July 23-24 Estates Auction by New Orleans Auction Galleries

New Orleans Auction galleries J u ly 2 3 - 2 4 , 2 0 1 6

lot 274

Exhibition:

Evening Reception:

July 11 - July 22, 2016 9:00 a.m. - 5:00 p.m.

Thur sday, July 21, 2016 5:00 - 8:00 p.m.

Monday - Saturday, Closed Sunday

S e ss i o n I :

S e ss i o n II :

Saturday, July 23, 2016 10:00 a.m. CDT, Lots 1 - 617

Sunday, July 24, 2016 10:00 a.m. CDT, Lots 618 - 1118

10:00 - 11:00

618

689

11:00 - 12:00

100 - 199

11:00 - 12:00

690

759

12:00 - 1:00

200 - 299

12:00

1:00

760

849

1:00

2:00

300 - 399

1:00

2:00

850

949

2:00

3:00

400 - 499

2:00

3:00

950 - 1049

3:00

4:00

500 - 599

3:00

3:30

1050 - 1118

4:00

4:15

600 - 617

F e at u r i n g P r o p e r t y F r o m : T he Es t a t e o f M a r k C ha p m a n

T he Es t a t e o f Alex a nd e r H . P ilk ing t o n

C a t Sp r ing, Tex a s

B ir m ing ha m , Ala b a m a

T he Es t a t e o f Elm ir a Ann Pa r ne ll G r e go r ie

T he Es t a t e o f G a r y B a x t e r We b b

B a t o n Ro uge , L o ui s ia na

H o us t o n, Tex a s

T he Es t a t e o f M a r jo r ie Ab b ey M o r r is o n H a m m o nd , L o uis ia na

New Orleans Auction Galleries 333 St. Joseph Street, New Orleans, Louisiana 70130 | NewOrleansAuction.com tel: 504-566-1849 | fax: 504-566-1851 | email: Info@NewOrleansAuction.com LA Auction License AB-363, Steinkamp #1265, Thomas #1833, Eichenwald #1922 | 25% Buyerâ&#x20AC;&#x2122;s Premium (3% Discount For Prompt Payments Made By Cash, Check, Or Wire)

Evening Reception Highlights May 19, 2016 1. Jean and Buddy Bolton

Pierre and Susan Villere 2. Luna Saunders, Sandy Parker,

AJ Pearson & Brandee Lasuzzo

3. Gerard McGovern, Dan Gunther,

Gilbert Riveiras & Jerry Hingle 4. Webb Offutt

Pamela Pipes

5. Valentina Luccardi

Matt Thomas 6. Amy McLain

Jean Angelico

7. Taylor Eichenwald, Lori Ekert,

Susan D. Sarofim, Tieler James, Miranda Abney & Burke

letter from the ceo

recently read an article about a single mother and well-known Hollywood scriptwriter who decided to take a “yes year,” which meant spending more time with her girls instead of indulging her workaholic tendencies. Those 12 months became a magical, life-changing experience for her family. After reading this article, I realized I am a “yes person,” sometimes making decisions contrary to logic and, perhaps on an occasion or two, what some might say was good sense. On the other hand, oh, the adventures and out-of-the-box decorating I have experienced because of that three-letter word. Just like all of you, I have a great many decorating “yeses” under my belt, some of which worked and some of which should have been a “no.” One near miss that will forever live in my memory involves a red-lacquered baby grand player piano. My family had just moved to an historic home, and when I saw the brilliantly painted piano, my head was filled with a vision of it on our second floor foyer, playing lovely music that gently coalesced with the conversations and laughter of well-dressed guests sipping glasses of chilled white wine. I was absolutely beguiled with this vision, never mind that the piano would likely not have fit the foyer nor the décor. In hindsight, it was not so much I wanted to own the piano, it was the dream of who I could be if I owned the piano: a gracious hostess who gave enchanting parties filled with interesting people. Creating images of who we want to be by changing our décor – isn’t that what decorating is all about?

While the red piano did not work out (although, in my mind, I can still hear beautiful music coming from the second floor foyer), there have been other “yeses” – some incredible and even life changing – that did. Buying New Orleans Auction Galleries is definitely one of them. Like that piano, the allure of possibilities, the vision I had for what could be, drew me to it. We celebrated NOAG’s fourth anniversary in June. And while sitting in the offices of our beautiful new building, which doubled the auction’s size, looking over a floor filled with amazingly fabulous items, I realized it is easy to forget how unlikely NOAG’s current success seemed those first couple of years. We haven’t done it alone, of course. Thank you to all of our consigners and buyers for joining us in saying yes and making our out-of-this-world optimism a reality. We are deeply grateful for your support in our first four years, as we’ve evolved and found our footing as the South’s premier auction house. We hope you will continue to be part of NOAG’s journey, beginning with our July auction, featuring five over-the-top estates which will send your imaginations soaring. You have 1,118 “yes” opportunities that have the possibility to make the most mesmeric visions come true. Join us for this exciting sale, Saturday, July 23 and Sunday, July 24. We are cranking up the air and will have your chilled beverage waiting for you! And don’t forget to say yes to our preview party, Thursday, July 21, beginning at 5 p.m. We are looking forward to seeing you there!

Susan D. Sarofim CEO

gary baxter webb houston, texas

Born in McAllen, Texas November 5, 1938, Gary Baxter Webb moved to Houston with his family at a young age. He attended Lamar High School, graduating in 1957, followed by a B.A. from Rice University in 1961. After completing his studies at the University of Texas School of Law in 1964, Webb began his legal career with Fulbright & Jaworski, active in insurance defense litigation. He joined the administration of Mayor Fred Hofheinz in 1974 as the Tax Assessor Collector of the City of Houston, returning to private practice in 1977 as a partner of Dudensing & Webb specializing in personal injury litigation. He served on the State Barâ&#x20AC;&#x2122;s selection of Harris County grievance committees. Those who knew Gary remember his unique sense of humor and his consummate storytelling skills. He loved dogs, exotic sports cars, playing poker and bridge with friends, practical jokes, political debates, opera and collecting art. Gary also loved to travel, taking trips all over the world and spending time under the live oaks at his hilltop country retreat in Brenham, Texas and at his home in San Miguel de Allende, Mexico. Gary had a keen eye for collecting and a fondness for Post-Impressionism, filling his home with impressive paintings by artists such Theo van Rysselberghe, Maximilien Luce, Louis Valtat and others. New Orleans Auction Galleries is honored to offer paintings from the Estate of Gary Baxter Webb. Proceeds from the sale of Gary Webbâ&#x20AC;&#x2122;s art collection will benefit Bering Omega Community Services, Houston, Planned Parenthood of Houston and the Houston Society for the Prevention of Cruelty to Animals.

Marjorie Abbey Morrison Hammond, louisiana

Arts patron and philanthropist Marjorie Abbey Morrison was born November 8, 1916 in the Mississippi Delta town of Webb. She was valedictorian of her high school class (All Saints College in Vicksburg, Mississippi in 1933), and then earned a B.A. degree from Mary Baldwin College, in Staunton, Virginia (1937). She did post-graduate study at the New York School of Interior Design. Marjorie married a South Louisiana lawyer, James Hobson Morrison on February 14, 1940. In addition to her family, she also loved the arts. A regular patron of the Louisiana Philharmonic, the New Orleans Ballet, and the New Orleans Opera, she supported the cultural offerings of Hammond's Columbia Theatre. Marjorie frequented the galleries on Royal and Julia Streets. She devoted much of her time promoting arts education in Louisiana's schools. When the State eliminated funding for art education. In 1967, Marjorie, while vice president of the Louisiana Council for Music and the performing Arts, created The Arts Slide Lending Library in cooperation with the State Department of Education to insure that all Louisiana children could receive a weekly art lesson. She was a member of the executive board of the Louisiana State Arts Council and a founder and board member of the Hammond Arts Council now the Hammond Regional Arts Center. She was a charter member of the Alliance for Arts in Education, served on the advisory board of the New Orleans Museum of Art, and was a member of the Louisiana Arts Educator Association. Her arts advocacy earned recognition from many sources. Marjorie was named a Life Fellow, Royal Society of Arts, London, England. She was awarded a medal of appreciation from the Louisiana Council for Music and the Performing Arts, an honorary Doctor of Humanities Degree from Southeastern Louisiana University, the Governor's Art Patron of the Year Award, a Medal of Appreciation from Jeunesse d'Orleans in 1997 among others. In 2010 Louisiana Public Broadcasting honored her as 'A Louisiana Legend.' In Hammond, Mrs. Morrison served on a number of volunteer boards, supported Southeastern Louisiana University's Visual and Performing Arts Department and the University Library. Never just a nominal board member she was an active participant in every project and program. She may well have been the most active patron of the Hammond Branch of the Tangipahoa Parish Library System. In 1983 she was named Hammond's Woman of the Year, by the Hammond Junior Auxiliary. In 1986 she reigned as the first Queen of the Krewe of Omega. She served on the executive board of the Hammond Centennial Commission. Southeastern Louisiana University named her a Golden Ambassador. She was Hammond's "Grand Dame." Marjorie was also an inveterate world traveler. She read extensively about the places she planned to visit. One companion on a trip to Egypt noted that Marjorie rode a camel in a silk suit with high heels! At age 86 she made a solo trip to Greece and Turkey. At her home, Shadowcreek, in suburban Hammond she lived in the midst of color. Her extensive azalea and camellia gardens bloomed over a period of months each year. She enjoyed her art collection and shared it with guests at lovely small dinner parties. She particularly loved to prepare hors d'oeuvres to be accompanied with well- chilled champagne. Frequently, she supplied her culinary specialties for gallery openings, lectures and post-concert receptions. A gourmet supper club brought her great pleasure. A few years ago she published a cookbook for family and friends. Her son Hobby recalled, "She was a glass half full (or mostly full) kind of person. An optimist. She loved flowers, bright colors, classical music and young people. New Orleans Auction Galleries is honored to offer property from the Estate of Marjorie Abbey Morrison.

alexander h. pilkington birmingham, alabama

Prominent Birmingham businessman Alexander H. Pilkington (Al) was born December 9, 1935 in Bessemer, Alabama. He worked all through high school, developing a passion for business early. In 1954, Al joined the Navy and was stationed in San Diego. There he married Donna Lee Petsch, and they had two children. During this time, Al and Donna, with help from their family, opened and operated a restaurant in San Diego with much success. When Donna and Al divorced in the early 1960s, Al relocated to Birmingham, Alabama. Throughout his 50+ years in the Birmingham business community, he successfully operated several businesses including The Gold Torch, Al's Crossroads, and various other businesses in the Lakeview District. When Al was not working, he enjoyed restoring and decorating his historic home, the Mortimer Jordan House. He purchased the house in 1969, taking great care to restore it to its original glory and decorate it with fine furniture, decorative arts and paintings over the course of the next 50 years.

The house was built in the early 1900s by Dr. Mortimer Harvie Jordan and his wife, Florence E. Mudd. After service in the Confederate Army, Jordan studied medicine in Cincinnati and New York (under Alabama's famous gynecologist, Dr. J. Marion Sims). Dr. Jordan is recognized for his tireless work during the 1873 cholera epidemic. He served on the State Board of Health (1879-83), as president of the State Medical Association (1884) and as Chair of Materia Medica and Theraputics and Clinical Medicine at the Medical College of Alabama at Mobile (1886 for two terms). His wife, Florence Mudd Jordan, was the daugther of Judge William S. Mudd, builder of Arlington Plantation. New Orleans Auction Galleries is pleased to offer furniture and decorative arts from the Estate of Alexander H. Pilkington. The collection offered in this sale was an important part of the ambiance that Mr. Pilkington brought back to the Mortimer Jordan House.

Elmira Ann Parnell Gregorie baton rouge, louisiana

A lifelong resident of Baton Rouge, Elmira Ann Parnell Gregorie was born October 9, 1931 to Elmira Harelson Harrison and Holt Trammel Harrison. She attended Dufrocq Elementary School, Baton Rouge Junior High School and was a graduate of Baton Rouge High School. She attended Stephens College in Columbia, Missouri. She became a co-owner in her family business, Harrison Paint Company, and was a manager of real estate and property of various other family businesses. An active member of the Baton Rouge community, Ann was a member of the Baton Rouge Assembly, The Baton Rouge Country Club and the Junior League of Baton Rouge, as well as the Harlequins and Rebel Dance Clubs. Ann loved traveling, books, culinary arts and collecting. She amassed an impressive and diverse art collection that includes 18th to 21st century Southern and European paintings with works by artists such as George Rodrigue, Henry Casselli, Clarence Millet, Claude Pissarro and others. She is remembered by friends and family for her quick wit, generosity and entertaining stories. New Orleans Auction Galleries is pleased to offer fine art, antique furniture and more from the Estate of Elmira Ann Parnell Gregorie.

lot 277

Se s sion I : S at u r day, J u ly 2 3 , 2 0 1 6 Lots 1 - 6 1 7

1 George III Mahogany Serpentine-Front Chest, first quarter 19th century, the top edged in contrasting light wood stringing, over four graduated drawers with beaded edges, raised on bracket feet, h. 36‑3/4”, w. 44‑1/8”, d. 21‑1/2”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [700/1000] Illustrated 2 George II-Style Parcel-Gilt Mirror, early 20th century, the gilt and black surround with egg-and-dart carving and decorated with festoons of bellflowers on each side and carved medallions in each corner, the broken pediment leaf-carved and the finial with pierced scrollwork and a cabochon-shaped center panel, h. 43”, w. 26‑3/4”. [600/900] Illustrated 3 George III-Style Mahogany Bookcase, 18th century and later, the broken swan’s neck pediment with pierced accents above a fluted and dentillated frieze with two astragal-glazed doors below, the lower section fitted with a fluted frieze over two paneled cupboard doors, raised on shaped bracket feet, h. 99‑1/2”, w. 45‑1/2”, d. 21‑1/2”. [2500/4000] Illustrated

2 3

6 Five-Piece Collection of Shoe-Form Snuff Boxes, 18th century, English and Continental, including the largest, carved with a name on the bottom picked out in brass tacks, a wooden shoe with incised carving, initials on the lid picked out in brass tacks, a brass shoe with seamed construction with a hinged lid, and two papier-mache boxes with hinged lids, one with a portrait on the lid and the other decorated in the Asian fashion, the largest, h. 1‑3/4”, w. 6”. [600/900] Illustrated 7 Pair of English Carved Mahogany Knife Urns, ca. 1900, in the Adam taste, on leaf-carved bases, the urns ornamented with reeded leaf carving and stippled arabesques, the fluted and leaf-carved covers with pineapple finials, opening to reveal fitted interiors, h. 26”, w. 10”, d. 10”. [1500/2500] Illustrated

5 4 Pair of Georgian-Style Mahogany and MarbleTop Side Tables, early 20th century, each with a long rectangular breakfront marble top above a conforming scalloped frieze fitted with three drawers, raised on molded tapering square legs headed by bellflower carving and ending in spade feet, h. 35”, w. 89”, d. 24‑1/2”. [2000/4000] Illustrated 5 Attributed to Thomas Faed RSA (Scottish, 1826‑1900), “Fair Warbler, Sings’t Thou Thus by Break of Day”, oil on canvas, faint and partial signature lower right, 36” x 28”. Framed. [3000/5000] Illustrated

4 one of a pair

8 George III-Style Mahogany Sideboard, late 19th century, the top with a serpentine front and carved edge, above a conforming case fitted with a central cutlery drawer over a recessed well drawer, flanked to one side by a deep drawer and to the other by a cupboard, raised on chamfered tapering square legs ending in spade feet, h. 36”, w. 71”, d. 26”. [2000/4000] Illustrated 8

9 Suite of Twelve George IIIStyle Mahogany Dining Chairs, 20th century, in the Adam taste, consisting of two armchairs and ten sidechairs, all with shield-form backs with a pierced wheat sheaf splat, the padded seat raised on tapering square legs ending in spade feet, h. 38‑1/2”. [800/1200] Illustrated 10 George III Mahogany Dining Table, ca. 1800, in the Hepplewhite taste, with two D-ends and a center section, all banded and with a stringinlaid frieze, raised on line-inlaid tapering square legs ending in brass caps and casters, labeled “Spillman & Co. St. Martins Lane, London”, with four 23” leaves, h. 29‑3/4”, w. 50”, l. 69”, extended l. 161”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [2000/4000] Illustrated

12 Assembled Fourteen-Piece Collection of English Basketweave Creamware, 19th century, including a pair of pierced basketweave stands with Bardith shipping tags, w. 10”, d. 8‑1/2”, a smaller pair of pierced stands, w. 7‑1/2”, d. 6‑1/2”, a pierced basket with a basketweave-molded center, h. 2‑3/4”, w. 9‑1/4”, d. 7‑1/2”, a small basket pierced with latticework, h. 20”, w. 7‑3/4”, d. 5‑3/4”, and a set of eight basketweave-molded plates with pierced borders, made by Henry Drydel & Co., dia. 8”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [800/1200] Illustrated

13 Exceptional Pair of English Neoclassical Pearlware Footed Baskets and Underplates, fourth quarter 18th century, oval in form, the borders with pierced arcading and swag-molded over a border of acanthus leaves, the patera-form bases molded with basketweave centers, the “China blue” stands molded to match the baskets, h. 3‑1/2”, w. 12”, d. 10”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [1000/1500] Illustrated 13

11 George III-Style Mahogany Dining Table, the banded rounded rectangular top raised on two pedestals, each with a turned columnar standard to three splayed and molded legs ending in brass caps and casters, with two 22” leaves, h. 29‑1/2”, w. 46‑1/2”, l. 72”, extended l. 116”. [1400/1800] Illustrated

14 Collection of Three Small Chinese Export Punch Bowls, 18th/19th century, including a famille rose punch bowl with raised enamel flowers and an orange lancet border, h. 3‑1/2”, dia. 8”, a gray-ground famille rose punch bowl with raised white enamel bamboo decoration, h. 3‑1/2”, dia. 8”, and a punch bowl decorated with roses and diapered panels, h. 3‑3/4”, dia. 9”. [800/1200]

15 George III Mahogany Breakfront Bookcase, early 19th century, the molded cornice above a case fitted with four astragal-glazed doors, the bottom section fitted with a central drop-front secretary drawer opening to a baize-lined writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, flanked to either side by a deep drawer over a paneled cupboard door, raised on a plinth base, h. 85, w. 80”, d. 22”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [2500/4000] Illustrated

16 Giltwood Mirror in the Adam Taste, the rectangular mirror with a lotus-leaf-carved surround, the central urnform finial on a swag-carved table and set with a spray of flowers, swags and bowknots on each side, h. 58‑1/2”, dia. 28‑3/4”. [1200/1800] Illustrated

Marjorie Abbey Morrison 15

21 22

17 George III Banded Mahogany Server in the Hepplewhite Taste, ca. 1800, the serpentine front with a single drawer in the center and flanked by a deep in-curved drawer on the left and a cabinet on the right, the brass lock engraved “I. Bramah-Patent”, h. 36”, w. 53”, d. 25”. [900/1200] Illustrated 18 Five-Piece Chinese Export-Style Garniture in the Imari Palette, the set comprised of a pair of beaker vases, h. 10‑1/4”, dia. 5‑1/2”, and a trio of covered garniture vases, h. 12‑1/2”, dia. 4‑3/4”, all decorated in cobalt and orange peonies. [900/1200] Illustrated 19 Collection of Seven Good Chinese Export Porcelain Plates, 18th century, including a Chinese Imari soup plate, dia. 9”, a pair of famille rose plates with gray-ground borders decorated with enamel bamboo, dia. 9”, a famille rose plate with a scalloped border, dia. 9”, a famille rose plate with a blue-and-white border and center medallion, dia. 9”, and a handsome large famille rose plate with raised enameling, gilt flowers and a gilt fence, dia. 10‑1/4”. Provenance: Sold at Christie’s, London, June 13, 2002, lot 388, from the collection at Longleaf, formed by the Viscounts Weymouth and Marquess of Bath. [900/1200]

20 Two Chinese Export Porcelain Platters in the Famille Rose Palette, ca. 1800, each with notched corners, the larger with mauve borders with sprigs of flowers and a black, mauve and orange ball in the center reserve panel, and the other decorated with a central bouquet and scattered sprigs and insects in the field, w. 13‑1/4” to 14‑1/4”, d. 16‑1/2” to 17‑1/2”. [800/1200] 21 George III-Style Mahogany Dining Table, the rounded rectangular top banded and raised on three pedestals, each with a beehive-modeled standard to three splayed legs headed by foliate carving and ending in brass paws on casters, h. 30”, w. 48”, l. 104”. [1800/2500] Illustrated 22 George II-Style Giltwood Torchere, ca. 1900, English or Continental, the bombe base resting on paw feet and ornamented with angel’s heads, the tapered pedestal with fluting and carved laurel swags under Ionic capitals, the top in the form of a reeded urn trimmed with carved leaves, h. 61‑1/2”, dia. 11”. [1000/1500] Illustrated

23 Regency-Style Painted and Parcel-Gilt Composition Eight-Light Chandelier, the tapered standard decorated with molded leaves alternating with scrolled arms set with molded sockets, supported on rope-turned arms from a leaf-molded corona, h. 23”, dia. 28”. [500/800] 24 Suite of Eight George III Mahogany Dining Chairs, 18th century, in the Hepplewhite taste, consisting of two armchairs and six sidechairs, each with a shield-form back with a pierced splat above the padded seat, raised on tapering square legs joined by an H-form stretcher, h. 38”. [1000/1500] Illustrated

25 George III Mahogany Serpentine Chest, ca. 1800, with four graduated long drawers, each with diamond-shaped light wood keyholes, the drawers cock-beaded in contrasting wood, raised on bracket feet, h. 37”, w. 44”, d. 22”. [1200/1800] Illustrated 26 Set of Four English Gilt-Bronze Two-Light Sconces, first quarter 20th century, in the Adam style, on leaf-molded backplates held with bowknots, the scrolled candle arms molded with leaves and the drip pans molded with lotus leaves, electrified, h. 13‑1/2”, w. 8”, d. 4‑1/4”. [800/1200] Illustrated

27 George III Mahogany Corner Cabinet, 19th century, the canted and molded cornice over a frieze with inlaid patera and faux fluting, above a conforming case fitted with two astragal-glazed doors, flanked to either side by a patera-inlaid upright, the lower section fitted with two cupboard doors, h. 88”, w. 43”, d. 20”. [2000/4000] Illustrated 28 George III Mahogany and Inlaid Tall Case Clock, early 20th century, the brass face with a rotating moon dial and time and strike movement, h. 83”, w. 16”, d. 10”. [500/800] Illustrated 29 Chinese Export Rose Medallion Porcelain Punch Bowl, second quarter 19th century, decorated with Mandarin panels and carefully detailed borders decorated with birds, butterflies and pierced gilt discs, the exterior decorated in the round, h. 7”, dia. 18‑3/4”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [500/800] Illustrated

30 George III Mahogany Games Table, early 19th century, the D-form top hinged and opening to a larger surface, with an inlaid edging, above a conforming banded frieze, raised on tapering square legs, h. 29”, w. 39‑1/2”, d. 17‑1/4”. [500/800] 31 Handsome Pair of Chinese Export Rose Medallion Porcelain Bough Pots, second quarter 19th century, decorated with Mandarin scenes on a molded “jewel”encrusted ground, the pierced covers decorated to match, set with rope-twist gilt handles, h. 9”, w. 6‑3/4”, d. 7‑1/2”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [1200/1800] Illustrated 32 George III-Style Mahogany Desk, late 19th century, the banded rectangular top above a conforming frieze fitted with three drawers to one side and three faux drawers to the other, raised on tapering square legs ending in peg feet, h. 31”, w. 59‑1/2”, d. 32‑3/4”. [1000/1500] Illustrated

33 Chinese Rock Crystal Figure of Guanyin, 20th century, the standing figure holding a willow branch, h. 12”, w. 4”, d. 2”. [900/1200] Illustrated 34 Chinese Rock Crystal Figure of a Horse, 20th century, on a pierced hardwood stand, h. 5‑1/2”, w. 7‑1/2”, d. 2‑1/2”. [1500/2500] Illustrated

35 Pair of Chinese Rock Crystal Hawks on Hardwood Stands, 20th century, the birds holding sprigs of cherries in their mouths, h. 8”, w. 3‑3/4”, d. 2”. [1200/1800] Illustrated 36

36 Pair of Chinese Rock Crystal Phoenix Birds, 20th century, the pierced figures holding sprigs of leaves in their beaks, h. 9‑1/4”, w. 3‑1/2”, d. 2‑1/2”. [2500/4000] Illustrated 37 Chinese Pierced Rock Crystal Covered Vase, 20th century, carved with peonies and a cormorant, h. 6”, w. 3‑3/4”, d. 3”. [700/1000] Illustrated 38 Pair of Chinese Reverse Paintings on Mirror Plates, ca. 1900, decorated with polychrome Chinese figures riding birds, leading an elephant, riding a donkey and riding a deer, in grain-painted frames, h. 47‑1/2”, w. 18‑1/4”. [1000/1500] Illustrated

39 Chinese Bronze Buddha, 19th century, the seated figure elaborately garbed and with a rat on his knee, h. 13‑1/4”, w. 7‑3/4”, d. 6‑1/4”. [1000/1500] Illustrated

40 Tibetan Gilded and Painted Bronze Tara Figure, 19th century, the female buddha depicted seated, gilt-trimmed and painted with gilt and black leaves and scrolls on a red ground, signed in character on the back, h. 22‑1/2”, w. 15”, d. 7‑1/2”. [1200/1800] Illustrated

41 Dehua Blanc-de-Chine Figure of Guanyin, probably 18th century, the well-modeled figure carrying a fish basket, marked with a four-character seal on her back, the boji yuren mark, h. 24”, w. 7”, d. 5‑3/4”. Provenance: Bonhams, Edinburgh, November 13, 2013. [2000/4000] Illustrated

42 Chinese Lapis Lazuli Figure of Guanyin, 20th century, the goddess holding a vase of water, accompanied by a young boy and a lotus blossom, on a pierced rosewood stand carved with waves, h. 8‑1/2”, w. 6”, d. 3”. [800/1200] Illustrated

43 Chinese Lapis Lazuli Covered Bowl, 20th century, on foo dog feet, with ring handles, the sides relief-carved with birds, a peony forming the knop, h. 6‑3/4”, w. 7‑1/2”, d. 4‑1/4”. [3000/5000] Illustrated

44 Chinese Lapis Lazuli Mountain-Form Covered Vase, 20th century, carved with a dragon, a phoenix bird, lotus blossoms and mushrooms, h. 10‑3/4”, w. 5‑1/2”, d. 3”. [800/1200] Illustrated 45 Chinese Lapis Lazuli Mushrooms, 20th century, w. 7”, d. 3‑1/4”. [500/800] Illustrated 46 Chinese Carved Lapis Lazuli Bowl, 20th century, the fretwork-carved bowl with dragon handles, on a pierced ebonized stand, h. 3‑1/4”, w. 5‑1/2”, d. 3‑3/4”. [1200/1800] Illustrated 46

47 Louis XVI-Style Mahogany and Mixed Woods Commode, early 20th century, the breakfront marble top with a molded edge and projecting corners, above a conforming case fitted with a long frieze drawer with applied guilloche ormolu panel, above two long drawers, with a central inlaid flower basket flanked to either side by a floral parquetry panel, raised on splayed legs ending in paw sabots, the whole with ormolu mounts and millwork, h. 35”, w. 51‑1/2”, d. 23”. [2000/4000] Illustrated 48 Pair of Louis XV-Style Bronze and Marble Urns, first quarter 20th century, French, the mottled tan and gray marble urns resting on flat bases with beaded feet, the bodies set with ram’s-head handles supporting swags of flowers, the covers mounted with grape-molded knops, h. 19”, w. 10”, d. 7”. [800/1200] Illustrated

49 Louis XVI Carved, Painted and Parcel-Gilt Mirror, fourth quarter 18th century, the outside edge trimmed with carved lotus leaves, the inner edge beaded, with a carved crest of swags of carved flowers suspended from a pierced bowknot with a medallion-carved center, h. 50‑1/2”, w. 37”. [1200/1800] Illustrated

50 Erwin Kettemann (German, 1897‑1971), “Winter Morning in Reith, Germany”, oil on canvas, signed lower left, titled and inscribed in German en verso stretcher, 24” x 32”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1500/2500] Illustrated

51 Cornelis Koppenol (Dutch, 1865‑1946), “On the Beach”, oil on board, signed lower right, 11‑3/4” x 15‑3/4”. Framed. [1000/1500] Illustrated 52 Holger H. Jerichau (Danish, 1861‑1900), “Fjord Shoreline with Sailboats”, oil on canvas, signed lower left, further inscribed in pencil en verso stretcher, 15‑1/2” x 24‑1/2”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500] Illustrated 53 Karl Ludwig Friedrich Wagner (American/ German, 1839‑1923), “Canal Scene with a Sailboat”, oil on canvas, signed lower left, 30” x 24”. Framed. [1000/1500] Illustrated

54 Emma Ruff (French, 1884‑?), “Coin de Marche Bourguignon”, oil on board, signed lower right, titled on a hand-inscribed label en verso, verso with an artist label and two “Ancienne Maison P. Ferret, L. Helvig Successeur” labels, 15” x 18”. Presented in a period frame. [1000/1500] Illustrated 55 Louis XVI-Style Mahogany Rafraichissoir, 19th century, the trisected top with a central marble surface flanked to either side by a recessed ovoid tin container, above a frieze fitted with a single small central drawer, joined to a lower concave shelf by tapering square legs ending in caps, h. 28”, w. 25‑3/4”, d. 15”. Provenance: Petricia Thompson European Antiques, New Orleans, Louisiana. [1200/1800] Illustrated

56 Louis XVI-Style Mahogany and Marble-Top Semainier, ca. 1900, the marble top with a covemolded edge, the case and bank of six drawers flanked by fluted stiles, raised on tapering feet with giltbrass caps, h. 51‑3/4”, w. 27”, d. 12”. [1500/2500] Illustrated 57 Louis XV-Style Kingwood, Parquetry-Inlaid and Marble-Top Commode, late 19th century, the drawers and sides inlaid with rosewood and kingwood diamond-patterned panels, h. 34‑1/2”, w. 31”, d. 18”. [700/1000]

55 56

58 Louis XVI-Style Kingwood and Marble-Top Commode, early 19th century, the breakfront rectangular marble top with projecting corners, above a conforming case fitted with a long frieze drawer over two long drawers, all tri-paneled and with parquetry inlays, the sides with like inlays, raised on splayed legs ending in sabots, h. 37”, w. 45‑1/2”, d. 20”. [800/1200] Illustrated 59 French Belle Epoque Giltwood Cushion Mirror, fourth quarter 19th century, the outside surround decorated with beading, the inside surround with gadrooning, the inset mirror glass with scroll-molded cartouches, h. 68‑1/2”, w. 41”. [1500/2500] Illustrated 60 Pair of Franco-Japanese Pottery and GiltBronze Covered Garniture Vases, fourth quarter 19th century, the cobalt and orange vases and covers decorated with birds and pots of peonies, mounted with rococo-style pierced bronze bases, scroll-molded handles and covers set with cone-form bronze knops, h. 21‑3/4”, w. 10‑1/2”, d. 6‑1/4”. [900/1200] Illustrated

61 63

61 Pair of French Rosso Antico Marble and Bronze Seven-Light Candelabra, ca. 1900, in the Louis XV style, now mounted as lamps, on marble bases sitting on scrolled feet, supporting inverted pear-form marble standards in rocaille-molded bronze mounts, the scroll-molded arms set with matching candle cups and drip pans, set with fringed silk shades, h. 40”, dia. 20‑1/2”. [600/900] Illustrated 62 French Bronze-Mounted Tortoiseshell Bracket Clock, fourth quarter 19th century, in the Louis XIV taste, on a tortoiseshell bracket with pierced bronze rocaille work and flowers, matching the clock case, terminating with a phoenix bird framed with scrollwork and flowers, the dial signed “Richmond, Paris, Bd Montmartre, No.--”, h. 44‑1/4”, w. 16‑1/2”, d. 8”. [2500/4000] Illustrated 63 Rococo Revival Gilt-Bronze Six-Light Girandole Mirror, mid-19th century, English, the circular mirror set into a carefully detailed frame of pierced scrollwork, rocaille work, flowers and latticework, retaining significant portions of original gilt lacquer, the mirror flanked by twig-molded arms with molded grapes and grape leaves, h. 27‑1/4”, w. 26‑1/2”, d. 9”. [800/1200] Illustrated

64 Pair of French Gilt-Bronze Chenets, fourth quarter 19th century, in the Louis XVI style, supported on fluted legs, the skirts of the bases molded with flowers and laurel, the fluted urn-form finials on hoof feet, and decorated with swags of fruit and scrolled handles, h. 14‑1/2”, w. 11”, d. 4‑3/4”. [700/1000] Illustrated

66 Louis XVI-Style Mahogany Partner’s Desk, 20th century, the rounded rectangular top with an inset gilt-tooled leather writing surface, above a frieze fitted to each side with a central drawer flanked by two small drawers to both sides, raised on fluted tapering circular legs ending in toupie feet, h. 30”, w. 70‑1/2”, d. 43”. [500/800] Illustrated

65 French Gilt-Bronze Twelve-Light Chandelier of Fin-de-Siecle Inspiration, 20th century, the pierced latticework lower portion set with internal prisms, and concealing three interior lights sockets, and three pairs of rose leaf-molded horizontal sockets alternating with masque-molded vertical arms set with putti, supporting trumpet-form socket holders, suspended from a ribbon-molded canopy by leaf-molded upright standards, h. 40‑3/4”, dia. 16”. [2000/4000] Illustrated

67 Provincial Louis XIV Carved and Painted Tombstone-Form Trumeau Mirror, second quarter 18th century, the surround carved with ribbon-bound reeds and a carved cartouche crest, the lower glass plate under an oil-on-canvas painting of a couple in 18th-century costume, putting a dove in a cage, h. 65‑1/4”, w. 30‑3/4”. [500/800] Illustrated

68 Louis XVI-Style Giltwood and Marble-Top Center Table, late 19th century, the large rectangular marble top inset into a foliate-carved edge over a bellflower-carved and arch-pierced frieze, raised on spiral-fluted legs headed by foliate capitals, joined by a shaped and annulated stretcher and ending in toupie feet, h. 31‑1/2”, w. 63”, d. 37‑1/4”. [2000/4000] Illustrated 69 Louis XVI-Style Mahogany and Rosewood Secretaire a Abattant, the rounded rectangular granite top above a conforming case fitted with two drawers, over a drop front faced as three drawers, opening to a variety of drawers and cubbyholes, with three drawers below, all banded, raised on tapering circular legs, the lock marked “Theodore Alexander, the original in Althorp”, the ancestral home of the Spencer family, h. 58‑1/4”, w. 33”, d. 16‑1/2”. [1000/1500] Illustrated

70 Louis XVI-Style Mahogany Side Table, late 18th century, the dished rounded rectangular top above a conforming frieze fitted with a single long drawer, raised on fluted tapering circular legs ending in toupie feet, h. 28”, w. 33”, d. 24”. [1000/1500] Illustrated

71 Pair of French Gilt-Bronze Figural Seven-Light Candelabra, fourth quarter 19th century, in the rococo taste, on serpentine bases molded with pierced scrollwork and cabochons, each with the figure of a water nymph, one holding an amphora, the other a sprig of flowers, the bold standard with rocaille work and fronds, and supporting the delicate scrolled candle arms set with flower-molded candle cups and matching bobeches over scrolled drip pans, h. 28‑3/4”, w. 16‑1/2”. [1500/2500] Illustrated

74 Louis XV-Style Rosewood, Fruitwood and MarbleTop Commode, the slightly bowed marble top above a conforming bombe case fitted with three long drawers, all paneled, raised on splayed legs ending in sabots, h. 30‑1/4”, w. 38”, d. 20”. [1000/1500] Illustrated

72 Louis XV-Style Kingwood and Exotic Woods Bureau Plat, early 20th century, the shaped rectangular top with an elaborate scroll inlay within a brass edging, above a conforming frieze fitted with a central drawer flanked to either side by a small drawer, raised on cabriole legs ending in sabots, h. 31”, w. 43”, d. 22”. [1000/1500] Illustrated

73 Regence-Style Kingwood and Marble-Top Commode, late 20th century, the shaped marble top above a conforming bombe case fitted with two long drawers, both with applied ormolu mounts and a central starburst inlay surrounded by parquetry inlay, raised on sabre legs, h. 33”, w. 48‑1/2”, d. 21‑1/4”. [500/800]

76 Louis XV-Style Ormolu-Mounted Kingwood Bureau Plat, 20th century, the shaped rectangular top triplebanded and with an inset leather writing surface within a brass edging, above a conforming frieze fitted with three drawers to one side and three faux drawers to the other, raised on cabriole legs headed by espagnolettes and ending in scrolled sabots, the whole accented with ormolu mounts and hardware, h. 31”, w. 67”, d. 38”. Provenance: The estate of Reuben “Buzz” Harper, Natchez, Mississippi. [3000/5000] Illustrated

77 Louis XV-Style Ormolu-Mounted Mahogany and Marble-Top Vitrine, second quarter 20th century, of circular form with two curved doors and raised on cabriole legs, h. 29”, dia. 29”. [500/800] Illustrated

75 Pair of Restauration Patinated Bronze Four-Light Candelabra, second quarter 19th century, in the chinoiserie taste, on tripartite bases molded as altars with pilasters flanking a seated figure under arches with temple bells, the figures dressed in clothing blending Western and Chinese tastes, the leaf-molded standards holding “wood”-molded candle cups under leaf-molded drip pans, h. 22‑3/4”, dia. 8”. [800/1200] Illustrated

78 Louis XVI-Style Kingwood Vitrine, early 20th century, the canted ebonized top with brass edging, above a conforming case fitted with a floral inlaid frieze over two doors, each with an upper glazed section and a lower floral vase inlaid panel, raised on canted block feet, the whole with ormolu mounts and millwork, h. 60”, w. 35‑1/2”, d. 14”. [500/800] Illustrated

79 French Patinated Bronze and Crystal Chandelier, 20th century, in the Louis XIV style, the frame and scrolled candle arms hung with cut glass prisms on numerous levels, the molded crystal finials set on one level above the candles, but below sprays of crystal drops framing an upper molded glass standard, h. 30”, dia. 18”. [1400/1800] Illustrated

80 Follower of Pierre Mignard (French 1612‑1695), “Portrait of a Gentleman”, oval oil on canvas, 30” x 25‑1/2”. Presented in a conforming giltwood and gesso frame. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1500/2500] Illustrated

81 Louis XIV-Style Giltwood and Marble-Top Side Table, late 19th century, the rounded rectangular marble top above a paneled and shell-centered foliate-pierced frieze, raised on acanthine-carved scrolling legs joined by an X-form stretcher and ending in scrolled feet on waisted toes, h. 30”, w. 45‑1/2”, d. 20”. [3000/5000] Illustrated

82 Louis XV-Style Kingwood and Marble-Top Commode, early 20th century, the shaped marble top with a molded edge, above a conforming bombe case fitted with two long drawers, quarter-veneered and with foliate inlays, raised on sabre legs ending in sabots, h. 33‑1/2”, w. 45‑1/2”, d. 21”. [500/800] Illustrated

83 Louis XV-Style Ormolu-Mounted Mahogany Vitrine, early 20th century, the stepped top with a serpentine front above a conforming case fitted with glazed sides and a single door, the upper section with a serpentine glazed panel, the lower with a floral-inlaid panel, raised on sabre feet ending in sabots, the whole with ormolu mounts and millwork, h. 65‑1/4”, w. 30”, d. 15‑1/2”. [1500/2500] Illustrated

86 Pair of French Marble and Gilt-Bronze Urns, ca. 1900, in the Directoire style, now mounted as lamps, on leaf-molded bronze bases, the red griotte marble vasiform bodies mounted with swan-form handles supporting swags of flowers, set with pleated shades, h. 34‑1/2”, dia. 18”. [1500/2500] Illustrated

84 French Bronze and Cut Crystal Three-Light Chandelier, 20th century, in the Louis XIV style, the bronze frame set with a central cut glass finial, framed by molded bronze candle cups alternating with cut glass finials, all hung with cut glass drops, the upper level set with double sprays of drops and smaller finials, h. 36”, dia. 14‑1/2”. [500/800] Illustrated

85 Louis XV-Style Kingwood Bureau Plat, early 20th century, the shaped rectangular top with an inset leather writing surface and within a brass edging, above a frieze fitted with a central drawer flanked to either side by two short drawers, all inlaid with floral sprays, raised on cabriole legs headed by a foliate ormolu mount and ending in paw sabots, h. 30‑1/2”, w. 70”, d. 35”. [1500/2500] Illustrated

87 French Belle Epoque Giltwood Trumeau Mirror, fourth quarter 19th century, of Louis XV inspiration, the scroll-decorated side panels framing the arched lower mirror with an ogee surround of scrollwork and a rocaille-carved crest flanked by masques trailing bellflowers, all under an upper panel of raised diapering and set with an oval oil-on-canvas autumn landscape, h. 75‑1/2”, w. 42”. [2000/4000] Illustrated

88 Louis XV-Style Marquetry-Inlaid and Gilt-BronzeMounted Kingwood Occasional Table, ca. 1900, of ovoid form, the inlaid top depicting a country scene, with a single frieze drawer, on cabriole legs joined by a floral- and ribbon-inlaid low shelf, h. 29‑1/2”, w. 20”, d. 14‑1/2”. [700/1000] Illustrated

89 Regence-Style Kingwood and Marble-Top Commode, early 19th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with three drawers, each with chevron veneers and three shaped panels above a shaped apron, raised on splayed legs ending in sabots, h. 37‑1/2”, w. 46”, d. 21‑1/2”. [1500/2500] Illustrated

92 Rare Matching French Gilt-Bronze Cartel Clock and Barometer, fourth quarter 19th century, in the Louis XV style, the cases decorated with rocaille work, scrollwork and flowering fluted arms set with lush flower bouquets forming the finials, with enamel dials, the clock signed “Lemaire Paris” on both the dial and works, h. 24‑3/4”, w. 12”, d. 4‑3/4”. [2000/4000] Illustrated

90 French Restauration Giltwood Mirror, second quarter 19th century, the ogee-molded surround with an egg-and-dart outer edge and delicately molded sprays of laurel branches of scrollwork, h. 41”, w. 28‑1/4”. [500/800] Illustrated

91 Regence-Style Kingwood and Marble-Top Commode, late 19th century, the shaped marble top with a molded edge and bowed front, above a conforming bombe case fitted with two long drawers, quarter-veneered and with a central inlaid floral spray, the sides veneered en suite, raised on splayed legs ending in sabots, the whole accented with ormolu mounts, h. 35‑1/2”, w. 60‑1/2”, d. 25”. [1500/2500] Illustrated

93 Parcel-Gilt and Paint-Decorated Trumeau Mirror, mid-20th century, with gilt-trimmed pilasters on each side, the lower mirror under a rococo-style scroll-decorated upper tablet, h. 59‑3/4”, w. 39‑3/4”. [800/1200] Illustrated 94 Louis XV-Style Polychrome Armoire, late 19th century and later, the molded and domed cornice above a case fitted with two long doors, each inset with three shaped panels, all with gilt and polychrome scenes in the chinoiserie manner, the sides en suite, raised above a shaped apron on scrolled toes, h. 94”, w. 61”, d. 24”. [1000/1500] Illustrated 95 Narcisse Guilbert (French, 1878‑1942), “Cours-La-Reine, Matin d’Ete, Rouen”, oil on canvas, signed lower left “Guilbert”, titled and signed en verso canvas, verso affixed with “Arthur Tooth & Sons Ltd., London, UK” gallery label, 18” x 23‑1/2”. Framed. Provenance: Christie’s, London, June 29, 1982, lot 356; The Estate of Gary Baxter Webb, Houston, Texas. [2000/4000] Illustrated

96 Jean-Laurent Buffet-Challie (French 1880‑1943), “Chaland sur Le Loing, Effet du Soleil”, ca. 1908, oil on canvas, signed lower right and on stretchers, 21‑1/2” x 25‑1/2”. Framed. Provenance: Galerie Charles et Andre Bailly, Paris, October 4, 1988; The Estate of Gary Baxter Webb, Houston, Texas. [2000/4000] Illustrated

97 Jean Venitien (French, 1911‑1955), Still Life”, oil on canvas, signed lower right, 25‑1/2” x 21”. Framed. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [1000/1500] Illustrated

98 Hippolyte Petitjean (French, 1854‑1929), “Village en Provence”, 1901, oil on canvas, signed and dated lower left, 15” x 21‑3/4”. Framed. Provenance: Deauville Auction, Deauville, France, April 4, 1999, lot 53; Bonhams and Butterfields, San Francisco/Los Angeles, sale 14035, November 5, 2006, lot 12; The Estate of Gary Baxter Webb, Houston, Texas. [2500/4000] Illustrated

99 Dutch School (First Quarter 20th Century), “A Provencal Landscape”, oil on canvas, signed lower right “Wagner”, 27‑1/2” x 31‑1/2”. Presented in an unusual copper frame. [1500/2500] Illustrated

101

100 Empire-Style Mahogany and Marble-Top Commode, mid-19th century, the rectangular marble top above a conforming case fitted with a frieze drawer over three recessed long drawers, flanked to either side by an ormolu-mounted pilaster, raised on turreted feet, h. 35”, w. 45‑1/4”, d. 25”. [1000/1500] Illustrated 101 Empire-Style Gilt-Bronze-Mounted Mahogany Cheval Mirror, second quarter 19th century, the tilting mirror mounted to turned columns with gilt-bronze capitals and raised on tapering down-curved legs, h. 74”, w. 38”, d. 24”. [900/1200] Illustrated

100

104 102

102 Pair of Beaux-Arts Verde Antico Marble and Bronze Pedestals, second quarter 20th century, probably French, the tapered standards ornamented with neoclassical bas-relief gilt-bronze plaques and fitted with square tops, h. 45”, w. 12”, d. 12”. [700/1000] Illustrated 103 Empire-Style Mahogany and Marble-Top Center Table, 20th century, the circular marble top above a conforming ormolu-applied frieze joined to a circular shelf by tapering circular legs continuing to ormolu lotus caps, h. 30”, dia. 28”. [500/800] Illustrated 104 Pair of Restauration Mahogany Fauteuils, second quarter 19th century, each with a domed crest above a padded back, joined by downswept scrolling arms to the padded seat, raised on sabre legs, h. 36‑1/4”. [500/800] Illustrated

103

105 French Brass and Tole Four-Light Chandelier, mid20th century, in the Empire style, the black tole base with a cone-form finial and gilt-brass mounts, with four pierced bronze candle arms set around the edges, alternating with pierced anthemia, supported on molded brass chains, electrified, h. 21”, dia. 22”. [900/1200] Illustrated

106 Empire-Style Mahogany Dressing Table, mid-19th century, of diminutive proportions, the arched mirror plate supported by ormolu-mounted uprights, the rectangular top with a recessed oval marble surface, over a frieze fitted with a single drawer, raised on ring-turned columnar uprights to a concave stretcher, raised on block feet, h. 44”, w. 17”, d. 11‑1/2”. [800/1200] Illustrated

105

107

107 Pair of Napoleon III Patinated and Gilt-Bronze and Alabaster Five-Light Candelabra, third quarter 19th century, on turned alabaster bases, the patinated bronze figures of neoclassical bacchantes holding gilt-bronze pots on their heads, set with leaf-molded candle branches terminating in flower-molded candle cups, formerly mounted as lamps, h. 23‑3/4”, w. 9”, d. 6”. [1200/1800] Illustrated 106

108

108 French Restauration Bronze Dore et Patine Fire Fender, first quarter 19th century, decorated with patinated cupids holding bronze dore laurel wreaths, each kneeling on a plinth with mounts of pierced laurel leaves and scrollwork, on a base trimmed with molded leaves, with an adjustable center, h. 12‑1/2”, w. 42‑1/4” to 50‑1/4”, d. 5”. [1000/1500] Illustrated

109

109 Regency Revival Giltwood Three-Part Overmantel Mirror, first quarter 20th century, the molded surround with corner medallions, the upper tablets with black neoclassical figures on a gilt ground, h. 40”, w. 50”. [500/800] Illustrated 110 Pair of French Patinated and Gilt-Bronze and Marble Garniture Urns, fourth quarter 19th century, in the Directoire style, formerly mounted as lamps, on rosso antico marble bases with gilt-bronze lyre mounts and molded trim, the patinated bronze urns with pierced leaf bases and rectangular handles terminating in lion’s heads, h. 27‑3/4”, w. 5”, d. 5”. [700/1000] Illustrated

111

111 Pair of Italian Parcel-Gilt Eight-Light Sconces in the Neoclassical Taste, mid-20th century, on baluster-turned backplates ornamented with ebonizing alternating with giltwood leaf carving and fluting, and terminating in gilt pineapple finials, set with two tiers of gilt candle branches with fluted candle cups, marked “Made in Italy”, h. 38”, w. 10‑1/2”, d. 7”. [700/1000] Illustrated

110

112

113

114 Unusual French Belle Epoque Rosso Antico Marble and Gilt-Bronze Ewer-Form Urn, fourth quarter 19th century, the marble base mounted with bold bronze masques supporting the urnform body, draped with bronze leafy swags, a lion’s head supporting the cupid “handle” opposite the lion-molded “spout”, with a mottled marble cover with a gilt-bronze finial, h. 31‑1/2”, w. 10”, d. 10”. [800/1200] Illustrated

115 Pair of French Fin de Siecle Gilt-Metal and Rouge Marble Garniture Urns, ca. 1900, the urns decorated with swags of laurel and molded cartouches, and mounted with molded, scrolled handles, raised on marble bases, h. 17‑1/4”, w. 5‑1/2”, d. 5”. [800/1200] Illustrated

114

112 Pair of Neoclassical-Style Brass Two-Light Sconces, 20th century, Spanish, the shellmolded backplates set with scroll-molded arms, marked “Spain” on the back, electrified, h. 6‑3/4”, w. 7‑1/4”, d. 5‑1/4”. [500/800] Illustrated

113 Pair of Neoclassical-Style Brass Two-Light Sconces, 20th century, the shell-molded backplates set with scroll-molded arms, marked “Spain” on the back, electrified, h. 6‑3/4”, w. 7‑1/4”, d. 5‑1/4”. [500/800] Illustrated

115

116 116 French Restauration Tole, Bronze and Brass Six-Light Chandelier, second quarter 19th century, the tole body now painted red, set with a pineapple center medallion and six bronze masque-molded arms, a molded brass gallery decorating the center of the chandelier, the solid “chains” connecting it to the tole and bronze canopy echoing the decoration below, h. 27‑1/2”, dia. 30‑1/2”. [500/800] Illustrated

118

117 Empire-Style Mahogany and Marble-Top Center Table, mid-19th century, the circular gray marble top above a conforming frieze, raised on a concave tripartite base ending in palmetto-carved gilt feet, h. 28”, dia. 34”. [1500/2500] Illustrated

117

118 Collection of Three Napoleon I Objets d’Art, ca. 1900, including a pair of circular painted miniatures of Emperor Napoleon I and Empress Josephine, both illegibly signed, each within a bone and tortoise mat, surrounded by a carved giltwood frame, presented in a shadowbox frame, each dia. 4”, overall 13” x 13”, together with a color engraving of “Napoleon et Son Fils”, after Charles Steuben (French, 1788‑1856), sight 20‑1/2” x 16‑1/4”, glazed, matted and framed. [500/800] Illustrated

119

119 Five-Piece Collection of French Napoleonica, late 19th/early 20th century, including a marble encrier with a red griotte marble base and gilt-metal fittings, with a bust of Napoleon between the inkpots, h. 9‑1/2”, w. 14‑1/2”, d. 9”, an oval miniature on porcelain, h. 7”, w. 5”, an Italian porcelain oval box with Napoleon’s emblems on a gilt ground, h. 3‑1/2”, w. 4‑3/4”, d. 3‑3/4”, a Limoges white and gold rectangular box, h. 1‑1/2”, w. 3‑1/2”, d. 2‑1/2”, and a patinated metal figure on stand, h. 9‑1/2”, w. 2‑3/4”. [500/800] Illustrated

120 Empire-Style Mahogany and Marble-Top Side Table, the rectangular marble top above a conforming frieze with applied ormolu accents, raised on tapering square legs, h. 31‑1/2”, w. 43”, d. 30”. [500/800] Illustrated

