier of (x) the Absentee Bid is the Winning Bid; or (y) the amount reaches the Maximum Bid. All such actions in this paragraph are at the sole discretion of the Auctioneer and/or NOAG. If NOAG receives Absentee Bids on a particular Lot with identical Maximum Bid amounts, and at the Auction these are the highest bids on the Lot, the Lot will be sold to the person whose Absentee Bid was received and accepted first. In the event of a tie bid between an Absentee Bid and a Bid submitted by a Bidder physically present at the Auction (or a Telephone Bid), the Lot will be sold to physically present Bidder (or bidder submitting the Telephone Bid). (iii) If a Telephone Bid is submitted and accepted, at the time of the auction of the affected Lot, NOAG staff shall attempt to contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids may be recorded. By submitting a Telephone Bid, the Bidder consents to the recording of the conversation and the placing of the Bid. (iv) Execution of Absentee Bids and Telephone Bids is a free service undertaken subject to other commitments at the time of the Auction and neither NOAG nor the Auctioneer shall have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith. (d). Video or digital images. At some Auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. NOAG reserves the right to video tape and record proceedings at any Auctions. Any personal information obtained will be held in confidence by NOAG but may be used or shared with our affiliates and marketing partners for customer analysis purposes and to help us to tailor our services to buyer requirements. Any Bidder attending an Auction

in person who does not wish to be video-taped may make arrangements to make a Telephone Bid in accordance with Section 3(c) above. (e). Reserves. All Lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold (the “Reserve”). The Reserve for a Lot will not exceed the low Estimate for that Lot. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Seller. The Auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders. Notwithstanding the foregoing, a Lot may be sold at a Hammer Price below the Reserve, at the discretion of the Auctioneer and NOAG, in any manner consistent with the agreement between NOAG and the Seller. (f). No bidding by Seller. Under no circumstances shall Seller (as agent or principal), whether by itself or through its representatives, employees or agents (except as through the Auctioneer as set forth in Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot. (g). Auctioneer’s discretion. The Auctioneer has the right at his or her absolute and sole discretion to refuse any Bid, to advance the bidding in such a manner as he or she may decide, to withdraw or divide any Lot, to combine any two or more Lots, and in the event of any error or dispute, to determine the Winning Bid, to continue the bidding, to cancel the Sale or to reoffer and resell the Lot or item in dispute. If any dispute arises after the Sale, NOAG’s sale record is conclusive. Unless otherwise announced by the Auctioneer at the time of Sale, all Bids are per Lot as numbered in the Catalogue and no Lot shall be divided for Sale. NOAG and/or the Auctioneer may withdraw any Lot at any time before such Lot is offered at Auction, for any reason and in their sole and absolute discretion. (h). Successful bid and passing of risk. The Auctioneer shall have absolute discretion in determining the Winning Bid and the striking of the Auctioneer’s hammer marks the acceptance of the highest and best bid as the Winning Bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the Lot but not its title passes to the Buyer immediately upon announcement of the Winning Bid at the Auction. (i). Post-auction sale. In the event that there is no Winning Bid at Auction for a Lot, or the Lot is withdrawn from the Auction, or the Sale is cancelled for non-payment pursuant to Section 4(g) below, NOAG may sell the Lot at public or private sale at any time thereafter, in a manner consistent with the agreement between Seller and NOAG. (j). NOAG assumes no responsibility for failure to execute Bids for any reason whatsoever. 4. AFTER THE AUCTION (a). In order to consummate and complete the Sale, the Buyer must tender payment in full of all of the following amounts (all such amounts together being the “Purchase Price”) to NOAG: (i) the Hammer Price; and (ii) the “Buyer’s Premium” consisting of a premium of 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. (b). Payment and passing of title. The Buyer and any other Bidders are responsible for contacting NOAG for Auction results during the week after the conclusion of the Auction. Subject to the provisions of Section 4(i) below which may require earlier payment, the Buyer must pay the full Purchase Price no later than 4:30 pm central time on the fifteenth calendar day following the conclusion of the Auction. Payments may be submitted during business hours to: New Orleans Auction Galleries, 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. (c). Credit Cards. Your signature on this form constitutes permission to charge the full amount of the Purchase Price on your credit card, if you are the Buyer on a Lot and payment is not received within five business days of the close of the Auction. Your signature on this form also constitutes permission to charge the