121

121 Pair of French Gilt-Bronze and Marble Garniture Urns, 20th century, in the Louis XV taste, the mottled gray and tan marble bodies raised on molded bronze bases, and fitted with bronze handles in the form of horned satyr heads supporting swags of grapes, the domed covers with bronze grape-form knops, h. 13”, w. 4‑1/4”, d. 3‑3/4”. [900/1200] Illustrated

120

122 French Bronze and Verde Antique Marble UrnForm Lamp, first quarter 20th century, in the Louis XVI taste, the molded bronze base supporting a marble vasiform standard set with a pair of patinated bronze putti supporting a fringed swag decorated with flowers, set with a silk shade, h. 33‑3/4”, dia. 18”. [700/1000] Illustrated

124 Belgian Mahogany and Gilt-Bronze Obelisk-Form Metronome, 20th century, in the Empire style, on giltbronze paw feet, with a neoclassical mount and flame finial, with a brass name plaque reading “Maison Du JardinLammens, 34‑36‑38, Rue St. Jean, Bruxelles”, h. 10‑1/2”, w. 5‑1/2”, d. 5‑1/2”. [500/800] Illustrated

123 Empire-Style Mahogany and Marble-Top Server, 20th century, the long rectangular marble top above a conforming frieze with carved giltwood swags and floral patera, raised on fluted tapering square legs with waisted foliate capitals and bulb feet, h. 33”, w. 72”, d. 26”. [1500/2500] Illustrated

125 Empire Mahogany and Marble-Top Commode, 19th century, the rectangular marble top above a case fitted with a single frieze drawer centered by a classical ormolu mount, over two recessed cupboard doors, each inset with a fabric-backed grilled panel and flanked to either side by ormolu-mounted pilasters, raised on cove feet, h. 36‑1/2”, w. 51”, d. 21‑3/4”. [1000/1500] Illustrated

124

125

122

123

126 Continental Neoclassical Mahogany and MarbleTop Commode, second quarter 19th century, the rectangular marble top above a conforming case fitted with a deep frieze drawer over two long recessed drawers, flanked to either side by ormolu-mounted engaged pilasters, raised on turreted feet, h. 38‑1/2”, w. 43‑1/2”, d. 20”. [700/1000] Illustrated 127 Pair of Paris Porcelain-Style Urns, 20th century, mounted as lamps, of Directoire inspiration, with faux-marbre bases, grisaille hand-painted panels of shipwreck scenes and winged classical figure handles, fitted with black shades, h. 28‑1/2”, dia. 14”. [1500/2500] Illustrated

127

126

128 Exceptional Pair of French First Empire Bronze Dore et Patine Four-Light Candelabra, first quarter 19th century, on leaf-molded bases decorated with mounts of cupids carrying the torch of love on the front, and pierced anthemia on the sides, the standards molded as patine caryatids, issuing candle branches in the form of hippocampi with swan’s heads around a central branch, their tails curling upward toward the single flame-molded candle sockets, h. 27‑1/2”, dia. 9”. [1500/2500] Illustrated

128

129 Directoire-Style Ormolu-Mounted MarbleTop Low Table, the circular figured marble top edged by a brass gallery, the apron with panels with X-form inlaid stringing, raised on paneled legs with brass caps, h. 18”, dia. 35”. [800/1200] Illustrated 130 Pair of Napoleon III Patinated Bronze Covered Urns, third quarter 19th century, on anthemion pierced feet, the base decorated with an incised Greek fret and molded neoclassical profiles, the kylix-form upper portion molded with flowers, and the covers with matching flowers, signed “Cain” on the covers, for Auguste Nicolas Cain (French, 1821‑1894), h. 10‑1/2”, w. 9”, d. 7‑1/2”. [1000/1500] Illustrated 131 Restauration Mahogany and Marble-Top Commode, second quarter 19th century, the rounded rectangular marble top above a conforming case fitted with an ogee-molded frieze drawer over three long drawers, raised on bracket feet, h. 36”, w. 52”, d. 23‑1/2”. [1200/1800] Illustrated

131

129 130

133 Pair of Paris Porcelain Corbeilles, first quarter 19th century, French, resting on paw feet, with kneeling angel standards supporting baskets on their heads, the lower sections molded with leaves and bellflowers, the bases, angels and baskets now trimmed with bleu-de-roi, h. 12”, w. 9”. [1800/2500] Illustrated

132

133

134 Restauration Parcel-Gilt Mahogany and Marble-Top Center Table, second quarter 19th century, the circular dished marble top supported by a reeded baluster-form pedestal, over a tripodal base, the legs with foliate-carved knees and paw feet, h. 29”, dia. 35‑1/2”. [2000/4000] Illustrated

134

135 Pair of Louis XVI-Style Bronze Dore et Patine Chenets, fourth quarter 19th century, signed by Henri Vian (French, 1860‑1905), now mounted as lamps, on toupie feet, the bases molded with flames and branches of leaves holding patinated bronze figures of draped children warming their hands at braziers, h. 19‑1/4”, w. 11”, d. 5‑3/4”. [800/1200] Illustrated

132 Pair of Louis-Philippe Mahogany Fauteuils, third quarter 19th century, each with a scrolled foliate-carved crest above a plain frieze and padded back, joined by downswept scrolling arms to the padded seat, raised on sabre legs, h. 36‑1/4”. [1200/1800] Illustrated

135

136

138

136 Pair of French Gilt-Bronze Empire Premier Candlesticks, first quarter 19th century, now mounted as lamps, on obelisk-form bases with torch-form mounts, the vasiform candlesticks decorated with pointed leaves, fluting and engine turning on the base, candlecups and bobeches, base, h. 11‑1/2”, overall, h. 21‑1/2”, w. 3‑3/4”, d. 3‑1/4”. [600/900] Illustrated

137 Louis XVI-Style Mahogany Bergere avec Orielles, third quarter 19th century, the padded back surmounted by a stepped panel crest with side pineapple finials, joined by padded downswept sides and arms on fluted uprights to the cushioned seat, raised on fluted tapering circular legs ending in brass caps, h. 43”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [800/1200] Illustrated

137

138 Unusual French Gilt-Bronze Oval Chandelier in the Empire Taste, third quarter 19th century, the oval beaded and pierced frame set with four pairs of cornucopia-form candle branches terminating in leaf-molded drip pans and matching candle cups, molded chains hanging from the anthemion-molded corona, h. 18”, w. 25”, d. 21‑1/4”. [900/1200] Illustrated

139 Empire-Style Mahogany Bibliotheque, early 20th century, the molded cornice above a frieze with three affronted ormolu swan mounts, over three doors, the upper part glazed, the lower section with diamond panels, divided by and flanked by engaged pilasters headed by ormolu maiden’s heads, raised on a plinth base, h. 78”, w. 88”, d. 18‑1/2”. [1500/2500] Illustrated 140 Pair of French Parcel-Gilt Wood and Gilt-Bronze Two-Light Sconces, first quarter 20th century, in the Restauration taste, the carved, green-painted and parcel-gilt backplates decorated with bellflowers and leaves, and mounted with pairs of gilt-bronze scroll-molded arms hung with colorless and mauve drops, and a spray of drops at the top, h. 15”, w. 12”, d. 6‑1/2”. [1200/1800] Illustrated

140

141

141 Empire Mahogany and MarbleTop Occasional Table, early 19th century, the circular marble top within an ormolu banding over a conforming ormolu-mounted frieze, raised on splayed tapering square legs joined by a tripartite stretcher and ending in ormolu paw feet, h. 30”, dia. 15‑1/2”. [600/900] Illustrated

139

142

142 Pair of French Restauration Bronze Dore et Patine Six-Light Candelabra, second quarter 19th century, now mounted as lamps, the tapered column standards with leafy capitals wrapped in snakes and issuing conforming scrolled arms, the tripartite bases supporting paw feet, base, h. 22‑1/2”, overall, h. 35”, dia. 10”. [700/1000] Illustrated

144

143 Empire-Style Mahogany and Marble-Top Commode, mid-19th century, the rectangular marble top above a conforming case fitted with a frieze drawer over three recessed long drawers and a concealed apron drawer, flanked to either side by an ormolu-mounted pilaster and raised on turret feet, h. 36”, w. 50‑1/4”, d. 22‑3/4”. [1000/1500] Illustrated 144 A. La Fevre (French, 20th Century), “Arc de Triomphe”, oil on canvas, signed lower center, verso with “MacConnal-Mason & Son, Ltd., London,” label, 34” x 43”. Presented in a giltwood exhibition frame affixed with artist plaque. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [2000/4000] Illustrated 143

145

145 Willem Heytman (Dutch, b. 1950), “The Bouquinistes Along the Seine, Paris”, oil on canvas, signed lower left, 24” x 32”. Framed. [1000/1500] Illustrated

146

146 Lionel Poupaert (Belgian, 1900‑1989), “Still Life of Zinnias in a Blue and White Vase, with a Porcelain Figurine and a Pearl Necklace”, oil on canvas, signed lower left, 23‑3/4” x 19‑3/4”. Presented in an attractive giltwood frame. [1000/1500] Illustrated Belgian Neo-Impressionist Lionel Poupaert received his artistic training at the Academy of Bruges, where he was to later teach, and apprenticed with the well-known Belgian painter, engraver and stamp designer Flori Van Acker (1858‑1940). In 1955, in collaboration with Jules Fonteyne (1878‑1964), Poupaert completed several murals in Bruges’ famous Art Deco church of Christus Koningkerk. 147 Niek van der Plas (Dutch, b. 1954), “Cafe de Flores”, oil on wood panel, signed lower right, 11‑1/2” x 19‑3/4”. Framed. [1000/1500] Illustrated

147

148 Anton Karssen (Dutch, b. 1945), “Place de l’Opera, Paris”, oil on canvas, signed lower right, 13” x 18”. Framed. [1200/1800] Illustrated

148

149 Paul Renard (French/Dutch, 20th Century), “Parisian Street Scene with Flower Sellers”, oil on canvas, signed lower right, 24” x 36”. Framed. [4000/7000] Illustrated

149

152

150

152 English Needlepoint Carpet in the Neoclassical Taste, 13’ 11” x 23’ 3”. [1000/1500] Illustrated 153 Antique Turkish Silk Carpet, 4’ x 6’. [600/900] 154 Antique Persian Mahal Carpet, 8’ 3” x 11’ 8”. [3000/5000] Illustrated 155 Antique Persian Mahal Carpet, 9’ 3” x 11’ 8”. [3000/5000] Illustrated

154

150 Semi-Antique Heriz Carpet, 8’ 2” x 11’ 3”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [2000/4000] Illustrated 151 Semi-Antique Persian Isphahan Carpet, 8’ 4” x 12’ 10”. [1800/2500]

155

158

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160

156 Antique Sarouk Carpet, 17’ 9” x 10’ 2”. Provenance: The Estate of Jean McKenzie Diaz, Sydney, Australia and New Orleans, Louisiana. [800/1200] 157 Bamboo Silk Carpet, 9’ x 12’ 1”. [1500/2500] 158 Agra Serapi Carpet, 9’ x 17’ 9”. [1400/1800] Illustrated 159 Semi-Antique Tabriz Pictorial Carpet, 12’ 3” x 18’ 6”. [1500/2500] Illustrated 160 Tabriz Silk Carpet, 4’ 1” x 6’ 5”. [800/1200] Illustrated 161 Fine Kerman Runner, 2’ 6” x 21’. [900/1200] 162 Bamboo Silk Carpet, 8’ x 9’ 10”. [1200/1800] Illustrated

162

163 164

163 George II Sterling Silver Tankard, hallmarked London, 1738‑1739, by Richard Bayley (1683‑1754; free 1706), of traditional slightly tapering cylindrical form with annular band, step-domed hinged lid, “Onslow”-scroll billet and “S”-scroll handle with heart terminal, the underside with a later presentation inscription dated 1941, h. 6‑7/8”, l. 7”, dia. 5”, 23.19 t. oz. [2000/4000] Illustrated

164 George II Sterling Silver Salver, hallmarked London, 1756‑1757, by Ebenezer Coker (ca. 1714‑1783; free 1740), of circular form with shaped rocaille rim and raised on three lion’s paw-and-ball feet, engraved with an armorial (Booth? impaling another), dia. 13‑1/4”, 34.27 t. oz. [2500/4000] Illustrated

165 Set of Four George III Sterling Silver Candlesticks, hallmarked London, 1772‑1773, by (probably) John Horsley (1726‑aft. 1773; free 1751), each in the form of a Corinthian column, above a cavetto-domed square base with embossed laurel swags and beaded rim, the capital nozzle fitted with a detachable conforming bobeche, h. 12‑1/2”, w. 4‑3/4”, weighted. [4500/7000] Illustrated

165

166 Good George III Sterling Silver Hot Water Urn, hallmarked London, 1778‑1779, by James Stamp (free 1764, died 1780), the urn-form body with narrow beaded banding, arched acanthus-mounted handles, and fluted and beaded tap, with waisted collar and standard, the fitted, domed lid with toupie finial, the whole above a square plinth base raised on four spherical feet, h. 20‑1/4”, d. 12”, w. 10‑5/8”, 104.68 t. oz. Provenance: Lauren Rogers Museum of Art, Laurel, Mississippi, and being sold for their benefit. [4000/7000] Illustrated

166

166 detail

The first mention of James Stamp is his freedom by redemption to the City of London on May 2, 1764. Freedom of City - which permitted a craftsman to ply his trade in the city - was obtained in three ways: by service (successfully completing an apprenticeship to a master), by patrimony (eligible to sons of freemen, although the father must have been awarded freedom before the child’s birth), and by redemption (upon payment of a fee by a qualified candidate). His redemption papers note that he was the son of Adam Stamp, cordwainer of London and - given that he evidently learned the goldsmith’s trade somewhere other than London - he may well be the James Stamp, son of Adam Stamp, who was baptized on August 3, 1732 at St. Mary, Tetbury, Gloucester. He entered his first mark on April 18, 1764 in partnership with his soon-to-be brother-in-law John Baker (who married his sister Ann Stamp on July 14, 1765). Stamp and Baker re-entered their mark in 1765 and 1768, their premises on Ludgate Street, and on September 16, 1769, Stamp was married to Frances Fenwick. Shortly afterwards, the Stamp and Baker partnership was dissolved, and although there is no record of Stamp entering a mark until 1774, he was elected a Liveryman of the Company in 1771 and had, by that time, established a workshop at 86 Cheapside. It was, by all evidence, a large and prosperous shop, with Stamp paying duty for three apprentices and entering six marks between 1772 and 1779. He died suddenly on April 11, 1780 in Bath (where he was a councilman); published obituaries and extensive generous bequests in his will show that he was a man of both stature and considerable means. His widow Frances entered a mark on May 12, 1780, but died less than a month later. The couple had no children, and the workshop was succeeded by buckler James Sutton. Although Stamp’s Cheapside workshop was operating for less than a decade, the quality of its output - as evidenced by this handsome urn - ranks him among the most accomplished of Georgian silversmiths.

166 detail

167 George III Hester Bateman (1708‑1794) Sterling Silver Wine Funnel, hallmarked London, the date letter rubbed but probably 1782‑1783, the straining bowl with detachable funnel and gadrooned rim, monogrammed “PAS”, h. 4‑1/2”, dia. 3”, 2.59 t. oz. [500/800] Illustrated 168 George III Hester Bateman (1708‑1794) Sterling Silver Cream Pail, hallmarked London, 1784, ovoid with wrigglework banding, beaded rim and swing handle, engraved with a crest of the Agnus Dei, h. 3‑3/4” (5‑1/2” with handle), dia. 3‑1/2”, 4.64 t. oz. [500/800] Illustrated 169 Late George III Sterling Silver Tankard, hallmarked London, 1795‑1796, by Walter Brind I (1722‑1796; free 1743), of traditional slightly tapering cylindrical form with reeded bands, flat hinged lid, openwork billet and squared cavetto-crested handle, h. 7‑1/2”, l. 7”, dia. 4‑3/8”, 26.88 t. oz. [2000/4000] Illustrated

167

170 Late George III Sterling Silver Tankard, hallmarked London, 1807‑1808, by William Burwash and Richard Sibley (fl. 1805‑1812), of traditional slightly tapering cylindrical form with reeded bands, slightly domed hinged lid, openwork billet and squared cavettocrested handle, the underside with a later presentation inscription dated 1964, h. 7‑3/4”, l. 7‑1/8”, dia. 5”, 35.29 t. oz. [2000/4000] Illustrated

168

169

170

172

171 Pair of William IV Sterling Silver Soup Plates, hallmarked London, 1822‑1823, by Robert Garrard II (1793‑1881; free 1816), of circular form with gadrooned edge, engraved on the rim with the arms of Plomer of Mayfield and Pentingho, dia. 9‑3/4”, 43.40 total t. oz. [900/1200] Illustrated

171

172 Good Late Georgian Sterling Silver Epergne, hallmarked London, 1808‑1809, by Benjamin & James Smith (active 1809‑1812), with a circular receptacle with openwork Vitruvian scroll banding and gadrooned rim, raised on reeded flat-column legs with neoclassical maiden masque capitals joined by realistically detailed grapevine swags, joined by a central concave and canted lozengeshaped stretcher centering a leaf-and-dartbanded foliate spray from which emanates four scrolling arms terminating in flowers fitted with an acanthus-banded receptacle, the columns ending in integral pad feet, the receptacles fitted with one large and four smaller cut glass bowls of later date, overall, h. 9‑1/2”, l. 17”, w. 15‑3/4”, 100.78 total t. oz. (excluding glass elements). [6000/9000] Illustrated

173 George IV Sterling Silver Inkstand, hallmarked London, 1823‑1824, by Robert Hennell II (1763‑1840; free 1785), of rectangular form with robust floral scroll rim, fitted with two pen trays, a taperstand-lidded nibs compartment, and silvercapped cut glass inkwell and pounce-pot, the whole raised on four floral scroll feet en suite, l. 8‑1/2”, w. 6‑1/2”, h. 4‑1/2”, 23.71 t. oz. (excluding glass elements). [1200/1800] Illustrated 173 174 Pair of Regency Old Sheffield Plate Candelabra, first quarter 19th century, each with a gadrooned columnar standard between rocaille knops, surmounted by a fluted vasiform nozzle fitted with a superstructure of a shorter standard surmounted by a leaf-and-dart-banded nozzle flanked by elaborate Vitruvian scroll arms ending in circular drip pans and urn-form nozzles, the nozzles fitted with detachable bobeches en suite with the knops, the whole raised on a circular domed base en suite, engraved on the central nozzle with a crest of an arm in armour embowed, holding a dagger, h. 20”, w. 16”, base dia. 5‑3/4”. [500/800] Illustrated

174

175 Regency Sterling Silver Wine Cooler, hallmarked London, 1813‑1814, by Robert Garrard I (1758‑1818, free 1780), of baluster form with gadrooned calyx and decorated with applied ribboned floral swags extending to form arched grapevine handles, raised above a domed foot with grapevine banding, with later presentation inscription “Colombo Races / September / 1848 / Presented / By / Viscount Torrington”, h. 11”, dia. 8‑1/4”, 62.94 t. oz. [1200/1800] George Byng (1812‑1884), 7th Viscount Torrington, served as British colonial Governor of Ceylon (now Sri Lanka) from 1847 to 1850, and during his tenure presented this trophy for the annual horse races at Colombo, the capitol city. The date here - September 1848 - is particularly notable, as this was immediately after Torrington’s brutal suppression of the Matale Rebellion: the first major colonial uprising since the Regency. Indeed, the final rebel leader, Gongalegoda Banda (1809‑1849), was arrested on September 21, 1848 under Torrington’s warrant.

175

177 Large Victorian Elkington & Co. Silverplate Candelabrum, 1865, Birmingham, with lobed, waisted standard between foliate calyces and surmounted by a vasiform foliate nozzle fitted with a central foliate standard surrounded by five scrolling arms en suite, the central nozzle fitted with a flammiform finial, the outer arms each terminating in a foliate drip-pan and nozzle en suite, each fitted with a detachable bobeche, the whole raised above a serpentine-lobed base with broad leaf decoration, engraved on the base with a conjoined monogram “WAS” surmounted by an earl’s crown, h. 25‑1/2”, dia. 15”. [700/1000] Illustrated

176 detail

176 Eighty-Four-Piece Set of George IV “Queen’s” Pattern Sterling Silver Flatware with Later Knives, hallmarked London, 1825‑1837 (most pieces 1827‑1828), by William Chawner, the knives Sheffield, 1978, by C. J. Vander, Ltd., comprising a dozen seven-piece place settings, no monograms, 134.97 total t. oz. (weighable silver). Detailed list of pieces available on request. [3000/5000] Illustrated

178

178 Victorian Sterling Silver Fruit Bowl, hallmarked London, 1898‑1899, by James Mortimer Garrard (1834‑1900; free 1857), in the rococo taste, of oval form, the shaped rim decorated with elaborately cast and chased rocaille-work centering elongated cartouches and raised on four scrolling feet, h. 4‑1/2”, l. 8‑5/8”, w. 6‑1/4”, 28.33 t. oz. [1200/1800] Illustrated

177

180 179

181

179 Victorian Sterling Silver Water Pitcher, hallmarked Sheffield, 1897‑1898, by Mappin & Webb, the pear-shaped body decorated with repousse rococo-scroll cartouches separated by floral bouquets on an imbricate ground, with applied mascaron spout, inverted rococo-scroll rim and acanthus-crested “s”-scroll handle, the whole raised on four acanthus-scroll feet, monogrammed “HC”, h. 10‑1/4”, dia. 6‑1/4”, l. 9”, 44.36 t. oz. [800/1200] Illustrated 180 Good Victorian Silverplate Well-and-Tree Venison Platter, fourth quarter 19th century by Maple & Co., London, oval with molded rim and stirrup handles, the platter above a hot water reservoir and raised on four shellcrested flat-plinth feet, h. 6‑1/4”, l. 25‑3/4”, w. 17‑7/8”. [500/800] Illustrated

181 Good Set of Three George III Sterling Silver Bowls, hallmarked London, 1791‑1792, by William Holmes (1732‑1805; free 1765), comprising one large bowl, h. 5”, l. 13‑1/4”, w. 8‑1/2”, and two smaller bowls, h. 3‑3/4”, l. 9‑3/4”, w. 5‑3/4”, each of tapering oval section decorated with chased flutes separated by leaf, paterae and lotus on a matte ground and centering an oval cartouche, with pierced Vitruvian scroll rim, ringed ram’s masque handles and raised on four foliate toupie feet, engraved on the cartouches with the crest of Earl Grosvenor, 85.11 total t. oz. [8000/12000] Illustrated The crest here is that of Sir Richard Grosvenor (1732‑1802), who was elevated to the Earldom in 1784 by George III. The title is now used as a courtesy title of the Duke of Westminster (to which Hugh Grosvenor, 3rd Marquess of Westminster and 5th Earl Grosvenor was elevated by Victoria in 1874) by his only son, Hugh Grosvenor (b. 1991), godfather to Prince George.

185

182

182 Victorian Sterling Silver Fruit Bowl, hallmarked London, 1876‑1877, by Frederick Brasted (1828‑1888; free 1851), of circular form, with two openwork ovolo bands, the upper with beaded edges, joined by scrolling flat column legs decorated with paterae and bellflowers and joined by laurel swags centering ribbon-crested neoclassical profile medallions, fitted with a conforming prism-cut glass liner, h. 5‑1/4”, dia. 8‑3/4”, 27.90 t. oz. (excluding glass liner). [2000/4000] Illustrated 183 Victorian Sterling Silver-Mounted Engraved Glass Claret Jug, hallmarked Sheffield, 1877‑1878, by W. & G. Sissons, of ovoid form, the glass body wheel-engraved with ferns and flowers, with beaded silver collar, foot and arched handle, engraved on the collar with a crest of a swan over the motto “Fideliter”, h. 11‑1/4”, l. 6”. [900/1200]

184

184 Set of Four Hanoverian-Style Sterling Silver Candlesticks, hallmarked London, 1915‑1916, by Hawksworth, Eyre & Co. Ltd., each with knopped baluster standard of cavetto-canted square section above an ogeemolded base en suite and surmounted by a cannon-form nozzle with integral bobeche, h. 10”, w. 5‑1/2”, weighted. [2000/4000] Illustrated 185 English Sterling Silver Six-Piece Tea Set with Silverplate Tray, the set hallmarked Sheffield, 1950‑1955, by Viner’s, Ltd., in their “Georgian” pattern, including a kettle-on-stand, h. 13”, l. 9‑3/4”, a coffeepot, h. 9‑1/4”, l. 10”, a teapot, h. 6”, l. 11‑3/4”, a covered sugar bowl, h. 4‑3/4”, l. 7‑3/4”, a cream jug, h. 4”, l. 6”, and a waste bowl, h. 4”, l. 5‑1/2”, each with gadrooned decoration, the kettle and pots with wooden handles and finials, 123.88 total t. oz., the silverplate tray in the “Ornate Georgian” pattern designed in 1937 by George Thornton Gilby (1876‑1939) of Brighton, England for the Wallingford Co., Wallingford, Connecticut, 30‑1/4” x 18” (seven total pieces). Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [1400/1800] Illustrated

186 Rare Gilt-Brass, Eglomise and Opaline Glass Jewel Casket in the Elizabethan Style, mid-19th century, probably English, resting on brass ball feet below scrolled corner fittings, the brass frame molded with scrollwork on a stippled ground, the sides and cover set with eglomise panels over opaline panels, the cover depicting a polychrome Italian villa in a park with a bridge and river, with mother-of-pearl accents and gilt scrollwork framing the cover and decorating the side panels, h. 6‑1/2”, w. 9‑3/4”, d. 6”. [1400/1800] Illustrated

186

187 Victorian Polychrome Tripod Table, third quarter 19th century, the tilting floriform top centered by an elaborate floral spray within a like banding, raised on a like-painted baluster-form standard to three paneled splayed legs ending in scrolled toes, h. 27”, dia. 36”. [1200/1800] Illustrated 188 Pair of English Framed Wallpaper Panels in the Rococo Taste, fourth quarter 19th century, each engraved and hand-colored, and depicting courting couples in Arcadian landscapes, one example the male presenting a basket of flowers to the female, and the other example the male presenting his beloved a freshly-caught fat fish, mounted in contemporary frames, h. 57”, w. 22‑1/2”. [500/800] Illustrated

188 one of a pair

187

189 William R. Stone (British, 19th Century), “Carting Logs in the Highlands”, oil on canvas, signed lower right, 30” x 50”. Presented in a giltwood frame with artist plaque. [1000/1500] Illustrated 190 Late Victorian Mahogany and Rosewood Work and Games Table, third quarter 19th century, the rectangular top with decorative brass inlay, reversing to an inlaid chess board and removing to a well for storage, with two D-end drop leaves, each with a full pierced brass gallery, above a pull-out leather-inset writing surface with a pull-out storage well below, raised on four scrolling supports, all with inlaid brass accents and ending in brass caps on casters, h. 29‑1/4”, w. 23”, d. 21‑1/2”, extended l. 45”. [2000/4000] Illustrated

189

191 Regency Mahogany Breakfront Bookcase, first quarter 19th century, the cornice centered by an arched wheat-carved panel flanked to either side by urn finials and foliate-carved arched panels, above a drop finial-carved frieze, over four astragal-glazed doors, all with oval patterns and corner-carved floral patera, the lower section fitted with two central short drawers over two long drawers, flanked to either side by a paneled cupboard door, the whole raised on a plinth base, h. 96”, w. 104”, d. 18‑1/2”. [4000/7000] Illustrated

190

191

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192

192 William De Morgan Sands End Pottery Tile, fourth quarter 19th century, English, the blue and white tile decorated with a seated boar, signed with a round impressed mark “William De Morgan, Sands End Pottery, Fulham”, around a flower, h. 6”, w. 6”. [500/800] Illustrated

193 Victorian Rosewood Low Table, third quarter 19th century, the figured tilt top on a cabochon-carved standard joined to a tripodal base with shaped legs carved at the knees and feet, h. 28”, w. 47”, d. 48”. [1500/2500] Illustrated

194 Pair of Staffordshire Pottery Spaniels, third quarter 19th century, English, now mounted as lamps, the seated dogs on giltwood bases, h. to top of figure 14”, overall, h. 21”, w. 8‑3/4”, d. 5‑1/4”. [500/800] Illustrated

195

193

195 Pair of Staffordshire Pottery Parrot and Lamb Quill Holders, mid-19th century, English, colorfully decorated with parrots in trees above recumbent lambs, h. 5”, w. 3”, d. 2‑1/2”. A nearly identical example is illustrated in Victorian Staffordshire Figures, 1835‑1875, Book Two, by A. & N. Harding, p. 235, figure 2854. [500/800] Illustrated

198 197

196 Suite of Eight Mahogany Dining Chairs, late 19th century, in the Gothic taste, consisting of two armchairs and six sidechairs, each with a shieldform crest flanked to either side by rampant lions, above a quatrefoil-pierced frieze over a slatted back, the padded seat raised on spiral-fluted circular legs, joined by an H-form stretcher and ending in block-and-ball feet, h. 50”. [1000/1500] Illustrated 197 Frederick Richard Lee (British, 1798‑1879), “Fisherman Above the Breakers, Scotland”, oil on canvas, signed lower left, partial old handwritten label en verso stretcher, 22‑1/2” x 19”. Presented in an antique frame. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1500/2500] Illustrated

198 J. A. Hatfield (British, 19th Century), “Thanatos to Aeto - The Eagle Slayer”, 1861, patinated bronze, after John Bell (British, 1811‑1895), this model completed for the Art Union of London, cast inscription along proper right edge of self-base, h. 24”, w. 12”, d. 7”. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1200/1800] Illustrated The Art Union of London was a subscription art patronage association whose aim was to increase the awareness and appreciation for the fine arts by making a variety of art available to the middle classes. Members would pay a nominal yearly fee to have their names placed into a lottery; those chosen would receive a sculpture, etching, or other work of art, the original of which had been purchased by the Society for the purposes of reproduction and distribution. The large-scale original of the sculpture offered here was a popular subject for the Art Union, and it was reproduced several times by various sculptors associated with the group. The artist of this version, J. A. Hatfield, was listed in the annals of the society as a local agent and honorary secretary. References: Report of the Council of the Art-Union of London for the Year 1872.

196

199 George III Mahogany Architect’s Table, late 18th century, the rectangular top hinged and with an adjustable easel back, above a frieze fitted with a single end drawer, the underside fitted with a circular candle slide to either side, raised on a turned columnar standard to three splayed legs ending in pad feet, h. 32”, w. 32”, d. 22”. [2500/4000] Illustrated

200 Three-Piece Collection of Tortoiseshell and Silver Objets de Vertu, mid-19th century, English and Continental, including a silverinlaid tortoiseshell notebook with Elizabethan Revival “hinges” and a cartouche engraved “E. S. Wittington”, with bone “page” inside, h. 4”, w. 3‑3/4”, a circular box with an inlaid bouquet of flowers, dia. 3”, and an oval box with a hinged cover inlaid with a shepherd and a man playing a flute in a landscape, w. 2‑3/4”, d. 2”. [800/1200] Illustrated 201 Victorian Mahogany Supper Table, mid-19th century, in the Georgian taste, the tilting top with eight dished circular sections surrounding a larger center one, raised on a birdcage support on a turned, bulbous standard to three splayed legs ending in paw feet, h. 28”, dia. 36”. [1200/1800] Illustrated

199

200 201

202 Victorian-Style Mahogany Desk and Chair, the desk with a rounded rectangular top inset with three leather panels above two pedestals, each fitted with three graduated drawers, the central section fitted with a pull-out keyboard shelf, the sides and rear paneled, raised on plinth bases, h. 30‑1/2”, w. 79”, d. 38”, the chair with a back and cushioned seat, raised on a rotating base to casters, h. 47‑1/2”. Provenance: Marla Maples and Tiffany Trump. In honor of her mother Ann, Marla is donating the proceeds to the Brain Cancer Research Institute. [800/1200] Illustrated

Marla Maples and Tiffany Trump

202

203

203 Pair of Chinese Export Porcelain Cylindrical Vases, ca. 1900, decorated in orange and green with a lotus pond, inhabited with cranes and ducks, marked on the base, h. 12”, dia. 7”. [500/800] Illustrated 204 Anglo-Colonial Indian Blackwood Davenport, third quarter 19th century, Bombay, of traditional form, the arched and pierced pediment above a superstructure fitted with five small drawers, over a slanted leatherinset surface opening to an interior fitted with two drawers over two faux drawers, one side fitted with a concealed spring-action drawer over a cupboard opening to four small drawers, raised on front supports in the form of a bird with a cobra in its mouth on top of an elephant, ending in lion feet, the whole richly carved in scrolling foliate patterns, h. 51‑1/2”, w. 24‑1/2”, d. 24‑1/2”. [500/800] Illustrated

204

205 Franz Bergman (Austrian, 1838‑1894), cold-painted Vienna bronze figural group of a camel and driver, late 19th century, the camel carrying two harem girls in a fabric-draped double basket, the drapery sun cover pulled aside, the camel stamped with “B” within an urn above one front leg and “4866” under the belly, the basket stamped underneath: “Geschutzt”, “4866” and “B” within an urn, the driver’s robe stamped underneath: “Geschutzt” and “B” within an urn, h. 6”, w. 5”, d. 4‑3/4”. [700/1000] Illustrated

206 Moroccan Chefchaouen Embroidery, ca. 1900, of traditional rectangular form, cotton thread on natural linen, the background in red rendered in dense plait stitch, with colorful geometric designs worked in cross-stitch, 36” x 115”. [1000/1500] Illustrated

207 Moroccan Chefchaouen Embroidery, ca. 1900, of traditional rectangular form, cotton thread on natural linen, the background in mustard rendered in dense plait stitch, with colorful squares of abstracted floral designs worked in crossstitch, 17” x 87”. [800/1200] Illustrated 205

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210

208 Over-and-Under Steel and Walnut Flintlock Pistol, first quarter 19th century, probably English, with scrollengraved side plates, hammers and trigger guard, h. 5‑1/4”, w. 11‑1/2”. [800/1200] Illustrated

209 Mughal Deccan Bone and Gold-Damascened Steel Dagger, the single-edged watered blade tapering gradually from the hilt to the point, the grip comprised of two pieces of bone riveted to the gold-damascened tang, the moss-green velvet scabbard with a pierced silver chape, dagger overall l. 12”. [800/1200] Illustrated

211 Mughal Gold-Damascened Calligraphic Steel Dagger, the elaborate gold-damascened grip of a calligraphy design for Allah, with an embroidery-covered wooden scabbard dagger, overall l. 16‑1/2”, blade l. 10‑3/4”. [800/1200] Illustrated

212 Mughal Jewel-Set Jade and Damascus Steel Dagger, the dark green jade hilt carved and set with cabochon rubies and cut diamonds, the damascus steel blade with a double curve, the wooden scabbard covered with embroidered ruby silk and metallic ribbon, dagger overall l. 16‑1/2”, blade l. 11‑5/8”. [800/1200] Illustrated

210 Mughal Carved Jade and Steel Dagger, the hilt carved as a pineapple issuing lotus buds, the double-curved wootz blade topped with a gold-damascened locket, the wooden scabbard covered with silver embroidery and having a pierced gilt-metal locket and chape, dagger overall l. 14‑1/2”, blade l. 9‑5/8”. [800/1200] Illustrated

213 Middle Eastern Zardozi Embroidery, 20th century, intricately and densely worked in gold bullion and gold and silver threads, inset with semiprecious stones, on burgundy velvet, backed in burgundy silk, 39” x 49”. [1500/2500] Illustrated

213

215

214 Contemporary Egyptian Gilt and Polychrome Throne Chair, of traditional form, the back featuring polychrome Egyptian figures, joined by pierced falcon-form arms to the lattice seat, raised on shaped legs headed by lion’s masques and ending in paw feet, the reverse with hieroglyphic patterns and cobra figures, h. 42”. [1500/2500] Illustrated

214

215 Partial Dinner Service of Royal Worcester’s “Diplomat” Pattern Bone China, ca. 1992‑2005, English, decorated with a cobalt border trimmed with gilt, the service including fourteen dinner plates, dia. 11”, eleven salad/dessert plates, dia. 7‑3/4”, eleven bread and butter plates, dia. 6‑3/4”, and eleven saucers, dia. 6‑1/2”. [500/800] Illustrated

216 French Patinated Bronze Figure of a Whippet, 20th century, mounted as a lamp on an ebonized base, the recumbent whippet sitting, her paws crossed, mounted with a shade, h. 16”, w. 10”, d. 5”. [500/800] Illustrated

217 French Patinated Bronze Figure of a Whippet, 20th century, mounted as a lamp on a slice of burled wood, the standing whippet modeled with one paw raised, and her head turned, mounted with a shade, h. 27‑3/4”, w. 13‑1/2”, d. 8”. [500/800] Illustrated

216

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217

218 Lady’s Nineteen-Piece Sterling Silver-Mounted Necessaire de Voyage, the silver mounts hallmarked London, 1924‑1926, by Corke Brothers, retailed by Alexander and Oviatt, Los Angeles, California, including a soap case, two cologne bottles, a powder jar, a toothpaste jar, a toothbrush jar, a clothes brush, a hat brush, a comb, a shoehorn, a buttonhook, a hand mirror, a notebook, a sachet and a five-piece manicure set, the silver elements inscribed “Julie”, presented in an indigo silk moirelined, fitted black leather case, 12” x 6” x 16”. Provenance: Julie Duke, San Salvador, El Salvador (a member of one of the oligarchical “fourteen families”). [1000/1500] Illustrated

219 Large Chesterfield Sofa, 20th century, covered in faux alligator black leather upholstery with tufted details and fitted with two reversible ultra-suede cushions, h. 31”, w. 106”, d. 43”. [1000/1500] Illustrated

220 Danish School (19th Century), “A Maltese Dog Wearing a Red Collar with Two Pompons”, oil on canvas, unsigned, 15‑1/4” x 12”. Presented in an antique giltwood frame. [1000/1500] Illustrated 220

222

221 Pair of English Chesterfield Leather Club Chairs, mid-20th century, raised on turned bun feet and upholstered in diamond-tufted brown leather, the underside bearing a metal tag, “Made in England”, h. 29”, w. 42”, d. 36”. [1000/1500] Illustrated

222 George II-Style Parcel-Gilt Mirror, 20th century, the leafcarved surround with gray-painted inset panels and gilt medallions, set with a beveled mirror plate, the crest carved with a central shell and sprays of laurel leaves, h. 36‑1/2”, w. 24‑1/2”. [500/800] Illustrated

221

219

223 Suite of Eight George III-Style Mahogany Dining Chairs, late 19th century, in the Sheraton style, consisting of two armchairs and six sidechairs, each with a domed crest above a pierced wheat sheaf-carved splat, the padded seat raised on tapering molded legs ending in block feet, h. 38”. [1200/1800] Illustrated

224 George III-Style Mahogany Lowboy, early 20th century, the rectangular top above a case fitted with a single long drawer over two short drawers, raised on tapering square legs, h. 30”, w. 36”, d. 22”. [600/900]

225 Edwardian Satinwood Corner Cabinet, early 20th century, the broken swan’s neck pediment and molded canted crest above a conforming case fitted with a frieze with inlaid oval floral panels, over two astragal-glazed doors, each centered by a polychrome panel of a classical maiden, the lower section fitted with two paneled cupboard doors, each with an urn-inlaid oval panel, raised on splayed block feet, h. 87”, w. 41‑1/2”, d. 22”. [2000/4000] Illustrated

225

223

227 Hepplewhite-Style Inlaid Mahogany Sideboard, first quarter 20th century, with a brass rail and serpentine ends inlaid with bellflowers, raised on tapered Hepplewhite legs, h. 55‑1/2”, w. 78‑1/4”, d. 26‑1/2”. [600/900] Illustrated

227

226 Edwardian Marquetry-Inlaid Mahogany Octagonal Center Table, ca. 1900, adorned in the Adamesque taste, the top with a central inlaid panel, raised on bellflower-inlaid Hepplewhite legs joined by X-form stretchers, the underside of the top retaining a paper label “John Reid & Sons Cabinet Makers Meadows Road Leeds, No 11995”, h. 28‑1/2”, dia. 36”. [600/900] Illustrated 226

228 Suite of Eight Federal-Style Mahogany Dining Chairs in the Hepplewhite Taste, seven sidechairs and a similar armchair, each with a shell-form back with fan inlay at the base, serpentine seat, and tapered legs joined by box stretchers, h. 38‑3/4”. [1000/1500] Illustrated These are bench-made copies of original chairs by Stone & Alexander, Boston, ca. 1790‑1795, see Montgomery, American Furniture of the Federal Period, plate 31, pp. 86‑87. 228

231

229

229 Edwardian Mahogany and Marquetry Cabinet, early 20th century, the domed and serpentine cornice with inlaid dentilation above a conforming case fitted with two glazed cupboard doors, the sides with delicate inlays in the Adam taste, the conforming lower section fitted with a central drawer flanked to either side by a cupboard door, all inlaid en suite, joined to a lower shelf by tapering square supports ending in splayed feet, h. 82‑1/2”, w. 50‑1/2”, d. 20”. [1200/1800] Illustrated 230 Edwardian Satinwood and Mahogany Writing Table, early 20th century, the kidney-form top with a threequarter pierced brass gallery around a banded top with circular panels, above a conforming frieze fitted with a central drawer, raised on tapering square legs ending in brass caps, h. 29‑1/2”, w. 36”, d. 19‑1/2”. [500/800] Illustrated 231 Eugene Joseph Constant Pierre Petit (French, 1839‑1933), “Duck Hunting in the Marshes”, oil on canvas, signed lower left, artist label en verso stretcher, 21” x 25‑5/8”. Framed. [2000/4000] Illustrated

230

235 Charles Edouard Edmond Delort (French, 1841‑1895), “The Flute Player”, oil on panel, signed mid-left, verso inscribed “Sketched by E. Delort”, panel stamped “Beugniet/10 Rue Laffitte/Paris, Tableaux & Dessins/Specialite.../Vente 8 Location”, 12‑1/4” x 7‑3/4”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500] Illustrated

234 233 232 Edwardian Polychrome Armchair, early 20th century, in the Adam taste, the shield-form back with domed splats joined to the padded seat by downswept arms, raised on tapering square legs headed by bellflower carving and ending in spade feet, the whole with delicate floral accents, h. 37”. [500/800] 233 French Fin de Siecle Large and Elaborately Molded Giltwood Cushion Mirror, fourth quarter 19th century, the mirror-inset frame with an outer edge molded with cabochons and flowers, with shell-and-scroll-molded cartouches joining it to the inner frame, the pierced crest with an oval giltwood portrait medallion of a young woman supported by a pair of fruit-laden cornucopia against a ground of pierced leaves and berries, h. 86‑1/2”, w. 45”. [1800/2500] Illustrated 234 Louis XVI-Style Mahogany Vitrine Table, early 20th century, the hinged rectangular top inset with a glazed panel and within an annulated brass edging, opening to a blue velvet-lined interior, above a paneled frieze with applied foliate and scrolling ormolu mounts, raised on tapering circular legs ending in foliate brass caps, h. 33”, w. 38”, d. 23”. [2000/4000] Illustrated 235

236 236 Viktor Paloczy (Hungarian, 19th/20th Century), “The Travelling Entertainers”, oil on canvas, signed lower right, 38” x 36”. Presented in an ornate giltwood and gesso frame. Provenance: Estate of Elmira Ann Parnell Gregorie, Baton Rouge, Louisiana. [2500/4000] Illustrated

238

237 Louis XVI-Style Polychrome Bergere avec Orielles, early 20th century, the padded back joined by shaped sides and padded arms to the cushioned seat, raised on fluted tapering circular legs headed by gilt foliate carving and ending in toupie feet, h. 42‑1/2”. [800/1200] Illustrated

238 Napoleon III Ebonized and Burl Parlor Cabinet/ Desk, third quarter 19th century, the central section with a three-quarter pierced brass gallery above an open mirrored compartment, flanked to either side by a lower cupboard, centered by a Sevres-style portrait plaque, the lower section banded and having a drawer fitted with a desk above, with a frieze of inset ormolu guilloche mounts centered by floral porcelain medallions joined by a mirrored back and shaped shelf on fluted and block supports to a plinth shelf on toupie feet, the whole with decorative inlaid banding and ormolu mounts and millwork, h. 59‑1/2”, w. 53‑1/2”, d. 21‑1/2”. [1000/1500] Illustrated 237

239

241

239 French Gilt-Brass and Beveled Glass Temple-Form Jewel Casket, 20th century, of octagonal shape, the roof forming the lid, sitting on ram’s head-molded hoof feet and a set of steps, the interior with a red velvet-lined floor, stamped “Drevete, French patent”, h. 10”, dia. 8”. [1000/1500] Illustrated

240

240 French Enamel Snuff Box, mid-18th century, the cover with the portrait of a lady in a stylish fur-trimmed gown, framed in raised gilt, the field with green swags of laurel on a red ground, and panels of raised gilt sprigs on the sides, h. 2”, w. 3‑1/4”, d. 2‑1/2”. [800/1200] Illustrated 241 Henri Hebert (Swiss, 1849‑1917), “Lady and Two Orphans”, oil on canvas, signed lower left, 28” x 22”. Presented in a handsome, period, giltwood and gesso frame. [1500/2500] Illustrated 242 French Gilt-Bronze and Lacquered Wood Encrier, first quarter 20th century, on a pierced base set with a carnelian-colored lacquered wood platform, an inkpot with a hinged cover, a pen holder and a figure of a young man in 17th-century costume, h. 5”, w. 5‑3/4”, d. 4‑3/4”. [600/900] Illustrated

242

243 Pair of Exceptional Paris Porcelain Garniture Urns, first quarter 19th century, French, each decorated with a Renaissance-style portrait of a man in a tavern, with faux-marbre bases, the handles molded with anthemia and terminating in medallion-molded scrolls, the obverse decorated in the style of Percier et Fontaine, with processions of putto under a border of medallions and scrollwork framing classical masques, h. 17‑3/4”, w. 9”, d. 5‑1/4”. [3500/5000] Illustrated

244 Suite of Eight Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded oval back surmounted by a ribbon crest, joined by shaped molded arms to the cushioned seat, above a pendant garland-carved apron, raised on fluted tapering circular legs ending in toupie feet, h. 37”. [1500/2500] Illustrated 243

245 Exceptional Sevres Soft Past “Seau Crenele”, ca. 1778‑1787, decorated on the obverse with a roundel portrait of Louis XIV, painted by Decambos, on a lapis bleu ground, jeweled interlaced “L’s” and a crown on the reverse, the whole richly decorated with enamel jeweling on gilt foil, marked with an underglaze blue interlaced “L’s” mark, “Louis XIV” and a mauve “D” mark, used by Decambos, h. 5”, w. 11‑1/2”, d. 7‑1/4”. [1800/2500] Illustrated

245

244

246 Pair of Sevres Soft Paste Lobed Dessert Dishes, ca. 1778‑1782, French, with lapis bleu grounds, probably made for a royal and decorated with enamel jewels “D.B.” below a jeweled gilt crown, probably by Philippe Parpette, marked with a gilt “LG” for the gilder, EtienneCharles Leguay, under gilt interlaced “L’s”, w. 10”, d. 7‑3/4”. [900/1200] Illustrated 247 Fine Meissen Porcelain Cabinet Plate, fourth quarter 19th century, having a reticulated rim and deep cobalt ground, richly decorated with elaborate raised and tooled gilt bands, the cavetto a finely painted scene “Ein Dame am Clavier” after Caspar Netscher (Dutch, 1639‑1694), as noted in black script on the reverse along with blue underglaze Meissen crossed pommel swords, impressed “8”, “73” and three grouped numerals, dia. 9”. Proceeds to benefit the Companion Animal Alliance, Baton Rouge, Louisiana. [800/1200] Illustrated 248 Pair of Louis XV-Style BronzeMounted Porcelain Lamps, first quarter 20th century, the cobalt ground urn-forms with horned satyr handles and floral swags, raised on a base molded with laurel leaves, base, h. 17”, overall, h. 32”, dia. 8‑1/4”. [800/1200] Illustrated

247

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251 249

249 French Gilt-Bronze Flower Basket-Form Four-Light Chandelier, early 20th century, each arm fitted with frosted flowerhead shades, h. 28”, dia. 18”. [800/1200] Illustrated 250 Pair of French Fin de Siecle Gilt-Bronze SixLight Candelabra of Rococo Inspiration, fourth quarter 19th century, on pierced bases decorated with scrollwork and flowers, the standards with putti holding wine cups and grapes, the upper portion with gilt-bronze sculpted flowers and leaves, six interspersed flowers on each set with candle sockets, h. 25‑1/2”, dia. 12‑1/2”. [700/1000] Illustrated 251 French Floral Still Life Wallpaper Panel, early 20th century, mounted on a panel, depicting a palmette-decorated terracotta vase filled with summer flowers and draped with a floral swag, on a celadon ground with a matching molded frame, overall, h. 38”, w. 27‑3/4”. [500/800] Illustrated

250

252

254

253 Pair of French Bronze and Crystal Four-Light Candelabra, second quarter 20th century, in the Louis XIV style, on bronze bases, the standards clad with molded glass, scrolled branches holding the candles, under three graduated tiers of drops, cut crystal drops interspersed with polychrome fruit-form drops, h. 22”, dia. 11‑1/2”. [600/900] Illustrated

253

252 German Polished Brass Automaton, 20th century, in the form of a caged bird, marked “Ken D” in an impressed lozenge, along with “Germany” and a symbol on the base, h. 12”, dia. 5‑1/2”. [600/900] Illustrated

254 Baccarat-Style Molded Glass Twelve-Light Chandelier, 20th century, the vasiform glass-clad standard supporting twelve rope-twist arms set with electrified candles on two tiers, each with bobeches hung with drops, and chains of glass drops hung from the upper standard to the bobeches, h. 25‑3/4”, dia. 23‑3/4”. [500/800] Illustrated

255 Louis XV-Style Chinoiserie-Decorated Bombe Commode, early 20th century, the serpentine marble top on a case with a pair of drawers over a scalloped apron, raised on cabriole legs, decorated in the Japonesque taste on a brown ground, h. 32‑1/4”, w. 25‑1/2”, d. 15‑1/2”. [500/800]

258 Pair of Rare American Gilt-Bronze and Glass Rococo Revival Six-Light Candelabra, mid-19th century, probably New York or Philadelphia, now on marble plinths, the bronze bases decorated with rocaille work and flowers, and mounted with tapered blue opaline pillar-molded glass standards, the leaf-molded, scrolled and pierced candle branches set with unusual pierced drip pans and tulipform candlecups, h. 29‑1/2”, dia. 17‑1/2”. [3000/5000] Illustrated

256

256 Rare Signed Jacob Petit Porcelain Double Nodder, French, modeled as a sorcerer and his companion, the sorcerer dressed in a brilliant yellow robe decorated with passion flowers, a Middle Eastern emblem on his chest and a pointed hat on his head, his companion wearing a crown and a rich pink and gilt striped skirt, each with Turkishstyle shoes, marked “J.P.” in underglaze blue, h. 14”, w. 7”, d. 3‑3/4”. [600/900] Illustrated

258

259 257

257 Pair of Amusing Giltwood Occasional Tables, early 20th century, each with an octagonal top with a molded edge, supported by a pedestal in the form of a "Happy Chinaman", to a concave octagonal molded base, h. 20”, dia. 22”. [500/800] Illustrated

259 French Gilt-Bronze and Enamel Jewel Casket, third quarter 19th century, of rectangular form, set on pierced, scrolled feet and corner brackets, the sides set with slightly domed enamel panels decorated with snow drops and violets, hand-painted on a sky-blue ground, the edges with gilt-trimmed “opals”, h. 3‑1/2”, w. 8”, d. 4‑1/4”. [1200/1800] Illustrated

260 Rococo Revival Giltwood Pier Mirror and Matching Table, mid-19th century, the marbletop table molded with fruit and flowers and raised on cabriole legs, the arched top pier mirror with a pierced crest decorated with shells, scrollwork and flowers, with trailing ivy at each side, overall, h. 106”, w. 36”, d. 14”. [1000/1500] Illustrated

261 Pair of Napoleon III Six-Light Bronze and Marble Candelabra, third quarter 19th century, now mounted as lamps, the mottled gray and ivory marble bases supporting turned black marble standards, mounted with scrolled handles set with putti heads and Neo-Grec masques, the pierced, scrolled branches mounted with fluted candle cups and beaded drip pans, h. 48”, dia. 13‑1/2”. [800/1200] Illustrated

261

262

262 French Rococo-Style Gilt-Bronze Boudoir Clock, first quarter 20th century, the footed case elaborately decorated overall, the front depicting a cupid swinging on a vine between floral swags, the top with a quiver and torch trophee, the rear top with a hinged hook for hanging, the convex glass-covered porcelain dial decorated with floral swags, the works signed in script: “Aiquilles” and stamped: “7042”, presented in the original satin-lined and gilt-tooled dark green leather travel box, clock, h. 4‑5/8”, w. 2‑1/2”, d. 1‑1/2”, case, h. 5‑1/2”, w. 3‑1/2”, d. 2‑1/4”. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [600/900] Illustrated 260

263 Napoleon III Ebonized and Marble-Top Parlor Cabinet, third quarter 19th century, the rectangular marble top with a recessed center section, above a conforming case fitted with a single cupboard door, centered by a raised oval panel featuring a brass-inlaid classical figure, raised on block feet, the whole accented with decorative brass banding and ormolu mounts, h. 44”, w. 35”, d. 16‑1/2”. [1800/2500] Illustrated

264 Pair of Napoleon III Gilt-Bronze and Marble FiveLight Candelabra, third quarter 19th century, in the Aesthetic taste, the marble bases with fluting and gilt incising, the urn-form standards decorated with molded leaves and scrolled handles with masque bases, molded pierced candle branches set with leaf-molded candle cups, each center cup with a removable flame finial, h. 26”, w. 8”, d. 8”. [700/1000] Illustrated

264

265

265 Pair of Napoleon III Gilt-Bronze and Marble Garniture Urns, third quarter 19th century, in the NeoGrec style, on molded black marble bases inset with verde antico panels, the kylix-form urns with profile portraits framed by molded ivy leaves, and fitted with twig-molded handles, h. 10”, w. 7‑1/2”, d. 5‑1/2”. [500/800] Illustrated

263

266 Pair of Large Bronze Amphora-Form Vases in the Egyptian Revival Taste, resting on paw feet, the vases supported by seated sphinxes, the tops with bas-reliefmolded anthemia and set with ring handles, h. 25‑1/2”, w. 9‑3/4”. [1500/2500] Illustrated 267 Pair of French Fin de Siecle Gilt-Bronze Four-Light Candelabra, fourth quarter 19th century, in the rococo taste, on shell-molded bases with scrolled feet, the pierced scrolled standards with seated satyrs playing pan pipes, and issuing scrolled candle arms set with leaf-molded drip pans and egg-and-dart-molded candle cups, h. 16‑3/4”, dia. 9‑3/4”. [500/800] Illustrated

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269

268 Pair of French Fin de Siecle Patinated and ParcelGilt Metal Ewer-Form Garnitures, fourth quarter 19th century, the patinated bodies incised with Art Nouveau flowers and butterflies, and decorated with cupids clinging to their sides, with gilt-metal handles, feet and upper rims, h. 19‑3/4”, dia. 6”. [1000/1500] Illustrated 269 Art Nouveau Bronze Lamp of a “Nymph", by Pierre Etienne Daniel Campagne (French, 1851‑1910), the draped nymph displaying a rose-form draped light bulb, signed “Campagne” on the rear, h. 22‑1/2”, w. 8”, d. 6‑3/4”. [500/800] Illustrated

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271A

270

272 270 Bernardel Labeled French Violin, ca. 1899, Paris, made by Gustave Adolphe Bernardel (French, 1832‑1904), the maple body retaining an old patina, the early 20th-century case containing two bows, the label partially printed and partially written in script, dated 1899, and with a repair label by violin maker R. M. Nusinov, dated January 8, 1949, Balte (sic), Md., w. 8”, l. 23‑3/4”. [7000/10000] Illustrated 271 French Patinated Bronze of “Ete”, first quarter 20th century, after Albert-Ernest Carrier-Belleuse (French, 1824‑1887), cast signature along edge of self-base, h. 28‑1/4”, w. 9‑1/2”, d. 8‑1/4”, together with a carved and gilt-accented wooden cluster-column plinth, h. 44‑3/4”, overall, h. 73”. [1500/2500] Illustrated A plaque attached to the front of this sculpture reveals it was presented by the Association Polytechnique to Monsieur E. Girard, a Chevalier de la Legion d’Honneur in 1900. 271A French Patinated Bronze of “Il Bat”, ca. 1900, a mischievously smiling Cupid holding a beating heart to his ear, after Henri Giraud (French/Belgian, 1805‑1895), cast signature at edge of base, title plaque at front, overall, h. 20‑1/2”, w. 11”, d. 8‑1/4”. [1000/1500] Illustrated

271 272 Impressive Pair of French Gilt-Bronze Marly Horses, third or fourth quarter 19th century, after Guillaume Coustou (French, 1677‑1746), h. 29‑1/2”, w. 10”, d. 21”. [5000/8000] Illustrated In 1739, Louis XV commissioned Guillaume Coustou the Elder (1677‑1746) to sculpt monumental marbles to flank the pond in the garden of Chateau Marly, the hunting lodge built by Louis XIV after his conversion of the previous lodge into the Palace of Versailles. Coustou’s sculptures of horse tamers and their horses were installed in 1745. The artist, surprisingly for the time, dismissed the allegorical, mythological or historical and instead chose to work from nature, observing the interaction and movement of actual trainers and horses. The sculptures proved immediately popular, and were considered Coustou’s masterpiece. At the height of the Revolution in 1795, at the urging of Jacques-Louis David (1748‑1825), the sculptures were moved to Place de la Revolution (now Place de la Concorde) in Paris, thus saved from the fate of the Chateau which was destroyed by revolutionaries. In 1984, the sculptures were moved a third time, to the Louvre, for conservation and protection and copies put in their place.

273

273 Theo van Rysselberghe (Belgian, 1862‑1926), “Mimosas, St. Clair”, 1912, oil on canvas, monogrammed lower left, verso with the artist label inscribed with the title and a partial “Galerie Georges Giroux” label, 17” x 20”. Framed. Provenance: Sotheby’s, New York, June 22, 1983, lot 20; Collection of Monica Perls and the late Hugo Perls (1886‑1977), New York; The Estate of Gary Baxter Webb, Houston, Texas. Illustrated: Feltkamp, Ronald. Theo van Rysselberghe, 1862‑1926. Paris: Editions de l’amateur, 2003, no. 1912‑028. [25000/40000] Illustrated

Theo van Rysselberg was a talented Belgian NeoImpressionist, who was one of the founding members of the Brussels avant-gard group Les Vingt (The Twenty). The group, comprised of twenty independent artists, promoted diverse styles that rejected the traditions of the art academies and the Salon which sanctioned them through state funded exhibitions. Instead, they exhibited annually on their own in concert with twenty other invited international artists. Through these exhibitions, van Rysselberghe was introduced to French NeoImpressionism and the divisionist technique of employing dots of pigment and allowing the eye to mix them through

a complex understanding of color theory and optics rather than mixing them on the palette. The painting offered in lot 274 is a fine example of his early exploration with divisionism, whereas this oeuvre, painted after he moved to Paris in 1897, shows a far greater command of the technique in the juxtaposition of the mimosas with the complimentary colored decorative background. Though not dated, van Rysselberghe painted three other paintings of mimosas in 1912 that, according to Ronald Feltkamp, are consistent with the style in this one.

274 274 Theo Van Rysselberghe (Belgian, 1862‑1926), “Rue a Mequinez”, 1888, oil on canvas, signed, dated and inscribed lower right “a mon brave ami Heuse”, titled on brass artist plaque, 15” x 23”. Framed. Provenance: Winch Gallery, London; Hammer Gallery, New York; Christie’s, London, July 4, 1980; Sotheby’s, London, June 29, 1982, lot 308; The Estate of Gary Baxter Webb, Houston, Texas. Illustrated: Feltkamp, Ronald. Theo van Rysselberghe, 1862‑1926. Paris: Editions de l’Amateur, 2003, no. 1888‑002. [50000/80000] Illustrated

Van Rysselberghe was also an avid traveler, very much influenced by the exoticism of the French African colonies and the “Orient”. He traveled to Morocco on three separate occasions, painting this view following his three months sojourn with Edmond Picard in which he accompanied a Belgian economic delegation. Van Rysselberghe, contrary to the Impressionists, seldom painted en plein air while traveling. He preferred instead to take copious sketches and pictures, and then transform them into paintings once back in Belgium. The subject in lot 274, “Place Publique de Meknes,” now called La Place Lahdim” is a celebrated public square in Morocco. Originally built by the Sultan Ismail between 1672-1674, the 200 by 90 meter square connects the ancient part of the city with the newer imperial one.

A sketch of this square, which was likely used in the execution of this painting that shows the Rue a Mequinez from the other side, is conserved at the Musee Royaux des Beaux-Arts in Brussels. As to the inscription ”to my brave friend Heuse”, Heuse remains a mystery. Heuse may have been an attorney by the name of “Paul Heuse” with whom Picard corresponded a few times, but since van Rysselberghe was widely exposed to attorneys and delegates within the international circle of artists and writers he traveled, it could be any Belgian with the name of Heuse. Reference: A special thank you to Mr. Ronald Feltkamp for his assistance and insights into these paintings.

275 Ludovic Vallee (French, 1864‑1939), “La Lectrice au Jardin”, 1909, oil on canvas, signed and dated lower right, with Sotheby’s label on stretcher, 21‑3/4” x 18‑1/4”. Framed. Provenance: Machoir & Bailly, Versailles, October 29, 1989, lot 113; Sotheby’s Arcade, New York City, sale 1433, June 30, 1993, lot 53; The Estate of Gary Baxter Webb, Houston, Texas. [5000/8000] Illustrated

275

276 Pierre Eugene Montezin (French, 1876‑1946), “La Fenaison”, oil on canvas, signed lower right, “Galerie Felix Vercel” stamp en verso, 47‑1/2” x 21‑1/2”. Framed. Provenance: Sotheby’s, New York, sale 6770, November 9, 1995, lot 439; The Estate of Gary Baxter Webb, Houston, Texas. [10000/15000] Illustrated

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277 Maximilien Luce (French, 1858‑1941), “La Forge”, ca. 1890, oil on canvas, signed, “Parke-Bernet Galleries Inc., New York” label en verso, 21‑3/4” x 18‑1/4”. Framed. Provenance: Samuel Josefowitz Collection, Geneva; Sotheby’s, London, April 30, 1969, lot 58; Sotheby’s, London, October 17, 1990, lot 34; The Estate of Gary Baxter Webb, Houston, Texas. Illustrated: Bazetoux, Denise. Catalogue de l’Oeuvre Peint, II. Paris: 1986. p. 232, no. 926. [15000/25000] Illustrated 277

Born into a family of modest means to a railway clerk and a mother whose family was from peasantry origins, Luce always had a deep predilection for the working class. He began his artistic career as an engraver, before turning to painting full time in 1883, when employment opportunities for engravers became scarce, due to advancements in printmaking. He was introduced to the Neo-Impressionist group by fellow artist Camille Pissarro in 1887, and quickly adopted the Divisionist technique of color application in separate patches or dots, believing it achieved unprecedented luminosity. Luce’s oeuvre, as a 1904 exhibition review in Art et Decoration declared, captures “the immense furnaces that ablaze the night violet; the flames of the street lights and carriages that flicker like stars on the streets; the life and work of the wharfs; London by fog and the Midi engorged by light at midday; these are the spectacles by which Mr. Maximilien Luce is engaged.” Unlike the Impressionists, who nostalgically depicted a rural agrarian France in the wake of industrial change, Luce embraced it. Machinery, railways, factories and mines consumed his work at the turn of the century; he even made several trips to Belgium to paint the iron/steel plants, mines and blast furnace factories. Luce simultaneously celebrated proletarian toil and recoiled from the brutish

conditions and physique it engendered. Machines, Corina Weidinger writes in her article on images of industry in Luce’s paintings, "were oppressive to workers in capitalism but essential for alleviating hard labor in a utopian anarchist society.” The painting offered here of a lone blacksmith, probably from the working-class faubourgs of Paris, epitomizes Luce’s empathy and ambivalence toward the worker’s plight. Though depicted in a spectacular array of fiery gold and amber that scintillates off the bricks in an unprecedented command of dots that few divisionist artists were able to achieve with flames, the blacksmith with his downcast eyes and powerful arms is still entombed in his own inferno. As Emile Verhaeren wrote in the preface to the catalogue for Luce’s 1909 exhibition at Bernheim Jeune et Cie: “In this way you show us not only with the finery of your colors and lines fragments of the world that beauty appears to banish from its domain, but you also prove a talent as powerful, strong and fierce as you.” References: Corina Weidinger. “Fatigue, Machinisme, and Visual Spectacle in Maximilien Luce’s L’Acierie.” Nineteenth-Century World Wide: A Journal of Nineteenth Century Visual Culture 12:2 (2013): p. 2; Verhaeren, Emile. Exposition Luce chez MM. Bernheim Jeune et Cie. Paris: Moderne Imprimerie, 1909.

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278 Ferdinand Olivier (French, 1873‑1957), “La Lecteur”, oil on artist board, signed lower left, titled en verso and on label on frame backing, 28‑1/2” x 23‑1/2”. Framed. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [2000/4000] Illustrated 279 Georges d’Espagnat (French, 1870‑1950), “Fleurs et Fruits”, oil on canvas, monogrammed upper left, artist and title identified en verso in period script, 21‑1/2” x 18‑1/4”. Presented in a giltwood frame that once held a PierreAuguste Renoir painting as indicated on the “Gazette des Beaux-Arts Exposition” label en verso. Provenance: Sotheby’s, London, June 23, 1993, lot 209; The Estate of Gary Baxter Webb, Houston, Texas. [4000/7000] Illustrated 280 Albert Andre (French, 1869‑1954), “La Meditation Mlle. Jacqueline Bret devant La Cheminee, Laundun”, oil on canvas, signed lower right, verso with a handwritten label and a partial label from “Galerie des Granges, Geneve”, 21‑3/4” x 13‑1/4”. Framed. Provenance: Galerie des Granges, Geneva; Christie’s, Monaco, sale 16, May 3, 1989, lot 28; The Estate of Gary Baxter Webb, Houston, Texas. [2000/4000] Illustrated

280

281 Louis Valtat (French, 1869‑1952), “Femmes au Theatre”, ca. 1920s, oil on paper laid down on cradled wood panel, stamped with initials “L.V.” lower center (Lugt 1771bis), 30‑1/4” x 21‑1/4”. Presented in a giltwood and gesso frame. Provenance: Christie’s Impressionist & Modern Paintings, Drawings & Sculpture, New York City, Sale 7674, May 13, 1993, lot 228; Property from the Estate of Mrs. Ted Bates, New Haven, Connecticut; The Estate of Gary Baxter Webb, Houston, Texas. [25000/40000] Illustrated 281

Louis Valtat, the son of a prosperous merchant – who himself had artistic inclinations – spent much of his youth in picturesque Versailles. Accepted at the Ecole des BeauxArts in Paris, he studied under such Academic masters as Jean-Joseph Benjamin-Constant and Gustave Boulanger before entering the Academie Julian in 1891. While at the Academie, he befriended, among others, Edouard Vuillard and Pierre Bonnard, whose experimentations with a more “modern” approach to painting inspired by the synthetism of Paul Gaugin, were to influence his work. At the age of 21, Valtat opened his own studio in Paris, where his use of a bold color palette, emphasis of line, and painterly brushstroke resulted in his being associated with the Fauves, following his inclusion in the 1905 Salon d’Automne exhibition where he exhibited alongside Vuillard, Matisse, Derain and Vlamanick. A critic, at the time, denounced the show as an orgy of colors on par with “fauves”- wild beasts. Taking their lead from the pioneers of Post-Impressionism- van Gogh, Gaugin and ToulouseLautrec, the “Fauves” privileged emotive and symbolic applications of color over purely optical ones as Monet and the Impressionists did.

Their art was also equally influenced by the wide black lines employed in Japanese woodblocks (which ToulouseLautrec adopted in his lithographs) and decorative artsnamely tapestries. In 1894, Valtat collaborated with Toulouse-Lautrec and Albert Andre (see lot 280) to create the décor for the Theatre de l’ OEuvre- an experimental theater in Paris founded by the Symbolists. The work presented here is a wonderful example of the Fauvist stlye at its most accomplished and successful. In the mid-1920s, at the same time Valtat created several paintings of women at the theater that are strikingly similar to this one, he was also actively engaged as a draftsman/ designer for the tapestry manufacturer Beauvais. In this painting, the women at the theatre are a fantastic swirl of bold colors uncontained in any illusion of pictorial space; the foreground and background effortlessly blend into a rich pattern. The figures, neatly delineated by thick black lines into swatches of color, recall tapestry drawings and maquettes. This painting’s seemingly simplistic “wild” design bellies its compositional complexity as a masterpiece of avant-garde and decorative art.

282

282 Jean Souverbie (French, 1891‑1981), “Femme Couche”, oil on canvas, signed lower left, 28‑1/2” x 36”. Framed. Provenance: Christie’s, London, June 27, 1986, Lot 580; The Estate of Gary Baxter Webb, Houston, Texas. [4000/7000] Illustrated

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283 Regency Patinated Bronze Bust of the Duke of Wellington, second quarter 19th century, by Lucius Gahaygan (English, d. 1866), on an engine-turned and fluted pedestal, the bust signed and identified on the rear, h. 12”, w. 3‑1/2”, d. 4”. [700/1000] Illustrated 284 Exceptional Large English Regency Convex Mirror, first quarter 19th century, intertwined dolphins support the leaf-molded and coved frame, set with a pair of twolight candle branches with period bronze candle cups, the crest depicting a verde antico-painted eagle holding a gilt spherule on a chain, resting on a lattice-molded plinth, h. 55‑1/4”, w. 47‑1/2”. Provenance: Robert Herman Antiques, New York, New York; Estates of Mary Dixon Montague and Frank D. Montague, Jr., Hattiesburg, Mississippi. [1800/2500] Illustrated

285 Set of Twelve “Traditional Imari” Dinner Plates, ca. 1902‑2014, English, made by Royal Crown Derby and retailed by Tiffany and Co., decorated with orange and blue lotus flowers and gilt trim, each marked by the maker and retailer, dia. 10‑1/2”. [500/800] Illustrated 286 Pair of English Patinated Bronze, Polished Brass and Glass Argand-Style Figural Two-Light Wall Lamps, first quarter 20th century, each with a patinated bronze spaniel’s head grasping a rod fitted with lamps on either side, set with frosted glass shades, h. 10‑3/4”, w. 10‑1/4”, d. 6”. [1000/1500] Illustrated 287 Impressive Regency Brass-Inlaid Calamander Wood Lap Desk, first quarter 19th century, edged with brass and inlaid with brass cut-corner stringing, set with campaign-style carrying handles, opening to reveal a leather-lined writing slope, compartments for stamps and pens and a pair of cut glass inkpots with brass caps, h. 10”, w. 25‑1/4”, d. 12”. [600/900] Illustrated

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291 288

288 Late Regency-Style Mahogany, Rosewood and Exotic Woods Kittinger Center Table, the circular top banded and with a spiraling sunburst inlay, above a conforming Greek-key-inlaid frieze, raised on a bulbous and fluted standard to a foliate gilt molding on a concave base on gilt paw feet, h. 30‑1/2”, dia. 52”. [1200/1800] Illustrated 289 After Thomas Phillips (British, 1770‑1845), “Portrait of William Battine (1765‑1836), Esquire, LL.D, Fellow of the Royal Society”, oil on canvas, unsigned, sitter identified in old lettering en verso canvas, after the 1803 portrait in the collection of the National Trust, England, 30” x 26”. In an antique gesso and giltwood frame. [1400/1800] Illustrated

290 Late Regency Mahogany Pedestal Sideboard, second quarter 19th century, the arched backplate above a D-form center section fitted with two cutlery drawers, supported by two pedestal ends, one fitted with two short drawers over two banded cupboard doors, the other fitted with a single deep drawer faced as two, over a like cupboard, raised on turned toupie feet, h. 44”, w. 78 291 Pair of English Patinated and Gilt-Bronze Hurricane Lamps, first quarter 20th century, in the Regency style, on patinated octagonal bases with turned standards, decorated with pierced gilt-bronze mounts, and feather-molded gilt-bronze shade holders, mounted with diamond-cut blown glass shades, h. 18‑1/4”, dia. 6”. [800/1200] Illustrated

292

292 Set of Twelve Minton’s Hand-Painted Game Plates, ca. 1918, English, retailed by Tiffany and Co., each decorated with a different game bird, with giltdecorated blue celeste borders, artist-signed “A. H. Wright”, with an underglaze puce “Minton/Tiffany”, denoting gilder or painter and the impressed “Mintons” with a date mark, dia. 9”. [2000/4000] Illustrated

293 Regency-Style Mahogany Dining Table, the banded rounded rectangular top raised on two pedestals, each with four turned and beehivemodeled uprights to a concave platform, raised on four splayed and reeded legs ending in brass caps on casters, with two 24” leaves, h. 28‑1/2”, w. 45”, l. 72”, extended l. 120”. [800/1200] Illustrated

293

294 Handsome Pair of English HandPainted Tole-Peinte Sauce Tureens, second quarter 19th century, the rectangular tureens with molded sides and scrolled handles, and handpainted panels of peacocks and flowers, with flourishes of gilt decorating the remainder of the tureen, the delicately molded brass knops appear to be original, h. 10”, w. 9‑1/2”, d. 5”. [500/800] Illustrated 294

295 Regency-Style Mahogany Horseshoe Table, the circular top with sunburst veneers and with likeveneered extension leaves, raised on four turned supports to a concave platform to four ribbed and splayed legs ending in brass paws on casters, h. 29”, dia. 60”, extended l. 84”. [1400/1800] Illustrated 296 Suite of Ten Philadelphia Klismos Mahogany Dining Chairs, early 19th century, each with a concave figured tablet back on stiles with lotus-carved capitals, slip seat and sabre legs, h. 33‑5/8”. [1000/1500] Illustrated

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297 William IV Oak Library Table, second quarter 19th century, the rounded rectangular top with an inset leather surface, above a conforming frieze fitted with two drawers to one side and two faux drawers to the other side, raised on pierced and shaped end supports to reeded ball feet on casters, h. 28‑1/4”, w. 50‑1/2”, d. 28”. [1500/2500] Illustrated 298 Regency Carved and Inlaid Mahogany Cellarette, first quarter 19th century, the case of sarcophagus form in highly figured mahogany with inlaid corner posts, having a divided interior and raised on a stand with a turned standard and four acanthus-carved and reeded outstretched legs, h. 31‑1/2”, w. 17”, d. 14”. [800/1200] Illustrated

298

299 William IV Oak and Marble-Top Side Table, mid-19th century, the rounded rectangular marble top above a paneled frieze centered by a carved floral medallion, raised on scroll supports headed by oak leaf and acorn carving and ending in foliate toes, h. 34‑1/2”, w. 59”, d. 24”. [500/800] Illustrated

299

300 John Lawson Bradford English Regency Mahogany Tall Case Clock, early 19th century, the case with inlaid details, the face with engraved motifs and painted moon dial, h. 88”, w. 21”, d. 9”. [1000/1500] Illustrated 301 William IV Mahogany Tall Case Clock, early 19th century, with a painted face, and featuring time, strike and calendar movement, h. 87”, w. 19”, d. 9”. [500/800] 302 Pair of Italian Silvered Wood Four-Light Sconces, third quarter 20th century, in the Regency taste, with backplates carved as palm trees over brackets holding the candle arms, terminating in carved rope tied tassels, the leaf-carved arms set with flower-carved drip pans and tulip-form candle cups, h. 43”, w. 20‑1/2”, d. 10”. [500/800] Illustrated

302

303 303 Early Eighteenth-Century English Axminster Carpet, 12’ 10” x 17’ 2”. Provenance: Purchased for the consignor on Dec. 23, 1997 from Damoka New York by Richard Keith Langham Interiors. [7000/10000] Illustrated 300

304 William IV Mahogany Library Chair, second quarter 19th century, the caned back within a paneled frame, joined by caned padded arms on turned bulbous uprights to the cushioned caned seat, raised on paneled sabre legs ending in brass caps and casters, h. 38”. [1000/1500] Illustrated 305 Late Regency Mahogany and Parcel-Gilt Center Table, second quarter 19th century, the circular top above a conforming frieze and raised on a ribbed vasiform standard to a concave base ending in gilt paw feet on casters, h. 27‑1/2”, dia. 44”. [1500/2500] Illustrated 306 Classical Revival Giltwood Bull’s-Eye Mirror, first quarter 20th century, probably American, the coved surround set with spherules and trimmed with gadrooning, and crowned with a displayed eagle finial, h. 32”, dia. 21‑3/4”. [600/900] Illustrated 307 William IV Giltwood Convex Mirror, second quarter 19th century, the cove-molded frame lined with gilt spherules, a reeded ebonized liner framing the mirror plate, dia. 24‑1/2”. [500/800] 306

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309 William IV Mahogany Library Chair, second quarter 19th century, the tufted and padded rectangular back joined by padded arms with reeded patera uprights, to the padded seat, raised on ribbed toupie feet ending in casters, h. 46”. [1000/1500] Illustrated

309

308 Late Regency Mahogany Sideboard, second quarter 19th century, with a back brass rail supported by urntopped uprights, the D-form top with inlaid string banding and a banded edge, above a conforming case fitted with a central cutlery drawer flanked to one side by a cupboard and to the other by a deep drawer, raised on ribbed tapering circular legs ending in toupie feet, h. 49”, w. 72”, d. 28‑1/4”. [1200/1800] Illustrated

310 Pair of Chinese Export Porcelain Moon Flasks, second quarter 19th century, with dragon handles, panels of Mandarin decoration on the obverse, phoenix birds and peonies on the reverse, h. 9”, w. 6‑1/4”, d. 1‑1/2”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [700/1000] Illustrated

308

311 Fine Trio of Chinese Export Black-Lacquered and Gilt-Decorated Nesting Tables, 19th century, the tops depicting intricate village scenes, the ends pierced and carved and ending in dragon feet, h. 25‑1/2” to 27”, w. 12‑1/2” to 17”, d. 10‑1/2” to 12”. [800/1200] Illustrated 312 China Trade Lacquered Miniature Cabinet on Stand, second quarter 19th century, the oval raised panels on the door fronts decorated with Mandarin scenes on a field of butterflies, flowers and stippling, the doors opening to reveal five drawers decorated with bamboo and gilt sprigs, on a later stand decorated to match, h. 42”, w. 11‑1/4”, d. 6‑3/4”. [500/800] Illustrated

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312 detail

313 William IV Polychrome Occasional Table, second quarter 19th century, the tilting rectangular top featuring an oriental figural port scene, raised on a columnar standard to a concave base on bun feet, h. 30”, w. 26”, d. 24”. [500/800] Illustrated 314 William IV-Style Mahogany Coffee Table, 19th century and later, the rounded rectangular top with a full raised edge, and raised on columnar supports joined by a like stretcher and ending in splayed cabriole legs to casters, h. 26‑1/2”, w. 36”, d. 20”. [500/800] 315 William IV Mahogany Window Seat, the long rounded rectangular top with a rounded hand rest to each end, raised on turned tapering circular legs ending in toupie feet, h. 19”, w. 47‑1/2”, d. 13‑1/4”. [500/800] Illustrated 313

316 Regency Inlaid Mahogany Wheel Barometer, first quarter 19th century, Edinburgh, Scotland, with a swan’s neck pediment crest, the barometer signed “P. Riva” on the main dial, h. 38‑1/2”, w. 9‑1/2”. [600/900]

317 Two Similar Regency Inlaid Mahogany Banjo Barometers, first quarter 19th century, each with a swan’s neck pediment over a dry/damp indicator, thermometer, convex mirror, barometer and level, one signed “P. Intross, Chatham”, h. 42”, w. 11‑1/2”, and the other unmarked, h. 42‑3/4”, w. 12”. [500/800] Illustrated

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318 Regency String-Inlaid Mahogany Drum Table, first quarter 19th century, the circular top with inset tooled green leather, the rim fitted with four drawers alternating with four faux drawers, raised on a turned standard with four out-curved legs, h. 28”, dia. 35‑1/2”. [1500/2500] Illustrated 319 Regency-Style Gilt Girandole Mirror, 20th century, the cove-molded frame trimmed with spiral reeding and molded leaves, a reeded ebonized liner framing the mirror plate, dia. 24‑1/2”. [500/800] Illustrated

319

320 Unusual Turnbridge Ware Money Box, second quarter 19th century, mounted on ogee-molded feet and base molding, the walnut-veneered box inlaid with mixed woods parquetry crossbanding and center medallions, the burlwood top inlaid with a mother-of-pearl money slot, one molded side with a sliding opening, h. 6‑1/2”, w. 11‑1/4”, d. 6‑1/4”. [600/900] Illustrated

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321 Pair of Monumental Continental Giltwood and Metal Nine-Light Candelabra, first quarter 20th century, in the Baroque taste, on scrolled, leaf-carved feet, the tapering square standards decorated with diapered panels, carved bellflowers, beading and tassels, the bold, leaf-carved candle arms set with reeded sockets, h. 86”, w. 17”, d. 17”. [2000/4000] Illustrated

323 After Peter Paul Rubens (Flemish, 1577‑1640), “Diana the Huntress”, oil on canvas board, 20th century, 38‑1/2” x 27”. Presented in a vintage floral-carved giltwood frame. [1000/1500] Illustrated

322 Continental Giltwood Mirror in the Baroque Taste, fourth quarter 19th century, the mirror surround with inset mirror panels and carved with pierced shells and scrollwork, the elaborate arched crest with a masque finial flanked by dragons over a basket of flowers, against a mirrored panel, all on diapered panels, the whole on dolphin feet, set with a beveled mirror plate, h. 67‑3/4”, w. 29‑1/4”. [2000/4000] Illustrated

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324 Austrian Silverplate, Rock Crystal and Enamel “Rubens” Box, 20th century, of rectangular form, with a stepped base supporting eight lobed enamel panels separated by carved rock crystal twist columns and surmounted by a hinged, molded-edge lid, decorated with images of the works of Peter Paul Rubens (1577‑1640), including enameled images of “Diana and her Nymphs Surprised by the Fauns” (1638/40), “The Triumphant Entry of Henry IV into Paris” (1627/30), a detail of “Nymphs and Satyrs” (1635), “Perseus Liberating Andromeda” (1639/41), and “Susanna and the Elders” (1636), the lid with a high-relief embossed version of “The Rape of the Daughters of Leucippus” (1618), the interior lid and bottom engraved with a detail of “The Judgement of Paris” (1636/39) and an earlier version of “Susanna and the Elders” (1609/10), respectively, raised on four silverpalte-capped carved rock crystal toupie feet, h. 7”, w. 12‑1/4”, d. 11”. Provenance: Property from the Collection of Carl Desantis, Sotheby’s New York, November 4, 2011, lot 110. [10000/15000] Illustrated

325 After Peter Paul Rubens (Flemish, 1577‑1640), “The Hunt of Meleager and Atalanta”, oil on canvas, fourth quarter 19th century, verso canvas stamped and stretcher with remanants of old labels, 15” x 26”. Framed. [1000/1500] Illustrated 326 Capodimonte-Style Molded and PolychromePainted Neoclassical Plaque, pre-1890, Italian, the colorful plaque depicting Prometheus in the sky, holding fire, the eagle pursuing him, the goddesses Ceres and Demeter and the gods Dionysus and Anemoi sitting below, in a shield-form painted wooden frame, marked with the blue crowned “N” used by Ginori, h. 23”, w. 19”. [500/800] 327 Composite Marble Figure of “Venus Italica”, after Antonio Canova (Italian, 1757‑1822), one of several Venus sculptures by Canova, she is depicted standing and draped, marked “Del Torrione” on the base, h. 49”, dia. 12‑1/2”. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500] Illustrated

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328 Italian School (18th Century), “Capriccio of Figures Amongst Classical Ruins”, oil on canvas, 43‑1/2” x 63”. Framed. [1500/2500] Illustrated 329 Caproni and Brother Classical Bas-Relief-Molded Plaque, early 20th century, depicting a celebration with trumpeters, angels and figures playing cymbals, with a metal mounting bracket, the verso with an embedded metal plaque reading, “P. P. Caproni and Bro Caproni Casts Boston”, h. 21‑1/2”, w. 52”. [500/800] Illustrated Pietro Paulo Caproni (1862‑1928), an Italian immigrant, together with his brother Emilio produced high-quality casts for use by museums, schools, theaters and hotels as well as general decorative use.

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330 Pair of Giltwood and Gilt-Metal Figural Cupid Sconces, ca. 1900, probably Italian, each cupid bearing two gilt-metal flowers set with candle sockets, h. 10‑1/2”, w. 15‑1/2”, d. 5‑1/2”. [500/800] Illustrated 331 Contemporary Metal and Glass Six-Light Chandelier, 20th century, of Maria Theresa inspiration, the patinated metal frame lined with glass beads and hung with rock crystal and crystal drops, the scrolled frame set with six arms, a spray of drops decorating the upper portion, h. 39”, dia. 36‑1/2”. [3500/5000] Illustrated

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332

334 332 Italian Rococo Supraporte Mirror, third quarter 18th century, possibly Venetian, the medallion-form mirror plate engraved with an intertwined “LD”, and delicate scrollwork and flowers, the frame with beaded leaves and rocaille work, and flanked by piercings decorated with ribbons, strands of laurel leaves, berries and flowers, h. 16‑3/4”, w. 45”. [600/900] Illustrated 333 Pair of Italian Baroque-Style Giltwood Mirrors, fourth quarter 19th century, the cartouche-form mirrors framed with pierced scrollwork and flowers, the rocaille-carved crest trimmed with flowers and leaves, set with smoked glass, h. 26‑1/2”, w. 16”. [600/900] Illustrated

334 Italian Polychrome and Faux-Marbre Console Table, early 19th century, in the rococo taste, the shaped faux marble top above a conforming pierced shell and foliate frieze, raised on bellflower- and foliate-carved scrolling legs joined by a shell-form stretcher and ending in foliate scrolled toes, h. 32”, w. 40”, d. 11‑1/2”. [1500/2500] Illustrated 335 Pair of Italian Baroque-Style Pierced Giltwood Mirrors, ca. 1900, carved with scrollwork and flowers, the inverted shield-form mirror plates under tall flower-carved crests, h. 33”, w. 15‑1/4”. [800/1200] Illustrated

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336 Gilded Cast Iron Six-Light Lantern, third quarter 20th century, probably Italian, the tapered hexagonal lantern with leaf-molded dividers and scroll- and shellcarved crests, the domed pierced cap mounted with a leaf-molded “roof”, the interior with a molded standard set with electrified candle sockets on two levels, h. 43‑1/2”, dia. 23”. [1200/1800] Illustrated 337 Pair of Continental Parcel-Gilt and Faux StoneCarved Floor Lamps, mid-20th century, in the Baroque taste, on carved, scrolled feet, the lower standard turned and decorated with reeding and carved shells, the upper standard spiral-reeded and painted to resemble red and gray mottled stone, electrified and mounted with shades, h. 69‑1/2”, dia. 20‑1/2”. [600/900] Illustrated 338 Venetian-Style Mirror, 20th century, Italian, the segmented mirror surround decorated with engraving, sprays of leaves and blown glass trim threaded with gilt, the pierced scrollwork crest with a central cartouche and a basket-of-flowers finial, h. 57‑1/2”, w. 40”. [600/900] Illustrated

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339 Antoinette Cecile Hortense (Victoire) HaudebourtLescot (French, 1784‑1845), “Coule D’Amoureux Italien”, oil on canvas, signed lower left “Haudebourt Lescot”, 18” x 14”. Presented in a giltwood frame. [2500/4000] Illustrated One of the few professionally recognized women artists of the early 19th century, Haudebourt-Lescot was influenced by her extensive travels in Italy, where she was a keen observer of its costumes and customs. She exhibited at the Paris Salon and won a first class medal in 1828. Her work is in the collections of numerous French museums, including the Versailles, the Louvre and Musee des Beaux-Arts (Rouen). 341

340 Attributed to John Vanderbank the Younger (British/ London, 1694‑1739), “Portrait of a Young Boy with Feathered Headdress, a Spaniel at His Feet”, oil on canvas, 44” x 35”. Presented in a later giltwood and gesso frame. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [3000/5000] Illustrated 341 Continental Enamel-Inlaid Silver-Plated Box in the Baroque Taste, ca. 1900, with satyr-headed monopodia corners and feet, the sides decorated with medallions depicting the four seasons, set into scrollwork panels with sky-blue trim, the cover set with an oval center panel and four corner panels, all similarly decorated, h. 3”, w. 8”, d. 5‑3/4”. [7000/10000] Illustrated 342 Continental Enamel and Brass Casket, fourth quarter 19th century, the ogee-molded frame set with hand-painted panels on the top and front, depicting Renaissance figures at Arcadian pursuits, the other three panels set with polychrome landscapes, h. 5‑1/4”, w. 7‑1/2”, d. 6”. [1200/1800] Illustrated

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345 Continental Granite and Polychrome Center Table, 19th century and later, the inset circular granite top within a molded edge and raised on a turned foliate-carved standard to a circular flared base, h. 29”, dia. 39‑1/2”. [500/800] Illustrated 346 Dutch School (18th/19th Century), “Busy Farm Scene with a View of a Village and Windmill in the Distance”, oil on canvas, unsigned, 67” x 78”. Framed. [2000/4000] Illustrated

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343 Italian Micro-Mosaic Plaque, mid-19th century, depicting four doves drinking from a basin of water, in a contemporary rosewood-veneered frame trimmed in ebonized molding, h. 12”, w. 13‑1/4”. [1500/3000] Illustrated 344 Pair of Italian Giltwood and Alabaster Sconces in the Baroque Taste, first quarter 20th century, the shield-form backplates with winged angel-head finials and holding scroll-form arms wrapped in grapevines, each of the two alabaster shades bas-relief-carved with putti playing at Bacchanalian pursuits, and concealing electric sockets, h. 15‑3/4”, w. 8‑3/4”, d. 11”. [800/1200] Illustrated

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347 347 Attributed to Sebastian Pether (British, 1790‑1844), “Moonlit River Landscape with a Blacksmith Shop”, oil on canvas, unsigned, 25” x 30”. Presented in a 19th-century giltwood and gesso frame with laurel leaf molding and a fluted cove. [1500/2500] Illustrated 348 Dutch Mahogany and Marquetry Cabinet, late 18th century, the domed and molded cornice centered by a carved portrait medallion issuing foliate garlands, above a case fitted with two paneled doors, each with an inlaid floral vase and carved portraits, the lower kettle-form base fitted with three long drawers, all with elaborate floral inlays, raised on splayed feet, h. 90”, w. 64”, d. 24”. [2500/4000] Illustrated 349 Assembled Set of Eight Dutch Mahogany and Marquetry Dining Chairs, consisting of two armchairs and six sidechairs, each with a domed crest above a vasiform splat, the padded serpentine seat above a shaped apron, raised on cabriole legs ending in ball-and-claw feet, all with marquetry inlay in various foliate and avian patterns, all chairs in the same form, two with differing marquetry patterns, h. 44‑1/4”. [1000/1500] Illustrated

348

350 Pair of Painted and Parcel-Gilt Wooden Three-Light Candelabra in the Baroque Taste, 19th century, the red-ground vasiform standards trimmed with gilt laurel swags and painted with roses, the scrolled metal candle arms set with rope-twist-trimmed drip pans, h. 16‑1/2”, dia. 11‑3/4”. [500/800]

107

351 351 Dutch Bronze Twelve-Light Chandelier in the Baroque Taste, third quarter 20th century, the ball-turned standard set with scrolled candle arms with drip pans and turned candle sockets on two tiers, h. 26”, dia. 26”. [700/1000] Illustrated

352

352 Baroque-Style Brass-Mounted Faux Tortoiseshell Mirror, fourth quarter 19th century, Dutch or Flemish, the bolection-molded surround trimmed with ribbon molding and mounted with brass panels of scrollwork and flowers, the molded crest decorated with scrollwork, flowers and berries, all on a faux tortoiseshell-painted ground, h. 48”, w. 31”. [2000/4000] Illustrated 353 Continental School (18th Century), “Still Life of Flowers Including Tulips and Hyacinths”, oil on canvas, unsigned, 44‑1/8” x 31‑3/4”. Framed. [1000/1500] Illustrated 354 Follower of Balthasar van der Ast (Dutch, 1593/94‑1657), “Still Life of Flowers and a Seashell”, pair of oils on board, fourth quarter 19th century, 8” x 10‑1/2”. Presented in matching, antique carved giltwood frames. [1000/1500] Illustrated

354 353

108

357

358

355

356

355 Dutch Mahogany and Marquetry Jardiniere/Planter, 19th century, the circular lip around a fabric-lined slatted body, each bulbous slat with a floral inlay, raised on a waisted standard to a like-inlaid concave tripartite base on casters, h. 21”, dia. 14‑1/4”. [800/1200] Illustrated 356 Dutch Mahogany and Marquetry Silver Table, late 18th century, the rectangular top centered by an inlaid floral vase and with a full raised gallery, above a conforming frieze fitted with a single drawer, raised on slender cabriole legs ending in pad feet, h. 30‑1/2”, w. 37‑1/2”, d. 24‑1/2”. [1500/1800] Illustrated

357 German Mahogany and Gilt-Bronze Cased Bracket Clock, first quarter 20th century, in the Georgian style, decorated with pierced gilt-bronze mounts, a molded bronze handle on the top, the works set with six gongs and marked “Peerless”, a product of Mathias Bauerle, Embee, Germany, h. 19‑1/2”, w. 12‑1/2”, d. 8”. [500/800] Illustrated 358 Manner of Bartholomaus “Barthel” Bruyn the Elder (German/Cologne, 1493‑1555), “Portrait of a Nobleman”, oil on thin wood panel mounted on cradled board, verso with “Santa Barbara Museum of Art” label, 24‑1/2” x 18‑3/4”. Presented in a later cove-molded gilt and ebonized carved wood frame. Provenance: Gift of Dr. and Mrs. Miklos Rozsa to Santa Barbara Museum of Art, Santa Barbara, California; Private collection, New Orleans, Louisiana. [2000/4000] Illustrated

109

361

360

359

359 Continental Mahogany and Marble-Top Server, early 20th century, in the Henri II taste, the long marble top with a molded edge, above a frieze fitted with a central compartmented drawer flanked to either side by a short drawer, all quarter-veneered and with a central floralinlaid spray, raised on tapering circular legs headed by foliate capitals joined by a shaped stretcher and ending in ball feet, h. 39‑1/2”, w. 83‑1/2”, d. 23”. [1500/2500] Illustrated

110

360 Italian Baroque-Style Molded Bronze Pentagonal Lantern, second quarter 20th century, each panel with tombstone tops, the molded framed ornamented with cartouches and flowers, the corners set with pierced scrolls, the scroll-molded hangers attaching the lantern to the center standard, supporting a three-light interior, set with textured glass, h. 32”, dia. 12‑1/2”. [800/1200] Illustrated 361 Continental Walnut, Fruitwood and Marble-Top Commode, late 18th century, the double-bowed top with an inset marble with a molded edge, above a conforming case fitted with three long drawers, all banded and with two inlaid panels, raised on cabriole legs ending in peg feet, h. 35‑1/2”, w. 48”, d. 26”. [1200/1800] Illustrated

362 Northern Italian Mixed Fruitwood Secretary, early 19th century, the tall domed cornice above a single door inset with an arched mirrored plate, opening to a variety of shelves around a small arched cupboard with three small drawers below, the lower section fitted with a storage well and a central cupboard flanked by drawers and shelves, over three long bowed drawers, raised on shaped feet, the whole veneered in decorative patterns, h. 96”, w. 43”, d. 25”. [2500/4000] Illustrated 363 Continental Mahogany and Marble-Top Server, 20th century, the shaped marble top with projecting corners and molded edge, above a conforming frieze fitted with three drawers, all paneled and carved with foliate scrolling patterns, raised on paneled scrolled legs joined by a stretcher and ending in carved toupie feet, h. 39‑1/4”, w. 83”, d. 24”. [1800/2500] Illustrated 364 Manner of Adriaen Jansz van Ostade (Dutch, 1610‑1685), “Man in a Red Cap Smoking a Pipe” and “Man in a Fur Hat Holding a Pipe”, pair of oils on wood panel, each 8‑1/2” x 6‑3/4”. Framed alike. [1000/1500] Illustrated

362 364

363

111

365

367 one of two

366

365 Continental School (18th Century), “Traveling Circus”, oil on canvas, unsigned, 16‑1/4” x 22‑1/2”. Framed. [1000/1500] Illustrated 366 Attributed to Giuseppe Bonito (Italian/Neapolitan, 1707‑1789), “Lady with Her Daughters” oil on canvas, 29‑1/2” x 39‑1/2”. Framed. Provenance: Doyle Auction, New York, New York, January 27, 2016, lot 24. [1000/1500] Illustrated

112

367 Italian School (18th Century), “Floral Still Life with a Yellow Bird” and “Floral Still with a Spaniel”, pair of oils on canvas, unsigned, each 19‑1/2” x 24‑5/8”. Framed alike. [4000/7000] Illustrated 368 Five-Piece Collection of Continental Iron and Brass Fireplace Equipment, in the Baroque taste, comprising a pair of andirons with arched feet, and brass finials depicting Prometheus and Venus, h. 27‑3/4”, a fire tool stand with a ball top and scrolled feet, h. 35‑3/4”, w. 8‑3/4”, and a matching shovel and fork with brass putto head finials, l. 50”. [500/800]

369

372

370

369 Baroque Carved, Ebonized and Painted Tabletop Cabinet, ca. 1700 and later, Dutch or Flemish, trimmed with rippled molding on the base, doors and crest, and mounted with pierced and incised pewter hinges and escutcheons, the interior drawers painted with flowers and pomegranates, lively scallops and beading, h. 13”, w. 17”, d. 12‑1/2”. [500/800] Illustrated 370 Swiss Brass-Inlaid Rosewood “Reuge” Musical Jewelry Case, ca. 1900, in the Regency style, the box trimmed with ribbon molding, the cover and two-door front trimmed with engraved brass and brass line inlay, the fitted velvet-lined interior concealing a music box in the base, the winding stem on the bottom marked “Reuge”, h. 4‑1/2”, w. 8‑1/2”, d. 5”. [600/900] Illustrated 371 French Patinated Bronze of “Le Grenadier”, 20th century, after Emmanuel Fremiet (French, 1824‑1910), cast signature on self-base, on a green marble base, overall, h. 15‑5/8”, w. 13”, d. 5‑1/2”. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1500/2500] Illustrated

371

372 French Empire-Style Brass and Patinated Metal SixLight Chandelier, mid-20th century, the black metal pan decorated with brass star mounts and a pierced medallion center, and set with a molded brass trim and six black metal arms terminating in brass eagle heads, brass and black metal heads of Psyche supporting beaded drip pans and turned candle cups with molded rims, electrified, h. 44‑1/2”, dia. 26‑1/2”. [2000/4000] Illustrated

113

373

376

374 375

373 Pair of Italian Boldly Carved Giltwood Three-Light Sconces, first quarter 20th century, in the Baroque taste, on tapered backplates with leaf-carved lower finials, terminating in pagoda-form caps, with flame finials, the scroll-carved arms decorated with hanging tassels, mounted with egg-and-dart-carved candlecups, h. 34‑1/2”, w. 21”, d. 18‑1/2”. [1800/2500] Illustrated 374 Polychrome Iron and Marble-Top Side Table in the Italian Style, the thick shaped marble top with projecting corners, above a conforming frieze centered by a masque and surrounded by pierced scrolling foliate patterns, raised on open scrolling legs joined by an X-form stretcher and ending in foliate toes, h. 36”, w. 72‑1/2”, d. 19”. [600/900] Illustrated

114

375 Italian Oak Music Cabinet, 18th century, the narrow superstructure fitted with two small drawers, each with a carved portrait medallion, above a slanted case fitted with a lift-up compartment centered by an inlaid sheet of music, over a pendant garland centered by a portrait medallion, raised on imbricate-carved scrolled legs joined by an urncentered stretcher and ending in peg feet, h. 49”, w. 30”, d. 19‑1/2”. [1200/1800] Illustrated 376 Continental Polychrome Trunk, 18th century, the hinged and domed lid with iron straps and opening to a void interior, each side with a handle, raised on a stand with a shaped frieze on molded cabriole legs, retaining polychrome in floral patterns, h. 30”, w. 50‑1/2”, d. 22”. [500/800] Illustrated

377 Miguel Pineda Monton (Spanish, Active 1870‑1880)/After Diego Velazquez (1599‑1660), “Mariana of Austria, Queen Consort of Spain”, oil on canvas, signed “Velazquez/M. Pineda copio”, label en verso, 80‑1/2” x 50‑1/2”. Unframed. [5000/8000] Illustrated 378 Miguel Pineda Monton (Spanish, Active 1870‑1880)/After Diego Velazquez (1599‑1660), “King Philip IV of Spain”, oil on canvas, signed “Velazquez/M. Pineda, copio”, label en verso, 80‑1/2” x 50‑1/2”. Unframed. [5000/8000] Illustrated

379

377

379 Pair of Venetian Giltwood Mirrored Sconces in the Baroque Taste, third quarter 19th century, the frames carved with pierced scrollwork and rocaille work, supporting giltwood tassels, and metal candle arms with flower-form drip pans mounted in front of each mirror, electrified, h. 25‑1/2”, w. 14‑1/4”, d. 8”. [900/1200] Illustrated

378

115

380 Franz Bergman (Austrian, ca. 1838‑1894), coldpainted Vienna bronze figure of a Great Dane, late 19th century, wearing a studded collar, the belly stamped “Geschutzt” and a faint “B” within an urn, h. 5‑1/2”, w. 8‑3/8”. [600/900] Illustrated 381 Franz Bergman (Austrian ca. 1838‑1894), coldpainted and parcel-gilt Vienna bronze figure of a rooster mounted on a rustic wooden plank, 19th century, one thigh stamped “Geschutzt” and indistinct numerals, the upper forward tail feather stamped “BERGM.” on one side and “Geschutzt” on the other, bronze, h. 4‑1/2”, overall, h. 4‑7/8”, w. 3‑7/8”, d. 3‑1/4”. [900/1200] Illustrated

382 Franz Bergman (Austrian, ca. 1838‑1894), coldpainted Vienna bronze figure of a startled mouse discovered eating an Albert Biscuit, late 19th century, the mouse stamped underneath: “Geschutzt”, a “B” within an urn and four indistinct numerals, h. 1”, w. 3‑7/8”. [600/900] Illustrated 383 Vienna Bronze Cold-Painted Pheasant, first quarter 20th century, Austria, polychrome painted and on an oval painted base, marked “Geschutz” under the tail and an undecipherable mark between the feet, possibly Wien, h. 12”, w. 14”, d. 3‑1/2”. [1000/1500] Illustrated

381

380

382

383

116

384

386

384 Group of Five Continental and American Figures, Early 20th century, including three patinated bronzes of sprites, each on a black marble plinth, overall, h. 8‑1/4” to 8‑1/2”; a patinated metal figure of a crouching child, on a green marble plinth, overall, h. 5‑1/2”; and a brass figure of a dancing sprite, on a black marble plinth, overall, h. 6‑1/4”. [500/800] Illustrated

385

385 Charming Black Forest Mantel Clock, fourth quarter 19th century, German, the carved walnut case with seated dogs flanking a “rustic” building carved in an exaggerated wood grain pattern with flourishes of ivy, set with a clock dial marked by the retailer, Ball, Black & Co., but missing the works, h. 12‑3/4”, w. 16‑1/4”, d. 7‑1/2”. [500/800] Illustrated 386 Pair of Black Forest Carved Walnut Vases, fourth quarter 19th century, German, on round bases, the vases carved with birds and tropical flowers on banana trees, h. 13‑1/2”, dia. 6”. [700/1000] Illustrated