full amount of Storage Charges (defined below), if and when accrued, on a periodic basis on your credit card. (d). Release of Lot to Buyer. No Lot will be released to the Buyer unless and until NOAG receives full payment of the Purchase Price, and such payment has cleared and NOAG has received confirmation of all funds owed. At its sole discretion, NOAG may release a specific Lot at any time, notwithstanding the foregoing provision. In addition, NOAG may require that Lots not be released until the Buyer has cleared additional checks in NOAG’s sole discretion, including without limitation, any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction. In the event that a Buyer fails to complete any anti-money laundering or anti-terrorism financing checks to NOAG’s satisfaction, NOAG shall be entitled to cancel the Sale and take any other action permitted or required under applicable law. In addition, notwithstanding the foregoing, Lots cannot be released until after the conclusion of the Auction. (e). Export/Import license and Dealers. It is the Buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall not justify the rescission of any sale nor any delay in making bill payment for the Lot; and shall not limit or alter any of the obligations of the Buyer herein. Dealers purchasing for resale must enter appropriate their Dealer Resale Number on the attached registration form and provide NOAG with proper documentation. (f). Storage charge. Subject to the foregoing provisions, any Lot that is not picked up by the end of the day on the fifteenth calendar day following the conclusion of the Auction is subject to an additional storage charge of $5.00 per Lot per day (“Storage Charge”) for as long as the Lot is stored at NOAG’s facilities. The outstanding amount of this Storage Charge must be paid in full (in addition to the Purchase Price) before such Lot will be released to the Buyer. Such Storage Charge accrues on a daily basis and is billed monthly. All items handled or stored will be at the Buyer’s risk. NOAG is not liable for any damage to Lots after the conclusion of the Auction.

(g). Remedies for non-payment. If the Buyer fails to make payment in full of the Purchase Price in good cleared funds within the time required by Section 4(b) above, or payment in full of any applicable Storage Charge when incurred, NOAG shall be entitled in its absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge outstanding amounts to the Buyer’s credit card; (ii) to charge interest at the rate of one and one-half percent (1.5%) per month (but not to exceed the highest amount chargeable under applicable law); (iii) to hold the Buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of applicable law, including the subsequent enforcement of any deficiency against the initial buyer; (v) to cancel the sale; (vi) to resell the property publicly or privately on such terms as we shall think fit; (vii) to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; (viii) to set off against any amounts which NOAG may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer; (ix) where several amounts are owed by the Buyer to NOAG, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs; (x) to reject at any future Auction any Bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer before accepting any Bids; (xi) to exercise all the rights and remedies of a person holding security and/or privilege over any property in our possession owned by the Buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted under Louisiana law (including without limitation under La. Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other applicable law), or (xii) to take such other action as NOAG deems necessary or appropriate. In connection with the item (xi) above, the Buyer will be deemed to have granted such security to NOAG and NOAG may retain the affected Lot and any property of the Buyer as collateral security for such Buyer’s obligations to NOAG and to the Seller If we resell the property under Section 4(g)(vi) above, the Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (vii) above, the Buyer acknowledges that NOAG shall have all of the rights of the Seller, however arising, to pursue the Buyer for

such amount. (h). Shipping and packing. All shipping, packing, and transportation of Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may, as a courtesy, assist Buyer with necessary arrangements, but by doing so, NOAG assumes no responsibility or liability for shipping, packing, moving, or transportation, including without limitation damage to Lots, damage to Buyer’s vehicle, or any personal injury of any persons involved.

(i). Earlier payment may be required. For any specific Lot, and notwithstanding the provisions of Section 4(b) above, NOAG may require, in its sole discretion, that the Hammer Price for the Lot be paid immediately upon the striking of the Auctioneer’s hammer and announcement of the Winning Bid, with the balance of the Purchase Price being due by the close of the Auction.

5. COPYRIGHT The copyright in all images, illustrations and written material produced by or for NOAG relating to a Lot including without limitation the contents of the Catalogue, is and shall remain at all times the property of NOAG and shall not be used by the Buyer or Bidder, nor by anyone else, without our prior written consent. NOAG and the Seller make no representation or warranty that the Buyer of a Lot will acquire any copyright or other reproduction rights in it. 6. SEVERABILITY If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law. 7. DATA COLLECTION In connection with the operation of our auction business, NOAG may need to seek personal information from Bidders or obtain information about Bidders from third parties (e.g., credit checks from banks). Such information will be processed and kept by us in confidence. Some of Bidders’ personal data may also need to be shared with third party service providers (e.g., shipping or storage companies) for Bidders’ benefit. By participating in an Auction, you agree to all previously stated disclosure. 8. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the Auction and any matters connected with any of the foregoing shall be governed and interpreted under the laws of the State of Louisiana. By bidding at the Auction and/or through execution of the attached registration form, the Bidder consents to the exclusive jurisdiction of the courts of the State of Louisiana and the Federal courts of the United States of America located in the Eastern District of Louisiana.

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Customers, Please Note: Deadline for Absentee/Telephone Bidding Guidelines for Telephone Bidding 5:00 p.m. Central - Thursday, June 6, 2013

estimate on each item. Deadline for Condition Report Requests 5:00 p.m. Central - Thursday, February 21, 2013

NEW ORLEANS AUCTION GALLERIES Presents

Cakebread

Designer Auction

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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.cakebreadauction.com). Detail photographs will be provided at our discretion.

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Cakebread

Designer Auction