117

388 387

390

387 Eugen Klinckenberg (Dutch, 1585‑1942), “The New Dolly”,1889, oil on canvas, signed, dated and localised ‘89 at lower left, 22” x 18‑1/2”. Presented in a giltwood and gesso frame with artist plaque. [1500/2500] Illustrated 388 Carl Kaufmann (German, 1843‑1901), “Mountainous Landscape with a Boater”, oil on canvas, signed lower left, 27” x 41‑1/2”. Framed. [1000/1500] Illustrated

118

389 Pair of Blown Glass Vases, first quarter 20th century, probably Czech, mounted as lamps, composed of emerald green glass with colorless handles and decorated with gilt flowers, raised on reeded brass bases, h. 24”, dia. 5”. [500/800] 390 Continental Polychrome and Marble-Top Commode, late 18th century, the bowed marble top with turret corners, above a conforming case fitted with three drawers, all paneled and with carved foliate accents, raised on bun feet, h. 35”, w. 57”, d. 32”. [1200/1800] Illustrated

391

393

392

391 Set of Six Italian Oil-on-Canvas Decorative Theatre Panels, mid-20th century, on a yellow ground, framed with painted scrollwork and decorated with variations of fringed curtains, architectural arches, leafy vines and rockeries, in molded walnut frames, h. 61‑1/2”, w. 27‑1/2”. [1000/1500] Illustrated

392 Italian Polychrome Vitrine, third quarter 19th century, probably Venetian, the shaped and domed cornice centered by a polychrome scene of courtiers swinging, above a single door inset with a shaped glazed panel, opening to an interior fitted with shaped velvet-upholstered shelves, raised on cabriole legs ending in scrolled toes, the whole with polychrome floral and foliate accents, h. 66”, w. 34‑1/2”, d. 16”. [1000/1500] Illustrated 393 Italian Pickled Walnut Mirror of Rococo Inspiration, 19th century, the central beveled mirror plate flanked by raised panels with lower cut corners, the swan’s neck crest decorated with a carved shell flanked by flower-carved panels, h. 49‑1/2”, w. 49”. [700/1000] Illustrated

119

395

394

396 397

394 Italian Baroque-Style Painted Wood and Gilt-Metal Six-Light Chandelier, 20th century, the leaf-carved turned baluster-form standard with gilt-metal leaves and a carved giltwood bellflower center drop, a spray of bobbincarved wood “prisms” decorating the top, and issuing scrolled metal candle arms set with giltwood sockets, electrified, h. 27”, dia. 31‑1/2”. [600/900] Illustrated 395 Italian Baroque-Style Painted Wood and Gilt-Metal Six-Light Chandelier, 20th century, the leaf-carved turned baluster-form standard with gilt-metal leaves and a carved giltwood bellflower center drop, a spray of bobbincarved wood “prisms” decorating the top, and issuing scrolled metal candle arms set with giltwood sockets, electrified, h. 27”, dia. 31‑1/2”. [600/900] Illustrated

120

398 396 Italian Carved and Parcel-Gilded Book Stand, fourth quarter 19th century, in the Baroque taste, the shellcarved stand on scrolled feet, the front skirt carved with a shell and scrolls, h. 12”, w. 13‑1/4”, d. 9‑3/4”. [500/800] Illustrated 397 Continental Patinated Bronze Bust of the PseudoSeneca, 20th century, after the 1st Century A.D. bronze discovered in The Villa of The Papyri at Herculancum, unsigned, h. 11”, w. 5‑1/2”, d. 5‑1/4”. [700/1000] Illustrated 398 Venetian Carved and Painted Blackamoor Figure, ca. 1900, the figure dressed in a turban, jacket, fringed skirt and Middle Eastern-style pointed slippers, one arm with a bracelet and the other outstretched to hold a tray, probably for calling cards, h. 39”, w. 12”, d. 12‑3/4”. [600/900] Illustrated

401

402

399 400 399 Pair of Italian Polychrome Blackamoor Occasional Tables, early 20th century, each with a circular top supported by the figure of a squatting female Blackamoor, bejeweled and in exotic garb, with outstretched arms, resting on a plinth base in the form of a cushion, h. 31”, w. 24”, d. 19”. [3000/5000] Illustrated 400 Pair of Patinated Bronze and Polychromed Blackamoors in the Venetian Style, 20th century, on parcel-gilt elaborately molded scroll-footed bases, the male and female figures dressed in molded and painted sarongs and beads, carrying leafmolded jardinieres on their turbaned heads, h. 57‑3/4”, w. 15”, d. 13‑1/2”. [2000/4000] Illustrated

401 Italian School (19th Century), “Festive Venetian Canal Scene with a View of Doge’s Palace”, oil on canvas, 16” x 20‑1/8”. Presented in an antique giltwood and gesso frame. [1000/1500] Illustrated 402 Warren Sheppard (American, 1858‑1937), “Quiet Venetian Canal Scene”, oil on canvas, signed lower left, 15” x 9”. Presented in a period giltwood and gesso frame. [1000/1500] Illustrated

121

403 Unusual Pair of Continental Bronze Three-Light Sconces, second quarter 20th century, in the rococo taste, on flower-molded backplates with diapered panels, with flower-molded arms and leaf-molded candle cups, electrified, h. 16”, w. 13‑3/4”, d. 8”. [500/800] Illustrated

405 Continental Oak Coffer, early 18th century, probably Iberian, the hinged top with a molded edge and opening to a void interior, the front centered by a carved cross, flanked to either side by a sunburst and spiral-carved roundel, the sides and apron with stylized floral carving, raised on block feet, h. 31”, w. 64‑1/2”, d. 24”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [1400/1800] Illustrated

404 Embossed Spanish Leather Four-Panel Screen, first quarter 20th century, decorated with diapered scrolled cartouches flanked by eagles carrying arrows and flowering plants, with an outer border of bold scrollwork, overall, h. 63‑1/4”, w. 92”. [800/1200] Illustrated

403

404

405

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409

408

406 406 Mexican Polychrome-Painted Tabernacle Door, 18th century, with a gadrooned base and cap, spiral carving framing the rounded door, decorated with a cross under a fan carving, h. 19”, w. 21”, d. 3‑1/2”. Provenance: Galleria Benin, Mexico City, Mexico. [1500/2500] Illustrated 407 Carved and Painted Altar Figure of St. John the Baptist, 18th century, probably Latin American, the white-painted body with carefully carved anatomical details, dressed in a gilt loin cloth and carrying a cross, h. 25‑1/4”, w. 11‑1/2”, d. 6”. [600/900] Illustrated 408 Pair of Spanish Carved, Painted and Parcel-Gilt Saints in Niches, 18th century, the figures of St. John the Baptist, leaning on a cross, carrying a bible in one hand, and St. Bartholomew, carrying a large knife, a devil at his feet, each in a gilded niche framed by fluted pilasters, under panels of delicately painted angels and scrollwork on an ivory ground, h. 20‑3/4”, w. 14‑1/4”, d. 4‑3/4”. Provenance: Blumka, New York, New York. [2500/4000] Illustrated

407

409 Continental Carved Plaque of St. George Slaying the Dragon, fourth quarter 18th century, in a carved giltwood frame, the bas-relief carving depicting a pensive St. George, his pike still in the just slain dragon, as he stands over him victoriously, the frame, probably Italian, of altar form with fluted and spiral reeded columns, a molded table in the center, under a projecting entablature, h. 12”, w. 9”, d. 3”. [700/1000] Illustrated

123

410 Suite of Six Spanish Colonial Hacienda-Style Mahogany Chairs, comprising two 18th-century examples and four fourth quarter 19th-century examples, the tall padded backs above like seats with tassel skirts, raised on molded scrolling legs joined by like H-form stretchers and ending in in-scrolled toes, h. 51”. [1500/2500] Illustrated 411 Pair of Italian Carved, Painted and Parcel-Gilt Wood Architectural Fragments, 17th century, mounted as brackets, with carved polychrome winged angel heads under ogee-molded gilt shelves, the undersides painted with blue decoration, h. 12”, w. 13”, d. 10‑1/4”. [1000/1500] Illustrated

412 Pair of Carved Baroque Figures of Archangels, ca. 1700, probably Italian, now mounted as candlesticks, on bombe-form bases with scroll-carved corners and winged angel heads, the robed archangels standing contrapposto, their arrows on pierced scrolls, the upper ends now mounted for candles, h. 34”, w. 15”, d. 9‑1/2”. [3000/5000] Illustrated

411

412

410

124

413 Pair of Regence-Style Fruitwood Fauteuils, 20th century, each with a padded, slightly domed crest joined by ribbed downswept arms on lion’s head hand rests to the padded seat, raised on shaped ribbed legs joined by an H-form stretcher and ending in foliate scrolled toes, h. 45”. [500/800] Illustrated 414 Continental Silvered Brass Pricket-Form Altar Stick, second quarter 19th century, on tripartite bases with scrolled feet, decorated with bas-relief portraits of Jesus, Mary and Joseph, the standard carefully molded with scrollwork, flowers and leaves, the candle cup with acanthus leaves, h. 43‑3/4”, w. 11‑1/2”, d. 11‑1/2”. [800/1200] Illustrated 415 Spanish School (18th Century), “Mystical Marriage of St. Catherine”, oil on canvas, 59” x 43‑1/2”. Framed. [6000/9000] Illustrated 416 Continental School (17th Century), “Christ Child with a Goldfinch and a Cherry”, oil on canvas, a fragment of a larger work, unsigned, 26‑1/2” x 42”. Unframed. [1000/1500] Illustrated

415

416

414 413

125

417

419

418

417 Italian School (18th Century), “Madonna and Child with St. Charles Borromeo”, oil on canvas, unsigned, 36‑1/4” x 24‑5/8”. Framed. [1000/1500] Illustrated 418 English Oak Refectory Table, late 17th century, the rectangular top with a molded edge, and raised on turned and bulbous legs joined by a box stretcher and ending in bun feet, h. 28‑1/2”, w. 31”, l. 77”. [1500/2500] Illustrated

126

419 Queen Anne-Style Giltwood Mirror, third quarter 20th century, English, the tombstone-form mirror with a giltwood surround molded with scrollwork, leaves and strapwork, set with a beveled mirror plate, h. 52‑1/2”, w. 26‑3/4”. [500/800] Illustrated

420 English Oak Mule Chest, late 18th century, the hinged rectangular top opening to a void interior, above a conforming case fitted with graduated faux drawers over two long graduated faux drawers with a single drawer below, all drawers bi-paneled and with molded banding, raised on block feet, h. 37”, w. 40‑1/4”, d. 22‑1/2”. [800/1200] Illustrated

422 Monumental English Carved Oak King-Form Candleholder, first quarter 19th century, possibly representing King Arthur or William the Conqueror, the standing figure dressed in a chain mail tunic, a sword under one arm and holding a cornucopia candle holder in the other, h. 60‑3/4”, w. 21‑1/2”, d. 13”. [2000/4000] Illustrated

421 William and Mary Inlaid Walnut Bible Box, ca. 1700 and later, with a solid burr walnut cover, the front inlaid with vines and tulips, the sides with latticework, the back vines, mounted with pierced brass corners, cartouche and lock cover, the interior with a lidded till, h. 6‑1/2”, w. 24”, d. 18‑1/4”. [600/900] Illustrated

423 Suite of Four Queen Anne Oak Sidechairs, 18th century, each with a shaped and back-scrolled crest above a baluster-form splat, the padded seat raised on cabriole legs joined by a turned H-form stretcher and ending in pad feet, h. 41”. [600/900] Illustrated

423 422

421

420

127

424

425 426

427 424 Set of Six Chinese Export Porcelain Armorial Nanking Plates, first quarter 19th century, decorated with the Arms of Foster, with blue lancet borders, the set comprised of four dinner plates, dia. 9‑1/4”, and a pair of dessert plates, dia. 7‑3/4”. See David Sanctuary Howard, Chinese Export Porcelain (London: Faber & Faber, 1974), p. 720 for an identical piece from this service. [800/1200] Illustrated 425 Two Pieces of Antique Delftware, the larger dish signed “APK” for Adriaenszoon Kocks De Grieksche A, Dutch, ca. 1701‑1722, decorated with vases of flowers and scrollwork arranged around a central rose, dia. 11‑3/4”, and the plate, probably London or Bristol, third quarter 18th century, with chinoiserie decoration, dia. 11‑3/4”. [600/900] Illustrated

128

426 Unusual Pair of Queen Anne Mahogany Fold-Over Games Tables, 18th century, each with a scalloped top and tooled leather interior, and raised on slender cabriole legs ending in pad feet, h. 28‑1/2”, w. 37”, d. 18”, extended l. 36”. [1000/1500] Illustrated 427 Pair of George III-Style Mahogany Armchairs, 20th century, in the Irish manner, each with a padded domed back joined by shaped arms to eagle’s head hand rests, the cushioned seat raised on cabriole legs headed by shell carving and ending in ball-and-claw feet, h. 44”. [500/800] Illustrated

430 Suite of Twelve Queen Anne-Style Mahogany Dining Chairs, 20th century, consisting of one armchair and eleven sidechairs, each with a shaped back-scrolled crest above a vasiform splat, the padded seat raised on cabriole legs ending in ball-and-claw feet, h. 39”. [2000/4000] Illustrated

428 Pair of Queen Anne-Style Walnut Sidechairs, each with a padded shaped back above the padded saddle seat, raised on cabriole legs ending in pad feet, h. 41‑1/2”. [500/800] 429 Pair of George II-Style Giltwood Torcheres, late 19th century, the scrolled, leaf-carved feet supporting tapered standards decorated with bellflowers on a diapered ground, the turned, carved and reeded upper portion set with tops carved with egg-and-dart edges, h. 53”, dia. 22”. [2000/4000] Illustrated

431 George III Oak Chest, fourth quarter 18th century, the rectangular top with a molded edge, above a conforming case fitted with two short drawers over three graduated long drawers, raised on bracket feet, h. 35”, w. 39‑1/4”, d. 20‑1/2”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [600/900] Illustrated

431

429

430

129

432 Fine George III Mahogany Tilt-Top Tea Table, third quarter 18th century, the scalloped top with a piecrust edge supported by a turned and carved standard, and raised on three outstretched cabriole legs with shell- and acanthine-carved knees and unusual shell-carved feet, h. 27”, dia. 27‑1/2”. [1800/2500] Illustrated 433 George II Parcel-Gilt and Burr Walnut-Veneered Mirror, second quarter 18th century, with a molded, giltwood surround, the swan’s neck crest decorated with a scrolled cartouche over a smaller gilt scrollwork cartouche applied to the mahogany-veneered ground, with pierced, carved giltwood vine-form drops on each side, h. 46‑3/4”, w. 23‑3/4”. [700/1000] Illustrated

434 George III Mahogany Chest, fourth quarter 18th century, the rectangular top with a molded edge, above a fret-carved frieze and a case fitted with two short drawers over three graduated long drawers, flanked to either side by a canted blind-fret-carved pilaster, raised on ogeemolded bracket feet, h. 40”, w. 43‑1/4”, d. 21”. [500/800] Illustrated 435 George III-Style Mahogany Sideboard, 20th century, the shaped and bowed top banded and above a conforming case fitted with a central drawer flanked to each side by a cupboard, all banded and with inlaid line accents, raised on tapering square legs ending in spade feet, h. 36”, w. 64”, d. 24‑1/2”. [600/900] Illustrated

432

433

435

130

434

437

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436 Pair of Rare Chinese Export Pistol-Handled Covered Urns with Rose Medallion Decoration, second quarter 19th century, with gilt-framed panels of Mandarin figures against a gilt ground painted with peonies and butterflies, and with raised bellflowers, the bases painted with faux marbre, h. 14‑1/2”, w. 7‑1/2”, d. 5‑1/2”. [1500/2500] Illustrated 437 Chinese Export Rose Medallion Porcelain Soup Tureen and Matching Platter, second quarter 19th century, the oval tureen with twisted handles and a flowerform knop, and decorated with panels of Mandarin figures alternating with panels of birds and butterflies on a gilt ground, h. 11‑1/4”, w. 12‑1/2”, d. 8”, the platter decorated to match, w. 14”, d. 11‑1/2”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [1000/1500] Illustrated

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438 Georgian Fruitwood Pear-Form Tea Caddy, first quarter 19th century, composed of figured wood, with an inlaid diamond-form escutcheon, the base with plugged center opening, h. 7”, dia. 3‑3/4”. [1000/1500] Illustrated 439 George III-Style Mahogany Dining Table, the banded rounded rectangular top raised on two pedestals, each with a turned columnar standard to four splayed legs ending in brass paws on casters, with two 18” leaves, h. 29‑1/2”, w. 50‑1/2”, l. 96”, extended l. 132”. Provenance: Manheim Galleries, New Orleans, Louisiana. [1500/2500] Illustrated

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440 Suite of Eight George III-Style Mahogany Sidechairs, in the Chippendale manner, each with a shaped and earred foliate crest above an elaborately pierced and intertwining crest, the padded seat raised on cabriole legs headed by acanthine shield carving and ending in scrolled toes, h. 38”. [1400/1800] Illustrated 441 George II-Style Polychrome Cabinet-on-Stand, 19th century, in the oriental taste, the rectangular case fitted with two doors opening to a shelved interior and with etched brass hardware in the Asian taste, each door with polychrome scenes of figural cityscapes, raised on a stand of cabriole legs headed by foliate carving and ending in like feet, h. 60”, w. 40‑1/2”, d. 23”. [2000/4000] Illustrated

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442 George III-Style Oak and Polychrome Secretary, the molded cornice above an upper section fitted with two doors, each inset with an arched beveled mirrored panel and opening to an interior fitted for shelves, the lower section fitted with a slant front opening to a fabric writing surface and a variety of drawers and cubbyholes over two short drawers and two long drawers, raised on bracket feet, the whole with gilt and gesso accents in the chinoiserie manner, h. 82‑1/2”, w. 36‑1/2”, d. 20”. [1000/1500] Illustrated

443 George II-Style Fruitwood Chinoiserie Dressing Table, 20th century, in the Queen Anne taste, the top with a cross-banded perimeter, the frieze with a shallow drawer flanked by deeper drawers, each in chinoiserie decor, on cabriole legs with shell-carved knees and pad feet, h. 30‑1/4”, w. 40”, d. 19”. [1200/1800] Illustrated

445 British School (Fourth Quarter 18th/First Quarter 19th Century), “The Weaver’s Wares”, oil on canvas, unsigned, a “T. H. Gladwell/Gracechurch Street, London” label en verso stretcher, 25” x 30”. In an antique frame. Provenance: Thomas H. Gladwell Gallery, London, England. [1000/1500] Illustrated

444 English Fret-Carved Mahogany Silver Table, fourth quarter 19th century, in the Georgian style, the clustercolumn legs joined by cross stretchers and supporting the fretwork, scroll-carved skirt, the gallery top decorated with piercing, h. 28‑1/2”, w. 30”, d. 20‑1/2”. [1000/1500] Illustrated

The Gladwell Gallery was located at the address listed on the label only between the years of 1836 and 1878.

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446 Monumental Ebonized and Parcel-Gilt Replica of Thomas Chippendale’s Kenure Cabinet on Stand in the Chinese Chippendale Taste, 20th century, with a large open pagoda-form structural crest flanked to either side by smaller like structures, the central section fitted with a single arched door flanked to either side by a recessed lower cabinet, above a conforming deeply fretcarved frieze, raised on foliate-carved cluster-column legs to plinth bases, the whole with gilt accents, h. 121”, w. 65”, d. 23‑1/2”. [4000/7000] Illustrated

448 Pair of Italian Giltwood Three-Light Sconces, second quarter 20th century, in the Georgian style, the backplates carved with scrollwork leaves and diapered panels incorporating mirror-backed phoenix birds standing on shelves, the scrolled gilt-metal candle branches terminating in carved giltwood candle cups and drip plates, h. 47”, w. 14‑1/2”. [500/800] Illustrated

The present cabinet is a re-creation of an 18th-century masterpiece from the Palmer family’s Georgian manse, “Kenure Park”, just north of Dublin. The Kenure cabinet has been attributed to Thomas Chippendale based on a host of elements matching those in his 1754 and 1755 The Gentleman & Cabinet-Maker’s Director. Features corresponding to those depicted in Chippendale include the glazing bar patterns, the pagoda canopies and case profile. The original cabinet sold at Christie’s, London in June 2008 for $5,325,000. 447 George III Ebonized and Parcel-Gilt Tea Table, in the Chinese Chippendale taste, the rectangular top featuring a figural Orientalist landscape within a full pierced gallery, raised on cluster-column legs joined by a pierced X-form stretcher and ending in block feet, h. 29‑1/4”, w. 34”, d. 22”. [1000/1500] Illustrated

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449 Jack Leigh Wardleworth (British, 1863‑1925), “The Archbishop of Canterbury, Thomas Cranmer, at the Traitor’s Gate”, oil on canvas, after the 1856 painting by Frederick Goodall (1822‑1904), now in a private collection, signed lower left, “Winsor and Newton/London” stamp en verso canvas, 20” x 30”. Framed. [1000/1500] Illustrated Cranmer (1489‑1556) was the Archbishop of Canterbury during the reigns of Henry VIII and Edward VI, and was one of the leaders of the English Reformation. An outspoken and active religious leader, he strongly supported the notion of Royal Supremacy, the idea of the head of state as the sovereign leader of the church. After the accession of the ardent Catholic Mary I to the throne, Cranmer was tried, convicted and condemned to death by burning for heresy.

450 Good Chippendale-Style Mahogany Secretary, third quarter 19th century, the foliate-carved broken swan’s neck pediment above a finely carved acanthine frieze, with two astragal-glazed doors below, the lower section fitted with a slant front opening to an inset fabric writing surface and a variety of drawers and cubbyholes flanking a central cupboard, with two short drawers and three graduated long drawers below, raised on foliate-carved ogee-molded bracket feet, h. 92”, w. 38”, d. 22”. [1000/1500] Illustrated 451 Waterford-Style Molded and Cut Glass Six-Light Chandelier, third quarter 20th century, the glass-clad vasiform standard supporting six molded candle arms terminating in scalloped bobeches, swags of drops hung between the branches and from the upper portion of the standard to the bobeches, h. 36”, dia. 24‑1/2”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [600/900] Illustrated

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452 Irish George III Mahogany Armchair, late 18th century, the shaped and earred crest with foliate and shell carving, above a pierced vasiform splat, joined by scrolling arms with feather and eagle’s head carving to the padded saddle seat, raised above a shaped apron on cabriole legs headed by shell carving and ending in paw feet, h. 40”. [800/1200] Illustrated 453 George III Mahogany Architect’s Table, fourth quarter 18th century, the rectangular top with two rounded drop leaves and a hinged center section opening to an adjustable easeled back, above a frieze fitted with a faux drawer to one end and a pull-out drawer to the other, opening to easel-backed racked and lidded compartments, raised on chamfered square legs joined by an X-form stretcher and ending in casters, h. 29”, w. 30”, l. 25‑1/2”, extended l. 33‑1/2”. [600/900] 454 George II-Style Giltwood Oval Mirror, 20th century, in the rococo taste, the carved pierced frame decorated with scrollwork and rocaille work, and supporting a swan’s neck crest with a scrolled finial, h. 52‑1/2”, w. 28‑1/2”. [500/800] Illustrated

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452 455 Pair of English Inlaid Mahogany Knife Boxes, ca. 1800, in the Hepplewhite style, with serpentine fronts set with silverplated fittings, with vertical line inlay, the slanted covers decorated with rosewood crossbanding trimmed with inlay, and inlaid interiors with fittings, h. 15‑1/4”, w. 9”, d. 12”. [1500/2500] Illustrated 456 Pair of Chinese Export Rose Medallion Porcelain Covered Vases, mid-19th century, the baluster-form vases with domed covers, and fitted with gilt foo dog knops and foo dog ring handles on the sides, with panels of Mandarin decoration on a gilt ground, h. 18”, dia. 7‑1/2”. [1000/1500] Illustrated

457 Suite of Twelve George III-Style Mahogany Dining Chairs, 20th century, consisting of two armchairs and ten sidechairs, each with a shaped crest above a foliatecarved, pierced and interlacing splat, the padded seat raised on cabriole legs headed by scroll carving and ending in hairy paw feet, h. 38”. [2500/4000] Illustrated

459 George III-Style Mahogany Dining Table, the rounded rectangular banded top supported by two pedestals, each with a turned columnar standard to four splayed legs ending in brass caps on casters, h. 30”, w. 48”, l. 82”. [1000/1500] Illustrated 460 George III Mahogany Cellarette, fourth quarter 18th century, of hexagonal form, the lid and case brass-banded, the open interior baize-lined, raised on a stand of tapering square legs ending in brass caps and casters, h. 26‑3/4”, dia. 18‑1/2”. [1000/1500] Illustrated

458 Chinese Export Rose Medallion Porcelain Fruit Basket, third quarter 19th century, decorated with panels of Mandarin scenes and peonies, the articulated sides in polychrome colors, h. 4‑1/4”, w. 10‑3/4”, d. 9‑1/2”. [500/800] Illustrated

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463 461 Three Chinese Rose Medallion Porcelain Vases, 19th century, including a garniture vase decorated with Mandarin figures framed with gilt frets, the cover with a gilt foo dog finial, h. 12‑1/2”, dia. 4‑6/4”, and a pair of unusual garniture vases decorated with panels of Mandarin figures and panels of birds and butterflies on a gilt ground, h. 10”, dia. 4”. Provenance: Lynda Willauer Antiques, Nantucket, Massachusetts. [500/800] Illustrated 462 George III Mahogany Sideboard, early 19th century, possibly Scottish, the brass back rail supported by fluted uprights and over a D-form banded top with concave central section, above a conforming case fitted with a cutlery drawer over a lower deeper drawer, flanked to one side by a cupboard door and to the other side by a deep drawer, all banded and with finely figured veneers, raised on tapering square legs ending in spade feet, h. 53”, w. 85”, d. 30‑1/2”. [1500/2500] Illustrated

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463 Three-Piece Collection of Chinese Rose Medallion Porcelain, second quarter 19th century, including a rose canton shell dish decorated with Mandarin scenes framed with an unusual raspberry cracked-ice border, w. 9‑1/2”, d. 10‑1/4”, and two unusual pierced brush pots with molded and painted Mandarin scenes, h. 4”, dia. 2‑1/2”. [500/800] Illustrated 464 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded cornice above a case fitted with two short drawers over three graduated long drawers, the lower section fitted with three graduated long drawers, raised on shaped bracket feet, h. 68‑3/4”, w. 43‑1/4”, d. 21”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [1500/2500] Illustrated

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465 Suite of Ten George III-Style Mahogany Dining Chairs, consisting of two armchairs and eight sidechairs, all with a shaped tassel-carved crest above a pierced and interlacing garland-carved splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 39”. [1000/1500] Illustrated 466 George III Mahogany Bachelor’s Chest, late 18th century, the top with a molded edge, above a case with two-over-three graduated cock-beaded drawers, raised on bracket feet, h. 36”, w. 37”, d. 20‑1/2”. [600/900] Illustrated 467 Pair of English Steel and Walnut Derringers, fourth quarter 18th century, signed “Edge Manchester”, with carved walnut handles and engraved scrollwork on steel, in an oak presentation case made for former owner, Nancy Dupont Reynolds (Cooch) of Greenville, Delaware, with her nameplate on the cover of the box, h. 5”, w. 13‑1/4”, d. 10”. [2000/4000] Illustrated

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468 Chinese Export Charger in the Imari Palette, second quarter 18th century, the border decorated with various plants, the reserve panel with peonies and trees with gilt accents depicted beyond a bridge rail, marked on the bottom, dia. 17”. [1000/1500] Illustrated

471 Turkish Angora Oushak Carpet, 6’ 1” x 9’. [500/800] Illustrated

469 George III Mahogany Side Table, fourth quarter 18th century, the bowed top above a conforming frieze fitted with a single drawer to either end, raised on chamfered square legs, h. 31‑1/2”, w. 56‑1/2”, d. 24”. [1000/1500] Illustrated

473 Turkish Angora Oushak Runner, 2’ 4” x 25’ 5”. [600/900] Illustrated

472 Bidjar Carpet, 9’ x 12’. [800/1200]

470 Antique Persian Tabriz Carpet, 8’ 9” x 11’ 7”. [3000/5000] Illustrated

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474 Turkish Angora Oushak Carpet, 5’ 9” x 8’ 4”. [500/800] 475 Agra Sultanabad Carpet, 9’ x 12’. [900/1200] Illustrated 476 Kashan Carpet, 6’ x 9’ 7”. [800/1200] 477 Semi-Antique Kashan Carpet, 9’ 4” x 13’ 10”. [1200/1800] Illustrated

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478 Persian Tabriz Carpet, 8’ 8” x 9’ 10”. [2000/4000] Illustrated 479 Tabriz Silk Carpet, 4’ 1” x 6’ 8”. [1000/1500] Illustrated 480 Bamboo Silk Carpet, 7’ 9” x 9’ 8”. [1200/1800] Illustrated 481 Semi-Antique Heriz Carpet, 8’ 3’ x 11’ 4”. [700/1000]

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482 Highly Important Russian Neoclassical Mahogany Bureau Cylindre “Trois Corps”, late 18th century, in the Jacob style, the galleried pediment with ormolu urn finials, above a triangular-patterned central frieze flanked to either side by a stepped gallery, above a conforming case fitted with a central astragal-glazed cabinet, flanked to either side by fluted uprights with Ionic capitals and a cupboard door, the lower section fitted with three small drawers over an oval-patterned cylindre opening to a mechanical pull-out leather-inset writing surface and a variety of drawers and cubbyholes, over a bank of four graduated drawers, flanked to either side by a recessed paneled cupboard and further flanked by a freestanding fluted column, raised on tapering square legs, the whole richly adorned with decorative inlaid brass banding and panels, h. 93”, w. 50‑1/2”, d. 24”. [40000/70000] Illustrated This rare “trois corps” bureau bookcase exemplifies the Russian “Jacob” style as it closely relates to examples illustrated in Antoine Cheneviere’s Russian Furniture, (2001), 33. 124‑126. Characterized by clear geometric lines inspired by Palladian architecture, the style is accentuated by elaborate brass stripping and cross hatching as evidenced by the inlaid drawers and tracery on the glass door offered here. This piece, clearly influenced by Roetengen, is more likely attributed to the workshop of Christian Meyer than Gambs and Ott. Though both firms supplied large quantities of Jacob-style furniture for the Imperial court, the latter incorporated more elements of the Empire style than the former. Other mahogany cylinder bureaus, bearing similar design and form, are conserved in the formal reception room of the Alexander Palace and Pavlovsk Palace.

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483 Russian Neoclassical Mahogany Cylindre Secretaire, late 18th century, in the Jacob style, the molded cornice above two astragal-glazed doors flanked to either side by ormolu-mounted pilasters, the lower section fitted with a paneled cylinder opening to a pull-out leather-inset writing surface and a variety of drawers and cubbyholes flanking a central cupboard, over three graduated long drawers, all flanked en suite, raised on tapering square legs, the whole accented with brass banding and accents, h. 92‑1/2”, w. 48”, d. 27”. [30000/50000] Illustrated 484 Baltic Neoclassical-Style BrassMounted Mahogany Pier Mirror, mid19th century, with brass bandings and moldings with inset brass linings in the fluted areas, the ends of the base depicting lyres, h. 124”, w. 39”, d. 18‑1/2”. [500/800]

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487 485 French Empire-Style Patinated and Gilt-Metal SixLight Chandelier, 20th century, the patinated metal body with three pairs of leaf-molded gilt-bronze arms and three anthemion-molded bronze chain holders, with a bronze molded cone-form finial, h. 18”, dia. 17”. [900/1200] Illustrated 486 Italian Neoclassical-Style Marble-Top Cocktail Table, the rectangular ochre marble top with an ebonized red figure band and like center panel depicting classical figures, raised on a later ebonized base with a paneled frieze and square legs ending in gilt molded feet, h. 17”, w. 60”, d. 24”. [2000/4000] Illustrated

487 Pair of French Gilt-Bronze, Marble and Patinated Metal Ewer-Form Garnitures, ca. 1900, in the neoclassical taste, on marble bases, the ewer bases with gilt-bronze laurel leaves, and the gilt-bronze scrolled handles set with griffin’s heads and molded leaves, the bases of the handles on molded masques, h. 19”, w. 7”, dia. 37‑1/2”. [800/1200] Illustrated 488 Swedish Gustavian Neoclassical Giltwood Mirror, ca. 1800, with delicately pierced, scrolled laurel branches along the base and ribbon-bound acanthus leaves with medallion corners along the surround, the pierced, laurelmolded crest decorated with an oval bas-relief-molded “widow” figure at a sarcophagus, set with a two-part mirror plate, h. 56”, w. 33‑1/2”. [800/1200] Illustrated

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489 Neoclassical-Style Mahogany, Polychrome and Marble-Top Commode, 19th century with later polychromy, the rectangular marble top with turreted corners, above a conforming case fitted with two drawers, each paneled and with carved giltwood foliate bands, over two long drawers, with a band and central panel featuring classical red-figure patterns, raised on fluted, tapering circular legs, h. 33‑1/2”, w. 46‑1/2”, d. 21‑1/2”. [1200/1800] Illustrated 490 Exceptional Paris Porcelain Neoclassical Urn, first quarter 19th century, the top of the urn with a ring of biscuit flowers, above a portrait of the Goddess Clio, writing on a page marked “Histoire” on the central reserve panel, framed in laurel leaves, the base with carefully detailed tooled gilt, the whole on a marble base, probably Dagoty based on the combination of the biscuit flowers and marble base, h. 14‑1/2”, dia. 8‑1/2”. [500/800] Illustrated

491 Empire-Style Mahogany, Gilt-Metal and Slate-Top Center Table, 20th century, the circular top in a fauxmarbre finish, above a plain conforming standard, raised on three gilt winged swan supports to a concave tripartite base, h. 31”, dia. 35‑1/2”. [700/1000] Illustrated 492 French Marble, Onyx and Gilt-Bronze Pedestal, ca. 1900, the base trimmed with leaf-molded gilt bronze, composed of verde antico and red griotte marble, supporting the brown mottled onyx standard with a giltbronze Corinthian capital and onyx cap, h. 48”, w. 9‑3/4”, d. 9‑3/4”. [1800/2500] Illustrated

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493 Biedermeier Mahogany Pier Mirror, second quarter 19th century, the triangular crest above a frieze with a recessed domed panel with applied ormolu griffins flanking a flaming urn, the beveled rectangular plate within a plain frame with molded base, h. 90‑1/2”, w. 36‑1/2”. [500/800] 494 Italian Neoclassical-Style Patinated and GiltMetal Fifteen-Light Chandelier, second quarter 20th century, the baluster-turned standard with three angelmolded patinated and gilt arms, with molded leaves and scrollwork, each holding a cluster of five molded electrified candle sockets on floriform drip pans, h. 34‑1/2”, dia. 23”. [2000/4000] Illustrated

495 Monumental Pair of French Patinated and GiltBronze and Marble Three-Light Candelabra, third quarter 19th century, in the Neo-Grec taste, on black marble bases fitted with anthemion-molded bronze trim, the patinated bronze standards in the form of caryatids holding leaf-molded candle arms set with drip pans and candle cups, electrified, h. 40”, w. 16‑1/4”, d. 6‑3/4”. [1800/2200] Illustrated 496 Pair of French Carved, Painted and Parcel-Gilt Sconces of Empire Inspiration, composed of antique elements, on cut-cornered mirrored backs, the corbelcarved brackets supporting leaf-carved monopodia terminating in classical women, the baskets on their heads mounted with candles, electrified, h. 37‑1/4”, w. 10‑1/4”, d. 9‑3/4”. [1500/2500] Illustrated

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497 Pair of Paris Porcelain Garniture Vases in the Neo-Grec Style, third quarter 19th century, French, trimmed with delicate gilt anthemia and vermicelli, with white enamel accents, and hand-painted with polychrome scenes of cupid with his female targets, h. 18‑3/4”, dia. 6‑1/4”. [500/800] Illustrated 498 Pair of Neo-Grec-Style Campana-Form Urns, third quarter 19th century, probably English, each decorated with a polychrome scene of the Goddess Aurora driving her chariot on the obverse, and a roundel depicting a classical soldier on the reverse, on a bleu de France ground, mounted with scrolled handles terminating in swan’s heads, formerly mounted as lamps, h. 21”, dia. 6‑3/4”. [600/900] Illustrated 499 Empire-Style Gilt-Bronze and Malachite Gueridon, 19th century, the circular top over a pierced guilloche frieze, the shaped legs capped by ram’s heads and joined by a shaped stretcher with an urn-form finial, h. 32”, dia. 26”. [18000/25000] Illustrated

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501 500 Impressive Louis XIV-Style Giltwood Overmantel Mirror, fourth quarter 19th century, French, the mirror surround decorated on three sides with inner beading and ribbon-bound flowers, with drops of oak leaves on each side, a pierced spray of ribbon-bound laurel leaves forming the crest and supporting swags of oak leaves and acorns at the top of the mirror, h. 75”, w. 49”. [2000/4000] Illustrated

502 Royal Vienna Hand-Painted Soup Tureen, ca. 1805, Austrian, painted with meanders of leaves and sprigs of cornflowers, the handles terminating in molded leaves, the cover set with a gilt-bronze cone-form knop over molded leaves, marked with a blue underglaze bindenschild, with a gilt “109”, and an impressed “805” date mark, h. 14”, w. 15”, d. 10‑3/4”. [900/1200] Illustrated

501 Empire-Style Marble and Gilt-Bronze Occasional Table, early 20th century, the square marble top above a conforming ormolu guilloche-applied frieze, raised on columnar marble legs with ormolu quiver capitals, joined by an urn-centered X-form stretcher and ending in foliate toupie feet, h. 27”, w. 19‑1/2”, d. 19‑1/2”. [2500/4000] Illustrated

503 Pair of Parcel-Gilt Wood and Metal Three-Light Sconces in the Italian Neoclassical Taste, 20th century, on turned and carved backplates decorated with spiral fluting, carved leaves and pierced anthemia, the metal arms set with leaf-carved candle cups, h. 30‑1/2”, w. 10‑1/4”, d. 7‑3/4”. [700/1000] Illustrated

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504 Attributed to Giuseppe Ponga (Italian/Venetian, 1856‑1925), “Venetian Canal Scene with a View of Basilica Santa Maria della Salute”, oil on canvas, unsigned, 13‑1/2” x 19‑3/4”. Framed. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [2000/4000] Illustrated 505 Attributed to Giuseppe Ponga (Italian/Venetian, 1856‑1925), “Venetian Canal Scene with a View of St. Mark’s Cathedral”, oil on canvas, unsigned, 13‑1/2” x 19‑3/4”. Framed. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [2000/4000] Illustrated

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506 Attributed to Giuseppe Ponga (Italian/Venetian, 1856‑1925), “Venetian Canal Scene with a View of the Church of San Stae”, oil on canvas, unsigned, 19‑1/2” x 27”. Framed. Provenance: Estate of Elmira Ann Parnell Gregorie, Baton Rouge, Louisiana. [3500/5000] Illustrated 507 Pair of Large Bronze Figural Andirons in the Baroque Style, 20th century, on scrolled bases decorated with putti, one tapered standard with a bust of Ampelos, a satyr wearing a leopard skin, and the other a bust of a bacchante, h. 36”, w. 16”, d. 10”. [2000/4000] Illustrated

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508 Pair of Neoclassical-Style Parcel-Gilt Composition Brackets, third quarter 20th century, on tapered backplates decorated with carved leaves, mounted with leaf-carved scrolled brackets meeting at lower finials carved with egg-and-dart molding and terminating in grapes, h. 21‑1/4”, w. 14‑1/4”, d. 6‑1/2”. [800/1200] Illustrated 509 Pair of Directoire-Style Polychrome Fauteuils, late 19th century, each with a foliate urn-carved crest above a pierced urn splat, joined by padded arms on downswept uprights to the padded seat, raised on paneled sabre legs headed by bellflower carving, h. 35‑1/2”. [1800/2500] Illustrated

510 Italian Carved Alabaster Pedestal in the Neoclassical Taste, ca. 1900, the acanthus-carved round base supporting a fluted and leaf-carved standard under swags of laurel, and with four dancing putti standing on the top, dancing against a ground of carved flowers, h. 54‑3/4”, dia. 14‑1/2”. [1200/1800] Illustrated 511 Handsome Carved Marble Bust of Young Woman, mid-19th century, probably Italian, in the neoclassical style, h. 16‑1/2”, w. 11”, d. 8‑1/2”. [500/800] Illustrated

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512 Louis XVI-Style Carved and Painted Trumeau Mirror, ca. 1900, with an egg-and-dart-carved mirror surround, the carved swags of flowers draping over the mirror, the upper table decorated with a quiver of arrows crossed with a cornucopia of flowers, against a ground of bas-relief laurel sprigs, h. 66‑1/2”, w. 39”. [1000/1500] Illustrated 513 Pair of French Gilt-Bronze and Marble BrazierForm Garniture Urns, first quarter 20th century, in the Louis XVI style, the gray and pink mottled marble base supporting bronze hoof-footed monopodia terminating in classical heads and supporting the braziers, with laurelpierced fittings and marble covers set with bronze knops, h. 20”, dia. 8‑3/4”. [1200/1800] Illustrated

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514 Jan van Huysum (Dutch, 1682‑1749), “Classical Landscape with Figures”, oil on canvas, signed lower left, 24‑3/4” x 21”. Presented in a giltwood and gesso frame. [6000/9000] Illustrated 515 Suite of Six Biedermeier-Style Birch Dining Chairs, consisting of two armchairs and four sidechairs, each with a paneled crest with painted designs above a lyre-painted splat, the padded seat raised on sabre legs, h. 34‑1/2” and 33”. [1200/1800] Illustrated

516 Swedish Gustavian Giltwood Mirror in the Empire Taste, first quarter 19th century, resting on pierced swanmolded feet, the surround molded with acanthus leaves, the pierced crest molded with a pair of eagles supporting a bouquet of flowers, h. 55”, w. 36”. [500/800] Illustrated

517 Biedermeier-Style Burlwood Bookcase, early 20th century, the cove-molded cornice above a scroll-inlaid frieze, with two doors below, each inset with an upper glazed panel and a lower inlaid panel, raised on bracket feet, h. 66”, w. 39‑1/2”, d. 14”. [1800/2500] Illustrated 518 Biedermeier-Style Fruitwood Occasional Table, the circular banded top with a starburst inlay above a conforming frieze, joined by shaped supports to a concave triangular stretcher and a like-shaped base, h. 29”, dia. 22”. [500/800] Illustrated

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519 Handsome Biedermeier Mahogany-Veneered Pier Mirror, first quarter 19th century, German or Austrian, the mahogany surround trimmed with ebonized beading and a lozenge-form inset lower panel with a pierced giltbronze mount, ebonized corner blocks set with gilt-bronze metals delineating the upper portion of the mirror, with an ebonized lozenge-form panel against a burl-veneered panel, under a pitch pediment, h. 80‑1/2”, w. 32‑1/2”. [800/1200] Illustrated

520 Continental Neoclassical Walnut and Fruitwood Commode, late 18th century, the banded rectangular top with a molded edge, above a conforming case fitted with a long narrow frieze drawer over three long drawers, all with decorative banding, raised on bracket feet, h. 38”, w. 57‑1/2”, d. 25‑1/4”. [3500/5000] Illustrated 521 Continental Terracotta Bust of Diana, 20th century, the bust on a socle, after the antique Roman sculpture (itself a copy of a Greek bronze) now in the Louvre, Paris, h. 29‑1/2”, w. 16”, d. 10”. [1000/1500] Illustrated 522 Continental Terracotta Bust of the Apollo Belvedere, 20th century, after the Antique, the bust raised on a socle, h. 29‑1/2”, w. 16”, d. 10”. [1000/1500] Illustrated

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523 Handsome Italian Mottled Marble Kylix-Form Urn, first quarter 20th century, composed of black, brown and red marble, the inverted base holding the bowl, decorated with bold reeding, h. 15”, w. 19‑1/2”. [600/900] Illustrated 524 Italian Neoclassical Giltwood Mirror, ca. 1800, the cove-molded frame carved with egg-and-dart molding punctuated with panels of bas-relief scrollwork, 51‑1/2” x 36‑1/4”. [500/800]

527 French Parcel-Gilt Trumeau Mirror in the Neoclassical Taste, first quarter 20th century, decorated with parcel gilt on a buff ground, each side with inset panels of trailing roses over bas-relief vases of flowers, the lower mirror with a ribbon-carved surround, the upper panel with an oil-on-canvas urn of flowers surrounded by beading, beneath an egg-and-dart crest, h. 68‑3/4”, w. 45‑1/2”. [1800/2500] Illustrated

525 Continental Walnut Bureau, 19th century, in the Georgian neoclassical taste, the banded slant front opening to an interior fitted with a variety of drawers and cubbyholes, over three long banded drawers, raised on tapering square legs, h. 37‑1/4”, w. 36”, d. 17”. [700/1000] Illustrated 526 Continental Neoclassical Fruitwood Commode, mid18th century, the rectangular top with decorative banding, above a conforming case fitted with three graduated long drawers, all with decorative banding and panels, raised on tapering square legs, h. 38”, w. 49‑3/4”, d. 27”. [3000/5000] Illustrated

523

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531

528

528 Pair of Italian Parcel-Gilt and Painted Armchairs, first half 20th century, in the Louis XV taste, each with a molded back with floral-carved crest, open arms, serpentine front seat rail and cabriole legs, h. 35”. [700/1000] Illustrated 529 Louis XVI-Style Polychrome and Marble-Top Center Table, early 20th century, the circular marble top within an X-carved banding, above a like-carved conforming frame, raised on fluted tapering circular legs ending in foliate-capped toupie feet, h. 29”, dia. 28”. [1800/2500] Illustrated 530 Pair of French Marble and Gilt-Bronze Garniture Urns, ca. 1900, in the Louis XV taste, the serpentine bases set on paw feet, and supporting inverted pear-form bodies composed of mottled pink and gray marble, set with pierced rococo handles, and a pierced bronze rim securing the marble covers with feather-molded knops, h. 23‑1/2”, w. 11‑1/2”, d. 7‑1/4”. [2000/4000] Illustrated

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529

531 French Polished Brass Firescreen, mid-20th century, in the Louis XVI taste, on scrolled feet, the shaped rectangular frame with a crest of a laurel wreath and pierced laurel branches, the screen decorated with lovebirds in a pierced cartouche held by a bowknot, h. 27”, w. 29”, d. 9”. [500/800] Illustrated 532 Pair of French Gilt-Bronze Three-Light Sconces, second quarter 20th century, in the Louis XV style, with a bright gilt finish accented with matte gilt, the scrolled backplates with leaf- and rocaille-molded scrolled arms, with matching drip pans and candle cups, h. 20‑1/2”, w. 14‑1/2”, d. 8”. [500/800]

533 French Restauration Gilt-Bronze and Glass Dessert Stand, second quarter 19th century, the grape-molded inverted vasiform base above a stepped plinth and set with a fluted standard supporting two cut glass plates, the upper ring handle set in an Ionic capital-form holder, h. 17‑1/2”, dia. 9‑1/2”. [2000/4000] Illustrated

535 Napoleon III Giltwood Oval Mirror, third quarter 19th century, the cove-molded frame trimmed with egg-anddart molding, the lower edge decorated with a cabochon and sprays of laurel leaves, the crest with pierced scrollwork and flowers, h. 33‑1/2”, w. 21‑1/2”. [500/800] Illustrated

534 Pair of French Gilt-Brass Five-Light Candelabra, fourth quarter 19th century, in the form of vases with lilies, the cut-cornered bases supporting anthemia-decorated vases with scrolled handles, mounted with tall bouquets of “flowers”, the lilies and leaves set on three tiers, interspersed with five lilies set with candle cups, h. 50”, w. 7”, d. 7”. [600/900] Illustrated

536 Louis XV-Style Giltwood Mirror, second quarter 20th century, the molded and scroll-carved giltwood frame with a mirror inset surround, carved leaves forming the lower finial and decorating each side, the pierced crest formed from a series of C-scrolls with a leaf-carved finial, h. 48”, w. 28‑3/4”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [600/900] Illustrated

533

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534 535

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537 Pair of Louis XV-Style Polychrome Fauteuils, mid19th century, each with a padded shaped back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by floral capitals and ending in acanthine toes, upholstered in period tapestry in figural, animal and foliate patterns, h. 38”. [600/900] Illustrated 538 Napoleon III Gilt-Bronze and White Marble Figural Mantel Clock, third quarter 19th century, the fluted marble base with bas-relief bronze neoclassical plaques, flanking the dial set with works marked both “L. Marti” and “Popon a Paris”, a gilt-bronze figure representing the Goddess of Orpheus sitting on the top, resting on a stool trimmed with anthemia, her chelys, a lyre made of tortoiseshell and horns, invented by her brother, Hermes, behind her, h. 19‑3/4”, w. 17‑1/2”, d. 7‑3/4”. [1200/1800] Illustrated

539 Pair of Belle Epoque Bronze Chenets in the Rococo Taste, ca. 1900, the scroll-molded bases ornamented with flowers and supporting putti, one holding a cymbal and the other a wine skein, with cast iron billet bars supporting the backs, h. 14‑1/4”, w. 12‑1/4”, d. 13‑1/2”. [800/1200] Illustrated 540 Louis XV-Style Kingwood and Marble-Top Commode, 20th century, the shaped Breche d’Alep marble top above a conforming bombe case fitted with two long drawers, each drawer and the sides with lattice-patterned veneers, raised on sabre legs ending in sabots, h. 33‑1/2”, w. 43‑1/2”, d. 20‑1/2” [1500/2500] Illustrated

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541 Pair of Louis XV-Style Ormolu-Mounted, ParquetryInlaid and Marble-Top Occasional Tables, each with a bowed front, rounded back and sides, a brescia marble top, a pair of drawers and cabriole legs, h. 28‑3/4”, w. 23‑1/2”, d. 15”. [700/1000] Illustrated 542 Pair of Pierced Giltwood Wall Brackets, 20th century, carved with rocaille work, scrolls and shells, and set with serpentine shells, marked “F. Powell AP” on the rear, h. 14‑3/4”, w. 10‑1/4”, d. 6”. [500/800] Illustrated

544

543 Suite of Four Louis XV-Style Polychrome Fauteuils, late 19th century, each with a shaped and padded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on molded cabriole legs headed by a floral capital and ending in peg feet, h. 35”. [1200/1800] Illustrated 544 Italian Alabaster Statue of a Newsboy, ca. 1900, the standing figure calling to his customers, with papers under one arm, h. 33”, w. 12”, d. 9‑1/2”. [1000/1500] Illustrated

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545 Viennese-Style Polychromed and Marble-Top Bombe-Form Commode, ca. 1900, the variegated salmon marble top over a shaped case with a bank of three drawers, a scalloped apron and splay feet, the sides of like shape, now in avian and foliate decor with a pale yellow ground, h. 36”, w. 48”, d. 25”. [1000/1500] Illustrated

547 Pair of Louis XV-Style Gilt-Bronze Two-Light Sconces, 20th century, French, each with a rococomolded backplate issuing scrolled arms terminating in rocaille-molded drip pans and matching candlecups, electrified, h. 13‑1/2”, w. 10‑1/4”, d. 4‑3/4”. [600/900] Illustrated

546 Pair of German Schneeballen Porcelain Covered Vases, second quarter 20th century, in the Meissen style, now mounted as table lamps, the finials of the domed schneeballen covers removed in the conversion, each lamp fitted with a tall antiqued brass finial in the neoclassical taste, h. to socket 25‑3/4”, w. 8”. [500/800] Illustrated

548 Pair of Directoire-Style Gilt-Bronze and Marble Garnitures, ca. 1900, French, now mounted as lamps, on leaf-molded bronze bases, the tan and gray mottled marble vasiform bodies mounted with bronze swan-form handles supporting swags of flowers, mounted with silk shades, h. 31”, dia. 19”. [700/1000] Illustrated

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549 Louis XVI-Style Gilt-Metal and Porcelain Side Table, early 20th century, the rectangular top with a porcelain plaque richly decorated in exotic flora and fauna, within a full pierced gallery, raised on paneled, ridged tapering square legs ending in flared feet, h. 30‑1/2”, w. 39”, d. 21‑1/4”. [3000/5000] Illustrated

551 Pair of Louis XVI-Style Giltwood Fauteuils, ca. 1900, each with a padded square back within a guilloche-carved frame, joined by padded acanthine-carved arms to the cushioned seat, raised on fluted tapering circular legs headed by foliate capitals and ending in toupie feet, h. 38‑1/2”. Provenance: Estate of Elmira Ann Parnell Gregorie, Baton Rouge, Louisiana. [1500/2500] Illustrated

550 Louis XVI Giltwood Mirror, fourth quarter 18th century, the rectangular surround delicately fluted and carved with a ribbon-bound outer edge, the crest depicting a pair of lovebirds perched on a crossed torch and quiver of arrows, supported by swags of flowers on each side, h. 49‑1/2”, w. 29‑3/4”. [800/1200] Illustrated

549

detail 550

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552 Circle of Francois Boucher (French, 1703‑1770), “Reclining Female Nude”, sanguine charcoal on paper, verso with a graphite drawing of a village, 7‑1/4” x 9”. Glazed, matted and framed. [4000/7000] Illustrated Though Francois Boucher tends to use the cross-hatching technique to designate depth cast by recessed areas and shadows, he is also a master of directional line drawing when it comes to studies of nudes in the charcoal medium. The work offered here is a fine example of the latter technique that uses the quality of the line (thick and dark as opposed to thin and light) to depict value change. This beautiful study resembles the composition and strong diagonal lines Boucher employed. By contrast, the drawing on the reverse of the village, whose background is lightly rendered with soft graphite through tonal values instead of lines, is more consistent with the sketches of Boucher’s student and fellow colleague Jean-Honore Fragonard (1732‑1806).

553 Pair of Louis XVI-Style Mahogany and Marble-Top Side Tables, early 20th century, each with a rectangular marble top within a three-quarter pierced brass gallery, above a case fitted with two drawers, raised on fluted tapering circular legs headed by an ormolu capital, joined by a stretcher shelf and ending in peg feet, h. 27”, w. 20‑1/2”, d. 14”. [600/900] Illustrated 554 Louis XVI-Style Mahogany Triple-Top Games Table, mid-19th century, the D-form top with brass edging, hinged and opening to a larger surface and opening further to a baize-lined gaming surface, above a conforming paneled frieze with brass banding, raised on brass-fluted tapering circular legs ending in brass caps and casters, h. 31”, w. 43”, d. 21‑1/2”. [500/800] Illustrated 555 Louis XVI-Style Mahogany Triple-Top Games Table, mid-19th century, the D-form top with brass edging, hinged and opening to a larger surface and opening further to a baize-lined gaming surface, above a conforming paneled frieze with brass banding, raised on brass-fluted tapering circular legs ending in brass caps and casters, h. 31”, w. 43”, d. 21‑1/2”. [500/800]

552 one of two

552 two of two

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558 Vienna-Style Yellow-Ground Porcelain Topographical Potpourri Urn, ca. 1900, probably French, in the neoclassical style, with gilt-trimmed molded leaves on the base, and a pierced cover and handles, the hand-painted view including Vienna’s theatre, identified on the bottom as “Karntnertor Caster”, adjacent to the blue “beehive” mark, likely the Samson factory, h. 13”, dia. 5”. [500/800] Illustrated 557 556 Unusual French Neo-Grec Bronze and Beveled Mirror Surtout de Table, fourth quarter 19th century, with a square central panel and tombstone-form end panels, the bronze frame molded with pointed leaves and resting on pierced shell-molded feet, h. 3‑1/4”, w. 23”, l. 60”. [2000/4000] Illustrated 557 Pair of Louis XVI-Style Giltwood Bergeres, late 19th century, each with a domed and padded back within a ribbon-carved frame, joined by padded downswept arms to the cushioned seat, raised on fluted tapering circular legs headed by floral capitals and ending in toupie feet, h. 38”. [1200/1800] Illustrated

559 Louis XVI-Style Giltwood Mirror, fourth quarter 19th century, French, the giltwood surround carved with acanthus leaves and lined with beading, and decorated with leaf-carved corner blocks, h. 55‑1/2”, w. 37”. [500/800] Illustrated 560 Transitional Louis XV-into-Louis XVI Kingwood and Marble-Top Commode, late 18th century, the breakfront Breche d’Alep marble top above a conforming case fitted with two long drawers, centered by an inlaid medallion of a cityscape, surrounded by lattice-patterned parquetry veneers, the sides veneered en suite, raised on splayed legs ending in sabots, h. 34”, w. 48”, d. 21”. [1800/2500] Illustrated

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564 561 Louis XV-Style Elm Poudreuse, 18th century, the trisected top with a central section opening to a mirrored and fabric-lined interior, flanked to one side by a hinged section opening outward to a fabric-lined storage space, the other side opening outward to a space fitted with three metal-topped glass vessels, two scent bottles and two porcelain boxes, over a frieze fitted with a single central drawer, raised on cabriole legs ending in sabots, h. 28”, w. 33‑1/2”, d. 20‑1/4”. [600/900] Illustrated 562 Pair of Louis XVI-Style Bronze Two-Light Sconces, 20th century, French, each with a flower-decorated bowknot and tassel-molded backplate issuing cornucopiaform arms molded with flowers and terminating in leaf-molded candle cups, electrified, h. 21”, w. 9‑1/2”, d. 4‑1/4”. [600/900] Illustrated

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563 French Belle Epoque Giltwood Mirror, fourth quarter 19th century, in the Louis XV style, the pear-shaped giltwood surround decorated with leaves and scrollwork, and set with a rocaille-molded crest with a pierced, scrolled finial, h. 53‑1/2”, w. 33”. [800/1200] Illustrated 564 Pair of Louis XVI Giltwood Fauteuils, early 20th century, each with a padded rectangular back surmounted by a floral ribbon crest, joined by padded acanthine-carved arms to the like seat, raised on fluted tapering circular legs ending in toupie feet, h. 39”. [1000/1500] Illustrated

565 Five-Piece Louis XVI-Style Giltwood Parlor Suite, late 19th century, consisting of a settee and four sidechairs, the settee with an elongated shield-form back padded and surmounted by a floral ribband crest, joined by padded imbricate-carved arms to the padded seat, raised on spiral-fluted circular legs ending in toupie feet, h. 48‑1/2”, w. 66”, d. 24”, the chairs with padded shieldform backs, and like crests, the seats raised on like legs, h. 40”. [500/800] Illustrated

567 Pair of French Gilt-Metal and Crystal Five-Light “Basket” Sconces, first quarter 20th century, in the Louis XVI taste, the shaped frames set with glass rosettes and holding candle cups with molded glass drip pans on two levels, the whole hung with swags of drops, h. 21”, w. 21”, d. 14‑3/4”. [800/1200] Illustrated

566 Two Similar French Rococo-Style Giltwood Mirrors, ca. 1900, one example on pinecone feet, with a covemolded surround, the pierced crest depicting a pair of birds on branches in a fluted urn, flanked by scrollwork and medallions, h. 42”, w. 22”, and the other example with an ogee-molded surround with pierced scrollwork on the base, the crest formed from a circular pierced and fluted ornament crowned with a shell-molded finial, flanked by pierced scroll and rocaille work, h. 45‑1/2”, w. 28”. [500/800] Illustrated

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568 Louis XVI-Style Fruitwood and Marble-Top Center Table, mid-19th century, the circular Breche d’Alep marble top within a brass banding, above a conforming floral-inlaid frieze with a single small drawer, raised on tapering square legs ending in pegs, h. 28”, dia. 22”. [600/900] Illustrated 569 Suite of Twelve Louis XVI-Style Polychrome and Parcel-Gilt Armchairs, each with a molded frame surrounding a slatted back, joined by shaped arms to the padded seat, raised on fluted tapering circular legs ending in toupie feet, h. 43”. [1000/1500] Illustrated

570

570 Circle of Jean-Baptiste van Loo (French, 1684‑1745, active England, 1737‑1742), “Portrait of a Gentleman in an Embroidered Waistcoat, Possibly a Member of the Howard Family”, oil on canvas, unsigned, old handwritten inscription en verso “David Garrick par J.B. van Loo” erroneously identifying sitter, a “William Ware Gallery/Sloane Street” label en verso frame, 26‑3/4” x 21‑3/4”. Presented in a later giltwood and gesso frame. Provenance: William Ware Gallery, London, England, 1970s. [3500/5000] Illustrated 571 Louis XV-Style Gilt-Bronze Six-Light Chandelier, third quarter 20th century, the reeded standard set with finials of molded grapes, the scrolled arms decorated with putti, each holding a pair of C-molded candle branches, hung from a pierced canopy with bronze fringed drapery, h. 36”, dia. 20”. [1200/1800] Illustrated

571

568 569

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572 Louis XVI-Style Ormolu-Mounted Parquetry-Inlaid Bureau Plat, 20th century, the inset leather top with a banded perimeter, the frieze with a projecting paneled door, one side fitted with a similar door, raised on fluted trumpet legs, h. 30”, w. 45‑1/4”, d. 25”. [500/800] Illustrated 573 French Patinated and Gilt-Bronze Figural Mantel Clock, fourth quarter 19th century, in the Louis XV style, pierced with scroll and rocaille work, and decorated with molded shells and a trophy of musical instruments, a patinated bronze cupid serving as the finial, with an enamel dial on the Japy Freres signed works, h. 13”, w. 12”, d. 7”. [600/900] Illustrated

573

572

574 Pair of French Bronze Dore et Patine Chenets, fourth quarter 19th century, in the Directoire style, the ovalshaped chenets resting on toupie feet, flanking the bodies with pierced laurel leaves and patinated neoclassical oval roundels held with bowknots, with urn-form finials on scrolled feet, decorated with patinated bronze swags and flame-form finials, h. 15‑1/4”, w. 11‑3/4”, d. 4”. [700/1000] Illustrated 575 Louis XVI-Style Mahogany and Marble-Top Commode, early 20th century, the rectangular marble top with turreted corners, above a conforming case fitted with a single frieze drawer faced as three short drawers, over two graduated long drawers, all with brass banding, raised on toupie feet ending in brass caps, h. 33”, w. 47‑1/2”, d. 23”. [2000/4000] Illustrated

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578 Louis XVI-Style Mahogany and Marble-Top Writing Table, late 19th century, the inset rectangular marble top above a conforming frieze fitted with a single side drawer, the frieze with applied ormolu plaques and guilloche patterns, raised on tapering square legs ending in brass caps, h. 30‑1/2”, w. 39‑3/4”, d. 24”. [2000/4000] Illustrated

576 Pair of Louis XVI-Style Mahogany and Marble-Top Cabinets, late 19th century, each with a rectangular marble top within a three-quarter pierced brass gallery, above a conforming case fitted with a single drawer over a single cupboard, faced with leather book spines, raised on tapering square legs ending in brass caps, h. 29‑1/2”, w. 16”, d. 12”. [800/1200] Illustrated

579 Japanese Lacquer Picnic Set, fourth quarter 19th century, the top decorated with a seashore dining scene, the stack of sage jubako, or boxes, decorated with seashells, the bamboo-form sake bottle decorated with bamboo plants, the set with five rectangular trays, a square tray, a rectangular open box and a small round footed dish, h. 12‑1/2”, w. 13‑1/2”, d. 7‑1/4”. [1800/2500]

577 Pair of Renaissance-Style Giltwood Mirrors, 20th century, the rectangular frames decorated with fleurs-delis and scrollwork molded in bas relief, h. 38‑1/2”, w. 22”. [900/1200] Illustrated

580 Japanese Lacquer Box, 20th century, with geometric decoration on the cover and sides, and handsomely rendered seashells on the interior, h. 3‑3/4”, w. 9‑1/4”, d. 8‑3/4”. [600/900] Illustrated

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581 581 Hu Zhengyan (Chinese, 1584‑1674), The Ten Bamboo Studio Collection of Calligraphy and Pictures, Qing Dynasty (1644‑1912), 18th/19th century, woodblock prints, nearly complete in 16 folios, pages bound in “butterfly binding” style, presented in a deep blue silk-covered portfolio, each folio 9‑1/2” x 5‑3/4”. Provenance: Purchased in China in the 1920s by Lene Schneider-Kainer (1885‑1971), Vienna, Austria and New York, New York; by descent to present consignor. [12000/18000] Illustrated In 1926, the artist Lene Schneider-Kainer embarked on a twoyear journey to India, Russia and Asia. Accompanied by the poet Bernhard Kellerman (1879‑1951), the trip was sponsored by the German journal Berliner Tageblatt (published from 1872‑1939) and was to follow the presumed route taken by explorer Marco Polo to China. Kellerman supplied the documentary text while Schneider-Kainer produced sketches, paintings and photographs of the journey. While many of the photographs have been lost, almost 100 watercolors are conserved in the Leo Baeck Institute Art Collection in New York and Berlin. It was an unusual, dangerous, and somewhat daring trip for a woman to make and Schneider-Kainer kept a journal of her experiences and reactions; a portion of the diary has been translated into English by Ruth Heimann and Irene Miller and is available online. Schneider-Kainer’s collection of Asian art, acquired during this journey, was exhibited in 1949 at The Brooklyn Museum and The Asian Institute, New York, New York. In 1933, after Hitler’s rise to power, Schneider-Kainer emigrated to Ibiza, Spain where she remained until her home was bombed during the Spanish Civil War. In 1938 she moved to New York, where she produced children’s books under the name Eleska. 582 Pair of Continental Carved Stone Foo Dogs on Plinths, mid-20th century, the seated dogs dressed in decorative collars, h. 28”, w. 10‑1/2”, d. 16‑1/2”. [700/1000] Illustrated 583 Pair of Chinese Pottery Baluster Vases, 20th century, decorated with Mandarin scenes and trimmed with brownglazed molded leaves and borders of flowers, mounted with foo dog ring pulls, signed with Chinese characters, h. 22‑1/4”, dia. 8‑1/4”. [1000/1500] Illustrated

582

584 584 Good Pair of Chinese Black-Lacquered HorseshoeForm Armchairs, late 19th century, beautifully decorated with dragons, phoenix birds and gilt tracery simulating cloisonne enamel, h. 40”. [600/900] Illustrated

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585 Empress Dowager Cixi (Chinese, 1835‑1908), “Phoenix on a Rocky Outcrop”, gouache on paper, 33‑1/4” x 17”. In a contemporary giltwood frame. [1000/1500] Illustrated 586 Chinese Cloisonne Incense Burner, second quarter 20th century, on tripod feet with pierced handles, decorated with blue and white peonies and scrollwork on a turquoise ground, trimmed with fretwork, the cover pierced with flying bats, h. 15‑1/2”, w. 12”, d. 7”. [1500/2500] Illustrated

587 Asian Hardwood Altar Cabinet, 20th century, the rectangular top with rounded raised ends, above a case fitted with two drawers over two cabinet doors, the whole elaborately carved in cloud and dragon patterns, raised on block feet, h. 35”, w. 65”, d. 17‑1/2”. [2000/4000] Illustrated 588 Chinese Rosewood Cabinet, early 20th century, the banded rectangular top above a case fitted with two doors, each with a reeded banding around a floral- and foliatecarved panel, raised above a pierced apron on block feet, h. 34‑1/2”, w. 34‑1/2”, d. 17”. [500/800] Illustrated

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589 Chinese Yue Ware Alkaline-Glazed Water Jar, Han Dynasty (206 B.C.-220 A.D.), decorated with incised lines, wavy line incised borders on the neck, and lug handles, h. 13‑3/4”, dia. 8‑1/4”. [900/1200] Illustrated 590 Cast Brass Smooth-Bore Artillery Mortar, possibly Chinese, 19th century, lacking carriage, with decorative key and abstracted floral motif designs, h. 10”, l. 46‑3/4”. [600/900] Illustrated 591 Collection of Mounted Polychrome-Painted Carvings of Chinese Figures on Horseback, Qing Dynasty (1644‑1912), primarily warriors, the seven figures retaining a rich patina and old painted surfaces, now mounted as a collection on a contemporary base, h. 6‑3/4”, w. 78‑3/4”. [1000/1500] Illustrated

592

592 Pair of Chinese Painted Terracotta Covered Ginger Jars, 20th century, the red-ground vessels with oval panels of European landscapes on the obverse, in a field of painted moths and flowers, the matching covers with chicken-form knops, h. 29‑1/2”, dia. 10”. [1500/2500] Illustrated 593 Pair of Chinese Export Porcelain Ginger Jars, second quarter 20th century, now mounted as lamps, decorated with polychrome phoenix birds, peonies and lotus blossoms on a seafoam green ground, mounted on wooden bases, h. 22‑3/4”, dia. 8‑1/4”. [500/800] Illustrated

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594 Unusual Japanese Satsuma Shell-Form Dish, ca. 1900, decorated with gilt-trimmed polychrome scholars, beneath wisteria vines and pine trees, the sides molded with shells and resting on shell-form feet, h. 4”, w. 16‑1/2”, d. 12‑3/4”. [900/1200] Illustrated 595 Ming Dynasty Celadon Tripod Censor on a Carved Wood Base, 16th/17th century, with typical color to the inside center and molded rim, on a bat-carved stand of later date, h. 7‑3/4”, dia. 13”. [1000/1500] Illustrated

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596 Pair of Chinese Hardwood Cabinets, Qing Dynasty (1644‑1911), 19th century, each fitted with a pair of paneled doors, above three drawers, fitted with pierced gilt-brass closures and a mottled green and white jade ornament, the shelved interior with two drawers. h. 71‑1/2”, w. 43‑1/2”, d. 21‑1/2”. [2000/4000] Illustrated 597 Large Chinese Polychromed Apothecary Cabinet, 19th century, the case fitted with five rows of five drawers over a row of three drawers, many with Chinese calligraphy, h. 56‑1/2”, w. 60”, d. 20‑1/2”. [1500/2500] Illustrated

598 Pair of Chinese Blue and White Covered Jars, 20th century, decorated with foo dogs playing with dogs in a decorated field, with matching covers, h. 19”, dia. 11”. [1000/1500] Illustrated 599 Chinese Export Blue and White Garden Seat, decorated with warriors in a bamboo forest, set with arms and a chair back, h. 25‑1/2”, w. 21‑1/2”, d. 15”. [500/800] Illustrated

600 Chinese Rosewood Center Table, ca. 1900, the top of serpentine tortoise form, over a conforming carved and pierced apron, raised on foliate-carved cabriole legs joined by a carved stretcher with a central finial, h. 29‑1/2”, w. 37‑1/2”, d. 24”. [500/800] Illustrated 601 Pair of Chinese Carved Rosewood and Marble-Top Stands, ca. 1900, each with a square top and rouge marble insert, the legs and aprons profusely carved in a foliate motif, h. 18‑1/2”, w. 16”, d. 16”. [700/1000] Illustrated 602 Pair of Chinese Export Famille Rose Ginger Jars, ca. 1800, the jars with a yellow ground and incised decoration with scattered hand-painted flowers, h. 14‑1/2”, dia. 6‑3/4”. [1200/1800] Illustrated

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603 Antique Lilihan Carpet, 6’ 6” x 13’ 1”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [1400/1800] Illustrated 604 Antique Turkamon Carpet, 4’ 3” x 6’ 11”. [500/800] 605 Antique Persian Mahal Carpet, 10’ x 14’ 8”. [3500/5000] Illustrated

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606 Bamboo Silk Carpet, 11’ 10” x 14’ 6”. [2500/4000] Illustrated 607 Antique Heriz Carpet, 9’ 1” x 11’ 11”. [1000/1500] Illustrated 608 Turkish Angora Oushak Carpet, 7’ 8” x 9’ 10”. [900/1200] Illustrated 609 Kashan Carpet, 8’ 9” x 11’ 9”. [800/1200] Illustrated

609

612 614

610 Turkish Angora Oushak Runner, 2’ 8” x 19’ 6”. [500/800]

614 Turkish Angora Oushak Carpet, 6’ 2” x 8’ 10”. [500/800] Illustrated

611 Semi-Antique Kashan Carpet, 5’ 7” x 10’. [1000/1500]

615 Tabriz Silk Carpet, 4’ 2” x 6’ 6”. [800/1200] Illustrated

612 Turkish Angora Oushak Carpet, 9’ 1” x 12’. [1200/1800] Illustrated

616 Peshawar Sultanabad Carpet, 6’ 10” x 8’ 4”. [600/900] Illustrated

613 Semi-Antique Mashad Carpet, 8’ x 12’ 5”. [1000/1500]

617 Persian Sultanabad Carpet, 6’ 10” x 9’. [2500/4000]

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618 Eighteen-Karat Yellow Gold and Multi-Strand Red Coral Bracelet, the six-strand bracelet finished with an eighteen-karat yellow gold clasp set with two oval red coral cabochons, stamped “Manfredi, 750”, l. 7‑5/8”, 33.4 grams total weight. [500/800] Illustrated 619 Fourteen-Karat Yellow Gold and Multi-Strand Red Coral Necklace, the five-strand necklace hand-knotted and composed of red coral beads ranging from 7.2 mm to 7.5 mm in diameter, the large round fourteen-karat yellow gold clasp measuring 1‑3/8” in diameter, the spacers set with twenty-five red coral cabochons, l. 14”, 136.7 grams total weight. [1500/2500] Illustrated 620 Fourteen-Karat Yellow Gold, Coral Cameo and Diamond Ring, mounted with an oval coral cameo, carved in high relief of a young girl, surrounded by a rippling halo set with seventy round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, size 7‑1/4, 11.4 grams total weight. [1400/1800] Illustrated

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621 Eighteen-Karat Yellow Gold and Coral Multi-Strand Necklace, the nine-strand red coral tubular bead necklace woven together in a braid design with an eighteen-karat gold clasp, l. 18”, 41.0 grams total weight. [700/1000] Illustrated 622 Fourteen-Karat Rose Gold, Coral and Diamond Ring, mounted with a cabochon-cut salmon-colored coral, measuring approximately 11.00 mm x 10.68 mm, surrounded by round-cut diamonds, with an approximate total weight of 0.40 carats, size 7‑1/2, 6.0 grams total weight. [600/900] Illustrated

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623 Pair of Eighteen-Karat Yellow Gold, Turquoise, Green Garnet and Diamond Earrings, the earrings mounted with two pear-shaped turquoises, with an approximate total weight of 23.07 carats, fifty round-cut green garnets, with an approximate total weight of 0.50 carats, and 108 round-cut diamonds, with an approximate total weight of 0.98 carats, l. 2”, 16.0 grams total weight. [2000/4000] Illustrated 624 Eighteen-Karat White Gold, Turquoise and Diamond Necklace, composed of forty graduated turquoise beads, measuring 9.33 mm to 11.6 mm in diameter, separated by white gold roundels, the 10.2 mm round eighteen-karat gold clasp pave-set with single-cut diamonds, with an approximate total weight of 0.25 carats, l. 18‑1/4”, 61.5 grams total weight. [6000/9000] Illustrated 625 Fourteen-Karat Yellow Gold, Turquoise, Aquamarine and Diamond Earrings, the earrings mounted with two pear-shaped turquoises, with an approximate total weight of 8.20 carats, two round-cut aquamarines, with an approximate total weight of 0.94 carats, and eighty-two round-cut diamonds, with an approximate total weight of 0.58 carats, l. 1‑3/4”, 6.0 grams total weight. [900/1200] Illustrated

626 Eighteen-Karat White Gold, Turquoise and Diamond Bracelet, composed of forty graduated turquoise beads, measuring 8.8 mm to 9.5 mm in diameter, separated by white gold roundels, the round eighteen-karat gold clasp pave-set with single-cut diamonds, with an approximate total weight of 0.25 carats, l. 8‑1/2”, 24.8 grams total weight. [3000/5000] Illustrated 627 Pair of Fourteen-Karat Yellow Gold, Turquoise, Emerald and Diamond Earrings, the dangle earrings mounted with two pear-shaped turquoises, with an approximate total weight of 6.58 carats for the pair, suspended from two pear-shaped emeralds, with an approximate total weight of 0.72 carats for the pair, and thirty-two round-cut diamonds, with an approximate total weight of 0.26 carats for the pair, l. 1”, 5.0 grams total weight. [800/1200] Illustrated 628 Fourteen-Karat Yellow Gold, Turquoise, Emerald and Diamond Pendant with Chain, the pendant mounted with a cabochon-cut pear-shaped turquoise, with an approximate weight of 6.86 carats, above an oval-shaped emerald, with an approximate weight of 0.18 carats, and 105 round-cut diamonds, with an approximate total weight of 0.56 carats, l. 1‑1/2”, suspended from a fourteen-karat yellow gold chain, l. 18”, 6.0 grams total weight. [900/1200] Illustrated

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632 633 629 Lady’s Eighteen-Karat Yellow Gold Cartier Wristwatch, the tonneau-shaped case and white dial with black Roman numerals, signed Cartier with secret Cartier signature in Roman numeral “VII”, the case marked “Cartier, 18k, Swiss, Paris, 107120,XXX”, the black Cartier crocodile strap with a Cartier buckle, the manual wind seventeen-jewels movement signed “Cartier Inc.”, size 28.0 mm x 34.0 mm without crown, together with a Cartier box. [1000/1500] Illustrated 630 Chanel, Paris, Navy Lambskin Shoulder Bag, the lower portion quilted all around, with a deep front pouch, the open interior with snap closure and opposing zippered pockets, one stamped in silver: “Chanel”, the other “Made in Italy” within an oval, with two leather-laced, toggleended gold chain straps, each with a padded lambskin slide cover, h. 8‑3/4”, w. 12‑1/4”, d. 3‑1/4”, chain drop: 12”. [500/800] Illustrated 631 Chanel, Paris, Classic Quilted White Lambskin Flap Bag, with a slip pocket on the reverse side, the fold over flap with interlocking gold “CC” and turn tab closure stamped: “Chanel / Paris”, with a zippered flat pocket underneath the flap, the interior with a front and rear flat pouch, the center flap with trapunto-stitched interlocking “CC” above “Chanel” stamped in gilt , with a snap closure, the center interior with two half-gusseted pockets, the opposing side stamped in gilt: “Made in France”, the gold chain interlaced with white calfskin, a dust bag included, h. 6‑1/2”, w. 10”, d. 3”, strap drop: 15‑1/2”, doubled: 8‑3/4”. [500/800] Illustrated

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632 Vintage Judith Leiber Black Karung Convertible Structured Pouch, early 1990s, the flap front faced with an amethyst-centered “brooch” with baroque pearls and assorted semi-precious stones, the flap with a magnetic closure, the black satin-lined interior bearing the gold Judith Leiber label above a scalloped slip pocket, includes a matching satin coin purse along with a signed tasseled comb and gold swing mirror, this with a small dust bag, the removable black knotted silk cord with two woven decorative balls and gold toggle ends, includes a dust bag, h. 5”, w. 6‑1/2”, d. 2‑1/4”, strap drop: 17‑3/4”. [500/800] Illustrated 633 Vintage Judith Leiber Wine Karung Convertible Frame Handbag, late 1980s, the gathered karung body topped on both sides with alternating cabochon garnets and onyx beads and having a like clasp, the gold frame signed at one side, the wine faille-lined interior bearing the Judith Leiber label above a scalloped slip pocket with a zippered pocket on the opposing side, includes a matching faille coin purse along with a signed tasseled comb and gold swing mirror, this with a small dust bag, the removable double silk cord with tassels and gold toggle ends, includes a dust bag, h. 6”, w. 8‑1/2”, d. 4”, strap drop: 19‑1/2”. [500/800] Illustrated

637

634 638 634 Louis Vuitton Wardrobe Trunk in Yellow “Vuittonite” Canvas, second quarter 20th century, the case fitted with wood slats, brass trim, marked rivets and lock, the interior with two adjacent clothes compartments containing metal rods with wood hangers for ten pants/ suits and five shirts, the case interior with an embossed Louis Vuitton label and a partially effaced number below, and the exterior retains vintage “Paris” and “Le Havre” steamer line labels, h. 21‑1/2”, w. 44”, d. 21‑1/2”. [2000/4000] Illustrated 635 Gentleman’s Eighteen-Karat Rose Gold Chronograph Wristwatch, the square button chronograph with a satin silver dial with a thirty minute register and a constant sixty second register, the dial signed “Breitling, Chronographe, Suisse, Antimagnetic, 17 Rubies”, the case back stamped “18K, 750”, reference # 284 over 3910, the fridge on the movement and inside case back later engraved “Breitling Watch Ltd”, size 37.0mm without crown. [1800/2500]

637 Fourteen-Karat Yellow Gold, Moonstone and Diamond Ring, mounted with an oval cabochon-cut moonstone, with an approximate weight of 9.21 carats, accented by 102 round brilliant-cut diamonds, with an approximate total weight of 0.52 carats, size 7‑1/2, 8.0 grams total weight. [1000/1500] Illustrated 638 Fourteen-Karat Yellow Gold, Opal and Diamond Ring, mounted with an oval-shaped Ethiopian opal, with an approximate weight of 15.39 carats, surrounded by two rows of round brilliant-cut diamonds, with an approximate total weight of 1.53 carats, approximate color E-F and clarity VS1‑SI1, size 7‑1/2, 13.0 grams total weight. [2000/4000] Illustrated

636 Gentleman’s Fourteen-Karat White Gold and Star Sapphire Ring, the heavy mounting set with a blue star sapphire cabochon, with an approximate weight of 2.50 carats, size 7‑3/4, 13.6 grams total weight. [900/1200]

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639 Fourteen-Karat Yellow Gold, Opal and Diamond Bracelet, composed of thirteen links mounted with oval-shaped opal cabochons, with an approximate total weight of 17.35 carats, each surrounded by a halo of round brilliant-cut diamonds, with an approximate total weight of 2.80 carats, l. 7”, 20.5 grams total weight. [2000/4000] Illustrated

642 Platinum, Opal and Diamond Ring, mounted with a round cabochon-cut opal, with an approximate weight of 1.91 carats, two pear-cut and thirty-two baguette-cut diamonds, with an approximate total weight of 1.47 carats, approximate color E-F and clarity VVS2‑VS1, size 8, 9.0 grams total weight. [1000/1500] Illustrated

640 Fourteen-Karat White Gold, Opal and Diamond Ring, mounted with an oval opal cabochon, with an approximate weight of 2.12 carats, surrounded by forty-two round brilliant-cut diamonds, with an approximate total weight of 1.44 carats, approximate color E-G and clarity SI2‑I1, size 7, 9.0 grams total weight. [1800/2500] Illustrated

643 Fourteen-Karat White Gold and Diamond Stud Earrings, both earrings mounted with a round brilliant-cut diamond, one with an approximate weight of 0.91 carats, approximate color F and clarity I2, and the other with an approximate weight of 1.01 carats, approximate color G and clarity I1, 1.2 grams total weight. [3000/5000]

641 Platinum and Diamond Earrings, mounted with two large round-cut diamonds, with an approximate total weight of 0.27 carats for the pair, and forty smaller roundcut diamonds, with an approximate total weight of 0.41 carats for the pair, approximate color G-I and clarity VS1‑VS2, l. 1/2”, 6.0 grams total weight. [1800/2500]

644 Eighteen-Karat White Gold, Opal and Diamond Ring, mounted with an oval cabochon-cut opal, with an approximate weight of 1.90 carats, surrounded by thirtytwo round brilliant-cut diamonds, with an approximate total weight of 0.86 carats, size 5‑1/2, 7.0 grams total weight. [600/900] Illustrated

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645 Pair of Eighteen-Karat White Gold and Diamond Earrings, the inside/outside hoop earrings mounted with forty-six round-cut diamonds, with an approximate total weight of 1.67 carats for the pair, approximate color E-F and clarity SI1‑SI2, l. 1”, 6.0 grams total weight. [1800/2500] Illustrated 646 Fourteen-Karat White Gold and Diamond Necklace, composed of jointed links and mounted with 130 round-cut diamonds, with an approximate total weight of 1.83 carats, approximate color G-I and clarity VS2‑SI2, l. 18”, 19.0 grams total weight. [2000/4000] Illustrated 647 Fourteen-Karat White Gold and Diamond Ring, mounted with a central cut-corner rectangular brilliantcut Fancy Brown diamond, with an approximate weight of 1.06 carats and an approximate clarity of I1, accented by sixty-eight round brilliant-cut diamonds, with an approximate total weight of 0.68 carats, approximate color F-G and clarity SI3‑I2, size 7‑3/4, 4.1 grams total weight. [2500/4000] Illustrated

648 Eighteen-Karat White Gold and Diamond Earrings, the drop dangle earrings mounted with four large roundcut diamonds, with an approximate total weight of 1.40 carats, and seventy-four smaller round-cut diamonds, with an approximate total weight of 0.48 carats, approximate color E-G and clarity VS1‑SI1, l. 1‑1/2”, 7.0 grams total weight. [2000/4000] Illustrated 649 Fourteen-Karat White Gold and Diamond Ring, mounted with a round brilliant-cut diamond, with an approximate weight of 1.00 carat, approximate color E and clarity I1, and accented with round brilliant-cut and baguette-cut diamonds, with an approximate total weight of 0.66 carats, approximate color F-G and clarity SI1‑SI3, size 7‑3/4, 3.4 grams total weight. [3500/5000] Illustrated 650 Pair of Fourteen-Karat White Gold and Diamond Pendant Earrings, set with single-cut diamonds, with an approximate total weight of 0.50 carats for the pair, l. 1‑1/8”, 2.9 grams total weight. [800/1200] Illustrated

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651 Lady’s Rolex Stainless Steel Datejust Wristwatch, with a white mother-of-pearl dial set with ten diamond markers and marked “Rolex, Oyster Perpetual, Datejust” and “Superlative Chronometer, Officially Certified”, the white gold bezel set with forty round brilliant-cut diamonds, with an approximate total weight of 1.00 carat, the oyster link band with a Rolex deployant clasp, the winding crown with the Rolex logo, reference #69174, serial #L846,XXX. [4000/7000] Illustrated 652 Eighteen-Karat White Gold and Diamond Ring, mounted with two square-cut, fifty-two baguette-cut and eighty-four round brilliant-cut diamonds, with an approximate total weight of 2.59 carats, approximate color D-E and clarity VS1‑SI1, size 7‑1/4, 7.0 grams total weight. [2500/4000] Illustrated 653 Pair of Platinum, Emerald and Diamond Earrings, each earring mounted with an emerald-cut treated emerald, with an approximate total weight of 2.12 carats for the pair, and eighty single-cut diamonds, with an approximate total weight of 0.79 carats for the pair, l. 2”, 11.0 grams total weight. [1000/1500] Illustrated

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654 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with an emerald-cut treated emerald, with an approximate weight of 2.16 carats, surrounded by four pear-cut and forty-two round-cut diamonds, with an approximate total weight of 1.18 carats, size 7‑1/2, 7.0 grams total weight. [3000/5000] Illustrated 655 Sterling Silver, Emerald and Diamond Necklace, the two-into-three-strand long necklace composed of faceted, treated emerald roundels, with an approximate total weight of 350.0 carats, separated by diamond roundels and finished with a diamond clasp, with an approximate total weight of 2.48 carats, l. 36”, 62.8 grams total weight. [600/900] Illustrated 656 Eighteen-Karat White Gold, Emerald and Diamond Ring, mounted with nine pear-shaped treated emeralds, with an approximate total weight of 1.26 carats, and eighty-one round brilliant-cut diamonds, with an approximate total weight of 0.91 carats, approximate color E-F and clarity SI1‑SI2, size 7‑1/2, 6.0 grams total weight. [1400/1800] Illustrated

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657 Eighteen-Karat White Gold, Emerald and Diamond Necklace, mounted with thirty-four round-cut emeralds, with an approximate total weight of 2.04 carats, and 136 round-cut diamonds, with an approximate total weight of 1.00 carat, l. 19”, 18.0 grams total weight. [3500/5000] 658 Eighteen-Karat White Gold, Emerald and White Sapphire Bracelet, set with nineteen emerald-cut emeralds, with an approximate total weight of 6.03 carats, and nineteen round-cut white sapphires, with an approximate total weight of 1.43 carats, l. 7”, 9.0 grams total weight. [1800/2500] 659 Fourteen-Karat Yellow Gold, Emerald and Diamond Necklace, set with a central treated emerald-cut emerald, with an approximate weight of 4.28 carats, suspended from a chain with five round brilliant-cut diamonds, with an approximate total weight of 1.61 carats, approximate color M-N and clarity I1‑I2, l. 18”, 4.0 grams total weight. [1000/1500] Illustrated

660 Unusual Fourteen-Karat Yellow Gold, Jade and Diamond Ring, the carved jade ring accented with thirty round brilliant-cut diamonds, with an approximate total weight of 1.18 carats, approximate color G-I and clarity SI1‑I1, size 6‑1/2, 13.0 grams total weight. [900/1200] Illustrated 661 Fourteen-Karat Yellow Gold, Emerald and Diamond Pendant with Chain, the pendant mounted with a pearcut treated emerald, with an approximate weight of 6.86 carats, accented by thirty-two round-cut diamonds, with an approximate total weight of 0.42 carats, l. 1‑1/2”, suspended from a fourteen-karat yellow gold chain, l. 20”, 8.0 grams total weight. [600/900] Illustrated 662 Fourteen-Karat Yellow Gold, Sterling Silver, Diamond and Emerald Earrings, mounted with rose-cut diamonds, with an approximate total weight of 0.82 carats for the pair, and square-cut treated emeralds, with an approximate total weight of 0.76 carats for the pair, l. 2”, 10.0 grams total weight. [500/800] Illustrated

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663 Gold Vermeil/Sterling Silver, Diamond and Ruby Seahorse Bangle Bracelet and Ring, the spring-loaded hinged bangle bracelet designed as a seahorse set with rose-cut diamonds and a ruby for the eye, together with a matching ring set with rose-cut diamonds and a ruby for the eye, with an approximate total diamond weight of 0.60 carats for both pieces, bracelet, inside circumference, 6‑1/2”, ring size 8, 21.4 grams total weight. [500/800] Illustrated 664 Eighteen-Karat Rose Gold, Diamond and Ruby Snake Ring, set with sixty-four full-cut diamonds, with an approximate total weight of 0.50 carats, and a faceted pear-shaped ruby as the head, with an approximate weight of 0.14 carats, size 7‑1/2, 7.4 grams total weight. [1800/2500] Illustrated 665 Eighteen-Karat Rose Gold, Diamond, Garnet and Ruby Necklace, designed as an insect and mounted with a pear-shaped garnet for the body, with an approximate weight of 2.25 carats, a faceted pear-shaped ruby, with an approximate weight of 0.13 carats, and ninety-nine round brilliant-cut diamonds, with an approximate total weight of 1.30 carats, stamped “Chaumet, 750, Paris, 1589”, l. 18”, 9.5 grams total weight. [3000/5000] Illustrated

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666 Fourteen-Karat Yellow Gold, Star Ruby and Diamond Ring, mounted with a bezel-set oval cabochon-cut natural star ruby, with a complete six-ray star, with an approximate weight of 14.28 carats, accented by 220 round brilliant-cut diamonds, with an approximate total weight of 1.62 carats, size 11‑1/4, 20.2 grams total weight. [2500/4000] Illustrated 667 Gold Vermeil, Sterling Silver, Diamond, Ruby and Emerald Pendant on a Carved Ruby Necklace, the pendant mounted with three pear-cut treated rubies and one round-cut treated ruby, with an approximate total weight of 2.91 carats, two pear-cut treated emeralds and thirteen round-cut treated emeralds, with an approximate total weight of 1.22 carats, and rose-cut diamonds, with an approximate total weight of 2.30 carats, suspended from a carved treated ruby necklace, interspersed with diamond roundels and finished with a diamond clasp, with an approximate total diamond weight of 1.50 carats, pendant, l. 2‑1/4”, necklace, l. 19”, 91.1 grams total weight. [500/800] Illustrated

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668 Fourteen-Karat Yellow/White Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 13.21 carats, and with round brilliant-cut diamonds bordering the stone and on the ring shank, with an approximate total weight of 0.73 carats, size 7‑1/2, 8.7 grams total weight. [1400/1800] Illustrated 669 Fourteen-Karat Yellow Gold, Ruby and Diamond Earrings, each earring mounted with a cabochon-cut treated ruby, with an approximate total weight of 2.96 carats for the pair, and fifty-eight round-cut diamonds, with an approximate total weight of 0.96 carats for the pair, approximate color D-E and clarity I1‑I2, l. 1‑1/2”, 12.0 grams total weight. [900/1200] Illustrated 670 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with a central oval-cut treated ruby, with an approximate weight of 10.18 carats, accented on the border with thirty-two round-cut treated rubies, with an approximate total weight of 2.34 carats, and twenty-two round brilliant-cut diamonds, with an approximate total weight of 0.79 carats, size 7‑3/4, 10.7 grams total weight. [1400/1800]

671 Custom-Made Fourteen-Karat White/Yellow Gold, Diamond and Ruby Earrings, the dangle earrings mounted with two pear-cut and four oval-cut treated rubies, with an approximate total weight of 1.92 carats, and 124 single-cut diamonds, with an approximate total weight of 1.55 carats, l. 1‑3/4”, 7.0 grams total weight. [3500/5000] Illustrated 672 Sterling Silver, Ruby and Diamond Necklace, the five-strand necklace composed of faceted, treated ruby roundels, with an approximate total weight of 520.0 carats, finished with a diamond clasp, with an approximate total weight of 0.74 carats, l. 17” to 21”, 105.0 grams total weight. [500/800] Illustrated 673 Pair of Eighteen-Karat White Gold, Ruby and Diamond Tassel Earrings, each earring with five strands of treated ruby beads forming a tassel, suspended from cap and post mounted with round-cut diamonds, with an approximate total weight of 1.49 carats for the pair, approximate color G-I and clarity SI1‑I2, l. 4”, 33.0 grams total weight. [4000/7000] Illustrated

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674 Gold Vermeil, Carved Ruby and Diamond Necklace, composed of graduated oval carved, treated rubies, with an approximate total weight of 490.0 carats, finished with a gold vermeil and diamond clasp, with an approximate total weight of 1.00 carat, l. 20”, 141.0 grams total weight. [500/800] Illustrated 675 Eighteen-Karat White/Yellow Gold, Ruby and Diamond Ring, the European vintage ring mounted with a central oval-cut ruby, with an approximate weight of 0.70 carats, surrounded by forty-two single-cut diamonds, with an approximate total weight of 0.14 carats, size 6‑3/4, 4.0 grams total weight. [600/900] Illustrated 676 Fourteen-Karat Yellow Gold, Pink Sapphire and Diamond Ring, mounted with an oval-cut treated pink sapphire, with an approximate weight of 1.30 carats, flanked on either side by three round brilliant-cut diamonds, with an approximate total weight of 0.19 carats, approximate color F-G and clarity SI1‑SI2, size 6‑1/2, 3.0 grams total weight. [700/1000]

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677 Fourteen-Karat Yellow Gold, Diamond, Sapphire and Ruby Ring, composed of five bands connected in the back and mounted with twenty-four single-cut diamonds, with an approximate total weight of 0.30 carats, nine round-cut sapphires, with an approximate total weight of 0.45 carats, and four round-cut rubies, with an approximate total weight of 0.20 carats, size 5‑3/4, 7.7 grams total weight. [2000/4000] Illustrated 678 Fourteen-Karat Yellow Gold, Sapphire and Diamond Bracelet, composed of twenty-one cabochon-cut treated sapphires, with an approximate total weight of 7.78 carats, alternating with forty-two round brilliant-cut diamonds, with an approximate total weight of 0.30 carats, approximate color G-I and clarity SI1‑SI2, l. 7‑1/2”, 10.01 grams total weight. [1400/1800] 679 Eighteen-Karat Yellow Gold and Lapis Lazuli Ring, mounted with an oval cabochon-cut lapis lazuli, with an approximate weight of 13.80 carats, size 8, 6.0 grams total weight. [500/800] Illustrated

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680 Gold Vermeil, Lapis Lazuli and Diamond Jewelry Suite, including a lapis lazuli beaded necklace with a lapis lazuli spearhead set with fourteen rose-cut diamonds, together with a pair of lapis lazuli dangling pendant earrings set with twelve rose-cut diamonds, with an approximate total diamond weight of 0.20 carats for the suite, necklace, l. 16”, pendant, l. 2”, earrings, l. 1‑7/8”, 25.0 grams total weight. [500/800] Illustrated 681 Pair of Gold Vermeil, Diamond, Sapphire, Ruby and Pearl Pendant Earrings, each dangling pendant earring set with rose-cut diamonds, with an approximate total weight of 1.00 carat for the pair, a round faceted treated sapphire, with an approximate total weight of 1.00 carat for the pair, two faceted treated rubies, with an approximate total weight of 0.16 carats for the pair, and an 8.0 mm baroque pearl, l. 3‑1/2”, 29.2 grams total weight. [500/800] Illustrated 682 Fourteen-Karat White/Yellow Gold, Tanzanite and Diamond Ring, mounted with a pear-cut tanzanite, with an approximate weight of 1.97 carats, accented by eight round-cut diamonds, with an approximate total weight of 0.53 carats, size 8‑3/4, 8.0 grams total weight. [900/1200]

683 Fourteen-Karat White/Yellow Gold, Sapphire and Diamond Ballerina Ring, mounted with an oval-cut treated sapphire, with an approximate weight of 3.62 carats, surrounded by twenty round brilliant-cut and fortyfour baguette-cut diamonds, with an approximate total weight of 1.30 carats, size 6, 14.0 grams total weight. [1500/2500] Illustrated 684 Eighteen-Karat Yellow Gold, Sapphire and Diamond Earrings, the drop dangle earrings each mounted with an oval-cut and pear-cut treated sapphire, with an approximate total weight of 19.61 carats for the pair, and a square-cut diamond, with an approximate total weight of 0.28 carats, l. 1‑1/2”, 18.0 grams total weight. [900/1200] Illustrated 685 Eighteen-Karat Yellow Gold, Sapphire and Diamond Ring, invisible set with nine triangle-cut and ten baguettecut treated sapphires, with an approximate total weight of 1.30 carats, and ten round-cut and sixteen princess-cut diamonds, with an approximate total weight 1.87 carats, approximate color E-G and clarity VS1‑SI1, size 7, 13.0 grams total weight. [600/900] Illustrated

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686 Eighteen-Karat Yellow Gold, Sapphire and Diamond Bracelet, mounted with an oval-cut treated sapphire, with an approximate weight of 2.59 carats, accented by four marquise-cut and forty-four round-cut diamonds, with an approximate total weight of 1.50 carats, approximate color E-F and clarity VVS2‑VS2, l. 8”, 107.0 grams total weight. [3500/5000] Illustrated 687 Fourteen-Karat Yellow Gold/Sterling Silver, Tanzanite and Diamond Earrings, mounted with two oval-cut, two pear-cut, two triangle-cut and eighteen round-cut tanzanites, with an approximate total weight of 10.04 carats for the pair, and fifty-eight rose-cut diamonds, with an approximate total weight of 0.28 carats, l. 2”, 15.0 grams total weight. [500/800] Illustrated 688 Platinum, Tanzanite and Diamond Ring, mounted with a GIA certified triangular-shaped tanzanite, with a weight of 6.02 carats, GIA report #6167949499, accented with seventy round brilliant-cut diamonds on the tiered border and the ring shank, with an approximate total weight of 1.66 carats, approximate color D-F and clarity VS1‑VS2, size 8, 10.1 grams total weight. [6000/9000] Illustrated

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689 Pair of Fourteen-Karat White Gold, Tanzanite and Diamond Earrings, each dangle earring set with an oval faceted tanzanite, with an approximate total weight of 4.70 carats for the pair, accented by round single- and round-cut diamonds, with an approximate total weight of 0.60 carats for the pair, l. 1‑1/4”, 5.2 grams total weight. [2000/4000] Illustrated 690 Platinum, Tanzanite and Diamond Ring, mounted with an octagonal step-cut GIA certified natural tanzanite, GIA report #6177379161, with a weight of 6.57 carats, accented by fifty round brilliant-cut diamonds, with an approximate total weight of 0.99 carats, approximate color G-I and clarity VS1‑VS2, size 7‑1/2, 8.7 grams total weight. [5000/8000]

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691 Gold Vermeil, Tanzanite and Diamond Pendant on a Baroque Pearl Necklace, the pendant mounted with twenty cushion-cut tanzanites, with an approximate total weight of 20.40 carats, and 109 rose-cut diamonds, with an approximate total weight of 0.62 carats, suspended from an irregular baroque pearl necklace, ranging in size from 12.0 mm to 14.0 mm, finished with a sterling silver and rose-cut diamond clasp, pendant, l. 2”, necklace, l. 17”, 14.0 grams total weight. [600/900] Illustrated 692 Eighteen-Karat White Gold, Pearl and Diamond Ring, mounted with a silver/white South Sea pearl, measuring 13.65 mm in diameter, accented on the ring shank by 167 round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, size 7‑1/4, 14.8 grams total weight. [2500/4000] Illustrated

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693 Sterling Silver, Bakelite, Diamond and Pearl Cuff Bracelet, the wide hinged white Bakelite bracelet with silver fitting and a silver starburst mounted with 114 rosecut diamonds, with an approximate total weight of 0.25 carats, centered by a baroque freshwater pearl measuring approximately 12.2 mm at its widest points, inside circumference, 7”, 71.0 grams total weight. [500/800] Illustrated 694 Sterling Silver, Seed Pearl, Diamond and Ruby Bracelet, the unusual bracelet composed of braided seed pearls, with two applied elephants and a horse, pave-set with rose-cut diamonds, with an approximate total weight of 0.60 carats, and with rubies for the eyes, with an approximate total weight of .03 carats, finished with a diamond clasp, l. 6‑3/4”, 15.8 grams total weight. [500/800] Illustrated 695 Sterling Silver, Diamond, Ruby and Baroque Pearl Earrings, each large dangling pendant earring set with rose-cut diamonds, with an approximate total weight of 1.70 carats for the pair, a faceted oval ruby and a cabochon-cut ruby, with an approximate total weight of 1.00 carat for the pair, and a baroque freshwater pearl, measuring approximately 15.0 mm in diameter, l. 2‑7/8”, 33.8 grams total weight. [500/800] Illustrated

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696 Gold Vermeil/Sterling Silver, Diamond and Garnet Cuff Bracelet, the wide hinged cuff bracelet set with approximately 960 rose-cut diamonds, with an approximate total weight of 2.50 carats and 204 3.0 mm round garnet cabochons, with an approximate total weight of 24.5 carats, inside circumference, 7”, w. 1‑3/8”, 110.7 grams total weight. [500/800] Illustrated 697 Gold Vermeil, Garnet and Diamond Tassel Necklace, the eighteen-strand garnet tassel pendant cap set with rosecut diamonds, suspended from a double-strand necklace composed of polished round garnet beads, and finished with a clasp mounted with rose-cut diamonds, with an approximate total diamond weight of 4.50 carats, pendant, l. 3‑1/2”, necklace, l. 29”, 102.2 grams total weight. [500/800] Illustrated 698 Fourteen-Karat White Gold, Pink Tourmaline and Diamond Ring, mounted with a rectangular step-cut natural pink tourmaline, with an approximate weight of 4.39 carats, accented with twenty-six round brilliant-cut diamonds, with an approximate total weight of 0.75 carats, size 7‑1/2, 4.4 grams total weight. [1000/1500] Illustrated

190

697

699 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with a rectangular cushion-cut morganite, with an approximate weight of 14.26 carats, accented by 158 round brilliantcut diamonds, with an approximate total weight of 0.92 carats, size 8‑1/2, 12.2 grams total weight. [3000/5000] Illustrated 700 Fourteen-Karat Rose Gold, Pink Fluorite and Diamond Pendant with Chain, the bold pendant mounted with a central rectangular cushion-cut natural pink fluorite, with an approximate weight of 38.49 carats, accented by 272 round brilliant-cut diamonds, with an approximate total weight of 1.63 carats, l. 1‑3/4”, suspended from a fourteen-karat rose gold chain, l. 18”, 30.8 grams total weight. [3500/5000] Illustrated

704 701

702

705

701 Fourteen-Karat Rose Gold, Morganite and Diamond Ring, mounted with an oval-cut morganite, with an approximate weight of 17.15 carats, accented by sixty round-cut diamonds, with an approximate total weight of 0.42 carats, size 7‑1/2, 8.0 grams total weight. [2500/4000] Illustrated 702 Fourteen-Karat Rose Gold and Diamond Ring, mounted with ninety-six round single- and brilliant-cut diamonds, with an approximate total weight of 1.88 carats, approximate color G-I and clarity SI1‑SI2, size 7, 6.0 grams total weight. [900/1200] Illustrated 703 Three Le Vian Fourteen-Karat Yellow/White/Rose Gold and Chocolate and White Diamond Rings, each ring set with a 0.25‑carat round brilliant-cut chocolate diamond, surrounded by a halo of eighteen round brilliantcut white diamonds and twenty-four round brilliant-cut white diamonds on the shank, with an approximate total diamond weight of 1.50 carats for the trio, stamped “Le Vian, 585”, size 7, 4.7 grams total weight. [1500/2500]

706

704 Eighteen-Karat Rose Gold and Diamond Earrings, the hoop and dangle earrings mounted with ninety round-cut diamonds, with an approximate total weight of 0.63 carats, l. 1”, 5.0 grams total weight. [1000/1500] Illustrated 705 Eighteen-Karat Rose Gold and Diamond Ring, pave-set with sixty-three round-cut diamonds, with an approximate total weight of 0.52 carats, approximate color E-F and clarity VS2‑SI2, size 7, 4.0 grams total weight. [900/1200] Illustrated 706 Beautiful Custom-Made Eighteen-Karat Rose/ White Gold and Diamond Necklace, composed of seventeen flowers alternating with oval-shaped links, the flowers mounted with round-cut diamonds, with an approximate total weight of 5.59 carats, approximate color E-F and clarity VS1‑SI1, l. 18”, 46.0 grams total weight. [12000/18000] Illustrated

191

708

709

707

707 Fourteen-Karat Rose Gold and Diamond Bracelet, the egg-and-dart-designed bracelet mounted with 324 round brilliant-cut diamonds, with an approximate total weight of 2.00 carats, l. 7‑1/4”, 16.2 grams total weight. [4500/7000] Illustrated 708 Eighteen-Karat Rose/White Gold and Diamond Ring, in a fly-over design, composed of bands of rose and white gold set with round brilliant-cut diamonds, with an approximate total weight of 1.10 carats, size 7, 10.8 grams total weight. [2000/4000] Illustrated 709 Eighteen-Karat Yellow Gold and Diamond Ring, the square-shaped pave-set ring mounted with 216 round brilliant-cut diamonds, with an approximate total weight of 7.83 carats, approximate color D-E and clarity VS1‑SI1, size 8‑1/4, 8.0 grams total weight. [7000/10000] Illustrated

192

710

711

710 Fourteen-Karat Yellow Gold and Diamond Pendant with Chain, the pendant mounted with thirty-nine tapered baguette-cut diamonds and 107 round brilliantcut diamonds, with an approximate total weight of 2.50 carats, l. 1‑1/4”, suspended from an 18” fourteenkarat gold chain, 6.8 grams total weight. [1500/2500] Illustrated 711 Eighteen-Karat White/Rose Gold and Diamond Ring, in a crossover design, mounted with twentyeight baguette-cut and thirty-six round brilliant-cut diamonds, with an approximate total weight of 1.70 carats, approximate color E-F and clarity VVS2‑VS1, size 7, 7.0 grams total weight. [2500/4000] Illustrated

715

713

712

712 Lady’s Eighteen-Karat Yellow Gold Cartier Tank Wristwatch, the classic rectangular Tank design with a white dial with black Roman numerals and secret Cartier signature in Roman numeral “X”, the quartz movement signed “Cartier”, the case marked “Cartier, Paris, Tank Quartz, 18K, Swiss Made”, serial #660,010,XXX, with a Cartier strap and buckle, size 21.0 mm x 28.0 mm without crown. [1000/1500] Illustrated 713 Fourteen-Karat White Gold and Diamond Dinner Ring, in a crossover design and mounted with 104 baguette-cut and 114 round-cut diamonds, with an approximate total weight of 2.35 carats, approximate color D-E and clarity SI2‑I1, size 5‑3/4, 10.0 grams total weight. [2500/4000] Illustrated 714 Two Sterling Silver and Diamond Bangle Bracelets, each bangle mounted with 158 baguette-cut diamonds, with an approximate total weight of 3.16 carats for the pair, approximate color D-E and clarity I1‑I2, inside circumference, 7”, 25.0 grams total weight. [600/900] Illustrated

714

715 Four Eighteen-Karat White Gold and Diamond Stack Rings, each ring in the form of an eternity band and mounted with round brilliant-cut diamonds, with an approximate total weight of 1.94 carats for all four, approximate color E-G and clarity VS1‑SI2, size 7‑1/4, 10.0 grams total weight. [2500/4000] Illustrated 716 Fourteen-Karat White Gold and Black and White Diamond Pendant with Chain, the pendant mounted with a central round brilliant-cut treated fancy black diamond, with an approximate weight of 4.13 carats, accented by 116 round brilliant-cut diamonds, with an approximate total weight of 1.44 carats, l. 1‑5/8”, suspended from a fourteen-karat white gold chain, l. 18”, 10.6 grams total weight. [1400/1800]

193

717 Eighteen-Karat White Gold and Diamond Necklace, mounted with ninety-three round-cut diamonds, with an approximate total weight of 1.56 carats, approximate color F-G and clarity SI1‑SI2, l. 16‑1/2”, 16.0 grams total weight. [2500/4000] Illustrated

719

719 Beautiful Platinum and Diamond Dangle Earrings, each earring mounted with two larger round brilliant-cut diamonds, with an approximate total weight of 2.03 carats for the pair, six smaller round-cut, two larger baguette-cut, twelve smaller baguette-cut and ten marquise-cut diamonds, with an approximate total weight of 4.54 carats, approximate color E-G and clarity VVS2‑VS2, l. 2”, 9.0 grams total weight. [5000/8000] Illustrated

717

718 Beautiful Eighteen-Karat White Gold and Diamond Ring, mounted with a central princess-cut diamond, with an approximate weight of 0.39 carats, and eight marquise-cut diamonds, with an approximate total weight of 2.11 carats, approximate color D-E and clarity SI1‑SI2, size 7‑3/4, 5.0 grams total weight. [4500/7000] Illustrated

720

720 Bold Eighteen-Karat White Gold and Diamond Ring, the elongated dome ring mounted with fortyfive round brilliant-cut diamonds and eighty-six baguette-cut diamonds, with an approximate total weight of 6.17 carats, approximate color D-E and clarity I1‑I2, size 7‑1/2, 17.0 grams total weight. [2000/4000] Illustrated 718

194

721

721 Spectacular Eighteen-Karat White Gold and Diamond Bracelet, the custom-made flexible bracelet mounted with one Asscher-cut diamond, with an approximate weight of 1.21 carats, approximate color E and clarity VVS2, 114 baguette-cut and 440 round brilliant-cut diamonds, with an approximate total weight of 8.08 carats, approximate color D-E and clarity VVS2‑VS1, l. 7”, 34.0 grams total weight. [12000/18000] Illustrated 722 Eighteen-Karat White Gold and Diamond Ring, mounted with two square-cut, thirteen baguette-cut and twenty-two round-cut diamonds, with an approximate total weight of 0.96 carats, approximate color F-G and clarity VVS2‑VS2, size 7, 6.0 grams total weight. [1500/2500] Illustrated

723

722

723 Stunning Eighteen-Karat White Gold and Diamond Pendant Necklace, the flexible link necklace mounted with approximately 527 round-cut diamonds, with an approximate total weight of 6.95 carats, approximate color H-I and clarity SI2‑I2, l. 16‑1/2”, 80.0 grams total weight. [6000/9000] Illustrated 724 Eighteen-Karat White Gold and Diamond Bangle Bracelet, the hinged bangle mounted with 143 invisibleset princess-cut diamonds, with an approximate total weight of 7.26 carats, approximate color E-F and clarity VVS2‑VS1, inside circumference, 7‑1/2”, 54.0 grams total weight. [8000/12000] Illustrated

724

195

726

729

725

727

725 Eighteen-Karat White Gold and Diamond Gentleman’s Ring, the large ring mounted with 194 round brilliant-cut diamonds, with an approximate total weight of 3.35 carats, approximate color E-F and clarity VS1‑SI1, size 12‑3/4, 18.0 grams total weight. [3500/5000] Illustrated 726 Gentleman’s Eighteen-Karat White Gold Rolex Cellini Wristwatch, the eighteen-karat round slim case watch with a gray slate-colored dial signed “Rolex, Geneve, Cellini” and with a Rolex logo crown, the black crocodile Rolex strap with an eighteen-karat white gold Rolex buckle, the twenty-jewels manual wind Rolex movement is caliber #1602, case diameter 32.0 mm without crown, the case, dial and movement signed “Rolex, model 5115, serial #K666,XXX”, the watch with inner and outer boxes. [3000/5000] Illustrated

196

727 Sterling Silver, Bakelite and Diamond Cuff Bracelet, the hinged bracelet mounted with a sterling silver freeform design, mounted with 240 rose-cut diamonds, with an approximate total weight of 2.32 carats, inside circumference, 7”, w. 1‑1/2”, 73.1 grams total weight. [500/800] Illustrated 728 Fourteen-Karat White Gold, Tahitian Cultured Pearl and Diamond Ring, mounted with a Tahitian cultured pearl, measuring approximately 14.0 mm in diameter, with a good luster, accented by thirty-eight round brilliant-cut diamonds, with an approximate total weight of 0.66 carats, size 6‑3/4, 11.5 grams total weight. [1400/1800] 729 Fourteen-Karat White Gold, Tahitian Cultured Pearl and Diamond Ring, mounted with a Tahitian cultured pearl, measuring approximately 11.0 mm in diameter, with a good luster, accented by a border of round brilliantcut diamonds, with an approximate total weight of 1.18 carats, size 7‑1/4, 7.7 grams total weight. [1200/1800] Illustrated

733

732

730 731

730 Eighteen-Karat Yellow Gold and Baroque Pearl Multi-Strand Necklace, the ten-strand necklace with twelve multicolored baroque pearls, ranging from 11.0 mm to 13.5 mm in diameter, in a staggered design, together with an I. Massi box, l. 16‑1/2”, 77.0 grams total weight. [2000/4000] Illustrated 731 Fourteen-Karat Yellow Gold, Diamond and Mabe Pearl Ring, with a Pearl and Emerald Bracelet, the ring with a pear-shaped mabe pearl, measuring 10.2 mm x 14.4 mm, highlighted by two Y-shaped rows of round brilliant-cut diamonds, with an approximate total weight of 0.50 carats, size 6‑1/4, and the bracelet segmented into thirteen clusters of four pearls, separated by twelve gold bars, each set with a round faceted emerald, with an approximate total weight of 1.00 carat, l. 7”, 35.2 grams total weight. [600/900] Illustrated

732 Fourteen-Karat Yellow Gold, Pearl and Diamond Necklace, in a floral design and composed of forty round brilliant-cut diamonds, with an approximate total weight of 0.45 carats, and ten white and five gray baroque freshwater pearls, measuring approximately 5.5 mm in diameter, l. 16‑1/2”, 14.0 grams total weight. [700/1000] Illustrated 733 Fine Custom-Made South Sea Pearl and Diamond Earrings, each earring mounted with a 14.00 mm white South Sea pearl with a high luster, and six marquise-cut and two pear-cut diamonds, with an approximate total weight of 3.71 carats for the pair, approximate color E-F and clarity VS1‑SI1, l. 1”, 22.0 grams total weight. [3500/5000] Illustrated

197

735 Beautiful Eighteen-Karat Yellow/ White Gold and Yellow/White Diamond Necklace, composed of eleven flowers with sprays, mounted with 648 round-cut yellow diamonds, with an approximate total weight of 6.31 carats, approximate clarity SI1‑SI2, and thirty-six marquise-cut and seventy-one round-cut white diamonds, with an approximate total weight of 4.33 carats, approximate color G-I and clarity SI1‑SI2, l. 16‑1/2”, 46.0 grams total weight. [12000/18000] Illustrated

735

734 Beautiful Eighteen-Karat Yellow/White Gold and Yellow/White Diamond Earrings, mounted with sixteen oval-cut fancy yellow diamonds, with an approximate total weight of 1.92 carats for the pair, approximate clarity VVS2‑VS1, and thirty-two marquise-cut white diamonds, with an approximate total weight of 1.28 carats, approximate color D-E and clarity VVS2‑VS1, l. 1”, 9.0 grams total weight. [7000/10000] Illustrated

736

736 Stunning Platinum and Yellow and White Diamond Earrings, each earring set with a fancy faint yellow pearcut diamond, with an approximate clarity of I1, one with an approximate weight of 5.24 carats and the other 5.34 carats, each bordered by round brilliant-cut diamonds, with an approximate total weight of 0.89 carats for the pair, approximate color D-E and clarity VS1‑VS2, l. 3‑/4”, 11.4 grams total weight. [70000/100000] Illustrated 734

198

737

738

739 740

737 Eighteen-Karat White Gold, Alexandrite and Diamond Ring, mounted with a GIA certified cushion-cut natural alexandrite, GIA report #2171016165, exhibiting a color change from green-yellow to yellow-brown, and with a weight of 12.22 carats, accented on the border of the ring and the ring shank with 106 round brilliant- and baguettecut diamonds, with an approximate total weight of 1.98 carats, approximate color G-I and clarity VS2‑SI1, size 7‑1/4, 10.9 grams total weight. [20000/40000] Illustrated 738 Eighteen-Karat Yellow Gold and Multicolored Diamond Ring, mounted with pear-, oval- and cushioncut diamonds, ranging from yellow-green to yellowbrown, with an approximate total weight of 4.58 carats, approximate clarity VS1‑SI1 and fifty-six round brilliantcut white diamonds, with an approximate total weight of 0.63 carats, approximate color E-F and clarity VS1‑SI1, size 7‑1/2, 13.0 grams total weight. [3000/5000] Illustrated

739 Eighteen-Karat Yellow Gold and Diamond BowStyle Pendant/Brooch, pave-set with 308 round-cut diamonds, with an approximate total weight of 5.62 carats, approximate color E-G and clarity VVS2‑VS1, l. 2‑1/2”, 23.0 grams total weight. [3000/5000] Illustrated 740 Fourteen-Karat Yellow Gold and Diamond Solitaire Ring, mounted with an old mine-cut diamond, with an approximate weight of 1.69 carats, approximate color G and clarity VS2, size 6‑3/4, 6.0 grams total weight. [4000/7000] Illustrated

199

742

741

741 Twenty-Three-Karat Yellow Gold Necklace, in a bib design, composed of tapering beveled pendulettes, l. 15‑1/2”, 21.6 grams total weight. [600/900] Illustrated 742 Fourteen-Karat Yellow Gold and Diamond Band, the ring with diamond-set curvatures supported by mirroring diamond ribbons, set with twenty-one round brilliant-cut diamonds, with an approximate total weight of 0.19 carats, size 7‑1/2, 6.0 grams total weight. [500/800] Illustrated 743 Whimsical Pair of Eighteen-Karat Yellow Gold and Black and White Diamond Earrings, each pendant earring designed as crossed bones pave-set with round brilliant-cut white diamonds, with a dangling skull pendant set with full-cut black diamonds for the eyes and nose, with an approximate total diamond weight of 0.20 carats for the pair, l. 1‑1/4”, 12.4 grams total weight. [1400/1800]

200

744

745

744 Gentleman’s Fourteen-Karat Yellow Gold and Diamond Ring, mounted with a central round brilliantcut diamond, with an approximate weight of 0.90 carats, approximate color F and clarity SI2, accented by sixteen round brilliant-cut diamonds, with an approximate total weight of 0.67 carats, approximate color E-F and clarity VS1‑VS2, size 11‑1/2, 19.0 grams total weight. [3000/5000] Illustrated 745 Eighteen-Karat Yellow Gold, Emerald, Ruby and Diamond Necklace, mounted with a central pear-cut treated emerald, with an approximate weight of 0.87 carats, four round-cut treated rubies, with an approximate total weight of 0.50 carats, and seventy-two single-cut diamonds, with an approximate total weight of 1.08 carats, l. 15”, 64.0 grams total weight. [3000/5000] Illustrated

746

748

749

750

751

746 Fourteen-Karat Yellow Gold, Tourmaline and Diamond Ring, mounted with an emerald-cut deep green tourmaline, with an approximate weight of 6.50 carats, flanked by twelve round brilliant-cut diamonds, with an approximate total weight of 0.20 carats, size 6‑1/4, 6.6 grams total weight. [700/1000] Illustrated

749 Fourteen-Karat Yellow Gold and Carved Emerald Necklace, composed of pear-shaped carved, treated emeralds, measuring 20.0 mm to 25.0 mm in length, separated by gold tubes and finished with a fourteen-karat yellow gold clasp, l. 20”, drop, l. 4‑1/2”, 72.2 grams total weight. [500/800] Illustrated

747 Fourteen-Karat Yellow Gold, Emerald and Diamond Ring, mounted with an oval-cut treated emerald, with an approximate weight of 1.24 carats, accented by seventytwo round-cut diamonds, with an approximate total weight of 0.61 carats, approximate color E-F and clarity SI2‑I1, size 7‑1/4, 4.0 grams total weight. [2000/4000]

750 Eighteen-Karat Yellow Gold, Emerald and Diamond Earrings, the long dangle earrings mounted with thirtyfour marquise-cut treated emeralds, with an approximate total weight of 8.28 carats for the pair, and thirty-two round-cut diamonds, with an approximate total weight of 0.40 carats for the pair, l. 3”, 15.0 grams total weight. [1800/2500] Illustrated

748 Eighteen-Karat Yellow Gold, Emerald and Diamond Convertible Earrings, each earring top mounted with seventy-two round-cut diamonds, with an approximate total weight of 6.16 carats for the pair, approximate color D-E and clarity VS1‑SI1, with a removable pear-shaped treated emerald, with an approximate total weight of 5.24 carats for the pair, l. 2”, 28.0 grams total weight. [3500/5000] Illustrated

751 Unusual Eighteen-Karat Yellow Gold, Tsavorite Garnet and Diamond Ring, in the form of a knot, one side mounted with 212 round-cut diamonds, with an approximate total weight of 1.98 carats, and 363 tsavorite green garnets, with an approximate total weight of 4.63 carats, size 7, 15.0 grams total weight. [3000/5000] Illustrated

201

753

752 754

752 Fourteen-Karat Yellow Gold and Emerald Necklace, composed of polished treated emerald beads in irregular shapes, interspersed with yellow gold beads, l. 21”, 19.0 grams total weight. [500/800] Illustrated 753 Sterling Silver, Emerald and Diamond Necklace, composed of graduated polished oval treated emeralds, with an approximate total weight of 420.0 carats, accented by five double-row diamond roundels and finished with a diamond clasp, with an approximate total weight of 2.49 carats, l. 20”, 203.0 grams total weight. [500/800] Illustrated

202

754 Fourteen-Karat White Gold, Emerald and Diamond Ring, mounted with a pear-shaped treated emerald, with an approximate weight of 3.88 carats, accented by sixtyfour round brilliant-cut diamonds, with an approximate total weight of 0.64 carats, size 7‑1/4, 7.0 grams total weight. [1400/1800] Illustrated

756

755

755 Custom-Made Eighteen-Karat White Gold, Emerald and Diamond Necklace, the cabochon-cut oval emerald, with an approximate weight of 22.32 carats, suspended from a wavy necklace mounted with ninety-eight round brilliant-cut diamonds, with an approximate total weight of 1.94 carats, approximate color G-I and clarity SI1‑SI2, l. 16”, pendant, l. 1”, 24.0 grams total weight. [6000/9000] Illustrated

756 Beautiful Platinum, Emerald and Diamond Earrings, each clip-back earring mounted with a pear-shaped treated emerald, with an approximate total weight of 5.75 carats for the pair, accented by thirty round brilliant-cut, two baguette-cut and six marquise-cut diamonds, with an approximate total weight of 4.33 carats for the pair, approximate color E-G and clarity VVS2‑VS2, l. 1‑1/2”, 15.0 grams total weight. [5000/8000] Illustrated

203

758

759 757

757 Platinum and Emerald Necklace, the custom-designed and hand-set necklace composed of fifteen cabochon-cut emeralds in various shapes and sizes, with an approximate total weight of 98.29 carats, l. 16‑1/2”, 57.0 grams total weight. [1000/1500] Illustrated 758 Fourteen-Karat White Gold, Prasiolite and Diamond Ring, mounted with a pear-shaped prasiolite, with an approximate weight of 14.47 carats, surrounded by thirty-six baguette-cut diamonds, with an approximate total weight of 1.26 carats, approximate color E-F and clarity VVS2‑VS1, size 7‑1/4, 21.0 grams total weight. [2500/4000] Illustrated

204

759 Fourteen-Karat Yellow Gold, Lavender Jade, Amethyst and Diamond Earrings, each earring mounted with a pear-shaped lavender jade, with an approximate total weight of 27.80 carats for the pair, surrounded by twenty round-cut amethysts, with an approximate total weight of 0.60 carats for the pair, and twenty round-cut diamonds, with an approximate total weight of 0.80 carats for the pair, l. 1”, 12.0 grams total weight. [600/900] Illustrated

761

760

760 Fourteen-Karat Yellow Gold and Carved Amethyst Necklace, composed of carved amethyst beads interspersed with corrugated gold roundels, finished with a fourteen-karat yellow gold clasp, l. 19”, 57.5 grams total weight. [500/800] Illustrated 761 Gold Vermeil, Carved Ametrine and Diamond Earrings, each mounted with a carved and pierced teardrop-shaped ametrine suspended from an openwork post mounted with single-cut diamonds, with an approximate total weight of 0.46 carats for the pair, l. 2‑3/8”, 23.4 grams total weight. [500/800] Illustrated

762

762 Fourteen-Karat Yellow Gold/Sterling Silver, Amethyst and Diamond Ring, mounted with a cushioncut amethyst, with an approximate weight of 2.85 carats, and thirty-two rose-cut diamonds, with an approximate total weight of 1.08 carats, size 8, 11.0 grams total weight. [500/800] Illustrated

205

763

766

764

763 Eighteen-Karat White Gold, Kunzite and Diamond Pendant with Chain, the triangular-cut treated kunzite pendant, with an approximate weight of 23.99 carats, accented by eighty-six round-cut diamonds, with an approximate total weight of 0.42 carats, approximate color E-G and clarity SI1‑I1, l. 1‑1/2”, suspended from an eighteen-karat white gold chain, l. 18”, 9.0 grams total weight. [2500/4000] Illustrated 764 Fourteen-Karat Yellow Gold, Amethyst and Seed Pearl Necklace, the Victorian-style necklace set with five round faceted amethysts, and five pear-shaped amethysts, with an approximate total weight of 7.50 carats, accented with sixteen mabe seed pearls, l. 19‑1/2”, 10.2 grams total weight. [2500/4000] Illustrated

206

765

765 Sterling Silver and Amethyst Necklace, set with nine oval faceted amethysts, with an approximate total weight of 45.0 carats, l. 14”, 21.0 grams. [600/900] Illustrated 766 Stunning Fourteen-Karat White Gold, Amethyst and Diamond Pendant with Chain, the custommade pendant mounted with an oval-cut amethyst, with an approximate weight of 56.10 carats, surrounded by ninety-two round brilliant-cut diamonds, with an approximate total weight of 2.99 carats, approximate color E-F and clarity SI1‑I1, l. 1‑1/2”, suspended from an 18” fourteen-karat white gold chain, 25.0 grams total weight. [3500/5000] Illustrated 767 Fourteen-Karat White Gold, Pink Sapphire and Diamond Ring, mounted with a natural GIA certified pink sapphire, GIA report #5171486189, with a weight of 2.54 carats, accented by eighty-two round brilliant-cut diamonds, with an approximate total weight of 0.77 carats, size 7‑1/2, 4.8 grams total weight. [2500/4000]

773

768

771

768 Pair of Fourteen-Karat White Gold and Diamond Pendant Earrings, each earring in a geometric design composed of circles and squares, and set with 145 single-cut diamonds, with an approximate total weight of 1.00 carat for the pair, l. 2”, 6.4 grams total weight. [1200/1800] Illustrated 769 Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a central oval-cut treated sapphire, surrounded by ten round brilliant-cut treated sapphires, with an approximate total weight of 6.61 carats, and ten round brilliant-cut diamonds, with an approximate total weight of 0.48 carats, size 7‑1/4, 6.7 grams total weight. [800/1200] 770 Fourteen-Karat White Gold, Sapphire and Diamond Earrings, each earring with a sapphire briolette, with an approximate total eight of 6.20 carats for the pair, suspended from hoops, mounted with forty-two round-cut diamonds, with an approximate total weight of 0.61 carats for the pair, l. 1‑1/2”, 5.0 grams total weight. [1000/1500] Illustrated

770

771 Platinum, Fourteen-Karat White/Yellow Gold, Sapphire and Diamond Ring, mounted with an ovalcut treated sapphire, with an approximate weight of 1.94 carats, accented by forty European-cut diamonds, with an approximate total weight of 1.43 carats, approximate color E-G and clarity VS2‑SI2, size 6‑1/4, 7.0 grams total weight. [1500/2500] Illustrated 772 Fourteen-Karat White Gold and Diamond Pendant with Chain, the openwork pendant with hearts in a freeform design, mounted with round-cut diamonds, with an approximate total weight of 0.60 carats, l. 1‑1/4”, suspended from a 16” fourteen-karat white gold chain, 4.0 grams total weight. [1800/2500] 773 Platinum, Sapphire and Diamond Ring, mounted with a round-cut treated sapphire, with an approximate weight of 2.77 carats, accented by twenty European-cut and twelve baguette-cut diamonds, with an approximate total weight of 2.29 carats, approximate color D-E and clarity VVS2‑VS1, size 5, 9.0 grams total weight. [3500/5000] Illustrated

207

774

776

777 775

774 Platinum, Sapphire and Diamond Ring, mounted with an oval-cut natural GIA certified treated sapphire, GIA report #1176095011, with a weight of 3.89 carats, accented by thirty-two round brilliant-cut diamonds, with an approximate total weight of 0.57 carats, approximate color D-E and clarity VS1‑VS2, size 7‑3/4, 6.2 grams total weight. [4500/7000] Illustrated

776 Fourteen-Karat White Gold, Natural Sapphire and Diamond Ring, mounted with an oval-cut GIA certified natural sapphire, GIA report #2175486252, with a weight of 1.59 carats, accented by eighty-six round brilliantcut diamonds, with an approximate total weight of 0.77 carats, size 7‑3/4, 3.8 grams total weight. [1800/2500] Illustrated

775 Sterling Silver and Diamond Bangle Bracelet, the wide bracelet with an open design and set with approximately 705 rose-cut diamonds, with an approximate total weight of 1.75 carats, inside circumference, 7‑1/2”, w. 3/4”, 37.8 grams total weight. [500/800] Illustrated

777 Fourteen-Karat White Gold, Sapphire and Diamond Ring, mounted with a treated cushion-cut sapphire, with an approximate weight of 4.41 carats, surrounded by sixty-seven round-cut diamonds, with an approximate total weight of 0.53 carats, size 7, 9.0 grams total weight. [3500/5000] Illustrated

208

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778

778 Fourteen-Karat White Gold, Sapphire and Diamond Bracelet, composed of twenty-eight square-cut treated sapphires, with an approximate total weight of 12.98 carats, and 672 single-cut diamonds, with an approximate total weight of 2.52 carats, approximate color E-G and clarity VS1‑VS2, size 7, 18.0 grams total weight. [3000/5000] Illustrated 779 Eighteen-Karat White Gold, Ruby, Sapphire and Diamond Ring, in the Art Deco style, mounted with twenty-three round-cut diamonds, with an approximate total weight of 0.28 carats, twelve square-cut treated rubies, with an approximate total weight of 0.43 carats, and twelve square-cut treated sapphires, with an approximate total weight of 0.12 carats, size 5‑1/2, 4.0 grams total weight. [3000/5000] Illustrated

780

781

780 Platinum, Ruby and Diamond Pendant with Chain, the pendant mounted with an oval cabochon-cut treated ruby, with an approximate total weight of 0.84 carats, two marquise-cut, six baguette-cut, eleven round-cut and fourteen single-cut diamonds, with an approximate total weight of 1.52 carats, approximate color E-F and clarity VVS2‑VS2, l. 1‑1/2”, suspended from a fourteenkarat white gold chain, l. 15”, 9.0 grams total weight. [1000/1500] Illustrated 781 Platinum, Rubellite and Diamond Ring, mounted with a cushion-cut rubellite, with an approximate weight of 5.74 carats, accented by two triangle-cut diamonds, with an approximate total weight of 0.52 carats, approximate color E-F and clarity SI1‑SI2, size 7‑3/4, 10.0 grams total weight. [4500/7000] Illustrated

209

785

784

782

783

782 Fourteen-Karat Yellow Gold, Ruby and Diamond Ring, mounted with an oval-cut treated ruby, with an approximate weight of 6.50 carats, accented by twentyfour round brilliant-cut diamonds, with an approximate total weight of 1.01 carats, approximate color H-K and clarity SI2‑I2, size 6‑3/4, 5.9 grams total weight. [1000/1500] Illustrated 783 Fourteen-Karat Rose Gold, Watermelon Tourmaline and Diamond Ring, mounted with an emerald-cut watermelon tourmaline, with an approximate weight of 14.70 carats, accented by two triangular-cut pink tourmalines, with an approximate total weight of 0.58 carats, and forty-two round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, size 7‑1/4, 7.0 grams total weight. [2000/4000] Illustrated

210

784 Eighteen-Karat White Gold and Multi-Stone “Butterfly” Ring, in the form of a butterfly, mounted with two marquise-cut treated rubies, with an approximate weight of 0.46 carats, a pear-cut peridot, with an approximate weight of 0.37 carats, a pear-cut treated yellow sapphire, with an approximate weight of 0.18 carats, a marquise-cut blue topaz, with an approximate weight of 0.25 carats, and ninety round-cut diamonds, with an approximate total weight of 0.63 carats, size 7, 7.0 grams total weight. [1800/2500] Illustrated 785 Fourteen-Karat White Gold, Blue Topaz and Diamond Ring, mounted with a large square-cut blue topaz, with an approximate weight of 38.12 carats, accented by forty-four round-cut diamonds, with an approximate total weight of 0.55 carats, size 7‑3/4, 15.0 grams total weight. [1500/2500] Illustrated

788

790

786

787

786 Large Fourteen-Karat White Gold, Blue Topaz and Diamond Pendant with Chain, the pendant mounted with a large emerald-cut blue topaz, with an approximate weight of 65.00 carats, accented by ninety-six roundcut diamonds, with an approximate total weight of 0.62 carats, l. 1‑3/4”, suspended from a fourteen-karat white gold chain, l. 16”, 21.0 grams total weight. [2000/4000] Illustrated 787 Fourteen-Karat White Gold, Blue Topaz and Diamond Ring, mounted with an oval-cut blue topaz, with an approximate weight of 16.17 carats, surrounded by a double halo of round single- and brilliant-cut diamonds, with an approximate total weight of 0.35 carats, approximate color G-I and clarity VS1‑SI2, size 7‑1/4, 13.0 grams total weight. [1500/2500] Illustrated

789

788 Fourteen-Karat White Gold, Topaz and Diamond Ring, mounted with an oval-cut blue topaz, with an approximate weight of 9.29 carats, accented by 196 single-cut diamonds, with an approximate total weight of 0.83 carats, size 7‑1/2, 7.0 grams total weight. [1000/1500] Illustrated 789 Stunning Eighteen-Karat White Gold and Aquamarine Bracelet, the wide domed bracelet mounted with various sizes and shapes of aquamarines, with an approximate total weight of 70.37 carats, l. 7”, w. 1”, 95.0 grams total weight. [12000/18000] Illustrated 790 Eighteen-Karat White Gold, Aquamarine and Diamond Earrings, the large earrings mounted with sixty oval-cut and twenty-eight pear-cut aquamarines, with an approximate total weight of 20.92 carats for the pair, and ninety-six round-cut diamonds, with an approximate total weight of 0.35 carats for the pair, l. 2‑1/4”, 26.0 grams total weight. [3000/5000] Illustrated

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794 793

791

791 Eighteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with an emerald-cut aquamarine, with an approximate weight of 7.67 carats, flanked on either side by four baguette-cut and twelve round-cut diamonds, with an approximate total weight of 0.48 carats, approximate color D-E and clarity VVS2‑VS2, size 7‑1/2, 7.0 grams total weight. [2500/4000] Illustrated 792 Pair of Eighteen-Karat White Gold, Aquamarine and Diamond Earrings, set with two emerald-cut aquamarines, with an approximate total weight of 6.78 carats for the pair, and two baguette- and thirty-two round-cut diamonds, with an approximate total weight of 0.42 carats for the pair, l. 1‑1/4”, 6.0 grams total weight. [1800/2500] Illustrated

212

793 Stunning Eighteen-Karat White Gold, Aquamarine and Diamond Ring, mounted with a large square-cut aquamarine, with an approximate weight of 25.79 carats, accented by six round brilliant-cut diamonds, with an approximate total weight of 0.25 carats, approximate color F-G and clarity SI1‑SI2, size 7‑1/2, 18.0 grams total weight. [8000/12000] Illustrated 794 Pair of Fourteen-Karat White Gold, Aquamarine and Diamond Earrings, the drop dangle earrings each mounted with a pear-shaped aquamarine, with an approximate total weight of 14.58 carats for the pair, and eight round brilliant-cut diamonds, with an approximate total weight of 0.96 carats for the pair, approximate color G-I and clarity VS1‑SI1, l. 2”, 6.0 grams total weight. [4000/7000] Illustrated

796

797

795 Vintage Fourteen-Karat White Gold and Diamond Portrait Necklace with Chain, the necklace with a Swiss portrait miniature marked “Plojoux, Geneve”, mounted in a frame set with 111 rose- and European-cut diamonds, with an approximate total weight of 0.90 carats, and a pear-shaped diamond drop, with an approximate weight of 0.18 carats, pendant, l. 2”, chain, l. 22”, 11.0 grams total weight. [1400/1800] Illustrated

795

796 Unusual Victorian-Style Platinum, EighteenKarat White Gold, Diamond, Emerald and Enamel Necklace, with two enameled birds in a free-form design of flowers and leaves, mounted with twenty-one round-cut emeralds, with an approximate total weight of 1.44 carats, and 102 rose-cut diamonds, with an approximate total weight of 6.84 carats, approximate color H-I and clarity SI2‑I2, l. 20”, 54.0 grams total weight. [1500/2500] Illustrated 797 Vintage Gold Vermeil and Diamond Pin, the handmade pink mounted with forty-one rose-cut diamonds, with an approximate total weight of 1.40 carats, color H-K and clarity I1‑I2, l. 2”, 13.0 grams total weight. [1500/2500] Illustrated

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798 Russian 56 Zolotnik (Fourteen-Karat ) Yellow Gold, Diamond, Ruby, Sapphire and Emerald Butterfly Brooch, first quarter 20th century, mark of Egor Kuzmich Cheryatov for Fedor Anatolievich Lorie, Moscow the custommade brooch mounted with fourteen old mine-cut diamonds, with an approximate total weight of 3.45 carats, approximate color D-F and clarity VS1‑SI2, forty-eight natural and treated rubies, with an approximate total weight of 3.10 carats, fifty-three natural and treated sapphires, with an approximate total weight of 6.35 carats, and six natural and treated emeralds, with an approximate total weight of 0.24 carats, l. 2‑1/2”, 20.0 grams total weight, presented in the original cream satin- and velvetlined black leather box with F. A. Lorie retailer’s stamp. [3000/5000] Illustrated

798

799 Large Russian 84 Zolotnik (.875) Silver Gilt and Cloisonne Enamel Kovsh, first quarter 20th century, by Mikhail Zorin, Moscow, of traditional form, decorated with shaded cloisonne enamel in peach, turquoise, green, violet, rose and gold on a dark green enamel and textured silver ground, l. 9‑1/8”, w. 4‑1/2”, 16.71 t. oz. [1800/2500] Illustrated

799 details

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799

800 Large German Silver Gilt and Carved Agate Table Salt, first quarter 20th century, probably Hanau, in the Mannerist taste, comprising an oval bowl carved from a single piece of orangebrown banded agate, supported by a silver gilt figural standard of a melusine above a domed base with Mannerist banding and raised on three cast turtle feet, h. 6‑1/4”, l. 7‑1/4”, w. 4‑1/2”, 8.55 t. oz. (base only). [1800/2500] Illustrated

802

801 German .800 Silver Figural Standing Salt, first quarter 20th century, probably Hanau, in the Mannerist taste, in the form of a merchant carrying a hinged basket and holding a ring, the figure decorated with varicolored, collet-set paste gemstones, h. 11‑1/2”, dia. 5”, 23.22 t. oz. [2500/4000] Illustrated 802 Pair of Dutch Second Standard (.833) Silver Candlesticks, marked The Hague, 1902, by Arnoldus van der Beek (active 1893‑1923), in the early 17th-century taste, each with a spiraltwist standard above a large annular knop and domed foot, with detachable bobeche, the whole decorated with embossed flowers and foliate scrolls, h. 11‑1/4”, dia. 7‑1/2”, 32.26 total t. oz. [1800/2500] Illustrated 803 Continental Silverplate Wine Trolley, first half 20th century, in the form of an ornate openwork Tilbury carriage decorated with rococo scrolls and floral latticework, with large working spoked wheels and a figural Bacchic bust crest, the bottle fitting into an acanthus scroll frame, its angle adjustable by means of a pyr-centered wheel at the front, h. 7‑1/4”, l. 16”. [900/1200] Illustrated

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805

804 Sterling Silver Gilt and Lapis Lazuli Telkari Table Box, contemporary, Turkey, of rectangular form decorated with filigree flowers and gadroons, the hinged, domed lid set with four lapis lazuli cabochons, h. 3‑1/4”, w. 8‑1/8”, d. 7‑1/4”, 24.16 t. oz. [900/1200] Illustrated 805 Set of Three German .800 Silver Jardinieres, first quarter 20th century, by Bruckmann & Soehne, Heilbronn, retailed by Eugen Marcus, Berlin, in the rococo taste, comprising one large jardiniere, 14‑1/2” x 8‑1/2”, and two smaller ones, 10‑3/4” x 6‑1/4”, each of oval form decorated with an embossed, shaped rococo band centering cartouches mantled with oak branches and bulrushes, with stirrup handles and four scrolling feet en suite, fitted with the original conforming gilt-metal liners with ring handles, 34.63 total t. oz. (excluding liners). [2500/4000] Illustrated

216

806 German .800 Silver Covered Vegetable Dish, first quarter 20th century, by Breidenstein & Renaud, Frankfurt, in the rococo taste, of circular form decorated with embossed and chased rococo cartouches on a latticework ground, with cast and applied rococo-scroll handles, the fitted lid decorated en suite with a central floral scroll finial, monogrammed on the lid “PGR”, h. 6‑3/4”, dia. 9‑1/2”, w. 12‑1/4”, 44.42 t. oz. [1400/1800] Illustrated 807 German .800 Silver Jardiniere, first quarter 20th century, by Lazarus Posen Wwe., Frankfurt, oval with gadrooned lower half and pierced serpentine-edged rim decorated with chased acanthus fronds and foliate scrolls, the whole raised on four monopodal figural griffin legs, the interior gilt and fitted with the original gilt-metal liner with ring handles, h. 6”, l. 13‑1/4”, w. 11‑1/4”, 54.38 t. oz. (excluding liner). [2500/4000] Illustrated

811

808 German .800 Silver Jardiniere, first quarter 20th century, by Bruckmann & Soehne, Heilbronn, in the rococo taste, of oval form, the wavy sides decorated with cherubim-crested rococo cartouches on an openwork lattice ground, the narrow ends with scroll-mounted halfbusts of Nike, the whole raised on a conforming foot pierced and decorated en suite, the gilt interior fitted with the original gilt-metal liner with ring handles, h. 10‑1/4”, l. 24‑1/2”, w. 12‑1/2”, 73.39 t. oz. (excluding liner). [8000/12000] Illustrated

809 German .800 Silver Fruit Bowl, first quarter 20th century, by Storck & Sinsheimer, Hanau, in the Louis XV taste, of oval form with peaked sides, decorated with pierced floral latticework centering oval cartouches joined by laurel swags and crested by ram’s masques, with scroll-mounted baluster handles and raised on four acanthus-crested lion’s paw feet, fitted with a conforming glass liner, h. 5”, l. 12‑1/4”, w. 7”, 16.98 t. oz. (excluding glass liner). [1400/1800] Illustrated

811 Three-Piece Continental .900 Silver and Marble Garniture Set, ca. 1900, comprising two urn-form vases and one campana form, each decorated with embossed panels of roosters, geese, turkeys, swans and other domestic fowl and animals, the urns each with figural peacock handle, the campana with pairs of figural pheasant and chicken handles, each raised on a canted square verdigris marble socle-and-plinth base, h. 15‑1/4” and 12‑3/4”. [9000/12000] Illustrated

810 French Silverplate Center Bowl/ Jardiniere, first quarter 20th century, by the Manufacture de l’Alfenide of Christofle, Paris, of oval form with shaped and everted rim with pierced ovolo fluted banding sectioned by flat columns and cartouches and above a cavetto plinth base, engraved on the cartouches with the monogram “JBM” and the anniversary date “15 / VIII / 1885‑1910”, fitted with a conforming peridot-green glass liner, h. 5”, l. 16‑3/4”, w. 9‑3/4”. [800/1200] 809

808

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813

812 French First Standard (.950) Silver Platter, ca. 1900, by Emile Delaire (fl. 1882‑1920), Paris, of serpentinelobed circular form, with repousse flower-spray rim and applied floral scroll edge, monogrammed on the rim “LAS”, dia. 14”, 33.77 t. oz. [800/1200] Illustrated 813 Fine French First Standard (.950) Silver Surtout de Table, first quarter 20th century, by Gustave Keller, Paris, in the form of neoclassical plinths, comprising a low oval central mirrored plateau, 11” x 14‑3/4”, two large circular containers with detachable circular tops, dia. 6‑3/4”, two pairs of shaped containers, 15‑1/2” and 11‑5/8”, and four small circular shaped containers, dia. 3‑1/2”, the containers all with the original detachable fitted gilt-metal liners, 242.12 total t. oz. (weighable silver). [6000/9000] Illustrated 814 Swedish .830 Silver and Cut Glass Flagon, marked Stockholm, 1880, by C. G. Hallberg, the narrow conical glass body with flared base and cut vertical flutes separated by stacked narrow horizontal ones, with downpulled handle, the hinged silver cap with beaded edge and joined, by means of a mascaron billet, to the handle, h. 8‑3/4”, dia. 3‑7/8”, l. 5”. [500/800] 812

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815 Italian Sterling Silver Teapot, third quarter 20th century, by Eugenio Stancamiano, Palermo, in their “Impero” pattern, with flattened oval body, leaf-anddart banding, eagle’s head spout, arched handle and pyr finial, h. 7”, l. 11”, dia. 5‑3/4”, 17.70 t. oz. [600/900] Illustrated 816 Italian .800 Silver Table Box, third quarter 20th century, of rectangular form with applied rococo scrolls on the sides, the hinged, domed lid with flat-chased matted ground with engraved rococo scroll spandrels and centering a carnelian cabochon, the whole raised on four rococo scroll feet, h. 2‑3/4”, w. 5‑1/4”, d. 3‑1/4”, 10.26 t. oz. [600/900] Illustrated 817 Buccellati Sterling Silver “Vine” Leaf Fruit Bowl, fourth quarter 20th century, Milan, the realistically detailed leaf with wavy edge and raised on two rolled “vine” leaves en suite, l. 12‑1/2”, w. 12‑1/2”, 21.94 t. oz. [3500/5000] Illustrated

817

815

816

818 Buccellati Sterling Silver Figure of a Polar Bear, fourth quarter 20th century, by Mabuti s.r.l., Milan for Buccellati, numbered "8", the realistically detailed bonded porcelain-filled figure depicted rampant couchant, h. 12", weighted. [3500/5000] Illustrated

818

219

820

819 Buccellati Sterling Silver Swan Bowl, fourth quarter 20th century, by Ilario Pradella for Buccellati, Milan, the realistically detailed swan depicted swimming, the wings and open back forming the bowl, h. 4‑1/4”, l. 7‑3/4”, 8.05 t. oz. [1800/2500] Illustrated 820 Large Buccellati Sterling Silver Center Bowl, dated 1977, by de Boni, Vigonza, Padua for Buccellati, Milan, of coquille form with large, in-curved scroll handle and raised on four cast “whelk shell” feet, engraved on the underside “To Marty Love Mary Lea March 11, 1977”, h. 3‑1/4”, w. 16‑1/2”, d. 13‑3/4”, 90.26 t. oz. [10000/15000] Illustrated 819

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821

822 detail

824

821 Georg Jensen Sterling Silver Tray, with the Jensen 1925‑1932 mark, Copenhagen, pattern No. 251B, designed by Johan Rohde (1856‑1935), of oval form, with “bobbin” ram and scroll-mantled conical gadroon-mounted ebony handles, l. 21”, w. 13‑1/4”, 56.56 t. oz. [1500/2500] Illustrated 822 One Hundred and Ninety-Eight-Piece Set of Finnish “Tapio” Sterling Silver Flatware, mid-20th century, designed by Tapio Wirkkala (1915‑1985) for Kultakeskus Oy, Helsinki, Finland, comprising ten thirteenpiece place settings (three pieces lacking), with an additional sixty-nine place pieces and two serving pieces, 164.65 total t. oz. (weighable silver). Detailed list of pieces available on request. [3000/5000] Illustrated

823

823 Two Pieces of Silver Judaica, including an Austro-Hungarian third standard (.800) silver kiddush cup, first quarter 20th century, Budapest, of traditional form with embossed foliate banding and engraved Hebrew inscription, h. 7‑1/2”, dia. 3‑3/8”, and a Hazorfim sterling silver menorah, fourth quarter 20th century, Israel, with scrolled uprights, conical nozzles and oval base, h. 5‑1/4”, l. 13‑1/4”, 11.28 total t. oz. [600/900] Illustrated 824 Good Sterling Silver, Silverplate, Lapis Lazuli and Diamond Chalice, contemporary, by Gilles Beauregard, Montreal, Canada, the sterling silver bowl of bucket form with gilt interior and an engraved band “Hic Est Enim Calix Sanguinis Mei”, above a hexagonal lapis lazuli knop to a conforming silverplate trumpeting stem and base, the base with an applied crucifix opposing a square cross set with a central brilliant-cut diamond and a smaller single-cut diamond at each terminus (five diamonds totaling approximately 0.25 carats), h. 8”, w. 6”, 7.46 t. oz. (sterling bowl only). [1800/2500] Illustrated

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825 Antique Oushak Carpet, early 19th century, 12’ 7” x 17’ 3”. [5000/8000] Illustrated 826 Tabriz Silk Carpet, 4’ x 6’ 8”. [700/1000] Illustrated

826

222

827 Antique Serapi Carpet, 9’ 11” x 14’ 3”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [4000/7000] Illustrated 828 Semi-Antique Karaja Carpet, 3’ x 4’ 10”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [500/800] 829 Heriz Carpet, 4’ 9” x 6’ 5”. [500/800] 830 Persian Serapi Carpet, 11’ 5” x 16’ 5”. [6000/9000] Illustrated 831 Semi-Antique Karaja Runner, 2’ 10” x 12’ 10”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [800/1200] Illustrated

827

831

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223

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834

832 Semi-Antique Bidjar Carpet, 7’ x 10’ 5”. [800/1200] Illustrated 833 Antique Mahal Runner, 6’ 2” x 12’ 1”. [700/1000] 834 Persian Kerman Carpet, 11’ 6” x 13’ 2”. [4000/7000] Illustrated 835 Agra Carpet 9’ 11” x 10’ 3”. [1200/1800] 836 Antique Lavar Kerman Carpet, 9’ 5” x 16’ 5”. [3000/5000] Illustrated 837 Turkish Angora Oushak Carpet, 12’ 2” x 15’ 3”. [1800/2500]

836

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838 Fine Agra Sultanabad Carpet, 9’ 2” x 11’ 9”. [2000/4000] Illustrated 839 Fine Agra Serapi Carpet, 7’ 10” x 9’ 10”. [1400/1800] 840 Antique Serapi Carpet, 11’ 4” x 14’ 7”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [3000/5000] Illustrated

838

225

841 Turkish Angora Oushak Carpet, 8’ 3” x 9’ 9”. [600/900] Illustrated 842 Antique Lilihan Carpet, 4’ 10” x 6’ 1”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [600/900] 843 Antique Mahal Carpet, 4’ 8” x 7’. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [700/1000] Illustrated 844 Antique Malayer Carpet, 6’ 8” x 16’. [1000/1500] Illustrated

843

841

844

226

845 Ada Irene Vose Congdon (American/New York, 1854‑1918), “Portrait of the Painter Thomas Richardson Congdon (1859‑1917), the Artist’s Husband”, oil on canvas, signed lower right, 36” x 30”. In a carved giltwood frame. [1000/1500] Illustrated Congdon studied in Paris under Leon Augustin Lhermitte (1844‑1925) and Raphael Collin (1850‑1916). Along with her husband and fellow artist, Thomas Richardson Congdon, she traveled extensively in Spain, Italy, Switzerland and Holland, studying and sketching. The couple settled in New York where they opened a studio together. An accomplished etcher, Congdon exhibited at the Art Institute of Chicago, the City Art Museum of St. Louis, and the Panama-Pacific International Exposition in San Francisco. 846 Charles Paul Gruppe (American, 1860‑1940), “Fishing on the Lake”, oil on board, signed lower left, 12” x 15‑5/8”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500] Illustrated 847 Elijah Baxter (American/Rhode Island, 1849‑1939), “Spring Fields”, oil on canvas, signed lower right, 12” x 18‑1/4”. In a gesso and giltwood frame. [1200/1800] Illustrated

845

Baxter was born in Hyannis, Massachusetts and, under the sponsorship of Governor William Sprague, received his training in Europe, first at the South Kensington School of the Royal College of Art in London and then the Royal Academy of Fine Arts in Antwerp. Despite his rigorous Academic training, Baxter preferred a more plein air approach to painting. Upon completion of his studies he traveled across Italy and France, sketching and painting on site. He eventually settled in Rhode Island and opened studios in Newport and Providence. A member of the Boston Art Club, the Providence Art Club and the Newport Art Association, Baxter was also an early supporter of the Rhode Island School of Design, which has three of his paintings in their archives. Few works by Baxter remain since a devastating studio fire destroyed almost his entire life’s work. 848 Charles Paul Gruppe (American, 1860‑1940), “Kirkwood Lake”, oil on canvas, signed lower right, 17‑3/4” x 28”. Presented in a polychrome frame with artist plaque. [1500/2500] Illustrated

848

846

847

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850

849 Charles Philip Weber (American, 1849‑1921), “Fishing by Moonlight”, 1881, oil on canvas, signed and dated lower left, a “Schwarz & Son/Philadelphia” label en verso backing, 14‑1/2” x 26”. In a gesso and giltwood frame. Provenance: Frank S. Schwarz & Son, Philadelphia, Pennsylvania; Private collection, New Orleans, Louisiana. [3000/5000] Illustrated 850 Emile Albert Gruppe (American, 1896‑1978), “Lobster Shacks”, oil on canvas, signed lower right, signed, titled and further inscribed en verso, 24” x 36”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [8000/12000] Illustrated

852

851 Clark Hulings (American, 1922‑2011), “San Domenico, Taormina, Sicily”, ca. 1956, oil and charcoal on canvas board, signed lower right, titled and dated by the artist on the accompanying letter, sight 15” x 6‑1/8”. Glazed, matted and framed. [3000/5000] Illustrated 852 Chet Reneson (American, b. 1934), “Ducks Flying Over a Marsh”, watercolor on paper, signed lower right, sight 18‑1/2” x 26‑1/2”. Glazed, matted and framed. [1500/2500] Illustrated

849

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854

856

853 Nils Hogner (American, 1887‑1970), “Untitled”, oil on canvas, 1917, signed and dated lower right, 24‑1/2” x 29‑1/2”. Presented in a hand-painted frame. Provenance: Eric Firestone Gallery, Tucson, Arizona; The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500] Illustrated 854 Joe Rader Roberts (American/Texas, 1925‑1982), “Texas Landscape”, oil on canvas, 1968, signed and dated lower right, 12” x 16”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500] Illustrated 855 American Queen Anne Walnut Drop-Leaf Table, mid-18th century, the single-board top and leaves with rounded corners supported by dovetailed swing-out legs, of pegged construction, h. 29”, w. 44”, l. 13‑1/2”, extended l. 43‑1/2”. [600/900] Illustrated 856 American Queen Anne Maple Roundabout Chair, mid-18th century, with a curved crest rail and twin splats, raised on turned legs joined by an X-form stretcher, with mortise and pegged construction, h. 31‑1/2”, w. 24‑1/2”, d. 25”. [800/1200] Illustrated

857 857 American Federal Cherrywood Chest of Drawers, first quarter 19th century, the case fitted with four graduated long drawers, each with diamond-shaped inset keyholes, raised on flared feet, h. 37‑1/2”, w. 37‑1/2”, d. 20”. [500/800] Illustrated

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858 861

858 American Southern Walnut Farm Table, late 19th century, the broad plank top with breadboard ends and raised on tapered legs, mortise and pegged construction, h. 29”, w. 39‑1/2”, l. 66‑1/2”. [500/800] Illustrated 859 Jean-Baptiste Bourguignon d’Anville (French, 1697‑1782), “Carte de la Louisiana, 1732”, engraved by Guillaume de la Haye, published 1752, sight 21” x 36‑1/2”. Glazed, matted and framed. [1000/1500] Illustrated

230

860 American Chippendale Mahogany Chest of Drawers, 18th century and later, of diminutive proportions, with a pair of side-by-side drawers above three graduated long drawers, raised on ogee bracket feet, h. 30”, w. 30‑1/2”, d. 17‑1/2”. [700/1000] Illustrated 861 American Chippendale Maple Oxbow Chest of Drawers, third quarter 18th century, with four graduated reverse serpentine drawers fitted with brass bale handles, raised on ogee bracket feet, h. 31‑1/2”, w. 39‑1/2”, d. 20”. [2500/4000] Illustrated

866 862

865

864

862 American Federal String-Inlaid Mahogany Chest, first quarter 19th century, the case with a deep drawer over three graduated drawers, each with inlaid perimeter stringing and cock beading, the upper drawer with a shaped figured panel, raised on bracket feet, h. 45‑1/2”, w. 46‑1/2”, d. 21”. [800/1200] Illustrated

863

863 American Federal-Style Inlaid Mahogany Fold-Over Games Table, early 20th century, the serpentine apron with a central inlaid urn and flanked by inlaid banded panels, raised on string-inlaid tapered legs, h. 30”, w. 36”, d. 19”, extended d. 38”. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [600/900] Illustrated

865 Pair of Regency Revival Cut Glass Hurricane Lamps, fourth quarter 19th century, Anglo-Irish, the baluster-form bases decorated with diamond, strawberry and fan cutting, below gilt-bronze nozzles holding strawberry-cut hurricane shades, h. 17‑1/4”, dia. 7”. [700/1000] Illustrated

864 American Federal Mahogany Sofa in the Sheraton Taste, ca. 1810, in the manner of Duncan Phyfe, the tripartite crest with ribbon carving and reeding, the reeded closed arms on like supports, raised on Sheraton-style legs with brass caps, upholstered in striped blue and white brocade, h. 37”, w. 78‑1/4”, d. 30”. [1500/2500] Illustrated

866 Duncan Phyfe-Style Mahogany Two-Pedestal Dining Table, second quarter 20th century, the leafcarved pedestals supported on leaf-carved reeded sabre legs with brass paw-foot casters, the reeded edge top with two matching leaves, h. 29‑1/2”, w. 48”, l. 83”, extended l. 119‑1/2”. [2000/4000] Illustrated

231

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869 pair 868

867 American Classical Mahogany Drop-Leaf Table, ca. 1820, school of Duncan Phyfe, New York, the singleboard top flanked by like drop leaves with canted corners, and raised on a pedestal with a rounded urn joined to reeded saber legs with carved paw feet, h. 28‑3/4”, w. 24”, d. 35‑3/4”, extended l. 44‑3/8”. A Duncan Phyfe table with a base similar to the present example is illustrated in Duncan Phyfe: Master Cabinetmaker in New York, p. 171. [800/1200] Illustrated 868 American Giltwood Tabernacle Mirror, second quarter 19th century, framed with ring-turned pilasters, the cornice set with acorn drops, above the entablature, mounted with a central shell and medallions in each corner, now set with an eglomise panel depicting the War of 1812 battle between the USS Constitution and the HMS Guerriere, h. 41‑1/2”, w. 24”, d. 4‑3/4”. [600/900] Illustrated

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869 Pair of American Classical Mahogany D-End Tables, first quarter 19th century, probably Baltimore, the tops with beaded edges, and supported by bold ring-turned standards with four down-curved hipped and reeded legs ending in cast brass paw feet, h. 28‑1/2”, w. 53‑1/2”, d. 22‑1/2”. [2000/4000] Illustrated 870 Pair of Handsome Paris Porcelain Urns, second quarter 19th century, French, decorated with bouquets on one side and swags of flowers on the other, on unusual periwinkle blue grounds, the gilt bases mounted with handles terminating in classical masques, h. 13”, dia. 9”. [500/800] Illustrated 871 American Federal-Style Carved Mahogany LyreForm Banjo Clock, 20th century, the painted dial with Roman numeral chapters, the eight-day weight-driven brass movement engraved “Kilbourn & Proctor”, h. 39”, w. 11”, d. 5”. [700/1000] Illustrated

872 American Classical Mahogany Drop-Leaf Table, ca. 1825, the single-board top flanked by a pair of like-shaped leaves, the frieze fitted with a single drawer, raised on tapering columns joined to the base on carved paw feet, h. 29”, d. 39”, l. 25”, extended l. 51‑1/2”. [700/1000] Illustrated 873 Pair of Handsome Patinated Bronze Neoclassical Argand Lamps, second quarter 19th century, probably English, retailed by Baldwin Gardiner, New York, with covemolded bases supported on reeded bun feet, the standards molded with Ionic capitals, supporting the fluted and leafmolded oil tanks, with tags reading “B. Gardiner, N. York”, under each burner, the frosted and cut Colonial Revival shades likely New England, h. 14‑1/2”. [1000/1500] Illustrated

874 American Classical Mahogany Sideboard, first quarter 19th century, school of Joseph Barry, Philadelphia, the projecting ends with a drawer over a door with a Gothic arch, and flanked by herms with carved, bearded Turk’s heads on reeded columns with paw feet, joined by canted sections with arched and quatrefoil panels centered by bowed doors with like panels, raised on beehive feet, h. 50‑1/4”, w. 92‑1/4”, d. 27‑1/2”. [2000/4000] Illustrated 875 American Classical Mahogany Cylinder Secretary, school of Joseph Barry, Philadelphia, the shaped upper section with three banks of drawers over a cylinder opening to reveal a fitted interior writing surface, the arched cupboard doors flanked by herms with bearded Turk’s heads above tapering paneled and reeded columns on carved feet, the case on beehive feet, h. 56‑1/4”, w. 44‑1/4”, d. 23‑1/4”. [2500/4000] Illustrated

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876 group of three

876 McKenney & Hall (American, 19th Century), “Keokuk, Chief of the Sacs and Foxes”, “Pes-Ke-Le-Cha-Co, A Pawanee Chief”, and “Wa-Pel-La, Chief of the Musquakees”, three hand-colored lithographs from the History of the Indian Tribes of North America, Philadelphia, 1838 and 1841, each sight 18” x 13”. All glazed, handsomely matted and presented in burlwood veneered frames. [1500/2500] Illustrated

878

877 American Late Classical Revival Mahogany Cheval Mirror, fourth quarter 19th century, the tilting rectangular mirror supported by large turned and carved posts with grape and vine motifs and mounted to a base with large carved outstretched legs ending in paw feet, h. 77”, w. 48”, d. 33”. [2000/4000] Illustrated 878 American Classical Mahogany Game Table, ca. 1825, New York, the D-form fold-over top with a crossbanded perimeter over a conforming figured frieze, on a foliate-carved pedestal joined to hairy paw feet, h. 30‑1/2”, w. 34‑3/4”, d. 17‑1/4”, extended l. 34‑1/2”. [500/800] Illustrated 879 American Late Classical Mahogany Dressing Table, second quarter 19th century, Philadelphia, the rectilinear mirror plate in a conforming molded frame, raised on tapering columns joined to a base with shallow lift-top compartments, flanked by an inset marble, over a frieze drawer flanked by Gothic niches, on a well-carved pedestal joined to a concave platform base on carved paw feet, h. 70”, w. 37‑3/4”, d. 23”. [1500/2500] Illustrated

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880 Neoclassical-Style Gilt Composition Applique, mid20th century, American, depicting a ribbed basket of fruit supported by a bowknot, labeled “Borghese”, h. 21‑3/4”, w. 16‑3/4”. [500/800] Illustrated

883

881 American Late Classical Giltwood Overmantel Mirror, second quarter 19th century, the rectangular three-part mirror with molded corner medallions and trimmed with spindle-turned applied giltwood balusters, h. 28”, w. 69‑1/2”. [500/800] Illustrated

883 Near Pair of American Late Classical Mahogany Bed-Step Commodes, second quarter 19th century, each with a hinged lift lid on the top two treads, the center section of each fitted with a pull-out commode seat, h. 25”, w. 19”, d. 30” and h. 25”, w. 18‑1/2”, d. 27”. [700/1000] Illustrated

882 American Federal Mahogany Sideboard, first quarter 19th century, probably Massachusetts, with a dovetailed gallery surrounding the single-board work surface, the front fitted with two drawers and raised on tall spiralturned legs, h. 42”, w. 48”, d. 24”. [1000/1500] Illustrated

884 American Late Classical Mahogany Four-Post Canopy Bed, second quarter 19th century, with large turned posts with boldly carved grape and vine motifs, and supporting a broad flaring canopy, h. 101”, inside, w. 53”, l. 73”, outside, w. 76‑1/4”, l. 89”. [4000/7000] Illustrated

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885 American Late Classical Revival Carved Mahogany FourPost Bed, fourth quarter 19th century, the turned and carved posts wrapped with acanthus leaf details and ending in large pineapple finials, h. 79”, inside, w. 54”, l. 80”, outside, w. 58”, l. 87”. [700/1000] Illustrated 886 American Classical Revival Mahogany Sunderland Table, ca. 1900, the reeded drop leaves supported by reeded and shaped fly legs on paw feet, the trestle base with like legs and stretcher, the frieze fitted with a drawer with a lion’s head ring pull, h. 26‑1/4”, d. 40”, l. 26‑3/4”, (center section l. 8‑1/2”). [800/1200] Illustrated 887 Neoclassical-Style Silvered Bronze Six-Light Chandelier, second quarter 20th century, possibly American, the urnform molded standard decorated with incised cartouches and bellflowers, the faceted, scrolled arms supporting molded drip pans set with light sockets, h. 20”, dia. 18‑1/2”. [500/800] Illustrated

887

888 American Late Classical Mahogany Secretary Bookcase, second quarter 19th century, in two parts, the upper section with a projecting cornice over a pair of glazed doors, the base with a pair of molded drawers over a deep drawer, folding down to create a writing surface and reveal a fitted interior retaining its period brass drawer pulls, with paneled doors below, flanked by columns, h. 94‑1/2”, w. 46”, d. 24”. [1800/2500] Illustrated

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889 American Late Classical Line-Strung Rosewood Recamier, second quarter 19th century, with a tufted serpentine back wrapping around to shaped arm supports with fabric inserts, the line-inlaid serpentine apron centered by a carved shell, the underside with the stenciled label “J. & J.W. Meeks Makers No. 11 (sic: 14) Vesey St., New York”, h. 35‑1/2”, w. 75”, d. 30”. [700/1000] Illustrated 890 Commemorative Vanderbilt University Cast Iron Garden Armchair, early 20th century, the back with a top rail centered by a cast profile of Cornelius Vanderbilt, framed by a ring molded with “Vanderbilt University 1873”, with open arms, pierced seat and a curule base, h. 31”. [800/1200] Illustrated Cornelius Vanderbilt provided the initial million dollar endorsement for the Nashville University, in an effort to facilitate the reunification of the country in the wake of the Civil War.

890

891 Eight-Piece Suite of Cast Aluminum “Lyre and Rose” Pattern Garden Armchairs, second half 20th century, after an American pattern introduced in 1840, each with a pierced back extending to like arms, dished seat and shaped legs joined by an X-form stretcher, h. 33‑1/4”, together with a circular center table with a pierced top and shaped legs, h. 26”, dia. 38‑3/4” (nine total pieces). [1000/1500] Illustrated

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892

892 Pair of Cast Aluminum “Lyre and Rose” Pattern Garden Benches, second half 20th century, the bench backs each with a trio of lyres wrapping around to scroll arms, h. 32‑3/4”, w. 47”, d. 20”, together with a pair of tables in vintage decor, with circular tops on griffin-molded tripodal bases, h. 21‑1/8”, dia. 22‑1/2” (four total pieces). [600/900] Illustrated

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893 Three-Piece Suite of Cast Iron Garden Furniture, 20th century, comprised of a pair of armchairs, h. 36‑1/4”, and a settee, h. 36‑1/4”, w. 44”, d. 16”, in the Renaissance Revival style, each armchair labeled “Jacobs Mfg Co. Bridgeport, Ala, Early Victorian”. [600/900] Illustrated

894 Henry Casselli (American/Louisiana, b. 1946), “Before the Recital”, pastel on paper, signed lower left, sight 17‑1/4” x 11”. Glazed, matted and framed. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [2000/4000] Illustrated 895 Jose Maria Cundin (Spanish/Louisiana, b. 1938), “Figural Composition”, mixed media on paper, signed and dated “83” lower left, sight 10‑1/2” x 8”. Glazed, matted and framed. [1000/1500] Illustrated 896 Barbara Wasserman (American/Contemporary), “A Child’s Journey”, oil on canvas, signed lower left, titled en verso, an “Edificio Condesa, Mexico” label en verso, 38‑5/8” x 28‑5/8”. Framed. Exhibited: American School of Art Fair, Mexico City, Mexico. Provenance: Private collection, New Orleans, Louisiana; purchased in Mexico City, Mexico. [1000/1500] Illustrated

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896

895

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897 William R. Dunlap (American/Mississippi, b. 1944), “Fall Light-Reflect”, oil on paper, 32” x 72”, signed lower right, titled lower left. Glazed and framed. [2000/4000] Illustrated

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898 Elemore Morgan, Jr. (American/Louisiana, 1931‑2008), “Prairie Cove”, 1987, acrylic on masonite, diptych, monogrammed lower right, signed, titled and dated en verso, each 49‑1/2” x 28”, overall 49‑1/2” x 56”, accompanied by a 1995 appraisal from Arthur Roger Gallery, New Orleans, Louisiana. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [8000/12000] Illustrated

899 Frederick Brown (American, 1945‑2012), “Ray Charles”, 1995, mixed media on paper, signed and dated lower right, 37‑1/2” x 24‑1/2”. Glazed, float-mounted and framed. [1000/1500] Illustrated 900 Clementine Hunter (American/Louisiana, 1887‑1987), “Baptism”, oil on Upson board, monogrammed and dated “1970” upper midright, 12‑1/4” x 16”. Framed. Provenance: Estate of Elmira Ann Parnell Gregorie, Baton Rouge, Louisiana. [1500/2500] Illustrated

901

899 902 901 Alvin Hollingsworth (American, 1928‑2000), “Tilling the Fields”, oil and acrylic on canvas board, signed lower right, 18” x 24”. Framed. [2000/4000] Illustrated 902 Alvin Hollingsworth (American, 1928‑2000), “Trio of Prophets, from the Prophet Series,” oil and acrylic on masonite, titled on frame back, verso affixed with the artist studio label, 16” x 19”. Framed. [3500/5000] Illustrated

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903 Alvin Hollingsworth (American, 1928‑2000), “Prophet Amarillo”, oil and acrylic on canvas, signed lower left, titled en verso, 24” x 36”. Framed. [3000/5000] Illustrated 904 Alvin Hollingsworth (American, 1928‑2000), “We the People”, oil and acrylic on wood panel, signed lower left, 7‑1/2” x 46”. Framed. [1000/1500] Illustrated 905 Transitional American Late Classical-into-Rococo Revival Walnut Bookcase, third quarter 19th century, the projecting cyma-molded cornice over a pair of glazed doors, the base with a pair of doors, h. 99‑3/4”, w. 56”, d. 20‑1/2”. [1800/2500] Illustrated 905

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906 906 Richard Clague (American/Louisiana, 1821‑1873), “Louisiana Landscape with Goats near the Water’s Edge”, 1870, oil on canvas, signed lower right and pencil signed and dated on stretcher, 16‑1/2” x 20‑1/2”. Presented in the original W. E. Seebold giltwood frame with framer’s label en verso. Provenance: From the artist to the father of Leon Gibert of Monrepos (now Anadele’s Plantation) on the Bogue Falaya River, St. Tammany Parish, Louisiana; thence by descent to his grandson William Gibert and his wife Rosalie Johnston; Private collection, Louisiana, 1983; Neal Auction Company, June 6, 1998, lot 291. Exhibited: Richard Clague Retrospective, November 17‑ December 30, 1974. New Orleans Museum of Art. Illustrated: Toledano, Roulhac. Richard Clague, 1821‑1873. New Orleans: New Orleans Museum of Art, 1974. pl. 61, p. 95. Literature: TimesPicayune. Sunday, July 30, 1972. sect. 3, p. 4. [80000/120000] Illustrated

Richard Clague’s landscapes of daily life, of innocuous flora and fauna, are as rich in tradition as are the families through whose hands they have passed. At the time, portraiture was paramount, and no real interest had ever been paid to Southern scenery. Though he was academically trained at the Ecole des Beaux-Arts in France, Clague was most influenced by the plein-air realism of the Barbizon School painters, who painted the peasantry and the environs of the Fontainebleau forest in situ. As Gustave Courbet, the “father” of French realism and a contemporary of Clague, once said in mocking jest of the art academies, “Show me an angel and I will paint it.” Similarly, Clague focused on the world before him, turning rustic mundane scenes into pastorals that celebrate the subtropical climate. In the painting offered here, Clague uses light to capture the quiet reprieve from a hot summer’s day; the burnt umber of the shade beneath the tree where the goats rest is juxtaposed by the sundrenched path packed down by wagon tracks, and the reflections of the trees on the surface of the water are so pristine, Clague is able to capture just how stagnate the water on a bayou or river bank can be. This painting uses goats at rest to celebrate a Louisiana summer day in a setting so prosaic that it could be found on almost any settlement, farm or plantation in the area. Indeed, it could even be from the Gibert property on the Bogue Falaya River in St. Tammany Parish where the painting hung for almost a century before it was displayed at Clague’s retrospective.

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907

907 William Henry Buck (Norwegian/New Orleans, 1840‑1888), “Swamp Scene in Louisiana”, 1865, oil on board, signed “Wilhelm H. Buck”, titled and dated in pencil en verso, with remnants of a label, 8‑3/4” x 13”. Framed. Provenance: Private collection, New Orleans, Louisiana. [15000/25000] Illustrated

This swamp scene is one of the oldest known Louisiana landscapes by William H. Buck. Richard Anthony Lewis, curator at the Louisiana State Museum, writes in his entry for KNOWLA, Encyclopedia of Louisiana Artists that Buck arrived in New Orleans in 1870. The Encyclopedia of New Orleans Artists, produced by the Historic New Orleans Collection, states that he probably came to New Orleans ca. 1860, but was not active (as an artist) until 1869+, which certainly corresponds with the earliest mention of Buck in periodicals. Little is known of Buck’s whereabouts during this near decade interim other than he was registered as a clerk and commissions merchant in the New Orleans cotton industry, before training under Richard Clague in the 1870s and early 1880s. The inscription on the back of this painting, written in the artist’s characteristic tightly looped penmanship, in which he signed his name “Wilhelm” instead of William, suggests that he was actively painting the environs, and likely so in plein air within months or years of arriving here.

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The ethereal atmospheric lighting (typically achieved through reverse lighting) that offset Buck’s monumental live oaks in subtropical landscapes is typically attributed to his studies with Clague, who was trained in the French Barbizon School tradition. However, this painting, with its dark fore and middle ground of flora evenly lit from behind, suggests a nascent exposure to Barbizon art that precedes his tenure with Clague. Was Buck exposed to it in New York through Ernest Ciceri, with whom he briefly trained before coming to New Orleans, or was he looking at Clague, and other French inspired landscapes of Louisiana that dealers such as W. E. Seebold exhibited? While this painting is but a mere vignette in the artist’s career of work, it is a rare piece that merits further research as it sheds light on periods in the artist’s life so far unknown, and gives viewers and scholars alike another glimpse into the history of Louisiana landscapes during the American Civil War.

908

909 910 908 Collection of New Orleans Mardi Gras Memorabilia, including two partial Rex Ducal badges, one marked 1883, each dia. 3”; a Rex silvered brass reticulated party favor dish, 1913, h. 1”, w. 6”; a Rex brass party favor mirror lacking its glass, 1899, l. 6‑3/8”, w. 3”; a Breakfast at Begue’s sterling silver demitasse spoon, 1913, marked Coleman E. Adler, l. 6”; a miniature brass crown inset with faux gems, dia. 2”; three gilt-metal necklaces inset with glass and simulated gemstones, the first in the form of Celtic knots with hanging pendants, l. 26”, the other two with cut glass, l. 14” and 16”; together with two books of silvered and bronzed metal doubloons from the 1960s; the book If Ever I Cease to Love: One Hundred Years of Rex, 1872‑1971, by Charles Dufour and Leonard Huber, New Orleans: Upton Printing, 1971. Provenance: Rolf Holbrook, Miami, Florida. Exhibited: Holbrook Arms Museum, Miami, Florida. [1000/1500] Illustrated 909 American Rococo Revival Rosewood Center Table, mid19th century, of tortoise form, the period Danby marble top over a conforming pierced frieze centered by a fruit-carved cartouche and open foliate scrolls, raised on cabriole legs joined by stretchers with a fruit-carved basket, h. 30‑1/2”, w. 39‑1/2”, d. 28”. [3500/5000] Illustrated

910 Exceptional Cut Glass and Bronze Twelve-Light Gasolier, ca. 1850, attributed to Henry Hooper and Co., Boston, Massachusetts, the primary register of the gasolier with a circular ring of raised leaves set with eight lights, the next register with four raised lights decorated with cast bronze scrollwork, each light fitted with pan-form cut glass prism holders, which also appear on the central shaft as four graduated prism holders, all hung with prisms, the acorn-form panel-cut finial is probably Boston and Sandwich, as are the prism holders, h. 57”, dia. 38”. [4000/7000] Illustrated A closely related gasolier is depicted on plate 576 of Hooper’s 1850 catalogue. The plate is reprinted in Gerald Gowitt’s, 19th Century Elegant Lighting, p. 63. Another closely related matched pair of these chandeliers are in the Historic New Orleans Collection and illustrated in Bacot, Nineteenth Century Lighting, Candle-Powered Devices, p. 247.

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911

911 American Renaissance Revival Giltwood Pier Mirror, third quarter 19th century, on an ogee-molded base, each side trimmed with scrollwork on a fluted ground, the arched top fitted with a pierced crest decorated with a beaded cabochon supported by pierced scrollwork and flanked with sprays of morning glories, h. 79”, w. 29”. [800/1200] Illustrated

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912 912 Unusual American Transitional Late Classical-intoRococo Revival Rosewood Center Table, mid-19th century, the oval top with a wave- and scroll-carved apron, and raised on a quatrefoil pedestal with shaped brackets, joined to a platform base with outstretched legs, h. 30‑3/4”, w. 45‑1/2”, d. 31”. [2500/4000] Illustrated 913 American Rococo Revival Laminated Rosewood Slipper Chair, third quarter 19th century, attributed to J. H. Belter, New York, the carved crest over a pierced and carved shaped back, serpentine rail and cabriole legs, h. 37‑5/8”. [600/900] Illustrated

915 914

916

917 914 American Rococo Revival Giltwood Mantel Mirror, third quarter 19th century, the cabochon-, foliate- and scroll-carved crest over a period arched mirror plate, flanked by columnar pilasters with floral-carved tops and bases, h. 62”, w. 62‑1/8”, d. 10”. [800/1200] Illustrated 915 Pair of Bohemian Enameled Ruby Glass Lustres, fourth quarter 19th century, hung with cut glass prisms, and decorated with gilt tracery and “jewels”, the upper portion with enameled flowers under the scalloped rim, h. 14‑1/4”, dia. 5‑1/2”. [500/800] Illustrated 916 Pair of Gilt-Decorated Bohemian Ruby Glass Lustres, fourth quarter 19th century, hung with cut glass spearpoint prisms, the upper portion decorated with raised gilt leaves with pink enamel centers on a ground of scattered fern fronds, h. 14‑1/4”, dia. 5‑3/4”. [500/800] Illustrated

918 917 American Rococo Revival Figured Walnut Work Table, third quarter 19th century, attributed to John Henry Belter, New York, the lift top with a segmented interior, a looking glass fitted in the top interior, and a hidden compartment with a drawer and bag table below, the latter with shell and foliate carving, raised on cabriole legs joined by serpentine stretchers and a central shelf, h. 31‑1/2”, w. 21”, d. 16‑1/2”. A similar table is illustrated in Schwartz, Stanek and True, The Furniture of J. H. Belter and the Rococo Revival, page 83, item 61. [500/800] Illustrated 918 American Gilt-Bronze, Marble and Glass Solar Lamp, mid-19th century, probably Boston, the double-stepped white marble base holding a vasiform standard molded with lilies, and supporting a lotus-molded tank, which has been converted to kerosene but not electrified, set with a period frosted and cut ball shade and hung with prisms, h. 30”, dia. 7‑1/2”. [500/800] Illustrated

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920 923

919

922

919 Pair of Handsome Cranberry Glass, Gilt-Bronze and Marble Cornucopia Vases, mid-19th century, Continental, mounted on marble blocks, the ram’s headform gilt-bronze mounts supporting the faceted vases with Gothic-cut rims, h. 10‑1/4”, w. 9”, d. 6‑1/2”. [800/1200] Illustrated 920 Rococo Revival Patinated Metal and Brass SixLight Gasolier, mid-19th century, attributed to Archer and Warner, Philadelphia, the brass baluster standards with applied patinated leaves and scrollwork and a matching finial, set with pierced, molded arms decorated with gargoyles and bowknots, the upper trumpet-form standard with applied patinated morning glories and rocaille work, h. 41”, dia. 41”. [3500/5000] Illustrated

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921 Pair of Paris Porcelain Rococo Revival Vases, mid19th century, French, formerly mounted as lamps, of chinoiserie inspiration, the tops with molded porcelain temple “bells”, the bodies divided into panels, with alternating panels of hand-painted bouquets of flowers, h. 19‑1/2”, dia. 6”. [500/800] 922 Pair of Victorian-Style Cast Iron Garden Benches, each back with a pair of spires over an openwork gallery, the ends in foliate and scroll decor, joined by a wooden slat seat, h. 39”, w. 63‑3/4”, d. 26‑1/2”. [600/900] Illustrated 923 Napoleon III Giltwood Oval Mirror in the Rococo Revival Style, third quarter 19th century, the leaf-molded surround decorated with a lower finial of a shell, scrollwork and flowers, the pierced crest with an anthemion in a scrolled cartouche flanked by sprays of laurel leaves and berries, h. 45‑3/4”, w. 36”. [800/1200] Illustrated

927

924

925

924 Unusual American Renaissance Revival Walnut Chest, third quarter 19th century, the period marble top with turreted corners, the case with two-over-three graduated drawers, each with latticework-carved faces, flanked by canted corners with carved classical masques over fruit, h. 39‑3/4”, w. 48‑1/4”, d. 23”. [1500/2500] Illustrated 925 American Neo-Grec Marquetry-Inlaid Walnut Center Table, third quarter 19th century, the top centered by an inlaid panel depicting an urn, the ends with segmented legs capped by a carved eagle head, the sides with fluted trumpet legs with incised brackets, the stretcher centered by a finial, h. 29‑1/2”, w. 42”, d. 28‑3/4”. [1200/1800] Illustrated

926

926 American Renaissance Revival Walnut Bookcase, third quarter 19th century, of tripartite form, the projecting center door stepping down to lower doors, each with a glazed panel, on a conforming base with a band of drawers, h. 60”, w. 65‑1/2”, d. 20‑1/2”. [1500/2500] Illustrated 927 Pair of French Patinated Bronze, Marble and Glass Moderator Lamps, third quarter 19th century, in the Neo-Grec style, the urn-form vases trimmed with pairs of handles molded with anthemia and Egyptian wings, one side decorated with a pair of deer and the other side with a pair of greyhounds, mounted with period ball shades, frosted and engraved with scrollwork, on marble bases with cut corners, electrified, h. 22‑3/4”, dia. 6”. [800/1200] Illustrated

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931

931 Good Late Classical New Orleans Coin (.900) Silver Water Pitcher, second quarter 19th century, Brower Brothers, the ovoid body with waisted collar and integral spout, with acanthusmounted arched reeded handle and knopped circular foot, decorated with milled palmette and floral banding, monogrammed “VL”, h. 13”, l. 9”, dia. 5‑3/4”, 39.95 t. oz. [3000/5000] Illustrated

928 928 American Renaissance Revival Walnut and GiltIncised Firescreen, third quarter 19th century, the rectangular framed panel mounted to a pole with an adjustment knob for height, and supported by a tripodal base with detailed line-work, h. 63”, w. 24”, d. 18”. [500/800] Illustrated 929 Two American Western Patinated Bronzes, 20th century, including “Horse”, Frank Polk (1908‑2000), 1965, cast signature and date on base, h. 16”, w. 9”, d. 6‑1/2”; and “Native American Warrior”, Lee McCarty (20th Century), cast signature and date on base, h. 17”, w. 10”, d. 6‑1/2”. [500/800] Illustrated 930 American Patinated Bronze of a Cowboy, 20th century, after Frederic Remington (1861‑1909), cast signature on base, h. 23”, w. 9”, d. 14”. [500/800] Illustrated

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The firm of S. & B. Brower of Albany, New York, established their New Orleans branch at 17 Camp Street in 1833. Brothers Sidney (often erroneously given as Samuel) and Baldwin Brower were born in New York to Anthony Post Brower and his wife Louisa Gardiner on December 18, 1806 and December 25, 1810, respectively. There is no record of their apprenticeship or training, but it is to be noted that their maternal uncles were the talented silversmiths Sidney (1787‑1827) and Baldwin Gardiner (1791‑1868) of the celebrated Philadelphia firm of Fletcher & Gardiner. The Mid-Atlantic neoclassical influence is readily apparent in the present lot, which appealed to the “American” immigrants to New Orleans which arrived in great number between the Battle of New Orleans and the Civil War. Sidney Brower died on January 26, 1836, and the firm was reorganized in 1842 as B. Brower & Co. with another brother George Clinton Brower (1816‑1864), by which time the company was no longer a manufacturer, but primarily an importer and retailer of fancy goods. Baldwin Brower died (on a visit to Palermo, Sicily) on February 15, 1845, and his interest in the company was retained by his widow Elizabeth Barker Brower and (later) her second husband, William T. VanZandt until its dissolution in 1855. A pair of pitchers, each nearly identical to the present lot, was exhibited at the seminal 1980 “Crescent City Silver” exhibition at the Historic New Orleans Collection and LSU Anglo-American Art Museum, and again in 1997 at Longue Vue House and Gardens, New Orleans, Louisiana.

932

934 932 Good American Five-Piece Neo-Grec Sterling Silver Presentation Tea Service, dated 1865, by George B. Sharp for Bailey & Co., Philadelphia, Pennsylvania, including two teapots, h. 10‑1/2”, a cream jug, h. 7‑1/2”, a sugar bowl, h. 6”, and a hot water urn, h. 17‑1/2”, each with an ovoid body decorated with engraved neoclassical swag, palmette and trefoil swags, with palmette-crested squared handles, waisted neck, domed lid and gooseneck spout, the whole decorated with milled Greek-key banding, the urn base with acanthus-mounted caryatid putto legs centering the original spirit burner, the urn engraved on the reverse with presentation inscription: “Presented to S. M. Felton/by his friends of the City of/Philadelphia, and its vicinity, 1865” and additional later dated monograms “ESB/1889” and “ECF/1909”, 160.75 total t. oz. [4500/7000] Illustrated The inscription likely refers to Samuel Morse Felton, Sr. (1809‑1899), president of the Philadelphia, Wilmington and Baltimore Railroad. Under his direction, the railway provided the first successful coal-burning passenger engine in regular service - the “Daniel Webster” - and opened the United States to Pennsylvania steel. The railroad was of strategic importance during the Civil War, transporting both troops and supplies. Upon his departure from P.W.B.R.R. in 1865 to become president of the Pennsylvania Steel Company, Felton was the recipient of numerous public gifts in recognition of the accomplishments of his railroad, which is today still part of Amtrak’s Northeast Corridor.

933 detail 933 Thirty-Seven Pieces of Gorham “Cottage”-Pattern Sterling and Coin (.900) Silver Flatware, the pattern introduced in 1861, Providence, Rhode Island, comprising thirty-six sterling pieces including six dinner forks, l. 8”, nine luncheon forks, l. 6‑3/4”, six dessert forks, l. 7‑1/2”, twelve teaspoons, l. 5‑3/4”, sugar tongs, l. 5‑1/2”, a master butter knife, l. 7‑1/2”, and a cold meat serving fork, l. 8‑1/2”, with a coin silver cake knife with engraved blade, l. 9‑1/8”, all but the sugar tongs with various monograms, 51.25 total t. oz. [500/800] Illustrated 934 Nineteenth-Century Tiffany & Co. Sterling Silver Salver, third quarter 19th century, by John Chandler Moore (1803‑1874), New York, New York, of circular form, with a broad band of flat-chased winged merlions separated by urns and foliate scrolls, with beaded rim and raised on four scroll-mantled plinth feet, dia. 12”, 27.93 t. oz. [1200/1800] Illustrated

251

936 detail 936

935

935 Five-Piece Nineteenth-Century American Sterling Silver “Medallion” Tea Set, 1862, by William Gale & Son, New York, New York, in the Neo-Grec taste, comprising a coffeepot, h. 11‑1/2”, a teapot, h. 10‑3/4”, a covered sugar bowl, h. 8‑1/2”, a covered cream jug, h. 8”, and a waste bowl, h. 4‑1/2”, each with a tapering cylindrical body decorated with applied medallions and milled trident banding, the oval handles and finials decorated with applied rosettes, 123.07 total t. oz. [3500/5000] Illustrated

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936 Fine Gorham Sterling Silver “Bacchus” Punch Bowl and Ladle, 1886, Providence, Rhode Island, the bowl of campana form, decorated with a wide band of Bacchus’ attendants frolicking among grapevines, framed by beaded banding, with gadrooned rim and large grapevinemantled Bacchic masque handles, raised above a lobed foot, h. 9‑1/4”, dia. 13”, w. 16”, the ladle with engraved bowl, twining grapevine handle and figural seated Bacchus finial, l. 14‑1/4”, both monogrammed “JCW”, 134.71 total t. oz. [10000/15000] Illustrated

937 Good Whiting “Narragansett”-Style Bowl, first quarter 20th century, Providence, Rhode Island, the steep bowl with wavy rim, decorated with one large and one small cast and applied realistically detailed crab among embossed seaweed with an acid-engraved starfish, monogrammed “ACC”, h. 4”, dia. 8”, 15.89 t. oz. [4000/7000] Illustrated 938 Good Shreve & Co. Sterling Silver Arts & Crafts Flower Bowl, first quarter 20th century, San Francisco, California, circular with deeply everted rim, the shaped edge with applied “hammered” band in the manner of Shreve’s “Fourteenth Century” and “Antique” patterns, the gilt center fitted with the original gilt-brass frog, overall, h. 5‑1/2”, dia. 16”, 43.91 t. oz. (excluding frog). [1400/1800] Illustrated

937

939 American Art Nouveau Sterling Silver and Glass Inkstand, first quarter 20th century, by the Barbour Silver Co., Hartford, Connecticut, retailed by Marcus & Co., New York City, New York, of rectangular form with gauffered edge and “hammered” finish, decorated with realistic repousse poppies, centering a square glass inkwell with beveled edge and square-cut base, fitted with a silver collar and flattened spherical cap decorated en suite with the stand, overall, h. 5‑1/2”, w. 9‑1/4”, d. 7‑1/2”, 13.95 t. oz. (stand only). [1200/1800] Illustrated

938

940 Fine American Silver, Lapis Lazuli and Gilt-Brass Jewelry Casket, first quarter 20th century, by E. F. Caldwell, New York, New York, of octagonal form, the sides with lapis lazuli panels framed and centered by pressed giltbrass scrolls and paterae, between silver gadrooned bands, the hinged lid en suite with lapis and silver gilt toupie finial and opening to reveal the cream satin-lined interior, h. 6”, dia. 7‑3/4”. [9000/12000] Illustrated

939

940

253

941

946 941 Sterling Silver Hip Flask, first quarter 20th century, unmarked, of rectangular form, with hammered finish and acid engraved with the figure of a goat, with hinged screwcap, 10‑1/2 oz. capacity, h. 6”, w. 4”, 8.24 t. oz. [500/800] Illustrated 942 S. Kirk & Son Sterling Silver Sauceboat, first quarter 20th century, Baltimore, Maryland, of traditional batteau form, decorated all over with repousse flowers in the traditional Baltimore manner, with applied scroll rim, everted spout, crested handle and raised on three acanthus-crested lion’s paw feet, h. 5‑1/2”, l. 9‑1/4”, w. 4”, 17.13 t. oz. [800/1200] Illustrated 943 Six Pieces of American and Continental Reticulated Silver Tableware, first quarter 20th century, including a Mauser sterling silver clad etched glass liqueur bottle, h. 7‑1/4”, a similar Continental bottle, h. 7”, a 1915 Gorham sterling silver fruit bowl, monogrammed “MWH”, dia. 11‑1/4”, a pair of Redlich sterling silver bread and butter plates, monogrammed “CC”, and a German .800 silver fruit dish by Weinranck & Schmidt, Hanau, dia. 12‑1/4”, 39.64 total t. oz. (weighable silver). [600/900]

254

942

945

944 Collection of Fourteen Sterling Silver Vases and Other Table Silver, 20th century, comprising two pairs of English bud vases, a set of three Tiffany toothpick holders, one Italian .800 silver bud vase, and six American bud and trumpet vases, the smallest h. 2‑1/2”, the largest h. 14‑3/4”, 14.52 total t. oz. (weighable silver). Detailed list of pieces available on request. [900/1200] 945 American Sterling Silver Compote and Eight Breadand-Butter Plates, first quarter 20th century, the compote by Lebkeucher & Co., Newark, New Jersey, the serpentine-lobed rim with applied milled edge, h. 5‑1/4”, dia. 9‑1/8”, the bread-and-butter plates by J. E. Caldwell & Co., Philadelphia, Pennsylvania, circular with molded rim, dia. 6”, monogrammed “M” and “NWS” respectively, 36.02 total t. oz. [500/800] Illustrated 946 American Sterling Silver Platter, first quarter 20th century, of oval form, with gadrooned edge, the rim flatchased and engraved with laurel-centered neoclassical shields and banners, l. 22‑1/4”, w. 16‑5/8”, 74.02 t. oz. [1000/1500] Illustrated

947 Set of Six International “Wedgwood” Sterling Silver Wine Goblets, the pattern designed in 1925 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, the interiors gilt, h. 6‑3/8”, dia. 3‑1/8”, 32.72 total t. oz. [2500/4000] Illustrated 948 Set of Six International “Wedgwood” Sterling Silver Bread-and-Butter Plates, the pattern designed in 1925 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, dia. 6‑1/8”, 20.62 total t. oz. [900/1200] Illustrated 949 Seven-Piece Gorham Sterling Silver Coffee and Tea Set, 1897‑1900, Providence, Rhode Island, including a kettle-on-stand, h. 11‑1/4”, a coffeepot, h. 9‑3/4”, a teapot, h. 8”, a covered sugar bowl, h. 6‑1/4”, a cream jug, h. 6”, a waste bowl, h. 3‑3/4”, and an octagonal tray, w. 20‑1/2”, the hollowware of navette form with waisted collars, hemispherical domed lids and “gooseneck” spouts, with engraved rinceaux and wrigglework banding and engraved cartouches, the plateau engraved en suite, all monogrammed “H”, the tray dated on the underside “June 19‑1901”, 181.90 total t. oz. [3000/5000]

950 Gorham “Plymouth” Sterling Silver Platter, 1925, the pattern designed in 1911 by William Christmas Codman (1839‑1921), Providence, Rhode Island, oval “turtleback” form with reeded edge, l. 19”, w. 13‑3/4”, 43.31 t. oz. [1800/2500] Illustrated 951 Five-Piece International “Kenilworth” Sterling Silver Tea Set, mid-20th century, Meriden, Connecticut, baluster form in the American Colonial taste, including a coffeepot, h. 10‑1/2”, a teapot, h. 9‑1/4”, a covered sugar bowl, h. 6‑1/4”, a cream jug, h. 5‑1/4”, and a waste bowl, h. 3‑1/4”, no monograms, 76.31 total t. oz. [2500/4000] Illustrated

947

950

951

948

255

953 detail

952 Gorham Sterling Silver Vegetable Bowl, 1958, Providence, Rhode Island, of circular form, the shaped rim deeply embossed with flowers, shells and rococo scrolls, dia. 11‑1/2”, 16.48 t. oz. [600/900] Illustrated 953 One Hundred and Twenty-Two-Piece Set of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, comprising a dozen four-piece place settings, with an additional seven place pieces for six (one butter spreader lacking), with an additional nine place pieces, twenty serving pieces and four nut dishes, ninety pieces monogrammed (most) “MMA”, 457.47 total t. oz. (weighable silver). Detailed list of pieces available on request. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [2500/4000] Illustrated

952

954 Pair of Reed & Barton “Francis I” Sterling Silver Medium Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 8”, 19.31 total t. oz. [500/800] 955 Pair of Reed & Barton “Francis I” Sterling Silver Large Vegetable Bowls, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, dia. 11‑1/2”, 43.86 total t. oz. [1000/1500] Illustrated

955

956 Ninety-Nine Assorted Pieces of Reed & Barton “Francis I” Sterling Silver Flatware, the pattern designed in 1907 by Ernest Meyers, Taunton, Massachusetts, including twenty-five salad forks, twentyfour teaspoons, twenty-five dinner/place knives and eight place forks, with an additional seventeen specialty place and serving pieces (including three rare individual asparagus tongs, two ice cream forks and two gumbo spoons), no monograms (save one gumbo spoon), 100.15 total t. oz. (weighable silver). Detailed list of pieces available on request. [2000/4000] Illustrated

256

956 detail

957

958

960 959

957 Tiffany & Co. Sterling Silver “Clover” Center Bowl, the pattern introduced in 1898, this example before 1902, New York City, New York, of lobed octagonal form with realistically detailed applied openwork “clover” rim, monogrammed “JHK”, h. 3‑1/4”, dia. 12‑1/2”, 31.95 t. oz. [700/1000] Illustrated 958 Set of Twelve Tiffany & Co. Sterling Silver Cordials, the pattern introduced in 1929, New York, New York, each with bucket-form bowl decorated with incised threading at the rim and base, above a short tapering stem to a flat circular base, each monogrammed “MES”, h. 3”, dia. 2‑1/2”, 50.90 total t. oz. [800/1200] Illustrated 959 One Hundred and Twenty-Six-Piece Set of Towle “Symphony” Sterling Silver Flatware, the pattern designed in 1931 by Harold Edward Nock (1875‑1952), Newburyport, Massachusetts, comprising ten seven-piece place settings, with an additional forty-four place pieces and twelve serving pieces, most monogrammed “B”, presented in a Pacific-cloth lined, fitted wooden case with hinged lid and single drawer, 119.95 total t. oz. (weighable silver). Detailed list of pieces available on request. [1500/2500] Illustrated

960 Six-Piece Gorham “King Edward” Sterling Silver Tea Set with Silverplate Tray, the pattern designed in 1936 by James Russell Price (1907‑1974), Providence, Rhode Island, comprising a kettle-on-stand, h. 14” (with handle), a coffeepot, h. 10‑1/4”, a teapot, h. 9”, a covered sugar bowl, h. 6‑1/2”, a cream jug, h. 5‑3/4”, and a waste bowl, h. 4‑1/4”, together with a Gorham silverplate tray in a complementary pattern, 29” x 17‑1/4”, all pieces monogrammed “EWC” and dated (on the underside) “Dec. 5, 1936”, 133.31 total t. oz. (excluding silverplate tray); (seven total pieces). [2000/4000] Illustrated 961 Sixty-Seven-Piece Set of Alvin “Chateau Rose” Sterling Silver Flatware, the pattern designed in 1940 by James Russell Price (1907‑1974), Providence, Rhode Island, comprising six nine-piece place settings (four pieces lacking), with an additional eight place pieces and nine serving pieces, no monograms, 64.24 total t. oz. (weighable silver), presented in a mahogany, Pacific cloth-lined fitted case with hinged lid and single drawer, 7‑1/2” x 18‑3/4” x 12‑1/2”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [1000/1500]

257

963 detail 962

962 One Hundred and Twenty-One Pieces of International “New Wild Rose” Sterling Silver Flatware, the pattern designed in 1948 by Alfred Grover Kintz (1885‑1963), Meriden, Connecticut, comprising one hundred and eleven place pieces and ten serving pieces, most monogrammed “B”, 96.35 total t. oz., presented in a Pacific cloth-lined fitted wooden case with lift-top and one drawer, 5‑1/2” x 15‑1/8” x 11‑1/4”. Detailed list of pieces available on request. [1500/2500] Illustrated 963 Sixty-Seven Pieces of Reed & Barton “English Chippendale” Sterling Silver Flatware, the pattern introduced in 1984, Taunton, Massachusetts, comprising a dozen six-piece place settings (five pieces lacking), monogrammed “B”, 66.57 total t. oz. (weighable silver). Detailed list of pieces available on request. [1000/1500] Illustrated

964

964 South American .900 Silver Center Bowl, mid-20th century, of oval form, the gadrooned body decorated with repousse roses, with cast and applied openwork scroll rim and feet, with two crested scroll handles, the interior gilt, h. 6‑3/4”, l. 16‑1/2”, w. 8‑1/4”, 36.17 t. oz. [800/1200] Illustrated 965 Mexican Sterling Silver Water Pitcher, third quarter 20th century, by Lilyan, Mexico City, the body of tapering double cavetto-canted square section, with waisted collar, integral spout and arched handle, all raised on a cavettodomed circular foot, h. 10‑1/2”, l. 8‑1/4”, w. 5‑1/2”, 30.27 t. oz. [500/800] Illustrated

965

258

966 Marie Atkinson Hull (American/ Mississippi, 1890‑1980), “Southern Cabin Scene”, 1945, oil on board, signed lower right, dated en verso, 10” x 14”. Framed. [4000/7000] Illustrated 967 Alberta Kinsey (American/Louisiana, 1875‑1952), “Magnolias in a Blue Vase”, oil on canvas board, signed lower right, 17‑1/2” x 15”. Framed. [1000/1500] Illustrated 968 Helen Loomis (American/Louisiana, 20th Century), “Our Tangipahoa”, 1983, oil on board, monogrammed lower right, signed, titled and dated en verso, 18” x 24”. Framed. Provenance: The Estate of Marjorie Abbey Morrison, Hammond, Louisiana. [2000/4000] Illustrated 969 Murrell Butler (American/Louisiana, Contemporary), “The White Horse, Oak Hill Plantation, St. Francisville, LA”, 2011, oil on canvas, signed and dated lower right, titled en verso, 30” x 40”. Framed. [2000/4000] Illustrated

966

968

967

969

259

970 George Rodrigue (American/Louisiana, 1944‑2013), “Bayou Fishing Hole”, oil on board, signed lower left, titled and signed en verso, verso with a “George Rodrigue Gallery, Lafayette, Louisiana” label, 11” x 13‑1/2”. Framed. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [8000/12000] Illustrated

970

971 Clarence Millet, A.N.A. (American/ Louisiana, 1897‑1959), “The Bayou Bridge”, oil on canvas board, signed lower right, titled en verso, 17” x 21”. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [9000/12000] Illustrated

971 “Bayou Bridge”, probably from the environs of Bayou Teche, is one of Clarence Millet’s most iconic scenes of Louisiana landscapes, architecture and lighting that critics have lauded since the 1930s. The painting appears to have been exhibited at Millet’s 1936 solo exhibition at the Delgado Museum (now NOMA), and it was prominently displayed at his posthumous memorial exhibition in 1963 at the LSU library. The news correspondent for the Baton Rouge Advocate wrote that in “Bayou Bridge” “each detail of the painting accentuates the picture... the approaching storm affects everything.” Critic Carter Stevens elaborated: “Millet is closer to the wellspring of the Louisiana scene than any other artists’ works... He must have absorbed all the sense and color of the earth, plant growth, tree forms and sky as a growing boy.” These critics’ sentiments were so widespread that Millet created both woodblock and aquatint etching prints of “Bayou Bridge” that he sold and publicly displayed throughout

260

the early 1940s with the New Orleans Arts League and Louisiana Art Commission. Demand for this work may have also led to additional painting commissions of it, as there are two other known paintings of the bridge. The one in the Roger H. Ogden Collection, although substantially larger, is nearly identical to the one offered here. The angle of the bridge and shape of the clouds on the right are slightly different in the Ogden painting, and there are no birds flying in the sky. Otherwise, they are twin compositions that beg the questions, which came first, and which ones were exhibited where? Indeed, their history is as elusive and timeless as the famed “Bayou Bridge” that could be any small bridge in Louisiana. References: “Memorial Exhibit Honors Native Artist”, Advocate. Sun. April 21, 1963, p. 96; “Pen, Chisel and Brush (Review of Millet Exhibit)”, Advocate. Sun. Nov. 22, 1936, p. 35; “Millet, Hobbs Score Again in This Medium”. Advocate. Sun. June 1, 1941, p. 8.

972 Clarence Millet, A.N.A. (American/ Louisiana, 1897‑1959), “Cabin, St. Francisville”, oil on canvas board, signed lower right, titled en verso, 17” x 21”. Provenance: Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [9000/12000] Illustrated 973 “Star of Texas” Bone-Inlaid Steer Horn Armchair, fourth quarter 19th century, attributed to Wenzel Friedrich, San Antonio, catalog pattern No. 7, with an acorn top at the exposed horn ends, the serpentine apron in horn veneers centered by an inlaid bone “Texas” star, now upholstered in crimson leather, h. 57”. [5000/8000] Illustrated This chair is considered the iconic model for horn chairs and is the model depicted on the cover of 1890 Wenzel Friedrich, Manufacturer of Horn Furniture, 12 Crockett St., San Antonio, Texas. This model won first premium award in Cincinnati, 1883; New Orleans, 1884‑85; Louisville, 1886; Minneapolis, 1888; and San Antonio, 1888.

972

974 Pair of American Aesthetic Movement Ebonized Elephant-Head Pedestals, fourth quarter 19th century, each with a circular top over a griffin- and cabochoncarved apron, raised on legs carved in the form of an elephant head and trunk, with ivory-painted tusks, h. 28‑1/4”, top dia. 16”, overall dia. 22”. [1000/1500] Illustrated

974

973

261

975

975 American Brass and Prism-Hung Six-Light Gasolier, fourth quarter 19th century and later, with reeded, leafmolded arms, now with a glass-clad standard set with molded prism rings hung with long strands of drops, a spray of prisms on gilt-brass pierced holders at the top, the lower portion hung with swags of matching prisms, h. 57”, dia. 29”. [1500/1800] Illustrated 976 Monumental American Aesthetic Movement Giltwood Pier Mirror, fourth quarter 19th century, with a circular giltwood pedestal built into the base, flanked by molded anthemia, the sides with incising, medallions and Egyptian fans, the crest decorated with a sunflower flanking tapered fluted brackets holding acroteria side crests, h. 121”, w. 26‑1/2”. [700/1000] Illustrated

976

262

977 Abraham Lincoln (1809‑1865) Presidential Signed Military Commission of 1862 for Captain George Evans, seal upper left, 19‑3/4” x 16”. [5000/8000] Illustrated 978 John Tyler (1790‑1862) Presidential Signed Military Commission of 1852 for (General) Joseph Pannell Taylor (1796‑1864), seal upper left, 17‑1/4” x 13‑3/4”. [500/800] 979 Group of Three William Howard Taft (1857‑1930) Presidential Signed Military Commissions of 1909 and 1910, for John B. Staley, Allison Barnes Deans Jr. (1886‑1966) and Arthur H. Rice, each with seal, each 16‑1/4” x 14‑3/4”. [700/1000] Illustrated 980 Group of Three Presidential Signed Military Commissions, including Woodrow Wilson (1856‑1924) in 1916 for James T. Dean, Warren G. Harding (1865‑1923) in 1923 for Marvin M. Stephens and Calvin Coolidge (1872‑1933) in 1924 for Marvin M. Stephens, each with seal, each 19‑1/2” x 15”. [700/1000]

977

981 William H. Vanderbilt (1821‑1885) and Edward Strahan (b. Earl Shinn, 1837‑1886), Mr. Vanderbilt’s House and Collection. The Holland Edition, New York, Boston and Philadelphia: George Barrie, 1883‑84, 10 volumes, numbered 21/1,000, stamped “Library of Dana C. Bradford”, blue paper-covered boards, 19‑1/4” x 13‑3/4”. [700/1000] Illustrated

979

981

263

982 William H. Vanderbilt (1821‑1885) and Edward Strahan (b. Earl Shinn, 1837‑1886), Mr. Vanderbilt’s House and Collection. The Japan Edition, New York, Boston and Philadelphia: George Barrie, 1883‑84, partial in four volumes, not intact with loose pages, numbered 100/1,000, bookplate from John Jay Young Memorial Library, three with blue silk-covered boards, 25‑3/4” x 18‑7/8”. [700/1000] Illustrated 983 World’s Columbian Exposition 1893: Art and Architecture, Edition of the White City, William Walton (19th Century), Philadelphia: George Barrie, n.d., complete in two volumes in eleven parts, plates throughout, most with title page and numbered 850, blue cloth-covered boards, 19‑3/8” x 14‑3/8”; together with World’s Columbian Exposition 1893: Art and Architecture, Philadelphia: George Barrie, 1893, two volumes, maroon leather-covered boards, separation of spines, 19” x 14” (thirteen items). [500/800] Illustrated

983

984 American Aesthetic Movement Mahogany and Figured Walnut Bookcase, fourth quarter 19th century, the upper section with a carved crest over an etagere section backed by a beveled mirror plate, over a pair of doors with glazed panels and like returns, the base with a pair of drawers, h. 92‑1/4”, w. 50”, d. 20‑1/2”. [1000/1500] Illustrated 985 KPM Portrait Plaque of a Gilded Age Beauty, ca. 1900, the beautifully rendered portrait depicting a stylishly dressed woman with a lace collar and a fur-trimmed jacket, with gold earrings, impressed both “KPM” and a sceptre, in a contemporary giltwood frame, overall, h. 13”, w. 11”, plaque, h. 7‑1/2”, w. 5‑1/2”. Provenance: M.S. Rau, New Orleans, Louisiana. [800/1200] Illustrated

982

985 984

264

986 Gilt-Lacquered Metal Newel Post Gas Lamp Depicting the Goddess Diana, third quarter 19th century, attributed to Mitchell, Vance & Co., New York, the standing figure on a molded octagonal base, holding aloft the reeded torch-form lamp, fitted with a caramel-colored slag glass shade of a later period, electrified, h. 66”, w. 14”, d. 14”. [2500/4000] Illustrated 987 Louis McClellan Potter (American, 1873‑1912), pair of cast bronze andirons, ca. 1900, each in the figure of a kneeling Native American, each with cast signature and stamped “Roman Bronze Works, NY”, h. 22”, w. 14”, d. 27”. [7000/10000] Illustrated 988 Handel Patinated Bronze and Slag Glass Table Lamp in the Art Nouveau Taste, first quarter 20th century, Massachusetts, the tapered base signed “Handel” and molded with an Art Nouveau fret, the paneled shade decorated with a molded landscape of palm trees and mottled mauve and green glass over an Art Nouveau fret set with mottled green glass, h. 26”, dia. 21”. [2500/4000] Illustrated

988

989 Richard Veenfliet (American, 1843‑1922), “Mississippi Steamboats”, 1905, watercolor and gouache, signed and dated lower left, sight 19‑1/2” x 29”. Glazed, matted and framed. Provenance: Neal Auction Company, June 14, 1997, lot 424. [1000/1500] Illustrated

989

986 987

265

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992

990 Mason and Hamlin, Boston, Ebonized Concert Grand Piano and Lift-Seat Bench, ca. 1915‑1919, model CC2, serial number 26585, piano, h. 40”, w. 59‑1/2”, l. 108”, bench, h. 18”, w. 14”, l. 30”. [2500/4000] Illustrated 991 William Woodward (American/New Orleans, 1859‑1939), “Spring Afternoon - Pirogue on the Lake”, oil on canvas board, signed lower right, 10‑1/2” x 13‑3/4”. In an antique carved and giltwood frame. [4000/7000] Illustrated

266

990

992 Newcomb Pottery Matte-Glazed Vase, ca. 1915, decorated by Sadie Irvine, New Orleans, Louisiana, with flowing crocus flowers, and painted green and blue, marked with an incised “NC”, Sadie Irvine’s script initials, a painted “HE-21” registration number, an incised “265” and “73”, h. 7”, dia. 4”. [700/1000] Illustrated 993 Alexander John Drysdale (American/New Orleans, 1870‑1934), “Bayou Landscape with Water Lilies”, oil wash on paper, signed lower left, sight 19‑3/8” x 29”. Glazed, matted and framed. [2000/4000] Illustrated

994 one of two

994 two of two

994 Alexander John Drysdale (American/Louisiana, 1870‑1934), “Moonrise Over Bayou” and “Louisiana Bayou Landscape”, two oil washes on board, both signed, former illegibly dated lower right, sight: former 5‑3/4” x 16‑3/4”, latter 6” x 19‑1/2”. Both glazed, matted and framed. [1000/1500] Illustrated

996 Louis XV-Style Provincial Fruitwood Buffet, mid19th century, the rounded rectangular top with a molded edge, above a conforming case fitted with two drawers over two cupboard doors, each inset with a shaped panel above a shaped fan-carved apron, raised on shaped toes, h. 33‑1/2”, w. 54”, d. 22”. [700/1000] Illustrated

995 French Provincial Fruitwood Armoire, mid-19th century, the rounded molded cornice above a conforming case fitted with two doors, each inset with three shaped glazed panels and above a shaped urn-carved apron, raised on scrolled toes, h. 81”, w. 58‑1/2”, d. 25‑1/2”. [800/1200] Illustrated

997 French Provincial Fruitwood Panettiere, mid-19th century, of traditional form, the shaped crest with urn finials above a floral basket-carved frieze, the spindled case fitted with a single wheat-carved door over a foliate urn-carved apron, raised on scrolled toes, h. 37”, w. 33‑1/2”, d. 19‑1/2”. [800/1200] Illustrated

997

996

995

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999 one of two

999 two of two

998

1001

998 French Provincial Cherrywood Desk, mid-19th century, the rectangular top with canted corners, above a frieze fitted with a kneehole flanked to each side by a deep drawer, the sides each fitted with a pull-out slide, raised on cabriole legs, h. 30‑1/4”, w. 73‑1/2”, d. 31”. [800/1200] Illustrated

1000 French Provincial Oak Dining Table, early 20th century, the banded oval top with parquetry patterns, and raised above a shaped apron on cabriole legs headed by floral carving and ending in hoof feet, h. 30‑1/2”, w. 55”, l. 91”. [700/1000] Illustrated

999 Michelangelo Meucci (Italian/Florence, 1840‑1890), “Still Life of Grapes” and “Still Life of Grapes, Pomegranates and Plums”, pair of oils on canvas, each signed lower right “M. Meucci, Firenze”, former dated “1899”, each 39” x 15‑1/2”. Both framed alike. [3000/5000] Illustrated

1001 Provincial Regence-Style Fruitwood Commode, late 18th century, the shaped top with a bowed front, above a conforming case fitted with two long drawers, each inset with three burled panels, raised on molded splayed legs ending in scrolled toes, h. 34”, w. 44”, d. 21”. [1000/1500] Illustrated

268

1002 Louis XV-Style Walnut Sofa, late 19th century, the molded and carved top rail centered by a shell-, foliate- and floral carved crest, joined to open arms on shaped supports, serpentine apron and cabriole legs, h. 42”, w. 60”, d. 26”. [500/800] Illustrated 1003 Set of Six Hippolyte Boulenger Choisy-le-Roi Majolica Oyster Plates, fourth quarter 19th century, French, each decorated with molded artichoke leaves and feather edges, with a printed mark, dia. 9‑1/2”. [500/800] Illustrated 1004 French Provincial Fruitwood Armoire, early 19th century, the rounded molded cornice above a paneled and floral-carved frieze, over a case fitted with two long doors, each inset with two shaped panels within carved borders, raised above a scalloped apron on pointed toes, h. 87‑1/2”, w. 57”, d. 24”. [1800/2500] Illustrated 1005 French Provincial Painted Tall Case Clock, second quarter 19th century, the flowerdecorated clock on a bracket base, the works with a pressed brass bezel decorated with flowers, signed “Loudiere Letort, a’Fougeran” on the dial, the pressed brass pendulum decorated with gold and white porcelain flowers, displayed through the glass panes in the door, h. 88‑1/2”, w. 18”, d. 10”. [500/800] Illustrated

1005

1002

1003

1004

269

1009 1008

1006

1006 French Provincial Oak and Fruitwood Buffet, early 19th century, the rounded rectangular top above a conforming case fitted with a paneled frieze over two cupboard doors, each inset with a shaped panel and above a pierced and floral basket-carved frieze, raised on scrolled toes, h. 37‑1/2”, w. 51‑1/2”, d. 24”. [800/1200] Illustrated 1007 French Provincial Fruitwood Commode, early 19th century, the shaped rectangular top banded and above a bombe case fitted with a top drawer opening to a hinged leather writing surface over a drawer, one side fitted with a single lower drawer, raised on splayed legs ending in hoof feet, h. 27‑1/2”, w. 21”, d. 14”. [500/800] Illustrated

270

1007

1008 French Provincial Pine Buffet a Deux Corps, mid-19th century, the domed and molded cornice with scrolls, above a case fitted with two doors, each inset with two shaped glazed panels, the lower section fitted with two paneled cupboard doors, each inset with a shaped panel and above an apron, raised on scrolled toes, h. 96”, w. 56‑1/2”, d. 18‑1/2”. [800/1200] Illustrated 1009 Henri Joseph Ferdinand Pieron (Belgian, 1856‑1912), “At the River Bank”, oil on canvas, signed and dated lower left “Henri Pieron, Bruxelles 1878”, 37‑1/2” x 26”. Framed. [1500/2500] Illustrated

1010 Henry Schouten (Belgian, 1864/67‑1927), “Horse and Cattle at Rest”, oil on canvas, signed lower right, 31” x 39”. Framed. [2000/4000] Illustrated 1011 Johann Zahnd (Swiss, 1854‑1934), “La Rentree du Betail”, oil on canvas, signed lower right “J. Zahnd, Roma”, 24‑5/8” x 44‑5/8”. Framed. [4000/7000] Illustrated 1012 Anton Mauve (Dutch, 1838‑1888), “Shepherd with His Flock on a Country Road”, oil on panel, signed lower left, 9” x 12‑3/4”. Presented in a period giltwood and gesso frame. [1000/1500] Illustrated 1013 Suite of Four Provincial Louis XV-Style Fruitwood Fauteuils, late 19th century, each with a shaped caned back surmounted by a floral crest, joined by molded scrolling arms to the cushioned caned seat, raised on molded cabriole legs, headed by floral carving and ending in scrolled toes, includes four white cotton duck conforming cushions, h. 40‑1/2”. [700/1000] Illustrated

1010

1011

1012

1013

271

1014 Napoleon III Mahogany Center Table in the Rococo Taste, third quarter 19th century, the serpentine top over a conforming apron centered by floral, foliate and scroll carving, raised on cabriole legs joined by serpentine stretchers, joined by a shell-carved finial, h. 31”, w. 47”, d. 29”. Provenance: The Estate of Hugh Curtiss and Charlene Weaver, Hattiesburg, Mississippi. [800/1200] Illustrated 1015 French Provincial Fruitwood Hanging Cabinet, mid-19th century, the domed crest above a floral-carved frieze, the case with glazed sides and a single door inset with a shaped glazed panel over a pierced shell-carved apron, raised on scrolled legs to peg feet, h. 35‑1/4”, w. 24”, d. 13‑1/2”. [600/900] 1016 Provincial Louis XV-Style Fruitwood Bench, 19th century, the long padded rectangular seat with period tapestry upholstery, above a floral-carved frieze, raised on molded cabriole legs ending in scrolled toes, h. 18”, w. 44‑1/2”, d. 14”. [500/800] Illustrated

1018

1017 Pair of Provincial Louis XV-Style Mahogany Vitrines, each with a bonnet top over a shell-carved frieze, a pair of doors with glazed panels and carved panels below, on cabriole legs, h. 67‑3/4”, w. 28”, d. 12”. [700/1000] Illustrated 1018 Louis Loncin (Belgian, 1875‑1946), “Village Landscape”, oil on canvas, signed lower right “L. Loncin”, 19‑3/4” x 30”. Framed. Provenance: The Estate of Mark Chapman, Cat Spring, Texas. [1000/1500] Illustrated

1016

1014

1017

272

1020

1019 1019 George Ames Aldrich (American/Indiana, 1872‑1941), “The Mill, Quimperle, Brittany”, 1920s, oil on wood panel, a figural sketch en verso, signed lower right, 25” x 30”. Framed. [3000/5000] Illustrated

1020 Albert Decamps (French, 1862‑1908), “Cerisiers en Fleurs, pres de Picardie”, oil on canvas, signed lower right, “Mon. Hess L. Besnard Gerant” suppliers stamp en verso, 23‑1/4” x 31‑3/4”. In a giltwood frame. [1000/1500] Illustrated

1021 Claude Pissarro (French, b. 1935), “Chemin des Clayes au Printemps”, pastel on paper, signed lower left, sight 13” x 18‑3/4”. Glazed, matted and framed. Provenance: Galerie Le Minotaure, Paris; Estate of Elmira Ann Harrison Parnell Gregorie, Baton Rouge, Louisiana. [3000/5000] Illustrated

1021

273

1022 French Provincial Pickled Oak Dining Table, the shaped rectangular top above a conforming floral-carved frieze, raised on molded cabriole legs headed by floral capitals and ending in scrolled toes on pegs, h. 30‑1/2”, w. 48‑1/2”, l. 81”. [800/1200] Illustrated 1023 Suite of Four Louis XV-Style Polychrome Fauteuils, 20th century, each with a shaped and padded back surmounted by a floral crest, joined by padded scrolling arms to the like seat, raised on cabriole legs headed by floral capitals and ending in scrolled toes, h. 35”. [1200/1800] Illustrated 1024 Provincial Louis XVI-Style Fruitwood Cabinet, mid-19th century, the rectangular top with turreted corners, above a conforming case fitted with two drawers over two paneled cupboard doors, raised on tapering circular legs, h. 45‑1/2”, w. 51”, d. 21‑1/2”. [700/1000] Illustrated 1025 Continental Glazed Terracotta Figure of Two Cats on a Pillow, first quarter 20th century, the white Persian cats resting on a striped pillow with green tassels, h. 19‑1/2”, w. 19”, d. 16”. [600/900] Illustrated

1024

1023 1025

1022

274

1029

1026

1026 Directoire Polychrome Daybed, ca. 1800, the cushioned seat flanked to either side by a paneled end, surmounted by an urn-carved triangular pediment and with a turned columnar upright to both sides, raised on toupie feet, the cushions and bolsters upholstered in Scalamandre plaid silk, also included is a large red quilted silk pillow trimmed with tasseled silk gimp, frame, h. 43”, w. 71‑1/2”, d. 37‑12”. Provenance: Karla Katz Antiques, New Orleans, Louisiana. [1800/2500] Illustrated 1027 Pair of Louis XVI-Style Polychrome Fauteuils, late 19th century, each with a padded domed back surmounted by a floral crest, joined by padded scrolling arms to the cushioned seat, raised on stop-fluted tapering circular legs headed by floral capitals and ending in toupie feet, h. 40”. [700/1000] Illustrated

1028

1027

1028 Provincial Directoire-Style Polychrome Lit du Jour, 19th century, the long cushioned seat flanked by padded ends surmounted by an urn-carved triangular crest, with a freestanding finial-topped upright to either side, raised on toupie feet, upholstered in tan and putty silk plaid, h. 36”, w. 74‑1/2”, d. 33‑1/4”. Provenance: Tara Shaw, New Orleans, Louisiana. [700/1000] Illustrated 1029 Pair of Louis XV Polychrome Fauteuils, 18th century, each with a shaped and padded back surmounted by a floral crest and joined by padded arms to the like seat, raised on molded cabriole legs headed by floral capitals and ending in foliate toes, the underside of the front seat rail stamped “J B Boulard”, h. 34‑1/2”. [1500/2500] Illustrated

275

1032

1031

1034

1033

1030 Pair of French Cast Stone Oval Planters, mid-20th century, with saddle-form tops, the planters molded with fleurs-de-lis on the obverse and reverse, and lion’s heads on each side, h. 22‑1/2”, w. 24”, d. 15”. [700/1000] Illustrated 1031 Arras Wrought and Forged Iron Garden Bench, late 19th/early 20th century, retaining a brass plaque inscribed “Usine St. Sauveur Arras”, with a back of parallel joined tubes, joined to scroll arms, the base with shaped legs on pad feet, h. 37‑1/2”, w. 48”, d. 27”. [1500/2500] Illustrated 1032 Suite of Three Grassin Arras Wrought and Cast Iron Armchairs, late 19th/early 20th century, each with a cast label “Grassin A. Arras” at the juncture of the legs on the curule-inspired base, on cast paw feet, the shaped seat and back of parallel tubes and joined to scroll arms, h. 30‑1/2”. [2000/4000] Illustrated

276

1030 1033 Arras Wrought and Cast Iron Garden Table, late 19th/ early 20th century, the circular top on a base with shaped legs joined by a riveted ring, the stretchers joined by a cast spider and adorned with wrought scrolls, h. 29”, dia. 40”. [800/1200] Illustrated 1034 Pair of Arras Wrought Iron Garden Armchairs, each retaining a brass plaque inscribed “Usine St. Sauveur Arras”, and each with a continuous seat and back of parallel bent tubes, on a curule-inspired base with pad feet, h. 31‑1/4”. [1500/2500] Illustrated

1038

1037

1039

1036

1035 Pair of Arras Wrought Iron Garden Armchairs, each retaining a brass plaque inscribed “Usine St. Sauveur Arras”, and each with a continuous seat and back of parallel bent tubes, on a curule-inspired base with pad feet, h. 31‑3/4”. [1500/2500] Illustrated

1035

1036 French Cast and Wrought Iron Garden Table, attributed to Sauveur, Arras, the circular top on shaped legs joined by a ring and a cast spider at the base, adorned with wrought scrolls, on cast pad feet, h. 29”, dia. 23‑3/4”. [600/900] Illustrated

1038 Niek van der Plas (Dutch, b. 1954), “The Herring Stand”, oil on wood panel, signed lower right, 12” x 15‑3/4”. Framed. [1000/1500] Illustrated

1037 Niek van der Plas (Dutch, b. 1954), “Sailboats on the River”, oil on wood panel, signed lower right, 24” x 26‑1/2”. Framed. [2000/4000] Illustrated

1039 Niek van der Plas (Dutch, b. 1954), “Naples Beach”, oil on panel, signed lower right, titled lower left, signed and titled en verso, 21‑1/4” x 32”. Framed. [3000/5000] Illustrated

277

1040 Niek van der Plas (Dutch, b. 1954), “The Orange Umbrella”, oil on wood panel, signed lower right, signed en verso, 6‑1/4” x 8”. Framed. [1000/1500] Illustrated 1041 Louis van der Pol (Dutch, 1896‑1982), “Donkey Ride on the Beach”, oil on canvas, signed lower left, 27” x 39”. Framed. [1500/2500] Illustrated 1042 G. Vuillard (French, 20th Century), “Contemplation”, oil on wood panel, unsigned, 24” x 20”. Framed. [1000/1500] Illustrated 1043 Haralambos Potamianos (Greek, 1909‑1958), “Mending by Candlelight”, oil on canvas, signed upper left, 9‑1/2” x 7‑1/2”. Framed. [1000/1500] Illustrated

1040

1044 After Pan Yuliang (Chinese, 1895‑1977), “Reclining Odalisque”, oil on canvas, indistinctly signed lower right, 24” x 36‑1/2”. Unframed. [1200/1800] Illustrated

1041

1042

1044 1043

278

1045 Lengthy Florence Knoll-Style Black Leather and Steel Gallery Bench, 20th century, the square-tufted leather seat resting on a brushed steel base, h. 17‑1/2”, w. 144‑1/2”, d. 18‑1/2”. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [600/900] Illustrated 1046 George Bauer Dunbar (American/Louisiana, b. 1927), “Minimal Series”, palladium leaf over black clay, signed lower right, 42” x 48”. Framed. [10000/15000] Illustrated

1047 Hasmig Vartanian (Israeli/Louisiana, b. 1946), “Relationships”, mixed media wall sculpture, h. 52‑1/2”, l. 77”, d. 2‑1/2”. [1000/1500] Illustrated 1048 Douglas Bourgeois (American/Louisiana, b. 1951), “Suffering Man”, mixed media on carved wood, signed and titled en verso, affixed with an “Arthur Roger Gallery” label, h. 11‑1/2”, w. 7‑1/2”, d. 2”. [1200/1800] Illustrated

1047

1046

1048

1045

279

1051

1052

1049

1051 Margarete Markiewicz Turgel (German/ France, 20th Century), 1930s, pair of patinated bronzes including “Deer”, signed at bottom of belly, on a thin wooden base, overall, h. 7‑1/2”, w. 5”, d. 3‑1/2”, and “Hedgehog at Rest”, signed at bottom and with a Berlin mark, h. 4‑5/8”, w. 5‑1/2”, d. 3‑1/4”. [600/900] Illustrated

1050

1049 Giovanni Schoeman (South African/London, 1940‑1981), “Sunflower”, 20th century, mixed metal sculpture, unsigned, 38‑1/2” x 28‑1/2”. Framed. [700/1000] Illustrated 1050 Mid-Century Modern George Nelson “Action” Tambour Desk, by Hermann Miller Company, unmarked, the mahogany roll top opening to reveal a laminate work surface, the gray enameled body raised on a chromed base, h. 33‑3/4”, w. 54”, d. 29‑3/4”. [1000/1500] Illustrated

280

A native of Berlin, Turgel and her husband Siegfried were closely associated with the artistic community which flourished in that city in the 20s and early 30s. In 1933, concerned with the political situation in Germany, the couple fled to France where they lived for the remainder of their lives. A painter and sculptor, Turgel produced silver foil animals which were the prototypes for her cast bronze figures. An early photograph shows the foil figures set against a plain backdrop which slightly distorts their shadows, creating an almost surreal circus. The works presented here, one of which is stamped Berlin, can be dated to before she left Germany. A friend of many of the influential artists of the time, Turgel was often the subject of their work. The great Expressionist Emil Nolde (1867‑1956) painted several portraits of her, including one dated 1930 which he inscribed “Strangely Beautiful Woman”. The 1931 photo of Turgel by Alfred Eisenstaedt (1898‑1995) reveals a woman with an intense, penetrating gaze. Little is known of Turgel once she left Germany. 1052 Continental Patinated Bronze of an Elderly Woman, 20th century, unsigned, on a black marble base, overall, h. 19‑1/4”, w. 6‑3/4”, d. 5‑1/2”. [500/800] Illustrated

1056

1054

1053 1055

1053 John Alexander (American/Texas, b. 1945), “Untitled”, 1972, oil on canvas, signed lower right, signed and dated en verso with “Meredith Long & Company, Houston, Texas” gallery label, 40” x 50”. Presented in a thin gallery frame. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [2000/4000] Illustrated 1054 George Bauer Dunbar (American/Louisiana, b. 1927), “Untitled”, 1971, gold leaf over tan clay, signed and dated lower right, 48” x 73‑1/2”. [12000/18000] Illustrated

1055 George Bauer Dunbar (American/Louisiana, b. 1927), “Coin du Lestin”, gold leaf over black and red clay, signed lower center, 54” x 48”. Framed. [15000/25000] Illustrated 1056 Dennis Carney (American/New Mexico, Contemporary), “Breath”, oil and metallic paint on metal, signed lower right, 34‑3/4” x 79”. Designed for hanging. Provenance: Phoenix Art Group, Phoenix, Arizona; Private collection. [2000/4000] Illustrated

281

1057

1057 Coco Chanel-Designed Gilt-Metal and Rock Crystal Twelve-Light Chandelier, 20th century, French, designed in collaboration with Parisian jeweler Robert Goossens, the chandelier incorporating interlocking hearts and ovals, recalling the famous Chanel logo, hung with a ring of rough-cut polished rock crystal drops trimmed with gilt-metal leaves, the interior of the ring set with twelve tulip-form light sockets, the ring hanging from woven gilt-metal “vines” supported by a corona of pierced hearts and ovals, a large rough-cut polished rock crystal finial suspended in the center from a vine-form standard, h. 40”, dia. 31”. [15000/25000] Illustrated

282

1058 John Wesley Carroll (American, 1892‑1959), “Portrait of an Elegant Woman Wearing a Black Dress with a Ruff Collar”, 1936, oil on canvas, signed and dated lower right, 50” x 30”. Framed. [2500/4000] Illustrated 1059 John Wesley Carroll (American, 1892‑1959), “Portrait of the Artist’s Wife”, oil on canvas, signed lower right, multiple exhibition labels en verso include “The New Britain Museum of Art, New Britain, CT”, “The Pennsylvania Academy of the Fine Arts, Philadelphia, PA”, and “Carnegie Institute, Pittsburgh, PA”, verso frame with a “Portraits Inc., New York, NY” label, 44” x 34”. Presented in a period exhibition frame affixed with artist plaque. [3500/5000] Illustrated 1060 Boris Chaliapin (Russian/American, 1904‑1979), “Reclining Nude, Paris”, 1931, sepia ink on paper, signed, dated and localized lower right, sight 11‑3/4” x 17‑1/2”. Glazed, matted and framed. Provenance: Descended in the family of the artist. [2000/4000] Illustrated

1059

1060

1058

283

1063 1062

1064

1061 Art Nouveau Hand-Painted Pottery Umbrella Stand, ca. 1896‑1924, attributed to Weller’s Louwelsa line, Fultonham, Ohio, decorated with a hand-painted dapper gentleman with a slouch hat, signed “Best”, probably for Anne Fulton Best, a Weller artist, the yellow-glazed base with an incised “1058” under the glaze, h. 24‑1/2”, dia. 13”. [600/900] 1062 Emile Galle Wheel-Carved, Enameled and ParcelGilt Glass “Squash” Vase, fourth quarter 19th century, the ribbed, tubular neck and bulbous base decorated with trailing enameled and parcel-gilt squash vines and flowers, signed at the lower neck in parcel-gilt relief: “Galle” in a vertically running hand, h. 17‑1/2”, dia. 6”. [2000/4000] Illustrated

284

1063 Art Deco Macassar Ebony Center Table, 20th century, the circular top with a central band and raised on three scrolling supports joined by a small concave tripartite stretcher and ending in scrolled toes to a concave base on casters, h. 31”, dia. 44”. [1800/2500] Illustrated 1064 Pair of Art Deco Iron and Leather Settees, early 20th century, of traditional Knole form, each with a padded rectangular back and slanted sides above a padded seat, above a decorative iron stretcher, raised on square iron legs ending in block feet, h. 37”, w. 69”, d. 27”. [800/1200] Illustrated

1065 French Patinated and Cold-Painted Bronze of a Dancer, 20th century, after Joe Descomps (French, 1869‑1950), cast signature at edge of self-base, on a columnar carved marble plinth, overall, h. 13‑3/4”, w. 4‑1/2”, d. 5‑1/2”. [800/1200] Illustrated

1067 Jeweled Mirror in the Style of Tony Duquette, 20th century, the frame outlined in brass beading, the mirrorlined frame decorated with vintage costume jewelry of various eras, colors and shades, h. 32”, w. 23‑1/2”. [500/800] Illustrated

1066 Handsome Art Deco Mahogany, Bronze and Stamped Leather Three-Panel Screen, second quarter 20th century, probably French, with an arched top and piercings to the base, the mahogany frame set with bronze bas-relief floral plaques decorating the upper portion, the screen set with stamped leather depicting a wood nymph wearing a crown of flowers, accompanied by a pair of deer in a wooded landscape, overall, h. 72‑1/2”, w. 57”. [800/1200] Illustrated

1068 Dakota Jackson (b. 1949) Parquetry-Inlaid Mahogany Bed, signed in script “Dakota Jackson 9/04” and retaining the firm’s circular painted metal label, the shaped headboard with parquetry veneers, the rails joined to a footboard with ebonized stringing and a twist profile, h. 54”, inside, w. 74‑1/2”, l. 84”, outside, w. 85‑3/4”, l. 97”. [700/1000] Illustrated Jackson is noted as a significant designer in the New York Art Furniture Movement. He was selected by Steinway and Company to design the Arabesque Art Case Piano.

1067

1066

1068 1065

285

1072 1070

1071 1069

1069 Continental Glass, Shagreen and Circassian Walnut Chest, mid-20th century, in the Art Deco taste, the russet black glass top with rounded corners and framed by a shagreen conforming case with a bank of four drawers, each with chrome-plated pulls, the apron adorned with horizontal bands and raised on clad feet, h. 38‑3/4”, w. 52”, d. 21‑3/4”. [800/1200] Illustrated 1070 Spun Aluminum and Cork Table Lamp, ca. 1930‑1940, attributed to Russel Wright (American, 1904‑1976), the cylindrical lamp with applied bands of cork, retaining its original cylindrical finial, h. 30‑3/4”, dia. 5”. [500/800] Illustrated

286

1071 Art Deco Mixed Fruitwoods Games Table, early 20th century, the canted rectangular top with a circular starburst inlay, removing to an inlaid backgammon well and reversing to an inlaid chess board, above a frieze fitted with a small drawer to each side, raised on splayed legs, h. 29”, w. 33‑1/2”, d. 21‑1/2”. [800/1200] Illustrated 1072 Eight-Piece Collection of Versace Dinnerware, post1996, Rosenthal, German, including a “Medusa” pattern platter, w. 15‑1/2”, d. 11‑3/4”, three graduated open vegetable bowls, h. 4‑1/2”, dia. 7” to 10”, a sugar bowl, h. 3‑3/4”, w. 4‑3/4”, a combi pot, h. 5‑1/2”, w. 4‑3/4”, and a pair of salad plates in the “Medaillon Meandre Marron” pattern, dia. 8‑7/8”. [500/800] Illustrated

1075

1074

1073

1076

1073 Pair of Gilt-Trimmed Black-Painted Planters, 20th century, the sides set with pierced scrollwork and gilt pinecones on each corner, each planter with two removable pierced liners, h. 24‑3/4”, w. 21”, l. 70‑1/2”. [800/1200] Illustrated 1074 Pair of Empire-Style Argente Bronze and Granite Occasional Tables, each with a circular charcoal granite top supported by fluted flat square legs headed by a Greekkey-style capital with pendant ring and ending in hoof-onball feet, h. 29‑1/2”, dia. 25‑1/2”. [3000/5000] Illustrated

1075 Mid-Century Modern-Style Brushed Steel and Marble-Top Side Table, the rectangular variegated black and rouge marble top above a shaped frieze, raised on pierced tapering square legs joined by an X-form stretcher and ending in ball feet, h. 37‑1/2”, w. 47”, d. 19”. [1000/1500] Illustrated 1076 Suite of Eight Italian Modern Argente Metal Armchairs, each with a ribbed and curved crest over two vertical splats, joined by delicate arms to the padded seat, raised on tubular legs ending in shaped toes, h. 36”. [2000/4000] Illustrated

287

1077

1078

1080 1079 1077 Mid-Century Modern Chrome and Plate Glass Library Steps, second half 20th century, possibly by the Pace Furniture Collection, New York City, with three stair treads, with 5/8” plate glass inserts and a handrail along the right side and top, h. 52”, w. 18”, d. 31”. [1800/2500] Illustrated 1078 Silver Giltwood Engraved Mirror, second quarter 20th century, possibly Venetian, with a silver giltwood frame, the segmented mirror glass surround engraved with flowers and sprays of leaves, h. 41‑1/2”, w. 31‑1/2”. [1200/1800] Illustrated

288

1079 Pair of Baccarat-Style Cut Glass and Gilt-Bronze Garniture Urns, second quarter 20th century, mounted as lamps, on bronze bases trimmed with molded lotus leaves, holding glass plinths, cut to match the urns they support, mounted with scrolled handles molded with leaves and medallions, h. 27‑3/4”, w. 8‑1/4”, d. 4‑3/4”. [2000/4000] Illustrated 1080 Set of Six Versace Lumiere Collection Crystal Wine Glasses, post-1996, German, decorated with gilt frets on the foot and upper rim, and molded, frosted Medusa heads at the tops of the stems, h. 10‑3/8”, dia. 3”. [500/800] Illustrated

1082 detail

1082

1081

1084 1083 1081 Directoire-Style Gilt-Metal and Marble-Top Occasional Table, early 20th century, the circular marble top within a reeded banding and raised on tubular ribbed legs joined by a concave square stretcher and ending in tall, tapering circular feet, h. 27”, dia. 24”. [700/1000] Illustrated 1082 Pair of Contemporary Neoclassical-Style Polychrome and Parcel-Gilt Chests, each with a rectangular top with a glass inset within a molded gilt border, above a conforming case fitted with two long drawers, the drawers and sides all with inset glass panels, raised on fluted tapering square legs, h. 34‑1/2”, w. 43‑1/4”, d. 20‑1/2”. [1800/2500] Illustrated

1083 Marc Chagall (Russian/French, 1887‑1985), “Moise et Aaron Devant Pharaon”, hand-colored etching and aquatint, initialed in pencil lower right, numbered “64/100” lower left, sight 13” x 10‑5/8”. Matted and framed. [1800/2500] Illustrated 1084 Contemporary Glass, Brass and Antler Cocktail Table in the Rustic Taste, the glass top inset in a brass frame, the legs and frieze comprised of joined antlers, h. 20‑1/4”, w. 29”, d. 50”. [1200/1800] Illustrated

289

1088 two of four

1088 one of four

1088 three of four

1088 four of four

1086

1085

1085 Contemporary Patinated Metal and Glass Center Table, the circular glass top raised on a metal base in the form of a limbed tree, with roots forming the legs, h. 31”, dia. 38”. [700/1000] Illustrated 1086 Elizabeth MacQueen (American/Alabama, 20th Century), “Ballerina”, 1980, patinated bronze, signed, dated, and with copyright mark at edge of base, on a black and green marble base, overall, h. 24‑1/4”, w. 7‑1/4”, d. 7‑1/4”. [500/800] Illustrated

290

1087

1087 Pair of French Barbotine Vases in the Impressionist Style, fourth quarter 19th century, the sky-blue vases with rectangular bodies and Asian-inspired feet and handles, decorated with large applied flowers and leaves in the impressionist style, and applied plum branches in the Asian style, impressed “CL” on the base, h. 24‑1/4”, w. 8”, d. 8”. [1200/1800] Illustrated 1088 Four French Enameled Copper Plates Depicting Chinese Figures, mid-20th century, made by Albert Gilles (French, 1895‑1979), the raised copper plaques decorated with polychrome enamel on a hammered copper ground, two marked “A. Gilles”, in beechwood frames, h. 26”, w. 19”. [2000/4000] Illustrated

1089 three of three

1089 two of three

1089 Paul Jacoulet (French/Japanese, 1902‑1960), “L’Altente”, “Calme Truck” and “Untitled - Pair of Portraits”, three color woodblocks, the first two signed, stamped and titled, the last signed in plate and stamped, sights 16‑1/2” x 13”, 12‑3/4” x 16” and sheets 6” x 4”, respectively. All glazed, matted and framed. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1200/1800] Illustrated

1089 one of three

1090 Paul Jacoulet (French/ Japanese, 1902‑1960), “Les Belles de Yap et Orchidees - Ouest Carolines” and “Un Homme de Yap Ouest Carolines”, two color woodblocks, each signed, stamped and titled, each sight 17‑1/2” x 13‑1/2”. Both glazed and framed alike. Provenance: Merryl Israel Aron, New Orleans, Louisiana. [1200/1800] Illustrated

1090 one of two

1090 two of two

291

1092

1091

1092 Dale Chihuly (American, b. 1941), early blown glass “Navajo Blanket” cylinder, ca. 1975, signed at the base edge within the glass, h. 11”, dia. 4‑3/8”. Provenance: Estate of Dr. William N. Coughlin, Springfield, Illinois. [7000/10000] Illustrated

1091 Rare Murano Glass “Stellato” Vase, mid-20th century, designed by Pollio Perelda (Italian, 1915‑1984), the primarily yellow, green, black and red vase made by Fratelli Toso and retaining their label, h. 11‑3/4”, dia. 5”. Provenance: Estate of Dr. William N. Coughlin, Springfield, Illinois. [3000/5000] Illustrated

1092 detail

292

1093 Nine-Piece Set 1093 Nine-Piece Frank Lloyd WrightStyle Quarter-Sawn Oak Dining Set, manufactured by Bexley Heath Ltd., Grand Rapids, Michigan, comprised of eight tall-back chairs and a table with two draw-end leaves, bearing the branded logo of Bexley Heath Ltd., chairs, h. 51”, w. 18”, d. 18”, table, h. 30”, w. 60”, l. 54”, extended l. 90”. Founded in 1996, Bexley Heath Ltd. is best known for their high-quality, faithful reproductions of Frank Lloyd Wright’s furniture. [3000/5000] Illustrated

1093 Nine-Piece Set

1094 Nakashima Walnut Conoid Dining Chair, New Hope, Pennsylvania, with canted stiles, spindle back and dished seat, unmarked, h. 35‑1/4”. Provenance: Acquired by the consignor from the Blount Corporate Collection, Montgomery, Alabama. [1500/2500] Illustrated 1095 Nakashima Walnut Wepman or Wohl Table, New Hope, Pennsylvania, the slab top with free edge on a tripodal base with turned legs, unmarked, h. 16‑7/8”, w. 28‑1/2”, d. 15‑1/4”. Provenance: Acquired by the consignor from the Blount Corporate Collection, Montgomery, Alabama. [1000/1500] Illustrated

1094 1095

293

1096 Alvin Hollingsworth (American, 1928‑2000), “Boy Feeding Chickens”, oil and acrylic on canvas, signed lower right, titled on Harbor Gallery, Cold Springs Harbor, NY” label en verso, 24” x 30”. Framed. [3000/5000] Illustrated 1097 Robert Burns Motherwell (American, 1915‑1991), “Harvest with Leaf, from the ‘Summer Light Series’”, 1973, lithograph in colors with collage, signed and numbered “27/54” lower right margin, with the artist’s and Gemini G.E.L. blindstamps, Los Angeles, verso with “Meredith Long & Company, Houston, Texas” gallery label, sight 31‑1/8” x 12‑5/8”. Glazed, matted and framed. Provenance: The Estate of Gary Baxter Webb, Houston, Texas. [2000/4000] Illustrated 1098 Alvin Hollingsworth (American, 1928‑2000), “Conversation, from the People Series”, oil and acrylic on masonite, signed lower right, titled on “Harbor Gallery, Cold Springs NY” label en verso, 24‑1/2” x 48‑1/2”. Framed. [4000/7000] Illustrated

1097

1096

1098

294

1099 Andy Warhol (American, 1928‑1987), “Northwest Coast Mask”, from Cowboys and Indians, color screenprint, signed and numbered “239/250”, published by Gaultney, Kleinman Art, Inc., New York, 1986, sight 35‑1/2” x 35‑1/2”. Glazed, matted and framed. Provenance: Blount Corporate Collection, Montgomery, Alabama. [8000/12000] Illustrated

1099

1100 1100 Jack Frankfurter (American/New York, 20th Century), “Occupazione: Aspettare”, oil on canvas, signed and monogrammed lower right and en verso, verso canvas and stretcher stamped “Galleria L’88, Roma”, 19‑3/4” x 27‑1/2”. Framed. [1000/1500] Illustrated

1101 1101 Dennis Smith (American, 1951‑1983), “The Corn Eaters”, 1980, oil on canvas, verso board inscribed “D. Smith” and affixed with “The American Federation of Arts, New York, NY” exhibition label, 45‑1/4” x 60”. Exhibited: American Federation of Arts, “The Landscape in 20th Century American Art: Selections from the Metropolitan Museum of Art”, April 1991‑ November 1992. [1800/2500] Illustrated

295

1103

1102

1102 Robert Harvey (American, b. 1924), “Visiting Maud on Memorial Day”, 1965, oil on canvas, signed and dated lower right, titled on stretcher, verso with “The North Carolina Museum of Art, Raleigh, N.C.” exhibition label, 48” x 36”. Framed. [2500/4000] Illustrated 1103 Charles Alton Pfahl (American, 1946‑2013), “Chilling to Some Tunes”, oil on canvas, unsigned, 72‑1/4” x 39‑3/4”. Framed. [5000/8000] Illustrated

296

1104 group of three 1104 Charles Alton Pfahl (American, 1946‑2013), group of three drawings, including “Metamorphosis”, 1981, graphite on masonite, signed and dated, titled on “Grand Central Art Galleries, NYC” label on frame backing, sight 12‑1/2” x 14‑1/2”; “Study for Feet”, pencil and charcoal, signed, titled on “Grand Central Art Galleries, NYC” label on frame backing, sight 13‑1/2” x 11‑1/2”; and “Old Pencil Sharpener, OH”, 1964, pen and ink, signed, dated, titled and inscribed, sight 12‑1/2” x 10”. Each glazed, matted and framed. [1000/1500] Illustrated

1105 Alan Bean (American/Texas, b. 1932), “A Fire to be Lighted”, 1985, acrylic on masonite, signed and dated lower right, titled en verso, affixed with “Blount Collection, Montgomery, AL” label, 36” x 24”. Framed. [9000/12000] Illustrated

1105

1106 Anthony Quinn (American, 1915‑2001), “Guinevere”, white variegated marble on black marble base, signed on rear of leg, h. 18‑1/2”, w. 14‑1/2”. [1500/2500] Illustrated

1106

297

1107

1113

1107 Antique Feraghan Sarouk Carpet, late 19th century, 8’ x 10’ 4”. [2000/4000] Illustrated

1110 Semi-Antique Sarouk Carpet, 10’ 2” x 15’ 4”. [1000/1500] Illustrated 1111 Semi Antique Kashan Carpet, 5’ 10” x 10’ 8”. [800/1200]

1108 Semi-Antique Mashad Carpet, 9’ 4” x 12’ 9”. [700/1000]

1112 Turkish Angora Oushak Runner, 2’ 7” x 23’ 5”. [600/900] Illustrated

1109 Laristan Sultanabad Carpet, 9’ x 12’. [1200/1800]

1112

1110

298

1113 Persian Tabriz Carpet, 9’ 7” x 12’ 8”. [2000/4000] Illustrated 1114 Tabriz Silk Carpet, 5’ 2” x 7’ 5”. [1000/1500] Illustrated 1115 Semi-Antique Persian Heriz Carpet, 7’ 4” x 9’ 7”. [2000/4000] 1116 Turkish Angora Oushak Carpet, 10’ 3” x 14’ 3”. [1200/1800] Illustrated 1117 Agra Serapi Runner, 2’ 7” x 23’ 9”. [600/900]

1114

1118 Laristan Sultanabad Carpet, 8’ x 10’. [1000/1500] Illustrated

1116

1113

1114

299

I N D E X O F A R T I S T S

J U LY 2 3 - 2 4 , 2 0 1 6

Aldrich, George Ames 1019

Gahaygan, Lucius 283

Andre, Albert 280

Giraud, Henri (after) 271A

Alexander, John 1053 Baxter, Elijah 847 Bean, Alan 1105

Bell, John (after) 198

Bergman, Franz 205, 380, 381, 382 Bonito, Giuseppe (attributed) 366 Boucher, Francois (circle) 552 Bourgeois, Douglas 1048 British School 445

Brown, Frederick 899

Bruyn, Bartholomaus, the Elder (manner) 358 Buck, William Henry 907 Butler, Murrell 969

Cain, Auguste Nicolas 130

Campagne, Pierre Etienne Daniel 269 Canova, Antonio (after) 327 Caproni, Emilio 329

Caproni, Pietro Paulo 329 Carney, Dennis 1056

Carrier-Belleuse, Albert-Ernest (after) 271 Carroll, John Wesley 1058, 1059 Casselli, Henry 894

Chagall, Marc 1083

Chaliapin, Boris 1060

Challie, Jean-Laurent Buffet 96 Chihuly, Dale 1092

Cixi, Empress Dowager 585 Clague, Richard 906

Congdon, Ada Irene Vose 845

Continental School 353, 365, 416 Coustou, Guillaume (after) 272 Cundin, Jose Maria 895

Dâ&#x20AC;&#x2122;Espagnat, Georges 279 Danish School 220

Decamps, Albert 1020

Delort, Charles Edouard 235 DeMorgan, William 192

Descomps, Joe (after) 1065

Drysdale, Alexander John 993, 994

Dunbar, George Bauer 1046, 1054, 1055 Dunlap, William R. 897 Dutch School 99, 346

Faed, Thomas (attributed) 5 Frankfurter, Jack 1100

Fremiet, Emmanuel (after) 371

Galle, Emile 1062

Goodall, Frederick (after) 449

Gruppe, Charles Paul 846, 848 Gruppe, Emile Albert 850 Guilbert, Narcisse 95 Harvey, Robert 1102 Hatfield, J. A. 198

Haudebourt-Lescot, Antoinette 339 Hebert, Henri 241

Heytman, Willem 145 Hogner, Nils 853

Hollingsworth, Alvin 901, 902, 903, 904, 1096, 1098 Hulings, Clark 851

Hull, Marie Atkinson 966 Hunter, Clementine 900 Irvine, Sadie 992

Italian School 328, 367, 401, 417 Jacoulet, Paul 1089, 1090 Jerichau, Holger H. 52 Karssen, Anton 148

Kaufmann, Carl 388

Kettemann, Erwin 50 Kinsey, Alberta 967

Klinckenberg, Eugen 387 Koppenol, Cornelis 51 La Fevre, A. 144

Lee, Frederick Richard 197 Loncin, Louis 1018 Loomis, Helen 968

Luce, Maximilien 277

MacQueen, Elizabeth 1086 Mauve, Anton 1012 McCarty, Lee 929

McKenney & Hall 876

Meucci, Michelangelo 999

Mignard, Pierre (follower) 80 Millet, Clarence 971, 972

Montezin, Pierre Eugene 276

Monton, Miguel Pineda 377, 378 Morgan, Elemore, Jr. 898

Motherwell, Robert Burns 1097 Olivier, Ferdinand 278

Ostade, Adriaen Jansz van 364 Paloczy, Viktor 236

Perrelda, Pollio 1091

I N D E X O F A R T I S T S

J U LY 2 3 - 2 4 , 2 0 1 6

Pether, Sebastian (attributed) 347

Yuliang, Pan (after) 1044

Petitjean, Hippolyte 98

Zhengyan, Hu 581

Petit, Eugene Joseph Constant Pierre 231 Pfahl, Charles Alton 1103, 1104

Zahnd, Johann 1011

Phillips, Thomas (after) 289 Pieron, Henri 1009

Pissarro, Claude 1021 Polk, Frank 929

Ponga, Giuseppe (attributed) 504, 505, 506 Potamianos, Haralambos 1043 Potter, Louis McClellan 987 Poupaert, Lionel 146

Quinn, Anthony 1106

Remington, Frederic (after) 930 Renard, Paul 149

Reneson, Chet 852

Roberts, Joe Rader 854 Rodrigue, George 970

GLOSSARY New Orleans Auction Galleries does not make any express or implied warranty as to the authorship of works of art and fine art. Please note that all of the terms and descriptions used in this catalogue are intended as our qualified opinions only and are subject to the Conditions of Sale set forth elsewhere. The Artistâ&#x20AC;&#x2122;s Name: In our qualified opinion, a work by the artist. Attributed to: In our qualified opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In our qualified opinion, a work by a follower of the artist.

Rubens, Peter Paul (after) 323, 325

Circle of: In our qualified opinion, a work of the period of the artist and showing his/her influence.

Schoeman, Giovanni 1049

Manner of: In our qualified opinion, a work in the style of the artist, possibly of a later period.

Ruff, Emma 54

Schouten, Henry 1010

Sheppard, Warren 402

After: In our qualified opinion, a copy of a known work by the artist.

Smith, Dennis 1101

Signed: In our qualified opinion, has the signature which is that of the artist.

Spanish School 415

Bears Signature: In our qualified opinion, has a signature which may be the signature of the artist.

Souverbie, Jean 282 Stone, William R. 189

Turgel, Margarete Markiewicz 1051 Vallee, Ludovic 275 Valtat, Louis 281

Van der Ast, Balthasar (follower) 354

Van der Plas, Niek 147, 1037, 1038, 1039, 1040 Van der Pol, Louis 1041 Van Huysum, Jan 514

Van Loo, Jean-Baptiste (circle) 570 Van Rysselberghe, Theo 273, 274

Vanderbank, John (attributed) 340 Vartanian, Hasmig 1047 Veenfliet, Richard 989

Velazquez, Diego (after) 377, 378 Venitien, Jean 97 Vuillard, G. 1042

Wagner, Karl Ludwig Friedrich 53 Wardleworth, Jack Leigh 449 Warhol, Andy 1099

Wasserman, Barbara 896

Weber, Charles Philip 849 Woodward, William 991

Dated: In our qualified opinion, is so dated and was executed on or around that date. Bears Date: In our qualified opinion, is so dated and may have been executed at about that date.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

New Orleans Auction Galleries 333 St. Joseph Street • New Orleans, LA 70130 • 800-501-0277 • 504-566-1849 Fax: 504-566-1851 • Email: Info@NewOrleansAuction.com

Absentee / Telephone Bid Form Name (Please Print): ______________________________________________

Date: ____________________

Business Name: ______________________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): _________________________ Address: ____________________________________________________________________________________ City: _____________________________________________

State: ____________ ZIP: _________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_____________ E-mail Address: ______________________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue. Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________

Expiration Date: __________

CVV #: _______________ I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25% buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): __________________________________________________________________________

Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851 or scan and email to info@neworleansauction.com

New Orleans Auction Galleries Susan D. Sarofim CEO

Tessa Steinkamp

Ashton Thomas

Director of Auctions

President

FINE ARTS:

DECORATIVE ARTS:

SILVER:

Jelena Restovic James

Ireys Bowman

Charles C. Cage

Nicole Casi, PhD

American, Continental and English

BOOKS, MANUSCRIPTS & EPHEMERA:

FURNITURE:

Charles C. Cage

consignments

Director of Fine Arts Continental and American; Prints and Maps

Michele M. Carolla

Continental and English

British and American; Sculpture

Ireys Bowman

Nicole Casi, PhD

Greg S. Kowles

American, Continental and English

Continental and English

Jewelry: Kim Lemon

American, Continental and English

Thomas Halverson American

FINE CARPETS & TEXTILES: Sean Ranson

a d m ini s t r at ion Burke

Colleen Ryan

Taylor Eichenwald

Charles C. Cage

Nicole Casi, PhD

Christa Ougel

Research

Graphic Designer

Denise Haik

Gary Michael Gittelson

Office Administration

Photographer

Justin Gray

Alexis Kopituk

Cord McPhail

Designer

Office Manager

Administrative Assistant

Director of Human Resources

Photographer

auctioneers

consultants

Tessa Steinkamp #1265

Ellen McKenzie

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

English and Continental Furniture

Ira Savoie

Graphic Designer

Grace Connors

Manager of Cakebread Auctions

ope r at ion s Cedric Roberts | Sean Ranson Bennie Amos | Eddie Daigrepont

Independent Certified Gemologist Appraiser

Emmitt Kendrick, Jr.

Felicia S. Yao Asian Arts

Gerald Hampton | Juanita Bazile

James Callahan Robin Ruiz #1114

Marketing & Public Relations

Asian Arts

Sol Carter | Thomas Johnson David Abney | James Collins

New Orleans Auction galleries J u ly 2 3 - 2 4 , 2 0 1 6